ABRSM Practical Music Grades: Piano Syllabus 2025 & 2026

PRACTICAL MUSIC

GRADES

PIANO

Syllabus

2025 & 2026

Qualiﬁcation Speciﬁcation

Qualification Specification: Practical Music

Piano 2025 & 2026

Contents

1. Introduction 3

About ABRSM 3

About this qualiﬁcation speciﬁcation 3

About our Practical Music qualiﬁcations 4

Regulation and UCAS points (UK) 5

Regulation (Europe) 7

Regulation (Rest of world) 7

2. Practical Grades 8

Practical Grades at a glance 8

Qualiﬁcation Speciﬁcation 8

Exam Regulations 8

Malpractice and maladministration 8

Exam booking 9

Speciﬁc needs 9

Special consideration 9

Diversity 9

In the exam 9

3. Piano Practical Grades Syllabus 11

Introducing the syllabus 11

Instruments 11

Exam timings 11

Pieces 11

Scales and arpeggios 13

Sight-reading 15

Aural tests 17

• Piano Initial Grade 18

• Piano Grade 1 21

• Piano Grade 2 24

• Piano Grade 3 27

• Piano Grade 4 30

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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.

• Piano Grade 5 33

• Piano Grade 6 36

• Piano Grade 7 39

• Piano Grade 8 42

Aural test requirements 45

4. Assessment, marking & infringements 53

Assessment objectives 53

Mark allocation 57

Result categories 57

Synoptic assessment 57

Awarding 57

Infringements 58

Marking criteria 58

Results 61

Appeals and feedback 61

Exam programme & running order form 62

1. Introduction

About ABRSM

ABRSM is The Associated Board of the Royal Schools of Music and a global music education

charity. At the heart of everything we do is our belief that music enriches lives. Building on our

heritage we oer face-to-face and digital exams sheet music recordings apps and courses for

students and teachers across the world. Our music qualiﬁcations provide clear goals reliable and

consistent marking and guidance for future learning.

In partnership with four Royal Schools of Music we carry on a long legacy of musical excellence.

More than an awarding organisation we support learners from the ﬁrst note they play and

empower teachers who help build musical skills and encourage progress around the world.

As a charity we use all of the surpluses we generate to make signiﬁcant donations towards music

education initiatives and to develop our support for learners and teachers around the world. We

advocate for music and its many forms playing our part to ensure the future of music education

and its place in society.

Together with our partners our teachers and others around the world weve been nurturing the

future of music since 1889 – to help people start or continue their journey.

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 oce is at 4 London Wall Place London EC2Y 5AU.

Find out more at www.abrsm.org.

About this qualification specification

What it covers

This speciﬁcation provides the 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).

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.

Further details as well as administrative information about the exams are given in ABRSMs

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 2025 until 31 December 2026.

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.

1. Introduction Piano Practical Grades

About our Practical Music qualifications

Qualiﬁcation objectives

Our Practical Music qualiﬁcations allow learners to receive formal recognition of the level of

mastery they have achieved and feedback to support their learning journey. Practical Music

qualiﬁcations allow learners to be rewarded and recognised for their skills in performing pieces

as well as technique notation listening and musical perception. Each grade is progressive and

represents a new challenge for the learner providing motivation and structure to develop and

hone their musical skills.

Who the qualiﬁcations are for

Learners may be entered at any age but those entering for a Grade 6 7 or 8 must fulﬁl the entry

requirements detailed on page 9.

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. Candidates

do not need 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 page 5).

From the earliest grades Practical Music qualiﬁcations embed 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 wish to focus on their performance skills and take a Music

Performance qualiﬁcation. These assessments are designed for learners to demonstrate a com-

bination of key performance-related skills such as instrumental 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 ABRSMs diploma oer 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.

The LRSM and FRSM Diplomas are progressive from the ARSM. Through a combination of live

performance and written or spoken components learners at LRSM and FRSM level demonstrate

an advanced level of musicianship evaluation skills and provide contextual evidence to support

the performance decisions made.

Irrespective of a learners personal motivation to achieve one of ABRSMs Performance diplomas

each qualiﬁcation can provide a pathway to higher learning or employment.

Further details of our diploma suite of qualiﬁcations can be found at: www.abrsm.org/

other-assessments/diplomas.

Piano Practical Grades 1. Introduction

Entry requirements

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.

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:

• Oce 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. For further information visit https://

Entry to higher education

In the UK ABRSMs Grades 6 to 8 in Practical Music and Music Performance are aorded UCAS

points the table below shows the UCAS Tari value of these grades. For further information visit

www.ucas.com.

UCAS points

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)

1. Introduction Piano Practical Grades

Qualiﬁcation

Number

Qualiﬁcation Title

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)

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.

Piano Practical Grades 1. Introduction

Regulation (Europe)

The European Qualiﬁcations Framework (EQF) is an overarching framework that links the

qualiﬁcations of dierent 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 UKs Regulated Qualiﬁcations Framework (RQF) although they are similar.

The following table shows the level of each of ABRSMs 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.

2. Practical Grades

Practical Grades at a glance

What is assessed?

• Three set pieces

• Scales and arpeggios

• Sight-reading

• Aural tests

How is it assessed?

• Face-to-face exam

• Information on how marks are allocated is given on page 57

Qualification Specification

This speciﬁcation is valid for exams from 1 January 2025 until 31 December 2026.

Amendments

Any updates to the Piano syllabus (section 3 of the speciﬁcation) – e.g. changes to publication

details or other minor corrections or clariﬁcations – will be posted at www.abrsm.org/

syllabuscorrections.

Overlap

In the ﬁrst year of any revised Practical Grades syllabus we oer 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.

Candidates may play pieces from the 2023 & 2024 Piano syllabus until 31 December 2025. All

pieces must be from the same syllabus.

The next syllabus

The next revision of the Piano Practical Grades Syllabus is planned to be published in 2026 and to

take eect from 2027. Advance notice of any planned changes to the Piano Syllabus from 2027

(including syllabus overlap information) will be posted at www.abrsm.org/syllabusupdates.

Exam Regulations

When preparing for an exam it is important to read ABRSMs 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 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.

Piano Practical Grades 2. Practical Grades

Applicants and candidates must follow the requirements set out in this 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.

Exam booking

Details of exam dates locations fees and how to book an exam are available online at www.

abrsm.org/exambooking.

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 candidates needs are not covered by the

guidelines each case is considered individually. Further information is available from the Speciﬁc

Needs Team (speciﬁcneeds@abrsm.ac.uk) or from www.abrsm.org/speciﬁcneeds.

Special consideration

Special consideration is given to candidates who suer temporary illness injury or indisposition

or adverse circumstances at or near the time of the assessment that are beyond the candidates

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.

Diversity

ABRSM is committed to creating greater diversity equality and inclusion in the ﬁeld of music and

we are actively working to achieve this across our portfolio of assessments and wider organisa-

tion. Our Diversity Statement and regular updates on progress can be accessed at www.abrsm.

org/diversity-statement.

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 candidates or accompanists (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.

2. Practical Grades Piano Practical Grades

Order of the exam

The individual Practical Grades exam components may be taken in any order at the candidates

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.

3. Piano Practical Grades Syllabus

Introducing the syllabus

• The repertoire lists have been updated with a mixture of new and retained pieces

•

There is a greater choice of repertoire than before with extended lists featuring music in a more

diverse range of genres.

The Scales and arpeggios Sight-reading and Aural test requirements stay the same as the

preceding syllabus.

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.

Exam timings

The timings in the table below show the approximate length of each Practical Grades Piano exam

in minutes including the candidates 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

Grades

2 & 3

Grades

4 & 5

Grade

Time (in mins) 12 12 12 15 20 25 30

Pieces

In this speciﬁcation 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.

Piece selection: 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 62 for this purpose.

Every eort has been made to feature a broad range of repertoire to suit and appeal to candidates

of dierent ages backgrounds and interests. 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.

3. Piano Practical Grades Syllabus Practical Grades

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 dierent 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 candidates 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 13.

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 eect 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 eect 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 dierently 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 dierently.

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 aect 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

candidates teacher). Examiners are unable to help with page-turning.

Practical Grades 3. Piano Practical Grades Syllabus

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 MPAs 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 eort has been made to make sure that the

publications listed will be available for the duration of the syllabus. Non-exam related questions

about the music (e.g. editorial availability) should be addressed to the relevant publisher.

Scales and arpeggios

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

dierently. 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 dierently. 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 Practical Grades

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 groupingiiiq

Practical Grades 3. Piano Practical Grades Syllabus

Sight-reading

About the test: Candidates will be asked to play a short unaccompanied piece that they have not

seen before. They will be given half a minute to look through and if they want to try out any or

all of the test before they are asked to play it for assessment.

Parameters: The table on page 16 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: 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.

