Piano Grade 7

Our Piano requirements and information summarise the most important points that teachers and candidates need to know when taking ABRSM graded Piano exams.

They are detailed in the exam sections below (Pieces, Scales and arpeggios, Sight-reading and Aural tests) immediately after the grade-specific requirements, and are available to download as a PDF.

Further exam details and administrative information are given in our Information & Regulations, which you should read before booking an exam.

Eligibility

There are eight grades of exam for Piano and candidates may be entered for any grade irrespective of age and without previously having taken any other grade in Piano. Candidates for a Grade 6, 7 or 8 exam 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 Prerequisite for Grades 6-8.

Instruments

ABRSM Centres provide a piano suitable for exam purposes. The piano will be upright or grand. Practice before the exam cannot be arranged, but examiners will recognise that the instrument may be one to which candidates are unaccustomed. When exams are held at Visits (premises provided by the applicant and visited by the examiner), a suitable piano must be provided. A digital piano may be used, provided it has a clearly recognisable piano tone, a touch-sensitive keyboard with full-size weighted keys, and an action, compass and facilities that match those of a conventional acoustic piano, including a sustaining pedal.

In the exam

Examiners: Generally, there will be one examiner in the exam room; however, for training and quality assurance purposes, a second examiner may sometimes be present. Examiners may ask to look at the music before or after the performance of a piece (a separate copy is not required – the candidate’s copy will suffice). Examiners may stop the performance of a piece when they have heard enough to form a judgment. They will not issue or discuss a candidate’s result. Instead, the mark form (and certificate for successful candidates) will be issued by ABRSM after the exam.

Before beginning: Candidates are welcome to adjust the piano stool height (the examiner will be happy to help with this if necessary) and to play a few notes to try out and get used to the piano.

Order of the exam: The individual sections of the exam may be taken in any order, at the candidate’s choice.

Further information

• Assessment
• Obtaining exam music
• Access

‡ The candidate chooses one of the two groups

§ Same group as chosen above

Purchase Piano Scales & Arpeggios (Grade 7).

Piano requirements and information: Scales and arpeggios/broken chords

Examiners will usually ask for at least one of each type of scale/arpeggio/broken chord etc. required at each grade and will ask for majors followed by minors within each type. They will also ask to hear a balance of the hand requirements and, in Grades 6–8, of the specified articulations across the requests as a whole. When asking for requirements, examiners will specify:

• The key (including minor form – harmonic or melodic – in the Grade 6–8 scales) or the starting note
• Left hand or right hand, or hands together
• The articulation (where chosen by the examiner)

All scales, arpeggios and broken chords should:

• Be played from memory
• Be played in even notes (with the exception of the Grade 1 broken-chord pattern)
• Ascend and descend according to the specified range (and pattern)
• Be prepared legato, unless the syllabus specifies staccato (or both)
• Be played without pedalling

Candidates are welcome to use any fingering that produces a successful musical outcome.

Candidates are free to start at any octave, provided the required ranges are covered. For all ‘hands together’ requirements, the hands should be one octave apart, unless otherwise indicated.

Arpeggios and dominant sevenths are required in root position only, except where otherwise indicated. Scales in thirds or a third apart should begin with the tonic as the lower note, while scales in sixths or a sixth apart should begin with the tonic as the upper note.

See recommended minimum scale speeds.

Purchase Piano Scales & Arpeggios (Grade 7).

Piano requirements and information: Sight-reading

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

For practice purposes, books of sample sight-reading tests are published for Piano by ABRSM for each grade.

Purchase Specimen Sight-Reading Tests (Grade 7).

1. 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 will affect the assessment).
2. 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 will affect the assessment).

3. (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.

4. (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.

   (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, 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.

Piano requirements and information: Aural tests

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

In the exam

Aural tests are an integral part of all Practical graded exams. The tests are administered by the examiner from the piano. For any test that requires a sung response, pitch rather than vocal quality is being assessed. 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).

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. See marking criteria.

Specimen tests

Examples of the tests are given in Specimen Aural Tests and Aural Training in Practice (from 2011).

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. See more information on alternative tests.