London College of Music Examinations

Electronic
Keyboard
Syllabus
Qualification specifications for:
Steps, Grades, Recital Grades, Leisure Play, Performance Awards

Valid from:
2021–2024
© 2021 University of West London
v20210629
Contents
1.  Information and general guidelines
1.1 Introduction 3
1.2  Syllabus validity 4
1.3  Changes to the syllabus 4
1.4  Exam options 4
1.5  Exam entry 5
1.6  Exam durations 5
1.7  Assessment and results 5
1.8  Exam regulations 6
1.9  Performance guidelines 6
2.  Summary of subject content
2.1  Introductory examinations 8
2.2  Graded examinations 8
2.3  Recital Grades 8
2.4  Leisure Play 9
2.5  Performance Awards 9
3.  Grade descriptions
3.1  Introductory examinations 11
3.2  Graded examinations 11
4.  Exam requirements 13
5. Own choice pieces 28
6.  Discussion
6.1  Information 30
6.2  Requirements 30
7. Accompaniment or chord sequence test
7.1 Information 33
7.2 Requirements 33
8.  Aural Tests
8.1  Information 34
8.2  Requirements 34
9.  Assessment
9.1  Assessment domains 40
9.2  How marks are awarded 41
9.3  Awards of Pass, Pass with Merit or Pass with Distinction 46
10.  Regulated qualifications
10.1  Regulated qualification information 47
10.2  RQF levels 48
10.3  UCAS tariff points 48
1.  Information and general guidelines

1.1 Introduction

London College of Music Examinations (LCME)

External examinations have been awarded by the London College of Music since the institution’s founding
in 1887. Today, examinations are held throughout the United Kingdom, Republic of Ireland and at many
overseas centres; they are unique in the graded examinations sector in being awarded by a university,
ensuring the added quality assurance of the University of West London (UWL), who is the issuer of
certificates. Graded and diploma exams in most subjects are regulated by Ofqual, and other UK regulators.
Candidates applying to UK universities through the UCAS system are eligible to claim UCAS points if they
achieve a Pass or higher at grades 6 to 8 in a regulated subject.

What makes LCM Examinations distinctive

LCM’s graded and diploma qualifications make a distinctive contribution to education in music, drama and
communication, because of the emphasis placed upon:
• creative thinking
• an encouragement to think technically and critically about the repertoire performed, and the opportunity
to communicate this in practical examinations
• a distinctively broad stylistic range of tasks and repertoire, with a strong emphasis towards the
acquisition and demonstration of skills and understandings that are of contemporary relevance to
the performing arts
• the provision of assessment in areas not traditionally included within the scope of graded examinations
• the provision of flexible examination formats and arrangements

Syllabus objectives
A course of study based on this syllabus is intended to provide:
• a balanced combination of performing skills, supported by knowledge and understanding
• an enduring love, enjoyment and understanding of the performing arts, from the perspective of both
participants and audience
• the basis to develop relevant and usable skills and concepts
• skills in organisation, planning, problem solving and communication
• enhanced ability in acquiring the personal disciplines and motivation necessary for lifelong learning
• opportunities for mastery learning that are structured and directly related to the repertoire published
for each grade
• opportunities for learning and assessment that are creatively challenging
• a progressive and unified assessment system, enabling candidates to plan and obtain an effective
education in the arts, equipping candidates with added value to enhance career routes, educational
opportunities and decision-making

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1.2  Syllabus validity

This syllabus is valid for Steps, Grades, Recital Grades, Leisure Play and Performance Awards in Electronic
Keyboard from Summer 2021 until Winter 2024. The 2013–2019 syllabus will remain valid until the end of
the Summer 2022 exam session.

1.3  Changes to the syllabus

This syllabus replaces the Music Grades Syllabus and Electronic Keyboard Repertoire List (2013–2019).
These are now combined into one syllabus. Major changes to the syllabus consist of:
• revisions to Technical Work requirements
• revised Performance specifications and new repertoire
• amendments to the requirements for the Accompanying Test
• changes to the keys tested in the Chord Sequence Test
• revised topics for the Discussion component

1.4  Exam options

The following is an overview of the four types of graded examination contained in this syllabus:

