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LCME Issue 3 cover.indd 2-3 16/11/2018 15:20

lcme 5

Issue 3: Winter 2018

EditorDavid Duncan

[email protected]

AdvertisingMerv Young

[email protected] Marchant

[email protected]

Issue 3 contributorsAndrew Eales

Al SummersDavid Millar

Julie IwanciwMark Ellwood

Veronica Cairns

ContributionsPlease send any article proposals to:

[email protected]

London College of Music Examinations

University of West LondonSt Mary’s Road

LondonW5 5RF

Websiteslcme.uwl.ac.uk

rgt.org

Facebookfacebook.com/LCMExaminations

LCME eventslcme.uwl.ac.uk/events

© 2018 University of West London, LCM Publications

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A short while ago I went to see the acoustic guitarist Tommy Emmanuel

in concert. For those not familiar with Mr Emmanuel, he is a remarkably

accomplished guitarist who does have a propensity to play at a quite

alarmingly fast and flashy pace. This tends to leave most of the audience,

who are invariably guitarists themselves, wondering why on earth they

bothered buying a guitar in the first place. Now I know that speed is by

no means everything, however with well over 30 years of playing behind

me I’m still impressed by a furious display of frantic fretwork!

Having dispatched a few numbers in demoralisingly quick succession,

Tommy then looks at the audience with his usual confidence and asks:

“does anyone have any questions?”

Before anyone has a chance to ask anything he adds:

“the answer is always practice.”

This got me thinking, is this correct? Of course we all know that you

have to practise, and as teachers we work hard to construct meticulous

strategies to encourage our pupils’ development and to make everything

as enjoyable as possible. We work on different methods of teaching and

learning so that the content is accessible to all ages and abilities. And

then, in spite of all our efforts, we can be faced with a pupil admitting

that they haven’t been able to practise much (or at all) this week because

of…

(insert various excuses here)

And if the answer is always practise, how do you know that the practice

is effective? So I sense a golden opportunity here to share some best

practice about how to practise. How do you as teachers maintain the

momentum between lessons? How do you set realistic goals for your

pupils and how do you measure these? How do you encourage your

pupils to keep playing what you want them to play before their next

lesson? If anyone wishes to share their knowledge and experience here it

would be to the benefit of all our teachers, so do get in touch. Send me an

email with your inspirational suggestions and I will share these in future

issues of this magazine and on the LCME website.

[email protected]

Merv YoungInterim Head of London College of Music Examinations

lcme

Win

ter 2

018

Front coverArtwork from the new Bass Guitar handbook covers

LCME Issue 3.indd 1 16/11/2018 15:09

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Keep up to dateIf you would like to receive news and syllabus up-dates, please make sure you let us know by visiting lcme.uwl.ac.uk/stay-in-touch.

Following the new data protection laws that came into force in May 2018, we now need permission to send you news and information, so please keep in touch so we can keep you informed.

Diplomas in Music PerformanceThe structure of our Music Performance Diplomas is changing. There will now be three options available at DipLCM, ALCM and LLCM:

• Standard Performance Discussion Sight Reading

• Recital Performance Discussion or Sight Reading

• Concert Performance only

There are no changes to the FLCM in Performance or the Teaching Diplomas. Syllabus validity The new syllabus will be valid from the Spring 2019 session onwards. From 2019 onwards, all Music Performance Diploma entries received (online or entry form) will be entered for the new syllabus.

If you would like to follow the 2011 syllabus please contact LCME for prior approval to do so. This option will only be available until the end of 2019.

Piano Diplomas 2019 Repertoire List

The 2019 Piano Diplomas repertoire list has now been released. There will be a three-session overlap for the piano diplomas, which means the 2011 repertoire list will still be valid for exams until the end of 2019. From Spring 2020 candidates will have to use the 2019 repertoire list.

In Concert: Book 2We have published a book containing a selection of pieces from the ALCM and LLCM Piano Diplomas repertoire list. All ALCM and LLCM candidates in Piano Performance using the 2019 repertoire list must perform at least one piece from the relevant pieces within this book. We have selected these pieces to give candidates a snapshot of the huge range of repertoire available to pianists today, spanning nearly threehundred years of music from all over the world. We hope that the book will provide inspiration forbuilding original and creative concert programmes, be it in the exam room, at an audition or a profession-al recital.

The book includes an introduction and performance notes from one of the world’s most innovativemusicians, Joanna MacGregor — concert pianist, curator, collaborator, Head of Piano at the Royal Academy of Music and Professor of the University of London. Joanna’s distinctive insights into the techni-cal and interpretative aspects of each work are drawn from her own extensive performing experiences. As a director of numerous innovative festivals and concert series, she is also uniquely qualified to write about how to build a programme, one of the most creative and important skills for a musician to develop.

