The Leinster School of Music & Drama - Griffith College Dublin

The Leinster School of Music & DramaEstablished 1904Pianoforte Grade Examination SyllabusIntroductory to Grade 8

IndexIntroductory Grade------------------------------------------------------ Page 7Primary Grade------------------------------------------------------------ Page 13Preparatory Grade------------------------------------------------------ Page 19Grade 1------------------------------------------------------------------ Page 25Grade 2----------------------------------------------------------------- Page 30Grade 3----------------------------------------------------------------- Page 35Grade 4----------------------------------------------------------------- Page 41Grade 5----------------------------------------------------------------- Page 47Grade 6------------------------------------------------------------------ Page 54Grade 7----------------------------------------------------------------- Page 64Grade 8------------------------------------------------------------------ Page 76Recital Medal Repertoire---------------------------------------------- Page 90Piano Duets-------------------------------------------------------------- Page 91Appendix 1: Choice piece------------------------------------------------ Page 94Appendix 2: Teaching notes -------------------------------------------- Page 96Appendix 3: Exams------------------------------------------------------ Page 98Appendix 4: From the Examiner’s side of the desk ------------------- Page 99

History of The Leinster School of Music & DramaThe Leinster School of Music & Drama was founded in 1904 by SamuelMyerscough, an acclaimed musician, teacher and examiner. Its primaryfunction was to provide education in music to as wide a population aspossible.According to the Irish Art Handbook of 1949 the school had “becomeone of the most important influences on the musical life of the country as ateaching, examining body” Among its early teaching staff were theesteemed piano tutors Patricia Read and May Cosgrave, sister of William T.Cosgrave.The school’s original location was on Harcourt Street which wasfollowed by a move to Upper Stephen Street in 1982. A major step forwardtook place in 1998 when the school moved to the Griffith College Campus onSouth Circular Road and became a constituent School of the College.As a national examining body the School offers grade and diplomaexaminations in both Music and Drama. As part of its centenary celebrationsthe school launched the annual Excellence Awards in 2004. Students areselected to compete for these prestigious awards on their performance atthe annual examinations. The finalists perform at a grand finale in theGriffith College Auditorium each year and the overall winners in music anddrama are presented with their awards.In keeping with the School’s affiliation to Griffith College a new H.Dipin Arts in Music Education was validated by HETAC in 2008, and the H.Dip inArts in Drama Education was validated in 2010. These new coursescomplement the Associate and Licentiate Diplomas which have been inexistence for a long number of years. Candidates who complete thesevalidated courses all receive international recognition for their awards.The School has just launched its new music syllabus which reflectsthe demand for a broader appreciation of the many facets of the art,reaching out to a new generation of musicians.Vision StatementInspiring life-long, creative and fulfilling participation in music.

General Information and Exam Regulations(a)(b)(c)(d)(e)(f)(g)(h)This hand book is designed to clarify some requirements that formpart of the new syllabus. Teachers should at all times consult thesyllabus for the requirements such as scales, sight reading andaural tests.The syllabus has been framed taking into account currenteducational thinking and research, and provides a systematicprogression through the grades in preparation for Diplomaexaminations at a later stage.The schedule of maximum marks for each section of each grade islisted in the syllabus. Grade examinations are marked out of 100and candidates must secure 65 marks overall to pass. Candidatesscoring 87 marks or over will be awarded 1 st class honours, 80 to86 will be deemed to have passed with honours and 70 to 79 will bedeemed to have passed with merit.A medal will be awarded to a candidate who has gained 95 marks ormore overall in all grades from Preparatory to Grade 8.In all examinations, prepared pieces may be heard in full or in partat the discretion of the examiner.Candidates must adhere strictly to the repertoire in the syllabus.Where there is an own choice option, this applies to one piece onlyof the programme.The editions listed in the syllabus are suggested editions.Alternative editions of similar standing are equally acceptable.Candidates are not compelled to adhere to the fingering indicatedin any of the pieces. Any appropriate fingering will be accepted.

(i)(j)(k)Scales should be fingered in accordance with recommendations. Atexaminations marks will be deducted for inappropriate fingering.No photocopied music is allowed at any time other than for anawkward page turn.Candidates presenting themselves for examination in the earliersessions of 2012 may present either the old or the new syllabus.From September 1st 2012 only the new syllabus will be accepted.

Rationale for the New SyllabusIn 2004 the Leinster School of Music & Drama celebrated its centenary with anupdate of its syllabus. The past decade has seen an explosion in theunderstanding of musical ability and learning; it was felt that the time had comefor a further review of the content and the introduction of some new ideas tomeet the needs of the new decade. Following consultations with teachers andexaminers the new syllabus has been launched taking into account the manyviews expressed by interested parties. Above all, the new syllabus recognisesthat not all learners are the same, and takes into account the capacity ofteachers at local level to assess and cater for individual learner needs.The new programme has a number of innovative ideas:-(a) The repertoire has been broadened to include a wide range of contemporarygenres. This reflects the broader acceptance of styles other thantraditional classical pieces in music teaching and learning(b) Recent research in the field of teaching and learning, indicates thatstudents are motivated by appropriate choice in their own learning. Bearingthis in mind it has been decided to include a choice option in performance,and to give students further choice in the higher grades relating todeveloping their technical skills and musicianship. This also supportsstudents’ wider and more varied participation and involvement in music atdifferent stages during their musical development.(c) Aural awareness has been remodelled with the objective of developing acritical ear which can discern various aspects of performance. Students willstudy French time names at the earlier grades which will develop theirrhythm, and in turn, enhance their aural and sight reading skills.(d) Bearing in mind that students wish to become independent musicians, theoption of improvisation/keyboard harmony has been introduced at the highergrades. This will support their participation in musical environments outsideof the class room or lesson.(e) Students at the higher grades are expected to research composers andtheir works which is also reflective of the information age we live in.A broad list of repertoire has been included to suit all levels and tastes.Through this new syllabus, the Leinster School of Music and Drama intends tocontinue to provide a supportive environment to enhance the interest in, anddevelopment of music education for both teachers and students in the years ahead.

Introductory GradeAim:- To introduce the student to the pleasure of playing music, instilling alove and enthusiasm for all aspects of the process, and laying soundfoundations through the development of aural, reading, technical andperformance skills at an elementary level.Learning Outcomes:- At the conclusion of this grade student should:- Understand the basics of notation and recognize notes on the trebleand bass clefs Have a proper hand position in both hands and be able to play legatoand staccato Have acquired a proper seating position Understand elementary rhythm patterns, including crotchets, quaversand minim Sing very simple melodic motifs Be able to perform a selection of pieces at introductory levelCourse Content:- The examination at the conclusion of this grade is dividedinto four categories.(a)Technical Studies:-Scales of C and G major, one octave hands separately.Chords of C and G major (refer to Teachers’ Handbook)Five finger exercise, hands together over middle C, (refer toTeachers’ Handbook)(b)Sight Reading and Comprehension:-Understanding the treble and bass clefsIdentifying and locating notes from prepared pieces in treble and bassclefsAnswer simple questions on bar lines, note and rest values, in theprepared pieces

(c)(d)Aural Observation:-To recognize two notes played by the examiner as being eitherascending or descending (rising or falling; up or down)To identify a short phrase from one of the prepared piecesTo clap back a short rhythm played twice by the examinerTo sing back a few notes played twice by the examinerPerformance:-Performance of three pieces from the attached list.Assessment:- Section (a) 15 MarksSection (b)Section (c)Section (d)15 Marks10 Marks60 MarkCandidates must secure 65 marks to pass, 70 – 79, pass with merit, 80 – 86,pass with honours, 87 -100 Pass with first class honours.

Introductory GradeMusic Lessons have begun(Lelia Fletcher - Boston Music Company)Piano Time Pieces (1)(Pauline Hall - Oxford University Press)John Thompson Easiest Piano Course(First Classics – Willis Music Company)Teach me to Play(Howard Kasschau – Preliminary Book, Schirmer)Teaching Little Fingers to Play(John Thompson - Willis Music Co. )The DucklingCampfire MarchCanoe SongHalloween Pumpkin*Evening Hymn*What shall I sing?*Morning has brokenFrog CountGrass so greenTheme from the Creation (Haydn)Minuet n G (Bach)Sonatina (Beethoven)Can-Can (Offenbach)Our Old ClockMy PrayerIce Cream Mountain*Paper Ships*Toy Soldiers* These Pieces are recommended for the very young beginner

Introductory Grade(a)Technical Studies:-Scales of C and G major, one octave hands separately.Chords of C and G major in broken position.Five finger exercise, hands together over middle C, played legato.(b)Aural Observation:-To recognize two notes played by the examiner as being eitherascending or descendingIdentifying a short phrase from one of the prepared pieces.

