news from centres

Issue 2015.1

ForteLondon College of Music Examinations Newsletter

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I am delighted to be able to introduce to you this edition of Forte. Although there has been a long gap since the last one, we have not been idle and there has been a great deal of development. For LCM Exams, this is a very exciting phase and we are pleased that the University of West London is investing in the examination board in signifi cant ways, which will enhance the future.

The fi rst is staffi ng: we have begun to expand our compliment of staff in Ealing. Second, our new IT system, ERIC, is very close to completion. It has been a lengthy process, and at times problematic, which is not surprising considering the size of the system and its scope. We are already seeing the ways in which people can benefi t from such new things as online entry for exams, and all of us will be seeing the advantages of the sharper fl ow of data, particularly for marketing purposes.

John HowardDirector of London College of Music Examinations

London College of Music Examinations is an international examining board offering Graded and Diploma Examinations in Music and Drama & Communication.LCM Exams caters for candidates of all levels: from early years examinations, through graded exams, to four levels of diplomas in performance and teaching. Qualifi cations are offered in an exceptionally wide range of subjects. In music, they encompass classical, jazz, pop, rock and traditional music genres. Subjects in drama range from acting to verse speaking and group performance, and in communication from public speaking to ESOL. A comprehensive range of publications is available, including all-inclusive graded handbooks for selected instruments for music.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 sector in being awarded by a university, while Ofqual accreditation assures validity and a standard consistent with other approved boards. Grades 6–8 qualifi cations in accredited subjects attract UCAS points towards university entrance.

LCM ExaminationsUniversity of West London

St Mary’s Road, EalingLondon W5 5RF

Tel: 020 8231 2364Email: [email protected]

LCM Exams Offi ce for Asia, Middle East & Africa

Lui Events Pte Ltd57 Mohd Sultan Road

#03-05 Sultan-LinkThe Tokyo Suite

Singapore 238997

Tel: +65 6622-5868Fax: +6622 5867

Email: [email protected]

www.uwl.ac.uk/lcmexams

Editor: Lizzie [email protected]

Contacts

John Howard Director of Examinations

Philip Aldred Chief Examiner in Music

Nigel Ramage Chief Examiner in Drama & Communication

Janet Lill Senior Examinations Offi cer

Lizzie Moore Qualifi cations Offi cer

Alexandra Marchant Exams Information Offi cer

Jackie Honan Finance Administrator

Jenny Thompson Administrative Assistant

Beth Swain Administrative Assistant

Peline Ong Director – LCM Exams Offi ce for Asia, Middle East & Africa

Djuen Wee Offi ce Assistant – LCM Exams offi ce for Asia, Middle East & Africa

Contents

Syllabuses and Publications ...................................................................4

Announcements ..................................................................................... 12

Features ...................................................................................................... 13

News from Centres ................................................................................. 22

Typesetting by Take Note Publishing Ltd.

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2016 Calendar – UK and Ireland

1 February Spring closing date (practical and theory exams)12 February TME meeting13 February Examiner seminar12 March – 23 April Spring practical exam dates20 April Spring theory exam date (Step and Grades)21 April Summer closing date, Scotland, Eire and Northern Ireland (practical and theory exams)1 May Summer closing date, England and Wales (practical and theory exams)21 May – 25 June Summer practical exam dates, Scotland, Eire and Northern Ireland18 June Summer theory exam date (Step, Grades and Diplomas)18 June – 23 July Summer practical exam dates, England and Wales1 October Winter closing date (practical and theory exams)19 November – 17 December Winter practical exam dates26 November Winter theory exam date (Step and Grades)

2016 Calendar – Asia

6 January Spring closing date (practical and theory exams)March/April Spring practical exam dates20 April Spring theory exam date (Step and Grades)22 April Summer closing date (practical and theory exams)July/August Summer practical exam dates18 June Summer theory exam date (Step, Grades and Diplomas)26 August Winter closing date (practical and theory exams)November/December Winter practical exam dates26 November Winter theory exam date (Step and Grades)

Late Entries

The standard late entry period is one week following the closing date. A fee applies to postal entries submitted during this period, but this fee is waived for online entries.*

Entries may be submitted until the day before the exam, subject to conditions. The fee for entries made after the standard late entry period is double the normal fee. Such entries are only accepted where timetabling is possible and as such must be approved in advance by the LCME offi ce.

Accepted Postal entries* Online entries*

Standard entries until closing date standard fee standard fee

Late entries

ERIC – Online Entry System

We are continuing to develop and improve ERIC and welcome feedback and suggestions: [email protected].

* Not applicable to Asia/Middle East/Africa

until one weekafter closing date

standard fee plus late fee standard fee

until the day before the exam(subject to conditions)

double the standard fee not available online

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Syllabuses & Publications

Piano Anthologies

We are delighted to announce that we will be able to publish the Grades 3 & 4, 5 & 6 and 7 & 8 Piano Anthologies at the beginning of 2016. After a long battle securing copyrights we were able to include almost all of the pieces we had hoped for. However, we were not able to publish the full list that was stated in the 2014 edition of Forte. This list will still be honoured and we will add these pieces, as well as the other pieces in the Anthologies, to the repertoire list in due course. In the meantime, please be assured that candidates can use these pieces in their exams.

All the pieces were selected from previous LCM exam lists due to their popularity. Teachers may fi nd this extra repertoire useful, particularly for inclusion in the Recital Grade exams, which are fully accredited by Ofqual.

N.B. The Grades 1 & 2 Anthology was published with a date of 2013 on the cover. Please be advised that this was the start date and it is still valid.

Please see below the fi nalised list of pieces that will be published in the Anthologies at the beginning of next year:

Grade 3

List B

Bartók: JestBartók: No. 11 from ‘For Children’Carroll: The Elfi n HarpCarroll: ZephyrFerrer: Sérénade EspagnoleGurlitt: ImpromptuHook: RondoTrad. Czech (arr. Eben): Too Bad for

You, I Love AnotherNakada: Song of TwilightWedgwood: MasqueradeWild: Sentimental Waltz

List C

Barratt: Rip, Rag, Panic!Chapple: TangoChapple: Spanish TummyChristopherson: Highland FlingHengeveld: Cha-cha-chaRose: Nimble as NinepenceSeiber: Cake WalkSeiber: Jazz-EtudietteJacques: Sticky ToffeeWedgwood: The Blarney StoneWilliams: Prelude

Grade 4

List B

Burgmüller: BalladeBurgmüller: BarcarolleDelibes (arr. Turner): Pizzicato PolkaElgar: SonatinaKabalevsky: A Sad StoryKarganov: Grandfather is DancingKöhler: Chromatic PolkaGrace: Scottish SeafarerLloyd Webber: Sentimental WaltzRowcroft: Tongue-TwisterTaylor: A Beach Picnic

List C

Williams: A Little DanceChapple: Lazy DaysChapple: Tea with Aunt MaudCornick: Two-Part InventionHengeveld: Argentijnse TangoJacques: Jelly Baby JazzStratford: Warm Up

Grade 5

List B

Cornick: Pensive RagHofmann: Am AbendHounsome: DriftingHowells: A Sailor TuneMcCabe: Champagne WaltzKabalevsky: DanceProkofi ev: PromenadeSchumann: WiegenliedchenStravinsky: AllegroWilliams: Compound Frolics

List C

Ball: Easy MusicChapple: BluesChapple: Come DancingChapple: On the Cool SideChapple: Washtub RagDraper: Cheese Cake WalkGuilfoyle: DownstreamIngoldsby: RumbaLinn: La Poupée de MarcellaMier: Taking it EasyNorton: Young at HeartRybicki: The Owlglass

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Grade 6

List B

Albéniz: Capricho CatalanBennett: Saturday’s ChildBruch: KlavierstückGlière: MazurkaGrieg: VolksliedKabalevsky: Variations XI, XII and

CodaMassenet: MélodiePachulski: PreludeDušek: Sonata in FProkofi ev: Cortège de SauterellesProkofi ev: ValseSlonimsky: Modinha Russo-BrasileiraTrad. (arr. Cornick): Londonderry AirSchumann: Fantasie-Dance

List C

Grace: Traffi c “Jam”Berkeley: No. V from ‘5 Short Pieces’Linn: Un Phare dans le BrouillardJoplin (arr. Turner): Elite SyncopationsNorton: Prelude VIPeters: Small Hours

Grade 7

List B

Bartók: Merry AndrewChopin: Prelude No. 26 in ADebussy: RêverieIreland: The Holy BoyFerguson: Bagatelle No. 2 in F MinorGrovlez: Petites Litanies de JésusIlynsky: BerceuseReger: Versöhnung

List C

Copland: No. 3Gould: Stamp!Linn: Le Chat et le MoucheronNorton: A Steady HandWarlock: Folksong Prelude No. 2Norton: Prelude II

Grade 8

List B

Bartók: Dance in Bulgarian Rhythm No. 3Bartók: Suite Op. 14, fi rst movementChopin: Nouvelle Etude No. 3 in ABerkeley: Prelude No. 5Granados: AndaluzaRachmaninov: Prelude No. 12Ravel: MenuetSchmitt: Valse Viennoise

List C

Debussy: MinstrelsArnold (arr. York): Scottish Dance No. 3Barnett: Ode to a PrincessMoeran: BurlesqueNorton: Sturdy BuildPoulenc: Novelette No. 3 in E Minor

“The Piano Anthologies add a whole new dimension to the LCME repertoire. In my view, they should form part of every pianist’s library – they are fun and they widen repertoire in general, as well as for LCM Exams use. My thanks to Dr William Alexander and Lizzie Moore for their drive and enthusiasm for this project.”

