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6
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 specifed range (and pattern)
be prepared legato, unless the syllabus specifes 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 fngering 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.
7
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 diffculty). 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 fngering 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
Piano syllabus requirements
9
This arrangement only
* Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)
Piano GRADE 1
SCALES AND BROKEN CHORDS*: see also p. 6
Scales
C, G, D, F majors hands separately 2 octaves
A, D minors (L.H. may, at candidates choice, be
(natural or harmonic or melodic at played descending and ascending)
candidates choice)
Contrary-motion scale
C major hands beginning on the key-note (unison) 1 octave
Broken chords
C, G, F majors hands separately, as pattern below:
A, D minors
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C:
LIST A
1 Mozart Minuet in G, K. 1e
Piano Exam Pieces 20132014,

Grade 1
2 Rowley Fugue: No. 4 from Five Miniature Preludes and Fugues

(ABRSM)
3 Trk Das Ballett: No. 19 from 60 Pieces for Aspiring Players, Book 1
4 Neefe Minuetto in G. No. 9 from Clavierstcke fr Anfnger (Piano Pieces for Beginners) (Schott ED 2572)
5 Purcell Prelude, Z. 660/1. No. 9 from English Keyboard Music 16631702 or No. 2 from A Keyboard Anthology, 1st
Series, Book 1 or No. 14 from Baroque Keyboard Pieces, Book 1 (ABRSM)
6 Wagenseil Courtly Dance. P. 16 from The Joy of First Classics, Book 2 (Yorktown Music Press YK20568)
LIST B
1 Gedike Moderato: No. 2 from 20 Little Pieces for Beginners, Op. 6
2 Swinstead Sailors Song: No. 11 from Work and Play

Grade 1 (ABRSM)
3 Rybicki Na dce (In a Boat): from Zaczynam gra (I Begin to Play), Op. 20
4 Borodin Polovtsian Dance: from Prince Igor. Simply Classics, Grades 01, arr. Gritton (Faber)
5 Gurlitt Die Klappermhle: No. 33 from The First Lessons, Op. 117 (AlfredKalmus K03498)
6 F. Wohlfahrt Allegretto. More Romantic Pieces for Piano, Book 1 (ABRSM)
LIST C
1 Richard Rodney Bennett Thursday: from Seven Days a Week Piano Exam Pieces
2 Shostakovich March: No. 1 from Childrens Notebook, Op. 69 20132014, Grade 1
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
4
4
or
3
4
, or a six-bar piece in
2
4
, in C, G or F majors, A or D minors,
with each hand playing separately and in a fve-fnger position. Simple dynamics, note values, articulations
and occasional accidentals (within minor keys only) may be encountered. See also p. 7.
AURAL TESTS FOR THE GRADE*: see pp. 20 and 21
V
6
8

.

.
10
Piano GRADE 2
SCALES, ARPEGGIOS AND BROKEN CHORDS*: see also p. 6
Scales (similar motion)
G, D, A, F majors hands together and separately 2 octaves
E, D, G minors
(natural or harmonic or melodic at
candidates choice)
Contrary-motion scales
C, E majors hands beginning on the key-note (unison) 2 octaves
Chromatic scale
beginning on D hands separately 1 octave
Arpeggios
G, D, A majors hands separately 2 octaves
D, G minors
Broken chords
F major hands separately, as pattern below: 2 octaves
E minor
LIST A
1 Purcell Hornpipe: from Abdelazer, Z. T683 (observing 1st repeat)
Piano Exam Pieces 20132014, Grade 2

2 Telemann Trs vite: 3rd movt from Fantaisie in E minor, TWV 33:21

(ABRSM)
3 Attwood Allegro: 1st movt from Sonatina No. 2 in C
4 Duncombe Giga. No. 8 from A Keyboard Anthology, 3rd Series, Book 1 (ABRSM)
5 Handel Menuett in G minor, HWV 453/4. No. 20 from Handel Easy Piano Pieces and Dances (Brenreiter BA 6578)
6 Haydn Minuet in B
b
. Piano Time Pieces, Book 3, arr. Hall (OUP)
LIST B
1 Nicolai Podgornov Bear Dance: from Nicolai Podgornovs Graded Pieces for Piano, Vol. 1 Piano Exam Pieces
2 Stanford Lullaby: No. 5 from Six Sketches 20132014, Grade 2
3 Li Yinghai Xiong mao (The Panda): No. 1 from Dong Wu Yuan zu qu (The Zoo Suite)

