LIBRETTO

A future for string teaching

Launching Music Medals

Clarinet club: Buddy DeFranco and Alan Barnes

Latest syllabus news

Grade 8 Piano preview

Issue 2004:2

Music Medals are the Associated Board’s response to the extraordinarygrowth over the past decade in the number of young people who arebeing taught in groups during the early stages of learning to playmusical instruments. Over the years, the grades have demonstrated,and continue to demonstrate, their motivational power in encouraginghundreds of thousands of young people throughout the world to startplaying and to fulfil their individual potential on their chosen musicalinstrument. Now Music Medals provide a comparable motivationalpathway during the crucial early stages for each individual pupil who islearning as a member of an instrumental group.

In the UK the great majority of group teaching is organised byLocal Authority Music Services and it is fitting that Music Medals arefirst to be launched at the annual conference of the Federation ofMusic Services in Bristol on 22 May. A press launch is to be held soonafter in London, to be attended by David Miliband, Minister forSchools Standards.

The creation of Music Medals began over five years ago and theirfinal shape is the outcome of close observation of the market placeand the widest possible consultation with teachers. Let me give yousome examples of this. The government is committed to all youngchildren having the opportunity, if they so wish, to start learning amusical instrument; Music Medals are designed to operate from thevery earliest stages of learning. Teachers and parents want assessmentof the individual child, even though the learning is in a group; this iswhat Music Medals provide. Furthermore, the importance ofcelebrating achievement is given very real effect by the award of anactual medal to each successful candidate. The concept of integratedteaching is reflected in Music Medals through teachers themselvesacting as assessors, with the outcomes then being moderated by theAssociated Board. Music Medals respond to a recognised shortage ofsimple repertoire for ensembles by providing a series of publications ofensemble material which cross the boundaries of the individualmedals. Music Medals also respond to the market place by providingflexible and low-cost assessment, taking maximum advantage of thenew technologies for efficiency and economy, but maintaining all thequality assurance procedures which apply to graded exams.

From the start we have wanted Music Medals to be as inclusive aspossible, with minimum barriers to entry and availability across allinstruments commonly taught in groups. Although Music Medals areinitially available only in the UK, we are already researching the extentof group teaching in a range of overseas countries so as to assess theirpotential there; and in the longer term these assessments may wellbecome available for instruments beyond the Western classicaltradition. In the meantime, please remember that all the Music Medalspublications, including the ensemble materials and the group teachingcompanion All Together!, are available throughout the world.

As previously reported, Music Medals have been pilot-tested withover 30 Music Services, involving approximately 180 teachers and 1,000young people, and have already been accredited on the NationalQualifications Framework. We do therefore have great confidence thatthey will meet the needs of all those engaged in group teaching.Through the upcoming press launch and also indeed through Librettoitself, I very much hope that the virtues of Music Medals can bebrought to the attention of the widest audience, in particular parentsand their children, the ultimate beneficiaries.

ContentsLibretto 2004:2

3 Exams

Syllabus round upLaunching Music MedalsGroup teaching workshopsPiano syllabus seminarsAdvice for the summer termGrade 8 Piano preview

10 Features

Clarinet club:Buddy DeFranco and Alan Barnes

John Robert Brown

A future for string teaching:the Junior Strings Project

Penny Stirling

14 Professional development

Celebrating 10 years of professionaldevelopmentCT ABRSM: find out moreCT ABRSM newsNew prospectusSummer school for Hong Kong pianistsBringing jazz into your teachingA forum for jazz

16 News

News from around the worldCompetitionNew representativesHigh Scorers’ Concerts

22 Forum

Your letters: singing mattersNext topic: special needs – special care

Outlook

Richard Morris Chief Executive

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

telephone +44 20 7636 5400email abrsm@abrsm.ac.uk

www.abrsm.org

Registered Charity No. 292182© 2004 by The Associated Board of the Royal Schools of MusicAll rights reserved. Unauthorised reproduction in whole or inpart is prohibited without permission.

Editor CGP MorrisAssistant Editor Lucy NorthInsert & advertising sales Dominic Sewell

telephone +44 20 8861 0848Design Tamasin ColeCover illustration Alexandra LazarPrint Headley Brothers LtdPrinted on 100% de-inked, recycled paper

The views expressed in Libretto are not necessarily those of theAssociated Board neither are the products or services appearingin advertisements and inserts endorsed by the Associated Board.

As I promised in the last Libretto, thecentrepiece of this issue (see pages 4 to 6)is the launch of Music Medals, which mayprove to be the most important innovationin music assessment since the introductionof graded exams well over 100 years ago.

3

EXAMSSyllabus round up

Philip Mundey, Director of Examinations,looks at what’s new on the syllabus front.

Over the last three years we have been busy with our teams ofconsultants, working towards the new exam syllabuses that willbe available to teachers from August this year and come into forcefrom January 2005.

Piano and bowed strings

The Piano and Bowed Strings Syllabus 2005 &2006 features completely revised repertoire listsfor piano and violin. Almost all the pieces in thecello lists are also new, though one or twofavourites have been retained.

Violin teachers should note that the violin listsare to last only three years this time rather thanthe usual four – so their duration is 2005–2007.Thereafter we shall revert to the four-year cycle.

Turn to pages 7 and 8 for informationabout seminars and a preview of theGrade 8 Piano lists.

Harp

I am especially pleased to announce thepublication, also in August, of a completely newharp syllabus that caters for pedal and non-pedalharp through all eight grades.

Robert Sargant, the Associated Board’sSyllabus Manager, writes:

“There are combined repertoire lists, withmany of the pieces suitable for both categories of instrument, especially in the earlier grades. The pieces for pedal harp only and non-pedalharp only are clearly indicated in the lists.Alongside a broad range of music and styles new to the syllabus, the lists retain a goodmeasure of core repertoire.”

The scale requirements are completely revised,and, as is customary, all candidates in 2005 mustpresent these new items, even if they are takingadvantage of the usual overlap period for thepieces. A scale manual featuring the newrequirements is being published by Alaw MusicPublishing to coincide with the launch of the newsyllabus.

We have also commissioned a new book ofspecimen sight-reading tests – for both categoriesof harp and all grades. The new book contains asignificantly larger number of tests than thecurrent book and will be available this year fromABRSM Publishing.

Diplomas

Later this year the Associated Board’s verysuccessful diploma syllabus is to have a makeover,with the directing, performing and teachingrequirements being published in separate, self-contained documents for easier access.

The revised syllabus, which contains increasedguidance for candidates, will come into effect inJanuary 2005. Candidates who have part-achieved their diploma under the currentDiploma Syllabus from 2000 will be able tocomplete it under that syllabus. All new diplomacandidates in 2005 will enter under the new, fullyaccredited, Diploma Syllabus from 2005.

For performers, there are a few changes tothe repertoire lists, but there will be a full one-year overlap during which time they may presentpieces from the existing lists if they wish.

Teachers considering entering for the LRSM in 2005 should be aware that there is a newrequirement to submit – and pass – their video ofteaching skills and case studies before applyingfor the rest of the diploma. Special arrangementshave been made for teachers in internationalcentres, and candidates should contact theirRepresentative for further details.

For advance information about therevised diploma syllabus visitwww.abrsm.org/exams/diplomas

Music Medals

As you can read elsewhere inthis edition of Libretto, we arelaunching Music Medals at theFederation of Music Servicesannual conference in Bristol

during May. These innovative new assessmentswill be available initially to pupils taught ingroups by UK Music Service peripatetic teachers,though we plan to make them more widelyavailable in time.

To read about Music Medals turn to page 5.

New harp scales

For more informationabout the new harpscale manual contactAlaw Music Publishing:

www.alawmusic.ndo.co.uk

t +44 1443 402178e sales@

alawmusic.ndo.co.uk

• A wealth of newly commissioned materials for group-teaching

• Original ensemble pieces and imaginative arrangements

• A wide variety of styles

• Suitable for mixed-ability groups

• Progressively graded volumes

• Practice material for Music Medals options

All Together ! Teaching music in groups An excellent resource for instrumental and singing teachers who teach pupils in groups

Launching in 2004

After five years of development in close partnership with some 30 UK Music Services, we are delighted to be launching our new assessments for group-taught pupils – Music Medals.

The first assessments will take place in September, when Music Medals will be available, principally through UK MusicServices, to pupils learning the following instruments: flute,clarinet, saxophone, violin, viola, cello, guitar, recorder, trumpet,cornet, flugelhorn, E flat horn, French horn, trombone, baritone,euphonium and tuba.

Launch events, as part of the Federation of Music Services conference and the National Associationof Music Educators conference, are being held during the coming months. Music Medals ensemblerepertoire books will be available for flute, clarinet, trumpet and violin in May, with guitar followingin September. Ensemble repertoire lists for all instruments will be published at www.musicmedals.orgin May. These lists will be regularly updated to include new repertoire as it is published.

For teachers interested in developing their group-teaching skills and knowledge, ABRSMPublishing is also bringing out a new handbook for those working in this field – All Together! With aforeword from percussionist Evelyn Glennie, All Together! will provide guidance, practical advice andinspiration for all those teaching pupils in groups.

5

EXAMSMusic Medals: assessment with a difference

� www.musicmedals.org � www.musicmedals.org � www.musicmedals.org � www.musicmedals.org �

What are Music Medals?