To clap back a short rhythm played by the examiner. The following aresamples onlyTo sing back a few notes played by the examiner. The following aresamples only

French Time Names 1In teaching time and rhythm, teachers are recommended to use French timenames in preference to counting by numbersIn this system each note has a name; each pulse or beat is divisible intohalves, quarters, eights etc.The following is a list of notes beginning with the semi breve and dividinginto smaller divisions:-RestsEach note has a corresponding rest. The time names for the rests begin withS instead of T1 Kodaly/Orff or other recognised methods will also be accepted.

Primary GradeAim:- To build on the foundational skills acquired at introductory level,through broadening repertoire, and facilitating the incremental developmentof aural, reading, musicianship and technical abilities at primary level.Learning Outcomes:- At the conclusion of this grade the student should:- Understand notation on both staves and up to one ledger line aboveand below each stave Recognise rhythmic patterns using French time names (crotchet,quavers and minis) Perform a selection of pieces of suitable standard, in the keys of C, Gand F majors and A minor Sing simple melodic phrases in the range of a 5 th Demonstrate an awareness of dynamic contrasts Demonstrate a basic knowledge of French time names or similarnotation method. *Kodaly, Orff or other accepted methods will also be accepted.Course Content:- The examination at the conclusion of this grade is dividedinto four categories(a)Technical Studies:-C, G, F majors, one octave hands separately.Chords of the above keys in close position, hands separatelyPreparation of two musical sentences from a recommended list.(See Teacher’s Handbook) Candidates will be required to performone of the musical sentences at the examination(b)Sight Reading and Comprehension:Understand the treble and Bass Clef and one ledger line above andbelow both staves together with the sharp and flat.Explain bar lines, time signatures, note values and marks of expressionin the prepared pieces.

Understand the difference between a tone and semi tone, and pointingout the tones and semi tones in the scale of C major.(c ) Aural Observation:-To clap at sight a two bar phrase consisting of crotchets, quavers andminims using *French Time NamesTo clap back a short phrase played by the examinerSing back a two bar phrase played twice by the examiner. *Kodaly, Orff or other accepted methods will also be accepted.(d)Performance:-Performance of three pieces from the attached listAssessment:- Section (a) 15 MarksSection (b)Section (c)Section (d)15 Marks10 Marks60 MarkCandidates must secure 65 marks to pass, 70 – 79, pass with merit, 80 – 86,pass with honours, 87 -100 Pass with first class honours.

Primary GradePiano Time Pieces 1(Pauline Hall – Oxford University Press)Teaching Little Fingers to play more(Leigh Kaplin - Willis Music Company)TurpinMartian’s MarchA Chat between FriendsCheerful Cha-Cha-ChaShall we WaltzThe SwingMore Upgrade 0 – 1(Pamela Wedgewood - Faber Music)First Piano Lessons – Scenes at a Farm(Walter Carroll – Forsyth)First Year Pieces – Work and Play(Thomas F Dunhill and Felix Swinstead)Piano Time Jazz, Book 1(Pauline Hall - Oxford University Press)Roundabout – 16 easy Pieces for Piano(ABRSM)Bits and Pieces,Beefburger BoogieOn the LakeMay Day Dance(without repeats)No. 1 Melody in CNo. 2 The Sheep on the DownsNo. 10 GavotteMarching in againHop, Skip and JumpNo.1 Merry-go-roundNo.5 Rocking ChairNo 12, The Haunted HouseNo.14 Little Mouse

Primary Grade(a)Technical Studies:- C, G, F majors, one octave hands separately.Chords of the above keys in close position, hands separatelyPreparation of four musical sentences from a recommended list.The following are the four sentences

(b)Sight Reading and Comprehension:Understanding the treble and bass clef and one ledger line above andbelow both staves together with the sharp and flat. Candidates will berequired to identify and play two notes in the Treble and two notes inthe Bass which may include the sharp or the flat.(c ) Aural Observation:-To clap at sight a two bar phrase consisting of crotchets, quavers andminims using *French Time Names. In clapping back at the examination, itis not necessary to use the French times aloud. The following areexamples only

To clap back a short phrase played by the examinerSing back a two bar phrase played twice by the examiner

Preparatory GradeAim:- To consolidate the student’s foundation in elementary technique,musicianship, reading and aural skills, in preparation for progressing on tothe grades.Learning outcomes:- At the conclusion of this stage the student should;- Recognise notes in the treble and bass up to one ledger line aboveand below the stave, or any notes in the chosen pieces Sight-read short phrases hands separately beginning on middle C Clap rhythms, by ear and sight, using French Time names (crotchet,quavers, minins, and crotchet rests) Perform a selection of pieces of suitable standard in the keys of C,G and F majors and A minor Demonstrate an awareness of dynamic ranges Demonstrate a basic knowledge of French time names or similarnotation methodCourse Content:- The examination at the conclusion of this grade is dividedinto four categories(a)Technical Studies:-C, G F majors, A and D minor, one octave hands separately.Three note close position chords of the above keys hands separatelyas attached.Preparation of two musical sentences, (refer to Teachers’ Handbook)(b)Sight Reading and Comprehension:Recognising time signatures, key signatures and marks of expression inthe prepared pieces.Sight reading a short passage containing mainly movement by stepover the five fingers with the right hand and left hand separately,both positioned over middle C note only.Construction of the major scale, identifying tones and semi tones, inthe scales of C and G

(c)Aural Observation:-To clap at sight a short phrase in 4/4 time using more *Frenchtime names including minim, crotchets, quavers and crotchet restsSing back a short melody played by the examiner in a range of a 5 thClapping along to a short passage played by the examiner in 4/4 or3/4 time. *Kodaly, Orff or other accepted methods will also be accepted.(d)Performance:-Performance of three pieces from the attached listAssessment:- Section (a) 15 MarksSection (b)Section (c)Section (d)15 Marks10 Marks60 MarksCandidates must secure 65 marks to pass, 70 – 79, pass with merit, 80 – 86,pass with honours, 87 -100 Pass with first class honours.

Preparatory GradePiano Time Pieces 1(Pauline Hall - Oxford University Press)First Year Pieces – Work and play(Thomas F Dunhill and Felix Swinstead)Promenade (with Repeats)Witch’s LairResting (No. 3 Felix Swinstead)Up with the Lark (No 4 Felix SwinsteadThe old Wind Mill (No. 3 Dunhill)A Sad Story (No. 10 Dunhill)Swinging Branches (No 11 Dunhill)Piano Time Jazz, Book 1(Pauline Hall - Oxford University Press)Roundabout – 16 easy pieces for Piano.(Alan Haughton – Associated Board)Up Grade 0- 1(Pamela Wedgewood - Faber Music)Piano Time Pieces 2(Pauline Hall - Oxford University Press)Step by Step to the Classics – Book 1(Felix Swinstead – Banks Music Publication)Coconut CalypsoPetite ValseBallerinaMake Way for the KingApple Pie WaltzMinuet (Reinagle)Allegro Grazioso (Gurlitt)Feeling Fine (Bullard)Gigue (Olive J Wood)Bouree (Le Coupe)Folk Tune (arr. Mozart)Musical Box (Berens)

Preparatory Grade(a) Technical Studies:-C, G F majors, A and D minor, one octave hands separately.Three note close position chords of the above keys hands separatelyas attached.Preparation of two musical sentences, one in the treble and one in thebass, from a supplied list. Candidates will be required to perform onesentence at the exam. The following are the sentences.

(b)Sight Reading and Comprehension:Recognizing time signatures, key signatures and marks of expressionin the prepared pieces.Sight reading a short passage containing mainly movement by stepover the five fingers with the right hand and left hand separately.The following is an example of the standard required.

(c)Aural Observation:-To clap at sight a short phrase in 4/4 time using more *Frenchtime names including minim, crotchets, quavers and crotchet restsSing back a short melody played by the examiner of a higherstandard than the previous level.Clapping along to a short passage played by the examiner in 4/4 or3/4 time

Grade 1Aim:- To foster enthusiasm for music, and to encourage the student todevelop the practical and technical skills to perform at this level. Tobroaden the student’s exploration of performance, listening, andmusicianship, through the introduction of new repertoire includingclassical, jazz and contemporary.Learning outcomes:- At the conclusion of this grade the student should:-Be able to perform pieces over a wide range of the keyboardPlay at least one of the pieces from memory (optional)Understand the concept of major and minor keysSight read a short piece using both hands, but with mainly handsseparate movement, in keys up to one sharp or flatSing a short phrase after hearing it, and be able to identify thedifference between 2/4 and3/4 timeCourse Content:- The examination at the conclusion of this grade is dividedinto four categories(a)(b)Technical Studies:-C, G, D, A, F majors. A and D minors, two octaves hands separatelyand one octave hands together.Contrary motion one octave in the keys of C and G majors.Three note broken chords and inversions of C and G majors A and Dminors (refer to Teachers’ Handbook)Sight Reading and Comprehension:-To sight read a short passage with each hand separately in the key ofC or GTo answer questions on dynamic and performance directions in theprepared pieces.