– Philip Aldred, Chief Examiner in Music

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New Irish Traditional Music Syllabus

Overview

The new LCM Irish traditional music syllabus will be launched in the Spring 2016 examination session. The new syllabus presents a major revision of the original 1998 syllabus, and incorporates a range of new and innovative features, many of which have been requested by teachers and candidates.

The Supplementary Tests have also been revised and expanded, and we are particularly pleased to be able to introduce Grade Examinations in bodhrán. Candidates will be able to enter for an exam under either the current syllabus or the new syllabus from Spring 2016 until the end of the Summer 2016 session, at which point the current syllabus will be discontinued (it is important that candidates indicate which version of the syllabus they will be using at the beginning of the exam).

Grades and Diplomas

The new Grade syllabus now offers the full range of exams, from Step through Grades 1, 2, 3, 4, 5, 6, 7 and 8 to Diploma level. The introduction of the full range of grades will allow for a smoother progression for candidates, and will give teachers a much wider choice of exams for their students.

The Step examination remains as before and the requirements of new Grades 1, 3, 5 and 7 will be immedi-ately recognisable as being approxi-mately midway between those of the existing Grades 2, 4, 6 and 8. The requirements of the existing grades have been revised slightly in some cases, to allow a smoother transition between all grades. The Performance and Repertoire components of each grade in the new syllabus are as follows:

Grade Performance Repertoire

Step Four tunes None

Grade 1 Three tunes Three tunes, examiner selects one of these

Grade 2 Three tunes Five tunes, examiner selects a number of these

Grade 3 Three tunes Five tunes, examiner selects a number of these

Grade 4 Three selections Five tunes, examiner selects a number of these

Grade 5 Three selections Three selections, examiner selects one of these

Grade 6 Three selections Four selections, examiner selects a number of these

Grade 7 Three selections Five selections, examiner selects a number of these

Grade 8 Three selections Five selections, examiner selects a number of these

The Diploma examinations remain largely as before, although a new Viva Voce component has been introduced to the DipLCM, ALCM and LLCM examinations. Accompanists are now permitted in the Performance component of all Grades and Diplomas.

Supplementary Tests

The Supplementary Tests have been revised and expanded, and a number of new tests have been introduced for certain grades, such as the instrument identifi cation test in Grades 1–4. The melody test (Grades 2–8) has been revised to refl ect actual tune types and the tune identifi cation tests have been revised for all grades. The discussion test at Grades 6 and 8 now includes the requirement to discuss a traditional music group and/or an individual player, and the regional styles component at Grade 6 now specifi es that three styles should be described.

Bodhrán Examinations

Bodhrán examinations have long been requested by teachers and candidates and we are delighted to be able to introduce these in the new syllabus. The new bodhrán exams have been developed with assistance from Mr. Eamon Murray, a leading bodhrán player and member of the prominent tradi-tional group Beoga, and follow the same format as the existing Grade Examinations, with Performance, Repertoire and Supplementary Test components, but the examination requirements have been adjusted to reflect the particular role of the bodhrán as a percussion instru-ment. The Supplementary Tests will again be familiar but with some appropriate adjustments for the instrument. Candidates entering for bodhrán exams will be required to accompany a melody instrument during their exam, and it will be the

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responsibility of the candidate to provide a player of a suitable instrument. For the new syllabus, the bodhrán exams will follow the Step, Grade 2, 4, 6 and 8 progression but this may change in future versions of the syllabus.

Leisure Play, Performance Awards, Ensemble

and Recital Grades

In addition to the Grades and Diplomas, the LCM Irish traditional music syllabus also includes a number of additional examination formats. The popular Leisure Play exams are now offered at 8 different levels, corresponding to the new Grades 1–8. Leisure Play exams do not include Supplementary Tests and are therefore ideal for candidates who wish to focus exclusively on performance. The introduction of the Performance Award assessment is an exciting one for LCM Exams and allows the candidate to submit their performance via DVD at any time during the year, which removes the need to meet specific examination closing dates, or to attend an exam centre. The Ensemble exams provide an opportunity for school groups and other ensembles to gain experience of performing as a team, and to develop the essential skills required for group playing. Recital Grades, which are accredited by Ofqual, are performance-based exams which allow the candidate considerable freedom in the choice of programme and the option to choose an additional examination component. For full details please see the new LCM Irish traditional music syllabus.

Syllabus Document

The new syllabus is purely for Irish traditional music – previously com-bined with Scottish traditional – and contains only the Irish tradi-tional music syllabus. It provides the overall requirements for each Grade exam and Diploma as well as offering detailed descriptions for each grade, clarifi ed and expanded general guidelines and, for the fi rst time, extensive tune repertoire sug-gestions. These have been added as a result of requests from teach-ers and students but it is important to remember that the lists are not definitive and that there is no requirement to include any tune named in the suggested Repertoire Lists in any examination.

LCME Irish traditional music exams have seen a strong growth in recent years with increasing numbers of candidates and new centres offering Irish traditional music examinations. We look forward to this growth con-tinuing under the new syllabus and we would like to take this oppor-tunity to thank all the candidates, teachers and centres for their support for LCME Irish traditional music examinations.

Patrick DaveyIrish Traditional Specialist and Trainer Moderator Examiner

“I would like to take the opportunity to thank Patrick Davey and Lizzie Moore for all their hard work in facilitating this new syllabus.”

– Philip Aldred, Chief Examiner in Music

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New Jazz SyllabusThe Jazz Grades and Jazz Diplomas syllabuses have been up-dated and are due for release in January 2016. A few areas have been refi ned and in some you will fi nd a greater number of options, producing a more fl exible syllabus. Below are some of the developments and changes:

Jazz Grades

1. Free Choice option – This is to encourage playing without music, exploring improvisation and increasing jazz language throughout the grades.

2. Technical Work – The scale and arpeggio/chord options (especially at the higher grades) have been restructured to help develop musical/jazz language. A number of patterns/scales/arpeggios have been grouped so that the candidate has more choice. There is now also a Study option in this section. See the example below, taken from the Grade 6 jazz saxophone Repertoire List:

Jazz Diplomas

DipLCM

The format of this examination will be as the current syllabus.

ALCM and LLCM

Two options will be offered:

1. The standard examination

2. A recital

Option 1: Standard In this format further options are offered. For example, in the Technical Work candidates can choose from the scales, arpeggios and chords section OR perform a jazz transcription and/or selection of vamps (for pianists).

Instead of Sight Reading, pianists will be required to study and play from a lead sheet. Five minutes will be given for study during the examination. The example will be similar to Real Book or Aebersold charts.

Instead of Sight Reading, wind players will be given a Short Study. A backing track and chord chart will be given to the candidate during the examination. Five minutes study time will be allowed. The fi nal performance should be improvisational in quality.

Option 2: RecitalThis option encourages the musician with a particular area of interest and/or passion to fully explore this in their performance. Please see below for an example of the ALCM Recital:

Jazz Saxophone: Grade 6

Component 1 - Technical Work 15 marksCandidates should prepare Option 1 OR Option 2. If Option 1 is chosen they can choose to play one Study as one of the pieces performed in Component 2. [See page 4 for information about publications and downloads.]

Option 1: Scales & Arpeggios (No metronome rate is set; however, candidates should demonstrate a fluent command of the instrument.) Ascending and descending from memory. To be prepared tongued and slurred, piano and forte. All major keys up to 4 sharps and flats (range B¨ to F two octaves; others one octave) All minor keys (melodic OR harmonic, candidate’s choice) up to 4 sharps and flats (range B¨ to F 2 octaves; others 1 octave) One to be offered (candidate’s choice): EITHER: Whole tone scale beginning on C (two octaves) OR: Blues scales: B, F (two octaves swung) and G (one octave swung)

Dominant 7ths in the keys of B¨ and E, resolving on the tonic (two octaves swung) Diminished 7th beginning on D (two octaves swung)

Option 2: Scale and Studies C whole tone scale (requirements as for Option 1) Studies – Wholesome AND Blues Thing

3. Performance – Lists A and B have been combined into one list.4. Aural Tests – Please be aware that only the Jazz Aural Tests

can be offered in the new syllabus. Candidates will no longer be able to opt for the Standard Aural Tests. Specimen jazz tests are available from www.lcmebooks.org and they will be supplied as an insert in the handbooks when purchased at the time the syllabus is launched.

Please be aware that the Repertoire Lists are no longer combined as woodwind and brass. You will need to consult a different Repertoire List for each instrument.

Jazz Steps

Simple arpeggios are required from memory.

The Performance section refers to ‘nursery rhymes or similar’. One of the pieces should be played from memory. It is hoped that, as their memory skills develop, the student will enjoy and respond to playing in an ensemble in a more confi dent way.

Option 2: Recital Component 1: The recital 80 marks

This offers the candidate with a particular jazz interest an opportunity to explore this via a 30–35 minute recital. The candidate will be required to explain the areas of exploration during the recital. The area of study is the candidate’s choice.

