HARP GRADES: requirements and information
T hese syllabuses are valid from 2019 until further notice.
T his section provides a summary of the most important points that teachers and candidates needto know when taking ABRSM graded harp exams. Further details, as well as administrative
information relating to the exams, are given in ABRSM’s Exam Regulations (available at www.
abrsm.org/examregulations) which should be read before an exam booking is made.

Changes in 2019
•
•
•
•

•
•
•
•

ABRSM now offers two distinct qualifications for harp – Harp (Pedal) and Harp (Non-pedal).
T he specific instrument must be indicated when booking an exam. T his instrument willthen appear on mark forms and certificates.
For clarity and ease of use, the syllabus requirements have been separated for each instrument
and presented in a new format.
Pieces have not changed from the preceding syllabus except for the replacement of asmall number of pieces, affecting Grade 1 (both harps), Grade 2 (both harps) and Grade
8 (non-pedal harp). Further details are available at www.abrsm.org/syllabuscorrections.
Candidates who have been preparing any of the replaced pieces can play them in their exam
until 31 December 2019 worldwide.
All other requirements – Scales and arpeggios, Sight-reading and Aural tests – are the sameas in the preceding syllabus.
Some key exam information has been updated and clarified, particularly in relation to
page-turns.
Information about ABRSM’s post-Grade 8 qualifications for harp is also included.
T his syllabus document is available online only and not in a printed booklet.

Entering for an exam
Eligibility: T here are eight grades of exam for each instrument and candidates may be entered
for any grade irrespective of age and without previously having taken any other grade on thesame instrument. Candidates for a Grade 6, 7 or 8 exam must already have passed ABRSM Grade
5 (or above) in Music T heory, Practical Musicianship or a solo Jazz instrument; for full details,
including a list of accepted alternatives, see www.abrsm.org/prerequisite.
Access: ABRSM endeavours to make its exams as accessible as possible to all candidates,
regardless of sensory impairments, learning difficulties or particular physical needs. T here is arange of alternative tests and formats as well as sets of guidelines for candidates with particularaccess needs (see www.abrsm.org/specificneeds). Where a candidate’s needs are not covered by
the guidelines, each case is considered on an individual basis. Further information is available
from the Access Co-ordinator (accesscoordinator@abrsm.ac.uk).
Exam booking: Details of exam dates, locations, fees and how to book an exam are available
online at www.abrsm.org/exambooking.

Instruments
Pedal harp: T he requirements from Grade 4 are generally for instruments with a minimum of
46 strings.
1Harp grades: requirements and information

Non-pedal harp: T he requirements from Grade 3 are for instruments with Eb tuning and witha minimum of 34 strings (pitch of bottom string: C two octaves below middle C, or lower). At
Grades 1 and 2, three tuning groups (C tuning, Eb tuning and F tuning) are provided for.

Elements of the exam
All ABRSM graded harp exams comprise the following elements: three Pieces; Scales andarpeggios; Sight-reading; and Aural tests. In all grades, marks are allocated as follows:
Pieces: 1
2
3
Scales and arpeggios
Sight-reading
Aural tests

30
30
30
21
21
18

Total 		150Marking scheme: 100 marks are required for a Pass, 120 for a Merit and 130 for a Distinction.
A Pass in each individual section is not required to pass overall. See pp. 52–53 for the marking
criteria used by examiners.

PiecesProgramme planning: Candidates must choose one piece from each of the three lists (A, B andC) in each grade. In the exam, they should inform the examiner which pieces they are performing,and they are welcome to use the form on p. 54 for this purpose.
Every effort has been made to ensure the syllabus lists feature a broad range of repertoire, withitems to suit and appeal to candidates of differing ages, backgrounds and interests. Not every
piece will be suitable for every candidate due to technical reasons or wider context (historical,
cultural, subject matter of the larger work from which it is drawn, lyrics if an arrangement of asong etc.). It is advised that pieces selected are considered carefully for their appropriatenessto each individual, which may require consultation between teachers and parents/guardians.
Given the ever-changing nature of the digital world, teachers and parents/guardians should also
exercise caution when allowing younger candidates to research items online: www.nspcc.org.
uk/onlinesafety.
Exam music & editions: Wherever the syllabus includes an arrangement or transcription, theedition listed in the syllabus must be used in the exam; in all such cases the abbreviation ‘arr.’ or‘trans.’ appears in the syllabus entry. For all other pieces, the editions quoted in the syllabus are
given for guidance only and candidates may use any edition of their choice (in- or out-of-print
or downloadable). Information on obtaining exam music is given on p. 5.
Interpreting the score: Printed editorial suggestions such as fingering, metronome marks,
realization of ornaments etc. need not be strictly observed. Whether the piece contains
musical indications or not, candidates are always encouraged to interpret the score in astylistically appropriate manner. Ultimately, examiners’ marking will be determined byconsideration of pitch, time, tone, shape and performance, and how control of these contributes
to the overall musical outcome.
2

Harp grades: requirements and information

Repeats: All da capo and dal segno indications should be observed but all other repeats(including first-time bars) should be omitted unless they are very brief (i.e. of a few bars) orunless the syllabus specifies otherwise.
Performing from memory: Candidates are free to perform any of their pieces from memory;in such cases they must ensure that a copy of the music is available for the examiner to refer to if
necessary. No additional 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. A variety of solutions for awkward page-turns exist,
including the use of an additional copy of the music or a photocopy of a section of the piece (butsee ‘Photocopies’ below). In cases where candidates at Grades 6–8 believe there is no solution toa particularly awkward page-turn, they may bring a page-turner to the exam (prior permission
is not required; the turner may be a candidate’s teacher). Examiners are unable to help with
page-turning.
Photocopies: Performing from unauthorized photocopies (or other kinds of copies) of copyrighteditions is not allowed. ABRSM may withhold the exam result where it has 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 Practice at www.mpaonline.org.uk. In all other cases,
application should be made to the copyright holder before any copy is made, and evidence ofpermission received should be brought to the exam.

Scales and arpeggios
At Grades 1 and 2, t here are three tuning groups for non-pedal harp, and examiners will ask
candidates which group they have chosen.
Examiners will usually ask for at least one of each type of scale/arpeggio etc. required at each
grade. T hey will also ask to hear a balance of the positions and hand requirements across therequests as a whole. When asking for requirements, examiners will specify:••••

the key (including minor form – harmonic or melodic – when the syllabus stipulates both)or the starting notethe hand(s) (e.g. left hand, right hand, hands together, divided between the hands, narrow
position)the position (root or inversion) for arpeggios and dominant sevenths (Grades 4–8)
the interval between the hands (hands-together scales, Grades 6–8)

All scales and arpeggios should:•••

be played from memory
be played in even notes (except for dominant and diminished sevenths, where specificpatterns are indicated)ascend and descend according to the specified range (and pattern)

Candidates are welcome to use any fingering that produces a successful musical outcome.
Candidates are free to start at any octave   , provided the required ranges are covered. For all ‘hands
together’ requirements, the hands should be one octave apart, unless otherwise indicated.

3Harp grades: requirements and information

Scales a sixth apart should begin with the tonic as the upper note, while scales a third or a tenthapart should begin with the tonic as the lower note.
Examples of patterns specified in this syllabus are given for pedal harp on pp. 6–7 and for nonpedal harp on pp. 8–9.
Books of the scale requirements (for Grades 1–5 and 6–8) are published for pedal and non-pedal
harp by Alaw (www.alawmusic.com).
T he following speeds are given as a general guide:
Grade / Speed
pattern

1

2

3

4

5

6

7

8

Scalesqqqq

q = 63q = 69q = 76h = 42h = 50h = 60h = 66h = 72

Melodic minor scales(non-pedal harp)

qqqq

q = 52

q = 60q = 69q = 76

q = 84Contrary-motion
scalesqqqq

h = 60h = 66

Arpeggios

qqq

e = 100 e = 112 q. = 42

q. = 56q. = 63

q. = 72

q. = 76q. = 80

Arpeggios(divided between hands)

qqq

e = 126 q. = 50

q. = 63

q. = 70

q. = 80q. = 84

q. = 88

Arpeggios(narrow position)

qqqq qqqq

Dom. & Dim. 7ths*

qqq qqqq

q = 46q = 54

q = 60q = 66

Dom. & Dim. 7ths*(divided between hands) q q q q q q q

q = 50q = 60q = 66

q = 72

q = 66

q = 72

Dom. 7ths(narrow position)

qqqq qqqq

q = 72* Dim. 7ths at Grade 8 only

Sight-reading
Candidates will be asked to play a short unaccompanied piece of music which they have notpreviously seen. T hey will be given half a minute in which to look through and, if they wish,
try out all or any part of the test before they are required to play it for assessment. For practicepurposes, a book of sample sight-reading tests is published for harp (pedal and non-pedal) by
ABRSM.

Aural tests
T he requirements are the same for all subjects. Full details of the Aural tests are given on pp.
42–47.
4

Harp grades: requirements and information

In the exam
Examiners: Generally, there will be one examiner in the exam room; however, for training andquality assurance purposes, a second examiner may sometimes be present. Examiners may ask
to look at the music before or after the performance of a piece (a separate copy is not required:the candidate’s copy will suffice). Examiners may stop the performance of a piece when they
have heard enough to form a judgment. T hey will not issue or discuss a candidate’s result;instead, the mark form (and certificate for successful candidates) will be issued by ABRSM after
the exam.
Tuning: Candidates must bring their own instrument to the exam and ensure that it is tuned
beforehand. T hey will be given sufﬁcient time to make the necessary pedal/lever changes forscale requirements and pieces. Examiners are unable to help with tuning.
Music stands: All ABRSM public venues provide a music stand, but candidates are welcome tobring their own if they prefer. T he examiner will be happy to help adjust the height or positionof the stand.
Order of the exam: T he individual sections of the exam may be undertaken in any order, at thecandidate’s choice.

Assessment
T he tables on pp. 52–53 show the marking criteria used by examiners. In each element of theexam, ABRSM operates the principle of marking from the required pass mark positively or
negatively, rather than awarding marks by deduction from the maximum or addition from zero.
In awarding marks, examiners balance the extent to which the qualities and skills listed on pp.
52–53 (broadly categorized by pitch, time, tone, shape and performance) are demonstrated andcontribute towards the overall musical outcome.

Obtaining exam music
Exam music is available from music retailers, specialist harp retailers and online, including at
the ABRSM music shop: www.abrsm.org/shop. Every effort has been made to ensure that all
the publications listed will remain available for the duration of the syllabus. Candidates areadvised to obtain their music well in advance of the exam in case of any delays with items not
kept in stock by retailers. Apart from queries relating to exams, all enquiries about the music (e.g.
editorial, availability) should be addressed to the relevant publisher: contact details are listed atwww.abrsm.org/publishers.

5

SCALE AND ARPEGGIO PATTERNS: Harp (Pedal)
The examples below clarify patterns and ranges found in the Harp (Pedal) syllabus. Reference
should be made to the appropriate syllabus pages for the full requirements.
ARPEGGIOS divided between the hands

two octaves, root positionœVœ œ œ œ œœ œœ œ™
{B œ œ œ
three octaves, root positionVœ œ{B œ œ œ

œ œ
œ œ

œ œ

œ œ
œ œ
œ œ

œ œ™

four octaves, root position (and similarly, first or second inversions)Vœ œ{B œ œ œ œ œ

œ œ
œ œ

œ œ

œ œ
œ œ
œ œ

œ œ
œ œ ™
œ

œ

ARPEGGIOS narrow position

four octaves, root position

V
œ
œœ
œœœ
œœ
œ
B
œœ
œœ
œœ
œœ
œ
œ
œ
œ
{ œœ œœ œ
œœ

œ

6

œœ

œ
œœ

œœ

œœ
œœ

œœ

œ

etc.

etc.

œœ

œœ

œ

Scale and arpeggio patterns
DOMINANT SEVENTHS hands separately or together

three octaves, root position (and similarly, four octaves and first, second or third inversions)

Vœ

œ
œ œ
œ
œ
œ
œ œ œ
œ œ

œ œ œ
œ œ œ
œ œ œ
œ œ

DOMINANT SEVENTHS divided between the hands

four octaves, root position (and similarly, first, second or third inversions)

V
œ
B
œ œ œ
œ
œ
{ œ

œ œ œ

œ
œ œ œ

œ œ œ œ œ
œ œ

œ œ œ

œ œ
œ œ œ

œ œ

DOMINANT SEVENTHS narrow position

four octaves, root position

V
œ
œœ
œœ
œœ
{B œ œ œ œ œ œ œ œ œ

“”
œœœ

œœ

œœœ

œœœ

etc.

etc.

œœ

œœ

œ

DIMINISHED SEVENTHS divided between the hands

four octaves

V
{B

#

b # œœ

œ œ
œ œ œ

bœ#

b # œ œ b œ œ œ #œ bœ œ œ

œ œ
œ œ œ

# œ bœ œ œ #œ bœ

#

œ œ œ

7

Harp (Pedal)

from 2019

Harp (Pedal) from 2019

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

1
2
3
4
5

B

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

BernardAndrèsAnon.
Bohemian
Betty ParetAnon. ItalianGrandjany

No. 1 (from Asters)

Bernard Andrès: Asters (Hamelle)

The Jolly Peasant, arr. ParetFirst Harp Book (G. Schirmer)

Rondo
O Sanctissima, arr. Milligan
Little Waltz

First Harp Book (G. Schirmer)
Fun from the First! Vol. 2 (Lyon & Healy)
Grandjany & Weidensaul: First-Grade Pieces for Harp
(Carl Fischer)Grandjany & Weidensaul: First-Grade Pieces for Harp
(Carl Fischer)Grandjany & Weidensaul: First-Grade Pieces for Harp
(Carl Fischer)
Beginner’s Harp Book, 1 (Salvi)

6 Weidensaul

Midnight Stars

7 Weidensaul

Barn Dance Memory

8 Soler

Allegretto, arr. Schlomovitz

1Anon. Chinese The Purple Bamboo, arr. Milligan

Fun from the First! Vol. 2 (Lyon & Healy)+ s in glissandi may be played as = s

2 Fiona
3
4
5
6
7
8
9

C

Charlotte in Spring (from Harping On, Book 1)
Clifton-Welker
BonnieAzaleas in Houston (from A Bouquet for Young
Goodrich
Harpists)
BonnieJapanese Lanterns (from A Bouquet for Young
Goodrich
Harpists)arr. Meinir
Three Blind Mice
HeulynClaire Jones & Stars (from Six Pieces for Harp)
Chris MarshallAnne
LullabyMacdearmid
Anne
The Merry-go-Round
MacdearmidDavid Watkins Berceuse (No. 2 from Six Pieces)

Dominig
Bouchaud
2 Dominig
Bouchaud
3 Dominig
Bouchaud
4 van Campen
1

5 van Campen
6 Skaila Kanga
7 Skaila Kanga
8 Pozzoli
9 Pozzoli
10 Pozzoli
11 Tournier

10

Fiona Clifton-Welker: Harping On, Book 1(Clifton-Welker)
Bonnie Goodrich: A Bouquet for Young Harpists(Hal Leonard)
Bonnie Goodrich: A Bouquet for Young Harpists(Hal Leonard)
12 Easy Nursery Tunes for Young Harpists (Alaw)
Claire Jones & Chris Marshall: Six Pieces for Harp
(Marshall Jones Music)
Comunn na Clarsaich: Folio 18 (Clarsach Society)
Comunn na Clarsaich: Folio 18 (Clarsach Society)David Watkins: Six Pieces (Boosey & Hawkes)

Coquillages (Shells)

Harpe d’or (Billaudot)

A pas de fourmis (Ant’s Steps)

Harpe d’or (Billaudot)

La balle (The Ball)

Harpe d’or (Billaudot)

Etude No. 2 (from Tutor for the Celtic Harp,
Vol. 1)
Etude No. 5 (from Tutor for the Celtic Harp,
Vol. 1)
Sound the Trumpets (No. 8 from Minstrel’s
Gallery)
The Glittering Ballroom (No. 10 from Minstrel’s
Gallery)
1st Grade: No. 2 (from 65 piccoli studi facili e
progressivi)
1st Grade: No. 3 (from 65 piccoli studi facili e
progressivi)
1st Grade: No. 10 (from 65 piccoli studi facili e
progressivi)
Les tierces

van Campen: Tutor for the Celtic Harp, Vol. 1(Harmonia)
van Campen: Tutor for the Celtic Harp, Vol. 1(Harmonia)
Skaila Kanga: Minstrel’s Gallery (Maruka Music)
Skaila Kanga: Minstrel’s Gallery (Maruka Music)
P. 91 from M. Grossi: Metodo per arpa (Ricordi)
P. 91 from M. Grossi: Metodo per arpa (Ricordi)
P. 97 from M. Grossi: Metodo per arpa (Ricordi)
Les plaisirs de la harpe, Vol. 1 (Lemoine)Harp (Pedal) from 2019 Grade 1