Identifying various intervals in the prepared pieces up to andincluding a 5 th ., which will include a major 2 nd , major 3 rd . perfect 4 thand 5th(c)(d)Aural Observation:-To clap a rhythm at sight in simple time using *French time names,using crotchets, quavers, minims, crotchet rests and semiquavers only;*Kodaly, Orff or other accepted methods will also be acceptedTo clap back the rhythm of a melody played twice by the examinerTo sing back a short melody played twice by the examinerTo identify the time of a short piece played by the examiner as beingin either 2/4 or 3/4 timePerformance:-Performance of three pieces, as least two of which must be from theattached list. The third piece may also be selected from the list ormay be the candidate’s own choice which must be of at least equalstandard to the pieces on the prescribed list. (Please see guidelinesfor own choice piece in Appendix 1)Assessment:- Section (a) 15 MarksSection (b)Section (c)Section (d)15 Marks10 Marks60 MarksCandidates must secure 65 marks to pass, 70 – 79, pass with merit, 80 – 86pass with honours, 87 -100 Pass with first class honours.

Grade 1Young Pianists Repertoire Book 1Nannerl’s Minuet (Mozart)(Fanny Watermann & Marion Harewood - Faber Music)Waltz (Shostakovich)Piano Time Pieces 2(Pauline Hall - Oxford University Press)The Best of Grade 1 Piano(Faber Music)Up Grade 1 – 2(Faber Music)Swinging Rhymes(Terence Greaves – ABRSM)Step by Step to the Classics(Felix Swinstead – Banks Music Publication)Micro Jazz Collection I, Level 3(Christopher Norton – Boosey and Hawkes)Tarantella (Hall)Gavotte (James Hook)Sonatina No 3 in F(Thomas AtwoodQuasi Adagio (Bela Bartok)Air (John Blow)Creepy Crawly (Peter Gritton)Piano Piece for the Young(Heinrich Henkel)Eeyores March (Tim Jackson)Allegretto (Chriptoph Neefe)Gavotte (Georg Telemann)Mad Hatter’s Funeral MarchCool CalypsoThree Blue MiceBaa, Baa, Blue SheepA little Piece (Schumann)Allegretto in F (Berins)Polonaise (Richard Jones)Tut-tuttinA Winter Song

Grade 1(a)Technical Studies:-C, G, D, A, F majors. A and D minors, two octaves hands separatelyand one octave hands together.Contrary motion one octave in the keys of C and G majors.Three note broken chords and inversions of C and G majors A and Dminors. The following is the broken chord of C major(b)Aural Observation:-To clap a rhythm at sight in simple time using *French time names,using crotchets, quavers, minims, crotchet rests and semiquavers only(c)To clap back the rhythm of a short melody played twice by theexaminer

(d)To sing back a short melody played twice by the examiner. Thefollowing is an example of the standard required(e)To identify the time of a short piece played by the examiner as beingin either 2/4 or 3/4 time(c ) Sight Reading and Comprehension:To sight read a short passage with each hand separately in the key ofC or G . The following are examples of the standard required.

Grade 2Aim:- To continue to inspire a love of music making through a learnercentered approach to performance; to encourage the student to engage as aparticipant in his or her own musical development through fostering theirtechnical and musicianship skills and through cultivating and encouragingpractice routines which are required for increased technical and musicaldevelopment.Learning outcomes:- At the conclusion of this grade the student should:-Be able to perform pieces over a wide range of the keyboard indifferent stylesBe able to perform at least one of the pieces from memoryUnderstand major and minor tonalitySight-read using both hands together in the keys of C, F and GDemonstrate greater aural awareness in responding to aural stimuliand identifying aspects of a pieces performedCourse Content:- The examination at the conclusion of this grade is dividedinto four categories(a)Technical Studies:- D, A, E, B and F Majors, E, D and B minors, 2 octaves hands together Contrary motion one octave in the keys of D, A and E majors and D,and E minors beginning and ending on the key note. Chromatic scale beginning on C and C sharp, one octave handsseparately. Arpeggios of the above keys, major and minor, two octaves, handsseparately(b)Sight Reading and Comprehension:To sight read a short passage hands together in the keys of C, G or Fmajor.To answer questions on dynamic and performance directions in theprepared pieces

To identify major and minor chords (root position) in the preparedpieces.To give a short description of the candidate’s favourite piece of thethree performed. Questions will relate to the style of the piece(classical/popular/jazz etc) and the reasons for their choice(c)Aural Observation:-To clap back the rhythm of a four bar melody in 2/4, 3/4 or 4/4 timeplayed twice by the examiner and to state whether it was in 2/4,3/4or 4/4 time,To sing back a short melody played twice by the examinerTo listen to two notes played by the examiner, played both separatelyand together and identify the interval as major, 2 nd , major 3 rd .,perfect 4 th or perfect 5 thTo listen to a short piece played by the examiner and identify obviousfeatures i.e whether the piece was played forte or piano, legato orstaccato, rall at the end etc.(d)Performance:-Performance of three pieces, as least two of which must be from theattached list. The third piece may also be selected from the list ormay be the candidate’s own choice which must be of at least equalstandard to the pieces on the prescribed list. (Please see guidelinesfor own choice piece in Appendix 1)Assessment:- Section (a) 15 MarksSection (b)Section (c)Section (d)15 Marks10 Marks60 MarksCandidates must secure 65 marks to pass, 70 – 79, pass with merit, 80 – 86,pass with honours, 87 -100 Pass with First Class Honours.

Grade 2Young Pianist Repertoire Waltz of Beauty and the Prince(Maurice)(Fanny Watermann & Marion HarewoodOld French Song (Tchaikowsky)Book 1 -Faber Music)Music through Time(Pauline Hall, Paul Harris - Oxford Universiy Press)Tarantella (Burgmuller)L’Avalanche (Heller)Up Grade: Grades 1 & 2(Pamela Wedgewood - Faber Music)Hours with the Masters (Pre 2)(Bosworth)Kabalevsky – 15 children’s pieces(Boosey & Hawkes)More Classics to Moderns 2(Yorktown Music Press)Making the Grade – Grade 2(Chester Music)Young Pianists Repertoire Bk. 2(Faber Music)Short Romantic Pieces for Piano(Book 1 – ABRSM)Hours with the Masters Pre Grade 2(Bosworth)Homework BluesCharlestonPolonaise in G minor (Bach)The Cuckoo (Hummel)Andantino (Mayer)Having FunPlaying BallBagatelle (Diabelli)Rondino (Rameau)Sonatina (Salutrinskaya)Jean de Florette Theme (Petit)ClocksTwo pieces for musical clocks(No 1 - Haydn)Sonatina, 1 st movement(Clementi)Study in A minor (Beyer)Prelude (Reinecke)A slight misunderstanding(Ladukhin)Night in the Woods (Gedike)Andantino (Mayer)Minuet and Trio (Haydn)

Grade 2(b)Sight Reading and Comprehension:To sight read a short passage hands together in the keys of C, G or Fmajor. The following are examples of the standard required.

(c)Aural Observation:-To clap back the rhythm of a four bar melody in 2/4, 3/4 or 4/4 timeplayed twice by the examiner and to state whether it was in 2/4,3/4or 4/4 time.To sing back a short melody played twice by the examinerTo listen to two notes played by the examiner, played both separatelyand together and identify the interval as major 2 nd , major 3 rd , perfect4 th or perfect 5 thTo listen to a short piece played by the examiner and identify obviousfeatures i.e. whether the piece was played forte or piano, legato orstaccato, rall at the end etc.

Grade 3Aim:- To continue the student’s development in performance and to broadenfurther their understanding of the various musical styles. To furthercultivate the key skills required for independence as a musician; includingplaying by ear, memorization, sight-reading, musicianship and technical skills.Learning outcomes:- :- At the conclusion of this grade the student should :- Be able to perform a wide repertoire of pieces of a suitable standardto a high level of musicality Be able to perform at least one piece from memory Demonstrate a good understanding of major, minor and chromatictonality Sight-read hands together in major and minor keys up to one sharpand one flat Demonstrate an ability to respond to rhythmic and melodic stimuli andbe able to identify musical features of a previously unheard piece ofmusicCourse Content The examination at the conclusion of this grade is dividedinto four categories:-(a) Technical studies:- B, F, B flat, E flat A flat, majors. G and C harmonic minors, twooctaves hands together. D, A and F majors, G and C minors, in contrary motion two octaves Arpeggios of the above major and minor keys, two octaves handstogether. Chromatic scale beginning on B and B flat, two octaves handstogether(b)Sight reading and comprehension:- To sight read a short passage hands together in the keys of C, G or Fmajor, A or D minor To answer general questions on the pieces prepared for performancei.e. dynamics, articulation, mood etc.

