Music Examination Systems in Canada

An overview of the music conservatories used in Canada and the music examination boards, including RCM, ConCan and CNCM.

Music examinations have played an intrinsic role in Canadian music education since Confederation. Music teachers, music students and their parents can benefit from learning more about the various curricula available so as to adopt a system that complements the teachers’ vision and the students’ goals.

The Royal Conservatory of Music – Canada’s Oldest Music Examining Board

The Royal Conservatory of Music of Toronto (RCM) was established in 1886. Notable alumni include 15-time Grammy Award winner David Foster, former Governor General Adrienne Clarkson and jazz legend Oscar Peterson.

Preparatory to Grade 10 practical examinations are available for all brass, percussion (including piano), strings and woodwind instruments, as well as accordion, speech arts and voice. Exams are offered for all levels of music theory and musicianship.

Associate Teacher/Performer (ARCT) and Licentiate (LRCM) certification are available. High school accreditation is granted for Grades 6 – 8.

Examinations can be taken worldwide in December/January, April, May/June or August. In the US, RCM Examinations is known as the National Music Certificate Program.

For practical exams, students prepare four to seven contrasting pieces from different musical periods (Baroque, Classical, Romantic, Impressionism/Late-Romantic and Modern Classical). They are also tested on aural, sight reading, rhythm and technical proficiency.

Traditional and Contemporary Music Examinations Through Conservatory Canada

Conservatory Canada (ConCan) is a merger between two regional conservatories that stemmed from amalgamations of older systems:the Western Ontario Conservatory of Music (founded in 1891) and the Western Board of Music (established in 1934).

Grade 1 – 10 Traditional practical examinations are offered for all brass instruments, clarinet, classical guitar, flute, organ, piano, saxophone, teacher development, violin, viola, violoncello and voice. Associate Teacher/Performer (ACCM) and Licentiate Teacher/Licentiate Performer (LCCM) certification are available. ConCan also offers music examinations for Levels 1 – 10 in piano, guitar and voice through its Contemporary Idioms syllabus.

Examinations are held throughout Canada in February, June and August. Partial examinations are available for the higher grades. Music theory exams are available for all levels.

Conservatory Canada offers recital assessment, teacher development and mini-lessons with the examiner. Students can apply their examination marks for high school credits in music.

Music students prepare six to eight contrasting pieces, from Baroque to 21st Century Classical for Traditional examinations. They prepare four contrasting pieces for Contemporary Idioms, ranging from ragtime to rock. They are also graded on improvisation and lead sheet playing.

For both formats, students must perform a supplemental piece. They can select one song from the other program, improvise or perform their own composition. Technical tests also assess fluency of chords, as well as jazz scales, church modes, whole tone, pentatonic and octatonic scales (much more than just traditional major/minor scales). Bonus marks are awarded if one piece is performed with a CD back-track or live jazz musicians. Aural, sight reading, harmonization, rhythm, transposition and musical knowledge are also graded.

Comprehensive Exams Through the Canadian National Conservatory of Music (CNCM)

CNCM was founded in 2002. Introductory Level – Grade 10 practical exams are offered for piano and voice (strings program in development). Certification is available in Early Childhood Music Education, Pedagogy, Associateship in Music (A. Mus.), Licentiate in Music (Lic. CNCM) and Fellowship.

Students can take a Performance Exam, where they perform a full recital programme for the examiner, family and friends (other components are tested separately). Alternately, students can take a Workshop Examination, in which all requirements are performed privately for an examiner. The parents and the teacher can attend the interactive workshop.

Students can do a “theme examination”, such as an all-Disney recital or a Canadian composer programme. As with all music examinations, solo performance is graded. However, it is possible to perform a collaborative work, such as a piano duet or a jazz combo in a theme examination.

Students must prepare at least seven works and one encore. Aural, vocalization, sight reading, harmonization, rhythm, transposition, improvisation and musical knowledge are also assessed.

Music examinations are held throughout Canada in February, May/June and August. Partial exams are available. Music theory testing is offered for all levels. CNCM has applied for Prior Learning Assessment and Recognition to grant high school accreditation.

