PRACTICAL MUSIC
GRADES
PIANO
Syllabus
2023 & 2024
Qualification Specification
© 2022 by The Associated Board of the Royal Schools of Music
All the syllabus information in this document including repertoire and scale lists is the copyright of
ABRSM. No syllabus listing may be reproduced or published without the permission of ABRSM.
Qualification Specification: Practical Music
Piano 2023 & 2024
Contents
1. Introduction 3
About ABRSM 3
About this qualification specification 4
About our Practical Music qualifications 4
Regulation and UCAS points (UK) 6
Regulation (Europe) 8
Regulation (Rest of world) 8
2. Practical Grades 9
Syllabuses 9
Exam Regulations 9
Malpractice and maladministration 9
Entry requirements 10
Exam booking 10
Access (for candidates with specific needs) 10
Exam content 10
In the exam 11
Special consideration 11
3. Piano Practical Grades Syllabus 2023 & 2024 12
Introducing the syllabus 12
Practical Grades: requirements and information 12
• Instruments 12
• Pieces 13
• Scales and arpeggios 15
• Sight-reading 17
• Aural tests 17
Sight-reading parameters 18
Piano Syllabus 19
Aural test requirements 40
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4. Assessment marking & infringements 48
Assessment objectives 48
Mark allocation 52
Result categories 52
Synoptic assessment 52
Awarding 52
Infringements 53
Marking criteria 53
5. After the exam 56
Results 56
Appeals and feedback 56
6. Other assessments 57
Piano Prep Test 57
Performance Grades 59
Music Theory 60
Practical Musicianship 61
ARSM 62
DipABRSM LRSM FRSM 63
Exam programme & running order form 64
3
About ABRSM
At ABRSM we aim to support learners and teachers in every way we can. One way we do this is
through the provision of high quality and respected music qualifications. These exams provide
clear goals reliable and consistent marking and guidance for future learning and with backing
from four Royal Schools of Music in the UK are valued and trusted around the world.
We oer qualifications and assessments for a range of instruments (including singing) and
genres as well as for Music Theory and Practical Musicianship. Our syllabuses are based on core
musical skills – listening performing reading writing musical knowledge and understanding and
improvising. Together these skills give learners a good foundation for their musical development
and a range of dierent musical activities.
Taking an exam is an exciting challenge with many benefits for learners and we do everything we
can to make the experience positive and rewarding. We work closely with specialists teachers
and eaminers o proide sllabuses o he highes quali ih a ide arie o pieces and
songs o choose from. We train our expert examiners to ensure that all candidates are rewarded
and recognised for their musical achievements during the assessment. Using our clear easy-
to-understand marking criteria examiners can assess all candidates reliably objectively and
consistently. Finally candidates receive a mark form containing valuable feedback with a
celebratory certificate for everyone who passes.
We hope our syllabuses inspire and support your music learning or teaching and wish you every
success for your musical journey!
Our mission
Our mission is to enrich lives by inspiring musical achievement around the world. We do this in
partnership with four Royal Schools of Music: Royal Academy of Music Royal College of Music
Royal Northern College of Music and Royal Conservatoire of Scotland.
We are passionate about music its value as an art form and the importance of music education.
We believe that being involved with music gives people unique positive experiences with life-
long benefits.
We oer face-to-face and digital exams sheet music recordings apps and courses for students and
teachers across the world. As a charity our donations encompass a range of grants scholarships
awards prizes and bursaries for organisations and individuals. All promote music education and
support achievement progression creativity diversity inclusion sustainability and leadership in
music education.
Who we are
We are the Associated Board of the Royal Schools of Music (ABRSM) a company registered in
England and Wales (company registration number 1926395) and a registered charity (charity
registration number 292182). Our registered oce is at 4 London Wall Place London EC2Y 5AU.
Find out more at www.abrsm.org.
1. Introduction
4
1. Introduction Practical Grades
About this qualification specification
What it covers
This specification provides all the relevant requirements and information teachers candidates
parents and organisations need in order to prepare for the following qualifications in the subjects
and grades covered in Section 3:
• ABRSM Entry Level Award in Practical Music (Initial Grade) (Entry 3)
• ABRSM Level 1 Award in Practical Music (Grades 1 2 and 3)
• ABRSM Level 2 Certificate in Practical Music (Grades 4 and 5)
• ABRSM Level 3 Certificate in Practical Music (Grades 6 7 and 8).
It also provides information on how the exams will be assessed their learning outcomes and
regulated qualification details.
Further details as well as administrative information about the exams are given in ABRSMs
Exam Regulations (www.abrsm.org/examregulations) which should be read before making an
exam booking.
Validity of this specification
This specification is valid from 1 January 2023 until 31 December 2024.
We may update this specification from time to time but will not make changes to the syllabus
(Section 3) other than in exceptional circumstances. In such cases advance notice of any changes
will be posted on our website as will advance notice of any planned syllabus refreshes. The latest
version of this specification will be available from www.abrsm.org/exams.
About our Practical Music qualifications
Qualification objectives
Our Practical Music qualifications are designed for learners to demonstrate a combination of
performance and other all-round musical skills and knowledge. Each grade is progressive and
represents a new challenge for the learner providing motivation and structure to develop and
hone their musical skills.
Exams allow learners to receive formal recognition of the level of mastery they have achieved and
feedback to support their learning journey. Practical Music qualifications further allow learners
to be rewarded and recognised for their skills in performing pieces as well as technique notation
listening and musical perception.
Who the qualifications are for
These qualifications are intended for learners who are interested in developing and demon strating
their all-round musical skills. Learners may be entered at any age but those entering for a Grade
6 7 or 8 must fulfil the prerequisite detailed on page 10.
Every eort has been made to feature a broad range of repertoire to suit and appeal to candidates
of dierent ages backgrounds and interests. We are committed to providing fair access to our
assessments by putting in place access arrangements and reasonable adjustments for candidates
with specific needs.
Structure
Each Practical Music qualification has been carefully designed to assess all-round musical
skills – technique notation reading listening and musical perception – as well as knowledge
5
Practical Grades 1. Introduction
understanding and creativity. At all grades these creative skills are demonstrated through playing
of repertoire and by completing the supporting tests. Collectively these skills enable candidates to
progress to higher grades further education employment and other qualifications in the creative
arts sector.
Candidates are required to play three Pieces from set repertoire lists and a selection of technical
work and to respond to an unseen Sight-reading test and a series of Aural tests. Marks for each
component are dierently weighted (the three Pieces are the same) and are awarded to each
component individually.
Progression route
ABRSM Practical Music qualifications are available from Grade 1 to Grade 8 and in some subjects
from Initial Grade. Each grade progresses from the previous in their level of demand. The syllabus
in Section 3 of this specification details the grades available for individual subjects. It is not a
requirement for any candidate to complete one grade before moving on to the next although there
is a prerequisite for entering a Grade 6 7 or 8 exam (see below).
Practical Music qualifications embed from the earliest grades the importance of developing a wide
range of musicianship skills including performing repertoire and technical work and responding
to previously unseen Sight-reading and Aural tests.
Practical Music candidates may during their learning journey wish to focus on their performance
skills and progress across to our Music Performance suite of qualifications. These qualifications
are designed for learners to demonstrate a combination of key performance-related skills such
as instrumental technique and control musical interpretation communication and delivery. Each
grade is progressive and represents a new challenge for the learner providing motivation and
structure to hone and refine their performance skills. Music Performance qualifications further
allow learners to be rewarded and recognised for their skills in delivering a whole performance
communicating musically over a sustained programme.
The nature of both sets of qualifications makes them an ideal platform from which to progress
to ABRSMs diploma oer beginning with the performance-only ARSM. ARSM gives candidates
greater flexibility and responsibility in programme building as well as providing further opportunity
to develop performance technique and interpretative skills while extending their repertoire.
Through a combination of live and written components candidates at DipABRSM (Music
Performance) and the higher LRSM and FRSM levels demonstrate their performance
communication and research skills as well as their musical knowledge and understanding.
DipABRSM progresses to LRSM level and LRSM to FRSM. Further details of these can be found
in Section 6 of this specification and at www.abrsm.org/diplomas.
Prerequisite
We believe that a thorough understanding of the elements of music is essential for a full and
satisfying performance at the higher grades. Our Music Theory graded exams assess candidates
on their ability to identify use and manipulate musical symbols to study extracts and to answer
questions about the elements of music. We also oer Practical Musicianship exams where in
developing their musicianship skills candidates gain the understanding as well as the expressive
and interpretative skills needed to master the musical language of the repertoire they are learning.
A pass at ABRSM Grade 5 or above is required in either Music Theory Practical Musicianship or
any Practical Music solo Jazz instrument before learners can enter for a Grade 6 7 or 8 Practical
Music or Music Performance exam.
6
1. Introduction Practical Grades
Regulation and UCAS points (UK)
Our regulators
ABRSM Practical Music Music Performance and Music Theory grades and higher-level
qualifications (diplomas) are regulated in the UK by:
• Oce of Qualifications and Examinations Regulation (Ofqual)
• Qualifications Wales
• Council for Curriculum Examinations and Assessment (CCEA Regulation)
For further information see www.abrsm.org/regulation.
The Regulated Qualifications Framework (RQF)
All our regulated qualifications can be found on the RQF. There are nine qualification levels in the
framework labelled in order of diculty from Entry Level to Level 8. For further information visit
https://register.ofqual.gov.uk.
Entry to higher education
In the UK ABRSMs Grades 6 to 8 in Practical Music and Music Performance can contribute
towards entry into higher education through the allocation of UCAS points the table below shows
the UCAS Tari value of these grades. For further information visit www.ucas.com.
Qualification/Level Pass Merit Distinction
Grade 6 8 10 12
Grade 7 12 14 16
Grade 8 18 24 30
Regulated qualification details
Qualification titles
The table below shows the regulated titles and qualification numbers of our Practical Music
qualifications. Further information can be found at https://register.ofqual.gov.uk.
Qualification
Number
Qualification Title
603/6405/1 ABRSM Entry Level Award in Practical Music (Initial Grade) (Entry 3)
603/6406/3 ABRSM Level 1 Award in Practical Music (Grade 1)
603/6407/5 ABRSM Level 1 Award in Practical Music (Grade 2)
603/6408/7 ABRSM Level 1 Award in Practical Music (Grade 3)
603/6409/9 ABRSM Level 2 Certificate in Practical Music (Grade 4)
603/6410/5 ABRSM Level 2 Certificate in Practical Music (Grade 5)
603/6411/7 ABRSM Level 3 Certificate in Practical Music (Grade 6)
603/6412/9 ABRSM Level 3 Certificate in Practical Music (Grade 7)
603/6413/0 ABRSM Level 3 Certificate in Practical Music (Grade 8)
7
Practical Grades 1. Introduction
Qualification size
The table below describes the size of the Practical Music qualifications by showing the amount
of time that a candidate would typically need to spend preparing for them:
• Under the guidance of a teacher (Guided Learning Hours)
• Under the guidance of a teacher and time spent preparing independently (Total Qualification
Time)
and:
• The assigned credit value (which denotes the size of the qualification).
Level Guided Learning Hours*
(GLH)
Total Qualification Time*
(TQT)
Credits
Initial Grade 8 40 4
Grade 1 12 60 6
Grade 2 18 90 9
Grade 3 18 120 12
Grade 4 24 150 15
Grade 5 24 180 18
Grade 6 36 220 22
Grade 7 48 270 27
Grade 8 54 320 32
* The Guided Learning Hours and Total Qualification Time are estimates of the average amount of time that it might take a
candidate to prepare for these qualifications, and should be used as guidance only; it is recognised that there will be variance
dependent on each individual’s level of experience and ability.
8
1. Introduction Practical Grades
Regulation (Europe)
The European Qualifications Framework (EQF) is an overarching framework that links the
qualifications of dierent countries together and allows for comparison and translation. The EQF
has eight levels across which qualifications can be mapped. The levels do not correspond directly
with the UKs Regulated Qualifications Framework (RQF) although they are similar.
The following table shows the level of each of ABRSMs Practical Music qualifications on the RQF
and the EQF.
Qualification RQF Level EQF Level
Initial Grade Entry Level (Level 3) Level 1
Grade 1
Level 1 Level 2Grade 2
Grade 3
Grade 4
Level 2 Level 3
Grade 5
Grade 6
Level 3 Level 4Grade 7
Grade 8
Regulation (Rest of world)
Information on how ABRSM exams are recognised in individual countries can be found at www.
abrsm.org/regulation.
Qualification title referencing
The qualifications covered by this specification are:
• ABRSM Entry Level Award in Practical Music (Initial Grade) (Entry 3)
• ABRSM Level 1 Award in Practical Music (Grades 1 2 and 3)
• ABRSM Level 2 Certificate in Practical Music (Grades 4 and 5)
• ABRSM Level 3 Certificate in Practical Music (Grades 6 7 and 8).
For ease of reading Practical Grade(s) is used in place of the full qualification titles throughout
the remainder of this document. Similarly when referring to our other suite of graded performance
exams Performance Grade(s) is used in place of the full qualification titles.
9
2. Practical Grades
Syllabuses
Syllabus validity
The Piano Practical Grades Syllabus is valid for exams from 1 January 2023 until 31 December 2024.
Syllabus amendments
Any updates to the syllabus – e.g. changes to publication details or other minor corrections or
clarifications – will be posted at www.abrsm.org/syllabuscorrections.
Syllabus overlap
In the first year of any revised Practical Grades syllabus we oer an overlap period where
candidates may play specific requirements from the preceding syllabus. Information on the length
of the overlap period and the requirements that it applies to is given at www.abrsm.org/overlap.
Piano candidates worldwide may play their three pieces from the 2021 & 2022 Piano syllabus
until 31 December 2023. All pieces must be from the same syllabus – candidates may not present
a mixture from old and new syllabuses.
The next syllabus
The next revision of the Piano Practical Grades Syllabus is planned to be published in 2024 and
to take eect from 2025. Advance notice of any planned changes to the Piano Syllabus from
2025 (including syllabus overlap information) will be posted at www.abrsm.org/syllabusupdates.
Exam Regulations
When preparing for an exam it is important to read ABRSMs Exam Regulations which set out
the rules for completing the exams listed in this specification. This information is available at
www.abrsm.org/examregulations.
Malpractice and maladministration
We are committed to inspiring achievement in music. Our qualifications are used by thousands
of people to support their music learning or teaching. Many people also use them when applying
to study at further and higher education institutions. It is therefore vital that our qualifications
remain a valuable and reliable measure of a candidates skills and knowledge. We take any form
of malpractice or maladministration very seriously.
•
Malpractice is defined as any act that compromises or is an attempt to compromise the
assessment process the integrity of any qualification or the validity of a result or certificate. This
also includes any act that damages our reputation or credibility as an awarding organisation.
•
Maladministration is defined as any act that breaches the regulations through a mis management
of administrative processes particularly where such a breach could compromise the integrity
of a qualification or assessment.
Applicants and candidates must follow the requirements set out in the relevant specification
Exam Regulations and all other ABRSM policies about the delivery of our exams. In cases where
applicants or candidates have committed malpractice a sanction or penalty may be given. Further
information about our Malpractice and Maladministration Policy can be found at www.abrsm.
org/policies.
10
2. Practical Grades Practical Grades
Entry requirements
There are nine grades of Practical Grades exams for Piano. Candidates may be entered for any
grade at any age. They do not need to have taken any earlier grade(s) in Piano. To enter for a Grade
6 7 or 8 exam candidates must already have passed one of the following:
• ABRSM Grade 5 (or above) in Music Theory
• ABRSM Grade 5 (or above) in Practical Musicianship
• ABRSM Grade 5 in any Practical Grades solo Jazz instrument
For full details including a list of accepted alternatives see www.abrsm.org/prerequisite.
Exam booking
Details of exam dates locations fees and how to book an exam are available online at www.
abrsm.org/exambooking.
Access (for candidates with specific needs)
We are committed to providing fair access to our assessments for candidates with specific needs by
putting in place access arrangements and reasonable adjustments. There are a range of alternative
tests and formats for Practical Grades as well as guidelines for candidates with specific needs
(see www.abrsm.org/specificneeds for full details). Where a candidates needs are not covered
by the guidelines each case is considered individually. Further information is available from the
Access Co-ordinator (accesscoor[email protected]) or from www.abrsm.org/specificneeds.
Exam content
Practical Grades for Piano consist of six components – three Pieces Scales and arpeggios
Sight-reading and Aural tests. Information on how marks are allocated is given on page 52.
11
Practical Grades 2. Practical Grades
In the exam
Examiners
Generally there will be one examiner in the exam room for Practical Grades however a second
examiner may be present for training or quality assurance purposes.
Examiners may ask to look at the candidates or accompanists (where applicable) copy of the
music before or after the performance of a piece a separate copy is not required.
Examiners may stop the performance of a piece when they have heard enough to make a judgment.
Order of the exam
The individual Practical Grades exam components may be taken in any order at the candidates
choice although it is preferable for accompanied pieces/duets (where applicable) to be performed
consecu tively at the beginning of the exam.
Instruments
ABRSM Public Venues provide an upright or grand piano. Candidates other than pianists must
provide their own instrument (and any other equipment e.g. footstools). Further detail on
instruments is given in Section 3 of this specification.
Exam timings
The timings in the table below show the approximate length of each Practical Grades Piano exam
in minutes including the candidates entry and exit and time for the examiner to finish the mark
form between exams. Examiners may take more or less time than the given timings.
