Violacomplete 2024

1.
Introduction
About ABRSM
At ABRSM we aim to support learners and teachers in every way we can. One way we do this is
through the provision of high quality and respected music qualifications. These exams provide
clear goals, reliable and consistent marking, and guidance for future learning and, with backing
from four Royal Schools of Music in the UK, are valued and trusted around the world.
We offer qualifications and assessments for a range of instruments (including singing) and
genres, as well as for Music Theory and Practical Musicianship. Our syllabuses are based on core
musical skills – listening, performing, reading, writing, musical knowledge and understanding, and
improvising. Together these skills give learners a good foundation for their musical development
and a range of different musical activities.
Taking an exam is an exciting challenge with many benefits for learners and we do everything we
can to make the experience positive and rewarding. We work closely with specialists, teachers
and examiners to provide syllabuses of the highest quality with a wide variety of pieces and
songs to choose from. We train our expert examiners to ensure that all candidates are rewarded
and recognised for their musical achievements during the assessment. Using our clear, easy-
to-understand marking criteria examiners can assess all candidates reliably, objectively and
consistently. Finally, candidates receive a mark form containing valuable feedback, with a
celebratory certificate for everyone who passes.
We hope our syllabuses inspire and support your music learning or teaching and wish you every
success for your musical journey!
Our mission
Our mission is to enrich lives by inspiring musical achievement around the world. We do this in
partnership with four Royal Schools of Music: Royal Academy of Music, Royal College of Music,
Royal Northern College of Music and Royal Conservatoire of Scotland.
We are passionate about music, its value as an art form and the importance of music education.
We believe that being involved with music gives people unique, positive experiences with life-
long benefits.
We offer face-to-face and digital exams, sheet music, recordings, apps and courses for students and
teachers across the world. As a charity our donations encompass a range of grants, scholarships,
awards, prizes and bursaries for organisations and individuals. All promote music education and
support achievement, progression, creativity, diversity, inclusion, sustainability and leadership in
music education.
Who we are
We are the Associated Board of the Royal Schools of Music (ABRSM), a company registered in
England and Wales (company registration number 1926395) and a registered charity (charity
registration number 292182). Our registered office is at 4 London Wall Place, London EC2Y 5AU.
Find out more at www.abrsm.org.
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1. Introduction Practical Grades
About this qualification specification

What it covers
This specification provides all the relevant requirements and information teachers, candidates,
parents and organisations need in order to prepare for the following qualifications in the subjects
and grades covered in Section 3:
• ABRSM Entry Level Award in Practical Music (Initial Grade) (Entry 3)
• ABRSM Level 1 Award in Practical Music (Grades 1, 2 and 3)
• ABRSM Level 2 Certificate in Practical Music (Grades 4 and 5)
• ABRSM Level 3 Certificate in Practical Music (Grades 6, 7 and 8).
It also provides information on how the exams will be assessed, their learning outcomes, and
regulated qualification details.
Further details, as well as administrative information about the exams, are given in ABRSM’s
Exam Regulations (www.abrsm.org/examregulations) which should be read before making an
exam booking.
Validity of this specification
This specification is valid from 1 January 2024 until further notice.
We may update this specification from time to time, but will not make changes to the syllabus
(Section 3) other than in exceptional circumstances. In such cases, advance notice of any changes
will be posted on our website, as will advance notice of any planned syllabus refreshes. The latest
version of this specification will be available from www.abrsm.org/exams.
About our Practical Music qualifications

Qualification objectives
Our Practical Music qualifications are designed for learners to demonstrate a combination of
performance and other all-round musical skills and knowledge. Each grade is progressive and
represents a new challenge for the learner, providing motivation and structure to develop and
hone their musical skills.
Exams allow learners to receive formal recognition of the level of mastery they have achieved, and
feedback to support their learning journey. Practical Music qualifications further allow learners
to be rewarded and recognised for their skills in performing pieces as well as technique, notation,
listening and musical perception.
Who the qualifications are for
These qualifications are intended for learners who are interested in developing and demonstrating
their all-round musical skills. Learners may be entered at any age, but those entering for a Grade
6, 7 or 8 must fulfil the prerequisite detailed on page 10.
Every effort has been made to feature a broad range of repertoire to suit and appeal to candidates
of different ages, backgrounds and interests. We are committed to providing fair access to our
assessments by putting in place access arrangements and reasonable adjustments for candidates
with specific needs.
Structure
Each Practical Music qualification has been carefully designed to assess all-round musical
skills – technique, notation reading, listening and musical perception – as well as knowledge,
4
Practical Grades 1. Introduction
understanding and creativity. At all grades, these creative skills are demonstrated through playing
of repertoire and by completing the supporting tests. Collectively, these skills enable candidates to
progress to higher grades, further education, employment and other qualifications in the creative
arts sector.
Candidates are required to play three Pieces from set repertoire lists and a selection of technical
work, and to respond to an unseen Sight-reading test and a series of Aural tests. Marks for each
component are differently weighted (the three Pieces are the same) and are awarded to each
component individually.
Progression route
ABRSM Practical Music qualifications are available from Grade 1 to Grade 8, and in some subjects
from Initial Grade. Each grade progresses from the previous in their level of demand. The syllabus
in Section 3 of this specification details the grades available for individual subjects. It is not a
requirement for any candidate to complete one grade before moving on to the next although there
is a prerequisite for entering a Grade 6, 7 or 8 exam (see below).
Practical Music qualifications embed from the earliest grades the importance of developing a wide
range of musicianship skills, including performing repertoire and technical work, and responding
to previously unseen Sight-reading and Aural tests.
Practical Music candidates may, during their learning journey, wish to focus on their performance
skills and progress across to our Music Performance suite of qualifications. These qualifications
are designed for learners to demonstrate a combination of key performance-related skills such
as instrumental technique and control, musical interpretation, communication, and delivery. Each
grade is progressive and represents a new challenge for the learner, providing motivation and
structure to hone and refine their performance skills. Music Performance qualifications further
allow learners to be rewarded and recognised for their skills in delivering a whole performance,
communicating musically over a sustained programme.
The nature of both sets of qualifications makes them an ideal platform from which to progress
to ABRSM’s diploma offer, beginning with the performance-only ARSM. ARSM gives candidates
greater flexibility and responsibility in programme building as well as providing further opportunity
to develop performance technique and interpretative skills while extending their repertoire.
Through a combination of live and written components, candidates at DipABRSM (Music
Performance), and the higher LRSM and FRSM levels, demonstrate their performance,
communication and research skills, as well as their musical knowledge and understanding.
DipABRSM progresses to LRSM level and LRSM to FRSM. Further details of these can be found
in Section 6 of this specification and at www.abrsm.org/diplomas.
Prerequisite
We believe that a thorough understanding of the elements of music is essential for a full and
satisfying performance at the higher grades. Our Music Theory graded exams assess candidates
on their ability to identify, use and manipulate musical symbols, to study extracts and to answer
questions about the elements of music. We also offer Practical Musicianship exams where, in
developing their musicianship skills, candidates gain the understanding as well as the expressive
and interpretative skills needed to master the musical language of the repertoire they are learning.
A pass at ABRSM Grade 5 or above is required in either Music Theory, Practical Musicianship or
any Practical Music solo Jazz instrument before learners can enter for a Grade 6, 7 or 8 Practical
Music or Music Performance exam.
5
Regulation and UCAS points (UK)

Our regulators
ABRSM Practical Music, Music Performance and Music Theory grades, and higher-level
qualifications (diplomas) are regulated in the UK by:
• Office of Qualifications and Examinations Regulation (Ofqual)
• Qualifications Wales
• Council for Curriculum, Examinations and Assessment (CCEA Regulation)
For further information, see www.abrsm.org/regulation.
The Regulated Qualifications Framework (RQF)
All our regulated qualifications can be found on the RQF. There are nine qualification levels in the
framework, labelled in order of difficulty from Entry Level to Level 8. For further information, visit
https://register.ofqual.gov.uk.
Entry to higher education
In the UK, ABRSM’s Grades 6 to 8 in Practical Music and Music Performance can contribute
towards entry into higher education through the allocation of UCAS points; the table below shows
the UCAS Tariff value of these grades. For further information visit www.ucas.com.
Qualification/Level Pass Merit Distinction

Grade 6 8 10 12
Grade 7 12 14 16
Grade 8 18 24 30
Regulated qualification details

Qualification titles
The table below shows the regulated titles and qualification numbers of our Practical Music
qualifications. Further information can be found at https://register.ofqual.gov.uk.
Qualification Qualification Title

Number
603/6405/1 ABRSM Entry Level Award in Practical Music (Initial Grade) (Entry 3)
603/6406/3 ABRSM Level 1 Award in Practical Music (Grade 1)
603/6409/9 ABRSM Level 2 Certificate in Practical Music (Grade 4)
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Practical Grades 1. Introduction
Qualification size
The table below describes the size of the Practical Music qualifications by showing the amount
of time that a candidate would typically need to spend preparing for them:
• Under the guidance of a teacher (Guided Learning Hours);
• Under the guidance of a teacher and time spent preparing independently (Total Qualification
Time);
and:
• The assigned credit value (which denotes the size of the qualification).
Level Guided Learning Hours* Total Qualification Time* Credits

(GLH) (TQT)
Initial Grade 8 40 4
Grade 1 12 60 6
Grade 2 18 90 9
Grade 3 18 120 12
Grade 4 24 150 15
Grade 5 24 180 18
Grade 6 36 220 22
Grade 7 48 270 27
Grade 8 54 320 32
* The Guided Learning Hours and Total Qualification Time are estimates of the average amount of time that it might take a
candidate to prepare for these qualifications, and should be used as guidance only; it is recognised that there will be variance
dependent on each individual’s level of experience and ability.
7
Regulation (Europe)
The European Qualifications Framework (EQF) is an overarching framework that links the
qualifications of different countries together and allows for comparison and translation. The EQF
has eight levels across which qualifications can be mapped. The levels do not correspond directly
with the UK’s Regulated Qualifications Framework (RQF), although they are similar.
The following table shows the level of each of ABRSM’s Practical Music qualifications on the RQF
and the EQF.
Qualification RQF Level EQF Level

Initial Grade Entry Level (Level 3) Level 1
Grade 1
Grade 2 Level 1 Level 2
Grade 3
Grade 4
Level 2 Level 3
Grade 5
Grade 6
Grade 7 Level 3 Level 4
Grade 8
Regulation (Rest of world)

Information on how ABRSM exams are recognised in individual countries can be found at www.
abrsm.org/regulation.
Qualification title referencing

The qualifications covered by this specification are:
• ABRSM Entry Level Award in Practical Music (Initial Grade) (Entry 3)
• ABRSM Level 1 Award in Practical Music (Grades 1, 2 and 3)
• ABRSM Level 2 Certificate in Practical Music (Grades 4 and 5)
• ABRSM Level 3 Certificate in Practical Music (Grades 6, 7 and 8).
For ease of reading, ‘Practical Grade(s)’ is used in place of the full qualification titles throughout
the remainder of this document. Similarly, when referring to our other suite of graded performance
exams, ‘Performance Grade(s)’ is used in place of the full qualification titles.
8
2. Practical Grades
Syllabuses
Syllabus validity
The Bowed Strings Practical Grades Syllabus is valid for exams from 1 January 2024 until further
notice.
Syllabus amendments
Any updates to the syllabus – e.g. changes to publication details or other minor corrections or
clarifications – will be posted at www.abrsm.org/syllabuscorrections.
Syllabus overlap
In the first year of any revised Practical Grades syllabus, we offer an overlap period where
candidates may play specific requirements from the preceding syllabus. Information on the length
of the overlap period and the requirements that it applies to is given at www.abrsm.org/overlap.
Bowed Strings candidates worldwide may play their three pieces from the 2020–2023 Bowed
Strings Syllabus until 31 December 2024. All pieces must be from the same syllabus – candidates
may not present a mixture from old and new syllabuses.
The next syllabus

At the time of publication of this document, the next revision of the Bowed Strings Practical
Grades Syllabus has not been scheduled. Advance notice of any planned changes will be posted
at www.abrsm.org/syllabusupdates.
Exam Regulations
When preparing for an exam, it is important to read ABRSM’s Exam Regulations, which set out
the rules for completing the exams listed in this specification. This information is available at
www.abrsm.org/examregulations.
Malpractice and maladministration

We are committed to inspiring achievement in music. Our qualifications are used by thousands
of people to support their music learning or teaching. Many people also use them when applying
to study at further and higher education institutions. It is therefore vital that our qualifications
remain a valuable and reliable measure of a candidate’s skills and knowledge. We take any form
of malpractice or maladministration very seriously.
• Malpractice is defined as any act that compromises or is an attempt to compromise the
assessment process, the integrity of any qualification or the validity of a result or certificate. This
also includes any act that damages our reputation or credibility as an awarding organisation.
• Maladministration is defined as any act that breaches the regulations through a mismanagement
of administrative processes, particularly where such a breach could compromise the integrity
of a qualification or assessment.
Applicants and candidates must follow the requirements set out in the relevant specification,
Exam Regulations and all other ABRSM policies about the delivery of our exams. In cases where
applicants or candidates have committed malpractice, a sanction or penalty may be given. Further
information about our Malpractice and Maladministration Policy can be found at www.abrsm.
org/policies.
9
2. Practical Grades Practical Grades
Entry requirements
There are nine grades of Practical Grades exams for each bowed strings instrument. Candidates
may be entered for any grade at any age. They do not need to have taken any earlier grade(s) in
the same instrument. To enter for a Grade 6, 7 or 8 exam, candidates must already have passed
one of the following:
• ABRSM Grade 5 (or above) in Music Theory
• ABRSM Grade 5 (or above) in Practical Musicianship
• ABRSM Grade 5 in any Practical Grades solo Jazz instrument
For full details, including a list of accepted alternatives, see www.abrsm.org/prerequisite.
Exam booking
Details of exam dates, locations, fees and how to book an exam are available online at www.
abrsm.org/exambooking.
Access (for candidates with specific needs)

