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New ABRSM Woodwind syllabus 2018-21

clarinet flute oboe bassoon recorder saxophone woodwind syllabus ABRSM 2018

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#31 sbhoa

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Posted 13 July 2017 - 10:24

Thanks shboa, I too love working with accompaniment when I get the chance. In the music school I'm lucky that my piano teacher usually does the accompaniments and Korrepetition (does that word work in English?) leading up to concerts and he's wonderful. But the poor guy is so exhausted by the end of the summer term he really needs a complete break and usually escapes to a silent Swiss mountain or somewhere!
It seems they've probably found a new teacher for next term, who comes from the same conservatory as my previous two, so fingers crossed. They've been great, good performers and well trained in the pedagogy side. I'll start work slowly on a couple from my new stock of repertoire and hopefully hold onto all I was taught by M.

Good luck with your new teacher. :)


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#32 Rach123

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Posted 13 July 2017 - 20:02

On the clarinet syllabus I am sad to see Finzi Fughetta off the grade 8 syllabus. I haven't found much on the grade 6 syllabus for sax that is appealing to students and am very sad to see Gypsy Song gone. My students love that and it is great to get them used to making a piece their own- I tell them I want no two identical interpretations of the beginning and the quasi cadenza. One student is going to do Trinity Grade 6 simply because she can't find any pieces she really likes on the AB sax list. Also there is no Victorian Kitchen Garden anything on it....
but lots of Brahms........

 

I love the finzi, but it just doesn't sit under my fingers very well. I'm sad to see it go though, I'm glad that abrsm have put the grovlez on the grade 8 (I love it and can already play it). This syllabus actually has quite a few pieces i either like or can already play which i think is giving me hope that i could resit my grade 8. I already have my A and B pieces sorted (Brahms 2 and Grovlez). Just need to find a teacher who can help me with interpretation and the supporting tests.


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#33 SingingPython

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Posted 14 July 2017 - 06:06

I have been shocked by the prevalence of transcriptions on the violin syllabuses so that this happens overmuch in wind too is no surprise.  I wonder how much it is driven by the determination to keep exam lengths short hence avoiding a lot of good music?


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#34 dovebasket

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Posted 14 July 2017 - 23:21

Yep, I agree with Elemimele on Van Eyck. It's tricky, as it makes sense for the route to Gd 5 recorder to be attainable on the descant, as that's what people generally start on. But it's not rocket science to run that alongside a Trinity-style system that lets you play one piece on descant/tenor at all levels. I would guess that most descant players up to Gd 5 wouldn't play the trenble, whereas most treble players at all levels would play descant/tenor (and would want to play Van Eyck!).

 

On a separate point, I see Bach (transcription from cello) has been dropped from Gd 6 bassoon list C.  No, just no.


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#35 zizi

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Posted 15 July 2017 - 08:15

I am glad that there is no transposition requirements on clarinet syllabus.  I thought this might be coming...  phew. 


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#36 dorfmouse

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Posted 16 July 2017 - 09:56


Does anyone have any initial thoughts about the G7 syllabus? I'm waiting impatiently for the music I ordered to arrive, so haven't seen it yet.

It seems ABRSM are now doing downloads instead of CDs to go with the books - but I have no idea what I am supposed to do with it, or even if I will recognise it. To IT buffs this will sound like a very daft question, but what does a download look like? Is it some kind of logo that I have to scan?


I think there will be a link to a webpage and a download code both given in the exam book. You type in the linked web address to your browser and put your code in, and can then download your tracks on to your computer/phone/tablet etc. Hopefully it will all be presented clearly with instructions. The downside to this is if you usually use a CD player through a stereo with good speakers, and now you're presented with downloadable tracks that can only be played through your phone or computer speakers etc. Hopefully they'll be able to be burned on to a CD though if that's the case.

Lucid :)

I bought the G7 book today and there is no CD. The download instructions are on the back cover and as Lucid says. You first have to register and make a password. When you've done all that and eager-beaver want to go ahead and download, it kindly tells you .... it will not download onto a mobile phone or ipad; has to be a computer with windows or apple. Grrr, am on holiday at the moment with only phone and ipad.
Why do things never get easier instead of more complicated?


Well, am back home and have downloaded them. More accurately, I had to go wailing to OH to do it as it wasn't straightforward, and it took him some time too, with additional expletives. They download as zip files which then have to be converted to something or other to extract the tracks. Then we copied to CDs.

Very disappointed that you only get the nine pieces from the book, and none of the alternative choices, several of which are not findable on good old YT to get an idea of, before forking out for more books which you might not then like.
Bah.
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#37 Masanta

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Posted 18 July 2017 - 19:31

 


Very disappointed that you only get the nine pieces from the book, and none of the alternative choices, several of which are not findable on good old YT to get an idea of, before forking out for more books which you might not then like.
Bah.

 

 

What? I haven't got round to downloading them yet but had assumed they'd all be there not just the chosen 9 tracks! I don't play piano so use the accompaniments with students so they then only need a run through with accompanist.Trinity did the same but as they'd never released recordings before it was a step forward. There's now very little to draw me to ABRSM over Trinity. 

 

On another point, I am confused as to why the flute extended scales don't go up to c so that they cover the 3 octaves. Any ideas?


