Message from the ABRSM Regional Consultant

Transcription

1 Volume ISSUES A YEAR THE MUSIC BULLETIN OF OXFORD FAJAR/OUP/ABRSM Message from the ABRSM Regional Consultant The 2007 ABRSM examinations in Malaysia are now over, and results have been issued. Many candidates, teachers and parents will be delighted with the results, some will be disappointed, and others relieved. Whatever the outcome, we hope the comments on the results forms prove to be helpful and encouraging. Examiners are trained to be constructive, and to begin and end their summaries with something positive, whilst at the same time highlighting areas for improvement the next time round. One of the challenges of teachers and parents is to encourage and motivate pupils to continue with their musical studies in the face of competing activities and pressures, whether these are from school work or other interests. We are all acutely aware of these conflicts, especially the intense pressure of school work, where achieving good grades at every level of education seems so important to the educational and employment prospects of young people. Under these circumstances it is important for students to acquire good music habits, so that vital practice time is not spent playing over and over the easy bits (especially the openings of pieces) but more on the difficult passages. With help and encouragement from teachers and parents young musicians will come to appreciate that the important consideration is not so much the amount of time spent practising but the quality of the time. With this approach we hope that all young people will be able to achieve a happy balance in their busy lives. We hope that everyone connected with ABRSM exams welcomes the introduction of a second (April) examination session for This additional period is for the exam centres in Penang, Kuala Lumpur, Petaling Jaya, Johor Bahru, Kota Kinabalu, and Kuching only. The arrangements for the main June-August session will remain the same as before. We hope the new arrangements will prove helpful for teachers and candidates in planning their schemes of study. It is difficult to predict at this stage how many applicants there will be for the new session in 2008, but the experience of Singapore, where the numbers applying during the second year of the new arrangement increased significantly over the first year, may provide a clue. Teacher feedback on the subject would be much appreciated. In this issue we report on the 2007 Professional Development Programme seminars given by Richard Dickins and Loo Bang Hean, on the annual Product Presentation Day, several High Scorers Concerts, teachers meetings, and much more. Content Contents Message from the ABRSM Regional Consultant 1 PDP Review 2 Product Presentation Day 4 The 2009 Piano Syllabus a preview 5 Festive Highlights 6 Aural Seminars November OUP New Publications 8 ABRSM New Publications 9 Teaching Tips 10 Message from the Oxford Fajar Managing Director 11 Kuala Lumpur/Selangor High Scorers Concert 12 This will be my last message for Upbeat as I will soon be moving on to pastures new. I would like to say how very much I have enjoyed working with teachers, music suppliers, candidates and performers over the past three years. I have especially enjoyed working with Oxford Fajar Managing Director Sharmini Nagulan, Sales Director Raymond Chua and their colleagues who have shown me every kindness and offered every assistance. Special mention must also be made of Jo Wong, with whom I have worked very closely, who has been my co-editor on this magazine, and who has been unfailing in her support. To all readers I send my very best wishes. News Changes to Piano Syllabus Requirements ABRSM Publishing will be producing new Selected Piano Exam Pieces, , in July 2008 in line with the new piano exam syllabus. Changes are being made to requirements in scales and arpeggios as well as sight reading tests. The new syllabus will inform you of details of these changes and will be available from July Dr David Young South-East Asia Regional Consultant New volumes of Scales and Arpeggios as well as Specimen Sight Reading Tests for piano will be introduced in July 2008 to meet the new syllabus requirements. Please note that the new technical requirements must be used in all piano exams from January 2009.

