Candidates must play all Technical Tests from memory, ascending and descending with good tone and logical fingering, at a steady tempo. The metronome marking indicates minimum speed.

Technical Requirements: Piano Grade 2

Scales

*In Grade 2, all scales to be played in eighth notes with tempo at quarter note = 80

1. Scales: 2 octaves, hands separately for the following keys

• C, G, F and B-flat major
• A, E, D and G minor (natural, harmonic and melodic)

2. Staccato scales, hands separately for ONE octave

• C, G, F and B-flat major

3. Parallel motion scales, for BOTH hands and ONE octave

• C and G major only

4. Contrary motion scale, hands together for 2 octaves

• G major only

5. Formula pattern scale, hands together for 2 octaves

• C major only

Triads

1. Triads in root position and inversions, in the following keys:

• C, G, F and B-flat major
• A, E, D and G minor
• Broken triads, hands separately, ONE octave and played in triplets; tempo: quarter note=60
• Solid triads, hands separately, ONE octave played in quarter notes followed by quarter rest; tempo: quarter note=112

Candidates must play all Technical Tests from memory, ascending and descending with good tone and logical fingering, at a steady tempo. The metronome marking indicates minimum speed.

Technical Requirements: Piano Grade 1

Scales

1. Scales in TWO octaves for the keys: C, G and F major plus A, E and D minor (natural and harmonic)

• hands separately in 2 octaves, played in eighth notes
• tempo: quarter note=69

2. Staccato scales: C, G and F major

• hands separately for ONE octave, played in eighth notes
• tempo: quarter note=69

3. Contrary motion scale in C major

• hands together for 2 octaves, played in eighth notes
• tempo: quarter note=69

4. Chromatic scale, beginning on C

• hands separately, from tonic to dominant; played in eighth notes
• tempo: quarter note=69

Chords

1. Triads in root position and inversions: in the keys C, G and F major plus A, E and D minor

• Broken triads: hands separately for ONE octave, played in triplets; tempo: quarter note = 50
• Solid triads: hands separately for ONE octave, played in quarter notes followed by a quarter rest; tempo: quarter note = 100

Candidates must play all Technical Tests from memory, ascending and descending with good tone and logical fingering, at a steady tempo. The metronome marking indicates minimum speed.

Technical Requirements: Piano Preparatory B

Scales

1. Pentascales in the following keys: A, E and F major plus E and D minor

• hands separately
• play pentascale (tonic to dominant to tonic) ending with solid root position triad; played in eighth notes
• tempo: quarter note = 60

2. Scales in the following keys: C and G major plus A minor (natural)

• hands separately in ONE octave, played in eighth notes
• tempo: quarter note = 60

3. Contrary motion scale in C major

• hands together for ONE octave, played in eighth notes
• tempo: quarter note = 60

Triads

1. Triads played in root position and 1st inversion, broken in C and G major plus A minor

• hands separately for ONE octave, played in triplets
• tempo: quarter note = 50

Candidates must play all Technical Tests from memory, ascending and descending with good tone and logical fingering, at a steady tempo. The metronome marking indicates minimum speed.

Technical Requirements: Piano Preparatory A

Pentascales (five-finger pattern) in following keys: C, G, D major and A minor

• hands separately
• play pentascale (tonic to dominant to tonic) ending with solid root position triad; played in quarter notes
• tempo: quarter note = 100

Piano teachers and instructors subscribing to the NMCP/RCM examinations would do well to add the Piano Syllabus 2008 Edition to their resources. The Royal Conservatory of Music Official Examination Syllabus for the piano is applicable to participants of both the RCM examinations and the National Music Certificate Program. It is published by Frederick Harris Music Company.

Because there is no online version of this Piano Syllabus, I am in the process of gathering all the technical requirements for all grades of the NMCP/RCM piano examinations and compiling them for easy online access and reference. I hope this will be a helpful resource for teachers and students preparing for the NMCP and RCM piano examinations.

This past summer, it was an equal thrill to work with two incredible brass artists: Dr Stacy Baker (tuba) and Gail Robertson (euphonium). In collaboration with these talented brass musicians, we completed a project entitled SYMBIOSIS. The audio recording consists of various pieces arranged for tuba, euphonium and piano including the title track Symbiosis, by composer Chris Sharp. Some of these pieces were arranged by Gail Robertson, herself an amazing arranger!

We had a truly enjoyable time rehearsing and recording the album. And in between recording sessions, we’d enjoy another activity quite different from music making: FISHING!

Gail, Stacy & Alex: Fishing between Recording Sessions

The audio CD is in the midst of production and will be released in the Fall 2009. Dr Baker, Ms Robertson and I will be promoting the album in a performance tour in October.

