It is my great honour to congratulate my music theory student, who has passed his Grade 8 Music Theory exam in 2025 with merit results and has gone on to compose an original Chinese pop song titled Bu Fang Shou

Icen’s success story is a wonderful example of how strong music theory training can directly enhance creative composition skills. After mastering advanced topics such as form, cadences, imitation, sequences, and modulation in my music theory lessons in Singapore, Ricky applied everything he learned to craft a song that showcases both pop appeal and classical structural balance.

Icen has completed music theory  grades 6 to 8 within one year and passed Grade 8 music theory exam in 2025 directly with merit. There after he continue to apply our effective music theory method in his songwriting experiment and emerged to be a good song writing composer who produced numerous of pop and rock music.

This song is one of his successful work that has been used in a music MV where it features Icen as a rock guitarist, his music enhance the excitement in the story line in this MV and build up the climax with full texture of counterpart writing. It received many positive comments and impressed the audience successfully with its exciting story line and excellent band performance.

Music Structure Analysis of ?????

Icen’s composition demonstrates a clear ternary form (ABA) — exactly the kind of structural awareness we cultivate in my Grade 8 and Diploma music theory classes.

• Section A: The piece opens with a main theme built on two simple, memorable phrases. The rhythm is clear and engaging, making it instantly recognizable to listeners.
• Section B: The middle section introduces imitation of the main theme and develops it using sequence writing and dynamic contrast. The music builds tension through rhythmic complexity and crescendo, reaching an emotional climax at the centre of the song.
• Return of A: After a brief pause, the opening theme returns — a satisfying resolution that follows proper cadential closure and demonstrates solid understanding of theory-based phrase structure.

This elegant design proves how knowledge of classical form and harmonic function can elevate modern songwriting.

From Theory to Practice — A Real-World Application

What makes Icen’s achievement even more inspiring is that his composition was selected and produced into a professional MV by a music producer. In the music video, Icen himself appears as the handsome guitarist, performing his own work — a proud moment for any teacher!

The excitement and musical energy of the song are enhanced by his careful control of melodic imitation, sequencing, and dynamic shaping, all of which stem directly from the music theory principles we covered in class.

Why Learn Music Theory in Singapore with Jenny Soh Music Studio?

At Jenny Soh Music Studio (WowPianoWow.com), my mission is to help every student go beyond exam results and truly apply music theory in real-life composition and performance. Students learn not just how to analyse or pass exams, but how to think like a composer — just like Icen did.

If you are preparing for ABRSM Grade 8 Music Theory, Trinity Theory, or AmusTCL Diploma Theory, my lessons provide:

• In-depth guidance on form, harmony, and melody writing
• Practical applications to composition and arrangement
• Visual and point-form explanations that make complex topics easy to grasp
• Proven track record of students achieving distinctions and creating original works

Congratulations Once Again to Icen!

Your journey from Grade 8 Music Theory to professional songwriting is an inspiration to all aspiring musicians. It is deeply rewarding to see how music theory knowledge can empower creativity and bring musical ideas to life.

Interested in learning how to apply music theory creatively?
Join Jenny Soh’s Music Theory Lessons in Singapore — where analytical understanding meets musical artistry.

Visit www.wowpianowow.com to enrol today! Whatsapp 98256286

How Jessica Achieved Distinction in Her DipLCM Piano Exam with Trinity Repertoire: A Story of Smart Choices and Musical Excellence

Achieving a Distinction in a Diploma in Piano Performance is a remarkable accomplishment that reflects not only musical skill but also maturity, strategic thinking, and artistic sensitivity. For Jessica Bao Ru Chan, her recent success in the DipLCM Piano Performance exam, with an outstanding score of 90/100, is a testament to her thoughtful preparation, excellent repertoire choices, and refined musicianship. What makes her achievement even more special is that her entire programme was originally chosen from the Trinity College London diploma piano syllabus, yet she chose to pursue the qualification under the London College of Music (LCM) — a university that awards prestigious, internationally recognised piano diploma certification.

Jessica’s journey shows how smart academic and musical decisions can lead to higher recognition and better future opportunities.

Choosing the LCM DipLCM for Greater Prestige and Recognition

Although both Trinity College London and LCM offer performance diplomas at similar levels, there is a key difference. Trinity diplomas are awarded by an exam board, while LCM diplomas are issued by the University of West London, a recognised UK university. This makes the DipLCM a Level 4 university qualification, equivalent to the first year of a UK bachelor’s degree, and more respected by higher education institutions and employers.