To discuss a few short points on the style of one of the pieces(classical, jazz/popular etc) relating particularly to relevant musicalfeatures i.e. rhythm, phrasing, etc To identify major and minor chords in the prepared pieces.(c) Aural Observation:- To clap back the rhythm of a four bar phrase played twice by theexaminer, and to state which time the extract is in (3/4, 4/4 or 6/8) To sing back a short melody played twice by the examiner To identify major and perfect intervals up to an octave, and the minor3 rd . These will be played separately and together After hearing a short piece played twice by the examiner, to commenton musical features such as major or minor tonality, dynamicvariations, articulation etc.(d)Performance:-Performance of three pieces, as least two of which must be from theprescribed list for grade 3. The third piece may also be selected fromthe list or may be the candidates own choice which must be of at leastequal standard to the pieces on the prescribed list.Assessment:- Section (a) 15 MarksSection (b)Section (c)Section (d)15 Marks10 Marks60 MarksCandidates must secure 65 marks to pass, 70 – 79, pass with merit, 80 – 86,pass with honours, 87 -100 Pass with first class honours.

Grade 3Keyboard Anthology Series 3, Book 2 Scherzando (Camidge)(Associated Board)Sea Pink (Gurlitt)Keyboard Anthology Series 2, Book 2 Allegro in F (Mozart)(Associated Board)The New Doll (Tchaikovsky)Prayer (Karganov)Gigue (Hummel)Classics to Modern Book 3(Yorktown Music Press)Melody (Khachaturian)First Loss (Schumann)Puppets Complaint (Franck)Making the Grade Book 3If I were a Rich Man (Bock)(Revised and Updated Edition, Chester Music) Schindler’s List (John Williams)Up Grade(Grades 2 – 3, Pam Wedgewood)Half-a-Minute WaltzHubble BubbleSoundWorks Series, Pick up pieces for Young Pianists, 1994(Contemporary Music Centre, Philip Martin) Canon,The Sad Boy (an Introduction to the Pedal)Clementi Edition Peters Sonatine OP. 36 No. 2(1 st . or 3 rd . movement)Anna Magdalena (Bach) Minuet con Moto (No. 4)Short Romantic Pieces for Piano(ABRSM)Cool Piano 3 – Heather Hammond(Kevin Mayhew)Hours with the Masters Book 2(Bosworth)Diversions Nos 1 or 4(Universal Edition UE 14151)A Fairy Story (Kullak)The Little Trumpeter ((R. Fuchs)That’s the way to jazz itThe Railroad BluesMinuet and Trio (Mozart)Scherzo (Bertini)Richard Rodney Bennett

Grade 3(b) Sight reading and comprehension:- To sight read a short passage hands together in the keys of C, G or Fmajor, A or D minor

(c) Aural Observation:- To clap back the rhythm of a four bar phrase played twice by theexaminer, and to state which time the extract is in (3/4, 4/4, or 6/8)To sing back a short melody played twice by the examinerTo identify perfect and major intervals up to an octave, and the minor3 rd . These will be played separately and together.

a. After hearing a piece played twice by the examiner, to comment onwhether the piece is in the major or minor key, variation of dynamicsgenerally.

Grade 4Aim:- To continue the student’s development in performance and to broadenfurther their understanding of the various style of writing. To facilitatethe student to work increasingly on their own initiative and develope adiscerning ear to self-evaluate their own performance.Learning outcomes:- At the conclusion of this grade the student should:-Be able to perform pieces appropriate for this level, in a number ofstyles and to a high level of musicalityDemonstrate a strong level of technique to underpin performance atthis levelBe able to read competently at sight a short piece in a major up to twosharps or two flats, and the keys of A, E and D minor.Be able to listen to a piece and to note and comment upon differentfacets of the performanceBe able to detect inaccuracies in performance and how to rectifythem.Course Content The examination at the conclusion of this grade is dividedinto four categories:-(a)Technical studies:-B flat, E flat, A flat, D flat, and F sharp majors. F, F sharp, and Bflat minors, two octaves hands together.Contrary motion B flat, F and F sharp majors, B and F minors, twooctaves, hands togetherChromatic scale beginning on any note, 2 octaves hands togetherArpeggios of the above major and minor keys, two octaves handstogether

(b)(c)Sight reading and comprehension:-To sight read a short passage hands together in the keys of C, G,D, For B flat major, A, E, or D minorTo answer general questions on the pieces prepared for performancei.e. dynamics, articulation, mood, tonality, etc.To provide some background information on the composers of theprepared pieces. These will be short questions relating to their dates,birthplace and better known worksTo identify chords and intervals in the prepared pieces.Aural Observation:-To clap a four bar rhythm played twice by the examiner in simple orcompound time. This will be either in 2/4, 3 /4, 4/4, or 6/8To sing back a short melody played twice by the examinerTo recognize a rhythmic change in a two bar phrase i.e did the changeoccur in the first or second barAfter hearing a piece played twice by the examiner, to comment onthe musical features, including dynamics, articulation, tempo, key,mood, style etc.(d)Performance:-Performance of three pieces, as least two of which must be from theprescribed list for grade 4. The third piece may also be selected fromthe list or may be the candidates own choice which must be of at leastequal standard to the pieces on the prescribed list.Assessment:- Section (a) 15 MarksSection (b)Section (c)Section (d)15 Marks10 Marks60 MarksCandidates must secure 65 marks to pass, 75 – 79, pass with merit, 80 – 85,pass with honours, 85 -100 Pass with first class honours.

Grade 4Classics to Moderns Book 3(Yorktown Music Press)Classics to Moderns Book 4(Yorktown Music Press)Sonata in G (Scarlatti)Minuet (Haydn)Waltz (Schubert)Romanze (Mendelssohn)Theme and Variations (Mozart)Heller 23 Miscellenous Pieces Prelude No 2Keyboard Anthology Series 3, Book2 Air (Hook)(Associated Board)Presto (Mozart)Keyboard Anthology Series 1 Book2(Associated Board)Watchman’s Song (Greig)Study in A flat (Heller)Keyboard Anthology, Series 2, Book 2 Aria (Telemann)(Associated Board)Gigue (Hummel)Album for the Young – SchumannMicro Jazz Collection 3 level 5(Boosey and Hawkes)Kabalevsky, 15 Children’s Pieces(Boosey and Hawkes)Hours with the Masters(Book 2, Bosworth)Making the Grade(Grade 4, Chester Music)Making the Grade(Grade 3, Chester Music)Knight RupertTake your timeWomblingToccatinaAndante in A (Bertini)Scherzo (Muller)Gavotte (Purcell)I Dreamed a DreamOn my Own

Soundbites,Album of Pieces for young Pianists, C.M.CMore Rhythm and Rag?(Alan Haughton – Associated BoardAllegro (Mary Kelly)Baroque and RollLa ValseLyric Pieces (Grieg)Fairy DancePoetic Tone Picture (Grieg) OP. 3 NO 6(Associated Board)

Grade 4(b)Sight reading and comprehension:-To sight read a short passage hands together in the keys of C, G,D, For B flat major, A, E, or D minor(c)Aural Observation:-To clap a four bar rhythm played twice by the examiner in simple orcompound time. This will be either in 2/4, 3 /4., 4/4 or 6/8To sing back a short melody played twice by the examiner

To recognize a rhythmic change in a two bar phrase i.e did the changeoccur in the first or second bar. After hearing a piece played twice by the examiner, to comment onwhether the piece is in the major or minor key, variation of dynamicsgenerally

Grade 5Aim:- to consolidate the student’s technical, aural, reading, and musicianshipskills with a view to confident performance and an increasing ability to workindependently. To develop the student’s self-confidence and self efficacy asa musician and nurture an interest in taking on more challenging repertoire.Learning outcomes:- At the conclusion of this grade the student should:- Be able to perform pieces of a high standard to include works by someof the old masters. Have a broad repertoire which may include film music andcontemporary writing Demonstrate a competent technique to enable them to tackle works ofa higher standard Demonstrate a competence in sight reading to enable them to work ontheir own initiative, Demonstrate an understanding of cadences and other harmonic terms,particularly in relation to the performed repertoire.Course Content The examination at the conclusion of this grade is dividedinto four categories.(a) Technical studies: Scales of G, D, B, F sharp and C sharp, major and harmonic minor, 3octaves hands together in similar motion Scales of F sharp, A flat and B flat major and harmonic minor incontrary motion two octaves Scales of A, E and D melodic minors, 3 octaves, hands together Chromatic scale beginning on any note, 3 octaves hands together Major and minor arpeggios of the above keys, three octaves in rootposition, hands together

(b)(c)Sight reading and comprehension:-To sight read a piece of moderate difficulty, hands together in majoror minor keys up to three sharps and three flats.To answer general questions on the pieces prepared for performance.i.e. dynamics, articulation, style, tonality, mood, key etc.To identify chords, intervals and cadences (Perfect and Imperfect) inthe prepared pieces.To give a short background on the composers of the prepared pieces.e,,g date and place of birth, type of compositions etc.Aural Observation:-To clap back a four bar rhythm of suitable standard played twice bythe examiner and state the time signature 2/4. 3/4, 4/4, or 6/8Having identified the time signature the candidate will be asked toidentify note values within one of the barsTo recognize a rhythmic or melodic change in a two bar phrase in amajor or a minor key played twice by the examiner with the changebeing made in the second playing.To identify certain features of a piece played by the examiner. Thefeatures will be confined to dynamics (p, f etc.) gradation of tone(cresc, dim, etc); articulation, (staccato or legato); tempo changes andrecognition or major and minor tonality.(d)Performance:-Performance of three pieces, as least two of which must be from theattached list. The third piece may also be selected from the list or maybe the candidates own choice which must be of at least equal standardto the pieces on the prescribed list.Assessment:- Section (a) 15 MarksSection (b)Section (c)Section (d)15 Marks10 Marks60 MarksCandidates must secure 65 marks to pass, 70 – 79, pass with merit, 80 – 86,pass with honours, 87 -100 Pass with first class honours.

