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6PIANO (Subject Code: 01): Syllabus requirements
Instruments ABRSM Centres provide a satisfactory piano (which
may be upright or grand). Practice before the exam cannot be
arranged, but examiners will recognize that the instrument may be
one to which candidates are unaccustomed.When exams are held at
Visits (i.e. premises provided by the Applicant and visited by the
examiner), a satisfactory piano must be provided. An electronic
piano may be used, provided it has a clearly recognizable piano
tone, a touch-sensitive keyboard with full-size weighted keys, and
an action, compass and facilities that match those of an ordinary
piano, including a sustaining pedal. Programme planningCandidates
should use their discretion in their choice of three pieces to
present a contrasted and balanced programme. One piece must be
chosen from each of the three lists in each grade (A, B and
C).Scales, arpeggios and broken chordsExaminers will usually ask
for at least one of each type of scale/arpeggio/broken chord
required at each grade and, from Grade 6, will aim to hear a
balance of legato and staccato as appropriate. All scales,
arpeggios and broken chords should: be played from memory ascend
and descend according to the specified range (and pattern) be
prepared legato, unless the syllabus specifies staccato (or both)
be played without pedalling be played without undue accentuation
and at a pace that is consistent with accuracy
and distinctnessRecommended minimum speeds are given in These
Music Exams, available free of charge from music retailers and from
www.abrsm.org/exams; they are also to be found in the books of
piano scale requirements published by ABRSM for each grade.Any
practical and systematic fingering that produces a good result will
be accepted.
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.
Arpeggios, diminished and dominant sevenths are required in root
position only, except where otherwise indicated. Scales in thirds
or a third apart should begin with the tonic in the lower voice,
while scales in sixths or a sixth apart should begin with the tonic
in the upper voice.
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7Sight-readingCandidates will be given a short interval of up to
half a minute in which to look through and, if they wish, try out
any part of the test before they are required to perform it for
assessment. The main parameters for the sight-reading tests for
each grade are outlined in this syllabus; once introduced, these
parameters apply for all subsequent grades (albeit with a logical
progression of difficulty). Books of specimen sight-reading tests
are published for piano by ABRSM for each grade. Performance and
assessmentWhen marking, examiners will be assessing not only the
accuracy of notes and rhythm, but also other elements inherent in a
good performance, including quality of touch, variety and gradation
of tone, suitable choice of tempo, and details of expression,
phrasing and accent. Any practical and systematic fingering that
produces a good result will be accepted. Effective use of the
pedals will be taken into account, although examiners will make
allowances for candidates who cannot reach the pedals, provided the
result is musically satisfactory. The same applies to candidates
whose hands are too small to play the music as written: chords may
be spread or notes occasionally omitted at wide stretches, provided
the result is musically satisfactory. Further details of assessment
criteria are given in These Music Exams.Marking scheme
Schedule of maximum marks for all grades:Scales and
arpeggios/broken chords 21Pieces: 1 30 2 30 3 30Sight-reading
21Aural tests 18Total 150
Piano syllabus requirements
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9 This arrangement only* Published by ABRSM (Scale requirements,
Specimen Sight-Reading Tests, Specimen Aural Tests)
Piano GRADE 1
SCALES AND BROKEN CHORDS*: see also p. 6Scales
C, G, D, F majors hands separately 2 octavesA, D minors (L.H.
may, at candidates choice, be (natural or harmonic or melodic at
played descending and ascending) candidates choice)
Contrary-motion scaleC major hands beginning on the key-note
(unison) 1 octave
Broken chords C, G, F majors hands separately, as pattern
below:A, D minors
THREE PIECES: one chosen by the candidate from each of the three
Lists, A, B and C:LIST A1 Mozart Minuet in G, K. 1e Piano Exam
Pieces 20132014, Grade 12 Rowley Fugue: No. 4 from Five Miniature
Preludes and Fugues (ABRSM)3 Trk Das Ballett: No. 19 from 60 Pieces
for Aspiring Players, Book 1
4 Neefe Minuetto in G. No. 9 from Clavierstcke fr Anfnger (Piano
Pieces for Beginners) (Schott ED 2572)5 Purcell Prelude, Z. 660/1.
No. 9 from English Keyboard Music 16631702 or No. 2 from A Keyboard
Anthology, 1st
Series, Book 1 or No. 14 from Baroque Keyboard Pieces, Book 1
(ABRSM)6 Wagenseil Courtly Dance. P. 16 from The Joy of First
Classics, Book 2 (Yorktown Music Press YK20568)LIST B 1 Gedike
Moderato: No. 2 from 20 Little Pieces for Beginners, Op. 6 Piano
Exam Pieces 20132014,2 Swinstead Sailors Song: No. 11 from Work and
Play Grade 1 (ABRSM)3 Rybicki Na dce (In a Boat): from Zaczynam gra
(I Begin to Play), Op. 20
4 Borodin Polovtsian Dance: from Prince Igor. Simply Classics,
Grades 01, arr. Gritton (Faber)5 Gurlitt Die Klappermhle: No. 33
from The First Lessons, Op. 117 (AlfredKalmus K03498) 6 F.
Wohlfahrt Allegretto. More Romantic Pieces for Piano, Book 1
(ABRSM)LIST C1 Richard Rodney Bennett Thursday: from Seven Days a
Week Piano Exam Pieces2 Shostakovich March: No. 1 from Childrens
Notebook, Op. 69 20132014, Grade 13 Harry Warren and Mack Gordon
Chattanooga Choo Choo (middle eight), arr. Marshall
(ABRSM)
4 Elias Davidsson The Merry Bagpipe: from The Gift of Music
(Spartan Press SP803)5 Heather Hammond Cowboy Lullaby: from Even
Cooler Piano, Book 2 (Kevin Mayhew)6 Fishel Pustilnik Jay-Walker (
piece published individually: F&N Enterprise)
SIGHT-READING*: a four-bar piece in 44 or 34 , or a six-bar
piece in 24 , in C, G or F majors, A or D minors, with each hand
playing separately and in a five-finger position. Simple dynamics,
note values, articulations and occasional accidentals (within minor
keys only) may be encountered. See also p. 7.
AURAL TESTS FOR THE GRADE*: see pp. 20 and 21
V 68 . .
