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2013:3

ABRSM news and views

Selectors’choice

Revising the marking criteriaChief Examiner John Holmesexplains what’s changed and why

The art of examaccompanimentExploring the challenges for pianists

Revising the marking criteriaChief Examiner John Holmesexplains what’s changed and why

The art of examaccompanimentExploring the challenges for pianists

Selectors’choiceABRSM experts choosefavourites from the newSaxophone and Oboe syllabuses

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Supporting apps from ABRSM

An award-winning app offering an exciting way for pupils to practise their aural skills between lessons and to prepare for the aural element of ABRSM exams.

Aural Trainer is currently available for iPhone, iPod touch and iPad, with Aural Trainer for AndroidTM coming soon.

For more information and to watch our fi lm, visit www.abrsm.org/auraltrainer.

A popular practice tool allowing you to vary the speed of audio tracks without altering the pitch.

Speedshifter is available as a desktop tool – and now as an app for Android and Apple mobile devices.

For more information, visit www.abrsm.org/speedshifter.

Aural Trainer

SpeedshifterTM

Android and Google Play are trademarks of Google Inc.

Apple, the Apple logo, iPad, iPhone and iPod touch are trademarks of Apple Inc., registered in the U.S. and other countries. App Store is a service mark of Apple Inc.

ABRSM: the exam board of the Royal Schools of Music Supporting andpromoting thehighest standardsof musical learningand assessmentsince 1889.

www.abrsm.org

facebook.com/abrsm

@abrsm

ABRSM YouTube

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COVER STORY

12 Selectors’ choice: Saxophone and Oboe Our syllabus experts share their thoughts on favourite piecesfrom the new repertoire lists

FEATURES

8 Revising the marking criteriaABRSM’s Chief Examiner, John Holmes, explains the background to the revisions andwhat they mean for teachers and candidates

11 A fresh approach to violin sight-readingJoining the Dots author Alan Bullard on what’s inside these new books for violinists

17 Making Music Medals work for youHow these innovative assessments can inspire and motivate teachers and learners

20 Am I too loud? The art of exam accompanimentABRSM’s Syllabus Director, Nigel Scaife, explores the vital role played by the accompanist

REGULARS

4 NewsThe latest updates from ABRSM

21 InboxYour feedback and views

Welcome to Libretto and an issue thatfocuses on some of the corecomponents of our graded music

exams. In fact, two of these – how ABRSMexaminers mark exams, and the wide choice ofmusic in our syllabuses – sit at the very heartof the exam experience.

When assessing an exam performance,ABRSM examiners use a set of markingcriteria – a collection of statements showinghow marks are awarded for each element ofthe exam. All our examiners use the samecriteria, which means that candidates aremarked consistently and objectively. But thecriteria can also be an incredibly useful toolfor teachers and candidates. Our revisedmarking criteria now present this essentialinformation in a more logical, transparent andeasy-to-use format. You can read them on ourwebsite or find out more about the revisionsand what they mean on page 8.

One of the delights of music learning is thediscovery and mastery of new repertoire. In July we published refreshed repertoire lists forwoodwind instruments. There’s some wonderfulmusic to be found here, as our Saxophone andOboe syllabus selectors reveal (pages 12 and 16).Add to this, articles on accompaniment (page20) and sight-reading (page 11), and I hope thisissue of Libretto provides plenty of ideas forlessons and exams to come!

Finally, do look out for ABRSM's newbiography of Benjamin Britten (page 6) whosecentenary is celebrated this year. Britten’s piecesinvolving children as performers – such as TheLittle Sweep and Noye’s Fludde – aremasterpieces of their kind and teachers andschools should seek these out.

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Outlook

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Editor-in-Chief Tony Pinkham Editor Lucy North

ABRSM24 Portland Place London W1B 1LU United Kingdom

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© The Associated Board of the Royal Schools of Music. All rights reserved. Unauthorisedreproduction in whole or in part is prohibitedwithout permission. The views expressed inLibretto are not necessarily those of ABRSM;neither are the products or services appearing inadvertisements and inserts endorsed by ABRSM.

Libretto

COVER PHOTO: CHRIS CHRISTODOULOU COURTESY OF THE ROYAL COLLEGE OF MUSIC

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Violin teachers and students now have a newresource to help build confidence and skills in

sight-reading, ensuring they are well-preparedfor this element of ABRSM exams.

Joining the Dots for Violin, A Fresh Approachto Sight-Reading is by respected music educatorand composer Alan Bullard, with Douglas Blewas violin consultant, and follows on from ourJoining the Dots books for piano and guitar.

The series of five books, one for each ofGrades 1 to 5, brings together a range ofexercises and pieces to help students improvetheir sense of fingerboard geography and allow them to read new music more quickly and easily.

Joining the Dots for Violin is available now from music shops worldwide andwww.abrsm.org/joiningthedots. To find out more about what’s inside the books, turn to page 11.

Look out for the latest recordingsof pieces from our new

Woodwind syllabus, due for releaselater in the year. A selection ofpieces from the Saxophone syllabuswill be available on CD and asindividual audio downloads fromNovember, while Oboe and Bassoonrecordings will be out as audiodownloads only during December.

These new recordings add toour existing Woodwind syllabusresources – books of Clarinet ExamPieces and Flute Exam Pieces withCDs and recordings – which wepublished in July along with thesyllabus itself.

The new Woodwind syllabus, foruse in exams from January 2014,features revised repertoire lists for all six instruments – Recorder,Flute, Oboe, Clarinet, Bassoon andSaxophone. There are no changesto scales and arpeggios, aural testsor sight-reading.

To find out more about our newWoodwind syllabus and supportingpublications and resources, visitwww.abrsm.org/woodwind.

News4

We are making some changes to Libretto. From 2014 we will beproducing two, rather than three, printed magazines a year to be

published in March and September. These will include additional spacefor features and articles as well as featuring a refreshed design. At thesame time we will be developing our online Libretto pages, adding newarticles from a wide range of music educators and ABRSM experts on aregular basis to provide an ever-changing resource for teachers andlearners. To read Libretto online go to www.abrsm.org/libretto.

Next steps for Libretto

New woodwindrecordings onthe way

Ever wondered what it’s like to bean ABRSM examiner? With our

new interactive online resource –On Your Marks – you can watch aGrade 5 Piano exam, assess itagainst our revised marking criteriaand then compare your results withthose of Chief Examiner JohnHolmes. Covering pieces, scalesand arpeggios, sight-reading andaural tests, this easy-to-use toolprovides an opportunity to gain agreater understanding of theABRSM assessment process.

To try out this exciting new resource, go towww.abrsm.org/onyourmarks.

Joining the Dots for Violin out now

Get set for On Your Marks

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October sees the release of a series of shortfilms inspired by our new Flute syllabus.

The films focus on one piece in the syllabus –Whistlin’ – which was specially-commissionedfrom jazz composer and performer DaveStapleton. Set for Grade 3, it’s a fresh, upbeattune in a jazz style, available in the ABRSMFlute Exam Pieces book for the grade.

There are nine mini films in total, whichfeature flute teacher Louise Matthew – also anABRSM examiner, presenter and syllabusselector – as she teaches the piece and talks tothe composer.

In six of the films you can watch Louise andher pupils in a real-life teaching situation anddiscover how she approaches various aspectsof the piece. Covering both technique andinterpretation, the films also make connectionswith our revised marking criteria. The threeremaining films show Louise in conversation

with Dave Stapleton, providing a fascinatinginsight into the composition process.

The films will be available in October atwww.abrsm.org/flutefilms.

We are delighted to welcomeDarren Henley as a new

ABRSM Trustee. Darren isManaging Director of GlobalRadio's national classical music station, Classic FM, and is also the author of theindependent review which led tothe UK government creatingEngland's first National Plan forMusic Education.

Darren brings a wealth ofexperience to this role, both inthe commercial and musiceducation sectors. His knowledgeand understanding will help us tobecome ever more closelyconnected with, and supportiveof, colleagues across the sector.

‘Right now, it's a particularlyexciting time to become involvedwith ABRSM,’ commented Darren.‘Alongside the four Royal Schoolsof Music, ABRSM is held in thehighest esteem, both in the UK and around the world and iswidely acknowledged as a hugeforce for good in music education.Its innovative and far-sightedwork has never been moreimportant or relevant to themusic education world as a whole.’