(ABRSM)
4 Fly Grinding the Corn: No. 6 from The Windmill (Forsyth)
5 Glinka Polka. Short Romantic Pieces for Piano, Book 1 (ABRSM)
6 Sullivan Gavotte: from The Gondoliers. Piano Time Opera, arr. Hall (OUP)
LIST C
1 Hanna, Barbera and Curtin Meet the Flintstones, arr. Scott-Burt
2 Seiber Polka: from Leichte Tnze (Easy Dances), Book 2
(ABRSM)
3 Sarah Watts Strange Things Happen
4 Julian Anderson Somewhere near Cluj. Spectrum 2 (ABRSM)

5 David Blackwell Cats Eyes. Piano Time Jazz, Book 2, arr. Hall (OUP)
6 Stravinsky Allegretto: No. 3 from Les cinq doigts (Chester CH02090)
SIGHT-READING*: a four- or six-bar piece, time and key signatures as Grade 1, with the addition of D
major, E and G minors, and with each hand in a fve-fnger position and playing together. Some dotted and
tied notes may be encountered. See also p. 7.
V
b

11
Piano GRADE 3
SCALES AND ARPEGGIOS*: see also p. 6
A, E, B, B
b
, E
b
majors hands together and separately 2 octaves
B, G, C minors
(harmonic or melodic at candidates
choice)
A major hands beginning on the key-note 2 octaves
A harmonic minor (unison)
Chromatic scales
beginning on A
b
and on C hands separately 2 octaves
Arpeggios
A major hands together only 2 octaves
G minor
E, B, B
b
, E
b
majors hands separately only 2 octaves
B, C minors
LIST A
1 C. P. E. Bach Allegro in G, H. 328
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 34), arr. Hall and Harris (OUP)
5 Dittersdorf English Dance in E
b
: No. 11 from 20 englische Tnze (20 English Dances) (Schott ED 3935)
6 L. Mozart Menuet in A. No. 12 from L. Mozart Notebook for Nannerl (Schott ED 9006)
LIST B
1 Chopin Wiosna (Spring)
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 Policemans Song: from The Pirates of Penzance, arr. Bullard Piano Exam Pieces
2 Manfred Schmitz Zur Sonnenuntergangsstunde (At Sunset): No. 7 from Regenbogen Prludes 20132014, Grade 3
3 Dave Stapleton Blue Sky Blues: No. 1 from Jazz Jazz Jazz