We are committed to providing fair access to our assessments for candidates with specific
needs by putting in place access arrangements and reasonable adjustments. There are a range
of alternative tests and formats for Practical Grades. The Fair Access Guidelines are available at
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 Specific Needs Team
([email protected]) or from www.abrsm.org/specificneeds.
Diversity
A number of pieces that have been included in some ABRSM syllabuses are now recognised
as being problematic for a range of reasons. The most prominent of these are pieces with links
to slavery, minstrel shows, or that come from other forms of entertainment that include racial
prejudices and inappropriate stereotypes prevalent at that time. Many of these pieces have
become part of the musical canon and global public consciousness without any real under-
standing 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.
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.
ABRSM is committed to creating greater diversity, equality and inclusion in the field of music and
we are actively working to achieve this across the organisation. Our Diversity Statement, and reg-
ular updates on progress, can be accessed at www.abrsm.org/diversity-statement.
Exam content
Practical Grades for Bowed Strings consist of six components – three Pieces, Scales and arpeggios,
Sight-reading and Aural tests. Information on how marks are allocated is given on page 114.
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Practical Grades 2. Practical Grades
In the exam
Examiners
Generally, there will be one examiner in the exam room for Practical Grades; however a second
examiner may be present for training or quality assurance purposes.
Examiners may ask to look at the candidate’s or accompanist’s (where applicable) 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.
Order of the exam
The individual Practical Grades exam components may be taken in any order, at the candidate’s
choice, although it is preferable for accompanied pieces/duets (where applicable) to be performed
consecutively at the beginning of the exam.
Tuning: At Initial Grade to Grade 5, the teacher or accompanist may tune the candidate’s
instrument (or advise on tuning) before the exam begins. At Grades 6 to 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.
Instruments
ABRSM Public Venues provide an upright or grand piano. Candidates, other than pianists, must
provide their own instrument (and any other equipment, e.g. footstools). Further detail on
instruments is given in Section 3 of this specification.
Exam timings
The timings in the table below show the approximate length of each Practical Grades Bowed
Strings exam in minutes, including the candidate’s entry and exit, and time for the examiner to
finish the mark form between exams. Examiners may take more or less time than the given timings.
Grade Initial Grade Grades Grades Grade Grade Grade

Grade 1 2&3 4&5 6 7 8
Time (in mins) 12 12 14 17 20 25 30
Special consideration
Special consideration is given to candidates who suffer temporary illness, injury or indisposition,
or adverse circumstances at or near the time of the assessment that are beyond the candidate’s
control. This will not result in an adjustment to marks and will not change the assessment criteria
applied by the examiner for the exam. Please refer to our Special Consideration Policy at www.
abrsm.org/policies.
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3. Bowed Strings Practical Grades Syllabus from 2024
Introducing the syllabus
There are new set pieces in the Bowed Strings Practical Grades Syllabus from 2024.
• The repertoire lists have been refreshed rather than fully revised and include a mixture of new
and retained pieces
• There is a greater choice of repertoire than before, with extended lists featuring music by a
more diverse range of composers.
The Scales and arpeggios, Sight-reading and Aural test requirements stay the same as the
preceding syllabus.
Some key exam information has also been updated or clarified, including in the wider Qualification
Specification.
Practical Grades: requirements and information

This syllabus is valid from 1 January 2024 until further notice.
This section provides a summary of the most important points that teachers and candidates
need to know when taking ABRSM Practical Grades for Bowed Strings. 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 booking an exam.
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.
12
Practical Grades 3. Bowed Strings Practical Grades Syllabus from 2024
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 that 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.
At Initial Grade to Grade 3, there are opportunities to play duets. This is an activity that often
occurs in lessons for beginners and helps build a strong sense of musical awareness as well as
secure rhythm and pulse.
We hope that by offering this variety in the syllabus, candidates will find inspiring music 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, they should inform the examiner which pieces they are performing, and they
are welcome to use the form on page 126 for this purpose.
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, other pieces may not be suitable because of wider context
(historical, cultural, subject matter, 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/carers. Teachers and parents/carers should also exercise caution
when allowing younger candidates to research pieces online: www.nspcc.org.uk/onlinesafety.
The repertoire lists are the same as for ABRSM Performance Grades. Candidates intending on
taking both qualifications at the same grade may find their musical development benefits from
preparing different pieces for each.
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 Initial Grade to Grade 3, candidates may perform some or all of their pieces with a string
accompaniment. Pieces that are published as duets (or with string accompaniment only) are
marked DUET in the syllabus list. Candidates must play the upper part unless the syllabus specifies
otherwise. Pieces that are published with piano and string accompaniment options are marked
DUET/PIANO 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.
* Candidates must choose at least one accompanied piece. 13

3. Bowed Strings Practical Grades Syllabus from 2024 Practical Grades
Exam music & editions: Wherever the syllabus includes an arrangement or transcription
(appearing as ‘arr.’ or ‘trans.’ in the repertoire lists), the edition listed in the syllabus must be
used. For all other pieces, editions are listed for guidance only and candidates may use any edition
of their choice. This includes editions that are downloaded. Information on sourcing exam music
is given on page 14.
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 must be
followed but other repeats (including first-time bars) should not be played unless they are very
short (i.e. a few bars).
Ossias: Where an ossia (alternative musical line or note) occurs in the music, candidates may
choose either option unless the repertoire list specifies differently.
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 directly 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’ below) to help with
page-turns. Candidates and accompanists at Grades 6 to 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.
Photocopies & downloads: Performing from unauthorised photocopies (or other kinds of copies)
or illegal downloads of copyright music is not allowed. 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/mpa-guidelines. 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.
Candidates and Applicants are expected to act within the law with regard to copyright. ABRSM
may withhold the exam result where we have evidence of an illegal copy (or copies) being used.
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. We advise candidates 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.
14
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
pitch and interval awareness, familiarity with keys and their related patterns, and control of
tone. 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 must be played from memory.

Range: All requirements must be played from the lowest possible tonic/starting note unless the
syllabus specifies differently. They must 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) must be played in even notes.
Patterns: Arpeggios and dominant sevenths are required in root position only. All dominant
sevenths must finish by resolving on the tonic. Examples of scale/arpeggio etc. patterns found
in this syllabus are given on pages 16–17. 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
pages 18–21 are given as a general guide.
In the exam: Initial Grade candidates must play all three requirements when asked for their scales.
The examiner will prompt the keys/ranges where necessary.
At Grades 1 to 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 Grades 6 to 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 to 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.
Supporting publications: Books of the requirements are published by ABRSM. Purchasing these
books is not a requirement.
15
Scale and arpeggio patterns

The examples below clarify patterns and ranges found in this syllabus. The full requirements for
each instrument and grade are listed on the relevant syllabus pages. See also page 15.
Rhythm patterns for scales

For major scales (all grades) and minor scales (Grades 1 to 8), candidates may choose between
two rhythm patterns: even notes or long tonic. (Chromatic scales must always be played with
even notes.)
even notes or long tonic
4 œ etc.
4 etc.
4œœœœœœœœ etc. 4 œ œ œ œ œ œ œ œ etc.
Slurring patterns for scales

4 4
4œ œ œ œ œ œ œ œ œ etc.
etc.
4œ œ œ œ œ œ œ œ etc.
2 quavers: etc.
2 beats:
7 notes: 7
8œœœœœœœ œ etc.
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 ‰
œ etc.
∑ œ œ etc.
∑
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.
∑
16
Double-stop scales (cont.)

In parallel
in sixths: V bbb 44 œœ œœ œ œ œœ
œ œ
etc.
etc. V bbb44 œœ œ œ œœ œœ œœ
œ œ
œ
œ
œ
œ etc.
etc.
V ## 44 œœ œœ V ## 44 œœ
œ œ
œ œ œ œ œ œ œ œœ
in octaves: etc.
etc.
etc. œ œ etc.
œ œ œ œ œ œ œ
Patterns for Double Bass only

Scales to a sixth
B 2
4œ œ œ œ
œ œ œ œ œ œ œ B 43 œ œœœœ œ œœœœ œ Œ Œ
Scales to a twelfth
B b 44 œ œ œ œ œ œ œ œ œ œ œ œ œ etc.
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. Vœ œ œ œœœœœœ œ etc.
Bœ œ œ œ œ œ œ™
17
The following speeds are given as a general guide:
VIOLA Grade/Speed *
pattern Initial 1 2 3 4 5 6 7 8
iiiq or
Scales q = 42 q = 48 q = 54 q = 58 q = 63 q = 72 q = 84 q = 96 q = 112
q iq iiiq
Arpeggios iiq e = 96 e = 108 e = 112 e = 116 q . = 40 q . = 42 q . = 44 q . = 46
iiiq / iiq /
Chromatic scales q = 58 q = 63 q = 72 q . = 56 e = 96 e = 112
jjjjjq
Dom. & Dim. 7ths* iiiq q = 58 q = 60 q = 63 q = 66 q = 69
Double-stop scales
(in broken steps) q_ q h q = 84 q = 96 q = 112
Double-stop scales iiiq or

(in parallel) q = 66
q iq iiiq
* Dim 7ths from Grade 5
19
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.
About the test: Candidates will be asked to play a short unaccompanied piece of music that 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.
Parameters: The table on page 23 shows the elements that are introduced at each grade.
Fingering: Any fingering shown on the test is for guidance only. Candidates are welcome to use
any fingering that produces a successful musical outcome.
Supporting publications: For practice purposes, sample sight-reading tests are published by
ABRSM. Purchasing these books is not a requirement.
Blind or partially-sighted candidates: Blind or partially-sighted candidates may choose an
alternative test (Braille memory or Aural repetition) in place of the standard test, if requested at
the time of booking the exam. Further information is available at www.abrsm.org/specificneeds.
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.
About the test: Full details of the Aural tests are given on pages 102–109.
Supporting publications: For practice purposes, sample Aural tests are published by ABRSM.
Examples of the tests are given in Specimen Aural Tests and Aural Training in Practice. Purchasing
these books is not a requirement.
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 booking the
exam. Further information, including the syllabus for the alternative tests, is available at
www.abrsm.org/specificneeds.
22
Sight-reading parameters
The tables on pages 23–24 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 page 22.
Length Time Other features that may be included

(bars)
Initial 4 4 ⁄4 • 1st position
• q and iq note values; Î rests
6 2 ⁄4 • notes separately bowed
• mf
• h and iiiq note values

Grade 1 4 3 ⁄4
• 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
23
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‴
24
Viola
Practical Grades Practical Grades from 2024
Viola from 2024
INITIAL GRADE
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
A 1 Vivaldi Autumn (from The Four Seasons, Op. 8), Viola Exam Pack from 2024, Initial Grade (ABRSM)
arr. K. & D. Blackwell
2 Trad. English The Old Woman and the Pedlar, arr. Bullard Viola Exam Pack from 2024, Initial Grade (ABRSM)
3 Trad. Welsh Pwt ar y Bys, arr. Gritton Viola Exam Pack from 2024, Initial Grade (ABRSM)
4 Kathy & David Beach Holiday Viola Time Starters (OUP)
Blackwell
5 Kathy & David More Mini Mozart with repeat using bowing No. 68 from Viola Time Starters (OUP)
Blackwell variation 2
6 Katherine & Knickerbocker Glory (No. 10 from Waggon Katherine & Hugh Colledge: Waggon Wheels for Viola
Hugh Colledge Wheels) (Boosey & Hawkes)
7 Cutter Little March, arr. C. & K. Sassmannshaus Viola Recital Album, Vol. 1 (Bärenreiter)
ending at b. 20 DUET/PIANO
8 Trad. German Lightly Row, arr. C. & K. Sassmannshaus Viola Recital Album, Vol. 1 (Bärenreiter)
ending at b. 16 DUET/PIANO
9 Trad. Go Tell Aunt Rhody, arr. Suzuki, Stuen-Walker & Suzuki Viola School, Vol. 1 (Alfred)
trans. Preucil DUET/PIANO
10 Trad. Secret Agents, arr. Davey, Hussey & Sebba Abracadabra Viola (Third Edition) (Collins Music)
with repeat DUET/PIANO
11 Kathy & David City Lights DUET/PIANO Viola Time Joggers (OUP)
Blackwell
12 S. Nelson Choo chug-a-chug ‘E’ version DUET/PIANO P. 22 from Tetratunes for Viola (Boosey & Hawkes)
13 Mark Wilson Oh, What a Day! No. 38 from Mark Wilson & Paul Wood: Stringtastic
& Paul Wood Beginners for Viola (Faber)
B 1 Althea The Knights’ Pavane Viola Exam Pack from 2024, Initial Grade (ABRSM)
Talbot-Howard
2 Taki New Year, arr. Litten Viola Exam Pack from 2024, Initial Grade (ABRSM)
3 Trad. French Au clair de la lune, arr. Bullard Viola Exam Pack from 2024, Initial Grade (ABRSM)
4 Kathy & David Rowing Boat DUET/PIANO Viola Time Joggers (OUP)
Blackwell
5 Katherine & Waterfall (No. 9 from Waggon Wheels) Katherine & Hugh Colledge: Waggon Wheels for Viola
Hugh Colledge (Boosey & Hawkes)
6 Thomas Footprints in the Snow Vamoosh Viola, Book 1 (Vamoosh)
Gregory
7 Huws Jones Gone for Good (No. 12 from Ten O’Clock Rock) Huws Jones: Ten O’Clock Rock for Viola (Boosey &
Hawkes)
8 S. Nelson I am a River The Essential String Method, Viola Book 2 (Boosey &
Hawkes)
9 S. Nelson Swingalong ‘E’ version DUET/PIANO P. 16 from Tetratunes for Viola (Boosey & Hawkes)
10 Trad. French French Folk Song, arr. Suzuki & trans. Preucil Suzuki Viola School, Vol. 1 (Alfred)
11 Katherine & Hills and Dales (No. 11 from Waggon Wheels) Katherine & Hugh Colledge: Waggon Wheels for Viola
12 Jemima Ladybird Laze with repeat Jemima Oosthuizen: Bees in the Belfry for Viola (Wild
Oosthuizen Music Publications)
13 Mark Wilson Music for a Rainy Day No. 27 from Mark Wilson & Paul Wood: Stringtastic
& Paul Wood Beginners for Viola (Faber)
C 1 Nancy Litten Crunch Time Viola Exam Pack from 2024, Initial Grade (ABRSM)
2 Trad. Let us chase the squirrel, arr. K. & D. Blackwell Viola Exam Pack from 2024, Initial Grade (ABRSM)
American
Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications 45