Grade Initial
Grade
Grade
1
Grades
2 & 3
Grades
4 & 5
Grade
6
Grade
7
Grade
8
Time (in mins) 12 12 12 15 20 25 30
Special consideration
Special consideration is given to candidates who suer temporary illness injury or indisposition
or adverse circumstances at or near the time of the assessment that are beyond the candidates
control. This will not result in an adjustment to marks and will not change the assessment criteria
applied by the examiner for the exam. Please refer to our Special Consideration Policy at www.
abrsm.org/policies.
12
3. Piano Practical Grades Syllabus 2023 & 2024
Introducing the syllabus
There are new set pieces in the 2023 & 2024 Piano Practical Grades Syllabus.
• The repertoire lists have been refreshed rather than fully revised and for the first time include
a mixture of new and retained pieces
• For ease of use all pieces retained from the 2021 & 2022 syllabus keep the same list number
– these are always pieces 4 to 10 on the lists
•
There is a greater choice of repertoire than before with the lists extended to 13 pieces (39
pieces in total per grade) and with music by a more diverse range of composers featured
The Scales and arpeggios Sight-reading and Aural test requirements stay the same as the
preceding syllabus.
Some key exam information has also been updated or clarified including in the wider Qualification
Specification. Examples are:
• The inclusion of information about our Special Consideration policy [Section 2]
• Confirmation of a change in policy on the use of the same piece(s) in more than one exam this
is now allowed [Section 3]
•
The inclusion of information on syllabus infringements and how they are managed [Section 4]
Practical Grades: requirements and information
This syllabus is valid from 1 January 2023 until 31 December 2024.
This section provides a summary of the most important points that teachers and candidates
need to know when taking ABRSM Practical Grades for Piano. Further details as well as
administrative information about the exams are given in ABRSMs Exam Regulations (available
at www.abrsm.org/examregulations) which should be read before booking an exam.
Instruments
ABRSM Public Venues provide a piano suitable for exam purposes. The piano will be upright
or grand. Practice before the exam cannot be arranged but examiners will recognise that the
instrument may be one that candidates are unfamiliar with. When exams are held at Private Visits
(i.e. premises provided and overseen by the Visit Organiser and visited by the examiner) a suitable
piano must be provided. A digital piano may be used provided it has a clearly recognisable piano
tone a touch-sensitive keyboard with full-size weighted keys and an action range and facilities
that match those of a conventional acoustic piano including a sustaining pedal.
Before beginning the exam: Candidates are welcome to adjust the piano stool height (the
examiner will be happy to help with this if necessary) and to play a few notes to try out and get
used to the piano.
13
Practical Grades 3. Piano Practical Grades Syllabus 2023 & 2024
Pieces
Musicians learn to play an instrument to explore and perform repertoire which is why pieces
are at the core of the exam – candidates are asked to present three at each grade. The syllabus
repertoire is organised into three lists that explore dierent traditions and styles dating from
the Renaissance period to the present day.
Choosing one piece from each list gives candidates the opportunity to play a balanced selection
and demonstrate a range of skills. In this syllabus the pieces are broadly grouped into lists by
the characteristics of the music:
• List A pieces are generally faster moving and require technical agility
• List B pieces are more lyrical and invite expressive playing
• List C pieces reflect a wide variety of musical traditions styles and characters.
At Initial Grade to Grade 3 there are opportunities to play duets. This is an activity that often
occurs in lessons for beginners and helps build a strong sense of musical awareness as well as
secure rhythm and pulse.
We hope that by oering this variety in the syllabus candidates will find inspiring music that
they enjoy learning and performing.
Programme planning: Candidates must choose one piece from each of the three lists (A B and
C)*. In the exam they should inform the examiner which pieces they are performing and they
are welcome to use the form on page 64 for this purpose.
Every eort has been made to feature a broad range of repertoire to suit and appeal to candidates
of dierent ages backgrounds and interests. Certain pieces may not be suitable for every candidate
for technical reasons e.g. hand size or eects that cannot be realised on a digital piano. Other
pieces may not be suitable because of wider context (historical cultural subject matter lyrics if
an arrangement of a song etc.). Pieces should be carefully considered for their appropriateness
to each individual which may need consultation between teachers and parents/carers. Teachers
and parents/carers should also exercise caution when allowing younger candidates to research
pieces online: www.nspcc.org.uk/onlinesafety.
The repertoire lists are the same as for ABRSM Performance Grades. Candidates intending on
taking both qualifications at the same grade may find their musical development benefits from
preparing dierent pieces for each.
Duets: At Initial Grade to Grade 3 candidates may perform a duet for one of their pieces. These
pieces are marked
DUET
in the repertoire list and the part the candidate must play is also specified
– primo part if the upper part and secondo part if the lower part. Pieces marked
DUET/SOLO
may
be played as a duet or as a solo.
Candidates must provide their own duet partner who may only be in the exam room while playing.
The duet partner may be the candidates teacher (examiners will not play duets with candidates).
Recorded duet parts are not allowed.
Exam music & editions: Wherever the syllabus includes an arrangement or transcription
(appearing as arr. or trans. in the repertoire lists) the edition listed in the syllabus must be
used. For all other pieces editions are listed for guidance only and candidates may use any edition
of their choice. This includes editions that are downloaded. Information on sourcing exam music
is given on page 14.
* At Initial Grade to Grade 3, candidates may choose only one duet (there are duets on all three lists).
14
3. Piano Practical Grades Syllabus 2023 & 2024 Practical Grades
Interpreting the score: Printed editorial suggestions such as fingering metronome marks
realisation of ornaments etc. do not need to be strictly observed. Whether the piece contains
musical indications or not candidates are encouraged to interpret the score in a musical and
stylistic way. Examiners marking will be determined by how control of pitch time tone shape
and performance contributes to the overall musical outcome.
Pedalling: Examiners will take into account the use and control of pedalling and its eect on tone
and shape. They will be assessing the overall musical outcome rather than whether or not any
printed pedal indications are played as written (these may therefore be adapted or omitted as
appropriate). Pieces that are heavily reliant on pedalling (whether marked in the music or not) for
their full musical eect should be avoided if appropriate pedalling cannot be managed.
For duets the secondo player (lower part) is expected to take responsibility for any pedalling.
Hand stretch: Candidates should choose the most suitable pieces for their hand size from the
repertoire lists. If necessary they may occasionally adapt the music by spreading chords or
omitting notes at wide stretches provided the result is musical.
Repeats: Unless the syllabus specifies dierently all da capo and dal segno indications must be
followed but other repeats (including first-time bars) should not be played unless they are very
short (i.e. a few bars).
Ossias: Where an ossia (alternative musical line or note) occurs in the music candidates may
choose either option unless the repertoire list specifies dierently.
Performing from memory: Candidates may perform any of their pieces from memory if doing so
they must make sure that a copy of the music is available for the examiner to refer to. No extra
marks are directly awarded for playing from memory.
Page-turns: Examiners will be understanding if a page-turn causes a lack of continuity during
a piece and this will not aect the marking. Candidates may use an extra copy of the music or
a photocopy of a section of the piece (but see Photocopies below) to help with page-turns.
Candidates at Grades 6 to 8 may bring a page-turner to the exam if there is no solution to
a particularly awkward page-turn (prior permission is not required the turner may be the
candidates teacher). Examiners are unable to help with page-turning.
Photocopies & downloads: Performing from unauthorised photocopies (or other kinds of copies)
or illegal downloads of copyright music is not allowed. In the UK copies may be used in certain
limited circumstances – for full details see the MPAs Code of Fair Practice at www.mpaonline.
org.uk/mpa-guidelines. In all other cases application should be made to the copyright holder
before any copy is made and evidence of permission should be brought to the exam.
Candidates and Applicants are expected to act within the law with regard to copyright. ABRSM
may withhold the exam result where we have evidence of an illegal copy (or copies) being used.
Sourcing exam music: Exam music is available from music retailers and online including at the
ABRSM music shop: www.abrsm.org/shop. Every eort has been made to make sure that the
publications listed will be available for the duration of the syllabus. We advise candidates to
get their music well before the exam in case items are not kept in stock by retailers. Non-exam
related questions about the music (e.g. editorial availability) should be addressed to the relevant
publisher: contact details are listed at www.abrsm.org/publishers.
15
Practical Grades 3. Piano Practical Grades Syllabus 2023 & 2024
Scales and arpeggios
Playing scales and arpeggios is important for building strong technical skills such as reliable
finger movement hand position co-ordination and keyboard fluency. It also helps to develop
pitch and interval awareness familiarity with keys and their related patterns and control of
tone. This leads to greater confidence and security when sight-reading learning new pieces and
performing – from a score or from memory as a solo musician or with others.
Memory: All requirements must be played from memory.
Range: Candidates are free to start at any octave provided the required ranges are covered. For
hands together requirements the hands must be one octave apart unless the syllabus specifies
dierently. All requirements must ascend and descend according to the specified range (and
pattern).
Rhythm: All requirements must be played in even notes.
Patterns: Arpeggios and dominant sevenths are required in root position only except where the
syllabus specifies dierently. All dominant sevenths must finish by resolving on the tonic. Scales
in thirds or a third apart must begin with the tonic as the lower note while scales in sixths or a
sixth apart must begin with the tonic as the upper note.
Articulation: All requirements must be prepared legato unless the syllabus specifies staccato
(or both).
Pedalling: All requirements must be played without pedalling.
Fingering: Candidates may use any fingering that produces a successful musical outcome.
In the exam: Initial Grade candidates will generally be asked to play all five requirements in listed
order. Examiners will specify which hand to use for each of the scales and arpeggios.
At Grades 1 to 8 examiners will usually ask for at least one of each scale/arpeggio (etc.) type.
Where applicable they will ask for majors followed by minors within each type and will also ask
to hear a balance of hand requirements and/or articulations across the requests as a whole. When
asking for requirements examiners will specify:
•
the key (including minor form – harmonic or melodic – in the Grades 6 to 8 scales) or the
starting note(s)
• left hand or right hand (for hands-separately requirements)
• the articulation (where chosen by the examiner)
Supporting publications: Books of the requirements are published by ABRSM. Purchasing these
books is not a requirement.
Speed: The following speeds are given as a general guide:
3. Piano Practical Grades Syllabus 2023 & 2024 Practical Grades
16
Grade/Speed *
Initial 1 2 3 4 5 6 7 8
Scales
(including contrary-motion
chromatic & whole-tone)
q = 54 q = 60 q = 66 q = 80 q = 100 h = 60 h = 72 h = 80 h = 88
Arpeggios
(including dominant &
diminished 7ths)
q = 52 q = 58 q = 63 q = 72 q = 80 h = 44 h = 50 h = 56 h = 66
Scales a 3rd apart / a 6th apart
(including chromatic)
h = 60 h = 60
Legato scales in 3rds
h = 46 h = 52
Staccato scales in 3rds / in 6ths
h = 54 h = 54
* All speeds relate to the rhythmic groupingiiiq
17
Practical Grades 3. Piano Practical Grades Syllabus 2023 & 2024
Sight-reading
Sight-reading is a valuable skill with many benefits. Learning to sight-read helps to develop quick
recognition of keys tonality and common rhythm patterns. Strong sight-reading skills make
learning new pieces quicker and easier and also help when making music with others so that
playing in an ensemble becomes more rewarding and enjoyable.
About the test: Candidates will be asked to play a short unaccompanied piece of music that they
have not seen before. They will be given half a minute to look through and if they wish try out all
or any part of the test before they are asked to play it for assessment.
Parameters: The table on page 18 shows the elements that are introduced at each grade.
Fingering: Any fingering shown on the test is for guidance only. Candidates are welcome to use
any fingering that produces a successful musical outcome.
Supporting publications: For practice purposes sample sight-reading tests are published by
ABRSM. Purchasing these books is not a requirement.
Blind or partially-sighted candidates: Blind or partially-sighted candidates may choose an
alternative test (Braille memory or Aural repetition) in place of the standard test if requested at
the time of booking the exam. Further information is available at www.abrsm.org/specificneeds.
Aural tests
Listening lies at the heart of music-making and the ability to hear how music works helps with
all aspects of musical development. Aural skills help with gauging the sound and balance of
playing keeping in time and playing with a sense of rhythm and pulse. These skills also help to
develop a sense of pitch musical memory and the ability to spot mistakes.
About the test: Full details of the Aural tests are given on pages 40–47.
Supporting publications: For practice purposes sample Aural tests are published by ABRSM.
Examples of the tests are given in Specimen Aural Tests and Aural Training in Practice. Purchasing
these books is not a requirement.
Deaf or hearing-impaired candidates: Deaf or hearing-impaired candidates may choose
alternative tests in place of the standard tests if requested at the time of booking the
exam. Further information including the syllabus for the alternative tests is available at
www.abrsm.org/specificneeds.
18
3. Piano Practical Grades Syllabus 2023 & 2024 Practical Grades
Sight-reading parameters
The table below shows the elements that are introduced at each grade. These parameters are
presented cumulatively i.e. once introduced they apply for all later grades (gradually progressing
in diculty). See also page 17.
Length
(bars)
Time Keys Hand position Other features that may be
included
Initial 4 4⁄4 C major
D minor
Each hand:
• playing separately
• in 5-finger position
(tonic to dominant)
•
h
q
iq
•
• legato phrases staccato
• f and p
6 2⁄4
Grade 1 3⁄4 G F majors
A minor
any 5-finger position • occasional accidentals
(within minor keys only)
•
h
.
iiiq
•
Î
• slurs accents
• mf and mp
• cresc. and dim. hairpins
Grade 2 D major
E G minors
playing together • wq
.
e patterns
• tied notes
• pp
Grade 3 up to 8 3⁄8 A B- E- majors
B minor
outside 5-finger
position
• 2-note chords in either hand
•
simple semiquaver
patterns
•
ä
Grade 4 c. 8 6⁄8 • anacrusis
• chromatic notes
• pause signs
• tenuto
Grade 5 c. 8–12 E A- majors
F
+
C minors
• 4-part chords (2 notes max.
in either hand)
• simple syncopation
• slowing of tempo at end
• ff
Grade 6 c. 12–16 9⁄8
5⁄8
5⁄4
C
+
F minors • triplet rhythms
• clef changes
• use of right pedal
Grade 7 c. 16–20 7⁄8
7⁄4
• tempo changes
• 8va sign
• use of una corda pedal
Grade 8 c. 1 page 12 ⁄ 8 B D- majors • 3-part chords in either hand
• spread chords
• simple ornaments
• acceleration of tempo
3. Piano Practical Grades Syllabus 2023 & 2024
19
Practical Grades Piano 2023 & 2024
Piano
Practical Grades 2023 & 2024
INITIAL GRADE
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14.
Candidates may perform a duet for one of their three pieces.
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1
Chwatal Little Playmates Piano Exam Pieces 2023 & 2024, Initial Grade (ABRSM)
2
Trad. What shall we do with the drunken sailor?,
arr. Önaç
Piano Exam Pieces 2023 & 2024, Initial Grade (ABRSM)
3
H. Wohlfahrt Patterns (No. 10 from Kinder-Klavierschule),
arr. Jones
Piano Exam Pieces 2023 & 2024, Initial Grade (ABRSM)
4
Gurlitt Dance (No. 2 from Das kleines Konzert, Op. 227) Music Pathways: Repertoire, Level 3A (Carl Fischer)
5
Humbert The Black Forest Doll (No. 3 from Allerlei
Spielzeug)
Humbert: Allerlei Spielzeug (Schott)
6
Kabalevsky A Little Scherzo (No. 6 from 24 Little Pieces,
Op. 39)
Kabalevsky: 24 Little Pieces, Op. 39 (Boosey & Hawkes)
7
A. Reinagle Allegretto (No. 9 from 24 Short and Easy Pieces,
Op. 1)
A. Reinagle: 24 Short and Easy Pieces, Op. 1 (Schott) or
Pianissimo: Piano Piccolo (Schott) or
p. 23 from Piano Time Pieces 1 (OUP)
8
Bertram
Schattel
Racing Against Each Other (No. 12 from For
Rosalie and Finn) primo part
Pp. 23–24 from Bertram Schattel: For Rosalie and Finn
(Breitkopf & Härtel)
9
Trad. Irish John Ryan’s Polka, arr. Blackwell Piano Star 2 (ABRSM)
10
Elsie Wells Donkey Ride (from Sea Pictures, Set 1)
primo part
Duets with a Dierence: Piano Time Duets, Book 1
(OUP)
11
W. Carroll Raindrops (No. 4 from The Countryside) W. Carroll: The Countryside (Forsyth)
12
Diabelli Scherzo primo part Piano Lessons, Book 1 (Faber)
13
Pam
Wedgwood
Mission Impossible (No. 11 from Up-Grade!
