Violin 2020–2023 Practical Grades (updated August 2021)

GRADE 1

THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C; for further details see
pages 9–11
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
A 1 Haydn German Dance (No. 8 from 12 German Dances, Violin Exam Pieces 2020–2023, Grade 1 (ABRSM)
Hob. IX:10), arr. Salter
2 Trad. Welsh Y Delyn Newydd, arr. Blackwell Violin Exam Pieces 2020–2023, Grade 1 (ABRSM)
3 Peter Martin Hornpipe (No. 2 from Little Suite No. 3) Violin Exam Pieces 2020–2023, Grade 1 (ABRSM)
4 Arbeau Mattachins, arr. Huws Jones Encore Violin, Book 1 (ABRSM)
5 Kathy & David Patrick’s Reel  PF/VN Fiddle Time Joggers (OUP)
Blackwell
6 Carse Minuet (from The Fiddler’s Nursery) Carse: The Fiddler’s Nursery for Violin (Stainer & Bell)
7 Thomas Sinfonia  PF/VN Vamoosh Violin, Book 1.5 (Vamoosh)
Gregory
8 Purcell Rigadoon, arr. Nelson  with repeat Piece by Piece 1 for Violin (Boosey & Hawkes)
9 Suzuki Andantino  PF/VN Suzuki Violin School, Vol. 1 (Alfred)
10 Trad. Irish John Ryan’s Polka, arr. Huws Jones  PF/VN Violin Star 2 (ABRSM)
B 1 Bartók Round Dance (No. 17 from For Children, Vol. 1), Violin Exam Pieces 2020–2023, Grade 1 (ABRSM)
arr. Davies
2 Beethoven Ode to Joy (from Symphony No. 9, Op. 125, Violin Exam Pieces 2020–2023, Grade 1 (ABRSM)
4th movt), arr. Scott-Burt
3 Trad. Scottish Skye Boat Song, arr. Gritton Violin Exam Pieces 2020–2023, Grade 1 (ABRSM)
4 Kathy & David Rocking Horse  PF/VN Fiddle Time Joggers (OUP)
Blackwell
5 Katherine & Full Moon (No. 22 from Waggon Wheels) Katherine & Hugh Colledge: Waggon Wheels for Violin
Hugh Colledge (Boosey & Hawkes)
6 Lehár Waltz (from The Merry Widow), arr. Huws Jones Going Solo for Violin (Faber) or
The Best of Grade 1 Violin (Faber)
7 Rodgers & Edelweiss (from The Sound of Music), Abracadabra Violin (Third Edition) (Collins Music)
Hammerstein arr. Davey, Hussey & Sebba  PF/VN
8 Schubert Cradle Song, arr. Nelson  upper part  DUET Tunes You Know 1 for Violin Duet (Boosey & Hawkes)
9 Trad. The Leaving of Liverpool, arr. Huws Jones  The Seafaring Fiddler (Boosey & Hawkes)
violin melody  PF/VN
10 Trad. English A North Country Lass, arr. Huws Jones  PF/VN Violin Star 2 (ABRSM)
C 1 N. Mackay Tango (No. 2 from Four Modern Dance Tunes) Violin Exam Pieces 2020–2023, Grade 1 (ABRSM)
2 Trad. What shall we do with the drunken sailor?, Violin Exam Pieces 2020–2023, Grade 1 (ABRSM)
arr. Bullard
3 R. & R. Chitty Chitty Bang Bang (from Chitty Chitty Violin Exam Pieces 2020–2023, Grade 1 (ABRSM)
Sherman Bang Bang), arr. Iles
4 Klaus Badelt & He’s a Pirate (from Pirates of the Caribbean: Top Hits from TV, Movies & Musicals for Violin
Hans Zimmer The Curse of the Black Pearl), arr. Galliford & (Alfred)
Neuburg  with repeat; ending 1st beat of b. 22
5 Thomas Fiery Fiddler  with repeats Vamoosh Violin, Book 1 (Vamoosh)
Gregory
6 Edward Huws Sharks Going Solo for Violin (Faber) or
Jones The Best of Grade 1 Violin (Faber)
7 Trad. Pick a Bale of Cotton, arr. K. & D. Blackwell   Fiddle Time Runners (OUP)
American PF/VN

