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BalladeNo.4inFminor
hi everyone! I am so glad to be able to communicate and to discuss Music with so many music lovers around the world. I only found out about this forum yesterday evening... what a forum!! salute to everybody!!! tongue.gif

I am learning piano, currently living in Hong Kong, and I am preparing the Trinitys' Performer's Certificate (PC) for the coming Noverber-December. Here's my programme:

BACH Fantasie and Fugue in A minor BWV904
MOZART Sonata in B flat KV570
BRAHMS Intermezzo in C# minor, Op.117 No.3
RAVEL First movement from Sonatine

To be honest, i didn't know why i entered the PC exam. After i had done all the pieces i realized that PC was just a perparation for DipABRSM or ATCL... (to me, it's like pointlessly taking an exam between grade 5 and grade 6.) wacko.gif Since the programme is just as demanding, i feel like i am wasting a year for the PC, instead of taking DipABRSM or ATCL (both seems more "professional"). Also, one more year to prepare for Dip means one more year of piano tuition's fees $$$ sad.gif .

Has anyone took the PC exam? Can anyone share their thoughts with me, please?
If i pass the exam, what next? should i take DipABRSM or ATCL? or both?? Any suggestions on 'Number of years of preparation' from DipABRSM to LRSM?

BTW: i am struggling on writing programme notes for the pieces above, Can anyone help me to at least start with something....??

Thank you
elidatrading
Definitely not a waste of time. The gap between grade 8 and diploma is HUGE (if you are thinking of it as being just one grade higher then you are almost certain to fail) and having something to bridge that gap is not at all a bad idea.

I've taken the Performer's Certificate three times - two different instruments. The first two times were on recorder and I failed both times. The playing standard required was much higher than grade 8 and the Viva was absolutely horrible - WAY higher than grade 8. I had passed Licentiate Teacher theory and STILL found the Viva really difficult. I think this was in the days before you could choose to play from memory instead. The comments were all mainly about lack of dynamics which, considering this was a recorder exam, seemed to be most unreasonable. I did get a comment that one of my pieces was "extremely well played" so i guess the rest of them must have been pretty bad for me to fail the exam.

I did expect to pass the second time and i have since passed the LGSM teacher's diploma on recorder and i would not say, overall, that i played any better for that than for the performer's certificate. I wish I could find the mark sheets. Third time was singing and i should not have passed that but I did. I don't recall doing a Viva for that so perhaps the "from memory" alternative had been brought in by then.

Liz
SteveHopwood
I agree with Liz. You are far from wasting your time. That is a lovely programme you are working on and a successful performance will help you make the jump from grade 8 to dip.

The DipABRSM appears to be a bit of a minefield. I have not seen the pass\fail stats, but recall someone posting that 60% of candidates fail.

It looks like the AB set out to design a truly professional diploma and are determined to maintain high standards so that it is a valuable qualification. So: keep on practising; develop and enjoy developing your playing and musical understanding; try not to be in too big a hurry - rushing doesn't seem to work.

Enjoy the forums.

Steve biggrin.gif
AnotherPianist
QUOTE(elidatrading @ Sep 21 2005, 08:37 AM)
Definitely not a waste of time.  The gap between grade 8 and diploma is HUGE (if you are thinking of it as being just one grade higher then you are almost certain to fail) and having something to bridge that gap is not at all a bad idea.
*

Couldn't really add any more than that; absolutely true.

QUOTE(SteveHopwood @ Sep 21 2005, 09:33 AM)
The DipABRSM appears to be a bit of a minefield. I have not seen the pass\fail stats, but recall someone posting that 60% of candidates fail.
*


Steve, if you're interested the statistics are here, these only cover UK candidates though; I've heard all sorts of rumours on here about pass rates being different in various countries. Also if you want the grade exam statistics they're here.

QUOTE(SteveHopwood @ Sep 21 2005, 09:33 AM)
It looks like the AB set out to design a truly professional diploma and are determined to maintain high standards so that it is a valuable qualification.
*

I think this is really good, too many exams are now really quite hard to fail (with the exception of the driving test which is ridiculous rolleyes.gif) it's really good that there's a qualification out there that really means the person had to be very good to get it smile.gif. I like this about the diplomas and really hope it continues.
SteveHopwood
QUOTE(AnotherPianist @ Sep 21 2005, 11:23 AM)
Steve, if you're interested the statistics are here, these only cover UK candidates though; I've heard all sorts of rumours on here about pass rates being different in various countries.  Also if you want the grade exam statistics they're here.
*


Thanks for that. I shall have a longer look later, but just a quick glance was interesting. The dip figures are consistent; in round figures the failure rate is 50%.

