New ABRSM piano syllabus released

The release of a new exam syllabus is usually a much-anticipated event by piano teachers who are keen to explore new music with their students. The new ABRSM piano syllabus (2019-2020) was released on 7 June. For the sake of transparency I should mention that I contributed to the Teaching Notes for the new syllabus, so my review will be a general overview of the new syllabus rather than a detailed analysis.

The format of the piano grade exams remains unchanged, with List A focusing on Baroque and early Classical (or similarly idiomatic) repertoire, List B on Romantic or expressive music, and List C “everything else”, from contemporary pieces to jazz and show tunes or popular songs. The classic “usual suspects” are there – Gurlitt, Swinstead, Carroll (and it does depress me to see a dull little piece by Felix Swinstead which I learnt c1972 still appearing in the syllabus), together with pieces by the perennially popular Pam Wedgwood and Christopher Norton. The ABRSM promises a “broader range of styles” in the latest syllabus and it is certainly good to see some contemporary composers represented, including Cheryl Frances-Hoad (Commuterland/Grade 7) and Timothy Salter (Shimmer/Grade 8). Female composers are also somewhat better represented than in previous years. As in previous years, the board promises “a complete refreshment of repertoire” and the ABRSM has sought, as always, to balance the familiar with the lesser-known or more unusual, while maintaining standards across the grades: in practice this approach feels more like a gesture than a real attempt to create a syllabus to suit piano teachers and students in the 21st century. The supporting tests remain unchanged with sight-singing, that part of the aural test that everyone dreads, still intact, though there is talk of a revision to the scales and arpeggio requirements at the next syllabus review.

As usual, the early grades (1-3) tend towards very “child-friendly” pieces to appeal to young pianists. It it almost as if the ABRSM thinks only children learn the piano, and the only concessions to early to intermediate adult learners are Bartok’s haunting Quasi Adagio (Grade 1) and Gillock’s ‘A Memory of Paris’ (Grade 2). ‘Close Every Door’ from Joseph and The Amazing Technicolour Dream Coat by Andrew Lloyd Webber is bound to be popular with students of all ages in this attractive and expressive transcription (Grade 1), as is Leonard Cohen’s ‘Hallelujah’ (Grade 3). More unusual pieces include Bernard Desormieres’ ‘Anatolian 08’ (Grade 4, List C) and Bloch’s ‘Dream’ from Enfantines (Grade 5). For my money, the more imaginative pieces tend to reside in the alternative lists for each grade. As in previous years, the repertoire list for Grade 8 extends to 32 pieces (instead of 18 for the other grades), offering students and teachers a broader range of pieces to create an interesting “mini programme”.

These days the ABRSM appears very concerned to maintain its reputation as the leading international exam board with strong competition now coming from both Trinity College London and the London College of Music (for which the current piano grade syllabus is, in my opinion, the most imaginative and varied of all the boards). Thus, it has sought to remain true to its core strength of offering a syllabus which aims to combine rigour with a selection of music to appeal to a wide range of students around the world (I understand that the “core canon” of works by Bach, Haydn, Mozart and Beethoven remains very popular with teachers and students in the Far East and SE Asia), and I think this syllabus is the most successful of recent years.

The format of the exam books remains unchanged from previous years with clear, well-edited music engraving and short accompanying notes for each piece. The music extracts on the accompanying CDs are also better quality than in previous years and offer useful reference for teachers and students. The accompanying Teaching Notes offer guidance on context, technical aspects and performance. Meanwhile, the ABRSM’s Piano Practice Partner app, which allows a learner to play along with real musicians’ performances, exactly as recorded or at a reduced tempo, has now been updated with pieces from the new syllabus. Other supporting materials are available via the ABRSM website. The syllabus overlap period runs to 31 May 2019.

Further information


Postscript:

Following some rather heated discussion online about the new ABRSM syllabus, I’d like to make the following observations:

  • I would urge teachers – and students – to select a syllabus which works for them. Adult students in particular may not wish to submit to sight-reading and aural tests and for this reason I recommend the Recital Grades from London College of Music. As mentioned earlier, the LCM repertoire is, in my opinion, the best across the three main boards, with plenty to appeal to adult learner of all abilities.
  • The graded exams (and for that matter Diplomas) across all three main exam boards are all regulated by OFQAL and accrue exactly the same UCAS/academic points (Grades 6-8).
  • Be aware that there is a lot of snobbery surrounding exam boards: many people consider the ABRSM to be “better” or “the best” for a variety of reasons, and dismiss Trinity and LCM without even examining the syllabuses.
  • An exam syllabus should not be used as an exclusive framework for teaching and teachers should include other repertoire to give students a broader appreciation of music
  • Personally, I favour a flexible approach to learning and teaching – and this includes an exam format – which enables students of all ages and abilities to play to their strengths.

