Piano Department Handbook 2015-16 final-withcover · PDF file2 INTRODUCTION FROM THE HEAD OF PIANO STUDIES T Welcome to the Piano Department of the Royal Academy of Music! I hope

Piano Handbook 2015–2016

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CONTENTS

INTRODUCTION FROM THE HEAD OF PIANO STUDIES ............................................................... 2 QUICK START REFERENCE GUIDE ................................................................................................. 3

Department contact details .............................................................................................................................. 3 Key dates 2015-2016 ....................................................................................................................................... 3 Check List ........................................................................................................................................................ 4

PIANO DEPARTMENT STAFF ........................................................................................................... 5 LEAVE OF ABSENCE PROCEDURE ................................................................................................ 6 SPECIAL CIRCUMSTANCES PROCEDURE ..................................................................................... 7 STUDENT RECORDINGS ................................................................................................................... 8 ASIMUT ............................................................................................................................................... 8 CONCERTS DEPARTMENT ............................................................................................................... 9 PERFORMANCE ................................................................................................................................. 9

Royal Academy of Music Performance Protocol ........................................................................................... 11 Concert Requests .......................................................................................................................................... 13 Other Informal Performance Opportunities .................................................................................................... 13 External Bookings Service ............................................................................................................................. 14 Academy Engagements, Including External Engagements – Right to work in the UK .................................. 14

UNDERGRADUATE CHAMBER MUSIC REQUIREMENTS ............................................................ 15 UNDERGRADUATE PIANO: YEAR ONE ........................................................................................ 18 UNDERGRADUATE PIANO: YEAR TWO ........................................................................................ 21 UNDERGRADUATE PIANO: YEAR THREE .................................................................................... 24

UNDERGRADUATE PIANO: YEAR THREE (SOLO PATHWAY) ................................................................. 25 UNDERGRADUATE PIANO: YEAR THREE (ENSEMBLE PATHWAY) ....................................................... 27

UNDERGRADUATE PIANO: YEAR FOUR ...................................................................................... 30 UNDERGRADUATE PIANO: YEAR FOUR (SOLO PATHWAY) .................................................................. 31 UNDERGRADUATE PIANO: YEAR FOUR (ENSEMBLE PATHWAY) ........................................................ 34

POSTGRADUATE PIANO: YEAR ONE (of a two-year course) ..................................................... 38 POSTGRADUATE PIANO: YEAR TWO (final year of a two-year course) .................................... 41 POSTGRADUATE PIANO: ONE YEAR OPTION ............................................................................. 46 POSTGRADUATE PROFESSIONAL DEVELOPMENT ACTIVITY .................................................. 50 POSTGRADUATE PIANO ACCOMPANIMENT: YEAR ONE (of a two-year course) .................... 56 POSTGRADUATE PIANO ACCOMPANIMENT: YEAR TWO (final year of a two-year course) .. 59 POSTGRADUATE PIANO ACCOMPANIMENT: ONE YEAR OPTION ........................................... 62 GUIDELINES FOR PIANO USAGE .................................................................................................. 65

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INTRODUCTION FROM THE HEAD OF PIANO STUDIES T Welcome to the Piano Department of the Royal Academy of Music! I hope your time here will be inspiring and rewarding, and set you on your path to becoming a rounded, virtuoso and individual pianist. This handbook tells you about the course and the way you’ll be assessed and examined. It outlines the exact repertoire requirements for exams, and the skeleton of your piano studies: one–to-one teaching, required attendance at performance classes and masterclasses, and chamber music studies. It gives you all the crucial deadlines for submissions. However, your time here is not only about preparing for exams. It’s about widening your outlook in every way: stretching and broadening your knowledge of repertoire, as well as building your technique; engaging with contemporary composers and jazz; playing and performing with other musicians; thinking hard about programming, and presentation of performances; making use of the library resources; regularly attending activities and performances here at the Academy; and taking advantage of being in London - one of the most excitingly diverse and musical cities in the world. You will have a strong relationship with your principal study professor, whom you can ask for advice; but I’d like to also encourage you to come and see me, with any queries, and to discuss your hopes and plans while you’re here. We want to provide you with the many skills you’ll need for a rich, interesting career in music – have fun and work hard! Professor Joanna MacGregor OBE FRAM Head of Piano

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QUICK START REFERENCE GUIDE

Department contact details Head of Piano Professor Joanna MacGregor Room 115 email: [email protected] Head of Piano Technical Services Clive Ackroyd 020 7873 7415 Room YG24 email: [email protected] Please report any faults or damage to pianos immediately to Clive using the above contact information or by filling in a form available from the Front Desk or the General Office. Departmental Administrator Alison Booker Tel: 020 7873 7405 Fax: 020 7873 7374 Room 108 email: [email protected] Key dates 2015-2016 (Please note that these dates are subject to change – please check AIR, your emails and the Piano noticeboard regularly) Autumn term Mon 14th September – Fri 27th November 2015

(Enrolment week Monday 7th – Fri 11th September) Intensive Projects Week (Academic classes suspended): Mon 19th Oct – Fri 23rd Oct 2015 Informal Chamber Music assessment for UG1s, with Michael Dussek and John Reid: mid-November PG Professional Development Activity classes (improvising to film, conducting from the keyboard, early keyboards etc) Oct - mid-November

Spring term Mon 4th January – Fri 18th March 2016 Intensive Projects Week (Academic classes suspended): Mon 8th – Fri 12th February 2016 PG Professional Development Activity classes (improvising to film, conducting from the keyboard, early keyboards etc) from January Part 1 exams BMus 1: Weds 17th February 2016 Room 115 BMus 2: mid/late February - date tbc BMus 3 Mozart Concerto exams: early/mid February - date tbc BMus 4 Concerto exams: 8th and 9th February Postgraduate concerto exams: PG1 Beethoven concerto: early/mid March - date tbc PG2 concerto exams: 14th and 15th March Undergraduate Chamber Music Assessments 14th - 18th March 2016

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Summer term Mon 18th April – Sun 10th July 2016

PG Professional Development Activity classes (improvising to film, conducting from the keyboard, early keyboards etc) April-May All PG recordings/Professional Development Activity reports to be handed in by early Summer Term

Summer Examination Period (all instruments)

Mon 23rd May – Fri 9th June 2016

Piano Department Festival 30th June and 1st July 2016

CHECK LIST Check List • Store the contact details of your principal study professor in your phone. • Store the contact details of your department administrator in your phone. • Check your all Repertoire and Masterclass dates and all extra Professional Development classes. • Don’t miss the dates of international visiting professors and masterclasses (available on AIR) • Store the Concert and Orchestra Manager’s contact details in your phone (Liz Williams 020 7873 7326, [email protected]) • Check your course requirements and exam dates. • Check and store the contact details of your chamber ensemble and your coaches. • Check closing dates for internal and external competitions and prizes. • Check any Leave of Absence is applied for by using the appropriate form– see page 6 for further details. •Check your Academy email account and AIR every day, including during the Christmas, Easter and Summer vacations. •Check your department notice boards regularly.

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PIANO DEPARTMENT STAFF Head of Piano Professor Joanna MacGregor OBE MA (Cantab), FRAM Piano Sulamita Aronovsky MA (Moscow State Cons.), FRSA, Hon ARAM Nicola Eimer DipRAM, MMus (Juilliard School), ARAM Professor Christopher Elton FRAM (Professor Emeritus of Keyboard) William Fong PPRNCM, Hon ARAM Ian Fountain Hon ARAM Rustem Hayroudinoff ARAM Diana Ketler ARAM Professor Hamish Milne FRAM Pascal Nemirovski Hon ARAM Tessa Nicholson LRAM, ARAM Carole Presland MusB, GRNCM, PPRNCM Tatiana Sarkissova Grad (Moscow State Cons.) Hon ARAM Colin Stone Hon.ARAM Amandine Savary MA, ARAM Piano Accompaniment and Piano Ensemble Coaching Michael Dussek FRAM (Head of Piano Accompaniment) John Reid (Chamber Music Administrator) James Baillieu Ian Brown Nicola Eimer DipRAM, MMus (Juilliard School), ARAM Diana Ketler ARAM Florian Mitrea Hodgson Fellow Malcolm Martineau MA, Hon RAM Andrew West ARAM Amandine Savary MA, ARAM Visiting Professors Pascal Devoyon(Broadwood Visiting Chair of Piano) Imogen Cooper Stephen Hough Kathryn Stott Yevgeny Sudbin Head of Piano Technical Services Clive Ackroyd Hon ARAM Departmental Administrator Alison Booker

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LEAVE OF ABSENCE PROCEDURE You will need to apply for Leave of Absence if you are going to take any time away from the Academy during the term, regardless of whether or not you will miss any Academy activities (academic classes, rehearsals) which are part of your schedule of study. Leave of Absence will only be allowed in exceptional circumstances and can be applied for by filling out a Leave of Absence form (available on AIR and from the General Office). Some guidance on completing a Leave of Absence form:

• You must apply for Leave of Absence and obtain all relevant signatures as far in advance as possible.

• It is your responsibility to check the dates of your assessments and to collect these signatures.

• Your Tutor will notify you via email once the process is complete. • You may not go on leave until you have received this notification from your Tutor. • If it is subsequently found that you have missed a timetabled assessment for which the date

had been published in advance, but that you have not declared on this form, then you will be automatically referred (failed) in the relevant component.

• You must inform your Principal Study teacher before signing this form and collecting the signatures.

• In the case of emergencies or last minute external opportunities, go straight to your Tutor who will advise you accordingly.

In addition to filling out a Leave of Absence form, you should inform other relevant lecturer(s) or professor(s) that you have been granted Leave of Absence from a particular class, lesson, rehearsal, or performance. Any regular timetable clashes must be brought to the attention of your Tutor immediately. If you are ill and will miss a class or activity, you should contact the relevant module leader, professor, coach or director. Visit your doctor in order to obtain a medical certificate. When you return to the Academy you should report to your Tutor as soon as possible. Academic classes are suspended for one week each term, but your presence will still be required for performance-based activities. Any Leave of Absence requests for this time must be applied for in the usual way. Please note that the summer term does not end until 10 July 2016. You will therefore be expected to be available to attend any end of year tutorial interviews or to collect any correspondence that is left in your pigeon hole up until this date. The Academy will not be responsible for any information which a student fails to receive in the event that they left the Academy early without making appropriate arrangements.

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SPECIAL CIRCUMSTANCES PROCEDURE The Special Circumstances Committee considers applications from students in the Special Circumstances Regulations, for the following reasons:

• extenuating circumstances which may have affected student performance in assessments

• extensions to deadlines for the submission of work for assessment • the deferral of assessments • appeals against penalty marks where the reasons were beyond your control.

You must submit a completed application form no later than 10 working days from the imposition of a penalty mark; 10 working days before the published deadline for submission of academic work, or 10 working days before the published date of an assessment†. Please note that retrospective extensions and waiving of lateness penalties will not be permitted except in very serious cases and where you have provided evidence to explain why you were unable to submit within the required timeframe.

1. Applications must be signed by you and your Tutor and be accompanied by supporting evidence before it is submitted to the Academic Secretary. If the form is missing either signature, it will be returned to your pigeon hole.

2. If your form requires medical evidence to be provided, you will be given a deadline to provide this. If you do not meet this deadline without good reason then your application will be dismissed.

3. If you are citing a medical issue, you must provide relevant evidence from a medical practitioner which confirms the relevant timescales and a formal diagnosis. A letter which merely states that you visited the practice will not be accepted.

4. SCC will normally consider cases on a weekly basis during the term (on a Wednesday afternoon) and, when deemed appropriate, information from the student’s Tutor, the Concerts Department or any other Academy department shall be sought prior to the meeting.

5. SCC will either accept or reject the application and agree any particulars in relation to extensions or penalties as appropriate. When applications are rejected, a full explanation will be given.

6. Students will normally be informed of the outcome within two working days of the meeting by the Chair of the Committee via Academy email* and their Tutor and other relevant members of staff (i.e. Module Leaders) copied in.

7. The case outcomes are circulated, normally within 2 working days of the meeting, to representatives from the Registry so that a note of the outcome can be placed on the student file.

8. Students have the right of appeal against decisions of the Special Circumstances Committee; via the Academic Appeals Procedure (see the Regulations).

* All correspondence documenting the outcome of applications will be copied to the relevant Registry staff, relevant Tutor and any Module Leaders/other administrative staff concerned. †If you are making an application for a deferral of an assessment due to unforeseen circumstances such as illness on the day of the assessment, you must provide an application with supporting medical evidence within five working days of the assessment taking place. Please see the guidelines on AIR for further information on making applications.

