“I got the feeling that a diploma is an achievable goal for me”

Now in its fourth year, the London Piano Meetup Group’s annual Diploma Day is fast becoming a “not to be” missed event in the adult amateur pianist’s calendar. For those who are taking or thinking about taking a performance diploma (post-Grade 8 professional qualifications), the event offers 6 performing participants the opportunity to play part of their diploma programme to a small friendly audience and have their playing critiqued by Graham Fitch. For everyone there is practical advice on selecting a diploma, choosing repertoire and creating a programme, writing programme notes, stagecraft and presentation skills, and managing performance anxiety. It is also a chance meet and socialise with other pianists and at every event there is much “piano chat” during the breaks, and in the pub afterwards.

Of the 6 performers this year, five were preparing for Associate level diplomas and one for the FTCL. This made for a more “equal” atmosphere than at other workshops/courses where the less advanced/confident player can feel intimidated by the very advanced performers. Previous events have been praised for offer “invaluable” support and advice, and this one proved equally valuable and inspiring.

I thought it would be helpful to include this review of the event by one of the observers, Howard, who is a member of the LPMG:

I have just attended, as audience/observer, ‘Diploma Day’ held at Morley College, London. I wanted to share how valuable I found this. While not ready for such teaching myself, I am always looking for ways for find out what lies ahead in this crazy journey, as adult learner.

This specific day (9 ’til 6) was hosted by Claire Hansell of LPMG and presented by Graham Fitch (Diploma teaching) and Frances Wilson (performance coach at this event and best known as The Cross Eyed Pianist, music blogger).

I am a grade 6 pianist (on a good day. Yet, I learnt so much from attending #DipDay.

Claire Hansell gave an introductory talk about the purpose and methods involved in the development of a good Programme Note for any Dip performance. Frances Wilson presented an overview of the different types of Dip available and how to choose among them. Later, she presented advice on conquering the inevitable anxieties that accompany every important performance at this level …. perhaps at any level!

Six amateur pianists (post-Grade 8) played and Graham Fitch therefore conducted six mini-masterclasses. His mix of technique advice and musical interpretation guidance, delivered spontaneously in ‘real time’ as it were, seemed to me to be fostering some minor miracles of significant improvement by the pianists. I sat, rapt, never bored throughout the day. I cannot tell you how helpful this was.

To take away as notes, I was given a summary set of Diploma requirements from the different boards, checklists for the weeks before the day of the Diploma performance and for the development of the (required) Programme Notes oriented to the audience and examiner. The notes included that essential ‘mindset’ orientation for coping with the anxiety (a problem I know all too well and which came as a complete surprise).

Available to take away were also Diploma syllabus pamphlets and repertoire lists from each of the main exam boards. Example books to help with Diploma studies were on display.

An amazing day. Apparently, this was the 4th organised by the LPMG. I will be there next year 100% certainty, even if I am in no way ready for such a step beyond ‘grades’ work. Thank you to all concerned in putting this together.

 

Repertoire performed:

Bach – Prelude & Fugue in F minor from WTC book 1, BWV 857
Mozart – Sonata in D major, K.311
Mozart – Sonata in A major K.331
Mozart – Sonata in F major K.332
Beethoven – Sonata in F minor op. 2 no. 1
Beethoven – Sonata in C minor op. 111
Schubert – Sonata in A minor D.537
Brahms – Intermezzo in A major op. 118 no. 2
Debussy – La cathedrale engloutie, no. 10 from Preludes book 1 L.125
Rachmaninoff – Étude-Tableau in G minor op. 33 no. 8

 

Plans are already underway for Diploma Day 2020, and given the popularity of the event, it will probably run over 2 days with more performer slots. Please follow London Piano Meetup Group on Twitter (@LonPianoMeetup) and/or this blog for updates.

Compilation of tweets from Diploma Day 2019

Frances Wilson’s Diploma Day notes

A performance diploma checklist


Frances Wilson offers support and advice to people preparing for performance diplomas, including selecting repertoire and creating a programme, writing programme notes, stagecraft and presentation skills, and managing performance anxiety.

For further information please contact Frances Wilson

On preparing for a performance diploma

As the summer approaches, the exam season looms and in addition to graded music exams, many people will be also taking performance diplomas, recognised professional qualifications which extend and challenges one’s musical abilities far beyond the graded exam framework (the Licentiate level diploma – LRSM, LTCL or LLCM – requires the equivalent level of ability to a student in their third or fourth year at conservatoire).

