Republished September 2020 with edits and clarifications following the introduction of our Performance Grades suite of exams (1 July 2020) and changes to our regulated qualification titles (applicable from 1 October 2020). The updated regulated qualification titles are listed on page 6 and further information about the changes is available at www.abrsm.org/regulation. Other changes to the text are to help distinguish between the two suites of graded exam – Practical and Performance – that are now offered. There are no changes to the exam requirements/syllabus for percussion Practical Grades in this edition.
Timpani Syllabus 36
Tuned Percussion Syllabus 44
Percussion (Combined) Syllabus 55
Aural test requirements 75
4. Assessment and marking 83
Assessment objectives 83
Mark allocation 87
Result categories 87
Synoptic assessment 87
Awarding 87
Marking criteria 88
5. After the exam 91
Results 91
Exam feedback 91
6. Other assessments 92
Performance Grades 92
Music Theory 93
Practical Musicianship 94
ARSM 95
DipABRSM, LRSM, FRSM 96
Exam programme & running order form 97
Index 98
3
About ABRSMAt 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. They are a tried and tested way to inspire musical achievement and, with backing from four Royal Schools of Music in the UK, are valued and trusted around the world.
We offer a comprehensive portfolio of 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. There’s the boost to motivation which comes from working towards an exam. There’s an opportunity to discover and perform some fantastic music and to build new skills. And there’s the sense of achievement which comes from successfully reaching a musical goal.
We do everything we can to make the exam 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 friendly, 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.
Whether you’re a learner or teacher, we hope our syllabuses inspire and support your music learning or teaching. We wish you every success for your musical journey!
Our mission ABRSM’s mission is to inspire musical achievement. 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.
Through our world-leading assessments, books and resources we provide people worldwide with the tools they need to teach, learn, make and enjoy music. Our scholarships, donations, sponsorship and partnerships create opportunities for people of all ages to discover music and fulfil their potential. Everything we do is designed to support learners and teachers on their musical journey.
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.
1. Introduction
4
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) and 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 October 2020 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 qualificationsQualification 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 demon-strating their all-round musical skills. Candidates may be entered at any age, but those entering for Grades 6–8 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 all candidates with fair access to our assessments by putting in place access arrangements and reasonable adjustments where required.
StructureEach Practical Music qualification has been carefully designed to assess all-round musical skills – technique, notation reading, listening and musical perception – as well as knowledge, understanding and creativity. At all grades, these creative skills are demonstrated through playing of repertoire and completing of supporting tests. Collectively, these skills enable
5
Practical Grades 1. Introduction
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 Initial Grade to Grade 8. The sylla-bus in Section 3 of this specification details the grades available for individual subjects. The qualifications are progressive in their level of demand from Initial Grade through to Grade 8 (nine grades). 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 Initial Grade 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. The nature of the qualifications makes them an ideal platform from which to progress to ABRSM’s diploma offer. The performance-only 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.
PrerequisiteWe 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 complete 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 reper-toire 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 exam.
Regulation and UCAS points (UK)Our regulatorsABRSM 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.
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1. Introduction Practical Grades
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 informa-tion, visit https://register.ofqual.gov.uk.
Entry to higher educationIn the UK, ABRSM’s Grades 6–8 in Practical Music 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 detailsQualification 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 Number*
Qualification Title*
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)
603/6407/5 ABRSM Level 1 Award in Practical Music (Grade 2)
603/6408/7 ABRSM Level 1 Award in Practical Music (Grade 3)
603/6409/9 ABRSM Level 2 Certificate in Practical Music (Grade 4)
603/6410/5 ABRSM Level 2 Certificate in Practical Music (Grade 5)
603/6411/7 ABRSM Level 3 Certificate in Practical Music (Grade 6)
603/6412/9 ABRSM Level 3 Certificate in Practical Music (Grade 7)
603/6413/0 ABRSM Level 3 Certificate in Practical Music (Grade 8)
* For qualifications taken before 1 October 2020, please see www.abrsm.org/regulation for the relevant regulated qualification numbers and titles.
7
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* (GLH)
Total Qualification Time* (TQT)
Credits
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.
8
1. Introduction Practical Grades
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
Level 1 Level 2Grade 2
Grade 3
Grade 4Level 2 Level 3
Grade 5
Grade 6
Level 3 Level 4Grade 7
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 referencingThe 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) and ‘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, new, suite of graded performance exams, ‘Performance Grade(s)’ is used in place of the full qualification titles.
9
2. Practical GradesSyllabusesSyllabus validity The Percussion Practical Grades Syllabus is valid for exams from 1 January 2020 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.
Candidates will be able to take exams using the Percussion (from 1990) Syllabus until 31 December 2020. All exam requirements must be from the same syllabus – candidates may not present a mixture of requirements (i.e. pieces or supporting tests) from old and new syllabuses.
The next syllabusAt the time of publication of this document, the next revision of the Percussion Practical Grades Syllabus had not been scheduled. Advance notice of any planned changes to the Percussion Syllabus (including syllabus overlap information) will be posted at www.abrsm.org/percussion.
Exam RegulationsWhen 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 maladministrationWe are committed to inspiring achievement in music. Our qualifications are used by thou-sands 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 mis-management 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
10
2. Practical Grades Practical Grades
given. Further information about our Malpractice and Maladministration Policy can be found at www.abrsm.org/policies.
Entry requirementsThere are eight grades of Practical Grades exams for each percussion subject. Candidates may be entered for any grade at any age. They do not need to have taken any earlier grade(s) in the same subject. 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 venuesPractical Grades Percussion exams are held as a Visit (i.e. where a venue is provided by the Applicant and visited by the examiner). They may be held independently of other exams or as part of a larger Visit that includes other subjects/grades. The percussion instruments and any seating must be set up before the exam’s scheduled time. For full details about Visits, see ABRSM’s Exam Regulations at www.abrsm.org/examregulations, in particular the requirement to provide a suitable piano for the Aural tests.
Exam bookingDetails 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 all candidates with fair access to our assessments by putting in place access arrangements and reasonable adjustments. There are a range of alternative tests and formats for Practical Grades as well as guidelines for candidates with specific needs (see www.abrsm.org/specificneeds). Where a candidate’s needs are not covered by the guide-lines, each case is considered individually. Further information is available from the Access Co-ordinator ([email protected]) or from www.abrsm.org/specificneeds.
Exam contentPractical Grades for percussion consist of six components – three Pieces, Technical require-ments, Sight-reading and Aural tests. Information on how marks are allocated is given on page 87.
11
Practical Grades 2. Practical Grades
In the examExaminersGenerally, 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 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 (where applicable) to be performed consecu tively at the beginning of the exam.
Exam timingsThe timings in the table below show the approximate length of each Practical Grades percus-sion exam in minutes, including the candidate’s entry and exit, any tuning time 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*
Grade 1
Grades 2 & 3
Grades 4 & 5
Grade 6
Grade 7
Grade 8
Time (in mins) 12 12 14 17 20 25 30
* Initial Grade not available for percussion
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3. Percussion Practical Grades Syllabus from 2020Introducing the syllabusOur new Percussion Practical Grades Syllabus is designed to offer a flexible approach to percus-sion assessment. There are exams at Grades 1–8 in Snare Drum, Timpani and Tuned Percussion as individual, standalone subjects. We also offer a Percussion (Combined) exam at Grades 1–8 to allow candidates to demonstrate their skills in all three subjects.
Key features:
• Newly-commissioned repertoire by leading percussion composers alongside established favourites
• A choice of at least ten pieces per subject per grade• Accompanied (by both piano and percussion) and solo options for all subjects• Multi-percussion options in the Snare Drum repertoire lists from Grade 3 • Completely revised Sight-reading requirements for all subjects• Specially-commissioned studies for Snare Drum and Timpani• Publications to support all aspects of the new syllabus
The Aural tests stay the same as the preceding syllabus. All other requirements have been revised.
Practical Grades 1–8: requirements and informationThis syllabus is valid from 2020 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 in percussion subjects. 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 making an exam booking.
InstrumentsCandidates are required to perform on acoustic instruments (digital instruments are not allowed). 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.
Sticks/mallets: Candidates are expected to use the correct sticks and mallets for the instru-ments they have chosen to play. Tuned Percussion pieces that require four mallets are shown by 4M in the repertoire lists.
Range information: In this document, range/pitch information is presented using the Helmholtz system, i.e.:
B′ C B c b c′ b′ c″ b″ c ‴ b ‴
?
&
ww
ww
w
w
ww
ww
w
13
Practical Grades 3. Percussion Practical Grades Syllabus from 2020
Snare DrumInstruments: In Snare Drum exams at Grades 1–5, it is possible for candidates to complete an exam playing a snare drum only. In Snare Drum exams at Grades 6–8, candidates must play at least one piece for multi-percussion.
In Percussion (Combined) exams at all grades, it is possible for candidates to complete the Snare Drum elements playing a snare drum only.
All pieces and studies should be played with the snares on unless marked otherwise in the music.
Multi-percussion: There are pieces for multi-percussion included in the repertoire lists for Snare Drum from Grade 3. These are marked MULTI in the repertoire lists, where details of the instruments required in addition to the snare drum are also shown.
TimpaniNumber of drums: The minimum number of drums required depends on whether the candidate is taking a Timpani exam or a Percussion (Combined) exam. The table below shows the mini-mum number of drums required for each option. All other pieces are for two drums.
Timpani exam
(Pieces, Study & Sight-reading)
Percussion (Combined) exam
(Piece, Study & Sight-reading)
Percussion (Combined) exam
(Piece & Sight-reading)
Grades 1–4 2 2 2
Grade 5 3 3 2
Grade 6 3 3 3
Grade 7 4 4 3
Grade 8 4 4 4
Some pieces from Grade 4 require more drums than indicated above (the maximum number is three drums at Grades 4 and 5 and four drums at Grades 6–8). Pieces that need three or four drums are shown in the repertoire lists by 3D and 4D , respectively.
Types of drums: Hand- or pedal-tuned drums may be used. However, hand-tuned drums are only appropriate if retuning does not interrupt the musical flow of a piece. Pieces that require a retune are indicated in the repertoire lists by RETUNE and those that require at least one pedal drum by PED .
Damping: At Grades 1 and 2, all rests of crotchet value or longer should be damped. From Grade 3, all quaver rests should also be damped. From Grade 4, rests should be damped when-ever feas ible, and from Grade 5, candidates should also damp with regard to the harmonic consider ations of the piece.
Sticking: Any combination of sticking is allowed, e.g. leading with either hand, double strokes, swinging over, crossing over, etc.
14
3. Percussion Practical Grades Syllabus from 2020 Practical Grades
Tuning: At Grades 1 and 2, the teacher or accompanist may tune the candidate’s timpani (or advise on tuning) before the exam begins. At Grades 3–8, candidates must tune the timpani themselves. Timpanists should provide their own fixed-pitch sources, and these may only be used before the beginning of each piece or study. Examiners are unable to help with tuning.
At Grades 1 and 2, all Timpani requirements may be played on A and D (or any interval of a perfect 4th) regardless of their written pitches. Any accompaniments should be transposed appropriately. From Grade 3, all music should be played as written.
Tuned PercussionInstruments: Any one or more of the following instruments may be used in exams:
• xylophone• marimba• vibraphone• glockenspiel (Grades 1 and 2 only)
Pieces: At Grades 1–5, candidates may play any piece on any instrument listed above. At Grades 6–8, candidates must play the pieces on the instrument (or one of the instruments) specified in the repertoire lists - XYL xylophone, MAR marimba, VIB vibraphone.