Some Canadian music teachers and students follow a British curriculum. Two popular conservatories are the London College of Music and Media (LCM) and the Associated Board of the Royal Schools of Music (ABRSM).

Each music conservatory has something to offer; therefore it is impossible to say that one is “the best”. Music teachers contemplate several factors when deciding which system(s) to use, from their teaching philosophies and approach to their students’ skills, aptitude, interest and commitment level. These grading systems and curricula offer music teachers and students a broad spectrum in music education.

Sources:

Canadian National Conservatory of Music. Canadian National Conservatory of Music Piano Syllabus. Markham: Mayfair Montgomery Publishing, 2002.

Conservatory Canada. Conservatory Canada Piano Syllabus, 1999 Edition. Waterloo: Waterloo Music, 1999.

The Royal Conservatory of Music. he Royal Conservatory of Music Official Examination Syllabus, 2008 edition. Mississauga: The Frederick Harris Music Co. Ltd., 2008.

Official Syllabi of The Royal Conservatory of Music: Popular Selection List, 2011 Edition - An Addendum to the Piano Syllabus, 2008 Edition

(2011 Edition). By The Carnegie Hall Royal Conservatory Achievement Program. For Piano. This edition: 2011. Piano. Official Syllabi of The Royal Conservatory of Music. Level 1-9 (Level 1-9). Book. 36 pages. Published by The Frederick Harris Music Company (FH.S34)

...more info

An Introduction to Music Examinations

Learn about what is involved with music exams, from exam requirements to pros and cons and from examination types to what examiners are looking for.

According to the Royal Conservatory of Music of Toronto (RCM), over 100,000 students register for an exam annually through RCM Examinations (National Music Certificate Program in the US). As there are other music examination systems, the true figure is even higher. Before registering for a music test, having a basic understanding of what is involved can help with preparations.

What Happens in a Music Examination?

There are two types of music examinations: practical and music theory. In a practical exam, students prepare several contrasting pieces for their instrument. Genres include Baroque, Classical, Romantic, Impressionism/Late-Romantic, Modern Classical, pop/rock, jazz and Latin.

Music students should be able to execute technical exercises with a high level of fluency and accuracy. They are also tested on aural, rhythm and sight-reading skills. Depending upon the exam system, students may be tested on improvisation, keyboard harmony, oral questions, transposition and memorization.

All music conservatories have a syllabus for each instrument which lists recommended repertoire for each grade. Syllabi also include a detailed description of technical requirements and music theory co-requisites.

Music theory exams are generally written examinations, although some conservatories offer keyboard harmony tests. Beginner and intermediate students are assessed on rudiments, while advanced students take exams in music history, harmony, counterpoint and analysis.

The Pros and Cons About Music Examinations

Music teachers in professional associations, such as the Canadian Federation of Music Teachers’ Associations and discussion groups like LinkedIn have debated about the benefits and downsides to music examinations.

The benefits of taking a music examination are varied. In Recognition of Accomplishment, RCM states some of the benefits as being:

• certificates and awards

• high school credits for music classes

• motivation to achieve a goal

• personal growth through achievement

• post-secondary school eligibility

Music examinations aren't for everyone. They can be stressful, especially if one is unprepared. They require a strong commitment from the students, parents and teacher. Students preparing for an examination require more practice time than recreational students. Supplemental repertoire sometimes gets pushed aside to focus on the examination requirements.

All practical examinations test solo performance. However, two Canadian systems, Conservatory Canada and the Canadian National Conservatory of Music do allow the examination candidate to perform a collaborative work to a CD track or live combo (some restrictions apply).

Although there are grading standards, marking is highly subjective in music exams. At music teacher workshops, conferences and discussion forums, music educators have discussed examination issues such as inconsistent customer service and marks that don’t reflect the examiner’s comments.

The music examining boards used in Canada offer slightly different programs. Music teachers will generally specialize in one or two conservatory systems. Students interested in taking music exams can inquire at the audition-interview which conservatory the teacher follows.

About the Music Examiners

Music examiners are music professionals with at least an undergraduate degree in music. These educators have taught for many years and have prepared students for music examinations.

They must also have experience adjudicating at music festivals or competitions and be members of good standing in a professional teaching association. Some are composers, performers and sought-after clinicians for pedagogical workshops and conferences.