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STUDENT RECORDINGS You can access recordings or large scale public performances from the Library for educational purposes. The Academy cannot provide you with your own copies of these performances for copyright and resource reasons. Exceptions may be made in the case of performances with rarity value such as concertos but requests must be submitted to the Concerts Department at least one calendar month in advance of the performance. This will allow the Concerts Department time to consider any copyright clearance issues/licences/costs involved and for the Recording Studio staff to allocate time in their schedule and recording equipment. If the Academy is not planning to record a performance that you are performing in (e.g. Tuesday lunchtime concerts), requests may be made by students to record it but in audio format. In order to request this you will need to ensure that all relevant consent forms and copyright clearance is completed at least one calendar month in advance of the performance. You are able to record yourselves on Academy premises (in practice rooms and concert venues) either using their own or loaned equipment (in this case you would retain the copyright on the recordings and accept all responsibility for any necessary copyright clearance required).

ASIMUT

You must check your ASIMUT account daily for details of your academic and departmental classes and activities. It is a disciplinary offence to book two or more spaces concurrently in ASIMUT. Any student shown by the ASIMUT usage statistics to be misusing the system in this way will be liable to a disciplinary penalty, ranging from a temporary ban from the room booking system to temporary suspension of the studentship, depending on the severity of the case. Penalties will be determined by the Programme Management Team and communicated to students by their Programme Tutor.

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CONCERTS DEPARTMENT Director of Artistic Planning – Ms Nicola Mutton, Room G6 Tel: 020 7873 7375 [email protected] Responsible for the artistic planning of all Academy performance activity, including collaborations with festivals, outside concert series and professional orchestras and venues, as well as the overall management of the Concerts Department. Concert proposals should be submitted to the Director of Artistic Planning for consideration by Artistic Planning Group. Senior Concert & Orchestra Manager - Ms Liz Williams, Room G7 Tel: 020 7873 7326 [email protected] Concert & Orchestra Manager - Ms Rosie Larkins Room G7 Tel: 020 7873 7426 [email protected] Responsible for the running of all orchestral and ensemble projects, allocation of students to projects, production of all schedules and orchestral management of rehearsals and concerts. They are the point of contact for all schedule enquiries and leave of absence requests.

Orchestral Librarian – Mr Stuart Garden, Room G7 Tel: 020 7873 7414 [email protected]

Responsible for the Orchestral Library and provision of music for all Academy ensemble and orchestral projects. Also responsible for termly orchestral auditions. Concerts & Programmes Administrator – Ms Kathleen Rule, Room G7 Tel: 020 7873 7327 [email protected] Responsible for the provision of concert programmes, Performing Right Society declarations and working with the Director of Artistic Planning. Concerts & Prizes Administrator – Ms Francesca Johnson, Room G8 Tel: 020 7873 7308 [email protected] Responsible for the programming and administration of all lunchtime and early evening student concerts and Academy prizes and competitions. External Bookings Manager – Ms Lizzie Sambrook, Room G8 Tel: 020 7873 7304 [email protected] Responsible for the External Booking service, which exists to offer performance opportunities outside of the Academy to students. These opportunities include recitals, choral society concerts, concertos and background music for corporate and private events.

PERFORMANCE

The Academy’s busy performance schedule is run by the Concerts Department. Training at the Academy prepares students for an increasingly demanding and diverse professional life and encompasses chamber, symphonic, and operatic repertoire, historical performance, contemporary and media music of all kinds, as well as musical theatre and jazz. Care is taken in planning the flow of repertoire for undergraduate and postgraduate students with the aim that all concerts, rehearsals, training sessions and sectionals are well-balanced over a student’s period of study at the Academy. Training is delivered through:

• Repertoire sessions for wind, brass and percussion students (all students). • Sectional training with section principals from the UK’s major orchestras. • Public performances through both ‘quick-learn’ projects (designed to reflect the demands of

the orchestral profession), and intensive projects. Projects this academic year will be conducted by distinguished visiting conductors and directors including Semyon Bychkov, Sir

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Mark Elder, Edward Gardner, Jane Glover, Gareth Hancock, Oliver Knussen, Wolfgang Lischke, Trevor Pinnock, Robin Ticciati, and Yan Pascal Tortelier.

First-year string undergraduates take part in weekly String Orchestra rehearsals, as well as forming chamber ensembles for chamber music training. First-year wind, brass and percussion students participate in weekly Orchestral Repertoire classes (with second-year and third-year undergraduate students) in which staff and visiting specialists introduce staples of orchestral repertoire and work on orchestral techniques. Orchestral auditions (autumn and spring terms) for strings, wind and brass are a means of deciding seating for all orchestras.

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Royal Academy of Music Performance Protocol

This protocol is designed to set out clearly what is expected of students involved in giving concerts and taking part in other orchestral and chamber music projects at the Royal Academy of Music. Students are expected to read this document and refer to it as appropriate. The protocol has been designed to ensure that all students gain the maximum benefit from their involvement in ensemble activity and are fully trained to meet the demands of the profession.

General Practice for Orchestral and Chamber Music Projects 1. Following orchestral auditions at the beginning of the Autumn term, Orchestral and Ensemble

schedules will be issued at the beginning of the second week of term for all students. Further orchestral auditions will take place in the first week of the spring term and project schedules will be issued in the second week of this term. All summer term schedules will be published by the final week of the spring term. The schedules will be posted on the orchestral noticeboards opposite the Band Room and on AIR and will be added to students’ agendas on ASIMUT. Students are expected to keep a regular check on the noticeboards for any last-minute logistical alterations. Details of rehearsals will be accurate at the time of going to print, but may be subject to alteration. Any schedule alterations will be notified by email or text message. Communication will only be done via Academy emails, so students must check this regularly. If a student has a mobile phone, voicemail is essential in order to be contactable in an emergency.

2. Students are expected to be seated and tuned at least five minutes before the time published on the schedule. All sessions are strictly compulsory and 100% attendance is expected. Lateness will not be tolerated. Attendance will be recorded and will be reflected in each student’s end-of-year principal study/Professional Portfolio mark through the penalty mark system. A penalty mark will be issued each time a student is late or absent without permission from a session. (see Regulation G5, Attendance at Scheduled Rehearsals and Performances)

Students must telephone the Concert and Orchestra Managers, Liz Williams on 020 7873 7326 (strings, wind & brass) or Rosie Larkins on 020 7873 7426 (percussion, harp, keyboard, guitar, accordion) as soon as possible before a session is due to begin to inform them of absence due to illness or if they are going to be late for a rehearsal. A note from the doctor will be required by the Concert and Orchestra Manager if you miss a rehearsal due to illness. If you are late due to problems on London Transport, you will still be issued with a penalty mark. However, in extenuating circumstances, this may be appealed through the Special Circumstances Committee. For an appeal to be considered, students will be required to produce official documentation to substantiate the appeal.

3. One-to-one lessons, coaching sessions or classes must not be arranged during scheduled rehearsals. If another Academy commitment has been arranged before the publication of the orchestral or chamber music schedules, students must see the relevant Concert and Orchestra Manager within five working days of the date the schedule was produced to resolve the problem.

4. Leave of Absence must be granted by the relevant Concert and Orchestra Manager and the relevant Programme Tutor before agreeing to any outside work, even if at the time of engagement your diary appears clear. If release has not been granted, a student may be prevented from participating in the outside work. Whilst every effort will be made to accommodate outside engagements, this may not always be possible. You must not ask the conductor about missing any part of a rehearsal.

5. All music is kept in G7 and is generally available one month before the commencement of any given project. If parts are taken out for practice, the signing-out sheet must be completed. Folders are not to leave the office. Students are responsible for keeping their own music safe. Folders will be placed on stands in the rehearsal venue for the beginning of each session. Music left after sessions must be put in the folder, which should be closed for collection. The folders must remain on the stand after the rehearsal. If the music is not in the folder, it is the responsibility of the student playing it. Music is expensive and missing parts will be charged to the student responsible for them. Soft pencil only should be used to mark parts.

6. Students are expected not only to learn their allotted part before a project begins, but also to be familiar with the whole work. Recordings of all programmed works are usually available in the Academy

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library. Recordings are made of all Academy concerts and an archive copy is held in the library. Due to copyright laws, you are not permitted to make copies of these recordings.

7. Dress: Female students - please note that you are all required to have a long black dress or smart long black trousers and black top for Academy concerts. Shoulders and backs should be covered. Not sleeveless, not strapless, and with due consideration of professional appearance and sense of occasion. Dresses should be floor length and trousers should not be casual in style. Both dresses and trousers must be worn with smart shoes and tights or stockings. Hair ornaments and jewellery should be in keeping with dress code. Male students – you will all be required to wear a dinner jacket (with a white shirt and black bow tie) or all black (a black jacket, shirt and trousers), depending on the type of concert. Smart black shoes and black socks are also required. The Academy does not require men to have acquired a tail suit, but it is likely that professional orchestral engagements will need you to have this available, with white dress shirt and white bow tie.

8. For most Academy concerts, performers are allowed one free ticket, subject to availability. These can be collected in advance from the Box Office. Complimentary tickets may not be guaranteed for external concerts.

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Concert Requests If you have a concert project in mind that you would like to put on at the Academy with fellow students (lunchtime, early evening or main evening concert), you can submit an application to the Artistic Planning Group. Students may also apply to play in the Tuesday and Thursday Lunchtime Concert Series, which are our high-profile Diary of Events series, with a strong emphasis on chamber music. Proposals should show imaginative and balanced programming, which will be an important part of the consideration process. Concert application forms are available on AIR or from the Concerts & Prizes Administrator or Director of Artistic Planning. If any of the required information is not supplied then proposals will be returned for resubmission before the next proposal deadline. Termly deadlines for submissions are: Thursday 17th September 2015 (for Spring/Summer Term concerts) Wednesday 3rd February 2016 (for Summer Term concerts) Wednesday 20th April 2016 (for Autumn Term 2016 concerts) Forms submitted later in the term will be considered at the next Artistic Planning Group for the following term. The Artistic Planning Group will consider all concert requests and students will be notified of the result in writing. Please be aware that Academy-scheduled events will be given priority and their proximity to your preferred time period will have a bearing on whether or not they are accepted. Please note that a rehearsal in the concert venue cannot be guaranteed on the day of your concert.

Other Informal Performance Opportunities Weekly Lunchtime and Early Evening Concerts take place to provide a platform for students to run repertoire and to gain performing experience. They will not be assessed unless this is requested and, although open to the public, they will only be advertised within the Academy. Students will need to apply to play in these concerts by filling out a yellow concert voucher and submitting it to the Concerts and Prizes Administrator. Concert slots will be allocated according to availability and applications can be submitted at any time. Each performer in a group will be notified of the date of their performance via their Academy email address or in discussion with the Concerts and Prizes Administrator and you will be required to confirm the group’s availability in writing. It is the responsibility of the ensemble to request large musical instruments (harpsichord/chamber organ etc) to ensure they are provided in the relevant venue and tuned to the correct specification. This must be done through the General Office as soon as the concert date is confirmed. Failure to provide these details in good time may result in the instrument being unavailable.

Vocal Faculty students are expected to supply their own copies of text and translations or a precis. Fifteen copies should be submitted to the Events Office (next to the Duke’s Hall) 24 hours before the concert.

Concert vouchers can be found on the noticeboard outside Room G8, in the General Office and on AIR and need to be completed and submitted to the Concerts and Prizes Administrator in Room G8. They must be fully completed, with the necessary signatures, otherwise they will not be considered.

Concert dates will be advertised on AIR and any free spaces will be highlighted. On the day of the concert all participants should report to the stage manager ten minutes before the start of the concert.

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Failing to adhere to these conditions may result in disciplinary action.

External Bookings Service

The Academy offers a booking service through which students are offered performance opportunities. These include lunchtime and evening recitals at festivals and established concert venues, vocal and concerto solo work for various UK music societies, and entertainment for private and corporate events. These bookings provide valuable performance experience, as well as the chance to earn some money. Ensembles and soloists must be approved by a Head of Department or professor before commencing work through the External Bookings Manager. This service is intended to help students gain experience and make contacts for the future. Students are expected to fulfill engagements in a professional manner and coaching will be provided where appropriate. For further information about external engagements, contact Lizzie Sambrook, External Bookings Manager in the Concerts Department at the Academy.

Academy Engagements, Including External Engagements – Right to work in the UK Before taking on any work engagement through the Academy, all students must present their passport or other evidence of the right to work in the UK. If you have not already done so at enrolment, you must present your documents to the relevant administrator, or the External Bookings Manager in the case of external engagements. Once documents have been checked and copied you will be permitted to work.

International students studying at the Academy on Tier 4 visas can now perform unpaid and paid musical engagements provided it is organised through the official Academy channels. The placement must be considered to be part of the student’s professional development, and therefore logged as part of their professional portfolio, and all students must complete a Tier 4 Checklist for all performance-related work, signed off by their Head of Department. Three copies of this documentation must be taken – one for the Registry, one for the External Bookings Office and one for student portfolios. Tier 4 students are not permitted to undertake any work on a self-employed basis, and therefore any payment due must come through the Academy’s payroll, and is subject to deductions in respect to National Insurance and VAT. Students must also ensure that they do not exceed their 20 hours work allowance per week. The above regulation applies to all students who are coming to study at the Academy from countries outside the EEA (European Economic Area). In addition, Bulgarian and Romanian students will need to obtain an Accession Worker Card from the UK Border Agency (Application Form BR3) before they can take any paid work. This document must be presented to the Human Resources Department who will check the card and take a copy.

