Advice from the source! Here are some pro tips and observations from our Examiners.
We asked our Examiners about some of the common "errors" in exams. These are their observations from 2021, and include some great suggestions for teachers wanting to give their students the edge in their next exam.
Some are instrument-specific but would certainly relate to many candidates. All comments are general in nature and are provided as a resource for exam preparation - we all want to see you do your best, after all!
PIANO
Technical Work
This is an important aspect of musicianship, not just exams. Examiners would love to have given higher grades in some cases but the Technical Work didn't always match the time and attention given to what was otherwise a truly beautiful repertoire performance.
Starting in the Right Position
Candidates could benefit from a reminder to find middle C before commencing their pieces in order to ensure works are performed in the octave notated.
STRINGS
Exam Presentation
It would be really great if teachers could prepare candidates in how to position themselves in relation to the piano and examiner. Ideally, upper string player should bow directly AT the examiner, not standing face on to the examiner. This gives the Examiner the best opportunity to hear all that the Candidate is capable of. An Examiner may need to request that the Candidate move to facilitate this, which can be off-putting for their performance.
General Knowledge
This area continues to be underprepared in the string world and it is such a shame, often pushing a result down when the playing was good and a higher grading was considered. This seems to be particularly relevant to the Lower grades, with young players needing more guidance on the basics, from the meanings of terms and piece titles to keys, terms etc. The syllabus outlines the requirements for each grade, and is the best place to refer to for guidance in this area.
Aural Tests and Sight-Reading
These areas can't really be "crammed" just before a practical exam. Familiarity with how to approach these important areas of musicianship requires practice over a period of time. While this investment varies from student to student, it's always an area that will benefit their playing and all aspects of musicality (not just their exam result).
WOODWIND
Technical Work
This is an important aspect of musicianship, not just exams. Examiners would love to have given higher grades in some cases but the Technical Work didn't always match the time and attention given to what was otherwise a mature and intelligent performance. Repertoire Exams are a great option for many people, for many reasons but it is important to remember that technique is a cornerstone of musicianship and many performances were let down in this area. Although there isn't a stated set of technical work for each grade, the expectation remains that it will continue as a focus for development.
Intonation
This is an area that really let down some Candidates whose technical work was otherwise excellent. Playing with others, engaging air support, and working on this area can elevate a performance from ok to excellent.
ROCKSCHOOL
Syllabus Requirements
Please take care when checking the syllabus requirements to ensure that all elements are prepared, such as sync with backing tracks, Free Choice Piece elements, and Technical Studies.
ID for Grade 6+
A reminder that Candidates need to show their ID for Grade 6 and upwards on exam day.
GENERAL
Consider your accompanist carefully. The interplay within an ensemble is a key area for well-rounded musicians to develop and your relationship with your ensemble is a very important one. Ensure the accompanist is of a standard that is appropriate to the complexity of the music, and has adequate time to prepare and learn the repertoire so that they can best support the Candidate on the day. And don't forget to rehearse to build that dynamic and ensure your accompanist understands how you want to interpret the repertoire.
Level Two Candidates are reminded that the General Knowledge questions will refer to the piano part - not just their own, solo part.
Ensure candidates’ instruments are tuned prior to entering the room so that they're all set up for success. The only exception should be to double check tuning with the piano in the exam room.
Double check the new syllabuses. It is essential that the whole exam is one or the other (not a combination) during the transitional period where old syllabuses are still available.
A reminder that accompanists must leave the room for unaccompanied works. The only exception is if the Examiner has requested assistance with the aural test.
When doing your performance for your Recorded Exam, try not to get stuck on things - just keep going. Even if you remember something you missed earlier, just persevere, don't worry, and try to do your best with the rest of your performance.
A reminder that photocopies of music (especially Technical Work) are not permitted, except where copyright allows. We've tried to offer as much flexibility and leniency through the past couple of years but the composers and publishers have a right to be recognised for their work.
A reminder to please ensure all conversations around exams are positive, and refrain from making comment on other teachers.
Repertoire exams continue to increase in popularity and this option is now available across all syllabuses (except Band) – please contact the office if you’ve not heard about this and would like to know more.
We hope that these will help with preparing for your next exam. We have many more great tips and reminders in our Helpful Hints page, which can be found on our Syllabuses page. You may also find a few of our publications helpful, such as the Aural Test Book, and various new Technical Work Books. These can be ordered from our AMEB Online Shop.
Image photo credit: Helloquence