Candidates must not alter a piece at any grade to suit the range of an instrument (unless indicated in the music).
Other tests: The Scales and arpeggios (when applicable) must be played on a single instrument from those listed above. The Sight-reading may be played on the same or a different instrument. In both cases, the range of the instrument used must cover the requirements set.
Percussion (Combined)Candidates taking a Percussion (Combined) exam are required to:
• play one piece for each of Snare Drum, Timpani and Tuned Percussion • play the technical requirements for either Snare Drum, Timpani or Tuned Percussion, at
their choice • have instruments available which meet the minimum requirements for the Sight-reading
for Snare Drum, Timpani and Tuned Percussion. The subject for the test will be chosen by the examiner.
15
Practical Grades 3. Percussion Practical Grades Syllabus from 2020
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 and requirements explore different traditions and styles and provide candidates with the opportunity to choose a balanced selection and demonstrate a range of skills.
All subjects offer pieces that require an accompaniment, as interacting with other musicians is an important musical skill. There are also opportunities to choose solo pieces and develop confidence with unaccompanied playing. These opportunities increase at higher grades to reflect contemporary percussion repertoire.
We hope that by offering this variety in the syllabus, candidates will find inspiring music that they enjoy learning and performing.
Programme planning: For Snare Drum, Timpani and Tuned Percussion exams, candidates must choose three pieces from the repertoire list for that subject, including at least one piece marked in the repertoire list at certain grades (see table below). Up to two pieces by the same composer may be played.
For Percussion (Combined) exams, candidates must choose one piece from each of the three lists (A – Snare Drum, B – Timpani and C – Tuned Percussion), including at least one piece marked in the syllabus at Grades 1–3 (see table below). Up to two pieces by the same com-poser may be played.
Subject Grades Type of pieces required (minimum of 1)
Marked in syllabus
Snare Drum Grades 1–3 accompanied (by piano or percussion)
and or
Grades 6–8 for multi-percussion and MULTI
Timpani Grades 1–3 accompanied (by piano or percussion)
and or
Grades 6–8 requires retuning and RETUNE
Tuned Percussion
Grades 1–3 accompanied (by piano or percussion)
and or
Grade 8 requires 4 mallets and 4M
Percussion (Combined)
Grades 1–3 accompanied (by piano or percussion)
and or
Candidates may play two or three pieces marked , if they wish.
In the exam, candidates should tell the examiner which pieces they are performing, and they are welcome to use the form on page 97 for this.
16
3. Percussion Practical Grades Syllabus from 2020 Practical Grades
Every effort has been made to feature a broad range of repertoire to suit and appeal to candi dates of different ages, backgrounds and interests. Certain pieces may not be suitable for every candidate for technical reasons or because of wider context (historical, cultural, subject matter, etc.). Pieces should be carefully considered for their appropriateness to each individual, which may need consultation between teachers and parents/guardians. Teachers and parents/guardians 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 may not present the same repertoire (in full or individual pieces) for the same grade of both qualifications, irrespective of when the exams are taken.
Accompaniment: A live piano or percussion (where the option is listed) accompaniment is required for all pieces marked with or in the syllabus. Recorded accompaniments are not allowed.
At Grades 1–3, candidates must perform at least one piece with accompaniment (piano or percussion). There is no accompaniment requirement at Grades 4–8. There is no upper limit to the number of accompanied pieces that can be played at any grade.
Pieces that are published as duets (or with percussion accompaniment only) are marked in the repertoire lists; candidates must play the upper part. Pieces that are published with piano and percussion accompaniment options are marked or in the repertoire lists, and may be performed with either accompaniment in the exam. Details of the percussion instruments that are required to accompany each piece are also given in the repertoire lists.
Candidates must provide their own accompanist(s), who can only be in the exam room while accompanying. The candidate’s teacher may accompany but examiners will not. If necessary, an accompanist may simplify any part of the accompaniment, as long as the result is musical.
Pieces accompanied by percussion must be played on a separate instrument from the candidate’s.
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 in the exam. 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 17.
Interpreting the score: Printed editorial suggestions such as sticking, metronome marks, etc. do not need to be strictly observed. Whether the piece contains musical indications or not, candi-dates are encouraged to interpret the score in a musical and stylistic way. The marks awarded will be determined by how control of pitch, time, tone, shape and performance contributes to the overall musical outcome.
Repeats: Unless the syllabus specifies differently, all da capo and dal segno indications should be followed but other repeats (including first-time bars) should not be played unless they are very short (i.e. a few bars).
Cadenzas & tuttis: Cadenzas should not be played unless the syllabus specifies differently. Accompanists should cut lengthy orchestral tutti sections.
Ossias: Where an ossia (alternative musical line or note) occurs in the music, candidates may play either option unless the syllabus specifies differently.
17
Practical Grades 3. Percussion Practical Grades Syllabus from 2020
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 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 6–8 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: Performing from unauthorised photocopies (or other kinds of copies) of copy-right editions is not allowed. ABRSM may withhold the exam result where we have 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 should be brought to the exam.
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.
Technical requirementsIn this section of the exam, candidates prepare the following:
Subject Technical requirements
Snare Drum Studies
Timpani Studies
Tuned Percussion Scales and arpeggios
Percussion (Combined) One of the following, at the candidate’s choice:
• Studies (Snare Drum)• Studies (Timpani)• Scales and arpeggios (Tuned Percussion)
The examiner will ask which the candidate has chosen.
18
3. Percussion Practical Grades Syllabus from 2020 Practical Grades
Study (Snare Drum)
Studies are an important way to develop technical skills such as stick control, balance between hands, fluency and articulation. They also help to develop tone, pulse and dynamic control, and familiarity with rudimental patterns. 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.
About the test: Candidates prepare two studies at each grade and examiners will request which one is to be played in the exam. Each Study is based on a set of rudiments; these are listed on the sheet music.
Sheet music: The studies are published online at www.abrsm.org/percussion as a free downloadable PDF that can be printed and used in the exam. They are also published by ABRSM in the books of Percussion Exam Pieces & Studies (for Grades 1–5) and Percussion Studies (for Grades 6–8). Purchasing these books is not a requirement.
Memory: There is no requirement to play the Study from memory.
Sticking: Candidates may use any sticking that produces a successful musical outcome.
Study (Timpani)
Studies are an important way to develop technical skills such as fluency, balance between hands, moving between drums, retuning/pedalling and articulation. They also help to develop tone, pulse, dynamic control and interval awareness. 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.
About the test: Candidates prepare two studies at each grade and examiners will request which one is to be played in the exam.
Sheet music: The studies are published online at www.abrsm.org/percussion as a free downloadable PDF that can be printed and used in the exam. They are also published by ABRSM in the books of Percussion Exam Pieces & Studies (for Grades 1–5) and Percussion Studies (for Grades 6–8). Purchasing these books is not a requirement.
Memory: There is no requirement to play the Study from memory.
Sticking: Candidates may use any sticking that produces a successful musical outcome.
19
Practical Grades 3. Percussion Practical Grades Syllabus from 2020
Scales and arpeggios (Tuned Percussion)
Playing scales and arpeggios is important for building strong technical skills such as reliable hand movement and position, co-ordination and fluency. It also helps to develop pitch and interval awareness, and familiarity with keys and their related patterns. 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 should be played from memory.
Ranges: Candidates are free to start at any octave, provided the required ranges are covered. All requirements should ascend and descend according to the specified range (and pattern).
Patterns: Arpeggios and dominant sevenths are required in root position only. All dominant sevenths should finish by resolving on the tonic. Scales in thirds should begin with the tonic as the lower note, while scales in sixths should begin with the tonic as the upper note. Examples of scale/arpeggio, etc. patterns found in this syllabus are given on pages 21–22.
Instruments: Requirements may be played on any of the instruments listed on page 14 as long as they can cover the full range set. Scales played on the vibraphone should be played without pedal.
Sticking: All requirements except those in thirds, in sixths and in octaves should be played hand to hand. Candidates may lead with either hand.
Speeds: The speeds on page 23 are given as a general guide.
In the exam: 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. When asking for requirements, exam-iners will specify the key or the starting note only.
Supporting publications: Books of the requirements are published by ABRSM. Purchasing these books is not a requirement.
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 which 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 tables on pages 24–26 show the elements that are introduced at each grade.
20
3. Percussion Practical Grades Syllabus from 2020 Practical Grades
Instruments: In this section of the exam, the instrument requirements are as follows:
Subject Technical requirements
Snare Drum • the test must be played with the snares on• no additional instruments will be required at any grade
Timpani • the number of drums required at each grade is listed in the parameters on page 25
Tuned Percussion • the test may be played on any of the instruments listed on page 14
• the instrument chosen must meet the range requirements for the grade as listed in the parameters on page 26
Percussion (Combined) • instruments as described in all three rows above must be available in the exam room
• the examiner will choose whether the test is to be played on Snare Drum, Timpani or Tuned Percussion
Supporting publications: For practice purposes, sample Sight-reading tests are published by ABRSM in Percussion Sight-Reading, Grades 1–5 and Grades 6–8. 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 entry. 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: The requirements are the same for all four subjects. Full details of the Aural tests are given on pages 75–82.
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.
21
Practical Grades 3. Percussion Syllabus from 2020
Scale and arpeggio patterns
The examples below clarify patterns found in this syllabus. The full requirements for Tuned Percussion and Percussion (Combined) at each grade are listed on the relevant syllabus pages. See also pages 19–19.
SCALES ARPEGGIOSone octave (and similarly, two octaves) one octave (and similarly, two octaves)
Vœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vœ
œœ
œ
œœ
œ ™
CHROMATIC SCALESone octave (and similarly, two octaves)
Vœ œb œ= œb œ= œ œ# œ œb œ= œb œ= œ œ œb œ œb œ œ# œ= œ œb œ œb œ
DOMINANT SEVENTHS (resolving on tonic) DIMINISHED SEVENTHone octave (and similarly, two octaves) one octave (and similarly, two octaves)
V ###œ
œœ
œ œ œœ
œ œ
V
œœ
œœb œ œb
œœ
œ
SCALES IN THIRDStwo octaves
V ##etc. V ##
etc. V ##œœ œœ œœ œœ œœ
œœ
œœ
œœ œœ œœ
œœ
œœ
œœ
œœ
œœ
V ##
etc. V ##etc. V ##
œœ œœ œœ œœ œœ
œœ
œœ
œœ œœ œœ
œœ
œœ
œœ
œœ
œœ
V ##
etc. V ##etc. V ##
œœ œœ œœ œœ œœ
œœ
œœ
œœ œœ œœ
œœ
œœ
œœ
œœ
œœ
SCALES IN OCTAVES SCALES IN SIXTHS one octave one octave
V betc.
œ
œ
œ
œ
V bbbbb etc.
