abrsm piano syllabus 2013-14

5/19/2018 Abrsm Piano Syllabus 2013-14

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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 specied range (and pattern)

be prepared legato, unless the syllabus species 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 ngering 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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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 difculty). 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 ngering 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 playthe 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


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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

ScalesC, G, D, F majors hands separately 2 octavesA, D minors (L.H. may, at candidates choice, be

(natural or harmonic ormelodic 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. 1ePiano 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 orNo. 2 from A Keyboard Anthology, 1st

Series, Book 1 orNo. 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. 6Piano Exam Pieces 20132014,2 Swinstead Sailors Song: No. 11 from Work and Play Grade 1 (ABRSM)

3 Rybicki Na dce (In a Boat): fromZaczynam 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 BennettThursday: from Seven Days a Week Piano Exam Pieces2 Shostakovich March: No. 1 from Childrens Notebook, Op. 69 20132014, Grade 13 Harry Warren and Mack Gordon Chattanooga Choo Choo (middle eight), arr. Marshall

(ABRSM)

4 Elias Davidsson The Merry Bagpipe: from The Gift of Music(Spartan Press SP803)5 Heather Hammond Cowboy Lullaby: fromEven Cooler Piano, Book 2 (Kevin Mayhew)

6 Fishel Pustilnik Jay-Walker (piece published individually: F&N Enterprise)

SIGHTREADING*: a four-bar piece in 44 or34 , 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 ve-nger position. Simple dynamics, note values, articulationsand occasional accidentals (within minor keys only) may be encountered. See also p. 7.

AURAL TESTS FOR THE GRADE*: see pp. 20 and 21

V 68 . .


4/1910



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 octavesE, D, G minors

(natural or harmonic ormelodic atcandidates 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 octavesD, G minors

Broken chords

F major hands separately, as pattern below: 2 octavesE minor

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

LIST A

1 PurcellHornpipe: fromAbdelazer, Z. T683 (observing 1st repeat)Piano Exam Pieces 20132014, Grade 2

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

(ABRSM)3 Attwood Allegro: 1st movt from Sonatina No. 2 in C

4 Duncombe Giga. No. 8 from A Keyboard Anthology, 3rd Series, Book 1 (ABRSM)5 Handel Menuett in G minor, HWV 453/4. No. 20 from Handel Easy Piano Pieces and Dances(Brenreiter BA 6578)6 Haydn Minuet in Bb. Piano Time Pieces, Book 3, arr. Hall(OUP)

LIST B1 Nicolai Podgornov Bear Dance: fromNicolai Podgornovs Graded Pieces for Piano, Vol. 1 Piano Exam Pieces2 Stanford Lullaby: No. 5 from Six Sketches 20132014, Grade 23 Li Yinghai Xiong mao (The Panda): No. 1 fromDong 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 SullivanGavotte: 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 20132014, Grade 22 SeiberPolka: fromLeichte 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 fromLes cinq doigts (Chester CH02090)

SIGHTREADING*: a four- or six-bar piece, time and key signatures as Grade 1, with the addition of Dmajor, E and G minors, and with each hand in a ve-nger position and playing together. Some dotted and

tied notes may be encountered. See also p. 7.


Vb


5/1911

Piano GRADE 3

SCALES AND ARPEGGIOS*: see also p. 6

Scales (similar motion)A, E, B, Bb, Ebmajors hands together and separately 2 octavesB, G, C minors

(harmonic ormelodic at candidateschoice)


A major hands beginning on the key-note 2 octavesA harmonic minor (unison)

Chromatic scalesbeginning on Ab and on C hands separately 2 octaves

ArpeggiosA major hands together only 2 octavesG minor

E, B, Bb, Ebmajors hands separately only 2 octavesB, C minors


LIST A

1 C. P. E. Bach Allegro in G, H. 328Piano Exam Pieces 20132014, 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 34), arr. Hall and Harris(OUP)5 Dittersdorf English Dance in Eb: No. 11 from 20 englische Tnze (20 English Dances) (Schott ED 3935)6 L. Mozart Menuet in A. No. 12 fromL. Mozart Notebook for Nannerl(Schott ED 9006)