Jessica discovered that many students who had completed Trinity diplomas faced limitations when applying to music degree programmes overseas. Wanting her hard work to count towards a qualification recognised in academic and professional contexts, she made the smart decision to register her diploma performance under LCM, while keeping the rich and stylistically varied programme she had prepared using the Trinity syllabus.

The result? A university-recognised diploma with a Distinction grade that now opens doors for further music studies and career opportunities in teaching and performance.

A Programme that Showcased Maturity and Versatility

Jessica’s recital featured an elegant and well-balanced selection of repertoire spanning four major musical periods:

              •            Bach – Prelude & Fugue in D Major, BWV 850

              •            Beethoven – Sonata in G Major, Op.14 No.2

              •            Chopin – Nocturne in E Major, Op.62 No.2

              •            Fauré – Barcarolle No.1 in A Minor, Op.26

This diploma piano exam programme demonstrated a clear understanding of contrasting styles — from Baroque counterpoint to Classical form, Romantic expressiveness, and French Impressionist lyricism. Such thoughtful diploma programming allowed Jessica to display a wide range of interpretive skills, a key factor in achieving high marks in diploma exams.

Examiners Loved Her Performance

According to the examiner’s report, Jessica performed with poise and musical intelligence throughout. Her Bach Prelude and Fugue opened the recital with confidence and clarity, showing an even rhythmic flow and well-controlled articulation. The Fugue was described as thoughtful and dignified, with clear entries and refined texture — a sign of strong polyphonic understanding.

Her Beethoven Sonata was praised for its expressive contrasts and stylistic awareness. The examiner highlighted the deliberate tempo, accurate rhythm, and clear dynamic variation across all three movements, noting especially the charm and humor captured in the lively final rondo.

In Chopin’s Nocturne, Jessica revealed sensitivity and elegance, exploring a wide range of tone colours and sonorities. The examiner noted the beautiful phrasing and the fragility in her delicate embellishments, which brought a poetic quality to the performance.

Finally, the Fauré Barcarolle provided a graceful conclusion, with lyrical phrasing and gentle rocking rhythms that reflected calm serenity. The examiner commended her commitment and understanding of Fauré’s flowing style, which left a lasting impression of maturity and control.

It was this combination of technical precision, stylistic understanding, and emotional depth that earned Jessica her Distinction mark of 90/100 in her diploma piano exam.

The Importance of Rare and Thoughtful Repertoire

Many diploma piano candidates tend to select popular works that are frequently performed, such as Chopin’s Ballades or Beethoven’s Pathétique Sonata. Jessica, however, chose a more sophisticated and less common programme, which immediately captured the examiner’s attention. Her Fauré Barcarolle and Chopin’s late Nocturne are both nuanced works requiring subtlety and sensitivity — qualities that distinguish a mature performer from a merely capable one.

By performing pieces that are rarely chosen in diploma piano exams, she demonstrated not only breadth of knowledge but also confidence in her artistic identity. Examiners often reward such thoughtful programming, as it reflects intellectual curiosity and a deeper understanding of musical styles.

LCM  Piano Diploma Exam is the Smarter Choice For Candidates

In addition to the performance itself, the DipLCM places emphasis on the candidate’s programme notes, which are assessed for clarity, historical accuracy, and analytical insight. Jessica’s notes were praised for being well written, informative, and balanced, offering valuable context for listeners. This academic component adds another layer of professionalism to the qualification — one that Trinity’s performance diploma does not always emphasise as strongly.

The London College of Music is known for its holistic evaluation, combining performance artistry with written presentation and interpretive insight. This approach aligns closely with what universities and employers look for in professional musicians: well-rounded individuals who can perform, teach, analyse, and communicate about music effectively.

A Distinction in Diploma Piano Exam Opens Future Opportunities

Earning a Distinction at diploma piano level is a powerful milestone in a pianist’s journey. It signals a high level of artistry and technical command, as well as a disciplined approach to study and preparation. With her DipLCM (90/100) result, Jessica now holds a university-recognised qualification that strengthens her portfolio for:

              •            Admission into music degree programmes in the UK or internationally

              •            Applications for teaching positions in music schools or private studios

              •            Establishing a profile as a qualified performer and educator

              •            Future advancement toward ATCL, LTCL, or even FLCM diplomas

This achievement reflects not only her talent, but also the value of choosing the right syllabus and guidance.