I think of the DipABRSM as a 'starter' diploma (I accept I might be wrong in so thinking and mean no disparagement of those attempting it), based on what I have read of the repertoire and a 'general impression', along with the fact that it replaced the original Advanced Certificate in Performance.

I wonder whether the failure rate is so high because the standards are high, or because candidates are attempting it prematurely. I have contributed to a few dip threads with advice about how to play\interpret\express pieces, posted by some fairly young students - some as young as 16. I wonder how many candidates make the mistake of thinking of it as a 'grade 9'. Only speculating.

The truly breathtaking stat I saw was the failure rate of candidates taking grade 1. Just doing some basic maths in my head, the failure rate is about 1 in 38. Frankly, the candidate only has to be an extant life-form in order to pass grade 1, so there is some deeply shocking work going on in places.

Steve biggrin.gif
YetAnotherPianist
QUOTE(SteveHopwood @ Sep 21 2005, 12:45 PM)
I think of the DipABRSM as a 'starter' diploma (I accept I might be wrong in so thinking and mean no disparagement of those attempting it), based on what I have read of the repertoire and a 'general impression', along with the fact that it replaced the original Advanced Certificate in Performance.

I think something inevitably has to be the starter diploma, by virtue of coming first....

The DipABRSM might have benefited from being called the ARSM (ooo, almost - but not quite - the ###### diploma wink.gif ). People seem to have a better idea of what an associate is, and if I'm not mistaken there are some other DipExamBoard qualifications out there which aren't as difficult so from a labelling point of view I think the AB could have done better.

QUOTE
I wonder whether the failure rate is so high because the standards are high, or because candidates are attempting it prematurely. I have contributed to a few dip threads with advice about how to play\interpret\express pieces, posted by some fairly young students - some as young as 16. I wonder how many candidates make the mistake of thinking of it as a 'grade 9'. Only speculating.

I've always ascribed it to people not being aware of the standard necessary in the performance section, or the level of knowledge expected in a viva. The benchmark for the performance standard is the end of the first year at music college; whilst I'm sure the viva doesn't need the entire musical knowledge of a first-year music college student, I've always presumed that for good marks they'd be expecting candidates to know the relevant knowledge.

QUOTE
Frankly, the candidate only has to be an extant life-form in order to pass grade 1.
*


laugh.gif
AnotherPianist
QUOTE(SteveHopwood @ Sep 21 2005, 12:45 PM)
I think of the DipABRSM as a 'starter' diploma (I accept I might be wrong in so thinking and mean no disparagement of those attempting it), based on what I have read of the repertoire and a 'general impression', along with the fact that it replaced the original Advanced Certificate in Performance.

I think the jump in standard of playing that is required is there but, as you observe, most of the 'standard repertoire' is reserved until LRSM level. Reading the syllabus gives some insight into the relative standards: although it's practically impossible to state a standard of playing in words, the description for one level of pass at dipABRSM is the same as that for the next one down at LRSM, so clear pass at dipABRSM is the same description of playing level as pass at LRSM (obviously with different pieces). Whilst we are again at the mercy of words describing playing standard; I'm guessing that we can assume identical words mean an identical playing standard, although I could of course be wrong.

It also seems to me, dare I say it ph34r.gif?, that the dipABRSM now is harder than the performer's certificate was, simply because those entering LRSM through that route seem to have struggled more (okay so this is mainly one specific person...) than those doing it through the dipABRSM route.

QUOTE(SteveHopwood @ Sep 21 2005, 12:45 PM)
I wonder whether the failure rate is so high because the standards are high, or because candidates are attempting it prematurely. I have contributed to a few dip threads with advice about how to play\interpret\express pieces, posted by some fairly young students - some as young as 16. I wonder how many candidates make the mistake of thinking of it as a 'grade 9'. Only speculating.
*

I think that it's a bit of both, there's a jump in playing standard required and people just don't realise it's there. Also the requirement to pass all sections gets a lot of people: some people who have gone through a lot of the grade exams failing their sightreading suddenly fail the whole exam for doing that (well the quick study). What I do find worrying is the number of people taking the exam, and failing with comments clearly telling them what's wrong, and then they swear blind that their playing was excellent, I think a much greater deal of understanding of one's own playing is required (although these people are often keen to criticise the playing of the people on the Achieveing Success DVD, but not particularly eloquently, just I'm better than them, not there playing was bed because they could have done X, Y and Z better). Then there's the really quite frankly worrying lack of knowledge that seems to come across sometimes in the preparation, and answers given, to the viva questions. I think there's just a leap in musical understanding to the way one should have done grade 8 and anyone abusing the exam system in any way will fall down at this point (of course I don't mean to imply that anyone who does fail has abused the exam system previously). In getting between a pass at grade X and grade X+1 one needs to do a certain amount of work; but to get from a pass at grade 8 to diploma level requires more than the amount of work to get from grade X to distinction at grade X+1.