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10
This arrangement only* Published by ABRSM (Scale requirements,
Specimen Sight-Reading Tests, Specimen Aural Tests)
Piano GRADE 2
SCALES, ARPEGGIOS AND BROKEN CHORDS*: see also p. 6 Scales
(similar motion)
G, D, A, F majors hands together and separately 2 octaves E, D,
G minors (natural or harmonic or melodic at candidates choice)
Contrary-motion scalesC, E majors hands beginning on the
key-note (unison) 2 octaves
Chromatic scalebeginning on D hands separately 1 octave
Arpeggios G, D, A majors hands separately 2 octaves D, G
minors
Broken chords F major hands separately, as pattern below: 2
octavesE minor
THREE PIECES: one chosen by the candidate from each of the three
Lists, A, B and C:LIST A1 Purcell Hornpipe: from Abdelazer, Z. T683
(observing 1st repeat) Piano Exam Pieces 20132014, Grade 2 2
Telemann Trs vite: 3rd movt from Fantaisie in E minor, TWV 33:21
(ABRSM)3 Attwood Allegro: 1st movt from Sonatina No. 2 in C
4 Duncombe Giga. No. 8 from A Keyboard Anthology, 3rd Series,
Book 1 (ABRSM)5 Handel Menuett in G minor, HWV 453/4. No. 20 from
Handel Easy Piano Pieces and Dances (Brenreiter BA 6578)6 Haydn
Minuet in Bb. Piano Time Pieces, Book 3, arr. Hall (OUP)LIST B 1
Nicolai Podgornov Bear Dance: from Nicolai Podgornovs Graded Pieces
for Piano, Vol. 1 Piano Exam Pieces 2 Stanford Lullaby: No. 5 from
Six Sketches 20132014, Grade 23 Li Yinghai Xiong mao (The Panda):
No. 1 from Dong Wu Yuan zu qu (The Zoo Suite)
(ABRSM)
4 Fly Grinding the Corn: No. 6 from The Windmill (Forsyth)5
Glinka Polka. Short Romantic Pieces for Piano, Book 1 (ABRSM) 6
Sullivan Gavotte: from The Gondoliers. Piano Time Opera, arr. Hall
(OUP)LIST C1 Hanna, Barbera and Curtin Meet the Flintstones, arr.
Scott-Burt Piano Exam Pieces 20132014, Grade 22 Seiber Polka: from
Leichte Tnze (Easy Dances), Book 2 (ABRSM)3 Sarah Watts Strange
Things Happen
4 Julian Anderson Somewhere near Cluj. Spectrum 2 (ABRSM)5 David
Blackwell Cats Eyes. Piano Time Jazz, Book 2, arr. Hall (OUP)6
Stravinsky Allegretto: No. 3 from Les cinq doigts (Chester
CH02090)
SIGHT-READING*: a four- or six-bar piece, time and key
signatures as Grade 1, with the addition of D major, E and G
minors, and with each hand in a five-finger position and playing
together. Some dotted and tied notes may be encountered. See also
p. 7.
AURAL TESTS FOR THE GRADE*: see pp. 20 and 21
V b
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11
Piano GRADE 3
SCALES AND ARPEGGIOS*: see also p. 6 Scales (similar motion)
A, E, B, Bb, Eb majors hands together and separately 2 octaves
B, G, C minors (harmonic or melodic at candidates choice)
Contrary-motion scalesA major hands beginning on the key-note 2
octaves A harmonic minor (unison)
Chromatic scales beginning on Ab and on C hands separately 2
octaves
Arpeggios A major hands together only 2 octaves G minor E, B,
Bb, Eb majors hands separately only 2 octavesB, C minors
THREE PIECES: one chosen by the candidate from each of the three
Lists, A, B and C:LIST A1 C. P. E. Bach Allegro in G, H. 328 Piano
Exam Pieces 20132014, Grade 32 Haydn German Dance in C: No. 4 from
12 German Dances, Hob. IX/12 (ABRSM)3 S. Wesley Vivace: 1st movt
from Sonata in A, Op. 5 No. 1
4 W. F. Bach Allemande. Music Through Time, Piano Book 3 (Grades
34), arr. Hall and Harris (OUP)5 Dittersdorf English Dance in Eb:
No. 11 from 20 englische Tnze (20 English Dances) (Schott ED 3935)6
L. Mozart Menuet in A. No. 12 from L. Mozart Notebook for Nannerl
(Schott ED 9006)LIST B 1 Chopin Wiosna (Spring) Piano Exam Pieces
20132014, Grade 32 T. Kirchner Poco allegro: No. 26 from 100 kleine
Studien, Op. 71 (ABRSM)3 Schubert German Dance in A: No. 3 from
Three German Dances, D. 972
4 Carroll By Crystal Stream: No. 4 from River & Rainbow
(Forsyth)5 C. Mayer Study in C, Op. 340 No. 1. A Romantic
Sketchbook for Piano, Book 1 (ABRSM)6 Swinstead In the Bay. More
Romantic Pieces for Piano, Book 2 (ABRSM)LIST C1 Sullivan The
Policemans Song: from The Pirates of Penzance, arr. Bullard Piano
Exam Pieces2 Manfred Schmitz Zur Sonnenuntergangsstunde (At
Sunset): No. 7 from Regenbogen Prludes 20132014, Grade 33 Dave
Stapleton Blue Sky Blues: No. 1 from Jazz Jazz Jazz
(ABRSM)
4 Bartk Jest: No. 27 from For Children, Vol. 1 (Boosey &
Hawkes)5 Brian Chapple Blues: from Lazy Days (Chester CH55983)6
Gillock The Juggler. No. 14 from Hello, Mr Gillock! Hello, Carl
Czerny! (Breitkopf & Hrtel EB 8627)
SIGHT-READING*: a piece of up to eight bars in length, time and
key signatures as Grade 2, with the addition of 38 and A, Bb, Eb
majors and B minor, and with hands playing together outside of a
five-finger position. Occasional two-note chords in either hand may
be encountered. See also p. 7.
