Piano syllabus 2013 & 2014

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Piano Syllabus 2013 & 2014

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PIANO SYLLABUS 2013–2014 CONTENTS Syllabus updates

inside covers

Using this booklet

3

Welcome to ABRSM

4

New for Piano

Introducing ABRSM syllabuses ABRSM Piano exams

3 5

Syllabus requirements

6

Grades 1–8

9

Exam music and performance requirements Aural tests

Other ABRSM exams

8 20

Theory of Music

26

Other assessments

37

Practical Musicianship Additional information Accreditation (UK)

Obtaining exam music

© 2012 by The Associated Board of the Royal Schools of Music

30

38 39

All the syllabus information in this booklet, including repertoire and scale lists, is the copyright of ABRSM. No syllabus listing may be reproduced or published without the permission of ABRSM.

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USING THIS BOOKLET This syllabus booklet is designed to assist teachers, candidates, parents and organizations in preparing for ABRSM Piano exams.

As well as reading this booklet, it is important to consult the following two resources:

• Exam Information & Regulations (published annually) • These Music Exams – contains practical advice for candidates, teachers and parents

The syllabus, together with the above two publications, constitutes ABRSM’s overall exam specification; all are available free of charge from music retailers and from www.abrsm.org/exams.

In this booklet the Piano grades are listed on pp. 9–19. There are also some important syllabus requirements featured on pp. 6–8. Other information in this booklet includes advice on obtaining exam music and a list of contact details for publishers.

For information on current and future syllabus changes across all ABRSM subjects, see the syllabus updates on the inside front and back covers.

NEW FOR PIANO This syllabus booklet contains new set pieces, valid from 1 January 2013 until 31 December 2014 (overlap period into 2015: see inside front cover).

The only other changes that have been made in this booklet are:

• the inclusion of the natural form of the minor scale, which is now offered as an option in Grades 1 and 2 • updates to information concerning UK accreditation

This syllabus booklet will last until new set pieces for Piano come into force in 2015. Any updates during 2013 and 2014 – e.g. changes to publication details or other minor corrections – will be posted at www.abrsm.org/exams.

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WELCOME TO ABRSM ABRSM supports music teaching and learning throughout the world. We motivate musical achievement and encourage the development of well-rounded musicians through our authoritative exams, the professional development of teachers, and a wide range of published resources.

By delivering our exams rigorously and consistently we set the worldwide gold standard in music assessment, with over 600,000 people, in over 90 countries, choosing to take them each year.

As part of our commitment to excellence in music education, we provide a rich range of materials, from albums for the earliest stages of learning to scholarly editions of standard repertoire. Our online presence includes Soundjunction – an award-winning site for music learning. We support the professional development of teachers through our innovative courses and online learning resources.

To build on our 120 years inspiring generations of musicians, we provide charitable donations, scholarships and sponsorships, as well as acting as an advocate for music education. We do all we can to give music education a voice in public life because we believe music has the power to change lives.

ABRSM has the authority of four of the UK’s leading conservatoires: the Royal Academy of Music, Royal College of Music, Royal Conservatoire of Scotland and Royal Northern College of Music.

You can find out more about all of our activities at www.abrsm.org.

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INTRODUCING ABRSM SYLLABUSES The long-lasting success of ABRSM in supporting instrumental and vocal teachers and learners can be attributed to a number of factors. Significant among these is our collaborative approach to syllabus development, in which the views of a wide range of teachers is sought, alongside those of our examiners and specialist panels. This ensures that our syllabuses are relevant and accessible to all, no matter which teaching and learning approaches are adopted. A syllabus is, after all, a set of requirements for assessment purposes and not an instrumental or vocal curriculum.

Repertoire selection is another important factor, because experiencing the finest music is at the heart of musical training; it sustains and motivates all developing musicians. In each repertoire list we aim to produce a harmonious blend of styles and moods (as well as technical elements), so that the choices are broad and varied enough to suit all tastes while setting appropriate demands at each level. All syllabuses are supported by publications, recordings or other resources.

Other aspects of the exams contributing to ABRSM’s success include:

• a policy of using highly qualified and trained ‘generalist’ examiners, who work to transparent, easily understood criteria

• rigorous quality-assurance provisions that ensure consistent and reliable standards in all areas of our work

• a proven track record of reliable exam delivery and administration Graded exams are available for more than 30 instruments, singing, jazz, ensembles, practical musicianship and music theory. They support a framework for life-long learning in music, without restrictions on age, length of study, or the requirement that candidates are taught in schools or other centres.

Many students will start with the Prep Test, a simple and positive assessment at the preGrade 1 level, and then work through the eight grades, but we do not impose a set pattern.

For students who progress beyond Grade 8 we offer professional diplomas (DipABRSM, LRSM and FRSM) in three subject areas: performing, directing and teaching. For younger learners, Music Medals offer a set of fun, rewarding and accredited assessments supported by award-winning repertoire. They introduce essential musical skills and inspire developing musicians to play and enjoy music together.

ABRSM exams give the developing musician a set of worthwhile and motivational goals to work for. They provide the opportunity of performing high-quality music and developing all-round musicianship through a range of supporting activities. Measuring yourself against international benchmarks can be daunting, but we do all we can to make the experience a pleasurable one. The glow of achievement which exam success brings makes all that effort worthwhile.

Nigel Scaife Syllabus Director 5

PIANO (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 planning Candidates 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 chords Examiners 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 distinctness Recommended 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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Piano syllabus requirements

Sight-reading Candidates 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 assessment When 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 21 Pieces: 1 30 2 30 3 30 Sight-reading 21 Aural tests 18 Total

150

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EXAM MUSIC AND PERFORMANCE REQUIREMENTS (extracted from the Exam Information & Regulations booklet, which should be read in conjunction with this syllabus) a The individual sections of the exam may be attempted in any order, at the candidate’s choice.

b Teachers and candidates are advised to pay close attention to the syllabus requirements on pp. 6–7 as well as to the requirements indicated in the current lists of syllabus pieces.

A ‘piece’ comprises all the music set under one number-heading in the syllabus lists (unless an option is specifically indicated). Therefore, a ‘piece’ may comprise more than one movement from a work or more than one item from an album. c Where appropriate, the initial tempo indication (or section title) of a piece/movement is listed in the syllabus. Where a piece/movement comprises more than one tempo indication (or section title), the whole piece/movement is still required to be played in the exam (unless otherwise indicated).

d Candidates failing to observe specific syllabus requirements or regulations (i.e. performing a piece not listed in the syllabus, or not being prepared to perform the full extent of a piece as indicated in the syllabus) may be penalized, or, in certain cases, disqualified. e ABRSM offers a limited overlap period, during which pieces from the preceding syllabus may, under certain conditions, be performed (see syllabus updates on the inside front cover of this booklet). f Candidates may use any edition (in- or out-of-print or downloadable) of the pieces listed in the syllabus, except where a specific arrangement or transcription is indicated. The editions quoted in the syllabus are given for guidance only and are not obligatory.

g Candidates may use their discretion regarding indications or markings (particularly editorial) in the music – e.g. metronome marks, fingering, phrasing, the interpretation of ornaments, etc. – which need not be strictly observed. Where no such indications are present in the music, candidates should use their discretion to achieve a musical performance. h Candidates should observe da capo and dal segno indications, but other repeats of more than a few bars should not be played in the exam, unless stipulated in the syllabus. i Performing from memory is optional. The examiner is at liberty to review a copy of the music before or after the performance of any piece; therefore, candidates performing from memory must ensure that a copy of the music is available for the examiner’s use. j Examiners may, at their discretion, stop the performance of any piece when they have heard enough to form a judgement.

k The Copyright, Design and Patents Act 1988 (UK) does not permit the making or use of photocopies (or other kinds of copies) of copyright works. However, the UK Music Publishers’ Association’s Code of Fair Practice (available at www.mpaonline.org.uk) allows copies to be made in certain limited circumstances (such as a difficulty with a particular page-turn) but only if the copyright holder is listed in Appendix C of the Code. In all other cases, application should be made to the copyright holder before any copy is made.