3. Piano Practical Grades Qualiﬁcation Speciﬁcation 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 diculty). See also page 15.

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)

• 



• 



• 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)

• 



iiiq

• 





• slurs accents

• mf and mp

• cresc. and dim. hairpins

Grade 2 D major

E G minors

playing together

• wq



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

• 

Grade 4 c. 8 6⁄8 • anacrusis

• chromatic notes

• pause signs

• tenuto

Grade 5 c. 8–12 E A

- majors

 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

 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 Qualification Specification

Practical Grades 3. Piano Practical Grades Qualiﬁcation Speciﬁcation

Aural tests

About the test: Full details of the Aural tests are given on pages 45–52.

Supporting publications: 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.

Piano 2025 & 2026 Practical Grades

Piano

Practical Grades 2025 & 2026

INITIAL GRADE

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see

pages 11–13.

Candidates may perform a duet for one of their three pieces.

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

Alan

Haughton

Gopak Piano Exam Pieces 2025 & 2026, Initial Grade (ABRSM)

Pam

Wedgwood

Make Way for the King! (No. 1 from Up-Grade!

Piano Grades 0–1) without D.C.

Piano Exam Pieces 2025 & 2026, Initial Grade (ABRSM)

Trad. Swedish Björnen sover, arr. Bullard Piano Exam Pieces 2025 & 2026, Initial Grade (ABRSM)

Guy Berryman,

Jonny Buckland,

Will Champion

& Chris Martin

Clocks, arr. Dunlop Pop Performer, Grades Initial–3 (ABRSM)

W. Carroll Raindrops (No. 4 from The Countryside) W. Carroll: The Countryside (Forsyth)

Diabelli Alla turca, Op. 149 No. 26, arr. Kern Hal Leonard Student Piano Library – Piano Lessons,

Book 3 (Hal Leonard)

Diabelli Scherzo primo part Piano Lessons, Book 1 (Faber)

Gurlitt Dance (No. 2 from Das kleines Konzert, Op. 227) Music Pathways: Repertoire, Level 3A (Carl Fischer)

Humbert The Black Forest Doll (No. 3 from Allerlei

Spielzeug)

Humbert: Allerlei Spielzeug (Schott)

Kabalevsky A Little Scherzo (No. 6 from 24 Little Pieces,

Op. 39)

Kabalevsky: 24 Little Pieces, Op. 39 (Boosey & Hawkes)

Rebekah

Maxner

Zonko’s Big Adventure (from Rock This Town)

primo part

Rebekah Maxner: Rock This Town (Rebekah Maxner)

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)

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)

Trad. Irish John Ryan’s Polka, arr. Blackwell Piano Star 2 (ABRSM)

Pam

Wedgwood

Mission Impossible (No. 11 from Up-Grade!

Piano Grades 0–1)

Pam Wedgwood: Up-Grade! Piano Grades 0–1 (Faber)

Elsie Wells Donkey Ride (from Sea Pictures, Set 1)

primo part

Duets with a Dierence: Piano Time Duets, Book 1 (OUP)

Beyer Melody in G (No. 39 from École préliminaire de

piano, Op. 101)

Piano Exam Pieces 2025 & 2026, Initial Grade (ABRSM)

Ben Crosland King for a Day! (from Magic Beans!) Piano Exam Pieces 2025 & 2026, Initial Grade (ABRSM)

Robyn Fenty,

Temilade

Openiyi,

Ludwig

Göransson &

Ryan Coogler

Lift me up (from Black Panther: Wakanda

Forever), arr. L’Estrange pedalling optional

Piano Exam Pieces 2025 & 2026, Initial Grade (ABRSM)

Agay Moonlit Pagoda More Classics to Moderns, Book 1 (Yorktown Music Press)

June

Armstrong

Butterﬂy primo part Piano Star Duets (ABRSM)

Louise

Chamberlain

The Sad Little Pig (from Step It Up! Piano

Grades 0–1)

Louise Chamberlain: Step It Up! Piano Grades 0–1 (Faber)

Pauline Hall The Secret Garden pedalling optional Piano Time Pieces 1 (OUP)

Alan

Haughton

Budgie (from Fun Club Piano Grades 0–1) Alan Haughton: Fun Club Piano Grades 0–1 (Kevin

Mayhew)

Karen

Marshall

Sprinkling Stardust Piano Star 2 (ABRSM)

NEW

DUET

NEW

DUE T/SOLO

DUET

NEW

DUET

NEW

Practical Grades Piano 2025 & 2026 Initial Grade

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

Alison

Mathews

Sailing Under a Moonlit Sky una corda optional Mosaic, Vol. 1 (Editions Musica Ferrum)

Christopher

Norton

Enchanted Castle (No. 6 from The Microjazz

Duets Collection 1)

primo part

Christopher Norton: The Microjazz Duets Collection 1

(Boosey & Hawkes)

Or No. 1 (from Two Pieces) From Bartók to Stravinsky (Schott)

Phil Peskett A Dream on the Prairie Nikki Iles & Friends, Easy to Intermediate (ABRSM)

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)

Trad. Chinese

(Jiangsu)

Crescent Moon, arr. N. & R. Faber

student part

ShowTime Piano, Music from China, Level 2A

(Faber Piano Adventures)

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)

June

Armstrong

The Elephant Herd (from Safari) Piano Exam Pieces 2025 & 2026, Initial Grade (ABRSM)

Edmund

Jollie

In the Dead of Night Piano Exam Pieces 2025 & 2026, Initial Grade (ABRSM)

Sarah Watts The Wibbly Waltz Piano Exam Pieces 2025 & 2026, Initial Grade (ABRSM)

George

Barnett, Joel

Laslett Pott &

Fred Gibson

Shotgun, arr. Thomson Pop Performer, Grades Initial–3 (ABRSM)

Withers Lean on Me, arr. Önaç Pop Performer, Grades Initial–3 (ABRSM)

Pauline Hall &

Paul Drayton

Stegosaurus Stomp (from Prehistoric Piano Time) Pauline Hall & Paul Drayton: Prehistoric Piano Time

(OUP)

Heather

Hammond

Action Stations Piano Star 2 (ABRSM)

Mark Tanner Wonkey Donkey Piano Star 2 (ABRSM)

Alan

Haughton

Treading Carefully Piano Time Going Places (OUP)

Hans-Günter

Heumann

Piano Junior Blues Piano Junior, Performance, Book 2 (Schott)

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)

Carol Klose Those Creepy Crawly Things on the Cellar Floor Hal Leonard Student Piano Library – Piano Solos 2

(Hal Leonard)

Julie Knerr Detective Wombat Blues Piano Safari Pattern Pieces 1 (Piano Safari)

J. M. Last Ducks in the Pond Piano Time Pieces 3 (OUP)

Gerald Martin Boogie No. 1 The Joy of Boogie and Blues (Yorktown Music Press)

Jane Sebba The Grand Waltz primo part Piano Magic Duets, Book 1 (Collins Music)

DUET

NEW

DUE T/SOLO

NEW

DUET

NEW

DUET

Exam requirements continue on page 20

Piano 2025 & 2026 Initial Grade Practical Grades

SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details see pages 13–14

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

{

ARPEGGIOS

C major

a 5th

hands separately; as pattern below

D minor

SIGHT-READING: a short piece of previously unseen music; for further details see pages 15 & 16

AURAL TESTS: given by the examiner from the piano; for further details see pages 45 & 46

Practical Grades Piano 2025 & 2026

GRADE 1

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see

pages 11–13.

Candidates may perform a duet for one of their three pieces.

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

Handel Fireworks Minuet (from Music for the Royal

Fireworks, HWV 351), arr. Bullard

Piano Exam Pieces 2025 & 2026, Grade 1 (ABRSM)

L. Köhler Melody in F, Op. 190 No. 27 Piano Exam Pieces 2025 & 2026, Grade 1 (ABRSM)

Trad. German Muss i denn, arr. Blackwell pedalling optional Piano Exam Pieces 2025 & 2026, Grade 1 (ABRSM)

Dennis

Alexander

Sonatina primo part Dennis Alexander: Alfred’s Basic Piano Library, Duet

Book 2 (Alfred)

attrib.

