LCM Exams - Forte magazine 2013

London College of Music examinations are held at over 250 centres throughout the UK and overseas. A broad range of subjects is offered in music and in drama and communication, catering for candidates of all levels – from introductory examinations for beginners through graded exams to professional diplomas in performing, teaching, composition and research.

LCM ExaminationsUniversity of West LondonSt Mary’s RoadLondonW5 5RF

Tel: 020 8231 2364

uwl.ac.uk/[email protected]

© 2013

Issue 2013.1

London College of Music Examinations Newsletter

Forte

2

Key Information

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Contacts at LCM Exams

Calendar - 2013

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

LCM Exams caters for candidates of all levels:from early years examinations, through gradedexams, to four levels of diplomas inperformance and teaching. Qualifications areoffered in an exceptionally wide range ofsubjects. In Music, they encompass classical,jazz, pop, rock and traditional music genres.Subjects in Drama range from acting to versespeaking and group performance, and inCommunication from public speaking toESOL. A comprehensive range of publicationsis available, including, for Music, all-inclusivegraded handbooks for selected instruments.

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

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

LCM ExaminationsUniversity of West London

St Mary’s RoadEaling

London W5 5RF

tel: 020 8231 2364

email: [email protected]

www.uwl.ac.uk/lcmexams

Editor: Andrew [email protected]

John Howard Director of Examinations

Philip Aldred Chief Examiner in Music

Stephen Hazell Chief Examiner in Drama & Communication

Janet Lill Senior Examinations Officer

Andrew Hatt Qualifications & Marketing Officer

Alexandra Marchant Exams Information Officer

Jackie Honan Finance Administrator

Jenny Thompson Administrative Assistant

Peline Ong Regional Representative, Asia Pacific and India

4 January Asia: Spring closing date

1 February UK/Eire: Spring closing date

15 February Music senior examiners' meeting (UWL, Ealing)

16 February Examiners' seminar (UWL, Ealing)

16 March - 20 April UK/Eire: Spring examination session

17 April (pm) Theory examinations

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

1 May England/Wales: Summer closing date

3 May Asia: Summer closing date

25 May - 22 June Scotland/N Ireland/Eire: Summer examination session

15 June (am) Theory examinations

22 June - 27 July England/Wales: Summer examination session

6 September Asia: Winter closing date

8 September RGT Guitar teachers' conference (UWL, Ealing)

1 October UK/Eire: Winter closing date

12 October Drama senior examiners' meeting (UWL, Ealing)

16 November - 21 December UK/Eire: Winter examination session

23 November (am) Theory examinations

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Updates

Alexandra Marchant and John Howard pictured with representativesat an ERIC training session in Kuala Lumpur

Online EntryIn 2012 LCM Examinations commissioned a new information management system, and thishas been in development during the past 12 months. The system, ERIC, will perform all of theexamination management functions handled by our current database, GEMS, but willadditionally provide an online entry system for teachers and candidates, as well as offeringa range of tools to examiners, centre representatives and the office team to increase efficiencyand speed up current processes.

We are pleased to announce that ERIC is now available, for use from the Winter 2013session onwards (Spring 2014 session for centres in Asia), and we hope that teachers andcandidates will take advantage of the various benefits it offers. These include:

• online entry and payment

• 5% discount on published exam fees

• no late fees for online entries (effectively extending the entry period by a week)

• automatic notification of exam dates, times and venues

• online access to exam details and other information

• faster notification of results

To use the system, all teachers will need to register at eric.uwl.ac.uk. A unique teacher codewill be allocated (NB current teacher codes will not be carried forward to the new system),and a password must be chosen. A range of user guides and video guides are available on theERIC page of the LCM Exams website.

ERIC will offer many benefits to everyone involved with LCM Exams, and moving operationsonline will enable us to provide a faster and more efficient service to teachers and candidates.We will continue to accept postal entries, but hope that as many teachers as possible will takeadvantage of the new features offered by the online system.

The principal contacts for queries relating to ERIC are:

• Alexandra Marchant tel: 020 8231 2097 email: [email protected]

• Peline Ong (Asia) tel: 65 6622 5867 email: [email protected]

If you would prefer to continue to submit postal entry forms, please note that new versionsof the forms are now available from the LCM Exams office or via our website.

This is a veryimportant time forLondon College ofMusic Examinations;the main reason isthat, during theWinter examinationsession in the UK, ournew examinationsinformation system(known lovingly asERIC, Examination Records Information Centre)has gone live and active for the first time. Thisnew system will be of great benefit to us all,adding considerable enhancement to ourcapabilities, and, in the long run, making the workof all of us easier; more importantly, it willenhance the ability of individual candidates, theirparents, and their teachers, to interact with theexamination board and their local centre,particularly via online entry for the examinations.

I would like to underline two points here: first,this system is the result of considerableinvestment by the University of West London inLCME, by which the University is acknowledgingthe value of the examination board, andsupporting the future potential of it; second, aswith all major IT developments, we will allexperience a period of adjustment, while we learnto use a new system, and, inevitably, there will beminor issues to be resolved about the way thesystem works.

We are very conscious at LCME that our peopleneed good support, and all my colleagues in Ealingare actively giving that support as I write; becauseall our candidates, teachers and representativesare vitally important to us, we will always do ourbest to be available to you, to answer anyquestions you will have and solve any problemsthat exist.

This edition of Forte is a rich one, with lots ofinteresting material and in particular informationabout new centres in many different places. Ihope that you will enjoy reading it, and would liketo give my best wishes to all of you, trusting thatyou will work with us to make the remainingmonths of 2013 very worthwhile.

John HowardDirector,London College of Music Examinations

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Syllabuses & Publications

EnsembleA ‘PerformanceAward’ option hasbeen added to theEnsemble syllabus,enabling ensemblesto obtain anassessment by DVDsubmission ratherthan attendance atan exam venue.

Ensemble examinations – both live and DVDoptions – are open to all sizes of ensemble,from 2 players upwards, comprising anycombination of instruments and/or voices.Repertoire is free choice, and assessments areoffered at 6 levels:

Piano GradesThe new piano handbooks seem to me to be proving popular – certainly the exams that I haveexamined recently, from Pre-Preparatory to Grade 8, have shown a good response to the newdemands of each level.

Here are a few pointers that should help teachers and candidates gain those extra marks towardsa Distinction!

1. Dynamics are important to any piece of music, and are included from Pre-Preparatory level.These should be observed as much as possible, even at this very early stage.

2. Articulation, phrasing and tempo are clearly detailed in all exercises and pieces, and herealso these should be an integral part of the performance.

3. Technical Work and Studies: these do have tempo indications, but never sacrifice accuracyfor speed.

Philip Aldred, Chief Examiner in Music

Classical SingingPlease note that requirements for RecitalGrades for classical singing differ from thosefor other subjects.

ONE song must be selected from the set listfor the equivalent grade; the remainder of theprogramme is own choice. The own choicesongs may themselves be taken from the setlist for the grade, or from that of a higher (butnot lower) grade.

RGT Launches Performance Awardsfor Bass GuitarOne popular innovation developed initially for the RGT/LCM’s rock guitarexams was the option of taking a ‘Performance Award’. These newqualifications, which are based entirely on the performance of pieces,rapidly proved so popular that RGT expanded them to cover acousticand electric guitar, and now the range has been expanded again toinclude bass guitar.

There are three types of Performance Awards: ‘live’ – where thecandidate performs the pieces live at an exam venue; ‘filmed’ – where the candidate submits aDVD of themselves playing the pieces; ‘recorded’ – where the candidate sends in, or uploads, anaudio recording of themselves playing the pieces. The last two options are particularly helpful forteachers who have students who find it hard to take time out to travel to an exam venue, or forthose who get overly nervous in an examroom situation, or for those in remote locations – as thisassessment method cuts out the need to travel. And for anyone on a tight budget, entry fees forPerformance Awards are lower than for the equivalent grade exam.

For bass guitar Preliminary Level to Level 5 Performance Awards, candidates perform two basspatterns (from the appropriate level RGT Bass Patterns CD/booklet) and improvise a bassline overone track from the appropriate level of the RGT book/CD series, Improvising Bass Guitar. ForLevels 6 to 8, improvising basslines over two tracks is required.

Performance Awards are accredited by LCM Exams and certificated by the University of WestLondon. Exam syllabus/information booklets for the new bass guitar Performance Awards, as wellas for the rock, acoustic and electric guitar Performance Awards, can be freely downloaded fromthe RGT website www.RGT.org

Tony Skinner, Director, Registry of Guitar Tutors

Ensemble level Equivalent standard

1 Grades 1-2

2 Grades 3-4

3 Grade 5

4 Grades 6-7

5 Grade 8

Recital DipLCM

Drama & Communication GradesThe current syllabus is dated 2010-2013. It has proved very successful, and we do not expect tomake major changes for the 2014 version.

A new syllabus dated 2014-2017 will be produced this year. This note is to reassure all teachersand candidates that they can continue to prepare for examinations using the current syllabuswithout fear of suddenly being faced with new requirements or regulations. We expect that atmost there will be some clarifications of the wording here and there, and in any case it will beunderstood that the 2010-2013 syllabus will be taken as valid until everyone has had time toabsorb any re-phrasing in the new syllabus.

2010 - 2014

Ensemble SyllabusEnsemble Examinations Ensemble Performance Awards

Clarinet & SaxophoneWe have recently introduced a Study option tograded clarinet and classical saxophone exams,as an alternative to scales and arpeggios. Pleasesee the revised repertoire lists for details.

Piano RecordingsRecordings are now available of all graded pianorepertoire (studies and pieces), via ourdownloads website, www.LCMEbooks.org.[See page 8 for further details.]

