How many scales in an ABRSM exam?

This post is basically in answer to a question I received on one of my videos on my YouTube channel.

In answer to this, I would say that the absolute minimum would be one of each type of scale, and this number increases with the higher grades. It seems from experience that there is usually an easy one at the beginning to settle the candidate down, followed by more difficult ones. If you make a complete mess of one, the examiner may give you a second chance by asking another similar one. The mark for the scales is based on an overall impression, not only of how well the candidate knows the various keys, but also fluency, evenness, how promptly the candidate responds and that the speed matches the grade. So the odd mistake or one disastrous scale won't necessarily lose that many marks.

It is believed, that examiners are supposed to work their way through all the scales and arpeggios required for the grade over the course of various candidates - otherwise, it would quickly become known that a certain examiner  always asks for Bb minor etc. Experience suggest also, that they aim to ask a mix of easy and difficult scales for each person, so you would be pretty unlucky to get all the worst scales for a grade, but you are bound to get some of them.

Examiners are aware that nerves play a role in exams and may well give the candidate a second chance to repeat a scale. A  struggling candidate is usually given several chances to redeem themselves, but someone who is clearly floundering on every scale won't be asked every single one. There just isn't time, and the examiner will have made up their mind on the mark fairly early on in the process.

For more help about How to Pass an ABRSM Exam check out the playlist below.

Is ABRSM listening?

Today's post is a follow up on a recent post related to the changes to ABRSM Theory from next year, which I reported on in an earlier post. It seems they are aware of some concerns of many and have issued a reply. I am interested whether you think their response is adequate - really listening to teachers, so please leave a comment below. It goes as follows:

A healthy debate

News of the updated exam papers has led to some debate. We know from research and recent feedback that many people welcome these changes. We also know that some teachers have concerns and I’m going to write about some of these here.

The value of theory

Learning about music theory and the way music works is such an important part of any music education. It gives students the tools they need to get the most from their musical activities, whatever they might be. Because of the value we place on music theory, we’ve recently spent time reviewing the exams. We want to ensure that they assess the right things in the right way, are encouraging and supportive, and give candidates the best opportunity to demonstrate their knowledge and understanding.

Responsibility, consultation and research

Each year thousands of candidates all over the world take ABRSM exams. As an awarding organisation monitored by official regulatory authorities, we take our responsibilities very seriously. This involves reviewing and refreshing all our assessments on a regular basis, a process which is always founded on consultation and research. We talk to experts. We listen to teachers and students. And we take into account best practice in assessment and question design – not just in the world of music but more widely as well.
In reviewing our Music Theory exams at Grades 1 to 5 we followed all these steps. The result? We’re making a number of small changes. We’re modernizing the exam papers and focusing more clearly on the building blocks of music theory – the essential tools that give students access to future musical progress and opportunities. And while there’s a small change in the skills needed in certain parts of the exam papers, the underlying knowledge students need to cover and the standard of the exams is staying the same.

What about creativity?

As part of this process we’re removing rhythm-writing, melody-writing and word-setting questions at Grades 1 to 5. Some teachers are concerned that this might reduce opportunities for students to be creative. However, while we would always encourage creativity in learning, research tells us that these questions are often answered in a way which suggests a formulaic or even ‘space-filling’ approach. So following consultation we decided to replace these questions. This has allowed us to focus more on the ‘nuts and bolts’ of music theory, give candidates extra opportunities to demonstrate their knowledge in this area, and increase objectivity and consistency in the exam marking. 

I’d also like to reassure everyone that we are not replacing these questions to make the exams easier. In particular, at Grade 5 we are continuing to ask candidates to apply their knowledge in a wider context when they answer questions on musical extracts. This is something which requires a similar approach to the melody-writing question and calls on similar higher-level thinking. So, importantly, the knowledge and understanding candidates need is not changing.