2 2 3 PROFESSIONAL DEVELOPMENT PROGRAMME SEMINARS: IMPROVING YOUR STUDENTS SKILLS AS PERFORMERS Presenters: Richard Dickins and Loo Bang Hean End of another successful day, with (left to right) Christine Morris, Loo Bang Hean, Richard Dickins, and Dr David Young. The latest series of Professional Development seminars were presented in Penang (24 August), Kuala Lumpur (25 and 26 August), Kota Kinabalu (28 August), Kuching (29 August), and Singapore (31 August and 1 September). All the seminars were delivered to highly appreciative audiences, who, most gratifyingly, asked lots of interesting and stimulating questions, thereby enlivening the days considerably. The presenters represented a break with tradition in two respects: firstly, they worked together throughout each day, rather than taking it in turns to present; and secondly one of the presenters was a conductor rather than a pianist. Richard Dickins was trained at the Royal College of Music, where he studied conducting and clarinet performance, since when he has established a reputation as one of the UK s leading conductors. Loo Bang Hean is one of SE Asia s leading pianists and is in much demand as a soloist, ensemble player, teacher and adjudicator. One of the main themes of the seminars was the importance of bringing together the elements of instrumental or vocal study, aural training, style and interpretation, so that each lesson is considered holisticallyor organically, to use Richard s word - instead of treating the various elements as separate and unrelated. Richard was especially keen to encourage learners that is teachers and students to act as musical detectives, by following the clues in the music, such as titles, names of composers, opus numbers, phrasing, dynamics and so on, in order to reach conclusions about appropriate ways of interpreting the music in imaginative, and historically informed ways. Constant reference was made to ABRSM publications, especially the superb Performance Guide Series (Series Editor: Anthony Burton) on the Baroque, Classical, and Romantic periods, where so much vital information can be found on imaginative and appropriate manners of performance. One of Richard s greatest strengths as a presenter is his ability to discuss analytical elements of the music in a lively and stimulating manner, and to demonstrate their relevance to effective musical performance; he is also able to extract the essence of a musical structure without clouding issues with excessive and unnecessary detail. Bang Hean s strength is, in short, his superb musicianship, as demonstrated by his exceptionally sensitive piano playing and his uncanny ability to describe and demonstrate analytical elements, such as phrasing, harmonic structures and so, on with grace, charm and ease. All the examples were taken from the current ARBSM piano syllabus grades 1 to 8, with some demonstrations being very brief, and others, such as the session on Mozart s F major sonata, K. 332, first movement, very detailed. Richard Dickins (right) and Loo Bang Hean working together. That the two presenters worked well together was plain for all to see, and, as the tour progressed, more role play was introduced, as delegates in Singapore were entertained to a delightful enactment of an ABRSM exam, with Loo Bang Hean playing the part of an over-enthusiastic candidate Good morning Mr Richard, I am sure I am going to play very well for you today and Richard as an eccentric examiner asking for non-existent scales. Of particular interest to teachers was the description and demonstration of the standards of performance likely to lead to the awards of pass, merit, and distinction. Remarkably, Bang Hean was able to demonstrate convincingly at the piano all three standards of playing, a feat which is remarkably difficult to emulate. Each seminar was enhanced by the presence of a trade stand from which teachers were able to browse and select from a good range of ABRSM books and music. Grateful thanks are due to Oxford Fajar, especially Jo Wong, in Malaysia, and Singapore Symphonia, especially Su-San Hay, for administrative support. Jo Wong of Oxford Fajar, Christine Morris of ABRSM, Richard Dickins and Dr David Young. Dr David Young, S.E.A Regional Consultant, introduces the seminar. All set up and ready to go. Piot and Angela from IMH Kuching waiting for the teachers. Loo Bang Hean in action. Richard Dickins explains a point. Looking on is Loo Bang Hean. Teachers in rapt attention. Dr David Young (extreme right) in conversation with Mr Roy Sakai of Chambers Music and Ms Loretta Soosay-Peter of Yamaha Music. Loo Bang Hean and teachers enjoy the refreshment break.

