Qualification Specification: Practical Music
Piano 2023 & 2024
Contents
1. Introduction
About ABRSM
About this qualification specification 
About our Practical Music qualificationsRegulation and UCAS points (UK)
Regulation (Europe)
Regulation (Rest of world)

3
3
4
4
6
8
8

2. Practical Grades
9Syllabuses9
Exam Regulations9
Malpractice and maladministration
9
Entry requirements
10
Exam booking
10
Access (for candidates with specific needs)
10
Exam content
10
In the exam
11
Special consideration
11
3. Piano Practical Grades Syllabus 2023 & 2024
12
Introducing the syllabus
12
Practical Grades: requirements and information
12• Instruments12• Pieces13• Scales and arpeggios
15• Sight-reading17• Aural tests
17
Sight-reading parameters
18
Piano Syllabus19
Aural test requirements
40© 2022 by The Associated Board of the Royal Schools of MusicAll 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.

4. Assessment, marking & infringements
Assessment objectives
Mark allocation

48
48
52

Result categories
52
Synoptic assessment
52Awarding52
Infringements53
Marking criteria
53
5. After the exam56
Results56
Appeals and feedback
56
6. Other assessments57
Piano Prep Test
57
Performance Grades 
59Music Theory60
Practical Musicianship61
ARSM62
DipABRSM, LRSM, FRSM
63
Exam programme & running order form

64

1. Introduction
About ABRSMAt ABRSM we aim to support learners and teachers in every way we can. One way we do this isthrough the provision of high quality and respected music qualifications. These exams provide
clear goals, reliable and consistent marking, and guidance for future learning and, with backing
from four Royal Schools of Music in the UK, are valued and trusted around the world.
We offer qualifications and assessments for a range of instruments (including singing) andgenres, as well as for Music Theory and Practical Musicianship. Our syllabuses are based on coremusical skills – listening, performing, reading, writing, musical knowledge and understanding, andimprovising. Together these skills give learners a good foundation for their musical development
and a range of different musical activities.
Taking an exam is an exciting challenge with many benefits for learners and we do everything we
can to make the experience positive and rewarding. We work closely with specialists, teachersand examiners to provide syllabuses of the highest quality with a wide variety of pieces andsongs to choose from. We train our expert examiners to ensure that all candidates are rewarded
and recognised for their musical achievements during the assessment. Using our clear, easyto-understand marking criteria examiners can assess all candidates reliably, objectively andconsistently. Finally, candidates receive a mark form containing valuable feedback, with acelebratory certificate for everyone who passes.
We hope our syllabuses inspire and support your music learning or teaching and wish you every
success for your musical journey!
Our mission
Our mission is to enrich lives by inspiring musical achievement around the world. We do this inpartnership with four Royal Schools of Music: Royal Academy of Music, Royal College of Music,
Royal Northern College of Music and Royal Conservatoire of Scotland.
We are passionate about music, its value as an art form and the importance of music education.
We believe that being involved with music gives people unique, positive experiences with lifelong benefits.
We offer face-to-face and digital exams, sheet music, recordings, apps and courses for students andteachers across the world. As a charity our donations encompass a range of grants, scholarships,
awards, prizes and bursaries for organisations and individuals. All promote music education andsupport achievement, progression, creativity, diversity, inclusion, sustainability and leadership inmusic education.
Who we are
We are the Associated Board of the Royal Schools of Music (ABRSM), a company registered inEngland and Wales (company registration number 1926395) and a registered charity (charity
registration number 292182). Our registered office is at 4 London Wall Place, London EC2Y 5AU.
Find out more at www.abrsm.org.

3

1. Introduction

Practical Grades

About this qualification specification
What it covers
This specification provides all the relevant requirements and information teachers, candidates,
parents and organisations need in order to prepare for the following qualifications in the subjects
and grades covered in Section 3:• ABRSM Entry Level Award in Practical Music (Initial Grade) (Entry 3)• ABRSM Level 1 Award in Practical Music (Grades 1, 2 and 3)• ABRSM Level 2 Certificate in Practical Music (Grades 4 and 5)• ABRSM Level 3 Certificate in Practical Music (Grades 6, 7 and 8).
It also provides information on how the exams will be assessed, their learning outcomes, andregulated qualification details.
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 2023 until 31 December 2024.
We may update this specification from time to time, but will not make changes to the syllabus(Section 3) other than in exceptional circumstances. In such cases, advance notice of any changes
will be posted on our website, as will advance notice of any planned syllabus refreshes. The latest
version of this specification will be available from www.abrsm.org/exams.

About our Practical Music qualifications
Qualification objectives
Our Practical Music qualifications are designed for learners to demonstrate a combination of
performance and other all-round musical skills and knowledge. Each grade is progressive andrepresents a new challenge for the learner, providing motivation and structure to develop andhone their musical skills.
Exams allow learners to receive formal recognition of the level of mastery they have achieved, andfeedback to support their learning journey. Practical Music qualifications further allow learners
to be rewarded and recognised for their skills in performing pieces as well as technique, notation,
listening and musical perception.
Who the qualifications are for
These qualifications are intended for learners who are interested in developing and demon­strating
their all-round musical skills. Learners may be entered at any age, but those entering for a Grade6, 7 or 8 must fulfil the prerequisite detailed on page 10.
Every effort has been made to feature a broad range of repertoire to suit and appeal to candidatesof different ages, backgrounds and interests. We are committed to providing fair access to ourassessments by putting in place access arrangements and reasonable adjustments for candidates
with specific needs.
Structure
Each Practical Music qualification has been carefully designed to assess all-round musicalskills – technique, notation reading, listening and musical perception – as well as knowledge,4Practical Grades

1. Introduction

understanding and creativity. At all grades, these creative skills are demonstrated through playingof repertoire and by completing the supporting tests. Collectively, these skills enable candidates toprogress to higher grades, further education, employment and other qualifications in the creativearts sector.
Candidates are required to play three Pieces from set repertoire lists and a selection of technicalwork, and to respond to an unseen Sight-reading test and a series of Aural tests. Marks for eachcomponent are differently weighted (the three Pieces are the same) and are awarded to eachcomponent individually.
Progression route
ABRSM Practical Music qualifications are available from Grade 1 to Grade 8, and in some subjects
from Initial Grade. Each grade progresses from the previous in their level of demand. The syllabus
in Section 3 of this specification details the grades available for individual subjects. It is not arequirement for any candidate to complete one grade before moving on to the next although there
is a prerequisite for entering a Grade 6, 7 or 8 exam (see below).
Practical Music qualifications embed from the earliest grades the importance of developing a wide
range of musicianship skills, including performing repertoire and technical work, and responding
to previously unseen Sight-reading and Aural tests.
Practical Music candidates may, during their learning journey, wish to focus on their performanceskills and progress across to our Music Performance suite of qualifications. These qualifications
are designed for learners to demonstrate a combination of key performance-related skills suchas instrumental technique and control, musical interpretation, communication, and delivery. Eachgrade is progressive and represents a new challenge for the learner, providing motivation andstructure 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 offer, beginning with the performance-only ARSM. ARSM gives candidates
greater flexibility and responsibility in programme building as well as providing further opportunity
to develop performance technique and interpretative skills while extending their repertoire.
Through a combination of live and written components, candidates at DipABRSM (Music
Performance), and the higher LRSM and FRSM levels, demonstrate their performance,
communication and research skills, as well as their musical knowledge and understanding.
DipABRSM progresses to LRSM level and LRSM to FRSM. Further details of these can be foundin Section 6 of this specification and at www.abrsm.org/diplomas.
Prerequisite
We believe that a thorough understanding of the elements of music is essential for a full andsatisfying performance at the higher grades. Our Music Theory graded exams assess candidates
on their ability to identify, use and manipulate musical symbols, to study extracts and to answer
questions about the elements of music. We also offer Practical Musicianship exams where, indeveloping their musicianship skills, candidates gain the understanding as well as the expressive
and interpretative skills needed to master the musical language of the repertoire they are learning.
A pass at ABRSM Grade 5 or above is required in either Music Theory, Practical Musicianship or
any Practical Music solo Jazz instrument before learners can enter for a Grade 6, 7 or 8 Practical
Music or Music Performance exam.
5

1. Introduction

Practical Grades

Regulation and UCAS points (UK)Our regulators
ABRSM Practical Music, Music Performance and Music Theory grades, and higher-level
qualifications (diplomas) are regulated in the UK by:• Office of Qualifications and Examinations Regulation (Ofqual)• Qualifications Wales• Council for Curriculum, Examinations and Assessment (CCEA Regulation)
For further information, see www.abrsm.org/regulation.
The Regulated Qualifications Framework (RQF)
All our regulated qualifications can be found on the RQF. There are nine qualification levels in theframework, labelled in order of difficulty from Entry Level to Level 8. For further information, visit
https://register.ofqual.gov.uk.
Entry to higher education
In the UK, ABRSM’s Grades 6 to 8 in Practical Music and Music Performance can contributetowards entry into higher education through the allocation of UCAS points; the table below shows
the UCAS Tariff value of these grades. For further information visit www.ucas.com.
Qualification/Level

Pass

Merit

Distinction

Grade 68

1012Grade 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.

6

Qualification
NumberQualification Title

603/6405/1

ABRSM Entry Level Award in Practical Music (Initial Grade) (Entry 3)

603/6406/3

ABRSM Level 1 Award in Practical Music (Grade 1)

603/6407/5

ABRSM Level 1 Award in Practical Music (Grade 2)

603/6408/7

ABRSM Level 1 Award in Practical Music (Grade 3)

603/6409/9

ABRSM Level 2 Certificate in Practical Music (Grade 4)

603/6410/5

ABRSM Level 2 Certificate in Practical Music (Grade 5)

603/6411/7

ABRSM Level 3 Certificate in Practical Music (Grade 6)

603/6412/9

ABRSM Level 3 Certificate in Practical Music (Grade 7)

603/6413/0

ABRSM Level 3 Certificate in Practical Music (Grade 8)

Practical Grades

1. Introduction

Qualification size
The table below describes the size of the Practical Music qualifications by showing the amountof 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 112

60

6Grade 218

90

9Grade 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 acandidate to prepare for these qualifications, and should be used as guidance only; it is recognised that there will be variancedependent on each individual’s level of experience and ability.

71. Introduction

Practical Grades

Regulation (Europe)
The European Qualifications Framework (EQF) is an overarching framework that links thequalifications of different countries together and allows for comparison and translation. The EQF
has eight levels across which qualifications can be mapped. The levels do not correspond directlywith 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

Level 1

Level 2

Level 2

Level 3

Level 3

Level 4

Grade 1
Grade 2
Grade 3
Grade 4
Grade 5
Grade 6
Grade 7
Grade 8Regulation (Rest of world)
Information on how ABRSM exams are recognised in individual countries can be found at www.
abrsm.org/regulation.

Qualification title referencing
The qualifications covered by this specification are:

• ABRSM Entry Level Award in Practical Music (Initial Grade) (Entry 3)• ABRSM Level 1 Award in Practical Music (Grades 1, 2 and 3)• ABRSM Level 2 Certificate in Practical Music (Grades 4 and 5)• ABRSM Level 3 Certificate in Practical Music (Grades 6, 7 and 8).
For ease of reading, ‘Practical Grade(s)’ is used in place of the full qualification titles throughout
the remainder of this document. Similarly, when referring to our other suite of graded performance
exams, ‘Performance Grade(s)’ is used in place of the full qualification titles.

82. Practical Grades
Syllabuses
Syllabus validity
The Piano Practical Grades Syllabus is valid for exams from 1 January 2023 until 31 December 2024.
Syllabus amendments
Any updates to the syllabus – e.g. changes to publication details or other minor corrections orclarifications – will be posted at www.abrsm.org/syllabuscorrections.
Syllabus overlap
In the first year of any revised Practical Grades syllabus, we offer an overlap period where
candidates may play specific requirements from the preceding syllabus. Information on the lengthof the overlap period and the requirements that it applies to is given at www.abrsm.org/overlap.
Piano candidates worldwide may play their three pieces from the 2021 & 2022 Piano syllabus
until 31 December 2023. All pieces must be from the same syllabus – candidates may not present
a mixture from old and new syllabuses.
The next syllabus
The next revision of the Piano Practical Grades Syllabus is planned to be published in 2024 andto take effect from 2025. Advance notice of any planned changes to the Piano Syllabus from2025 (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 atwww.abrsm.org/examregulations.

Malpractice and maladministration
We are committed to inspiring achievement in music. Our qualifications are used by thousandsof people to support their music learning or teaching. Many people also use them when applying
to study at further and higher education institutions. It is therefore vital that our qualifications
remain a valuable and reliable measure of a candidate’s skills and knowledge. We take any formof malpractice or maladministration very seriously.

• Malpractice is defined as any act that compromises or is an attempt to compromise theassessment 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 mis­managementof administrative processes, particularly where such a breach could compromise the integrityof a qualification or assessment.

Applicants and candidates must follow the requirements set out in the relevant specification,
Exam Regulations and all other ABRSM policies about the delivery of our exams. In cases whereapplicants 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.

92. Practical Grades

Practical Grades

Entry requirements
There are nine grades of Practical Grades exams for Piano. Candidates may be entered for any
grade at any age. They do not need to have taken any earlier grade(s) in Piano. To enter for a Grade6, 7 or 8 exam, candidates must already have passed one of the following:• ABRSM Grade 5 (or above) in Music Theory• ABRSM Grade 5 (or above) in Practical Musicianship• ABRSM Grade 5 in any Practical Grades solo Jazz instrument
For full details, including a list of accepted alternatives, see www.abrsm.org/prerequisite.

Exam booking
Details of exam dates, locations, fees and how to book an exam are available online at www.
abrsm.org/exambooking.

Access (for candidates with specific needs)
We are committed to providing fair access to our assessments for candidates with specific needs by
putting in place access arrangements and reasonable adjustments. There are a range of alternative
tests and formats for Practical Grades as well as guidelines for candidates with specific needs(see www.abrsm.org/specificneeds for full details). Where a candidate’s needs are not coveredby the guidelines, each case is considered individually. Further information is available from theAccess Co-ordinator (accesscoordinator@abrsm.ac.uk) or from www.abrsm.org/specificneeds.

Exam content
Practical Grades for Piano consist of six components – three Pieces, Scales and arpeggios,
Sight-reading and Aural tests. Information on how marks are allocated is given on page 52.