It is the Applicant’s responsibility to ensure that candidates act within the law with respect to the making and use of photocopies (or other copies). ABRSM reserves the right to withhold the exam result of any candidate where it has evidence of the use of an illegal copy (or copies) in connection with that exam.

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Piano GRADE 1 SCALES AND BROKEN CHORDS*: see also p. 6 Scales C, G, D, F majors hands separately A, D minors (L.H. may, at candidate’s choice, be (natural or harmonic or melodic at played descending and ascending) candidate’s choice) Contrary-motion scale C major hands beginning on the key-note (unison) Broken chords C, G, F majors hands separately, as pattern below: A, D minors

V 68 Š Š Š Š Š Š Š Š Š Š.

2 octaves

1 octave

Š Š Š Š Š Š Š Š Š. Š

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A 1 Mozart Minuet in G, K. 1e ¸ Piano Exam Pieces 2013–2014, Grade 1 ˝ 2 Rowley Fugue: No. 4 from Five Miniature Preludes and Fugues (ABRSM) 3 Türk Das Ballett: No. 19 from 60 Pieces for Aspiring Players, Book 1 ˛ 4 Neefe Minuetto in G. No. 9 from Clavierstücke für Anfänger (Piano Pieces for Beginners) (Schott ED 2572) 5 Purcell Prelude, Z. 660/1. No. 9 from English Keyboard Music 1663–1702 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 2013–2014, ˝ 2 Swinstead Sailor’s Song: No. 11 from Work and Play Grade 1 (ABRSM) 3 Rybicki Na łódce (In a Boat): from Zaczynam grać (I Begin to Play), Op. 20 ˛ † 4 Borodin Polovtsian Dance: from Prince Igor. Simply Classics, Grades 0–1, arr. Gritton (Faber) 5 Gurlitt Die Klappermühle: No. 33 from The First Lessons, Op. 117 (Alfred–Kalmus K03498) 6 F. Wohlfahrt Allegretto. More Romantic Pieces for Piano, Book 1 (ABRSM) LIST C 1 Richard Rodney Bennett Thursday: from Seven Days a Week ¸ Piano Exam Pieces ˝ 2013–2014, Grade 1 2 Shostakovich March: No. 1 from Children’s Notebook, Op. 69 † 3 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

† This arrangement only * Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)

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Piano GRADE 2 SCALES, ARPEGGIOS AND BROKEN CHORDS*: see also p. 6 Scales (similar motion) G, D, A, F majors hands together and separately E, D, G minors (natural or harmonic or melodic at candidate’s choice) Contrary-motion scales C, E majors hands beginning on the key-note (unison) Chromatic scale beginning on D hands separately Arpeggios G, D, A majors hands separately D, G minors Broken chords F major hands separately, as pattern below: E minor

2 octaves

2 octaves 1 octave 2 octaves 2 octaves

Vb Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A 1 Purcell Hornpipe: from Abdelazer, Z. T683 (observing 1st repeat) ¸ Piano Exam Pieces 2013–2014, Grade 2 2 Telemann Très 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 (Bärenreiter BA 6578) † 6 Haydn Minuet in Bb. Piano Time Pieces, Book 3, arr. Hall (OUP)

LIST B 1 Nicolai Podgornov Bear Dance: from Nicolai Podgornov’s Graded Pieces for Piano, Vol. 1 ¸ Piano Exam Pieces ˝ 2013–2014, Grade 2 2 Stanford Lullaby: No. 5 from Six Sketches ˛ (ABRSM) 3 Li Yinghai Xiong mao (The Panda): No. 1 from Dong Wu Yuan zu qu (The Zoo Suite) 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 C † 1 Hanna, Barbera and Curtin Meet the Flintstones, arr. Scott-Burt ¸ Piano Exam Pieces 2013–2014, Grade 2 2 Seiber Polka: from Leichte Tänze (Easy Dances), Book 2 ˝ ˛ (ABRSM) 3 Sarah Watts Strange Things Happen 4 Julian Anderson Somewhere near Cluj. Spectrum 2 (ABRSM) 5 David Blackwell Cat’s 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 † This arrangement only * Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)

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Piano GRADE 3 SCALES AND ARPEGGIOS*: see also p. 6 Scales (similar motion) A, E, B, Bb, E b majors hands together and separately B, G, C minors (harmonic or melodic at candidate’s choice) Contrary-motion scales A major hands beginning on the key-note A harmonic minor (unison) Chromatic scales beginning on Ab and on C hands separately Arpeggios A major hands together only G minor E, B, Bb, E b majors hands separately only B, C minors

2 octaves

2 octaves 2 octaves 2 octaves 2 octaves

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A 1 C. P. E. Bach Allegro in G, H. 328 ¸ Piano Exam Pieces 2013–2014, Grade 3 2 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 3–4), arr. Hall and Harris (OUP) 5 Dittersdorf English Dance in E b: No. 11 from 20 englische Tänze (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 2013–2014, Grade 3 ˝ 2 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 C † 1 Sullivan The Policeman’s Song: from The Pirates of Penzance, arr. Bullard ¸ Piano Exam Pieces ˝ 2013–2014, Grade 3 2 Manfred Schmitz Zur Sonnenuntergangsstunde (At Sunset): No. 7 from Regenbogen Préludes ˛ (ABRSM) 3 Dave Stapleton Blue Sky Blues: No. 1 from Jazz Jazz Jazz 4 Bartók 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 & Härtel 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, E b 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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Piano GRADE 4 SCALES AND ARPEGGIOS*: see also p. 6 Scales (similar motion) B, Bb, E b, Ab, D b majors hands together and separately C#, G#, C, F minors (harmonic or melodic at candidate’s choice) Contrary-motion scales F, E b majors hands beginning on the key-note D, C harmonic minors (unison) Chromatic scales beginning on any black key named by hands together and separately the examiner Arpeggios B, Bb, E b, Ab, D b majors hands together and separately C#, G#, C, F minors

2 octaves

2 octaves 2 octaves 2 octaves

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A 1 Anon. March in E b, BWV Anh. II 127: from Clavierbüchlein vor Anna Magdalena Bach, 1725 ¸ Piano Exam Pieces ˝ 2013–2014, 2 A. E. Müller Scherzo in F: from Instructive Übungsstücke

˛ Grade 4 (ABRSM) 3 D. Scarlatti Sonata in G minor 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 2013–2014, 2 Trad. Latvian, arr. Garūta Silta, jauka istabiņa (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 Etüden, 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 C 1 Emmanuel Oriol Ne tirez pas sur le pianiste! (Don’t Shoot the Pianist): No. 8 from 12 petites histoires ¸ Piano Exam Pieces Ó 2013–2014, Grade 4 2 Federico Ruiz La peruanita (The Little Peruvian Girl): from Piezas para niños Ï (ABRSM) menores de 100 años ˛ 3 Poul Ruders Swinging Bells 4 Valerie Capers Billie’s Song: No. 7 from Portraits in Jazz (OUP) 5 Kabalevsky Dance: from Four Rondos, Op. 60 (Sikorski–Boosey & Hawkes) 6 Carl Vine Semplice: from Red Blues (Faber) or available in Keynotes, Grades 4–5 (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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Piano GRADE 5 SCALES AND ARPEGGIOS*: see also p. 6 Scales (similar motion) all keys, major and minor hands together and separately (minors harmonic or melodic at candidate’s choice) Contrary-motion scales Group 1: F, D b/C# majors and harmonic minors hands beginning on the key-note or Group 2: F#, Bb majors and harmonic minors (unison)‡ Chromatic scales beginning on any note named by the examiner hands together and separately Chromatic contrary-motion scales beginning on D (unison) and on Ab (unison) Arpeggios all keys, major and minor hands together and separately