Based on my own experience taking three performance diplomas (and, I might add, in my late 40s having returned to the piano after a long absence), here I offer some advice to ensure you are full prepared for your performance diploma – in the lead up to the recital, on the day and afterwards.

As mentioned earlier, a performance diploma at whatever level is a professional qualification, and one should therefore treat all aspects of the preparation and actual performance in a professional manner. To prepare for my diplomas, I observed professional musicians at work in concerts and in other settings to understand and appreciate all the aspects which go into presenting a professional performance, including programme planning and programme notes, stage deportment, attire, and one’s demeanour and presence at the instrument.

Preparation is everything!

At least a month ahead of your diploma recital….

  • With the exam recital only a month away, your programme should be learnt, secure and finessed
  • Get into the habit of playing through the entire programme regularly (at least twice a week), without stopping to correct mistakes, and with appropriate pauses between works. This helps build stamina and allows you to experience the flow and energy of the individual pieces and how they work together in the programme as a whole.
  • If using a page turner, have several rehearsals with the page turner and ensure your turner is clear about repeats, DCs etc. If you are using the score without a turner, photocopy pages to avoid awkward page turns and include these in your score so you get used to seeing them/the sequencing of pages etc. Make sure your page turner turns discreetly and removes and replaces the scores as quietly and discreetly as possible.
  • If you intend to use an iPad or tablet instead of paper scores, check that that exam board will permit this. Make sure any additional technology such as a bluetooth page turning device is working properly
  • Record the programme to check for timings, of the entire programme and individual pieces. You will need to include this information in your programme notes (for each piece and the overall programme). Be as accurate as possible, as marks may be deducted if you timings are incorrect or your programme is outside of the allotted time limit.
  • Try and perform the entire programme at least three times ahead of your diploma recital. Get a bunch of friends round and perform to them, organise a concert in a local church or arts centre, or hire a rehearsal room and play there with a few friends/colleagues in attendance. This helps manage anxiety and also allows you to really project the music to others. Also good for practising presentation skills such as walking to the piano, body language, presence etc., and page turns (if playing from the score). Interesting things can occur in run-through performances and may reveal weak spots in your music which you can then make absolutely secure in your practising.
  • Choose your outfit for the diploma recital and practise playing in it to ensure it is comfortable. Clothing should be appropriate for a “lunchtime or early evening recital”, so formal but not evening dress. Remember you will be marked on your attire as part of the ‘presentation skills’ element of the diploma.
  • Try and play a variety of different pianos, particularly grand pianos. It is easy to hire a rehearsal space or use a piano in a church.
  • Write your programme notes and have them checked/proofread by someone else. Use a clear typeface with no fancy decorative elements, photographs or biography. Print the programme on good-quality paper or lightweight card.

A couple of weeks before the recital….

  • Make sure you know where you are going to take the diploma and plan a route which will allow you to arrive in good time to warm up and settle ahead of the performance.
  • Photocopy your music and put it in a folder with the printed programme to hand to the examiner at the diploma recital. If you are including own-choice repertoire, include a copy of the approval letter from the exam board (this is applicable to Trinity diplomas) with the copies of your music.
  • By this point your practising should really just be maintenance, but don’t get complacent. Practise intelligently and listen all the time. Record yourself, reflect, adjust.
  • If you have been working on the repertoire for a long time, try and recall why you chose it in the first place and what you like about it. Maybe even write some notes about it. This can help “refresh” the music if you feel it is becoming a little tired and enables you to create a vivid “story” of the music when you come to perform it.

The day before the recital….

  • Check you have all your music, and photocopies of music, etc in a folder ready to hand to the examiner at the start of the recital.
  • Check your clothing
  • Do very light or little practise.
  • Try to keep body and brain rested (take a day or afternoon off work if necessary and do as little as possible)

On the day of the recital….

  • Arrive at the exam venue in good time to warm up and then focus on the task ahead. If you have a routine to alleviate anxiety, go through your routine.
  • Practise self-affirmation – “I am well-prepared”, “I can do it!”, etc. Turn “I’m nervous” into “I’m excited to share my music with others”
  • When you go into the exam room, greet the examiner/s politely/shake hands and give them your programme notes etc.
  • Treat the recital like a professional public performance and do not speak to the examiners between pieces.
  • Stow your music neatly or ask your page turner to look after it
  • At the end of the performance stand and bow.

After the recital….

