LIBRETTO

Musical literacy at Grade 5

New Prep Tests

Teaching diplomas

Latest publications

Paul Harris on simultaneous learning

The power of communication

Issue 2001:3

ContentsLibretto 2001:3

1/2 NewsUK closing datesGet practising!Points of contactUK & Ireland seminarsInternational applicant cardsJazz in AustraliaFirst exams for the SeychellesScholarship winners

3/5 ExamsMusical literacy at Grade 5Merit for TheoryNew Prep Tests: descant recorder and guitarChief Examiner’s reportJazz notesTeaching diplomas: the Viva VoceWoodwind and brass syllabus

6 Professional development newsForging linksCT ABRSM UKCT ABRSM Hong Kong and SingaporeTaiwan travel grant courses

7/10 Publishing newsSpectrum 3 launchNew titlesCompetition

12/13 FeatureThe power of communication

14/15 Point of viewSimultaneous learningPaul Harris

16 ForumTeaching adults

Libretto is published three times a year by the Marketing Department.

Editor Michelle JamesAssistant Editor Lucy NorthAdvertising sales Dominic Sewell

t 020 8861 0848Design Tamasin ColeCover illustration Sara FanelliPrint FS Moore Ltd, London

The views expressed in Libretto are not necessarily those of the AssociatedBoard neither are the products or services appearing in advertisementsendorsed by the Associated Board.

Outlook

This issue of Libretto includes two articles which argue the case for greater co-ordination within music education.John Treherne (page 6) writes about the ways in whichinstrumental teachers can contribute to learning in theclassroom, while Paul Harris (page 14) explores thepotential for closer integration in the learning of diverse musical skills.

The views expressed in these articles can be seen aspart of a wider national debate about the fundamentalsof music education, which has been particularly activeover the past year. For example, the Qualifications andCurriculum Authority is currently engaged in an analysisof creativity and in seeking to define the aims of artseducation; the National Foundation for EducationalResearch has sought to portray the effects andeffectiveness of education in music and the other arts; and the Performing Right Society has published The Power of Music, a directory and commentary on extensive research into the multifarious ways that music impacts on our lives.

There does seem to be a growing recognition of theexceptional diversity and breadth of music compared with other subjects, and even with other arts, taught in schools. The acquisition of skills in composition,performance, listening and appraisal across a range ofmusical genres, deliverable through technological as wellas live mechanisms, is indeed a massive task. Whateverchallenges are posed for our educational planners andregulators (and the challenges are formidable), thisgreater awareness of the plurality of music, its contentsand its effects, is much to be welcomed. It is only in thelight of such understanding that the need for ‘joined-up’music education, as exemplified by John Treherne andPaul Harris, can be fully appreciated.

Associated Board of the Royal Schools of Music24 Portland Place, London W1B 1LU, United Kingdom

t +44 (0)20 7636 5400f +44 (0)20 7637 0234

e abrsm@abrsm.ac.ukpublishing@abrsm.ac.uk

www.abrsm.ac.ukwww.abrsmpublishing.co.uk

Registered Charity No. 292182© 2001 by the Associated Board of the Royal Schools of MusicAll rights reserved. Unauthorised reproduction in whole or in part is prohibited without permission.

Setting the Standards

Richard MorrisChief Executive

1

NEWS

UK & Ireland Exam AdministrationFor information about dates,venues, entries:

Northern Region Examst 020 7467 8252e northern@abrsm.ac.uk

Southern Region Examst 020 7467 8211e southern@abrsm.ac.uk

Midlands Region Examst 020 7467 8243e midlands@abrsm.ac.uk

London Examst 020 7467 8261e london@abrsm.ac.uk

Ireland Examst 020 7467 8243e ireland@abrsm.ac.uk

International DepartmentFor enquiries about exams outsidethe UK and Ireland:t +44 20 7467 8240f +44 20 7631 3019e international@abrsm.ac.uk

Special VisitsFor exam visits outside the main session:t 020 7467 8221e specialvisits

@abrsm.ac.uk

Diplomas (UK and Ireland)t 020 7467 8829e diplomas@abrsm.ac.uk

Quality AssuranceFor any concerns aboutexaminers, the conduct ormarking of an exam:t 020 7467 8262e qualityassurance

@abrsm.ac.uk

Syllabus DepartmentFor questions about syllabusrequirements:t 020 7467 8250e syllabus@abrsm.ac.uk

UK closing datesMany teachers plan a long way ahead for theirpupils’ exams and find it helpful to know howexam dates fit with school terms and othercommitments. The dates for next year’s examsessions are now available in the latest Regulations& Information booklet but you may wish to makea special note of the closing dates for 2002.Closing dates for postal entries are:

A Period Friday 11 JanuaryB Period Friday 26 AprilC Period Friday 20 September

How are postal closing dates set?Before setting dates for the year we researchextensively to find out school term dates throughoutthe UK. Our main priority is to ensure the bestpossible fit with school term dates. We then aim toset each closing date as late as possible for thebenefit of those teachers who have not decided onentries at the end of the previous term. However, wealso need to allow enough time to process entries,arrange timetables, book venues and examiners andnotify teachers of exam appointments in good time.

What if the closing date is close to the start ofyour school term?Teachers often decide with their candidates atthe end of the previous term whether or not theywill sit an exam in the next term and then sendtheir entry in early. When this is not possible theonline entry form provides a later closing date –usually the Wednesday after the postal closingdate. This effectively gives a full extra week asthere is no need to allow for the post.

To enter candidates online all you need is your applicant number and apassword. For more information aboutonline entry visit www.abrsm.ac.uk

Get practising!

Looking for ways to get your pupils practising?Then the Sargent Practice-a-thon! could be theanswer. The Practice-a-thon! is a fundraisingventure organised by Sargent Cancer Care forChildren to take place throughout the springterm next year. Young musicians taking partpledge to do 20 minutes’ practice every day fortwo weeks and collect sponsorship from friendsand relations. The two weeks could be before aschool concert or music exam, with other childrenor not – the participants get to choose. All thosetaking part will have a great new incentive to playregularly, knowing that they are raising moneyfor an extremely worthwhile charity that supportsyoung people with cancer and their families.Some great prizes will be awarded to the highestfundraisers, including a full version of Sibeliusmusic notation software.

The Associated Board is supporting this eventalong with the Federation of Music Services. Sofar, music services in Bolton, Calderdale, Dudley,Enfield, Kent, Oxfordshire, Redbridge, Sefton,Surrey, Sutton and Wigan together with London’sCentre for Young Musicians have signed up forthe Practice-a-thon! encouraging about 60,000young musicians to join in.

As a national annual campaign, the SargentPractice-a-thon! is open to all young musiciansliving in the UK and will take place during thespring term each year.

To find out how your pupils can take partcontact Sargent Cancer Care for Children:

t 020 8752 2866e janeferguson@sargent.org

UK and Irelandseminars

Places are still available at anumber of our forthcomingseminars for singing andinstrumental teachers. Theseminar series, entitled TheWhole Picture, takes placebetween September andDecember at venues around the UK and in Dublin.

