LCM Exams - Forte 2010.1 - University of West London

Forte
LCM Examinations newsletter
New Step Exam for Percussion
In a first for the UK, LCM Exams is introducing a pre-Grade 1 examination in Percussion.
The material used is the result of a three-year project in teaching Years 3 and 4 (6-8 year
olds), both in class groups of up to four children, and individual tuition.
As a percussionist, it
is important to play
in time right from
the beginning. This is
especially important
for ensemble playing.
We introduce the
snare drum first, to enable
students to practise counting alone
and with other players, before the
timpani, tuned percussion and
drum kit are introduced.
At Step level it is recognised that
full-size instruments might not be
readily available. Classroom
instruments, such as two tomtoms or drums of differing pitch,
are acceptable in place of timpani,
and the drum kit pieces are written
for a four-piece kit. The tuned
percussion pieces are easily
performed on small instruments.
Tuned Percussion and Drum Kit
individually.
The LCM exams in Percussion
enable students to perform on
more than one instrument.
Students who have completed their
Step exam will then be ready to
progress towards Graded and
Leisure Play exams, which are also
available for Snare Drum, Timpani,
Step This Way: Percussion (LL211)
is compiled by Jack Richards and
Aidan Geary, and is available for
pre-order from Music Exchange,
priced £7.50.
We are confident that both
teachers and students will find the
exercises and pieces a useful and
valuable teaching method.
Jack Richards
Senior Examiner
Acoustic and Bass Guitar
Teaching Diplomas
LCM Exams, in partnership with Registry of Guitar Tutors
(RGT), has launched a range of specialist teaching
qualifications for acoustic guitar and bass guitar teachers.
There are three teaching diplomas available: DipLCM(TD),
ALCM(TD) and LLCM(TD).
The diplomas reflect the specific musical and technical skills
teachers of these instruments need, but focus primarily on the
ability to ‘teach’ bass or acoustic guitar. LCM/RGT teaching
diplomas for electric guitarists have been available since 2008.
The syllabuses can be downloaded at www.RGT.org, or call
RGT for more information on 01424 222222.
IN THIS ISSUE:
INTRODUCTIONS
John Howard
Philip Aldred
3
3
SYLLABUSES & PUBLICATIONS
Drama & Communication
Music Theatre
4
6
FEATURES
Drama & Communication
London College of Music Examinations
The new syllabus for Drama &
Communication grades is now available. Valid
from the Winter 2010 session onwards, it
contains the requirements for early learning
exams, solo introductory and graded exams,
group exams and graded written exams.
Principles of Good Voice Production 8
Back to School!
10
Stave House
12
Drama & Communication
Grades Syllabus
Early Learning, Introductory, Graded and Written Examinations
2010 – 2013
NEWS FROM CENTRES
UK Centres
Overseas Centres
See page 4 for further details.
Issue: 2010.1
13
15
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
to be appointed
Examinations Information Officer
Clare Harvey
Publications Administrator
Jackie Honan
Finance Administrator
Ben Hunt
Alexandra Marchant
Administrative Assistants
Calendar - 2010
4 January
Asia Pacific: Spring closing date
1 February
UK/Eire: Spring closing date
5 February
Canada: Spring closing date [theory]
19 February
Music senior examiners' meeting, TVU
20 February
Examiners' seminar, TVU
21 February
RGT Electric Guitar Performance Diplomas Seminar, TVU
6 March
Representatives' seminar, Nottingham
12 March
Canada: Summer closing date
20 March - 24 April
UK/Eire: Spring examination session
28 March
RGT electric guitar performance diplomas seminar,
Birmingham
14 April (pm)
Theory examinations [music only]
21 April
Scotland/N Ireland/Eire: Summer closing date
24 April
Nottingham centre: LCM Exams workshop
25 April
RGT electric guitar DipLCM & ALCM performance
diplomas seminar, TVU
1 May
England/Wales: Summer closing date
3 May
Asia Pacific: Summer closing date
23 May
RGT electric guitar LLCM & FLCM performance
diplomas seminar, TVU
29 May - 26 June
Scotland/N Ireland/Eire: Summer examination session
19 June (am)
Theory examinations [music; drama & communication]
19 June - 24 July
England/Wales: Summer examination session
9 July
Norwich centre: presentation concert
1 September
Asia Pacific: Winter closing date
17 September
Canada: Winter closing date
1 October
UK/Eire: Winter closing date
8 October
Sheffield centre: presentation concert
29 October
Music senior examiners' meeting, TVU
13 November - 18 December
UK/Eire: Winter examination session
20 November
Keighley centre: presentation concert
27 November (am)
Theory examinations [music; drama & communication]
10 December
Canada: Spring 2011 closing date
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: [email protected]
www.tvu.ac.uk/lcmexams
Editor: Andrew Hatt
[email protected]
You can now follow us on Facebook. Search
for ‘LCM Exams’ to keep up-to-date with
the latest news.
Introductions
One of the strongest features
of our work as an examination
board is the opportunity to
work with so many people in
so many places in the UK and
around the world. We are a
team with a shared purpose,
and I am pleased to report to
you all that London College of
Music Examinations continues
to do well, and to expand in so
many places. This includes
growth in many existing
centres and also development in new ones. New
countries in which we are now working include India,
Mexico, Barbados, Belize, Japan, China, United Arab
Emirates, Tanzania and Ghana. I would like to take this
opportunity to thank all who work with us, including
representatives, teachers, students, and of course all
our examiners. Our head office team in London
continues to work with high standards and wonderful
commitment.
As you will be aware, our current certificate design
was adopted a few years ago. In my view, it shows a
good balance between attractive appearance and
effective ability to carry out the functions necessary in
this age of ever more information. I would like to alert
all of our exams community to the fact that very
occasionally we have a case of certificate fraud, and
one has recently come to our attention. Our certificate
contains a number of security features which make it
very difficult to forge, and in this case the forgery
was very easy to spot. However, I would like to ask
everyone to be alert to any signs of fraudulent activity
including any illegitimate use of our name. This kind of
fraud is a crime and we do not hesitate to involve the
police where appropriate. The victims here are often
young people who are cheated out of genuine
opportunities and qualifications, by those intent on
stealing from them and their parents.
Fortunately, these cases are very rare and more and
more candidates are benefiting positively from gaining
our qualifications. We are currently undertaking a
review of our marketing and promotion activities, and
I would like to encourage everyone to contribute ideas
by contacting me ([email protected]) so that we
can benefit from the contributions of ideas from
across our whole community. We have an excellent
range of qualifications along with one of the most
reliable examination processes, reflecting high
standards. All of us can play a part in communicating
the good things our examination board has to offer.
John Howard
Director of Examinations
Everywhere I go it
seems that LCM
Examinations are either
starting up or growing
steadily at existing
centres. There seems
to be a certain
excitement about our
varied syllabuses in
grades and diplomas.
This is, of course,
fantastic and a
reflection and
compliment to the hard work of all those
involved in delivering the examinations – the
office staff, examiners, representatives,
teachers and candidates. I used to work at a
school where the headmaster used ‘Well done’
for almost everything that anyone ever did. If
he was really pleased he would say, ‘Well done,
well done, well done’! There is never any room
for complacency in what we do at LCM, but I
believe a triumphant ‘Well done’ is definitely
called for.
As I write, all examiners are about to attend
the annual seminar where policies, moderation
exercises, discussions, information about new
syllabuses, tests and so on are all addressed. It
is a time when the examiners can share their
experiences and learn from each other – all of
which helps to ensure a constant standard of
examining for each candidate.
There have been articles in previous magazines
detailing LCM’s moderation policy so I won’t
detail them again, but I am always very proud
to describe this system when talking to
teachers, representatives and candidates
around the world knowing that we, as an
examination board, operate in this way. Every
candidate’s, teacher’s, centre’s and examiner’s
mark is set against a mean, and variants of
more than +5 or –5 are flagged up and
brought to my attention. This happens for
each and every examination session.
We are all human and mistakes are made from
time to time, but we learn from these and I
know that the various articles in Forte help us
to maintain high standards of music
education, teaching, examining, delivery and
service… but above all to really enjoy our
music.
Philip Aldred
Chief Examiner in Music
3
Syllabuses & Publications
Drama & Communication 2010-13
by Stephen Hazell, Chief Examiner in Drama & Communication
The 2006-09 syllabus is in its final year. Teachers and candidates will by now be
familiar with all its detail – from the required knowledge of items such as plosives,
pause and pace, to strict requirements such as ‘not to exceed 3 minutes’. We all tend
to like the comfortable feeling of familiarity, even with those details we also find
irritating. At the same time, changes are required from time to time as the world
changes around us, and I will try here to point up the main developments in the
revised syllabus that has been distributed to centres in February.
