Qualification Specification

MUSIC PERFORMANCE
GRADES

HARPSICHORD
Syllabus (Section 3)
second edition – valid for exams from 6 September 2021

This syllabus is specific to Harpsichord and is part of the

main Qualification Specification: Music Performance Grades.
The remainder of that specification provides other relevant
information for those preparing for Performance Grades
exams and applies to all subjects (instruments). It can be
found at www.abrsm.org/performancegrades and should
be read when preparing for an exam. 23 July 2021
Qualification Specification: Performance Grades
Contents

3. Harpsichord Performance Grades syllabus 2

Introducing the qualification 2
Performance Grades: requirements and information 2
• Instruments2
• Performance as a whole 3
• Selecting repertoire 3
• Preparing for the exam 5
Harpsichord repertoire lists 7

Programme form 17

Changes in this edition

This second edition, first published July 2021, includes several significant changes and updates to
the exam requirements and information. There are no changes to the repertoire lists.
• We have provided additional guidance for the performance as a whole component of the exam
• We have made a change to the own-choice piece requirements to allow unpublished repertoire,
including candidates’ own compositions
• We have changed our policy on the use of the same piece(s) in more than one exam; this is
now allowed
• We have updated the Programme form – in particular, the Candidate ID should now be provided
A range of updates have also been made to the text to further clarify the existing requirements and
information, based on queries and feedback received since the Performance Grades qualification
was launched in summer 2020.
The overarching Qualification Specification: Music Performance Grades document, which has other
important and relevant information for those preparing for Performance Grades, has also been
significantly updated.

© 2020 by The Associated Board of the Royal Schools of Music

All the syllabus information in this document, including repertoire lists, is the copyright of ABRSM.
No syllabus listing may be reproduced or published without the permission of ABRSM. Updated in 2021.
 3. Harpsichord Performance Grades syllabus
Introducing the qualification
Performance Grades are new qualifications from ABRSM, introduced in 2020 to run alongside
our long-standing and respected Practical Grades. They allow learners to focus on and showcase
their performance skills if that is their preference. This additional suite of qualifications has
been designed to allow learners to play to their strengths and interests and still have their level
of achievement formally recognised with a regulated qualification that attracts UCAS points
(in the UK) at Grades 6 to 8. Performance Grades are accessible exams given their sole focus
on performance, without the assessment of any supporting tests. Instead they encourage the
selection of appropriate repertoire to be delivered in a sustained performance, even at the earliest
levels.
Musicians learn to play an instrument to explore and perform repertoire, which is why pieces, and
the way they can be combined to create a convincing and sustained performance, are the focus
of the exam. For Performance Grades, candidates are asked to present four pieces at each grade.
ABRSM Performance Grades draw on the same repertoire set for our Practical Grades. This
syllabus repertoire is organised into lists, which explore different traditions and styles, dating
from the Renaissance period to the present day. Choosing repertoire from different lists gives
candidates the opportunity to perform a balanced selection and demonstrate a range of skills.
Since Performance Grades focus on performance alone, the choice of repertoire is important, and
attention should be given to the way pieces are contrasted, the order in which they are presented,
and the different moods and characters they inhabit. This will enable candidates to demonstrate
their ability to deliver a coherent and convincing performance event, not just a series of individual
pieces. Credit for this is given through the performance as a whole assessment criteria that are
applied.

Performance Grades: requirements and information

The syllabus repertoire is valid until further notice.
This section provides a summary of the most important points that teachers and candidates need
to know when taking ABRSM Performance Grades for Harpsichord. 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 harpsichord should be in a state of tuning and regulation appropriate for the exam. The
majority of the pieces listed in this syllabus require an instrument with a range extending up to
d‴. The few pieces with a range above this note are indicated in the repertoire lists by an asterisk
(*). Any notes lower than C (i.e. two octaves below middle C) may be transposed up an octave or
omitted, as appropriate, if they are not available on the instrument used for the exam.
Candidates are required to perform on an acoustic instrument (a digital keyboard on a harpsichord
setting is not allowed).

2
Performance Grades 3. Harpsichord Performance Grades syllabus

Performance as a whole
Performance skills are at the heart of Performance Grades, and go beyond the preparation of
individual pieces. Designing programmes that play to learners’ strengths as performers, and
then delivering them with a real sense of musical intent and communication, is central to musical
development. This also builds stamina, and embeds the technical control required to play a
whole programme through, including managing the transitions from one piece to another. Finding
ways to put across the mood and character, and really get inside the style of different types of
repertoire, as well as arranging pieces into coherent and compelling programmes will in turn
increase learners’ knowledge and understanding of music more broadly.
For full details of how the performance as a whole component of the exam is assessed, see
Section 4 of the Qualification Specification: Music Performance Grades.

Selecting repertoire
Number of pieces: Candidates present four pieces in one continuous performance (without a
break). They choose at least one piece from each of List B and List C, with the third piece chosen
from either List A or List D. The fourth piece can be from the repertoire lists (any list) or a piece
of the candidate’s choice. The pieces can be performed in any order. See further programming
requirements within this ‘Selecting repertoire’ section before finalising choices.
Own-choice piece: The following options and restrictions apply to the own-choice piece selection:
• The piece should be broadly the same standard, or above, as repertoire set for the grade being
taken (prior approval from ABRSM is not needed, and can’t be given).
• The piece may be chosen from any of the repertoire lists set for the grade, as long as all other
requirements within this ‘Selecting repertoire’ section are also met, including the minimum
duration. Performing all four pieces from the lists gives no advantage.
• The piece may be a candidate’s own composition or arrangement (see ‘Own composition’).
• The piece must exist in a legible and fully-notated score using standard music notation (e.g.
not in tab, not a lead sheet if candidate is playing a harmonic instrument etc.) and must be
performed as notated in that score.
In cases where there is a concern about the standard of an own-choice piece presented, ABRSM
reserves the right to request a copy from the Applicant where we cannot readily access one
ourselves. This may delay the issuing of the exam result.
• At Grades 6 to 8, the piece may be performed on a related instrument (see ‘Related instrument
option’).
• The piece must not last less than the following timings for each grade (unless the overall
programme time would be exceeded; see ‘Programme times’):

Grade
1 2 3 4 5 6 7 8
Minimum duration (mm:ss) 00:25 00:30 00:35 00:45 01:00 01:30 02:00 03:00
The duration for each grade is the minimum time required in order to demonstrate the breadth
and depth of skills required, including stamina.
The other programming requirements described in this ‘Selecting repertoire’ section must also
be met.

3
 Performance Grades 3. Harpsichord Performance Grades syllabus

Programme times: The overall performance, including transitions between pieces, should not
exceed the maximum programme time set for the grade, as shown in the following table. The
programme time is the duration from the first note of the performance to the last. The examiner
may stop listening to the recording if the candidate’s performance goes over the maximum
programme time.

Grade
1 2 3 4 5 6 7 8
Maximum programme time
6 7 8 10 12 15 20 25
(minutes)

Composers: Up to two pieces by the same composer may be performed. Where two or more
pieces/movements by a composer are required by the syllabus (i.e. under one list number and
indicated with an ‘and’), these are considered as one ‘piece’.
Own composition: ABRSM welcomes the inclusion of candidates’ own compositions, or
arrangements, to be performed as their own-choice piece. We will not judge or provide feedback
on the structure or quality of the composition, only the performance of it. However, as with any
other own-choice piece, the technical demand of the composition must be broadly the same as
repertoire set for the grade being taken.
Repertoire lists: 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 (e.g. hand size) or because of wider context (historical,
cultural, subject matter, etc.). Pieces should be considered carefully 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 Practical Grades. Candidates intending on taking
both qualifications at the same grade may find their musical development benefits from preparing
different pieces for each.
Exam music & editions: Editions are listed in the syllabus for guidance only and candidates may
use any edition of their choice. This includes facsimilies or editions that are downloaded. Any
indications that are only appropriate to the piano may be disregarded. Information on sourcing
exam music is given on page 6.
Repeats: In most cases, da capo and dal segno indications must be followed but other repeats
may be included, or not, at candidates’ discretion (in order to achieve a musically satisfying
performance). If the syllabus specifies that a repeat should be included, this instruction must be
followed. If the syllabus indicates that a da capo/dal segno should be omitted, candidates have the
option to include or not. The maximum programme time should also be taken into consideration
when deciding whether to include repeats (see ‘Programme times’).
Related instrument option: At Grades 6 to 8, candidates may choose to play their own-choice
piece on a spinet or virginal as appropriate. No extra marks are awarded for playing a related
instrument.

4
Performance Grades 3. Harpsichord Performance Grades syllabus

Preparing for the exam

Programme form & pre-performance procedures: Candidates should complete a programme
form and show it to the camera, for approximately five seconds, at the start of the exam recording.
A form that can be printed and completed is provided on page 17. Alternatively, the required
information can be written on a blank piece of paper. The piece information required should be
given in the order the pieces will be performed.
As well as showing the form to camera, candidates should show the opening of their own-choice
piece and announce themselves and their pieces before beginning their performance. Candidates
taking a Grade 6, 7 or 8 must additionally show a form of photographic identification to the
camera. This is because these qualifications can be used either as a prerequisite for higher grades
and diplomas, or as part of a university application.
If preferred, a Responsible Adult present may show the form and music to camera (but not the
ID, where applicable) and make the introductory announcement, as this does not form part of
the performance. The assessment of the performance begins on the first note of music played.
More information on all of the above is given in the Guidance for Music Performance Grades
available at www.abrsm.org/performancegrades.
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. For pieces in a jazz style, candidates may add slight embellishment, as stylistically
appropriate, but not include extensive improvisation. Examiners’ marking will be determined by
how candidates’ decisions contribute to the musical outcome of each individual piece and to the
performance as a whole.
Performing from memory: There is no requirement to perform from memory although candidates
are encouraged to do so, if they believe it will enhance their performance. No extra marks are
directly awarded for performing from memory.
Ossias: Where an ossia (alternative musical line or note) occurs in the music, candidates may
choose either option unless the repertoire list specifies differently.
Registration: Candidates may use reasonable discretion in the choice of registration and manual
allocation in the pieces performed, according to the specific nature of the instrument they
are using and the extent of its ability to equate to any prescribed registration indications (see
‘Instruments’ on page 2).
Page-turns: Candidates need to manage any page-turns appropriately to avoid any adverse
effect on the performance as a whole, which examiners will be assessing. Candidates may use
an extra copy of the music or a photocopy of a section of the piece (but see ‘Copyright’) to help
with page-turns. They may also use a page-turner (prior permission is not required; the turner
may be the teacher).
Copyright: 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. Care should also be taken when making arrangements, as permission will be
required in the case of copyright music.

