Royal Conservatory of Music (RCM) holds practical (performing) and theory (written) exams four times a year - January, April (piano only), June and August. Deadlines are usually about three months before the month of the exam. Conservatory Canada (CC) holds exams in February, June and August and students also have the option of taking a Flex exam whenever they are ready (must register at least two weeks before exam date). Exams include repertoire, technique, ear training, and sight reading. CC exams also have a musical knowledge portion (Viva Voce) and exams may also include keyboard harmony, transposition and improvisation. RCM curriculum is strictly classical but piano students are allowed to play one selection from the Popular Selection List in lieu of a study. There is an optional Popular Music List for singers as well. CC has two streams to choose from; Classical or Contemporary Idioms (for voice and piano only). A good rule of thumb is that students should be about three quarters (minimum) of the way through the level requirements by the registration deadline before registering. Students who complete a Level 7 practical exam and the corequisite theory exam from either RCM or CC are eligible for a grade 11 school credit. Students who complete a Level 8 practical exam and the corequisite theory exam from either RCM or CC are eligible for a grade 12 school credit.

PRACTISING

So how much should you be practising? There is no one size fits all answer. Each week following your lesson, be sure to look over your teachers' notes (or your own notes) so that you know what is expected of you and what your goals are for each item you are working on. Then look at your schedule for the week - how much time do you have each day to practise? Create a schedule and stick to it. In general, QUALITY of practise is just as important as quantity.

A good practise session should follow this general structure:

- Warm up; can be just physical or just technical or both. You will need to be self aware enough to know what you need that day. The goal is that your mind and body are free and focused.

- Technique; studies, technical requirements, exercises. If there is a lot to work on, just focus on a few per session. The goal is to accomplish what the purpose of the study/exercise is (ex. staccato, dynamics, phrasing etc.).

- Repertoire; Again if there is a lot to work on or the piece is quite lengthy, choose a smaller/shorter portion to focus on. You can play/sing through once to assess what needs to be worked on and then just fixate on those sections. Is it the rhythm, the pitches, the language, the technique, the phrasing, or the performance aspect that needs work? You may need to break it down into more manageable ways to practise - clap and count the rhythm, speak the text, just practise the fingering etc. You can conclude with a run through of the piece or section again to see if what you have worked on has stuck or whether it still needs more work.

Repeat for as many pieces you plan on practising in the session.

Other things you may want to incorporate into your practise session:

- Sight Reading & Ear Training

- Improv/Composition

- Theory should be completed separately

General guidelines for practice session length and frequency:

Beginner/Young student (Pre-Level 1/under 7 yrs old) - minimum 10-15 minutes five times per week

Older Beginner/Early Intermediate (Level 1-3/over 8 yrs old) - minimum 20-30 minutes five times per week

Intermediate (Level 4-6) - minimum 30-40 minutes five times per week

Advanced (Level 7-8) - minimum 45-60 minutes five times per week)

Senior (Level 8 & up) - minimum 60 minutes five times per week or more

ACCOMPANIMENT

If you are a singer or play an instrument other than the piano, you will likely need some form of accompaniment at some point in time, be it for an exam, audition or festival. Many repertoire books now include CD or digital accompaniments of the pieces - these books are great for the practice room but often you will be required to use only live accompaniment for an actual performance. The most common form of accompaniment will be the piano - there may be times you would perform with either a band, orchestra or jazz combo, but piano accompaniment is the simplest form. You will therefore need to find and arrange rehearsals with a pianist who can accompany you. We can provide a list of pianists for you to contact but you will be responsible for arranging your own rehearsals and payment.

LEARNING A NEW PIECE

1. Do some research. What style is this piece in? What era was it composed? What performance practises are used to play this piece stylistically (ex. detached articulation in Baroque piano pieces)? If the piece is from a show/musical/opera - who is your character and who are you singing to and why? Any info you find on the composer and historical context will also better inform your performance of this piece.

Tackle one concept at a time

2. Rhythm - note the time signature and tempo marking. What is the pulse of the rhythm? Write in any complicated patterns or rhythms. Clap and count. Speak the text in rhythm. Start by subdividing into smaller beats until you can just count/feel the larger beats. Start slowly and gradually increase the speed. Repeat until it is in your body.

3. Pitches - learn the pitches with the correct phrasing. Write in fingering or breath marks based on the phrasing. Repeat until you can hear the pitches in your head and have developed good muscle memory. Pianists may want to play hands separately for some time before putting both hands together.

4. Technical considerations - now that you know the pitches and rhythms - have you mastered the technical requirements on the piece? Is your singing/playing even, consistent and free? Does your body have correct muscle memory? Can you execute the dynamics and articulations? Can you play/sing at the correct tempo? Try playing/singing things out of order, with only one hand, at a different tempo, sing on one vowel or note, or play/sing with a different rhythm to help you solidify the correct muscle memory.

5. Performance - you're ready to put it all together! Is the piece memorized? Can you sing/play it through expressively and stylistically and fluidly? Consider recording or videotaping yourself for immediate feedback.