piano syllabus, 2008 edition available in...

Music Matters: The Official Newsletter of RCM Examinations

RCM Examinations Chief Examiners: Thomas Green, Practical Subjects; Maria Case, Theoretical Subjects; Peteris Zarins, Training and Development

Academic Office: Elizabeth Day, Manager

Contract Editor: Ruth Pincoe

External Pedagogical Advisor: Virginia Taylor

Music Matters aims to provide up-to-date information on the RCM Examinations Certificate Program. Articles by senior members of the teaching community offer new perspectives and useful suggestions for managing a successful teaching studio and using the RCM curriculum. Music Matters is published six times each year – in September, November, January, March, May, and July.

Current and back issues of Music Matters may be downloaded from our website, free of charge.

RCM Examinations 5865 McLaughlin Road, Unit 4 Mississauga, ON, Canada L5R 1b8 Telephone 905.501.9553 Fax 905.501.0909 www.rcmexaminations.org

t h e o f f i c i a l n e w s l e t t e r o f r c m e x a m i n at i o n s j A n u A R y / f E b R u A R y 2 0 0 7

features

1 Piano Syllabus, 2008 Edition

1 Voice Examinations: Technical Requirements and Examiner Expectations

4 Piano Pedagogy Certificate Program

Plus3 The New Technical

Requirements

5 Examination Centres – New Centre Representatives

6 Practical Examination Day Checklist

6 2008 Examination Dates

7 Silver Medals Ceremonies

7 Teacher Services: Online Studio Registration

8 One-Hour Workshops During Examination Sessions

8 Podcasts Coming in 2008

PiAnO syllAbus, 2008 EditiOn AvAilAblE in MARChBased on teacher review and feedback on the current Syllabus, RCM Examinations has updated the content and layout resulting in a fresh new look.

Overall the Piano Syllabus, 2008 Edition is designed to provide a quick reference format for examination requirements in one, easy-to-read resource. continued on page 2

When preparing students for voice examina-tions, singing teachers often devote a signifi-cant proportion of lesson time to the study and perfection of technical requirements. This article reviews some important information on how technical requirements are tested during an examination, as well as examiner expectations for “benchmark” grades.

Unlike repertoire, neither the technical tests nor vocalises need to be memorized. Candidates are provided with a copy of the technical tests at the examination, but they are responsible for bringing two original copies of the vocalises – one each for the accompa-nist and the singer.

continued on page 2

voice ExaminationsTechnical Requirements and Examiner ExpectationsB y P e n e l o P e D a l e

53800-1 Music Matters Newsletter.indd 1 12/18/07 1:28:14 PM

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The examiner will ask for each test by name and number, and request that the candidate sing a particular vowel sound. The examiner might say, for example, “Would you please sing exercise number one, the major arpeggio and descend-ing scale, using the “ee” vowel, and beginning on this note?” The candidate may ask for a specific range or starting note if desired, but only the first note will be given and the test must be sung without accompaniment.

Technical TestsIn the Voice Syllabus, 2005 Edition teachers and candidates should note that the slur markings over pairs of eighth notes in the technical tests were replaced by phrase markings. Candidates must observe the phrasings, breathing between phrases only as required, and maintain a legato line unless the score indicates otherwise. Candidates should choose an appropriate tempo, one that allows for a rhythmically accu-rate performance of the exercise at a steady tempo. Again the tests must be performed in one breath unless the phrasing indicates otherwise.

While clarity of vowel sounds and accuracy of pitch and rhythm are important, examiners also listen for musicality in the performance of technical requirements. Candidates who achieve First Class Honours with Distinction perform their technical test confidently and musically, with impeccable intonation, carefully observing the phrasing and rhythmic elements, and producing pristine vowel sounds.

By contrast a First Class Honours candidate will give a solid performance of the required tests, but may not sing the exer-cises with the same degree of refined musicality, while the Honours candidate will have generally well-shaped vowel sounds, and a fairly secure sense of intonation and rhythm. In order to receive a passing grade, candidates must be able

Teachers were candid and specific about what they wanted to see in the new Syllabus. Some of the changes resulting from that feedback include:• SummaryCharts – At-a-glance information on technical

requirements by grade.

• PianoPedagogyCertificateProgram – Currently published as an addendum, Piano Pedagogy is being incorporated into the Syllabus.