If you do not have a passport or would like further information regarding what alternative documents you can bring, please contact the Human Resources Department on [email protected]. For more information about the employment conditions for Tier 4 students, please refer to the following link: http://www.ukba.homeoffice.gov.uk/studyingintheuk/adult-students/conditions/

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UNDERGRADUATE CHAMBER MUSIC REQUIREMENTS BMus Chamber Music Assessments Chamber music will now be assessed in scheduled examinations in the last week of the Spring Term. A scheduled period of examinations will take place for all Undergraduate students, and also for Undergraduate ensembles that have a minority number of Postgraduate members or external members. An annual test will ensure that all students participate in the acquisition of chamber music skills. The design of the assessment is such that the full scale of the activity is not represented, but takes a snapshot sample of work, which reflects the level of function as an ensemble performer of individual students. All chamber music assessments will be minimum 15, maximum 20 minutes in length (75% of your overall chamber music mark). Each student will be required to hand in to the panel a completed Record of Chamber Music Activity Form which will be pigeonholed to every student at the start of the academic year. Students must use this form to record every session of chamber music activity (coaching, rehearsals, performances etc). They must submit it to the panel at their chamber music assessment as evidence of the process through which they have arrived at the assessment. This form is also to demonstrate initiative and activity in chamber music over two terms in order that it can be credited and is worth 25% of your overall chamber music mark. Professors must sign for coaching sessions where indicated FOR EACH MEMBER OF THE ENSEMBLE. Each student must email the Chamber Music Administrator with the personnel of their ensemble for the assessment by Friday 29th January 2016. You must not assume that one member’s email covers all of you. A student who plays in more than one ensemble must make himself/herself available for the exams of members of all groups in which he/she plays. Membership of more than two groups is discouraged. Shortage instruments may be exempted from this, but in consultation with the Head of Study only. Repertoire offered should be suitable for the level of study. Strict repertoire requirements are not made, but entire works should be prepared from which the panel selects sample(s) at the assessment. If students have been programmed into a chamber music concert by the Academy, they may be able to use this towards this requirement. If one of these performances is to be assessed, they must alert the Concerts Administrator well in advance who will then make sure a member of staff attends the concert as an assessor. Chamber Music requirements Chamber music is a significant part of your programme of study throughout your four years, and carries weight in your degree profile. You will be assessed on both your commitment – and artistry – in playing chamber music as seriously as your solo performances.

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BMus 1 (special instructions): You will have an informal review in the middle of November, and an assessment at the end of the Spring Term. To build on the existing chamber music culture and to instil the necessary commitment and discipline at an early stage, Year 1 ensembles will be expected to perform a movement of a work to chamber music professors and the Head of Department probably during the first half of November. This is not a formal assessment, but an opportunity to ensure progress is underway from the beginning of the year, and to tackle any difficulties. Observations on areas requiring improvement should be noted. If any adjustment is necessary – with playing partners, for example - it can happen straightaway, in time for ensembles to prepare for a formal assessment during the last week of the Spring Term. This assessment will include discussion with the students about rehearsals and coaching undertaken as well as a performance demonstrating that the ensemble has developed. The chamber music requirement for both these assessments for piano students is: ONE performance of a substantial equal duo or ensemble work (maximum 20 minutes), ie: a Brahms Violin and Piano Sonata a major item of Lieder or French Song a work for piano and larger ensemble where the piano has a major role (e.g. Piano Trio/Quartet) a work for piano with brass, percussion or wind Single movements will be regarded as appropriate in this year of study. Each student will be required to hand in to the panel a completed Record of Chamber Music Activity Form. Please refer to Chamber Music handbook and Chamber Music pages on AIR for more details. BMus2 The chamber music requirement for piano students is: ONE performance of a substantial equal duo or ensemble work (maximum 20 minutes), ie: a Brahms Violin and Piano Sonata a work for two piano duo or piano duet (four hands) a major item of Lieder or French Song a work for piano and larger ensemble where the piano has a major role (e.g. Piano Trio/Quartet) a work for piano with brass, percussion or wind Each student will be required to hand in to the panel a completed Record of Chamber Music Activity Form. Please refer to Chamber Music handbook and Chamber Music pages on AIR for more details. BMus 3 – both pathways The chamber music requirement for piano students is: ONE performance of a substantial equal duo or ensemble work, ie: a Brahms Violin and Piano Sonata a work for two piano duo or piano duet (four hands) a major item of Lieder or French Song a work for piano and larger ensemble where the piano has a major role (e.g. Piano Trio/Quartet) a work for piano with brass, percussion or wind Where there is any doubt about the suitability of a work (e.g. timing, or an unusual line-up) the Head of Piano Studies will have to be consulted and give written consent.

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Each student will be required to hand in to the panel a completed Record of Chamber Music Activity Form. Please refer to Chamber Music handbook and Chamber Music pages on AIR for more details. BMus 4 – solo pathway The requirement for piano students is: ONE performance of a substantial equal duo or ensemble work, ie: a Brahms Violin and Piano Sonata a work for two piano duo or piano duet (four hands) a major item of Lieder or French Song a work for piano and larger ensemble where the piano has a major role (e.g. Piano Trio/Quartet) a work for piano with brass, percussion or wind Where there is any doubt about the suitability of a work (e.g. timing, or an unusual line-up) the Head of Piano Studies will have to be consulted and give written consent. Each student will be required to hand in to the panel a completed Record of Chamber Music Activity Form. Please refer to Chamber Music handbook and Chamber Music pages on AIR for more details. BMus 4 – ensemble pathway The chamber music requirement for piano students is: ONE performance of a substantial equal duo or ensemble work, ie: a Brahms Violin and Piano Sonata a work for two piano duo or piano duet (four hands) a major item of Lieder or French Song a work for piano and larger ensemble where the piano has a major role (e.g. Piano Trio/Quartet) a work for piano with brass, percussion or wind Where there is any doubt about the suitability of a work (e.g. timing, or an unusual line-up) the Head of Piano Studies will have to be consulted and give written consent. Each student will be required to hand in to the panel a completed Record of Chamber Music Activity Form. Please refer to Chamber Music handbook and Chamber Music pages on AIR for more details.

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UNDERGRADUATE PIANO: YEAR ONE

This is a very exciting year for you. You have been chosen to enter the Academy because of your special talents and individual voice; this is where the hard work begins, as you and your principal study professor evaluate your strengths and weaknesses. Technical issues, artistic choices, knowledge of repertoire and individual style are all personal to you; it’s important to analyse and think about what progress needs to be made, to practice deeply and well, and to enjoy and love the music you’re playing. Most of all to look around you: the Academy is full of very interesting musicians! It could be a challenging year of adjustment: living independently, being responsible for organising your work schedule; adjusting to living in a new city as well as studying in a very different environment, with a new teacher. Don’t be shy about asking for help; we want you to succeed and flourish in every way. It’s important that you start off immediately with a feeling not only of discipline, but also of pride in your work. Above all you’ll be establishing a relationship with your piano professor that will be a really pivotal to your years at the Academy. Take part in masterclasses and Repertoire classes (attendance to these are compulsory), sign up for 1-1 lessons with Visiting Professors on the Piano Board (outside 115), watch other musicians in action, and take advantage of all the extra classes (in jazz, improvisation, contemporary music) the Head of Piano will be organizing. There will also be talks about the music business – how to begin to make your way as a professional musician. It will be interesting and stimulating – and essential for your growth as a musician. Preparing repertoire for exams shouldn’t be your only aim for the year, but it still needs to be chosen carefully with your professor. It’s important that you perform well in exams, but the requirements are not heavy and will hopefully be part of your natural evolution as a fully-rounded musician. Core repertoire is absolutely essential,but start making interesting choices too: think imaginatively about programmes, and give them your unique identity. In addition to your solo piano work, ensemble playing is essential, and forms one of the most important areas in your BMus degree assessment. Your academic work is carefully programmed to create a genuine overall educational experience, and to inform and add intellectual weight to your performances. We encourage musicians to get together to create projects and explore ideas. Try not to “get behind” in any area of your work. This can lead to serious strain and anxiety, and impact negatively on your playing. If you feel things getting on top of you, talk to your professor or Head of Piano. Embrace everything the Academy and London offers. Don’t just go to piano recitals – visit the opera, go to art galleries and museums, see jazz gigs and visit the theatre! There are lots of free performances and events, both in the Academy and outside.

Year 1 Principal Study (45cr) Year 1 Professional Development Activity (25cr)

End of Year Recitals100% (part 1 23%, part 2 77%) Repertoire/Performance Class and Concert Participation (F/A)* *F/A – Formatively assessed

Chamber Music (100%)

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Spring Term – End of Year Part 1 exam

• A work of appropriate difficulty demonstrating contrapuntal playing: a prelude and fugue by Bach, a contrapunctus from the Art of Fugue, or a Shostakovich prelude and fugue.

• Any Chopin Etude from either Op. 10 or Op. 25 You will be offered a harpsichord session on Bach style and ornamentation (in a small group or in pairs) as part of your preparation, in early February. This will be arranged by the Department Administrator, and you can sign up on the Piano Board. Summer Term – End of Year recital A well-designed programme of 25-30 minutes, choosing two or three of the following strands: • A short collection of Baroque pieces (ie a Bach French Suite, Scarlatti Sonatas) • • A work in a contemporary style (ie Messiaen, Ligeti, Takemitsu, Golijov) • One or two movements of a classical sonata – up to and including Schubert • A work by a major Romantic or early 20th century composer

• There are no specified timing penalties for over or under-running in end of year recitals in B1

and B2, but you must adhere to the given recital lengths in order to prepare for the timing penalties that come into force in B3 and B4.

Memory Requirements All works must be played by memory, except in the case of complex contemporary scores. Permission to play from the score in such music must be approved in advance from the Head of Piano Studies, well in advance of the performance date. (Please see the Examinations Procedures Handbook on the Registry page of AIR for information on penalties for failure to meet the memory requirements.) Chamber music requirements for Undergraduate Year One Please refer to the Chamber Music handbook and Chamber Music pages on AIR for more details. Repertoire/Performance Classes and Concerts Required to pass: Compulsory attendance at all Repertoire/Performance classes and masterclasses; registers are monitored to ensure regular attendance. You must give a minimum of one performance in a Repertoire/Performance class, masterclass, Academy concert, informal concert or the Summer Piano Festival. Development and Discovery classes These are sign-up classes for all year groups, often involving a special guest, encouraging you to informally explore a variety of topics designed to expand and broaden your skills and outlook, including: Jazz and improvisation – incorporating elements into your programming Repertoire-building and stylistic awareness

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Working alongside multimedia Exploring and commissioning contemporary music Professional development: building a career, platform and curatorial skills, preparation, health and well-being. Although these classes are not compulsory, it is advisable that you attend. Provision of Music/Editions Students should provide one copy of the full score for all pieces presented. Poor or inaccurate editions will reflect badly on your performance!

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UNDERGRADUATE PIANO: YEAR TWO By now you have settled comfortably into both musical and social life at the Academy. Hopefully major technical issues will have been resolved and you’ll be working towards sophisticated detail - and critical analysis - in your playing. You should be taking increasing opportunity to perform in concerts, competitions and Repertoire classes and masterclasses. Often students are supporting and challenging each other at this stage by forming their own informal performance/discussion groups. Keep having ideas about projects and programmes; collaborate with composers and other musicians. Expectations in performance assessments are higher; in your piano platform and end of year exams, examiners will be looking beyond mere technical security. They’ll be evaluating the ability to communicate intelligent and personal musical ideas, and judge those ideas through the repertoire you have chosen. You may be considered for outside engagements. Even if unpaid, these offer invaluable experience; no venue is too small, and every audience is different. This is how you’ll learn to become a powerful, confident performer. Chamber music work will become more focused, and you’ll be required to gain experience in playing with singers in some of the great Lieder and song repertoire – some of the best writing in piano literature. Be aware of the alternative BMus performance strand for pianists coming up in B3 / B4 called Ensemble Pathway. Greater weighting is given to ensemble activity (while still making strong demands on your solo abilities), and is a great chance to play interesting repertoire. Do discuss this option with your teacher and Head of Piano.


• End of Year Recitals 100% (part 1 23%, part 2 77%)

• Repertoire Class and Concert Participation (F/A) *F/A – Formatively assessed

• Chamber Music (70%) • Performance Platform (30%)

Performance Platform Exam A performance of 9-12 minutes of free repertoire, demonstrating individuality and imagination. Each student will be assigned a date for this performance, (before the end of May). Memory Requirements All works must be played by memory, except in the case of complex contemporary scores. Permission to play from the score in such music must be approved in advance from the Head of Piano Studies, well in advance of the performance date. (Please see the Examinations Procedures Handbook on the Registry page of AIR for information on penalties for failure to meet the memory requirements.) Spring Term End of Year Part 1 exam A short recital of songs for voice and piano of approx. 10 minutes. The accompaniment should have been written specifically for piano, ie orchestral reductions of opera or oratorio are not permitted. After your performance there will be a short viva (no longer than two minutes) in which you will be asked to shown an understanding of the texts in your chosen songs, and the musical setting. NB:No work(s) performed as part of the chamber music requirements may be duplicated here.