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Piano & Keyboard HandbooksThe following errors have been identified in the new piano and electronic keyboard handbooks.These are listed on the Publications > Errata page on our website, where any further errors will beadded.

Piano Handbook 2013: Grade 3Page 17, bar 23: the last note in the LH should be B flat (rather than G).

Piano Handbook 2013: Grade 5Page 23, bars 22-23: the As in the LH should be tied.

Electronic Keyboard Handbook 2013: Grade 3Page 24: the tempo marking for Uncle Peter's Trombone should read minim = 108 (rather thancrotchet = 108).

Electronic Keyboard Handbook 2013: Grade 8Page 38, bar 3: the top note at the end of the bar should be A natural (rather than G).

Additionally, the following errors have been identified and corrected in the syllabuses:

Piano Repertoire ListGrade 7, List A. The Bach Prelude is from Book 1 of Das Wohltemperierte Klavier, rather thanBook 2.

Electronic Keyboard SyllabusGrade 6, List B & C additional pieces: Waltz, Serenade for Strings is taken from KeyboardCocktails Classics rather than Keyboard Cocktails Waltzes.

Classical GuitarThe validity of the classical guitargrades syllabus has been extendeduntil 2018. After consultation withteachers, the feedback waswholeheartedly that the existing syllabuswas working very well and the vastmajority of respondents wanted it to bekept unchanged. Consequently, the existing grade handbooks produced by RGT will remain valid.Newly reprinted handbooks show the ‘valid until date’ as ‘Winter 2018’ and any remaining stockhas been over-stickered with the new expiry date. Even if you have an existing handbook thatstates ‘valid until Winter 2013’, you can safely assume that this will now remain valid until 2018.

Our thanks go to RGT for all their efforts in arranging for the re-licencing of all the music containedin the ten syllabus handbooks. The only slight question mark that remains is over the Grade 8 pieceCavatina: due to copyright clearance delays we are currently unable to confirm whether this piecewill appear in the reprinted handbook, but either way it will still remain (as a ‘free choice’ at least)in the syllabus.

Popular Music VocalsThe current syllabus has been extended untilthe end of 2014; a new syllabus will be validfrom January 2015 onwards.

Please remember to give the examiner thelyrics for all your songs.

At Grades 6, 7 and 8, please also inform theexaminer from which song you will be singingan unaccompanied verse and/or chorus.

Music TheatrePlease note that the 2013-2017 syllabus mustnow be used for all exams.

Teachers and candidates are reminded thatwritten programmes are now a requirementfor ALL music theatre grade and diplomalevels. The minimum requirement is a list ofsongs, the shows from which they are taken(where appropriate), composers, lyricists anddates. Refer to Section 2.5.4 of the syllabus.

Other changes are: the addition of a quick studycomponent at DipLCM, and the addition of apre-requisite at ALCM.

DipLCM RecitalA new DipLCM Recital option is now available,and the current DipLCM has been re-labelled‘DipLCM Standard’.

The requirements can be summarised asfollows:

DipLCM (Standard)

1. Performance (70%)[programme of 15-20 minutes]

2. Viva Voce (15%)

3. Sight Reading (15%)

DipLCM (Recital)

1. Performance (80%)[programme of 25-30 minutes, includingat least one work composed in or after1945]

2. Sight Reading (20%)

Similar options are already available at ALCMand LLCM levels; please refer to the syllabusfor full details.

Piano AnthologiesWe are pleased to announce that the first in our new series of pianoanthologies is now available. Piano Anthology: Grades 1 & 2 containsthirty of the most popular pieces from LCM piano syllabus lists from1988 to 2006. The range of styles broadly covers the late 18th centuryto the present, including a number of familiar pieces alongside a selectionof pieces by distinguished former LCM teachers and students.

Pieces from this collection may be chosen as List B and C exam pieces;please refer to the updated piano repertoire list for full details.

Higher grade anthologies are in preparation, and will be published soon.The Grades 1 & 2 Anthology is priced £8.95.

London College of Music Examinations

Compiled by William Alexander

LCM Publications

Piano Anthology2013

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Simple forms of ornamentation are requiredfor Grades 3 and 4, with a wider range ofornamentation being required from Grade 5onwards. Variation is required in thePerformance component of the new Grade 7examination, and in both the Performance andRepertoire components of the Grade 8examination.

The Supplementary Tests for all examinations,including diplomas, have been revised andupdated and the requirements increasethroughout the grades. For most grades, theSupplementary Tests will involve a combinationof live performance by the examiner and theuse of musical extracts from a CD – this hasallowed the introduction of new tests includingthe recognition of instruments in the lowergrades and critical listening of performancesat Grade 8.

New Irish Traditional Music SyllabusSenior Examiner Patrick Davey introduces the new Irish traditional music syllabus.

Diploma examinations

The existing diplomas will remain largelyunaltered in the new syllabus, although theSupplementary Tests have been revised andupdated. The requirement to have passed theALCM Paperwork in Irish traditional musicbefore taking an ALCM performance diplomawill be replaced by a requirement to havepassed a DipLCM performance diploma.

New bodhrán examinations

In response to numerous requests fromcandidates and teachers in recent years, weare delighted to be able to introduce new gradeexaminations in bodhrán playing. These havebeen developed in consultation with Mr EamonMurray, a recognised authority on bodhránplaying and member of the innovative Irishtraditional group ‘Beoga’.

The new bodhrán examinations follow theexisting examination format with Performance,Repertoire and Supplementary Testcomponents, but these will reflect the natureof the bodhrán as a percussion instrument.Initially the bodhrán examinations will beoffered for Grades 2, 4, 6 and 8 only and thecandidate will be required to accompany a liveperformance by a melody instrument duringtheir examination – it will be the responsibilityof the candidate to arrange this.

Resources

A range of useful resources are being preparedto support candidates and teachers as theyprepare for the new syllabus, and these willinclude extensive sample tune lists, as well asexamples of listening tests and updated andexpanded general guidelines, specific to eachexamination. These will be provided in the newsyllabus document and on the LCM Examswebsite.

The new syllabus will be published in 2014,and the current Irish traditional syllabus willremain in effect until the end of 2014.

Finally, I would like to thank the LCMExaminations staff for their support andassistance during the current revision of theIrish traditional music examination syllabus andalso all the LCM Irish traditional examiners fortheir great work in the delivery of theexaminations since the introduction of theoriginal syllabus in 1998. A special word ofthanks also to the many teachers andcandidates who continue to give LCM Irishtraditional examinations their support.

The current LCM Irish traditional musicexamination syllabus was complied by DrColette Moloney and was introduced in 1998.The syllabus quickly became popular amongteachers and students of Irish traditional music,because it offered a straightforward means ofassessment with a clear progression fromPreliminary (now Step) level through Grades 2,4, 6 and 8, and on to diploma level. The formatof the grade examinations, with thePerformance, Repertoire and SupplementaryTest components, was easy to follow, and thedelivery of the examinations by recognisedexponents of Irish traditional music meant thatteachers and candidates could be certain of anaccurate and constructive assessment.

The popularity of LCM Irish traditionalexaminations has increased significantly inrecent years, and the examinations are takenat centres throughout Ireland and also at manycentres in England. However, apart from a fewminor adjustments, the syllabus itself hasremained largely unchanged since 1998, andafter being appointed as Senior Examiner forLCM Irish traditional examinations in 2012, Iinitiated a process of revision to the syllabus,in consultation with Mr Philip Aldred, ChiefExaminer in Music with LCM and other seniorLCM staff. The revision is nearing completion,and the new LCM Irish traditional musicsyllabus will be introduced in 2014.

New grade examinations

The most significant feature of the newsyllabus is the introduction of the completerange of grade examinations, i.e. Step thenGrades 1, 2, 3, 4, 5, 6, 7 and 8.

The Step examination remains unaltered, andcontinues as an ideal introductory examination.The progression between the current Grades2, 4, 6 and 8 is eased with the introduction of

Grade Performance Repertoire

Step Four tunes

1 Three tunes Three tunes

2 Three tunes Five tunes

3 Three tunes Five tunes

4 Three selections Five tunes

5 Three selections Three selections

6 Three selections Four selections

7 Three selections Five selections

8 Three selections Five selections

new Grades 1, 3, 5 and 7, and the transitionbetween adjacent grades will be smoother. Thefamiliar format of Performance, Repertoire andSupplementary Test components is maintainedand the requirements of each componentincrease progressively through the grades.

The table below summarises the Performanceand Repertoire requirements of each gradeexamination in the new syllabus:

Theory ExamsMay I remind all candidates that mobile phones may NOT be switched on or be with youduring any theory exam. They are to be handed into the invigilator before the exam begins,and may be collected as you leave the examination room.

Eating or drinking is not permitted in the examination room, unless there is a medical reasonfor you to have sustenance with you (eg. a sugary drink or sweet if you are a diabetic).

The only things you need in the exam room are those that will enable you to write the exampaper – pen, pencil, rubber, ruler, blotting paper, spare cartridges, pencil sharpener for example.

Philip Aldred, Chief Examiner in Music

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New ESOL Examinationsby Stephen Hazell, Chief Examiner in Drama & Communication

THE EXAMS

LCM’s ESOL examinations are:

1. Externally connected

• Benchmarked – they are developedso as to correlate with the mostrespected authority, CEFR (CommonEuropean Framework of Reference forLanguages)

• Correlated with UK nationallanguage-learning standards at allgrade levels

• Devised to develop university-levelspeaking, reading and listeningcapacities at the higher grades

2. Internally distinctive

• An especially user-friendly approachat Early Learning and Steps

• Our drama-related emphasis in thesyllabus structure leads to uniquevalue-added performance skills,based in story-telling and a variety ofaudience-aware presentations

• The student acquires the foundationfor life-long learning in languageacquisition, and in interpersonalskills: how to hold, entertain, convince,impress and lead in a variety ofsituations

These are natural ambitions for an examiningsection that fully believes in the special rewardsof both Drama and Communication.

