2014 - Issue 1 - University of West London


Key Information
Exam Subjects & Dates
L
ondon College of Music Exams caters for candidates of all levels: from early years’
examinations, through graded exams, to diplomas in performance and teaching.
The qualifications offered by LCM Exams are unique in the graded examinations
sector in being awarded by a university, while Ofqual accreditation assures validity and a
standard consistent with other approved boards. Grades 6-8 in accredited subjects attract
UCAS points towards university entrance. Exams are offered across an exceedingly wide
range of subjects, as you can see by looking through the list of subjects below.
•
•
•
Piano, Electronic Keyboard, Pipe Organ, Electronic Organ, Jazz Piano.
Violin, Viola, Cello, Double Bass, Harp.
Classical Guitar and, in partnership with RGT: Acoustic Guitar, Electric Guitar, Rock
Guitar, Bass Guitar, Ukulele.
• Flute, Oboe, Clarinet, Bassoon, Saxophone, Recorder, Jazz Woodwind.
• French Horn, Trumpet, Cornet, Flugelhorn, Trombone, Baritone/ Euphonium, Tuba,
Jazz Brass.
• Drum Kit, Snare Drum, Timpani, Tuned Percussion, Percussion.
• Music Theatre, Popular Music Vocals, Classical Singing.
• Irish and Scottish Traditional Music, Performance Awards in Chinese Music, Church
Music.
• Ensemble, Early Learning, Early Childhood Music Teaching.
• Theory of Music, Popular Music Theory, Composition, Conducting.
• School Music Performance Awards, Stave House Music Awards.
• Drama & Communication, ESOL.
Syllabuses for all of the above subjects can be freely downloaded from uwl.ac.uk/lcmexams
LONDON COLLEGE OF MUSIC EXAMINATIONS
LCM Exams
University of West London
St Mary’s Road
Ealing
London W5 5RF
Tel: 020 8231 2364
Email: [email protected]
www.uwl.ac.uk/lcmexams
Who’s Who at LCM Exams:
John Howard
Director of Examinations
Philip Aldred
Chief Examiner in Music
Nigel Ramage
Chief Examiner in Drama &
Communication
Janet Lill
Senior Examinations Officer
Alexandra Marchant
Exams Information Officer
Jackie Honan
Finance Administrator
Jenny Thompson
Administrative Assistant
Beth Swain
orte
Administrative Assistant
Peline Ong
Regional Representative,
Asia Pacific and India
UK Exam Dates – 2015
PRACTICAL EXAMS
Session
Closing Date
Practical Exam Dates
Spring
1 Feb
21 Mar – 25 Apr
Summer (Scotland, Eire & N. Ireland)
21 Apr
23 May – 20 Jun
Summer (England, Wales)
1 May
20 Jun – 25 Jul
Winter
1 Oct
21 Nov – 19 Dec
Published Registry Publications
on behalf of LCM Exams.
Editor: Tony Skinner
MUSIC THEORY EXAMS
Session
Spring
Summer
(Scotland, Eire
& N. Ireland)
Closing Date
1 February
Theory Exam Date
Wednesday 25 March 2.00 pm (Step & Grades)
21 April
Saturday 13 June
10.00 am (Step, Grades, DipMusLCM, AMusLCM
Paper 1)
Summer
(England, Wales)
1 May
Winter
1 October
2.00 pm (AMusLCM Paper 2, LMusLCM Paper 2)
Saturday 28 November, 10.00 am (Step & Grades)
2
Send your feedback and ideas
for articles to:
[email protected]
Printed in the E.U.
© 2014 LCM Exams
The views expressed in this publication do not
necessarily represent LCM Exams policy.
Cover photos supplied by
John Hornby Skewes & Co. Ltd.

Early Learning
Early Learning Syllabus
LCM Exams Chief Examiner in Music, Philip Aldred, describes the exams
specifically designed for children aged three to six years old…
T
There are opportunities for children to enter for three types of
assessment:
hese fun and confidence building examinations are
awarded by the University of West London through
London College of Music Examinations. How thrilling
must it be for a child of three, four, five or six to receive a
certificate with a university name and crest on it?
• Early Learning Individual Examinations
• Pre-Preparatory Examinations in Piano and Recorder
• Early Learning Group Examinations.
The exams have options for both speaking and music
performances, and can be taken at any of our centres throughout
the world, at any school, kindergarten, pre-prep or play group.
All those who complete the Early
Learning assessment will receive
at least a Pass certificate; Merit and
Distinction levels are awarded to
the more confident and enthusiastic
candidates.
All the details of what is required
for these fun and easy accessible
examinations can be found by
going to the LCM Exams website,
www.uwl.ac.uk/lcmexams, and
then following the link to ‘Subjects’
and then to ‘Early Learning’. If
more information or clarification
is required then please do contact
the LCM Exams office or myself.
Excerpt from Early Learning Syllabus
Early Learning Individual - Stage One
The candidate will:
1. Exchange greetings and introductions with the examiner.
2. Speak a nursery rhyme or sing a song from memory. Movement and gesture may be included
in the performance.
3. EITHER (a) Perform a prepared descriptive animal mime, to show an observation of animal
movement. OR (b) Perform a short elementary piece on any instrument.
The examiner will look for concentration and real involvement from the candidate.
In order to provide as relaxed an environment as possible, the teacher may come into the exam
room with each candidate.
3
Ensemble syllabus
Exams for Ensembles

LCM Exams Chief Examiner in Music, Philip Aldred, outlines the structure of exams
designed specifically for ensembles…
T
These exams should appeal to any group within a school, youth
group or organisation who like to perform. Written programme
notes are submitted at the time of the performance and adults and
children can perform together if they wish.
hese qualifications are for any type of ensemble, including
orchestras, concert bands, brass bands, string orchestras,
chamber ensembles, percussion ensembles, choirs, duo,
trios, rock bands, jazz bands, folk groups and so on. There are
no prerequisites, except that the minimum number of performers
is two.
I have examined, and thoroughly enjoyed, a hand bell ensemble
r e c e n t l y. A l l a g e s
were represented in
this delightful group
and their excitement
at performing live
was palpable. Their
programme was
varied, enjoyable and
very professionally
delivered.
I strongly recommend
these ensemble
examinations to
everyone because they
are fun, confidencebuilding, musicenhancing, accessible
and offer an opportunity
for a ‘live’ performance
to be professionally
and independently
assessed.
A written report will
be made on what is
presented and this will
also give confidence and reward for the candidates’ hard work
in reaching the performance standard and will also enhance the
group’s standing.
There are three components to the exam:
1. PERFORMANCE: primarily the candidates’ ability to
perform pieces with accuracy and musicality as members of
an ensemble. Up to 80% of the marks are awarded for this
component.
2. PRESENTATION: includes the candidates’ demonstration
of appropriate platform techniques and co-ordinated
participation in an ensemble.
3. PROGRAMME: writing and designing an accurate and
informative written programme for the performance.
There are five levels and Recital. The descriptions for each of
these levels and the recital are available from the LCM Exams
website, www.uwl.ac.uk/lcmexams, then follow the link to
‘Subjects’ and then to ‘Ensemble’.
Pass, Merit and Distinction certificates will be awarded to each
member of the Ensemble as appropriate.
ENSEMBLE PERFORMANCE AWARDS
Performance Awards are also available for ensembles: simply
record your ensemble’s performance, enter online and then
send the recording to the LCM Exams Head Office in London.
A full report will be written and a Pass, Merit or Distinction
certificate will be awarded as appropriate. Everyone in the
Ensemble receives the same result and a certificate.
4