5News

Three young violinists in Singapore are currently benefiting from a Youth Mentoring Scheme(YMS) run jointly by the Singapore Symphony Orchestra (SSO) and ABRSM. Lieu Kah Yen,

Cristel Lim Shi-Rui and Mathea Goh Xinyi were selected for the scheme following theiroutstanding achievements in their ABRSM diploma exams.

Now in its second year, the YMS helps gifted learners gain a greater understanding oforchestral playing while complementing their existing tuition. As part of the scheme, eachstudent works closely with a mentor from the orchestra, as well as attending and participating in rehearsals and concerts. There is also an opportunity to play chamber music with SSOmembers. In particular, 16-year-old Kah Yen is studying Bartok String quartets, while Cristel and Mathea, 15 and 12 years old respectively, are concentrating on developing their knowledge of orchestral repertoire.

‘I was delighted to meet each of these talented young violinists, and their parents, and tofeel their enthusiasm for music making,’ commented Bill Thomson, ABRSM’s Singapore andHong Kong Development Executive. ‘I’m sure that in collaborating with, and coming under theumbrella of, top players at the SSO, Mathea, Cristel and Kah Yen will broaden their horizonsand gain many new insights in their musical journeys.’

This year’s scheme began in August and will finish in December, providing a wonderfulopportunity for these three students to develop their skills and musicianship with members of a professional orchestra.

Darren Henleyappointed asABRSM Trustee

New flute filmsgo live

Singapore students benefit fromABRSM and SSO mentoring scheme

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ABRSM becomes awardingbody for new qualification

News6

IN BRIEF

� Good luck to our newABRSM scholarsThe latest recipients of ABRSMscholarships are about to begintheir studies at conservatoires in the UK and Hong Kong.Outstanding young musicians atall levels will be benefiting fromnewly awarded scholarships atthe Royal Academy of Music, theRoyal College of Music, theRoyal Northern College of Music, the Royal Scottish Conservatoireand the Royal Welsh College ofMusic and Drama. For thesecond year we are also offeringa scholarship at the Hong KongAcademy for Performing Arts.

� Free Music Medalstraining at UK venuesAre you interested in usingMusic Medals with your pupils?Would you like to train to be ateacher-assessor? Then don’tmiss out on a place at one of ourremaining training sessions thisyear. There’s still a chance tocome to a free workshop inExeter (9 October), LeamingtonSpa (14 October), Leeds (21October), Nottingham (23October) or Portsmouth (9November). We’re also planninga new series of workshops for2014. For further information,visit www.abrsm.org/courses.You can also read more aboutMusic Medals on page 19.

� Jazz Piano coursereturns to LondonABRSM jazz examiner TimRichards is once again runninghis popular course for pianoteachers at London’s City Lit.The course takes place on fourSundays in November (3, 10, 17,24) and covers all aspects of theJazz Piano syllabus at Grades 1to 5. No previous jazz experienceis required. For informationabout the course, please contact Tim on 020 7732 4088 or attimrichards@ndo.co.uk. To enrol, contact The City Lit,quoting course number ME841,at music@citylit.ac.uk,www.citylit.ac.uk.

Earlier in the year we published revised marking criteria which will be used by ABRSMexaminers in all our graded instrumental and singing exams (excluding jazz) from January

2014. The criteria are fundamental to our exams, underpinning the standards and consistency ofall examiners’ marking. They can also be a helpful and useful tool for teachers and studentswhen preparing for exams and in lessons and practice generally.

To find the revised criteria go to www.abrsm.org/markingcriteria. You can also read whatABRSM’s Chief Examiner, John Holmes, has to say about the marking criteria on page 8.

To mark the centenary this year of the birth of Benjamin Britten, we are publishing a new

biography of the composer – the latest additionto our Extraordinary Lives series of books.

Britten: An Extraordinary Life, byChristopher Mark, offers a fascinatingintroduction to the key topics and issuesconnected to Britten’s life and works. The book deals with Britten’s view of the role of the composer in society as well as his politics,pacifism and the controversies surrounding his sexuality.

Britten: An Extraordinary Life will beavailable in November from music and bookshops worldwide and www.abrsm.org/shop.

ABRSM is to be an awarding body for a newqualification: the Certificate for Music

Educators (CME). Developed by the musiceducation sector, led by Arts Council Englandand Creative and Cultural Skills, the CME hasbeen designed to support inspiring, motivationallearning and to be relevant to a wide range ofmusic educators, regardless of the genre theywork in or the stage of their career.

The CME is for all music educators in England,whether they work privately, in music hubs,orchestras, community music organisations orother settings. It aims to improve knowledge andskills while raising the quality of the experiencefor children and young people wherever theirmusical learning takes place.

This unique qualification covers a range of topics, including: general understanding of musical learning; planning, facilitating andevaluation; reflective practice and professionaldevelopment; promoting positive behaviour;equality, diversity and inclusion; andsafeguarding.

The CME will be provided via approvedcourse providers around England and we arecurrently working with music services, musichubs, colleges and organisations to establish alist of such providers for the new ABRSM CME.

For further information, including how to register your interest in the course or apply to be a course provider, please visitwww.abrsm.org/cme.

Revised marking criteria now online

New bookmarks Brittencentenary

Joining the Dotsfor Violin by Alan Bullard

Buy now from music retailers worldwide or from www.abrsm.org/joiningthedots

Supporting and promoting the highest standards of musical learning and assessment since 1889.

ABRSM: the exam board of the Royal Schools of Musicwww.abrsm.org@abrsm facebook.com/abrsmABRSM YouTube

A fresh approach to sight-reading for violinists

• Build your students’ confidence and skill in sight-reading

• Separate volumes to support each of ABRSM’s first five grades

• A range of exercises, pieces and activities to help learners improve their sense of fingerboard geography

These witty, instrument-specific stickers in packs of 6 sheets are great fun and a useful tool for teachers.

We’re sure that you’ll love them once you’ve used them with your pupils and want to buy more.

Usually £2.99

For your free pack just complete the online form at www.oup.co.uk/music/stickers.

Offer closes 1 November 2013 and is subject to availability.

The award-winning Piano Time is a hugely successful series, taking young pupils from their very first lesson up to around Grade 3 standard.

There are books to suit every young beginner, all full of beautifully crafted pieces pupils will love. The breadth of material, superbly written by the very best composers and arrangers, will encourage musicality and improve technique.

www.oup.com/uk/music/pianotime

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Lib3-13 ads.qxd 12/9/13 10:35 Page 2

The ABRSM marking criteria underpin the standards andconsistency of all examiners’ marking as they form the basis ofassessment for practical graded music exams. So wherever

you take an exam – in Solihull or Singapore – the examiner will befollowing exactly the same marking guidelines, with the aim ofexactly the same assessment.

In an exam situation it’s not enough just to recognise that aperformance is outstanding, good or weak. It’s essential thatexaminers can identify the precise reasons why a candidate gets aDistinction or just manages a Pass, and that these reasons areclearly communicated to the teacher and the candidate via the markform. ABRSM’s revised marking criteria are designed to ensure thatthis happens.

Reasons for a revisionSo, why have we revised the criteria? There are a number ofreasons. First of all, it’s healthy to renew and refresh markingcriteria every so often – we hadn’t done this since 1998, so a revisionwas actually overdue. Then, we wanted to make sure that the criteriaare as accessible and transparent as possible. Marking obviouslyneeds to be consistent, so it’s vital that the criteria are logical, clearand easy to use. This is not just an issue for examiners – it mattershugely to teachers and candidates, and parents and stewards, whoall need to understand the way we mark exams.

Consistency, transparency, objectivityAs part of the revision process we consulted widely, especially amongABRSM examiners themselves. A huge amount of analysis of markforms has also influenced our revisions. Overall we aimed to producea set of marking criteria which maximise consistency of marking,while also promoting transparency and objectivity in our exams. Forall concerned, we wanted the criteria to be more straightforward touse, simpler to understand, and easier to read at a glance. Forteachers, candidates and parents we wanted to provide relevant andhelpful information about how marks are awarded in each categoryof result, and for each section of the exam.