3 4 5 OXFORD FAJAR/ABRSM PRODUCT PRESENTATION DAY TUESDAY 4 SEPTEMBER, IMPIANA HOTEL, KUALA LUMPUR Presenters: Leslie East, Executive Director: Syllabus and Publishing, ABRSM Ben Selby, Publishing Director, ABRSM (Publishing) Ltd Laura Gordon, Sales and Marketing Executive, ABRSM (Publishing) Ltd The focus of this, the sixth annual Product Presentation Day (4 September, Impiana Hotel, Kuala Lumpur) was ABRSM New Publications and Technology. The seminar, a joint venture between Oxford Fajar and ABRSM, was led by Leslie East, Ben Selby and Laura Gordon before an audience of music retailers, bookshop representatives, music studios, and, in one case, an ABRSM Representative and his assistant all the way from Surabaya. Representing Oxford Fajar were Sharmini Nagulan (Managing Director) and her colleagues Raymond Chua, Kanaga Prem Anand, Wat Yat Seng, Joey Goh, Tan Teong Hoe, Tee Wee Cheon, Jan Albert Pang, Sin Ke Guang and Premala Shanmugarajah. Sharmini Nagulan s opening speech paid tribute to the work of the ABRSM in general and to its South-East Asia Consultant in particular, and also made reference to the fiftieth anniversary of Oxford Fajar (formerly Penerbit Fajar Bakti), which was due to be celebrated by a grand gala dinner later in the week. Dr David Young, the South-East Asia Regional Consultant, replied by emphasising the element of partnership between suppliers, dealers, teachers and students which is vital to the continuing development of music in Malaysia, and he in turn paid tribute to the high standards of Oxford Fajar. Leslie, Ben and Laura took over for the rest of the day and gave presentations on new publications especially the new violin syllabus, Time Pieces for recorder, Selected Flute Exam Pieces, and Selected Clarinet Laura Gordon giving a practical demonstration. Exam Pieces (with a live demonstration from Laura). Leslie then gave a presentation on the new Beethoven edition (edited by Barry Cooper), which promises to be another landmark in the history of ARBSM Publishing, and played extracts from the accompanying CD. Information was also given about theory papers grades 1 to 8, with special mention of the model answers books. Other publications described were: Raising an Amazing Musician: You, Your Child and Music, by Paul Harris and Anthony Marks; the ABRSM Songbooks (with spoken pronunciation guide); Selected Viola Exam Recording (from 2008, including a performance on a Stradivarius, formerly owned by Paganini). Also from 2008: Time Pieces for Guitar; Scales and Arpeggios for Guitar (in two volumes); Specimen Sight Reading for Guitar; Selected Piano Exam Pieces here delegates were asked for their views about the physical placement of the CDs. The forthcoming changes to scales and sight reading were also explained. Ben Selby then introduced a video recording which gave interesting information about music shops in the UK: Forsythe s (Manchester), Hands Music (Kingston), Sax Co. UK (Sussex), Opus II (Dublin), and Matchett s (Belfast); this presentation was followed by a group discussion about shop layouts. As ever, our engaging presenters found ways of making the day interactive and amusing and participants enjoyed getting to know each other through the ice breaker session ( Dealers Bingo ) and the much loved quiz, where several participants demonstrated their impressive knowledge and attention to detail. Grateful thanks are due to Oxford Fajar, Leslie, Ben and Laura, and, of course, the energetic participants, for such an enjoyable and informative day. The 2009 Piano Syllabus - a preview The revisions to the 2009 piano syllabus are very much a refinement of the existing syllabus, rather than a change of approach. Our research showed that a number of small changes will be welcomed by piano teachers and will enhance the experience for candidates. As a result, teachers using the current scales and specimen sight-reading with their pupils will find that the new materials to be published in July 2008 are very much along familiar lines. Given this minimal revision, candidates will certainly find that they can learn whatever changes there may be to their grade with relative ease. For example, similar-motion scales stay the same at all grades, except for Grade 2 where E major is deleted and B minor is replaced by G minor, and Grade 6 where there are fewer staccato scales. The current progression of arpeggios and broken chords at the early stages has been adjusted very slightly so broken chords occur at each of the first two grades, with arpeggios now being introduced at Grade 2. This encourages a flexibility of hand position at the early stages and provides a logical and progressive approach to the learning of the extensions to the five-finger position. At Grade 2 