Your Guide To ABRSM Music Exams
Your Guide To ABRSM Music Exams
Your Guide To ABRSM Music Exams
Introduction 2
About our exams 3
The exam elements 4
– Pieces or songs
– Scales and arpeggios
– Unaccompanied traditional song
– Sight-reading
– Aural tests
How we mark exams 7
Marking criteria 10
– Instruments
– Singing
Before the exam 14
– At the exam centre
During the exam 18
– Setting up, tuning and
accompaniment
– The exam itself
After the exam 26
– Results and next steps
About our examiners 28
Other assessments 30
Information and resources 32
This guide gives an overview of our graded exams for instruments and
singing. You can find detailed information about exam requirements at
www.abrsm.org/exams.
The guide also refers to our Music Theory, Practical Musicianship and
Jazz exams. You can find information about these exams on page 30 and
at www.abrsm.org/exams.
1
Introduction
2
About our exams
3
The exam elements
4
5
Scales and arpeggios Sight-reading/sight-singing
Instrumentalists prepare and play All candidates have to play or sing
scales and arpeggios (and other a short piece which they have not
exercises) in a selection of keys, seen before. In Singing exams this
as listed in the syllabus. is accompanied by the examiner.
Scales and arpeggios are important Sight-reading is a valuable skill with
for building strong technical skills many benefits. It helps students to
and musical understanding. By perform new music with confidence
practising them students become and learn pieces or songs more
familiar with their instrument and quickly. Good sight-reading skills
develop many aspects of technique, also help when making music with
including articulation, tone others, so singing in a choir or
and intonation. playing in an ensemble becomes
more rewarding and enjoyable.
Playing scales and arpeggios also
helps students to understand keys. Horn, Trumpet and Organ candidates
This gives them confidence and at Grades 6 to 8 also take a transposition
security when sight-reading, learning test, and Harpsichord candidates take a
new pieces and performing – from figured bass realisation test.
a score or from memory, as a solo
musician or with others. Aural tests
In the aural tests examiners are
Unaccompanied traditional song assessing a candidate’s listening
In Singing exams candidates skills and musical perception.
perform an unaccompanied The tests cover awareness of pitch,
traditional (folk) song of their pulse, rhythm, melody, harmony
choice from memory. This is instead and other musical features.
of scales and arpeggios.
Developing good aural skills is
Learning to sing unaccompanied an important part of any music
helps students to develop their sense education and the ability to hear
of key and pulse without reference to how music works helps students
an accompanying instrument. It also with all aspects of their music
encourages control of tonality and making and learning.
pitch, sense of rhythm, use of tonal
colour, musical communication and
memory skills.
6
How we mark exams
7
Pieces and songs The marking criteria also show
The marking criteria cover the what examiners listen for in the
different aspects of playing or other elements of our exams.
singing within five areas: pitch; time;
tone; shape and performance. These Scales and arpeggios
can be applied to all instruments, (instrumentalists)
including voice, and to all types of – accuracy of notes/pitch, rhythmic
piece or song. continuity and fluency, tone and
The marking criteria show what our shaping, security and confidence
examiners listen for under each of of the response.
these headings:
Unaccompanied traditional song
Pitch – accuracy, clarity, reliability (singers)
of notes and/or intonation. – control of pitch and intonation,
Time – suitability of tempo, stability sense of rhythmic character, use
of pulse, sense of rhythm. of vocal qualities, effectiveness of
musical shaping, quality of musical
Tone – control and projection of involvement, communication and
sound, sensitivity and awareness in storytelling.
use of tonal qualities.
Shape – effectiveness and clarity of Sight-reading/sight-singing
musical shaping and detailing. – rhythmic accuracy, continuity,
accuracy of notes, pitch and key,
Performance – overall command realisation of musical detail, level
of the instrument or voice, of confidence in presentation.
involvement with the music, musical
communication. Aural tests
– accuracy, musical perception and
awareness, security of responses.