Grade 5More Rhythm and Rag(Alan Haughton, Associated Board)Piano Studies,(Classical Jazz and Popular, IntermediateLevel,- Mick Cornick)Micro Jazz level 5 collection 3Soundbites,(an album of pieces for young Pianists,Contemporary Music CentreHours with the Masters, Book 4(Bosworth)Heller, 25 Studies Op.47Banks Music Publications)Keyboard Anthology3 rd . series, Book4 - Associated Board)Hours with the Masters, Book 2(Bosworth)HoedownBread and ButterG WhizzSecondary SambaA Brief TangoHungarian StompBerceuse for Young Pianists,(Brian Boydell)5 th January 1981 (Paul Hayes)Prelude in C (Purcell)2 Part Invention No 4 (Bach)No 12 in B minorNo 13 in B flat majorNo 19 in C majorScherzando (Haydn),Rondo from Sonata in C K545 (Mozart)Hours with the Masters, Book 3 Song without Words OP.30, No 3(Bosworth)MendelssohnMaking the Grade – Grade 5(Chester Music)When I’m Sixty Four

Grade 5(b)Sight reading and comprehension:-To sight read a piece of moderate difficulty, hands together in anymajor or minor key.

(c)Aural Observation:-(a)To clap a four bar rhythm of suitable standard played twice by theexaminer and state the time signature.Having identified the time signature the candidate will be asked toidentify note values within one of the barsTo recognize a rhythmic or melodic change to a four bar phrase in amajor or a minor key played twice by the examiner with the changebeing made in the second playing.

To identify certain features of a piece played by the examiner. Thefeatures will be confined to dynamics (p, f etc.); gradation of tone(cresc, dim, etc); articulation, (staccato or legato); tempo changes andrecognition or major and minor tonality.

Grade 6Aim:- To nurture the interest and discipline required to perfectperformance at this level. To broaden the student’s musicality with thedevelopment of aural training, improvisation and keyboard harmony; and toensure a high level of sight reading to enable the study of more demandingworks on their own initiative. To encourage the student to experimentmusically, through improvisation and the independent application of keyboardskills.Learning outcomes: At the conclusion of this grade the student should:- Be able to perform pieces at grade 6 level, to include some majorworks by some of the old masters Be able to perform works by contemporary composers and have aknowledge of the background of these composers. Demonstrate the technical competence to underpin performance atthis level Demonstrate a competence in sight reading to enable them to work ontheir own initiative Demonstrate an understanding of cadential harmony and triads, andtheir application to keyboard harmonyCourse Content The examination at the conclusion of this grade is dividedinto four categories:-(a) Technical studies: (please note that, at this grade, candidates maychoose (i) scales OR (ii) graded piano studies, to fulfill the requirements fortechnical studies).(i) Scales Keys of C, D, E, F sharp, A flat and B flat, major, harmonic andmelodic minors scales, 4 octaves hands together, legato and staccato. Major and harmonic minors of the above keys in contrary motion 2octaves, beginning on the key note, legato only. C and G major and harmonic minors in 3rds. 2 octaves, Hands togetherlegato only.

Chromatic scales beginning on any note, 4 octaves in similar motion,legato only. And in contrary motion beginning on D or A flat, twooctaves, legato only. Major and minor Arpeggios of the above keys in root position and 1 stinversion in similar motion, 4 octaves, legato. Dominant 7ths in the keys of C, D and E (Beginning on G, A and Brespectively) in root position, 2 octaves hands together. Diminished 7 th in the key of C#, (Beginning on C) similar motion, 2octaves, hands together(ii) Graded Piano StudiesAs an alternative to the scale list, candidates can present two of thefollowing from list of studies:Study in Broken Chords, Op. 38 No 8(Graded Piano Studies, First Series, Grade 6, ABRSM)Study in Lightness and Grace Op. 20 No 24(Graded Piano Studies, First Series, Grade 6, ABRSM)Study Op. 299 No 18(Graded Piano Studies, First Series, Grade 6, ABRSM)Study OP 33 No 9(Graded Piano Studies, First Series, Grade 6, ABRSM)Study Op 46, No. 23(Graded Piano Studies, First Series, Grade 6, ABRSM)Prelude No. 30 from Op. 119(Heller, 23 Miscellaneous Pieces, ABRSM)Five JiveStamatyLe CouppeyCzernyBennettHellerHellerCornick(Piano Studies in classical, jazz and popular styles, Intermediate Level, Universal Edition)RagtimeCornick(Piano Studies in classical, jazz and popular styles, Intermediate Level, Universal Edition)ScalicCornick(Piano Studies in classical, jazz and popular styles, Intermediate Level, Universal Edition)Chiefly Chromatic(Jazz Piano Studies 2, Faber Music)Rags to Riches(Jazz Piano Studies 2, Faber Music)Blues 5(More Rhythm and Rag, ABRSM)KemberKemberHaughton

(b)Sight reading and comprehension:- To sight read a piece of a degree of difficulty suitable to this grade,hands together in any major or minor key. To answer general questions on the pieces prepared for performancei.e. harmonic structure, cadences, form etc To identify chords in root position, or inversion, intervals or cadences(perfect or interrupted only) To give a short background on the composers of the prepared pieces.e,g, date and place of birth, type of compositions etc.(c)Aural Observation:-Having listened to a four bar phrase in 3/4, 4/4 or 6/8 played by theexaminer, clap back the rhythm and identify the time signature.To identify time values within the same passage.To recognize a triad as major or minor, root position or 1 st inversionTo recognize a cadence as either perfect or interrupted.Observation test on a piece played by the examiner. Questions mayinclude tempo, tempo changes, dynamics, gradations of tone,articulation and recognition of tonality as major or minor.Candidates may select the following test at the keyboard as an alternativeto the tests (b) and (c):- To play suitable chords for a series of 5 treble notes at thekeyboard, in the keys of C, G, D or F major To harmonize a perfect or interrupted cadence in the key of C, G,Dor F major To compose an answering phrase to a given two bar melody in the keyof C or G major at the keyboard.(d)Performance:-Performance of three pieces, at least two of which should be from the setlist for grade 6. The third piece may be taken from the list also or may be apiece of similar standard of the candidates own choice

Assessment:- Section (a) 10 MarksSection (b)Section (c)Section (d)15 Marks15 Marks60 MarkCandidates must secure 65 marks to pass, 70 – 79, pass with merit, 80 – 86,pass with honours, 87 -100 Pass with First Class Honours.

Grade 6Air from French Suite No 4 in E flat(Hours with the Masters Volume 5)Fantasia in C(Hours with the Masters Volume 5)Allegro in G minor, Suite No 7(Keyboard Anthology, 2 nd . Series Book 4)Capriccio in G minor(No. 9 from Handel Album for the Piano Vol. 43 Schirmer)Allemande, 1st movement from French Suite No.3 in B minorBWV 814Le Coucou (Rondeau)Scherzando, 2 nd Movement, Sonata in C# minor, HOB XV1/36(Keyboard Anthology, 3 rd series, Bk.4, Associated Board)BachHandelHandelHandelBachDaquinHaydnGondolier’s Song, Op 109, No. 14(More Romantic Pieces for Piano, Book 4, Associated Board)Prelude in C minor, Op.28, No. 20Mazurka in G minor, Op.67, No. 2Mazurka in B flat major, Op.7 No 1Six Variations on a Swiss SongBurgmullerChopinChopinChopinBeethovenThe Sail round the rocks(Five Traditional Irish Airs)Galop, (Finale)The Sea is Angry(20 th Century Real Repertoire Grades v to vii)The Top(20 th Century Real Repertoire Grades v to vii)Arr. Dorothy ParkeCasellaWiliam AlwynNeilsenThe Buccaneer(20 th Century Real Repertoire Grades v to vii)Malcolm Arnold

Bagatelle in C(Keyboard Anthology Book 4, Grade 6)Les Petit Moulins a Vent(Keyboard Anthology Book 4, Grade 6)Waltz in B major, Op. 39 No. 3(Keyboard Anthology Book 4, Grade 6)Despertar del Cazador(Keyboard Anthology, 2 nd Series Book 4)Lorca’s Last Walk (Three Spanish Pieces)Four calling Birds No 4, From Partridge Pie, Book 1BeethovenCouperinBrahmsGranadosBrent ParkerR. Rodney BennettValse No 6 (From Musique D’enfants) Op. 6(Boosey and Hawkes)With one look (Sunset Boulevard)Blue MoonApril LoveProkofievAndrew Lloyd WebberRichard RodgersSammy Fain