Music Medals are assessments for group-taughtpupils at the earliest stages of learning. While theassessments involve groups – of equal or mixedability – only one group member is actuallyassessed per Medal. In this way full attention is given to their contribution, and individual,rather than group, attainment is recognised and rewarded. Successful candidates receive acertificate, a commentary on their performanceand, of course, a Music Medal – a great way toreward and celebrate achievement.

Levels and assessments

There are five progressive levels of Medal –Copper, Bronze, Silver, Gold and Platinum – witheach level covering the following core skills:

� Playing with others (Ensemble)� Playing solo (Solo)� Musicianship skills (Option)

Music Medals recognise the importance of the teacher in both the learning and assessmentprocesses. There are no external examinersinvolved; instead, the initial assessment is madeby the teacher, in their role as a Teacher-Assessor.The Teacher-Assessor captures the Music Medalperformance on video and completes a reportform. The video and form are then sent to theAssociated Board for moderation.

A Music Medal takes between five and tenminutes to complete and can be fitted easily intothe normal teaching routine. For the teacher, thishelps to simplify the assessment process and, forthe pupil, it means that the assessment takesplace in a familiar environment.

A wealth of new resources

One of the most exciting aspects of the MusicMedals project is the new ensemble repertoirewhich has been commissioned by the AssociatedBoard, helping to enrich the repertoire availablefor ensembles and group teaching at an early level.

Repertoire books feature duets, trios andquartets at each of the five levels. In addition toproviding materials for the Music Medalsassessments, the repertoire books can also beused in the wider teaching and learning context.

The Music Medals material has been writtenspecifically for ensemble work, taking intoaccount the issues involved in group teaching.Composers involved in the Music Medals projectinclude Derek Bourgeois, Sir Peter MaxwellDavies, Stephen Dodgson, Sheila Nelson,Barrington Pheloung, Philip Sparke, PamWedgwood and Judith Weir. The resulting piecesare stimulating and rewarding for all performers.

The wider picture

Earlier this year the UK government announced a£1.5 million funding increase for Music Services toenable them to widen access to music-making forchildren in primary schools. Group tuition willform an increasingly important part of the driveto bring musical experiences to a greater numberof young children and Music Medals have beendesigned specifically to support Music Services,teachers and pupils involved in this area. Webelieve that Music Medals will provide materialsand assessments that will inspire and motivatepupils, helping them to fulfil their musicalambitions and rewarding their achievements.

Turn the page for more about Music Medals.

6

EXAMS Music Medals: the detail

What Music Services say

StructureEach Music Medal assessment consists of three sections –Ensemble, Solo and Option – each focusing on different skills.

For the Ensemble component, the candidate plays anindividual line in an ensemble piece for two, three or fourplayers. Although the whole ensemble performs, only thecandidate taking the Music Medal is assessed. In the Solosection, the candidate plays a piece from the solo repertoirelist. At this point the candidate may play either with anaccompaniment (live or CD backing track) or unaccompanied.In the final section of the Medal the candidate chooses fromone of four Option tests:

� Call & Response� Make a Tune� Question & Answer� Sight-Reading

Options Practice Books containing specimen Option testsare being published to encourage development of soundmusicianship skills whilst providing a helpful preparationresource for the Music Medals assessments.

Online entry and administrationMusic Medals make maximum use of online technologies. All entries are made online and the timing of the entry andassessment is decided by the teacher and candidates, makingthe assessments uniquely flexible and accessible. ParticipatingMusic Services and schools will also benefit from online accessto a wealth of statistical feedback on the performance oftheir Music Medals candidates.

Accreditation – adding value to achievementMusic Medals are accredited by the Qualifications andCurriculum Authority for England, and the correspondingauthorities in Wales and Northern Ireland. This places MusicMedals within the government’s National QualificationsFramework. Music Medals also relate to the Programmes ofStudy found in A Common Approach, produced by theFederation of Music Services.

Further informationThe first Music Medals assessments will take place inSeptember 2004. While Music Medals are initially being madeavailable to teachers and pupils through Music Services in theUK, it is intended that their scope will soon be extendeddirectly to schools and to group instrumental teachersworking independently.

For more information visit www.musicmedals.orgAlternatively you can contact the Music Medalsteam in the following ways:

t +44 20 7467 8832e musicmedals@abrsm.ac.uk

Group teaching workshops

Do you teach students in groups? If the answer is yes, then this workshop is for you.

Getting to grips with groupteaching is an interactiveprofessional developmentworkshop led by contributors tothe exciting new publication fromABRSM Publishing, All Together!

The book’s subject is group teaching and theworkshop will explore topics such as the dynamics of group teaching, improvising and composing forgroups, lesson planning, feedback and reporting.The workshop will also include an introduction tothe CT ABRSM course.

The workshop is suitable for teachers of allinstruments, and will be relevant to both privateteachers and those working for a Music Service.

Workshops start at 9.20am and finish at 1.30pm andthe fee per person is £25 including a complimentarycopy of All Together!

The booking form is available atwww.abrsm.org/teachers/coursesAlternatively contact Beth Walthew:

t +44 20 7467 8226e bwalthew@abrsm.ac.uk

Workshop dates

Saturday 19 JuneGateshead

Sunday 20 JuneGlasgow

Sunday 27 JuneManchester

Sunday 4 JulyLondon

“Music Medals will provide significantencouragement and motivation for pupilswho are currently taught in groups. It willalso raise the profile of ensemble work,which we believe to be a most importantelement in a well-balanced musiceducation.”

Philip Trumble, Chief Executive,Richmond Music Trust

“The Music Medals pilot has proved amajor success. Group-taught studentsfound it a valuable benchmark, andteachers noted that it certainly raisedpupils’ desire to practise more diligently, as well as develop valuable ensemble skills.The ability to mix students of differentlevels of ability has also provedinvaluable.”

John Treherne, Head ofGateshead Schools’ Music Service

“I was particularly enthusiastic about usingthe video camera. I had never used onebefore but found it was great as a teachingaid and the pupils responded well to it.”

Susannah Swindell,Nottinghamshire Music Service

“We commend the Associated Board forits vision in introducing such an innovativeapproach to the evaluation of youngmusicians.”

Peter Dunkley, Head of Service,Northamptonshire Music andPerforming Arts Service

� www.musicmedals.org � www.musicmedals.org � www.musicmedals.org � www.musicmedals.org �

Win a copy of All Together!

Turn to page 16 to enterour latest competition.

7

EXAMS

We have put together a panel of highly experienced presentersincluding Ruth Gerald, Julian Hellaby, Vanessa Latarche, DennisLee, Peter Noke and Anthony Williams. There will be twopresenters at each seminar, sharing their considerable knowledgeand insight both as Associated Board examiners and as teachers.

Piano syllabus seminars

To introduce the new syllabus we are holding a series ofone-day seminars for piano teachers in the UK.

Advice for the summer term

Dates and venues

200411 September University of Aberdeen18 September Royal Northern College of Music, Manchester25 September Birmingham Conservatoire3 October University of York9 October University of Cambridge

16 October Royal Scottish Academy of Music and Drama, Glasgow23 October Cardiff University30 October Royal Academy of Music, London5 December St George’s, Bristol

11 December University of Exeter

200522 January University of Southampton23 January Royal Academy of Music, London

The cost of attending a seminar is £35.00, whichwill include refreshments but not lunch.

UK piano teachers will find a bookingform for the seminars enclosed with this issue of Libretto. You can also download copies atwww.abrsm.org/teachers/courses

Alternatively contact the Marketing Department:

t +44 20 7467 8254e marketing@abrsm.ac.uk

This is an opportunity to hear some of the wonderful newrepertoire on offer in the piano syllabus and to refresh ideas about how to teach a wide range of different pieces.

Violin and cello seminars

Later in the year and in 2005, we will be holdingseminars for violin, cello and harp teachers, againlooking at repertoire from the new syllabus lists.These events will start in November and run intothe new year.

Further information about theseseminars will be available atwww.abrsm.org and booking forms will be sent out with the Septemberissue of Libretto.

Exam dates and times

The UK and Ireland summer session is the mostpopular of the year, with around 150,000 candidatesentering for exams during this period. Timetablingthese exams is an important and complex task and we make every effort to offer convenientappointments to all candidates. However, for somethere are inevitably clashes with another importantcommitment, such as a school exam. In these caseswe will try to find an alternative appointment –these are few and far between, especially in thelater weeks, and may mean travelling to anothercentre. We cannot offer new appointments tocandidates who have an early exam date and thinkthey may not be ready.

It’s a good idea to warn candidates and parentsthat their exam date could be early in the session,even if one of the popular later weeks has beenrequested, and to make them aware that we areonly able to look for new apointments for thosewith an exam clash.

Sending out results

The UK and Ireland Exam AdministrationDepartment aims to send out mark forms andcertificates as soon as they have been through ourchecking processes and you will usually receive yourresults between two and four weeks after the exam.Many results from the summer session will reachapplicants before the end of the school term.However, if exams were taken during the laterweeks of the session, the results may arrive at thebeginning of the summer break when schools areshut and teachers may have gone away.

If you think this will affect you, you can contactus in advance to arrange for your results to be sent toa different address. This could be your home addressor the address of a friend or colleague who can passon the results to candidates in your absence.

