Tag Archives: theory exams

Trinity AMusTCL Resources

Trinity LogoNow that my AMusTCL exam is over, I’ve collated all the useful links to essays and analysis I’ve found throughout the course of my preparations. Over time, I hope to provide links and book recommendations for the sections I didn’t do as well, along with a series of posts to give some better guidance on preparing for the exam.

Section A – Lutheran Chorale

Tom Pankhurst’s Chorale Guide – Straightforward, step-by-step method for completing chorale-based tasks. Work through all the worksheets and you’ll be on your way to full marks.

JSBChorales.net – Most of Bach’s chorales are online at this site. It’s really important to get a feel for how the original chorales look and sound and this site has plenty of mp3s and MIDI files to help non-pianists listen to the music.

Section A – Orchestration

I’ve yet to find much about this one, but a good knowledge of instruments is key.

Section A – Popular Song

Music Arrangers Page – A blog all about arranging for popular music. Not all of it is relevant, but it’s worth looking through the articles and applying the ideas to your own practice.

Section B – Schubert Symphony No 5 in Bb
Topic list blog post

This was definitely the trickiest section to prepare for. However, plenty of work on identifying chords and musical features is important in gaining the more straightforward marks on part b.

Scott Foglesong – Scott Foglesong works for the San Fransisco Conservatory of Music, and he’s put up a fantastic essay analysing Schubert’s Symphony no 5 in Bb. Saved me a lot of time doing the formal analysis, so I can concentrate on the thematic issues.

Section C – Musicals
Topic list blog post

The best way to approach this section is to watch as many of the musicals as possible. Lots of these are available on Netflix and LoveFIlm, and you can also find various versions on YouTube.

“Inside” series from New Line Theatre – there doesn’t seem to be an index page, but the link will take you to the search which brings up most of the pages. There are articles on Chicago, and Jesus Christ Superstar

Notes, analysis & essays for OCR A level Music – a Scottish-based webpage with useful articles on West Side Story and Les Miserables.

Sweeney Todd: an analysis of the dramatic and musical structure – Someone has very kindly put up their entire PhD thesis on this particular show, with detailed analysis on several of the key songs.

Michael Bennett’s A Chorus LIne 101 – Three pages analysing the songs and structure of the show.

A Chorus Line: Does it Abide By Equity? – Ok, not strictly speaking useful for the exam, but a really interesting read! (link is to a PDF)

Have you taken an AMusTCL? What resources did you find useful? Post them below.

Break a… Pencil? (Good Luck for Theory Exams)

Zemanta Related Posts ThumbnailThis afternoon is the ABRSM theory exam date, and Trinity are holding theirs on Saturday. Good luck if you’re taking a theory exam this week!

For those of you who are in a twirl, here’s a few last minute tips to see you safely to the end of the exam:

  • Make sure you’re prepared for a broken pencil – pack yourself a couple of pencils, an enclosed sharpener, a good quality rubber and a ruler. Bringing more than one pencil is definitely vital.
  • Know how much time you have for each question – most theory exams are plenty long enough, but it’s best to work out how much time you can spend on the tough questions before you go in, so you’re not rushing at the end.
  • Manage your time carefully – I always suggest candidates start with the hardest question first (usually the compose-a-melody for grade 5). Click here to read my suggested order for Grades 1-5.
  • Look at the marks available – Don’t spend half an hour trying to remember an Italian term which will only actually give you one more mark!
  • Check your work – most marks lost are silly mistakes, so make sure you double check all your details before you leave the exam.
  • Chill out afterwards – do something nice afterwards, whether that’s a mug of hot chocolate, your favourite TV show, or taking time to enjoy playing your instrument.

If you want more tips, click on over to my theory exam top tips post from earlier this year, or if you have one to share, leave a comment below.

What do I do if I’ve failed?

