Be prepared! Ensuring students are exam-ready for success

When I was a child and teenager taking my piano exams, my teachers never talked to me about aspects like performance anxiety or stagecraft/presentation. I went to the exam centre on the allotted day/time, took the exam and went home to await the results. I don’t recall ever being that nervous, perhaps because no teacher ever discussed the anxiety of performance with me…..

In supporting my students as they approach their grade exams, I have a number of tried and tested strategies to ensure they go into the exam room feeling confident, poised and, above all, well-prepared.

The late great Russian pianist Vladimir Horowitz used to say “I know my pieces” ahead of a performance. This is an important mantra: knowing one is well-prepared for an exam or other performance is a crucial aspect of exam preparation and can go a long way in alleviating anxiety, allowing one to play with confidence and musical vibrancy.

For students (with the support of their teacher) this means ensuring pieces are well-learnt and finessed. I encourage my students to think about the individual characters of their exam pieces (and we always try to select a “mini programme” of contrasting styles and moods to allow the student to demonstrate a broad range of technical and musical skills) and how they would like to highlight these characteristics in performance. At least a month ahead of the exam date, I expect students’ pieces to be “concert ready” and we do practise performances in lessons to focus on stagecraft and presentation. Occasionally, a piano teaching friend will come and listen to my students (and vice versa): this is a useful activity as it sets the bar slightly higher for the student by having another person/listener in the room.

In practising technical work (scales/arpeggios and exercises) I encourage accuracy, fluency and musicality. Easy marks can be picked up if technical work is well-learnt and played with good quality of sound and rhythmic cadence (I’m sure examiners would rather hear “musical” scales than monotonous, robotic scales).

I ensure that the other aspects of the exam – aural, sight-reading, musical knowledge – are all well-known and practised well in advance of the exam date.

All these things build confidence, but despite the best efforts of a sympathetic and well-organised teacher, many students feel consumed with anxiety when approaching their music exams. Perfectionist attitudes, issues with confidence and self-esteem, the feeling of being “on show”, exposed on stage or in the exam room, parental pressure, and an understandable wish to do one’s best all contribute to feelings of anxiety. In addition, a previous unhappy exam or performance experience can trigger feelings of inadequacy or nervousness.

When I taught younger children, I tried to make the exam experience feel like an adventure, something exciting and different, and a chance to “show off what you can do”. For all students, I urge them to treat the exam as a “performance” or “mini concert”, and to try and step back from the feeling they are being “judged” and to enjoy the experience, as far as possible.

Specifically in relation to performance anxiety, I reassure students that feeling nervous is “normal” and that top international musicians feel nervous too. We discuss the “whys” and “hows” of anxiety so that they understand it is a natural physiological response (“fight or flight response”) as well as an emotional one. I encourage students to come up with ways to help them personally manage their anxiety – these may include recalling a previous successful/enjoyable performance, using visualisation techniques, NLP, deep breathing and positive affirmation (“I can do it!”). Above all, I remind them that examiners are not looking for bland note-perfect performances but for music which is vibrant and expressive, with good attention to details of dynamics, articulation etc. And I reassure them that I will not be “cross” or disappointed if they don’t achieve a certain mark, that I want them to do their best and enjoy the experience.

For older/more advanced students, exam preparation also involves some discussion about the process of practising and what has been achieved to arrive at the point where the music is ready to be put before an examiner or audience. This understanding of the process and journey of learning is particularly important and helps students see exams in the wider context of ongoing musical development, maturity and progression.

To all students, young and old, beginners to advanced, Good Luck with your exams this summer!

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ABRSM 2017/18 Piano Syllabus

2017-20182bgrade2b1The release of the new ABRSM piano syllabus is a much-anticipated event amongst most piano teachers, many of whom may have by this time grown tired of teaching the same repertoire for the past couple of years. The 2017/18 piano syllabus includes 158 new pieces, alongside which the ABRSM is releasing  a new version of the Piano Practice Partner app to accompany the change in syllabus, plus Aural Trainer and Scales Trainer apps, and other supplementary material to support students and teachers.

The format of the syllabus is unchanged, with pieces divided into Lists A, B and C. As usual, List A pieces tend to be Baroque or early Classical in style, or pieces inspired by these eras (for example, Prelude and Fugue in A minor by Shchredin, Grade 8, List A).  List B pieces tend to be more romantic in style, while List C contains modern or contemporary pieces, or music which is more jazz-infused, atonal or inspired by popular songs or film scores. There are also simple transcriptions of well-known works such as the Prince of Denmark’s March (also known at the ‘Trumpet Voluntary’) by Jeremiah Clark, La donna è mobile from Verdi’s ‘Rigoletto’, and Jupiter from Holst’s ‘The Planets’. Composers such as Gurlitt, Gedike, Telemann and Gillock, which for me are forever associated with exam music, make their usual appearance, but it is refreshing to find works by living composers too: in addition to Shchredin mentioned above, there are pieces by Tan Dun, Ben Crosland, Bryan Kelly, Christopher Norton (whose jazz and rock inspired pieces are always popular with students), Miguel Astor, and Nikki Iles. It is also refreshing to find music by composers from South America, Finland and Japan. The Grade 8 list is longer than the other grades, with 16 pieces to choose from across the main list and alternative pieces.