AURAL TESTS FOR THE GRADE*: see pp. 20 and 22
This arrangement only* Published by ABRSM (Scale requirements,
Specimen Sight-Reading Tests, Specimen Aural Tests)
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12
Piano GRADE 4
SCALES AND ARPEGGIOS*: see also p. 6 Scales (similar motion)
B, Bb, Eb, Ab, Db majors hands together and separately 2 octaves
C#, G#, C, F minors (harmonic or melodic at candidates choice)
Contrary-motion scalesF, Eb majors hands beginning on the
key-note 2 octavesD, C harmonic minors (unison)
Chromatic scales beginning on any black key named by hands
together and separately 2 octaves the examiner
ArpeggiosB, Bb, Eb, Ab, Db majors hands together and separately
2 octaves C#, G#, C, F minors
THREE PIECES: one chosen by the candidate from each of the three
Lists, A, B and C:LIST A1 Anon. March in E b, BWV Anh. II 127: from
Clavierbchlein vor Anna Magdalena Bach, 1725 Piano Exam Pieces2 A.
E. Mller Scherzo in F: from Instructive bungsstcke 20132014, 3 D.
Scarlatti Sonata in G minor
Grade 4 (ABRSM)
4 Diabelli Moderato cantabile: 1st movt from Sonatina in F, Op.
168 No. 1. No. 1 from Diabelli 7 Sonatinas, Op. 168 (ABRSM)
5 J. N. Hummel Minuetto in F. Clementi & Co (De Haske Hal
Leonard)6 L. Mozart Allegro in G. No. 35 from L. Mozart Notebook
for Nannerl (Schott ED 9006)LIST B 1 Alwyn The Sun is Setting Piano
Exam Pieces 20132014,2 Trad.Latvian,arr.Garta Silta, jauka istabia
(The Warm and Pleasant Room) Grade 4 (ABRSM)3 Grieg Alvedans (Dance
of the Elves): No. 4 from Lyric Pieces, Op. 12
4 S. Heller Con moto, scherzando: No. 7 from 24 melodische
Etden, Op. 125 (Peters EP 4364) 5 Merkel The Merry Huntsman, Op. 31
No. 2. No. 19 from A Keyboard Anthology, 3rd Series, Book 1
(ABRSM)6 Hugo Reinhold Melancolie: No. 24 from Miniatur-Bilder, Op.
39 (Doblinger 1104)LIST C1 Emmanuel Oriol Ne tirez pas sur le
pianiste! (Dont Shoot the Pianist): No. 8 from 12 petites histoires
Piano Exam Pieces2 Federico Ruiz La peruanita (The Little Peruvian
Girl): from Piezas para nios 20132014, Grade 4 menores de 100 aos
(ABRSM)3 Poul Ruders Swinging Bells
4 Valerie Capers Billies Song: No. 7 from Portraits in Jazz
(OUP)5 Kabalevsky Dance: from Four Rondos, Op. 60 (SikorskiBoosey
& Hawkes)6 Carl Vine Semplice: from Red Blues (Faber) or
available in Keynotes, Grades 45 (Faber)
SIGHT-READING*: a piece of around eight bars in length, time and
key signatures as Grade 3, with the addition of 68 . Anacrusis and
occasional chromatic notes, pause signs and tenuto may be
encountered. See also p. 7.
AURAL TESTS FOR THE GRADE*: see pp. 20 and 22
* Published by ABRSM (Scale requirements, Specimen Sight-Reading
Tests, Specimen Aural Tests)
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13
This arrangement only The candidate chooses one of the two
groups* Published by ABRSM (Scale requirements, Specimen
Sight-Reading Tests, Specimen Aural Tests)
Piano GRADE 5
SCALES AND ARPEGGIOS*: see also p. 6 Scales (similar motion)
all keys, major and minor hands together and separately 3
octaves (minors harmonic or melodic at candidates choice)
Contrary-motion scalesGroup 1: F, Db/C# majors and harmonic
minors hands beginning on the key-note 2 octaves
or Group 2: F#, Bb majors and harmonic minors (unison) Chromatic
scales
beginning on any note named by the examiner hands together and
separately 3 octaves Chromatic contrary-motion scales
beginning on D (unison) and on Ab (unison) 2
octavesArpeggios
all keys, major and minor hands together and separately 3
octaves
THREE PIECES: one chosen by the candidate from each of the three
Lists, A, B and C:LIST A1 J. C. F. Bach Allegretto in F: from
Musikalische Nebenstunden (trilled turns optional) Piano Exam
Pieces 20132014, 2 Beethoven Minuet in D: No. 7 from 12 Minuets,
WoO 7 Grade 5 (ABRSM)3 Handel Allemande in A minor, HWV 478
4 Bolck Allegro vivo: 3rd movt from Sonatina in G, Op. 59 No. 2.
No. 21 from Das neue Sonatinenbuch (The New Sonatina Book), Vol. 1
(Schott ED 2511)
5 J. G. Krebs Allegro in G. No. 11 from Kleine leichte
Clavierstcke (Simple Short Piano Pieces) (Schott ED 2425)6 Rameau
La Joyeuse. Brenreiter Piano Album Baroque (Brenreiter BA 8759)LIST
B 1 MacDowell To a Wild Rose: No. 1 from Woodland Sketches, Op. 51
Piano Exam Pieces 20132014, Grade 52 Schumann *** : No. 26 from
Album fr die Jugend, Op. 68 (ABRSM)3 Trrega Adelita
4 Gedike Miniature, Op. 8 No. 7. No. 11 from Russian Music for
Piano, Book 3 (Chester CH01989)5 Palmgren Vestfinsk Dans
(West-Finnish Dance): No. 5 from Finska rytmer, Op. 31 (Hansen
WH14872) or (piece
published individually: Hansen WH14872E) 6 Tchaikovsky Douce
rverie (Daydream): No. 21 from Album for the Young, Op. 39 (ABRSM)
or More Romantic Pieces
for Piano, Book 2 (ABRSM)LIST C1 Darius Brubeck For Lydia Piano
Exam Pieces 20132014, 2 Kabalevsky Kavaleriiskaya (Cavalryman): No.
