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ABRSM Examinations

Dear List

First of all my apologies for this late reply to the recent discussion, but
I have been away from home for a fortnight, (Examaning for the Associated
Board), and I am catching up on correspondence and e-mail.

I felt I couldn`t let these recent exchanges go by without making a
contribution, particularly in view of the fact that I have been an examiner
now for the best part of 8 years.

Several points came up, which I would like to reply to, not necessarily on
behalf of the Board because I too feel at times that Brass Band instruments
are somewhat neglected - this is something I let the powers that be at 14
Bedford Square, know on a regular basis which is the only way things will
change.

First of all, with regard to specialist examiners which I feel for the
graded exams is not needed. Some people seem to confuse an examination with
a lesson. An examination is an independent, periodical assessment of the
candidates progress. An examiner is not required to give solutions to
problems, only to identify them.  This means that an examiner does not need
to give a lesson on the remark sheet - it is the teachers responsibility to
react to the comments on behalf of the candidate to solve problems.
Therefore any professional musician or experienced teacher should be able to
evaluate up to and including grade 8. In recent weeks I have examined Grade
8 Piano, Violin, Singing and even Harp. I wouldn`t dream of trying to teach
these instruments but I can easily identify and remark on problems of
performance, which can then be interpreted by the candidate and teacher.
Don`t forget as well, that the positive side can also be evaluated. It
doesn`t take a specialist to know when something is good, not so good or
downright poor. I am quite comfortable with the Board`s policy of
non-specialist up to grade 8, then specialist for Advanced Certificate and
one specialist in a panel of 3 for Diploma.

On a cynical note, who are the specialist brass examiners that people are
asking for. Only a handful of brass players are on the panel, (mainly
because you obviously need to play the piano), but are we suggesting that
the brass band contest adjudicators that are slagged off every week after a
contest, are the people to do these exams? Every adjudicator has come in for
criticism at some time from someone, myself included, because of the nature
of the job.

One of the advantages of examining for the Board against adjudicating a
brass band contest is the very detailed list of criteria produced for all
parties involved with examing. At a brass band contest, you don`t know what
the adjudicator may be looking for, you don`t even know in some cases the
identity until the day. A band can spend thousands of pounds and hours of
rehearsal time, and find they are playing a piece entirely against the
opinions of an adjudicator. These `blind` contests happen every week and
include our biggest and most prestigious competitions. The Associated Board
produce a list of criteria for every grade, which the examiners work from
and base their marks and remarks on. This list is published for all to see
and read, so anybody who takes an exam, or enters a student is aware of what
is required for every piece, and the supporting tests.

With regard to the grade 5 theory requirement, I entirely agree with this.
Too many brass teachers disregard theory, which then shows itself in many
ways, not least in sight-reading and general basic rhythmic sense.

The Associated Board is the largest musical examining board in the world.
The examiners are trained, tested, standardised and moderated regularly.
Thousands of pounds a year is spent on seminar sessions which we are obliged
to attend, (or work isn`t offered), so that some kind of standardisation is
achieved. In a field of about 650 examiners, you will always have odd
discrepancies, but within the last 2 years dozens of older examiners, and
errant examiners have been removed from the panel. Each examiner is
monitored regularly and a constant level of checking is used to achieve
parity. No other board spends as much time and money in this aim.

Now for the points that I think need attention by the Board.

I feel that seperate lists should be produced for all brass band instruments
from grades 6-8. We now have enough repertoire to be able to do this. I feel
sorry for Flugelhorn, Soprano and Bass players who really have no scope at
all in their choices. I was disgusted with the recent new brass syllabus
publication. The few brass band items that were on were mostly removed. List
A for Grade 8 Sop, Trumpet, Cornet & Flugel only consists of pieces for the
Trumpet. Do cornet players need to make the instrument sound like a trumpet
or the trumpet piece sound like a cornet? It is an unwinnable dilemma. And
poor Flugel players have no choice from either list. What are they supposed
to do? The Bass problem, which somebody mentioned, is also very serious and
I will continue to put our case to the Board for improvement.

Can I suggest also that you do not restrict airing your gripes to this list.
The only way to make the people at the Associated Board know the problems,
is by writing direct to them. The personalities have changed alot in recent
years and they have become much more accessible than they used to be. If
enough people write to them they may realise that they do have some mileage
in the brass band, and if they market properly, we could all be much
happier. I look forward to hearing more views.

Alan Morrison


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