News

LCME Issue 3.indd 2 16/11/2018 15:09

lcme 3

Guitar handbooksThe two pre-Grade 1 guitar levels, Initial and Preliminary, have been renamed Step 1 and Step 2 to match other LCME subjects. Where there is just one level before Grade 1 (Electric and Bass Guitar), this has been renamed Step.

We will be releasing updated handbooks for all of our guitar subjects over the next few months, beginning with Ukulele. The Ukulele syllabus itself will be unchanged except for the addition of a Grade 5 exam and handbook.

We have been working with the de-signers Hamish Muir and Paul McNeil (muirmcneil.com) to provide a unique piece of cover artwork for each guitar book. Using cutting-edge digital printing technology every single book will have a randomly generated cover (within certain parameters!).

In the next issue Muir McNeil will be here to outline their process in more detail.

Ukulele

Catalogue No. LL359

Ukulele/167

Grade 7

9 790570 122318

ISMN 979-0-5701-2231-8

Rock Guitar

Catalogue No. LL347

Rock Guitar/133

Grade 5

9 790570 122196

ISMN 979-0-5701-2219-6

Electric Guitar

Catalogue No. LL336

Electric Guitar/100

Grade 4

9 790570 122080

ISMN 979-0-5701-2208-0

Classical Guitar

Catalogue No. LL325

Classical Guitar/67

Grade 2

9 790570 121977

ISMN 979-0-5701-2197-7

Bass Guitar

Catalogue No. LL370

Bass Guitar/16

Step

9 790570 122424

ISMN 979-0-5701-2242-4

Acoustic Guitar

Catalogue No. LL312

Acoustic Guitar/1

Step 1

9 790570 121847

ISMN 979-0-5701-2184-7

88

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Classical GuitarThe current syllabus and handbooks are valid until the end of 2018. Entry for these exams is the same as for other LCME subjects.

Theory session datesThe next Theory session is Summer 2019. From 2019 there will be two Theory sessions each year, Summer and Winter.

Keyboard and ViolinWe are working on new syllabuses and handbooks for Keyboard and Violin, both of which will be released in summer 2019.

Entry formsAny UK and Ireland candidates entering using paper entry forms must send these to the LCME office, not the Centre Representative.

RightSample artwork from each of the new guitar series

Above, from leftJoanna MacGregor, sample pages from In Concert: Book 2

LCME Issue 3.indd 3 16/11/2018 15:09

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Music Theatre 2019–2021 SyllabusThe Music Theatre syllabus for 2019 to 2021 is now available, with the first exams taking place in the Spring 2019 exam session. There will be a two-session overlap period, with the old syllabus remaining valid for the Spring and Summer sessions of 2019.

We have published a series of handbooks for Steps and Grades 1 to 8, containing pieces which are appropriate for each grade, and guidance for the discussion, and sight reading components. These songs have been carefully selected and arranged for our examinations, providing a valuable resource for candidates. The songs are accompanied by background information and performance notes, which we hope will encourage and inspire a love of the musical and literary aspects of the genre.

Candidates will still have free choice of repertoire, and it is not compulsory to perform pieces from the handbooks.

Syllabus changes: Performance• The requirement to introduce each

song prior to performance now applies to all grades.

• At Grade 7, a section of spoken libretto is to be included within the performance.

• The performance specifications and component weightings have been revised for Grades 2 to 7 — the mark schemes have been made clearer (each piece performed is now worth the same number of marks) and the requirement to perform pieces from certain eras has been simplified, giving candidates more freedom in their selection of repertoire.

Syllabus changes: Discussion• The discussion topics have been slighty

revised for steps and grades, placing more of an emphasis on the candidate’s personal response to the repertoire at the higher grades.

• At Grades 3 to 5 the discussion is now worth 10% of the available marks, becoming 20% at Grades 6 to 8.

The current syllabus must always be consulted for full details of examination components and markschemes.

Front coverBelowExtract from the Grade 8 handbook

LCME Issue 3.indd 4 16/11/2018 15:09

lcme 5

New from Spring 2019

lcme.uwl.ac.uk


Music Theatre Syllabus

2019–2021

New from Spring 2019

lcme.uwl.ac.uk


Music Theatre Syllabus

2019–2021

LCME Issue 3.indd 5 16/11/2018 15:09

Example 1:

Example 2:

The ‘three treasures’ of musical learning

Features

LCME Issue 3.indd 6 16/11/2018 15:09

lcme 7

In recent years, many teachers and players have enjoyed the benefits of an integrated, holistic approach to learning.

In this article, Andrew Eales considers how such an approach can be used when introducing a new piece, using Prokofiev’s March from the Grade 4 handbook as an example.