8 Trad. Turkey in the Straw, arr. Cohen & Spearing   Superstart Violin (Faber)
American swung rhythm optional
9 Trad. Chinese Jasmine Flower (No. 4), arr. O’Leary  SOLO No. 4 from 80 Graded Studies for Violin, Book 1 (Faber)
10 Trad. Czech Rocking, arr. Nelson  upper part  DUET Tunes You Know 1 for Violin Duet (Boosey & Hawkes)

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

24 Accompaniment printable from companion CD
Practical Grades (updated August 2021) Violin 2020–2023 Grade 1

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 11, 14–15 & 16
 RANGE REQUIREMENTS
SCALES
D, A majors  starting on open strings separate bows or slurred (2 quavers to a bow), at
1 oct.
E natural minor examiner’s choice;
G major 2 oct. even notes or long tonic, at candidate’s choice

ARPEGGIOS
D, A majors  starting on open strings
1 oct. separate bows;
E minor
even notes
G major 2 oct.

SIGHT-READING: a short piece of previously unseen music; for further details see pages 12 & 20–21

AURAL TESTS: administered by the examiner from the piano; for further details see pages 94 & 95

25
 Grades Initial–8
BOWED STRING PRACTICAL GRADES: requirements and information
This syllabus is valid for 2020–2023.
This section provides a summary of the most important points that teachers and candidates
need to know when taking ABRSM Practical Grades for bowed string instruments. Further
details, as well as admini­strative information about the exams, are given in ABRSM’s Exam
Regulations (available at www.abrsm.org/examregulations) which should be read before
making an exam booking.

Changes in the 2020–2023 syllabus

There are two main changes in this syllabus:
• Initial Grade is introduced; this pre-Grade 1 exam follows the format of Grades 1–8 and is
assessed using the same marking criteria
• A string accompaniment option is offered for some pieces at Grades Initial–3.

Entering for an exam

Eligibility: There are nine grades of exam for each instrument. Candidates may be entered for
any grade at any age and do not need to have taken other grade(s) on the same instrument.
Candidates for a Grade 6, 7 or 8 exam must have already passed ABRSM Grade 5 (or above) in
Music Theory, Practical Musicianship or a Practical Grades solo Jazz instrument; for full details,
including a list of accepted alternatives, see www.abrsm.org/prerequisite.
Access: ABRSM is committed to providing all candidates with fair access to its assessments
by putting in place access arrangements and reasonable adjustments. There is a range of
alternative tests and formats as well as guidelines for candidates with specific needs (see www.
abrsm.org/specificneeds). Where a candidate’s needs are not covered by the guidelines, each
case is considered individually. Further information is available from the Access Co-ordinator
([email protected]).
Exam booking: Details of exam dates, locations, fees and how to book an exam are available
online at www.abrsm.org/exambooking.

Instruments
Candidates are required to perform on acoustic instruments (electric instruments are not
allowed). Any size of instrument may be used; Viola candidates may play on a violin strung
as a viola. Examiners apply the marking criteria (which include the assessment of pitch, tone
and musical shaping) to assess musical outcomes without reference to the specific attributes
of the instrument.

8
 Bowed String Practical Grades: requirements and information

Elements of the exam

All ABRSM Practical bowed string exams consist of: three Pieces; Scales and arpeggios; Sight-
reading; and Aural tests. In all grades, marks are allocated as follows:
Pieces: 1 30
2 30
3 30
Scales and arpeggios 21
Sight-reading 21
Aural tests 18
Total 150
Marking scheme: Exams are marked out of 150. 100 marks are required for a Pass, 120 for a
Merit and 130 for a Distinction. Candidates do not need to pass each section to pass overall.
See pp. 106–107 for the marking criteria used by examiners.

Pieces
Musicians learn to play an instrument to explore and perform repertoire, which is why pieces
are at the core of the exam – candidates are asked to present three at each grade. The syllabus
repertoire is organised into three lists which explore different traditions and styles, dating
from the Renaissance period to the present day.
Choosing one piece from each list gives candidates the opportunity to play a balanced
selection and demonstrate a range of skills. In this syllabus, the pieces are broadly grouped
into lists by the characteristics of the music:
• List A pieces are generally faster moving and require technical agility
• List B pieces are more lyrical and invite expressive playing
• List C pieces reflect a wide variety of musical traditions, styles and characters.
Most of the pieces require an accompaniment, as interacting with other musicians is an
important musical skill, but there are also opportunities to choose solo pieces and develop
confidence with unaccompanied playing.
We hope that by offering this variety in the syllabus, candidates will find music that inspires
them and that they enjoy learning and performing.

