Piano Grade 4 exams consist of three pieces, chosen by the candidate from the appropriate lists in the current syllabus, scales and arpeggios, sight-reading and aural tests.
Total marks in all individual Practical exams are 150. 100 marks are required to achieve Pass, 120 marks to pass with Merit and 130 marks to pass with Distinction.
The Piano requirements and information provide a summary of the most important points that teachers and candidates need to know when taking ABRSM graded Piano exams.
They are detailed within the exam sections below (Pieces, Scales and arpeggios, Sight-reading and Aural tests), immediately after the grade-specific requirements, and are available to download here.
Further details, as well as administrative information relating to the exams, are given in ABRSM’s Information & Regulations which should be read before an exam booking is made.
There are eight grades for Piano and candidates may be entered for any grade irrespective of age and without previously having taken any other grade in Piano. Candidates for a Grade 6, 7 or 8 exam must already have passed ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a solo Jazz instrument; for full details, including a list of accepted alternatives, see Regulation 1d.
ABRSM Centres provide a piano suitable for exam purposes. The piano will be upright or grand. Practice before the exam cannot be arranged, but examiners will recognize that the instrument may be one to which candidates are unaccustomed. When exams are held at Visits (i.e. premises provided by the Applicant and visited by the examiner), a suitable piano must be provided. A digital piano may be used, provided it has a clearly recognizable piano tone, a touch-sensitive keyboard with full-size weighted keys, and an action, compass and facilities that match those of a conventional acoustic piano, including a sustaining pedal.
Examiners: Generally, there will be one examiner in the exam room; however, for training and quality assurance purposes, a second examiner may sometimes be present. Examiners may ask to look at the music before or after the performance of a piece. They may also decide to stop the performance of a piece when they have heard enough to form a judgment. Examiners will not issue, or comment on, a candidate’s result; instead, the mark form (and certificate for successful candidates) will be issued by ABRSM after the exam.
Before beginning: Candidates are welcome to adjust the piano stool height (the examiner will help with this if necessary) and to play a few notes to try out and get used to the piano.
Order of the exam: The individual sections of the exam may be undertaken in any order, at the candidate’s choice.
Three pieces: one chosen by the candidate from each of the three Lists, A, B and C - 30 marks each
| No. | Composer | Piece information | Publication(s) |
|---|---|---|---|
| 1 | Haydn |
Minuet and Trio2nd movt from Sonata in Ab, Hob. XVI: 43 |
|
| 2 | J. L. Krebs |
Praeambulum supra Jesu, meine Freude (Prelude on 'Jesus, My Joy') KWV 502 |
|
| 3 | Vanhal |
Allegretto 2nd movt from Sonatina in A, Op. 41 No. 12 |
|
| 4 | Clementi |
Allegretto 1st movt from Sonatina in G, Op. 36 No. 2 |
|
| 5 | Kirchhoff |
Courante |
|
| 6 | Kuhlau |
Allegro 1st movt from Sonatina in C, Op. 55 No. 1 |
| No. | Composer | Piece information | Publication(s) |
|---|---|---|---|
| 1 | H. Hofmann |
Scherzo No. 7 from Skizzen, Op. 77 |
|
| 2 | Schumann |
Fröhlicher Landmann, von der Arbeit zurückkehrend (The Merry Peasant, Returning from Work) No. 10 from Album für die Jugend, Op. 68 |
|
| 3 | Žilinskis |
Waltz in A |
|
| 4 | Gurlitt |
Klage No. 18 from 24 melodische Etüden, Op. 201 |
|
| 5 | George Nevada |
Ninette's Musette No. 5 from Romantic Impressions |
|
| 6 | Tchaikovsky |
Mazurka No. 10 from Album pour enfants, Op. 39 |
| No. | Composer | Piece information | Publication(s) |
|---|---|---|---|
| 1 | Bjelinski |
Uzbuna (Alarm) from Na velikom brodu |
|
| 2 | Ben Crosland |
Bow-Chicka-Wow-Wow No. 7 from Cool Beans!, Vol. 2 |
|
| 3 |
Trad. Russian
arr. Hayward |
Black Eyes |
|
| 4 | Kabalevsky |
In the Gymnasium No. 3 from Four Little Pieces, Op. 14 |
|
| 5 | R. Lane |
The Penguin No. 3 from Talent Night at the Zoo |
|
| 6 | Elissa Milne |
Foreign Correspondent from Pepperbox Jazz, Book 2 |
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.