there is a reduction of arpeggio requirements to counterbalance the incorporation of broken chords, and the keys have been carefully distributed between arpeggios and broken chords so that no key is covered by both. Some small changes have been made at Grades 3 and 4, but the important and longstanding benchmark of all major and minor keys being covered by Grade 5 has been retained. The range of the arpeggios at this grade has been increased to three octaves to match the similar-motion scale range, as in all other grades. Some minor adjustments have been made to the higher grades, but the only significant addition is a single whole-tone scale at Grade 8. The new sight-reading tests are in attractive and recognizable styles and will not present greater challenges than the current materials. The step between the first three grades has been ironed out so that at Grade 2 the tests are with hands together, but staying within a five-finger position. At the lower grades the tests will be shorter to allow candidates to focus more on the musical details and achieve greater musical results in the exam. At Grades 1 and 2, for example, all the tests will be only four to six bars long. Titles have been added from Grade 6 so that they appear as real pieces of music. This will also help candidates get a feeling for the mood and style of the music. A happy Regine Loh (left) accepts a quiz prize from Leslie East (right) during lunch. Attendees in a breakout session. Another happy prize winner, Vivian Goh, as Ben Selby (center) looks on. Plenty of ideas in the air as Ben Selby (left) looks on it. An attendee summarizes results from a breakout group, while Ben Selby (right) holds up the summary sheet. Attendees taking part in the ice-breaker session. Clearly a serious discussion. More details will be published in the May 2008 edition of Libretto and the complete list of syllabus requirements will be published in July The first exams using the new requirements will be from January Nigel Scaife Syllabus Director ABRSM

4 6 7 FESTIVE HIGHLIGHTS Two special festive events have taken place in the region. The first was the Thirtieth Anniversary National High Achievers Concert in Jakarta (11 November). Twenty five of the highest ABRSM scorers in Indonesia took part, followed by a celebratory dinner for 150 guests, including regional representatives, teachers, performers and hotel staff. These two events formed a joyous occasion much enjoyed by all, and superbly organized by our Indonesian Representative Denis Umar and his assistant Ineke Umar. The second event was the High Achievers Festival held in Johor Bahru and jointly organized by the Johor Society for the Performing Arts (JSPA) and the ABRSM (17/18 November). This consisted of two high scorers concerts (for performers from Johor and Johor Bahru respectively 54 performers in total) plus a concert by leading Malaysian professional performers (Loo Bang Hean (pianist), Keiko Nakagawa (flutist), Jaz Tan (harpist), and Jonathan Oh (cellist)). At the end of the JSPA/ABRSM High Achievers Festival, Ms Suzie Yap, Festival Director, and Dr David Young. Jaz Tan (harpist), Jonathan Oh (cellist), Keiko Nakagawa (flutist), and Loo Bang Hean (pianist) in rehearsal. Concert programme by Loo Bang Hean and friends: JS Bach, Polonaise and Badinerie from Orchestral Suite in B minor (flute, cello, and piano) Cesar Cui, Five Pieces Op 56 (flute, cello, and piano) H Renie, Esquisse, No 1 from Feuillets d Album (harp) Marcel Grandjany, Le bon petit roi d Yvetot (harp) Cesar Franck, Sonata in A major, first and fourth movements (flute and piano) Mozart, Concerto for flute, harp and orchestra (piano), first and second movements Rachmaninoff, Sonata for cello and piano, third and fourth movements. The festival as a whole was a rousing success, in which the students did themselves, their teachers and parents great credit, and the professionals gave performances which will long live in the memory. Grateful thanks are due to the JSPA, President Yap Siong Cheng, Festival Director Suzie Yap, for organizing the event so successfully. TEACHERS MEETINGS Several teachers meetings have been held in the region. On 9 November, Paul Arnell, who had just finished a tour of examining duty in Indonesia, gave a seminar in Jakarta on the violin syllabus grades 1 to 5, plus advice on aural tests and piano sight reading, and Dr David Young, SE Asia Regional Consultant, has recently completed a mini tour of Malaysia giving aural seminars (grades 6 to 8) in Penang, Kuala Lumpur, Johor Bahru, and Kuching. All these events were well attended by teachers who, without exception, responded positively and enthusiastically. With teachers during the aural seminar grades 6-8 in Johor Bahru. Dr David Young