Train for Distinction with Our Diploma Piano Lessons

Jessica’s success story is an example of how strategic planning, careful repertoire selection, and expert coaching can lead to top results. With Jenny’s diploma piano courses, we specialise in preparing candidates for DipLCM, ATCL, and ARSM piano diplomas, guiding every student to understand the stylistic demands of each piece, write impressive programme notes, and perform with confidence and personality.

Under the mentorship of Master-Degree Piano Teacher Jenny Soh, students receive personalised support to achieve Distinction-level performances that open doors to academic advancement and professional recognition.

If you’re ready to take your piano journey to the next level, start your diploma piano lessons in Singapore today with teacher Jenny.

Visit ? www.wowpianowow.com

WhatsApp 98256286

When piano students first read a new piece of music, the pages seem like a sea of unfamiliar notes, rhythms, and symbols. Some rely solely on trial and error at the keyboard, but those with strong music theory knowledge often find themselves navigating with greater confidence and speed. Far from being an “extra subject” to pass in exams, music theory is the hidden key that unlocks fluency in score reading and sight-reading.

1. Understanding the Language of Music Theory

Music theory functions like grammar in a language. Just as one cannot read a novel without understanding sentence structure, a pianist cannot fully read a score without grasping the basics of notation, keys, rhythms, and chords.

Keys and Scales

Recognising key signatures allows students to predict sharps and flats in advance, rather than stumbling over “surprise” accidentals. There are 4 evidence to decide whether the key is identified correctly, by looking at the key-signatures, accidentals, opening or closing chords and cadences, these are the 4 important clues to identify a key or modulations. We teach key-signatures by counting circle of fifths instead of memorizing them by heart, so that the students can visualize, the major minor relationships by looking at the sharps and flats in the key-signatures.
For examples, when there are three sharps in the key-signatures, F#, C#, G#, the last G# leads to A after raising a semitone, hence we know it’s A major. When there are four sharps in key-signatures, F#, C#, G#, D#, the D# leads to E after raising a semitone, hence we know it’s E major. We offer impressive lessons like this and our students learn all major and minor key-signatures within one lesson which makes their music learning journey much more rewarding.

Time Signatures and Rhythms

Instead of counting each bar mechanically, theory knowledge helps pianists feel the underlying pulse and subdivide beats naturally. In our music theory lessons, we teach students how to count according to grouping of time signatures systematically with a rhythm grouping chart that consists of simple and compound time that divided into duple, triple and quadruple time, we teach students how to subdivide the grouping because in ABRSM digital music theory exam, they will be asked to complete each grouping of quaver, crotchet and minim grouping by inserting the rests. We would advise students how to complete each group of crotchet and minim according to the duple, triple and quadruple time accurately.

Chords and Harmony

By recognising harmonic progressions (tonic, dominant, subdominant, etc.), students can anticipate the direction of the music rather than decoding one chord at a time. By analysing chord and their function, students will know how to position their hands and design customised fingering according to their physical hand shapes and sizes, this helps them to position their hands and strike the right chords very quickly and accurately without counting the chord notes one by one. We also teach them how to identify the difference sound of each cadence confidently, such as perfect, imperfect, plagal and interrupted cadences have their own characteristic and resolution patterns, being able to identify the tone colour of these cadences would help them to hear the sound before striking the chords on the keyboard.

2. Pattern Recognition: The Shortcut to Faster Reading

Experienced readers don’t spell out words letter by letter; they recognise patterns of words instantly. The same principle applies to music.

Music theory trains piano students to spot common musical patterns such as scales, arpeggios, sequences, and cadences. Once the brain registers these as familiar building blocks, reading becomes much quicker. A pianist no longer sees 16 random notes — they see “a descending arpeggio in G major.” This shift in perspective accelerates sight-reading dramatically. For example, one of the passages in Bach’s Prelude has long ascending arpeggios in F minor, the student is able to play these notes in the arpeggios upwards very quickly once she knows the arpeggios comes from the F minor chord and hence, she is able to spread the fingering quickly by turning the thumb after every 4 notes and 3 notes across three registers on the keyboard.

3. Interpreting Symbols and Expression

Beyond the notes, theory provides meaning to the markings that colour the music. Dynamics, articulation, ornaments, and Italian terms are not just decorations — they carry instructions that shape musical interpretation.

When a student knows the difference between legato and staccato, or recognises an ornament as a trill versus a mordent, they can instantly apply the correct touch. This reduces hesitation and gives their sight-reading a more polished, musical quality.