5
 Performance Grades 3. Harpsichord Performance Grades syllabus

Candidates and Applicants are expected to act within the law with regard to copyright. ABRSM
may withhold the exam result where we have evidence that this is not the case.
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.

6
 A, E, B, D, G, C, F minors ˝ (three octaves)
A, E, B, D, G, C, F minors ˛
(ii) in contrary motion with both hands beginning and ending on the key-note (unison), in the major keys of
(ii) C, E and E b (two octaves)
in contrary motion with both hands beginning and ending on the key-note (unison), in the major keys of
C, E and E b (two octaves)
Harpsichord
Chromatic Gradesbeginning on any note named by the examiner, with
PerformanceScales:
Chromatic Scales:
each hand separately
Performance
beginning on any note named by the examiner, with each hand separately
Grades(three octaves)
from
Harpsichord 2009
from
(three octaves) 2009
Arpeggios: the major and minor common chords of C, G, D, A, E, B and F, in root position only, with each hand
GRADE
Arpeggios:
separately the
4 major
(three and minor common chords of C, G, D, A, E, B and F, in root position only, with each hand
octaves)
separately (three octaves)
THREE
THREE PIECES:one
FOURPIECES:
PIECES: one
chosen
at least oneby
chosen by
the candidate
chosen
the candidate
from each
by the candidate
from each
of each
from Lists B and C
of ListsofBLists
and C
and Cone
B and andchosen
and one
from either
one chosen
chosen
List A
from either
from either
orAD:
List
List A or D:
LIST D, with a fourth of the candidate’s own choice; for further programming requirements, see pages 3–4
or A
LIST
1 Blow A Almand in A minor. P. 28 from Blow 25 Harpsichord Pieces (Stainer & Bell K44)
A 21 Bull Almandin
Blow Fantasia inG A minor.
minor. P.
P. 628from
fromBull
Blow1025 Harpsichord
Pieces (Stainer & Pieces (Stainer & Bell K44)
Bell K8)
32 Croft
Bull Fantasia
Prelude:infrom
G minor. P. 64from
Suite No. in C Bull
minor.10 Pieces (Stainer &Harpsichord
Croft Complete Bell K8) Works, Vol. 1 (Stainer & Bell K30)
3 Froberger
4 Croft Prelude: from Suite
Saraband (withNo. 4 in Cfrom
repeats): minor.SuiteCroft Complete
(Partita) Harpsichord
in D minor, FbWVWorks,
618a. Vol. (Stainer
No. 11 from & Blow’s
John Bell K30)
Anthology
4 (Stainer
Froberger Saraband
& Bell K37) or(with repeats):
Froberger from
New Suite of
Edition (Partita) in D minor,
the Complete FbWV
Works, Vol. 618a. No. 1 fromBA
4.1 (Bärenreiter John Blow’s Anthology
8066)
(Stainer &Suite
5 Pasquini in G: or
Bell K37) 1stFroberger
movt and NeweitherEdition
2nd orof3rdthemovt.
Complete
No. Works,
13 fromVol. 4.1 (Bärenreiter
Baroque BA 8066)
Keyboard Pieces, Book 3 (ABRSM)
65 Peerson
Pasquini TheSuite in of
Fall G:the
1st Leaf.
movt and 4 from2nd
No.either 24 or 3rd movt.
Pieces from theNo. 13 from Baroque
Fitzwilliam VirginalKeyboard Pieces,
Book (Stainer 3 (ABRSM)
BookK16)
& Bell
67 Peerson The FallinofGamut
Purcell Ground the Leaf. No. 4No.
(Z.645). from1624 Pieces
from fromComplete
Purcell the Fitzwilliam Virginal
Keyboard Music,Book
Book (Stainer & Bell
2 (Chester) orK16)
No. 32 from
7 Purcell Ground in Gamut
Purcell Miscellaneous (Z.645).
Keyboard No.(Stainer
Pieces 16 from & Purcell Complete Keyboard Music, Book 2 (Chester) or No. 32 from
Bell K22)
Purcell Miscellaneous
8 Scheidemann Keyboard
Französischer Pieces (Stainer
Allemand in D minor.& Bell K22)
No. 14 from Scheidemann Sämtliche Werke für Clavier (Breitkopf &
8 Härtel EB 8688)Französischer Allemand in D minor. No. 14 from Scheidemann Sämtliche Werke für Clavier (Breitkopf &
Scheidemann
Härtel EB 8688)
LIST B
LIST B
B 1 F. Couperin Canaries (from 1er livre, 2e ordre). P. 40 from F. Couperin Anthologie pour Clavecin (L’Oiseau-Lyre
1 F. Couperin Canaries (from 1er livre, 2e ordre). P. 40 from F. Couperin Anthologie pour Clavecin (L’Oiseau-Lyre
OL941)
2 F.OL941)
Couperin Le Petit-Rien (from 3e livre, 14e ordre). P. 6 from F. Couperin Anthologie pour Clavecin (L’Oiseau-Lyre
2 F. or No.Le
Couperin
OL941) 37Petit-Rien (from
from Baroque 3e livre, Pieces,
Keyboard 14e ordre). 6 from F. Couperin Anthologie pour Clavecin (L’Oiseau-Lyre
Book 2P.(ABRSM)
3 OL941) or No.Courante
L. Couperin 37 from Baroque
in C. Keyboard Pieces, Book 2 (ABRSM) P. 28 from ¸ Early French Keyboard Music, Vols 1 & 2
43 Dandrieu
L. Couperin LesCourante in C.
Tendres Reproches (Rondeau) (from 2e livre). P. P. 94 from ˝
28 from ˛ Early
¸
˝ (OUPFrench Keyboard Music, Vols 1 & 2
archive)
4 Dandrieu Les Tendres Reproches (Rondeau) (from
5 L. Couperin Prélude No. 7 in A minor. No. 7 from L. Couperin 94 2e livre). P. from ˛non(OUP
Préludes archive)
mesurés für Cembalo (Breitkopf & Härtel
5 EBL. Couperin
8705) Prélude No. 7 in A minor. No. 7 from L. Couperin Préludes non mesurés für Cembalo (Breitkopf & Härtel
6 EB 8705) Menuet in D minor (from 1er livre). P. 61 from Early French Keyboard Music, Vols 1 & 2 (OUP archive) or
Marchand
6 Marchand
No. 18 from Menuet
BaroqueinKeyboard
D minor Pieces,
(from 1er livre).
Book P. 61 from Early French Keyboard Music, Vols 1 & 2 (OUP archive) or
3 (ABRSM)
7 No. 18 from
Rameau LeBaroque Keyboardand
Lardon (Menuet) Pieces, Book 3 (ABRSM)
La Boiteuse (from Pièces de Clavecin). Rameau Complete Keyboard Works, Vol. 1
7 Rameau Le BA
(Bärenreiter Lardon
6581)(Menuet)
or Rameau La Boiteuse
and Pièces (from Pièces
de Clavecin de Clavecin).
(Bärenreiter BA 3800) Rameau
or Nos 38Complete Keyboard
and 39 from Works,
Baroque Vol. 1
Keyboard
(Bärenreiter
Harpsichord:
Pieces, Book BA GRADE
6581)
2 (ABRSM) or Rameau
4 Pièces de Clavecin (Bärenreiter BA 3800) or Nos 38 and 39 from Baroque Keyboard
8 Pieces, Suitte2de(ABRSM)
Royer Book la Bagatelle. Royer Pièces de Clavecin (Heugel LP 71)
8LIST C Suitte de la Bagatelle. Royer Pièces de Clavecin (Heugel LP 71)
Royer
C 1 J. S. Bach Menuet 1 or 2: 5th or 6th movt from English Suite No. 4 in F, BWV 809. J. S. Bach English Suites (Bärenreiter
BA 5165 or Henle 100)
2 J. S. Bach Menuet: 5th movt from French Suite No. 2 in C minor, BWV 813. J. S. Bach French Suites (Bärenreiter BA
5219 or Henle 593)
3 J. S. & W. F. Bach Allemande in G minor, BWV 837 (from Klavierbüchlein für W. F. Bach). No. 35 from Baroque
Keyboard Pieces, Book 2 (ABRSM)
4 Buxtehude Allemande: from Suite in G minor, BuxWV 242. No. 16 from Buxtehude Sämtliche Suiten und Variationen
(Breitkopf & Härtel EB 8077 )
5 Fischer Bourrée in A minor. No. 15a from ¸
˝ Baroque Keyboard Pieces, Book 3 (ABRSM)
6 Kuhnau Aria in A. No. 16 from ˛
7 Handel Allegro: 2nd movt from Suite in D minor (1733), HWV 436. No. 3 from Handel Klavierwerke, Vol. 2 (Bärenreiter
BA 4221) or No. 3 from Handel Klaviersuiten und Klavierstücke (1733) (Henle 472) or No. 5 from Handel Selected Keyboard
Works, Book 3 (5 Miscellaneous Suites) (ABRSM)
† Published by ABRSM (Specimen Sight-Reading Tests, Specimen Aural Tests)
8† Published
Handel by Sarabande: 2nd movt
ABRSM (Specimen from SuiteTests,
Sight-Reading in ESpecimen
minor (1733), HWV 438. No. 5 from Handel Klavierwerke, Vol. 2
Aural Tests)
48(Bärenreiter BA 4221) or No. 5 from Handel Klaviersuiten und Klavierstücke (1733) (Henle 472)
948Handel Entrée in G minor, HWV 453. No. 6 from Handel Klavierwerke, Vol. 4 (Bärenreiter BA 4223) or No. 11 from
Handel Selected Keyboard Works, Book 1 (ABRSM)
LIST D
1 Arne Minuet (and Variations): 3rd movt from Sonata No. 3 in G. Arne Eight Keyboard Sonatas (Faber)
2 C. P. E. Bach Les Langueurs tendres, Wq. 117/30, H. 110. C. P. E. Bach 23 Pièces characteristiques for Keyboard (OUP)
3 J. C. Bach Andante di molto: 2nd movt from Sonata in D, Op. 5 No. 2. No. 2 from J. C. Bach Klaviersonaten, Vol. 1, Op. 5
(Henle 332)
4 Haydn Adagio: 2nd movt from Sonata in C, Hob. XVI/1. No. 2 from Haydn Selected Keyboard Sonatas, Book 1 (ABRSM)
5 Hurlebusch Andantino: 1st movt from Sonata No. 1 in E. Hurlebusch Keyboard Sonatas, Vol. 1 (Elkan-Vogel) (now out
of print)
6 Paradies Aria (Larghetto e cantabile): 2nd movt from Sonata No. 3 in E. Paradies Sonate di Gravicembalo, Vol. 1 (Schott
ED 6120) 7
7 D. Scarlatti Sonata in A, Kp. 453. No. 37 from Baroque Keyboard Pieces, Book 3 (ABRSM)
8 Zipoli Gavotta: 3rd movt from Suite in D minor. No. 4 from Zipoli Orgel- und Cembalowerke, Vol. 2 (Cembalowerke)
 BA 4221) or No. 3 from Handel Klaviersuiten und Klavierstücke (1733) (Henle 472) or No. 5 from Handel Selected Keyboard
Works, Book 3 (5 Miscellaneous Suites) (ABRSM)
8 Handel Sarabande: 2nd movt from Suite in E minor (1733), HWV 438. No. 5 from Handel Klavierwerke, Vol. 2
(BärenreiterGrades
Performance BA 4221) or No. 5 from Handel Klaviersuiten und Klavierstücke (1733) (Henle 472)
Harpsichord from 2009 Grade 4
9 Handel Entrée in G minor, HWV 453. No. 6 from Handel Klavierwerke, Vol. 4 (Bärenreiter BA 4223) or No. 11 from
Handel Selected Keyboard Works, Book 1 (ABRSM)
LIST D
D 1 Arne Minuet (and Variations): 3rd movt from Sonata No. 3 in G. Arne Eight Keyboard Sonatas (Faber)
2 C. P. E. Bach Les Langueurs tendres, Wq. 117/30, H. 110. C. P. E. Bach 23 Pièces characteristiques for Keyboard (OUP)
3 J. C. Bach Andante di molto: 2nd movt from Sonata in D, Op. 5 No. 2. No. 2 from J. C. Bach Klaviersonaten, Vol. 1, Op. 5
(Henle 332)
4 Haydn Adagio: 2nd movt from Sonata in C, Hob. XVI/1. No. 2 from Haydn Selected Keyboard Sonatas, Book 1 (ABRSM)
5 Hurlebusch Andantino: 1st movt from Sonata No. 1 in E. Hurlebusch Keyboard Sonatas, Vol. 1 (Elkan-Vogel) (now out
of print)
6 Paradies Aria (Larghetto e cantabile): 2nd movt from Sonata No. 3 in E. Paradies Sonate di Gravicembalo, Vol. 1 (Schott
ED 6120)
7 D. Scarlatti Sonata in A, Kp. 453. No. 37 from Baroque Keyboard Pieces, Book 3 (ABRSM)
8 Zipoli Gavotta: 3rd movt from Suite in D minor. No. 4 from Zipoli Orgel- und Cembalowerke, Vol. 2 (Cembalowerke)
(Süddeutscher Musikverlag SM 2204)