Programme planning: Candidates must choose one piece from each of the three lists (A, B
and C)*. In the exam, candidates should tell the examiner which pieces they are performing,
and they are welcome to use the form on p. 108 for this.
Every effort has been made to feature a broad range of repertoire to suit and appeal to
candidates of different ages, backgrounds and interests. Certain pieces may not be suitable for
every candidate for technical reasons or because of wider context (historical, cultural, subject
matter of the larger work from which it is drawn, lyrics if an arrangement of a song etc.). Pieces
should be carefully considered for their appropriateness to each individual, which may need
consultation between teachers and parents/guardians. Teachers and parents/guardians should
also exercise caution when allowing younger candidates to research pieces online: www.nspcc.
org.uk/onlinesafety.

* Grade 8 Violin candidates must choose at least one accompanied piece (there are solo pieces on all three lists). 9
 Bowed String Practical Grades: requirements and information

The repertoire lists are the same as for ABRSM Performance Grades. Candidates may not present
the same repertoire (in full or individual pieces) for the same grade of both qualifications,
irrespective of when the exams are taken.
Accompaniment: A live piano or string (where the option is listed) accompaniment is required
for all pieces, except those which are published as studies or unaccompanied works (these are
marked SOLO in the syllabus list).
At Grades Initial–3, candidates may perform some or all of their pieces with a string accompani-
ment. Pieces that are published as duets (or with string accompaniment only) are marked DUET
in the syllabus list. Pieces that are published with piano and string accompaniment options are
marked PF/VN , PF/VA , PF/VC , or PF/DB in the syllabus list, and may be performed with either
accompaniment in the exam.
Candidates must provide their own accompanist(s), who can only be in the exam room while
accompanying. The candidate’s teacher may accompany (examiners will not). If necessary,
an accompanist may simplify any part of the accompaniment, as long as the result is musical.
Recorded accompaniments are not allowed.
Exam music & editions: Wherever the syllabus includes an arrangement or transcription
(appearing as ‘arr.’ or ‘trans.’ in the syllabus list), the edition listed in the syllabus must be used
in the exam. For all other pieces, editions are listed for guidance only and candidates may use
any edition of their choice (in- or out-of-print or downloadable). Information on sourcing exam
music is given on p. 13.
Interpreting the score: Printed editorial suggestions such as fingering, bowing, metronome
marks, realisation of ornaments etc. do not need to be strictly observed. Whether the piece
contains musical indications or not, candidates are encouraged to interpret the score in a
musical and stylistic way. Examiners’ marking will be determined by how control of pitch, time,
tone, shape and performance contributes to the overall musical outcome.
Vibrato: The use and control of vibrato, and its effect on tone and shape, will be taken into
account by examiners, who will be assessing the overall musical outcome. Pieces that are
heavily reliant on vibrato for their full musical effect tend not to appear in the syllabus before
around Grade 5.
Repeats: Unless the syllabus specifies differently, all da capo and dal segno indications should
be followed but other repeats (including first-time bars) should not be played unless they are
very short (i.e. a few bars).
Cadenzas & tuttis: Cadenzas should not be played unless the syllabus specifies differently.
Accompanists should cut lengthy orchestral tutti sections.
Performing from memory: Candidates may perform any of their pieces from memory; if doing
so, they must make sure that a copy of the music is available for the examiner to refer to. No
extra marks are awarded for playing from memory.
Page-turns: Examiners will be understanding if a page-turn causes a lack of continuity during a
piece, and this will not affect the marking. Candidates (and accompanists) may use an extra copy
of the music or a photocopy of a section of the piece (but see ‘Photocopies’ on p. 11) to help with
page-turns. Candidates and accompanists at Grades 6–8 may bring a page-turner to the exam
if there is no solution to a particularly awkward page-turn (prior permission is not required;
the turner may be the candidate’s teacher). Examiners are unable to help with page-turning.

10
 Bowed String Practical Grades: requirements and information

Photocopies: Performing from unauthorised photocopies (or other kinds of copies) or illegal
downloads of copyright editions is not allowed. ABRSM may withhold the exam result where it
has evidence of an illegal copy (or copies) being used. In the UK, copies may be used in certain
limited circumstances – for full details, see the MPA’s Code of Fair Practice at www.mpaonline.
org.uk. In all other cases, application should be made to the copyright holder before any copy
is made, and evidence of permission should be brought to the exam.