8
Awarding marks Examiners mark up or down from
Examiners mark each candidate the pass mark in every section,
based on what they hear in the rather than taking marks away from
exam room. We do not have quotas, the maximum or adding them from
so our examiners do not pass or fail zero. For each element of the exam,
a certain percentage of candidates. candidates need to achieve two-thirds
of the total possible marks to pass,
When awarding marks examiners
but they don’t need to pass all
assess the candidate’s control of
elements to achieve an overall pass
the qualities and skills listed in the
in the exam.
marking criteria. Candidates do
not need to meet all the criteria to
The total number of marks available
pass their exam as weakness in some
in an exam is 150. Candidates need:
areas is often balanced by stronger
achievement in others. • 100 marks to Pass;
• 120 marks to pass with Merit;
• 130 marks to pass with Distinction.
The total number of marks available for each exam element is listed here:
Instrumental exams Singing exams
Grades Grades Grades
1 to 8 1 to 5 6 to 8
Piece 1 30 Song 1 30 24
Piece 2 30 Song 2 30 24
Piece 3 30 Song 3 30 21
— — Song 4 — 21
* Includes a transposition test for Horn, Trumpet and Organ at Grades 6 to 8 and a figured bass realisation test for Harpsichord.
9
10
Grades 1–8 Pieces
Pitch Time Tone Shape Performance
Distinction Highly accurate notes Fluent, with flexibility Well projected Expressive, idiomatic Assured
27–30 and intonation where appropriate Sensitive use of tonal musical shaping and Fully committed
Rhythmic character qualities detail Vivid communication
well conveyed of character and style
Merit Largely accurate notes Sustained, effective Mainly controlled and Clear musical shaping, Positive
24–26 and intonation tempo consistent well-realised detail Carrying musical
Good sense of rhythm Good tonal awareness conviction
Character and style
communicated
Pass Generally correct notes Suitable tempo Generally reliable Some realisation of Generally secure, prompt
20–23 Sufficiently reliable Generally stable pulse Adequate tonal musical shape and/or recovery from slips
intonation to maintain Overall rhythmic awareness detail Some musical
tonality accuracy involvement
Below Pass Frequent note errors Unsuitable and/or Uneven and/or Musical shape and detail Insecure, inadequate
Marking criteria - instruments
17–19 Insufficiently reliable uncontrolled tempo unreliable insufficiently conveyed recovery from slips
intonation to maintain Irregular pulse Inadequate tonal Insufficient musical
tonality Inaccurate rhythm awareness involvement
13–16 Largely inaccurate notes Erratic tempo and/or Serious lack of tonal Musical shape and detail Lacking continuity
and/or intonation pulse control largely unrealised No musical involvement
10–12 Highly inaccurate notes Incoherent tempo and/or No tonal control No shape or detail Unable to continue
and/or intonation pulse for more than a short
section
0 No work offered No work offered No work offered No work offered No work offered
Grades 1–8 Scales and arpeggios Sight-reading Grades 1–8 Aural tests
Distinction Highly accurate notes/pitch Fluent, rhythmically accurate Distinction Accurate throughout
19–21 Fluent and rhythmic Accurate notes/pitch/key 17–18 Musically perceptive
Musically shaped Musical detail realised Confident response
Confident response Confident presentation
Merit Largely accurate notes/pitch Adequate tempo, usually steady pulse Merit Strengths significantly outweigh
17–18 Mostly regular flow Mainly correct rhythm 15–16 weaknesses
Mainly even tone Largely correct notes/pitch/key Musically aware
Secure response Largely secure presentation Secure response
Pass Generally correct notes/pitch, Continuity generally maintained Pass Strengths just outweigh
14–16 despite errors Note values mostly realised 12–14 weaknesses
Continuity generally maintained Pitch outlines in place, despite errors Cautious response
Generally reliable tone Cautious presentation
Cautious response
Below Pass Frequent errors in notes and/or pitch Lacking overall continuity Below Pass Weaknesses outweigh strengths
11–13 Lacking continuity and/or some items Incorrect note values 9–11 Uncertain response
incomplete Very approximate notes/pitch/key
Unreliable tone Insecure presentation
Uncertain response and/or some
items not attempted
7–10 Very approximate notes and/or pitch No continuity or incomplete 6–8 Inaccuracy throughout
Sporadic and/or frequently incomplete Note values unrealised Vague response
Serious lack of tonal control Pitch outlines absent
Very uncertain response and/or Very uncertain presentation
several items not attempted
Sight-reading also includes transposition for Horn, Trumpet and Organ (Grades 6–8) and figured bass realisation for Harpsichord (Grades 4–8). In these cases, of the total 21 marks, 12 are allocated to
11
sight-reading and 9 to transposition (or figured bass realisation), and one combined mark is recorded.