29 from 30 Childrens Pieces, Op. 27 Grade 5 (ABRSM)3 Villa-Lobos
Samba-lel (omitting DS): No. 4 from Guia prtico, Album 2
4 A. Benjamin Haunted House. Animations: 27 Pieces on the Lively
Side (Boosey & Hawkes)5 Milhaud Modr: No. 1 from Quatre
romances sans paroles (Salabert)6 Christopher Norton Sierra: No. 4
from The Christopher Norton Rock Preludes Collection (Boosey &
Hawkes)
SIGHT-READING*: a piece of around eight to twelve bars in
length, time signatures as Grade 4, keys up to four sharps/flats
(major) or three sharps/flats (minor). Four-part chords (two notes
maximum in either hand), simple syncopation and a slowing of tempo
at the end may be encountered. See also p. 7.
AURAL TESTS FOR THE GRADE*: see pp. 20 and 23
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14
The candidate chooses one of the two groups Same group as chosen
above* Published by ABRSM (Scale requirements, Specimen
Sight-Reading Tests, Specimen Aural Tests)
Piano GRADE 6
PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music,
Practical Musicianship or any solo Jazz subject.
SCALES AND ARPEGGIOS*: see also p. 6 Scales (similar motion)
all keys, major and minor legato, hands together and separately
4 octaves (minors both harmonic and melodic)
Staccato scales Group 1: A, Eb majors hands separately 4
octaves
or Group 2: E, Bb majors Contrary-motion scales
Group 1: A, Eb majors and harmonic minors legato, hands
beginning on the key-note 2 octavesor Group 2: E, Bb majors and
harmonic minors (unison) Staccato scale in thirds
C major hands separately 2 octaves Chromatic scales
beginning on any note named by the examiner legato, hands
together and separately 4 octavesChromatic contrary-motion
scale
beginning on A# (L.H.) and C# (R.H.), a minor legato 2 octaves
third apart
Arpeggiosall keys, major and minor legato, hands together and
separately 4 octaves
Diminished seventhsbeginning on B and on C# legato, hands
together and separately 4 octaves
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15
Piano: GRADE 6
THREE PIECES: one chosen by the candidate from each of the three
Lists, A, B and C:LIST A1 J. S. Bach Invention No. 14 in Bb, BWV
785 2 J. L. Dussek Rondo: 2nd movt from Sonatina in Eb, Op. 19 No.
6 Piano Exam Pieces 20132014, Grade 6 (ABRSM)3 J. C. Kellner Fugue:
No. 2 from Six Fugues
4 T. Arne Presto: 1st movt from Sonata No. 7 in A. Thomas Arne 8
Keyboard Sonatas (Faber) 5 Haydn Andante in D: No. 1 from
Diffrentes petites pices faciles et agrables. Haydn Klavierstcke,
Klavier-
variationen (Henle 224) or Haydn Diffrentes petites pices
(Edition HH 10231)6 D. Scarlatti Sonata in C minor, Kp. 11 (L.
352). Scarlatti 2 Sonatas for Keyboard, K. 11 (L. 352) and K. 492
(L. 14)
(Brenreiter BA 6591) or No. 3 from Scarlatti 200 Sonatas, Vol. 1
(Editio Musica Budapest Z.7817)LIST B 1 Brahms Waltz in Ab: No. 15
from Waltzes, Op. 392 Granados Danza de la rosa (Dance of the
Rose): No. 3 from Escenas poticas, Series 1 Piano Exam Pieces 20133
Schumann Frchtenmachen (Frightening): No. 11 from Kinderscenen, Op.
15 2014, Grade 6 (ABRSM) (observing repeats)
4 Beethoven Andante: 2nd movt from Sonata in G, Op. 79. Sonata
published individually (ABRSM) or Beethoven The 35 Piano Sonatas,
Vol. 3 (ABRSM)
5 Chopin Mazurka in Ab (op. posth., KK IVb No. 4). No. 57 from
Chopin Mazurkas (Peters EP 1902 or Henle 264)6 S. Heller Etude in
D, Op. 46 No. 8. More Romantic Pieces for Piano, Book 4 (ABRSM)LIST
C1 L. Berkeley Allegro: No. 5 from Five Short Pieces, Op. 4 Piano
Exam Pieces 20132014, Grade 62 Jason Rebello A Wise Bud (ABRSM)3
Trad. Chinese, arr. Zhang Zhao Jingpo shan ge (Jingpo Folksong)
4 Valerie Capers Mr Satchmo: No. 8 from Portraits in Jazz (OUP)5
Ibert La cage de cristal: No. 8 from Histoires (piece published
individually: Leduc) or available in Ibert Quatre pices
clbres extraites des Histoires (Leduc) 6 Huw Warren Open. Elena
Rius R&B Collection (Boosey & Hawkes)
SIGHT-READING*: a piece of around twelve to sixteen bars in
length, time signatures as Grade 5, with the addition of 98 , 54
and 58 , keys up to four sharps/flats (major and minor). Triplet
rhythms, some clef changes and sparing use of the right pedal may
be encountered. See also p. 7.
AURAL TESTS FOR THE GRADE*: see pp. 20 and 23
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16
The candidate chooses one of the two groups Same group as chosen
above* Published by ABRSM (Scale requirements, Specimen
Sight-Reading Tests, Specimen Aural Tests)
Piano GRADE 7
PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music,
Practical Musicianship or any solo Jazz subject.
SCALES AND ARPEGGIOS*: see also p. 6 Scales (similar motion)
Group 1: C, D, E, F#, Bb, Ab/G# majors & minors legato or
staccato as directed by 4 octavesor Group 2: G, A, B, F, Eb, Db/C#
majors & minors the examiner, hands together
(minors both harmonic and melodic) and separately Scales a third
apart
Group 1 keys as above legato or staccato as directed by 4
octavesor Group 2
(majors & harmonic minors only) the examiner, hands
together
Contrary-motion scalesGroup 1 keys as above legato or staccato
as directed by 2 octaves
or Group 2 (majors & harmonic minors only) the examiner,
hands beginning on
the key-note (unison)Legato scale in thirds
C major hands separately 2 octaves Staccato scale in sixths
C major hands separately 2 octaves Chromatic scales
beginning on any note named by the examiner legato or staccato
as directed by 4 octaves the examiner, hands together and
separately Chromatic contrary-motion scales
beginning on C (unison) and on F# (unison) legato or staccato as
directed by 2 octaves the examinerArpeggios
Group 1 keys as above legato, hands together and sepa- 4
octavesor Group 2 rately, in root position and first
inversionDominant sevenths
Group 1: in the keys of C, D, E, F#, Bb, Ab legato, hands
together and sepa- 4 octavesor Group 2: in the keys of G, A, B, F,
Eb, Db ratelyDiminished sevenths
beginning on A and on C# legato, hands together and sepa- 4
octaves rately
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17
Piano: GRADE 7
THREE PIECES: one chosen by the candidate from each of the three
Lists, A, B and C:LIST A1 C. P. E. Bach Allegro: 3rd movt from
Sonata in Ab, H. 31 2 Mozart Allegro: 3rd movt from Sonata in C, K.