Trinity College London

London College of Music

Keeping exam repertoire fresh

With exams looming this term, students may be feeling as if they have been living with their exam pieces for aeons. I remember this feeling well, the same pieces of music facing me at my lessons, week after week…..

Nothing beats being well prepared for an exam: knowing your repertoire inside out, being entirely secure with technical work, and well practised in sight-reading, aural, musical knowledge and other components of the exam (depending on which exam board you are using) are sure-fire ways of avoiding too many exam nerves on The Day, and can guarantee a trouble-free, and, hopefully, Distinction- or Merit- worthy performance.

Some of my students have been living with their exam pieces for a year. When I did my Diploma last winter, I had been living with some of my pieces for nearly two years, yet I went into the recital room for the exam full of excitement about my pieces and keen to present them to the examiner

But what if, as the exam date looms, you feel bored with your repertoire, heartily sick of it, and desperate to learn something new? How do you keep the repertoire alive and ‘fresh’ for exam day? Here are some tips:

  • Try to remember what you liked about the pieces when you first heard them. What made you select these particular pieces for your exam?
  • What excites and interests you about these pieces?
  • What “stories” or pictures do the pieces suggest to you?
  • How will you present these pieces to the examiner? What aspects would you like to highlight in your performance?

When the exam appointments are confirmed I will be doing this exercise with my students, getting them to write down a few lines in answer to each of my points. This will help them focus on their repertoire and will ensure they think about what they playing, instead of just “typing” the notes, and will hopefully result in well-thought out performances on the big day.

Good luck to all students who are preparing for exams this term!

An earlier article from my other blog on my diploma repertoire

An article by pianist Graham Fitch on how to keep repertoire alive

How to play……. ‘Fanfare for the Common Cold’

As the title of this piece suggests, it is inspired by Aaron Copland’s famous ‘Fanfare for the Common Man’ – and the first thing I do when I start teaching this piece to a student is to ask them to listen to Copland’s work and tell me what they hear in it and what instrument plays the opening figure.

In this tongue-in-cheek take on Copland, the opening motif is unashamedly borrowed from his famous work. Aim for a bright, shiny ‘trumpety’ sound here. It’s marked forte but it should not be a harsh forte: you want a clear, brass sound. Keep it strictly in time, with the fermatas (pauses) adding drama. A longer pause between the end of this section and the start of the next section gives extra dramatic effect.

The next section (from bar 5) is marked mf, and we definitely want to hear the change in the dynamic. The texture is thicker here, suggesting more brass and woodwind instruments, and a snare drum, perhaps. Go for a soft staccato rather than a short, crisp sound. One of my students came up with a neat ditty to help with the rhythm here:

“Gi-gan-to-saurus sit-ting on a mat”

The second time this figure appears (bar 13) watch out for the change in the rhythm. Again Eli’s ditty is helpful:

“Gi-gan-to-saurus, eating up his tea!”

The following section (from bar 17) has a warmer feel and a softer texture. It should be strictly in time, suggesting a march. Again, the dynamic change needs to be highlighted. The left hand (marked tenuto and staccato) should have a deep “growl”, to give emphasis and suggesting a bass drum. The right hand is marked legato, not easy to pull off, given the chords, but careful “walking” of the fingers through these notes should produce a joined up effect. Allow a pause before the re-entry of the opening ‘trumpet’ figure for dramatic effect.

The coda (from bar 17) is a great opportunity for some virtuoso affectation with its glissandi and low bass notes. This is the build up to the “sneeze” at the end! Play the glissandi on the nail with a sweeping, stroking motion and lift the hand off the keys at the end: not only does this produce a better sound, it adds to the drama of the piece and looks good! Make the bass fortes “growl” in reply. Remember to hold the final chord for its full value.

This is an entertaining and enjoyable piece, full of humour and “musical jokes”. It should be played with real panache and bravura to capitalise on this.

Here’s Ben, who’s been learning this piece for just over a term:

Fanfare for the Common Cold

And here’s Copland’s original: