AMEB Recorded accompaniments. 
These piano accompaniments have been recorded as practice tools and for use in AMEB examinations.
 They feature performances of the accompaniment part for pieces in
 the corresponding AMEB grade books and Technical work book, and we hope that they prove to be a valuable resource for students and teachers around the country. AMEB encourages candidates and teachers to rehearse and perform with accompanists whenever this is possible. Using these Recorded accompaniments 
 These recordings may be used for examination purposes, but only at their original tempo. Candidates and teachers should refer to the Manual of Syllabuses for further information. For practice purposes, the recorded accompaniments may be used in conjunction with the AMEB MyTempo app, available for Apple and Android devices. This app allows students and teachers to alter the tempo of the accompaniment to suit their practice needs. It also provides a range of other useful tools including a loop function, allowing students to loop a section of accompaniment for repetitive practice, and a metronome. There are certain practical considerations when working with a pre-recorded accompaniment, which have been addressed in the following ways: Starting to play If there is no piano introduction for the work, or if the tempo is unclear by the time the student is to come in, there is a two-bar click count-in to bring the player in. The tonic chord is sounded at the start of the first bar of count-in and the starting note is sounded at the start of the second bar of count-in. Fermatas, caesuras and colla voce In general, fermatas (pauses) are held for one-and-a-half to two times the duration of the note to which they apply. There are exceptions to this where it would be impractical or musically inappropriate. Candidates and teachers must familiarise themselves with these moments in the recordings so that there is absolutely no doubt as to how long
 a particular fermata will be held. In some instances, a click count-in has been included to assist in this regard. Similarly, where caesuras (breaks or ‘tram tracks’) occur, every effort has been made to ensure that they are as intuitive as possible, however a click count-in has been included where necessary. In passages where the accompanist should follow the singer colla voce, a click count-through has been used where necessary to help guide the singer. Students and teachers should familiarise themselves with these passages so that they can be performed as comfortably and naturally as possible.