3 octaves

2 octaves 3 octaves 2 octaves 3 octaves

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A 1 J. C. F. Bach Allegretto in F: from Musikalische Nebenstunden (trilled turns optional) ¸ Piano Exam Pieces 2013–2014, 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 Clavierstücke (Simple Short Piano Pieces) (Schott ED 2425) 6 Rameau La Joyeuse. Bärenreiter Piano Album – Baroque (Bärenreiter BA 8759)

LIST B 1 MacDowell To a Wild Rose: No. 1 from Woodland Sketches, Op. 51 ¸ Piano Exam Pieces 2013–2014, Grade 5 2 Schumann * * : No. 26 from Album für die Jugend, Op. 68 ˝ * ˛ (ABRSM) † 3 Tárrega 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 rêverie (Daydream): No. 21 from Album for the Young, Op. 39 (ABRSM) or More Romantic Pieces for Piano, Book 2 (ABRSM) LIST C 1 Darius Brubeck For Lydia ¸ Piano Exam Pieces 2013–2014, 2 Kabalevsky Kavaleriiskaya (Cavalryman): No. 29 from 30 Children’s Pieces, Op. 27 ˝ ˛ Grade 5 (ABRSM) 3 Villa-Lobos Samba-lelê (omitting DS): No. 4 from Guia prático, Album 2 4 A. Benjamin Haunted House. Animations: 27 Pieces on the Lively Side (Boosey & Hawkes) 5 Milhaud Modéré: 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

† This arrangement only

‡ The candidate chooses one of the two groups

* Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)

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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 (minors both harmonic and melodic)

Staccato scales Group 1: A, E b majors hands separately‡ or Group 2: E, Bb majors

Contrary-motion scales Group 1: A, E b majors and harmonic minors legato, hands beginning on the key-note or Group 2: E, Bb majors and harmonic minors (unison)ठStaccato scale in thirds C major hands separately Chromatic scales beginning on any note named by the examiner legato, hands together and separately Chromatic contrary-motion scale beginning on A# (L.H.) and C # (R.H.), a minor legato third apart Arpeggios all keys, major and minor legato, hands together and separately Diminished sevenths beginning on B and on C # legato, hands together and separately

‡ 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)

14

4 octaves 4 octaves 2 octaves 2 octaves 4 octaves 2 octaves 4 octaves 4 octaves

Piano: GRADE 6 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A 1 J. S. Bach Invention No. 14 in Bb, BWV 785 ¸ 2 J. L. Dussek Rondo: 2nd movt from Sonatina in E b, Op. 19 No. 6 ˝ Piano Exam Pieces 2013–2014, 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 Différentes petites pièces faciles et agréables. Haydn Klavierstücke, Klaviervariationen (Henle 224) or Haydn Différentes petites pièces (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) (Bärenreiter 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. 39 ¸ 2 Granados Danza de la rosa (Dance of the Rose): No. 3 from Escenas poéticas, Series 1 Ó Piano Exam Pieces 2013– Ï 2014, Grade 6 (ABRSM) 3 Schumann Fürchtenmachen (Frightening): No. 11 from Kinderscenen, Op. 15 ˛ (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 C 1 L. Berkeley Allegro: No. 5 from Five Short Pieces, Op. 4 ¸ Piano Exam Pieces 2013–2014, Grade 6 ˝ 2 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 pièces célèbres extraites des Histoires (Leduc) 6 Huw Warren Open. Elena Riu’s 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

15

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 or Group 2: G, A, B, F, E b, D b /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 ˝ or Group 2 ˛ (majors & harmonic minors only) the examiner, hands together‡§ Contrary-motion scales Group 1 ¸ keys as above legato or staccato as directed by ˝ or Group 2 ˛ (majors & harmonic minors only) the examiner, hands beginning on

the key-note (unison)ठLegato scale in thirds C major hands separately Staccato scale in sixths C major hands separately Chromatic scales beginning on any note named by the examiner legato or staccato as directed by

the examiner, hands together and

separately Chromatic contrary-motion scales beginning on C (unison) and on F # (unison) legato or staccato as directed by

the examiner Arpeggios Group 1 ¸ keys as above legato, hands together and sepa- ˝ or Group 2 ˛ rately, in root position and first

inversionठDominant sevenths Group 1: in the keys of C, D, E, F #, Bb, Ab legato, hands together and sepa- or Group 2: in the keys of G, A, B, F, E b, D b ratelyठDiminished sevenths beginning on A and on C #

‡ The candidate chooses one of the two groups

legato, hands together and sepa- rately

§ Same group as chosen above

* Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)

16

4 octaves

4 octaves 2 octaves

2 octaves 2 octaves 4 octaves

2 octaves 4 octaves

4 octaves 4 octaves

Piano: GRADE 7 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A 1 C. P. E. Bach Allegro: 3rd movt from Sonata in A b, H. 31 ¸ 2 Mozart Allegro: 3rd movt from Sonata in C, K. 279/189d ˝ Piano Exam Pieces 2013–2014, Grade 7 (ABRSM) ˛ 3 D. Scarlatti Sonata in F minor, Kp. 467 (L. 476)

4 Beethoven Allegro cantabile: 1st movt from Sonata in E b, 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 (Bärenreiter 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 2013–2014, Grade 7 ˝ 2 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 poupée: from L’Almanach aux images (Stainer & Bell 0534) 6 Tchaikovsky März (March): No. 3 from Die Jahreszeiten (The Seasons), Op. 37b (Henle 616 or Peters EP 8968) LIST C 1 Ginastera Danza de la moza donosa (Dance of the Graceful Young Girl): No. 2 from Danzas ¸ Piano Exam Pieces argentinas, Op. 2 Ó 2013–2014, Grade 7 2 Schoenberg Leicht, zart (Lightly, delicately): No. 1 from Sechs kleine Klavierstücke, Op. 19 Ï ˛ (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 vivacità: 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

17

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, E b, Ab /G#, D b /C# majors & minors legato or staccato as directed by (minors both harmonic and melodic) the examiner, hands together

and separately Scales a third apart keys as above (majors & harmonic minors only) legato or staccato as directed by

the examiner, hands together Scales a sixth apart keys as above (majors & harmonic minors only) legato or staccato as directed by

the examiner, hands together Legato scales in thirds C and Bb majors hands separately Chromatic scales a minor third apart beginning on any notes named by the examiner legato or staccato as directed by

the examiner, hands together Chromatic scale in minor thirds beginning on A#/C# legato, hands separately Whole-tone scale beginning on E legato, hands together and sepa- rately Arpeggios keys as for scales (similar motion) above legato, hands together and sepa-

rately, in root position, first and

second inversions Dominant sevenths in the keys of C, D, B, F#, F, E b, Ab, D b legato, hands together and sepa- rately Diminished sevenths beginning on any note named by the examiner legato, hands together and sepa- rately

* Published by ABRSM (Scale requirements)

18

4 octaves

4 octaves 4 octaves 2 octaves 4 octaves 2 octaves 2 octaves 4 octaves

4 octaves 4 octaves

Piano: GRADE 8 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A 1 Soler Sonata in B: No. 11 from 27 Sonatas ¸ Piano Exam Pieces ˝ 2013–2014, Grade 8 2 J. S. Bach Prelude and Fugue in A, BWV 888: No. 19 from Das wohltemperirte Clavier, Part 2 ˛ (ABRSM) 3 Schumann Fughetta: No. 4 from Sieben Clavierstücke in Fughettenform, Op. 126 4 J. S. Bach Praeambulum: 1st movt from Partita No. 5 in G, BWV 829. J. S. Bach Partitas Nos 4–6 (ABRSM) 5 Fauré Fugue in E minor: No. 6 from Pièces brèves, Op. 84 (Peters EP 7601) 6 Handel Fugue in F, HWV 611. No. 7 from Handel 6 Fugues HWV 605–610 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) (Bärenreiter 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 (Sikorski–Boosey & Hawkes or Peters EP 4716a) LIST B 1 Haydn Allegro: 1st movt from Sonata in Bb, Hob. XVI/41 ¸ Piano Exam Pieces 2013– 2 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 E b minor (Op. 3 No. 1) (Stainer & Bell K20)

