It was mostly ok, despite having to start at 9:45am! The first three/four pieces went really well with only a couple of barely noticeable slips. The only problem came in the finale of my Schubert sonata where I missed quite a few notes and had to restart a run :s The piano wasn't great, a bit dull sounding and I couldn't get the loud, brilliant sound I wanted.
Viva was great, most of the questions were quite easy. Here are some of my questions:
- How did you go about putting your programme together?
- What else did Ginastera write?
- What other works did Rachmaninofff write?
- What works is Schubert most famous for? Did he write any other chamber works?
- Who else was writing sonatas/piano music at the same time as Schubert? (Beethoven) - which particular sonata? (mid-to late sonata, eg Hammerklavier)
- Talk about the development of the piano from Bach's time to modern day
- What other works/composers feature in Spectrum? (I was playing Moonscape, luckily I had played some of the other pieces!)
- In what ways is Ginastera's prelude similar to Aaron Copland's music?
- Do you feel that the cross-rhythmns and bi-tonality in Ginastera work against each other? (weird question - I disagreed and said that when combined they added to the agitated character of the piece)
I also added that many of my pieces used the piano to imitate other instruments. They asked which works used the piano 'as a piano'.
Quick Study wasn't too good - started off in Bb major with syncopations in canon, I couldn't work out how to coordinate my hands so I blagged a lot of it. Then there was a slower middle section in Bb minor with lots of accidentals which I did a bit better on, then a lyrical section in Bb again with arpeggios in both hands, finally a humorous Presto to close. I have no idea how well I did or if I've passed some sections.
Hope that helped - good luck to everyone else taking exams this week!
Full Version: Just Did Dipabrsm Piano....
Took mine yesterday. Not happy. Why?
Well I found it difficult to concentrate with someone hammering out Chopin rather splendidly in the next room. The article twanging away in the action somewhere between C5 and C6 was irritating every time I hit it. The piano was far too powerful for the room and the lid should have been closed. The piano really needed regulating, although the dampers worked evenly (and the practice piano was out of tune - dodgy unisons in at least one key). The Viva questions focussed mainly on works by my chosen composers - nothing was asked about historical context.
I performed with many slips due to the distractions and conditions, after months of tireless preparation. I over-used the soft pedal to compensate where sensitivity was needed and often notes played quietly just didn't sound. All this will go against me.
A quiet examination environment is a baseline standard for any subject, be it Mathematics or Music Performance. And a well-maintained piano should be available for performance-standard assessment.
I have my recordings of my programme which I'm rather pleased with but a certificate would be nice.
Well I found it difficult to concentrate with someone hammering out Chopin rather splendidly in the next room. The article twanging away in the action somewhere between C5 and C6 was irritating every time I hit it. The piano was far too powerful for the room and the lid should have been closed. The piano really needed regulating, although the dampers worked evenly (and the practice piano was out of tune - dodgy unisons in at least one key). The Viva questions focussed mainly on works by my chosen composers - nothing was asked about historical context.
I performed with many slips due to the distractions and conditions, after months of tireless preparation. I over-used the soft pedal to compensate where sensitivity was needed and often notes played quietly just didn't sound. All this will go against me.
A quiet examination environment is a baseline standard for any subject, be it Mathematics or Music Performance. And a well-maintained piano should be available for performance-standard assessment.
I have my recordings of my programme which I'm rather pleased with but a certificate would be nice.
The board give feedback forms - so will you provide feedback about the piano and other unsatifactory conditions. I am going to do so and hopefully they might get a grip for the future!
I certainly will send feedback to the board, for what good that will do. I just want as many people as possible to be prepared for the worst.
I'm gutted and dismayed, toppling from a peak of confidence on Tuesday as I rehearsed in a practice room at Jaques Samuel's (Edgeware Rd) on a decent piano only to be faced with desparately poor conditions at the Royal Academy, of all places.
For me, the board has damaged its reputation and its credibility. The diploma involves enormous commitment and painstaking study which is extremely rewarding, especially preparing the programme notes and of course the pieces. But we get just one hour to secure that reward. The board owes it to us to honour their side of the bargain - acceptable examination conditions and a broad range of questioning.
But I wish everyone today and tomorrow the very best - try and enjoy it, be confident and concentrate hard.
I'm gutted and dismayed, toppling from a peak of confidence on Tuesday as I rehearsed in a practice room at Jaques Samuel's (Edgeware Rd) on a decent piano only to be faced with desparately poor conditions at the Royal Academy, of all places.