10Practical Grades 

2. Practical Grades

In the exam
Examiners
Generally, there will be one examiner in the exam room for Practical Grades; however a second
examiner may be present for training or quality assurance purposes.
Examiners may ask to look at the candidate’s or accompanist’s (where applicable) copy of themusic before or after the performance of a piece; a separate copy is not required.
Examiners may stop the performance of a piece when they have heard enough to make a judgment.
Order of the exam
The individual Practical Grades exam components may be taken in any order, at the candidate’s
choice, although it is preferable for accompanied pieces/duets (where applicable) to be performed
consecu­tively at the beginning of the exam.
Instruments
ABRSM Public Venues provide an upright or grand piano. Candidates, other than pianists, must
provide their own instrument (and any other equipment, e.g. footstools). Further detail on
instruments is given in Section 3 of this specification.
Exam timings
The timings in the table below show the approximate length of each Practical Grades Piano examin minutes, including the candidate’s entry and exit, and time for the examiner to finish the markform between exams. Examiners may take more or less time than the given timings.
GradeTime (in mins)

Initial
Grade

Grade
1

Grades2&3

Grades
4&5

Grade
6

Grade
7

Grade
8

12

12

12

15

20

25

30

Special consideration
Special consideration is given to candidates who suffer temporary illness, injury or indisposition,or adverse circumstances at or near the time of the assessment that are beyond the candidate’scontrol. 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.

113. Piano Practical Grades Syllabus 2023 & 2024
Introducing the syllabus
There are new set pieces in the 2023 & 2024 Piano Practical Grades Syllabus.

• The repertoire lists have been refreshed rather than fully revised and, for the first time, include
a mixture of new and retained pieces• For ease of use, all pieces retained from the 2021 & 2022 syllabus keep the same list number– these are always pieces 4 to 10 on the lists• There is a greater choice of repertoire than before, with the lists extended to 13 pieces (39pieces in total per grade) and with music by a more diverse range of composers featured

The Scales and arpeggios, Sight-reading and Aural test requirements stay the same as thepreceding syllabus.
Some key exam information has also been updated or clarified, including in the wider Qualification
Specification. Examples are:

• The inclusion of information about our Special Consideration policy [Section 2]• Confirmation of a change in policy on the use of the same piece(s) in more than one exam; thisis now allowed [Section 3]• The inclusion of information on syllabus infringements, and how they are managed [Section 4]

Practical Grades: requirements and information
This syllabus is valid from 1 January 2023 until 31 December 2024 .
This section provides a summary of the most important points that teachers and candidates
need to know when taking ABRSM Practical Grades for Piano. Further details, as well as
administrative information about the exams, are given in ABRSM’s Exam Regulations (availableat www.abrsm.org/examregulations) which should be read before booking an exam.

Instruments
ABRSM Public Venues provide a piano suitable for exam purposes. The piano will be uprightor 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 suitablepiano 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 (theexaminer will be happy to help with this if necessary) and to play a few notes to try out and getused to the piano.

12Practical Grades 

3. Piano Practical Grades Syllabus 2023 & 2024

PiecesMusicians learn to play an instrument to explore and perform repertoire, which is why pieces
are at the core of the exam – candidates are asked to present three at each grade. The syllabus
repertoire is organised into three lists that explore different traditions and styles, dating fromthe Renaissance period to the present day.
Choosing one piece from each list gives candidates the opportunity to play a balanced selection
and demonstrate a range of skills. In this syllabus, the pieces are broadly grouped into lists by
the characteristics of the music:• List A pieces are generally faster moving and require technical agility• List B pieces are more lyrical and invite expressive playing• List C pieces reflect a wide variety of musical traditions, styles and characters.
At Initial Grade to Grade 3, there are opportunities to play duets. This is an activity that often
occurs in lessons for beginners and helps build a strong sense of musical awareness as well as
secure rhythm and pulse.
We hope that by offering this variety in the syllabus, candidates will find inspiring music thatthey enjoy learning and performing.
Programme planning: Candidates must choose one piece from each of the three lists (A, B and
C)*. In the exam, they should inform the examiner which pieces they are performing, and they
are welcome to use the form on page 64 for this purpose.
Every effort has been made to feature a broad range of repertoire to suit and appeal to candidatesof different ages, backgrounds and interests. Certain pieces may not be suitable for every candidate
for technical reasons, e.g. hand size, or effects that cannot be realised on a digital piano. Other
pieces may not be suitable because of wider context (historical, cultural, subject matter, lyrics if
an arrangement of a song, etc.). Pieces should be carefully considered for their appropriatenessto each individual, which may need consultation between teachers and parents/carers. Teachersand parents/carers should also exercise caution when allowing younger candidates to research
pieces online: www.nspcc.org.uk/onlinesafety.
The repertoire lists are the same as for ABRSM Performance Grades. Candidates intending on
taking both qualifications at the same grade may find their musical development benefits frompreparing different 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 editionof their choice. This includes editions that are downloaded. Information on sourcing exam music
is given on page 14.
* At Initial Grade to Grade 3, candidates may choose only one duet (there are duets on all three lists).

13

3. Piano Practical Grades Syllabus 2023 & 2024

Practical Grades

Interpreting the score: Printed editorial suggestions such as fingering, metronome marks,
realisation of ornaments, etc. do not need to be strictly observed. Whether the piece contains
musical indications or not, candidates are encouraged to interpret the score in a musical andstylistic way. Examiners’ marking will be determined by how control of pitch, time, tone, shapeand performance contributes to the overall musical outcome.
Pedalling: Examiners will take into account the use and control of pedalling, and its effect 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 effect 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 therepertoire lists. If necessary, they may occasionally adapt the music by ‘spreading’ chords oromitting notes at wide stretches, provided the result is musical.
Repeats: Unless the syllabus specifies differently, 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 differently.
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 affect the marking. Candidates may use an extra copy of the music ora 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 toa particularly awkward page-turn (prior permission is not required; the turner may be thecandidate’s teacher). Examiners are unable to help with page-turning.
Photocopies & downloads: Performing from unauthorised photocopies (or other kinds of copies)
or illegal downloads of copyright music is not allowed. In the UK, copies may be used in certain
limited circumstances – for full details, see the 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 effort has been made to make sure that the
publications listed will be available for the duration of the syllabus. We advise candidates to
get their music well before the exam in case items are not kept in stock by retailers. Non-exam
related questions about the music (e.g. editorial, availability) should be addressed to the relevantpublisher: contact details are listed at www.abrsm.org/publishers.

14

Practical Grades 

3. Piano Practical Grades Syllabus 2023 & 2024

Scales and arpeggios
Playing scales and arpeggios is important for building strong technical skills such as reliable
finger movement, hand position, co-ordination and keyboard fluency. It also helps to develop
pitch and interval awareness, familiarity with keys and their related patterns, and control oftone. This leads to greater confidence and security when sight-reading, learning new pieces andperforming – from a score or from memory, as a solo musician or with others.
Memory: All requirements must be played from memory.
Range: Candidates are free to start at any octave, provided the required ranges are covered. For‘hands together’ requirements, the hands must be one octave apart, unless the syllabus specifies
differently. All requirements must ascend and descend according to the specified range (andpattern).
Rhythm: All requirements must be played in even notes.
Patterns: Arpeggios and dominant sevenths are required in root position only, except where thesyllabus specifies differently. 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 asixth 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 listedorder. 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. Whenasking for requirements, examiners will specify:• the key (including minor form – harmonic or melodic – in the Grades 6 to 8 scales) or thestarting 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 thesebooks is not a requirement.

15

3. Piano Practical Grades Syllabus 2023 & 2024

Practical Grades

Speed: The following speeds are given as a general guide:
Grade/Speed *Initial

1

2

3

4

5

6

7

8

Scales(including contrary-motion,
chromatic & whole-tone)q = 54

q = 60q = 66

q = 80q = 100

h = 60h = 72h = 80h = 88

Arpeggios(including dominant &diminished 7ths)

q = 52q = 58

q = 63q = 72

q = 80h = 44h = 50h = 56h = 66

Scales a 3rd apart / a 6th apart(including chromatic)

h = 60h = 60Legato scales in 3rds

h = 46h = 52

Staccato scales in 3rds / in 6ths

h = 54h = 54* All speeds relate to the rhythmic grouping iiiq

16

Practical Grades 

3. Piano Practical Grades Syllabus 2023 & 2024

Sight-reading
Sight-reading is a valuable skill with many benefits. Learning to sight-read helps to develop quick
recognition of keys, tonality and common rhythm patterns. Strong sight-reading skills makelearning new pieces quicker and easier, and also help when making music with others, so thatplaying in an ensemble becomes more rewarding and enjoyable.
About the test: Candidates will be asked to play a short unaccompanied piece of music that they
have not seen before. They will be given half a minute to look through and, if they wish, try out allor any part of the test before they are asked to play it for assessment.
Parameters: The table on page 18 shows the elements that are introduced at each grade.
Fingering: Any fingering shown on the test is for guidance only. Candidates are welcome to use
any fingering that produces a successful musical outcome.
Supporting publications: For practice purposes, sample sight-reading tests are published by
ABRSM. Purchasing these books is not a requirement.
Blind or partially-sighted candidates: Blind or partially-sighted candidates may choose analternative test (Braille memory or Aural repetition) in place of the standard test, if requested at
the time of booking the exam. Further information is available at www.abrsm.org/specificneeds.

Aural tests
Listening lies at the heart of music-making and the ability to hear how music works helps withall aspects of musical development. Aural skills help with gauging the sound and balance ofplaying, keeping in time and playing with a sense of rhythm and pulse. These skills also help todevelop a sense of pitch, musical memory and the ability to spot mistakes.
About the test: Full details of the Aural tests are given on pages 40–47.
Supporting publications: For practice purposes, sample Aural tests are published by ABRSM.
Examples of the tests are given in Specimen Aural Tests and Aural Training in Practice. Purchasingthese 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 theexam. Further information, including the syllabus for the alternative tests, is available atwww.abrsm.org/specificneeds.

17

3. Piano Practical Grades Syllabus 2023 & 2024

Practical Grades

Sight-reading parameters
The table below shows the elements that are introduced at each grade. These parameters arepresented cumulatively, i.e. once introduced they apply for all later grades (gradually progressing
in difficulty). See also page 17.

InitialLength(bars)Time

Keys

Hand position

Other features that may be
included4

4 ⁄4

C majorD minor6

2 ⁄4Each hand:• playing separately• in 5-finger position(tonic to dominant)• h q iq•
• legato phrases, staccato• f and p

G, F majors
A minorany 5-finger position• occasional accidentals

D majorE, G minors

playing together

A, B -, E - majors
B minoroutside 5-finger
position

Grade 13 ⁄4

Grade 2

Grade 318

up to 8Grade 4c. 8

Grade 5c. 8–123⁄8

6⁄8E, A - majors
F + , C minors

Grade 6c. 12–16

9⁄8
5⁄8
5 ⁄4

Grade 7c. 16–20

7⁄ 8
7⁄4

Grade 8c. 1 page

12 ⁄ 8C + , F minors

B, D - majors

(within minor keys only)• h . iiiq
Î•• slurs, accents• mf and mp• cresc. and dim. hairpins• w ; q . e patterns• tied notes• pp• 2-note chords in either hand•  ; simple semiquaver
patterns• ä• anacrusis• chromatic notes• pause signs• tenuto• 4-part chords (2 notes max.
in either hand)• simple syncopation• slowing of tempo at end• ff• triplet rhythms• clef changes• use of right pedal• tempo changes• 8va sign
• use of una corda pedal• 3-part chords in either hand• spread chords• simple ornaments• acceleration of tempo

PianoPractical Grades 2023
& 2024
Piano 2023
& 2024

Practical Grades

INITIAL GRADE
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14.
Candidates may perform a duet for one of their three pieces.
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

ChwatalLittle Playmates

Piano Exam Pieces 2023 & 2024, Initial Grade (ABRSM)

2 Trad.

What shall we do with the drunken sailor?,arr. Önaç

Piano Exam Pieces 2023 & 2024, Initial Grade (ABRSM)

3 H. Wohlfahrt

Patterns (No. 10 from Kinder-Klavierschule),
arr. Jones

Piano Exam Pieces 2023 & 2024, Initial Grade (ABRSM)

4 Gurlitt

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

5 Humbert

The Black Forest Doll (No. 3 from Allerlei
Spielzeug)

Humbert: Allerlei Spielzeug (Schott)

6 Kabalevsky

A Little Scherzo (No. 6 from 24 Little Pieces,Op. 39)Kabalevsky: 24 Little Pieces, Op. 39 (Boosey & Hawkes)

7 A. Reinagle

Allegretto (No. 9 from 24 Short and Easy Pieces,Op. 1)

A. Reinagle: 24 Short and Easy Pieces, Op. 1 (Schott) or
Pianissimo: Piano Piccolo (Schott) or
p. 23 from Piano Time Pieces 1 (OUP)

8 Bertram

Racing Against Each Other (No. 12 from For
Rosalie and Finn) primo part DUET

Pp. 23–24 from Bertram Schattel: For Rosalie and Finn
(Breitkopf & Härtel)

9 Trad. Irish

John Ryan’s Polka, arr. Blackwell

Piano Star 2 (ABRSM)

10 Elsie Wells

Donkey Ride (from Sea Pictures, Set 1)
primo part DUET

Duets with a Difference: Piano Time Duets, Book 1(OUP)

11 W. Carroll

Raindrops (No. 4 from The Countryside)

W. Carroll: The Countryside (Forsyth)12 Diabelli

Scherzo primo part DUET

Piano Lessons, Book 1 (Faber)

13 PamMission Impossible (No. 11 from Up-Grade!
Piano Grades 0–1)

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

A Waltz that’s a Little Melancholy (No. 10 from
Short Impressions for Very Young Piano Players,
Vol. 1)

Piano Exam Pieces 2023 & 2024, Initial Grade (ABRSM)

Swans and Ducks

Piano Exam Pieces 2023 & 2024, Initial Grade (ABRSM)

1

SchattelWedgwoodB

1

Schonthal

2 Waterman &Harewood

3 Naomi Yandell Secret Footpath

Piano Exam Pieces 2023 & 2024, Initial Grade (ABRSM)

4 JuneButterfly primo part DUET

Piano Star Duets (ABRSM)

5 Pauline Hall

The Secret Garden pedalling optional

Piano Time Pieces 1 (OUP)

6 Alison

Sailing Under a Moonlit Sky una corda optional

Mosaic, Vol. 1 (Editions Musica Ferrum)