LIST B

1 Chopin Wiosna (Spring)Piano Exam Pieces 20132014, 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 fromRiver & Rainbow (Forsyth)5 C. Mayer Study in C, Op. 340 No. 1. A Romantic Sketchbook for Piano, Book1(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 Pieces2 Manfred Schmitz Zur Sonnenuntergangsstunde (At Sunset): No. 7 fromRegenbogen Prludes 20132014, Grade 33 Dave Stapleton Blue Sky Blues: No. 1 fromJazz Jazz Jazz

(ABRSM)

4 Bartk Jest: No. 27 from For Children, Vol. 1 (Boosey & Hawkes)5 Brian ChappleBlues: fromLazy Days (Chester CH55983)6 Gillock The Juggler. No. 14 from Hello, Mr Gillock! Hello, Carl Czerny! (Breitkopf & Hrtel EB 8627)

SIGHTREADING*: a piece of up to eight bars in length, time and key signatures as Grade 2, with theaddition of 38 and A, B

b, Eb majors and B minor, and with hands playing together outside of a ve-ngerposition. Occasional two-note chords in either hand may be encountered. See also p. 7.





6/1912

Piano GRADE 4


Scales (similar motion)B, Bb, Eb, Ab, Db majors hands together and separately 2 octavesC#, G#, C, F minors(harmonic ormelodic at candidateschoice)


F, Eb majors hands beginning on the key-note 2 octavesD, C harmonic minors (unison)

Chromatic scales

beginning on any black key named by hands together and separately 2 octaves the examiner

Arpeggios

B, Bb, Eb, Ab, Db majors hands together and separately 2 octaves

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 Pieces2 A. E. Mller Scherzo in F: fromInstructive 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. MozartAllegro in G. No. 35 fromL. Mozart Notebook for Nannerl (Schott ED 9006)

LIST B1 Alwyn The Sun is Setting

Piano Exam Pieces 20132014,2 Trad. Latvian, arr. Garta Silta, jauka istabia (The Warm and Pleasant Room)

Grade 4 (ABRSM)3 GriegAlvedans (Dance of the Elves): No. 4 fromLyric 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 fromMiniatur-Bilder, Op. 39 (Doblinger 1104)

LIST C

1 Emmanuel Oriol Ne tirez pas sur le pianiste! (Dont Shoot the Pianist): No. 8 from12 petites histoires Piano Exam Pieces

2 Federico Ruiz La peruanita (The Little Peruvian Girl): fromPiezas para nios 20132014, Grade 4

menores de 100 aos (ABRSM)3 Poul RudersSwinging 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 VineSemplice: fromRed Blues(Faber) or available in Keynotes, Grades 45(Faber)

SIGHTREADING*: a piece of around eight bars in length, time and key signatures as Grade 3, with theaddition of 68 . Anacrusis and occasional chromatic notes, pause signs and tenuto may be encountered. Seealso p. 7.




7/1913

This arrangement only The candidate chooses oneof the two groups


Piano GRADE 5


Scales (similar motion)

all keys, major and minor hands together and separately 3 octaves

(minors harmonic ormelodic at candidates

choice)Contrary-motion scales

Group 1: F, Db/C#majors and harmonicminors hands beginning on the key-note 2 octaves

orGroup 2: F#, Bbmajors and harmonicminors (unison)

Chromatic scales

beginning on any note named by the examiner hands together and separately 3 octaves

Chromatic contrary-motion scales

beginning on D (unison) and on Ab (unison) 2 octaves

Arpeggios

all keys, major and minor hands together and separately 3 octaves

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

LIST A

1 J. C. F. Bach Allegretto in F: fromMusikalische Nebenstunden(trilled turns optional)Piano Exam Pieces 20132014,

2 Beethoven Minuet in D: No. 7 from 12 Minuets, WoO 7Grade 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 RameauLa Joyeuse. Brenreiter Piano Album Baroque(Brenreiter BA 8759)