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Summer Term End of Year Part 2 (Recital) exam A programme of 35-40 minutes, to include: a) i) A Chopin Etude from either Op. 10 or Op. 25

ii) One concert etude by another composer (Liszt, Ligeti etc) or an appropriate short virtuoso piece (Moszkowski, Rachmaninov transcriptions etc.)

b) The choice of repertoire is free, but at some stage over the course of Years 1-3 (Years 1-4

for ensemble pathway) all candidates must include a work from each of the categories below:

• A work of appropriate difficulty demonstrating contrapuntal playing (eg. Bach Partita, Handel

Suite) • A work in a contemporary style • A complete classical sonata – up to the time of Schubert You are not permitted to repeat any repertoire that you have presented for assessment in any previous examination or Piano Platform during your course. However, if repeating a small part allows for the greater whole (in a song cycle, for instance), ask for written approval from the Head of Piano. There are no specified timing penalties for over or under-running in end of year recitals in B1 and B2, but you must adhere to the given recital lengths in order to prepare for the timing penalties that come into force in B3 and B4. Chamber music requirements for Undergraduate Year Two Please refer to the Chamber Music handbook and Chamber Music pages on AIR for more details. Repertoire Classes and Concerts Required to pass: Compulsory attendance at all Repertoire classes and masterclasses; registers are monitored to ensure regular attendance. You must give a minimum of one performance in a Repertoire class, masterclass, Academy concert, informal concert or the Summer Piano Festival. Development and Discovery classes These are sign-up classes for all year groups, often involving a special guest, encouraging you to informally explore a variety of topics designed to expand and broaden your skills and outlook, including: Jazz and improvisation – incorporating elements into your programming Repertoire-building and stylistic awareness Working alongside multimedia Exploring and commissioning contemporary music Professional development: building a career, platform and curatorial skills, preparation, health and well-being. Although these classes are not compulsory, it is advisable that you attend.

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Provision of Music/Editions Students should provide one copy of the full score for all pieces presented. Poor or inaccurate editions will reflect badly on your performance!

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UNDERGRADUATE PIANO: YEAR THREE

For many, this is a year where academic pressures are most intense. As always, try to keep up well with all demands, rather than putting your piano work in the background while you complete your assignments. The good news is once you have completed the academic demands for this year, you should find year 4 very much more free to focus on your piano performance. In terms of your piano studies, this should be a natural progression from Year 2. Try to be conscious of how you’re becoming artistically both more informed and more able to make judgments yourself - increasingly relying less on your teacher for your musical ideas. It’s good to thoughtfully evaluate historical practice and performance, to research interesting repertoire, and plan some concerts involving both yourself as a soloist and other performers. For your chamber music performance you’ll be required to perform (in an exam) a substantial complete work, and demonstrate a keen sense of interaction with your fellow performers, as well as the expected level of pianistic ability and interpretative understanding. You should be becoming increasingly engaged across the full range of Academy activities - chamber music, possibly acting as orchestral pianist, working with composers, opera and theatre, exploring jazz and other genres. There’s also the Practical Elective in which students play for Song Classes to be considered. Once again, there can be opportunities to give performances outside the Academy. As in all years, attendance at Repertoire/Performance Classes and masterclasses is one of the few obligatory requirements for pianists. Collaboration with your peers can be greatly rewarding. You’re in an international educational environment full of interesting, creative musicians, and in the centre of London – go out to all kinds of concerts, events, exhibitions and installations, be inspired, and develop exciting ideas for your own programming and studies.

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UNDERGRADUATE PIANO: YEAR THREE (SOLO PATHWAY)





Performance Platform Exam A performance of 9-12 minutes of free repertoire, demonstrating individuality and imagination. Each student will be assigned a date for this performance, (before the end of May). Memory Requirements All works must be played by memory, except in the case of complex contemporary scores. Permission to play from the score in such music must be approved in advance from the Head of Piano Studies. (Please see the Examinations Procedures Handbook on the Registry page of AIR for information on penalties for failure to meet the memory requirements.) Spring Term End of Year Part 1 exam Students are to prepare and perform the first movement of any Mozart concerto. There will be two special Piano Department prizes of £100, for: a) The best original cadenza (where appropriate)

AND b) The best partnership performance between two pianos, i.e. two students playing Mozart’s solo and orchestral parts. (The orchestral pianist does not have to be UG3.) Summer Term End of Year (Recital) exam A programme of 45-50 minutes, to include: a) Two etudes or short virtuoso pieces of appropriate difficulty by contrasting composers (ie

Chopin and Ligeti) b) The choice of other repertoire is free, but at some stage over the course of Years 1-3 (Years

1-4 for ensemble pathway) all candidates must include a work from each of the categories below:

• A work of appropriate difficulty demonstrating contrapuntal playing (e.g. Bach Partita, Handel

Suite) • A work in a contemporary style • A complete classical sonata – up to the time of Schubert You are not permitted to repeat any repertoire that you have presented for assessment in any previous examination or Piano Platform during your course. However, if repeating a small part allows for the greater whole (in a song cycle, for instance), ask for written approval from the Head of Piano Studies. It is your responsibility to ensure that your recital timing is within the limits set for this exam. (Please see the Examinations Procedures on the Registry page of AIR for the penalties for over- or under–running.)

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Chamber music requirements for Undergraduate Year Three Please refer to the Chamber Music handbook and Chamber Music pages on AIR for more details. Repertoire Classes and Concerts Required to pass: Compulsory attendance at all Repertoire classes and masterclasses; registers are monitored to ensure regular attendance. You must give a minimum of one performance in a Repertoire class, masterclass, Academy concert, informal concert or the Summer Piano Festival. Development and Discovery classes These are sign-up classes for all year groups, often involving a special guest, encouraging you to informally explore a variety of topics designed to expand and broaden your skills and outlook, including: Jazz and improvisation – incorporating elements into your programming Repertoire-building and stylistic awareness Working alongside multimedia Exploring and commissioning contemporary music Professional development: building a career, platform and curatorial skills, preparation, health and well-being. Although these classes are not compulsory, it is advisable that you attend. Song Classes There is a special practical elective for pianists to work with singers in the Song Classes. Details of this are published separately in the BMus handbook and entry to the elective is by audition/selection, following sign-up during week zero. Provision of Music/Editions Students should provide one copy of the full score for all pieces presented. Poor or inaccurate editions will reflect badly on your performance!

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UNDERGRADUATE PIANO: YEAR THREE (ENSEMBLE PATHWAY) An exciting chance to concentrate on ensemble and lieder work, or early keyboards.





Performance Platform Exam A performance of an appropriately demanding ensemble work of between 9 to 12 minutes (which will be assessed) where the piano is of “equal” status: e.g.: violin and piano duo; a piano quintet; challenging voice and piano repertoire (where the piano part is genuinely technically demanding). Each student will be assigned a date for this performance, (before the end of May). Spring Term End of Year Part 1 exam Students are to prepare and perform the first movement of any Mozart concerto. There will be two special Piano Department prizes of £100, for: a) The best original cadenza (where appropriate)

AND b) The best partnership performance between two pianos, i.e. two students playing Mozart’s

solo and orchestral parts. (The orchestral pianist does not have to be UG3.) Summer Term End of Year Part 2 (Recital) exam A combination of solo and chamber/lieder or early keyboard repertoire of 45 minutes, to include:

a) Two etudes or short virtuoso pieces of appropriate difficulty by contrasting composers (eg Chopin, Ligeti, Rachmaninov, Liszt, Messiaen)

b) The rest of the programme should be a combination of solo and ensemble works of approximately equal lengths. The ensemble works must be either duo sonatas with another instrument, major chamber music repertoire (e.g. piano trio / quintet), or for piano duo.

The choice of solo repertoire is free but at some stage over the course of Years 1-4 ensemble pathway candidates must include a work from each of the categories below:

• A work of appropriate difficulty demonstrating contrapuntal playing (e.g. Bach Partita,

Handel Suite)

• A work in a contemporary style

• A complete classical sonata – up to the time of Schubert This option offers a chance for exciting and imaginative programming, and to draw on a breadth of styles. Core repertoire can be mixed with contemporary, to show off the student’s skill in programming, technique and all-round artistry. Consult with the Head of Piano to design the strongest possible programme.

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You are not permitted to repeat any repertoire that you have presented for assessment in any previous examination or Piano Platform during your course. However, if repeating a small part allows for the greater whole (in a song cycle, for instance), ask for written approval from the Head of Piano. It is your responsibility to ensure that your recital timing is within the limits set for this exam. (Please see the Examinations Procedures on the Registry page of AIR for the penalties for over- or under–running.) Memory Requirements – for solo pieces All works must be played by memory, except in the case of complex contemporary scores. Permission to play from the score in such music must be approved in advance from the Head of Piano Studies, well in advance of the performance date. (Please see the Examinations Procedures Handbook on the Registry page of AIR for information on penalties for failure to meet the memory requirements.) Chamber music requirements for Undergraduate Year Three Please refer to the Chamber Music handbook and Chamber Music pages on AIR for more details. Repertoire Classes and Concerts Required to pass: Compulsory attendance at all Repertoire classes and masterclasses; registers are monitored to ensure regular attendance. You must give a minimum of one performance in a Repertoire class, masterclass, Academy concert, informal concert or the Summer Piano Festival. Development and Discovery classes These are sign-up classes for all year groups, often involving a special guest, encouraging you to informally explore a variety of topics designed to expand and broaden your skills and outlook, including: Jazz and improvisation – incorporating elements into your programming Repertoire-building and stylistic awareness Working alongside multimedia Exploring and commissioning contemporary music Professional development: building a career, platform and curatorial skills, preparation, health and well-being. Although these classes are not compulsory, it is advisable that you attend. Song Classes There is a special Practical Elective for pianists to work with singers in the Song Classes. Details of this are published separately in the BMus handbook, and entry to the Elective is by audition/selection, following a sign-up during week zero. Provision of Music/Editions Students should provide one copy of the full score for all pieces presented. Poor or inaccurate editions will reflect badly on your performance!

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Year Three Final Exam - PIANO

The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. B3 Piano Candidates should aim to deliver a recital lasting 45 minutes. Duration of the recital (ideal 45 minutes) Penalty applied More than 57 minutes 10 marks AND PANEL CHAIR HALTS THE

RECITAL 56.01 to 57.00 9 marks 55.01 to 56.00 8 marks 54.01 to 55.00 7 marks 53.01 to 54.00 6 marks 52.01 to 53.00 5 marks 51.01 to 52.00 4 marks 50.01 to 51.00 3 marks 40 minutes to 50 minutes inclusive NO PENALTY 39.00 to 39.59 3 marks 38.00 to 38.59 4 marks 37.00 to 37.59 5 marks 36.00 to 36.59 6 marks 35.00 to 35.59 7 marks 34.00 to 34.59 8 marks 33.00 to 33.59 9 marks Less than 33 minutes 10 marks

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UNDERGRADUATE PIANO: YEAR FOUR

By now, the prospect of preparing a complete concerto and a 60 minute recital for your final performance exams should be an exhilarating prospect. Be aware that there can be relatively few teaching weeks between your concerto and recital performances, so be sure that your solo recital programme is ready in very good time. You’re expected to be able to sustain a substantial, hour-long recital, demonstrating technical security, stylistic awareness and an exciting sense of performance. You should be able to produce playing of strong artistic individuality and genuine communicative qualities; this is the point where you stop being a student, and start honing all the musical qualities needed for a professional career. These qualities - musical intelligence, virtuosity, and originality - apply equally to chamber music performances. You should feel - at the end of the year - ready either to embark on a demanding postgraduate course of study, or to be making clear career paths in your chosen musical direction. Obviously you’ll be practising hard for your final recital performances, but think about establishing professional links for your future with other musicians and appropriate figures in the musical business; hopefully you’ll have formed friendships and musical partnerships that can develop further. By now you may well have identified specialist areas that appeal to you, not just in solo classical repertoire, but in contemporary work, multimedia and jazz. You should be unquestionably professional in all your activities and communication, and be able to manage your life in a mature and balanced way. A musician’s life is complex, demanding, but inspiring: you will have learnt how to cope with deadlines, and respond to performance challenges with a sense of commitment, confidence and enjoyment.