To ensure lessons are balanced, I always try to make sure that teaching strategies bring together what I refer to as the ‘three treasures’ of musical learning: musical essence (aural and creativity), technique and understanding. Here are some ideas for each in turn, always centred around learning the march itself.

Musical essence: aural developmentThere are many ways to begin tackling a new piece, but at this level I generally introduce new music by asking the pupil to listen attentively while I play it, identi-fying its principal features and character. It helps to suggest particular things for the pupil to listen out for.

This integrated aural development can include the use of questions similar to those featured in exams and auditions elsewhere.

For example:

1. Ask the pupil to clap the pulse while playing through this piece, stressing the strong beat. This can be tried both playing the piece correctly as written in 4/4, as well as reworking it in 2/4 and discussing how this changes the effect (Example 1 shows this using the first two bars).

2. Play the top-line melody from bars 3 to 6 twice, asking the pupil to sing it back. While singing is perhaps not the best way to test aural acuity, it is a great way to encourage its devel-opment. Singing the melody fosters internalisation, as it helps establish the connection between sound and symbol.

3. March has a wonderful humorous character; this can be exaggerated and discussed, with particular reference to how the crisp staccatos and unexpected dynamic changes contribute to the mood.

Musical essence: creativityIn addition to aural develop-ment, musical essence pertains to creativity. Passages drawn from the march provide excellent LH material to accompany RH improvisation.

Using this section (Example 2) as a repeating left hand vamp, the pupil can explore the inevitable clashes between the hands. At Grade 4 level this is far more interesting than the easier penta-tonic improvisation of the beginner, and encourages more advanced experimen-tation.

Example 1Opening bars of Prokofiev’s March — as written, then reworked in 2/4 time.

Example 2Using the left hand in bars 3 to 6 as a vamp, to accompany right hand improvisation.

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LCME Issue 3.indd 7 16/11/2018 15:09

8 lcme

Example 3Possible moods evoked at points

during improvisation

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39

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Piano 2018 Grade 4.indd 39 05/04/2018 09:50

To emphasise and emulate the pratfalls which are such a part of Prokofiev’s comic wit, the pupil can be encouraged to evoke a range of emoji moods (Exam-ple 3). These can be drawn in pencil, and later removed or changed!).

Musical techniqueMarch is written in the key of C major, but with its jokey chromaticism it flirts with both Db and B major. These scales both appear in the Grade 4 syllabus and, along with C major, these scales (and their arpeggios) might be used as a warm up before playing the piece.

The key of A major features in the central section, so would also be useful to revisit. As well as the technical benefits, a reminder of these patterns will make them more recognisable as they appear within the music.

The march makes heavy use of 2-note couplet slurs, sometimes underlined by offbeat accents. Prokofiev also demands a crisp staccato touch. These articulations can be incorporated into the scales and varied as they are practised.

Another playing technique which may be new to pupils occurs in bars 23 to 26, where the right thumb is used to play two notes at once (Example 4).

It’s helpful to isolate this right hand passage, demonstrating and explaining how to play it, working on it in the initial lesson when the piece is introduced.

Musical understandingProkofiev composed this march for his set of pieces Music for Children, Op. 65. The collection as a whole is delightfully attractive, and I have found many pupils enjoy working through the whole suite of pieces.

Among other charming characteristics they provide a useful showcase of how dissonance can add character, and the different effects it can have, ranging from the impressionistic (La Pluie et l’arc-en-ciel) to the ironic (Valse) and from exploratory (Historiette) to comic, as in March. Having explored these qualities through improvisation it is helpful to an-alyse their use by Prokofiev in the piece itself. Dissonance ranges from the quirky (bar 3, beat 3) to the biting (bar 19).

A common device used by Prokofiev is his playful integration of scale patterns. This can be seen here in the contrary motion chromaticism of bar 3, the juxtaposition of the descending LH chro-matic scale with RH ascending arpeggio patterns (bars 7 and 8), and the contrary motion patterns between hands from bars 19 to 26. Understanding how the composition works is always interesting and useful for players.

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I encourage pupils to engage in ‘listening homework’ to develop their interest in a composer’s style, writing a few notes to facilitate discussion in the next lesson. Suggested listening to accompany March would include Peter and the Wolf (written the same year), Lieutenant Kijé, and the Classical Symphony.

Such listening not only informs under-standing but brings the learning process full circle to the cultivation of musical essence.

In conclusionBy combining our attention on the de-velopment of musical essence, technique and understanding, it becomes easier to discover creative strategies for learning any piece.

Prokofiev’s March is a sparkling exam-ple of a piece which lends itself to this approach really well!

Andrew Eales is a pianist, teacher and writer based in Milton Keynes, where he runs his independent music education business and creative outlet Keyquest Music. He is a published composer and author.