7 Christopher

Enchanted Castle (No. 6 from The Microjazz
Duets Collection 1) primo part DUET

Christopher Norton: The Microjazz Duets Collection 1(Boosey & Hawkes)

8 OrffNo. 1 (from Two Pieces)

From Bartók to Stravinsky (Schott)

9 Satie

What the Little Princess Tulip Says (No. 2 from
Menus propos enfantins)

Satie: Nine Children’s Pieces (ABRSM) or
Pianissimo: Piano Piccolo (Schott) or
Classics to Moderns, Book 1 (Yorktown Music Press)

10 PamWhirleybird (No. 2 from Up-Grade! Piano
Grades 0–1)

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

11 Agay

Moonlit Pagoda

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

12 Karen

Sprinkling Stardust

Piano Star 2 (ABRSM)

13 Trad. Chinese

Crescent Moon, arr. N. & R. Faber

ShowTime Piano, Music from China, Level 2A(Faber Piano Adventures)

Armstrong

Mathews
NortonWedgwood

Marshall(Jiangsu)

student part DUET/SOLO

19

Piano 2023 & 2024 Initial GradeC

1

Practical Grades

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)Peter Gritton

Haunted House

Piano Exam Pieces 2023 & 2024, Initial Grade (ABRSM)

2 Kerstin Strecke The Waltz of the Toads (from Tio on Tour)

Piano Exam Pieces 2023 & 2024, Initial Grade (ABRSM)

3 Diane Hidy

Piano Exam Pieces 2023 & 2024, Initial Grade (ABRSM)

Jinx (from Mean Little Monsters )4 Pauline Hall & Stegosaurus Stomp (from Prehistoric Piano Time) Pauline Hall & Paul Drayton: Prehistoric Piano TimePaul Drayton(OUP)

5 Heather

Action Stations

Piano Star 2 (ABRSM)

6 Mark Tanner

Wonkey Donkey

Piano Star 2 (ABRSM)

7 AlanTreading Carefully

Piano Time Going Places (OUP)

8 Elton John

I Just Can’t Wait to Be King (from The Lion King), Faber Studio Collection: Selections from ShowTime
Piano, Level 2A (Faber Piano Adventures)arr. N. & R. Faber student part; with repeat DUET

HammondHaughton

9 Gerald Martin Boogie No. 1

The Joy of Boogie and Blues (Yorktown Music Press)

10 Jane Sebba

The Grand Waltz primo part DUET

Piano Magic Duets, Book 1 (Collins Music)

11 Hans-Günter

Piano Junior Blues

Piano Junior, Performance, Book 2 (Schott)

12 Julie Knerr

Detective Wombat Blues

Piano Safari Pattern Pieces 1 (Piano Safari)

13 J. M. Last

Ducks in the Pond

Piano Time Pieces 3 (OUP)

Heumann

SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details see pages 15–16


RANGE

REQUIREMENTS

1 oct.

hands separately

SCALES

C majorD minor (natural or harmonic or melodic, at
candidate’s choice)
CONTRARY-MOTION SCALE

C majora 5th

ARPEGGIOS

C majorD minora 5thVœ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œB{hands starting on the tonic (unison); as pattern below

hands separately; as pattern below

Vœ œ œ œ œ

SIGHT-READING: a short piece of previously unseen music; for further details see pages 17 & 18
AURAL TESTS: given by the examiner from the piano; for further details see pages 40 & 41

20

Practical Grades

Piano 2023 & 2024

GRADE 1
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14.
Candidates may perform a duet for one of their three pieces.
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Diabelli

Allegretto in C (No. 3 from Die ersten 12
Lectionen, Op. 125)

Piano Exam Pieces 2023 & 2024, Grade 1 (ABRSM)

2 M. Helyer

Dragonflies (from The Greenwood Tree)

Piano Exam Pieces 2023 & 2024, Grade 1 (ABRSM)

3 A. Reinagle

Minuet in C (No. 10 from 24 Short and Easy
Pieces, Op. 1)

Piano Exam Pieces 2023 & 2024, Grade 1 (ABRSM)

4 Dennis

Sonatina primo part DUET

Dennis Alexander: Alfred’s Basic Piano Library, DuetBook 2 (Alfred)

5 attrib.

Choral ‘Deal with Me, Lord’, BWV 514

My First Bach (Schott)

6 Gurlitt

The Chase/The Hunt (No. 15 from First Lessons
for the Piano, Op. 117)Music Pathways: Repertoire, Level 3B (Carl Fischer) or
Classics to Moderns, Book 1 (Yorktown Music Press) orStudio 21 (1st Series), Vol. 1 (Universal)

7 HandelGavotte in C ornaments optional

My First Concert for Piano (Schott) or
Classics to Moderns, Book 1 (Yorktown Music Press) orStudio 21 (1st Series), Vol. 1 (Universal)

8 M. Helyer

Haymaking (from The Greenwood Tree)

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

9 TürkArioso in F (No. 1 from 12 Handstücke)Clavierstücke für Anfänger (Schott) orMusic Pathways: Repertoire, Level 3A (Carl Fischer) or
Pianissimo: Piano Piccolo (Schott)

10 Elsie Wells

Courante primo part DUET

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

11 Hook

Gavotte in C (No. 3 from 24 Progressive Lessons,Op. 81)

Encore, Book 1 (ABRSM) or
Music Through Time, Piano Book 1 (OUP)

12 Mozart

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

Piano Star: Grade 1 (ABRSM)

13 Purcell

Minuet in A minor, Z. 649

Music Through Time, Piano Book 1 (OUP)

1

Alexander
J. S. BachB

1

Andrew Eales Fresh Air

Piano Exam Pieces 2023 & 2024, Grade 1 (ABRSM)

2 F. Price

A Morning Sunbeam (No. 3 from Three Sketches Piano Exam Pieces 2023 & 2024, Grade 1 (ABRSM)
for Little Pianists)

3 HeadThe Quiet Wood

Piano Exam Pieces 2023 & 2024, Grade 1 (ABRSM)

4 Dennis

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

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

primo part DUET

5 Alwyn

The Trees are Heavy with Snow

Five by Ten, Grade 1 (Lengnick)6 R. R. Bennett

Friday (from Seven Days a Week)

R. R. Bennett: Seven Days a Week (Alfred) or
The Young Pianist’s Repertoire, Book 1 (Faber)

7 Jessie Blake

The Little White Cloud

Grade by Grade, Piano Grade 1 (Boosey & Hawkes)

8 Grechaninov

Fairy Tale (No. 1 from Children’s Album, Op. 98)

Grechaninov: Children’s Book, Op. 98 (ABRSM) or
More Romantic Pieces for Piano, Book 1 (ABRSM) or
My First Concert for Piano (Schott)

9 Helen Madden The Forgotten Forest primo part DUET

Piano Star: Grade 1 (ABRSM)

10 Borislava

Small Valse with repeat

Mosaic, Vol. 2 (Editions Musica Ferrum)

11 Agnieszka

Fountain (from Little Stories)

Agnieszka Lasko: Little Stories (Euterpe)

12 Alan Menken

Beauty and the Beast (from Beauty and theBeast), arr. Hussey

Gradebusters Grade 1 Piano (Hal Leonard)

13 SiegmeisterSong of the Dark Woods

Music Pathways: Repertoire, Level 3B (Carl Fischer)

TanevaLasko

21

Piano 2023 & 2024 Grade 1

C

Practical Grades

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

ShruthiRajasekar

Virginia Hall

Piano Exam Pieces 2023 & 2024, Grade 1 (ABRSM)

2 Martha Mier

Sneaky Business (from Jazz, Rags & Blues,
Book 1)

Piano Exam Pieces 2023 & 2024, Grade 1 (ABRSM)

3 Caroline Tyler

Little Whale Explores the Calm Sea

Piano Exam Pieces 2023 & 2024, Grade 1 (ABRSM)

4 JuneSunlight Through the Trees

Piano Star: Grade 1 (ABRSM)

5 EliasThe Frog (from The Gift of Music)

Elias Davidsson: The Gift of Music (Spartan Press)

6 AlisonWoodland Folk Song primo part DUET

Piano Star Duets (ABRSM)

7 Jane Sebba

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

8 Barbara Snow

Jazzy Dragon (from Animal Jazz)

Barbara Snow: Animal Jazz (Edition HH)

9 Trad. Ewe

Tu tu Gbovi, arr. Chapman Nyaho

Piano Star Duets (ABRSM)

1

ArmstrongDavidsson
Mathews

DUET(Ghanaian)primo part DUET

10 Trad. Jamaican Mango Walk, arr. Cornick

Piano Repertoire, Level 1 (Universal)

11 Carol Barratt

Cheesecake-Walk (from Get It Together!)

Carol Barratt: Get It Together! (Chester)

12 Gillock

Swinging Beat

Gillock: Swinging Beat (Willis)

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

Chee-Hwa Tan: A Child’s Garden of Verses(Piano Safari)

SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details see pages 15–16


RANGE

REQUIREMENTS

1 oct.

hands together

2 oct.

hands separately

1 oct.

hands starting on the tonic (unison)

1 oct.

hands separately

SCALES (SIMILAR MOTION)

C major
G, F majors
A, D minors (natural or harmonic or melodic, at
candidate’s choice)
CONTRARY-MOTION SCALE

C major
ARPEGGIOS

G majorA minorSIGHT-READING: a short piece of previously unseen music; for further details see pages 17 & 18
AURAL TESTS: given by the examiner from the piano; for further details see pages 40 & 41

22

Digital only edition, available from publisher’s website

Practical Grades

Piano 2023 & 2024

GRADE 2
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14.
Candidates may perform a duet for one of their three pieces.
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Beethoven

Écossaise in G, WoO 23, arr. Czerny

Piano Exam Pieces 2023 & 2024, Grade 2 (ABRSM)

2 J. L. Dussek

Gavotte in F

Piano Exam Pieces 2023 & 2024, Grade 2 (ABRSM)

3 Agnieszka

Tarantella (from Little Stories)

Piano Exam Pieces 2023 & 2024, Grade 2 (ABRSM)

4 Anon.

Corranto (from Fitzwilliam Virginal Book)

Grade by Grade, Piano Grade 2 (Boosey & Hawkes)

5 CarseRustic Dance (No. 7 from Progressive Duets for
Pianists, Book 1) primo part DUET

Carse: Progressive Duets for Pianists, Book 1(Stainer & Bell)

6 Goedicke

Étude in A minor, Op. 36 No. 13

Piano Time Pieces 3 (OUP)

7 HaydnRondino (Theme from Cello Concerto in D),
arr. Agay primo part DUETThe Joy of Piano Duets (Yorktown Music Press)

8 Kabalevsky

Galop/Hopping (No. 18 from 24 Little Pieces,Op. 39)Kabalevsky: 24 Little Pieces, Op. 39 (Boosey & Hawkes)
or More Romantic Pieces for Piano, Book 1 (ABRSM)

9 Mozart

Minuet in D, K. 7

My First Mozart (Schott)

10 attrib.

Bourlesq (from The Wolfgang Notebook)

L. Mozart: Notenbuch für Wolfgang (Schott) or
The Young Pianist’s Repertoire, Book 1 (Faber)

1

Lasko

L. Mozartwith first repeat

11 Chevalier deRondo (from Quartet for Harpischord and Strings), Chevalier de Saint-Georges: Rondo from the Quartet forSaint-Georges arr. Talbot-Howard
Harpsichord and Strings (ABRSM)

B

12 Prószyński

Kowalczyki (Apprentice Smiths) (from Easy
Pieces)Prószyński: Easy Pieces for Piano (PWM)

13 Purcell

Air in D minor, Z. T676

Pianissimo: Piano Piccolo (Schott) or
Piano Repertoire, Level 1 (Universal) or
Piano Lessons, Book 1 (Faber)

1

Stephen Duro Forget-me-not Waltz

Piano Exam Pieces 2023 & 2024, Grade 2 (ABRSM)

2 Stanford

Lullaby (No. 5 from Six Sketches)

Piano Exam Pieces 2023 & 2024, Grade 2 (ABRSM)

3 Trad. Chinese

Kangding Love Song, arr. Yip

Piano Exam Pieces 2023 & 2024, Grade 2 (ABRSM)

4 Bartók

Sorrow (No. 7 from For Children, Vol. 2)

Bartók: For Children, Vol. 2 (Boosey & Hawkes) or
Grade by Grade, Piano Grade 2 (Boosey & Hawkes)

5 Grechaninov

Farewell (No. 4 from Children’s Album, Op. 98)

Grechaninov: Children’s Book, Op. 98 (ABRSM) or
A Romantic Sketchbook for Piano, Book 1 (ABRSM) or
Pianissimo: Piano Piccolo (Schott)

6 Heather

Raindrop Reflections primo part DUET

Piano Star Duets (ABRSM)

7 RavelPavane de la belle au bois dormant (No. 1 fromMa mère l’oye) secondo part DUET

Ravel: Ma mère l’oye (Durand)

8 Spindler

Waltz in A minor

Pathways to Artistry: Masterworks, Book 3 (Alfred)

9 Steibelt

Adagio in A minor (from Sonatina in C)

A Keyboard Anthology, 2nd Series, Book 1 (ABRSM) orCore Classics, Grades 1–2 (ABRSM) or
Pianoworks Collection 2 (OUP) or
Pianissimo: Piano Piccolo (Schott) or
My First Concert for Piano (Schott)

10 Sarah Watts

Postcard from Paris (from Razzamajazz
Repertoire Piano)

Sarah Watts: Razzamajazz Repertoire Piano (Kevin
Mayhew)

11 El-Dabh

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

Hammond

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

Chee-Hwa Tan: A Child’s Garden of Verses(Piano Safari)

13 Tchaikovsky

Pianoworks, Collection 1 (OUP)

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

Digital only edition, available from publisher’s website

23

Piano 2023 & 2024 Grade 2

C

Practical Grades

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)David
Blackwell

Railroad Blues

Piano Exam Pieces 2023 & 2024, Grade 2 (ABRSM)

2 Elissa Milne

Mozzie (from Easy Little Peppers)

Piano Exam Pieces 2023 & 2024, Grade 2 (ABRSM)

3 Kristina

Daydream

Piano Exam Pieces 2023 & 2024, Grade 2 (ABRSM)

4 Ben Crosland

In My Spot

Mosaic, Vol. 2 (Editions Musica Ferrum)

5 SarahDinosaur, Don’t!

Mosaic, Vol. 2 (Editions Musica Ferrum)

6 Ludovico

The Snow Prelude No. 3 this edition only

Ludovico Einaudi: Graded Pieces for Piano, Preparatory
to Grade 2 (Chester)Garścia: Let’s Play a Piano Duet, Op. 37 Vol. 2 (PWM)

1

Arakelyan

Konecsni

Einaudi7 Garścia

Brigands’ Dance (from Let’s Play a Piano Duet,
Op. 37) primo part DUET

8 Nikki Iles

Sweet Pea primo part DUET

Piano Star Duets (ABRSM)

9 Sculthorpe

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

Sculthorpe: A Little Book of Hours (Faber)

10 Giles Swayne

Whistling Tune

Spectrum 4 (ABRSM)

11 Mirosław

Kukułka I

Mirosław Gąsieniec: Album for Children (PWM)

12 Grieg

Norwegian Dance No. 2, arr. Hall

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

primo part DUET
13 Seiber

Tango II (Habanera) (from Leichte Tänze I)

Seiber: Leichte Tänze (Easy Dances), Book 1 (Schott)

SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details see pages 15–16


RANGE

REQUIREMENTS

2 oct.

hands together

2 oct.

hands separately

2 oct.

hands starting on the tonic (unison)

1 oct.

hands separately

2 oct.

hands separately

SCALES (SIMILAR MOTION)

G, F majors
A, D minors (natural or harmonic or melodic, at
candidate’s choice)
D, A majors
E, G minors (natural or harmonic or melodic, at
candidate’s choice)
CONTRARY-MOTION SCALE

C major
CHROMATIC SCALE

starting on D
ARPEGGIOS

D, A majors
E, G minors

SIGHT-READING: a short piece of previously unseen music; for further details see pages 17 & 18
AURAL TESTS: given by the examiner from the piano; for further details see pages 40 & 42

24

Practical Grades

Piano 2023 & 2024

GRADE 3
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14.
Candidates may perform a duet for one of their three pieces.
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Anon.