Reminder: our old friend, the 2006-09 syllabus, will be with us for the whole of the
calendar year 2010, while the revised syllabus will be available for grades from
September onwards: i.e. there is one overlap session.
A change to the pattern of syllabus publications
Grades syllabus 2010-2013
There is a structural change:
I think the changes are relatively modest – you will find a
great deal that is the same as before. We value the
encouragement given by the folder of work (Grades 1-5)
and the portfolio (Grades 6-8) for students to enjoy a range
of texts, and, at the higher levels, to explore the context in
which performance pieces first came to life. What is added
now is an explicit emphasis on students thinking about their
own responses to, and performance pleasures in, the pieces
chosen. This is done through a Personal Reflection in
Grades 1-5; some more specific guidance as to the
portfolios is given in Grades 6-8.
Early Learning is now put together with the grades to
emphasise the continuity between it and the steps and
grades that follow. It’s always very rewarding to see the
work presented by the youngest of our candidates. They are
usually animated and enthusiastic. When they are shy,
examiners find sympathetic ways of drawing them out.
We’d like them to feel that they’re at the start of a long
adventure through the levels, with Grade 8 as the mission
target.
The syllabus has proved successful and here it remains
straightforward, and is only changed in a few phrases.
There are enhancements to be discussed as time goes by,
but the principle of ‘if it ain’t broke, don’t fix it’ remains a
guiding principle.
Diplomas will be published under a separate cover to mark
the step change from the tight focus of the grades to the
maturity and wide range of the approach required at
diploma level. The DipLCM can be seen as the transitional
examination. ALCM, LLCM and FLCM represent high levels
of professional achievement, as you all know.
The syllabus for diplomas will be published in the not-toodistant future. As Chief Examiner, I felt the need to set up a
full discussion with our examining group at the annual
seminar held on 20 February, and suggestions include
adding a DipLCM in Teaching (a notable gap) and thinking
seriously about how we may be able to assess teaching
directly, rather than through presentations.
To give a little time for the careful development of these
proposals we shall need to think of a publication date after
the coming examinations session. My current expectation is
May for a final draft. As a consequence, in order not to
activate the new syllabus before candidates have had a
chance to adapt to it, the current 2006-09 syllabus will be
extended at least as far as the first session of 2011.
4
Another change of emphasis is that students can consider
presenting pieces from their own culture as well as from
the traditional and mainstream material. The most striking
example of this is the Special Option for candidates to offer
one (own-choice) piece in a language other than English. (I
must stress that this is, of course, simply an option – an
exciting one, I hope – and in no way a requirement: most
exams will no doubt be entirely of English-language
material.) We have not put in an explicit statement about
drawing on the wide variety of English-language cultures –
it’s easier to suggest that direction here, that local material
can be used, than to write a set of rules about it in print
(whereas it was necessary for the special option to lay
down some rules concerning translations and so forth).
The underlying drift of all these changes is to allow the
exams to come closer to the candidates’ own personal and
community experiences.
The integration of the folder and discussion examination
items in Grades 1-5
One new feature is to ask for a personal reflection in the
folder. This section is brief (see page 22 of the syllabus). It
is related to what the student has found interesting in the
pieces chosen for the folder. As the grades progress, some
elementary theory about how they understand performance
skills is introduced.
Syllabuses & Publications
The point is to see what the candidates have achieved by
way of understanding the basics of what it is to perform.
Under the previous arrangement, examiners were regularly
presented with word-perfect definitions of specific
theoretical items (the ‘neutral vowel’, for example)
accompanied by a low level of the capacity to apply them to
their pieces (great uncertainty about which vowel in a given
word fitted the definition). It seems best to move away
from rote-learning to simple theory related to the
candidates’ actual practice and stage of development.
The pattern of the examination would most commonly be:
(a) performance, as before; (b) preparation and delivery of
sight reading; (c) sharing of the folder of work, with
discussion starting from a point in the Personal Reflection
and leading back to discussion of the performance pieces.
(This is a likely model: variations are at the examiner’s
discretion according to circumstance.)
Grades 6-8
Discussion and the Portfolio were already integrated at
Grades 6-8 in the previous syllabus, and the term ‘portfolio’
is retained both for convenience and to acknowledge some
difference of structure from the folder of work. The
portfolio can comprise a wide range of items of contextual
material, but thematically linked together by the student’s
own line of interest in the material, and that line of interest
should be commented on where and how the student finds
appropriate: i.e. the portfolio allows more freedom of
structure to candidates who are growing in maturity. To
help with finding themes, more guidance is given as to the
possible areas of exploration. (See pages 22 and 26-27.)
There is a modification to the arrangements for set periods:
these now run as post-1900 for Grade 6, 1660-1900 for
Grade 7, and 1580-1660 for Grade 8. This widens choice,
allowing for performances and study from anywhere in the
era since 1580 to be presented in the course of the three
grades. The most notable change of detail is that for Acting
Grade 8, where a Shakespeare soliloquy is called for.
Theory is a significant concern at these levels, and focuses
on the core areas of performance dynamics, the delivery of
language, and the full range of voice theory.
Special Option for speakers of a language other than
English
This is an innovation. In consequence a special leaflet has
been prepared which was sent out with the revised syllabus,
so I won’t repeat that material here. The option is also
fleshed out on pages 22-23 of the syllabus. The underlying
purpose is to allow a new opportunity for students to do
some of their work in a language and text and performance
traditions that are close to their heart.
Final notes
I wrote in the two previous issues of Forte about essay
strategies in Diploma exams, and about formal written
examinations. I am considering general feedback to those
articles as well as views from examiners. Our conclusions
on these issues will be something to look forward to in the
next Forte.
As for the syllabus just published, I imagine myself at a
presentational meeting, when I would now say that I hope
my introduction has answered most of your questions – and
then look sternly at my watch! But truly, if you have
questions, do of course write in, and I will do my best to
answer within a reasonable time.
LCM Publications: New Official Stockists
The following shops have been appointed Official Stockists for LCM Publications, in addition to those listed in the previous
issue of Forte. A complete list of Official Stockists may be found on our website.
Ashford
Bournemouth
Bristol
Cannock
Coventry
Ealing
Gillingham
Grantham
Halesowen
Halesowen
Huddersfield
Ipswich
Leeds
Norwich
Swansea
Walsall
Wigan
Right Track Music
Music is Life
Swift Music Ltd
Musically Yours Ltd
Express Music
Gardonyi’s Ltd
Sharon Music
Fox UK
Oakleigh Music
The Music King
Octave Above
Jack White Music
John Scheerer & Sons Ltd
Elkin Music
Music Station
Octaves
Symphony Music
25-27 Tufton Street, Ashford, Kent, TN23 1QN
779 Christchurch Road, Boscombe, Bournemouth, Dorset, BH7 6AW
63 Shirehampton Road, Stoke Bishop, Bristol, BS9 2DW
17-19 Walsall Road, Cannock, Staffordshire, WS11 0HG
198-204 Binley Road, Coventry, West Midlands, CV3 1HG
84 St Mary’s Road, Ealing, London, W5 5EX
95-97 Watling Street, Gillingham, Kent, ME7 2YX
82 Westgate, Grantham, Lincolnshire, NG31 6LE
Hereward Rise, Halesowen, West Midlands, B62 8AN
Unit 3, Block 2, Shenstone Trading Estate, Halesowen, West Midlands, B63 3XB
303 Old Wakefield Road, Moldgreen, Huddersfield, Yorkshire, HD5 8AA
92 Fore Hamlet, Ipswich, Suffolk, IP3 8AF
88-90 Merrion Centre, Leeds, LS2 8NG
31 Exchange Street, Norwich, NR2 1DP
Unit 1, Lakeside Industrial Park, Phoenix Way, Swansea Enterprise Park, SA7 9FF
81 Bridge Street, Walsall, West Midlands, WS1 1JQ
66 Market Street, Wigan, WN1 1HX
01233 662682
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5
Syllabuses & Publications
Music Theatre
by Philip Aldred, Chief Examiner in Music
Following the recent Examiners’ Seminar I would like to highlight a few matters that
are currently causing concern within the examinations for Music Theatre.
I have made mention of these before but there are still problems with the following.
Please do read and follow the requirements. Music Theatre is a fantastic and very
enjoyable examination, both for the candidate and the examiner, and by following
these requirements even higher and more consistent standards will follow.
