Qualification Specification:
Graded Exams in Music Performance

Piano

Syllabus
2021 & 2022

Qualification Specification: Piano 2021 & 2022
Contents
1. Introduction
About ABRSM
About this qualification specification 
About our Graded Exams in Music Performance 
Regulation and UCAS points (UK)

3
3
4
4
5

2. Graded Exams in Music Performance
8
Syllabuses8
Exam Regulations8
Malpractice and maladministration
8
Entry requirements
9
Exam booking
9
Access (for candidates with specific needs)
9
Elements of the exam
9
In the exam
10
3. Piano Syllabus 2021 & 2022
11
Introducing the syllabus
11
Grades Initial–8: requirements and information
11• Instruments11• Pieces12• Scales and arpeggios
14• Sight-reading16• Aural tests
16
Sight-reading parameters
17
Piano Syllabus18
Aural test requirements
36
4. Assessment and markingAssessment objectives

44
44Mark allocation
Result categories
Marking criteria

48
48
48

© 2020 by The Associated Board of the Royal Schools of MusicAll the syllabus information in this booklet, including repertoire and scale lists, is the copyright of
ABRSM. No syllabus listing may be reproduced or published without the permission of ABRSM.

5. After the exam
51
Results51
Exam feedback51
6. Other assessments
52
Piano Prep Test
52
Music Theory
54
Practical Musicianship55
ARSM56
DipABRSM, LRSM, FRSM
57
Exam programme & running order form

58

Index

59

1. Introduction
About ABRSMAt ABRSM we aim to support learners and teachers in every way we can. One way we dothis is through our graded music exams. These assessments provide clear goals, reliable andconsistent marking, and guidance for future learning. They are a tried and tested way to inspiremusical achievement and, with backing from four Royal Schools of Music in the UK, are valued
and trusted around the world.
We offer graded music exams for a range of instruments (including singing) and genres, as well
as for Music Theory and Practical Musicianship. The syllabuses are based on core musical skills– listening, performing, reading, writing, musical knowledge and understanding, and improvising.
Together these skills give learners a good foundation for their musical development and a rangeof different musical activities.
Taking an exam is an exciting challenge with many benefits for learners. There’s the boost to
motivation which comes from working towards an exam. There’s an opportunity to discoverand perform some fantastic music and to build new skills. And there’s the sense of achievement
which comes from successfully reaching a musical goal.
We do everything we can to make the exam experience positive and rewarding. We work closelywith specialists, teachers and examiners to provide syllabuses of the highest quality with a wide
variety of pieces and songs to choose from. We train our friendly, expert examiners to help
candidates do their best in their exams. Using our clear, easy-to-understand marking criteria
examiners can assess all candidates reliably, objectively and consistently. Finally, candidates
receive a mark form containing valuable feedback, with a celebratory certificate for everyone
who passes.
Whether you’re a learner or teacher, we hope the syllabus inspires and supports your music
learning or teaching. We wish you every success for your musical journey!
Our mission
ABRSM’s mission is to inspire musical achievement. We do this in partnership with four Royal
Schools of Music: Royal Academy of Music, Royal College of Music, Royal Northern College ofMusic 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.
Through our world-leading assessments, books and resources we provide people worldwide
with the tools they need to teach, learn, make and enjoy music. Our scholarships, donations,
sponsorship and partnerships create opportunities for people of all ages to discover music andfulfil their potential. Everything we do is designed to support learners and teachers on theirmusical journey.
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

About this qualification specification
What this specification covers
This qualification specification covers all the relevant syllabus requirements as well as useful
information including regulated qualification details, assessment objectives, learning outcomesand marking criteria. It is designed to help teachers, candidates, parents and organisations
when preparing for a Graded Exam in Music Performance in the subject(s) covered in Section 3.
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 2021 until 31 December 2022.
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. The latest version of this specification will be available
from www.abrsm.org/exams.

About our Graded Exams in Music Performance
Qualification objectives
Graded Exams in Music Performance are designed as a progressive route for learners developing their skills in musical performance. Each grade represents a new challenge for the learner,
providing motivation and structure to develop and hone musical skills. Exams allow learners toreceive formal recognition of the level of mastery they have achieved, and feedback to support
their learning journey.
Who the qualifications are for
Candidates may be entered for Graded Exams in Music Performance at any age. Candidates
entering for Grades 6–8 must fulfil the prerequisite detailed on page 9. Every effort has been
made to feature a broad range of repertoire to suit and appeal to candidates of different ages,
backgrounds and interests. We are committed to providing all candidates with fair access to ourassessments by putting in place access arrangements and reasonable adjustments.
Progression route
ABRSM Graded Exams in Music Performance are available from Initial Grade to Grade 8. The
syllabus in Section 3 of this specification details the grades available for the subject(s) coveredby it.
Each Graded Exam in Music Performance has been carefully designed to test the underpinningknowledge and understanding required for practical music performance. These creative skills
are presented through the technical control of an instrument, interpretation of repertoire, andsupporting tests. Collectively, these skills enable a candidate to progress to higher grades andother qualifications in the creative arts sector.
Graded Exams in Music Performance are designed to be progressive in their level of demand
from Initial Grade through to Grade 8. It is not a requirement for any candidate to complete
one before moving on to the next.

4

1. Introduction

We believe that a thorough understanding of the elements of music is essential for a fulland satisfying performance at the higher grades. Our Graded Exams in Music Theory assesscandidates on their ability to identify, use and manipulate musical symbols, to complete extracts
and to answer questions about the elements of music. We also offer Practical Musicianshipexams where, in developing their musicianship skills, candidates gain the understanding
as well as the expressive and interpretative skills needed to master the musical languageof the repertoire they are learning. A pass at ABRSM Grade 5 or above is required in either
Music Theory, Practical Musicianship or a solo Jazz instrument before candidates can enter
for Grades 6, 7 and 8 Graded Exams in Music Performance.
Candidates who successfully complete Grade 8 can progress on to one of ABRSM’s higher-level
qualifications, initially the ARSM and DipABRSM diplomas. The performance-only ARSM
diploma bridges the gap between Grade 8 and DipABRSM (Music Performance), providing
candidates with an opportunity to develop their performance technique and interpretativeskills, while focusing on programme building and extending their repertoire. Through a combination of live and written components, candidates at DipABRSM (Music Performance), and thehigher LRSM and FRSM levels, demonstrate their performance, communication and researchskills, as well as their musical knowledge and understanding. DipABRSM and LRSM progressto the next level. Further details of these can be found in Section 6 of this specification and atwww.abrsm.org/diplomas.

Regulation and UCAS points (UK)Our regulators
ABRSM Graded Exams in Music Performance, Music Theory, 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
the framework, 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 Grade 6–8 Graded Exams in Music Performance can contribute towards
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

5

1. Introduction

Regulated qualification details
Qualification titles
The table below shows the regulated titles and qualification numbers of our Graded Exams inMusic Performance. Further information can be found at https://register.ofqual.gov.uk.

6

Qualification
NumberQualification Title

603/4690/5

ABRSM Entry Level Award in Graded Examination in Music Performance(Initial Grade) (Entry 3)

501/2150/9

ABRSM Level 1 Award in Graded Examination in Music Performance(Grade 1)

501/2159/5

ABRSM Level 1 Award in Graded Examination in Music Performance(Grade 2)

501/2160/1

ABRSM Level 1 Award in Graded Examination in Music Performance(Grade 3)

501/2151/0

ABRSM Level 2 Certificate in Graded Examination in Music Performance(Grade 4)

501/2152/2

ABRSM Level 2 Certificate in Graded Examination in Music Performance(Grade 5)

501/2162/5

ABRSM Level 3 Certificate in Graded Examination in Music Performance(Grade 6)

501/2166/2

ABRSM Level 3 Certificate in Graded Examination in Music Performance(Grade 7)

501/2163/7

ABRSM Level 3 Certificate in Graded Examination in Music Performance(Grade 8)

1. Introduction

Qualification size
The table below describes the size of the Graded Exams in Music Performance qualifications byshowing the amount of time that a candidate would typically need to spend preparing for them:• Under the guidance of a teacher (Guided Learning Hours);• Under the guidance of a teacher and time spent preparing independently (Total Qualification
Time);
and:• The assigned credit value (which denotes the size of the qualification).
Level

Guided Learning Hours*(GLH)

Total Qualification Time*(TQT)

Credits

Initial Grade

8

40

4

Grade 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 mighttake a candidate to prepare for these qualifications, and should be used as guidance only; it is recognised that there will
be variance dependent on each individual’s level of experience and ability.

72. Graded Exams in Music Performance
Syllabuses
Syllabus validity
The Piano Syllabus is valid for graded exams from 1 January 2021 until 31 December 2022.
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 Graded Exam in Music Performance syllabus, we offer anoverlap period where candidates may play specific requirements from the preceding syllabus.
Information on the length of the overlap period and the requirements that it applies to is given
at www.abrsm.org/overlap.
Piano candidates worldwide may play their three pieces and scales from the 2019 & 2020
Piano syllabus until 31 December 2021. All pieces and scales 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 Syllabus is planned to be published in 2022 and to take effectfrom 2023. Advance notice of any planned changes to the Piano Syllabus from 2023 (including
syllabus overlap information) will be posted at www.abrsm.org/piano.

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 ourqualifications remain a valuable and reliable measure of a candidate’s skills and knowledge. We
take any form of malpractice or maladministration very seriously.

• Malpractice is defined as any act which 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 which damages our reputation or credibility as an awardingorganisation.
• Maladministration is defined as any act which breaches the regulations through amis­management of administrative processes, particularly where such a breach could
compromise the integrity of a qualification or assessment.

Applicants and candidates must follow the requirements set out in the relevant syllabus, ExamRegulations 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.

82. Graded Exams in Music Performance

Further information about our Malpractice and Maladministration Policy can be found atwww.abrsm.org/policies.

Entry requirements
There are nine grades of exam for Piano. Candidates may be entered for any grade at any age.
They do not need to have taken any earlier grade(s) in Piano. To enter for a Grade 6, 7 or 8 exam,
candidates must already have passed ABRSM Grade 5 (or above) in Music Theory, Practical
Musicianship or a 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 all candidates with fair access to our assessments by putting
in place access arrangements and reasonable adjustments. There are a range of alternative
tests and formats as well as guidelines for candidates with specific needs (see www.
abrsm.org/specificneeds). Where a candidate’s needs are not covered by the guidelines, eachcase is considered individually. Further information is available from the Access Co-ordinator(accesscoordinator@abrsm.ac.uk) or from www.abrsm.org/specificneeds.

Elements of the exam
Graded Exams in Music Performance for Piano consist of Pieces, Scales and arpeggios,
Sight-reading and Aural tests. Information on how marks are allocated to each element is given
on page 48.

