Percussion 2020 Full Syllabus New

Qualification Specification: Percussion from 2020
Contents
1. Introduction 3
About ABRSM 3
About this qualification specification 4
About our Graded Exams in Music Performance 4
Regulation and UCAS points (UK) 5
2. Graded Exams in Music Performance 8

Syllabuses8
Exam Regulations 8
Malpractice and maladministration 8
Entry requirements 9
Exam venues 9
Exam booking 9
Access (for candidates with specific needs) 9
Elements of the exam 9
In the exam 10
3. Percussion Syllabus from 2020 11

Introducing the syllabus 11
Grades 1–8: requirements and information 11
• Instruments11
• Pieces14
• Technical requirements 16
• Sight-reading18
• Aural tests 19
Scale and arpeggio patterns 20
Scale and arpeggio speeds 22
Sight-reading parameters 23
Symbols used in the repertoire lists 26
Snare Drum Syllabus27
Timpani Syllabus35
Tuned Percussion Syllabus43
Percussion (Combined) Syllabus54
Aural test requirements 74
© 2019 by The Associated Board of the Royal Schools of Music

All the syllabus information in this booklet, including repertoire and scale lists, is the copyright of
ABRSM. No syllabus listing may be reproduced or published without the permission of ABRSM.
4. Assessment and marking 82
Assessment objectives 82
Mark allocation 86
Result categories 86
Marking criteria 86
5. After the exam

Results91
Concerns about the exam 91
Appeals and feedback 91
6. Other assessments
Music Theory 92
Practical Musicianship 93
ARSM94
DipABRSM, LRSM, FRSM 95
Exam programme & running order form 97
Index 111
1. Introduction
About ABRSM
At ABRSM we aim to support learners and teachers in every way we can. One way we do
this is through our graded music exams. These assessments provide clear goals, reliable and
consistent marking, and guidance for future learning. They are a tried and tested way to inspire
musical achievement and, with backing from four Royal Schools of Music in the UK, are valued
and trusted around the world.
We offer graded music exams for a range of instruments (including singing) and genres, as well
as for Music Theory and Practical Musicianship. The syllabuses are based on core musical skills
– listening, performing, reading, writing, musical knowledge and understanding, and improvising.
Together these skills give learners a good foundation for their musical development and a range
of different musical activities.
Taking an exam is an exciting challenge with many benefits for learners. There’s the boost to
motivation which comes from working towards an exam. There’s an opportunity to discover
and perform some fantastic music and to build new skills. And there’s the sense of achievement
which comes from successfully reaching a musical goal.
We do everything we can to make the exam experience positive and rewarding. We work closely
with specialists, teachers and examiners to provide syllabuses of the highest quality with a wide
variety of pieces and songs to choose from. We train our friendly, expert examiners to help
candidates do their best in their exams. Using our clear, easy-to-understand marking criteria
examiners can assess all candidates reliably, objectively and consistently. Finally, candidates
receive a mark form containing valuable feedback, with a celebratory certificate for everyone
who passes.
Whether you’re a learner or teacher, we hope the syllabus inspires and supports your music
learning or teaching. We wish you every success for your musical journey!
Our mission
ABRSM’s mission is to inspire musical achievement. We do this in partnership with four Royal
Schools of Music: Royal Academy of Music, Royal College of Music, Royal Northern College of
Music and Royal Conservatoire of Scotland.
We are passionate about music, its value as an art form and the importance of music education.
We believe that being involved with music gives people unique, positive experiences with life-
long benefits.
Through our world-leading assessments, books and resources we provide people worldwide
with the tools they need to teach, learn, make and enjoy music. Our scholarships, donations,
sponsorship and partnerships create opportunities for people of all ages to discover music and
fulfil their potential. Everything we do is designed to support learners and teachers on their
musical journey.
Who we are
We are the Associated Board of the Royal Schools of Music (ABRSM), a company registered in
England and Wales (company registration number 1926395) and a registered charity (charity
registration number 292182). Our registered office is at 4 London Wall Place, London EC2Y 5AU.
Find out more at www.abrsm.org.
3
1. Introduction
About this qualification specification

What this specification covers
This qualification specification covers all the relevant syllabus requirements as well as useful
information including regulated qualification details, assessment objectives, learning outcomes
and marking criteria. It is designed to help teachers, candidates, parents and organisations
when preparing for a Graded Exam in Music Performance in the subjects covered in Section 3.
Further details, as well as administrative information about the exams, are given in ABRSM’s
Exam Regulations (www.abrsm.org/examregulations) which should be read before making
an exam booking.
Validity of this specification
This specification is valid from 1 January 2020 until further notice.
We may update this specification from time to time, but will not make changes to the syllabus
(Section 3) other than in exceptional circumstances. In such cases, advance notice of any
changes will be posted on our website. The latest version of this specification will be available
from www.abrsm.org/exams.
About our Graded Exams in Music Performance

Qualification objectives
Graded Exams in Music Performance are designed as a progressive route for learners develop-
ing their skills in musical performance. Each grade represents a new challenge for the learner,
providing motivation and structure to develop and hone musical skills. Exams allow learners
to receive formal recognition of the level of mastery they have achieved, and feedback to sup-
port their learning journey.
Who the qualifications are for
Candidates may be entered for Graded Exams in Music Performance at any age. Candidates
entering for Grades 6–8 must fulfil the prerequisite detailed on page 9. Every effort has been
made to feature a broad range of repertoire to suit and appeal to candidates of different ages,
backgrounds and interests. We are committed to providing all candidates with fair access to our
assessments by putting in place access arrangements and reasonable adjustments.
Progression route
ABRSM Graded Exams in Music Performance are available from Initial Grade to Grade 8. The
syllabus in Section 3 of this specification details the grades available for individual subjects.
Each Graded Exam in Music Performance has been carefully designed to test the underpinning
knowledge and understanding required for practical music performance. These creative skills
are presented through the technical control of an instrument, interpretation of repertoire, and
supporting tests. Collectively, these skills enable a candidate to progress to higher grades and
other qualifications in the creative arts sector.
Graded Exams in Music Performance are designed to be progressive in their level of demand
from Initial Grade through to Grade 8. It is not a requirement for any candidate to complete
one before moving on to the next.
4
1. Introduction
We believe that a thorough understanding of the elements of music is essential for a full and
satisfying performance at the higher grades. Our Graded Exams in Music Theory assess candi-
dates on their ability to identify, use and manipulate musical symbols, to complete extracts and
to answer questions about the elements of music. We also offer Practical Musicianship exams
where, in developing their musicianship skills, candidates gain the understanding as well as
the expressive and interpretative skills needed to master the musical language of the reper-
toire they are learning. A pass at ABRSM Grade 5 or above is required in either Music Theory,
Practical Musicianship or a solo Jazz instrument before candidates can enter for Grades 6, 7
and 8 Graded Exams in Music Performance.
Candidates who successfully complete Grade 8 can progress on to one of ABRSM’s higher-level
qualifications, initially the ARSM and DipABRSM diplomas. The performance-only ARSM
diploma bridges the gap between Grade 8 and DipABRSM (Music Performance), providing
candidates with an opportunity to develop their performance technique and interpretative
skills, while focusing on programme building and extending their repertoire. Through a combi-
nation of live and written components, candidates at DipABRSM (Music Performance), and the
higher LRSM and FRSM levels, demonstrate their performance, communication and research
skills, as well as their musical knowledge and understanding. DipABRSM and LRSM progress
to the next level. Further details of these can be found in Section 6 of this specification and at
www.abrsm.org/diplomas.
Regulation and UCAS points (UK)

Our regulators
ABRSM Graded Exams in Music Performance, Music Theory, and higher-level qualifications
(diplomas) are regulated in the UK by:
• Office of Qualifications and Examinations Regulation (Ofqual)
• Qualifications Wales
• Council for Curriculum, Examinations and Assessment (CCEA Regulation)
For further information, see www.abrsm.org/regulation.
The Regulated Qualifications Framework (RQF)
All our regulated qualifications can be found on the RQF. There are nine qualification levels in
the framework, labelled in order of difficulty from Entry Level to Level 8. For further informa-
tion, visit https://register.ofqual.gov.uk.
Entry to higher education
In the UK, ABRSM’s Grade 6–8 Graded Exams in Music Performance can contribute towards
entry into higher education through the allocation of UCAS points; the table below shows the
UCAS Tariff value of these grades. For further information visit www.ucas.com.
Qualification/Level Pass Merit Distinction

Grade 6 8 10 12
Grade 7 12 14 16
Grade 8 18 24 30
5
1. Introduction
Regulated qualification details

Qualification titles
The table below shows the regulated titles and qualification numbers of our Graded Exams in
Music Performance. Further information can be found at https://register.ofqual.gov.uk.
Qualification Qualification Title

Number
603/4690/5 ABRSM Entry Level Award in Graded Examination in Music Performance
(Initial Grade) (Entry 3)
501/2150/9 ABRSM Level 1 Award in Graded Examination in Music Performance
(Grade 1)
(Grade 2)
(Grade 3)
501/2151/0 ABRSM Level 2 Certificate in Graded Examination in Music Performance
(Grade 4)
(Grade 5)
(Grade 6)
(Grade 7)
(Grade 8)
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1. Introduction
Qualification size
The table below describes the size of the Graded Exams in Music Performance qualifications by
showing the amount of time that a candidate would typically need to spend preparing for them:
• Under the guidance of a teacher (Guided Learning Hours);
• Under the guidance of a teacher and time spent preparing independently (Total Qualification
Time);
and:
• The assigned credit value (which denotes the size of the qualification).
Level Guided Learning Hours* Total Qualification Time* Credits

(GLH) (TQT)
Initial Grade 8 40 4
Grade 1 12 60 6
Grade 2 18 90 9
Grade 3 18 120 12
Grade 4 24 150 15
Grade 5 24 180 18
Grade 6 36 220 22
Grade 7 48 270 27
Grade 8 54 320 32
* The Guided Learning Hours and Total Qualification Time are estimates of the average amount of time that it might
take a candidate to prepare for these qualifications, and should be used as guidance only; it is recognised that there will
be variance dependent on each individual’s level of experience and ability.
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2. Graded Exams in Music Performance
Syllabuses
Syllabus validity
The Percussion Syllabus is valid for graded exams from 1 January 2020 until further notice.
Syllabus amendments
Any updates to the syllabus – e.g. changes to publication details or other minor corrections or
clarifications – will be posted at www.abrsm.org/syllabuscorrections.
Syllabus overlap
In the first year of any revised Graded Exam in Music Performance syllabus, we offer an over
lap period where candidates may play specific requirements from the preceding syllabus.
Information on the length of the overlap period and the requirements that it applies to is given
at www.abrsm.org/overlap.
Candidates will be able to take exams using the Percussion (from 1990) Syllabus until 31
December 2020. All exam requirements must be from the same syllabus – candidates may not
present a mixture of requirements (i.e. pieces or supporting tests) from old and new syllabuses.
The next syllabus

At the time of publication of this booklet, the next revision of the Percussion Syllabus had not
been scheduled. Advance notice of any planned changes to the Percussion Syllabus (including
syllabus overlap information) will be posted at www.abrsm.org/percussion.
Exam Regulations
When preparing for an exam, it is important to read ABRSM’s Exam Regulations, which set out
the rules for completing the exams listed in this specification. This information is available at
www.abrsm.org/examregulations.
Malpractice and maladministration

We are committed to inspiring achievement in music. Our qualifications are used by thou
sands of people to support their music learning or teaching. Many people also use them when
applying to study at further and higher education institutions. It is therefore vital that our
qualifications remain a valuable and reliable measure of a candidate’s skills and knowledge. We
take any form of malpractice or maladministration very seriously.
• Malpractice is defined as any act which compromises or is an attempt to compromise the
assessment process, the integrity of any qualification or the validity of a result or certificate.
This also includes any act which damages our reputation or credibility as an awarding
organisation.
• Maladministration is defined as any act which breaches the regulations through a mis
management of administrative processes, particularly where such a breach could compromise
the integrity of a qualification or assessment.
Applicants and candidates must follow the requirements set out in the relevant syllabus, Exam
Regulations and all other ABRSM policies about the delivery of our exams. In cases where
applicants or candidates have committed malpractice, a sanction or penalty may be given.
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Further information about our Malpractice and Maladministration Policy can be found at
www.abrsm.org/policies.
Entry requirements
There are eight grades of exam for each percussion subject. Candidates may be entered for any
grade at any age. They do not need to have taken any earlier grade(s) in the same subject. To
enter for a Grade 6, 7 or 8 exam, candidates must already have passed ABRSM Grade 5 (or above)
in Music Theory, Practical Musicianship or a solo Jazz instrument; for full details, including a
list of accepted alternatives, see www.abrsm.org/prerequisite.
Exam venues
Percussion exams are held as a Visit (i.e. where a venue is provided by the Applicant and visited
by the examiner). They may be held independently of other exams or as part of a larger Visit
that includes other subjects/grades. The percussion instruments and any seating must be set up
before the exam’s scheduled time. For full details about Visits, see ABRSM’s Exam Regulations
at www.abrsm.org/examregulations, in particular the requirement to provide a suitable piano
for the Aural tests.
Exam booking
Details of exam dates, locations, fees and how to book an exam are available online at www.
abrsm.org/exambooking.
Access (for candidates with specific needs)

We are committed to providing all candidates with fair access to our assessments by putting
in place access arrangements and reasonable adjustments. There are a range of alternative
tests and formats as well as guidelines for candidates with specific needs (see www.
abrsm.org/specificneeds). Where a candidate’s needs are not covered by the guidelines, each
case is considered individually. Further information is available from the Access Co-ordinator
(accesscoordinator@abrsm.ac.uk) or from www.abrsm.org/specificneeds.
Elements of the exam

Graded Exams in Music Performance for percussion consist of Pieces, Technical requirements,
Sight-reading and Aural tests. Information on how marks are allocated to each element is given
on page 86.
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In the exam
Examiners
Generally, there will be one examiner in the exam room; however a second examiner may be
present for training or quality assurance purposes.
Examiners may ask to look at the candidate’s or accompanist’s copy of the music before or after
the performance of a piece; a separate copy is not required.
Examiners may stop the performance of a piece when they have heard enough to make a
judgment.
Order of the exam
The individual sections of the exam may be taken in any order, at the candidate’s choice,
although it is preferable for accompanied pieces (where applicable) to be performed consecu
tively at the beginning of the exam.
Exam timings
The timings in the table below show the approximate length of each percussion exam in minutes,
including the candidate’s entry and exit, any tuning time and time for the examiner to finish
the mark form between exams. Examiners may take more or less time than the given timings.
Grade Initial Grade Grades Grades Grade Grade Grade

Grade* 1 2&3 4&5 6 7 8
Time (in mins) 12 12 14 17 20 25 30
* Initial Grade not available for percussion
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3. Percussion Syllabus from 2020
Introducing the syllabus
Our new Percussion Syllabus is designed to offer a flexible approach to percussion assessment.
There are exams at Grades 1–8 in Snare Drum, Timpani and Tuned Percussion as individual,
standalone subjects. We also offer a Percussion (Combined) exam at Grades 1–8 to allow
candidates to demonstrate their skills in all three subjects.
Key features:
• Newly-commissioned repertoire by leading percussion composers alongside established
favourites
• A choice of at least ten pieces per subject per grade
• Accompanied (by both piano and percussion) and solo options for all subjects
• Multi-percussion options in the Snare Drum repertoire lists from Grade 3
• Completely revised Sight-reading requirements for all subjects
• Specially-commissioned studies for Snare Drum and Timpani
• Publications to support all aspects of the new syllabus
The Aural tests stay the same as the preceding syllabus. All other requirements have been
revised.
Grades 1–8: requirements and information

This syllabus is valid from 2020 until further notice.
This section provides a summary of the most important points that teachers and candidates
need to know when taking ABRSM graded percussion exams. Further details, as well as
administrative information about the exams, are given in ABRSM’s Exam Regulations (available
at www.abrsm.org/examregulations) which should be read before making an exam booking.
Instruments
Candidates are required to perform on acoustic instruments (digital instruments are not
allowed). Examiners apply the marking criteria (which include the assessment of pitch, tone,
and musical shaping) to assess musical outcomes without reference to the specific attributes
of the instrument.
Sticks/mallets: Candidates are expected to use the correct sticks and mallets for the instru-
ments they have chosen to play. Tuned Percussion pieces that require four mallets are shown
by 4M in the repertoire lists.
Range information: In this document, range/pitch information is presented using the Helmholtz
w
system, i.e.:
w w w
? w w & w w
w w w
B′ C B c b c′ b′ c″ b″ c‴ b‴
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Snare Drum
Instruments: In Snare Drum exams at Grades 1–5, it is possible for candidates to complete an
exam playing a snare drum only. In Snare Drum exams at Grades 6–8, candidates must play at
least one piece for multi-percussion.
In Percussion (Combined) exams at all grades, it is possible for candidates to complete the
Snare Drum elements playing a snare drum only.
All pieces and studies should be played with the snares on unless marked otherwise in the music.
Multi-percussion: There are pieces for multi-percussion included in the repertoire lists for
Snare Drum from Grade 3. These are marked MULTI in the repertoire lists, where details of the
instruments required in addition to the snare drum are also shown.
Timpani
Number of drums: The minimum number of drums required depends on whether the candidate
is taking a Timpani exam or a Percussion (Combined) exam. The table below shows the mini-
mum number of drums required for each option. All other pieces are for two drums.
Timpani Percussion (Combined) Percussion (Combined)

exam exam exam
(Pieces, Study & (Piece, Study & (Piece & Sight-reading)
Sight-reading) Sight-reading)
Grades 1–4 2 2 2
Grade 5 3 3 2
Grade 6 3 3 3
Grade 7 4 4 3
Grade 8 4 4 4
Some pieces from Grade 4 require more drums than indicated above (the maximum number
is three drums at Grades 4 and 5 and four drums at Grades 6–8). Pieces that need three or four
drums are shown in the repertoire lists by 3D and 4D , respectively.
Types of drums: Hand- or pedal-tuned drums may be used. However, hand-tuned drums are
only appropriate if retuning does not interrupt the musical flow of a piece. Pieces that require a
retune are indicated in the repertoire lists by RETUNE and those that require at least one pedal
drum by PED .
Damping: At Grades 1 and 2, all rests of crotchet value or longer should be damped. From
Grade 3, all quaver rests should also be damped. From Grade 4, rests should be damped when-
ever feasible, and from Grade 5, candidates should also damp with regard to the harmonic
considerations of the piece.
Sticking: Any combination of sticking is allowed, e.g. leading with either hand, double strokes,
swinging over, crossing over, etc.
12
Tuning: At Grades 1 and 2, the teacher or accompanist may tune the candidate’s timpani (or
advise on tuning) before the exam begins. At Grades 3–8, candidates must tune the timpani
themselves. Timpanists should provide their own fixed-pitch sources, and these may only be
used before the beginning of each piece or study. Examiners are unable to help with tuning.
At Grades 1 and 2, all Timpani requirements may be played on A and D (or any interval of a
perfect 4th) regardless of their written pitches. Any accompaniments should be transposed
appropriately. From Grade 3, all music should be played as written.
Tuned Percussion
Instruments: Any one or more of the following instruments may be used in exams:
• xylophone
• marimba
• vibraphone
• glockenspiel (Grades 1 and 2 only)
Pieces: At Grades 1–5, candidates may play any piece on any instrument listed above. At
Grades 6–8, candidates must play the pieces on the instrument (or one of the instruments)
specified in the repertoire lists - XYL xylophone, MAR marimba, VIB vibraphone.
Candidates must not alter a piece at any grade to suit the range of an instrument (unless
indicated in the music).
Other tests: The Scales and arpeggios (when applicable) must be played on a single instrument
from those listed above. The Sight-reading may be played on the same or a different instrument.
In both cases, the range of the instrument used must cover the requirements set.
Percussion (Combined)
Candidates taking a Percussion (Combined) exam are required to:
• play one piece for each of Snare Drum, Timpani and Tuned Percussion
• play the technical requirements for either Snare Drum, Timpani or Tuned Percussion, at
their choice
• have instruments available which meet the minimum requirements for the Sight-reading
for Snare Drum, Timpani and Tuned Percussion. The subject for the test will be chosen by
the examiner.
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Pieces
Musicians learn to play an instrument to explore and perform repertoire, which is why pieces
are at the core of the exam – candidates are asked to present three at each grade.
The syllabus repertoire and requirements explore different traditions and styles and
provide candidates with the opportunity to choose a balanced selection and demonstrate
a range of skills.
All subjects offer pieces that require an accompaniment, as interacting with other musicians
is an important musical skill. There are also opportunities to choose solo pieces and
develop confidence with unaccompanied playing. These opportunities increase at higher
grades to reflect contemporary percussion repertoire.
We hope that by offering this variety in the syllabus, candidates will find inspiring music that
they enjoy learning and performing.
Programme planning: For Snare Drum, Timpani and Tuned Percussion exams, candidates
must choose three pieces from the repertoire list for that subject, including at least one piece
marked  in the repertoire list at certain grades (see table below). Up to two pieces by the same
composer may be played.
For Percussion (Combined) exams, candidates must choose one piece from each of the three
lists (A – Snare Drum, B – Timpani and C – Tuned Percussion), including at least one piece
marked  in the syllabus at Grades 1–3 (see table below). Up to two pieces by the same com-
poser may be played.
Subject Grades Type of pieces required Marked in syllabus

(minimum of 1)
Snare Drum Grades 1–3 accompanied and or
(by piano or percussion)
Grades 6–8 for multi-percussion and MULTI
Timpani Grades 1–3 accompanied and or
(by piano or percussion)
Grades 6–8 requires retuning and RETUNE
Tuned Grades 1–3 accompanied and or
Percussion (by piano or percussion)
Grades 8 requires 4 mallets and 4M
Percussion Grades 1–3 accompanied and or
(Combined) (by piano or percussion)
Candidates may play two or three pieces marked , if they wish.