When choosing exam repertoire with my students, I encourage them to select, as far as possible within the confines of the syllabus, pieces which when played together create an enjoyable and contrasting “programme”, a mini concert if you will. This means that students get to play a variety of music and can demonstrate to an examiner or audience that they can handle music of different styles, moods and characters. The new syllabus offers plenty of scope in this respect, though the earlier grades contain fewer pieces that will appeal to adult students or teenagers. As my colleague Andrew Eales has already remarked in his very comprehensive review of the new syllabus, the omission of music by Philip Glass, Ludovico Einaudi and similar minimalist composers seems rather unfortunate given the popularity of these composers, particularly amongst teenagers. But overall the selection is varied and imaginative with broad appeal.

In addition to the new piano syllabus, the ABRSM has announced the introduction of a new performance-only Diploma, the ARSM (presumably, “Associate of the Royal Schools of Music”), to bridge the gap between Grade 8 and the DipABRSM, to offer a challenge after Grade 8, for those who want to get back into playing after a break or for those looking to enhance their performance skills before entering higher education or applying to study at university. Like the existing Diplomas, the ARSM will offer candidates the opportunity to create and perform their own programme from a published syllabus and own-choice repertoire. Further information about the ARSM will be available in August.

ABRSM Piano exams official page (with links to purchase music, download soundclips and other supporting information).

 

Trinity College of London new piano syllabus – an overview

In July 2014 the new Trinity College of London (TCL) piano grade exam syllabus was released. I have enjoyed teaching the TCL syllabus and my students have enjoyed learning the pieces: some highlights of the previous syllabus include Fanfare for the Common Cold (Grade 2), Allegro Non Troppo (Grade 2), Song of Twilight (Grade 3) and Tapping Heels (Grade 4). To assist in my preparation to teaching the new syllabus, I recently attended a presentation for piano teachers given by Peter Wild, Associate Chief Examiner, and Govind Kharbanda.

One of my main reasons for switching from ABRSM to TCL for graded exams is that TCL focusses on the individual, and the exam structure offers flexibility and choice to enable students to play to their strengths. Part of my teaching philosophy is to encourage students to play with expression and confidence, and I am keen to help them develop performance skills. Performance is at the heart of the TCL graded exams, and the pieces carry a maximum of 66% of the marks available in the exam.

Pieces

Unlike ABRSM exams where students must select a piece from A, B and C sections (traditionally divided approximately into Baroque/Early Classical, Classical/Romantic and Modern/Jazz/Pop), TCL offers students up to Grade 3 free choice to select pieces which suit their individual strengths and allow students and teachers to create an interesting programme. This helps students understand how to build a contrasting concert programme and is particularly useful for students who wish to study for a Diploma at post-Grade 8 level. All the pieces offer contrasting moods, tempi, character and technical demands, and the syllabus combines well-known works and composers with music by lesser-known composers. There are always pieces with a Jazz-leaning and also some contemporary classical pieces. Arrangements of well-known jazz standards and songs, for example, are always good-quality arrangements. Right from the earliest grade, the pieces offer plenty of opportunities to explore aspects such as dynamics, tone quality, articulation and expression, and the pieces are chosen to encourage further listening and “listening around” the pieces to give students a broader frame of reference and set the music in context. In TCL the emphasis is very much on performance and students are encouraged to consider aspects such as stage craft and presentation. A duet option is also available in the early grades.

In marking the pieces, the marks awarded are subdivided into three areas:

  1. Accuracy & notational fluency – or “me and the music”
  2. Technique – “me and the instrument”
  3. Communication and interpretation – “me and the audience”

Supporting tests

There is also a choice of supporting tests and up to Grade 4 students may select two of the following:

  • Sight-reading
  • Aural
  • Improvisation
  • Musical Knowledge

I have found that many early and younger students find sight-reading at Grade1/2 level very daunting and I prefer to teach it within the context of learning new music, allowing students to develop their sight-reading skills at their own pace.

Musical Knowledge is a useful option and gives the student the opportunity to learn some music theory within the context of the pieces they are playing, thus making the theory relevant.

Many students, particularly boys, find singing in aural tests excruciating, and so in Trinity aural tests there is no singing (except at Grade 1). The test is designed to explore musical understanding, awareness and perception.

Technical work and exercises

Technical requirements in TCL exams are less onerous than in the ABRSM syllabus. Scales and arpeggios are relevant to the pieces, and TCL encourages students to take a musical approach to scales, demonstrating that they can play with fluency, accuracy and good tone. From Grade 4 students must play scales and arpeggios legato and staccato, forte or piano, and from Grade 5 students play scales in major thirds, and arpeggios of the dominant and diminished 7th. In my experience, most young people who want to learn the piano simply want to be able to play well and enjoy playing the piano. For the more serious pianist, the technical requirements in the ABRSM syllabus, where by Grade 5 the student will have learnt scales in all the major and minor keys, is more useful.

For each TCL exam, the student must prepare three short technical exercises. The exercises focus on aspects of technique such as balance, tone, voicing, coordination, and finger and wrist strength and flexibility. The exercises related to various pieces in the syllabus: for example, A Lucky Find (3a, Grade 6) is useful in enabling the student to shape a good cantabile line in Chopin’s Cantabile in B-flat and practises playing chords as an accompaniment. Music lies at the foundation of all the TCL technical requirements, and indeed the entire exam.

Exam report and results

All candidates receive useful feedback on each element of the exam, and results are released quickly, usually within a week of the exam date (certificates take somewhat longer).

I know some teachers hold strong views about the usefulness of exams, and the individual exam boards. At the end of the day, I feel it’s important to find pieces and technical exercises/supporting tests which allow the student to explore a varied range of repertoire and techniques and, above all, to enjoy playing the piano.

Resources

Trinity College London – syllabus support

Trinity College YouTube channel – includes an introduction to the grade exams and sample exams to show how the actual exam is conducted