Here’s an inspirational video newscast on the important of music in a young person’s life.

International Mozarteum Foundation

August 2 marked the day when these two pieces of the Master Mozart was introduced as a performance to the world. Performed by clavichordist Florian Birsak, the first piece is probably the first movement of a harpsichord Concerto in G (marked molto allegro) – and the second is technically-demanding Prelude in G major.

Harvard professor Robert Levin describes them as “a bit crazy“.

Commentary: Crazier still is the fact that these works were even discovered! Can you imagine how many undiscovered gems like these have yet to surface? We can only hope that they will, in our lifetime! Here are other incredible musical ‘finds’ that have made it to life’s stage:

200-year old Beethoven piece gets premiered

New Beethoven piece discovered in Berlin

Granados “Song of the Stars” Found!

Discovered Beethoven Manuscript Auctioned at Sotheby’s

Being called upon as a judge and adjudicator for a performance event is a distinct honor. Having had the opportunity to adjudicate in such events, I have gleaned certain ‘pearls of wisdom’ from the experience. I’d like to share just five essential tips for being an effective adjudicator; tips that will help you critique performances with confidence.

1. Write Concisely

Like mastering an instrument, practicing writing concisely is an art that should be developed conscientiously. Often, you are called to adjudicate many performances in a short time and writing relevant and practical critiques is essential. While complete sentences are favorable, they are certainly not necessary. Practice truncating your thoughts in meaningful phrases:

Good: “Your performance today was certainly entertaining and displayed much confidence”

Better: “An entertaining performance exuding confidence”

TIP: Be prepared for the event you are to adjudicate with a “Useful Comment Sheet” you would have readied beforehand. This sheet would include categories like Technique, Tone, Rhythm, General Musicianship etc, and under which you would list descriptive words or phrases that you would find handy and useful at the time of adjudication. It also helps in preventing writer’s block!

TIP 2: Ready, Set .. GO! Soon after the performance begins, gather your thoughts fast – and start writing! You’ll stay on schedule, and organizers will thank you for doing so!

2. See the Big Picture First

There is a strong tendency for many of us to address issues (musical or otherwise) during a performance and while we are adjudicating. In my earlier experiences of judging competitions, I would spend too much time critiquing the details and missed out on opportunities to mention the more important issues that might have contributed to the success (or failure) of the performance. Seeing ‘the big picture first’ is a practice worth developing. This is how I realize this concept (in a Q & A format):

Q: What is the general music concept I would like to address?
A: Technique
Q: What specifically about the performer’s technique need I comment on?
A: Fluidity of scales, brilliance in tone – commendable; unintended accentuation – needs work

Remember: your first responsibility as adjudicator is to critique a performance and provide a score/rating deserving of the performance. Be careful not to step into your “teacher shoes” and focus too much on pedantic comments.

3. Give Praise

Developing a habit of praising others genuinely comes easier for some of us. (It really isn’t that hard – it comes from an inward appreciation for life and all that’s good in it!) Be fluid, genuine and generous in your praise when it is deserved. Furthermore, your compliments may not only serve to motivate the performer, but affirm what his/her instructor is teaching.

For younger musicians, I have even found myself including comments like: “It is most obvious that you have a wonderful foundation in music. Please be sure to thank your teacher for investing in your success!” It’s a double-blessing: the student is happy that you noticed the hard work, and the teacher is grateful that he/she is on the right track.

A word of caution: Be sure that the final score reflects your comments. If your critique is riddled with generous praise and your final score reflects a less than desirable performance, it not only confuses the performer (and teacher) but your scoring method may be called to question.

TIP: As much as it is easy to write “Good Job” or “Nice Work”, stay away from those phrases. Craft your own unique “praise phrases” that show you put some genuine effort! Here are some examples:

Commendable performance
Truly inspiring
Such poetry in your phrases
Performed with poise and elegance
A generous offering indeed

4. Listen Carefully

Epictetus, the Greek Stoic philosopher offers this advice:

“Nature gave us one tongue and two ears so we could hear twice as much as we speak.”

As an adjudicator of a live performance, your critique is based on your active participation as a listener. Exercise active listening skills and you will find it easier to judge a performance. Here are some practical ways you can develop active listening skills:

• YouTube is a great resource for videos of live music performances. Type the title of a piece you are familiar with in the YouTube search box, and select a video performance of the piece. Listen carefully to the performance. Initially, critique the performance by speaking your comments out loud. Later, practice noting your observations on a piece of paper.
• Develop a sense of focus by choosing a musical aspect you will comment upon BEFORE listening to a recorded performance. (For example, tone production or phrasing) Discipline yourself to listen for and comment ONLY on this predetermined musical aspect. This not only aids in aural focus but provides you an avenue to develop different ways of critiquing a single musical aspect. (This might be an opportune time to start making that “Useful Comment Sheet” I mentioned earlier!)
• Record your own students performing their repertoire under study at their lesson time or recitals. Use these recorded performances as a source for your active listening skills. Not only will you benefit from it, but your students will to, in their next lesson!

