Practical Grades Piano 2023 & 2024

GRADE 3
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14.
Candidates may perform a duet for one of their three pieces.
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

A 1 Anon. Minuet in G, BWV Anh. II 116 Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)
2 Clementi Vivace (3rd movt from Sonatina in C, Op. 36 Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)
No. 1)
3 Mirosław Hansel and Gretel (from Album for Children) Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)
Gąsieniec
4 A. Hedges Hornpipe Rondo primo part  DUET A. Hedges: Hornpipe Rondo for Piano Duet (Roberton)
5 L. Mozart Angloise (from Notebook for Wolfgang) L. Mozart: Notenbuch für Wolfgang (Schott) or
The Young Pianist’s Repertoire, Book 1 (Faber)
6 Vitalij Moody Gigue (from Piano Sketches, Book 1) Vitalij Neugasimov: Piano Sketches, Book 1 (OUP)
Neugasimov
7 Prokofiev Gavotte (from Classical Symphony, Op. 25), The Joy of Piano Duets (Yorktown Music Press)
arr. Agay primo part; with repeat – playing little notes 
DUET

8 Reinecke Vivace (4th movt from Sonatina in A minor, Reinecke: Six Miniature Sonatinas, Op. 136
Op. 136 No. 4) (Breitkopf & Härtel) or
Sonatinas for Piano, Book 1 (PWM)
9 Seiber Jazz Etudiette (from Easy Dances II) The Young Pianist’s Repertoire, Book 1 (Faber)
10 Weber Scherzo The Classical Spirit, Book 1 (Alfred) or
Pathways to Artistry: Masterworks, Book 3 (Alfred)
11 I. Holst Toccata, arr. Hall Piano Time Pieces 3 (OUP)
12 Mozart Allegro in B -, K. 3 Mozart: 25 Early Pieces (ABRSM) or
Essential Keyboard Repertoire, Vol. 6 (Alfred)
13 Schumann Wilder Reiter (The Wild Horseman) (No. 8 Schumann: Album für die Jugend, Op. 68 (ABRSM) or
from Album für die Jugend, Op. 68) A Romantic Sketchbook for Piano, Book 1 (ABRSM) or
Piano Literature for a Dark and Stormy Night, Vol. 1
(Faber Piano Adventures)
B 1 Nancy Litten The Sad Ghost Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)
2 Loeschhorn Study in F (No. 25 from 48 Etüden in Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)
fortschreitender Ordnung, Op. 65)
3 Nakada The Song of Twilight (from Piano Pieces for Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)
Children) with repeat
4 Dennis Autumn Serenade primo part  DUET Dennis Alexander: Alfred’s Basic Piano Library, Duet
Alexander Book 4 (Alfred)
5 J. S. Bach Arioso, arr. Agay primo part  DUET The Joy of Piano Duets (Yorktown Music Press)
6 Bartók Andante (No. 2 from For Children, Vol. 2) Bartók: For Children, Vol. 2 (Boosey & Hawkes)
7 W. Carroll Spraymist (No. 3 from In Southern Seas) W. Carroll: In Southern Seas (Forsyth)
8 Gurlitt Song, Op. 172 No. 1 More Romantic Pieces for Piano, Book 2 (ABRSM)
9 Paul Harris Indigo (No. 6 from Rainbow) Paul Harris: Rainbow (Boosey & Hawkes)
10 Trad. Irish She Moved Through the Fair, arr. Hall Eighteen Easy Escapes for Piano (Spartan Press)
11 Janet & Alan Thames Sunrise Janet & Alan Bullard: Pianoworks: Popular Styles (OUP)
Bullard
12 Mendelssohn Romance Studio 21 (1st Series), Vol. 1 (Universal)
13 Tchaikovsky Chanson italienne (No. 15 from Album pour Tchaikovsky: Album for the Young, Op. 39 (ABRSM)
enfants, Op. 39)