LIST B

1 MacDowell To a Wild Rose: No. 1 from Woodland Sketches, Op. 51 Piano Exam Pieces 20132014, Grade 52 Schumann *

** : No. 26 fromAlbum 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 Vestnsk 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 fromAlbum for the Young, Op. 39 (ABRSM) orMore Romantic Pieces

for Piano, Book 2(ABRSM)

LIST C

1 Darius Brubeck For LydiaPiano Exam Pieces 20132014,

2 Kabalevsky Kavaleriiskaya (Cavalryman): No. 29 from 30 Childrens Pieces, Op. 27Grade 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)

SIGHTREADING*: a piece of around eight to twelve bars in length, time signatures as Grade 4, keys up to

four sharps/ats (major) or three sharps/ats (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.



8/1914

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 soloJazz subject.


Scales (similar motion)all keys, major and minor legato, hands together and separately 4 octaves (minors both harmonic andmelodic)

Staccato scales

Group 1: A, Ebmajors hands separately 4 octavesorGroup 2: E, Bbmajors


Group 1: A, Ebmajors and harmonicminors legato, hands beginning on the key-note 2 octavesorGroup 2: E, Bbmajors and harmonicminors (unison)

Staccato scale in thirds

C major hands separately 2 octavesChromatic scales

beginning on any note named by the examiner legato, hands together and separately 4 octaves

Chromatic contrary-motion scalebeginning on A# (L.H.) and C# (R.H.), a minor legato 2 octavesthird 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


9/1915

Piano: GRADE 6


LIST A

1 J. S. Bach Invention No. 14 in Bb, BWV 7852 J. L. Dussek Rondo: 2nd movt from Sonatina in Eb, Op. 19 No. 6 Piano Exam Pieces 20132014, Grade 6 (ABRSM)3 J. C. Kellner Fugue: No. 2 from Six Fugues

4 T. Arne Presto: 1st movt from Sonata No. 7 in A. Thomas Arne 8 Keyboard Sonatas(Faber)5 HaydnAndante in D: No. 1 fromDiffrentes petites pices faciles et agrables. Haydn Klavierstcke, Klavier-

variationen(Henle 224) orHaydn 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) orNo. 3 from Scarlatti 200 Sonatas, Vol. 1 (Editio Musica Budapest Z.7817)

LIST B

1 Brahms Waltz in Ab: No. 15 from Waltzes, Op. 392 Granados Danza de la rosa (Dance of the Rose): No. 3 fromEscenas poticas, Series 1 Piano Exam Pieces 20133 Schumann Frchtenmachen (Frightening): No. 11 from Kinderscenen, Op. 15 2014, Grade 6 (ABRSM) (observing repeats)

4 Beethoven Andante: 2nd movt from Sonata in G, Op. 79. Sonata published individually (ABRSM) orBeethoven 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 orHenle 264)6 S. Heller Etude in D, Op. 46 No. 8. More Romantic Pieces for Piano, Book 4 (ABRSM)

LIST C

1 L. BerkeleyAllegro: No. 5 from Five Short Pieces, Op. 4Piano Exam Pieces 20132014, Grade 6

2 Jason RebelloA 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 fromHistoires(piece published individually: Leduc) or available inIbert Quatre pices

clbres extraites des Histoires(Leduc)6 Huw Warren Open. Elena Rius R&B Collection(Boosey & Hawkes)

SIGHTREADING*: a piece of around twelve to sixteen bars in length, time signatures as Grade 5, with theaddition of 98 ,

54 and

58 , keys up to four sharps/ats (major and minor). Triplet rhythms, some clef changes

and sparing use of the right pedal may be encountered. See also p. 7.