New exam subject
Ukulele Exams
Registry Of Guitar Tutors (RGT), in partnership with LCM Exams, has released the
first ever series of fully-accredited Ofqual-regulated exams in ukulele playing…
U
UKULELE PERFORMANCE AWARDS
kulele has been one
of the fastest-growing
instruments in popularity
in recent years – so much so that it
is now one of the most commonly
taught instruments, particularly in
primary schools. There are also
a large number of adult ukulele
clubs and festivals. Because of the
vast numbers of ukulele players
around, many guitar teachers
have seen the opportunity and
turned their hand to teaching
ukulele as well, particularly as
the instrument has so much in common with the guitar – there
are more similarities than differences when compared to other
instruments. RGT is ideally placed to run ukulele exams since
many of its specialist guitar examiners already play ukulele,
and those that don’t will be given suitable ‘conversion’ training.
Candidates who prefer to focus entirely on the performance of
prepared pieces can opt for a Ukulele Performance Award. These
can be performed at an exam centre, or alternatively candidates
can submit a video or audio recording of themselves playing
the pieces. Filmed and Recorded Performance Awards can be
submitted by disc or uploaded online at any time throughout
the year without the need to attend an exam venue and so are
particularly useful for those who find it hard to take time off
for an exam, as well as for those who get overly nervous in a
traditional exam situation.
EXAM CONTENT
The full content of each exam is detailed in the Exam Information
Booklet (available from www.RGT.org), but the following is a
brief outline of what a candidate needs to play:
1. RHYTHM STUDY: this mainly involves applying a pre-set
rhythm pattern to a chord progression.
2. PERFORMANCE: this can be either playing a melody or
playing another rhythm study.
3. FREE CHOICE SPECIALISM: candidates play a piece
of their own choice. (Two pieces for Performance Awards.)
4. PREPARED ACCOMPANIMENT: candidates play an
accompaniment to a tune.
5. MUSICIANSHIP: (For Grade Exams only) the examiner
gives a short selection of aural assessments, and (from
Grade One onwards) asks questions to test knowledge of
the instrument and the music performed.
SYLLABUS DEVELOPMENT
These new ukulele exams were compiled in consultation with a
panel of more than 20 teachers of ukulele, who all contributed
their considerable knowledge, experience and expertise to the
development and content of the exam syllabus. The syllabus was
then put together by Tony Skinner and Pete Farrugia, who together
have over 40 years experience of ukulele playing.
SYLLABUS STRUCTURE
The syllabus provides a solid foundation of musical education
for any ukulele student and is designed to be accessible across
different teaching and playing approaches. It is acknowledged
that some ukulele players focus on the ukulele wholly in terms
of its role as a chordal/rhythm playing instrument, while other
ukulele players prefer to also explore the melody playing potential
of the instrument. Consequently, the syllabus structure has been
designed so that it can be utilised with equal success by candidates
who are developing both melody and rhythm playing skills, as
well as by those candidates who are focusing solely on chordal/
rhythm playing techniques.
EXAM HANDBOOKS
RGT publishes a handbook
with CD for each grade that
provides all the information
required for the exam. All
music is written in easyto-read TAB, as well as
traditional notation. CD
tracks are provided to facilitate
learning. The handbooks are
available from many good
music/book stores or online at www.BooksForGuitar.com.
EXAM LEVELS
Five exam grades are currently available, ranging from Initial
Stage (for beginners) up to Grade 3 (for intermediate level
players). There are also ensemble exams for ukulele, suitable
for small groups up to whole classes.
FOR MORE INFORMATION
See the RGT website www.RGT.org or contact RGT via
[email protected] or on 01424 222222.
5
Piano news
Piano Anthologies

Examiner, Dr. William Alexander, outlines the content of LCM Exams’ new piano
anthologies…
W
e have successfully launched the series of four anthologies
grouped as Grades 1-2, Grades 3-4, Grades 5-6 and Grades
7-8 which contain pieces carefully selected from previous LCM
exam lists from 1988 to 2006. These pieces will increase student
choice in both Lists B and Lists C. All of these pieces have proved
to be popular with piano students, teachers and listeners. The
pieces listed below for each grade may be used immediately as
alternatives to the B and C choices in the current repertoire lists.
Grade 1 List B
The Grade 1-2 volume has already been published and has
received critical acclaim. Karen Marshall in the February 2014
issue of Music Teacher commented: ‘LCM has really hit on
something. I thought that teachers may not like having to teach
old material again. This was simply not the case; they loved
the familiar.’
Teachers may not be familiar with Lloyd Webber’s elegant waltz
nor Sheard’s attractive song. The return of Rhapsody will be
welcomed by many teachers.
BARTOK – Children at Play (For Children Volume 1 No. 1)
BOYCE – March
GRECHANINOV – Fairy Tale
HORAK – Cuckoo
LLOYD WEBBER – A Waltz for Springtime
ROWCROFT – Rhapsody
SHEARD – Rocking Song
TRAD. – Morning has Broken (arr. Wild)
Grade 1 List C
CHAMBERLAIN – Baby Bossa Nova
CHAPPLE – Copycat
GUILFOYLE – Ticking Away
HALL – Cheerful Cha-cha-cha
HEDGES – Pony Ride
WEDGWOOD – Pluto
WEDGWOOD – Saturday Shuffle
We would encourage
teachers and students
to purchase a copy of
this volume from our
usual stockists.
The rhythmically infectious Baby Bossa Nova, Pluto and the
Cha-cha-cha are included. The imitative Copycat and chordally
challenging Ticking Away are interesting choices for the student.
Teachers furthermore
will find these
anthologies useful
in particular for the
‘extra piece’ option
in the Recital grades.
The Recital grades
have been accredited
by Ofqual. Philip
Aldred, Chief
Examiner in Music,
has described the
Recital examination
as “offering
candidates the
opportunity to be examined solely on their musical performance.
They are relatively free to choose pieces which reflect their
own specialism and/or love – for example a Baroque recital is
possible”.
Grade 2 List B
BARTOK – Dance With Me (For Children Volume 1 No. 26)
BERENS – Puppet Waltz
GRECHANINOV – Farewell
PLE – The Shepherd’s Song
SHEARD – Playtime
WILD – Conversation Piece
WOODING – Sweet Dreams
Highly recommended from this list are the plaintive Dance With
Me, Farewell, Shepherd’s Song and Conversation Piece. These
pieces are all invaluable for developing cantabile and legato.
Grade 2 List C
CHAPPLE – In the Pink
GANGE – Sarah’s Song
GRACE – Cats at Play
HALL – Rattlesnake Rag
HALL & DRAYTON – Playful Plesiosaurs
NORTON – Space Walk
SEIBER – Tango II (Habanera)
The remaining three anthology volumes will be published in due
course; more details are given on the sources of the pieces in these
volumes to help teachers who do not possess the original Piano
Handbooks and Albums from 1988 onwards. Where possible the
original source is given. For the sake of convenience, a list of
pieces in each volume including the already published Grades 1-2
follows with brief comments on selected pieces in all the volumes.
In the Pink, Rattlesnake Rag and Tango II were very popular
rhythmically. Space Walk tests the ability of pianists to control
soft tone and pedaling. Cats at Play will no doubt be popular with
cat lovers everywhere.
6

