Guitar from 2019

GRADE 8
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or any solo
Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.

THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C .
Candidates may perform one of their three pieces accompanied by piano where indicated with a    in the Lists.
See page 9 for further information.
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
A 1 J. S. Bach Gigue (4th movt from Suite in A minor, J. S. Bach: The Solo Lute Works for Guitar (Neil Kjos
BWV 997), trans. Koonce or trans. Willard Music) or
J. S. Bach: Lute Suites for Guitar (Ariel Publications)
2 J. S. Bach Prelude (from Suite No. 2 in A minor, J. S. Bach: Cello Suites 1–4 (Cadenza Music)
BWV 1008), arr. Wright
3 Cimarosa Sonata No. 2 in A, arr. Bream Cimarosa: Three Sonatas (Faber)
4 Dowland The Frog Galliard, arr. Scheit ​ Dowland: Solowerke I (Universal)
F + tuning optional
5 Narváez Baxa de contrapunto, trans. Pujol ​ Hispanae Citharae Ars Viva (Schott)
F + tuning optional
6 M. Ponce Gavotte (4th movt from Suite in A minor) M. Ponce: Suite in A minor (Editions Musicales
Transatlantiques)
7 D. Scarlatti Sonata in E minor, Kp. 292, L. 24, arr. Batchelar Scarlatti for Guitar (ABRSM)
& Wright
8 Vivaldi Allegro giusto (1st movt from Concerto in D, Vivaldi: Concerto in D, RV 93 (Ricordi)
RV 93, F. XII No. 15), trans. Fernández ​
guitar to play in tuttis; ossias optional;
observing repeats
9 S. L. Weiss Fantasie, arr. Scheit S. L. Weiss: Tombeau und Fantasie (Universal)
10 S. L. Weiss Giga, arr. Batchelar & Wright Weiss for Guitar (ABRSM)
B 1 Carcassi Étude in E (No. 24 from 25 études, Op. 60) Carcassi: 25 études mélodiques progressives, Op. 60
(Chanterelle) or
Carcassi: 25 Etudes for Guitar, Op. 60 (Tecla Editions)
2 N. Coste Étude in E minor: Scherzando (No. 8 from Pp. 20–22 from N. Coste: 25 Studies, Op. 38 (Schott)
25 études de genre, Op. 38)
3 Diabelli Menuett and Trio (3rd movt from Sonata No. 2 Diabelli: Three Sonatas (Schott)
in A)
4 M. Giuliani Giocoso (No. 4 from Giulianate, Op. 148) M. Giuliani: Giulianate, Op. 148 (Suvini Zerboni)
5 M. Giuliani Siciliana: Andantino (2nd movt from M. Giuliani: Siciliana (Andantino) from the Guitar
Concerto in A, Op. 30), arr. Jeffery or Concerto Op. 30 in A (Tecla Editions) or
arr. Oubradous ​ M. Giuliani: Concerto in A, Op. 30 (Editions Musicales
Transatlantiques)
6 Barrios Preludio ‘Saudade’ (from La Catedral) Barrios Mangoré: La Catedral (Alfred)
Mangoré
7 Mertz Tarantelle (from Bardenklänge, Op. 13) Mertz: Guitar Works, Vol. 3 (Chanterelle)
8 N. Paganini Romanze (2nd movt from Grand Sonata), N. Paganini: Grand Sonata for Solo Guitar (Universal)
arr. Scheit
9 Sagreras El colibrí ​Curci edn: play original ending Sagreras: El colibrí (Ricordi) or
Sagreras: Le prime lezioni di chitarra (Edizioni Curci)
10 Tárrega Gran vals in A Tárrega: Works for Guitar, Vol. 3 (Bèrben)
C 1 Sérgio Assad Valseana (No. 2 from Aquarelle) Sérgio Assad: Aquarelle (Lemoine)
2 Carlevaro Ronda (No. 4 from Preludios Americanos) Carlevaro: Preludios Americanos No. 4: Ronda
(Barry Editorial)
3 Carlo Schnee in Istanbul ​observing repeats Carlo Domeniconi: Schnee in Istanbul (Edition
Domeniconi Margaux)
4 Dyens Tango en skaï Dyens: Tango en skaï (Lemoine)