  • Try not to post-mortem your performance too much or dwell on things you weren’t happy with. Instead focus on the positives and then go and have a large glass of wine, or three….
  • The day after the performance you may feel very tired and moody, with almost flu-like symptoms. This is a side effect of adrenaline and other stress hormones settling back to their normal levels. Allow yourself time to recover, but the best cure for the post-performance depression can actually be playing music – not your diploma repertoire but music you simply enjoy.

Frances Wilson AKA The Cross-Eyed Pianist offers support for people taking or thinking about taking a performance diploma including advice on planning a programme, writing programme notes, presentation skills and managing performance anxiety. For more information, contact Frances

The London Piano Meetup Group hosts an annual Diploma Day for people preparing for a performance diploma, led by Graham Fitch. Further information here

I recently heard a performance of Schubert’s penultimate piano sonata, D959, a work with which I spent three years in preparation for a fellowship diploma in piano performance which I took back in 2016. The experience of learning such a large work and to a very high level of competency and artistry was an interesting, rewarding and occasionally frustrating experience during which I learnt a great deal about the practice of practising, the art and craft of performance, and how to take ownership of a piece of music and make it mine – an important consideration for any performer. During the preparation for the diploma recital, I grew to love the music and regard it as “my” sonata, even when I heard other people playing it – pianists who had clearly made it their own and whose sense of ownership was clear in their presentation of the music. Despite not having gone near the music for two years, it is still “my” sonata.

I didn’t pass the diploma, and on reflection I didn’t deserve to pass it because a number of things were not right in the lead up to the recital and on the day – things which I should have taken care of, given I had already taken two other diplomas. Facing up to failure is not a particularly pleasant experience but it is important that one reflects on that failure and to try and learn from it. The most uncomfortable issue was accepting that my ego had got in the way. I do not regard myself as a particularly egocentric person, but one does need a degree of ego to commit to a large project like this and also to push one out onto the stage to actually perform the music (at which point the ego needs to be put away). Unfortunately, my ego got in the way throughout the learning process as well as on the day of the recital: having passed two previous performance diplomas with Distinction, I told myself (and others) that the Fellowship diploma was well within my grasp. In addition, I decided I would take the diploma in my 50th year. It seemed significant, and I felt I needed to prove something – that I was “good enough”, and that it was possible to return to the piano after an absence of some 20 years and play/perform at a high level.

The diploma result was bruising – to my ego, and my confidence and self-esteem as a pianist, which I felt had been hard won, having come back to the piano after such a long time away from it. Although I tried to revisit the sonata and even considered retaking the diploma, it was too caught up with all the unpleasant negative feelings associated with my failure. Despite kind and supportive words from family, friends, teacher and mentors, I was hurt and angry by the result, particularly some of the examiners’ comments, and it took me a long time to process the experience and draw positives from it. I consigned the score of the sonata – or rather scores because I had not only a working score but several other copies – to the back of my bookcase and vowed I would never touch it again….

But things can change, and the passage of time has allowed me to put some distance between the diploma result and my emotions. Hearing the Sonata again reminded me of how much I like it, and during the performance I kept thinking how I would approach this or that phrase or passage. There were moments when I thought “I like this, but I prefer my version” (a sign I still “owned” the music), but I also heard the work afresh: new details were revealed – a little inner melody here, the articulation of a particular passage there – and a few days after the concert, I got out my score of the Schubert sonata and put it on the music desk of my piano. The next day I played the entire sonata from start to finish (including the exposition repeat in the first movement). There were rocky places, of course, but it was encouraging to find that much of the music was still “in the fingers”.

How often do we set aside a piece of music and swear we will never return to it? Fairly frequently, I should think, perhaps more so amongst amateur musicians than professionals who may need to keep certain repertoire going. An unpleasant experience – a bad exam result or unhappy performance – can colour our attitude to certain pieces of music. When I was learning the piano as a child and teenager there were pieces which I simply disliked and never wanted to play again (an important note for teachers to ensure their students, whatever their age, are playing music they enjoy to keep them engaged and motivated).

Returning to a previously-learnt piece of music can be like reacquainting oneself with an old friend – and I certainly feel this with the Schubert sonata. Picking up a piece again after a long absence can be extremely satisfying and often offers new insights into that work, revealing details, layers and subtleties one may not have spotted the first time round. One also recalls all the things one liked about the music and why one selected it in the first place.