Viola from 2024 Initial Grade Practical Grades

3 Trad. German Kuckuck, Kuckuck, ruft’s aus dem Wald, Viola Exam Pack from 2024, Initial Grade (ABRSM)
arr. Blackwell
4 Kathy & David Rhythm Fever DUET/PIANO Viola Time Joggers (OUP)
Blackwell
5 Thomas Walk on Mars! slides optional; with DC, as in accomp. Vamoosh Viola, Book 1 (Vamoosh)
Gregory
6 Anita Have a Cup of Tea (from Bread and Butter Lumsden & Hewitt-Jones: Bread and Butter Pudding
Hewitt-Jones Pudding) (Musicland)
& Caroline
Lumsden
7 Huws Jones Ink-Spot (No. 11 from Ten O’Clock Rock) Huws Jones: Ten O’Clock Rock for Viola (Boosey &
Hawkes)
8 Huws Jones Ten O’Clock Rock (No. 9 from Ten O’Clock Rock) Huws Jones: Ten O’Clock Rock for Viola (Boosey &
Hawkes)
9 Caroline Jungle Footprints (from Jackaroo) Lumsden & Pam Wedgwood: Jackaroo for Viola (Faber)
Lumsden scream optional
& Pam
Wedgwood
10 Trad. German Pit a Pat Rain, arr. C. & K. Sassmannshaus Viola Recital Album, Vol. 1 (Bärenreiter)
DUET/PIANO
11 Kathy & David In the Groove DUET/PIANO Viola Time Joggers (OUP)
Blackwell
12 Celia Cobb & On the Go (No. 5 from Cool Beans) DUET Celia Cobb & Naomi Yandell: Cool Beans Viola Duets
Naomi Yandell (Stainer & Bell)
13 Paul Harris Dance of the Broken Bridge Viola Basics (Faber)
& Jessica
O'Leary
SCALES: from memory; for further details (including examples) see pages 15, 16–17 & 19
RANGE REQUIREMENTS
SCALES
G, D majors starting on open strings 1 oct. separate bows;
even notes or long tonic, at candidate’s choice
A minor starting on bottom A a 5th separate bows;
even notes
SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 103
46 Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

Practical Grades Viola from 2024
GRADE 1
pages 13–14
A 1 Kathy & David Patrick’s Reel DUET/PIANO Viola Time Joggers (OUP)
Blackwell
2 Byrd La Volta (from Fitzwilliam Virginal Book), More Time Pieces for Viola, Vol. 1 (ABRSM)
arr. Lamb & Meredith
3 J. Clarke Minuet, arr. Brodszky Early Music for Viola (EMB Zeneműkiadó)
4 Losy Bourrée, arr. Brodszky Early Music for Viola (EMB Zeneműkiadó)
5 Katherine & Polka Dots (No. 15 from Waggon Wheels) Katherine & Hugh Colledge: Waggon Wheels for Viola
6 Handel Menuet (from Music for the Royal Fireworks, Starters for Viola (ABRSM)
HWV 351), arr. Salter
7 Purcell Rigadoon, arr. Nelson with repeat Piece by Piece 1 for Viola (Boosey & Hawkes)
8 Trad. Dance to your daddy, arr. Nelson Piece by Piece 1 for Viola (Boosey & Hawkes)
9 Suzuki Allegretto, trans. Preucil & arr. Stuen-Walker Suzuki Viola School, Vol. 1 (Alfred)
DUET/PIANO
10 Trad. English London Bridge, arr. Sparke Starter Solos for Viola (Anglo Music)
11 Celia Cobb & Pony Trek (No. 5 from Top Banana) Celia Cobb & Naomi Yandell: Top Banana for Viola
12 Chevalier de Chevalier’s Rondeau (from String Quartet, Op. 1 Viola Mix 1 (ABRSM)*
Saint-Georges No. 3), arr. K. & D. Blackwell DUET/PIANO
13 Sancho Gavotta, arr. K. & D. Blackwell DUET/PIANO Viola Mix 1 (ABRSM)*
B 1 Beethoven Hymn to Joy (from Symphony No. 9), First Repertoire for Viola, Book 1 (Faber)
arr. Wilkinson & Hart
2 Kathy & David Rocking Horse DUET/PIANO Viola Time Joggers (OUP)
Blackwell
3 Katherine & Full Moon (No. 22 from Waggon Wheels) Katherine & Hugh Colledge: Waggon Wheels for Viola
4 Katherine & On the Wing (No. 25 from Waggon Wheels) Katherine & Hugh Colledge: Waggon Wheels for Viola
5 Elgar Pomp and Circumstance March No. 4 (from More Time Pieces for Viola, Vol. 1 (ABRSM)
Op. 39), arr. Lamb & Meredith
6 Eleanor Melody (No. 3 from Tunes for my Viola) Murray & Brown: Tunes for my Viola (Boosey & Hawkes)
Murray &
Sebastian
Brown
7 Christopher Hebridean Song (No. 11 from Microjazz for Christopher Norton: Microjazz for Starters for Viola
Norton Starters) upper note optional in b. 21 (Boosey & Hawkes)
8 Rodgers & Edelweiss (from The Sound of Music), arr. Davey, Abracadabra Viola (Third Edition) (Collins Music)
Hammerstein Hussey & Sebba DUET/PIANO
9 Philip Sparke Modal Melody Starter Solos for Viola (Anglo Music)
10 Trad. Scottish Skye Boat Song, arr. K. & D. Blackwell String Time Starters for Viola (OUP)
with repeats DUET/PIANO
C 1 Mary Cohen Rumba (No. 3 from Dance Duets) DUET Mary Cohen: Dance Duets for Viola (Faber)
2 Thomas Fiery Fiddler with repeats Vamoosh Viola, Book 1 (Vamoosh)
Gregory
3 Jim Henson & Muppet Show Opening, arr. Lawrance Winners Galore for Viola (Brass Wind)
Sam Pottle
4 Huws Jones Hen-Coop Rag, trans. Lamb & Meredith More Time Pieces for Viola, Vol. 1 (ABRSM)
5 Alan Menken Under The Sea (from The Little Mermaid), More Time Pieces for Viola, Vol. 1 (ABRSM)
& Ashman arr. Lamb & Meredith

* Available from September 2023
Viola from 2024 Grade 1 Practical Grades

6 S. Nelson Flag Dance Piece by Piece 1 for Viola (Boosey & Hawkes)
7 Christopher Popular Song (No. 14 from Microjazz for Starters) Christopher Norton: Microjazz for Starters for Viola
Norton (Boosey & Hawkes)
8 Trad. What shall we do with the drunken sailor?, Play it Again for Viola (Faber)
arr. Scott
9 Trad. Yankee Doodle, arr. Sparke Starter Solos for Viola (Anglo Music)
American
10 Celia Cobb & Tango Waltz (No. 12 from Cool Beans) DUET Celia Cobb & Naomi Yandell: Cool Beans Viola Duets
SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 19
RANGE REQUIREMENTS
SCALES
G, D majors starting on open strings separate bows or slurred (2 quavers to a bow), at
1 oct.
A natural minor examiner’s choice;
C major 2 oct. even notes or long tonic, at candidate’s choice
ARPEGGIOS
G, D majors starting on open strings
1 oct. separate bows;
A minor
even notes
C major 2 oct.
48
GRADE 2
pages 13–14
A 1 J. S. Bach Rondeau (from Orchestral Suite in B minor, More Time Pieces for Viola, Vol. 1 (ABRSM)
BWV 1067), arr. Lamb & Meredith
2 J. S. Bach Minuet No. 3, arr. Suzuki & trans. Preucil Suzuki Viola School, Vol. 1 (Alfred)
3 Besard Ballet, arr. Brodszky Early Music for Viola (EMB Zeneműkiadó)
4 M.-A. Prelude (from Te Deum), arr. K. & D. Blackwell Viola Time Runners (OUP)
Charpentier DUET/PIANO
5 Kenneth Jones Bourrée New Pieces for Viola, Book 1 (ABRSM)

6 Krogmann March, arr. C. & K. Sassmannshaus DUET/PIANO Viola Recital Album, Vol. 2 (Bärenreiter)
7 G. B. Martini Gavotte, arr. Wilkinson & Hart First Repertoire for Viola, Book 2 (Faber)
8 Weber Waltz, arr. Wilkinson & Hart First Repertoire for Viola, Book 2 (Faber)
9 Trad. Hornpipe, arr. Lawrance Winners Galore for Viola (Brass Wind)
10 Trad. Irish Red-Haired Boy, arr. Huws Jones viola melody The Fiddler Playalong Viola Collection (Boosey &
DUET/PIANO Hawkes)
11 Chevalier de Rondeau Theme (from Sonata for Flute and Viola Mix 2 (ABRSM)*
Saint-Georges Harp), arr. K. & D. Blackwell
12 Christoph Tip Toe DUET/PIANO Viola Recital Album, Vol. 2 (Bärenreiter)
Sassmannshaus
& Melissa Lusk
B 1 Felipe Bajo Habañera, arr. Wilkinson & Hart First Repertoire for Viola, Book 2 (Faber)
2 Kathy & David Farewell to Skye DUET/PIANO Viola Time Sprinters (OUP)
Blackwell
3 A. Clarke Dark-Haired Marie (No. 2 from Four Love Songs), A. Clarke: Four Love Songs (SJ Music)
arr. Otty piano to end at b. 24
4 Katherine & The Misty Isle (No. 7 from Shooting Stars) Katherine & Hugh Colledge: Shooting Stars for Viola
5 Elgar Andantino (No. 4 from Very Easy Melodious Elgar: Six Very Easy Pieces in the First Position, Op. 22
Exercises in the First Position, Op. 22) (Bosworth)
6 Edward Jones Glwysen, arr. Huws Jones viola melody The Fiddler Playalong Viola Collection (Boosey &
DUET/PIANO Hawkes)
7 Reinecke Primula veris (No. 2 from Zehn kleine stücke, Reinecke: Ten Little Pieces for Viola and Piano, Op. 213
Op. 213), arr. Kreuzer grace notes optional (Schott)
8 Schubert To Music, D. 547, arr. Lamb & Meredith More Time Pieces for Viola, Vol. 1 (ABRSM)
9 Tchaikovsky Old French Song (No. 16 from Album pour Starters for Viola (ABRSM)
enfants, Op. 39), arr. Salter
10 Trad. North Simple Gifts, arr. Waterfield & Beach O Shenandoah! for Viola (Faber)
American
11 Barbara Arens The Sorceress (from Viola Collection I) Barbara Arens: Viola Collection I (Barbara Arens)
12 A. Beach Pierrot and Pierrette (from Children’s Carnival, Viola Mix 2 (ABRSM)*
Op. 25), arr. K. & D. Blackwell
13 Celia Cobb & Daydreamer (No. 11 from Top Banana) Celia Cobb & Naomi Yandell: Top Banana for Viola
C 1 Arlen & We’re off to see the wizard (from The Wizard of Abracadabra Viola (Third Edition) (Collins Music)
Harburg Oz), arr. Davey, Hussey & Sebba DUET/PIANO
2 Bartók Play Song (No. 9 from 44 Duos), trans. Maurice Bartók: 44 Duets for Two Violas (EMB Zeneműkiadó)
& Bigelow DUET
3 Kathy & David Jacob’s Dance DUET/PIANO Viola Time Sprinters (OUP)
Blackwell
Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

Digital only edition, available from publisher’s website 49

4 Katherine & Morris Dancers (No. 3 from Shooting Stars) Katherine & Hugh Colledge: Shooting Stars for Viola
Hugh Colledge with repeat (Boosey & Hawkes)
5 Thomas Smooth Operator Vamoosh Viola, Book 2 (Vamoosh)
Gregory
6 Laubach Soldier’s March, arr. C. & K. Sassmannshaus Viola Recital Album, Vol. 2 (Bärenreiter)
lower note in double stops optional DUET/PIANO
7 Philip Sparke Pony and Trap Skilful Solos for Viola (Anglo Music)
8 Stravinsky Shrove-Tide Fair Themes (from Petrushka), More Time Pieces for Viola, Vol. 1 (ABRSM)
9 Trad. Mango Walk, arr. Nelson Piece by Piece 2 for Viola (Boosey & Hawkes)
10 Trad. Old Joe Clark, arr. Waterfield & Beach O Shenandoah! for Viola (Faber)
American
11 Hannah M. Rainy Daze (from Kansas Memories Suite), Viola Music By Women – A Graded Anthology, Vol. 1
Bartel arr. Cooper (Sleepy Puppy Press)
12 Celia Cobb & Cool Beans (No. 14 from Cool Beans) DUET Celia Cobb & Naomi Yandell: Cool Beans Viola Duets
13 Stéphanie Espièglerie I Love My Alto (Leduc)
Pons
14 Trad. Ugandan Dipidu, arr. K. & D. Blackwell Viola Mix 2 (ABRSM)*
RANGE REQUIREMENTS
SCALES
F, B - majors
C, G minors starting on open strings 1 oct. separate bows or slurred (2 quavers to a bow), at
(natural or harmonic or melodic, at candidate’s examiner’s choice;
choice) even notes or long tonic, at candidate’s choice
C, D, E - majors 2 oct.
ARPEGGIOS
F, B - majors
C, G minors starting on open strings
even notes
C, D, E - majors 2 oct.