Minuet in G, BWV Anh. II 116

Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)

2 Clementi

Vivace (3rd movt from Sonatina in C, Op. 36
No. 1)

Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)

3 Mirosław

Hansel and Gretel (from Album for Children)

Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)

4 A. Hedges

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

5 L. Mozart

Angloise (from Notebook for Wolfgang)

L. Mozart: Notenbuch für Wolfgang (Schott) or
The Young Pianist’s Repertoire, Book 1 (Faber)

6 Vitalij

Moody Gigue (from Piano Sketches, Book 1)

Vitalij Neugasimov: Piano Sketches, Book 1 (OUP)

7 Prokofiev

Gavotte (from Classical Symphony, Op. 25),
arr. Agay primo part; with repeat – playing little notes

The Joy of Piano Duets (Yorktown Music Press)

8 Reinecke

Vivace (4th movt from Sonatina in A minor,
Op. 136 No. 4)

Reinecke: Six Miniature Sonatinas, Op. 136(Breitkopf & Härtel) or
Sonatinas for Piano, Book 1 (PWM)

9 Seiber

Jazz Etudiette (from Easy Dances II)

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

10 WeberScherzo

The Classical Spirit, Book 1 (Alfred) or
Pathways to Artistry: Masterworks, Book 3 (Alfred)

11 I. Holst

Toccata, arr. Hall

Piano Time Pieces 3 (OUP)

12 Mozart

Allegro in B -, K. 3

Mozart: 25 Early Pieces (ABRSM) or
Essential Keyboard Repertoire, Vol. 6 (Alfred)

13 Schumann

Wilder Reiter (The Wild Horseman) (No. 8
from Album für die Jugend, Op. 68)

Schumann: Album für die Jugend, Op. 68 (ABRSM) or
A Romantic Sketchbook for Piano, Book 1 (ABRSM) or
Piano Literature for a Dark and Stormy Night, Vol. 1(Faber Piano Adventures)1Gąsieniec

Neugasimov

DUET

B

The Sad Ghost

Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)

2 Loeschhorn

Study in F (No. 25 from 48 Etüden infortschreitender Ordnung, Op. 65)

Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)

3 Nakada

The Song of Twilight (from Piano Pieces forChildren) with repeat

Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)

4 DennisAutumn Serenade primo part DUET

Dennis Alexander: Alfred’s Basic Piano Library, DuetBook 4 (Alfred)

5 J. S. Bach

Arioso, arr. Agay primo part DUETThe Joy of Piano Duets (Yorktown Music Press)

6 Bartók

Andante (No. 2 from For Children, Vol. 2)

Bartók: For Children, Vol. 2 (Boosey & Hawkes)

7 W. Carroll

Spraymist (No. 3 from In Southern Seas)

W. Carroll: In Southern Seas (Forsyth)8 Gurlitt

Song, Op. 172 No. 1

More Romantic Pieces for Piano, Book 2 (ABRSM)

9 Paul Harris

Indigo (No. 6 from Rainbow)

Paul Harris: Rainbow (Boosey & Hawkes)

10 Trad. Irish

She Moved Through the Fair, arr. Hall

Eighteen Easy Escapes for Piano (Spartan Press)

11 Janet & AlanThames Sunrise

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

12 Mendelssohn

Romance

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

13 Tchaikovsky

Chanson italienne (No. 15 from Album pourenfants, Op. 39)

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

1

Nancy Litten

Alexander

Bullard25

Piano 2023 & 2024 Grade 3

C

1

Practical Grades

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Chua

T-Rex Hungry (from A Day in the Life of a T-Rex) Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)

2 Gillock

The Spanish Guitar (from Accents Around theWorld)

Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)

3 Joplin

The Entertainer, arr. ÖnaçPiano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)

4 AgayLittle Rhapsody on Hungarian Themes

The Joy of Piano Duets (Yorktown Music Press)

primo part DUET
5 M. Bober &Rushing River

Melody Bober & Glori Goranson: Rushing River(FJH Music Company Inc)

6 Mike Cornick

The Waltz of the Elephants (from Clever Cat
Goes on Safari)Mike Cornick: Clever Cat Goes on Safari (Universal)

G. Goranson

7 Mark Goddard Locked On Latin (from Hands On Jazz)
primo part DUETMark Goddard: Hands On Jazz (Spartan Press)

8 Elton John &Can You Feel the Love Tonight? (from The Lion
King), arr. N. & R. Faber octaves optional

Faber Studio Collection: Selections from BigTime Piano,
Level 4 (Faber Piano Adventures)

9 H. Mancini &Moon River (from Breakfast at Tiffany’s),arr. Miller

A Dozen a Day Songbook, Book 2 (Willis)

10 Karen Tanaka

Northern Lights

Spectrum 4 (ABRSM)

Tim Rice

J. Mercer

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

Valerie Capers: Portraits in Jazz (OUP)

12 Carse

Csardas primo part DUET

Carse: Progressive Duets for Pianists, Book 2(Stainer & Bell)13 H. Hofmann

Waldvöglein (No. 15 from Skizzen, Op. 77)

Encore, Book 2 (ABRSM)

in Jazz)

SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details see pages 15–16


RANGE

REQUIREMENTS

2 oct.

hands together

2 oct.

hands separately

2 oct.

hands starting on the tonic (unison)

1 oct.

hands starting on the stated note (unison)

2 oct.

hands together

2 oct.

hands separately

SCALES (SIMILAR MOTION)

D, A majors
E, G minors(harmonic or melodic, at candidate’s choice)
B -, E - majors
B, C minors(harmonic or melodic, at candidate’s choice)
CONTRARY-MOTION SCALE

E major
CHROMATIC CONTRARY-MOTION SCALE

starting on D
ARPEGGIOS

D, A majors
E, G minors
B -, E - majors
B, C minors

SIGHT-READING: a short piece of previously unseen music; for further details see pages 17 & 18
AURAL TESTS: given by the examiner from the piano; for further details see pages 40 & 42

26

Practical Grades

Piano 2023 & 2024

GRADE 4
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Pescetti

Presto (3rd movt from Sonata No. 6 in C minor)

Piano Exam Pieces 2023 & 2024, Grade 4 (ABRSM)

2 Farrenc

Mouvement de valse (No. 15 from 25 études
faciles, Op. 50)

Piano Exam Pieces 2023 & 2024, Grade 4 (ABRSM)

3 HandelAllegro in F, HWV 488

Piano Exam Pieces 2023 & 2024, Grade 4 (ABRSM)

4 Alcock

Gavot (3rd movt from Suite No. 2 in B - )Alcock: Six Suites of Easy lessons (ABRSM) or
The Best of Grade 4 Piano (Faber)1with ornaments in bb. 7, 23 & 31; all others optional
5 Beethoven

Allegro assai (1st movt from Sonatina in F,
Anh. 5 No. 2)

The New Sonatina Book, Vol. 1 (Schott)

6 Buxtehude

Saraband (from Suite in E minor, BuxWV 236)

Baroque Keyboard Anthology, Vol. 1 (Schott)

7 Dring

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

8 Gurlitt

Allegretto scherzando (3rd movt from Sonatina
in C, Op. 188 No. 4)

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

9 Haydn

Allegro scherzando in F

Essential Keyboard Repertoire, Vol. 6 (Alfred)

10 S. Heller

Study in A minor, Op. 45 No. 2

S. Heller: 20 Miscellaneous Studies (ABRSM) or
pp. 7–9 from Piano Literature for a Dark and Stormy
Night, Vol. 1 (Faber Piano Adventures)

11 G. Berg

Allegro (1st movt from Sonatina in C,
Op. 3 No. 7)

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

12 J. F. F.

Ballade, Op. 100 No. 15

Encore, Book 2 (ABRSM) or
Lang Lang Piano Academy: Mastering the Piano, Level 4(Faber)13 Mozart

Rondo in F, K. 15hh

Core Classics, Grades 3–4 (ABRSM) or
Mozart: 25 Early Pieces (ABRSM) or
The Best of Grade 4 Piano (Faber)

Burgmüller

B

1

Valerie Capers Billie’s Song (No. 7 from Portraits in Jazz)

Piano Exam Pieces 2023 & 2024, Grade 4 (ABRSM)

with repeat
2 Chaminade

Idylle (No. 1 from Album des enfants, deuxième
série, Op. 126)

Piano Exam Pieces 2023 & 2024, Grade 4 (ABRSM)

3 Tchaikovsky

La nouvelle poupée (No. 6 from Album pourenfants, Op. 39)

Piano Exam Pieces 2023 & 2024, Grade 4 (ABRSM)

4 C. P. E. BachAndante (arr.)

Lang Lang Piano Academy: Mastering the Piano, Level 4(Faber)5 W. Carroll

Sunrise (No. 7 from River and Rainbow)

W. Carroll: River and Rainbow (Forsyth)

6 Granados

Dedicatoria (No. 1 from Cuentos de las juventud,
Op. 1)

Granados: Stories of the Young, Op. 1 (ABRSM) or
More Romantic Pieces for Piano, Book 2 (ABRSM)

7 Khachaturian

A Little Song (Andantino) (No. 1 from Pictures of Khachaturian: Pictures of ChildhoodChildhood)(Boosey & Hawkes)

8 Liszt

La cloche sonne, S. 238

Chopin, Liszt, Hiller: Urtext Primo, Vol. 5(Wiener Urtext)

9 Mendelssohn

Andante (2nd movt from Violin Concerto in
E minor, Op. 64), arr. Scott-Burt

Piano Mix 3 (ABRSM)

10 Vaughan

Valse lente (from Six Teaching Pieces)

Vaughan Williams: A Little Piano Book (OUP)

11 Heather

Once Upon a Frozen Winter (from Ballads
Without Words)

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

12 Hummel

Romance in G, Op. 52 No. 4

Hummel: 16 Short Pieces (ABRSM)

13 Trad. Malay

Voyage of the Sampan, arr. Siagian with repeats

Malay Folk Songs Collection (Hal Leonard)

Williams
Hammond27

Piano 2023 & 2024 Grade 4

C

1

Practical Grades

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

BartókPentatonic Tune (No. 29 from For Children, Vol. 1) Piano Exam Pieces 2023 & 2024, Grade 4 (ABRSM)

2 Nevada

Ninette’s Musette (No. 5 from Romantic
Impressions)

Piano Exam Pieces 2023 & 2024, Grade 4 (ABRSM)

3 F. Price

Ticklin’ Toes

Piano Exam Pieces 2023 & 2024, Grade 4 (ABRSM)

4 Maikapar

At the Smithy, Op. 8 No. 5

A Romantic Sketchbook for Piano, Book 2 (ABRSM)

5 AlisonBuried Rubies (No. 8 from Treasure Trove)

Alison Mathews: Treasure Trove(Editions Musica Ferrum)

6 Martha Mier

Worrisome Blues (from Jazz, Rags & Blues,
Book 3)

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

7 Arvo Pärt

Für Anna Maria fröhlich or nachdenklich

Arvo Pärt: Für Anna Maria (Universal)

8 Prokofiev

Marche (No. 10 from Musiques d’enfants,
Op. 65)

Prokofiev: Musiques d’enfants, Op. 65(Boosey & Hawkes)

9 V. Stoyanov

Bulgarian Peasant Dance

The Joy of Modern Piano Music (Yorktown Music Press)

10 Trad.

Shenandoah, arr. Bennett

The Graded Piano Player, Grades 3–5 (Faber)

11 Grieg

In the Hall of the Mountain King (from Peer
Gynt, Suite No. 1, Op. 46), arr. White

Piano Mix 3 (ABRSM)

12 Kabalevsky

Toccatina (No. 12 from 30 Children’s Pieces,Op. 27)

Kabalevsky: 30 Children’s Pieces, Op. 27(Boosey & Hawkes) or
The Best of Grade 4 Piano (Faber)

13 Waller, Razaf

Ain’t Misbehavin’, arr. Iles

Nikki Iles and Friends, Book 1 (ABRSM)

Mathews& H. Brooks

SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details see pages 15–16


RANGE

REQUIREMENTS

2 oct.

hands together

2 oct.

hands separately

2 oct.

hands starting on the tonic (unison)

2 oct.

hands together

2 oct.

hands together

2 oct.

hands separately

SCALES (SIMILAR MOTION)

B -, E - majors
B, C minors(harmonic or melodic, at candidate’s choice)
B, F+, A - majors
F+, F minors(harmonic or melodic, at candidate’s choice)
CONTRARY-MOTION SCALES