2. The Presentation of the
Performance
1. Costume and Props
The procedures and requirements are
clearly set out on pages 18 and 19 of
the syllabus:
“The use of costume and props is
encouraged, and credit will be given for this
where the effect of the performance and
characterisation is enhanced.
An ‘impression’ of costume (e.g. a hat,
shawl, jacket, etc.) is expected as an aid to
performance. Full costume, although not a
requirement of the examination, is perfectly
acceptable if the candidate wishes. Where
costume is not employed, comfortable, nonrestrictive clothing (e.g. rehearsal ‘blacks’
or performance dress) is suggested.
Appropriate footwear (shoes, dance/jazz
boots, not trainers) should be worn.
Any costume changes must be such that
they can be made quickly, in the
examination room, in the presence of the
examiner. Alternatively, a screen may be
used as long as it does not interfere with
the space, though this facility may not be
provided at every venue, and candidates are
advised to make appropriate arrangements
with the local representative. Costume
change times must be included in the length
of the programme as detailed for each
grade. All candidates must manage
changes unaided.
Costumes and costume changes should be
such that there is no potential for
embarrassment to the candidate or
examiner. If considered absolutely
necessary, the discreet presence of a
chaperone is acceptable, if agreed in
advance with the centre representative and
the Chief Examiner. This concession, which
applies only under circumstances deemed
valid by the Chief Examiner, must not be
exploited by teachers or parents as an
excuse to watch the examination.
Props must be easily accessible and used to
enhance the performance as appropriate
(e.g. a basket, cane, book).”
6
There has been an increasing number of
candidates presenting in examinations
without programmes or without
introducing their performances.
Again, I draw your attention to the
paragraphs on page 18 of the syllabus.
performance at any grade, but from Grade
6 upwards and at Diploma level this is a
requirement. The minimum requirement of
programmes is a list of songs, the shows
from which they are taken (where
appropriate), composers, lyricists and
dates. Programme notes are not required
(except at FLCM), but may be included at
the candidate’s discretion.
In solo examinations, no other person may
be involved in any aspect of the
performance. Where the choice of item
calls for the participation of another
character, this must be suggested by means
of acting technique and stagecraft.”
PLEASE NOTE – from now, any
candidate who does not present a
written programme at the time of
their examination, as required by the
syllabus, from Grade 6 upwards, will
not be issued their result until they
produce such a programme. The
examiner will send the report form
back to London where it will be ‘on
hold’ until a written programme is
received. Once received the result
will then be issued.
3. Additional Advice
There are no specific marks awarded for
the presentation of a programme but it
is a requirement, from Grade 6 and
above, that a written programme is
presented at the time of the exam.
• Delivery of libretto at Grades 7 and 8
and Diploma.
“At Grades 1 to 4 there is no requirement
to introduce the pieces chosen for
presentation, but this may be done, at the
candidate’s choice. At Grades 5 to 8, it is
required that items be introduced as part
of the overall performance. It is not
expected that introductions will be
delivered in character. Introductions at
Grade 5 upwards will be assessed.
Information given in the introduction should
include the title of the number, the show
from which it is taken and its composer/
lyricist. Additional information may include
where/when the show was originally
performed and which artist made a
particular number famous.
Songs must be presented and performed
with regard for the context of the shows
from which they are taken.
Examiners welcome the presentation of a
written programme to accompany the
Additional ‘hints’ for Music Theatre
candidates and teachers would include:
• Use of space.
• Appropriateness of song choice – to
the voice, age and maturity of the
candidate.
• If a backing track (CD, iPod, etc.) is
to be used to accompany
performances, ensure the equipment
works and is easy to use by the
candidate in the examination room.
Appropriate sound levels and sound
quality are often an issue here too.
• Enjoy oneself and convey
convincingly the character portrayed
in the performance.
• When introducing the performance,
‘I would like to perform…..’ is better
than ‘I would like to sing….’
Remember, it is a Music Theatre
examination, with all its many facets;
not just a singing examination.
I hope that the above is useful. If you
have any questions regarding repertoire
choice, suitability etc., then please do
contact myself, or Stephen Hazell.
Syllabuses & Publications
Theory Information Booklet
London College of Music Examinations
Theory of Music Information Booklet
1 January 2010 - 31 December 2012
A revised edition of the Theory of
Music Information Booklet is now
available.
The new version of the booklet
includes full details of the type of
questions which may be asked at
each theory grade, in addition to the
specific requirements of each level.
The booklet also includes a
comprehensive list of the terms and
signs with which candidates are
expected to be familiar at Grades 6,
7 and 8.
Copies of the booklet are available on
request; alternatively all LCM
syllabuses and repertoire lists are
available for downloading from the
LCM Exams website.
Nottingham Centre – LCM Workshop
Reminders
Piano grades: the 2006 syllabus and handbooks
are extended until the end of 2011.
Electronic keyboard grades: the 2006 syllabus
and handbooks are extended until the end of 2012.
Jazz Syllabus Developments
As LCM looks to develop and expand its jazz
syllabuses, a number of meetings with teachers
were held in the later months of 2009. The theme
was primarily related to evolution, rather than
revolution.
Many helpful ideas were proposed, including:
• Looking at elements in the upper grades and
diplomas that reflect more of the reality of a
genuine jazz gig; for example working more
from lead sheets, with little time to prepare.
• Developing, at all diploma levels, a section
which shows evidence of research and
influence.
Saturday 24th April 2010
• Opening up and expanding the repertoire lists
at diploma level.
A full day workshop with Chief Examiner Philip Aldred and
Senior Examiner Stuart Corbett, looking at LCM Piano, Music
Theatre and Jazz syllabuses. The day promises to be proactive
and informative and is open to teachers to attend.
• Greater use of studies, as an option at grade
level.
Places can be reserved at a cost of £15 for the workshop,
including lunch and refreshments.
Please contact Michelle Beeton, Nottingham Representative, for
more information: [email protected]
As work on developing the graded and diploma
jazz syllabuses continues, these most helpful
contributions will be considered, alongside others,
and with consideration to the importance of any
developments having to satisfy accreditation
criteria.
I am very grateful to all who contributed.
Distribution of Music Theory Papers
Stuart Corbett
Senior Examiner and Jazz Syllabus Compiler
We are pleased to announce that from 1st April, theory papers will be available for
purchase via our distributor, Music Exchange. Orders may be placed directly, via their
website: www.music-exchange.co.uk or by phone (0161 946 9301). Past papers for
each grade will be sold as an annual set.
Teachers and students will also be able to access the papers from the most recent
session on the LCM website, until they are available in printed format.
www.tvu.ac.uk/lcmexams/publications/Music_theory_papers.jsp
At present, sets of papers are available for each grade for 2008 and 2009.
Customers who do not have internet access, or who would prefer to buy printed
copies of individual papers, will still be able to obtain these from the LCM office,
until we run out of stock. Worked papers are only available from LCM Exams.
Clare Harvey
Publications Administrator
7
Features
Basic Principles of Good Voice Production for Singers
by Dr Gordon Pearce BA MA PhD FLCM ARCM LTCL FRSA
The singing voice is a remarkable instrument that is given free to all. With good teaching
everyone can improve the instrument that they have and can gain enjoyment through
singing solo or being in an ensemble or a choir.
Unlike a piano teacher who teaches students on a well tuned instrument, the singing teacher
has first to build and tune the instrument before he can teach the student how to use it. It
is a complex process, and like a good wine it takes time to mature. Some basic principles of
good voice production need to be understood and worked on.
Voice production is a four-fold process. The lungs supply the breath, which is the motive
power. The breath causes the vocal folds to vibrate, which creates the initial sound. The
sound is then amplified by the resonating cavities, the mouth, nose, neck and chest. The
sound is articulated into meaningful words by the tip of the tongue, the lips and the teeth
and the singer communicates the meaning and mood of the text to the listeners.
Stand tall and proud but not stiffly.
Look important and try to feel special.
Feet slightly apart with one foot a
little in front of the other. Keep the
shoulders well back and down. Find a
good, balanced position for the head.
The head should be balanced so that a
line drawn from the bone just below
the eye to the centre of the external
ear is parallel with the floor. Look but
don’t stare, at a point on a level with
the eyes.
The correct standing position can
easily be achieved by standing with the
back against a wall with the back of
the head and the heels touching it.
Another way to help obtain a good
standing position is to slowly raise the
arms (palms of hands facing
downwards) to become level with the
shoulders. This action raises the chest
into a good position for breathing and
singing. Slowly allow the arms to fall
to the sides of your body without
allowing the chest to collapse. The
tummy muscles should be gently
pulled in and the upper abdomen
should be free to move.