For further details andto check availabilitycontact the MarketingDepartment:t 020 7467 8254e marketing

@abrsm.ac.uk

For the Dublin seminarcontact our Irish Co-ordinator, Miriam Halpin:t 01 2350752e musexam@iol.ie

New UK HLRs

BelfastCarmel Gibsont 028 9082 6245e gibson.family

@dnet.co.uk

BurnleyBrian Olvert 01282 458164

EsherRosalind Hendersont 01372 468381e henderson@yaffles8.

freeserve.co.uk

TredegarStella Martint 01495 303785

UK address changes

DoncasterJean Stewarte jean2001

@freenet.co.uk

NottinghamSheila Middletone vicmiddleton

@compuserve.com

OxfordJanice Allene janallen_1

@hotmail.com

PeterboroughChristine Frosticke c.frostick@swcom.net

PrestonGlen Clayton t 01254 813330

SalisburyHelena Wright e queensberry

@waitrose.com

UK and Ireland High Scorers’ Concerts

23 SeptemberDublinIsle of Man

27 SeptemberBolton

30 SeptemberDoncaster

21 OctoberSwansea

9 NovemberBangor

Points of contact

How to contact the right department at our London office.

2

NEWS

International addresschanges

Australia: CanberraPeggy Crosskey f no longer available

Australia: SydneyAntonia Deaseye mdeasey47

@hotmail.com

BangladeshShantha Gunsekerat 02 811 8864f 02 861 6462

Ghana (practical)Lydia ArthurLadyprince Music PO Box 1281Accra

IcelandGardar Cortese ad@centrum.is

SharjahNasrine Talog-Daviesf 6 524 2808

South Africa: East CoastAyleen Radleye abrsm-ec@xsinet.co.za

UgandaSimon YigaKampala Music School PO Box 21763Kampalat 41 233 215e klamusicus

@yahoo.com

USA: KansasAll enquiries:t +44 20 7467 8240e international

@abrsm.ac.uk

USA: MinnesotaRoderick Teht 612 825 5017f 612 825 6915

New Representative

Trinidad and TobagoJessel Murray62 Second AvenueMt LambertTrinidadt 638 8416

International HighScorers’ Concerts

6 OctoberSri Lanka

3, 4 and 5 DecemberMalta

Scholarship winners

Congratulations to the latest students to receiveAssociated Board scholarships for courses of study atthe Royal Schools of Music. We wish them all thevery best for their forthcoming studies.

Undergraduate

Royal Academy of MusicRobin Gough, French horn, AustraliaSimon Hewitt-Jones, violin, UK

Royal College of MusicZoe Beyers, violin, South AfricaMark Braithwaite, viola, UK

Royal Northern College of MusicCarmen Craven Grew, violin, UKGary Pomeroy, viola, South Africa

Royal Scottish Academy of Music and DramaNico de Villiers, piano, South AfricaHeather Kennedy, violin, UK

Postgraduate

Royal Academy of MusicAndrew Skidmore, cello, UKBrian Wallick, piano, USA

Royal College of MusicRobin Ashwell, viola, UKShannon Foley, voice (baritone), AustraliaNaomi Williams, cello, UK

Royal Northern College of MusicCathal Breslin, piano, UKMarcus Carvalho, voice (bass), BrazilYoon Chung, piano, UK

Royal Scottish Academy of Music and DramaAnna Bin, piano, UKConstantin Soare, guitar, Romania

Internationalapplicant cards

One of the International Department’s keyobjectives is to ensure that the highest standardof service is provided to all those usingAssociated Board exams around the world. Ournew IT system has already brought manybenefits, including newly designed entry formsand candidate lists, and we are now able toprovide a permanent applicant number and cardfor each international applicant. This will meanless time spent completing entry forms, as theunique reference number replaces the need tosupply full contact details on all the forms. It willalso help staff in the International Department torespond quickly to exam-related enquiries.

As further IT developments come on board over the coming months we hope to be able to offer further benefits to teachers andcandidates worldwide.

Jazz in Australia

October sees the launch of Jazz Piano exams inAustralia. Charles Brereton will be examining andtravelling around the country with Elissa Milne,our jazz contact in Sydney, to present jazzworkshops. These events offer jazz educators,music teachers and students an opportunity tofind out more about the syllabus and to ask in-depth questions.

Response to the Jazz Piano syllabus inAustralia has been very positive and as a resultCharles will be examining in all our Australiancentres. None of this would be possible withoutthe work of our Representatives in Australiawhose help has been invaluable in launching theJazz Piano syllabus.

For more information about Jazz Pianoexams in Australia contact your nearestRepresentative or the InternationalDepartment in London:t +44 20 7467 8240f +44 20 7631 3019e international@abrsm.ac.ukFirst exams for

the Seychelles

July saw the first Associated Board exams in the Seychelles. Tim Arnold, Head ofInternational Operations, travelled to Mahe toconduct the exams and run a one-dayprofessional development course for teachers.Tim was also able to give interviews with national press and television and meet keycontacts including our newly appointedSeychelles Co-ordinator, Bennet Accouche.Bennet teaches trumpet and class music andcoaches the choir at the National College for theArts. He is also an accomplished jazz musician.

The exams went well, including a wide rangeof instruments and grades and the professionaldevelopment course exploring topics such asmotivation, technical work, aural training andpreparation tips was a great success withteachers. We are now looking forward todeveloping our work and links with the musiceducators of the Seychelles in the future.

For more information about AssociatedBoard exams in the Seychelles contact:Bennet AccoucheAssociated Board Co-ordinatorNational College for the ArtsPO Box 383, Mont Fleurit 241 007

3

EXAMS

In the last edition I wrote about the reasons why the Associated Board requires candidates todemonstrate their musical literacy before they enterfor practical exams at Grade 6 and above. We arecommitted to the view that developing musiciansshould have gained and demonstrated a breadth ofmusical understanding prior to embarking on thehigher practical grades.

Isn’t a Grade 5 practical exam enough?You could make a case for saying that anyone whohas passed one of the Board’s Grade 5 practical examshas already shown that understanding, and youwould be right, but only up to a point. We arelooking for rather more for Grade 6 practical entry. Itis one thing to be able to play pieces of music afterseveral weeks of study with your teacher, but quiteanother to show you can independently manipulateand really understand time signatures, a range ofkeys, simple structures and basic terms and signs, andidentify or use ornaments, handle basic chordprogressions and observe general musical points inmusic you have not previously seen – which is whatGrade 5 Theory and Practical Musicianship candidateshave to do. They must also create melodies – aswritten compositions or performed improvisations.

For many years there has been a choice of exammode – pencil and paper or through yourinstrument. But now there is another way. Recentlywe increased flexibility and access to Grade 6practical exams by extending the range ofprerequisites to include Grade 5 Jazz. The reason forthis is that elements of Grade 5 Jazz have much incommon with the spirit – and in many respects theletter – of the Grade 5 Theory and Practical

Musical literacy at Grade 5

Philip Mundey writesabout links betweentheory, practicalmusicianship and jazz at Grade 5

In October we are publishing new Prep Test books fordescant recorder and guitar, both containing morerepertoire than the previous volumes. Following aperiod of syllabus research, during which keyorganisations such as the European RecorderTeachers Association were consulted, material wasfield-tested by teachers who regularly enter theirpupils at this level. Many technical and musicalparameters have to be established before composersare commissioned so, for example, the range of therecorder is limited (E to D) and there are no forkedfingerings (ie B flat and F). Above all, the music hasto appeal to children. The Listening Games, FunPage, attractive illustrations and colourful covers allhelp to make these publications really child-friendly.

Descant recorderThe book starts off with the three Tunes to beplayed from memory during the Prep Test. Eachdeals with a different technical issue and is prefaced

with a short note giving a friendly reminder abouthow it should be played. Pupils can then choose onepiece from the four set pieces in the book, twounaccompanied pieces by Anthony Purnell and twoby Alan Haughton with piano accompaniment. Forthe own choice piece, pupils must choose anaccompanied piece, either one of those in the book(as long as it is different from the first piece!) or anyother piece of their choice.