Scales and arpeggios

Playing scales and arpeggios is important for building strong technical skills such as reliable
finger movement, hand position, co-ordination and fingerboard fluency. It also helps to
develop tone, pitch and interval awareness, and familiarity with keys and their related
patterns. This leads to greater confidence and security when sight-reading, learning new
pieces and performing – from a score or from memory, as a solo musician or with others.

Memory: All requirements should be played from memory.

Range: All requirements should be played from the lowest possible tonic/starting note unless
the syllabus specifies differently. They should ascend and descend according to the specified
range (and pattern).
Rhythm: For most major and minor scales (and double-stop scales in parallel sixths/octaves)
candidates may choose between two rhythm patterns: even notes or long tonic. The scale to a
fifth (Initial Grade) should be played in even notes.
Patterns: Arpeggios and dominant sevenths are required in root position only. All dominant
sevenths should finish by resolving on the tonic. Examples of scale/arpeggio etc. patterns
found in this syllabus are given on pp. 14–15. Fully notated versions of the requirements are
published by ABRSM.
Fingering: Candidates may use any fingering that produces a successful musical outcome.
Speed: Bowing will generally dictate the tempi of slurred scales and arpeggios. Separately-
bowed requirements should be played briskly, using no more than half the bow length. The
speeds on pp. 16–19 are given as a general guide.
In the exam: Initial Grade candidates should play all three requirements when asked for their
scales. The examiner will prompt the keys/ranges where necessary.
At Grades 1–8, examiners will usually ask for at least one of each scale/arpeggio (etc.) type.
They will ask for majors followed by minors within each type, and also ask to hear a balance
of the separately-bowed and slurred requirements. When asking for requirements, examiners
will specify:
• the key* (including minor form – harmonic or melodic – in the Grade 6–8 scales) or the
starting note
• separate bows or slurred (except for where the requirements are to be prepared with separate
bows only – e.g. Grade 1 arpeggios).
* Where keys at Grades 6–8 are listed enharmonically – D - /C + and A - /G + – the examiner will
use the flat spelling when asking for major keys and the sharp spelling for minor keys.

11
 Bowed String Practical Grades: requirements and information

Sight-reading
Sight-reading is a valuable skill with many benefits. Learning to sight-read helps to develop
quick recognition of keys, tonality and common rhythm patterns. Strong sight-reading skills
make learning new pieces quicker and easier, and also help when making music with others,
so that playing in an ensemble becomes more rewarding and enjoyable.

Candidates will be asked to play a short unaccompanied piece of music which they have not
seen before. They will be given half a minute to look through and, if they wish, try out all or any
part of the test before they are asked to play it for assessment. The tables on pp. 20–21 show the
elements that are introduced at each grade.
For practice purposes, sample sight-reading tests are published by ABRSM.

Aural tests
Listening lies at the heart of music-making and the ability to hear how music works helps with
all aspects of musical development. Aural skills help with gauging the sound and balance of
playing, keeping in time and playing with a sense of rhythm and pulse. These skills also help
to develop a sense of pitch, musical memory and the ability to spot mistakes.

The requirements are the same for all four instruments. Full details of the Aural tests are given
on pp. 94–101.

In the exam
Examiners: Generally, there will be one examiner in the exam room; however a second
examiner may be present for training and quality assurance purposes. Examiners may ask to
look at the candidate’s or accompanist’s copy of the music before or after the performance of a
piece; a separate copy is not required. Examiners may stop the performance of a piece when they
have heard enough to make a judgment. They will not issue or discuss a candidate’s result; the
mark form (and certificate for successful candidates) will be issued by ABRSM after the exam.
Order of the exam: The individual sections of the exam may be taken in any order, at the
candidate’s choice, although it is preferable for accompanied pieces to be performed
consecutively at the beginning of the exam.
Tuning: At Grades Initial–5, the teacher or accompanist may tune the candidate’s instrument
(or advise on tuning) before the exam begins. At Grades 6–8, candidates must tune their
instruments themselves. Examiners are unable to help with tuning.
Seating: Double Bass candidates should provide their own stool if required. A chair/stool will
be provided for cello candidates at ABRSM public venues.
Music stands: All ABRSM public venues provide a music stand, but candidates are welcome to
bring their own if they prefer. The examiner will be happy to help adjust the height or position
of the stand.

