ABRSM vasaras eksāmenu 2018 sesijas ietvaros pārbaudījumu kārtoja arī studijas “Vijolīte” skolotāja. ABRSM pārbaudījums vijoļspēles pedagoģijā nokārtots ar izcilību (with distinction), tagad atļauts pie vārda izmantot titulu DipABRSM 
Eksāmens sastāvēja no dažādiem pārbaudījumiem: iepriekš iesūtāma rakstiska darba par izvēlētu tēmu (darbu lasīt šeit) un tā apspriešana eksāmenā; praktiska demonstrēšana roku nostādīšanai un konkrētu problēmu risināšanai; lasīšana no lapas; iepriekš sagatavotu skaņdarbu atskaņošana un to stilistisko īpatnību un tehnisko aspektu iztirzāšana; vijoles vēstures un bērnu tiesību aizsardzības pārzināšana utt., utt. – bija jābūt gatavībā atbildēt aptuveni uz 30 jautājumiem par visdažādākām tēmām. Gatavošanās process pats par sevi bija milzīgs izzinoši aizraujošs ieguvums Un liels paldies tiem 4 bērniem, kuri, zobus sakoduši,pavasarī, papildus savam repertuāram mācījās arī Grade 6 skaņdarbus, palīdzot izzināt, tieši kādas praktiskas grūtības skolniekiem tie varētu sagādāt!
EKSĀMENA JAUTĀJUMI
Šeit daļa jautājumu, uz kuriem bija jāsagatavojas atbildēt:
● Please tell us about the range of materials you have brought today.
● Which is your preferred tutor book for young beginners? What do you particularly
like about it?
● What would a student find difficult in this bar? How could you isolate the problem
and help the student overcome it?
● How could you encourage good posture in a young player who finds the instrument
cumbersome?
● How would you explain breath control to a beginner on your instrument? What
exercises could you devise to help him/her develop this?
● Suggest some ways of practising these semiquavers.
● If a pupil is consistently sharp (or flat), what may be the reasons and how would
you tackle the problem?
● What are the most common faults to be found in scale and arpeggio playing? How
would you remedy them?
● In teaching a Baroque piece, what would influence your choice of articulation?
● Suggest and demonstrate simple exercises to encourage good legato playing.
● How would you help a pupil to maintain a steady pulse in this section?
● Demonstrate how you would teach a student to form a good embouchure.
● Do you think it is important to demonstrate to a pupil? Why? (Or why not?)
● What ideally would you aim to achieve when giving a young child his/her first
lesson?
● What assessment procedures would you use to inform a pupil about his/her
progress?
● Do you think improvisation has a place in the early stages of learning the
instrument/voice? How would you use improvisation in a lesson for a Grade 1 pupil?
● How important is it that pupils play by ear?
● Do you regard the development of musical memory to be important? How would
you go about improving a pupil’s memory?
● What are good practice habits and how would you encourage them?
● How would you motivate pupils to practise their scales?
subject to content
● What exercises or repertoire would you give to a Grade 2 pupil to help improve
his/her tone?
● Suggest some useful contemporary repertoire for a Grade 5–6 student.
● A Grade 3 pupil would like to play some jazzy pieces – what would you suggest?
● Which tutor book would you use for an adult beginner who has already studied
another instrument?
EKSĀMENA RAKSTISKĀS DAĻAS IESPĒJAMIE TEMATI
Eksāmenam izvēlējos 3. tematu – motivācija apmācības sākumposmā. Tāpēc, ka šis ir vissarežģītākais un vissvarīgākais temats, lai vispār varētu strādāt. Pirmkārt ir jābūt motivētiem skolniekiem.
Discuss your choice of material for use with young beginners and/or adult
beginners in the first year of learning.
● Describe how, and in what order, you would approach the teaching of the
fundamentals of your instrument or voice to a beginner who has no musical
knowledge.
● Imagine that you have been asked to run the first five lessons for a group of very
young children new to your instrument. You are required to teach a group of seven
children in one room for 25 minutes a week. Outline your lesson plans and general
approach to this project concluding with details of what you would expect your
pupils to have achieved at the end of this five-week course.
● Discuss the various ways in which you would sustain the interest and musical
motivation of your pupils during the initial years when they are assimilating the
basic technical skills.
● How would you introduce a new piece to a student? Make reference to exploring the
notes, practising procedures and eventual memorization.
● Discuss your approach to the development of sight-reading and aural ability and the
ways in which these skills are of benefit to the complete musician.
● What importance do you attach to the use of technical exercises? Name and
describe the exercises you might give a pupil during the various stages of his/her
development, indicating the purpose of each exercise and the circumstances in
which it would be most appropriate.
● Discuss the place and relevance of musical improvisation in lessons and consider
how its inclusion could impact on the development of the learner’s musical
awareness and skill acquisition.
● Discuss some of the causes of unrhythmic playing or singing and suggest some
remedies.
Congratulations!