E - major
C harmonic minor
CHROMATIC SCALE (SIMILAR MOTION)

starting on F+
ARPEGGIOS

B -, E - majors
B, C minors
B, F+, A - majors
F+, F minors

SIGHT-READING: a short piece of previously unseen music; for further details see pages 17 & 18
AURAL TESTS: given by the examiner from the piano; for further details see pages 40 & 43

28

Practical Grades

Piano 2023 & 2024

GRADE 5
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

1

COMPOSERPIECE / WORK / ARRANGER

Cimarosa

Allegro (3rd movt from Sonata in C minor, C. 68) Piano Exam Pieces 2023 & 2024, Grade 5 (ABRSM)

2 Haydn

Minuet and Trio (2nd movt from Sonata in D,
Hob. XVI:4)

Piano Exam Pieces 2023 & 2024, Grade 5 (ABRSM)

3 Chee-Hwa Tan Jester’s Jig (No. 7 from A Royal Birthday

Piano Exam Pieces 2023 & 2024, Grade 5 (ABRSM)

4 J. S. BachInvention No. 8 in F, BWV 779

J. S. Bach: Two-part Inventions (ABRSM) or
J. S. Bach: Inventions and Sinfonias (Henle) orCore Classics, Grades 5–6 (ABRSM) or Lang Lang
Piano Academy: Mastering the Piano, Level 4 (Faber)

5 Beethoven

Bagatelle in G minor, Op. 119 No. 1

A Keyboard Anthology, 1st Series, Book 3 (ABRSM) orCore Classics, Grades 4–5 (ABRSM) or
Classics for the Developing Pianist, Book 3 (Alfred)

6 J. H. Fiocco

Andante (from Pièces de clavecin, Op. 1)

J. H. Fiocco: Eight Keyboard Pieces (ABRSM)

7 Haydn

Allegro (1st movt from Sonata in G, Hob. XVI:G1) Pp. 41–43 from Haydn: Selected Keyboard Sonatas,
Book 1 (ABRSM) or
Essential Keyboard Repertoire, Vol. 5 (Alfred)

8 HummelAllegro in C (No. 2 from Six pièces très faciles,
Op. 52)Hummel: 16 Short Pieces (ABRSM)

9 J. L. Krebs

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

10 Mozart

Theme, Var. 1 and Var. 5 (from 12 Variations on“Ah vous dirai-je, maman”, K. 265)

Mozart: 12 Variations on “Ah, vous dirai-je Maman”,
K. 265 (Henle) or
Mozart: “Ah, vous dirai-je Maman”, 12 Variations in
C major, KV 265 (Bärenreiter)

11 GadeRingeltanz (Boys’ Merry-go-round) (No. 2 from Gade: Aquarelles and Other Pieces (ABRSM) orChildren’s Christmas, Op. 36)
More Romantic Pieces for Piano, Book 3 (ABRSM)

12 S. Heller

Study in E minor (No. 7 from 30 Progressive
Studies, Op. 46)

S. Heller: 30 Progressive Studies (Universal)

13 LeoToccata No. 3

The Advanced Pianist, Book 1 (Faber)

Celebration: Suite in Baroque Style)B

PUBLICATION (PUBLISHER)

1

H. Hofmann

Minnelied (No. 7 from Stimmungsbilder, Op. 88) Piano Exam Pieces 2023 & 2024, Grade 5 (ABRSM)

2 BernadetteWind in the Willows (from Allsorts)

Piano Exam Pieces 2023 & 2024, Grade 5 (ABRSM)

3 Pilling

Philomela

Piano Exam Pieces 2023 & 2024, Grade 5 (ABRSM)

4 R. R. Bennett

Little Elegy

R. R. Bennett: Little Elegy (Novello)

5 Granados

La huérfana (No. 9 from Cuentos de las juventud, Granados: Stories of the Young, Op. 1 (ABRSM)
Op. 1)

6 S. Heller

Study in E minor, Op. 47 No. 15 with repeat

S. Heller: 20 Miscellaneous Studies (ABRSM)

7 Massenet

Mélodie (No. 5 from 10 Pièces de genre, Op. 10)

French Romantic Repertoire, Level 1 (Faber)

8 Mompou

La barca (from Impresiones íntimas)

Mompou: Impresiones íntimas (Unión MusicalEdiciones) or
Mompou: Música para piano (Unión Musical Ediciones)

9 Pachulski

Prelude in C minor, Op. 8 No. 1

A Romantic Sketchbook for Piano, Book 3 (ABRSM)

10 Schumann

Von fremden Ländern und Menschen (No. 1
from Kinderscenen, Op. 15)

Schumann: Kinderscenen, Op. 15 (ABRSM) or
Schumann: Scenes from Childhood, Op. 15 (Henle) or
Lang Lang Piano Academy: Mastering the Piano, Level 4(Faber)

11 Glière

Evening (No. 5 from 8 Easy Pieces, Op. 43)

Glière: Eight Easy Pieces, Op. 43 (ABRSM)

12 Philip Lane

A Walk in the Park (No. 2 from Three Little Bites
at the Big Apple)

Philip Lane: Three Little Bites at the Big Apple(Goodmusic)

13 Trad. Korean

Arirang, arr. Bullard

Lang Lang Piano Academy: Mastering the Piano, Level 4(Faber)Marmion29

Piano 2023 & 2024 Grade 5

C

1

Practical Grades

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Mike Cornick

In the Groove (from 20 Piano Studies)

Piano Exam Pieces 2023 & 2024, Grade 5 (ABRSM)

2 Kabalevsky

Scherzo (No. 14 from 30 Children’s Pieces, Op. 27) Piano Exam Pieces 2023 & 2024, Grade 5 (ABRSM)

3 David ÖnaçA Distant Star in the Stillness

Piano Exam Pieces 2023 & 2024, Grade 5 (ABRSM)

4 AgayBlue Waltz

The Joy of Boogie and Blues (Yorktown Music Press)

5 Alwyn

The Sea is Angry

Pianoworks Collection 2 (OUP)

6 Bartók

Winter Solstice Song (No. 38 from For Children,
Vol. 1)

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

7 Victoria

Silent Island

Spectrum 3 (ABRSM)

8 Ludovico

Elegy for the Arctic this edition only

Pp. 7–9 from Ludovico Einaudi: Extra Elements (Chester)

9 PintoMarch, Little Soldier! (No. 3 from Scenas
infantis) gliss. optional

Pinto: Scenas infantis (G. Schirmer)

10 Catherine

Love Theme (from Lyric Moments, Book 2)

Catherine Rollin: Lyric Moments, Book 2 (Alfred)

11 Arlen

Stormy Weather, arr. Iles

Nikki Iles and Friends, Book 1 (ABRSM)

12 Martha Mier

Tuxedo Jazz (from Jazz, Rags & Blues, Book 4)

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

13 André

Lullaby (from Suite for Piano)

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

Borisova-Ollas
EinaudiRollinBangambula
Vindu

SCALES AND ARPEGGIOS: from memory; played in even notes; for further details see pages 15–16


RANGE

REQUIREMENTS

2 oct.

legato; hands together

2 oct.

staccato; hands separately

2 oct.

legato; hands starting on the tonic (unison)

2 oct.

legato; hands starting a major third apart2 oct.

legato; hands together

2 oct.

legato; hands separately

SCALES (SIMILAR MOTION)

A, E, B, F+, D - majors
F+, C +, G +, E -, B - minors(harmonic or melodic, at candidate’s choice)
STACCATO SCALES

A - major
F minor(harmonic or melodic, at candidate’s choice)
CONTRARY-MOTION SCALES

D - major
C + harmonic minor
CHROMATIC CONTRARY-MOTION SCALE

starting on F+ (LH) and A + (RH)
ARPEGGIOS

A, E, B, F+, A -, D - majors
F+, C +, G +, E -, F, B - minors
DIMINISHED SEVENTH

starting on B

SIGHT-READING: a short piece of previously unseen music; for further details see pages 17 & 18
AURAL TESTS: given by the examiner from the piano; for further details see pages 40 & 44

30

Practical Grades

Piano 2023 & 2024

GRADE 6
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a Practical
Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

S. Heller

Prelude in C + minor (No. 10 from 24 Preludes,
Op. 81)

Piano Exam Pieces 2023 & 2024, Grade 6 (ABRSM)

2 Gambarini

Giga in D (from Lessons for the Harpsichord,Op. 2)

Piano Exam Pieces 2023 & 2024, Grade 6 (ABRSM)

3 Kuhlau

Allegro (1st movt from Sonatina in C, Op. 20
No. 1)

Piano Exam Pieces 2023 & 2024, Grade 6 (ABRSM)

4 C. P. E. Bach

Solfeggietto in C minor, Wq. 117/2

C. P. E. Bach: Selected Keyboard Works, Book 2 (ABRSM)
or Classics to Moderns, Book 6 (Yorktown Music Press)

5 J. S. BachInvention No. 6 in E, BWV 777

J. S. Bach: Two-part Inventions (ABRSM) or
J. S. Bach: Inventions and Sinfonias (Henle)

6 J. F. F.

Velocity, Op. 109 No. 10

J. F. F. Burgmüller: Studies, Op. 109 (Peters)

7 Cimarosa

Allegro (1st movt from Sonata No. 6 in G)

The Classical Spirit, Book 2 (Alfred)

8 HandelFantasia in A

Classics to Moderns, Book 6 (Yorktown Music Press)

9 Haydn

Finale: Allegro molto (4th movt from Sonata
in G, Hob. XVI:6)

Haydn: Selected Keyboard Sonatas, Book 1 (ABRSM) or
Haydn: Complete Piano Sonatas, Vol. 1 (Wiener Urtext)

10 D. Scarlatti

Sonata in A, Kp. 208, L. 238

D. Scarlatti: 200 Sonatas, Vol. 2 (EMB Zeneműkiadó)

11 Hummel

Rondo in C, Op. 52 No. 6

Hummel: 16 Short Pieces (ABRSM)

12 Schubert

Moment musical in F minor (No. 3 from
Moments musicaux, D. 780)

Schubert: Moments musicaux, D. 780 (ABRSM) or
Schubert: Impromptus and Moments musicaux (Henle)

13 Telemann

Allegro (1st movt from Fantasia No. 1 in D, 1stDozen, TWV 33:1)

Telemann: Fantasias, 1st Dozen (ABRSM)

Dett

Honey (Humoresque) (3rd movt from In The
Bottoms)

Piano Exam Pieces 2023 & 2024, Grade 6 (ABRSM)

2 Granados

Vals poético (No. 6 from Valses poéticos)

Piano Exam Pieces 2023 & 2024, Grade 6 (ABRSM)

3 Mendelssohn

Venetianisches Gondellied (No. 6 from Lieder
ohne Worte, Op. 19b)

Piano Exam Pieces 2023 & 2024, Grade 6 (ABRSM)

4 Y. Bowen

A PastelY. Bowen: A Pastel (Chester)

5 Dello Joio

Prayer of the Matador (No. 2 from Lyric Pieces
for the Young)

The Boosey & Hawkes 20th-Century Piano Collection:from 1945 (Boosey & Hawkes)

6 Glière

Prelude in D - (No. 1 from 8 Easy Pieces, Op. 43)

Glière: Eight Easy Pieces, Op. 43 (ABRSM) or
A Romantic Sketchbook for Piano, Book 4 (ABRSM)

7 C. Hartmann

Nocturne

C. Hartmann: Two Piano Pieces (Edition HH)

8 Stephen

Little Lullaby (4th movt from Suite R-B)

Stephen Hough: Suite R-B and Other Enigmas(Weinberger)

9 Howells

There Was a Most Beautiful Lady (No. 3 fromCountry Pageant)Howells: Country Pageant & A Little Book of Dances(ABRSM) orCore Classics, Grades 5–6 (ABRSM)

10 Khachaturian

Legend (No. 6 from Pictures of Childhood)

Khachaturian: Pictures of Childhood(Boosey & Hawkes)

11 Mel Bonis

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

Mel Bonis: Piano Music Volume 5 – Dances A(Furore Verlag)

1

Burgmüller

B

1

Hough

ending b. 53
12 Guastavino

Cantilena No. 1 ‘Santa Fe para Ilorar’ (from10 Cantilenas Argentinas)

Guastavino: 10 Cantilenas Argentinas (Melos)

13 Schumann

Einsame Blumen (No. 3 from Waldscenen,
Op. 82)

Schumann: Waldscenen, Op. 82 (ABRSM)

31

Piano 2023 & 2024 Grade 6

C

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

R. R. Bennett

The Child that Is Born on the Sabbath Day(from A Week of Birthdays)

Piano Exam Pieces 2023 & 2024, Grade 6 (ABRSM)

2 Elissa Milne

Indigo Moon (from Pepperbox Jazz, Book 2)

Piano Exam Pieces 2023 & 2024, Grade 6 (ABRSM)

3 O. Peterson

Jazz Exercise No. 2 (from Jazz Exercises, Minuets, Piano Exam Pieces 2023 & 2024, Grade 6 (ABRSM)
Etudes and Pieces for Piano)

4 L. Bernstein

For Stephen Sondheim (No. 3 from13 Anniversaries)

L. Bernstein: 13 Anniversaries (Boosey & Hawkes)

5 Casella

Galop Final (No. 11 from 11 Children’s Pieces,Op. 35)

Casella: 11 Children’s Pieces (Universal)

6 Ben Crosland

View from a Window (No. 12 from Cool Beans!,
Vol. 1)

Pp. 24–27 from Ben Crosland: Cool Beans!, Vol. 1(Editions Musica Ferrum)

7 Paul Harvey

Rumba Toccata

Paul Harvey: Rumba Toccata (Ricordi)

8 Nikki Iles

East Coast Blues

Jazz on a Summer’s Day (OUP)

9 Stephen

TsunamiSpectrum 2 (ABRSM)

10 Prokofiev

Cortège de sauterelles (No. 7 from Musiquesd’enfants, Op. 65)

Prokofiev: Musiques d’enfants, Op. 65(Boosey & Hawkes)

11 Nkeiru Okoye

Dancing Barefoot in the Rain (from African
Sketches)

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

12 Poul Ruders

Shooting Stars

Spectrum 3 (ABRSM)

13 Billy Taylor

I wish I knew how it would feel to be free,arr. Churchill

Nikki Iles and Friends, Book 1 (ABRSM)

1Montague

Exam requirements continue on page 33

32

Practical GradesPractical Grades

Piano 2023 & 2024 Grade 6

SCALES AND ARPEGGIOS: from memory; played in even notes; for further details see pages 15–16


RANGE

REQUIREMENTS

4 oct.