in action during the aural seminar grades 6 to 8 in Penang. Loo Bang Hean (pianist) and Keiko Nakagawa in rehearsal. All smiles at the end of a high scorers concert during the JSPA/ABRSM High Achievers Festival. Dr David Young (second row, extreme right) with high scorers from the JSPA/ABRSM High Achievers Festival. Also appearing are JSPA President Mr Yap Siong Cheng (second row, extreme left), Festival Director Suzie Yap (immediately behind Mr Yap), and Stage Manager Mohd Fuzi Bin Idris (second row, right, second from end). We must also report on the highly effective High Scorers Concert in Kota Kinabalu, organized jointly by the Kota Kinabalu Music Society and the ABRSM (4 November), in which twenty-nine high scorers from Kota Kinabalu and the rest of Sabah performed. For ensuring the smooth running of the event grateful thanks are due to Helen Tseu and her colleagues from the KK Music Society. At the time of writing we look forward to the Sarawak High Scorers concert (2 December, Kuching Tourist Centre), and Kuala Lumpur/Selangor High Scorers Concert (19 January, 1700 hours, Palace of the Golden Horses, Mines City Resort). Question and answer session during the aural seminar grades 6-8, in Johor Bahru. Teachers concentrating during the aural seminar in Penang. Dr David Young demonstrates a point in Kuala Lumpur during the aural seminar grades 6-8.

5 8 9 Publications ime Joggers String Time Joggers (Books and CD) 14 pieces for flexible ensemble The exciting new series by the authors of Fiddle Time, Viola Time, and Cello Time provides great new ensemble material for all string groups, whatever their size. String Time Joggers is a must-have for all those looking for imaginative and enjoyable ensemble repertoire. 14 fun and character ensemble pieces arranged in suites for concert performance Flexible scoring for violin, viola, cello, and double bass with piano or CD accompaniment from two parts to massed string ensemble! Pieces may also be played as solos for violin, viola, or cello, with piano or CD backing Double bass parts available for free download from OUP s website Lively illustrations in the pupils books Corresponds to the level of Fiddle Time Joggers, Viola Time Joggers, and Cello Time Joggers part 1 uses all fingers, part 2 uses 0-1 only Teacher s pack includes full score, piano score, notes on the pieces, and CD with performances and backing tracks Pupil s books: Violin book and CD: Viola book and CD: Cello book and CD: Teacher s book and CD: ano Time Piano Time Jazz Duets 2 This fabulous collection of easy duets in jazzy and light styles is just the thing to liven up any lesson or practice session. Expertly written for students around the level of Piano Time 3, these stylish and toe-tapping pieces provide accessible and fun material for all young jazz players. There are duets in an exciting range of styles and moods, including boogie-woogie, swing, gospel, blues, and much more besides. Wittily illustrated, Piano Time Jazz Duets 2 is a must for all teachers and pupils looking for fresh and original duet repertoire REMINDER Piano Time Jazz Duets Music Theory: 2007 Papers and Model Answers In January 2008, Theory of Music Exam Papers 2007 will be published, together with Model Answer books, this time up to Grade 8. The very popular Model Answers provide a list of correct solutions to help when marking. For questions where the answers can be expressed in a variety of ways, a selection of likely options is shown. Where a composition-style answer is required, a single exemplar is given, offering a flavour of the standard required for full marks. Theory of Music exams 2007 Grade Grade Grade Grade Grade Grade Grade Grade Chinese Language editions Grade Grade Theory of Music Exams Model Answers Grade Grade Grade Grade Grade Grade Grade Grade Beethoven Piano Sonatas NEW EDITION A new edition of Beethoven s Piano Sonatas will be published in December This new edition is edited by Dr Barry Cooper, a world authority on Beethoven. Features of the new edition: The first scholarly edition to include the complete 35 sonatas Each volume includes a CD of spoken commentary and demonstrations It is totally faithful to Beethoven s original music text, correcting long-standing errors and misconceptions Features the latest original research, such as insight into staccato markings and appoggiaturas The introduction covers performance practice, as well as general advice on articulation, dynamics and pedalling There is critical commentary to each sonata, including history, full assessment of the sources and detailed notes on interpretation This is probably the most authoritative publication of these extraordinary works yet undertaken. Publications Time Pieces for Flute: Vol 2 and 3 with SmartMusic ABRSM continues its partnership with SmartMusic, the computer-based accompaniment tool which reacts to musicians as they play or sing, by publishing Time Pieces for Flute, Volumes 2 and 3, with SmartMusic CD ROM. The CD-Rom allows the user free access to several tunes from each volume available in the SmartMusic library. The remainder of the accompaniments from the book can be purchased at a special ABRSM rate of per year, this will also allow access to the full repertoire of over 30,000 accompaniments. For further information about SmartMusic visit Volume Volume Volume Available in 3 separate volumes and as a box set. Volume Volume Volume Box Set of Volumes

