A Consultation
With the ABRSM moving further and further into digital exams and in the opinion of many, watering down the “gold standard” it used to be famous for, here at MusicOnline UK we are consulting on the possibility of offering a “Musicianship Assessment” from early in 2023 which would not only involve a live (albeit over video link) exam, (rather than pre-recorded 4 pieces on a video), but also incorporate other aspects of Musicianship that are gradually losing their importance in the ABRSM syllabus. Furthermore, to encourage the study of a piece in greater depth than just learning the notes, a viva voce section of the exam and other technical skills would be linked to the pieces learned.
The syllabus would be as follows:
3 pieces chosen from ANY exam board for the selected grade, from any year, but must include at least one faster “technical” piece and one slower “expressive” piece. They should also reflect a range of styles and periods so no two pieces from the same century. (60 marks)
Technical Skills such as scales / arpeggios based on the key signatures of the pieces chosen above. (10 marks)
Theory knowledge based on the pieces chosen above (10 marks)
Listening skills based on the examiner playing extracts of the pieces chosen above (10 marks)
Reading skills based on playing extracts from the pieces chosen above with variations as described by the examiner (10 marks).
MARK SCHEME
Pieces - 3 x 20 marks each.
For each of the following 5 categories 4 points are available according to the following criteria
4 points - completely accurate
3 points - mostly accurate
2 points - generally accurate
1 point - frequent errors
lAccurate Pitch
lAccurate timing including: Rhythm, Steady Pulse,Appropriate Tempo (including rubato where required)
lObservance of articulation and dynamics OR stylistic articulation and dynamics where suggestions in the score are either editorial or left to the performer entirely.
lControl of tone including balance of melody / accompaniment.
lSense of performance including confident presentation and involvement with the music.
Technical Skills
Based on the key signatures of the pieces chosen above, the examiner will ask for five items in each grade. 2 marks awarded for each item, losing a point for minor errors (including hesitation), and both points for frequent errors. Note that although a piece may be in a major key, the examiner may ask for a scale of the relative minor or vice versa to encourage the student to understand the relationship of keys
New items for each grade shown in bold italics
Grade 1
l one octave major scale hands together
l two octave major separate hand scale
l two octave harmonic minor separate hand scale
l A one octave separate hand major arpeggio
l A one octave separate hand minor arpeggio
Grade 2
l A two octave scale hands together
l A one octave contrary motion scale
l A one octave separate hand chromatic scale starting on the key note (of any of the chosen key signatures)
l A one octave major arpeggio hands together
l A one octave minor arpeggio hands together
Grade 3
l A two octave scale hands together
l A two octave contrary motion scale
l A two octave hands together chromatic scale starting on the key note (of any of the chosen key signatures)
l A two octave major arpeggio hands together
l A two octave minor arpeggio hands together
Grade 4
l A two octave scale hands together
l A two octave hands separate staccato scale
l A two octave contrary motion scale
l A two octave hands together chromatic scale starting on the key note (of any of the chosen key signatures)
l A two octave arpeggio hands together
Grade 5
l A two octave scale hands together staccato
l A two octave contrary motion scale
l A two octave hands together chromatic scale starting on the key note (of any of the chosen key signatures)
l A two octave arpeggio hands together
l A two octave diminished 7th hands separately starting on the key note (of any of the chosen key signatures)
Grade 6
l A four octave scale hands together staccato including melodic minors
l A two octave contrary motion scale
l A four octave hands together chromatic scale starting on the key note (of any of the chosen key signatures)
l A four octave arpeggio hands together
l A four octave hands together dominant 7th or diminished 7th starting on the key note (of any of the chosen key signatures)
Grade 7
l A four octave scale a third apart hands together
l A two octave contrary motion scale staccato
l A two octave hands together contrary motion chromatic scale starting on the key note (of any of the chosen key signatures)
l A four octave 1st inversion arpeggio hands together
l A four octave hands together dominant 7th OR diminished 7th starting on the key note (of any of the chosen key signatures)
Grade 8
l A four octave scale a sixth apart hands together
l A two octave hands separate legato scale in thirds
l A four octave hands together whole tone scale starting on the key note
l A four octave 2nd inversion arpeggio hands together
l A four octave hands together dominant 7th OR diminished 7th starting on the key note (of any of the chosen key signatures).
Theory knowledge
ABRSM Theory effectively stops for most students at grade 5, but this assessment will ensure that theory knowledge remains a consideration throughout the journey all the way to grade 8. Based on the pieces chosen above, the examiner will ask for five items in each grade. 2 marks awarded for each item. 2 points are awarded for confident and precise answers losing a point for hesitant answers that might need a little prompting but eventually arrive at the correct answer , and both points for an inability to arrive at the correct answer even with prompting.