LIST C 1 Brahms Intermezzo in E b: No. 1 from Three Intermezzos, Op. 117 2 Debussy Prélude: 1st movt from Suite bergamasque 3 E. Halffter Habanera Piano Exam Pieces 2013–2014, Grade 8 4 Arvo Pärt Allegro: 1st movt from Sonatina, Op. 1 No. 1 (ABRSM) 5 O. Peterson Hallelujah Time 6 Skryabin Poème: No. 2 from Deux poèmes, Op. 69 7 L. Aubert Romance, Op. 2 (Durand) 8 L. Boulanger D’un 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 Dvořák Na starém hradě (In the Old Castle): No. 3 from Poetické nálady (Poetic Tone-Pictures/Poetische Stimmungsbilder), Op. 85 (Bärenreiter Praha H 338 or Henle 492) 11 Ireland The Darkened Valley. Ireland Collected Piano Works, Vol. 2 (Stainer & Bell B394) 12 Lyadov Prelude in D b, 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 perpétuels (Chester CH02050) 15 Rachmaninov Polichinelle: No. 4 from Morceaux de fantaisie, Op. 3. Rachmaninov Piano Compositions, Vol. 3 (Boosey & Hawkes) 16 Tansman Étude-Scherzo (Salabert)

¸ Ó Ï ˛

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 D b 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

§ Sonata also known as Op. 39 No. 2 in other editions * Published by ABRSM (Specimen Sight-Reading Tests, Specimen Aural Tests)

19

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 exam Aural 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).

Assessment A 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.

Further information on how the aural tests are assessed can be found in the guide for candidates, teachers and parents, These Music Exams, available to download from www. abrsm.org/exams.

Minor modifications (from 2011) This syllabus includes the minor modifications introduced to some aural tests in 2011.

Specimen tests Examples 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 accesscoordinator@abrsm.ac.uk). Examples of the alternative tests are available for purchase from Allegro Music (T +44 (0)1885 490375; E sales@ allegro.co.uk). The minor modifications (from 2011) do not affect the alternative aural tests.

20

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. 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.

To sing as ‘echoes’ three phrases played by the examiner. The phrases will be two bars long, in a major key, and within the range of tonic–mediant. First the examiner will play the key-chord and the starting note (the tonic) and then count in two bars. After the examiner has played each phrase, the candidate should sing back the echo without a pause, keeping in time.

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).

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 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. 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.

To sing as ‘echoes’ three phrases played by the examiner. The phrases will be two bars long, in a major key, and within the range of tonic–dominant. First the examiner will play the key-chord and the starting note (the tonic) and then count in two bars. After the examiner has played each phrase, the candidate should sing back the echo without a pause, keeping in time.

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).

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).

21

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. 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.

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.

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).

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 4 A

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

22

Aural Tests GRADE 5 A

To sing or play from memory a melody played twice by the examiner. The melody will be within the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the melody again and allow a second attempt (although this 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 6 A

To sing or play from memory the upper part of a two-part phrase played twice by the examiner.

The upper part will be within the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) 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.

23

Aural Tests GRADE 7 A

To sing or play from memory the lower part of a two-part phrase played twice by the examiner.

The lower part will be within the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) 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.

24

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.

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.

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THEORY OF MUSIC (Subject Code: 99) Developing literacy with the tonal language forms a key part of a rounded education for performers, composers and listeners of all kinds. An understanding of 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. Without knowledge of notation it is impossible for classical musicians to access their repertoire with ease or to rehearse together; and this repertoire could not be heard at all had composers not been able to write it down. So, music theory is a very practical subject that is completely entwined with performance and composition.

ABRSM’s Theory of Music exams give students opportunities to acquire: • a knowledge of the notation of western music, including the signs and terminol­ogy commonly employed • an understanding of fundamental musical elements such as intervals, keys, scales and chords • skill in constructing balanced rhythmic patterns or completing given melodic or harmonic structures • an ability to apply theoretical knowledge and understanding to score analysis Candidates are assessed on their ability to identify, use and manipulate conventional musical symbols, to complete extracts and to answer questions relating to the elements of music according to the grade-by-grade parameters detailed on the following pages.

Grade 5 as a prerequisite A longstanding ABRSM benchmark is that a pass at Grade 5 or above in Theory of Music must be obtained before candidates can enter for Grades 6, 7 or 8 Practical exams. We believe that a thorough understanding of the elements of music is essential for a full and satisfying performance at these higher grades. (Grade 5 in Practical Musicianship or any solo Jazz subject also fulfils this prerequisite.)

Marking scheme Theory exams are marked out of a total of 100, with 66 marks required for a Pass, 80 for a Merit and 90 for a Distinction.

Past papers Copies of the question papers set in ABRSM’s Theory exams for each of the preceding five years are available for purchase from music retailers and from www.abrsm.org/shop.

Model answers for papers for the same period are also available.

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Theory GRADE 1 1 Note values of semibreve, minim, crotchet, quaver and semiquaver, and their equivalent rests (candidates may use the terms ‘whole note’, ‘half note’, etc.). Tied notes. Single-dotted notes and rests.

2 Simple time signatures of 24 34 44 , bar-lines and the grouping of the notes listed above within these times.

Composition of a two-bar rhythm in answer to a given rhythm starting on the first beat of a bar.

3 The stave. Treble (G) and bass (F) clefs. Names of notes on the stave, including middle C in both clefs.

Sharp, flat and natural signs, and their cancellation.

4 Construction of the major scale, including the position of the tones and semitones. Scales and key signa­tures of the major keys of C, G, D and F in both clefs, with their tonic triads (root position), degrees (num­ber only), and intervals above the tonic (by number only).

5 Some frequently used terms and signs concerning tempo, dynamics, performance directions and articula­tion marks. Simple questions will be asked about a melody written in either treble or bass clef.

Theory GRADE 2 As in Grade 1, with the addition of: 1 Simple time signatures of 22 32 42 38 and the grouping of notes and rests within these times. Triplets, and triplet note groups with rests. Questions will include the composition of simple four-bar rhythms starting on the first beat of the bar and using a given opening.

2 Extension of the stave to include two ledger lines below and above each stave.

3 Construction of the minor scale (harmonic or melodic at candidate’s choice, but candidates will be expected to know which form they are using). Scales and key signatures of the major keys of A, Bb and Eb , and the minor keys of A, E and D, with their tonic triads (root position), degrees (­number only), and intervals above the tonic (by number only).

4 More terms and signs in common use.

Theory GRADE 3 As in preceding grades, with the addition of:

1 Compound time signatures of 68 98 182 and the grouping of notes and rests within these times. The demisemiquaver (32nd note) and its equivalent rest. Questions will include the composition of a sim­ple four-bar rhythm which may start on an upbeat.

2 Extension of the stave beyond two ledger lines. The transposition of a simple melody from the treble clef to the bass clef, or vice versa, at the octave.

3 Scales and key signatures of all major and minor keys up to and including four sharps and flats, including both harmonic and melodic forms of minor scales, with their tonic triads (root position), degrees (number only), and intervals above the tonic (number and type).

4 More terms and signs. The simple questions about a melody may include one on its phrase structure.

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Theory GRADE 4 As in preceding grades, with the addition of: 1 All simple and compound duple, triple and quadruple time signatures, and the grouping of notes and rests within these times. The breve and its equivalent rest. Double-dotted notes and rests. Duplets. Questions will include the composition of a four-bar rhythm or (at candidate’s choice) the composition of a rhythm to given words.

2 Alto clef (C clef centred on 3rd line). The identification of notes in the alto clef in any of the keys set for this grade (see below), and the transcription at the same pitch of a simple melody from the treble or the bass clef to the alto clef, and vice versa. Double sharp and double flat signs, and their cancellation.