Grade 6(b)Sight Reading and Comprehension:-To sight read a piece of a degree of difficulty suitable to this grade,hands together in any major or minor key. Example below:-

(c) Aural Observation:-1. Having listened to a four bar phrase in 3/4, 4/4 or 6/8 played bythe examiner to clap back the rhythm and identify the timesignature.2. To identify time values within the same passage.3. To recognize a triad as major or minor, root position or 1 st .inversion

4. To recognize a cadence as either perfect or interrupted.InterruptedPerfect5. Observation test on a piece played by the examiner. Questions mayinclude tempo, tempo changes, dynamics, gradations of tone,articulation and recognition of tonality as major or minor(i)(ii)(iii)Describe the opening bars, dynamics etc.Are there any tempo changes in the pieceDescribe the ending, dynamics, tempo changes etc

Candidates may select the following as an alternative to the above tests:- To indicate suitable chords for a series of 5 notes in the treble atthe keyboard, in the keys of C, G, D or F majorTo harmonize a perfect or interrupted cadence in the key of C, G,D orF majorTo compose an answering phrase to a given two bar melody in the key of C orG major at the keyboardGiven phrase:-Sample Answering phrase

Grade 7Aim:- To achieve a high standard of performance suitable for this level.To broaden their skills in musicality with further development of auraltraining, improvisation and keyboard harmony and to ensure a high level ofsight reading to prepare them to study more demanding works on their owninitiative.Learning outcomes:- At the conclusion of this grade the student should:- Be able to perform pieces of grade 7 standard, including works fromthe old masters, demonstrating a high level of musical expression, anda clear understanding of musical style Demonstrate a high standard of technique required for theperformance of major works Demonstrate a competence in sight reading and analysis to enablethem to work on their own initiative Demonstrate an understanding of triads and diatonic harmony, and anability to apply it to the keyboard Recognise triads and their inversions, and cadences aurally. Be able to hear and sing back one voice of a two part pieceCourse Content The examination at the conclusion of this grade is dividedinto four categories:-(a) Technical studies: (please note that, at this grade, candidates maychoose (i) scales OR (ii) graded piano studies, to fulfill the requirements fortechnical studies).(i) Scales Keys of C sharp. E flat, F, G, A, and B, Major, Harmonic and Melodicminors scales, 4 octaves hands together, legato and staccato Major and Harmonic Minors of the above keys in contrary motion 2octaves, beginning on the key note, legato only F, G, A and B majors in 3rds and G and A majors in 6ths., 2 octaveslegato. Chromatic scales beginning on any note 4 octaves in similar motion,And in contrary motion beginning on any white note, two octaves,legato.

Major and minor Arpeggios of the above keys in root position, 1 st and2 nd inversion in similar motion, 4 octaves, hands togetherDominant 7ths in the keys of C sharp and E flat (beginning on G sharpand B flat respectively), in root position, 4 octaves hands togetherDiminished 7 th in the key of C#, C and B flat (beginning on C, B and Arespectively), similar motion, 4 octave hands together(ii)Graded StudiesAs an alternative to the above candidates can present two of thefollowing studies:Study Op. 44, No. 12(Graded Piano Studies, First Series, Grade 7, ABRSM)Study Op. 740 No. 7(Graded Piano Studies, First Series, Grade 7, ABRSM)Study Op. 44, No. 8(Graded Piano Studies, First Series, Grade 7, ABRSM)Study Op. 740, No. 28(Graded Piano Studies, First Series, Grade 7, ABRSM)Study Op. 45, No. 3(Heller 25 Melodious Studies, Op.45, Edition Peters)Study Op. 45, No. 22(Heller 25 Melodious Studies, Op.45, Edition Peters)Riff-Raff(Jazz Piano Studies 2, Faber Music)Reflections(Jazz Piano Studies 2, Faber Music)Into the Blue(Jazz Piano Studies 2, Faber Music)Blues Variations(The Jazz Piano Master, John Kember, Faber Music)Free and Easy(The Jazz Piano Master, John Kember, Faber Music)Fantasy(More Rhythm and Rag, ABRSM)ClementiCzernyClementiCzernyHellerHellerKemberKemberKemberKemberKemberHaughton

(b)Sight reading and comprehension:- To sight read a piece of a degree of difficulty suitable to this grade,hands together in any major or minor key. To answer general questions on the pieces prepared for performancee.g. tonality, modulations, form etc To identify chords, intervals, perfect, imperfect and interruptedcadences in the prepared piece To give a short background on the composers of the prepared pieces.e.g. date and place of birth, type of compositions etc.(c)Aural Observation:- To state whether a triad is major or minor and whether it is in rootposition, 1 st or 2nd inversion. 3 examples may be given. To sing the upper part of a 2 part phrase played twice by theexaminer. To recognize the final cadence of a passage as either perfect,imperfect or interrupted, To identity a melodic or rhythmic change in a short phrase playedtwice by the examiner Observation test on a piece played by the examiner. Question mayinclude tempo, tempo changes, dynamics, gradations of tone,articulation etcCandidates may select the following test at the keyboard as an alternativeto the tests (b) and (c):- To harmonize a short melody at the keyboard in the keys of C, G, Dor F major. To harmonize a perfect, imperfect cadence or interrupted cadence inthe key of C, G,D or F major To compose an answering phrase to a given four bar melody in the keyof C or G major at the keyboard.(d) Performance:-Performance of three pieces, two of which must be from the list below. Thethird piece may also be taken from the list or may be a piece of similarstandard of the candidates own choice.

Assessment:- Section (a)Section (b)Section (c)Section (d)15 Marks15 Marks10 Marks60 MarksCandidates must secure 65 marks to pass, 75 – 79, pass with merit, 80 – 86,pass with honours, 87 -100 Pass with First Class Honours.

Grade 72 Part Invention, No.13 in A minor J.S. BachPrelude No. 5, Bk. 1 in D majorPolonaise No. 5 in E flatAndante from Sonata in B flat major K .281Sonata in C major, K.330 (2 nd Movement)Fantasy in D minor(Keyboard Anthology, 2 nd . Series, Book 4)Allegro Assai (2 nd . Movement from Sonata in G) Wo.14Sonata in C minor, Op.10 No.1 (1st movement)J.S. BachW.F. BachMozartMozartMozartClementiBeethovenSonata in G, Op.49, No. 2 (2nd Movement)Sonata in D major,HOBXV1/14 (3 rd Movement)Sonata in G major, HOB16, No. 6 (Final Movement)Sonata in G major, K.477Sonata in A major, K. 322, L 483BeethovenHaydnHaydnScarlattiScarlattiSpanish Dance (Minuetto from Danzas Espanoles, N o.5) Granados(Classics to Moderns, 6)Les Clochetts Op. 34, No.6Gliere(A keyboard Anthology, 3 rd .series, Bk. 4, Associated Board)Poetic Tone Picture Op. 3, No. 1(A keyboard Anthology, 3 rd .series, Bk. 4, Associated Board)Notturno Op. 54Toccatina,(from 20 th Century real repertoire)Minuet from “A Downland Suite”Jack in the Box, No 139 Mikrokosmos, Vol 5(Boosey and Hawkes)GreigGreigReizensteinJohn IrelandBartok

The Girl with the Flaxen Hair(Classics to moderns Bk. 5)Swedish Dance n F minor, No. 8Rumores de la Caleta Op.71, No. 6Visions Fugitive, No .10(Keyboard Anthology, 3 rd . series, Book 5, Associated Board)Love Song,(Micro jazz collection 3, level 5)My Heart Asks Pleasure First (The Piano)DebussyBruchAlbenizProkofievNortonNyman

Grade 7(b) Sight reading and comprehension:-To sight read a piece of a degree of difficulty suitable to this grade,hands together in any major or minor key. Example below.