279/189d Piano Exam Pieces 20132014, Grade 7 (ABRSM)3 D. Scarlatti
Sonata in F minor, Kp. 467 (L. 476)
4 Beethoven Allegro cantabile: 1st movt from Sonata in Eb, WoO
47 No. 1. Sonata published individually (ABRSM) or Beethoven The 35
Piano Sonatas, Vol. 1 (ABRSM)
5 Handel Allemande: 2nd movt from Suite in D minor, HWV 449. No.
12 (p. 70) from Handel Keyboard Works, Vol. 4 (Brenreiter BA
4223)
6 Paradies Presto: 2nd movt from Sonata No. 10. Paradies Sonate
di Gravicembalo (Sonatas for Harpsichord), Vol. 2 (Schott ED
6121)
LIST B 1 Bridge Berceuse Piano Exam Pieces 20132014, Grade 72
Liszt Piano Piece in F#, S. 193 (ABRSM)3 Schubert Scherzo and Trio:
3rd movt from Sonata in A minor, D. 845
4 Elgar Andantino: No. 1 from Dream Children, Op. 43 (Faber) 5
Grovlez Berceuse de la poupe: from LAlmanach aux images (Stainer
& Bell 0534)6 Tchaikovsky Mrz (March): No. 3 from Die
Jahreszeiten (The Seasons), Op. 37b (Henle 616 or Peters EP
8968)LIST C1 Ginastera Danza de la moza donosa (Dance of the
Graceful Young Girl): No. 2 from Danzas Piano Exam Pieces
argentinas, Op. 2 20132014, Grade 72 Schoenberg Leicht, zart
(Lightly, delicately): No. 1 from Sechs kleine Klavierstcke, Op. 19
(ABRSM)3 Shostakovich Allegretto: No. 1 from Three Fantastic
Dances, Op. 5
4 Gershwin Do It Again. Meet George Gershwin at the Keyboard
(Faber)5 Christopher Norton Sturdy Build: No. 8 from The
Christopher Norton Rock Preludes Collection (Boosey & Hawkes)6
Prokofiev Con vivacit: No. 11 from Visions fugitives, Op. 22
(Boosey & Hawkes)
SIGHT-READING*: a piece of around sixteen to twenty bars in
length, time and key signatures as Grade 6, with the addition of 78
and 74 . Tempo changes, the 8va sign and the use of the una corda
pedal may be encountered. See also p. 7.
AURAL TESTS FOR THE GRADE*: see pp. 20 and 24
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18* Published by ABRSM (Scale requirements)
Piano GRADE 8
PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music,
Practical Musicianship or any solo Jazz subject.
SCALES AND ARPEGGIOS*: see also p. 6 Scales (similar motion)
C, D, B, F#, F, Eb, Ab/G#, Db/C# majors & minors legato or
staccato as directed by 4 octaves (minors both harmonic and
melodic) the examiner, hands together and separately
Scales a third apartkeys as above (majors & harmonic minors
only) legato or staccato as directed by 4 octaves the examiner,
hands together
Scales a sixth apart keys as above (majors & harmonic minors
only) legato or staccato as directed by 4 octaves the examiner,
hands together
Legato scales in thirds C and Bb majors hands separately 2
octaves
Chromatic scales a minor third apartbeginning on any notes named
by the examiner legato or staccato as directed by 4 octaves the
examiner, hands together
Chromatic scale in minor thirds beginning on A#/C# legato, hands
separately 2 octaves
Whole-tone scale beginning on E legato, hands together and sepa-
2 octaves rately
Arpeggioskeys as for scales (similar motion) above legato, hands
together and sepa- 4 octaves rately, in root position, first and
second inversions
Dominant seventhsin the keys of C, D, B, F#, F, Eb, Ab, Db
legato, hands together and sepa- 4 octaves rately
Diminished seventhsbeginning on any note named by the examiner
legato, hands together and sepa- 4 octaves rately
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19
Sonata also known as Op. 39 No. 2 in other editions* Published
by ABRSM (Specimen Sight-Reading Tests, Specimen Aural Tests)
Piano: GRADE 8
THREE PIECES: one chosen by the candidate from each of the three
Lists, A, B and C:LIST A1 Soler Sonata in B: No. 11 from 27 Sonatas
Piano Exam Pieces2 J. S. Bach Prelude and Fugue in A, BWV 888: No.
19 from Das wohltemperirte Clavier, Part 2 20132014, Grade 83
Schumann Fughetta: No. 4 from Sieben Clavierstcke in Fughettenform,
Op. 126
(ABRSM)
4 J. S. Bach Praeambulum: 1st movt from Partita No. 5 in G, BWV
829. J. S. Bach Partitas Nos 46 (ABRSM)5 Faur Fugue in E minor: No.
6 from Pices brves, Op. 84 (Peters EP 7601)6 Handel Fugue in F, HWV
611. No. 7 from Handel 6 Fugues HWV 605610 and Fugues HWV 611, 612
(Henle 749) 7 D. Scarlatti Sonata in D, Kp. 492 (L. 14). Scarlatti
2 Sonatas for Keyboard, K. 11 (L. 352) and K. 492 (L. 14)
(Brenreiter BA 6591) or No. 175 from Scarlatti 200 Sonatas, Vol.