Exam music & 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).
Interpreting the score: Printed editorial suggestions such as fingering, metronome marks, realization 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 believe there is no solution to a particularly awkward page-turn, they may apply to bring a page-turner to the exam. The request must be made to syllabus@abrsm.ac.uk no later than the closing date for entry, and details of the piece, edition and nature of the difficulty should be given. If permission is granted, a confirmation letter will be issued which must be taken to the exam as verification. Examiners are unable to help with page-turning.
Photocopies: Performing from unauthorized 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 www.mpaonline.org.uk. In all other cases, application should be made to the copyright holder before any copy is made, and evidence of permission received should be brought to the exam.
21 marks
|
|
|
|
|---|---|---|---|
Scales (similar motion) | B, Bb, Eb, Ab, Db majors C#, G#, C, F minors | hands together and separately | 2 octaves |
Contrary-motion scales | F, Eb majors D, C harmonic minors | hands beginning on the key-note (unison) | 2 octaves |
Chromatic scales | beginning on any black key named by the examiner | hands together and separately | 2 octaves |
Arpeggios | B, Bb, Eb, Ab, Db majors C#, G#, C, F minors | hands together and separately | 2 octaves |
Examiners will usually ask for at least one of each type of scale/arpeggio/broken chord etc. required at each grade, as well as aiming to hear, in Grades 6–8, a balance of the specified articulations. When asking for requirements, examiners will specify only:
All scales, arpeggios and broken chords should:
Candidates are free to use any fingering that produces a successful musical outcome.
Candidates are free to start at any octave, provided the required ranges are covered. For all ‘hands together’ requirements, the hands should be one octave apart, unless otherwise indicated.
Arpeggios and dominant sevenths are required in root position only, except where otherwise indicated. Scales in thirds or a third apart should begin with the tonic as the lower note, while scales in sixths or a sixth apart should begin with the tonic as the upper note.
Books of scale requirements are published for Piano by ABRSM for each grade.
21 marks
Candidates will be asked to play a short unaccompanied piece of music which they have not previously seen. They will be given up to half a minute in which to look though and, if they wish, try out all or any part of the test before they are required to play it for assessment. The table below shows the introduction of elements at each grade. Please note that these parameters are presented cumulatively, i.e. once introduced they apply for all subsequent grades (albeit within a logical progression of difficulty).
Grade | Length (bars) | Time | Keys | Hand position | Other features that may be included |
|---|---|---|---|---|---|
Grade 1 | 4 | 4/4 | C, G, F majors | Each hand:
| Simple:
Occasional accidentals (within minor keys only) |
6 | 2/4 | C, G, F majors | Each hand:
| Simple:
Occasional accidentals (within minor keys only) | |
Grade 2 | As Grade 1 | As Grade 1 | D major | Hands playing together |
|
Grade 3 | up to 8 | 3/8 | A, Bb, Eb major | Hands playing together outside 5-finger position |
|
Grade 4 | c. 8 | 6/8 | As previous grades | Hands playing together outside 5-finger position |
|
For practice purposes, books of specimen sight-reading tests are published for Piano by ABRSM for each grade.
18 marks
(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 (unharmonized), 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.
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.
Aural tests are an integral part of all Practical graded exams. The tests are administered by the examiner from the piano. For any test that requires a sung response, pitch rather than vocal quality is the object. 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).
A number of tests allow for a second attempt or for an additional playing by the examiner, if necessary. Also, where there is hesitation on the part of the candidate, the examiner will be ready to prompt, if necessary. In any such cases, this will affect the assessment. Marks are not awarded for each individual test nor deducted for mistakes but reflect the candidate’s overall response in this section.
Examples of the tests are given in new editions (from 2011) of Specimen Aural Tests and Aural Training in Practice, available for purchase from music retailers and from the ABRSM music shop.
Deaf or hearing-impaired candidates may opt to respond to alternative tests in place of the standard tests, if requested at the time of entry. Further information, including the syllabus for the alternative tests, is available at www.abrsm.org/specificneeds.