GuitarAs well as the three Tunes, guitarists have five setpieces to choose from. They may choose a second piecefrom the five as their own choice if they wish, althoughany other piece may be chosen. If the own choice piecerequires an accompaniment, this can be providedeither by another guitarist or by the examiner onthe piano. The five pieces have been commissionedfrom Vincent Lindsey-Clark and are in a wide rangeof styles and moods – something to suit everyone!

Prep Test for Guitar and Prep Test forRecorder are published by ABRSM(Publishing) Limited and will be available from your local music retailer from October.

New Prep Tests: descant recorder and guitar

Musicianship requirements. Each exam tests musicalliteracy to a comparable level but in a different wayand through different skills.

How jazz fits into the pictureIn the jazz Aural Tests, for example, candidates workwith intervals, identify time signatures andimprovise by playing or singing a series of freeresponses. In the Quick Study candidates play by earor at sight a four-bar passage and improvise anextension to it on their instrument. They showfamiliarity with a variety of major, modal andpentatonic scales, and arpeggios and 7th chords inthe technical requirements, and in their pieces theydemonstrate their ability to improvise to a givenlength, taking account of the harmonic context andso showing they can work with chords.Ornamentation of the melodic, rhythmic orharmonic elements of the music throughembellishment is also required.

The links are obvious, and you can see that thesuccessful jazz candidate at Grade 5 is at least asmusically numerate and literate as the Theory orPractical Musicianship candidate. Each option has itsown flavour and approach, but still provides thatevidence of perception, understanding of musicalconcepts, discrimination and a developing inner earwe are looking for prior to Grade 6 and which givesuch added value to Associated Board higher grades.

Some readers may remember that it was only asrecently as 1989 that we introduced a distinctioncategory for theory exams at Grades 1 to 5. Untilthen this encouragement was only enjoyed byhigher grade candidates! We have good news for allthose candidates who do much better than simplypass their exam or who just miss a distinction andwho may be disappointed that their achievementisn’t fully recognised on their certificate. From 2002,a merit category is to be introduced at all eightgrades. The new structure leaves the pass anddistinction boundaries at 66 and 90 marksrespectively, with merits being awarded at 80 marks.

Nigel Scaife, SyllabusDevelopment Manager, intro-duces some new publications forthese early assessments

Merit for Theory

4

EXAMS Chief Examiner’s report

Clara Taylorlooks backover the lastyear’s exams

Everyone should be delighted and encouraged toknow that the average mark has risen to 116 forGrades 1 to 5, and to 117 for Grades 6 to 8. Thisclearly reflects greater knowledge of the syllabusand increased preparation which both paydividends. Here at the Associated Board we wouldlike to think that regular seminars and workshopshave also made an impact. In terms of results, thegreat majority of candidates do pass, the nextlargest number receive a merit result and thesmallest categories, roughly equal in size, aredistinctions and fails.

In addition to these general trends, we thoughtit might be helpful to relate some other morespecific impressions:Nerves: Candidates have generally approached theirexams with a reasonable level of self-assurance;breakdowns, tears and unfinished exams have beenvery rare. Adults, however, still suffer badly fromnerves and many underachieve on the day.

Scales, arpeggios and broken chords: Mostly playedadequately, but sometimes very slow indeedwithout the sense of flow that would ensure moremarks. There are favourite scales, and the reverse, withpiano black-key melodic minors being bottom of thepopularity stakes. Broken chords in Grade 1 frequentlyhave a clipped dotted crotchet in the middle, whichspoils the rhythm and string players often lose markswith poor intonation in the top octave, although someplay evenly and accurately showing that it can be done.Pieces: Generally played with more awareness ofdynamics but phrasing is often less successful;musical detail needs to be integrated for highermarks, however fluent the notes. Manyperformances just miss the next category of markswhen in the heat of the moment the planneddynamics do not happen.Repeats: Remember that repeats are not requiredbut da capos are!Sight-reading: On the whole, candidates manage tokeep the piece moving but it is common, at allgrades, for the performance to set off without anyawareness of time or key.Aural tests: These are going well. Now thoroughlyused to the current format, candidates are happilycruising through the tests. At Grade 8, the chords inthe A Test caused problems, with relatively fewcandidates able to follow the pattern of the bassline. Even if the cadence question has beenanswered correctly, some candidates still can’tidentify the chords. However, this is a comparativelysmall part of the overall assessment of these tests.

So, a very encouraging year, which pays tribute toteachers’ dedicated work, put in so consistently forall their candidates.

All Jazz Piano pieces at Grades 1-5 include sets ofguideline pitches for use in the solo section. AtGrade 1 there are between three and five pitches,rising to seven or eight by Grade 5. They are there to provide a starting point – a helpful way in toimprovising in the early stages. They should be seenonly as a starting point and not as a ‘set’ route: playerscan choose to play whatever pitches they like andignore suggested pitches altogether, if they wish. In theexam, the examiner listens for the way in which theplayer chooses their pitches and does not have anexpectation that the candidate will necessarily use thepitches given. Indeed, to get a distinction, the criteriaindicate that playing will tend to be ‘inventive, perhapssurprising’. A candidate is likely to receive a highermark if they choose from a wider range of pitches thanthose in the boxes, and uses their chosen pitches insurprising or inventive ways. So, jazz teachers needto develop strategies for encouraging their pupils tobe as varied as possible in the pitch choices they make.

Let’s explore some of the ways in which you canget your pupils to group pitches together. At Grades1-3, harmony is less of a factor, so players mightchoose to group pitches in stepwise intervals orperhaps with gaps of various kinds. Pitches chosenfrom more conventional scale patterns, includingmajors, pentatonics and modal shapes can becontrasted with chord shapes such as classicalarpeggios, 7th chords and other broken chords.Later, try introducing the idea of a home note ordoh – a place to work away from or to return to.

By Grades 4 and 5, players are likely to choosepitches that have relationships of various kinds witha moving chord sequence, as well as with the root orkey. Try asking whether a chosen pitch, or set of

pitches, fits with the sequence or not. Don’tnecessarily discourage more dissonant playing, asthis is part of the style, but check for awareness ofwhen dissonance occurs. Examiners will recognisethis more refined awareness of pitch choice as a signof merit and distinction level playing at these grades.

Here are some ideas for teaching the exploration of pitch:■ Use suggested pitches as a basis initially, but

always explore other pitches too.■ Don’t always start with the first pitch in the box.

Explore the range of available melodic shapes:rising/falling; scalic/leaping; repeating one note/using a variety; repeating a melodic shape/adding variations and embellishments; questionand answer.

■ To encourage disciplined improvising, ask theplayer to state which pitches they are going touse before they begin to play. Do they stick totheir choices? If not, why not? Later use freerapproaches, perhaps finishing a session with arun through where the player can ‘play whatever they like’.

■ Sometimes choosing a set of pitches whileplaying is a problem. Practise using one set ofpitches for a while, and then choosing anothercontrasting set as you go along. Repeat theexercise, this time choosing a different set ofpitches for the second half. Are the choosingprocesses clear?

■ Discuss how your pupils can create moments ofcontrast, variety and surprise in their playing.Encourage creative thinking about how they cansustain musical interest using pitch.

Jazz notes

Charlie Beale,Lead Jazz

Consultant,discusses pitch

choice inimprovising

5

EXAMSTeaching diplomas: the Viva Voce

Communication is the essence of teaching and italso lies at the heart of the Viva Voce part of theteaching diplomas. During the Viva Voce theexaminers lead the candidate through the vitalareas of teaching making sure that foundationsare in place and can be described clearly andeffectively. Areas of questioning may include:■ Beginners (children and adults)■ Teaching materials and repertoire■ Posture■ Technique■ Scales and technical exercises■ Relationships between teacher and pupil■ Aural skills, sight-reading and their

integration into lessons■ Exam preparationReference may also be made to the WrittenSubmission and, in the case of LRSM candidates,to the Case Study Portfolio and Video of Teaching Practice.