For me, the board has damaged its reputation and its credibility. The diploma involves enormous commitment and painstaking study which is extremely rewarding, especially preparing the programme notes and of course the pieces. But we get just one hour to secure that reward. The board owes it to us to honour their side of the bargain - acceptable examination conditions and a broad range of questioning.
But I wish everyone today and tomorrow the very best - try and enjoy it, be confident and concentrate hard.
Hi Scriptit
I was so sorry to read of your experience. I can't understand why these exam boards don't live up to their responsibilities. My son took his violin grade 8 last week (trinity/guildhall) and the piano was at least 1/2 semitone out of tune. He had to tune the violin down - the examiners were appalled but there was nothing they could do except ask if we wanted to defer..!
Despite writing immediately and speaking to the director of Examinations I have not even had an acknowledgement.
You must write in the strongest terms. These exams are expensive and as you say take a huge amount of commitment and preparation. We, the students, do our very best to fully prepare, the Boards owe it to us to ensure their side of the bargain is fulfilled.
Do let us all know if you get a reply from the Board.
I was so sorry to read of your experience. I can't understand why these exam boards don't live up to their responsibilities. My son took his violin grade 8 last week (trinity/guildhall) and the piano was at least 1/2 semitone out of tune. He had to tune the violin down - the examiners were appalled but there was nothing they could do except ask if we wanted to defer..!
Despite writing immediately and speaking to the director of Examinations I have not even had an acknowledgement.
You must write in the strongest terms. These exams are expensive and as you say take a huge amount of commitment and preparation. We, the students, do our very best to fully prepare, the Boards owe it to us to ensure their side of the bargain is fulfilled.
Do let us all know if you get a reply from the Board.
Margaret et al,
Yes I will post feedback.
Funny thing is, the RAM is empty at the moment - students are on vacation and there are empty concert halls galore with good pianos in and quiet surroundings - I saw them myself, downstairs from reception where the practice rooms are (I arrived very early and the receptionist said I could practice down there).
You know, I'm half hoping I didn't fare too badly but I feel I did. Some people easily adjust to the unexpected. Concert performers have to. Perhaps it's all part of the test!
I wish I'd discovered this forum before I took the exam.
Yes I will post feedback.
Funny thing is, the RAM is empty at the moment - students are on vacation and there are empty concert halls galore with good pianos in and quiet surroundings - I saw them myself, downstairs from reception where the practice rooms are (I arrived very early and the receptionist said I could practice down there).
You know, I'm half hoping I didn't fare too badly but I feel I did. Some people easily adjust to the unexpected. Concert performers have to. Perhaps it's all part of the test!
I wish I'd discovered this forum before I took the exam.
Yeah, I agree it's completely unreasonable for them to give you a bad piano/room after you pay so much for the exam. I remember I went to one of my sister's exams and there was building work going on on the building the exam was in and that was distracting enough. Another of mine took place in a house, and despite dozens of signs asking people NOT to ring the doorbell and giving incredibly clear directions as to where you should go, the doorbell rang in the middle of one of my pieces.
Scriptit - that's appalling.
During one of my diploma attempts (LTCL) some people actually walked in and started talking. it was some sort of concert hall with a balcony and the people concerned were up on the balcony but clearly audible. the examiners did shout at them. Still I would have failed regardless, i just hadn't done the work.
Liz
During one of my diploma attempts (LTCL) some people actually walked in and started talking. it was some sort of concert hall with a balcony and the people concerned were up on the balcony but clearly audible. the examiners did shout at them. Still I would have failed regardless, i just hadn't done the work.
Liz
The fee doesn't worry me. The conditions did.
On a more constructive note for the forum, here are my pieces and viva questions as I remember them.
Programme
---------
1. J. S. Bach: Toccata in D major, BWV 912
2. Mendelssohn: Prelude and Fugue, Op. 35 No. 5
3. Ravel: Sonatine
4. Prokofiev: Visions Fugitives, Op. 22 Nos. 8, 14, 19, 20
5. Ogdon: 25 Preludes No. 9 in E
Viva Questions
--------------
* what determined your choice of programme? does it have a theme?
* how does a fortepiano differ from a modern piano?
* who else other than Bach and Mendelssohn wrote Preludes and Fugues?
* what performing difficulties are there in the Mendelssohn prelude?