SCALES AND ARPEGGIOS: from memory; for further details see pages 3–4


RANGE

REQUIREMENTS

1 oct.

hands separately

1 oct.

root position; hands separately

SCALESC, G, D, F, B - majors
ARPEGGIOS

C, G, D, F, B - majors

SIGHT-READING: a short piece of previously unseen music; for further details see page 4
AURAL TESTS: administered by the examiner from the piano; for further details see pages 42 & 43

11

Harp (Pedal) from 2019

GRADE 2
THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C:COMPOSERA

B

PIECE / WORK / ARRANGER

1

BernardNo. 2 (from Aquatintes)Andrès2 Bernard
No. 6 (from Aquatintes)Andrès3 Anon. Scottish College Hornpipe, arr. Mieras
4 Anon. Welsh Dacw Mam yn Dwad (Here Comes Mother),arr. Heulyn harp 1 part
5 Anon. Welsh Can y Melinydd (The Miller’s Song),
arr. Heulyn harp 1 part
6 J. S. Bach
While Bagpipes Play, arr. Paret
7 J.-J. Rousseau Evening Song, arr. Paret
8 Mel Bonis
Le petit mendiant (The Little Beggar)
9 Grandjany
Gigue (No. 2 from Petite suite classique)
10 Grandjany
The See-Saw (from Little Harp Book)
11 L. Thomson
Ebbing Tide
12 L. Thomson
Song at Night
1

Bartók2 Bartók
3 Burgon
4 Fiona

In Phrygian Mode (from Mikrokosmos),arr. Marzuki
In Yugoslav Mode (from Mikrokosmos),arr. Marzuki
Dawn (No. 1 from Beginnings)
Goblin Rustle (from Harping On, Book 1)

Clifton-Welker
5 Gabus

Crépuscule sur le lagon (Twilight on the
Lagoon)
6 Yann Geslin
Complainte (Lament)
7 GrandjanyRêverie (No. 1 from Trois petites pièces très
faciles, Op. 7)
8 Stewart Green Mister Blister’s March (from Blistering Along!)
9 Claire Jones & MJ the Cat (from Six Pieces for Harp)

Chris Marshall
10 Skaila Kanga
11 Skaila Kanga
12 Skaila Kanga

C

Dominig
Bouchaud
2 Dominig
Bouchaud
3 van Campen
1

4 van Campen
5 Skaila Kanga
6 Skaila Kanga
7 Pozzoli

12

Hippopotamus Rag (No. 27 from Minstrel’s
Gallery)
Bedtime Blues (No. 28 from Minstrel’s Gallery)
Swing Time (No. 29 from Minstrel’s Gallery)

PUBLICATION (PUBLISHER)

Bernard Andrès: Aquatintes (Hamelle)
Bernard Andrès: Aquatintes (Hamelle)
A Harper’s Pleasure (Swanston Music)
O’r Dechrau (From the Beginning) (Alaw)
O’r Dechrau (From the Beginning) (Alaw)
Second Harp Book (Lyra)
Second Harp Book (Lyra)
Les plaisirs de la harpe, Vol. 1 (Lemoine)
Grandjany: Petite suite classique (Carl Fischer)Grandjany: Little Harp Book (Carl Fischer)
L. Thomson: Ebbing Tide (Thomson)
L. Thomson: Song at Night (Thomson)
Bartók: Mikrokosmos for Harp (Boosey & Hawkes)
Bartók: Mikrokosmos for Harp (Boosey & Hawkes)
Burgon: Beginnings (Stainer & Bell)
Fiona Clifton-Welker: Harping On, Book 1(Clifton-Welker)
Les plaisirs de la harpe, Vol. 1 (Lemoine)
Les plaisirs de la harpe, Vol. 1 (Lemoine)
Grandjany: Trois petites pièces très faciles, Op. 7 (Leduc)P. 2 from Stewart Green: Blistering Along!
(Spartan Press)
Claire Jones & Chris Marshall: Six Pieces for Harp
(Marshall Jones Music)
Skaila Kanga: Minstrel’s Gallery (Maruka Music)
Skaila Kanga: Minstrel’s Gallery (Maruka Music)
Skaila Kanga: Minstrel’s Gallery (Maruka Music)

Parapluie (Umbrella)

Harpe d’or (Billaudot)

Le crabe (The Crab)

Harpe d’or (Billaudot)

Etude No. 8 (from Tutor for the Celtic Harp,
Vol. 1)
Etude No. 11 (from Tutor for the Celtic Harp,
Vol. 1)
Mountain Stream (No. 14 from Minstrel’s
Gallery)
Garden of Dreams (No. 22 from Minstrel’s
Gallery)
1st Grade: No. 13a (from 65 piccoli studi facili e
progressivi)

van Campen: Tutor for the Celtic Harp, Vol. 1(Harmonia)
van Campen: Tutor for the Celtic Harp, Vol. 1(Harmonia)
Skaila Kanga: Minstrel’s Gallery (Maruka Music)
Skaila Kanga: Minstrel’s Gallery (Maruka Music)
P. 100 from M. Grossi: Metodo per arpa (Ricordi)

Harp (Pedal) from 2019 Grade 2

COMPOSER
8 Pozzoli
9 Pozzoli
10 Pozzoli
11 Schlomovitz

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

1st Grade: No. 13b (from 65 piccoli studi facili e
progressivi)
2nd Grade: No. 11 (from 65 piccoli studi facili e
progressivi)
2nd Grade: No. 15 (from 65 piccoli studi facili e
progressivi)
Ballerina

P. 100 from M. Grossi: Metodo per arpa (Ricordi)
P. 116 from M. Grossi: Metodo per arpa (Ricordi)
P. 122 from M. Grossi: Metodo per arpa (Ricordi)
Beginner’s Harp Book, 1 (Salvi)

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 3–4 & 6


RANGE

REQUIREMENTS

2 oct.

hands separately or together, as chosen by theexaminer

SCALESC, G, D, F, B - majors
A, E, D minors (natural or harmonic, at
candidate’s choice)
ARPEGGIOS

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

2 oct.

same keys as above

2 oct.

root position;
hands separately or together, as chosen by theexaminerroot position; divided between the hands

SIGHT-READING: a short piece of previously unseen music; for further details see page 4
AURAL TESTS: administered by the examiner from the piano; for further details see pages 42 & 43

13

Harp (Pedal) from 2019

GRADE 3
THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C:ACOMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

BernardAndrès2 Anon. Welsh

Gavotte (from Automates)

Bernard Andrès: Automates (Hamelle)

1

3 Bochsa
4 J. S. Bach
5 J. Clarke
6 Handel7 Handel8 Skaila Kanga

Llwyn Onn (The Ash Grove), arr. Milligan

Pp. 20–22 from Medieval to Modern, Vol. 2(Lyon & Healy)
Rondo ‘Le garçon volage’ (from Air and Rondo), Pp. 4–6 from Medieval to Modern, Vol. 2 (Lyon & Healy)
arr. Milligan
Second Harp Book (Lyra)
Minuet (from Sixth French Suite), arr. Paret
Chaconne, arr. Powell
Y Telynor Clasurol (The Classical Harpist) (Adlais)
Allegro, arr. Powell
Y Telynor Clasurol (The Classical Harpist) (Adlais)
Sonatina, arr. Powell
Y Telynor Clasurol (The Classical Harpist) (Adlais)
Skaila Kanga: Miniatures (Alaw)
Country Dance (No. 2 from Miniatures)
harp 1 part

9 Koechlin
10 Pässler

B

1

Sicilienne
Rondo, arr. Grandjany

Anon. Scottish A’ Bheairt-Fhioda (A Weaving Lilt), arr. Mieras
Triplets (from Mikrokosmos), arr. Marzuki
BartókFive-tone Scale (from Mikrokosmos),arr. Marzuki
Delibes
Solo for Harp
Grandjany
Barcarolle (No. 3 from Trois petites pièces très
faciles, Op. 7)
Stewart Green Blistering Rock! (from Blistering Along!)
Hasselmans
Rouet (No. 2 from Trois petites pièces faciles)
SusannAlpine Waltz
McDonald
Linda Wood Russian Lullaby

2 Bartók
3
4
5
6Franck & Delibes: Two Original Pieces (OUP archive)
Grandjany: Trois petites pièces très faciles, Op. 7 (Leduc)10 B. OrrNo. 2 (from Three Diatonic Preludes)

Bochsa2 Bochsa
3 van Campen

No. 4 (from 40 études faciles, Op. 318)
No. 5 (from 40 études faciles, Op. 318)
Scale-Study No. 4 (from Tutor for the CelticHarp, Vol. 1)
No. 1 (from Dix études faciles et progressives)
No. 2 (from Dix études faciles et progressives)
Etude
No. 1 (from Studi di media difficoltà)

Bochsa: 40 études faciles, Op. 318, Book 1 (Leduc)Bochsa: 40 études faciles, Op. 318, Book 1 (Leduc)P. 47 from van Campen: Tutor for the Celtic Harp, Vol. 1(Harmonia)
Damase: Dix études faciles et progressives (Billaudot)
Damase: Dix études faciles et progressives (Billaudot)
Les plaisirs de la harpe, Vol. 1 (Lemoine)
Pozzoli: Studi di media difficoltà (Ricordi)

89

1

4 Damase
5 Damase
6 C. Grossi
7 Pozzoli

14

A Harper’s Pleasure (Swanston Music)
Bartók: Mikrokosmos for Harp (Boosey & Hawkes)
Bartók: Mikrokosmos for Harp (Boosey & Hawkes)

Stewart Green: Blistering Along! (Spartan Press)
Hasselmans: Trois petites pièces faciles (Durand)
Linda Wood & Susann McDonald: Harp Solos, Vol. 3(Musicworks)
Linda Wood & Susann McDonald: Harp Solos, Vol. 3(Musicworks)
B. Orr: Three Diatonic Preludes (OUP archive)

7C

Les plaisirs de la harpe, Vol. 1 (Lemoine)
Short Pieces from the Masters (Carl Fischer)Harp (Pedal) from 2019 Grade 3

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 3–4 & 6


RANGE

REQUIREMENTS

2 oct.

hands separately or together, as chosen by theexaminer

SCALESC, G, D, A, E, F, B -, E - majors
A, E, D, G, C harmonic minors
ARPEGGIOS

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

2 oct.

same keys as above

3 oct.

root position;
hands separately or together, as chosen by theexaminerroot position; divided between the hands

SIGHT-READING: a short piece of previously unseen music; for further details see page 4
AURAL TESTS: administered by the examiner from the piano; for further details see pages 42 & 44

15

Harp (Pedal) from 2019

GRADE 4
THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C:COMPOSERA

B

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Sarabande (from Automates)

Bernard Andrès: Automates (Hamelle)

Gaillarde (from Automates)

Bernard Andrès: Automates (Hamelle)
Second Harp Book (Lyra)
Second Harp Book (Lyra)

5 arr. Olivia

Prelude in C, BWV 846, arr. Paret
Allegro (1st movt from Sonatina in C,
Op. 36 No. 1), arr. Paret
Merch Megan (Megan’s Daughter)

Dussek
6 Handel7 Grandjany

Sarabande, arr. Paret
Gavotte (No. 3 from Petite suite classique)

Second Harp Book (Lyra)
Grandjany: Petite suite classique (Carl Fischer)

Merriment (from Mikrokosmos), arr. Marzuki
Scarborough Fair

Bartók: Mikrokosmos for Harp (Boosey & Hawkes)
Scarborough Fair (Friou Music)

1

BernardAndrès2 Bernard
Andrès
3 J. S. Bach
4 Clementi

1

Bartók2 arr. Deborah

Merch Megan (Megan’s Daughter) (Adlais)Friou
3 Stewart Green Ragged Robin (from Flights of Fancy)
4 arr. Meinir

O’er the Sea to Skye

Stewart Green: Flights of Fancy (Spartan Press)
Famous Music for the Harp, Vol. 1 (Alaw)

Heulyn5 arr. Meinir

Heulyn6 arr. Meinir
Heulyn7 Skaila Kanga

Y Ferch o Blwy’ Penderyn (The Girl from
Penderyn)
Ar Hyd y Nos (All Through the Night)
Skating on Ice (No. 4 from Miniatures)

Telynor Llys a Chastell (Harpist of Court and Castle)(Adlais)Telynor Llys a Chastell (Harpist of Court and Castle)(Adlais)
Skaila Kanga: Miniatures (Alaw)

harp 1 part
8 Alfredo

Rolando Ortiz
9 Alfredo
Rolando Ortiz
10 Alfredo
Rolando Ortiz
11 Alfredo
Rolando Ortiz
12 Renié
13 Renié
14 arr. Ronald
Stevenson
15 Linda Wood
C

1

F. Alberti

2 F. Alberti
3 Bochsa
4 L. Concone
5 Damase
6 Damase
7 Pozzoli
8 Pozzoli
9 Schlomovitz

16

Waiting
The Harp Cha-cha-chá
Tango triste
Carnaval Brasileiro
Angélus (from Feuillets d’album)
Conte de Noël (No. 1 from Six pièces brèves)Eriskay Love-Lilt

The International Rhythmic Collection, Vol. 1(AROY Music)
The International Rhythmic Collection, Vol. 1(AROY Music)
The International Rhythmic Collection, Vol. 2(AROY Music)
The International Rhythmic Collection, Vol. 2(AROY Music)
Renié: Feuillets d’album (Lemoine)
Renié: Six pièces brèves, 1st Suite (Leduc)Sounding Strings (UMP)

Two Guitars

Linda Wood & Susann McDonald: Harp Solos, Vol. 4(Musicworks)

No. 3 (from Dix études progressives ettechniques)No. 8 (from Dix études progressives ettechniques)No. 14 (from 40 études faciles, Op. 318)
Prélude (No. 1 from 30 études progressives,
Op. 26)
No. 3 (from Dix études faciles et progressives)
No. 1 (from 12 études)
No. 11 (from Studi di media difficoltà)
No. 14 (from Studi di media difficoltà)
Butterflies

F. Alberti: Dix études progressives et techniques(Hamelle)
F. Alberti: Dix études progressives et techniques(Hamelle)
Bochsa: 40 études faciles, Op. 318, Book 1 (Leduc)
L. Concone: 30 études progressives, Op. 26, Book 1(Billaudot)
Damase: Dix études faciles et progressives (Billaudot)
Damase: 12 études pour harpe (Lemoine)
Pozzoli: Studi di media difficoltà (Ricordi)
Pozzoli: Studi di media difficoltà (Ricordi)
Beginner’s Harp Book, 1 (Salvi)

Harp (Pedal) from 2019 Grade 4

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 3–4 & 6


RANGE

REQUIREMENTS

3 oct.

hands separately or together, as chosen by theexaminer

3 oct.

hands separately or together, root position or first
inversion, as chosen by the examiner

SCALESC, G, D, A, E, F, B -, E -, A - majors
A, E, D, G, C, F harmonic minors
C, F melodic minors
ARPEGGIOS

C, G, D, A, E, F, B -, E -, A - majors
A, E, D, G, C, F minors
same keys as above

4 oct.

divided between the hands;
root position or first inversion, as chosen by theexaminer

SIGHT-READING: a short piece of previously unseen music; for further details see page 4
AURAL TESTS: administered by the examiner from the piano; for further details see pages 42 & 44

17

Harp (Pedal) from 2019

GRADE 5
THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C:COMPOSER

A

1

Anon.
2 Corelli
3 Anon.

4 T. A. Arne
5 Clementi
6 J. L. Dussek
7 arr. Meinir

Heulyn8 Naderman
9 D. Scarlatti

B

1

Anon.