It can also be noted that research writings aresteadily approving the case for the power ofdrama-linked activity in language learning.

THE SYLLABUSES

ESOL Syllabus 2013-2016: the full set ofexaminations is published in a single booklet.To access it, go to: www.uwl.ac.uk/lcmexams,choose Subjects then ESOL.

The contents are:

• Early Learning: Individual Stages andGroup Stages

• Steps 1-3

• Grades 1-8

Early Learning and Steps: a Guidebook is alsopublished online, with helpful notes for teachersand candidates.

Grades 1-8: the Passages Guide for earlygrades is already available online and thecomplete set will be available shortly.

THE SYLLABUS TEMPLATE

Look at the published syllabus for Steps andGrades and you will see that each examinationcomponent has three descriptions attached:

• Task: a clear instruction of the task tobe undertaken in the exam room

• Preparation: notes of guidance forteacher and student on useful ways ofpreparing for the exam

• Purpose: a statement of the mainintention of the examination, andhence the main thing that examinerswill be looking for; this is thus a guideto the main assessment criteria

We believe that this structure for the syllabuseswill be helpful to teachers and students. Pleasethink seriously about developing this work,wherever you are located.

Washing powders used to advertise themselves as ‘New! Improved!!’This always struck me as a contradiction – there had to be an earlier newproduct, shining bright in its own time, and now being improved on, evenshinier and brighter, but not altogether new.

Our new ESOL exams do, it’s true, replace an earlier syllabus, but itreally isn’t a question of improvement, it’s a matter of doing somethingentirely new, yielding an exciting and up-to-date contribution to the fieldof language learning.

ESOL SyllabusEnglish for Speakers of Other Languages

• ESOL Early Learning (Individual)• ESOL Early Learning (Group)• ESOL Steps• ESOL Grades 1-3

2012 - 2016

Jazz GradesA number of updates have recentlybeen made to the jazz gradessyllabuses (applicable to jazz piano,flute, clarinet, saxophone, trumpetand trombone).

1. Studies

A new study option has been addedto the Technical Work, as analternative to scales and arpeggios.

The studies – newly composed byLCM jazz syllabus compiler StuartCorbett (piano studies) and his son,jazz trumpet player Bryan (windstudies) – may alternatively be playedin List A of the Performancecomponent if they have not beenselected in Component 1.

They are available exclusively asdownloads in pdf format fromwww.LCMEbooks.org, either byindividual grade or as a complete setat a discounted price. A new set ofspecimen jazz aural tests has alsobeen added to the website; see thearticle on page 8 for full details.

2. Free Choice Memory Option

Graded jazz candidates may now optto perform ONE piece as a free choice,to be performed from memory. Thisoption offers an opportunity todevelop skills important to the jazzmusician and to build up a bank ofmemorised pieces. Pianists must playunaccompanied; wind players may beaccompanied, or the piece may beplayed solo.

Please refer to the latest editions ofthe jazz piano, jazz woodwind and jazzbrass repertoire lists for details.

The most up-to-date versions of allsyllabuses and repertoire lists areavailable on the ‘Subjects’ page ofour website www.uwl.ac.uk/lcmexams

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Downloads Website: www.LCMEbooks.orgWe are pleased to announce a number of additions to our downloads website, www.LCMEbooks.org. Thisbegan as a resource for theory papers and handbooks but has been expanded to cover various othersubjects, and there are plans for further additions.

Currently available on the website are:

Theory past papers

Past papers for grades (2002 onwards) anddiplomas (2010 onwards), priced from just 57peach, with discounts for multiple papers.

Theory answers

Worked papers for selected sessions; eachdownload includes the original paper, a paperwith specimen answers and a mark scheme.

Theory handbooks

Digital versions of the handbooks for Step andGrades 1-8 – a vital resource for all studentspreparing for theory exams.

Specimen aural tests – NEW

A set of examples of the new jazz aural tests,plus a digital version of the standard specimenaural tests book. Available either by individualgrade or as a complete set at a discountedprice.

Piano recordings – NEW

Audio recordings of all of the studies and pieceslisted in the piano grades syllabus – priced fromjust 65p each and with discounts for ‘handbookcollections’. Performed by syllabus compiler,Peter Wild. A useful aid for exam preparation,or as part of the process of selecting repertoirefor the next exam.

Jazz studies – NEWStudies for jazz piano, wind and brass; thesemay now be performed as an alternative toscales & arpeggios. Studies may be purchasedindividually, or as a complete set at a discountedprice.

The ordering process is straightforward andquick, and the website uses the highly secureSagePay for payments, which features top-levelencryption so that your card details are totallysecure.

Early Childhood Music Teaching DiplomasI am very pleased to be able to announce a new set of music teaching diplomas, intended for those who teach music to pre-school children inkindergartens and other places. These complement our Early Learning, Pre-Preparatory, and Step qualifications.

There are three levels of diploma, with the overall title of Early Childhood Music Teaching: DipLCM, ALCM, and LLCM. Written with considerable inputfrom Flora Lim, Director of Seimpi Academy of Music, Singapore, these diplomas have been successfully piloted for more than a year in Singapore andMalaysia and will now become available everywhere.

The design of them is based closely on the existing teaching diplomas, with appropriate changes of detail. The main features of each level are asfollows:

DipLCM (ECM)

• A 20-minute video of music teachingfeaturing a group of children of pre-schoolage

• A 20-minute presentation, including a5-minute performance of songs and othermusic by the candidate, self-accompaniedon keyboard, piano or guitar

• A discussion with the examiner

Pre-requisite: Grade 5 theory of music fromLCME/UWL or the equivalent

ALCM (ECM)

• A 20-minute video of music teaching (asabove)

• An essay of 2-3 thousand words on a settopic

• A 30-minute presentation, including an8-minute performance of songs and othermusic by the candidate, self-accompaniedon keyboard, piano or guitar


Pre-requisite: DipLCM (ECM)

For the DipLCM teaching videos, candidates should feature children they have known for at least three months; for the ALCM, children they havetaught for at least three months.

The full syllabus will be available on the LCME website (www.uwl.ac.uk/lcmexams).

John HowardDirector, London College of Music Examinations

LLCM (ECM)

• An observation report based on threeearly childhood music classes taught bythe candidate

• A dissertation containing a case study,analysis of three music extracts, and ashort essay on a set topic

• A 30 minute presentation focusing on thecase study


Pre-requisite: ALCM (ECM)

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Supplementary Pieces for Electronic Keyboard Examsby Janet Dowsett, Senior Examiner and syllabus compiler

However, I do wonder if some teachers onlyever use the handbook for the exam materialand miss out on the wealth of supplementarymaterial which has been carefully selectedfrom general keyboard publications and whichcan be used as List B and C pieces in the gradeand leisure play exams? You will not findthese listed in the handbooks of course, but inthe syllabus itself. They are there to give yourcandidates a wide experience of lots ofdifferent playing styles.

Several criteria have been applied to the choiceof supplementary pieces. Firstly, they have to‘fit’ the grade criteria, to match the standardof the pieces in the handbooks. So the keyschosen, time signatures, chord ranges, notevalue ranges and so on are all parallel to thehandbook for the grade. Then we consider avariety of original pieces and well-known songs.Using published books as supplementarymaterial gives us the opportunity of includingcopyright songs in the grades. That is how wecan have a candidate playing a Robbie Williamssong at Grade 2, or a song from Les Misérablesat Grade 3.

As a teacher I love this aspect of thesupplementary material. Several of mystudents own the books anyway and use themas part of their lessons. They enjoy playingsongs they know, now and then, as well as theones they don’t know. It’s great when a studenthas practised She’s The One already becausethey like it and then you announce to themthat they can use this as one of their pieces intheir next exam. You’re a third of the waythere already! The Complete Keyboard Playerbooks are used by many teachers and oftenprovide interesting material, especially theAnthology, Dinner Jazz and Jazz & Blues.These, alongside the tuition books 1, 2, 3 and4, are on the shelves of most of my students.

We are very aware of the cost of buying lotsof different music books in lessons. That iswhy we try to get the best out of a book bychoosing as many pieces as possible from thatbook as supplementary material, and by trying

to spread the book across morethan one grade where possible.

One book which fulfils thesecriteria brilliantly is the brand newGrade Fun written by PennyWeedon. Penny is a contributor tothe current handbooks and haswritten pieces for the grades overa period of several years and forthe previous two syllabuses. HerGrade Fun book includes the twopieces for each grade which wereso popular in the previoushandbooks. So if you have fallenin love with Rainbow or Canals OfAmsterdam or Won’t Never PlayThat Tune No More and wish yourcandidates could still play themin the new syllabus – just get acopy of Grade Fun for your studentand that book will stand them ingood stead for all eight grades.

When choosing supplementary material wetry to appeal across the board to players wholike using chord symbols, but also to theincreasing amount of candidates who read bassclef. Two main series have been selected withthe bass clef reader in mind – the ever popularMicroJazz books and the lesser-known butbrilliantly written Presto! books. Both giveample opportunities for candidates to exploittheir own style of playing in List B and C pieces.Both are clearly written by musicians whounderstand how to fuse ‘piano style’ withmodern keyboard techniques and facilities.