Grades Recital Grades Leisure Play Performance Awards

Technical Work ü û û û
Performance 3 pieces 4 or 5 pieces 4 pieces 3 pieces
Optional for
Discussion ü û û
Component 2
Optional for
Sight Reading ü û û
Component 2
Aural Tests ü û û û
Structure Grades 1 to 8 Grades 1 to 8 Grades 1 to 8 Levels 1 to 8
Prerequisites û û û û
Recorded
Assessment Examination Examination Examination
performance
Distinction: 85–100% Distinction: 85–100% Distinction: 85–100% Distinction: 85–100%
Grading Merit: 75–84% Merit: 75–84% Merit: 75–84% Merit: 75–84%
Pass: 65–74% Pass: 65–74% Pass: 65–74% Pass: 65–74%
Regulation ü ü ü û
UCAS points Grades 6 to 8 Grades 6 to 8 Grades 6 to 8 û

Introductory examinations
LCME also offers two levels of introductory examinations in electronic keyboard: step 1 and step 2. The
pass bands are the same as for the graded examinations (Distinction (85–100% of the total marks available),
erit (75–84%) and Pass (65–74%). These exams are not regulated by Ofqual.

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1.5  Exam entry

Exam dates, locations and fees

Details of exam dates, locations, fees and how to book an exam are available on our website:
lcme.uwl.ac.uk

Age groups and requirements for prior learning

LCM Examinations are open to all and there are no minimum age restrictions, however it is unlikely that
candidates below the age of 12 will possess the musical maturity for success at grades 6 to 8. There are
no prerequisite qualifications required for entering any step or graded exam; candidates can enter at any
level provided they have the required knowledge, skills and understanding.

Reasonable adjustments and special considerations

Information on assessment, examination and entry requirements for candidates with specific needs is
published in the Equality of Opportunity, Reasonable Adjustment and Special Consideration policy available
on our website.

1.6  Exam durations

Steps
Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8
1 and 2
15 mins 20 mins 20 mins 20 mins 25 mins 25 mins 30 mins 30 mins 35 mins

1.7 Assessment and results

Marking
How marks are awarded
Qualifications are awarded by University of West London Qualifications (UWLQ). Exams are conducted
by trained external examiners and are held at approved centres in the UK and overseas. Candidates will
be assessed on their technical accomplishment, musicality, musical knowledge and communication. In
awarding marks, examiners will take into account the extent to which each of these assessment domains
is demonstrated within the individual exam components; the assessment criteria used by the examiners
for graded examinations is given in Section 7: Assessment. A pass in each individual exam component is
not required to pass overall.

Issue of results
A written report will be compiled for each examination. Candidates will be informed of the result of examinations
as soon as possible. Results are available online within days and will be sent by post not later than four weeks
after the examination date. Certificates for successful candidates are normally dispatched within eight weeks
of the date of the examination, but very often they will be received sooner than this. This time is necessary
to ensure that all results are properly standardised and have been checked by LCM Examinations.

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Enquiries, complaints and appeals
Information on how to make an enquiry, complaint or appeal is published in the Enquiries and Appeals
policy and the Complaints procedure documents available on our website.

1.8  Exam regulations

Full details of all general exam regulations are published in the Regulations and Information document
available on our website.

1.9  Performance guidelines

A considerable and ever-expanding range of instruments is available on the market. Guidelines relating to
the specifications of those which are acceptable, and their use in examinations, are as follows:

Instruments
Candidates will be assessed on the musicality and communicative skills demonstrated through their
performance. It is therefore advisable at all levels for candidates to use an instrument incorporating as
many features as possible which are appropriate to the repertoire being performed and the level of exam
taken. These may include the use of touch responsive keys, sustain pedals, registration memories and
kick switches for registration changes, expression/volume pedals, etc. Some degree of dynamic control,
achieved through the use of a volume pedal or touch sensitive keys, or both, is essential from grade 5
onwards. The keyboard should have a minimum of 4 octaves, with full-sized keys.
Candidates will be expected to bring their own keyboard to the examination unless arrangements have
been made by the teacher/centre to provide instruments (usually in a private music school/teaching centre).
Candidates using their own keyboard should also provide a music rest, power adaptor/batteries, keyboard
stand and keyboard stool (if required). In the case of a young candidate, the teacher, parent or other adult
must be responsible for connection of the power adaptor to the electrical power socket.

Setting Up
Examiners will not assist with setting up or registering the instrument.