Through the Pianodao website, Andrew continues to freely offer his professional expertise, wisdom and experience to pianists and teachers around the world.For a fuller understanding of the ‘three treasures’ of musical learning, visit https://pianodao.com/2018/06/10/the-three-treasures-of-musical-learning/

March, from Prokofiev’s Music for Children, Op. 65, is included in our current Grade 4 piano handbook, available to buy from our online shop: lcmmusicshop.uwl.ac.uk

LCME Issue 3.indd 8 16/11/2018 15:09

lcme 9

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you can teach students to write effective music and make templates for pieces in a hurry, while learning about cadences, dominant theory, phrasing, harmonic cycles and substitution ideas. Al Summers writes.

First teach a harmonised scale in the usual way; this has a familiar look on a stave. The relationship can be explained in terms of three primary chords (in the major key, the three major chords based upon the first, fourth and fifth notes of the scale) and their relatives. The simple relationship can be explained in many ways as well as related to instruments and the resultant sound. This leaves just one note: engage students by asking them to identify the missing note; the chord type itself, a diminished triad (extended, a minor 7th with flattened fifth — the so-called ‘half diminished’) can be the subject of debate, investigat-ing its sound and inviting reactions.

Putting the chords into descending fifths order produces a logical progression, and another participa-tion opportunity: a diatonic cycle, with a predictable sound (Example 1). This makes an instant satisfying (or dull!) eight-bar sequence. I often jest that, but for creativity, all music in the western world in the last few hundred years might not have differed from this. An explanation (of our ears having been conditioned to expect this as ‘obvious’) becomes clear once it is heard.

Changing the order adds some originality and par-ticipation (Example 2), resulting in some acceptable eight-bar pieces or sections. Bass lines using roots and melodic outlines using mainly thirds and fifths can flesh the pieces out giving a hint of ‘real’ music on the horizon. Encourage contrary or oblique motion for variety (also beginning to help avoid parallel fifths and octaves for those to whom this is important).

LCME Issue 3.indd 9 16/11/2018 15:09

10 lcme

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Another approach is to explore 2-bar phrases; phrasing being an important subject too often rele-gated to an aside. It is also a good excuse to learn cadences and put them to use. Start with four lines of four empty bars; explain that 2-bar phrases are useful, effective, realistic and common building blocks, demonstrating such a phrase without chord changes (so that the emphasis is put upon the melodic shape and phrase itself), inviting variations.

Offer the four standard cadences, with a description of what they sound like as well as their usual names and technical representa-tion (before they are actually heard). I describe these alterna-tively as two-chord ‘tricks’; they are after all simple, acceptable ways for one chord to lead in a sat-isfactory and more-or-less predict-able way to another. The cadences can then be placed, according to pupils’ tastes, as the final 2-bar phrase of each line, leaving the first two bars of the second, third and fourth lines to fill in, either with the tonic chord or at random, depending upon how much fun is required.

Bass line and melodic shape (as before) can be added, passing notes explained and inserted and the result performed (Example 4).

Combining this method with the first, students can quickly produce varied eight or 16-bar pieces very quickly, perform and compare them. It is often surprising how characterful these can sound: somehow it seems impossible for us to hide our own musical personalities even within these apparent constraints.

Example 1: 8-bar diatonic cycle

Example 2: Slight variation on diatonic cycle: 8 bars with melody and bass roots

Example 3: Simple 2-bar phrase

Example 4: 16 bars: cadential (2-bar phrased melody with some passing notes)

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Given these skills and simple methods, a 32-bar standard or movement of a piece can be written in a few minutes either by individuals or as a group exercise (Example 4), emulating methods of any composer writing quickly, particularly those of the Tin Pan Alley era.

Make it out of four 8-bar sections: sections 1, 2 and 4 will share the same first six or seven bars. Section 3 (the ‘middle eight’, some-times referred to in contemporary music as a bridge or interlude) will contrast: in a different key, with perhaps a different feel or rhyth-mic character.

LCME Issue 3.indd 10 16/11/2018 15:09

lcme 11

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Example 5: 32 bars: four sections, including ‘middle eight’, with inversions, extensions, secondary dominants, suspensions, passing notes...

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Section 1 will finish on the dominant chord in order to lead to a repeat of the first six or seven bars. Section 2 will finish on the dominant chord of section 3, per-haps preceded by a pivot chord if possible (one shared by both keys); section 3 ending on the dominant of the home key to facilitate a return a repeat the first section, a final cadence bringing the piece to a satisfactory end.

Each section can include sequenc-es from the diatonic cycles and/or cadences.

Substitutions can be introduced for more advanced students. Rela-tive major/minor substitutions are effective and need disturb neither the key sense nor melodic shape. For those with more curiosity, dominant theory can be explained and some secondary dominants added (by writing backwards form a given point: choose a bar and add the dominant before it, then the dominant of that chord before that… as far as taste, or sense of humour will allow). Tritonic substitutions will test knowledge of the chromatic cycle of fifths and be ideal for jazz students.