I do think, though, that a major problem is the unknown and do expect that the pass rate will increase in the future due to better knowledge of when to enter; without the standard of the exam being lowered (although, of course, when the pass rate does increase everyone who has done the exam now will insist it has got easier rolleyes.gif).

Of course all my experience of this is based on seeing YAP go through this process and talking to people on here who have done it; not doing it myself.
Wai Kit Leung
QUOTE(elidatrading @ Sep 21 2005, 07:37 AM)
Definitely not a waste of time.  The gap between grade 8 and diploma is HUGE (if you are thinking of it as being just one grade higher then you are almost certain to fail) and having something to bridge that gap is not at all a bad idea.

I've taken the Performer's Certificate three times - two different instruments.  The first two times were on recorder and I failed both times.  The playing standard required was much higher than grade 8 and the Viva was absolutely horrible - WAY higher than grade 8.  I had passed Licentiate Teacher theory and STILL found the Viva really difficult.  I think this was in the days before you could choose to play from memory instead.  The comments were all mainly about lack of dynamics which, considering this was a recorder exam, seemed to be most unreasonable.  I did get a comment that one of my pieces was "extremely well played" so i guess the rest of them must have been pretty bad for me to fail the exam.

I did expect to pass the second time and i have since passed the LGSM teacher's diploma on recorder and i would not say, overall, that i played any better for that than for the performer's certificate.  I wish I could find the mark sheets.  Third time was singing and i should not have passed that but I did.  I don't recall doing a Viva for that so perhaps the "from memory" alternative had been brought in by then.

Liz
*



Hi Liz,

I am very sorry to hear about your unpleasant experience with your recorder exams. I totally agree with you that it's ridiculous for the examiner(s) to criticize the lack of dynamics on the recorder, particularly when we have to play at A=440 for the exam and in general recorders at that pitch don't sound as nice. They really should try playing the recorder themselves before making that judgement.

I too was a victim of "lacking dynamics in my recorder playing" ...

Did you use a plastic recorder for your exam by the way?

Wai Kit Leung
SteveHopwood
QUOTE(Wai Kit Leung @ Sep 21 2005, 02:34 PM)
I totally agree with you that it's ridiculous for the examiner(s) to criticize the lack of dynamics on the recorder
*


This strikes me as odd as well.

I have accompanied a few good recorder players in my career, including a young professional in a music club recital some years ago.

I had to play with the piano lid firmly shut, often with the soft pedal depressed, and breathed on the keys so gently they only just sounded. There wasn't much dynamic contrast coming from any of the players; hardly surprising given the tiny dynamic range available to them.

Also, the bigger the room, the less any contrasts come across. You would be justified in thinking that examiners chosen to examine these candidates would understand all this.

Steve biggrin.gif
AnotherPianist
QUOTE(SteveHopwood @ Sep 21 2005, 04:13 PM)
QUOTE(Wai Kit Leung @ Sep 21 2005, 02:34 PM)
I totally agree with you that it's ridiculous for the examiner(s) to criticize the lack of dynamics on the recorder
*


You would be justified in thinking that examiners chosen to examine these candidates would understand all this.
*


Perhaps this is why the AB use specialist examiners for diplomas (maybe the grade 1 failures are the poor (as in unfortunate; not bad) recorder players being criticised for lack of dynamics by non-specialists rolleyes.gif); I thought that the other boards did too, but evidently some do not.
elidatrading
QUOTE(Wai Kit Leung @ Sep 21 2005, 02:34 PM)
Did you use a plastic recorder for your exam by the way?

Wai Kit Leung
*


It was a long time ago but as i recall I played on Moeck ebony Rottenburghs.

