lcm exams - forte magazine 2009.1

LCM Examinations newsletter

Issue: 2009.1

Forte

IN THIS ISSUE:

Update 3

New Drum Kit Syllabus 4

Drama & Communication: WhereWe Are Heading 6

Theatre Quiz: Cities and Countries 7

Indian / Sikh Music Syllabus 8

The Small Print 9

Feature: Teaching Dyslexic Pupils 10

News 13

Tips for Exam Success 14

LCM Exams Overseas 16

ISM Graded Exams Seminar 18

Local Centre Events 19

Exam Centre Contacts 20

Request Form 20

Drum Kit GradesWe are pleased to announce the publication of the new drumkit repertoire list, and accompanying handbooks with CDs.

Compiled by Jack Richards and Aidan Geary, the newhandbooks contain everything required for the exam – a widevariety of newly-commissioned pieces, rudiments, examples ofthe sight reading and aural tests – plus CD backing tracks andpiano accompaniments.

See page 4 for further details about the handbooks, and asummary of the principal features of the new repertoire list.

THAMES VALLEY UNIVERSITY

London College of Music Examinations

Compiled by Jack Richards and Aidan Geary

LCM Publications

Drum Kit Handbook 2009 Grades 1 & 2

LL207

GRADE

1&2




LCM Publications


LL207

GRADE

1&2




LCM Publications


LL207

GRADE

1&2



Compiled by Jack Richards and Aidan Geary LCM Publications


LL207

GRADE

1&2

Indian / Sikh MusicA graded syllabus in Indian / SikhMusic is now available, through anew partnership between LCMExaminations and the Raj Academyof Asian Music.

Exams are initially available forplucked strings, bowed strings andvoice; see page 8 for further details.

Syllabus OverlapsOverlap arrangements are currently in place for thefollowing syllabuses:

Classical Singing grades, Music Theatre grades & diplomas,Pop Vocals grades, Irish & Scottish Traditional Music gradesand diplomas: old syllabuses are valid for Spring &Summer 2009 sessions.

Drum Kit Grades: old syllabus is valid for Spring, Summer& Winter 2009 sessions.

2

Key Information

Calendar - 2009

Contacts at LCM Exams

LCM ExaminationsWalpole House

Thames Valley University

18-22 Bond Street

Ealing

London W5 5AA

tel: 020 8231 2364

fax: 020 8231 2433

email: [email protected]

http://mercury.tvu.ac.uk/lcmexams

Editor: Andrew Hatt

[email protected]

London College of Music Examinations is aninternational examining board, offeringgraded and diploma examinations in musicand in drama & communication.

LCM Exams caters for candidates of all levels:from introductory examinations, throughgraded exams (or innovative ‘Leisure Play’exams for candidates who wish to playpieces only), to four levels of diplomas inperformance and teaching. Qualifications areoffered in an exceptionally wide range ofsubjects encompassing classical, jazz, pop,rock and traditional music genres. Acomprehensive range of publications isavailable, including all-inclusive gradedhandbooks for selected instruments.

Examinations are held across a large networkof local public centres, and also at manyschools and colleges.

LCM Examinations are unique in the gradedexaminations world in being awarded by auniversity, while Ofqual accreditation assuresvalidity and a standard consistent with otherapproved boards. Grades 6-8 qualificationsin accredited subjects attract UCAS pointstowards university entrance.

John Howard Director of Examinations

Philip Aldred Chief Examiner in Music

Stephen Hazell Chief Examiner in Drama & Communication

Janet Lill Senior Examinations Officer

Andrew Hatt Qualifications & Marketing Officer

to be appointed Examinations Information Officer

Clare Harvey Publications Administrator

Jackie Honan Finance Administrator

Haley Chester Administrative Assistant

5 January Asia Pacific: Spring closing date

16 January Drama & Communication senior examiners' meeting, TVU

17 January (10am - 4pm) Diploma Seminar, Cliff School, Leeds Road, Wakefield

23 January Malta: Spring closing date (theory exams)

1 February UK/Eire: Spring closing date

20 February Music senior examiners' meeting, TVU

20 February Canada: Spring closing date (theory exams)

21 February Examiners' seminar, TVU

1 March Burnley centre: prize-giving concert

6 March Malta: Spring closing date (practical exams)

14 March Canada: Summer closing date (practical exams)

21 March - 25 April UK/Eire: Spring examination session

1 April (pm) Theory examinations [music only]

19 April Malta: Summer closing date (theory exams)

21 April Scotland/N Ireland/Eire: Summer closing date

27 April Asia Pacific: Summer closing date

1 May England/Wales: Summer closing date

15 May Canada: Summer closing date (theory exams)

23 May - 20 June Scotland/N Ireland/Eire: Summer examination session

13 June - 18 July England/Wales: Summer examination session

20 June (am) Theory examinations [music; drama & communication]

10 July Norwich centre: prize-giving concert

1 August VoiceNPAC competition final (sponsored by LCM Exams)

7 August Malta: Winter closing date (practical exams)

1 September Asia Pacific: Winter closing date

11 September Malta: Winter closing date (theory exams)

1 October UK/Eire: Winter closing date

2 October Sheffield centre: prize-giving concert

16 October Canada: Winter closing date (theory exams)

30 October Music senior examiners' meeting, TVU

14 November - 19 December UK/Eire: Winter examination session

21 November Keighley centre: prize-giving concert

28 November (am) Theory examinations [music; drama & communication]

3

Update

1. Examination report forms

Instead of our policy in recent years of sendingall exam reports back to the Ealing office, wewill be leaving all exam reports at the examcentre in a sealed envelope at the end of theexam session. We are asking centres not toissue any results or reports, until we have sentpermission after standardisation has takenplace. In most cases permission to publish theresults will be given within 2 to 3 days after theend of the session. In a very small number ofcases, as a result of standardisation issues, wewill contact the centre and ask that the resultsare not issued immediately.

I hope you will agree that this new process willspeed up the delivery of results to the majorityof candidates by a significant amount.

2. Online entry

We are currently working on a new online examentry and results entry system, and expect tohave the first phase of this ready forimplementation later in 09. This will enable, forinstance, a representative to enter candidateselectronically, and send the data to us, and itwill also enable examiners to send in results dataelectronically immediately after the exams ifthey wish. There will be an option for examinersto complete exam report forms electronically aswell and then to print them in the exam centre.

I am sure you will agree that thesedevelopments taken together will speed up ourservice and increase accuracy in the data.

At the recent successful annual seminar for our examiners, I talked aboutthe challenge of combining the best of a long tradition with being forwardlooking. London College of Music has a long and continuous tradition ofwhich we should be proud to be the heirs. Some of that past has continuedinto the present, and one feature I would mention is our reputation forbeing a friendly and approachable organisation with the ability to thinkflexibly. Nevertheless we cannot stay exactly the same, and the challenge oftoday is to make changes which enhance what we do. A number of policychanges and new developments are happening at the moment, and I think itis useful for all of us, whether we are teachers, candidates, representativesor examiners, to have these summarised, as follows:

3. Staffing in the LCM Ealing office

Cross-related to the above changes arealterations in the staffing at our Ealing office.Many of you will know that Carol Wallace leftthe post of Examinations Information Officerrecently. We thank her for all her hard work andher commitment during the last few years. Weare planning to replace her after a short periodof temporary staffing. In addition, we arehoping to fill the Administrative Assistant postshortly, which has been vacant and filled bytemporary staff for some years.