F gradeI was having a look through the search terms that led people to look at this blog, and I noticed that a couple of them were things like “failed sight reading on singing exam”, “abrsm grade 6 theory fail” and “abrsm grade 8 fail”, so I thought perhaps it was time to address the horrible question of what to do if you fail a music exam, or a section of the exam.

The first thing to say is don’t panic. I know it’s hard when you first see the mark sheet and it doesn’t hit that magic pass mark. Failing an exam doesn’t mean you aren’t good at playing your instrument, or that you don’t understand the theory. It doesn’t mean that you can’t achieve your goals. All exams are there to do is mark points on our journey and give us feedback about where to improve.

Remember, it’s also ok to be sad, frustrated, angry and disappointed. Do what you need to do to process the feelings. If you need to have a cry, that’s ok! Or get someone you love to give you a hug. Make a cuppa and treat yourself to your favourite chocolate bar. Don’t try to figure out your next move until you feel ready.

Once you are ready, the first thing to do is reflect on what you did well:

  • Where did you get good marks? Did you pass your pieces, or do well in your sight-reading?
  • What kinds of positive comments did the examiner make? Even on a marksheet that records a fail mark, examiners still try to say what you did do well.

If you need to, write these out separately and read them to remind you that you did do some things well.

The next stage is to look for the things you didn’t do so well:

  • What sections or questions did you do worst on?
  • What sort of comments are there on the marksheet? Does it say something like “pitch was insecure” or “forgot the words repeatedly”? This will give you an idea of what needs to be better next time.
  • Do you agree with the examiner’s comments/marks? Do you remember making the mistakes?
  • In a theory exam result, do you remember finding the question hard to answer?

You might find it helpful to make a separate list of the things you need to work on for next time.

The last thing to do is to answer the question of “what do I do now?”. Here are some of my suggestions

  • Talk to your teacher to make a plan to tackle technical problems like pitch, rhythm or memorising.
  • Make a plan to focus especially on developing aural and musicianship skills if you failed the aural tests.
  • For sight-reading, challenge yourself to sight-read as much material as you can. Sight-reading is often a fail point in exams because it takes a lot of time and effort to build up the skills to do well.
  • Join a choir that uses sheet music – this will help your aural, sight-reading and performance skills
  • Get some performing experience – are there local competitions or concerts you could participate in?
  • Do something totally different for a while. Switch genres, try learning some duets, work on a bucket-list piece.
  • Think about how you’d teach the things you do know to someone else
  • Move away from formal theory and try doing some more creative things like composing or arranging

Finally, it’s important to remember that unless  you were taking a theory exam at Grade 5 or a practical exam at Grade 8, you don’t have to retake the exam if you don’t want to. If your teacher is happy, you could skip the failed exam and just move on with a view to taking the next one when you’re ready. You could also consider taking the same level exam again, but with a different board. If you stick with the same board, consider learning a new set of pieces.

If you do decided to retake the exam, you can find links to a range of different posts about taking music exams on my Advice from the Blog page and by checking the “exams” tag.

Whatever you do, don’t let a fail stop you from enjoying music. Exams are just a means to an end, not an end in themselves, and sometimes a fail is just what we need to remember that we are not exam taking robots – we’re musicians.

AMusTCL – Topics for Section C

Trinity LogoTaken from the past papers (2009 sample, 2010 and 2011 so far), here are a list of the topics which have been covered by previous essay questions in Section C: Stylistic Development – Musical Responses.

Toccata: Jacques Loussier Plays Bach

  • Spontaneity and improvisation
  • Inspiration from Baroque features
  • Creative limitations of arranging
  • Commonality between Baroque and Jazz
  • Compositions in their own rights?

