Has anyone used the Improvisation option for Trinity exams as the Aural alternative?

I'd like to find out more about what's involved with this (inspired by recent adventures into Jazz Flute). My friend's diploma teacher is a Trinity examiner and she says she'll ask about it (I'll report back) but I wonder if anyone here has experience of it?

The last time this was discussed I seem to remember that people generally thought that there really isn't enough guidance on this available. At the moment it's mostly down to guessing what might be the right approach.

I just ordered the Trinity book (From Extemporization To Improvisation) - and together with what my friend reports back from her examiner/teacher - and what my own singing teacher thinks - I might have a go for my G5/6 Singing, maybe.

I found this about it - http://www.fullpitcher.co.uk/creativeexams.htm - and it wasn't very positive.

I have had pupils grade 1-8 use it this year, with good results, and also went on one of their workshop days recently. Books are belatedly on their way, at least grades 1-5, so there is still a way to go before official guidelines are out there! I have only used the melodic option for both flute and piano, but have a grade 8 this term using the harmonic one for flute - the examiner plays the chords with flute player improvising on the top. For the melodic version they are looking for a basic development of an idea from the notes given - other notes can be used and it's a good idea to decide which is going to be your key note. Dynamic changes and new rhythmic ideas are important, obviously a grade one would be using pretty basic rhythms and only play for a couple of bars, whereas a higher grade is expected to do more. The main thing that came out of the workshop was that candidates tended to play for too little time - the examiner will stop them if they go overboard.

Piano students are expected to use two hands from grade 1 - something that isn't made clear in any literature - this can be a basic drone or alternating tonic/dominant note for early grades. Hopefully things will become clearer as the publications become available - basic examples can be downloaded from the TG web site.

Hope this helps a little.

I've just got back from the TG workshop on the supporting tests in London and was not particularly impressed! It would seem there are a few teething problems that have not been thought through. It was unclear to me whether the examiner would accompany the pupil in their improvisation and even though I raised this question I came away still not sure. I also felt that the examples given were maybe a little more involved than I would expect for each grade. I have several pupils working on the TG pieces but will probably advise them against this option. Is it me or I am right in wishing they could just get their act together a bit more efficiently?

I have been to a Trinity Guildhall teachers' seminar today on "supporting tests" and we were told that whilst you could use two hands and it would probably attract a higher mark, it was not expected. To quote from the Piano syllabus, improvisation section, "Pianists taking the melodic test may play chords if they wish, and will receive credit for their appropriate use, but they are not obligatory, and the test is essentially of melodic invention" They said they were more interested in keeping up the pulse, with good balance and an imaginitive approach. If the pupil chooses the chordal option the examiner may play the chords while the candidate improvises above, or choose to do it solo.

Parkere, you were obviously at the same seminar. I thought that they stated clearly that the examiner would accompany the candidate in the chordal test - and did a practical example. I would agree that there appeared to be some grey areas and the two presenters didn't always agree with what each other had said. The general organisation and presentation of the day, while well done, seemed to me to lack the sort of professionalism that we expect and get from Associated Board. Perhaps I noticed this more after attending the AB Jazz Taster Day last week, which was really excellent in all respects. TG didn't ask for feedback, which was surprising. I also felt that, certainly at the first seminar, which was for teachers new to TG exams, they seemed quite defensive, as though they were justifying the contents of the new syllabus, which was unneccesary as there are some extremely good aspects to some of the syllabus which AB might well take notice of.

Thank you - that's helpful , and everyone else too

The examples are Grade 1 and it seems quite a good response it required for a pass - whereas its possible to build up a pass out of separate points in the Aural. I'm in two minds here - it's certainly something I feel I should do myself before inflicting it on anyone else though.

http://forums.abrsm.org/index.php?showtopi...l=improvisation

Take a look at this thread from a few months ago. Once I looked closely at the syllabus and requirements I didn't think it was as vague as I had thought at first. Improvisation is bound to have vague requirements to a certain extent, by its very nature, as it is creative rather than prescriptive.

I had asked a very specific question about this at the seminar I attended, and the response was that the piano is a two-handed instrument so two hands you be used. Maybe they meant that two hands you be involved in the melodic line, but this was certainly not made clear as they wanted the use of simple chords/drones etc. Another example of how long they are taking to get their collective act together!

I wasn't too impressed with the seminar that I was at either. I do like the syllabus and I think I can see the thinking behind it, but I think they need to work at their PR. I had a feeling that that's all the two guys were - PR men - who were a little taken aback by the detailed responses that were required of them. Either that or they just weren't au fait enough themselves yet to face the public! Or worse, the music teachers!