(ABRSM)
4 Bartk Jest: No. 27 from For Children, Vol. 1 (Boosey & Hawkes)
5 Brian Chapple Blues: from Lazy Days (Chester CH55983)
6 Gillock The Juggler. No. 14 from Hello, Mr Gillock! Hello, Carl Czerny! (Breitkopf & Hrtel EB 8627)
SIGHT-READING*: a piece of up to eight bars in length, time and key signatures as Grade 2, with the
addition of
3
8
and A, B
b
, E
b
majors and B minor, and with hands playing together outside of a fve-fnger
position. Occasional two-note chords in either hand may be encountered. See also p. 7.
12
Piano GRADE 4
B, B
b
, E
b
, A
b
, D
b
C
#
, G
#
, C, F minors
(harmonic or melodic at candidates
choice)
F, E
b
majors hands beginning on the key-note 2 octaves
D, C harmonic minors (unison)
Chromatic scales
beginning on any black key named by hands together and separately 2 octaves
the examiner
Arpeggios
B, B
b
, E
b
, A
b
, D
b
C
#
, G
#
, C, F minors
LIST A
1 Anon. March in E
b
, BWV Anh. II 127: from Clavierbchlein vor Anna Magdalena Bach, 1725 Piano Exam Pieces
2 A. E. Mller Scherzo in F: from Instructive bungsstcke 20132014,
3 D. Scarlatti Sonata in G minor
Grade 4 (ABRSM)
4 Diabelli Moderato cantabile: 1st movt from Sonatina in F, Op. 168 No. 1. No. 1 from Diabelli 7 Sonatinas, Op. 168
(ABRSM)
5 J. N. Hummel Minuetto in F. Clementi & Co (De Haske Hal Leonard)
6 L. Mozart Allegro in G. No. 35 from L. Mozart Notebook for Nannerl (Schott ED 9006)
LIST B
1 Alwyn The Sun is Setting
2 Trad. Latvian, arr. Garta Silta, jauka istabia (The Warm and Pleasant Room)
Grade 4 (ABRSM)
3 Grieg Alvedans (Dance of the Elves): No. 4 from Lyric Pieces, Op. 12
4 S. Heller Con moto, scherzando: No. 7 from 24 melodische Etden, Op. 125 (Peters EP 4364)
5 Merkel The Merry Huntsman, Op. 31 No. 2. No. 19 from A Keyboard Anthology, 3rd Series, Book 1 (ABRSM)
6 Hugo Reinhold Melancolie: No. 24 from Miniatur-Bilder, Op. 39 (Doblinger 1104)
LIST C
1 Emmanuel Oriol Ne tirez pas sur le pianiste! (Dont Shoot the Pianist): No. 8 from
12 petites histoires Piano Exam Pieces
2 Federico Ruiz La peruanita (The Little Peruvian Girl): from Piezas para nios 20132014, Grade 4
menores de 100 aos (ABRSM)
3 Poul Ruders Swinging Bells
4 Valerie Capers Billies Song: No. 7 from Portraits in Jazz (OUP)

