List A
No. |
Composer |
Piece information |
Publication(s) |
1 |
J. S. Bach |
Sarabande And Gigue 4th movt And 6th movt from English Suite No. 2 in A minor, BWV 807 |
|
2 |
D. Scarlatti |
Sonata in D Kp. 214, L. 165 |
|
3 |
Shostakovich |
Prelude and Fugue in A minor No. 2 from 24 Preludes and Fugues, Op. 87 |
|
4 |
J. S. Bach |
Prelude and Fugue in A minor BWV 889 |
J. S. Bach: The Well-Tempered Clavier, Part 2ABRSM More details
|
5 |
Handel |
Fugue No. 6 in C minor HWV 610 |
No. 7 from Baroque Keyboard Pieces, Book 5ABRSM More details
|
6 |
Hindemith |
Praeludium from Ludus Tonalis |
Hindemith: Ludus TonalisWiener Urtext (UT 50128) More details
|
7 |
Mendelssohn |
Fugue in B♭ from Prelude and Fugue in B♭, Op. 35 No. 6 |
No. 6 from Mendelssohn: Six Preludes and Fugues, Op. 35ABRSM More details
Mendelssohn: Works for Piano Two-Hands, Vol. 2Breitkopf & Härtel (EB 8317) More details
|
8 |
Soler |
Sonata in D minor R. 25 |
|
List B
No. |
Composer |
Piece information |
Publication(s) |
1 |
C. P. E. Bach |
Un poco allegro 1st movt from Sonata in A♭, H. 31, Wq. 49/2 |
|
2 |
Beethoven |
Presto alla tedesca 1st movt from Sonata in G, Op. 79 |
|
3 |
Schubert |
Allegro moderato 1st movt from Sonata in E, D. 459 |
|
4 |
Clementi |
Presto 3rd movt from Sonata in F minor, Op. 13 No. 6 |
|
5 |
Haydn |
Moderato 1st movt from Sonata in C minor, Hob. XVI:20 |
Haydn: Sonata in C minor, Hob. XVI:20Wiener Urtext (UT 50423) More details
Haydn: Complete Piano Sonatas, Vol. 2Wiener Urtext (UT 50257) More details
|
6 |
Haydn |
Rondo: Presto 2nd movt from Sonata in C, Hob. XVI:48 |
Haydn: Sonata in C, Hob. XVI:48Wiener Urtext (UT 50424) More details
Haydn: Complete Piano Sonatas, Vol. 4Wiener Urtext (UT 50259) More details
|
7 |
Kuhlau |
Allegro 1st movt from Sonatina in C, Op. 60 No. 3 |
No. 7 from Kuhlau: Sonatinas, Vol. 2Peters (EP715B) More details
|
8 |
Mozart |
Rondo: Allegretto 3rd movt from Sonata in F, K. 533 |
|
List C
No. |
Composer |
Piece information |
Publication(s) |
1 |
Chopin |
Nocturne in G minor Op. 37 No. 1 |
|
2 |
Debussy |
Voiles (Sails) No. 2 from Préludes, Book 1 |
|
3 |
Nikolay Kapustin |
Sonatina Op. 100 |
|
4 |
Martinů |
Prélude en forme de Danse (Prelude in the form of a dance) No. 4 from Préludes pour piano, H. 181 |
|
5 |
Rachmaninoff |
Elégie (Elegy) No. 1 from Morceaux de fantaisie, Op. 3 |
|
6 |
Raymond Yiu |
Lullaby (for Edna Trident Hornbryce) |
|
7 |
L. Boulanger |
Cortège No. 3 from Trois morceaux pour piano |
L. Boulanger: Trois morceaux pour pianoG. Schirmer (GS33485) More details
L. Boulanger: Trois morceaux pour pianoZen-On (ZO 101835) More details
|
8 |
Brahms |
Intermezzo in B♭ minor No. 2 from Three Intermezzos, Op. 117 |
|
9 |
Chaminade |
Scarf Dance (Scene de ballet) Op. 37 No. 3 |
|
10 |
Fricker |
Toccata No. 2 from 12 Studies, Op. 38 |
|
11 |
Gershwin |
Prelude No. 1 from Three Preludes |
No. 1 from Gershwin: Preludes for PianoBoosey & Hawkes More details
|
12 |
W. Mason |
Lullaby Op. 10 |
|
13 |
Poulenc |
Improvisation No. 13 in A minor |
Poulenc: 15 ImprovisationsSalabert (SLB 00594400) More details
|
14 |
Pozzoli |
Berceuse |
20th-Century Italian Piano Music, Vol. 1Ricordi (NR 13987600) More details
|
15 |
Timothy Salter |
Shimmer |
|
16 |
Joaquín Turina |
La belle Murcienne (La Murciana guapa) No. 4 from Femmes d'Espagne, Series 2, Op. 73 |
The Best of Joaquín Turina in 23 Pieces for PianoSalabert (SLB 00581800) More details
|
Piano requirements and information: Pieces
Programme planning: Candidates must choose one piece from each of the three lists (A, B and C) in each grade. In the exam, they should inform the examiner which pieces they are performing, and they are welcome to use the Exam programme & running order form (PDF) for this purpose.