We also wanted to address some weaknesses and gaps, such as theneed for specific criteria for marking the Unaccompanied Traditional Songin Singing exams. Along with this, although our marking criteria werepublicly available, we were not certain that everyone was aware of themand their significance. With these more user-friendly criteria in place – onour website and, eventually, in all our printed syllabus booklets – we arehoping to raise this awareness.

Of course, the revisions come without making any changes to theexam itself or to the standards we set. It’s important to emphasisethat we are not asking for anything new. We haven’t ‘raised the bar’,‘moved the goalposts’ or ‘dumbed down’; the attainment levels remainexactly the same. The 2014 marking criteria represent a revision and arefinement, so for the candidate in the exam room and the marks theyachieve, there will be no change.

Using the marking criteriaIn the past, the marking criteria were perhaps viewed as somethingjust for examiners to use, but knowing how playing or singing is goingto be marked is really helpful for teachers and candidates too – notjust for exam preparation but for musical learning and progressiongenerally. The aim is for the criteria to be useful to teachers in lessons,to students in their practice and to examiners in the exam room.

The criteria clearly show what’s expected for a Pass, a Merit or a Distinction, so by understanding more precisely what an ABRSMexaminer is looking for, teachers can help their candidates achievehigher standards. They can also be used successfully as the basis of discussion and activities within lessons and subsequent practice sessions.

Asking new questionsWhen I was teaching classroom music, I often went over work withthe class, and would encourage students to review each others’work as if they were marking it, and then to share their thoughts.This often generated new ideas, and students learnt how seeingthings from an assessment point of view can help to develop theirskills and understanding. It’s not like that in a piano lesson for

Marking criteria88

Revising the markingcriteriaIn July we published revised marking criteria forinstrumental and singing exams at Grades 1 to 8, for use from January 2014. Here Chief Examiner JohnHolmes explains the background to the revisions andwhat they mean for teachers and candidates.

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99Marking criteria

example, where you’re probably teaching a single student, perhapsfor a relatively short time. Nevertheless, a similar process cantake place in a one-to-one lesson, and my hope is that armed with our revised marking criteria, teachers can encouragestudents to ask themselves new questions about their progressand performance.

Pitch, time, tone, shape and performanceThe 2014 criteria show clearly the different aspects of musical playingor singing, under five broad areas of musical control: pitch; time; tone;shape and performance. Under ‘shape’, for example, the criteria tell usthat examiners listen for the effectiveness of musical detailing andphrasing, and under ‘performance’, that they assess the overallcommand of the instrument, the level of engagement with the musicand quality of communication. This information, and much more, isnow clearly shown in the marking criteria – information that teacherscan use to inform candidates’ preparation, improve their learningexperience and help them to get the most from our exams.

Pitch, time, tone, shape and performance are elements which applyuniversally to all instruments and types of piece or song. As a result,teaching ideas or discussion about them can easily be introduced intoany lesson. For instance, a teacher could ask a student which of thefive areas they thought they did best at in a particular piece or song,and which they were least good at. The discussion that follows couldthen become the starting point for the next stage – both in lessons andin practice sessions at home.

Developing all-round skillsUltimately, I hope that the format of our revised marking criteria will bethe springboard for a range of teaching ideas and practice strategiesthat will encourage a balanced focus on all the essential ingredients ofmusical playing and singing. ABRSM exams aim to help nurture thedevelopment of all-round musical skills, and the revised criteria arevery much intended to support teachers, candidates and examiners inunderstanding what we mean by ‘the whole musician’ – the player orsinger who ‘ticks all the boxes’! �

The revised marking criteria will be used in instrumental andsinging exams (excluding Jazz) at Grades 1 to 8 from January 2014.You can find the revised criteria at www.abrsm.org/markingcriteria.They are also printed in the new Woodwind Syllabus, 2014 –2017booklet and in future will be available in all new printed editions ofABRSM syllabuses.

WHAT’S CHANGING?� Moving to one set of criteria for all grades – currently we haveseparate criteria for Grades 1 to 5 and 6 to 8.

� For pieces and songs, giving a clearer indication of the aspects ofmusical outcome for which marks are awarded: pitch; time; tone;shape and performance.

� For each of the supporting tests, giving a clearer indication of thebasis of assessment and the various attainment levels.

� Making the difference between what makes a Pass, Merit orDistinction clearer.

� Introducing new specific criteria for marking the UnaccompaniedTraditional Song in all Singing exams.

� Showing the allocation of marks for Singing exams at Grades 6 to 8, where the totals are other than 30.

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“the on-line resourcefor piano ensemble music”f o u r h a n d s p l u s

fourhandsplus.com is making available both long-forgotten and newly written piano duet music suitable for novice, intermediate and advanced level players. Long out-of-print piano duet music by Berens, Gurlitt, Diabelli and John Kinross for student (in 5-finger position) with teacher (playing sophisticated ‘other’ parts) have been selected and completely re-edited by Graeme Humphrey, and printed in modern volumes. To these previously unavailable classics have been added a number of new compositions by John Kember, Christopher Norton and Jeroen Speak. They are an excellent natural teaching resource, particularly for the development of rhythm in young pianists. Also available are many string quartets by Haydn, not available before for piano duet, in wonderful new arrangements by Professor Robin Holloway. Some of the 19th century arrangements for piano duet by Hugo Ulrich and Robert Wittmann can also be obtained from us. New books of piano duets by John Kember, Christopher Norton, Jeroen Speak and Anthony Ritchie have been commissioned and will be available soon.

EPTA Piano Journal December 2012:‘...pupils will experience the joys and thrills of music-making way beyond their actual musical level with the teacher enhancing their simpler pupil part.’‘...we are grateful to Graeme Humphrey for unearthing such interesting new and valuable repertoire: we eagerly await further volumes in this excellent series.’

For a full description of available music, visit www.fourhandsplus.com. The music is available online at www.fourhandsplus.com and from many good music retailers. www.facebook.com/fourhandsplus.com and www.youtube.com/fourhandsplus

Revised repertoire lists for all woodwind instruments, featuring exciting new pieces and popular choices from the previous syllabus.

Woodwind syllabus 2014–2017

Supporting resources include:• Clarinet and Flute Exam Pieces volumes for Grades 1 to 7

(part only 1 to 5; score and part; score, part and CD)• Recordings of a selection of pieces available as separate

CDs and audio downloads

www.abrsm.org/woodwind

NEW

ABRSM: the exam board of the Royal Schools of Music Supporting andpromoting thehighest standardsof musical learningand assessmentsince 1889.

www.abrsm.org facebook.com/abrsm @abrsm ABRSM YouTube

Clarinet

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Flute Exam Pieces 2014–2017 Score & Part

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1111Sight-reading

length to the sight-reading tests in the exam, with titles to help stimulate theimagination. There may be a temptation toskip some of the earlier material and jumpstraight to these little pieces, but I believe thatbetter results will be obtained by workingright through the section. For example, if yourpupil is learning a piece in the key of F major,there’s an opportunity to work through all thematerial in the F major section – warm-ups,improvisations, and sight-reading – over aperiod of several weeks. You can then finish off with the last piece in the section, a two-part canon for pupil and teacher (or two pupils).

At the end of each book we’ve included a section of additional pieces to play, in thekeys already studied. Some of these arelonger than the tests in the exam and couldbe usefully used as quick studies or assomething for a pupil to learn on their ownbetween one lesson and the next. Andfinally, to round off the books there areseveral short ensemble pieces.

Teachers today are very aware of thebenefit to their pupils of ‘joining the dots’ –making connections between ear, eye, fingers and bow within a well-integratedlesson. Although this series may notcompletely answer the question ‘how do welearn to sight-read?’ it provides teacher andpupil with the resource material to approachthe topic from many different angles. Withmusical content reflecting a wide range of styles and moods, I hope that theseattractively produced books will result ingreater musical understanding and skill, aswell as success in that sight-reading test! �

Joining the Dots for Violin, Grades 1–5 isavailable from music shops worldwide andfrom www.abrsm.org/joiningthedots.

How do we learn to sight-read? Allteachers agree about the importanceof developing this skill, but are

nevertheless often challenged to fit inregular study within the context of a shortweekly lesson.

