Notes based on a workshop presented by Federal Examiner David Lockett at the Sydney Conservatorium of Music, Saturday 19 March 2005.
PROGRAM REQUIREMENTS
Programs should be:
- Well balanced
- Show a variety of technical skills
- Cover a variety of musical emphases
Be sure to check timing requirements.
In addition, the program should take account of the candidate’s readiness in terms of:
- Physical development
- Level of technical achievement
- Ability to connect with the emotional content of the music
LEVEL 3 OBJECTIVES
Performances are expected to demonstrate:
- Musicality
- Maturity
- Conviction
- Confidence
Performance objectives
The performance should demonstrate:
- A concept of the works as a whole
- An understanding of structure
- An understanding of musical content
- An awareness of the elements that give the work unity or character
- Maintenance of unity in multi-movement works
- Familiarity with accompaniment
- An integrated sense of ensemble
- Technical mastery
- Command of special instrumental effects
- Mastery of stylistic elements
- Understanding of performance conventions
- Ability to differentiate between styles
- Expressive and coherent performance
- Memory (according to syllabus requirements)
PRESENTATION
- Be professional
- Show attention to posture and appearance
- Demonstrate a sense of normal performance conventions
General Knowledge
The following is required:
- Detailed knowledge of structure
- Detailed knowledge of keys and modulations
- Knowledge of period and stylistic characteristics
- Familiarity with repertoire by represented composers
- Knowledge of historical development of the instrument
EMPHASIS FOR EACH AWARD
Associate: “…test of executive ability” Licentiate: “A concert standard of performance will be demanded” Fellowship: ”…recognises the achievement of an exceptionally high performance standard”
- Associate and Licentiate share the same objectives
- The difference lies largely in the demands of the repertoire
- The repertoire sets the standards – each work has its own technical and musical requirements which need to be met
- Choose repertoire carefully
- Grading descriptors are listed in the Manual of Syllabuses for each award
Common reasons for lack of success
- Lack of expressive involvement or projection
- Preoccupation with technical issues at the expense of musical insight and communication
- Inadequate or inconsistent technical mastery (serious lapses in accuracy, clarity, control, concentration etc)
- Lack of variety in style, dynamics etc
- Lack of rhythmic control resulting in arbitrary tempo changes and incoherent pulse
- Consistent problems with tonal production and quality
Licentiate requires a concert standard of performance
Perfection is not expected but the following are assumed:
- Notational accuracy (notes, rhythm, dynamics)
- A level of technical security that allows the expressive character of the music to be realised
- Effective overall continuity
- An expressive view of each work that goes well beyond mere technical survival
- Variety in dynamics, colour and expressive approach
- The ability to feel and communicate musical character and emotion
- The Fellowship (FMusA) is the most prestigious of the AMEB’s awards
It requires:
- An exceptionally high performance standard
- The ability to engage an audience and to maintain interest over the entire program Candidates should:
- Consider the physical demands of presenting the program
- Carefully plan the sequence of works to ensure easy stylistic and technical transitions
- Ensure that associate artists are of the required quality
HINTS FOR PREPARATION
- Start early
- Choose an excellent accompanist
- Learn slowly and thoroughly in the early stages
- Investigate the structure and context of the works as you are learning them
- Have notes and memory secure weeks or even months before the performance
- Listen to music – not just the works you are playing
- Record yourself
- Arrange trial performances to family and friends
- Develop a strong concept of what you want the music to say – don’t focus on mere technical survival
- As the performance approaches, get plenty of rest and exercise – keep your life balanced
- Avoid last minute practice. All the work has been done – trust yourself
- Arrive at the venue in plenty of time
A WORD ABOUT ACCOMPANIMENT
- Engage a professional accompanist in plenty of time (piano parts can be difficult!)
- Study the piano score as you learn the work
- Allow plenty of time for rehearsal
- You need to fully understand how the piano part relates to your own
- The right choice of pianist can make a great deal of difference to your level of confidence and to the overall impression made by your performance
- Your choice of accompanist and the way you relate to them says something about your own artistic awareness
A good accompanist will be:
- An excellent pianist
- A sensitive and flexible musician
- Able to take musical initiative and to respond according to the expressive demands of the music
- A supportive partner
- Willing and available to rehearse
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