SIGHT-READING† AND FIGURED BASS REALIZATION: candidates will be required to:

(i) play a short piece at sight in simple time in the key of C, G, D, A, E, F, Bb or E b major, or A, E, B, D, G
or C minor (see also p. 46)
(ii) realize a short progression of five or six chords over a given bass line, in the key of C, G or F major, which
may include the 53 chord on the first to sixth degrees of the scale, and the 63 chord on the third degree, as
in the following example:

AURAL TESTS FOR THE GRADE†: see pp. 94 and 96

49

8
 (ii) in contrary motion, hands beginning and ending on the same note (unison), starting on D and A b (two
in contrary motion, hands beginning and ending on the same note (unison), starting on D and A b (two
(ii) octaves)
octaves)
Arpeggios: the common chords of the following keys, in root position only, with hands together in similar
Arpeggios: the common
motion one Grades
octave apart: chords of the following keys, in root position only, with hands together in similar
Performance Harpsichord from 2009
motion one octave apart:
C, G, D, A, E, B, F, B b, A b, D b majors ¸
GRADEC,
A, G, D, D,
E, 5
B, A, G,
E, B,
C, F,
F, B
b A b, D b majors ˝¸˛ (three octaves)
Bb,minors
A, E, B, D, G, C, F, Bb minors
˝ (three octaves)
˛
FOUR PIECES: at least one chosen by the candidateeach
THREE PIECES: one chosen by the candidate from fromofeach
Lists
of B andBCand
Lists andC one
and chosen fromfrom
one chosen either ListList
either A orA D:
THREE PIECES: one chosen by the candidate from each of Lists B and C and one chosen from either List A or D:
or D,Awith a fourth of the candidate’s own choice; for further programming requirements, see pages 3–4
LIST
1LIST
BullA Coranto ‘Kingston’. Bull 12 Keyboard Pieces (Stainer & Bell K36)
A 12 Bull
FacoliCoranto
Padoana ‘Kingston’.
prima dita la Bull 12 Keyboard
Marucina. 1 from (Stainer
No. Pieces & Bell
Facoli Balli K36)
d’Arpicordo (1588) (Doblinger 298)
23 Facoli Padoana
Froberger primafrom
Almand: ditaSuite
la Marucina.
(Partita) inNo. 1 from FbWV
D minor, Facoli 618a.
Balli d’Arpicordo (1588)
No. 1 from John (Doblinger
Blow’s 298)(Stainer & Bell K37)
Anthology
3 or FrobergerAlmand:
Froberger from of
New Edition Suite
the (Partita)
Complete inWorks,
D minor, FbWV
Vol. 618a. No. 1BA
4.1 (Bärenreiter from John Blow’s Anthology (Stainer & Bell K37)
8066)
4 or Froberger
Picchi NewPolacha.
Ballo alla Edition ofNo. the3Complete
from Picchi Works,
Dance Vol. 4.1 (Bärenreiter
Variations BA 8066)di Balli d’arpicordo (London Pro Musica
from Intavolatura
4 EK 35) Ballo alla Polacha. No. 3 from Picchi Dance Variations from Intavolatura di Balli d’arpicordo (London Pro Musica
Picchi
5 EK 35) A New Ground (Z.682). No. 10 from Purcell Complete Keyboard Music, Book 2 (Chester) or No. 9 from Purcell
Purcell
5 Miscellaneous
Purcell A NewKeyboard
Ground (Z.682). No. 10 &
Pieces (Stainer from
BellPurcell
K22) orComplete Keyboard
No. 11 from Baroque Music, 2 (Chester)
Book Pieces,
Keyboard Bookor4 No. 9 from Purcell
(ABRSM)
6 Miscellaneous
Sweelinck Malle Keyboard
Sijmen,Pieces
SwWV (Stainer
323. No.& Bell
15 from or No. 11Sämtliche
K22)Sweelinck from Baroque
Werke Keyboard (ABRSM)
Pieces, Book 4Vol.
für Tasteninstrumente, 4 (Breitkopf &
6 Sweelinck Malle Sijmen, SwWV 323. No. 15 from Sweelinck Sämtliche Werke für Tasteninstrumente, Vol. 4 (Breitkopf &
Härtel EB 8744)
7 Härtel
Tomkins EB Worster
8744) Brawls. Tomkins 15 Dances (Stainer & Bell K2)
78 Tomkins
Valente Lo Worster Brawls. Tomkins
Ballo dell’Intorcia. No. 15
6 from Silva(Stainer
Dances Ibérica,&Vol.
Bell2K2)
(Schott ED 5494)
8 Valente Lo Ballo dell’Intorcia. No. 6 from Silva Ibérica, Vol. 2 (Schott ED 5494 )
LIST B
B 1LIST B
F. Couperin L’Atalante (from 2e livre, 12e ordre). P. 22 from ¸ F. Couperin Anthologie pour Clavecin
21 F.F. Couperin
Couperin La L’Atalante
Milordine (from 2e livre,
(Gigue) (from12e1erordre).
livre, 1er ordre). P. P. 42 from ˝
22 from ¸ F. (L’Oiseau-Lyre
˛
˝
Couperin Anthologie
OL941) pour Clavecin
23 F. Couperin
Daquin La Milordine
La Mélodieuse (Gigue)(from
(Rondeau) (from1er1erlivre).
livre, 1er ordre). P. 42 from P. 106˛ from(L’Oiseau-Lyre OL941)
¸ Early French Keyboard Music,
3 DieupartLaGigue
4 Daquin Mélodieuse (Rondeau)
(from Suite 1 from(from 1er livre).
Six Suittes de Clavessin). P.P.106
66 from
from ˝¸ Early French Keyboard Music,
45 Dieupart Vols 1 & 2 (OUP archive)
Jacquet deGigue (from Sarabande
la Guerre Suite 1 from in Six Suittes(from
D minor de Clavessin).
Pièces de Clavecin). P. P. 66 from ˝
44 from ˛ Vols 1 & 2 (OUP archive)
65 Rameau
Jacquet de la Guerre
Menuets 1 and Sarabande
2 (from in D minorSuites
Nouvelles (from dePièces de Clavecin).
Pièces de Clavecin).P. 44 from ˛Complete Keyboard Works, Vol. 2
Rameau
6 (Bärenreiter
Rameau MenuetsBA 6582)1 and or 2Rameau
(from Nouvelles
Pièces deSuites
Clavecinde Pièces de Clavecin).
(Bärenreiter BA 3800)Rameau
or No. 34Complete Keyboard
from Baroque Works,Pieces,
Keyboard Vol. 2
(Bärenreiter
Book 3 (ABRSM)BA 6582) or Rameau Pièces de Clavecin (Bärenreiter BA 3800) or No. 34 from Baroque Keyboard Pieces,
7 BookRameau3 (ABRSM)
Tambourin (from Pièces de Clavecin). Rameau Complete Keyboard Works, Vol. 1 (Bärenreiter BA 6581) or