92. Graded Exams in Music Performance

In the exam
Examiners
Generally, there will be one examiner in the exam room; however a second examiner may bepresent 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 sections of the exam 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 detailon instruments is given in Section 3 of this specification.
Exam timings
The timings in the table below show the approximate length of each Piano exam in minutes,
including the candidate’s entry and exit, and time for the examiner to finish the mark form
between exams. Examiners may take more or less time than the given timings.
GradeTime (in mins)

10

Initial
Grade

Grade
1

Grades2&3

Grades
4&5

Grade
6

Grade
7

Grade
8

12

12

12

15

20

25

30

3. Piano Syllabus 2021 & 2022
Introducing the syllabus
A number of significant changes have been made in the 2021 & 2022 Piano Syllabus:• Initial Grade is introduced; this pre-Grade 1 exam has the same format as Grades 1–8 and isassessed using the same marking criteria• The repertoire lists and scale requirements at Grades 1–8 are completely refreshed• There is a greater choice of repertoire than ever before, with 10 pieces per list (30 pieces per
grade) and a breadth of musical styles• The lists are now defined by musical characteristics rather than by period of composition,encouraging candidates to play a balanced selection of pieces and demonstrate a range ofskills• A duet option is offered at Grades Initial–3• The new scale requirements focus on technical development and progression, achieved
through a realistic and manageable assessment load
Some key exam information has also been updated or clarified, including the table of sightreading parameters.
The Sight-reading and Aural test requirements for Grades 1–8 stay the same as the preceding
syllabus. All other requirements have been revised.

Grades Initial–8: requirements and information
This syllabus is valid from 1 January 2021 until 31 December 2022 .
This section provides a summary of the most important points that teachers and candidates
need to know when taking ABRSM graded Piano exams. Further details, as well as administrative information about the exams, are given in ABRSM’s Exam Regulations (available atwww.abrsm.org/examregulations) which should be read before making an exam booking.

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 thatthe 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 theexaminer), a suitable piano must be provided. A digital piano may be used, provided it has aclearly recognisable piano tone, a touch-sensitive keyboard with full-size weighted keys, andan action, compass 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.

11

3. Piano Syllabus 2021 & 2022

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 which explore different traditions and styles, datingfrom the Renaissance period to the present day.
Choosing one piece from each list gives candidates the opportunity to play a balanced selection
and demonstrate a range of skills. In this syllabus, the pieces are broadly grouped into lists by
the characteristics of the music:• List A pieces are generally faster moving and require technical agility• List B pieces are more lyrical and invite expressive playing• List C pieces reflect a wide variety of musical traditions, styles and characters.
At Grades Initial–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 securerhythm 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, andthey are welcome to use the form on page 58 for this purpose.
Every effort has been made to feature a broad range of repertoire to suit and appeal to
candidates of different ages, backgrounds and interests. Certain pieces may not be suitablefor every candidate for technical reasons, e.g. hand size, or effects that cannot be realised on adigital piano. Other pieces may not be suitable because of wider context (historical, cultural,subject matter, lyrics if an arrangement of a song, etc.). Pieces should be carefully considered
for their appropriateness to each individual, which may need consultation between teachersand parents/guardians. Teachers and parents/guardians should also exercise caution whenallowing younger candidates to research pieces online: www.nspcc.org.uk/onlinesafety.
Duets: At Grades Initial–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 should play is also specified– primo part if the upper part and secondo part if the lower part.
Candidates must provide their own duet partner, who can only be in the exam room while
playing. The duet partner may be the candidate’s teacher (examiners will not play duets withcandidates). 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 in the exam. For all other pieces, editions are listed for guidance only and candidates may
use any edition of their choice. This includes editions that are downloaded. Information onsourcing exam music is given on page 13.
Interpreting the score: Printed editorial suggestions such as fingering, metronome marks,
realisation of ornaments, etc. do not need to be strictly observed. Whether the piece contains
musical indications or not, candidates are encouraged to interpret the score in a musical and
12* At Grades Initial–3, candidates may choose only one duet (there are duets on all three lists).

3. Piano Syllabus 2021 & 2022

stylistic 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 ontone 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 ornot) 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 musically satisfactory.
Repeats: Unless the syllabus specifies differently, all da capo and dal segno indications should
be followed but other repeats (including first-time bars) should not be played unless they arevery short (i.e. a few bars).
Ossias: Where an ossia (alternative musical line or note) occurs in the music, candidates may
play either option unless the syllabus 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 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 6–8 may bring a page-turner to the exam if there is no solution to aparticularly 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 ofcopies) or illegal downloads of copyright editions is not allowed. ABRSM may withhold the exam
result where we have evidence of an illegal copy (or copies) being used. In the UK, copies may
be used in certain limited circumstances – for full details, see the MPA’s Code of Fair Practiceat www.mpaonline.org.uk. In all other cases, application should be made to the copyrightholder before any copy is made, and evidence of permission should be brought to the exam.
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 thatthe 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. Nonexam related questions about the music (e.g. editorial, availability) should be addressed to therelevant publisher: contact details are listed at www.abrsm.org/publishers.

13

3. Piano Syllabus 2021 & 2022

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
and performing – from a score or from memory, as a solo musician or with others.
Memory: All requirements should 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 should be one octave apart, unless otherwise
indicated. All requirements should ascend and descend according to the specified range (andpattern).
Rhythm: All requirements should be played in even notes.
Patterns: Arpeggios and dominant sevenths are required in root position only, except whereotherwise indicated. All dominant sevenths should finish by resolving on the tonic. Scales inthirds or a third apart should begin with the tonic as the lower note, while scales in sixths or asixth apart should begin with the tonic as the upper note.
Articulation: All requirements should be prepared legato, unless the syllabus specifies staccato(or both).
Pedalling: All requirements should 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, inlisted order. Examiners will specify which hand to use for each of the scales and arpeggios.
At Grades 1–8, examiners will usually ask for at least one of each scale/arpeggio (etc.) type.
Where applicable, they will ask for majors followed by minors within each type and will also
ask to hear a balance of hand requirements and/or articulations across the requests as a whole.
When asking for requirements, examiners will specify:• the key (including minor form – harmonic or melodic – in the Grade 6–8 scales) or the startingnote(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. Purchasingthese books is not a requirement.

14h = 66* All speeds relate to the rhythmic grouping iiiq

h = 54h = 56h = 888

h = 54h = 50h = 807

Staccato scales in 3rds / in 6ths

h = 44h = 726

h = 52

q = 80h = 605

h = 46

q = 72

q = 100

4Legato scales in 3rds

q = 63q = 803

h = 60q = 58

q = 662

h = 60q = 52

Arpeggios(including dominant &diminished 7ths)

q = 601

Scales a 3rd apart / a 6th apart(including chromatic)q = 54

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

InitialGrade/Speed *3. Piano Syllabus 2021 & 2022

Speed: The following speeds are given as a general guide:15

3. Piano Syllabus 2021 & 2022

Sight-reading
Sight-reading is a valuable skill with many benefits. Learning to sight-read helps to develop
quick recognition of keys, tonality and common rhythm patterns. Strong sight-reading skills
make learning new pieces quicker and easier, and also help when making music with others,
so that playing in an ensemble becomes more rewarding and enjoyable.
About the test: Candidates will be asked to play a short unaccompanied piece of music which
they have not seen before. They will be given half a minute to look through and, if they wish,
try out all or any part of the test before they are asked to play it for assessment.
Parameters: The table on page 17 shows the elements that are introduced at each grade.
Fingering: Any fingering shown on the test is for guidance only. Candidates are welcome touse 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
to develop a sense of pitch, musical memory and the ability to spot mistakes.
About the test: Full details of the Aural-test requirements are given on pages 36–43.
Supporting publications: For practice purposes, sample Aural tests are published by ABRSM.
Examples of the tests are given in Specimen Aural Tests and Aural Training in Practice.
Purchasing these books is not a requirement.
Deaf or hearing-impaired candidates: Deaf or hearing-impaired candidates may choose
alternative tests in place of the standard tests, if requested at the time of booking theexam. Further information, including the syllabus for the alternative tests, is available atwww.abrsm.org/specificneeds.

16

3. Piano Syllabus 2021 & 2022

Sight-reading parameters
The table below shows the elements that are introduced at each grade. These parameters
are presented cumulatively, i.e. once introduced they apply for all later grades (graduallyprogressing in difficulty). See also page 16.

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 todominant)• 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 3up to 83⁄8
(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

Grade 4c. 8

Grade 5c. 8–126⁄8

E, 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 ⁄ 8

C +, F minors

B, D - majors• 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
17

Piano2022
Online2021
edition&(July2020)

Piano 2021 & 2022

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

pages 12–13.
Candidates may perform a duet for one of their three pieces.
A

1
2
3
4
5

COMPOSERPIECE / WORK / ARRANGER

D. Parke
M. Praetorius
Trad. English
Gurlitt
HumbertPiano Exam Pieces 2021 & 2022, Initial Grade (ABRSM)
A Marching Tune (No. 1 from Tunetime)
Piano Exam Pieces 2021 & 2022, Initial Grade (ABRSM)
Gavotte in G (from Terpsichore), arr. Jones
This old man, arr. Blackwell
Piano Exam Pieces 2021 & 2022, Initial Grade (ABRSM)
Dance (No. 2 from Das Kleines Konzert, Op. 227) Music Pathways: Repertoire, Level 3A (Carl Fischer)
Humbert: Allerlei Spielzeug (Schott)
The Black Forest Doll (No. 3 from Allerlei
Spielzeug)
Kabalevsky: 24 Little Pieces, Op. 39 (Boosey & Hawkes)
A Little Scherzo (No. 6 from 24 Little Pieces,Op. 39)Allegretto (No. 9 from 24 Short and Easy Pieces, A. Reinagle: 24 Short and Easy Pieces, Op. 1 (Schott) or
Op. 1)
Pianissimo: Piano Piccolo (Schott)Pp. 23–24 from Bertram Schattel: For Rosalie and Finn
Racing Against Each Other (No. 12 from For(Breitkopf & Härtel)
Rosalie and Finn) primo part DUETJohn Ryan’s Polka, arr. Blackwell
Piano Star 2 (ABRSM)
Duets with a Difference: Piano Time Duets, Book 1
Donkey Ride (from Sea Pictures, Set 1)(OUP)
primo part DUET

6 Kabalevsky
7 A. Reinagle
8 Bertram

Schattel
9 Trad. Irish
10 Elsie Wells

B

1

Adair

2 JunePUBLICATION (PUBLISHER)

The Lost Bone (No. 9 from Little Dog Tales)
Under the Acacia Tree (from Safari)Piano Exam Pieces 2021 & 2022, Initial Grade (ABRSM)
Piano Exam Pieces 2021 & 2022, Initial Grade (ABRSM)

Dialogue (from First Term at the Piano)
Butterfly primo part DUET

Piano Exam Pieces 2021 & 2022, Initial Grade (ABRSM)
Piano Star Duets (ABRSM)