As demonstration is such an important part ofteaching, diploma candidates are required toprepare three pieces from the relevant syllabus: ■ DipABRSM – three pieces from the Grade 6

syllabus (one from each list)■ LRSM – three pieces from the Grade 8 syllabus

(one from each list)■ FRSM – three pieces from the DipABRSM

syllabusDuring the Viva Voce candidates are asked toplay sections of their pieces and to discuss someof the teaching issues involved. They need to

Woodwind and brass syllabus

demonstrate a clear approach to technique andshow that strategies are in place to deal withpotential problem areas.

A general acquaintance with Associated Boardgraded materials is expected. Examiners will notbe looking for a comprehensive knowledge ofthe repertoire lists, rather an ability to draw onsuitable examples at various levels. At FRSM levelcandidates are expected to have a very goodgrasp of the repertoire for their instrument.Candidates may refer to any of the repertoirethey currently teach and are advised to bring aselection of their favourite teaching materialswith them to discuss with the examiners

There will usually be two examiners present, aspecialist and a generalist, and candidates may beasked to ‘teach’ certain aspects of technique tothe generalist examiner. This gives a clearindication of communication style and howflexible, or otherwise, the approach is likely to bein a real situation.

The written work necessary for the teachingdiplomas ensures that candidates have givenconsiderable thought to their subject. A readinglist is available and although it is not necessary toread every book on the list, exploring variousapproaches to teaching will help develop a breadthof knowledge and understanding. It will, however,be immediately obvious to the examiners if thecandidate has read books on teaching but haslittle experience of practical application!

Even the most anxious are likely to find thatthe Viva Voce is held in a friendly, encouragingway. There is plenty of time to expand on anddevelop initial answers, and candidates are givenevery opportunity to demonstrate verbally, andon their instrument, that a secure technical andmusical background is in place.

Finally, much thought needs to be given tocommunication, for example: how to formsuccessful relationships with pupils and how tocombine planning with spontaneity in every lesson.It is in this area that the star teacher excels.

The Diploma Syllabus is available onlineat www.abrsm.ac.uk, from your localmusic shop or directly from our diplomaoffice. You can find the reading list onour website or for a paper copy, contactthe diploma office:t +44 (0)20 7467 8829e diplomas@abrsm.ac.uk

The new syllabus for woodwind and brassinstruments is now available. The syllabus,which is current for 2002 and 2003,includes revised repertoire lists for oboe,saxophone, trumpet (cornet andflugelhorn) and tenor trombone.

6

Forging linksNEWSPROFESSIONALDEVELOPMENT John Treherne on how instrumental teachers

can become involved in class music

From my work in a medium-sized town, I amaware that many class teachers, particularly in thePrimary sector, are not confident when teachingmusic. This is where the expert instrumentalteacher is such a valuable resource. Musicspecialist and class teacher can work effectivelytogether and pupils will benefit greatly from sucha partnership.

Many instrumental teachers are increasinglyinvolved in school workshops. By taking part ininteractive music workshops in school, as opposedto more formal attendance at recitals, pupils’musical awareness is heightened. In Gateshead,four teams of musicians present up to 12workshops in any given week and it is hard tomeet the demand. Colleagues enjoy the stimulusand challenge and one teacher reported thatworkshops form the high point of his week.

So, as an instrumentalist, how can you becomeinvolved? A musician of any discipline who wouldlike to work in education should think aboutwhat he or she has to offer. First, look throughthe National Curriculum for music and theQualifications and Curriculum Authority (QCA)Scheme of Work for music to get an idea of whatis required. Instrumentalists working with one ortwo other colleagues could consider forming aworkshop team. Plan carefully, including activitieswhich involve the pupils, decide what age ofchildren you would like to work with and

consider whether you would like to involve asingle class, or a larger number of children. Talkto class teachers about the topics that thechildren are studying, find a ‘tame’ school, whichwill allow you to try out your programme andcontact your local Music Adviser, Inspector orHead of Music Service, who will be happy to offeradvice and guidance.

After a period of decline in instrumentaltuition in state schools there is an increasingdemand for a wide range of music teaching.Remember that there are many openings forthose who are willing to be adaptable and happyto learn new skills and if in some small way wecan have a positive impact upon our pupils’musical development, we will have achievedsomething worthwhile.

John Treherne is Head of Gateshead SchoolsMusic Service. He is an Associated Boardexaminer, composer, harpsichordist and CourseLeader for the CT ABRSM course in Gateshead.

You can find the National Curriculum for music online at www.nc.uk.net oryou can obtain the relevant bookletfrom The Stationery Office:www.clicktso.com t 0870 600 5522

The QCA Scheme of Work for musicis available at:www.standards.dfes.gov.uk/schemes or from QCA publications: t 01787 884 444

CT ABRSM UK

This year’s award ceremony for CTABRSM students in the UK washeld on 25 July at the Universityof London’s Senate House. 144successful students were presentto receive their Certificate ofTeaching from the AssociatedBoard’s Chairman, John BakerCBE. The event was hosted byRichard Morris, Chief Executive,and Richard Crozier, Director ofProfessional Development withSir Philip Ledger CBE, Principal ofthe Royal Scottish Academy ofMusic and Drama, as guestspeaker. Students, their guestsand CT ABRSM Course Leadersand mentors attended acelebratory reception after theceremony.

The next CT ABRSM coursestarts in October and with aclosing date of 17 Septemberthere’s still time to apply.

For more informationcontact the CT ABRSMCourse Administrator,Judith Jerome:t 020 7467 8257e profdev@abrsm.ac.uk

CT ABRSM Hong Kong and Singapore

Prospectuses for the next courses,starting in April 2002, are nowavailable. To request a copycontact either the Hong KongExaminations Authority (HKEA)orSingapore Symphonia Ltd (SSO).

Hong KongSelina YuenHKEAt 2326 0937

SingaporeSu-San HaySingapore SymphoniaCompany Ltdt 339 2624e hay@sso.org.sg

The closing date for the HongKong and Singapore courses is 5 January 2002.

Taiwan travelgrant courses

In October we are running twoshort professional developmentcourses for teachers in Taiwan.The courses, supported by theAssociated Board’s CentenaryTravel Grant Fund, will be led byRichard Crozier, Director ofProfessional Development, and a member of the CT ABRSMmentor panel.

Each course takes place overthree days and teachers canchoose to attend in either Taipei or Tainan:

Taipei: 11–13 OctoberTainan: 15–17 October

For furtherinformation contact our Representative in Taiwan:

Shao I ShihUnion Music Centret 2 2375 1768f 2 2375 1814e abtaiwan

@ms23.hinet.net

Spectrum 3 on CDAll 25 pieces inSpectrum 3performed byThalia Myers, on MetronomeRecordings

7

NEWSPUBLISHING

Spectrum 3 launch at the BBC

■ The Associated Board does not sell publications direct ■ Please order from your local sheet music retailer ■

The Associated Board of the Royal Schools of Music (Publishing) Limited24 Portland PlaceLondon W1B 1LUUnited Kingdom

t +44 (0)20 7636 5400f +44 (0)20 7637 0234e publishing@abrsm.ac.uk

www.abrsmpublishing.co.uk

Competition winners

In the competition forMay 2001 we asked youto name the Basquenational dance whichappears in Spectrum 3.The answer is Zortziko.This piece was writtenby the Spanish composerRamon Lazkano. We alsoasked you how manycomposers, in total, wrotemusic for Spectrum andSpectrum 2. The answeris 30. Twenty of thecomposers contributedto both volumes ofSpectrum with anadditional 10 composersfeatured in Spectrum 2.See our website forfurther details.