In the exam, candidates should tell the examiner which pieces they are performing, and they
are welcome to use the forms on pages 97–109 for this.
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Every effort has been made to feature a broad range of repertoire to suit and appeal to
candidates of different ages, backgrounds and interests. Certain pieces may not be suitable for
every candidate for technical reasons or because of wider context (historical, cultural, subject
matter, etc.). Pieces should be carefully considered for their appropriateness to each individual,
which may need consultation between teachers and parents/guardians. Teachers and parents/
guardians should also exercise caution when allowing younger candidates to research pieces
online: www.nspcc.org.uk/onlinesafety.
Accompaniment: A live piano or percussion (where the option is listed) accompaniment is
required for all pieces marked with or in the syllabus. Recorded accompaniments are not
allowed.
At Grades 1–3, candidates must perform at least one piece with accompaniment (piano or
percussion). There is no accompaniment requirement at Grades 4–8. There is no upper limit
to the number of accompanied pieces that can be played at any grade.
Pieces that are published as duets (or with percussion accompaniment only) are marked in
the repertoire lists; candidates must play the upper part. Pieces that are published with piano
and percussion accompaniment options are marked or in the repertoire lists, and may be
performed with either accompaniment in the exam. Details of the percussion instruments that
are required to accompany each piece are also given in the repertoire lists.
Candidates must provide their own accompanist(s), who can only be in the exam room while
accompanying. The candidate’s teacher may accompany but examiners will not. If necessary,
an accompanist may simplify any part of the accompaniment, as long as the result is musical.
Pieces accompanied by percussion must be played on a separate instrument from the
candidate’s.
Exam music & editions: Wherever the syllabus includes an arrangement or transcription
(appearing as ‘arr.’ or ‘trans.’ in the repertoire lists), the edition listed in the syllabus must be
used in the exam. For all other pieces, editions are listed for guidance only and candidates may
use any edition of their choice (in- or out-of-print or downloadable). Information on sourcing
exam music is given on page 16.
Interpreting the score: Printed editorial suggestions such as sticking, metronome marks, etc. do
not need to be strictly observed. Whether the piece contains musical indications or not, candi
dates are encouraged to interpret the score in a musical and stylistic way. The marks awarded
will be determined by how control of pitch, time, tone, shape and performance contributes to
the overall musical outcome.
Repeats: Unless the syllabus specifies differently, all da capo and dal segno indications should
be followed but other repeats (including first-time bars) should not be played unless they are
very short (i.e. a few bars).
Cadenzas & tuttis: Cadenzas should not be played unless the syllabus specifies differently.
Accompanists should cut lengthy orchestral tutti sections.
Performing from memory: Candidates may perform any of their pieces from memory; if
doing so, they must make sure that a copy of the music is available for the examiner to refer to.
No extra marks are awarded for playing from memory.
15
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. Candidates (and accompanists) may use an extra copy
of the music or a photocopy of a section of the piece (but see ‘Photocopies’ below) to help with
page-turns. Candidates and accompanists at Grades 6–8 may bring a page-turner to the exam
if there is no solution to a particularly awkward page-turn (prior permission is not required;
the turner may be the candidate’s teacher). Examiners are unable to help with page-turning.
Photocopies: Performing from unauthorised photocopies (or other kinds of copies) of copy-
right editions is not allowed. ABRSM may withhold the exam result where we have 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 should be brought to the exam.
Sourcing exam music: Exam music is available from music retailers and online, including at
the ABRSM music shop: www.abrsm.org/shop. Every effort has been made to make sure that
the publications listed will be available for the duration of the syllabus. We advise candidates
to get their music well before the exam in case items are not kept in stock by retailers. Non-
exam related questions about the music (e.g. editorial, availability) should be addressed to the
relevant publisher: contact details are listed at www.abrsm.org/publishers.
Technical requirements
In this section of the exam, candidates prepare the following:
Subject Technical requirements

Snare Drum Studies
Timpani Studies
Tuned Percussion Scales and arpeggios
Percussion (Combined) One of the following, at the candidate’s choice:
• Studies (Snare Drum)
• Studies (Timpani)
• Scales and arpeggios (Tuned Percussion)
The examiner will ask which the candidate has chosen.
Study (Snare Drum)

Studies are an important way to develop technical skills such as stick control, balance between
hands, fluency and articulation. They also help to develop tone, pulse and dynamic control,
and familiarity with rudimental patterns. This leads to greater confidence and security when
sight-reading, learning new pieces and performing – from a score or from memory, as a solo
musician or with others.
About the test: Candidates prepare two studies at each grade and examiners will request which
one is to be played in the exam. Each Study is based on a set of rudiments; these are listed on
the sheet music.
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Sheet music: The studies are published online at www.abrsm.org/percussion as a free

downloadable PDF that can be printed and used in the exam. They are also published by
ABRSM in the books of Percussion Exam Pieces & Studies (for Grades 1–5) and Percussion
Studies (for Grades 6–8). Purchasing these books is not a requirement.
Memory: There is no requirement to play the Study from memory.
Sticking: Candidates may use any sticking that produces a successful musical outcome.
Study (Timpani)
Studies are an important way to develop technical skills such as fluency, balance between
hands, moving between drums, retuning/pedalling and articulation. They also help to
develop tone, pulse, dynamic control and interval awareness. This leads to greater confidence
and security when sight-reading, learning new pieces and performing – from a score or from
memory, as a solo musician or with others.
About the test: Candidates prepare two studies at each grade and examiners will request which
one is to be played in the exam.
Sheet music: The studies are published online at www.abrsm.org/percussion as a free
downloadable PDF that can be printed and used in the exam. They are also published by
ABRSM in the books of Percussion Exam Pieces & Studies (for Grades 1–5) and Percussion
Studies (for Grades 6–8). Purchasing these books is not a requirement.
Memory: There is no requirement to play the Study from memory.
Sticking: Candidates may use any sticking that produces a successful musical outcome.
Scales and arpeggios (Tuned Percussion)

Playing scales and arpeggios is important for building strong technical skills such as reliable
hand movement and position, co-ordination and fluency. It also helps to develop pitch and
interval awareness, and familiarity with keys and their related patterns. This leads to greater
confidence and security when sight-reading, learning new pieces and performing – from a
score or from memory, as a solo musician or with others.
Memory: All requirements should be played from memory.

Ranges: Candidates are free to start at any octave, provided the required ranges are covered.
All requirements should ascend and descend according to the specified range (and pattern).
Patterns: Arpeggios and dominant sevenths are required in root position only. All dominant
sevenths should finish by resolving on the tonic. Scales in thirds 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 found in this syllabus are given on pages 20–21.
Instruments: Requirements may be played on any of the instruments listed on page 13 as
long as they can cover the full range set. Scales played on the vibraphone should be played
without pedal.
17
Sticking: All requirements except those in thirds, in sixths and in octaves should be played
hand to hand. Candidates may lead with either hand.
Speeds: The speeds on page 22 are given as a general guide.
In the exam: Examiners will usually ask for at least one of each scale/arpeggio (etc.) type. They
will ask for majors followed by minors within each type. When asking for requirements, exam-
iners will specify the key or the starting note only.
Supporting publications: Books of the requirements are published by ABRSM. Purchasing
these books is not a requirement.
Sight-reading
Sight-reading is a valuable skill with many benefits. Learning to sight-read helps to develop
quick recognition of keys, tonality and common rhythm patterns. Strong sight-reading skills
make learning new pieces quicker and easier, and also help when making music with others,
so that playing in an ensemble becomes more rewarding and enjoyable.
About the test: Candidates will be asked to play a short unaccompanied piece of music which
they have not seen before. They will be given half a minute to look through and, if they wish,
try out all or any part of the test before they are asked to play it for assessment.
Parameters: The tables on pages 23–25 show the elements that are introduced at each
grade.
Instruments: In this section of the exam, the instrument requirements are as follows:
Subject Technical requirements

Snare Drum • the test must be played with the snares on
• no additional instruments will be required at any grade
Timpani • the number of drums required at each grade is listed in the
parameters on page 24
Tuned Percussion • the test may be played on any of the instruments listed on
page 13
• the instrument chosen must meet the range requirements for
the grade as listed in the parameters on page 25
Percussion (Combined) • instruments as described in all three rows above must be
available in the exam room
• the examiner will choose whether the test is to be played on
Snare Drum, Timpani or Tuned Percussion
Supporting publications: For practice purposes, sample Sight-reading tests are published by
ABRSM in Percussion Sight-Reading, Grades 1–5 and Grades 6–8. Purchasing these books is
not a requirement.
Blind or partially-sighted candidates: Blind or partially-sighted candidates may choose an
alternative test (Braille memory or Aural repetition) in place of the standard test, if requested
at the time of entry. Further information is available at www.abrsm.org/specificneeds.
18
Aural tests
Listening lies at the heart of music-making and the ability to hear how music works helps with
all aspects of musical development. Aural skills help with gauging the sound and balance of
playing, keeping in time and playing with a sense of rhythm and pulse. These skills also help
to develop a sense of pitch, musical memory and the ability to spot mistakes.
About the test: The requirements are the same for all four subjects. Full details of the Aural
tests are given on pages 74–81.
Supporting publications: For practice purposes, sample Aural tests are published by ABRSM.
Examples of the tests are given in Specimen Aural Tests and Aural Training in Practice.
Purchasing these books is not a requirement.
Deaf or hearing-impaired candidates: Deaf or hearing-impaired candidates may choose alter-
native 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.
19
Scale and arpeggio patterns

The examples below clarify patterns found in this syllabus. The full requirements for Tuned
Percussion and Percussion (Combined) at each grade are listed on the relevant syllabus pages.
See also pages 17–18.
SCALES ARPEGGIOS
one octave (and similarly, two octaves) one octave (and similarly, two octaves)
Vœœœœœœœœœœœœœœœ
V œ œ œ œ œ œ œ™
CHROMATIC SCALES
one octave (and similarly, two octaves)
V œ bœ =œ bœ =œ œ#œ œ bœ =œ bœ =œ œ œ bœ œ bœ œ#œ =œ œ bœ œ bœ œ
DOMINANT SEVENTHS (resolving on tonic) DIMINISHED SEVENTH

one octave (and similarly, two octaves) one octave (and similarly, two octaves)
V ### œ œ œ œ œ œ œ œ œ
V œ œ œ bœ œ bœ œ œ œ
SCALES IN THIRDS
two octaves
#V # œVœœ##œœœVœœœœ#œœ#œœœœœœœœœœœ œœ œœV ## œœVœœ## œœœœVœœœœ##œœœœœœœœœœœœœœ œœ Vœœ ## œœVœœ## œœœœVœœœœ##œœœœœœœœœœœœ œœ œ

etc. etc. etc. etc. etc. etc.
œ œ œ œ œ œ
SCALES IN OCTAVES SCALES IN SIXTHS

one octave one octave
V b œœ œœ etc. V bbbbb œœ œ etc.
20
BROKEN CHORDS
two octaves
V ##
œœœ
œ œ œœœœœœœœœœ œœœœœ œœ
œ œœœœœœœ
œœ œ
SCALES IN BROKEN THIRDS

two octaves
b b b b b b b b b b b bb b bb b
œ Vœ œ bœœ Vœ œ bœœV œ œb œV b b V b b
etc. b etc. etc. V bbbbb œVœbbbœbb œœVœœbbbœbb œœ œœ œ œ œ
œ œ œ œœ œœ œ œœœ œœ œœ œœ œ œœ œ œ œ
etc. etc. etc.
CHROMATIC SCALES IN MINOR THIRDS

two octaves
V V V V # # œœ #œœ#Vœœb œœœœ œœb#œœ#bœœb œœœœœœbb bœœœœ œœ bb œœV V V

b œœ #= œœb œœb#œœ= œœ#= œœb œœb œœ#œœ=#œœ= œœ bœœœœ #= œœ œœ
etc. etc. etc. etc. etc.
œœ #= œœœœ=b#œœ= œœ#=œœb œœ=œœb œœ# œœ= œœ=b=œœb œœ # œœ =b œœ
etc.
CHROMATIC SCALES IN BROKEN MINOR THIRDS

two octaves
# œ # œ# œœ# œ# œœ œ#= œ œœ=œœœ= œ= œœ= œ# œœ œ= œ# œœ # œ

V œ Vb œ œ# Vœb œ= œœ# œb œ= œ# œ = œV V V
etc. etc. etc. V œVœ œVœ œœ œœ œ
etc. etc. etc.
WHOLE-TONE SCALES
two octaves
V#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
21
22
Grade/Speed *
1 2 3 4 5 6 7 8
Scales q = 69 q = 80 q = 88 q = 100 q = 112
Arpeggios e = 100 e = 120 q . = 50 q . = 56 q . = 60
Chromatic scales q = 88 q = 100 q = 112 q = 120

Dom. & Dim. 7ths q = 88 q = 96 q = 112 q = 120 q = 140
Scales in 3rds/broken 3rds,

q = 92 q = 126 q = 138
Scale and arpeggio speeds
6ths, 8ves & whole-tone scales
Broken chords q = 112 q = 160 q = 200
Chromatic scales in minor 3rds/

broken minor 3rds q = 100 q = 120
The following speeds are given as a general guide:
* All speeds relate to the rhythmic grouping iiiq , except for arpeggios, where iiq applies.
Sight-reading parameters
The tables on pages 23–25 show the elements that are introduced at each grade. These
parameters are presented cumulatively, i.e. once introduced they apply for all later grades
(gradually progressing in difficulty). See also page 18.
Snare Drum
All tests are written on a five-line stave.
Length Time Other features that may be included

(bars)
Grade 1 4 4 ⁄4 • h q iq iiiq jjjq ijq jiq
3 ⁄4 • Î
6 2 ⁄4 • f and p

Grade 2 • q . e
• tied notes
• ä
• mf and cresc. hairpins
• grace notes
Grade 3 3⁄8 • dotted quaver patterns
• simple syncopation
Lengths gradually increase
• rolls (r)
• accents
• mp and dim. hairpins
Grade 4 6⁄8 • anacrusis
• triplets
• pause signs
Grade 5 • slowing of tempo at end
• ff and pp
Grade 6 9⁄8 • changes of time signature
5⁄8 • slowing of tempo followed by a tempo
5 ⁄4
Grade 7 7⁄ 8 • demisemiquavers
7⁄4
Grade 8 max c. 28 12 ⁄ 8 • acceleration of tempo
• playing on rim
23
Timpani
No retuning of drums is required within a test at any grade.
Length Time Drums Other features that may be included

(bars)
Grade 1 4 4 ⁄4 • 2 drums • h q iq iiiq jjjq ijq jiq
3 ⁄4 • in: A & d • Î
6 2 ⁄4 • intervals of a perfect 4th
• f and p
Grade 2 • w h . q . e
• tied notes
• cresc. hairpins
Grade 3 3⁄8 • 2 drums • dotted quaver patterns
• from: G, A, c, d • ä
• intervals of a perfect 5th
• rolls ( )
• accents
• mf and dim. hairpins
Grade 4 6⁄8 • anacrusis
• grace notes
• pause signs
• mp
Grade 5 • 2 drums • simple syncopation
• from: F–f • slowing of tempo at end
• fp rolls
Grade 6 9⁄8 • 2 or 3 drums • changes of time signature
5⁄8 • triplets
5 ⁄4 • swung style
• intervals of a major/minor 2nd, 3rd, 6th & 7th,
and perfect 8ve
• double stops
• slowing of tempo followed by a tempo
• ff and pp
Grade 7 7⁄ 8 • 3 drums
7⁄4
C
Grade 8 max c. 28 12 ⁄ 8 • duplets
4⁄8 • acceleration of tempo
24
Tuned Percussion
All tests are written on a single treble stave, with no more than two mallets required at any
grade.
Length Time Keys & Range Other features that may be included
(bars)
Grade 1 4 4 ⁄4 • C, F majors • h q iq iiiq
3 ⁄4 • d′–g″ • Î
6 2 ⁄4 • f and mf