The Secret Garden pedalling optional
Sailing Under a Moonlit Sky

Piano Time Pieces 1 (OUP)
Mosaic, Vol. 1 (Editions Musica Ferrum)

Armstrong
3 Bartók
4 JuneArmstrong
5 Pauline Hall
6 AlisonMathews
7 Christopher

Norton8 Orff
9 Satie
10 Pam

WedgwoodC

1

Alan Bullard

2 Nikki Iles

una corda optional

Enchanted Castle (No. 6 from The Microjazz
Duets Collection 1) primo part DUET
No. 1 (from Two Pieces)
What the Little Princess Tulip Says (No. 2 from
Menus propos enfantins)
Whirleybird (No. 2 from Up-Grade! Piano
Grades 0–1)

Christopher Norton: The Microjazz Duets Collection 1(Boosey & Hawkes)
From Bartók to Stravinsky (Schott)
Satie: Nine Children’s Pieces (ABRSM) or
Pianissimo: Piano Piccolo (Schott)
Pam Wedgwood: Up-Grade! Piano Grades 0–1 (Faber) or
Pam Wedgwood: Piano for Fun (Faber)

Dodgems (from Party Time! On Holiday)
The Elephant Parade

Piano Exam Pieces 2021 & 2022, Initial Grade (ABRSM)
Piano Exam Pieces 2021 & 2022, Initial Grade (ABRSM)
Piano Exam Pieces 2021 & 2022, Initial Grade (ABRSM)

Medv ídek Ušáček (No. 1 from Pohádky na
dobrou noc)
Pauline Hall & Stegosaurus Stomp (from PrehistoricPaul Drayton Piano Time)
Heather
Action Stations
Hammond
Mark Tanner Wonkey Donkey
Alan
Treading Carefully
Haughton
Elton John
I Just Can’t Wait to Be King (from The Lion
King), arr. N. & R. Faber student part; with

3 Loudová
4
5
6
7
8

Pauline Hall & Paul Drayton: Prehistoric Piano Time(OUP)
Piano Star 2 (ABRSM)
Piano Star 2 (ABRSM)
Piano Time Going Places (OUP)
Faber Studio Collection: Selections from ShowTime
Piano, Level 2A (Faber Piano Adventures)

repeat DUET
9 Gerald Martin Boogie No. 1
10 Jane Sebba

18

The Grand Waltz primo part DUETThe Joy of Boogie and Blues (Yorktown Music Press)
Piano Magic Duets, Book 1 (Collins Music)

Piano 2021 & 2022 Initial Grade

Online edition (July 2020)

SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details see pages 14–15


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 16 & 17
AURAL TESTS: given by the examiner from the piano; for further details see pages 36 & 37

19

Piano 2021 & 2022

Online edition (July 2020)

GRADE 1
THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C; for further details see

pages 12–13.
Candidates may perform a duet for one of their three pieces.
COMPOSER

A

1

Anon.
2 Mozart
3 Trad. English
4 DennisAlexander
5 attrib.
J. S. Bach
6 Gurlitt

PUBLICATION (PUBLISHER)

A Toy (No. 193 from Fitzwilliam Virginal Book)
Minuet in C, K. 6
Parson’s Farewell (from The English Dancing
Master), arr. Blackwell with repeat
Sonatina primo part DUET

Piano Exam Pieces 2021 & 2022, Grade 1 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 1 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 1 (ABRSM)

Choral ‘Deal with Me, Lord’, BWV 514

9 TürkThe Chase/The Hunt (No. 15 from First Lessons
for the Piano, Op. 117)
Gavotte in C ornaments optional
Haymaking (from The Greenwood Tree)
Arioso in F (No. 1 from 12 Handstücke)10 Elsie Wells

Courante primo part DUET

7 Handel8 M. Helyer

B

PIECE / WORK / ARRANGER

1
2
3
4
5
6
7
8

Melodie (No. 1 from Album für die Jugend,
Op. 68)Chee-Hwa Tan The Swing (from Through the Windowpane)
Trad. Irish
Down by the salley gardens, arr. Blackwell
Dennis
Reflections (from Just for You and Me, Book 1)
Alexander
primo part DUETAlwyn
The Trees are Heavy with Snow
R. R. Bennett Friday (from Seven Days a Week)
Jessie Blake
The Little White CloudGrechaninov Fairy Tale (No. 1 from Children’s Album, Op. 98)
Schumann

9 Helen Madden The Forgotten Forest primo part DUET
10 Borislava

Small Valse with repeat

Dennis Alexander: Alfred’s Basic Piano Library, DuetBook 2 (Alfred)My First Bach (Schott)Music Pathways: Repertoire, Level 3B (Carl Fischer) or
Classics to Moderns, Book 1 (Yorktown Music Press)
My First Concert for Piano (Schott)
M. Helyer: The Greenwood Tree (Stainer & Bell)
Clavierstücke für Anfänger (Schott) orMusic Pathways: Repertoire, Level 3A (Carl Fischer) or
Pianissimo: Piano Piccolo (Schott)
Mixed Doubles: Piano Time Duets, Book 2 (OUP)
Piano Exam Pieces 2021 & 2022, Grade 1 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 1 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 1 (ABRSM)
Dennis Alexander: Just for You and Me, Book 1 (Alfred)Five by Ten, Grade 1 (Lengnick)
R. R. Bennett: Seven Days a Week (Alfred)
Grade by Grade, Piano Grade 1 (Boosey & Hawkes)
Grechaninov: Children’s Book, Op. 98 (ABRSM) or
More Romantic Pieces for Piano, Book 1 (ABRSM) or
My First Concert for Piano (Schott)
Piano Star: Grade 1 (ABRSM)
Mosaic, Vol. 2 (Editions Musica Ferrum)

TanevaC

1

Elissa Milne

2 Papp3 Pam

Wedgwood
4 JuneArmstrong
5 EliasDavidsson
6 AlisonMathews
7 Jane Sebba

Cockatoo (No. 9 from Very Easy Little Peppers)
Szöcske (No. 15 from 22 Kis Zongoradarab)
The Detective (No. 6 from Up-Grade! Piano
Grades 1–2)
Sunlight Through the Trees

Piano Exam Pieces 2021 & 2022, Grade 1 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 1 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 1 (ABRSM)

The Frog (from The Gift of Music)

Elias Davidsson: The Gift of Music (Spartan Press)

Woodland Folk Song primo part DUET

Piano Star Duets (ABRSM)

Latin Laughter primo part; play the 6ths in bb.

Piano Magic Duets, Book 2 (Collins Music)

Piano Star: Grade 1 (ABRSM)

10 & 28 DUET
8 Barbara Snow Jazzy Dragon (from Animal Jazz)
9 Trad. Ewe(Ghanaian)
10 Trad.

Jamaican20

Tu tu Gbovi, arr. Chapman Nyaho

Barbara Snow: Animal Jazz (Edition HH)
Piano Star Duets (ABRSM)

primo part DUET

Mango Walk, arr. Cornick

Piano Repertoire, Level 1 (Universal)

Piano 2021 & 2022 Grade 1

Online edition (July 2020)

SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details see pages 14–15


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 16 & 17
AURAL TESTS: given by the examiner from the piano; for further details see pages 36 & 37

21

Piano 2021 & 2022

Online edition (July 2020)

GRADE 2
THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C; for further details see

pages 12–13.
Candidates may perform a duet for one of their three pieces.
COMPOSERA

1

Attwood
2 Gambarini
3 Hässler
4 Anon.
5 Carse6 Goedicke
7 Haydn
8 Kabalevsky
9 Mozart
10 attrib.

L. Mozart
B

1

Helen
Madden2 PléPiano Exam Pieces 2021 & 2022, Grade 2 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 2 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 2 (ABRSM)
Grade by Grade, Piano Grade 2 (Boosey & Hawkes)
Carse: Progressive Duets for Pianists, Book 1(Stainer & Bell)
Piano Time Pieces 3 (OUP)
The Joy of Piano Duets (Yorktown Music Press)
Kabalevsky: 24 Little Pieces, Op. 39 (Boosey & Hawkes)
or More Romantic Pieces for Piano, Book 1 (ABRSM)My First Mozart (Schott)
L. Mozart: Notenbuch für Wolfgang (Schott)with first repeat

Piano Exam Pieces 2021 & 2022, Grade 2 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 2 (ABRSM)

4 Bartók

Le chant du pâtre (No. 11 from Les chants et
les jeux)
O Waly Waly, arr. Davies
Sorrow (No. 7 from For Children, Vol. 2)

5 Grechaninov

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

6 Heather

Raindrop Reflections primo part DUET

Hammond
7 Ravel
8 Spindler
9 Steibelt

10 Sarah Watts
1

Pavane de la belle au bois dormant (No. 1
from Ma mère l’oye) secondo part DUET
Waltz in A minor
Adagio in A minor (from Sonatina in C)

Postcard from Paris (from Razzamajazz
Repertoire Piano)

Brian Chapple March Hare (No. 5 from In the Pink)
Angelfish
GaudetChristopher
Inter-City Stomp (No. 7 from Microjazz
NortonCollection 2)
Ben Crosland In My Spot
Sarah
Dinosaur, Don’t!
Konecsni
Ludovico
The Snow Prelude No. 3 this edition only
EinaudiPiano Exam Pieces 2021 & 2022, Grade 2 (ABRSM)
Bartók: For Children, Vol. 2 (Boosey & Hawkes) or
Grade by Grade, Piano Grade 2 (Boosey & Hawkes)
Grechaninov: Children’s Book, Op. 98 (ABRSM) or
A Romantic Sketchbook for Piano, Book 1 (ABRSM) or
Pianissimo: Piano Piccolo (Schott)
Piano Star Duets (ABRSM)
Ravel: Ma mère l’oye (Durand)
Pathways to Artistry: Masterworks, Book 3 (Alfred)
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)
Sarah Watts: Razzamajazz Repertoire Piano (Kevin
Mayhew)

2 Anne Crosby

Piano Exam Pieces 2021 & 2022, Grade 2 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 2 (ABRSM)

3

Piano Exam Pieces 2021 & 2022, Grade 2 (ABRSM)

4
5
6

22

PUBLICATION (PUBLISHER)

Allegro (1st movt from Sonatina No. 1 in G)
Minuet in A (from Lessons for the Harpsichord,Op. 2)
Ecossaise in G (No. 23 from 50 pièces à l’usage
des commençans, Op. 38)
Corranto (from Fitzwilliam Virginal Book)
Rustic Dance (No. 7 from Progressive Duets for
Pianists, Book 1) primo part DUET
Étude in A minor, Op. 36 No. 13
Rondino (Theme from Cello Concerto in D),
arr. Agay primo part DUET
Galop/Hopping (No. 18 from 24 Little Pieces,Op. 39)
Minuet in D, K. 7
Bourlesq (from The Wolfgang Notebook)
The First Flakes Are Falling