2 van Delden
3 Jeffrey

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Pavane, trans. Salzédo
Sarabande, trans. Owens
Theme and Variations 2, 5 and 6 (from
Variations sur un thème de Mozart),
arr. Le Dentu
Presto: Gigue (2nd movt from Sonata No. 6 in
G minor)
Andante and Vivace (2nd and 3rd movts from
Sonatina in C, Op. 36 No. 1), trans. Shaljean
Allegro (2nd movt from Sonatina No. 2 in F)

Solos for the Harp Player (G. Schirmer)
Solos for the Harp Player (G. Schirmer)
Variations sur un thème de Mozart (Billaudot)

Water is Wide, arr. Robertson
Notturno
Fiskars (from People and Places)

Treasures of the Celtic Harp (Mel Bay)van Delden: Notturno (Lengnick)Jeffrey Mayhew: People and Places(Creighton’s Collection)
Jeffrey Mayhew: People and Places(Creighton’s Collection)
Susann McDonald & Linda Wood: Harp Solos, Vol. 5(Musicworks)
P. 103 from The Irish Harp Book (Carysfort Press)

J. L. Dussek: Six sonatines pour la harpe(Bärenreiter Praha)
Ymadawiad y Brenin (The King’s Departure)
Telynor Llys a Chastell (Harpist of Court and Castle)(Adlais)Allegro maestoso (1st movt from Sonatina No. 2 Naderman: Sept sonates progressives (Leduc)in C minor)
Sonata in C, arr. Bouchaud
Pièces Classiques, Book 5 (Billaudot)

Mayhew
4 Jeffrey

Mayhew
5 Susann
McDonald
6 O’Carolan
7 Anne-Marie

O’Farrell
8 B. Orr
9 Alfredo
Rolando Ortiz
10 Renié
11 Renié
12 C. Salzédo
13 TournierC

1

F. Alberti

2 Bernard

Anthology of English Music for the Harp, Vol. 3(Stainer & Bell)
Composers in Georgian London (Blue Crescent Music)

El Colibri (from People and Places)
Nocturne
Carolan’s Farewell to Music, arr. Larchet
Cuthbert
Prelude for Irish Harp
No. 3 (from Three Diatonic Preludes)
Noche de Fiesta
Au bord du ruisseau
Esquisse (from Feuillets d’album)
Short Fantasy on a Catalan Carol
Prélude No. 1 in G - (from Quatre préludes,
Op. 16)The O’Farrell Collection, Vol. 3: Ancient to Modern(O’Farrell)
B. Orr: Three Diatonic Preludes (OUP archive)
The International Rhythmic Collection, Vol. 1(AROY Music)
Renié: Au bord du ruisseau (Leduc)Renié: Feuillets d’album (Lemoine)
Christmas Harp Collection (Boosey & Hawkes)
Tournier: Quatre préludes, Op. 16 (Leduc)No. 4 (from Dix études progressives ettechniques)No. 1 (from Préludes, Book 1)

F. Alberti: Dix études progressives et techniques(Hamelle)
Bernard Andrès: Préludes, Book 1 (Hamelle)

No. 3 (from Préludes, Book 1)

Bernard Andrès: Préludes, Book 1 (Hamelle)Andrès3 Bernard
4
5
67

AndrèsBochsaBochsaBochsaL. Concone

8 Damase
9 Damase
10 Damase18

Bochsa: 40 études faciles, Op. 318, Book 1 (Leduc)No. 8 (from 40 études faciles, Op. 318)
Bochsa: 40 études faciles, Op. 318, Book 1 (Leduc)No. 15 (from 40 études faciles, Op. 318)
Bochsa: 40 études faciles, Op. 318, Book 1 (Leduc)No. 16 (from 40 études faciles, Op. 318)
Prélude in B - (No. 2 from 30 études progressives, L. Concone: 30 études progressives, Op. 26, Book 1(Billaudot)
Op. 26)
Damase: Dix études faciles et progressives (Billaudot)
No. 4 (from Dix études faciles et progressives)
Damase: Dix études faciles et progressives (Billaudot)
No. 5 (from Dix études faciles et progressives)
Damase: 12 études pour harpe (Lemoine)
No. 2 (from 12 études)

Harp (Pedal) from 2019 Grade 5

COMPOSER
11 Damase
12 Pozzoli
13 Pozzoli
14 Pozzoli
15 SorPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

No. 3 (from 12 études)
No. 10 (from Studi di media difficoltà)
No. 15 (from Studi di media difficoltà)
No. 20 (from Studi di media difficoltà)
Etude No. 5, arr. Bouchaud

Damase: 12 études pour harpe (Lemoine)
Pozzoli: Studi di media difficoltà (Ricordi)
Pozzoli: Studi di media difficoltà (Ricordi)
Pozzoli: Studi di media difficoltà (Ricordi)
Panorama de la harpe celtique, Vol. 1(Editions Musicales Transatlantiques)

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 3–4 & 6–7


RANGE

REQUIREMENTS

3 oct.

hands separately or together, as chosen by theexaminer

3 oct.

hands separately or together, root position or first
inversion, as chosen by the examiner

3 oct.

hands separately or together, root position, first or
second inversion, as chosen by the examiner

SCALESC, G, D, A, E, B, F +, C +, F, B -, E -, A -, D -, G -, C majors
A, E, B, F +, C +, D, G, C, F, B -, E -, A - minors(harmonic and melodic)
ARPEGGIOS

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

4 oct.

4 oct.

divided between the hands;
root position or first inversion, as chosen by theexaminer
divided between the hands;
root position, first or second inversion, as chosen by
the examiner

DOMINANT SEVENTHS

3 oct.
in the keys of C, F, G and B 4 oct.

root position;
hands separately or together, as chosen by theexaminerroot position; divided between the hands

SIGHT-READING: a short piece of previously unseen music; for further details see page 4
AURAL TESTS: administered by the examiner from the piano; for further details see pages 42 & 45

19

Harp (Pedal) from 2019

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:A

1COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Blow

Mortlack’s Ground

Anthology of English Music for the Harp, Vol. 2(Stainer & Bell)
Spanish Masters of the 16th and 17th Century (Schott)
J. L. Dussek: Six sonatines pour la harpe(Bärenreiter Praha)
Handel: Gigue for Harp (Adlais)
Anthology of English Music for the Harp, Vol. 3(Stainer & Bell)
Solos for the Harp Player (G. Schirmer)
D. Scarlatti: Two Sonatas for Harp (Lyon & Healy)

2 Cabezón
3 J. L. Dussek
4 Handel5 John Parry
6 Rameau
7 D. Scarlatti

B

1

Britten2 Paul Lewis
3 H. Mancini
4 C. Salzédo
5 arr. John

Pavane and Variations
Sonatina No. 6 in E - complete
Gigue, arr. Thomas
Allegro (1st movt from Sonata No. 1 in D)
Tambourin, trans. Salzédo
Sonata in A, Kp. 208, L. 238, trans. Wooldridge

Britten: A Ceremony of Carols, Op. 28: harp part
Interlude (No. 7 from A Ceremony of Carols,(Boosey & Hawkes)
Op. 28)Paul Lewis: Saturday Night Jazz Suite (Goodmusic)
Blue Fiver (No. 3 from Saturday Night Jazz
Suite)
Moon River, arr. Kanga
All-Time Jazz Favourites (Alaw)
C. Salzédo: Suite of Eight Dances (Lyon & Healy)
Polka (from Suite of Eight Dances)
Bugeilio’r Gwenith Gwyn (Watching the Wheat) Bugeilio’r Gwenith Gwyn (Watching the Wheat) (Adlais)

Thomas
6 Tournier
7 Tournier
8 TournierC

1

F. Alberti

2 F. Alberti
3 Bochsa
4 Bochsa
5 L. Concone
6 Damase
7 Damase
8 Damase
9 Damase
10 Dizi
11 S. Heller
12 Pozzoli
13 Pozzoli
14 Bonnie

Shaljean20

Les enfants à la crèche de Noël (from Images,
Op. 31)
Prélude No. 3 in E - (from Quatre préludes,
Op. 16)
Prélude No. 4 in G - (from Quatre préludes,
Op. 16)

Tournier: Images, Op. 31, Suite No. 2 (Lemoine)
Tournier: Quatre préludes, Op. 16 (Leduc)Tournier: Quatre préludes, Op. 16 (Leduc)

F. Alberti: Dix études progressives et techniquesNo. 5 (from Dix études progressives et(Hamelle)
techniques)
F. Alberti: Dix études progressives et techniquesNo. 6 (from Dix études progressives et(Hamelle)
techniques)
Bochsa: 50 études, Op. 34, Book 1 (Leduc)No. 1 (from 50 études, Op. 34)
Bochsa: 50 études, Op. 34, Book 1 (Leduc)No. 2 (from 50 études, Op. 34)
Prélude in B - (No. 5 from 30 études progressives, L. Concone: 30 études progressives, Op. 26, Book 1(Billaudot)
Op. 26)
Damase: Dix études faciles et progressives (Billaudot)
No. 7 (from Dix études faciles et progressives)
Damase: Dix études faciles et progressives (Billaudot)
No. 10 (from Dix études faciles et progressives)
Damase: 12 études pour harpe (Lemoine)
No. 5 (from 12 études)
Damase: 12 études pour harpe (Lemoine)
No. 6 (from 12 études)
Dizi: 48 études, Book 1 (Lemoine)
No. 7 (from 48 études)
Etude in C, Op. 45 No. 1, trans. Shaljean
Etudes for Concert or Celtic Harp (Blue Crescent Music)
Pozzoli: Studi di media difficoltà (Ricordi)
No. 12 (from Studi di media difficoltà)
Pozzoli: Studi di media difficoltà (Ricordi)
No. 21 (from Studi di media difficoltà)
Bonnie Shaljean: 12 Preludes for Concert or Celtic Harp
Prelude in A minor (from 12 Preludes)(Blue Crescent Music)

Harp (Pedal) from 2019 Grade 6

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 3–4 & 6–7


RANGE

REQUIREMENTS

4 oct.

hands separately, or hands together one octave or asixth apart, as chosen by the examiner

4 oct.

hands separately or together, root position, first or
second inversion, as chosen by the examiner

SCALESC, G, D, A, E, B, F +, C +, F, B -, E -, A -, D -, G -, C majors
A, E, B, F +, C +, D, G, C, F, B -, E -, A - minors(harmonic and melodic)
ARPEGGIOS

C, G, D, A, E, B, F +, C +, F, B -, E -, A -, D -, G -, C majors
A, E, B, F +, C +, D, G, C, F, B -, E -, A - minors
same keys as above

4 oct.

divided between the hands;
root position, first or second inversion, as chosen by
the examiner

3 oct.

hands separately or together, root position or first
inversion, as chosen by the examiner
divided between the hands;
root position or first inversion, as chosen by theexaminer

DOMINANT SEVENTHS

in the keys of C, G, D, A, E, B, F +, C +, F, B -, E -, A -,D -, G - and C -4 oct.

SIGHT-READING: a short piece of previously unseen music; for further details see page 4
AURAL TESTS: administered by the examiner from the piano; for further details see pages 42 & 45

21

Harp (Pedal) from 2019

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:A

1COMPOSERPIECE / WORK / ARRANGER

T. A. Arne

Allegro and Andante (1st and 2nd movts from Anthology of English Music for the Harp, Vol. 3
Sonata No. 7 in A)(Stainer & Bell)Any two movements (from Sonata in C minor, S. Dussek: Sonata in C minor, Op. 2 No. 3 (Schott)Op. 2 No. 3)
Passacaglia, arr. Béon
Handel: Passacaglia for Harp (Leduc)
Theme and Variations
Handel: Theme and Variations for Harp (Schott)Andante and Un poco allegro (1st and 2nd
P. J. Mayer: Sonata in G minor, Op. 3 No. 6 (Schott)movts from Sonata in G minor, Op. 3 No. 6)
Prélude and Allegro brillante poco moderato
Naderman: Sept sonates progressives (Leduc)(from Sonatina No. 7 in C)
John Parry: Four Sonatas (Salvi)
Any two movements (from Sonata No. 2 in G)
C. Salzédo: Suite of Eight Dances (Lyon & Healy)
Menuet (from Suite of Eight Dances)
C. Salzédo: Suite of Eight Dances (Lyon & Healy)
Siciliana (from Suite of Eight Dances)
Sonata in A minor, Kp. 61, L. 136, arr. Bouchaud Pièces Classiques, Book 6 (Billaudot)
The Seven Joys
Bonnie Shaljean: The Seven Joys (Blue Crescent Music)

2 S. Dussek
3 Handel4 Handel5 P. J. Mayer
6 Naderman
7 John Parry
8 C. Salzédo
9 C. Salzédo
10 D. Scarlatti
11 Bonnie

PUBLICATION (PUBLISHER)

ShaljeanB

3 Field

Crépuscule
Danse du corregidor, arr. Watkins
Nocturne in D minor

4 GlinkaNocturne

5 Hasselmans

PrièreNataliana

1

Alwyn

2 Falla6 Deborah

HensonConant
7 arr. Meinir
Heulyn8 Ibert
9 Skaila Kanga
10 W. Mathias
11 Sergiu Natra
12 Alfredo

Pedair ‘Waltz’ o Gymru (Four Welsh Waltzes)

Gwledd Geltaidd (A Celtic Feast), Vol. 1 (Alaw)

Scherzetto (No. 2 from Six pièces)Any two movements (from Les saisons de laharpe)
Any two movements (from Improvisations,Op. 10)
Any two movements (from Sonatina for Harp)
Danza Cubana

Ibert: Six pièces: Scherzetto (Leduc)
Skaila Kanga: Les saisons de la harpe (Alaw)

Rolando Ortiz
13 John RutterInterlude (from Dancing Day)

14 David Watkins Nocturne (from Petite Suite)
15 David Watkins Fire Dance (from Petite Suite)C

J. S. Bach,
No. 9 (from Etudes for Harp)
arr. Grandjany
2 Damase
Allegretto (from 12 préludes)
3 Damase
Allegro vivace (from 12 préludes)
1

4 Desserre

22

Alwyn: Crépuscule (Lengnick)Falla: Three Pieces for Harp (Chester)Anthology of English Music for the Harp, Vol. 4(Stainer & Bell)
Glinka: Variations on a Theme of Mozart and Nocturne(Salvi)
Hasselmans: Prière (Salabert)
Deborah Henson-Conant: Nataliana(Golden Cage Music)

No. 1 in C - (from Trois études)l Limited availability

W. Mathias: Improvisations, Op. 10 (OUP)
Sergiu Natra: Sonatina for Harp (Israel Music Institute)
The International Rhythmic Collection, Vol. 2(AROY Music)
John Rutter: Dancing Day: harp part (OUP)
David Watkins: Petite Suite (UMP)
David Watkins: Petite Suite (UMP)
J. S. Bach: Etudes for Harp (Carl Fischer)Pp. 4–6 from Damase: 12 préludes pour harpe (Lemoine)Pp. 8–11 from Damase: 12 préludes pour harpe(Lemoine)
Desserre: Trois études(Les Nouvelles Éditions Méridian) lHarp (Pedal) from 2019 Grade 7

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

5 Desserre

COMPOSER

No. 3 in G - (from Trois études)

6 DiziNo. 2 (from 48 études)
No. 5 (from 48 études)
No. 10 (from 48 études)
Etude in C, Op. 91 No. 11, trans. Shaljean
Prelude in C (from 12 Preludes)

Desserre: Trois études(Les Nouvelles Éditions Méridian) l
Dizi: 48 études, Book 1 (Lemoine)
Dizi: 48 études, Book 1 (Lemoine)
Dizi: 48 études, Book 1 (Lemoine)
Etudes for Concert or Celtic Harp (Blue Crescent Music)
Bonnie Shaljean: 12 Preludes for Concert or Celtic Harp
(Blue Crescent Music)
Bonnie Shaljean: 12 Preludes for Concert or Celtic Harp
(Blue Crescent Music)
Tournier: Étude de concert ‘Au matin’ (Leduc)Zabel: Marguerite au rouet, Op. 19 (Adlais)

7 Dizi8 Dizi
9 Moszkowski
10 Bonnie

Shaljean
11 Bonnie

Prelude in B - (from 12 Preludes)

Shaljean
12 Tournier
13 Zabel

Étude de concert ‘Au matin’
Marguerite au rouet, Op. 19

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 3–4 & 6–7


RANGE

REQUIREMENTS

4 oct.

hands separately, or hands together one octave, a sixth
or a tenth apart, as chosen by the examiner

2 oct.

hands starting one octave apart4 oct.

hands separately or together, root position, first or
second inversion, as chosen by the examiner

SCALES (SIMILAR MOTION)

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

C, G, D, A, E, B, F +, C +, F, B -, E -, A -, D -, G -, C majors
A, E, B, F +, C +, D, G, C, F, B -, E -, A - harmonicminors
ARPEGGIOS

C, G, D, A, E, B, F +, C +, F, B -, E -, A -, D -, G -, C majors
A, E, B, F +, C +, D, G, C, F, B -, E -, A - minors
same keys as above

4 oct.

divided between the hands;
root position, first or second inversion, as chosen by
the examiner

DOMINANT SEVENTHS

in the keys of C, G, D, A, E, B, F +, C +, F, B -, E -, A -,D -, G - and C -4 oct.

hands separately or together, root position, first or
second inversion, as chosen by the examiner
divided between the hands;
root position, first or second inversion, as chosen by
the examiner
narrow position, divided between the hands(root position only)

SIGHT-READING: a short piece of previously unseen music; for further details see page 4
AURAL TESTS: administered by the examiner from the piano; for further details see pages 42 & 46

23

Harp (Pedal) from 2019

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:A

1COMPOSERPIECE / WORK / ARRANGER

J. L. Dussek

J. L. Dussek: Deux grandes sonates, Op. 34 (Salvi)
Allegro brillante (1st movt from Sonata in E -,Op. 34 No. 1)
The Garland of Love, trans. Shaljean
S. Dussek: The Garland of Love (Blue Crescent Music)
Allegretto con fantasia (1st movt from Sonatina Giuranna: Sonatina for Harp (Ricordi)
for Harp)
Variations on a Theme of Mozart
Glinka: Variations on a Theme of Mozart and Nocturne
version No. 1 for harp
(Salvi)
Air and Variations ‘The Harmonious
Pièces Classiques, Book 6 (Billaudot)
Blacksmith’, arr. Bouchaud
Andante allegro and Larghetto (1st and
Handel: Concerto for Harp in B -, Op. 4 No. 6, HWV 294
2nd movts from Concerto in B -, Op. 4 No. 6,(pedal harp solo part: Bärenreiter)
HWV 294) unaccompanied
Prelude and Toccata
Grandjany: Music for the Harp (AMP)