Enharmonic equivalents.

3 Scales and key signatures of all major and minor keys up to and including five sharps and flats, with both forms of minor scales. Technical names for the notes of the diatonic scale (tonic, super­ tonic, etc.).

Construction of the chromatic scale. All intervals, not exceeding an octave, between any two diatonic notes in any of the keys set for this grade.

4 The identification and writing of triads (root position) on the tonic, subdominant and dominant notes in any of the keys set for this grade. The recognition of 53 (root position) chords on the tonic, subdominant and dominant notes in any of the keys set for this grade (the harmonic form of the scale will be used in minor keys).

5 More terms and signs, including the recognition and naming (but not writing out) of the trill, turn, upper and lower mordent, acciaccatura and appoggiatura. Questions about a passage of music will include sim­ple related questions about standard orchestral instruments.

Theory GRADE 5 As in preceding grades, with the addition of: 1 Irregular time signatures of 54 74 58 87 and the grouping of notes and rests within these times. Irregu­ lar divi­sions of simple time values.

2 Tenor clef (C clef centred on 4th line). The identification of notes in the four clefs in any of the keys set for this grade (see below), and the transposition at the octave of a simple melody from any clef to another.

The writing at concert pitch of a melody notated for an instrument in Bb , A or F, and vice versa (the interval of transposition up or down will be given). The writing in open score, using treble and bass clefs, of a passage for SATB written on two staves, and vice versa.

3 Scales and key signatures of all major and minor keys up to and including six sharps and flats. All simple and compound intervals from any note.

4 The identification of the 53 63 and 64 forms of the tonic, supertonic, subdominant and dominant chords in any of the keys set for this grade. The identification of the progression 64 53 (Ic-V) on the dominant note in any of the keys set for this grade. The choice of suitable chords, using any recognized method of notation, at cadential points of a simple melody in the major key of C, G, D or F. 5 The composition of a simple melody of not more than eight bars, using a given opening and writing for a specific instrument (some choice will be given) or, at the candidate’s choice, the composition of a melody to given words. Appropriate performing directions relating to tempo, dynamics and articulation will be required.

6 More terms and signs. The recognition of ornaments, including the replacement of written-out ornamen­tation with the appropriate signs, but not vice versa. Questions about a passage of music written for voices or instruments appropriate to the grade will include questions on the types of voice and names of instru­ments, the clefs they use, instrument family groups and the basic way by which they produce sound, as well as points of general musical observation designed to test the candidate’s ability to apply theoretical knowledge to actual music.

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Theory GRADE 6

1 2 3 4

As in preceding grades. The harmonic vocabulary expected will include: the use of 53 63 and 64 chords on any degree of the major or minor (harmonic and melodic) scale; the recognition of the dominant seventh chord in root position, first, second and third inversions, and the supertonic seventh chord in root position and first inversion, in any major or minor key; and the figuring for all these chords. An understanding of the principles of modulation and a knowledge of cadences, ornamentation and melodic decoration (which might include passing notes, auxiliary notes, appoggiaturas, changing notes and notes of anticipation) will also be expected. Questions will cover: Writing specified chords for voices in four parts or for keyboard (at the candidate’s choice) above a given bass part of about four bars.

The indication of suitable chords for the accompaniment of a diatonic melody of about eight bars in any key, using any recognized method of notation, or, at the candidate’s choice, the provision of a bass to a given melody, adding figures to indicate the intended harmonies.

Composition of a melody for a specified instrument (a choice will be given), using a given opening.

Modulation to the dominant, subdominant, relative major or relative minor may be required.

Questions on short extracts of music written for piano or in open score for voices or for any com­bination of instruments and/or voices, designed to test the candidate’s knowledge of the elements and notation of music, including the realization of ornaments, the identification and notation of underlying harmonic struc­ture, phrase structure, style, performance, and on the voices and ­instruments for which the works were written.

Theory GRADE 7

1 2 3

4

As in preceding grades, with the addition of recognition of all diatonic secondary seventh chords and their inversions, the Neapolitan sixth and the diminished seventh chords, and of all figures ­commonly used by composers during the period c.1620–1790 to indicate harmonies above a bass part. Questions will cover: The indication of chords and movement of the inner parts by figuring the bass in a passage in which both the melody and bass are given.

Rewriting a given passage to include appropriate suspensions and notes of melodic decoration.

Continuation of a given opening for solo instrument with keyboard accompaniment, which will be given in full throughout the passage, by completing the solo part, or, at the candidate’s choice, composition of a melody for a specified instrument (a choice will be given) based on a given ­progression of chords or melodic figure.

Questions on short extracts of music written for piano or in open score for voices or for any com­bination of instruments and/or voices, designed to test the candidate’s knowledge of the elements and notation of music, including the realization of ornaments, the identification and notation of underlying harmonic structure, phrase structure, style, performance, and on the voices and ­instruments for which the works were written.

Theory GRADE 8 1 2 3 4

As in preceding grades. The harmonic vocabulary expected will include all standard diatonic and chro­matic chords. Questions will cover: Continuation of a given opening of a passage from a Baroque trio sonata for two treble instru­ments and basso continuo. The basso continuo part will be given throughout and fully figured (but a realization for keyboard will not be required).

Completion of an outline of a short passage for keyboard. Some knowledge of the styles practised by com­posers from the time of Haydn onwards will be assumed.

Continuation of a given opening of a melody for a specified instrument (a choice will be given).

Questions on short extracts of music written for piano or in open score for voices or for any com­bination of instruments and/or voices, designed to test the candidate’s knowledge of the elements and notation of music, including the realization of ornaments, the identification and notation of underlying har­monic structure, phrase structure, style, performance, and on the voices and i­nstruments for which the works were written.

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PRACTICAL MUSICIANSHIP (Subject Code: 42) Musicianship is a broad concept that covers a complex range of musical abilities. For the purposes of this syllabus, it is loosely defined as the ability to ‘think in sound’. This occurs when a 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 give students opportunities to develop their ability to ‘think in sound’ and perform spontaneously. While the other graded exams focus on aspects of performance that are prepared in detail in advance, here the playing (or singing) is in response to immediate challenges and stimuli, presented both aurally and via notation.

Grade by grade, the Practical Musicianship exams cover some of the key skills for the rounded musician: • 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 as well as the expressive and interpretative skills needed to master the musical language of the repertoire they are learning.

Grade 5 as a prerequisite A pass at Grade 5 or above in Practical Musicianship (or in Theory of Music or any solo Jazz subject) must be obtained before candidates can enter for Grades 6, 7 or 8 Practical exams. We believe that a thorough understanding of the elements of music is essential for a full and satisfying performance at these higher grades.

Instruments Practical Musicianship exams are open to singers as well as instrumentalists perform­ing on any instrument(s) included in the current range of subjects featured in ABRSM’s syllabuses. Singing candidates will be expected to play certain parts of the exam on an instrument (either the piano provided or any other instrument of their choice).

In the exam Approximately one minute of preparation time is allowed for the following tests: • singing/playing at sight • improvising (from Grade 4) • transposing at sight • realizing a figured bass 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).

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Marking scheme The examiner will award an overall grading, rather than a mark, on the following basis: A Pass with Distinction B Pass with Merit C Pass F Failure to reach the standard required to pass Specimen tests Examples of the tests are given in Specimen Tests: Practical Musicianship and Musicianship in Practice, available for purchase from music retailers and from www.abrsm.org/shop.

Practical Musicianship GRADE 1 A To tap, as an echo, the rhythm-pattern of two two-bar phrases in simple time played by the exam­iner.

The echoes should follow each phrase in strict time without an intervening pause.

B To sing, as an echo, two two-bar phrases in simple time played by the examiner. The echoes should follow each phrase in strict time without an intervening pause.

C To play from memory, on an instrument chosen by the candidate, a two-bar melody played twice by the examiner. The key-chord will first be sounded and the starting note appropriate to the candidate’s instru­ment will be named.