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

2 oct.

legato; hands starting on the tonic (unison)

4 oct.

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

4 oct.

legato; hands together (root position)

4 oct.

legato; hands together; as pattern below

4 oct.

legato; hands together

SCALES (SIMILAR MOTION)

D, F, A -, B majors
D, F, G +, B minors (harmonic and melodic)
CONTRARY-MOTION SCALES

D, F, A -, B majors
D, F, G +, B harmonic minors
CHROMATIC SCALES (SIMILAR MOTION)

starting on G +starting on B
ARPEGGIOS

D, F, A -, B majors
D, F, G +, B minors
DOMINANT SEVENTHS (resolving on tonic)

in the keys of D, F, A - and B
DIMINISHED SEVENTHS

starting on G +starting on B

SIGHT-READING: a short piece of previously unseen music; for further details see pages 17 & 18
AURAL TESTS: given by the examiner from the piano; for further details see pages 40 & 45

33

Piano 2023 & 2024

Practical Grades

GRADE 7
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a Practical
Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

1

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Haydn

Allegro moderato (1st movt from Sonata in
B minor, Hob. XVI:32)

Piano Exam Pieces 2023 & 2024, Grade 7 (ABRSM)

2 Martinů

Allegretto (No. 4 from Čtvrtky a osminky, H. 257) Piano Exam Pieces 2023 & 2024, Grade 7 (ABRSM)

3 Martínez

Tempo di minuetto (3rd movt from Sonata in A) Piano Exam Pieces 2023 & 2024, Grade 7 (ABRSM)

4 C. P. E. BachAllegro di molto (1st movt from Sonata in
F minor, Wq. 63/6)

Pp. 40–43 from C. P. E. Bach: Selected Keyboard Works,
Book 4 (ABRSM) or
The Classical Spirit, Book 2 (Alfred)

5 Haydn

Moderato (1st movt from Sonata in E,
Hob. XVI:31)

Haydn: Selected Keyboard Sonatas, Book 3 (ABRSM) or
Haydn: Complete Piano Sonatas, Vol. 3 (Wiener Urtext)

6 Kuhlau

Allegro con spirito (1st movt from Sonatina in A, Kuhlau: Sonatinas, Vol. 2 (Peters)
Op. 60 No. 2)

7 Mozart

Gigue in G, K. 574

Pp. 11–12 from A Keyboard Anthology, 2nd Series, Book 5(ABRSM) or
Mozart: Mature Piano Pieces (ABRSM) or
Mozart: Piano Pieces, Selection (Henle)

8 Paradies

Allegro (2nd movt from Sonata No. 6 in A)

Pp. 45–47 from Paradies: Sonate di Gravicembalo, Vol. 1(Schott)

9 Rameau

Les sauvages (from Pièces de clavecin)

Rameau: Les cyclopes / Les sauvages (Bärenreiter) or
pp. 96–97 from Rameau: Pièces de clavecin (Heugel)

10 D. Scarlatti

Sonata in E, Kp. 380, L. 23

Pp. 30–33 from D. Scarlatti: Keyboard Pieces andSonatas, Book 3 (ABRSM) or
D. Scarlatti: 200 Sonatas, Vol. 3 (EMB Zeneműkiadó)

11 Beethoven

Menuetto and Trio (3rd movt from Sonata in D,
Op. 10 No. 3)

Beethoven: Sonata in D, Op. 10 No. 3 (ABRSM) or
Beethoven: The 35 Piano Sonatas, Vol. 1 (ABRSM) or
Beethoven: Complete Pianoforte Sonatas, Vol. 1 (ABRSM)

12 Handel

Allemande and Courante (2nd and 3rd movts
from Suite in D minor, HWV 437)

Handel: Keyboard Works, Vol. 2 (Bärenreiter)

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

B1

ChopinMazurka in A minor, Op. 68 No. 2

Piano Exam Pieces 2023 & 2024, Grade 7 (ABRSM)

2 Jan Freidlin

At the Evening Window (No. 4 from Four Stories) Piano Exam Pieces 2023 & 2024, Grade 7 (ABRSM)

3 Moszkowski

Calme du soir (No. 2 from 10 petits morceaux,
Op. 94)

Piano Exam Pieces 2023 & 2024, Grade 7 (ABRSM)

4 Alan Bullard

Prelude No. 9 (from 12 or 13 Preludes for
Piano Solo, Set One)

Alan Bullard: Prelude No. 9 from 12 or 13 Preludes for
Piano Solo, Set One (Colne Edition) or
Alan Bullard: 12 or 13 Preludes for Piano Solo, Set One(Colne Edition)

5 Hensel

Mélodie, Op. 4 No. 2

At the Piano with Women Composers (Alfred) or
Piano Music by Female Composers (4th revised edition2011) (Schott)

6 Liszt

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

7 Lyadov

Mazurka in F minor (No. 3 from Trois morceaux,Op. 57)

Lyadov: Preludes, Trifles and Other Pieces (ABRSM) or
A Romantic Sketchbook for Piano, Book 4 (ABRSM)

8 Mendelssohn

Song without Words, Op. 19 No. 1

Mendelssohn: Songs without Words (ABRSM)

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

Op. 27)34

Joaquín Turina: Miniaturas (Schott)

Digital only edition, available from publisher’s website

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

Practical Grades

COMPOSERC

Piano 2023 & 2024 Grade 7

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

10 Schumann

Kind im Einschlummern (No. 12 from
Kinderscenen, Op. 15)

Schumann: Kinderscenen, Op. 15 (ABRSM) or
Schumann: Scenes from Childhood, Op. 15 (Henle) or
Night and Dreams (Schott)

11 Debussy

The Little Shepherd (No. 5 from Children’s
Corner)A Keyboard Anthology, 1st Series, Book 5 (ABRSM)

12 Ilyinsky

Berceuse (No. 7 from Noure et Anitra, Op. 13)

Core Classics, Grades 6–7 (ABRSM) or
A Keyboard Anthology, 3rd Series, Book 5 (ABRSM)

13 O. Russell

Jamaican Dance No. 2 (from Three Jamaican
Dances)Piano Music of Africa and the African Diaspora, Vol. 3(OUP)

New Kid (No. 9 from The Christopher Norton
Jazz Preludes Collection)

Piano Exam Pieces 2023 & 2024, Grade 7 (ABRSM)

2 Dianne

Prelude: Twilight, Op. 69

Piano Exam Pieces 2023 & 2024, Grade 7 (ABRSM)

3 Param Vir

White Light Chorale

Piano Exam Pieces 2023 & 2024, Grade 7 (ABRSM)

4 Bartók

Bagpipers: Allegretto (1st movt from Sonatina)

Bartók: Sonatina (EMB Zeneműkiadó or Henle)

5 Chen Yi

Bamboo Dance II

Spectrum 5 (ABRSM)

6 Ginastera

Tribute to Roberto Garcia Morillo (No. 6 from
12 American Preludes, Op. 12)

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

7 Grovlez

Chanson du chasseur (No. 4 from L’Almanach
aux images)

Grovlez: L’Almanach aux images (Stainer & Bell) or
Beyond the Romantic Spirit, Book 2 (Alfred)

8 KernSmoke Gets in Your Eyes (from Roberta),arr. Evans

Lee Evans Arranges Jerome Kern (Hal Leonard)

9 Florentine

Prélude No. 14 (from 24 Préludes pour piano,
Op. 38)Florentine Mulsant: 24 Préludes pour piano, Op. 38(Furore Verlag)

10 Christopher

Pop Bossa (No. 5 from Latin Preludes 2)

Christopher Norton: Latin Preludes Collection(Boosey & Hawkes)

11 Grieg

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

12 Piazzolla

Milonga del ángel

13 Uzoigwe

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

1

Christopher
NortonGoolkasianRahbeeMulsant
NortonPiazzolla: Piazzolla: Ángel for piano (Tonos)

Exam requirements continue on page 36

35

Piano 2023 & 2024 Grade 7

Practical Grades

SCALES AND ARPEGGIOS: from memory; played in even notes; for further details see pages 15–16


RANGE

REQUIREMENTS

4 oct.

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

4 oct.

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

2 oct.

legato or staccato, at examiner’s choice;hands starting on the tonic (unison)

2 oct.

legato; hands separately

2 oct.

staccato; hands separately

2 oct.

legato or staccato, at examiner’s choice;hands starting a minor third apart4 oct.

legato; hands together; first inversion only

4 oct.

legato; hands together; as pattern below

4 oct.

legato; hands together

SCALES (SIMILAR MOTION)

D -, E, G, B - majors
C +, E, G, B - minors (harmonic and melodic)
SCALES A THIRD APART

D -, E, G, B - majors
C +, E, G, B - harmonic minors
CONTRARY-MOTION SCALES

D -, E, G, B - majors
C +, E, G, B - harmonic minors
LEGATO SCALE IN THIRDS

G majorSTACCATO SCALE IN THIRDS

G major
CHROMATIC CONTRARY-MOTION SCALE

starting on C + (LH) and E (RH)
ARPEGGIOS

D -, E, G, B - majors
C +, E, G, B - minors
DOMINANT SEVENTHS (resolving on tonic)

in the keys of D -, E, G and B DIMINISHED SEVENTHS

starting on B starting on E

SIGHT-READING: a short piece of previously unseen music; for further details see pages 17 & 18
AURAL TESTS: given by the examiner from the piano; for further details see pages 40 & 46

36

Practical Grades

Piano 2023 & 2024

GRADE 8
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a Practical
Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

J. S. BachPrelude and Fugue in B -, BWV 866

Piano Exam Pieces 2023 & 2024, Grade 8 (ABRSM)

2 Mozart

Allegro (1st movt from Sonata in F, K. 332)

Piano Exam Pieces 2023 & 2024, Grade 8 (ABRSM)

3 Schubert

Moment musical in C + minor (No. 4 from
Moments musicaux, D. 780)

Piano Exam Pieces 2023 & 2024, Grade 8 (ABRSM)

4 J. S. BachPrelude and Fugue in G, BWV 884

J. S. Bach: The Well-Tempered Clavier, Part 2 (ABRSM)

5 Beethoven

Allegro (1st movt from Sonata in E, Op. 14 No. 1)

Beethoven: Sonata in E, Op. 14 No. 1 (ABRSM) or
Beethoven: The 35 Piano Sonatas, Vol. 1 (ABRSM) or
Beethoven: Complete Pianoforte Sonatas, Vol. 1 (ABRSM)

6 HandelPrelude and Allegro (Fuga) (1st and 2nd movts
from Suite No. 8 in F minor, HWV 433)

Handel: Eight Great Suites, Book 2 (ABRSM) or
Handel: Keyboard Works, Vol. 1 (Bärenreiter)

7 Martínez

Allegro/Moderato (1st movt from Sonata in A)

Piano Music by Female Composers (4th revised edition2011) (Schott) orCore Classics, Grades 7–8 (ABRSM)

8 Mozart

Andante grazioso and Vars. 1–6 (1st movt from
Sonata in A, K. 331)

Mozart: Sonata in A, K. 331 (ABRSM) or
Mozart: Sonatas for Pianoforte, Vol. 2 (ABRSM)

9 Rameau

Les cyclopes (from Pièces de clavecin)

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

10 D. Scarlatti

Sonata in D, Kp. 443, L. 418

Pp. 4–7 from D. Scarlatti: Selected Keyboard Sonatas,
Book 1 (ABRSM) or
D. Scarlatti: 200 Sonatas, Vol. 4 (EMB Zeneműkiadó)

11 Haydn

Allegro con brio (1st movt from Sonata in D,
Hob. XVI:37)

Haydn: Selected Keyboard Sonatas, Book 3 (ABRSM) or
Haydn: Complete Piano Sonatas, Vol. 3 (Wiener Urtext)

12 Stephen

Toccatina (5th movt from Suite R-B)

Stephen Hough: Suite R-B and Other Enigmas(Weinberger)

13 C. Schumann

Un poco agitato (No. 2 from Quatre pièces
fugitives, Op. 15)

C. Schumann: Romantic Piano Music (Vol. 2)(Bärenreiter) or
C. Schumann: Quatre pièces fugitives Op. 15(Breitkopf & Härtel)

Impromptu in B minor (No. 2 fromTwo Impromptus)

Piano Exam Pieces 2023 & 2024, Grade 8 (ABRSM)

2 Farrenc

Étude in D -, Op. 41 No. 5

Piano Exam Pieces 2023 & 2024, Grade 8 (ABRSM)

3 Tchaikovsky

Juin: Barcarolle (No. 6 from Les saisons, Op. 37b) Piano Exam Pieces 2023 & 2024, Grade 8 (ABRSM)

4 Arensky

Nocturne in D - (No. 3 from 24 Characteristic
Pieces, Op. 36)

Arensky: 24 Characteristic Pieces, Op. 36 (Prhythm) or
Arensky: 24 Morceau characteristiques, Op. 36 (Alfred)

5 Chopin

Mazurka in A minor, Op. 17 No. 4

Chopin: Mazurkas (Henle)

6 Ireland

Columbine

7 Janáček

Andante (No. 1 from In the Mists)

Ireland: The Collected Piano Works, Vol. 4(Stainer & Bell)
Janáček: In the Mists (Bärenreiter)

8 Rachmaninoff

Moment musical in D -, Op. 16 No. 5

Rachmaninoff: Six moments musicaux, Op. 16 (Simrock)

9 Schubert

Impromptu in A - (No. 2 from Four Impromptus,
Op. 142, D. 935)

Schubert: Impromptus, Op. 142 (ABRSM) or
Schubert: Impromptus and Moments musicaux (Henle)or Core Classics, Grades 7–8 (ABRSM)

10 Schumann

Romanze in F+ (No. 2 from Drei Romanzen,
Op. 28)

Schumann: Drei Romanzen, Op. 28 (ABRSM)

11 A. Beach

A Hermit Thrush at Morn, Op. 92 No. 2

Piano Music of Amy Beach (Hal Leonard) or
Amy Beach Piano Music (Dover)

1

Hough

B

1

S. ColeridgeTaylor

37

Piano 2023 & 2024 Grade 8

COMPOSERCPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

12 Beethoven

Adagio cantabile (2nd movt from Sonata in
C minor ‘Pathétique’, Op. 13)