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UNDERGRADUATE PIANO: YEAR FOUR (SOLO PATHWAY)





Performance Platform Exam A performance of 9-12 minutes of free repertoire, demonstrating individuality and imagination. Each student will be assigned a date for this performance, (before the end of May). Memory Requirements All works must be played by memory, except in the case of complex contemporary scores. Permission to play from the score in such music must be approved in advance from the Head of Piano Studies, well in advance of the performance date. (Please see the Examinations Procedures Handbook on the Registry page of AIR for information on penalties for failure to meet the memory requirements.) Spring Term End of Year Part 1 exam: 8th and 9th February 2016 A complete performance of a major piano concerto must be offered. Students will be advised not less than 2 weeks before the relevant examination which movement(s) will be heard. It is the responsibility of the student to arrange a performer for their orchestral piano accompaniment. Summer Term End of Year Part 2 (Recital) exam You are not permitted to repeat any repertoire that you have presented for assessment in any previous examination or Piano Platform during your course. However, if repeating a small part allows for the greater whole (in a song cycle, for instance), ask for written approval from the Head of Piano. It is your responsibility to ensure that your recital timing is within the limits set for this exam. (Please see the Examinations Procedures on the Registry page of AIR for the penalties for over- or under–running.)

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FINAL RECITAL TIMINGS – PIANO (SOLO PATHWAY) The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. Candidates should aim to deliver a recital lasting 60 minutes. Duration of the recital (ideal 60 minutes) Penalty applied More than 72 minutes 10 marks AND PANEL CHAIR HALTS THE

RECITAL 71.01 to 72.00 9 marks 70.01 to 71.00 8 marks 69.01 to 70.00 7 marks 68.01 to 69.00 6 marks 67.01 to 68.00 5 marks 66.01 to 67.00 4 marks 65.01 to 66.00 3 marks 55 minutes to 65 minutes inclusive NO PENALTY 54.00 to 54.59 3 marks 53.00 to 53.59 4 marks 52.00 to 52.59 5 marks 51.00 to 51.59 6 marks 50.00 to 50.59 7 marks 49.00 to 49.59 8 marks 48.00 to 48.59 9 marks Less than 48 minutes 10 marks Final Recital Programmes You are asked to devise an interesting, sophisticated programme that shows the full range of your technical, stylistic and artistic accomplishment; your choice of repertoire can have an impact on the mark awarded for the Final Recital. Students are responsible for the content of their recital programme, but are strongly advised to consult their professor and discuss with the Head of Department the suitability of their programme to meet the requirements. A recital programme that does not meet the requirements will be referred to the appropriate Examination Board. A mark will be awarded as normal, however this mark will be discussed by the Examination Board. The report will say if a recital is to be referred to the Examination Board. Copies of the scores (see the note about editions) must be made available to the Exam Panel by presentation to the room steward prior to the exam itself. Please collect music from the Registry after your exam allowing 24 hours for it to have been returned. Your choice of repertoire can have an impact on the mark awarded for the Final Recital. Although it is important you do not set yourself challenges beyond your reach, you should also recognize that rising to challenges can be an important element in meeting the criteria for marks in the higher categories. The programme choice is your responsibility, but it should be discussed with your Principal Study teacher and you may also wish to discuss it with your Head of Study.

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Provision of Programme Notes (Final Recitals Only) • While students are encouraged to submit programme notes, they are not mandatory. There will

therefore be no deductions for non-submission or inadequate notes. • Programme notes should not include a CV, nor mention a student’s professor. • Students will be asked to list the works they are performing for the panel on a pro-forma which is

available from the Registry. • Please refer to the Examination Procedures Handbook for further information. You will be required to give, along with the scores, a short statement about your designed programme – why you have chosen these particular pieces, and what relationship they have with each other. Chamber music requirements for Undergraduate Year Four Please refer to the Chamber Music handbook and Chamber Music pages on AIR for more details. Repertoire Classes and Concerts Required to pass: Compulsory attendance at all Repertoire classes and masterclasses; registers are monitored to ensure regular attendance. You must give a minimum of one performance in a Repertoire class, masterclass, Academy concert, informal concert or the Summer Piano Festival. Development and Discovery classes These are sign-up classes for all year groups, often involving a special guest, encouraging you to informally explore a variety of topics designed to expand and broaden your skills and outlook, including: Jazz and improvisation – incorporating elements into your programming Repertoire-building and stylistic awareness Working alongside multimedia Exploring and commissioning contemporary music Professional development: building a career, platform and curatorial skills, preparation, health and well-being. Although these classes are not compulsory, it is advisable that you attend. Song Classes There is a special Practical Elective for pianists to work with singers in the Song Classes. Details of this are published separately in the BMus handbook and entry to the Elective is by audition/selection, following sign-up during week zero. Provision of Music/Editions Students should provide one copy of the full score for all pieces presented. Poor or inaccurate editions will reflect badly on your performance!

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UNDERGRADUATE PIANO: YEAR FOUR (ENSEMBLE PATHWAY) An exciting chance to concentrate on ensemble and lieder work, or early keyboards.

Year 4 Principal Study (60cr) Year 2 Professional Development Activity

(25cr) • End of Year Recitals 100%

(part 1 31%, part 2 69%) • Repertoire Class and Concert

Participation (F/A) *F/A – Formatively assessed


Performance Platform Exam A performance of an appropriately demanding ensemble work of between 9 to 12 minutes (which will be assessed) where the piano is of “equal” status: e.g.: violin and piano duo; piano quintet; challenging voice and piano repertoire (where the piano part is genuinely technically demanding). Each student will be assigned a date for this performance, (before the end of May). Memory Requirements - for solo pieces All works must be played by memory, except in the case of complex contemporary scores. Permission to play from the score in such music must be approved in advance from the Head of Piano Studies, well in advance of the performance date. (Please see the Examinations Procedures Handbook on the Registry page of AIR for information on penalties for failure to meet the memory requirements.) Spring term End of Year Part 1 exam: 8th and 9th February 2016 A complete performance of a major piano concerto must be offered. Students will be advised not less than 3 weeks before the relevant examination which movement(s) will be heard. It is the responsibility of the student to arrange a performer for their orchestral piano accompaniment. Summer Term End of Year Part 2 (Recital) exam A recital of 60 minutes, with an equal combination of solo and chamber/lieder or early keyboard repertoire. The programme should be a combination of solo and ensemble works normally of approximately equal lengths. The ensemble works must be either duo sonatas with another instrument, major chamber music repertoire (e.g. piano trio / quintet) or for piano duo. The choice of solo repertoire is free but at some stage over the course of Years 1-4 ensemble pathway candidates must include a work from each of the categories below: • A work of appropriate difficulty demonstrating contrapuntal playing (e.g. Bach, Mendelssohn,

Shostakovich) • A work in a contemporary style • A complete classical sonata – up to the time of Schubert You are not permitted to repeat any repertoire that you have presented for assessment in any previous examination or Piano Platform during your course. However, if repeating a small

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part allows for the greater whole (in a song cycle, for instance), ask for written approval from the Head of Piano. It is your responsibility to ensure that your recital timing is within the limits set for this exam. (Please see the Examinations Procedures on the Registry page of AIR for the penalties for over- or under–running.)

FINAL RECITAL TIMINGS – PIANO (ENSEMBLE PATHWAY) Candidates should aim to deliver a recital lasting 60 minutes. The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. Duration of the recital (ideal 60 minutes) Penalty applied More than 72 minutes 10 marks AND PANEL CHAIR HALTS THE

RECITAL 71.01 to 72.00 9 marks 70.01 to 71.00 8 marks 69.01 to 70.00 7 marks 68.01 to 69.00 6 marks 67.01 to 68.00 5 marks 66.01 to 67.00 4 marks 65.01 to 66.00 3 marks 55 minutes to 65 minutes inclusive NO PENALTY 54.00 to 54.59 3 marks 53.00 to 53.59 4 marks 52.00 to 52.59 5 marks 51.00 to 51.59 6 marks 50.00 to 50.59 7 marks 49.00 to 49.59 8 marks 48.00 to 48.59 9 marks Less than 48 minutes 10 marks Final Recital Programmes You are asked to devise an interesting, sophisticated programme that shows the full range of your technical, stylistic and artistic accomplishment; your choice of repertoire can have an impact on the mark awarded for the Final Recital. Students are responsible for the content of their recital programme, but are strongly advised to consult their professor and discuss with the Head of Department the suitability of their programme to meet the requirements. A recital programme that does not meet the requirements will be referred to the appropriate Examination Board. A mark will be awarded as normal, however this mark will be discussed by the Examination Board. The report will say if a recital is to be referred to the Examination Board. Copies of the scores (see the note about editions) must be made available to the Exam Panel by presentation to the room steward prior to the exam itself. Please collect music from the Registry after your exam allowing 24 hours for it to have been returned.

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Your choice of repertoire can have an impact on the mark awarded for the Final Recital. Although it is important you do not set yourself challenges beyond your reach, you should also recognize that rising to challenges can be an important element in meeting the criteria for marks in the higher categories. The programme choice is your responsibility, but it should be discussed with your Principal Study teacher and you may also wish to discuss it with your Head of Study. N.B. Ensemble Pathway candidates are able to play 30 minutes ensemble/lieder OR early keyboard repertoire, and 30 minutes solo repertoire. You required to gain approval from the Head of Piano to ensure that all repertoire is of a suitably demanding level for assessment. Provision of Programme Notes (Final Recitals Only) • While students are encouraged to submit programme notes, they are not mandatory. There will


available from the Registry. • Please refer to the Examination Procedures Handbook for further information. You will be required to give, along with the scores, a short statement about your designed programme – why you have chosen these particular pieces, and what relationship they have with each other. Chamber music requirements for Undergraduate Year Four Please refer to Chamber Music handbook and Chamber Music pages on AIR for more details. Repertoire Classes and Concerts Required to pass: Compulsory attendance at all Repertoire classes and masterclasses; registers are monitored to ensure regular attendance. You must give a minimum of one performance in a Repertoire class, masterclass, Academy concert, informal concert or the Summer Piano Festival. Development and Discovery classes These are sign-up classes for all year groups, often involving a special guest, encouraging you to informally explore a variety of topics designed to expand and broaden your skills and outlook, including: Jazz and improvisation – incorporating elements into your programming Repertoire-building and stylistic awareness Working alongside multimedia Exploring and commissioning contemporary music Professional development: building a career, platform and curatorial skills, preparation, health and well-being. Although these classes are not compulsory, it is advisable that you attend.

37

Song Classes There is a special Practical Elective for pianists to work with singers in the Song Classes. Details of this are published separately in the BMus handbook and entry to the Elective is by audition/selection, following sign-up during week zero. Provision of Music/Editions Students should provide one copy of the full score for all pieces presented. Poor or inaccurate editions will reflect badly on your performance!

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POSTGRADUATE PIANO: YEAR ONE (of a two-year course) As with undergraduate entrants, you’ve been selected for the postgraduate course for your artistry, individual voice and commitment. Some of you may already have quite established careers, performance experience and competition successes, whereas for others this may be the first time in a highly intensive performance environment. One of the wonderful things is how the apparent gap between the more assured and the less experienced can narrow so dramatically over the two years of your course. Again, as with undergraduates, we urge you to expand your vision: broaden your knowledge of repertoire, collaborate with other musicians, and study other genres of music, in order to become a really interesting musician. Take advantage of studying in the centre of London - apart from going to piano recitals, visit the opera, go to art galleries and museums, see jazz gigs and visit the theatre. There are lots of free performances and events, both in the Academy and outside. Especially for those for whom English is not your first language, one necessity is to feel confident with the language as quickly as possible - not only for understanding your teachers, but also for socializing with other students. There are piano students from over 30 countries here, and English is the common language. Talk to the Head of Piano about this if you have any concerns. Establishing a mutually understanding relationship with your piano professor is going to be a prime aim. Feel free to discuss your career aspirations and enable him or her to guide you as productively as possible towards those aims. Keep in touch with the Head of Piano, so she can make suggestions about plans. Attend talks, lectures and seminars about all kinds of music (including the Development and Discovery classes organized by the Head of Piano), and the music business. Welcome all performance opportunities, and be pro-active: create ensembles and musical partnerships with fellow students, and become involved in chamber music with your designated coaches. Think up interesting programming ideas, and watch other instrumentalists play in masterclasses - not just pianists! Talk to composers and musicians studying jazz, music theatre or electro acoustics. Don’t be afraid to try out new ideas, as well as deepening your expertise in classical repertoire. The expectation is that - by the end of this year – you’ll feel totally confident that you’re “on track” to deliver a professional concerto and recital performance in the year ahead, and to be well on course for a future life as a professional musician.

Principal Study End of Year Performance Examination Professional Development Activity – See page 50 Formatively assessed

If you fail any component of the programme, you may not be able to progress. Marks for Professional Development Activity will not count towards your final degree

mark. Professional Portfolio For full details on the Professional Portfolio please refer to the Postgraduate Handbook. Your portfolio is like a journal of your musical life and in it you could include the following:

- A range of key professional documents (cv, biographies, letters, programme notes) - A log of interesting musical and artistic events that you have attended throughout the year - Examples of your individual creative development i.e particular music that you are excited by

and your own informal research into it

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- Practical steps you have taken towards your own professional development i.e. attending seminars and workshops, taking part in discussion groups, initiating projects of your own, both inside and outside the Academy.