Congratulations to thesewinners who havereceived a copy ofSpectrum 3 and a CD:

Mrs C M TapperChristchurchNew Zealand

Miss H J WardMansfield UK

Mr John McParlandBelfastN Ireland

Ms Jade YoungLondonUK

Ms Bridget HalpéKandySri Lanka

The BBC Radio Theatre incentral London was thevenue for the excitinglaunch of Spectrum 3 on23 May 2001. Presentedby Fiona Talkington ofBBC Radio 3, some 200specially-invited guestsand 15 composersenjoyed the worldpremière of all 25 pieces,written by composersfrom round the world, to commissions by Thalia Myers.

The performers included, from left to right, AndrewHawkett, a member of the Associated Board’s ITstaff, Sarah Nicolls, fresh from her South Bank ParkLane Group debut recital, the Latvian composer andpianist Peteris Plakidis, 16-year old Lynn Carter fromthe Royal Academy of Music Junior Department and11-year old Anna Hashimoto from the Royal Collegeof Music Junior Department, and Thalia Myers.

Following the performance ofSpectrum 3, members of the

audience had the opportunity toput questions to Thalia Myers

about how the Spectrum serieshas contributed to piano teachingand to ask the Associated Board’sDirector of Publishing, Leslie East,

about the future of the series.

Composers, pianists and guestsattended a reception held inrooms at the Novartis Foundation,Portland Place, London.

During the afternoon, two groups ofcomposers joined seminars to discuss theirpieces in more detail. Andrew Ball, Head ofKeyboard Studies at the Royal College ofMusic, led a seminar at the Associated Boardoffices. A second seminar was held at Queen’sCollege, Harley Street where MatthewGreenall, Director of the British MusicInformation Centre, led the discussion.

At the end of the day, the 15 composersand Thalia Myers assembled at theentrance of the Associated Board offices.

Spectrum 3an international

collection of 25pieces for solo

piano compiled by Thalia Myers

Back row: Haflidi Hallgrímsson, Peteris Plakidis,Alexandre Lunsqui, Sylvie Bodorová, Toek Numan,Detlev Glanert, Faidros Kavallaris, Victoria Borisova-Ollas, Thalia Myers, Karen Tanaka, Joyce Bee Tuan Koh, Sohrab UdumanFront row: Naji Hakim, Param Vir, Lyell Cresswell,Rodney SharmanPh

oto

s: M

alco

lm C

row

ther

s

Karen Tanaka, Richard Morris,Anna Hashimoto and Mrs Hashimoto

Naji Hakim andSylvie Bodorová

Sarah Nicolls and Peteris Plakidis

8

■ The Associated Board does not sell publications direct ■ Please order from your local sheet music retailer ■

New titles published in July 2001NEWSPUBLISHING

Competition

For our latest Librettocompetition we aregiving away copies ofthe new First DiscoveryMusic series.

One lucky winnerwill receive a set of allfive titles and fourrunners-up will receive a copy of the Mozartvolume.

Send a postcard with your answers tothese two questions, not forgetting to include your name and address, to:

ABRSM (Publishing) Ltd24 Portland PlaceLondon W1B 1LUUnited Kingdom

to arrive no later thanFriday 30 November2001.

What is the name of the last opera thatMozart wrote?

What nationality wasChopin’s father?

NEW!First DiscoveryMusic series for children

We are pleased to present the First DiscoveryMusic series – illustrated listening books designedto introduce young children to the lives of thegreat composers in pictures, music and words.The CD has extracts of each composer’s musictogether with a narration of their life story sochildren can listen, learn and enjoy.

The first five titles in this series present the lives of Purcell, Mozart, Beethoven, Schubert and Chopin. Five further titles are planned for next year.

D 308 4

D 309 2 D 311 4

D 310 6 D 312 2

Music in WordsA Guide to Researching and Writing about MusicTrevor Herbert

Many books are written about performing, composing andanalysing music, but very few on how to research and write aboutit. Music in Words does just that. Author Trevor Herbert, Professorof Music at The Open University, addresses the issues encounteredwhen tackling writing tasks, from programme notes todissertations.

The book is in two parts: a ‘how-to’ section and a quick-reference compendium of information. It includes an introductionto the strategic use of the internet and details of useful websites.

The book’s straightforward approach makes Music in Words amuch-needed support and reference tool for students, professionalmusicians and experienced writers, and will be of particular use toanyone taking the Associated Board’s diplomas.

D 236 X

9

■ The Associated Board does not sell publications direct ■ Please order from your local sheet music retailer ■

NEWSPUBLISHING

The Associated Board’s popular and well-established Manual of Scales, Arpeggios andBroken Chords for Piano is now published in anew modern edition. Still containing all thestandard scale and arpeggio patterns, it has beenenlarged to include whole-tone scales,augmented arpeggios and additional brokenchord patterns.

Ruth Gerald, formerly Head of KeyboardStudies at the Royal College of Music and a seniorAssociated Board consultant and examiner, haswritten an informative introduction, whichincludes technical guidance and practicesuggestions. This new edition with its much-improved page layout and clarity is an excellentresource for all pianists.

The Manual of Scales, Broken Chords and Arpeggios for Piano

D 112 6

Time PiecesMusic through the Ages

Time Pieces for E flat Saxophone, Volume 1 D 198 3Time Pieces for E flat Saxophone, Volume 2 D 199 1

Time Pieces for B flat Saxophone, Volume 1 D 196 7Time Pieces for B flat Saxophone, Volume 2 D 197 5

Time Pieces for Trombone, Volume 1 D 232 7Time Pieces for Trombone, Volume 2 D 233 5

Time Pieces is an exciting series ofrepertoire which explores the wealth ofmusic written from the fifteenth centuryto the present day. The pieces arepresented chronologically within eachvolume and all include the year in whichthey were written too, so you can mapyour journey through time!

Oxford University Press isthe sole worldwide salesagent and distributor forABRSM (Publishing) Ltd.

New titles for publication in late 2001

J S Bach The Art of FugueEdited by Richard Jones(includes CD performed by Davitt Moroney)

Leading Bach scholar Dr Richard Jones has re-examined the principalsources of this key work from Bach’s final decade. In this new editionthe two-stave keyboard layout makes The Art of Fugue accessible tomodern players. It is enhanced by the editor’s extensive analytical andperformance notes. The edition includes a specially-recorded CD,performed on the harpsichord by Davitt Moroney.

NEWSPUBLISHING

■ The Associated Board does not sell publications direct ■ Please order from your local sheet music retailer ■

Pianists should note that this new volume replacesMiscellaneous Pieces for Pianoforte which will notbe reprinted once stocks are depleted. However, thefollowing 13 pieces from Miscellaneous Pieces areincluded in Mature Piano Pieces:

Allegro in B flat, K400Prelude and Fugue in C, K394Fantasia in C minor, K396Fantasia in D minor, K397Suite in C, K399Rondo in D, K485Rondo in A minor, K511Adagio in B minor, K540Gigue in G, K574Minuet in D, K355Andantino in E flat, K236Allegro in G minor, K312Adagio in C, K356

These five pieces are published by us for the first time:

Four Contredanses, K269bFour Praeambula, K284aMarch in C, K408Funeral March, K453aAndante in F, K616

Two of the sets of Variations, K455 and K573, fromMiscellaneous Pieces will still be available asseparate editions. Other pieces will be availablethrough our archive service:

Allegro Music, Birmingham, UK t +44 (0)121 643 7553 e sales@allegro.co.uk www.allegro.co.uk

Mozart Mature Piano PiecesEdited by Richard Jones

This new selection of Mozart’s keyboard pieces includes a variety ofworks dating from 1777 to 1791. The volume presents an interestingrange of origins and styles: one famous piece was originally written forglass harmonica, three are composed in an improvisatory style and threemore are partly indebted to the style of Handel. Two of the collection,the Rondo in A minor and the Adagio in B minor, are among the finestkeyboard pieces of Mozart’s maturity. This edition, with useful historicalnotes on each piece, has been carefully prepared by Dr Richard Jones.