Another important aspect is acknowledging that a work can never truly be considered “finished”. Young or inexperienced musicians often think that a learnt piece is finished and are keen to move on to the next one. A satisfying performance of a work to which one has devoted many hours of study can be said to put the work ‘to bed’, but only for the time being. This process of “continuing” and “returning” means that each performance informs the next, and all one’s practising and playing is connected in one continuous stream of music-making.

And what of the Schubert sonata? I have been playing it regularly, and working on it seriously again. It’s satisfying and revealing, and playing it afresh has largely erased the uncomfortable feelings associated with failing the diploma. That I can get around the music, play it well, and convincingly, is extremely gratifying – a reminder of how much good, careful and deep practise I did when I originally learnt the work, work which has not been wasted, nor was thrown away in the moments when I received the diploma result. An important lesson in learning is knowing that everything we do has value, that it is part of an aggregation of gains which cannot be taken away. Those of us who acknowledge this are on a path to self-determination and fulfillment which allows us to move towards a goal which is imperative for any musician – autonomy. It requires an open-minded, ever-curious, spontaneous and mindful approach to the task in hand and a willingness to embrace setbacks and cul-de-sacs along the way.

Will I retake the Diploma? It’s unlikely, though some have encouraged me to re-attempt it. Having given myself plenty of time to reflect and move on, I realise that I do not need to prove anything to anyone but myself, and that competitiveness needs to be tempered by pleasure in learning and music making rather than constantly seeking the outward trappings of success and progress.

Back by popular demand……

“A hugely valuable day”

The London Piano Meetup Group is holding its fourth Diploma Day on Sunday 9th June 2019 at Morley College, London SE1. This full day event is aimed at adult amateur pianists who are considering, or planning to take, a post-Grade 8 performance qualification, or piano teachers and pianists who would like to observe several hours of inspirational teaching with acclaimed teacher, writer and pianist Graham Fitch.

Diploma Day now open for booking for observers, and applications for performers.

If you’re thinking of taking a diploma exam in the summer or winter of 2019, then this is an excellent opportunity to run part of your programme in front of an audience, and work on it with Graham Fitch. Frances Wilson (AKA The Cross-Eyed Pianist) will take additional workshops/talks on preparing for a diploma, managing performance anxiety and stagecraft. And most importantly there’s the chance to meet and share experiences/thoughts/plans with others who have taken, or are going to take, a diploma exam.

The day is also useful for teachers who wish to observe several hours of entertaining and enlightening diploma-level teaching by Graham.

This very popular event has been praised for its friendly and open atmosphere in previous years, as well as how useful the day is for those preparing for a diploma, and it promises to be stimulating, informative and fun.

The event takes place in the Holst Room at Morley College, near Waterloo Station, which has a beautiful Steinway D concert grand to perform on. The day will run from 9am to 5pm and is intended not only to provide resources and information for participants, but also to network with other like-minded (and diploma-aiming!) pianists.

Observer tickets can be booked here (£18 & booking fee):

https://billetto.co.uk/e/lpmg-diploma-day-2019-tickets-318858

 

 

Feedback from participants at previous Diploma Days:

“The introduction was helpful as I’m at the planning stage of my diploma”

“I got the feeling that a diploma is an achievable goal for me”

“I appreciated the positive, supportive atmosphere”

“I enjoyed hearing lots of different repertoire, some well-known and some new”

“Graham was fantastic at getting to the nub of things quickly and was hugely inspiring to performers and observers alike”

For any questions in the meantime please don’t hesitate to get in touch with Claire Hansell at londonpianomeetup@gmail.com.

 


Graham Fitch has earned a global reputation as an outstanding teacher of piano for all ages and levels. He is a popular adjudicator, a tutor for the EPTA Piano Teachers’ Course, and a regular writer for Pianist Magazine with several video demonstrations on YouTube. His blog www.practisingthepiano.com features hundreds of articles on piano playing and together with his multimedia eBook series is read by thousands of musicians all over the world.