12
Grades 1–5 Songs Grades 6–8
Pitch Time Tone Shape Performance
Distinction Highly accurate notes Fluent, with flexibility Well projected Expressive, idiomatic Assured Distinction
27–30 and intonation where appropriate Sensitive use of tonal musical shaping and Fully committed 22–24
Rhythmic character qualities detail Vivid communication (Lists A & B)
well conveyed of character and style 19–21
(Lists C & D)
Merit Largely accurate Sustained, effective Mainly controlled and Clear musical Positive Merit
24–26 notes and intonation tempo consistent shaping, well-realised Carrying musical 20–21
Good sense of rhythm Good tonal awareness detail conviction (Lists A & B)
Character and style 17–18
communicated (Lists C & D)
Pass Generally correct Suitable tempo Generally reliable Some realisation of Generally secure, Pass
20–23 notes Generally stable pulse Adequate tonal musical shape and/or prompt recovery from 16–19
Sufficiently reliable Overall rhythmic awareness detail slips (Lists A & B)
Marking criteria - Singing
Below Pass Frequent note errors Unsuitable and/or Uneven and/or Musical shape and Insecure, inadequate Below Pass
17–19 Insufficiently reliable uncontrolled tempo unreliable detail insufficiently recovery from slips 13–15
intonation to maintain Irregular pulse Inadequate tonal conveyed Insufficient musical (Lists A & B)
tonality Inaccurate rhythm awareness involvement 11–13
(Lists C & D)
13–16 Largely inaccurate Erratic tempo and/or Serious lack of tonal Musical shape and Lacking continuity 10–12
notes and/or pulse control detail largely No musical (Lists A & B)
intonation unrealised involvement 9–10
(Lists C & D)
10–12 Highly inaccurate Incoherent tempo No tonal control No shape or detail Unable to continue 8–9
notes and/or and/or pulse for more than a short (Lists A & B)
intonation section 7–8
(Lists C & D)
0 No work offered No work offered No work offered No work offered No work offered 0
Grades 1–8 Unaccompanied traditional song Sight-singing Grades 1–8 Aural tests
Distinction Excellent control of pitch and intonation Fluent, rhythmically accurate Distinction Accurate throughout
19–21 Rhythmic character well conveyed Accurate notes/pitch/key 17–18 Musically perceptive
Sensitive use of vocal qualities Musical detail realised Confident response
Expressive, idiomatic musical shaping Confident presentation
Fully committed communication, vivid story-telling
Merit Good control of pitch and intonation Adequate tempo, usually Merit Strengths significantly
17–18 Rhythmic character conveyed steady pulse 15–16 outweigh weaknesses
Good use of vocal qualities Mainly correct rhythm Musically aware
Clear musical shaping Largely correct notes/pitch/key Secure response
Good musical involvement and story-telling Largely secure presentation
Pass Generally reliable control of pitch and intonation Continuity generally maintained Pass Strengths just outweigh
14–16 Adequate sense of rhythmic character Note values mostly realised 12–14 weaknesses
Sufficient use of vocal qualities Pitch outlines in place, despite Cautious response
Some musical shaping errors
Some musical involvement and story-telling Cautious presentation
Below Pass Unreliable control of pitch and/or intonation Lacking overall continuity Below Pass Weaknesses outweigh
11–13 Inadequate sense of rhythmic character Incorrect note values 9–11 strengths
Insufficient use of vocal qualities Very approximate notes/ Uncertain response
Lack of musical shaping pitch/key
Insufficient musical involvement and/or story-telling Insecure presentation
7–10 Very unreliable control of pitch and/or intonation No continuity or incomplete 6–8 Inaccuracy throughout
Lacking rhythmic character Note values unrealised Vague response
No use of vocal qualities Pitch outlines absent
No musical shaping Very uncertain presentation
Lacking musical involvement and/or story-telling
13
What to expect
14
15
16
Warming up Once in the exam room, all
Most exam preparation, practice candidates are welcome to play or
and rehearsing takes place well sing a few notes to warm up, and our
before the exam day, but it is also examiners encourage them to do
important for candidates to have this. This can be particularly helpful
time to prepare and settle at the for pianists, who will want to try out
exam venue before their exam the piano.