Possible areas of study/exploration

a) An artist who has had a deep impression on the candidate’s playing. b) The development of the use of modes in jazz. In the explanations the candidate could explain and demonstrate

the modes explored in the pieces. c) The Blues – Its history, development and variations. d) A concert of own compositions, including explanations related to the areas of exploration. e) An exploration of iconic Bebop artists and charts. f) The importance of the development of Latin American music in the development of jazz. g) Pianists could offer a concert which explores ‘voicings’ and explanations could describe their structures and

movements. h) ‘Cool jazz’. i) To convey the importance of the pentatonic scale (or any other chosen scale pattern) in the development of jazz

and improvisation. j) Important formulae in the development of Jazz. E.g. ‘Rhythm Changes’. k) Fusion – its development, variations and impact on music.

Component 2: Discussion 20 marks

To explore aspects of the performance and wider jazz background, detail and influences.

FLCM

The format of this examination will be as the current syllabus.

Stuart Corbett Trainer Moderator Examiner and Jazz Specialist

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RGT Ukulele ExamsIn 2014 RGT launched a range of fi ve Ukulele Playing Exams, from Initial Stage through to Grade 3. The huge popularity of this instrument has already been refl ected in the number of candidates entering these exams. To expand upon this range of exams, RGT have now launched a Grade 4 exam and a Level 5 Performance Award. Both of these represent a natural addition to the existing ukulele exams and are designed to develop the playing skills of intermediate level ukulele players.

As with earlier grades, the content for Grade 4 comprises fi ve components: Rhythm Study, Performance, Free Choice Specialism, Prepared Accompaniment and Musicianship. These sections enable players to focus on their skills in the areas of rhythm playing and accompaniment as well as the performance of solo pieces.

The Musicianship section consists of a range of tests covering aural awareness, musical knowledge and knowledge of the instrument.

The Level 5 Performance Award is slightly different and enables the player to concentrate on the performance of solo ukulele pieces only. Candidates are required to perform four pieces; there are no other components for this Performance Award. A downloadable package containing the notation and audio recording of four specially-composed solo performance pieces is available, although part of the performance may comprise free-choice pieces if preferred. Candidates have three options available to them for this Performance Award: Live Performance Award, where candidates attend an exam venue to perform, or Filmed or

Recorded Performance Awards, where candidates submit a video or audio recording of their performances.

Full details on all the RGT Ukulele Playing Exams and Performance Awards are available at www.RGT.org.

RGT Acoustic Guitar Concert Performance Diplomas

Building on the success of the Acoustic Guitar Playing Grades, RGT is delighted to announce the introduction of a range of Acoustic Guitar Concert Performance Diplomas. These Diplomas enable acoustic guitarists who are serious about mastering their craft to take their playing beyond Grade 8 and achieve an accredited qualifi cation.

There are four levels of Diploma available: DipLCM, ALCM, LLCM and FLCM. Each Diploma comprises two components as follows:

• Performance: Candidates perform a varied programme of music of a dur-ation that depends on the level of Diploma.

• Programme Notes: Candidates pre-pare a typewritten summary of the music performed. The exact word count varies according to the Dip-loma level.

The programme of music performed by the candidate is a completely free choice, but needs to demonstrate a degree of technical and musical com-plexity that is appropriate for the level of Diploma. Sample pieces are listed on the RGT website to give an indication of the required technical level, although candidates are expected to research appropriate material themselves. An important aspect of contemporary acoustic guitar is composition, and the performance of self-composed pieces for these Diplomas is most defi nitely welcome.

The majority of the performance should consist of solo guitar pieces, although the use of either backing tracks or live musical accompaniment is permitted for part of the programme. The use of alternate guitar tunings and alternative acoustic guitars (such as a Dobro or 12-string guitar) is commonplace amongst

contemporary acoustic guitarists and is therefore accepted.

Full details on this exciting new range of Performance Diplomas are available in the information booklet and syllabus which can be downloaded from the RGT website: www.RGT.org.

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Teachers of ESOL: New Diplomas to Validate

Your Skills

My Drama & Communication colleagues and I are deeply impressed by the achievements of your students when they sit our practical examinations under the ESOL syllabus ‘Speaking and Presenting in English’. In that syllabus we have sought to provide rich opportunities under the headings Performance, Presentation, Sight Reading and Interaction.

We hope you will have found the syllabus a positive support for your own teaching methodologies. For each Grade of examination we have given a full description of the elements that are assessed. Each description is elaborated with suggestions as to the preparation that should be undertaken and a list of the skills that the assessment items call on.

Our experience so far confirms that the strategies we have proposed in the syllabus can yield outstanding results. The students are not only learning to communicate and interact well in English, but beyond that they are acquiring personal confidence.

Their performance is a testimony to their own skills and ambitions, but just as emphatically to the pedagogic and personal abilities of their teachers. We therefore strongly wish to find a way of validating the achievements of our ESOL teachers, and the new set of TESOL Diplomas does just that.

The syllabus describes in detail the assessment for TESOL Diplomas at DipLCM, ALCM and LLCM levels. We hope it will encourage teachers to seek this validation of their work and we look forward to meeting candidates for the award, a process that will further strengthen the strong and happy relationships that already mark the links between the teachers and the examiners and officials of LCM Examinations.

Warm good wishes come from the team that has developed the ESOL exams and the TESOL Diploma set. I am deeply indebted to my ESOL colleagues who have been creative and accom-plished providers of syllabus materials: Tricia O’Shea as an external colleague and John Beilby, a senior and long-serving LCME examiner.

Administering and Preparing for the Quick Study

for DipLCM, ALCM and LLCM in Music Theatre on

the Day of the Exam

15 minutes preparation time is allowed for the Quick Study in Music Theatre Diplomas.

At a centre where there is a suitable room with a piano (or keyboard) other than the examination room, the candidate and their accompanist will be given the appropriate Quick Study 15 minutes before the allocated examination time. The examiner will ensure that the representative gives two copies of the Quick Study to the candidate and their accompanist.

Where there is no suitable room other than the examination room, the examiner will give the two copies to the candidate and their accompanist and will then leave the room for 15 minutes, during which time the Quick Study will be worked upon. After 15 minutes the examiner will return to the examination room and the examination will begin with the Quick Study.

The DipLCM Quick Study is a short song only: no libretto. For ALCM and LLCM a libretto is to be spoken, followed by the short song (for the libretto the examiner will read one part and the candidate will read the other).

Please note it is the candidate’s responsibility to provide an accompanist for the Quick Study.

See the Music Theatre syllabus for full details.

Philip AldredChief Examiner in Music

Recital Grades and the Use of the Study as a

Performance Option

For piano and electronic keyboard Recital examinations, the Study (Technical Component) may not be used as an option for any Performance.

Pieces must be selected from the relevant handbook and Repertoire Lists (please note: for drum kit where a piece is entitled ‘Study’ this ruling does not apply).


Stephen HazellChief Examiner in Drama & Communication (elect)

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LCM online shop

London College of Music Exams is pleased to announce the launch of its new online shop, in collaboration with Boosey & Hawkes. The LCM shop stocks over 2000 examination handbooks and publications, includ-ing repertoire from all publishers for each LCME syllabus. The shop also stocks the full range of RGT exam publications.

Explore the new shop at lcmmusicshop.uwl.ac.uk.

The shop’s Exam Syllabus Finder offers teachers and students a quick and easy way to select the sheet music they require for LCM exams. After choosing an instrumental syllabus and grade, exam lists are displayed with publications available for each piece. Full details of each

publication are given, and the chosen items can then be simply added to the shop basket for secure purchase.

As well as LCM and RGT handbooks and publications, music on exam lists from all other publishers is available via the LCM shop, so everything can be ordered online in a single visit. In addition to the sterling cost, estimated price conversions are displayed in 12 international currencies. Custom-ers can select standard or courier shipment to all global destinations and full customer service support is provided by phone or email.

Professor John Howard, Director of

LCM Exams said: “This is an excellent development, making our publica-tions and other related exam reper-

toire much more easily available to all. We are delighted to be involved in such an innovative project.”

David Allenby of Boosey & Hawkes said: “We are delighted to partner London College of Music Exams and the University of West London to create their new online shop and exam music fi nder. Since 2004 our retail operations have been focused online, and since 2010 we have offered tailored ecommerce solutions to third party organisations that share our passion for classical and educational music. The UK examination sector is a world leader and our provision of online music shops helps organisations expand and supply exam music to teachers and students internationally.”

Syllabus and Repertoire List

Update

Please refer to the website for up-to-date syllabus and repertoire list expiry dates: N.B. some ending in 2016 are likely to be extended further.

You can consult the website or contact the LCM Exams offi ce at [email protected] for further information.

Grade 7 Theory Handbook

The Grade 7 Theory Handbook is no longer available as a hard copy. However, it can be obtained digitally at www.lcmebooks.org.

All other Theory Handbooks are available to download from www.lcmebooks.org or are available to purchase as a hard copy.

Previous versions of Forte magazine

You can view and download previous editions of Forte magazine on our website: go towww.uwl.ac.uk/lcmexams and click on ‘Forte magazine’.

Theory Exams: REMINDER

Mobile phones may NOT be switched on or be on the candidate’s person during any theory exam. They are to be handed in to the invigilator before the exam begins, and may be collected as the candidate leaves the examination room.

Eating and drinking is not permitted in the examination room unless it is for medical reasons (e.g. a sugary drink or sweet if the candidate is diabetic).