(c ) Aural Observation:-1. To state whether a triad is major or minor and whether it is inroot position, 1 st or 2nd inversion. 3 examples may be given2. To sing the upper part of a 2 part phrase played twice by theexaminer.3. To recognize the final cadence of a passage as either perfect,imperfect or interrupted,

4. To identity a melodic or rhythmic change in a short phrase playedtwice by the examiner

5. Observation test on a piece played by the examiner. Question mayinclude tempo, tempo changes, dynamics, gradations of tone,articulation etc(i)(ii)(iii)(iv)(v)Describe the tempo of this pieceAre there any variations of tempo?Describe the range of dynamics used.Are the changes in dynamic level gradual or abruptIs the piece mainly legato or staccato

Candidates may select the following as an alternative to the above tests:- To harmonize a short melody at the keyboard in the keys of C, G, D orF major.To harmonize a perfect, imperfect cadence or interrupted cadence inthe key of C, G,D or F major

To compose an answering phrase to a given four bar melody in the key of Cor G major at the keyboard

Grade 8Aim:- To achieve an accomplished standard of performance suitable for thislevel. To broaden their skills in musicality with further development of auraltraining, improvisation and key board harmony and to ensure a high level ofsight reading to prepare them to study more demanding works on their owninitiative. To prepare students for further study in music both asperformers and teachers.Learning outcomes:- At the conclusion of this grade the student should:-Be able to perform pieces of grade 8 standard to a high level ofperfection; to include some major works by some of the old masterstogether with works by contemporary composers.Demonstrate a high standard of technique to enable the performanceof major works.Show a high overall level of musicality to prepare for the tasks of thissenior grade.Illustrate a competence in sight reading and analysis to enable themto study major works from the repertoire on their own initiative.Demonstrate an advanced level of musicianship and theoreticalknowledge to underpin performance at this advanced levelDemonstrate a thorough knowledge of harmonic concepts and theirpractical application to the keyboardCourse Content The examination at the conclusion of this grade is dividedinto four categories:-(a) Technical studies: (please note that, at this grade, candidates maychoose (i) scales OR (ii) graded piano studies, to fulfill the requirements fortechnical studies).(i) Scales Major, harmonic and melodic minor scales, in the following keys: B, F,A flat, C sharp and F sharp, 4 octaves in similar motion legato andstaccato Major and harmonic minor scales of the above keys, 2 octaves incontrary motion legato.

Major of the above keys in 6ths. hands together two octaves andharmonic minor of the above keys in 3 rds. 2 octaves hands together. Chromatics beginning on all the black keys hands together 4 octaves,legato and staccato. In contrary motion on the same keys, 2 octaveslegato only. Major and minor Arpeggios of the above keys ( B, F, A flat, C sharpand F sharp) in root position, 1 st and 2 nd inversion in similar motion, 4octaves. H.T. Dominant 7ths in the above keys, (beginning on F sharp, C , E flat Gsharp and C sharp respectively) in root position, 4 octaves, handstogether Diminished 7 th in the keys of all of the above (beginning on A sharp, E,G, B sharp, E sharp respectively), similar motion, 4 octaves. H.T.(ii)Graded StudiesAs an alternative to the above candidates can present the followingstudies:Exercises Nos. 10 and 40(Czerny Studies, Op. 299)Vélocité (No. 10)(Burgmuller Studies, Op. 109)Spinning Song (No. 18)(Burgmuller Studies, Op. 109)From the Diary of a Fly(Mikrokosmos, Bk. 6)Around Midnight(The Jazz Piano Master, John Kember, Faber Music)My Favorite Things (Rogers & Hammerstein)(The Jazz Piano Master, John Kember, Faber Music)Chase in C(More Rhythm and Rag, ABRSM)CzernyBurgmullerBurgmullerBartokKemberarr. KemberHaughton

(b) Sight reading and comprehension:- To sight read a piece of a degree of difficulty suitable to this grade,hands together in any major or minor key. A high degree of accuracywill be expected. To answer general questions on the pieces prepared for performance To explain the structure of the prepared pieces and the form used bythe composer together with the key structure. To give a short background on the composers of the prepared pieces.e,,g date and place of birth, type of compositions etc(c)Aural Observation:-To sing the lower part of a two part phrase played twice by theexaminer.To recognize the final cadence of piece as either, perfect,imperfect, plagal or interrupted.To recognize a modulation from a major key to its dominant, subdominant or relative minor.Candidates will be given a copy of a short piece that will be played bythe examiner. After a further playing the candidate will be asked topoint out where certain features occur i. e, crescendos, diminuendos,tempo changes and usual marks of expression that should beunderstood by the candidate.Candidates may select the following as an alternative to the above tests:- To harmonize a four bar melody at the keyboard in the keys of C, G,D or F major, A or D minor To harmonize a perfect, imperfect, plagal or interrupted cadence inthe key of C, G,D or F major, A or D minor To compose an answering phrase at the keyboard, to a given four barmelody in the key of C or G major, A or D minor, of a higher standardthan the previous Grade.(d) Performance:-Performance of three pieces, two of which must be from the list below.The third piece may be taken from the list also or may be a piece ofsimilar standard of the candidates own choice.

Assessment:- Section (a) 15 MarksSection (b)Section (c)Section (d)15 Marks10 Marks60 MarksCandidates must secure 65 marks to pass, 75 – 79, pass with merit, 80 – 86,pass with honours, 87 -100 Pass with First Class Honours.

Grade 8Prelude in B flat major, Book 1Fugue in D major, Book 1Sinfonia, No 3 in D major or No 10 in G majorAria from Partita No. 4 in D majorGigue from Suite No 8 in F minorSonata in C, KP 159, L. 104 (From 9 sonatas, ABRSM)Sonata in F minor, P 481Sonata in D, KP 512, AllegroFinale (Presto), 3 rd . Movement from Sonata in A flat(HOB XVI 46, No 4)Sonata in B flat, 1 st , movement, Allegro(HOB XVI 41)Sonata in D K. 284, 1 st . movement, AllegroSonata in minor, K. 457, 1 st . movementSonata in E major, op. 14, 1 st ,. movement, RondoSonata in C sharp minor, Op. 27 No.2(Moonlight, 1 st . or 2 nd . Movement)Nocturne in B major, Op.32, No 1Nocturne in E minor, Op. 72 No 1Nocturne in C sharp minor, No 20(from the Pianist)Waltz in A minor, op. 34, No 2Golliwog’s Cake Walk(from Classics to modern Book )Prelude “La Cathedrala Engloutie”Octobre (Chant d’automne, No 10), Les Saisons Op 37 bPetite poeme Op 34J,S. BachJ.S. BachJ.S. BachJ.S. BachHandelScarlattiScarlattiScarlattiHaydnHaydnMozartMozartBeethovenBeethovenChopinChopinChopinChopinDebussyDebussyTchaikovskyGliere

Novelette in 4thsRomance sans paroles Op.17, No 3(From Romantic Real Repertoire)The Clare FairMaple Leaf RagGladiolus Rag (From Piano Rags Book)Bolero from “Danzas Espanolas”GershwinFaurearr. T.C. KellyJoplinJoplinGranados

(b)Grade 8Sight reading and comprehension:-To sight read a piece of a degree of difficulty suitable to this grade,hands together in any major or minor key. A high degree of accuracywill be expected. Example below.

(c )Aural Observation:-1. To sing the lower part of a two part phrase played twice by theexaminer.2. To recognize the final cadence of piece as either, perfect,imperfect, plagal or interrupted.

3. To recognize a modulation from a major key to its Dominant, SubDominant or relative minor.

4. Candidates will be given a copy of a short piece that will be playedby the examiner. After a further playing the candidate will beasked to point out where certain features occur i. e, crescendos,diminuendos, tempo changes and usual marks of expression thatshould be understood by the candidate.Candidate’s copy

Candidates may select the following as an alternative to the above tests:- To harmonize a four bar melody at the keyboard in the keys of C, G,D or F major, A or D Minor

To harmonize a perfect, imperfect, plagal or interrupted cadence inthe key of C, G,D or F major, A or D minorTo compose an answering phrase at the keyboard, to a given four barmelody in the key of C or G major, A or D minor, of a higher standardthan the previous Grade.

Recital Medal RepertoireThe recital medal repertoire is divided into three categories:-(i)(ii)(iii)Junior level covering grades ii – iii. The programme should beapproximately 12 minutes in length. A bronze medal will be awardedto successful candidates.Intermediate level covering grades iv – v. The programme shouldbe approximately 15 minutes in length. A silver medal will beawarded to successful candidatesSenior level covering grades post Grade v. The programme shouldbe approximately 20 minutes in length. A gold medal will beawarded to successful candidates.The choice of programme is the responsibility of the candidate and shouldreflect the minimum standard required. Candidates may select from thecurrent syllabus but are encouraged to explore a broader base than that setfor the grades.The exam will consist of the performance only and will be judged inaccordance with performance standards. Marks will be awarded for choiceof programme, technical ability, interpretation of the works performed,general presentation and stage presence.Candidates should present a programme note and a copy of each piece to theexaminer.Marks will be awarded as follows:(a) Technical ability 30(b) Interpretation 40(c) Overall impression andChoice of programme 3070 out of a total of 100 required for the award of a medal. The award ofmerit and honours will not apply.