5 Kabalevsky Dance: from Four Rondos, Op. 60 (SikorskiBoosey & Hawkes)
6 Carl Vine Semplice: from Red Blues (Faber) or available in Keynotes, Grades 45 (Faber)
SIGHT-READING*: a piece of around eight bars in length, time and key signatures as Grade 3, with the
addition of
6
8
. Anacrusis and occasional chromatic notes, pause signs and tenuto may be encountered. See
also p. 7.
13
This arrangement only The candidate chooses one of the two groups
Piano GRADE 5
all keys, major and minor hands together and separately 3 octaves
(minors harmonic or melodic at candidates
choice)
Group 1: F, D
b
/C
#
majors and harmonic minors hands beginning on the key-note 2 octaves
or Group 2: F
#
, B
b
majors and harmonic minors (unison)
Chromatic scales
beginning on any note named by the examiner hands together and separately 3 octaves
Chromatic contrary-motion scales
beginning on D (unison) and on A
b
(unison) 2 octaves
Arpeggios
all keys, major and minor hands together and separately 3 octaves
LIST A
1 J. C. F. Bach Allegretto in F: from Musikalische Nebenstunden (trilled turns optional)
2 Beethoven Minuet in D: No. 7 from 12 Minuets, WoO 7
Grade 5 (ABRSM)
3 Handel Allemande in A minor, HWV 478
4 Bolck Allegro vivo: 3rd movt from Sonatina in G, Op. 59 No. 2. No. 21 from Das neue Sonatinenbuch (The New
Sonatina Book), Vol. 1 (Schott ED 2511)
5 J. G. Krebs Allegro in G. No. 11 from Kleine leichte Clavierstcke (Simple Short Piano Pieces) (Schott ED 2425)
6 Rameau La Joyeuse. Brenreiter Piano Album Baroque (Brenreiter BA 8759)
LIST B
1 MacDowell To a Wild Rose: No. 1 from Woodland Sketches, Op. 51
2 Schumann *
*
* : No. 26 from Album fr die Jugend, Op. 68
(ABRSM)
3 Trrega Adelita
4 Gedike Miniature, Op. 8 No. 7. No. 11 from Russian Music for Piano, Book 3 (Chester CH01989)
5 Palmgren Vestfnsk Dans (West-Finnish Dance): No. 5 from Finska rytmer, Op. 31 (Hansen WH14872) or (piece
published individually: Hansen WH14872E)
6 Tchaikovsky Douce rverie (Daydream): No. 21 from Album for the Young, Op. 39 (ABRSM) or More Romantic Pieces
for Piano, Book 2 (ABRSM)
LIST C
1 Darius Brubeck For Lydia
2 Kabalevsky Kavaleriiskaya (Cavalryman): No. 29 from 30 Childrens Pieces, Op. 27
Grade 5 (ABRSM)
3 Villa-Lobos Samba-lel (omitting DS): No. 4 from Guia prtico, Album 2
4 A. Benjamin Haunted House. Animations: 27 Pieces on the Lively Side (Boosey & Hawkes)
5 Milhaud Modr: No. 1 from Quatre romances sans paroles (Salabert)
6 Christopher Norton Sierra: No. 4 from The Christopher Norton Rock Preludes Collection (Boosey & Hawkes)
SIGHT-READING*: a piece of around eight to twelve bars in length, time signatures as Grade 4, keys up to
four sharps/fats (major) or three sharps/fats (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.
14
The candidate chooses one of the two groups Same group as chosen above
Piano GRADE 6
PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music, Practical Musicianship or any solo
Jazz subject.
all keys, major and minor legato, hands together and separately 4 octaves
(minors both harmonic and melodic)
Staccato scales
Group 1: A, E
b
majors hands separately 4 octaves
or Group 2: E, B
b
majors
Group 1: A, E
b
majors and harmonic minors legato, hands beginning on the key-note 2 octaves
or Group 2: E, B
b
majors and harmonic minors (unison)
Staccato scale in thirds
C major hands separately 2 octaves
Chromatic scales
beginning on any note named by the examiner legato, hands together and separately 4 octaves
Chromatic contrary-motion scale
beginning on A
#
(L.H.) and C
#
(R.H.), a minor legato 2 octaves
third apart
Arpeggios
all keys, major and minor legato, hands together and separately 4 octaves
Diminished sevenths
beginning on B and on C
#
legato, hands together and separately 4 octaves
15
Piano: GRADE 6
LIST A
1 J. S. Bach Invention No. 14 in B
b
, BWV 785
2 J. L. Dussek Rondo: 2nd movt from Sonatina in E
b
, Op. 19 No. 6 Piano Exam Pieces 20132014, Grade 6 (ABRSM)
3 J. C. Kellner Fugue: No. 2 from Six Fugues
4 T. Arne Presto: 1st movt from Sonata No. 7 in A. Thomas Arne 8 Keyboard Sonatas (Faber)
5 Haydn Andante in D: No. 1 from Diffrentes petites pices faciles et agrables. Haydn Klavierstcke, Klavier-
variationen (Henle 224) or Haydn Diffrentes petites pices (Edition HH 10231)
6 D. Scarlatti Sonata in C minor, Kp. 11 (L. 352). Scarlatti 2 Sonatas for Keyboard, K. 11 (L. 352) and K. 492 (L. 14)
(Brenreiter BA 6591) or No. 3 from Scarlatti 200 Sonatas, Vol. 1 (Editio Musica Budapest Z.7817)
LIST B
1 Brahms Waltz in A
b
: No. 15 from Waltzes, Op. 39
2 Granados Danza de la rosa (Dance of the Rose): No. 3 from Escenas poticas, Series 1 Piano Exam Pieces 2013
3 Schumann Frchtenmachen (Frightening): No. 11 from Kinderscenen, Op. 15 2014, Grade 6 (ABRSM)
(observing repeats)
4 Beethoven Andante: 2nd movt from Sonata in G, Op. 79. Sonata published individually (ABRSM) or Beethoven The 35
Piano Sonatas, Vol. 3 (ABRSM)
5 Chopin Mazurka in A
b
(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
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 pices
clbres extraites des Histoires (Leduc)
6 Huw Warren Open. Elena Rius R&B Collection (Boosey & Hawkes)
SIGHT-READING*: a piece of around twelve to sixteen bars in length, time signatures as Grade 5, with the
addition of
9
8
,
5
4
and
5
8
, keys up to four sharps/fats (major and minor). Triplet rhythms, some clef changes
and sparing use of the right pedal may be encountered. See also p. 7.
16
The candidate chooses one of the two groups Same group as chosen above
Piano GRADE 7
Jazz subject.
Group 1: C, D, E, F
#
, B
b
, A
b
/G
#
majors & minors legato or staccato as directed by 4 octaves
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 4 octaves
or Group 2
(majors & harmonic minors only) the examiner, hands together