The only pieces of equipment allowed in the examination room are those that enable the candidate to complete the exam paper (pen, pencil, rubber, ruler, blotting paper, spare cartridges, pencil sharpener, etc.).

All work in the examination room must be the candidate’s own and must not be quoted from any previous publication (published online or printed).

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Announcements

Call for New ExaminersIf you wish to become a practical or theory examiner for LCM Exams, or you know someone who does, please contact Philip Aldred for details ([email protected]). We are currently looking to expand our team of examiners and are particularly looking for theory examiners in the London area.

Music Education Expo 2016Come and visit us at the Music Education Expo at Olympia Central on 25 and 26 February 2016. The Expo has outgrown its previous venue (Barbican) and has now moved to the iconic Olympia Central. It has also been extended to include the Musical Theatre & Drama Education Show. There were over 2000 visitors last year, most of whom were music teachers. We look forward to show-ing off our extensive range of exams and interacting with practising teachers from around the country.

Members of the LCM Exams team will be there so do come and visit us! We hope to see you there at stand H21.

Annual Seminar

for All Examiners

We look forward to our next annual gathering which will be held at the University of West

London, St Mary’s Road on Saturday 13 February 2016.

Details will follow to all examiners but please be reminded that attendance at this seminar is compulsory.

TMES will meet in the LCME

Meeting Room, Lady Byron 03.

024 on Friday 12 February at

11.00 am.

I look forward to seeing you all in February.

Philip AldredChief Examiner in MusicKuala Lumpur Graduation

LCM Graduation Ceremony 2016

Date: Saturday 23 April 2016Session: Morning/AfternoonVenue: Plenary Theatre, Level 3, Kuala Lumpur Convention Centre, Malaysia

This event is by invitation only and is for candidates who successfully completed their Diploma in 2014 and 2015.

If you have not received your invitation letter, please contact us at: [email protected].

Performance Award and Diploma Fee Changes

The 2016 examination fee price list contains a few changes, which have been undertaken in order to make the structure more workable. First, having piloted the Performance Awards for a while now, it has become clear that the fees must be increased. Bearing in mind the amount of time involved on the part of the examiner, and the fact that these are real qualifi cations with proper certifi cation and reports, we have decided to increase the fee levels so that they are closer to the equivalent Graded Exam fee.

We have also made some alterations to the Diploma fee structure, so that the same fee is charged for the same level and type of Diploma.

13

Features

Hundreds of Children in East London Achieving Success with

the London College of Music Examinations

A successful partnership has been formed between the London College of Music Examinations (LCME) and Newham’s Every Child a Musician (ECaM) programme in east London.

Professor John Howard, (Director of LCM Exams), Philip Aldred (Chief Examiner in Music, LCM Exams) and the team from ECaM successfully piloted nearly 200 children through Performance Awards and Graded Examinations in 2015. Norma Spark, ECaM’s Programme Manager said: “We are so delighted to be working with the London College of Music Examinations and the University of West London. For us to have an academic partner of such stature is a very important mark of the quality of the music tuition the children of Newham are receiving.”

The ECaM programme delivers music tuition in the east London borough of Newham and lives up to its name, ensuring that every child aged between 9 and 12 years of age has access to free music tuition. The programme provides three years’ worth of free weekly music lessons and a free musical instrument (which is gifted to the children and is theirs to keep) to more than 11,500 chil-dren in the borough. That’s more than

300,000 lessons every year. Children can choose to learn the clarinet, fl ute, guitar, violin, viola, keyboard, trumpet or trom-bone. The music lessons are delivered by a workforce of 150 music tutors, in the classrooms of 78 schools across the east London borough.

ECaM was very keen that their music teaching should have clear measures of quality, so the team approached the London College of Music Examinations and the partnership quickly developed.

The programme has worked with LCME to develop a repertoire for each of the instruments offered and ECaM music tutors have been trained to become assessors by Philip Aldred, LCME’s Chief Examiner in Music. The music assessments take place in the children’s own schools in their scheduled music lesson timeslots and are fi lmed. The fi nal results are submitted to LCME and the certifi cates are then awarded to the successful children.

ECaM Performance Awards and Grades were piloted during the last academic year and approximately 200 children entered. The results were very encouraging: 20% of the children achieved a Pass, 50% achieved a Merit and 30% achieved a Distinction. No entrant was unsuccessful.

Dr June Fileti, ECaM’s music lead, explained, “The children were really excited about taking their Performance Awards and Graded Examinations. They enjoyed it so much that they asked whether we could do it all again the next week…” The ECaM programme is now ambitious to enter 1000 children for Performance Awards and Grades during this academic year.

Sir Robin Wales, Mayor of Newham, said: “Our fl agship music programme is about ensuring that our children have access to a wealth of opportunities that will support them to achieve success later on. We are always looking at ways to develop the programme and our work with the London College of Music Examinations is showcasing to our young people how they have mastered a new and creative skill.”

“What a wonderful project this is and with such delightful people. I wish continued success to this exciting and innovative project.” – Sara Raybould, Director of LCM, University of West London

Norma SparkProgramme Manager,Every Child a Musician,London Borough of Newham

14

Features

RGT 2015

Guitar Teachers Conference

The RGT 2015 Guitar Teachers Conference took place on the 27 September at the University of West London and attracted a large number of guitar teachers to what has become the event of the year for anyone who teaches guitar. An extensive range of seminars was on offer, covering teaching and performance skills, exam preparation and much more.The morning seminar sessions covered a varied range of topics, including the RGT Ukulele Playing Exams, teaching the guitar online, exam-orientated question-and-answer sessions and a lively seminar entitled ‘Becoming a Full-Time Guitar Teacher’.

Fender sponsored this year’s conference and conducted an entertaining session on their American Standard series of guitars and basses. There was also a ‘Fender Room’, which drew a lot of attention throughout the day, with a selection of must-have guitars on display.The varied theme continued in the afternoon with sessions covering jazz guitar, fi ngerstyle and accompaniment techniques for acoustic guitar, an overview of the new Acoustic Guitar Concert Perf-ormance Diplomas and a seminar on Villa-

Lobos for classical players. The highlight of the afternoon was, without doubt, a session by the legendary fl amenco guitarist Juan Martin, who inspired and entertained attendees with his extensive experience and knowledge. After a closing speech by RGT Director Tony Skinner, the event was bought to a close with a stunning fl amenco performance by Juan Martin. Many teachers then relocated to a local pub where a few more hours were spent discussing the day and sharing expe-riences on both playing and teaching.

Delivering Music Education in the Saharawi Refugee CampsFebruary 2016 marks the 40th anniver-sary of the Saharawi Arab Democratic Republic, a self-proclaimed nation based in refugee camps in south-west Algeria. Close to 200,000 Saharawis have been stranded in the Algerian desert since Morocco occupied their homeland, the ex-Spanish colony Western Sahara, in 1975. The 16-year war that followed the inva-sion ended with a UN-mediated ceasefi re in 1991 and the promise of a Saharawi self-determination referendum. 24 years later, this referendum has yet to become a reality. Living conditions in the Saharawi refugee camps are harsh, especially after two weeks of torrential rain in October 2015 devastated the fi ve camps, leaving more than 25,000 people homeless.

Although largely dependent on humani-tarian aid to survive, the camps are self-governed by the Polisario Front. They have established a robust infrastructure with a functioning, if basic, administration, health service and primary education widely available. Children are sent away for secondary education to places such as Cuba or Algeria; however, there are opportunities for further education in the camps, for example the thriving fi lm and art schools. There is also a music school, Enamus, although it suffers from a shortage of equipment and lack of trained music teachers.

Since 2005, London-based charity Sand-blast has worked to empower Saharawi voices to tell their story through the arts. Starting in 2012, one of the main projects has been Studio-Live, providing training and material resources for sound engineering. LCM staff member Sara McGuinness has been part of that team. The project is largely funded through Run the Sahara, a running event that takes place every February in the camps.

Through extended discussions with Saha-rawi musicians and educators, Sandblast has also identifi ed a need for help delivering music education, both within the

primary education system and to budding musicians. LCM have pledged to support the Saharawi and donated their music exams to the camps. In addition, Stave House (an LCM partner) have generously offered to help train Saharawi educators in their music teaching method. Ethnomusicologist Violeta Ruano is currently fundraising to take Stave House to the refugee camps in 2016 to train a small group of teachers to be able to deliver the method. To further help music education in the camps, LCM has gifted a considerable amount of equipment, including several computers, camcorders, keyboards and other sound equipment. We are currently looking for a second-hand donated van that can carry this equipment to the Sahara. The budding partnership with LCM is an exciting development, not only for Sandblast but also for the LCM community, with the possibility of collaborative projects and exchange of ideas and information.You can fi nd out more about Sandblast’s projects, the Saharawi Refugee Camps, Run the Sahara and fl ood relief at www.sandblast-arts.org.

Sara McGuinness, Senior Lecturer, LCMVioleta Ruano, Project Consultant, Sandblast Arts

15

Features

LCM Stave House AwardsAll over the country more and more schools and teachers are embracing Stave House as the method they use to teach notation to their children. On a weekly basis, teachers are sending exciting reports of LCM Stave House Music Award successes with entire year groups and music performances with hundreds of children. Non-music specialists are saying that they would rather use Stave House as a music curriculum than any other method or programme (see www.stavehouse.co.uk for current news).

