Forte
LCM Examinations newsletter
Syllabus Overlaps
UK & Ireland Exam Sessions, 2011
Piano Grades:
The current syllabus is valid until the end of 2012;
the new syllabus will be valid from September 2012.
Electronic Keyboard & Organ Grades:
SESSION
CLOSING DATE
PRACTICAL EXAM DATES
Spring
1 February
19 March - 21 April
Summer *
21 April
28 May - 25 June
Summer **
1 May
18 June - 23 July
Winter
1 October
12 November - 17 December
The current syllabus is valid until the Summer
session of 2013; the new syllabus will be valid from
January 2013.
* Scotland, Northern Ireland, Republic of Ireland ** England, Wales
Drama & Communication Grades:
Theory Exam Dates, 2011
The old syllabus is valid until the end of 2010.
Drama & Communication Diplomas:
The old syllabus may be used until the end of the
Summer 2011 session; the new syllabus is valid from
June 2011.
Refer to the website for up-to-date syllabus details.
SESSION
THEORY EXAM DATES
Spring
Wednesday 13 April, 2 pm
Summer
Winter
The 2011-2015 syllabus for Music Performance
and Teaching Diplomas is now available, covering
the requirements for 4 levels of performance and
3 levels of teaching diplomas. Philip Aldred
discusses the most significant changes on page 6.
NB There is a one year overlap between syllabuses
(January to December 2011), during which
candidates may use either the old or the new
syllabus.
The 2011-2014 Early Learning syllabus is now
available, containing requirements for:
• Speech Early Learning (Stages 1, 2 and 3)
• Music Early Learning (Stages 1, 2 and 3)
• Early Learning Group (Stages 1 and 2)
• Pre Preparatory exams (piano and recorder)
The Music requirements have been significantly
revised. Speech requirements are also available in
the Drama & Communication Grades syllabus.
The 2011-2014 syllabus for Jazz Diplomas
contains revised requirements for jazz DipLCM,
ALCM, LLCM and FLCM exams for piano, flute,
clarinet, saxophone, trumpet and trombone.
Principal changes were outlined in the previous
issue of Forte, and include: the abolition of set
repertoire; new Discussion components; the
introduction of a ‘lead sheet’ test for pianists at
ALCM and LLCM levels; and the inclusion of
vamps as an option for pianists.
Issue: 2010.3
Saturday 18 June, 10 am
[AMusLCM Paper 2 & LMusLCM Paper 2, 2 pm]
Saturday 26 November, 10 am
New theory downloads website:
see page 20 for details
IN THIS ISSUE:
SYLLABUSES & PUBLICATIONS
Drama & Communication
3
Music Diplomas
6
ACCREDITATION
QCF Accreditation
7
FEATURES
Scalemate
8
Irish Traditional Music Exams
8
Leisure Play Exams
9
Motivational Aspects and the
Beginner Mindset
10
The Pure Joy of the Comedy Song
13
NEWS FROM CENTRES
Overseas Centres
14
UK Centres
16
Key Information
Contacts at LCM Exams
John Howard
Director of Examinations
Philip Aldred
Chief Examiner in Music
Stephen Hazell
Chief Examiner in Drama & Communication
Janet Lill
Senior Examinations Officer
Andrew Hatt
Qualifications & Marketing Officer
Alexandra Marchant
Exams Information Officer
Clare Harvey
Publications Administrator
Jackie Honan
Finance Administrator
Daniel Honan
Ben Hunt
Administrative Assistants
Calendar - 2011
10 January
Asia Pacific: Spring closing date
1 February
UK/Eire: Spring closing date
18 February
Music senior examiners' meeting, TVU
19 February
Examiners' seminar, TVU
19 March - 21 April
UK/Eire: Spring examination session
13 April (pm)
Theory examinations
21 April
Scotland/N Ireland/Eire: Summer closing date
1 May
England/Wales: Summer closing date
1 May
Asia Pacific: Summer closing date
28 May - 25 June
Scotland/N Ireland/Eire: Summer examination session
18 June (am)
Theory examinations
18 June - 23 July
England/Wales: Summer examination session
1 September
Asia Pacific: Winter closing date
16 September
Norwich centre: presentation concert
1 October
UK/Eire: Winter closing date
14 October
Drama senior examiners' meeting, TVU
28 October
Music senior examiners' meeting, TVU
12 November - 17 December
UK/Eire: Winter examination session
26 November (am)
Theory examinations
2
London College of Music Examinations is an
international examining board, offering
graded and diploma examinations in music
and in drama & communication.
LCM Exams caters for candidates of all levels:
from introductory examinations, through
graded exams (or innovative ‘Leisure Play’
exams for candidates who wish to play
pieces only), to four levels of diplomas in
performance and teaching. Qualifications are
offered in an exceptionally wide range of
subjects encompassing classical, jazz, pop,
rock and traditional music genres. A
comprehensive range of publications is
available, including all-inclusive graded
handbooks for selected instruments.
Examinations are held across a large network
of local public centres, and also at many
schools and colleges.
LCM Examinations are unique in the graded
examinations world in being awarded by a
university, while Ofqual accreditation assures
validity and a standard consistent with other
approved boards. Grades 6-8 qualifications
in accredited subjects attract UCAS points
towards university entrance.
LCM Examinations
Walpole House
Thames Valley University
18-22 Bond Street
Ealing
London W5 5AA
tel: 020 8231 2364
fax: 020 8231 2433
email: lcm.exams@tvu.ac.uk
www.tvu.ac.uk/lcmexams
Editor: Andrew Hatt
andrew.hatt@tvu.ac.uk
Search for ‘LCM Exams’ to keep up-to-date
with the latest news.
The next issue will be published in August
2011. Copy deadline: 30 June.
Drama & Communication
Practicalities and Possibilities in the
Drama and Communication Syllabuses
by Stephen Hazell, Chief Examiner in
Drama & Communication
For candidates sitting Grade 8 in Acting, a Shakespeare
monologue is now a requirement. (In the snapshot you can
see me trying to sympathise with the task.) It’s an exciting
performance challenge – and senior examiner Jayne Lindgren
writes thoughtfully on another page about the importance
of truthful exploration – a difficult but vital concept.
Although I am very much looking forward to seeing
Shakespeare presentations, in this article I am most
interested in other areas, where there are thoughts to share
about the syllabuses for Grades (2010-2013) and Diplomas
(2011-2015). I’m sure there are more questions provoked
by those syllabuses than those I deal with here, but I hope it
will be helpful for me to comment on the Folder of Work
and its successor at Grades 6-8, the Portfolio; the Personal
Reflection; the Anthology; and entering students with
special needs. My comments build on what I wrote in the
previous issue.
Further, I should like to increase the space we give as an
examinations board to the Communication field of our work,
so I will share some thoughts on Oral Communication,
Professional Communication and ESOL.
Folder of Work, Portfolio and Personal Reflection
I’d like to clarify practical matters first as to the
requirements of the examination.
•
The number of items for the Folder of Work is stated for
each grade in the syllabus, and this should be adhered to.
•
The style of presentation is described on page 22 of the
syllabus. This concerns presentational matters (e.g.
photocopies are not acceptable in the Folder).
•
There is also on page 22 a general framework given for
the length of the personal reflection. To be more precise
here, I would say that two paragraphs would be enough
at Grades 1-3, and four paragraphs at Grades 4-5.
•
In each grade description a particular topic is given for
the personal reflection.
The following points are advice; they are non-binding, and if
the student has good alternative ways of fulfilling the folder
requirement, so much the better.
•
The students should assemble a collection of passages
that they like (and these can accumulate as the grades
progress if they wish); they should put the author and
title as a heading.
•
They might write a sentence beside each (“I think the
characters are very true to life”) – or it could be an
expostulation (“What an exciting ending!”) – primarily it
should be their honest response.
•
A scrapbook form of presentation is common. Simple
illustrations or relevant downloaded images can add some
extra life.
As to the actual practical examination, the assessment
criteria for the Folder and the Reflection focus above all on
whether the student shows feeling and enthusiasm for the
pieces chosen, and is also beginning to show an interest in
thinking about how to perform them. The examiner will
often open up the discussion element by asking for more
comment on a point of interest in the personal reflection.
The whole examining approach is intended to produce a
friendly discussion in which the students can show their
personal responses to the qualities and content of the items
they performed earlier in the exam, and the examiner may
expand the discussion to cover wider topics that the
exchange so far suggests the candidate may shine at.
The teacher can usefully introduce the beginnings of theory
at Grades 1-3 as support for the student’s work. For
example, they can talk through what students like (or
detest!) about pieces, and help them with details to point
to, such as pauses, building up the story, character-creating
words, strong rhythms – anything relevant to helping them
understand how to perform the item they’re working on.
The beginnings of what one might call ‘practical theory’ can
also be quietly introduced: how are they breathing? how can
they warm up? are they holding themselves well? can they
3
Drama & Communication
find movement and ways of looking that will help show their
feeling? Such questions begin to become explicit in the
syllabus for Grades 4 and 5 (colour, theme, vocal style, for
example).
At Grades 6-8 the candidates are approaching mature levels
of performance, and theory becomes a stated requirement,
particularly relating to voice. Similarly, the Portfolio is now
more like project work than the earlier folder scrapbook:
there is now a theme relevant to the subject (guidelines are
given), and materials (texts, images, commentary, play or
exhibition programmes, and so on) are brought in where
relevant. It might consist of 8-10 pages of material linked
through by two pages of the student’s own commentary.