4 (Editio Musica Budapest Z.8666)8 Shostakovich Prelude and Fugue
in D, Op. 87 No. 5. Shostakovich 24 Preludes and Fugues, Op. 87,
Vol. 1
(SikorskiBoosey & Hawkes or Peters EP 4716a)LIST B 1 Haydn
Allegro: 1st movt from Sonata in Bb, Hob. XVI/41 Piano Exam Pieces
20132 Beethoven Allegro molto e con brio: 1st movt from Sonata in C
minor, Op. 10 No. 1 2014, Grade 8 (ABRSM)3 Weber Minuet and Trio:
3rd movt from Sonata No. 1 in C, Op. 24
4 Beethoven Allegro: 1st movt from Sonata in F, Op. 10 No. 2.
Sonata published individually (ABRSM) or Beethoven The 35 Piano
Sonatas, Vol. 1 (ABRSM)
5 Clementi Allegro con spirito: 3rd movt from Sonata in G, Op.
37 No. 2. Sonata published individually (Henle 1130) or No. 14 from
Clementi Selected Piano Sonatas, Vol. 2 (Henle 330)
6 Mozart Rondo in D, K. 485. Rondo published individually
(ABRSM) or Mozart Mature Piano Pieces (ABRSM) 7 Mozart Allegro: 1st
movt from Sonata in F, K. 533. Sonata published individually
(ABRSM) or Mozart Sonatas for
Pianoforte, Vol. 2 (ABRSM) 8 G. F. Pinto Allegro moderato con
espressione: 1st movt from Sonata in Eb minor (Op. 3 No. 1)
(Stainer & Bell K20)LIST C1 Brahms Intermezzo in Eb: No. 1 from
Three Intermezzos, Op. 117 2 Debussy Prlude: 1st movt from Suite
bergamasque 3 E. Halffter Habanera Piano Exam Pieces 20132014,
Grade 84 Arvo Prt Allegro: 1st movt from Sonatina, Op. 1 No. 1
(ABRSM)5 O. Peterson Hallelujah Time6 Skryabin Pome: No. 2 from
Deux pomes, Op. 69
7 L. Aubert Romance, Op. 2 (Durand)8 L. Boulanger Dun vieux
jardin: No. 1 from Trois morceaux pour piano (G. Schirmer GS33485
or Zen-On ZO 101835)9 Chopin Waltz in F, Op. 34 No. 3. No. 4 from
Chopin Waltzes (ABRSM)10 Dvok Na starm hrad (In the Old Castle):
No. 3 from Poetick nlady (Poetic Tone-Pictures/Poetische
Stimmungs-
bilder), Op. 85 (Brenreiter Praha H 338 or Henle 492)11 Ireland
The Darkened Valley. Ireland Collected Piano Works, Vol. 2 (Stainer
& Bell B394)12 Lyadov Prelude in Db, Op. 10 No. 1. No. 18 from
Lyadov Preludes, Trifles and Other Pieces (ABRSM)13 Mendelssohn
Presto agitato: No. 2 from Two Musical Sketches (Peters EP 7439)14
Poulenc Alerte: No. 3 from Mouvements perptuels (Chester CH02050)15
Rachmaninov Polichinelle: No. 4 from Morceaux de fantaisie, Op. 3.
Rachmaninov Piano Compositions, Vol. 3
(Boosey & Hawkes)16 Tansman tude-Scherzo (Salabert)
SIGHT-READING*: a piece of around a page in length, time and key
signatures as Grade 7, with the addition of 182 and B and Db
majors. Three-part chords in either hand, spread chords and simple
ornaments may be encountered. See also p. 7.
AURAL TESTS FOR THE GRADE*: see pp. 20 and 25
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88
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 musical ear. It connects the internal imagining of
sound, the inner ear, with the external creation of it, without the
necessity of mechanically having to find the note on an instrument
(important though that connection is). By integrating aural
activities in imaginative ways in the lesson, preparation for the
aural tests within an exam will be a natural extension of what is
already an essential part of the learning experience.
In the examAural tests are an integral part of all Practical
graded exams.
The tests are administered by the examiner from the piano. For
any test that requires a sung response, pitch rather than vocal
quality is the object. The examiner will be happy to adapt to the
vocal range of the candidate, whose responses may be sung to any
vowel (or consonant followed by a vowel), hummed or whistled (and
at a different octave, if appropriate).
AssessmentA number of tests allow for a second attempt or for an
additional playing by the examiner, if necessary. Also, where there
is hesitation on the part of the candidate, the examiner will be
ready to prompt, if necessary. In any such cases, this will affect
the assessment.
Marks are not awarded for each individual test nor deducted for
mistakes but reflect the candidates overall response in this
section. The marking criteria for the aural tests are given on p.
11.
Minor modifications (from 2011)This syllabus includes the minor
modifications introduced to some aural tests in 2011.
Specimen testsExamples of the tests are given in new editions
(from 2011) of Specimen Aural Tests and Aural Training in Practice,
available for purchase from music retailers and from
www.abrsm.org/shop.
Deaf or hearing-impaired candidates Deaf or hearing-impaired
candidates may opt to respond to alternative tests in place of the
standard tests, if requested at the time of entry. The syllabus for
these tests is available free on request from ABRSM (E
[email protected]). Examples of the alternative tests
are available for purchase from Allegro Music (T +44 (0)1885
490375; E [email protected]). The minor modifications (from 2011)
do not affect the alternative aural tests.
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89
Aural Tests GRADE 1A To clap the pulse of a piece played by the
examiner, and to identify whether it is in two time or
three time. The examiner will start playing the passage, and the
candidate should join in as soon as possible, clapping in time and
giving a louder clap on the strong beats. The examiner will then
ask whether the music is in two time or three time. The candidate
is not required to state the time signature.
B To sing as echoes three phrases played by the examiner. The
phrases will be two bars long, in a major key, and within the range
of tonicmediant. First the examiner will play the key-chord and the
starting note (the tonic) and then count in two bars. After the
examiner has played each phrase, the candidate should sing back the
echo without a pause, keeping in time.
C To identify where a change in pitch occurs during a phrase
played by the examiner. The phrase will be two bars long, in a
major key, and the change will affect only one of the notes. First
the examiner will play the key-chord and the tonic and then count
in two bars. The examiner will play the phrase twice, making the
change in the second playing, after which the candidate should
state whether the change was near the beginning or near the end. If
necessary, the examiner will play both versions of the phrase again
(although this will affect the assessment).