Group 1 keys as above legato or staccato as directed by 2 octaves
or Group 2
(majors & harmonic minors only) the examiner, hands beginning on

the key-note (unison)
Legato scale in thirds
Staccato scale in sixths
Chromatic scales
beginning on any note named by the examiner legato or staccato as directed by 4 octaves
the examiner, hands together and
separately
Chromatic contrary-motion scales
beginning on C (unison) and on F
#
(unison) legato or staccato as directed by 2 octaves
the examiner
Arpeggios
Group 1
keys as above
legato, hands together and sepa- 4 octaves
or Group 2

rately, in root position and frst
inversion
Dominant sevenths
Group 1: in the keys of C, D, E, F
#
, B
b
, A
b
or Group 2: in the keys of G, A, B, F, E
b
, D
b
rately
Diminished sevenths
beginning on A and on C
#
rately
17
Piano: GRADE 7
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 20132014, 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
(Brenreiter BA 4223)
6 Paradies Presto: 2nd movt from Sonata No. 10. Paradies Sonate di Gravicembalo (Sonatas for Harpsichord), Vol. 2
(Schott ED 6121)
LIST B
1 Bridge Berceuse
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 poupe: from LAlmanach aux images (Stainer & Bell 0534)
6 Tchaikovsky Mrz (March): No. 3 from Die Jahreszeiten (The Seasons), Op. 37b (Henle 616 or Peters EP 8968)
LIST C
1 Ginastera Danza de la moza donosa (Dance of the Graceful Young Girl): No. 2 from Danzas
Piano Exam Pieces
argentinas, Op. 2
20132014, Grade 7
2 Schoenberg Leicht, zart (Lightly, delicately): No. 1 from Sechs kleine Klavierstcke, Op. 19
(ABRSM)
3 Shostakovich Allegretto: No. 1 from Three Fantastic Dances, Op. 5
4 Gershwin Do It Again. Meet George Gershwin at the Keyboard (Faber)

5 Christopher Norton Sturdy Build: No. 8 from The Christopher Norton Rock Preludes Collection (Boosey & Hawkes)
6 Prokofev Con vivacit: No. 11 from Visions fugitives, Op. 22 (Boosey & Hawkes)
SIGHT-READING*: a piece of around sixteen to twenty bars in length, time and key signatures as Grade 6,
with the addition of
7
8
and
7
4
. Tempo changes, the 8va sign and the use of the una corda pedal may be
encountered. See also p. 7.
18
* Published by ABRSM (Scale requirements)
Piano GRADE 8
Jazz subject.
C, D, B, F
#
, F, E
b
, A
b
/G
#
, D
b
/C
#
majors & minors legato or staccato as directed by 4 octaves
(minors both harmonic and melodic) the examiner, hands together
and separately
Scales a third apart
keys as above (majors & harmonic minors only) legato or staccato as directed by 4 octaves
the examiner, hands together
Scales a sixth apart
keys as above (majors & harmonic minors only) legato or staccato as directed by 4 octaves
Legato scales in thirds
C and B
b
majors hands separately 2 octaves
Chromatic scales a minor third apart
beginning on any notes named by the examiner legato or staccato as directed by 4 octaves
Chromatic scale in minor thirds
beginning on A
#
/C
#
legato, hands separately 2 octaves
Whole-tone scale
beginning on E legato, hands together and sepa- 2 octaves
rately
Arpeggios
keys as for scales (similar motion) above legato, hands together and sepa- 4 octaves
rately, in root position, frst and
second inversions
Dominant sevenths
in the keys of C, D, B, F
#
, F, E
b
, A
b
, D
b
rately
Diminished sevenths
beginning on any note named by the examiner legato, hands together and sepa- 4 octaves
rately
19
Sonata also known as Op. 39 No. 2 in other editions
* Published by ABRSM (Specimen Sight-Reading Tests, Specimen Aural Tests)
Piano: GRADE 8
LIST A
1 Soler Sonata in B: No. 11 from 27 Sonatas Piano Exam Pieces
2 J. S. Bach Prelude and Fugue in A, BWV 888: No. 19 from Das wohltemperirte Clavier, Part 2 20132014, Grade 8
3 Schumann Fughetta: No. 4 from Sieben Clavierstcke in Fughettenform, Op. 126