10/1916

The candidate chooses one of the two groups Same group as chosen above


Piano GRADE 7



Scales (similar motion)Group 1: C, D, E, F#, Bb, Ab/G#majors & minors legato or staccato as directed by 4 octavesorGroup 2: G, A, B, F, Eb, Db/C#majors & minors the examiner, hands together

(minors both harmonic andmelodic) and separately

Scales a third apart

Group 1 keys as above legato or staccato as directed by 4 octavesorGroup 2

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


Group 1 keys as above legato or staccato as directed by 2 octavesorGroup 2

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

the key-note (unison)Legato scale in thirds

C major hands separately 2 octaves

Staccato scale in sixths

C major hands separately 2 octaves

Chromatic scales

beginning on any note named by the examiner legato or staccato as directed by 4 octaves the examiner, hands together and

separatelyChromatic contrary-motion scales

beginning on C (unison) and on F# (unison) legato or staccato as directed by 2 octavesthe examiner

Arpeggios

Group 1 keys as above legato, hands together and sepa- 4 octavesorGroup 2

rately, in root position andrst

inversionDominant sevenths

Group 1: in the keys of C, D, E, F#, Bb, Ab legato, hands together and sepa- 4 octavesorGroup 2: in the keys of G, A, B, F, Eb, Db rately

Diminished sevenths

beginning on A and on C# legato, hands together and sepa- 4 octaves rately


11/1917

Piano: GRADE 7


LIST A

1 C. P. E. Bach Allegro: 3rd movt from Sonata in Ab, H. 312 Mozart Allegro: 3rd movt from Sonata in C, K. 279/189d Piano Exam Pieces 20132014, Grade 7 (ABRSM)3 D. Scarlatti Sonata in F minor, Kp. 467 (L. 476)

4 Beethoven Allegro cantabile: 1st movt from Sonata in Eb, WoO 47 No. 1. Sonata published individually (ABRSM) orBeethoven 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 BerceusePiano Exam Pieces 20132014, 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 ElgarAndantino: No. 1 fromDream Children, Op. 43 (Faber)

5 Grovlez Berceuse de la poupe: fromLAlmanach aux images(Stainer & Bell 0534)6 Tchaikovsky Mrz (March): No. 3 fromDie Jahreszeiten(The Seasons), Op. 37b (Henle 616 orPeters EP 8968)

LIST C

1 Ginastera Danza de la moza donosa (Dance of the Graceful Young Girl): No. 2 fromDanzasPiano Exam Pieces

argentinas, Op. 220132014, Grade 7

2 Schoenberg Leicht, zart (Lightly, delicately): No. 1 from Sechs kleine Klavierstcke, Op. 19(ABRSM)

3 ShostakovichAllegretto: No. 1 from Three Fantastic Dances, Op. 5

4 Gershwin Do It Again. Meet George Gershwin at theKeyboard(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)

SIGHTREADING*: 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.



12/1918

* Published by ABRSM (Scale requirements)

Piano GRADE 8



Scales (similar motion)C, D, B, F#, F, Eb, Ab/G#, Db/C# majors & minors legato or staccato as directed by 4 octaves (minors both harmonic andmelodic) the examiner, hands together

and separatelyScales 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 octavesthe examiner, hands together

Legato scales in thirds

C and Bb majors hands separately 2 octavesChromatic scales a minor third apart

beginning on any notes named by the examiner legato or staccato as directed by 4 octaves the examiner, hands together

Chromatic scale in minor thirdsbeginning on A#/C# legato, hands separately 2 octaves

Whole-tone scalebeginning 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, rst and

second inversionsDominant sevenths

in the keys of C, D, B, F#, F, Eb, Ab, Db legato, hands together and sepa- 4 octaves rately

Diminished sevenths

beginning on any note named by the examiner legato, hands together and sepa- 4 octaves rately


13/1919

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 Pieces2 J. S. Bach Prelude and Fugue in A, BWV 888: No. 19 fromDas wohltemperirte Clavier, Part 2 20132014, Grade 83 Schumann Fughetta: No. 4 from Sieben Clavierstcke in Fughettenform, Op. 126

(ABRSM)