To be a member of the College of Examiners, candidates must complete the conservatory’s training program. Music examiners grade exclusively for one conservatory.

What are Examiners Looking for in a Music Exam?

For practical examinations, examiners look for a high level of proficiency in exam pieces, technical exercises, aural, rhythm and reading tests. They assess articulation, dynamics, fingering, notation fluency, phrasing, rhythm, tempo, tone and an understanding of the musical style.

For music rudiments, students are tested on various aspects of music, including musical terms, scales, chords, intervals, rhythm, key recognition and analysis. Advanced music theory exams test students’ knowledge of various areas, including musical periods, structure, composers, significant pieces of repertoire and harmonic analysis.

For all music conservatories in Canada, 60 – 69% merits a passing grade. Honours is awarded for marks between 70 – 79%, First Class Honours is given for marks between 80 – 89% and First Class Honours with Distinction is given to students who earn 90% or higher.

Regardless of the motivation for taking music examinations, preparing for and taking an exam can be a stressful experience. However, with solid practice habits, a supportive teacher and family, taking a music exam can also be a rewarding experience. It is beneficial to have a good understanding of what the requirements, concepts and commitment involved are before preparing for a music exam.

References:

Canadian National Conservatory of Music. Canadian National Conservatory of Music Piano Syllabus. Markham: Mayfair Montgomery Publishing, 2002.

Conservatory Canada. Conservatory Canada Piano Syllabus, 1999 Edition. Waterloo: Waterloo Music, 1999.

Royal Conservatory of Music: College of Examiners (accessed August 11, 2010).

Royal Conservatory of Music. The Royal Conservatory of Music Official Examination Syllabus, 2008 edition. Mississauga: The Frederick Harris Music Co. Ltd., 2008.

Originally published on Suite101.com on August 11, 2010. All rights reserved by Rhona-Mae Arca.

Advice on Music Exams, Cramming and Number Games

Sometimes, our music students are still scrambling to get ready for their music exams. If you're like my one Grade 9 piano student who has been trying to memorize his Brahms' Intermezzo, it's too late. You need to start looking at the numbers and focusing your energy on the areas where it is do-able to in the time you have left to prepare. Take a look at what he'll be doing at his Gr. 9 partial examination through Conservatory Canada:

1. List C (Romantic): 10 marks

2. List D (Late Romantic to Contemporary Classical): 10 marks

3. Studies (2): 10 marks (worth 5 apiece)

4. Technical Tests: 14 marks

5. Memory: 2 marks (1 for List C and 1 for List D)

Now take a look at what examiners are looking to award Honours (70 - 79%)

• consistent tempo

• clean rhythms

• clean notes

• technical facility

• clear dynamic contrasts

• some articulation

• a sense of phrasing

• good tone

• sense of musical style

Memory needs lots of time for the music to settle (and performances). As you can see, memorization is only worth one mark for his Intermezzo. I asked him if he wanted to sacrifice the 70ish marks he'd get for all of the above for that one measly memory mark. For a piece that's not completely secure, there is a good chance that these things will crumble under the pressure of an exam.

If you're like my student, you're better off focusing on getting the basics as stated above. If those are secure, you can still walk away with Honours or even First Class Honours.

Technique is a big area. It's worth 14 - 16 marks alone, depending upon the grade and the music conservatory you are following. If your technical facility is lacking, examiners will penalize you. This is not an area to cram in at the last minute.

Sight-reading, rhythm and ear training are crammable - to a degree. If this is truly a weak spot for you, then it is an area you need to work on throughout the year, not just one week before your exam. However, bear in mind that sight-reading is worth 10 marks (clapping and playing), while ear and rhythm training are worth 10 marks. Those are easy marks to give away but just as easy to keep with some consistent practice.

I used to panic over melody playback (worth four marks). In hindsight, I should have focussed on nailing my intervals, chords and cadences more (worth six marks). That, combined with my clap backs, would have balanced the scales a bit.

To wrap up, when you're trying to play the "numbers game" with your exam marks, keep in mind the following:

1. Beef up the foundation (the basics) of the areas that are worth the most marks.

2. If you know that one area is going to be wobbly no matter what, then look at the other elements in that section and try to strengthen those areas.