The Joining the Dots series represents anintegrated approach to this area. Each bookprovides a number of activities related tosight-reading, grouped by key. The activitiesinclude exercises, technical workouts,opportunities for simple improvisation andshort pieces for sight-reading. This approachwas originally developed for Joining the Dotsfor Piano and continued with Joining the Dotsfor Guitar, co-authored with guitarist RichardWright. The books are designed to provideteachers with a variety of ideas which they caneasily integrate into lessons, providing pupilswith an enjoyable way to improve their abilityto read music.

So now, with the invaluable assistance ofDouglas Blew as violin consultant, Joining theDots for Violin has been published with aseparate book for each of Grades 1 to 5.Although the technical skills and demands forlearners of piano, guitar and violin are verydifferent, the need for the development ofsight-reading skills remains. It’s my hope thatthese new books will give young violinists theconfidence to explore a wider range of music,by ear, by improvisation and, particularly, byreading from the page.

For the violin, of course, the differentiationof key by accurate tuning (as well as correctnotes) is of primary importance, and inABRSM’s Violin syllabus the keys of the

sight-reading tests are generally those of thescales in the previous grades. (For Grade 1,sight-reading is restricted to one octave in justtwo major keys). This means that the playerwill probably have a ‘feel’ for each key by thetime the sight-reading preparation is tackled,and this is the starting point for the separatesections in Joining the Dots.

The books are divided into differentsections, one for each relevant key. Within thesections, keys are explored via four activities:Key Features; Workouts; Make Music andRead and Play.

The Key Features revise the pupil’sfamiliarity with the relevant finger patterns,leading on to Workouts which are technicalexercises in the key. Some of this material is repeated, transposed, in other key-sections,helping to consolidate finger patterns whileintroducing, by stealth, the concept oftransposition.

The next activity in each section is entitledMake Music: echoes, responses and ideas for improvisation. Varying from book to book,these are designed to give pupils confidencein thinking and playing in the key.

You’ll probably find that each pupil willbenefit from a different approach to thissection, perhaps with some careful tailoringto suit ability. Most will be happy to follow thesuggestions in the book, welcoming theopportunity to be less constricted by notation,but others may prefer to write ideas downfirst. Teachers might also want to producefurther similar material of their own.

All this leads to the last activity in eachsection, Read and Play – pieces similar in

With the publication of the latest in our series of Joining the Dotssight-reading books, this time for violinists, author Alan Bullard explainsthe idea behind the books and what you’ll find inside.

A fresh approach toviolin sight-reading

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AMIN

from an operetta called Pacific 1860, itfeatures in Time Pieces for EH or BH

Saxophone, Vol. 1 (set on Grades 1 to 3).The piece is written in two contrastingsections. The first is witty, while the secondis more wistful and lyrical. Experiment withchanges in mood and tone to emphasise thedifference. Students should take care withphrasing, breathing and clarity ofarticulation, imagining that they are‘singing’ the words and telling a story.

List CJames Rae: Spinnaker Jig or Pot LuckA great new offering from James Rae is 36More Modern Studies. This book features inall grades and is a very useful volume forteachers and pupils. Spinnaker Jig is a fastjaunty piece that requires light, cleararticulation, a variety of dynamics and lotsof accents. Practise everything slurred firstto understand the shape of the phrase andthen add the staccato articulation. Pot Luckis a cool swing number with an appealinglaid-back melody. Take care not to rush andexaggerate the accents. Both studies arewritten in a comfortable range and soundimpressive.

GRADE 4 – Beverley CallandList AElgar: Chanson de MatinMy favourite new List A piece is Elgar'sChanson de Matin. You can find it in The Classic Experience for Alto Saxophone, set at Grades 3 to 6, andClassic Experience Collection for TenorSaxophone, set at Grades 2 to 5. I love thefreedom of expression and possibilities ofrubato which this beautifully lyrical pieceoffers the performer. The legato phrasingand the production of a lovely, warm soundare paramount but attention to the finely

Saxophone repertoire1122

Selectors’ choice: the Saxophone syllabus

GRADE 1 – Chris SwannList A (Alto/Baritone)Elgar: Land of Hope and Glory

A great example of Elgar’s ceremonial side,this piece works well on the saxophone. (Itcomes from Up-Grade! for Alto Saxophone,Grades 1-2, which is on the syllabus for boththese grades.) Big contrasts suit the dynamicrange of the instrument and opportunities forphrase shaping are obvious and rewarding.Tone needs to be fully sustained with notelengths being ‘trimmed’ by the tongue – therepeated notes being slightly more separatedfor definition. Listen carefully to the pairs ofquavers so that hurrying is avoided and keepan ear on the volume so that it builds in aheroic and expressive way.

List B Rob Buckland: Saxi-Taxi Taken from Time Travels for Saxophone (seton Grades 1 to 3), Saxi-Taxi shows what avariety of style and character you can find inthe syllabus. The rhythmically busy pianopart, with syncopations and driving quavers,gives the soloist a firm base to project themore straightforward melodic line – withbounce. There are also moments in the sololine when weak beats can be firmly pushed.Articulation is important and note lengthsshould be thought about and then playedconsistently. Sort out the recurring figure ofan isolated staccato note followed by threeslurred quavers (first found in bar 2) earlyon. The excitement needs to be controlled interms of volume – and save the final surgefor the concluding repeated note flourish.

GRADE 2 – Chris SwannList ASchubert: Who is Sylvia?Time Travels is also the source for thislovely piece from the master of songwriting, which transfers to the saxophone

beautifully. Much can be made of thoughtfulrhythmic emphasis here with the secondcrotchet beat of many bars needing to beless forthright than the first. Thinking of thefirst entry, say the title of the piece and thenfollow the shaping of your spoken voice onthe saxophone. Better still sing it! Themusic is fairly straightforward technicallybut a couple of high Ds have to benegotiated. Keep the hand shape cuppedand use the correct knuckle, dropping thehand down on the key rather than resortingto an awkward sideways movement. Uselots of melodic shaping and dynamics butmost of all keep it simple.

List BAubrey Beswick: Farewell for a FoxThis is taken from Repertoire Explorer forAlto or Tenor Saxophone (set on Grades 1 to 3) and offers a chance to prove how thesaxophone can be lyrical, warm andexpressive. The melodic line lies nicelyunder the fingers and there is plenty ofsubtle detail to observe, such as the tenutomarkings (bars 14 and 18). Dynamic riseand fall is crucial to emotional rise and fallhere – encourage the practice of gradedchanges to help pupils deepen theirperception of breath control and listening.Take breaths without feeling hurried byslightly shortening the tied notes so that youarrive on time at the start of each newphrase. As for the rest of the piece, as longas it’s accurate and steady in pulse you cansimply enjoy the sight of an examinerstruggling to maintain composure as themusic washes over him or her!

GRADE 3 – Melanie HenryList BCoward: My Horse has Cast a ShoeI love this delightful song by the playwright,composer and actor Noël Coward. Taken

With so many wonderful pieces to choose from in our new Saxophone syllabus, we asked our two selectors, Beverley Calland and Melanie Henry, and syllabus moderator Chris Swann to pick some of their favourites. (Pieces are for EH as well as BH saxophones, unless indicated.)

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graded dynamics and detailed articulationwill make this piece really work.

List BRos Stephen: A Nacht in Nyu YorkMy choice here comes from a fabulous newvolume, Saxophone Globetrotters (set onGrades 1 to 4). The book contains stylesfrom around the world and offers studentsan opportunity to learn about, listen andplay a wide variety of music. Even the mostreluctant of pupils couldn't fail to beinspired! A Nacht in Nyu York is influencedby klezmer. It begins very slowly and movesthrough three more, ever increasingchanges of pace, challenging the performerto control the pulse at different speeds.

List CKaren Street: Standby for Action!Double Click!! is a book for solo saxophoneset on Grades 1 to 5. It contains pieces fromthree well-known composers: Karen Street,James Rae and Chris Gumbley. Theselection here is a study in a driving swingfeel. Pupils will enjoy its fast pace andexuberance: finger fluency will come fairlyeasily as the passage work containsrepetition and very few accidentals. Thecomposer emphasises that the dynamicshelp to create a sense of dialogue and,again, this is easily achievable in acomfortable range.