Technical Work
Scales and arpeggios should be played using a clear tone — preferably a piano or electric piano voice,
with no sustain. Scales should be played with a sense of musicality and purpose. The first aim of playing
scales and arpeggios is to achieve accuracy, evenness and clarity. For the guidance of candidates the
recommended tempo range is shown. All scales and arpeggios must be played from memory. Music may
be used for the exercises at steps 1 & 2 and for the study at grades 1–8.

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Tempo
Recommended tempo given in supplementary material and grade handbooks should be adhered to closely.

Single Finger Chords

The use of single finger chords is not permitted in any examination

Stored Memory
For steps, and for List A and B pieces in graded examinations, the use of USB sticks, hard-drive memory,
SD cards and floppy disks is strictly limited to the purpose of registration setting only. Only the rhythmic
features incorporated into the instrument will be accepted and additional MIDI facilities, drum machines etc.
will not be allowed. For List C pieces in graded exams, candidates may make full use of today’s technology,
including sequencing (multi-tracking), drum and accompaniment programming, and performance (multi)
pads. However, this technology must be used to enhance the live performance — not to make this technically
easier. (The use of commercially available MIDI files is not accepted under any circumstances.) This is to
encourage the use of today’s technology in a musical fashion and is entirely optional. No additional marks
are available for the use of such technology.

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2.  Summary of subject content

Full information about each exam component is provided in Section 4: Exam requirements.

2.1  Introductory examinations

Exam components
Component 1: Exercises
Component 2: List A Pieces
Component 3: List B Pieces
Component 4: Discussion Questions

Component weightings
Exercises List A Pieces List B Pieces Discussion Questions
25% 20% 40% 15%

2.2  Graded examinations

Exam components
Component 1: Technical Work
Option 1: Scales and arpeggios
Option 2: Study

Component 2: Performance
Component 3: Discussion
Component 4: Accompanying or Chord Sequence Test
Component 5: Aural Tests

Component weightings
Accompanying /
Technical Work Performance Discussion Aural Tests
Chord Sequence Test
15% 60% 7% 10% 8%

2.3  Recital Grades

The requirements for each exam component are the same as for the equivalent graded exam (see Section
4: Exam requirements) unless specified otherwise below.

Exam components
Component 1: Performance
Candidates perform four pieces, selected from the set lists (A, B and C) for the equivalent grade; there is

8
no requirement to select the pieces from different lists. Where a study is listed for the equivalent grade,
this may not be included in the programme.

Component 2: Performance of Accompanying/ Chord Sequence Test or Discussion

Option 1: Performance of an additional piece (requirements as for Component 1)
Option 2: Accompanying OR Chord Sequence Test
Option 3: Discussion

Component weightings
Performance 5
or Accompanying/
Performance 1 Performance 2 Performance 3 Performance 4
Chord Sequence Test
or Discussion
20% 20% 20% 20% 20%

Regulation
Recital Grades are regulated by Ofqual and attract UCAS points in the same way as our standard
examinations.

2.4  Leisure Play

Candidates perform four pieces. At least three of the pieces are to be selected from the listed repertoire
for the equivalent grade; there is no requirement to select one piece from each of the set lists (A, B and
C). The fourth piece is the candidate’s own choice; this does not have to be selected from the repertoire
lists and it may be an original or own composition. There is no requirement for own choice pieces to be
pre-approved and advice on the standard expected at each grade can be found on pages 28–29. Candidates
should be aware that if the standard of an own choice piece is significantly easier than that of the equivalent
grade, this may be reflected in the marking.

Component weightings
Performance 1 Performance 2 Performance 3 Performance 4
25% 25% 25% 25%

Regulation
Leisure Play exams are regulated by Ofqual and attract UCAS points in the same way as our standard
examinations.

2.5  Performance Awards

Candidates submit a video file of their performance rather than attending an examination venue. There are
eight levels, each equivalent to the standard of the graded exams (Performance Award Level 3 is equivalent
to Grade 3). Performances are assessed by trained LCM examiners, using the same standards and criteria as

9
are used for graded exams, offering candidates a reliable and independent assessment of their performance
standard, while benefiting from the flexibility allowed by the submission process. Candidates are awarded
an overall mark for their performance.

Entry details
Candidates may enter for performance awards at any time; the standard closing dates are not applicable.
To enter, candidates should visit lcme.uwl.ac.uk and click on the upload work link. Here the entry form
should be completed, the exam fee paid and then the file can be uploaded.