D To sing at sight a four-bar melody in 24 time to a simple accompaniment played by the examiner.

The key-chord and starting note will first be sounded and named, and the pulse indicated.

E To improvise with voice or instrument, at the choice of the candidate, a two-bar answering phrase to a two-bar phrase played by the examiner. The key-chord and the starting note appropriate to the candidate’s voice or chosen instrument will first be sounded and named. The answering phrase should follow in strict time after the examiner has played the opening phrase. A second attempt will be allowed.

F To recognize, from the printed score, the three or four changes made to pitch and note values in a melody played twice by the examiner. The candidate will be required to point to and explain the differences.

The key-chord will be sounded before the melody is played.

Practical Musicianship GRADE 2 A To sing, as an echo, two two-bar phrases in simple time played by the examiner, whilst ­continuously tap­ping a repeated rhythm pattern (i.e. an ostinato) previously indicated by the examiner. The echoes should follow each phrase in strict time without an intervening pause.

B To play from memory, on an instrument chosen by the candidate, a two-bar melody played twice by the examiner. The key-chord will first be sounded and the starting note appropriate to the candidate’s instru­ment will be named.

C To sing at sight a four-bar melody in 42 or 34 time to a simple accompaniment played by the examiner.

The key-chord and starting note will first be sounded and named, and the pulse indicated.

D To improvise with voice or instrument, at the choice of the candidate, a two-bar answering phrase to a two-bar phrase played by the examiner. The key-chord and the starting note appropriate to the candidate’s voice or chosen instrument will first be sounded and named. The answering phrase should follow in strict time after the examiner has played the opening phrase. A second attempt will be allowed.

E To recognize, from the printed score, the three or four changes made to pitch and note values in a melody played twice by the examiner. The candidate will be required to point to and explain the differences.

The key-chord will be sounded before the melody is played.

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Practical Musicianship GRADE 3 A To sing, as an echo, two two-bar phrases in simple time played by the examiner, whilst continuously tap­ping a repeated rhythm pattern (i.e. an ostinato) previously indicated by the examiner. The echoes should follow each phrase in strict time without an intervening pause.

B To play from memory, on an instrument chosen by the candidate, a two-bar melody played twice by the examiner. The key-chord will first be sounded and the starting note appropriate to the candidate’s instru­ment will be named.

C To sing at sight a four-bar melody in 24 34 44 or 68 time to an accompaniment played by the examiner. The key-chord and starting note will first be sounded and named, and the pulse indicated.

D To improvise with voice or instrument, at the choice of the candidate, a four-bar answering phrase to a four-bar phrase played by the examiner. The key-chord and the starting note appropriate to the candidate’s voice or chosen instrument will first be sounded and named. The answering phrase should follow in strict time after the examiner has played the opening phrase. A second attempt will be allowed.

E To recognize, from the printed score, the four changes made to pitch, note and rest values and dynamics in a melody played twice by the examiner. The candidate will be required to point to and explain the dif­ferences. The key-chord will be sounded before the melody is played.

Practical Musicianship GRADE 4

A To sing and play from memory a four-bar melody in 24 or 34 time. The key-chord and starting note will first be sounded and named. The examiner will play the melody twice and the candidate will be required to sing the melody from memory. The examiner will then play the melody a third time and the candidate will be required to play the melody on an instrument of his/her choice. The examiner will choose a key and pitch suitable for the instrument.

B To sing at sight the lower part of a two-part passage of two bars’ length while the examiner plays the upper part. The key-chord and starting note will first be sounded and named, and the pulse indicated.

C To sing at sight a short melody in 24 34 44 or 68 time to an accompaniment played by the examiner.

The key-chord and starting note will first be sounded and named, and the pulse indicated.

D To improvise with voice or instrument, at the choice of the candidate, an extension to the given opening of a short melody over a simple accompaniment played by the examiner. The implied harmonic scheme will be confined to chords of the tonic and dominant. The candidate will be given a part showing the melody in different keys and with different clefs to accommodate the full range of instruments. A second attempt will be allowed. Keyboard candidates should be prepared to play an octave higher than written.

E To recognize, from the printed score, the four changes (which may include pitch, rhythm, dynam­ics and tempo) in a short piano piece played twice by the examiner. Changes to notes and rhythm will be confined to the melodic line. The candidate will be required to point to and explain the differences.

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Practical Musicianship GRADE 5

A To sing and play from memory a four-bar melody in 24 34 44 or 68 time. The key-chord and starting note will first be sounded and named. The examiner will play the melody twice and the candidate will be required to sing the melody from memory. The examiner will then play the melody a third time and the candidate will be required to play the melody on an instrument of his/her choice. The examiner will choose a key and pitch suitable for the instrument.

B The candidate may choose to: 1 transpose at sight on the chosen instrument a four-bar melody up or down a tone or semitone. A key suitable for the candidate’s instrument will be given. or 2 sing at sight the lower part of a four-bar phrase while the examiner plays the upper part. The key-chord and starting note will first be sounded and named, and the pulse indicated.

C To sing or play at sight, at the choice of the candidate, a short melody including the realization of dynam­ics, simple ornamentation (except when the test is sung) and the more common marks of expression. Candidates will be allowed a preliminary attempt before being assessed. The key-chord and starting note will first be sounded if the test is sung, and words will be ­provided (but need not be used).

D The candidate may choose to: 1 improvise with voice or instrument, at the choice of the candidate, an extension to a mel­ody over an accompaniment played by the examiner. The implied harmonic scheme will be con­fined to chords of the tonic, dominant, subdominant and supertonic of major keys of not more than two sharps or two flats.

The candidate will be given a part showing the melody in different keys and with different clefs to accommodate the full range of instruments. A second attempt will be allowed. Keyboard candidates should be prepared to play an octave higher than written. or 2 improvise at the keyboard an accompaniment to a given melody which will be annotated with chord symbols. The harmonic scheme will be within the limitations stated in test D1 above. A suggested (but optional) opening will be provided. The examiner will play the mel­ody, if requested to do so, while the candidate plays the accompaniment, or the candidate may incorp­orate the melody in the accomp­animent. Candidates will be given credit for the effective use of inversions of the chords. A second attempt will be allowed.

E To perform a short free improvisation based on a given motif or interval chosen by the examiner.

The examiner will look for imaginative use of the given material, effective use of the voice or instrument and a sense of structure.

F To recognize, from the printed score, the five changes (which may include pitch, rhythm, dynam­ics, tempo, articulation and phrasing) in a short piano piece played twice by the examiner. Changes to notes and rhythm will be confined to the melodic line. The candidate will be required to point to and explain the differences.

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Practical Musicianship GRADE 6 A To sing and play from memory a short melody. The key-chord and start­ing note will first be sounded and named. The examiner will play the melody twice and the can­didate will be required to sing the melody from memory. The examiner will then play the melody a third time and the candidate will be required to play the melody on an instrument of his/her choice. The examiner will choose a key and pitch suitable for the instrument.

B The candidate may choose to: 1 transpose at sight on the chosen instrument a melody (no longer than eight bars) up or down a tone or semitone. A key suitable for the candidate’s instrument will be given. or 2 sing at sight the lower part of a passage (no longer than eight bars) while the examiner plays the upper part. The key-chord and starting note will first be sounded and named, and the pulse indicated.

C To sing or play at sight, at the choice of the candidate, a melody including the realization of dynamics, simple ornamentation (except when the test is sung) and the more common marks of expression.

Candidates will be allowed a preliminary attempt before being assessed. The key-chord and starting note will first be sounded if the test is sung, and words will be ­provided (but need not be used).

D The candidate may choose to: 1 improvise with voice or instrument, at the choice of the candidate, an extension to a mel­ody over an accompaniment played by the examiner. The implied harmonic scheme will be con­fined to chords of the tonic, dominant, subdominant, supertonic and dominant seventh of major keys of not more than two sharps or two flats. The candidate will be given a part showing the melody in different keys and with different clefs to accommodate the full range of instru­ ments. A second attempt will be allowed.