GRADE 3
pages 13–14
A 1 Biber Presto (from Battalia, C. 61), arr. Lamb & More Time Pieces for Viola, Vol. 1 (ABRSM)
Meredith
2 M. Franck Intrada (1st movt from Suite de danses), M. Franck: Suite de danses (Editions Marc Reift)
arr. Sturzenegger
3 Handel Minuet No. 3 in F, trans. Applebaum String Festival Solos for Viola, Vol. 2 (Alfred)
4 Jean Baptiste Cantabile (1st movt from Sonata in C, Jean Baptiste Loeillet: Sonata for Viola (Editions Marc
Loeillet Op. 3 No. 1), arr. Sturzenegger Reift)
5 Mozart German Dance, K. 600 No. 2, arr. Loy Viola Music for Beginners (EMB Zeneműkiadó)
6 Mozart Minuet in D, arr. Preucil Suzuki Viola School, Vol. 3 (Alfred)
7 S. Paxton Sonata, arr. Gregory Vamoosh Viola, Book 3 (Vamoosh)
8 Trad. English English Folk Song, arr. C. & K. Sassmannshaus Viola Recital Album, Vol. 3 (Bärenreiter)
lower note optional in bb. 9, 13 & 24 DUET/PIANO
9 Volti Pas redouble, arr. C. & K. Sassmannshaus Viola Recital Album, Vol. 3 (Bärenreiter)
DUET/PIANO
10 Vivaldi At the Hearth (Winter from The Four Seasons), The Young Violist, Vol. 2 (Viola World)
arr. Arnold trills optional
11 Celia Cobb & Kazotsky Kick (No. 19 from Top Banana) Celia Cobb & Naomi Yandell: Top Banana for Viola
12 F. Price Rabbit Foot, arr. K. & D. Blackwell Viola Mix 3 (ABRSM)*
13 Winn A Picture (No. 3 from From the Carolina Hills, Viola Music By Women – A Graded Anthology, Vol. 1
Op. 15), arr. Cooper (Sleepy Puppy Press)
B 1 Daphne Baker Mist at Dawn (No. 2 from Jungle Adventures) Daphne Baker: Jungle Adventures for Viola (Spartan
Press)
2 Bizet Habanera (from Carmen), arr. K. & D. Blackwell Viola Time Sprinters (OUP)
DUET/PIANO
3 G. Concone Andante pastorale, arr. Gazda & Clark DUET Compatible Duets for Strings, Vol. 2: Viola (Carl Fischer)
4 Patsy Gritton Floating (No. 1 from Character Pieces, Book 1) Patsy Gritton: Character Pieces, Book 1 (SJ Music)
5 Jacob When Autumn Comes New Pieces for Viola, Book 1 (ABRSM)
6 Mendelssohn Song without Words, Op. 30 No. 3, arr. Birtel Classical Highlights for Viola (Schott)
7 Reinecke Bitte (No. 4 from Zehn kleine stücke, Op. 213), Reinecke: Ten Little Pieces for Viola and Piano, Op. 213
arr. Kreuzer (Schott)
8 Rieding Andante (2nd movt from Concerto in E minor, Rieding: Concerto in B minor, Op. 35 (Bärenreiter)
Op. 35), trans. Sassmannshaus
9 Howard Shore In Dreams (from The Lord of the Rings: The Classic Movie Instrumental Solos for Viola (Alfred)
Fellowship of the Ring), arr. Galliford, Neuburg &
Edmondson
10 Tchaikovsky Waltz (from The Sleeping Beauty, Op. 66), More Time Pieces for Viola, Vol. 1 (ABRSM)
11 Jennifer Waiting (No. 12 from Modern Mosaics) Jennifer Bowman: Modern Mosaics for Viola (80 Days
Bowman Publishing)
12 Carreño Mi Teresita, arr. K. & D. Blackwell Viola Mix 3 (ABRSM)*
13 Winn The Sunshine Lad (No. 4 from From the Carolina Viola Music By Women – A Graded Anthology, Vol. 1
Hills, Op. 15), arr. Cooper (Sleepy Puppy Press)
C 1 Bartók Pillow Dance (No. 14 from 44 Duos), Bartók: 44 Duets for Two Violas (EMB Zeneműkiadó)
trans. Maurice & Bigelow DUET
2 Kathy & David Wild West DUET/PIANO Viola Time Sprinters (OUP)
Blackwell
3 Katherine & Stiffkey Blues (No. 21 from Shooting Stars) Katherine & Hugh Colledge: Shooting Stars for Viola

4 G. & I. I got plenty o’ nuttin’ (from Porgy and Bess), More Time Pieces for Viola, Vol. 1 (ABRSM)
Gershwin, arr. Lamb & Meredith
D. & D. Heyward
5 Huws Jones Banana Skin (No. 5 from Got those Position Huws Jones: Got those Position Blues? (Faber)
Blues?)
6 S. Nelson Toad in the Hole Technitunes for Viola (Boosey & Hawkes)
without improvisation DUET/PIANO
7 E. Pütz Blue Waltz, arr. Birtel grace notes optional Classical Highlights for Viola (Schott)
8 Philip Sparke Could You Repeat That? Skilful Solos for Viola (Anglo Music)
9 Trad. Klezmer Hevenu Shalom Alechem, arr. Przystaniak DUET That’s Klezmer for Clarinets or Violas: Viola parts (Peters
EP11109B)
10 C. Webster Scherzo, trans. Gerald Solos for Young Violists, Vol. 1 (Alfred)
11 Trad. Trinidad I Let Her Go Go, arr. A. & J. Oosthuizen DUET Duets for Improvers for Two Violas (Wild Music
& Tobago Publications)
RANGE REQUIREMENTS
SCALES
D -, A -, A majors 1 oct.
separate bows or slurred (2 quavers to a bow), at
E -, G majors
examiner’s choice;
D, G minors 2 oct. even notes or long tonic, at candidate’s choice
(harmonic or melodic, at candidate’s choice)
ARPEGGIOS
D -, A -, A majors 1 oct. separate bows or slurred (3 notes to a bow), at
E -, G majors examiner’s choice;
2 oct. even notes
D, G minors
CHROMATIC SCALE
starting on G open string 1 oct. separate bows;
even notes

GRADE 4
pages 13–14
A 1 Anon. Chanson favorite d’Henri IV, arr. Bass & Harris Time Pieces for Viola, Vol. 2 (ABRSM)
2 Dittersdorf German Dance, arr. Doktor Solos for the Viola Player (G. Schirmer)
3 Flackton Siciliana (3rd movt from Sonata No. 4 in C minor, Flackton: Sonata No. 4 in C minor, Op. 2 No. 8 (Schott)
Op. 2 No. 8)
4 B. Marcello Allegretto (4th movt from Sonata in E minor), B. Marcello: Sonata in E minor for Viola (Stainer & Bell)
trans. Marchet
5 B. Marcello Allegretto, arr. Slokar & Luy B. Marcello: Adagio–Largo–Allegretto (Editions Marc
Reift)
6 Mouret Rondeau (from Premier suite de fanfares), More Time Pieces for Viola, Vol. 2 (ABRSM)
7 Purcell Rondeau (from Abdelazar), arr. Arkell Purcell: Rondeau from ‘Abdelazar’ for Viola (Fentone)
8 Rameau Riguadon, trans. Applebaum String Festival Solos for Viola, Vol. 2 (Alfred)
9 Rieding Allegro moderato (1st movt from Concerto in Rieding: Concerto in B minor, Op. 35 (Bärenreiter)
E minor, Op. 35), trans. Sassmannshaus
10 Tchaikovsky March (from The Nutcracker Suite, Op. 71a), Piece by Piece 2 for Viola (Boosey & Hawkes)
arr. Nelson
B 1 Timothy Baxter Idyll New Pieces for Viola, Book 2 (ABRSM)
2 Handel How beautiful are the feet (from Messiah, More Time Pieces for Viola, Vol. 2 (ABRSM)
HWV 56), arr. Lamb & Meredith
3 Verdi Chorus of the Hebrew Slaves (from Nabucco), More Time Pieces for Viola, Vol. 2 (ABRSM)
4 Haydn Poco adagio (from String Quartet, ‘Emporer’, First Repertoire for Viola, Book 3 (Faber)
Op. 76 No. 3), arr. Wilkinson & Hart
5 MacDowell To a Wild Rose (No. 1 from Woodland Sketches, MacDowell: To a Wild Rose, Op. 51/1 (Schott) or
Op. 51), arr. Birtel Classical Highlights for Viola (Schott)
6 J. P. E Martini Plaisir d’amour, arr. Maganini Concert Album for Viola (Edition Musicus)
7 Schubert The Trout, Op. 32, D. 550, arr. Bass & Harris Time Pieces for Viola, Vol. 2 (ABRSM)
8 Schumann Träumerei (No. 7 from Kinderscenen, Op. 15), Viola Music for Beginners (EMB Zeneműkiadó)
arr. Loy
9 Tartini Sarabanda, arr. Loy Viola Music for Beginners (EMB Zeneműkiadó)
10 Shostakovich Romance (from The Gadfly, Op. 97), arr. Otty Shostakovich: Romance from ‘The Gadfly’, Op. 97
(SJ Music)
11 Wendy Introspection (No. 7 from So Here We Are Again) Wendy Edwards Beardall-Norton: So Here We Are Again
Edwards for Viola (80 Days Publishing)
Beardall-Norton
12 Chaminade Canzonetta (No. 3 from Album des enfants, Chaminade: Six Pieces from Opus 123 (Piper)
Op. 123), arr. Spence
C 1 Baratto Paprika (Csárdás) Baratto: Paprika (Csárdás) for Viola (Editions Marc Reift)
2 Timothy Baxter Alla greco New Pieces for Viola, Book 2 (ABRSM)
3 Farrés Quizás, quizás, quizás, arr. Huws Jones The Fiddler Playalong Viola Collection (Boosey &
viola melody Hawkes)
4 G. M. La cumparsita, arr. Huws Jones viola melody The Fiddler Playalong Viola Collection (Boosey &
Rodríguez Hawkes)
5 Gardel Por una cabeza, arr. Lamb & Meredith More Time Pieces for Viola, Vol. 2 (ABRSM)
6 Patsy Gritton Drama Queen (No. 3 from Character Pieces, Patsy Gritton: Character Pieces, Book 2 (SJ Music)
Book 2)
7 Leonardi Capriccio Polka Viola Recital Album, Vol. 4 (Bärenreiter)


8 Prokofiev March (from Musiques d’enfants, Op. 65), First Repertoire for Viola, Book 3 (Faber)
arr. Wilkinson & Hart
9 Philip Sparke March of the Toy Soldiers (No. 3 from Super Philip Sparke: Super Solos for Viola (Anglo Music)
Solos)
10 John Williams Cantina Band (from Star Wars Episode IV: A New Classic Movie Instrumental Solos for Viola (Alfred)
Hope), arr. Galliford, Neuburg & Edmondson
11 Trad. Shaanxi Driving the Mule Team, arr. Long SOLO A Set of Chinese Folk Songs for Solo Viola (OUP)
12 Trott The Puppet Show I Love My Alto (Leduc)
RANGE REQUIREMENTS
SCALES
D -, E, F, A majors separate bows or slurred (2 beats to a bow), at
C, E, F minors 2 oct. examiner’s choice;
(harmonic or melodic, at candidate’s choice) even notes or long tonic, at candidate’s choice
ARPEGGIOS
D -, E, F, A majors separate bows or slurred (3 notes to a bow), at
C, E, F minors 2 oct. examiner’s choice;
even notes
DOMINANT SEVENTHS (resolving on tonic)
in the key of F starting on open string C separate bows;
1 oct.
in the key of G starting on bottom D even notes
CHROMATIC SCALES
starting on D bottom D separate bows or slurred (4 notes to a bow), at
starting on A bottom A 1 oct. examiner’s choice;
even notes
54
GRADE 5
pages 13–14
A 1 J. S. Bach Gigue (from Cello Suite No. 1 in G, BWV 1007), J. S. Bach: Six Cello Suites (Peters or Chester)
trans. Rowland-Jones or trans. Forbes SOLO
2 J. S. Bach Jesu, Joy of Man’s Desiring (from Cantata, Classical Highlights for Viola (Schott)
BWV 147), arr. Birtel
upper line only in bb. 24–32 & bb. 52–60
3 Corelli Giga (from Violin Sonata, Op. 5 No. 9), arr. Lamb More Time Pieces for Viola, Vol. 2 (ABRSM)
& Meredith
4 Haydn Hungarian Rondo (from Piano Trio, Hob. XV:25), More Time Pieces for Viola, Vol. 2 (ABRSM)
5 Handel Andante (1st movt from Concerto in B - ), Handel: Concerto in B - (Viola World)
trans. Arnold
6 M. Marais La mariée, arr. Classens L’Alto classique, Vol. C (Combre)
7 B. Marcello Allegro (2nd movt from Sonata in E minor), trans. B. Marcello: Sonata in E minor for Viola (Stainer & Bell)
Marchet
8 Portnoff Finale: Allegretto (3rd movt from Concertino, Portnoff: Concertino for Viola, Op. 13 (Billaudot)
Op. 13), trans. Forti
9 Telemann Gigue (7th movt from Suite in D), arr. Bergmann Telemann: Suite in D (Schott)
& Forbes viola to play in tuttis
10 Vivaldi Allegro (4th movt from Sonata No. 1 in B -, Solo Time for Viola, Book 2 (OUP)
RV 47), arr. K. & D. Blackwell
11 Chaminade Gavotte (No. 5 from Album des enfants, Op. 123), Chaminade: Six Pieces from Opus 123 (Piper)
arr. Spence
B 1 Bridge Cradle Song (trans.) Bridge: Four Pieces for Viola (Faber)
2 Chopin Tristesse, arr. Classens L’Alto classique, Vol. C (Combre)
3 Rhian Samuel Harmonium (No. 5 from Time out of Time) Rhian Samuel: Time out of Time for Viola (Stainer & Bell)
4 Schumann Dedication (No. 1 from Myrthen, Op. 25), More Time Pieces for Viola, Vol. 2 (ABRSM)
5 J. Sulzer Sarabande, Op. 8, arr. Tertis A Second Lionel Tertis Album (Weinberger)
6 Trad. Irish Old Irish Air, arr. Tertis C string optional in A Second Lionel Tertis Album (Weinberger)
bb. 20–29
7 Tárrega Recuerdos de la Alhambra, arr. Birtel Classical Highlights for Viola (Schott)
8 Tchaikovsky Chanson triste (No. 2 from 12 morceaux, Op. 40), Chester Music for Viola (Chester)
arr. Forbes
9 Trad. Scottish Afton Water, arr. K. & D. Blackwell Solo Time for Viola, Book 2 (OUP)
10 Trad. Scottish I’ll Bid My Heart Be Still, arr. Clarke R. Clarke: Shorter Pieces for Viola (OUP)
11 Andrée Romance (No. 1 from Two Romances), Andrée: Two Romances for Violin (Viola) (Schott)
arr. B. & S. Kalinowsky sul G optional, mute optional
12 Branscombe An Old Love Tale, Op. 21 No. 1, arr. Cooper Viola Music By Women – A Graded Anthology, Vol. 3
sul G optional (Sleepy Puppy Press)
13 Trad. Shanxi Leaving Home, arr. Long SOLO A Set of Chinese Folk Songs for Solo Viola (OUP)
C 1 Bartók Slovak Peasant’s Dance, trans. Váczi Bartók: An Evening in the Village & Slovak Peasant’s
Dance (EMB Zeneműkiadó)
2 R. R. Bennett Buskin (No. 2 from Six Country Dances), R. R. Bennett: Six Country Dances for Viola (Novello)
arr. Jacobs
3 Grieg Puck (No. 3 from Lyric Pieces, Op. 71), Solo Time for Viola, Book 2 (OUP)
arr. K. & D. Blackwell
4 B. Hummel Allegro (1st movt from Kleine Suite, Op. 19c) B. Hummel: Kleine Suite for Viola, Op. 19c (Simrock)
5 Joplin The Entertainer, arr. Birtel Joplin: Three Ragtimes for Viola (Schott)
55