12
 Bowed String Practical Grades: requirements and information

Assessment
The tables on pp. 106–107 show the marking criteria used by examiners. Examiners mark up or
down from the pass mark for each element by balancing the extent to which the qualities and
skills listed on pp. 106–107 (broadly categorised by pitch, time, tone, shape and performance)
are demonstrated and contribute towards the overall musical outcome.

Sourcing exam music

Exam music is available from music retailers and online, including at the ABRSM music shop:
www.abrsm.org/shop. Every effort has been made to make sure that the publications listed will
be available for the duration of the syllabus. Candidates are advised to get their music well before
the exam in case items are not kept in stock by retailers. Non-exam related questions about the
music (e.g. editorial, availability) should be addressed to the relevant publisher: contact details
are listed at www.abrsm.org/publishers.

13
 SCALE AND ARPEGGIO PATTERNS
The examples below clarify patterns found in this syllabus. The full requirements for each
instrument and grade are listed on the relevant syllabus pages. See also p. 11.

RHYTHM PATTERNS FOR SCALES

For major scales (all grades) and minor scales (Grades 1–8), candidates may choose between
two rhythm patterns: even notes or long tonic. (Chromatic scales should always be played
with even notes.)

even notes or long tonic

4 œ 4
4œœœœœœœœ etc. 4 œ œ œ œ œ œ œ œ etc.

SLURRING PATTERNS FOR SCALES

even notes or long tonic

4 4
4œ œ œ œ œ œ œ œ œ etc.
4œ œ œ œ œ œ œ œ etc.
2 quavers:
2 beats:
7 notes: 7
8œœœœœœœ œ etc.

NATURAL MINOR SCALE

V#ww w w w w w w w w w w w w w
Awwwwwwwwwwwwwww Bwwwwwwwwwwwwwww
SCALE to a fifth DOMINANT SEVENTH (resolving on tonic)

V # 42 œ œ œ œ œ œ œ œ œ
Œ V 42 œ œ œ œ
œ œ œ
œ œ
Œ

DOUBLE-STOP SCALES
In broken steps
‰‰ ‰‰
V bb 44 œ œ ‰‰ ‰‰ œ œ
in sixths: œ etc.∑ œ œ etc.
∑
œ
œ ‰ œ ‰
in octaves: V ## 44 œ œ ‰‰ œ ‰
œ ‰ etc.∑ œ ‰ œ ‰ etc.
∑
œ œ ‰ œ œ ‰
in thirds: V bb 44 œ œ ‰ œ œ ‰ etc.∑ etc.
∑

14
 Scale and arpeggio patterns

DOUBLE-STOP SCALES (cont.)

In parallel

even notes or long tonic

in sixths: V bbb 44 œœ œœ œ œ œœ
œ œ
etc. V bbb44 œœ œ œ
œ
œ œ œœ œœ œœ œ
œ
œ etc.

V ## 44 œ œœ V ## 44 œ
œ œ
œ œ œ œ œ œ œ œœ œ
in octaves: œ œ œ etc.
œ œ œ œ œ etc.
œ œ

Patterns for Double Bass only

SCALES to a sixth
even notes or long tonic

B 42 œ œ œ œ œ œ œ œ œ œ œ B 43 œ œœœœ œ œœœœ œ Œ Œ

SCALES to a twelfth
even notes or long tonic
Bb 4
4œ œ œ œ œ œ œ œ
œœœœœ
etc.
B b 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó
ARPEGGIOS to a twelfth

B b 68 œ œ œ œ œ œ œœœ
œ œ œ œ™ Œ ™

SCALE IN BROKEN THIRDS

B# 44 œ œ œ œ œ œ œ œ œ etc.
œœœœœœœœ œœœœœ etc. œœœœ œœœœÓ

SCALE IN RUNNING THIRDS

B# 68 œ œ œ œ œ œ œ
etc. V œœœ œœœœœœ œ etc.
Bœ œ œ œ œ œ œ™

15
16
The following speeds are given as a general guide:

VIOLIN Grade/Speed

pattern Initial 1 2 3 4 5 6 7 8

iiiq or
Scales q = 46 q = 52 q = 58 q = 63 q = 69 q = 80 q = 92 q = 104 q = 120
q  iq  iiiq

Arpeggios iiq e = 104 e = 116 q . = 40 q . = 42 q . = 44 q . = 46 q . = 48 q . = 50

iiiq / iiq /
Chromatic scales q = 63 q = 69 q = 80 q . = 60 e = 104 e = 120
jjjjjq

Dom. & Dim. 7ths * iiiq q = 63 q = 66 q = 69 q = 72 q = 76

Double-stop scales
SCALE AND ARPEGGIO SPEEDS

(in broken steps) q _ q  h q = 92 q = 104 q = 120

Double-stop scales iiiq or

(in parallel) q = 72
q  iq  iiiq

* Dim. 7ths from Grade 5

 SIGHT-READING PARAMETERS
The tables on pp. 20–21 show the elements that are introduced at each grade. These parameters
are presented cumulatively, i.e. once introduced they apply for all later grades (gradually
progressing in difficulty). See also p. 12.