4 J. S. Bach Praeambulum: 1st movt from Partita No. 5 in G, BWV 829. J. S. Bach Partitas Nos 46(ABRSM)5 Faur Fugue in E minor: No. 6 from Pices brves, Op. 84 (Peters EP 7601)6 Handel Fugue in F, HWV 611. No. 7 from Handel 6 Fugues HWV 605610 and Fugues HWV 611, 612(Henle 749)7 D. Scarlatti Sonata in D, Kp. 492 (L. 14). Scarlatti 2 Sonatas for Keyboard, K. 11 (L. 352) and K. 492 (L. 14)

(Brenreiter BA 6591) orNo. 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 HaydnAllegro: 1st movt from Sonata in Bb, Hob. XVI/41Piano Exam Pieces 2013

2 Beethoven Allegro molto e con brio: 1st movt from Sonata in C minor, Op. 10 No. 12014, 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) orBeethovenThe 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)orNo. 14 from Clementi Selected Piano Sonatas, Vol. 2 (Henle 330)

6 Mozart Rondo in D, K. 485. Rondopublished individually (ABRSM) orMozart Mature Piano Pieces(ABRSM)7 Mozart Allegro: 1st movt from Sonata in F, K. 533. Sonata published individually (ABRSM) orMozart Sonatas for

Pianoforte, Vol. 2(ABRSM)8 G. F. Pinto Allegro moderato con espressione: 1st movt from Sonata in Ebminor (Op. 3 No. 1) (Stainer & Bell K20)

LIST C

1 Brahms Intermezzo in Eb: No. 1 from Three Intermezzos, Op. 1172 Debussy Prlude: 1st movt from Suite bergamasque

3 E. Halffter Habanera Piano Exam Pieces 20132014, Grade 84 Arvo Prt Allegro: 1st movt from Sonatina, Op. 1 No. 1 (ABRSM)5 O. Peterson Hallelujah Time6 Skryabin Pome: No. 2 fromDeux 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 orZen-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 orHenle 492)11 Ireland The Darkened Valley. Ireland Collected Piano Works, Vol. 2(Stainer & Bell B394)12 Lyadov Prelude in Db, Op. 10 No. 1. No. 18 from Lyadov Preludes, Tries and Other Pieces(ABRSM)13 Mendelssohn Presto agitato: No. 2 from Two Musical Sketches (Peters EP 7439)

14 PoulencAlerte: No. 3 fromMouvements perptuels(Chester CH02050)15 Rachmaninov Polichinelle: No. 4 fromMorceaux de fantaisie, Op. 3. Rachmaninov Piano Compositions, Vol. 3

(Boosey & Hawkes)16 Tansmantude-Scherzo (Salabert)

SIGHTREADING*:a piece of around a page in length, time and key signatures as Grade 7, with the additionof 18

2 and B and Db majors. Three-part chords in either hand, spread chords and simple ornaments may beencountered. See also p. 7.



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AURAL TESTS: included in the Practical exams for all subjects

Listening lies at the heart of all good music-making. Developing aural awareness isfundamental to musical training because having a musical ear impacts on allaspects 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 ofsound, the inner ear, with the external creation of it, without the necessity ofmechanically having to find the note on an instrument (important though thatconnection 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 isalready 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 examinerwill be happy to adapt to the vocal range of the candidate, whose responses may besung to any vowel (or consonant followed by a vowel), hummed or whistled (and ata different octave, if appropriate).

Assessment

A number of tests allow for a second attempt or for an additional playing by theexaminer, 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 butreflect the candidates overall response in this section. The marking criteria for theaural tests are given on p. 11.

Minor modifications (from 2011)

This syllabus includes the minor modifications introduced to some aural tests in2011.

Specimen tests

Examples of the tests are given in new editions (from 2011) of Specimen Aural Testsand 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 inplace of the standard tests, if requested at the time of entry. The syllabus for thesetests is available free on request from ABRSM (E [email protected]).Examples of the alternative tests are available for purchase from Allegro Music(T +44 (0)1885 490375; E [email protected]). The minor modifications (from

2011) do not affect the alternative aural tests.