A Selection of Italian Arias 1600-1800, Volume II

This new, authoritative edition of well-known arias is an idealintroduction to singing in Italian, as well as providing useful materialfor the advanced performer. Many of the best-known arias from therepertoire are included, such as Già il sole dal Gange (Scarlatti),Sebben, Crudele (Caldara) and Vittoria, vittoria (Carissimi).

A Performer’s Guide to Music of the Baroque PeriodA Performer’s Guide to Music of the Classical PeriodA Performer’s Guide to Music of the Romantic Period

This new series of multi-author guides, edited by Anthony Burton,presents reliable information about the interpretation of the music ofthese periods, encouraging the reader to think about periodperformance in relation to their playing, singing or listening.

Each volume contains chapters covering the historical background,notation, source issues and the different instrumental families. Theguides will be of particular use to students and of great interest toamateur and professional musicians, concert-goers and CD collectors.

Prep Tests for Recorder and Guitar

There are two new additions to the Associated Board’s Prep Tests, theseries designed to introduce young children, via a friendly environment,to the concept of music exams. These initial assessments are to betaken by pupils who have been playing for just a few terms.

10

Sibellius ad full page

12

FEATURE

Telling a story

For singers, as well as an understanding ofstylistic features and conventions of the variousgenres of musical composition, it is important toconvey the words with both colour andconviction. It is the ability of the singer toconvincingly ‘tell the story’ which is essential totrue musical communication. The real secret ofeffective interpretation is the development ofpersonal imagination, but there are techniques toassist this process.

To address the issue of making the wordscome alive we can look for the adverbs andadjectives and give emphasis to these to helpcreate colourful and suggestive descriptions. Careis needed to give correct stress and shading to theindividual syllables of words. The length andstress given to consonants and the timbre used inthe vowel formation are important in givingeffective coloration to the words. When analysingwords in music, looking at the words which fallon the accented beats of the bar may give anindication of the emphasis that the composer hadin mind.

A strategy I use is to take a simple phrase suchas ‘I’ll not go with you tomorrow’ to be sungdown a major scale in various emotions: anger;defiance; humorous taunting. Try placingemphasis on a different word each time. Anotherploy is to sing ‘the sun is shining and I am happy’and contrast with ‘the sky is grey and I feel sad’.The text being sung needs to be suitable for the age and personality of the singer, who must be able to identify with the emotion being expressed.

Finally, to convey the words convincinglyrequires appropriate body language, involvingattention to posture, facial expression, eyecontact and presentation, all of which assist incommunicating innermost emotions.

Dr Andrew PadmoreAssociated Board examiner and CT ABRSM voice mentor

The element of choice

To inform a piece with a sense of performanceinvolves an understanding of how to engage anaudience. To be able to inform a piece with asense of performance practice involves some priorknowledge of the style involved. These are twoseparate issues and need addressing in differentways in the learning process, as the first is biasedtowards nature (ie how the basic character of theperformer affects performance) and the secondtowards nurture (ie what the performer learnsabout the character of the music to beperformed).

Very often, both processes are sadly left to alater stage of instrumental development, on themistaken assumption that learners need toacquire a technique of some substance beforethey can deliver the ‘advanced’ goods ofperformance and stylistic performance. Both alsoinvolve a large element of choice – the performerchooses how to deliver, and in the case ofperformance practice will have that choicelimited by stylistic constraints to a larger degree.This element of choice is of fundamentalimportance in establishing a sense ofperformance.

Even complete beginners with only, say, twoor three notes at their disposal can be introducedto the concept of choice. They could be invited toperform those two or three notes as a simplemelody so that they sounded either calm orenergetic. This could be followed with anexploration of how they achieved that difference(eg loud/soft, long/short). It is then a smaller stepto informing them that, for instance, in a jazzphrase those three notes might often be made upof a long/short/long combination. By using suchsimple strategies, pupils at any level can beintroduced to and begin to explore the issues ofinterpretation, style and performance.

Ian LowesCT ABRSM brass mentor

The power of communication

We learn pieces of music by playing or singing them. This in turn points towards a performance in which weseek to communicate our feelings to an audience, large or small, interested or disinterested, knowledgeable orignorant. To achieve a good performance we need todevelop technical skills on our instrument to enable us to perform securely. What brings a performance to lifethough is our ability to convey our understanding of thecomposer’s intentions and to communicate with ouraudience through the music. The former requires someunderstanding of performance practice and what anauthentic performance of the piece might have soundedlike at the time it was written. The latter requiresimagination, creativity and an ability to engage with anddemonstrate a personal interpretation of the music itself.

Here, four experienced teachers and performers discussissues of communication and performance and stress thebenefits of developing these skills alongside the processof mastering the technical demands of a piece.

13

FEATURE

Shaping music

Teachers may feel uncertain and insecure aboutauthenticity in music, perhaps regarding it as aspeciality and avoiding it in their teaching.Synonyms for the word authentic – genuine, real,original – all have a positive meaning which canbe dangerous and intimidating. For whilst thehistorically informed styles of playing exploredover the last three or four decades have gainedgeneral acceptance it is also the case that someteachers and indeed professional musicians areintimidated by and buck against thisauthoritative implication of authentic.

But ‘style’, ‘historically informed’ and‘interpretation’ are in truth synonyms for eachother. Ignore the supposed superiority of‘authentic’ and one realises that we all offerversions of the same thing as performers andteachers. What the musicology and cumulativeresearch of the last decades offer are varioustools – ways of making particular kinds of music.In essence the problem of style, historicallyinformed or not, is really one of getting a playerof any standard to realise that the job of playinggoes beyond the mere reproduction of the noteswhether written or not. Music in performance is are-creative art, not a re-productive one!

I once heard the re-productive skill summedup as ‘the right notes in the right places’. Of thesetwo primary elements – intonation and rhythm –most interpretative, stylistic and performancepractice issues centre on the latter. In lessons andin their practice pupils can be encouraged toexperiment with ways of reading and playingnote lengths, the directions of phrases andarticulations that assist the structure of the music.This can go hand in hand with explorations of:how to shorten or lengthen notes; how to directa phrase; when to rhythmically emphasise mainbeats in dance movements; in short, how tobecome a sculptor of time.

Shaping music is an acutely aural skill, and asteachers our role is to create an awareness in ourpupils that such shaping matters and that ‘thedots’, written or not, are just the starting point.Involving pupils in the re-creative processreaffirms the joy of why we, and they, play music.Getting beyond the re-productive skills tosomething that communicates is the summit towhich all of our work and our pupils’ work shouldbe directed. It can be easy to lose sight of this andthe feeling that it is an irrelevance can take over.Persist, and it can become an extraordinarymotivating power.