You will be supported in designing your portfolio by your Tutor, with whom you can meet on a regular basis. The requirements for the Professional Portfolio are laid out in the Postgraduate handbook. Performance Platform Exam A performance of 12-15 minutes of free repertoire, demonstrating individuality and imagination. Each student will be assigned a date for this performance, (before the end of May) which should comply with the normal Academy memory requirements. Repertoire Classes and Concerts Required to pass: Compulsory attendance at all Repertoire classes and masterclasses; registers are monitored to ensure regular attendance. You must give a minimum of one performance in two of the following: Repertoire class, masterclass, Academy concert, contemporary music class, informal concert or the Summer Piano Festival. Spring Term Concerto Exam: March 2016 Students are to prepare the whole of one of Beethoven’s five piano concertos, and will be informed of the movement(s) selected for the examination at least two weeks in advance. There will be a special Piano Department prize of £200 for the best partnership performance between two pianos, i.e. two students playing Beethoven’s solo and orchestral parts. (The orchestral pianist does not have to be PG1, but must be an Academy student.) Summer Term end-of-year performance examination Free choice programme, imaginatively and creatively devised, of 30 minutes duration. It is the responsibility of the student to ensure that their recital timing is within the limits set for this exam. Please see the Examinations Procedures on the Registry page of Air for information on penalties for over or under – running. Development and Discovery classes These are sign-up classes for all year groups, often involving a special guest, encouraging you to informally explore a variety of topics designed to expand and broaden your skills and outlook, including: Jazz and improvisation – incorporating elements into your programming Repertoire-building and stylistic awareness Working alongside multimedia Exploring and commissioning contemporary music Professional development: building a career, platform and curatorial skills, preparation, health and well-being. Although these classes are not compulsory, it is advisable that you attend.

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END OF YEAR RECITAL TIMINGS - PIANO The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. Candidates should aim to deliver a recital lasting 30 minutes. Duration of the recital (ideal 30 minutes) Penalty applied More than 42 minutes 10 marks AND PANEL CHAIR HALTS THE

RECITAL 41.01 to 42.00 9 marks 40.01 to 41.00 8 marks 39.01 to 40.00 7 marks 38.01 to 39.00 6 marks 37.01 to 38.00 5 marks 36.01 to 37.00 4 marks 35.01 to 36.00 3 marks 25 minutes to 35 minutes inclusive NO PENALTY 24.00 to 24.59 3 marks 23.00 to 23.59 4 marks 22.00 to 22.59 5 marks 21.00 to 21.59 6 marks 20.00 to 20.59 7 marks 19.00 to 19.59 8 marks 18.00 to 18.59 9 marks Less than 18 minutes 10 marks Provision of Music/Editions Students should provide one copy of the full score for all pieces presented. Students are expected to provide an edition which reflects their performance aims. Memory Requirements All works must be played by memory except in the case of certain complex contemporary scores. Permission to play from the score in such music must be sought and approved in advance from the Head of Piano Studies. It is strongly recommended that any such permission is sought well in advance of the performance date. Please see the Examinations Procedures Handbook on the Registry page of AIR for information on penalties for failure to meet the memory requirements.

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POSTGRADUATE PIANO: YEAR TWO (final year of a two-year course)

Ideally, rather than being dominated by final exam requirements, this year should be the gateway to the life of a professional musician. Some of you will continue your studies - perhaps to doctoral level - but even so, by the end of this year you should be able to feel confident about your ability to embark on your chosen career path. Many of you will have found over your time here that you’ve found a specialist niche – in contemporary music, ensemble or Lieder playing, multimedia or music theatre perhaps. You will have made contacts - both with fellow performers and in the profession – that you’ll be able to develop in the years ahead. This is the point at which you must be attending seminars and workshops about professional development and hearing music business experts talk about their musical life. The Head of Department will be guiding you towards these kind of events. Your final performances should be professional in all aspects. You’ll be expected to be secure in technique and memory, and show that you’re a musician with a confident sense of what you want to “say”: this will come through your interesting, dynamic choice of repertoire and your artistic sensibility. Your performances will show something of yourself, as a unique individual and performing musician. We would hope that you’ve had a fulfilling, enriching educational experience, setting you on your musical path - brimming with energy, ideas and originality.

Principal Study Final Performances - Mid-year Concerto Performance (33%) May/June Final Recital (67%) Professional Development Activity– See page 50 Formatively assessed

If you fail any component of the programme, you may not be eligible to graduate. Marks for Professional Development Activity will not count towards your final degree



and your own informal research into it - Practical steps you have taken towards your own professional development i.e. attending

seminars and workshops, taking part in discussion groups, initiating projects of your own, both inside and outside the Academy.

You will be supported in designing your portfolio by your Tutor, with whom you can meet on a regular basis. The requirements for the Professional Portfolio are laid out in the Postgraduate handbook.

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Performance Platform Exam A performance of 12-15 minutes of free repertoire, demonstrating individuality and imagination. Each student will be assigned a date for this performance, (before the end of May) which should comply with the normal Academy memory requirements. Repertoire Classes and Concerts Required to pass: Compulsory attendance at all Repertoire classes and masterclasses; registers are monitored to ensure regular attendance. You must give a minimum of one performance in two of the following: Repertoire class, masterclass, Academy concert, contemporary music class, informal concert or the Summer Piano Festival. Development and Discovery classes These are sign-up classes for all year groups, often involving a special guest, encouraging you to informally explore a variety of topics designed to expand and broaden your skills and outlook, including: Jazz and improvisation – incorporating elements into your programming Repertoire-building and stylistic awareness Working alongside multimedia Exploring and commissioning contemporary music Professional development: building a career, platform and curatorial skills, preparation, health and well-being. Although these classes are not compulsory, it is advisable that you attend. Spring Term concerto performance: 14th and 15th March 2016 Students must prepare the whole of any major Piano Concerto, and will be informed of the movement(s) selected for the examination at least two weeks in advance. It’s the responsibility of the student to arrange a performer (either a fellow student or a professional) for their orchestral piano accompaniment. You’ll be evaluated not just on your solo playing, but on your collaborative outlook, and apparent knowledge of the full orchestral part. Summer Term exam – Final recital Programme: own choice. Students are encouraged to be imaginative, building a varied, well-paced and sophisticated programme of contrasting styles, including music written in a contemporary style. You are not permitted to repeat any repertoire that you have presented for assessment in any previous examination or Piano Platform during your course. If repeating a small part allows for the greater whole (in a song cycle, for instance), ask for written approval from the Head of Piano Studies. Students who have demonstrated a regular and sizeable commitment to ensemble playing over the past year can opt to offer a chamber music element as part of a mixed final recital. In such a case the requirement will be in two parts delivered as a recital, with a 5 minute interval:- a) a 30 minute solo programme along the lines of the solo recital above b) a 30 minute chamber music programme which must include at least one major work where the

piano is an equal partner eg. duo sonata/piano quintet/piano and wind, piano and percussion. A single mark will be awarded, for which both programmes will receive equal consideration.

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This is a chance to perform a dynamic, imaginative programme; consult with the Head of Piano to design the strongest possible programme.

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FINAL RECITAL TIMINGS - PIANO Candidates should aim to deliver a recital lasting 60 minutes. The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. Duration of the recital (ideal 60 minutes) Penalty applied More than 72 minutes 10 marks AND PANEL CHAIR HALTS THE

RECITAL 71.01 to 72.00 9 marks 70.01 to 71.00 8 marks 69.01 to 70.00 7 marks 68.01 to 69.00 6 marks 67.01 to 68.00 5 marks 66.01 to 67.00 4 marks 65.01 to 66.00 3 marks 55 minutes to 65 minutes inclusive NO PENALTY 54.00 to 54.59 3 marks 53.00 to 53.59 4 marks 52.00 to 52.59 5 marks 51.00 to 51.59 6 marks 50.00 to 50.59 7 marks 49.00 to 49.59 8 marks 48.00 to 48.59 9 marks Less than 48 minutes 10 marks Final Recital Programmes You are asked to devise an interesting, sophisticated programme that shows the full range of your technical, stylistic and artistic accomplishment; your choice of repertoire can have an impact on the mark awarded for the Final Recital. Students are responsible for the content of their recital programme, but are strongly advised to consult their professor and discuss with the Head of Department the suitability of their programme to meet the requirements. A recital programme that does not meet the requirements will be referred to the appropriate Examination Board. A mark will be awarded as normal, however this mark will be discussed by the Examination Board. The report will say if a recital is to be referred to the Examination Board. Copies of the scores (see the note about editions must be made available to the Exam Panel by presentation to the room steward prior to the exam itself. Please collect music from the Registry after your exam allowing 24 hours for it to have been returned. Your choice of repertoire can have an impact on the mark awarded for the Final Recital. Although it is important you do not set yourself challenges beyond your reach, you should also recognize that rising to challenges can be an important element in meeting the criteria for marks in the higher categories. The programme choice is your responsibility, but it should be discussed with your Principal Study teacher and you may also wish to discuss it with your Head of Study.

45



available from the Registry. • Please refer to the Examination Procedures Handbook for further information. You will be required to give, along with the scores, a short statement about your designed programme – why you have chosen these particular pieces, and what relationship they have with each other. Provision of Music/Editions Students should provide one copy of the full score for all pieces presented. Poor or inaccurate editions will reflect badly on your performance! Memory Requirements All works must be played by memory, except in the case of complex contemporary scores. Permission to play from the score in such music must be approved in advance from the Head of Piano Studies, well in advance of the performance date. (Please see the Examinations Procedures Handbook on the Registry page of AIR for information on penalties for failure to meet the memory requirements.)

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POSTGRADUATE PIANO: ONE YEAR OPTION

Please see Postgraduate Year 2 of the Two Year Programme, as all this applies to you in terms of expectations. We recognise that for some of you a two year programme is not a viable possibility, though the one year programme is usually only recommended in those cases, where there seems evidence at audition that this student shows the aptitude and experience to cope with the demands in what is only some 8 to 9 months of study. Inevitably, there will be more sense of pressure on you to prepare confidently for your final concerto and recital exams, but you are still encouraged to try to use this year as broadly as possible in terms of gaining as much musical experience and breadth as possible.

Principal Study Final Performances - Mid-year Concerto Performance(33%) May/June Final Recital (67%) Professional Development Activity – see page 50 Formatively assessed






You will be supported in designing your portfolio by your Tutor, with whom you can meet on a regular basis. The requirements for the Professional Portfolio are laid out in the Postgraduate handbook. Performance Platform Exam A performance of 12-15 minutes of free repertoire, demonstrating individuality and imagination. Each student will be assigned a date for this performance, (before the end of May) which should comply with the normal Academy memory requirements. Repertoire Classes and Concerts Required to pass: Compulsory attendance at all Repertoire classes and masterclasses; registers are monitored to ensure regular attendance. You must give a minimum of one performance in two of the following: Repertoire class, masterclass, Academy concert, contemporary music class, informal concert or the Summer Piano Festival

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Development and Discovery classes These are sign-up classes for all year groups, often involving a special guest, encouraging you to informally explore a variety of topics designed to expand and broaden your skills and outlook, including: Jazz and improvisation – incorporating elements into your programming Repertoire-building and stylistic awareness Working alongside multimedia Exploring and commissioning contemporary music Professional development: building a career, platform and curatorial skills, preparation, health and well-being. Although these classes are not compulsory, it is advisable that you attend. Spring Term concerto performance: 14th and 15th March 2016 Students must prepare the whole of any major Piano Concerto and will be informed of the movement(s) selected for the examination at least two weeks in advance. It’s the responsibility of the student to arrange a performer (either a fellow student or a professional) for their orchestral piano accompaniment. You’ll be evaluated not just on your solo playing, but on your collaborative outlook, and apparent knowledge of the full orchestral part. Summer Term exam – Final recital Programme: own choice. Students are encouraged to be imaginative, building a varied, well-paced and sophisticated programme of contrasting styles, including music written in a contemporary style. You are not permitted to repeat any repertoire that you have presented for assessment in any previous examination or Piano Platform during your course. If repeating a small part allows for the greater whole (in a song cycle, for instance), ask for written approval from the Head of Piano Studies. Students who have demonstrated a regular and sizeable commitment to ensemble playing over the past year can opt to offer a chamber music element as part of a mixed final recital. In such a case the requirement will be in two parts delivered as a recital, with a 5 minute interval:- a) a 30 minute solo programme along the lines of the solo recital above b) a 30 minute chamber music programme which must include at least one major work where the piano is an equal partner eg. duo sonata/piano quintet/piano and wind, piano and percussion. A single mark will be awarded, for which both programmes will receive equal consideration. This is a chance to perform a dynamic, imaginative programme; consult with the Head of Piano to design the strongest possible programme.