The outsourcing of both Asian and Registry ofGuitar Tutors data entry has already significantlyreduced the overload upon the ExaminationsInformation Officer, and that change, togetherwith the other appointment, will mean that wecan improve the level of service offered to all ofyou in the coming months.

Overall, I am optimistic that we will have asuccessful 2009, and will be able to offer aneven better service to everyone, whilstpreserving our reputation for being available andapproachable.

John HowardDirector of Examinations

4

Drum Kit

Drum KitAndrew Hatt introduces the new graded syllabus and handbooks.

We are pleased to announce the publication of the new drum kitrepertoire list and accompanying handbooks. The new repertoire list isvalid with immediate effect; the old list will remain valid forexamination use until 31 December 2009 for candidates partwaythrough exam preparation.

Compiled by well-respected performers and educators Jack Richardsand Aidan Geary, the principal aim has been to include as wide a rangeof pieces as possible, chosen not only for their technical demands butalso for their musical quality. Aspects of technique are developed in acarefully structured and cumulative way, and are integrated into thepieces, rudiments and supporting tests at each grade.

Three pieces are to be chosen, one from each list; asignificant innovation of the syllabus is that one of thesemust be accompanied. All handbooks come with a CD,featuring backing tracks for selected pieces; additionally,piano accompaniments are included for selected pieces.Candidates may use either the provided backing tracks orlive piano accompaniment in their examination. Anadditional requirement at Grades 7 and 8 is that one piece(a Time Sequence Study) must be performed to theaccompaniment of a click track.

The ability to accompany other musicians is one of theprincipal skills of the drummer, and it is hoped that thewide range of styles encompassed by Allan Gubbins’s andGavin Somerset’s backing tracks will appeal to candidates.Tracks are included both as complete performances (ie.drums and backing) and as backing tracks suitable forexam use.

Commenting on the selection of repertoire, Jack and Aidanwrite:

“The aim has been to choose a range of pieces foreach grade that should enable the candidate at thatlevel, with sufficient prior study, to achieve a reallymusical result.

Care has been taken to avoid pieces that, whilst‘technically’ playable at a certain grade of playing,present a level of difficulty such that the candidate isunlikely to be able to develop other (non-technical)aspects of the music. This in no sense implies thatthe standard of musical performance expected islower than previous, or other, syllabuses. Rather, itstresses that it is the overall quality of musical




LCM Publications


LL207

GRADE

1&2




LCM Publications


LL207

GRADE

1&2




LCM Publications


LL207

GRADE

1&2



Compiled by Jack Richards and Aidan Geary LCM Publications


LL207

GRADE

1&2

The syllabus is accompanied by four comprehensive examhandbooks, each covering two grades. The handbooksinclude everything required for the exam – rudiments,pieces, sample viva voce questions and answers, andspecimen sight reading and aural tests – in addition to CDbacking tracks and piano accompaniments.

The structure of the exams remains the same, butconsultation with a wide range of teachers has resulted invarious changes to the components, as outlined below:

Component 1 – Technical Work (Rudiments)

Requirements for this component have remained largely asin the previous repertoire list. However, at Grade 7,candidates will additionally be required to combine any tworudiments into a single pattern, in the order ABAB-fill. Thisconcept is developed at Grade 8 into a combination ofthree rudiments, in the order ABC-ABC-fill.

The aim has been to integrate rudiments into the pieces asthe grades progress, thus avoiding the notion of rudimentsbeing learnt ‘just for the sake of the examination’. Rather,they are intended to support the candidate’s performanceof the pieces set for the relevant grade.

All rudiments are written out in full in the examinationhandbooks, with sticking requirements and designatedtempi.

Component 2 – Performance

A request for pieces in a previous issue of Forte resulted ina large number of submissions, from which an extremelyvaried selection of pieces has been chosen, featuring thework of 14 composers.

5

Drum Kit

(rather than just technical) performance andinterpretation that is considered foremost. Thesyllabus is organised in such a way that technicaldemands are developed in a carefully structured,cumulative way.”

Teachers will notice that several of the most popular piecesfrom the current handbooks have been retained, alongsidethe new additions.

Component 3 – Viva Voce

Requirements for this section of the exam have been revisedin line with the changes recently introduced for otherinstruments. Thus, in addition to a complete understandingof all aspects of notation used in the pieces and the namesand functions of components of the drum kit, candidatesare also expected to be able to discuss their personalresponse to the music performed. This ranges from simplequestions such as “Which was your favourite piece out ofthe three you played today, and why?” at Grade 1, to self-critical awareness at higher grades, where candidates mightbe asked to indicate which aspects of their performancethey were happy or unhappy with, and why.

Requirements are cumulative through the grades, and arefully detailed in the repertoire list. Sample questions andanswers in the handbooks provide an indication of the typesof questions which may be asked.

Component 4 – Sight Reading

A new feature is the incorporation of improvisation into theSight Reading tests. This is introduced in a progressive way,ranging from short ad lib. sections at Grade 3, to moresubstantial improvised sections at Grade 8.

Details are provided in the repertoire list, and examples arefeatured in the handbooks.

Component 5 – Aural Tests

At Grades 1-5, the format of the Aural Tests in the previousrepertoire list has largely been retained, although the testrequiring the candidate to play intime to a repeated rhythmicchord sequence played by theexaminer has been replaced by arequirement to identify the styleof an extract played by theexaminer (eg. Rock, Latin, BossaNova, Reggae, etc). The range ofstyles increases as the gradesprogress.

At Grades 6-8, all questions are based on an instrumentaltrack played on CD. The candidate is given a chord chart,consisting of chord symbols and bars only, without anyother information about the music heard. Questions mightinclude the time signature, suggesting an appropriatetempo marking, identification of the style, identification ofmajor or minor tonality, instrumentation, dynamics, etc.The candidate will then be asked to identify differenceswhen an extract of the track is played again. Finally, thecandidate will be required to play along to the track in asuitable style, taking account of any fluctuations in tempo,dynamics, texture etc., and adding fills, etc. whereappropriate. Sample tracks are included on the handbookCDs.

LCM’s graded examinations in drum kit are fully accreditedin England by Ofqual (formerly QCA), and by thecorresponding authorities in Wales (DCELLS) and NorthernIreland (CCEA). Their inclusion on the NationalQualifications Framework (NQF) gives successful highergrade candidates the opportunity to receive additionalUCAS points towards university entrance.

Leisure Play exams are also offered, for candidates whowish to perform pieces only, without attempting theadditional components of the graded exams.

Copies of the syllabus are available from the LCM Examsoffice, or may be downloaded from the website.

Handbooks (including CDs) are available from music shops,or direct from our distributor, Music Exchange Ltd (tel:0161 946 9301; www.music-exchange.co.uk).

LCM also offers graded exams in tuned percussion, snaredrum, timpani and combined percussion, plus a flexibleensemble syllabus, and diplomas in performing andteaching. Please contact us, or visit the website, forrelevant syllabuses and repertoire lists.