Frances Wilson is a pianist, piano teacher, music reviewer, writer and blogger on classical music and pianism as The Cross-Eyed Pianist. A passionate advocate of adult amateur pianism, Frances co-founded the London Piano Meetup Group in 2013. She has hosted and participated in workshops, masterclasses, courses and meetups for adult pianists, and completed Licentiate and Associate Performance Diplomas (both with Distinction) in her late 40s, having returned to the piano after a long break. Frances has acted as a syllabus consultant for Trinity College of Music and London College of Music’s graded piano exams and has written teaching notes for the new ABRSM piano syllabus (released in summer 2018).

wm1_700x0__LL375_CovFor the musician looking to further their studies after Grade 8, Performance Diplomas offer a pathway to fully accredited professional qualifications, recognised by other musicians and music professionals around the world. A diploma, even at the lowest Associate level, is considerably more involved than Grade 8, requiring a high degree of attainment, combined with a professional attitude to preparation and practising, communication, musicality, presentation and stagecraft. As such, a diploma offers a significant musical, intellectual and personal challenge, and provides a useful framework for the honing and maturing of performance and teaching skills.

London College of Music (LCM) has recently updated and refreshed its music performance diplomas, and the Piano Diplomas have a revised repertoire list, together with the release of a second In Concert volume of music, edited by Joanna Macgregor, Head of Piano at the Royal Academy of Music and a concert pianist acclaimed for her highly original programming.

The new LCM piano diplomas syllabus now offers three types of performance diploma at DipLCM, ALCM, and LLCM levels as follows (mark weightings shown in brackets):

Performance: Performance (70%), Discussion [formerly called Viva Voce] (15%), Sight Reading (15%)

Recital: Performance (80%), Discussion or Sight Reading (20%)

Concert: Performance (100%)

For all diplomas, candidates must produce a written programme.

At Fellowship level (FLCM), there is a single Performance Diploma for which candidates must offer a 50-60 minute recital with programme notes of 3000-3500 words. Marks are not awarded; the performance is either Approved or Not Approved.

By offering three types of performance diploma, LCM gives candidates the opportunity to select the diploma format that is right for them. There is a lot of snobbery surrounding performance diplomas (just as there is a lot of snobbery concerning the different exam boards), but I believe candidates benefit from a choice of format and should select a diploma which will enable them to perform to the very best of their abilities. A quick glance at the diploma repertoire lists for each exam board reveals music of similar difficulty, with many pieces common to all boards.

For those who simply want to perform a recital programme, the Concert Diploma, introduced in 2017, is the route to take. While some may argue that the removal of sight-reading and other tests from the Concert diploma makes this an “easier” option, I would counter with the assertion that being judged wholly on one’s performance is a very good test of one’s musicianship and professional performance skills. This gives candidates the chance to focus entirely on the music and to be really imaginative in creating a proper concert programme (this was my reason for opting to take the Trinity College London diplomas rather than the ABRSM’s).

While the LCM diploma repertoire lists are not as extensive as Trinity’s nor the ABRSM’s, what the lists lack in quantity they more than make up for in variety, with a good selection of music by women and contemporary composers, including works by Florence Price, Emily Doolittle, Judith Weir, Thomas Ades and Tan Dun, together with key works from the core canon of piano music. Candidates also have the option to include own-choice repertoire, provided it is of a technical standard consistent with that of the appropriate diploma level. There is no need for own-choice repertoire to be approved in advance. Thus candidates can create a recital programme which plays to their strengths and musical affinities, which is interesting, well-balanced and varied. These are very much diplomas for the modern musician.

With the introduction of the Concert Diploma in 2017, LCM released the In Concert handbook, an anthology of pieces from Baroque to present day selected by Joanna Macgregor. A second In Concert volume has just been released for the Associate and Licentiate level diplomas, alongside the updated diploma syllabus, from which candidates must select at least one piece for their diploma programme. As with the previous volume, the pieces are accompanied by useful introductory notes, also by Joanna Macgregor, which set the works in context and offer guidance on technical and artistic issues. The selection of music is varied and imaginative, and as in the main repertoire lists, women and contemporary composers are well-represented, with the opportunity to enrich one’s repertoire beyond the core canon. The book is attractively-produced with clear music engraving on good quality paper.

I’ve been consistently impressed with LCM’s approach to graded music exams and diplomas since I was involved in the selection process for the current piano syllabus. This exam board is very consciously offering candidates and teachers something distinctive from the old-fashioned graded music exam, with an imaginative choice of repertoire and exam formats.

Highly recommended

Note: candidates should consuld the current syllabus and read the regulations carefully to ensure they are conversant with and meet all the necessary criteria for entry

LCM Music Diplomas Syllabus from 2019

LCM Piano Diplomas repertoire list from 2019


Further reading

Why take a performance diploma?