If you are sitting down to sing, sit well
back in the chair with the spine
comfortably straight, and position the
feet on the floor. Place your hands on
your knees if you are not holding
music. Keep the neck straight.
Whether in a standing or sitting
position it is helpful to imagine a
string attached to the top of your
head and chest that keeps you in an
upright and poised position.
The voice is a wind instrument and the
breath is the soul of the voice. Breath
control is the fundamental skill
common to all good singers, actors
8
and wind players. More faults of
technique can be traced to poor
breathing than to any other facet of
voice production. It is important to
ensure that the pupil is breathing
correctly to sing.
Place one hand on the side of the rib
cage and the other on the diaphragm,
which is the muscle just below the
breastbone. Try breathing slowly
through the nose as if smelling
something beautiful. You should feel
the rib cage expanding and the
diaphragm will gently press down onto
the abdominal muscles. There will be a
slight bulging of the tummy. You
should have a feeling of expansion all
the way around the middle of the
body. When this happens the breath
will have been taken in deeply without
much effort.
If time allows the singer should
breathe through the nose because the
air is purified, warmed and goes
deeper into the lungs, but there are
few opportunities for this to happen.
Often in singing, a breath has to be
taken in quickly and this means that
the singer has to breathe through the
nose and mouth at the same time.
Taking breath in should be done
silently.
body. Do not raise the shoulders.
Next, hold the breath quite still during
a similar period of time, then slowly
and evenly breathe out during a
further period of time as if gently
cooling a hot drink. You could place
the palm of your hand a short distance
from your mouth to feel the breath
being gently exhaled. The breath must
be controlled and held entirely by the
muscles of the chest and the
diaphragm.
Place the tips of the fingers on the
diaphragm and breathe in deeply, filling
the lungs from the bottom. Say ’ts, ts,
ts, ts, ts,’ short and detached to help
strengthen the muscles. Feel the
movement of the diaphragm and
surrounding abdominal muscles.
Place the tips of the fingers on the
diaphragm and take a deep breath. Say
‘Hi’ in a loud voice, feeling the inward
and upward movement of the
diaphragm.
Breathe in deeply then pretend to be
blowing feathers using short, sharp
bursts of breath.
When teaching a pupil to breathe
deeply it may be helpful to use the
simple analogy of filling a bottle. The
liquid falls straight to the bottom of
the bottle, and so it is filled up.
Likewise the breath should be drawn in
deeply to the bottom of the lungs.
It is important to begin singing within
a small range and to start on a note
that is appropriate to your voice.
(Suggested starting pitches for male
voices: tenors D or E below middle C,
baritones C or D below middle C,
basses G on the first line of the bass
stave or A in the first space. Female
voices: mezzos, middle D or E,
sopranos E, first line on treble stave or
F in first space.)
Breathe in slowly while mentally
counting four slow beats, feeling an
expansion around the middle of the
To begin take a deep breath and hum a
‘mm’ sound on your chosen starting
note for two beats then open your
Features
mouth to produce an ‘ah’ vowel, trying
to keep the same sensation felt when
humming. When this is easy to do,
proceed to hum up and down the first
three notes of the scale (doh, ray, me,
ray, doh) from your starting note to
an ‘mm’ sound. Feel the vibrations on
your lips and at the front of your face.
Repeat the exercise singing the notes
smoothly to ‘mah-ah-ah-ah-ah’ in one
breath. Repeat this exercise humming
to ‘mm’ followed by the sounds ‘may’
and ‘mee’. Try to sing with a natural
smiling position of the mouth. Use a
mirror to check your mouth position.
This exercise can then be moved up a
semitone at a time to develop more
notes within your range. It is advisable
to work within a comfortable range,
say an octave to begin with. The three
note exercise can be extended to the
first five notes of the scale from your
starting note (doh, ray, me, fah, soh,
fah, me, ray, doh), again humming to
‘mm’ or ‘nn’ and using the vowels ‘ah’,
‘ay’ and ‘ee’. It is of vital importance to
listen carefully to make sure that you
are singing the notes in tune. Sing at a
moderate volume; don’t sing too
loud or force your voice.
A deep, open throat is essential
for good resonant tone. Let the
jaw fall open freely, and the
tongue lie loosely forward on the
floor of the mouth. Keep an
open space above and behind the
tongue, and keep the facial
muscles flexible. Keep the mouth
open for all vowels. The
movement of the lips and
tongue must be made
independently of the jaw. Form
the words naturally as in good
speech. Develop a relaxed,
friendly facial expression, and let
the eyes smile. Aim to develop
good, resonant, pure tone
through quiet singing. Power
will follow with good control.
Remember it should be quality
before quantity. Practise the
middle of the voice first and
gradually extend the range. Keep
the throat open to allow a free
passage for the breath. Keep the
intensity of the tone to the ends
of notes, particularly the last
notes of phrases.
Work on the five Italian vowel
sounds (ah, ay, ee, aw, oo) with
and without the consonants M,
N, L, V, using the first five notes
of the scale. You could then sing
on the various vowels and with
different combination of consonants
using the triad doh, me, soh, me, doh.
Make your vowels pure and your
consonants crisp and clear. Work for a
smooth line of sound. Sing on the
vowels, making them as long as
possible and let the consonants make
sense of the vowels.
The tone quality is helped by the shape
of your mouth; use a mirror to check
your vowel shapes.
Singing is musical speech. It is good
speech that is sustained. Clear diction
is vital. It is important to develop the
organs of speech by practising some
tongue twisters, such as:
‘Peter Piper picked a peck of pickled
peppers, a peck of pickled peppers
Peter Piper picked. If Peter Piper
picked a peck of pickled peppers,
where’s the peck of pickled peppers
Peter Piper picked?’
This can be spoken or sung on one
note in the middle of the range.
Keep exercises short and simple; this
enables the pupil and teacher to listen
carefully to the quality of the sound
being produced. Try to avoid too much
technicality and jargon, keep things
simple and appeal to the pupil’s
imagination rather than talking too
much about what happens physically.
Remember to praise your pupil for
what they are doing right, work to
develop their self esteem and
confidence as well as their voice.
Always have a good standard in mind
but remember to keep the teaching
stimulating and fun.
Select repertoire to sing that is age
and stage appropriate. There is now so
much material available to choose
from.
For pupils who are keen to study
seriously the Vaccai Metodo Practico di
Canto is to be recommended. This is
published in different keys for all voice
types and the Ricordi edition has a CD
on which Italian singers demonstrate
the lessons in the Italian language,
which is very helpful.
The Practical Piano Teaching Course
“EPTA’s motto ‘inspiring all piano teachers, performers and enthusiasts in the UK’
has become a reality for me and my students thanks to the PPTC!”
EPTA’s exciting new Practical Piano Teaching Course (PPTC) is now accredited by the
University of Reading, writes Director, Lucinda Mackworth-Young.
Aiming to refresh existing teachers’
skills as well as guide and give
confidence to those new to the
profession, the course, now in its
second year, has participants of every
age, from almost nil to forty years of
teaching experience.
Held on three residential weekends and
four further Sundays at the Purcell
School of Music, we are always
delighted that the first weekend of the
course results in a flurry of
enthusiastic emails: “I am now bursting
with ideas and on such a high…” and
“I’ve just been teaching for ten and a
half hours solid, and have never felt so
refreshed! Many, many thanks!”
Expectations now being high, we are
still confident that the second weekend
won’t disappoint. It includes workshops
for problem pupils and parents, ideas
for teaching dyslexic and dyspraxic
pupils, teaching piano technique
creatively, and there is a dance session
for musicians (minuet, mazurka,
polonaise, etc.).
Since joining forces with the Purcell
School of Music in 2008, the course
has benefited enormously from the
expertise of the many distinguished
piano professors there, as well as from
the fleet of Steinway and Fazioli pianos
which are available for students to play
from first thing in the morning until
last thing at night!
Continually developing, the PPTC keeps
abreast of the latest educational and
pedagogical thinking and practice,
thanks to its team of highly innovative,
inspiring and dedicated Principal Tutors,
and the very welcome and constructive
feedback from the participants!
If you would like to know more, please
contact Jane Hunt: T. 01923 331138;
E. [email protected]
9
Features
Back to School!
Elizabeth Lannigan, an LCM Drama & Communication examiner and
centre representative, discusses the work of Hamilton College, where
Speech & Drama classes are going from strength to strength.
The town of Hamilton in South Lanarkshire, Scotland, is home to Hamilton College, a
co-educational Christian independent school for pupils aged 3 to 18. Currently the school
community has around 700 children and young people in the Nursery, Junior and Senior Schools.
The school is extremely active with impressive Christmas and end of term concerts, nativity, and
a professional musical show every two years, the last one being Joseph and the next being Honk.