Moving up to Grade 6

There is also a concern that without melody-writing at Grade 5, candidates who want to carry on to Grade 6 Music Theory, with its requirement to write original music, might not be adequately prepared.
It might help here to explore the difference between Grades 1 to 5 and 6 to 8. In many ways, these two sets of grades have different roles to play. At 1 to 5, the focus is on developing a good grasp of the basic principles of music theory. The revised papers now reflect this more clearly. Grades 6 to 8 then give opportunities to demonstrate this knowledge in an applied and more creative way.
When making the changes at Grades 1 to 5, we’ve been careful to ensure that despite the slight shift in focus at Grades 1 to 5, the step-up from 5 to 6 won’t change. Once students have passed Grade 5 they should have the tools they need to start tackling the different requirements of the higher grades.


Why multiple choice?

One result of our research into question design is the introduction of multiple choice questions for musical terms and signs. Multiple choice questions are widely accepted as an effective assessment method and they will be familiar to the majority of candidates from their experience of taking other tests and exams. But does this mean we’re ‘dumbing down’? Absolutely not. When multiple-choice questions are well-designed, the likelihood of being able to give correct answers through guess-work is very small. We are continuing to assess a full range of terms and signs, and candidates still need to learn these thoroughly to do well in this section of the exam.

So what do you think? Does this response answer any concerns you may have had about the changes. Please do leave a comment below and let's have  as ABRSM calls it, some "Healthy debate" .

How to turn pages - WITHOUT throwing your music on the floor.

We've all been there - either a long piece with multiple pages or even a shorter piece with bad editing so that the page turn arrives at the most inconvenient moment. How does one turn that page without running the serious risk of the music ending up on the floor? 

Page Turner

This is quite a luxury for some and you need to find a good one. Someone who instinctively knows when is the best moment to turn the page and also won't get in your way. Here's a little know fact. In ABRSM exams, although candidates are not allowed to bring a page turner into the exam, the accompanist of a grade 8 or ARSM exam MAY do so.

Photocopying

Generally, the photocopying of music is illegal, but in certain situations it is permitted. Obviously, in your own home, copying a sheet of music that you have already purchased to help with page turns, isn't going to be problem, but what about in an exam situation? The ABRSM's official line is;

• The making or use of photocopies of copyright works is not permitted. Application should be made to the copyright holder before any copy is made. It is the Applicant’s responsibility to ensure that candidates act within the law with respect to the making and use of photocopies. ABRSM reserves the right to withhold the exam result of any candidate where it has evidence of the use of an illegal copy in connection with that exam.

This all seems a bit of a hassle, writing for special permission to copy one sheet for a page turn.

Memorizing

If you can do it, this is the ultimate solution and in many ways better for the music itself. I personally performed all my exams from memory, it helped to get more involved with the music rather than be distracted by the notes. If memorizing a whole piece is too challenging, I have a few students now, who memorize just the first or last page of a three page piece. You could even just memorize a few bars and turn the page at a more convenient moment.

Dog-Eared Pages

This is quite an effective method and I use it all the time when accompanying for exams where I haven't had the time to memorize the piece. Also many of the videos I have put on YouTube of exam pieces use dog-eared pages. You need to be careful though, to remember to re-fold the corner of each page everytime before a performance, as a flat dog-ear isn't as easy to get hold of. Another variation I have heard of is using mini post-it notes on the bottom corner of each page, but these need to be staggered if you have more than one turn, otherwise you might end up grabbing two at a time.

Cutting your music

It sounds like sacrilege, but another alternative is cutting your music. This works best for instrumental music with accompaniment, where they may be a few bars rest here and there. You could cut just under where there are a few bars rest, or in more continuous music, where there are a few beats rest, so that you could turn just half the page at this moment. Hopefully, if the edition lends itself, you will have an opportunity in the top of the next page to turn over the bottom half of the previous. (I hope that made sense)

Technology

More recently music has been available in digital form where you can store entire an library on your ipad for example. With this it is easier to swipe a single page without the risk of picking up two pages at a time, or worse still throwing your music on the floor. Further still there are now hands free devices like "Air Turn" which connect to your tablet through bluetooth. 