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Diploma Day 2018, hosted by the London Piano Meetup Group, was held at Morley College on Sunday 10 June. Now in its third year, this one-day workshop for people taking, or considering taking, a Performance Diploma is proving very popular and successful. Six pianists participated in masterclasses with renowned teacher Graham Fitch, and everyone benefitted from Graham’s wisdom, insights and friendly teaching style. There were some nerves, both spoken and unspoken, but one of the key aims of the event is to create a supportive “safe space” where people can perform part of their diploma programme and receive useful critical feedback. Anyone who has studied with Graham, or has attended his classes and courses, will know that he has a particular knack of identifying a few key areas in each piece and giving the student useful suggestions to implement in practising. What is very gratifying too is hearing the changes that occur in someone’s playing with just a few suggestions from Graham, and everyone can learn from watching others being taught in such a friendly and accessible situation.

In addition to the masterclasses, regular breaks throughout the day allowed people to chat about repertoire, the exam process, anxiety and more, and I gave two brief talks on Choosing a Performance Diploma (of which more below) and managing performance anxiety.

a great gathering of like-minded people!

Neil, performer

“Another fabulous day and Graham Fitch was superb. I have picked up so many technical and practising tips

Janet, observer

Had a fabulous day yesterday playing at the London Piano Meetup Group’s Diploma Day. An expert masterclass taken by Graham Fitch and workshops on all sorts of other related topics.

Kate, performer

We enjoyed a wide range of repertoire, including music by Scarlatti, Rameau, Bach, Beethoven, Schubert, Schumann, Chopin, Rachmaninov, Scriabin, Fauré, Debussy, Grainger, Webern and Sculthorpe, and it was clear from each participant’s “mini recital” that much thought had gone in to selecting pieces which fulfilled the criteria of the performance diploma while also creating a contrasting and interesting programme.

A compilation of live tweets from the event offers many nuggets of advice from Graham- including a National No Pedal Day which was endorsed by concert pianist Stephen Hough.

Read the tweets here

Judging by the popularity of this year’s Diplomas Day, the event will run again in 2019. To keep up to date with London Piano Meetup Group events, please join the mailing list by contacting londonpianomeetup@gmail.com or by joining the LPMG Facebook group

Huge thanks to Graham Fitch for inspirational teaching and to Claire Hansell of LPMG who organised the entire day and ensured it all ran like clockwork.

CHOOSING A PERFORMANCE DIPLOMA

  • Be very aware that the lowest, Associate level diploma should not be considered as “Grade 9”. Unlike grade exams, Diplomas are recognised professional qualifications and as such require a significantly higher level of musical competency. The expected standard of playing for an associate diploma is equivalent to the performance component of the first year in conservatoire.
  • With a variety of diplomas on offer, select the format which you feel will suit you best as a musician. There is a lot of snobbery surrounding certain exam boards – but don’t feel that one exam board’s Diploma is necessarily “better” than another, rather that there are “different” diplomas on offer. All are recognised professional qualifications and the Associate, Licentiate and Fellowship diplomas across the three main exam boards (ABRSM, Trinity and London College of Music) all share the same RQF levels (4, 6 and 7 respectively). The repertoire lists for each level of Diploma are almost identical across the three main exam boards and the diplomas accrue the same academic points.
  • Consider also why you are taking a diploma. Is this for a personal challenge or to enhance your professional career, as a performer or teacher? This may also influence the diploma format you choose. For example, you may feel you don’t wish to be tested on sight-reading in which case the Trinity Diplomas, which are heavily weighted towards performance and include no sight-reading/quick study, may suit you better.
  • Once you’ve selected the exam board, read the regulations very carefully and ensure you can fulfill the criteria. Note that some exam boards require evidence of a pass at Grade 8, for example. Details such as the timing of the programme are very important and attending to these details demonstrates your professionalism. If you’re submitting a programme comprising own-choice repertoire, seek approval from the exam board in good time.
Choosing a programme
  • Unlike in grade exams, you don’t have to offer a chronological programme that includes music from specific periods (Baroque, Classical, Romantic etc). Instead, create a programme which is contrasting in terms of tempi, moods, styles. You could, for example, create a programme entirely from 20th-century music and still fulfill the exam criteria. Consider how the pieces work as a concert programme rather than as an exam.
  • Select music that you know you will enjoy studying and playing rather than pieces which you think will impress the examiner. We all play better if we like the music we’re playing!
Further reading
Many more articles on Diplomas, including my own Diploma journey, can be found on this site – type Diploma in the Search box.