Finally, we consider appealing to different agegroups when selecting supplementarymaterial. Not everybody who takes a gradeexam is a youngster. That’s why we look to awide range of pieces which might suit differentages and personalities. So at Grade 3 youmight like to choose Isn’t She Lovely? whilstanother candidate might prefer the FlowerDuet from Lakmé. This is taken from a book inthe Keyboard Cocktails series which we havealso used quite extensively.

It is important to remember that ifsupplementary material is used, the candidatemust bring their book to the exam, and notwork from a copy. Make sure that thekeyboard’s facilities are exploited andregistration changes occur in the same wayas in the handbook pieces. The List A studymust be played from the handbook, but theList B or C piece, or both, can come from thesupplementary material.

All information about the supplementarymaterial is clearly laid out on page 11 of thesyllabus, where details of publications andpublishers with telephone numbers andwebsite addresses are given, so you can findout how to obtain the books.

Oh, and as a postscript – when thesupplementary material was chosen for thissyllabus, the publishers were contacted and itwas ascertained that they had enough copiesof the books in stock for the time being, withno plans to put the books out of print. However,you never know... – it keeps us on our toes!

We are delighted that the new electronic keyboard handbooks have been greeted withsuch enthusiasm. I have had the pleasure examining some of the new syllabus gradesin the last exam session – it’s great to hear the new pieces played so well.

A selection of books featured in the supplementary lists

10

Announcements

2014 Examination Dates (UK & Ireland)Closing dates and exam dates will be as follows:

Late EntriesThe standard late entry period is one week following the closing date. A fee applies for postalentries submitted during this period, but this fee is waived for online entries.

Entries may also now be submitted until the day before the exam, subject to conditions. The feefor entries made after the standard late entry period is double the normal fee. Such entries areonly accepted where timetabling is possible, and as such must be approved in advance by the LCMExams office.

LCM Exams is exhibiting at thefollowing events during 2013:

Music Education Expo20-21 March

Barbican Centre, London

Society of Teachers of Speechand Drama Conference21-24 August

Writtle College, Essex

North West Music MarkConference2 September

Huyton, Merseyside

“Although these handbooks areprimarily intended for use by thosetaking LCM exams, they can of courseact as handy repertoire books forthose who aren’t.”

“LCM differs itself from the otherboards by offering a greater varietyof exams at each level. LCM’s RecitalGrades and Leisure Play give thecandidate the option of doing awaywith the viva voce, sight reading and/or aural components of a standardexam in favour of playing another oneor two pieces, while PerformanceAwards are assessed via DVDsubmission. The alternative types ofexams that they offer will beattractive to some candidates.”

Pianist, August 2013 issue

LCM Piano Handbooks


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Special Consideration (absence through illness)Teachers are reminded that we no longer require doctors’ notes to be submitted at the time of theexam, and half-fee re-entry permits are no longer issued. Instead, teachers should submit thedoctor’s letter at the time of the re-entry, and pay half the current fee. The original attendancenotice (or details of the exam) should be attached. The doctor’s letter must make it clear that thecandidate was incapacitated on the day of the original exam appointment.

2014 Closing Dates (Asia)Closing dates for entry for all centres in Asia will be as follows:

• Spring: 3 January

• Summer: 25 April

• Winter: 29 August

For further details about exams in Asia, please contact our regional representative:

Ms Peline Ong, Lui Events Pte Ltd, 57 Mohd Sultan Road, #03-05 Sultan-Link, The Tokyo Suite,Singapore 238997

Tel: 65 6622 5868 Fax: 65 6622 5867 Email: [email protected] www.lui.com.sg

Session Closing date Practical Exams Theory Exams

Spring 1 February 22 March - 26 April Wednesday 2 April

Summer(Scotland, N Ireland, Ireland)

21 April 24 May - 21 JuneSaturday 14 June

Summer(England, Wales)

1 May 21 June - 26 July

Winter 1 October 15 November - 20 December Saturday 29 November

Accepted Fee (postal entries) Fee (online entries)

STANDARD ENTRIES until closing date standard fee standard feewith 5% discount

LATE ENTRIESuntil one week after closing date fee plus late fee standard fee

with 5% discount

until the day before the exam(subject to conditions) double the standard fee not available online

11

Exam Tips

Jocelyn wrote:

We all enjoy success. No matter what our agewe like to think that we have a reasonablechance to succeed in whatever we choose todo. At LCM Examinations we have, for manyyears, based our syllabuses and criteria on firmfoundations and standards which we hope willresult in success for the students who chooseto study for our exams. The Drama &Communication syllabus is no exception. Ourexaminers enjoy success too. In their role theyearnestly want the students they assess to besuccessful. This brings fulfilment to their work,and obvious pleasure to the students whosehard work and skills are recognised andappreciated by them. But at times we cannotalways manage to reach that extra (sometimesvery short) distance which would enable us tograsp success. Sometimes it is very simplethings which snatch it from us – like beingnervous, a feeling that we didn’t do enoughpreparation, or not believing in ourselvesenough.

These are factors which teachers, all too often,recognise in their students. Questions such as‘Why did I do so badly?’ and ‘Why weren’tmore marks given?’ are sometimes difficult toanswer, but answers could include some of thefollowing:

a) Not reading the syllabus correctlyIt is important to make sure that pieces whichare selected comply satisfactorily with thecriteria in the syllabus. Sometimes pieces arechosen from a different grade and this leads to

Drama & Communication: Notes for Teachers and CandidatesA while back, when Jocelyn Lord was Chief Examiner, she produced some excellent notes for an edition of Forte. They are just as relevant today.

some difficult decisions for the examiners. Timelimits can also cause problems. It is importantto make sure that pieces are suitably selectedso that the student is not speaking or acting apiece which is beyond their understanding.

b) Learning the piecesLearning can sometimes be difficult – somestudents learn more quickly than others. Thepiece does not have to be too long: sometimesa shorter piece learned well is much moreeffective than a longer piece which is full ofhesitations. Once the words are really learnedand understood it is possible to relax and enjoythe experience, making it a wonderful momentfor both the examiner and the candidate. Oneof the greatest problems is being in too muchof a hurry. Think much more about pauses, andhow they can add mood and atmosphere to theenjoyment of the work.

c) Context of the piecesIt is important to read and understand the booksand plays from which the pieces are taken.When asked about the literature, candidateswill sometimes say, “I haven’t read it”. It isunderstood that sometimes there is difficultylocating copies, especially if the work is out ofprint, but information is often available fromlibraries or the internet. Examiners will alwaystake this into consideration if the student isanimated and is seen to have done their bestto research.

d) PresentationThe presentation of any piece is of greatimportance. There needs to be an awarenessof the space which is available in a performancearea, and this space needs to be used toadvantage. Setting a scene needs to bepractised. Often students will perform veryclose to the examiner’s table or place a chairup to the table – this does not give room forany variety of movement and can causeembarrassment. Pieces need to have some kindof introduction, and most definitely a title.

e) Vocal varietyThere must also be awareness of the way inwhich the voice is used. Even with very youngchildren, if they understand the meaning behindtheir pieces they will often produce somesplendid vocal variety. This makes all vocal work

interesting. Students need to spend timeconsidering the words and phrases with a viewto making them dynamic and interesting tothe audience. The examiners are the audienceand need to feel that they are being ‘broughtin’ to the performance. Inaudibility is often areason for marks being lost. If the room is alarge one the student needs to respond with agreater degree of projection, making sure thatthe pace of the voice allows for clarity.

f) Sight readingSight reading requires lots of practice. Beforebeginning to read the passage, the title shouldbe given. A slower pace of reading is a goodidea, so that there is a chance to look well ahead.At the end of phrases, looking up will help tocommunicate the passage.

g) Folder of WorkThe Folder of Work has proved a very helpfullearning strategy. The pieces chosen should beof interest to the student so that they candiscuss them with some knowledge. Goodpresentation, in the form of some illustration,is a splendid idea, demonstrating obvious skills.

Additional note: since 2010, the Folder atGrades 1 to 5 has had the added requirementof a Personal Reflection. Guidance as to themain content of the Reflection is given in eachcase. It is worth stressing that this should notbe a comment on each piece in the Folder, buta single short personal commentary, placed atthe end of the Folder.

h) DiscussionWhen it comes to the questions, there are no‘trick’ questions and no deliberate attempts tocatch students out. The examiner wants to hearwhat the candidate thinks about the pieces theypresented and what they enjoyed aboutproducing their performance. Where theory isneeded at the higher levels, we hope forconversational rather than purely rehearsedanswers, to show the student’s personal interestin the topic.

i) HelpLCM is always ready and pleased to help withany advice needed in order to bring about thesuccess which is so important to us all.

12

Features

Congratulations to LCM examiner Alice Chua,whose Playing Piano is Fun series has recentlybeen published.

Playing Piano is Fun is a keyboard tutor seriesfor beginners. It is designed to meet thedevelopmental needs of children as theyjourney through the wonderful world of music.The tunes are specially composed by AliceChua, and are based on the characters andsubjects from the classic stories of Alice’sAdventures in Wonderland and Through theLooking-Glass by Lewis Carroll. The literaryexperience is translated into the language ofmusic with the intention of awakening themusical interests of children.

Playing Piano is Fun is a novel approachdeveloped through the author’s practicalexperience derived from teacher-pupilinteraction. The large music font size capturesthe students’ attention and helps them to focus.Meanwhile, pages are left intentionally withoutpictures to encourage students to furtherexpress their creativity by providing illustrationsfor the songs themselves. New elements areintroduced incrementally and are incorporated

Playing Piano is Fun – Alice Chua

progressively. Teacher’s accompaniment isencouraged to enhance the musical experience,thus inspiring and motivating students. Somesuggestions for the enhancement of theteaching elements can be found inside the frontcover. In addition to playing piano, this series’unique approach includes listening, singing,transposing, harmonising, improvising andcomposing at an early stage.