Examiners will look for interesting ideas or items as startingpoints for discussion.
The Folder and the Portfolio do certainly involve reading and
writing – but not as a separate academic study, rather as a
direct support for a deeper understanding of the skills they
are developing, and for a personal sense of how rich the
tradition of performance is.
The Anthology and own-choice pieces
The existing Anthology remains in use
Its purpose is two-fold: first, it offers material to choose
performance items from at each level; secondly, it gives a
sense of the level of the material required when students and
teachers are looking for own-choice pieces, or for pieces to
include in the Folder of Work.
The Anthology is also a vital part of the reading that
students should undertake: the more they explore a range of
literature at their grade level, the better they will understand
how to perform their chosen item, by familiarity, for
example, with rhythms, characterisation and the implied
speaker’s voice in each genre.
Own-choice pieces can be drawn from a wide variety of
sources
The piece chosen must fulfil any stated condition (e.g.
Acting Grade 5 calls for ‘a speech from a modern play’ so it
must be a dramatic speech and post-1900). Beyond that, the
students are free to look for material close to their own
social culture if they so wish. The material should be well
worth performing, of course, but need not be from the
canonised British repertory. There will be local poems or
stories or speeches that excite the students’ interest, and
these are fully encouraged for presentation, alongside more
classic material.
The push here is part of a general move towards encouraging
the students to feel a deepening ownership of what and how
they perform. But please note that own-choice does not
include showing pieces that they or their friends have
written – that’s a valid enterprise, but different from the
basic tenet of our exams, which is the interpretation of
published text.
The Anthology Supplement
We feel the need for some additional choices and examples
to be in the Anthology, and so a Supplement to it is in
preparation. It may be published separately for sub-sections
of the syllabuses, so that students can buy the most
appropriate selection.
Footnote, relating only to Grades 7 and 8 (Speech and
Drama, Acting, Verse Speaking, Reading Aloud, Duologue):
In the 2010-2013 Grades syllabus there was a modification
of the dates of period work for the above grades. As a result
we decided that Performance items may be chosen from
Grade 7 or Grade 8 in the Anthology at will. In some subjects
there is no compulsion to select an item from the Anthology
in any case, so the material is simply there to choose from if
you wish. Where one piece must be chosen from the
Anthology, it can be the own-choice piece, so Grade 7 and 8
material will be equally available. Only if the required
Anthology item is for a stated period will you need to check
the dates of the material when choosing. In writing this, I
became aware of why people complain about how laws and
regulations are drafted with a wilful obscurity, but I believe
that when you think about a particular example, all will
become clear. Compare section 6.2 on page 22 of the
syllabus with the requirements for the performance element
in the relevant grade description – simples!
Special Needs
We welcome the opportunity to see students with special
needs in our examinations. The guiding idea is that we make
arrangements for modifications to the format or style of the
exam so as to enable the candidates to perform at their best.
Once those arrangements have been made, the assessment
criteria remain as for other candidates. The modifications
depend upon each case – they can be technical (extra time,
enlarged text, etc) or they can concern a particular kind of
attentiveness on the part of the examiner (where
4
continuously maintained eye-contact is crucial, for example).
LCM and the centre need to agree on these matters, and the
examiner needs advance preparation, so we require details
and documentation at the time of entry. We have found that
this system works well. Please consult the regulations at the
back of the syllabuses (Regulation 24 in the Grades syllabus)
and the document ‘Equality of Opportunity, Reasonable
Adjustments and Special Consideration’.
Drama & Communication
Oral Communication, Professional Communication and English for Speakers of Other
Languages (ESOL)
Looking ahead – feedback please!
The whole field of communication is of increasing
importance in our globalising world. The approach through
all the skills and interactivity of speech and drama is of
outstanding value, and LCM wants to consolidate and
expand its offerings in this area. Any advice about how best
to do this to serve candidates’ needs will be seriously
considered.
Oral Communication is already well established through its
own syllabus, and we are happy that it is particularly
popular in overseas centres. The grades are followed up by
the Oral Communication DipLCM and the Public Speaking
ALCM and LLCM.
Personal and Professional Communication is covered by
our syllabuses at Certificate and DipLCM levels. They are
not well taken up at present – any promotion of their value
by examiners and centre representatives would be warmly
appreciated. I should especially like to draw attention to the
DipLCM in this subject. It has been substantially revised in
the recent 2011-2015 Diplomas syllabus (page 11) so as to
allow for a variety of business and professional contexts.
We believe it is a strong award that will help the CVs of
rising young professionals in particular.
ESOL – we have a syllabus, and it is workable, but it’s of
long standing, and the time is ripe for a significant revision.
We want to make a substantial contribution to the awards
that the students who are learning or reinforcing their skills
in English can aim for. It means to be both distinctive in its
LCM character while being fully relevant to needs. Any
colleague reading this who has a view of those needs is very
welcome to be in touch.
This review has focused on matters arising from the grades above all. Teachers of Early Learning and Steps on the one hand,
and the high level new Diplomas on the other, may be feeling neglected. But those amongst you who have got this far will
agree that the article is long enough already, and my intention is to look at those awards in the next issue, especially since the
summer of 2011 will see the first availability of the new diplomas.
Thanks to all for your continuing support of our examinations.
Preparing for Auditions
London College of Music Examinations
Drama & Communication
Grades Syllabus
Early Learning, Introductory, Graded and Written Examinations
2010 – 2013
The new LCM Drama and Communication Grades Syllabus is beneficial to those auditioning
for drama school or for those applying to read English / Drama at university.
As a teacher I have always known the advantages gained by my students from studying the
different types of solo examinations offered by LCM. Working through grades progressively
has enabled them to develop performance skills and also to be confident in discussion and
conversation in a variety of situations. Many have told me that at school or college they have
profited from their advanced awareness and knowledge of different writers, which has given
them a head start in English and drama classes.
At present, my students applying for
drama school or university are finding
the Grade 8 Acting a particular asset
as the requirements for this
examination are so similar to those of
the audition demands of the majority
of drama schools. One hopeful drama
school entrant is taking her Grade 8
in December as she feels the
background theory will be helpful to
her in her future work, and the
practical pieces will give her a chance
to perform a passage from
Shakespeare and a contemporary
speech before the auditions follow in
January.
If successfully through the first
hurdle of auditions, students can be
asked for a third acting scene from a
different period, and here the
requirements of Grade 7 Acting can
be helpful. I am now encouraging my
students to keep their choices of
pieces from Grades 6 to 8 in a folder
ready for future auditions.
As an examiner, I feel confident we
will be able, through the new
syllabus, to continue to develop
honesty and truth in performance,
along with a love of, and interest in,
language and literature.
Jayne Lindgren
Senior Examiner, Drama &
Communication
5
Music
Diplomas in Music Performance and Teaching
Guidelines for the 2011-2015 syllabus
by Philip Aldred, Chief Examiner in Music
The revised syllabus follows much of the requirements and rubric of the previous one (20082010), but there are some important changes and additions.
As with all our syllabuses it is very important to read carefully the specific repertoire lists, as
well as reading thoroughly the detailed requirements for each diploma in the syllabus.
Please also note that the requirements for diplomas in jazz performance (piano, flute,
clarinet, saxophone, trumpet and trombone), Irish and Scottish traditional music
performance, music theatre performance, conducting, composition, thesis and church music
are available in separate syllabuses.
1. The first entry must be for a complete diploma. Entry
for selections of components is allowed only if
candidates are carrying forward marks achieved
previously.
2. DipLCM, ALCM and LLCM in Performance now require
a written programme. At each level the written
programme should comprise, for each piece performed,
the composer, the date of composition and a brief
description of the music, identifying any distinguishing
features. This programme must be given to the
examiner(s) at the time of the examination.
Please note the distinction between the written
programme (required at DipLCM, ALCM and LLCM) and
the programme notes (a specific component of certain
diplomas, requiring more in-depth consideration of the
pieces).
3. DipLCM in Teaching: the required standard for solo
performance is now Grade 6 and above. This is in
keeping with my belief that you do not have to be a
‘fantastic performer’ to be a ‘good teacher’.
4. DipLCM in Teaching: the timing for the lesson has been
increased to 20 minutes.
5. ALCM in Teaching: the required standard for solo
performance is now Grade 8 or above. (See note 3
above.)
6. ALCM in Teaching: candidates should make reference to
at least one pupil in their essay (whichever title they
have selected).
7. There are some additions to the Further Guidelines for
Performance Component (Section 2.5, page 18). It is
essential that all performance diploma candidates are
familiar with these requirements, which are reproduced
in the panel opposite.
6
8. Section 2.6 has been added for teaching diploma
candidates whose first language is not English:
If candidates wish to deliver any component(s) of the
examination in a language other than English, prior
permission must be obtained in writing from the
Chief Examiner in Music. If permission is granted, it
is the candidate’s responsibility to provide a
competent translator.
9. The guidelines with regard to the use of DVDs as an
option for teaching diplomas have been changed and are
detailed in the syllabus (page 20 for DipLCM in
Teaching, for example). These state:
Examiners prefer to see a ‘live’ teaching session; any
candidate choosing the DVD option must seek
approval from the Chief Examiner in writing in
advance of the entry, explaining the necessities that
govern their choice.