To request this service write to the relevantAssociated Board regional office at 24 Portland Place, London W1B 1LU.

8

List A

1 JS Bach Partita no.4 in D, BWV 828: 2ndmovt, Allemande*

2 Shostakovich Prelude and Fugue in Eb:no.19 from ‘24 Preludes and Fugues’,Op.87*

3 Scarlatti Sonata in D, Kp. 535, L. 262*4 JS Bach Prelude and Fugue in A minor,

BWV 889: no.20 from ‘The Well-Tempered Clavier’, Part 2 (ABRSMPublishing)

5 Handel Suite no.8 in F minor (1720Collection), HWV 433: 1st and 2nd movts,Prelude and Fuga (Allegro)Handel Eight Great Suites, Book 2(ABRSM Publishing)

6 Hindemith Interludium (pp.27–28) andFugue no.6 (Fuga sexta) in Eb, from‘Ludus Tonalis’(Schott ED 3964/MDS)

7 Lekeu Fughetta in B minor (from Sonata for Piano) French Romantic Repertoire, Level 2(Faber)

8 Scarlatti Sonata in D minor, Kp. 444, L. 420No.152 from Scarlatti 200 Sonatas, Vol. 4(Editio Musica/Boosey & Hawkes)

List B

1 CPE Bach Sonata in F minor, H.173,Wq.57/6: 1st movt, Allegro assai*

2 Mozart Sonata in C, K.330/300h: 1stmovt, Allegro moderato*

3 Beethoven Sonata in E minor, Op.90: 1st movt*

4 Beethoven Sonata in G, Op.79: 1st movt,Presto alla tedesca (ABRSM Publishing)

5 Clementi Sonata in G, Op.37 no.2: 1stmovt, AllegroNo.14 from Clementi Selected PianoSonatas, Vol. 2(Henle or Henle–Schott/MDS)

6 Haydn Sonata in D, Hob.XVI/24: 1stmovt, AllegroNo.39 from Haydn Complete PianoSonatas, Vol. 2 (Wiener Urtext/MDS)

7 Haydn Sonata in Eb, Hob.XVI/49: 1stmovt, AllegroNo.59 from Haydn Complete PianoSonatas, Vol. 3 (Wiener Urtext/MDS)

8 Schubert Sonata in E, D.459: 1st movt,Allegro moderatoSchubert Complete Pianoforte Sonatas,Vol. 1 (ABRSM Publishing)

List C

1 Arensky Impromptu: no.1 from ‘Quatremorceaux pour piano’, Op.25*

2 Billy Mayerl Autumn Crocus*3 Schumann Intermezzo: no.4 from

‘Faschingsschwank aus Wien’*4 Liszt Dem Andenken Petöfis (In Memory

of Petöfi)*5 Rawsthorne Bagatelle no.3*6 Toru Takemitsu Romance*7 Albéniz Castilla (Seguidillas): 7th movt

from ‘Suite espagnole’, Op.47 (Schott ED5068/MDS)

8 Chopin Polonaise in C minor, Op.40 no.2Chopin Polonaises (Henle orHenle–Schott/MDS)

9 Debussy Arabesque no.1 in EDebussy Two Arabesques (WienerUrtext/MDS)

10 Fauré Barcarolle no.4 in Ab, Op.44Fauré 13 Barcarolles (Piano Works Vol. 2)(Peters EP 9560b)

11 Edward Gregson No.6 from ‘Six LittlePiano Pieces’ (Novello/Music Sales)

12 Benjamin Lees Nos.7 and 9 from‘Kaleidoscopes’Boosey & Hawkes 20th-Century PianoCollection: from 1945 (Boosey & Hawkes)

13 Medtner Idylle: no.1 from ‘ThreeArabesques’, Op.7 (Benjamin/Boosey &Hawkes)

14 Mendelssohn Scherzo in E minor, Op.16 no.2No.6 from A Keyboard Anthology, 1stSeries, Book 5 (ABRSM Publishing)

15 Poulenc Nocturne no.1 in C, from ‘8Nocturnes’ (Heugel/UMP)

* Published by ABRSM Publishing inSelected Piano Exam Pieces 2005–2006,Grade 8

Available in August� Piano & Bowed Strings Syllabus

2005 & 2006� Selected Piano Exam Pieces

2005–2006, Grades 1 to 8� Recordings of Piano Exam Pieces

2005–2006, Grades 1 to 8� Teaching Notes on Piano Exam Pieces

2005–2006, Grades 1 to 7

EXAMS Grade 8 Piano preview

The latest syllabus for piano and bowed strings will be availablein August, featuring revised repertoire lists for piano as well asviolin and cello. As in previous years we are providing a previewof the Grade 8 Piano list so that teachers and candidates haveplenty of time to begin preparing the new pieces in time for the2005 exam sessions.

NewPiano

andViolinexammusic

24 Portland Place London W1B 1LU United Kingdom publishing@abrsm.ac.uk www.abrsmpublishing.co.uk

The Associated Board ofthe Royal Schools of Music(Publishing) Limited

Selected Piano Exam Pieces 2005–2006

Teaching Notes on PianoExam Pieces 2005–2006

Recordings of thecomplete piano examsyllabus 2005–2006

Selected Violin Exam Pieces 2005–2007

Offers useful advice for teacherson every piece in the piano syllabus, Grades 1 to 7

Performances of all pieces onthe piano syllabus, performedby international artists including Joanna MacGregor and Melvyn Tan

Grades 1 to 8, one volume per grade

Grades 1 to 7, one volume per grade

Available from music retailers worldwide from 8 July 2004

Violin recordings, Grades 6 to 8, will be available from December 2004

Recordings of the complete violin exam syllabus 2005–2007

Performances of all pieces on the violin syllabus, Grades 1 to 8

Playalong practice tracks and complete performances of every piece

Performed by Carmine Lauri (violin) and John Alley (piano) of the LSO

CD

10

FEATURES

No man living has witnessed more jazz history thanclarinettist Buddy DeFranco. Born in 1923, he firstplayed in public at the age of 12. Working in someof the top swing bands while still a teenager,DeFranco then contributed to the bebop revolutionin New York during the 1940s. He recorded withDizzy Gillespie, Charlie Parker, Oscar Peterson, ArtTatum and many others. With his mastery of theharmonic language of modern jazz, his characteristictone and his scintillating command of the topregister, Buddy's grit, groove and grace won him 20 Down Beat Polls, 14 Playboy All Star Awards, seven Metronome All Star Polls, and three MelodyMaker polls.

DeFranco was the jazz clarinet player ofsignificance during the decades that followed themid-century hegemony of Benny Goodman andArtie Shaw. Now, past the age of eighty, he stillplays elegantly. For evidence, hear his new CD,Cookin’ the Books (Arbors Records, ARCD 19298).

We met in a New York hotel. He was a kind andgracious interviewee, generously sharing insightsand information.

There are two approaches to playing jazz.In one area, which is still valid – don’tmisunderstand me – the players believe

that too much practising, or any practising, inhibitsyou from playing good jazz. So they don’t like the idea of study, or practice of any of thefundamentals. Using that approach to jazz are some very well known players. Pee Wee Russell wasa good example. He was not a schooled player, buthe did play a form of jazz, as opposed to BennyGoodman or Artie Shaw, who obviously had formaltraining. I’m from the latter school. I believe thatyou need as much technique as you can acquire, inorder to say what you are going to say immediately,extemporaneously.

You’ve got to learn the formal scales, arpeggios,chords, before you can go into jazz and executewhat you’re thinking. I acquired the technique fromformal training. I was a symphonic clarinettistbefore I started playing jazz.

“

Clarinet club:Buddy DeFranco and Alan Barnes

Continuing our series of conversations with jazz musicians, John Robert Brown talks to two clarinettists on two sides ofthe Atlantic Ocean.

You cannot develop a personalityby practising. Somehow, it has to

come through from within

Buddy DeFranco

Have you worked hard at gaining command of thevery high notes?

What started me thinking about playing that highregister was Artie Shaw. He was just fascinating, theway he had control of the high register. He wasunstoppable. Most clarinettists, when they playedhigh, they played fail-safe music, fail-safe licks. They would play what they were comfortable with,so that there would be no trouble. Artie disregardedthat. He just played. That’s what I try to do.

In those days you couldn’t get close to Artie or Benny. I did get close to Benny, but even BennyGoodman, when you brought up the clarinet, he didn’t want to talk about his secrets.

Times have changed. Now it’s very open. You canstudy so many different ways. I approve.Unfortunately, it sometimes turns out automatonsor clones, which I don’t approve. Originality is more important than anything you can do on theinstrument. There’s no such thing as mastering aninstrument, but if you want to develop yourtechnique, all it takes is practice. But you cannotdevelop a personality by practising. Somehow, it has to come through from within.

The trick is to bring your personality into yourplaying. If you are staying with all those patternsthat you cloned, you are not going anywhere. It’seasy to talk about; it’s not easy to do.

Nevertheless, Buddy admits that there is a place forfail-safe playing.

There’s a trick that I learned from Charlie Parker.That is, to be so zeroed in on what you’re playingthat no matter what is happening behind you, itdoesn’t really matter. Through the years CharlieParker has played with some of the worst rhythmplayers. But when you hear him, you’re convincedthat he’s got a great rhythm section. He blanks itout. He’s so dominant, so positive.