GRADE 5 – Chris SwannList ABizet: Orchestral Solo (fromL’arlésienne, Suite 1)Time Pieces for EH or BH Saxophone, Vol. 2is set on Grades 4 and 5 and gives thechance to play this solo from Bizet’simaginatively scored suite. Imagine the lushsound of the strings and bask in the warmthof the lovely melody as it unfurls withclassical poise and romantic expression. Asalways, check intonation (for example, GKswill usually be high) and don’t allowornaments to interrupt

overall flow – play them spaciously withoutsnatching or bumping. Aim for an extra-smooth legato line with possible touches ofvibrato. Keep the build-up to the bar 15climax in mind from the start. Havingextracted as much passion as possible fromthe high C, the final bars need to fadequickly in a controlled manner. Thechallenge here is producing the two low Csat a fairly quiet dynamic. It helps to imaginethe breath travelling right through theinstrument, past the mouthpiece and evenbeyond the bell with fingers placed firmlyand independently of the breath. Leavingthe little finger of the right hand down afterthe first C may help too. However, as alwaysthere is no substitute for regular, thoughtfuland enthusiastic practice!

List B Ned Bennett: An Urge to SplurgeThe dictionary defines ‘to splurge’ as making‘an ostentatious display: to show off’ andthis funky Latin-American-style music givesevery opportunity to do just that. (You’ll findit in The Jazz Sax Collection, set on Grades4, 5 and 7.) Assurance, commitment andcommunication are essential and linked withthese are accuracy, detail and rhythmicawareness. There’s a samba feel, so quaversare not swung and you need to hold thepulse steady – it’s easy to be approximatewith so many rests around. A knowledge ofthe piano part will help. The opening unisonpassages followed by an independentsaxophone line accompanied by anawkward little two-bar rhythmic riff(from bar 10) may be off-putting tostart with, and the piano drops outfor a bar here and there, whichcan be disconcerting. A crispstaccato is also important -remember to keep thebreath going and stopthe reed vibrating witha quick return to itby the tongue.For the nextnote to

start on time and cleanly, the breath/embouchure/throat have to remainunchanged during the silence betweennotes. Once the technical challenges havebeen addressed this is a very enjoyable andvery ‘saxy’ piece to have under the fingers.

GRADE 6 – Melanie HenryList A (Alto/Baritone)Kalinnikov: Chanson triste My favourite new List A piece for EH

saxophone is the hauntingly beautifulChanson triste, found in Six pièces russes,Vol. 1 (set on Grades 5 and 6). Thisexquisite melody needs excellent tone andbreath control. The melodic line is embellished with frequent grace notes thatneed to sound effortless. Practise withoutthem first to ensure rhythmic accuracy anda sense of phrase. The fluid tempo anddynamic contours allow for freedom of

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expression – something to experimentwith. Much of the piece is in the higherregister so care is needed with theintonation, especially when playing softly.

List BChristopher Norton: Black Sheep ofthe FamilyThe Christopher Norton Concert Collectionfor Alto or Tenor Saxophone is a fabulousset of pieces based on traditional tunescovering a range of styles and moods –we’ve used it on Grades 4 to 6. Black Sheepof the Family is a lively gospel-stylenumber with complex rhythms and sometricky finger work. There’s a good variety ofarticulation and dynamics that must benoted to understand the character of themusic. There are also lots of grace noteswhich should be tight and accurate tomaintain rhythmic drive. This piece needsgreat energy and enthusiasm.

GRADE 7 – Beverley CallandList BArmando Ghidoni: Paysages…Grade 7 List B contains several newdiscoveries and this one is for both EH andBH instruments. It’s been written for thestudent to explore musical expression indiffering styles but within one piece. Itincorporates a ballade, sicilienne, waltzand ... rock! It will be fun to practise athome but enjoyable for an audience too.

List CP. M. Dubois: PolkaPierre Max Dubois has written more than50 works for the saxophone, mainlyinspired by Mule, Londeix, Deffayet andDaneels. This Polka is from 17 Étudesdansantes and any serious student shouldconsider buying this lovely set of dances,which we’ve set on Grades 6 to 8. Itincludes five tangos, five waltzes, twopolkas, two javas, two paso-dobles andone rumba. They all focus on an aspectof technique, using the full range of

the instrument with a variety of dynamicsand articulations. This composer knowshow to write for the saxophone and themusic is full of wit, elegance and charm.

GRADE 8 – Melanie HenryList B (Alto/Baritone)John Carmichael: Obsession(Habanera) and Bahama Rhumba(The Caribbean)John Carmichael’s Latin American Dancesis an exciting new addition to the syllabus.The two selected dances are full ofcharacter, style and drama. They areattractive to listen to and such fun toperform. A wide range of tonal colour,sparkling articulation and nifty fingerdexterity are essential. Obsession is a dark, brooding tango. The tune isrhythmically complex, yet must sound freeand beguiling. The practice technique oftaking out the ties will help this. Plannedbreaths are essential as the phrases arelong. Observe all dynamic markings to aidthe build-up of tension. Bahama Rhumbais frivolous and frothy. Clear, accuratearticulation helps the music dance along.These dances would work beautifully in arecital programme, with Bahama Rhumbaproviding a wonderful encore!

List B (Soprano/Tenor)Morton Gould: 1st or 3rd or 5thmovement from DiversionsDiversions is a must for any serious tenorsaxophonist – a virtuosic suite with fivemovements, which exploits the gloriousvoice of the instrument. It appears on ListB for Grades 7 and 8, and at Grade 8,there’s a choice between movements 1, 3or 5. Recitatives and Preludes opens witha solo recitative with clear jazz influence,which needs great control and a braveapproach to freedom of tempo and avariety of dynamics. This leads into a fast-driving and rhythmically challenging

section and it’s important tounderstand how this fits

with the piano part. Rags and Waltzesis charming and lighter in mood. Again,rhythm is crucial and all markings should be observed to ensure a wittyperformance. Finally, Quicksteps andTrios is showy and impressive withexcellent dialogue required betweenpianist and soloist. Good projection across the whole note range is needed to cut through the busy piano part. �

The new ABRSM Woodwind syllabus isavailable at www.abrsm.org/woodwindand in booklet form. CDs of selectedpieces from the Saxophone syllabus willbe available in November together withindividual audio downloads. The newsyllabus takes effect from January 2014.

Beverley Calland was a founder memberof The Fairer Sax and has played widely inorchestras, ensembles, shows and opera.She teaches saxophone and piano and haspublished several books.

Melanie Henry has performed andrecorded as a soloist, ensemble playerand orchestral musician. She teachesat Trinity Laban Conservatoire ofMusic & Dance.

Chris Swann has played with theRoyal Liverpool PhilharmonicOrchestra and now combinessolo performing, directingconducting and coaching. Heteaches at the RoyalNorthern College ofMusic and is anABRSM examiner.

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Oboe repertoire1166

GRADE 1 – Kathryn GunnList ASusato: Les Grands DouleursPlumping on pieces that would be fun at Grade 1, I’ll go first withthe Susato (from Sounds Classical for Oboe , used at Grades 1 to 5).The music reminds me of my early days as a musician when everyso often I was allowed to join the adults for a fabulous play-throughof large consort early music – with crumhorns, sackbuts, recorders,viols, tabors and lutes. Try to find a recording in this style. It’s ajoyous cacophony of sound that immediately places the music in its original Renaissance setting, conjuring up images of courtlydances in stately, elegant surroundings. The strong thematicmaterial here is reassuring to emerging musicians and there areopportunities to discuss points such as ensemble with the piano,early double-reed instruments, hints of hemiolas (bars 25 to 27) and the lilt of triple time.

List CDave Gale: The Ending’s WellAt the other end of the spectrum, Jazz FX for Oboe (set at Grades 1 to 4) provides this infectious jazzy piece – boisterous and dynamic. It’s a delight for oboists to be let loose in this style which is immediatelyengaging for the vast majority of young learners. The feel of swingrhythms, the importance of rests and different jazz articulations can beexplained to adept pupils, with the most able and inquisitive graspingthe difference between the heavier (tenuto-marked), longer-tonguednotes that contrast with the staccato marks and later final accents.

GRADE 2 – Josephine LivelyList BKeith Bartlett: Cairo Carnival

In this charming piece strong rhythmic figures and clever use of minorharmony conjure up a picture of a bustling Egyptian scene completewith camels and snake charmers, which will be instantly appealing toyoung players. Although it’s one of the longer pieces, material isrepeated and there are plenty of rests in which to breathe. The piececomes from Just for Fun! for Oboe which contains pieces set at Grades2 to 4 and comes with a useful accompaniment CD for practice.