Requirements
Requirements for performance awards are exactly the same as the requirements for the performance
component of the equivalent graded examination. In addition, please note the following requirements:
• Candidates must provide details of the songs they are performing; this information should be provided
in Section 4 of the entry form or the online form. Candidates are not required to submit scores of any
pieces performed.
• Each piece must be recorded in a single, uninterrupted take.
• Performances must be recorded using a static camera, which should be positioned in such a way as
to show the performer clearly.
• The microphone must be of sufficient quality to allow assessment of all aspects of the performance,
including tone quality, dynamic range etc.
• The microphone should be positioned in such a way as to ensure a good sound balance between
candidate and accompanist (if applicable).
• When uploading a file to the website, the file must be either avi, flv, wmv, mov or mp4 format and
should not exceed 150MB. The file must be labelled clearly with the candidate’s name.
• The entry process includes a declaration indicating that the performances were given by the candidate.
This must be signed and dated by the candidate and by an adult witness (who may be the candidate’s
teacher).

Assessment, awarding and reporting

The procedure for issuing results and certificates is the same as for graded examinations.

Please note that the Performance Award syllabus is not regulated by Ofqual and does not attract UCAS
points.

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3.  Grade descriptions

3.1  Introductory examinations

Steps 1 and 2
The material selected for these grades is of an elementary nature. Time signatures will be simple, with
the quaver generally being the shortest note. Only the most common key signatures will be used, with
occasional accidentals.

3.2  Graded examinations

Grades 1 and 2
The musical material selected for these grades is of an essentially elementary nature. Only the most basic,
and hence most common, time signatures and keys are used. Melodic and rhythmic material is simple.
Indications of dynamics, phrasing and ornamentation will occur only sporadically in the music, and will
be limited to the most basic types. The repertoire of scales and arpeggios in Component 1 is limited to
the least demanding examples. Technical accomplishment is a more important element of assessment
than is musicality, and expectations of communication are limited.

Grades 3 and 4
The musical material selected for these grades is of a more demanding nature. The number of keys and time
signatures which may be used is increased. Melodic and rhythmic material is more complex. Indications
of dynamics, articulation, phrasing and ornamentation will be a more regular feature of the music, and a
wider variety of type will be used. The repertoire of scales and arpeggios in Component 1 is expanded in
number, and includes more taxing examples. Musicality is an increasingly important element of assessment
in relation to technical accomplishment, and expectations of communication are higher.

Grade 5
The musical material selected for grade 5 is of a significantly more demanding nature than for previous
grades; it is the first grade where one might expect to encounter repertoire which might conceivably be
performed at a professional recital. The number of keys and time signatures which may be used extends
to all but the most unusual and unlikely examples. Melodic and rhythmic material may include a moderate
degree of complexity. Dynamics, articulation, phrasing and ornamentation will be varied and will often
demand a degree of subtlety in performance. The repertoire of scales and arpeggios in Component 1 is
expanded in number to include more taxing examples. Musicality is judged to be an important element
of assessment, and expectations of communication are higher.

Grades 6 and 7
The musical material selected for these grades may be described as being at the technically less demanding
end of the continuum of professional repertoire. The number of keys and time signatures which may be used

11
extends to the full range of possibilities. Melodic and rhythmic material may include a significant degree
of complexity. The music will include passages where dynamics, articulation, phrasing and ornamentation
demand considerable dexterity and flexibility. The repertoire of scales and arpeggios in Component 1 is
expanded in number to include a large number of types; in addition, candidates may be asked to perform
them with varying dynamics and articulations. Musicality is judged to be almost as important as technical
accomplishment in the assessment, and the candidate is expected to communicate with an emerging
sense of musical personality.

Grade 8
The musical material selected for this grade may be described as being technically some way inside
the continuum of professional repertoire. The number of keys and time signatures which may be used
extends to the full range of possibilities; furthermore, pieces may include variations and changes of key
and metre. Melodic and rhythmic material will include a significant degree of complexity. The demands of
dynamics, articulation, phrasing and ornamentation will be consistent and considerable. The repertoire
of scales and arpeggios in Component 1 is expanded in number to comprise an extremely wide range of
type, requiring different playing styles and exploiting the full range of the instrument. Musicality is judged
to be almost as important as technical accomplishment in the assessment, and the candidate is expected
to communicate with an emerging or clear sense of musical personality.