Piano Grade 4 exams consist of three pieces, chosen by the candidate from the appropriate lists in the current syllabus, scales and arpeggios, sight-reading and aural tests.
Total marks in all individual Practical exams are 150. 100 marks are required to achieve Pass, 120 marks to pass with Merit and 130 marks to pass with Distinction.
The Piano requirements and information provide a summary of the most important points that teachers and candidates need to know when taking ABRSM Piano exams.
They are detailed within the exam sections below (Pieces, Scales and arpeggios, Sight-reading and Aural tests), immediately after the grade-specific requirements, and are available to download here.
Further details, as well as administrative information relating to the exams, are given in ABRSM’s Information & Regulations which should be read before an exam booking is made.
There are eight grades for Piano and candidates may be entered in any grade irrespective of age and without previously having taken any other grade in Piano. Candidates for a Grade 6, 7 or 8 exam must already have passed ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a solo Jazz subject; for full details, including a list of accepted alternatives, see Regulation 1d.
ABRSM Centres provide a piano suitable for exam purposes. The piano will be upright or grand. Practice before the exam cannot be arranged, but examiners will recognize that the instrument may be one to which candidates are unaccustomed. When exams are held at Visits (i.e. premises provided by the Applicant and visited by the examiner), a suitable piano must be provided. A digital piano may be used, provided it has a clearly recognizable piano tone, a touch-sensitive keyboard with full-size weighted keys, and an action, compass and facilities that match those of a conventional acoustic piano, including a sustaining pedal.
Examiners: Generally, there will be one examiner in the exam room; however, for training and quality assurance purposes, a second examiner may sometimes be present. Examiners may ask to look at the music before or after the performance of a piece. They may also decide to stop the performance of a piece when they have heard enough to form a judgment. Examiners will not issue, or comment on, a candidate’s result; instead, the mark form (and certificate for successful candidates) will be issued by ABRSM after the exam.
Before beginning: Candidates are welcome to take a few moments to try out the piano, and to adjust the piano stool (the examiner will be happy to help with this if necessary).
Order of the exam: The individual sections of the exam may be undertaken in any order, at the candidate’s choice.
Three pieces: one chosen by the candidate from each of the three Lists, A, B and C - 30 marks each
| No. | Composer | Piece information | Publication(s) |
|---|---|---|---|
| 1 | Hummel |
Tempo di Menuetto No. 3 from Six pièces très faciles, Op. 52 |
|
| 2 | Kirnberger |
La lutine (The Mischievous Sprite) (observing 1st repeat) |
|
| 3 | Stölzel |
Bourrée 3rd movt from Partita in G minor |
|
| 4 | J. S. Bach |
Invention No. 1 in C BWV 772 |
|
| 5 | Haydn |
Allegro in F |
|
| 6 | J. L. Krebs |
Klavierstück in E♭ (Allegro) |
| No. | Composer | Piece information | Publication(s) |
|---|---|---|---|
| 1 | Estévez |
Canción para dormir una muñeca (Lullaby for a Doll) No. 7 from 17 piezas infantiles |
|
| 2 | Rybicki |
Hej, znam ja łączkę (I Know of a Pleasant Meadow) from Ten nasz ogródeczek, Op. 58 |
|
| 3 | Schumann |
Jägerliedchen (Huntsman's Song) No. 7 from Album für die Jugend, Op. 68 |
|
| 4 | Bortkiewicz |
Russian Peasant Girl No. 1 from Marionettes, Op. 54 |
|
| 5 | Czerny |
Exercise in B♭ No. 60 from The Young Pianist, Op. 823 |
|
| 6 | Fuchs |
Morgenlied (Morning Song) Op. 32 No. 1 |
| No. | Composer | Piece information | Publication(s) |
|---|---|---|---|
| 1 | D. C. Glover |
Indian Pony Race |
|
| 2 | Mike Cornick |
In the Shed from Piano Repertoire, Level 2 (observing repeat) |
|
| 3 | Prokofiev |
Progulka (Promenade) No. 2 from Musiques d'enfants, Op. 65 |
|
| 4 | Bartók |
Der Stampfer (Topogó, Pe loc) No. 3 from Rumänische Volkstänze (Romanian Folk Dances) |
|
| 5 | Brian Chapple |
Parade No. 3 from On the Cool Side |
|
| 6 | Slavický |
A Czech Song from Piano and Youth |
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.