Children are seamlessly moving on to LCME Steps and Grades. I spoke to one parent from Wivenhoe Primary in Col-chester just last week when her little girl was taking her fi rst LCM exam, having passed Stave House Awards at school. She told me how much the children and parents enjoy Stave House: “We can see the children having their lesson in the classroom and they just love it: they come out of their music lesson so excited and thrilled – and the method is fantastic.”

Schools across the country are discover-ing the value of teaching Stave House and the LCM Stave House Awards give children a fi rm grounding from which to fl y musically – teaching knowledge, understanding and musical independ-ence. Teachers tell me it’s wonderful to have so much to write about Year 1 music when it comes to reports and the LCM Stave House Music Awards are clear evidence for parents and inspec-tors. The Awards take the children way above their national cohort in musical development and understanding.

Shelford Primary School is one of our new Stave House schools this term – the Deputy Head Miss Sarah Fletcher has run training for all the staff and the headmaster. They had a great time and the teachers were thrilled with the teaching method – she tells me that Year 1 are now reading from simple

scores, having only been following the Stave House programme since Easter this year. Shelford Primary intend to take their fi rst Stave House Awards in the spring.

We are thrilled to include in this article a picture of LCM Stave House teacher Hilda Littlewood, who uses Stave House with her student David Andrew in Sheffi eld. David has just attained his Stave House Level 2 Award with Distinction. Hilda told us his story:

David was brain-damaged at birth. As a result, he can be impulsive and fi nds it hard to concentrate. His mum is a deeply musical lady, and a past student of mine, who is committed to helping her son through music.

David started piano lessons with me at the age of six, using a traditional tutor, and his mum committed to helping him at home, but we both knew progress might be slow. It was! Around half way through the book, we reached a ceiling. David was unengaged, sessions were hard work, despite my best efforts, and lessons were starting to be missed.

Then I read about the Stave House method in LCM’s Forte magazine, and saw a way forward, with the board, songs and touchy-feely characters. I rang Ruth and Russell Travers, who were extremely helpful and, to cut a long story short, I started David with the first song, using the magnetic characters to match. He was engaged immediately and we’ve never looked back! Recently he gained his Level 1 Award and this has energised him enormously, as you can see from the picture.

David is now eight, and we are on Tutor Book Two exploring the bass clef, still with the help of the Stave House workbooks and Bass Clef song. Though he still struggles sometimes, I know he has a fi rm foundation to take him as far as he can go. And no more missed lessons!

Thank you for all your unstinting help – you have put a resource into my hands that is going to help me teach a group of students who up to now I have found very challenging. Thank you!

Very best wishes, Hilda C. Littlewood, LLCM, ALCM

Two new Stave House Awards aimed at Years 4 and 5 will be available in 2016: LCM Stave House Music Award Levels 3 and 4. Children will continue using the boards to make scales, triads, key signatures, more complex rhythmic patterns and to explore both the bass and alto clef with the Stave House stories. These Awards will be especially for children who are not learning an instrument privately: they will be able to use school tuned percussion.

Whilst the new Awards have been devel-oped with classroom teaching in mind, I would encourage all private teachers to consider using the Stave House boards for theory – it makes the lesson come alive and uses all the learning senses, which means you can teach theory at a far earlier stage in a way that children enjoy. There are now two new magnet sets: the add-on set, which has accidentals, semiquavers and triplets and the standard notation set for older children and adults.

For more information see www.stavehouse.co.uk.

Ruth Travers ALCM LNCM FLCMStave House Creator

16

Features

International School of Gabon Ruban Vert, Central Africa

New Centre in Kazakhstan

It was a great pleasure to hold the fi rst session of LCM Graded Instrumental Examinations at The International School of Gabon Ruban Vert in June 2015. The school opened its doors at the beginning of October 2013 and is located on a beautiful campus in the middle of the city.

Students were taking piano Grades 1 to 6 and violin Grades 1 to 3 and a large number of young students were taking Early Learning Indi-vidual exams at Stages 1 and 2. The examinations were well-organised and produced a very positive feel within the school.

The new music school opened in September 2015 with instrumental rooms well-equipped with resources for instrumental teachers. Founding Director Jean-Luc Aupoix and his

Assistant Head Seamus Hennessy are determined to see LCM examinations grow in numbers and feel confi dent this LCME Centre in Gabon will go from strength to strength.

Andrew McManusExaminer, LCM Exams

It was my pleasure and privilege to be the fi rst LCME examiner to attend the new Kazakhstan Centre in Almaty in the Spring 2015 session. I spent two days at the Haileybury Almaty school: on the fi rst I presented a workshop to introduce LCM examinations, and gave some, hopefully useful, advice; the second day consisted of piano and violin Graded Examinations.

Almaty is the former capital of Kazakhstan (it moved to Astana in 1998), and Haileybury Almaty is an offshoot of the Haileybury school in Hertford, where some of us have examined in the past. There is another Haileybury in Astana, from where some of my candidates travelled for their exams.

I had never previously visited this part of the world and I was fasci-nated to discover some facts about the country; it is the ninth largest in the world, and is approximately twelve times the size of the UK. I arrived from Hong Kong on a beau-tiful spring day, and found a green and leafy city with an impressive backdrop of snowy mountains rising to around 17,000 feet. The latitude is about the same as southern France, so there was a very Alpine feel to the climate.

I was warmly welcomed by Anna Thomas, Head of Music, and her assistant Svetlana Stoyannidou. As it happened, this was Anna’s final few days at school before going on

maternity leave. I was given a tour of the music department, with its impressive facilities, by Sveta and the whole atmosphere of the school was wonderfully bright and airy; the students were so polite, well-organised and smartly dressed. The ‘school dinner’ was so much better than I remember from my own school days!

The first day consisted of a workshop to introduce LCM Exams and explain some of the finer points of our examinations, in particular to allay fears of the Viva Voce, and explain the Aural Tests. There were around twenty attendees, rather less than hoped, but it transpired that the Astana group were not

17

Features

HonLCM Awards in Jazz, USA

able to travel until the next day. The workshop was well received and feedback indicated that teachers and parents were interested in all that LCM Exams has to offer, and I am sure that we can develop this centre to the advantage of all.

In 2000, LCM Exams developed its jazz examination programme. It was important from the outset to make reference to jazz education programmes and philosophies in the ‘home of jazz’. The following three recipients of HonLCM Awards have had, and are having, a profound infl uence on jazz performance and education. Their talents, passion and willingness to explore and discuss have had a valued infl uence on the foundations and direction of the LCM jazz syllabus.

jazz syllabus. Over the years paths have crossed and his infl uence on jazz pedagogy and performance has assumed greater status throughout the North American continent.

folk, Latin and fusion. His most recent albums Tangos for 18th Street and Waltzes and Consola-tions are almost entirely devoted to his own compositions. Listen-ing to Mark play and discuss his compositions illustrated why the ‘own composition’ option is now included as a relevant element in the LCME Grades and Diplomas syllabuses.

It was a privilege to present HonLCM Awards to these talented musicians and educators from the USA.

Stuart CorbettTrainer Moderator Examiner and Jazz specialist

Staff at Haileybury Almaty

I was sorry that I had only two days in Almaty, and I hope to return again for a longer stay.

Chris TutinTrainer Moderator Examiner

When the jazz progamme was developed, there was an immediate reference point via saxophonist and college professor Jim Mair. Jim had taught and inspired a number of students while they prepared for LCM Grade and Diploma examinations (taught by him at the International Music Camp in North Dakota). His input helped sow the seeds of a

It is always a privilege to listen to a legend of the Kansas City tradition and Hammond organist Everette DeVan was recently installed into the Jazz Hall of Fame there. Many of his former students are now well-known artists in their own right, including keyboard players, singers and guitarists. They speak with great affection and respect about the infl uence Everette has had on them.

Pianist Mark Lowrey is an inspi-rational musician. He has great talent, not only in piano playing, but also composition. His creative energy blurs the boundaries of contemporary classical music, jazz,

18

Features

Roderick TehRoderick eventually moved back to his native Singapore, and continued with his enthusiasm and loyalty for our examinations, eventually forming his own school, Madison Academy of Music. His contributions have always been of high value, and even a short while before his death, Peline and I had a meeting with him about poten-tial new developments in Singapore and in Myanmar.

He was taken from us at far too young an age, and all of us, his colleagues, our examiners, his students, his friends and family, will miss him greatly. I will personally miss his abundant enthusi-asm and his wonderful commitment to LCM Exams. I will above all miss him as a friend.

John HowardDirector of LCM Exams

We congratulate John Beilby on his retirement after many years of distinguished and kindly service, both as a senior examiner in Drama & Communication and as a long-standing Music examiner. He will always be remembered for his wise, thoughtful and deft handling of others in his reports, exams and adjudications.

Malini Ratnayeke Retirement

I fi rst met Malini Ratnayeke on one of my earliest examining engagements, to Sri Lanka in about 1997. She imme-diately showed me how effi cient was

John Beilby RetirementJohn joined LCM in 1964 to train as a fi rst study singer and second study pianist. He also studied Speech and Drama under the Chief Examiner of the time, Harry Johnson. After some years as a teacher of music and english/drama, he became a lecturer at the Brentwood College of Education, from where he took up Dr Lloyd Webber’s invitation to teach graduate students and to join the examining panel.