7Harpsichord: Tambourin
RameauPièces
Rameau deGRADE (from (Bärenreiter
Clavecin BA 3800) Rameau Complete Keyboard Works, Vol. 1 (Bärenreiter BA 6581) or
5 de Clavecin).
Pièces
8 RoyerRameauLa Pièces de Clavecin
Sensible (Rondeau). (Bärenreiter BA 3800)
Royer Pièces de Clavecin (Heugel LP 71)
8LIST C La Sensible (Rondeau). Royer Pièces de Clavecin (Heugel LP 71)
Royer
C 1 J. S. Bach Menuet: 5th movt from Suite in A minor, BWV 818a. No. 28 from Baroque Keyboard Pieces, Book 3 (ABRSM)
2 J. S. Bach Little Prelude in D minor, BWV 926 (from Klavierbüchlein für ¸
W. F. Bach) ˝ J. S. Bach Little Preludes & Fughettas
3 J. S. Bach Prelude in D, BWV 936: No. 4 from Sechs kleine Präludien ˛ (Bärenreiter BA 5238 or Henle 106)
4 Buxtehude Allemande: from Suite in E minor, BuxWV 236. No. 10 from Buxtehude Sämtliche Suiten und Variationen
(Breitkopf & Härtel EB 8077)
5 Buxtehude Canzona in G minor, BuxWV 173. No. 35 from Buxtehude New Edition of the Complete Organ Works, Vol. 3
(Bärenreiter BA 8223 )
*6 Range
Fischer Ouverture:
of piece 1st movt
extends above d from Suite in
† Published by G, ‘Calliope’.
ABRSM (Specimen Sight-Reading
Fischer Tests, Specimen
Musicalischer AuralNeun
Parnassus: Tests)Suiten für Cembalo
* Range of piece
(Schott extends
ED 6254 ) above d † Published by ABRSM (Specimen Sight-Reading Tests, Specimen Aural Tests)
50
7 Handel Allemande: 1st movt from Suite in D minor (1733), HWV 436. No. 3 from Handel Klavierwerke, Vol. 2
50
(Bärenreiter BA 4221) or No. 3 from Handel Klaviersuiten und Klavierstücke (1733) (Henle 472) or No. 5 from Handel
Selected Keyboard Works, Book 3 (5 Miscellaneous Suites) (ABRSM)
8 Handel Courante: 2nd movt from Suite in G minor, HWV 452. No. 7 from Handel Klavierwerke, Vol. 3 (Bärenreiter BA
4222) or No. 2 from Handel Selected Keyboard Works, Book 3 (5 Miscellaneous Suites) (ABRSM)
9 Muffat Gigue: 7th movt from Partita in C minor. Muffat Partitas and Pieces (Schott ED 2827)
LIST D
1 C. P. E. Bach Presto in C minor, Wq. 114/3. No. 6 from C. P. E. Bach Selected Keyboard Works, Book 2 (Miscellaneous
Pieces) (ABRSM)
2 J. C. Bach Allegro: 1st movt from Sonata in A, Op. 17 No. 5. No. 5 from J. C. Bach Klaviersonaten, Vol. 2, Op. 17 (Henle
333)
* 3 Stephen Dodgson Invention No. 5 (Andante maestoso): from Six Inventions, Set 3. P. 44 from Dodgson Works for Harpsi-
chord, Vol. 2 (Cadenza Music)
4 Peter Heeren Nos 4 and 5: from Fünf Stücke für Cembalo (Universal UE 30119)
5 Hurlebusch Larghetto: 2nd movt from Sonata No. 2 in F minor (with cadenza). Hurlebusch Keyboard Sonatas, Vol. 1
(Elkan-Vogel) (now out of print)
* 6 Paradies Giga (Allegro): 2nd movt from Sonata No. 5 in F. Paradies Sonate di Gravicembalo, Vol. 1 (Schott ED 6120)
7 D. Scarlatti Sonata in G minor, Kp. 8. Scarlatti Sonatas, Vol. 1 (Heugel LP 31)
8 D. Scarlatti Sonata in G (Capriccio), Kp. 63. Scarlatti Sonatas, Vol. 2 (Heugel LP 32)
9
SIGHT-READING† AND FIGURED BASS REALIZATION: candidates will be required to:
 7 Handel Allemande: 1st movt from Suite in D minor (1733), HWV 436. No. 3 from Handel Klavierwerke, Vol. 2
(Bärenreiter BA 4221) or No. 3 from Handel Klaviersuiten und Klavierstücke (1733) (Henle 472) or No. 5 from Handel
Selected Keyboard Works, Book 3 (5 Miscellaneous Suites) (ABRSM)
8 Handel Courante:
Performance Grades 2nd movt from Suite in G minor, HWV 452. No. 7 from Handel Klavierwerke,
HarpsichordVol. (Bärenreiter
from3 2009 GradeBA5
4222) or No. 2 from Handel Selected Keyboard Works, Book 3 (5 Miscellaneous Suites) (ABRSM)
9 Muffat Gigue: 7th movt from Partita in C minor. Muffat Partitas and Pieces (Schott ED 2827)
LIST D
D 1 C. P. E. Bach Presto in C minor, Wq. 114/3. No. 6 from C. P. E. Bach Selected Keyboard Works, Book 2 (Miscellaneous
Pieces) (ABRSM)
2 J. C. Bach Allegro: 1st movt from Sonata in A, Op. 17 No. 5. No. 5 from J. C. Bach Klaviersonaten, Vol. 2, Op. 17 (Henle
333)
* 3 Stephen Dodgson Invention No. 5 (Andante maestoso): from Six Inventions, Set 3. P. 44 from Dodgson Works for Harpsi-
chord, Vol. 2 (Cadenza Music)
4 Peter Heeren Nos 4 and 5: from Fünf Stücke für Cembalo (Universal UE 30119)
5 Hurlebusch Larghetto: 2nd movt from Sonata No. 2 in F minor (with cadenza). Hurlebusch Keyboard Sonatas, Vol. 1
(Elkan-Vogel) (now out of print)
* 6 Paradies Giga (Allegro): 2nd movt from Sonata No. 5 in F. Paradies Sonate di Gravicembalo, Vol. 1 (Schott ED 6120)
7 D. Scarlatti Sonata in G minor, Kp. 8. Scarlatti Sonatas, Vol. 1 (Heugel LP 31)
8 D. Scarlatti Sonata in G (Capriccio), Kp. 63. Scarlatti Sonatas, Vol. 2 (Heugel LP 32)

SIGHT-READING† AND FIGURED BASS REALIZATION: candidates will be required to:

(i) play a short piece at sight in simple or compound time in the key of C, G, D, A, E, F, B b, E b or A b major,
or A, E, B, D, G or C minor (see also p. 46)
(ii) realize a short figured bass passage, about five or six bars in length and in simple time, in the key of C,
G or F major, or A or D minor, which may include the 53 chord as required in Grade 4 and the 63 chord on
any degree of the scale. Inessential notes in the bass not requiring realization will be indicated by a
horizontal line, e.g.:

AURAL TESTS FOR THE GRADE†: see pp. 94 and 97

51

10 * Range of piece extends above d‴

 Chromatic Scales:
Chromatic
i(i) in similarScales:
motion with hands together one octave apart, beginning on any note named by the examiner
i(i) in similar motion with hands together one octave apart, beginning on any note named by the examiner
(three octaves)
(ii) (three
in octaves)
contrary motion, beginning on C with the left hand and E with the right, a third apart (two octaves)
Performance Grades Harpsichord from 2009
(ii) in contrary motion, beginning on C with the left hand and E with the right, a third apart (two octaves)
Arpeggios: with hands together one octave apart:
GRADE
Arpeggios:
i(i) the commonwith
6 hands
chordstogether one octave
of the following apart:
keys, root position only:
i(i) the common chords of the following keys, root position only:
b b b
C, G, D, A, E, B, F, B , E , A , D majors ¸ b
C, G,
PREREQUISITE
A, solo A,#FOR
D, F
E, B, C ##B,
,E,
ENTRY: b ABRSM
b C,
A bF,
,D b minors
, GF,#,BD,, EG,,alternatives,
Bb majors
Grade ¸ (three octaves)
5 (or ˝
above) in Music Theory, Practical Musicianship or a Practical
F #,instrument.
C , G #, D,For G, C, F, Bb minors
˝ (three octaves)
˛
(ii) diminished seventh chords, beginning on B, C and C ## (two octaves)
GradesA, E, B,Jazz see www.abrsm.org/prerequisite.
˛
(ii) diminished seventh chords, beginning on B, C and C (two octaves)
THREE PIECES: atone
FOUR PIECES: leastchosen by the by
one chosen candidate from each
the candidate fromof Lists
each of B andBCand
Lists andC one
and chosen fromfrom
one chosen either ListList
either A orA D:
THREE PIECES:
or D, with one
a fourth ofchosen by the’scandidate
the candidate from
own choice; foreach of Lists
further B and C requirements,
programming and one chosen from
see 3–4 List A or D:
either
pages
LIST A
1LIST A Prelude in G. P. 20 from Blow 25 Harpsichord Pieces (Stainer & Bell K44)
Blow
A 1
2 Blow Prelude
Froberger in G. P.No.
Lamento. 20 from
7 fromBlow 25 Harpsichord
Baroque (Stainer
Pieces Book
Keyboard Pieces, & Bell K44)
4 (ABRSM)
32 Gibbons Lamento.
FrobergerGround No. 7 from
in A minor. Baroque
Gibbons EightKeyboard Pieces,
Keyboard PiecesBook 4 (ABRSM)
(Stainer & Bell K26)
3
4 Gibbons Groundditta
Picchi Padoana in Alaminor.
Ongara.Gibbons EightPicchi
No. 6 from Keyboard
DancePieces (Stainer
Variations & Bell
from K26)
Intavolatura di Balli d’arpicordo (London Pro
4 Picchi
Musica Padoana
EK 35) ditta la Ongara. No. 6 from Picchi Dance Variations from Intavolatura di Balli d’arpicordo (London Pro
Musica EK 35)
5 Scheidemann Englische Mascarata in G minor. No. 8 from Scheidemann Sämtliche Werke für Clavier (Breitkopf & Härtel
5 Scheidemann
EB 8688) Englische Mascarata in G minor. No. 8 from Scheidemann Sämtliche Werke für Clavier (Breitkopf & Härtel
6 EB 8688) Paduana Lachrymae, SwWV 328. No. 11 from Sweelinck Sämtliche Werke für Tasteninstrumente, Vol. 4
Sweelinck
6 Sweelinck
(Breitkopf &Paduana
Härtel EBLachrymae,
8744) SwWV 328. No. 11 from Sweelinck Sämtliche Werke für Tasteninstrumente, Vol. 4
(Breitkopf Pavan:
7 Tomkins & Härtel EBStrafford
Earl 8744) (short version) and Galliard: Earl Strafford (short version). Tomkins 15 Dances (Stainer &
7 Bell K2) Pavan: Earl Strafford (short version) and Galliard: Earl Strafford (short version). Tomkins 15 Dances (Stainer &
Tomkins
Bell K2)
8 Weckmann Toccata vel præludium 1mi Toni in D minor. No. 5 from Weckmann Complete Freely Composed Organ and
8 Keyboard
Weckmann Toccata
Works vel præludium
(Bärenreiter 1mi Toni in D minor. No. 5 from Weckmann Complete Freely Composed Organ and
BA 8189)
Keyboard Works (Bärenreiter BA 8189)
LIST B
B 1LIST B
Clérambault Prélude in C (from 1er livre). P. 68 from ¸ Early French Keyboard Music, Vols 1 & 2
21 LeClérambault Prélude in
Roux La Favoritte C (from
(from 1erdelivre).
Pièces P. 42
Clavessin). P. from ˝
68 from ¸ Early
˛
˝
French
(OUP Keyboard Music, Vols 1 & 2
archive)
23 Le Roux La Favoritte (from Pièces de Clavessin). P.
F. Couperin Les Moissoneurs (from 2e livre, 6e ordre). No. 15 42 from ˛ from (OUP archive)
¸ Baroque Keyboard Pieces, Book 4
3
4 F. Couperin Les
L. Couperin Moissoneurs
Chaconne (from 2e livre, 6e ordre). No.
in G minor. No.154 from
from ˛
˝
¸ Baroque
(ABRSM) Keyboard Pieces, Book 4
˝
45 L. Couperin Chaconne
F. Couperin in G (Sarabande)
Les Sentimens minor. (from 1er livre, 1erNo. 4 from P.
ordre). (ABRSM)
˛ 36 from F. Couperin Anthologie pour Clavecin
5 F. Couperin Les
(L’Oiseau-Lyre Sentimens (Sarabande) (from 1er livre, 1er ordre). P. 36 from F. Couperin Anthologie pour Clavecin
OL941)
6 (L’Oiseau-Lyre OL941)
Rameau Les Soupirs (from Pièces de Clavecin) ¸
6 Rameau Complete Keyboard Works, Vol. 1 (Bärenreiter BA 6581)
Rameau Les
7 Rameau Soupirs (from
La Villageoise Pièces de
(Rondeau) Pièces ¸
Clavecin)
(from ˝ Rameau Complete Keyboard Works, Vol. 1 (Bärenreiter BA 6581)
7 de La Villageoise (Rondeau) or Rameau Pièces de Clavecin (Bärenreiter BA 3800)
Harpsichord:
Rameau
Clavecin) GRADE 6 (from Pièces ˝˛˛ or Rameau Pièces de Clavecin (Bärenreiter BA 3800)
de Clavecin)
8 Royer L’Aimable. Royer Pièces de Clavecin (Heugel LP 71)
8LIST C L’Aimable. Royer Pièces de Clavecin (Heugel LP 71)
Royer
C 1 J. S. Bach Sarabande: 5th movt from English Suite No. 1 in A, BWV 806. J. S. Bach English Suites (Bärenreiter BA 5165
or Henle 100)
2 J. S. Bach Allemande: 1st movt from French Suite No. 4 in E b, BWV 815. J. S. Bach French Suites (Bärenreiter BA 5219
or Henle 71)
593)
3 J. S. Bach Praeludium in G, BWV 902/1. No. 20 from Baroque Keyboard Pieces, Book 4 (ABRSM)
4 Buxtehude Aria: Rofilis (Partite diverse), BuxWV 248 (complete). No. 21 from Buxtehude Sämtliche Suiten und
Variationen (Breitkopf & Härtel EB 8077)
5 Fischer Prelude: from Suite in D. No. 5 from John Blow’s Anthology (Stainer & Bell K37)
6* Range
Fux of piece 3rd
Presto: extends
movtabove
fromdSonata
† Published
septimabyinABRSM (Specimen
D minor. Sight-Reading
Fux Seven Tests,
Sonatas for Specimen
Organ Aural Tests)
(Cembalo) (Universal UE 18608)
* Range of piece extends above d † Published by ABRSM (Specimen Sight-Reading Tests, Specimen Aural Tests)
7 Handel Allemande: 3rd movt from Suite in D minor (1720), HWV 428. No. 3 from Handel Klavierwerke, Vol. 1
52
52(Bärenreiter BA 4224) or No. 3 from Handel Klaviersuiten (1720) (Henle 336)
8 Handel Aria con variazioni: 3rd movt from Sonata (Suite) in B b, HWV 434. No. 1 from Handel Klavierwerke, Vol. 2
(Bärenreiter BA 4221) or No. 1 from Handel Klaviersuiten und Klavierstücke (1733) (Henle 472) or No. 12 from Handel
Selected Keyboard Works, Book 2 (Miscellaneous Pieces) (ABRSM)
9 Muffat Ouverture (complete): 1st movt from Partita in C minor. Muffat Partitas and Pieces (Schott ED 2827)
LIST D
* 1 Arne Andante: 1st movt from Sonata No. 4 in D minor. Arne Eight Keyboard Sonatas (Faber)
2 C. P. E. Bach Allegro in A, Wq. 116/16. No. 2 from C. P. E. Bach Selected Keyboard Works, Book 2 (Miscellaneous Pieces)
(ABRSM)
* 3 J. C. Bach Prestissimo: 3rd movt from Sonata in E, Op. 5 No. 5. No. 5 from J. C. Bach Klaviersonaten, Vol. 1, Op. 5 (Henle
332)
* 4 Paradies Presto: 2nd movt from Sonata No. 10 in D. Paradies Sonate di Gravicembalo, Vol. 2 (Schott ED 6121)
5 D. Scarlatti Sonata in C minor, Kp. 11. Scarlatti Sonatas, Vol. 1 (Heugel LP 31) or No. 3 from Scarlatti 200 Sonatas, Vol.
1 (Editio Musica Budapest Z.7817)
* 6 Soler Sonata in E minor, R. 26. No. 13 from Soler 14 Sonatas (Faber custom print) or No. 7 from Soler Eight Sonatas
(Schott ED 9183) or No. 16 from Soler Ausgewählte Klaviersonaten (Henle 475) 11
7 Karen Tanaka Lavender (1989 original version) (published separately: Chester)
 7 Handel Allemande: 3rd movt from Suite in D minor (1720), HWV 428. No. 3 from Handel Klavierwerke, Vol. 1
(Bärenreiter BA 4224) or No. 3 from Handel Klaviersuiten (1720) (Henle 336)
8 Handel Aria con variazioni: 3rd movt from Sonata (Suite) in B b, HWV 434. No. 1 from Handel Klavierwerke, Vol. 2
(Bärenreiter
Performance BA 4221) or No. 1 from Handel Klaviersuiten und Klavierstücke (1733) (Henle
Grades 472) orfrom
Harpsichord No. 2009
12 from Handel
Grade 6
Selected Keyboard Works, Book 2 (Miscellaneous Pieces) (ABRSM)
9 Muffat Ouverture (complete): 1st movt from Partita in C minor. Muffat Partitas and Pieces (Schott ED 2827)
LIST D
D * 1 Arne Andante: 1st movt from Sonata No. 4 in D minor. Arne Eight Keyboard Sonatas (Faber)
2 C. P. E. Bach Allegro in A, Wq. 116/16. No. 2 from C. P. E. Bach Selected Keyboard Works, Book 2 (Miscellaneous Pieces)
(ABRSM)
* 3 J. C. Bach Prestissimo: 3rd movt from Sonata in E, Op. 5 No. 5. No. 5 from J. C. Bach Klaviersonaten, Vol. 1, Op. 5 (Henle
332)
* 4 Paradies Presto: 2nd movt from Sonata No. 10 in D. Paradies Sonate di Gravicembalo, Vol. 2 (Schott ED 6121)
5 D. Scarlatti Sonata in C minor, Kp. 11. Scarlatti Sonatas, Vol. 1 (Heugel LP 31) or No. 3 from Scarlatti 200 Sonatas, Vol.
1 (Editio Musica Budapest Z.7817)
* 6 Soler Sonata in E minor, R. 26. No. 13 from Soler 14 Sonatas (Faber custom print) or No. 7 from Soler Eight Sonatas
(Schott ED 9183) or No. 16 from Soler Ausgewählte Klaviersonaten (Henle 475)
7 Karen Tanaka Lavender (1989 original version) (published separately: Chester)
* 8 Yassen Vodenitcharov La danse de la cigale: No. 1 from Quatres Études pour clavecin (Éditions Musicales Européenes)
(now out of print)