Pupils are auditioning now. Recently sixth formers ably performed a part from Hamlet and the
Upper Junior School put on a Scottish Showcase to coincide with Scotland’s Homecoming
Celebration Year. Yet another polished performance.
The school celebrated its silver
anniversary last year.
I have had the privilege of going into
the Nursery there on a weekly basis
since 2006, teaching Speech and
Drama. At the end of every school
year the participating children were
given the chance to sit an LCM Early
Learning Stage 3 exam. The examiner
was welcomed into the Nursery and
the children performed their poems
with pride.
In 2008, letters were sent out to all
children in the Junior School offering
similar weekly classes. The response
took everyone by surprise! No less
than 80 children were eager to take
part, and this has steadily grown to
over 100 children now, with some
students from the Senior School
getting involved too. The children
enjoy poetry, tongue twisters,
breathing exercises, reading aloud with
expression and confidence, learning
techniques for public speaking,
prepared and impromptu speeches,
acting, miming and developing
presentation skills. On occasion, they
get to take part at events within the
school, the most recent being at the
Christmas Fayre where each class
performed a Christmas Group Verse,
all wearing Santa hats, of course!
10
Hamilton College pupils made quite an
impression as they travelled to
Glasgow to take part in the Speech &
Drama section of the Glasgow Music
Festival. Last March, 40 children from
the Junior School chose to take part in
the many different classes the festival
had to offer, ranging from Solo Verse,
Bible Reading, Writing and Reading to
Acting and Scottish Verse. Several
pupils took part in as many as 3
classes. The high standard of the
performances of all the pupils is a
testament to the hard work the
children had put in. They each had to
perform in public and be appraised by
a professional adjudicator with all
performers receiving a Certificate of
Performance. The aim of the festival is
to promote and develop interest and
participation in the performing arts
and it is working! This year we have
doubled the entries and are looking
forward to taking part again. We are
being adventurous and have entered
the Kindergarten performing a
rendition of The Owl and the Pussycat
in the Group Verse class and the
Creative Performance section with a
cast of 57 children performing a
Scottish medley of song, poetry,
group verse and dance!
After the Glasgow Music Festival, we
plan to have the exams, have a fundraising Showcase of Talent and take
part in the school’s Fun Day. The
children will learn poems, sing, and
perform mime on a circus theme
called Clowning Around. This all
promises to be lots of fun!
Without doubt it shows an awakening
in the school to the possibilities within
the world of Speech & Drama, which
can only be a good thing! This is also
shown by the numbers who sat
London College and Victoria College
exams last June. They all passed with
flying colours! We had an examiner
from each College visit the school. The
fact that it was on home turf helped
the children relax and thoroughly enjoy
the experience. Jennifer Speculand
from LCM and Robin Wood from VCM
carried out the exams in a warm,
friendly, but professional manner. I felt
proud of the children, their results and
their behaviour on these two days. We
hope the examiners left with pleasant
memories of their day at Hamilton
College. The children and their parents
are now making their choices of what
exams to sit this June. I am sure we
will all enjoy working from the new
LCM syllabus in the near future.
So why are the classes so popular?
Why are parents so keen for their child
to participate? Could it be because at
the centre of all classes is the art of
communication? Speech and Drama
allows students to communicate with
left: Charlie and the Chocolate Factory
Jason, Andrew - Duologue
right: The smile says it all! Abigail’s
parents could not believe how quickly
she learned her prose piece!
Speech & Drama Step 2
Features
and understand others in new ways.
Training in communication is
undoubtedly a necessity in today’s
increasingly media centred world.
Participating children are less likely to
have difficulty speaking in public and
should be more persuasive in their
communications, both written and oral.
They will most certainly be better able
to put themselves into another’s shoes
and relate to them. They will, of course,
be more positive and confident
individuals. Children are learning to
work together in class, to co-operate,
to find the best way for each member
of a group to contribute, and to listen
to and accept the viewpoints and
contributions of others. In a safe
environment each child can explore
Speech and Drama and be provided with
an outlet for emotions, thoughts and
dreams that they may have no other
means to express. Poems and verses
use words to paint mental pictures and
help to expand their imagination.
Learning poetry by heart should be fun,
not another piece of homework.
Starting very young, when the brain is
at its most receptive, is essential. I will
never forget going to the Nursery to
take a class and asking if the three and
four-year-olds knew any poems by
heart. One little girl put her hand up
and proceeded to recite, word-perfect,
The Owl and the Pussycat by Edward
Lear. She told me afterwards that it
was such fun saying poems!
Star of the future!
Lucy - Early Learning Stage 3
Each day within the school
environment brings new challenges.
There will always be the child who
hates to go first to perform, who
turns bright red when asked to read a
passage aloud, who has problems with
his diction, who just CANNOT learn
the words to her monologue, or the
child who constantly vies for your
Mad Hatter’s Tea Party
Amy, Mary, Olivia - Group Performance
The exam is over and we’re still smiling!
Sophie, Alasdair, Olivia - Step 1
attention, who has all the answers,
who is louder than everyone else or
who just will not stop talking! It is a
continuous challenge to come up with
fresh material to keep the lesson
bright and exciting, to inspire even the
most introverted child, to temper the
most precocious and to stimulate a
love of all things under the broad
banner of communication – a subject I
am passionate about – to reach deep
within each child and help them
achieve their full potential.
I truly believe the parents of the
children of Hamilton College who are
investing in these lessons fully realise
the great benefits of fluent, articulate,
confident children, who are our future.
As a long-standing teacher of 27 years
I understand that the numbers in the
classes may rise and fall but my hope
is that each child, who even for a short
time has been part of these weekly
sessions, will have benefited a little
and will have had their eyes opened in
some small way to a world of
possibilities within this subject.
My work at Hamilton College keeps me
extremely busy! It is a privilege to be
working within such pleasant
surroundings with such lovely children.
I also have Speech classes within
Kelvinside Academy Nursery on a
weekly basis, with thanks to Jennifer
Speculand for that introduction! As
well as this, May Sneddon, Moira Kyle
and myself have worked together for
over 20 years organising the North
Lanarkshire Speech Festival. We have
local sponsors and the active support
of North Lanarkshire Education
Department, which always helps! May
and I adjudicate around 800 children
over the 2 day event, an exhausting,
but rewarding task.
In recent years it has also been exciting
using the skills learned over the years
in a different way, firstly as an
examiner for London College of Music
for the past 4 years, then as Joint
Speech Secretary for the Glasgow
Music Festival for the past 2.
Communication Assessment work
within the NHS was a huge challenge
last year and a real learning experience
for me, as was being part of one of
the judging panels for a regional heat
of the BBC’s Off By Heart poetry
competition, also last year. And so the
work in Speech and Drama goes on,
but these are stories for another day...
Hocus Pocus
Gillian, Taylor, Cat
Group Performance
Wicked Witch
Gillian - Acting
11
Features
Reception Year Children Add Another String to Their Bow
by Ruth Travers, Chelmsford Representative
How would you like to teach 58 four year olds the violin from scratch using your
teaching method?
That was the question, and my reply was: “That sounds like a great adventure!”
Music specialist and LCM representative and teacher Ruth Travers was invited to
take on this very exciting challenge recently at a primary school in Chelmsford.
The project: to teach all 58 reception children in two groups the violin and to
introduce her music literacy method Stave House, which teaches children from the
age of two and a half years to explore the concepts and principles of notation,
rhythm and composition. Ruth was extremely thrilled at the prospect.
Innovative headteacher Suzannah EdomBaker of Newlands Spring Primary
School invested in enough small violins
for every child and is offering all the
children tuition with Ruth once a week,
funded by the school.
Half a term later the teachers and
parents cannot quite believe their eyes
and ears. Having been extremely
reticent about the idea at first they are
thrilled with the progress the children
are making.
Not only can they all co-ordinate the
violin and bow, after just five weeks
they are all able to play little tunes
using the E, A and D strings, they can
distinguish between the strings,
recognise the notes, are able to read
and play what they see, and are able to
construct little tunes themselves as a
beginning to composition.
Parents who recently saw some photos
thought the pictures had been staged
and were quite speechless to find it was
for real!
Ruth is delighted with the way her
method has lent itself to such a large
group. The children work fantastically
as a unit and no one is being left
behind. The aim is to continue on into
Year 1 and start a fresh reception
group. This means every child in these
years will be musically literate and
familiar with at least the treble clef by
the age of five. Those that show
potential and would like to can then be
offered small cellos and basses and
violas, learning with Stave House, and
the children will then be able to
experience string ensemble playing.
