Trombone from 2023 Practical Grades

GRADE 8

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

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 14–16
Candidates may play one of their three pieces on a bass trombone. See page 13 for further information.
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

A 1 Bordogni Allegro moderato (No. 55 from Melodious Etudes Bordogni: Melodious Etudes for Trombone, Book 1 (Carl
for Trombone, Book 1), trans. Rochut  SOLO Fischer), ) edition
2 D. Bourgeois Moderato con moto (No. 8 from Hear Today and D. Bourgeois: Hear Today and Bone Tomorrow (Brass
Bone Tomorrow)  SOLO Wind), ) or & editions
3 Gareth Klavji with printed cadenza The Brett Baker Trombone Collection, Vol. 2 (Kirklees
Churcher Music), & edition
4 Dorothy Gates The Road (1st movt from Servant of Peace: Dorothy Gates: Servant of Peace: Concerto for Trombone
Concerto for Trombone) (Atiqa Music), é edition
5 Guilmant Morceau symphonique (Concert Piece), Guilmant: Morceau symphonique, Op. 88 (Editions Marc
Op. 88 starting at Allegro moderato, b. 39 Reift or Brass Wind), )/& edition or
No. 15 from Solos for the Trombone Player, arr. Smith
(G. Schirmer), ) edition
6 Handel Adagio and Allegro (from Flute Sonata, Get a Handel on It for Trombone (Brass Wind), ) or &
HWV 363b), arr. Mowat editions
7 Larsson Preludium (Allegro pomposo) (1st movt from Larsson: Concertino for Trombone, Op. 45 No. 7
Concertino for Trombone, Op. 45 No. 7) (Gehrmans), ) edition
8 B. Marcello Sonata No. 5 (in B - ), arr. Mortimer complete B. Marcello: Sonata No. 5 in B - (Editions Marc Reift), )/&
edition
9 E. Reiche Rondo (3rd movt from Trombone Concerto No. 2 E. Reiche: Concerto No. 2 in A (IMC), ) edition or
in A) with repeats No. 12 from Solos for the Trombone Player, arr. Smith
(G. Schirmer), ) edition
10 Philip Sparke Threes, Fives and Sevens (No. 26 from Super Philip Sparke: Super Studies for Trombone (Anglo
Studies for Trombone)  SOLO Music), )/& edition
B 1 Darrol Barry Lento (2nd movt from Trombone Concerto) Darrol Barry: Trombone Concerto (Studio Music), )/&
edition
2 Brian Chapple Allegro giocoso (1st movt from A Bit of a Blow Brian Chapple: A Bit of a Blow for Trombone (Bosworth),
for Trombone) )/& edition
3 Ferdinand Marcia funebre (Andante) (2nd movt from Ferdinand David: Concertino, Op. 4 for Trombone
David Trombone Concertino, Op. 4) (Editions Marc Reift or Brass Wind), )/& edition or
Ferdinand David: Concertino, Op. 4 for Trombone (IMC),
) edition
4 Martin Ellerby Chaconne (2nd movt from Trombone Concerto) Martin Ellerby: Trombone Concerto (Studio Music), &
edition
5 L. Grøndahl Quasi una Leggenda (2nd movt from Trombone L. Grøndahl: Trombone Concerto (Edition-S), ) edition
Concerto)
6 Holst Concertante, arr. Roberts  Holst: Concertante for Trombone (Warwick Music), é or
starting at Allegro gioioso ma maestoso & editions
7 Jean-François Prélude and Romance (1st and 2nd movts from Jean-François Michel: Prélude, Romance & Bacchanale
Michel Prélude, Romance & Bacchanale) with cadenza (Editions BIM), ) edition
8 W. G. Still Romance, arr. Yeo with trills W. G. Still: Romance for Trombone (IMC), ) edition
9 Verdi Celeste Aida, arr. Golland The Norman Law Trombone Collection (Kirklees Music),
& edition
10 Weber Romance Weber: Romance for Trombone (Brass Wind), é/&
edition or
Weber: Romance for Trombone (Editions Marc Reift), )
edition

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 Practical Grades Trombone from 2023 Grade 8