Grade 2 • G major • q . e
A minor • tied notes
•
• mp and cresc. hairpins
Grade 3 3⁄8 • D minor • simple semiquaver patterns
• c′–c‴ • dotted quaver patterns
• ä
• accidentals (within minor keys only)
• rolls (r)
• accents
• p and dim. hairpins
Grade 4 6⁄8 • E - major • anacrusis
B minor • chromatic notes
• g–c‴ • 2-note chords
• pause signs
Grade 5 • B -, D, A majors • simple syncopation
G, E minors • slowing of tempo at end
• ff and pp
Grade 6 9⁄8 • A -, E majors • changes of time signature
5⁄8 C, F + minors • triplets
5 ⁄4 • f–d‴ • swung style
• grace notes
• slowing of tempo followed by a tempo
Grade 7 7⁄ 8 • F, C + minors
7⁄4
Grade 8 max c. 28 12 ⁄ 8 • D -, B majors • acceleration of tempo
• f–g‴
25
Symbols used in the repertoire lists

The symbols explained in this table are used in the repertoire lists on the following pages. See
pages 11–15 for further information.
All subjects
 at least one of the marked pieces must be played
has piano accompaniment (required)
has percussion accompaniment (required)
or has piano and percussion accompaniment (one is required)
Snare Drum
MULTI for multi-percussion
Timpani
3D three drums required
4D four drums required
RETUNE contains retuning
PED requires pedal drum(s)
Tuned Percussion
4M four mallets required
MAR must be played on marimba
XYL must be played on xylophone
VIB must be played on vibraphone
26
Snare Drum Snare from 2020
Drum from 2020
GRADE 1
THREE PIECES: chosen by the candidate from the List below; for further details see pages 14–16
Candidates must choose at least one piece marked 
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
1 Kevin Tandem Percussion Exam Pieces & Studies from 2020, Grade 1
Hathway low tom (ABRSM)
2 William Step ’n’ March Percussion Exam Pieces & Studies from 2020, Grade 1
Edwards (ABRSM)
3 Jan Bradley Mind the Gap Percussion Exam Pieces & Studies from 2020, Grade 1
(ABRSM)
4 David Hext Madison March Percussion Exam Pieces & Studies from 2020, Grade 1
(ABRSM)
5 Zara Nunn Journeying Home from the Hills Percussion Exam Pieces & Studies from 2020, Grade 1
(ABRSM)
6 Keith Bartlett Three and Easy?! (No. 42 from 50 Short Pieces Keith Bartlett: 50 Short Pieces for Snare Drum (UMP)
for Snare Drum)
7 Peter R. Birkby Fanfarette (from Dozens of Duets for Drums, Peter R. Birkby: Dozens of Duets for Drums, Book 3
Book 3) (Peter R. Birkby)
unpitched percussion
8 Richard Chicken and Chips (from Beat This!) Richard Charles: Beat This! (Southern Percussion)
Charles
9 Jan Faulkner Charlie’s Caterpillar Jan Faulkner: Simply Seven (Southern Percussion)
10 Edward Just a Little Bit Just Desserts (Row-Loff Productions)

Freytag
STUDY: Study A and Study B must be prepared; for further details see pages 16–17
SIGHT-READING: a short piece of previously unseen music; for further details see pages 18 & 23
AURAL TESTS: given by the examiner from the piano; for further details see pages 74 & 75
with percussion accompaniment, as specified

with piano accompaniment 27
Snare Drum from 2020
GRADE 2
1 Peter R. Birkby Fantastic Clock Percussion Exam Pieces & Studies from 2020, Grade 2
woodblock (ABRSM)
2 Jan Bradley Smoothly Does It Percussion Exam Pieces & Studies from 2020, Grade 2
(ABRSM)
3 Damien March of the Octopus Percussion Exam Pieces & Studies from 2020, Grade 2
Harron (ABRSM)
4 Kevin Vector Percussion Exam Pieces & Studies from 2020, Grade 2
Hathway (ABRSM)
5 Alex Neal Swaggerit Percussion Exam Pieces & Studies from 2020, Grade 2
(ABRSM)
6 Keith Bartlett Fives Alive! (No. 44 from 50 Short Pieces for Keith Bartlett: 50 Short Pieces for Snare Drum (UMP)
Snare Drum)
7 Gert Bomhof Father and Son (from 21 Solos for Snare Drum) Gert Bomhof: 21 Solos for Snare Drum (De Haske)
8 Richard Spicy Noodles (from Beat This!) Richard Charles: Beat This! (Southern Percussion)
Charles snare drum
9 Edward The Witch is Dead! Just Desserts (Row-Loff Productions)
Freytag
10 James L. Du-Du-Bubba (No. 18 from Solo Time for the James L. Moore: Solo Time for the Intermediate
Moore Intermediate Snare Drummer) Snare Drummer (Per-Mus Publications)

28 with piano accompaniment
GRADE 3
1 William Out of Line Percussion Exam Pieces & Studies from 2020, Grade 3
Edwards (ABRSM)
2 Rachel Jazz Waltz for Two Percussion Exam Pieces & Studies from 2020, Grade 3
Gledhill MULTI low tom (ABRSM)
3 Kevin Stick Insect Percussion Exam Pieces & Studies from 2020, Grade 3
4 David Hext Tango Twister Percussion Exam Pieces & Studies from 2020, Grade 3
(ABRSM)
5 Zara Nunn Clock-watching Percussion Exam Pieces & Studies from 2020, Grade 3
(ABRSM)
6 Keith Bartlett Spanish Accents (No. 47 from 50 Short Pieces Keith Bartlett: 50 Short Pieces for Snare Drum (UMP)
for Snare Drum)
7 Gert Bomhof Little March & Dance (from 21 Solos for Snare Gert Bomhof: 21 Solos for Snare Drum (De Haske)
Drum)
8 Edward What a Drag! with repeats Just Desserts (Row-Loff Productions)
Freytag
9 John Pollard Good Times (from Shazam!) John Pollard: Shazam! (Row-Loff Productions)
10 Wolfgang Alternativo (No. 1 from Magic Sticks) Wolfgang Sonntag: Magic Sticks (Zimmermann)
Sonntag tenor drum
AURAL TESTS: given by the examiner from the piano; for further details see pages 74 & 76–77

GRADE 4
1 Alan Bullard Sarabande and Gigue Percussion Exam Pieces & Studies from 2020, Grade 4
(ABRSM)
2 Damien Gigue Gig Percussion Exam Pieces & Studies from 2020, Grade 4
Harron MULTI cowbell & low tom (ABRSM)
3 Kevin Super Samba Percussion Exam Pieces & Studies from 2020, Grade 4
Hathway MULTI low tom (ABRSM)
4 Cameron Marche Cassé Percussion Exam Pieces & Studies from 2020, Grade 4
Sinclair (ABRSM)
5 Zara Nunn Dodging the Cracks in the Pavement Percussion Exam Pieces & Studies from 2020, Grade 4
(ABRSM)
6 Fred Albright Study No. 3 (from Contemporary Studies for Fred Albright: Contemporary Studies for the
the Snare Drum) Snare Drum (Alfred)
7 Ted Atkatz For Aaron (No. 3 from Tributes for Snare Drum) Ted Atkatz: Tributes for Snare Drum
(Row-Loff Productions)
8 Richard Mickey (from Beat This!) Richard Charles: Beat This! (Southern Percussion)
Charles MULTI 3 tom-toms (no snare drum)
9 Murray Houllif It’s Rudimental (No. 2 from Multiplicities) Murray Houllif: Multiplicities (Kendor Music)
with D.C., without repeats
MULTI tenor drum or small tom
10 Weinberger The Phantom Drummer Solos for the Percussion Player (G. Schirmer)

GRADE 5
1 Jan Bradley On-Off-On Percussion Exam Pieces & Studies from 2020, Grade 5
MULTI high bongo & low bongo (ABRSM)
2 Peter R. Birkby Into a Vortex Percussion Exam Pieces & Studies from 2020, Grade 5
(ABRSM)
3 Rachel On a Mission Percussion Exam Pieces & Studies from 2020, Grade 5
Gledhill (ABRSM)
4 Alex Neal Stamping Ground Percussion Exam Pieces & Studies from 2020, Grade 5
(ABRSM)
5 Cameron Vaya Puente Percussion Exam Pieces & Studies from 2020, Grade 5
Sinclair MULTI cowbell (ABRSM)
6 Ted Atkatz For Maurice (No. 18 from Tributes for Snare Ted Atkatz: Tributes for Snare Drum
Drum) (Row-Loff Productions)
7 Gert Bomhof Raggedy Rhythm (from 21 Solos for Snare Gert Bomhof: 21 Solos for Snare Drum (De Haske)
Drum)
8 William Kraft Allemande (No. 1 from French Suite) William Kraft: French Suite for Percussion Solo
MULTI high & low snare, field & tenor drum (Presser)
9 John O’Reilly Introduction and Rondo Solos for the Percussion Player (G. Schirmer)
10 John Pollard Oh Well! (from Shazam!) John Pollard: Shazam! (Row-Loff Productions)
MULTI muted tom, cymbal & cowbell

GRADE 6
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.
1 Ted Atkatz For Fripp (No. 14 from Tributes for Snare Drum) Ted Atkatz: Tributes for Snare Drum
2 Colgrass Allegro con spirito (No. 1 from Unaccompanied No. 1 from Colgrass: Six Unaccompanied Solos for
Solos for Snare Drum) Snare Drum (Alfred) or
P. 4 from Solos for the Percussion Player
(G. Schirmer)
3 John O’Reilly Fireworks Solos for the Percussion Player (G. Schirmer)
MULTI 2 tom-toms, cymbal, bass drum with pedal
4 Brett William Abduction (No. 5 from Reflex) Brett William Dietz: Reflex (C. Alan Publications)
Dietz MULTI cowbell & high tom-tom
5 Murray Houllif Tribalism (No. 7 from Multiplicities) Murray Houllif: Multiplicities (Kendor Music)
MULTI small, medium, large tom & cowbell
6 Jill Jarman New Orleans Sunrise Principal Percussion (ABRSM)
7 Keith Larson Study No. 25 (from Artistic Studies for Keith Larson: Artistic Studies for Snare Drum
Snare Drum) (C. Alan Publications)
8 David Mancini Celebration David Mancini: Celebration (Per-Mus Publications)
MULTI 4 concert tom-toms (no snare drum)
9 Wolfgang The Crazy Snare Drum (No. 19 from Wolfgang Sonntag: Magic Sticks (Zimmermann)
Sonntag Magic Sticks) with repeats at bb. 4 & 28
10 Garwood Essay for Snare Drum Garwood Whaley: Essay for Snare Drum
Whaley (Meredith Music)

GRADE 7
1 W. Benson Cretan Dance (No. 1 from Three Dances for W. Benson: Three Dances for Solo Snare Drum
Solo Snare Drum) (Hal Leonard)
2 James Taiko with repeats, without D.S. Music for Multi-Percussion: A World View (Alfred)
Campbell MULTI low, medium, high drum & cymbals
(no snare drum)
3 Anthony J. Study No. 32 (from Portraits in Rhythm) Anthony J. Cirone: Portraits in Rhythm (Alfred)
Cirone
4 Guy G. Movement IV (from American Suite) Guy G. Gauthreaux II: American Suite
Gauthreaux II (Meredith Music)
5 Rachel Battercada Rachel Gledhill: Battercada (Southern Percussion)
Gledhill MULTI 2 drums
6 William Kraft Prelude (Part 1 from English Suite) William Kraft: English Suite (Alfred)
MULTI bass, tenor, field drum & bongos
7 Clive Malabar Up Sticks Principal Percussion (ABRSM)
8 Cameron Zonal I Cameron Sinclair: Zonal I (Scottish Music Centre)
Sinclair MULTI bongos & tom-tom
9 Wilcoxon The New Downfall (from Modern Rudimental Wilcoxon: Modern Rudimental Swing Solos
Swing Solos) with repeats (Ludwig Masters)
10 Wilcoxon Swinging the “26” (from Modern Rudimental Wilcoxon: Modern Rudimental Swing Solos
Swing Solos) (Ludwig Masters)
33
GRADE 8
1 W. Benson Fox Trot and Fandango (Nos 2 and 3 from W. Benson: Three Dances for Solo Snare Drum
Three Dances for Solo Snare Drum) (Hal Leonard)
2 Jan Bradley Dance for Five Drums (Abridged Version) Jan Bradley: Dance for Five Drums (Jan Bradley)
with repeats
MULTI 3 tom-toms & 2 boo-bams/bongos
(no snare drum)
3 James Engine Room James Campbell: Engine Room
Campbell MULTI bongos, 2 toms, bass drum & hand percussion (Row-Loff Productions)
(no snare drum)
4 Stacey Duggan Popeye aerial flip optional Just Desserts (Row-Loff Productions)
5 Michael Lynch It’s About Time visual enhancement optional Just Desserts (Row-Loff Productions)
6 Guy G. Movement II (from American Suite) Guy G. Gauthreaux II: American Suite
Gauthreaux II with repeats (Meredith Music)
7 Anthony Kerr Pontiac Principal Percussion (ABRSM)
8 Glenn Kotche Cave Dance without cuts Glenn Kotche: Cave Dance (Alfred)
MULTI foot pedal instrument
9 Alex Neal Gorymdaith Alex Neal: Gorymdaith (Southern Percussion)
MULTI tenor drum & pedal bass drum
10 Cameron Antrieb Cameron Sinclair: Antrieb (Scottish Music Centre)
Sinclair

Timpani fromfrom
Timpani 2020
2020
GRADE 1
1 Simon Archer March Percussion Exam Pieces & Studies from 2020, Grade 1
(ABRSM)
2 Cameron Ceremonial Percussion Exam Pieces & Studies from 2020, Grade 1
Sinclair (ABRSM)
3 Andrea Vogler Yeti Dance Percussion Exam Pieces & Studies from 2020, Grade 1
(ABRSM)
4 David Hext Tumbledown Mountain Percussion Exam Pieces & Studies from 2020, Grade 1
tenor drum or low tom (ABRSM)
5 Ian Wright Baroque Notes Percussion Exam Pieces & Studies from 2020, Grade 1
(ABRSM)
6 Carol Barratt Alpenstock Bravo! Percussion, Book 1 (Boosey & Hawkes)
7 Matthew Majestic March play bb. 11–14 as written Concert and Audition Pieces for the Young
Hardy or snare drum Percussionist (Southern Percussion)
8 Hochrainer Etude No. 8 (from Etudes for Timpani, Vol. 1) Hochrainer: Etudes for Timpani, Vol. 1 (Doblinger)
9 Knauer Exercise No. 3 in C (from 85 Exercises for P. 3 No. 3 from Knauer: 85 Exercises for Timpani
Timpani) (Hofmeister)
10 Andrea Vogler Gilda’s Party Andrea Vogler: Gilda’s Party (Southern Percussion)
low tom-tom
STUDY: Study A and Study B must be prepared; for further details see page 17

Timpani from 2020
GRADE 2
1 Peter R. Birkby The Haunted Percussion Exam Pieces & Studies from 2020, Grade 2
(ABRSM)
2 Rachel Tribal Dance Percussion Exam Pieces & Studies from 2020, Grade 2
Gledhill (ABRSM)
3 Andrew J. Space Race Percussion Exam Pieces & Studies from 2020, Grade 2
Smith (ABRSM)
4 Andrea Vogler What’s for Tea Tonight? Percussion Exam Pieces & Studies from 2020, Grade 2
low tom (ABRSM)
5 Nick Woud The Guard Percussion Exam Pieces & Studies from 2020, Grade 2
(ABRSM)
6 Carol Barratt Flight Past Bravo! Percussion, Book 2 (Boosey & Hawkes)
7 Gert Bomhof Fanfaria (No. 1 from Solo Pieces for Timpani) Gert Bomhof: Solo Pieces for Timpani (De Haske)
8 Jan Faulkner Ship Ahoy Jan Faulkner: Simply Seven (Southern Percussion)
9 Matthew Waltz for Jan Concert and Audition Pieces for the Young
Hardy or vibraphone Percussionist (Southern Percussion)

Timpani from 2020
GRADE 3
1 Jan Bradley Arriving in Style Percussion Exam Pieces & Studies from 2020, Grade 3
snare drum or low tom (ABRSM)
2 Lizzie Davis Waltz of the Warlocks Percussion Exam Pieces & Studies from 2020, Grade 3
(ABRSM)
3 Damien Tresillo Percussion Exam Pieces & Studies from 2020, Grade 3
Harron (ABRSM)
4 Ian Wright Bouncing Beethoven Percussion Exam Pieces & Studies from 2020, Grade 3
(ABRSM)
5 Andrew J. Celebration Percussion Exam Pieces & Studies from 2020, Grade 3
Smith (ABRSM)
6 Gert Bomhof Galop (No. 4 from Solo Pieces for Timpani) Gert Bomhof: Solo Pieces for Timpani (De Haske)
7 Kirk J. Gay Etude 6 (from Pedal to the Kettle) Kirk J. Gay: Pedal to the Kettle (Tapspace)
8 Matthew Fiesta Concert and Audition Pieces for the Young
Hardy Percussionist (Southern Percussion)
9 Murray Houllif Cowboy Town (No. 4 from Rhythmicity) Murray Houllif: Rhythmicity (Kendor Music)
10 Murray Houllif Hills of Home (No. 6 from Rhythmicity) Murray Houllif: Rhythmicity (Kendor Music)
with repeats

Timpani from 2020
GRADE 4
1 Adrian D ’n’ A Test Percussion Exam Pieces & Studies from 2020, Grade 4
Bending (ABRSM)
2 Peter R. Birkby Fanfare and Procession Percussion Exam Pieces & Studies from 2020, Grade 4
(ABRSM)
3 Nick Woud Checkers Percussion Exam Pieces & Studies from 2020, Grade 4
3D  RETUNE (ABRSM)
4 David Hext Dogfight Percussion Exam Pieces & Studies from 2020, Grade 4
(ABRSM)
5 Adrian Boil the Kettle Percussion Exam Pieces & Studies from 2020, Grade 4
Sutcliffe (ABRSM)
6 Gert Bomhof Changing Meters I (No. 7 from Solo Pieces for Gert Bomhof: Solo Pieces for Timpani (De Haske)
Timpani)
7 Matthew Cha Cha Challenge Concert and Audition Pieces for the Young
Hardy  3D Percussionist (Southern Percussion)
9 Murray Houllif Rock and Roll (No. 7 from Rhythmicity) Murray Houllif: Rhythmicity (Kendor Music)
with repeats
3D
10 Brian Slawson Copper Rocks (from Dynamic Solos for Brian Slawson: Dynamic Solos for Timpani (Alfred)
Timpani)
3D  RETUNE

Timpani from 2020
GRADE 5
1 Alan Bullard Rising from the Deep Percussion Exam Pieces & Studies from 2020, Grade 5
 3D  RETUNE (ABRSM)
2 William Conflict Percussion Exam Pieces & Studies from 2020, Grade 5
Edwards 3D (ABRSM)
3 Rachel A Storm in a Teacup Percussion Exam Pieces & Studies from 2020, Grade 5
Gledhill 3D  PED  RETUNE (ABRSM)
4 Dani Howard REVS Percussion Exam Pieces & Studies from 2020, Grade 5
3D (ABRSM)
5 Ian Wright Russian Galop Percussion Exam Pieces & Studies from 2020, Grade 5
RETUNE (ABRSM)
6 Berlioz, arr. Simply Fantastique with repeat Concert and Audition Pieces for the Young
Matthew 3D  RETUNE Percussionist (Southern Percussion)
Hardy
7 Knauer Exercise No. 20 in F (from 85 Exercises for P. 19 No. 20 from Knauer: 85 Exercises for Timpani
RETUNE or 3D
8 Muczynski Allegro moderato (No. 1 from Three Designs for Muczynski: Three Designs for Three Timpani,
Three Timpani, Op. 11 No. 2) Op. 11 No. 2 (G. Schirmer) or
3D  PED  RETUNE Solos for the Percussion Player (G. Schirmer)
9 Garwood Statement for Timpani Garwood Whaley: Statement for Timpani
Whaley 3D (Meredith Music)
10 Nick Woud Study No. 5 (from Symphonic Studies for Nick Woud: Symphonic Studies for Timpani
Timpani) (De Haske)

