Miscellaneous LCM Jazz sax grade exam question..

[ChrisP]

Hi folks,

I have an LCM Jazz Saxophone grade 3 exam booked in April and could use a little advice.

Of the three pieces I have to play, one must be from their Jazz Wind handbook, so i've chosen 'Jazzy Waltz' which is a short but nicely melodic tune. My question is, does anyone know if it MUST be played to backing music?
I've emailed LCM but they suggested I contact their shop and order an accompanying CD, so I contacted them and they informed me that the CD is discontinued...... I mailed back and asked this question but they haven't replied. It seems to be one of their own tunes and I can't find a track for it.

So has anyone taken an LCM exam recently and know if you need backing music for all performed pieces? I've got tracks for the other 2 songs.

Many thanks...
Chris

 

[cjR]

I've previously read somewhere in the syllabus

"Music which is published with an accompaniment must be performed with that accompaniment."

That being said, looking at the CD there's only 11 backing tracks for Grades 1-8. The piece you've chosen isn't on there.

It's a little surprising they haven't made these available as MP3 downloads via their shop (you can download specimens and additional study pieces for 80p) - seems like this will just degrade these exams over time (unless there's some big rewrite in the works).

Noting what's included on the "Jazz Wind and Brass" CD in case it helps anyone in the future:

G1: Smooth Waltz
G2: Homeward
G3: Winding Road
G4: Night Sky
G5: Southern Shuffle
G6: Up Tempo Blues, Jazz Waltz Blues
G7: One Way, Minor Groove
G8: Low Roller, Samba Time

 

[Pete Effamy]

"Music which is published with an accompaniment must be performed with that accompaniment.

Stressful isn’t it. These things crop up with exam boards more often than they should.

In view of the above piece of information, if it is out of print then it isn’t published.

In my experience, it would be detrimental to their continued existence if you were to be penalised and word can get around. You may get a comment in the feedback section from the examiner but what are you to do?

They have plenty of time to send you a CD, which they must be able to find.

What is LCM - London College of Music? It’s not Guildhall or ABRSM, so not too big.

Good luck with it.

 

[ChrisP]

Thank you cjR, very useful.. and good points Pete.

As you say, if there’s no currently available music, it begs the question of what do they expect. It’s only 4 lines of music, so not the longest piece.
I noted the paragraph on page 9 of the handbook, which I must have glossed over the first time I read the book, which states that “Backing tracks - self made or commercially produced -are also acceptable in order to add to the sense of performance. However they are not compulsory.”
It then goes on to explain how embellishments are acceptable and encouraged in the performance itself, to enable the candidate to develop creative instinct.
So from all of that I suppose one can draw the conclusion that perhaps better marks might be awarded if the performance has accompaniment and is also creative in nature but you can’t be penalised for not having it.

I suppose if I get my head round it I could create one with iRealPro, so will give that a go.

To add… I only chose LCM as examining board as they go beyond grade 5 for Jazz ( as do Trinity ) and getting used to one boards syllabus makes progress easier and also more affordable ( a lot of the pieces for higher grades are in the same books) plus their repertoire looked better at first glance, to me at least.
I’ve never taken a grade exam before and had no idea where to start, so when my sax teacher suggested I take them for my own sense of achievement if I wanted, I thought why not… he initially said to just go straight in for grade 5 but with only a year of lessons I balked at that idea and decided to ease myself in at 3 …. I’m most excited and brickin’ it at the same time !

Thank you both for the input and help.

 

[cjR]

Good luck and let us know how it goes !

 

[Pete Effamy]

Further thought - I've been out of teaching for a while so I forgot that in most exams, a third piece is a "study", and unaccompanied. Is this it?

 

[turf3]

I have no idea about this "LCM exam" bit, but I'd suggest if "Jazzy Waltz" is only four lines of music as printed, it's probably a 32 bar tune (or similar). Once through isn't anything. I'd suggest making a backing track in Band in a Box; three times through; first time play the head, second time make an improvised solo, third time play the head, and then put a tag. It's a time honored tradition to lead into a tune with the last four bars of the tune and to tag it out with the last four bars repeated.

