Ask The Chief Examiner Options

[sarah-flute]

It seems unfair to test something which cannot be improved through effort.

Actually I thought that memory efficiency could be improved by effort/practice...? (IMG:style_emoticons/default/unsure.gif)

[Clari Nicki1]

The mark schemes for Grade 1 to 5 are the same. I understand that a Grade 5 piece is harder than a Grade 1 piece, but is that the only variation between the grades? So an examiner would mark a grade 1 student, obviously playing an easier piece, in the same way as he would mark a Grade 5 candidate? So the same level of tonality, is expected from a Grade1 candidate as a Grade 5? A Grade 1 candidate should show the same mastery of the instrument to enable him to play dynamics effectively, for example, as a Grdae 5 candidate?

[AnotherPianist]

The mark schemes for Grade 1 to 5 are the same. I understand that a Grade 5 piece is harder than a Grade 1 piece, but is that the only variation between the grades? So an examiner would mark a grade 1 student, obviously playing an easier piece, in the same way as he would mark a Grade 5 candidate? So the same level of tonality, is expected from a Grade1 candidate as a Grade 5? A Grade 1 candidate should show the same mastery of the instrument to enable him to play dynamics effectively, for example, as a Grdae 5 candidate?

I'd like to ask this question too (IMG:style_emoticons/default/smile.gif) started a topic about it a while ago: is the marking standard for grade 5 really the same as that for grade 1 as in the official literature; or is better playing required in reality as would seem sensible. Surely, for example, a grade 5 pianist would be expected to have better tone and dynamic control than a grade 1 pianist to pass; similarly a grade 5 violinist would be expected to have a better grasp of intonation.

I also have a controversial one: what does the board think of the practice of entering the same exam twice in the same session to maximise the chances of passing? This is allowed, and seems popular in some areas, but doesn't seem to reflect well on the system.

Another one I just thought of, a topic that comes around quite a lot: why aren't the grade exams recorded to ensure quality assurance when the diploma exams are? Obviously cost is a factor but if the extra assurance is needed to ensure equal standards why isn't it needed lower down?

Nice thread, I'm sure we'll get some interesting answers (IMG:style_emoticons/default/smile.gif).

[maggiemay]

I also have a controversial one: what does the board think of the practice of entering the same exam twice in the same session to maximise the chances of passing? This is allowed, and seems popular in some areas, but doesn't seem to reflect well on the system.

I agree - to me it seems like abuse of the system. I suppose it would be turning away revenue otherwise - but I too am interested to know whether the board seriously do not sometimes question this use of the exams? I wonder how examiners feel about it too.

[elidatrading]

I also have a controversial one: what does the board think of the practice of entering the same exam twice in the same session to maximise the chances of passing? This is allowed, and seems popular in some areas, but doesn't seem to reflect well on the system.

Some people must be made of money! But seriously, if this is common practice, surely the board ought to get the message that teachers don't think exam marking is all that consistent?

Liz

[sarah-flute]

I would also be interested to hear the answer to AP's question...

[EdGJ]

There are some really intriguing (and very mildly controversial (IMG:style_emoticons/default/smile.gif) ) questions on this thread - keep them coming!

[chocolatedog]

I'd also like to ask if there is any chance of the scale requirements being reduced for piano exams. The list for grade 5 and above is so unnecessarily long and students are opting to do TG exams because they want to play pieces on the piano rather than endless lists of scales.
(IMG:style_emoticons/default/niceThread.gif)

I would like to second this. At Grade 6 there are over 100 scales and arpeggios that the candidate needs to be thoroughly familiar with. In theory as they proceed up the grades they will be learning them gradually, but in practice they still need to revise everything they've done for all other grades, as well as learning some new ones. No one will deny that learning scales is an essential skill, facilitating dexterous fingers for playing pieces, but over 100 when the examiner can only hear very few of these in the exam?

Hear! Hear! I recently had a grade 6 pupil who really struggled with remembering all the different scale patterns - she coped OK up to grade 5 but once I had introduced the new minor scales, everything went pear-shaped and it didn't matter how many different ways of practising them we tried, she just couldn't get them all sorted in her memory and was spending far more of her practice time trying to sort these out, to the detriment of her pieces, sight-reading and aural (she was a sixth-former too so was snowed under with homework and coursework etc.) She passed, but I think she would have done better if she hadn't had to do all the scales - especially when only a handful are required in the actual exam - as she could have spent more time on the other sections of the exam. To me, it just seems like a giant memory test and nothing more.........