25
Piano 2023 & 2024 Grade 3 Practical Grades

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

C 1 Chua T-Rex Hungry (from A Day in the Life of a T-Rex) Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)
2 Gillock The Spanish Guitar (from Accents Around the Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)
World)
3 Joplin The Entertainer, arr. Önaç Piano Exam Pieces 2023 & 2024, Grade 3 (ABRSM)
4 Agay Little Rhapsody on Hungarian Themes  The Joy of Piano Duets (Yorktown Music Press)
primo part  DUET
5 M. Bober & Rushing River Melody Bober & Glori Goranson: Rushing River
G. Goranson (FJH Music Company Inc)
6 Mike Cornick The Waltz of the Elephants (from Clever Cat Mike Cornick: Clever Cat Goes on Safari (Universal)
Goes on Safari)
7 Mark Goddard Locked On Latin (from Hands On Jazz)  Mark Goddard: Hands On Jazz (Spartan Press)
primo part  DUET
8 Elton John & Can You Feel the Love Tonight? (from The Lion Faber Studio Collection: Selections from BigTime Piano,
Tim Rice King), arr. N. & R. Faber octaves optional Level 4 (Faber Piano Adventures)
9 H. Mancini & Moon River (from Breakfast at Tiffany’s), A Dozen a Day Songbook, Book 2 (Willis)
J. Mercer arr. Miller
10 Karen Tanaka Northern Lights Spectrum 4 (ABRSM)
11 Valerie Capers Ella Scats the Little Lamb (No. 1 from Portraits Valerie Capers: Portraits in Jazz (OUP)
in Jazz)
12 Carse Csardas primo part  DUET Carse: Progressive Duets for Pianists, Book 2
(Stainer & Bell)
13 H. Hofmann Waldvöglein (No. 15 from Skizzen, Op. 77) Encore, Book 2 (ABRSM)

SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details see pages 15–16
RANGE REQUIREMENTS
SCALES (SIMILAR MOTION)
D, A majors
E, G minors 2 oct. hands together
(harmonic or melodic, at candidate’s choice)
B -, E - majors
B, C minors 2 oct. hands separately
(harmonic or melodic, at candidate’s choice)
CONTRARY-MOTION SCALE
E major 2 oct. hands starting on the tonic (unison)
CHROMATIC CONTRARY-MOTION SCALE
starting on D 1 oct. hands starting on the stated note (unison)
ARPEGGIOS
D, A majors
2 oct. hands together
E, G minors
B -, E - majors
2 oct. hands separately
B, C minors

SIGHT-READING: a short piece of previously unseen music; for further details see pages 17 & 18
AURAL TESTS: given by the examiner from the piano; for further details see pages 40 & 42

26
3. Piano Practical Grades Syllabus 2023 & 2024
Introducing the syllabus
There are new set pieces in the 2023 & 2024 Piano Practical Grades Syllabus.
• The repertoire lists have been refreshed rather than fully revised and, for the first time, include
a mixture of new and retained pieces
• For ease of use, all pieces retained from the 2021 & 2022 syllabus keep the same list number
– these are always pieces 4 to 10 on the lists
• There is a greater choice of repertoire than before, with the lists extended to 13 pieces (39
pieces in total per grade) and with music by a more diverse range of composers featured
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. Examples are:
• The inclusion of information about our Special Consideration policy [Section 2]
• Confirmation of a change in policy on the use of the same piece(s) in more than one exam; this
is now allowed [Section 3]
• The inclusion of information on syllabus infringements, and how they are managed [Section 4]

Practical Grades: requirements and information

This syllabus is valid from 1 January 2023 until 31 December 2024 .
This section provides a summary of the most important points that teachers and candidates
need to know when taking ABRSM Practical Grades for Piano. 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
ABRSM Public Venues provide a piano suitable for exam purposes. The piano will be upright
or grand. Practice before the exam cannot be arranged, but examiners will recognise that the
instrument may be one that candidates are unfamiliar with. When exams are held at Private Visits
(i.e. premises provided and overseen by the Visit Organiser and visited by the examiner), a suitable
piano must be provided. A digital piano may be used, provided it has a clearly recognisable piano
tone, a touch-sensitive keyboard with full-size weighted keys, and an action, range and facilities
that match those of a conventional acoustic piano, including a sustaining pedal.
Before beginning the exam: Candidates are welcome to adjust the piano stool height (the
examiner will be happy to help with this if necessary) and to play a few notes to try out and get
used to the piano.

12
Practical Grades 3. Piano Practical Grades Syllabus 2023 & 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 64 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, e.g. hand size, or effects that cannot be realised on a digital piano. 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.
Duets: At Initial Grade to Grade 3, candidates may perform a duet for one of their pieces. These
pieces are marked  DUET  in the repertoire list and the part the candidate must play is also specified
– primo part if the upper part and secondo part if the lower part. Pieces marked  DUET/SOLO  may
be played as a duet or as a solo.
Candidates must provide their own duet partner, who may only be in the exam room while playing.
The duet partner may be the candidate’s teacher (examiners will not play duets with candidates).
Recorded duet parts are not allowed.
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.
* At Initial Grade to Grade 3, candidates may choose only one duet (there are duets on all three lists). 13
3. Piano Practical Grades Syllabus 2023 & 2024 Practical Grades

Interpreting the score: Printed editorial suggestions such as fingering, 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.
Pedalling: Examiners will take into account the use and control of pedalling, and its effect on tone
and shape. They will be assessing the overall musical outcome, rather than whether or not any
printed pedal indications are played as written (these may therefore be adapted or omitted, as
appropriate). Pieces that are heavily reliant on pedalling (whether marked in the music or not) for
their full musical effect should be avoided if appropriate pedalling cannot be managed.
For duets, the secondo player (lower part) is expected to take responsibility for any pedalling.
Hand stretch: Candidates should choose the most suitable pieces for their hand size from the
repertoire lists. If necessary, they may occasionally adapt the music by ‘spreading’ chords or
omitting notes at wide stretches, provided the result is musical.
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.
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 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 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
Practical Grades 3. Piano Practical Grades Syllabus 2023 & 2024