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

C 1 Belcke Allegro con spirito (No. 35 from Posaunen-Etüden Posaunen-Etüden 1 (DVfM), ) edition
1)  SOLO
2 Castérède Allegro vivo (1st movt from Sonatine for Castérède: Sonatine for Trombone (Leduc), ) edition
Trombone)
3 Tony Cliff In a relaxed swing style (1st movt from Jazz Tony Cliff: Jazz Silhouettes (Studio Music), ) edition
Silhouettes)
4 Robert Impromptu No. 1 8vb optional in b. 36 Robert Collinson: Three Impromptus (Kirklees Music),
Collinson & edition
5 Frank Gulino Allegro (3rd movt from Trombone Sonata No. 1: Frank Gulino: Trombone Sonata No. 1: The Journey
The Journey) last two bars may be played 8vb (Cimarron Music Press), ) edition
6 A. Jørgensen Romance, Op. 21 A. Jørgensen: Romance, Op. 21 (Hansen), ) edition
7 Rodney Dick Turpin’s Ride to York Rodney Newton: Dick Turpin’s Ride to York (Wright &
Newton Round), & edition
8 Anthony Plog Divergent Roads Anthony Plog: Divergent Roads for Trombone (Editions
BIM), ) edition
9 Jiggs Steve and Fast Swing (4th and 5th movts from Jiggs Whigham: Suite for Trombone (Schott), ) edition
Whigham Suite for Trombone)
10 Rob Wiffin Shout! last 3 notes 8vb Rob Wiffin: Shout! (Studio Music), )/& edition

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 16–17, 19, 21 & 23
Bass clef RANGE ARTICULATION (chosen by the examiner)
SCALES
E - major and minor a 12th
(minor harmonic and melodic)
tongued / legato-tongued / staccato
E, A, B - majors and minors 2 oct.
(minors harmonic and melodic)
EXTENDED-RANGE SCALES
F+ major
see p. 23 tongued / legato-tongued / staccato
F harmonic minor
SCALES IN THIRDS
F+, A - majors 2 oct. tongued / legato-tongued / staccato
CHROMATIC SCALES
starting on E, A and B - 2 oct. tongued / legato-tongued / staccato
WHOLE-TONE SCALES
starting on A and B - 2 oct. tongued / legato-tongued / staccato
ARPEGGIOS
E - major and minor a 12th
tongued / legato-tongued / staccato
E, A, B - majors and minors 2 oct.
EXTENDED-RANGE ARPEGGIOS
F+ major
see p. 23 tongued / legato-tongued / staccato
F minor
DOMINANT SEVENTHS (resolving on tonic)
in the key of A - a 12th
tongued / legato-tongued / staccato
in the keys of A, D and E - 2 oct.
DIMINISHED SEVENTHS
starting on E, A and B - 2 oct. tongued / legato-tongued / staccato

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 Trombone from 2023 Grade 8 Practical Grades

Treble clef RANGE ARTICULATION (chosen by the examiner)

SCALES
F major and minor a 12th
(minor harmonic and melodic)
tongued / legato-tongued / staccato
F+ , B, C majors and minors 2 oct.
(minors harmonic and melodic)
EXTENDED-RANGE SCALES
A - major
see p. 21 tongued / legato-tongued / staccato
G harmonic minor
SCALES IN THIRDS
A -, B - majors 2 oct. tongued / legato-tongued / staccato
CHROMATIC SCALES
starting on F+ , B and C 2 oct. tongued / legato-tongued / staccato
WHOLE-TONE SCALES
starting on B and C 2 oct. tongued / legato-tongued / staccato
ARPEGGIOS
F major and minor a 12th
tongued / legato-tongued / staccato
F+ , B, C majors and minors 2 oct.
EXTENDED-RANGE ARPEGGIOS
A - major
see p. 21 tongued / legato-tongued / staccato
G minor
DOMINANT SEVENTHS (resolving on tonic)
in the key of B - a 12th
tongued / legato-tongued / staccato
in the keys of B, E and F 2 oct.
DIMINISHED SEVENTHS
starting on F+ , B and C 2 oct. tongued / legato-tongued / staccato

SIGHT-READING: a short piece of previously unseen music; for further details see pages 18 & 26–28
AURAL TESTS: given by the examiner from the piano; for further details see pages 160 & 167