* is Mendelssohn's fugue like a Bach fugue? show me in the music the subject, the countersubject
* what other piano music did Mendelssohn write? did he write a concerto?
* what traditional harmonies and forms can you point out in Ravel's Sonatine?
* what other piano music did Ravel write?
* what other piano music did Prokofiev write?
* why did I choose the John Ogdon piece to finish with?
* is there anything further you would like to tell us?
I gave some pretty foolish answers because I was stewing over my performance and not concentrating. And I wrongly presumed that the viva would cover aspects of my programme pieces in their context in the history of western music. I was ill prepared for so much emphasis on form and repertoire.
You really need to prepare hard for the Viva, it's not a walkover. Also you must not rely on the quality of your Programme Notes - I spent ages on mine but they are not separately marked!. Most importantly, read and understand the Marking Criteria for each part of the exam. In the Viva, expect to be interrupted before you've made your point - answer quickly, and have answers prepared to questions on form, idiom and style relating to your programme.
On a more constructive note for the forum, here are my pieces and viva questions as I remember them.
Programme
---------
1. J. S. Bach: Toccata in D major, BWV 912
2. Mendelssohn: Prelude and Fugue, Op. 35 No. 5
3. Ravel: Sonatine
4. Prokofiev: Visions Fugitives, Op. 22 Nos. 8, 14, 19, 20
5. Ogdon: 25 Preludes No. 9 in E
Viva Questions
--------------
* what determined your choice of programme? does it have a theme?
* how does a fortepiano differ from a modern piano?
* who else other than Bach and Mendelssohn wrote Preludes and Fugues?
* what performing difficulties are there in the Mendelssohn prelude?
* is Mendelssohn's fugue like a Bach fugue? show me in the music the subject, the countersubject
* what other piano music did Mendelssohn write? did he write a concerto?
* what traditional harmonies and forms can you point out in Ravel's Sonatine?
* what other piano music did Ravel write?
* what other piano music did Prokofiev write?
* why did I choose the John Ogdon piece to finish with?
* is there anything further you would like to tell us?
I gave some pretty foolish answers because I was stewing over my performance and not concentrating. And I wrongly presumed that the viva would cover aspects of my programme pieces in their context in the history of western music. I was ill prepared for so much emphasis on form and repertoire.
You really need to prepare hard for the Viva, it's not a walkover. Also you must not rely on the quality of your Programme Notes - I spent ages on mine but they are not separately marked!. Most importantly, read and understand the Marking Criteria for each part of the exam. In the Viva, expect to be interrupted before you've made your point - answer quickly, and have answers prepared to questions on form, idiom and style relating to your programme.
QUOTE(scriptit @ Jul 21 2005, 01:03 PM)
Took mine yesterday. Not happy. Why?
Well I found it difficult to concentrate with someone hammering out Chopin rather splendidly in the next room. The article twanging away in the action somewhere between C5 and C6 was irritating every time I hit it. The piano was far too powerful for the room and the lid should have been closed. The piano really needed regulating, although the dampers worked evenly (and the practice piano was out of tune - dodgy unisons in at least one key). The Viva questions focussed just on works by my chosen composers - nothing was asked about historical context.
I performed with many slips due to the distractions and conditions, after months of tireless preparation. I over-used the soft pedal to compensate where sensitivity was needed and often notes played quietly just didn't sound. All this will go against me.
A quiet examination environment is a baseline standard for any subject, be it Mathematics or Music Performance. A well-maintained piano should be available for performance-standard assessment.
I have my recordings of my programme which I'm rather pleased with but a certificate would have been nice.
Well I found it difficult to concentrate with someone hammering out Chopin rather splendidly in the next room. The article twanging away in the action somewhere between C5 and C6 was irritating every time I hit it. The piano was far too powerful for the room and the lid should have been closed. The piano really needed regulating, although the dampers worked evenly (and the practice piano was out of tune - dodgy unisons in at least one key). The Viva questions focussed just on works by my chosen composers - nothing was asked about historical context.
I performed with many slips due to the distractions and conditions, after months of tireless preparation. I over-used the soft pedal to compensate where sensitivity was needed and often notes played quietly just didn't sound. All this will go against me.
A quiet examination environment is a baseline standard for any subject, be it Mathematics or Music Performance. A well-maintained piano should be available for performance-standard assessment.
I have my recordings of my programme which I'm rather pleased with but a certificate would have been nice.