10. At all levels of teaching diplomas, the requirements for
the lesson are less prescriptive than in the previous
syllabus. It is expected that as normal a lesson as
possible is conducted in the examination room.
11. Finally, the word counts have been revised for the case
studies (LLCM in Teaching) and the programme notes
(LLCM and FLCM in Performance).
The new syllabus is valid from January 2011 until the end of
2015. There will be an overlap of one year – ie. January to
December 2011 – when candidates can use either the old or
new diploma syllabus.
I wish everyone well with their studies for these exciting,
challenging, beneficial and rewarding diplomas. Have fun!
Syllabuses and repertoire lists are available free of charge
from the LCM Examinations office, or via our website
www.tvu.ac.uk/lcmexams
Accreditation
Diploma Syllabus, Section 2.5:
Further Guidelines for Performance Component
Presentation: At all four levels of diploma, examiners will
take the presentation of the performance component into
account in awarding marks. Candidates should be
appropriately dressed, and should conduct themselves with
suitable concert etiquette and regard for platform techniques
throughout. However, they will not be expected to bow either
before or after their performance.
Choice of repertoire: Candidates should select their
repertoire with care, in order to produce an interesting,
balanced and varied programme, which demonstrates a wide
range of performance techniques and elements of
musicianship. This will normally be achieved by selecting
music from different composers and historical periods; but
programmes consisting of music of one style (eg. Romantic),
genre of composition (eg. the prelude) or even of one
composer, are acceptable, so long as the considerations
detailed above are applied. In such instances, it will be
essential to include a wide range of expressive and technical
contrast in the programme. Candidates are encouraged to
choose music with which they have a natural affinity and
empathy. Original and creative approaches to programmebuilding are encouraged.
Announcement of pieces: Candidates at DipLCM and
ALCM may announce their pieces if they wish. Candidates at
LLCM and FLCM, however, should not announce their pieces
(except electronic keyboard and organ and classical singing).
Repeats: The decision to include or not to include repeats,
tutti sections, etc. rests entirely with the candidate.
Examiners will be looking for a rounded, musical
performance.
Cadenzas: Cadenzas should be included at all diploma
levels.
Own choice items: These must be of a technical standard
consistent with that of the appropriate diploma level. It is the
responsibility of candidates to ensure that this is the case,
and, where own choice repertoire does not enable candidates
to demonstrate mastery at the relevant level, the assessment
may reflect this. There is no need for own choice repertoire to
be approved in advance; however, advice on the selection of
own choice repertoire is available from the Chief Examiner in
Music.
Memory: With the exception of vocal recitals, for which
particular conventions apply, it is not compulsory for
candidates to perform from memory. No additional credit
will be given for performance from memory.
FLCM examinations: These may take place in front of an
audience, provided that (a) this does not affect the normal
examination procedure (ie. intervals, breaks, and the use of a
compère are not permitted); and (b) this has been agreed in
advance with the Chief Examiner in Music.
Scores: Candidates should ensure that additional copies of
scores are available for the use of the examiner. (See
Regulation 17.)
The use of digital pianos or recorded backing tracks is
not permitted under ANY circumstances. (This does not
apply to sequenced backing tracks prepared by electronic
keyboard and organ candidates.)
Repertoire lists for certain instruments include specific
requirements, and candidates should note these with
care.
QCF Accreditation
We are pleased to announce that LCM’s graded exams in
music performance, music theory and drama &
communication have been accredited on the new
Qualifications & Credit Framework (QCF).
The QCF is replacing the National Qualifications Framework
(NQF) as the system for recognising skills and qualifications
in England, Wales and Northern Ireland.
The new framework is made up of units (small steps of
learning), which are combined through ‘rules of
combination’ to make qualifications. Each unit has a credit
value (with each credit representing 10 notional learning
hours) and a level (showing how difficult it is).
There are three sizes of qualifications in the QCF:
• Awards (1 to 12 credits)
• Certificates (13 to 36 credits)
• Diplomas (37 credits or more)
So in the new framework you could have an Award at level 1
or an Award at level 8; this is because the qualification type
(Award, Certificate, Diploma) represents the size of a
qualification, not how difficult it is.
We have not changed the content of any of the graded
exams in order for them to be accommodated in the QCF,
and all LCM graded exams will remain single-unit
qualifications, at the same levels as in the NQF. However,
you will notice changes to the wording on certificates, as
each qualification title will need to state:
• qualification level (from entry level at the bottom to level
8 at the top)
• qualification size (Award, Certificate or Diploma)
• the unit(s) contained within the qualification, and their
credit value
For full details of the QCF accreditation of our graded
exams, including accreditation numbers and credit values,
visit either of the following:
•
the Accreditation section of our website, where there is a
Qualifications and Credit Framework page
•
http://register.ofqual.gov.uk – ‘The Register of Regulated
Qualifications’. (NB the Awarding Organisation is Thames
Valley University.)
We are delighted to retain continuing approval from Ofqual,
DCELLS and CCEA, which is a significant factor in giving
teachers and students confidence in the standards, delivery
and assessment of our examinations.
At the time of writing, we are preparing the QCF
submissions for diplomas in music performance and
teaching.
Andrew Hatt
Qualifications & Marketing Officer
7
Features
www.scalemate.com – Making Scales Fun!
Scalemate is a collection of fun play-alongs – composed and recorded by
Simon Wood and Dorian Kelly – to help musicians of all ages practise scales.
The MP3s come in a range of music styles (including Latin, Reggae, Jazz and
Funk) and each scale is available as an octave (8), a twelfth (12) and two
octaves (16), and also at two speeds – slow and fast.
The play-along tracks are suitable for all
instruments. There are currently 600
MP3 tracks (in concert pitch) ready to
download from iTunes and Amazon. We
are also introducing a series of graded
packages for transposing instruments.
For more details and to listen to
examples visit www.scalemate.com
Why do children avoid playing /
practising scales?
Children (and even many adults) find
scales boring. They do not achieve the
same sense of fulfilment as they would
performing character pieces with
accompaniments or in groups and
ensembles. Learning scales is a
challenge which few people rise to with
enthusiasm.
Why are scales so important to
pupils’ development?
Scales and arpeggios are the basis of
most music. Learning scales makes
reading and playing music easier and
more enjoyable. Improving technique on
an instrument involves developing
muscular memory and scales are a very
useful tool for this. Scales can also be
an introduction to tonality – major,
minor, chromatic, diminished and whole
tone.
How can Scalemate help?
Scalemate gives scales a new lease of
life. It makes them easier to learn and
gives the student the same fulfilment
as when playing with accompaniment or
with ensembles. The play-along tracks
also help pupils to play in time and be
more aware of their intonation.
Scalemate takes away the tedium and
brings the fun back into music lessons
and practice.
Simon Wood & Dorian Kelly
info@scalemate.com
www.scalemate.com
Irish Traditional Music Exams
by Daithí Kearney, Examiner
I have completed my first year as an examiner with London College of Music, examining Irish
traditional music. I have found it to be a fascinating and enlightening experience, particularly
given my special interests in the geography of Irish traditional music.
Over the past twelve
months I have travelled to a
number of centres around Ireland. Each centre has presented
students with varying repertoire, styles and local knowledge
of the tradition. Having taught a course on the concept of
regional styles in Irish traditional music at University College
Cork for a number of years, I was delighted to experience
some of the conceptual framework concerning styles in Irish
traditional music today being demonstrated through the
exam system. I believe that this is a strength of the system,
allowing the local traditions space to flourish and be assessed
without prejudice.
some of the outstanding recording artists who themselves,
like the young banjo players, have explored the technical
aspects of their instruments. The influence of fiddle player
Sean Maguire is particularly noticeable in the north east,
while Martin Hayes is a notable influence further south. Flute
players such as Niall Keegan, Emer Mayock and Kevin
Crawford of the band Flook! have also inspired musicians to
varying degrees in different parts of the country.
As a banjo player, I have also been excited by the approaches
of young banjo players to the requirement to perform airs as
part of their performance. A tune type not traditionally
associated with the instrument, the airs require some
thought in approaches and techniques employed by the
candidates. Many banjo payers have utilised nice harmonic
techniques and explored a greater range of the fingerboard
than may otherwise have been the case.
Banjo player Dr Daithí Kearney is a graduate of University
College Cork. He has toured regularly as a musician, singer and
dancer with a number of groups including Siamsa Tíre and the
National Folk Theatre of Ireland, and was Artistic Director of the
Cork International Folk Dance Festival 2005. An All-Ireland
champion musician, he has recorded with a number of ensembles
including the band Nuada and performed for President Obama in
The White House earlier this year. Daithí lectures at University
College Cork and is currently teaching at St. Ailbe’s in Tipperary.
His PhD concentrates on the construction of geographies and
regional identities in Irish traditional music.
Many of the candidates that I have examined have
demonstrated an impressive awareness of and influence from
8
I am looking forward to the forthcoming sessions and
anticipating the wonderful variety of a very high standard
that I am sure I will encounter.