How do you develop that?

By listening, observing. It all boils down to the samething: fundamentals. I practise the fundamentalsevery day. The only change that I made (it’s aquestion of my ego) is some years ago I wrote abook – it’s still available – of Hanon exercises. Theoriginal Hanon exercises for the piano are all in C. I decided that a Hanon exercise for clarinet shouldbe in all keys, so I called it Hand in Hand withHanon, and it’s a Hanon exercise in every key. Iadded that to my practice. I’m very strict withpractice. It’s a question of being very compulsive.

Does Buddy regard himself as compulsive?

If you weren’t compulsive, you wouldn’t be aclarinet player. ”

11

FEATURES

We chatted in the turbulent snooker room of TheSwan pub, Heckmondwike, an hour before he wasto appear in the adjacent bar which was to serve asa jazz club for the evening. Due back in London thatnight, Alan Barnes had three engagements thefollowing day: a masterclass at a London college, afilm session for the next Harry Potter movie and atelevision appearance on the Michael Parkinsonprogramme.

Born in 1959 in Altrincham, Barnes plays all ofthe single reeds, and is a superb clarinettist. His livealbum, Cannonball, was voted album of the year inthe 2001 British Jazz Awards and he was named BBCJazz Instrumentalist of the Year. He now has his ownrecord label, Woodville Records. Barnes possesses anin-depth knowledge of jazz history, coupled with asincere love of pre-1950s jazz.

The difference between jazz and classicalclarinet is that if you choose to have a jazzcareer there are so many different ways

you can go. With the classical thing, there’s prettymuch an agreed path. There are sets of exercisesand repertoire. But in jazz, with all of the differentsounds, for instance, on the clarinet, you can godifferent ways.

The difference between Sidney Bechet, JohnnyDodds and Artie Shaw is phenomenal. I’m not surethat any one clarinettist can get all of those sounds.Maybe Tony Coe could. So I guess that if a studentwas interested in playing jazz you’d have to choosemore specifically than just jazz. It would have to bedown to individuals, to clarinettists that enthusethat student.

Listening is absolutely paramount. The first thing I say to any student who comes to me, before I accept them, is: ‘Who do you listen to?’ It’sphenomenal to me that certain people don’t listento anybody. And they want to be a jazz clarinetplayer! For instance, I’ve had tenor students say theyhaven’t heard Don Weller, and they haven’t heardDick Morrisey, or Bobby Wellins. And I think, if theyhaven’t heard these people… and they are on thedoorstep...

Alan shrugs, and smiles.

Often people don’t realise that’s what music isabout: listening. Performing is about listening. Injazz, when you’ve finished your chorus, you don’tthen ignore what everybody else is doing, because itshould change what happens next.

“

John Robert Brown is chairman of the Clarinetand Saxophone Society of Great Britain

Alan Barnes

How would you guide a student's listening?

I would start with Johnny Dodds – with LouisArmstrong’s Hot Five – in Weary Blues. Anybody ofGrade 2 or Grade 3 standard could probably play thetwo Johnny Dodds choruses on Weary Blues, abeautiful solo. You don’t have to have the greatesttechnique in the world to play great jazz. Dodds’sound is probably an acquired taste for some people,but it’s instantly recognisable, and it’s certainly full.It’s only two choruses long, so you learn brevity.

Do you recommend that they memorise ortranscribe?

Whichever you want to do. If you can sing it, you’velearnt it. There’s also a value in writing it down; youcan learn to read by transcribing.

To me, the early jazz players played the clarinetlike a clarinet. And as it went on, you thought – oh, isn’t it amazing that they can do that on theclarinet? In the old days they played clarinettythings. Which is what I think is the instrument’sstrength. So you get Barney Bigard doing all thoseodd intervals that would be difficult on the trumpet.That’s why I don’t really play bebop on the clarinet. I always use it at a point in the programme whereit’s either a ballad, or something where you can playa clarinet like a clarinet.

Some of the early clarinettists exploited theproblems of the clarinet, like the three differentsounds, instead of trying to make it smooth frombottom to top. Why not have three differentsounds, as Sidney Bechet did? And then there’s PeeWee Russell, getting in all the wheezy throat notes.Jimmy Guiffre is another one. There’s a man whohas obviously got the whole of the musical concepttogether, then he chooses to play the clarinet in thelow register! I love his playing.

Is there a place for practising patterns for jazz?

I think you’ve got to do some sort of exotic scalepractice. For instance, if Bbm7b5 to Eb7aug#9 comesup, for a bar each, you’ve got to have practisedwhatever you think fits that. I actually get somephrases going on those things. Otherwise, with theclarinet, and the cross-fingering, when you areimprovising, you are going to end up in all kinds of trouble.

So, preparation is acceptable?

There are two schools of thought. Lee Konitzthought that improvising should be just that. YetLouis Armstrong played the same solos night in andnight out. I don’t think that stopped it from beingsome of the best jazz ever played. Jazz is prepared,but not totally prepared.”

You don’t have to have the greatest technique in the world to play great jazz

12

FEATURES A future for string teaching:the Junior Strings Project

Penny Stirling

Beginnings

In the 1980s the then Head of Strings at the RNCM,Rodney Slatford, and many others, recognised apotential national shortage of string teachers.Evidence of this was the declining number of stringplayers applying to colleges from outside thespecialist routes. With RNCM backing, RodneySlatford attempted to persuade the government ofthe need for a course designed specifically to trainstring instrumental teachers. Whilst some of hisefforts fell on stony ground, Rodney didn’t give upand he persuaded the RNCM to set up the JuniorStrings Project (JSP) in 1991. Tremendous supportwas given by the Leverhulme Trust and the RNCMitself so that funding was secured for the first few years.

The concept was that local children would begiven the opportunity to learn a stringed instrumentthus creating a pool of pupils requiring supervisedtuition from trainee teachers. Uniquely, it wasdecided to incorporate a thorough training inDalcroze Eurhythmics and Kodály in order to give asound musical foundation to any instrumental work.Children appeared as if by magic – from a localnewspaper article only, no expensive advertising –and three postgraduate students from the RNCMopted to be JSP students.

The children’s course

Children are accepted on a strictly first come, firstserved basis. There is no assessment for entry, eitherfinancially or in terms of ability, so each class is atrue cross-section, and there is limited bursarysupport for those children in need.

Children start in their sixth year and for the firstyear come just once a week, after school, when theyhave a 45 minute Dalcroze lesson and a 45 minuteKodály lesson. During the third term of this yearthey listen to and try playing the various stringinstruments until they eventually choose the onethey would like to learn.

From the second year onwards children attendtwice a week and have lessons in a big instrumentalgroup (heterogeneous) and a small instrumentalgroup (the same instrument, with one to fourchildren in a group) in addition to their Dalcrozeand Kodály lessons which are ongoing. As theyprogress, some of these groups move on to chamber

music, string orchestra and Kodály choir.The project has now been running for more than

twelve years so we have said farewell to some of ourfirst groups, many of whom have continued withtheir music right through school. Of course, somechildren turn out to show particular talent and inthose cases we have often suggested they shouldmove on to more specialised music tuition. To date,eight have gone on to Chetham’s School of Music inManchester and four to the Junior RNCM, of whichthree have been that rare commodity – doublebassists. Two past pupils are currently in the NationalYouth Orchestra of Great Britain. However, not allchildren wish to specialise in music and we have alovely group of ‘oldies’ who still come and enjoy justmaking music together. A number of children dropout every year through geographical relocation,through conflicting activities and, in the case of theolder ones, through the demands of school.

The postgraduate course

Initially, the course was attached to the existingpostgraduate course at the RNCM. However, in 1995 we were lucky enough to be awarded thePartnership Trust’s Thorn EMI Music Prize forinnovations in music teacher training and thisseemed to create a change in attitude from theTeacher Training Agency. After many meetings,much time and copious reams of paperwork anddescriptors it became obvious that ‘qualification’and official recognition would only be achieved byjoining forces with an institution that was already aprovider of Initial Teacher Training and had in placethe school partnerships that are now a necessarypart of all teacher training courses.

Since 1996 we have run the course in conjunctionwith Manchester Metropolitan University’s Instituteof Education and students can now achieve aPostgraduate Certificate in Education (PGCE) leadingto Qualified Teacher Status. In 1998 the RNCM wona Queen’s Anniversary Prize for Higher and FurtherEducation for the achievements and work of the JSP.

The PGCE course

Uniquely, this is a two-year postgraduate course(most are only one-year). The extra time allowsstudents on the course to fulfil the requirements ofthe Dalcroze Certificate. For most, this, along with

In 1991 the Royal Northern College of Music (RNCM) inManchester set up a unique training course for musicstudents wishing to specialise in string teaching. Now, 13 years on, the award-winning Junior Strings Project isgoing from strength to strength bringing benefits to boththe children having lessons as part of the project and to the students who are learning to teach them.

Here Penny Stirling, Director of the Junior Strings Project,describes how the project came about and what makes it such avaluable experience for all involved.

This is an edited versionof an article that firstappeared in ESTA News& Views.

13

FEATURES

the Kodály method, represents a whole newadventure in music education.