• PreparatoryAandBExaminations – Replaces the current Introductory Grade.

• Study/EtudeListings– Full listings by composer and title of all studies/etudes for each grade.

• TechnicalRequirements– Revised to help students transition smoothly between grades and to reflect the rep-ertoire being studied.

• MarkingScheme–New marks allocation awarding more for technical requirements.

Christopher Kowal takes an in-depth look at the new tech-nical requirements for piano in a four-part series of arti-cles, found in the May/June 2007, July/August 2007 and November/December 2007 issues of Music Matters. The final article in this series will be featured in the upcoming March/April issue.

Also in this issue is an overview of the new Piano Pedagogy Certificate Program (page 4).

Candidates preparing for examinations between September 1, 2008 and August 31, 2009 may use the Piano Syllabus, 2001 Edition or the Piano Syllabus, 2008 Edition. After August 31, 2009 the Piano Syllabus, 2001 Edition can no longer be used for examination preparation.

Check for more articles on the new Syllabus in upcoming issues of Music Matters.

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“ By pointing out technical patterns as they occur in the vocal repertoire, teachers can help their students better understand the value of these exercises and their relevance to the voice examination experience.”

Piano SyllabuS continued from page 1 Voice examinaTionS continued from page 1

continued on page 3

53800-1 Music Matters Newsletter.indd 2 12/21/07 8:33:01 AM

to recall the patterns fairly accurately in terms of rhythm and pitch, and to sing the six required vowel sounds – [a], [e], [i], [o], [u], and [y]. When singing the vowel sounds candidates should demonstrate they are making an effort to form each vowel and to distinguish one from the other. (Candidatesshouldberemindedthatthe[y]vowelisformedbyfirstmovingthelipsforwardtoform“oo,”andthensingingthe“ee”vowelinthatposition.)

vocalisesGrade five candidates are expected to prepare one vocalise, while candidates in Grades six through ten must prepare two vocalises. Again, it is the candidate’s responsibility to bring two original copies of the vocalise(s) to the exam – one for the accompanist, and one for the candidate. As in the tech-nical tests, high marks are awarded for performances that demonstrate superior technique - accurate intonation and rhythm, pure, well-formed vowel sounds, careful attention to phrasing, articulation, and dynamics – as well as musicality and sensitivity. In essence, vocalises are songs without words, and should be performed as such!

Providing students with contextual evidence reinforces the importance of technical exercises. By pointing out techni-cal patterns as they occur in the vocal repertoire, teachers can help their students better understand the value of these exercises and their relevance to the voice examination expe-rience.

The technical requirements for each grade level of the Voice Syllabus, 2005 Edition have been selected and reviewed by the College of Examiners as well as a panel of voice teachers across Canada and the United States, with the objective of providing both teachers and students with the necessary tools to develop voices to their utmost potential. Just as a master craftsman learns to use every tool in his workbox to create fine examples of his craft, so must the singer strengthen and refine his vocal skills to achieve his personal best.

Penelope dale holds a diplôme d’etudes supérièures, and a concours à l’unanimité

du jury in vocal performance from the conservatoire de musique du Québec à

montréal, as well as a Diploma in education (music specialist) from mcGill university.

her principal voice teacher was madame marie Daveluy of montréal, Québec.

ms. Dale has performed as a soloist in live performances for radio canada, in opera

and in concert. she is currently a faculty member of the royal conservatory of music

where she teaches voice and sight singing. she is a member of the rcm examinations

college of examiners and was a compiler of the royal conservatory of music Voice

syllabus, 2005 edition, and the Voice repertoire series, third edition.

ms. Dale has received many awards, including first prize at the ciBc national

music festival. she is a member of several professional organizations, including

the canadian music festival adjudicators’ association, the national association of

teachers of singing, and the ontario registered music teachers’ association.

m u s i c m at t e r s 3

M

RCM Examinations thanks the many teachers who attend-ed the recent Technical Requirements workshops and took the time to complete and submit their evaluation forms to our clinicians. We appreciate all the feedback that was provided.

Most teachers welcomed the changes. Some expressed appreciation for the variety and challenges laid out, while others felt that the key sequencing promoted clearer links to theoretical concepts.

