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Librettowww.abrsm.org
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
Lib3-13 ads.qxd 12/9/13 10:33 Page 1
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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.
LLeesslliiee EEaassttCChhiieeff EExxeeccuuttiivvee
Outlook
16
11 12
20
Editor-in-Chief Tony Pinkham Editor Lucy North
ABRSM24 Portland Place London W1B 1LU United Kingdom
T +44 (0)20 7636 5400 E [email protected] www.abrsm.org
REGISTERED CHARITY NO. 292182
Libretto is designed for ABRSM byImpromptu Publishing5th Floor
Clarendon House 81 Mosley StreetManchester M2 3LQT +44 (0)161 236
9526www.impromptupublishing.comDesigner Henrietta Creedy
© 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 insight-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 newWoodwind
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
bepublished 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 ournew
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
04-06 Lib3-13 News.qxd 20/9/13 10:45 Page 4
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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 newABRSM 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 [email protected]. To enrol,
contact The City Lit,quoting course number ME841,at
[email protected],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 January2014. 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 newbiography 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 MusicEducators (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
FREE PIANO STICKERS
Lib3-13 ads.qxd 12/9/13 10:35 Page 2
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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.
October 2013 - June 2014now booking
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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
Clarinet Exam Pieces 2014–2017 Score & Part
Exam PiecesABRSM Grade 7
Selected from the
2014–2017 syllabus
Grade
7
ClarinetExam PiecesABRSM Grade 4
Selected from the
2014–2017 syllabus
Grade
4Clarinet Exam Pieces 2014–2017 Part only
Clarinet
Clarinet Exam Pieces 2014–2017 Score, Part & CD
Exam PiecesABRSM Grade 1
Selected from the
2014–2017 syllabus
Grade
1
Flute
Flute Exam Pieces 2014–2017 Score & Part
Exam PiecesABRSM Grade 7
Selected from the
2014–2017 syllabus
Grade
7
Flute
Flute Exam Pieces 2014–2017 Part only
Exam PiecesABRSM Grade 4
Selected from the
2014–2017 syllabus
Grade
4
Flute
Flute Exam Pieces 2014–2017 Score, Part & CD
Exam PiecesABRSM Grade 1
Selected from the
2014–2017 syllabus
Grade
1
Lib3-13 ads.qxd 18/9/13 15:10 Page 3
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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 arenevertheless 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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from an operetta called Pacific 1860, itfeatures in Time Pieces
for EH or BHSaxophone, 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 EHsaxophone 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
1133Saxophone repertoire
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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.
1155Saxophone repertoire
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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 fromexperience – 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
19 Lib3-13 Music Medals.qxd 20/9/13 11:33 Page 19
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Accompaniment
Most piano students set out with theaim of mastering pieces
drawn fromthe rich repertoire of solo pianomusic. 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
20-21 Lib3-13 Accompaniment.qxd 20/9/13 11:32 Page 20
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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 [email protected].
2211Accompaniment
20-21 Lib3-13 Accompaniment.qxd 20/9/13 11:32 Page 21
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Write to Lucy North, Editor, Libretto, with your views. You can
[email protected] 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
22 Lib2-13 letters-1.qxd 20/9/13 11:04 Page 22
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