Andrew HattQualifications & Marketing Officer

Publications for new syllabus:

LL207 Drum Kit Handbook 2009: Grades 1 & 2 £10.50




6

Drama & Communication

Where We Are HeadingIf we look back over recent years, we can conclude, I hope, that LCMExaminations is a substantially more stable business than the economygenerally. Some might think I should be cautious about such assertions;those close to me disapprove if I describe anyone’s health as ‘much betternow’, in case the run of good fortune is broken by drawing attention to it.But I think we can look forward with some confidence, since our enterpriseis grounded in the passion and integrity of all involved (and ‘all’ very muchincludes candidates, teachers and representatives).

Of course, the hopes, ambitions and expectations of those who sign up forour exams are always in some process of change, and there’s anotherimportant group – those who might sign up if they knew more of what we

offer, or would be more attracted if we offered something different. So here I want to look forward at a few of thethings that have a bearing on our work in one way or another.

Globalisation

The list of LCM Public ExaminationCentres for Drama andCommunication is divided roughly50:50 between the UK and Irelandon the one hand and the rest of theworld on the other. It’s the secondgroup that is showing somegrowth, and as yet mostly in Asia.There are well-established areas ofstrength (such as Sri Lanka) andareas that look ready to growsignificantly (such as Malaysia) aswell as countries where very littleis happening yet, contrary to whatone might expect (e.g. India).Meanwhile, there are the first signsof possibilities in Europe (Hungary,Greece). So the question for us is:where do we focus above all?

Quite apart from the businessangle, taking a more global viewhas some interesting implicationsfor our work overall. There is animportant cultural question: howfar can we develop our syllabusesso as to allow candidates to havethe option to present somematerial with which they closelyconnect? I think this primarily

means inviting pieces that aremodern and/or locally generated,alongside rightly asking them tostretch into the rich classictradition. This consideration appliesto the UK and Ireland just as muchas anywhere else. I believe we canmove in that direction. It’s anexample of how the global makesus more committed to the localoften.

Performance as communication,communication as performance

The other implication covers thebalance between the awards thatwe offer. In the UK the dominantaward entered for is Speech andDrama, followed by Acting; inIndonesia it’s Oral Communicationahead of Speech and Drama. It’seasy to see the reasons for this,but there is a point that bothdrama and communication sidescan consider in practice, inpreparing their students. Acting isa form of direct communication toan audience as well as the art offinding the life of a speech, andpublic communication is as much amatter of performing well in role as

it is of articulating clearly. I say‘consider in practice’ because thosepresenting dramatic worksometimes have little concernabout how they communicate withthe examiner, and those presentingfor oral communication focus onlyon their interactive voice workwithout enough concern for thefull colour and feel of the materialthey are getting across.

The main questions here are: howfar should we develop theCommunication side of ourportfolio, and should any revisedofferings particularly link in to ouracknowledged strengths in practicaldrama, to make our offeringdistinctive?

Adaptation in the UK andIreland

Here the picture is, broadly-speaking, steady state. There is along tradition of fine work bycandidates in well-establishedperformative areas, and that shouldcontinue. Yet there are manyteachers and examiners who feelthat there are changes in what

7


1. Which city has two households,both alike in dignity? How manypeople die as a result?

2. Which ‘windy city’ has its namecelebrated in the title of amusical? Where does the windcome from?

3. In which country, according to amusical, does the rain fallmainly on the plain? Would youtrust the musical as a source ofweather forecasts?

4. In which city is Steven Berkoff’sEast set, and in which countryAyub Khan Din’s East is East?

5. This country is now thehappiest in the world accordingto opinion polls, but once therewas ‘something rotten’ in thatstate. Which country? And whowas its leader when it was sodescribed?

6. The writer of Teechers was alsofor some time artistic directorof the ______ Truck TheatreCompany. What is the missingword? What’s his name?

Theatre Quiz: Cities and Countriesby Stephen Hazell

See below for point scoring system. Answers are on page 9.

In ascending order of difficulty (roughly speaking):

Scoring: For each question answered correctly: 5 pointsFor completing in less than 10 minutes: 10 pointsFor completing in more than 10 minutes: 5 pointsFor not using the internet at all: 40 pointsFor looking at the answers first: -40 points

7. Vaclav Havel was the leadingplaywright of his country andthen became its electedpresident. Which country wasthat? Should Tom Stoppard orMark Ravenhill stand for primeminister here?

8. Playgoers were once promisedby a man named Philo that theywould see the triple pillar of theworld transformed into astrumpet’s fool. In what citywould this happen? Can youspell the name of the figure in ahuge statue near the city?

9. In which country did the theatreart wayang kulit originate? Doyou like Javanese coffee?

10. The university theatre companyis called Bedlam Theatre inwhich city? What town does thename ‘Bedlam’ originate from,and why?

potential new candidates wouldmost want (and legitimately want).The crucial group here is probablythe teenage group. The strikingsuccess of the Music Theatreaward is a powerful hint in itself.How should we respond?

The ‘cultural’ question rises again –the modern and the connected-with – and the examiners will workon a different syllabus in Acting, inparticular, as a first move: not atthe expense of the existingsyllabus, but as an addition to it.The other question, which must beaddressed fairly soon in any case,and for the benefit of centreseverywhere, is to revise the 2006-09 syllabus.

Can you make us (even) moreattractive?

The above is a broad brush accountof some of what lies ahead. Iftutors and representatives feel thatthey have some telling experienceor practical suggestions tocontribute, I’d be interested to hearfrom you. I do have an obviouspoint to make here – that writing into me will definitely make yourvoice heard, and that what actuallyhappens will follow from theoverall character of the discussion,necessarily.

You might also like to read theseparate item in this issue aboutjust a few points in the presentsyllabus that are being modified.

The network

This, if anything, is the greateststrength we have for the growth ofLCM Exams in Drama andCommunication. There is simplynothing as compelling as directcontact between people to make

things happen; the effects are farbeyond those of flyers andworkshops and advertisements,though all methods should be used.If we can carry any new ideas withus whenever we visit schools ormeetings, then in due course new

students will arrive with us. Wecan’t rival the rate of expansion ofFacebook, of course – the morecertain ambition is to out-last it!

Stephen HazellChief Examiner in Drama &Communication

8

Music Syllabuses

The syllabus follows the standard LCM Examsgraded exam format.

The Technical Work component requirescandidates to perform paltas, alankars andspaat taans from memory; these are carefullychosen to complement the performancerepertoire selected for the grade.

The Performance component contains rágsand other compositions utilised in Sikh music,all of which can be easily adapted for singersand instrumentalists. As the grades progressthere is a shift from set compositions tomore freedom, where the musician can shapethe pieces to their individual style. There is anelement of improvisation inthe higher grades – a vitalaspect of this genre – butthe prime focus of thesyllabus is gaining thetechnical skills which enablestudents to develop fluencyand confidence, and anunderstanding of thestructure and compositionof rág in Indian / Sikh music.

Indian / Sikh MusicWe are pleased to announce that graded exams in Indian / Sikh Music are now offered. Thesyllabus has been compiled by the Raj Academy of Asian Music, the world’s largest school forSikh and traditional Indian music, and covers plucked strings (rabab, sitar and sarod), bowedstrings (taus, dilruba, saranda and sarangi) and voice. Expansion of the syllabus into otherinstrumental areas is anticipated.

The mission of the Raj Academy is to revive and teach thesacred art and science of singing and playing Sikh rág musicon the original string instruments – a discipline known as‘Gurmat Sangeet’ and ‘Nád Yoga’. In addition to the newgraded exams and the online school, the Raj Academyundertakes a busy schedule of workshops around the world,and offers BMus, MMus and PhD qualifications incollaboration with Thames Valley University.