Piano Grades 0–1)
Pam Wedgwood: Up-Grade! Piano Grades 0–1 (Faber)
1
Schonthal A Waltz that’s a Little Melancholy (No. 10 from
Short Impressions for Very Young Piano Players,
Vol. 1)
Piano Exam Pieces 2023 & 2024, Initial Grade (ABRSM)
2
Waterman &
Harewood
Swans and Ducks Piano Exam Pieces 2023 & 2024, Initial Grade (ABRSM)
3
Naomi Yandell Secret Footpath Piano Exam Pieces 2023 & 2024, Initial Grade (ABRSM)
4
June
Armstrong
Butterfly primo part Piano Star Duets (ABRSM)
5
Pauline Hall The Secret Garden pedalling optional Piano Time Pieces 1 (OUP)
6
Alison
Mathews
Sailing Under a Moonlit Sky una corda optional Mosaic, Vol. 1 (Editions Musica Ferrum)
7
Christopher
Norton
Enchanted Castle (No. 6 from The Microjazz
Duets Collection 1) primo part
Christopher Norton: The Microjazz Duets Collection 1
(Boosey & Hawkes)
8
Or No. 1 (from Two Pieces) From Bartók to Stravinsky (Schott)
9
Satie What the Little Princess Tulip Says (No. 2 from
Menus propos enfantins)
Satie: Nine Children’s Pieces (ABRSM) or
Pianissimo: Piano Piccolo (Schott) or
Classics to Moderns, Book 1 (Yorktown Music Press)
10
Pam
Wedgwood
Whirleybird (No. 2 from Up-Grade! Piano
Grades 0–1)
Pam Wedgwood: Up-Grade! Piano Grades 0–1 (Faber) or
Pam Wedgwood: Piano for Fun (Faber)
11
Agay Moonlit Pagoda More Classics to Moderns, Book 1 (Yorktown Music
Press)
12
Karen
Marshall
Sprinkling Stardust Piano Star 2 (ABRSM)
13
Trad. Chinese
(Jiangsu)
Crescent Moon, arr. N. & R. Faber
student part
ShowTime Piano, Music from China, Level 2A
(Faber Piano Adventures)
A
DUET
DUET
DUET
B
DUET
DUET
DUE T/SOLO
20
Piano 2023 & 2024 Initial Grade Practical Grades
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1
Peter Gritton Haunted House Piano Exam Pieces 2023 & 2024, Initial Grade (ABRSM)
2
Kerstin Strecke The Waltz of the Toads (from Tio on Tour) Piano Exam Pieces 2023 & 2024, Initial Grade (ABRSM)
3
Diane Hidy Jinx (from Mean Little Monsters ) Piano Exam Pieces 2023 & 2024, Initial Grade (ABRSM)
4
Pauline Hall &
Paul Drayton
Stegosaurus Stomp (from Prehistoric Piano Time) Pauline Hall & Paul Drayton: Prehistoric Piano Time
(OUP)
5
Heather
Hammond
Action Stations Piano Star 2 (ABRSM)
6
Mark Tanner Wonkey Donkey Piano Star 2 (ABRSM)
7
Alan
Haughton
Treading Carefully Piano Time Going Places (OUP)
8
Elton John I Just Can’t Wait to Be King (from The Lion King),
arr. N. & R. Faber student part; with repeat
Faber Studio Collection: Selections from ShowTime
Piano, Level 2A (Faber Piano Adventures)
9
Gerald Martin Boogie No. 1 The Joy of Boogie and Blues (Yorktown Music Press)
10
Jane Sebba The Grand Waltz primo part Piano Magic Duets, Book 1 (Collins Music)
11
Hans-Günter
Heumann
Piano Junior Blues Piano Junior, Performance, Book 2 (Schott)
12
Julie Knerr Detective Wombat Blues Piano Safari Pattern Pieces 1 (Piano Safari)
13
J. M. Last Ducks in the Pond Piano Time Pieces 3 (OUP)
SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details see pages 15–16
RANGE REQUIREMENTS
SCALES
C major
1 oct. hands separately
D minor (natural or harmonic or melodic, at
candidate’s choice)
CONTRARY-MOTION SCALE
C major a 5th hands starting on the tonic (unison); as pattern below
{
V
B
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
ARPEGGIOS
C major
a 5th
hands separately; as pattern below
V
œ
œ
œ
œ
œ
D minor
SIGHT-READING: a short piece of previously unseen music; for further details see pages 17 & 18
AURAL TESTS: given by the examiner from the piano; for further details see pages 40 & 41
C
DUET
DUET
21
Practical Grades Piano 2023 & 2024
GRADE 1
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14.
Candidates may perform a duet for one of their three pieces.
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1
Diabelli Allegretto in C (No. 3 from Die ersten 12
Lectionen, Op. 125)
Piano Exam Pieces 2023 & 2024, Grade 1 (ABRSM)
2
M. Helyer Dragonflies (from The Greenwood Tree) Piano Exam Pieces 2023 & 2024, Grade 1 (ABRSM)
3
A. Reinagle Minuet in C (No. 10 from 24 Short and Easy
Pieces, Op. 1)
Piano Exam Pieces 2023 & 2024, Grade 1 (ABRSM)
4
Dennis
Alexander
Sonatina primo part Dennis Alexander: Alfred’s Basic Piano Library, Duet
Book 2 (Alfred)
5
attrib.
J. S. Bach
Choral ‘Deal with Me, Lord’, BWV 514 My First Bach (Schott)
6
Gurlitt The Chase/The Hunt (No. 15 from First Lessons
for the Piano, Op. 117)
Music Pathways: Repertoire, Level 3B (Carl Fischer) or
Classics to Moderns, Book 1 (Yorktown Music Press) or
Studio 21 (1st Series), Vol. 1 (Universal)
7
Handel Gavotte in C ornaments optional My First Concert for Piano (Schott) or
Classics to Moderns, Book 1 (Yorktown Music Press) or
Studio 21 (1st Series), Vol. 1 (Universal)
8
M. Helyer Haymaking (from The Greenwood Tree) M. Helyer: The Greenwood Tree (Stainer & Bell)
9
Türk Arioso in F (No. 1 from 12 Handstücke) Clavierstücke für Anfänger (Schott) or
Music Pathways: Repertoire, Level 3A (Carl Fischer) or
Pianissimo: Piano Piccolo (Schott)
10
Elsie Wells Courante primo part Mixed Doubles: Piano Time Duets, Book 2 (OUP)
11
Hook Gavotte in C (No. 3 from 24 Progressive Lessons,
Op. 81)
Encore, Book 1 (ABRSM) or
Music Through Time, Piano Book 1 (OUP)
12
Mozart Allegro (No. 8 from 12 Duos, K. 487),
arr. Blackwell
Piano Star: Grade 1 (ABRSM)
13
Purcell Minuet in A minor, Z. 649 Music Through Time, Piano Book 1 (OUP)
1
Andrew Eales Fresh Air Piano Exam Pieces 2023 & 2024, Grade 1 (ABRSM)
2
F. Price A Morning Sunbeam (No. 3 from Three Sketches
for Little Pianists)
Piano Exam Pieces 2023 & 2024, Grade 1 (ABRSM)
3
Head The Quiet Wood Piano Exam Pieces 2023 & 2024, Grade 1 (ABRSM)
4
Dennis
Alexander
Reflections (from Just for You and Me, Book 1)
primo part
Dennis Alexander: Just for You and Me, Book 1 (Alfred)
5
Alwyn The Trees are Heavy with Snow Five by Ten, Grade 1 (Lengnick)
6
R. R. Bennett Friday (from Seven Days a Week) R. R. Bennett: Seven Days a Week (Alfred) or
The Young Pianist’s Repertoire, Book 1 (Faber)
7
Jessie Blake The Little White Cloud Grade by Grade, Piano Grade 1 (Boosey & Hawkes)
8
Grechaninov Fairy Tale (No. 1 from Children’s Album, Op. 98) Grechaninov: Children’s Book, Op. 98 (ABRSM) or
More Romantic Pieces for Piano, Book 1 (ABRSM) or
My First Concert for Piano (Schott)
9
Helen Madden
The Forgotten Forest primo part Piano Star: Grade 1 (ABRSM)
10
Borislava
Taneva
Small Valse with repeat Mosaic, Vol. 2 (Editions Musica Ferrum)
11
Agnieszka
Lasko
Fountain (from Little Stories) Agnieszka Lasko: Little Stories (Euterpe)
12
Alan Menken Beauty and the Beast (from Beauty and the
Beast), arr. Hussey
Gradebusters Grade 1 Piano (Hal Leonard)
13
Siegmeister Song of the Dark Woods Music Pathways: Repertoire, Level 3B (Carl Fischer)
A
DUET
DUET
B
DUET
DUET
22
Piano 2023 & 2024 Grade 1 Practical Grades
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1
Shruthi
Rajasekar
Virginia Hall Piano Exam Pieces 2023 & 2024, Grade 1 (ABRSM)
2
Martha Mier Sneaky Business (from Jazz, Rags & Blues,
Book 1)
Piano Exam Pieces 2023 & 2024, Grade 1 (ABRSM)
3
Caroline Tyler Little Whale Explores the Calm Sea Piano Exam Pieces 2023 & 2024, Grade 1 (ABRSM)
4
June
Armstrong
Sunlight Through the Trees Piano Star: Grade 1 (ABRSM)
5
Elias
Davidsson
The Frog (from The Gift of Music) Elias Davidsson: The Gift of Music (Spartan Press)
6
Alison
Mathews
Woodland Folk Song primo part Piano Star Duets (ABRSM)
7
Jane Sebba Latin Laughter primo part; play the 6ths in bb. 10 & 28 Piano Magic Duets, Book 2 (Collins Music)
8
Barbara Snow Jazzy Dragon (from Animal Jazz) Barbara Snow: Animal Jazz (Edition HH)
9
Trad. Ewe
(Ghanaian)
Tu tu Gbovi, arr. Chapman Nyaho
primo part
Piano Star Duets (ABRSM)
10
Trad. Jamaican Mango Walk, arr. Cornick Piano Repertoire, Level 1 (Universal)
11
Carol Barratt Cheesecake-Walk (from Get It Together!) Carol Barratt: Get It Together! (Chester)
12
Gillock Swinging Beat Gillock: Swinging Beat (Willis)
13
Chee-Hwa Tan At the Seaside (from A Child’s Garden of Verses) Chee-Hwa Tan: A Child’s Garden of Verses
(Piano Safari)
SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details see pages 15–16
RANGE REQUIREMENTS
SCALES (SIMILAR MOTION)
C major 1 oct. hands together
G, F majors
2 oct. hands separately
A, D minors (natural or harmonic or melodic, at
candidate’s choice)
CONTRARY-MOTION SCALE
C major 1 oct. hands starting on the tonic (unison)
ARPEGGIOS
G major
1 oct. hands separately
A minor
SIGHT-READING: a short piece of previously unseen music; for further details see pages 17 & 18
AURAL TESTS: given by the examiner from the piano; for further details see pages 40 & 41
C
DUET
DUET
DUET
Digital only edition, available from publisher’s website
23
Practical Grades Piano 2023 & 2024
GRADE 2
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14.
Candidates may perform a duet for one of their three pieces.
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1
Beethoven Écossaise in G, WoO 23, arr. Czerny Piano Exam Pieces 2023 & 2024, Grade 2 (ABRSM)
2
J. L. Dussek Gavotte in F Piano Exam Pieces 2023 & 2024, Grade 2 (ABRSM)
3
Agnieszka
Lasko
Tarantella (from Little Stories) Piano Exam Pieces 2023 & 2024, Grade 2 (ABRSM)
4
Anon. Corranto (from Fitzwilliam Virginal Book) Grade by Grade, Piano Grade 2 (Boosey & Hawkes)
5
Carse Rustic Dance (No. 7 from Progressive Duets for
Pianists, Book 1) primo part
Carse: Progressive Duets for Pianists, Book 1
(Stainer & Bell)
6
Goedicke Étude in A minor, Op. 36 No. 13 Piano Time Pieces 3 (OUP)
7
Haydn Rondino (Theme from Cello Concerto in D),
arr. Agay primo part
The Joy of Piano Duets (Yorktown Music Press)
8
Kabalevsky Galop/Hopping (No. 18 from 24 Little Pieces,
Op. 39)
Kabalevsky: 24 Little Pieces, Op. 39 (Boosey & Hawkes)
or More Romantic Pieces for Piano, Book 1 (ABRSM)
9
Mozart Minuet in D, K. 7 My First Mozart (Schott)
10
attrib.
L. Mozart
Bourlesq (from The Wolfgang Notebook)
with first repeat
L. Mozart: Notenbuch für Wolfgang (Schott) or
The Young Pianist’s Repertoire, Book 1 (Faber)
11
Chevalier de
Saint-Georges
Rondo (from Quartet for Harpischord and Strings),
arr. Talbot-Howard
Chevalier de Saint-Georges: Rondo from the Quartet for
Harpsichord and Strings (ABRSM)
12
Prószyński Kowalczyki (Apprentice Smiths) (from Easy
Pieces)
Prószyński: Easy Pieces for Piano (PWM)
13
Purcell Air in D minor, Z. T676 Pianissimo: Piano Piccolo (Schott) or
Piano Repertoire, Level 1 (Universal) or
Piano Lessons, Book 1 (Faber)
1
Stephen Duro Forget-me-not Waltz Piano Exam Pieces 2023 & 2024, Grade 2 (ABRSM)
2
Stanford Lullaby (No. 5 from Six Sketches) Piano Exam Pieces 2023 & 2024, Grade 2 (ABRSM)
3
Trad. Chinese Kangding Love Song, arr. Yip Piano Exam Pieces 2023 & 2024, Grade 2 (ABRSM)
4
Bartók Sorrow (No. 7 from For Children, Vol. 2) Bartók: For Children, Vol. 2 (Boosey & Hawkes) or
Grade by Grade, Piano Grade 2 (Boosey & Hawkes)
5
Grechaninov Farewell (No. 4 from Children’s Album, Op. 98) Grechaninov: Children’s Book, Op. 98 (ABRSM) or
A Romantic Sketchbook for Piano, Book 1 (ABRSM) or
Pianissimo: Piano Piccolo (Schott)
6
Heather
Hammond
Raindrop Reflections primo part Piano Star Duets (ABRSM)
7
Ravel Pavane de la belle au bois dormant (No. 1 from
Ma mère l’oye) secondo part
Ravel: Ma mère l’oye (Durand)
8
Spindler Waltz in A minor Pathways to Artistry: Masterworks, Book 3 (Alfred)
9
Steibelt Adagio in A minor (from Sonatina in C) A Keyboard Anthology, 2nd Series, Book 1 (ABRSM) or
Core Classics, Grades 1–2 (ABRSM) or
Pianoworks Collection 2 (OUP) or
Pianissimo: Piano Piccolo (Schott) or
My First Concert for Piano (Schott)
10
Sarah Watts Postcard from Paris (from Razzamajazz
Repertoire Piano)
Sarah Watts: Razzamajazz Repertoire Piano (Kevin
Mayhew)
11
El-Dabh Soufiane (from Mekta’ in the Art of Kita’, Book 2) Piano Music of Africa and the African Diaspora, Vol. 1
(OUP)
12
Chee-Hwa Tan The Moon (from A Child’s Garden of Verses) Chee-Hwa Tan: A Child’s Garden of Verses
(Piano Safari)
13
Tchaikovsky Waltz (from The Sleeping Beauty), arr. J. & A.
Bullard
Pianoworks, Collection 1 (OUP)
A
DUET
DUET
B
DUET
DUET
Digital only edition, available from publisher’s website
24
Piano 2023 & 2024 Grade 2 Practical Grades
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1
David
Blackwell
Railroad Blues Piano Exam Pieces 2023 & 2024, Grade 2 (ABRSM)
2
Elissa Milne Mozzie (from Easy Little Peppers) Piano Exam Pieces 2023 & 2024, Grade 2 (ABRSM)
3
Kristina
Arakelyan
Daydream Piano Exam Pieces 2023 & 2024, Grade 2 (ABRSM)
4
Ben Crosland In My Spot Mosaic, Vol. 2 (Editions Musica Ferrum)
5
Sarah
Konecsni
Dinosaur, Don’t! Mosaic, Vol. 2 (Editions Musica Ferrum)
6
Ludovico
Einaudi
The Snow Prelude No. 3 this edition only Ludovico Einaudi: Graded Pieces for Piano, Preparatory
to Grade 2 (Chester)
7
Garścia
Brigands’ Dance (from Let’s Play a Piano Duet,
Op. 37) primo part
Garścia: Let’s Play a Piano Duet, Op. 37 Vol. 2 (PWM)
8
Nikki Iles Sweet Pea primo part Piano Star Duets (ABRSM)
9
Sculthorpe Singing Sun (No. 6 from A Little Book of Hours) Sculthorpe: A Little Book of Hours (Faber)
10
Giles Swayne Whistling Tune Spectrum 4 (ABRSM)
11
Mirosław
Gąsieniec
Kukułka I Mirosław Gąsieniec: Album for Children (PWM)
12
Grieg Norwegian Dance No. 2, arr. Hall
primo part
Mixed Doubles: Piano Time Duets, Book 2 (OUP)
13
Seiber Tango II (Habanera) (from Leichte Tänze I) Seiber: Leichte Tänze (Easy Dances), Book 1 (Schott)
SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details see pages 15–16
RANGE REQUIREMENTS
SCALES (SIMILAR MOTION)
G, F majors
2 oct. hands together
A, D minors (natural or harmonic or melodic, at
candidate’s choice)
D, A majors
2 oct. hands separately
E, G minors (natural or harmonic or melodic, at
candidate’s choice)
CONTRARY-MOTION SCALE
C major 2 oct. hands starting on the tonic (unison)
CHROMATIC SCALE
starting on D 1 oct. hands separately
ARPEGGIOS
D, A majors
2 oct. hands separately
E, G minors
SIGHT-READING: a short piece of previously unseen music; for further details see pages 17 & 18
AURAL TESTS: given by the examiner from the piano; for further details see pages 40 & 42
C
DUET
DUET
DUET
25
Practical Grades Piano 2023 & 2024
GRADE 3
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14.
Candidates may perform a duet for one of their three pieces.
