hi guys,
any advice on how the program notes should be written, should they be more descriptive or more analysis? also any tips to prepare for the viva? I missed by two marks!! Not sure if I have to re-write the whole programme notes, or just modify a little. Thanks!
Full Version: DipABRSM Piano viva and programme notes
They are just testing for your musical history knowledge. I remember the questions the examiner asked me had to do with more than one composer on my recital list. The questions are broad and incorporated both Rachmaninoff and Beethoven (for me at least).
I think you should look at your programme notes and see what you can salvage. Cutting is an essential part of the writing process. Keep only what you have to-- what is golden. Then, start anew!
Besides, we don't know what your programme note was like, so we don't really have a say on what you should do.
I think you should look at your programme notes and see what you can salvage. Cutting is an essential part of the writing process. Keep only what you have to-- what is golden. Then, start anew!
Besides, we don't know what your programme note was like, so we don't really have a say on what you should do.
this is my programme:
Prelude & Fugue in G minor JS Bach
Sonatina in G op14 no2 Beethoven
Rhapsody in G minor Brahms
Mikrokosmos 152 & 153 Bartok
the last round they asked why I chose so many pieces in G!
And how to sustain the LH chord in the last bar of Bartok when pedal is up, i didnt know how to answer that
QUOTE(gumdrops @ Jul 22 2011, 02:01 PM) 
this is my programme:
Prelude & Fugue in G minor JS Bach
Sonatina in G op14 no2 Beethoven
Rhapsody in G minor Brahms
Mikrokosmos 152 & 153 Bartok
the last round they asked why I chose so many pieces in G!
And how to sustain the LH chord in the last bar of Bartok when pedal is up, i didnt know how to answer that
Didn't you use the sostenuto pedal for the Bartok? I played the same Bartok for my Dip exam... not sure how one could do it otherwise.
If I recall correctly, in the Board's own advice on programme notes ...
http://www.abrsm.org/resources/writingProgNotesApr05.pdf
..it states that progamme notes which are too analytical are as inadvisable as those which are overly descriptive. Aim to strike a balance between the two extremes, and aim to only discuss biographical information which is relevant to the works you are performing.
Hope that helps ?
denmark
http://www.abrsm.org/resources/writingProgNotesApr05.pdf
..it states that progamme notes which are too analytical are as inadvisable as those which are overly descriptive. Aim to strike a balance between the two extremes, and aim to only discuss biographical information which is relevant to the works you are performing.
Hope that helps ?
denmark
In the comments did they say whether it was your notes or your viva that they felt let you down, or was it both?
Essentially I think that good preparation involves detailed revision on the back of wide-ranging background knowledge. Both matter! I can only give you the advice I have given in another thread: program notes & viva
In addition, read what the syllabus says, have a look at the relevant books from the recommended reading list and above all enjoy yourself & don't panic.
Good luck!
Essentially I think that good preparation involves detailed revision on the back of wide-ranging background knowledge. Both matter! I can only give you the advice I have given in another thread: program notes & viva
In addition, read what the syllabus says, have a look at the relevant books from the recommended reading list and above all enjoy yourself & don't panic.
Good luck!
QUOTE(lilly763 @ Jul 23 2011, 02:04 AM)
QUOTE(gumdrops @ Jul 22 2011, 02:01 PM)
this is my programme:
Prelude & Fugue in G minor JS Bach
Sonatina in G op14 no2 Beethoven
Rhapsody in G minor Brahms
Mikrokosmos 152 & 153 Bartok
the last round they asked why I chose so many pieces in G!
And how to sustain the LH chord in the last bar of Bartok when pedal is up, i didnt know how to answer that
Didn't you use the sostenuto pedal for the Bartok? I played the same Bartok for my Dip exam... not sure how one could do it otherwise.
i did, but at the very last two bars the pedal is supposed to be from bar 94 onwards right?
QUOTE(Robodoc @ Jul 23 2011, 06:03 AM)
In the comments did they say whether it was your notes or your viva that they felt let you down, or was it both?
Essentially I think that good preparation involves detailed revision on the back of wide-ranging background knowledge. Both matter! I can only give you the advice I have given in another thread: program notes & viva
In addition, read what the syllabus says, have a look at the relevant books from the recommended reading list and above all enjoy yourself & don't panic.
Good luck!
they mentioned the program notes being over-descriptive. for the viva, i need a stronger grasp of keys and structure. i guess that can be solved by reading and studying the music extra carefully this time round. now i dno whether to re-write the whole program notes or add in a little analysis will do
Remember the programme notes at this level are aimed at a general audience rather than a musically literate one. I looked at programme notes of concerts I have been to as inspiration and noticed that they were very loose on the analysis part.
In my program notes, I placed the piece and composer into the context of musical history, and more importantly, the history of the instrument. Following that, a little descriptive paragraph about the piece.
The analysis part centred around telling the "audience" what they were hearing as opposed to an in depth analysis- I have no idea where I read this but someone wrote that analysis for programme notes need to focus on that- there's no point doing an A-level/degree level in depth analysis because music is constantly moving, it doesn't stay still like a painting or a book.
I'll give you an example from my own notes of the Schubert sonata in A minor:
"The Allegro, ma non troppo begins dramatically with a repetition of full chords followed by right hand flourishes. After a brief transitional passage, he introduces a new idea which is more lyrical in character. The above constitutes the exposition; the ideas with which Schubert will work in the remainder of the movement."
Had they asked me in depth questions about the exposition or about sonata form, I would have been able to answer it, but given that we are targeting a general audience, it would be pointless to have written something like "The exposition begins in the key of A minor as indicated by the opening chords. These are followed by rising thirds over a dominant pedal leading to a diminished 7th broken chord.... the second subject enters in the key of F major..." because there are a lot of technical terms in there and why would they care about the keys passed through? they're not going to hear it!
When they talk about overly descriptive, I interpret that as not coming over as an overly-romantic idiot. For example, in a book I read about the Debussy Jardins sous la pluie I was using, the guy (Schmitz) writes something like "The clouds break up and the sun comes out; its reflection in the puddles making its light all the more brilliant" Sentences like that are what I think they mean because they don't tell you anything.
In my program notes, I placed the piece and composer into the context of musical history, and more importantly, the history of the instrument. Following that, a little descriptive paragraph about the piece.
The analysis part centred around telling the "audience" what they were hearing as opposed to an in depth analysis- I have no idea where I read this but someone wrote that analysis for programme notes need to focus on that- there's no point doing an A-level/degree level in depth analysis because music is constantly moving, it doesn't stay still like a painting or a book.
I'll give you an example from my own notes of the Schubert sonata in A minor:
"The Allegro, ma non troppo begins dramatically with a repetition of full chords followed by right hand flourishes. After a brief transitional passage, he introduces a new idea which is more lyrical in character. The above constitutes the exposition; the ideas with which Schubert will work in the remainder of the movement."
Had they asked me in depth questions about the exposition or about sonata form, I would have been able to answer it, but given that we are targeting a general audience, it would be pointless to have written something like "The exposition begins in the key of A minor as indicated by the opening chords. These are followed by rising thirds over a dominant pedal leading to a diminished 7th broken chord.... the second subject enters in the key of F major..." because there are a lot of technical terms in there and why would they care about the keys passed through? they're not going to hear it!
When they talk about overly descriptive, I interpret that as not coming over as an overly-romantic idiot. For example, in a book I read about the Debussy Jardins sous la pluie I was using, the guy (Schmitz) writes something like "The clouds break up and the sun comes out; its reflection in the puddles making its light all the more brilliant" Sentences like that are what I think they mean because they don't tell you anything.
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