J. S. Bach

Choral ‘Deal with Me, Lord’, BWV 514 My First Bach (Schott)

Alan Bullard Climbing High Pauline Hall: Piano Time Pieces 2 (OUP)

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)

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)

M. Helyer Haymaking (from The Greenwood Tree) M. Helyer: The Greenwood Tree (Stainer & Bell)

Hook Gavotte in C (No. 3 from 24 Progressive Lessons,

Op. 81)

Encore, Book 1 (ABRSM) or

Music Through Time, Piano Book 1 (OUP)

L. Mozart Minuet in F (No. 6 from Nannerl-Notenbuch) L. Mozart: Notebook for Nannerl (Schott)

Mozart Allegro (No. 8 from 12 Duos, K. 487),

arr. Blackwell

Piano Star: Grade 1 (ABRSM)

Purcell Minuet in A minor, Z. 649 Music Through Time, Piano Book 1 (OUP)

Teresa Richert Comical Cat (from Copycat Copycat) Teresa Richert: Copycat Copycat (Richert Music)

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)

Elsie Wells Courante primo part Mixed Doubles: Piano Time Duets, Book 2 (OUP)

Dunhill A Song of Erin (No. 8 from First Year Pieces) Piano Exam Pieces 2025 & 2026, Grade 1 (ABRSM)

Kristen

Anderson-

Lopez & Robert

Lopez

Remember Me (from Coco), arr. L’Estrange Piano Exam Pieces 2025 & 2026, Grade 1 (ABRSM)

Bernadette

Marmion

Winter (from Allsorts) Piano Exam Pieces 2025 & 2026, Grade 1 (ABRSM)

Dennis

Alexander

Reﬂections (from Just for You and Me, Book 1)

primo part

Dennis Alexander: Just for You and Me, Book 1 (Alfred)

Alwyn The Trees are Heavy with Snow Five by Ten, Grade 1 (Lengnick)

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)

Jessie Blake The Little White Cloud Grade by Grade, Piano Grade 1 (Boosey & Hawkes)

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)

Agnieszka

Lasko

Fountain (from Little Stories) Agnieszka Lasko: Little Stories (Euterpe)

Lennon Imagine, arr. Önaç Pop Performer, Grades Initial–3 (ABRSM)

Helen Madden

The Forgotten Forest primo part Piano Star: Grade 1 (ABRSM)

NEW

DUET

NEW

DUET

NEW

DUET

NEW

DUET

Piano 2025 & 2026 Grade 1 Practical Grades

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

Alan Menken Beauty and the Beast (from Beauty and the

Beast), arr. Hussey

Gradebusters Grade 1 Piano (Hal Leonard)

Victoria

Proudler

Silver Lining (from Piano Grades Are Go!

Initial–Grade 1)

Victoria Proudler: Piano Grades Are Go! Initial–Grade 1

(EVC)

Siegmeister Song of the Dark Woods Music Pathways: Repertoire, Level 3B (Carl Fischer)

Spindler Song without Words Easy Concert Pieces for Piano, Vol. 1 (Schott)

Borislava

Taneva

Small Valse with repeat Mosaic, Vol. 2 (Editions Musica Ferrum)

Amit Anand Cyberspace Detective Piano Exam Pieces 2025 & 2026, Grade 1 (ABRSM)

Chee-Hwa Tan The Wind (from A Child’s Garden of Verses) Piano Exam Pieces 2025 & 2026, Grade 1 (ABRSM)

Nikki Yeoh Berry’s Smoothie Piano Exam Pieces 2025 & 2026, Grade 1 (ABRSM)

Kristen

Anderson-

Lopez &

Robert Lopez

Let It Go (from Frozen), arr. Thomson Pop Performer, Grades Initial–3 (ABRSM)

Justin

Timberlake,

Max Martin &

Shellback

Can’t Stop the Feeling!, arr. Harnett Pop Performer, Grades Initial–3 (ABRSM)

June

Armstrong

Sunlight Through the Trees Piano Star: Grade 1 (ABRSM)

Carol Barratt Cheesecake-Walk (from Get It Together!) Carol Barratt: Get It Together! (Chester)

Elias

Davidsson

The Frog (from The Gift of Music) Elias Davidsson: The Gift of Music (Clifton Edition)

Gillock Swinging Beat Gillock: Swinging Beat (Willis)

Diane Hidy Dotty’s Nightmare (from All Cooped Up

Halloween)

Diane Hidy: All Cooped Up Halloween

(ComposeCreate.com)

Alison

Mathews

Woodland Folk Song primo part Piano Star Duets (ABRSM)

Trad. Ewe

(Ghanaian)

Tu tu Gbovi, arr. Chapman Nyaho

primo part

Piano Star Duets (ABRSM)

Jane Sebba Latin Laughter primo part; play the 6ths in bb. 10 & 28 Piano Magic Duets, Book 2 (Collins Music)

Barbara Snow Jazzy Dragon (from Animal Jazz) Barbara Snow: Animal Jazz (Edition HH)

Chee-Hwa Tan At the Seaside (from A Child’s Garden of Verses) Chee-Hwa Tan: A Child’s Garden of Verses

(Piano Safari)

Trad. Jamaican Mango Walk, arr. Cornick Piano Repertoire, Level 1 (Universal)

NEW

DUET

Digital only edition, available from publisher’s website

Exam requirements continue on page 23

Practical Grades Piano 2025 & 2026 Grade 1

SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details see pages 13–14

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 15 & 16

AURAL TESTS: given by the examiner from the piano; for further details see pages 45 & 46

Piano 2025 & 2026 Practical Grades

GRADE 2

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see

pages 11–13.

Candidates may perform a duet for one of their three pieces.

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

Barbara Arens Sparkling Splashes & Smooth Water (from

The Mermaid Challenge)

Piano Exam Pieces 2025 & 2026, Grade 2 (ABRSM)

attrib.

Beethoven

Moderato (1st movt from Sonatina in G,

WoO Anh. 5)

Piano Exam Pieces 2025 & 2026, Grade 2 (ABRSM)

Daquin Suite de la réjouissance (Gavotte en rondeau

from Premier livre de pièces de clavecin)

Piano Exam Pieces 2025 & 2026, Grade 2 (ABRSM)

Anon. Corranto (from Fitzwilliam Virginal Book) Grade by Grade, Piano Grade 2 (Boosey & Hawkes)

Carse Rustic Dance (No. 7 from Progressive Duets for

Pianists, Book 1) primo part

Carse: Progressive Duets for Pianists, Book 1

(Stainer & Bell)

Goedicke Étude in A minor, Op. 36 No. 13 Piano Time Pieces 3 (OUP)

Türk Allegro in C, arr. Hall Piano Time Pieces 3 (OUP)

Haydn Rondino (Theme from Cello Concerto in D),

arr. Agay primo part

The Joy of Piano Duets (Yorktown Music Press)

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)

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)

Mozart Minuet in D, K. 7 My First Mozart (Schott)

Prószyński Kowalczyki (Apprentice Smiths) (from Easy

Pieces)

Prószyński: Easy Pieces for Piano (PWM)

Purcell Air in D minor, Z. T676 Pianissimo: Piano Piccolo (Schott) or

Piano Repertoire, Level 1 (Universal) or

Piano Lessons, Book 1 (Faber)

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)

Telemann Gavotte Piano Progress, Book 1 (Faber)

Donald

Thomson

Haggis Hunt (from Celtic Piano Music – Initial

to Grade 2)

Donald Thomson: Celtic Piano Music – Initial to Grade 2

(EVC)

Alexis Ffrench The Singing Swan Piano Exam Pieces 2025 & 2026, Grade 2 (ABRSM)

Kabalevsky A Little Song (No. 2 from 30 Children’s Pieces,

Op. 27)

Piano Exam Pieces 2025 & 2026, Grade 2 (ABRSM)

Christopher

Norton

Cloudy Day (No. 9 from Microjazz Collection 2) Piano Exam Pieces 2025 & 2026, Grade 2 (ABRSM)

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)

Bob Dylan Make You Feel My Love, arr. Baker Pop Performer, Grades Initial–3 (ABRSM)

Ed Sheeran,

Samuel Roman,

Johnny McDaid,

Taylor Swift &

Fred Gibson

The Joker and the Queen, arr. Önaç Pop Performer, Grades Initial–3 (ABRSM)

El-Dabh Souﬁane (from Mekta’ in the Art of Kita’, Book 2) Piano Music of Africa and the African Diaspora, Vol. 1

(OUP)

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)

Heather

Hammond

Raindrop Reﬂections primo part Piano Star Duets (ABRSM)

NEW

DUET

NEW

DUET

NEW

DUET

Digital only edition, available from publisher’s website

Practical Grades Piano 2025 & 2026 Grade 2

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

Ravel Pavane de la belle au bois dormant (No. 1 from

Ma mère l’oye)

secondo part

Ravel: Ma mère l’oye (Durand)

Spindler Waltz in A minor Pathways to Artistry: Masterworks, Book 3 (Alfred)

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)

Chee-Hwa Tan The Moon (from A Child’s Garden of Verses) Chee-Hwa Tan: A Child’s Garden of Verses

(Piano Safari)

Tchaikovsky Waltz (from The Sleeping Beauty), arr. J. & A.