Oh
how awful for you I have sat, and failed the Dip twice now and at my first attempt the conditions were awful!! Same problems you had, a TOTALLY awful practice piano that was very out of tune and then the exam room............well.... the piano filled the room end to end!! Yes, I kid you not, I could have leaned my back on the wall behind when sat at the piano and the other end extended right up to the opposite wall It was so loud, Ive never heard anything like it. Just like you, I tried to compensate and ended up not sounding many notes That exam was at Manchester University.My second attempt, still a very poor practice instrument but the exam room was excellent, very big with a lovely Steinway grand. That exam was at the Royal Northern.
I put all of this on the feedback form, you should too, its disgusting that the board provide such poor conditions for exams such as these!
Good luck, I really hope you pass
QUOTE(scriptit @ Jul 21 2005, 01:03 PM)
I'm gutted and dismayed, toppling from a peak of confidence on Tuesday as I rehearsed in a practice room at Jaques Samuel's (Edgeware Rd) on a decent piano only to be faced with desparately poor conditions at the Royal Academy, of all places.
Where exactly are we talking of? I took my Diploma exam today (ah!!) and I was at the ABRSM Offices at Portland Place. I loved the piano (Steinway grand), had a strong bass and a huge dynamic range. Although we were in the basement! Didn't think the piano had a particularly useful una corda pedal...
Is this where you were?
And who were your examiners?
Lucky for you jchurch1.
Mine was at the Royal Academy of Music on a tired old Bosendorfer with hardened hammers, a brassy tone and something rattling in the action, altogether uncontrollably loud, plus the distraction from someone practicing loudly next door as I mentioned.
Examiners - don't want to say - "generalist" (what a word) is a horn player - said nothing, pianist unknown to me.
How do you think you got on? What were your Viva questions?
Mine was at the Royal Academy of Music on a tired old Bosendorfer with hardened hammers, a brassy tone and something rattling in the action, altogether uncontrollably loud, plus the distraction from someone practicing loudly next door as I mentioned.
Examiners - don't want to say - "generalist" (what a word) is a horn player - said nothing, pianist unknown to me.
How do you think you got on? What were your Viva questions?
Its interesting how the two examiners work together. In my DipABRSM(teachers) the pianist asked most of the questions relating to the piano part and the generalist asked all the questions on the teaching side. In the LRSM the generalist (who was lovely) gave lots of non-verbal feedback, nods, smiles etc but said very little. In the FRSM the generalist was as quiet as the grave and gave absolutely nothing away. He scribbled away all of the time. As I understand it however they both play a big part in deciding on the comments and marks. I did find it disconcerting to have someone in the room who seemed to do nothing. It felt rude somehow. Still once I passed I felt all the examiners were fantastic!
QUOTE(hannah @ Jul 21 2005, 07:08 AM)
It was mostly ok, despite having to start at 9:45am! The first three/four pieces went really well with only a couple of barely noticeable slips. The only problem came in the finale of my Schubert sonata where I missed quite a few notes and had to restart a run :s The piano wasn't great, a bit dull sounding and I couldn't get the loud, brilliant sound I wanted.
Viva was great, most of the questions were quite easy. Here are some of my questions:
- How did you go about putting your programme together?
- What else did Ginastera write?
- What other works did Rachmaninofff write?
- What works is Schubert most famous for? Did he write any other chamber works?
- Who else was writing sonatas/piano music at the same time as Schubert? (Beethoven) - which particular sonata? (mid-to late sonata, eg Hammerklavier)
- Talk about the development of the piano from Bach's time to modern day
- What other works/composers feature in Spectrum? (I was playing Moonscape, luckily I had played some of the other pieces!)
- In what ways is Ginastera's prelude similar to Aaron Copland's music?
- Do you feel that the cross-rhythmns and bi-tonality in Ginastera work against each other? (weird question - I disagreed and said that when combined they added to the agitated character of the piece)
I also added that many of my pieces used the piano to imitate other instruments. They asked which works used the piano 'as a piano'.
Quick Study wasn't too good - started off in Bb major with syncopations in canon, I couldn't work out how to coordinate my hands so I blagged a lot of it. Then there was a slower middle section in Bb minor with lots of accidentals which I did a bit better on, then a lyrical section in Bb again with arpeggios in both hands, finally a humorous Presto to close. I have no idea how well I did or if I've passed some sections.
Hope that helped - good luck to everyone else taking exams this week!
Viva was great, most of the questions were quite easy. Here are some of my questions:
- How did you go about putting your programme together?