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 3. Brass Practical Grades Syllabus from 2023
Introducing the syllabus
A number of changes have been made in the 2023 Brass Practical Grades Syllabus:
• The repertoire lists for all instruments have been refreshed, with a mixture of new and retained
pieces.
• At Grades 1 to 5, a number of pieces are shared across all instruments (excluding French Horn).
For ease of use, all shared pieces appear  shaded , in the same order at the top of each list.
• The lists are now defined by musical characteristics, encouraging candidates to play a balanced
selection of pieces and demonstrate a range of skills.
• Unaccompanied solos are now optional. They are included across the lists, according to their
musical characteristics. Candidates may choose to perform up to two of them.
• A duet option is offered at Grades 1 to 3.
• The new scale requirements focus on technical development and progression, achieved through
a realistic and manageable assessment load.
• There are new Sight-reading requirements for all brass instruments.
• At Grades 6 to 8, the Sight-reading and Transposition tests (Horn and Trumpet only) have been
combined into one Sight-reading test, part of which must be transposed.
• A new Adapted Instruments Policy has been introduced; instruments adapted for beginners can
now be used in exams at any grade, as long as all the exam requirements can be met.
Some key exam information has also been updated or clarified.

Practical Grades: requirements and information

This syllabus is valid from 1 January 2023 until further notice.
This section provides a summary of the most important points that teachers and candidates
need to know when taking ABRSM Practical Grades for brass. 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
The Practical Grades syllabus requirements have been designed for the standard instruments
covered. ABRSM recognise that many learners start their musical journey by using an instrument
specially adapted for younger/smaller players. We welcome the use of these instruments in our
graded exams in accordance with the details set out in our Adapted Instruments Policy, available
at www.abrsm.org/policies.
Please note that using an adapted instrument sounding in a key different to the standard
instrument may restrict options in the Aural Tests at Grades 4 to 8 (see pages 163–167).
The repertoire lists show publication details, including clefs and where piano accompaniments are
published separately. In addition, for pieces marked ‡ further information about the publications
(including where parts/accompaniments are issued in different keys) is available at: www.abrsm.
org/clarifications.
Other information about certain instruments covered by this syllabus is as follows.
Horn: The accompanied pieces set on the repertoire lists are published in F editions.

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Practical Grades  3. Brass Practical Grades Syllabus from 2023

Some pieces are published with transposition suggestions but, in the exam, they should be played
in the written keys only.
Trumpet/B - Cornet/Flugelhorn: These instruments share the same repertoire lists. All the pieces
are published for instruments in B - unless otherwise indicated. Some pieces may be played on an
E - /C trumpet where the syllabus indicates a published edition (or where other suitable editions
are available).
E - Soprano Cornet: At Grades 1 to 5, shared pieces that appear  shaded  have piano accompaniment
available in E - . Piano accompaniments for other pieces on the list can be suitably transposed.
At Grades 6 to 8 there are a number of options for E - instruments. Candidates may choose other
pieces from the repertoire lists and adapt passages or transpose parts and/or accompaniments
as necessary for their instrument.
Related instrument option: At all grades, candidates for any of the above four instruments (Trumpet,
B - Cornet, E - Soprano Cornet, Flugelhorn) have the option of playing one piece (from any list) on
one of the other three instruments. There is no advantage to be gained over other candidates in
taking this option, and all the other requirements must be played using the instrument on which
the candidate has entered.
E - Horn: All the accompanied pieces set on the repertoire lists are published in E - editions. Pieces
that are also published with a part in F are indicated in the lists.
Trombone: There are separate syllabuses for Tenor and Bass trombones. Bass Trombone exams
are available at Grades 6 to 8 only. The repertoire lists show the clefs that the pieces are published
in ( ) , é and/or & ). If necessary, candidates may use manuscript transpositions into treble or
bass clef.
Tenor trombone candidates may play their pieces on E - Alto Trombone. Further information can
be found in our Adapted Instruments Policy, available at www.abrsm.org/policies. At Grades 1 to
5, shared pieces that appear  shaded  have piano accompaniment available in E -.
Trombone: At Grades 6 to 8, candidates may play one of their three pieces on a bass trombone
(chosen from the corresponding grade of the Bass Trombone syllabus). If choosing a piece from
the Bass Trombone syllabus, candidates must make sure that the requirement to play one piece
from each of the three lists (A, B and C) is met. A candidate may play up to two unaccompanied
solos.
Bass Trombone: Candidates may play one of their three pieces on a tenor trombone (chosen
from the corresponding grade of the Trombone syllabus). If choosing a piece from the Trombone
syllabus, candidates must make sure that the requirement to play one piece from each of the three
lists (A, B and C) is met. A candidate may play up to two unaccompanied solos.
There is no advantage to be gained over other candidates in taking this option, and all the other
requirements must be played using the trombone on which the candidate has entered.
Baritone and Euphonium: These instruments share the same repertoire lists. The lists show the
clefs that the pieces are published in ( ) and/or & ). If necessary, candidates may use manuscript
transpositions into treble or bass clef. A three-valved instrument may be used at all grades.
Candidates may adapt passages containing notes that require a 4th valve (where an ossia is not
published).