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4.  Exam requirements

Step 1

Component 1: Exercises 25 marks

Candidates play all five of the following:

Title Publication
Step, Skip, Jump Electronic Keyboard Handbook 2021–2024: Step 1 (LCM)
Count the Beats Electronic Keyboard Handbook 2021–2024: Step 1 (LCM)
Chord Practice Electronic Keyboard Handbook 2021–2024: Step 1 (LCM)
A Simple Waltz Electronic Keyboard Handbook 2021–2024: Step 1 (LCM)
Chord Shapes Electronic Keyboard Handbook 2021–2024: Step 1 (LCM)

Component 2: List A Pieces 20 marks

Candidates to play any two of the following:

Title Publication
Look Lively Electronic Keyboard Handbook 2021–2024: Step 1 (LCM)
Whistle a Tune Electronic Keyboard Handbook 2021–2024: Step 1 (LCM)
Follow the River Electronic Keyboard Handbook 2021–2024: Step 1 (LCM)
An Old Story Electronic Keyboard Handbook 2021–2024: Step 1 (LCM)

Component 3: List B Pieces 40 marks

Candidates to play any two of the following:

Title Publication
My Old Guitar Electronic Keyboard Handbook 2021–2024: Step 1 (LCM)
Shell Suit Electronic Keyboard Handbook 2021–2024: Step 1 (LCM)
Friday Feeling Electronic Keyboard Handbook 2021–2024: Step 1 (LCM)
New Adventure Electronic Keyboard Handbook 2021–2024: Step 1 (LCM)

Component 3: Discussion Questions 15 marks

Candidates should be able to:
• recognise and identify the following in the music performed: staff, treble clef, barlines, time signature
and note and rest types and values
• demonstrate an understanding of the voices and rhythm styles used in the pieces

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Step 2

Component 1: Exercises 25 marks

Candidates play all five of the following:

Title Publication
Thumb Under Electronic Keyboard Handbook 2021–2024: Step 2 (LCM)
Accidental Rag Electronic Keyboard Handbook 2021–2024: Step 2 (LCM)
Leaping About Electronic Keyboard Handbook 2021–2024: Step 2 (LCM)
Tied Up Cha Cha Electronic Keyboard Handbook 2021–2024: Step 2 (LCM)
Treble and Bass Electronic Keyboard Handbook 2021–2024: Step 2 (LCM)

Component 2: List A Pieces 20 marks

Candidates to play any two of the following:

Title Publication
Wild West Electronic Keyboard Handbook 2021–2024: Step 2 (LCM)
Reflections Electronic Keyboard Handbook 2021–2024: Step 2 (LCM)
Rococo Rock Electronic Keyboard Handbook 2021–2024: Step 2 (LCM)
Strictly Cha Cha Electronic Keyboard Handbook 2021–2024: Step 2 (LCM)

Component 3: List B Pieces 40 marks

Candidates to play any two of the following:

Title Publication
On Parade Electronic Keyboard Handbook 2021–2024: Step 2 (LCM)
Roundabout Rag Electronic Keyboard Handbook 2021–2024: Step 2 (LCM)
Popcorn Electronic Keyboard Handbook 2021–2024: Step 2 (LCM)
8 O’Clock Waltz Electronic Keyboard Handbook 2021–2024: Step 2 (LCM)

Component 3: Discussion Questions 15 marks

Candidates should be able to:
• recognise and identify the following in the music performed: staff, treble clef, barlines, time signature,
note and rest types and values (including dotted rhythms), and the position and purpose of the key
and time signatures and accidentals
• demonstrate an understanding of the voices and rhythm styles used in the pieces and how the
instruments selected would originally be played (for example: struck, blown or played with a bow)

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Grade 1

Component 1: Technical Work 15 marks

Candidates can prepare either Option 1: Scales and Arpeggios, or Option 2: Study.

Option 1: Scales and Arpeggios

The examiner will ask for a selection of the scales below. All are to be performed ascending and descending,
from memory. They may be requested either straight or swung.

Suggested tempo: scales q = 69, arpeggios q = 62 (iiiq pattern).

Requirements Range Details

Scales
C, G, D, F major Hands separately and together
1 octave
A minor (harmonic or melodic, candidate’s choice)
Pentatonic scale

C pentatonic major 1 octave Hands separately

Contrary motion scale

C major 1 octave Hands together
Arpeggios
C, G, D, F major Hands separately
1 octave
A minor

Option 2: Study
Chris Stanbury Rock On Electronic Keyboard Handbook 2021–2024: Grade 1 (LCM)

Component 2: Performance 60 marks

Performance of three pieces, one from List A, one from List B and EITHER a piece from List C OR an own choice
piece. Guidance for the standard required at each grade for own choice pieces can be found on pages 28–29.