[flute fanatic]

This might be a tall order, but here goes...........(cough, cough).....Get Rid of AURAL!!! (IMG:style_emoticons/default/laugh.gif)
For me, aural is the destroyer of practical exams (I do well on the other parts of the exam, aural just ruins everything......sometimes).

Could it be made more approachable (easier)?. I know it's a vital part of musical knowledge etc., but is all what you get in the exam relevant?
(IMG:style_emoticons/default/biggrin.gif) *she grins at the hope of aural being made easier/got rid of (IMG:style_emoticons/default/fingersCrossed.gif) *

EDIT: could it be made possible to allow the use of CD accompaniment if someone is desperate? i.e. with my last exam, it was very difficult getting hold of an accompanist (There was lots of ringing around and asking at college if anyone was available). I must have phoned near on 10 people! Thankfully, I managed to get hold of one at the last minute and managed to fit in a quick rehearsal. I may have ended up not taking the exam (due to no accompanist); £62 down the drain. I know trinity allow CDs, could ABRSM? Maybe not so good for the higher grades, possibly for the lower ones?

[country girl]

I am a singing teacher but I do agree with Noodle. One of my pupils is having lessons in order to cope with the singing back part of aurals...doesn't seem fair

[andante_in_c]

I'd like to ask if there is any way for teachers to offer feedback on syllabuses after they have been in use for a couple of terms.

And, as a supplementary, why the new flute syllabus will be in force for 6, rather than 4 years, especially when the new exam pieces book contains only three choices for each list. Whilst I know there will be a number of other options available, it is likely that candidates will opt for the pieces 'in the book' rather than spending extra money on other material, and I can envisage being slowly driven mad in five or six years time. (IMG:style_emoticons/default/wink.gif)

Finally, why will the flute part + CD not be available as a package? The flute part+ piano part+ CD comes at a very high price compared with the flute part on its own. Most Grade 1 students would be happy with just the flute part, with the teacher buying the complete set to have the piano part available when required.

[sarah-flute]

And, as a supplementary, why the new flute syllabus will be in force for 6, rather than 4 years

(IMG:style_emoticons/default/ohmy.gif) SIX YEARS????????????????! (IMG:style_emoticons/default/ph34r.gif)

[andante_in_c]

And, as a supplementary, why the new flute syllabus will be in force for 6, rather than 4 years

(IMG:style_emoticons/default/ohmy.gif) SIX YEARS????????????????! (IMG:style_emoticons/default/ph34r.gif)

Yes, the blurb for the seminars in the Autumn says 2008-2013. (IMG:style_emoticons/default/ohmy.gif)

[sarah-flute]

(IMG:style_emoticons/default/ohmy.gif) (IMG:style_emoticons/default/ohmy.gif) (IMG:style_emoticons/default/ohmy.gif)

Blimey. It'd better be good (IMG:style_emoticons/default/unsure.gif) (IMG:style_emoticons/default/blink.gif) (IMG:style_emoticons/default/huh.gif) (IMG:style_emoticons/default/ohmy.gif) (IMG:style_emoticons/default/dry.gif) (IMG:style_emoticons/default/ph34r.gif)

[snhs]

This might be a tall order, but here goes...........(cough, cough).....Get Rid of AURAL!!! (IMG:style_emoticons/default/laugh.gif)
For me, aural is the destroyer of practical exams (I do well on the other parts of the exam, aural just ruins everything......sometimes).

Can i second the get rid of aurals suggestion.
As someone pointed out earlier it seems unfair to expect singing and instrumental candidates to sit the same aural test after all you wouldn't try handing a violin to a singer and asking her to play something back by ear in an exam.
In addition are all the parts of the aural really that crucial to general musicianship?
I can see the point in asking questions about passages etc but when would an orchestral musician ever be told to start singing back passages?

Andante et al: Does anyone know when the new woodwind syllabus will be put on the web?