begins. This might include thinking
about the music they are going to It’s natural to feel nervous
perform or warming up ready to Some candidates will feel nervous
play or sing. before or during their exam. This
is natural and is something that our
A number of ABRSM centres have a
stewards and examiners understand.
separate warm-up room, sometimes
With experience, many people learn
with a piano. If candidates want to
how to deal with nerves and taking
use the warm-up room for a few
exams can actually help with this.
minutes before their exam then
Other ways to help include:
the steward will organise this.
• accepting nerves as normal;
• performing regularly in front
If there is no warm-up room,
candidates can warm up for a short
of others;
time in the waiting area. However,
if the exam room is very close to the • taking mock exams;
waiting area it won’t be possible to • arriving in good time at the
warm up aloud. In this situation, exam centre;
teachers and candidates need • taking a few calm breaths before
to think about ways to warm up the exam itself.
instruments, fingers or
embouchures silently.
17
During the exam
How long does an exam take? During the exam there may be short
A Grade 1 exam lasts for around pauses between pieces or songs and
12 minutes. As the grades get sections. This is nothing to worry
higher the exams gradually become about – the examiner will just be
longer, with Grade 8 taking around writing comments on the mark form.
30 minutes. Timings vary slightly
depending on the instrument and About the piano
grade, and any arrangements we The piano at the exam venue
have made for candidates with might be an upright or a grand.
access needs or who need an All pianos at ABRSM exam centres
interpreter. are of consistently good quality and
You can find timings for all our are tuned and checked before any
exams at www.abrsm.org. exams take place. Examiners also
try out the piano at the start of the
In the exam room day and then play it during the aural
When candidates go into the exam tests in every exam. This means
room the examiner welcomes they know what it feels like to play a
them and confirms their name. particular piano and what candidates
Candidates will see everything for will be experiencing in their exams.
their exam in place – a piano, a chair
for performers who sit while playing Setting up
and a desk where the examiner sits In the exam room candidates
to listen and write the mark form. can spend a short time getting
comfortable and settled before the
Sometimes there are two examiners exam begins. This might include
in the room. One is there to run adjusting the piano stool or putting
and mark the exam and the other the music stand in the best place
is there as an observer. This is an – something to think through
essential part of our training and before the day. The examiner will
quality assurance processes. If there help with adjusting or moving
are two examiners present, this will things if necessary and will also give
not affect the marking or results and candidates the opportunity to warm
the steward on the day will explain up by playing or singing a few notes.
this to candidates before they go into
the room.
18
19
Tuning However, if an accompanist is
For many instrumentalists, learning unavailable or late, examiners
how to tune their instrument is an will do what they can to help by
important part of learning to play. changing the order of the exam
Tuning is also an important part of or, if possible, the timetable to give
setting up before the exam. time for an accompanist to arrive.
Candidates can usually check their
The order of the exam
tuning before going into the exam
Candidates can do the elements
room, so they only need to do final
of the exam in any order. This
tuning to the piano at the start of
is something that candidate and
the exam. For some instruments and
teacher can decide together
grades the teacher or accompanist
before the exam.
is allowed to help with this (see the
syllabus for details). Candidates with an accompanist
usually begin with their pieces or
Examiners cannot help with tuning
songs. The accompanist goes into
or adjusting instruments. However,
the exam room with them and
if a candidate needs help, and it is
leaves after the pieces or songs.
not available, examiners will do what
If candidates decide to begin with
they can. They might offer to change
a different section of the exam,
the order of the exam – doing the
they should tell the steward who
aural tests first, for example – to
can then call the accompanist at
give time for help to arrive. Or, if
the right time.
possible, they might change the
timetable so the candidate can take Candidates playing the guitar, harp,
the exam later in the day, once help percussion or keyboard instruments
has been found. often prefer to begin with scales
and arpeggios, as this provides an
Accompaniment opportunity to warm up and, for
Singers and instrumentalists playing pianists, try the instrument.
accompanied pieces must bring an
accompanist with them. Examiners
cannot accompany a candidate,
as this would affect their ability to
mark the exam, and we do not allow
recorded accompaniments (except
in Jazz exams).