D To answer questions about two features of a piece played by
the examiner. Before playing, the examiner will tell the candidate
which two features the questions will be about. The first will be:
dynamics (loud/quiet, or sudden/gradual changes); the second will
be articulation (smooth/detached).
Aural Tests GRADE 2A To clap the pulse of a piece played by the
examiner, and to identify whether it is in two time or
three time. The examiner will start playing the passage, and the
candidate should join in as soon as possible, clapping in time and
giving a louder clap on the strong beats. The examiner will then
ask whether the music is in two time or three time. The candidate
is not required to state the time signature.
B To sing as echoes three phrases played by the examiner. The
phrases will be two bars long, in a major key, and within the range
of tonicdominant. First the examiner will play the key-chord and
the starting note (the tonic) and then count in two bars. After the
examiner has played each phrase, the candidate should sing back the
echo without a pause, keeping in time.
C To identify a change in either pitch or rhythm during a phrase
played by the examiner. The phrase will be two bars long, in a
major key. First the examiner will play the key-chord and the tonic
and then count in two bars. The examiner will play the phrase
twice, making the change in the second playing, after which the
candidate should identify the change by describing it, or
singing/clapping. If necessary, the examiner will play both
versions of the phrase again (although this will affect the
assessment).
D To answer questions about two features of a piece played by
the examiner. Before playing, the examiner will tell the candidate
which two features the questions will be about. The first will be
one of the following: dynamics (loud/quiet, or sudden/gradual
changes), articulation (smooth/detached); the second will be tempo
(becoming slower/faster, or staying the same).
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90
Aural Tests GRADE 3A To clap the pulse of a piece played by the
examiner, and to identify whether it is in two time,
three time or four time. The examiner will start playing the
passage, and the candidate should join in as soon as possible,
clapping in time and giving a louder clap on the strong beats. The
examiner will then ask whether the music is in two time, three time
or four time. The candidate is not required to state the time
signature.
B To sing as echoes three phrases played by the examiner. The
phrases will be two bars long, in a major or minor key, and within
the range of an octave. First the examiner will play the key-chord
and the starting note and then count in two bars. After the
examiner has played each phrase, the candidate should sing back the
echo without a pause, keeping in time.
C To identify a change in either pitch or rhythm during a phrase
played by the examiner. The phrase will be up to four bars long, in
a major or minor key. First the examiner will play the key-chord
and the tonic and then count in two bars. The examiner will play
the phrase twice, making the change in the second playing, after
which the candidate should identify the change by describing it, or
singing/clapping. If necessary, the examiner will play both
versions of the phrase again (although this will affect the
assessment).
D To answer questions about two features of a piece played by
the examiner. Before playing, the examiner will tell the candidate
which two features the questions will be about. The first will be
one of the following: dynamics (loud/quiet, or sudden/gradual
changes), articulation (smooth/detached), tempo (becoming
slower/faster, or staying the same); the second will be tonality
(major/minor key).
Aural Tests GRADE 4A To sing or play from memory a melody played
twice by the examiner. The melody will be within
the range of an octave, in a major or minor key with up to three
sharps or flats. First the examiner will play the key-chord and the
starting note and then count in two bars. (If the candidate chooses
to play, the examiner will also name the key-chord and the starting
note, as appropriate for the instrument.) If necessary, the
examiner will play the melody again and allow a second attempt
(although this will affect the assessment).
B To sing five notes from score in free time. The candidate may
choose to sing from treble or bass clef. The notes will be within
the range of a third above and below the tonic in the key of C, F
or G major. The test will begin and end on the tonic and will not
contain intervals greater than a third. First the examiner will
name and play the key-chord and the starting note. If necessary,
the examiner will help the candidate by playing and identifying the
correct note if any note is sung at the wrong pitch.
C (i) To answer questions about two features of a piece played
by the examiner. Before playing, the examiner will tell the
candidate which two features the questions will be about. The first
will be one of the following: dynamics, articulation, tempo,
tonality; the second will be character.
(ii) To clap the rhythm of the notes in an extract from the same
piece, and to identify whether it is in two time, three time or
four time. The examiner will play the extract twice (unharmonized),
after which the candidate should clap back the rhythm. The examiner
will then ask whether the music is in two time, three time or four
time. The candidate is not required to state the time
signature.
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91
Aural Tests GRADE 5A To sing or play from memory a melody played
twice by the examiner. The melody will be within
the range of an octave, in a major or minor key with up to three
sharps or flats. First the examiner will play the key-chord and the
starting note and then count in two bars. (If the candidate chooses
to play, the examiner will also name the key-chord and the starting
note, as appropriate for the instrument.) If necessary, the
examiner will play the melody again and allow a second attempt
(although this will affect the assessment).
B To sing six notes from score in free time. The candidate may
choose to sing from treble or bass clef. The notes will be within
the range of a fifth above and a fourth below the tonic, in a major
key with up to two sharps or flats. The test will begin and end on
the tonic and will not contain intervals greater than a third,
except for the rising fourth from dominant to tonic. First the
examiner will name and play the key-chord and the starting note. If
necessary, the examiner will help the candidate by playing and
identifying the correct note if any note is sung at the wrong
pitch.
C (i) To answer questions about two features of a piece played
by the examiner. Before playing, the examiner will tell the
candidate which two features the questions will be about. The first
will be one of the following: dynamics, articulation, tempo,
tonality, character; the second will be style and period.
(ii) To clap the rhythm of the notes in an extract from the same
piece, and to identify whether it is in two time, three time or
four time. The examiner will play the extract twice (unharmonized),
after which the candidate should clap back the rhythm. The examiner
will then ask whether the music is in two time, three time or four
time. The candidate is not required to state the time
signature.
Aural Tests GRADE 6A To sing or play from memory the upper part
of a two-part phrase played twice by the examiner.
The upper part will be within the range of an octave, in a major
or minor key with up to three sharps or flats. First the examiner
will play the key-chord and the starting note and then count in two
bars. (If the candidate chooses to play, the examiner will also
name the key-chord and the starting note, as appropriate for the
instrument.) If necessary, the examiner will play the phrase again
and allow a second attempt (although this will affect the
assessment).