List CJames Rae: Shot or JavelinThe source for these pieces is James Rae’s Olympic-inspiredvolume, Track and Field for Oboe. This clever book depicts adifferent athletic event in each study. It’s offered as a List Cchoice from Grade 2 to Grade 7. For Grade 2 the choice is

between Shot, with long-note crescendos evoking the preparationof the shot, and Javelin, where imaginative changes in rhythmand articulation suggest the javelin’s curved flight through theair. Both require a strong sense of rhythm with good control overdynamics and articulation. However, the imaginative musicaldepictions will encourage the player to overcome any challenges.

GRADE 3 – Kathryn GunnList BBrahms: Poco Allegretto Returning to Sounds Classical for Oboe, how lovely to see thisattractive melody from the Third Symphony becoming available toyoung players in such a grown-up fashion. This is an orchestralexcerpt that they will encounter again in years to come, although alittle different in the original (C minor and 3/8), or that may well beheard on the radio. The charming triple-time lilt, sustained lyricalline and quintuplets give ample room to discuss rhythm (alsosome duplets against triplets in the accompaniment). Other usefulelements for discussion include: mood, intonation, shape andtone, and how to take the lead in a Romantic solo melody.

List BDuncan Reid: The Inebriated SwanWith its irresistible title, this piece clamours for attention andcomes from Duncan and Paul’s Shopping List for Oboe (also used atGrade 2). It delivers the promised comedy with a cheeky approach(and apologies) to Tchaikovsky’s famous Swan Lake oboe solo. What an opportunity for pupils to listen to the original and acquaintthemselves with such a classic, and then to enjoy the sense ofhumour here. Anyone worrying about explaining ‘inebriation’ couldpoint out that the swan may be feeling bloated after drinking toomuch lake water! The chromatic scale, some forked Fs, top-registerintonation, a sprinkling of accidentals, syncopations and dynamics can all be discussed. Plus a certain early-stage lack ofsophistication in tone may be forgiven more easily here, perhaps inthe way that a honky-tonk piano sets off a certain style of ragtime!

GRADE 4 – Josephine LivelyList BMarco Pütz: The DreamerThis is the first of Two Pictures for oboe and piano, with the second –the quirky and characterful The Little Rascal – offered at Grade 5.They both make excellent short concert pieces. The Dreamer is abeautifully lyrical, sustained piece with haunting harmonies in theaccompaniment. It will encourage pupils to develop a sense of phraseshape and direction with which to ‘sing’ the wonderful melody. Thepiece requires good stamina and embouchure control, but phrasesare not overlong with time to breathe between each one.

List CMike Mower: Drifting OffDrifting Off comes from The Good-Tempered Oboe, a welcomenewcomer to the syllabus. The book features on List C at every

Selectors’ choice: the ObWith the new Oboe syllabus presenting a treasuretrove of repertoire, we asked syllabus selectorJosephine Lively and syllabus moderator Kathryn Gunn to choose and comment on some of their favourite pieces from the lists.

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1177Oboe repertoire

on List A with the tuneful La Scala appearing on List B. The style ofAnnie Laurie is after Bach’s Jesu, Joy of Man’s Desiring, with theScottish folk song Annie Laurie weaving through the music as thechorale theme does in the Bach. It’s joyful, celebratory music, so theperformer should aim to give the 12/8 time signature a two-in-a-barfeel to communicate this. It requires good finger co-ordination withwell-supported breathing to sustain the flowing legato lines. All theStar Pieces make excellent concert pieces and will be thoroughlyenjoyed by students.

GRADE 7 – Kathryn GunnList ACimarosa, arr. Benjamin:Introduzione and Allegro orIntroduzione andAllegro giustoChoosing favourites atthis grade is a challenge.But the Cimarosa winsfor me because of itsmournful, melodic andflexible Neapolitanoperatic style andtonguing challenges inturn. The syllabusrequires twocontrasting

Oboe syllabusgrade and provides some wonderfully varied solo pieces in a mix of styles. The Grade 4 choice is a tuneful, approachable piece in G minor. Lots of musical detail and an evocative melody make thisrewarding both to play and listen to, with especial appeal for thestudent who would prefer a solo performance piece over theconventional technical studies also offered in this list.

GRADE 5 – Kathryn GunnList ACorelli, arr. Barbirolli: Preludio and AllemandaSet on Grades 4 and 5, this concerto still has a place in my heart asa dedication to one of the ‘grandmothers’ of our present Englishoboe school – Evelyn Rothwell (Barbirolli). It’s a lively, varied piecethat makes you feel you have hit the realms of Baroque playing, butwithout the tricky technical demands of Bach, Telemann, Handel,Albinoni and Vivaldi at the later grades. Here the oboe can belyrically legato or dancingly buoyant by turns, with the demands oftrills, arpeggio patterns, clarity of articulation, leaps and thepotential for further decoration all to be incorporated.

List BCopland: Fanfare for the Common ManTaken from Copland for Oboe (used here and at Grade 7), thisarrangement of the iconic fanfare demonstrates the oboe’s potential to be as loud, lyrical, clear and soloistic as the original. A very solid sense of pulse and rhythm, reliable counting and attention toarticulation markings are all essentials here. There are some forked Fs (to/from D, EH and low BH) and some leaps to negotiate accuratelywithout too many mishaps. Pupils will also need good breath control,some power in the forte markings and flexibility – as well as thatparticular reed that can do it! There is also a rare andenjoyable opportunity to belt out a juicy low BH – Déplorationfrom the Poulenc Sonata at Grade 8 being one ofthe others.

GRADE 6 – Josephine LivelyList ATrad. arr. Hart: Annie LaurieThis is from an exciting new collectionof pieces for oboe and piano – StarPieces, Vol. 1 by Paul Hart – whichcan be found on the lists atGrades 6 to 8. ForGrade 6, AnnieLaurie is

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Oboe repertoire1188

movements – the snake-like legato first movement, with glimpses of cadenza material, balanced with the rapid-fire tonguing of either the second or fourth movement. Here the oboe’s nimble, crisparticulated abilities can be developed, although always keeping an eye and an ear on choosing a tempo that sits comfortably within apupil’s reliable tonguing ability. Either of these movements make for a triumphant ending.

GRADE 8 – Josephine LivelyList A Walmisley: Sonatina No. 2 in GThis is the second of two sonatinas issued in a beautifully produced,informative edition from Christopher Hogwood. They are welcomeadditions to original oboe repertoire from the late Classical/earlyRomantic period. Walmisley was taught composition by his godfatherThomas Attwood, a pupil of Mozart. This influence can be heard in thesonatinas along with echoes of Schubert and Mendelssohn. They areperfectly written for the oboe and an absolute joy to play. Sonatina No. 2 opens with a recitative section offering scope for an imaginativeinterpretation, which leads to the main G major Allegro moderato. This all lies readily under the fingers. However, the real challenge is to achieve the flexibility and attention to detail needed to capture thecharm and delicacy of this music. �

The new ABRSM Woodwind syllabus is available now atwww.abrsm.org/woodwind and in booklet form. Recordings of selected pieces from the Oboe syllabus will be available in Decemberas individual audio downloads. The new syllabus takes effect fromJanuary 2014.

Kathryn Gunn is an experienced professional oboist, cor anglais player,pianist, accompanist, teacher and writer and an ABRSM diploma, jazzand main panel examiner.

Josephine Lively is an oboist who has played with many Britishorchestras and who teaches at the Royal Academy ofMusic Junior Department and Trinity LabanConservatoire of Music & Dance. She is anABRSM examiner and tutor for theNational Children's Orchestras.

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Studies in the evolving science ofpositive psychology have confirmedwhat many already know from

experience – that praise andencouragement rank high on the chart ofhuman happiness, easily beating thefleeting pleasures to be had from shoppingor from the distractions of social media. Inthis respect Music Medals, ABRSM’sinnovative assessments for youngmusicians, tick all the boxes. They hold thepower to encourage pupils and theirteachers with clear goals, progressivestages and tangible rewards.

