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<DIV><FONT face=Arial size=2>There are some "graded music" programs in the U.S.,
but they are usually only at the state level (for example, California's 10-level
Certificate of Merit program, or the 6-level NYSSMA one in New York, organized
through the school music teachers' statewide organization).</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Various music groups--like the National Federation
of music Clubs (Gold Cup program), Piano Guild, and Music Teachers National
Conference have evaluation programs.</FONT></DIV>
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<DIV><FONT face=Arial size=2>But I've found that the Associated Board is the
most widely recognized, and many Asian students' families request that their
kids participate in it because they're familiar with it.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Even if students don't participate, using the
guidelines can ensure that, as a teacher, I've covered the materials I need to.
(Whether the student actually does the work is another matter entirely, over
which, sadly, I have little control!)</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Andy's points about "writing for normal human
beings" and working backwards are great--all the books I've read state somewhere
that, when writing for four parts, one should assume you're composing for
untrained voices.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Theory is, unfortunately, a subject that is often
either taught in a way that makes it so confusing or so dry that many musicians
absorb a long-lasting dread of it. If you can present it to teenagers,
non-music-major types, and have them say it makes sense and it's fun when you're
done and also have them producing correct examples of work, then that's the best
thing you can hope for.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Stephanie</FONT></DIV>
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