Other tips can include extensions to chords to add tension before resolution, giving opportunities to teach good voice-leading princi-ples. Suspensions can be added if appropriate to pupils’ studies and musical appreciation. Prepara-tion of the suspended discord is suitable for certain periods, less so for contemporary pop songs for instance. Further melodic embel-lishment may include common ornaments or perhaps invite cre-ativity, as well as appreciation of the consequences once the piece is played, listened to and evaluated.

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Expectations prior to aural experience are a valuable part of training. What do we expect to hear? What effect will the music have? Where are the special points of interest? Are there any surpris-es, moments of tension? Is it likely to be predictable or even bland in places? Is the melodic shape pleasing? Is the phrasing logical and easily comprehended?

These ideas have been used in hundreds of workshops, classes and lessons for mixed ability students (from those unable to

read music learning from scratch to postgraduate composers) over the last ten years with similar suc-cessful results. Many of these ideas are inspired by Schoenberg’s tonal creative teaching methods, par-ticularly those aimed at less able students and/or those for whom music was not a first subject. Al Summers is a composer, tutor and teacher of music leaders; his publications (over 30 books on music) include Creative Music Manual and Guitar Teaching: a summary of principles, practice and preparation.

LCME Issue 3.indd 11 16/11/2018 15:09

DEVELOPING ENSEMBLE

OPPORTUNITIES FOR STUDENTS

The benefits of ensemble playing are

well documented, however getting groups

up and running does require a fair bit of

effort and planning.

LCME Issue 3.indd 12 16/11/2018 15:09

lcme 13

LCM examiner David Millar provides some tips and practical advice for peripatetic music tutors on working with ensemble groups in schools.

Getting paidFor peripatetic tutors providing individual music lessons in schools, some consideration must be given on how to be remunerat-ed for any time involved working with ensembles.

A simple solution may be to get the school to pay you for ensemble work. The school benefits from offering this opportunity to their students and the results can be easily showcased at events such as prize nights, school etc. However, schools in many regions are facing budget restrictions so this may not always be a viable option if the funds are not available.

Integrating ensemble activities alongside normal individual lesson scheduling is another option. You may wish to consider offering a supplementary charge for students wishing to participate

in ensembles. Another option is to rotate a shared ensemble lesson among a group of students — for example six students form an ensemble and pay for a set of six music lessons, one of which will be an ensemble lesson — then rotate this cycle over six weeks through the group of students.

TimetablingSome other practical consider-ations you may need to think about in schools involve ensemble practice timetabling. Ensemble rehearsals may need to be done over parts of break or lunch times; or after normal school hours. If you choose to run an ensemble after normal school hours, do be mindful that it is not uncommon to encounter time clashes with other extracurricular activities. Be prepared to build in some flexibility, for example: alternating ensemble attendance every other

week with another activity for some students, or attending part of the ensemble practice time before participating in another activity. If on certain weeks the numbers of students are down, for example due to a school trip, it can still be productive to work with any remaining students focusing on individual parts, or even just listening to and selecting pieces of music the group may wish to attempt in the future.

Preparation timeIf you normally just teach individ-ual lessons remember to factor in some additional time at the start and end of ensemble lessons. Preparing the room with any necessary equipment such as am-plifiers or drum kits, music stands, chairs etc, and allowing time to clear everything away afterwards. Be sure to have all required music parts copied and ready beforehand

LCME Issue 3.indd 13 16/11/2018 15:09

14 lcme

to make sure everything runs smoothly so most effective use is made of the time when everyone is assembled.

Dealing with a range of abilitiesExpect a range of playing abilities within an ensemble. Developing the skill to spot players who are struggling, and helping them overcome their difficulties while remaining inclusive is key to running a successful ensemble. For example if a guitarist is struggling with a C#m barre chord just get them to play a single bass note to get past that part in the music and let other more capable players cover it. If the group play in a seated position, place weaker rhythm players alongside more confident ones to help maintain secure timing.

ReliabilityWhen allocating parts it is impor-tant to consider the reliability of individual students as well as their playing ability. This is particularly important when choosing key roles such as a lead melody part, or a drum or bass player.

Junior ensemblesEnsemble playing works at all stag-es of a music student’s education. At all levels it is possible to put together effective arrangements that work well, and which younger students find very interesting to play together. Here is a simple ex-ample of a harmony part arranged for one of the Acoustic Guitar Initial (Step 1) pieces.

Even using beginner pieces, an effective ensemble group can be developed with players performing melody, harmony and chordal accompaniment.