SIGHT-READING† AND FIGURED BASS REALIZATION: candidates will be required to:

(i) play a short piece at sight (see also p. 46)
(ii) realize a figured bass passage, about eight bars in length and in simple time, in the key of C, G, D or
F major, or A, E or D minor, which may include the 53 chord as previously required and the 63 and 64
chords. Inessential notes not requiring realization will be indicated by a horizontal line.
AURAL TESTS FOR THE GRADE†: see pp. 94 and 97

53

12 * Range of piece extends above d‴

 i(i) in similar motion with hands together one octave apart, beginning on any note named by the examiner
i(i) in similar
(three motion with hands together one octave apart, beginning on any note named by the examiner
octaves)
(ii) (three motion, with hands beginning and ending on the same note (unison), starting on C and on F #
octaves)
in contrary
(ii) (two
in contrary
octaves) motion, with hands beginning and ending on the same note (unison), starting on C and on F #
Performance Grades
(two octaves) Harpsichord from 2009
Arpeggios: with hands together one octave apart:
GRADE
Arpeggios:
i(i) the commonwith hands together one octave apart:
7 chords of the following keys in root position and first inversion:
C, G, D, A, E, B, F, B b, E b, A b, D b majors ¸
i(i) the common chords of the following keys in root position and first inversion:
C,
PREREQUISITE # E,
FOR #
B, #
F, B
ENTRY: b
A, E, B, F , C , G , D, G, ,C,
G, D, A, , E b A bF,, D
ABRSM b minors
B b majors
Grade (three
5 (or above)
˝ octaves)
in Music Theory, Practical Musicianship or a Practical
F #,instrument.
C #, G #, D,For C, F, B b minors
¸
˛
˝ (three octaves)
GradesA, solo
E, B,Jazz G, alternatives, see www.abrsm.org/prerequisite.
˛
(ii) chords of the dominant seventh, in root position only, in the keys of C, G, D and F (two octaves)
(ii) chords of the dominant seventh, in root position only, in the keys of C, G, D and F (two octaves)
THREE
FOUR PIECES:
PIECES: at one chosen
least by the by
one chosen candidate from each
the candidate fromofeach
Lists
of B andBCand
Lists andC one
and chosen fromfrom
one chosen either ListList
either A orA D:
THREE PIECES: one chosen by the candidate from each of Lists B and C and one chosen from either List A or D:
or D, with a fourth of the candidate’s own choice; for further programming requirements, see pages 3–4
LIST A
1LIST A The Carman’s Whistle. Byrd Six Sets of Variations (Stainer & Bell K34)
Byrd
A 21 Cabezón
Byrd ThePavana
Carman’s Whistle.No.
Italiana. Byrd Six Sets
2 from of Variations
Cabezón (Stainer
Claviermusik (Schott
& BellED 4286) or No. 1 from Drei Pavanen über das
K34)
2 gleiche
Cabezón Pavana
Thema Italiana.
(Schott ED 5457 No.) 2 from Cabezón Claviermusik (Schott ED 4286) or No. 1 from Drei Pavanen über das
3 Farnaby Loath(Schott
gleiche Thema to Depart.
ED 5457No.)17 from Farnaby 17 Pieces (Stainer & Bell K11)
43 Frescobaldi
Farnaby Loath to Depart.
Capriccio in G.No. 17 from Farnaby
Frescobaldi Fantasy17and
Pieces (Stainer
Capriccio (Doblinger
& Bell K11) DM 296)
45 Frescobaldi Capriccio
Gibbons Galliard ‘LordinSalisbury’.
G. Frescobaldi
GibbonsFantasy
Eight and Capriccio
Keyboard (Doblinger
Pieces (Stainer &DM 296)
Bell K26)
65 Purcell Galliardfrom
GibbonsAlmand: ‘LordSuite
Salisbury’.
No. 7 inGibbons
D minorEight
(Z.668).
Keyboard Pieces
Purcell (Stainer
Complete Music, Book 1 (Chester) or Purcell
& Bell K26)
Keyboard
6 Eight
Purcell Almand:
Suites from
(Stainer SuiteK21)
& Bell No. 7 in D minor (Z.668). Purcell Complete Keyboard Music, Book 1 (Chester) or Purcell
Eight Suites (Stainer
7 Scheidemann Praeambulum in D minor. No. 1 from Scheidemann Sämtliche Werke für Clavier (Breitkopf & Härtel EB
& Bell K21)
7 Scheidemann
8688) Praeambulum in D minor. No. 1 from Scheidemann Sämtliche Werke für Clavier (Breitkopf & Härtel EB
8 8688)
Sweelinck Toccata 2di Toni (g2), SwWV 293. Sweelinck Sämtliche Werke für Tasteninstrumente, Vol. 1 (Breitkopf & Härtel
8 EB 8741) Toccata 2di Toni (g2), SwWV 293. Sweelinck Sämtliche Werke für Tasteninstrumente, Vol. 1 (Breitkopf & Härtel
Sweelinck
EB 8741)
LIST B
B 1LIST B
Chambonnières Pavane: L’Entretien des Dieux. No. 3 from ¸ Baroque Keyboard Pieces,
21 F. Chambonnières Pavane: L’Entretien
Couperin La Favorite: Chaconne à desdeuxDieux.
tems (from 1er livre, 3e ordre). No. from ˝
No. 63 from ¸ Baroque
˛
˝ (ABRSM)Pieces,
Book 5Keyboard
32 F. Couperin La
F. Couperin La Favorite:
Superbe ou Chaconne à deux(from
la Forqueray tems (from 1er17e
3e livre, livre, 3e ordre).
ordre). P. 20 No.
from6 F.
from ˛
CouperinBook 5 (ABRSM)
Anthologie pour Clavecin
3 (L’Oiseau-Lyre
F. Couperin LaOL941)
Superbe ou la Forqueray (from 3e livre, 17e ordre). P. 20 from F. Couperin Anthologie pour Clavecin
4 L. (L’Oiseau-Lyre
Couperin Prélude
OL941)No. 12 in F (complete). No. 12 from L. Couperin Préludes non mesurés für Cembalo (Breitkopf &
4 L. Couperin
Härtel EB 8705)Prélude No. 12 in F (complete). No. 12 from L. Couperin Préludes non mesurés für Cembalo (Breitkopf &
5 Dagincour La Couronne (Allemande) (from Pièces de Clavecin, 1er ordre). P. 96 from Early French Keyboard Music,
Härtel EB 8705)
5 Dagincour La Couronne
Vols 1 & 2 (OUP archive) (Allemande) (from Pièces de Clavecin, 1er ordre). P. 96 from Early French Keyboard Music,
6 Rameau (OUP archive)
Vols 1 & 2Courante in E minor (from Pièces de Clavecin) ¸ Rameau Complete Keyboard Works, Vol. 1 (Bärenreiter BA 6581)
76 Rameau
Rameau Courante
Harpsichord: in E1er
GRADE
Gigue (from minor 7(from Pièces de Clavecin) ˝˛¸˝ Rameau
livre) or Rameau
Complete Keyboard
Pièces Vol. 1 (Bärenreiter
Works,(Bärenreiter
de Clavecin BA 3800)BA 6581)
87 Royer RameauLaGigue (from 1er
Majestueuse livre)
(Courante). ˛
Royer Pièces de Clavecin or(Heugel
RameauLP 71) de Clavecin (Bärenreiter BA 3800)
Pièces
8LIST C La Majestueuse (Courante). Royer Pièces de Clavecin (Heugel LP 71)
Royer
C 1 J. S. Bach Sinfonia No. 15 in B minor, BWV 801. Bach Inventions and Sinfonias (ABRSM )
2 J. S. Bach Courante: 3rd movt from English Suite No. 3 in G minor, BWV 808 ¸ J. S. Bach English Suites
3 J. S. Bach Sarabande and Double: 4th movt from English Suite No. 6 in D minor, ˝ (Bärenreiter BA 5165
BWV 811 ˛ or Henle 100)
4 J. S. Bach Praeludium: 1st movt from Partita No. 1 in Bb, BWV 825. J. S. Bach Six Partitas (Bärenreiter BA 5152 or Henle
28)
5 J. S. Bach Contrapunctus 1: from The Art of Fugue, BWV 1080 (ABRSM)
* Range of piece extends above d † Published by ABRSM (Specimen Sight-Reading Tests, Specimen Aural Tests)
6* Range Böhmof Chaconne:
piece extendsfrom Suite
above d in† D. P. 36 by
Published from Böhm(Specimen
ABRSM SämtlicheSight-Reading 1 (Breitkopf
Werke, Vol. Tests, & Aural
Specimen HärtelTests)
EB 6634)
754Buxtehude Gigue: from Suite in A, BuxWV 243. No. 17 from Buxtehude Sämtliche Suiten und Variationen (Breitkopf &
54Härtel EB 8077)
8 Handel Presto: 6th movt from Suite in D minor (1720), HWV 428. No. 3 from Handel Klavierwerke, Vol. 1 (Bärenreiter
BA 4224) or No. 3 from Handel Klaviersuiten (1720) (Henle 336)
9 Handel Fugue No. 5 in A minor, HWV 609. No. 5 from Handel Klavierwerke, Vol. 3 (Bärenreiter BA 4222) or No. 5 from
Handel Six Fugues, HWV 605–610 (Henle 749)
LIST D
1 C. P. E. Bach Allegro: 1st movt from Sonata in F minor, Wq. 62/6, H. 40. No. 5 from C. P. E. Bach Klaviersonaten Auswahl,
Vol. 1 (Henle 376)
2 J. C. Bach Presto: 2nd movt from Sonata in A, Op. 17 No. 5. No. 5 from J. C. Bach Klaviersonaten, Vol. 2, Op. 17 (Henle
333)
3 W. F. Bach Allemande: 1st movt from Suite in G minor (FK 24). W. F. Bach Ausgewählte Klavierwerke (Henle 452)
4 G. (J. A.) Benda Un poco Allegro: 1st movt from Sonata in G. No. 2 from Benda Six Sonatas (Schott ED 9018)
5 Ronald Caltabiano No. 1: from Fanfares for Solo Harpsichord (Presser: custom print)
* 6 Maconchy Tempo libero, poco lento espressivo: 3rd movt from Notebook for Harpsichord ( pp. 6–11) (Chester)
* 7 Paradies Andante: 1st movt from Sonata No. 4 in C minor. Paradies Sonate di Gravicembalo, Vol. 1 (Schott ED 6120)
8 D. Scarlatti Sonata in E minor, Kp. 263. No. 60 from Scarlatti Ausgewählte Klaviersonaten, Vol. 3 (Henle 476)
13
SIGHT-READING† AND FIGURED BASS REALIZATION: candidates will be required to:
 7 Buxtehude Gigue: from Suite in A, BuxWV 243. No. 17 from Buxtehude Sämtliche Suiten und Variationen (Breitkopf &
Härtel EB 8077)
8 Handel Presto: 6th movt from Suite in D minor (1720), HWV 428. No. 3 from Handel Klavierwerke, Vol. 1 (Bärenreiter
BA 4224) or
Performance No. 3 from Handel Klaviersuiten (1720) (Henle 336)
Grades Harpsichord from 2009 Grade 7
9 Handel Fugue No. 5 in A minor, HWV 609. No. 5 from Handel Klavierwerke, Vol. 3 (Bärenreiter BA 4222) or No. 5 from
Handel Six Fugues, HWV 605–610 (Henle 749)
LIST D
D 1 C. P. E. Bach Allegro: 1st movt from Sonata in F minor, Wq. 62/6, H. 40. No. 5 from C. P. E. Bach Klaviersonaten Auswahl,
Vol. 1 (Henle 376)
2 J. C. Bach Presto: 2nd movt from Sonata in A, Op. 17 No. 5. No. 5 from J. C. Bach Klaviersonaten, Vol. 2, Op. 17 (Henle
333)
3 W. F. Bach Allemande: 1st movt from Suite in G minor (FK 24). W. F. Bach Ausgewählte Klavierwerke (Henle 452)
4 G. (J. A.) Benda Un poco Allegro: 1st movt from Sonata in G. No. 2 from Benda Six Sonatas (Schott ED 9018)
5 Ronald Caltabiano No. 1: from Fanfares for Solo Harpsichord (Presser: custom print)
* 6 Maconchy Tempo libero, poco lento espressivo: 3rd movt from Notebook for Harpsichord ( pp. 6–11) (Chester)
* 7 Paradies Andante: 1st movt from Sonata No. 4 in C minor. Paradies Sonate di Gravicembalo, Vol. 1 (Schott ED 6120)
8 D. Scarlatti Sonata in E minor, Kp. 263. No. 60 from Scarlatti Ausgewählte Klaviersonaten, Vol. 3 (Henle 476)