3 Trad. EnglishCPIECE / WORK / ARRANGER

Mosaic, Vol. 2 (Editions Musica Ferrum)
Mosaic, Vol. 2 (Editions Musica Ferrum)
Ludovico Einaudi: Graded Pieces for Piano,
Preparatory to Grade 2 (Chester)Piano 2021 & 2022 Grade 2

Online edition (July 2020)

COMPOSER
7 Garścia
8 Nikki Iles
9 Sculthorpe
10 Giles Swayne

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Brigands’ Dance (from Let’s Play a Piano Duet,
Op. 37) primo part DUET
Sweet Pea primo part DUETSinging Sun (No. 6 from A Little Book of Hours)
Whistling TuneGarścia: Let’s Play a Piano Duet, Op. 37 Vol. 2 (PWM)
Piano Star Duets (ABRSM)
Sculthorpe: A Little Book of Hours (Faber)Spectrum 4 (ABRSM)SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details see pages 14–15


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 16 & 17
AURAL TESTS: given by the examiner from the piano; for further details see pages 36 & 38

23

Piano 2021 & 2022

Online edition (July 2020)

GRADE 3
THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C; for further details see

pages 12–13.
Candidates may perform a duet for one of their three pieces.
A

1

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Beethoven

Ecossaise in E - (No. 4 from Six Ecossaises,
WoO 83)
Innocence (No. 5 from 25 études faciles etprogressives, Op. 100)
Gavotte in G, HWV 491
Hornpipe Rondo primo part DUET
Angloise (from Notebook for Wolfgang)
Moody Gigue (from Piano Sketches, Book 1)

Piano Exam Pieces 2021 & 2022, Grade 3 (ABRSM)

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

The Joy of Piano Duets (Yorktown Music Press)

2 J. F. F.
3
4
5
6
7

Burgmüller
HandelA. Hedges
L. Mozart
Vitalij
Neugasimov
Prokofiev

Piano Exam Pieces 2021 & 2022, Grade 3 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 3 (ABRSM)
A. Hedges: Hornpipe Rondo for Piano Duet (Roberton)
L. Mozart: Notenbuch für Wolfgang (Schott)Vitalij Neugasimov: Piano Sketches, Book 1 (OUP)

notes DUET
8 Reinecke
9 Seiber
10 Weber

B

1

Elgar

2 Haydn
3 Ailbhe

McDonagh
4 DennisAlexander
5 J. S. Bach
6 Bartók
7 W. Carroll
8 Gurlitt
9 Paul Harris
10 Trad. Irish
C

1

Alan Bullard

2 Grechaninov
3 Sarah Watts
4 AgayVivace (4th movt from Sonatina in A minor,
Op. 136 No. 4)
Jazz Etudiette (from Easy Dances II)
Scherzo

Reinecke: Six Miniature Sonatinas, Op. 136(Breitkopf & Härtel)
The Young Pianist’s Repertoire, Book 1 (Faber)
The Classical Spirit, Book 1 (Alfred)Salut d’amour, Op. 12, arr. Jones
Andante (2nd movt from Trumpet Concerto in
E -, Hob. VIIe:1), arr. White
Anastasia (from It’s a Piano Thing, Book 2)

Piano Exam Pieces 2021 & 2022, Grade 3 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 3 (ABRSM)

Autumn Serenade primo part DUET

Dennis Alexander: Alfred’s Basic Piano Library, DuetBook 4 (Alfred)
The Joy of Piano Duets (Yorktown Music Press)
Bartók: For Children, Vol. 2 (Boosey & Hawkes)
W. Carroll: In Southern Seas (Forsyth)More Romantic Pieces for Piano, Book 2 (ABRSM)
Paul Harris: Rainbow (Boosey & Hawkes)
Eighteen Easy Escapes for Piano (Spartan Press)

Arioso, arr. Agay primo part DUET
Andante (No. 2 from For Children, Vol. 2)
Spraymist (No. 3 from In Southern Seas)
Song, Op. 172 No. 1
Indigo (No. 6 from Rainbow)
She Moved Through the Fair, arr. Hall
Disco Baroque
Riding the Hobby-Horse (No. 5 from Children’sAlbum, Op. 98)
Scary Stuff (from Razzamajazz Repertoire
Piano)
Little Rhapsody on Hungarian Themes

Piano Exam Pieces 2021 & 2022, Grade 3 (ABRSM)

Piano Exam Pieces 2021 & 2022, Grade 3 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 3 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 3 (ABRSM)
The Joy of Piano Duets (Yorktown Music Press)

primo part DUET
5 M. Bober &Rushing River
G. Goranson
6 Mike Cornick The Waltz of the Elephants (from Clever Cat
Goes on Safari)
7 Mark Goddard Locked On Latin (from Hands On Jazz)

Melody Bober & Glori Goranson: Rushing River(FJH Music Company Inc)
Mike Cornick: Clever Cat Goes on Safari (Universal)
Mark Goddard: Hands On Jazz (Spartan Press)

primo part DUET
8 Elton John &Tim Rice
9 H. Mancini &J. Mercer
10 Karen Tanaka

24

Can You Feel the Love Tonight? (from The Lion
King), arr. N. & R. Faber octaves optional
Moon River (from Breakfast at Tiffany’s),arr. Miller
Northern Lights

Faber Studio Collection: Selections from BigTime
Piano, Level 4 (Faber Piano Adventures)
A Dozen a Day Songbook, Book 2 (Willis)
Spectrum 4 (ABRSM)

Piano 2021 & 2022 Grade 3

Online edition (July 2020)

SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details see pages 14–15


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 16 & 17
AURAL TESTS: given by the examiner from the piano; for further details see pages 36 & 38–39

25

Piano 2021 & 2022

Online edition (July 2020)

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

pages 12–13
COMPOSERA

1

J. S. Bach
2 Kabalevsky
3 Schubert
4 Alcock
5 Beethoven
6 Buxtehude
7 Dring
8 Gurlitt
9 Haydn
10 S. Heller

B

1

Arens

2 Bridge
3 Schumann
4 C. P. E. BachPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Prelude in C minor, BWV 999
Etude in A minor (No. 3 from 30 Children’s
Pieces, Op. 27)
Minuet and Trio, D. 41 No. 21
Gavot (3rd movt from Suite No. 2 in B -)Piano Exam Pieces 2021 & 2022, Grade 4 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 4 (ABRSM)

Moonbeams (No. 1 from Rendezvous with
Midnight)
Miniature Pastoral (No. 2 from Three Miniature
Pastorals, Set 1)
Erster Verlust (No. 16 from Album für die
Jugend, Op. 68)
Andante (arr.)

Piano Exam Pieces 2021 & 2022, Grade 4 (ABRSM)

Piano Exam Pieces 2021 & 2022, Grade 4 (ABRSM)
Alcock: Six Suites of Easy lessons (ABRSM) orwith ornaments in bb. 7, 23 & 31; all others optional The Best of Grade 4 Piano (Faber)
The New Sonatina Book, Vol. 1 (Schott)Allegro assai (1st movt from Sonatina in F,
Anh. 5 No. 2)
Saraband (from Suite in E minor, BuxWV 236) Baroque Keyboard Anthology, Vol. 1 (Schott)
Dring: 12 Pieces in the Form of Studies (Weinberger)
Scherzando (from 12 Pieces in the Form ofStudies)Allegretto scherzando (3rd movt from Sonatina No. 13 from Sonatinas for Piano, Book 1 (PWM)
in C, Op. 188 No. 4)
Allegro scherzando in F
Essential Keyboard Repertoire, Vol. 6 (Alfred)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)

5 W. Carroll

Sunrise (No. 7 from River and Rainbow)
Dedicatoria (No. 1 from Cuentos de lasjuventud, Op. 1)
7 Khachaturian A Little Song (Andantino) (No. 1 from Picturesof Childhood)
8 Liszt
La cloche sonne, S. 238
6 Granados

9 Mendelssohn
10 Vaughan

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

Piano Exam Pieces 2021 & 2022, Grade 4 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 4 (ABRSM)
Lang Lang Piano Academy: Mastering the Piano,
Level 4 (Faber)
W. Carroll: River and Rainbow (Forsyth)
Granados: Stories of the Young, Op. 1 (ABRSM) or
More Romantic Pieces for Piano, Book 2 (ABRSM)
Khachaturian: Pictures of Childhood(Boosey & Hawkes)
Chopin, Liszt, Hiller: Urtext Primo, Vol. 5(Wiener Urtext)
Piano Mix 3 (ABRSM)
Vaughan Williams: A Little Piano Book (OUP)

WilliamsC

1

Bartók2 Ben Crosland
3 Sam

Wedgwood
4 Maikapar
5 AlisonMathews
6 Martha Mier
7 Arvo Pärt
8 Prokofiev

26

Teasing Song (No. 18 from For Children, Vol. 2)
I Hear What You Say (No. 4 from Cool Beans!,
Vol. 1)
Shark Soup (from Sam Wedgwood’s Project,
Book 2)At the Smithy, Op. 8 No. 5
Buried Rubies (No. 8 from Treasure Trove)

Piano Exam Pieces 2021 & 2022, Grade 4 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 4 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 4 (ABRSM)
A Romantic Sketchbook for Piano, Book 2 (ABRSM)
Alison Mathews: Treasure Trove(Editions Musica Ferrum)
Martha Mier: Jazz, Rags & Blues, Book 3 (Alfred)Worrisome Blues (from Jazz, Rags & Blues,
Book 3)Für Anna Maria fröhlich or nachdenklich
Arvo Pärt: Für Anna Maria (Universal)
Marche (No. 10 from Musiques d’enfants, Op. 65) Prokofiev: Musiques d’enfants, Op. 65(Boosey & Hawkes)

Piano 2021 & 2022 Grade 4

Online edition (July 2020)

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

9 V. Stoyanov

Bulgarian Peasant Dance
Shenandoah, arr. Bennett

The Joy of Modern Piano Music (Yorktown Music Press)
The Graded Piano Player, Grades 3–5 (Faber)

10 Trad.

SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details see pages 14–15


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 16 & 17
AURAL TESTS: given by the examiner from the piano; for further details see pages 36 & 39

27

Piano 2021 & 2022

Online edition (July 2020)

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

pages 12–13
COMPOSERAPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

J. F. F.
Burgmüller
2 T. A. Arne
3 Handel4 J. S. Bach

La chevaleresque (No. 25 from 25 études
faciles et progressives, Op. 100)
Presto (2nd movt from Sonata No. 6)
Toccata in G minor, HWV 586
Invention No. 8 in F, BWV 779

Piano Exam Pieces 2021 & 2022, Grade 5 (ABRSM)

5 Beethoven

Bagatelle in G minor, Op. 119 No. 1

6 J. H. Fiocco

Andante (from Pièces de clavecin, Op. 1)
Allegro (1st movt from Sonata in G,
Hob. XVI:G1)