The sum of the partsAlways be mindful it is the overall combination of the sound that should be the driving force of the arrangement. Does it sound balanced? Are there weaker or stronger players in certain areas that could be changed? Does the arrangement sound interesting and fit the skill level of the group? If you have some talented individual players can they be showcased by adding in a verse or bridge where the melody could be improvised or embellished? Beginnings and endings usually always require attention to keep the group sounding tight.

Recognising achievementHaving an event to work towards is an important aspect of tutoring music ensembles. There is quite often an improved level of attend-ance and increased excitement as a concert date approaches.

Non financial rewardsPutting together a music ensemble is very rewarding for the tutor, and a great enhancement to the tutor’s range of music education services that can be offered. If you primarily just provide individual lessons you will greatly enjoy the change, challenge and variety that ensemble tuition will provide.

LCME Music Ensemble examsThere are seven levels of LCM Ensemble exams (Steps, Levels 1–5 and Recital).

To view the current syllabus and enter for an exam please visit the LCME website: lcme.ac.uk

Kumbaya (harmony)arr. D Millar

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BelowA harmony part arranged for one of the pieces in the Acoustic Guitar Initial (Step 1) handbook

UE 37178 • Béla Bartók

Sonata Sz. 117Arrangement for guitar by Christophe Dejour

Universal Editionwww.universaledition.com

*Approximate grading: 1–8 (Easy–Advanced)


Allegro barbaroArrangement for guitar by Siegfried Steinkogler

UPC

www.universaledition.comwien | london | new york

9 783702 4748128 03452 07192 19 790008 088100

ISBN 978-3-7024-7481-2ISMN 979-0-008-08810-0

Printed in AustriaH 6/2017

UE 37 178

Universal Edition

Béla Bartók Sonate Sz. 117 für Gitarrebearbeitet von Christophe Dejour

LEVEL

7–8

UE 38 025

Universal Edition

Béla Bartók Allegro barbaro für Gitarre bearbeitet von Siegfried Steinkogler

ISMN 979-0-008-08901-5 ISBN 978-3-7024-7573-4UPC

Printed in HungaryPRo 5/2018


9 783702 4757349 790008 089015 8 03452 07284 3

UE38025_Cover.indd 1-2 29.05.2018 14:02:46

LEVEL

7–8

Bela Bartók‘s original ‘Sonata for Solo Violin’ was composed in 1944 on behalf of Yehudi Menuhin as one of his last compositions. For a long time the work was considered unplayable by Menuhin and many others.

Our guitarist Christophe Dejour took up the challenge and arranged this masterpiece for solo guitar.

Encouraged by a critic accusing him of ‘musical barbarity’, Bartók composed ‘Allegro barbaro’ 1911 in direct opposition to the romantic predilections of his time, and as a response to that attack.

The Austrian guitarist Siegfried Steinkogler now arranged this piano piece for solo guitar.

NEW!

LCME Issue 3.indd 14 16/11/2018 15:09

lcme 15


Sonata Sz. 117Arrangement for guitar by Christophe Dejour

Universal Editionwww.universaledition.com

*Approximate grading: 1–8 (Easy–Advanced)


Allegro barbaroArrangement for guitar by Siegfried Steinkogler

UPC


9 783702 4748128 03452 07192 19 790008 088100

ISBN 978-3-7024-7481-2ISMN 979-0-008-08810-0

Printed in AustriaH 6/2017

UE 37 178

Universal Edition

Béla Bartók Sonate Sz. 117 für Gitarrebearbeitet von Christophe Dejour

LEVEL

7–8

UE 38 025

Universal Edition

Béla Bartók Allegro barbaro für Gitarre bearbeitet von Siegfried Steinkogler

ISMN 979-0-008-08901-5 ISBN 978-3-7024-7573-4UPC

Printed in HungaryPRo 5/2018


9 783702 4757349 790008 089015 8 03452 07284 3

UE38025_Cover.indd 1-2 29.05.2018 14:02:46

LEVEL

7–8

Bela Bartók‘s original ‘Sonata for Solo Violin’ was composed in 1944 on behalf of Yehudi Menuhin as one of his last compositions. For a long time the work was considered unplayable by Menuhin and many others.

Our guitarist Christophe Dejour took up the challenge and arranged this masterpiece for solo guitar.

Encouraged by a critic accusing him of ‘musical barbarity’, Bartók composed ‘Allegro barbaro’ 1911 in direct opposition to the romantic predilections of his time, and as a response to that attack.

The Austrian guitarist Siegfried Steinkogler now arranged this piano piece for solo guitar.

NEW!

LCME Issue 3.indd 15 16/11/2018 15:09

16 lcme

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In Issue 1 of lcme we looked at some devices to encourage the development of improvisational skills for a player who is relatively new to this. We looked at some ear training ideas to help with identifying the chord tones, as well as some simple ideas around developing the melody and rhythm of a phrase. In this article Merv Young takes some of these ideas a little further and looks at some question and answer phrases.