Check back for more feedback from these workshops in future issues of Music Matters

the new technical reQuirements


4 r c m e x a m i n at i o n s

PiANO PEDAGOGy CERTiFiCATE PROGRAMThe comparative chart below shows changes in the examination requirements between the Piano Pedagogy Certificate Program, 2005 Edition addendum to the Piano Syllabus, 2001 Edition, and the Piano Syllabus, 2008 Edition. Revisions are being made at the Elementary and Advanced levels only.

ElEMEntARy PiAnO PEdAGOGyPart 2 Viva Voce Examinationteaching Repertoire sample

lEvEl

nEw PiAnO PEdAGOGy CERtifiCAtE PROGRAM,2005 EditiOn

PiAnO syllAbus, 2008 EditiOn

REPERtOiRE studiEs/EtudEs REPERtOiREmemorization of one repertoire selection is required

studiEs/EtudEs

bEGinnER four selections from a beginner method (showing a range of study for the first and second year)

None Required four selections from one of the beginner methods listed below* (showing level of study at the end of the first and second years of study)two repertoire selections from Celebration Series: Perspectives®: Preparatory Piano Repertoire

*The ABC of Piano Playing; Alfred’s Premier Piano Course; Alfred’s Basic Piano Library; Bastien Piano Basics; Celebrate Piano!®, Hal Leonard Student Piano Library; Music for Young Children; The Music Tree; or Piano Adventures

None Required

GRAdE 1 three selections: one from each List

two studies/etudes three contrasting selections: one from each List

One study/etude

GRAdE 2 three selections: one from each List

two studies/etudes three contrasting selections: one from each List

One study/etude

intERMEdiAtE PiAnO PEdAGOGyPart 2 Viva Voce Examination• One repertoire selection from the Teaching Repertoire Sample must be memorized.• One study/etude must be chosen from the Popular Selection List in the Teaching Repertoire Sample.


M u s i c M at t e r s 5

ADVANCED PIANO PEDAGOGYPart 2 Viva Voce ExaminationTeaching Repertoire Sample

LEVEL

NEw PIANO PEDAGOGY CERTIfICATE PROGRAm, 2005 EDITION

PIANO SYLLAbuS, 2008 EDITION

REPERTOIRE **STuDIES/ETuDES *REPERTOIREMemorization of one repertoire selection is required

**STuDIES/ETuDES

GRADE 7 four contrasting selections: one from each list*

One study/etude Two contrasting selections One study/etude

GRADE 8 four contrasting selections: one from each list


GRADE 9 four contrasting selections: one from each list


GRADE 10 four contrasting selections

One study/etude Three contrasting selections including a Prelude and Fugue by J.S. Bach and a List E piece.(Candidates may substitute the Grade 10 Prelude and Fugue with an ARCT Prelude and Fugue.)

One study/etude

* For Grade 7, candidates should choose two selections from List C: one from Part 1 (Romantic) and one from Part 2 (20th Century).

** Studies/etudes may be chosen that demonstrate particular technical aspects of the teaching repertoire.

* All List designations for Grades 7 to 10 must be represented including two movements from a sonata (at Grade 9 or 10 level), one movement of which must be in sonata form.

** Please note that one study/etude may be chosen from the Popular Selection List.

ExAmINATION CENTRESNew ceNtre represeNtativesCentre New Representative Phone #

000 Toronto Central, ON Bonnie Horton 416-724-6909019 Mississauga S, ON Jeremy Knowles 905-891-7944131 Guelph, ON Debbie Robertson 519-826-9788158 Oakville, ON Rose Tagaan 905-814-7446302 Saint John, NB Nadine Lane 506-635-8616331 Saint John’s, NL Jean Taylor 709-437-1336483 Winnipeg E, MB Len Hunchack 204-654-1044515 Estevan, SK Heather Pyra 306-634-7511530 Lloydminster, AB Theresa Brown 780-875-5738537 Moose Jaw, SK Dicky Scholten 306-693-0479586 Wynyard, SK Linda Burns 306-554-2940611 Calgary SE, AB Leonora Bridge 403-259-2826612 Camrose, AB Diane Carlson 780-679-0378