œ
œ
œ
œ
3. Percussion Syllabus from 2020
22
3. Percussion Syllabus from 2020 Practical Grades
BROKEN CHORDStwo octaves
V ##œœœ
œ
œœ
œœ
œ
œœœ
œœœ
œ œ
œœœ
œœœ
œ
œœ
œœ
œ
œœœ œ
SCALES IN BROKEN THIRDStwo octaves
V bbbbb etc. V bbbbb etc. V bbbbbœ
œ œœ
œœ œ
œ œ œœ œ
œ
œœ œ
œ œ
V bbbbb etc. V bbbbb etc. V bbbbb
œœ œ
œ
œœ œ
œ œ œœ œ
œ
œœ œ
œ œ
V bbbbb etc. V bbbbb etc. V bbbbb
œœ œ
œ
œœ œ
œ œ œœ œ
œ
œœ œ
œ œ
CHROMATIC SCALES IN MINOR THIRDStwo octaves
V etc. V etc. Vœœb
œœ=# œ
œbœœ=# œ
œ
œœ
## œœ
œœ
b œœ
œœ
bbœœ
œœ=# œ
œb= œœ# œ
œb=
V etc. V etc. Vœœb
œœ=# œ
œbœœ=# œ
œ
œœ
## œœ
œœ
b œœ
œœ
bbœœ
œœ=# œ
œb= œœ# œ
œb=
V etc. V etc. Vœœb
œœ=# œ
œbœœ=# œ
œ
œœ
## œœ
œœ
b œœ
œœ
bbœœ
œœ=# œ
œb= œœ# œ
œb=
CHROMATIC SCALES IN BROKEN MINOR THIRDStwo octaves
V etc. V etc. Vœ
œbœ# œ=
œ# œ# œœ œ= œ
œ= œœ#
œœ œ
V etc. V etc. Vœ
œbœ# œ=
œ# œ# œœ œ= œ
œ= œœ#
œœ œ
V etc. V etc. Vœ
œbœ# œ=
œ# œ# œœ œ= œ
œ= œœ#
œœ œ
WHOLE-TONE SCALEStwo octaves
Vœ# œ# œ# œ œ œ œ# œ# œ# œ œ œ œ# œ œ œ
œ# œ# œ# œ œ œœ# œ# œ#
23
Practical Grades 3. Percussion Syllabus from 2020
Scale and arpeggio speedsG
rade
/Sp
eed
*
12
34
56
78
Scal
esq =
69
q = 8
0q =
88
q = 1
00q =
112
Arp
eggi
ose
= 10
0e
= 12
0q.
= 50
q. =
56q.
= 60
Ch
rom
atic
sca
les
q = 8
8q =
100
q = 1
12q =
120
Dom
. & D
im. 7
ths
q = 8
8q =
96
q = 1
12q =
120
q = 1
40
Scal
es in
3rd
s/br
oken
3rd
s,
6th
s, 8
ves
& w
hol
e-to
ne
scal
esq =
92
q = 1
26q =
138
Bro
ken
ch
ords
q = 1
12q =
160
q = 2
00
Ch
rom
atic
sca
les
in m
inor
3rd
s/br
oken
min
or 3
rds
q = 1
00q =
120
* A
ll sp
eed
s re
late
to th
e rh
yth
mic
gro
up
ing ii
iq ,
exce
pt fo
r ar
peg
gios
, wh
ere ii
q ap
plie
s.
The following speeds are given as a general guide:
3. Percussion Syllabus from 2020
24
3. Percussion Syllabus from 2020 Practical Grades
Sight-reading parameters
The tables on pages 24–26 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 19.
Snare DrumAll tests are written on a five-line stave.
Length (bars)
Time Other features that may be included
Grade 1 4 4 ⁄ 4 3 ⁄ 4
• h q iq iiiq jjjq ijq jiq• Ε f and p6 2 ⁄ 4
Grade 2 • q . e• tied notes• ä• mf and cresc. hairpins• grace notes
Grade 3 3 ⁄ 8 • dotted quaver patterns• simple syncopation• rolls (r)• accents• mp and dim. hairpins
Grade 4 6 ⁄ 8 • anacrusis• triplets• pause signs
Grade 5 • slowing of tempo at end• ff and pp
Grade 6 9 ⁄ 8 5 ⁄ 8 5 ⁄ 4
• changes of time signature• slowing of tempo followed by a tempo
Grade 7 7 ⁄ 8 7 ⁄ 4
• demisemiquavers
Grade 8 max c. 28 12 ⁄ 8 • acceleration of tempo• playing on rim
Len
gth
s gr
ad
ual
ly in
crea
se
3. Percussion Syllabus from 2020
25
Practical Grades 3. Percussion Syllabus from 2020
TimpaniNo retuning of drums is required within a test at any grade.
Length (bars)
Time Drums Other features that may be included
Grade 1 4 4 ⁄ 4 3 ⁄ 4
• 2 drums• in: A & d
• h q iq iiiq jjjq ijq jiq• Ε intervals of a perfect 4th• f and p
6 2 ⁄ 4
Grade 2 • w h . q . e• tied notes• cresc. hairpins
Grade 3 3 ⁄ 8 • 2 drums• from: G, A, c, d
• dotted quaver patterns• ä• intervals of a perfect 5th• rolls ( )• accents• mf and dim. hairpins
Grade 4 6 ⁄ 8 • anacrusis• grace notes• pause signs• mp
Grade 5 • 2 drums• from: F–f
• simple syncopation• slowing of tempo at end• fp rolls
Grade 6 9 ⁄ 8 5 ⁄ 8 5 ⁄ 4
• 2 or 3 drums • changes of time signature• triplets• swung style• intervals of a major/minor 2nd, 3rd, 6th & 7th,
and perfect 8ve• double stops• slowing of tempo followed by a tempo• ff and pp
Grade 7 7 ⁄ 8 7 ⁄ 4 C
• 3 drums
Grade 8 max c. 28 12 ⁄ 8 4 ⁄ 8
• duplets• acceleration of tempo
Len
gth
s gr
ad
ual
ly in
crea
se
26
3. Percussion Syllabus from 2020 Practical Grades
Tuned PercussionAll tests are written on a single treble stave, with no more than two mallets required at any grade.
Length (bars)
Time Keys & Range Other features that may be included
Grade 1 4 4 ⁄ 4 3 ⁄ 4
• C, F majors• d′–g″
• h q iq iiiq• Ε f and mf6 2 ⁄ 4
Grade 2 • G major A minor
• q . e• tied notes• • mp and cresc. hairpins
Grade 3 3 ⁄ 8 • D minor• c′–c‴
• simple semiquaver patterns• dotted quaver patterns• ä• accidentals (within minor keys only)• rolls (r)• accents• p and dim. hairpins
Grade 4 6 ⁄ 8 • E - major B minor
• g–c‴
• anacrusis• chromatic notes• 2-note chords• pause signs
Grade 5 • B-, D, A majors G, E minors
• simple syncopation• slowing of tempo at end• ff and pp
Grade 6 9 ⁄ 8 5 ⁄ 8 5 ⁄ 4
• A-, E majors C, F+ minors
• f–d‴
• changes of time signature• triplets• swung style• grace notes• slowing of tempo followed by a tempo
Grade 7 7 ⁄ 8 7 ⁄ 4
• F, C+ minors
Grade 8 max c. 28 12 ⁄ 8 • D -, B majors• f–g‴
• acceleration of tempo
Len
gth
s gr
ad
ual
ly in
crea
se
27
Practical Grades 3. Percussion Syllabus from 2020
Symbols used in the repertoire lists
The symbols explained in this table are used in the repertoire lists on the following pages. See pages 12–16 for further information.
All subjects
at least one of the marked pieces must be played
has piano accompaniment (required)
has percussion accompaniment (required)
or has piano and percussion accompaniment (one is required)
Snare Drum
MULTI for multi-percussion
Timpani
3D three drums required
4D four drums required
RETUNE contains retuning
PED requires pedal drum(s)
Tuned Percussion
4M four mallets required
MAR must be played on marimba
XYL must be played on xylophone
VIB must be played on vibraphone
3. Percussion Syllabus from 2020
55
Practical Grades Percussion (Combined) from 2020Percussion (Combined) from 2020
GRADE 1
THREE PIECES: one chosen by the candidate from each of the three Lists, A (Snare Drum), B (Timpani) and C (Tuned Percussion); for further details see pages 15–17
Candidates must choose at least one piece marked
SNARE DRUM
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 Kevin Hathway
Tandem low tom
Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)
2 William Edwards
Step ’n’ March Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)
3 Jan Bradley Mind the Gap Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)
4 David Hext Madison March Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)
5 Zara Nunn Journeying Home from the Hills Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)
6 Keith Bartlett Three and Easy?! (No. 42 from 50 Short Pieces for Snare Drum)
Keith Bartlett: 50 Short Pieces for Snare Drum (UMP)
7 Peter R. Birkby Fanfarette (from Dozens of Duets for Drums, Book 3)
unpitched percussion
Peter R. Birkby: Dozens of Duets for Drums, Book 3 (Peter R. Birkby)
8 Richard Charles
Chicken and Chips (from Beat This!) Richard Charles: Beat This! (Southern Percussion)
9 Jan Faulkner Charlie’s Caterpillar Jan Faulkner: Simply Seven (Southern Percussion)
10 Edward Freytag
Just a Little Bit Just Desserts (Row-Loff Productions)
TIMPANI
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 Simon Archer March Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)
2 Cameron Sinclair
Ceremonial Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)
3 Andrea Vogler Yeti Dance Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)
4 David Hext Tumbledown Mountain tenor drum or low tom
Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)
5 Ian Wright Baroque Notes Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)
6 Carol Barratt Alpenstock Bravo! Percussion, Book 1 (Boosey & Hawkes)
7 Matthew Hardy
Majestic March play bb. 11–14 as written or snare drum
Concert and Audition Pieces for the Young Percussionist (Southern Percussion)
8 Hochrainer Etude No. 8 (from Etudes for Timpani, Vol. 1) Hochrainer: Etudes for Timpani, Vol. 1 (Doblinger)
9 Knauer Exercise No. 3 in C (from 85 Exercises for Timpani)
P. 3 No. 3 from Knauer: 85 Exercises for Timpani (Hofmeister)
10 Andrea Vogler Gilda’s Party low tom-tom
Andrea Vogler: Gilda’s Party (Southern Percussion)
A
B
with percussion accompaniment, as specified with piano accompaniment
56
Percussion (Combined) from 2020 Grade 1 Practical Grades
TUNED PERCUSSION
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 Lizzie Davis Tightrope Tricks (d′–g″)
Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)
2 Alex Neal Smooov (d′–g″)
Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)
3 Zara Nunn Tiptoe on the Ice (c′–f″)
Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)
4 Arthur C. Lipner
Morning Sunlight (b–c″) or marimba
Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)
5 Andrew J. Smith
The Soldier’s Return (d′–f″)
Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)
6 Anon. Dona nobis pacem, arr. Sewrey, Hans & Schneller (c′–d″)
Modern School for Mallet-Keyboard Instruments (Hal Leonard)
7 Peter R. Birkby Clocking On (from Dozens of Duets for Keyboard Percussion, Book 1) (g′–b″) separate tuned percussion
Peter Birkby: Dozens of Duets for Keyboard Percussion, Book 1 (Peter Birkby)
8 Jan Faulkner Crazy Cowboy (c′–c″)
Jan Faulkner: Simply Seven (Southern Percussion)
9 Nebojša Jovan Živković
Polka (No. 2 from My First Book for Xylophone and Marimba) (c′–a′) or marimba
Nebojša Jovan Živković: My First Book for Xylophone and Marimba (Gretel Verlag)
10 Nebojša Jovan Živković
Walzer (No. 3 from My First Book for Xylophone and Marimba) without D.C. (c′–c″) or marimba
Nebojša Jovan Živković: My First Book for Xylophone and Marimba (Gretel Verlag)
TECHNICAL REQUIREMENTS: one of the following options, chosen by the candidate• Snare Drum – Study A and Study B• Timpani – Study A and Study B• Tuned Percussion – Scales and arpeggios (see below)
For further details see pages 17–19
SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 19 & 21–23
RANGE REQUIREMENTS
SCALES
C, F, G majors
1 oct. hand to hand; even notesA, D, E minors (natural or harmonic or melodic, at candidate’s choice)
ARPEGGIOS
C, F, G majors1 oct. hand to hand; even notes
A, D, E minors
SIGHT-READING: a short piece of previously unseen music. The examiner will choose to give either a Snare Drum, Timpani or Tuned Percussion test. For further details see pages 19 & 24–26
AURAL TESTS: given by the examiner from the piano; for further details see pages 75 & 76
C
57
Practical Grades Percussion (Combined) from 2020
GRADE 2
THREE PIECES: one chosen by the candidate from each of the three Lists, A (Snare Drum), B (Timpani) and C (Tuned Percussion); for further details see pages 15–17
Candidates must choose at least one piece marked
SNARE DRUM
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 Peter R. Birkby Fantastic Clock woodblock
Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)
2 Jan Bradley Smoothly Does It Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)
3 Damien Harron
March of the Octopus Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)
4 Kevin Hathway
Vector Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)
5 Alex Neal Swaggerit Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)
6 Keith Bartlett Fives Alive! (No. 44 from 50 Short Pieces for Snare Drum)
Keith Bartlett: 50 Short Pieces for Snare Drum (UMP)
7 Gert Bomhof Father and Son (from 21 Solos for Snare Drum) Gert Bomhof: 21 Solos for Snare Drum (De Haske)
8 Richard Charles
Spicy Noodles (from Beat This!) snare drum
Richard Charles: Beat This! (Southern Percussion)
9 Edward Freytag
The Witch is Dead! Just Desserts (Row-Loff Productions)
10 James L. Moore
Du-Du-Bubba (No. 18 from Solo Time for the Intermediate Snare Drummer)
James L. Moore: Solo Time for the Intermediate Snare Drummer (Per-Mus Publications)
TIMPANI
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 Peter R. Birkby The Haunted Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)