Piano news
Grade 3 List B
Grade 4 List C
BARTOK – Jest (For Children Volume 1 No. 27)
BARTOK – No. 11 (For Children Volume 1 No. 11)
CARROL – Zephyr (Four Country Dances)
CARROL – Elfin Harp (Forest Fantasies)
EBEN (arr.) – Too Bad For You, I Love Another (Waterman and
Harwood: Young Person’s Repertoire Book 1)
FERRER – Serenade Espagnole Op. 34
GURLITT – Impromptu (LCM Piano Handbook Grade 3 2001-2005)
HOOK – Rondo (LCM Graded Piano Album Grade 3 2001-2005)
WEDGWOOD – Masquerade (Upgrade Piano Grades 1-2)
WILD – Sentimental Waltz (LCM Piano Handbook Grade 3 2006)
CORNICK – Two Part Invention (Easy Jazzy Piano)
HENGEVELD – Argentijnse Tango (Melodie en Rhythme)
JACQUES – Jelly Baby Jazz (A Bag of Sweets)
LEIGHTON – Jack-in-the-Box (Modern Festival Pieces, Ricordi)
MIER – Persistent Rhythm (Jazz, Rags and Blues Book 3)
STRATFORD – Warm Up (Piano Time Jazz Book 2)
WILLIAMS – A Little Dance (LCM Graded Piano Album Grade 4
1996-2000)
We anticipate that Stratford’s Warm Up (especially when played
with swung quavers) will re-establish itself as the most popular
Grade 4 piece. Closely followed in popularity will probably be the
Hengeveld’s Latin American piece and Jacques’ Jelly Baby Jazz;
both have syncopated rhythms and chords. The bluesy Persistent
Rhythm, the modern Jack-in-the-Box and the contrapuntal A
Little Dance are well worth investigating as examples of first-rate
educational compositions.
Popular with previous candidates was the Serenade Espagnole. The
Bartok No. 11 piece, Zephyr and the Elfin Harp and Sentimental
Waltz are first-class pieces for projecting musical sensitivity.
Equally attractive, but probably less familiar, is Jest which blends
dance rhythms with reflection. Notable also is the quasi-classical
style of the Rondo and the arrangement of the Czech folksong
arrangement by Eben.
Grade 5 List B
CORNICK – Pensive Rag (Piano Ragtime)
HOFMANN – Am Abend Op. 88 No.2
HOUNSOME – Drifting (Upbeat! For Piano level 2)
HOWELLS – A Sailor Tune (LCM Graded Piano Album Grade 5
1996-2000)
McCABE – Champagne Waltz (Afternoons and Afterwards)
PROKOFIEV – Promenade (Musique d’Enfants Op. 65)
SCHUMANN – Wiegenliedchen Op. 124 No. 6
SHOSTAKOVICH – Gavotte (Dances of the Dolls)
WILLIAMS – Compound Frolics (LCM Graded Piano Album Grade
5 1996-2000)
Grade 3 List C
BARRATT – Rip, Rag, Panic! (LCM Graded Piano Album Grade 3
2001-2005)
CHRISTOPHERSON – Highland Fling (LCM Piano Handbook Grade
3 2001-2005)
HENGEVELD – Cha-cha-cha (Melodie en Rhythme)
JACQUES – Sticky Toffee (Bag of Sweets)
ROSE – Nimble As Ninepence (Five Piano Pieces Op. 3)
SEIBER – Cakewalk (Easy Dances, II)
SEIBER – Jazz-Etudiette (Easy Dances, II)
WEDGWOOD – The Blarney Stone (Upgrade Piano Grades 3-4)
WILLIAMS – Prelude (LCM Graded Piano Album Grade 3 1996-2000)
There is a wide range of expressive pieces here from the unusually
slow Pensive Rag, the beautifully romantic Am Abend and
Wiegenliedchen. More lively are the less familiar A Sailor Tune
and Compound Frolics. The Russian school is represented by the
balletic Promenade and the neo-baroque Gavotte. The Champagne
Waltz is appropriately joyful and it is expected that Drifting will
probably be the most popular piece in Grade 5.
The selection here includes dance-inspired pieces such as rags
(Rip, Rag, Panic! and Sticky Toffee). Latin American and USA
Minstrelry influences are found in the Cha-cha-cha and Cakewalk.
Irish and Scottish inflections are to be discovered in The Blarney
Stone and Highland Fling. Nimble As Ninepence and Prelude are
tributes to the Elizabethan Jig.
Grade 5 List C
BALL – Easy Music (Miriam’s Music)
BARTOK – Roumanian Folk Dance No. 4 (Six Roumanian Folk Dances)
DRAPER – Cheese Cake Walk (LCM Graded Piano Album Grade 5
1996-2000)
GUILFOYLE – Downstream (LCM Piano Handbook Grade 5 20012005)
INGOLDSBY – Rumba (Keystrokes)
LINN – La Poupee de Marcella (Les Petites Impressions)
MIER – Taking It Easy (Jazz, Rags and Blues Book 3)
NORTON – Young At Heart (Microjazz Collection 3)
RYBICKI – The Owlglass (I am Already Playing)
Grade 4 List B
BURGMULLER – Barcarolle (Studies Op. 100)
BURGMULLER – Ballade (Studies Op. 100)
ELGAR – Sonatina (Andantino movement only)
GRACE – Scottish Seafarer (LCM Piano Handbook Grade 4 2001-2005)
KABALEVSKY – A Sad Story (Children’s Pieces Op. 27)
KARGANOV – Grandfather Is Dancing (Album for the Young Op. 25)
KOHLER – Chromatic Polka (Alfred’s Basic Piano Library Level 5)
ROWCROFT – Tongue-twister (Bigger Picture Grades 3, 4 and 5)
TAYLOR – A Beach Picnic (Sea Joys)
WEBBER – Sentimental Waltz (Examinations in Piano Playing Grade
4 1996-2000)
The range of styles displayed here gives pianists a very wide
choice. The plaintive lyricism of Bartok’s Folk Dance develops a
stylistic awareness of parlando-rubato. Young At Heart displays a
popular lightness of syncopation. More challenging rhythmically
are Downstream, Rumba and Easy Music. The Owlglass is a
superb study in staccato technique. Taking It Easy deserves to be
better known since it is an attractive example of the bluesy genre.
Cheesecake Walk acknowledges the influence of ragtime. Jennifer
Linn’s piece (inspired by Debussy) will be welcomed back.
The evergreen Burgmuller pieces combine musical and
technical skills. Dance idioms in this list are represented by
the lilting Scottish Seafarer and Grandfather Is Dancing. The
Sentimental Waltz is a first-rate study in elegant pianism. The
Chromatic Polka is a most useful study in applied chromatic
scales.
7
Piano news
Grade 6 List B
NORTON – A Steady Hand (Rock Preludes Collection)
WARLOCK – Folksong Prelude No. 2
ALBENIZ – Capricho Catalan (Espana Op. 165)
BENNETT – Saturday’s Child (A Week of Birthdays)
BRUCH – Klavierstuck Op. 12 No. 4
CORNICK (arr.) – Londonderry Air (Take Another Ten for Piano)
GLIERE – Mazurka Op. 43 No. 3
GREIG – Volkslied (Lyric Pieces Op. 38 No. 2)
PACHULSKI – Prelude Op. 8 No. 1
PROKOFIEV – Cortege de Sauterelles (Musique d’Enfants Op. 65)
PROKOFIEV – Valse (Musique d’Enfants Op. 65)
MASSENET – Melodie Op. 10 No. 5
SCHUMANN – Fantasie-Dance Op. 124 No. 5
SLONIMSKY – Modinha Russo-Brasileira (51 Minitudes for Piano)