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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 orthree time.The examiner will start playing the passage, and the candidate should join in as soonas possible, clapping in time and giving a louder clap on the strong beats. The examiner willthen ask whether the music is in two time or three time. The candidate is not required to statethe time signature.

B To sing as echoes three phrases played by the examiner. The phrases will be two bars long, ina major key, and within the range of tonicmediant. First the examiner will play the key-chordand the starting note (the tonic) and then count in two bars. After the examiner has played eachphrase, 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 phrasewill be two bars long, in a major key, and the change will affect only one of the notes. First theexaminer will play the key-chord and the tonic and then count in two bars. The examiner willplay the phrase twice, making the change in the second playing, after which the candidate shouldstate 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, theexaminer 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 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 soonas possible, clapping in time and giving a louder clap on the strong beats. The examiner willthen ask whether the music is in two time or three time. The candidate is not required to state

the time signature.B To sing as echoes three phrases played by the examiner.The phrases will be two bars long, in

a major key, and within the range of tonicdominant. First the examiner will play the key-chordand the starting note (the tonic) and then count in two bars. After the examiner has played eachphrase, the candidate should sing back the echo without a pause, keeping in time.

C To identify a change in either pitch or rhythm during a phrase played by the examiner. Thephrase will be two bars long, in a major key. First the examiner will play the key-chord and thetonic and then count in two bars. The examiner will play the phrase twice, making the changein the second playing, after which the candidate should identify the change by describing it, orsinging/clapping. If necessary, the examiner will play both versions of the phrase again (althoughthis will affect the assessment).

D To answer questions about two features of a piece played by the examiner.Before playing, theexaminer will tell the candidate which two features the questions will be about. The first will beoneof the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/detached); the second will be tempo (becoming slower/faster, or staying the same).


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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 shouldjoin in as soon as possible, clapping in time and giving a louder clap on the strong beats. Theexaminer will then ask whether the music is in two time, three time or four time. The candidateis 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, ina 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 eachphrase, the candidate should sing back the echo without a pause, keeping in time.

C To identify a change in either pitch or rhythm during a phrase played by the examiner. Thephrase will be up to four bars long, in a major or minor key. First the examiner will play thekey-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 changeby describing it, or singing/clapping. If necessary, the examiner will play both versions of thephrase again (although this will affect the assessment).

D To answer questions about two features of a piece played by the examiner.Before playing, theexaminer will tell the candidate which two features the questions will be about. The first will beoneof 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

therange of an octave, in a major or minor key with up to three sharps or flats. First the examinerwill 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 theinstrument.) 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 bassclef. The notes will be within the range of a third above and below the tonic in the key of C, For G major. The test will begin and end on the tonic and will not contain intervals greater thana 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 issung at the wrong pitch.

C(i) To answer questions about two features of a piece played by the examiner. Before playing, theexaminer will tell the candidate which two features the questions will be about. The first will be

oneof the following: dynamics, articulation, tempo, tonality; the second will be character.(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it 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 themusic is in two time, three time or four time. The candidate is not required to state the timesignature.


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Aural Tests GRADE 5

A To sing or play from memory a melody played twice by the examiner. The melody will be within

therange of an octave, in a major or minor key with up to three sharps or flats. First the examinerwill play the key-chord and the starting note and then count in two bars. (If the candidate choosesto play, the examiner will also name the key-chord and the starting note, as appropriate for theinstrument.) 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. Thenotes will be within the range of a fifth above and a fourth below the tonic, in a majorkey with up to two sharps or flats. The test will begin and end on the tonic and will not containintervals greater than a third, except for the rising fourth from dominant to tonic. First theexaminer will name and play the key-chord and the starting note. If necessary, the examiner willhelp the candidate by playing and identifying the correct note if any note is sung at the wrongpitch.

C(i) To answer questions about two features of a piece played by the examiner. Before playing, theexaminer will tell the candidate which two features the questions will be about. The first will be

one of the following: dynamics, articulation, tempo, tonality, character; the second will be styleand period.