3. Just guess on the wobbly areas. You may get partial marks.

Speak with your teacher if you have any questions on this or need more advice. The mark breakdown for each grade is listed in the conservatory syllabi.

Sources: Conservatory Canada Piano Syllabus & Royal Conservatory of Music Examiner's Guidelines for Assessment of Repertoire.

Memory needs lots of time for the music to settle (and performances). As you can see, memorization is only worth one mark for his Intermezzo. I asked him if he wanted to sacrifice the 60 or so marks he'd get for having most of the notes, rhythm and the tempo there for that one measly memory mark. For a piece that's not completely secure, there is a good chance that things will fall apart under the pressure of an exam.

Piano Exam Tips - Speedlinking

Yes, it's that time again: time for teachers and students to really buckle down and refine all the required elements on their upcoming exam. Here are some websites with tips for preparing for your piano examination:

http://www.wikihow.com/Do-Well-on-a-Piano-Exam http://www.ukpianos.co.uk/piano-exams-a-guide-to-preparation.html http://www.ehow.com/how_2239058_ace-piano-exam.html http://ezinearticles.com/?Tips-For-Preparing-For-Your-Piano-Exam&id=505598

(c) 2010 by Musespeak(tm), Calgary, AB, Canada.

Post-Examination musings

I had a terrible dream the other night that I got an 83% on my Conservatory Canada Level 7 Contemporary Idioms examination. Normally, I'd be happy with an 83, which is First Class Honors. However, having turned music into a profession, I was aiming for higher. I also wanted to beat my highest exam mark from my youth, an 88% on my Grade 8 RCM practical, which I got on my second attempt.

[Note to students: Get a good night's rest the night before an exam and don't spend it staying up all night to read a juicy novel or else you wind up botching your exam and need to re-take it.]

I digress. I was therefore delighted to log into ConCan's site and find that I scored 88.7% (on my one and only attempt). Now I'm itching to see my exam comments.

So, how was it, you ask?

What a surreal experience. It didn't feel like an examination at all. It was far more relaxed than my RCMexaminations in my youth.I vacillated from feeling calm, almost lackadaisical to thinking, "Oh my God! This is my exam. For real. Eek." It felt more like a lesson with a very relaxed examiner. As for the improvising section, I was just jamming along with another teacher.

I felt pretty confident in my technical elements, although my hands weren't completely in sync on my first mode (B Aeolian). Growing up, this was one of my weakest areas so I was determined to show that I've matured.

The same goes for ear, rhythm, sight-reading and keyboard harmony. Gone are the days when I was a panicking mess over two lines of sight reading, stumbling and pausing all the way through. It's amazing what a difference a slow, steady tempo makes, as well as counting out loud!

The repertoire went generally well. A few tiny slips in Gershwin's I Got Rhythm and a few more oddities in Vince Guaraldi's What Child is This? Hey, I was just glad my tempo was there for both. Mantecawent quite well as did Thriller Rag.

The examiner stumped me on one of the Viva Voce questions. I didn't research jazz waltz enough so I was winging it with my answer. When he asked about Dizzy Gillespie and Manteca. I said the first thing that popped into my head, "He had big cheeks...I heard him play a while back."

It didn't help that the room had many hard surfaces. I should have compensated more for it but the excitement of the moment kicked in. So, the examiner said I was a little percussive and not melodic enough. Too technical. I've never considered myself a technical player. I've been called "expressive" and "analytical" but never "technical". Until now.

I thought I had dynamics but if anything, I suspect he'll say I needed more contrast and shaping (it's something we always say to our students, why should this time be any different?).

I had a mini-lesson afterwards which was basically like a master class. This added to the "non-exam" feel of the experience.

I felt all right about the exam. I didn't feel terrible either. I simply felt that I could have done better. That is probably what fuelled my dream the other night.

One colleague asked whether I'll prepare for the Level 8 exam. I'd have to think about it. I'm too busy trying to incorporate all these new tricks I learned into my gig repertoire.

(c) 2009 by Musespeak(tm), Calgary, AB, Canada. All rights reserved.