"I try to be human.'' For music students with long memories such words falling from the lips of an Associated Board of the Royal School of Music (ABRSM) examiner are as alien as meeting a Martian, but John Holmes is typical of the new breed of examiners affiliated with the century-old organisation.

Whereas candidates once quaked before examiners as they strove to pass the international examinations set by the British institution, he likes to put them at ease.

"I have four children of my own who do AB exams, and when I am examining I imagine the candidates are my children,'' he explains. "I try to empathise.

So when they enter I might say, `What would you like to do first today?' or `Go ahead when you are ready'. You want candidates to express themselves, and if they go into an examination feeling comfortable, then they are likely to do so more freely.'' Certainly, the new approach is light years removed from the days when examiners, with just one word -- "Proceed'' -- which even Mr. Holmes remembers, set in motion each candidate's performance, and concluded it with a dispassionate "Thank you.'' For many children, in fact, the annual test was akin to a private audience with "the Lord High Executioner.'' " `Lord High Executioners' now do it kindly,'' Mr. Holmes smiles.

As befits today's modern world, the Associated Board has worked assiduously to update its image and cultivate a friendlier, more flexible approach -- all without compromising its definitive, international standards.

In Britain, it is considered a great privilege to be chosen as an examiner for the Associated Board, and the selection process is stringent. To be an overseas examiner is even more privileged.

Everyone must be over 30, and from a four-day training process only the best are accepted. Thereafter, throughout their careers examiners are subject to scrutiny by chief examiners, who observe them in action and adjudge their modus operandi, marking ability, and the all-important manner.

"It goes back to the `Lord High Executioner' era,'' Mr. Holmes quips.

Whereas originally examiners were piano players, today their musical education is as broad-based as the AB syllabus. They might be woodwind, string, or brass players, for example, or play in orchestras. In fact, their background is as varied as the candidates'.

"Things have changed, and the examiners have changed also,'' Mr. Holmes notes. "Where once the Board did not offer saxophone examinations because there weren't many saxophone examiners, today it does. This is an example of the modernisation, as well as the recognition that this is becoming a very popular instrument.'' While Mr. Holmes' musical background includes attending King's College, Cambridge, where he studied piano and clarinet, and from which he graduated with a Master of Arts degree, plus a teaching diploma in piano, he says the examiner's job is not that of a specialist.

"We are generalist examiners, so whether I am hearing an organ, tuba, harp or saxophone, my job is the same. I am also here as someone who has spent a lifetime in music education and performance. I think that is very important.'' Expanding on his responsibilities as an examiner, Mr. Holmes explains these include "assessing the musical outcome of what I hear, and not trying to reason why it may or may not be successful''.

"You have to have perceptive ears and experience in judging the musical impact. There are things to be aware of, and that is part of the training and experience an examiner would expect to have.'' Mr. Holmes has travelled to North America, Ireland, and the Far East as well as Bermuda during his 11 years as an examiner, and says he loves every minute of it.

"I enjoy the opportunity to hear music-making in cultures very distinct from my own,'' he explains. "While you need an interpreter in some, the language of playing is universal.'' The work is part-time, and while examiners must make themselves available for a minimum one week for each of the three UK examination periods per year, most offer more.

"Otherwise you lose currency,'' Mr. Holmes explains. "It's like a pilot -- you have to keep doing it. I do no more than three times a year, and a five-week tour overseas is longer than I would do in the UK.'' In addition to examining candidates of all ages, abilities and various instruments up to Grade VIII and beyond, Mr. Holmes also examines those who merely seek an assessment of how they are doing, as well as pre-Grade I children.

Depending on the grade, examination time per candidate can vary from ten minutes to over 60, and a report must be completed for each. Mr. Holmes writes his by hand immediately after each performance and before the next person comes in.

"I make a firm decision as a candidate leaves the room,'' he explains." On an average day I examine 30, and write between 150 and 200 words per person.

That's four to five thousand words a day. It is one and a half `A' levels of writing!'' Such reports are not only very important to the student, but also to the teacher, since both can learn from them, so how they are couched is carefully considered, and based on several factors.

"I am under no illusions that I am seeing the whole truth on examination day,'' he explains. "It is just a snapshot, but an examination is a benchmark for that moment, and you hope your report is objective, constructive and helpful. Commendation is balanced with criticism, but always in a positive way.'' Adults are far more nervous than children, Mr. Holmes says, and he feels that where candidates feel uncomfortable, invariably it is because they are under-prepared.

`Lord High Executioners' w ield a gentler touch In choosing their pieces, candidates have a variety of options, and must select a piece from each of three lists broadly embracing three different styles of music: contrapuntal/Baroque/Romantic, 20th Century, and modern.

In Bermuda, Associated Board examinations take place twice a year, and candidates who either fail or wish to improve a grade can re-take them more than once, if desired. Successful candidates achieve Distinction, Merit or Pass classification.

Home base for Mr. Holmes is Tonbridge, Kent, where he lives with his wife, professional violinist Catherine Smart, and four children, all of whom play a variety of musical instruments -- stringed, woodwind and percussion.

"We've got a bit of a Von Trapp family thing going,'' he quips.

While at Cambridge University, the Kentishman had many opportunities to perform, particularly as a solo clarinettist and recitalist, as well as with orchestras and ensembles. After graduation he joined the Northern Chamber Orchestra in Manchester, where he met his wife.

In 1983 Mr. Holmes joined Kent Music School and subsequently gained his Certificate in Education from the University of Kent. He remains a performing musician, and is eagerly looking forward to Valentine's Day next year when he will be the solo clarinettist with an orchestra.

He became an Associated Board examiner in 1991, and a Mentor for its Professional Development Course for Instrumental Teachers in 1996. At Tonbridge School in Kent he is Head of Academic Music and Head of Woodwind, where he teaches individual instrumental and class music to `A' level.

Asked what he particularly likes about being an examiner, he responds: " Being involved in the education process. Music exams are a part of that. There are wonderful opportunities to hear all different styles and emphases of music. A lot of that experience I can bring back to my own teaching, which enriches what I do at Tonbridge School.'' Photos by Arthur Bean Watching Closely: Associated Board of the Royal School of Music examiner John Holmes listens intently as student saxophonist Mark Watson goes through his paces.