Bullard

Pianoworks, Collection 1 (OUP)

Sarah Watts Postcard from Paris (from Razzamajazz

Repertoire Piano)

Sarah Watts: Razzamajazz Repertoire Piano (Kevin

Mayhew)

John Williams Hedwig’s Theme (from Harry Potter and the

Sorcerer’s/Philosopher’s Stone), arr. Harris

The Essential Film Collection – Piano Solo (Faber)

Heather

Hammond

Spooky Wood Hollow (No. 5 from Grooves for

Piano Dudes, Book 3: Halloween)

Piano Exam Pieces 2025 & 2026, Grade 2 (ABRSM)

Pete Letanka Way Out West Piano Exam Pieces 2025 & 2026, Grade 2 (ABRSM)

Loudová Šípková Růženka (No. 7 from Pohádky na dobrou

noc)

Piano Exam Pieces 2025 & 2026, Grade 2 (ABRSM)

Ben Crosland In My Spot Mosaic, Vol. 2 (Editions Musica Ferrum)

Sarah

Konecsni

Dinosaur, Don’t! Mosaic, Vol. 2 (Editions Musica Ferrum)

Ludovico

Einaudi

The Snow Prelude No. 3 this edition only Ludovico Einaudi: Graded Pieces for Piano, Preparatory

to Grade 2 (Chester)

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)

Mirosław

Gąsieniec

Kukułka I Mirosław Gąsieniec: Album for Children (PWM)

Grieg Norwegian Dance No. 2, arr. Hall

primo part

Mixed Doubles: Piano Time Duets, Book 2 (OUP)

Nikki Iles The Cheshire Cat (from Piano Tales for Alice) Nikki Iles: Piano Tales for Alice (EVC)

Nikki Iles Sweet Pea primo part Piano Star Duets (ABRSM)

Smokey

Robinson &

Ronald White

My Girl, arr. Iles Pop Performer, Grades Initial–3 (ABRSM)

Sculthorpe Singing Sun (No. 6 from A Little Book of Hours) Sculthorpe: A Little Book of Hours (Faber)

Seiber Tango II (Habanera) (from Leichte Tänze I) Seiber: Leichte Tänze (Easy Dances), Book 1 (Schott)

Giles Swayne Whistling Tune Spectrum 4 (ABRSM)

Pam

Wedgwood

Champagne Rag (No. 11 from Easy Jazzin’ About

Piano)

Pam Wedgwood: Easy Jazzin’ About for Piano (Faber)

DUET

NEW

DUET

NEW

DUET

NEW

Exam requirements continue on page 26

Piano 2025 & 2026 Grade 2 Practical Grades

SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details see pages 13–14

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 15 & 16

AURAL TESTS: given by the examiner from the piano; for further details see pages 45 & 47

Practical Grades Piano 2025 & 2026

GRADE 3

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see

pages 11–13.

Candidates may perform a duet for one of their three pieces.

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

L. Köhler Allegro moderato (1st movt from Sonatina in G,

Op. 300 No. 93)

Piano Exam Pieces 2025 & 2026, Grade 3 (ABRSM)

Mozart Allegro in F (from London Sketchbook, K. 15a) Piano Exam Pieces 2025 & 2026, Grade 3 (ABRSM)

Victoria

Proudler

Tarantella Twist (from Piano Grades Are Go!,

Grades 2–3)

Piano Exam Pieces 2025 & 2026, Grade 3 (ABRSM)

Andrée Allegro moderato (No. 3 from Fem smärre

tonbilder, Op. 7)

Women Composers, Book 1 (Schott)

Sarah Baker Shadows (from Night Time Impressions) Sarah Baker: Night Time Impressions (Forsyth)

Haslinger 2nd movt (from Sonatina in C) P. 4 from Girae Piano, Book 1 (EMB Zeneműkiadó) or

P. 25 from Easy Concert Pieces for Piano, Vol. 3 (Schott)

A. Hedges Hornpipe Rondo primo part A. Hedges: Hornpipe Rondo for Piano Duet (Roberton)

I. Holst Toccata, arr. Hall Piano Time Pieces 3 (OUP)

L. Mozart Angloise (from Notebook for Wolfgang) L. Mozart: Notenbuch für Wolfgang (Schott) or

The Young Pianist’s Repertoire, Book 1 (Faber)

Mozart Allegro in B-, K. 3 Mozart: 25 Early Pieces (ABRSM) or

Essential Keyboard Repertoire, Vol. 6 (Alfred)

Vitalij

Neugasimov

Moody Gigue (from Piano Sketches, Book 1) Vitalij Neugasimov: Piano Sketches, Book 1 (OUP)

Prokoﬁev Gavotte (from Classical Symphony, Op. 25),

arr. Agay primo part; with repeat – playing little notes

The Joy of Piano Duets (Yorktown Music Press)

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)

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)

Seiber Jazz Etudiette (from Easy Dances II) The Young Pianist’s Repertoire, Book 1 (Faber)

Weber Scherzo The Classical Spirit, Book 1 (Alfred) or

Pathways to Artistry: Masterworks, Book 3 (Alfred)

Bart Where is love? (from Oliver!), arr. Iles Piano Exam Pieces 2025 & 2026, Grade 3 (ABRSM)

Mel Bonis Douce amis (from Album pour les tout-petits,

Op. 103)

Piano Exam Pieces 2025 & 2026, Grade 3 (ABRSM)

Youmi Kimura Always with Me (from Spirited Away) Piano Exam Pieces 2025 & 2026, Grade 3 (ABRSM)

Dennis

Alexander

Autumn Serenade primo part Dennis Alexander: Alfred’s Basic Piano Library, Duet

Book 4 (Alfred)

J. S. Bach Arioso, arr. Agay primo part The Joy of Piano Duets (Yorktown Music Press)

Bartók Andante (No. 2 from For Children, Vol. 2) Bartók: For Children, Vol. 2 (Boosey & Hawkes)

Janet & Alan

Bullard

Thames Sunrise Janet & Alan Bullard: Pianoworks: Popular Styles (OUP)

W. Carroll Spraymist (No. 3 from In Southern Seas) W. Carroll: In Southern Seas (Forsyth)

Gurlitt Song, Op. 172 No. 1 More Romantic Pieces for Piano, Book 2 (ABRSM)

Paul Harris Indigo (No. 6 from Rainbow) Paul Harris: Rainbow (Boosey & Hawkes)

H. Hofmann Melodie (No. 5 from Skizzen, Op. 77) H. Hofmann: 17 Miscellaneous Pieces (ABRSM)

Mendelssohn Romance Studio 21 (1st Series), Vol. 1 (Universal)

Joni Mitchell Both Sides Now, arr. White Pop Performer, Grades Initial–3 (ABRSM)

NEW

DUET

NEW

DUET

NEW

Piano 2025 & 2026 Grade 3 Practical Grades

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

Tchaikovsky Chanson italienne (No. 15 from Album pour

enfants, Op. 39)

Tchaikovsky: Album for the Young, Op. 39 (ABRSM)

Trad. Irish She Moved Through the Fair, arr. Hall Eighteen Easy Escapes for Piano (Clifton Edition)

Trad. Japanese Sakura, arr. Goto Japanese Folk Songs Collection (Hal Leonard)

Bartók Allegretto (No. 3 from For Children, Vol. 2) Piano Exam Pieces 2025 & 2026, Grade 3 (ABRSM)

Henson &

Pottle

The Muppet Show Theme, arr. Blackwell

with repeat

Piano Exam Pieces 2025 & 2026, Grade 3 (ABRSM)

Shruthi

Rajasekar

The Quiet of the Night Piano Exam Pieces 2025 & 2026, Grade 3 (ABRSM)

Agay Little Rhapsody on Hungarian Themes

primo part

The Joy of Piano Duets (Yorktown Music Press)

M. Bober &

G. Goranson

Rushing River Melody Bober & Glori Goranson: Rushing River

(FJH Music Company Inc)

Valerie Capers Ella Scats the Little Lamb (No. 1 from Portraits

in Jazz)

Valerie Capers: Portraits in Jazz (OUP)

Carse Csardas primo part Carse: Progressive Duets for Pianists, Book 2

(Stainer & Bell)

Mike Cornick The Waltz of the Elephants (from Clever Cat

Goes on Safari)

Mike Cornick: Clever Cat Goes on Safari (Universal)

Mark Goddard Locked On Latin (from Hands On Jazz)

primo part

Mark Goddard: Hands On Jazz (Clifton Edition)

H. Hofmann Waldvöglein (No. 15 from Skizzen, Op. 77) Encore, Book 2 (ABRSM)

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)

H. Mancini &

J. Mercer

Moon River (from Breakfast at Tiany’s),

arr. Miller

A Dozen a Day Songbook, Book 2 (Willis)

Billie Eilish

& Finneas

O’Connell

No Time to Die, arr. Önaç Pop Performer, Grades Initial–3 (ABRSM)

John Scoﬁeld I’ll Take Les, arr. Iles Nikki Iles & Friends, Easy to Intermediate (ABRSM)