30
 Guitar from 2019 Grade 8

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

5 Gangi Study No. 18 ​observing repeats Gangi: Metodo per chitarra, Parte 3 (Ricordi)
6 M. Ponce Valse, trans. Segovia M. Ponce: Valse for Guitar (Schott)
7 Smith Brindle Moderato (1st movt from Sonata No. 4, Smith Brindle: Sonata No. 4, ‘La breve’ (Schott)
‘La breve’)
8 Joaquín Soleares (from Hommage à Tárrega) Pp. 4–6 from Joaquín Turina: Hommage à Tárrega
Turina (Schott)
9 Villa-Lobos Andantino e andante (2nd movt from Villa-Lobos: Concerto for Guitar (Eschig)
Concerto for Guitar) ​
10 Villa-Lobos Prélude No. 5 in D (from Cinq Préludes) Villa-Lobos: Collected Works for Solo Guitar (Eschig)

SCALES AND ARPEGGIOS: from memory; played legato and in even notes; for further details (including
examples) see pages 10–11 & 14–15
 RANGE REQUIREMENTS
SCALES
D - major
2 oct.
B -, E - minors (harmonic and melodic) fingers only; tirando or apoyando, as chosen by the
G, F + majors examiner
3 oct.
E minor (harmonic and melodic)
CHROMATIC SCALE
starting on F 3 oct. fingers only; tirando or apoyando, as chosen by the
examiner
INTERVAL SCALES
D major, in tenths 1 oct.
A major, in thirds
G minor melodic, in sixths together or broken, as chosen by the examiner; tirando
2 oct.
F + minor harmonic, in octaves
Chromatic starting on E, in octaves
BROKEN CHORDS
A major
2 oct. tirando; with over-ringing
G + minor
ARPEGGIOS
D - major
2 oct.
B -, E - minors
tirando; without over-ringing
G, F + majors
3 oct.
E minor
DOMINANT SEVENTHS (resolving on tonic)
in the keys of C and B - 3 oct. tirando; without over-ringing
DIMINISHED SEVENTHS
starting on G and on F 3 oct. tirando; without over-ringing

SIGHT-READING: a short piece of previously unseen music; for further details see pages 11–12

AURAL TESTS: administered by the examiner from the piano; for further details see pages 32 & 37

31
 GUITAR GRADES: requirements and information

T his syllabus is valid from 2019 until further notice.

T his section provides a summary of the most important points that teachers and candidates need
to know when taking ABRSM graded Guitar exams. Further details, as well as administrative
information relating to the exams, are given in ABRSM’s Exam Regulations (available at www.
abrsm.org/examregulations) which should be read before an exam booking is made.

Entering for an exam

Eligibility: T here are eight grades of exam for Guitar and candidates may be entered for any
grade irrespective of age and without previously having taken any other grade in Guitar.
Candidates for a Grade 6, 7 or 8 exam must already have passed ABRSM Grade 5 (or above) in
Music T heory, Practical Musicianship or a solo Jazz instrument; for full details, including a list of
accepted alternatives, see www.abrsm.org/prerequisite.
Access: ABRSM endeavours to make its exams as accessible as possible to all candidates,
regardless of sensory impairments, learning difficulties or particular physical needs. T here is a
range of alternative tests and formats as well as sets of guidelines for candidates with particular
access needs (see www.abrsm.org/specificneeds). Where a candidate’s needs are not covered by
the guidelines, each case is considered on an individual basis. Further information is available
from the Access Co-ordinator (accesscoordinator@abrsm.ac.uk).
Exam booking: Details of exam dates, locations, fees and how to book an exam are available
online at www.abrsm.org/exambooking.

Instruments
T his syllabus is only appropriate for the standard classical instrument fitted with nylon strings
(guitars with a cutaway body are permitted). Candidates may choose to use a capo at the 2nd or
3rd fret for the pieces in Grades 7 and 8 that have an optional F# tuning; no other use of the capo
is permitted unless specified by the composer.

