#Abrsm accompanist free
Candidates with a limited vocal range should feel free to tell the examiner, who'll endeavour (but not guarantee) to find tests within the range specified. Your student could either hum or whistle – the examiner won't be assessing vocal quality. My student can’t/won’t sing in the singing part of the aural tests. However, very short repeats can be played at the discretion of the teacher or candidate.
Accompanists for Grade 6–8 exams are also welcome to bring a page-turner.ĭa capo (DC) and dal segno (DS) indications should be followed but other repeats (including first-time bars) shouldn't be played unless stipulated in the syllabus. Information on the length of the overlap period and the requirements that it applies to are given at /overlap.Ĭandidates at Grades 6–8 can bring a page-turner to assist with any awkward page-turns in their music. Prior permission from ABRSM isn't required. In the first year of a new Practical exam syllabus, we offer an overlap period in which candidates may follow specific requirements from the preceding syllabus. Can I use pieces from last year’s syllabus in my exam this year? The syllabus I’ve been working on has changed.
Arrangements beyond that are subject to review. These arrangements are in place until at least 31 July 2022. For digital exams (including Performance Grades) we are offering a range of options which you can view here. For face-to-face exams (including Practical Grades) we will accept unaccompanied performances as outlined here. However, in response to Covid, we are offering flexibility to singers and instrumentalists who must usually have an accompanist (or duet partner) for their exam. His many appearances have included playing Keys 2 in ‘The Lion King’ in the West End and piano and keyboard parts in Britten’s ‘The Turn of the Screw’ at Bloomsbury Theatre, ‘My Fair Lady’, Tippett’s ‘The Knot Garden’ and ‘The Wild Party’.What do I do if my accompanist is unable to attend my exam due to Covid? In the opera and musical theatre world he plays regularly for rehearsals, auditions and shows. In the field of contemporary music he has played in many orchestral and chamber orchestra performances, such as at the Almeida Festival, Huddersfield Festival and with Endymion at the BBC Proms at the Royal Albert Hall. At the Royal Opera House he has performed in various shows such as ‘Timecode’, Stravinsky’s ‘Firebird’ and ‘The Wind in the Willows’.Īs an orchestral pianist, besides occasional concerto work he has considerable all round experience, playing piano parts for many oratorios including frequent performances of works such as Rossini’s ‘Little Mass’, ‘Carmina Burana’, Brahms’ Requiem and Jenkins’ ‘The Armed Man’. He has worked with many well-known names in the dance world, such as Darcey Bussell, Wayne Sleep, Tamara Rojo, Carlos Acosta and Leanne Cope.
In the dance world he has played for the Genée International Ballet Awards, for the Royal Ballet Company in London, the Matthew Bourne New Adventures Company, Birmingham Royal Ballet, Rambert, English National Ballet and many more. His experience as an examiner and trainer for ABRSM has made him a popular choice of accompanist for Grades and Diplomas and he often plays for entrance auditions for the main UK music colleges. John’s Smith Square and has repetiteured for numerous opera, musicals, and ballet companies. He has played in many duo recitals from the Purcell Room to St. His recent accompanying work includes recording the piano parts for the official CD of the new ABRSM violin syllabus. He has a vast amount of experience, having worked with many singers, string players, woodwind and brass payers and percussionists. Adrian Sutcliffe is in constant demand as an accompanist for recitals, auditions, exams and competitions.
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