6 Claude-Henry Ballade de Théophile Claude-Henry Joubert: Ballade de Théophile (Editions
Joubert Robert Martin)
7 Prokofiev The Montagues and the Capulets (from Romeo More Time Pieces for Viola, Vol. 2 (ABRSM)
and Juliet, Op. 64), arr. Lamb & Meredith
8 Trad. Boston Fancy, arr. Doktor Solos for the Viola Player (G. Schirmer)
American
9 Villoldo El Choclo, arr. Tailor Villoldo: El Choclo for Viola (Editions Marc Reift)
10 Weill September Song (from Knickerbocker Holiday), Time Pieces for Viola, Vol. 2 (ABRSM)
arr. Bass & Harris
RANGE REQUIREMENTS
SCALES
F, A, B - majors
D, E, F+, A minors 2 oct.
(harmonic or melodic, at candidate’s choice) separate bows or slurred (2 beats to a bow), at
C major even notes or long tonic, at candidate’s choice
C minor 3 oct.
(harmonic or melodic, at candidate’s choice)
ARPEGGIOS
F, A, B - majors
2 oct. separate bows or slurred (3 notes to a bow), at
D, E, F+, A minors
C major even notes
3 oct.
C minor
in the key of E - 1 oct. separate bows or slurred (4 notes to a bow), at
in the keys of F and G 2 oct. examiner’s choice;
even notes
DIMINISHED SEVENTHS
starting on C open string separate bows;
1 oct.
starting on G open string even notes
CHROMATIC SCALES
starting on C, D and E - 2 oct. separate bows or slurred (4 notes to a bow), at
even notes
56
GRADE 6
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a Practical
Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.
pages 13–14
A 1 J. S. Bach Menuet 1 and Menuet 2 (from Cello Suite J. S. Bach: Six Cello Suites (Peters or Chester)
No. 1 in G, BWV 1007), trans. Rowland-Jones or
trans. Forbes SOLO
2 Caix La marche du Czar, arr. Classens L’Alto classique, Vol. C (Combre)
d’Hervelois
3 Leclair Tambourin, arr. Classens L’Alto classique, Vol. C (Combre)
4 Handel Andante larghetto and Allegro (1st and 2nd Handel: Sonata in G minor, Op. 1 No. 6 (Stainer & Bell)
movts from Sonata in G minor, Op. 1 No. 6), trans.
Pilkington
5 Robin Ireland Allegro (from Étude No. 2) starting at b. 39 Robin Ireland: Concert Etudes for Viola (Clifton Edition)
SOLO
6 Kalliwoda Notturno No. 2 (from Six Nocturnes, Op. 186) Kalliwoda: Six Nocturnes for Viola, Op. 186 (Peters) or
Concert Pieces for Viola (Bärenreiter)
7 Senaillé Allegro (2nd movt from Sonata in G minor, Op. 5 Senaillé: Sonata in G minor, Op. 5 No. 9 (Stainer & Bell)
No. 9), arr. Morgan
8 Telemann Allegro (2nd movt from Sonata in A minor, Telemann: Sonata in A minor for Viola (Schott) or
TWV 41:a6) Telemann: Two Sonatas for Viola da Gamba or Viola
(Essercizii Musici) (Amadeus)
9 Telemann Allegro (2nd movt from Concerto in G, Telemann: Concerto in G, TWV 51:G9 (Bärenreiter)
TWV 51:G9)
10 Vivaldi Allegro (1st movt from Concerto in G minor, Vivaldi: Concerto in G minor, RV 417 (EMB Zeneműkiadó)
RV 417), arr. Bársony & Nagy
B 1 Albéniz Tango (No. 2 from España, Op. 165), arr. Classens L’Alto classique, Vol. C (Combre)
2 Brahms Andante (from String Sextet No. 1, Op. 18), More Time Pieces for Viola, Vol. 2 (ABRSM)
3 R. Clarke Lullaby P. 2 from R. Clarke: Shorter Pieces for Viola (OUP)
4 Fauré Berceuse, Op. 16, arr. Sassmannshaus Concert Pieces for Viola (Bärenreiter)
5 Viotti Andante, arr. Ritter Concert Pieces for Viola (Bärenreiter)
6 Joachim No. 1 (from Hebräische Melodien, Op. 9) Joachim: Hebrew Melodies for Viola, Op. 9 (IMC or
lower 8ve optional in bb. 58–59 Breitkopf & Härtel)
7 Mendelssohn Song without Words, Op. 38 No. 2, arr. Forbes P. 11 from Chester Music for Viola (Chester)
8 Schubert Ave Maria, Op. 52 No. 6, arr. Birtel Classical Highlights for Viola (Schott)
9 Schumann No. 4 (from Märchenbilder, Op. 113) Schumann: Märchenbilder for Viola, Op. 113 (Peters or
Henle)
10 Schweikert Romanze, trans. La-Deur Schweikert: Romanze for Cello (Violin/Viola)
(Furore Verlag)
11 C. Schumann Allegretto (No. 2 from Three Romances, Op. 22), C. Schumann: Three Romances for Viola, Op. 22 (Robert
arr. B. & S. Kalinowsky Lienau)
C 1 A. Beach Berceuse (No. 2 from Three Pieces, Op. 40), A. Beach: Three Pieces for Viola, Op. 40 (Spartan Press)
trans. Grant
2 Beethoven Rondo, WoO 41, arr. Forbes Beethoven: Rondo for Viola, WoO 41 (Schott)
3 R. R. Bennett The Czar of Muscovy (No. 6 from Six Country R. R. Bennett: Six Country Dances for Viola (Novello)
Dances), arr. Jacobs
4 C. Dancla Fantasia – La Cenerentola, Op. 86 No. 7, Solos for Young Violists, Vol. 2 (Alfred)
trans. Barber
57

5 Patsy Gritton Presto for Frankie (No. 2 from Character Pieces, Patsy Gritton: Character Pieces, Book 3 (SJ Music)
Book 3)
6 A. H. Hill Novelette with repeat A. H. Hill: Two Pieces for Viola (Stainer & Bell)
7 B. Hummel Presto (3rd movt from Kleine Suite, Op. 19c) B. Hummel: Kleine Suite for Viola, Op. 19c (Simrock)
8 Pascal Proust Avril Pascal Proust: Avril (De Haske)
9 Vaughan Carol (No. 2 from Suite for Viola, Group 1) Vaughan Williams: Suite for Viola (OUP)
Williams
10 Weill & Brecht Mack the Knife (from The Threepenny Opera), More Time Pieces for Viola, Vol. 2 (ABRSM)
arr. Reiter
11 Elaine Fine Windy Nights (No. 5 from A Violist’s Garden of Elaine Fine: A Violist’s Garden of Verses (IMSLP)
Verses)
12 Joplin The Easy Winners, arr. Birtel Joplin: Three Ragtimes for Viola (Schott)
13 Trott In a Spanish Garden, arr. Cooper Viola Music By Women – A Graded Anthology, Vol. 3
(Sleepy Puppy Press)
RANGE REQUIREMENTS
SCALES
D -/C +, F+, A -/G + majors and minors 2 oct.
(minors harmonic and melodic) separate bows or slurred (7 notes to a bow), at
C, D majors and minors 3 oct. even notes or long tonic, at candidate’s choice
(minors harmonic and melodic)
ARPEGGIOS
D -/C +, F+, A -/G + majors and minors 2 oct. separate bows or slurred (6 notes to a bow), at
even notes
C, D majors and minors 3 oct. separate bows or slurred (3 notes to a bow), at
even notes
in the keys of F, F+ and G 2 oct. separate bows or slurred (4 notes to a bow), at
even notes
DIMINISHED SEVENTHS
starting on C, C + and D 2 oct. separate bows or slurred (4 notes to a bow), at
even notes
CHROMATIC SCALES
starting on C, C + and D 2 oct. separate bows or slurred (6 notes to a bow), at
even notes
DOUBLE-STOP SCALE IN BROKEN STEPS
in sixths, in E - major 1 oct. see page 16
58
GRADE 7
pages 13–14
A 1 attrib. Allegro molto ma maestoso (1st movt from J. C. Bach: Concerto in C minor for Viola (Salabert)
J. C. Bach Cello Concerto in C minor), arr. Casadesus
2 J. S. Bach Gigue (from Cello Suite No. 2 in J. S. Bach: Six Cello Suites (Peters or Chester)
D minor, BWV 1008), trans. Rowland-Jones or
trans. Forbes SOLO
3 Bonporti Fantasia and Bizzarria (3rd and 4th movts from Bonporti: Two Inventions for Viola (Kunzelmann)
Invenzione in B -, Op. 10 No. 3), arr. Martos &
Nagy
4 Caix La Chambor (Allemande), trans. Marchet Caix d’Hervelois: La Chambor (Allemande) (IMC)
d’Hervelois
5 Grazioli 1st movt (from Sonata in F), arr. Marchet or Grazioli: Sonata in F (Stainer & Bell) or
arr. Tertis A Second Lionel Tertis Album (Weinberger)
6 Haydn Divertimento (3rd movt), trans. Piatigorsky Solos for Young Violists, Vol. 3 (Alfred)
7 Robin Ireland Classical (from Étude No. 3) SOLO Robin Ireland: Concert Etudes for Viola (Clifton Edition)
8 Telemann Overture (1st movt from Suite in D), Telemann: Suite in D (Schott)
arr. Bergmann & Forbes viola to play in tutti
9 Vivaldi Largo and Allegro (1st and 2nd movts from Vivaldi: Six Sonatas for Viola (IMC)
Sonata No. 4 in B -, RV 45), trans. Primrose
10 Weber Theme and Variations 1, 2 and 3 (from Weber: Variationen für Viola (Peters)
Variationen über das österreichische Volkslied
‘A Schüsserl und a Reind’rl’)
B 1 Bloch Processional (from Meditation and Processional) Bloch: Meditation and Processional (G. Schirmer)
2 Bridge Pensiero Bridge: Two Pieces for Viola (Stainer & Bell)
3 Coates Ballad, Op. 13 A Second Lionel Tertis Album (Weinberger)
4 Barbara Heller Sonnenhut (No. 10 from Klangblumen) Barbara Heller: Klangblumen (Schott)
5 Hensel Adagio, arr. B. & S. Kalinowsky Hensel: Adagio for Viola (Furore Verlag)
6 A. H. Hill Poem A. H. Hill: Two Pieces for Viola (Stainer & Bell)
7 Rachmaninoff Vocalise (No. 14 from 14 Songs, Op. 34), Rachmaninoff: Vocalise for Viola, Op. 34 No. 14 (Boosey
trans. Silverthorne & Hawkes)
8 Schubert Adagio (2nd movt from Arpeggione Sonata in Schubert: Sonata in A minor ‘Arpeggione’ for Viola,
A minor, D. 821), arr. von Wrochem or arr. Doktor D. 821 (Bärenreiter) or
Solos for the Viola Player (G. Schirmer)
9 Schumann No. 1 (from Märchenbilder, Op. 113) Schumann: Märchenbilder for Viola, Op. 113 (Peters or
Henle)
10 Tchaikovsky Passionate Confession, arr. Bullard More Time Pieces for Viola, Vol. 2 (ABRSM)
11 Le Beau Träumerei (No. 2 from Drei Stücke, Op. 26) Le Beau: Drei Stücke, Op. 26 (Furore Verlag)
12 Perkinson Lament Perkinson: Lament for Viola (LKM)
13 Swain Song at Evening upper notes in bb. 51–52 Viola Music By Women – A Graded Anthology, Vol. 3
(Sleepy Puppy Press)
C 1 Bartók An Evening in the Village, trans. Váczi Bartók: An Evening in the Village & Slovak Peasant’s
Dance (EMB Zeneműkiadó)
2 Colin Cowles Blues Variations Colin Cowles: Blues Variations for Viola (Clifton Edition)
3 Dimitrescu Village Dance, arr. Szeredi-Saupe Music for Viola III (EMB Zeneműkiadó)
4 Genzmer Molto vivace e sempre marcato (3rd movt from Genzmer: Sonatine for Viola (Peters)
Sonatine for Viola)
59