Elements of the exam

All ABRSM graded Guitar exams comprise the following elements: three Pieces; Scales and
arpeggios; Sight-reading; and Aural tests. In all grades, marks are allocated as follows:
Pieces: 1 30
2 30
3 30
Scales and arpeggios 21
Sight-reading 21
Aural tests 18
Total 150

Marking scheme: 100 marks are required for a Pass, 120 for a Merit and 130 for a Distinction.
A Pass in each individual section is not required to pass overall. See pp. 42–43 for the marking
criteria used by examiners.
8
 Guitar grades: requirements and information
Pieces
Programme planning: Candidates must choose one piece from each of the three lists (A, B and
C) in each grade (see also ‘Accompaniment’ below). In the exam, they should inform the examiner
which pieces they are performing, and they are welcome to use the form on p. 45 for this purpose.
Every effort has been made to ensure the syllabus lists feature a broad range of repertoire, with
items to suit and appeal to candidates of differing ages, backgrounds and interests. Not every
piece will be suitable for every candidate due to technical reasons (e.g. hand size) or wider
context (historical, cultural, subject matter of the larger work from which it is drawn, lyrics if an
arrangement of a song etc.). It is advised that pieces selected are considered carefully for their
appropriateness to each individual, which may require consultation between teachers and
parents/guardians. Given the ever-changing nature of the digital world, teachers and parents/
guardians should also exercise caution when allowing younger candidates to research items
online: www.nspcc.org.uk/onlinesafety.
Accompaniment: In Grades 1–3, candidates may perform up to two pieces accompanied
by another guitar (or, if necessary, a piano); in Grades 4 and 5, only one such piece may be
performed. In Grade 8, candidates may perform one piece accompanied by piano.
Accompanied pieces are marked with a or in the syllabus. None of the pieces marked with
a in Grades 1–5 or a in Grade 8 may be performed solo. All other pieces must be performed
solo.
Candidates must provide their own accompanist, who may remain in the exam room only
while accompanying. T he candidate’s teacher may act as accompanist (examiners will not). If
necessary, the accompanist may simplify any part of the accompaniment, provided the result is
musically satisfactory. Recorded accompaniments are not allowed.
Exam music & editions: Wherever the syllabus includes an arrangement or transcription, the
edition listed in the syllabus must be used in the exam; in all such cases the abbreviation ‘arr.’ or
‘trans.’ appears in the syllabus entry. For all other pieces, the editions quoted in the syllabus are
given for guidance only and candidates may use any edition of their choice (in- or out-of-print
or downloadable). Information on obtaining exam music is given on p. 13.
Interpreting the score: Printed editorial suggestions such as fingering, metronome marks,
realization of ornaments etc. need not be strictly observed. Whether the piece contains
musical indications or not, candidates are always encouraged to interpret the score in a stylistically
appropriate manner. Ultimately, examiners’ marking will be determined by consideration of
pitch, time, tone, shape and performance, and how control of these contributes to the overall
musical outcome.
Repeats: All da capo and dal segno indications should be observed but all other repeats
(including first-time bars) should be omitted unless they are very brief (i.e. of a few bars) or
unless the syllabus specifies otherwise.
Performing from memory: Candidates are free to perform any of their pieces from memory;
in such cases they must ensure that a copy of the music is available for the examiner to refer to if
necessary. No additional marks are awarded for playing from memory.

9
 Guitar grades: requirements and information

Page-turns: Examiners will be understanding if a page-turn causes a lack of continuity during a

piece, and this will not affect the marking. A variety of solutions for awkward page-turns exists,
including the use of an additional copy of the music or a photocopy of a section of the piece (but
see ‘Photocopies’ below). In cases where candidates at Grades 6–8 believe there is no solution to
a particularly awkward page-turn, they may bring a page-turner to the exam (prior permission
is not required; the turner may be a candidate’s teacher). Examiners are unable to help with
page-turning.
Photocopies: Performing from unauthorized photocopies (or other kinds of copies) of copyright
editions is not allowed. ABRSM may withhold the exam result where it has evidence of an illegal
copy (or copies) being used. In the UK, copies may be used in certain limited circumstances –
for full details, see the MPA’s Code of Fair Practice at www.mpaonline.org.uk. In all other cases,
application should be made to the copyright holder before any copy is made, and evidence of
permission received should be brought to the exam.