The American blues and country styles are demonstrated in Blues
No. 3 with muted and sensitive piano writing. The Country Prelude
No. 2 tests the pianist’s ability to project melodic shaping and chordal
voicing. The Folksong Prelude No. 2 shows a sense of pre-First World
War nostalgia. A Steady Hand will appeal to those pianists who relate
to Norton’s syncopated rock compositional style.
Grade 8 List B
BARTOK – Suite (1st movement)
BARTOK – Dance in Bulgarian Rhythm No. 3 (Mikrokosmos Book 6)
CHOPIN – Etude No. 3 in A flat (Nouvelles Etudes)
GRANADOS – Andaluza (Danzas Espanolos)
RACHMANINOV – Prelude No. 12 in G sharp minor Op. 32
RAVEL – Minuet (Sonatine)
SCHMITT – Valse Viennoise (Petite Musique de Piano Op. 32 No. 8)
The diversity of choice includes some percussive 20th century
writing in Saturday’s Child. Enthusiasts of Romantic piano
literature will enjoy the deeply expressive Prelude, the pathos
of the Melodie and the relaxed cocktail-style arrangement of the
Londonderry Air. National romantic idioms are present in the
Volkslied, the Klaverstuck and the Capricho Catalan. Russian 20th
century style is well exemplified by the challenging but rewarding
Prokofiev pieces. Especially worthy of note is the Slonimsky
composition, perfectly combining Russian melodic influences and
Brazilian folk rhythms
Both romantic and early 20th century idioms are present in this list.
Chopin’s Etude No. 3 is a classic study in cantabile, melodic shaping
and chordal control. The Rachmaninov Prelude is a brilliant example
of his use of sumptuous harmonies and passionate melodies. Spanish
characteristics are decidedly evident in the melodies, rhythms and
guitar-like textures of Andaluza. Ravel’s Minuet is a tribute to the
Baroque era infused with sophisticated 20th century harmonies and
textures. The Valse Viennoise is inspired by the style and temperament
of the Viennese Waltz. Both of Bartok’s pieces are characteristic of his
muscular approach to piano writing. The first movement of the Suite
(unusually for Bartok) makes no use of folksongs. The Bulgarian
dance however is strongly folk-based and contains a persistent
asymmetrical rhythm.
Grade 6 List C
BERKELEY – Allegro No. 5 (5 Short Pieces)
GRACE – Traffic Jam (LCM Piano Handbook 2001-2005)
JOPLIN (arr. Turner) – Elite Syncopations (Classic Piano Course: Best
known Ballet Themes)
LINN – Un Phare dans le Brouillard (Les Petites Impressions)
NORTON – Prelude VI (Country Preludes)
PETERS – Small Hours (Ragtime Preludes)
PREVIN – Like Young (Genius of Andre Previn)
Grade 8 List C
GERSHWIN – Prelude No. 1 (3 Preludes for Piano)
GERSHWIN – Prelude No. 2 (3 Preludes for Piano)
JOPLIN (ed. Hinson) – Maple Leaf Rag
MOERAN – Burlesque (3 Fancies)
NORTON – Sturdy Build (Rock Preludes 2)
Included in this list is the anti-romantic English-style of Allegro No.
5 and the deliberately dissonant Traffic Jam. Counterbalancing this
style is the Linn piece which explores thoroughly the sonority of
the piano. Lighter idioms are represented by the country blues of
Prelude VI and the jazz influenced Like Young. The Joplin rag is
a typical example of the style with its easy going syncopations and
stride-type accompaniment. Small Hours extends the rag idiom,
displaying much romantic sensitivity in melody and harmony.
The least well known piano piece here is the Burlesque. Moeran’s
composition nevertheless is well worth performing since it is
a gentle, attractive parody of Irish harp and Irish dance music.
Norton’s Sturdy Build challenges the classical player to cross over
into a hard rock jazz-based compositional style. There is a ‘blue
lullaby’ romantic style in the second of Gershwin’s preludes and
vibrant and syncopated Brazilian rhythms in his extraverted first
prelude. The Maple Leaf Rag was by far the most popular piano
piece in the 2006 Grade 8 Piano Repertoire list. We anticipate
that Joplin’s masterpiece will again be highly favoured by every
prospective Grade 8 pianist taking LCM exams.
Grade 7 List B
BARTOK – Merry Andrew (Mikrokosmos Book 5)
CHOPIN – Prelude in A flat (1834)
FERGUSON – Bagatelle No. 2 (5 Bagatelles Op. 9)
ILYNSKY – Berceuse Op. 13 No. 7
IRELAND – The Holy Boy (Preludes No. 3)
REGER – Versohnung Op. 17 No. 20
From the romantic literature we have chosen the gentle Berceuse, the
Schumannesque Versohnung (Reconciliation) and the Bach-inspired
Chopin Prelude. Early 20th century English piano repertory is
represented by Ireland’s much loved The Holy Boy and Ferguson’s
elegiac Bagatelle No. 2. Bartok’s Merry Andrew is an excellent
example of the composer’s expert contrapuntal, folk-inspired style.
SUMMARY
We hope the inclusion of an even wider choice for piano students
embarking on LCM Grades, Recital and Leisure Play will be
welcomed.
Grade 7 List C
Please contact the Chief Examiner in Music, Philip Aldred if you
wish to choose other pieces from the List B and List C Piano
Grades from 1988 to the present which are not on the above lists.
COPLAND – Blues No. 3 (4 Piano Blues)
NORTON – Prelude No. 2 (Country Preludes)
8