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1
Anon. Minuet in G, BWV Anh. II 116 Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)
2
Clementi Vivace (3rd movt from Sonatina in C, Op. 36
No. 1)
Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)
3
Mirosław
Gąsieniec
Hansel and Gretel (from Album for Children) Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)
4
A. Hedges Hornpipe Rondo primo part A. Hedges: Hornpipe Rondo for Piano Duet (Roberton)
5
L. Mozart Angloise (from Notebook for Wolfgang) L. Mozart: Notenbuch für Wolfgang (Schott) or
The Young Pianist’s Repertoire, Book 1 (Faber)
6
Vitalij
Neugasimov
Moody Gigue (from Piano Sketches, Book 1) Vitalij Neugasimov: Piano Sketches, Book 1 (OUP)
7
Prokofiev Gavotte (from Classical Symphony, Op. 25),
arr. Agay primo part; with repeat – playing little notes
The Joy of Piano Duets (Yorktown Music Press)
8
Reinecke Vivace (4th movt from Sonatina in A minor,
Op. 136 No. 4)
Reinecke: Six Miniature Sonatinas, Op. 136
(Breitkopf & Härtel) or
Sonatinas for Piano, Book 1 (PWM)
9
Seiber Jazz Etudiette (from Easy Dances II) The Young Pianist’s Repertoire, Book 1 (Faber)
10
Weber Scherzo The Classical Spirit, Book 1 (Alfred) or
Pathways to Artistry: Masterworks, Book 3 (Alfred)
11
I. Holst Toccata, arr. Hall Piano Time Pieces 3 (OUP)
12
Mozart Allegro in B-, K. 3 Mozart: 25 Early Pieces (ABRSM) or
Essential Keyboard Repertoire, Vol. 6 (Alfred)
13
Schumann Wilder Reiter (The Wild Horseman) (No. 8
from Album für die Jugend, Op. 68)
Schumann: Album für die Jugend, Op. 68 (ABRSM) or
A Romantic Sketchbook for Piano, Book 1 (ABRSM) or
Piano Literature for a Dark and Stormy Night, Vol. 1
(Faber Piano Adventures)
1
Nancy Litten The Sad Ghost Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)
2
Loeschhorn Study in F (No. 25 from 48 Etüden in
fortschreitender Ordnung, Op. 65)
Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)
3
Nakada The Song of Twilight (from Piano Pieces for
Children) with repeat
Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)
4
Dennis
Alexander
Autumn Serenade primo part Dennis Alexander: Alfred’s Basic Piano Library, Duet
Book 4 (Alfred)
5
J. S. Bach Arioso, arr. Agay primo part The Joy of Piano Duets (Yorktown Music Press)
6
Bartók Andante (No. 2 from For Children, Vol. 2) Bartók: For Children, Vol. 2 (Boosey & Hawkes)
7
W. Carroll Spraymist (No. 3 from In Southern Seas) W. Carroll: In Southern Seas (Forsyth)
8
Gurlitt Song, Op. 172 No. 1 More Romantic Pieces for Piano, Book 2 (ABRSM)
9
Paul Harris Indigo (No. 6 from Rainbow) Paul Harris: Rainbow (Boosey & Hawkes)
10
Trad. Irish She Moved Through the Fair, arr. Hall Eighteen Easy Escapes for Piano (Spartan Press)
11
Janet & Alan
Bullard
Thames Sunrise Janet & Alan Bullard: Pianoworks: Popular Styles (OUP)
12
Mendelssohn Romance Studio 21 (1st Series), Vol. 1 (Universal)
13
Tchaikovsky Chanson italienne (No. 15 from Album pour
enfants, Op. 39)
Tchaikovsky: Album for the Young, Op. 39 (ABRSM)
A
DUET
DUET
B
DUET
DUET
26
Piano 2023 & 2024 Grade 3 Practical Grades
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1
Chua T-Rex Hungry (from A Day in the Life of a T-Rex) Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)
2
Gillock The Spanish Guitar (from Accents Around the
World)
Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)
3
Joplin The Entertainer, arr. Önaç Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)
4
Agay Little Rhapsody on Hungarian Themes
primo part
The Joy of Piano Duets (Yorktown Music Press)
5
M. Bober &
G. Goranson
Rushing River Melody Bober & Glori Goranson: Rushing River
(FJH Music Company Inc)
6
Mike Cornick The Waltz of the Elephants (from Clever Cat
Goes on Safari)
Mike Cornick: Clever Cat Goes on Safari (Universal)
7
Mark Goddard Locked On Latin (from Hands On Jazz)
primo part
Mark Goddard: Hands On Jazz (Spartan Press)
8
Elton John &
Tim Rice
Can You Feel the Love Tonight? (from The Lion
King), arr. N. & R. Faber octaves optional
Faber Studio Collection: Selections from BigTime Piano,
Level 4 (Faber Piano Adventures)
9
H. Mancini &
J. Mercer
Moon River (from Breakfast at Tiany’s),
arr. Miller
A Dozen a Day Songbook, Book 2 (Willis)
10
Karen Tanaka Northern Lights Spectrum 4 (ABRSM)
11
Valerie Capers Ella Scats the Little Lamb (No. 1 from Portraits
in Jazz)
Valerie Capers: Portraits in Jazz (OUP)
12
Carse Csardas primo part Carse: Progressive Duets for Pianists, Book 2
(Stainer & Bell)
13
H. Hofmann Waldvöglein (No. 15 from Skizzen, Op. 77) Encore, Book 2 (ABRSM)
SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details see pages 15–16
RANGE REQUIREMENTS
SCALES (SIMILAR MOTION)
D, A majors
2 oct. hands together
E, G minors
(harmonic or melodic, at candidate’s choice)
B-, E- majors
2 oct. hands separately
B, C minors
(harmonic or melodic, at candidate’s choice)
CONTRARY-MOTION SCALE
E major 2 oct. hands starting on the tonic (unison)
CHROMATIC CONTRARY-MOTION SCALE
starting on D 1 oct. hands starting on the stated note (unison)
ARPEGGIOS
D, A majors
2 oct. hands together
E, G minors
B-, E- majors
2 oct. hands separately
B, C minors
SIGHT-READING: a short piece of previously unseen music; for further details see pages 17 & 18
AURAL TESTS: given by the examiner from the piano; for further details see pages 40 & 42
C
DUET
DUET
DUET
27
Practical Grades Piano 2023 & 2024
GRADE 4
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1
Pescetti Presto (3rd movt from Sonata No. 6 in C minor) Piano Exam Pieces 2023 & 2024, Grade 4 (ABRSM)
2
Farrenc Mouvement de valse (No. 15 from 25 études
faciles, Op. 50)
Piano Exam Pieces 2023 & 2024, Grade 4 (ABRSM)
3
Handel Allegro in F, HWV 488 Piano Exam Pieces 2023 & 2024, Grade 4 (ABRSM)
4
Alcock Gavot (3rd movt from Suite No. 2 in B-)
with ornaments in bb. 7, 23 & 31; all others optional
Alcock: Six Suites of Easy lessons (ABRSM) or
The Best of Grade 4 Piano (Faber)
5
Beethoven Allegro assai (1st movt from Sonatina in F,
Anh. 5 No. 2)
The New Sonatina Book, Vol. 1 (Schott)
6
Buxtehude Saraband (from Suite in E minor, BuxWV 236) Baroque Keyboard Anthology, Vol. 1 (Schott)
7
Dring Scherzando (from 12 Pieces in the Form of
Studies)
Dring: 12 Pieces in the Form of Studies (Weinberger)
8
Gurlitt Allegretto scherzando (3rd movt from Sonatina
in C, Op. 188 No. 4)
No. 13 from Sonatinas for Piano, Book 1 (PWM)
9
Haydn Allegro scherzando in F Essential Keyboard Repertoire, Vol. 6 (Alfred)
10
S. Heller Study in A minor, Op. 45 No. 2 S. Heller: 20 Miscellaneous Studies (ABRSM) or
pp. 7–9 from Piano Literature for a Dark and Stormy
Night, Vol. 1 (Faber Piano Adventures)
11
G. Berg Allegro (1st movt from Sonatina in C,
Op. 3 No. 7)
G. Berg: Twelve Sonatinas, Op. 3, Vol. 2 (Edition HH)
12
J. F. F.
Burgmüller
Ballade, Op. 100 No. 15 Encore, Book 2 (ABRSM) or
Lang Lang Piano Academy: Mastering the Piano, Level 4
(Faber)
13
Mozart Rondo in F, K. 15hh Core Classics, Grades 3–4 (ABRSM) or
Mozart: 25 Early Pieces (ABRSM) or
The Best of Grade 4 Piano (Faber)
1
Valerie Capers Billie’s Song (No. 7 from Portraits in Jazz)
with repeat
Piano Exam Pieces 2023 & 2024, Grade 4 (ABRSM)
2
Chaminade Idylle (No. 1 from Album des enfants, deuxième
série, Op. 126)
Piano Exam Pieces 2023 & 2024, Grade 4 (ABRSM)
3
Tchaikovsky La nouvelle poupée (No. 6 from Album pour
enfants, Op. 39)
Piano Exam Pieces 2023 & 2024, Grade 4 (ABRSM)
4
C. P. E. Bach Andante (arr.) Lang Lang Piano Academy: Mastering the Piano, Level 4
(Faber)
5
W. Carroll Sunrise (No. 7 from River and Rainbow) W. Carroll: River and Rainbow (Forsyth)
6
Granados Dedicatoria (No. 1 from Cuentos de las juventud,
Op. 1)
Granados: Stories of the Young, Op. 1 (ABRSM) or
More Romantic Pieces for Piano, Book 2 (ABRSM)
7
Khachaturian A Little Song (Andantino) (No. 1 from Pictures of
Childhood)
Khachaturian: Pictures of Childhood
(Boosey & Hawkes)
8
Liszt La cloche sonne, S. 238 Chopin, Liszt, Hiller: Urtext Primo, Vol. 5
(Wiener Urtext)
9
Mendelssohn Andante (2nd movt from Violin Concerto in
E minor, Op. 64), arr. Scott-Burt
Piano Mix 3 (ABRSM)
10
Vaughan
Williams
Valse lente (from Six Teaching Pieces) Vaughan Williams: A Little Piano Book (OUP)
11
Heather
Hammond
Once Upon a Frozen Winter (from Ballads
Without Words)
Heather Hammond: Ballads Without Words, Vol. 1
(EVC)
12
Hummel Romance in G, Op. 52 No. 4 Hummel: 16 Short Pieces (ABRSM)
13
Trad. Malay Voyage of the Sampan, arr. Siagian with repeats Malay Folk Songs Collection (Hal Leonard)
A
B
28
Piano 2023 & 2024 Grade 4 Practical Grades
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1
Bartók Pentatonic Tune (No. 29 from For Children, Vol. 1) Piano Exam Pieces 2023 & 2024, Grade 4 (ABRSM)
2
Nevada Ninette’s Musette (No. 5 from Romantic
Impressions)
Piano Exam Pieces 2023 & 2024, Grade 4 (ABRSM)
3
F. Price Ticklin’ Toes Piano Exam Pieces 2023 & 2024, Grade 4 (ABRSM)
4
Maikapar At the Smithy, Op. 8 No. 5 A Romantic Sketchbook for Piano, Book 2 (ABRSM)
5
Alison
Mathews
Buried Rubies (No. 8 from Treasure Trove) Alison Mathews: Treasure Trove
(Editions Musica Ferrum)
6
Martha Mier Worrisome Blues (from Jazz, Rags & Blues,
Book 3)
Martha Mier: Jazz, Rags & Blues, Book 3 (Alfred)
7
Arvo Pärt Für Anna Maria fröhlich or nachdenklich Arvo Pärt: Für Anna Maria (Universal)
8
Prokofiev Marche (No. 10 from Musiques d’enfants,
Op. 65)
Prokofiev: Musiques d’enfants, Op. 65
(Boosey & Hawkes)
9
V. Stoyanov Bulgarian Peasant Dance The Joy of Modern Piano Music (Yorktown Music Press)
10
Trad. Shenandoah, arr. Bennett The Graded Piano Player, Grades 3–5 (Faber)
11
Grieg In the Hall of the Mountain King (from Peer
Gynt, Suite No. 1, Op. 46), arr. White
Piano Mix 3 (ABRSM)
12
Kabalevsky Toccatina (No. 12 from 30 Children’s Pieces,
Op. 27)
Kabalevsky: 30 Children’s Pieces, Op. 27
(Boosey & Hawkes) or
The Best of Grade 4 Piano (Faber)
13
Waller, Razaf
& H. Brooks
Ain’t Misbehavin’, arr. Iles Nikki Iles and Friends, Book 1 (ABRSM)
SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details see pages 15–16
RANGE REQUIREMENTS
SCALES (SIMILAR MOTION)
B-, E- majors
2 oct. hands together
B, C minors
(harmonic or melodic, at candidate’s choice)
B, F
+
, A- majors
2 oct. hands separately
F
+
, F minors
(harmonic or melodic, at candidate’s choice)
CONTRARY-MOTION SCALES
E- major
2 oct. hands starting on the tonic (unison)
C harmonic minor
CHROMATIC SCALE (SIMILAR MOTION)
starting on F
+
2 oct. hands together
ARPEGGIOS
B-, E- majors
2 oct. hands together
B, C minors
B, F
+
, A- majors
2 oct. hands separately
F
+
, F minors
SIGHT-READING: a short piece of previously unseen music; for further details see pages 17 & 18
AURAL TESTS: given by the examiner from the piano; for further details see pages 40 & 43
C
29
Practical Grades Piano 2023 & 2024
GRADE 5
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1
Cimarosa Allegro (3rd movt from Sonata in C minor, C. 68) Piano Exam Pieces 2023 & 2024, Grade 5 (ABRSM)
2
Haydn Minuet and Trio (2nd movt from Sonata in D,
Hob. XVI:4)
Piano Exam Pieces 2023 & 2024, Grade 5 (ABRSM)
3
Chee-Hwa Tan Jester’s Jig (No. 7 from A Royal Birthday
Celebration: Suite in Baroque Style)
Piano Exam Pieces 2023 & 2024, Grade 5 (ABRSM)
4
J. S. Bach Invention No. 8 in F, BWV 779 J. S. Bach: Two-part Inventions (ABRSM) or
J. S. Bach: Inventions and Sinfonias (Henle) or
Core Classics, Grades 5–6 (ABRSM) or Lang Lang
Piano Academy: Mastering the Piano, Level 4 (Faber)
5
Beethoven Bagatelle in G minor, Op. 119 No. 1 A Keyboard Anthology, 1st Series, Book 3 (ABRSM) or
Core Classics, Grades 4–5 (ABRSM) or
Classics for the Developing Pianist, Book 3 (Alfred)
6
J. H. Fiocco Andante (from Pièces de clavecin, Op. 1) J. H. Fiocco: Eight Keyboard Pieces (ABRSM)
7
Haydn Allegro (1st movt from Sonata in G, Hob. XVI:G1) Pp. 41–43 from Haydn: Selected Keyboard Sonatas,
Book 1 (ABRSM) or
Essential Keyboard Repertoire, Vol. 5 (Alfred)
8
Hummel Allegro in C (No. 2 from Six pièces très faciles,
Op. 52)
Hummel: 16 Short Pieces (ABRSM)
9
J. L. Krebs Toccata in E- Essential Keyboard Repertoire, Vol. 6 (Alfred)
10
Mozart
Theme, Var. 1 and Var. 5 (from 12 Variations on
“Ah vous dirai-je, maman”, K. 265)
Mozart: 12 Variations on “Ah, vous dirai-je Maman”,
K. 265 (Henle) or
Mozart: “Ah, vous dirai-je Maman”, 12 Variations in
C major, KV 265 (Bärenreiter)
11
Gade Ringeltanz (Boys’ Merry-go-round) (No. 2 from
Children’s Christmas, Op. 36)
Gade: Aquarelles and Other Pieces (ABRSM) or
More Romantic Pieces for Piano, Book 3 (ABRSM)
12
S. Heller Study in E minor (No. 7 from 30 Progressive
Studies, Op. 46)
S. Heller: 30 Progressive Studies (Universal)
13
Leo Toccata No. 3 The Advanced Pianist, Book 1 (Faber)
1
H. Hofmann Minnelied (No. 7 from Stimmungsbilder, Op. 88) Piano Exam Pieces 2023 & 2024, Grade 5 (ABRSM)
2
Bernadette
Marmion
Wind in the Willows (from Allsorts) Piano Exam Pieces 2023 & 2024, Grade 5 (ABRSM)
3
Pilling Philomela Piano Exam Pieces 2023 & 2024, Grade 5 (ABRSM)
4
R. R. Bennett Little Elegy R. R. Bennett: Little Elegy (Novello)
5
Granados La huérfana (No. 9 from Cuentos de las juventud,
Op. 1)
Granados: Stories of the Young, Op. 1 (ABRSM)
6
S. Heller Study in E minor, Op. 47 No. 15 with repeat S. Heller: 20 Miscellaneous Studies (ABRSM)
7
Massenet Mélodie (No. 5 from 10 Pièces de genre, Op. 10) French Romantic Repertoire, Level 1 (Faber)
8
Mompou La barca (from Impresiones íntimas) Mompou: Impresiones íntimas (Unión Musical
Ediciones) or
Mompou: Música para piano (Unión Musical Ediciones)
9
Pachulski Prelude in C minor, Op. 8 No. 1 A Romantic Sketchbook for Piano, Book 3 (ABRSM)
10
Schumann Von fremden Ländern und Menschen (No. 1
from Kinderscenen, Op. 15)
Schumann: Kinderscenen, Op. 15 (ABRSM) or
Schumann: Scenes from Childhood, Op. 15 (Henle) or
Lang Lang Piano Academy: Mastering the Piano, Level 4
(Faber)
11
Glière Evening (No. 5 from 8 Easy Pieces, Op. 43) Glière: Eight Easy Pieces, Op. 43 (ABRSM)
12
Philip Lane A Walk in the Park (No. 2 from Three Little Bites
at the Big Apple)
Philip Lane: Three Little Bites at the Big Apple
(Goodmusic)
13
Trad. Korean Arirang, arr. Bullard Lang Lang Piano Academy: Mastering the Piano, Level 4
(Faber)
A
B
30
Piano 2023 & 2024 Grade 5 Practical Grades
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1
Mike Cornick In the Groove (from 20 Piano Studies) Piano Exam Pieces 2023 & 2024, Grade 5 (ABRSM)
2
Kabalevsky Scherzo (No. 14 from 30 Children’s Pieces, Op. 27) Piano Exam Pieces 2023 & 2024, Grade 5 (ABRSM)
3
David Önaç A Distant Star in the Stillness Piano Exam Pieces 2023 & 2024, Grade 5 (ABRSM)
4
Agay Blue Waltz The Joy of Boogie and Blues (Yorktown Music Press)
5
Alwyn The Sea is Angry Pianoworks Collection 2 (OUP)
6
Bartók Winter Solstice Song (No. 38 from For Children,
Vol. 1)
Bartók: For Children, Vol. 1 (Boosey & Hawkes)
7
Victoria
Borisova-Ollas
Silent Island Spectrum 3 (ABRSM)
8
Ludovico
Einaudi
Elegy for the Arctic this edition only Pp. 7–9 from Ludovico Einaudi: Extra Elements (Chester)
9
Pinto March, Little Soldier! (No. 3 from Scenas
infantis) gliss. optional
Pinto: Scenas infantis (G. Schirmer)
10
Catherine
Rollin
Love Theme (from Lyric Moments, Book 2) Catherine Rollin: Lyric Moments, Book 2 (Alfred)
11
Arlen Stormy Weather, arr. Iles Nikki Iles and Friends, Book 1 (ABRSM)
12
Martha Mier Tuxedo Jazz (from Jazz, Rags & Blues, Book 4) Martha Mier: Jazz, Rags & Blues, Book 4 (Alfred)
13
André
Bangambula
Vindu
Lullaby (from Suite for Piano) Piano Music of Africa and the African Diaspora, Vol. 1
(OUP)
SCALES AND ARPEGGIOS: from memory; played in even notes; for further details see pages 15–16
RANGE REQUIREMENTS
SCALES (SIMILAR MOTION)
A, E, B, F
+
, D- majors
2 oct. legato; hands together
F
+
, C
+
, G
+
, E-, B- minors
(harmonic or melodic, at candidate’s choice)
STACCATO SCALES
A- major
2 oct. staccato; hands separately
F minor
(harmonic or melodic, at candidate’s choice)
CONTRARY-MOTION SCALES
D- major
2 oct. legato; hands starting on the tonic (unison)
C
+
harmonic minor
CHROMATIC CONTRARY-MOTION SCALE
starting on F
+
(LH) and A
+
(RH) 2 oct. legato; hands starting a major third apart
ARPEGGIOS
A, E, B, F
+
, A-, D- majors
2 oct. legato; hands together
F
+
, C
+
, G
+
, E-, F, B- minors
DIMINISHED SEVENTH
starting on B 2 oct. legato; hands separately
SIGHT-READING: a short piece of previously unseen music; for further details see pages 17 & 18
AURAL TESTS: given by the examiner from the piano; for further details see pages 40 & 44
C
31
Practical Grades Piano 2023 & 2024
GRADE 6
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a Practical
Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1
S. Heller Prelude in C
+
minor (No. 10 from 24 Preludes,
Op. 81)
Piano Exam Pieces 2023 & 2024, Grade 6 (ABRSM)
2
Gambarini Giga in D (from Lessons for the Harpsichord,
Op. 2)
Piano Exam Pieces 2023 & 2024, Grade 6 (ABRSM)
3
Kuhlau Allegro (1st movt from Sonatina in C, Op. 20
No. 1)
Piano Exam Pieces 2023 & 2024, Grade 6 (ABRSM)
4
C. P. E. Bach Solfeggietto in C minor, Wq. 117/2 C. P. E. Bach: Selected Keyboard Works, Book 2 (ABRSM)
or Classics to Moderns, Book 6 (Yorktown Music Press)