The string instrumental training includes notonly pedagogy lectures and teaching experiences,but also instrumental lessons with an RNCM tutor.Part of the training requires students to have aworking knowledge of all string instruments and acompetence to Grade 4 on an opposing stringinstrument (upper/lower). In addition, they haveaccess to the RNCM’s chamber music and orchestralprogrammes. Students take part in teaching practicewith all the groups on the JSP – small instrumentalgroups, big instrumental groups and, eventually,Dalcroze and Kodály too.

At Manchester Metropolitan University studentsundertake training for teaching music in secondaryschools and are encouraged to incorporate theRNCM work where appropriate. To ensure thecourse is balanced, this is only 50% of the teaching,the other 50% being undertaken at the RNCM.

Where are we now?

There are around 120 children on the JSP and 30PGCE students (15 in each year).

The PGCE course is not a soft option. Despitebeing two years long, both are full of activities andteaching work. The students from the course arehighly sought-after because the all-round nature ofthe education means they can teach right across awide range of age groups. Some Music Services nowuse graduates from the course as ‘starter’ teacherswho begin teaching Dalcroze before establishingstring groups later on.

Demand for the course is high and it is importantfor prospective students to get their applications inearly as the maximum is reached quite quickly.

Student feedback

Students on the course have commented:

As a student it has benefited me greatly. I have got to know the pupils very well…and learnt lots of different ways ofteaching to deal with the differentdemands of different pupils.

In terms of motor co-ordination, socialskills, emotional literacy etc., there would be a strong argument for placingthis approach right at the centre of the curriculum.

The JSP has virtually cured me ofdestructive performance nerves; it hasincreased both my humility and myconfidence in the incredibly wide world ofmusical experiences; it has given me friendsI intend to keep for life; and it has mademe analyse how I do what I do and at thesame time it has taught me that analysis isnot the only way to discovery. Last but not least, it has given me a fantastic starton the increasingly perilous ladder ofcareers in music.

For more information about the Junior Strings Project please contact Penny Stirling, JSP Course Director:

t +44 161 907 5348e jsp@rncm.ac.uk

“

“

“”

”

”

Teachers and students of bowed string instrumentshave the opportunity to attend two days ofstimulating events at the Royal Northern College ofMusic (RNCM) String Teaching Weekend in June.

The weekend will include masterclasses andworkshops given by members of the internationalteaching faculty at the RNCM School of Strings.There will be a preview of repertoire from theAssociated Board’s new syllabuses for violin andcello, and Penny Stirling will be introducing anddemonstrating Music Medals, the Associated Board’snew assessment scheme for pupils taught in groups.

This is a unique opportunity for students andtheir teachers to meet and work with RNCM tutors.

RNCM String Teaching Weekend19 – 20 June 2004Royal Northern College of MusicManchester

Day ticketStudents £7.00Teachers £10.00Public £15.00

Weekend ticketStudents £10.00Teachers £17.50Public £25.00

Weekend family ticket (two adults, two children) £40.00

For further details contact the JuniorStrings Project at the RNCM:

t +44 161 907 5398e jsp@rncm.ac.uk

RNCM String Teaching Weekend

The new prospectus covers the one-year CT ABRSM courses in Hong Kong andSingapore and one-year and six-monthcourses in the UK.

For your copy of the prospectusvisit www.abrsm.org/teachers/courses/ctabrsm orcontact Beth Walthew:

t +44 20 7467 8226e bwalthew@abrsm.ac.uk

14

Celebrating 10 years of professional development

PROFESSIONALDEVELOPMENT

CT ABRSM: find out moreTaster Mornings are an ideal way forteachers to find out more about the CT ABRSM course. In March over 100teachers attended Taster Mornings at CT ABRSM centres in the UK. Teacherstook part in sessions similar to those onthe course and met Course Leaders,mentors and current students.

Judith Jerome, ProfessionalDevelopment Manager, attended two of the Taster Mornings and says,“It wasgreat to see teachers so enthusiasticabout their own professionaldevelopment. This year Course Leadersand mentors also contacted teachersafter the Taster Morning to see if theyhad any questions about the course; it’s good to be able to offer supportafter the day.”

The next Taster Mornings will takeplace in June, as part of the Getting togrips with group teaching workshopsannounced on page 6.New CT ABRSM

prospectus out nowCT ABRSM Hong Kong

2004-2005 courseThe next course begins on 10 July at theHong Kong University School of Professionaland Continuing Education (HKU SPACE) andthe closing date for applications is 11 June.

CT ABRSM Singapore

2004-2005 courseThe next course begins on 23 July this year.

For further information contactSu-San Hay:

t +65 6339 2624e shay_sg@abrsm.ac.uk

CT ABRSM UK

2003-2004 courseThe current one-year course is in full swing with teachers atthe five regional centres nearing the end of their studies.David Barnard, Oxford Course Leader and Head of SwindonMusic Service comments, “It’s great to see the impact that thisperiod of study is having on the way teachers prepare fortheir work and on the lesson content too. Interactionbetween mentors and students is key to the success of thecourse, along with the commitment shown by the students.”

We wish all students the very best as they complete the course.

2004-2005 courseProvisional centres for the next one-year course, starting in October this year, are Bristol, Colchester, Gateshead, Glasgow, London, Manchester and Oxford. The closing datesfor applications are 6 September 2004 for Glasgow and 20 September 2004 for the remaining centres.

Fast Track Residential courseFebruary saw the launch of the new CT ABRSM Fast TrackResidential course, with 25 students enrolling. Taking just sixmonths to complete, the course includes residential studybreaks in the comfortable surroundings of Gorse HillConference Centre, Surrey. The course is ideal for teacherswho want to focus on their studies without the distractionsof everyday life.

The next fast-track course will be held in 2005 andthe closing date for applications is 13 December2004.

Young piano students from Hong Kong areinvited to attend a two-week summerschool at the International Study Centre atthe King’s School, Ely. The course is open toHong Kong residents aged 12 to 16, whohave passed Associated Board Grade 5Piano and will provide an opportunity tostudy intensively with experienced pianoteachers and performers in the beautifulsurroundings of Ely.

Full details are available from:

Petina Lawt +852 9105 6217e gwil@netvigator.com

Dorcas Wongt +852 9038 0408e docwhk@netvigator.com

Summer schoolfor Hong Kongpianists

CEL

EBRATI NG

C T A B R S M

10 years

This year the Professional Development Departmentcelebrates ten years of the internationally renownedCertificate of Teaching (CT ABRSM) course. So far, over1,600 teachers worldwide have successfully completed thecourse, and our commitment to provide a high standardof support for teachers remains unchanged.

Richard Crozier, Professional Development Director,was instrumental in designing the course, and says,“Teachers need to keep up-to-date with the latestdevelopments in their own musical discipline and withtheir understanding of teaching and learning. The CT ABRSM course keeps itself up-to-date by beingconstantly refreshed through the input of teachers. It’s a relevant course of study for all teachers, whateverstage their career is at.”

The CT ABRSM course is now just one aspect of thework of the Professional Development Department whichcontinues to offer a range of innovative and highlyeffective professional development solutions for teachers.

Teach to Reach Jazz Grade 1

“Really good value for money. Inspirational, fantastic!”

“Improvising always scared me. After the workshopI felt confident, not just to improvise myself, but tohelp my students too.”

This year the Professional Development Departmenthas been running one-day Teach to Reach JazzGrade 1 workshops around the UK. Aimed atteachers of clarinet, saxophone, trumpet andtrombone, the workshops introduce teachers to thebasics of playing and teaching jazz. It’s not too lateto take part. Places are still available on the finalworkshops in Birmingham (Saturday 5 June) andManchester (Saturday 12 June).

Music Services and schools

Join the many Music Services and schools who havealready booked a Teach to Reach Jazz Grade 1workshop for their INSET training day. Theworkshop is available in half-day and full-dayformats and can be designed to fit around yourexisting timetable.

To book a place at the Teach to Reach JazzGrade 1 workshop in Birmingham orManchester or for information aboutworkshops for Music Services and schools,contact Beth Walthew:

t +44 20 7467 8226e bwalthew@abrsm.ac.uk

The closing date for applications for the June workshops is 28 May.

PROFESSIONALDEVELOPMENT

Bringing jazz into your teaching

As part of our continuing commitment toprofessional development in jazz, the ProfessionalDevelopment Department hosted a forum at theLeeds International Jazz Conference held at LeedsCollege of Music on Saturday 3 April. The forumsubject was introducing teachers to jazz throughprofessional development, and the panel includedCharlie Beale, Richard Ingham, Kathy Dyson andChris Hodgkins. Discussion was wide-ranging and theforum proved to be stimulating, thought-provokingand enjoyable for both panel and audience.

A forum for jazz

15

Pete Churchill presenting at the Teach toReach Jazz Grade 1 workshop in London.

Advertisement

16

NEWS

New Honorary Local Representatives

UK

AndoverRoslyn Pennyt 01264 356627

BridgendSusan Jonest 01446 775 208

BuxtonGillian Mortont 01298 24316

CraigavonElaine Millst 028 9187 2941

DenbighMorwen Murrayt 01745 360949

GlasgowJonathan Buchant 0141 571 8810

HerefordChris Bluemelt 07759 672763

JerseyMalcolm Whittellt 01534 507864

NorthwichJune Wrightt 01606 74788

PerthElla Fishert 01738 633017

RochesterNorman Blowt 01474 745524

Worlds of opportunityOver the next 18 months the Associated Boardwill be developing a new online music educationresource called SoundWorlds. This interactivedigital learning tool will be aimed primarily atyoung people aged 13 to 18 and will be freelyavailable on the internet and on CD-Rom. Theproject has been commissioned by CultureOnline, part of the Department for Culture,Media and Sport.