List A
Composer Title Publication
Tony Pegler Dot to Dot Electronic Keyboard Handbook 2021–2024: Grade 1 (LCM)
Heather Hammond Cattle Drive Waltz Electronic Keyboard Handbook 2021–2024: Grade 1 (LCM)
Andy Smith Two Doors Down Electronic Keyboard Handbook 2021–2024: Grade 1 (LCM)
Penny Weedon On a Street in Paris Electronic Keyboard Handbook 2021–2024: Grade 1 (LCM)

List B
Composer Title Publication
Andy Carvill A Face in the Window Electronic Keyboard Handbook 2021–2024: Grade 1 (LCM)
Penny Weedon Dance With Me Electronic Keyboard Handbook 2021–2024: Grade 1 (LCM)
Tony Pegler In the Beguining Electronic Keyboard Handbook 2021–2024: Grade 1 (LCM)

List C
Composer Title Publication
Penny Weedon Old Glasgow Town Electronic Keyboard Handbook 2021–2024: Grade 1 (LCM)
Trad. arr. Stanbury Sailing Away Medley Electronic Keyboard Handbook 2021–2024: Grade 1 (LCM)
Andy Smith Playground Electronic Keyboard Handbook 2021–2024: Grade 1 (LCM)

15
Component 3: Discussion 7 marks
Candidates will be engaged in a short discussion with the examiner. For examination requirements see
pages 30–32.

Component 4: Accompanying Test or Chord Sequence Test 10 marks

Candidates choose from one of the following options:

Option 1: Accompanying Test

• Performance of a previously unseen written accompaniment to a melody played by the examiner

Option 2: Chord Sequence Test

• Performance of a previously unseen chord sequence with an improvised melody line.

The choice must be made before the test is seen. For further details see page 33.

Component 5: Aural Tests 8 marks

Candidates will be asked to complete a series of aural tests. For examination requirements see pages
34–39. Specimen aural tests and the LCM Aural Handbook are available to view and download from the
LCME website.

Grade 2

Component 1: Technical Work 15 marks

Candidates can prepare either Option 1: Scales and arpeggios, or Option 2: Study.

Option 1: Scales and Arpeggios

The examiner will ask for a selection of the scales below. All are to be performed ascending and descending,
from memory. They may be requested either straight or swung.

Suggested tempo: scales q = 69, arpeggios q = 62 (iiiq pattern).

Requirements Range Details

Scales
C, G, D, F major;
2 octaves Hands separately and together
A, D minor (harmonic or melodic, candidate’s choice)
Pentatonic scale
D pentatonic minor 2 octaves Hands separately
Contrary motion scales
C, G major 2 octaves Hands together
Arpeggios
C, G, D, F major
2 octaves Hands separately
A, D minor

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Option 2: Study
Andrew Eales Wave Machine Electronic Keyboard Handbook 2021–2024: Grade 2 (LCM)

Component 2: Performance 60 marks

Performance of three pieces, one from List A, one from List B and EITHER a piece from List C OR an own choice
piece. Guidance for the standard required at each grade for own choice pieces can be found on pages 28–29.

List A
Composer Title Publication
Heather Hammond Just Keep on Swingin’ Electronic Keyboard Handbook 2021–2024: Grade 2 (LCM)
Tony Pegler Triple Treat Electronic Keyboard Handbook 2021–2024: Grade 2 (LCM)
Heather Hammond Midnight Tango Electronic Keyboard Handbook 2021–2024: Grade 2 (LCM)
Chris Stanbury Caribbean Breeze Electronic Keyboard Handbook 2021–2024: Grade 2 (LCM)

List B
Composer Title Publication
Andy Carvill Spaghetti Western Electronic Keyboard Handbook 2021–2024: Grade 2 (LCM)
Andy Smith Three into Two Electronic Keyboard Handbook 2021–2024: Grade 2 (LCM)
Andy Smith Holding On Electronic Keyboard Handbook 2021–2024: Grade 2 (LCM)

List C
Composer Title Publication
Andrew Hague Café Waltz Electronic Keyboard Handbook 2021–2024: Grade 2 (LCM)
Chris Stanbury Music from Ireland Electronic Keyboard Handbook 2021–2024: Grade 2 (LCM)
Penny Weedon Baroque Rock Electronic Keyboard Handbook 2021–2024: Grade 2 (LCM)

Component 3: Discussion 7 marks

Candidates will be engaged in a short discussion with the examiner. For examination requirements see
pages 30–32.