Features
Leisure Play: Valid Exam or Easy Option?
by David Barton
For nearly three years now, I have been entering candidates for LCM’s
Leisure Play exams for both classical singing and piano. Like I’m sure other
teachers have experienced, I have been met by the inevitable question of
‘why can’t they sit a proper exam?’. Inevitably, this question is posed by
people who (a) don’t know anything about the exams, and (b) don’t really
want to know. I hope that by sharing my experiences, and those of my
pupils, it may encourage a few more of you to make use of these
assessments in the future.
There is still held, in many teaching
circles, the view that some exams are
proper, and some aren’t (though I’m
sure they don’t consider the latter to be
improper!). Anything other than a
graded examination pass with one of
the ‘big three’ is seen as something of a
waste of effort. Anyone who has at one
time or another visited the online
forums of one of those awarding
bodies will know that the question of
accreditation, validity and legitimacy in
music examinations is much argued and
contested. I can’t help but feel though
that they’re missing the point. What do
we really want from these
assessments?
Many of my own pupils continue to
reiterate that the most important thing
for them is to get an independent
assessment of their abilities: more than
anything, they want someone beyond
the teacher to say “you can”. In fact,
the pupils and parents seem far less
concerned by questions of validity and
legitimacy than the teachers
themselves! They take the exams for
what they are. I believe that alongside
the traditional graded examinations, the
Leisure Play syllabuses have an
important role to play.
All but one of my Leisure Play
candidates have been adults, and this is
where I feel the demand is greatest.
Despite what some think, they don’t
necessarily choose the Leisure Play
option because they’re unable to fulfil
the requirements of the graded
examination syllabuses. For example,
I’ve had several candidates who’ve
already taken graded examinations on
another instrument, and thus they don’t
necessarily feel the need to effectively
retake elements of aural and theory
which have been covered elsewhere.
Many think that Leisure Play exams are
an ‘easy option’, but I wonder how
closely they have looked at the
requirements? Proficiency (Grade 8
level) Classical Singing requires the
performance of five songs; in other
words, a short 20 minute recital. The
skills of planning such a programme
From January 2011, the Preliminary Theory examination will be renamed ‘Step’.
This follows the change from Preliminary to Step for pre-Grade 1 exams in
various other subjects (eg. Cello and Irish/Scottish Traditional Music), to avoid
confusion with the Preliminary leisure play examination.
Ann Hohenkerk would like to say a very big thank you to all of her friends and
colleagues at LCM, both in the UK and around the globe, for their many cards,
emails and flowers following her car accident in June. She is now fully recovered,
and has promised never to try to re-arrange the bodywork of a car again!
Philip Aldred: In response to my article regarding the little saying in the last
edition of Forte, I have had a very nice letter from Gerald Griffin stating that the
quote comes from an excellent book by Louis Kenton from the Yehudi Menuhin
Music Guides series entitled Piano.
So there we are… Thank you, Mr Griffin.
within the constraints of the syllabus is
a skill in itself; several candidates have
indicated that this develops practical
skills which can be transferred to
performances outside of an examination
context. The fact that the required
pieces need not all appear on the graded
examination syllabus presents another
challenge; they have to be examined and
considered in terms of their difficulty:
in several cases this requires quite an
analysis of what makes it suitable for a
certain level.
Above all, those candidates who have
chosen to follow the Leisure Play route
have done so because it is the
performing element of learning music
which they enjoy most. Some teachers
may argue that by only examining
performing skills, other areas of
learning are being ignored. Of course,
that’s not the case at all, and it is these
‘other’ skills which go to make up the
performance itself; contrary to the
opinion of some teachers, aural and
musicianship skills contribute to
performance; they are not just tests in
an exam.
The satisfaction gained by candidates
from a successful result in any
examination is always fantastic to see;
those results gained through the use of
the Leisure Play examinations are no
less valid. In their own way, they are
just as valuable in the assessment
spectrum; they are just different, and in
the same way that graded examinations
will suit some, Leisure Play will suit
others. If you haven’t yet explored these
assessments, then I really do encourage
you to do so. They’ve had a consistent
and wholehearted ‘thumbs up’ from my
pupils!
David maintains a keen interest in music
education, and has taught flute, piano and
singing privately for the past 10 years.
9
Features
Motivational Aspects and the Beginner Mindset
by Ian M J Pickett
“The nurturing and encouraging of beginners is one of
the most challenging dimensions of instrumental
teaching” [IMJ]
I say this to all my diploma pupils like some sort of
guru, worldly-wise and all, but it wasn’t long into my
career before I began to question just how demanding
instrumental teaching can be, particularly when starting
out. Through those rose-tinted spectacles – that vista
from which I once saw my career unfolding as a
youthful graduate – the outlook seemed rather alluring:
a busy teaching practice full of pupils enthusiastic to
learn, ready to be inspired by positive and dynamic
teaching. How ironic, then, that this conjured-up image
is so distinct from the experience many will typically
face within their first five years.
I don’t think I started out with
unrealistic expectations but I do feel
that it is relatively easy, particularly
after many years at university
submerged within an environment of
positive music making, to think that
everybody shares the same passion,
energy, and allegiance to music. Whilst
most beginners are enthusiastic to
learn, enthusiasm soon wanes when
the novice starts to realise the
enormous commitment learning a
musical instrument necessitates. And
for the teacher aspiring to build up a
teaching practice, dreams are soon
dashed when the phone rings and the
excuses follow.
Ironically, many prospective teachers
are apprehensive about being out of
their depth with an advanced pupil,
when nurturing and instilling good
practice in the beginner is far from
being the perceived easier option one
might think. Understanding the
beginner, their mindset, and what
motivates them is, indeed, a challenge,
as this article illustrates.
Why do you want to learn a
musical instrument?
Asking somebody why they want to
learn a musical instrument might seem
insensitive, but it’s not always
apparent why somebody wants to
learn. Is it a result of a missed
opportunity earlier in life or peer
10
pressure? And why did they choose
this instrument and is it a sensible
choice for their personality and
physiology? Be ready for the glib
answer: “I have always loved its
sound”. But is that sufficient
justification? Whilst it stands to
reason that it is important to enjoy
the timbre of the chosen instrument,
passively enjoying the sounds from the
CD player is a far cry from the skills
and commitment needed to recreate
those sounds personally. And that’s
the first distinction many overlook.
Many beginners are in love with the
idea or the image of them playing a
musical instrument (“hey, look at me”)
much more than they are in love with
music per se.
Influences
Embarking on a new activity can be an
exciting time in any student’s life: the
thought of where it may lead and the
rewards it may bring can be
particularly stimulating. However, the
teacher’s role in all of this is an
important one, and one which must
not be taken lightly. In addition to the
imparting of musical skills, teachers
have considerable influence on each
student’s musical tastes and values.
Many will look up to their teachers as
their role model and, therefore, they
hold a key position with regards to
motivation.1
Yet teachers have just a finite window
of time in which to capitalise on the
initial interest shown by each beginner.
Unless they nurture and sustain the
student’s attention, it is not long
before motivation dwindles and
interest begins to wane, particularly if
progress has been slow and
frustrating. The trouble is much of the
discourse on teaching seems to focus
on how to teach specific practical
skills and musicianship rather than
something much more fundamental:
how to trigger an emotional response.
A musical catharsis
John A Sloboda argued that to trigger
an emotional response was intrinsic to
increasing motivation. His study
revealed that if the student has an
experience which elicits a positive
feeling or emotion, the motivation to
improve increases significantly. For the
student with established musical skills
who can read music at sight and
perform it with some degree of
understanding this may be relatively
easy – but what about the beginner
that hits more wrong notes than right
ones?
The skill for the teacher is to develop
compassion and understanding for the
beginner in order to gain sufficient
insight into what they enjoy and what
makes them tick as individuals. While
it is important to show them musical
Features
variety, enforcing your love of Baroque
counterpoint will do little to motivate
them if this music doesn’t set their
world on fire.
Giving pupils the opportunity of some
freedom about what they learn is not
about backing down but making them
feel involved in the learning process,
which can elicit positive feelings. A
detailed study of a beginner
clarinettist, some years ago, revealed
that not only did practice increase an
incredible eleven-fold in situations
where the student selected their own
music but also the quality of the work
was noticeably more proficient. It was
noted that rather than adopting a
practice ethic which simply involved
playing from beginning to end with
minimal attention to correcting
mistakes – an approach many students
follow – there was a distinguishable
change in the way work was selfmonitored and more varied strategies
for correcting technical difficulties
adopted.2
The acceptance of popular music
With the exception of some brief jazz
experience during my course at
university, popular music was never
considered acceptable for instrumental
study. Although I had no desire to
engage in battle with my teacher and
was content with Classical repertoire
in the main, I think any teacher today
has to be more open-minded, at least
initially. If students acquire basic
instrumental skills through learning
music that inspires them – however
trivial it may seem to our ears – does
it really make a difference?
Take, for example, the music that was
used in the controversial film Eyes
Wide Shut (1999), which included
Shostakovich’s Suite for Variety Stage
Orchestra, Liszt’s late solo piano piece
Nuages Gris (Grey Clouds), and one
recurring piece by Hungarian
composer, György Ligeti. With its
minimalistic tendencies, Musica
ricercata for solo piano, is probably
the least inspiring piece to play a
student on a bright, sunny morning.