The series comprises four books, and ispublished by Rhythm MP (UK distributor: FaberMusic).

Aine Nic GhabhannI first met Aine in Charleville some 25 yearsago, and on many visits to Tralee, Cork andKillorglin whilst examining.

Aine was a gifted vocal teacher, having manystudents who achieved success at RAM andlater in their professional careers.

Aine’s rich profundo contralto voice was wellknown in Ireland, the UK, Germany and America.I had the privilege of working in concerts inIreland and the UK with Aine and I wasimpressed by her great ability to ‘work’ or‘assess’ the mood of the audience.

She will be sadly missed, especially in CountyKerry and Cork, where she worked and hadmany friends.

At LCM we will miss her as a former examiner,a representative and a teacher, and we sendour condolences and very best wishes to hertwo sons, Shaughan and Beirti, and her friendsin Ireland.

Barry DraycottSenior Examiner

LCM Piano Handbooks

“This new syllabus… is ambitious,innovative and in some ways groundbreaking. It offers the usual gradedexaminations but also launches awhole new type of exam: the RecitalGrade, which consists of four piecesplus sight reading/viva voce, or justfive pieces. Fully accredited, RecitalGrades can be made up of piecesdrawn from any list from the relevantgrade. Will this new developmentchallenge the traditional grades andappeal to the droves of busycandidates who hate add-on tests andtechnical work?”

“The graded books include all scales/arpeggios, sight reading and auraltests and full programme notes (tohelp students with viva voce, requiredup to and including Grade 8). Studies(also included) can be performedinstead of the scales and arpeggios.Lots of international composers andunfamiliar repertoire will be aprofessional development opportunityfor piano teachers!”

“I believe it is a promising yetchallenging new syllabus for studentsand their teachers – congratulationsLCM!”

Music Teacher, January 2013



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Performance AwardsAs I complete writing up a number of DVDPerformance Award report forms, it occurs tome to write and say how pleasurable it is tolook at, listen to and report on these. The onesjust completed were: two pop vocals, a piano,an electronic keyboard, a couple of side drumand an Irish traditional fiddle.

Do consider this as an option if you do not wantto be examined ‘live’ in an exam room, or youwish to have a report on the pieces that you arepreparing for a graded or recital exam later inthe year. You will receive a full report – as forany of our exams – and this will enable you togauge your progress and see where you are inyour performance level, and for you and yourteacher to have some feedback which you canuse to enhance future music-making.

Why not give the DVD option a try and havefun!

Philip AldredChief Examiner in Music

Congratulations to LCM examinerCoral Gould, who was awarded anMBE in the 2013 New Year's HonoursList for services to Music and the Arts.

13

Features

It is with great sadness that we report thedeath of former Senior Examiner JackRichards.

Jack was a key part of LCM Exams for manyyears as the examiner responsible for thepercussion syllabus. Jack’s involvement withpercussive education dates back further, when,in the early 1980’s, with Brian Stone, heestablished the first set of drum kit andpercussion exams with the Guildhall Schoolof Music and Drama. This pioneeringdevelopment has been the basis for mostpercussion teaching for the past 30 years.

As a young percussionist in the mid 80’s, thename Jack Richards was symbolic in myupbringing. Of course, I never realised thatone day I would become a colleague and moreimportantly a friend to this lovely man. Inrecent years, I had the pleasure of workingclosely with Jack creating the current drum kitsyllabus. He was always so thoughtful aboutnew developments and the implication thatthey might have in the exam room. As anexaminer, Jack’s calming approach toeverything meant that any candidate wouldget the best out of their playing.

Although Jack retired from LCM Exams acouple of years ago, we remained good friendsand he was always a great sounding board forany advice that was needed.

Jack’s passing is a great loss to the musicworld and we offer our deepest sympathies tohis family at this time.

Aidan GearyExaminer

Rex Satchwell RetiresJocelyn Lord writes:

We were all rather sad when we heard that RexSatchwell, one of our long-standing examiners,had decided to retire. It always seems that 'older'examiners become 'part of the furniture' and thatwe cannot imagine being without them. I knowthat Rex thought long and hard before making hisdecision, but he is a decisive person and knowsthat regrettably the time has come.

Over the decades his contribution to LCM has beenimmense. Together with tireless examining –often at very short notice – he has made valuablecontributions to the syllabuses, publications, anthologies and teaching guides, as well as tothe training of examiners and the moderating of written exams. Much of the published workremains, and will be an inspiration to students.

That he will be missed is an understatement. I met with him a few weeks ago. He lookedextremely well, and was looking forward to moderate travelling, and to enjoying his deepinvolvement and commitment to Coventry Cathedral. Long may he continue to enjoy allthese things as he leaves with the kindest thoughts and regards of all his fellow associatesand examiners. We all wish him a happy retirement.

Stephen Hazell adds:

The Drama & Communication examiners group has, with Rex’s retirement, lost a veryspecial contributor. He brought to us deep theatrical and literary knowledge. His was anauthoritative voice, therefore, and his actual voice, rich and powerful in quality, will remainetched on our memories.

Our exam candidates will also remember Rex, as a clear and thoughtful examiner, who wasin the business of testing them (as examiners should), while at the same time being eagerto seek and reward the positive qualities of their performance and understanding.

Jocelyn has noted the wide range of his involvements in the work of LCM Examinations. Hehas been a significant shaping force for us, and deserves our warmest thanks. He will bemissed by the office staff and the Music examiners also, and we all wish him much fulfilmentin his further ambitions.

Jack Richards

Chief Examiner Philip Aldred [right] presenting theFLCM by Professional Achievement to DarrenHenley, Managing Director of Classic FM and

author of the government-commissioned reviewsof music education and cultural education

We are very sorry to report therecent deaths of the followingfriends and colleagues:

Gail Chambers, representativefor Newport

John Clarke, representative forThe Singing Studio, Yeovil

Aine Nic Ghabhann,representative for Killorglin

Khoo Joo Lin, representativefor Penang, Malaysia

14

Features

Graduation Ceremony

London College of Music Examinationssuccessfully held its Graduation Ceremony on1 September 2012 at The Grand Ballroom atSunway Putra Hotel, Kuala Lumpur, Malaysia.

The ballroom was filled with diplomats in highspirits from the Asia region who arrived forone main reason: to receive their diplomas atthe Graduation Ceremony.

There were more than 500 attendees, includingdiplomats (for 2009-2011), their familymembers and LCM exam centrerepresentatives.

The ceremony commenced with a grandprocession of the platform party consisting ofProfessor Anthony Woodman (Pro-ViceChancellor, University of West London),Professor John Howard (Director, LondonCollege of Music Examinations), Peline Ong(Regional Representative, Asia Pacific andIndia), LCM examiners Rosy Chua, Tonni Wei,Christopher Tutin, Robert Langston, Wei Wongand Achini Abeygunawardene, and Elaine Kang(Honorary Fellow of the London College ofMusic).

Syuen Toh, from UKEduNet Sdn Bhd, alsoreceived the Honorary LCM from Professor JohnHoward for the wonderful work she has donein the past for LCM Examinations.

In conjunction with the Graduation Ceremony,the Board of Governors of the Asia PacificBrands Foundation awarded the Brand LaureateBrand Personality Award to Professor JohnHoward, and the Brand Laureate Premier Awardto London College of Music Examinations.

We look forward to seeing more diplomats atthe next graduation ceremony in 2014!

LCM Exams Graduation Events, September 2012by Peline Ong, Regional Representative, Asia Pacific and India

Reception for Exam CentreRepresentatives

For the first time, LCM Exams hosted anevening reception for our exam centrerepresentatives from the region, who have beenworking closely with the exams office. It was agreat opportunity for our representatives to getto know each other, building a strong rapport tofurther strengthen the working relationship.

Group photo with all the diplomatsand platform party

Professor John Howard (Director, LondonCollege of Examinations) delivering a speech

during the Graduation Ceremony

Professor John Howard and Professor AnthonyWoodman (2nd from left) receiving the Brand

Laureate Brand Personality Award and theBrand Laureate Premier Award

Syuen Toh receiving the Honorary LCMfrom Professor John Howard

Piano Book Launch

The launch of the new piano handbooks wasvery well received by exam centrerepresentatives and teachers. It was presentedby Professor John Howard, with demonstrationsof the pieces by Robert Langston. The launchalso provided an opportunity for representativesand teachers to buy the books at a discountedprice, and it proved to be a successful event.

2014 Graduation Ceremony

The next graduation ceremony will be held in 2014. We will be sendinginvitations to all diploma candidates passing exams in 2012 and 2013.

15

Features

When Ruth Travers first spoke to me aboutthe Stave House method I immediately fell inlove with the idea. Using stories and songsand animal characters to engage a child’simagination and to make notation learningfun and accessible, it just made so much sense!I first began using Stave House with my 3year old nephew and he was instantlyenthralled by this new ‘game’. He is now nearlyfour and can identify all of the notes on thetreble clef and can clap all of the basic rhythms.

Working at Barnes Farm Infants’ School withYear 1 and 2, teaching Stave House, has beena truly wonderful experience so far. I amconstantly amazed at the speed with whichthese young children are grasping the languageof music notation. In just one term, themajority of pupils in Year 2 have learnedenough to be able to enter for their StaveHouse Level 1 Award and are able to sightread Mary Had A Little Lamb and play it onchime bars or hand bells. My little Year 1s arealways excited about music lessons, and askme as I pass them in the corridor, “Have wegot any new characters today?” It is alwaysencouraging to hear such enthusiasm!

