List A
No. |
Composer |
Piece information |
Publication(s) |
1 |
T. A. Arne |
Andante 1st movt from Sonata No. 1 in F |
|
2 |
J. S. Bach |
Fugue in G from Prelude and Fugue in G, BWV 902 |
|
3 |
J. L. Dussek |
Allegro 1st movt from Sonatina in E♭, Op. 19 No. 6 |
|
4 |
J. S. Bach |
Menuet 1 And Menuet 2 5th movt And 6th movt from Partita No. 1 in B♭, BWV 825 (DC Menuet 1) |
J. S. Bach: Six Partitas, BWV 825–830Bärenreiter (BA 5152) More details
|
5 |
Cimarosa |
Sonata No. 17 |
Cimarosa: Sonatas, Book 2Broekmans & Van Poppel More details
|
6 |
Kuhlau |
Rondo: Vivace 3rd movt from Sonatina in G, Op. 88 No. 2 |
|
List B
No. |
Composer |
Piece information |
Publication(s) |
1 |
Bruch |
Moderato No. 4 from Sechs Klavierstücke, Op. 12 |
|
2 |
Chopin |
Prelude in B minor No. 6 from 24 Preludes, Op. 28 |
|
3 |
Schubert |
Scherzo in B♭ No. 1 from Two Scherzos, D. 593 |
|
4 |
Grovlez |
Petites litanies de Jésus No. 8 from L'Almanach aux images |
Grovlez: L'Almanach aux imagesStainer & Bell (0534) More details
|
5 |
C. Hartmann |
The Little Ballerina (Den lille danserinnen) (observing repeat, to Fine at b. 18) |
C. Hartmann: Two Piano PiecesEdition HH (HH398SOL) More details
|
6 |
Rebikov |
Feuille d'automne (Autumn Leaf) No. 3 from Feuilles d'automne, Op. 29 |
|
List C
No. |
Composer |
Piece information |
Publication(s) |
1 |
Darius Brubeck |
Tugela Rail |
|
2 |
Ibert |
Sérénade sur l'eau (Serenade on the Water) No. 10 from Petite suite en 15 images |
|
3 |
Federico Ruiz |
Un amanecer en Santa Marta (At Dawn in Santa Marta) No. 8 from Piezas para niños menores de 100 años |
|
4 |
R. R. Bennett |
Eight Maids a-Milking No. 2 from Partridge Pie, Book 2 |
R. R. Bennett: Partridge Pie, Book 2Novello (NOV100323) More details
|
5 |
Michel Legrand arr. Booth |
One at a Time |
The Music of Michel Legrand, arr. BoothWise (AM25727) More details
|
6 |
Shostakovich |
Prelude in F♯ minor No. 8 from 24 Preludes, Op. 34 |
Shostakovich: 24 Preludes, Op. 34Boosey & Hawkes (BH 2462) 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.