Beethoven: Sonata in C minor, Op. 13 (Pathétique)(ABRSM) or
Beethoven: The 35 Piano Sonatas, Vol. 1 (ABRSM) or
Beethoven: Complete Pianoforte Sonatas, Vol. 1 (ABRSM)

13 Tailleferre

Impromptu

Tailleferre: Impromptu (Editions Jobert)

Rumores de La Caleta (Malagueña) (No. 6
from Recuerdos de viaje, Op. 71)

Piano Exam Pieces 2023 & 2024, Grade 8 (ABRSM)

2 Debussy

Arabesque No. 2 (from Deux arabesques, L. 66)

Piano Exam Pieces 2023 & 2024, Grade 8 (ABRSM)

3 J. P. Johnson

Over the Bars

Piano Exam Pieces 2023 & 2024, Grade 8 (ABRSM)

4 Chaminade

Pierrette (Air de Ballet), Op. 41

Piano Music by Female Composers (4th revised edition2011) (Schott)

5 Chen Peixun

Thunder in Drought Season

100 Years of Chinese Piano Music: Vol. III Works in
Traditional Style, Book II Instrumental Music(Shanghai Conservatory of Music Press)

6 DebussyRêverie

Debussy: Rêverie (Editions Jobert) or
Night and Dreams (Schott)

7 Khachaturian

Toccata

Khachaturian: Toccata (Boosey & Hawkes)

8 Uwe Korn

Caballos Españoles

Tango Meets Jazz (Schott)

9 Cecilia

Vespers in Venice (from Four Piano Solos)

Cecilia McDowall: Four Piano Solos (Hunt Edition)

10 Villa-Lobos

O polichinelo (from A prole do bebê no.1)

Villa-Lobos: O polichinelo (Eschig) or
Beyond the Romantic Spirit, Book 2 (Alfred)

11 Bartók

Dance in Bulgarian Rhythm No. 6 (No.153 from
Mikrokosmos)

Bartók: Six Dances in Bulgarian Rhythm (Henle) or
Bartók: Mikrokosmos, Vol. 6 (Boosey & Hawkes)

12 Zoe Rahman

Go with the Flow

Nikki Iles and Friends, Book 2 (ABRSM)

13 Trad. Irish

Danny Boy, arr. Iles

Jazz in Autumn (OUP)

1

Albéniz

McDowallExam requirements continue on page 39

38

Practical GradesPractical Grades

Piano 2023 & 2024 Grade 8

SCALES AND ARPEGGIOS: from memory; played in even notes; for further details see pages 15–16


RANGE

REQUIREMENTS

4 oct.

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

4 oct.

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

2 oct.

legato or staccato, at examiner’s choice;hands starting on the tonic (unison)

2 oct.

legato; hands separately

2 oct.

staccato; hands separately

4 oct.

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

4 oct.

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

4 oct.

legato; hands together; second inversion only

4 oct.

legato; hands together; as pattern below

4 oct.

legato; hands together

SCALES (SIMILAR MOTION)

C, E -, F+, A majors
C, E -, F+, A minors (harmonic and melodic)
SCALES A SIXTH APART

C, E -, F+, A majors
C, E -, F+, A harmonic minors
CONTRARY-MOTION SCALES

C, E -, F+, A majors
C, E -, F+, A harmonic minors
LEGATO SCALE IN THIRDS

E - major
STACCATO SCALE IN SIXTHS

C major
CHROMATIC SCALE A MAJOR SIXTH APART

starting on E - (LH) and C (RH)
WHOLE-TONE SCALES (SIMILAR MOTION)

starting on E starting on C
ARPEGGIOS

C, E -, F+, A majors
C, E -, F+, A minors
DOMINANT SEVENTHS (resolving on tonic)

in the keys of C, E -, F+ and A
DIMINISHED SEVENTHS

starting on E starting on C

SIGHT-READING: a short piece of previously unseen music; for further details see pages 17 & 18
AURAL TESTS: given by the examiner from the piano; for further details see pages 40 & 47

39

3. Piano Practical Grades Syllabus 2023 & 2024

Practical Grades

Aural test requirements
Included in all Practical Music graded exams*
Listening lies at the heart of all good music-making. Developing aural awareness is fundamental
to musical training because having a ‘musical ear’ impacts on all aspects of musicianship. Singing,both silently in the head and out loud, is one of the best ways to develop the ‘musical ear’. It
connects the internal imagining of sound, the ‘inner ear’, with the external creation of it, without
the necessity of mechanically having to ‘find the note’ on an instrument (important though thatconnection is). By integrating aural activities in imaginative ways in the lesson, preparation for
the Aural tests within an exam will be a natural extension of what is already an essential part ofthe learning experience.

In the exam
Aural tests are an integral part of all Practical Music graded exams.
The tests are given by the examiner from the piano. For any test that requires a sung response,
pitch rather than vocal quality is being assessed. The examiner will be happy to adapt to the vocal
range of the candidate, whose responses may be sung to any vowel (or consonant followed by avowel), hummed or whistled (and at a different octave, if appropriate).
The information on pages 41–47 sets out the tasks that candidates will be asked to completein the exam.

Assessment
Some tests allow for a second attempt or for an additional playing by the examiner, if necessary.
The examiner will also be ready to prompt, where helpful, although this may affect the assessment.
Marks are not awarded for each individual test or deducted for mistakes; instead they reflect thecandidate’s overall response in this component. The marking criteria for the Aural tests are given
on page 55.

Supporting publications
For practice purposes, sample Aural tests are published by ABRSM. Examples of the tests for
Initial Grade to Grade 8 are given in Specimen Aural Tests. More examples for Grades 1 to 8 aregiven 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 thealternative tests, is available at www.abrsm.org/specificneeds.

40* A different set of tests apply to Jazz and Singing for Musical Theatre exams

Practical Grades 

3. Piano Practical Grades Syllabus 2023 & 2024

INITIAL GRADE
A To clap the pulse of a piece played by the examiner. The examiner will start playing the passage, 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 countin two bars. After the examiner has played each phrase, the candidate should clap back therhythm 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 theexaminer 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 timeor three time. The examiner will start playing the passage, and the candidate should join in assoon 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 tostate 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 playedeach 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 affect 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 affectthe 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 firstwill be: dynamics (loud/quiet, or sudden/gradual changes); the second will be articulation(smooth/detached).

41

3. Piano Practical Grades Syllabus 2023 & 2024

Practical Grades

GRADE 2
A To clap the pulse of a piece played by the examiner, and to identify whether it is in two timeor three time. The examiner will start playing the passage, and the candidate should join in assoon 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 tostate 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 keychord 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 thetonic 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 affect 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 firstwill 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 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 or minor key, and within the range of an octave. First the examiner will play the keychord and the starting note and then count in two bars. After the examiner has played eachphrase, 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 thephrase again (although this may affect 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 firstwill 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).
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Practical Grades 

3. Piano Practical Grades Syllabus 2023 & 2024

GRADE 4
A To sing or play from memory a melody played twice by the examiner. The melody will bewithin the range of an octave, in a major or minor key with up to three sharps or flats. Firstthe examiner will play the key-chord and the starting note and then count in two bars. (If thecandidate 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 affect the assessment).
B To sing five notes from score in free time. The candidate may choose to sing from treble orbass clef. The notes will be within the range of a third above and below the tonic in the key ofC, F or G major. The test will begin and end on the tonic and will not contain intervals greaterthan 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.

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3. Piano Practical Grades Syllabus 2023 & 2024

Practical Grades

GRADE 5
A To sing or play from memory a melody played twice by the examiner. The melody will bewithin the range of an octave, in a major or minor key with up to three sharps or flats. Firstthe examiner will play the key-chord and the starting note and then count in two bars. (If thecandidate 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 affect the assessment).
B To sing six notes from score in free time. The candidate may choose to sing from treble orbass clef. The notes will be within the range of a fifth above and a fourth below the tonic, ina 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, theexaminer will help the candidate by playing and identifying the correct note if any note is sungat 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; thesecond 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.

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Practical Grades 

3. Piano Practical Grades Syllabus 2023 & 2024

GRADE 6
A To sing or play from memory the upper part of a two-part phrase played twice by theexaminer. The upper part will be within the range of an octave, in a major or minor key withup to three sharps or flats. First the examiner will play the key-chord and the starting note andthen count in two bars. (If the candidate chooses to play, the examiner will also name the keychord 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 affect 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 asecond attempt (although this may affect 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.

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3. Piano Practical Grades Syllabus 2023 & 2024

Practical Grades

GRADE 7
A To sing or play from memory the lower part of a two-part phrase played twice by theexaminer. The lower part will be within the range of an octave, in a major or minor key withup to three sharps or flats. First the examiner will play the key-chord and the starting note andthen count in two bars. (If the candidate chooses to play, the examiner will also name the keychord 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 affect the assessment).
B To sing the upper part of a two-part phrase from score, with the lower part played by theexaminer. The candidate may choose to sing from treble or bass clef. The upper part will bewithin the range of an octave, in a major or minor key with up to four sharps or flats. First theexaminer 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 affect 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 thetonic, 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 different passage is to the dominant,subdominant or relative minor. The passage, played once by the examiner, will begin ina 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 lettername 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.

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Practical Grades 

3. Piano Practical Grades Syllabus 2023 & 2024

GRADE 8A (i) To sing or play from memory the lowest part of a three-part phrase played twice by theexaminer. 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 startingnote and then count in two bars. (If the candidate chooses to play, the examiner will alsoname 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 affect 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 twiceby 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 (rootposition), dominant (root position, first or second inversions), dominant seventh (rootposition) 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, thenplay 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 theexaminer. 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 givethe 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 twobars. If necessary, the examiner will allow a second attempt (although this may affect theassessment).
C To identify whether the modulations at the end of two different passages are to the dominant,subdominant or relative minor/major. The first passage will begin in a major key and thesecond 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 theletter name of the new key. (* Minor-key passages may modulate to the dominant major orminor 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.

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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 criteriathat examiners use to assess the performances at each level. The full marking criteria used byexaminers are available on pages 54–55.

Initial Grade (RQF Entry Level 3)
Assessment objectives

Marking criteria

Learners will:

Learners can:Demonstrate musical skill, knowledge
and understanding through performing
repertoire of basic musical and technicaldemands, demonstrating control across therange of musical ingredients appropriate tosimple 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 andfamiliarity with prescribed note patterns
relevant to the instrument, through playing
prescribed technical requirements at basic
demand levels.

Perform specified basic technicalrequirements with:• Correct notes and secure continuity• Reliable tonal control

Demonstrate notational and listening skills
and understanding at basic demand levels
through responding to previously unseenmusic and prescribed aural tests.

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Respond to simple musical notation with:• Overall security of notes, rhythm andcontinuity
Respond to simple piano-based musicalstimuli with:• Overall accuracy and reliable musicalperception

Practical Grades 

4. Assessment, marking & infringements

Grades 1 to 3 (RQF Level 1)
Assessment objectives

Marking criteria

Learners will:

Learners can:Demonstrate musical skill, knowledge andunderstanding through performing repertoireof elementary musical and technicaldemands, demonstrating control across therange of musical ingredients appropriate tostraightforward repertoire and awarenessof elementary characteristic features andperformance 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 andfamiliarity with prescribed note patterns
relevant to the instrument, through playing
prescribed technical requirements atelementary demand levels.

Perform specified elementary technicalrequirements with:• Correct notes and secure continuity• Reliable tonal control

Demonstrate notational and listening skills
and understanding at elementary demandlevels through responding to previously
unseen music and prescribed aural tests.

Respond to straightforward musical notation
with:• Overall security of notes, rhythm andcontinuity
Respond to straightforward piano-based
musical stimuli with:• Overall accuracy and reliable musicalperception

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4. Assessment, marking & infringements

Practical Grades

Grades 4 & 5 (RQF Level 2)
Assessment objectives

Marking criteria

Learners will:

Learners can:Demonstrate musical skill, knowledge andunderstanding through performing repertoireof intermediate musical and technicaldemands, demonstrating control across therange of musical ingredients appropriate
to moderately complex repertoire andawareness of comprehensive characteristicfeatures 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 andfamiliarity with prescribed note patterns
relevant to the instrument, through playing
prescribed technical requirements atintermediate demand levels.

Perform specified intermediate technicalrequirements with:• Correct notes and secure continuity• Reliable tonal control

Demonstrate notational and listening skills
and understanding at intermediate demandlevels through responding to previously
unseen music and prescribed aural tests.

50

Respond to moderately complex musicalnotation with:• Overall security of notes, rhythm andcontinuity
Respond to moderately complex piano-based
musical stimuli with:• Overall accuracy and reliable musicalperception

Practical Grades 

4. Assessment, marking & infringements

Grades 6 to 8 (RQF Level 3)
Assessment objectives

Marking criteria

Learners will:

Learners can:Demonstrate musical skill, knowledge andunderstanding through performing repertoireof advanced musical and technical demands,
demonstrating control across the range ofmusical ingredients appropriate to complex
repertoire and awareness of sophisticatedcharacteristic 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 andfamiliarity with prescribed note patterns
relevant to the instrument, through playing
prescribed technical requirements at
advanced demand levels.

Perform specified advanced technicalrequirements with:• Correct notes and secure continuity• Reliable tonal control

Demonstrate notational and listening skills
and understanding at advanced demandlevels through responding to previously
unseen music and prescribed aural tests.

Respond to complex musical notation with:• Overall security of notes, rhythm andcontinuity
Respond to complex piano-based musicalstimuli with:• Overall accuracy and reliable musicalperception

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4. Assessment, marking & infringements

Practical Grades

Mark allocation
Marks are allocated for each component of Practical Grades for Piano, as shown in the table below:
Exam component

Maximum marks% of total markPiece 130

20%

Piece 230

20%

Piece 330

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 theexam 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 effectively use a selection of skills, techniques, concepts and knowledge to carryout a key task. Practical Grades allow candidates to demonstrate their ability to draw together
different 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 thequalification, 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.

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Practical Grades 

4. Assessment, marking & infringements

Infringements
It is important that candidates, and those preparing them for exams, read and follow the exam
requirements as set out in the relevant Practical Grades syllabus (see Section 3). If theexam requirements are not met in any way, this could lead to a warning, mark deduction ordisqualification, 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. twopieces/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 thefull 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 54–55 show the marking criteria used by examiners for Practical Gradesin Piano. Examiners mark up or down from the pass mark for each component by balancing theextent 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 musicaloutcome.