(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it isin two time, three time or four time.The examiner will play the extract twice (unharmonized),after which the candidate should clap back the rhythm. The examiner will then ask whether themusic is in two time, three time or four time. The candidate is not required to state the timesignature.

Aural Tests GRADE 6

A To sing or play from memory the upperpart 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 threesharps orflats. First the examiner will play the key-chord and the starting note and then countin two bars. (If the candidate chooses to play, the examiner will also name the key-chord andthe starting note, as appropriate for the instrument.) If necessary, the examiner will play thephrase 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 candidatemay choose to sing from treble or bass clef. The melody will be within the range of an octave, ina major orminor key with up to three sharps or flats. First the examiner will name and play thekey-chord and the starting note and then give the pulse. A brief period of preparation will followduring which the candidate may sing out loud. The examiner will play the key-chord and thestarting 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 cadencewill be in root position. Before the first playing, the examiner will play the key-chord.

D(i) To answer questions about two features of a piece played by the examiner. Before playing, theexaminer will tell the candidate which two features the questions will be about. The first will be:texture or structure; the second will be oneof the following: dynamics, articulation, tempo, tonality,character, style and period, texture/structure.

(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it isin two time, three time or four time.The examiner will play the extract twice (unharmonized),

after which the candidate should clap back the rhythm. The examiner will then ask whether themusic is in two time, three time or four time. The candidate is not required to state the timesignature.


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Aural Tests GRADE 7

A To sing or play from memory the lowerpart 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 threesharps or flats. First the examiner will play the key-chord and the starting note and then count intwo bars. (If the candidate chooses to play, the examiner will also name the key-chord and thestarting 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 bewithin the range of an octave, in a major or minor key with up to four sharps or flats. First theexaminer will name and play the key-chord and the starting note and then give the pulse. A briefperiod 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, theexaminer 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 phrasewill 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 theexaminer will name and play the key-chord, then play the two chords as a pair. The candidatemay answer using technical names (tonic, dominant, etc.), chord numbers (I, V, etc.) or letternames (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 majorkey. First the examiner will name and play the starting key-chord. The candidate may answerusing technical names (dominant, subdominant, relative minor) or the letter name of the newkey.

D(i) To answer questions about two features of a piece played by the examiner. Before playing, theexaminer will tell the candidate which two of the following features the questions will be about:dynamics, articulation, tempo, tonality, character, style and period, texture, structure.

(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it isin two time, three time, four time or 6/8 time. The examiner will play the extract twice(unharmonized), after which the candidate should clap back the rhythm. The examiner will thenask whether the music is in two time, three time, four time or 6/8 time.


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Aural Tests GRADE 8

A(i) To sing or play from memory the lowestpart 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 orflats. First the examiner will play the key-chord and the starting note and then countin two bars. (If the candidate chooses to play, the examiner will also name the key-chord andthe 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 secondinversions), supertonic (root position or first inversion), subdominant (root position), dominant(root position, first or second inversions), dominant seventh (root position) or submediant (rootposition). 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 theexaminer will name and play the key-chord, then play the three chords in sequence, finally playingeach chord individually, pausing for the candidate to identify it. The candidate may answer usingtechnical names (tonic, first inversion, etc.), chord numbers (Ib, etc.) or letter names (C majorin 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 bewithin the range of an octave, in a major or minor key with up to four sharps or flats. First theexaminer will name and play the key-chord and the starting note and then give the pulse. A briefperiod 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 secondwill begin in a minor key; each passage will be played once by the examiner. Before playing eachpassage, the examiner will name and play the starting key-chord. The candidate may answer usingtechnical names (dominant*, subdominant, relative minor/major) or the letter name of the newkey. (* Minor-key passages may modulate to the dominant major or minor but the candidate isonly 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, styleand period, etc.). The examiner will prompt the candidate with questions only if this becomesnecessary.

abrsm piano syllabus 2013-14

Documents

abrsm piano syllabus

satisfactory piano

electronic piano

recognizable piano tone

piano subject code

syllabus species

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