He examined for LCM throughout his time as a senior lecturer in Liverpool. More recently, he became a senior Drama & Communication examiner and produced much work on the ESOL

syllabus with Stephen Hazell, writing guidelines for ESOL teachers.

After 51 years of connection and service to LCM Exams, it is an understatement to say that he will be missed. But he will.

Farewell, John, our best wishes and thoughts attend you in your retire-ment in Madeira.

Nigel RamageChief Examiner in Drama & Communication


came up short in any way in her role as representative, always going the extra mile, and always showing her keen sense of humour, even when faced with problems to solve. We will all miss her commitment and her generosity of spirit. As a very small token of appreciation, David Whittaker presented her with the HonLCM award during a recent exam session.John HowardDirector of LCM Exams

her administration of her Centre, at the time the only one in Sri Lanka. Her effi ciency was accompanied by extreme kindness and thoughtfulness in dealing with everyone.

I remember on that fi rst occasion, she asked me if I would like to rest for a while after lunch, and had even made sure that there was a comfortable sofa on which to do so.

During the next 18 years or so, I got to know Malini well, and she never

It is with great sadness that I write about the passing of our colleague, friend and representative, Roderick Teh. I first got to know Roderick when he was the Centre Rep-resentative for LCME in Minne-apolis, and it was my privilege to examine twice at his Centre there. I quickly learnt what a formidable musician he was, and what a won-derful teacher.

19

Features

John Warren RetirementJohn has been a loyal examiner and ambassador for LCME for 30 years. He was appointed to the panel of examiners in 1985 and over the years has travelled to Bangalore, Calcutta, Peru and Dubai, as well as many other centres around the world and in the UK.

As a freelance musician, composer and conductor John worked in Chi-cago and Boston, and had his com-positions performed in Birmingham Cathedral. Princess Diana came to his concerts in the Birmingham Symphony Hall and Lichfield Cathe-dral. He has also performed for the

BBC and been Director of his own music school.

I wish John all the best in his retire-ment and thank him most warmly for his gentle, warm, kind and thoroughly professional work as an examiner.


Michael Regan Retiring from Practical Exams

Michael joined LCM Exams as a theory examiner in the autumn of 1975, the same year he began teaching theory and composition

at the LCM in Great Marlborough Street. He became a practical exam-iner in 1997.

In addition to running a large pri-vate music teaching practice with his wife and daughter in south west London, Michael also finds time for composing. His works have been published by Emerson, Phyllosco-pus, Spartan Press and others.

Michael is retiring from practical examining but will continue his theory work. I wish to thank him for his stalwart and professional work as a practical examiner over the past 18 years. It is good to still have him fully involved with the theory programme.


Lizzie Moore: My First Year at LCM Exams

In November 2014 I was pleased to be appointed as Qualifi cations Offi cer at LCME, and since I started I haven’t looked back. It’s been just over a year now and in this time I’ve thoroughly enjoyed immersing myself in the world of music examinations.

Prior to joining LCME, I spent nine years at a leading music publisher,

first in print and then working as part of the sales team before eventually landing my ‘dream job’ as a Music Editor. With three years focusing on the Rhinegold Education catalogue I gained a great appreciation for the immense value of music education.

When I started at LCME I hadn’t a huge amount of experience in music examinations specifi cally, apart from having sat my own (piano and oboe) many years ago! I’ve learnt an awful lot in my fi rst year and I look forward to building on my experience with syl-labuses and publications, not to men-tion the fascinating world of Ofqual!

This role has given me the op-portunity to step back and look at

the broader picture of how music is taught and learned, which has fuelled my interest in music educa-tion and been useful in informing my understanding of how to develop syllabuses. I’ve also had the pleas-ure of working with a fantastic and friendly team – even though they are still getting used to the fact that I don’t drink tea or coffee!

I’m extremely excited about the future and the challenge of con-stantly improving and shaping LCM Exams as it grows and thrives.

Please feel free to contact me with any ideas or suggestions [email protected].

Lizzie MooreQualifi cations Offi cer

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21

Features

Bulletin from London College of Music, University of West London

LCM has developed an exciting new relationship with St Mary’s Church, Ealing. The church is a stone’s throw from LCM’s own doors and offers a beguiling combination of superb acoustic properties with a beautiful and atmospheric interior space, still resplendent from the restoration of 1993–2003.

Originally remodelled by the architect S. S. Teulon between the 1860s and 1880s, the church is now available for extensive use by LCM as a teaching, rehearsal and performance space. LCM has collaborated in an update of audio systems, including a top-end, state-of-the-art digital console, and is now taking a hand in the design and specifi cation of a new performance lighting system.

Meanwhile, the University of West London’s redevelopment programme has been completed. Weston Hall

is now open for business in the heart of the campus, serving both LCM and the wider University as a dedicated multi-role performance and conference space incorporating theatre lighting, sound systems and retractable raked seating with a capacity of 400.

The prestigious collaborative part-nership with the English Chamber Orchestra has already featured masterclass events in Weston Hall, which now lines up alongside St Mary’s Church and LCM’s own Lawrence Hall as a major addition to the University’s facilities.

LCM Live, the School’s rolling arts performance programme, has continued this year with major concert, workshop and master-class events featuring such diverse and iconic artists as jazz drummer Harvey Mason (co-performer with

Miles Davis and Herbie Hancock), internationally celebrated jazz duo Tina May and Nikki Iles, celebrated ‘cellist Joseph Spooner, the Tippett String Quartet and ECO violinist Jeremy Isaac.

There has never been a better time to start paying regular visits to LCM (already justly famed for the warmth of its welcome). We hope to say “hello” to you at one of our many forthcoming events, which can be found at www.uwl.ac.uk/lcmlive.

For all undergraduate and post-graduate course information please visit www.uwl.ac.uk/courses or call 0800 036 8888 and select option 2 (free for land line and mobile users). If you are outside the UK, please call +44 (0)20 8231 2468.

Sara RaybouldDirector of LCM, University of West London

22

News from Centres

New Overseas Centres

Oricord Enterprise Management

Consultancy Pte Ltd (A fully owned subsidiary of Singapore Raffl es Music College, Singapore)c/o Chongqing Grand TheatreEast Road Wenhua Street Jiangbei City Jiangbei District Chongqing China 400023T +86 137 3538 0060 E [email protected]

[email protected]

CairoMaria HarperSymphony Music School, Street 275 Building No. 4, No 902, New MaadiCairoEgyptT +20 100 636 2870E [email protected]

GabonSeamus HennessyEcole Ruban VertBP2144 – LibrevilleGabonT +241 01 44 26 70E [email protected]

NagalandAsi Kaurinta House No.2428/3Lungwiram, Full NagarjanDimapur - 797112NagalandIndiaT +91 84159 42858E [email protected]

Jakarta 4 (Private)Jakarta Multicultural SchoolJl. Pisangan Raya No 99 Cirendeu, Ciputat Timur 15419IndonesiaT +62 812 9332 3605E [email protected]

MakassarAndy JobsSekolah Musik KawaiJln Bau Mangga No. 1. MakassarIndonesiaT +62 816 4386 888 E [email protected]

KeningauMr Lim Chiaw Chuan Chamber School of Music, Lot 286Block T 19-11 Lorong A, Taman Adika Phase 11 Jalan Bariawa 89000 Keningau SabahMalaysia T +60 13 834 0548E [email protected]

LagosOlumide Ayodeji ShobowaleBowen University, Iwo, Osun State47/49 Olufemi Road, Off Ogunlana Drive, SurulereLagosNigeriaT +234 802 336 5935 / +234 805 910 3702E [email protected]

J Carter Centre for Public Speaking PLJackeline Carter95A Soo Chow Walk Singapore 575382T +65 6737 2700 E [email protected]

Ossia Music SchoolJudiath Seow144 Upper Bukit Timah Road#03-06B, Beauty World Centre Singapore 588177 T +65 6469 5963E [email protected]

Music Delight SchoolMr Edward Chua1 Pasir Ris Central Street 3#05-05 Singapore 518457T +65 6585 0960 E [email protected]

The Music Clinic Pte LtdMonica YeowBlk 801 French Road, #02-39 Singapore 200801T +65 6325 0338 E [email protected] W www.themusicclinic.com.sg

Wu Jia Ban EntertainmentMr Goh Moh Chuan 11-A Tech Chye TerraceSingapore 545721T +65 6282 8953E [email protected]

TanzaniaMr Fred Aliisi TerewaSMMS Music CentreDar es Salaam, PO Box 54125Dar es Salaam TanzaniaE [email protected]

Trinidad and TobagoDr Noel R. Campbell Director, Symphonic Music Lab#13 Fifth Street East, Beaulieu Avenue Trincity Trinidad WIT +1 868 760 1267 / +1 868 352 1696E [email protected]

Duc Thuong Music SchoolMr Ngo Xuan Dang 2/2 Nguyen Ai Quoc, Tan Phong WardBien Hoa CityVietnamT +84 91 481 88 88

Mozart Music SchoolMr Nguyen Quang Minh 1034 Cach Mang Thang Tam St Tan Binh Dist., HCMCVietnamT +84 83 993 03 33W www.mozart.edu.vn

Polaris Art & Music Center Mrs Nguyen Le Thuyen Ha LK28 Song Cong Commercial ResidenceHa Dong District, Hanoi CityVietnamT +84 98 468 76 87

23

News from Centres

Açı Music School Piano Workshop, Turkey

At the Açı Music School in Istanbul, our aim is to equip young musicians who have amateur or professional musical career goals with advanced musical skills, and help them to expand their talents with knowledge and develop a respect for art. To support this wider goal, we will be holding a piano workshop on the 16–17 January 2016, which will be conducted by two great pianists: Emmanuel Mercier and Guray Başol. Participants will fi rst work on techni-cal skills with Mercier and Başol indi-vidually before undertaking musical analysis as a group.