2 S. Dussek
3 Giuranna
4 Glinka
5 Handel6 Handel7 Handel,PUBLICATION (PUBLISHER)

arr. Grandjany
8 Pierné

Impromptu-Caprice, Op. 9
Pierné: Impromptu-Caprice, Op. 9 (Leduc)
Siciliana, trans. Grandjany
Respighi: Siciliana for Harp (Ricordi)
10 J. Rodrigo
Adagio con passione (2nd movt from Concierto J. Rodrigo: Concierto de Aranjuez, for Harp (Safari) ode Aranjuez), trans. Hurst
11 C. Salzédo
Gavotte and Tango (from Suite of Eight Dances) C. Salzédo: Suite of Eight Dances (Lyon & Healy)
12 D. Scarlatti
Sonata in D, Kp. 430, L. 463, arr. Owens
D. Scarlatti: Three Sonatas (Lyon & Healy)
13 David Watkins Prelude (from Petite Suite)
David Watkins: Petite Suite (UMP)
14 von Würtzler Variations on a Theme of Corelli
von Würtzler: Variations on a Theme of Corelli
omitting Variations 4 & 5(GMPC) l
9 Respighi

B

1

Y. Bowen

2 Büsser
3 Flothuis
4 Eugene

ArabesquePièce de concert, Op. 32 observing both cuts
Pour le tombeau d’Orphée, Op. 37
Ballade No. 2

Y. Bowen: Arabesque for Harp (Novello)
Büsser: Pièce de concert, Op. 32 (Leduc)
Flothuis: Pour le tombeau d’Orphée, Op. 37 (Donemus)
Eugene Goossens: Deux ballades (Leduc)Viejo zortzico
Valse de concert
Milonga para amar advanced version

Guridi: Viejo zortzico (UME)
Hasselmans: Valse de concert (Combre)
P. 52 from The International Rhythmic Collection, Vol. 2(AROY Music)
All-Time Jazz Favourites (Alaw)
A. Roussel: Impromptu, Op. 21 (Durand)
Bonnie Shaljean: Slow Train (Blue Crescent Music)

Goossens
5 Guridi
6 Hasselmans
7 Alfredo

Rolando Ortiz
8 Rodgers
9 A. Roussel
10 Bonnie

My Favourite Things, arr. Kanga
Impromptu, Op. 21
Slow Train

Shaljean
11 Tailleferre

C

J. S. Bach,
No. 1 (from Etudes for Harp)
arr. Grandjany
2 J. S. Bach,
No. 12 (from Etudes for Harp)
arr. Grandjany
3 Beethoven
Mandolin Sonatina in C, trans. Shaljean
4 Desserre
No. 2 in E - (from Trois études)
1

5 Dizi24

Perpetuum mobile (3rd movt from Sonata for
Harp)

No. 21 (from 48 études)l Limited availability o Out of print

Tailleferre: Sonata for Harp (Peermusic Classical)
J. S. Bach: Etudes for Harp (Carl Fischer)
J. S. Bach: Etudes for Harp (Carl Fischer)
Beethoven for Harp (Blue Crescent Music)
Desserre: Trois études(Les Nouvelles Éditions Méridian) l
Dizi: 48 études, Book 1 (Lemoine)Harp (Pedal) from 2019 Grade 8

COMPOSER
6 Dizi7 Dizi8 Prokofiev
9 N. Rota
10 Eric Schmidt
11 Bonnie

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

No. 23 (from 48 études)
No. 24 (from 48 études)
Prelude in C, Op. 12 No. 7
Toccata (from Sarabanda e toccata)
No. 6 (from Six études)
Prelude in D minor (from 12 Preludes)

Dizi: 48 études, Book 1 (Lemoine)
Dizi: 48 études, Book 1 (Lemoine)
Prokofiev: Prelude in C, Op. 12 No. 7 (Forberg)
N. Rota: Sarabanda e toccata (Ricordi)
Eric Schmidt: Six études (Leduc)
Bonnie Shaljean: 12 Preludes for Concert or Celtic Harp
(Blue Crescent Music)
Bonnie Shaljean: 12 Preludes for Concert or Celtic Harp
(Blue Crescent Music)
J. Thomas: Selected Studies (Adlais)
J. Thomas: Selected Studies (Adlais)
Zabel: Three Concert Études (Zimmermann)

Shaljean
12 Bonnie

Prelude in F (from 12 Preludes)

Shaljean
13 J. Thomas
14 J. Thomas
15 Zabel

Study No. 2 in B - minor
Study No. 4 in G No. 1 in E - (from Three Concert Études)

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 3–4 & 6–7


RANGE

REQUIREMENTS

4 oct.

hands separately, or hands together one octave, a sixth
or a tenth apart, as chosen by the examiner

2 oct.

hands starting one octave, a sixth or a tenth apart, as
chosen by the examiner

4 oct.

hands separately or together, root position, first or
second inversion, as chosen by the examiner

SCALES (SIMILAR MOTION)

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

C, G, D, A, E, B, F +, C +, F, B -, E -, A -, D -, G -, C majors
A, E, B, F +, C +, D, G, C, F, B -, E -, A - harmonicminors
ARPEGGIOS

C, G, D, A, E, B, F +, C +, F, B -, E -, A -, D -, G -, C majors
A, E, B, F +, C +, D, G, C, F, B -, E -, A - minors
same keys as above

4 oct.

same keys as above

4 oct.

divided between the hands;
root position, first or second inversion, as chosen by
the examiner
narrow position, divided between the hands(root position only)

DOMINANT SEVENTHS

in the keys of C, G, D, A, E, B, F +, C +, F, B -, E -, A -,D -, G - and C -4 oct.

hands separately or together, root position, first, secondor third inversion, as chosen by the examiner
divided between the hands;
root position, first, second or third inversion, as chosen
by the examiner
narrow position, divided between the hands(root position only)

4 oct.

hands separately or together, as chosen by the examiner
divided between the hands

DIMINISHED SEVENTHS

starting on C +, F + and G +SIGHT-READING: a short piece of previously unseen music; for further details see page 4
AURAL TESTS: administered by the examiner from the piano; for further details see pages 42 & 47

25

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

In the exam
Aural tests are an integral part of all Practical graded exams.
T he tests are administered by the examiner from the piano. For any test that requires a sungresponse, pitch rather than vocal quality is being assessed. T he 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).

Assessment
Some tests allow for a second attempt or for an additional playing by the examiner, if necessary.
T he 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. T he marking criteria for the aural tests are given
on p. 53.

Specimen tests
Examples of the tests are given in Specimen Aural Tests and Aural Training in Practice (from2011), available for purchase from music retailers and from www.abrsm.org/shop.

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 entry. Further information, including the syllabus for the alternative
tests, is available at www.abrsm.org/specificneeds.

42Aural Tests GRADE 1
A

B

C

D

To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or
three time. T he 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. T he examiner will thenask whether the music is in two time or three time. T he candidate is not required to state the time
signature.
To sing as ‘echoes’ three phrases played by the examiner. T he 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 andthe 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.
To identify where a change in pitch occurs during a phrase played by the examiner. T he phrase
will be two bars long, in a major key, and the change will affect only one of the notes. First the examiner
will play the key-chord and the tonic and then count in two bars. T he examiner will play the phrase
twice, making the change in the second playing, after which the candidate should state whether thechange was near the beginning or near the end. If necessary, the examiner will play both versionsof the phrase again (although this may affect the assessment).
To answer questions about two features of a piece played by the examiner. Before playing, theexaminer will tell the candidate which two features the questions will be about. T he first will be:
dynamics (loud/quiet, or sudden/gradual changes); the second will be articulation (smooth/
detached).

Aural Tests GRADE 2
A

B

C

D

To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or
three time. T he 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. T he examiner will thenask whether the music is in two time or three time. T he candidate is not required to state the time
signature.
To sing as ‘echoes’ three phrases played by the examiner. T he 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 andthe 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.
To identify a change in either pitch or rhythm during a phrase played by the examiner. T he phrase
will be two bars long, in a major key. First the examiner will play the key-chord and the tonic andthen count in two bars. T he examiner will play the phrase twice, making the change in the second
playing, after which the candidate should identify the change by describing it, or singing/clapping.
If necessary, the examiner will play both versions of the phrase again (although this may affect theassessment).
To answer questions about two features of a piece played by the examiner. Before playing, theexaminer will tell the candidate which two features the questions will be about. T he first will be oneof the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/detached);
the second will be tempo (becoming slower/faster, or staying the same).

43Aural Tests GRADE 3
A

B

C

D

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. T he 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. T he examiner
will then ask whether the music is in two time, three time or four time. T he candidate is not required
to state the time signature.
To sing as ‘echoes’ three phrases played by the examiner. T he phrases will be two bars long, in a
major or minor key, and within the range of an octave. First the examiner will play the key-chord
and the starting note and then count in two bars. After the examiner has played each phrase, thecandidate should sing back the echo without a pause, keeping in time.
To identify a change in either pitch or rhythm during a phrase played by the examiner. T he phrase
will be up to four bars long, in a major or minor key. First the examiner will play the key-chord andthe tonic and then count in two bars. T he examiner will play the phrase twice, making the change
in the second playing, after which the candidate should identify the change by describing it, or
singing/clapping. If necessary, the examiner will play both versions of the phrase again (although
this may affect the assessment).
To answer questions about two features of a piece played by the examiner. Before playing, theexaminer will tell the candidate which two features the questions will be about. T he first will be oneof the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/detached),
tempo (becoming slower/faster, or staying the same); the second will be tonality (major/minor key).

Aural Tests GRADE 4
A

To sing or play from memory a melody played twice by the examiner. T he 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. T he candidate may choose to sing from treble or bass
clef. T he notes will be within the range of a third above and below the tonic in the key of C, F or G
major. T he test will begin and end on the tonic and will not contain intervals greater than a third.
First the examiner will name and play the key-chord and the starting note. If necessary, the examiner
will help the candidate by playing and identifying the correct note if any note is sung at the wrong
pitch.
C (i) To answer questions about two features of a piece played by the examiner. Before playing, theexaminer will tell the candidate which two features the questions will be about. T he first will be oneof the following: dynamics, articulation, tempo, tonality; the second will be character.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it isin two time, three time or four time. T he examiner will play the extract twice (unharmonized), after
which the candidate should clap back the rhythm. T he examiner will then ask whether the music
is in two time, three time or four time. T he candidate is not required to state the time signature.

44

Aural Tests GRADE 5
A

To sing or play from memory a melody played twice by the examiner. T he 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. T he candidate may choose to sing from treble or bass clef.
T he notes will be within the range of a fifth above and a fourth below the tonic, in a major key withup to two sharps or flats. T he 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 nameand play the key-chord and the starting note. If necessary, the examiner will help the candidate byplaying 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, theexaminer will tell the candidate which two features the questions will be about. T he first will be oneof the following: dynamics, articulation, tempo, tonality, character; the second will be style andperiod.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it isin two time, three time or four time. T he examiner will play the extract twice (unharmonized), after
which the candidate should clap back the rhythm. T he examiner will then ask whether the music isin two time, three time or four time. T he candidate is not required to state the time signature.

Aural Tests GRADE 6
A

To sing or play from memory the upper part of a two-part phrase played twice by the examiner.
T he upper part will be within the range of an octave, in a major or minor key with up to three sharps
or flats. First the examiner will play the key-chord and the starting note and then count in two bars.
(If the candidate chooses to play, the examiner will also name the key-chord and the starting note,as appropriate for the instrument.) If necessary, the examiner will play the phrase again and allow
a second attempt (although this may affect the assessment).
B
To sing a melody from score, with an accompaniment played by the examiner. T he candidate may
choose to sing from treble or bass clef. T he melody will be within the range of an octave, in a majoror minor key with up to three sharps or flats. First the examiner will name and play the key-chord
and the starting note and then give the pulse. A brief period of preparation will follow during which
the candidate may sing out loud. T he 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 thismay affect the assessment).
C
To identify the cadence at the end of a phrase as perfect or imperfect. T he phrase will be in a
major or minor key and will be played twice by the examiner. T he chords forming the cadence will
be in root position. Before the first playing, the examiner will play the key-chord.
D(i) To answer questions about two features of a piece played by the examiner. Before playing, theexaminer will tell the candidate which two features the questions will be about. T he 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 isin two time, three time or four time. T he examiner will play the extract twice (unharmonized), after
which the candidate should clap back the rhythm. T he examiner will then ask whether the music isin two time, three time or four time. T he candidate is not required to state the time signature.

45

Aural Tests GRADE 7
A

To sing or play from memory the lower part of a two-part phrase played twice by the examiner.
T he lower part will be within the range of an octave, in a major or minor key with up to three sharps
or flats. First the examiner will play the key-chord and the starting note and then count in two bars. (Ifthe 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 phrase again and allow asecond attempt (although this may affect the assessment).
B
To sing the upper part of a two-part phrase from score, with the lower part played by theexaminer. T he candidate may choose to sing from treble or bass clef. T he upper part will be within
the range of an octave, in a major or minor key with up to four sharps or flats. First the examiner
will name and play the key-chord and the starting note and then give the pulse. A brief period of
preparation will follow during which the candidate may sing out loud. T he examiner will play the
key-chord and the starting note again and then count in two bars. If necessary, the examiner willallow a second attempt (although this may affect the assessment).
C(i) 	To identify the cadence at the end of a phrase as perfect, imperfect or interrupted. T he phrase
will be in a major or minor key and will be played twice by the examiner. T he chords forming thecadence will be in root position. Before the first playing, the examiner will play the key-chord.
(ii) To identify the two chords forming the above cadence. T he 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. T he candidate may answer
using technical names (tonic, dominant, etc.), chord numbers (I, V, etc.) or letter names (C major,
G major, etc.).
(iii) To identify whether the modulation at the end of a different passage is to the dominant,subdominant or relative minor. T he passage, played once by the examiner, will begin in a major
key. First the examiner will name and play the starting key-chord. T he candidate may answer using
technical names (dominant, subdominant, relative minor) or the letter name of the new key.
D(i) To answer questions about two features of a piece played by the examiner. Before playing, theexaminer will tell the candidate which two of the following features the questions will be about:dynamics, articulation, tempo, tonality, character, style and period, texture, structure.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it isin two time, three time, four time or 6/8 time. T he examiner will play the extract twice(unharmonized), after which the candidate should clap back the rhythm. T he examiner will thenask whether the music is in two time, three time, four time or 6/8 time.

46

Aural Tests GRADE 8
A (i) To sing or play from memory the lowest part of a three-part phrase played twice by the examiner.
T he lowest part will be within the range of an octave, in a major or minor key with up to three sharps
or flats. First the examiner will play the key-chord and the starting note and then count in two bars.
(If the candidate chooses to play, the examiner will also name the key-chord and the starting note,as appropriate for the instrument.) 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 orplagal. T he phrase will be in a major or minor key and will be played twice by the examiner. T he
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.
T he chords will be limited to the tonic (root position, first or second inversions), supertonic (rootposition or first inversion), subdominant (root position), dominant (root position, first or second
inversions), dominant seventh (root position) or submediant (root position). First the examiner willname and play the key-chord, then play the three chords in sequence, finally playing each chordindividually, pausing for the candidate to identify it. T he candidate may answer using technicalnames (tonic, first inversion, etc.), chord numbers (Ib, etc.) or letter names (C major in first inversion,etc.).
B		 To sing the lower part of a two-part phrase from score, with the upper part played by theexaminer. T he candidate may choose to sing from treble or bass clef. T he lower part will be within
the range of an octave, in a major or minor key with up to four sharps or flats. First the examiner
will name and play the key-chord and the starting note and then give the pulse. A brief period of
preparation will follow during which the candidate may sing out loud. T he examiner will play the
key-chord and the starting note again and then count in two bars. If necessary, the examiner willallow a second attempt (although this may affect the assessment).
C		 To identify whether the modulations at the end of two different passages are to the dominant,subdominant or relative minor/major. T he first passage will begin in a major key and the second
will begin in a minor key; each passage will be played once by the examiner. Before playing eachpassage, the examiner will name and play the starting key-chord. T he 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 andperiod, etc.). T he examiner will prompt the candidate with questions only if this becomes necessary.

47

ARSM
T he 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•   T here are no additional supporting tests or other requirements•   ARSM exams take place at the same venues and time periods as ABRSM’s graded musicexams•   ARSM is a letter-bearing qualification. Candidates awarded the diploma can use the letters
ARSM (Associate of the Royal Schools of Music) after their name.
T hose 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.