All of them will be a great asset to the
school orchestra later on. They will also
be able to write music in a simple form.
12
Stave House itself is a delightful way to
learn. Developed from looking at the
way children learn, using songs, stories,
rhymes and games, the children explore
the rudiments of music that many of
their older contemporaries struggle
with. The children are just having fun
with music but all the time are gaining
skills for life.
The beauty of Stave House is that it will
never have to be undone, as it uses no
gimmicks or short cuts.
Workshop, Newlands Spring Primary School
"The approach is like a breath of fresh air for teachers
The method adapts to
struggling with traditional methods of teaching notation.
all instruments, and can
It's fantastic fun for children and simple enough for parents
be used with whole
to interact with during practice at home should they wish
classes using tuned
to. All class instrumental and singing teachers can learn
percussion or one to
the method very quickly and achieve lasting results."
one. It’s simple and fun
enough to use with two
Linda Burton, teacher
and a half year olds but
can stretch and
challenge children of ten. The children
Ruth teaches and the rapport she has
develop excellent sight reading and
with the children. She is excited each
sight singing skills and understanding
week and can’t wait to get to class.”
the language of music becomes a way
A class teacher at Ixworth Primary in
of life.
Suffolk wrote, “What a fun way of
The Stave House home pack can be
learning how to read music. All the
used at home with or without musical
children were engaged and quickly
knowledge.
picked up the objective. I wish we could
have been taught by this method, and
Pippa Martin, mother of Beau, who is
therefore would recommend it!”
two and a half and attends a group
session with Ruth, says: “A wonderful
Ruth has been a conference speaker for
creation! Ruth teaches her method
early learning conferences in Wembley
beautifully with so much enthusiasm.
and Scarborough and runs teachers’
Each child comes away with something
workshops and inset days.
new each week. We are so pleased we
For more information, to buy a Stave
found Ruth and Stave House.”
House teaching pack or to book a
Maria Herbert, a mother of three, says:
workshop, email Ruth Travers at:
“Stave House is a great method. I have
[email protected]
three children aged 10, 7 and 4. Each of
Packs retail at £20 and include a
them has warmed to Stave House with
enthusiasm. My youngest loves her
teaching manual, 3 workbooks, a CD
Stave House violin class due to the way
and Stave House hands-on materials.
UK Centres
Wakefield and Leeds
The annual Prize Giving Concert for the
Wakefield and Leeds centres was held
on Friday 9th October in the theatre at
Queen Elizabeth Grammar School in
Wakefield. There were 22 performers
ranging from Pre-Preparatory up to and
including Grade 8, with many varied
performances from piano, music
theatre and classical singing, which
were greatly enjoyed by the audience of
approximately 200.
Certificates and prizes were presented
by Philip Aldred, Chief Examiner in
Music, who also performed the piece
Pavane for a Dead Princess by Ravel on
the piano, which was greatly
appreciated by all those present.
This year the ‘Barbara Howard Memorial
Cup’ was presented to David Tattersall
for achieving a Distinction in Grade 8
piano; the ‘Cathy Nash Music Theatre
Award’ went to Christian Lunn for a
UK Public Centres
New Representatives
Blandford Forum
Val English, Philip Aldred, Christian Lunn,
Anne Robinson, David Tattersall
Distinction in Grade 8 music theatre,
and the new ‘Award for Outstanding
Musical Achievement’ was awarded to
Val English for a Distinction in Grade 8
classical singing.
Many thanks to all those who attended
for their continuing support.
Anne Robinson
Wakefield and Leeds Representative
Newcastle
She was one of the rare
teachers who can boast a
student who was
awarded 100% for a
graded piano examination,
back in 2002. She entered
students for exams in
Winter 2009 but sadly did
not to live to see the (as
always) lovely results.
Olive started lessons at
the age of 11 and was
taught by Jane Randall,
who had been established
in South Shields for many
years. It was there she
met her husband, Billy,
and there she remained.
Deeside
Mr Scott Vodrey
371 Abergele Road
Old Colwyn
Colwyn Bay
Conwy
LL29 9PL
T 01492 513826
E [email protected]
Changes to Details
Newcastle lost two of its much-loved teachers: Olive Randall
in November, and Jack Smith in January.
Olive (pictured) was an
amazing lady who I got to
know over the many years
when she came to the
exam sessions with her
students. Always
sprightly and enthusiastic
and passionate about
music, she greatly
enjoyed teaching, and had
done so for 70 years.
Mr Brian Levy
Dorset Rural Music School
The Close
Blandford Forum
Dorset
DT11 7HA
T 01258 452511
E [email protected]
W www.drmsmusic.co.uk
The day of her funeral
was sad for all attending.
The church was full, and
her son Bruce played all
of the beautiful music,
finishing with Olive's
favourite piece, Chopin's
Raindrop Prelude. Olive
Randall died young at the
ripe old age of 88 years;
she was a wonderful lady
and will be greatly missed
by us all.
Another great loss for the
Newcastle centre on
January 6th was 75 year
old Jack Smith.
I spoke to Jack and his
wife Ann often on the
telephone; he was always
cheerful and like Olive had
a huge attendance for his
send off.
Students had written to
Ann words which were
read to us all at his
funeral, and I would like
to share some of these
Bournemouth
The Bournemouth centre has
closed; please use the new
Blandford Forum centre instead.
Thanks and best wishes to Sharon
Gaskin.
words with you. “He was
the kindest, most
inspirational musician I
have ever met”. “Jack
meant the world to me”.
'Without him I would
never have continued with
music”. “I have learnt
more from Jack than
playing the piano – he has
taught me to love,
respect and be as caring
as I can be, because he
was!” I think those words
say it all.
Castlederg
On behalf of all their
friends and colleagues at
LCM, to Olive and Jack’s
families I offer heartfelt
sympathy and thanks for
their lives.
York
Veronica Cairns
Audrey Hamilton has a new email
address:
E [email protected]
Harpenden
The Harpenden centre is now
named Hatfield, as this is where
the exams are held.
Nuneaton
Marcia Woodhouse has a new email
address:
E [email protected]
Gina Campbell has moved to:
1 Dolman Terrace
Pocklington
East Yorkshire
YO42 2QS
Telephone and email unchanged.
Newcastle Representative
13
UK Centres
EPTA UK
Keighley
This year’s annual conference for the UK branch of the European Piano
Teachers’ Association will be held at Trinity College of Music, London,
from July 22nd to 24th.
Our annual Presentation Concert was held on
Saturday 21st November 2009 in St John’s
Church, Clayton, Bradford. A large audience
enjoyed performances from pianists, a keyboard
player, a guitarist and a flautist. Singing items
were performed by the Junior Singing Club from
the Keighley Amateur Operatic Society and
Christine Quirk, one of our local teachers.
The three days will be packed with recitals given by Oana Velcovici from
Bucharest, Murray McLachlan and Philip Fowke. Lecture-recitals will
cover a wide spectrum of topics, including: teaching beginners,
intermediate students, a masterclass with the advanced winners on the
EPTA UK 13th Piano Competition, Reinecke, yoga, improvising,
Schumann, sight reading, the young Benjamin Britten, alternative
fingering, LCM’s piano syllabus and Trinity Guildhall’s new electronic
keyboard syllabus. There will be wake-up sing-in sessions, and a closing
concert given by winners of the EPTA UK Piano Competition.
Presenters are: Samuel Holland (USA), Sharon Goodey, Elsa Lusher,
Douglas Finch, Penelope Roskell, Danielle Salamon, Andrew Quartermain,
Heribert Koch (Germany), Peter Feuchtwanger, Jeremy Siepmann, Nancy
Litten, Philip Aldred, Alan Bullard, Celia Waterhouse and Sally Chappell.
There will be further opportunities to socialise at the Thames River Boat
Trip Dinner, the Gala Dinner and the Drinks Reception, as well as while
browsing through the music stands of several publishers.
Piano teaching can be an extremely lonely profession and it is always fun
and helpful to get together with colleagues to share and exchange views,
so why not come along to this exciting conference. EPTA UK members
receive a hefty reduction. Any non-members interested in coming to any
or all of the events are most welcome and can obtain further information
from the administrator, Kathryn Page: [email protected] or from Nadia
Lasserson: [email protected].
Our guest of honour was Philip Aldred, who
presented prizes and certificates and who spoke
about the work of the London College of Music.
The Godfrey Turner Trophy was won by pianist,
Katie Tabiner, and the 2009 Progress Prize was
awarded to Amy Thompson.
Proceeds from the concert were donated to the
church building fund and Marie Curie Cancer
Care.