Timpani from 2020
GRADE 6
1 Gert Bomhof Changing Meters II (No. 12 from Solo Pieces for Gert Bomhof: Solo Pieces for Timpani (De Haske)
Timpani)
3D
2 Bill Cahn Canzone (from Six Concert Pieces for Bill Cahn: Six Concert Pieces for Solo Timpani
Solo Timpani) (Meredith Music)
3D  PED  RETUNE
3 S. Fink Rockin’ Timpani (No. 8 from Solobook for S. Fink: Solobook for Timpani, Vol. 1 (Simrock)
Timpani, Vol. 1)
4D
4 George Frock Opening Toccata (No. 1 from Seven Solo Dances George Frock: Seven Solo Dances for the Advanced
for the Advanced Timpanist) Timpanist (Southern Music)
4D
5 Murray Houllif March Triumphant with repeats Murray Houllif: March Triumphant (Kendor Music)
4D  PED  RETUNE
6 A. Ridout Movement I (from Sonatina for Timpani) A. Ridout: Sonatina for Timpani (Boosey & Hawkes)
4D
7 Cameron Kontretanz (from 3 Tanzen) Cameron Sinclair: 3 Tanzen (Scottish Music Centre)
Sinclair 3D  PED  RETUNE
8 Brian Slawson Paukenstein (from Dynamic Solos for Timpani) Brian Slawson: Dynamic Solos for Timpani (Alfred)
3D  PED  RETUNE
9 Nick Woud First Call Principal Percussion (ABRSM)
3D  RETUNE
Timpani) (De Haske)
4D  PED  RETUNE
40
Timpani from 2020
GRADE 7
1 Bill Cahn Etude (from Six Concert Pieces for Solo Timpani) Bill Cahn: Six Concert Pieces for Solo Timpani
4D (Meredith Music)
2 Raynor Carroll Prelude Exercises, Etudes and Solos for the Timpani
4D  PED  RETUNE (Batterie Music)
3 Peter Evans Shades of Bartók Peter Evans: Shades of Bartók (Southern Percussion)
4D  PED  RETUNE
4 Kirk J. Gay Rock of the 80’s (from Pedal to the Kettle) Kirk J. Gay: Pedal to the Kettle (Tapspace)
4D  PED  RETUNE
5 Stravinsky, Rite of Passage with repeats Concert and Audition Pieces for the Young
arr. Matthew 3D  PED  RETUNE Percussionist (Southern Percussion)
Hardy
6 David Mancini Flower City Funk David Mancini: Flower City Funk (Kendor Music)
4D  PED  RETUNE
7 A. Ridout Movement III (from Sonatina for Timpani) A. Ridout: Sonatina for Timpani (Boosey & Hawkes)
4D
8 Cameron Feuertanz (from 3 Tanzen) Cameron Sinclair: 3 Tanzen (Scottish Music Centre)
9 Nick Woud Study No. 9 (from The Timpani Challenge) Nick Woud: The Timpani Challenge
4D  PED  RETUNE (Pustjens Percussion)
10 Ian Wright Spring Fever Principal Percussion (ABRSM)
4D  RETUNE
41
Timpani from 2020
GRADE 8
1 John Beck Movement II (from Sonata for Timpani) John Beck: Sonata for Timpani (Boston Music
4D Company)
2 E. Carter Saëta (No. 1 from Eight Pieces for Four Timpani) E. Carter: Eight Pieces for Four Timpani (AMP) or
4D P. 28 from Solos for the Percussion Player
(G. Schirmer)
3 Julian Proclamation Julian Fairbank: Proclamation (Southern Percussion)
Fairbank 4D  PED  RETUNE
4 S. Fink Episode and Cadenza (Nos 4 and 6 from S. Fink: Solobook for Timpani, Vol. 2 (Simrock)
Solobook for Timpani, Vol. 2)
4D retune required between pieces
5 George Frock Beguine and Samba (No. 3 from Seven George Frock: Seven Solo Dances for the Advanced
Solo Dances for the Advanced Timpanist) Timpanist (Southern Music)
4D  PED  RETUNE
6 Kirk J. Gay Bolt! (from Pedal to the Kettle) Kirk J. Gay: Pedal to the Kettle (Tapspace)
4D  PED  RETUNE
7 Michael J. Scenes from an Ancient Battle Michael J. Rhodes: Scenes from an Ancient Battle
Rhodes 4D (Studio 4 Music)
8 Cameron Neuertanz (from 3 Tanzen) Cameron Sinclair: 3 Tanzen (Scottish Music Centre)
Timpani) (De Haske)
4D  PED  RETUNE
10 Nick Woud Variations Principal Percussion (ABRSM)
4D  PED  RETUNE
42
Tuned Percussion fromfrom
Tuned Percussion 2020
2020
GRADE 1
1 Lizzie Davis Tightrope Tricks Percussion Exam Pieces & Studies from 2020, Grade 1
(d′–g″) (ABRSM)
2 Alex Neal Smooov Percussion Exam Pieces & Studies from 2020, Grade 1
3 Zara Nunn Tiptoe on the Ice Percussion Exam Pieces & Studies from 2020, Grade 1
(c′–f ″)   (ABRSM)
4 Arthur C. Morning Sunlight Percussion Exam Pieces & Studies from 2020, Grade 1
Lipner (b–c″)   or marimba (ABRSM)
5 Andrew J. The Soldier’s Return Percussion Exam Pieces & Studies from 2020, Grade 1
Smith (d′–f ″)   (ABRSM)
6 Anon. Dona nobis pacem, arr. Sewrey, Hans & Modern School for Mallet-Keyboard Instruments
Schneller (Hal Leonard)
(c′–d″)
7 Peter R. Birkby Clocking On (from Dozens of Duets for Peter Birkby: Dozens of Duets for Keyboard
Keyboard Percussion, Book 1) Percussion, Book 1 (Peter Birkby)
(g′–b″)   separate tuned percussion
8 Jan Faulkner Crazy Cowboy Jan Faulkner: Simply Seven (Southern Percussion)
(c′–c″)  
9 Nebojša Jovan Polka (No. 2 from My First Book for Xylophone Nebojša Jovan Živković: My First Book for Xylophone
Živković and Marimba) and Marimba (Gretel Verlag)
(c′–a′)   or marimba
10 Nebojša Jovan Walzer (No. 3 from My First Book for Xylophone Nebojša Jovan Živković: My First Book for Xylophone
Živković and Marimba) without D.C. and Marimba (Gretel Verlag)
(c′–c″)   or marimba
SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 17–18 & 20–22
RANGE REQUIREMENTS
SCALES
C, F, G majors
A, D, E minors 1 oct. hand to hand; even notes
(natural or harmonic or melodic, at candidate’s
choice)
ARPEGGIOS
C, F, G majors
1 oct. hand to hand; even notes
A, D, E minors

Tuned Percussion from 2020
GRADE 2
1 Clive Malabar Sea Blues Percussion Exam Pieces & Studies from 2020, Grade 2
(c′–f ″) (ABRSM)
2 Alan Bullard Summer Sunshine Percussion Exam Pieces & Studies from 2020, Grade 2
(g′–b -″)   separate tuned percussion (ABRSM)
3 Cameron Turn the Key, Unlock the Door Percussion Exam Pieces & Studies from 2020, Grade 2
Sinclair (c′–e″)   (ABRSM)
4 Alex Neal Blue Stix Percussion Exam Pieces & Studies from 2020, Grade 2
(c′–g″) (ABRSM)
5 Andrew J. Winter’s Night Percussion Exam Pieces & Studies from 2020, Grade 2
Smith (g′–g″)   (ABRSM)
6 attrib. Minuet in G, arr. Moore if glock: without rolls Bach for Marimba (Kendor Music)
J. S. Bach (d′–b″)
7 J. S. Bach Polonaise, arr. Whaley with first repeat; Fundamental Studies for Mallets (Joel Rothman
if glock: without rolls Publications)
(g–g″)
8 Tchaikovsky The New Doll, arr. Whaley without rolls Fundamental Studies for Mallets (Joel Rothman
(f ′–b -″) Publications)
9 Haydn Two German Dances, arr. Houllif without rolls Melodic Mallets (Kendor Music)
(a–b″)
10 David Hext Church Ope Waltz David Hext: Church Ope Waltz (Southern Percussion)
(c′–f ″)  
RANGE REQUIREMENTS
SCALES
F, G, B -, D majors
D, E, G, B minors 1 oct. hand to hand; even notes
choice)
ARPEGGIOS
F, G, B -, D majors
D, E, G, B minors

GRADE 3
1 Alan Bullard Spring Awakening Percussion Exam Pieces & Studies from 2020, Grade 3
(e′–b″) (ABRSM)
2 David Hext Spicy Sauce Percussion Exam Pieces & Studies from 2020, Grade 3
(c′–a″)   untuned percussion (ABRSM)
3 William After Dark Percussion Exam Pieces & Studies from 2020, Grade 3
Edwards (c′–c‴) (ABRSM)
4 Arthur C. Swing Steps Percussion Exam Pieces & Studies from 2020, Grade 3
Lipner (c′–b -″)   (ABRSM)
5 Cameron Spiral Percussion Exam Pieces & Studies from 2020, Grade 3
Sinclair (c′–c‴)   (ABRSM)
6 G. Bruce & The Downfall of Paris, arr. Sewrey, Hans & Modern School for Mallet-Keyboard Instruments
D. Emmett Schneller (Hal Leonard)
(d′–b″)
7 Napier Raggedy Ragtime Rag, arr. Sewrey, Hans & Modern School for Mallet-Keyboard Instruments
Schneller with repeats (Hal Leonard)
(f ′–b -″)
8 Gounod Funeral March of a Marionette, arr. Balent Classical Solos for Mallets (Ludwig Masters)
(a–d″)
9 Mozart Allegro, arr. Whaley with first repeat P. 33 from Musical Studies for the Intermediate Mallet
(c″–c‴)   separate tuned percussion Player (Meredith Music)
10 Nebojša Jovan Holzschuh – Tanz (No. 11 from My First Book Nebojša Jovan Živković: My First Book for Xylophone
Živković for Xylophone and Marimba) with repeats and Marimba (Gretel Verlag)
(a–e″)   or marimba
RANGE REQUIREMENTS
SCALES
B -, D, E -, A majors
G, B, C, F + minors 2 oct. hand to hand; even notes
(harmonic or melodic, at candidate’s choice)
CHROMATIC SCALE
starting on C 1 oct. hand to hand; even notes
ARPEGGIOS
G, B, C, F + minors

GRADE 4
1 Alan Bullard Night Ride Percussion Exam Pieces & Studies from 2020, Grade 4
(c′–c‴) (ABRSM)
2 William Gladius Percussion Exam Pieces & Studies from 2020, Grade 4
Edwards (g + –g + ″) (ABRSM)
3 Rachel Star Gazing if mar/xyl: with ossias Percussion Exam Pieces & Studies from 2020, Grade 4
Gledhill (g + –b″) (ABRSM)
4 Zara Nunn Snow Day Percussion Exam Pieces & Studies from 2020, Grade 4
(c′–b -″)   (ABRSM)
5 Ney Rosauro Minor Journey Percussion Exam Pieces & Studies from 2020, Grade 4
(a–c‴) (ABRSM)
6 J. S. Bach Two-Part Invention in A minor, arr. Sewrey, Modern School for Mallet-Keyboard Instruments
Hans & Schneller (Hal Leonard)
(g–c‴)
7 Joplin Rag Time Dance, arr. Cowles Joplin: Ragtime Favourites – Mallets (Fentone)
(g′–f ‴)  
8 Pitfield Intermezzo (2nd movt from Sonata for Pitfield: Sonata for Xylophone Solo (Peters)
Xylophone Solo)
(g–e‴)
9 Senaillé Allegro, arr. Weijmans Masters on Marimba (De Haske)
(d′–b -″)
10 Ivo Weijmans Tango per due (No. 12 from Mallet Minded) Ivo Weijmans: Mallet Minded (De Haske)
(g′–c‴)   separate tuned percussion
RANGE REQUIREMENTS
SCALES
E -, A, A -, E majors
C, F + , F, C + minors 2 oct. hand to hand; even notes
CHROMATIC SCALE
starting on C + 2 oct. hand to hand; even notes
ARPEGGIOS
C, F + , F, C + minors
DOMINANT SEVENTHS (resolving on tonic)
in the keys of A and E - 1 oct. hand to hand; even notes

GRADE 5
1 Damien Leap-Frog Funk Percussion Exam Pieces & Studies from 2020, Grade 5
Harron (a -–e -‴) (ABRSM)
2 Bernard Habanera Percussion Exam Pieces & Studies from 2020, Grade 5
Hughes (a–e‴) (ABRSM)
3 Jill Jarman Carnival Percussion Exam Pieces & Studies from 2020, Grade 5
(g–f ‴) (ABRSM)
4 Zara Nunn Afternoon Sorcery Percussion Exam Pieces & Studies from 2020, Grade 5
(a -–c‴)   (ABRSM)
5 Ney Rosauro Brazilian Dance Percussion Exam Pieces & Studies from 2020, Grade 5
(g–e″)  4M   (ABRSM)
6 J. S. Bach Gigue (from Partita No. 3), arr. Whaley Recital Pieces for Mallets (Meredith Music)
(a–b″)
7 Breuer (and Rag Doll Rag (from Harry Breuer’s Ragtime Harry Breuer’s Ragtime Solos (Meredith Music)
Anderson & Solos) with grace notes
Spivack) (f + –f ‴)  
8 Humperdinck Evening Prayer, arr. Pimental & Moore The Solo Marimbist, Vol. 2 (Per-Mus Publications)
(c–a‴)  4M
9 Arthur C. Second Wind (Abridged Version) (from Places Arthur C. Lipner: Places to Visit (Southern
Lipner to Visit) Percussion)
(f–d‴)  
10 Pitfield Reel (3rd movt from Sonata for Xylophone Solo) Pitfield: Sonata for Xylophone Solo (Peters)
(g–e‴)  4M
11 Chris Stock “Jasmine” on the Breeze (from Cross Sticks) Chris Stock: Cross Sticks (Woodsmoor Press)
(f + –f ‴)  4M
RANGE REQUIREMENTS
SCALES
A -, E, D -, B, F + majors
F, C + , B -, G + , E - minors 2 oct. hand to hand; even notes
CHROMATIC SCALE
starting on A - 2 oct. hand to hand; even notes
ARPEGGIOS
F, C + , B -, G + , E - minors
in the keys of A - and E 1 oct. hand to hand; even notes
DIMINISHED SEVENTH
starting on B 1 oct. hand to hand; even notes

GRADE 6
1 J. S. Bach Prelude (from Partita No. 3 for Violin Solo), Modern School for Mallet-Keyboard Instruments
arr. Sewrey, Hans & Schneller (Hal Leonard)
(g + –e‴)  MAR/XYL
2 J. S. Bach Prélude (from Suite No. 1 in G, BWV 1007), J. S. Bach: Six Suites for Marimba (Keyboard
trans. Stevens Percussion Publications)
(C–g′)  MAR  4M
3 Chris Baron Mucho Gusto Principal Percussion (ABRSM)
(b–e‴)  MAR  
4 G. H. Green Jovial Jasper George Hamilton Green’s Xylophone Rags
(g + –e‴)  XYL   (Meredith Music)
5 Arthur C. Caribé Vibe (Abridged Version) (from Places Arthur C. Lipner: Places to Visit (Southern
(f–f ‴)  VIB  4M  
6 Miyoshi Tender Talk (No. 1 from Conversation: Suite for Modern Japanese Marimba Pieces 2 (Ongaku)
Marimba) with repeats
(c′–b‴)  MAR  4M
7 Ney Rosauro My Dear Friend (from Vibes Etudes and Songs) Ney Rosauro: Vibes Etudes and Songs (2nd edition)
(f + –e‴)  VIB  4M (Pro Percussao)
8 Ney Rosauro Prelúdio No. 1 Mi menor (from Three Preludes Ney Rosauro: Three Preludes for Solo Marimba
for Solo Marimba) with repeats, without D.S. (Pro Percussao)
(go to 5th bar of coda)
(A–g‴)  MAR  4M
9 Cameron Tarantella Cameron Sinclair: Tarantella (Scottish Music Centre)
Sinclair (d–d - ‴)  MAR/XYL  
10 Nebojša Jovan Johnny’s Shuffle (from Funny Marimba, Book 2) Nebojša Jovan Živković: Funny Marimba, Book 2
Živković (G–b″)  MAR  4M (Gretel Verlag)
11 Nebojša Jovan Macedonia with repeats Nebojša Jovan Živković: Macedonia (Studio 4 Music)
Živković (f–b -″)  MAR  

Tuned Percussion from 2020 Grade 6
RANGE REQUIREMENTS
SCALES IN THIRDS
D, F, A -, B majors
2 oct. even notes
D, F, G + , B harmonic minors
SCALES IN OCTAVES
D, F, G + , B melodic minors 1 oct. even notes
CHROMATIC SCALE
starting on E 2 oct. hand to hand; even notes
BROKEN CHORDS
D, F, A -, B majors
2 oct. hand to hand; even notes, as example on page 21
D, F, G + , B minors
in the keys of D, F, A - and B 2 oct. hand to hand; even notes
DIMINISHED SEVENTH
starting on D 2 oct. hand to hand; even notes
49
GRADE 7
1 J. S. Bach Presto (from Sonata in G minor), arr. Moore Bach for Marimba (Kendor Music)
(g–d‴)  MAR/XYL/VIB
2 J. S. Bach Sarabande (from Partita No. 2), arr. Whaley Recital Pieces for Mallets (Meredith Music)
(g–b -″)  MAR/VIB  4M
3 Breuer (and Waltz in Ragtime (from Harry Breuer’s Ragtime Harry Breuer’s Ragtime Solos (Meredith Music)
Anderson Solos)
& Spivack) (f + –g‴)  MAR/XYL/VIB  
4 Pius Cheung Prelude in G minor Pius Cheung: Prelude in G minor (Pius Cheung)
5 Daquin Cou-Cou, arr. E. & I. Finkel Ian Finkel’s Classical Encores for Xylophone and
(b–d‴)  XYL   Piano (Southern Percussion)
6 Dinicu, trans. Hora staccato, arr. Goldenberg Dinicu & Heifetz: Hora staccato (Carl Fischer)
Heifetz (g–e -‴)  XYL  
7 Michael Zev Folkish Principal Percussion (ABRSM)
Gordon (f–f ‴)  MAR/XYL/VIB
8 G. H. Green Triplets George Hamilton Green’s Xylophone Rags
(c′–f ‴)  XYL   (Meredith Music)
9 David Hext No. 4 (from Four Graded Pieces for Multi-Mallet David Hext: Four Graded Pieces for Multi-Mallet
Marimba) Marimba (Southern Percussion)
(A–d‴)  MAR  4M
10 Ney Rosauro Baião (No. 1 from Suite popular brasileira) Ney Rosauro: Suite popular brasileira (Music for
with repeats Percussion)
(d–g‴)  MAR  4M
11 Éric Sammut Hombre d’août with repeats Éric Sammut: Hombre d’août (Billaudot)
(A–a″)  MAR  4M
12 Nebojša Jovan Il canto dei gondolieri (from Funny Marimba, Nebojša Jovan Živković: Funny Marimba, Book 2
Živković Book 2) (Gretel Verlag)
(F–d‴)  MAR  4M