The AirTurn PED wireless, hands-free foot controller for your tablet, smartphone and computer.

Let me know in the comments below - what methods you have used or if you have any horror stories of page turn fails.

How to Pass an ABRSM Exam - PIECES

In order to get a good mark on your pieces in an ABRSM Exam, it is not just a question of getting the correct notes. That might be good enough to pass at lower grades, but at the higher grades there must be a sense of involvement when playing - communicating the mood, style and character to the listener.

First, let's take a look at the marking criteria. According to the officially published marking scheme a distinction would include:

• Expressive, idiomatic musical shaping and detail
• Assured
• Fully committed
• Vivid communication of character and style

Compare these two examples of the same piece set for Grade 8 Piano

     

I think you'll agree that, although the first one was 95% note accurate and kept the pulse going, the second, had more expression, conviction and musicality. With this in mind, getting a good mark in an ABRSM exam, starts right back when you choose your pieces. You should listen to all the options available and then choose the one that inspires you. You will play a piece better if you enjoy it.

The next step, is not to start learning the notes immediately. but listen to other good performances of the piece. make notes of how others interpret it, the shaping, the phrasing, the dynamics etc. Remember - you are a MUSICIAN not a TECHNICIAN.

Then, if there are any particular technical difficulties, start practicing slowly. maybe with a metronome. If you are stumbling on a particular passage, you are playing it too fast. Don't try and run before you can walk. You'll find that slow methodical practice, gradually increasing the speed, will develop muscle memory, so that eventually you will be able to play it faster - effortlessly. On the other hand, if you start practicing too quickly, constantly making the same mistakes, you are reinforcing the habit of making those mistakes. It will be even harder to break that habit later.

Once you have learned a piece, both musically and technically, you should be confident when going into the exam. Remember, one of the marking criteria for a distinction, was an "assured" performance. Go into the exam believing in yourself and when playing, you should have done enough preparation, that you can forget about the notes and enjoy the music. That's right, I said "enjoy" in the context of an exam. If you enjoy performing a piece, the examiner will enjoy listening to it.

To Play, or not to Play..... FROM MEMORY.

You’ve been preparing your exam pieces for a few months now, played the same piece over and over hundreds of times and probably able to play it from memory. Should you play it from memory in the exam? I will tell you what I did personally, when taking exams at the end, but for now let me highlight some Pros and Cons. 

Having the music book there in front of you, even if you don’t use it can give you confidence. An exam is a stressful situation and different people react differently to nerves. Under stress it can happen that the mind goes completely blank. Playing without the music might look impressive, but you will not get any more marks for doing so in an exam. You may know all the notes, but little reminders, pencil markings on interpretation, might just help you on the day to focus on the finer details. That said, if you go to any professional concert, a soloist will usually play without the music. Is that just to show off? I think not. Once you know a piece well technically, you can fully immerse yourself in it musically, better without the dots in front of you. This will mean learning not only the notes from memory, but also every little nuance. Added to this, especially at the higher grades, page turns can sometimes be problematic. 

In an exam situation - I’m sure an examiner will be a little sympathetic if a page turn causes a minor hesitation, but more importantly, it adds to YOUR stress and if a clumsy page turn does cause you a minor mishap, this will have a psychological effect on the rest of your performance. 

So what do the ABRSM regulations state on this subject. Here is their official line:

"Performing pieces from memory is optional, but candidates are encouraged to do so if they consider it will enhance their performance. Candidates performing from memory must ensure that a copy of the music is available for the examiner to refer to if necessary. 

Notice here there is a hint that playing from memory might make a performance better - but note that you need to have a copy of the music for the examiner. At the beginning I said I would tell you what my preference was personally when taking exams. I think you can possibly guess from the tone of some of my observations that I did my exams many years ago - ..... from memory, but I would be very interested to hear from you in the comments below - what is your preference and why.