A revised syllabus for the ABRSM organ diploma examinations
When I was checking the links for my post on repertoire development a few weeks ago I discovered that the Associated Board of the Royal Schools of Music had undertaken some radical changes to the structure of their diploma examinations for Licentiate (LRSM) and Fellow (FRSM). To explain the significance of the changes I need to first outline the Royal College of Organists ARCO/FRCO and Trinity College London LTCL/FTCL examination structures.
In the case of both the ARCO and FRCO examinations the performance element is a stand-alone element of a very broad-based syllabus which covers keyboard harmony, composition and the development of organ music. The pieces for the performance element are set out in four categories, each with six options. The examinee has to chose three pieces, with only one allowed from each section. There has to be one piece by Bach. There is no requirement to present programme notes of the performance element of the examination.
In the case of the LTCL/FTCL examinations the selection of the recital programme is based on a time limit for the recital. The programme choice is made from a list of over 30 pieces for LTCL but only 17 for FTCL. This approach presents the challenge of finding a set of pieces that fits into the time allowance. You may end up choosing a piece that you do not especially like in order to fit the recital into the required time. It is possible to select a piece that is not on the list but this requires permission in advance by TCL. Programme notes are required but there is no specification for their scope or length.
For the TCL examinations and for ARCO there are no entry requirements that must be met in order to take the examination. You do have to have ARCO to undertake the FRCO examinations. For the record, the overall examination structure for the American Guild of Organists is similar to the RCO examinations though the individual elements are somewhat different.
The approach that is now being taken for 2024 onwards by the ABRSM for its diploma examinations is substantially different. The examination consists of two Units. Unit 1 is the recital performance. This is assessed both on the performance of the individual pieces and on the overall balance and coherence of the recital. Each is allocated 40% of the total marks.
For Unit 1 the there is a long list of pieces selected for both LRSM and FRSM. For LRSM there are almost 60 options, including 17 by Bach, 7 Rheinberger sonatas but strangely no Vierne. To give you an indication of the FRSM standard, one of the pieces is the Toccata from Duruflé’s Suite Opus 5! In addition, for both examinations 50% of the recital has to be selected from the list but other pieces can be selected, including (at LRSM) pieces from the FRSM syllabus. As with the TCL examinations there is a time limit on the recital. Given the wide range of potential pieces it is somewhat easier to juggle the pieces to meet the time requirement for LRSM than for LTCL.
What is very different about the ABRMS examinations is that there is a Unit 2 essay which for LRSM is denoted as Performance in Context (and 2000 words) and at FRSM as Research and Reflection (3500 words). This essay represents 20% of the total marks.
The LRSM topics are
1. Informing your audience
2. Detailed analysis of an individual work or works
3. Programming your Performance
4. Preparation for Performance
Unlike the RCO and TCL examinations there is an entry requirement for the ABRSM examinations of having gained either Grade 8 organ or piano. I was pleasantly surprised to find when I checked with the ABRSM that my Grade 8 piano examination from 1963 met the requirement and even more surprised that I do indeed still have the certificate to prove it.
It is important to state that I am not trying to suggest that the ABRSM examinations are ‘better’ than the RCO and TCL. The purpose of this post is to highlight some of the differences you may wish to consider in deciding which examination structure best meets your interests, skills and objectives, and the level of support you need from your teacher. Even if you have no interest at all in taking one of these examinations building up a short recital programme to a high standard is a good discipline.