To keep things fairly straightforward all the examples can be played over a static A minor chord vamp, and we’ll be using notes taken from the A pentatonic minor scale:

An interesting experiment to try with your pupils to start with is to get them to play through the scale slowly whilst you play an A minor chord in the background. Ask them if any of the notes from the scale stand out in any way to them. Do they prefer the sound of certain notes against the A minor chord? Some might prefer the resolved sound of the triad notes, whereas others might prefer the non-chord tone notes. Don’t be surprised if some pupils have no preference or thoughts at all! Either way it can be an interesting exercise to open a conversation with.

In the second octave of the scale above I have indicated the notes from the A minor chord running through A, C, E and finishing on the top A. These are the important notes for the player to be aware of. I often refer to these notes as our ‘home notes’ as we will keep coming back to them. Explain that these notes will match the chord that you are playing so they are clear about why we are identifying these notes. You might wish to refer to these as A, C and E or as root, third and fifth, or as tonic, mediant and dominant. It is also important to explain that any of the notes from the scale can be used as we improvise, we are just using these chord tones here to start and finish our phrases.

To begin with I’d suggest you have the A minor chord vamp playing as a recording, backing track or loop so that you can play some lead lines along with your pupil. You will be playing the question phrase and your pupil will be answering. The following examples are typical of what I would use to start with. The important points are that the question phrase (that you will play) start on the root note and finish on the 5th degree. For the answer phrase, the main criteria here is that this phrase concludes on the root note. These are, of course, not hard and fast rules for improvising but you should find this helpful at this stage.

LCME Issue 3.indd 16 16/11/2018 15:09

lcme 17

Question phrase:

Question phrase:

Question phrase:

Example 1

Example 2

Example 3

Answer phrase:

Answer phrase:

Answer phrase:

The rhythm for these examples has been kept fairly straightforward, and you’ll notice that each phrase starts on the first beat of the bar to help encourage awareness of where this falls. Although we are only playing over a single chord at the moment, when we do introduce chord changes having awareness of the start of a bar will become more of an issue.

The talking point for your pupils with these phrases is around the sound of the question phrase finishing on the E note, compared with the final note of the answer phrase where we come back home to the root note again. Remember that as an experienced musician and teacher a lot of the skills here will be very instinctive for you. There is a great deal to think about for your pupils, and it only starts working smoothly when you don’t have to think too hard about it — so take it slowly and gently!

When you are playing some phrases back and forth with your pupil fairly confidently, the next stage is for them to play both the question and answer phrases themselves whilst you accompany only. By using the previous examples as a starting point this will, hopefully, not be too daunting. Experiment with this in different keys and with different scale types as well. Next time we’ll look at some ideas to help with improvising effectively where there is more than one chord.

There is a great deal to think about for your

pupils, and it only starts working smoothly when

you don’t have to think too hard about it – so take

it slowly and gently!

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LCME Issue 3.indd 17 16/11/2018 15:09

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Events and updates

Birmingham Centre Annual Concert

Birmingham Centre held its annual Presentation Concert at Shirley Methodist Church on Saturday 6 October 2018. We were delighted to welcome LCME examiner Kevin Gill to present the certificates and awards.

The audience were entertained with 36 performances in music theatre, pop vocals, classical singing, flute, piano, keyboard and classical guitar. As al-ways, performances were of a very high standard and ranged from students who had gained high distinctions in pre-Grade 1 exams right up to DipLCM. Students who had achieved marks of 90% or higher in theory examinations were also invited to attend to receive special certificates in recognition of their achievements.

LCME Issue 3.indd 18 16/11/2018 15:10

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Special mention must be made of Ruth Carlyle, for gaining 100% for Grade 8 Classical Singing. She gave an outstand-ing performance of A Bay in Anglesey by Madeleine Dring.

After the performances Kevin presented certificates to all performers and the outstanding theory candidates. Trophies were awarded to those gaining the highest marks in their category.

Thanks to everyone who made the evening possible and grateful thanks to our accompanists Kevin Gill, David Barton and Catherine Mason. Proceeds of £630 were donated to Kidney Research UK.

Julie IwanciwBirmingham Centre Representative

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LCME Issue 3.indd 19 16/11/2018 15:10

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The Good Life Experience At Guitar School we make it our mission to get people inspired to learn the guitar or ukulele. Regardless of age and ability,we passionately believe everyone should have the chance to try playing an instrument.

As we were preparing for this year’s The Good Life Experience in Hawarden, near Chester, we knew there was a pretty high demand for people wanting to learn new musical skills. But we were amazed when over 300 budding musicians came to see us at our pop-up tuition studio!