The Music Medals structure comprisesfive levels – Copper, Bronze, Silver, Goldand Platinum – and includes an abundanceof engaging music. It also hands autonomyto individual teacher-assessors, chargingthem with responsibilities usually devolvedto an external examiner and allowing themto assess their own pupils.

Free training sessionsThanks to ABRSM’s programme of freetraining sessions, teachers around the UKcan readily acquire the skills needed toassess Music Medals. The latest workshopsbegan at the end of August and run throughNovember. They will continue in 2014. Theplan is to reach more teachers: thoseworking privately as well as those involvedwith schools, music services and hubs.

The benefits of Music MedalsFor Madeleine Casson, one of the workshopleaders, Music Medals offers a strongaddition to the music teacher’s armoury ofteaching tools. Each level, she observes,can energise and enthuse individualstudents. They also form a neat fit withgraded music exams. ‘Several of my pupilshave taken Copper and Bronze MusicMedals before doing Grade 1 and continuedto take other Music Medals as they

prepared for higher grades. The two dovetail together very well – Music Medalsbridge that gap between the early stages oflearning and graded exams.’

Working alongside Madeleine as atrainer is Ian Smith. He commends MusicMedals as an ideal way to measureachievements rather than exposeweaknesses. He notes how pupils flourishas a result of performing well in theassessments. ‘Children have differentlearning styles and skills,’ adds Ian. ‘Thegreat advantage of Music Medals is thatthey play to an individual’s strengths andallow pupils to show off what they can do.’

Using existing skillsThe Music Medals training sessions aredesigned to show teachers how to use theirexisting skills when marking candidates.‘When we train teachers, we’re aware thatthese people are already constantlymeasuring and judging pupils’ progress,’Madeleine explains. ‘Teachers will bereasonably sure, for example, what mark apupil will get in a graded exam. It’s quite ashort step to learn what’s required for ateacher to assess her or his own pupils forMusic Medals. These workshops are designedto introduce teachers to the marking criteriaand encourage them to share that knowledgewith their pupils.’

Ian Smith adds that the scheme’s markingcriteria are very clear and can easily belearned by teacher-assessors within thespace of a training day. ‘We show teachers avideo of a mock Music Medal, get them tomark it and then discuss why the marks areas they are.’

Sharing knowledgeFiona Lau is the third of ABRSM’s MusicMedals trainers and she underlines thepractical nature of the workshops. ‘Teachersbring their instruments and play Music Medal

pieces.’ She notes how most teachers arefamiliar with the practicalities and legalitiesof filming lessons and are quick to learn howto capture clear video images for ABRSM’sindependent moderation of the assessments.‘In the scheme’s early days, videoing was amajor worry for people. But now people areused to doing it on their smartphones orhigh-definition recorders – young teachersare much more familiar with using video.’

As well as exploring the markingcriteria, each session covers administrativeissues and shows teachers how to use thereport form. Teachers also discover how tointegrate Music Medals into their everydayteaching. ‘Music Medals are great forteachers,’ says Fiona. ‘It’s not always easyto prepare a child to be ready for an examon a fixed day. Music Medals can be takenat a convenient time over an eight-weekperiod. Pupils are assessed in their ownenvironment by their teachers, without thepossible stresses and strains of exams.’

Supporting resourcesMusic Medals also offer benefits to parents.The extensive repertoire lists for keyboard,strings, woodwind and brass instrumentsmean that children can be assessed onmusic contained within a single book. ‘MusicMedals are affordable,’ says Fiona. ‘It reallymatters at a time when many families are ontight budgets. Parents don’t need to buyseparate exam books since Music Medalspieces will be in the anthologies theirchildren are already using. This is why it’s soeasy for teachers to integrate Music Medalsinto their curriculum. Music Medals areinexpensive, good for teachers and great formotivating and rewarding pupils.’ �

Turn to page 6 for a list of this year’sremaining training workshops. To find out more about Music Medals, visit www.abrsm.org/musicmedals.

Making Music Medals work for youAs ABRSM rolls out a new series of Music Medals training workshops, Andrew Stewart looks at what’sinvolved and how these unique assessments can motivate learning and inspire teaching.

19Music Medals

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Accompaniment

Most piano students set out with theaim of mastering pieces drawn fromthe rich repertoire of solo piano

music. However, as they advance in theirstudies the day may come when they areasked to accompany another musician,possibly in an exam. When that day arrives, awhole new world of musical experience opensup. They will now have to follow a score whichcombines their harmonic textures with a sololine. They will have to listen to another partand respond to it in the moment. A new set ofensemble skills will be needed, such aslearning when to lead and when to follow, andhow to balance their sound with that of thesoloist. It will be the start of a new journey ofmusical discovery!

The roleAccompanists need to have a completelydifferent mindset from that of solo pianists.They are not in charge, but are there as amusical collaborator and supporter.Nevertheless, their role is still as importantas the soloist’s and should not be consideredin any way secondary – an accompanist canmake or break a performance.

Exam accompanists should be amiable,confident, and positive. They need toestablish a good rapport with the candidate,while being careful with any remarks aboutmusical issues which could undermine thecandidate’s confidence or add to nerves onthe day. Often there is a balance to bemade between contradicting what a youngsoloist has been taught and correcting anyobvious errors which might negativelyaffect their performance.

Putting candidates at ease so that theycan give their best and maintaining aserene calm before going into the exam areimportant aspects of the role. Instillingconfidence is vital - the accompanist actsas an emotional support as much as amusical one!

PracticalitiesBefore the exam it’s a good idea to spendtime rehearsing as if in the exam itself,allowing accompanist and candidate to get used to playing together in an examsituation. This kind of rehearsal gives youand your soloist a chance to find the bestposition in terms of sight-lines and topractise tuning and other aspects of stage craft. Also, remember that lessexperienced candidates are not always used to giving cues, so don’t be afraid to ask for clearer ones: there should be noguesswork involved.

On the day, a smile and plenty of eyecontact will give confidence when tuning up – which is not a moment to cut corners!Always make sure you know which pitch orpitches candidates tune to and that they arecomfortable with their tuning before the exam starts.

Active listeningThe essential skill for any accompanist,indeed for any musician, is active listening.The accompanist must listen to themselvesbut also be aware of what the soloist is doingand adjust accordingly. Adapting and reactingquickly are crucial: you have to expect theunexpected! It’s not uncommon for a nervouscandidate to come in early, or late, or to missa few bars, but if you can skip a beat or barand ‘cover’ their mistake you will avoid abreak in continuity. Predicting and anticipating‘danger spots’ and solving some of thesechallenges should be part of an accompanist’ssupportive role.

TempoOne of the challenges of accompanying is toremember the tempi agreed in rehearsal andreproduce that in the exam. The candidate’spreferred tempo must be your tempo and ifthe tempo changes on the day you must besensitive and follow suit.

BalanceSometimes accompanists become soengrossed in their own challenges that they seem to stop listening to the soloistaltogether – at which point balance canbecome a problem. There are usuallyunderstandable reasons for this: perhapsthey’ve been called upon at short notice and are virtually sight-reading their part; or perhaps they’re playing an orchestralreduction which doesn’t lie well under the fingers.

These issues can often be avoided if theaccompanist accepts that it’s not necessaryto be note perfect. As long as you play withconfidence, meticulous inclusion of everynote is not essential: after all, the examineris not marking the accompaniment.

Less can be moreKnowing what to leave out and being able tomake a suitable reduction when necessaryis part of the art of exam accompaniment.The inclination to follow exactly what iswritten on the page can be a serioushindrance here. Usually it’s best to focus onthe bass line and make sure it co-ordinateswell with the soloist, and then leave outsome of the inner texture if necessary.When playing orchestral reductions, it canbe useful to compare different editions –some are more pianistic than others.

Much depends on projecting therhythmic aspects of the part withconfidence. The rhythmic outline mustalways be in place, even though the texturemay be adapted. The ability to give animpression while leaving certain parts out,or redistributing parts between the hands,is a real asset founded on having a goodharmonic sense. Less can be more!

Finding the right levelAt lower grades the accompanist can be alittle more assertive in terms of leading, as

2200

Exam accompaniment is an art in itself. Here, Nigel Scaife, ABRSM’s Syllabus Director, discusses some of the challenges and how to address them.