SIGHT-READING† AND FIGURED BASS REALIZATION: candidates will be required to:

(i) play a piece at sight (see also p. 46)
(ii) realize a figured bass passage, about eight bars in length and in simple or compound time, in the key of
C, G, D, F or B b major, or A, E, D or G minor. The figures may include the 53, 63, 64 and 65 chords and the
5 – suspension. Chromatic accidentals may occur in the figures and the bass.
43
AURAL TESTS FOR THE GRADE†: see pp. 94 and 98

55

14 * Range of piece extends above d‴

 Chromatic Scales:
ii(i) in similar motion with hands a minor third apart beginning on any notes named by the examiner (three
ii(i) in similar motion with hands a minor third apart beginning on any notes named by the examiner (three
octaves)
one scale with each hand separately, in minor thirds starting on A #/C # (two octaves)
i(ii) octaves)
i(ii) one scale with each hand separately, in minor thirds starting on A #/C # (two octaves)
Performance with hands together one octave apart:
Arpeggios: Grades Harpsichord from 2009
Arpeggios: with hands
ii(i) the common chordstogether one octave
of the following apart:
keys in root position, first and second inversions:
ii(i) the common
GRADE 8 chords of the following keys in root position, first and second inversions:
C, G, D, A, E, B, F, B b, E b, A b, D b majors ¸
D, FA,#,E, b b, A b, D bb majors ˝¸˛ (three octaves)
C, G,
A, E, B, #FORC ##B,
, GF,##,BD,, E
G, C, F, B minors ˝ (three octaves)
i(ii) A, E, B,
PREREQUISITE
chords of Fthe,C ,ENTRY:
G , D,seventh,
dominant
ABRSM B broot
G, C, F, in
Grademinors
5 (or above)
position
˛
only, in the keys of C, G, D, A, E, B, F, Bb, E b and A b
in Music Theory, Practical Musicianship or a Practical
Grades solo
i(ii) (three Jazz
chordsoctaves) instrument.
of the dominant seventh, For alternatives,
in root see only, in the keys of C, G, D, A, E, B, F, Bb, E b and A b
www.abrsm.org/prerequisite.
position
(three octaves)
THREE PIECES: atone
FOUR PIECES: leastchosen by the by
one chosen candidate from each
the candidate fromof Lists
each of B andBCand
Lists andC one
and chosen fromfrom
one chosen either ListList
either A orA D:
THREE PIECES: one chosen by the candidate from each of Lists B and C and one chosen from either List A or D:
or D,Awith a fourth of the candidate’s own choice; for further programming requirements, see pages 3–4
LIST
1LIST
BullA Chromatic Pavan (Queen Elizabeth’s) and Chromatic Galliard. Bull 12 Keyboard Pieces (Stainer & Bell K36)
A 21 Byrd
Bull Chromatic
John comePavan
kiss me(Queen
now. Elizabeth’s)
Byrd Six SetsandofChromatic
VariationsGalliard.
(Stainer &BullBell12 Keyboard Pieces (Stainer & Bell K36)
K34)
23 Byrd John come
Frescobaldi kiss Nona.
Toccata me now.Frescobaldi
Byrd Six Sets of Variations
Second (Stainer &
Book of Toccatas, Bell K34)
Canzoni etc 1637 (Bärenreiter BA 2204)
34 Frescobaldi Toccata(1)
Froberger Toccata Nona. Frescobaldi
in A minor, FbWVSecond Book of (2)
101 or Toccata Toccatas, Canzoni
in D minor, FbWV 102. (Bärenreiter
etc 1637 BA132204)
No. 12 or No. from John Blow’s
4 Anthology Toccata&(1)
Froberger(Stainer in A
Bell minor,
K37) FbWV 101New
or Froberger or Toccata
Edition(2) in DComplete
of the minor, FbWV
Works,102.
Vol. No. 12 or No. 13
1 (Bärenreiter BAfrom John Blow’s
8063)
Anthology (Stainer & Bell K37)
5 Kerll Passacaglia (Doblinger DM 173) or Froberger New Edition of the Complete Works, Vol. 1 (Bärenreiter BA 8063)
65 Morley
Kerll Passacaglia
Go from my (Doblinger
window. DM No.173)
13 from Morley Complete Keyboard Works, Vol. 2 (Stainer & Bell K13)
76 Rossi Go from
MorleyToccata No.my7. window.
P. 72 from No. 13 from
Early Morley
Italian Complete
Keyboard Music,Keyboard
Vols 1 &Works,
2 (OUPVol. 2 (Stainer & Bell K13)
archive)
87 Sweelinck
Rossi Toccata No.der
Unter 7. Linden
P. 72 from Early
grune Italian
(Onder eenKeyboard Music,
linde groen), & 2 (OUP
Vols 1325.
SwWV No. 7archive)
from Sweelinck Sämtliche Werke für
8 Sweelinck Unter der
Tasteninstrumente, Vol.Linden grune &
4 (Breitkopf (Onder
Härteleen
EBlinde
8744)groen), SwWV 325. No. 7 from Sweelinck Sämtliche Werke für
Tasteninstrumente,
9 Weckmann ToccataVol. (Breitkopf
(4)4 in A minor.& Härtel
No. 8 EB
from8744)
Weckmann Complete Freely Composed Organ and Keyboard Works
9 (Bärenreiter
Weckmann BA Toccata
8189)(4) in A minor. No. 8 from Weckmann Complete Freely Composed Organ and Keyboard Works
(Bärenreiter BA 8189)
LIST B
LIST B
1 F. Couperin Allemande La Laborieuse (from 1er livre, 2e ordre). P. 30 from F. Couperin Anthologie pour Clavecin
B
1 (L’Oiseau-Lyre
F. Couperin Allemande
OL941) La Laborieuse (from 1er livre, 2e ordre). P. 30 from F. Couperin Anthologie pour Clavecin
2 (L’Oiseau-Lyre OL941) (Rondeau) (from 2e livre, 8e ordre). P. 56 from
F. Couperin Passacaille ¸
23 F. Couperin Passacaille
D’Anglebert Tombeau de(Rondeau) (from 2e livre,(from
Mr. de Chambonnières 8e ordre). P. 56 from ¸ Early French Keyboard Music, Vols 1 & 2
˝ Early French Keyboard Music, Vols 1 & 2
3 D’Anglebert Tombeau de Mr.
Pièces de Clavecin) (with repeats). de Chambonnières (from P. 36 from ˛ ˝ (OUP archive)
(with ˛ (OUP archive)
4 Pièces de Clavecin)
L. Couperin Prélude No. repeats).
1 in D minor (complete) or Prélude No.P.3 36 from
in G minor (complete). No. 1 or No. 3 from L. Couperin
4 Préludes
L. Couperin Prélude No. 1 in D minor (complete) or
non mesurés für Cembalo (Breitkopf & Härtel EB 8705) Prélude No. 3 in G minor (complete). No. 1 or No. 3 from L. Couperin
5 Préludes
Rameau non mesurés fürRameau
La Dauphine. (Breitkopf
CembaloComplete & HärtelWorks,
Keyboard EB 8705)
Vol. 1 (Bärenreiter BA 6581) or Rameau Pièces de Clavecin
5 (Bärenreiter
Rameau La BA Dauphine.
3800) Rameau Complete Keyboard Works, Vol. 1 (Bärenreiter BA 6581) or Rameau Pièces de Clavecin
(Bärenreiter
6 Rameau BA 3800)
L’Enharmonique (from Nouvelles Suites de Pièces de Clavecin). Rameau Complete Keyboard Works, Vol. 2
6 (Bärenreiter
Rameau L’Enharmonique
BA 6582) or Rameau(from Nouvelles Suites de(Bärenreiter
Pièces de Clavecin Pièces de Clavecin).
BA 3800) Rameau Complete Keyboard Works, Vol. 2
7 Rameau(Bärenreiter
La BA 6582)
Poule or Nouvelles
(from Rameau PiècesSuitesde Pièces de(Bärenreiter
deClavecin BA 3800)Complete Keyboard Works, Vol. 2 (Bärenreiter
Clavecin). Rameau
7 BA Rameau LaRameau
6582) or Poule (from
PiècesNouvelles Suites
de Clavecin de Pièces de
(Bärenreiter BAClavecin).
3800) or No.Rameau
10 fromComplete
BaroqueKeyboard
KeyboardWorks,
Pieces,Vol. 2 (Bärenreiter
Book 5 (ABRSM)
8Harpsichord:
BA 6582)
Royer LaorMarche
RameauGRADE
desPièces
Scythes de8Clavecin (Bärenreiter BA 3800) or No. 10 from Baroque Keyboard Pieces, Book 5 (ABRSM)
¸
Royer Pièces de Clavecin (Heugel LP 71)
98 RoyerRoyer LeLa Vertigo
Marche (Rondeau)
des Scythes ˝ ¸
˝ Royer Pièces de Clavecin (Heugel LP 71)