Sight Reading and Aural tests have beencompiled specially for the syllabus.

Resource packs have been produced by the RajAcademy to aid preparation for the exams.The Raj Academy’s Online School also offersinteractive courses leading to LCM’s gradedexams, comprising video and audiodownloads.

Please contact LCM Examinations or the RajAcademy (www.rajacademy.com) for furtherdetails.


Theory Closing DateIn the first batch of 2009 theory entry forms, the Summerclosing date for Scotland, Northern Ireland and theRepublic of Ireland was listed as 21 May. This should be 21April, as for practical exams. Apologies for the error.

Burt & Company22 Concord RoadMarltonNJ 08053USA

T: 856 983 6004F: 856 983 6157W: www.burtnco.com

LCM Publications: New StockistsA number of music retailers have been appointed OfficialStockists of LCM Publications, and carry the full range ofbooks. Please see our website for full details; the followingtwo dealers are recent additions to the list:

Long & McQuade368 Terminal AvenueVancouverBCV6A 3W9Canada

T: 604 734 4886F: 604 736 4321E: [email protected]: www.long-mcquade.com

Classical SingingThe paragraph on page 3 of the 2009 syllabus aboutmemory requirements has been updated in the recentreprint as follows:

“In the Technical Work component, candidates may singVaccai exercises with the score. All items in the Performancecomponent must be sung from memory, with the exceptionof items from Oratorios or related works where candidatesmay sing with the score, in accordance with standardperformance practice.”

9


Here’s an example. The 2006-09syllabus for Acting grades 3 and 4states that Performance piece (b) willbe ‘an improvisation’. This isbeautifully brief, and so general thatthere have been the occasionalrequests for interpretation. In thesame slot, grade 2 asks for ‘anoccupational mime’ and grade 5 asksfor ‘an improvisation on a subjectgiven by the examiner...’ So 3 and 4represent a transitional mode, asupported or prepared improvisation.This is a paradoxical concept. Yet theaim of giving some measure ofsecurity to the students as they worktowards the phase of full ‘Whose lineis it anyway?’ performance is a goodaim. How can this be brieflyexpressed? An addition has been madeto the second edition of the syllabusso that the requirement reads: ‘animprovisation (as worked on inadvance with the teacher, on a freechoice of topic)’. So moreinformation is given – and it maysuggest further issues forinterpretation? Nonetheless, I thinkenough is on paper now.

A small but significant addition hasbeen made also to the Project optionat ALCM and LLCM levels. Therequirement is that ‘The candidate willproduce a project... on any aspect ofthe subject which he/she finds ofspecial interest’. This is very open, so

The Small PrintStephen reflects on the interpretation of syllabuses.

There’s a Tom Waits song, one of my favourites, called “Step Right Up”. The lyrics area collage of all the phrases that salesmen use – Waits has found dozens of them – plussome take-offs of these phrases. One such is: ‘The large print giveth and the smallprint taketh away’. What I admire about the current Drama and Communicationsyllabus is the way it states requirements: these are briefly put, and general enough incharacter to allow diverse students to approach them in different ways. That’s goodand naturally what follows from this is that the general statements sometimes needinterpretation. And the point of the Tom Waits reference is to claim that we are notlike those salesmen in any way! The small print of our interpretation giveth you more.

as to give advanced candidates theopportunity to follow up a personalpassion for the subject area they’reworking in (Performance, Reading,Teaching, etc) in a creative and alsoordered way. So the advice I wouldgive to candidates is that theyinterpret the phrases ‘produce aproject’ and ‘of special interest’ in themost constructive way they can.Think of the audience (the readers)and how you can catch their interestas well as tell them things; how youcan raise questions and debateswithin the subject as well as state thestandard views; and how you canshow what it is that has given youyour passion for the topic. I havefound a natural tendency with somecandidates to treat the project like aschool task – assemble some relevant

information, reproduce it with theaddition of occasional personalcomment, and decorate with somedownloaded graphics. This approachis not necessarily wrong and canshow good qualities, but the approachis limiting as to level of achievement.The advice just given constitutesfurther small print! The addition tothe syllabus reads simply: ‘Bothdescriptive quality and critical thinkingwill be rewarded’.

I’ll look out some more small print forthe next edition of this magazine.Step right up.

Stephen HazellChief Examiner in Drama &Communication

Answers to the Cities and Countries quiz:

1. Verona. Any number 3 or above will do.2. Chicago. Probably across Lake Michigan from the north.3. Spain. No.4. London. England.5. Denmark. Claudius.6. Hull. John Godber.7. Czechoslovakia (later the Czech Republic, separated from Slovakia). No.8. Alexandria. The Sphinx.9. Indonesia. Either Yes or Don’t Know.10. Edinburgh. Short for Bethlehem, as in the 16c Bethlehem Hospital in

London where madmen were treated (or incarcerated), plus thepresumption that theatre people consider themselves to be at leastpartly mad, by conventional norms.

10

Feature: Dyslexia

Teaching Dyslexic Pupils

The first dyslexic student I ever taughtwas diagnosed at a young age. Hisparents brought him to me for theorylessons in his early teens with awealth of information on whatdyslexia was and how it affected him.As a teacher I was very lucky to begiven information because, the onlything I knew about dyslexia was that itcaused spelling difficulties. Afterspending time with this student Inoticed other students – who had notbeen diagnosed as dyslexic –displaying some of the same traits.Over the next couple of years, someof these students were also diagnosedwith dyslexia.

So what is dyslexia and what relevancedoes it have to music learning? TheBritish Dyslexia Association (BDA)defines dyslexia as “a specific learningdifficulty which mainly affects thedevelopment of literacy and languagerelated skills. It is likely to be lifelongin its effects. It is characterised bydifficulties in phonological processing,rapid naming, working memory,processing speed, and the automaticdevelopment of skills that may notmatch up to an individual’s othercognitive abilities. It tends to beresistant to conventional teachingmethods but its effects can bemitigated by appropriately specificintervention, including the applicationof information technology andsupportive counselling”. People oftenask, “Does dyslexia affect reading and

learning music?” The answer is almostinvariably yes, since the skills requiredto do it are things a dyslexic studentfinds difficult. For a dyslexic student,music can be like a code. As a teacher,you can facilitate that code-breakingprocess by teaching in a way thathelps to make learning and readingmusic possible. The importantquestion is: how do you do this?

Multi-sensory teaching

For me, multi-sensory teaching is thegreatest tool for helping both dyslexicstudents and non-dyslexic students.Strategies that help dyslexic studentscan benefit all who may find learningor reading music difficult. Multi-sensory teaching is just as it sounds:teaching by using a number ofdifferent senses in order to learn. Myown daughter has learnt to readwords by a multi-sensory method. Shehas been shown pictures of the letters(visual), listened to how the lettersare pronounced (auditory), and drawnthe letters in a tray of sand(kinaesthetic). We all have preferredways of learning and as teachers wemust be very careful not to teach inthe way we personally learn. “If theydon’t learn the way you teach, can you

teach the way they learn?” is wiseadvice. The dyslexic student greatlybenefits from multi-sensory teachingbecause learning is reinforced. SheilaOglethorpe in Instrumental Music forDyslexics: A Teaching Handbook(Whurr, 1996) states: “The foremostadvice that is given to teachers ofdyslexics in the classroom is to teachin a multi-sensory way. They areexhorted to employ as many of thechild’s senses as possible in the hopethat the stronger senses willcompensate for the weaker ones and apathway into the brain and thememory will be found.” I try to focuson three questions with a student:What do you see? What do you feel?What do you hear?