Popular Music

  • Worldwide appeal
  • Variety of cultural backgrounds
  • Innovation
  • Distinct musical sound
  • Musical qualities that lead to success
  • Non-musical qualities that lead to success (video/fashion/publicity etc)

Film Music

  • Hallmarks of film music as a specific genre
  • Importance of music in film as an art form
  • Integration of music within the film
  • Music and emotional response
  • Relationship to Programme Music
  • Role of music in enhancing drama

Musicals

  • Conflict between speech and music v. unified artistic whole
  • Treatment of ‘the outsider’
  • Social and contemporary issues
  • Role as ‘Protest music’
  • Ingredients of a successful musical
  • Popularity of the music v. other reasons for success

For details of the full questions, the past papers can be purchased from Trinity. I have no insider knowledge, so this is by no means a guarantee that these topics will come up again. However, it should give an idea of what kind of areas to focus on in preparing.

I hope this is helpful if you are preparing for this exam. I’m hoping to get a resources post up soon with links to websites I’ve found useful.

AMusTCL – Topics for Section B

Trinity LogoTaken from the past papers (2009 sample, 2010 and 2011 so far), here are a list of the topics which have been covered by previous essay questions in Section B: Stylistic Development – Set Works.

Schubert Symphony no 5 in Bb major

  • Relationship to music which came before and after
  • Treatment of sonata form
  • Chamber-like nature
  • Hallmarks of the classical symphony
  • Markers of later symphonic form

Stravinsky Symphony of Psalms

  • Novelty of orchestral features
  • Use of orchestration to provide colour
  • The setting of the text
  • Innovation in the music
  • Neo-classicism
  • Latin as a language choice

For details of the full questions, the past papers can be purchased from Trinity. I have no insider knowledge, so this is by no means a guarantee that these topics will come up again. However, it should give an idea of what kind of areas to focus on in preparing.

I hope this is helpful if you are preparing for this exam. I’m hoping to get a resources post up soon with links to websites I’ve found useful.

A History of Music for Singers – The Baroque Era

A History of Music for SingersLast week, we began journeying through the history of music with the Renaissance period. The Renaissance slowly transitioned into the Baroque (Bar-RO-ck) period around the start of the 16th Century. The name Baroque developed from a Latinate word meaning “rough or imperfect pearl” and was actually initially used to make fun of the elaborate style of music and art which became popular. Now, it is just used in a more technical sense to talk about the creative arts in the century from about 1650 to about 1750.

Fashion in 1600sIn Britain, the Barque era saw the Wars of the Three Kingdoms (which included the English Civil War) and the union of the English and Scottish Parliaments to create the United Kingdom. This was a time when many Empires were being built, and the aristocracy were enjoying a golden age (that would soon come crashing down around their ears…).

One of the key aspects of music at this time is that it was mainly funded either by the church (as it had been in the Renaissance) or by the aristocracy. Musicians were employed by courts, or by theatres owned by rich noblemen, and they worked on commission. One of the most enduringly famous works of George Frederick Handel (the epitome of Baroque composition) is Zadok the Priest, which was composed for the coronation of George I of Great Britain in 1727:

The patronage of the upper classes encouraged the growth of formal ceremonial music, but it also saw new forms develop. The leisured classes wanted entertainment, and so the genres of opera (for secular stories) and oratorio (for religious and mythological texts) developed. In the early days, operas looked very similar to modern musicals with dance sections, scripted elements and songs. Here’s a song from Purcell’s early opera King Arthur.

Chamber Music

Chamber music also developed as a way for the rich to enjoy music in their own homes – in their “chambers”. Chamber music has a very small orchestra because the whole group had to fit in someone’s living room. Many of the chamber works at the time took inspiration from dance music like minuets, gavottes and sarabandes.

Church music also continued to be popular and important. One of the most influential writers of church music was J S Bach. Bach wrote hundreds of choral hymns, which are now known as “chorales”, and some of them are still sung in chuches today, and others have become famous in their own right, like Jesu, Joy of Man’s Desiring.

Ordinary people too, were exposed to this church music. The Reformation had changed Sundays forever, and people were now singing hymns and psalms like never before. One of the principles of the Reformation was that every man should learn scripture and choose faith for himself. Singing hymns was one way to help the average Joe in the pew memorise bible verses and scriptural truths.

