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Singing Summary of the AMEB Exam Syllabi

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1 Singing Summary of the AMEB Exam Syllabi
Musical theatre (MT) Classical Syllabus (CS) Singing for Leisure (LS) Contemporary Popular Music (CPM)

2 Exam Structure Technical work Songs Aural tests Sight reading
LS: choice between sight reading & aural tests Sight reading General knowledge

3 Syllabus Structure Grading Entry level
Level 1: Prelim to Grade 4 (Fundamental) Level 2: Grades 5-8 (Developing) & Certificate of Performance Level 3: Associate & Licentiate Diplomas (Advanced) – MT & CS Entry level MT/LS/CS Preliminary CPM Advancing Step 1 (Grade 5)

4 Comparing the syllabi: technical work
MT: exercises (choose key) & vocalise (memory) CS: vocalise (memory) LS: selection of exercises (choose key; style choice?) CPM: exercises (choose key; 3 onsets)

5 Comparing the syllabi: musicianship
Aural skills Same for MT, CS & LS, played either by examiner or on CD Different for CPM, played on CD Not required for Certificate or Diplomas Sight-Reading LS choose either aural or sight-reading LS begins Prelim/ MT & CS begins Gd 1 General Knowledge CS & LS same requirement MT as above plus dramatic context for all grades Different for CPM

6 Comparing the Syllabi: Songs
LS: Level 1 & 2 All Gds – 2 list songs + free choice; Certificate – min of 4 songs (20-30 mins) CPM: Level 2 2 set works + 3 own choice (15min limit) MT&CS: Level 1 Prelim & Gd 1 (3 songs); Gd 2 to 4 (3 + 2 extra) CS: Level 2 Gd 5-7 (4+2 extra); Gd 8 (4); Cert (20-25min) MT: Level 2 Gd 5&6 (3+2 extra); Gd7&8 (4); Cert (25-35min)

7 Comparing the Syllabi: Songs
Diplomas (CS & MT): Associate recital (25-40 mins) Licentiate recital (35-50 mins) Memorization: All MT, LS & CPM pieces CS Cert & above (exception: Oratorio/Cantata)

8 Matching syllabus to student
CS: Classical & some ‘legit’ MT MT: Sing&Act; legit/mix/belt encouraged CPM: Jazz; Rock; Pop; Gospel; R&B; Country; Folk; HipHop/Rap; Alternative; & Hybrids – amplified; improvisation expected LS: any of the above (all styles) – no amplification; no improvisation expected but encouraged; time-limited

9 The common issues Poor Alignment Breath management difficulties
Breathy/Pressed onset Throat constriction Jaw tension Registration difficulties Inappropriate style choices

10 Vocal quality & Style: Classical
Lowered larynx Wide pharynx Diaphragmatic breathing Evenness and beauty of tone Elongated mouth position Legato focused Developed vibrato

11 Vocal quality & Style: Music theatre ‘legit’
Modified Classical Larynx lowered somewhat Diaphragmatic breathing Conversational voice quality Vibrato at ends of phrases only Strong consonants Speech mouth position

12 Vocal quality & Style: Music theatre ‘mix’ & ‘belt’
Speech based tone / Larynx at speech level Variety of thoracic & diaphragmatic breathing Variety of mix and belt combinations, with various amounts of twang Vibrato at ends of phrases or long notes Strong consonants & relaxed mouth position Character driven tonal colour, appropriate to song choice and emotional content

13 Vocal quality & Style: CCM
Contemporary commercial music (Jazz; Rock; Pop; Gospel; R&B; Country; Folk; HipHop/Rap; Alternative; & Hybrids) Larynx at Speech level Consonant driven and short vowels Mix, Twang and Belt combinations Genre specific vocal effects Limited or no vibrato

14 The common issues: Technique
MT: entry level; choice of mix LS: choice of key for vocal style CS: tonal quality and chosen vowels; articulations; breathing management CPM: Key choice; choice of mix; onset

15 The common issues: Song & Accompaniment suitability
Song suitability Age appropriate Style preference Programming and variety Accompanying vs Backing track Style & Key Play/omit melodic line Time constraint (refer p.XV)

16 The common issues: MT Singing & Acting!!!

17 The common issues: CPM Creative section (Jazz)
Communicate the changes – internalize the chordal structure “Understanding and hearing the harmony better will help you sing the melody better, with a greater sense of freedom” (Berkman, The Jazz Singer’s Guidebook)

18 Copyright Original music or licensed copy for all songs in the examination Provide the APRA AMCOS Copyright Declaration Form for all photocopies: Words and Chords: composer’s website Transposition: exactly transpose once for own use

19 Conclusion Each syllabus has a different focus
Student may benefit from more than one syllabus Explore & Enjoy!

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