- What else did Ginastera write?
- What other works did Rachmaninofff write?
- What works is Schubert most famous for? Did he write any other chamber works?
- Who else was writing sonatas/piano music at the same time as Schubert? (Beethoven) - which particular sonata? (mid-to late sonata, eg Hammerklavier)
- Talk about the development of the piano from Bach's time to modern day
- What other works/composers feature in Spectrum? (I was playing Moonscape, luckily I had played some of the other pieces!)
- In what ways is Ginastera's prelude similar to Aaron Copland's music?
- Do you feel that the cross-rhythmns and bi-tonality in Ginastera work against each other? (weird question - I disagreed and said that when combined they added to the agitated character of the piece)
I also added that many of my pieces used the piano to imitate other instruments. They asked which works used the piano 'as a piano'.
Quick Study wasn't too good - started off in Bb major with syncopations in canon, I couldn't work out how to coordinate my hands so I blagged a lot of it. Then there was a slower middle section in Bb minor with lots of accidentals which I did a bit better on, then a lyrical section in Bb again with arpeggios in both hands, finally a humorous Presto to close. I have no idea how well I did or if I've passed some sections.
Hope that helped - good luck to everyone else taking exams this week!
Did you refer to notes during your Viva?
[/quote]
Did you refer to notes during your Viva?
[/quote]
Only for two or three points, where I wanted to reinforce something I'd said or point out what was in the notes when we were discussing a certain topic. Eg, they asked why my Schubert sonata might be called the 'little' A major (I mentioned this title in the notes). They seemed to be more concerned with what breadth of knowledge I had about the composers/pieces I was performing, as well as the development and idiomatic use of the instrument.
Did you refer to notes during your Viva?
[/quote]
Only for two or three points, where I wanted to reinforce something I'd said or point out what was in the notes when we were discussing a certain topic. Eg, they asked why my Schubert sonata might be called the 'little' A major (I mentioned this title in the notes). They seemed to be more concerned with what breadth of knowledge I had about the composers/pieces I was performing, as well as the development and idiomatic use of the instrument.
[quote=hannah,Jul 24 2005, 03:54 AM]
[/quote]
Did you refer to notes during your Viva?
[/quote]
Only for two or three points, where I wanted to reinforce something I'd said or point out what was in the notes when we were discussing a certain topic. Eg, they asked why my Schubert sonata might be called the 'little' A major (I mentioned this title in the notes). They seemed to be more concerned with what breadth of knowledge I had about the composers/pieces I was performing, as well as the development and idiomatic use of the instrument.
[/quote]
Ok... Is it allowed if you have cue cards with things you might not want to forget? Such as dates and some key points?
[/quote]
Did you refer to notes during your Viva?
[/quote]
Only for two or three points, where I wanted to reinforce something I'd said or point out what was in the notes when we were discussing a certain topic. Eg, they asked why my Schubert sonata might be called the 'little' A major (I mentioned this title in the notes). They seemed to be more concerned with what breadth of knowledge I had about the composers/pieces I was performing, as well as the development and idiomatic use of the instrument.
[/quote]
Ok... Is it allowed if you have cue cards with things you might not want to forget? Such as dates and some key points?
[/quote]
Ok... Is it allowed if you have cue cards with things you might not want to forget? Such as dates and some key points?
[/quote]
I didn't use cue cards - I don't think they'd be allowed as you're supposed to be demonstrating your own knowledge. You'd have to check with the ABRSM on that one. I think they specify in the syllabus that 'materials unconnected with the examination will not be allowed' or something like that. I brought a bottle of water to sip in between pieces and they didn't say anything about that.
I don't the viva is really testing whether you can remember certain dates and facts, it just aims to assess your overall general knowledge of repertoire, eg that Beethoven was writing his late piano sonatas at the same time as Schubert was writing his early ones, in the case of my exam.
QUOTE(margaret @ Jul 23 2005, 07:35 AM)
In the FRSM the generalist was as quiet as the grave and gave absolutely nothing away. He scribbled away all of the time.
Are you FRSM on Piano? Sounds exciting. When did you take it?
QUOTE(hannah @ Jul 24 2005, 07:56 PM)
I don't the viva is really testing whether you can remember certain dates and facts, it just aims to assess your overall general knowledge of repertoire, eg that Beethoven was writing his late piano sonatas at the same time as Schubert was writing his early ones, in the case of my exam.