Scales and arpeggios

Examiners will usually ask for at least one of each type of scale/arpeggio etc. required at each
grade and will ask for majors followed by minors within each type. In the Grade 5–8 fingers-only
scales, they will also ask to hear a balance of the specified strokes. When asking for requirements,
examiners will specify:
• the key (including minor form – harmonic or melodic – in the Grade 6–8 scales) or the
starting note
• the stroke for fingers-only scales (tirando or apoyando), Grades 5–8
• the form for interval scales (together or broken)
All scales and arpeggios should:
• be played from memory
• be played in even notes (except where indicated at Grades 1–5)
• be played from the lowest possible tonic/starting note unless the syllabus indicates
otherwise
• ascend and descend according to the specified range (and pattern)
• be played legato
In Grades 1–4, candidates may choose to play ‘fingers-only’ scales either tirando (free stroke)
or apoyando (rest stroke); from Grade 5, these scales must be prepared with both right-hand
techniques. T he tirando stroke is expected for all other requirements.
Any combination of alternating right-hand fingers may be used for ‘fingers-only’ scales. Any left-
hand fingering may be used, but candidates are expected to observe the requirements regarding
over-ringing and non-over-ringing for broken chords and arpeggios from Grade 3.
Arpeggios and dominant sevenths are required in root position only. Scales in thirds and tenths
should begin with the tonic as the lower note, while scales in sixths should begin with the tonic
as the upper note.
Examples of scale/arpeggio etc. patterns specified in this syllabus are given on pp. 14–15.
Books of the requirements are published for Guitar by ABRSM (for Grades 1–5 and 6–8).

10
 Guitar grades: requirements and information

T he following speeds are given as a general guide:

Grade / Speed
pattern 1 2 3 4 5 6 7 8

T humb-only scales * q q q = 96 q = 112

Scales†
1 & 2 octaves q iq iiiq q = 48 q = 56 q = 66 q = 80 q = 96

2 octaves iiiq q = 112 q = 126 q = 144

3 octaves iiq q. = 76 q. = 84 q. = 96

Chromatic scales
1 & 2 octaves iiiq q = 66 q = 80 q = 96 q = 112

3 octaves iiq q. = 84 q. = 96

Interval scales q q / iq iq q = 60 q = 72 q = 84 q = 96 q = 104 q = 116

Arpeggios iiq q. = 40 q. = 42 q. = 44 q. = 48 q. = 56 q. = 63 q. = 69 q. = 76

Broken chords iiq q. = 54 q. = 60 q. = 66 q. = 72 q. = 80 q. = 88

Dom. & Dim. 7ths ‡ iiiq q = 72 q = 84 q = 96 q = 104 q = 116

* Including chromatic scale at Grade 2 † Fingers-only & thumb and fingers combined
‡ Dim. 7ths from Grade 5

Sight-reading
Candidates will be asked to play a short unaccompanied piece of music which they have not
previously seen. T hey will be given half a minute in which to look though and, if they wish, try
out all or any part of the test before they are required to play it for assessment. T he table on
p. 12 shows the introduction of elements at each grade. Please note that these parameters are
presented cumulatively, i.e. once introduced they apply for all subsequent grades (albeit within
a logical progression of difficulty).

For practice purposes, a book of sample sight-reading tests is published for Guitar by ABRSM.

(continued overleaf )

11
 Guitar grades: requirements and information

Length Time Keys Other features that may be included

(bars)
Grade 1 4 4/4 C, G, F majors • h. h q iq note values; Œ rests
3/4 A, E minors • 1st position
• accidentals (within minor keys only)
• single-line texture
6 2/4 • passages for thumb alone
• f and p
• cresc. and dim. hairpins
Grade 2 D minor • iiiq and q. e patterns
• staccato
• mp and mf
Grade 3 up to 8 3/8 D major • ‰  rests
• 2nd position
• integration of thumb and fingers into simple
broken-chord patterns
• accents
• slurs
• pp
Grade 4 c. 8 6/8 A major • simple semiquaver patterns
• tied notes
• chromatic notes
• simple two-part writing (mostly open strings in
one or other voice)
• pause sign
• tenuto
Grade 5 c. 8–12 B minor • anacrusis
• simple syncopation
• use of fingerboard up to 5th position
• simple two-note chords within a single voice
• slowing of tempo at end
• ff
Grade 6 9/8 Bb major • triplet patterns
5/8 F# minor • use of fingerboard above 5th position
5/4 • three-note chords within a single voice
• easily prepared partial barrés
Grade 7 c. 12–16 7/8 E major • simple use of 12th-fret harmonics
7/4 G minor • four-note chords
• slowing of tempo followed by a tempo
Grade 8 c. 16–20 12/8 C minor • full barrés
• acceleration of tempo
• simple ornaments

Aural tests
T he requirements are the same for all subjects. Full details of the Aural tests are given on pp.
32–37.