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 3. Brass Practical Grades Syllabus from 2023 Practical Grades

Tuba: An E -, F, B - or C tuba may be used. Candidates may adapt passages or transpose parts
and/or accompaniments as necessary for their instrument (Note: many of the pieces set on the
repertoire lists are biased towards E - tuba).
A three-valved instrument may be used at all grades. Candidates may adapt passages containing
notes that require a 4th valve (where an ossia is not published).

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 is organised into three lists that explore different traditions and styles, dating from
the Renaissance period to the present day.
Choosing one piece from each list gives candidates the opportunity to play a balanced selection
and demonstrate a range of skills. In this syllabus, the pieces are broadly grouped into lists by
the characteristics of the music:
• List A pieces are generally faster moving and require technical agility (focus mostly on
dexterity and articulation)
• List B pieces are more lyrical and invite expressive playing (focus mostly on breath control/
support and the sound made)
• List C pieces reflect a wide variety of musical traditions, styles and characters.
Most of the pieces require an accompaniment, as interacting with other musicians is an
important musical skill, but there are also opportunities to choose solo pieces and develop
confidence with unaccompanied playing.
We hope that by offering this variety in the syllabus, candidates will find inspiring music that
they enjoy learning and performing.

Programme planning: Candidates must choose one piece from each of the three lists (A, B and
C). In the exam, they should inform the examiner which pieces they are performing, and they are
welcome to use the form on page 184 for this purpose.
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, other pieces may not be suitable because of wider context
(historical, cultural, subject matter, lyrics if an arrangement of a song, etc.). Pieces should be
carefully considered for their appropriateness to each individual, which may need consultation
between teachers and parents/carers. Teachers and parents/carers should also exercise caution
when allowing younger candidates to research pieces online: www.nspcc.org.uk/onlinesafety.
The repertoire lists are the same as for ABRSM Performance Grades. Candidates intending on
taking both qualifications at the same grade may find their musical development benefits from
preparing different pieces for each.
Accompaniment/Duets: A live piano or brass (where the option is listed) accompaniment is
required for all pieces, except those that are published as studies or unaccompanied works.

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Practical Grades  3. Brass Practical Grades Syllabus from 2023

At Grades 1 to 3, candidates may choose to perform a duet for some or all of their pieces. The
pieces that are published as duets are marked  DUET  in the repertoire list and the candidate must
play the part specified.
Pieces that are published with both brass and piano accompaniment options are marked 
DUET/PIANO  in the repertoire list, and may be performed with either accompaniment in the exam.

Candidates must provide their own accompanist(s), who can only be in the exam room while
accompanying. The candidate’s teacher may accompany (examiners will not). If necessary, an
accompanist may simplify any part of the accompaniment, as long as the result is musical.
Recorded accompaniments are not allowed.
Solos: Unaccompanied solos are marked  SOLO  in the repertoire lists. Candidates are not required
to play a solo in the exam, but may play up to two.
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. This includes editions that are downloaded. Information on sourcing
exam music is given on page 16.
Interpreting the score: Printed editorial suggestions such as fingering, metronome marks,
realisation of ornaments, etc. do not need to be strictly observed. Whether the piece contains
musical indications or not, candidates are encouraged to interpret the score in a musical and
stylistic way. Examiners’ marking 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 must be
followed but other repeats (including first-time bars) should not be played unless they are very
short (i.e. a few bars).
Ossias: Where an ossia (alternative musical line or note) occurs in the music, candidates may
play either option unless the syllabus specifies differently.
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.
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 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 at Grades 6 to 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). Similarly, an accompanist for a Grade 6 to 8 exam is permitted to bring a
page-turner to assist with turns in the piano part. Examiners are unable to help with page-turning.
Photocopies & downloads: Performing from unauthorised photocopies (or other kinds of copies)
or illegal downloads of copyright music is not allowed. 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/mpa-guidelines. 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.
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 3. Brass Practical Grades Syllabus from 2023 Practical Grades

Candidates and Applicants are expected to act within the law with regard to copyright. ABRSM
may withhold the exam result where we have evidence of an illegal copy (or copies) being used.
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.