SoundWorlds will open up new opportunitiesfor discovering, exploring and creating music.Users will be able to interact with real sounds,learning how to make music, forging connectionsbetween different cultures and experiencing newkinds of music. Rich in multimedia content, theproject will enable users to engage with realmusicians performing fascinating musical works.

Richard Morris, Chief Executive of theAssociated Board, comments: “The AssociatedBoard has long recognised the potential of onlinetechnology to enrich musical understanding,exploration and creativity. We are delighted that,in collaboration with Culture Online, we nowhave the opportunity to realise these ideas infashioning a practical and interactive resource forthe widest possible audience of young people.”

Jonathan Drori, Director of Culture Online,comments: “This is the kind of experience wehope will be typical of Culture Online – bringingtogether partnerships which otherwise might nothave happened to produce projects with real‘zing’! This project will really make a differenceto a lot of new people enjoying and learningabout music.”

SoundWorlds will be launched in 2005.In the meantime, further information isavailable at www.soundworlds.org.uk

Musical lunch

Introducing The Associated Boardof the Royal Schools of Music We have recently published a newedition of this free guide to ouractivities, from the many examsand assessments on offer toprofessional development coursesand award-winning publications.It’s an invaluable source ofinformation for anyone new tothe Associated Board.

ABRSM Publishingcompetition

Win a copy of All Together! fromABRSM Publishing.

We have five copies of AllTogether! to give away. Send apostcard with your answers to the two questions below, notforgetting to include your nameand address, to:

ABRSM Publishing24 Portland PlaceLondon W1B 1LUUnited Kingdom

to arrive no later than Friday 30 July 2004.

You may also enter the competition by email, notforgetting to include your postal address:

e competition@abrsm.ac.uk.

1 Which famous musician has written theforeword to All Together!?

2 What is the highest Music Medal level?

Competition winners

In the last Libretto competition we asked you howmany newly-commissioned pieces of music areincluded in Spectrum for Cello, and who the twoperformers are on the Spectrum for Cello CD.

There are 16 newly-commissioned pieces and theperformers on the CD are William Bruce (cello) andThalia Myers (piano).

Congratulations to these five lucky winners whoeach receive a copy of Spectrum for Cello.

C Lee, North Rocks, AustraliaKate Sherwood, Nelson, New ZealandR Rothwell, Leigh on Sea, Essex, UKJudith Mitchell, London, UKAmy Wallhead, North Hykeham, Lincoln, UK

Following the success of last year’s lunchtimeconcert given by Associated Board Scholars at ouroffices in London, we were delighted to host asecond concert in February this year.

Eight Associated Board Scholars, from four ofthe Royal Schools of Music, provided an excitingmix of composers, styles and instruments. For theaudience this was an opportunity to enjoy somewonderful music performed by outstandingyoung musicians.

Richard Morris, Chief Executive, with, from left to right,Vyacheslav Sidorenko (piano), Fiona Asbury (saxophone), PeterLimonov (piano), Rachel Tobin (cello), Katrina Waters (mezzo-soprano), Bede Williams (trumpet), Nico de Villiers (piano) andBen Hancox (violin).

All about us

Copies of both these documents areavailable at www.abrsm.org/downloads, oryou can request copies from the MarketingDepartment:

t +44 20 7467 8254e marketing@abrsm.ac.uk

Annual Review 2003The Annual Review for 2003,giving an overview of ouractivities worldwide last year, is now available.

NEWSABRSM Publishing launches Spectrum for Cello

The publication of Spectrum for Cello wascelebrated with a launch event in London on 13 January. The launch featured world premièreperformances of all the pieces from the album,performed by some of today’s leading cellists:William Bruce (editor of the album), SebastianComberti, Andrea Hess, Hannah Lloyd, AliceNeary, Gemma Rosefield, Denis Vigay andRaphael Wallfisch. Cellist Steven Isserlis was alsothere to lead a short masterclass with 10-year-oldcello student Camilla Morse-Glover.

SPECTRUM for Cello is an exciting and innovativecollection of specially-commissioned pieces for celloand piano. It reflects the diversity of compositionaltrends in new music today, serving as an invaluableintroduction to contemporary music.

• an outstanding collection of repertoire for cello

• ranges in difficulty from Grades 1 to 8

• suitable for student, amateur and professional cellists of all ages

includes a CD of all 16 pieces,performed by William Bruce,accompanied by Thalia Myers

‘Enables students to develop a real insight into theexpansive possibilites of their instrument’ESTA NEWS & VIEWS

24 Portland Place London W1B 1LU United Kingdom publishing@abrsm.ac.uk www.abrsmpublishing.co.uk

Available from goodmusic retailers worldwide with

CD

16 contemporary pieces compiled by William Bruce

for CELLOSPECTRUM The Associated Board of

the Royal Schools of Music(Publishing) Limited

UK High Scorers’Concerts

15 MayTaunton

10 JuneBangor

Steven Isserlisleads a masterclass

with CamillaMorse-Glover,

accompanied byThalia Myers

From left to right, composers:Rhian Samuel, Gavin Bryars,Nicola LeFanu, JonathanDove, Sally Beamish, GilesSwayne, Richard Causton andAlissa Firsova

Pianist Thalia Myers with cellists: RaphaelWallfisch, Steven Isserlis, Alice Neary,Andrea Hess, Gemma Rosefield, DenisVigay, Hannah Lloyd, SebastianComberti, and, seated at front, CamillaMorse-Glover and William Bruce

Spectrum for Cello is a book and CD containing 16 specially-commissioned pieces each by a different composer. The composersfaced the challenge of writing a piece lasting around 90 secondsthat captures their own sound world while providing technicallyapproachable material for cello students, amateurs andprofessional players to enjoy.

The composers involved in theSpectrum for Cello project were: SallyBeamish, Nicola LeFanu, Gavin Bryars,Steve Martland, Richard Causton, JohnMetcalf, Jonathan Cole, Rhian Samuel,Jonathan Dove, Rebecca Saunders, Alissa Firsova, Giles Swayne, Philip Flood,Hilary Tann, Kenneth Hesketh and Param Vir. We were delighted towelcome many of them to the launch.

Pho

tos

Mal

colm

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ers17

18

NEWS

The 2004 Music for YouthRegional Festival Series involveda record number of performers.Well over 43,000 youngmusicians, in more than 500 groups, took part in thefestivals held at 42 venuesaround England and Wales.

Once again the AssociatedBoard was delighted to besupporting this event whichprovides performanceopportunities for such a diverserange of musical talent.

Supporting Music for Youth

Teachers in Ireland areinvited to a freepresentation wherethey can find out aboutthe new jazz syllabusfor clarinet, saxophone,trumpet and trombone.Charlie Beale, theAssociated Board’s LeadJazz Consultant, willgive a guided tour ofthe syllabus with thehelp of local jazzmusicians.

The presentation is being held in theJohn Field Room at the National ConcertHall, Dublin, on Sunday 30 May between12.30pm and 2.00pm.

To reserve your place contactthe Marketing Department:

t +44 20 7467 8254e marketing@abrsm.ac.uk

Discover jazz in Dublin

We are delighted to welcome our first Jazz Co-ordinator in the USA, ‘Sweet’ Sue Terry.

Sue began playing professionally in Hartford,Connecticut, where she was a graduate of theHartt School, and a protégé of saxophone greatJackie McLean. She moved to New York in 1982.Her mentors Barry Harris, Junior Cook, andClifford Jordan dubbed her ‘Sweet Sue’, as she’sbeen known ever since.

Sue has performed in diverse projects underthe direction of many leading jazz musicians, and appears as a soloist with chamber groups,symphony orchestras, jazz orchestras and bigbands. Her latest project includes performances,and a critically acclaimed recording, of her solosaxophone music.

‘She plays like Charlie Parker reincarnated!She smokes!’ is just one of the many outstandingreviews she has received. Sue is the author offour music teaching books and appears on morethan 30 recordings. Because of Sue’s enthusiasmfor the Associated Board, she has agreed tobecome our Jazz Co-ordinator in New York andis now looking forward to introducing the workof the Associated Board to colleaguesthroughout the US.

Contact Sue at abjazz@ixpres.com forfurther information about taking jazzassessments in New York. Also see herwebsite www.sueterry.net

Jazz Co-ordinatorfor New York

2004 is turning out to be an importantyear for the Associated Board in the USAand Canada. The year began with theannual conference of the InternationalAssociation for Jazz Education (IAJE).This year’s conference took place in NewYork between 21 and 24 January andwas attended by over 7,000 educators,musicians, students and industryrepresentatives. We were there to talkto the global jazz community about ourrecently expanded jazz syllabus and thegreat new package of publications nowavailable worldwide.

Charlie Beale, Lead Jazz Consultantand author of Jazz Piano from Scratch,and Philip Mundey, Director ofExaminations, were at the conference,and held a well-attended clinic, JazzAssessments for Horns: a CompleteTeaching Program for Beginners.

All the jazz publications are nowavailable in the USA and Canada and the first jazz exams will be taking placethere later in the year. For moreinformation contact Brent Campbell inCanada or Sue Terry in the US, listedunder Jazz Representatives on this page.