New Diplomas & Jazz
Drum Kit Diplomas
Examiner, Aidan Geary, provides a taste of the new series of LCM Exams Diplomas
for drummers…
I
t is with great delight that
we announce the launch
of a Drum Kit Diploma
Syllabus, to be available from
January 2015. All four levels –
DipLCM, ALCM, LLCM and
FLCM – are covered in this
flexible and open syllabus. The
syllabus allows progression
from the successful drum kit
grade series and tests the skills
that all drummers are required
to use in the professional
world.
At all levels, candidates are
free to choose their own
programme. Although this
must include at least one
(depending on examination
requirements) of the specially
written ‘Click Studies’, as
well as a combination of solo
and accompanied pieces. All the bespoke materials will be available via download from the LCM exams website. The syllabus
will be available in due course from the LCM Exams website: www.uwl.ac.uk/lcmexams
Jazz Syllabus
Examiner, Stuart Corbett, provides some reflections on the LCM Exams jazz
syllabus and its development…
uring the last year it has been a privilege to examine many
jazz candidates in many parts of the UK, Ireland and
Italy. I am very grateful to teachers, reps, colleagues and
sometimes performers for their feedback and thoughts relating to
the syllabus. The passion towards this genre and related pedagogy
is very encouraging and uplifting. I and other colleagues have
witnessed memorable performances, from Steps to FLCM.
D
FREE CHOICE MEMORY OPTION
TECHNICAL WORK STUDY OPTION
While the foundations of the jazz syllabus are established,
future developments are always being considered. Forthcoming
developments will be of an evolutionary nature, expanding on
the foundations.
The Free Choice Memory Option is often being approached
with creativity, enthusiasm and good jazz language. Some wind
players have used the opportunity to play alongside a rhythm
section to good advantage. Alongside skill developments, it has
been encouraging to see some candidates, including early grades,
being prepared to be spontaneous with some of their ideas.
At grade levels, the Technical Work Study Option has been used
to good advantage by some candidates. (These are available as
downloads from LCME.books.org.) The Jazz Aural Test Option
Has also been helpful to some candidates in other sections of the
exam, e.g. improved jazz language generally and rhythmic and
harmonic skills which transfer.
Visit www.LCMEbooks.org to download jazz
studies and aural tests.
9
Overseas events
Kuala Lumpur Graduation

Peline Ong, LCM Exams Regional Representative for Asia Pacific and India,
describes the Kuala Lumpur graduation ceremony and other events…
L
CM Exams held its graduation ceremony on 26 April
2014 at the Kuala Lumpur Convention Centre. This
was specially organised to celebrate the achievements
of our diploma candidates, with their family members and our
centre representatives from the Asia Pacific region. Almost 500
attendees joined us for this joyous occasion. The ceremony
commenced with a grand procession of the platform party
consisting of Professor John Howard, Philip Aldred (Chief
Examiner in Music), Peline Ong, LCM examiners Dr. John
Hooper, Christopher Stanbury, Paul Harrison, Dr. Stephen
Hazell, Achini Abeygunawardene, Wei Wong, Robert Langston,
Tonni Wei and Elaine Kang (Honorary Fellow of the London
College of Music).
LCM Exams, allowing each to get to know each other and have
informal discussions.
ELECTRONIC KEYBOARD NEW
HANDBOOK LAUNCH
LCM Examiner, Christopher Stanbury, gave a presentation
about the new LCM Electronic Keyboard Handbooks to
representatives and teachers. Christopher demonstrated the
exciting new repertoire and explained what examiners would
be looking for in the exams.
MUSIC THEORY WORKSHOP
REPRESENTATIVES RECEPTION
The reception for LCM representatives was a great success,
with positive interactions between reps and the team from
Tonni Wei gave a most helpful insight as to why music theory
is important for music learners. His inspirational session was
very well received.
10