48

DipABRSM / LRSM / FRSM (Music Performance)
T hese diplomas are available to instrumentalists and singers of any age. T hrough 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
erform a short piece of unaccompanied and previously unseen music after five°   pminutes’
preparation time (quick study)•   T hese 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.
T hose 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.

Further diploma exams: DipABRSM, LRSM and FRSM diplomas are also available for
Instrumental/Vocal Teaching and Music Direction. Full details are available at www.abrsm.org/
diplomas.

49

MUSIC T HEORYABRSM Music T heory exams are available for Grades 1–8. Candidates may be entered for any
grade irrespective of age and without previously having taken any other grade. T he full syllabus
is available at www.abrsm.org/theory.

About Music T heory
Developing musical literacy forms a key part of a rounded education for performers, composers
and listeners of all kinds. Understanding how written symbols relate to the elements of music,
and having the skills to interpret and translate them into sounds, empowers us to communicate
and experience music in a meaningful way.
ABRSM’s Music T heory exams give students:•   a knowledge of the notation of western music, including commonly used signs andterminol­ogy•   an understanding of fundamental musical elements such as intervals, keys, scales andchords•    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 of apass at Grade 5 or above in Music T heory, Practical Musicianship or any solo Jazz instrument
before they can enter for Grades 6, 7 or 8 Practical exams.

50

PRACTICAL MUSICIANSHIPABRSM Practical Musicianship exams are available for Grades 1–8 and are open to singers andinstrumentalists. Candidates may be entered for any grade irrespective of age and without
previously having taken any other grade. T he 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’. T his 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 Practical Musicianship exams encourage students to develop their ability to ‘think insound’ and perform spontaneously. While the other graded exams focus on aspects ofperformance 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.
ABRSM’s Practical Musicianship exams cover the following key skills:•    the ability to internalize 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, students will be gaining the understanding aswell as the expressive and interpretative skills needed to master the musical language ofthe 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 of apass at Grade 5 or above in Practical Musicianship, Music T heory or any solo Jazz instrument
before they can enter for Grades 6, 7 or 8 Practical exams.

51

0

10–12

13–16

Below Pass
17–19

Pass
20–23

Merit
24–26

Distinction
27–30

Grades 1–8
Time

Tone

● No work offered

and/or intonation● Highly inaccurate notes

and/or intonation● Largely inaccurate notes● No work offeredpulse● Incoherent tempo and/or

pulse● Erratic tempo and/or● No work offered● No tonal control

control● Serious lack of tonal

unreliable● Inadequate tonal
awareness

uncontrolled tempo● Irregular pulse● Inaccurate rhythm

intonation to maintaintonality● Uneven and/or● Unsuitable and/or● Insufficiently reliableawareness● Adequate tonal● Generally reliable● Good tonal awarenessconsistent● Mainly controlled andqualities● Sensitive use of tonal● Well projected● Frequent note errors

accuracy● Overall rhythmic● Generally stable pulse

intonation to maintaintonality● Suitable tempo● Sufficiently reliable● Good sense of rhythm

tempo● Sustained, effective

well conveyed● Rhythmic character

where appropriate● Fluent, with flexibility● Generally correct notes

and intonation● Largely accurate notes

and intonation● Highly accurate notes

Pieces
Pitch

MARKING CRITERIA
Shape● No work offered● No shape or detaillargely unrealised● Musical shape and detailinsufficiently conveyed● Musical shape and detailmusical shape and/or
detail● Some realisation ofwell-realised detail● Clear musical shaping,musical shaping anddetail● Expressive, idiomatic

Performance● No work offered

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

involvement● Insufficient musicalrecovery from slips● Insecure, inadequate

involvement● Some musicalrecovery from slips● Generally secure, prompt

communicated● Character and styleconviction● Carrying musical● Positiveof character and style● Vivid communication● Fully committed● Assured

0

7–10

Below Pass
11–13

Pass
14–16

Merit
17–18

Distinction
19–21

Grades 1–8● Note values mostly realised● Incorrect note values● Very approximate notes/pitch/key● Lacking continuity and/or some items

incomplete● Unreliable tone
● Uncertain response and/or someitems not attempted● Pitch outlines absent● Very uncertain presentation● Serious lack of tonal control● Very uncertain response and/or● No work offered● No work offered● Note values unrealised● Sporadic and/or frequently incomplete

several items not attempted● No continuity or incomplete● Very approximate notes and/or pitch● Insecure presentation● Lacking overall continuity● Frequent errors in notes and/or pitch● Cautious presentation● Pitch outlines in place, despite errors● Continuity generally maintained● Largely secure presentation● Secure response

despite errors● Continuity generally maintained● Generally reliable tone
● Cautious response● Largely correct notes/pitch/key● Mainly even tone

● Generally correct notes/pitch,● Mainly correct rhythm● Confident presentation● Confident response● Adequate tempo, usually steady pulse● Musical detail realised● Musically shaped● Mostly regular flow

● Accurate notes/pitch/key● Largely accurate notes/pitch● Fluent, rhythmically accurate● Fluent and rhythmic

Sight-reading● Highly accurate notes/pitch

Scales and arpeggios

0

6–8

Below Pass
9–11

Pass
12–14

Merit
15–16

Distinction
17–18

Grades 1–8● No work offered● Vague response● Inaccuracy throughout● Uncertain response● Weaknesses outweigh strengths● Cautious response

weaknesses● Strengths just outweigh● Secure response● Musically aware

weaknesses● Strengths significantly outweigh● Confident response● Musically perceptive● Accurate throughout

Aural tests

List

Grade

Composer

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

06/17

HARP GRADES: requirements and information
T hese syllabuses are valid from 2019 until further notice.
T his section provides a summary of the most important points that teachers and candidates needto know when taking ABRSM graded harp exams. Further details, as well as administrative
information relating to the exams, are given in ABRSM’s Exam Regulations (available at www.
abrsm.org/examregulations) which should be read before an exam booking is made.

Changes in 2019
•
•
•
•

•
•
•
•

ABRSM now offers two distinct qualifications for harp – Harp (Pedal) and Harp (Non-pedal).
T he specific instrument must be indicated when booking an exam. T his instrument willthen appear on mark forms and certificates.
For clarity and ease of use, the syllabus requirements have been separated for each instrument
and presented in a new format.
Pieces have not changed from the preceding syllabus except for the replacement of asmall number of pieces, affecting Grade 1 (both harps), Grade 2 (both harps) and Grade
8 (non-pedal harp). Further details are available at www.abrsm.org/syllabuscorrections.
Candidates who have been preparing any of the replaced pieces can play them in their exam
until 31 December 2019 worldwide.
All other requirements – Scales and arpeggios, Sight-reading and Aural tests – are the sameas in the preceding syllabus.
Some key exam information has been updated and clarified, particularly in relation to
page-turns.
Information about ABRSM’s post-Grade 8 qualifications for harp is also included.
T his syllabus document is available online only and not in a printed booklet.

Entering for an exam
Eligibility: T here are eight grades of exam for each instrument and candidates may be entered
for any grade irrespective of age and without previously having taken any other grade on thesame instrument. Candidates for a Grade 6, 7 or 8 exam must already have passed ABRSM Grade
5 (or above) in Music T heory, Practical Musicianship or a solo Jazz instrument; for full details,
including a list of accepted alternatives, see www.abrsm.org/prerequisite.
Access: ABRSM endeavours to make its exams as accessible as possible to all candidates,
regardless of sensory impairments, learning difficulties or particular physical needs. T here is arange of alternative tests and formats as well as sets of guidelines for candidates with particularaccess needs (see www.abrsm.org/specificneeds). Where a candidate’s needs are not covered by
the guidelines, each case is considered on an individual basis. Further information is available
from the Access Co-ordinator (accesscoordinator@abrsm.ac.uk).
Exam booking: Details of exam dates, locations, fees and how to book an exam are available
online at www.abrsm.org/exambooking.

Instruments
Pedal harp: T he requirements from Grade 4 are generally for instruments with a minimum of
46 strings.
1Harp grades: requirements and information

Non-pedal harp: T he requirements from Grade 3 are for instruments with Eb tuning and witha minimum of 34 strings (pitch of bottom string: C two octaves below middle C, or lower). At
Grades 1 and 2, three tuning groups (C tuning, Eb tuning and F tuning) are provided for.

Elements of the exam
All ABRSM graded harp exams comprise the following elements: three Pieces; Scales andarpeggios; Sight-reading; and Aural tests. In all grades, marks are allocated as follows:
Pieces: 1
2
3
Scales and arpeggios
Sight-reading
Aural tests

30
30
30
21
21
18

Total 		150Marking scheme: 100 marks are required for a Pass, 120 for a Merit and 130 for a Distinction.
A Pass in each individual section is not required to pass overall. See pp. 52–53 for the marking
criteria used by examiners.

PiecesProgramme planning: Candidates must choose one piece from each of the three lists (A, B andC) in each grade. In the exam, they should inform the examiner which pieces they are performing,and they are welcome to use the form on p. 54 for this purpose.
Every effort has been made to ensure the syllabus lists feature a broad range of repertoire, withitems to suit and appeal to candidates of differing ages, backgrounds and interests. Not every
piece will be suitable for every candidate due to technical reasons or wider context (historical,
cultural, subject matter of the larger work from which it is drawn, lyrics if an arrangement of asong etc.). It is advised that pieces selected are considered carefully for their appropriatenessto each individual, which may require consultation between teachers and parents/guardians.
Given the ever-changing nature of the digital world, teachers and parents/guardians should also
exercise caution when allowing younger candidates to research items online: www.nspcc.org.
uk/onlinesafety.
Exam music & editions: Wherever the syllabus includes an arrangement or transcription, theedition listed in the syllabus must be used in the exam; in all such cases the abbreviation ‘arr.’ or‘trans.’ appears in the syllabus entry. For all other pieces, the editions quoted in the syllabus are
given for guidance only and candidates may use any edition of their choice (in- or out-of-print
or downloadable). Information on obtaining exam music is given on p. 5.
Interpreting the score: Printed editorial suggestions such as fingering, metronome marks,
realization of ornaments etc. need not be strictly observed. Whether the piece contains
musical indications or not, candidates are always encouraged to interpret the score in astylistically appropriate manner. Ultimately, examiners’ marking will be determined byconsideration of pitch, time, tone, shape and performance, and how control of these contributes
to the overall musical outcome.
2

Harp grades: requirements and information

Repeats: All da capo and dal segno indications should be observed but all other repeats(including first-time bars) should be omitted unless they are very brief (i.e. of a few bars) orunless the syllabus specifies otherwise.
Performing from memory: Candidates are free to perform any of their pieces from memory;in such cases they must ensure that a copy of the music is available for the examiner to refer to if
necessary. No additional 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. A variety of solutions for awkward page-turns exist,
including the use of an additional copy of the music or a photocopy of a section of the piece (butsee ‘Photocopies’ below). In cases where candidates at Grades 6–8 believe there is no solution toa particularly awkward page-turn, they may bring a page-turner to the exam (prior permission
is not required; the turner may be a candidate’s teacher). Examiners are unable to help with
page-turning.
Photocopies: Performing from unauthorized photocopies (or other kinds of copies) of copyrighteditions is not allowed. ABRSM may withhold the exam result where it has 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 Practice at www.mpaonline.org.uk. In all other cases,
application should be made to the copyright holder before any copy is made, and evidence ofpermission received should be brought to the exam.

Scales and arpeggios
At Grades 1 and 2, t here are three tuning groups for non-pedal harp, and examiners will ask
candidates which group they have chosen.
Examiners will usually ask for at least one of each type of scale/arpeggio etc. required at each
grade. T hey will also ask to hear a balance of the positions and hand requirements across therequests as a whole. When asking for requirements, examiners will specify:••••

the key (including minor form – harmonic or melodic – when the syllabus stipulates both)or the starting notethe hand(s) (e.g. left hand, right hand, hands together, divided between the hands, narrow
position)the position (root or inversion) for arpeggios and dominant sevenths (Grades 4–8)
the interval between the hands (hands-together scales, Grades 6–8)

All scales and arpeggios should:•••

be played from memory
be played in even notes (except for dominant and diminished sevenths, where specificpatterns are indicated)ascend and descend according to the specified range (and pattern)

Candidates are welcome to use any fingering that produces a successful musical outcome.
Candidates are free to start at any octave   , provided the required ranges are covered. For all ‘hands
together’ requirements, the hands should be one octave apart, unless otherwise indicated.

3Harp grades: requirements and information

Scales a sixth apart should begin with the tonic as the upper note, while scales a third or a tenthapart should begin with the tonic as the lower note.
Examples of patterns specified in this syllabus are given for pedal harp on pp. 6–7 and for nonpedal harp on pp. 8–9.
Books of the scale requirements (for Grades 1–5 and 6–8) are published for pedal and non-pedal
harp by Alaw (www.alawmusic.com).
T he following speeds are given as a general guide:
Grade / Speed
pattern

1

2

3

4

5

6

7

8

Scalesqqqq

q = 63q = 69q = 76h = 42h = 50h = 60h = 66h = 72

Melodic minor scales(non-pedal harp)

qqqq

q = 52

q = 60q = 69q = 76

q = 84Contrary-motion
scalesqqqq

h = 60h = 66

Arpeggios

qqq

e = 100 e = 112 q. = 42

q. = 56q. = 63

q. = 72

q. = 76q. = 80

Arpeggios(divided between hands)

qqq

e = 126 q. = 50

q. = 63

q. = 70

q. = 80q. = 84

q. = 88

Arpeggios(narrow position)

qqqq qqqq

Dom. & Dim. 7ths*

qqq qqqq

q = 46q = 54

q = 60q = 66

Dom. & Dim. 7ths*(divided between hands) q q q q q q q

q = 50q = 60q = 66

q = 72

q = 66

q = 72

Dom. 7ths(narrow position)

qqqq qqqq

q = 72* Dim. 7ths at Grade 8 only

Sight-reading
Candidates will be asked to play a short unaccompanied piece of music which they have notpreviously seen. T hey will be given half a minute in which to look through and, if they wish,
try out all or any part of the test before they are required to play it for assessment. For practicepurposes, a book of sample sight-reading tests is published for harp (pedal and non-pedal) by
ABRSM.

Aural tests
T he requirements are the same for all subjects. Full details of the Aural tests are given on pp.
42–47.
4

Harp grades: requirements and information

In the exam
Examiners: Generally, there will be one examiner in the exam room; however, for training andquality assurance purposes, a second examiner may sometimes be present. Examiners may ask
to look at the music before or after the performance of a piece (a separate copy is not required:the candidate’s copy will suffice). Examiners may stop the performance of a piece when they
have heard enough to form a judgment. T hey will not issue or discuss a candidate’s result;instead, the mark form (and certificate for successful candidates) will be issued by ABRSM after
the exam.
Tuning: Candidates must bring their own instrument to the exam and ensure that it is tuned
beforehand. T hey will be given sufﬁcient time to make the necessary pedal/lever changes forscale requirements and pieces. Examiners are unable to help with tuning.
Music stands: All ABRSM public venues provide a music stand, but candidates are welcome tobring their own if they prefer. T he examiner will be happy to help adjust the height or positionof the stand.
Order of the exam: T he individual sections of the exam may be undertaken in any order, at thecandidate’s choice.

Assessment
T he tables on pp. 52–53 show the marking criteria used by examiners. In each element of theexam, ABRSM operates the principle of marking from the required pass mark positively or
negatively, rather than awarding marks by deduction from the maximum or addition from zero.
In awarding marks, examiners balance the extent to which the qualities and skills listed on pp.
52–53 (broadly categorized by pitch, time, tone, shape and performance) are demonstrated andcontribute towards the overall musical outcome.

Obtaining exam music
Exam music is available from music retailers, specialist harp retailers and online, including at
the ABRSM music shop: www.abrsm.org/shop. Every effort has been made to ensure that all
the publications listed will remain available for the duration of the syllabus. Candidates areadvised to obtain their music well in advance of the exam in case of any delays with items not
kept in stock by retailers. Apart from queries relating to exams, all enquiries about the music (e.g.
editorial, availability) should be addressed to the relevant publisher: contact details are listed atwww.abrsm.org/publishers.