To find out more about theInternational Association forJazz Education visitwww.iaje.org

Jazz in the USAand Canada

New Representative

JapanIimura YasuhiroDirectorRoland Foundationt +81 3 3407 5205e iimura@roland.co.jp

Jazz Representatives

CanadaBrent Campbellt +1 204 725 1610e campbellbe@

brandonsd.mb.ca

USASue Terryt +1 718 416 7811e abjazz@ixpres.com

NEW JAZZ PUBLICATIONSfrom the Associated Board

CLARINETALTO SAX TENOR SAXTRUMPETTROMBONE

The Associated Board ofthe Royal Schools of Music(Publishing) Limited

JAZZ THE AB REAL BOOK C EDITION

THE ASSOCIATED BOARD OF THE ROYAL SCHOOLS OF MUSIC

C edition

MILES DAVIS ALAN JAY LERNER & FREDERICK LOEWE KERRY MILLS SPENCER WILLIAMS W. C. HANDYJOHN COLTRANE FRANK ROSOLINO RICHARD RODGERS & LORENZ HART LEE KONITZ DIZZY GILLESPIE& FRANK PAPARELLI ORNETTE COLEMAN WOODY SHAW BENNY GOLSON BARNEY KESSEL BILL BYRD, TEDDYMCRAE & HENRI WOODE RICHIE BEIRACH HERBIE HANCOCK DUKE ELLINGTON, JUAN TIZOL & IRVINGMILLS JAMES P. JOHNSON THAD JONES & ALEC WILDER FREDDIE GREEN JEROME KERN & JOHNNY MERCER DON CHER-RY JIMMY MCHUGH & DOROTHY FIELDS WAYNE SHORTER JAN GARBAREK BENNY GOLSON MARKNIGHTINGALE KENNY WHEELER & NORMA WINSTONE ANTONIO CARLOS JOBIM JIM CLARKE NIKKI ILESBLUE MITCHELL CLARE FISCHER MARK LOCKHEART TOM SCOTT JIMMY GIUFFRE HUW WARREN THELONIOUS MONK PETECHURCHILL BHEKI MSELEKU RALPH TOWNER DUKE ELLINGTON KENNY WHEELER DUKE ELLINGTON &IRVING MILLS BOB BROOKMEYER NAT ADDERLEY BUD POWELL WYNTON KELLY RAHSAAN ROLANDKIRK PHILIP BRAHAM & DOUGLAS FURBER ROY ELDRIDGE STAN SULZMANN MARIO BAUZA, BOBBYWOODLEN & GRACE SAMPSON ABDULLAH IBRAHIM MALCOLM EARLE SMITH DUKE ELLINGTON, BARNEYBIGARD & IRVING MILLS ABDULLAH IBRAHIM JOHN COLTRANE GEORGE GERSHWIN, DUBOSE & DOROTHYHEYWARD & IRA GERSHWIN KURT WEILL & IRA GERSHWIN DIZZY GILLESPIE CHARLES MINGUS THELO-NIOUS MONK ARTHUR BLYTHE KID ORY HERMETO PASCOAL JUAN TIZOL, H. J. LENGSFELDER & ERVINDRAKE PAT METHENY LIONEL HAMPTON & BEN KYNARD DUKE ELLINGTON, IRVING MILLS & HARRY CARNEY MILCHO LEVIEV PAUL JAYASINHA LUIZ BONFA & ANTONIO MARIA CLIF-FORD BROWN DON PULLEN & FRANK DEAN JOE ZAWINUL LEE MORGAN LOUIS PRIMA MARTIN SPEAKEFRANK PERKINS & MITCHELL PARISH THELONIOUS MONK DUKE ELLINGTON & BILLY STRAYHORN STAN-LEY TURRENTINE GEORGE DUKE WALTER GROSS & JACK LAWRENCE SONNY ROLLINS ISHAM JONES &MARTY SYMES ANDREAS PANAYI NEW ORLEANS RHYTHM KINGS ANNIE WHITEHEAD DUKE ELLINGTONGARY PEACOCK MARK BASSEY PETE HURT RICHARD CARPENTER ABDULLAH IBRAHIM COLE PORTERGUNTHER KUERMAYR JELLY ROLL MORTON

THE AB REAL BOOKJAZZ

JAZZ TRUMPET SCALES LEVELS/GRADES 1–5

THE ASSOCIATED BOARD OF THE ROYAL SCHOOLS OF MUSIC

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20

Of all the countries in South East Asia, Thailandhas the distinction of being the only one never tohave been colonised. Thailand (literally ‘freecountry’) has enjoyed a long and distinguishedhistory, with the Chakri dynasty as the monarchyfor 222 years. The Associated Board has beenexamining in Thailand for 22 of those. But whythe interest in Western music?

King Rama V, known to most of us as PrinceChulalongkorn from the musical and film The Kingand I, was the first Thai monarch to travel abroadand he introduced the concert harp to Thailand atthe beginning of the 20th century. Princess Sunita,granddaughter of Rama V, now runs the TamnakPrathom Harp Centre in Bangkok where harp pupilstake Associated Board exams, and the originalharp has been fully restored and can be admiredat the centre. The current monarch, His MajestyKing Bhumiphol, is a great admirer of Westernmusic and is an accomplished jazz saxophonist.

The Associated Board holds exams throughoutThailand, from Chiang Mai in the mountainousnorth, to Khon Khaen, a city of one million, in the plains of the Chao Phraya river, and from thebeautiful island of Phuket in the south west tothe towns of Haatyai and Trang on the borderwith Malaysia. Most of the exams take place inthe highly cosmopolitan capital city of Bangkok,

home to some 12 million residents, and our workreaches across the city to numerous centres andinternational schools.

We run two main practical sessions and threetheory sessions each year with frequent seminarsfor teachers in Bangkok and in Chiang Mai.During a recent visit Richard Morris, ChiefExecutive, met large groups of teachers, parents and candidates at just such seminars.

The Associated Board is fortunate in havingChorlada Bunnag as Representative, overseeingoperations throughout the country and workingclosely with colleagues in London to provide thebest opportunities for teachers and candidatesacross Thailand.

Khun Chorlada has been our Thai Representativefor all of those 22 years and has fostered a closebond with teachers and schools in that time…now she scarcely has time to take a holiday!

NEWS Spotlight on Thailand

Bill Thomson, our South East AsiaRegional Consultant,turns his attention to Thailand.

It is with great sadness that werecord the sudden death ofGeoffrey Smith who served as theAssociated Board’s South East AsiaRegional Consultant from 1992until 1999. Appointed to theAssociated Board’s panel of

examiners in 1976, Geoffrey travelled extensivelybetween 1981 and 1991, examining in Malaysia,Singapore, New Zealand, Africa, Hong Kong, theWest Indies, Indonesia, Holland, Belgium, France andSri Lanka. In 1992 Geoffrey took up the new post ofSouth East Asia Regional Consultant and, with thesupport of his wife Barbara, set up home initially inKuching and later in Kuala Lumpur. Geoffrey and

Barbara had a remarkable affinity with the peoplesof South East Asia and they were immensely popularfigures there.

In September 1993 Geoffrey introduced theEducational Support Programme in Singapore andMalaysia and 1,300 teachers attended a series ofseminars across the region. The Educational SupportProgramme was a great success and over the yearshas been expanded into what is now known as theProfessional Development Programme.

Geoffrey will be greatly missed both by hisfriends in South East Asia and by many examinersand other colleagues at the Associated Board. We send our deep condolences to Barbara and the family.

Geoffrey Smith 1939 – 2004

Dr Mark J Hensman, Headmaster of Harrow International School, Bangkok, on the left, with ChorladaBunnag, Representative for Thailand, Richard Morris, ChiefExecutive, and Bill Thomson.

More choice for Hong Kong PDP: Malaysia and Singapore

The next series of seminars in the Professional DevelopmentProgramme will take placebetween 23 August and 3 September in Malaysia andSingapore with presenters RuthGerald and Mark Ray.

Booking forms will be sent toteachers in Brunei, Malaysia andSingapore in due course.

ProfessionalDevelopmentProgramme

Malaysia and Singapore

23 August Kota Kinabalu

24 August Miri

25 August Kuching

27 August Kuala Lumpur

28 August Kuala Lumpur

30 August Penang

2 September Singapore

3 September Singapore

David Gwilt, our Hong Kong Consultant,reports on the latest developments.

For the first time in over 50 years we are running a second examsession for graded exam candidates. The new session takes place inApril and May, in addition to the usual August to December session.Demand for the new session has exceeded expectations, proving to bevery popular indeed. A session at this time of year is welcome since itgives a wider choice for teachers and candidates and also allowscandidates who were not succsessful in one session to make a secondattempt without waiting a whole year.

21

Richard Morris visits South East Asia

NEWSBritish schools in Spain

We were delighted to be represented atthe National Association of British Schoolsin Spain (NABSS) conference in March. The conference gives British schools achance to interact and to learn abouteducational issues, products and services.Alison Jackson, our Representative forsouthern and eastern Spain, was there totalk to teachers about the work of theAssociated Board.

Alison said, “I’m delighted with the success of the conference. It wasinteresting to learn about the musicalneeds of the schools, and it was lovely tomeet many existing Associated Boardcustomers face to face.”