48

FINAL RECITAL TIMINGS – PIANO (ONE YEAR OPTION) Candidates should aim to deliver a recital lasting 60 minutes. The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. Duration of the recital (ideal 60 minutes) Penalty applied More than 72 minutes 10 marks AND PANEL CHAIR HALTS THE

RECITAL 71.01 to 72.00 9 marks 70.01 to 71.00 8 marks 69.01 to 70.00 7 marks 68.01 to 69.00 6 marks 67.01 to 68.00 5 marks 66.01 to 67.00 4 marks 65.01 to 66.00 3 marks 55 minutes to 65 minutes inclusive NO PENALTY 54.00 to 54.59 3 marks 53.00 to 53.59 4 marks 52.00 to 52.59 5 marks 51.00 to 51.59 6 marks 50.00 to 50.59 7 marks 49.00 to 49.59 8 marks 48.00 to 48.59 9 marks Less than 48 minutes 10 marks Final Recital Programmes You are asked to devise an interesting, sophisticated programme that shows the full range of your technical, stylistic and artistic accomplishment; your choice of repertoire can have an impact on the mark awarded for the Final Recital. Students are responsible for the content of their recital programme, but are strongly advised to consult their professor and discuss with the Head of Department the suitability of their programme to meet the requirements. A recital programme that does not meet the requirements will be referred to the appropriate Examination Board. A mark will be awarded as normal, however this mark will be discussed by the Examination Board. The report will say if a recital is to be referred to the Examination Board. Copies of the scores (see the note about editions) must be made available to the Exam Panel by presentation to the room steward prior to the exam itself. Please collect music from the Registry after your exam allowing 24 hours for it to have been returned. Your choice of repertoire can have an impact on the mark awarded for the Final Recital. Although it is important you do not set yourself challenges beyond your reach, you should also recognize that rising to challenges can be an important element in meeting the criteria for marks in the higher categories. The programme choice is your responsibility, but it should be discussed with your Principal Study teacher and you may also wish to discuss it with your Head of Study.

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available from the Registry. • Please refer to the Examination Procedures Handbook for further information. You will be required to give, along with the scores, a short statement about your designed programme – why you have chosen these particular pieces, and what relationship they have with each other. Provision of Music/Editions Students should provide one copy of the full score for all pieces presented. Poor or inaccurate editions will reflect badly on your performance! Memory Requirements All works must be played by memory, except in the case of complex contemporary scores. Permission to play from the score in such music must be approved in advance from the Head of Piano Studies, well in advance of the performance date. (Please see the Examinations Procedures Handbook on the Registry page of AIR for information on penalties for failure to meet the memory requirements.)

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POSTGRADUATE PROFESSIONAL DEVELOPMENT ACTIVITY

‘Professional Development Activity’ is at the core of your Academy experience and we expect it will form the backbone of your Professional Portfolio. Apart from your individual practice and work with your teacher, it is likely to account for most of the time you spend working at the Academy. It is formatively assessed (thus does not directly contribute to your degree result, which is determined by final assessments only), but you must pass in order to gain the necessary credits for the degree. Your transcript will record a single Professional Development Activity Profile mark. Written work submitted for departmental Professional Development Activity assessments is not a compulsory requirement for the Professional Portfolio but we recommend including it in the Portfolio if you feel it reveals important aspects of your development. Towards the end of the Spring Term, the Head of Piano Professor Joanna MacGregor will run a session to answer any questions about your recording projects and curated programmes. Don’t leave arranging the recording to the last minute – book a recording session well in advance, to give you time to edit it properly. There are five key areas, which each department handles differently according to professional preparation requirements. EACH OF THESE SKILLS REPRESENTS 20% OF YOUR TOTAL PROFESSIONAL DEVELOPMENT ACTIVITY MARKS SKILLS ONE (Technical)

REQUIREMENTS (including minimum required to pass)

Feedback mark (Y/N)

Written report (Y/N)

When is it due?

Two-year students (1st year)

Participation in one of the following: - six Introduction to Early Keyboard Style and Repertoire sessions, with a written report from the student attached; - six Multimedia: Contemporary Music with Visuals classes, with a written report from the student attached; - six Improvising to Film sessions, with a written report from the student attached; - six Working with Conductors and Conducting from the Keyboard sessions, with a written from the student attached; - an Intensive Repetiteur course with a written report from the student attached - an Intensive Early Keyboards course with a written report from the student attached.

N

N

6h May

- Spring Term Beethoven Concerto Exam:

Y Y mid-March

Two-year students (2nd year)

Participation in one of the following: - six Introduction to Early Keyboard Style and Repertoire sessions, with a written report from the student attached;

N N 6th May

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- six Multimedia: Contemporary Music with Visuals classes, with a written report from the student attached; - six Improvising to Film sessions, with a written report from the student attached; - six Working with Conductors and Conducting from the Keyboard sessions, with a written report from the student attached; - an Intensive Repetiteur course with a written report from the student attached - an Intensive Early Keyboards course with a written report from the student attached.

One-year students

Participation in one of the following: - six Introduction to Early Keyboard Style and Repertoire sessions, with a written report from the student attached; - six Multimedia: Contemporary Music with Visuals classes, with a written report from the student attached; - six Improvising to Film sessions, with a written report from the student attached; - six Working with Conductors and Conducting from the Keyboard sessions, with a written report from the student attached; - an Intensive Repetiteur course with a written report from the student attached - an Intensive Early Keyboards course with a written report from the student attached

N N 6th May

SKILLS TWO (Synthetic)


Feedback mark (Y/N)


When is it due?


The design and detailed curation of the following programmes, with a short Artistic Director’s statement (a minimum of 200 words) written by the student: 1. A full-length piano recital suitable for the Wigmore Hall; 2. A 55’ lunchtime chamber music programme, suitable for a BBC Radio 3 broadcast; 3. A contemporary, themed or mixed programme, suitable for a music festival – full length, lunchtime, installation, or late night.

Y Y 6th May

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The design and detailed curation of the following programmes, with a short Artistic Director’s statement (a minimum of 200 words) written by the student: 1. A full-length piano recital suitable for the Wigmore Hall; 2. A 55’ lunchtime chamber music programme, suitable for a BBC Radio 3 broadcast, and featuring a 'composer portrait': ie mixed programming celebrating a centenary, or a living composer; 3. A contemporary, themed or mixed programme, suitable for a music festival, which brings together literary, dance or art themes, or collaborates with other genres, ie jazz or world music. Full length, lunchtime, installation, or late night.

Y Y 6th May

One-year students

The design and detailed curation of the following programmes, with a short Artistic Director’s statement (a minimum of 200 words) written by the student: 1. A full-length piano recital suitable for the Wigmore Hall; 2. A lunchtime chamber music programme, suitable for a BBC Radio 3 broadcast, and featuring a 'composer portrait': ie mixed programming celebrating a centenary, or a living composer; 3. A contemporary, themed or mixed programme, suitable for a music festival, which brings together literary, dance or art themes, or collaborates with other genres, ie jazz or world music. Full length, lunchtime, installation, or late night.

Y Y 6th May

EXTERNAL PERSPECT-IVES (Master-classes etc)


Feedback mark (Y/N)


When is it due?


At least one performance in two of the following, throughout the year: A repertoire class A piano masterclass A contemporary music class An informal piano concert or Academy

N N, but Y for Rep Classes

by 23rd May (performances scheduled after this date i.e. Piano Festival to be included on PDA self-

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concert (Free on Friday, 400+, Piano Festival) and attendance at repertoire and masterclasses.

declaration form)

Performance Platform Exam.

Y Y by May


At least one performance in two of the following, throughout the year: A repertoire class A piano masterclass A contemporary music class An informal piano concert or Academy concert (Free on Friday, 400+, Piano Festival) and attendance at repertoire and masterclasses.


by 23rd May (performances scheduled after this date i.e. Piano Festival to be included on PDA self-declaration form)


Y Y by May

One-year students

At least one performance in two of the following, throughout the year: A repertoire class A piano masterclass A contemporary music class An informal piano concert or Academy concert (Free on Friday, 400+, Piano Festival) and attendance at repertoire and masterclasses.


by 23rd May (performances scheduled after this date i.e. Piano Festival to be included on PDA self-declaration form)


Y Y by May

COLLABORAT-IVE WORK


Feedback mark (Y/N)


When is it due?


At least one concert performance of chamber music, lieder, or a collaboration with living composers(internal or external). This can be performed at any time up to the Piano Festival.

N N by 23rd May (performances scheduled after this date i.e. Piano Festival to be included on PDA self-declaration form)


At least one concert performance of chamber music, lieder, or a collaboration with living composers(internal or external). This can be performed at any time up to the Piano Festival.

N N by 23rd May (performances scheduled after this date i.e. Piano Festival to be included on PDA self-declaration form)

One-year At least one concert performance N N by 23rd

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Students of chamber music, lieder, or a collaboration with living composers (internal or external). This can be performed at any time up to the Piano Festival.

May (performances scheduled after this date i.e. Piano Festival to be included on PDA self-declaration form)

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SELF-GENERATED PERFORMANCE or RECORDING


Feedback mark (Y/N)


When is it due?


A recording or DVD project made in the last 12 months of either solo, duo or chamber repertoire, of at least 20 minutes, with short liner notes (200 words). Imaginative programming, or inclusion of a premiere, contemporary and unusual work is encouraged.

Y Y 6th May


A recording or DVD project made in the last 12 months, of either solo, duo or chamber repertoire, of at least 30 minutes, with short liner notes (200 words). Imaginative programming, or inclusion of a premiere, contemporary and unusual work is encouraged.

Y Y 6th May

One-year students

A recording or DVD project made in the last 12 months, of either solo, duo or chamber repertoire, of at least 30 minutes, with short liner notes (200 words). Imaginative programming, or inclusion of a premiere, contemporary and unusual work is encouraged.

Y Y 6th May

Feedback reports: Self-generated performance/recording: Recordings delivered in the first week of summer term, reports/marks by late June 2016 Skills 1 (technical): Reports/marks by late June 2016

Skills 2 (synthetic): Reports/marks by late June 2016

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POSTGRADUATE PIANO ACCOMPANIMENT: YEAR ONE (of a two-year course) The purpose of the first year's course is to acclimatise to the Academy's challenges and opportunities. Technical and interpretative issues will be identified by the student's teacher, and partnerships with singers and instrumentalists will be formed. Song Classes and concerts will be among the Faculty Activities in which students participate. Principal Study End of year piano accompaniment exam Students must give a short recital, (12-15 minutes) of their own choice. They must provide their own soloist(s). There will also be a sight reading test, (with soloist provided). The whole exam will last 20 minutes. It is your responsibility to ensure that your recital timing is within the limits set for this exam. Please see the Examinations Procedures on the Registry page of AIR for information on penalties for over or under – running. Professional Development Activity

Component 1 - self-generated performance/recording

Component 2 - Collaborative work

Component 3 – Masterclasses

Component 4 - Technical

Component 5 - Synthetic

Piano Accompaniment

One recording project over the duration of the course, of either instrumental or vocal duo repertoire, of at least 20 minutes, with liner notes and translations where appropriate. Imaginative programming is encouraged.

At least two concert performances per year of vocal or chamber (including duo) repertoire. These can be performed at any time before May, and must be assessed. First-year students must do one vocal and one instrumental concert.

At least one performance in a Masterclass each year

Participation in song classes as allocated, for at least one semester per year

Submission of a list of all performance activity during the year. This could include opera scenes, other students’ exams, song prizes, external engagements etc. Deadline for submission of this list is the last day of exams. Where available, reports must be included.

Notes: * Students will be assessed on their contribution and performance in song classes by the professor taking the class. There will be three criteria: standard of playing, preparation (individual and with singer), and punctuality/attendance. ** A minimum of two concerts is required, but there is an expectation that accompanists will normally do more than this. The concert series ‘Accompanists at 5’ on Tuesdays will give students opportunities to perform. Attendance at these weekly concerts is compulsory for all accompanists.

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If you fail any component of the programme, you may not be able to progress. Marks for Professional Development Activity will not count towards your final degree mark.

Professional Portfolio For full details on the Professional Portfolio please refer to the Postgraduate Handbook. Your portfolio is like a journal of your musical life and in it you could include the following:




You will be supported in designing your portfolio by your Tutor, with whom you can meet on a regular basis. The requirements for the Professional Portfolio are laid out in the Postgraduate handbook.

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END OF YEAR RECITAL TIMINGS – PIANO ACCOMPANIMENT The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. Piano Accompaniment Candidates should aim to deliver a recital lasting 15 minutes. Duration of the recital (ideal 15 minutes) Penalty applied More than 27 minutes 10 marks AND PANEL CHAIR HALTS THE

RECITAL 26.01 to 27.00 9 marks 25.01 to 26.00 8 marks 24.01 to 25.00 7 marks 23.01 to 24.00 6 marks 22.01 to 23.00 5 marks 21.01 to 22.00 4 marks 20.01 to 21.00 3 marks 10 minutes to 20 minutes inclusive NO PENALTY 9.00 to 9.59 3 marks 8.00 to 8.59 4 marks 7.00 to 7.59 5 marks 6.00 to 6.59 6 marks 5.00 to 5.59 7 marks 4.00 to 4.59 8 marks 3.00 to 3.59 9 marks Less than 3 minutes 10 marks Provision of Music/Editions Students should provide one copy of the full score for all pieces presented. Poor or inaccurate editions will reflect badly on your performance!