But for those that have seen the film,
a new interest to ‘recreate’ the music
emerges as it seems relevant to the
individual. In their eyes, it is music not
of yesteryear but today.
Popular music may seem trivial
compared to that of the Viennese
school, but remember the beauty of
the music is its relevancy to beginners.
Being able to play that piano riff from
The Fray (or any other piano-led band)
is, to a beginner, like the Holy Grail of
the piano world. These kinds of
milestones, however insignificant it
may seem in our eyes, are cathartic
moments that inspire and motivate
our students. And the very fact the
teacher has taken the trouble to listen
to what the student enjoys will offer
many reciprocal benefits to the
teaching relationship.
Apathy
Unfortunately, some may find that
despite our best efforts, student x is
poorly motivated. If this is the case,
perhaps it might be worth looking at
other ways an emotional response may
be triggered: how about encouraging
creativity through composition or
ensemble work? The trouble is, given
the relative simplicity of beginner
music, it is not uncommon for some
students to feel a sense of
indifference – even well-known
Classical favourites seem so pale by
comparison to the original that
perhaps inspired the student in the
first place.
A number of other factors such as a
deprived instrument or over-zealous
parents may contribute to poor
motivation.3 Some students may find
their friends taunt their musical
endeavours as it impacts upon their
social lives, so it is important that
such pupils feel as if they belong to a
community of musicians as this will
help to develop confidence and pride in
the work that they do. Research has
shown that singing and making music
as a family, along with attending
concerts, together help sustain
interest and develop competitiveness,
so it is vital that we remind our
students of this fact.4
Understanding motivation
Like many music teachers, my training
did not extend as far as human
psychology; however, understanding in
this respect would have been
advantageous. It is all too easy to
blame students who don’t practise as
wayward, but characteristics inherent
in their personality are already
determining to what extent they’ll
fulfil their aspirations. The student’s
self-awareness and their self-esteem,
along with their drive, arousal, and
anxiety thresholds, affect how well
they cope with learning a musical
instrument, almost as much as their
initial musical talent.5
But what is motivation?
Motivation, a goal-orientated
behaviour, is a complex aspect of
human endeavour; however,
essentially, it is based on two very
simple concepts: value and reward. If
something has a tangible value – a
measurable purpose or reward – some
students are motivated by this.
Passing an examination and obtaining
the certificate is, for many, the perfect
(and perhaps only!) incentive to
improve. Others may value lessons
because they see it as an opportunity
to improve social standing or to mix
with like-minded students. An
increasing number are motivated to
improve because they want to exceed
the achievements of others or to
inflate their own ego.6 These kinds of
extrinsic motivators are the principal
catalysts in the beginner’s mindset.
That intense passion to play – that
engagement for sheer personal
satisfaction – only comes with
experience.
One of the most important pieces of
research on motivation in the last two
decades was the ‘expectancy-value’
theory. This seminal body of work
tried to find answers as to why some
individuals care about an activity to a
sufficient degree only because they
believe it might be important to them
in the future.7 It argues that students
ultimately value an activity if they
envisage being successful at it.
Researchers found that even very
11
Features
young children were able to
distinguish between what they like or
think is important to them and have a
good idea of how competent they are
likely to be at it. It was also found that
this had an important bearing on just
how much effort they would exert –
such evidence proved to be an
important predictor of the choices
made by students in adolescence.
Other considerations
Experienced teachers are well aware
that students who believe in their own
ability have stronger levels of
motivation compared to their lessassured counterparts. The late Frank
Pajares commented that ‘self-efficacy
beliefs act as determinants of
behaviour by influencing the choices
that individuals make, the efforts they
expend, [and] the perseverance they
exert in the face of difficulties’.8 These
powerful emotions explain why hardworking students often triumph in the
face of adversity; even when similarly
able-candidates seem to achieve less.
Even in fields outside of music,
psychologist Mihalyi Csikszentmihalyi
argued that a range of people familiar
with working under intense pressure
(such as heart surgeons, climbers and
professional athletes) were successful
only because they had the right skill
set combined with the perception that
they had what it takes to achieve
results.9
Musicians need high levels of selfefficacy to help develop confidence
and ensure persistence.10 Yet alongside
this, it is also important that teachers
set challenging and realistic targets for
their students, as appropriate to their
skill level. Any activity where the skill
level is too high or deemed too easy
will result in boredom.
Csikszentmihalyi believed that in
situations which require intense
concentration the optimal balance of
challenge to skill was about 50:50.11
Attaining this perfect equilibrium
requires teaching experience and
considerable thought to ensure that
students are stretched intellectually
and musically but that neither
frustration nor boredom sets in.
12
Concluding thoughts
Students quit music lessons for a
number of reasons but when this
happens is it time to reproach our
teaching ethics? Is it acceptable to
argue, in our defence, that the student
simply couldn’t be bothered? If the
initial interest was strong at the start,
what went wrong further on down the
line? And how much responsibility
should teachers realistically take?
Sloboda argues that triggering an
emotional response is vital for
motivation but to ensure that this
impetus to improve is never
compromised we need to take time to
reflect on not only the effectiveness of
our teaching but the relevance to each
student.
Being approachable and listening to
what ignites a passion – a thirst for
learning – in our students has nothing
to do with ‘dumbing-down’ or
pandering to the likes of the masses.
It is about ensuring that, alongside the
development of basic instrumental
skills, students are having fun. Yes,
fun! It is far easier to introduce
Classical items into students’ learning
programmes when they have acquired
some technical facility – how this is
achieved is irrelevant; just so long as
progress is made and they feel
successful.
1
Parncutt and McPherson (ed.), The
Science and Psychology of Musical
Performance (Oxford University Press,
2002), p.23
2
Ibid., p.41
3
Harris and Crozier, The Music Teacher’s
Companion (ABRSM Publishing, 2000),
p.30-31
4
Parncutt and McPherson (ed.), The
Science and Psychology of Musical
Performance (Oxford University Press,
2002), p.21-2
5
Ibid, p.21-2
6
John Rink (ed.), Musical Performance: A
Guide to Understanding (Cambridge
University Press, 2002), p.94-95
7
Parncutt and McPherson (ed.), The
Science and Psychology of Musical
Performance (Oxford University Press,
2002), p.33-4
8
Frank Pajares, ‘Self-efficacy beliefs and
mathematical problem-solving of gifted
students’, Contemporary Educational
Psychology (1996), p.325-340
9
Mark Nesti, ‘Are England’s footballers
hardwired to lose?’ Focus, July 2010,
p.23 (BBC Magazines)
10
Parncutt and McPherson (ed.), The
Science and Psychology of Musical
Performance (Oxford University Press,
2002), p.34
11
Parncutt and McPherson (ed.), The
Science and Psychology of Musical
Performance (Oxford University Press,
2002), p.35
The challenge for many teachers new
to the profession is not, necessarily,
mastering the complexities of
advanced repertoire. Instead it’s
something much more fundamental:
understanding beginners for what they
are and the aspirations they have.
Remember that diploma students have
a secure instrumental technique; they
understand the cognitive processes of
how they learn and perform music;
they can also evaluate their own
efforts and reflect appropriately in
light of it. Yet the beginner lacks all of
these ‘assurance mechanisms’. They
need to be nurtured, encouraged, and
motivated using any of the tools in
our arsenal. Only those who really care
enough need apply.
Ian M J Pickett read music at Bath Spa
University specialising in performance
and completed postgraduate research
for an MA in Theory and Analysis at
the University of Reading. Alongside his
work as Representative for LCM
Examinations, he operates a busy
teaching practice in Swindon.
© 2010 Ian M J Pickett
www.imjmusic.co.uk
Features
The Pure Joy of the Comedy Song
by Mary Hardy-Green, Drama & Communication Examiner
My very first recollections and enjoyment of Musical Theatre were as a young child being taken
by my mother and my aunt to the old Hippodrome Theatre in Norwich to see some of the
Variety Shows starring many of the loved and remembered artists and artistes of the golden
years of Music Hall and Comedy. We had free tickets as my Uncle Mark was the drummer and
percussionist in the small orchestra, and if there were spaces he could obtain seats for us.
Sometimes it would be in the Stalls, sometimes the Circle or Gallery, and sometimes we would
be able to sit in one of the Golden Boxes. As you can imagine, having a ‘bird’s eye view’ of all
these wonderful people really lit a spark that has remained for many years.
At the end of the evening, we would not be the only people
going back to Aunt Biddy’s large guesthouse. Most of the
artists would also be staying with us and it was with much
delight that I was able to take the marmalade pots into
breakfast the following morning. I can remember clearly
Christmas Day (they all had a day off), the wonderful parties
when they would all perform for us, and I would be included
in their show. My singing was a bit doubtful in those days
but I loved being part of them.
I can remember Ronnie Ronalde, the Harmonica Gang,
Arthur Askey, Mr Pastry and so many more. Unfortunately
the old Hippodrome was pulled down in the early 60s to
make room for a multi-storey car park, and it caused
sadness to a lot of people who very much enjoyed this
venue.
The LCM Musical Theatre syllabus gives much scope to
include a lot of the old material that was once loved and
enjoyed. Of course the Music Hall songs, ‘Daisy, Daisy’, ‘My
Old Man (Said Follow the Van)’ and ‘I Do Like to Be Beside
the Seaside’ will always be included in students’
programmes, but what of the other fun songs that come
from the 30s, 40s and 50s, for example ‘Mucking about the
Garden’ and ‘Like the Big Pots Do’? And many of my fellow
examiners who have been to Great Yarmouth will recall ‘The
Marrow Song’, which my students enjoy with gusto.