Scales and arpeggios

Playing scales and arpeggios is important for building strong technical skills such as reliable
finger movement/slide control and fluency. It also helps to develop tone, 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 must be played from memory.

Range: All requirements must be played from the lowest possible tonic/starting note unless the
syllabus specifies differently. They must ascend and descend according to the specified range
(and pattern).
Rhythm: All requirements must be played in even notes.
Patterns: Arpeggios and dominant sevenths are required in root position only. All dominant
sevenths must finish by resolving on the tonic. Examples of scale/arpeggio etc. patterns specified
in this syllabus are given on pages 19–25.
Articulation: Slurred requirements must be legato throughout. The choice of breathing place is
left to the candidate’s discretion, but the flow should be maintained as much as possible.
Transposing instruments: The naming of scales applies to the fingering, not the concert pitch;
for example, D major for trumpet in B - will sound in C, not D.
In the exam: Examiners will usually ask for at least one of each scale/arpeggio (etc.) type. Where
applicable, they will ask for majors followed by minors within each type and will also ask to hear a
balance of articulations across the requests as a whole. When asking for requirements, examiners
will specify:
• the key† (including minor form – harmonic or melodic – in the Grades 6 to 8 scales) or the
starting note
• the articulation
Supporting publications: Books of the requirements are published for all brass instruments by
ABRSM. Purchasing these books is not a requirement.

† Where keys at Grades 6 to 8 are listed enharmonically – D -/C + and A -/G + – the examiner will use the flat spelling when asking for major keys
16 and the sharp spelling for minor keys.
Practical Grades  3. Brass Practical Grades Syllabus from 2023

Speed: The following speeds are given as a general guide:

Trombone Grade/Speed

pattern 1 2 3 4 5 6 7 8

Scales
(including chromatic, iq q = 44 q = 48 q = 56 q = 63 q = 72 q = 96 q = 108 q = 120
extended-range & whole-tone)

Arpeggios
(excluding extended-range) iiq e = 56 e = 63 e = 76 e = 88 e = 100 q . = 40 q . = 44 q . = 48

Dominant & diminished 7ths;

Extended-range arpeggios iq q = 44 q = 50 q = 56 q = 66 q = 72

Scales in 3rds iq q = 84 q = 100 q = 112

All other brass Grade/Speed

pattern 1 2 3 4 5 6 7 8

Scales
(including chromatic, iq q = 50 q = 56 q = 63 q = 72 q = 80 q = 104 q = 112 q = 126
extended-range & whole-tone)

Arpeggios
(excluding extended-range) iiq e = 66 e = 72 e = 84 e = 92 e = 108 q . = 40 q . = 44 q . = 48

Dominant & diminished 7ths;

Extended-range arpeggios iq q = 46 q = 54 q = 60 q = 66 q = 72

Scales in 3rds iq q = 88 q = 100 q = 120

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 3. Brass Practical Grades Syllabus from 2023 Practical Grades

Sight-reading (and transposition)

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 that 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.
Transposition (Horn and Trumpet only): At Grades 6 to 8, the Sight-reading tests for Horn and
Trumpet candidates will include a section of transposition. Candidates will be given up to half a
minute in which to look through and, if they wish, try out all or any part of the test before they are
required to play it for assessment.
Parameters: The tables on pages 26–28 show the elements that are introduced at each
grade.
Supporting publications: For practice purposes, sample sight-reading tests are published by
ABRSM. 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 booking the exam. Further information is available at www.abrsm.org/specificneeds.

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 brass instruments. Full details of the Aural
tests are given on pages 160–167.
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
alternative tests in place of the standard tests, if requested at the time of booking the
exam. Further information, including the syllabus for the alternative tests, is available at
www.abrsm.org/specificneeds.