There are 6 types of musical ornaments to be tested in ABRSM digital music theory exam, they are acciaccaturas, appoggiaturas, mordents, turns and arpeggiations. In our music theory lessons, we provide a comprehensive spread sheet of ornaments execution, the spread sheets would list down all the possible ways of playing those ornaments note by note and how to split the rhythm according to the given note’s value, students will be given an exercise book to learn how to execute these ornaments when they see them on the score so that when they are given a new piano score, for example a complicated Fugue by Bach that is full of ornaments, they will be able to recognize the ornaments and play it accurately to connect to the phrase that comes after it.

4. Building Confidence Through Preparation

Students who are trained with music theory often practice past-year papers and work through graded syllabi (like ABRSM theory or Rockschool Popular Music Theory). This constant exposure strengthens their analytical ability, so when they encounter a new score, they don’t feel lost.

Piano learners who lack this foundation may still eventually play the notes, but they often struggle with confidence, fluency, and interpretation. In contrast, theory-trained pianists approach new scores with a clear roadmap.

5. Connecting Theory with Practical Playing

Music theory is not meant to stay on paper. At many music schools in Singapore, teachers highlight how theory knowledge translates into real-life piano skills:

• Better sight-reading accuracy, they will know how to position their hands at the right place and designed customised fingering according to their hand shapes.
• Faster learning of new pieces, without counting the notes step by step on the score that takes a long time.
• Greater flexibility when learning additional instruments, they will be able to use relative pitch to help them judge whether they produce the right sound.
• The ability to improvise and compose, with theory knowledge, they will be able to work out the good chord progression and know how to match the chords to the given melody and play by ear. These students with good music theory knowledge will know how the cadences sound like in their head before playing it on the keyboard. Our music theory lessons will teach how to use chromatic chords, altered chords and advance chord progressions to spice up the improvisation skills and play like a professional pianist.

Most importantly, theory knowledge makes practice sessions more efficient, as students understand why certain notes, chords, or rhythms appear, not just what to play.

Conclusion: Why Every Pianist Needs Music Theory

For piano students, music theory is more than an academic requirement — it is the foundation for fluent score reading and confident sight-reading. By understanding keys, chords, rhythms, and musical symbols, pianists can transform a complex score into an intelligible, expressive performance. This is also an essential skill that every piano teacher must obtain if they want to become a qualified piano teacher. In most music schools in Singapore, they require piano teacher to obtain ABRSM music theory grade 8 certification and so is those piano agencies who do piano teacher and students matching services.

The result? they learn pieces faster, play with deeper understanding, and develop the independence to tackle unfamiliar music with ease. In short, music theory turns score reading from a struggle into second nature.

Looking to strengthen your foundation? Explore our diploma piano courses or sign up for piano lessons in Singapore to take your skills further. Whatsapp teacher Jenny 98256286 for a trial today!

#MusicTheoryLessonsSingapore #PianoSightReading #PianoLessonsSingapore #ABRSMTheory #MusicEducationSG #PianoStudents #MusicTheoryForPiano #LearnPianoSingapore

When preparing for diploma piano exams in Singapore—whether ABRSM’s ARSM, Trinity ATCL, or LCME DipLCM under University of West London—students often ask about the possibility of choosing an own choice piece. These self-selected works must be of equivalent or higher standard than the listed repertoire, and for ARSM, the performance time must stay within 28–32 minutes, with each own choice piece not exceeding 10 minutes.

But here’s the tricky part: examiner expectations differ across exam boards. From our experience, ARSM and Trinity diploma examiners set higher interpretive and technical demands. For example, even if Beethoven’s Sonata indicates ?=120 and the student performs exactly at that tempo, the examiner may still write “too slow” and expect a speed closer to professional concert standards. The examiners rarely give concrete reasoning, leaving candidates puzzled.

One possible explanation is that ABRSM and Trinity examiners benchmark performances against international concert platforms, where expectations of drive, fluency, and stamina are uncompromising. In contrast, LCME examiners tend to reward faithfully following the score markings, offering fairer recognition if candidates observe tempo, dynamics, and articulation precisely.

So, how can candidates stand out? One strategy is to explore rare repertoire—pieces less frequently chosen in exams, yet rich in character and musical depth. These works not only impress examiners but also allow pianists to showcase individuality.