(ABRSM)
4 J. S. Bach Praeambulum: 1st movt from Partita No. 5 in G, BWV 829. J. S. Bach Partitas Nos 46 (ABRSM)
5 Faur Fugue in E minor: No. 6 from Pices brves, Op. 84 (Peters EP 7601)
6 Handel Fugue in F, HWV 611. No. 7 from Handel 6 Fugues HWV 605610 and Fugues HWV 611, 612 (Henle 749)
7 D. Scarlatti Sonata in D, Kp. 492 (L. 14). Scarlatti 2 Sonatas for Keyboard, K. 11 (L. 352) and K. 492 (L. 14)
(Brenreiter BA 6591) or No. 175 from Scarlatti 200 Sonatas, Vol. 4 (Editio Musica Budapest Z.8666)
8 Shostakovich Prelude and Fugue in D, Op. 87 No. 5. Shostakovich 24 Preludes and Fugues, Op. 87, Vol. 1
(SikorskiBoosey & Hawkes or Peters EP 4716a)
LIST B
1 Haydn Allegro: 1st movt from Sonata in B
b
, 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 Prlude: 1st movt from Suite bergamasque
3 E. Halffter Habanera Piano Exam Pieces 20132014, Grade 8
4 Arvo Prt Allegro: 1st movt from Sonatina, Op. 1 No. 1 (ABRSM)
5 O. Peterson Hallelujah Time
6 Skryabin Pome: No. 2 from Deux pomes, Op. 69
7 L. Aubert Romance, Op. 2 (Durand)

8 L. Boulanger Dun vieux jardin: No. 1 from Trois morceaux pour piano (G. Schirmer GS33485 or Zen-On ZO 101835)
9 Chopin Waltz in F, Op. 34 No. 3. No. 4 from Chopin Waltzes (ABRSM)
10 Dvok Na starm hrad (In the Old Castle): No. 3 from Poetick nlady (Poetic Tone-Pictures/Poetische Stimmungs-
bilder), Op. 85 (Brenreiter Praha H 338 or Henle 492)
11 Ireland The Darkened Valley. Ireland Collected Piano Works, Vol. 2 (Stainer & Bell B394)
12 Lyadov Prelude in D
b
, Op. 10 No. 1. No. 18 from Lyadov Preludes, Trifes and Other Pieces (ABRSM)
13 Mendelssohn Presto agitato: No. 2 from Two Musical Sketches (Peters EP 7439)
14 Poulenc Alerte: No. 3 from Mouvements perptuels (Chester CH02050)
15 Rachmaninov Polichinelle: No. 4 from Morceaux de fantaisie, Op. 3. Rachmaninov Piano Compositions, Vol. 3
(Boosey & Hawkes)
16 Tansman tude-Scherzo (Salabert)
SIGHT-READING*: a piece of around a page in length, time and key signatures as Grade 7, with the addition
of
1
8
2
and B and D
b
majors. Three-part chords in either hand, spread chords and simple ornaments may be
encountered. See also p. 7.
88
AURAL TESTS: included in the Practical exams for all subjects
Listening lies at the heart of all good music-making. Developing aural awareness is
fundamental to musical training because having a musical ear impacts on all
aspects of musicianship. Singing, both silently in the head and out loud, is one
of the best ways to develop the musical ear. It connects the internal imagining of
sound, the inner ear, with the external creation of it, without the necessity of
mechanically having to nd 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.
Marks are not awarded for each individual test nor deducted for mistakes but
reect the candidates overall response in this section. The marking criteria for the
aural tests are given on p. 11.
Minor modications (from 2011)
This syllabus includes the minor modications 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 modications (from
2011) do not affect the alternative aural tests.
89
Aural Tests GRADE 1
A To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or
three time. The examiner will start playing the passage, and the candidate should join in as soon
as possible, clapping in time and giving a louder clap on the strong beats. The examiner will
then ask whether the music is in two time or three time. The candidate is not required to state
the time signature.
B To sing as echoes three phrases played by the examiner. The phrases will be two bars long, in
a major key, and within the range of tonicmediant. First the examiner will play the key-chord
and the starting note (the tonic) and then count in two bars. After the examiner has played each
phrase, the candidate should sing back the echo without a pause, keeping in time.
C To identify where a change in pitch occurs during a phrase played by the examiner. The phrase
will be two bars long, in a major key, and the change will affect only one of the notes. First the
examiner will play the key-chord and the tonic and then count in two bars. The examiner will
play the phrase twice, making the change in the second playing, after which the candidate should
state whether the change was near the beginning or near the end. If necessary, the examiner
will play both versions of the phrase again (although this will affect the assessment).
D To answer questions about two features of a piece played by the examiner. Before playing, the
examiner will tell the candidate which two features the questions will be about. The rst will be:
dynamics (loud/quiet, or sudden/gradual changes); the second will be articulation (smooth/
detached).
Aural Tests GRADE 2
A 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.
a major key, and within the range of tonicdominant. First the examiner will play the key-chord
and the starting note (the tonic) and then count in two bars. After the examiner has played each
C To identify a change in either pitch or rhythm during a phrase played by the examiner. The
phrase will be two bars long, in a major key. First the examiner will play the key-chord and the
tonic and then count in two bars. The examiner will play the phrase twice, making the change
in the second playing, after which the candidate should identify the change by describing it, or
singing/clapping. If necessary, the examiner will play both versions of the phrase again (although
this will affect the assessment).
examiner will tell the candidate which two features the questions will be about. The rst 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).
90
Aural Tests GRADE 3
A To clap the pulse of a piece played by the examiner, and to identify whether it is in two time,
three time or four time. The examiner will start playing the passage, and the candidate should
join in as soon as possible, clapping in time and giving a louder clap on the strong beats. The
examiner will then ask whether the music is in two time, three time or four time. The candidate
is not required to state the time signature.
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
C To identify a change in either pitch or rhythm during a phrase played by the examiner. The
phrase will be up to four bars long, in a major or minor key. First the examiner will play the
key-chord and the tonic and then count in two bars. The examiner will play the phrase twice,
making the change in the second playing, after which the candidate should identify the change
by describing it, or singing/clapping. If necessary, the examiner will play both versions of the
phrase again (although this will affect the assessment).
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 ats. 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 ve 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
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.