Overseas
New overseas centres for LCM Exams
Singapore - Rasmussen Consulting
Ms Kris Tay, Rasmussen Consulting Singapore Ltd
Blk 78B, Telok Blangah Street 32, #03-04,
Singapore 102078
Tel: 65 6338 8461
www.rasmussen.com.sg
Singapore - Signature Music School
Ms Charlotte, Signature Music School
Blk 134, Jurong Gateway Road, #02-309K,
Singapore 600134
Tel: 65 65663456
Singapore Media Academy
Ms Shirley Wee, Singapore Media Academy Private Ltd,
30 Merchant Road, Riverside Point #04-13,
Singapore 058282
Tel: 65 6435 6023
www.mediaacademy.sg
Jakarta 3
Ms Sabrina Arman
Taman Ratu Indah, Blok B 1 / No 8, Jakarta 11510,
Indonesia
Tel: 62 215654133
Kazakhstan
Mrs Anna Thomas,
Haileybury Almaty, Al-Farabi 112,
Kazakhstan
Tel: +7 727 355 0100
Ghana
Martin N. Togbor, Centre for Piano & Voice Perfection
St Thomas Aquinas SHS, Cantonments, Accra
Ghana
Tel: 0244225968 / 0275814282 / 0261572904
Cape Town 2
Mr Bradley Adams, Cape Music Institute,
Level 2 East Wing,
Athlone Stadium Hickory Street, Athlone 7764,
South Africa
Tel: 021 637 0327
Facsimile: 021 637 4399
Email: [email protected]
Johannesburg
Mr Franscois Bezuidenhout,
Phoenix Benedict Music Academy,
79 9th Street, Linden 2195, Johannesburg,
South Africa
Tel: 0 82 346 9776
www.pbmusicacademy.com
Pretoria
Mr Freddy Arendse, Tshwane School of Music
PO Box 41258, Eersterust, 0022, Pretoria,
South Africa
Tel: (27) 012 806 6060
Vietnam: Academy of Contemporary Music Suoi
Nhac (ACMS)
Ms Nguyen Vu Thanh Van,
ACM Suoi Nhac Company Ltd
170P No Trang Long Street, Binh Thanh District,
HCMC,
Vietnam
Tel: (08) 3516 0257
acms.com.vn
Vietnam: Franciscan Academy of Music
Prof Xuan Thao
50 Nguyen Dinh Chieu Street,
District 1, HCMC,
Vietnam
Tel: 0907 300275
hailinhquehuong.com
Vietnam: MTES Suoi Nhac
Mrs. Vu Hoang Thuc.
Suoi Nhac Phu Nhuan,
10 Phan Xich Long St., Phu Nhuan Dist. HCMC,
Vietnam
Tel: (08) 6292 0223
Suoi Nhac Phu Tho,
272 Le Dai Hanh St., Dist. 11, HCMC,
Vietnam
Tel: (08) 6277 7768
www.suoinhac.org/
Vietnam: Lambert Music Centre
Ms. Bui Thi Vi,
523a Le Duc Tho St.,
Go Vap Dist. HCMC,
Vietnam
Tel: (08) 3894 1492
Vietnam: Suoi Nhac Quang Trung Music School
Mr Quang Dat,
369 Dien Bien Phu Street,
District 3, HCMC,
Vietnam
Tel: (08) 3834 3937
pianominhthanh.com
Vietnam: Viet Thuong Music School
Ms Ngoc Anh
Crescent Mall - 3F-40 Crescent Mall,
Ton Dat Tien Street, Tan Phu Ward, District 7, HCMC,
Vietnam
Tel: (08) 5413 7797
Union Square - B1-01A,
Vincom A, 116 Nguyen Hue Street,
171 Dong Khoi Street, District 1, HCMC,
Vietnam
Tel: (08) 5413 7797 / (08) 3936 9041
Enjoy Music - 41,
Street 41, Thao Dien Ward, District 2, HCMC,
Vietnam
Tel: (08) 6281 9833
www.vietthuong.vn/giao-duc.html
Vietnam: Viet Thanh Music School
Ms. Nguyen Thi My Hanh
180B Võ Thị Sáu, Dist. 3, HCMC,
Vietnam
Tel: (08) 3932 2191
truongnhac.edu.vn
Vietnam: DoReMi Music School
Mr. Pham Tuan Chinh
06, Street 3, Binh Tho Ward, Thu Duc Dist., HCMC,
Vietnam
Tel: (08) 3896 4782
Vietnam: Viet Thuong Da Nang
Ms. Phan Thi Xuan Trang,
237 Nguyen Van Linh St.,
Thanh Khe Dist., Danang City,
Vietnam
Tel: (0511) 3653 227
vietthuongmusic.vn
Vietnam: Binh Minh Music Centre
Ms Nguyen Thu Binh,
24B, Gate 86, Quan Hoa Ward, Chua Ha Town,
Cau Giay Dist,. Hanoi Capital,
Vietnam
Tel: (04) 3767 8217
Vietnam: Suoi Nhac Hanoi
Mr. Nguyen Duy Anh Hao,
Hoanghuy Building, 46 Hao Nam St. Hanoi Capital,
Vietnam
Tel: (04) 3 8518 666
hoanghuymusic.com.vn
Mozambique
Mr Mark Carter,
American International School of Mozambique,
Caixa Postal 2026, Maputo,
Mozambique
Tel: 258 2149 1994
http://www.aism-moz.com
Philippines
Mr David Emmanuel Cadlum Saraza / Ms Maria
Nenita Silang Se,
Saraza Music Center,
2nd Floor Kriscel Realty Lessor Building,
22 J.B Tan Street,
BF Resort Village, Las Pinas City, Metro Manila,
Philippines
Tel: 639172407611
Dr John Hooper (Extreme left) and Professor John Howard (3rd from
left) with some of the LCM Exams representatives from Vietnam
11
News from centres
Success Stories

Philip Aldred reports on the retirement of LCM Exams Rep Mary Rivers…
M
ary Rivers has been the LCM Exams Representative for Norwich
since 1982. The centre is a large and thriving Pre- Grades, Grades
and Diploma centre and has been so for many years. Her tireless work
and energy on behalf of LCM Exams is commendable. It was my honour and
privilege to attend the Norwich Annual Concert and Awards Evening recently
(and also in 2013) and witness first-hand the high quality and obvious love of
music from each and every candidate who performed during the evening. The
long list of Diplomas, both Teaching and Performance, achieved during any one
year speaks volumes for Mary’s work and for the work of all the LCM-affiliated
teachers in the Norwich area. These teachers of course include Elaine Smith
– an LCM Examiner, graduate of LCM and Mary’s daughter. A presentation
was made to Mary – through Elaine – on the evening and we all wish Mary a
happy and healthy retirement in the future.
Janet Lill (LCM Exams Senior Examinations officer) writes of Mary: “I have greatly enjoyed working with Mary over many years.
Mary has always been an excellent rep and a great ambassador for LCM Exams.”
LCM Examiner, Stuart Corbett, reports on the music theatre programme in North Brabant, Holland…
F
or a number of years students from many parts of Holland
have attended an annual one week Music Theatre course
at the magnificent Nesterle Cultureel Centrum and Theatre
in Nistelrode. Preparatory lessons during the year prepare the
students for the intensive programme. Professional actors and
singers from Holland and the UK hone the performances during
the week culminating in a Gala Concert. An added dimension
to the course is that students now also take LCM Music Theatre
exams at the end of the course.
The integration of so many elements into the programme
adds great intensity, e.g. research qualities related to the
exploration of the Discussion elements relating to LCM Music
Theatre exams. Course Leader Scott Hamilton and colleagues
have great visions and passion towards the teaching of music
theatre. The results of their efforts included students leaving
the course with added confidence, new friends, engagement
in the joy of singing and acting and also endorsement through
an LCM Qualification.
Phenomenal results for the McGinley School…
S
tudents of the McGinley School of Music have had outstanding exam results in their recent LCM Exams singing, piano and
drama exams. They all achieved the maximum score of 100%! LCM Exams Chief Examiner Philip Aldred said: “It was a
pleasure to examine such well-prepared children, the teaching is world class and the results are a testimony to the hard work
of both the children and the teachers at the school”.
One of McGinley School
of Music’s students,
Sally Mae Comey
(pictured with her
singing teacher Tanya
Erskine, LCM Exams
Rep for East Belfast, and
Ray McGinley, Rep for
Derry), obtained 100%
in both her music theatre
and drama exam this
year. Sally also obtained
100% the previous year!
From left: Aoibhinn Ni Dhonghaile, Ray McGinley (Director of Music), Kady Cavanagh, Grace
Lyttle, Sally Mae Comey, Lauryn Mulholland, Oran McDonnell, Molly McGinley, Laura McGinty,
Katie May Duffin, Tanya Erskine (singing and violin teacher) and Lilly McGinley.
12