Tony ShorrocksCT ABRSM string mentor

Persuasive performing

There is a widely held belief that pupils shouldonly listen to a performance of a piece once they have learnt it for themselves. The reasongiven is that pupils must not be encouraged tocopy but to develop an interpretation forthemselves. There can be a feeling that style andinterpretation form the icing on the cake andthat exploration, creativity and musical fun arebest encouraged when the fundamentals(ie notes and rhythms) are already in place.Although teachers may place style andinterpretation very much on the agenda, it tendsto be viewed as a separate and secondary process.This approach contrasts markedly with that ofjazz education where learning through listeningand exploratory skills is encouraged as a primaryprocess.

In the absence of a clear approach to musicalstyle and interpretation, audience and performeralike would become bored. Music only makessense through its capacity to communicate. Theexcitement which makes an audience tingle withemotion and the performer feel proud andelated, cannot come through an appraisal of thenotes alone.

When we hear a persuasive performance it islikely to demonstrate the following:1 Clear textures2 A workable, well-graduated dynamic range3 Ability to shape the line with good length4 An understanding of the underlying

harmonic structure5 An understanding of the inherent

rhythmic characteristics6 An awareness of the composer’s intention7 A capacity to bring all the above to life8 An ability to communicate the emotional

content of the music (as directed by thecomposer and interpreted by the performer)

9 An ability to sense the ‘moment’ ofperformance and to create an interpretation afresh

It is possible to teach a pupil to achieve the firstsix characteristics with little if any reference tothe performance of a particular piece, either bythe teacher or an external source. The resultantperformance may well be an interesting, evenpolished one. However, if the goal is to fostermusical enjoyment and, more importantly, adesire to communicate that enjoyment, then theteacher must place equal importance upondeveloping the latter three qualities.

Perhaps the best way to encourage pupils toenjoy making music is through listening to music,in an active and purposeful way, and throughencouraging the process of musical explorationand self-awareness.

Peter NokeAssociated Board examiner and CT ABRSM piano mentor

14

POINT OF VIEW

As an examiner I always find it disappointing whencandidates play their pieces tolerably or even verywell and then fall down, sometimes dismally, on theother stuff. I hear the cry of ‘but how can youpossibly devote quality time to technique, scales,sight-reading, aural, memory, improvisation, theory,composition (the list seems endless) in a normallesson span? There are simply not enough minutes.’Perhaps those precious minutes that go to make upa lesson or practice session are not being used aseffectively as they could be.

Let’s deviate for a moment, and ponder thequestion, ‘Why are some people more musical thanothers?’ The answer, to a degree, lies in theirgenetic inheritance and therefore, literally, in theway their brains are connected. However, naturemust be supported by nurture. Those who, by virtueof sensitive, caring and imaginative parents, havehad an early upbringing rich in creative activities(anything, for example, from singing and dancing,drawing and painting to playing with buildingbricks or jigsaw puzzles) will be in a very much moreadvantaged position than those subjected to anearly life empty or starved of such activities.Through such activities, strong connections areformed in the brain, and with the aid of sensitiveand aware teaching which will further strengthenthem, the type of connections that lead to musicalthinking are developed.

The answer is to be found in the way musicians makeintuitive and instinctive connections between all thevarious elements that go to make up music. Whenmusicians read music they hear it in their musicalear, they understand key and rhythm, they perceivebalance and sonority, structure and meaning. Whenthey hear music, they instantly know about it. Thisknowing is similar, if somewhat more complex andmulti-layered, to the way we might know, say, agrape or a plum – it is a kind of holistic knowing. Inan instant we know what a grape is (whether wehave one in our hand or not) – we know what it lookslike, feels like, and tastes like, and what its constituentparts are. Anecdotal evidence tells of Mozart’sexcitement when a composition became fullyformed in his mind – he was able to ‘see’ the entirework in an instant – the ultimate in holistic thinking.This kind of musical thinking can only operate to itsfullest when the whole brain is being accessed. For avery small number, who are genetically set up with

an unusually generous number of neuralconnections, this will happen more naturally; forothers – the majority – effective teaching can helpto cause the pupil to make the necessary mentalconnections and relationships to help bring aboutdevelopment of true musical thinking.

So how can the teacher help? What is theteacher’s job? It is not simply to teach pieces. Itcertainly ought not to be a process of correctingpupil’s mistakes – a form of passive (or reactive)teaching that is boring and demotivating for bothteacher and pupil alike. It should be to teach pupilsto become better musicians – and this can comefrom a process I call simultaneous learning.

Many lessons are taught in a rathercompartmentalised way. Lots of work on pieces, andthen, if time permits, a scale or two, possibly somesight-reading, and, if the next pupil is late, theremay be just a few moments to sneak in a quick auraltest. But this is far from ideal, and pupils are notbeing taught to become independent musicalthinkers.

To get into the spirit of simultaneous learning,write down all the activities you feel ought to bepart of a lesson and begin to make two or threeconnections between them. For example, sight-reading and scales (many patterns in sight-readingare simply different scale patterns); then findconnections between scales and aural, aural andpieces, pieces and memory, memory andimprovisation…the more you think, the moreconnections you will begin to make. In fact, thenumber and kinds of connections between thevarious activities are virtually infinite – it just takes abit of effort to kick-start the mental process. Onceyou are thinking along these lines lessons begin totake on a new lease of life. Teachers are no longerreacting to (often) poorly prepared work, but aresetting the agenda. One idea leads to another in amuch more musical way. The process of teachingbecomes much more imaginative – a lesson becomesa voyage of discovery – and both pupil and teacherbecome positively motivated, fired up with a realexcitement for learning.

Most pupils find learning and playing pieces themost obviously enjoyable part of their work. Sopieces must remain the central focus of the lesson.But it is how the pieces are taught that reallycounts. All good teaching will have had at leastsome preparation. In preparing to teach a particularpiece it is important to identify the musicalingredients: scale, arpeggio and other melodic and

Paul HarrisSimultaneous learning – teaching pupils to think musically

So, what is musical thinking?

Paul Harris gives an insight into his teaching philosophy,explaining how to make lessonsmore effective by adopting a‘joined up’ approach to learningand enabling pupils to makemusical connections.

15

POINT OF VIEW

rhythmic patterns for example, markings and otherinstructions. And it is important to know the piece.We then begin to teach not the piece, but theingredients. We are continually making connectionsinto aural, technical work (including developmentof key sense through scales), memory, sight-reading,improvisation, composition and theory. In this waythe skills, related knowledge and subsequentmusical understanding become linked and a muchmore powerful and effective form of education hastaken place. We are teaching the language, we areteaching our pupils to see and understand; to hearand understand. We are teaching them music.

As a teacher, I used to become frustrated athaving seemingly taught a pupil something andthen finding that they could not then apply thatsame knowledge in a different context. For somereason, effective learning had not taken place. In agood simultaneous learning lesson there must be agood deal of dialogue – the asking of searchingquestions designed to encourage pupils to developconnections and think for themselves. Pupils mustbe encouraged to solve their own problems.Teachers guide and direct. This is how progress isreally made and it will allow pupils to transferknowledge and understanding much more readily.

So how might a simultaneous lesson unfold?There is an infinite variety of possibilities. You maybase the lesson on an unseen piece of sight-reading;you may base it on improvisation or compositionrelated to the piece being learnt. For now, let usassume we are dealing with a lowish grade pianistwho has prepared a C major scale and the first halfof a carefully chosen Allegretto in C. We begin bysinging (there should always be singing in lessons)then performing the scale. The pupil is questioned:was it rhythmical? Was the tone even? Were thereany technical faults? Any remedial work to besuggested by the pupil. Getting pupils to takeownership of their playing is essential if we are toproduce independent musical thinkers. Next, somevery simple improvisation in C major – free if youlike, or perhaps based on a melodic phrase fromtheir piece (but keep the music out of sight!).Recalling the improvisation discuss the range ofdynamics used. Now try a second improvisation butmaking use of a different or perhaps greaterdynamic range. Discuss other interesting aspects ofthe improvisation. Could it be improved? How?Perhaps a technical point may have emerged whichcan now be explored through either moreimprovisation or some favourite exercise.