2 Rachel Gledhill
Tribal Dance Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)
3 Andrew J. Smith
Space Race Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)
4 Andrea Vogler What’s for Tea Tonight? low tom
Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)
5 Nick Woud The Guard Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)
6 Carol Barratt Flight Past Bravo! Percussion, Book 2 (Boosey & Hawkes)
7 Gert Bomhof Fanfaria (No. 1 from Solo Pieces for Timpani) Gert Bomhof: Solo Pieces for Timpani (De Haske)
8 Jan Faulkner Ship Ahoy Jan Faulkner: Simply Seven (Southern Percussion)
9 Matthew Hardy
Waltz for Jan or vibraphone
Concert and Audition Pieces for the Young Percussionist (Southern Percussion)
10 Hochrainer Etude No. 18 (from Etudes for Timpani, Vol. 1) Hochrainer: Etudes for Timpani, Vol. 1 (Doblinger)
A
B
with percussion accompaniment, as specified with piano accompaniment
58
Percussion (Combined) from 2020 Grade 2 Practical Grades
TUNED PERCUSSION
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 Clive Malabar Sea Blues (c′–f″)
Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)
2 Alan Bullard Summer Sunshine (g′–b-″) separate tuned percussion
Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)
3 Cameron Sinclair
Turn the Key, Unlock the Door (c′–e″)
Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)
4 Alex Neal Blue Stix (c′–g″)
Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)
5 Andrew J. Smith
Winter’s Night (g′–g″)
Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)
6 attrib. J. S. Bach
Minuet in G, arr. Moore if glock: without rolls (d′–b″)
Bach for Marimba (Kendor Music)
7 J. S. Bach Polonaise, arr. Whaley with first repeat; if glock: without rolls (g–g″)
Fundamental Studies for Mallets (Joel Rothman Publications)
8 Tchaikovsky The New Doll, arr. Whaley without rolls (f ′–b-″)
Fundamental Studies for Mallets (Joel Rothman Publications)
9 Haydn Two German Dances, arr. Houllif without rolls (a–b″)
Melodic Mallets (Kendor Music)
10 David Hext Church Ope Waltz (c′–f″)
David Hext: Church Ope Waltz (Southern Percussion)
TECHNICAL REQUIREMENTS: one of the following options, chosen by the candidate• Snare Drum – Study A and Study B• Timpani – Study A and Study B• Tuned Percussion – Scales and arpeggios (see below)
For further details see pages 17–19
SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 19 & 21–23
RANGE REQUIREMENTS
SCALES
F, G, B-, D majors
1 oct. hand to hand; even notesD, E, G, B minors (natural or harmonic or melodic, at candidate’s choice)
ARPEGGIOS
F, G, B-, D majors1 oct. hand to hand; even notes
D, E, G, B minors
SIGHT-READING: a short piece of previously unseen music. The examiner will choose to give either a Snare Drum, Timpani or Tuned Percussion test. For further details see pages 19 & 24–26
AURAL TESTS: given by the examiner from the piano; for further details see pages 75 & 77
C
59
Practical Grades Percussion (Combined) from 2020
GRADE 3
THREE PIECES: one chosen by the candidate from each of the three Lists, A (Snare Drum), B (Timpani) and C (Tuned Percussion); for further details see pages 15–17
Candidates must choose at least one piece marked
SNARE DRUM
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 William Edwards
Out of Line Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)
2 Rachel Gledhill
Jazz Waltz for Two MULTI low tom
Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)
3 Kevin Hathway
Stick Insect low tom
Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)
4 David Hext Tango Twister Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)
5 Zara Nunn Clock-watching Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)
6 Keith Bartlett Spanish Accents (No. 47 from 50 Short Pieces for Snare Drum)
Keith Bartlett: 50 Short Pieces for Snare Drum (UMP)
7 Gert Bomhof Little March & Dance (from 21 Solos for Snare Drum)
Gert Bomhof: 21 Solos for Snare Drum (De Haske)
8 Edward Freytag
What a Drag! with repeats Just Desserts (Row-Loff Productions)
9 John Pollard Good Times (from Shazam!) John Pollard: Shazam! (Row-Loff Productions)
10 Wolfgang Sonntag
Alternativo (No. 1 from Magic Sticks) tenor drum
Wolfgang Sonntag: Magic Sticks (Zimmermann)
TIMPANI
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 Jan Bradley Arriving in Style snare drum or low tom
Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)
2 Lizzie Davis Waltz of the Warlocks Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)
3 Damien Harron
Tresillo Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)
4 Ian Wright Bouncing Beethoven Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)
5 Andrew J. Smith
Celebration Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)
6 Gert Bomhof Galop (No. 4 from Solo Pieces for Timpani) Gert Bomhof: Solo Pieces for Timpani (De Haske)
7 Kirk J. Gay Etude 6 (from Pedal to the Kettle) Kirk J. Gay: Pedal to the Kettle (Tapspace)
8 Matthew Hardy
Fiesta Concert and Audition Pieces for the Young Percussionist (Southern Percussion)
9 Murray Houllif Cowboy Town (No. 4 from Rhythmicity) Murray Houllif: Rhythmicity (Kendor Music)
10 Murray Houllif Hills of Home (No. 6 from Rhythmicity) with repeats
Murray Houllif: Rhythmicity (Kendor Music)
A
B
with percussion accompaniment, as specified with piano accompaniment
60
Percussion (Combined) from 2020 Grade 3 Practical Grades
TUNED PERCUSSION
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 Alan Bullard Spring Awakening (e′–b″)
Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)
2 David Hext Spicy Sauce (c′–a″) untuned percussion
Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)
3 William Edwards
After Dark (c′–c‴)
Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)
4 Arthur C. Lipner
Swing Steps (c′–b-″)
Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)
5 Cameron Sinclair
Spiral (c′–c‴)
Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)
6 G. Bruce & D. Emmett
The Downfall of Paris, arr. Sewrey, Hans & Schneller (d′–b″)
Modern School for Mallet-Keyboard Instruments (Hal Leonard)
7 Napier Raggedy Ragtime Rag, arr. Sewrey, Hans & Schneller with repeats (f ′–b-″)
Modern School for Mallet-Keyboard Instruments (Hal Leonard)
8 Gounod Funeral March of a Marionette, arr. Balent (a–d″)
Classical Solos for Mallets (Ludwig Masters)
9 Mozart Allegro, arr. Whaley with first repeat (c″–c‴) separate tuned percussion
P. 33 from Musical Studies for the Intermediate Mallet Player (Meredith Music)
10 Nebojša Jovan Živković
Holzschuh – Tanz (No. 11 from My First Book for Xylophone and Marimba) with repeats (a–e″) or marimba
Nebojša Jovan Živković: My First Book for Xylophone and Marimba (Gretel Verlag)
TECHNICAL REQUIREMENTS: one of the following options, chosen by the candidate• Snare Drum – Study A and Study B• Timpani – Study A and Study B• Tuned Percussion – Scales and arpeggios (see below)
For further details see pages 17–19
SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 19 & 21–23
RANGE REQUIREMENTS
SCALES
B-, D, E-, A majors2 oct. hand to hand; even notesG, B, C, F+ minors
(harmonic or melodic, at candidate’s choice)
CHROMATIC SCALE
starting on C 1 oct. hand to hand; even notes
ARPEGGIOS
B-, D, E-, A majors2 oct. hand to hand; even notes
G, B, C, F+ minors
SIGHT-READING: a short piece of previously unseen music. The examiner will choose to give either a Snare Drum, Timpani or Tuned Percussion test. For further details see pages 19 & 24–26
AURAL TESTS: given by the examiner from the piano; for further details see pages 75 & 77–78
C
61
Practical Grades Percussion (Combined) from 2020
GRADE 4
THREE PIECES: one chosen by the candidate from each of the three Lists, A (Snare Drum), B (Timpani) and C (Tuned Percussion); for further details see pages 15–17
SNARE DRUM
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 Alan Bullard Sarabande and Gigue Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)
2 Damien Harron
Gigue Gig MULTI cowbell & low tom
Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)
3 Kevin Hathway
Super Samba MULTI low tom
Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)
4 Cameron Sinclair
Marche Cassé Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)
5 Zara Nunn Dodging the Cracks in the Pavement Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)
6 Fred Albright Study No. 3 (from Contemporary Studies for the Snare Drum)
Fred Albright: Contemporary Studies for the Snare Drum (Alfred)
7 Ted Atkatz For Aaron (No. 3 from Tributes for Snare Drum) Ted Atkatz: Tributes for Snare Drum (Row-Loff Productions)
8 Richard Charles
Mickey (from Beat This!) MULTI 3 tom-toms (no snare drum)
Richard Charles: Beat This! (Southern Percussion)
9 Murray Houllif It’s Rudimental (No. 2 from Multiplicities) with D.C., without repeats MULTI tenor drum or small tom
Murray Houllif: Multiplicities (Kendor Music)
10 Weinberger The Phantom Drummer Solos for the Percussion Player (G. Schirmer)
TIMPANI
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 Adrian Bending
D ’n’ A Test Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)
2 Peter R. Birkby Fanfare and Procession Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)
3 Nick Woud Checkers 3D RETUNE
Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)
4 David Hext Dogfight Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)
5 Adrian Sutcliffe
Boil the Kettle Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)
6 Gert Bomhof Changing Meters I (No. 7 from Solo Pieces for Timpani)
Gert Bomhof: Solo Pieces for Timpani (De Haske)
7 Matthew Hardy
Cha Cha Challenge 3D
Concert and Audition Pieces for the Young Percussionist (Southern Percussion)
8 Hochrainer Etude No. 37 (from Etudes for Timpani, Vol. 2) Hochrainer: Etudes for Timpani, Vol. 2 (Doblinger)
9 Murray Houllif Rock and Roll (No. 7 from Rhythmicity) with repeats 3D
Murray Houllif: Rhythmicity (Kendor Music)
10 Brian Slawson Copper Rocks (from Dynamic Solos for Timpani) 3D RETUNE
Brian Slawson: Dynamic Solos for Timpani (Alfred)
A
B
with percussion accompaniment, as specified with piano accompaniment
62
Percussion (Combined) from 2020 Grade 4 Practical Grades
TUNED PERCUSSION
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 Alan Bullard Night Ride (c′–c‴)
Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)
2 William Edwards
Gladius (g+–g+″)
Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)
3 Rachel Gledhill
Star Gazing if mar/xyl: with ossias (g+–b″)
Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)
4 Zara Nunn Snow Day (c′–b-″)
Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)
5 Ney Rosauro Minor Journey (a–c‴)
Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)
6 J. S. Bach Two-Part Invention in A minor, arr. Sewrey, Hans & Schneller (g–c‴)
Modern School for Mallet-Keyboard Instruments (Hal Leonard)
7 Joplin Rag Time Dance, arr. Cowles (g′–f ‴)
Joplin: Ragtime Favourites – Mallets (Fentone)
8 Pitfield Intermezzo (2nd movt from Sonata for Xylophone Solo) (g–e‴)
Pitfield: Sonata for Xylophone Solo (Peters)
9 Senaillé Allegro, arr. Weijmans (d′–b-″)
Masters on Marimba (De Haske)
10 Ivo Weijmans Tango per due (No. 12 from Mallet Minded) (g′–c‴) separate tuned percussion
Ivo Weijmans: Mallet Minded (De Haske)
TECHNICAL REQUIREMENTS: one of the following options, chosen by the candidate• Snare Drum – Study A and Study B• Timpani – Study A and Study B• Tuned Percussion – Scales and arpeggios (see below)
For further details see pages 17–19
SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 19 & 21–23