Stave House AwardsThe photos below were taken at the StaveHouse Music Awards launch event, heldon 13 September 2012 at the Universityof West London.

Back: Russell Travers (Stave House),Philip Aldred (LCM Exams),Andrew Hatt (LCM Exams).

Front: Marcia Perkins (Stave Houseassessor), John Howard (LCM Exams),

Ruth Travers (Stave House)

Ruth Travers (creator of Stave House)

John Howard (Director of LCM Exams)

Sara Raybould (Director of the LondonCollege of Music)

Stave House Awards Launch

I would recommend Stave House to anyinstrumental teacher looking to teach youngchildren how to read music notation in a waythat they will really connect with andunderstand. I have already begun using StaveHouse with all of my young students, and Iwill soon be starting group music classes for3-8 year olds based around Stave House atmy new theatre school near Colchester. I amvery proud to be a part of such an excitingdevelopment in children’s musical education!

Laura Wyattwww.thefandango.co.uk

Waterford

Congratulations to Emily Fox (flute) and EimerFinnegan (fiddle), who both passed the DipLCMin Irish traditional music performance in theSpring 2013 session.

Emily and Eimer are pictured with theirteacher, Nora Byrne Kavanagh, who runs theWaterford exam centre.

Congratulations to Sally Mae Comey, whoachieved 100% in her first music theatreexam. Sally Mae is pictured with her teacher,Tanya Erskine (East Belfast representative),and Tanya’s mother, Ray McGinley (examinerand Londonderry representative).

Londonderry

16

Features

Rob Fordham Examathon

Rob is a fully qualified professional musician,so this challenge was to raise money throughsponsorship for charity. Rob raised a total of£607.50 for ‘Destination Florida’. This is achildren’s charity based in the North West ofEngland which specialises in creating holidaysof a lifetime for children who have notexperienced the fun and laughter of a normalchildhood due to illness.

Janet Dowsett had the very pleasant task ofbeing the examiner for the event. Janet said,“Even though I knew that Rob was a very capableplayer and excellent teacher I still didn’t knowhow he would fare in this tremendous task ofplaying eight consecutive grade exams. Afterall, how many people play every single scaleimpeccably, get all ear tests accurate withperceptiveness, play beautifully expressivechord sequence tests, know all answers to vivaquestions, and produce stunning versions ofpieces, all appropriate to the actual grade? Theamount of preparation he must have put intothe exams was phenomenal. And he was ableto control his inevitable nerves on the day toproduce stunning performances. I have to say Ihave never before given such consistently high

We are delighted to bring you news of a great challenge completed by theMusic School Manager of one of our thriving LCM centres. Rob Fordham, ofPresto Music School in Warrington, successfully completed an LCM‘examathon’ when he took every LCM electronic keyboard exam back to back,from Grade 1 through to Grade 8. This unique event involved over three hoursof constant playing with increasing technical difficulty, not to mention endlessscales, viva questioning and ear tests, with chord sequence and accompanyingtests chosen in equal measure.

marks. It was a realprivilege to listen to him.”

Rob actually gained eightdistinctions. Several of thegrades were awarded100%, and he evenachieved 99% at Grade 8! All of this occurredon the fifth day of the exam session, after Robhad been in charge of dozens of examcandidates of his own and other teachers atthe centre. He must have been worn out beforehe started.

Rob said: “The challenge was originally givento me by some of my Grade 5 students, so Ithought it would be a good way to engage themin doing something a bit different. It was a lotmore work than I had anticipated, but it feltgreat to put myself back in the shoes of thepeople I’ve taught at Presto over the past 8years.

I feel the experience has not only helped meas a player, but also as a teacher preparingstudents for the very exams that I sat. I wasoverwhelmed by the support and sponsorship

that I received from colleagues, friends, familyand students, who gave generously to anexcellent cause.

I can now answer the question ‘What wouldyou get if you did Grade 1’ too!”

We hope other teachers will be inspired by thisto take exams themselves. It’s unlikely thatyou’ll do your own ‘examathon’ (though notentirely!), but perhaps you can take an exam inan ‘unknown’ instrument? We have heardwonderful stories of teachers training eachother in unfamiliar musical instruments(basically ‘swapping’ instruments) and takingGrade 1 or 2 exams in those new instruments.It’s always good for teachers (and examiners)to remind themselves how it feels to take apractical music exam – why not be motivatedby Rob and others and give it a go?

Theory Past Papers, Theory Handbooks and Piano Recordingsnow available as downloads from www.LCMEbooks.org

www.LCMEbooks.org – the digital store for LCM Exams theory handbooks, past papers and piano recordings

Practising with past exam papers can provide ideal preparation for your LCM music theory exam. Past papers also provide you with a clearexample of the type and format of questions that may appear in the exam.

LCM music theory exam past papers are now available as low-cost digital downloads (57p each, or less if you buy more than one) and asthe past papers are downloads there are also no postage charges – you’ll receive them direct to your computer within moments of placingyour order.

Discounts are available for teachers and schools that wish to print multiple copies.

Visit www.LCMEbooks.org to download any past papers since 2002.

Also available on the website are the LCM Theory of Music handbooks in an easy to download digital format, allowing you to save time andmoney by downloading the theory book for any grade with just a few clicks of your mouse.

ALSO NOW AVAILABLE: sample theory answers ~ piano recordings ~ aural tests ~ jazz aural tests ~ jazz studies

17

News from Centres

DromoreOn Thursday 11th April 2013 a large audiencegathered at Dromore High School, Co Down,for the annual Charity Concert and LCMPresentation Evening.

The audience was treated to a programme ofgreat variety. Speech and drama, music theatre,music composition, rock guitar and piano wereall represented in performances at variouslevels, but always of a high standard. Therewere also interludes, which delighted theaudience, from the versatile Lisburn SaxophoneEnsemble.

The joy of music and drama shone through andmany ages and generations were represented.

Seventeen year old Rory McCollum waspresented with the Sonya Russell Trophy forHigh Achievement. Rory recently gained hisALCM in speech and drama.

The Music Galleria Shield of Excellence waspresented to Sarah Kilpatrick, who achieved100% in her Step 1 pianoforte exam. MusicGalleria also provided a large amount of musicfor the inspired to purchase.

Proceeds of the event went to the NorthernIreland Cancer Fund for Children.

At the close of the concert, comments indicatedthat budding musicians and actors had beeninspired and the audience had been treated toan uplifting concert.

LCM Representative, Sonya Russell, her familyand team of supporters deserve our gratitudefor the dedication given in organising such anevent and the encouragement they give to theparticipants.

Stuart CorbettSenior Examiner

UK & Ireland Exam Centres

New Representatives

BarnstapleKate Pilkington, Ingleside, Bowling Green,Combe Martin, Devon EX34 0LGT 01271 882843E [email protected]

BallymenaSonya Russell, The Manse,3 Rosses Meadow, Ballymena, Co AntrimBT42 2SDT 028 2564 8646E [email protected]

Blackburn & BurnleyCraig Smith, 290 Tag Lane, Ingol, Preston,Lancashire PR2 3UYT 07793 811318E [email protected]

CoatbridgeMary Curran, 56 Crathie Road, Glenmavis,Airdrie, Lanarkshire ML6 0NRT 01236 755354E [email protected]

Colwyn BayJacqueline Lloyd, Y Bwthyn Bach,157a Conwy Road, Colwyn Bay LL29 7NAT 07850 178824E [email protected]

Crewe/AlsagerAnn Burden, 627 Huddersfield Road,Oldham, Lancashire OL4 3PYT 07510 097001E [email protected]

DublinHelen Conlon, 1 Richmond Place / Apt. 2,Rathmines, Dublin 6, IrelandT 01 547 8182E [email protected]

GalwaySorcha Barry, 56 Windfield Gardens,Knocknacarra, Galway, IrelandT 086 151 5121E [email protected]

GrimsbyMelanie Benzon, The Farmhouse, WarrenRoad, North Somercotes LN11 7RAT 01507 358907E [email protected]

Photos 3 & 4 by kind permission ofDrew McWilliams

Thanks and best wishes to the following, who have recently stepped down as representatives:

Margaret Allen Ballymena

Gary Taylor Blackburn & Burnley

Alycon Abbott-Brown Colwyn Bay

Margaret Jones Colwyn Bay

Catherine Donohoe Dublin

Rian Carney Galway

Stephanie Norman Grimsby

Joy Ward Hull

Maureen O’Hara Keighley

Gill Tripp Market Lavington

Alan Hamilton North West Lancashire

Maureen Burgess Sheffield

Alice Greening Tunbridge Wells

Dorothy Finch Wigan

18

Belfast & Lisburn School of MusicUK & Ireland Exam Centres

New Representatives

HullKathryn Adams, 3 Cavendish Road,Hull HU8 0JST 01482 799543E [email protected]

KeighleyMichael Turner, 58 Holdsworth Road,Holmfield, Halifax HX2 9SZT 07878 155879E [email protected]

KillorglinBeirti O’Nunain, 45 Slipway House,Burrells Wharf, London E14 3TDT 07887 675026E [email protected]

Market Lavington [Summer only]

Adrienne Hale, 17 Dark Lane North,Steeple Ashton, Trowbridge BA14 6EYT 01380 871890E [email protected]

OmaghBrian H McDevitt, Brae Studios,15 Castle Brae, Newtownstewart,Co Tyrone BT78 4AST 07747 687073E [email protected]

Preston North and FyldeCraig Smith, 290 Tag Lane, Ingol, Preston,Lancashire PR2 3UYT 07793 811318E [email protected]

SheffieldHilary and Steve Osborn, 75 Haywood Lane,Deepcar, Sheffield S36 2QFT 0114 283 0431E [email protected]

WiganRachel Hooton, 3 Barn Lane, Golborne,Warrington WA3 3NRT 01942 700601E [email protected]

News from Centres

In the weeks leading up to Christmas 2012, Iwas privileged to attend two special concertsin Northern Ireland.