1

7 Haydn

8 Hummel
9 J. L. Krebs
10 Mozart

B

1

A. Beach

2 Nevada
3 Tchaikovsky
4 R. R. Bennett
5 Granados
6 S. Heller
7 Massenet
8 Mompou

9 Pachulski
10 SchumannC

1

Gillock

2 Heather

Hammond
3 Prokofiev
4 Agay5 Alwyn
6 Bartók
7 Victoria

Borisova-Ollas

28

Piano Exam Pieces 2021 & 2022, Grade 5 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 5 (ABRSM)
J. S. Bach: Two-part Inventions (ABRSM) or
J. S. Bach: Inventions and Sinfonias (Henle) orCore Classics, Grades 5–6 (ABRSM)
A Keyboard Anthology, 1st Series, Book 3 (ABRSM) orCore Classics, Grades 4–5 (ABRSM) or
Classics for the Developing Pianist, Book 3 (Alfred)J. H. Fiocco: Eight Keyboard Pieces (ABRSM)
Pp. 41–43 from Haydn: Selected Keyboard Sonatas,
Book 1 (ABRSM) or
Essential Keyboard Repertoire, Vol. 5 (Alfred)
Hummel: 16 Short Pieces (ABRSM)

Allegro in C (No. 2 from Six pièces très faciles,
Op. 52)
Toccata in E Essential Keyboard Repertoire, Vol. 6 (Alfred)
Theme, Var. 1 and Var. 5 (from 12 Variations on Mozart: 12 Variations on “Ah, vous dirai-je Maman”,
K. 265 (Henle) or“Ah vous dirai-je, maman”, K. 265)
Mozart: “Ah, vous dirai-je Maman”, 12 Variations in
C major, KV 265 (Bärenreiter)

Piano Exam Pieces 2021 & 2022, Grade 5 (ABRSM)
Arctic Night (No. 1 from Eskimos, Op. 64)
Piano Exam Pieces 2021 & 2022, Grade 5 (ABRSM)
Starry Dome (No. 15 from Piano Meditation)
Douce rêverie (No. 21 from Album pour enfants, Piano Exam Pieces 2021 & 2022, Grade 5 (ABRSM)
Op. 39)Little Elegy
R. R. Bennett: Little Elegy (Novello)
Granados: Stories of the Young, Op. 1 (ABRSM)
La huérfana (No. 9 from Cuentos de lasjuventud, Op. 1)
Study in E minor, Op. 47 No. 15 with repeat
S. Heller: 20 Miscellaneous Studies (ABRSM)
Mélodie (No. 5 from 10 Pièces de genre, Op. 10) French Romantic Repertoire, Level 1 (Faber)
Mompou: Impresiones íntimas (Unión MusicalLa barca (from Impresiones íntimas)
Ediciones) or
Mompou: Música para piano (Unión Musical Ediciones)
Prelude in C minor, Op. 8 No. 1
A Romantic Sketchbook for Piano, Book 3 (ABRSM)
Von fremden Ländern und Menschen (No. 1
Schumann: Kinderscenen, Op. 15 (ABRSM) orfrom Kinderscenen, Op. 15)
Schumann: Scenes from Childhood, Op. 15 (Henle)
Mister Trumpet Man (from New Orleans Jazz
Styles)Changing Times (from Cool Piano 5)

Piano Exam Pieces 2021 & 2022, Grade 5 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 5 (ABRSM)

Piano Exam Pieces 2021 & 2022, Grade 5 (ABRSM)
Tarantella (No. 4 from Musiques d’enfants,
Op. 65)
Blue Waltz
The Joy of Boogie and Blues (Yorktown Music Press)
The Sea is Angry
Pianoworks Collection 2 (OUP)
Winter Solstice Song (No. 38 from For Children, Bartók: For Children, Vol. 1 (Boosey & Hawkes)
Vol. 1)
Silent Island
Spectrum 3 (ABRSM)

Piano 2021 & 2022 Grade 5

Online edition (July 2020)

COMPOSER
8 Ludovico

Einaudi9 Pinto10 Catherine

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Elegy for the Arctic this edition only

Pp. 7–9 from Ludovico Einaudi: Extra Elements (Chester)March, Little Soldier! (No. 3 from Scenas
infantis) gliss. optional
Love Theme (from Lyric Moments, Book 2)

Pinto: Scenas infantis (G. Schirmer)
Catherine Rollin: Lyric Moments, Book 2 (Alfred)

RollinSCALES AND ARPEGGIOS: from memory; played in even notes; for further details see pages 14–15


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 16 & 17
AURAL TESTS: given by the examiner from the piano; for further details see pages 36 & 40

29

Piano 2021 & 2022

Online edition (July 2020)

GRADE 6
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or any 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 12–13
COMPOSERAPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Piano Exam Pieces 2021 & 2022, Grade 6 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 6 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 6 (ABRSM)

4 C. P. E. BachAllegro (4th movt from Sonata No. 8 in C)
Allegro (3rd movt from Sonata in E -, K. 282)
Snurretoppen (No. 2 from HumoreskeBagateller, Op. 11)
Solfeggietto in C minor, Wq. 117/2

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

6 J. F. F.

Velocity, Op. 109 No. 10

C. P. E. Bach: Selected Keyboard Works, Book 2(ABRSM) or
Classics to Moderns, Book 6 (Yorktown Music Press)
J. S. Bach: Two-part Inventions (ABRSM) or
J. S. Bach: Inventions and Sinfonias (Henle)
J. F. F. Burgmüller: Studies, Op. 109 (Peters)

Allegro (1st movt from Sonata No. 6 in G)
Fantasia in A
Finale: Allegro molto (4th movt from Sonata
in G, Hob. XVI:6)
Sonata in A, Kp. 208, L. 238

The Classical Spirit, Book 2 (Alfred)Classics to Moderns, Book 6 (Yorktown Music Press)
Haydn: Selected Keyboard Sonatas, Book 1 (ABRSM) or
Haydn: Complete Piano Sonatas, Vol. 1 (Wiener Urtext)
D. Scarlatti: 200 Sonatas, Vol. 2 (Editio Musica Budapest)

Mazurka in G minor, Op. 67 No. 2
Page d’album
Erster Schmerz (from Sechs kleine Stücke fürAnfänger)
A PastelPrayer of the Matador (No. 2 from Lyric Pieces
for the Young)
Prelude in D - (No. 1 from 8 Easy Pieces, Op. 43)

Piano Exam Pieces 2021 & 2022, Grade 6 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 6 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 6 (ABRSM)

1

Pescetti
2 Mozart
3 C. Nielsen

Burgmüller
7 Cimarosa
8 Handel9 Haydn
10 D. Scarlatti

B1

Chopin2 Debussy
3 Senfter
4 Y. Bowen
5 Dello Joio
6 Glière
7 C. Hartmann
8 Stephen

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

Hough
9 Howells

There Was a Most Beautiful Lady (No. 3 fromCountry Pageant)10 Khachaturian Legend (No. 6 from Pictures of Childhood)

C

30

1

Opening Night Jazz (from Jazz, Rags & Blues,
Book 5)
2 M. Arnold
The Buccaneer (from Eight Children’s Pieces,Op. 36)
3 Karen Tanaka Lavender Field
4 L. Bernstein
For Stephen Sondheim (No. 3 from 13
Anniversaries)
5 Casella
Galop Final (No. 11 from 11 Children’s Pieces,Op. 35)6 Ben Crosland View from a Window (No. 12 from Cool Beans!,
Vol. 1)
7 Paul Harvey
Rumba Toccata
8 Nikki Iles
East Coast Blues
Martha Mier

Y. Bowen: A Pastel (Chester)
The Boosey & Hawkes 20th-Century Piano Collection:from 1945 (Boosey & Hawkes)
Glière: Eight Easy Pieces, Op. 43 (ABRSM) or
A Romantic Sketchbook for Piano, Book 4 (ABRSM)
C. Hartmann: Two Piano Pieces (Edition HH)
Stephen Hough: Suite R-B and Other Enigmas(Weinberger)
Howells: Country Pageant & A Little Book of Dances(ABRSM) orCore Classics, Grades 5–6 (ABRSM)
Khachaturian: Pictures of Childhood(Boosey & Hawkes)
Piano Exam Pieces 2021 & 2022, Grade 6 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 6 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 6 (ABRSM)
L. Bernstein: 13 Anniversaries (Boosey & Hawkes)
Casella: 11 Children’s Pieces (Universal)
Pp. 24–27 from Ben Crosland: Cool Beans!, Vol. 1(Editions Musica Ferrum)
Paul Harvey: Rumba Toccata (Ricordi)
Jazz on a Summer’s Day (OUP)Piano 2021 & 2022 Grade 6

Online edition (July 2020)

COMPOSER
9 StephenMontague
10 Prokofiev

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

TsunamiSpectrum 2 (ABRSM)

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

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

SCALES AND ARPEGGIOS: from memory; played in even notes; for further details see pages 14–15


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 16 & 17
AURAL TESTS: given by the examiner from the piano; for further details see pages 36 & 41

31

Piano 2021 & 2022

Online edition (July 2020)

GRADE 7
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or any 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 12–13
COMPOSERAPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Piano Exam Pieces 2021 & 2022, Grade 7 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 7 (ABRSM)

7 Mozart

Sinfonia No.15 in B minor, BWV 801
Bagatelle in E - (No. 1 from Seven Bagatelles,
Op. 33)
Vivace (1st movt from Fantasia in G minor,
TWV 33:8)
Allegro di molto (1st movt from Sonata in
F minor, Wq. 63/6)
Moderato (1st movt from Sonata in E,
Hob. XVI:31)
Allegro con spirito (1st movt from Sonatina in
A, Op. 60 No. 2)
Gigue in G, K. 574

8 Paradies

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

9 Rameau

Les sauvages (from Pièces de clavecin)

10 D. Scarlatti

Sonata in E, Kp. 380, L. 23

1

J. S. Bach
2 Beethoven
3 Telemann
4 C. P. E. Bach
5 Haydn
6 Kuhlau

B

C

1

Andante moderato (No. 5 from Pièces brèves,Op. 84)2 Grieg
Sarabande (2nd movt from Holberg Suite,
Op. 40)3 Ni Hongjin
Cradle Song (No. 3 from Suite of the Zhuang
People’s Village)
4 Alan Bullard
Prelude No. 9 (from 12 or 13 Preludes for
Piano Solo, Set One)
5 Hensel
Mélodie, Op. 4 No. 2
6 Liszt
Consolation No. 5 in E (from Consolations,S. 172)7 Lyadov
Mazurka in F minor (No. 3 from Trois
morceaux, Op. 57)
8 Mendelssohn Song without Words, Op. 19 No. 1
9 A. Richardson Lento moderato (2nd movt from Sonatina in F,
Op. 27)10 Schumann
Kind im Einschlummern (No. 12 from
Kinderscenen, Op. 15)
1