12
 Guitar grades: requirements and information

In the exam
Examiners: Generally, there will be one examiner in the exam room; however, for training and
quality assurance purposes, a second examiner may sometimes be present. Examiners may ask
to look at the music before or after the performance of a piece (a separate copy is not required:
the candidate’s copy will suffice). Examiners may stop the performance of a piece when they
have heard enough to form a judgment. T hey will not issue or discuss a candidate’s result;
instead, the mark form (and certificate for successful candidates) will be issued by ABRSM after
the exam.
Order of the exam: T he individual sections of the exam may be taken in any order, at the
candidate’s choice, although it is preferable for accompanied pieces (see ‘Accompaniment’ on
p. 9) to be performed consecutively and at the beginning of the exam.
Tuning: T  he guitar should be tuned before entering the exam room, but in cases at Grades 1–5
where the candidate is playing with a piano accompaniment the teacher or accompanist may
tune the candidate’s instrument to the piano (or advise on tuning) before the exam begins. In
Grades 6–8, candidates must tune their instrument themselves. Examiners are unable to help
with tuning.
Footstools: Candidates should provide their own footstool (or other form of guitar support) if
required.
Music stands: All ABRSM public venues provide a music stand, but candidates are welcome to
bring their own if they prefer. T he examiner will be happy to help adjust the height or position
of the stand.

Assessment
T he tables on pp. 42–43 show the marking criteria used by examiners. In each element of the
exam, ABRSM operates the principle of marking from the required pass mark positively or
negatively, rather than awarding marks by deduction from the maximum or addition from zero.
In awarding marks, examiners balance the extent to which the qualities and skills listed on pp.
42–43 (broadly categorized by pitch, time, tone, shape and performance) are demonstrated and
contribute towards the overall musical outcome.

Obtaining exam music

Exam music is available from music retailers as well as online, including at the ABRSM music
shop: www.abrsm.org/shop. Every effort has been made to ensure that all the publications listed
will remain available for the duration of the syllabus. Candidates are advised to obtain their music
well in advance of the exam in case of any delays with items not kept in stock by retailers. Apart
from queries relating to exams, all enquiries about the music (e.g. editorial, availability) should
be addressed to the relevant publisher: contact details are listed at www.abrsm.org/publishers.

13
 SCALE AND ARPEGGIO PATTERNS

The examples below clarify patterns found in this syllabus. Reference should be made to the
appropriate syllabus pages for the full requirements.

SCALES
long-tonic pattern

V 45 œ œ œ œ œ œ œ œ etc.

thumb and fingers combined (thumb for lower octave, fingers for upper octave)

V # 44 œ œœœœ œ œ œ œ œœœœœ
i m
œ œœœœ
m i
œœ œ œ
p
œœœœœ
‰
Ó
p

CHROMATIC SCALES
thumb and fingers combined (thumb for lower octave, fingers for upper octave)

V 23 œ # œ œ # œ œ œ # œ œ # œ œ œ # œ œ # œ œ # œ œ œ # œ œ # œ œ œ # œ
i m
p

V œ bœ œ œ bœ œ bœ œ œ bœ œ bœ œ bœ œ œ bœ œ bœ œ œ bœ œ bœ ‰ Ó Ó
p

BROKEN CHORDS
one octave (and similarly, two octaves)

V # 98 œ™œ œ œ œ™
œ œ
œ œ™
œ œ
œ œ ™ œ œ œ™
œ œ
œ
œ œ
Ϫ
œ
‰™
Ϊ

DOMINANT SEVENTHS (resolving on tonic)

one octave (and similarly, two or three octaves)

V # 42 œ œ œ œ œ œ œ
œ œ Œ

14
 Scale and arpeggio patterns
INTERVAL SCALES
in sixths – one octave (and similarly, two octaves)

Together

V b 44 œœ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ
œ
œ
œ œ
œ œ
œ œ
œ œ
œ
œ
œ
Œ

Broken

V b 44 œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ Œ
œ œ œ œ œ Œ

in tenths

Together Broken

V # 44 œ œ
œ
œ
etc. V # 44 œ œ
œ
œ etc.

in octaves

Together Broken

V b 44 œ œ
œ
œ
etc. V b 44 œ œ
œ
œ etc.

in thirds

Together Broken

V 4
4 œœ œœ etc. V 44 œ œ œ œ etc.