Length Time Other features that may be included

(bars)
Initial Grade 4 4 ⁄4 • 1st position
•  q  and  iq  note values;  Î rests
6 2 ⁄4 • notes separately bowed
• mf
Grade 1 4 3 ⁄4 •  h  and  iiiq  note values


• f and p
• Double Bass: 1st or half position, at candidate’s choice
Grade 2 8 •  h . ;  rests
• simple two-note slurs
• mp ; cresc. and dim. hairpins
• Double Bass: 1st position only
Grade 3 • accidentals (within minor keys)
•  q .  e and q a . a i ; simple semiquaver patterns;  ä rests
• tied notes
• staccato; pizzicato (at end)
• Double Bass: half or 1st position, at examiner’s choice
Grade 4 c. 8 6⁄8 • shifts between:
• Violin & Viola: 1st and 3rd positions
• Cello: 1st and 4th positions
• Double Bass: half, 1st and 3rd positions (no more than two
positions per test)
• chromatic notes
• anacrusis
• hooked bowing
• tenuto, accents
• pause sign
• pp and ff
Grade 5 c. 8–16 • shifts as required to cover range
• simple syncopation
• changes between arco and pizzicato
• slowing of tempo (at end)
• Violin, Viola & Cello: simple chords (at end)
Grade 6 c. 12–16 9⁄8 • triplet patterns
5⁄8 • slowing of tempo followed by a tempo
5 ⁄4 • Viola: treble clef
• Double Bass: simple chords (at end)
Grade 7 c. 16–20 7⁄ 8 • Violin & Viola: left-hand pizzicato
7⁄4 • Cello & Double Bass: tenor clef
Grade 8 c. 16–24 12 ⁄ 8 • acceleration of tempo
• simple ornaments
• Violin: 8va sign
• Cello: left-hand pizzicato
• Cello & Double Bass: treble clef
20
 Sight-reading parameters

KEYS Violin Viola Cello Double Bass ◆

MAJORS
minors *
Initial Grade D, A G, D G, D G, D

Grade 1 G, D or F, B - ◊
— — —

Grade 2 G C C C, G, D
e a a a
Grade 3 C, F, B - F, B -, E - A, F, B - F, B -
a, d, g d, g, c d, g b
Grade 4 E- A E- A
c e, d
Grade 5 E, A - E, A -
b, c e, f + e g
Grade 6 E-
—
c+ f c
Grade 7 E, A - E
f+ b, c + b, f f+
Grade 8 B, D - B, D - A-
f f+ f

RANGES § Violin Viola Cello Double Bass

Initial Grade d′–g′, a′–d″ g–c′, d′–g′ G–c, d–g g–b, d–f +
Grade 1 d′–a″ g–d″ G–d′ d–b or F–f ◊
Grade 2 g–a″ c–d″ C–d′ E–b
Grade 3 g–b″ c–e″ C–d′ E–b
Grade 4 g–d‴ c–g″ C–g′ E–d′
Grade 5 g–e‴ c–a″ C–a′ E–e′
Grade 6 g–e‴ c–a″ C–a′ E–g′
Grade 7 g–g‴ c–b″ C–b - ′ E–a′
Grade 8 g–a‴ c–c‴ C–d″ E–c″

* Minors – natural form at Grade 2, any form from Grade 3

◆ Keys cumulative from Grade 2
◊ 1st or half position, at candidate’s choice
§ Ranges are presented using the Helmholtz system, i.e.:
w
w w w
? w w w w
&
w w w
B′ C B c b c′ b′ c″ b″ c‴ b‴

21
 AURAL TESTS: included in all Practical Music graded exams*
Listening lies at the heart of all good music-making. Developing aural awareness is
fundamental to musical training because having a ‘musical ear’ impacts on all aspects
of musicianship. Singing, both silently in the head and out loud, is one of the best ways to
develop the ‘musical ear’. It connects the internal imagining of sound, the ‘inner ear’, with the
external creation of it, without the necessity of mechanically having to ‘find the note’ on an
instrument (important though that connection is). By integrating aural activities in imaginative
ways in the lesson, preparation for the aural tests within an exam will be a natural extension of
what is already an essential part of the learning experience.