5
J. S. Bach Invention No. 6 in E, BWV 777 J. S. Bach: Two-part Inventions (ABRSM) or
J. S. Bach: Inventions and Sinfonias (Henle)
6
J. F. F.
Burgmüller
Velocity, Op. 109 No. 10 J. F. F. Burgmüller: Studies, Op. 109 (Peters)
7
Cimarosa Allegro (1st movt from Sonata No. 6 in G) The Classical Spirit, Book 2 (Alfred)
8
Handel Fantasia in A Classics to Moderns, Book 6 (Yorktown Music Press)
9
Haydn Finale: Allegro molto (4th movt from Sonata
in G, Hob. XVI:6)
Haydn: Selected Keyboard Sonatas, Book 1 (ABRSM) or
Haydn: Complete Piano Sonatas, Vol. 1 (Wiener Urtext)
10
D. Scarlatti Sonata in A, Kp. 208, L. 238 D. Scarlatti: 200 Sonatas, Vol. 2 (EMB Zeneműkiadó)
11
Hummel Rondo in C, Op. 52 No. 6 Hummel: 16 Short Pieces (ABRSM)
12
Schubert Moment musical in F minor (No. 3 from
Moments musicaux, D. 780)
Schubert: Moments musicaux, D. 780 (ABRSM) or
Schubert: Impromptus and Moments musicaux (Henle)
13
Telemann Allegro (1st movt from Fantasia No. 1 in D, 1st
Dozen, TWV 33:1)
Telemann: Fantasias, 1st Dozen (ABRSM)
1
Dett Honey (Humoresque) (3rd movt from In The
Bottoms)
Piano Exam Pieces 2023 & 2024, Grade 6 (ABRSM)
2
Granados Vals poético (No. 6 from Valses poéticos) Piano Exam Pieces 2023 & 2024, Grade 6 (ABRSM)
3
Mendelssohn Venetianisches Gondellied (No. 6 from Lieder
ohne Worte, Op. 19b)
Piano Exam Pieces 2023 & 2024, Grade 6 (ABRSM)
4
Y. Bowen A Pastel Y. Bowen: A Pastel (Chester)
5
Dello Joio Prayer of the Matador (No. 2 from Lyric Pieces
for the Young)
The Boosey & Hawkes 20th-Century Piano Collection:
from 1945 (Boosey & Hawkes)
6
Glière Prelude in D- (No. 1 from 8 Easy Pieces, Op. 43) Glière: Eight Easy Pieces, Op. 43 (ABRSM) or
A Romantic Sketchbook for Piano, Book 4 (ABRSM)
7
C. Hartmann Nocturne C. Hartmann: Two Piano Pieces (Edition HH)
8
Stephen
Hough
Little Lullaby (4th movt from Suite R-B) Stephen Hough: Suite R-B and Other Enigmas
(Weinberger)
9
Howells There Was a Most Beautiful Lady (No. 3 from
Country Pageant)
Howells: Country Pageant & A Little Book of Dances
(ABRSM) or
Core Classics, Grades 5–6 (ABRSM)
10
Khachaturian Legend (No. 6 from Pictures of Childhood) Khachaturian: Pictures of Childhood
(Boosey & Hawkes)
11
Mel Bonis Interlude (from Interlude et Valse lente, Op. 38)
ending b. 53
Mel Bonis: Piano Music Volume 5 – Dances A
(Furore Verlag)
12
Guastavino Cantilena No. 1 ‘Santa Fe para Ilorar’ (from
10 Cantilenas Argentinas)
Guastavino: 10 Cantilenas Argentinas (Melos)
13
Schumann Einsame Blumen (No. 3 from Waldscenen,
Op. 82)
Schumann: Waldscenen, Op. 82 (ABRSM)
A
B
32
Piano 2023 & 2024 Grade 6 Practical Grades
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1
R. R. Bennett The Child that Is Born on the Sabbath Day
(from A Week of Birthdays)
Piano Exam Pieces 2023 & 2024, Grade 6 (ABRSM)
2
Elissa Milne Indigo Moon (from Pepperbox Jazz, Book 2) Piano Exam Pieces 2023 & 2024, Grade 6 (ABRSM)
3
O. Peterson Jazz Exercise No. 2 (from Jazz Exercises, Minuets,
Etudes and Pieces for Piano)
Piano Exam Pieces 2023 & 2024, Grade 6 (ABRSM)
4
L. Bernstein For Stephen Sondheim (No. 3 from
13 Anniversaries)
L. Bernstein: 13 Anniversaries (Boosey & Hawkes)
5
Casella Galop Final (No. 11 from 11 Children’s Pieces,
Op. 35)
Casella: 11 Children’s Pieces (Universal)
6
Ben Crosland View from a Window (No. 12 from Cool Beans!,
Vol. 1)
Pp. 24–27 from Ben Crosland: Cool Beans!, Vol. 1
(Editions Musica Ferrum)
7
Paul Harvey Rumba Toccata Paul Harvey: Rumba Toccata (Ricordi)
8
Nikki Iles East Coast Blues Jazz on a Summer’s Day (OUP)
9
Stephen
Montague
Tsunami Spectrum 2 (ABRSM)
10
Prokofiev Cortège de sauterelles (No. 7 from Musiques
d’enfants, Op. 65)
Prokofiev: Musiques d’enfants, Op. 65
(Boosey & Hawkes)
11
Nkeiru Okoye Dancing Barefoot in the Rain (from African
Sketches)
Piano Music of Africa and the African Diaspora, Vol. 1
(OUP)
12
Poul Ruders Shooting Stars Spectrum 3 (ABRSM)
13
Billy Taylor I wish I knew how it would feel to be free,
arr. Churchill
Nikki Iles and Friends, Book 1 (ABRSM)
Exam requirements continue on page 33
C
33
Practical Grades Piano 2023 & 2024 Grade 6
SCALES AND ARPEGGIOS: from memory; played in even notes; for further details see pages 15–16
RANGE REQUIREMENTS
SCALES (SIMILAR MOTION)
D, F, A-, B majors
4 oct. legato or staccato, at examiner’s choice; hands together
D, F, G
+
, B minors (harmonic and melodic)
CONTRARY-MOTION SCALES
D, F, A-, B majors
2 oct. legato; hands starting on the tonic (unison)
D, F, G
+
, B harmonic minors
CHROMATIC SCALES (SIMILAR MOTION)
starting on G
+
4 oct. legato or staccato, at examiner’s choice; hands together
starting on B
ARPEGGIOS
D, F, A-, B majors
4 oct. legato; hands together (root position)
D, F, G
+
, B minors
DOMINANT SEVENTHS (resolving on tonic)
in the keys of D, F, A- and B 4 oct. legato; hands together; as pattern below
DIMINISHED SEVENTHS
starting on G
+
4 oct. legato; hands together
starting on B
SIGHT-READING: a short piece of previously unseen music; for further details see pages 17 & 18
AURAL TESTS: given by the examiner from the piano; for further details see pages 40 & 45
34
Piano 2023 & 2024 Practical Grades
GRADE 7
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a Practical
Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1
Haydn Allegro moderato (1st movt from Sonata in
B minor, Hob. XVI:32)
Piano Exam Pieces 2023 & 2024, Grade 7 (ABRSM)
2
Martinů Allegretto (No. 4 from Čtvrtky a osminky, H. 257) Piano Exam Pieces 2023 & 2024, Grade 7 (ABRSM)
3
Martínez Tempo di minuetto (3rd movt from Sonata in A) Piano Exam Pieces 2023 & 2024, Grade 7 (ABRSM)
4
C. P. E. Bach Allegro di molto (1st movt from Sonata in
F minor, Wq. 63/6)
Pp. 40–43 from C. P. E. Bach: Selected Keyboard Works,
Book 4 (ABRSM) or
The Classical Spirit, Book 2 (Alfred)
5
Haydn Moderato (1st movt from Sonata in E,
Hob. XVI:31)
Haydn: Selected Keyboard Sonatas, Book 3 (ABRSM) or
Haydn: Complete Piano Sonatas, Vol. 3 (Wiener Urtext)
6
Kuhlau Allegro con spirito (1st movt from Sonatina in A,
Op. 60 No. 2)
Kuhlau: Sonatinas, Vol. 2 (Peters)
7
Mozart Gigue in G, K. 574 Pp. 11–12 from A Keyboard Anthology, 2nd Series, Book 5
(ABRSM) or
Mozart: Mature Piano Pieces (ABRSM) or
Mozart: Piano Pieces, Selection (Henle)
8
Paradies Allegro (2nd movt from Sonata No. 6 in A) Pp. 45–47 from Paradies: Sonate di Gravicembalo, Vol. 1
(Schott)
9
Rameau Les sauvages (from Pièces de clavecin) Rameau: Les cyclopes / Les sauvages (Bärenreiter) or
pp. 96–97 from Rameau: Pièces de clavecin (Heugel)
10
D. Scarlatti Sonata in E, Kp. 380, L. 23 Pp. 30–33 from D. Scarlatti: Keyboard Pieces and
Sonatas, Book 3 (ABRSM) or
D. Scarlatti: 200 Sonatas, Vol. 3 (EMB Zeneműkiadó)
11
Beethoven Menuetto and Trio (3rd movt from Sonata in D,
Op. 10 No. 3)
Beethoven: Sonata in D, Op. 10 No. 3 (ABRSM) or
Beethoven: The 35 Piano Sonatas, Vol. 1 (ABRSM) or
Beethoven: Complete Pianoforte Sonatas, Vol. 1 (ABRSM)
12
Handel
Allemande and Courante (2nd and 3rd movts
from Suite in D minor, HWV 437)
Handel: Keyboard Works, Vol. 2 (Bärenreiter)
13
Joaquín Turina El mercado (No. 5 from Miniaturas, Op. 52) Joaquín Turina: Miniaturas (Schott)
1
Chopin Mazurka in A minor, Op. 68 No. 2 Piano Exam Pieces 2023 & 2024, Grade 7 (ABRSM)
2
Jan Freidlin At the Evening Window (No. 4 from Four Stories) Piano Exam Pieces 2023 & 2024, Grade 7 (ABRSM)
3
Moszkowski Calme du soir (No. 2 from 10 petits morceaux,
Op. 94)
Piano Exam Pieces 2023 & 2024, Grade 7 (ABRSM)
4
Alan Bullard Prelude No. 9 (from 12 or 13 Preludes for
Piano Solo, Set One)
Alan Bullard: Prelude No. 9 from 12 or 13 Preludes for
Piano Solo, Set One (Colne Edition) or
Alan Bullard: 12 or 13 Preludes for Piano Solo, Set One
(Colne Edition)
5
Hensel Mélodie, Op. 4 No. 2 At the Piano with Women Composers (Alfred) or
Piano Music by Female Composers (4th revised edition
2011) (Schott)
6
Liszt Consolation No. 5 in E (from Consolations, S. 172) Liszt: 21 Short Piano Pieces (ABRSM) or
Liszt: Consolations (Wiener Urtext)
7
Lyadov Mazurka in F minor (No. 3 from Trois morceaux,
Op. 57)
Lyadov: Preludes, Trifles and Other Pieces (ABRSM) or
A Romantic Sketchbook for Piano, Book 4 (ABRSM)
8
Mendelssohn Song without Words, Op. 19 No. 1 Mendelssohn: Songs without Words (ABRSM)
9
A. Richardson Lento moderato (2nd movt from Sonatina in F,
Op. 27)
A. Richardson: Sonatina in F, Op. 27 (Weinberger)
A
B
Digital only edition, available from publisher’s website
35
Practical Grades Piano 2023 & 2024 Grade 7
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
10
Schumann Kind im Einschlummern (No. 12 from
Kinderscenen, Op. 15)
Schumann: Kinderscenen, Op. 15 (ABRSM) or
Schumann: Scenes from Childhood, Op. 15 (Henle) or
Night and Dreams (Schott)
11
Debussy The Little Shepherd (No. 5 from Children’s
Corner)
A Keyboard Anthology, 1st Series, Book 5 (ABRSM)
12
Ilyinsky Berceuse (No. 7 from Noure et Anitra, Op. 13) Core Classics, Grades 6–7 (ABRSM) or
A Keyboard Anthology, 3rd Series, Book 5 (ABRSM)
13
O. Russell Jamaican Dance No. 2 (from Three Jamaican
Dances)
Piano Music of Africa and the African Diaspora, Vol. 3
(OUP)
1
Christopher
Norton
New Kid (No. 9 from The Christopher Norton
Jazz Preludes Collection)
Piano Exam Pieces 2023 & 2024, Grade 7 (ABRSM)
2
Dianne
Goolkasian
Rahbee
Prelude: Twilight, Op. 69 Piano Exam Pieces 2023 & 2024, Grade 7 (ABRSM)
3
Param Vir White Light Chorale Piano Exam Pieces 2023 & 2024, Grade 7 (ABRSM)
4
Bartók Bagpipers: Allegretto (1st movt from Sonatina) Bartók: Sonatina (EMB Zeneműkiadó or Henle)
5
Chen Yi Bamboo Dance II Spectrum 5 (ABRSM)
6
Ginastera Tribute to Roberto Garcia Morillo (No. 6 from
12 American Preludes, Op. 12)
Ginastera: 12 American Preludes, Op. 12 (Carl Fischer)
7
Grovlez Chanson du chasseur (No. 4 from L’Almanach
aux images)
Grovlez: L’Almanach aux images (Stainer & Bell) or
Beyond the Romantic Spirit, Book 2 (Alfred)
8
Kern Smoke Gets in Your Eyes (from Roberta),
arr. Evans
Lee Evans Arranges Jerome Kern (Hal Leonard)
9
Florentine
Mulsant
Prélude No. 14 (from 24 Préludes pour piano,
Op. 38)
Florentine Mulsant: 24 Préludes pour piano, Op. 38
(Furore Verlag)
10
Christopher
Norton
Pop Bossa (No. 5 from Latin Preludes 2) Christopher Norton: Latin Preludes Collection
(Boosey & Hawkes)
11
Grieg Butterfly (No. 1 from Lyric Pieces, Book 3, Op. 43) Grieg: 38 Pianoforte Pieces, Book 2 (ABRSM)
12
Piazzolla Milonga del ángel Piazzolla: Piazzolla: Ángel for piano (Tonos)
13
Uzoigwe Nigerian Dance No. 1 (from Four Nigerian Dances) Piano Music of Africa and the African Diaspora, Vol. 2
(OUP)
Exam requirements continue on page 36
C
36
Piano 2023 & 2024 Grade 7 Practical Grades
SCALES AND ARPEGGIOS: from memory; played in even notes; for further details see pages 15–16
RANGE REQUIREMENTS
SCALES (SIMILAR MOTION)
D-, E, G, B- majors
4 oct. legato or staccato, at examiner’s choice; hands together
C
+
, E, G, B- minors (harmonic and melodic)
SCALES A THIRD APART
D-, E, G, B- majors
4 oct. legato or staccato, at examiner’s choice; hands together
C
+
, E, G, B- harmonic minors
CONTRARY-MOTION SCALES
D-, E, G, B- majors
2 oct.