Every effort has been made to ensure the syllabus lists feature a broad range of repertoire, with items to suit and appeal to candidates of differing ages, backgrounds and interests. Not every piece will be suitable for every candidate due to technical reasons (e.g. hand size) or wider context (historical, cultural, subject matter of the larger work from which it is drawn, lyrics if an arrangement of a song etc.).
It is advised that pieces selected are considered carefully for their appropriateness to each individual, which may require consultation between teachers and parents/guardians. Given the ever-changing nature of the digital world, teachers and parents/guardians should also exercise caution when allowing younger candidates to research items online (see nspcc.org.uk/onlinesafety).
Exam music and editions: Wherever the syllabus includes an arrangement or transcription, the edition listed in the syllabus must be used in the exam; in all such cases the abbreviation ‘arr.’ or ‘trans.’ appears in the syllabus entry. For all other pieces, the editions quoted in the syllabus are given for guidance only and candidates may use any edition of their choice (in- or out-of-print or downloadable). See information about obtaining exam music.
Interpreting the score: Printed editorial suggestions such as fingering, metronome marks, realisation of ornaments, etc. need not be strictly observed. Whether the piece contains musical indications or not, candidates are always encouraged to interpret the score in a stylistically appropriate manner. Ultimately, examiners’ marking will be determined by consideration of pitch, time, tone, shape and performance, and how control of these contributes to the overall musical outcome.
Pedalling: The use and control of pedalling, and its effect on tone and shape, will be taken into account by examiners, who will be assessing the overall musical outcome rather than the strict observance of any printed pedal indications (which may therefore be adapted or omitted, as appropriate). Pieces whose full musical effect is heavily reliant on pedalling (whether marked in the music or not) should be avoided if appropriate pedalling cannot be managed.
Hand stretch: Candidates should choose the most suitable pieces for their hand size from the syllabus lists. If necessary, they may occasionally adapt the music by ‘spreading’ chords or omitting notes at wide stretches, provided the result is musically satisfactory.
Repeats: All da capo and dal segno indications should be observed but all other repeats (including first-time bars) should be omitted unless they are very brief (i.e. of a few bars) or unless the syllabus specifies otherwise.
Performing from memory: Candidates are free to perform any of their pieces from memory; in such cases they must ensure that a copy of the music is available for the examiner to refer to if necessary. No additional marks are awarded for playing from memory.
Page-turns: Examiners will be understanding if a page-turn causes a lack of continuity during a piece, and this will not affect the marking. A variety of solutions for awkward page-turns exists, including the use of an additional copy of the music or a photocopy of a section of the piece (but see ‘Photocopies’ below). In cases where candidates at Grades 6–8 believe there is no solution to a particularly awkward page-turn, they may bring a page-turner to the exam (prior permission is not required; the turner may be a candidate’s teacher). Examiners are unable to help with page-turning.
Photocopies: Performing from unauthorised photocopies (or other kinds of copies) of copyright editions is not allowed. ABRSM may withhold the exam result where it has evidence of an illegal copy (or copies) being used. In the UK, copies may be used in certain limited circumstances – for full details, see the MPA’s Code of Fair Practice at mpaonline.org.uk. In all other cases, application should be made to the copyright holder before any copy is made, and evidence of permission received should be brought to the exam.