It may be simple to read about whatmulti-sensory teaching (MST) is, butit can be difficult to think of ways toteach principles in this way. A usefultool currently available for teachingnote-reading using MST principles isLet’s Read Music by Christine Brown(Music Exchange, 2001) (seeillustration). I have also foundDalcroze (Eurhythmics: Art andEducation, 1930) and Froseth’smethods (GIA Publications, Inc.)helpful.

by Karen Marshall

Karen Marshall is a private music teacher in York teaching students of all agesand levels. She has worked with dyslexic students in school and privately and isa member of the British Dyslexia Association’s Music Committee. In this article,Karen talks about her experiences teaching dyslexic students, giving practicalteaching tips on how to overcome the problems they may encounter.

“I have found the London College of Music Leisure Play examinations anexcellent resource for my students, especially dyslexic students. They providethe opportunity to play repertoire at a graded standard without having to dothe other elements of the examination such as scales, aural, viva voce andsight reading.

One dyslexic student managed to achieve a distinction for the very first timebecause her mark was not affected by her struggles with sight reading. Shewas thrilled.”

Karen Marshall

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Feature: Dyslexia

Here are a few suggestions on how toteach the scale of C major on a pianousing MST techniques. I always try tocombine the auditory and kinaestheticsenses. It sometimes helps if pupilshear themselves say aloud what theyneed to learn, re-enforcing this byfeeling their fingers where possible.

These exercises can be adapted forinstruments other than the piano. Ifyou are teaching the flute, let thestudent see, hear and feel thefingering on the pads; if the trumpet,the position on the valves; the violin,the fingering on the strings.

Auditory

• Sing to ‘la’ the C major scale withthe student, making it more fun byproviding a chordal accompaniment(if possible). You could sing it fastthen slowly, louder then softer.

• Sing the ascending scale again forthe student to listen to, using theletter names C D E F G A B C, andthen sing them descending whilethe student follows the progresson the keyboard.

• Sing the scale again to the studentbut this time using the fingernumbers 123 12345 etc. as yousing up and down.

• Play the intervals of a major 2ndand a semitone. Help the studentaurally identify these intervalswithin the scale.

Visual

• Provide the student with a pictureof the keyboard with the fingernumbers of the scale on it. ScaleShapes for Piano by FrederickStocken (Chester Music, 2003)gives illustrations of many pianoscales using this method. N.B.Some students do not think interms of finger numbers: if this isthe case, try another way.

• Show the student the scalewritten out as notes on thestave.

• Get the student to look at thekeyboard and see the shape ofthe scale in relation to the whiteand black notes.

• Can you help the student comeup with any picture that helpsthem remember that this is ascale where all the notes arenatural (white on a piano)? Ihave a student who alwaysremembers the D major scale asthe one with Fish and Chips in –the Fish representing F sharpand Chips reminding them ofthe C sharp.

Kinaesthetic

• To help dyslexic students identifyfinger numbers I use the crab-walking exercise devised by SheilaOglethorpe (see below). Thisidentification is essential beforeany scale can be learnt.

• Invite the student to use the righthand and depress the first threenotes of the scale (notes CDE)together on the keyboard, then

place the thumb on F and depressthe next four notes with fingers1234 (notes FGAB) – ascending upthe keyboard.

• Get the student to close their eyesand feel the fingering of the scale.

• Ask the student using their righthand to put finger 3 on the E andthen tuck their thumb under ontothe F.

Above: ‘Crab walking using the whole keyboard’; figure 5.11 from Instrumental Music forDyslexics: A Teaching Handbook by Sheila Oglethorpe (Wiley-Blackwell, 2002).Reproduced with permission.

Pictured right: a pupil usingChristine Brown’s ‘Let’s ReadMusic’

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Feature: Dyslexia

Other helpful techniques,materials and methods whenteaching dyslexic students

Pattern

I once had a dyslexic student whocould only remember telephonenumbers by the pattern that appearedon the keypad, being unable tomemorise the numbers themselves. Inoticed pattern as being important tomany of my dyslexic students. Theywouldn’t necessarily read individualnotes, but rather shapes as theyappeared on the music. Pointing outpattern – both melodic and rhythmic –can help to decipher the music; itsimplifies things. Ask questions suchas: Can you see any rhythms in themusic that keep appearing? Shall weclap them? Are there any scales,arpeggio or broken chord patterns inthe music? I often invite students tosilently choreograph the notes on thekeys, feeling the pattern under thefingers as they do so. Sometimes in apiece of music there are only a fewbars to learn as many bars arerepeated. Don’t presume that thestudent has noticed these: point themout.

Colour

I specifically mention colour as a toolas it has been widely used withdyslexic students by musiceducationalists. I use colour in myteaching in the following ways. I havethree different colour highlighter pens– one colour which I use to highlightsharps, another for flats and finallyone for naturals. I also colour-coderepeated bars in music for easyrecognition. Dynamics again can behelpfully identified in this way. Notereading can also be taught usingcolour. The colour staff system ofnotation devised by Margaret Hubickirelates each note to the colour of therainbow in a cyclical way. Teachers canread about this useful tool forteaching note reading in Music andDyslexia: Opening New Doors edited by

• Sensitively encourage students tosay things out loud that they needto learn. This is a good way tocheck their understanding.

• Produce well-structured lessons. Ithelps to use a regular format sothat the student knows in whatorder you do things.

• Watch the body language to see if“Yes I understand” really means “NoI don’t but I don’t want to say”.Test the understanding withoutchallenging the student and thenteach the concept in another way.

• Always OVER-TEACH information.Poor short-term memory is aparticular weakness for dyslexicstudents. Use mnemonics if theyhelp.

• Beware of sequencing problems.Many dyslexic students can find itdifficult to sequence note namesbackwards.

• Build the student’s self-esteem:focus on strengths.

• Do not speak too much or too fast,and try to use short sentences.

• If the dyslexic student complainsabout the notes dancing, produceenlarged or simplified copies of themusic, try covering the music withcoloured acetate, or copy the musiconto coloured paper.

• Set realistic goals and ensure allresults are rewarded.

• Help with personal organisation.Try highlighting things to bepractised by putting a smallbookmark in the music, with nomore than three things to practiselisted on it. Even better, usepictures.

• Work in partnership with theparent.

• Be flexible and persistent. Ifsomething isn’t successful, keep ontrying new things.

© Copyright 2009 Karen Marshall

Tim Miles and John Westcombe(Whurr, 2001). You may be able toadapt some of the principles for yourown students.

Recorded music and demonstration

One of the main focuses of the Suzukimethod (developed by Shinichi Suzukiin the 1960s) is to learn to play a pieceof music by listening to it, as babieslearn to speak by hearing their motherspeak. I remember a dyslexic friendexplaining how he began to fall behindin science when the teacher changed.He realised that the first teacher spokeevery word he wrote on the board: thesecond teacher merely wrote on theboard. It was this auditoryreinforcement that helped him tounderstand. We can do this so easilywith music by providing recordings ofthe music to be played and regularlydemonstrating phrases and passages inthe lesson. Whilst listening to themusic, use a finger to follow the line(shape) of the music on the page.