New items for each grade shown in bold italics
Grade 1
l Terms and signs used in the piece
l Key signatures used in the piece, limited up to one sharp or flat.
l Time signatures used in the piece, limited to simple time signatures with a crotchet beat.
l Names of note lengths used in the piece, limited to semibreve, minim, crotchet, quavers and dotted versions of the same.
l Note pitches used in the piece
Grade 2
l Terms and signs used in the piece
l Key signatures used in the piece, limited up to two sharps or flats.
l Time signatures used in the piece also including minim or quaver beats in simple time.
l Note lengths used in the piece, including semiquavers and triplets
l Intervals between notes (numeric only)
Grade 3
l Terms and signs used in the piece
l Key signatures used in the piece, limited up to three sharps or flats.
l Time signatures used in the piece also including compound time signatures.
l Note lengths used in the piece, including demisemiquavers
l Intervals between notes including labels major, minor and perfect
Grade 4
l Terms and signs used in the piece
l Key signatures used in the piece, limited up to four sharps or flats.
l Time signatures used in the piece also including compound time signatures.
l Note lengths used in the piece, including double dotted notes and duplets
l Intervals between notes including labels augmented and diminished
Grade 5
l Terms and signs used in the piece
l Key signatures used in the piece, limited up to five sharps or flats.
l Technical names for the degrees of the scale (e.g. Tonic, Dominant)
l Naming ornaments used in the piece
l Naming chords (limited to primary triads I, IV, V in root position)
Grade 6
l Terms and signs used in the piece
l Key signatures used in the piece, limited up to six sharps or flats.
l Questions on irregular time signatures (e.g. 5/4 time) or irregular note groupings (e.g. quintuplets)
l Intervals greater than an octave
l Identifying cadences (limited to perfect or imperfect)
Grade 7
l Terms and signs used in the piece
l Questions on the texture of a piece
l Naming chords (including primary triads I, IV, V and V7 in any inversion)
l Identifying modulations
l Identifying cadences (also including interrupted)
Grade 8
l Terms and signs used in the piece
l Questions on the structure of a piece
l Naming chords (including any chord in any inversion)
l Identifying accented and unaccented passing notes.
l Identifying cadences (also including plagal)
Listening skills
One of the greatest criticisms of ABRSM aural is the singing parts of the test. Additionally, listening is unrelated to the music being played. With this in mind the examiner will play five extracts from the pieces chosen for performance and ask questions about
Grade 1
l Time signature
l Dynamics
l Articulation
l Deliberate changes in pitch to what is written, (student allowed to see original at this point)
l Deliberate changes in rhythm to what is written, (student allowed to see original at this point)
Grade 2
l Dynamics
l Articulation
l Changes in tempo
l Deliberate changes in pitch to what is written
l Deliberate changes in rhythm to what is written
Grade 3
l Dynamics or Articulation
l Changes in tempo
l Tonality (major or minor)
l Deliberate changes in pitch to what is written
l Deliberate changes in rhythm to what is written
Grade 4
l Dynamics or Articulation
l Changes in tempo or tonality
l Describing the character of a piece based on the factors above.
l Deliberate changes in pitch to what is written
l Deliberate changes in rhythm to what is written
Grade 5
l Dynamics, Articulation, tempo or tonality
l Describing the character of a piece based on the factors above.
l Identify the period of music with reasons
l Deliberate changes in pitch to what is written
l Deliberate changes in rhythm to what is written
Grade 6
l Identify the period of music with reasons
l Discuss texture of the extract
l Identify a cadence as perfect or imperfect
l Deliberate changes in pitch to what is written
l Deliberate changes in rhythm to what is written
Grade 7
l Identify the period of music with reasons
l Discuss texture of the extract
l Identify a cadence as perfect or imperfect
l Deliberate changes in pitch to what is written
l Deliberate changes in rhythm to what is written
Grade 8
This grade will be a little different in that the student will be given free reign to discuss anything of interest heard, using five of the topics from previous grades but without questions from the examiner. Care should be taken to be concise and not waffle as a thousand words without content will not score points.
Reading skills
Sad to say that many students play from memory and only play their performance pieces from memory. Part of the reason for this is a many students have poor piano geography. In this section the examiner will ask the student to play a short extract from anywhere in a piece without looking at their hands at all. The mark scheme of 10 marks will deduct 2 points for any mistakes in pitch/rhythm/musical detail/ and EVERY instance of looking down.
Grade 1
4 bar extract of one hand only
Grade 2
4 bar extract hands together
Grades 3 and 4
8 bar extract hands together
Grade 5
4 bar extract of one hand only transposed to a key one tone higher
Grade 6
4 bar extract hands together transposed to a key one tone higher or lower
Grades 7
8 bar extract hands together transposed to a key one tone higher or lower
Grade 8
8 bar extract hands together transposed to a key a tone or minor 3rd higher or lower.
Finally the boring part…. pricing
ABRSM exams have always been very expensive and prohibitive to many, and at MusicOnline we believe it should reflect the amount of time spent in the exam and a little after to produce a marksheet, but not at the exorbitant prices set by the so called registered charity mentioned above. So our prices will never be more than HALF those set by ABRSM and going by the content outlined above will be more comprehensive in skills assessed.
Compare for yourself
ABRSM fees MusicOnline UK fees
Grade 1 £51 £20
Grade 2 £59 £25
Grade 3 £68 £30
Grade 4 £74 £35
Grade 5 £81 £40
Grade 6 £94 £45
Grade 7 £101 £50
Grade 8 £119 £55
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