20 Piece Polishing Challenge Video #2: Bourée in F Major

For the second piece in my challenge, I chose a piece that would juggle nicely with Easter Triduum music and getting speed and memory secure in Typhoon. I picked Telemann's Bourée in F Major.

ABOUT BOUREE IN F

Composer: Georg Philipp Telemann (1681 - 1767), Germany

Source: RCM Level 7 Repertoire

Notable Score Markings: M.M. = 88 - 100 to the half note, devoid of expression and dynamic markings

Prior Experience with the Piece: I've taught this lively piece many times as it is a favourite choice amongst my Royal Conservatory students. 

Learning Challenges: Jumps, voice balance, fingering, speed

My Practice Log

Day 1: Ran through the entire piece. Reviewed patterns and structure. Identified fingering and coordination trouble spots. Did a bunch of blocked chord drills while yelling out the chords. Remembered to record practice videos to show how I drilled the trouble spots.

Day 2: Did a full run-through - cold. Tempo was just a few notches below the recommended tempo but wasn't able to maintain it during the trouble spots. Played around with ornaments and terraced dynamics. Will try a couple of different coordination and flow drills next practice.

Day 3: During my student's lesson, I showed her how I worked on her trouble spot in bars 10 - 12 using the Twice as Hard Drill. We dissected the harmonic structure in the B section.

Day 4: Did some slow run-throughs with and without the metronome, using the Every Other Bar Drill to work on flow. Decided to record a snippet of running through the second page for Instagram account. Naturally, I picked a spot where I wasn't swearing at myself for messing up.

Day 5: Did a full run-through of the piece at around while stopping to drill spots where I stumbled. Tried playing through again at a slower tempo (approximately 70 beats per minute). It was flowing fairly well. Dynamics and shaping is all there, if I can get the flow more consistently, then we're good enough to perform. 

Day 6: Played with the metronome set at 66 beats per minute to start. Got up to approximately the 76 bpm range sounding confident and fluent. Piece felt rushed and wobbly at a faster tempo.

It is important to note that most Baroque music is devoid of markings. That leaves tempo, dynamics, and expression up to the musician, based upon their knowledge of Baroque music and performance practices. Although the RCM book does specify a tempo marking, note that it's only a recommendation. 

Bourée the piece is based on bourée, the old Baroque dance. The important things to convey are the characteristics of the dance - upbeat and bouncy - along with the period characteristics of terraced dynamics and ornamentation. If that can be conveyed at a slightly slower or faster tempo than what RCM recommends, that's perfectly fine.

Having said that, I felt comfortable and confident enough with my Bourée in the the mid 70s range and decided to record. I wound up with a strong run-through on the first take. I did try for a second take in hopes of getting a cleaner performance but the magic was gone. This is still a fluent performance, so I'll take it.

Piece number #3 is in the works. I tried recording a practice video today but my camera batteries died and I wasn't too happy with my webcam and mic either. A clear sign that it's time for me to move on to practising music for this weekend's Easter services.

You can follow my progress with this challenge by checking out these two playlists:

• My 20 Piece Polishing Challenge Playlist - contains the video performances

• My Practice Videos - show how I work through some of the common trouble spots

The practice drills I have referenced are part of Maestro's Music Tricks - a deck of cards with practice drills that I have put together with my students' help. It's going to be getting a reboot later this year. Stay tuned for details.

Check back here for my thoughts and musings as I work through the pieces.

What does pizza have to do with studying music theory?

"Pizza" probably isn't the first word that comes to mind when you think about studying music theory. Now, it's probably the first thing my students will think of whenever they study music theory. The idea of hosting a pizza music theory party came from my colleague, Dorcas Ng. Whenever she shared pictures from her music theory and harmony study sessions, it looked like the students were having a great time studying and eating pizza.

This is my first year teaching music theory as a group class. It didn't take long for me to realize that my Basic Rudiments / Theory 1 class would need coaching on certain areas, in addition to extra help on how to study music theory. It didn't take much convincing to tell them we should have a music theory study party with pizza.

Three out of four of my students in the class attended the music theory party this past Saturday. The party lasted for 2.5 hours. We got to a slow start because everyone slept in. Then, of course, the weather.

Each student bought study snacks to share. I purchased two 12-inch pizzas from Sobeys from the deli section.

The class was also part of an experiment. In October, the students drafted up rules of conduct for the studio. Each time a  student exhibited good manners as per "the rules", I added a marble into the Good Manners Jar. If they filled it up to the line (which they did), then I would get them a special dessert for the music theory study party.

The first hour of the music theory study session was dedicated to review. I zoomed in on the typical troublespots: the Circle of Fifths, intervals, rhythm and chords.

My students came up with a unique mnemonic to remember the Circle of Fifths:

We then took a 10-minute break, which gave me enough time to prepare lunch. One student played a game, another jammed on a keyboard, while the third student sketched.

The next part to our "How to study music theory" session was dedicated to working through a practice test. It was open book and I allowed my students to ask each other questions. This way, they could start developing their self-study music theory strategies.

During lunch, we chatted about non-music topics, such as everyone's plans for the weekend. We also discussed history, travelling and inventions.

The final part of the music theory study session was dedicated to vocabulary. My students took turns being the Quiz Master. It was a delight to listen to them give each other hints:

Students A & B: FORTE! FORTE!

Student C: I can't think! You're both too loud.

***

Student A: Rall - en - ta - - - n - - - d - - - - o - - - - - -

Student B: To get slower?

I took a snapshot of a couple of other cute definitions, mispronounciations and study helps that they came up with:

For homework, they are to complete the practice test. On Tuesday, they will write an in-class final examination.

Two of my students will write a music theory examination through either Royal Conservatory of Music or Conservatory Canada. The other two will continue to the next level before writing the official examination.

Afterwards, I asked each of my students if they gained a better understanding of music theory during the study session. The answer was a resounding "YES!" They also had a good deal of fun, whether it was when they were developing the Circle of Fifths mnemonic, drilling vocabulary or telling me, "Are you writing that down? You should post that on your Facebook."

Music theory has been one area that my students have called "boring". Teaching music theory in a class setting was my first step to changing things up. Hosting the music theory study / pizza party was another. It is my hope that the two changes make studying music theory a bit more interesting and enjoyable.

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.

Using the Circle of Fifths to Practice Technique

This popped into my head while I was teaching a lesson  last week. I asked my student to play her Grade 8 piano technique by going through the Circle of Fifths. Not only was it quickly evident that my student needs to review her key signatures, but it also was clear that she was used to practicing her technique in a certain order. However, during a music examination, you have no clue which of the required technical elements you will be asked to play. It is important to mix things up regularly.

In this piano lesson tutorial, I demonstrate what how my student practiced her piano technique using the Circle of Fifths approach.