5. Know Thyself

Knowing and establishing what your standards are BEFORE you begin adjudicating is essential for being an effective adjudicator. For example, in an adjudicated event with a rating system of Superior, Excellent, Good and Fair, would you reserve the rating of Superior solely for performances which are virtually perfect? What constitutes a superior performance according to your standards?

At times, you will be asked to judge a competition in collaboration with one or more adjudicators. Knowing what your standards are become more vital in this situation as you may encounter differing opinions and standards proffered by the other adjudicator/s. In most cases, you will collaboratively come to a consensus as to a final score. At times though, your individual score is independent of the scores given by the other adjudicators.

TIP: If you are new to adjudicating in a competition, always make it a point to speak to the organizers and clarify what is expected of you as an adjudicator. Make an effort to know the rules of the event/festival before it commences.
In events like evaluation festivals (where the performer is in no competition with other performers), organizers may suggest that judges be “more generous” in their scoring of performances, and where the general purpose of these events is to motivate and encourage young performers in their musical pursuits.

In conclusion, these are but a few essential tips I have found most helpful in my experiences as an adjudicator in performance events. Do feel free to contribute to this article by leaving your thoughts and opinions about the subject. We could all use more tips on being more effective adjudicators!

Alex Thio

The Musician’s Coach

Yo-Yo Ma in Masterclass

Approach with caution.

Coaching the young musician is both a joy, and an intense challenge.

No one told me that they were so impressionable.

Nothing was said about how sensitive they tend to be.

Again. Approach with caution.

I continue to be stretched and challenged myself as I coach young musicians. Yet, I am continually encouraged – even invigorated by the talent these young ones possess! (Gosh, I feel like an old pedagogue. Trust me, I’m not. I feel all of 29 years. Again, trust me, I’m not.)

I want to highlight 3 best practices when working with young musicians. Each of these have not only brought me a smile, but one for the young musician too.

Best Practice No.1: Be Enthusiastic

Take a cue from world renowned cellist Yo-Yo Ma.

His enthusiasm as a performer is obvious – and contagious. Young musicians who have had the privilege of being in his presence at a masterclass have often marveled at this intoxicating enthusiasm of his.

Your enthusiasm for music and life will translate to the student musician you coach. They will take away from the coaching session more than just tips on performance or musicianship; they walk away envying the zest you possess and possibly even aspire to be as enthusiastic as you.

Start the session with a hearty greeting!

If you’re meeting the young musician for the first time, get to know him/her a little more than just: “So, who’s your teacher?”

Be enthusiastic over the music itself! It’s refreshing – and the student will gain something from it!

One more thing. Be enthusiastic, and you might save a young musician from falling by the wayside and wasting his talent.

Best Practice No.2 : Be a Source of Encouragement

Honest encouragement and affirmation only strengthens the young musician’s efforts. A positive, nurturing environment in a coaching session reaps its rewards in good time.

Listen when they apologize for mistakes – then assure them that they are in a “safe zone” to make all the mistakes they want. Be sure to tend to those mistakes, and provide solutions. (Make some “mistakes” of your own – and then say, “Don’t you just LOVE it when teachers make mistakes?!)

Be attentive to their playing, and offer praise for aspects of their performance you genuinely find praiseworthy. If all else fails and their performance abilities are lackluster, create little ways for the student to succeed. And then praise.

Best Practice No.3: Be Professional, not Petty

Many of us serve as music coaches to students who do not belong to our studio. Their private teachers entrust these students to us to help them polish their performance skills.

This is a trust we cannot and must not break.

By this I mean: be professional when you encounter students who might have performance issues, who might show little or no knowledge of the fundamentals.There is a strong tendency for us to point a blaming finger at their teacher – don’t cross that line. It isn’t professional, and serves only to undermine the trust and respect the student might have already forged with the teacher.

Instead, take time to BE a teacher even in the coaching session. Unlike Liszt, who told his students to “do their dirty laundry at home”, take time to suggest solutions for challenges that the student might be encountering – then and THERE at the coaching session.

Instead of criticizing, take time to CORRECT. The student’s teacher will THANK you!

Respect the fact that the interpretation or technical solution which the student has embraced may have in fact been the suggestion of the teacher. Work with it and offer your musical opinion as just that – an opinion. Ultimately it is the young musician who must make the choice.

Coaching young musicians has its rewards. Being enthusiastic, encouraging and professional only serve to secure these rewards. Happy coaching!