RANGE REQUIREMENTS
D -, E, G, B - majors
2 oct. hand to hand; as example on page 21
C + , E, G, B - harmonic minors
SCALES IN OCTAVES
C + , E, G, B - melodic minors 1 oct. even notes
SCALES IN SIXTHS
1 oct. even notes
starting on F/A -
2 oct. even notes
starting on B -/D -
BROKEN CHORDS
C + , E, G, B - minors
in the keys of D -, E, G and B - 2 oct. hand to hand; even notes
DIMINISHED SEVENTH
51
GRADE 8
1 Keiko Abe Frogs Keiko Abe: Frogs (Studio 4 Music)
(c–g‴)  MAR  4M
2 J. S. Bach Fugue (from Sonata in A minor), arr. Moore Bach for Marimba (Kendor Music)
(g–d‴)  MAR  4M
3 Breuer (and Joplin on Wood (from Harry Breuer’s Ragtime Harry Breuer’s Ragtime Solos (Meredith Music)
Anderson Solos)
& Spivack) (f–e -‴)  XYL  
4 Michael Sara’s Song Michael Burritt: Sara’s Song (Keyboard Percussion
Burritt (C–c‴)  MAR  4M Publications)
5 Ross Edwards No. 1 (from Marimba Dances) Ross Edwards: Marimba Dances (Australian Music
(d–d‴)  MAR Centre)
(c + –c + ‴)  MAR  4M Centre)
7 George H. Tween Heather and Sea complete George H. Geldard: Tween Heather and Sea
Geldard (f + ′–g‴)  XYL   (Oertel Musikverlag)
8 Anthony Kerr Exact Change Please Principal Percussion (ABRSM)
(f–e‴)  VIB  4M
9 Kreisler Tambourin chinois, arr. Green Kreisler: Tambourin chinois (Carl Fischer)
(g–b -‴)  XYL  
10 Igor Lešnik First Toy (No. 1 from Midnight Pieces) Igor Lešnik: Midnight Pieces (Zimmermann)
with printed cadenza
11 Ney Rosauro Greeting (1st movt from Concerto [No. 1] for Ney Rosauro: Concerto [No. 1] for Marimba
Marimba) with repeats; cut bb. 91–98 (Pro Percussao)
(A–c″″)  MAR  4M  
12 Éric Sammut Spiral 2 (from Three Spirals) with repeat Éric Sammut: Three Spirals (Keyboard Percussion
(A–e -‴)  MAR  4M Publications)
13 Emmanuel Nancy Emmanuel Séjourné: Nancy (PM Europe
Séjourné (E–e‴)  MAR  4M Publications)
14 Gordon Stout Mexican Dance No. 1 (from Two Mexican Gordon Stout: Two Mexican Dances for Marimba
Dances for Marimba) with final repeat (Studio 4 Music)
(c–b‴)  MAR  4M
15 Trad. The Absent-Minded Woman, arr. Daughtrey The Celtic Xylophone, Book 1 (C. Alan Publications)
(f + –e‴)  XYL  

RANGE REQUIREMENTS
C, E -, F + , A majors
C, E -, F + , A harmonic minors
SCALES IN OCTAVES
C, E -, F + , A melodic minors 1 oct. even notes
SCALES IN SIXTHS
1 oct. even notes
starting on C
starting on F +
WHOLE-TONE SCALES
starting on F +
starting on A
BROKEN CHORDS
C, E -, F + , A minors
in the keys of C, E -, F + and A 2 oct. hand to hand; even notes
DIMINISHED SEVENTH
53
Percussion (Combined)
Percussion (Combined) from 2020 from 2020
GRADE 1
THREE PIECES: one chosen by the candidate from each of the three Lists, A (Snare Drum), B (Timpani) and
C (Tuned Percussion); for further details see pages 14–16
SNARE DRUM
A 1 Kevin Tandem Percussion Exam Pieces & Studies from 2020, Grade 1
2 William Step ’n’ March Percussion Exam Pieces & Studies from 2020, Grade 1
Edwards (ABRSM)
3 Jan Bradley Mind the Gap Percussion Exam Pieces & Studies from 2020, Grade 1
(ABRSM)
4 David Hext Madison March Percussion Exam Pieces & Studies from 2020, Grade 1
(ABRSM)
5 Zara Nunn Journeying Home from the Hills Percussion Exam Pieces & Studies from 2020, Grade 1
(ABRSM)
6 Keith Bartlett Three and Easy?! (No. 42 from 50 Short Pieces Keith Bartlett: 50 Short Pieces for Snare Drum (UMP)
for Snare Drum)
7 Peter R. Birkby Fanfarette (from Dozens of Duets for Drums, Peter R. Birkby: Dozens of Duets for Drums, Book 3
Book 3) (Peter R. Birkby)
unpitched percussion
8 Richard Chicken and Chips (from Beat This!) Richard Charles: Beat This! (Southern Percussion)
Charles
9 Jan Faulkner Charlie’s Caterpillar Jan Faulkner: Simply Seven (Southern Percussion)
10 Edward Just a Little Bit Just Desserts (Row-Loff Productions)

Freytag
TIMPANI
B 1 Simon Archer March Percussion Exam Pieces & Studies from 2020, Grade 1
(ABRSM)
2 Cameron Ceremonial Percussion Exam Pieces & Studies from 2020, Grade 1
Sinclair (ABRSM)
3 Andrea Vogler Yeti Dance Percussion Exam Pieces & Studies from 2020, Grade 1
(ABRSM)
4 David Hext Tumbledown Mountain Percussion Exam Pieces & Studies from 2020, Grade 1
tenor drum or low tom (ABRSM)
5 Ian Wright Baroque Notes Percussion Exam Pieces & Studies from 2020, Grade 1
(ABRSM)
6 Carol Barratt Alpenstock Bravo! Percussion, Book 1 (Boosey & Hawkes)
7 Matthew Majestic March play bb. 11–14 as written Concert and Audition Pieces for the Young
Hardy or snare drum Percussionist (Southern Percussion)
9 Knauer Exercise No. 3 in C (from 85 Exercises for P. 3 No. 3 from Knauer: 85 Exercises for Timpani
10 Andrea Vogler Gilda’s Party Andrea Vogler: Gilda’s Party (Southern Percussion)
low tom-tom

Percussion (Combined) from 2020 Grade 1
TUNED PERCUSSION
C 1 Lizzie Davis Tightrope Tricks Percussion Exam Pieces & Studies from 2020, Grade 1
2 Alex Neal Smooov Percussion Exam Pieces & Studies from 2020, Grade 1
3 Zara Nunn Tiptoe on the Ice Percussion Exam Pieces & Studies from 2020, Grade 1
(c′–f ″)   (ABRSM)
4 Arthur C. Morning Sunlight Percussion Exam Pieces & Studies from 2020, Grade 1
Lipner (b–c″)   or marimba (ABRSM)
5 Andrew J. The Soldier’s Return Percussion Exam Pieces & Studies from 2020, Grade 1
Smith (d′–f ″)   (ABRSM)
6 Anon. Dona nobis pacem, arr. Sewrey, Hans & Modern School for Mallet-Keyboard Instruments
Schneller (Hal Leonard)
(c′–d″)
7 Peter R. Birkby Clocking On (from Dozens of Duets for Peter Birkby: Dozens of Duets for Keyboard
Keyboard Percussion, Book 1) Percussion, Book 1 (Peter Birkby)
(g′–b″)   separate tuned percussion
8 Jan Faulkner Crazy Cowboy Jan Faulkner: Simply Seven (Southern Percussion)
(c′–c″)  
9 Nebojša Jovan Polka (No. 2 from My First Book for Xylophone Nebojša Jovan Živković: My First Book for Xylophone
Živković and Marimba) and Marimba (Gretel Verlag)
(c′–a′)   or marimba
10 Nebojša Jovan Walzer (No. 3 from My First Book for Xylophone Nebojša Jovan Živković: My First Book for Xylophone
Živković and Marimba) without D.C. and Marimba (Gretel Verlag)
(c′–c″)   or marimba
TECHNICAL REQUIREMENTS: one of the following options, chosen by the candidate

• Snare Drum – Study A and Study B
• Timpani – Study A and Study B
• Tuned Percussion – Scales and arpeggios (see below)
For further details see pages 16–18
RANGE REQUIREMENTS
SCALES
C, F, G majors
A, D, E minors 1 oct. hand to hand; even notes
choice)
ARPEGGIOS
C, F, G majors
A, D, E minors
SIGHT-READING: a short piece of previously unseen music. The examiner will choose to give either a Snare
Drum, Timpani or Tuned Percussion test. For further details see pages 18 & 23–25
55
Percussion (Combined) from 2020
GRADE 2
SNARE DRUM
A 1 Peter R. Birkby Fantastic Clock Percussion Exam Pieces & Studies from 2020, Grade 2
woodblock (ABRSM)
2 Jan Bradley Smoothly Does It Percussion Exam Pieces & Studies from 2020, Grade 2
(ABRSM)
3 Damien March of the Octopus Percussion Exam Pieces & Studies from 2020, Grade 2
Harron (ABRSM)
4 Kevin Vector Percussion Exam Pieces & Studies from 2020, Grade 2
Hathway (ABRSM)
5 Alex Neal Swaggerit Percussion Exam Pieces & Studies from 2020, Grade 2
(ABRSM)
6 Keith Bartlett Fives Alive! (No. 44 from 50 Short Pieces for Keith Bartlett: 50 Short Pieces for Snare Drum (UMP)
Snare Drum)
7 Gert Bomhof Father and Son (from 21 Solos for Snare Drum) Gert Bomhof: 21 Solos for Snare Drum (De Haske)
8 Richard Spicy Noodles (from Beat This!) Richard Charles: Beat This! (Southern Percussion)
Charles snare drum
9 Edward The Witch is Dead! Just Desserts (Row-Loff Productions)
Freytag
10 James L. Du-Du-Bubba (No. 18 from Solo Time for the James L. Moore: Solo Time for the Intermediate
Moore Intermediate Snare Drummer) Snare Drummer (Per-Mus Publications)
TIMPANI
B 1 Peter R. Birkby The Haunted Percussion Exam Pieces & Studies from 2020, Grade 2
(ABRSM)
2 Rachel Tribal Dance Percussion Exam Pieces & Studies from 2020, Grade 2
Gledhill (ABRSM)
3 Andrew J. Space Race Percussion Exam Pieces & Studies from 2020, Grade 2
Smith (ABRSM)
4 Andrea Vogler What’s for Tea Tonight? Percussion Exam Pieces & Studies from 2020, Grade 2
low tom (ABRSM)
5 Nick Woud The Guard Percussion Exam Pieces & Studies from 2020, Grade 2
(ABRSM)
6 Carol Barratt Flight Past Bravo! Percussion, Book 2 (Boosey & Hawkes)
7 Gert Bomhof Fanfaria (No. 1 from Solo Pieces for Timpani) Gert Bomhof: Solo Pieces for Timpani (De Haske)
8 Jan Faulkner Ship Ahoy Jan Faulkner: Simply Seven (Southern Percussion)
9 Matthew Waltz for Jan Concert and Audition Pieces for the Young
Hardy or vibraphone Percussionist (Southern Percussion)

TUNED PERCUSSION
C 1 Clive Malabar Sea Blues Percussion Exam Pieces & Studies from 2020, Grade 2
(c′–f ″) (ABRSM)
2 Alan Bullard Summer Sunshine Percussion Exam Pieces & Studies from 2020, Grade 2
(g′–b -″)   separate tuned percussion (ABRSM)
3 Cameron Turn the Key, Unlock the Door Percussion Exam Pieces & Studies from 2020, Grade 2
Sinclair (c′–e″)   (ABRSM)
4 Alex Neal Blue Stix Percussion Exam Pieces & Studies from 2020, Grade 2
(c′–g″) (ABRSM)
5 Andrew J. Winter’s Night Percussion Exam Pieces & Studies from 2020, Grade 2
Smith (g′–g″)   (ABRSM)
6 attrib. Minuet in G, arr. Moore if glock: without rolls Bach for Marimba (Kendor Music)
J. S. Bach (d′–b″)
7 J. S. Bach Polonaise, arr. Whaley with first repeat; Fundamental Studies for Mallets (Joel Rothman
if glock: without rolls Publications)
(g–g″)
8 Tchaikovsky The New Doll, arr. Whaley without rolls Fundamental Studies for Mallets (Joel Rothman
(f ′–b -″) Publications)
9 Haydn Two German Dances, arr. Houllif without rolls Melodic Mallets (Kendor Music)
(a–b″)
10 David Hext Church Ope Waltz David Hext: Church Ope Waltz (Southern Percussion)
(c′–f ″)  

RANGE REQUIREMENTS
SCALES
F, G, B -, D majors
D, E, G, B minors 1 oct. hand to hand; even notes
choice)
ARPEGGIOS
F, G, B -, D majors
D, E, G, B minors
57
GRADE 3
SNARE DRUM
A 1 William Out of Line Percussion Exam Pieces & Studies from 2020, Grade 3
Edwards (ABRSM)
2 Rachel Jazz Waltz for Two Percussion Exam Pieces & Studies from 2020, Grade 3
Gledhill MULTI low tom (ABRSM)
3 Kevin Stick Insect Percussion Exam Pieces & Studies from 2020, Grade 3
4 David Hext Tango Twister Percussion Exam Pieces & Studies from 2020, Grade 3
(ABRSM)
5 Zara Nunn Clock-watching Percussion Exam Pieces & Studies from 2020, Grade 3
(ABRSM)
6 Keith Bartlett Spanish Accents (No. 47 from 50 Short Pieces Keith Bartlett: 50 Short Pieces for Snare Drum (UMP)
for Snare Drum)
7 Gert Bomhof Little March & Dance (from 21 Solos for Snare Gert Bomhof: 21 Solos for Snare Drum (De Haske)
Drum)
8 Edward What a Drag! with repeats Just Desserts (Row-Loff Productions)
Freytag
9 John Pollard Good Times (from Shazam!) John Pollard: Shazam! (Row-Loff Productions)
10 Wolfgang Alternativo (No. 1 from Magic Sticks) Wolfgang Sonntag: Magic Sticks (Zimmermann)
Sonntag tenor drum
TIMPANI
B 1 Jan Bradley Arriving in Style Percussion Exam Pieces & Studies from 2020, Grade 3
snare drum or low tom (ABRSM)
2 Lizzie Davis Waltz of the Warlocks Percussion Exam Pieces & Studies from 2020, Grade 3
(ABRSM)
3 Damien Tresillo Percussion Exam Pieces & Studies from 2020, Grade 3
Harron (ABRSM)
4 Ian Wright Bouncing Beethoven Percussion Exam Pieces & Studies from 2020, Grade 3
(ABRSM)
5 Andrew J. Celebration Percussion Exam Pieces & Studies from 2020, Grade 3
Smith (ABRSM)
6 Gert Bomhof Galop (No. 4 from Solo Pieces for Timpani) Gert Bomhof: Solo Pieces for Timpani (De Haske)
7 Kirk J. Gay Etude 6 (from Pedal to the Kettle) Kirk J. Gay: Pedal to the Kettle (Tapspace)
8 Matthew Fiesta Concert and Audition Pieces for the Young
Hardy Percussionist (Southern Percussion)
9 Murray Houllif Cowboy Town (No. 4 from Rhythmicity) Murray Houllif: Rhythmicity (Kendor Music)
10 Murray Houllif Hills of Home (No. 6 from Rhythmicity) Murray Houllif: Rhythmicity (Kendor Music)
with repeats

TUNED PERCUSSION
C 1 Alan Bullard Spring Awakening Percussion Exam Pieces & Studies from 2020, Grade 3
(e′–b″) (ABRSM)
2 David Hext Spicy Sauce Percussion Exam Pieces & Studies from 2020, Grade 3
(c′–a″)   untuned percussion (ABRSM)
3 William After Dark Percussion Exam Pieces & Studies from 2020, Grade 3
Edwards (c′–c‴) (ABRSM)
4 Arthur C. Swing Steps Percussion Exam Pieces & Studies from 2020, Grade 3
Lipner (c′–b -″)   (ABRSM)
5 Cameron Spiral Percussion Exam Pieces & Studies from 2020, Grade 3
Sinclair (c′–c‴)   (ABRSM)
6 G. Bruce & The Downfall of Paris, arr. Sewrey, Hans & Modern School for Mallet-Keyboard Instruments
D. Emmett Schneller (Hal Leonard)
(d′–b″)
7 Napier Raggedy Ragtime Rag, arr. Sewrey, Hans & Modern School for Mallet-Keyboard Instruments
Schneller with repeats (Hal Leonard)
(f ′–b -″)
8 Gounod Funeral March of a Marionette, arr. Balent Classical Solos for Mallets (Ludwig Masters)
(a–d″)
9 Mozart Allegro, arr. Whaley with first repeat P. 33 from Musical Studies for the Intermediate Mallet
(c″–c‴)   separate tuned percussion Player (Meredith Music)
10 Nebojša Jovan Holzschuh – Tanz (No. 11 from My First Book Nebojša Jovan Živković: My First Book for Xylophone
Živković for Xylophone and Marimba) with repeats and Marimba (Gretel Verlag)
(a–e″)   or marimba