Next, move on to the piece – but still keep themusic book shut. Can the rhythm of the first fewbars be clapped? How much can actually be playedfrom memory? Work at however much (or little) ismemorised. Any particular feature (be it melodic,rhythmic, a particular marking or stylistic idea) cannow be explored by talking about it and putting it

into different contexts (still the music is out ofsight). Perhaps play a melodic fragment in differentkeys, exaggerate or alter a marking, the variety ofpossibilities are only limited by the imagination.

Now finally open the music. Read the musicthrough silently, in the head first, before playing it.Try singing the right-hand line and playing the left.Then (assuming there is nothing the pupil may reallyfind difficult and again after silent reading) sight-read a further few bars. It doesn’t matter if thesilent reading was not a hundred per cent accurateat this stage. The very fact of trying will develop allsorts of musical skills. Again, talk about and work atthe ingredients of the new section. Never simplyteach the piece.

Now decide on what is to be the focus of theweek’s practice and talk about how practice is to beundertaken – simultaneous learning should beassimilated into practice just as it is in lessons. Morework on C major – perhaps it is to be played atdifferent dynamics or using particular rhythmsfound in the piece; beginning to think aboutcomposing their own Allegretto in C (perhaps theymight improvise different ideas or work on the firstfew bars) and more work on their piece – with asmuch memory work as possible. Pupils should keepa practice notebook, noting down the variousdifferent ideas they had during their sessions.Practice thus becomes a creative and imaginativeexperience – not a half-hearted, mindless twentyminutes that pupils would rather be spending doingsomething else!

So, in such a lesson (and its related practicesessions, which must be clearly connected in bothspirit and content) we have included technical work,aural, improvisation, rhythm, composition, scales,memory work, sight-reading and the developmentof other aspects of musicianship. Music has been atthe heart of the activity throughout with the pieceacting as the point of departure.

Once a teacher/pupil team embark on this kind oflearning the horizons become increasingly wider.The imagination of both parties is being accessed –and that is where music really lives. A music lessonshould have very little to do with correctingmistakes, with showing pupils how pieces ‘go’.Simultaneous learning is about making connections.Through teaching pupils to make these connections,we are really developing their musical ability. It iscertainly more of a long-term approach and it willtake a bit of courage, but the rewards will beconsiderable. We are developing pupils’ musicalindependence, the likelihood of them giving up isdiminished and we are endowing them with aunique gift for life.

Paul Harris is a teacher, composer, writer, clarinettist,educationalist and examiner. The author of over 250publications including The Music Teacher’s Companion(ABRSM (Publishing) Limited) and the Improve Your Sight-reading! series (Faber Music) and many works ranging fromshort educational pieces to five concertos and a ballet.

Simultaneous learning is about making connections.

16

FORUM

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Candidates sometimes arrive inthe exam room without theirmusic. Often they have left it athome or in the car and panicensues until a spare copy is found.Rather less frequently thecandidate will play their piecesfrom memory. Their confidencemay be rewarded by fluentperformances with no distractingpage turns but sadly, on otheroccasions, an obviously well-prepared performance comes to agrinding halt when memory failsunder exam pressure. It isdistressing for candidate andexaminer when attempts torestart are not successful.

Singers, of course, do performfrom memory except in oratorioitems, but if necessary they can bequickly prompted by the pianist.Instrumentalists rely rather more

on various different forms ofmemory: physical – when thefingers appear to know their waywithout prompting; melodic – thesound of the piece; and visual –when the look of the pageprompts memory, even if it’s notbeing read note-by-note. Weneed all these forms of memoryfor safe performances. To playfrom memory is a big decision forteacher and pupil and there needsto be a high level of confidenceand previous performancepractice to be certain of a safeoutcome.

The various forms of memorymake a fascinating focus inlessons. We have recently hadseveral letters about memorisingand it would be extremelyinteresting to hear your views onthe subject.

Your chance to share experiences and ideas with other readers.In each issue our Chief Examiner, Clara Taylor, introduces a subject for discussion. We then publish your responses in the next issue. Your contribution may be edited for publication.

Write to Clara Taylor, marking your envelope Forum, or email chiefexaminer@abrsm.ac.uk

Teaching adults

Next topic: memory

Clara Taylor

Pleasure in learning

I have a number of adultstudents, most of them wishing totake exams and some having todeal with the business of nerves.Not one of them is looking for aneasy route to learning. I getimmense pleasure from teachingadults. The rewards are great andI strongly urge all teachers tograb the chance to teach an adultif an opportunity arises. Theirpleasure in learning is wortheverything.

Anthony SteelIsle of Wight, UK

Adult essentials

Seven years ago I returned topiano lessons. My previousexperience was during the 1950s.The past seven years have beenextremely rewarding. An essentialis a teacher who is sympathetic,professional and able tocommunicate with learners whomay be older than themselves!

Lynn DonaldFalkirk, Scotland

A different approach

I have to adopt a differentapproach when teaching adults.They commence lessons with thebest of intentions, but are oftenso busy that they do not find timeto play their instrument. They areeasily ‘put off’ and I have to treatthem with kid gloves. They arecross with themselves if they donot immediately understand or iftheir fingers will not do as theywant them to. On the credit side,teaching adults can be rewarding,for they are thrilled when theyhave mastered a problem, be ittechnical or otherwise, andmaturity is an advantage. As mostteachers would I’m sure agree, it’sgreat to have adults ‘giving it a go’.

Alison MastersRotorua, New Zealand

The right reward

As a young teacher I have oftenwondered how I should encouragemy older students. Then one day, I decided to reward one of myadult students with a sticker onher book. To my surprise, whenshe reached home, she proudlyshowed it to her grown-updaughter. I now realise that adultstudents need encouragement andrewards just like younger learners.

Siong NgAuckland, New Zealand

A joy to teach

My oldest pupil is 68 and came tome two years ago as a completebeginner. He is taking Grade 2Practical next and has just passedGrade 3 Theory. Music haschanged his life! His arthritichands have improved and he hasa whole new attitude to life. Ifind my adults a joy to teach andfeel privileged to give them achance to experience the pleasureof playing and singing in later life.

Liz LittlerKidderminster, UK

Look, they are doing it too!

I have been teaching adults formany years but it was when Ibecame a Piano Co-ordinator atThe City Literary Institute that Istarted to do it on a much moreserious note and I love it! I think itmakes much more sense for adultsto learn in a workshop situation,it increases their confidence andprovides a supportive socialbackground – ’Look, they aredoing it too!’ They feel muchmore relaxed about making amistake or feeling insecure. Theyare amongst friends!

Yekaterina LebedevaPiano Co-ordinatorThe City LiteraryInstitute, London

The value ofPerformanceAssessment

I wholeheartedly endorse yourcomments about the value of thePerformance Assessment for adultlearners. When I was preparingfor the DipABRSM exam theexaminer’s assessment and advicereally set me on the road togreater confidence and was agood ‘reality check’ on thestandard I had reached.

Hilary MillichampOxford, UK

Correction

On our last Forum pagewe referred to a BachFugue in E minor. Thisfugue was actually byTelemann; the referenceto Bach was an editorialerror. Apologies toMargaret Huntingtonwhose letter this mistakeinvolved.