By the last day, Alison’s stand was bare– showing just how popular music is withthe British schools in Spain.

Swiss schools summit

The International School of Zug was chosen to host this year’sSwiss Group of International Schools (SGIS) conference.

SGIS, which consists of forty primary and secondaryschools, hosts the conference to bring like-minded schoolstogether to share educational experiences to take back to the classroom.

David Smith, our Swiss Representative, was delighted to receive our brand new exhibition stand to support hispresentation. David said, “It was without doubt a worthwhileventure. Listening to existing Associated Board customers andteachers who didn’t know about us was a really valuable and enjoyable experience.”

Indian adventure

This year our Centenary Travel Grant fund was usedto support a seminar tour of India.

Leading music educators Nigel Mainard, IanPotts and Richard Ingham traveled to Chennai,Delhi, Goa, Kolkata and Mumbai during Februaryand March giving a series of two-day professionaldevelopment seminars. All three presenters, whohave worked on the Associated Board’s Certificateof Teaching (CT ABRSM) course, said it was apleasure to present to teachers at these seminarsand to listen to the free flow of ideas.

Feedback from teachers indicates the real success of the seminars: “a rewarding experience”,“widening our horizons”, “it was wonderful to be astudent again!” and “informative, enlightening andfunny” were just some of the hundreds ofcomments received.

Highlights of the trip included a traditionalfarewell song performed by teachers in Goa, the useof raga structures in the context of jazz in Chennaiand, for Ian, the wonderful Indian clothes he woreat the seminar in Goa, provided by localRepresentative Carlos Álvares Ferreira.

Richard was delighted to be in India, a countryhe had wanted to visit for many years. Hecommented, “The initial experience was anexplosion of sights, sounds, smells and tastes. Thereare so many vivid memories, it’s hard to know whichto describe first.” All three presenters said theywould love to return to India at their leisure todiscover more of this fascinating country.

The presenters would like to thank all theRepresentatives, Tony in Kolkata, Christine in Delhi,Homai in Mumbai, Carlos in Goa and Gita andSudhin in Chennai, and the teachers, for helping tomake such a success of both the seminars and oftheir stay.

All change for New Zealand

We are pleased to announce theappointment of Heather Gummer as ournew Examinations Administrator for NewZealand with effect from January 2005.Heather will be succeeding DavidGoodyear, who will be retiring afterserving teachers, candidates and examinersin New Zealand for 19 years.

Heather holds both a Masters Degree inMusic and a BSc in Computer Science andhas recently been working for a marketresearch company in Auckland. As a formercello and recorder teacher, Heather has anunderstanding of the needs of teachers,pupils and parents in New Zealand.

Speaking of her appointment Heathersaid, “I am passionate about the musicalculture in New Zealand, so am very excitedabout the opportunity to be part of thefuture of the Associated Board, anorganisation which is invaluable infostering this culture.”

Tim Arnold, Head of InternationalOperations, commented that “Heather is afirst class organiser and people personwho, I am sure, will fall into her role withease. We are looking forward towelcoming her into the organisation.”

March was yet another busy month for our ChiefExecutive. Visiting Singapore, Malaysia andThailand, Richard Morris addressed teachers’seminars, met Associated Board Representatives andattended the 2004 South East Asia Diploma AwardsCeremony in Singapore. This splendid eventcelebrated the achievement of students from allthree countries and also from Indonesia.

Hundreds of teachers gathered to hear Richard’stalk The Associated Board Today and Tomorrow inSingapore and Malaysia. Accompanying him was ourSouth East Asia Consultant, Bill Thomson, who spoketo teachers on the Viva Voce and Quick Studysections of the Diploma Syllabus.

Also in Singapore, Richard met Ch’ng Kai Jin,who has recently been appointed General Manager

of the Singapore Symphony Orchestra, ourRepresentative for the country. Ch’ng Kai Jin hasworked for over 20 years with Singapore Radio andwas formerly a concert pianist – taking theAssociated Board’s exams as a child.

In Thailand, Richard and Bill presented seminarsat the Robinson School of Music and at the HarrowInternational School. Organised by ourRepresentative, Chorlada Bunnag, these wereenthusiastically recieved by teachers.

Richard commented, “This whole tourdemonstrated the vibrancy of the musical scene inSouth East Asia and the warmth felt for theAssociated Board across the region.”

22

FORUM

Every teacher feels a particular responsibility and strong wish to helppupils who have difficulties accessing music, whether this is due tolearning difficulties, or a physical or sensory impairment. We oftenhave to rethink our teaching strategies and devise imaginative andcreative ways to accommodate and overcome problems. Notsurprisingly, these pupils often present both the greatest challengesand the most heart-warming rewards.

Some years ago I taught a little girl who had been brain-damagedat birth. She was convinced that the piano had to be played with palmsupwards with her nails making contact with the keys. With muchgeneral musical stimulation plus pictures of pianists in action, and ofcourse endless demonstrations, we got there in the end. There wasgreat celebration all round and my pupil was thrilled to have causedsuch satisfaction and pleasure to her family. Our exams were notsuitable for her, but if the Performance Assessment had been availablein those days I should certainly have entered her, for the experienceand feedback without the pressure. This assessment is available foradults but also for those under 21 for whom our graded exams are not accessible. Do investigate this option as it provides a satisfying goal.

Recently, the Associated Board has been involved in the lengthyprocess of updating and refining the materials for candidates withsensory impairments, particularly sight-reading and aural tests.Teachers will be given information of these changes in due course butI’m sure the improvements will be welcome and will give thesecandidates a better chance in areas which might have been daunting.

Some of the most rewarding and moving memories of my teachinghave involved pupils who, for whatever reason, needed special careand insight. It would be so interesting, and no doubt helpful, for us toshare some of our own experiences. Do write to me in good time forthe next issue of Libretto, knowing that each letter will receive apersonal reply and will be considered for inclusion on this page.

Your chance to share experiences and ideas with other readersClara Taylor, Associated Board Chief Examiner, introduces a subject fordiscussion and we publish your responses in the next issue.Contributions may be edited for publication.

Write to Clara Taylor, marking your envelope Forumor email chiefexaminer@abrsm.ac.uk giving your postal address.

Singing matters

Next topic: special needs – special care

Clara Taylor

write now � � � write now � � � write now � � � write now � � � write now � � � write now � � � write now

Creating an inner calm

Many singers feel exposed andvulnerable. It seems to be theones who are most at ease withthemselves and others whoperform to their optimum level.

How can we help create aninner calm in our pupils so thatthey can handle the exam andsing from their hearts, unafraid of revealing who they really areto a perfect stranger? Here aresome ideas:� Search for a link between the

words of the song and apersonal memory or feeling.

� Help pupils to feel a need totell someone, through song,about this feeling.

� Discover ways to see theexaminer as someone to sharethis feeling with.

� Explore avenues of buildingself-worth in singing byconcentrating on enjoying themoment rather than over-praising or criticising.

Many fragile and brittle-soundingvoices are often a result of a lackof self-esteem. As self-worthgrows, and with the appropriatevocal/physical exercises, the voicebegins to blossom, whatever theage of the student.

Deborah CatterallLancashire, UK

Meaningfulexpression

The human voice is the mostmeaningful means of expressionand is implied in all musicalsounds. I constantly use singing inmy piano lessons – I alwaysencourage my pupils to sing themelody and counter-melodiesfrom the pieces they are learning.

Annette MartinIsle of Wight, UK

Starting young

Helping my pupils to sight-singfluently has been one of my mainchallenges over the years. Iintroduce even the youngest tosight-singing within a term. Mostdemonstrate an amazing abilityto grasp this skill very quickly,with a few simple guidelines andthe confidence to just have a go. Iam delighted that the AssociatedBoard is looking into this area ofthe singing exams and lookforward to hearing the outcome.

Alison LingBerkshire, UK

Out of the box

My first singing teacher comparedthe teaching of the voice with aninstrument, by pointing out thatwhen you taught an instrument,the pupil came to the lesson withtheir instrument, they got it outof the box, and you began toteach, but with the voice, you hadto build the instrument beforeyou even thought about gettingit out of the box. It seems thatless children sing these days, but I have not known anyone at anylevel not enjoy the experiencewhen they are encouraged toopen that box.

Janet SandersonYorkshire, UK

All year round

I insist on sight-singing practicethroughout the year. Apart fromusing progressive sight-singingmethod books, my students alsosight-sing any new piece that Igive them. A number of mystudents who come from churchchoirs are quite good sight-singersusing the solfa method – which isa good basis to build on.

Ulrike WilsonKampala, Uganda

1 - 8 August 2004

Oxford PhilomusicaInternational Piano Festival

For more details and to obtain a Festival brochure, please contactOxford Philomusica, PO Box 150, 266 Banbury Rd, Oxford OX2 7DLTel: 0870 60 60 804 e-mail: pianofestival@oxfordphil.com

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Festival President Malcolm Troup

Artistic Director Marios Papadopoulos

Join us for a week a day or an hour in a friendly and stimulating atmosphere. Participation options range from full time participant, to full time or part time observer, with or without accommodation.

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2004 Faculty includes

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Niel Immelman, Piers Lane,John Lill, Marios Papadopoulos,

Menahem Pressler, Bernard Roberts,Gerald Robbins

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