Piano DuetsThe performance of the pieces is the only requirement for theseexaminations.There are three categories for piano duets, Junior, Intermediate andSenior.Junior Grade:-Candidates must prepare two pieces, one from list A and one choice piece.List A:-Andante Cantabile(Duets with a difference Book 1 O.U.P. )The Irish Washerwoman,(Duets with a difference Book 1 O.U.P. )Donkey Ride(Duets with a difference Book 1 O.U.P. )March(Duets with a difference Book 1 O.U.P. )No 6(Classical Piano Duets, Spartan Press)Nos. 9(Classical Piano Duets, Spartan Press)Twinkle, Twinkle Little Star(Best Piano Duet Book Ever. Chester Music)The Butterfly(Best Piano Duet Book Ever. Chester Music)Diabelliarr. Pauline HallElsie WellsWohlfahrtW. TschirchGustav Dammarr. Coulthardarr T. HiraoChoice piece:-One piece of a similar or higher standard to those of List A. Candidates mayselect their second piece from List A

Intermediate Grade:-Candidates must prepare two pieces, one from list A and one choice piece.List A:-Pony Trap(Duets for Children ed. Michael Aston, O.U.P.)Swing Boats(Duets for Children ed. Michael Aston, O.U.P.)Casey Jones(Mixed Doubles, Piano Time Duets, Book 2 Pauline Hall O.U.P.Norwegian Dance(Mixed Doubles, Piano Time Duets, Book 2 Pauline Hall O.U.P.Ten Green Bottles(Mixed Doubles, Piano Time Duets, Book 2 Pauline Hall O.U.P.BerceuseClassic Experience Encores, Cramer Music)Waltz of the FlowersClassic Experience Encores, Cramer Music)The Skater’s WaltzClassic Experience Encores, Cramer Music)Josephine Baker(Play Boogie Duets – Faber MusicWilliam WaltonWilliam Waltonarr. Pauline HallGreigarr. Pauline HallFaureTchaikovskyWaldteufelDaryl RunswickChoice piece:-One piece of a similar or higher standard to those of List A. Candidates mayselect their second piece from List A

Senior Grade:-Candidates must prepare two pieces, one from list A and one choice piece.List A:-Chanson de Matin(Duets you’ve always wanted to play – Chester Music)Hark! Hark! The Lark(Duets you’ve always wanted to play – Chester Music)Voi, Che Sapete(Duets you’ve always wanted to play – Chester Music)Golliowogg’s Cake Walk(Duets you’ve always wanted to play – Chester Music)Spring Song(Duets you’ve always wanted to play – Chester Music)Turkish Rondo(Perfect Partners Vol 3 Fentone Music LtdArrival of the Queen of Sheba(Classic Experience Encores, Cramer Music)Waltz No 15 in A major(Brahms Waltzs for 4 hands - G. Henle Verlag)Norwegian Dance Op 35 No 2(Edition Peters EP2056)Elgararr. Francis ShawSchubertarr. Francis ShawMozartarr. Francis ShawDebussyarr. Francis ShawMendelssohnarr. Francis ShawMozartarr. JohnsonHandelBrahmsGriegChoice piece:-One piece of a similar or higher standard to those of List A. Candidates mayselect their second piece from List A

Appendix 1Choice pieceStudents may choose ONE piece as an alternative to ONE piece on therecommended list for their grade. Please read the following guidelinescarefully.Rationale for the choice piece: Teachers are best placed to select the most appropriate repertoireto motivate their students. Students learn best when given a choice 2 Students can present repertoire learnt for other performancesituations, such as concerts, competitions, or Junior and Leaving certpracticals. It is recognised that there is no hierarchy of musical genres.Students may present music that is of personal interest to their ownethnic or popular culture. Popular music is ubiquitous, and part of today’s society. Consequentlyyoung students relate to it and should have an option of presenting itfor assessment. Musical taste is personal. Consequently, a choice of repertoire willcater for individual learner interests and needs.Selecting the choice piece:-Pieces presented must be of an appropriate standard, technically andmusically, for the gradeMost teachers can judge the appropriate level, but if in doubt, thereare many graded repertoire books from which to choose (see a list ofsuggested books below – although the repertoire is not confined tothese)Students may present a piece from any genre (classical, jazz, popularor traditional)2 Eric Jensen: Teaching with the brain in mind (2002)

A copy of the music must be presented to the examiner on the day ofthe exams. Students must have original copies, but a photocopy maybe presented to the examiner for the exam.Sheet music from legal web sites may be used but must be licensed tothe student or teacher.Students will be penalised for presenting repertoire which is notdeemed appropriate for the grade level.Students may not present the same choice piece for two differentexams.Own compositions will not be accepted.List of suggested books for grades 1-5Up Grade! Light relief between grades – Pam Wedgwood - Faber MusicAfter hours for solo piano – Pam Wedgwood – Faber MusicMaking the grades series – Chester MusicMicro jazz series 1 – 3 – Christopher Norton – Boosey and HawkesEssential Film Themes – Wise MusicHours with the Masters series – Ed. Dorothy Bradley – BosworthBastien Piano series – Neil A Kjos Music CompanyClassics to moderns series – Consolidated Music Sales30 Children’s pieces – Kabalevsky – Boosey and Hawkes

Appendix 2Teaching NotesLearning a musical instrument should be an enjoyable experience for thestudent. It is the responsibility of the teacher to ensure that the studentshould look forward to their weekly lesson at all times.Care should be taken to cover all aspects of music on a regular basis. Whileit is difficult to incorporate each element into a weekly lesson it is not goodpractice to leave sight reading, aural training etc. until a few weeks beforean exam. They should be all covered on a regular basis to ensure properdevelopment. Above all, bear in mind that the exam is only one element ofthe student’s musical development and should be used as part of a broader,rounded curriculum.Posture:- Correct sitting at the piano is of vital importance from the verybeginning. Demonstrating correct hand position over five finger exercises atintroductory level, and being taught legato playing, form the very basicelements of good practice for future performance.Rhythm:- Rhythm is an essential element in all music. The inclusion ofFrench Time names in our new syllabus as an aid to developing rhythm, is anexcellent stepping stone to rhythmic accuracy in the performance of a astudent’s set works.Scales and Technique:- Scales and Technique are imperative to thestudent’s musical development. The practice of scales, technical studies andmusical sentences should be an integral part of every lesson and of eachdaily practice session. Scale work develops good general coordination andfinger technique which will benefit the student at all stages of their studies.Aural Training:- An astute ear should be fostered with the systematicdevelopment of aural training. From the early stages aural training should bedeveloped and incorporated at the weekly lesson. It is important that thestudent learns to listen and progress from the earliest stages in thedevelopment of pitch and rhythm. Listening to music away from their studieshelps develop the ear. Clapping through rhythms and excerpts of music,

singing back parts of tunes, joining a choir, band or orchestra are painlessways to get in some aural practice between lessons.Sight Reading:- Sight reading should be encouraged from a student’s earlydevelopment. Where students develop good sight reading habits theybecome adept at working on their own initiative and exploring repertoirethemselves. If a student suggests a piece they would like to study, try as faras possible to encourage them if you think it is a wise choice for their stageof development.Performance:- In the study of pieces care should be taken to havefingering and rhythm correct from the start. If technique and scales etchave been fostered at the early stages, students should have little troublegetting fingering right from the beginning. Always try to incorporate someinterpretation into pieces from the earliest grades. Phrasing, melodic line,dynamics and observance of tempo should be part of the study of all pieces.Children from an early stage should be encouraged to play from memory.This develops confidence in performance and enables the student to givetheir full attention to the details of dynamics, phrasing and generalinterpretation overall.

Appendix 3ExamsA teacher should remember that the first music exam is likely to be thestudent’s first exam experience. Therefore, every effort should be made tohave them prepared as well as possible for the event. All aspects should becovered well in advance of the exam date.The exam serves as a motivation and inspiration for the student, workingfrom a carefully structured syllabus towards a definite goal. It is anassessment by an independent musician who has a very objective viewpoint ofthe work.It is important for the teacher to check all the requirements in thecurrent syllabus as details can change from time to timeChoosing suitable pieces for the candidate is very important, as eachteacher is aware of the capabilities and individuality of their pupils.Encouraging pupils to perform their pieces to a friendly audience(family, friends and other students) and perhaps having littleconcerts a few weeks before the exam helps to dispel exam “nerves”on the dayReminding a pupil how long there is before the exam and planning outtheir work accordingly helps to have a young child less stressed aboutpractice on the run up to the exam.Most candidates are nervous on the day and a cheerful no fussattitude from accompanying adults goes a long way to relaxing thecandidate.

Appendix 4From the Examiner’s side of the deskIn judging the candidate the examiner takes a number of things intoconsideration. Firstly, posture at the instrument is of utmost importancetogether with finger position at the piano. Accuracy of notes is expectedand additional marks are gained by paying attention to the finer aspects ofthe music, namely, dynamics, melodic line, gradation of tone, tempo etc.Most candidates are a little nervous on the day. Parents and teachers shouldnot keep reminding the candidates of this as to do so will only make thematter worse. Making a sense of occasion out of the day helps dispel nervesetc.To an examiner every mark has its own significance. They hope that thecomments will encourage and reflect the mark.It is worth remembering that the examiner can only comment on what theyhear in the exam room, and their assessment of the candidate is based ontheir achievement and not their potential.All examiners want the candidates to do their best and although they aremaking assessments in a formal situation, it is important to remember thatexaminers are human being and always feel for the less confident performerand share the pleasure and satisfaction when all goes well.Examiners are always aware that the achievement for the less talentedcandidate is sometimes more than that of those for whom music comesnaturally.Overall, the music exam should be an enjoyable experience and the result ajust reward for the work done.