Emmanuel Mercier has been a piano teacher at the Conservatoire à Ray-onnement Régional de Paris since 1993. He attended the Conservatoire

National Supérieur de Musique de Paris at the age of 14, and received four First Prizes for piano, chamber music, harmony and counterpoint. After several masterclasses under Yevgeny Malinin, and a year spent at The Banff Centre in Canada under teachers such as György Sebők and Menahem Pressler, he went on to win awards in international piano competitions. Since then, he has continued to perform piano and chamber music recitals in France and abroad.

Guray Başol is a piano teacher at the Fontenay-sous-Bois and Champigny music schools in Paris. He won fi rst prize in the UFAM chamber music competition, third prize in the 16th Vulaines-sur-Seine piano competi-

tion and a bronze medal in the 40th Claude Kahn piano competition. In addition to his career as a solo performer, Başol also works in mu-sicology, undertaking his master’s degree at Paris-Sorbonne University (Paris IV) in 2009. He published his fi rst thesis, The Piano Sonata of Jean Françaix and its Harmonic Analysis, in 2010 and his second thesis, The French Clavichord Suites Composed Between 1687 and 1705 and Their Harmonic Analysis, in 2012. He writes for Turkey’s top classical music magazine Andante, offering articles introducing various composers and their works on a regular basis.

Ildem Toksözer AslanoğluAçı Music School Manager and Turkey Representative

Graduation, Malta

The LCM Graduation Ceremony for Diploma candidates in Malta took place on 15 October 2015 at Palazzo de la Salle, the premises of the Malta Society of Arts. Candidates’ family members and music tutors were present, as well as the President and Board Members of the Malta Soci-ety of Arts and the LCM examiner in Malta for the winter practical exams, Mr Richard Lambert.

The event started with a concert of performances by Diploma can-didates Chantal Mangion and Karen Gafa (piano duet), Charles

Borg (tuba), Diane Vella (violin) and Sarah Mercieca, Julia Aquilina, Nicole Vassallo, Chantal Mangion, Matteo Galea, Laetitia Amodio and Miriana Curmi (piano). The concert was followed by the presentation of Diplomas by Mr Adrian Mamo, President of the Malta Society of Arts, and Mr Richard Lambert, LCM examiner. Ms Marika Azzopardi presented the event, which ended with a reception for all those in attendance.

Rosette Vella Malta Representative

24

News from Centres

soon-to-be-opened Arts Centre. We thank our headmaster, Mr David Dowdles, for his ongoing support towards the development of the arts within the school.

Cecilia RamirezHead of Music at Markham College and Peru Representative

Markham College, PeruAt Markham, we are proud to be an LCME Representative Centre. We have been doing exams for more than 10 years across a variety of instruments and ensembles. It is always amazing to see how children improve and develop their perfor-mance skills over the years. They get a clear idea of their current level in terms of musical development, and they know where they are heading in the future.

We have had the honour of hosting extraordinary examiners: Barry Draycott, Philip Aldred, John Howard, John Warren and Richard Lambert. Each one of them has been fantastic and offered a series of masterclasses and workshops while visiting Peru. Whilst John Warren was with us he heard parrots singing outside the examination room. I suggested that they should be able to do Ensemble exams: he laughed for a long time!

We are now very happy to have examinations in Arequipa as well. Colegio San José is pleased to con-tinue the development of its music programmes and increase numbers of LCM examinations, year on year.

In 2016 we will have a new venue for examinations at Markham, our

Masterclass in Arequipa (Chief Examiner in Music, Philip Aldred)

Headmaster Mr David Dowdles outside the Arts Centre development

25

News from Centres

Birmingham

Chelmsford Centre and Home of LCM Stave House

On Saturday 17 October 2015, the Birmingham Centre held its annual Presentation Concert at Shirley Methodist Church. The audience were entertained by 40 performers, with Music Theatre performances ranging from ‘Castle on a Cloud’ from Les Misérables to ‘Part of Your World’ from The Little Mermaid to a stunning rendition of ‘Old Man River’ from Showboat, displaying the incredible deep bass voice of Daniel Greenwood.

The fi rst half of the concert also showcased pianists from Pre-Prep standard up to Grade 3 and two beautiful woodwind performances. The second half started with key-board performances, including an excellent performance of Can-Can (arranged by Janet Dowsett) by Megan McGovern and pop vocalist Olivia King sang a stunning rendition of My Immortal by Evanescence.

It was then the turn of the more advanced pianists, ranging from Grade 3–8. The concert ended on

a high note with two outstanding performances from DipLCM stu-dents David Barton and Caleb Reid, performing Unicorn in Rainbows by Alison Wrenn and Wedding Day at Troldhaugen by Greig.

We were delighted to welcome LCM examiner Sheila Gaskell, who then spoke to the audience and presented certifi cates to all performers and tro-phies to those gaining the highest marks in their category. Certifi cates and trophies were also presented for outstanding theory results.

Thanks to the accompanists Iain Jack-son, Catherine Mason and Chris Rolin-son and to everyone who made this evening possible. Proceeds of £430 were donated to Kidney Research UK.

Julie IwanciwBirmingham Representative

“Congratulations to Julie on her HonLCM, which was presented by Stuart Corbett at the 2014 annual presentation concert.” – Philip Aldred, Chief Examiner in Music

Aisling King, winner of the Music Theatre trophy, performs ‘Part of Your World’ from

The Little Mermaid

Jodie Wheway receives trophy for her theory examination from Julie Iwanciw

Trophy winners with LCM examiner Sheila Gaskell and LCM Exams representative

Julie Iwanciw

Students creep quietly along the path in anticipation of seeing a wild guinea pig or two scamper past; parents sit in the ambient garden in summer, sipping tea; teachers make mad dashes back and forth, trying to find what it is the pupils have forgotten… Examiners have been known to be so busy observing the wildlife in the garden in their breaks (chickens, guinea pigs, ducks, doves, fish, budgies and cockatiels) that they’ve had to be cajoled back inside to continue examining!

All in all the general consensus is that The Chapel is a lovely place to take an exam and we always have a good time. Godiva the Duck has recently been banned from the garden during exams – she is fascinated by the music and by new people. The cockatiels are complete exhibitionists and enjoy peeking in the window and listening to the music.(continued on page 26)

26

News from Centres

Newcastle & North East

(continued from page 25)

We host teacher training for Stave House here on a regular basis and we also host an annual summer event for LCM Exams and Stave House teach-ers, which comprises an afternoon picnic and evening BBQ. We provide a relaxed environment for friends and colleagues to chat and make music together. Last year Philip Aldred came along and ran a fun singing workshop for us all.

This year the Chelmsford Centre also hosted teachers from Botswana, who came to take their LCM Exams Early

Learning Music Teaching Diplomas/Stave House method. We welcome Violeta Ruano, who will be studying Stave House to take the method back to the refugee camps in Tindouf, Algeria for the Sandblast project (see page 14 for more information).

Stave House is continuing to grow – why not come to our Centre and see what we do? We would be pleased to welcome you at any time.

Ruth TraversChelmsford Representative and Stave House Founder

We are proud to tell the story of Alexander Bone. The photo above shows Alexander being presented with his award for achieving his ALCM Performance in Jazz Saxophone in 2010 at the age of 12. Alexander then gained his LLCM in the same subject at Chetham’s School of Music in 2013.

He went on to win the BBC Young Musician Jazz Award in 2014, also gaining his FLCM Fellowship with the London College of Music in Jazz Saxophone performance in the same year. Undoubtedly Alexander has a wonderful career in music ahead of him. We wish him every success as he moves forward to continue his studies at a London Conservatoire.

LCM Exams welcomes and congratu-lates Mick Donnelly on his new ven-ture, The Mick Donnelly Academy of Music. This new sub-centre based in Hartlepool will use only the London College of Music/RGT for exami-nations and it will work under the umbrella of the Newcastle & North East Centre with Representative Veronica Cairns. Mick Donnelly is an exceptionally established musi-cian holding a Fellowship with LCM and the Academy has teaching staff for all subjects. We look forward to working with the Academy for LCM Exams in Hartlepool.

There are a number of other excellent centres in Hartlepool that will contin-ue to work and be supported by the Newcastle & North East Centre.

Candidates who received the highest mark in the region (all 90%–100%) received their award from Professor John Howard at the 2015 Newcastle and North East LCM Awards Con-cert. The below group picture shows candidates who were presented with Awards in 2014 and 2015. The DipLCM candidates wearing their gowns and Tom Powell ALCM wearing his cap and gown are standing at the back. John Howard’s input was greatly appreciated by all at the Centre and we look forward to the year ahead and the 2016 LCME event.

LCM Examiner Stuart Corbett, Mick Donnelly and Veronica Cairns.