Fauré

Pink Minor (No. 1 from Colour Suite)
Le petit âne blanc (No. 2 from Histoires)
3 Rhian Samuel The Therapy of Moonlight (No. 1 from A
Garland for Anne)
4 Bartók
Bagpipers: Allegretto (1st movt from Sonatina)
5 Chen Yi
Bamboo Dance II
Dring

2 Ibert32

Piano Exam Pieces 2021 & 2022, Grade 7 (ABRSM)
Pp. 40–43 from C. P. E. Bach: Selected Keyboard Works,
Book 4 (ABRSM)
Haydn: Selected Keyboard Sonatas, Book 3 (ABRSM) or
Haydn: Complete Piano Sonatas, Vol. 3 (Wiener Urtext)
Kuhlau: Sonatinas, Vol. 2 (Peters)
Pp. 11–12 from A Keyboard Anthology, 2nd Series,
Book 5 (ABRSM) or
Mozart: Mature Piano Pieces (ABRSM) or
Mozart: Piano Pieces, Selection (Henle)
Pp. 45–47 from Paradies: Sonate di Gravicembalo, Vol. 1(Schott)
Rameau: Les cyclopes / Les sauvages (Bärenreiter) or
Rameau: Pièces de clavecin (Heugel)Pp. 30–33 from D. Scarlatti: Keyboard Pieces andSonatas, Book 3 (ABRSM) or
D. Scarlatti: 200 Sonatas, Vol. 3 (Editio Musica Budapest)
Piano Exam Pieces 2021 & 2022, Grade 7 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 7 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 7 (ABRSM)
Alan Bullard: 12 or 13 Preludes for Piano Solo, Set One(Colne Edition)
At the Piano with Women Composers (Alfred)Liszt: 21 Short Piano Pieces (ABRSM) or
Liszt: Consolations (Wiener Urtext)
Lyadov: Preludes, Trifles and Other Pieces (ABRSM) or
A Romantic Sketchbook for Piano, Book 4 (ABRSM)
Mendelssohn: Songs without Words (ABRSM)
A. Richardson: Sonatina in F, Op. 27 (Weinberger)
Schumann: Kinderscenen, Op. 15 (ABRSM) or
Schumann: Scenes from Childhood, Op. 15 (Henle) or
Night and Dreams (Schott)
Piano Exam Pieces 2021 & 2022, Grade 7 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 7 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 7 (ABRSM)
Bartók: Sonatina (Editio Musica Budapest or Henle)
Spectrum 5 (ABRSM)

Piano 2021 & 2022 Grade 7

Online edition (July 2020)

COMPOSER
6 Ginastera
7 Grovlez
8 Kern9 Florentine

Mulsant
10 Christopher
NortonPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Tribute to Roberto Garcia Morillo (No. 6 from
12 American Preludes, Op. 12)
Chanson du chasseur (No. 4 from L’Almanach
aux images)
Smoke Gets in Your Eyes (from Roberta),arr. Evans
Prélude No. 14 (from 24 Préludes pour piano,
Op. 38)Pop Bossa (No. 5 from Latin Preludes 2)

Ginastera: 12 American Preludes, Op. 12 (Carl Fischer)Grovlez: L’Almanach aux images (Stainer & Bell)Lee Evans Arranges Jerome Kern (Hal Leonard)
Florentine Mulsant: 24 Préludes pour piano, Op. 38(Furore Verlag)
Christopher Norton: Latin Preludes Collection(Boosey & Hawkes)

SCALES AND ARPEGGIOS: from memory; played in even notes; for further details see pages 14–15


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 16 & 17
AURAL TESTS: given by the examiner from the piano; for further details see pages 36 & 42

33

Piano 2021 & 2022

Online edition (July 2020)

GRADE 8
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or any 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 12–13
COMPOSER

A

1

B

1

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

J. S. Bach
2 Haydn

Fantasia in C minor, BWV 906
Piano Exam Pieces 2021 & 2022, Grade 8 (ABRSM)
Allegro moderato (1st movt from Sonata in A -, Piano Exam Pieces 2021 & 2022, Grade 8 (ABRSM)
Hob. XVI:46)
3 C. Schumann Prelude and Fugue in B - (No. 2 from Three
Piano Exam Pieces 2021 & 2022, Grade 8 (ABRSM)
Preludes and Fugues, Op. 16)
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: Complete Pianoforte Sonatas, Vol. 1(ABRSM) or
Beethoven: The 35 Piano Sonatas, Vol. 1 (ABRSM)
6 HandelPrelude and Allegro (Fuga) (1st and 2nd movts Handel: Eight Great Suites, Book 2 (ABRSM) orfrom Suite No. 8 in F minor, HWV 433)
Handel: Keyboard Works, Vol. 1 (Bärenreiter)
7 Martínez
Allegro/Moderato (1st movt from Sonata [No. 3] Pp. 15–17 from Piano Music by Female Composers(4th revised edition 2011) (Schott) orin A)Core Classics, Grades 7–8 (ABRSM)
8 Mozart
Andante grazioso and Vars. 1–6 (1st movt from Mozart: Sonata in A, K. 331 (ABRSM) or
Sonata in A, K. 331)
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 (Editio Musica Budapest)
Brahms2 Hopekirk
3 Poulenc
4 Arensky

Intermezzo in E (No. 6 from Fantasies, Op. 116)
Air (No. 3 from Suite)
Novelette in E minor, sur un thème de Manuelde Falla
Nocturne in D - (No. 3 from 24 Characteristic
Pieces, Op. 36)
Mazurka in A minor, Op. 17 No. 4
Columbine

Piano Exam Pieces 2021 & 2022, Grade 8 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 8 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 8 (ABRSM)

Arensky: 24 Characteristic Pieces, Op. 36 (Prhythm) or
Arensky: 24 Morceau characteristiques, Op. 36 (Alfred)
5 Chopin
Chopin: Mazurkas (Henle)
6 Ireland
Ireland: The Collected Piano Works, Vol. 4(Stainer & Bell)
7 Janáček
Janáček: In the Mists (Bärenreiter)
Andante (No. 1 from In the Mists)
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, Schubert: Impromptus, Op. 142 (ABRSM) or Schubert:
Op. 142, D. 935)
Impromptus and Moments musicaux (Henle) orCore Classics, Grades 7–8 (ABRSM)
10 Schumann
Schumann: Drei Romanzen, Op. 28 (ABRSM)
Romanze in F + (No. 2 from Drei Romanzen,
Op. 28)C

1

Bartók2 Christopher

Rondo (No. 1 from Three Rondos on Folk Tunes) Piano Exam Pieces 2021 & 2022, Grade 8 (ABRSM)
Piano Exam Pieces 2021 & 2022, Grade 8 (ABRSM)
Jingo (No. 3 from Rock Preludes 1)

Norton3 Sculthorpe

34

4 Chaminade

Snow, Moon and Flowers (from Night Pieces)
Pierette (Air de Ballet), Op. 41

5 Chen Peixun

Thunder in Drought Season

Piano Exam Pieces 2021 & 2022, Grade 8 (ABRSM)
Piano Music by Female Composers (4th revised edition2011) (Schott)
100 Years of Chinese Piano Music: Vol. III Works
in Traditional Style, Book II Instrumental Music(Shanghai Conservatory of Music Press)

Piano 2021 & 2022 Grade 8

Online edition (July 2020)

COMPOSER
6 Debussy

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Rêverie

Debussy: Rêverie (Editions Jobert) or
Night and Dreams (Schott)
Khachaturian: Toccata (Boosey & Hawkes)
Tango Meets Jazz (Schott) lCecilia McDowall: Four Piano Solos (Hunt Edition)

7 Khachaturian Toccata
8 Uwe Korn
9 Cecilia

Caballos Españoles
Vespers in Venice (from Four Piano Solos)

McDowall
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)

SCALES AND ARPEGGIOS: from memory; played in even notes; for further details see pages 14–15


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 16 & 17
AURAL TESTS: given by the examiner from the piano; for further details see pages 36 & 43
l Limited availability of publication; piece available to download at www.schott-music.com

35

3. Piano Syllabus 2021 & 2022

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

In the exam
Aural tests are an integral part of all Graded Exams in Music Performance.
The tests are given by the examiner from the piano. For any test that requires a sung response,
pitch rather than vocal quality is being assessed. The examiner will be happy to adapt to the
vocal range of the candidate, whose responses may be sung to any vowel (or consonant followed
by a vowel), hummed or whistled (and at a different octave, if appropriate).
The information on pages 37–43 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 theassessment.
Marks are not awarded for each individual test or deducted for mistakes; instead they reflect
the candidate’s overall response in this section. The marking criteria for the Aural tests are
given on page 50.

Supporting publications
For practice purposes, sample Aural tests are published by ABRSM. Examples of the tests for
Grades Initial–8 are given in Specimen Aural Tests. More examples for Grades 1–8 are given in
Aural Training in Practice. Purchasing these books is not a requirement.

Deaf or hearing-impaired candidates
Deaf or hearing-impaired candidates may choose alternative tests in place of the standard tests,
if requested at the time of booking the exam. Further information, including the syllabus forthe alternative tests, is available at www.abrsm.org/specificneeds.

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

3. Piano Syllabus 2021 & 2022

INITIAL GRADE
A To clap the pulse of a piece played by the examiner. The examiner will start playing thepassage, 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 willcount in two bars. After the examiner has played each phrase, the candidate should clap
back the rhythm as an ‘echo’ without a pause, keeping in time.
C To sing as ‘echoes’ two phrases played by the examiner. The phrases will be one bar
long in 4/4 time. They will be in a major key, and within the range of tonic–mediant. Firstthe examiner will play the key-chord and the starting note (the tonic) and then count in twobars. After the examiner has played each phrase, the candidate should sing back the echo
without a pause, keeping in time.
D To answer a question about one feature of a piece played by the examiner. Before
playing, the examiner will tell the candidate which feature the question will be about. It will
be about dynamics (loud/quiet) or articulation (smooth/detached).

GRADE 1
A To clap the pulse of a piece played by the examiner, and to identify whether it is in twotime or three time. The examiner will start playing the passage, and the candidate should
join in as soon as possible, clapping in time and giving a louder clap on the strong beats.
The examiner will then ask whether the music is in two time or three time. The candidate
is not required to state the time signature.
B To sing as ‘echoes’ three phrases played by the examiner. The phrases will be two bars
long, in a major key, and within the range of tonic–mediant. First the examiner will play the
key-chord and the starting note (the tonic) and then count in two bars. After the examiner
has played each phrase, the candidate should sing back the echo without a pause, keeping
in time.
C To identify where a change in pitch occurs during a phrase played by the examiner.
The phrase will be two bars long, in a major key, and the change will affect only one of thenotes. 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 theend. If necessary, the examiner will play both versions of the phrase again (although thismay 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 first will be: dynamics (loud/quiet, or sudden/gradual changes); the second will bearticulation (smooth/detached).

