Piano GRADE 7

2015 & 2016

PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or any
solo Jazz subject. For alternatives, see www.abrsm.org/prerequisite.
SCALES AND ARPEGGIOS : see also p. 8

Group 1: C, D, E, F #, Bb, Ab /G # majors & minors

Group 2: G, A, B, F, E b, D b /C # majors & minors
(minors
harmonic
melodic)

Group 1 keys as above

Group 2 (majors & harmonic minors

)

Group 1 keys as above

Group 2 (majors & harmonic minors

)

legato
staccato as directed by
the examiner, hands together
separately

4 octaves

legato
staccato as directed by
the examiner, hands together

4 octaves

legato
staccato as directed by
the examiner, hands beginning on
the key-note (unison)

2 octaves

C major

hands separately

2 octaves

C major

hands separately

2 octaves

beginning on any note named by the examiner

legato
staccato as directed by
the examiner, hands together
separately

4 octaves

legato
staccato as directed by
the examiner

2 octaves

legato, hands together

rately, in root position
inversion

sepafirst

4 octaves

legato, hands together

rately

sepa-

4 octaves

legato, hands together

rately

sepa-

4 octaves

beginning on C (unison) and on F # (unison)

Group 1
Group 2

keys as above

Group 1: in the keys of C, D, E, F #, Bb, Ab

Group 2: in the keys of G, A, B, F, E b, D b
beginning on A and on C #

The candidate chooses

of the two groups

Same group as chosen above

* Published by ABRSM (Scale requirements)

18

2014 by The Associated Board of the Royal Schools of Music

Piano: GRADE 7

2015 & 2016

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C:
LIST A
1
2
3
4
5
6

LIST B
1
2
3
4
5
6

LIST C
1
2
3
4
5
6

Fugue in A minor

Sonatina in D minor, HWV 581

(
)

Allegro: 1st movt from Sonata in G, K. 283

Allemande: 1st movt from French Suite No. 6 in E, BWV 817.
(
)
Siciliano (from BWV 1031). J. S. Bach Sonate (clavecin et flte): 2me partie (
)
Sonata in A, Kp. 182 (L. 139) (
) or
(
)
Shui Cao Wu (The Dance of Watergrass): 3rd movt from
By a Meadow Brook: No. 9 from
, Op. 51
Kevty (Night in May): No. 4 from
, Op. 27
Waltz, Op. 31 No. 2
No. 2: from Four Short Piano Pieces, S. 192.
(
)
Gondellied (Allegretto non troppo, U 136)
Carousel

Canope: No. 10 from

, Book 2

b
Prelude in D : No. 15 from 24 Preludes, Op. 34
Toccata-Etde (
)
China Blue: No. 3 from
(
1st movt: from Sonatina (
)

)
(

) or
(

SIGHT-READING : a piece of around sixteen to twenty bars in length, time and key signatures as Grade 6,
with the addition of and . Tempo changes, the
sign and the use of the
pedal may be
encountered. See also p. 9.
AURAL TESTS FOR THE GRADE : see pp. 22 and 26

* Published by ABRSM (Specimen Sight-Reading Tests, Specimen Aural Tests)

2014 by The Associated Board of the Royal Schools of Music

19

Aural Tests GRADE 7

A

(i)

(ii)

(iii)

(i)

(ii)

26

To sing or play from memory the

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 ars. (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).
To sing the
part of a two-part phrase from score, with the lower part played by the
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).
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 e in root position. Before the first playing, the examiner will play the key-chord.
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.).
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.
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 uestions will e a out:
dynamics, articulation, tempo, tonality, character, style and period, texture, structure.
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 (unharmonized),
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 / time.