London College of Music Examinations (LCME hereafter) bill themselves as a progressive, friendly exam board offering a wide selection of graded music exams and professional diplomas. Founded as far back as 1887, the board arrived on the scene two years before ABRSM, and ten years after the first board, Trinity College Exams.
LCME pride themselves on continuing to lead the way in developing exam options that are relevant to today’s global world. Indeed, the performance grade options that other boards have introduced in the last year follow a blueprint LCME laid down years ago.
Uniquely, having become part of the University of West London, LCME are now the first and only exam board whose qualifications are awarded by a University. Conducting exams in more than 80 countries around the world, LCME retain their traditional qualities while being widely praised for fielding examiners known for being warm and approachable, ensuring candidates are put at ease and able to perform to their full potential.
With such particular strengths, it is perhaps odd that relatively few teachers are aware of their offer, but the recent arrival of the 2021-2024 Piano Syllabus and accompanying Handbooks offers a timely opportunity to take another, closer look…
With a single Tweet, the exam board ABRSM have in the last week provoked what they have themselves described as a “passionate debate”.
Defending their stance, ABRSM have subsequently confirmed that these are the words of their Chief Examiner, John Holmes, quoted from his presentation at this year’s Music Education EXPO event in London:
In the context of his talk, Holmes will no doubt have made many other points, adding balance and nuance to his position. That said, his view of a “virtuous circle of motivation” was surely not made up on the spot. We must accept this as his well-rehearsed position on the nature of and relationship between musical achievement, assessment and intrinsic motivation.
Discussion of these important concepts must be welcomed. As teachers it is our basic responsibility to question ideas, absorb good material, develop subject knowledge and promote better understanding. I should add that we also have a duty to confront that which might genuinely harm our students.
These issues are of course also of interest and importance to the parents of any child learning to sing or play a musical instrument. In contributing this response, I hope my thoughts might be considered both by teachers and by parents who are rightly keen to understand their childrens’ progress.
Together, let’s begin to unpack some of the many positive ways that we can all celebrate our childrens’ and our own adult achievements.
Taking grade exams on the piano has for many been a rite of passage, and many teachers and parents convey an expectation that they are an important landmark in any pianist’s journey. Whatever one’s view of this, it is no surprise that so many of the questions, comments and requests made on internet forums concern the different exam boards available.
Five equally accredited boards operate internationally from a UK base, giving rise to endless comparisons and discussions, often generating more heat than light. This article is a sincere attempt to offer the latter, providing a level playing field for each of the five boards to present themselves in their own words, outline what they offer and their recent developments.
The following pages, one for each board, will supplement this information with links to Pianodao’s independent syllabus reviews, and a representative sampling of the customer feedback users of each board have generously provided in response to the recent Pianodao reader survey.
For piano players, like everyone else, 2020 has been a huge struggle.
We have needed to re-evaluate our goals and quickly change many of our plans. But in the midst of the turmoil, many of us have found a renewed enthusiasm for piano playing, while many more have returned to the piano or taken up playing for the first time.
We enter 2021 with growing numbers of pianists and teachers embracing a fresh direction and revitalised piano goals. Whether disenchanted with a dull exam-driven formula or eager to disentangle from over-prescriptive methodology, many are now hungry for a more inspired musical approach.
We want to embrace a more motivated, positive version of ourselves at the piano!
Once in a while, a publication arrives for review which is based on a great concept and is itself essentially a very good product, but where the mismatch between the original intention and its actual delivery is a glaring one, as though at some point in the developmental process there was a communication breakdown.
Core Classics: Essential Repertoire for Piano, a set of seven progressively “graded” solo repertoire books published worldwide today by ABRSM, is a striking example of this phenomenon.
That is a particular disappointment, given that this is actually a beautifully presented and musically interesting series. So let’s find out exactly what Core Classics has to offer…