Keyboard candidates should be p­ repared to play an octave higher than written. or 2 improvise at the keyboard an accompaniment to a given melody which will be annotated with chord symbols. The harmonic scheme will be within the limitations stated in test D1 above. A suggested (but optional) opening will be provided. The examiner will play the mel­ody, if requested to do so, while the can­didate plays the accompaniment, or the candidate may incorp­orate the melody in the accomp­animent. Candidates will be given credit for the effective use of inversions of the chords. A second attempt will be allowed.

E To perform a short free improvisation based on a given motif, interval or texture (e.g. flutter-tonguing, tremolo, glissando, vocalization or the use of a specific chord cluster for keyboard players) chosen by the examiner. The examiner will look for imaginative use of the given material, effective use of the voice or instrument and a sense of structure.

F To recognize, from the printed score, the five changes (which may include pitch, rhythm, dynam­ics, tempo, articulation and phrasing) in a short piano piece played twice by the examiner. The candidate will be required to point to and explain the differences.

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Practical Musicianship GRADE 7 A To sing and play from memory a short melody. The key-chord and starting note will first be sounded and named. The examiner will play the melody twice (the first time in harmonized form, then the melody only) and the candidate will be required to sing the melody from memory. The examiner will then play the test a third time and the candidate will be required to play the melody on an instrument of his/her choice. The examiner will choose a key and pitch suitable for the instrument. Candidates who choose to play the piano for this test will be expected to play the melody with the har­monies in outline.

B The candidate may choose to: 1 transpose at sight on the chosen instrument a melody (no longer than eight bars) up or down any interval up to and including a minor third. A key suitable for the candidate’s instrument will be given. or 2 sing at sight the middle or lower part of a passage of three-part harmony (no longer than 12 bars) while the examiner plays the other two parts. The key-chord and starting note will first be sounded and named, and the pulse indicated.

C To sing or play at sight, at the choice of the candidate, a passage of music including the ­realization of dynamics, ornamentation (except when the test is sung), marks of expression, articu­lation and phrasing.

Candidates will be allowed a preliminary attempt before being assessed. The key-chord and starting note will first be sounded if the test is sung, and words will be provided (but need not be used). The examiner will accompany singers and instru­mentalists (other than keyboard players, guitarists and harpists) for the performance.

D The candidate may choose to: 1 continue a given two-bar melodic opening, which will be in late 17th- or early 18th-century style, to make eight bars in all. The candidate may opt to sing or play this test. If the test is sung, a key suitable for the candidate’s voice will be chosen. or 2 realize a short figured bass passage at the keyboard. Chords will be limited to 53 63 64 and 57 in any 3 major or minor key up to and including two sharps or two flats.

E To perform a short free improvisation based on a given poem using voice or instrument. Candidates whose first language is not English may choose to base their improvisation on a given reproduction of a painting.

The improvisation should last no longer than two minutes, and will be assessed for its relevance to the mood of the poem (or painting) and for its musical structure. Candidates who opt to sing this test may choose whether or not to use the words.

F To answer basic questions about an extract from a score (provided by the examiner) of a cham­ber work writ­ten between 1700 and 1850 for no more than four players. Questions may refer to keys, harmonic frame­work, instrumentation, style and structure.

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Practical Musicianship GRADE 8 A To sing and play from memory a short melody. The key-chord and starting note will first be sounded and named. The examiner will play the melody twice (the first time in harmonized form, then the melody only) and the candidate will be required to sing the melody from memory. The examiner will then play the test a third time and the candidate will be required to play the melody on an instrument of his/her choice. The examiner will choose a key and pitch suitable for the instrument. Candidates who choose to play the piano for this test will be expected to play the melody with the har­monies in outline.

B The candidate may choose to: 1 transpose at sight on the chosen instrument a melody (no longer than eight bars) up or down any interval up to and including a major third. A key suitable for the candidate’s instrument will be given. or 2 sing at sight the middle or lower part of a passage of a three-part motet while the examiner plays the other two parts. The C (alto) clef may be used. The key-chord and starting note will first be sounded and named, and the pulse indicated.

C To sing or play at sight, at the choice of the candidate, a passage of music including the ­realiz­ation of dynamics, ornamentation (except when the test is sung), marks of expression, articulation and phrasing.

Candidates will be allowed a preliminary attempt before being assessed. The key-chord and starting note will first be sounded if the test is sung, and words will be provided (but need not be used). The examiner will accompany singers and ­instrumentalists (other than keyboard players, guitarists and harpists) for the performance.

D The candidate may choose to: 1 continue a given two-bar melodic opening to make eight bars in all. The candidate may opt to sing or play this test. If the test is sung, a key suitable for the candidate’s voice will be chosen. or 2 realize a short figured bass passage at the keyboard. Chords will be limited to 53 63 64 75 65 64 and 64 in 3 3 3 2 any major or minor key up to and including two sharps or two flats.

E To perform a short free improvisation based on a given poem using voice or instrument. Candidates whose first language is not English may choose to base their improvisation on a given reproduction of a painting.

The improvisation should last no longer than two minutes, and will be assessed for its relevance to the mood of the poem (or painting) and for its musical structure. Candidates who opt to sing this test may choose whether or not to use the words.

F To answer basic questions about an extract from a score (provided by the examiner) of a work for voice and instruments. Questions may refer to keys, harmonic framework, style, structure and aspects of the use of the voice or instruments.

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OTHER ASSESSMENTS The following syllabuses are available free of charge from music retailers and from: www.abrsm.org/exams.

Bowed Strings: Grades 1–8 • Violin, Viola, Cello, Double Bass Singing: Grades 1–8

Woodwind: Grades 1–8 • Descant Recorder (Grades 1–5 only), Treble Recorder, Flute, Oboe, Clarinet, Bassoon, Saxophone (Soprano, Alto, Tenor, Baritone) Brass: Grades 1–8 • Horn, Trumpet, Cornet (Bb and E b ), Flugelhorn, E b Horn, Trombone, Bass Trombone (Grades 6–8 only), Baritone, Euphonium, Tuba (E b , F, Bb and C) Harpsichord, Organ, Guitar, Harp, Percussion & Ensembles • Harpsichord (Grades 4–8), Organ (Grades 1–8), Guitar (Grades 1–8), Harp (Grades 1–8), Percussion (Grades 1–8), Ensembles (Primary, Intermediate, Advanced) Jazz • Flute, Clarinet, Sax, Trumpet, Cornet, Flugelhorn, Trombone, Piano (Grades 1–5), Jazz Ensembles (Initial, Intermediate, Advanced) Available in selected centres

Prep Test • Piano, Violin, Viola, Cello, Double Bass, Guitar, Descant Recorder, Flute, Oboe, Clarinet, Bassoon, Saxophone (E b and Bb ), Horn, Trumpet, Cornet, Flugelhorn, E b Horn, Trombone, Baritone, Euphonium, Singing Designed as a positive assessment, without marks being awarded, in preparation for the Grade 1 exams Choral Singing • Initial, Intermediate, Advanced Available in the UK and at certain international centres

Performance Assessment • Available for all subjects featured in ABRSM’s graded exam syllabuses Designed as a positive assessment, without marks being awarded, for adult candidates of 21 years or over, and those of any age who have already passed Grade 8 or whose specific needs mean they are unable to access graded music exams; own-choice programme Diplomas: DipABRSM, LRSM, FRSM • Music Performance, Music Direction, Instrumental/Vocal Teaching Three levels of award (Diploma, Licentiate, Fellowship) forming a progressive assessment framework for a wide range of musicians

Music Medals • Assessments for younger learners that introduce essential musical skills and encourage playing together Available in the UK only

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ACCREDITATION (UK) ABRSM graded exams for Theory of Music, individual instruments and singing (excluding Practical Musicianship) are accredited in England by the Office of the Qualifications and Examinations Regulator (Ofqual) and the corresponding regulatory authorities in Wales (DCELLS) and Northern Ireland (CCEA). They are part of the Qualifications and Credit Framework (QCF), a scheme for recognizing skills and qualifications in the UK education system.