15
 AURAL TESTS: included in the Practical exams for all subjects

Listening lies at the heart of all good music-making. Developing aural awareness is fundamental
to musical training because having a ‘musical ear’ impacts on all aspects of musicianship.
Singing, both silently in the head and out loud, is one of the best ways to develop the ‘musical
ear’. It connects the internal imagining of sound, the ‘inner ear’, with the external creation of it,
without the necessity of mechanically having to ‘find the note’ on an instrument (important
though that connection is). By integrating aural activities in imaginative ways in the lesson,
preparation for the aural tests within an exam will be a natural extension of what is already an
essential part of the learning experience.

In the exam
Aural tests are an integral part of all Practical graded exams.
T he tests are administered by the examiner from the piano. For any test that requires a sung
response, pitch rather than vocal quality is being assessed. T he examiner will be happy to adapt
to the vocal range of the candidate, whose responses may be sung to any vowel (or consonant
followed by a vowel), hummed or whistled (and at a different octave, if appropriate).

Assessment
Some tests allow for a second attempt or for an additional playing by the examiner, if necessary.
T he examiner will also be ready to prompt, where helpful, although this may affect the
assessment.
Marks are not awarded for each individual test or deducted for mistakes; instead they reflect
the candidate’s overall response in this section. T he marking criteria for the aural tests are given
on p. 43.

Specimen tests
Examples of the tests are given in Specimen Aural Tests and Aural Training in Practice (from
2011), available for purchase from music retailers and from www.abrsm.org/shop.

Deaf or hearing-impaired candidates

Deaf or hearing-impaired candidates may choose alternative tests in place of the standard tests,
if requested at the time of entry. Further information, including the syllabus for the alternative
tests, is available at www.abrsm.org/specificneeds.

32
Aural Tests GRADE 8
A (i) To sing or play from memory the lowest part of a three-part phrase played twice by the examiner.
T he lowest part will be within the range of an octave, in a major or minor key with up to three sharps
or flats. First the examiner will play the key-chord and the starting note and then count in two bars.
(If the candidate chooses to play, the examiner will also name the key-chord and the starting note,
as appropriate for the instrument.) If necessary, the examiner will play the phrase again and allow
a second attempt (although this may affect the assessment).
(ii) To identify the cadence at the end of a continuing phrase as perfect, imperfect, interrupted or
plagal. T he phrase will be in a major or minor key and will be played twice by the examiner. T he
chords forming the cadence will be limited to the tonic (root position, first or second inversions),
supertonic (root position or first inversion), subdominant (root position), dominant (root position,
first or second inversions), dominant seventh (root position) or submediant (root position). Before
the first playing, the examiner will play the key-chord.
(iii) To identify the three chords (including their positions) forming the above cadential progression.
T he chords will be limited to the tonic (root position, first or second inversions), supertonic (root
position or first inversion), subdominant (root position), dominant (root position, first or second
inversions), dominant seventh (root position) or submediant (root position). First the examiner will
name and play the key-chord, then play the three chords in sequence, finally playing each chord
individually, pausing for the candidate to identify it. T he candidate may answer using technical
names (tonic, first inversion, etc.), chord numbers (Ib, etc.) or letter names (C major in first inversion,
etc.).
B To sing the lower part of a two-part phrase from score, with the upper part played by the
examiner. T he candidate may choose to sing from treble or bass clef. T he lower part will be within
the range of an octave, in a major or minor key with up to four sharps or flats. First the examiner
will name and play the key-chord and the starting note and then give the pulse. A brief period of
preparation will follow during which the candidate may sing out loud. T he examiner will play the
key-chord and the starting note again and then count in two bars. If necessary, the examiner will
allow a second attempt (although this may affect the assessment).
C To identify whether the modulations at the end of two different passages are to the dominant,
subdominant or relative minor/major. T he first passage will begin in a major key and the second
will begin in a minor key; each passage will be played once by the examiner. Before playing each
passage, the examiner will name and play the starting key-chord. T he candidate may answer using
technical names (dominant*, subdominant, relative minor/major) or the letter name of the new key.
(* Minor-key passages may modulate to the dominant major or minor but the candidate is only
required to specify ‘dominant’ in such cases.)
D To describe the characteristic features of a piece played by the examiner. After hearing the piece,
the candidate should describe any notable features (such as texture, structure, character, style and
period, etc.). T he examiner will prompt the candidate with questions only if this becomes necessary.

37