5 Amanda Lullaby (No. 1 from For Sydney) SOLO Amanda Harberg: For Sydney (Presser)
Harberg
6 Hindemith Meditation Hindemith: Meditation for Viola (Schott)
7 Husa Elegie (2nd movt from Suite, Op. 5) Husa: Suite for Viola, Op. 5 (AMP)
8 Bryan Kelly Allegro (1st movt from Sonatina for Viola) Bryan Kelly: Sonatina for Viola (Clifton Edition)
9 Kiel No. 3 (from Drei Romanzen, Op. 69) Kiel: Three Romances, Op. 69 (Kunzelmann or Musica
Rara)
10 Vaughan Prelude (No. 1 from Suite for Viola, Group 1) Vaughan Williams: Suite for Viola (OUP)
Williams
11 Elaine Fine I am also fond of lonely islands SOLO Elaine Fine: I am also fond of lonely islands (IMSLP)
RANGE REQUIREMENTS
SCALES
F, G, B - majors and minors 2 oct.
D, E - majors and minors 3 oct. even notes or long tonic, at candidate’s choice
ARPEGGIOS
F, G, B - majors and minors 2 oct. separate bows or slurred (6 notes to a bow), at
even notes
D, E - majors and minors 3 oct. separate bows or slurred (3 notes to a bow), at
even notes
in the keys of A -, B - and C 2 oct. separate bows or slurred (4 notes to a bow), at
in the key of G 3 oct. examiner’s choice;
even notes
DIMINISHED SEVENTHS
starting on E -, F and G 2 oct. separate bows or slurred (4 notes to a bow), at
starting on D 3 oct. examiner’s choice;
even notes
CHROMATIC SCALES
starting on E -, F and G 2 oct. separate bows or slurred (12 notes to a bow), at
starting on D 3 oct. examiner’s choice;
even notes
DOUBLE-STOP SCALES IN BROKEN STEPS
in sixths, in C and E - majors
1 oct. see page 16
in octaves, in G major
60
GRADE 8
pages 13–14
A 1 J. S. Bach Prelude (from Cello Suite No. 2 in D minor, J. S. Bach: Six Cello Suites (Peters or Chester)
BWV 1008), trans. Rowland-Jones or
trans. Forbes SOLO
2 J. S. Bach Vivace (1st movt from Sonata No. 3 in G minor, J. S. Bach: Three Sonatas for Viola da Gamba (Viola),
BWV 1029) BWV 1027–1029 (Bärenreiter or Henle)
3 Grazioli 2nd and 3rd movts (from Sonata in F), Grazioli: Sonata in F (Stainer & Bell) or
arr. Marchet or arr. Tertis A Second Lionel Tertis Album (Weinberger)
4 Handel Allegro (3rd movt from Concerto in B - ), Handel: Concerto in B - (Viola World)
trans. Arnold
5 Hoffmeister Rondo (3rd movt from Concerto in D) Hoffmeister: Concerto in D (Peters or Henle)
6 Schubert Sonata Movement, D. 471, arr. Forbes Schubert: Sonata Movement for Viola (Stainer & Bell)
7 A. Stamitz Rondeau (3rd movt from Concerto in B - ) A. Stamitz: Concerto in B - (Schott)
8 Telemann Adagio (Dolce) and Allegro (1st and 2nd movts Telemann: 12 Fantasias For Unaccompanied Viola (Viola
from Fantasia No. 7 in A -, TWV 40:20) SOLO World) or
Telemann: 12 Fantaisies, TWV 40:14–40:25 (Billaudot)
9 Telemann Lento and Allegro (1st and 2nd movts from Telemann: Sonata in D, TWV 41:D6 (IMC)
Cello Sonata in D, TWV 41:D6), trans. Vieland
10 Zelter Allegro con fuoco (1st movt from Concerto in E - ) Zelter: Concerto in E - (Kunzelmann)
11 Naji Hakim Toccata No. 2 SOLO Naji Hakim: Toccata No. 2 for Viola (UMP)
12 U. Kay Allegro (2nd movt from Sonata for Viola) U. Kay: Sonata for Viola (American Composers
Alliance)
B 1 Berlioz Sérénade (3rd movt from Harold en Italie), Berlioz: Harold en Italie (Bärenreiter)
arr. Macdonald
2 Bloch Meditation (from Meditation and Processional) Bloch: Meditation and Processional (G. Schirmer)
3 Brahms Andante un poco adagio (2nd movt from Sonata Brahms: Two Sonatas, Op. 120 (Peters or Henle)
in F minor, Op. 120 No. 1)
4 Fauré Elégie, Op. 24, trans. Katmis or arr. Szeredi- Fauré: Elegy for Viola, Op. 24 (IMC) or
Saupe Music for Viola III (EMB Zeneműkiadó)
5 Glazunov Elégie, Op. 44 Glazunov: Élégie, Op. 44 (Belaieff or Henle)
6 Joachim No. 3 (from Hebräische Melodien, Op. 9) Joachim: Hebrew Melodies for Viola, Op. 9 (IMC or
Breitkopf & Härtel)
7 Kapustin Largo (2nd movt from Sonata, Op. 69) Kapustin: Sonata for Viola, Op. 69 (Schott)
8 Mendelssohn Adagio: Allegro (1st movt from Sonata in Mendelssohn: Sonata in C minor (IMC or Henle)
C minor)
9 Tchaikovsky Melodia (No. 3 from Souvenir d’un lieu cher, Tchaikovsky: Melodia for Viola (Billaudot)
Op. 42), arr. Ducrocq
10 Villa-Lobos Aria (Cantilena) (from Bachianas brasileiras Villa-Lobos: Bachianas brasileiras No. 5 for Viola (AMP)
No. 5), arr. Primrose
11 C. Schumann Andante molto (No. 1 from Three Romances, C. Schumann: Three Romances for Viola, Op. 22 (Robert
Op. 22), arr. B. & S. Kalinowsky Lienau)
C 1 L. Anderson Fiddle-Faddle, arr. Arnold L. Anderson: Fiddle-Faddle (Viola World)
2 A. Beach Mazurka (No. 3 from Three Pieces, Op. 40), A. Beach: Three Pieces for Viola, Op. 40 (Spartan Press)
trans. Grant
3 N. Boulanger Pièce no. 3 en C + mineur (from Trois pièces) N. Boulanger: Three Pieces for Viola (Leduc)
(trans.)
4 Britten Reflection Britten: Reflection (Faber)
61

5 R. Clarke Morpheus R. Clarke: Morpheus (OUP)
6 Husa Marciale (3rd movt from Suite, Op. 5) Husa: Suite for Viola, Op. 5 (AMP)
7 Robin Ireland Metre Change Study 1 (from Étude No. 9) SOLO Robin Ireland: Concert Etudes for Viola (Clifton Edition)
8 Reger Molto vivace (4th movt from Suite No. 1 in Reger: Three Suites for Solo Viola, Op. 131d (Peters)
G minor, Op. 131d) SOLO
9 Rimsky- The Bumble-Bee, arr. Szeredi-Saupe Music for Viola III (EMB Zeneműkiadó)
Korsakov
10 Vaughan Christmas Dance (No. 3 from Suite for Viola, Vaughan Williams: Suite for Viola (OUP)
Williams Group 1)
11 Le Beau Polonaise (No. 3 from Drei Stücke, Op. 26) Le Beau: Drei Stücke, Op. 26 (Furore Verlag)
12 Rainier Allegro Ricercare (1st movt from Sonata for Rainier: Sonata for Viola (Schott)
Viola)
RANGE REQUIREMENTS
SCALES
A, B majors and minors 2 oct.
D -/C +, E -, E majors and minors 3 oct. even notes or long tonic, at candidate’s choice
ARPEGGIOS
A, B majors and minors 2 oct. separate bows or slurred (6 notes to a bow), at
even notes
D -/C +, E -, E majors and minors 3 oct. separate bows or slurred (9 notes to a bow), at
even notes
in the key of D 2 oct. separate bows or slurred (4 notes to a bow), at
in the keys of F+, A - and A 3 oct. examiner’s choice;
even notes
DIMINISHED SEVENTHS
starting on E -, E and A 2 oct. separate bows or slurred (4 notes to a bow), at
starting on C + 3 oct. examiner’s choice;
even notes
CHROMATIC SCALES
starting on E -, E and A 2 oct. separate bows or slurred (12 notes to a bow), at
starting on C + 3 oct. examiner’s choice;
even notes
DOUBLE-STOP SCALES IN PARALLEL
in octaves, in G major
in octaves, in C minor (harmonic and melodic)
even notes or long tonic, at candidate’s choice
in sixths, in A - major 2 oct.
DOUBLE-STOP SCALE IN BROKEN STEPS
in thirds, in E - major 2 oct. see page 16
62
Aural test requirements