RANGE REQUIREMENTS
SCALES
G, B, C, F + minors 2 oct. hand to hand; even notes
CHROMATIC SCALE
ARPEGGIOS
G, B, C, F + minors
59
GRADE 4
SNARE DRUM
A 1 Alan Bullard Sarabande and Gigue Percussion Exam Pieces & Studies from 2020, Grade 4
(ABRSM)
2 Damien Gigue Gig Percussion Exam Pieces & Studies from 2020, Grade 4
Harron MULTI cowbell & low tom (ABRSM)
3 Kevin Super Samba Percussion Exam Pieces & Studies from 2020, Grade 4
Hathway MULTI low tom (ABRSM)
4 Cameron Marche Cassé Percussion Exam Pieces & Studies from 2020, Grade 4
Sinclair (ABRSM)
5 Zara Nunn Dodging the Cracks in the Pavement Percussion Exam Pieces & Studies from 2020, Grade 4
(ABRSM)
6 Fred Albright Study No. 3 (from Contemporary Studies for Fred Albright: Contemporary Studies for the
the Snare Drum) Snare Drum (Alfred)
7 Ted Atkatz For Aaron (No. 3 from Tributes for Snare Drum) Ted Atkatz: Tributes for Snare Drum
8 Richard Mickey (from Beat This!) Richard Charles: Beat This! (Southern Percussion)
Charles MULTI 3 tom-toms (no snare drum)
9 Murray Houllif It’s Rudimental (No. 2 from Multiplicities) Murray Houllif: Multiplicities (Kendor Music)
with D.C., without repeats
MULTI tenor drum or small tom
10 Weinberger The Phantom Drummer Solos for the Percussion Player (G. Schirmer)
TIMPANI
B 1 Adrian D ’n’ A Test Percussion Exam Pieces & Studies from 2020, Grade 4
Bending (ABRSM)
2 Peter R. Birkby Fanfare and Procession Percussion Exam Pieces & Studies from 2020, Grade 4
(ABRSM)
3 Nick Woud Checkers Percussion Exam Pieces & Studies from 2020, Grade 4
3D  RETUNE (ABRSM)
4 David Hext Dogfight Percussion Exam Pieces & Studies from 2020, Grade 4
(ABRSM)
5 Adrian Boil the Kettle Percussion Exam Pieces & Studies from 2020, Grade 4
Sutcliffe (ABRSM)
6 Gert Bomhof Changing Meters I (No. 7 from Solo Pieces for Gert Bomhof: Solo Pieces for Timpani (De Haske)
Timpani)
7 Matthew Cha Cha Challenge Concert and Audition Pieces for the Young
Hardy  3D Percussionist (Southern Percussion)
9 Murray Houllif Rock and Roll (No. 7 from Rhythmicity) Murray Houllif: Rhythmicity (Kendor Music)
with repeats
3D
10 Brian Slawson Copper Rocks (from Dynamic Solos for Brian Slawson: Dynamic Solos for Timpani (Alfred)
Timpani)
3D  RETUNE

TUNED PERCUSSION
C 1 Alan Bullard Night Ride Percussion Exam Pieces & Studies from 2020, Grade 4
(c′–c‴) (ABRSM)
2 William Gladius Percussion Exam Pieces & Studies from 2020, Grade 4
Edwards (g + –g + ″) (ABRSM)
3 Rachel Star Gazing if mar/xyl: with ossias Percussion Exam Pieces & Studies from 2020, Grade 4
Gledhill (g + –b″) (ABRSM)
4 Zara Nunn Snow Day Percussion Exam Pieces & Studies from 2020, Grade 4
(c′–b -″)   (ABRSM)
5 Ney Rosauro Minor Journey Percussion Exam Pieces & Studies from 2020, Grade 4
(a–c‴) (ABRSM)
6 J. S. Bach Two-Part Invention in A minor, arr. Sewrey, Modern School for Mallet-Keyboard Instruments
Hans & Schneller (Hal Leonard)
(g–c‴)
7 Joplin Rag Time Dance, arr. Cowles Joplin: Ragtime Favourites – Mallets (Fentone)
(g′–f ‴)  
8 Pitfield Intermezzo (2nd movt from Sonata for Pitfield: Sonata for Xylophone Solo (Peters)
Xylophone Solo)
(g–e‴)
9 Senaillé Allegro, arr. Weijmans Masters on Marimba (De Haske)
(d′–b -″)
10 Ivo Weijmans Tango per due (No. 12 from Mallet Minded) Ivo Weijmans: Mallet Minded (De Haske)
(g′–c‴)   separate tuned percussion

RANGE REQUIREMENTS
SCALES
C, F + , F, C + minors 2 oct. hand to hand; even notes
CHROMATIC SCALE
ARPEGGIOS
C, F + , F, C + minors
in the keys of A and E - 1 oct. hand to hand; even notes
61
GRADE 5
SNARE DRUM
A 1 Jan Bradley On-Off-On Percussion Exam Pieces & Studies from 2020, Grade 5
MULTI high bongo & low bongo (ABRSM)
2 Peter R. Birkby Into a Vortex Percussion Exam Pieces & Studies from 2020, Grade 5
(ABRSM)
3 Rachel On a Mission Percussion Exam Pieces & Studies from 2020, Grade 5
Gledhill (ABRSM)
4 Alex Neal Stamping Ground Percussion Exam Pieces & Studies from 2020, Grade 5
(ABRSM)
5 Cameron Vaya Puente Percussion Exam Pieces & Studies from 2020, Grade 5
Sinclair MULTI cowbell (ABRSM)
6 Ted Atkatz For Maurice (No. 18 from Tributes for Snare Ted Atkatz: Tributes for Snare Drum
Drum) (Row-Loff Productions)
7 Gert Bomhof Raggedy Rhythm (from 21 Solos for Snare Gert Bomhof: 21 Solos for Snare Drum (De Haske)
Drum)
8 William Kraft Allemande (No. 1 from French Suite) William Kraft: French Suite for Percussion Solo
MULTI high & low snare, field & tenor drum (Presser)
9 John O’Reilly Introduction and Rondo Solos for the Percussion Player (G. Schirmer)
10 John Pollard Oh Well! (from Shazam!) John Pollard: Shazam! (Row-Loff Productions)
MULTI muted tom, cymbal & cowbell
TIMPANI
B 1 Alan Bullard Rising from the Deep Percussion Exam Pieces & Studies from 2020, Grade 5
 3D  RETUNE (ABRSM)
2 William Conflict Percussion Exam Pieces & Studies from 2020, Grade 5
Edwards 3D (ABRSM)
3 Rachel A Storm in a Teacup Percussion Exam Pieces & Studies from 2020, Grade 5
Gledhill 3D  PED  RETUNE (ABRSM)
4 Dani Howard REVS Percussion Exam Pieces & Studies from 2020, Grade 5
3D (ABRSM)
5 Ian Wright Russian Galop Percussion Exam Pieces & Studies from 2020, Grade 5
RETUNE (ABRSM)
6 Berlioz, arr. Simply Fantastique with repeat Concert and Audition Pieces for the Young
Matthew 3D  RETUNE Percussionist (Southern Percussion)
Hardy
7 Knauer Exercise No. 20 in F (from 85 Exercises for P. 19 No. 20 from Knauer: 85 Exercises for Timpani
RETUNE or 3D
8 Muczynski Allegro moderato (No. 1 from Three Designs for Muczynski: Three Designs for Three Timpani,
Three Timpani, Op. 11 No. 2) Op. 11 No. 2 (G. Schirmer) or
3D  PED  RETUNE Solos for the Percussion Player (G. Schirmer)
9 Garwood Statement for Timpani Garwood Whaley: Statement for Timpani
Whaley 3D (Meredith Music)
Timpani) (De Haske)

TUNED PERCUSSION
C 1 Damien Leap-Frog Funk Percussion Exam Pieces & Studies from 2020, Grade 5
Harron (a -–e -‴) (ABRSM)
2 Bernard Habanera Percussion Exam Pieces & Studies from 2020, Grade 5
Hughes (a–e‴) (ABRSM)
3 Jill Jarman Carnival Percussion Exam Pieces & Studies from 2020, Grade 5
(g–f ‴) (ABRSM)
4 Zara Nunn Afternoon Sorcery Percussion Exam Pieces & Studies from 2020, Grade 5
(a -–c‴)   (ABRSM)
5 Ney Rosauro Brazilian Dance Percussion Exam Pieces & Studies from 2020, Grade 5
(g–e″)  4M   (ABRSM)
6 J. S. Bach Gigue (from Partita No. 3), arr. Whaley Recital Pieces for Mallets (Meredith Music)
(a–b″)
7 Breuer (and Rag Doll Rag (from Harry Breuer’s Ragtime Harry Breuer’s Ragtime Solos (Meredith Music)
Anderson & Solos) with grace notes
Spivack) (f + –f ‴)  
8 Humperdinck Evening Prayer, arr. Pimental & Moore The Solo Marimbist, Vol. 2 (Per-Mus Publications)
(c–a‴)  4M
9 Arthur C. Second Wind (Abridged Version) (from Places Arthur C. Lipner: Places to Visit (Southern
(f–d‴)  
10 Pitfield Reel (3rd movt from Sonata for Xylophone Solo) Pitfield: Sonata for Xylophone Solo (Peters)
(g–e‴)  4M
11 Chris Stock “Jasmine” on the Breeze (from Cross Sticks) Chris Stock: Cross Sticks (Woodsmoor Press)
(f + –f ‴)  4M

• Tuned Percussion – Scales and arpeggios (see next page)
Grade 5 continues overleaf

63
RANGE REQUIREMENTS
SCALES
F, C + , B -, G + , E - minors 2 oct. hand to hand; even notes
CHROMATIC SCALE
starting on A - 2 oct. hand to hand; even notes
ARPEGGIOS
F, C + , B -, G + , E - minors
in the keys of A - and E 1 oct. hand to hand; even notes
DIMINISHED SEVENTH
starting on B 1 oct. hand to hand; even notes
64
GRADE 6
SNARE DRUM
A 1 Ted Atkatz For Fripp (No. 14 from Tributes for Snare Drum) Ted Atkatz: Tributes for Snare Drum
2 Colgrass Allegro con spirito (No. 1 from Unaccompanied No. 1 from Colgrass: Six Unaccompanied Solos for
Solos for Snare Drum) Snare Drum (Alfred) or
P. 4 from Solos for the Percussion Player
(G. Schirmer)
3 John O’Reilly Fireworks Solos for the Percussion Player (G. Schirmer)
MULTI 2 tom-toms, cymbal, bass drum with pedal
4 Brett William Abduction (No. 5 from Reflex) Brett William Dietz: Reflex (C. Alan Publications)
Dietz MULTI cowbell & high tom-tom
5 Murray Houllif Tribalism (No. 7 from Multiplicities) Murray Houllif: Multiplicities (Kendor Music)
MULTI small, medium, large tom & cowbell
6 Jill Jarman New Orleans Sunrise Principal Percussion (ABRSM)
7 Keith Larson Study No. 25 (from Artistic Studies for Keith Larson: Artistic Studies for Snare Drum
Snare Drum) (C. Alan Publications)
8 David Mancini Celebration David Mancini: Celebration (Per-Mus Publications)
MULTI 4 concert tom-toms (no snare drum)
9 Wolfgang The Crazy Snare Drum (No. 19 from Wolfgang Sonntag: Magic Sticks (Zimmermann)
Sonntag Magic Sticks) with repeats at bb. 4 & 28
10 Garwood Essay for Snare Drum Garwood Whaley: Essay for Snare Drum
Whaley (Meredith Music)
TIMPANI
B 1 Gert Bomhof Changing Meters II (No. 12 from Solo Pieces for Gert Bomhof: Solo Pieces for Timpani (De Haske)
Timpani)
3D
2 Bill Cahn Canzone (from Six Concert Pieces for Bill Cahn: Six Concert Pieces for Solo Timpani
Solo Timpani) (Meredith Music)
3D  PED  RETUNE
3 S. Fink Rockin’ Timpani (No. 8 from Solobook for S. Fink: Solobook for Timpani, Vol. 1 (Simrock)
Timpani, Vol. 1)
4D
4 George Frock Opening Toccata (No. 1 from Seven Solo Dances George Frock: Seven Solo Dances for the Advanced
for the Advanced Timpanist) Timpanist (Southern Music)
4D
5 Murray Houllif March Triumphant with repeats Murray Houllif: March Triumphant (Kendor Music)
4D  PED  RETUNE
6 A. Ridout Movement I (from Sonatina for Timpani) A. Ridout: Sonatina for Timpani (Boosey & Hawkes)
4D
7 Cameron Kontretanz (from 3 Tanzen) Cameron Sinclair: 3 Tanzen (Scottish Music Centre)


8 Brian Slawson Paukenstein (from Dynamic Solos for Timpani) Brian Slawson: Dynamic Solos for Timpani (Alfred)
3D  PED  RETUNE
9 Nick Woud First Call Principal Percussion (ABRSM)

3D  RETUNE
Timpani) (De Haske)
4D  PED  RETUNE
TUNED PERCUSSION
C 1 J. S. Bach Prelude (from Partita No. 3 for Violin Solo), Modern School for Mallet-Keyboard Instruments
arr. Sewrey, Hans & Schneller (Hal Leonard)
(g + –e‴)  MAR/XYL
2 J. S. Bach Prélude (from Suite No. 1 in G, BWV 1007), J. S. Bach: Six Suites for Marimba (Keyboard
trans. Stevens Percussion Publications)
(C–g′)  MAR  4M
3 Chris Baron Mucho Gusto Principal Percussion (ABRSM)
(b–e‴)  MAR  
4 G. H. Green Jovial Jasper George Hamilton Green’s Xylophone Rags
(g + –e‴)  XYL   (Meredith Music)
5 Arthur C. Caribé Vibe (Abridged Version) (from Places Arthur C. Lipner: Places to Visit (Southern
(f–f ‴)  VIB  4M  
6 Miyoshi Tender Talk (No. 1 from Conversation: Suite for Modern Japanese Marimba Pieces 2 (Ongaku)
Marimba) with repeats
(c′–b‴)  MAR  4M
7 Ney Rosauro My Dear Friend (from Vibes Etudes and Songs) Ney Rosauro: Vibes Etudes and Songs (2nd edition)
(f + –e‴)  VIB  4M (Pro Percussao)
8 Ney Rosauro Prelúdio No. 1 Mi menor (from Three Preludes Ney Rosauro: Three Preludes for Solo Marimba
for Solo Marimba) with repeats, without D.S. (Pro Percussao)
(go to 5th bar of coda)
9 Cameron Tarantella Cameron Sinclair: Tarantella (Scottish Music Centre)
Sinclair (d–d - ‴)  MAR/XYL  
10 Nebojša Jovan Johnny’s Shuffle (from Funny Marimba, Book 2) Nebojša Jovan Živković: Funny Marimba, Book 2
Živković (G–b″)  MAR  4M (Gretel Verlag)
11 Nebojša Jovan Macedonia with repeats Nebojša Jovan Živković: Macedonia (Studio 4 Music)
Živković (f–b -″)  MAR  


RANGE REQUIREMENTS
SCALES IN THIRDS
D, F, A -, B majors
2 oct. even notes
D, F, G + , B harmonic minors
SCALES IN OCTAVES
D, F, G + , B melodic minors 1 oct. even notes
CHROMATIC SCALE
starting on E 2 oct. hand to hand; even notes
BROKEN CHORDS
D, F, A -, B majors
D, F, G + , B minors
in the keys of D, F, A - and B 2 oct. hand to hand; even notes
DIMINISHED SEVENTH
starting on D 2 oct. hand to hand; even notes
67
GRADE 7
SNARE DRUM
A 1 W. Benson Cretan Dance (No. 1 from Three Dances for W. Benson: Three Dances for Solo Snare Drum
Solo Snare Drum) (Hal Leonard)
2 James Taiko with repeats, without D.S. Music for Multi-Percussion: A World View (Alfred)
Campbell MULTI low, medium, high drum & cymbals
(no snare drum)
3 Anthony J. Study No. 32 (from Portraits in Rhythm) Anthony J. Cirone: Portraits in Rhythm (Alfred)
Cirone
4 Guy G. Movement IV (from American Suite) Guy G. Gauthreaux II: American Suite
Gauthreaux II (Meredith Music)
5 Rachel Battercada Rachel Gledhill: Battercada (Southern Percussion)
Gledhill MULTI 2 drums
6 William Kraft Prelude (Part 1 from English Suite) William Kraft: English Suite (Alfred)
MULTI bass, tenor, field drum & bongos
7 Clive Malabar Up Sticks Principal Percussion (ABRSM)

8 Cameron Zonal I Cameron Sinclair: Zonal I (Scottish Music Centre)
Sinclair MULTI bongos & tom-tom
9 Wilcoxon The New Downfall (from Modern Rudimental Wilcoxon: Modern Rudimental Swing Solos
Swing Solos) with repeats (Ludwig Masters)
10 Wilcoxon Swinging the “26” (from Modern Rudimental Wilcoxon: Modern Rudimental Swing Solos
Swing Solos) (Ludwig Masters)
TIMPANI
B 1 Bill Cahn Etude (from Six Concert Pieces for Solo Timpani) Bill Cahn: Six Concert Pieces for Solo Timpani
4D (Meredith Music)
2 Raynor Carroll Prelude Exercises, Etudes and Solos for the Timpani
4D  PED  RETUNE (Batterie Music)
3 Peter Evans Shades of Bartók Peter Evans: Shades of Bartók (Southern Percussion)
4D  PED  RETUNE
4 Kirk J. Gay Rock of the 80’s (from Pedal to the Kettle) Kirk J. Gay: Pedal to the Kettle (Tapspace)
4D  PED  RETUNE
5 Stravinsky, Rite of Passage with repeats Concert and Audition Pieces for the Young
arr. Matthew 3D  PED  RETUNE may be played on 4 drums Percussionist (Southern Percussion)
Hardy without retune
6 David Mancini Flower City Funk David Mancini: Flower City Funk (Kendor Music)
4D  PED  RETUNE
7 A. Ridout Movement III (from Sonatina for Timpani) A. Ridout: Sonatina for Timpani (Boosey & Hawkes)
4D
8 Cameron Feuertanz (from 3 Tanzen) Cameron Sinclair: 3 Tanzen (Scottish Music Centre)
9 Nick Woud Study No. 9 (from The Timpani Challenge) Nick Woud: The Timpani Challenge
4D  PED  RETUNE (Pustjens Percussion)
10 Ian Wright Spring Fever Principal Percussion (ABRSM)
4D  RETUNE

TUNED PERCUSSION
C 1 J. S. Bach Presto (from Sonata in G minor), arr. Moore Bach for Marimba (Kendor Music)
(g–d‴)  MAR/XYL/VIB
2 J. S. Bach Sarabande (from Partita No. 2), arr. Whaley Recital Pieces for Mallets (Meredith Music)
(g–b -″)  MAR/VIB  4M
3 Breuer (and Waltz in Ragtime (from Harry Breuer’s Ragtime Harry Breuer’s Ragtime Solos (Meredith Music)
Anderson Solos)
& Spivack) (f + –g‴)  MAR/XYL/VIB  
4 Pius Cheung Prelude in G minor Pius Cheung: Prelude in G minor (Pius Cheung)
5 Daquin Cou-Cou, arr. E. & I. Finkel Ian Finkel’s Classical Encores for Xylophone and
(b–d‴)  XYL   Piano (Southern Percussion)
6 Dinicu, trans. Hora staccato, arr. Goldenberg Dinicu & Heifetz: Hora staccato (Carl Fischer)
Heifetz (g–e -‴)  XYL  
7 Michael Zev Folkish Principal Percussion (ABRSM)
Gordon (f–f ‴)  MAR/XYL/VIB
8 G. H. Green Triplets George Hamilton Green’s Xylophone Rags
(c′–f ‴)  XYL   (Meredith Music)
9 David Hext No. 4 (from Four Graded Pieces for Multi-Mallet David Hext: Four Graded Pieces for Multi-Mallet
Marimba) Marimba (Southern Percussion)
(A–d‴)  MAR  4M
10 Ney Rosauro Baião (No. 1 from Suite popular brasileira) Ney Rosauro: Suite popular brasileira (Music for
with repeats Percussion)
(d–g‴)  MAR  4M
11 Éric Sammut Hombre d’août with repeats Éric Sammut: Hombre d’août (Billaudot)
(A–a″)  MAR  4M
12 Nebojša Jovan Il canto dei gondolieri (from Funny Marimba, Nebojša Jovan Živković: Funny Marimba, Book 2
Živković Book 2) (Gretel Verlag)
(F–d‴)  MAR  4M