Some final thoughts

No two students are ever the same,and in particular no two dyslexicstudents. All students, both dyslexicand non-dyslexic, have strengths. Asteachers we need to seek out thesestrengths and use this information toaid learning. Working with dyslexicstudents is a wonderful opportunity todevelop creativity in your teachingwhile also gaining a greaterunderstanding of how all yourstudents learn. It is a great privilege towork with dyslexic students.

Here are some more general hints andtips for teaching dyslexic students:

• Teach in a multi-sensory way anduse colour, pattern and musicrecordings to aid your teaching ifhelpful to the student.

• Be aware that dyslexic studentsmay confuse left and right. Avoidusing these terms: find other ways.

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Email: [email protected]

Carol WallaceI first met Glynne Evans at TrinityCollege Dublin in 1966, and havehad the pleasure of working withhim for many years.

Glynne first joined LCM as anexaminer in 1966 and served untilhis retirement in 2009, and for ashort time also worked for ABRSM.

He was a Senior Lecturer atAberystwyth University from 1970to 2008, and continues to work forthem on a part-time basis. Glynnewas Chief Examiner for the WelshJoint Education Committee forO levels in 1958, and then for bothO and A levels from 1961 to 2000.

He was treasurer for the RoyalLifeboat Institution and the Guild

Glynne Evansfor Welsh Music, and for the latterreceived a commemorative plaquein 2008. In addition, Glynne foundtime to be Treasurer, and on anumber of occasions to be Warden,at the church in Borth. A busy lifeindeed!

We will miss him greatly at LCM,and he was always a welcomeexaminer at the centres he visited.

We wish Glynne and his wife everyhappiness in their retirement inBorth, and for my part I thank himfor his friendship over the years.Well done, Glynne – we will bepleased if you keep in touch.

Barry DraycottSenior Examiner

As many of you will already know, Carol Wallace,Examinations Information Officer, left LCME inDecember, after working here for 6 years. Carolcontributed greatly to the running of the office;being responsible for the inputting of entriesand results, producing attendance notices,result sheets and certificates. Carol also spent alot of time maintaining our exams database,GEMS, and worked hard to correct anyproblems that arose.

She was always to willing to help anybody, and,on a personal level, she was a great support tome and our working relationship couldn’t havebeen better. Carol’s dedication and good humourwill be missed not only by everybody here in theoffice, but by examiners, representatives andteachers alike. We wish Carol every happiness inher new job.

Janet LillSenior Examinations Officer

News

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Tips for Exam Success

Scales

Most of us start with scales as theyare a good way of warming up andallow us to adjust to a differentinstrument where necessary. However,it is surprising how many candidatesfall at this first hurdle by assumingthat they need to be performed at thespeed of light! Many candidatessuccumb to nerves while attemptingthis and the result of a bad start herecan leave you feeling unsure for therest of the examination. We give youmetronome markings as a guideline sochoose a tempo that will allow you tofeel assured and perform your scaleswith an even rhythm and tone quality.Also make sure you are aware of therequirements for your particulargrade. It is surprising, for example,how many pianists are unprepared toplay hands separately or forte/pianowhen directed to do so. Remember,scales should sound pleasant too.

Pieces

Undoubtedly this is considered bymany to be the most importantelement of the exam. It carries thelargest proportion of the marks and,of course, you are being examined onhow well you play your instrument.LCM goes to extreme lengths toprovide you with vast andcomprehensive repertoire lists so takethe time to select a varied programmeand one that you enjoy. By doing thisyou will be happy to devote the timenecessary to learning the pieces

thoroughly. Again, don’t make themistake of thinking that ‘loud andfast’ will get you a good mark. Yourtempo needs to be one that willenable you to feel technically securebut also allow the piece to take flight.Furthermore, examiners will belistening to see that you have takennotice of the composer’s performanceinstructions. It is varied articulation,gradations of tone, subtleties oftempo, sense of phrasing and theinclusion of dynamic awareness thatwill make the pieces fun to play andenjoyable to listen to.

Sight reading

Here you have a short time to preparean unseen passage of music. The ideais to give an immediate impression ofthe piece so don’t play it Largo if it ismarked Allegro and try to keep itmoving. Do not become tooconcerned about the odd wrong note;they are less important thanremembering the key signature andprojecting a sense of style andmomentum. Aim to give the examineran idea of what the piece is about.

Viva voce

Read the relevant section of thesyllabus and know what is expected ofyou at your particular grade. If it says“basic biographical information aboutthe composers of the music performed”then the examiner is going to expectthat you know something about thecomposer, so don’t ignore it. Also

Continuing our series, Ray Bidwell offers some personaltips on preparing for exams.

Taking a graded music exam is a considerable milestone forany musician. It requires a great deal of commitment,demands a considerable amount of hard work and can besomewhat stressful. However, the anxiety can be reducedsignificantly – and even turned into a positive dose ofadrenaline – if careful thought is given and preparations aremade. Remember that each component of the exam isimportant. A low mark for a sight reading test could be thedifference between a distinction and a merit, or a merit and apass, so it is a good idea to identify your weaker areas and towork particularly hard at these.

make sure you that understand all ofthe notation and the symbols on themusic that you are playing. If they arethere, there is a good chance that theexaminer might ask you about them.Again, I am often surprised thatcandidates cannot tell me the key ofthe piece even though the titleMazurka in G Minor is clearlydisplayed at the top of the page.

Aural tests

For most of the exams we ask you toconduct time and this needs to bedone with a clear pattern and astrong down beat on the first beat ofthe bar. Intervals often proveproblematic but it can help if youthink of some well-known songs ormelodies that open with the intervalsyou are dealing with. For example, MyBonny Lies over the Ocean begins witha major 6th, and the Star Wars themeopens with a perfect 5th. Try to thinkof songs or pieces of music that arerelevant to you. Above all, rememberif you find aural tests difficult spenda lot of time on them. A couple ofextra marks here could just raise yourresult up to the next level.

And finally.....

Matthew Arnold (English poet) wrote“The first duty of the critic is to bepleased.” Remember that theexaminer is not trying to trip you upand is looking forward to hearing youat your best. Enjoy your performance!

Exam Tips (1): Graded Music Exams

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Tips for Exam Success

1. Syllabus and information bookletThese are available free of charge from the LCM Examsoffice, or may be downloaded from the website.

2. Graded handbooksEach handbook covers all topics required for the relevantgrade, exercises and practice examples, and two specimenexam papers. It is highly recommended that candidatesuse the handbooks as part of their exam preparation.LCM publications are available through music shops ordirect from our distributor, Music Exchange Ltd.

B. Be aware of – and avoid – the most common mistakes

Among the most common errors at lower levels (Preliminary to Grade 5) are:

1. Preliminary Question 4: writing a minim rest where a semibreve one is required, and vice versa.

2. Preliminary Question 9: crossing out more than one note.

3. Grades 1-2 Writing 4-part chords as triads.

4. Grades 1-2 Writing 4-part chords with a 7th at the top rather than the tonic.

5. Grades 1-2 Writing letter names using signs (eg. F#), rather than in full (eg. F sharp).

6. Grades 1-5 Incorrect vertical positioning of clefs on the stave. Ensure that the centre of the treble clef curlsround the G line, and that the dots of the bass clef are placed above and below the F line.