I'd agree - it's more about whether a piece comes early/late in the composer's output, and what might have been going on in their life and in other music at the time. Regurgitating dates sin't going to cut the mustard!
Jchurch1
Yes, my FRSM was a teaching diploma and my instrument is the piano. I took it last December. I still smile when I think of opening my results! I could have bet £1000 on my failing. The submission was hard work especially as there is no one around to really help you. The viva wasn't too bad although Mr examiner asked such strange, unexpected questions. The playing was aarrgghh! Still I am very proud I can now append these letters to my name (not that I do very often...)
Yes, my FRSM was a teaching diploma and my instrument is the piano. I took it last December. I still smile when I think of opening my results! I could have bet £1000 on my failing. The submission was hard work especially as there is no one around to really help you. The viva wasn't too bad although Mr examiner asked such strange, unexpected questions. The playing was aarrgghh! Still I am very proud I can now append these letters to my name (not that I do very often...)
QUOTE(margaret @ Jul 26 2005, 08:44 AM)
Still I am very proud I can now append these letters to my name (not that I do very often...)
You should do. Get your credit cards changed! Get letter-headed paper printed! Append it to all your email signatures!!
I'm sure if I ever manage FRSM I will have a T shirt printed with the letters on the front and then on the back ".. my other diploma is an ARCO" lol
QUOTE(margaret @ Jul 26 2005, 08:44 AM)
Jchurch1
Still I am very proud I can now append these letters to my name (not that I do very often...)
Still I am very proud I can now append these letters to my name (not that I do very often...)
Can you actually change your debid and credit cards?
Of course - I love the idea of extending my name by letters.
But I would love letters BEFORE my name too!!! :-) Don't suppose the board do that....!
x
QUOTE(jchurch1 @ Jul 27 2005, 09:37 PM)
Can you actually change your debid and credit cards?
Of course - I love the idea of extending my name by letters.
But I would love letters BEFORE my name too!!! :-) Don't suppose the board do that....!
x
Of course - I love the idea of extending my name by letters.
But I would love letters BEFORE my name too!!! :-) Don't suppose the board do that....!
x
I don't think so; the most you can do is have your title changed: for example, if you gain a doctorate, you can be 'Dr so-and-so' on your credit card. The AB will print your post-nominals on your exam candidates' certificates, though.
Tomorrow is my turn to retake.I just hope that I can pass,hope examiners don b so strict!cos I heard my good fren said that she took 3 times,the 1st time got 37,2nd time got 36,the final time 41.just passed!I think is the examiners problem.
This is my 2nd time,I don wan to retake anymore!So,please give me a pair of kind examiner.
I will post the programme notes tomorow after my exam.frens.hope we all pass,cos no need spend so much time,energy and money anymore to retake.
This is my 2nd time,I don wan to retake anymore!So,please give me a pair of kind examiner.
I will post the programme notes tomorow after my exam.frens.hope we all pass,cos no need spend so much time,energy and money anymore to retake.
QUOTE
1st time got 37,2nd time got 36,the final time 41.just passed!I think is the examiners problem.
I think it is SLIGHTLY more likely that the person concerned was not well enough preapred...
QUOTE(sbhoa @ Aug 4 2005, 11:49 AM)
QUOTE
1st time got 37,2nd time got 36,the final time 41.just passed!I think is the examiners problem.
I think it is SLIGHTLY more likely that the person concerned was not well enough preapred...
but slightly also counted pass.For me,my big aim also can pass then ok oledi.
Hope we will do our best and can pass with good marks! 
QUOTE(jchurch1 @ Jul 25 2005, 07:53 PM)
QUOTE(margaret @ Jul 23 2005, 07:35 AM)
In the FRSM the generalist was as quiet as the grave and gave absolutely nothing away. He scribbled away all of the time.
Are you FRSM on Piano? Sounds exciting. When did you take it?
Um ... just wondering, is it possible to have a generalist examiner for an FRSM exam on piano? I mean, every examiner is supposed to play the piano ...
QUOTE(agnescyy @ Aug 4 2005, 11:28 AM)
Tomorrow is my turn to retake.I just hope that I can pass,hope examiners don b so strict!cos I heard my good fren said that she took 3 times,the 1st time got 37,2nd time got 36,the final time 41.just passed!I think is the examiners problem.
If one passed with a mark of 41, he/she would have to just pass each and every part (24/60 on recital, 10/25 on viva voce and 6/15 on quick study) of the exam, isn't that true?