Karen Tanaka Northern Lights Spectrum 4 (ABRSM)

James

Welburn

Groovin’ Grasshopper (from Adventures and

Accolades)

James Welburn: Adventures and Accolades (Editions

Musica Ferrum)

NEW

DUET

NEW

Exam requirements continue on page 29

Practical Grades Piano 2025 & 2026 Grade 3

SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details see pages 13–14

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 15 & 16

AURAL TESTS: given by the examiner from the piano; for further details see pages 45 & 47

Piano 2025 & 2026 Practical Grades

GRADE 4

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see

pages 11–13

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

Benda Allegro assai (3rd movt from Sonata in G) Piano Exam Pieces 2025 & 2026, Grade 4 (ABRSM)

Cimarosa Sonata in G, C. 34 Piano Exam Pieces 2025 & 2026, Grade 4 (ABRSM)

Haydn Menuet and Trio (3rd movt from Sonata in C,

Hob. XVI:1)

Piano Exam Pieces 2025 & 2026, Grade 4 (ABRSM)

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)

Beethoven Allegro assai (1st movt from Sonatina in F,

Anh. 5 No. 2)

The New Sonatina Book, Vol. 1 (Schott)

G. Berg Allegro (1st movt from Sonatina in C,

Op. 3 No. 7)

G. Berg: Twelve Sonatinas, Op. 3, Vol. 2 (Edition HH)

J. F. F.

Burgmüller

Ballade, Op. 100 No. 15 Encore, Book 2 (ABRSM) or

Lang Lang Piano Academy: Mastering the Piano, Level 4

(Faber)

Buxtehude Saraband (from Suite in E minor, BuxWV 236) Baroque Keyboard Anthology, Vol. 1 (Schott)

Dring Scherzando (from 12 Pieces in the Form of

Studies)

Dring: 12 Pieces in the Form of Studies (Weinberger)

Gambarini Grazioso (from Sonata No. 2) HerStory: The Piano Collection (Faber)

Gurlitt Allegretto scherzando (3rd movt from Sonatina

in C, Op. 188 No. 4)

No. 13 from Sonatinas for Piano, Book 1 (PWM)

Haydn Allegro scherzando in F Essential Keyboard Repertoire, Vol. 6 (Alfred)

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)

Joe Hisaishi A Town with an Ocean View (from Kiki’s Delivery

Service)

Studio Ghibli Best Hits – Intermediate Level (Yamaha)

L. Köhler Sledging Party (from Kinderfreund, Op. 243)

with ﬁrst repeat

Splash! (Breitkopf & Härtel)

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)

Grieg Waltz (No. 2 from Lyriske småstykker, Op. 12) Piano Exam Pieces 2025 & 2026, Grade 4 (ABRSM)

Randall

Hartsell

Sunsets in Savannah (from Portraits of the Sky) Piano Exam Pieces 2025 & 2026, Grade 4 (ABRSM)

Ailbhe

McDonagh

Cloudscapes (No. 4 from It’s a Piano Thing,

Book 2)

Piano Exam Pieces 2025 & 2026, Grade 4 (ABRSM)

Adele Adkins

& Greg Kurstin

Easy on Me, arr. Dunlop Pop Performer, Grades 4–5 (ABRSM)

John Stephens

& Toby Gad

All of Me, arr. Harnett Pop Performer, Grades 4–5 (ABRSM)

C. P. E. Bach Andante (arr.) Lang Lang Piano Academy: Mastering the Piano, Level 4

(Faber)

W. Carroll Sunrise (No. 7 from River and Rainbow) W. Carroll: River and Rainbow (Forsyth)

M. David,

A. Homan &

Livingston

A Dream is a Wish Your Heart Makes (from

Cinderella), arr. Keveren

The Phillip Keveren Series – Disney Songs For Classical

Piano (Hal Leonard)

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)

Heather

Hammond

Once Upon a Frozen Winter (from Ballads

Without Words)

Heather Hammond: Ballads Without Words, Vol. 1 (EVC)

NEW

Practical Grades Piano 2025 & 2026 Grade 4

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

Hummel Romance in G, Op. 52 No. 4 Hummel: 16 Short Pieces (ABRSM)

Khachaturian A Little Song (Andantino) (No. 1 from Pictures of

Childhood)

Khachaturian: Pictures of Childhood (Boosey & Hawkes)

Liszt La cloche sonne, S. 238 Chopin, Liszt, Hiller: Urtext Primo, Vol. 5 (Wiener Urtext)

Mendelssohn Andante (2nd movt from Violin Concerto in

E minor, Op. 64), arr. Scott-Burt

Piano Mix 3 (ABRSM)

Trad. Malay Voyage of the Sampan, arr. Siagian with repeats Malay Folk Songs Collection (Hal Leonard)

Vaughan

Williams

Valse lente (from Six Teaching Pieces) Vaughan Williams: A Little Piano Book (OUP)

Ibert Danse du cocher (No. 15 from Petite suite en 15

images)

Piano Exam Pieces 2025 & 2026, Grade 4 (ABRSM)

Julian Nott Wallace and Gromit Theme, arr. L’Estrange Piano Exam Pieces 2025 & 2026, Grade 4 (ABRSM)

Raymond Yiu Canzonetta Piano Exam Pieces 2025 & 2026, Grade 4 (ABRSM)

Benny

Andersson,

Björn Ulvaeus

& Anderson

Dancing Queen, arr. Önaç Pop Performer, Grades 4–5 (ABRSM)

Grieg In the Hall of the Mountain King (from Peer

Gynt, Suite No. 1, Op. 46), arr. White

Piano Mix 3 (ABRSM)

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)

Maikapar At the Smithy, Op. 8 No. 5 A Romantic Sketchbook for Piano, Book 2 (ABRSM)

Alison

Mathews

Buried Rubies (No. 8 from Treasure Trove) Alison Mathews: Treasure Trove

(Editions Musica Ferrum)

Martha Mier Worrisome Blues (from Jazz, Rags & Blues,

Book 3)

Martha Mier: Jazz, Rags & Blues, Book 3 (Alfred)

Arvo Pärt Für Anna Maria fröhlich or nachdenklich Arvo Pärt: Für Anna Maria (Universal)

F. Price The Goblin and the Mosquito Isata Kanneh-Mason – Piano Inspiration, Book 1 (ABRSM)

Prokoﬁev Marche (No. 10 from Musiques d’enfants,

Op. 65)

Prokoﬁev: Musiques d’enfants, Op. 65

(Boosey & Hawkes)

V. Stoyanov Bulgarian Peasant Dance The Joy of Modern Piano Music (Yorktown Music Press)

Trad. Shenandoah, arr. Bennett The Graded Piano Player, Grades 3–5 (Faber)

Waller, Razaf

& H. Brooks

Ain’t Misbehavin’, arr. Iles Nikki Iles and Friends, Book 1 (ABRSM)

John Williams Star Wars (Main Theme), arr. Turner Simply Film, Piano Grades 4–5 (Faber)

NEW

Exam requirements continue on page 32

Piano 2025 & 2026 Grade 4 Practical Grades

SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details see pages 13–14

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 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 minors

SIGHT-READING: a short piece of previously unseen music; for further details see pages 15 & 16

AURAL TESTS: given by the examiner from the piano; for further details see pages 45 & 48

Practical Grades Piano 2025 & 2026

GRADE 5

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see

pages 11–13

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

J. F. F.

Burgmüller

La tarantelle (No. 20 from 25 études faciles et

progressives, Op. 100)

Piano Exam Pieces 2025 & 2026, Grade 5 (ABRSM)

Clementi Spiritoso (1st movt from Sonatina in C, Op. 36

No. 3)

Piano Exam Pieces 2025 & 2026, Grade 5 (ABRSM)

Nikki Iles Hook’s Hornpipe (from Piano Tales for Peter Pan) Piano Exam Pieces 2025 & 2026, Grade 5 (ABRSM)

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)

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)

Chaminade Gavotte (No. 5 from Album des enfants, Op. 123) Women Composers, Book 2 (Schott)

J. H. Fiocco Andante (from Pièces de clavecin, Op. 1) J. H. Fiocco: Eight Keyboard Pieces (ABRSM)

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)

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)

S. Heller Study in E minor (No. 7 from 30 Progressive

Studies, Op. 46)

S. Heller: 30 Progressive Studies (Universal)

Hummel Allegro in C (No. 2 from Six pièces très faciles,

Op. 52)

Hummel: 16 Short Pieces (ABRSM)

J. L. Krebs Toccata in E- Essential Keyboard Repertoire, Vol. 6 (Alfred)

Kuhlau Allegro con spirito (1st movt from Sonatina in C,

Op. 55 No. 3)

EPTA Teachers’ Choice Piano Collection 1 (Faber)

Leo Toccata No. 3 The Advanced Pianist, Book 1 (Faber)