69
RANGE REQUIREMENTS
SCALES IN OCTAVES
C + , E, G, B - melodic minors 1 oct. even notes
SCALES IN SIXTHS
1 oct. even notes
starting on F/A -
2 oct. even notes
starting on B -/D -
BROKEN CHORDS
C + , E, G, B - minors
in the keys of D -, E, G and B - 2 oct. hand to hand; even notes
DIMINISHED SEVENTH
70
GRADE 8
SNARE DRUM
A 1 W. Benson Fox Trot and Fandango (Nos 2 and 3 from W. Benson: Three Dances for Solo Snare Drum
Three Dances for Solo Snare Drum) (Hal Leonard)
2 Jan Bradley Dance for Five Drums (Abridged Version) Jan Bradley: Dance for Five Drums (Jan Bradley)
with repeats
MULTI 3 tom-toms & 2 boo-bams/bongos
(no snare drum)
3 James Engine Room James Campbell: Engine Room
Campbell MULTI bongos, 2 toms, bass drum & hand percussion (Row-Loff Productions)
(no snare drum)
4 Stacey Duggan Popeye aerial flip optional Just Desserts (Row-Loff Productions)
5 Michael Lynch It’s About Time visual enhancement optional Just Desserts (Row-Loff Productions)
6 Guy G. Movement II (from American Suite) Guy G. Gauthreaux II: American Suite
Gauthreaux II with repeats (Meredith Music)
7 Anthony Kerr Pontiac Principal Percussion (ABRSM)
8 Glenn Kotche Cave Dance without cuts Glenn Kotche: Cave Dance (Alfred)
MULTI foot pedal instrument
9 Alex Neal Gorymdaith Alex Neal: Gorymdaith (Southern Percussion)

MULTI tenor drum & pedal bass drum
10 Cameron Antrieb Cameron Sinclair: Antrieb (Scottish Music Centre)

Sinclair
TIMPANI
B 1 John Beck Movement II (from Sonata for Timpani) John Beck: Sonata for Timpani (Boston Music
4D Company)
2 E. Carter Saëta (No. 1 from Eight Pieces for Four Timpani) E. Carter: Eight Pieces for Four Timpani (AMP) or
4D P. 28 from Solos for the Percussion Player
(G. Schirmer)
3 Julian Proclamation Julian Fairbank: Proclamation (Southern Percussion)
Fairbank 4D  PED  RETUNE
4 S. Fink Episode and Cadenza (Nos 4 and 6 from S. Fink: Solobook for Timpani, Vol. 2 (Simrock)
Solobook for Timpani, Vol. 2)
4D retune required between pieces
5 George Frock Beguine and Samba (No. 3 from Seven George Frock: Seven Solo Dances for the Advanced
Solo Dances for the Advanced Timpanist) Timpanist (Southern Music)
4D  PED  RETUNE
6 Kirk J. Gay Bolt! (from Pedal to the Kettle) Kirk J. Gay: Pedal to the Kettle (Tapspace)
4D  PED  RETUNE
7 Michael J. Scenes from an Ancient Battle Michael J. Rhodes: Scenes from an Ancient Battle
Rhodes 4D (Studio 4 Music)
8 Cameron Neuertanz (from 3 Tanzen) Cameron Sinclair: 3 Tanzen (Scottish Music Centre)


Timpani) (De Haske)
4D  PED  RETUNE
10 Nick Woud Variations Principal Percussion (ABRSM)

4D  PED  RETUNE
TUNED PERCUSSION
C 1 Keiko Abe Frogs Keiko Abe: Frogs (Studio 4 Music)
(c–g‴)  MAR  4M
2 J. S. Bach Fugue (from Sonata in A minor), arr. Moore Bach for Marimba (Kendor Music)
(g–d‴)  MAR  4M
3 Breuer (and Joplin on Wood (from Harry Breuer’s Ragtime Harry Breuer’s Ragtime Solos (Meredith Music)
Anderson Solos)
& Spivack) (f–e -‴)  XYL  
4 Michael Sara’s Song Michael Burritt: Sara’s Song (Keyboard Percussion
Burritt (C–c‴)  MAR  4M Publications)
(d–d‴)  MAR Centre)
(c + –c + ‴)  MAR  4M Centre)
7 George H. Tween Heather and Sea complete George H. Geldard: Tween Heather and Sea
Geldard (f + ′–g‴)  XYL   (Oertel Musikverlag)
8 Anthony Kerr Exact Change Please Principal Percussion (ABRSM)
9 Kreisler Tambourin chinois, arr. Green Kreisler: Tambourin chinois (Carl Fischer)
(g–b -‴)  XYL  
10 Igor Lešnik First Toy (No. 1 from Midnight Pieces) Igor Lešnik: Midnight Pieces (Zimmermann)
with printed cadenza
11 Ney Rosauro Greeting (1st movt from Concerto [No. 1] for Ney Rosauro: Concerto [No. 1] for Marimba
Marimba) with repeats; cut bb. 91–98 (Pro Percussao)
(A–c″″)  MAR  4M  
12 Éric Sammut Spiral 2 (from Three Spirals) with repeat Éric Sammut: Three Spirals (Keyboard Percussion
(A–e -‴)  MAR  4M Publications)
13 Emmanuel Nancy Emmanuel Séjourné: Nancy (PM Europe
Séjourné (E–e‴)  MAR  4M Publications)
14 Gordon Stout Mexican Dance No. 1 (from Two Mexican Gordon Stout: Two Mexican Dances for Marimba
Dances for Marimba) with final repeat (Studio 4 Music)
(c–b‴)  MAR  4M
15 Trad. The Absent-Minded Woman, arr. Daughtrey The Celtic Xylophone, Book 1 (C. Alan Publications)
(f + –e‴)  XYL  


RANGE REQUIREMENTS
SCALES IN OCTAVES
C, E -, F + , A melodic minors 1 oct. even notes
SCALES IN SIXTHS
1 oct. even notes
starting on C
starting on F +
WHOLE-TONE SCALES
starting on F +
starting on A
BROKEN CHORDS
C, E -, F + , A minors
in the keys of C, E -, F + and A 2 oct. hand to hand; even notes
DIMINISHED SEVENTH
73
Aural test requirements

Included in all Graded Exams in Music Performance*
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 Graded Exams in Music Performance.
The tests are given by the examiner from the piano. For any test that requires a sung response,
pitch rather than vocal quality is being assessed. The 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).
The information on pages 75–81 sets out the tasks that candidates will be asked to complete
in the exam.
Assessment
Some tests allow for a second attempt or for an additional playing by the examiner, if necessary.
The 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. The marking criteria for the Aural tests are
given on page 89.
Supporting publications
For practice purposes, sample Aural tests are published by ABRSM. Examples of the tests for
Grades Initial–8 are given in Specimen Aural Tests. More examples for Grades 1–8 are given in
Aural Training in Practice. Purchasing these books is not a requirement.
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.
74 * A different set of tests apply to Jazz and Singing for Musical Theatre exams
INITIAL GRADE *
A To clap the pulse of a piece played by the examiner. The examiner will start playing the
passage, and the candidate should join in as soon as possible, clapping in time.
B To clap as ‘echoes’ the rhythm of two phrases played by the examiner. The phrases will
be two bars long, in three or four time, and consist of a melody line only. The examiner will
count in two bars. After the examiner has played each phrase, the candidate should clap
back the rhythm as an ‘echo’ without a pause, keeping in time.
C To sing as ‘echoes’ two phrases played by the examiner. The phrases will be one bar
long in 4/4 time. They will be in a major key, and within the range of tonic–mediant. First
the examiner will play the key-chord and the starting note (the tonic) and then count in two
bars. After the examiner has played each phrase, the candidate should sing back the echo
without a pause, keeping in time.
D To answer a question about one feature of a piece played by the examiner. Before
playing, the examiner will tell the candidate which feature the question will be about. It will
be about dynamics (loud/quiet) or articulation (smooth/detached).
GRADE 1
A To clap the pulse of a piece played by the examiner, and to identify whether it is in two
time or three time. The examiner will start playing the passage, and the candidate should
join in as soon as possible, clapping in time and giving a louder clap on the strong beats.
The examiner will then ask whether the music is in two time or three time. The candidate
is not required to state the time signature.
B To sing as ‘echoes’ three phrases played by the examiner. The phrases will be two bars
long, in a major key, and within the range of tonic–mediant. First the examiner will play the
key-chord and the starting note (the tonic) and then count in two bars. After the examiner
has played each phrase, the candidate should sing back the echo without a pause, keeping
in time.
C To identify where a change in pitch occurs during a phrase played by the examiner.
The phrase will be two bars long, in a major key, and the change will affect only one of the
notes. First the examiner will play the key-chord and the tonic and then count in two bars.
The examiner will play the phrase twice, making the change in the second playing, after
which the candidate should state whether the change was near the beginning or near the
end. If necessary, the examiner will play both versions of the phrase again (although this
may affect the assessment).
D To answer questions about two features of a piece played by the examiner. Before
playing, the examiner will tell the candidate which two features the questions will be about.
The first will be: dynamics (loud/quiet, or sudden/gradual changes); the second will be
articulation (smooth/detached).
* Initial Grade not available for percussion 75

GRADE 2
A To clap the pulse of a piece played by the examiner, and to identify whether it is in two
time or three time. The examiner will start playing the passage, and the candidate should
join in as soon as possible, clapping in time and giving a louder clap on the strong beats.
The examiner will then ask whether the music is in two time or three time. The candidate
is not required to state the time signature.
long, in a major key, and within the range of tonic–dominant. First the examiner will play the
key-chord and the starting note (the tonic) and then count in two bars. After the examiner
has played each phrase, the candidate should sing back the echo without a pause, keeping
in time.
C To identify a change in either pitch or rhythm during a phrase played by the examiner.
The phrase will be two bars long, in a major key. First the examiner will play the key-chord
and the tonic and then count in two bars. The examiner will play the phrase twice, making
the change in the second playing, after which the candidate should identify the change by
describing it, or singing/clapping. If necessary, the examiner will play both versions of the
phrase again (although this may affect the assessment).
The first will be one of the following: dynamics (loud/quiet, or sudden/gradual changes),
articulation (smooth/detached); the second will be tempo (becoming slower/faster, or
staying the same).
GRADE 3
A To clap the pulse of a piece played by the examiner, and to identify whether it is in
two time, three time or four time. The examiner will start playing the passage, and the
candidate should join in as soon as possible, clapping in time and giving a louder clap on
the strong beats. The examiner will then ask whether the music is in two time, three time
or four time. The candidate is not required to state the time signature.
long, in a major or minor key, and within the range of an octave. First the examiner will
play the key-chord and the starting note and then count in two bars. After the examiner has
played each phrase, the candidate should sing back the echo without a pause, keeping in
time.
C To identify a change in either pitch or rhythm during a phrase played by the examiner.
The phrase will be up to four bars long, in a major or minor key. First the examiner will play
the key-chord and the tonic and then count in two bars. The examiner will play the phrase
twice, making the change in the second playing, after which the candidate should identify
the change by describing it, or singing/clapping. If necessary, the examiner will play both
versions of the phrase again (although this may affect the assessment).
76
Grade 3 cont.
The first will be one of the following: dynamics (loud/quiet, or sudden/gradual changes),
articulation (smooth/detached), tempo (becoming slower/faster, or staying the same); the
second will be tonality (major/minor key).
GRADE 4
A To sing or play from memory a melody played twice by the examiner. The melody 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 melody
again and allow a second attempt (although this may affect the assessment).
B To sing five notes from score in free time. The candidate may choose to sing from treble or
bass clef. The notes will be within the range of a third above and below the tonic in the key of
C, F or G major. The test will begin and end on the tonic and will not contain intervals greater
than a third. First the examiner will name and play the key-chord and the starting note. If
necessary, the examiner will help the candidate by playing and identifying the correct note
if any note is sung at the wrong pitch.
C (i) To answer questions about two features of a piece played by the examiner. Before
playing, the examiner will tell the candidate which two features the questions will be
about. The first will be one of the following: dynamics, articulation, tempo, tonality; the
second will be character.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify
whether it is in two time, three time or four time. The examiner will play the extract
twice (unharmonised), after which the candidate should clap back the rhythm. The
examiner will then ask whether the music is in two time, three time or four time. The
candidate is not required to state the time signature.
77
GRADE 5
A To sing or play from memory a melody played twice by the examiner. The melody 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 melody
again and allow a second attempt (although this may affect the assessment).
B To sing six notes from score in free time. The candidate may choose to sing from treble or
bass clef. The notes will be within the range of a fifth above and a fourth below the tonic, in
a major key with up to two sharps or flats. The test will begin and end on the tonic and will
not contain intervals greater than a third, except for the rising fourth from dominant to tonic.
First the examiner will name and play the key-chord and the starting note. If necessary, the
examiner will help the candidate by playing and identifying the correct note if any note is
sung at the wrong pitch.
C (i) To answer questions about two features of a piece played by the examiner. Before
about. The first will be one of the following: dynamics, articulation, tempo, tonality,
character; the second will be style and period.
78
GRADE 6
A To sing or play from memory the upper part of a two-part phrase played twice by the
examiner. The upper 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).
B To sing a melody from score, with an accompaniment played by the examiner. The
candidate may choose to sing from treble or bass clef. The melody 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
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. The 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 the cadence at the end of a phrase as perfect or imperfect. The phrase will
be in a major or minor key and will be played twice by the examiner. The chords forming
the cadence will be in root position. Before the first playing, the examiner will play the key-
chord.
D (i) To answer questions about two features of a piece played by the examiner. Before
about. The first will be: texture or structure; the second will be one of the following:
dynamics, articulation, tempo, tonality, character, style and period, texture/structure.
79
GRADE 7
A To sing or play from memory the lower part of a two-part phrase played twice by the
examiner. The lower 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).
B To sing the upper part of a two-part phrase from score, with the lower part played by
the examiner. The candidate may choose to sing from treble or bass clef. The upper 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. The 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 (i) To identify the cadence at the end of a phrase as perfect, imperfect or interrupted.
The phrase will be in a major or minor key and will be played twice by the examiner.
The chords forming the cadence will be in root position. Before the first playing, the
examiner will play the key-chord.
(ii) To identify the two chords forming the above cadence. The chords will be limited
to the tonic, subdominant, dominant, dominant seventh or submediant (all in root
position). First the examiner will name and play the key-chord, then play the two chords
as a pair. The candidate may answer using technical names (tonic, dominant, etc.),
chord numbers (I, V, etc.) or letter names (C major, G major, etc.).
(iii) To identify whether the modulation at the end of a different passage is to the
dominant, subdominant or relative minor. The passage, played once by the examiner,
will begin in a major key. First the examiner will name and play the starting key-chord.
The candidate may answer using technical names (dominant, subdominant, relative
minor) or the letter name of the new key.
D (i) To answer questions about two features of a piece played by the examiner. Before
playing, the examiner will tell the candidate which two of the following features the
questions will be about: dynamics, articulation, tempo, tonality, character, style and
period, texture, structure.
whether it is in two time, three time, four time or 6/8 time. The examiner will play
the extract twice (unharmonised), after which the candidate should clap back the
rhythm. The examiner will then ask whether the music is in two time, three time, four
time or 6/8 time.
80
GRADE 8
A (i) To sing or play from memory the lowest part of a three-part phrase played twice
by the examiner. The 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. The phrase will be in a major or minor key and will be played
twice by the examiner. The 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. The 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. The 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. The candidate may choose to sing from treble or bass clef. The 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. The 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. The 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. The 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.). The examiner will prompt the candidate with questions
only if this becomes necessary.
81
4. Assessment and marking
Assessment objectives
The tables below describe the level of knowledge and skills required of candidates taking Graded
Exams in Music Performance. They also show the assessment objectives and corresponding
marking criteria that examiners use to assess the performances at each level. The full marking
criteria used by examiners are available on pages 88–89.
Initial Grade (RQF Entry Level 3)

Assessment objectives Marking criteria
Learners will: Learners can:
Demonstrate musical skill, knowledge Perform basic repertoire with:
and understanding through performing • Reliable pitch and intonation
repertoire of basic musical and technical • Stable rhythm at a suitable tempo
demands, demonstrating control across the • Reliable tonal control and awareness
range of musical ingredients appropriate to • Musical shape and detail
simple repertoire and awareness of basic • Communication of character and style
characteristic features and performance
conventions.
Demonstrate instrumental control and Perform specified basic technical require-
familiarity with prescribed note patterns ments with:
relevant to the instrument, through playing • Correct notes and secure continuity
prescribed technical requirements at basic • Reliable tonal control
demand levels.
Respond to simple musical notation with:
• Overall security of notes, rhythm and
Demonstrate notational and listening skills continuity
and understanding at basic demand levels
through responding to previously unseen Respond to simple piano-based musical
music and prescribed aural tests. stimuli with:
• Overall accuracy and reliable musical
perception
82
Grades 1–3 (RQF Level 1)

Demonstrate musical skill, knowledge and Perform elementary repertoire with:
understanding through performing reper- • Reliable pitch and intonation
toire of elementary musical and technical • Stable rhythm at a suitable tempo
straightforward repertoire and awareness of • Communication of character and style
elementary characteristic features and per-
formance conventions.
Demonstrate instrumental control and Perform specified elementary technical
familiarity with prescribed note patterns requirements with:
prescribed technical requirements at ele- • Reliable tonal control
mentary demand levels.
Respond to straightforward musical nota-
tion with:
Demonstrate notational and listening skills • Overall security of notes, rhythm and
and understanding at elementary demand continuity
levels through responding to previously Respond to straightforward piano-based
unseen music and prescribed aural tests. musical stimuli with:
perception
83

Demonstrate musical skill, knowledge and Perform intermediate repertoire with:
understanding through performing reper- • Reliable pitch and intonation
toire of intermediate musical and technical • Stable rhythm at a suitable tempo
moderately complex repertoire and aware- • Communication of character and style
ness of comprehensive characteristic fea-
tures and performance conventions.
Demonstrate instrumental control and Perform specified intermediate technical
prescribed technical requirements at inter- • Reliable tonal control
mediate demand levels.
Respond to moderately complex musical
notation with:
Demonstrate notational and listening skills • Overall security of notes, rhythm and
and understanding at intermediate demand continuity
levels through responding to previously Respond to moderately complex piano-
unseen music and prescribed aural tests. based musical stimuli with:
perception
84