37

3. Piano Syllabus 2021 & 2022

GRADE 2
A To clap the pulse of a piece played by the examiner, and to identify whether it is in twotime or three time. The examiner will start playing the passage, and the candidate should
join in as soon as possible, clapping in time and giving a louder clap on the strong beats.
The examiner will then ask whether the music is in two time or three time. The candidate
is not required to state the time signature.
B To sing as ‘echoes’ three phrases played by the examiner. The phrases will be two bars
long, in a major key, and within the range of tonic–dominant. First the examiner will play the
key-chord and the starting note (the tonic) and then count in two bars. After the examiner
has played each phrase, the candidate should sing back the echo without a pause, keeping
in time.
C To identify a change in either pitch or rhythm during a phrase played by the examiner.
The phrase will be two bars long, in a major key. First the examiner will play the key-chord
and the tonic and then count in two bars. The examiner will play the phrase twice, making
the change in the second playing, after which the candidate should identify the change bydescribing 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 first will be one of the following: dynamics (loud/quiet, or sudden/gradual changes),
articulation (smooth/detached); the second will be tempo (becoming slower/faster, or
staying the same).

GRADE 3
A To clap the pulse of a piece played by the examiner, and to identify whether it is in
two time, three time or four time. The examiner will start playing the passage, and thecandidate 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 timeor 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 willplay the key-chord and the starting note and then count in two bars. After the examiner has
played each phrase, the candidate should sing back the echo without a pause, keeping intime.
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 bothversions of the phrase again (although this may affect the assessment).

38

3. Piano Syllabus 2021 & 2022

Grade 3 cont.
D To answer questions about two features of a piece played by the examiner. Before
playing, the examiner will tell the candidate which two features the questions will be about.
The first will be one of the following: dynamics (loud/quiet, or sudden/gradual changes),
articulation (smooth/detached), tempo (becoming slower/faster, or staying the same); thesecond will be tonality (major/minor key).

GRADE 4
A To sing or play from memory a melody played twice by the examiner. The melody will
be within the range of an octave, in a major or minor key with up to three sharps or flats.
First the examiner will play the key-chord and the starting note and then count in two bars.
(If the candidate chooses to play, the examiner will also name the key-chord and the starting
note, as appropriate for the instrument.) 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; thesecond 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.

39

3. Piano Syllabus 2021 & 2022

GRADE 5
A To sing or play from memory a melody played twice by the examiner. The melody will
be within the range of an octave, in a major or minor key with up to three sharps or flats.
First the examiner will play the key-chord and the starting note and then count in two bars.
(If the candidate chooses to play, the examiner will also name the key-chord and the starting
note, as appropriate for the instrument.) 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 issung at the wrong pitch.
C (i) To answer questions about two features of a piece played by the examiner. Before
playing, the examiner will tell the candidate which two features the questions will be
about. The first will be one of the following: dynamics, articulation, tempo, tonality,
character; the second will be style and period.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify
whether it is in two time, three time or four time. The examiner will play the extract
twice (unharmonised), after which the candidate should clap back the rhythm. The
examiner will then ask whether the music is in two time, three time or four time. The
candidate is not required to state the time signature.

40

3. Piano Syllabus 2021 & 2022

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
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.) If necessary,the examiner will play the phrase again and allow a second attempt (although this may affectthe 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 rangeof an octave, in a major or minor key with up to three sharps or flats. First the examiner willname and play the key-chord and the starting note and then give the pulse. A brief periodof preparation will follow during which the candidate may sing out loud. The examiner willplay the key-chord and the starting note again and then count in two bars. If necessary, theexaminer will allow a second 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 keychord.
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.

41

3. Piano Syllabus 2021 & 2022

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 noteand then count in two bars. (If the candidate chooses to play, the examiner will also namethe key-chord and the starting note, as appropriate for the instrument.) If necessary, theexaminer will play the phrase again and allow a second attempt (although this may affectthe assessment).
B To sing the upper part of a two-part phrase from score, with the lower part played by
the examiner. The candidate may choose to sing from treble or bass clef. The upper partwill 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
two bars. If necessary, the examiner will allow a second attempt (although this may affectthe 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, theexaminer will play the key-chord.
(ii) To identify the two chords forming the above cadence. The chords will be limited
to the tonic, subdominant, dominant, dominant seventh or submediant (all in root
position). First the examiner will name and play the key-chord, then play the two chords
as a pair. The candidate may answer using technical names (tonic, dominant, etc.),
chord numbers (I, V, etc.) or letter names (C major, G major, etc.).
(iii) To identify whether the modulation at the end of a different passage is to thedominant, subdominant or relative minor. The passage, played once by the examiner,
will begin in a major key. First the examiner will name and play the starting key-chord.
The candidate may answer using technical names (dominant, subdominant, relativeminor) or the letter name of the new key.
D (i) To answer questions about two features of a piece played by the examiner. Before
playing, the examiner will tell the candidate which two of the following features thequestions will be about: dynamics, articulation, tempo, tonality, character, style andperiod, 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 playthe extract twice (unharmonised), after which the candidate should clap back therhythm. The examiner will then ask whether the music is in two time, three time, fourtime or 6/8 time.

42

3. Piano Syllabus 2021 & 2022

GRADE 8A (i) To sing or play from memory the lowest part of a three-part phrase played twiceby the examiner. The lowest part will be within the range of an octave, in a major orminor key with up to three sharps or flats. First the examiner will play the key-chord
and the starting note and then count in two bars. (If the candidate chooses to play, theexaminer will also name the key-chord and the starting note, as appropriate for the
instrument.) 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
twice by the examiner. The chords forming the cadence will be limited to the tonic(root position, first or second inversions), supertonic (root position or first inversion),
subdominant (root position), dominant (root position, first or second inversions),
dominant seventh (root position) or submediant (root position). Before the first playing,
the examiner will play the key-chord.
(iii) To identify the three chords (including their positions) forming the above cadential
progression. The chords will be limited to the tonic (root position, first or second
inversions), supertonic (root position or first inversion), subdominant (root position),dominant (root position, first or second inversions), dominant seventh (root position) or
submediant (root position). First the examiner will name and play the key-chord, thenplay the three chords in sequence, finally playing each chord individually, pausing forthe candidate to identify it. The candidate may answer using technical names (tonic,
first inversion, etc.), chord numbers (Ib, etc.) or letter names (C major in first inversion,etc.).
B To sing the lower part of a two-part phrase from score, with the upper part played by
the examiner. The candidate may choose to sing from treble or bass clef. The lower partwill 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
two bars. If necessary, the examiner will allow a second attempt (although this may affectthe assessment).
C To identify whether the modulations at the end of two different passages areto the dominant, subdominant or relative minor/major. The first passage will
begin in a major key and the second will begin in a minor key; each passage will beplayed once by the examiner. Before playing each passage, the examiner will nameand play the starting key-chord. The candidate may answer using technical names(dominant*, subdominant, relative minor/major) or the letter name of the new key.
(* Minor-key passages may modulate to the dominant major or minor but the candidate is
only required to specify ‘dominant’ in such cases.)
D To describe the characteristic features of a piece played by the examiner. After hearing
the piece, the candidate should describe any notable features (such as texture, structure,
character, style and period, etc.). The examiner will prompt the candidate with questions
only if this becomes necessary.
43

4. Assessment and marking
Assessment objectives
The following tables describe the level of knowledge and skills required of candidates taking
Graded Exams in Music Performance. They also show the assessment objectives and corresponding marking criteria that examiners use to assess the performances at each level. The fullmarking criteria used by examiners are available on pages 49–50.

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.

44

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

4. Assessment and marking

Grades 1–3 (RQF Level 1)
Assessment objectives

Marking criteria

Learners will:

Learners can:Demonstrate musical skill, knowledge
and understanding through performing
repertoire of elementary musical andtechnical demands, demonstrating control
across the range of musical ingredients
appropriate to straightforward repertoire
and awareness of elementary characteristicfeatures and performance conventions.

Perform elementary repertoire with:• Reliable pitch and intonation• Stable rhythm at a suitable tempo• Reliable tonal control and awareness• Musical shape and detail• Communication of character and style

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

45

4. Assessment and marking

Grades 4–5 (RQF Level 2)
Assessment objectives

Marking criteria

Learners will:

Learners can:Demonstrate musical skill, knowledge
and understanding through performing
repertoire of intermediate musical andtechnical demands, demonstrating control
across the range of musical ingredients
appropriate to moderately complex
repertoire and awareness of comprehensive
characteristic features and performance
conventions.

Perform intermediate repertoire with:• Reliable pitch and intonation• Stable rhythm at a suitable tempo• Reliable tonal control and awareness• Musical shape and detail• Communication of character and style

Demonstrate instrumental control 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.

46

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

4. Assessment and marking

Grades 6–8 (RQF Level 3)
Assessment objectives

Marking criteria

Learners will:

Learners can:Demonstrate musical skill, knowledge
and understanding through performing
repertoire of advanced musical andtechnical demands, demonstrating control
across the range of musical ingredients
appropriate to complex repertoire andawareness of sophisticated characteristicfeatures 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

47

4. Assessment and marking

Mark allocation
Marks are allocated for each element of Piano exams, as shown in the table below:
Exam section

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 Graded Exams in Music Performance are set as follows. A Pass in eachsection of the exam is not required to pass overall.
Result category

Mark band

Distinction

130–150

Merit

120–129

Pass

100–119

Below Pass

50–99

Marking criteria
The tables on pages 49–50 show the marking criteria used by examiners in Piano exams.
Examiners mark up or down from the pass mark for each element by balancing the extent towhich the qualities and skills listed in the criteria (broadly categorised by pitch, time, tone,
shape and performance) are demonstrated and contribute towards the overall musical outcome.

