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What are you prepping for next?


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#61 Clovis

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Posted 03 August 2019 - 18:11

I agree. You need to find a teacher or examiner who can do a viva in person, preferably straight after a full performance. I was full of adrenaline after my recital and found myself rather jumpy. I made one silly mistake as a result in the dip, but was much better prepared for the LRSM. This is the main challenge compared to Trinity (though the marking is much harsher too).

The first viva question is always ‘how did you put this programme together/ what made you choose these pieces?’ Have a strong and enthusiastic reply ready. The last is always ‘and do you have anything else to add?’. Having a couple of subjects to hand is a good idea, in case one crops up in the rest of the viva.

Be able to talk your way through the structure/significant modulations for each work is important, as is knowing the meaning of every foreign-language term (eg canzonetta). Be able to justify everything in the programme notes. If the repertoire is unusual then the examiners will depend more on what is written to generate their questions.

I can’t help much more, as I don’t know the sax repertoire at all. Does your daughter’s teacher have any recommendations for someone she could play to, even if you have to travel a bit?
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#62 KiwiMusicMum

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Posted 04 August 2019 - 00:50

I’m enlisting her piano teacher to run her through her viva, as well as her sax teacher. I’m a music grad so feel quite comfortable asking stuff. Here in New Zealand, Trinity diplomas seem to be much more well supported than ABRSM. Being from the UK, I feel happier with her doing both Trinity and ABRSM as in the UK, Trinity aren’t seen as anywhere near as high as ABRSM. Now the research and programme notes aren’t part of the diplomas, probably even more so.

Does anyone know whether she should talk about keys and modulations in terms of her (E flat) instrument or in terms of concert pitch?
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#63 Clovis

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Posted 04 August 2019 - 06:06

All she needs to do is acknowledge she is aware that she’s not playing at concert pitch when talking about modulations. She will have to take her lead from the examiner giving the viva, but it’s usual to have this kind of discussion with the score open in front of you. So if she wants to talk in terms of E flat rather than C, then she just needs to say so.
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#64 The Land

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Posted 04 August 2019 - 10:30

Any advice on helping with viva voce? I’ve got a list of questions so she can practise answering confidently. Would anyone who has done their DipABRSM mind posting a few questions that they were asked? I figure the more she practises her viva voce and listens to music by her composers and their contemporaries, and researches, the better, but I’d like to know she is on the right lines!

 

Here is one thread, Google will help you find others! 

 

https://www.abrsm.or...showtopic=58928

 

There's also the specimen questions in the syllabus.

 

It's pretty clear there are some standard questions:

- Why did you choose this programme?

- Explain the structure of one of your pieces in relation to the score (they will probably start with a piece in a 'conventional' format, if you have anything in sonata form or rondo form that is a good bet to be asked about, but be prepared for all of them)

- What are the differences between the instrument you are using today and the one this piece was originally written for and how does that affect your performance? (looking for understanding of the historical evolution of the instrument)

 

Otherwise, if the programme notes are good, the questions will often follow those up.


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