Scales and arpeggios

Playing scales and arpeggios is important for building strong technical skills such as reliable
finger movement, hand position, co-ordination and keyboard 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: Candidates are free to start at any octave, provided the required ranges are covered. For
‘hands together’ requirements, the hands must be one octave apart, unless the syllabus specifies
differently. All requirements must ascend and descend according to the specified range (and
pattern).
Rhythm: All requirements must be played in even notes.
Patterns: Arpeggios and dominant sevenths are required in root position only, except where the
syllabus specifies differently. All dominant sevenths must finish by resolving on the tonic. Scales
in thirds or a third apart must begin with the tonic as the lower note, while scales in sixths or a
sixth apart must begin with the tonic as the upper note.
Articulation: All requirements must be prepared legato, unless the syllabus specifies staccato
(or both).
Pedalling: All requirements must be played without pedalling.
Fingering: Candidates may use any fingering that produces a successful musical outcome.
In the exam: Initial Grade candidates will generally be asked to play all five requirements, in listed
order. Examiners will specify which hand to use for each of the scales and arpeggios.
At Grades 1 to 8, examiners will usually ask for at least one of each scale/arpeggio (etc.) type.
Where applicable, they will ask for majors followed by minors within each type and will also ask
to hear a balance of hand requirements and/or articulations across the requests as a whole. 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(s)
• left hand or right hand (for hands-separately requirements)
• the articulation (where chosen by the examiner)
Supporting publications: Books of the requirements are published by ABRSM. Purchasing these
books is not a requirement.

15
3. Piano Practical Grades Syllabus 2023 & 2024 Practical Grades

Speed: The following speeds are given as a general guide:

Grade/Speed *

Initial 1 2 3 4 5 6 7 8

Scales
(including contrary-motion, q = 54 q = 60 q = 66 q = 80 q = 100 h = 60 h = 72 h = 80 h = 88
chromatic & whole-tone)

Arpeggios
(including dominant & q = 52 q = 58 q = 63 q = 72 q = 80 h = 44 h = 50 h = 56 h = 66
diminished 7ths)

Scales a 3rd apart / a 6th apart

(including chromatic) h = 60 h = 60

Legato scales in 3rds h = 46 h = 52

Staccato scales in 3rds / in 6ths h = 54 h = 54

* All speeds relate to the rhythmic grouping iiiq

16
Practical Grades 3. Piano Practical Grades Syllabus 2023 & 2024

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 18 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 40–47.
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.

17
3. Piano Practical Grades Syllabus 2023 & 2024 Practical Grades

Sight-reading parameters
The table below shows 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 17.

Length Time Keys Hand position Other features that may be


(bars) included
Initial 4 4 ⁄4 C major Each hand: •  h  q  iq
D minor • playing separately •  
• in 5-finger position • legato phrases, staccato
6 2 ⁄4 (tonic to dominant) • f and p


Grade 1 3 ⁄4 G, F majors any 5-finger position • occasional accidentals
A minor (within minor keys only)
•  h .  iiiq
•      Î
• slurs, accents
• mf and mp
• cresc. and dim. hairpins
Grade 2 D major playing together •  w ; q . e patterns
E, G minors • tied notes
• pp

•   ; simple semiquaver

Grade 3 up to 8 3⁄8 A, B -, E - majors outside 5-finger • 2-note chords in either hand
B minor position
patterns
•  ä
Grade 4 c. 8 6⁄8 • anacrusis
• chromatic notes
• pause signs
• tenuto
Grade 5 c. 8–12 E, A - majors • 4-part chords (2 notes max.
F + , C minors in either hand)
• simple syncopation
• slowing of tempo at end
• ff
Grade 6 c. 12–16 9⁄8 C + , F minors • triplet rhythms
5⁄8 • clef changes
5 ⁄4 • use of right pedal
Grade 7 c. 16–20 7⁄ 8 • tempo changes
7⁄4 • 8va sign
• use of una corda pedal
Grade 8 c. 1 page 12 ⁄ 8 B, D - majors • 3-part chords in either hand
• spread chords
• simple ornaments
• acceleration of tempo

18
3. Piano Practical Grades Syllabus 2023 & 2024 Practical Grades

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 41–47 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 55.

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.

40 * A different set of tests apply to Jazz and Singing for Musical Theatre exams
3. Piano Practical Grades Syllabus 2023 & 2024 Practical Grades

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

42
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