legato or staccato, at examiner’s choice;
hands starting on the tonic (unison)
C
+
, E, G, B- harmonic minors
LEGATO SCALE IN THIRDS
G major 2 oct. legato; hands separately
STACCATO SCALE IN THIRDS
G major 2 oct. staccato; hands separately
CHROMATIC CONTRARY-MOTION SCALE
starting on C
+
(LH) and E (RH) 2 oct. legato or staccato, at examiner’s choice;
hands starting a minor third apart
ARPEGGIOS
D-, E, G, B- majors
4 oct. legato; hands together; first inversion only
C
+
, E, G, B- minors
DOMINANT SEVENTHS (resolving on tonic)
in the keys of D-, E, G and B- 4 oct. legato; hands together; as pattern below
DIMINISHED SEVENTHS
starting on B-
4 oct. legato; hands together
starting on E
SIGHT-READING: a short piece of previously unseen music; for further details see pages 17 & 18
AURAL TESTS: given by the examiner from the piano; for further details see pages 40 & 46
37
Practical Grades Piano 2023 & 2024
GRADE 8
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a Practical
Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1
J. S. Bach Prelude and Fugue in B-, BWV 866 Piano Exam Pieces 2023 & 2024, Grade 8 (ABRSM)
2
Mozart Allegro (1st movt from Sonata in F, K. 332) Piano Exam Pieces 2023 & 2024, Grade 8 (ABRSM)
3
Schubert Moment musical in C
+
minor (No. 4 from
Moments musicaux, D. 780)
Piano Exam Pieces 2023 & 2024, Grade 8 (ABRSM)
4
J. S. Bach Prelude and Fugue in G, BWV 884 J. S. Bach: The Well-Tempered Clavier, Part 2 (ABRSM)
5
Beethoven Allegro (1st movt from Sonata in E, Op. 14 No. 1) Beethoven: Sonata in E, Op. 14 No. 1 (ABRSM) or
Beethoven: The 35 Piano Sonatas, Vol. 1 (ABRSM) or
Beethoven: Complete Pianoforte Sonatas, Vol. 1 (ABRSM)
6
Handel
Prelude and Allegro (Fuga) (1st and 2nd movts
from Suite No. 8 in F minor, HWV 433)
Handel: Eight Great Suites, Book 2 (ABRSM) or
Handel: Keyboard Works, Vol. 1 (Bärenreiter)
7
Martínez Allegro/Moderato (1st movt from Sonata in A) Piano Music by Female Composers (4th revised edition
2011) (Schott) or
Core Classics, Grades 7–8 (ABRSM)
8
Mozart
Andante grazioso and Vars. 1–6 (1st movt from
Sonata in A, K. 331)
Mozart: Sonata in A, K. 331 (ABRSM) or
Mozart: Sonatas for Pianoforte, Vol. 2 (ABRSM)
9
Rameau Les cyclopes (from Pièces de clavecin) Rameau: Les cyclopes / Les sauvages (Bärenreiter) or
Rameau: Pièces de clavecin (Heugel)
10
D. Scarlatti Sonata in D, Kp. 443, L. 418 Pp. 4–7 from D. Scarlatti: Selected Keyboard Sonatas,
Book 1 (ABRSM) or
D. Scarlatti: 200 Sonatas, Vol. 4 (EMB Zeneműkiadó)
11
Haydn Allegro con brio (1st movt from Sonata in D,
Hob. XVI:37)
Haydn: Selected Keyboard Sonatas, Book 3 (ABRSM) or
Haydn: Complete Piano Sonatas, Vol. 3 (Wiener Urtext)
12
Stephen
Hough
Toccatina (5th movt from Suite R-B) Stephen Hough: Suite R-B and Other Enigmas
(Weinberger)
13
C. Schumann Un poco agitato (No. 2 from Quatre pièces
fugitives, Op. 15)
C. Schumann: Romantic Piano Music (Vol. 2)
(Bärenreiter) or
C. Schumann: Quatre pièces fugitives Op. 15
(Breitkopf & Härtel)
1
S. Coleridge-
Taylor
Impromptu in B minor (No. 2 from
Two Impromptus)
Piano Exam Pieces 2023 & 2024, Grade 8 (ABRSM)
2
Farrenc Étude in D-, Op. 41 No. 5 Piano Exam Pieces 2023 & 2024, Grade 8 (ABRSM)
3
Tchaikovsky Juin: Barcarolle (No. 6 from Les saisons, Op. 37b) Piano Exam Pieces 2023 & 2024, Grade 8 (ABRSM)
4
Arensky Nocturne in D- (No. 3 from 24 Characteristic
Pieces, Op. 36)
Arensky: 24 Characteristic Pieces, Op. 36 (Prhythm) or
Arensky: 24 Morceau characteristiques, Op. 36 (Alfred)
5
Chopin Mazurka in A minor, Op. 17 No. 4 Chopin: Mazurkas (Henle)
6
Ireland Columbine Ireland: The Collected Piano Works, Vol. 4
(Stainer & Bell)
7
Janáček
Andante (No. 1 from In the Mists)
Janáček: In the Mists (Bärenreiter)
8
Rachmanino Moment musical in D-, Op. 16 No. 5 Rachmanino: Six moments musicaux, Op. 16 (Simrock)
9
Schubert Impromptu in A- (No. 2 from Four Impromptus,
Op. 142, D. 935)
Schubert: Impromptus, Op. 142 (ABRSM) or
Schubert: Impromptus and Moments musicaux (Henle)
or Core Classics, Grades 7–8 (ABRSM)
10
Schumann Romanze in F
+
(No. 2 from Drei Romanzen,
Op. 28)
Schumann: Drei Romanzen, Op. 28 (ABRSM)
11
A. Beach A Hermit Thrush at Morn, Op. 92 No. 2 Piano Music of Amy Beach (Hal Leonard) or
Amy Beach Piano Music (Dover)
A
B
38
Piano 2023 & 2024 Grade 8 Practical Grades
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
12
Beethoven Adagio cantabile (2nd movt from Sonata in
C minor ‘Pathétique’, Op. 13)
Beethoven: Sonata in C minor, Op. 13 (Pathétique)
(ABRSM) or
Beethoven: The 35 Piano Sonatas, Vol. 1 (ABRSM) or
Beethoven: Complete Pianoforte Sonatas, Vol. 1 (ABRSM)
13
Tailleferre Impromptu Tailleferre: Impromptu (Editions Jobert)
1
Albéniz Rumores de La Caleta (Malagueña) (No. 6
from Recuerdos de viaje, Op. 71)
Piano Exam Pieces 2023 & 2024, Grade 8 (ABRSM)
2
Debussy Arabesque No. 2 (from Deux arabesques, L. 66) Piano Exam Pieces 2023 & 2024, Grade 8 (ABRSM)
3
J. P. Johnson Over the Bars Piano Exam Pieces 2023 & 2024, Grade 8 (ABRSM)
4
Chaminade Pierrette (Air de Ballet), Op. 41 Piano Music by Female Composers (4th revised edition
2011) (Schott)
5
Chen Peixun Thunder in Drought Season 100 Years of Chinese Piano Music: Vol. III Works in
Traditional Style, Book II Instrumental Music
(Shanghai Conservatory of Music Press)
6
Debussy Rêverie Debussy: Rêverie (Editions Jobert) or
Night and Dreams (Schott)
7
Khachaturian Toccata Khachaturian: Toccata (Boosey & Hawkes)
8
Uwe Korn Caballos Españoles Tango Meets Jazz (Schott)
9
Cecilia
McDowall
Vespers in Venice (from Four Piano Solos) Cecilia McDowall: Four Piano Solos (Hunt Edition)
10
Villa-Lobos O polichinelo (from A prole do bebê no.1) Villa-Lobos: O polichinelo (Eschig) or
Beyond the Romantic Spirit, Book 2 (Alfred)
11
Bartók Dance in Bulgarian Rhythm No. 6 (No.153 from
Mikrokosmos)
Bartók: Six Dances in Bulgarian Rhythm (Henle) or
Bartók: Mikrokosmos, Vol. 6 (Boosey & Hawkes)
12
Zoe Rahman Go with the Flow Nikki Iles and Friends, Book 2 (ABRSM)
13
Trad. Irish Danny Boy, arr. Iles Jazz in Autumn (OUP)
Exam requirements continue on page 39
C
39
Practical Grades Piano 2023 & 2024 Grade 8
SCALES AND ARPEGGIOS: from memory; played in even notes; for further details see pages 15–16
RANGE REQUIREMENTS
SCALES (SIMILAR MOTION)
C, E-, F
+
, A majors
4 oct. legato or staccato, at examiner’s choice; hands together
C, E-, F
+
, A minors (harmonic and melodic)
SCALES A SIXTH APART
C, E-, F
+
, A majors
4 oct. legato or staccato, at examiner’s choice; hands together
C, E-, F
+
, A harmonic minors
CONTRARY-MOTION SCALES
C, E-, F
+
, A majors
2 oct.
legato or staccato, at examiner’s choice;
hands starting on the tonic (unison)
C, E-, F
+
, A harmonic minors
LEGATO SCALE IN THIRDS
E- major 2 oct. legato; hands separately
STACCATO SCALE IN SIXTHS
C major 2 oct. staccato; hands separately
CHROMATIC SCALE A MAJOR SIXTH APART
starting on E- (LH) and C (RH) 4 oct. legato or staccato, at examiner’s choice; hands together
WHOLE-TONE SCALES (SIMILAR MOTION)
starting on E-
4 oct. legato or staccato, at examiner’s choice; hands together
starting on C
ARPEGGIOS
C, E-, F
+
, A majors
4 oct. legato; hands together; second inversion only
C, E-, F
+
, A minors
DOMINANT SEVENTHS (resolving on tonic)
in the keys of C, E-, F
+
and A 4 oct. legato; hands together; as pattern below
DIMINISHED SEVENTHS
starting on E-
4 oct. legato; hands together
starting on C
SIGHT-READING: a short piece of previously unseen music; for further details see pages 17 & 18
AURAL TESTS: given by the examiner from the piano; for further details see pages 40 & 47
40
3. Piano Practical Grades Syllabus 2023 & 2024 Practical Grades
Aural test requirements
Included in all Practical Music graded exams*
Listening lies at the heart of all good music-making. Developing aural awareness is fundamental
to musical training because having a musical ear impacts on all aspects of musicianship. Singing
both silently in the head and out loud is one of the best ways to develop the musical ear. It
connects the internal imagining of sound the inner ear with the external creation of it without
the necessity of mechanically having to find the note on an instrument (important though that
connection is). By integrating aural activities in imaginative ways in the lesson preparation for
the Aural tests within an exam will be a natural extension of what is already an essential part of
the learning experience.
In the exam
Aural tests are an integral part of all Practical Music graded exams.
The tests are given by the examiner from the piano. For any test that requires a sung response
pitch rather than vocal quality is being assessed. The examiner will be happy to adapt to the vocal
range of the candidate whose responses may be sung to any vowel (or consonant followed by a
vowel) hummed or whistled (and at a dierent octave if appropriate).
The information on pages 41–47 sets out the tasks that candidates will be asked to complete
in the exam.
Assessment
Some tests allow for a second attempt or for an additional playing by the examiner if necessary.
The examiner will also be ready to prompt where helpful although this may aect the assessment.
Marks are not awarded for each individual test or deducted for mistakes instead they reflect the
candidates overall response in this component. The marking criteria for the Aural tests are given
on page 55.
Supporting publications
For practice purposes sample Aural tests are published by ABRSM. Examples of the tests for
Initial Grade to Grade 8 are given in Specimen Aural Tests. More examples for Grades 1 to 8 are
given in Aural Training in Practice. Purchasing these books is not a requirement.
Deaf or hearing-impaired candidates
Deaf or hearing-impaired candidates may choose alternative tests in place of the standard tests
if requested at the time of booking the exam. Further information including the syllabus for the
alternative tests is available at www.abrsm.org/specificneeds.
* A dierent set of tests apply to Jazz and Singing for Musical Theatre exams
3. Piano Practical Grades Syllabus 2023 & 2024
41
Practical Grades 3. Piano Practical Grades Syllabus 2023 & 2024
INITIAL GRADE
A To clap the pulse of a piece played by the examiner. The examiner will start playing the pas-
sage and the candidate should join in as soon as possible clapping in time.
B To clap as echoes the rhythm of two phrases played by the examiner. The phrases will be
two bars long in three or four time and consist of a melody line only. The examiner will count
in two bars. After the examiner has played each phrase the candidate should clap back the
rhythm as an echo without a pause keeping in time.
C To sing as echoes two phrases played by the examiner. The phrases will be one bar long in
4/4 time. They will be in a major key and within the range of tonic–mediant. First the examiner
will play the key-chord and the starting note (the tonic) and then count in two bars. After the
examiner has played each phrase the candidate should sing back the echo without a pause
keeping in time.
D To answer a question about one feature of a piece played by the examiner. Before playing
the examiner will tell the candidate which feature the question will be about. It will be about
dynamics (loud/quiet) or articulation (smooth/detached).
GRADE 1
A To clap the pulse of a piece played by the examiner and to identify whether it is in two time
or three time. The examiner will start playing the passage and the candidate should join in as
soon as possible clapping in time and giving a louder clap on the strong beats. The examiner
will then ask whether the music is in two time or three time. The candidate is not required to
state the time signature.
B To sing as echoes three phrases played by the examiner. The phrases will be two bars long
in a major key and within the range of tonic–mediant. First the examiner will play the key-chord
and the starting note (the tonic) and then count in two bars. After the examiner has played
each phrase the candidate should sing back the echo without a pause keeping in time.
C To identify where a change in pitch occurs during a phrase played by the examiner. The
phrase will be two bars long in a major key and the change will aect only one of the notes.
First the examiner will play the key-chord and the tonic and then count in two bars. The
examiner will play the phrase twice making the change in the second playing after which
the candidate should state whether the change was near the beginning or near the end. If
necessary the examiner will play both versions of the phrase again (although this may aect
the assessment).
D To answer questions about two features of a piece played by the examiner. Before playing
the examiner will tell the candidate which two features the questions will be about. The first
will be: dynamics (loud/quiet or sudden/gradual changes) the second will be articulation
(smooth/detached).
42
3. Piano Practical Grades Syllabus 2023 & 2024 Practical Grades
GRADE 2
A To clap the pulse of a piece played by the examiner and to identify whether it is in two time
or three time. The examiner will start playing the passage and the candidate should join in as
soon as possible clapping in time and giving a louder clap on the strong beats. The examiner
will then ask whether the music is in two time or three time. The candidate is not required to
state the time signature.
B To sing as echoes three phrases played by the examiner. The phrases will be two bars long
in a major key and within the range of tonic–dominant. First the examiner will play the key-
chord and the starting note (the tonic) and then count in two bars. After the examiner has
played each phrase the candidate should sing back the echo without a pause keeping in time.
C To identify a change in either pitch or rhythm during a phrase played by the examiner. The
phrase will be two bars long in a major key. First the examiner will play the key-chord and the
tonic and then count in two bars. The examiner will play the phrase twice making the change
in the second playing after which the candidate should identify the change by describing it
or singing/clapping. If necessary the examiner will play both versions of the phrase again
(although this may aect the assessment).