˛
9LIST C Le Vertigo (Rondeau) ˛
Royer
C 1 J. S. Bach Prélude: 1st movt from English Suite No. 2 in A minor, BWV 807 ¸ J. S. Bach English Suites (Bärenreiter
˝
2 J. S. Bach Prélude: 1st movt from English Suite No. 3 in G minor, BWV 808 ˛ BA 5165 or Henle 100)
* Range of piece extends above d † Published by ABRSM (Specimen Sight-Reading Tests, Specimen Aural Tests)
3* Range
J. S. of
Bach Toccata: 1st movt from Partita No. 6 in E minor, BWV 830.
piece extends above d † Published by ABRSM (Specimen Sight-Reading Tests, Specimen
J. S. Bach Aural(Bärenreiter
Six Partitas Tests) BA 5152 or
56Henle 28)
456J. S. Bach Prelude and Fugue in F # minor, BWV 883. No. 14 from ¸ J. S. Bach The Well-Tempered Clavier, Part 2
5 J. S. Bach Prelude and Fugue in A b, BWV 886.
˝
No. 17 from ˛ (ABRSM )
6 J. S. Bach Toccata No. 4 in G minor, BWV 915. J. S. Bach Toccatas (Bärenreiter BA 5235 or Henle 126)
7 Böhm Präludium, Fuge und Postludium in G minor. P. 23 from Böhm Sämtliche Werke, Vol. 1 (Breitkopf & Härtel EB
6634)
8 Buxtehude Prelude and Fugue in G minor, BuxWV 163. No. 1 from Buxtehude Ausgewählte Werke für Klavier
(Cembalo) (Breitkopf & Härtel EB 6281)
9 Handel Air (with Handel’s ornamentation) and Doubles: 5th movt ¸ Handel Klavierwerke, Vol. 1
from Suite in D minor (1720), HWV 428. No. 3 from Ó (Bärenreiter BA 4224) or
10 Handel Ouverture (complete): 1st movt from Suite in G minor (1720), Ï Handel Klaviersuiten (1720)
HWV 432. No. 7 from ˛ (Henle 336)
LIST D
* 1 Jurriaan Andriessen Musica per Clavicembalo (Music Centre the Netherlands)
2 W. F. Bach Fantasia in A minor (FK 23). W. F. Bach Ausgewählte Klavierwerke (Henle 452)
3 Ligeti Passacaglia ungherese for harpsichord (Schott ED 6843)
* 4 Mozart Modulierendes Präludium. No. 61 from Mozart Klavierstücke (Henle 22)
* 5 Paradies Vivace: 1st movt from Sonata No. 10 in D. Paradies Sonate di Gravicembalo, Vol. 2 (Schott ED 6121)
* 6 Rhian Samuel Silver Threads for solo harpsichord (Stainer & Bell Y232) 15
7 D. Scarlatti Sonata in A, Kp. 24. No. 50 from Scarlatti Ausgewählte Klaviersonaten, Vol. 3 (Henle 476) or No. 5 from
 8 Buxtehude Prelude and Fugue in G minor, BuxWV 163. No. 1 from Buxtehude Ausgewählte Werke für Klavier
(Cembalo) (Breitkopf & Härtel EB 6281)
9 Handel Air (with Handel’s ornamentation) and Doubles: 5th movt ¸ Handel Klavierwerke, Vol. 1
from SuiteGrades
Performance in D minor (1720), HWV 428. (Bärenreiter
No. 3 from ÓHarpsichord BA2009
from or
4224) Grade 8
10 Handel Ouverture (complete): 1st movt from Suite in G minor (1720), Ï Handel Klaviersuiten (1720)
HWV 432. No. 7 from ˛ (Henle 336)
LIST D
D * 1 Jurriaan Andriessen Musica per Clavicembalo (Music Centre the Netherlands)
2 W. F. Bach Fantasia in A minor (FK 23). W. F. Bach Ausgewählte Klavierwerke (Henle 452)
3 Ligeti Passacaglia ungherese for harpsichord (Schott ED 6843)
* 4 Mozart Modulierendes Präludium. No. 61 from Mozart Klavierstücke (Henle 22)
* 5 Paradies Vivace: 1st movt from Sonata No. 10 in D. Paradies Sonate di Gravicembalo, Vol. 2 (Schott ED 6121)
* 6 Rhian Samuel Silver Threads for solo harpsichord (Stainer & Bell Y232)
7 D. Scarlatti Sonata in A, Kp. 24. No. 50 from Scarlatti Ausgewählte Klaviersonaten, Vol. 3 (Henle 476) or No. 5 from
Scarlatti 200 Sonatas, Vol. 1 (Editio Musica Budapest Z.7817)
8 D. Scarlatti Sonata in G minor, Kp. 30 (‘Cat Fugue’). No. 1 from Scarlatti Ausgewählte Klaviersonaten, Vol. 1 (Henle
395) or No. 10 from Scarlatti 200 Sonatas, Vol. 1 (Editio Musica Budapest Z.7817)
* 9 Soler Sonata in C # minor, R. 21. No. 10 from Soler 14 Sonatas (Faber) or No. 4 from Soler Eight Sonatas (Schott ED
9183) or No. 3 from Soler Ausgewählte Klaviersonaten (Henle 475 )

SIGHT-READING† AND FIGURED BASS REALIZATION: candidates will be required to:

(i) play a piece at sight (see also p. 46)
(ii) realize a figured bass passage, up to sixteen bars in length and in simple or compound time, in the key of
C, G, D, F, B b or E b major, or A, E, B, D, G or C minor. In addition to the requirements of Grade 7, the
6
figures may include the 4 and 7 chords. Chromatic accidentals may occur in the figures and the bass.
2
AURAL TESTS FOR THE GRADE†: see pp. 94 and 99

57

16 * Range of piece extends above d‴

Programme form – Performance Grades
Please show this completed form and your own-choice piece/song to the camera, and announce yourself (name, subject, grade) and your
pieces/songs (titles, composers, list information) in the order you will be performing them, before beginning your performance.

Candidate name ________________________________________________________________________________________ Subject (instrument) _______________________________________________________

Candidate/National ID ____________________________________________________________________________ Grade _________________________________________________________________________________

Piece/Song Title Composer List* Number*

* Write ‘OC’ for your own-choice piece/song

Year of syllabus repertoire lists ___________________________ (unless from the repertoire lists);
leave ‘List’ blank if a Snare Drum, Timpani or
Related instrument(s) (if used) _________________________________________________________________________________________________________________ Tuned Percussion candidate

Additional information for own-choice piece/song (unless chosen from the repertoire lists)

Arranger Book/publication title Publisher/available from

(if applicable) (if applicable)
Programme form – Performance Grades
Please show this completed form and your own-choice piece/song to the camera, and
announce yourself (name, subject, grade) and your pieces/songs (titles, composers, list
information) in the order you will be performing them, before beginning your performance.

Candidate name _______________________________________________________________________________________________

Candidate/National ID _______________________________________________________________________________________________

Subject (instrument) _______________________________________________________________________________________________

Grade _______________________________________________

Piece/Song Title Composer List* Number*

Year of syllabus repertoire lists ___________________________

Related instrument(s) (if used) _________________________________________________________________________________________________________________

Additional information for own-choice piece/song (unless chosen from the repertoire lists)

Arranger Book/publication title Publisher/available from

(if applicable) (if applicable)

* Write ‘OC’ for your own-choice piece/song (unless from the repertoire lists);
leave ‘List’ blank if a Snare Drum, Timpani or Tuned Percussion candidate