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POSTGRADUATE PIANO ACCOMPANIMENT: YEAR TWO (final year of a two-year course)

The second year of study offers the chance to consolidate and develop performing partnerships now that technical issues have been addressed. The focus of the year is the Final Recital and the Skills Tests, both of which equip students for the demands of the music profession.

Principal Study Final Performances: Mid-year Piano Accompaniment Skills Test (33%) May/June Final Recital (67%) Professional Development Activity –see page 56 If you fail any component of the programme, you may not be eligible to graduate. Marks for Professional Development Activity will not count towards your final degree mark.

Professional Portfolio For full details on the Professional Portfolio please refer to the Postgraduate Handbook. Your portfolio is like a journal of your musical life and in it you could include the following:




You will be supported in designing your portfolio by your Tutor, with whom you can meet on a regular basis. The requirements for the Professional Portfolio are laid out in the Postgraduate handbook. Piano accompaniment skills test (Spring term) Final year postgraduate piano accompaniment students must take the following Skills Test in March. This is the equivalent of the solo instrumentalists’ concerto exam. The requirements have been drawn up by the Piano Accompaniment faculty as a whole and are felt to be relevant and essential skills for accompanists entering the profession, in conjunction with their ability to perform to a high level which will be tested in their final recital. Tests: All tests are compulsory. 1) HARPSICHORD: Students will perform on the harpsichord a duo or chamber music work (with instrumentalist(s) and/or voice) of approximately 5 minutes. This must incorporate a significant element of figured bass realisation, either throughout (example Telemann, Handel, Corelli duo sonatas) or in part, ie. a work which includes both continuo and “solo” playing (example CPE Bach violin and harpsichord sonatas). 2) SIGHTREADING: Students will perform a song or instrumental piece at sight with a soloist provided.

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3) QUICK STUDY: Students will perform unrehearsed, with soloist provided, a piece (or pieces) of instrumental or vocal music given to them one week before the test. 4) BACH: Students will perform, on the piano, Bach’s Prelude and Fugue in D major, Book 1. 5) PREPARED TRANSPOSITION: Students will transpose a song, which they will have received one week before the exam, up or down a tone or semitone, as directed by the examiners. 6) PREPARED SINGING TEST: To sing, while also playing the orchestral reduction, the Count's Aria and preceding Recitative (starting "Hai gia vinta la causa") from Mozart's Le Nozze di Figaro. Candidates will be judged on the orchestral quality of their playing, the accuracy of their Italian pronounciation, and the characterisation of the aria, as if coaching a singer in the role.

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FINAL RECITAL TIMINGS – PIANO ACCOMPANIMENT The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. Candidates should aim to deliver a recital lasting 55 minutes. Duration of the recital (ideal 55 minutes) Penalty applied More than 67 minutes 10 marks AND PANEL CHAIR HALTS THE

RECITAL 66.01 to 67.00 9 marks 65.01 to 66.00 8 marks 64.01 to 65.00 7 marks 63.01 to 64.00 6 marks 62.01 to 63.00 5 marks 61.01 to 62.00 4 marks 60.01 to 61.00 3 marks 50 minutes to 60 minutes inclusive NO PENALTY 49.00 to 49.59 3 marks 48.00 to 48.59 4 marks 47.00 to 47.59 5 marks 46.00 to 46.59 6 marks 45.00 to 45.59 7 marks 44.00 to 44.59 8 marks 43.00 to 43.59 9 marks Less than 43 minutes 10 marks Provision of Music/Editions Students should provide one copy of the full score for all pieces presented. Students are expected to provide an edition which reflects their performance aims. The programme is own choice, but must include a complete work for instrumental duo, (as opposed to an accompaniment, ie. not Sarasate) and a song-cycle or set of songs. Individual movements of instrumental works are not acceptable. Each category (vocal and instrumental) must consist of at least 15 minutes of music. The programme should demonstrate a variety of musical styles. Candidates must provide their own soloists. If in doubt about the suitability of their intended programme students should check with the Head of Keyboard at the earliest opportunity.

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POSTGRADUATE PIANO ACCOMPANIMENT: ONE YEAR OPTION Though it is not ideal to combine the demands of the two-year course into one year, and the scope of opportunities offered at the Academy cannot be fully assimilated, substantial progress and musical development can nevertheless be achieved. The one-year course would normally only be an option for those who already have a high level of technical achievement and musical experience.

Principal Study Final Performances - Mid-year Piano Accompaniment Skills Test(33%) May/June Final Recital (67%) Professional Development Activity– see page 56

Notes: * Students will be assessed on their contribution and performance in song classes by the professor taking the class. There will be three criteria: standard of playing, preparation (individual and with singer), and punctuality/attendance. ** A minimum of two concerts is required, but there is an expectation that accompanists will normally do more than this. The concert series ‘Accompanists at 5’ on Tuesdays will give students opportunities to perform. Attendance at these weekly concerts is compulsory for all accompanists.


mark. Piano accompaniment skills test (Spring term) Final year postgraduate piano accompaniment students must take the following Skills Test in March. This is the equivalent of the solo instrumentalists’ concerto exam. The requirements have been drawn up by the Piano Accompaniment faculty as a whole and are felt to be relevant and essential skills for accompanists entering the profession, in conjunction with their ability to perform to a high level which will be tested in their final recital. Tests: All tests are compulsory. 7) HARPSICHORD: Students will perform on the harpsichord a duo or chamber music work (with instrumentalist(s) and/or voice) of approximately 5 minutes. This must incorporate a significant element of figured bass realisation, either throughout (example Telemann, Handel, Corelli duo sonatas) or in part, ie. a work which includes both continuo and “solo” playing (example CPE Bach violin and harpsichord sonatas). 8) SIGHTREADING: Students will perform a song or instrumental piece at sight with a soloist provided. 9) QUICK STUDY: Students will perform unrehearsed, with soloist provided, a piece (or pieces) of instrumental or vocal music given to them one week before the test. 10) BACH: Students will perform, on the piano, Bach’s Prelude and Fugue in D major, Book 1.

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11) PREPARED TRANSPOSITION: Students will transpose a song, which they will have received one week before the exam, up or down a tone or semitone, as directed by the examiners. 12) PREPARED SINGING TEST: Students will sing one part of an operatic recitative and/or aria in German or Italian which they will have received four weeks before the exam while also playing the orchestral reduction. In the case of a duet a soloist will be provided to sing the other part. The student will be required to sing accurately with good pronunciation. Provision of Music/Editions Students should provide one copy of the full score for all pieces presented. Students are expected to provide an edition which reflects their performance aims. The programme is own choice, but must include a complete work for instrumental duo, (as opposed to an accompaniment, ie. not Sarasate) and a song-cycle or set of songs. Individual movements of instrumental works are not acceptable. Each category (vocal and instrumental) must consist of at least 15 minutes of music. The programme should demonstrate a variety of musical styles. Candidates must provide their own soloists. If in doubt about the suitability of their intended programme students should check with the Head of Keyboard at the earliest opportunity.

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FINAL RECITAL TIMINGS – PIANO ACCOMPANIMENT The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. Candidates should aim to deliver a recital lasting 55 minutes. Duration of the recital (ideal 55 minutes) Penalty applied More than 67 minutes 10 marks AND PANEL CHAIR HALTS THE

RECITAL 66.01 to 67.00 9 marks 65.01 to 66.00 8 marks 64.01 to 65.00 7 marks 63.01 to 64.00 6 marks 62.01 to 63.00 5 marks 61.01 to 62.00 4 marks 60.01 to 61.00 3 marks 50 minutes to 60 minutes inclusive NO PENALTY 49.00 to 49.59 3 marks 48.00 to 48.59 4 marks 47.00 to 47.59 5 marks 46.00 to 46.59 6 marks 45.00 to 45.59 7 marks 44.00 to 44.59 8 marks 43.00 to 43.59 9 marks Less than 43 minutes 10 marks

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GUIDELINES FOR PIANO USAGE The Academy has a number of pianos that are not available for regular practice and require permission to be played. These pianos must be maintained to a high standard for performance and 1st study piano teaching, and their use is therefore restricted solely for these purposes. The Academy is unusual in that we do allow students to practice on some of our better instruments and this is a privilege that was fought very hard for many years ago. However, we need to protect some pianos in order to preserve them as best we can for the essential teaching and performance. If students misuse this privilege and do not respect the clear boundaries set out, severe action will be taken to restrict all teaching rooms to teachers’ use only. If you are found and reported by any member of the Academy staff more than once to be ignoring any of the following restrictions you will not be permitted any use of such rooms for one month. The restricted pianos are:

RESTRICTED PIANOS Room Piano Duke’s Hall Steinway no.1 Steinway no. 2 DJ Recital Hall Steinway Yamaha upright (Not restricted) 114 (Henry Wood Room) Steinway 208 Teaching piano 210 Teaching piano 211 Teaching piano 212 Teaching piano 214 Teaching piano 308 Yamaha S6a grand piano YG150 Steinway YG B60 Steinway YG152 Steinway YG 250 Fazioli YG 252 Steinway

No student may practice on any of the ‘Restricted’ pianos without permission. To obtain permission, you need to fill in an electronic ‘Piano Permission’ form (available on the Keyboard page of AIR under ‘Quick Links’). This will then be automatically sent to the Department Administrator for approval. Once approved, you should book your room with the General Office Manager. You will need to show your printed and approved form to staff at the Front Desk to obtain keys for unlocking the pianos. Teaching Rooms In each teaching room one piano is clearly indicated as “reserved for teaching only”. You may only use this piano for making a recording, or for playing through a concerto with a second orchestral piano accompaniment when both pianos have to be used. Permission will normally only be granted where the best instrument is needed for making a recording. The only exception is when a student is playing through a concerto with a second orchestral piano accompaniment when both pianos have to be used. Very limited use of two piano ensemble rehearsal is also allowed, but where possible students should use 308 or one of the practice rooms in York Gate that have two pianos.

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Performance Spaces – Duke’s Hall, DJ Recital Hall The pianos in these spaces are more severely restricted than others as they need to be preserved to international concert standards for Academy and external concerts. Therefore these pianos are only to be used to run through a programme for a concert taking place in that particular hall, for recording purposes and for activities supervised by a principal-study teacher. You will be given enough time to play through the length of your programme plus 30 minutes for warming-up/ trying out the piano. Performance Spaces – YG 150, YG 250, Room 114 (Henry Wood Room) Restricted pianos in these spaces should be used for concert–related activity. They may only be used as a final rehearsal venue in preparation for an Academy or major external concert. You will be given enough time to play through the length of your programme plus 30 minutes for warming-up/ trying out the piano. Performance spaces with restricted pianos should not be used for regular chamber rehearsals. The Academy has a number of Chamber Music Rooms which are can be booked for rehearsal. Chamber Room Booking Forms are available from the General Office. Recordings You may use restricted pianos for recording for competitions etc. You will be given enough time for one and a half times the length of your programme plus 30 minutes for warming-up/ trying out the piano. You should therefore not book recording time until you are at performance standard. Recording a programme over and over again does not necessarily improve the quality of the recording but it will wear out the piano. You must provide details of your programme when gaining permission to use the piano. The Academy can arrange recording equipment (through the general office) or you may use your own equipment. However, any student who has booked recording time and is found using a piano without recording equipment will be refused permission to record on restricted pianos for the next three months. These apparent draconian measures are necessary as the system has been abused recently by some students. Additional points to note for the care of all Academy Pianos: No Academy piano may be ‘prepared’ or treated in any unconventional way (e.g. hit with any objects, lids removed, slammed etc.) without prior consent from the Head of Piano Technical Services. This includes anything that might be attached to the piano e.g stickers on dampers, objects placed on strings or items touching strings. This includes prepared piano pieces by composers such as John Cage/George Crumb etc. If you are working on a piece that fits into this category – this includes official Academy orchestral and ensemble projects eg Manson Ensemble or composition workshops – you must do the following: seek written permission well in advance by consulting the Head of Piano Technical Services and the Concerts Department. If appropriate, the Head of Piano Technical Services might wish to meet in order to advise on proper insertion and removal of stickers, etc. remain in contact with the Head of Piano Technical Services throughout the rehearsal period to ensure that all pianos used are suitable for this purpose. remove all preparation from the piano after your performance and ensure that the Head of Piano Technical Services is satisfied that no damage has occurred. Finally, please DO NOT put liquids of any kind on the pianos (including the practice pianos). Damage is caused nearly every term through this thoughtless action.

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Please report any faults or damage to pianos quickly using the contact information below or filling in a form in the red folder outside the General Office. Clive Ackroyd (Head of Piano Technical Services) Room: 240, York Gate Tel: 020 7873 7415 Email: [email protected]

Documents

Piano Department Handbook 2015-16 final-withcover · PDF file2 INTRODUCTION FROM THE HEAD OF PIANO STUDIES T Welcome to the Piano Department of the Royal Academy of Music! I hope