Within the QCF, qualifications are organized according to difficulty (Level) and size (Credits), as illustrated below in relation to ABRSM graded exams: ABRSM Practical Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8 Theory Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

QCF Level

QCF Credits

Level 1 Award Level 1 Award Level 1 Award Level 2 Certificate Level 2 Certificate Level 3 Certificate Level 3 Certificate Level 3 Certificate

6 9 12 15 18 22 27 32

Level 1 Award Level 1 Award Level 1 Award Level 2 Certificate Level 2 Certificate Level 3 Certificate Level 3 Certificate Level 3 Certificate

2 3 5 7 9 12 17 21

ABRSM exams are listed on the Register of Regulated Qualifications – http://register.ofqual. gov.uk.

Ofqual became the independent regulator of qualifications, exams and assessments in England on 1 April 2010. Further information about accreditation can be found at www. abrsm.org/accreditation and www.ofqual.gov.uk.

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OBTAINING EXAM MUSIC Information for teachers, parents and candidates Exam music for ABRSM syllabuses is available from music retailers worldwide and online at the ABRSM music shop: www.abrsm.org/shop.

We have made every effort to ensure that all the music listed in our syllabuses will remain available for the duration of each syllabus.

Please note that ‘custom print’ or ‘archive’ titles may not be kept in stock by all music retailers and can take longer to arrive than other titles.

Contact details for publishers featured in this syllabus booklet are listed below. Apart from queries specifically relating to ABRSM exams, all enquiries about exam music (e.g. editorial, availability) should be addressed to the relevant publisher.

Information for retailers Please note that publishers often have different distributors across the world. In the list below, only UK distributors are given (where applicable). For details of distribution in other parts of the world, please contact the publisher directly.

Contact details

Distributor (uk)

ABRSM: T +44 (0)20 7636 5400; F +44 (0)20 7467 8833; E marketing@abrsm. ac.uk; www.abrsm.org/shop

OUP

Bärenreiter Ltd (& Bärenreiter Praha): T +44 (0)1279 828930; F +44 (0)1279 828931; E info@barenreiter.co.uk; www.baerenreiter.com

FM Distribution

Alfred Music Publishing Co. (UK) Ltd: T +44 (0)1279 828960; F +44 (0)1279 828990; E music@alfreduk.com; www.alfreduk.com

FM Distribution

Boosey & Hawkes Music Publishers Ltd: T +44 (0)20 7054 7200; F +44 (0)20 7054 7290; E marketing@boosey.com; www.boosey.com

MDS

Chester Music: T +44 (0)20 7612 7400; F +44 (0)20 7612 7545; E music@ musicsales.co.uk; www.musicsales.com

Music Sales

Doblinger: T +44 (0)20 7292 9166; F +44 (0)20 7292 9165; E connell@ universaledition.com; www.doblinger.at

MDS

Editio Musica Budapest Ltd (Universal Music Publishing): T +36 1 2361 104; F +36 1 2361 101; E emb@emb.hu; www.emb.hu

FM Distribution

Breitkopf & Härtel: T +44 (0)1945 882221; F +44 (0)1945 882222; E info@ breitkopf.com; www.breitkopf.com

De Haske Hal Leonard Ltd: T +44 (0)20 7395 0380; F +44 (0)20 7900 1812; E sales@dehaske.co.uk; www.dehaske.com

Durand: T +33 (0)1 53 24 80 67; F +33 (0)1 53 24 80 69; E didier.langlois@ umusic.com; www.durand-salabert-eschig.com

De Haske Hal Leonard

Edition HH: T +44 (0)1869 241672; F +44 (0)1869 323509; E admin@editionhh. co.uk; www.editionhh.co.uk

MDS

Faber Music Ltd: T +44 (0)20 7908 5310; F +44 (0)20 7908 5339; E sales@ fabermusic.com; www.fabermusic.com

FM Distribution

39

Publishers/Distributors

Contact details (cont.)

FM Distribution: T +44 (0)1279 828989; F +44 (0)1279 828990; E sales@ fabermusic.com; www.fabermusic.com

Distributor (uk)

F&N Enterprise: T +1 905 882 1233; E firma@rogers.com; www.easyhitsmusic. com

MusT

Hansen (Edition Wilhelm Hansen): T +44 (0)20 7612 7400; F +44 (0)20 7612 7545; E music@musicsales.co.uk; www.musicsales.com

Music Sales

Leduc: T +33 (0)1 42 96 89 11; F +33 (0)1 42 86 02 83; www.alphonseleduc.com

UMP

Forsyth Brothers Ltd: T +44 (0)161 8343281; F +44 (0)161 8340630; E info@ forsyths.co.uk; www.forsyths.co.uk

G. Henle Verlag: T +49 (0)89 759 82 0; F +49 (0)89 759 82 40; E info@henle.de; www.henle.de

MDS

Kevin Mayhew Publishers: T +44 (0)1449 737978; F +44 (0)1449 737834; E info@kevinmayhewltd.com; www.kevinmayhew.com

MDS (Music Distribution Services Ltd): T +49 (0)6131 505 100; F +49 (0)6131 505 115; E order@mds-partner.com; www.mds-partner.com Music Sales Ltd: T +44 (0)1284 702600; F +44 (0)1284 768301; E music@ musicsales.co.uk; www.musicsales.com

MusT: T/F +44 (0)20 8341 4088; E info@music-trading.co.uk; www.musictrading.co.uk or www.tutti.co.uk

OUP (Oxford University Press): T +44 (0)1865 355067; F +44 (0)1865 355060; E music.enquiry.uk@oup.com; www.oup.com Peters Edition Ltd: T +44 (0)20 7553 4000; F +44 (0)20 7490 4921; E sales@ editionpeters.com; www.editionpeters.com Salabert: T +33 (0)1 53 24 80 67; F +33 (0)1 53 24 80 69; E didier.langlois@ umusic.com; www.durand-salabert-eschig.com

De Haske Hal Leonard

Schott Music Ltd: T +44 (0)20 7534 0740; F +44 (0)20 7534 0749; E marketing@ schott-music.com; www.schott-music.com

MDS

G. Schirmer Inc.: T +44 (0)20 7612 7400; F +44 (0)20 7612 7545; E music@ musicsales.co.uk; www.musicsales.com

Sikorski–Boosey & Hawkes Music Publishers Ltd: T +44 (0)20 7054 7200; F +44 (0)20 7054 7290; E marketing@boosey.com; www.boosey.com

Music Sales

MDS

Spartan Press Music Publishers Ltd: T +44 (0)1528 544770; F +44 (0)1528 544771; E mail@SpartanPress.co.uk; www.SpartanPress.co.uk

Stainer & Bell Ltd: T +44 (0)20 8343 3303; F +44 (0)20 8343 3024; E post@ stainer.co.uk; www.stainer.co.uk UMP (United Music Publishers Ltd): T +44 (0)1992 703110; F +44 (0)1992 767682; E info@ump.co.uk; www.ump.co.uk Yorktown Music Press: T +44 (0)20 7612 7400; F +44 (0)20 7612 7545; E music@musicsales.co.uk; www.musicsales.com

Zen-On Music: T +81 3 3227 6270; F +81 3 3227 6276; E export-sales@ zen-on.co.jp; www.zen-on.co.jp Printed and bound in the UK by Polestar Wheatons, Exeter

40

Music Sales MDS

ABRSM is the exam board of the Royal Schools of Music. We are committed to actively supporting high-quality music-making, learning and development throughout the world, and to producing the best possible resources for music teachers and students.

Piano Syllabus 2013 & 2014

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When you have finished with this syllabus please recycle it.

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