I just finished my Dip.
I think I will be fail,cos from the 1st piece prelude oledi play some mistakes,but fugue part no mistake at all.
2nd piece and the 3rd pieces were lousy,just only the final piece still ok.
How come every time I also extremely nervous???
The candidate b4 me is just only retake the quick study.It is only 15 minutes.
actually the viva voce question are similiar wat you all stated here.
I think I will be fail,cos from the 1st piece prelude oledi play some mistakes,but fugue part no mistake at all.
2nd piece and the 3rd pieces were lousy,just only the final piece still ok.
How come every time I also extremely nervous???
The candidate b4 me is just only retake the quick study.It is only 15 minutes.
actually the viva voce question are similiar wat you all stated here.
QUOTE(margaret @ Jul 21 2005, 01:37 PM)
Hi Scriptit
I was so sorry to read of your experience. I can't understand why these exam boards don't live up to their responsibilities. My son took his violin grade 8 last week (trinity/guildhall) and the piano was at least 1/2 semitone out of tune. He had to tune the violin down - the examiners were appalled but there was nothing they could do except ask if we wanted to defer..!
Despite writing immediately and speaking to the director of Examinations I have not even had an acknowledgement.
You must write in the strongest terms. These exams are expensive and as you say take a huge amount of commitment and preparation. We, the students, do our very best to fully prepare, the Boards owe it to us to ensure their side of the bargain is fulfilled.
Do let us all know if you get a reply from the Board.
I was so sorry to read of your experience. I can't understand why these exam boards don't live up to their responsibilities. My son took his violin grade 8 last week (trinity/guildhall) and the piano was at least 1/2 semitone out of tune. He had to tune the violin down - the examiners were appalled but there was nothing they could do except ask if we wanted to defer..!
Despite writing immediately and speaking to the director of Examinations I have not even had an acknowledgement.
You must write in the strongest terms. These exams are expensive and as you say take a huge amount of commitment and preparation. We, the students, do our very best to fully prepare, the Boards owe it to us to ensure their side of the bargain is fulfilled.
Do let us all know if you get a reply from the Board.
If anyone is based in the South East and is wondering where to take their exam, I can recommend Oxford as an exam venue. The piano is in a large purpose-built concert hall and is a very large Yamaha grand. The only criticism I have of it is that the sustain pedal was a little tricky (the dampers moved from fully on to fully off with very little movement of the foot!), but you could get around this. Other than that I can't fault it as an exam venue. Warm-up pianos available are okay but nothing special IMO (though they sound at least on a par with the descriptions above).
I live near to London and considered taking my last exam (LRSM) in the capital as I had assumed the pianos in the RAM would be superb. On reading this I think I'll keep taking them in Oxford.
Scriptit, please let us know what the ABRSM say about your bad experience. It is outrageous that this sort of thing should happen.
QUOTE(mrbouffant @ Jul 26 2005, 10:46 AM)
I'm sure if I ever manage FRSM I will have a T shirt printed with the letters on the front and then on the back ".. my other diploma is an ARCO" lol
QUOTE(SomePianist @ Aug 12 2005, 02:26 PM)
If anyone is based in the South East and is wondering where to take their exam, I can recommend Oxford as an exam venue. The piano is in a large purpose-built concert hall and is a very large Yamaha grand. The only criticism I have of it is that the sustain pedal was a little tricky (the dampers moved from fully on to fully off with very little movement of the foot!), but you could get around this. Other than that I can't fault it as an exam venue. Warm-up pianos available are okay but nothing special IMO (though they sound at least on a par with the descriptions above).
Might I ask where this was, please?
Thanks
Cheers
Katyjay
QUOTE(katyjay @ Aug 15 2005, 07:46 AM)
QUOTE(SomePianist @ Aug 12 2005, 02:26 PM)
If anyone is based in the South East and is wondering where to take their exam, I can recommend Oxford as an exam venue. The piano is in a large purpose-built concert hall and is a very large Yamaha grand. The only criticism I have of it is that the sustain pedal was a little tricky (the dampers moved from fully on to fully off with very little movement of the foot!), but you could get around this. Other than that I can't fault it as an exam venue. Warm-up pianos available are okay but nothing special IMO (though they sound at least on a par with the descriptions above).
Might I ask where this was, please?
Thanks
Cheers
Katyjay
Jacqueline du Pre music building at St Hilda's college.
Link to website
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