---

? Granados – Goyescas Nos. 1–6

The Goyescas suite by Enrique Granados is inspired by the Spanish painter Francisco Goya’s portraits. Each piece is a musical painting—passionate, exotic, and full of Spanish rhythmic vitality.

• Why choose it? Rarely attempted in exams, the suite is overflowing with rich harmonies and ornaments, making it a showpiece of color and drama.
• Interesting fact: Granados later transformed Goyescas into an opera, but the piano originals remain some of the most virtuosic and atmospheric Spanish works ever written.

---

? Muczynski – Toccata Op. 15

Robert Muczynski’s Toccata is a 20th-century whirlwind, full of driving rhythms and relentless energy.

• Why it’s fascinating: It fuses modern harmonic language with motoric drive, creating both excitement and controlled chaos.
• Exam value: Perfect for candidates wanting to demonstrate finger strength, stamina, and the ability to control speed without losing precision.
• Fun fact: Despite being modern, it remains audience-friendly, earning cheers whenever performed in recitals.

---

? Schumann – Drei Fantasiestücke Op. 111

Written in the final years of Robert Schumann’s life, this set of three fantasy pieces reflects his fragile mental state and turbulent emotions.

• Historical connection: Schumann was already battling severe psychological struggles. The music bursts with restless energy, sudden contrasts, and dark undertones, almost foreshadowing his tragic collapse.
• Why it feels so fast: The obsessive rhythmic drive mirrors his agitation, giving the music a manic urgency.
• Why it’s powerful for exams: It shows a candidate’s ability to interpret psychological depth—playing not just notes, but mind states. Examiners appreciate performances that dive beyond surface brilliance.

---

? Why Rare Repertoire Matters

Choosing rare repertoire shows initiative, curiosity, and individuality. Instead of playing the same Beethoven Sonatas or Chopin Ballades every examiner hears dozens of times, a Granados, Muczynski, or Schumann rarity will make your performance memorable.

At the diploma level, success is not just about accuracy—it’s about artistry, stamina, and making a compelling case for the music.

---

? Start Your Diploma Journey with Expert Guidance

At WowPianoWow, I specialize in preparing candidates for ARSM, Trinity ATCL, and DipLCM diploma piano exams in Singapore. My students learn with short-cut methods, professional interpretive guidance, and carefully tailored repertoire advice.

If you’re ready to explore both standard and rare repertoire while building exam-ready technique, book a trial lesson today.
? WhatsApp me at 98256286 or visit www.wowpianowow.com

#DiplomaPianoLessons #JennySohMusicSchool

When completing the missing parts in the grade 8 music theory piano composition exam, we suggest that students identify key changes and modulations first, then chords and cadences in each phrase. After that we can fill in the melody or accompaniment . We can start with the first example that gets top marks for this piano work.

The student has noticed melodic line sequences and chord progressions, using green and blue brackets to mark imitation and sequence techniques.

Leading and tonic are resolved at each phrase’s end, with perfect or imperfect cadences, the optimal selection for the piano piece. The composition is excellent, exhibiting well-planned phrasing, flawless sequencing, and ideal imitation, so it will be given a perfect score.

Question 2 has several reasons for its mark deduction. This student can only achieve merit; the leading tones aren’t resolved in all cadences, making phrase endings less conclusive.

However, other elements, such as sequences and melodic shapes, are well-developed; therefore, this student should pass. In addition to stylistic problems, the student failed to include accidentals in the composition’s 3rd line, where the key changes from F major to G major, causing odd intervals in the melody.

The third student only managed a passing grade of 9/15; while modulations/cadences were well done, melodic shapes in phrases outlining sequences and imitation between hands were inappropriate due to incorrect intervals.

The unresolved leading and tonic notes created unsatisfying phrase endings, indicating weak stylistic awareness; therefore, this composition received a 9/15.

In the last example, the student misidentified the key and modulations on line 3, and the student did not observe the sequences and imitations. Bars 3-4 do not imitate the melodic structures of bars 1-2.

The phrase-ending cadences use incorrect harmonies, so the composition lacks stylistic awareness and planning, likely resulting in a failing grade of 5/15.

Various additional elements impact the scoring of this piano piece; the mentioned ones are a small set of illustrations for the expected scoring of distinction, merit, and pass. Following the method with stylistic awareness is vital to scoring well on this grade 8 music theory composition question.

Hope the helpful tips are beneficial for your music theory exam; if you wish to explore grade 8 music theory composition or need help with homework, contact Ms. Jenny via Whatsapp at 98256286 for a trial.