Associated Board of the Royal Schools of Music
Although in an ideal world I would not recommend the graded methods for improving at the piano. This is because sometimes doing all the grades can limit some talented pupils. I definitely found this to be the case for me. Diligently doing every grade can sometimes put a cap on one’s potential as you only know how good you are when you rise to big challenges which are sometimes beyond the labelling of the graded system. It can create in some cases a mental block that stops a student’s ability.
However, the ABRSM system certainly has benefits. The package of sightreading, pieces and scales give a well-rounded level to many musicians. Certainly, the knowledge of all the scales is an essential basic skill that must be mastered by all musicians aiming to maximize their potential.
When I teach the ABRSM graded system I usually say that for most pupils it is not essential to take the exam that they are studying for. In some cases, a goal of a good mark in the exam is great for students. However, if there is less pressure, I often find the results are better. A student can for example study all of grade 3 and then prepare to sit the exam of grade 5. Thereby they surprise themselves and have a greater sense of achievement than if they were to take every exam as if they were in school. And the latter can often take the fun out of the learning.
The actual syllabus although only compromising of 9 pieces to choose from is often well balanced to suit different students’ individual tastes. In my experience I have often been surprised at the results of students in the actual exam. And of course, not so surprised when a talented student gets an extremely high mark. However, the aspect of nerves and levels of concentration need to be taken into account when a student is displeased with his or her result.
This brings me to another point. The great masters of piano suffered from nerves when performing. I think this is not an aspect that is helped by this exam itself. There is a story of the great pianist Vladamir Horowitz having to being physically pushed on stage. If he struggled with performing what to speak of a 6-year-old taking an exam with no applause or appreciation for what he or she has done after the experience.
Having said that the exam always puts emphasis on fluency is certainly an essential tool for performing in general. So, the most important thing is not to stop even if there are a few blemishes on the day of performance. I always work with my students very thoroughly on hands separate practice as a basic tool to ensure maximum security when playing. This always helps them to create a piece that is played to the best of their ability.
The notes ideally must be played in the right time at the right level of loudness or softness and at an appropriate speed. But the aspect of imagination is often left to the wayside when teaching this somewhat austere and rigid syllabus. I remember once I asked a grade 5 student to write a story about their piece. We had been working very thoroughly on the piece and there were still mistakes. However, when they read me their story and then played the mistakes had all but disappeared.
In conclusion mastery of the ABRSM syllabus has positives and negatives. But the key is to treat it as part of a more general steep learning curve that can yield (when used carefully) great results. Or at least certainly deepen a student’s basic knowledge of music in general. In a broader sense I liken an achievement of Grade 8 distinction to that of a martial artist getting their black belt. There is still a lot more to learn after the basics are completed. It is a milestone but in the mountain range of classical music repertoire there are still more peaks to summit.