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)

Jason Siord Rondo Scherzando Mosaic, Vol. 4 (Editions Musica Ferrum)

Capaldi, Kohn,

Kelleher, Barnes

& Roman

Someone You Loved, arr. Iles Piano Exam Pieces 2025 & 2026, Grade 5 (ABRSM)

Naoko Ikeda Foggy Blues (from Naoko Ikeda: The Graded

Collection)

Piano Exam Pieces 2025 & 2026, Grade 5 (ABRSM)

Schubert Waltz in B minor, D. 145 No. 6 Piano Exam Pieces 2025 & 2026, Grade 5 (ABRSM)

R. R. Bennett Little Elegy R. R. Bennett: Little Elegy (Novello)

Gillock Arabesque Sentimentale William Gillock: Arabesque Sentimentale (Willis)

Glière Evening (No. 5 from 8 Easy Pieces, Op. 43) Glière: Eight Easy Pieces, Op. 43 (ABRSM)

Granados La huérfana (No. 9 from Cuentos de las juventud,

Op. 1)

Granados: Stories of the Young, Op. 1 (ABRSM)

S. Heller Study in E minor, Op. 47 No. 15 with repeat S. Heller: 20 Miscellaneous Studies (ABRSM)

T. Kirchner Andante (3rd movt from Sonatina in B-, Op. 70

No. 5)

Bärenreiter Sonatina Album, Vol. 2 (Bärenreiter)

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)

Massenet Mélodie (No. 5 from 10 Pièces de genre, Op. 10) French Romantic Repertoire, Level 1 (Faber)

NEW

Piano 2025 & 2026 Grade 5 Practical Grades

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

Mompou La barca (from Impresiones íntimas) Mompou: Impresiones íntimas (Unión Musical

Ediciones) or

Mompou: Música para piano (Unión Musical Ediciones)

Pachulski Prelude in C minor, Op. 8 No. 1 A Romantic Sketchbook for Piano, Book 3 (ABRSM)

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)

Trad. Korean Arirang, arr. Bullard Lang Lang Piano Academy: Mastering the Piano, Level 4

(Faber)

Pam

Wedgwood

Beauly Abbey (from Up-Grade! Piano

Grades 4–5)

Pam Wedgwood: Up-Grade! Piano Grades 4–5 (Faber)

Joe Hisaishi The Village in May (from My Neighbour Totoro),

arr. Kawaura

Piano Exam Pieces 2025 & 2026, Grade 5 (ABRSM)

Martha Mier Jackson Street Blues (from Jazz, Rags & Blues,

Book 4)

Piano Exam Pieces 2025 & 2026, Grade 5 (ABRSM)

Prokoﬁev La pluie et l’arc-en-ciel (No. 8 from Musiques

d’enfants, Op. 65)

Piano Exam Pieces 2025 & 2026, Grade 5 (ABRSM)

Agay Blue Waltz The Joy of Boogie and Blues (Yorktown Music Press)

Alwyn The Sea is Angry Pianoworks Collection 2 (OUP)

Arlen Stormy Weather, arr. Iles Nikki Iles and Friends, Book 1 (ABRSM)

Sara Bareilles King of Anything, arr. Baker Pop Performer, Grades 4–5 (ABRSM)

Alicia

Augello Cook

If I Ain’t Got You, arr. Önaç Pop Performer, Grades 4–5 (ABRSM)

Bartók Winter Solstice Song (No. 38 from For Children,

Vol. 1)

Bartók: For Children, Vol. 1 (Boosey & Hawkes)

Lindsey Berwin The Ghost Train (from All the Fun of the Fair) Lindsey Berwin: All the Fun of the Fair (EVC)

Victoria

Borisova-Ollas

Silent Island Spectrum 3 (ABRSM)

Ludovico

Einaudi

Elegy for the Arctic this edition only Pp. 7–9 from Ludovico Einaudi: Extra Elements (Chester)

Martha Mier Tuxedo Jazz (from Jazz, Rags & Blues, Book 4) Martha Mier: Jazz, Rags & Blues, Book 4 (Alfred)

Pinto March, Little Soldier! (No. 3 from Scenas

infantis)

gliss. optional

Pinto: Scenas infantis (G. Schirmer)

Catherine

Rollin

Love Theme (from Lyric Moments, Book 2) Catherine Rollin: Lyric Moments, Book 2 (Alfred)

Starer Bright Orange (from Sketches in Colour, Set One) Starer: Sketches in Colour, Set One (Hal Leonard)

André

Bangambula

Vindu

Lullaby (from Suite for Piano) Piano Music of Africa and the African Diaspora, Vol. 1

(OUP)

NEW

Exam requirements continue on page 35

Practical Grades Piano 2025 & 2026 Grade 5

SCALES AND ARPEGGIOS: from memory; played in even notes; for further details see pages 13–14

RANGE REQUIREMENTS

SCALES (SIMILAR MOTION)

A, E, B, F

, D- majors

2 oct. legato; hands together

, 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)

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

, 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 15 & 16

AURAL TESTS: given by the examiner from the piano; for further details see pages 45 & 49

Piano 2025 & 2026 Practical Grades

GRADE 6

ENTRY REQUIREMENTS: 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 11–13

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

J. S. Bach Invention No. 14 in B ﬂat, BWV 785 Piano Exam Pieces 2025 & 2026, Grade 6 (ABRSM)

Tailleferre Sonata alla Scarlatti Piano Exam Pieces 2025 & 2026, Grade 6 (ABRSM)

C. Nielsen Spilleværket (No. 6 from Humoreske-Bagateller,

Op. 11)

Piano Exam Pieces 2025 & 2026, Grade 6 (ABRSM)

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)

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)

J. F. F.

Burgmüller

Velocity, Op. 109 No. 10 J. F. F. Burgmüller: Studies, Op. 109 (Peters)

Cimarosa Allegro (1st movt from Sonata No. 6 in G) The Classical Spirit, Book 2 (Alfred)

Handel Fantasia in A Classics to Moderns, Book 6 (Yorktown Music Press)

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)

Hummel Rondo in C, Op. 52 No. 6 Hummel: 16 Short Pieces (ABRSM)

Knowles Paine Village Dance (No. 5 from In the Country, Op. 26) Masters of American Piano Music (Alfred)

Lindeman Allegretto (from Character Pieces) Women Composers, Book 2 (Schott)

B. Marcello Presto (2nd movt from Sonata in G) A Keyboard Anthology, 3rd Series, Book 4 (ABRSM)

D. Scarlatti Sonata in A, Kp. 208, L. 238 D. Scarlatti: 200 Sonatas, Vol. 2 (EMB Zeneműkiadó)

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)

Telemann Allegro (1st movt from Fantasia No. 1 in D, 1st

Dozen, TWV 33:1)

Telemann: Fantasias, 1st Dozen (ABRSM)

Hensel Bagatelle in F (No. 1 from Two Bagatelles) Piano Exam Pieces 2025 & 2026, Grade 6 (ABRSM)

Glière Esquisse in D (No. 9 from 12 esquisses, Op. 47) Piano Exam Pieces 2025 & 2026, Grade 6 (ABRSM)

Alexis Ffrench Last Song (from The Secret Piano) Piano Exam Pieces 2025 & 2026, Grade 6 (ABRSM)

Albéniz Tango (No. 2 from España, Op. 165) Core Classics, Grades 5–6 (ABRSM)

Mel Bonis Interlude (from Interlude et Valse lente, Op. 38)

ending b. 53

Mel Bonis: Piano Music Volume 5 – Dances A

(Furore Verlag)

Y. Bowen A Pastel Y. Bowen: A Pastel (Chester)

Chopin Waltz in A minor, KK. IVb No. 11 with ﬁrst repeat Chopin: Waltzes for Piano (Henle) or

More Romantic Pieces for Piano, Book 4 (ABRSM)

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)

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)

Guastavino Cantilena No. 1 ‘Santa Fe para Ilorar’ (from

10 Cantilenas Argentinas)

Guastavino: 10 Cantilenas Argentinas (Melos)

C. Hartmann Nocturne C. Hartmann: Two Piano Pieces (Edition HH)

Stephen

Hough

Little Lullaby (4th movt from Suite R-B) Stephen Hough: Suite R-B and Other Enigmas

(Weinberger)

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)

NEW

Practical Grades Piano 2025 & 2026 Grade 6

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

Khachaturian Legend (No. 6 from Pictures of Childhood) Khachaturian: Pictures of Childhood

(Boosey & Hawkes)

Schumann Einsame Blumen (No. 3 from Waldscenen,

Op. 82)

Schumann: Waldscenen, Op. 82 (ABRSM)

Sam

Wedgwood

Empty Rooms (from Sam Wedgwood’s Project,

Book 1)

Sam Wedgwood’s Project, Book 1 (EVC)