Congratulations everyone! Veronica CairnsNewcastle & North East Representative

27

News from Centres

Working with Schools in Sheffi eld

The Sheffi eld Centre has been working closely with local schools to develop and promote the take up of LCM examinations. The Shef-fi eld Centre operates as part of the Inyerface Arts Group, a network of associated teachers and musi-cians promoting music and musical theatre teaching and performance across the Sheffi eld region. Many of our local teachers work directly in schools and have been promot-ing the Popular Music Vocals and Music Theatre syllabuses with their students and to music departments.

We have found that these syllabuses are particularly attractive as in both cases the repertoire choices are broad, enabling teachers to engage students by tailoring performance programmes to individual preferences. There are opportunities to broaden a student’s knowledge of style and genres whilst at the same time keeping them en-gaged with repertoire that they are more familiar with.

Schools have reported that the Music Theatre syllabus supports elements of their sixth form performing arts programmes and the UCAS points available from Grade 6 are benefi cial to both students and schools trying to support progression to undergraduate courses in the performing arts. This syllabus is also accessible for those talented performers who fi nd aspects of musicianship embodied in other syllabuses challenging and gives them an opportunity to shine and achieve.

Similarly, the Popular Music Vocals syllabus has wide appeal. As with Music Theatre, teachers have found that this programme aids progres-

sion to ‘post 16’ studies and under-graduate courses leading to future employment opportunities in the fast-growing popular music and other cultural industry sectors. Indeed, stu-dents have been asked to achieve Grade 8 Popular Music Vocals as part of their conditional entry offers.

Both syllabuses are valuable in engag-ing students with music studies. We have found that the Popular Music Vocals programme, especially the in-built musical knowledge and aural components, supports students in their GCSE music studies. Students are better prepared for all aspects of a GCSE programme of study with improved performances, a greater understanding of theoretical concepts and enhanced listening skills.

We have actively encouraged the uptake of these exams in a number of schools, most notably at Sheffi eld Springs Academy, part of the United Learning Trust, a school that is keen to promote the value of performing arts across all levels of ability. The Spring 2015 cohort of exam students achieved 5 Distinctions, 4 Merits and 1 Pass at Grades 6 and above; a result that delighted the school.

To further embed LCM Exams activ-ity in the school we arranged for the exam session to take place in school time and on their premises. The school was absolutely thrilled with the results and invited John Howard (Director of LCM Exams) to present the candidates with their certifi cates at a public awards ceremony.

We are currently working with and marketing to other schools and recently attended the Sheffi eld Music Hub conference, promoting the complete range of LCM Examinations in general and the Pop Music Vocals and Music Theatre syllabuses in particular.

Steve OsbornSheffi eld Representative

Springs Academy students celebrate their LCME success 2015 – 5 Distinctions, 4 Merits, 1 Pass

28

News from Centres

Shepperton

New Premises for The Arts Centre Telford

As a singing, dance and drama teacher, I was recommended the LCM Music Theatre syllabus in 1999 by another vocal coach and I have been delighted to work with LCM Exams ever since.

This exam board is such a refreshing change to the other, more old-fash-ioned, exam boards that I studied with as a child. The LCM examiners’ approach is second to none: they go to great efforts to make each candi-date feel at ease during their exam experience. This, in turn, helps each pupil deliver their best performance as their nerves are much reduced and children walk away elated, having really enjoyed their time with the examiner.

Our talented pupils have grown so much through their tuition preparing for these exams. Here are some of the highlights of their success stories: Lissy Mant (Grade 3 Music Theatre)

has been starring in the UK tour of Annie as the character ‘Tessie’ and is also the understudy for ‘Annie’. Lewis Jamieson (Grade 2 Music Theatre) was in the UK tour of The Sound of Music as ‘Kurt’ for six months last year. Ben James, (Grade 3–Grade 8 Music Theatre) played ‘Ben Priestly’ in BBC One’s Doctors this summer and is off to Disneyland Paris to star as the lead singer/character for their new show. Kate Winterhalter (Grade 6–DipLCM Music Theatre) starred as the lead role ‘Christine Daaé’ in a production of Phantom (based on The Phantom of the Opera) at the Charles Cryer Theatre Studio in Sutton last year. Josephine Shaw (Grade 5 Music Theatre) starred in Peter Pan at the Bloomsbury Theatre earlier this year. Annie Lewis (Grade 5 Music Theatre) played the lead role of ‘Lucy’ in The Lion, the Witch and the Wardrobe at the Rose Theatre in Kingston this summer.

The below picture shows Amelia White (Grade 5 Distinction LCM Music Theatre) performing one of her Grade 5 songs at our anniversary show at a theatre in Addlestone, celebrating 10 years as a singing school and 15 years doing LCME Music Theatre exams. Here’s to another 15 years!

Thank you LCM Exams!

Cinnamon FullerPrivate Centre, Shepperton

This summer, The Arts Centre Telford (TACT) moved to our new premises, creating Telford’s fi rst full-time Arts Centre. TACT was established in 2011 by our Senior Leadership Team, Ross Doodson, Bobby Standley and Ruth Standley. The company produces several full-scale musicals, plays and concerts every year, as well as offering vocal tuition through the London Col-lege of Music, acting tuition through the LAMDA syllabus and instrumental and music theory lessons. We’re also home to Shropshire’s leading adult vocal harmony musical theatre group, Voices in Partnership.

We feel extremely proud of the service that we provide for our home town. Telford is an area of diverse and exceptional talent and we are very privileged to work with some of the very best performers in the region, many of whom go on to study musical theatre and other performing arts subjects at professional drama colleges and renowned arts institutions.

After our move in the summer, TACT now offers a week-long pro-gramme of events, rehearsals and one-to-one tuition. We provide private singing tuition to more than 80 students through six sing-

ing tutors, seven days a week. The culmination of tuition is, of course, the LCM examinations, for which we are a private centre. We are fiercely proud of our results with almost 90% of students gaining Distinction through all of our exam sessions and Grades. We also have students who have completed, or are working towards, their DipLCM qualifications.

TACT are currently preparing for our latest musical, Andrew Lloyd-Webber’s smash hit The Phantom of the Opera, a musical version of Roald Dahl’s Snow White and the Seven

29

News from Centres

UK & Ireland Exam Centres

New Representatives

BracknellCharles Luffrum (taken over from Pat Perry)37 Trumbull Road BracknellBerkshire RG42 2EPT 07846 782 165E [email protected]

BrentwoodChristine Marchant and David Spiers (taken over from Mary Irwin-Parker)31 Burrard RoadLondonNW6 1DAT 07977 925 987E [email protected]

BristolVivienne Sansum (taken over from Jeanne Cawley)Bristol Plays Music Bristol Centre for Music & the ArtsStanton RoadSouthmeadBristol, BS10 5SJT 01172 047 142E [email protected]

Dwarfs and upcoming examinations for our singing, acting and music stu-dents. We have also completed pro-ductions of Wilde’s The Importance of Being Earnest and the Sondheim musical Merrily We Roll Along.

For more information regarding TACT, what we offer and our current productions and lessons, please visit our website: www.theartscentretelford.com.

You can also contact me by email [email protected]. We hope that if you are in the Shrop-shire area you will pop in to see our facilities or, better yet, come to see one of our productions. We also look forward to welcoming the LCM ex-aminers in the new year for our fi rst examination sessions at The Arts Centre Telford.

GrimsbyLeigh Jagger (taken over from Melanie Benzon)49 Sancton RoadMarket WeightonYO43 3DDT 07580 072 781E [email protected]

RathfrilandKenny Briggs (taken over from Sharon Mark-Teggart)25 Springfort LodgeDollingstownCraigavonBT66 7BET 07968 340 748E [email protected]

Wakefi eldAnn Burden (taken over from Anne Robinson)627 Huddersfi eld Road OldhamLancashire0L4 3PYT 07510 097 001E [email protected]

Aaron PriorTutor and Director, The Arts Centre Telford

Photo: Elliott Franks

Move, Improve… Perform

RAD Examinations www.rad.org.uk/examsRoyal Academy of Dance® is a charity registered in England and Wales No. 312826

Downloads Website: www.lcmebooks.org

Don’t forget we have a number of resources available digitally on our eBooks website. We’re constantly making more of our materials available online, making it quicker and cheaper for you to get hold of the publications you need. We’ll let you know about new additions to the site to keep you up-to-date.

Currently available on the website:Piano and Keyboard Grades PiecesIn these sections you’ll fi nd audio recordings of all the pieces in the syllabuses, as well as sheet music for selected pieces.

Theory PapersPast papers for Grades and Diplomas are available to download along with sample answers.

Music Theory BooksThe Theory Handbooks are available in digital format, with each download including two specimen exam papers. See the website for discounts when purchased in sets.

Specimen Aural TestsStandard and Jazz Aural Tests are available to download individually per grade or as a complete set.

Jazz StudiesJazz studies for piano and wind are available to download. Candidates choosing to take Graded Exams in jazz may opt to play a study in place of scales and arpeggios or as part of their performance. Discounts are offered when purchasing complete sets.

Visit www.lcmebooks.org to see our full range.

London College of Music examinations are held at over 250 centres throughout the UK and overseas. A broad range of subjects is offered in music and in drama and communication, catering for candidates of all levels – from introductory examinations for beginners through graded exams to professional diplomas in performing, teaching, composition and research.

LCM ExaminationsUniversity of West LondonSt Mary’s RoadLondonW5 5RF

Tel: 020 8231 2364

uwl.ac.uk/[email protected]

© 2015 University of West London, LCM Publications

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