20
21
22
Pieces and songs Instrumental candidates are welcome
In the exam, candidates perform to do the same for their pieces, or
pieces or songs chosen from the they can simply tell the examiner
repertoire lists in the syllabus. The what they are going to play.
syllabus also includes additional During longer pieces examiners may
information about many aspects of ask candidates to stop playing, once
this exam element, such as exam they have heard enough to make
music and editions, interpreting an assessment.
the score (fingering, bowing,
metronome marks and realising Scales and arpeggios
ornaments), repeats and page turns. (instrumentalists)
Before the exam begins, examiners For this section, examiners ask
need to know which pieces or songs candidates to play a selection of
a candidate is going to perform, the requirements set for the grade.
so they can be checked against the Examiners usually ask for at least
syllabus and listed on the mark one of each type of scale/arpeggio
form. As the Singing repertoire lists pattern listed in the syllabus.
are much longer than the lists for We publish guideline speeds for
instrumental exams, we ask singers scales and arpeggios on our website,
to have their songs written down in our syllabus booklets and in
on a piece of paper ready to give to our books of scale requirements.
the examiner. It helps if candidates However, speed is just one aspect
include the name of each song, the of playing scales. Candidates need
composer and the number from the to achieve a balance between speed
syllabus list, such as A2 or B1. We and the other qualities listed in the
provide pre-printed slips for this at marking criteria, such as accuracy,
the back of syllabus booklets and on evenness of tone and regularity
our website, or candidates can use a of flow.
piece of paper.
23
24
Unaccompanied traditional song Where tests involve a sung response,
(singers) examiners listen for the pitch,
Instead of scales and arpeggios, not the quality of the singing, and
singers perform an unaccompanied candidates can hum or whistle if
traditional (folk) song of their they prefer.
choice, from memory. Candidates After the aural tests, examiners
can sing the song in any key. If they return to the desk to write their
need to they can play the first note comments on the mark form.
or key-chord on the piano before
they perform the song. What about mistakes?
Examiners understand that
Sight-reading/sight-singing candidates can make mistakes in
Candidates have half a minute to an exam which they might not
look at and try out the sight-reading have made in lessons or practice.
before they begin the test. Examiners Examiners also recognise when
explain this when they hand over the candidates recover well from a
music. Nothing is assessed during mistake and they take this into
this preparation time and candidates account in their marking.
can play or sing any part of the test
out loud. The important thing is In most cases, exam results
that they feel comfortable using match teachers’ expectations but
the time in a way that suits them. sometimes teachers might be
This is something that teachers and surprised by a candidate’s result.
candidates can plan before the exam. This might be because they are
comparing it with the singing or
Aural tests playing that happens in lessons,
For this element of the exam, whereas examiners can only mark
examiners go to the piano to play what they hear on the day.
the tests and ask the candidate some At the heart of a graded music exam
questions. The aural tests only take a is a live performance to an examiner
few minutes but tell examiners much and being able to perform in this
about candidates’ listening skills and situation is an important part of
musical awareness. taking an exam.
During this section, examiners assess
a candidate’s overall response rather
than awarding separate marks for
individual tests.
25
After the exam
Mark forms and certificates When looking at candidates’ results it
In the UK and Ireland, we issue helps to remember that success starts
candidates’ results within two to at the pass mark, and also that exams
three weeks of the exam. In other are just one part of their overall
countries this may vary. musical learning and progression.