Bartók Stamping Dance (No. 128 from Mikrokosmos,

Vol. 5)

Piano Exam Pieces 2025 & 2026, Grade 6 (ABRSM)

Zoe Rahman The Bounce Piano Exam Pieces 2025 & 2026, Grade 6 (ABRSM)

Komitas

Vardapet

Shushiki (No. 4 from Dances) Piano Exam Pieces 2025 & 2026, Grade 6 (ABRSM)

L. Bernstein Cool (from West Side Story), arr. Klose Broadway Piano Solos (Boosey & Hawkes)

L. Bernstein For Stephen Sondheim (No. 3 from

13 Anniversaries)

L. Bernstein: 13 Anniversaries (Boosey & Hawkes)

Valerie Capers Mr “Satchmo” (from Portraits in Jazz) Valerie Capers: Portraits in Jazz (OUP)

Casella Galop Final (No. 11 from 11 Children’s Pieces,

Op. 35)

Casella: 11 Children’s Pieces (Universal)

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)

Paul Harvey Rumba Toccata Paul Harvey: Rumba Toccata (Ricordi)

Nikki Iles East Coast Blues Jazz on a Summer’s Day (OUP)

Mercury Somebody to Love, arr. Keveren Queen for Classical Piano (Hal Leonard)

Stephen

Montague

Tsunami Spectrum 2 (ABRSM)

Prokoﬁev Cortège de sauterelles (No. 7 from Musiques

d’enfants, Op. 65)

Prokoﬁev: Musiques d’enfants, Op. 65

(Boosey & Hawkes)

Nkeiru Okoye Dancing Barefoot in the Rain (from African

Sketches)

Piano Music of Africa and the African Diaspora, Vol. 1

(OUP)

Poul Ruders Shooting Stars Spectrum 3 (ABRSM)

Billy Taylor I wish I knew how it would feel to be free,

arr. Churchill

Nikki Iles and Friends, Book 1 (ABRSM)

NEW

Exam requirements continue on page 38

Piano 2025 & 2026 Grade 6 Practical Grades

SCALES AND ARPEGGIOS: from memory; played in even notes; for further details see pages 13–14

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 15 & 16

AURAL TESTS: given by the examiner from the piano; for further details see pages 45 & 50

Practical Grades Piano 2025 & 2026

GRADE 7

ENTRY REQUIREMENTS: 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 11–13

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

Beethoven Scherzo (3rd movt from Sonata in A, Op. 2 No. 2) Piano Exam Pieces 2025 & 2026, Grade 7 (ABRSM)

Akira Yuyama Pop Corn (No. 18 from Confections: A Piano

Sweet)

Piano Exam Pieces 2025 & 2026, Grade 7 (ABRSM)

Daquin Le coucou (Rondeau: 1st movt from Troisième

suite)

Piano Exam Pieces 2025 & 2026, Grade 7 (ABRSM)

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)

J. S. Bach Gigue (7th movt from French Suite No. 3 in

B minor, BWV 814)

J. S. Bach: French Suites (ABRSM)

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)

Grieg Rigaudon (5th movt from Holberg Suite, Op. 40)

with ﬁrst repeat

Grieg: Piano Works, Vol. 3 (Peters)

Handel

Allemande and Courante (2nd and 3rd movts

from Suite in D minor, HWV 437)

Handel: Keyboard Works, Vol. 2 (Bärenreiter)

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)

Kuhlau Allegro con spirito (1st movt from Sonatina in A,

Op. 60 No. 2)

Kuhlau: Sonatinas, Vol. 2 (Peters)

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)

Paradies Allegro (2nd movt from Sonata No. 6 in A) Pp. 45–47 from Paradies: Sonate di Gravicembalo, Vol. 1

(Schott)

Rameau Les sauvages (from Pièces de clavecin) Rameau: Les cyclopes / Les sauvages (Bärenreiter) or

pp. 96–97 from Rameau: Pièces de clavecin (Heugel)

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)

C. Schumann Scherzo (No. 4 from Quatre pièces fugitives,

Op. 15) with ﬁrst repeat

C. Schumann: Quatre pièces fugitives Op. 15 (Breitkopf

& Härtel)

Joaquín Turina El mercado (No. 5 from Miniaturas, Op. 52) Joaquín Turina: Miniaturas (Schott)

Schumann *

* (No. 30 from Album für die Jugend, Op. 68) Piano Exam Pieces 2025 & 2026, Grade 7 (ABRSM)

Ginastera Adagietto pianissimo (No. 1 from Suite de danzas

criollas, Op. 15)

Piano Exam Pieces 2025 & 2026, Grade 7 (ABRSM)

Mendelssohn Musical Sketch in B ﬂat (No. 1 from Two Musical

Sketches)

Piano Exam Pieces 2025 & 2026, Grade 7 (ABRSM)

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)

Debussy The Little Shepherd (No. 5 from Children’s

Corner)

A Keyboard Anthology, 1st Series, Book 5 (ABRSM)

NEW

Digital only edition, available from publisher’s website

Piano 2025 & 2026 Grade 7 Practical Grades

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

Görres Children’s Song (No. 11 from Bunte Reihen kurzer

Klavierstücke, Op. 6)

Women Composers, Book 2 (Schott)

Hensel Mélodie, Op. 4 No. 2 At the Piano with Women Composers (Alfred) or

Piano Music by Female Composers (4th revised edition

2011) (Schott)

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)

Liszt Consolation No. 5 in E (from Consolations, S. 172) Liszt: 21 Short Piano Pieces (ABRSM) or

Liszt: Consolations (Wiener Urtext)

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)

Mendelssohn Song without Words, Op. 19 No. 1 Mendelssohn: Songs without Words (ABRSM)

A. Richardson Lento moderato (2nd movt from Sonatina in F,

Op. 27)

A. Richardson: Sonatina in F, Op. 27 (Weinberger)

Rubinstein Romance (No. 1 from Soirées à Saint-Petersbourg,

Op. 44)

Short Romantic Pieces for Piano, Book 5 (ABRSM)

O. Russell Jamaican Dance No. 2 (from Three Jamaican

Dances)

Piano Music of Africa and the African Diaspora, Vol. 3

(OUP)

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)

P. E. Wolf Nostalgia (Vágyódás) (No. 4 from Jazz Preludes

Wolf-temperiertes Klavier 2)

Jazz Preludes Wolf-temperiertes Klavier 2

(EMB Zeneműkiadó)

Kahn The Watermill Piano Exam Pieces 2025 & 2026, Grade 7 (ABRSM)

Joanna

MacGregor

Lowside Blues Piano Exam Pieces 2025 & 2026, Grade 7 (ABRSM)

Shostakovich Allegretto (No. 1 from Three Fantastic Dances,

Op. 5)

Piano Exam Pieces 2025 & 2026, Grade 7 (ABRSM)

Bartók Bagpipers: Allegretto (1st movt from Sonatina) Bartók: Sonatina (EMB Zeneműkiadó or Henle)

Chen Yi Bamboo Dance II Spectrum 5 (ABRSM)

Ginastera Tribute to Roberto Garcia Morillo (No. 6 from

12 American Preludes, Op. 12)

Ginastera: 12 American Preludes, Op. 12 (Carl Fischer)

Grieg Butterﬂy (No. 1 from Lyric Pieces, Book 3, Op. 43) Grieg: 38 Pianoforte Pieces, Book 2 (ABRSM)

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)

Bart Howard Fly Me to the Moon, arr. Iles Nikki Iles and Friends, Book 2 (ABRSM)

Kern Smoke Gets in Your Eyes (from Roberta),

arr. Evans

Lee Evans Arranges Jerome Kern (Hal Leonard)

Florentine

Mulsant

Prélude No. 14 (from 24 Préludes pour piano,

Op. 38)

Florentine Mulsant: 24 Préludes pour piano, Op. 38

(Furore Verlag)

Christopher

Norton

Pop Bossa (No. 5 from Latin Preludes 2) Christopher Norton: Latin Preludes Collection

(Boosey & Hawkes)

Piazzolla Milonga del ángel Piazzolla: Piazzolla: Ángel for piano (Tonos)

Uzoigwe Nigerian Dance No. 1 (from Four Nigerian Dances) Piano Music of Africa and the African Diaspora, Vol. 2

(OUP)

Villoldo El Choclo, arr. Korn with repeat Tango Meets Jazz (Schott)

Carl Vine Spartacus Carl Vine: Red Blues (Faber)

NEW

Exam requirements continue on page 41

Practical Grades Piano 2025 & 2026 Grade 7

SCALES AND ARPEGGIOS: from memory; played in even notes; for further details see pages 13–14

RANGE REQUIREMENTS

SCALES (SIMILAR MOTION)

D-, E, G, B- majors

4 oct. legato or staccato, at examiner’s choice; hands together

, 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

, 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)