Exam music & 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).
Interpreting the score: Printed editorial suggestions such as fingering, metronome marks, realization 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 believe there is no solution to a particularly awkward page-turn, they may apply to bring a page-turner to the exam. The request must be made to the Syllabus Department no later than the closing date for entry, and details of the piece, edition and nature of the difficulty should be given. If permission is granted, a confirmation letter will be issued which must be taken to the exam as verification. Examiners are unable to help with page-turning.
Photocopies: Performing from unauthorized 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 www.mpaonline.org.uk. In all other cases, application should be made to the copyright holder before any copy is made, and evidence of permission received should be brought to the exam.
21 marks
|
|
|
|
|---|---|---|---|
Scales (similar motion) | B, Bb, Eb, Ab, Db majors C#, G#, C, F minors | hands together and separately | 2 octaves |
Contrary-motion scales | F, Eb majors D, C harmonic minors | hands beginning on the key-note (unison) | 2 octaves |
Chromatic scales | beginning on any black key named by the examiner | hands together and separately | 2 octaves |
Arpeggios | B, Bb, Eb, Ab, Db majors C#, G#, C, F minors | hands together and separately | 2 octaves |
Examiners will usually ask for at least one of each type of scale/arpeggio/broken chord etc. required at each grade, as well as aiming to hear, in Grades 6–8, a balance of the specified articulations. When asking for requirements, examiners will specify only:
All scales, arpeggios and broken chords should:
Candidates are free to use any fingering that produces a successful musical outcome.
Candidates are free to start at any octave, provided the required ranges are covered. For all ‘hands together’ requirements, the hands should be one octave apart, unless otherwise indicated.
Arpeggios and dominant sevenths are required in root position only, except where otherwise indicated. Scales in thirds or a third apart should begin with the tonic as the lower note, while scales in sixths or a sixth apart should begin with the tonic as the upper note.
Books of scale requirements are published for Piano by ABRSM for each grade.
21 marks
A piece of around eight bars in length, time and key signatures as Grade 3, with the addition of 6/8. Anacrusis and occasional chromatic notes, pause signs and tenuto may be encountered.
Candidates will be asked to play a short unaccompanied piece of music which they have not previously seen. They will be given up to half a minute in which to look through and, if they wish, try out all or any part of the test before they are required to play it for assessment. The main technical parameters are outlined for the grade (see above); once introduced, parameters apply for all subsequent grades (albeit with a logical progression of difficulty). For practice purposes, books of specimen sight-reading tests are published for Piano by ABRSM for each grade.
18 marks
(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 (unharmonized), 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.
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.
Aural tests are an integral part of all Practical graded exams. The tests are administered by the examiner from the piano. For any test that requires a sung response, pitch rather than vocal quality is the object. 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).
A number of tests allow for a second attempt or for an additional playing by the examiner, if necessary. Also, where there is hesitation on the part of the candidate, the examiner will be ready to prompt, if necessary. In any such cases, this will affect the assessment. Marks are not awarded for each individual test nor deducted for mistakes but reflect the candidate’s overall response in this section.
Examples of the tests are given in new editions (from 2011) of Specimen Aural Tests and Aural Training in Practice, available for purchase from music retailers and from the ABRSM music shop.
Deaf or hearing-impaired candidates may opt to respond to alternative tests in place of the standard tests, if requested at the time of entry. Further information, including the syllabus for the alternative tests, is available at www.abrsm.org/specificneeds.
Download recordings of pieces from our Grade 4 syllabus.
A selection of pieces from the 2017 & 2018 Grade 4 syllabus.
A selection of pieces from the 2015 & 2016 Grade 4 syllabus.
Practice material for students preparing for Grade 4 exams.
New editions offering support to teachers preparing students for Practical exams.
Invaluable guidance for teachers.
A tool designed to help improve your melody writing and music theory knowledge and understanding.
Scales Trainer is an app that helps increase fluency with ABRSM scales and arpeggios requirements.
This website uses cookies to improve your experience. By using our website, you are agreeing to our cookie policy and consent to our use of cookies. Find out more.
UNITED KINGDOM
Close this message