RANGE REQUIREMENTS
SCALES
E-, A, A-, E majors2 oct. hand to hand; even notesC, F+, F, C+ minors
(harmonic or melodic, at candidate’s choice)
CHROMATIC SCALE
starting on C+ 2 oct. hand to hand; even notes
ARPEGGIOS
E-, A, A-, E majors2 oct. hand to hand; even notes
C, F+, F, C+ minors
DOMINANT SEVENTHS (resolving on tonic)
in the keys of A and E- 1 oct. hand to hand; even notes
SIGHT-READING: a short piece of previously unseen music. The examiner will choose to give either a Snare Drum, Timpani or Tuned Percussion test. For further details see pages 19 & 24–26
AURAL TESTS: given by the examiner from the piano; for further details see pages 75 & 78
C
63
Practical Grades Percussion (Combined) from 2020
GRADE 5
THREE PIECES: one chosen by the candidate from each of the three Lists, A (Snare Drum), B (Timpani) and C (Tuned Percussion); for further details see pages 15–17
SNARE DRUM
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 Jan Bradley On-Off-On MULTI high bongo & low bongo
Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)
2 Peter R. Birkby Into a Vortex Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)
3 Rachel Gledhill
On a Mission Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)
4 Alex Neal Stamping Ground Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)
5 Cameron Sinclair
Vaya Puente MULTI cowbell
Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)
6 Ted Atkatz For Maurice (No. 18 from Tributes for Snare Drum)
Ted Atkatz: Tributes for Snare Drum (Row-Loff Productions)
7 Gert Bomhof Raggedy Rhythm (from 21 Solos for Snare Drum)
Gert Bomhof: 21 Solos for Snare Drum (De Haske)
8 William Kraft Allemande (No. 1 from French Suite) MULTI high & low snare, field & tenor drum
William Kraft: French Suite for Percussion Solo (Presser)
9 John O’Reilly Introduction and Rondo Solos for the Percussion Player (G. Schirmer)
10 John Pollard Oh Well! (from Shazam!) MULTI muted tom, cymbal & cowbell
John Pollard: Shazam! (Row-Loff Productions)
TIMPANI
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 Alan Bullard Rising from the Deep 3D RETUNE
Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)
2 William Edwards
Conflict 3D
Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)
3 Rachel Gledhill
A Storm in a Teacup 3D PED RETUNE
Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)
4 Dani Howard R E V S 3D
Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)
5 Ian Wright Russian Galop RETUNE
Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)
6 Berlioz, arr.Matthew Hardy
Simply Fantastique with repeat 3D RETUNE
Concert and Audition Pieces for the Young Percussionist (Southern Percussion)
7 Knauer Exercise No. 20 in F (from 85 Exercises for Timpani) RETUNE or 3D
P. 19 No. 20 from Knauer: 85 Exercises for Timpani (Hofmeister)
8 Muczynski Allegro moderato (No. 1 from Three Designs for Three Timpani, Op. 11 No. 2) 3D PED RETUNE
Muczynski: Three Designs for Three Timpani, Op. 11 No. 2 (G. Schirmer) or Solos for the Percussion Player (G. Schirmer)
9 Garwood Whaley
Statement for Timpani 3D
Garwood Whaley: Statement for Timpani (Meredith Music)
10 Nick Woud Study No. 5 (from Symphonic Studies for Timpani)
Nick Woud: Symphonic Studies for Timpani (De Haske)
A
B
with piano accompaniment
64
Percussion (Combined) from 2020 Grade 5 Practical Grades
TUNED PERCUSSION
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 Damien Harron
Leap-Frog Funk (a-–e-‴)
Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)
2 Bernard Hughes
Habanera (a–e‴)
Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)
3 Jill Jarman Carnival (g–f ‴)
Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)
4 Zara Nunn Afternoon Sorcery (a-–c‴)
Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)
5 Ney Rosauro Brazilian Dance (g–e″) 4M
Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)
6 J. S. Bach Gigue (from Partita No. 3), arr. Whaley (a–b″)
Recital Pieces for Mallets (Meredith Music)
7 Breuer (and Anderson & Spivack)
Rag Doll Rag (from Harry Breuer’s Ragtime Solos) with grace notes (f +–f ‴)
Harry Breuer’s Ragtime Solos (Meredith Music)
8 Humperdinck Evening Prayer, arr. Pimental & Moore (c–a‴) 4M
The Solo Marimbist, Vol. 2 (Per-Mus Publications)
9 Arthur C. Lipner
Second Wind (Abridged Version) (from Places to Visit) (f–d‴)
Arthur C. Lipner: Places to Visit (Southern Percussion)
10 Pitfield Reel (3rd movt from Sonata for Xylophone Solo) (g–e‴) 4M
Pitfield: Sonata for Xylophone Solo (Peters)
11 Chris Stock “Jasmine” on the Breeze (from Cross Sticks) (f +–f ‴) 4M
Chris Stock: Cross Sticks (Woodsmoor Press)
TECHNICAL REQUIREMENTS: one of the following options, chosen by the candidate• Snare Drum – Study A and Study B• Timpani – Study A and Study B• Tuned Percussion – Scales and arpeggios (see next page)
For further details see pages 17–19
SIGHT-READING: a short piece of previously unseen music. The examiner will choose to give either a Snare Drum, Timpani or Tuned Percussion test. For further details see pages 19 & 24–26
AURAL TESTS: given by the examiner from the piano; for further details see pages 75 & 79
C
65
Practical Grades Percussion (Combined) from 2020 Grade 5
SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 19 & 21–23
RANGE REQUIREMENTS
SCALES
A-, E, D-, B, F+ majors2 oct. hand to hand; even notesF, C+, B-, G+, E- minors
(harmonic or melodic, at candidate’s choice)
CHROMATIC SCALE
starting on A- 2 oct. hand to hand; even notes
ARPEGGIOS
A-, E, D-, B, F+ majors2 oct. hand to hand; even notes
F, C+, B-, G+, E- minors
DOMINANT SEVENTHS (resolving on tonic)
in the keys of A- and E 1 oct. hand to hand; even notes
DIMINISHED SEVENTH
starting on B 1 oct. hand to hand; even notes
66
Percussion (Combined) from 2020 Practical Grades
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.
THREE PIECES: one chosen by the candidate from each of the three Lists, A (Snare Drum), B (Timpani) and C (Tuned Percussion); for further details see pages 15–17
SNARE DRUM
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 Ted Atkatz For Fripp (No. 14 from Tributes for Snare Drum) Ted Atkatz: Tributes for Snare Drum (Row-Loff Productions)
2 Colgrass Allegro con spirito (No. 1 from Unaccompanied Solos for Snare Drum)
No. 1 from Colgrass: Six Unaccompanied Solos for Snare Drum (Alfred) or P. 4 from Solos for the Percussion Player (G. Schirmer)
3 John O’Reilly Fireworks MULTI 2 tom-toms, cymbal, bass drum with pedal
Solos for the Percussion Player (G. Schirmer)
4 Brett William Dietz
Abduction (No. 5 from Reflex) MULTI cowbell & high tom-tom
Brett William Dietz: Reflex (C. Alan Publications)
5 Murray Houllif Tribalism (No. 7 from Multiplicities) MULTI small, medium, large tom & cowbell
Murray Houllif: Multiplicities (Kendor Music)
6 Jill Jarman New Orleans Sunrise Principal Percussion (ABRSM)
7 Keith Larson Study No. 25 (from Artistic Studies for Snare Drum)
Keith Larson: Artistic Studies for Snare Drum (C. Alan Publications)
8 David Mancini Celebration MULTI 4 concert tom-toms (no snare drum)
David Mancini: Celebration (Per-Mus Publications)
9 Wolfgang Sonntag
The Crazy Snare Drum (No. 19 from Magic Sticks) with repeats at bb. 4 & 28
Wolfgang Sonntag: Magic Sticks (Zimmermann)
10 Garwood Whaley
Essay for Snare Drum Garwood Whaley: Essay for Snare Drum (Meredith Music)
TIMPANI
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 Gert Bomhof Changing Meters II (No. 12 from Solo Pieces for Timpani) 3D
Gert Bomhof: Solo Pieces for Timpani (De Haske)
2 Bill Cahn Canzone (from Six Concert Pieces for Solo Timpani) 3D PED RETUNE
Bill Cahn: Six Concert Pieces for Solo Timpani (Meredith Music)
3 S. Fink Rockin’ Timpani (No. 8 from Solobook for Timpani, Vol. 1) 4D
S. Fink: Solobook for Timpani, Vol. 1 (Simrock)
4 George Frock Opening Toccata (No. 1 from Seven Solo Dances for the Advanced Timpanist) 4D
George Frock: Seven Solo Dances for the Advanced Timpanist (Southern Music)
5 Murray Houllif March Triumphant with repeats 4D PED RETUNE
Murray Houllif: March Triumphant (Kendor Music)
6 A. Ridout Movement I (from Sonatina for Timpani) 4D
A. Ridout: Sonatina for Timpani (Boosey & Hawkes)
7 Cameron Sinclair
Kontretanz (from 3 Tanzen) 3D PED RETUNE
Cameron Sinclair: 3 Tanzen (Scottish Music Centre)
A
B
with piano accompaniment
67
Practical Grades Percussion (Combined) from 2020 Grade 6
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
8 Brian Slawson Paukenstein (from Dynamic Solos for Timpani) 3D PED RETUNE
Brian Slawson: Dynamic Solos for Timpani (Alfred)
9 Nick Woud First Call 3D RETUNE
Principal Percussion (ABRSM)
10 Nick Woud Study No. 20 (from Symphonic Studies for Timpani) 4D PED RETUNE
Nick Woud: Symphonic Studies for Timpani (De Haske)
TUNED PERCUSSION
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 J. S. Bach Prelude (from Partita No. 3 for Violin Solo), arr. Sewrey, Hans & Schneller (g+–e‴) MAR/XYL
Modern School for Mallet-Keyboard Instruments (Hal Leonard)
2 J. S. Bach Prélude (from Suite No. 1 in G, BWV 1007), trans. Stevens (C–g′) MAR 4M
J. S. Bach: Six Suites for Marimba (Keyboard Percussion Publications)
3 Chris Baron Mucho Gusto (b–e‴) MAR
Principal Percussion (ABRSM)
4 G. H. Green Jovial Jasper (g+–e‴) XYL
George Hamilton Green’s Xylophone Rags (Meredith Music)
5 Arthur C. Lipner
Caribé Vibe (Abridged Version) (from Places to Visit) (f–f ‴) VIB 4M
Arthur C. Lipner: Places to Visit (Southern Percussion)
6 Miyoshi Tender Talk (No. 1 from Conversation: Suite for Marimba) with repeats (c′–b‴) MAR 4M
Modern Japanese Marimba Pieces 2 (Ongaku)
7 Ney Rosauro My Dear Friend (from Vibes Etudes and Songs) (f +–e‴) VIB 4M
Ney Rosauro: Vibes Etudes and Songs (2nd edition) (Pro Percussao)
8 Ney Rosauro Prelúdio No. 1 Mi menor (from Three Preludes for Solo Marimba) with repeats, without D.S. (go to 5th bar of coda) (A–g‴) MAR 4M
Ney Rosauro: Three Preludes for Solo Marimba (Pro Percussao)
9 Cameron Sinclair
Tarantella (d–d-‴) MAR/XYL
Cameron Sinclair: Tarantella (Scottish Music Centre)
10 Nebojša Jovan Živković
Johnny’s Shuffle (from Funny Marimba, Book 2) (G–b″) MAR 4M
Nebojša Jovan Živković: Funny Marimba, Book 2 (Gretel Verlag)
11 Nebojša Jovan Živković
Macedonia with repeats (f–b-″) MAR
Nebojša Jovan Živković: Macedonia (Studio 4 Music)
TECHNICAL REQUIREMENTS: one of the following options, chosen by the candidate• Snare Drum – Study A and Study B• Timpani – Study A and Study B• Tuned Percussion – Scales and arpeggios (see next page)
For further details see pages 17–19
SIGHT-READING: a short piece of previously unseen music. The examiner will choose to give either a Snare Drum, Timpani or Tuned Percussion test. For further details see pages 19 & 24–26
AURAL TESTS: given by the examiner from the piano; for further details see pages 75 & 80
C
68
Percussion (Combined) from 2020 Grade 6 Practical Grades
SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 19 & 21–23
RANGE REQUIREMENTS
SCALES IN THIRDS
D, F, A-, B majors2 oct. even notes
D, F, G+, B harmonic minors
SCALES IN OCTAVES
D, F, G+, B melodic minors 1 oct. even notes
CHROMATIC SCALE
starting on E 2 oct. hand to hand; even notes
BROKEN CHORDS
D, F, A-, B majors2 oct. hand to hand; even notes, as example on page 22
D, F, G+, B minors
DOMINANT SEVENTHS (resolving on tonic)
in the keys of D, F, A- and B 2 oct. hand to hand; even notes
DIMINISHED SEVENTH
starting on D 2 oct. hand to hand; even notes
69
Practical Grades Percussion (Combined) from 2020
GRADE 7
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.
