1. Exam Performance “Yesterday, I could play it perfectly”

2. Exams Enjoyment through achievement Not for everyone: other options… Not a complete curriculum Performance Assessment Motivation of the parents, peers, teacher and student. Ready to register or ready to take the exam? Using the exam to motivate the student. Assessing the ability of the student to the requirements of the exam

3. Considerations School exams Dental work and other medical considerations Holidays UCAS points Theory exam requirement Grade requirements for ensembles Other performances: GCSE and A level repertoire Choice of repertoire New Instrument/mouthpiece purchase Other instrumental exams

4. Learning a Skill When you first learn to a skill, you have to focus intently on each detail. Learners consciously monitor what they are doing as they build the neural framework supporting the task. After hundreds of hours of practice, you can perform the skill effortlessly, without any conscious control. You are able to encode a skill in implicit memory, and perform almost without thinking about it.

5. Long term Preparation Time-line Choice of repertoire Building technical confidence Knowing your pieces: identifying and being able to communicate the musical elements through your instrument/voice Aural, Scales and Sight reading Lesson attendance and practice Ensemble playing Listening to other performances

6. Performance Preparation Not stopping…building up larger units. Recording Other performance opportunities…experience Mock exam in lesson Endurance for playing all the repertoire Order of your pieces Accompaniment: backing tracks and rehearsals Tempos Reed preparation What do you want the examiner to hear?

7. What does the examiner listen for? ABRSM Accuracy, continuity and fluency Accuracy encompasses the technical control and coordination required to produce correct rhythm, including continuity of performance; convincing tempo, including consistency of the chosen speeds; clearly audible observance of performing directions; and accurate pitch, including well-centered intonation where appropriate. Slips from basically secure intonation are not as serious as an inability to centre the pitch precisely, which causes a loss of tonality. Tonal awareness Tonal awareness covers the way an instrument is used and includes situations where a poor instrument may be skillfully managed. It encompasses the ability: to produce focused and consistent tone where required; to control and contrast dynamics and attack as appropriate to the musical context; and to grade musical tone into phrases. Pedalling for pianists and vibrato for string players are extra tonal refinements that are welcomed at all stages but not expected until Grade 5. Musical character and sense of performance Musical character arises from the imaginative application of technical skills in ways that will most vividly convey the mood of the piece to the listener. A sense of performance encompasses the degree of engagement with the music, including the level of commitment and conviction evident in the playing or singing.

8. Making Music Playing notes vs. making music “Join with me, and I’ll show you treasures beyond compare” Having students recite this sentence can help them to identify with the character and emotion of their presentation, beyond the words/notes. Emotion…has the word motion in it…thinking about the musical line Conscious control leads to confidence, enjoyment and effortless performance of the musical line.

9. Morning of the exam Knowing what to expect. What to eat…carbohydrates, protein, no chocolate and caffeine…some say bananas are great. What and how much to play on the day? What to wear? Go to school? Packing your instrument/music/reeds Plenty of relaxed travel time to the exam centre.

10. Arriving to the Exam Where is it? Parents: encouragement or involvement Teacher attends? Filling in the form. Warm up room How to warm up Meet accompanist Tuning before you enter the exam Nerves!

11. Managing your Nerves Fight or flight adrenaline…natural Physically tension Pay attention to your senses Breathing…long exhales…paying attention to parts of your body Posture Relax fingers One thought at a time

12. Entering the Exam “What an exiting moment”…attitude Who was before you? Smile and say hello. Your assessment begins when you first enter the room. Setting your performance triangle (music stand, accompanist and examiner) Take your time: play a few notes, get accustomed to the dynamics of the hall and use the tuning opportunity to relax. Techniques to managing your nerves.

13. Performance Make Music Create an atmosphere of occasion, including how you announce your pieces Posture linked to breathing Enjoy your sound in creating the musical line Exaggerate your communication of the musical elements Think about the examiner adding points for what they hear rather than take away points for errors Projection Opportunities to look at the accompanist and the examiner. Don’t stop, and forgive yourself quickly for errors. Learn to be more aware of your achievements than your errors. Use the time between pieces to relax and prepare for the next.

14. When it goes drastically wrong! Reed stops working Key mechanism screws fall out Vocalists have a cold Nervous finger shaking Total panic or overwhelming tears Accompanist does not show up You are late You just mess up…choked! Were you truly well prepared?

15. Why do we Choke when it Counts? When you first learn to play your instrument and even a new piece of music, you have to focus intently on each detail. Novices consciously monitor what they are doing as they build the neural framework supporting the task. After of hours of practice, you can perform the skill effortlessly, without any conscious control. You are able to encode a skill in implicit memory, and perform almost without thinking about it. Experts and novices use two completely different brain systems. What happens when the brain uses the wrong system. You find yourself at the mercy of a system where their brain is using neural pathways last used when first learning to play. What triggers us to use the wrong system…exams…having someone access our skill…leading us to question how we execute the task at hand. Bounce: The Myth of Talent and the Power of Practice, by Matthew Syed

16. The Result Sign post of your progress, not a competitive target Reflection of your performance on the day and somewhat of your preparation leading up to the day. The result is not a reflection of your potential. What experience have you gained to take to your next performance.

17. Resources ABRSM and Trinity website: teacher and student resources Teacher and student forums These music Exams, by Clara Taylor http://www.abrsm.org/resources/theseMusicExams0607.pdf Recordings and accompaniment tracks: www.abrsm.org/puresolo www.smartmusic.com www.abrsm.org/students/speedshifter/index.html www.piano-accompaniments.com