Belfast representative Angela Sofley organiseda High Achievers’ Concert, which took place atFinaghy Methodist Church.

The large audience was treated to a concert ofthe highest standards. The concert alsoreflected the great breadth and depth of theLCM Examinations system. Some of theperformers chose pieces which were not onthe examination syllabus. The result was awide range of repertoire and styles. The levelsrepresented ranged from Steps through tovarious diplomas. Subjects included classicalpiano, jazz piano, jazz trumpet, classical singing,pop vocals, classical harp, Irish traditional fiddleand tin whistle, music theatre, speech & dramaand ensemble (choir).

The appreciation and quality of theperformances was reflected in commentsmade to me after the concert by members ofthe audience: “The standard of theperformances was fantastic.” “I didn’t knowLCM covered such a wide range of subjects and

instruments.” “This concert has made myChristmas.”

Angela put a great deal of effort into thisconcert, and the support of friends and familyhelped create this memorable event. £125 wasalso raised for Belfast Children’s Hospice.

The Christmas Concert at Lisburn School ofMusic also featured many performers who hadtaken LCM Exams. Again, the range ofperformances was extensive, including classicaland jazz piano, harp, guitar, rock group, musictheatre, speech & drama, string ensemble,woodwind choir and a number of vocalists,whose comedy songs certainly sent the largeaudience home with smiles on their faces.

As with all such events the support given byteachers, accompanists and organisers helpedmake this occasion so successful. A great dealof thanks is owed to Head of School, StephenMcLoughlin, and the staff of LSoM forencouraging the students in such an enjoyableevent.

Stuart CorbettSenior Examiner

For up-to-date contact details for all public centrerepresentatives, visit the ‘Exam Centres’ pages on our

website: www.uwl.ac.uk/lcmexams

Karnataka, IndiaThe Karnataka LCM centre had the pleasure ofhaving Mr Kevin Gill as their examiner for theirsummer 2013 session.

After the examining session was over, Mr Gillgave a helpful talk on LCM Exams with specialfocus on the new piano and electronic keyboardsyllabuses. We had many teachers attend,including those who had sent candidates forthe first time, and those who were intending tosend candidates for the next session. Theteachers thoroughly enjoyed what Mr Gill hadto say, and during a lovely tea that wasorganised by one of the teachers in herbeautiful home, Mr Gill had quite a fan clubgathered around him, with teachers asking himvarious questions, and taking photographs.

Karnataka thoroughly enjoyed having Mr Gillhere, who was quite adventurous with histransport and food tastes, and of course wewould love to have him back!

Neecia MajollyKarnataka Representative

19

News from Centres

New Overseas Centres

BolognaFrancesca ZarrilloMusic Academy ItalyVia Collamarini n.2240138 BolognaItalyT 051 6010314E [email protected] www.musicacademyitaly.it

BursaFatih ErkocFatih Erkoc Sanat AkademiBademli Mah. Eski Mudanya Yolu Cad.Er-Er 1 Sitesi 26Sokak No.2MudanyaBursa 16960TurkeyE [email protected]

DhakaFawzia Chowdhury, PrincipalSound of MusicBashati Dream House No.3, Flat C4Road 21Gulshan 1Dhaka 1212BangladeshT (088) 01741116999E [email protected] www.soundofmusicbd.com

Graces Speech & Drama StudioGrace YapGraces Speech & Drama Studio162 East Coast RoadSingapore 428868T +65 6344 8894E [email protected] www.graces-studio.net

Istanbul Technical UniversityDr Nail YavuzogluIstanbul Technical University Turkish MusicState Conservatory Continuing EducationCenter Ispirtohane Cultural CenterBakirkoy ITU Ispirtohane Kultur ve SanatMerkezi Palmiye sok. Atakoy 7-8Kisim BakirkoyIstanbulTurkeyT 90 505 926 85 66E [email protected]

This annual Prize Giving Concert for theWakefield and Leeds Centres of London Collegeof Music, was held on Friday 12th October inthe theatre at Queen Elizabeth GrammarSchool in Wakefield. There were 23performances including piano, music theatre,popular music vocals, classical singing,electronic keyboard, jazz piano and recorder,ranging from Pre-Preparatory up to andincluding DipLCM. The event was enjoyed byan audience of around 200.

Everyone who performed had been selectedfrom the candidates who entered for LCMexams in Wakefield and Leeds in the academicyear 2011/12. All had performed to a highstandard in their examinations and achievedthe highest mark for their subject and gradeover this period.

Certificates and prizes were presented by LCMexaminer Helen Madden, who also gave a shortspeech and a jazz saxophone performance.Norman Hazell MBE, ex-Mayor of Wakefield,was the invited speaker. Anne Robinson, local

representative and concert organiser, would liketo take this opportunity to thank everyone fortheir hard work and support.

Pictured left to right are some of the prizewinners and the guest speakers:

Helen Madden GCLCM (LCM examiner),Francine Graham (Grade 8 music theatreprizewinner), Joanna Musgreave (Grade 8 pianoprizewinner), Anne Robinson LLCM(TD) ALCM(LCM representative), Sadie Wild (DipLCMmusic theatre prizewinner), Anna Perry(DipLCM piano prizewinner), Norman HazellMBE (guest speaker)

Wakefield & Leeds

BirminghamOn Saturday 20th October 2012 a capacityaudience attended the annual LCM BirminghamCentre Presentation Concert at ShirleyMethodist Church. They were entertained by32 students performing piano, keyboard,classical guitar, pop vocals and music theatre.All performers received certificates.Certificates were also presented to pupils whohad gained 90% or higher in theoryexaminations. Trophies were presented tothose gaining the highest marks in theircategory.

The concert was a great success, withperformances of a very high standard. Theevening raised £420 for Marie Curie Big BuildAppeal to build a new hospice in Solihull.

Special thanks to Nigel Groome, seniorexaminer, and his wife Susannah, for attendingand presenting the awards, and also to KevinGill, LCM examiner, for accompanying thevocalists.

Julie IwanciwBirmingham Representative

Nigel Groome speaks to all the performersand the audience

Julie Iwanciwwith two of theyoungestperformers

20


JambiHelen DarmawanSekolah Musik St CeciliaJalan Bhayangkara No.30 DTalang Banjar, JambiIndonesiaT (62) 815 32 200 800E [email protected]

JohannesburgFranscois BezuidenhoutPhoenix Benedict Music Academy79 9th Street, LindenJohannesburg 2195South AfricaT (0) 82 346 9776E [email protected] www.pbmusicacademy.com

Kota Kinabalu 2Jovina NgAll Saints’ Music AcademyGround Floor, Wisma AlglicanJalan Lee Teck Phui88000 Kota Kinabalu, SabahMalaysia

Kota Kinabalu 3Michael CheongMichael Drum Planet77, 1st Floor, Lot 5, Lorong Palas 1ETaman Jindo, Phase 1Jalan Lintas, 88300 LuyangKota Kinabalu, SabahMalaysia

Kuching 3Tay Boh TsunArs Nova Music & Arts AcademyLot 288 Ground FloorWestwood, Tabuan Road93100 Kuching, SarawakMalaysia

Madison Academy of MusicRoderick Teh, CEO & PrincipalMadison Academy of Music Pte LtdTanglin Shopping Centre19 Tanglin Road #02-16Singapore 247909T +65 9385 4281E [email protected]

News from Centres

danSingStudents studying for LCM music theatre gradesand diplomas have been cast in the NationalYouth Music Theatre’s exciting new productionof West Side Story.

Amara Okereke, Megan Gilbert and WilliamLeaf Puvanesan auditioned with thousands ofother hopefuls and landed lead roles in theproduction which is to be directed by NikolaiFoster, who is one of the country’s mostexciting directors. Amara is to play Maria,Megan plays her friend Rosalia and Williamtakes on the role of Chino. They will beperforming with a 35 piece orchestra at theVictoria Warehouse, Manchester, August 21stto 24th 2013, and tickets are available onlineat www.nymt.org.uk

Established in 1976, the National Youth MusicTheatre represents the very best in work withyoung people through music theatre. For overthirty five years it has enabled young peopleacross the UK to develop both their creativeand personal potential, leading Andrew LloydWebber to call it ‘the best youth music theatrein the world’.

Amara (Grade 7 distinction), Megan (Grade 8distinction) and William (Grade 6 distinction)are all pupils of singing teacher, Helen Leaf,

William Leaf Puvanesan, Megan Gilbert,Amara Okereke

who is also Musical Director of the awardwinning performing arts group, danSing. Allthree take examinations at the LCM centre inPocklington, which is run by Gina Campbell.Helen is extremely proud of her pupils andsaid, “It is a great privilege to be chosen toperform with such an esteemed theatrecompany and I am delighted with Amara,Megan and William’s achievements. They willhave an amazing experience.”

NYMT encourages young people to fundraisefor their own training and if you would like tosponsor Amara, Megan and William pleasecontact Helen for further information [email protected]

Helen LeafdanSing

Hong Kong and ChinaThe picture shows young candidates whom Isaw during my tour to Hong Kong in December2012. The tour was, as expected, wellorganised, and ran smoothly thanks to PhilipPau and his staff. I examined in some newvenues, as well as seeing some familiar placesand faces. The children were all eager toperform their pieces. They dressed upbeautifully for their mime – it’s not arequirement to do so, but it certainly adds tothe fun.