Outside church, broadside ballads still ruled popular music, and they would come to play an important role in motivating the general population to take sides in everything from the Reformation to the Civil War. The governments of the day also paid writers to produce warning songs about excecuted criminals. It was a little bit like setting the news stories found in The Sun to the music of Adele!

There were a number of popular vocal forms during the Baroque period. Some, like masques, masses and oratorios were new. Others, like Monody, were developments from Renaissance inventions like the Air:

These forms also developed for chamber orchestras:

When you’re listening to decide if something is Baroque music, it’s likely to have some of these features:

  • Elaborate – usually embellished with ornaments like trills and turns
  • Rhythmic – it’s easy to hear the beat
  • Complex and detailed – the different parts all keep moving around
  • Dramatic – thick harmonies, and changes in dynamics and tempo
  • Follows all the ‘rules’ of harmony – no chromatic chords, or strange arrangements

Composers to Remember:

–> Next week: The Classical Era

[Introduction] ♦ [Previous Post]

A History of Music for Singers : The Renaissance

A History of Music for SingersThe Renaissance – a time of grandeur, of experimentation and of scientific progress. For me, the Renaissance (ruh-NAY-sonce) conjures up grand Italian and Spanish courts with explorers and architects lining up to impress the monarchs. (Well, unless you pronounce it REN-ess-ahns, in which case, it’s bad wench costumes and spit roast pig in an American field!) I don’t, generally, think of Britain, or the Kingdom of England and the Kingdom of Scotland, as having much to do with this flowering of culture.

However, Henry VIII (1507-1547) was considered to be just a much a “Renaissance prince” as any other monarch. Yes, England was a little late to the party, thanks to a long running civil war (the Wars of the Roses) and a dour king who favoured an austerity policy (Henry VII). Scotland didn’t fare much better with the Stuarts getting themselves imprisoned by their own people (James III) and defeated by their old enemies (Battle of Flodden Field 1513). Yet, James V (1513-42) was a keen lutenist, and supported the growth of the arts in his country just as other European monarchs did.

The term Renaissance means “rebirth”. Around this time, there was a rediscovery of lots of Greek and Roman thinking and ideas which is what gave the inspiration for the term “renaissance” (which first appeared in the 19th century – it wasn’t used at the time). Another important element at this time, which matters for our story, is that the landed elites – the rulers of the day – were developing a system called “patronage” for funding the arts. Artists no longer had to either work for the church, or sell their wares. Instead, they were given a commission by a patron to create their work. Some were even paid on a retainer as court musicians, artists, poets and even scientists. Finally, there was also a grand new modern invention – the printing press – which made it easier to distribute music on a mass scale.

At the top of the social scale, music began to branch out beyond the church music that had dominated high art before this time. There were new ideas about composition which flowed from the rediscovered Greek and Roman thinking – music became more complex, and during this time the modern scales we use today were slowly refined. New forms of harmony also developed – polyphony (the weaving of multiple melodies) became more complex and homophony (block chords as used in hymn tunes and contemporary popular music) started to be included.

Renaissance singersSo what did this mean for vocal music? Well, the biggest change was the development of secular song. Traditional secular music had existed for a long time (see last week), but now the printing press allowed mass distribution. For ordinary people, this came in the form of the broadside ballad. Broadside ballads were new lyrics to popular tunes and followed the same themes as our pop music does today. There were political songs about current affairs (“Times, they are a-changing” – Bob Dylan). There were comic songs with lewd lyrics (“Thong song” – Sisqo) and without (“Earnie, the fastest milkman in the west”). Gallows songs, about the fate of criminals were very popular (“03 Bonnie & Clyde” – Beyonce & JayZ), as were the ever popular love songs (uh, everything else?). Broadside ballads were posted up on pub walls where those who could read would share the lyrics with everyone else. Here’s an example:

