Ask The Chief Examiner, What would your question be? Options

[AnotherPianist]

I was reading Libretto quite a while ago and noticed the question in 'Ask the Chief Examiner' and thought 'we've had that loads of times on the forum' (can't remember what it was now though (IMG:style_emoticons/default/unsure.gif)). Which got me thinking 'I bet it's a long time before there's a question in there that hasn't been discussed on the forum'.

Anyway I thought it would be interesting to see what people would ask if they were given the opportunity, it might give some ideas for forum discussions of various issues, and indeed some good questions to pose. Who knows, if there are some good questions Christine might even be able to get her here to answer a few (IMG:style_emoticons/default/smile.gif). Or we can just email them to her (IMG:style_emoticons/default/tongue.gif). Doesn't have to be an original question that's never been asked before (after all the most interesting issues are often open discussions that have no answer) just anything you'd like to hear opinions on or discuss (IMG:style_emoticons/default/smile.gif).

[Rainbow]

I'd like to know what the rationale is about the aural tests, how the tests were chosen and why. Just out of interest. I'd also like to know how they choose the pieces for each grade.

[oboist]

I'd like to know what the rationale is about the aural tests, how the tests were chosen and why. Just out of interest. I'd also like to know how they choose the pieces for each grade.

Yes, I'd be interested on the pieces front. There do seem to be some odd things occasionally. For example, this present woodwind syllabus has a Loeillet Sonata (identical movements) set for Grade 5 Flute and Grade 7 Oboe. I can't think it's easier to play on the Flute rather than the Oboe so it seems a little odd.

Interesting thread- I shall follow to see what others suggest.

[ben_walker446]

I would like to know why some pieces on a grade are that much more difficult than other pieces on the same grade, and whether or not the same degree of accuracy is needed.

[andante_in_c]

Yes, I'd like to know about the piece selection procedure as well, and if they ever take into consideration comments from teachers about the strengths and weaknesses of the existing syllabuses.

Slightly off-topic, I'm interested in your comments about the Loeillet, oboist, as I hadn't realised it was a Grade 7 oboe piece. It isn't a particularly difficult Grade 5 piece on flute, although some of the ornaments are tricky.

[anacrusis]

Related to the questions about piece selection - I wonder if examiners are aware which are the most demanding pieces in the syllabus - I can't think that they could be across the entire range of instruments and grades. Given that, I'd love to know the criteria on which they do judge the piece which is grade 4 here and grade 6 there.
One thing I do know - one of the pieces I did for grade 7 gave and still gives me more grief than any of the others done for grade 8 and the ATCL - and even more than the LRSM-level one I'm learning now... (IMG:style_emoticons/default/huh.gif) (IMG:style_emoticons/default/ph34r.gif)

[chocolatedog]

I'd ask why there are so many scales at grade 6.......... (IMG:style_emoticons/default/dry.gif)

[anacrusis]

...and higher (IMG:style_emoticons/default/ph34r.gif)

[AnotherPianist]

Just thought of another one actually, I started a thread on this a while ago: are the marking criteria for grade 5 really actually the same as for grade 1? Seems like there must in reality be some implicit expectation for better playing; even if it's officially not the case.

[ShArOn_StAr92]

i'd like to know why is it that sometimes pieces on the same grade have different difficulties, like some pieces seem easier/harder than other pieces on the same grade..

ShArOn

[katyjay]

I'm sure I've read articles in Libretto or elsewhere about the training of new examiners to ensure they apply the right criteria and the appropriate standards, but is there any refresher training for more experienced examiners, to ensure that things don't change over time and the level of expectation in exams is consistent?

[fsharpminor]

i'd like to know why is it that sometimes pieces on the same grade have different difficulties, like some pieces seem easier/harder than other pieces on the same grade..

ShArOn

I agree entirely, Grade 8 piano at the moment is a complete mixture with Mozart K332 being about grade 5 standard, and some C pieces Diploma standard.
I can also detect different degrees of difficulty in other grades, but of course difficulty is a subjective thing and we dont all perceive this in he same way.

[Charlies Aunt]

Assuming you could ask about theory as well, I would ask why the comments sheets for theory exams are not so detailed as for practical. For example, how would I know if it were my chord recognition that needed work for the next exam? A blanket score for each section of the exam doesn't tell me anything.

[Deborah]

My question would be Chief Examiner, please may I have a distinction for my diploma please?*

On a more serious note, I'd incline to agree with the points others have raised regarding both the selection of pieces and the scale requirements. Looking at the current Grade VIII clarinet syllabus, no piece is easy, but some are more difficult than others, although I recognise that different people's strengths lie in different directions.

The scale requirements for the higher grades are just crazy! There aren't many clarinet pieces in remote keys, or even with scale passages in those keys, and if I were to ask a candidate to play every single scale and arpeggio, it'd take the whole lesson.

Oh, and a further plea would be for a Spring session for diploma exams. If I louse up I have to wait until next July for a retake.

*It's OK, I know the answer to this one. It's Yes, of course you can, providing you meet the required standard.

[jod]

There is a lot right about ABRSM exams.

I would like to ask the chief examiner why there are no technical exercises for singing grades, and after Trinity Guildhall released their new syllabus, why has there been no revision of the songs for Singing Exams.

Also TG have just produced a transparent set of criteria required to reach certain standards for each exam. I would like to see the ABRSM follow suit as this is an excellent development.

Please I'm not suggesting that ABRSM becomes TrinityGuildhall, but I do believe they could learn some lessons from them.

I've been able to air my concerns about TG's exams with their chief examiner face to face. It would be nice to do the same thing with Clara Taylor.