5

SCALE AND ARPEGGIO PATTERNS: Harp (Non-pedal)
The examples below clarify patterns and ranges found in the Harp (Non-pedal) syllabus.
Reference should be made to the appropriate syllabus pages for the full requirements.
ARPEGGIOS divided between the hands

two octaves, root positionœVœ œ œ œ œœ œœ œ™
{B œ œ œ
three octaves, root position (and similarly, first or second inversions)Vœ œ{B œ œ œ

œ œ
œ œ

œ œ

œ œ
œ œ
œ œ

œ œ™

four octaves, root position (and similarly, first or second inversions)Vœ œ{B œ œ œ œ œ

œ œ
œ œ

œ œ

œ œ
œ œ
œ œ

œ œ
œ œ ™
œ

œ

ARPEGGIOS narrow position

three octaves, root position

V œ
œ
B
œœ
œ
{

8

œ
œœ

œ
œœ
œœ
œœ

œ

œœ
œœ

œœ

œœœœœ

œœ

œ
œœœ

œœ

œœ

œœ
œœ

œ

œœ

œœ

œœ

Scale and arpeggio patterns
DOMINANT SEVENTHS hands separately or together

two octaves, root position (and similarly, three octaves and first, second or third inversions)Vœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
DOMINANT SEVENTHS divided between the hands

three octaves, root position (and similarly, first or second inversions)œ œ œ œ œ
V
œ œ œ
œ œ
œ
œ
œ œ œ
œ œ
{B œ œ œ œ œ œfour octaves, root position (and similarly, first, second or third inversions)

V
œ
B
œ œ œ
œ
œ
{ œ

œ œ
œ œ œ

œ œ œ

œ œ œ
œ œ œ

œ œ œ

œ œ
œ œ œ

œ œ

DOMINANT SEVENTHS narrow position

three octaves, root position (and similarly, four octaves)

V
œ
œœ
œœ
œœœ
{B œ œ œ œ œ œ œ œ

œœœ
etc.

œœ

œ
œœœ

œœ
etc.

œ

œœœ

œ

DIMINISHED SEVENTHS divided between the hands

four octaves

V
{B

#

b # œœ

œ œ
œ œ œ

bœ #œ

b # œ œ b œ œ œ #œ bœ œ œ

œ
œ œ œ

# œ bœ œ œ #œ bœ

#

œ œ œ
9

Harp (Non-pedal)

from 2019

Harp (Non-pedal) from 2019

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

1
2
3
4
5

B

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

BernardAndrèsAnon.
Bohemian
Betty ParetAnon. ItalianGrandjany

No. 1 (from Asters)

Bernard Andrès: Asters (Hamelle)

The Jolly Peasant, arr. ParetFirst Harp Book (G. Schirmer)

Rondo
O Sanctissima, arr. Milligan
Little Waltz

First Harp Book (G. Schirmer)
Fun from the First! Vol. 2 (Lyon & Healy)
Grandjany & Weidensaul: First-Grade Pieces for Harp
(Carl Fischer)Grandjany & Weidensaul: First-Grade Pieces for Harp
(Carl Fischer)Grandjany & Weidensaul: First-Grade Pieces for Harp
(Carl Fischer)
Beginner’s Harp Book, 1 (Salvi)

6 Weidensaul

Midnight Stars

7 Weidensaul

Barn Dance Memory

8 Soler

Allegretto, arr. Schlomovitz

1Anon. Chinese The Purple Bamboo, arr. Milligan

Fun from the First! Vol. 2 (Lyon & Healy)+ s in glissandi may be played as = s

2 Fiona
3
4
5
6
7
8
9

C

Charlotte in Spring (from Harping On, Book 1)
Clifton-Welker
BonnieAzaleas in Houston (from A Bouquet for Young
Goodrich
Harpists)
BonnieJapanese Lanterns (from A Bouquet for Young
Goodrich
Harpists)arr. Meinir
Three Blind Mice
HeulynClaire Jones & Stars (from Six Pieces for Harp)
Chris MarshallAnne
LullabyMacdearmid
Anne
The Merry-go-Round
MacdearmidDavid Watkins Berceuse (No. 2 from Six Pieces)

Dominig
Bouchaud
2 Dominig
Bouchaud
3 Dominig
Bouchaud
4 van Campen
1

5 van Campen
6 Skaila Kanga
7 Skaila Kanga
8 Pozzoli
9 Pozzoli
10 Pozzoli
11 Tournier

26

Fiona Clifton-Welker: Harping On, Book 1(Clifton-Welker)
Bonnie Goodrich: A Bouquet for Young Harpists(Hal Leonard)
Bonnie Goodrich: A Bouquet for Young Harpists(Hal Leonard)
12 Easy Nursery Tunes for Young Harpists (Alaw)
Claire Jones & Chris Marshall: Six Pieces for Harp
(Marshall Jones Music)
Comunn na Clarsaich: Folio 18 (Clarsach Society)
Comunn na Clarsaich: Folio 18 (Clarsach Society)David Watkins: Six Pieces (Boosey & Hawkes)

Coquillages (Shells)

Harpe d’or (Billaudot)

A pas de fourmis (Ant’s Steps)

Harpe d’or (Billaudot)

La balle (The Ball)

Harpe d’or (Billaudot)

Etude No. 2 (from Tutor for the Celtic Harp,
Vol. 1)
Etude No. 5 (from Tutor for the Celtic Harp,
Vol. 1)
Sound the Trumpets (No. 8 from Minstrel’s
Gallery)
The Glittering Ballroom (No. 10 from Minstrel’s
Gallery)
1st Grade: No. 2 (from 65 piccoli studi facili e
progressivi)
1st Grade: No. 3 (from 65 piccoli studi facili e
progressivi)
1st Grade: No. 10 (from 65 piccoli studi facili e
progressivi)
Les tierces

van Campen: Tutor for the Celtic Harp, Vol. 1(Harmonia)
van Campen: Tutor for the Celtic Harp, Vol. 1(Harmonia)
Skaila Kanga: Minstrel’s Gallery (Maruka Music)
Skaila Kanga: Minstrel’s Gallery (Maruka Music)
P. 91 from M. Grossi: Metodo per arpa (Ricordi)
P. 91 from M. Grossi: Metodo per arpa (Ricordi)
P. 97 from M. Grossi: Metodo per arpa (Ricordi)
Les plaisirs de la harpe, Vol. 1 (Lemoine)Harp (Non-pedal) from 2019 Grade 1

SCALES AND ARPEGGIOS: from memory; for further details see pages 3–4


RANGE

REQUIREMENTS

1 oct.

hands separately

1 oct.

root position; hands separately

SCALESGroup 1, 2 or 3, at candidate’s choiceGroup 1:	C, G, D majors
Group 2:	E -, B -, C majors
Group 3:	F, C, G majors
ARPEGGIOS
Same group as chosen above

SIGHT-READING: a short piece of previously unseen music; for further details see page 4
AURAL TESTS: administered by the examiner from the piano; for further details see pages 42 & 43

27

Harp (Non-pedal) from 2019

GRADE 2
THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C:COMPOSERA

B

PIECE / WORK / ARRANGER

1

BernardNo. 2 (from Aquatintes)Andrès2 Bernard
No. 6 (from Aquatintes)Andrès3 Anon. Scottish College Hornpipe, arr. Mieras
4 Anon. Welsh Dacw Mam yn Dwad (Here Comes Mother),arr. Heulyn harp 1 part
5 Anon. Welsh Can y Melinydd (The Miller’s Song),
arr. Heulyn harp 1 part
6 J. S. Bach
While Bagpipes Play, arr. Paret
7 J.-J. Rousseau Evening Song, arr. Paret
8 Mel Bonis
Le petit mendiant (The Little Beggar)
9 Grandjany
Gigue (No. 2 from Petite suite classique)
10 Grandjany
The See-Saw (from Little Harp Book)
11 L. Thomson
Ebbing Tide
12 L. Thomson
Song at Night
1

Bartók2 Bartók
3 Burgon
4 Fiona

In Phrygian Mode (from Mikrokosmos),arr. Marzuki
In Yugoslav Mode (from Mikrokosmos),arr. Marzuki
Dawn (No. 1 from Beginnings)
Goblin Rustle (from Harping On, Book 1)

Clifton-Welker
5 Gabus

Crépuscule sur le lagon (Twilight on the
Lagoon)
6 Yann Geslin
Complainte (Lament)
7 GrandjanyRêverie (No. 1 from Trois petites pièces très
faciles, Op. 7)
8 Stewart Green Mister Blister’s March (from Blistering Along!)
9 Claire Jones & MJ the Cat (from Six Pieces for Harp)

Chris Marshall
10 Skaila Kanga
11 Skaila Kanga
12 Skaila Kanga

C

Dominig
Bouchaud
2 Dominig
Bouchaud
3 van Campen
1

4 van Campen
5 Skaila Kanga
6 Skaila Kanga
7 Pozzoli

28

Hippopotamus Rag (No. 27 from Minstrel’s
Gallery)
Bedtime Blues (No. 28 from Minstrel’s Gallery)
Swing Time (No. 29 from Minstrel’s Gallery)

PUBLICATION (PUBLISHER)

Bernard Andrès: Aquatintes (Hamelle)
Bernard Andrès: Aquatintes (Hamelle)
A Harper’s Pleasure (Swanston Music)
O’r Dechrau (From the Beginning) (Alaw)
O’r Dechrau (From the Beginning) (Alaw)
Second Harp Book (Lyra)
Second Harp Book (Lyra)
Les plaisirs de la harpe, Vol. 1 (Lemoine)
Grandjany: Petite suite classique (Carl Fischer)Grandjany: Little Harp Book (Carl Fischer)
L. Thomson: Ebbing Tide (Thomson)
L. Thomson: Song at Night (Thomson)
Bartók: Mikrokosmos for Harp (Boosey & Hawkes)
Bartók: Mikrokosmos for Harp (Boosey & Hawkes)
Burgon: Beginnings (Stainer & Bell)
Fiona Clifton-Welker: Harping On, Book 1(Clifton-Welker)
Les plaisirs de la harpe, Vol. 1 (Lemoine)
Les plaisirs de la harpe, Vol. 1 (Lemoine)
Grandjany: Trois petites pièces très faciles, Op. 7 (Leduc)P. 2 from Stewart Green: Blistering Along!
(Spartan Press)
Claire Jones & Chris Marshall: Six Pieces for Harp
(Marshall Jones Music)
Skaila Kanga: Minstrel’s Gallery (Maruka Music)
Skaila Kanga: Minstrel’s Gallery (Maruka Music)
Skaila Kanga: Minstrel’s Gallery (Maruka Music)

Parapluie (Umbrella)

Harpe d’or (Billaudot)

Le crabe (The Crab)

Harpe d’or (Billaudot)

Etude No. 8 (from Tutor for the Celtic Harp,
Vol. 1)
Etude No. 11 (from Tutor for the Celtic Harp,
Vol. 1)
Mountain Stream (No. 14 from Minstrel’s
Gallery)
Garden of Dreams (No. 22 from Minstrel’s
Gallery)
1st Grade: No. 13a (from 65 piccoli studi facili e
progressivi)

van Campen: Tutor for the Celtic Harp, Vol. 1(Harmonia)
van Campen: Tutor for the Celtic Harp, Vol. 1(Harmonia)
Skaila Kanga: Minstrel’s Gallery (Maruka Music)
Skaila Kanga: Minstrel’s Gallery (Maruka Music)
P. 100 from M. Grossi: Metodo per arpa (Ricordi)

Harp (Non-pedal) from 2019 Grade 2

COMPOSER
8 Pozzoli
9 Pozzoli
10 Pozzoli
11 Schlomovitz

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

1st Grade: No. 13b (from 65 piccoli studi facili e
progressivi)
2nd Grade: No. 11 (from 65 piccoli studi facili e
progressivi)
2nd Grade: No. 15 (from 65 piccoli studi facili e
progressivi)
Ballerina

P. 100 from M. Grossi: Metodo per arpa (Ricordi)
P. 116 from M. Grossi: Metodo per arpa (Ricordi)
P. 122 from M. Grossi: Metodo per arpa (Ricordi)
Beginner’s Harp Book, 1 (Salvi)

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 3–4 & 8


RANGE

REQUIREMENTS

2 oct.

hands separately or together, as chosen by theexaminer

Same group as chosen above

2 oct.

Same group as chosen above

2 oct.

root position;
hands separately or together, as chosen by theexaminerroot position; divided between the hands

SCALESGroup 1, 2 or 3, at candidate’s choiceGroup 1:	C, G, D, A majors

A, E minors
Group 2:	E -, B -, C, G majors

C, G minors
Group 3:	F, C, G, D majors

D, A minors(minors natural or harmonic, at candidate’s
choice)
ARPEGGIOS

SIGHT-READING: a short piece of previously unseen music; for further details see page 4
AURAL TESTS: administered by the examiner from the piano; for further details see pages 42 & 43

29

Harp (Non-pedal) from 2019

GRADE 3
THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C:ACOMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

BernardAndrès2 Anon. Welsh

Gavotte (from Automates)

Bernard Andrès: Automates (Hamelle)

1

7 Skaila Kanga

Pp. 20–22 from Medieval to Modern, Vol. 2(Lyon & Healy)
Rondo ‘Le garçon volage’ (from Air and Rondo), Pp. 4–6 from Medieval to Modern, Vol. 2 (Lyon & Healy)
arr. Milligan
Chaconne, arr. Powell
Y Telynor Clasurol (The Classical Harpist) (Adlais)
Allegro, arr. Powell
Y Telynor Clasurol (The Classical Harpist) (Adlais)
Sonatina, arr. Powell
Y Telynor Clasurol (The Classical Harpist) (Adlais)
Skaila Kanga: Miniatures (Alaw)
Country Dance (No. 2 from Miniatures)

8 Pässler

Rondo, arr. Grandjany

3 Bochsa
4 J. Clarke
5 Handel6 HandelLlwyn Onn (The Ash Grove), arr. Milligan

harp 1 partB

7

Anon. Scottish A’ Bheairt-Fhioda (A Weaving Lilt), arr. Mieras
Bartók
Triplets (from Mikrokosmos), arr. Marzuki
BartókFive-tone Scale (from Mikrokosmos),arr. Marzuki
Grandjany
Barcarolle (No. 3 from Trois petites pièces très
faciles, Op. 7) may be played in C
Stewart Green Blistering Rock! (from Blistering Along!)
SusannAlpine Waltz
McDonald
B. Orr
No. 2 (from Three Diatonic Preludes)

1

van Campen

1
2
3
4
5
6

C

2 Damase
3 Damase
4 C. Grossi
5 Pozzoli

30

Scale-Study No. 4 (from Tutor for the CelticHarp, Vol. 1)
No. 1 (from Dix études faciles et progressives)
No. 2 (from Dix études faciles et progressives)
Etude
No. 1 (from Studi di media difficoltà)

Short Pieces from the Masters (Carl Fischer)
A Harper’s Pleasure (Swanston Music)
Bartók: Mikrokosmos for Harp (Boosey & Hawkes)
Bartók: Mikrokosmos for Harp (Boosey & Hawkes)
Grandjany: Trois petites pièces très faciles, Op. 7 (Leduc)Stewart Green: Blistering Along! (Spartan Press)
Linda Wood & Susann McDonald: Harp Solos, Vol. 3(Musicworks)
B. Orr: Three Diatonic Preludes (OUP archive)
P. 47 from van Campen: Tutor for the Celtic Harp, Vol. 1(Harmonia)
Damase: Dix études faciles et progressives (Billaudot)
Damase: Dix études faciles et progressives (Billaudot)
Les plaisirs de la harpe, Vol. 1 (Lemoine)
Pozzoli: Studi di media difficoltà (Ricordi)

Harp (Non-pedal) from 2019 Grade 3

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 3–4 & 8


RANGE

REQUIREMENTS

2 oct.

hands separately or together, as chosen by theexaminer

SCALES

E -, B -, F, C, G, D majors
C, G, D, A, E harmonic minors
ARPEGGIOS

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

2 oct.

same keys as above

3 oct.

root position;
hands separately or together, as chosen by theexaminerroot position; divided between the hands

SIGHT-READING: a short piece of previously unseen music; for further details see page 4
AURAL TESTS: administered by the examiner from the piano; for further details see pages 42 & 44

31

Harp (Non-pedal) from 2019

GRADE 4
THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C:COMPOSERAPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

BernardAndrès2 Bernard
Andrès
3 J. S. BachSarabande (from Automates)

Bernard Andrès: Automates (Hamelle)

Gaillarde (from Automates)

Bernard Andrès: Automates (Hamelle)

Prelude in C, BWV 846, arr. O’Farrell

4 Clementi

Allegro (1st movt from Sonatina in C,
Op. 36 No. 1), trans. Shaljean
Theme and Variations, arr. Bouchaud

The O’Farrell Collection, Vol. 2: A Baroque Bouquet(O’Farrell)Composers in Georgian London (Blue Crescent Music)

1

5 Kuhlau
6 Mozart
7 A. Scarlatti

B

1

Bartók2 arr. Deborah

Andante grazioso (from Piano Sonata, K. 331),
arr. Bouchaud
Minuetto, arr. Bouchaud
Merriment (from Mikrokosmos), arr. Marzuki
Scarborough Fair

Panorama de la harpe celtique, Vol. 1(Editions Musicales Transatlantiques)No. 22 from Panorama de la harpe celtique, Vol. 1(Editions Musicales Transatlantiques)
Panorama de la harpe celtique, Vol. 1(Editions Musicales Transatlantiques)
Bartók: Mikrokosmos for Harp (Boosey & Hawkes)
Scarborough Fair (Friou Music)

Friou
3 Stewart Green Ragged Robin (from Flights of Fancy)
4 arr. Meinir

O’er the Sea to Skye

Stewart Green: Flights of Fancy (Spartan Press)
Famous Music for the Harp, Vol. 1 (Alaw)

Skating on Ice (No. 4 from Miniatures)

Skaila Kanga: Miniatures (Alaw)

Heulyn5 Skaila Kanga

harp 1 part
6 Alfredo

Rolando Ortiz
7 Alfredo
Rolando Ortiz
8 Alfredo
Rolando Ortiz
9 Alfredo
Rolando Ortiz
10 arr. Ronald
Stevenson
C

1

F. Alberti

2 F. Alberti
3 L. Concone
4 Damase
5 Schlomovitz

32

Waiting

Eriskay Love-Lilt

The International Rhythmic Collection, Vol. 1(AROY Music)
The International Rhythmic Collection, Vol. 1(AROY Music)
The International Rhythmic Collection, Vol. 2(AROY Music)
The International Rhythmic Collection, Vol. 2(AROY Music)
Sounding Strings (UMP)

No. 3 (from Dix études progressives ettechniques)No. 8 (from Dix études progressives ettechniques)Prélude (No. 1 from 30 études progressives,
Op. 26)
No. 3 (from Dix études faciles et progressives)
Butterflies

F. Alberti: Dix études progressives et techniques(Hamelle)
F. Alberti: Dix études progressives et techniques(Hamelle)
L. Concone: 30 études progressives, Op. 26, Book 1(Billaudot)
Damase: Dix études faciles et progressives (Billaudot)
Beginner’s Harp Book, 1 (Salvi)

The Harp Cha-cha-chá
Tango triste
Carnaval Brasileiro

Harp (Non-pedal) from 2019 Grade 4

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 3–4 & 8


RANGE

REQUIREMENTS

2 oct.

hands separately or together, as chosen by theexaminer

2 oct.

right hand only

2 oct.

hands separately or together, root position or first
inversion, as chosen by the examiner

SCALES

E -, B -, F, C, G, D, A, E majors
C, G, D, A, E harmonic minors
C, A melodic minors
ARPEGGIOS

E -, B -, F, C, G, D, A, E majors
C, G, D, A, E minors
same keys as above

3 oct.

divided between the hands;
root position or first inversion, as chosen by theexaminer

SIGHT-READING: a short piece of previously unseen music; for further details see page 4
AURAL TESTS: administered by the examiner from the piano; for further details see pages 42 & 44

33

Harp (Non-pedal) from 2019

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

1COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Anon.