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4. Assessment, marking & infringements

Practical Grades

Marking criteria
Grades
Initial to 8
Distinction
27–30

PiecesPitch● Highly accurate notes

and intonationTime● Fluent, with flexibility

where appropriate● Rhythmic character

well conveyed

Merit
24–26

● Largely accurate notes

and intonation● Sustained, effective

tempo● Good sense of rhythm

Tone● Well projected● Sensitive use of tonal

qualities● Mainly controlled andconsistent● Good tonal awareness

Shape● Expressive, idiomaticmusical shaping anddetail● Clear musical shaping,well-realised detail

Performance● Assured● Fully committed● Vivid communication ofcharacter and style● Positive● Carrying musicalconviction● Character and stylecommunicated

Pass
20–23

Below Pass
17–19

54

● Generally correct notes● Sufficiently reliable

intonation to maintaintonality● Frequent note errors● Insufficiently reliable

intonation to maintaintonality● Suitable tempo● Generally stable pulse● Overall rhythmic● Generally reliable● Adequate tonal● Unsuitable and/or● Uneven and/or

accuracy

uncontrolled tempo● Irregular pulse● Inaccurate rhythm

awareness

unreliable● Inadequate tonal
awareness● Some realisation ofmusical shape and/or
detail● Musical shape anddetail insufficiently
conveyed● Generally secure, prompt

recovery from slips● Some musicalinvolvement● Insecure, inadequate

recovery from slips● Insufficient musicalinvolvement

13–16● Largely inaccurate notes ● Erratic tempo and/or● Serious lack of tonal● Musical shape and● Lacking continuity● No musical involvement

10–12● Highly inaccurate notes● Incoherent tempo● No tonal control● No shape or detail● Unable to continue for0● No work offered● No work offered● No work offered● No work offered● No work offered

and/or intonation

and/or intonation

pulse

and/or pulse

controldetail largely unrealised

more than a short section

Practical Grades 

4. Assessment, marking & infringements

Grades
Initial to 8

Scales and arpeggios

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

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

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● Lacking overall continuity● Incorrect note values● Very approximate notes/pitch/key● Insecure presentation

Below Pass
9–11

● Weaknesses outweigh● Very approximate notes and/or pitch● Sporadic and/or frequently incomplete● Serious lack of tonal control● Very uncertain response and/or several items● No continuity or incomplete● Note values unrealised● Pitch outlines absent● Very uncertain presentation

6–8● Inaccuracy throughout● Vague response● No work offered● No work offered0● No work offeredattempted

7–10

not attempted0

Sight-reading

Grades
Initial to 8

Aural tests

outweigh weaknesses● Musically aware● Secure response

weaknesses● Cautious responsestrengths● Uncertain response55

5. After the exam
Results
All candidates receive a copy of their mark form; successful candidates also receive a certificatethat shows the qualification title as well as the subject and level that they have been examined in.
We aim to release results for Practical Grades in line with the schedules on our website at www.
abrsm.org/results; however, some results may take longer. Examiners will not issue or discussa candidate’s result; the mark form (and certificate for successful candidates) will be issued by
ABRSM after the exam. Unless otherwise requested at the time of booking, mark forms andcertificates are issued to the applicant, whose responsibility it is to pass them on to candidates.

Appeals and feedback
Appeals
If a candidate has received an unexpected exam result, this can be appealed by requesting a
Results Review. This process allows us to revisit the marks awarded by an examiner and, subject
to the outcome of the review, may result in a mark amendment.
Feedback
In addition to a Results Review, we also welcome feedback about other matters, such as theoverall exam experience or the mark form. All feedback is logged and plays a valuable part in ourcommitment 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.

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6. Other assessments
ABRSM’s other assessments for pianists are Prep Test, Performance Grades, Jazz Piano Practical
Grades, Performance Assessment, Ensembles and diplomas. Full information is available at www.
abrsm.org/exams.

Piano Prep Test
ABRSM’s Prep Test, presented in a relaxed and encouraging way, is an ideal introduction to theexam experience. It gives learners a goal to work towards and a certificate awarded on the day –something to be really proud of.
The Prep Test is designed to encourage the development of good musical and technical foundations.
It covers many of the elements beginners will be working on at this early stage, including pitch,time, tone, performance and musical perception.

Content
The Piano Prep Test has four sections – Tunes, two Pieces, and Listening Games. See page 58.

Books
All the books mentioned on page 58 are published by ABRSM and are available from musicretailers as well as online, including at the ABRSM music shop: www.abrsm.org/shop.

Assessment
Immediate feedback is given at the end of the Prep Test in the form of positive comments and suggestions written on the certificate, which is handed to the candidate by the examiner. There is no
pass or fail, and no marks are awarded. The examiner’s comments will cover some of the following:• Sense of pitch• Sense of rhythm• Control of tone
• Listening skills and awarenessLearners who would prefer to take a marked assessment may wish to consider the Initial Grade.

Other information• The Prep Test takes about 10 minutes.
• Before the test begins, candidates are welcome to adjust the piano stool height (the examiner

will be happy to help with this) and to play a few notes to try out and get used to the piano. For
information on types of piano, see ‘Instruments’ on page 12.
• The Tunes should be performed from memory, but the two Pieces can be played from the music.
If either of the Pieces is played from memory, candidates should bring a copy of the music forthe examiner.
• If choosing to play a duet for the Second Piece, candidates can bring their own duet partner(who may be their teacher). Alternatively, the examiner will be happy to play the other part.
• Generally, there will be one examiner; a second examiner may be present for training or quality
assurance purposes.
• Details of dates, locations, fees and how to book a Prep Test are available online at www.abrsm.
org/exambooking.

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6. Other assessments

Requirements

Practical Grades

Publication

Tunes: three short exercises played from memorya) Cracking Open a Nutb) Swinging Through the Treesc) Dreaming

Piano Prep TestFirst Piece: solo
any of the following
Train Ride (Sarah Watts)
Summer Fair (Nicholas Scott-Burt)
On a Bike (Christopher Norton)or

Piano Prep Test

any solo piece from:

Piano Star 2
Party Time! for Piano (Michael Rose)
Party Time! on Holiday (Alan Bullard)
Roundabout (Alan Haughton)

Second Piece: solo or duetown-choice solo piece (c.16–24 bars)or

any publication (or an unpublishedpiece)

either of the following duets
My Brass Band (Alan Bullard)
Jelly Wobble (Nikki Iles)or

Piano Prep Test

any duet from:

Piano Star 2

Listening Games*: four listening gamesa) Clapping the beatb) Echoesc) Finding the notesd) What can you hear?

58

examples are provided in
Piano Prep Test

* For deaf or hearing-impaired candidates, further information is available at www.abrsm.org/specificneeds

Practical Grades 

6. Other assessments

Performance Grades
ABRSM Performance Grades allow learners to focus on and showcase their performance skills.
They are available from Grade 1 to Grade 8, and in some subjects from Initial Grade. Candidates
may be entered for any grade at any age and do not need to have taken any earlier grade(s) in
the same subject. Full information, including the qualification specification, is available at www.
abrsm.org/performancegrades.

About Performance Grades
Each Performance Grade has been carefully designed to assess synoptically the underpinningknowledge and understanding required for music performance. These creative skills are presented
through the technical control of an instrument, interpretation of repertoire, and the delivery andsuccessful communication of a sustained programme of music. Collectively, these skills enablecandidates to progress to higher grades and other qualifications in the creative arts sector.
The exams are made up of five components:• four Pieces/Songs – three selected by candidates from set lists and one that is their own choice• an assessment of the performance as a whole
Marks for each component are equally weighted and are awarded to each component individually.
The exams are currently offered as digital assessments only. Candidates’ performances arevideo recorded in one continuous take and submitted to ABRSM for assessment. The candidate/
Applicant is responsible for organising a suitable venue and any equipment needed to run the exam.
Those entering for a Grade 6, 7 or 8 Performance Grades exam must first have passed ABRSM Grade
5 (or above) in Music Theory, Practical Musicianship or a Practical Grades solo Jazz instrument;
for full details, including a list of accepted alternatives, see www.abrsm.org/prerequisite.

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6. Other assessments

Practical Grades

Music Theory
ABRSM Music Theory exams are available for Grades 1 to 8. Candidates may be entered forany grade at any age and do not need to have taken any earlier grade(s). Further information isavailable at www.abrsm.org/theory and the qualification specification (including the full syllabus)
is available at www.abrsm.org/specifications.

About Music Theory
Developing musical literacy forms a key part of a rounded education for performers, composers
and listeners of all kinds. Understanding how written symbols relate to the elements of music,
and having the skills to interpret and translate them into sounds, empowers us to communicate
and experience music in a meaningful way.
ABRSM’s Music Theory grades give learners:• a knowledge of the notation of western music, including commonly used signs and terminology• an understanding of fundamental musical elements such as intervals, keys, scales and chords• an ability to apply theoretical knowledge and understanding to score analysis• skills in harmonic completion of extracts and melody writing (at Grades 6 to 8).
Candidates are assessed on their ability to identify, use and manipulate musical symbols, to study
extracts and to answer questions about the elements of music according to the parameters detailed
in the full syllabus at www.abrsm.org/theory.
The exams are available as online assessments at Grades 1 to 5 and paper-based assessments
at Grades 6 to 8.

Grade 5 as a prerequisite
We believe that a thorough understanding of the elements of music is essential for a full andsatisfying performance at the higher grades.
It is therefore an ABRSM requirement that candidates must provide evidence of a pass at ABRSM
Grade 5 or above in Music Theory, Practical Musicianship or a Practical Grades solo Jazz instrument
before they can enter for a Grade 6, 7 or 8 Practical Grades or Performance Grades exam.

60Practical Grades 

6. Other assessments

Practical Musicianship
ABRSM Practical Musicianship exams are available for Grades 1 to 8 and are open to singers andinstrumentalists. Candidates may be entered for any grade at any age and do not need to havetaken any earlier grade(s). The full syllabus is available at www.abrsm.org/practicalmusicianship.

About Practical Musicianship
Musicianship is a broad concept that covers a complex range of musical abilities. For the purposesof this syllabus, it is loosely defined as the ability to ‘think in sound’. This occurs when a musician
is able to produce music which they perceive internally and in the imagination, whether throughplaying by ear, singing, reading from notation, or through improvisation.
ABRSM’s Practical Musicianship grades encourage learners to develop their ability to ‘think insound’ and perform spontaneously. While Practical Grades and Performance Grades focus on
aspects of performance and/or supporting tests that are prepared in detail in advance, here theplaying (or singing) is in response to immediate challenges and stimuli, presented both aurally
and via notation.
The exams also cover the following key skills:• the ability to internalise music and to reproduce it• interpreting written music with a minimum of preparation• exploring the possibilities inherent in a short motif• the ability to detect differences between what is heard and what is written.
In developing their musicianship skills, learners will be gaining the understanding as well as theexpressive and interpretative skills needed to master the musical language of the repertoire they
are learning.

Grade 5 as a prerequisite
We believe that a thorough understanding of the elements of music is essential for a full andsatisfying performance at the higher grades.
It is therefore an ABRSM requirement that candidates must provide evidence of a pass at ABRSM
Grade 5 or above in Practical Musicianship, Music Theory or a Practical Grades solo Jazz instrument
before they can enter for a Grade 6, 7 or 8 Practical Grades or Performance Grades exam.

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6. Other assessments

Practical Grades

ARSM
The ARSM diploma is available to instrumentalists and singers of any age. It is the first of our
diploma qualifications and provides musicians with an opportunity to develop their performancetechnique and interpretative skills, while focusing on programme building and extending theirrepertoire.

Key features• Candidates present a balanced and varied programme, as follows:• the programme lasts 30 minutes• at least 20 minutes of the music is chosen from the repertoire list
• the remaining programme time may be made up of own-choice repertoire, of Grade 8 standardor above• There are no additional supporting tests or other requirements• There are two assessment methods available:• face-to-face – held at the same venues and during the same time periods as ABRSM’s Practical
Grades• digital – a video recorded performance submitted to ABRSM for assessment• ARSM is a letter-bearing qualification. Candidates awarded the diploma can use the letters ARSM
(Associate of the Royal Schools of Music) after their name.

Those entering for an ARSM diploma must first have passed ABRSM Grade 8 (or a listed
alternative). Full details of the exam and entry requirements are available in the qualification
specification at www.abrsm.org/arsmdiploma.
We update our syllabuses from time to time. Advance notice of any changes will be given atwww.abrsm.org/syllabusupdates. Please refer to the website for the most recent version of the
ARSM syllabus.

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Practical Grades 

6. Other assessments

DipABRSM, LRSM, FRSM (Music Performance)
These diplomas are available to instrumentalists and singers of any age. Through a combinationof live and written components, candidates demonstrate their performance, communication andresearch skills, as well as their musical knowledge and understanding. Each diploma serves as a
stepping stone to the next level.

Key features• Candidates:• present a recital programme• submit programme notes (DipABRSM & LRSM) or a written submission (FRSM)• undertake a viva voce, with questions covering the recital, programme notes/written
submission as well as other aspects of performance• perform a short piece of unaccompanied and previously unseen music after five minutes’
preparation time (quick study)• These diploma exams take place at specific venues and times of the year
• Each diploma is a letter-bearing qualification. Candidates awarded a diploma can use the letters
DipABRSM (Diploma of the Associated Board of the Royal Schools of Music), LRSM (Licentiateof the Royal Schools of Music) or FRSM (Fellowship of the Royal Schools of Music) after theirname as appropriate.

Those entering for one of these diplomas must fulfil a specific ABRSM prerequisite (or a listed
alternative). Full details of the exam and entry requirements are available at www.abrsm.org/
diplomas and the qualification specification is available at www.abrsm.org/specifications.
We update our syllabuses from time to time. Advance notice of any changes will be given atwww.abrsm.org/syllabusupdates. Please refer to the website for the most recent versions of the
diploma syllabuses.
Further diploma exams
DipABRSM, LRSM and FRSM diplomas are also available for Instrumental/Vocal Teaching andMusic Direction. Full details are available at www.abrsm.org/diplomas.
We are currently reviewing the diploma exams we offer and changes may be made during the
lifetime of this specification. Please refer to www.abrsm.org/diplomas for up-to-date information.

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Exam programme & running order form

Exam programme & running order
Name
Subject

Grade
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 *

NumberComposer

Title

Singers only: unaccompanied traditional song:
Percussion (Combined) only: technical requirements on:* Leave blank for Snare Drum, Timpani and Tuned Percussion

09/19