Maureen O’Hara
Keighley Representative
Nadia Lasserson
EPTA UK
Sheffield
Back row: Rachael Stamper, Maureen
Burgess, Christina Pierce, Laura
Banks, Sarah Jabir. Front row: Penny
Tozer, Jessica Wood, Anna Friggens
Sheffield’s annual Prize-giving Concert was held on 2nd October
2009. The prize-winners performed to a full audience; the
performances ranged from first steps through to diploma level,
covering a wide range of instruments plus music theatre and
popular music vocals.
There were 40 performers, all of whom had achieved very high
marks during the year. Medals were also presented to two
candidates who had achieved 100% in their theory of music
examination. They were Tom Kaye and Anna Friggens.
To present the prizes this year on behalf of LCM was our guest
of honour, Godfrey Turner, an examiner for LCM, who so kindly
gave us his time.
Michelle Paraskeva,
music theatre ALCM
Godfrey Turner presenting trophies
All proceeds from the evening, at which £800.00 was raised,
went to the Sheffield Children’s Hospital. Thank you to everyone
who came on the evening and gave us their support.
The photographs show various prize-winners performing on the
evening, and the trophy winners.
Thank you to everyone and to the wonderful performers for
making this night possible. Our next concert will be held on
Friday 8th October 2010.
Maureen Burgess
Sheffield Representative
14
Liam Elliott Dawson
Lewis Bettles
Overseas Centres
Jackson, USA
The photographs were taken during the
exam session held at the Jackson centre
in January 2010. The exams were a
wonderful success.
Top photo. Front left to right: piano
candidates Shelby Hughart, Ashton
Goodwin, Ailsa Emerson, Gabby
Williams, Adam Woodall.
Back left to right: Dr John Beilby
(examiner), Sheila Mitchell-Hart
(Jackson representative).
Middle photo. Front left to right:
Dustin Kirk (Piano Grade 3), Kate
Hubbs (Harp Grade 2), Abigail
Shepherd & Haley Hicks (Harp Grade 3),
John Thompson (Piano Step 1).
Back left to right: Dr John Beilby,
Sheila Mitchell-Hart.
Bottom photo. After the exams were
completed, candidates, parents are
friends enjoyed an evening ceili filled
with music, food and good fun at the
Harp Center.
Sheila Mitchell-Hart
Jackson Representative
Malta
New Overseas Centres
Budapest *
Mrs Faye Gabor
Petnehazy Utca 31
Budapest
1139
Hungary
T 361 339 4404
Chennai
Ms Ahlauyu S V Naiud
Director
3Bs School of Music
No.18, Jeevaratnam Nagar
First Street
Adyar
Chennai 600020
Tamilnadu
India
T 91 44 4211 4171
E [email protected]
W www.3bsschoolofmusic.com
Melaka 2 *
Ms Penny Ang
First English Enrichment Centre
No.35, Jalan Kota Laksamana 2/17
Taman Kota Laksamana
Seksyen 2
75200 Melaka
Malaysia
T
F
E
E
06 2829 502
06 2831 180
[email protected]
[email protected]
Sonatina Music Pte Ltd
Mr Bobby Bao & Ms Penny Peng
Sonatina Music Pte Ltd
271 Bukit Timah Road
#01-06 Balmoral Plaza
Singapore 259708
T
F
E
E
W
65 6737 9805
65 6737 9805
[email protected]
[email protected]
www.sonatinamusic.com
South China Region
During the Annual Concert, which was held at the Casino Maltese, 33 students
received Diplomas of the London College of Music. The presentation was made
after the concert by the President of the Society, Mr Joseph J Mifsud.
The concert included performances on the piano by Christina May Cefai, Julian
Cefai, Rebecca Borg, Stephanie Mamo Portelli, Roberta Bugeja, Martina De Bono,
Lara Scerri and Kimberley Terribile. Carlos Borg played the trumpet, Luke Farrugia
the clarinet and Angelo Borg the saxophone. Gayle Scerri presented the
programme. It was an enjoyable and well attended event.
Malta Society of Arts, Manufactures and Commerce
Ms Lei Yuet Ying & Ms Kare Ma
Happy Sound Music
5/F, 5A015-016 Grandview Mall
No.228 Tianhe Road
Guangzhou
China
T 86 20 3833 1712
E [email protected]
W www.happysoundmusic.com
* Drama & Communication centres
15
Overseas Centres
Penang, Taiping and Ipoh
It was a pleasure to return for the second time to the island of Penang, Malaysia, in
December 2009, and thence to two places in peninsular Malaysia I had not yet
visited, the small hill town of Taiping, and Ipoh, a sprawling city of about 900,000
population surrounded on three sides by spectacular jungle-clad limestone hills. Many
thanks to LCM representatives Julin Khoo, Amy Chuah, Jonathan Moo and Peter Lim
for their hospitality and efficiency, which meant a care-free tour on which I could
concentrate on examining, without being distracted by worries of a practical nature.
It is pleasing to report some very proficient and musical performances, especially in
diploma exams. The most memorable of these was that of the girl in Penang who
gave a virtuoso account of Ginastera’s
Danzas Argentinas, a work that is daunting
even for seasoned concert pianists. This
was one of those rare occasions for an
examiner when one forgets that one is in an
exam room and just sits back and enjoys as
if in a concert hall.
Michael Regan pictured with
students at JY Klasik, Penang
Michael Regan
Examiner
Michael Regan with
LCM representative Peter Lim
and teachers at Ipoh
LCM representative Jonathan Moo
(2nd right) and staff of Dee Music
School, Ipoh, with Michael Regan
Hong Kong
The 2009 Hong Kong Graduation
Ceremony of the London College of
Music (Happy Sound Music Centre)
was held on 27 December 2009 at
the Wang Gungwu Theatre of the
University of Hong Kong, in which
30 candidates from Hong Kong,
Macau and China received their
DipLCM, ALCM, LLCM and FLCM
diplomas with great satisfaction and
a sense of achievement.
The ceremony began with remarks
of commendation by Professor John
Howard, Director of Examinations
of London College of Music, and
this was followed by a thank you
address by Dr Chu Ching-hong,
Local Representative of London
College of Music Examinations, who
expressed in his speech that “We are
truly thankful for the London
College of Music Examinations in
providing an excellent way to help us
improve, and in particular, my
special thanks to Professor John
16
Howard and his team of music
professionals for giving us their
unfailing support all the way.”
Among the various diplomas
presented by Professor John
Howard, the Honorary LCM was
awarded to Victor Ho Man-yiu,
conductor of the Hong Kong
Southern District Orchestra, and the
Fellowship by Professional
Achievement to Dr Chu Ching-hong,
Chairman of the Hong Kong Musician
Association (pictured bottom left).
Performances by the wind band and
string band of the Hong Kong
Southern District Orchestra, and the
guitar ensemble of the Resonance
Culture Centre, were arranged after
the award presentation ceremony to
conclude the stately event in a
festive atmosphere.
Dr Chu Ching-hong
Happy Sound Music
Overseas Centres
Kuala Lumpur and Johor Bahru
What now feels like my annual visit to Kuala Lumpur is always full of
excitement and anticipation, but when two very bubbly young ladies
entered the room during the Winter 2009 session, I knew that I was in for
something really extraordinary. A false start caused the girls to dissolve
into a fit of laughter but they quickly composed themselves and set about
delivering an extremely well crafted and musically convincing performance.
Their sense of ensemble was astonishing and their phrases were eloquently
shaped. Dynamic contrast was vivid and the piano nuances of sound were
exquisite. It just left the examiner wondering whether, considering the
unfortunate beginning and a hiccup in the sight reading, the extremely high
mark awarded for this Advanced level piano duet examination was in fact
enough.
On 27th November 2009 a keyboard workshop
was held at the Watermusic Academy in Kuala
Lumpur. It was conducted by Mr Ray Bidwell,
who was also the Kuala Lumpur 1 examiner
for the Winter exam session, 2009.
Montage of images from the workshop
Tan Li Zhi and Lim Shin Li
Ray Bidwell with drum kit candidates at
Kuala Lumpur 1 centre
I was also delighted to return to Johor Bahru 1. Among the highlights here
were blind candidate Ryan Lam (10 years), who proudly passed his first
piano Step exam, and 14-year old Ming Jie Lim, who successfully passed his
ALCM in piano performance.
Ray outlined the various components of the
keyboard syllabus and emphasised the
importance of selecting the right pieces for
each individual candidate. The workshop also
included a discussion and short demonstration
on the use of registration and the need to
consider carefully whether to ‘arrange’ or
‘orchestrate’ the list B and list C exam pieces,
and to be clear about your reasons for your
decision. In addition, he discussed the various
types of keyboard on the market.