91
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 ats. 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 fth above and a fourth below the tonic, in a major
key with up to two sharps or ats. 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
one of the following: dynamics, articulation, tempo, tonality, character; the second will be style
and period.
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 ats. 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 ats. 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 rst 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 rst will be:
texture or structure; the second will be one of the following: dynamics, articulation, tempo, tonality,
character, style and period, texture/structure.
signature.
92
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 ats. 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 ats. 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 rst 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.
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.
93
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 ats. 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, rst or second
inversions), supertonic (root position or rst inversion), subdominant (root position), dominant
(root position, rst or second inversions), dominant seventh (root position) or submediant (root
position). Before the rst 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, rst or second inversions), supertonic
(root position or rst inversion), subdominant (root position), dominant (root position, rst 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, nally playing
each chord individually, pausing for the candidate to identify it. The candidate may answer using
technical names (tonic, rst inversion, etc.), chord numbers (Ib, etc.) or letter names (C major
in rst 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 ats. 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 rst 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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6

PIANO (Subject Code: 01): Syllabus requirements

be played from memory

ascend and descend according to the specifed range (and pattern)

be prepared legato, unless the syllabus specifes staccato (or both)

be played without pedalling

4 Julian Anderson Somewhere near Cluj. Spectrum 2 (ABRSM)

4 Carroll By Crystal Stream: No. 4 from River & Rainbow (Forsyth)

4 Valerie Capers Billies Song: No. 7 from Portraits in Jazz (OUP)

(majors & harmonic minors only) the examiner, hands together

(majors & harmonic minors only) the examiner, hands beginning on

4 Beethoven Allegro cantabile: 1st movt from Sonata in E

4 Elgar Andantino: No. 1 from Dream Children, Op. 43 (Faber)

4 Gershwin Do It Again. Meet George Gershwin at the Keyboard (Faber)

7 L. Aubert Romance, Op. 2 (Durand)

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