At the more elite end of music, songs began to be produced. Even Henry VIII wrote a few, with Greensleeves being one of the most famous to be attributed to him. This period saw a flowering of English composition. Works by Dowland, Byrd, Morely and others still appear on singing exam syllabi today. Many of these songs retain the characteristic uneven time signatures and slightly irregular tonality of this period, making them more challenging to sing than music from the classical era, for example. You can hear one of Dowland’s compositions below:

Music also entered into the fledgling world of theatre. Shakespeare’s songs, for example, have no surviving music, so large numbers of composers have set the same lyrics to different tunes. You can hear some selections of settings of “It was a Lover and his Lass” from As You Like It in the playlist below.

So we know that vocal music came in a wide range of different forms (click on each one to go to an example on youtube):

When listening to Renaissance music, here are the key features to listen for:

  • Renaissance musicModal harmony – use of different modal scales (see future post on modes)
  • Acappella singing – limited use of instruments – recorders and lutes were popular
  • Polyphonic sound – interweaving melodies
  • Contrapuntal – use of imitation
  • Word pictures – the music matches the words (the word “flying” might be on the highest note)

Composers to remember:

–> Next week: The Baroque Era

[Introduction] ♦ [Previous Post]

An Adventure into the Advanced, or, studying for an AMusTCL

Writing Musical Notes in PencilI didn’t discover the joys of Trinity Guildhall’s theory exams until after I had already taken the slow and arduous path of studying for ABRSM’s Grade 6 and 7 exams. I passed both of them, but the materials available for study made the whole process seem both mysterious and dull.

Then, I discovered Trinity’s exams and have hence forth switched over to them for all my students. Trinity’s Grade 8 is considered by ABRSM to be equivalent to AB Grade 6, and as I had already passed that exam, it was the diploma syllabus that caught my eye.

The AMusTCL is the first level of the diplomas offered by Trinity, and I’m planning to attempt it in November this year.

The syllabus has three sections:

Section A covers the harmony material required by ABRSM. There are five different questions, and candidates attempt either two or three depending on what they’ve chosen for section B. The options are: harmonise a Lutheran Chorale, orchestrate a piano reduction for a classical orchestra, complete an early romantic piano piece, compose your own melody using non-traditional harmony, and complete a popular song from the chords given.

Section B is a little different. This is a question on a set work. Currently, the set works are Schubert’s Symphony No 5 in Bb minor and/or Stravinsky’s Symphony of Psalms. Candidates can study one or both. Those who study both do two questions in section A, and those who study one do three questions in section A. There’s an essay question about the general form and shape, and then a more detailed analysis question on the harmonic structure in a given phrase.

Section C is a “listening” question, with options to choose from two set arrangements of a piece, a selection of modern popular music albums, a selection of film soundtracks and a selection of musicals. This is an essay question only, drawing mainly on the listening/watching and the relationship between the music and wider issues – everything from character and plot to the politics of the age.

Trinity don’t give much in the way of study guides, with only some brief notes and one past paper over and above the syllabus, so it’s going to be an adventure! The exam is in a little over 15 weeks, but I’ve bought my score for the set work, obtained copies of all the musicals and worked through the Trinity books up to Grade 8.

By taking the AMusTCL, I’ll have a theory qualification that will allow me to take an LRSM exam in teaching in the future, and I’ll also be much better equipped to teach my students not only about harmony, but also about reading scores and understanding music in context.

If you click on one of the social network buttons on the top, you can keep up with my adventure into advanced theory by liking Discover Singing on Facebook, following on Twitter, or adding my RSS feed into your Feedly (or other rss reader) account. I’ll be back in soon to let you all know how it’s going. Wish me luck!

ABRSM Grade 6+ Theory Resources

the_hand_writes_musical_notes_a_featherMany a theory student has reached the dizzy heights of passing ABRSM Grade 5 theory and thought ‘I’m enjoying this, why not do more?’, only to fall at the first hurdle by buying the wrong materials to learn with.