New Music Gifts Website
Music Exchange, the official
distributors of LCM Publications,
now stocks an extensive range of
unique and inspiring musical
gifts. Affordable gifts are
available for any occasion
including anniversaries, birthdays,
Christmas and thank you
presents for teachers and pupils.
So if you’re not sure what to buy for a friend or loved one
why not browse the new website dedicated solely to music
gifts: www.mymusicgifts.co.uk
Another of these comedy
songs is ‘Let’s Have a Song
About Rhubarb’, and one of
my young students who was ten at the time (incidentally
now 18 and going away to study medicine) was performing
this song; he lives in a village called South Walsham, which is
about ten miles from the exam venue in Great Yarmouth. His
mother baked him a pie to use as a prop with this song. He
carried it carefully all the way on his lap in the car and into
my house. Just as he was going in to the examination he
dropped the pie upside down on the carpet and we had to
scoop all the remains into the dish so that he could use it. I
think Arthur Askey would have been proud of him with this
impromptu ‘slapstick’ but all his mother and I could do was
collapse in hysterics.
It is great fun choosing new material for a next grade – and I
am always asked if I can find any more comedy songs. I have
managed to find two more old books of these type of songs
(on my hands and knees in an old junk shop going through
an old trunk; my husband has got quite used to it now and
brings along a paper to read whilst I am rummaging).
I very much enjoy Musical Theatre and Variety. Indeed I have
been involved with it for almost all my life, first performing,
and then teaching and examining. There is much for young
and not-so-young students to choose from. The modern
musicals, ‘Ragtime’, ‘Marguerite’, ‘Songs for a New World’
to mention just a few, allow the student so much scope and
give them the ability to show off their theatre skills, but it is
most refreshing and entertaining to be treated to some of
the comedy songs made famous by the old masters.
We recently held a concert to celebrate the year’s
examination results, and it was completely Old Time Music
Hall. Such songs as ‘Stately as a Galleon’, ‘Don’t Put your
Daughter on the Stage, Mrs Worthington’ and ‘I’ve Never
Wronged an Onion’ were on the bill, as well as monologues
by Joyce Grenfell. I think we all loved her Nursery Sketches
and I am frequently asked to perform these at Ladies’
Circles.
Lastly, these old songs are our heritage. We had the best
comedy and old time in the world and long may they be
performed and enjoyed by everyone.
13
Overseas Centres
New Overseas Centres
Ankara
IAID, Qatar
International Academy for Intercultural Development (IAID) has again achieved a
100% pass rate for a total of 71 students from Acoustic Guitar and Electronic
Keyboard courses who completed the London College of Music Examinations in
June 2010. This is the Academy’s second year of facilitating LCM Exams.
Mr Yalcin Baygin
Hayal Sahnesi Sanat Kursu
8.Cadde No.83/2
06500 Emek
Ankara
Turkey
L–R: Mr Rajesh Jadhav (IAID Director),
Mr Emmanuel Dela Rosa (IAID Music
Department Head), Mr Brian Armfield
(examiner), Mr Chandralal
Pathmakumara (IAID Acoustic Guitar
Instructor), Ms Marianne Indrinal (IAID
Centre Manager), Ms Dimple Rajesh
(IAID Dance Director)
T 90 312 223 8707
E info@hayalsahnesi.com.tr
W www.hayalsahnesi.com.tr
Barbados
Ms Kellie Cadogan
East Point Productions Inc.
East Point
St Philip
BB18032
Barbados
West Indies
T 1 246 266 0442
E eastpointpro@gmail.com
W www.eastpointproductions.com
Fasosola Music School
Ms Long Mei Ling
Fasosola Music School
Blk 320, Clementi Ave 4
#01-49 & 51
Singapore 120320
T 65 677 0824
E info@fasosola.edu.sg
W www.fasosola.edu.sg
Liaoning Province
Ms Wang Sa
ANYA Culture Media Co Ltd
91-1-9 Min An Shequ
Bohai Jie
Lianshan Qu
Hulu Dao
Liaoning Province
China
T 8615114287872
E wang.sa@hotmail.com
Examiner, Mr Brian Armfield,
commented: “I was very impressed
with the quality of the performances. It
was a great joy listening to the
students who performed in the exams.
I was very privileged to hear nearly all
of the candidates play to such a high
standard. It was very clear that the
teaching at the Academy is of the
highest order, resulting in unusually
remarkable high marks.
“What I enjoyed also was that the
students were very well motivated and
clearly enjoyed performing with such
confidence as well as wonderful ability.
This is a great joy for an examiner, and
the parents as well as the children are
very lucky to have such brilliant and
enthusiastic teaching. It is good to
know also that exams will be taken in a
wide variety of instruments in the
future.”
The Academy is planning to present the
certificates by the first week of
October. The next LCM Exams session
is already tentatively scheduled,
catering for a much greater number of
examinees not just from IAID but also
from Qatar and other countries in the
Middle East.
Marianne Indrinal
Centre Manager, IAID
Vancouver, Canada
As an outgoing representative for Vancouver,
Canada, I would like to express that it was my
pleasure to have served as the Vancouver
representative, a position that I had held since
February 2005. In this capacity, I organized the
exam sessions for Vancouver and advised
teachers and students on LCM Exams. I enjoyed
meeting and working with all the examiners
throughout the past 5 years.
These photos were taken at the most recent
exam session in Vancouver. From the left are Ian
Parker, Director and Co-owner of Royal Oak
Conservatory, Janice Brown, outgoing LCM
representative, and Richard Lambert, LCM
examiner. Royal Oak Conservatory houses two
extremely fine grand pianos that are available for the exams. On the left is a 9’
Steinway and on the right is a 7’7” Bosendorfer.
As of June 2010, John Howard has appointed Nina Rousta to serve as the
Vancouver representative.
My best wishes to the LCM community in the UK and the teachers and students in
the Greater Vancouver area in Canada.
Janice Brown
Best wishes to Janice from all at LCM Exams.
14
Overseas Centres
New Centre in Ankara, Turkey
I spent a very enjoyable two days in Ankara in October being shown some
marvellous facilities at three music schools all run by the same organisation –
Hayal Sahnesi Sanat Kursu.
The three main Directors are all
connected with the State Ballet and Opera
in Ankara, Turkey. As well as providing
music tuition the centres also offer the
highest quality of classical and modern
ballet classes.
It was a great privilege and honour to be
a guest amongst such highly talented
professionals and to work with and
appreciate the State Ballet and Opera
Orchestra.
The number of centres, sub-centres and
entries in Turkey are growing at a phenomenal rate and LCM is held in the highest
esteem in this fascinating and beautiful country. LCM is now represented in
Istanbul – both in the European and in the Asian side – with 4 centres, in Izmir, and
now in Ankara.
Philip Aldred
Chief Examiner in Music
Mrs Helen Ong
Opus 3 Music & Arts Pte Ltd
Block 212 Hougang Street 21
#01-319 (2nd Storey)
Singapore 530212
E opus3music@gmail.com
Penang 4
Ms Linden Ng
HKL Perfect Music Centre Sdn Bhd
No.70, Jalan Kota Permai
Taman Kota Permai
Bukit Mertajam
14000 Pulau Pinang
Malaysia
Punjab
London College of Music Examinations
is always pleased to be involved in the
variety of events that exam centres
organise from time to time, be they
concerts, award presentations, festivals
or competitions. During my August exam tour in Thailand, it was a pleasure to be
able to adjudicate at the LCM Piano Competition 2010 in Bangkok, organised by
our Thailand representative, Siriwan, and sponsored by the Peterson Piano Gallery.
It was a pleasure to hear the students’
performances, which naturally showed
a range of ability and attainment. Since
the event was open to teachers and
parents, it was a significant challenge
to all, and particularly younger
performers, to play in front of an
audience, and you could feel at times
the very real tension that this produced
in some of them. All entrants tried their
best, and the highest level
performances were of very good
quality. This was a somewhat different
situation from taking an examination,
and was a valuable addition to the
experience of the performers.
Opus 3 Music & Arts Pte Ltd
T 04 507 9706
E linden.ng@hotmail.com
Thailand
The students were entered in two
categories, the first being of the Grade
1-2 standard, and the second Grades 34. All the entrants had previously
entered for our examinations, and the
repertoire was taken from the Graded
Piano Handbooks. It is a tribute to
Siriwan and to the growth of our
examinations in Thailand that there was
a total entry of 77 for the competition.
New Overseas Centres
In general, it is always very useful for
young musicians to be given the chance
to perform in a real setting, be it a
concert, a masterclass, or a
competition. It is also good from the
opposite point of view, that of parents,
other relatives and friends, to get the
chance to hear their young people show
the standard they have achieved.
For me as adjudicator, it was a long but
enjoyable day, and it was excellent to be
able to hand awards to the bestperforming students and to their
teachers, at the end. The exam board
most certainly encourages centres to
organise such opportunities for
students to perform, as a contrast to
the somewhat artificial feel of a graded
examination. The experience can only be
positive in helping our students become
better musicians.