ESOL syllabus
ESOL: Speaking and
Presenting in English
Stephen Hazell, LCM Examiner and Consultant in Drama and ESOL, describes a
new drama & communication award from LCM Exams…
I
t’s a great pleasure
for me to be
invited to write
about our newest
award, in English for
Speakers of Other
Languages. My first
feeling is that I am
looking forward with
warm expectations to
meeting candidates
in many parts of the
world, and in the UK
also. The energy and
liveliness that we see
in the examination
room make the whole
formal business of
assessment a rewarding experience. I believe that we will be
making a real contribution to cross-cultural relations; we value
what the students learn about our way of life from their language
work, and equally what we in turn learn from what they tell us
about their own lives and circumstances. Further, thinking of the
younger candidates in particular, it’s exciting to see their first
steps towards their future accomplishments in business and the
professions – future teachers and executives stand before us. What
they learn about speaking and presenting will play a lively part in
their professional and personal lives. There are several distinctive
features that derive from our deep experience in both drama and
communication. In relation to ESOL, these skills are paramount
in speaking and presentation, hence the sub-title of this award.
Communication and ESOL
“Go beyond simple competence in vocabulary.”
Here the core issue is the understanding of audiences, and how
to address them directly. We are all different according to who
we are talking to. We use our language differently in each case.
This too is part of language learning, which we encourage to go
beyond simple competence in vocabulary and structures.
The Examination Syllabus
“New and distinctive… particularly in the detail
given.”
The syllabus was developed with major inputs from John Beilby
(Senior LCM Examiner) and Tricia O’Shea (Faculty Member at
RKWC, Ras al Khaimah), both of whom have long experience of
ESOL teaching. The syllabus runs from Early Learning to Grade
8. Please go online and spend some time with it and you will
see what is new and distinctive in what we bring to the market,
particularly in the detail given at each level to the description of
the examination task, the purposes it serves (and which examiners
will judge by), and first ideas for preparing the students.
Note for Representatives and Teachers
Drama and ESOL
“Students will be empowered in discussion… their
futures are enhanced.”
There is a wealth of research support for the impressive added
value that follows from including classroom drama practices in
the procedures for getting to know a language. When speaking
in a group, our awareness of our physical presence, and our
commitment to using the full range of our voice’s resources, both
work to our advantage.
Students will be empowered in discussion, expressiveness,
negotiation and leadership. Their futures are enhanced.
13
Taking up ESOL is to join a journey into a profitable future, both in
satisfaction at the students’ advancement and at the economic benefits.
If teachers need to develop skills in the area, then start with thinking
through the Early Learning approach and build on that. Look at the
online Guidelines. We will support with resource recommendations,
availability for discussion, and workshops where practicable. Here
is a list of initial contacts:
www.uwl.ac.uk/academic-schools/music/lcm-exams/subjects
Stephen Hazell, Consultant in Drama and ESOL to LCM Exams:
[email protected]
LCM Exams London Office: [email protected]
LCM Exams Singapore Office: [email protected]
Mature students
Exams and Older Students

Petra Lloyd Davies, a teacher of voice, piano and recorder from Anglesey, shares
her experiences of entering mature students for exams…
it was teaching an adult who had
ambition and drive and began to
accept a few more older beginners,
both singers and recorder players.
RECITAL GRADES
W
hen I first started teaching I was not interested in taking
on any students whom I felt were not young enough to
make a career of their music. The arrogance of youth!
Over the years my views on this have changed very greatly and
now most of my work is with adults, many of whom have taken
up music for the first time since retiring from full-time work.
FIRST ADULT STUDENT
“I realised just how rewarding it was teaching an
adult.”
I can remember my first adult student well. She was a welleducated lady in her forties, who wanted to learn to play the
recorder. She had not played any instrument before but had heard
recorders being played and thought that it would appeal to her. She
was right! She started out with a cheap but decent plastic soprano
recorder and made rather good and rapid progress. Before too
many months had passed she was talking about joining a recorder
group and then about taking an exam. We worked together on
the scales, arpeggios and pieces and, as she was already quite a
good sight reader and was developing a good ear, she was entered
for a Grade Four exam. Needless to say she was a little nervous
on the day but the examiner soon put her at her ease and she
was delighted to obtain an honours pass (in the days before it
was renamed ‘distinction’). I realised then just how rewarding
“The recital grades have
been a most welcome
addition.”
Over the years that I have been
entering pupils for grade exams
with LCM Exams they have added
new exams to the syllabus, some
more suited to older learners who
really want to play and are not as
keen on the more technical aspects
of exams, although of course we
still work at sight reading, aural
training and studies etc. The recital
grades have been a most welcome
addition to my music practice. The
singing exams in particular offer so much flexibility in choice
of pieces that almost every singer will be able to put a suitable
programme together. There is an option to take either a sight
reading test or viva voce or to add a fifth piece.
I find that my older students want to learn to play or sing and to
perform rather than be made to jump through scale and arpeggio
hoops and the LCM Recital exams give them the opportunity to
do just that. It is highly unlikely that any of them will make a
career out of their music making but that is not why they do it.
They want to create music and do it to the best of their abilities
and if they have an examination certificate to show that they have
achieved that, on whatever level, they will be well-pleased with
their efforts and rightly so.
SETTING A GOAL
“Many adult learners like the challenge of an
exam.”
Most adult learners need some goal to work towards, and many
like the challenge of an exam where they can pull-off a decent
performance and be assessed by someone other than their teacher.
Without exception, I have found LCM examiners to be most
encouraging to my more mature students, always putting them
at ease. My older students all seem to enjoy challenges and the
recital grades provide a suitable one for many.
14

Advice
Health and Safety Issues for
Music Teachers
David Millar outlines some of the day-to-day safety issues to be aware of when
providing instrumental tuition …
H
ealth and Safety is a serious topic for anyone running
any type of business that interacts directly with the
public. There are many sources of information readily
available from statutory bodies detailing the legality and content
of such requirements. It is an obvious necessity to adhere to the
appropriate legislation for the location in which you are working,
including having adequate public liability insurance if you teach
privately. In many cases adopting a common sense approach to
safety issues arising will ensure smooth running of your teaching
practice. Below are a few tips.
ACCESS SAFETY
Ensure safe access to your teaching room/studio.
If you teach younger students, ensure that parents take
responsibility for dropping-off and collecting them on time. You
may wish to include a reference to this in your teaching contract.
Also, arrange in advance with parents where the student should
wait to be collected. Opening and closing doors for students,
as well as being polite, can reduce the chance of any potential
mishaps – particularly with young students trying to manage
carrying an instrument, music books/folders, schools bags, lesson
money etc. all at the same time.
SAFE TEACHING ENVIRONMENT
Arrange your teaching space carefully.
and sturdy chair/stool set at the appropriate height are essential
items to provide.
Provide a space also for coats, umbrellas and instrument cases
to prevent anyone tripping over them.
AVOIDING GERMS
Take care to avoid the spread of germs.
As it is sometimes necessary to play the student’s instrument
during a lesson – e.g. for tuning - it is useful to always carry
a disinfectant/sanitation cream and use it after handling the
student’s instrument. This is particularly important in schools
where instruments may be played by many different people.
ALLERGIES AND MEDICAL
CONDITIONS
Take note of students with allergies/medical
conditions.
Teaching contracts should indicate that it is the parent’s
responsibility to inform the teacher if their child has any medical
conditions including allergies that the teacher needs to be aware
of. Most responsible parents will do this anyway without being
prompted, but it is good to have a written reminder together with
any relevant emergency contact numbers.
YOUNG SIBLINGS
Be aware of other family members entering your
teaching room.
On some occasions, younger brothers or sisters of students
may enter your teaching studio/room with their parents at the
beginning or end of lessons. Always be alert to their actions as
they may be attracted to touch instruments or equipment.
ELECTRICAL SAFETY
If your teaching space permits, try to arrange a safe teaching zone
in which to seat the student(s), with all your own instruments and
equipment a safe distance away in case anything gets accidentally
knocked over. A sturdy music stand (preferably with a light on it)
Always be aware of electrical safety.
Maintaining safety of any electrical equipment used in teaching
is of paramount importance both for the safety of the teacher
and student. If you travel to different venues to teach it is
useful to carry a plug-in RCD for additional safety in case
you have any doubts about the electricity source you are
using. Additional information on electrical safety legislation,
including Portable Appliance Testing (PAT) in the UK can be
found at www.hse.gov.uk/electricity.
15
Stave House
News from Stave House