I went to a Trinity College teachers session all about exams and brought this up, only to be told that they didn't see why they should accept a lesser standard of playing from recorders. Ha! I wonder if they'd expect dynamics from a harpsichord or anything other than equal temperament from a piano ...

liz
Wai Kit Leung
QUOTE(AnotherPianist @ Sep 21 2005, 03:20 PM)
Perhaps this is why the AB use specialist examiners for diplomas (maybe the grade 1 failures are the poor (as in unfortunate; not bad) recorder players being criticised for lack of dynamics by non-specialists rolleyes.gif); I thought that the other boards did too, but evidently some do not.
*




Unfortunately I took my AB exam in the USA and they only flew in one examiner (the specialist listened to the tape afterwards). The examiner who was there gave me such a ridiculously low mark (18/60 for the recital) that the specialist didn't revise it.
elidatrading
QUOTE(Wai Kit Leung @ Sep 21 2005, 05:22 PM)

Unfortunately I took my AB exam in the USA and they only flew in one examiner (the specialist listened to the tape afterwards).  The examiner who was there gave me such a ridiculously low mark (18/60 for the recital) that the specialist didn't revise it.
*



What instrument was that? Do you still have the comments?

Lzi
sarah-flute
QUOTE(SteveHopwood @ Sep 21 2005, 11:45 AM)
I wonder whether the failure rate is so high because the standards are high, or because candidates are attempting it prematurely.
*


Not from personal experience laugh.gif (one day I may attempt it...!) but from what people, teachers and candidates alike, have said, it's a bit of both. So many times people are told "it's not grade 9, you know..." etc etc. It's good that there's an in-between exam available, and when i have done grade 8 I'll certainly think about it.

QUOTE(YetAnotherPianist @ Sep 21 2005, 11:59 AM)
The DipABRSM might have benefited from being called the ARSM (ooo, almost - but not quite - the ###### diploma wink.gif ). 
*


hahahahahaha!!!

I think you're right though, I think some people think "well it mustn't be as hard as...[whichever associate diploma]"...

Do the royal schools still offer LRAM etc outside of the colleges?

QUOTE(elidatrading @ Sep 21 2005, 05:08 PM)
I went to a Trinity College teachers session all about exams and brought this up, only to be told that they didn't see why they should accept a lesser standard of playing from recorders.  Ha!  I wonder if they'd expect dynamics from a harpsichord or anything other than equal temperament from a piano ...
*


rolleyes.gif how ridiculous!
mrbouffant
QUOTE(sarah-flute @ Sep 21 2005, 08:38 PM)
Do the royal schools still offer LRAM etc outside of the colleges?
*



Don't think so.. otherwise I want one! From what I know, all these external diplomas (I was looking at ARCM once upon a time) were withdrawn when the ABRSM published the 2000 diploma syllabus..
YetAnotherPianist
QUOTE(mrbouffant @ Sep 21 2005, 10:17 PM)
Don't think so.. otherwise I want one! From what I know, all these external diplomas (I was looking at ARCM once upon a time) were withdrawn when the ABRSM published the 2000 diploma syllabus..
*


Yet another one to add to your collection wink.gif.
mrbouffant
QUOTE(YetAnotherPianist @ Sep 21 2005, 09:36 PM)
QUOTE(mrbouffant @ Sep 21 2005, 10:17 PM)
Don't think so.. otherwise I want one! From what I know, all these external diplomas (I was looking at ARCM once upon a time) were withdrawn when the ABRSM published the 2000 diploma syllabus..
*


Yet another one to add to your collection wink.gif.
*


you betcha! laugh.gif
Wai Kit Leung
QUOTE(elidatrading @ Sep 21 2005, 08:00 PM)
QUOTE(Wai Kit Leung @ Sep 21 2005, 05:22 PM)

Unfortunately I took my AB exam in the USA and they only flew in one examiner (the specialist listened to the tape afterwards).  The examiner who was there gave me such a ridiculously low mark (18/60 for the recital) that the specialist didn't revise it.
*



What instrument was that? Do you still have the comments?

Lzi
*




That was for DipABRSM Recorder. The comments were too nasty -- I don't think I would want to revisit my marksheet, ever.
elidatrading
You've got FRSM oboe and you failed dipABRSM recorder???! That is frightening sad.gif

Liz
Wai Kit Leung
QUOTE(elidatrading @ Sep 22 2005, 08:07 PM)
You've got FRSM oboe and you failed dipABRSM recorder???!  That is frightening  sad.gif

Liz
*



Well, I wasn't able to reproduce my dynamic contrast on the recorder ... and my pianist screwed up big time too.

I just got some very fine recorders and will also take the exam at a private house with a harpsichord (so that I can play at 415). I hope this will cut it. I don't think I will waste any more money on future exams though -- the comments I got last time were extremely disappointing.
SteveHopwood
QUOTE(Wai Kit Leung @ Sep 22 2005, 09:03 PM)
QUOTE(elidatrading @ Sep 22 2005, 08:07 PM)
You've got FRSM oboe and you failed dipABRSM recorder???!  That is frightening  sad.gif

Liz
*



Well, I wasn't able to reproduce my dynamic contrast on the recorder ... and my pianist screwed up big time too.