613 Calgary Speech, AB Jane Turvey 403-440-6700 x5971

627 Fort McMurray, AB Marie A. Herle 780-790-0165

637 Cold Lake, AB Lisa Long 780-639-3263

670 Red Deer, AB Crystal Edey 403-885-5979

707 Campbell River, BC Sonia Hauser 250-923-2212

712 Courtenay, BC Linda Gallagher 250-339-0694

761 Port Alberni, BC Dorianne Miller 250-723-1285

763 Prince George, BC Barb Leisinger 250-614-9444

764 Prince Rupert, BC Larissa Goruk 250-624-5984

Closed Centres

105 Amherstburg, ON

133 Temiskaming Shores, ON

170 Perth, ON

550 Prelate, SK

53800-1 Music Matters Newsletter.indd 5 12/21/07 8:34:19 AM

Practical Examination day Checklist for Candidates

NOTE: For examinations other than piano and guitar, students should be reminded that they are required to provide their own accompanist and to bring two copies of their music to the examination.

When examination day arrives students may find this check-list useful. Teachers are encouraged to photocopy the list and give to their students prior to their examination.

before leaving home...• Plantoarrive15minutesearly.• Arrange for the accompanist (if required) to arrive15

minutes early.• CompletetheExaminationProgramForm.• Bringoriginalcopiesofall themusicbeingperformed

in the examination – piano and guitar candidates must bring one original copy; voice, strings, woodwinds and brass candidates must bring two original copies.

• Markthepiecesbeingperformedwithapaperclipora“sticky note”.

• Bringatunerasthetune-uproomwillnothaveapiano.• Wearpropershoes(pedalling,forexample,canbedifficult

with some types of shoes).• Addbarnumberstothefirstbarofeachlineofmusicif

they are not already noted.

Points to Remember• Bags,coatsandinstrumentcasesmustbeleftinthewait-

ing area.• Therearenowarm-uproomsforpianocandidates.• Guitar,strings,woodwindsandbrassinstrumentswillhave

access to a designated tune-up room.• Onlythecandidateandtheaccompanist(ifrequired)are

permitted in the examination room.

• Parents,otherfamilymembers,friends,andteachersmustwait in the designated waiting area.

• Standingandlisteningoutsidetheexaminationroomdooris prohibited.

• Recordingdevicesarestrictlyprohibitedintheexamina-tion room.

• Photocopiedmusicisprohibited(unlessauthorizedbythepublisher).

• An interruptionof theperformanceof repertoiremayoccur at the examiner's discretion. An interrupted perfor-mance does not indicate a poor performance.

After the Examination• Access topracticalexaminationmarkswillbeavailable

on the RCM Examinations website (www.rcmexamina-tions.org) approximately 4-6 weeks after the examination. Marks are no longer sent in the mail.

• Candidates can access their marks through the“Examination Results” link.

• Teacherscanaccessalltheirstudents’marksthroughthe“Teacher Services” link.

• Scheduling a review of the examination results is animportant element in completing the learning process.

6 r c m e x a m i n at i o n s

“ Access to practical examination marks will be available on the RCM Examinations website approximately 4-6 weeks after the examination. Marks are no longer sent in the mail.”

wintER sEssiOn

january 14 – 26, 2008 Practical Examinations

sPRinG sEssiOn

March 4, 2008 Registration DeadlineMay 9 & 10, 2008 Theory Examinations june 9 – 28, 2008 Practical Examinations

suMMER sEssiOn

june 3, 2008 Registration DeadlineAugust 8 & 9, 2008 Theory Examinations August 11 – 23, 2008 Practical Examinations

2008 examination Dates


m u s i c m at t e r s 7

silver Medals CeremoniesRepresentatives of RCM Examinations enjoyed the opportu-nity to meet with the Silver Medalists and their teachers this past Fall at the 2007 Silver Medals Ceremonies. Six ceremo-nies were held across Canada in:

North Vancouver, BC Saturday, November 17, 2007Calgary, AB Sunday, November 18, 2007Halifax, NS Saturday, November 24, 2007Toronto,ON Sunday,November25,2007Regina, SK Saturday, December 1, 2007Winnipeg, MB Sunday, December 2, 2007

Each Awards Ceremony began with a recital featuring some of the Silver Medal Winners, followed by an address from one of the RCM Examinations Chief Examiners and concluded with the Silver Medal Awards presentation. Following the cer-emony, medalists and other attendees were invited to stay for a reception.

Medalists who were unable to attend will receive their medal in the mail along with a complimentary copy of the program by the end of December.

RCM Examinations would like to thank the Registered Music Teachers’ Association, Alumni Association, volunteer music teachers, and RCM Examinations Centre Representatives for helping to organize these events.