D To answer questions about two features of a piece played by the examiner. Before playing
the examiner will tell the candidate which two features the questions will be about. The first
will be one of the following: dynamics (loud/quiet or sudden/gradual changes) articulation
(smooth/detached) the second will be tempo (becoming slower/faster or staying the same).
GRADE 3
A To clap the pulse of a piece played by the examiner and to identify whether it is in two time
three time or four time. The examiner will start playing the passage and the candidate should
join in as soon as possible clapping in time and giving a louder clap on the strong beats. The
examiner will then ask whether the music is in two time three time or four time. The candi-
date is not required to state the time signature.
B To sing as echoes three phrases played by the examiner. The phrases will be two bars long
in a major or minor key and within the range of an octave. First the examiner will play the key-
chord and the starting note and then count in two bars. After the examiner has played each
phrase the candidate should sing back the echo without a pause keeping in time.
C To identify a change in either pitch or rhythm during a phrase played by the examiner. The
phrase will be up to four bars long in a major or minor key. First the examiner will play the
key-chord and the tonic and then count in two bars. The examiner will play the phrase twice
making the change in the second playing after which the candidate should identify the change
by describing it or singing/clapping. If necessary the examiner will play both versions of the
phrase again (although this may aect the assessment).
D To answer questions about two features of a piece played by the examiner. Before playing
the examiner will tell the candidate which two features the questions will be about. The first
will be one of the following: dynamics (loud/quiet or sudden/gradual changes) articulation
(smooth/detached) tempo (becoming slower/faster or staying the same) the second will
be tonality (major/minor key).
43
Practical Grades 3. Piano Practical Grades Syllabus 2023 & 2024
GRADE 4
A To sing or play from memory a melody played twice by the examiner. The melody will be
within the range of an octave in a major or minor key with up to three sharps or flats. First
the examiner will play the key-chord and the starting note and then count in two bars. (If the
candidate chooses to play the examiner will also name the key-chord and the starting note
as appropriate for the instrument. This option is only available to instruments pitched in C
B- E- or F.) If necessary the examiner will play the melody again and allow a second attempt
(although this may aect the assessment).
B To sing five notes from score in free time. The candidate may choose to sing from treble or
bass clef. The notes will be within the range of a third above and below the tonic in the key of
C F or G major. The test will begin and end on the tonic and will not contain intervals greater
than a third. First the examiner will name and play the key-chord and the starting note. If
necessary the examiner will help the candidate by playing and identifying the correct note
if any note is sung at the wrong pitch.
C (i) To answer questions about two features of a piece played by the examiner. Before
playing the examiner will tell the candidate which two features the questions will be about.
The first will be one of the following: dynamics articulation tempo tonality the second
will be character.
(ii) To clap the rhythm of the notes in an extract from the same piece and to identify
whether it is in two time three time or four time. The examiner will play the extract twice
(unharmonised) after which the candidate should clap back the rhythm. The examiner
will then ask whether the music is in two time three time or four time. The candidate is
not required to state the time signature.
44
3. Piano Practical Grades Syllabus 2023 & 2024 Practical Grades
GRADE 5
A To sing or play from memory a melody played twice by the examiner. The melody will be
within the range of an octave in a major or minor key with up to three sharps or flats. First
the examiner will play the key-chord and the starting note and then count in two bars. (If the
candidate chooses to play the examiner will also name the key-chord and the starting note
as appropriate for the instrument. This option is only available to instruments pitched in C
B- E- or F.) If necessary the examiner will play the melody again and allow a second attempt
(although this may aect the assessment).
B To sing six notes from score in free time. The candidate may choose to sing from treble or
bass clef. The notes will be within the range of a fifth above and a fourth below the tonic in
a major key with up to two sharps or flats. The test will begin and end on the tonic and will
not contain intervals greater than a third except for the rising fourth from dominant to tonic.
First the examiner will name and play the key-chord and the starting note. If necessary the
examiner will help the candidate by playing and identifying the correct note if any note is sung
at the wrong pitch.
C (i) To answer questions about two features of a piece played by the examiner. Before
playing the examiner will tell the candidate which two features the questions will be about.
The first will be one of the following: dynamics articulation tempo tonality character the
second will be style and period.
(ii) To clap the rhythm of the notes in an extract from the same piece and to identify
whether it is in two time three time or four time. The examiner will play the extract twice
(unharmonised) after which the candidate should clap back the rhythm. The examiner
will then ask whether the music is in two time three time or four time. The candidate is
not required to state the time signature.
45
Practical Grades 3. Piano Practical Grades Syllabus 2023 & 2024
GRADE 6
A To sing or play from memory the upper part of a two-part phrase played twice by the
examiner. The upper part will be within the range of an octave in a major or minor key with
up to three sharps or flats. First the examiner will play the key-chord and the starting note and
then count in two bars. (If the candidate chooses to play the examiner will also name the key-
chord and the starting note as appropriate for the instrument. This option is only available
to instruments pitched in C B- E- or F.) If necessary the examiner will play the phrase again
and allow a second attempt (although this may aect the assessment).
B To sing a melody from score with an accompaniment played by the examiner. The candidate
may choose to sing from treble or bass clef. The melody will be within the range of an octave
in a major or minor key with up to three sharps or flats. First the examiner will name and play
the key-chord and the starting note and then give the pulse. A brief period of preparation will
follow during which the candidate may sing out loud. The examiner will play the key-chord
and the starting note again and then count in two bars. If necessary the examiner will allow a
second attempt (although this may aect the assessment).
C To identify the cadence at the end of a phrase as perfect or imperfect. The phrase will be in a
major or minor key and will be played twice by the examiner. The chords forming the cadence
will be in root position. Before the first playing the examiner will play the key-chord.
D (i) To answer questions about two features of a piece played by the examiner. Before
playing the examiner will tell the candidate which two features the questions will be about.
The first will be: texture or structure the second will be one of the following: dynamics
articulation tempo tonality character style and period texture/structure.
(ii) To clap the rhythm of the notes in an extract from the same piece and to identify
whether it is in two time three time or four time. The examiner will play the extract twice
(unharmonised) after which the candidate should clap back the rhythm. The examiner
will then ask whether the music is in two time three time or four time. The candidate is
not required to state the time signature.
46
3. Piano Practical Grades Syllabus 2023 & 2024 Practical Grades
GRADE 7
A To sing or play from memory the lower part of a two-part phrase played twice by the
examiner. The lower part will be within the range of an octave in a major or minor key with
up to three sharps or flats. First the examiner will play the key-chord and the starting note and
then count in two bars. (If the candidate chooses to play the examiner will also name the key-
chord and the starting note as appropriate for the instrument. This option is only available
to instruments pitched in C B- E- or F.) If necessary the examiner will play the phrase again
and allow a second attempt (although this may aect the assessment).
B To sing the upper part of a two-part phrase from score with the lower part played by the
examiner. The candidate may choose to sing from treble or bass clef. The upper part will be
within the range of an octave in a major or minor key with up to four sharps or flats. First the
examiner will name and play the key-chord and the starting note and then give the pulse. A
brief period of preparation will follow during which the candidate may sing out loud. The exam-
iner will play the key-chord and the starting note again and then count in two bars. If necessary
the examiner will allow a second attempt (although this may aect the assessment).
C (i) To identify the cadence at the end of a phrase as perfect imperfect or interrupted. The
phrase will be in a major or minor key and will be played twice by the examiner. The chords
forming the cadence will be in root position. Before the first playing the examiner will play
the key-chord.
(ii) To identify the two chords forming the above cadence. The chords will be limited to the
tonic subdominant dominant dominant seventh or submediant (all in root position).
First the examiner will name and play the key-chord then play the two chords as a pair.
The candidate may answer using technical names (tonic dominant etc.) chord numbers
(I V etc.) or letter names (C major G major etc.).
(iii) To identify whether the modulation at the end of a dierent passage is to the dominant
subdominant or relative minor. The passage played once by the examiner will begin in
a major key. First the examiner will name and play the starting key-chord. The candidate
may answer using technical names (dominant subdominant relative minor) or the letter
name of the new key.
D (i) To answer questions about two features of a piece played by the examiner. Before playing
the examiner will tell the candidate which two of the following features the questions will
be about: dynamics articulation tempo tonality character style and period texture
structure.
(ii) To clap the rhythm of the notes in an extract from the same piece and to identify whether
it is in two time three time four time or 6/8 time. The examiner will play the extract twice
(unharmonised) after which the candidate should clap back the rhythm. The examiner
will then ask whether the music is in two time three time four time or 6/8 time.
47
Practical Grades 3. Piano Practical Grades Syllabus 2023 & 2024
GRADE 8
A (i) To sing or play from memory the lowest part of a three-part phrase played twice by the
examiner. The lowest part will be within the range of an octave in a major or minor key
with up to three sharps or flats. First the examiner will play the key-chord and the starting
note and then count in two bars. (If the candidate chooses to play the examiner will also
name the key-chord and the starting note as appropriate for the instrument. This option is
only available to instruments pitched in C B- E- or F.) If necessary the examiner will play
the phrase again and allow a second attempt (although this may aect the assessment).
(ii) To identify the cadence at the end of a continuing phrase as perfect imperfect
interrupted or plagal. The phrase will be in a major or minor key and will be played twice
by the examiner. The chords forming the cadence will be limited to the tonic (root position
first or second inversions) supertonic (root position or first inversion) subdominant (root
position) dominant (root position first or second inversions) dominant seventh (root
position) or submediant (root position). Before the first playing the examiner will play
the key-chord.
(iii) To identify the three chords (including their positions) forming the above cadential
progression. The chords will be limited to the tonic (root position first or second
inversions) supertonic (root position or first inversion) subdominant (root position)
dominant (root position first or second inversions) dominant seventh (root position) or
submediant (root position). First the examiner will name and play the key-chord then
play the three chords in sequence finally playing each chord individually pausing for the
candidate to identify it. The candidate may answer using technical names (tonic first
inversion etc.) chord numbers (Ib etc.) or letter names (C major in first inversion etc.).
B To sing the lower part of a two-part phrase from score with the upper part played by the
examiner. The candidate may choose to sing from treble or bass clef. The lower part will
be within the range of an octave in a major or minor key with up to four sharps or flats.
First the examiner will name and play the key-chord and the starting note and then give
the pulse. A brief period of preparation will follow during which the candidate may sing out
loud. The examiner will play the key-chord and the starting note again and then count in two
bars. If necessary the examiner will allow a second attempt (although this may aect the
assessment).
C To identify whether the modulations at the end of two dierent passages are to the dominant
subdominant or relative minor/major. The first passage will begin in a major key and the
second will begin in a minor key each passage will be played once by the examiner. Before
playing each passage the examiner will name and play the starting key-chord. The candidate
may answer using technical names (dominant* subdominant relative minor/major) or the
letter name of the new key. (* Minor-key passages may modulate to the dominant major or
minor but the candidate is only required to specify dominant in such cases.)
D To describe the characteristic features of a piece played by the examiner. After hearing
the piece the candidate should describe any notable features (such as texture structure
character style and period etc.). The examiner will prompt the candidate with questions only
if this becomes necessary.
48
4. Assessment, marking & infringements
Assessment objectives
The following tables describe the level of knowledge and skills required of candidates taking
Practical Grades. They also show the assessment objectives and corresponding marking criteria
that examiners use to assess the performances at each level. The full marking criteria used by
examiners are available on pages 54–55.
Initial Grade (RQF Entry Level 3)
Assessment objectives Marking criteria
Learners will: Learners can:
Demonstrate musical skill knowledge
and understanding through performing
repertoire of basic musical and technical
demands demonstrating control across the
range of musical ingredients appropriate to
simple repertoire and awareness of basic
characteristic features and performance
conventions.
Perform basic repertoire with:
• Reliable pitch and intonation
• Stable rhythm at a suitable tempo
• Reliable tonal control and awareness
• Musical shape and detail
• Communication of character and style
Demonstrate instrumental control and
familiarity with prescribed note patterns
relevant to the instrument through playing
prescribed technical requirements at basic
demand levels.
Perform specified basic technical
requirements with:
• Correct notes and secure continuity
• Reliable tonal control
Demonstrate notational and listening skills
and understanding at basic demand levels
through responding to previously unseen
music and prescribed aural tests.
Respond to simple musical notation with:
• Overall security of notes rhythm and
continuity
Respond to simple piano-based musical
stimuli with:
• Overall accuracy and reliable musical
perception
49
Practical Grades 4. Assessment, marking & infringements
Grades 1 to 3 (RQF Level 1)
Assessment objectives Marking criteria
Learners will: Learners can:
Demonstrate musical skill knowledge and
understanding through performing repertoire
of elementary musical and technical
demands demonstrating control across the
range of musical ingredients appropriate to
straightforward repertoire and awareness
of elementary characteristic features and
performance conventions.
Perform elementary repertoire with:
• Reliable pitch and intonation
• Stable rhythm at a suitable tempo
• Reliable tonal control and awareness
• Musical shape and detail
• Communication of character and style
Demonstrate instrumental control and
familiarity with prescribed note patterns
relevant to the instrument through playing
prescribed technical requirements at
elementary demand levels.
Perform specified elementary technical
requirements with:
• Correct notes and secure continuity
• Reliable tonal control
Demonstrate notational and listening skills
and understanding at elementary demand
levels through responding to previously
unseen music and prescribed aural tests.
Respond to straightforward musical notation
with:
• Overall security of notes rhythm and
continuity
Respond to straightforward piano-based
musical stimuli with:
• Overall accuracy and reliable musical
perception
50
4. Assessment, marking & infringements Practical Grades
Grades 4 & 5 (RQF Level 2)
Assessment objectives Marking criteria
Learners will: Learners can:
Demonstrate musical skill knowledge and
understanding through performing repertoire
of intermediate musical and technical
demands demonstrating control across the
range of musical ingredients appropriate
to moderately complex repertoire and
awareness of comprehensive characteristic
features and performance conventions.
Perform intermediate repertoire with:
• Reliable pitch and intonation
• Stable rhythm at a suitable tempo
• Reliable tonal control and awareness
• Musical shape and detail
• Communication of character and style
Demonstrate instrumental control and
familiarity with prescribed note patterns
relevant to the instrument through playing
prescribed technical requirements at
intermediate demand levels.
Perform specified intermediate technical
requirements with:
• Correct notes and secure continuity
• Reliable tonal control
Demonstrate notational and listening skills
and understanding at intermediate demand
levels through responding to previously
unseen music and prescribed aural tests.
Respond to moderately complex musical
notation with:
• Overall security of notes rhythm and
continuity
Respond to moderately complex piano-based
musical stimuli with:
• Overall accuracy and reliable musical
perception
51
Practical Grades 4. Assessment, marking & infringements
Grades 6 to 8 (RQF Level 3)
Assessment objectives Marking criteria
Learners will: Learners can:
Demonstrate musical skill knowledge and
understanding through performing repertoire
of advanced musical and technical demands
demonstrating control across the range of
musical ingredients appropriate to complex
repertoire and awareness of sophisticated
characteristic features and performance
conventions.
Perform advanced repertoire with:
• Reliable pitch and intonation
• Stable rhythm at a suitable tempo
• Reliable tonal control and awareness
• Musical shape and detail
• Communication of character and style
Demonstrate instrumental control and
familiarity with prescribed note patterns
relevant to the instrument through playing
prescribed technical requirements at
advanced demand levels.
Perform specified advanced technical
requirements with:
• Correct notes and secure continuity
• Reliable tonal control
Demonstrate notational and listening skills
and understanding at advanced demand
levels through responding to previously
unseen music and prescribed aural tests.
Respond to complex musical notation with:
• Overall security of notes rhythm and
continuity
Respond to complex piano-based musical
stimuli with:
• Overall accuracy and reliable musical
perception
52
4. Assessment, marking & infringements Practical Grades
Mark allocation
Marks are allocated for each component of Practical Grades for Piano as shown in the table below:
Exam component Maximum marks % of total mark
Piece 1 30 20%
Piece 2 30 20%
Piece 3 30 20%
Scales and arpeggios 21 14%
Sight-reading 21 14%
Aural tests 18 12%
Total 150 100%
Result categories
The result categories for Practical Grades are set as follows. A Pass in each component of the
exam is not required to pass overall.
Result category Mark band
Distinction 130–150
Merit 120–129
Pass 100–119
Below Pass 50–99
Synoptic assessment
Synoptic assessment is a form of assessment that requires candidates to demonstrate that they
can identify and eectively use a selection of skills techniques concepts and knowledge to carry
out a key task. Practical Grades allow candidates to demonstrate their ability to draw together
dierent skills knowledge and understanding – theory notation instrument control listening
skills creative interpretation – and apply these across the individual components of the exam.
Awarding
An examiners assessment of a piece or any other component will be based on the performance
given at that time towards the qualification for which the candidate has been entered. Prior
performances of the same pieces or other components will not be taken into account for the
qualification nor will marking appeals be accepted on that basis. The transfer of marks at any
grade between Practical Grades and Performance Grades is not permitted.
53
Practical Grades 4. Assessment, marking & infringements
Infringements
It is important that candidates and those preparing them for exams read and follow the exam
requirements as set out in the relevant Practical Grades syllabus (see Section 3). If the
exam requirements are not met in any way this could lead to a warning mark deduction or
disqualification at ABRSMs discretion. Examples of infringements include:
• Presenting repertoire not set on the syllabus for the grade.
• Presenting syllabus-listed repertoire but not as specified (e.g. incorrect number of movements
wrong combination of pieces/songs from lists).
• For instruments playing the scale requirements from notation.