In the exam
Aural tests are an integral part of all Practical Music 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 being assessed. 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
Some tests allow for a second attempt or for an additional playing by the examiner, if necessary.
The examiner will also be ready to prompt, where helpful, although this may affect the
assessment.
Marks are not awarded for each individual test or deducted for mistakes; instead they reflect
the candidate’s overall response in this section. The marking criteria for the aural tests are
given on p. 107.

Sample tests
Examples of the tests for Grades Initial–8 are given in Specimen Aural Tests. More examples
for Grades 1–8 are given in Aural Training in Practice. These publications are available to buy
from music retailers and from www.abrsm.org/shop.

Deaf or hearing-impaired candidates

Deaf or hearing-impaired candidates may choose alternative tests in place of the standard tests,
if requested at the time of entry. Further information, including the syllabus for the alternative
tests, is available at www.abrsm.org/specificneeds.

94 * A different set of tests apply to Jazz and Singing for Musical Theatre exams
 Aural tests

INITIAL GRADE
A To clap the pulse of a piece played by the examiner. The examiner will start playing the
passage, and the candidate should join in as soon as possible, clapping in time.
B To clap as ‘echoes’ the rhythm of two phrases played by the examiner. The phrases will
be two bars long, in three or four time, and consist of a melody line only. The examiner will
count in two bars. After the examiner has played each phrase, the candidate should clap
back the rhythm as an ‘echo’ without a pause, keeping in time.
C To sing as ‘echoes’ two phrases played by the examiner. The phrases will be one bar
long in 4/4 time. They will be in a major key, and within the range of tonic–mediant. First
the examiner will play the key-chord and the starting note (the tonic) and then count in two
bars. After the examiner has played each phrase, the candidate should sing back the echo
without a pause, keeping in time.
D To answer a question about one feature of a piece played by the examiner. Before
playing, the examiner will tell the candidate which feature the question will be about. It will
be about dynamics (loud/quiet) or articulation (smooth/detached).

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 tonic–mediant. First the examiner will play the
key-chord and the starting note (the tonic) and then count in two bars. After the examiner
has played each phrase, the candidate should sing back the echo without a pause, keeping
in time.
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
may affect the assessment).
D To answer questions about two features of a piece played by the examiner. Before
playing, the examiner will tell the candidate which two features the questions will be about.
The first will be: dynamics (loud/quiet, or sudden/gradual changes); the second will be
articulation (smooth/detached).

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106
Grades Pieces
Initial–8 Pitch Time Tone Shape Performance

Distinction ● Highly accurate notes ● Fluent, with flexibility ● Well projected ● Expressive, idiomatic ● Assured
27–30 and intonation where appropriate ● Sensitive use of tonal musical shaping and detail ● Fully committed
● Rhythmic character qualities ● Vivid communication of
well conveyed character and style

Merit ● Largely accurate notes ● Sustained, effective ● Mainly controlled and ● Clear musical shaping, ● Positive
24–26 and intonation tempo consistent well-realised detail ● Carrying musical
● Good sense of rhythm ● Good tonal awareness conviction
MARKING CRITERIA

● Character and style

communicated

Pass ● Generally correct notes ● Suitable tempo ● Generally reliable ● Some realisation of ● Generally secure, prompt
20–23 ● Sufficiently reliable ● Generally stable pulse ● Adequate tonal musical shape and/or recovery from slips
intonation to maintain ● Overall rhythmic awareness detail ● Some musical
tonality accuracy involvement

Below Pass ● Frequent note errors ● Unsuitable and/or ● Uneven and/or unreliable ● Musical shape and detail ● Insecure, inadequate
17–19 ● Insufficiently reliable uncontrolled tempo ● Inadequate tonal insufficiently conveyed recovery from slips
intonation to maintain ● Irregular pulse awareness ● Insufficient musical
tonality ● Inaccurate rhythm involvement

13–16 ● Largely inaccurate notes ● Erratic tempo and/or ● Serious lack of tonal ● Musical shape and detail ● Lacking continuity
and/or intonation pulse control largely unrealised ● No musical involvement