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Practical Grades  3. Brass Practical Grades Syllabus from 2023

Scale and arpeggio patterns

The examples on the following pages clarify patterns and ranges found in this syllabus. Reference
should be made to the appropriate syllabus pages for the full requirements for each instrument.

All instruments
Scales and arpeggios

to a twelfth

V bbbb œ œ œ œ œ œ œ œ œ œ œ œ œ etc.

V bbbb œ œ œ œ œ œ œ œ œ œ œ œ œ ™
one octave and down to the dominant

V bbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
V bbb œ œ œ œ œ œ œ œ œ œ ™
Melodic minor ending (E - Soprano Cornet only)

V bbbb œ œ œ œ œ œ = œ = œ œ

Scales in thirds

one octave (and similarly, two octaves)

V bb œ œ œ œ etc. œœœœœœœ etc.

œœœœœ
B bb
œœœœœ

Dominant sevenths (resolving on tonic)

one octave (and similarly, two octaves)

V bb œ œ œ œ œ œ œ œ œ

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 Practical Grades  3. Brass Practical Grades Syllabus from 2023

Trumpet, Cornet, Flugelhorn, E - Horn, Baritone,

Euphonium, Trombone & Tuba ( )
Extended-range scales

D major

V ## œ œV œ## œ œ œ etc.
etc.
œ œ œ œ œ etc.
etc.
œ œ œ
etc. etc.
œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ
œ œ œ œ œ œ

A - major

V bbVbb bbœœbbœœœœœœ œ
etc.
etc. etc.

œœ œœœœœœœœœœœœ œ
etc.
etc. etc.

œœ œœœœœœœœœ œ œœ œ
œœ œœœœœœ œœœ œ

G harmonic minor

VVbb bbœ œœ œœ œ etc.etc.

## œœ
œ œœ œœ œœ œ œ œœ œœ œ## etc.etc.

##
œ œœ œœ œœ œœ œ

Extended-range arpeggios

D major

V ## œ œ œ œ œ œ œ œ œ œ œ œ œ
A - major

V bbbb œ œ œ œ œ œ œ
œœ
œœœ
œœœ

G minor

V bb œ œ œ œ œ œ œ
œœ
œœœ
œœœ

21
 Practical Grades  3. Brass Practical Grades Syllabus from 2023

Trombone, Baritone & Euphonium ( )

Extended-range scales

C major

B œ œ Bœ œ œ œ etc.
etc.
œ œ œ œœ œœ œ œ œ
etc. etc.
etc. œetc.œ œ œœ œœ œ œ œ œ œœ œœ œ œ œ
œ œ

F+ major

B#B##B########œ##œ# œœ œ œ etc.etc.etc.
œ œ œœ œ œœ œ œ
etc.etc.etc. œ œ œœ œœ œœ œ œ œ œ œ œ

œ œ

F harmonic minor

BBbBbbbb b bœbœ œœ œœ œ == = == =
œœ œœ œœ œœ œœ œœ œœ œœ œ
etc.
etc.etc.

etc.
etc.etc.

== =
œœ œœ œœ œœ œœ œ

Extended-range arpeggios

C major

Bœœœœœœœœœœœœœ
F+ major

#
B## ### œ œ œ œ œ œ œœœœ
œœ
œœ
œ

F minor
œœ
B bbbb œ œ œ œ œ œ œ œœœ
œœ
œ

23
 3. Brass Practical Grades Syllabus from 2023 Practical Grades

Sight-reading parameters
The following tables 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.

Length Time Other features that may be included

(bars)
Grade 1 4 4 ⁄4 •  h .  h  q  iq note values; Î rests


3 ⁄4 • notes tongued only
6 2 ⁄4 • f and mf
Grade 2 8 •  iiiq and q . e patterns;  rests
• articulation
• trombone: notes tongued only
• others: notes tongued or with simple two-note slurs
• tied notes
• mp and cresc. hairpin
Grade 3 3⁄8 • accidentals (within minor keys only)
•  q . ; simple semiquaver patterns; ä rests
• articulation
• trombone: as Grade 2
• others: three-note slurs
• accents
• p and dim. hairpin
Grade 4 c. 8 6⁄8 • chromatic notes
• articulation
• trombone: notes tongued or with simple two-note slurs
• others: four-note slurs
• anacrusis
• tenuto
• pause sign
Grade 5 c. 8–16 •  w and simple syncopation
• articulation
• trombone: as Grade 4
• others: any combination of tongued or slurred notes
• slowing of tempo at end
• ff and pp
Grade 6 c. 12–16 9⁄8 • changes of time signature
5⁄8 •  Å rests
5 ⁄4 • articulation
• all: any combination of tongued or slurred notes
• triplet patterns
• slowing of tempo followed by a tempo
• fp, sf, subito, cresc., dim. (written)
• swung style
• trombone: tenor clef
• transposition
• horn: transposition into E -
• trumpet: transposition into C