I don't know if this is allowed (and it seems like neither does anyone in the responsible outfit), but it would show that you understand the construction of tunes, the head-solos-head concept, you can construct a reasonable improvised solo, and you know how to end a tune. I'd think that would be a lot better than just reading 32 bars of music by itself, without any context.

 

[ChrisP]

Further thought - I've been out of teaching for a while so I forgot that in most exams, a third piece is a "study", and unaccompanied. Is this it?

No Pete, this is one of the 3 performance pieces and this one in particular is one that I chose from their handbook ( one piece must come from this book) there are around 4 tunes per grade in the book, one must be chosen and then another two pieces of your own choice from their repertoire list for the grade (roughly 30-35 or so to choose from)

My other two choices are …

1) Over the rainbow
2) either “Midnight in Tobago” or “ Waltz for Emily” , will settle on which one closer to the date depending on which one I can play the best from memory.

I think the ‘study’ you’re referring to is a scale study choice you can make ( Bb major scale and played study), instead of examiner asking random scales and arpeggios to be played from the grade list. ( Eb and A major, G and B minor, C minor 2 octaves, G major E minor pentatonic scale one octave swung)

The other parts of the exam are..

Creative response test…
2 bars sight read followed by 2 improvised then another two read followed by another two improv’

Aural tests…
Rythym
Beat time to a passage played by examiner in 6/8 time.
Examiner then plays from a sheet with several lines of music and ask you to identify which bar from this sheet they just played.
Pitch
Identify intervals by numerical value, first played successively, then together. So identify 2nd, 3rd, perfect 4th, 5th.
Then sing, hum, whistle or play back a phrase of 3 bars containing notes of different duration in either a major or minor key. (Examiner choice).

This is all I know for now and hope there aren’t any other surprises, for instance, I can’t find any reference to component 3 of the exam ‘musical awareness’ which is worth 7 marks ! The relevant page in the handbook has a rhythm exercise in swing style but no guidance, I’ll await London College of music’s advice with this one….

Cheers
Chris

 

[ChrisP]

I have no idea about this "LCM exam" bit, but I'd suggest if "Jazzy Waltz" is only four lines of music as printed, it's probably a 32 bar tune (or similar). Once through isn't anything. I'd suggest making a backing track in Band in a Box; three times through; first time play the head, second time make an improvised solo, third time play the head, and then put a tag. It's a time honored tradition to lead into a tune with the last four bars of the tune and to tag it out with the last four bars repeated.

I don't know if this is allowed (and it seems like neither does anyone in the responsible outfit), but it would show that you understand the construction of tunes, the head-solos-head concept, you can construct a reasonable improvised solo, and you know how to end a tune. I'd think that would be a lot better than just reading 32 bars of music by itself, without any context.

Thanks turf3, that’s an interesting suggestion and my teacher seems to think they’d encourage any embellishments and creativity throughout the exam, it is after all a Jazz grade….. and not as confined as a classical assessment, where a melodic but otherwise not written note might be considered a mistake ?

Your suggestion however does assume I could convincingly carry off such a performance .. 😛 but I’d give it a good go !

 

[Pete Effamy]

musical awareness

I’m guessing, but was/is it Guildhall who had a Viva Voce part of their exams?

Basically you give a brief analysis of the piece.

 

[ChrisP]

I’m guessing, but was/is it Guildhall who had a Viva Voce part of their exams?

Basically you give a brief analysis of the piece.

Could well be Pete, I can find no notes for it in their handbook thus far, just a reference to it on the exam guidance page, will do more research…

 

[cjR]

You can piece together from these 2 docs, respond to questions from examiner, at higher grades enter into a discussion etc.

https://lcme.uwl.ac.uk/media/l2ikj2zw/jazz-grades-syllabus-2016.pdf

https://lcme.uwl.ac.uk/media/yljlgioy/jazz_saxophone_rep_list_2016.pdf (Pg. 24)

Describe the mood, character, explain notation etc

 

[Pete Effamy]

So a Viva Voce then.

In classical exams, this might include talking about the form of the piece (Sonata form, Menuet and Trio, Rondo etc), and to describe aspects of the piece using Italian terms (for tempo, articulation, character) though usage of Italian terms in a Jazz exam would be silly, so just use plain English.