Theme and Variations 2, 5 and 6 (from
Variations sur un thème de Mozart),
arr. Le Dentu
Andante and Vivace (2nd and 3rd movts from
Sonatina in C, Op. 36 No. 1), trans. Shaljean
Concerto, arr. Bouchaud

Variations sur un thème de Mozart (Billaudot)

2 Clementi
3 O’Carolan
4 O’Carolan
5 O’Carolan
6 D. Scarlatti
7 arr. Florence

Madam Cole, arr. Yeats
Lady Dillon, arr. Groocock
Sonata in C, arr. Bouchaud
Eilean a’ Chéo (The Misty Island)Composers in Georgian London (Blue Crescent Music)
Panorama de la harpe celtique, Vol. 1(Editions Musicales Transatlantiques)Sounding Harps, Book 3 (Cáirde na Cruite)
Sounding Harps, Book 3 (Cáirde na Cruite)
Pièces Classiques, Book 5 (Billaudot)
Comunn na Clarsaich: Folio 8 (Clarsach Society)WilsonB

1Anon.

2 Jeffrey

Water is Wide, arr. Robertson
Fiskars (from People and Places)

Mayhew
3 O’Carolan
4 Anne-Marie

Carolan’s Farewell to Music, arr. Larchet
Cuthbert
Prelude for Irish Harp

O’Farrell
5 B. OrrNo. 3 (from Three Diatonic Preludes)
6 Alfredo
Noche de Fiesta
Rolando Ortiz
7 arr. Ronald
Harp of Gold and The Cockle-Gatherer
Stevenson
C

1

F. Alberti

2 L. Concone
3 Damase
4 Damase
5 Sor

34

Treasures of the Celtic Harp (Mel Bay)
Jeffrey Mayhew: People and Places(Creighton’s Collection)
P. 103 from The Irish Harp Book (Carysfort Press)
The O’Farrell Collection, Vol. 3: Ancient to Modern(O’Farrell)
B. Orr: Three Diatonic Preludes (OUP archive)
The International Rhythmic Collection, Vol. 1(AROY Music)
Sounding Strings (UMP)

F. Alberti: Dix études progressives et techniques
No. 4 (from Dix études progressives et(Hamelle)
techniques)Prélude in B - (No. 2 from 30 études progressives, L. Concone: 30 études progressives, Op. 26, Book 1(Billaudot)
Op. 26)
Damase: Dix études faciles et progressives (Billaudot)
No. 4 (from Dix études faciles et progressives)
Damase: Dix études faciles et progressives (Billaudot)
No. 5 (from Dix études faciles et progressives)
Etude No. 5, arr. Bouchaud
Panorama de la harpe celtique, Vol. 1(Editions Musicales Transatlantiques)Harp (Non-pedal) from 2019 Grade 5

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 3–4 & 8–9


RANGE

REQUIREMENTS

2 oct.

hands separately or together, as chosen by theexaminer

2 oct.

right hand only

2 oct.

hands separately or together, root position or first
inversion, as chosen by the examiner

2 oct.

hands separately or together, root position, first or
second inversion, as chosen by the examiner

SCALES

E -, B -, F, C, G, D, A, E majors
C, G, D, A, E harmonic minors
C, D, A melodic minors
ARPEGGIOS

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

3 oct.

3 oct.

divided between the hands;
root position or first inversion, as chosen by theexaminer
divided between the hands;
root position, first or second inversion, as chosen by
the examiner

DOMINANT SEVENTHS

2 oct.
in the keys of C, F, G and B 3 oct.

root position;
hands separately or together, as chosen by theexaminerroot position; divided between the hands

SIGHT-READING: a short piece of previously unseen music; for further details see page 4
AURAL TESTS: administered by the examiner from the piano; for further details see pages 42 & 45

35

Harp (Non-pedal) from 2019

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:A

1COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Anon. Irish

Bean Dubh an Ghleanna (The Dark Woman of
the Glen), arr. McCrann
Shule Aroon, arr. Robertson
Presto, arr. BouchaudInterlude

Sounding Harps, Book 3 (Cáirde na Cruite)

Berceuse
Planxty Johnston, arr. Yeats
Don Oíche Úd i mBeithil (The Night in
Bethlehem)Pp. 166–7 from The Irish Harp Book (Carysfort Press)
Sounding Harps, Book 3 (Cáirde na Cruite)
Don Oíche Úd i mBeithil (The Night in Bethlehem)(O’Farrell)

2 Anon. Irish
3 J. C. Bach
4 T. C. Kelly

B

1

D. McNulty

2 O’Carolan
3 arr.

Anne-Marie
O’Farrell
4 Alfredo
Danza de Luzma advanced version
Rolando Ortiz
5 Alfredo
Tu Ventana advanced version
Rolando Ortiz
6 Alfredo
The Butterfly Trees
Rolando Ortiz
C

1

F. Alberti

2 F. Alberti
3 L. Concone
4 Damase
5 Damase
6 S. Heller
7 Bonnie

Shaljean

36

Treasures of the Celtic Harp (Mel Bay)
Pièces Classiques, Book 5 (Billaudot)
Pp. 116–8 from The Irish Harp Book (Carysfort Press)

P. 54 from The International Rhythmic Collection, Vol. 1(AROY Music)
P. 38 from The International Rhythmic Collection, Vol. 2(AROY Music)
The International Rhythmic Collection, Vol. 2(AROY Music)

F. Alberti: Dix études progressives et techniquesNo. 5 (from Dix études progressives et(Hamelle)
techniques)
F. Alberti: Dix études progressives et techniquesNo. 6 (from Dix études progressives et(Hamelle)
techniques)Prélude in B - (No. 5 from 30 études progressives, L. Concone: 30 études progressives, Op. 26, Book 1(Billaudot)
Op. 26)
Damase: Dix études faciles et progressives (Billaudot)
No. 7 (from Dix études faciles et progressives)
Damase: Dix études faciles et progressives (Billaudot)
No. 10 (from Dix études faciles et progressives)
Etude in C, Op. 45 No. 1, trans. Shaljean
Etudes for Concert or Celtic Harp (Blue Crescent Music)
Bonnie Shaljean: 12 Preludes for Concert or Celtic Harp
Prelude in A minor (from 12 Preludes)(Blue Crescent Music)

Harp (Non-pedal) from 2019 Grade 6

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 3–4 & 8–9


RANGE

REQUIREMENTS

3/2 oct. ◆hands separately, or hands together one octave or asixth apart, as chosen by the examiner

3 oct.

right hand only

3/2 oct. ◆hands separately or together, root position, first or
second inversion, as chosen by the examiner

3 oct.

divided between the hands;
root position, first or second inversion, as chosen by
the examiner

SCALES

E -, B -, F, C, G, D, A, E majors
C, G, D, A, E harmonic minors
C, G, D, A, E melodic minors
ARPEGGIOS

E -, B -, F, C, G, D, A, E majors
C, G, D, A, E minors
same keys as above

DOMINANT SEVENTHS

in the keys of C, F, G and B -3 oct.

hands separately or together, root position or first
inversion, as chosen by the examiner
divided between the hands;
root position or first inversion, as chosen by theexaminer◆ three or two octaves, as range of instrument permits
SIGHT-READING: a short piece of previously unseen music; for further details see page 4
AURAL TESTS: administered by the examiner from the piano; for further details see pages 42 & 45

37

Harp (Non-pedal) from 2019

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:COMPOSERAPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

1

Anon. Irish
Miss Brown’s Fancy, arr. Robertson
Treasures of the Celtic Harp (Mel Bay)
2 Edward Jones Pant Corlan yr Wyn (The Hollow of theClasuron Edward Jones (Edward Jones Classics) (Alaw)
Lambsfold)
3 Anne-Marie
Chorale Variations on ‘Deus Meus Adiuva Me’ The O’Farrell Collection, Vol. 3: Ancient to Modern
O’Farrell(O’Farrell)
4 D. Scarlatti
Sonata in A minor, Kp. 61, L. 136, arr. Bouchaud Pièces Classiques, Book 6 (Billaudot)
5 J. P. Sweelinck Bergamasca, arr. Bouchaud
Pièces Classiques, Book 6 (Billaudot)
omitting Variations 3, 4 & 5
6 Bonnie

The Seven Joys

Bonnie Shaljean: The Seven Joys (Blue Crescent Music)

Nataliana

Deborah Henson-Conant: Nataliana(Golden Cage Music)

Pedair ‘Waltz’ o Gymru (Four Welsh Waltzes)

Gwledd Geltaidd (A Celtic Feast), Vol. 1 (Alaw)

Cocorná advanced version

P. 29 from The International Rhythmic Collection, Vol. 2(AROY Music)
Pp. 141–4 from The Irish Harp Book (Carysfort Press)

Shaljean
B

C

DeborahHensonConant
2 arr. Meinir
Heulyn3 Alfredo
Rolando Ortiz
4 Victory
1

1

Moszkowski

2 VinerB. Shaljean
3 arr. Kim

Robertson
4 arr. Kim
Robertson
5 Bonnie
Shaljean
6 Bonnie
Shaljean38

Allegro assai (No. 3 from Three Pieces for the
Irish Harp)
Etude in C, Op. 91 No. 11, trans. Shaljean
Etude in A minor
andEtude after Viner
Glenlivet

Etudes for Concert or Celtic Harp (Blue Crescent Music)
Etudes for Concert or Celtic Harp (Blue Crescent Music)

Moving Cloud

Treasures of the Celtic Harp (Mel Bay)

Prelude in C (from 12 Preludes)

Bonnie Shaljean: 12 Preludes for Concert or Celtic Harp
(Blue Crescent Music)
Bonnie Shaljean: 12 Preludes for Concert or Celtic Harp
(Blue Crescent Music)

Prelude in B - (from 12 Preludes)

Treasures of the Celtic Harp (Mel Bay)Harp (Non-pedal) from 2019 Grade 7

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 3–4 & 8–9


RANGE

REQUIREMENTS

3/2 oct. ◆hands separately, or hands together one octave or asixth apart, as chosen by the examiner

3 oct.

right hand only

1 oct.

hands starting one octave apart

3/2 oct. ◆hands separately or together, root position, first or
second inversion, as chosen by the examiner

3 oct.

divided between the hands;
root position, first or second inversion, as chosen by
the examiner

SCALES (SIMILAR MOTION)

E -, B -, F, C, G, D, A, E majors
C, G, D, A, E harmonic minors
C, G, D, A, E melodic minors
CONTRARY-MOTION SCALES

E -, B -, F, C, G, D, A, E majors
C, G, D, A, E harmonic minors
ARPEGGIOS

E -, B -, F, C, G, D, A, E majors
C, G, D, A, E minors
same keys as above

DOMINANT SEVENTHS

in the keys of C, F, G and B -3 oct.

hands separately or together, root position, first or
second inversion, as chosen by the examiner
divided between the hands;
root position, first or second inversion, as chosen by
the examiner
narrow position, divided between the hands(root position only)◆ three or two octaves, as range of instrument permits
SIGHT-READING: a short piece of previously unseen music; for further details see page 4
AURAL TESTS: administered by the examiner from the piano; for further details see pages 42 & 46

39

Harp (Non-pedal) from 2019

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:COMPOSERA

1

S. Dussek
2 Handel3 Handel4 Anne-Marie

O’Farrell
5 arr. HannahPhillips
6 Bonnie
ShaljeanB

1

Debussy

2 AnnePIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

The Garland of Love, trans. Shaljean
Air and Variations ‘The Harmonious
Blacksmith’, arr. Bouchaud
Andante allegro and Larghetto (1st and2nd movts from Concerto in B -, Op. 4 No. 6,
HWV 294), arr. Le Dentu unaccompanied
The Knappogue Medley

S. Dussek: The Garland of Love (Blue Crescent Music)
Pièces Classiques, Book 6 (Billaudot)

The Spanish Ladie and The Butterfly
observing repeat as needed

Fantasia on a Sonata by Cardon

Handel: Concerto in B - for Celtic Harp (Billaudot)

Anne-Marie O’Farrell: The Knappogue Medley(O’Farrell)
The Scottish Harp Anthology, Vol. 3: Advanced(Pentland Publishing)
Bonnie Shaljean: Fantasia on a Sonata by Cardon(Blue Crescent Music)

Première arabesque, trans. Brundage
Sea Rapture

Debussy: Première arabesque (Seaside Press)
Anne Macdearmid: Sea Rapture (Macdearmid) l

Fantasia and Rondo

Pp. 163–5 and 168–71 from The Irish Harp Book
(Carysfort Press)
P. 52 from The International Rhythmic Collection, Vol. 2(AROY Music)
Bonnie Shaljean: Slow Train (Blue Crescent Music)

Macdearmid
3 D. McNulty
4 Alfredo

Milonga para amar advanced version
Rolando Ortiz
5 Bonnie
Slow Train
Shaljean
6 Victory
Grazioso and Lento assai (Nos. 1 and 2 fromThree Pieces for the Irish Harp)
C

1

J. S. Bach

2 Beethoven
3 Alfredo

Prelude (from Lute Suite, BWV 1006a),
trans. O’Farrell
Mandolin Sonatina in C, arr. Shaljean
Theme (from Suite to Luzma)

Rolando Ortiz
4 Kim

Robertson
5 Bonnie
Shaljean
6 Bonnie
Shaljean

40

BoundlessPrelude in D minor (from 12 Preludes)
Prelude in F (from 12 Preludes)l Limited availability

Pp. 135–137 and 138–140 from The Irish Harp Book
(Carysfort Press)
J. S. Bach: Prelude from Lute Suite, BWV 1006a(O’Farrell)
Beethoven for Harp (Blue Crescent Music)
Latin American Harps History, Music and Techniques(AROY Music)
Treasures of the Celtic Harp (Mel Bay)
Bonnie Shaljean: 12 Preludes for Concert or Celtic Harp
(Blue Crescent Music)
Bonnie Shaljean: 12 Preludes for Concert or Celtic Harp
(Blue Crescent Music)

Harp (Non-pedal) from 2019 Grade 8

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 3–4 & 8–9


RANGE

REQUIREMENTS

3/2 oct. ◆hands separately, or hands together one octave or asixth apart, as chosen by the examiner

3 oct.

right hand only

1 oct.

hands starting one octave, a third or a sixth apart, as
chosen by the examiner

SCALES (SIMILAR MOTION)

E -, B -, F, C, G, D, A, E majors
C, G, D, A, E harmonic minors
C, G, D, A, E melodic minors
CONTRARY-MOTION SCALES

E -, B -, F, C, G, D, A, E majors
C, G, D, A, E harmonic minors
ARPEGGIOS

E -, B -, F, C, G, D, A, E majors
C, G, D, A, E minors
same keys as above

3/2 oct. ◆hands separately or together, root position, first or
second inversion, as chosen by the examiner

4/3 oct. ◆same keys as above

3 oct.

divided between the hands;
root position, first or second inversion, as chosen by
the examiner
narrow position, divided between the hands(root position only)

DOMINANT SEVENTHS

3 oct.

in the keys of C, F, G and B -4 oct.