Ruth Travers supplies the latest news and developments from Stave House…
T
his year’s LCM/Stave House Teachers Summer Event was held on the 19th July. The first UK
candidates to take the Stave House Early Music Teaching Diploma from the Spring session 2014
were delighted to be presented with their certificates by LCM Exams Chief Examiner Philip Aldred.
The same morning, the Summer 2014 Stave House Diploma candidates were examined by Philip. Philip
then went on to lead a fun and informal vocal workshop, before everyone settled down to chat, eat and
make music together. Any teachers wishing to take the Stave House Early Music Teaching Diploma can
find more details about it from stavehouse.co.uk.
SCHOOLS USING STAVE HOUSE TEACHING METHOD
Year 1 children at Wivenhoe Primary School had fun linking creative
art with their music lessons by making pictures of their favourite Stave
House characters.
Over 70 Year 1 and year 2 children have taken Stave House Music
Awards this term at Newlandsprings Primary School in Chelmsford.
About 50 children at Barnes Farm Infants School have lunchtime Stave
House Music lessons and all the children from Reception to Year 2 use
Stave House for class music. At Barnes Farm Juniors Years 3 and 4
continue with Stave House and are busy composing with both treble
and bass clef now.
27 Year 1 and 2 children gave a spring concert to parents at Bishops
Primary School in Chelmsford. The Stave House instrumental teachers
got together to plan ensemble music for the children, who performed
together on cello, viola, guitar, piano and violin. The rest of the school
sang along with the Stave House songs that they use in class music.
Many of these children already have their Stave House level 1 and
2 Music Awards, LCM Step Exams and are now moving on to LCM
grades.
STAVE HOUSE CYPRUS
We are very pleased to introduce Stave House Academy Cyprus. Teachers from private
kindergartens and schools and Government schools came together to learn how to teach Stave
House and to use the new Greek Stave House books.
Georgia Laniti is the Principal of the Stave House Academy in Cyprus and is available to help
with your questions about introducing Stave House into your Cypriot /Greek speaking schools.
You can contact her via [email protected]
16

Downloads
LCMEbooks.org
Tony Skinner highlights the range of items that are now available from the LCM
Exams downloads website www.LCMEbooks.org...
www.LCMEbooks.org, the digital store for downloadable LCM
Exams study materials, has grown considerably since its inception
a couple of years ago. It now contains a really wide range of
materials, as outlined below.
PIANO EXAM MUSIC
On the website you can download audio recordings (from just 65p
each) of all the piano pieces contained within the LCM Exams
piano grades syllabus. The sheet music for some pieces is also
available to download (from just 50p each).
ELECTRONIC KEYBOARD EXAM
MUSIC
Audio recordings of all LCM Exams electronic keyboard
handbook pieces from Grades 1 to 5 are available to download
exclusively from the website (from just 65p each). The sheet
music for selected pieces is also available for download from the
website (from just 50p each).
SPECIMEN AURAL TESTS
On the website you can download an E-booklet containing
examples of the aural tests and jazz aural tests (prices start from
only 50p).
WIND AND PIANO JAZZ STUDIES
Downloadable graded studies for candidates taking exams in
jazz (piano, flute, clarinet, saxophone, trumpet and trombone) are
available from the website (starting at just 80p each).
MUSIC THEORY PAST PAPERS
Practising with past exam papers provides ideal preparation for
an LCM music theory exam. Past papers also provide a clear
example of the type and format of questions that may appear
in the exam. LCM music theory exam past papers are available
from the website as low-cost digital downloads (from only 57p
each), and as the past papers are downloads there are no postage
charges – you can have them on your computer within moments of
placing your order. You can order Grade Past Papers (Preliminary
to Grade 8), Diploma Past Papers, plus also Sample Answers for
Step to Grade 8.
THEORY OF MUSIC HANDBOOKS
Also available on the website are the LCM Exams Theory of
Music handbooks in an easy to download digital format, allowing
you to save time and money by downloading the LCM Exams
music theory handbook for any grade with just a few clicks of
your mouse.
Downloads for LCM classical guitar exams
The website www.DownloadsForGuitar.com
contains downloadable versions of ‘Early
Stages Classical Guitar’ and ‘Classical Guitar
Miniatures’ – both of which include the notation,
tab, performance advice and audio recordings
(at both performance and practice tempi) for
the steps and early grade LCM Exams classical
guitar exams.
In addition, the website contains a downloadable
version of ‘The Classic Collection’ which includes
the notation, tab, performance advice and audio
recordings for some pieces from the Grade 3 to
6 LCM Exams classical guitar exams.
17
Photo: David Tett
EXAMINATIONS WITH THE ROYAL ACADEMY OF DANCE
REWARDING ACHIEVEMENT
We offer an internationally recognised portfolio of examinations designed to
motivate and encourage students of all ages and abilities. Around 230,000
candidates enter RAD examinations each year worldwide.
Our examinations allow candidates to explore and develop ballet technique,
building strength, adaptability, musicality and performance skills.
For more information contact: [email protected]
www.rad.org.uk/examinations
Royal Academy of Dance® is a charity registered in England and Wales No. 312826
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www.jhs.co.uk
The Debut range, which also includes Cello and
Double Bass outfits is used and recommended by
educators and has allowed countless students to
take their first steps.
The Antoni Premiere is available in full and
three quarter size, and as the class leading
Electralin™ Electric violin.
The range of Antoni Orchestral Stringed Instruments has been created to bring exceptional features, timbers, build,
specification, tone and playability to the beginner, progressing student, and more accomplished players.
jhs.co.uk/antoniviolins
Exceptional
instruments students
for
Debut - the essential quintet.
and
advanced
players.
Premiere - superior selection.
Designed by Peter Pollard,
endorsed by professional players.
Created by master craftsman Peter Pollard, manufactured to
exclusive designs, with rigorous quality control, Odyssey brasswind
is appreciated by students, accepted by professionals, proffered by
educators, endorsed by repairers and sold by discerning specialists.
Exclusive Worldwide Trade Distributors:
www.jhs.co.uk
All instruments supplied with Odyssey carry case and accessories.