About silver Medals Silver Medals are awarded annually (by province or region) to candidates in Grades 1 to 10 who have obtained the high-est marks in each practical grade and discipline. Candidates from every province and region are considered, and grouped as follows: British Columbia and Yukon; Alberta and Northwest Territories; Saskatchewan; Manitoba; Ontario; Quebec; and the Atlantic Provinces (New Brunswick, Newfoundland and Labrador, Nova Scotia, and Prince Edward Island). Candidate results and eligibility are reviewed automatically at the end of each academic year. The Medalists are drawn from all

disciplines within RCM Examinations: Accordion, Organ, Piano, Speech Arts & Drama, Voice, Strings, Guitar, Harp, and Orchestral Instruments.

To qualify for a Silver Medal, candidates must obtain at least 80 percent in the practical examination and have completed all theory co-requisites for their respective grades before, or by the end of, the academic year in which the practical exami-nation was taken. Candidates are only considered for a Silver Medal in the same academic year (September – August) in which their practical examination was taken.

New features have been added to online Teacher Services that will help teachers register all their students for exami-nations easily and efficiently. Previously, teachers were only able to register students who had RCME Numbers.

Now, teachers will be able to register a new student who does not have an RCME Number. When teachers register a new student, it is important to explain that their RCME Number is unique and assigned only once, and that they must keep it for all future transactions with RCM Examinations.

A candidate’s RCME Number will allow them to:• Registerforexaminations• Confirmtheirexaminationschedule• Checktheirexaminationmarksonline

Reminding students and their parents to keep the RCME Number in a secure place is also important, since the number is used to access their online records at RCM Examinations.

tEAChER sERviCEsonline studio registration


One-Hour Workshops During Examination SessionsTeachers will be able to request one-hour workshops on a topic of their choice for the coming academic year, start-ing with the next examination session in January 2008. As in the previous year, workshops will be presented by a visiting examiner during exam sessions and all teachers are welcome to attend.

To propose an examination-related topic, teachers are request-ed to contact their local Centre Representative, who in turn will contact RCM Examinations to organize the workshop.

All 2008 workshops, in addition to the proposed topic, will include some details about the new Technical Requirements in the Piano Syllabus, 2008 Edition.

While RCM Examinations cannot guarantee that all work-shop requests can be fulfilled, we will do our best to accom-modate all requests. Watch for further details in upcoming issues of Music Matters.

The following is a list of new Technical Requirements Workshops that will take place this Winter Session 2008:

Sarnia“Technique – Tips and Pointers” with Lisa IwasakiSarnia Library Theatre, 124 Christina Street South, Wednesday, January 16, early afternoon

Contact: Connie Kennedy 519-339-8909 or email [email protected]

MiltOn“Tips on the New Technique” with Nina BielawskiHugh Foster Hall, 54 Brown Street (next to the town hall),Thursday, January 24, 10:30 a.m.

Contact: Sunta Caruna 905-878-9476 or email [email protected]

tOrOntO nOrtH“Highlights of the New Technique” with Diana IngYamaha Music School, 5075 Yonge Street, 10th Floor,Friday, January 25, 6:00 p.m.

Contact: Rosl Mallinger 416-298-8423

PODcaStS cOMing in 2008In the New Year podcasts will be available to teachers

as part of the RCM Examinations library of free refer-

ence materials. A link to the podcasts will be posted on

our homepage under “News and Events”.

The first series of podcasts will feature film clips from

workshops held this past fall on the new Technical

Requirements, as found in the Piano Syllabus, 2008

Edition.

Watch for podcast updates on our website at

www.rcmexaminations.org.

WhAT Is A podCAsT?A podcast is like a radio show on the internet; what

makes it different from conventional radio is that the

listener, or user, subscribes to it and the show is deliv-

ered directly to the user. Just like a magazine subscrip-

tion, a podcast subscription can be cancelled by the

user at anytime.

hoW doEs IT WoRk?A podcast works as an audio/video file that is automati-

cally received from the internet through an Mp3 play-

er. There are many kinds of Mp3 players and they are

installed on most computers, common ones including

Windows Media player, winamp, iTunes and VLC. Mp3

players also come in a portable form, the most recogniz-

able one being the ipod, on which the term “podcast”

is based.

8 R C M E x a M i n at i o n s


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