48

● Generally correct notes● Sufficiently reliable● Frequent note errors● Insufficiently reliable● Largely inaccurate notes ● Erratic tempo and/or● Highly inaccurate notes● No work offered

Below Pass
17–19

13–16

10–12

0

and/or intonation

and/or intonation

intonation to maintaintonality

intonation to maintaintonality● No work offered

and/or pulse● Incoherent tempo

pulse

uncontrolled tempo● Irregular pulse● Inaccurate rhythm● Unsuitable and/or

accuracy● Suitable tempo● Generally stable pulse● Overall rhythmic

tempo● Good sense of rhythm● Sustained, effective

Pass
20–23

and intonation● Largely accurate notes

where appropriate● Rhythmic character
well conveyed● Fluent, with flexibility

Merit
24–26

and intonationTime● Highly accurate notes

Pieces
Pitch

Distinction
27–30

Grades
Initial–8● No work offered● No tonal control

control● Serious lack of tonal

unreliable● Inadequate tonal
awareness● Uneven and/or

awareness● Generally reliable● Adequate tonalconsistent● Good tonal awareness● Mainly controlled andqualities● Well projected● Sensitive use of tonal

Tone● No work offered● No shape or detaildetail largely unrealised● Musical shape anddetail insufficiently
conveyed● Musical shape andmusical shape and/or
detail● Some realisation ofwell-realised detail● Clear musical shaping,musical shaping anddetail● Expressive, idiomaticShapeconviction

recovery from slips

recovery from slips● No work offered

more than a short section● Unable to continue for● Lacking continuity● No musical involvement

involvement● Insufficient musical● Insecure, inadequate

involvement● Some musical● Generally secure, prompt

communicated● Character and style● Positive● Carrying musicalcharacter and style● Assured● Fully committed● Vivid communication of

Performance

4. Assessment and marking

Marking criteria

49

50● No continuity or incomplete● Note values unrealised● Pitch outlines absent● Very uncertain presentation● Frequent errors in notes and/or pitch● Lacking continuity and/or some items incomplete● Unreliable tone
● Uncertain response and/or some items not● Very approximate notes and/or pitch● Sporadic and/or frequently incomplete● Serious lack of tonal control● Very uncertain response and/or several items● No work offered

Below Pass
11–13

7–10

0

not attempted

attempted● Lacking overall continuity● Incorrect note values● Very approximate notes/pitch/key● Insecure presentation● Generally correct notes/pitch, despite errors● Continuity generally maintained● Generally reliable tone
● Cautious response

Pass
14–16

● No work offered● Continuity generally maintained● Note values mostly realised● Pitch outlines in place, despite errors● Cautious presentation● Adequate tempo, usually steady pulse● Mainly correct rhythm● Largely correct notes/pitch/key● Largely secure presentation● Largely accurate notes/pitch● Mostly regular flow
● Mainly even tone
● Secure response

Merit
17–18

● Fluent, rhythmically accurate● Accurate notes/pitch/key● Musical detail realised● Confident presentation

Sight-reading● Highly accurate notes/pitch● Fluent and rhythmic● Musically shaped● Confident response

Scales and arpeggios

Distinction
19–21

Grades
Initial–8

0

6–8

Below Pass
9–11

Pass
12–14

Merit
15–16

Distinction
17–18

Grades
Initial–8

outweigh weaknesses

weaknesses

strengths● No work offered● Inaccuracy throughout● Vague response● Uncertain response● Weaknesses outweigh● Cautious response● Strengths just outweigh● Musically aware● Secure response● Strengths significantly● Accurate throughout● Musically perceptive● Confident response

Aural tests

4. Assessment and marking

5. After the exam
Results
All candidates receive a copy of their mark form; successful candidates also receive a
certificate that shows the subject and level that they have been examined in. We aim to releaseresults for Graded Exams in Music Performance in line with the schedules on our website atwww.abrsm.org/results; however, some results may take longer. Examiners will not issue or
discuss a 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, markforms and certificates are issued to the applicant, whose responsibility it is to pass them on to
candidates.

Exam feedback
Specific guidance for questions about the administration of the exam or the results awarded
is available on our website. We also welcome feedback about other matters. All feedback islogged and plays a valuable part in our quality assurance procedures. For further informationon our processes and deadlines for submitting feedback, please visit www.abrsm.org/
send-exam-feedback.

51

6. Other assessments
ABRSM’s other assessments for pianists are Prep Test, Jazz Piano, 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
the exam experience. It gives learners a goal to work towards and a certificate awarded on theday – something to be really proud of.
The Prep Test is designed to encourage the development of good musical and technicalfoundations. 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 53
for full details.

Books
All the books mentioned on page 53 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 andsuggestions written on the certificate, which is handed to the candidate by the examiner. Thereis no pass or fail, and no marks are awarded. The examiner’s comments will cover some of thefollowing:• 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 11.
• The Tunes should be performed from memory, but the two Pieces can be played from themusic. If either of the Pieces is played from memory, candidates should bring a copy of themusic for the examiner.
• If choosing to play a duet for the Second Piece, candidates can bring their own duet partner(who may be their teacher). Alternatively, the examiner will be happy to play the other part.
• Generally, there will be one examiner, although sometimes a second examiner may also bepresent.
• Details of dates, locations, fees and how to book a Prep Test are available online at www.
abrsm.org/exambooking.
52

6. Other assessments

Requirements

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 a non-publishedpiece)

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?

examples are provided in
Piano Prep Test

* For deaf or hearing-impaired candidates, further information is available at www.abrsm.org/specificneeds53

6. Other assessments

Music Theory
ABRSM Graded Exams in Music Theory are available for Grades 1–8. Candidates may be entered
for any grade at any age and do not need to have taken any earlier grade(s). Further information
is available at www.abrsm.org/theory and the qualification specification (including the fullsyllabus) 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 Graded Exams in Music Theory give learners:• a knowledge of the notation of western music, including commonly used signs andterminology• 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 6–8).
Candidates are assessed on their ability to identify, use and manipulate musical symbols, tocomplete extracts and to answer questions relating to the elements of music according to theparameters detailed in the full syllabus at www.abrsm.org/theory.

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 a longstanding ABRSM requirement that candidates must provide evidence ofa pass at ABRSM Grade 5 or above in Music Theory, Practical Musicianship or any solo Jazz
instrument before they can enter for Grades 6, 7 or 8 Practical exams.

54

6. Other assessments

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

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

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

55

6. Other assessments

ARSM
The ARSM diploma is available to instrumentalists and singers of any age. Bridging the
gap between Grade 8 and DipABRSM (Music Performance), it provides musicians with anopportunity to develop their performance technique and interpretative skills, while focusing
on programme building and extending their repertoire.

Key features• Candidates present a balanced and varied programme, as follows:• the programme lasts 30 minutes• at least 20 minutes of the music is chosen from the repertoire list
• the remaining programme time may be made up of own-choice repertoire, of Grade 8
standard or above• There are no additional supporting tests or other requirements• ARSM exams take place at the same venues and time periods as ABRSM’s Graded Exams
in Music Performance• ARSM is a letter-bearing qualification. Candidates awarded the diploma can use theletters 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 at www.abrsm.org/
arsmdiploma 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/exams. Please refer to the website for the most recent version of the ARSM
syllabus.

56

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
and research skills, as well as their musical knowledge and understanding. Each diploma serves
as a stepping stone to the next level.

Key features• Candidates:• present a recital programme• submit programme notes (DipABRSM & LRSM) or a written submission (FRSM)• undertake a viva voce, with questions covering the recital, programme notes/written
submission as well as other aspects of performance• perform a short piece of unaccompanied and previously unseen music after five minutes’
preparation time (quick study)• These diploma exams take place at specific venues and times of the year
• Each diploma is a letter-bearing qualification. Candidates awarded a diploma can use theletters DipABRSM (Diploma of the Associated Board of the Royal Schools of Music), LRSM
(Licentiate of the Royal Schools of Music) or FRSM (Fellowship of the Royal Schools of Music)
after their name as appropriate.
Those entering for one of these diplomas must fulfil a specific ABRSM prerequisite (or a listed
alternative). Full details of the exam and entry requirements are available at www.abrsm.org/
diplomas and the qualification specification is available at www.abrsm.org/specifications.
We update our syllabuses from time to time. Advance notice of any changes will be given atwww.abrsm.org/exams. 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.

57

List *

Grade

Composer* Leave blank for Snare Drum, Timpani and Tuned Percussion

Percussion (Combined) only: technical requirements on:

Title

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!

Singers only: unaccompanied traditional song:

NumberYear of syllabus

Subject

Name

Exam programme & running order

09/19

IndexAccess (candidates with specific needs), 9, 16
Accompaniment, 10
Appeals, 51
Arpeggios, see Scales and arpeggios
Arrangements (transcriptions), 12
ARSM, 5, 56
Assessment criteria, see Marking criteria
Assessment objectives, 44–47
Aural tests, 11, 16, 36–43, 48
Deaf or hearing-impaired candidates, 36
Marking criteria, 50
Singing, 36
Blind candidates, 9, 16
Buying music, 13
CCEA Regulation, 5
Changes in this syllabus, 11
Copies, Exam music, 10, 13, 52
Copying, see Photocopying
Credits, 7
Da capo, dal segno, 13
Deaf candidates, 9, 36
Digital piano, 11, 12
DipABRSM, 5, 57
Diplomas, 5, 56–57
Disability, 9Distinction, Marks for, 48
Downloaded music, 12, 13
Duets, 10, 11, 12, 13, 52
Editions, 12
Editorial indications, 12
Ensembles, 52
Exam entry and booking, 9Exam feedback, 51
Examiners, 3, 10, 11, 12, 13, 14, 36, 48, 51, 52
Exam music, 12, 13
Exam Regulations, 8, 11
Exam requirements, 11–16, see also individual
grade pages
Exam timings, 10
Fingering, 12, 14, 16
FRSM, 5, 57
Grand piano, 10, 11
Guided learning hours, 7
Hand stretch, 13

Hearing-impaired candidates, 9, 36
Initial Grade, 11
Instruments, 10, 11
Jazz exams, 52
Grade 5 or above as a prerequisite, 9, 54, 55
LRSM, 5, 57
Malpractice and maladministration, 8
Marking criteria, 36, 44, 49–50
Marking scheme, 48
Memory, Playing from, 13, 14, 52
Merit, Marks for, 48
Metronome marks, 12, 15Music Theory, see Theory
Ofqual, 5Order of the exam, 10
Ornaments, 12
Ossias, 13
Overlap of syllabuses, 8
Page-turns, 13
Partially-sighted candidates, 9, 16
Pass, Marks for, 48
Pedalling, 13, 14
Performance Assessment, 52
Photocopying, Legality of, 13
Piano stool, 11, 52
Pieces, 11, 12–14, 48, see also individual gradepagesMarking criteria, 49
Practical Musicianship, 55
Grade 5 or above as prerequisite, 9, 54, 55
Prep Test, 52–53
Prerequisite for Grades 6–8 exams, 5, 9, 54, 55
Programme planning, 12Progression route, 4–5
Publishers, contact details, 13
Qualifications Wales, 5Regulated Qualifications Framework (RQF), 5,
44–47
Regulation (external), 5–7
Regulations (exam), 8, 11
Repeats, 13
Requirements, see Exam requirements
Results, 48, 5159

﻿

Scales and arpeggios, 11, 14–15, 48, see also
individual grade pages
Marking criteria, 50
Sight-reading, 11, 16, 48
Marking criteria, 50
Parameters, 17
Syllabus corrections/clarifications, 8Syllabus overlap, 8Syllabus validity, 8Theory, 54
Grade 5 or above as prerequisite, 9, 54, 55
Total qualification time, 7
Transcriptions, 12
UCAS points, 5Upright piano, 10, 11

60

This specification contains ABRSM’s Piano syllabus for 2021 & 2022.
Details of a new pre-Grade 1 exam – Initial Grade – are included.
There are new set pieces at Grades 1–8 with:• greater choice (longer lists)• a reorganisation of the repertoire lists• the introduction of a duet option (up to Grade 3)
There are new scales and arpeggios requirements at Grades 1–8.
The other requirements for Grades 1–8 – Sight-reading and
Aural tests – stay the same as the preceding syllabus.

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