Am I too loud?The art of exam accompaniment

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young candidates often need extra support.This is fine as long as the solo part comesthrough positively and is not submergedbeneath a well-intentioned but obtrusivepiano texture. It’s also worth checking thatcandidates know when the piano takes themelodic line. If they haven’t listened to aperformance they may be unaware that thesolo part is secondary at that point andneeds to be played accordingly.

Modern grand pianos can causedifficulties, as the heavy bass sounds candominate. This is especially true in musicwritten before the advent of the modern pianoand can be an issue when accompanyingtenor or bass-register instruments orinherently quieter instruments, such as therecorder. Also, when the music stand on thepiano is raised it blocks out a surprisingamount of the sound, so the volume levelheard by the accompanist is less than thatheard by the soloist. Often you’ll need toadjust the piano dynamic downwards. Playingat an appropriate dynamic level is absolutelyfundamental: an accompanist’s forte is notthe same as a soloist’s forte.

Having the lid down on a grand piano is a good idea when accompanying manyinstruments in the early grades, but at

higher grades it can reduce the clarity ofsound and mute the tone colours. Tryexperimenting with using the half-stick, or perhaps just a book to lift the lid a little.

Pedalling and articulationUse of the sustaining pedal needs to be judicious, with clear intentions andawareness of the resulting texture.Generally, you need less pedal inaccompaniment parts than in solorepertoire, and you can use the una corda more freely.

It’s easy to obscure the solo part whenusing the pedal, especially if it lies in the lower register, so always take care to ensure that the solo line is not ‘over-supported’. The una corda can beused to vary colour and imitate orchestralsonorities, as well as to reduce volume, butover-use of a muted effect can negativelyimpact on the overall impression of thepiano part.

The good accompanist listens carefully totonguing, breathing, and bowing patternsand knows how the slurs and other marksof articulation are interpreted by the soloist.It can be a good idea to practise breathing intandem with singers or wind and brass

players. In this way there can be a realsynergy and unity of approach in which thesoloist’s articulation and phrasing ismirrored by the accompaniment.

SingersIn some ways accompanying a singer iseasier than an instrumentalist, as thewords provide a guide. But often, singershave different needs – the drama of thesong and the story-telling need to becolourfully represented, perhaps withchanges of tempo giving additionalemphasis to the meaning of the words. So before accompanying a song, you shouldget to know the words and the emotionalcontext. If the song is in an unfamiliarlanguage, ask the singer to explain themeaning of each verse. If the lyric is notunderstood, the accompaniment will sound meaningless.

Singers can occasionally forget theirwords. If that happens you can help bygiving a vocal prompt. However, avoiddueting with the candidate or mouthing thewords, as this is unfair when memory ispart of the exam requirements. At the earlygrades some accompaniments will have thevocal melody in the right-hand part. Wherethis is the case, take extra care to ensurethat the piano part subtly shadows thesinger without being overpowering.

Learning the artA famous accompanist of singers, IrwinGage, said that ‘There are many greataccompanists who are very good pianists,but there are not many pianists who aregood accompanists.’ Learning the art ofsupporting a soloist without overshadowingthem, while also providing a safety net whenthings go awry, is certainly a skill that takestime to develop.

So if you have a piano student who hasestablished a good technical foundation andwho can sight-read well, you mightconsider giving them opportunities toaccompany, whether in a school concert oran exam. There is no substitute for hands-on experience and who knows, perhapsthey will become the next Gerald Moore,one of the world’s most famousaccompanists and author of TheUnashamed Accompanist who wryly titledhis memoirs Am I too loud? �

Do you have any accompaniment tips orexperiences you would like to share? Please email them to libretto@abrsm.ac.uk.

2211Accompaniment

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Write to Lucy North, Editor, Libretto, with your views. You can emaillibretto@abrsm.ac.uk or send letters toLibretto, ABRSM, 24 Portland Place,London W1B 1LU, UK. Letters and emailsmay be edited for publication.

Your views2222

Tips for successI have a few tips for exam success. Forpianists, remind them to check that thepiano stool is at the right height anddistance from the piano. If they are usingpedals, they should check that the right footis on the sustaining pedal – also explainthat some pianos have three pedals.Regarding the aural tests, remind studentsthat the examiner won’t state whether theanswer is correct or not and to continuelistening and answering regardless of howthey feel about their previous responses.PHYLLIS MCCARTHY

Motivating pupils

I once had a bright piano pupil who was veryable but not keen on independent practice.She felt it was 'unfair' that only she wasgiven lots to do and thought I should begiven something to do each week too. Soeach week she would ask me to prepare apiece for next time, such as a ‘slow piece’, a‘fast piece’, an ‘even faster piece’ or a ‘scarypiece’. It worked really well as motivationand also meant she regularly listened tomore advanced piano music and had abetter idea of where her learning would leadlater on.DAWN WAKEFIELD

Getting used to the natural minor One way to get used to the sound of thenatural minor it is to listen to the beautifultheme from the slow movement of Rodrigo’sguitar concerto. The natural minor maysound odd because for generations ourhouses only echoed to the sounds ofmelodic and harmonic minors, as requiredby the syllabus. Congratulations to ABRSMfor demonstrating that nothing is written instone. Perhaps we could get used to allthree types of minor scale – singing along atbreakfast for a daily ear training session!BOB STUCKEY

Inbox is the place to share yourviews and feedback on Libretto,ABRSM and music education ingeneral. We want to find out whatyou think on a range of musiceducation topics, from exam tipsand experiences to ideas onteaching, resources and professionaldevelopment. Please get in touch!

INBOX

The notes in the boxesWith reference to my earlier article(Improvisation Notes, Libretto 2012:3), andsubsequent feedback on this page, Iwanted to clarify a few things about theapproach to improvisation found in theABRSM Jazz exam tunes. It’s not strictlytrue to say that ABRSM has adopted a

‘chord/scale approach’ to improvisation.The notes in the boxes are frequentlyarpeggios, not scales. Sometimes thereare just three notes – hardly a scale. Atother times pentatonic scales (five notes)or blues scales are given. At the end of thearticle I gave an example of an arpeggioover a Dm7 chord, pointing out that ‘themost fool proof way to improvise over achord sequence is to play the notes of eachchord as it comes by’. Not exactly a‘chord/scale approach’! Also, the boxes ofsuggested notes are not always given on a‘chord-by-chord’ basis. Horizontalrelationships within a key centre arefrequently stressed by only giving oneimprovisation box over several chords.Finally, rather than neglecting ear training,I stress the importance of singing thenotes in the boxes and pre-hearingphrases before playing them.TIM RICHARDS

Prep Test positivityI wanted to share with others the positiveexperience of a recent Piano Prep Testcandidate. He is only six, very shy and hadquite a lot of serious illness in his earliestyears. His mother and I worked all term toget him ready and his confidence was high.On the exam day his mother texted me tosay he was terribly nervous and we waitedanxiously for the outcome. When asked howhe got on, he thought for a long time beforesaying ‘the examiner was really nice … thesort of person, who, if you were lost, youcould ask him the way’. If this sounds like aVictorian children's book, this child is atouch old fashioned! CHARLOTTE ELLIS

Coping with nervesI have two suggestions to add on copingwith performance nerves. Firstly, if youpractise mistakes you will perform themand if you never play any mistakes you will not perform them. So I encouragestudents to do slow, perfect practice all the time. Secondly, nerves are caused by adrenaline – it's productive if you’refleeing a charging bull but, in myexperience, not helpful while performing.My solution is to get rid of the adrenalineby doing a physical workout earlier on theday of a performance. I did this recentlyand, as a result, was relaxed, happy,focused on the music and did a greatperformance.DENISE MIKULA

CorrectionMany readers have been in touch to correctthe note in the last issue about Flute examsand when various grades were available inthe past. Research into our archives hasproduced the following information aboutwoodwind exams from 1950 onwards. Flute,Oboe, Clarinet and Bassoon were availablefor Grades 1, 3, 5 and 7 from 1950 to 1955,and for Grades 3, 4, 5, 6 and 7 from 1956 to1959. In 1960 this became Grades 3, 4, 5, 6and 8. Grade 7 was re-introduced muchlater, in 1982, with Grades 1 and 2 followingin 1988. Exams for Saxophone and Descantand Treble Recorder were introduced instages from 1985 onwards.LUCY NORTH

EDITOR, LIBRETTO

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