THREE PIECES: one chosen by the candidate from each of the three Lists, A (Snare Drum), B (Timpani) and C (Tuned Percussion); for further details see pages 15–17
SNARE DRUM
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 W. Benson Cretan Dance (No. 1 from Three Dances for Solo Snare Drum)
W. Benson: Three Dances for Solo Snare Drum (Hal Leonard)
2 James Campbell
Taiko with repeats, without D.S. MULTI low, medium, high drum & cymbals (no snare drum)
Music for Multi-Percussion: A World View (Alfred)
3 Anthony J. Cirone
Study No. 32 (from Portraits in Rhythm) Anthony J. Cirone: Portraits in Rhythm (Alfred)
4 Guy G. Gauthreaux II
Movement IV (from American Suite) Guy G. Gauthreaux II: American Suite (Meredith Music)
5 Rachel Gledhill
Battercada MULTI 2 drums
Rachel Gledhill: Battercada (Southern Percussion)
6 William Kraft Prelude (Part 1 from English Suite) MULTI bass, tenor, field drum & bongos
William Kraft: English Suite (Alfred)
7 Clive Malabar Up Sticks Principal Percussion (ABRSM)
8 Cameron Sinclair
Zonal I MULTI bongos & tom-tom
Cameron Sinclair: Zonal I (Scottish Music Centre)
9 Wilcoxon The New Downfall (from Modern Rudimental Swing Solos) with repeats
Wilcoxon: Modern Rudimental Swing Solos (Ludwig Masters)
10 Wilcoxon Swinging the “26” (from Modern Rudimental Swing Solos)
Wilcoxon: Modern Rudimental Swing Solos (Ludwig Masters)
TIMPANI
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 Bill Cahn Etude (from Six Concert Pieces for Solo Timpani) 4D
Bill Cahn: Six Concert Pieces for Solo Timpani (Meredith Music)
2 Raynor Carroll Prelude 4D PED RETUNE
Exercises, Etudes and Solos for the Timpani (Batterie Music)
3 Peter Evans Shades of Bartók 4D PED RETUNE
Peter Evans: Shades of Bartók (Southern Percussion)
4 Kirk J. Gay Rock of the 80’s (from Pedal to the Kettle) 4D PED RETUNE
Kirk J. Gay: Pedal to the Kettle (Tapspace)
5 Stravinsky, arr. Matthew Hardy
Rite of Passage with repeats 3D PED RETUNE may be played on 4 drums without retune
Concert and Audition Pieces for the Young Percussionist (Southern Percussion)
6 David Mancini Flower City Funk 4D PED RETUNE
David Mancini: Flower City Funk (Kendor Music)
7 A. Ridout Movement III (from Sonatina for Timpani) 4D
A. Ridout: Sonatina for Timpani (Boosey & Hawkes)
8 Cameron Sinclair
Feuertanz (from 3 Tanzen) 4D PED RETUNE
Cameron Sinclair: 3 Tanzen (Scottish Music Centre)
9 Nick Woud Study No. 9 (from The Timpani Challenge) 4D PED RETUNE
Nick Woud: The Timpani Challenge (Pustjens Percussion)
10 Ian Wright Spring Fever 4D RETUNE
Principal Percussion (ABRSM)
A
B
with piano accompaniment
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Percussion (Combined) from 2020 Grade 7 Practical Grades
TUNED PERCUSSION
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 J. S. Bach Presto (from Sonata in G minor), arr. Moore (g–d‴) MAR/XYL/VIB
Bach for Marimba (Kendor Music)
2 J. S. Bach Sarabande (from Partita No. 2), arr. Whaley (g–b-″) MAR/VIB 4M
Recital Pieces for Mallets (Meredith Music)
3 Breuer (and Anderson & Spivack)
Waltz in Ragtime (from Harry Breuer’s Ragtime Solos) (f +–g‴) MAR/XYL/VIB
Harry Breuer’s Ragtime Solos (Meredith Music)
4 Pius Cheung Prelude in G minor (A–g‴) MAR 4M
Pius Cheung: Prelude in G minor (Pius Cheung)
5 Daquin Cou-Cou, arr. E. & I. Finkel (b–d‴) XYL
Ian Finkel’s Classical Encores for Xylophone and Piano (Southern Percussion)
6 Dinicu, trans. Heifetz
Hora staccato, arr. Goldenberg (g–e-‴) XYL
Dinicu & Heifetz: Hora staccato (Carl Fischer)
7 Michael Zev Gordon
Folkish (f–f ‴) MAR/XYL/VIB
Principal Percussion (ABRSM)
8 G. H. Green Triplets (c′–f ‴) XYL
George Hamilton Green’s Xylophone Rags (Meredith Music)
9 David Hext No. 4 (from Four Graded Pieces for Multi-Mallet Marimba) (A–d‴) MAR 4M
David Hext: Four Graded Pieces for Multi-Mallet Marimba (Southern Percussion)
10 Ney Rosauro Baião (No. 1 from Suite popular brasileira) with repeats (d–g‴) MAR 4M
Ney Rosauro: Suite popular brasileira (Music for Percussion)
11 Éric Sammut Hombre d’août with repeats (A–a″) MAR 4M
Éric Sammut: Hombre d’août (Billaudot)
12 Nebojša Jovan Živković
Il canto dei gondolieri (from Funny Marimba, Book 2) (F–d‴) MAR 4M
Nebojša Jovan Živković: Funny Marimba, Book 2 (Gretel Verlag)
TECHNICAL REQUIREMENTS: one of the following options, chosen by the candidate• Snare Drum – Study A and Study B• Timpani – Study A and Study B• Tuned Percussion – Scales and arpeggios (see next page)
For further details see pages 17–19
SIGHT-READING: a short piece of previously unseen music. The examiner will choose to give either a Snare Drum, Timpani or Tuned Percussion test. For further details see pages 19 & 24–26
AURAL TESTS: given by the examiner from the piano; for further details see pages 75 & 81
C
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Practical Grades Percussion (Combined) from 2020 Grade 7
SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 19 & 21–23
RANGE REQUIREMENTS
SCALES IN BROKEN THIRDS
D-, E, G, B- majors2 oct. hand to hand; as example on page 22
C+, E, G, B- harmonic minors
SCALES IN OCTAVES
C+, E, G, B- melodic minors 1 oct. even notes
SCALES IN SIXTHS
D-, E, G, B- majors1 oct. even notes
C+, E, G, B- harmonic minors
CHROMATIC SCALES IN MINOR THIRDS
starting on F/A- 2 oct. even notes
starting on B-/D-
BROKEN CHORDS
D-, E, G, B- majors2 oct. hand to hand; even notes, as example on page 22
C+, E, G, B- minors
DOMINANT SEVENTHS (resolving on tonic)
in the keys of D-, E, G and B- 2 oct. hand to hand; even notes
DIMINISHED SEVENTH
starting on C+ 2 oct. hand to hand; even notes
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Percussion (Combined) from 2020 Practical Grades
GRADE 8
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.