26
Practical Grades  3. Brass Practical Grades Syllabus from 2023

Length Time Other features that may be included

(bars)
Grade 7 c. 16–20 7⁄ 8
7⁄4
Grade 8 c. 16–24 12 ⁄ 8 • triplet crotchets
• acceleration of tempo
• simple ornaments

Keys
MAJORS Horn Trumpet, B - Cornet, Baritone & Trombone & Trombone ) & Tuba )
minors E - Soprano Cornet, Euphonium ) Bass Trombone
Flugelhorn, E - Horn, (Grades 6–8 only)
Baritone, Euphonium
& Tuba &
C C B- C B- E-
Grade 1
a a g d c c

Grade 2 B- D, B - C, A - D, B - C, A - F, D -

G
Grade 3
d d c e d f
E- A G F E- C
Grade 4
b e d a g g
A, E, F E, F, E - D, E -, D - G, E, E - F, D, D - G, F +, A -
Grade 5
g, c b, c a, b - f +, c e, b - d, e -
D G F A G B-
Grade 6
f f e- f e- g+
A- A- F+ A- F+ B
Grade 7
e g f g f b-
D- B A B A D
Grade 8
b- c+ b c+ b e

27
 3. Brass Practical Grades Syllabus from 2023 Practical Grades

Ranges †
Horn Trumpet, B - Cornet, Baritone & Trombone Trombone Bass Tuba )
E - Soprano Cornet, Euphonium & ) Trombone
Flugelhorn, E - Horn, )
Baritone, Euphonium
& Tuba &
Grade 1 c′–c″ c′–c″ B - –b - c′–c″ B - –b - — E - –e -
Grade 2 b - –d″ b - –d″ A - –c′ b - –d″ A - –c′ — D - –f
Grade 3 a–d″ a–d″ G–c′ b - –e″ A - –d′ — C–f
Grade 4 g–e″ a–e″ G–d′ a–e″ G–d′ — C–g
Grade 5 f–f″ a - –f + ″ F + –e′ a - –f + ″ F + –e′ — B′–a
Grade 6 f–g″ g–g″ F–f′ g–g″ F–f′ D–c′ B - ′–b -
Grade 7 f–a - ″ g–a - ″ F–f + ′ g–a - ″ F–f + ′ C–d - ′ B - ′–b
Grade 8 e–a″ g–b - ″ F–a - ′ g–a + F–g + ′ B - ′–d′ B - ′–d - ′

† Ranges are presented using the Helmholtz system, i.e.:

w
w w w
&
? w w
w w
w w w
B′ C B c b c′ b′ c″ b″ c‴ b‴

28
Practical Grades  3. Brass Practical Grades Syllabus from 2023

Aural test requirements

Included in all Practical Music graded exams*
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 Music graded exams.
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 161–167 sets out the tasks that candidates will be asked to com-
plete 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 component. The marking criteria for the Aural tests are given
on page 175.

Supporting publications
For practice purposes, sample Aural tests are published by ABRSM. Examples of the tests for
Grades Initial to 8 are given in Specimen Aural Tests. More examples for Grades 1 to 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 booking the exam. Further information, including the syllabus for the
alternative tests, is available at www.abrsm.org/specificneeds.

* A different set of tests apply to Jazz and Singing for Musical Theatre exams 160
 3. Brass Practical Grades Syllabus from 2023 Practical Grades

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. This option is
only available to instruments pitched in C, B -, E - or F.) 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.

167
Practical Grades  4. Assessment, marking & infringements

Marking criteria
Grades Pieces
Initial to 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

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

174
 4. Assessment, marking & infringements Practical Grades

Grades Scales and arpeggios Sight-reading Grades Aural tests

Initial to 8 Initial to 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

175
 Exam programme & running order form

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