Demonstrate musical skill, knowledge and Perform advanced repertoire with:
understanding through performing rep- • Reliable pitch and intonation
ertoire of advanced musical and technical • Stable rhythm at a suitable tempo
demands, demonstrating control across • Reliable tonal control and awareness
the range of musical ingredients appropri- • Musical shape and detail
ate to complex repertoire and awareness • Communication of character and style
of sophisticated characteristic features and
performance conventions.
Demonstrate instrumental control and Perform specified advanced technical
relevant to the instrument, through play- • Correct notes and secure continuity
ing prescribed technical requirements at • Reliable tonal control
advanced demand levels.
Demonstrate notational and listening skills Respond to complex musical notation with:
and understanding at advanced demand • Overall security of notes, rhythm and
levels through responding to previously continuity
unseen music and prescribed aural tests. Respond to complex piano-based musical
stimuli with:
perception
85
Mark allocation
Marks are allocated for each element of percussion exams, as shown in the table below:
Exam section Maximum marks % of total mark

Piece 1 30 20%
Piece 2 30 20%
Piece 3 30 20%
Technical requirements 21 14%
Sight-reading 21 14%
Aural tests 18 12%
Total 150 100%
Result categories
The result categories for Graded Exams in Music Performance are set as follows. A Pass in each
section of the exam is not required to pass overall.
Result category Mark band

Distinction 130–150
Merit 120–129
Pass 100–119
Below Pass 50–99
Marking criteria
The tables on pages 88–89 show the marking criteria used by examiners in percussion
exams. Examiners mark up or down from the pass mark for each element by balancing the extent
to which the qualities and skills listed in the criteria (broadly categorised by pitch, time, tone,
shape and performance) are demonstrated and contribute towards the overall musical outcome.
86
Notes
87
88
Grades Pieces
Initial–8 * Pitch Time Tone Shape Performance
Distinction ●● Highly accurate notes ●● Fluent, with flexibility ●● Well projected ●● Expressive, idiomatic ●● Assured
27–30 and intonation where appropriate ●● Sensitive use of tonal musical shaping and ●● Fully committed
●● Rhythmic character qualities detail ●● Vivid communication of
well conveyed character and style
Marking criteria
Merit ●● Largely accurate notes ●● Sustained, effective ●● Mainly controlled and ●● Clear musical shaping, ●● Positive
24–26 and intonation tempo consistent well-realised detail ●● Carrying musical
●● Good sense of rhythm ●● Good tonal awareness conviction
●● Character and style
communicated
Pass ●● Generally correct notes ●● Suitable tempo ●● Generally reliable ●● Some realisation of ●● Generally secure, prompt
20–23 ●● Sufficiently reliable ●● Generally stable pulse ●● Adequate tonal musical shape and/or recovery from slips
intonation to maintain ●● Overall rhythmic awareness detail ●● Some musical
tonality accuracy involvement
Below Pass ●● Frequent note errors ●● Unsuitable and/or ●● Uneven and/or ●● Musical shape and ●● Insecure, inadequate
17–19 ●● Insufficiently reliable uncontrolled tempo unreliable detail insufficiently recovery from slips
intonation to maintain ●● Irregular pulse ●● Inadequate tonal conveyed ●● Insufficient musical
tonality ●● Inaccurate rhythm awareness involvement
13–16 ●● Largely inaccurate notes ●● Erratic tempo and/or ●● Serious lack of tonal ●● Musical shape and ●● Lacking continuity
and/or intonation pulse control detail largely unrealised ●● No musical involvement
10–12 ●● Highly inaccurate notes ●● Incoherent tempo ●● No tonal control ●● No shape or detail ●● Unable to continue for
and/or intonation and/or pulse more than a short section
0 ●● No work offered ●● No work offered ●● No work offered ●● No work offered ●● No work offered

Grades Scales and arpeggios/Study Sight-reading Grades Aural tests
Initial–8 * Initial–8 *
Distinction ●● Highly accurate notes/pitch ●● Fluent, rhythmically accurate Distinction ●● Accurate throughout
19–21 ●● Fluent and rhythmic ●● Accurate notes/pitch/key 17–18 ●● Musically perceptive
●● Musically shaped ●● Musical detail realised ●● Confident response
●● Confident response ●● Confident presentation
Merit ●● Largely accurate notes/pitch ●● Adequate tempo, usually steady pulse Merit ●● Strengths significantly
17–18 ●● Mostly regular flow ●● Mainly correct rhythm 15–16 outweigh weaknesses
●● Mainly even tone ●● Largely correct notes/pitch/key ●● Musically aware
●● Secure response ●● Largely secure presentation ●● Secure response
Pass ●● Generally correct notes/pitch, despite errors ●● Continuity generally maintained Pass ●● Strengths just outweigh
14–16 ●● Continuity generally maintained ●● Note values mostly realised 12–14 weaknesses
●● Generally reliable tone ●● Pitch outlines in place, despite errors ●● Cautious response
●● Cautious response ●● Cautious presentation
Below Pass ●● Frequent errors in notes and/or pitch ●● Lacking overall continuity Below Pass ●● Weaknesses outweigh
11–13 ●● Lacking continuity and/or some items incomplete ●● Incorrect note values 9–11 strengths
●● Unreliable tone ●● Very approximate notes/pitch/key ●● Uncertain response
●● Uncertain response and/or some items not ●● Insecure presentation
attempted
7–10 ●● Very approximate notes and/or pitch ●● No continuity or incomplete 6–8 ●● Inaccuracy throughout
●● Sporadic and/or frequently incomplete ●● Note values unrealised ●● Vague response
●● Serious lack of tonal control ●● Pitch outlines absent
●● Very uncertain response and/or several items ●● Very uncertain presentation
not attempted
0 ●● No work offered ●● No work offered 0 ●● No work offered

89
Notes
90
5. After the exam
Results
All successful candidates receive a copy of the mark form and a certificate that shows the subject
and level that they have been examined in. We aim to release results for Graded Exams in Music
Performance approximately one month after the exam date; however, some results may take
longer. Examiners will not issue or discuss a candidate’s result; the mark form (and certificate
for successful candidates) will be issued by ABRSM after the exam. Unless otherwise requested
during entry, mark forms and certificates are posted to the applicant named on the entry form,
whose responsibility it is to pass them on to candidates.
Concerns about the exam

If the candidate has any concerns about the way the exam was conducted, the applicant has
seven days from the date of the exam to let us know by phone or email, or by using the online
form at www.abrsm.org/examconcerns. This will enable us to investigate the matter before
the results are issued.
Appeals and feedback

Specific guidance for questions about results and appeals is available on our website. We also
welcome feedback about other matters. All feedback is logged and plays a valuable part in our
quality assurance procedures. Specific guidance, and Appeal and Feedback forms, can be found
at www.abrsm.org/examconcerns.
91
ABRSM’s other assessments for percussionists are Performance Assessment, Ensembles and
diplomas. Full information is available at www.abrsm.org/exams.
Music Theory
ABRSM Graded Exams in Music Theory are available for Grades 1–8. Candidates may be entered
for any grade at any age and do not need to have taken any earlier grade(s). Further information
is available at www.abrsm.org/theory and the qualification specification (including the full
syllabus) is available at www.abrsm.org/specifications.
About Music Theory

Developing musical literacy forms a key part of a rounded education for performers, composers
and listeners of all kinds. Understanding how written symbols relate to the elements of music,
and having the skills to interpret and translate them into sounds, empowers us to communicate
and experience music in a meaningful way.
ABRSM’s Graded Exams in Music Theory give learners:
• a knowledge of the notation of western music, including commonly used signs and
terminology
• an understanding of fundamental musical elements such as intervals, keys, scales and chords
• an ability to apply theoretical knowledge and understanding to score analysis
• skills in harmonic completion of extracts and melody writing (at Grades 6–8).
Candidates are assessed on their ability to identify, use and manipulate musical symbols, to
complete extracts and to answer questions relating to the elements of music according to the
parameters detailed in the full syllabus at www.abrsm.org/theory.
Grade 5 as a prerequisite
satisfying performance at the higher grades.
It is therefore a longstanding ABRSM requirement that candidates must provide evidence of
a pass at ABRSM Grade 5 or above in Music Theory, Practical Musicianship or any solo Jazz
instrument before they can enter for Grades 6, 7 or 8 Practical exams.
92
Practical Musicianship
ABRSM graded exams in Practical Musicianship are available for Grades 1–8 and are open
to singers and instrumentalists. Candidates may be entered for any grade at any age and do
not need to have taken any earlier grade(s). The full syllabus is available at www.abrsm.org/
practicalmusicianship.
About Practical Musicianship

Musicianship is a broad concept that covers a complex range of musical abilities. For the
purposes of this syllabus, it is loosely defined as the ability to ‘think in sound’. This occurs when
a musician is able to produce music which they perceive internally and in the imagination,
whether through playing by ear, singing, reading from notation, or through improvisation.
ABRSM’s graded exams in Practical Musicianship encourage learners to develop their ability
to ‘think in sound’ and perform spontaneously. While the other practical graded exams focus
on aspects of performance that are prepared in detail in advance, here the playing (or singing)
is in response to immediate challenges and stimuli, presented both aurally and via notation.
The exams also cover the following key skills:
• the ability to internalise music and to reproduce it
• interpreting written music with a minimum of preparation
• exploring the possibilities inherent in a short motif
• the ability to detect differences between what is heard and what is written.
In developing their musicianship skills, learners will be gaining the understanding as well as
the expressive and interpretative skills needed to master the musical language of the repertoire
they are learning.
Grade 5 as a prerequisite
satisfying performance at the higher grades.
It is therefore a longstanding ABRSM requirement that candidates must provide evidence of
a pass at ABRSM Grade 5 or above in Practical Musicianship, Music Theory or any solo Jazz
instrument before they can enter for Grades 6, 7 or 8 Practical exams.
93
ARSM
The ARSM diploma is available to instrumentalists and singers of any age. Bridging the
gap between Grade 8 and DipABRSM (Music Performance), it provides musicians with an
opportunity to develop their performance technique and interpretative skills, while focusing
on programme building and extending their repertoire.
Key features
• Candidates present a balanced and varied programme, as follows:
• the programme lasts 30 minutes
• at least 20 minutes of the music is chosen from the repertoire list
• the remaining programme time may be made up of own-choice repertoire, of Grade 8
standard or above
• There are no additional supporting tests or other requirements
• ARSM exams take place at the same venues and time periods as ABRSM’s Graded Exams
in Music Performance
• ARSM is a letter-bearing qualification. Candidates awarded the diploma can use the
letters ARSM (Associate of the Royal Schools of Music) after their name.
Those entering for an ARSM diploma must first have passed ABRSM Grade 8 (or a listed
alternative). Full details of the exam and entry requirements are available at www.abrsm.org/
arsmdiploma.
We update our syllabuses from time to time. Advance notice of any changes will be given at
www.abrsm.org/exams. Please refer to the website for the most recent version of the ARSM
syllabus.
94
DipABRSM, LRSM, FRSM (Music Performance)

These diplomas are available to instrumentalists and singers of any age. Through a combination
of live and written components, candidates demonstrate their performance, communication
and research skills, as well as their musical knowledge and understanding. Each diploma serves
as a stepping stone to the next level.
Key features
• Candidates:
• present a recital programme
• submit programme notes (DipABRSM & LRSM) or a written submission (FRSM)
• undertake a viva voce, with questions covering the recital, programme notes/written
submission as well as other aspects of performance
• perform a short piece of unaccompanied and previously unseen music after five minutes’
preparation time (quick study)
• These diploma exams take place at specific venues and times of the year
• Each diploma is a letter-bearing qualification. Candidates awarded a diploma can use the
letters DipABRSM (Diploma of the Associated Board of the Royal Schools of Music), LRSM
(Licentiate of the Royal Schools of Music) or FRSM (Fellowship of the Royal Schools of Music)
after their name as appropriate.
Those entering for one of these diplomas must fulfil a specific ABRSM prerequisite (or a listed
alternative). Full details of the exam and entry requirements are available at www.abrsm.org/
diplomas.
We update our syllabuses from time to time. Advance notice of any changes will be given at
www.abrsm.org/exams. Please refer to the website for the most recent versions of the diploma
syllabuses.
Further diploma exams
DipABRSM, LRSM and FRSM diplomas are also available for Instrumental/Vocal Teaching and
Music Direction. Full details are available at www.abrsm.org/diplomas.
95
(may be photocopied or detached for exams)
Exam programme & running order

Name
Subject Grade
Please write details of the items you are performing in your exam in the order you are presenting
them and hand this slip to the examiner. Best wishes for an enjoyable and successful exam!
Year of syllabus
List * Number Composer Title
Singers only: unaccompanied traditional song:

Percussion (Combined) only: technical requirements on:
* Leave blank for Snare Drum, Timpani and Tuned Percussion 09/19

Name
Subject Grade
Year of syllabus


Name
Subject Grade
Year of syllabus


Name
Subject Grade
Year of syllabus


Name
Subject Grade
Year of syllabus


Name
Subject Grade
Year of syllabus


Name
Subject Grade
Year of syllabus

Index
Jazz exams
Access (candidates with specific needs), 9, 18, Grade 5 or above as a prerequisite, 92, 93
19
Accompaniment, 10, 13, 14, 15 LRSM, 5, 95
Appeals and feedback, 91
Arpeggios, see Scales and arpeggios Malpractice and maladministration, 8
Arrangements (transcriptions), 15 Marimba, see Tuned Percussion
ARSM, 5, 94 Marking criteria, 74, 82, 88–89
Assessment criteria, see Marking criteria Marking scheme, 9, 86
Assessment objectives, 82 Merit, Marks for, 86
Aural tests, 19, 74–81, 86 Multi-percussion, 12
Deaf or hearing-impaired candidates, 74 Music Theory, see Theory
Marking criteria, 89
Singing, 74 Ofqual, 5
Order of the exam, 10
Buying music, 16
Page-turns, 16
Cadenzas, 15 Pass, Marks for, 86
CCEA Regulation, 5 Percussion (Combined), 13, 14, 18, 54
Concerns about the exam, 91 Photocopying, Legality of, 16
Copies, Exam music, 10, 16 Pieces, 14–16
Copying, see Photocopying Lists A, B and C, see also individual subject
pages
Da capo, dal segno, 15 Marking criteria, 88
Deaf candidates, 9, 74 Practical Musicianship, 93
DipABRSM, 5, 95 Grade 5 or above as prerequisite, 92, 93
Diplomas, 5, 94–95 Prerequisite for Grades 6–8 performance exams,
Disability, 9 92, 93
Distinction, Marks for, 86 Programme planning, 14
Downloaded music, 15 Publishers, contact details, 16
Editions, 15 Qualifications Wales, 5

Editorial indications, 15
Ensembles, 92 Regulated Qualifications Framework (RQF), 5,
Exam entry and booking, 9 82–85
Examiners, 3, 10, 13, 15, 16, 17, 18, 74, 86, 91 Repeats, 15
Exam music, 15, 16 Requirements, see Exam requirements
Exam Regulations, 4 Results, 86, 91
Exam requirements, 11–19, see also individual
subject pages Scales and arpeggios, 8–10, 14–19, see also
Exam venues, 9 Tuned Percussion
Examples of patterns, 20–21
FRSM, 5, 95 Marking criteria, 89
Requirements, see also individual subject
Glockenspiel, see Tuned Percussion pages; see also Tuned Percussion
Sight-reading, 18
Hearing-impaired candidates, 9, 74 Marking criteria, 89
Parameters, 23–25
Instruments, 11, 12, 13 Snare Drum, 12, 14, 16, 18, 23, 26, 27
Syllabus validity, 4
Symbols, 26
111

Theory, 92
Grade 5 or above as prerequisite, 92, 93
Timpani, 12, 14, 17, 18, 24, 26, 35
Damping, 12
No. of drums, 12
Sticking, 12
Tuning, 13
Types of drums, 12
Tuned Percussion, 13, 14, 17, 18, 25, 26, 43
Instruments, 13
Other tests, 13
Pieces, 13
UCAS points, 5
Vibraphone, see Tuned Percussion
Xylophone, see Tuned Percussion
Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY
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Qualification Specification: Percussion from 2020

2. Graded Exams in Music Performance 8

3. Percussion Syllabus from 2020 11

© 2019 by The Associated Board of the Royal Schools of Music

5. After the exam

Exam programme & running order form 97

About this qualification specification

About our Graded Exams in Music Performance

Regulation and UCAS points (UK)

Qualification/Level Pass Merit Distinction

Regulated qualification details

Qualification Qualification Title

Level Guided Learning Hours* Total Qualification Time* Credits

The next syllabus

Malpractice and maladministration

Access (for candidates with specific needs)

Elements of the exam

Grade Initial Grade Grades Grades Grade Grade Grade

* Initial Grade not available for percussion

Grades 1–8: requirements and information

Timpani Percussion (Combined) Percussion (Combined)

Subject Grades Type of pieces required Marked in syllabus

Candidates may play two or three pieces marked , if they wish.

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

Subject Technical requirements

Study (Snare Drum)

Sheet music: The studies are published online at www.abrsm.org/percussion as a free

Scales and arpeggios (Tuned Percussion)

Memory: All requirements should be played from memory.

Subject Technical requirements

Scale and arpeggio patterns

DOMINANT SEVENTHS (resolving on tonic) DIMINISHED SEVENTH

#V # œVœœ##œœœVœœœœ#œœ#œœœœœœœœœœœ œœ œœV ## œœVœœ## œœœœVœœœœ##œœœœœœœœœœœœœœ œœ Vœœ ## œœVœœ## œœœœVœœœœ##œœœœœœœœœœœœ œœ œ

SCALES IN OCTAVES SCALES IN SIXTHS

V b œœ œœ etc. V bbbbb œœ œ etc.

SCALES IN BROKEN THIRDS

CHROMATIC SCALES IN MINOR THIRDS

V V V V # # œœ #œœ#Vœœb œœœœ œœb#œœ#bœœb œœœœœœbb bœœœœ œœ bb œœV V V

CHROMATIC SCALES IN BROKEN MINOR THIRDS

# œ # œ# œœ# œ# œœ œ#= œ œœ=œœœ= œ= œœ= œ# œœ œ= œ# œœ # œ

Scales q = 69 q = 80 q = 88 q = 100 q = 112

Arpeggios e = 100 e = 120 q . = 50 q . = 56 q . = 60

Chromatic scales q = 88 q = 100 q = 112 q = 120

Dom. & Dim. 7ths q = 88 q = 96 q = 112 q = 120 q = 140

Scales in 3rds/broken 3rds,

6ths, 8ves & whole-tone scales

Broken chords q = 112 q = 160 q = 200

Chromatic scales in minor 3rds/

Length Time Other features that may be included

Length Time Drums Other features that may be included

Symbols used in the repertoire lists

10 Edward Just a Little Bit Just Desserts (Row-Loff Productions)

with percussion accompaniment, as specified

with percussion accompaniment, as specified

with percussion accompaniment, as specified

30 with piano accompaniment

with piano accompaniment 31

32 with piano accompaniment

34 with piano accompaniment

with percussion accompaniment, as specified

with percussion accompaniment, as specified

with percussion accompaniment, as specified

38 with piano accompaniment

with piano accompaniment 39

2. Graded Exams in Music Performance 8

3. Percussion Syllabus from 2020 11

Exam programme & running order form 97