I just got some very fine recorders and will also take the exam at a private house with a harpsichord (so that I can play at 415). I hope this will cut it. I don't think I will waste any more money on future exams though -- the comments I got last time were extremely disappointing.
*


Sounds like a good move to me.

Out of curiosity, why does the recorder sound best at 415? If the answer is simply, 'because it does' then I shall happily accept that.

Steve biggrin.gif
Wai Kit Leung
QUOTE(SteveHopwood @ Sep 22 2005, 09:10 PM)
Out of curiosity, why does the recorder sound best at 415? If the answer is simply, 'because it does' then I shall happily accept that.

Steve biggrin.gif
*



Hi Steve,

For some reason, woodwind instruments sounds better at a lower pitch. I am not talking about playing modern instruments at a lower pitch, just that period instruments built at a lower pitch usually sound better than their higher-pitch counterparts (which is the opposite case for strings).

If you listen to recordings made by Franz Bruggen or other artists playing baroque recorder, you will hear a wonderful sound quality, which is quite unlike the brilliant, if somewhat pinched, tone of Michala Petri, who plays at 440. All the modern recorders in 440 are scaled-down reproduction of baroque originals, which were often at 403-415. The scaling makes the recorders tighter in feel.

Also I forgot to mention I was using plastic recorders for my last exam. That certainly didn't help. Although when an examiner has made up his mind to fail you, nothing would help. He even gave me a very low mark for the viva voce, even though I did a better job than when I took my previous exams on oboe and I always got 2x/25. Go figure.

Wai Kit Leung
SteveHopwood
QUOTE(Wai Kit Leung @ Sep 22 2005, 09:19 PM)
QUOTE(SteveHopwood @ Sep 22 2005, 09:10 PM)
Out of curiosity, why does the recorder sound best at 415? If the answer is simply, 'because it does' then I shall happily accept that.

Steve biggrin.gif
*



Hi Steve,

For some reason, woodwind instruments sounds better at a lower pitch. I am not talking about playing modern instruments at a lower pitch, just that period instruments built at a lower pitch usually sound better than their higher-pitch counterparts (which is the opposite case for strings).

Wisdom of the ancients, perhaps?

QUOTE
If you listen to recordings made by Franz Bruggen or other artists playing baroque recorder, you will hear a wonderful sound quality, which is quite unlike the brilliant, if somewhat pinched, tone of Michala Petri.

I have indeed heard performances where I was unsure exactly which instrument was playing; I guessed recorder from the context but was not certain. The presenter later confirmed this.

QUOTE
Also I forgot to mention I was using plastic recorders for my last exam.  That certainly didn't help.  Although when an examiner has made up his mind to fail you, nothing would help.  He even gave me a very low mark for the viva voce, even though I did a better job than when I took my previous exams on oboe and I always got 2x/25.  Go figure.

Wai Kit Leung
*


Let's face it; if we could fathom examiners, we would be way ahead of the game. Again, out of curiosity, given that the recorder was originally made of wood, why use a plastic instrument? Funny that it never occured to me to ask flautists the same question.

Thanks for taking the trouble to reply.

Steve biggrin.gif
Wai Kit Leung
QUOTE(SteveHopwood @ Sep 22 2005, 09:35 PM)

Let's face it; if we could fathom examiners, we would be way ahead of the game. Again, out of curiosity, given that the recorder was originally made of wood, why use a plastic instrument? Funny that it never occured to me to ask flautists the same question.

Thanks for taking the trouble to reply.

Steve  biggrin.gif
*



Hi Steve,

I didn't have money to get nice recorders back then, plus it doesn't really make sense to get expensive, good quality recorders at 440 just for the exam, because professionals play at 415. Cheap wooden recorders are worse than plastic ones actually.

Wai Kit Leung
SteveHopwood
QUOTE(Wai Kit Leung @ Sep 22 2005, 09:39 PM)
QUOTE(SteveHopwood @ Sep 22 2005, 09:35 PM)

Let's face it; if we could fathom examiners, we would be way ahead of the game. Again, out of curiosity, given that the recorder was originally made of wood, why use a plastic instrument? Funny that it never occured to me to ask flautists the same question.

Thanks for taking the trouble to reply.

Steve  biggrin.gif
*



Hi Steve,

I didn't have money to get nice recorders back then, plus it doesn't really make sense to get expensive, good quality recorders at 440 just for the exam, because professionals play at 415. Cheap wooden recorders are worse than plastic ones actually.

Wai Kit Leung
*


Thanks. I understand.

Steve biggrin.gif
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