B To sing a melody from score, with an accompaniment played by
the examiner. The candidate may choose to sing from treble or bass
clef. The melody will be within the range of an octave, in a major
or minor key with up to three sharps or flats. First the examiner
will name and play the key-chord and the starting note and then
give the pulse. A brief period of preparation will follow during
which the candidate may sing out loud. The examiner will play the
key-chord and the starting note again and then count in two bars.
If necessary, the examiner will allow a second attempt (although
this will affect the assessment).
C To identify the cadence at the end of a phrase as perfect or
imperfect. The phrase will be in a major or minor key and will be
played twice by the examiner. The chords forming the cadence will
be in root position. Before the first playing, the examiner will
play the key-chord.
D (i) To answer questions about two features of a piece played
by the examiner. Before playing, the examiner will tell the
candidate which two features the questions will be about. The first
will be: texture or structure; the second will be one of the
following: dynamics, articulation, tempo, tonality, character,
style and period, texture/structure.
(ii) To clap the rhythm of the notes in an extract from the same
piece, and to identify whether it is in two time, three time or
four time. The examiner will play the extract twice (unharmonized),
after which the candidate should clap back the rhythm. The examiner
will then ask whether the music is in two time, three time or four
time. The candidate is not required to state the time
signature.
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92
Aural Tests GRADE 7A To sing or play from memory the lower part
of a two-part phrase played twice by the examiner.
The lower part will be within the range of an octave, in a major
or minor key with up to three sharps or flats. First the examiner
will play the key-chord and the starting note and then count in two
bars. (If the candidate chooses to play, the examiner will also
name the key-chord and the starting note, as appropriate for the
instrument.) If necessary, the examiner will play the phrase again
and allow a second attempt (although this will affect the
assessment).
B To sing the upper part of a two-part phrase from score, with
the lower part played by the examiner. The candidate may choose to
sing from treble or bass clef. The upper part will be within the
range of an octave, in a major or minor key with up to four sharps
or flats. First the examiner will name and play the key-chord and
the starting note and then give the pulse. A brief period of
preparation will follow during which the candidate may sing out
loud. The examiner will play the key-chord and the starting note
again and then count in two bars. If necessary, the examiner will
allow a second attempt (although this will affect the
assessment).
C(i) To identify the cadence at the end of a phrase as perfect,
imperfect or interrupted. The phrase will be in a major or minor
key and will be played twice by the examiner. The chords forming
the cadence will be in root position. Before the first playing, the
examiner will play the key-chord.
(ii) To identify the two chords forming the above cadence. The
chords will be limited to the tonic, subdominant, dominant,
dominant seventh or submediant (all in root position). First the
examiner will name and play the key-chord, then play the two chords
as a pair. The candidate may answer using technical names (tonic,
dominant, etc.), chord numbers (I, V, etc.) or letter names (C
major, G major, etc.).
(iii) To identify whether the modulation at the end of a
different passage is to the dominant, subdominant or relative
minor. The passage, played once by the examiner, will begin in a
major key. First the examiner will name and play the starting
key-chord. The candidate may answer using technical names
(dominant, subdominant, relative minor) or the letter name of the
new key.
D (i) To answer questions about two features of a piece played
by the examiner. Before playing, the examiner will tell the
candidate which two of the following features the questions will be
about: dynamics, articulation, tempo, tonality, character, style
and period, texture, structure.
(ii) To clap the rhythm of the notes in an extract from the same
piece, and to identify whether it is in two time, three time, four
time or 6/8 time. The examiner will play the extract twice
(unharmonized), after which the candidate should clap back the
rhythm. The examiner will then ask whether the music is in two
time, three time, four time or 6/8 time.
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93
Aural Tests GRADE 8A (i) To sing or play from memory the lowest
part of a three-part phrase played twice by the examiner.
The lowest part will be within the range of an octave, in a
major or minor key with up to three sharps or flats. First the
examiner will play the key-chord and the starting note and then
count in two bars. (If the candidate chooses to play, the examiner
will also name the key-chord and the starting note, as appropriate
for the instrument.) If necessary, the examiner will play the
phrase again and allow a second attempt (although this will affect
the assessment).
(ii) To identify the cadence at the end of a continuing phrase
as perfect, imperfect, interrupted or plagal. The phrase will be in
a major or minor key and will be played twice by the examiner. The
chords forming the cadence will be limited to the tonic (root
position, first or second inversions), supertonic (root position or
first inversion), subdominant (root position), dominant (root
position, first or second inversions), dominant seventh (root
position) or submediant (root position). Before the first playing,
the examiner will play the key-chord.
(iii) To identify the three chords (including their positions)
forming the above cadential progression. The chords will be limited
to the tonic (root position, first or second inversions),
supertonic (root position or first inversion), subdominant (root
position), dominant (root position, first or second inversions),
dominant seventh (root position) or submediant (root position).
First the examiner will name and play the key-chord, then play the
three chords in sequence, finally playing each chord individually,
pausing for the candidate to identify it. The candidate may answer
using technical names (tonic, first inversion, etc.), chord numbers
(Ib, etc.) or letter names (C major in first inversion, etc.).
B To sing the lower part of a two-part phrase from score, with
the upper part played by the examiner. The candidate may choose to
sing from treble or bass clef. The lower part will be within the
range of an octave, in a major or minor key with up to four sharps
or flats. First the examiner will name and play the key-chord and
the starting note and then give the pulse. A brief period of
preparation will follow during which the candidate may sing out
loud. The examiner will play the key-chord and the starting note
again and then count in two bars. If necessary, the examiner will
allow a second attempt (although this will 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. The first passage will begin in a major key and the
second will begin in a minor key; each passage will be played once
by the examiner. Before playing each passage, the examiner will
name and play the starting key-chord. The candidate may answer
using technical names (dominant*, subdominant, relative
minor/major) or the letter name of the new key. (* Minor-key
passages may modulate to the dominant major or minor but the
candidate is only required to specify dominant in such cases.)
D To describe the characteristic features of a piece played by
the examiner. After hearing the piece, the candidate should
describe any notable features (such as texture, structure,
character, style and period, etc.). The examiner will prompt the
candidate with questions only if this becomes necessary.