7. Grades 1-5 Final question: incorrect spelling of Italian terms. Leniency is given at lower grades, but marks arededucted at higher grades for incorrect spelling.

8. Grades 1-5 Final question: confusion between speed and dynamic markings (eg. writing accelerando forcrescendo, or writing diminuendo for rallentando).

9. Grades 1-5 When adding rests to a passage, the beats of the bar are often not clearly shown.

10. Grades 1-5 Time signatures: writing 4/4 for 2/2, or vice versa. Clues are provided by note values and/or bytempo indications.

11. Grades 1-5 Incomplete time signature descriptions. A full answer needs to include (i) how many beats per bar,ii) what type of beats, and (iii) how the beats are divided (if appropriate).

12. Grade 2 Question 3: forgetting to check the key signature when giving pitch names.

13. Grade 2 Question 7(b), marking the triad: this is often not spotted if the notes of the triad do not appearin ascending order (eg. G major triad included in the melody as B-G-D).

14. Grades 2-3 Semitone slurring is sometimes incorrect in descending scales. These need to be counted up fromthe bottom of the scale, rather than counted down from the top note.

15. Grades 2-3 Last question, copying out bars in notes of half/double the value: errors in time signature (NB thenumber of beats in the bar needs to stay the same); time values of rests sometimes not changed.

16. Grades 2-5 In descending pentatonic scales the wrong pitches are sometimes omitted; this is again usuallycaused by counting down from the top note, rather than counting up from the bottom note.

17. Grades 3-5 Confusion between 3/4 and 6/8 time signatures. This is usually a result of not recognising thegrouping of quavers in twos or threes.

18. Grades 4-5 Writing out ornaments: often errors are made in note grouping/beaming.

19. Grade 5 Cadences: errors include omission of the key signature, and inclusion of parallel 5ths and 8ves.

20. Grade 5 Transposition question: transposing up instead of down is the most common error here.

3. Past papersThese are available for the last sixsessions; please contact the LCMExams office or download the orderform from the website.

4. Worked papersThese are available for all grades; inaddition to specimen answers, adetailed markscheme is included,showing how marks are awarded foreach question.

Exam Tips (2): Theory of Music Exams


A. Make full use of the available resources

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LCM Exams Overseas

Vancouver, CanadaFebruary, and it was exam time forstudents of London College of Musicin Vancouver, Canada. Students andteachers were busy making lastminute preparations and adjustmentsto their work to put their bestperformance forward for theexaminer. The time was here. No morefingernails to bite. The examinationswere conducted by Philip Aldred,Chief Examiner in Music. Thecandidates were absolutely thrilledwith the way Mr Aldred approachedthe exams. All were at ease. They feltit was an uplifting experience and inhis critique he had given them somenew direction and goals to achieve.Everyone agreed it was a caringexperience and one which put a smileon everybody’s face. In fact, it hasbeen requested that Mr Aldred returnto examine as soon as possible, sothat the candidates might show howthey have progressed and how theyhave worked with his suggestions andideas. An instant fan club hasresulted.

In what spare time Mr Aldred had,local teacher Joseph Bayer took himon a whirlwind tour of Vancouver’sworld-famous Stanley Park. Thisafforded him many opportunities tocapture pictures of the city, thecoastal mountains of BritishColumbia, the Pacific Ocean, as wellsome of the amazing totem polescarved by the people of the IndianFirst Nations. Unfortunately therewas not time to visit the 2010 WinterOlympic venues but when he returnswe hope his stay will be much longerand all of this can be accomplished.

Thank you Philip Aldred for a mostmemorable occasion.

Joseph Bayer

Thailand

Above left: Despite the disruption to travel in the summer, all examinations wentahead as planned and this intrepid group of LCM candidates made an eight hourround trip in order to take theirs!

Above right: Patchara Music Academy Sriracha School, a new purpose-built musicacademy near Pattaya, has chosen LCM Exams. Pictured (left to right) are VisanuPutivanit (owner), Dr John Beilby (LCM examiner), Siriwan Karnasuta (LCMBangkok representative), Puantong Putivanit (owner)

Two new sub-centres:

Above left: Nakornsawan (central Thailand) – left to right: Korawan Rujilan(owner), Channarong Rujilan (owner and teacher), Dr John Beilby

Above right: Siengsarnfun Music Studio (Bangkok) – left to right: SiriwanKarnasuta, Dr John Beilby, Saowalak Maitrechitt (teacher)

Regional Representative, AsiaNew contact details are as follows:

LCM Exams Regional OfficeUKEduNet Sdn BhdB-3A-2 Megan Avenue 1189 Jalan Tun Razak50400 Kuala LumpurMalaysia

T: +60-(0)3-2780 7288F: +60-(0)3-2780 7299E: [email protected]

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LCM Exams Overseas

I was also pleased to visit Melaka wherethe MMRM Academy of ContemporaryMusic was holding its very first session ofexaminations.

The morning was spent examining piano,pop vocals, electric guitar and drum kitstudents. In the afternoon workshop weexplored some of the topics related to thesubject of preparing for LCM exams. It istrue to say that the event was slightlyhampered by a badly behaved laptop. To erris human, but to really mess things uprequires a computer!

Hong KongMy first visit to Hong Kong in December 2008 did notdisappoint; immediately I was struck by the vitalityand energy of the place and its people.

Philip Pau, the representative, was so efficient andwell organised that my examining work ran smoothly,to time, with friendly teaching staff and assistants anadded bonus. I will not forget the good standard ofwork in the, mostly Early Learning and Step exams,although I believe there will be higher grades takenbefore long in oral communication. For many of thecandidates it was hard to believe that English wastheir second language.

The generosity and hospitality of Philip and his staffwas much appreciated. Even though it was a busyschedule they made time for delicious Chinese foodand photographs from The Peak.

Jayne LindgrenSenior Examiner, Drama & Communication

MalaysiaExamining diploma candidates is always aprivilege and my experiences at KualaLumpur over several sessions have provedMalaysia to be no exception. However,worthy of special mention is Toong CheeSheng, now aged 13 years. I rememberedhim from last year when I examined him for DipLCM, and was struck then by his technicalaccomplishment and mature interpretative understanding of the music – especially for oneso young. Needless to say, I was delighted to see that during the Winter Session 2008, hewas presented for his ALCM in piano performance which he passed. This young man isindeed a very promising musician.

Top picture: Staff and pupils, Melaka 1 centre

Bottom picture: Toong Chee Sheng (ALCMcandidate), Patricia Law (Kuala Lumpur 1representative), Ray Bidwell (LCM Examiner)

Many thanks to the Melaka representative,Vincent KL Lee, who worked so hard toensure that this first session ran sosuccessfully and who was so diligent inassisting with the preparations for theexaminations and for the workshop.

Ray BidwellLCM Examiner

Pictured above: Jayne Lindgren with studentsand staff of the Little Prince Learning Centre

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ISM Graded Exams Seminar

Graded Music Exams: Your Right To ChooseElaine Smith, an LCM Senior Examiner, reports on the ISM Seminar held at

the Octagon Chapel, Norwich, on 15 March.

On 15th March, the ISM held a very high profile event entitled “Your RightTo Choose: Seminars on Graded Music Examinations”. The hall was packedfull, as people remain interested in the different examination boards.