•
For Singing and Singing for Musical Theatre presenting an unaccompanied song that is too
short or too long.
The above list is not exhaustive.
Action is typically taken as follows:
• Warnings in the form of written correspondence are applied to minor infringements (e.g. two
pieces/songs from the same list). Repeat cases in subsequent exams may result in more severe
action being taken.
•
Mark deductions from a component of the exam are applied to more serious cases (e.g.
presenting a piece/song that is not set on the syllabus) and may range from three marks to the
full marks available for the component.
• Disqualification is applied to cases where requirements are not fulfilled in a fundamental way
(e.g. none of the pieces/songs performed have been selected from the ABRSM repertoire lists
for the grade).
Examiners report infringements to ABRSM who investigate and decide what action is to be taken.
It should be noted that infringements identified in exams may delay the release of the exam result.
ABRSMs decision on any infringement is final. Prior acceptance of an infringement without penalty
does not set a precedent and appeals will not be accepted on this basis.
Marking criteria
The tables on pages 54–55 show the marking criteria used by examiners for Practical Grades
in Piano. Examiners mark up or down from the pass mark for each component by balancing the
extent to which the qualities and skills listed in the criteria (broadly categorised by pitch time
tone shape and performance) are demonstrated and contribute towards the overall musical
outcome.
4. Assessment, marking & infringements Practical Grades
Marking criteria
Grades
Initial to 8
Pieces
Pitch
Time
Tone
Shape
Performance
Distinction
27–30
●
Highly accurate notes
and intonation
●
Fluent, with flexibility
where appropriate
●
Rhythmic character
well conveyed
●
Well projected
●
Sensitive use of tonal
qualities
●
Expressive, idiomatic
musical shaping and
detail
●
Assured
●
Fully committed
●
Vivid communication of
character and style
Merit
24–26
●
Largely accurate notes
and intonation
●
Sustained, eective
tempo
●
Good sense of rhythm
●
Mainly controlled and
consistent
●
Good tonal awareness
●
Clear musical shaping,
well-realised detail
●
Positive
●
Carrying musical
conviction
●
Character and style
communicated
Pass
20–23
●
Generally correct notes
●
Suciently reliable
intonation to maintain
tonality
●
Suitable tempo
●
Generally stable pulse
●
Overall rhythmic
accuracy
●
Generally reliable
●
Adequate tonal
awareness
●
Some realisation of
musical shape and/or
detail
●
Generally secure, prompt
recovery from slips
●
Some musical
involvement
Below Pass
17–19
●
Frequent note errors
●
Insuciently reliable
intonation to maintain
tonality
●
Unsuitable and/or
uncontrolled tempo
●
Irregular pulse
●
Inaccurate rhythm
●
Uneven and/or
unreliable
●
Inadequate tonal
awareness
●
Musical shape and
detail insuciently
conveyed
●
Insecure, inadequate
recovery from slips
●
Insucient musical
involvement
13–16
●
Largely inaccurate notes
and/or intonation
●
Erratic tempo and/or
pulse
●
Serious lack of tonal
control
●
Musical shape and
detail largely unrealised
●
Lacking continuity
●
No musical involvement
10–12
●
Highly inaccurate notes
and/or intonation
●
Incoherent tempo
and/or pulse
●
No tonal control
●
No shape or detail
●
Unable to continue for
more than a short section
0
●
No work oered
●
No work oered
●
No work oered
●
No work oered
●
No work oered
4. Assessment, marking & infringements
54
Practical Grades 4. Assessment, marking & infringements
Grades
Initial to 8
Scales and arpeggios Sight-reading Grades
Initial to 8
Aural tests
Distinction
19–21
●
Highly accurate notes/pitch
●
Fluent and rhythmic
●
Musically shaped
●
Confident response
●
Fluent, rhythmically accurate
●
Accurate notes/pitch/key
●
Musical detail realised
●
Confident presentation
Distinction
17–18
●
Accurate throughout
●
Musically perceptive
●
Confident response
Merit
17–18
●
Largely accurate notes/pitch
●
Mostly regular flow
●
Mainly even tone
●
Secure response
●
Adequate tempo, usually steady pulse
●
Mainly correct rhythm
●
Largely correct notes/pitch/key
●
Largely secure presentation
Merit
15–16
●
Strengths significantly
outweigh weaknesses
●
Musically aware
●
Secure response
Pass
14–16
●
Generally correct notes/pitch, despite errors
●
Continuity generally maintained
●
Generally reliable tone
●
Cautious response
●
Continuity generally maintained
●
Note values mostly realised
●
Pitch outlines in place, despite errors
●
Cautious presentation
Pass
12–14
●
Strengths just outweigh
weaknesses
●
Cautious response
Below Pass
11–13
●
Frequent errors in notes and/or pitch
●
Lacking continuity and/or some items incomplete
●
Unreliable tone
●
Uncertain response and/or some items not
attempted
●
Lacking overall continuity
●
Incorrect note values
●
Very approximate notes/pitch/key
●
Insecure presentation
Below Pass
9–11
●
Weaknesses outweigh
strengths
●
Uncertain response
7–10
●
Very approximate notes and/or pitch
●
Sporadic and/or frequently incomplete
●
Serious lack of tonal control
●
Very uncertain response and/or several items
not attempted
●
No continuity or incomplete
●
Note values unrealised
●
Pitch outlines absent
●
Very uncertain presentation
6–8
●
Inaccuracy throughout
●
Vague response
0
●
No work oered
●
No work oered 0
●
No work oered
55
56
5. After the exam
Results
All candidates receive a copy of their mark form successful candidates also receive a certificate
that shows the qualification title as well as the subject and level that they have been examined in.
We aim to release results for Practical Grades in line with the schedules on our website at www.
abrsm.org/results however some results may take longer. Examiners will not issue or discuss
a candidates result the mark form (and certificate for successful candidates) will be issued by
ABRSM after the exam. Unless otherwise requested at the time of booking mark forms and
certificates are issued to the applicant whose responsibility it is to pass them on to candidates.
Appeals and feedback
Appeals
If a candidate has received an unexpected exam result this can be appealed by requesting a
Results Review. This process allows us to revisit the marks awarded by an examiner and subject
to the outcome of the review may result in a mark amendment.
Feedback
In addition to a Results Review we also welcome feedback about other matters such as the
overall exam experience or the mark form. All feedback is logged and plays a valuable part in our
commitment to continuous improvement and quality assurance procedures.
For further information on our processes and deadlines for appealing a result or submitting
feedback please visit www.abrsm.org/send-exam-feedback.
57
6. Other assessments
ABRSMs other assessments for pianists are Prep Test Performance Grades Jazz Piano Practical
Grades Performance Assessment Ensembles and diplomas. Full information is available at www.
abrsm.org/exams.
Piano Prep Test
ABRSMs Prep Test presented in a relaxed and encouraging way is an ideal introduction to the
exam experience. It gives learners a goal to work towards and a certificate awarded on the day –
something to be really proud of.
The Prep Test is designed to encourage the development of good musical and technical foundations.
It covers many of the elements beginners will be working on at this early stage including pitch
time tone performance and musical perception.
Content
The Piano Prep Test has four sections – Tunes two Pieces and Listening Games. See page 58.
Books
All the books mentioned on page 58 are published by ABRSM and are available from music
retailers as well as online including at the ABRSM music shop: www.abrsm.org/shop.
Assessment
Immediate feedback is given at the end of the Prep Test in the form of positive comments and sug-
gestions written on the certificate which is handed to the candidate by the examiner. There is no
pass or fail and no marks are awarded. The examiners comments will cover some of the following:
• Sense of pitch
• Sense of rhythm
• Control of tone
• Listening skills and awareness
Learners who would prefer to take a marked assessment may wish to consider the Initial Grade.
Other information
• The Prep Test takes about 10 minutes.
• Before the test begins candidates are welcome to adjust the piano stool height (the examiner
will be happy to help with this) and to play a few notes to try out and get used to the piano. For
information on types of piano see Instruments on page 12.
•
The Tunes should be performed from memory but the two Pieces can be played from the music.
If either of the Pieces is played from memory candidates should bring a copy of the music for
the examiner.
• If choosing to play a duet for the Second Piece candidates can bring their own duet partner
(who may be their teacher). Alternatively the examiner will be happy to play the other part.
• Generally there will be one examiner a second examiner may be present for training or quality
assurance purposes.
•
Details of dates locations fees and how to book a Prep Test are available online at www.abrsm.
org/exambooking.
58
6. Other assessments Practical Grades
Requirements Publication
Tunes: three short exercises played from memory
a) Cracking Open a Nut
b) Swinging Through the Trees
c) Dreaming
Piano Prep Test
First Piece: solo
any of the following
Train Ride (Sarah Watts)
Summer Fair (Nicholas Scott-Burt)
On a Bike (Christopher Norton)
or
Piano Prep Test
any solo piece from: Piano Star 2
Party Time! for Piano (Michael Rose)
Party Time! on Holiday (Alan Bullard)
Roundabout (Alan Haughton)
Second Piece: solo or duet
own-choice solo piece (c.16–24 bars)
or
any publication (or an unpublished
piece)
either of the following duets
My Brass Band (Alan Bullard)
Jelly Wobble (Nikki Iles)
or
Piano Prep Test
any duet from: Piano Star 2
Listening Games*: four listening games
a) Clapping the beat
b) Echoes
c) Finding the notes
d) What can you hear?
examples are provided in
Piano Prep Test
* For deaf or hearing-impaired candidates, further information is available at www.abrsm.org/specificneeds
59
Practical Grades 6. Other assessments
Performance Grades
ABRSM Performance Grades allow learners to focus on and showcase their performance skills.
They are available from Grade 1 to Grade 8 and in some subjects from Initial Grade. Candidates
may be entered for any grade at any age and do not need to have taken any earlier grade(s) in
the same subject. Full information including the qualification specification is available at www.
abrsm.org/performancegrades.
About Performance Grades
Each Performance Grade has been carefully designed to assess synoptically the underpinning
knowledge and understanding required for music performance. These creative skills are presented
through the technical control of an instrument interpretation of repertoire and the delivery and
successful communication of a sustained programme of music. Collectively these skills enable
candidates to progress to higher grades and other qualifications in the creative arts sector.
The exams are made up of five components:
•
four Pieces/Songs – three selected by candidates from set lists and one that is their own choice
• an assessment of the performance as a whole
Marks for each component are equally weighted and are awarded to each component individually.
The exams are currently oered as digital assessments only. Candidates performances are
video recorded in one continuous take and submitted to ABRSM for assessment. The candidate/
Applicant is responsible for organising a suitable venue and any equipment needed to run the exam.
Those entering for a Grade 6 7 or 8 Performance Grades exam must first have passed ABRSM Grade
5 (or above) in Music Theory Practical Musicianship or a Practical Grades solo Jazz instrument
for full details including a list of accepted alternatives see www.abrsm.org/prerequisite.
60
6. Other assessments Practical Grades
Music Theory
ABRSM Music Theory exams are available for Grades 1 to 8. Candidates may be entered for
any grade at any age and do not need to have taken any earlier grade(s). Further information is
available at www.abrsm.org/theory and the qualification specification (including the full syllabus)
is available at www.abrsm.org/specifications.
About Music Theory
Developing musical literacy forms a key part of a rounded education for performers composers
and listeners of all kinds. Understanding how written symbols relate to the elements of music
and having the skills to interpret and translate them into sounds empowers us to communicate
and experience music in a meaningful way.
ABRSMs Music Theory grades give learners:
•
a knowledge of the notation of western music including commonly used signs and terminology
• an understanding of fundamental musical elements such as intervals keys scales and chords
• an ability to apply theoretical knowledge and understanding to score analysis
• skills in harmonic completion of extracts and melody writing (at Grades 6 to 8).
Candidates are assessed on their ability to identify use and manipulate musical symbols to study
extracts and to answer questions about the elements of music according to the parameters detailed
in the full syllabus at www.abrsm.org/theory.
The exams are available as online assessments at Grades 1 to 5 and paper-based assessments
at Grades 6 to 8.
Grade 5 as a prerequisite
We believe that a thorough understanding of the elements of music is essential for a full and
satisfying performance at the higher grades.
It is therefore an ABRSM requirement that candidates must provide evidence of a pass at ABRSM
Grade 5 or above in Music Theory Practical Musicianship or a Practical Grades solo Jazz instrument
before they can enter for a Grade 6 7 or 8 Practical Grades or Performance Grades exam.
61
Practical Grades 6. Other assessments
Practical Musicianship
ABRSM Practical Musicianship exams are available for Grades 1 to 8 and are open to singers and
instrumentalists. Candidates may be entered for any grade at any age and do not need to have
taken any earlier grade(s). The full syllabus is available at www.abrsm.org/practicalmusicianship.
About Practical Musicianship
Musicianship is a broad concept that covers a complex range of musical abilities. For the purposes
of this syllabus it is loosely defined as the ability to think in sound. This occurs when a musician
is able to produce music which they perceive internally and in the imagination whether through
playing by ear singing reading from notation or through improvisation.
ABRSMs Practical Musicianship grades encourage learners to develop their ability to think in
sound and perform spontaneously. While Practical Grades and Performance Grades focus on
aspects of performance and/or supporting tests that are prepared in detail in advance here the
playing (or singing) is in response to immediate challenges and stimuli presented both aurally
and via notation.
The exams also cover the following key skills:
• the ability to internalise music and to reproduce it
• interpreting written music with a minimum of preparation
• exploring the possibilities inherent in a short motif
• the ability to detect dierences between what is heard and what is written.
In developing their musicianship skills learners will be gaining the understanding as well as the
expressive and interpretative skills needed to master the musical language of the repertoire they
are learning.
Grade 5 as a prerequisite
We believe that a thorough understanding of the elements of music is essential for a full and
satisfying performance at the higher grades.
It is therefore an ABRSM requirement that candidates must provide evidence of a pass at ABRSM
Grade 5 or above in Practical Musicianship Music Theory or a Practical Grades solo Jazz instrument
before they can enter for a Grade 6 7 or 8 Practical Grades or Performance Grades exam.
62
6. Other assessments Practical Grades
ARSM
The ARSM diploma is available to instrumentalists and singers of any age. It is the first of our
diploma qualifications and provides musicians with an opportunity to develop their performance
technique and interpretative skills while focusing on programme building and extending their
repertoire.
Key features
• Candidates present a balanced and varied programme as follows:
• the programme lasts 30 minutes
• at least 20 minutes of the music is chosen from the repertoire list
•
the remaining programme time may be made up of own-choice repertoire of Grade 8 standard
or above
• There are no additional supporting tests or other requirements
• There are two assessment methods available:
•
face-to-face – held at the same venues and during the same time periods as ABRSMs Practical
Grades
• digital – a video recorded performance submitted to ABRSM for assessment
•
ARSM is a letter-bearing qualification. Candidates awarded the diploma can use the letters ARSM
(Associate of the Royal Schools of Music) after their name.
Those entering for an ARSM diploma must first have passed ABRSM Grade 8 (or a listed
alternative). Full details of the exam and entry requirements are available in the qualification
specification at www.abrsm.org/arsmdiploma.
We update our syllabuses from time to time. Advance notice of any changes will be given at
www.abrsm.org/syllabusupdates. Please refer to the website for the most recent version of the
ARSM syllabus.
63
Practical Grades 6. Other assessments
DipABRSM, LRSM, FRSM (Music Performance)
These diplomas are available to instrumentalists and singers of any age. Through a combination
of live and written components candidates demonstrate their performance communication and
research skills as well as their musical knowledge and understanding. Each diploma serves as a
stepping stone to the next level.
Key features
• Candidates:
• present a recital programme
• submit programme notes (DipABRSM & LRSM) or a written submission (FRSM)
•
undertake a viva voce with questions covering the recital programme notes/written
submission as well as other aspects of performance
•
perform a short piece of unaccompanied and previously unseen music after five minutes
preparation time (quick study)
• These diploma exams take place at specific venues and times of the year
•
Each diploma is a letter-bearing qualification. Candidates awarded a diploma can use the letters
DipABRSM (Diploma of the Associated Board of the Royal Schools of Music) LRSM (Licentiate
of the Royal Schools of Music) or FRSM (Fellowship of the Royal Schools of Music) after their
name as appropriate.
Those entering for one of these diplomas must fulfil a specific ABRSM prerequisite (or a listed
alternative). Full details of the exam and entry requirements are available at www.abrsm.org/
diplomas and the qualification specification is available at www.abrsm.org/specifications.
We update our syllabuses from time to time. Advance notice of any changes will be given at
www.abrsm.org/syllabusupdates. Please refer to the website for the most recent versions of the
diploma syllabuses.
Further diploma exams
DipABRSM LRSM and FRSM diplomas are also available for Instrumental/Vocal Teaching and
Music Direction. Full details are available at www.abrsm.org/diplomas.
We are currently reviewing the diploma exams we oer and changes may be made during the
lifetime of this specification. Please refer to www.abrsm.org/diplomas for up-to-date information.
Exam programme & running order form
Exam programme & running order
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Please write details of the items you are performing in your exam in the order you are presenting them and hand this slip to the
examiner. Best wishes for an enjoyable and successful exam!
Year of syllabus: ���������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������
List* Number Composer Title
Singers only: unaccompanied traditional song: ���������������������������������������������������������������������������������������������������������������������������������������������������������
Percussion (Combined) only: technical requirements on: ��������������������������������������������������������������������������������������������������������������������������������������
*Leave blank for Snare Drum, Timpani and Tuned Percussion 08/23
