1/18/2024 0 Comments Arsm violin repertoire listI have taught Lauren and Sophie from the ages of 6 and 8, respectively, and have inspired them to acquire the same love and passion for flute performance. ![]() Liz said: “I am passionate about the flute and love the beautiful, silvery sound it makes. Their flute teacher, Liz Hargest, pictured here with the girls (Sophie left, Lauren right), is understandably proud of their results. Sophie Hillier, who is also going into Year 11 next academic year, achieved 47/50 Distinction in her ARSM Diploma exam on the flute – again, an exceptional mark.īoth Lauren and Sophie have been playing the flute since taking advantage of taster sessions in Year 2 at King’s Ely Acremont Pre-Prep and Year 3 at King’s Ely Junior. This is the highest mark ever achieved by a King’s Ely student and according to Neil Porter-Thaw, our Director of Music, is a mark very rarely achieved. Lauren Booth, who will be going into Year 11 in September, has achieved a 49/50 Distinction in her ARSM Diploma exam on the flute. (I have just looked at the website and noticed that the ARSM you mentioned is a new post-grade 8 performance only qualification, which only started this year - interesting! My problem is I would be better at the written/spoken than the performance, being rather rusty and not dedicated enough to practice for hours at a time, whereas I can waffle on musical topics indefinitely! Ah well.OUR Music Department is celebrating an outstanding set of Associated Board of the Royal Schools of Music (ABRSM) exam results – including one student who has achieved the highest mark in school history! DS2 took his piano DipABRSM during his A level year which meant quite a lot of overlap (and a lot of Beethoven echoing round the house!) (I did a lot of that stuff at O level back in the day, but the current GCSE/A levels cover a much wider range of genres)īy Diploma standard players do benefit from a little more self-reflection and musical understanding rather than simple technical brilliance, so a wider experience of other repertoire is maybe something to consider to set the chosen pieces in context. ![]() Not all piano teachers are necessarily brilliant accompanists but if you can find someone who has had their own piano diploma students they would be ideal - it's notable that piano teachers in general tend to do much more of the theory/aural training than other instrumental teachers (maybe because physically producing notes on the piano is easier at first so not so much time is taken up with technical aspects early on).Īlternatively if the school teach A level the teacher would surely be able to suggest a relevant textbook/website, and maybe some tutoring outside school. In any case some understanding of the musical forms and related technical terms involved would I think be very helpful, and plenty of chances to play with a proper accompanist - in fact if you don't already have one it might be worth finding a pianist who could work with him on the performances AND provide the extra input for the viva voce. If he's a violinist does he play in any orchestra or ensembles outside the school - maybe a local youth orchestra? Our orchestra offers talented young players the chance to rehearse and perform a movement of a concerto with the orchestra - a qualitatively different experience from playing with an accompanist? Looking at the repertoire lists this would be possible with the Bach, Haydn or Mozart.
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