THREE PIECES: one chosen by the candidate from each of the three Lists, A (Snare Drum), B (Timpani) and C (Tuned Percussion); for further details see pages 15–17
SNARE DRUM
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 W. Benson Fox Trot and Fandango (Nos 2 and 3 from Three Dances for Solo Snare Drum)
W. Benson: Three Dances for Solo Snare Drum (Hal Leonard)
2 Jan Bradley Dance for Five Drums (Abridged Version) with repeats MULTI 3 tom-toms & 2 boo-bams/bongos (no snare drum)
Jan Bradley: Dance for Five Drums (Jan Bradley)
3 James Campbell
Engine Room MULTI bongos, 2 toms, bass drum & hand percussion (no snare drum)
James Campbell: Engine Room (Row-Loff Productions)
4 Stacey Duggan Popeye aerial flip optional Just Desserts (Row-Loff Productions)
5 Michael Lynch It’s About Time visual enhancement optional Just Desserts (Row-Loff Productions)
6 Guy G. Gauthreaux II
Movement II (from American Suite) with repeats
Guy G. Gauthreaux II: American Suite (Meredith Music)
7 Anthony Kerr Pontiac Principal Percussion (ABRSM)
8 Glenn Kotche Cave Dance without cuts MULTI foot pedal instrument
Glenn Kotche: Cave Dance (Alfred)
9 Alex Neal Gorymdaith MULTI tenor drum & pedal bass drum
Alex Neal: Gorymdaith (Southern Percussion)
10 Cameron Sinclair
Antrieb Cameron Sinclair: Antrieb (Scottish Music Centre)
TIMPANI
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 John Beck Movement II (from Sonata for Timpani) 4D
John Beck: Sonata for Timpani (Boston Music Company)
2 E. Carter Saëta (No. 1 from Eight Pieces for Four Timpani) 4D
E. Carter: Eight Pieces for Four Timpani (AMP) or P. 28 from Solos for the Percussion Player (G. Schirmer)
3 Julian Fairbank
Proclamation 4D PED RETUNE
Julian Fairbank: Proclamation (Southern Percussion)
4 S. Fink Episode and Cadenza (Nos 4 and 6 from Solobook for Timpani, Vol. 2) 4D retune required between pieces
S. Fink: Solobook for Timpani, Vol. 2 (Simrock)
5 George Frock Beguine and Samba (No. 3 from Seven Solo Dances for the Advanced Timpanist) 4D PED RETUNE
George Frock: Seven Solo Dances for the Advanced Timpanist (Southern Music)
6 Kirk J. Gay Bolt! (from Pedal to the Kettle) 4D PED RETUNE
Kirk J. Gay: Pedal to the Kettle (Tapspace)
7 Michael J. Rhodes
Scenes from an Ancient Battle 4D
Michael J. Rhodes: Scenes from an Ancient Battle (Studio 4 Music)
8 Cameron Sinclair
Neuertanz (from 3 Tanzen) 4D PED RETUNE
Cameron Sinclair: 3 Tanzen (Scottish Music Centre)
A
B
with piano accompaniment
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Practical Grades Percussion (Combined) from 2020 Grade 8
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
9 Nick Woud Study No. 22 (from Symphonic Studies for Timpani) 4D PED RETUNE
Nick Woud: Symphonic Studies for Timpani (De Haske)
10 Nick Woud Variations 4D PED RETUNE
Principal Percussion (ABRSM)
TUNED PERCUSSION
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 Keiko Abe Frogs (c–g‴) MAR 4M
Keiko Abe: Frogs (Studio 4 Music)
2 J. S. Bach Fugue (from Sonata in A minor), arr. Moore (g–d‴) MAR 4M
Bach for Marimba (Kendor Music)
3 Breuer (and Anderson & Spivack)
Joplin on Wood (from Harry Breuer’s Ragtime Solos) (f–e-‴) XYL
Harry Breuer’s Ragtime Solos (Meredith Music)
4 Michael Burritt
Sara’s Song (C–c‴) MAR 4M
Michael Burritt: Sara’s Song (Keyboard Percussion Publications)
5 Ross Edwards No. 1 (from Marimba Dances) (d–d‴) MAR
Ross Edwards: Marimba Dances (Australian Music Centre)
6 Ross Edwards No. 3 (from Marimba Dances) (c +–c +‴) MAR 4M
Ross Edwards: Marimba Dances (Australian Music Centre)
7 George H. Geldard
Tween Heather and Sea complete (f +′–g‴) XYL
George H. Geldard: Tween Heather and Sea (Oertel Musikverlag)
8 Anthony Kerr Exact Change Please (f–e‴) VIB 4M
Principal Percussion (ABRSM)
9 Kreisler Tambourin chinois, arr. Green (g–b-‴) XYL
Kreisler: Tambourin chinois (Carl Fischer)
10 Igor Lešnik First Toy (No. 1 from Midnight Pieces) with printed cadenza (f–e‴) VIB 4M
Igor Lešnik: Midnight Pieces (Zimmermann)
11 Ney Rosauro Greeting (1st movt from Concerto [No. 1] for Marimba) with repeats; cut bb. 91–98 (A–c″″) MAR 4M
Ney Rosauro: Concerto [No. 1] for Marimba (Pro Percussao)
12 Éric Sammut Spiral 2 (from Three Spirals) with repeat (A–e-‴) MAR 4M
Éric Sammut: Three Spirals (Keyboard Percussion Publications)
13 Emmanuel Séjourné
Nancy (E–e‴) MAR 4M
Emmanuel Séjourné: Nancy (PM Europe Publications)
14 Gordon Stout Mexican Dance No. 1 (from Two Mexican Dances for Marimba) with final repeat (c–b‴) MAR 4M
Gordon Stout: Two Mexican Dances for Marimba (Studio 4 Music)
15 Trad. The Absent-Minded Woman, arr. Daughtrey (f +–e‴) XYL
The Celtic Xylophone, Book 1 (C. Alan Publications)
TECHNICAL REQUIREMENTS: one of the following options, chosen by the candidate• Snare Drum – Study A and Study B• Timpani – Study A and Study B• Tuned Percussion – Scales and arpeggios (see next page)
For further details see pages 17–19
SIGHT-READING: a short piece of previously unseen music. The examiner will choose to give either a Snare Drum, Timpani or Tuned Percussion test. For further details see pages 19 & 24–26
AURAL TESTS: given by the examiner from the piano; for further details see pages 75 & 82
C
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Percussion (Combined) from 2020 Grade 8 Practical Grades
SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 19 & 21–23
RANGE REQUIREMENTS
SCALES IN BROKEN THIRDS
C, E-, F+, A majors2 oct. hand to hand; as example on page 22
C, E-, F+, A harmonic minors
SCALES IN OCTAVES
C, E-, F+, A melodic minors 1 oct. even notes
SCALES IN SIXTHS
C, E-, F+, A majors1 oct. even notes
C, E-, F+, A harmonic minors
CHROMATIC SCALES IN BROKEN MINOR THIRDS
starting on C2 oct. hand to hand; as example on page 22
starting on F+
WHOLE-TONE SCALES
starting on F+ 2 oct. hand to hand; even notes
starting on A
BROKEN CHORDS
C, E-, F+, A majors2 oct. hand to hand; even notes, as example on page 22
C, E-, F+, A minors
DOMINANT SEVENTHS (resolving on tonic)
in the keys of C, E-, F+ and A 2 oct. hand to hand; even notes
DIMINISHED SEVENTH
starting on C 2 oct. hand to hand; even notes
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Practical Grades 3. Percussion Syllabus from 2020
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 examAural 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 76–82 sets out the tasks that candidates will be asked to complete in the exam.
AssessmentSome 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 section. The marking criteria for the Aural tests are given on page 90.
Supporting publicationsFor practice purposes, sample Aural tests are published by ABRSM. Examples of the tests for Grades Initial–8 are given in Specimen Aural Tests. More examples for Grades 1–8 are given in Aural Training in Practice. Purchasing these books is not a requirement.
Deaf or hearing-impaired candidatesDeaf 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.
* A different set of tests apply to Jazz and Singing for Musical Theatre exams
3. Percussion Syllabus from 2020
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3. Percussion Syllabus from 2020 Practical Grades
INITIAL GRADE *
A To clap the pulse of a piece played by the examiner. The examiner will start playing the passage, 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).
* Initial Grade not available for percussion
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Practical Grades 3. Percussion Syllabus from 2020
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 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 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).
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3. Percussion Syllabus from 2020 Practical Grades
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).
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.) If necessary, the examiner will play the melody again and allow a second attempt (although this may affect the assessment).
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.
Grade 3 cont.
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Practical Grades 3. Percussion Syllabus from 2020
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.) If necessary, the examiner will play the melody again and allow a second attempt (although this may affect the assessment).
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 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, character; the second will be style and period.
(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.
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3. Percussion Syllabus from 2020 Practical Grades
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.) 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 playing, the examiner will tell the candidate which two features the questions will be about. 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.
(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.
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Practical Grades 3. Percussion Syllabus from 2020
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.) 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 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 (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 (unharmonised), after which the candidate should clap back the rhythm. The examiner will then ask whether the music is in two time, three time, four time or 6/8 time.
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3. Percussion Syllabus from 2020 Practical Grades
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.) 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.
83
4. Assessment and markingAssessment objectivesThe following tables describe the level of knowledge and skills required of candidates taking Practical Grades. They also show the assessment objectives and corresponding marking crite-ria that examiners use to assess the performances at each level. The full marking criteria used by examiners are available on pages 89–90.
Initial Grade (RQF Entry Level 3)
Assessment objectives Marking criteria
Learners will: Learners can:
Demonstrate musical skill, knowledge and understanding through performing repertoire of basic musical and technical demands, demonstrating control across the range of musical ingredients appropriate to simple repertoire and awareness of basic characteristic features and performance conventions.
Perform basic repertoire with: • Reliable pitch and intonation • Stable rhythm at a suitable tempo • Reliable tonal control and awareness• Musical shape and detail • Communication of character and style
Demonstrate instrumental control and familiarity with prescribed note patterns relevant to the instrument, through playing prescribed technical requirements at basic demand levels.
Perform specified basic technical requirements with: • Correct notes and secure continuity • Reliable tonal control
Demonstrate notational and listening skills and understanding at basic demand levels through responding to previously unseen music and prescribed aural tests.
Respond to simple musical notation with: • Overall security of notes, rhythm and
continuity
Respond to simple piano-based musical stimuli with: • Overall accuracy and reliable musical
perception
84
4. Assessment and marking Practical Grades
Grades 1–3 (RQF Level 1)
Assessment objectives Marking criteria
Learners will: Learners can:
Demonstrate musical skill, knowledge and understanding through performing repertoire of elementary musical and technical demands, demonstrating control across the range of musical ingredients appropriate to straightforward repertoire and awareness of elementary characteristic features and performance conventions.
Perform elementary repertoire with:• Reliable pitch and intonation• Stable rhythm at a suitable tempo• Reliable tonal control and awareness• Musical shape and detail• Communication of character and style
Demonstrate instrumental control and familiarity with prescribed note patterns relevant to the instrument, through playing prescribed technical requirements at elementary demand levels.
Perform specified elementary technical requirements with:• Correct notes and secure continuity• Reliable tonal control
Demonstrate notational and listening skills and understanding at elementary demand levels through responding to previously unseen music and prescribed aural tests.
Respond to straightforward musical notation with:• Overall security of notes, rhythm and
continuity
Respond to straightforward piano-based musical stimuli with:• Overall accuracy and reliable musical
perception
85
Practical Grades 4. Assessment and marking
Grades 4–5 (RQF Level 2)
Assessment objectives Marking criteria
Learners will: Learners can:
Demonstrate musical skill, knowledge and understanding through performing repertoire of intermediate musical and technical demands, demonstrating control across the range of musical ingredients appropriate to moderately complex repertoire and awareness of comprehensive characteristic features and performance conventions.
Perform intermediate repertoire with: • Reliable pitch and intonation • Stable rhythm at a suitable tempo • Reliable tonal control and awareness • Musical shape and detail • Communication of character and style
Demonstrate instrumental control and familiarity with prescribed note patterns relevant to the instrument, through playing prescribed technical requirements at intermediate demand levels.
Perform specified intermediate technical requirements with: • Correct notes and secure continuity • Reliable tonal control
Demonstrate notational and listening skills and understanding at intermediate demand levels through responding to previously unseen music and prescribed aural tests.
Respond to moderately complex musical notation with: • Overall security of notes, rhythm and
continuity
Respond to moderately complex piano-based musical stimuli with: • Overall accuracy and reliable musical
perception
86
4. Assessment and marking Practical Grades
Grades 6–8 (RQF Level 3)
Assessment objectives Marking criteria
Learners will: Learners can:
Demonstrate musical skill, knowledge and understanding through performing repertoire of advanced musical and technical demands, demonstrating control across the range of musical ingredients appropriate to complex repertoire and awareness of sophisticated characteristic features and performance conventions.
Perform advanced repertoire with: • Reliable pitch and intonation • Stable rhythm at a suitable tempo • Reliable tonal control and awareness • Musical shape and detail • Communication of character and style
Demonstrate instrumental control and familiarity with prescribed note patterns relevant to the instrument, through playing prescribed technical requirements at advanced demand levels.