John Howard
Director of Examinations
Jennet Baiju
Theme Music Institute Pvt Ltd
S-33, Greater Kailash-I
New Delhi 48
India
T 91 989 908 8694
E beverly@themepiano.org
W www.themepiano.org
Rajasthan
Contact details as for Punjab, above.
Uttar Pradesh
Contact details as for Punjab, above.
Renamed Centres
The following Indian centres have
been renamed with state rather
than city names, to reflect their
coverage:
• Chennai is now Tamil Nadu
• Mumbai is now Maharashtra
• DLF is now Haryana
15
UK Centres
New UK Representatives
Belfast
Angela Sofley
2 Victoria Crescent
Lisburn
BT27 4TF
T 028 9258 3866
E angelasofley@yahoo.co.uk
Chester
Catherine Harrison
Chester Music Theatre
The Old Chapel
Tarvin Road
Boughton
Chester
CH3 5DZ
Wakefield and Leeds
The annual Prize Giving Concert for the Wakefield and Leeds centres was held on
Friday 15th October in the theatre at Queen Elizabeth Grammar School in
Wakefield. There were 26 performances ranging from Pre-Preparatory up to and
including LLCM in Performance, enjoyed by an audience of over 200.
Certificates and prizes were presented by senior examiner Stuart Corbett, who
also gave an informative talk about LCM Exams, and a jazz clarinet performance.
This year the ‘Barbara Howard Memorial Cup’ was presented to Mary Ann
Wootton who gained LLCM in Performance in Piano at age 16, the ‘Cathy Nash
Award’ went to Cathy Nash herself for achieving ALCM in Teaching Music Theatre,
and the ‘Award for Outstanding Musical Achievement’ was awarded to Val English
for DipLCM in Classical Singing.
Congratulations to everyone for raising £200 for Macmillan Cancer Support. The
varied programme was enjoyed by all and I would like to thank all those who
attended for their continuing support.
Anne Robinson
Wakefield and Leeds Representative
T 01244 351010
E hildikim@btinternet.com
Colwyn Bay
Mrs Alycon Abbott-Brown
52 Birkdale Avenue
Colwyn Heights
Colwyn Bay
Conwy
LL29 6DB
T 01492 534064
Macclesfield
Mrs Kathryn Lomas
2 Five Ashes Cottages
Kerridge
Macclesfield
Cheshire
SK10 5AY
T 01625 573498
E cliffordlomas@hotmail.co.uk
Oswestry
Margaret Lloyd
15 Bradley Fields
Oswestry
Shropshire
SY11 1SP
T 01691 654278
E mlloyd-music@hotmail.co.uk
16
Stuart Corbett, Val English, Mary Ann
Wootton, Cathy Nash, Anne Robinson
(award winners)
Stuart Corbett, Jake Mitchell, William
Horton, Amy Percival, Derek Illingworth,
Anne Robinson (Grade 8 prize winners)
New Centre in Wrexham
LCM Exams congratulates North Wales Music Tuition (NWMT) on the opening of
its new music tuition studios in the centre of Wrexham in prestigious and well
equipped premises at No.1 King Street. NWMT already operates studios in
Deeside, Rhuddlan and Colwyn Bay, which are also LCM exam centres achieving
good results.
The new Wrexham centre (already growing in numbers) offers tuition in piano,
keyboard, drum kit, guitar, brass, woodwind, singing and music theatre.
LCM Exams wishes every success to NWMT in their new and likely further
ventures.
Details are available from Brenda Newton on 0845 310 5374, and from the new
representative, Scott Vodrey, at scottsv@hotmail.co.uk
Barry Draycott
Senior Examiner
UK Centres
Newcastle
The Newcastle centre held the
Presentation of Awards this year on
Saturday 25 September.
The ceremony was preceded by a
concert of high standard. There was a
wide variety of instruments, which
included pianoforte, guitar, clarinet,
drum kit, keyboard, saxophone and
cello, in addition to the lovely voices of
the pop vocalists and music theatre
candidates – each student, having
gained the highest mark in the region,
performed to an enthusiastic audience.
The concert culminated with 14 year
Alexander Bone playing St Thomas by
Sonny Rollins on tenor saxophone.
Alexander was awarded his ALCM at
the age of 13 years, and now aged 14
is set to take his LLCM. Clearly this young man, and many others who took part
in this event, have a wonderful career before them in the world of music.
The awards were presented by LCM examiner, Ray Bidwell. In a short talk, Ray
spoke of the value of LCM Exams and how hard the candidates must have worked
in order to reach the high standard that was displayed. He also acknowledged the
importance of parental support and good teaching.
I would like to thank Ray and all the performers and their teachers for making this
event so successful.
Veronica Cairns
Newcastle Representative
It is always a privilege to attend ceremonies such as this, and the Newcastle
awards ceremony was an excellent example of the rewards for all concerned
at the end of a long road of preparation for examinations and
performances.
For the candidate, there is the public and formal recognition of their
achievement which, irrespective of the level of the award, represents
considerable application and hard work. For parents and family members it
not only marks a stage in development and achievement, but also provides
another opportunity to be justifiably proud and therefore – in most cases –
tearful. For the examiner as an individual and the LCM as a body, it’s why
we do it. We’re not in it to trip people up, to set candidates up for failure
or to put them through the mill – we are in the business of supporting,
acknowledging and celebrating achievement.
The Newcastle ceremony, with its faultless organisation, wonderful venue
and high standard of performance and attainment, did just that, and my
heartfelt thanks go to all who were involved and who gave me the
opportunity to share in the celebration.
Ray Bidwell
Examiner
New UK Representatives
Oxford
Brian Pinnell
17 Courtfield Road
Stanton St John
Oxon.
OX33 1HA
T 07886 013824
E bpinnelllcm@gmail.com
Wrexham
Scott Vodrey
371 Abergele Road
Old Colwyn
Colwyn Bay
Conwy
LL29 9PL
T 01492 513826
E scottsv@hotmail.co.uk
Change of Address
Isle of Wight
Allan Gubbins
Watchingwell Station House
Yarmouth Road
Newport
Isle of Wight
PO30 4HZ
Nottingham
Michelle Beeton
38 Church Lane
Underwood
Nottingham
NG16 5FS
The following representatives have
stepped down recently; thanks to all
for their work on behalf of LCM
Examinations.
Janice Beckinsale (Belfast)
Rosalind Densham (Oxford)
Mary Kirkpatrick (Macclesfield)
Elizabeth Ryder-Weldon (Brighton)
Nerys Slinn (Colwyn Bay)
17
UK Centres
Norwich
On Friday 9th July at Princes Street United
Reformed Church, Norwich, against all odds the
LCM annual prize-giving went ahead as planned!
We were due to have the pleasure of examiner Ann
Hohenkerk to give out the awards, but due to her
car accident on the way home from an examining
tour, we were immensely grateful to examiner
Sandra Cromie for stepping in at the last minute to
perform this task.
The evening was compèred by Mr Simon Black and
began at 6 pm with an extremely varied
programme, commencing and ending with a massed
wind group, comprising students, LCM examiners
and parents. After only one rehearsal, conducted
most ably by retired LCM examiner John Roper, the
evening opened with a rousing rendering of the
Thunder and Lightning Polka by Strauss and ended
with excerpts from the very popular musical The
Sound of Music by Rodgers and Hammerstein. The
standard was extremely high and an audience of
around 200 people enjoyed the performance.
Oscar Almadin, aged 8, stole the evening by playing
a superb rendering of Für Elise (barely being able to
reach the piano pedals) in a most professional
manner. The programme was extremely varied and
interesting – containing an electronic keyboard
performance of excerpts from Oliver! by James
Mitchell, a ‘Flexitet’ ensemble playing some
Gershwin, a flute duo played by mother and
daughter, jazz piano by Alexander Havercroft
(student of examiner Liz Pipe) who had also won 2
awards for the highest marks in Grades 5 and 6 in
the same year, music theatre performances, some
high standard Doppler duets by flautists of diploma
level, and the Krommer double clarinet concerto,
also by diploma students. We were privileged to
have with us Fellowship award singer Karen Harries,
who gave a stunning performance of Amour! Viens
aider ma Faiblesse from Handel’s Samson.
As a surprise item, three LCM examiners produced
an ad hoc rendering of the Scharwenka Polish
Dance – six hands one piano! This produced a lot of
laughter and proved that music can be great fun!
After the concert, Sandra addressed the vast
audience of students, parents, family and friends
and talked about the need for regular practice and
the transcendence of music through all ages – in
that people are able to play together whatever their
age. She thanked parents for their ongoing support
and generally encouraged students to continue their
progress.
The hard-earned certificates were then presented by
Sandra, in addition to various prizes which the
centre awards for highest marks.