10–12 ● Highly inaccurate notes ● Incoherent tempo and/or ● No tonal control ● No shape or detail ● Unable to continue for
and/or intonation pulse more than a short section

0 ● No work offered ● No work offered ● No work offered ● No work offered ● No work offered
 Grades Scales and arpeggios Sight-reading Grades Aural tests
Initial–8 Initial–8

Distinction ● Highly accurate notes/pitch ● Fluent, rhythmically accurate Distinction ● Accurate throughout
19–21 ● Fluent and rhythmic ● Accurate notes/pitch/key 17–18 ● Musically perceptive
● Musically shaped ● Musical detail realised ● Confident response
● Confident response ● Confident presentation

Merit ● Largely accurate notes/pitch ● Adequate tempo, usually steady pulse Merit ● Strengths significantly
17–18 ● Mostly regular flow ● Mainly correct rhythm 15–16 outweigh weaknesses
● Mainly even tone ● Largely correct notes/pitch/key ● Musically aware
● Secure response ● Largely secure presentation ● Secure response

Pass ● Generally correct notes/pitch, despite errors ● Continuity generally maintained Pass ● Strengths just outweigh
14–16 ● Continuity generally maintained ● Note values mostly realised 12–14 weaknesses
● Generally reliable tone ● Pitch outlines in place, despite errors ● Cautious response
● Cautious response ● Cautious presentation

Below Pass ● Frequent errors in notes and/or pitch ● Lacking overall continuity Below Pass ● Weaknesses outweigh
11–13 ● Lacking continuity and/or some items incomplete ● Incorrect note values 9–11 strengths
● Unreliable tone ● Very approximate notes/pitch/key ● Uncertain response
● Uncertain response and/or some items not ● Insecure presentation
attempted

7–10 ● Very approximate notes and/or pitch ● No continuity or incomplete 6–8 ● Inaccuracy throughout
● Sporadic and/or frequently incomplete ● Note values unrealised ● Vague response
● Serious lack of tonal control ● Pitch outlines absent
● Very uncertain response and/or several items ● Very uncertain presentation
not attempted

0 ● No work offered ● No work offered 0 ● No work offered

Marking criteria

107
108
(may be photocopied or detached for exams)

Exam programme & running order

Name
Subject Grade
Please write details of the items you are performing in your exam in the order you are presenting
them and hand this slip to the examiner. Best wishes for an enjoyable and successful exam!
Year of syllabus
List Number Composer Title

Singers only: unaccompanied traditional song:

06/17
DIVERSITY
A number of pieces that have been included in past and current ABRSM syllabuses are now
recognised as being problematic for a range of reasons. The most prominent of these are songs
with links to slavery, minstrel shows, or that come from other forms of entertainment that
include racial prejudices and inappropriate stereotypes prevalent at the time they originated.
Many of these pieces have become part of the musical canon and global public consciousness
without any real understanding or knowledge of their problematic history. As a result, they
have been widely used in teaching, in publications and on exam syllabuses. These pieces are
offensive and inappropriate, both when they originated and now, and are not a reflection of
ABRSM’s values.
There are also instances in ‘western’ music where composers have written pieces drawing on
influences or elements from musical cultures outside their own in ways that may be considered
demeaning or inappropriate.
As we all continue to educate ourselves in this area, we at ABRSM are becoming more aware
and sensitive to these problematic associations and are committed to promoting music that
reflects the values of a modern, fair and diverse society as we move forward.
In the meantime, we have chosen to flag any problematic pieces that we are aware of rather than
remove them from any current syllabus entirely (they are marked in the repertoire lists). This
approach is primarily so as not to disadvantage learners and their teachers who have put work
into preparing them for exams in good faith. Instead, we are highlighting that certain pieces
have a problematic history, the fact that racial prejudices exist and are harmful, and that we
must all recognise and learn from history in order to achieve a more inclusive future. In doing
so, we hope that the information may be used as another facet of the learning experience,
beyond the music itself. Teachers and parents/carers may wish to avoid these pieces entirely
or exercise caution in allowing children to research their history, and any lyrics, in more detail.
ABRSM is committed to creating greater diversity, equality and inclusion in the field of
music and we are actively working to achieve this across key areas of our operations. Our
Diversity Statement, and regular updates on progress, can be accessed at www.abrsm.org/
diversity-statement.

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