In this film, Robin Harrison outlines strategies to improve aural skills.  He discusses aspects of pulse, pitch, and phrasing, and suggests transposition and memorisation exercises to train the inner ear.

Nicholas Madden and Paul Trepte perform Who alone is good for tenor solo and organ, a setting by Paul Trepte of the words of St Francis of Assisi, which won the 25 years and over category in the RCO’s Composition Competition in 2020.

In two recorded webinars, Frederick Stocken discusses the continuo realisation question in the Keyboard Skills Tests for FRCO. 

In this practical guide William Dore, Organist at Ampleforth Abbey, explains the characteristics and traditions of plainchant or plainsong.  He discusses notation, and how to create an accompaniment to plainchant, including ideas on rhythm, suitable harmonic progressions, and cadences in keeping with the modality and mood.

The psalms set to Anglican chant are an art form in themselves, and an excellent test of the organist’s skills as accompanist. Jeffrey Makinson, Assistant Director of Music at Lincoln Cathedral, explains how to read pointing, memorise chant, and plan registration schemes.

Andrew Cantrill-Fenwick demonstrates how the organ and organ music developed in post-Revolutionary France, on the organ of Hexham Abbey.

Tom Bell presents a video diary of his preparations for a performance of Messiaen’s Livre du Saint Sacrement. 

Frederick Stocken presents two webinars on the Harmonic Analysis question from the FRCO Diploma Written Papers.

An exploration of the life and reputation of Dietrich Buxtehude, and his use of rhetorical structures and devices, using the Preludium in C as an example.