18
Above left: The massed wind group, conducted by John Roper, performing
Thunder & Lightning Polka by Strauss
Above right: The Flexitet ensemble playing Gershwin’s Summertime and
The Half of it, Dearie Blues
Left: John Roper, Sandra Cromie and Elaine Smith playing Scharwenka’s Polish Dance
Middle: Oscar Almadin, pupil of Alison Sparrow, who played Für Elise
Right: Karen Harries FLCM, being presented with her trophy and Fellowship award
for classical singing
Left: All of the Norwich graduates 2010 with representatives Mary Rivers &
Elaine Smith and examiner Sandra Cromie
Right: R to L: John Roper (retired LCM Examiner), Mary Rivers (local representative
for Norwich), Ruth Whybrow DipLCM, Jocelyn Carter DipLCM, Sandra Cromie
(examiner), Charlotte Odell ALCM(TD) ALCM DipLCM, Lauren Causton ALCM(TD)
ALCM DipLCM and Elaine Smith (senior examiner), teacher of all the above
students. Ruth won the trophy for the highest mark at DipLCM, and Charlotte the
trophy for highest mark in ALCM(TD), gaining 90 marks
Photographs were then taken of the graduates, and all then
proceeded downstairs for a most enjoyable cheese and wine
buffet.
We are hoping to move the annual Norwich centre’s prize-giving
next year to 16th September, due to the vast amount of
activities which seem to impede the end of the academic year.
Elaine Smith
Senior Examiner
UK Centres
Holy Trinity Church, Spooner Row
Two October concerts supported by LCM Examinations
by John Dowding
Philip Aldred, Chief Examiner in Music, lives in Wymondham, Norfolk, and uses the small
Guild Church of the Holy Trinity at Spooner Row, a hamlet about 2 miles out of town, for
lessons, rehearsals and examinations. It has a wonderfully supportive acoustic, and lends
itself to solo instrumental or vocal concerts.
Over the past few years we have put on
Sunday afternoon concerts as part of
Wymondham Music Festival, through
the Spring, Summer and Autumn
months, and my wife and her friends
(including Philip) hold an annual winter
feast, with singing and general
shenanigans on ‘Gloombusters Eve’, to
clear away the winter blues! This
unwittingly carries on a recently
discovered medieval tradition of the
Guild churches of Wymondham!
LCM has supported our concerts, and
Forte magazine and various exam
syllabuses have been displayed, with
considerable interest generated. Over
the years we have had some excellent
audiences for local young classical
guitarists; Bach ‘Cello Suites (from the
brilliant Orlando Jopling); recorder and
spinet; Mozart clarinet works, and the
Shona mbira of Zimbabwe, as well as a
wide variety of accompanied song
recitals. One day I hope to hear sitar and
tabla in the old building – any offers?
I am currently writing a thesis for a
Licentiate Diploma on the subject of
Benjamin Britten’s Les Illuminations
Op.18, for Soprano or Tenor and String
Orchestra. For this reason I decided to
delay concerts in Spooner Row until
October.
For October 3rd I had booked Danielle
Perrett, international harpist, through
Arts Options in Suffolk, to play a solo
concert on both Georgian and modern
concert harps, and she gave a
wonderfully informative and enjoyable
recital which we called ‘Around the Harp
on a Sunday Afternoon’: Dussek, Spohr,
Handel, Hasselmans and J Thomas in the
first half, and after the interval Gough,
Ibert, Albeniz, De Falla, Mchedelov,
Marson and finally Ellington and
Strayhorn’s Satin Doll, and an encore!
My son Chris is a trumpet player. He
works in London, leading community
music workshops, making new pieces
and songs with groups of children and
adults. He plays in Annie Whitehead’s
World Music Workshop Band, and with
‘Natural Causes’, based in Huddersfield,
who have recently been performing to
silent films at
various festivals. For
a birthday gift he
had offered to put
together for me
The Presentation Concert of the Keighley centre was
‘Another Look at the
held on 20th November in St John’s Church, Clayton,
Illuminations’, a
Bradford.
modern take on
Performances included solos and duets on piano, solos
some other
on keyboard, pipe organ and guitar, songs from five
selections from
pupils of Skipton singing teacher, Karen Robinson (their
Rimbaud’s prose
first appearance, along with Karen, at the concert) and
poems. He
a return visit from the junior singing group attached to
composed some
the Keighley Amateur Dramatic Society.
sections and some
were improvisatory,
Prizes and certificates were presented by examiner,
and he brought
David Jepson, and the Godfrey Turner Competition was
together Ruth Goller
won by guitarist, Jack Ford.
on electric bass, and
The concert was a huge success and much enjoyed by a
Kit Downes on
large audience. £200 was raised, and was donated to
Hammond organ.
cancer research and the church building fund.
Together they
formed a modern
Maureen O’Hara
jazz or ‘ambient’
Keighley Representative
Keighley
trio. I was to read the sections in
English translations. He chose to set 10
pieces in a continuous suite, with the
recitations either beginning first or
coming in over a background of sound.
What was most interesting for me was
the process of selection of texts and
musical forces, setting, re-ordering and
performance which Chris went through.
It exactly paralleled the process Britten
went through over the years 1938-39,
starting at his converted Old Mill, Snape
(now a wonderful B&B) and completed
at the Mayers’ Sanatorium at Amityville
on Long Island.
For the concert on 17th October, June
Harrison, a highly accomplished and in
demand Wymondham soprano, was
accompanied by Paul Winter (who has
worked for many years in Norwich with
youth theatre groups and choirs, and
composes and arranges music). Both
are involved with the Norwich Music
Group (directed by Philip). They
performed Purcell, Fauré, and the
beautiful Britten setting of O Waly,
Waly, before I introduced the première
of Chris’s suite, explaining what I was
trying to do in my study, how the suite
came about, and its homage to Britten’s
fabulous work. I hope that Chris will
pursue this conception further, even to
recording it at some stage.
After the tea and cakes (which are
thought by some to be the chief
attraction!) June and Paul presented a
light-hearted mix of songs from Johann
Strauss, Franz Lehar, Michel LeGrand
and Gershwin. It was a delightful end to
an innovative afternoon. Thanks again to
LCM Exams and to Philip for their
support and encouragement.
By the way, if any singers or string
players or conductors are involved in
rehearsing or performing Britten’s song
cycle, Les Illuminations, I would be very
grateful if we could compare notes, as it
were. I can be contacted by email on
lindsay36@tiscali.co.uk. Thank you in
anticipation!
19
Theory Downloads Website
LCM Music Theory
Exam Past Papers & Theory Handbooks
now available as downloads from www.LCMEbooks.org
Practising with past exam papers can provide ideal preparation for your LCM music theory exam. Past papers also
provide you with a clear example of the type and format of questions that may appear in the exam.
LCM music theory exam past papers are now available as low-cost digital downloads (57p each, or less if you buy
more than one) and as the past papers are downloads there are also no postage charges – you’ll receive them direct
to your computer within moments of placing your order.
Discounts are available for teachers and schools that wish to print multiple copies.
Visit www.LCMEbooks.org to download any past papers since 2002.
Also available on the website are the LCM Theory of Music handbooks in an easy to download digital format,
allowing you to save time and money by downloading the theory book for any grade with just a few clicks of your
mouse. (Initially the Step and Grades 1-5 handbooks are available; the Grades 6-8 handbooks are being revised and
will added to the website next year.)
www.LCMEbooks.org – the digital store for LCM Exams theory handbooks and past papers
70 Years as Organist
On 18th November, over 120 people attended St John’s Church, Hollington,
St Leonards-on-Sea to celebrate the 70th anniversary of the appointment of
Norman Howe as Organist and Choirmaster, a post he still holds today.
In 1937 Norman earned a Silver Medal from the London College of Music.
Two years later, in 1939, he was awarded a Gold Medal in the Diploma class
and achieved a 100% pass mark. He subsequently became an Associate of
the London College of Music (ALCM).
During the evening Norman's commitment, dedication, musical abilities and
achievement were acknowledged in varying ways.
Norman’s musical history began at the
age of eight when he joined the choir of
a neighbouring parish and started having
piano lessons. When his voice began to
break at the age of fourteen, the
organist saw his potential and offered
him organ lessons. He accepted this
offer and eventually played for a few
services. Early in 1937 Norman became
assistant organist at St Mary-in-theCastle Church, Hastings.
In September 1940 the post of organist
and choirmaster at St John’s became
vacant; Norman successfully applied for
the post at the salary of £30 per annum.
In February 1940 Norman was ‘called to
colours’ but even in the army his
experience of organ playing did
not go un-noticed. He is known
to have played the Christie organ at the
Century cinema in Clacton-on-Sea.
Norman was demobbed in June 1946
and returned to the parish. Four years
later, in 1950, it is recorded that ‘the
organist’s salary was raised to £50 per
annum’. The St John’s church choir
became affiliated to the Royal School of
Church Music in 1958 and in 1962 a
new organ was dedicated in St John’s.
Norman, along with many other visiting
organists, gave recitals on this fine
instrument throughout that year.
During the evening Norman was
presented with a Royal School of
Church Music Loyal Service Bronze
Medal in appreciation of his 70 years
loyal service as Organist and
20
Choirmaster of St John’s Hollington.
The presentation was made by a
member of the choir who himself has
worked under Norman since being
encouraged to join the choir as a boy
over 50 years ago. Norman also
received a personal gift from the Bishop
of Lewes and a Certificate of Thanks
from the Diocese of Chichester.
There followed a concert which included
Norman playing the organ, a solo piano
piece and a piano duet. Other local
organists and musicians also took part.
At Norman’s request, all donations
received on the evening were in aid of
the local St Michael’s Hospice. The
amount collected was £228.
John Mercer
PCC Secretary, St John’s Hollington