All candidates receive a mark form There are various reasons why
which provides a clear, helpful record candidates might not do so well as
of what happened during the exam. expected. Perhaps they were not quite
It shows the marks awarded for ready for the exam or were overcome
each exam element and an overall by the performance situation on the
total mark. The comments on the day. While it is naturally disappointing
mark form give an indication of the if a result does not reach the pass
candidate’s strengths and weaknesses mark, it is important to keep this in
in relation to our marking criteria. proportion. The value of the exam is
just as much in the progress made, as
Successful candidates also receive
a result of having a target to aim for,
a certificate. The certificate celebrates
as in the assessment itself.
their achievement and provides
a record that they have met the Next steps
standards set in their exam. All By reading the examiner’s comments
certificates incorporate security on the mark form, alongside the
features to ensure that each one is marking criteria, teachers and
unique and cannot be reproduced. candidates can see why a particular
mark was awarded. Whatever the
Checking and quality assurance result, the mark form can help them
Before we issue results, all mark to decide what to focus on in the
forms go through a checking process. future. There is no need to go straight
We also record marks and read a on to the next grade. Ideally there will
selection of mark forms as part of our be plenty of time between exams for a
quality assurance procedures. This wide range of different music making,
helps us to maintain our consistency learning and listening activities.
and high standards.
These are all things for the teacher
Thinking about results and candidate to think about
Most candidates pass their exams. together after an exam and when
This can give a great sense of planning their next steps.
personal achievement as well as
motivation for future music making
and learning.
26
27
About our examiners
28
Training also focuses on the Maintaining standards
method of examining. This covers We expect all our examiners to
the practicalities of the exam work to consistently high standards,
and making sure everything runs and we have thorough quality
smoothly for candidates. assurance processes in place to
Finally, we train our examiners to ensure this happens.
use the ABRSM marking criteria. Moderation – a team of highly
Examiners make all their marking experienced examiners act as
decisions and write up the mark moderators. They sit in with
forms during the exams. Our examiners as they work to check
training gives them the skills to make they are examining to the required
reliable and consistent assessments standards. This happens for all
and to write helpful, sympathetic examiners at least every two to
comments. three years.
Mark form reviews – we review each
examiner’s mark forms every two
to three years.
Statistical reviews – we regularly
record, monitor and review the
marks awarded by all examiners.
We also provide continuing
professional development for
our examiners through annual
conferences, regular seminars,
observation and mentoring.
29
Other assessments
30
Jazz Ensembles
• Grades 1 to 5 • Three levels: Primary,
• For Piano, Flute, Clarinet, Intermediate, Advanced.
Saxophones, Trumpet, Cornet, • For a range of ensembles from
Flugelhorn and Trombone. two to ten performers.
• Encourages imagination, • The examiner awards an overall
creativity and spontaneity. grading rather than a mark.
• Covers learning by ear and • Each member of the successful
from notation, improvisation ensemble receives a certificate.
and all-round musicianship.
• Jazz Ensemble exams are also Choral Singing
available, at three levels: Initial, • Three levels: Initial, Intermediate,
Intermediate, Advanced. Advanced.
Available in selected centres. • The examiner awards an overall
grading rather than a mark.
Performance Assessment • Each member of the successful
• Open to singers and choir receives a certificate.
instrumentalists at any level. Available in selected centres.
• Particularly suitable for adults and
for students with special needs who Diplomas
may not be able to access graded • For musicians looking for new
music exams. goals and additional qualifications
• Good preparation for an audition, or planning a career in music.
performance or diploma exam. • ARSM: a performance-only
• Candidates perform their own diploma for anyone who has
choice of music and there are no passed Grade 8.
scales, sight-reading or aural tests. • DipABRSM, LRSM and FRSM
• No marks are awarded and there is diplomas available in three
no pass or fail. subjects: Music Performance,
• On the day, all candidates receive
Instrumental/Vocal Teaching
and Music Direction.
a certificate from the examiner
which includes positive and
helpful comments.
31
Information and resources
Accreditation
In England, Wales and Northern
Ireland our Music Medals, graded
exams (for instruments, Singing,
Jazz and Music Theory) and diplomas
are regulated and fit within the
Qualifications and Credit Framework
(QCF). Many of our exams are also
formally recognised by institutions
in a number of other countries.
www.abrsm.org/accreditation
32
ABRSM is a charity registered in England
and Wales (292182) and Scotland (SC043343).
Supporting the teaching and
learning of music in partnership
with the Royal Schools of Music
www.abrsm.org
facebook.com/abrsm
@abrsm
ABRSM YouTube