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 given 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).
The information on pages 103–109 sets out the tasks that candidates will be asked to complete
in the exam.
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 component. The marking criteria for the Aural tests are given
on page 117.
Supporting publications
For practice purposes, sample Aural tests are published by ABRSM. Examples of the tests for
Initial Grade to Grade 8 are given in Specimen Aural Tests. More examples for Grades 1 to 8 are
given in Aural Training in Practice. Purchasing these books is not a requirement.
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 booking the exam. Further information, including the syllabus for the
alternative tests, is available at www.abrsm.org/specificneeds.
102 * A different set of tests apply to Jazz and Singing for Musical Theatre exams
INITIAL GRADE
A To clap the pulse of a piece played by the examiner. The examiner will start playing the pas-
sage, 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).
103
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.
in a major key, and within the range of tonic–dominant. First the examiner will play the key-
chord and the starting note (the tonic) and then count in two bars. After the examiner has
played each phrase, the candidate should sing back the echo without a pause, keeping in time.
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 may affect the assessment).
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).
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 candi-
date is not required to state the time signature.
in a major or minor key, and within the range of an octave. First the examiner will play the key-
chord and the starting note and then count in two bars. After the examiner has played each
phrase, the candidate should sing back the echo without a pause, keeping in time.
C To identify a change in either pitch or rhythm during a phrase played by the examiner. The
phrase will be up to four bars long, in a major or minor key. First the examiner will play the
key-chord and the tonic and then count in two bars. The examiner will play the phrase twice,
making the change in the second playing, after which the candidate should identify the change
by describing it, or singing/clapping. If necessary, the examiner will play both versions of the
phrase again (although this may affect the assessment).
will be one of the following: dynamics (loud/quiet, or sudden/gradual changes), articulation
(smooth/detached), tempo (becoming slower/faster, or staying the same); the second will
be tonality (major/minor key).
104
GRADE 4
A To sing or play from memory a melody played twice by the examiner. The melody will be
within the range of an octave, in a major or minor key with up to three sharps or flats. First
the examiner will play the key-chord and the starting note and then count in two bars. (If the
candidate chooses to play, the examiner will also name the key-chord and the starting note,
as appropriate for the instrument. This option is only available to instruments pitched in C,
B -, E - or F.) If necessary, the examiner will play the melody again and allow a second attempt
B To sing five notes from score in free time. The candidate may choose to sing from treble or
bass clef. The notes will be within the range of a third above and below the tonic in the key of
C, F or G major. The test will begin and end on the tonic and will not contain intervals greater
than a third. First the examiner will name and play the key-chord and the starting note. If
necessary, the examiner will help the candidate by playing and identifying the correct note
if any note is sung at the wrong pitch.
C (i) To answer questions about two features of a piece played by the examiner. Before
playing, the examiner will tell the candidate which two features the questions will be about.
The first will be one of the following: dynamics, articulation, tempo, tonality; the second
will be character.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify
whether it is in two time, three time or four time. The examiner will play the extract twice
(unharmonised), 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.
105
GRADE 5
A To sing or play from memory a melody played twice by the examiner. The melody will be
within the range of an octave, in a major or minor key with up to three sharps or flats. First
the examiner will play the key-chord and the starting note and then count in two bars. (If the
candidate chooses to play, the examiner will also name the key-chord and the starting note,
as appropriate for the instrument. This option is only available to instruments pitched in C,
B -, E - or F.) If necessary, the examiner will play the melody again and allow a second attempt
B To sing six notes from score in free time. The candidate may choose to sing from treble or
bass clef. The notes will be within the range of a fifth above and a fourth below the tonic, in
a major key with up to two sharps or flats. The test will begin and end on the tonic and will
not contain intervals greater than a third, except for the rising fourth from dominant to tonic.
First the examiner will name and play the key-chord and the starting note. If necessary, the
examiner will help the candidate by playing and identifying the correct note if any note is sung
at the wrong pitch.
C (i) To answer questions about two features of a piece played by the examiner. Before
The first will be one of the following: dynamics, articulation, tempo, tonality, character; the
second will be style and period.
106
GRADE 6
A To sing or play from memory the upper part of a two-part phrase played twice by the
examiner. The upper part will be within the range of an octave, in a major or minor key with
up to three sharps or flats. First the examiner will play the key-chord and the starting note and
then count in two bars. (If the candidate chooses to play, the examiner will also name the key-
chord and the starting note, as appropriate for the instrument. This option is only available
to instruments pitched in C, B -, E - or F.) If necessary, the examiner will play the phrase again
and allow a second attempt (although this may affect the assessment).
B To sing a melody from score, with an accompaniment played by the examiner. The candidate
may choose to sing from treble or bass clef. The melody will be within the range of an octave,
in a major or minor key with up to three sharps or flats. First the examiner will name and play
the key-chord and the starting note and then give the pulse. A brief period of preparation will
follow during which the candidate may sing out loud. The examiner will play the key-chord
and the starting note again and then count in two bars. If necessary, the examiner will allow a
second attempt (although this may affect the assessment).
C To identify the cadence at the end of a phrase as perfect or imperfect. The phrase will be in a
major or minor key and will be played twice by the examiner. The chords forming the cadence
will be in root position. Before the first playing, the examiner will play the key-chord.
D (i) To answer questions about two features of a piece played by the examiner. Before
The first will be: texture or structure; the second will be one of the following: dynamics,
articulation, tempo, tonality, character, style and period, texture/structure.
107
GRADE 7
A To sing or play from memory the lower part of a two-part phrase played twice by the
examiner. The lower part will be within the range of an octave, in a major or minor key with
up to three sharps or flats. First the examiner will play the key-chord and the starting note and
then count in two bars. (If the candidate chooses to play, the examiner will also name the key-
chord and the starting note, as appropriate for the instrument. This option is only available
to instruments pitched in C, B -, E - or F.) If necessary, the examiner will play the phrase again
and allow a second attempt (although this may affect the assessment).
B To sing the upper part of a two-part phrase from score, with the lower part played by the
examiner. The candidate may choose to sing from treble or bass clef. The upper part will be
within the range of an octave, in a major or minor key with up to four sharps or flats. First the
examiner will name and play the key-chord and the starting note and then give the pulse. A
brief period of preparation will follow during which the candidate may sing out loud. The exam-
iner 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 may affect the assessment).
C (i) To identify the cadence at the end of a phrase as perfect, imperfect or interrupted. The
phrase will be in a major or minor key and will be played twice by the examiner. The chords
forming the cadence will be in root position. Before the first playing, the examiner will play
the key-chord.
(ii) To identify the two chords forming the above cadence. The chords will be limited to the
tonic, subdominant, dominant, dominant seventh or submediant (all in root position).
First the examiner will name and play the key-chord, then play the two chords as a pair.
The candidate may answer using technical names (tonic, dominant, etc.), chord numbers
(I, V, etc.) or letter names (C major, G major, etc.).
(iii) To identify whether the modulation at the end of a different passage is to the dominant,
subdominant or relative minor. The passage, played once by the examiner, will begin in
a major key. First the examiner will name and play the starting key-chord. The candidate
may answer using technical names (dominant, subdominant, relative minor) or the letter
name of the new key.
D (i) To answer questions about two features of a piece played by the examiner. Before playing,
the examiner will tell the candidate which two of the following features the questions will
be about: dynamics, articulation, tempo, tonality, character, style and period, texture,
structure.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether
it is in two time, three time, four time or 6/8 time. The examiner will play the extract twice
will then ask whether the music is in two time, three time, four time or 6/8 time.
108
GRADE 8
A (i) To sing or play from memory the lowest part of a three-part phrase played twice by the
examiner. The lowest part will be within the range of an octave, in a major or minor key
with up to three sharps or flats. First the examiner will play the key-chord and the starting
note and then count in two bars. (If the candidate chooses to play, the examiner will also
name the key-chord and the starting note, as appropriate for the instrument. This option is
only available to instruments pitched in C, B -, E - or F.) If necessary, the examiner will play
the phrase again and allow a second attempt (although this may affect the assessment).
(ii) To identify the cadence at the end of a continuing phrase as perfect, imperfect,
interrupted or plagal. The phrase will be in a major or minor key and will be played twice
by the examiner. The chords forming the cadence will be limited to the tonic (root position,
first or second inversions), supertonic (root position or first inversion), subdominant (root
position), dominant (root position, first or second inversions), dominant seventh (root
position) or submediant (root position). Before the first playing, the examiner will play
the key-chord.
(iii) To identify the three chords (including their positions) forming the above cadential
progression. The chords will be limited to the tonic (root position, first or second
inversions), supertonic (root position or first inversion), subdominant (root position),
dominant (root position, first or second inversions), dominant seventh (root position) or
submediant (root position). First the examiner will name and play the key-chord, then
play the three chords in sequence, finally playing each chord individually, pausing for the
candidate to identify it. The candidate may answer using technical names (tonic, first
inversion, etc.), chord numbers (Ib, etc.) or letter names (C major in first inversion, etc.).
B To sing the lower part of a two-part phrase from score, with the upper part played by the
examiner. The candidate may choose to sing from treble or bass clef. The lower part will
be within the range of an octave, in a major or minor key with up to four sharps or flats.
First the examiner will name and play the key-chord and the starting note and then give
the pulse. A brief period of preparation will follow during which the candidate may sing out
loud. The examiner will play the key-chord and the starting note again and then count in two
bars. If necessary, the examiner will allow a second attempt (although this may affect the
assessment).
C To identify whether the modulations at the end of two different passages are to the dominant,
subdominant or relative minor/major. The first passage will begin in a major key and the
second will begin in a minor key; each passage will be played once by the examiner. Before
playing each passage, the examiner will name and play the starting key-chord. The candidate
may answer using technical names (dominant*, subdominant, relative minor/major) or the
letter name of the new key. (* Minor-key passages may modulate to the dominant major or
minor but the candidate is only required to specify ‘dominant’ in such cases.)
D To describe the characteristic features of a piece played by the examiner. After hearing
the piece, the candidate should describe any notable features (such as texture, structure,
character, style and period, etc.). The examiner will prompt the candidate with questions only
if this becomes necessary.
109
4. Assessment, marking & infringements
Assessment objectives
The following tables describe the level of knowledge and skills required of candidates taking
Practical Grades. They also show the assessment objectives and corresponding marking criteria
that examiners use to assess the performances at each level. The full marking criteria used by
examiners are available on pages 116–117.
Initial Grade (RQF Entry Level 3)

Assessment objectives Marking criteria
Learners will: Learners can:
Demonstrate musical skill, knowledge Perform basic repertoire with:
and understanding through performing • Reliable pitch and intonation
repertoire of basic musical and technical • Stable rhythm at a suitable tempo
demands, demonstrating control across the • Reliable tonal control and awareness
range of musical ingredients appropriate to • Musical shape and detail
simple repertoire and awareness of basic • Communication of character and style
characteristic features and performance
conventions.
Demonstrate instrumental control and Perform specified basic technical
familiarity with prescribed note patterns requirements with:
relevant to the instrument, through playing • Correct notes and secure continuity
prescribed technical requirements at basic • Reliable tonal control
demand levels.
Respond to simple musical notation with:
• Overall security of notes, rhythm and
Demonstrate notational and listening skills continuity
and understanding at basic demand levels
through responding to previously unseen Respond to simple piano-based musical
music and prescribed aural tests. stimuli with:
• Overall accuracy and reliable musical
perception
110
Practical Grades 4. Assessment, marking & infringements
Grades 1 to 3 (RQF Level 1)

Demonstrate musical skill, knowledge and Perform elementary repertoire with:
understanding through performing repertoire • Reliable pitch and intonation
of elementary musical and technical • Stable rhythm at a suitable tempo
range of musical ingredients appropriate to • Musical shape and detail
straightforward repertoire and awareness • Communication of character and style
of elementary characteristic features and
performance conventions.
Demonstrate instrumental control and Perform specified elementary technical
prescribed technical requirements at • Reliable tonal control
elementary demand levels.
Respond to straightforward musical notation
with:
Demonstrate notational and listening skills • Overall security of notes, rhythm and
and understanding at elementary demand continuity
levels through responding to previously Respond to straightforward piano-based
unseen music and prescribed aural tests. musical stimuli with:
perception
111
4. Assessment, marking & infringements Practical Grades
Grades 4 & 5 (RQF Level 2)

Demonstrate musical skill, knowledge and Perform intermediate repertoire with:
of intermediate musical and technical • Stable rhythm at a suitable tempo
range of musical ingredients appropriate • Musical shape and detail
to moderately complex repertoire and • Communication of character and style
awareness of comprehensive characteristic
features and performance conventions.
Demonstrate instrumental control and Perform specified intermediate technical
intermediate demand levels.
Respond to moderately complex musical
notation with:
Demonstrate notational and listening skills • Overall security of notes, rhythm and
and understanding at intermediate demand continuity
levels through responding to previously Respond to moderately complex piano-based
unseen music and prescribed aural tests. musical stimuli with:
perception
112
Grades 6 to 8 (RQF Level 3)

Demonstrate musical skill, knowledge and Perform advanced repertoire with:
of advanced musical and technical demands, • Stable rhythm at a suitable tempo
demonstrating control across the range of • Reliable tonal control and awareness
musical ingredients appropriate to complex • Musical shape and detail
repertoire and awareness of sophisticated • Communication of character and style
characteristic features and performance
conventions.
Demonstrate instrumental control and Perform specified advanced technical
advanced demand levels.
Respond to complex musical notation with:
• Overall security of notes, rhythm and
Demonstrate notational and listening skills continuity
and understanding at advanced demand
levels through responding to previously Respond to complex piano-based musical
unseen music and prescribed aural tests. stimuli with:
perception
113
Mark allocation
Marks are allocated for each component of Practical Grades for Bowed Strings, as shown in the
table below:
Exam component Maximum marks % of total mark

Piece 1 30 20%
Piece 2 30 20%
Piece 3 30 20%
Scales and arpeggios 21 14%
Sight-reading 21 14%
Aural tests 18 12%
Total 150 100%
Result categories
The result categories for Practical Grades are set as follows. A Pass in each component of the
exam is not required to pass overall.
Result category Mark band

Distinction 130–150
Merit 120–129
Pass 100–119
Below Pass 50–99
Synoptic assessment
Synoptic assessment is a form of assessment that requires candidates to demonstrate that they
can identify and effectively use a selection of skills, techniques, concepts and knowledge to carry
out a key task. Practical Grades allow candidates to demonstrate their ability to draw together
different skills, knowledge and understanding – theory, notation, instrument control, listening
skills, creative interpretation – and apply these across the individual components of the exam.
Awarding
An examiner’s assessment of a piece or any other component will be based on the performance
given at that time towards the qualification for which the candidate has been entered. Prior
performances of the same pieces or other components will not be taken into account for the
qualification, nor will marking appeals be accepted on that basis. The transfer of marks, at any
grade, between Practical Grades and Performance Grades is not permitted.
114
Infringements
It is important that candidates, and those preparing them for exams, read and follow the exam
requirements as set out in the relevant Practical Grades syllabus (see Section 3). If the
exam requirements are not met in any way, this could lead to a warning, mark deduction or
disqualification, at ABRSM’s discretion. Examples of infringements include:
• Presenting repertoire not set on the syllabus for the grade.
• Presenting syllabus-listed repertoire, but not as specified (e.g. incorrect number of movements,
wrong combination of pieces/songs from lists).
• For instruments, playing the scale requirements from notation.
• For Singing and Singing for Musical Theatre, presenting an unaccompanied song that is too
short or too long.
The above list is not exhaustive.
Action is typically taken as follows:
• Warnings, in the form of written correspondence, are applied to minor infringements (e.g. two
pieces/songs from the same list). Repeat cases in subsequent exams may result in more severe
action being taken.
• Mark deductions from a component of the exam are applied to more serious cases (e.g.
presenting a piece/song that is not set on the syllabus) and may range from three marks to the
full marks available for the component.
• Disqualification is applied to cases where requirements are not fulfilled in a fundamental way
(e.g. none of the pieces/songs performed have been selected from the ABRSM repertoire lists
for the grade).
Examiners report infringements to ABRSM who investigate and decide what action is to be taken.
It should be noted that infringements identified in exams may delay the release of the exam result.
ABRSM’s decision on any infringement is final. Prior acceptance of an infringement without penalty
does not set a precedent and appeals will not be accepted on this basis.
Marking criteria
The tables on pages 116–117 show the marking criteria used by examiners for Practical Grades
in Bowed Strings. Examiners mark up or down from the pass mark for each component by balancing
the extent to which the qualities and skills listed in the criteria (broadly categorised by pitch, time,
tone, shape and performance) are demonstrated and contribute towards the overall musical
outcome.
115
Marking criteria
Grades Pieces
Initial to 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 ● Fully committed
● Rhythmic character qualities detail ● 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
● 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 ● Musical shape and ● Insecure, inadequate
17–19 ● Insufficiently reliable uncontrolled tempo unreliable detail insufficiently recovery from slips
intonation to maintain ● Irregular pulse ● Inadequate tonal conveyed ● Insufficient musical
tonality ● Inaccurate rhythm awareness involvement
13–16 ● Largely inaccurate notes ● Erratic tempo and/or ● Serious lack of tonal ● Musical shape and ● Lacking continuity
and/or intonation pulse control detail largely unrealised ● No musical involvement
10–12 ● Highly inaccurate notes ● Incoherent tempo ● No tonal control ● No shape or detail ● Unable to continue for
and/or intonation and/or pulse more than a short section
0 ● No work offered ● No work offered ● No work offered ● No work offered ● No work offered
116
Grades Scales and arpeggios Sight-reading Grades Aural tests