The three speakers were Keith Beniston (Chief Examiner for TrinityGuildhall), Philip Aldred (Chief Examiner for LCM) and Vanessa Latarche(Senior Examiner for ABRSM). Each speaker was given a 30-40 minute slotin which to ‘sell’ their board to the public, teachers, interested students andISM members that comprised the audience.

Keith began by giving aPowerPoint presentation onthe Trinity Guildhall exams.He showed the markingsystem, criteria and gaveeveryone an idea of the sizeof the new joint board,taking questions from thefloor.

Philip then followed with ahands-on talk on LCM Exams,also covering the size of theboard, its friendliness,accessibility and system – thevariety of subjects offeredand the way in which theexams are conducted.

There was then a break fortea and biscuits and Vanessacontinued to talk about theABRSM from an examiner’spoint of view, and everyonein the room was asked towatch a video and pretend tomark a mock exam. This wasgreat fun and she pointedout how difficult anexaminer’s job can be –indeed half of the room hadonly managed to write in onesentence (if that) – in thetime allowed, and many had

not managed a mark at all!She talked about the trainingof examiners and how theyhave to multi-task and beorganised, and this made a‘fun’ end to the afternoon.

We were told that all threeboards had not beenrepresented together on thesame platform since 1986,and this proved to be anextremely popular andinteresting event. What cameover, was that each board isof totally equal standing asfar as Ofqual is concerned –all boards are trying toachieve a high musicalstandard and to keep musicalive in this country, traintheir examiners in the sameway and the only differencesare in the subtly varied wayseach board goes about this.

Some teachers preferredboards that offered morevariety of instruments –which was undoubtedly LCMand Trinity Guildhall. Otherspreferred a board with a Vivasection. The outcome wasthat Ken Hytch, ISM

President Elect, exhortedteachers to look at eachboard and perhaps a differentboard for each student –because at the end of theday, each student hasdifferent needs.

Beverley Downes, NorwichCentre Chairman, ended bythanking all the speakers andsaying what a beneficialafternoon had been spent.

Speakers, left to right:

Keith Beniston (Chief Examiner, Trinity Guildhall)

Philip Aldred (Chief Examiner, LCM)

Beverley Downes (ISM Centre Chair, Norwich)

Vanessa Latarche (Senior Examiner, ABRSM)

Jane Dennison (Examiner, ABRSM)

19

Local Centre Events

There were 34 performers who hadtaken their practical examinations duringthe year. Medals were also presented tofive candidates who achieved 100% intheir Theory of Music examination. Theywere Rachel Senior, Katie Mathews,Sophie Morgan, Jessica Wood and EllaVerity. The performers also achieved veryhigh marks and gave us a mostentertaining evening.

To present the prizes this year on behalfof LCM, was our guest of honour MoiraGray, an examiner for LCM, who sokindly gave us her time.

All proceeds from the evening, at which£375.00 was raised, went to theSheffield Children’s Hospital. Thank youto everyone who came on the eveningand gave us their support.

The photographs show various prizewinners performing on the evening andthe trophy winners. The trophy winnerswere Thomas Burgess (Most PromisingMusician of the Year), Raytan Kaytan(the Bernard Farmer Memorial Trophy,

SheffieldOur annual prize-giving concert was held on 10th October 2008. The prize-winnersperformed in front of a full audience of over 250 people. The performances rangedfrom Steps through to diplomas, covering a wide range of subjects including MusicTheatre and Popular Music Vocals.

for achieving 99% in her Keyboardexamination), Jessica Meegan (the MusicTheatre Trophy, for achieving 98%), andMadeleine Cooksey (the AWC RobinsonMemorial Trophy for OutstandingMusical Performance), who gained theDipLCM performers diploma. Also in thephotographs are myself and Moira Gray.

Our next concert will be held on Friday2nd October 2009, which I feel sure willbe, once again, a wonderful musicalexperience.

Maureen BurgessSheffield Representative

KeighleyOur annual presentation concert was held on 15 November 2008 in StJohn’s Church, Clayton, Bradford. The large audience enjoyedperformances from pianists, recorder and keyboard players, andsinging items from the Music Theatre and Popular Music Vocalssyllabuses, ranging from beginners through to diploma standard. Ourguest of honour was LCM examiner, Moira Gray, who presented theprizes and certificates.

In the afternoon Mrs Gray judged the Godfrey Turner Competition,which was won by Rachel Marshall, pianist, who played one of herGrade 7 pieces, and Colette Howarth, who performed a song from thePopular Music Vocals syllabus.

Proceeds from the concert were donated to the church building fund.

Maureen O’HaraKeighley Representative

Wakefield / LeedsA new exam venue is now available in Leeds:

Gateways School, Harewood, Leeds, LS17 9LE

Please specify on your entry form whether youwish your candidates to be examined inWakefield or in Leeds, or if you have nopreference.

The Wakefield venue is to remain the same:

Cliff School, St John’s Lodge, 2 Leeds Road,Wakefield, W. Yorks, WF1 3JT

Anne RobinsonWakefield / Leeds Representative

Exam Centre Contacts

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BeijingDr. Zhang FanICMBXi Ba HeBei LiBlock #12-02Chao Yang DistrictBeijing100028PRC

T: 008612601149206E: [email protected]

EdinburghFiona Stewart110 High StreetPrestonpansEast LothianEH32 9AD

T: 01875 810320E: [email protected]

Hong Kong 3Ms Kitty Law & Dr Chu Ching HongHappy Sound MusicGround Floor, Shop 17, Yee On Court124A Argyle StreetKowloonHong Kong

T: 852-2760 0038F: 852-2760 0263E: [email protected]

ManadoMr Mark HoseaHarmonic Music SchoolJl. Piere Tendean (Boulevard)Komp. Mega MasRuko Mega Smart Blok I / 12Manado CityNorth SulawesiIndonesia

T: 62 431 8881080F: 62 431 870742E: [email protected]

Melaka 1Dr Vincent KL LeeA-1-6 Taman Pangsapuri MalimBalai Panjang75250 MelakaMalaysia

T: 016-370 5707E: [email protected]

New Public Centre RepresentativesJacksonSheila Mitchell-HartThe Birdsong Harp Center97 Music LaneHolladayTN 38341USA

T: 731 584 7068E: [email protected]

Kuala Lumpur 3Ms Shirley GohCadenza Music AcademyNo.51, Jalan 7/7CSeksyen 7Bandar Baru Bangi43650 SelangorMalaysia

T: 03 8926 8200E: [email protected]

MacauMs. Christina Shao & Ms. Kare MaHappy Sound MusicAvenida Drive Sun Yat Sen No.538Great China PlazaTaipaMacau

T: 853-2883 8592F: 853-2883 8592E: happysound_tinashao18yahoo.com.hkE: [email protected]

Thanks and best wishes toBill Blackwood (Edinburgh) andAtputha Devi (Kuala Lumpur 3)for their work on behalf of localteachers and LCM Examinationsover many years.

REQUEST FORM

Please send me the following:

Syllabus(es) [please list] .............................................................................Entry form [please specify exam type] ........................................................Publications catalogue [music or drama & communication]Public centre representatives’ detailsOther [please specify] ................................................................................

Name: .................................................................

Address: .................................................................

.................................................................

.................................................................

Please send form to:

LCM ExaminationsWalpole House18-22 Bond StreetLondon W5 5AA(fax: 020 8231 2433)

lcm exams - forte magazine 2009.1

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