Tuesday 4th December was a day to rememberas I was heading to Guangzhou in China toexamine. This was known historically asCanton, and is the capital of the GuangdongProvince. It is located on the Pearl River, and isthe third largest Chinese city, with a populationof over 12 million – it’s an attractivedestination, and its size suggests we may getmore business there!

These were the first of our examinations to beheld at the venue. It was a new experience for

the children to meet a British person otherthan their teacher (who is in the photo). I wasmade welcome by the staff and parents, andas the children were shy and nervous, I joinedin with them at a short warm up session.

For me, it was a lovely memorable experienceand insight into another culture, and it wasalso a small step in extending Drama &Communication work into new territory.

Joyce W MitchellDrama & Communication Examiner

21

News from Centres

Bintulu, MalaysiaDuring his examination visit to Bintulu inSummer 2012, LCM examiner Dr John Beilbyconducted a workshop with students, teachersand parents at MY Music. John explained indetail each element in a practical examination,giving advice on attaining high marks forscales, studies, examination pieces, sightreading, viva voce and aural tests. He alsooutlined the changes in the new piano syllabus.

LCM examiner Ms Yolande Gregor-Smithgave a workshop and lecture class on 15thAugust 2013, after the examination sessionin Bintulu.

In the workshop, she commented that she waspleased that the standard of performance hadimproved since 2010, when she was in Bintulufor the first time. However, she highlightedseveral points where candidates lost marksduring this examination session. Additionally,Yolande invited two students to play theirpieces, and demonstrated how to teach thepieces effectively to all the participants.

I wish to thank John and Yolande for theirwonderful presentations.

Thomas HiiBintulu Representative

Dr John Beilby with some of theparticipants. Seated left: Joseph Hii

(General Manager of MY Music), and right:Thomas Hii (LCM Representative, Bintulu)


MozambiqueMark CarterAmerican International School of

MozambiqueCaixa Postal 2026, MaputoMozambqiueT +258 2149 1994E [email protected] www.aism-moz.com

MyanmarDeborah Ann De SouzaGraces English AcademyCondo B, #402Tetkatho Yeik Mon HousingNew University Ave RoadSaya San QuartersBahan Township, YangonMyanmarT +95 9 7309 7836E [email protected] www.graces-academy.com

PaphosPolis CharalambousPaphos Academy of Fine Arts4 Thetidos, Paphos 8027CyprusT 357 26937670E [email protected]

Penang 1Rachel KhorJ Y Klasik Sdn Bhd, 490-H Jalan Air Itam11400 PenangMalaysiaT 04 829 0298E [email protected]

PhilippinesDavid Emmanuel Cadlum SarazaSaraza Music Center2nd Floor Kriscel Realty Lessor Building22 J.B Tan Street, BF Resort VillageLas Pinas City, Metro ManilaPhilippinesT +6391 72407611E [email protected]

PretoriaFreddy ArendseTshwane School of MusicPO Box 41258, Eersterust 0022, PretoriaSouth AfricaT 012 806 6060E [email protected] Gregor-Smith with Joseph Hii,

Thomas Hii and teachers

Pictured above is a group from TrinityMethodist Church Ensemble, Singapore, whoentered for the Level 1 Ensemble exam.

The children are taught by centrerepresentative, Eunice Tan. The group wasexamined by senior examiner, RichardLambert.

The instrument is Indonesian, and is known asthe ‘angklung’ (the name referring to thewhole set).

Photos by kind permission of TrinityMethodist Church, Singapore

Royston Music School,Singapore

22

News from Centres

The London College of Music Examinations‘Bintulu Classical Piano Competition 2012’was held on 23rd September 2012 at ParkcityEverly Hotel, Bintulu.

The competition was open to all Sarawakians,as well as West Malaysians, Sabahans andforeigners resident in Sarawak for at least thepast two years. It aimed to provide aperformance and competing platform for allpiano students, as well as to improve the pianoperformance standards in the state.

The competition was divided into fourcategories: Junior (12 years old and below),Intermediate (13 to 15 years old), Advanced(16 to 18 years old) and Open (no age limit).32 people participated in the competition.

For each category, each contestant wasrequired to play two contracting pieces, one ofwhich was a set piece: J S Bach’s 2-partInvention No.1 in C major (Junior category);J S Bach’s 2-part Invention No.8 in F major(Intermediate category); J S Bach’s 3-partInvention No.3 in D major (Advanced category);and Handel’s Air from the 5th Suite in E majorand ‘Harmonious Blacksmith’ Variations (Opencategory).

Winners of the categories were as follows:• Junior Category: Stella Tan Wen Jia (Miri)• Intermediate Category: Lois Ting (Bintulu)• Advanced Category: Alex Lim (Bintulu)• Open Category: Lois Ting (Bintulu)

The Dr John Beilby Challenge Trophy winnerwas Lois Ting (Bintulu).


SandakanChristina TanTrinity Arts & Music AcademyBlock 12, Lot 107 & 108Prima Square, Phase IIJalan Utara, Mile 4Sandakan, SabahMalaysiaT 089 238998E [email protected]

Sri Lanka 6Asha IlapperumaMystical Rose International InstituteNo. 941/30, Kotte RoadEtul KotteSri LankaT 94 112864495E [email protected]

TanzaniaFred Aliisi TerewaFanaka Memorial SchoolPO Box 31655Dar es SalaamTanzaniaT 255 716 04 69 63

TawauAlbert YekKudos MusicB15581-1, Block AKubota SquareJalan KubotaTawauSabahMalaysiaT 6089 777791E [email protected]

Tawau 2Linda KohThe Music Makers11942 Taman CitraJalan Jabatan Haiwan91000 TawauSabahMalaysiaT 6013 885 5050

Bintulu Classical Piano Competition

The adjudicators for the competition were MrLoo Bang Hean (chief adjudicator), Mr Lam SiuChong and Ms Eunice Ling. The main sponsorsof the competition were YC Music (M) Sdn Bhd(Malaysian sole distributor for Young Changand Weber pianos), Dr John Beilby (LCM SeniorExaminer), YC Sales & Services, and MY Music(Bintulu).

Thomas HiiBintulu Representative

Oak Field School, LincolnPictured is a group of candidates with specialeducational needs, performing Let’s TwistAgain as part of their Level 1 Ensemble exam.

Richard Lambert, who examined the group,commented: “It was a humbling, movingexperience observing the sheer joy that thesechallenged people so clearly communicated.”The music teacher is Simon Townsend.

Eight members of the choir also entered forindividual music theatre or pop vocals exams,at step or grade level.

23

News from Centres


VietnamNguyen Vu Thanh VanACM Suoi Nhac Company Ltd170P No Trang Long StreetBinh Thanh DistrictHCMCVietnamT +84 8 3516 0257E [email protected] http://acms.com.vn

WelkomJorika FerreiraVida Music School23 Vida StreetRiebeeckstadWelkom9469 Free StateSouth AfricaT +27 57 3881981E [email protected]

Toronto, CanadaOne of the great delights of having the privilegeof being an LCM examiner is the diversity oflocations which we travel to, and the richnessand variety of the representatives, teachersand candidates whom we meet on these travels.

Summer 2012 found me in Canada, visitingthe enterprising and enthusiastic TorontoCentre, based in Burlington. Burlington is apleasing suburban area on the western edge ofLake Ontario, approximately 30 miles fromthe hustle and bustle of Toronto. The Centre isrun energetically by the ever-smiling KarthikRamalingam, a musician of diverse interests.The candidate list was varied: snare drum, drumkit, flute, popular vocals, jazz saxophone,keyboard, classical guitar, and during my visita day of RGT electric and acousticexaminations.

Underpinning all the performances was athorough understanding of the music and itscontext. Verbal communication from thecandidates was also expressive with somedeveloped responses in the Viva Voce. Everyone

who came into the exam room was treated,prior to entry, with the indigenous Tim Hortonbrand “Tim bits”; these tasty mini-donutsbecame a characteristic of the exam day,together with the extensive lunch kindlyprovided by Karthik and his colleagues.

At the end of the exam session a Friday eveningmeal with Karthik and his ever-patient wife,extended late into the night with much joviality.A lasting impression of passionate teachingand a love for the place music finds for us inour lives.

Richard WalshExaminer

Begin your career...... at London College of Music. We welcome those who share our passion, whether your interests are in performance, composition, music technology, performing arts or music management. We are located among the UK’s leading music and media businesses which will ensure that your experience is real and relevant in preparing you for your own career. Our ground-breaking courses are respected worldwide and are taught by practising industry experts, ensuring our graduates are among the most desirable in the UK and beyond.

Undergraduate portfolio:

Music Technology

Performance

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Connected.

London College of Music Examinations offer a wide range of external graded exams and diplomas.

uwl.ac.uk/lcmexams

Postgraduate portfolio:

Performance

Composition

Music Technology

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uwl.ac.uk

London College of Music examinations are held at over 250 centres throughout the UK and overseas. A broad range of subjects is offered in music and in drama and communication, catering for candidates of all levels – from introductory examinations for beginners through graded exams to professional diplomas in performing, teaching, composition and research.

LCM ExaminationsUniversity of West LondonSt Mary’s RoadLondonW5 5RF

Tel: 020 8231 2364

uwl.ac.uk/[email protected]

© 2013 University of West London, LCM Publications

Issue 2013.1

London College of Music Examinations Newsletter

Forte

LCM Exams - Forte magazine 2013

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