Initial to 8 Initial to 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
117
5. After the exam
Results
All candidates receive a copy of their mark form; successful candidates also receive a certificate
that shows the qualification title as well as the subject and level that they have been examined in.
We aim to release results for Practical Grades in line with the schedules on our website at www.
abrsm.org/results; however, some results may take longer. Examiners 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. Unless otherwise requested at the time of booking, mark forms and
certificates are issued to the applicant, whose responsibility it is to pass them on to candidates.
Appeals and feedback

Appeals
If a candidate has received an unexpected exam result, this can be appealed by requesting a
Results Review. This process allows us to revisit the marks awarded by an examiner and, subject
to the outcome of the review, may result in a mark amendment.
Feedback
In addition to a Results Review, we also welcome feedback about other matters, such as the
overall exam experience or the mark form. All feedback is logged and plays a valuable part in our
commitment to continuous improvement and quality assurance procedures.
For further information on our processes and deadlines for appealing a result, or submitting
feedback, please visit www.abrsm.org/send-exam-feedback.
118
6. Other assessments
ABRSM’s other assessments for bowed strings are Music Medals, Prep Test, Performance Grades,
Performance Assessment, Ensembles and diplomas. Full information is available at www.abrsm.
org/exams.
Bowed Strings Prep Test

ABRSM’s Prep Test, presented in a relaxed and encouraging way, is an ideal introduction to the
exam experience. It gives learners a goal to work towards and a certificate awarded on the day –
something to be really proud of.
The Prep Test is designed to encourage the development of good musical and technical foundations.
It covers many of the elements beginners will be working on at this early stage, including pitch,
time, tone, performance and musical perception.
Content
The Prep Test has four sections – Tunes, two Pieces, and Listening Games. See page 120.
Instruments
The Prep Test for bowed strings is available for Violin and Cello, (see page 120 for information
about availability for Viola and Double Bass).
Books
All the books mentioned on page 120 are published by ABRSM and are available from music
retailers as well as online, including at the ABRSM music shop: www.abrsm.org/shop.
Assessment
Immediate feedback is given at the end of the Prep Test in the form of positive comments and sug-
gestions written on the certificate, which is handed to the candidate by the examiner. There is no
pass or fail, and no marks are awarded. The examiner’s comments will cover some of the following:
• Sense of pitch • Control of tone
• Sense of rhythm • Listening skills and awareness
Learners who would prefer to take a marked assessment may wish to consider the Initial Grade.
Other information
• The Prep Test takes about 10 minutes.
• ABRSM Public Venues provide a music stand and the examiner will be happy to help adjust the
height or position of the stand. A chair or stool will be provided for cello candidates. Double
bass candidates should provide their own stool if required.
• The teacher or accompanist may help tune the candidate’s instrument before the Prep Test
begins (examiners are unable to help with tuning).
• The Tunes should be performed from memory, but the two Pieces can be played from the music.
If either of the Pieces is played from memory, candidates should bring a copy of the music for
the examiner.
119
6. Other assessments Practical Grades
• The examiner will be happy to play any piano accompaniments, in which case candidates
should bring the music with them. Alternatively, candidates can bring their own accompanist
if they prefer.
• Generally, there will be one examiner; however a second examiner may be present for training
and quality assurance purposes.
• Details of dates, locations, fees and how to book a Prep Test are available online at www.abrsm.
org/exambooking.
• ABRSM recognises that many learners start their musical journey by using an instrument
specially adapted for younger/smaller players. We welcome the use of these instruments in
the Prep Test in accordance with the details set out in our Adapted Instruments Policy, available
at www.abrsm.org/policies.
• Availability for other bowed strings instruments: The Prep Test is also available for Viola and
Double Bass. The assessment and overall structure of the test is the same, but some of the
content differs. Candidates prepare short exercises, a specific solo set piece (there is a choice of
piece, in first or half position, for Double Bass), an accompanied own-choice piece, and respond
to three simple aural tests. The exercises, set piece and examples of the aural tests are in the
Prep Test book for each instrument. The books are no longer in print; for up-to-date information
on how to obtain copies, see www.abrsm.org/syllabusclarifications.
Requirements Publication (as applicable)

Tunes: three short exercises played
from memory
the Tunes are in: Violin Prep Test
Cello Prep Test
First Piece: solo or accompanied
any one of the set pieces from: the relevant Prep Test book
or
any one piece from: Party Time! for Violin (Michael Rose)
Party Time! for Cello (Alan Bullard)
Second Piece: accompanied
own-choice accompanied piece (c.16–24 bars) any publication (or an unpublished piece)
Listening Games*: four listening games
a) Clapping the beat
b) Echoes examples are provided in
c) Finding the notes the relevant Prep Test book
d) What can you hear?
120 * For deaf or hearing-impaired candidates, further information is available at www.abrsm.org/specificneeds

Practical Grades 6. Other assessments
Performance Grades
ABRSM Performance Grades allow learners to focus on and showcase their performance skills.
They are available from Grade 1 to Grade 8, and in some subjects from Initial Grade. Candidates
may be entered for any grade at any age and do not need to have taken any earlier grade(s) in
the same subject. Full information, including the qualification specification, is available at www.
abrsm.org/performancegrades.
About Performance Grades

Each Performance Grade has been carefully designed to assess synoptically the underpinning
knowledge and understanding required for music performance. These creative skills are presented
through the technical control of an instrument, interpretation of repertoire, and the delivery and
successful communication of a selected sustained programme of repertoire music. Collectively,
these skills enable candidates to progress to higher grades and other qualifications in the creative
arts sector.
The exams are made up of five components:
• four Pieces/Songs – three selected by candidates from set lists and one that is their own choice
• an assessment of the performance as a whole
Marks for each component are equally weighted and are awarded to each component individually.
The exams are currently offered as digital assessments only. Candidates’ performances are
video recorded in one continuous take and submitted to ABRSM for assessment. The candidate/
Applicant is responsible for organising a suitable venue and any equipment needed to run the exam.
Those entering for a Grade 6, 7 or 8 Performance Grades exam must first have 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.
121
Music Theory
ABRSM Music Theory exams are available for Grades 1 to 8. Candidates may be entered for
any grade at any age and do not need to have taken any earlier grade(s). Further information is
available at www.abrsm.org/theory and the qualification specification (including the full syllabus)
is available at www.abrsm.org/specifications.
About Music Theory

Developing musical literacy forms a key part of a rounded education for performers, composers
and listeners of all kinds. Understanding how written symbols relate to the elements of music,
and having the skills to interpret and translate them into sounds, empowers us to communicate
and experience music in a meaningful way.
ABRSM’s Music Theory grades give learners:
• a knowledge of the notation of western music, including commonly used signs and terminology
• an understanding of fundamental musical elements such as intervals, keys, scales and chords
• an ability to apply theoretical knowledge and understanding to score analysis
• skills in harmonic completion of extracts and melody writing (at Grades 6 to 8).
Candidates are assessed on their ability to identify, use and manipulate musical symbols, to study
extracts and to answer questions about the elements of music according to the parameters detailed
in the full syllabus at www.abrsm.org/theory.
The exams are available as online assessments at Grades 1 to 5 and paper-based assessments
at Grades 6 to 8.
Grade 5 as a prerequisite
satisfying performance at the higher grades.
It is therefore an ABRSM requirement that candidates must provide evidence of a pass at ABRSM
Grade 5 or above in Music Theory, Practical Musicianship or a Practical Grades solo Jazz instrument
before they can enter for a Grade 6, 7 or 8 Practical Grades or Performance Grades exam.
122
Practical Musicianship
ABRSM Practical Musicianship exams are available for Grades 1 to 8 and are open to singers and
instrumentalists. Candidates may be entered for any grade at any age and do not need to have
taken any earlier grade(s). The full syllabus is available at www.abrsm.org/practicalmusicianship.
About Practical Musicianship

Musicianship is a broad concept that covers a complex range of musical abilities. For the purposes
of this syllabus, it is loosely defined as the ability to ‘think in sound’. This occurs when a musician
is able to produce music which they perceive internally and in the imagination, whether through
playing by ear, singing, reading from notation, or through improvisation.
ABRSM’s Practical Musicianship grades encourage learners to develop their ability to ‘think in
sound’ and perform spontaneously. While Practical Grades and Performance Grades focus on
aspects of performance and/or supporting tests that are prepared in detail in advance, here the
playing (or singing) is in response to immediate challenges and stimuli, presented both aurally
and via notation.
The exams also cover the following key skills:
• the ability to internalise music and to reproduce it
• interpreting written music with a minimum of preparation
• exploring the possibilities inherent in a short motif
• the ability to detect differences between what is heard and what is written.
In developing their musicianship skills, learners will be gaining the understanding as well as the
expressive and interpretative skills needed to master the musical language of the repertoire they
are learning.
Grade 5 as a prerequisite
satisfying performance at the higher grades.
It is therefore an ABRSM requirement that candidates must provide evidence of a pass at ABRSM
Grade 5 or above in Practical Musicianship, Music Theory or a Practical Grades solo Jazz instrument
before they can enter for a Grade 6, 7 or 8 Practical Grades or Performance Grades exam.
123
ARSM
The ARSM diploma is available to instrumentalists and singers of any age. It is the first of our
diploma qualifications and provides musicians with an opportunity to develop their performance
technique and interpretative skills, while focusing on programme building and extending their
repertoire.
Key features
• Candidates present a balanced and varied programme, as follows:
• the programme lasts 30 minutes
• at least 20 minutes of the music is chosen from the repertoire list
• the remaining programme time may be made up of own-choice repertoire, of Grade 8 standard
or above
• There are no additional supporting tests or other requirements
• There are two assessment methods available:
• face-to-face – held at the same venues and during the same time periods as ABRSM’s Practical
Grades
• digital – a video recorded performance submitted to ABRSM for assessment
• ARSM is a letter-bearing qualification. Candidates awarded the diploma can use the letters ARSM
(Associate of the Royal Schools of Music) after their name.
Those entering for an ARSM diploma must first have passed ABRSM Grade 8 (or a listed
alternative). Full details of the exam and entry requirements are available in the qualification
specification at www.abrsm.org/arsmdiploma.
We update our syllabuses from time to time. Advance notice of any changes will be given at
www.abrsm.org/syllabusupdates. Please refer to the website for the most recent version of the
ARSM syllabus.
124
DipABRSM, LRSM, FRSM (Music Performance)

These diplomas are available to instrumentalists and singers of any age. Through a combination
of live and written components, candidates demonstrate their performance, communication and
research skills, as well as their musical knowledge and understanding. Each diploma serves as a
stepping stone to the next level.
Key features
• Candidates:
• present a recital programme
• submit programme notes (DipABRSM & LRSM) or a written submission (FRSM)
• undertake a viva voce, with questions covering the recital, programme notes/written
submission as well as other aspects of performance
• perform a short piece of unaccompanied and previously unseen music after five minutes’
preparation time (quick study)
• These diploma exams take place at specific venues and times of the year
• Each diploma is a letter-bearing qualification. Candidates awarded a diploma can use the letters
DipABRSM (Diploma of the Associated Board of the Royal Schools of Music), LRSM (Licentiate
of the Royal Schools of Music) or FRSM (Fellowship of the Royal Schools of Music) after their
name as appropriate.
Those entering for one of these diplomas must fulfil a specific ABRSM prerequisite (or a listed
alternative). Full details of the exam and entry requirements are available at www.abrsm.org/
diplomas and the qualification specification is available at www.abrsm.org/specifications.
We update our syllabuses from time to time. Advance notice of any changes will be given at
www.abrsm.org/syllabusupdates. Please refer to the website for the most recent versions of the
diploma syllabuses.
Further diploma exams
DipABRSM, LRSM and FRSM diplomas are also available for Instrumental/Vocal Teaching and
Music Direction. Full details are available at www.abrsm.org/diplomas.
We are currently reviewing the diploma exams we offer and changes may be made during the
lifetime of this specification. Please refer to www.abrsm.org/diplomas for up-to-date information.
125
Exam programme & running order form
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:

Percussion (Combined) only: technical requirements on:
* Leave blank for Snare Drum, Timpani and Tuned Percussion 09/19

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1.

About this qualification specification

About our Practical Music qualifications

Regulation and UCAS points (UK)

Qualification/Level Pass Merit Distinction

Regulated qualification details

Qualification Qualification Title

Level Guided Learning Hours* Total Qualification Time* Credits

Qualification RQF Level EQF Level

Regulation (Rest of world)

Qualification title referencing

The next syllabus

Malpractice and maladministration

Access (for candidates with specific needs)

Grade Initial Grade Grades Grades Grade Grade Grade

Practical Grades: requirements and information

* Candidates must choose at least one accompanied piece. 13

Scales and arpeggios

Memory: All requirements must be played from memory.

Scale and arpeggio patterns

Rhythm patterns for scales

Slurring patterns for scales

Natural minor scale

Double-stop scales (cont.)

Patterns for Double Bass only

Scale in broken thirds

Scale in running thirds

The following speeds are given as a general guide:

Arpeggios iiq e = 96 e = 108 e = 112 e = 116 q . = 40 q . = 42 q . = 44 q . = 46

Dom. & Dim. 7ths* iiiq q = 58 q = 60 q = 63 q = 66 q = 69

Double-stop scales iiiq or

* Dim 7ths from Grade 5

Length Time Other features that may be included

KEYS Violin Viola Cello Double Bass ◆

RANGES § Violin Viola Cello Double Bass

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

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications 45

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

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

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications 47

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

5 Kenneth Jones Bourrée New Pieces for Viola, Book 1 (ABRSM)

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

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

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

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

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

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications 53

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

Aural test requirements

Deaf or hearing-impaired candidates

Initial Grade (RQF Entry Level 3)

Grades 1 to 3 (RQF Level 1)

Grades 4 & 5 (RQF Level 2)

Grades 6 to 8 (RQF Level 3)