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#38 Oboedad

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Posted 19 July 2017 - 13:51

My daughter's giving up on ABRSM and switching to Trinity for her oboe Gr8 as Trinity allow the playing of one piece on Cor - I see that the "new" ABRSM syllabus still hasn't progressed to recognising such avant garde ideas......having recorded exams does no harm either as at least there's a level of traceability & moderation to any exam result unlike ABRSM's total reliance on the examiner which is rather anachronistic nowadays. 

 

I also hope that ABRSM sort themselves out as far as samples of "new" music online is concerned. It's a point I've made several times - if you wish to encourage players to adopt new music for the exams at least have the decency to make sure any sound file examples have the general "tune" played by the instrument and not just the piano accompaniment part repeated - at least give us a fighting chance of knowing whether we might like the music before paying to download it!


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#39 polkadot

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Posted 19 July 2017 - 14:14

having recorded exams does no harm either

There's no way I'd do an exam if it was being recorded, even if it was only sound and not vision.  I find it stressful enough playing in front of one examiner, without having the added stress of thinking that my efforts might be listened to by X number of others and/or stored.


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#40 dorfmouse

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Posted 19 July 2017 - 19:33

Very disappointed that you only get the nine pieces from the book, and none of the alternative choices, several of which are not findable on good old YT to get an idea of, before forking out for more books which you might not then like.
Bah.

 
What? I haven't got round to downloading them yet but had assumed they'd all be there not just the chosen 9 tracks! I don't play piano so use the accompaniments with students so they then only need a run through with accompanist.Trinity did the same but as they'd never released recordings before it was a step forward. There's now very little to draw me to ABRSM over Trinity. 
 
On another point, I am confused as to why the flute extended scales don't go up to c so that they cover the 3 octaves. Any ideas?

Have just noticed this on Our Exams, New Publications and Downloads:

Later in July, a range of recordings of the alternative pieces for Flute, Clarinet, and Alto Saxophone from across the syllabus will also be available.
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#41 saxophile

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Posted 20 July 2017 - 07:03

 

having recorded exams does no harm either

There's no way I'd do an exam if it was being recorded, even if it was only sound and not vision.  I find it stressful enough playing in front of one examiner, without having the added stress of thinking that my efforts might be listened to by X number of others and/or stored.

 

 

I don't think it would add to the stress as much as you think, if the recording equipment was unobtrusive; and I'd be wholeheartedly in favour of recording as a much better way of moderating examiners' assessments.  Our experience of challenging what we considered to be extremely unfair marking on son no.1's Gr.7 piano (based on the fact that I could hear pretty much everything that transpired given the poor sound insulation between the exam room and the waiting room) is that currently, ABRSM can simply get away with asserting that there are no grounds for complaint - and the candidate has absolutely no way of rebutting that assertion without a recording.


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#42 polkadot

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Posted 20 July 2017 - 08:30

 

 

having recorded exams does no harm either

There's no way I'd do an exam if it was being recorded, even if it was only sound and not vision.  I find it stressful enough playing in front of one examiner, without having the added stress of thinking that my efforts might be listened to by X number of others and/or stored.

 

 

I don't think it would add to the stress as much as you think, if the recording equipment was unobtrusive;

 

I don't see how you can think to know how I might feel.  We'll have to agree to differ on this matter.


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#43 elemimele

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Posted 20 July 2017 - 12:20

... perhaps unobtrusive recording should be something the candidate can opt out of, if they feel it would put them off?

 

It might also be practical to offer a three-way opt-out: (1) I'm fine about being recorded and recordings of me, appropriately anonymised, can be used in training and moderation of examiners; (2) I'm OK about being recorded provided you promise to listen to the recording only if there is a dispute about my mark; (3) I'd rather not be recorded at all, but I understand this will weaken my case if I should complain of unfair treatment by the examiner.

 

I feel strongly that any process of assessment always carries a risk of errors (it would be very unwise of an examining board to claim 100% perfection), but without any independent record of what actually happened, it is impossible to investigate or moderate.

 

Thinking it's possible to deal with a complaint in an unrecorded music exam is as illogical as thinking it's possible to check the marking of a written paper after it's been shredded.


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#44 elemimele

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Posted 20 July 2017 - 12:27

Going back to Lemontree's concern that the syllabus pieces are the standard audition material, I just saw an advert for a Baroque concert to be held in our nearest city. Momentary excitement, followed by gloom: the standard works of the standard composers, trotted out again (though probably with utmost professionalism).

It's like one of those word-association tests: Baroque.....Vivaldi! Recorder..... Telemann! Uccellini..... Bergamasca!

(sorry, normal cheerfulness will be resumed shortly)

 


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#45 saxophile

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Posted 21 July 2017 - 12:38

Sorry, polkadot - I wasn't meaning to imply I could read your mind personally!  Perhaps I should more accurately have said that I didn't think that unobtrusive recording would add as much to the stress as one might think - especially if the recorder is just left running rather than being visibly "started" when the candidate arrives.

 

After all, there is the possibility in any exam that there might be two examiners present, if the examiner conducting the exam is being moderated or assessed - and you would get no warning of that fact, nor would you have any right to object to it, as I understand the regulations.  Personally, I'd far rather have a little recorder perched on the corner of the desk than have two ABRSM examiners sitting in front of me and listening to every split note, fluffed entry and the like!


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