If you, or someone you know, would like to take ABRSM Grade 6 theory, here are my tips and book recommendations:

Tips

  • The exam format changes dramatically from grade 5 to grade 6, and many say it’s the largest leap. Have a browse through a past paper at a music shop to familiarise yourself with where you’re going.
  • Allow plenty of time to study for it – I would recommend at least a year.
  • Start with more general workbooks on harmony before trying to tackle the exams. This is not an exam which is simply regurgitating facts any more!
  • Listen to plenty of music, and get to know more about styles and composers as this will help with the score-reading questions.
  • Make time for learning musical terms and instrumental names throughout your studies.
  • If in doubt, find a teacher. You are best to look for someone who specialises in theory at advanced level, so use a resource like ISM’s musican directory to ensure you’re going to someone who knows their stuff.

Workbooks

  • Harmony is Fun (Maureen Cox & Claire Liddel) is your best starting point. Although these books don’t look like much, they review all the core harmony content from Grade 1-5, and then introduce more advanced building blocks with fun illustrations which will help you remember Mother chord, and Father chord for many years to come. Link is to the Boosey & Hawkes shop listing for the first book.
  • Harmony in Practice (Anna Butterworth) is a mighty tome, and can appear both dense and dull on first reading. It is kinda both. However, you will never forget how to write out all the chords you might ever need since there are extensive practice exercises. Answer book is sold separately. Link is to Amazon listing.
  • Practice in Music Theory (Josephine Koh) provides the best ‘graded’ introduction to the skills required to pass the exam itself. These books work through the new harmonic vocabulary and key concepts before seamlessly moving onto tasks which echo the exam questions. There is one book for each grade, and the link here is to Grade 6 on Musicroom.
  • My Music Theory.com isn’t a book, although you can buy their lessons as a pdf, which sort of counts. They do, however, provide a careful introduction through the theoretical concepts leading towards the exam questions int he same way as Practice in Music Theory. Well worth using, though there’s nothing for 7 and 8 yet. Link is direct to the grade 6 page.
  • Theory Workbook (ABRSM) gives a more exam-direct approach with each question as encountered on the exam itself being broken down into manageable steps. The authors work the questions slowly and methodically from start to finish, with working shown at each stage and then a selection of examples to practice. Again, there is one book for each level and the link is to Musicroom.

Reference Books

  • AB Guide to Music Theory (Part I & Part II) (Eric Taylor) are recommended reading for all theory exams. The information contained in Part I covers up to grade 5, and is recommended as a reference book from the start. Part II goes on to cover useful information like the names of instruments in multiple languages, which is required at grade 6 and above.

Hopefully, I will add to this list over time, but if you have any suggestions of things you’ve used and found helpful, please let me know!

Theory Exam Top Tips

With the ABRSM (and other boards’) theory exams only weeks away, I thought now would be a good time to offer up some of my top tips for revising for the exam, and then for what to do in the exam room.

What to do BEFORE the exam

Too many books!Revision is a word which strikes fear into the heart of anyone who has ever sat a written exam, but thankfully music theory exams are not revision heavy. If you’ve worked carefully through whichever materials your teacher has given you to use, you should know all the information and have a good idea how to attempt the questions which will be on the paper by this stage (three weeks before the exam). In the last few weeks, here are my top suggestions:

  • Practice taking the exam – Complete at least one exam paper under the same conditions you would have in the exam. Find some space away from distractions and go for it. Going through the paper like this will show up anywhere you have serious problems, and help you get an idea of which questions you’re confident on, and which you’re not.
  • Work on learning the vocabulary – While the list of terms for ABRSM is so extensive that no one remembers all of them, even a small amount of time spent working on the terms tested means a) you have a better chance you’ll know the answer to that question, b) you’ll have more choices for the “compose a melody” question and c) you’ll know more terms when you come across them in music. Click here to access my Quizlet page for ABRSM exam vocabulary (I hope to get a Trinity one up soon).
  • Get familiar with symbols – Make sure you know what all the symbols which might be used up to Grade 5 mean. You need to be ok with naming ornaments, phrasing and articulation marks and a selection of other things. Mymusictheory.com has some great flash quizzes to help with revision.
  • Practice drawing a piano – it’s really useful to be able to map out a piano keyboard on the top of your working paper in the exam. Click here for a visual guide.
  • Make sure you are sure about cadences and chords – not only will this make the chord identification question guaranteed marks, but it will help you with the underpinning of your “compose a melody”. Practice working out what the triads are for I, IV and V in any key. Practice creating melodies over these chords. I hope to put up some information about this in the future, but you can get some great advice over at mymusictheory.com in the meantime.
  • Know your orchestra – just like with the chords and cadances, knowing the vital statistics (range, phrase markings, clef, family) for standard orchestral instruments means both marks on the question direcly testing this, and more marks on the “compose a melody” question. Again, mymusictheory.com has some great information. In future, you can also check out my resources pages for more revision tools.
  • Decide if you’re doing the “compose a melody” for instrument or voice – it might seem like a good idea to wait and see what’s there, but, in reality, it’s much better to pick one and put all the effort into that question rather than dividing your energy over the two.

Revision is best done little by little, so carve out ten minutes a day in the weeks leading up to the exam to revise. If you can rope in a friend or family member, they can test you on vocabulary, ornaments and the instruments of the orchestra. Don’t forget on the day to make sure you have a couple of pencils, a sharpener, a ruler and a good quality rubber/eraser with you. Leave anything with musical images at home.

What to do IN the exam

2B or Not 2B PencilsI always advise my candidates to tackle the exam in this order:

  1. Read the whole paper cover to cover. Make a note of anything that looks tricker than expected, or super easy.
  2. Turn next to the compose a melody question. It’s the part most candidates are most worried about, so tackling it first gets it out of the way while you’re fresh. Decide which one you’re doing in advance, to take off some of the pressure on the day. Do the question using the method you’ve practiced at home.
  3. Go back to the rest of the paper. You can tackle the questions in any order, though I usually then go for the score reading question as a break from the technical work and then do the rest in the order it’s printed.
  4. Attempt every question. A blank space cannot be awarded any marks, but if you make an educated guess there’s a chance you’ll have the right one.
  5. Once you’ve written an answer for everything on the paper, go back to the compose a melody. Hum it through in your head, try to imagine how it sounds. If there’s anything that sounds awkward, you can change it. Only do this if you are really sure, though. Make sure you’ve put in appropriate tempo markings, volume markings, phrasing, articulation and ornaments. Check you’ve written everything neatly and there’s no ambiguity as to what note you’re writing.
  6. Go back to the front cover of your paper. Read through every answer you’ve given and check you’re happy with it. Take a final look at your compose a melody as part of this.
  7. If you feel content you’ve given the best answers you can under the circumstances, it’s time to hand in your paper and head out of the room.

This shouldn’t take you more than the time allowed (it’s very generous), but if you are finding you’re taking almost all the time, make sure that when you see there’s 20 minutes left, you stop writing and move on to the checking stages. Give yourself around 10 minutes for stage 5 and 10 for stage 6.

What to do AFTER the exam

  • Piano hands

    Image from Robert Couse-Baker on flickr

    Do something nice for yourself. Get coffee, or cake, or just chill out at home.

  • Try not to worry about what you wrote – it’s ok to look up the answers to questions when you get home if that will help you to let go, but don’t do it if you’ll just be more worried.
  • Remember why you’re doing this – it’s because you love music, and want to play your instrument well. Treat yourself to some fun practice time, playing the music you love.

Good luck, everyone. I know you can do it! If you have any more tips, why not comment below, and I’ll add the best ones into the post.