, 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

, 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 15 & 16

AURAL TESTS: given by the examiner from the piano; for further details see pages 45 & 51

Piano 2025 & 2026 Practical Grades

GRADE 8

ENTRY REQUIREMENTS: 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 11–13

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

Mozart Alla Turca (3rd movt from Sonata in A, K. 331)

with ﬁrst, third and ﬁnal repeat

Piano Exam Pieces 2025 & 2026, Grade 8 (ABRSM)

Mel Bonis Il pleut Piano Exam Pieces 2025 & 2026, Grade 8 (ABRSM)

D. Scarlatti Sonata in C, Kp. 513 Piano Exam Pieces 2025 & 2026, Grade 8 (ABRSM)

J. S. Bach Prelude and Fugue in G, BWV 884 J. S. Bach: The Well-Tempered Clavier, Part 2 (ABRSM)

J. S. Bach

Sarabande and Rondeaux (4th and 5th movts

from Partita No. 2 in C minor, BWV 826)

J. S. Bach: Partitas Nos. 1–3 (ABRSM)

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)

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)

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)

Haydn Allegro (1st movt from Sonata in E-,

Hob. XVI:49)

Haydn: Complete Piano Sonatas Volume III (Henle)

Stephen

Hough

Toccatina (5th movt from Suite R-B) Stephen Hough: Suite R-B and Other Enigmas

(Weinberger)

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)

Moszkowski Scherzino, Op. 77 No. 2 Moszkowski: Music for Piano (G. Schirmer)

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)

Rameau Les cyclopes (from Pièces de clavecin) Rameau: Les cyclopes / Les sauvages (Bärenreiter) or

Rameau: Pièces de clavecin (Heugel)

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)

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)

Debussy La ﬁlle aux cheveux de lin (No. 8 from Préludes,

Book 1)

Piano Exam Pieces 2025 & 2026, Grade 8 (ABRSM)

Joe Hisaishi il porco rosso (from Porco Rosso) Piano Exam Pieces 2025 & 2026, Grade 8 (ABRSM)

Liszt Consolation in E (No. 2 from Consolations, S. 172) Piano Exam Pieces 2025 & 2026, Grade 8 (ABRSM)

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)

A. Beach A Hermit Thrush at Morn, Op. 92 No. 2 Piano Music of Amy Beach (Hal Leonard) or

Amy Beach Piano Music (Dover)

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)

Chopin Mazurka in A minor, Op. 17 No. 4 Chopin: Mazurkas (Henle)

Hensel Andante cantabile in D- Hensel: Selected Piano Works (Henle)

NEW

Practical Grades Piano 2025 & 2026 Grade 8

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

Ireland Columbine Ireland: The Collected Piano Works, Vol. 4

(Stainer & Bell)

Janáček

Andante (No. 1 from In the Mists)

Janáček: In the Mists (Bärenreiter)

Rachmanino Moment musical in D-, Op. 16 No. 5 Rachmanino: Six moments musicaux, Op. 16 (Simrock)

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)

Schumann Romanze in F

(No. 2 from Drei Romanzen,

Op. 28)

Schumann: Drei Romanzen, Op. 28 (ABRSM)

Tailleferre Impromptu Tailleferre: Impromptu (Editions Jobert)

Tchaikovsky Janvier ‘Au coin du feu’ (No. 1 from The Seasons,

Op. 37bis)

Tchaikovsky: The Seasons (Henle)

P. E. Wolf Hiding Rainbow (Bujkáló szivárvárny) (No. 22

from Jazz Preludes Wolf-temperiertes Klavier 2)

Jazz Preludes Wolf-temperiertes Klavier 2

(EMB Zeneműkiadó)

Cheryl

Frances-Hoad

In the Dew, a Homage to Janáček (from

Homages, Book 1)

Piano Exam Pieces 2025 & 2026, Grade 8 (ABRSM)

Joplin Maple Leaf Rag Piano Exam Pieces 2025 & 2026, Grade 8 (ABRSM)

Sherwin &

Maschwitz

A Nightingale Sang in Berkeley Square, arr. Iles Piano Exam Pieces 2025 & 2026, Grade 8 (ABRSM)

Eleanor

Alberga

If the Silver Bird Could Speak Spectrum (ABRSM)

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)

Chaminade Pierrette (Air de Ballet), Op. 41 Piano Music by Female Composers (4th revised edition

2011) (Schott)

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)

Debussy Rêverie Debussy: Rêverie (Editions Jobert) or

Night and Dreams (Schott)

Tim Garland Eco Warrior Nikki Iles and Friends, Book 2 (ABRSM)

Zoe Rahman Go with the Flow Nikki Iles and Friends, Book 2 (ABRSM)

Khachaturian Toccata Khachaturian: Toccata (Boosey & Hawkes)

Uwe Korn Caballos Españoles Tango Meets Jazz (Schott)

Cecilia

McDowall

Vespers in Venice (from Four Piano Solos) Cecilia McDowall: Four Piano Solos (Hunt Edition)

McHugh On the Sunny Side of the Street, arr. Iles Jazz on a Summer’s Day (OUP)

Trad. Irish Danny Boy, arr. Iles Jazz in Autumn (OUP)

Villa-Lobos O polichinelo (from A prole do bebê no.1) Villa-Lobos: O polichinelo (Eschig) or

Beyond the Romantic Spirit, Book 2 (Alfred)

NEW

Exam requirements continue on page 44

Piano 2025 & 2026 Grade 8 Practical Grades

SCALES AND ARPEGGIOS: from memory; played in even notes; for further details see pages 13–14

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 15 & 16

AURAL TESTS: given by the examiner from the piano; for further details see pages 45 & 52

Practical Grades 3. Piano Practical Grades Qualiﬁcation Speciﬁcation

Aural test requirements

In the exam

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 dierent octave if appropriate).

The information on pages 46–52 sets out the tasks that candidates will be asked to complete

in the exam.

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 aect the assessment.

Assessment

Marks are not awarded for each individual test or deducted for mistakes instead they reﬂect the

candidates overall response in this component. The marking criteria for the Aural tests are given

on page 60.

Supporting publications

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 dierent set of tests apply to Jazz and Singing for Musical Theatre exams

3. Piano Practical Grades Qualification Specification

3. Piano Practical Grades Qualiﬁcation Speciﬁcation Practical Grades

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 aect 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 aect

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).

Practical Grades 3. Piano Practical Grades Qualiﬁcation Speciﬁcation

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 aect 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 aect 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).

3. Piano Practical Grades Qualiﬁcation Speciﬁcation Practical Grades

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 aect 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.

Practical Grades 3. Piano Practical Grades Qualiﬁcation Speciﬁcation

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 aect 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.

3. Piano Practical Grades Qualiﬁcation Speciﬁcation Practical Grades

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 aect 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 aect 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.

Practical Grades 3. Piano Practical Grades Qualiﬁcation Speciﬁcation

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 aect 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 aect 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 dierent 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.

3. Piano Practical Grades Qualiﬁcation Speciﬁcation Practical Grades

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 aect 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 aect the

assessment).

C To identify whether the modulations at the end of two dierent 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.

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 59–60.

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

4. Assessment, marking & infringements Piano Practical Grades

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

Piano Practical Grades 4. Assessment, marking & infringements

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

4. Assessment, marking & infringements Piano Practical Grades

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

Piano Practical Grades 4. Assessment, marking & infringements

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 eectively 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

dierent skills knowledge and understanding – theory notation instrument control listening

skills creative interpretation – and apply these across the individual components of the exam.

Awarding

An examiners 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.

4. Assessment, marking & infringements Piano Practical Grades

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 ABRSMs 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.

ABRSMs 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 59–60 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 Piano 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, eective

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

●

Suciently 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

●

Insuciently 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 insuciently

conveyed

●

Insecure, inadequate

recovery from slips

●

Insucient 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

●

No work oered

●

No work oered

●

No work oered

●

No work oered

●

No work oered

4. Assessment, marking & infringements

Piano 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

●

No work oered

●

No work oered 0

●

No work oered

5. After the exam

Results

All candidates receive a digital mark form. Successful candidates also receive a digital certiﬁcate

that shows the qualiﬁcation title subject and level. A paper copy of the certiﬁcate is available to

order for a small fee. 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. We issue mark

forms and certiﬁcates to the applicant. If the candidate has an account they can access their

mark form and certiﬁcate no later than seven days after we have released them to the applicant.

Examiners will not issue or discuss a candidates result.

Appeals and feedback

Appeals

If a candidate wants to appeal their exam result they can request a Results Review. Depending on

the outcome of the review we may amend the mark.

Feedback

We also welcome feedback about other matters such as the overall exam experience or the

mark form. All feedback 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.

Exam programme & running order form

Exam programme & running order

Name: ��

Subject: �� Grade: ��

What would you like to start your exam with? ��

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