6 10 11 Adding Extra Polish Once the basics are in place, there comes the stage when a student needs to add that extra polish for a public performance or exam. This is the challenge of finding ways fully to communicate the expressive aspects of the music. To do this, a range of imaginative approaches needs to be taken to encourage the student both to think about how best to convey the meaning of the music and to actually deliver their expressive ideas. Encourage them to think about the kind of piece it is. What do the title and the instructions for mood and style tell us? Is it like any other music they know? Why? Perhaps an imaginative story or mental image can help them achieve the correct feeling. Finding the right connections beyond the music can make all the difference. Rhythm is vital and should involve the whole piece. Rhythm is felt, not counted, and the phrases need to have a sense of line and direction if the music is to flow. What is the pattern of the phrases? Do they start on strong beats, or are there upbeats? How does one phrase lead to the next? If rhythmic vitality is missing, try to identify what is stopping it and create strategies accordingly. Is it, for example, an aspect of articulation or the interference of technical challenges? Make sure the student doesn't always start at the beginning of the piece when practising by asking them in the lesson to start at different places. They should be able to isolate specific areas of the piece and 'dismantle' them through practising in different ways - loudly/softly, staccato/legato, and so on. This brings variety to the repetition and will lead to secure mastery. Consider the overall shape of the piece in terms of its dynamics. Where are the climaxes, and the points of repose? Can this be described in words, or perhaps drawn? It may be helpful to play the quiet phrases loudly, and vice versa, then try to get the greatest contrast when playing them correctly. In the final stages, it is always good if the student can play to different audiences. This will reveal where there are less secure areas, give practice in concentrating in a 'live' situation, and build the confidence necessary to project the music successfully on the day. MESSAGE FROM THE OXFORD FAJAR MANAGING DIRECTOR Dear Friends, You will have by now received the correspondence from the ABRSM and Oxford Fajar informing you that we are, by mutual agreement, parting company from April That means that this is the last time that I will have the pleasure of writing a message in the UPBEAT. Oxford Fajar has worked with the ABRSM and you (our customers) for the last 15 years. During this time, we have not only worked well professionally, but many of you have become good friends of Oxford Fajar. As you also know, Dr. David Young will be returning to the UK at the end of this year, after 3 years as the SEA regional consultant for the ABRSM. We have been extremely fortunate to have Dr. Young based here in Malaysia, as he has done much in the last 3 years to elevate the standards of music in the region. Dr. Young has also been a great supporter of and friend to Oxford Fajar and we will truly miss working with him. We wish him the very best and thank him for all his support. I would also like to take this opportunity to wish you all the very best for the future. I m sure that all of you (and the ABRSM) will continue to have many more years of success in Malaysia. Wishing you a Happy New Year. Best wishes, Adding Extra Polish Nigel Scaife Syllabus Director Sharmini Nagulan Managing Director Oxford Fajar

7 Following on from the success of the First Kula Lumpur High Scorers Concert last January, this second concert will feature the very best of the ABRSM candidates for 2007 from both Kuala Lumpur and Selangor. Instruments featured will include piano, violin, flute, French horn, harp, guitar, and voice. Venue: Palace of the Golden Horses Date: Saturday 19 January Time: 5:00 pm Tickets: RM 30 (free seating) Dress code: smart casual Contact: Jo Wong on or Please purchase your tickets early as seats are limited!