Ray Bidwell
Examiner
Presentation to the Principal of
Watermusic Academy, Samantha Chan
May I take this opportunity to thank Ray
Bidwell for his informative presentation and
also the Principal of Watermusic Academy, Ms
Samantha Chan, for arranging the workshop
on our behalf.
Above left: Ryan Lam with teacher, Wei Wong (also an LCM examiner)
Above right: Ming Jie Lim with Ray Bidwell
Patricia Law
Kuala Lumpur 1 Representative
17
Overseas Centres
An Examiner’s Tour of Malaysia
After 3 flights, to arrive in Kota Kinabalu, a town in the province of Sabah on the island of
Borneo, and find my luggage there too, was quite a relief. I had flown from Leeds
Bradford to Amsterdam, then on to Kuala Lumpur, both by Royal Dutch Airlines, then on
Malaysian Airlines for the 3rd leg. You feel quite important when the rep is outside the
arrivals hall, holding up your name. He is there to greet you and escort you to your hotel.
I was looking forward to being at the
seaside, but was unable to view the South
China Sea due to reconstruction of the
promenade, which meant hoardings
blocking the view.
After a day to recover from the journey, I
was escorted to a music school attached to
the Anglican Cathedral, and complete with
a restaurant too. Instruments included
acoustic and bass guitars and drum kits. A
change of venue for the afternoon session
involved classical guitar, violins, ‘cello,
piano and electronic keyboard.
The next day I was in the air again, flying
to Kuching in the province of Sarawak, but
still on Borneo. I then enjoyed a rest day,
and found the city attractive, and was able
to stroll along the riverside. I also arranged
to go on a short excursion to a National
Park in the rain forest, where I was able to
see orang-utans in the wild. They certainly
knew how to entertain the public at
feeding time.
The next day I was picked up by the rep,
who took me to a music school where I
examined for 4 days, with a similar range
of instruments to those I encountered in
Kota Kinabalu. The Principal of the school
was most keen to promote LCM Exams.
Next day in the air again, this time to Kuala
Lumpur on the mainland of Malaysia. I was
met by a limo driver who took me to
Melaka, a very historic city. It was a public
holiday. The journey normally takes 1 and a
half hours, but today it was 3 hours. There
was little time for sight-seeing here. I had
a day and a half examining pupils from a
School of Contemporary Music, mainly
taking Leisure Play piano or pop vocals.
Rarely in my examining career have the
candidates gained such consistently high
marks. I shall never forget listening to 2
blind children playing the piano – it was
quite emotional. Simon Cowell of X Factor
would have loved listening to the singers.
At mid-day I was picked up again by the
limo driver and was driven to Petaling Jaya,
a town some 5 miles out of Kuala Lumpur,
and it took 4 hours because of the traffic. I
couldn’t help noticing the difference
between UK motorways and the one on
which we were travelling. In the UK there
are mostly fields on either side, but in
Malaysia there were forests for miles and
18
miles, as the motorway had been cut
through the rain forests.
After a rest day, I started a long session in
Kuala Lumpur, and was taken to the Rumah
University where I examined mostly
pianists. At lunchtime I saw monkeys in the
wild, and even once looked out of the
window onto a little balcony outside the
room in which I was examining, and there
sat another monkey!
During the next day of rest, and at her
insistence, the rep took me to the
shopping mall at the foot of the twin
towers. Everywhere was trimming up for
Christmas. How interesting to notice in
this multi-cultural country of many
religions and races, that Christmas is
important. A Buddhist told me that she
loved Christmas carols.
The next day I was driven to Klang, a town
some distance from KL. Here I was able to
see the Malaysia away from the high rise
buildings of KL, and found it interesting.
The language was a slight problem for the
first time, but all candidates left the exam
room with a courteous bow. Christmas
decorations were popping up everywhere,
featuring Santa Claus, reindeer, sleighs and
even snow!
On the Sunday I ventured into KL again,
this time using the driverless train, which
stopped a very short distance from my
hotel. It took me direct to the station
underneath the twin towers, and cost only
50p – far cheaper than the London
Underground!
Monday, another venue in Cheras, reached
with a very jovial taxi driver, who also took
me to Kajang on the next day.
Wednesday was a workshop for teachers in
the area, wanting to know more about
LCM. This had been arranged by the rep,
and was held in her music school in
another area in the vicinity of KL. It was
here that I met Syuen Toh for the first
time, and was able to publicly thank her on
behalf of LCM for the wonderful work she
does in making sure that examiners know
everything needed during their stay in
Malaysia, and other countries in Asia.
Finally my last working day arrived, with
some relief, but also some regret! The taxi
also arrived, and we had discussions on all
Riverside in Kuching
Workshop at Kuala Lumpur 3
Syuen Toh, Godfrey Turner,
Shirley Goh (KL3 representative)
topics, each learning about our
own countries and lifestyles.
My last day was indeed a long
one, as my flight didn’t leave
until 23.40. It arrived in
Amsterdam at 05.30. How time
flies when travelling west – I lost
7 hours! My connection to Leeds
Bradford was not for another 4
hours, and I would lose another
hour on the way. The tour finally
ended on landing at Leeds
Bradford International Airport at
10.10, tired, but having enjoyed
the whole tour.
Having purposely not mentioned
many names, I would however
like to thank all the reps who
looked after me, and whose
hospitality was so much
appreciated. I must also thank
Syuen again; she is the Asian
equivalent of Janet Lill at the
LCM Exams office, and just as
efficient.
J Godfrey Turner
Examiner
Overseas Centres
New Centres in the Middle East
Ahmedabad
1. Dubai
In December 2009 LCM held its first
session of exams at Vibration School of
Music in Ahmedabad, Gujarat, India.
LCM Examinations held their
inaugural session this
December in Dubai. We were
extremely pleased to be able
to offer music instrument
exams to a number of our
students at The Popular Music
Institute and The Sing & Swing
Training Centre, as well as
students studying at other
institutes in this region.
Music instrument teachers in Dubai
have been working with LCM
syllabuses since the beginning of
2009 and have found the structure
and content to be both stimulating
and engaging for students. The coordination and organisation of the
examinations – largely due to the
efficiency of the UK administrative
staff, combined with the friendliness
and approachability of the visiting
examiner, Dr Andrew McBirnie –
ensured that all candidates found
their examination experience both
enjoyable and rewarding.
Whist in Dubai, Dr McBirnie was
also kind enough to conduct an
Peter Hallam examined candidates in piano,
classical, guitar, electronic keyboard, violin
and drum kit.
informative seminar covering a
range of topics relevant to a broad
range of instrumentations. The
attendees are pictured above.
On behalf of all LCM participants,
candidates, teachers, our
administrative staff, and of course
parents, I would like to convey our
appreciation for the assistance
rendered throughout this year.
Above: Hiral Upadhyay (representative) and
her daughter Swara, Peter Hallam
(examiner), Saurin Upadhyay (principal)
We anticipate a steady growth of
candidates in this region and look
forward to working with LCM for
many years to come.
Trevayne T Fernandez
Popular Music Institute
2. Qatar
International Academy for
Intercultural Development
(IAID) held its first LCM exam
session in December 2009.
Over 70 students took
electronic keyboard and
acoustic guitar exams.
The examinations were
conducted by senior examiner,
Dr Andrew McBirnie, who said: "I
would like to congratulate IAID on
their inaugural session of
examinations with LCM Exams, for
which I was privileged to be the
examiner. Compared to average
expectations, the standard was
extremely high, and indeed the
marks were the highest I can recall
for any single session in seven years
of examining for LCM. The students
were very well prepared and the
quality of their performances was
outstanding. I hope that more
students at the IAID will wish to
take LCM Exams in the future, and
will progress from entry level to
higher levels of accomplishment."
Macau
Marianne Indrinal, IAID Centre
Manager, said, “The certificates
given by LCM will boost the careers
of the students by encouraging
them to work harder. Taking into
consideration the overwhelming
support from LCM and the parents
of our students, the Academy is
planning to hold exams every six
months. Exams are also open to
non-IAID students from Qatar and
other countries in the Middle East.”
Pictured: Mohamed Mithlaj (IAID
keyboard teacher), Rajesh Jadhav
(IAID Director), Andrew McBirnie
(examiner), Marianne Indrinal (IAID
Centre Manager).
Pictured above is an Early Learning group
(Speech, Stage 1), with their teacher, Kare
Ma, who is also representative for the
Macau centre. The Macau exams were held
in November 2009, and examined by
Richard Lambert.
19
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Electric, bass and acoustic guitar syllabuses can be
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