New, existing, and experienced musi-cians were able to come and see us, chat to us, quiz us, and ask us anything about learning an instrument or developing their technique. We taught new skills and helped people to play their favourite songs, discover essential techniques, and explore LCME’s guitar syllabuses.

We offered free trial lessons, too, to spread the music love and encourage potential musicians to get started. Plus, we held a mini clinic where experienced players who have years of knowledge could come to us for tips and hints. accessories such as capos, tuners, instru-ment leads etc.

Mark Ellwood, RGT tutor

For information on learning the guitar, contact Guitar School on 01244 536999 today or visit us at guitarschool22.co.uk

LCME Issue 3.indd 20 16/11/2018 15:10

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Schott Music London extends its range of practice facilities at its central London premises.Schott Music London, one of London’s oldest and most popular music shops, has added two brand new practice rooms at its historic premises, as part of an ongoing renovation project. These two new rooms have been built using state-of-the-art, sound-isolating components from Studiobricks and were installed by Black Cat Music. The custom-built rooms are ideal for 1 or 2 musicians, and include a choice of Yamaha digital or Essex upright pianos.

The rooms are available for hire and, along with the existing three practice rooms, will serve to meet the growing demand for quality and convenient practice rooms in central London. The facilities at Schott Music London also include a small performance space and are already in high demand for music lessons, rehearsals, performances and exams.

Schott Music LondonPromotional Feature

Practice Facilities

All five practice rooms contain a piano, and range in size from rooms suitable for one to one peripatetic teaching to rooms large enough to host a string quartet rehearsal. The small performance space can hold up to 40 people, and includes a Steinway grand piano.

The practice rooms have been named after some of the notable composers that have been published by Schott Music in London: Elisabeth Lutyens, Percy Grainger, Steve Martland, Peter Maxwell Davies and Michael Tippett. The con-temporary music department still resides within the building, publishing notable composers such as Gerald Barry, Thomas Larcher and Julian Anderson.

The music publisher Schott Music, founded in 1770 in Mainz, Germany, established a London office and shop in 1835. They were first located in St James Street before moving to Regent Street in 1853 and on to Great Marlborough Street in 1908.

Today, Schott Music is located at 48 Great Marlborough Street, near Oxford Circus and stocks a wide range of music from all publishers, as well as instruments and accessories. The location may be familiar to readers as it is next door to the original site of the London College of Music. For more details please visit www.schottmusiclondon.com, email [email protected] or call 0207 534 0710

RightGrainger RoomTop leftNew practice roomsBottom leftSchott Music London

LCME Issue 3.indd 21 16/11/2018 15:10

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Images from LCME Newcastle & North East Centre’s

Presentation Concert for Excellence. November 2018

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Become an LCME Registered Teacher

Membership benefits include:• listing on ‘Find a Teacher’ page• 50% discount on Performance and

Teaching diplomas• 10% discount on handbooks• Members Area on website

Discounts also available:• Income protection plans• Medical and dental care• Breakdown recovery• Travel insurance

+44(0)20 8231 [email protected]

from £30*per year

* £47 for one year, £117 for three years or £150 for five years

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Together We StandIn 2016 Evie was entered for her Grade 6 Music Theatre exam but was sadly unable to go ahead with the exam as she was diagnosed with a brain tumour. After surgery she has received multiple rounds of chemotherapy and radiotherapy. Sadly after relapsing a few months ago the cancer has now spread to her spine. There is no other treatment available for her so we are on a mission to raise funds for Evie to receive potentially life-altering immunotherapy treatment in Germany, which is not currently available in the UK.

Please follow her story on: facebook.com/eviesmission And direct all donations to:uk.virginmoneygiving.com/fund/eviesmission

Together We Stand is a song written especially for Evie, to remind her and her mum Paula that they are never alone — and to give them hope we WILL get Evie to Germany for life-saving treatment. The song has been recorded by Urban Voice, Egglescliffe School’s pop choir. It is available from iTunes, Amazon Music, Google Play and Spotify. Veronica CairnsNewcastle & North East Centre Representative

Urban Voice performing at the LCME award ceremony, with Evie (front left)

LCME Issue 3.indd 24 16/11/2018 15:10

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Issue 3: Winter 2018

EditorDavid Duncan

[email protected]

AdvertisingMerv Young

[email protected] Marchant

[email protected]

Issue 3 contributorsAndrew Eales

Al SummersDavid Millar

Julie IwanciwMark Ellwood

Veronica Cairns

ContributionsPlease send any article proposals to:

[email protected]


University of West LondonSt Mary’s Road

LondonW5 5RF

Websiteslcme.uwl.ac.uk

rgt.org

Facebookfacebook.com/LCMExaminations

LCME eventslcme.uwl.ac.uk/events

© 2018 University of West London, LCM Publications

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