This could be something like: (I haven't looked at it so this is just an example)

This is a medium Jazz Waltz in AABA form - Head repeated, bridge and head again.

Often, you can get good marks by stating the absolute obvious - "this piece covers two octaves in range". Unless this is pointed out, it's not obvious to mention it due to it being, well, obvious.

Is the articulation marked? If so, state what it is. Or, if no markings (like most of jazz - you're expected to know what constitutes good style) say what you decided to use.

- A large part of the Jazz "repertoire", isn't bespoke repertoire at all, they're just popular songs of the time, and would be scarcely furnished with much detail other than what is necessary - key, time sig, notation. If this is a piece written or arranged for the exam specifically then it may well have quite a bit of detail - and often, this detail can be dubious from a jazz perspective as much of this material is written by non-jazzers.

If it has little detail, you might talk about what details you decided to add for your own performance and creative choices. Let's face it, a lot of jazz doesn't have a lot of dynamics in the way that classical music does - it has nuance instead - more changes of colour etc over a much shorter period (no long crescendos or diminuendos etc).

BUT, the examiner will likely have a box to tick with your performance in regard to dynamics - even in possibly inappropriate musically - so you could play the head 1st time at forte, and the repeat at piano - naff really, Paul Desmond didn't do it - but it's a consideration in terms of this exam. Chat to your teacher about it.

 

[Pete Effamy]

Having said all of that - it's only grade 3, and (rather an own goal in this day and age) they state that grade 3 is aimed at 4 -7 year olds - did I read that correctly??! Playing sax at 7 or less? An alto will be down at the ankles and weigh a ton.

 

[Pete Effamy]

Sigh, I've grown to loathe much about exams. Or rather, the people that put them together. Usually, they have a real knack for getting advice from the wrong places...

 

[ChrisP]

Thank you for the links cjR, I think they explain much of what I’m missing regarding structure of the test and weighting of marks etc, I’ll digest it over the next few days.
I did print this syllabus off somewhere but I’ve now a growing mountain of paper sheets and I’m struggling to see the wood for the trees 😵

Thanks Pete, I understand better now what may be required for that element, so it’s likely to be a discussion regarding my played pieces and what or why it was played the way it was and my understanding or interpretation of its musical construction ?

My teacher took the same LCM exam board grades before Leeds Uni for Jazz performance degree… but some years ago and on the Clarinet, not too different but I’ll discuss these points with him.

Thank you both for your time, it is very much appreciated…

Cheers Chris

 

[cjR]

it's only grade 3, and (rather an own goal in this day and age) they state that grade 3 is aimed at 4 -7 year olds - did I read that correctly??!

Haha - yes they do seem to be suggesting that. Which seems a little ways off what I'd at least heard from some teachers and local music authorities - ie. Not starting children on brass or wind instruments until around 6 or 7.

They have a carve out for "continuing education" which I guess is the catch all.

 

[ChrisP]

Having said all of that - it's only grade 3, and (rather an own goal in this day and age) they state that grade 3 is aimed at 4 -7 year olds - did I read that correctly??! Playing sax at 7 or less? An alto will be down at the ankles and weigh a ton.

Yes.. it does read that way Pete 😀 at 7 years of age, I’m not sure my paws would stretch far enough to reach some of the keys, much less have any musical awareness beyond happy birthday and the presents that followed it.
(child Prodigy’s excepted)

On the other hand… I fully expect to be the only saxophone sitting there on the day in a line of kids ! Haha

 

[Pete Thomas]

My question is, does anyone know if it MUST be played to backing music?

I would have that it's possible, even if technically you don't actually need it, there may be some unconscious bias against you for not having it. Perhaps they want to assess your intonation or timing along with a backing.

 

[Pete Effamy]

I would have that it's possible, even if technically you don't actually need it, there may be some unconscious bias against you for not having it. perhaps they want to assess your intonation or timing along with a backing.

Yes, the interplay thing is usually a component. If Chris has time/inclination to change to another tune on the list that does have an accompaniment then that’s definitely that worry out of the way.

Of course, the adjudicator could be a church organist and not have much clue about Devils, their music or instruments. The biggest selling point of the Guildhall exams over ABRSM (until relatively recently - or still?) was that the adjudicator played your instrument…