Perform specified advanced technical requirements with: • Correct notes and secure continuity • Reliable tonal control
Demonstrate notational and listening skills and understanding at advanced demand levels through responding to previously unseen music and prescribed aural tests.
Respond to complex musical notation with: • Overall security of notes, rhythm and
continuity
Respond to complex piano-based musical stimuli with: • Overall accuracy and reliable musical
perception
87
Practical Grades 4. Assessment and marking
Mark allocationMarks are allocated for each component of Practical Grades for percussion subjects, as shown in the table below:
Exam section Maximum marks % of total mark
Piece 1 30 20%
Piece 2 30 20%
Piece 3 30 20%
Technical requirements 21 14%
Sight-reading 21 14%
Aural tests 18 12%
Total 150 100%
Result categoriesThe 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 assessmentSynoptic 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.
AwardingAn 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.
Candidates may not perform the same repertoire (in full or individual pieces) for both a Practical Grades and a Performance Grades qualification. If choosing to enter at the same grade for both qualifications, irrespective of when the exams are taken, the pieces presented must be different.
88
4. Assessment and marking Practical Grades
Marking criteriaThe tables on pages 89–90 show the marking criteria used by examiners for Practical Grades in percussion subjects. Examiners mark up or down from the pass mark for each element 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.
89
Practical Grades 4. Assessment and marking
Marking criteriaG
rade
s In
itial
–8 *
Piec
es
Pitc
h Ti
me
Tone
Shap
e Pe
rfor
man
ce
Dis
tinct
ion
27–3
0
●H
ighl
y ac
cura
te n
otes
an
d in
tona
tion
●
Flue
nt, w
ith fl
exib
ility
w
here
app
ropr
iate
●
Rhyt
hmic
cha
ract
er
wel
l con
veye
d
●
Wel
l pro
ject
ed
●Se
nsiti
ve u
se o
f ton
al
qual
ities
●
Expr
essi
ve, i
diom
atic
m
usic
al s
hapi
ng a
nd
deta
il
●
Ass
ured
●
Fully
com
mitt
ed
●V
ivid
com
mun
icat
ion
of
char
acte
r and
sty
le
Mer
it24
–26
●
Larg
ely
accu
rate
not
es
and
into
natio
n
●Su
stai
ned,
effe
ctiv
e te
mpo
●
Goo
d se
nse
of rh
ythm
●
Mai
nly
cont
rolle
d an
d co
nsis
tent
●
Goo
d to
nal a
war
enes
s
●
Clea
r mus
ical
sha
ping
, w
ell-r
ealis
ed d
etai
l
●Po
sitiv
e
●Ca
rryi
ng m
usic
al
conv
ictio
n
●Ch
arac
ter a
nd s
tyle
co
mm
unic
ated
Pass
20–2
3
●G
ener
ally
cor
rect
not
es
●Su
ffici
ently
relia
ble
into
natio
n to
mai
ntai
n to
nalit
y
●
Suita
ble
tem
po
●G
ener
ally
sta
ble
puls
e
●O
vera
ll rh
ythm
ic
accu
racy
●
Gen
eral
ly re
liabl
e
●A
dequ
ate
tona
l aw
aren
ess
●
Som
e re
alis
atio
n of
m
usic
al s
hape
and
/or
deta
il
●
Gen
eral
ly s
ecur
e, p
rom
pt
reco
very
from
slip
s
●So
me
mus
ical
in
volv
emen
t
Belo
w P
ass
17–1
9
●Fr
eque
nt n
ote
erro
rs
●In
suffi
cien
tly re
liabl
e in
tona
tion
to m
aint
ain
tona
lity
●
Uns
uita
ble
and/
or
unco
ntro
lled
tem
po
●Irr
egul
ar p
ulse
●
Inac
cura
te rh
ythm
●
Une
ven
and/
or
unre
liabl
e
●In
adeq
uate
tona
l aw
aren
ess
●
Mus
ical
sha
pe a
nd
deta
il in
suffi
cien
tly
conv
eyed
●
Inse
cure
, ina
dequ
ate
reco
very
from
slip
s
●In
suffi
cien
t mus
ical
in
volv
emen
t
13–1
6
●La
rgel
y in
accu
rate
not
es
and/
or in
tona
tion
●
Erra
tic te
mpo
and
/or
puls
e
●Se
rious
lack
of t
onal
co
ntro
l
●M
usic
al s
hape
and
de
tail
larg
ely
unre
alis
ed
●La
ckin
g co
ntin
uity
●
No
mus
ical
invo
lvem
ent
10–1
2
●H
ighl
y in
accu
rate
not
es
and/
or in
tona
tion
●
Inco
here
nt te
mpo
an
d/or
pul
se
●N
o to
nal c
ontr
ol
●N
o sh
ape
or d
etai
l
●U
nabl
e to
con
tinue
for
mor
e th
an a
sho
rt s
ectio
n
0
●N
o w
ork
offer
ed
●N
o w
ork
offer
ed
●N
o w
ork
offer
ed
●N
o w
ork
offer
ed
●N
o w
ork
offer
ed
* Ini
tial G
rade
not
ava
ilabl
e fo
r per
cuss
ion
Inst
rum
ent c
riter
ia te
mpl
ated
for s
ylla
bus
page
s fro
m 2
020
4. Assessment and marking
90
4. Assessment and marking Practical GradesG
rade
s In
itial
–8 *
Scal
es a
nd a
rpeg
gios
/Stu
dy
Sigh
t-re
adin
g G
rade
s In
itial
–8 *
Aur
al te
sts
Dis
tinct
ion
19–2
1
●H
ighl
y ac
cura
te n
otes
/pitc
h
●Fl
uent
and
rhyt
hmic
●
Mus
ical
ly s
hape
d
●Co
nfide
nt re
spon
se
●
Flue
nt, r
hyth
mic
ally
acc
urat
e
●A
ccur
ate
note
s/pi
tch/
key
●
Mus
ical
det
ail r
ealis
ed
●Co
nfide
nt p
rese
ntat
ion
Dis
tinct
ion
17–1
8
●A
ccur
ate
thro
ugho
ut
●M
usic
ally
per
cept
ive
●
Confi
dent
resp
onse
Mer
it17
–18
●
Larg
ely
accu
rate
not
es/p
itch
●
Mos
tly re
gula
r flow
●
Mai
nly
even
tone
●
Secu
re re
spon
se
●
Ade
quat
e te
mpo
, usu
ally
ste
ady
puls
e
●M
ainl
y co
rrec
t rhy
thm
●
Larg
ely
corr
ect n
otes
/pitc
h/ke
y
●La
rgel
y se
cure
pre
sent
atio
n
Mer
it15
–16
●
Stre
ngth
s si
gnifi
cant
ly
outw
eigh
wea
knes
ses
●
Mus
ical
ly a
war
e
●Se
cure
resp
onse
Pass
14–1
6
●G
ener
ally
cor
rect
not
es/p
itch,
des
pite
err
ors
●
Cont
inui
ty g
ener
ally
mai
ntai
ned
●
Gen
eral
ly re
liabl
e to
ne
●Ca
utio
us re
spon
se
●
Cont
inui
ty g
ener
ally
mai
ntai
ned
●
Not
e va
lues
mos
tly re
alis
ed
●Pi
tch
outli
nes
in p
lace
, des
pite
err
ors
●
Caut
ious
pre
sent
atio
n
Pass
12–1
4
●St
reng
ths
just
out
wei
gh
wea
knes
ses
●
Caut
ious
resp
onse
Belo
w P
ass
11–1
3
●Fr
eque
nt e
rror
s in
not
es a
nd/o
r pitc
h
●La
ckin
g co
ntin
uity
and
/or s
ome
item
s in
com
plet
e
●U
nrel
iabl
e to
ne
●U
ncer
tain
resp
onse
and
/or s
ome
item
s no
t at
tem
pted
●
Lack
ing
over
all c
ontin
uity
●
Inco
rrec
t not
e va
lues
●
Very
app
roxi
mat
e no
tes/
pitc
h/ke
y
●In
secu
re p
rese
ntat
ion
Belo
w P
ass
9–11
●
Wea
knes
ses
outw
eigh
st
reng
ths
●
Unc
erta
in re
spon
se
7–10
●
Very
app
roxi
mat
e no
tes
and/
or p
itch
●
Spor
adic
and
/or f
requ
ently
inco
mpl
ete
●
Serio
us la
ck o
f ton
al c
ontr
ol
●Ve
ry u
ncer
tain
resp
onse
and
/or s
ever
al it
ems
not a
ttem
pted
●
No
cont
inui
ty o
r inc
ompl
ete
●
Not
e va
lues
unr
ealis
ed
●Pi
tch
outli
nes
abse
nt
●Ve
ry u
ncer
tain
pre
sent
atio
n
6–8
●
Inac
cura
cy th
roug
hout
●
Vagu
e re
spon
se
0
●N
o w
ork
offer
ed
●N
o w
ork
offer
ed0
●
No
wor
k off
ered
* Ini
tial G
rade
not
ava
ilabl
e fo
r per
cuss
ion
91
5. After the examResultsAll 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.
Exam feedbackSpecific guidance for questions about the administration of the exam or the results awarded is available on our website. We also welcome feedback about other matters. All feedback is logged and plays a valuable part in our quality assurance procedures. For further information on our processes and deadlines for submitting feedback, please visit www.abrsm.org/send-exam-feedback.
92
6. Other assessmentsABRSM’s other assessments for percussionists are Performance Grades, Performance Assessment, Ensembles and diplomas. Full information is available at www.abrsm.org/exams.
Performance Grades ABRSM Performance Grades are our new progressive qualifications that allow learners to focus on and showcase their performance skills. They are available from Grade 1 to Grade 8. 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 programme of repertoire. 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 weighted evenly and are awarded to each component individually.
The exams are currently offered as remote 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.
93
Practical Grades 6. Other assessments
Music TheoryABRSM Music Theory exams are available for Grades 1–8. 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 TheoryDeveloping 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 6–8).
Candidates are assessed on their ability to identify, use and manipulate musical symbols, to complete extracts and to answer questions relating to the elements of music according to the parameters detailed in the full syllabus at www.abrsm.org/theory.
Grade 5 as a prerequisiteWe believe that a thorough understanding of the elements of music is essential for a full and 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.
94
6. Other assessments Practical Grades
Practical MusicianshipABRSM Practical Musicianship exams are available for Grades 1–8 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 MusicianshipMusicianship 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 prerequisiteWe believe that a thorough understanding of the elements of music is essential for a full and 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.
95
Practical Grades 6. Other assessments
ARSMThe 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:
• in person – held at the same venues and during the same time periods as ABRSM’s Practical Grades
• remote – 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/exams. Please refer to the website for the most recent version of the ARSM syllabus.
96
6. Other assessments Practical Grades
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/exams. Please refer to the website for the most recent versions of the diploma syllabuses.
Further diploma examsDipABRSM, LRSM and FRSM diplomas are also available for Instrumental/Vocal Teaching and Music Direction. Full details are available at www.abrsm.org/diplomas.
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List
*N
umbe
rCo
mpo
ser
Title
Year
of s
ylla
bus
Sing
ers
only
:un
acco
mpa
nied
trad
ition
al s
ong:
Perc
ussi
on (C
ombi
ned)
onl
y:te
chni
cal r
equi
rem
ents
on:
*Lea
ve b
lank
for S
nare
Dru
m, T
impa
ni a
nd T
uned
Per
cuss
ion
09/1
9
(may
be
phot
ocop
ied
or d
etac
hed
for e
xam
s)
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