4 oct.

hands separately or together, root position, first, secondor third inversion, as chosen by the examiner
divided between the hands;
root position, first, second or third inversion, as chosen
by the examiner
narrow position, divided between the hands(root position only)

DIMINISHED SEVENTHS

starting on C +, F + and G +3 oct.
4 oct.

hands separately or together, as chosen by the examiner
divided between the hands◆ three or two octaves (four or three for arpeggios divided between the hands), as range of instrument permits
SIGHT-READING: a short piece of previously unseen music; for further details see page 4
AURAL TESTS: administered by the examiner from the piano; for further details see pages 42 & 47

41

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

In the exam
Aural tests are an integral part of all Practical graded exams.
T he tests are administered by the examiner from the piano. For any test that requires a sungresponse, pitch rather than vocal quality is being assessed. T he 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).

Assessment
Some tests allow for a second attempt or for an additional playing by the examiner, if necessary.
T he 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. T he marking criteria for the aural tests are given
on p. 53.

Specimen tests
Examples of the tests are given in Specimen Aural Tests and Aural Training in Practice (from2011), available for purchase from music retailers and from www.abrsm.org/shop.

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 entry. Further information, including the syllabus for the alternative
tests, is available at www.abrsm.org/specificneeds.

42Aural Tests GRADE 1
A

B

C

D

To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or
three time. T he 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. T he examiner will thenask whether the music is in two time or three time. T he candidate is not required to state the time
signature.
To sing as ‘echoes’ three phrases played by the examiner. T he 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 andthe 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.
To identify where a change in pitch occurs during a phrase played by the examiner. T he phrase
will be two bars long, in a major key, and the change will affect only one of the notes. First the examiner
will play the key-chord and the tonic and then count in two bars. T he examiner will play the phrase
twice, making the change in the second playing, after which the candidate should state whether thechange was near the beginning or near the end. If necessary, the examiner will play both versionsof the phrase again (although this may affect the assessment).
To answer questions about two features of a piece played by the examiner. Before playing, theexaminer will tell the candidate which two features the questions will be about. T he first will be:
dynamics (loud/quiet, or sudden/gradual changes); the second will be articulation (smooth/
detached).

Aural Tests GRADE 2
A

B

C

D

To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or
three time. T he 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. T he examiner will thenask whether the music is in two time or three time. T he candidate is not required to state the time
signature.
To sing as ‘echoes’ three phrases played by the examiner. T he 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 andthe 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.
To identify a change in either pitch or rhythm during a phrase played by the examiner. T he phrase
will be two bars long, in a major key. First the examiner will play the key-chord and the tonic andthen count in two bars. T he examiner will play the phrase twice, making the change in the second
playing, after which the candidate should identify the change by describing it, or singing/clapping.
If necessary, the examiner will play both versions of the phrase again (although this may affect theassessment).
To answer questions about two features of a piece played by the examiner. Before playing, theexaminer will tell the candidate which two features the questions will be about. T he first will be oneof the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/detached);
the second will be tempo (becoming slower/faster, or staying the same).

43Aural Tests GRADE 3
A

B

C

D

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. T he 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. T he examiner
will then ask whether the music is in two time, three time or four time. T he candidate is not required
to state the time signature.
To sing as ‘echoes’ three phrases played by the examiner. T he phrases will be two bars long, in a
major or minor key, and within the range of an octave. First the examiner will play the key-chord
and the starting note and then count in two bars. After the examiner has played each phrase, thecandidate should sing back the echo without a pause, keeping in time.
To identify a change in either pitch or rhythm during a phrase played by the examiner. T he phrase
will be up to four bars long, in a major or minor key. First the examiner will play the key-chord andthe tonic and then count in two bars. T he examiner will play the phrase twice, making the change
in the second playing, after which the candidate should identify the change by describing it, or
singing/clapping. If necessary, the examiner will play both versions of the phrase again (although
this may affect the assessment).
To answer questions about two features of a piece played by the examiner. Before playing, theexaminer will tell the candidate which two features the questions will be about. T he first will be oneof the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/detached),
tempo (becoming slower/faster, or staying the same); the second will be tonality (major/minor key).

Aural Tests GRADE 4
A

To sing or play from memory a melody played twice by the examiner. T he 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. T he candidate may choose to sing from treble or bass
clef. T he notes will be within the range of a third above and below the tonic in the key of C, F or G
major. T he test will begin and end on the tonic and will not contain intervals greater than a third.
First the examiner will name and play the key-chord and the starting note. If necessary, the examiner
will help the candidate by playing and identifying the correct note if any note is sung at the wrong
pitch.
C (i) To answer questions about two features of a piece played by the examiner. Before playing, theexaminer will tell the candidate which two features the questions will be about. T he first will be oneof the following: dynamics, articulation, tempo, tonality; the second will be character.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it isin two time, three time or four time. T he examiner will play the extract twice (unharmonized), after
which the candidate should clap back the rhythm. T he examiner will then ask whether the music
is in two time, three time or four time. T he candidate is not required to state the time signature.

44

Aural Tests GRADE 5
A

To sing or play from memory a melody played twice by the examiner. T he 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. T he candidate may choose to sing from treble or bass clef.
T he notes will be within the range of a fifth above and a fourth below the tonic, in a major key withup to two sharps or flats. T he 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 nameand play the key-chord and the starting note. If necessary, the examiner will help the candidate byplaying 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, theexaminer will tell the candidate which two features the questions will be about. T he first will be oneof the following: dynamics, articulation, tempo, tonality, character; the second will be style andperiod.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it isin two time, three time or four time. T he examiner will play the extract twice (unharmonized), after
which the candidate should clap back the rhythm. T he examiner will then ask whether the music isin two time, three time or four time. T he candidate is not required to state the time signature.

Aural Tests GRADE 6
A

To sing or play from memory the upper part of a two-part phrase played twice by the examiner.
T he upper part will be within the range of an octave, in a major or minor key with up to three sharps
or flats. First the examiner will play the key-chord and the starting note and then count in two bars.
(If the candidate chooses to play, the examiner will also name the key-chord and the starting note,as appropriate for the instrument.) If necessary, the examiner will play the phrase again and allow
a second attempt (although this may affect the assessment).
B
To sing a melody from score, with an accompaniment played by the examiner. T he candidate may
choose to sing from treble or bass clef. T he melody will be within the range of an octave, in a majoror minor key with up to three sharps or flats. First the examiner will name and play the key-chord
and the starting note and then give the pulse. A brief period of preparation will follow during which
the candidate may sing out loud. T he 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 thismay affect the assessment).
C
To identify the cadence at the end of a phrase as perfect or imperfect. T he phrase will be in a
major or minor key and will be played twice by the examiner. T he chords forming the cadence will
be in root position. Before the first playing, the examiner will play the key-chord.
D(i) To answer questions about two features of a piece played by the examiner. Before playing, theexaminer will tell the candidate which two features the questions will be about. T he 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 isin two time, three time or four time. T he examiner will play the extract twice (unharmonized), after
which the candidate should clap back the rhythm. T he examiner will then ask whether the music isin two time, three time or four time. T he candidate is not required to state the time signature.

45

Aural Tests GRADE 7
A

To sing or play from memory the lower part of a two-part phrase played twice by the examiner.
T he lower part will be within the range of an octave, in a major or minor key with up to three sharps
or flats. First the examiner will play the key-chord and the starting note and then count in two bars. (Ifthe 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 phrase again and allow asecond attempt (although this may affect the assessment).
B
To sing the upper part of a two-part phrase from score, with the lower part played by theexaminer. T he candidate may choose to sing from treble or bass clef. T he upper part will be within
the range of an octave, in a major or minor key with up to four sharps or flats. First the examiner
will name and play the key-chord and the starting note and then give the pulse. A brief period of
preparation will follow during which the candidate may sing out loud. T he examiner will play the
key-chord and the starting note again and then count in two bars. If necessary, the examiner willallow a second attempt (although this may affect the assessment).
C(i) 	To identify the cadence at the end of a phrase as perfect, imperfect or interrupted. T he phrase
will be in a major or minor key and will be played twice by the examiner. T he chords forming thecadence will be in root position. Before the first playing, the examiner will play the key-chord.
(ii) To identify the two chords forming the above cadence. T he 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. T he candidate may answer
using technical names (tonic, dominant, etc.), chord numbers (I, V, etc.) or letter names (C major,
G major, etc.).
(iii) To identify whether the modulation at the end of a different passage is to the dominant,subdominant or relative minor. T he passage, played once by the examiner, will begin in a major
key. First the examiner will name and play the starting key-chord. T he candidate may answer using
technical names (dominant, subdominant, relative minor) or the letter name of the new key.
D(i) To answer questions about two features of a piece played by the examiner. Before playing, theexaminer will tell the candidate which two of the following features the questions will be about:dynamics, articulation, tempo, tonality, character, style and period, texture, structure.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it isin two time, three time, four time or 6/8 time. T he examiner will play the extract twice(unharmonized), after which the candidate should clap back the rhythm. T he examiner will thenask whether the music is in two time, three time, four time or 6/8 time.

46

Aural Tests GRADE 8
A (i) To sing or play from memory the lowest part of a three-part phrase played twice by the examiner.
T he lowest part will be within the range of an octave, in a major or minor key with up to three sharps
or flats. First the examiner will play the key-chord and the starting note and then count in two bars.
(If the candidate chooses to play, the examiner will also name the key-chord and the starting note,as appropriate for the instrument.) 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 orplagal. T he phrase will be in a major or minor key and will be played twice by the examiner. T he
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.
T he chords will be limited to the tonic (root position, first or second inversions), supertonic (rootposition or first inversion), subdominant (root position), dominant (root position, first or second
inversions), dominant seventh (root position) or submediant (root position). First the examiner willname and play the key-chord, then play the three chords in sequence, finally playing each chordindividually, pausing for the candidate to identify it. T he candidate may answer using technicalnames (tonic, first inversion, etc.), chord numbers (Ib, etc.) or letter names (C major in first inversion,etc.).
B		 To sing the lower part of a two-part phrase from score, with the upper part played by theexaminer. T he candidate may choose to sing from treble or bass clef. T he lower part will be within
the range of an octave, in a major or minor key with up to four sharps or flats. First the examiner
will name and play the key-chord and the starting note and then give the pulse. A brief period of
preparation will follow during which the candidate may sing out loud. T he examiner will play the
key-chord and the starting note again and then count in two bars. If necessary, the examiner willallow a second attempt (although this may affect the assessment).
C		 To identify whether the modulations at the end of two different passages are to the dominant,subdominant or relative minor/major. T he first passage will begin in a major key and the second
will begin in a minor key; each passage will be played once by the examiner. Before playing eachpassage, the examiner will name and play the starting key-chord. T he 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 andperiod, etc.). T he examiner will prompt the candidate with questions only if this becomes necessary.

47

ARSM
T he 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•   T here are no additional supporting tests or other requirements•   ARSM exams take place at the same venues and time periods as ABRSM’s graded musicexams•   ARSM is a letter-bearing qualification. Candidates awarded the diploma can use the letters
ARSM (Associate of the Royal Schools of Music) after their name.
T hose 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.

48

DipABRSM / LRSM / FRSM (Music Performance)
T hese diplomas are available to instrumentalists and singers of any age. T hrough 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
erform a short piece of unaccompanied and previously unseen music after five°   pminutes’
preparation time (quick study)•   T hese 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.
T hose 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.

Further diploma exams: DipABRSM, LRSM and FRSM diplomas are also available for
Instrumental/Vocal Teaching and Music Direction. Full details are available at www.abrsm.org/
diplomas.

49

MUSIC T HEORYABRSM Music T heory exams are available for Grades 1–8. Candidates may be entered for any
grade irrespective of age and without previously having taken any other grade. T he full syllabus
is available at www.abrsm.org/theory.

About Music T heory
Developing musical literacy forms a key part of a rounded education for performers, composers
and listeners of all kinds. Understanding how written symbols relate to the elements of music,
and having the skills to interpret and translate them into sounds, empowers us to communicate
and experience music in a meaningful way.
ABRSM’s Music T heory exams give students:•   a knowledge of the notation of western music, including commonly used signs andterminol­ogy•   an understanding of fundamental musical elements such as intervals, keys, scales andchords•    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 of apass at Grade 5 or above in Music T heory, Practical Musicianship or any solo Jazz instrument
before they can enter for Grades 6, 7 or 8 Practical exams.

50

PRACTICAL MUSICIANSHIPABRSM Practical Musicianship exams are available for Grades 1–8 and are open to singers andinstrumentalists. Candidates may be entered for any grade irrespective of age and without
previously having taken any other grade. T he 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’. T his 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 Practical Musicianship exams encourage students to develop their ability to ‘think insound’ and perform spontaneously. While the other graded exams focus on aspects ofperformance 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.
ABRSM’s Practical Musicianship exams cover the following key skills:•    the ability to internalize 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, students will be gaining the understanding aswell as the expressive and interpretative skills needed to master the musical language ofthe 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 of apass at Grade 5 or above in Practical Musicianship, Music T heory or any solo Jazz instrument
before they can enter for Grades 6, 7 or 8 Practical exams.

51

0

10–12

13–16

Below Pass
17–19

Pass
20–23

Merit
24–26

Distinction
27–30

Grades 1–8
Time

Tone

● No work offered

and/or intonation● Highly inaccurate notes

and/or intonation● Largely inaccurate notes● No work offeredpulse● Incoherent tempo and/or

pulse● Erratic tempo and/or● No work offered● No tonal control

control● Serious lack of tonal

unreliable● Inadequate tonal
awareness

uncontrolled tempo● Irregular pulse● Inaccurate rhythm

intonation to maintaintonality● Uneven and/or● Unsuitable and/or● Insufficiently reliableawareness● Adequate tonal● Generally reliable● Good tonal awarenessconsistent● Mainly controlled andqualities● Sensitive use of tonal● Well projected● Frequent note errors

accuracy● Overall rhythmic● Generally stable pulse

intonation to maintaintonality● Suitable tempo● Sufficiently reliable● Good sense of rhythm

tempo● Sustained, effective

well conveyed● Rhythmic character

where appropriate● Fluent, with flexibility● Generally correct notes

and intonation● Largely accurate notes

and intonation● Highly accurate notes

Pieces
Pitch

MARKING CRITERIA
Shape● No work offered● No shape or detaillargely unrealised● Musical shape and detailinsufficiently conveyed● Musical shape and detailmusical shape and/or
detail● Some realisation ofwell-realised detail● Clear musical shaping,musical shaping anddetail● Expressive, idiomatic

Performance● No work offered

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

involvement● Insufficient musicalrecovery from slips● Insecure, inadequate

involvement● Some musicalrecovery from slips● Generally secure, prompt

communicated● Character and styleconviction● Carrying musical● Positiveof character and style● Vivid communication● Fully committed● Assured

0

7–10

Below Pass
11–13

Pass
14–16

Merit
17–18

Distinction
19–21

Grades 1–8● Note values mostly realised● Incorrect note values● Very approximate notes/pitch/key● Lacking continuity and/or some items

incomplete● Unreliable tone
● Uncertain response and/or someitems not attempted● Pitch outlines absent● Very uncertain presentation● Serious lack of tonal control● Very uncertain response and/or● No work offered● No work offered● Note values unrealised● Sporadic and/or frequently incomplete

several items not attempted● No continuity or incomplete● Very approximate notes and/or pitch● Insecure presentation● Lacking overall continuity● Frequent errors in notes and/or pitch● Cautious presentation● Pitch outlines in place, despite errors● Continuity generally maintained● Largely secure presentation● Secure response

despite errors● Continuity generally maintained● Generally reliable tone
● Cautious response● Largely correct notes/pitch/key● Mainly even tone

● Generally correct notes/pitch,● Mainly correct rhythm● Confident presentation● Confident response● Adequate tempo, usually steady pulse● Musical detail realised● Musically shaped● Mostly regular flow

● Accurate notes/pitch/key● Largely accurate notes/pitch● Fluent, rhythmically accurate● Fluent and rhythmic

Sight-reading● Highly accurate notes/pitch

Scales and arpeggios

0

6–8

Below Pass
9–11

Pass
12–14

Merit
15–16

Distinction
17–18

Grades 1–8● No work offered● Vague response● Inaccuracy throughout● Uncertain response● Weaknesses outweigh strengths● Cautious response

weaknesses● Strengths just outweigh● Secure response● Musically aware

weaknesses● Strengths significantly outweigh● Confident response● Musically perceptive● Accurate throughout

Aural tests

List

Grade

Composer

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

06/17