List A
No. |
Composer |
Piece information |
Publication(s) |
1 |
Hook |
Allegro 1st movt from Sonatina in F, Op. 12 No. 3 |
|
2 |
Seixas |
Giga 2nd movt from Sonata in D minor |
|
3 |
M. Praetorius arr. Pell |
Bransle de la torche from Terpsichore |
|
4 |
Dittersdorf |
English Dance in B♭ No. 9 from 20 englische Tänze |
Dittersdorf: 20 englische TänzeSchott (ED 3935) More details
|
5 |
Haydn |
German Dance |
The Joy of First Classics, Book 2Yorktown Music Press (YK20568) More details
|
6 |
Mozart |
Menuett in F K. 5 |
|
List B
No. |
Composer |
Piece information |
Publication(s) |
1 |
W. Carroll |
Shadows No. 3 from River and Rainbow |
|
2 |
Gurlitt |
Allegretto grazioso No. 11 from Kleine Blumen, Op. 205 |
|
3 |
Reinecke |
Prelude 1st movt from Serenade in C, Op. 183 No. 1 |
|
4 |
L. Cohen arr. Miller |
Hallelujah |
A Dozen a Day Songbook, Book 2Willis (HL00119242) More details
|
5 |
Martha Mier |
Thistles in the Wind |
|
6 |
Tchaikovsky |
Old French Song (Mélodie antique française) No. 16 from Album for the Young, Op. 39 |
Tchaikovsky: Album for the Young, Op. 39Peters (EP3782) More details
|
List C
No. |
Composer |
Piece information |
Publication(s) |
1 |
Bartók |
Dance No. 8 from For Children, Vol. 2 |
|
2 |
R. R. Bennett |
Diversion No. 1 from Diversions |
|
3 |
Nikki Iles |
Blues in the Attic |
|
4 |
June Armstrong |
Unicorn (Monocerus) from Stars |
|
5 |
Lerner and Loewe arr. Bullard |
Wouldn't it be Loverly? from My Fair Lady (observing triplets in bb. 12 & 18) |
|
6 |
Christopher Norton |
Face in the Crowd No. 25 from The Microjazz Piano Collection 2 |
Christopher Norton: The Microjazz Piano Collection 2Boosey & Hawkes More details
|
Piano requirements and information: Pieces
Programme planning: Candidates must choose one piece from each of the three lists (A, B and C) in each grade. In the exam, they should inform the examiner which pieces they are performing, and they are welcome to use the Exam programme & running order form (PDF) for this purpose.
Every effort has been made to ensure the syllabus lists feature a broad range of repertoire, with items to suit and appeal to candidates of differing ages, backgrounds and interests. Not every piece will be suitable for every candidate due to technical reasons (e.g. hand size) or wider context (historical, cultural, subject matter of the larger work from which it is drawn, lyrics if an arrangement of a song etc.).
It is advised that pieces selected are considered carefully for their appropriateness to each individual, which may require consultation between teachers and parents/guardians. Given the ever-changing nature of the digital world, teachers and parents/guardians should also exercise caution when allowing younger candidates to research items online (see nspcc.org.uk/onlinesafety).
Exam music and editions: Wherever the syllabus includes an arrangement or transcription, the edition listed in the syllabus must be used in the exam; in all such cases the abbreviation ‘arr.’ or ‘trans.’ appears in the syllabus entry. For all other pieces, the editions quoted in the syllabus are given for guidance only and candidates may use any edition of their choice (in- or out-of-print or downloadable). See information about obtaining exam music.
Interpreting the score: Printed editorial suggestions such as fingering, metronome marks, realisation of ornaments, etc. need not be strictly observed. Whether the piece contains musical indications or not, candidates are always encouraged to interpret the score in a stylistically appropriate manner. Ultimately, examiners’ marking will be determined by consideration of pitch, time, tone, shape and performance, and how control of these contributes to the overall musical outcome.
Pedalling: The use and control of pedalling, and its effect on tone and shape, will be taken into account by examiners, who will be assessing the overall musical outcome rather than the strict observance of any printed pedal indications (which may therefore be adapted or omitted, as appropriate). Pieces whose full musical effect is heavily reliant on pedalling (whether marked in the music or not) should be avoided if appropriate pedalling cannot be managed.
Hand stretch: Candidates should choose the most suitable pieces for their hand size from the syllabus lists. If necessary, they may occasionally adapt the music by ‘spreading’ chords or omitting notes at wide stretches, provided the result is musically satisfactory.
Repeats: All da capo and dal segno indications should be observed but all other repeats (including first-time bars) should be omitted unless they are very brief (i.e. of a few bars) or unless the syllabus specifies otherwise.
Performing from memory: Candidates are free to perform any of their pieces from memory; in such cases they must ensure that a copy of the music is available for the examiner to refer to if necessary. No additional marks are awarded for playing from memory.
Page-turns: Examiners will be understanding if a page-turn causes a lack of continuity during a piece, and this will not affect the marking. A variety of solutions for awkward page-turns exists, including the use of an additional copy of the music or a photocopy of a section of the piece (but see ‘Photocopies’ below). In cases where candidates at Grades 6–8 believe there is no solution to a particularly awkward page-turn, they may bring a page-turner to the exam (prior permission is not required; the turner may be a candidate’s teacher). Examiners are unable to help with page-turning.
Photocopies: Performing from unauthorised photocopies (or other kinds of copies) of copyright editions is not allowed. ABRSM may withhold the exam result where it has evidence of an illegal copy (or copies) being used. In the UK, copies may be used in certain limited circumstances – for full details, see the MPA’s Code of Fair Practice at mpaonline.org.uk. In all other cases, application should be made to the copyright holder before any copy is made, and evidence of permission received should be brought to the exam.