Component 4: Accompanying Test or Chord Sequence Test 10 marks

Candidates choose from one of the following options:

Option 1: Accompanying Test

• Performance of a previously unseen written accompaniment to a melody played by the examiner

Option 2: Chord Sequence Test

• Performance of a previously unseen chord sequence with an improvised melody line.

The choice must be made before the test is seen. For further details see page 33.

Component 5: Aural Tests 8 marks

Candidates will be asked to complete a series of aural tests. For examination requirements see pages
34–39. Specimen aural tests and the LCM Aural Handbook are available to view and download from the
LCME website.

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Grade 3

Component 1: Technical Work 15 marks

Candidates can prepare either Option 1: Scales and arpeggios, or Option 2: Study.

Option 1: Scales and Arpeggios

The examiner will ask for a selection of the scales below. All are to be performed ascending and descending,
from memory. They may be requested either straight or swung.

Suggested tempo: scales q = 80, arpeggios q = 69 (iiiq pattern).

Requirements Range Details

Scales
D, A, F, Bb major
2 octaves Hands separately and together
E, G minor (harmonic or melodic, candidate’s choice)
Pentatonic scale
E pentatonic minor 2 octaves Hands separately and together
Contrary motion scales
G, D major 2 octaves Hands together
Chromatic scales
Beginning on D, Eb 1 octave Hands separately
Arpeggios
D, A, F, Bb major
2 octaves Hands separately
E, G minor

Option 2: Study
Tony Pegler Tart ’n Jig Electronic Keyboard Handbook 2021–2024: Grade 3 (LCM)

Component 2: Performance 60 marks

Performance of three pieces, one from List A, one from List B and EITHER a piece from List C OR an own choice
piece. Guidance for the standard required at each grade for own choice pieces can be found on pages 28–29.

List A
Composer Title Publication
Heather Hammond Tea Time Tango Electronic Keyboard Handbook 2021–2024: Grade 3 (LCM)
Andrew Eales The Big Top Electronic Keyboard Handbook 2021–2024: Grade 3 (LCM)
Penny Weedon Dot Dash Electronic Keyboard Handbook 2021–2024: Grade 3 (LCM)
Andy Carvill Flanagan’s Dance Electronic Keyboard Handbook 2021–2024: Grade 3 (LCM)

List B
Composer Title Publication
Andy Smith Catwalk Electronic Keyboard Handbook 2021–2024: Grade 3 (LCM)
Foster arr. Stanbury Stephen Foster Medley Electronic Keyboard Handbook 2021–2024: Grade 3 (LCM)
Andy Smith Strictly Ballroom Electronic Keyboard Handbook 2021–2024: Grade 3 (LCM)

List C
Composer Title Publication
Penny Weedon Won’t Never Play That Tune No More! Electronic Keyboard Handbook 2021–2024: Grade 3 (LCM)
Andy Carvill Cup of Cha Cha Electronic Keyboard Handbook 2021–2024: Grade 3 (LCM)
Andy Smith Sunny Days Electronic Keyboard Handbook 2021–2024: Grade 3 (LCM)

18
Component 3: Discussion 7 marks
Candidates will be engaged in a short discussion with the examiner. For examination requirements see
pages 30–32.

Component 4: Accompanying Test or Chord Sequence Test 10 marks

Candidates choose from one of the following options:

Option 1: Accompanying Test

• Performance of a previously unseen written accompaniment to a melody played by the examiner

Option 2: Chord Sequence Test

• Performance of a previously unseen chord sequence with an improvised melody line.

The choice must be made before the test is seen. For further details see page 33.

Component 5: Aural Tests 8 marks

Candidates will be asked to complete a series of aural tests. For examination requirements see pages
34–39. Specimen aural tests and the LCM Aural Handbook are available to view and download from the
LCME website.

Grade 4

Component 1: Technical Work 15 marks

Candidates can prepare either Option 1: Scales and arpeggios, or Option 2: Study.

Option 1: Scales and Arpeggios

The examiner will ask for a selection of the scales below. All are to be performed ascending and descending,
from memory. They may be requested either straight or swung.

Suggested tempo: scales q = 88, arpeggios q = 76 (iiiq pattern).

Requirements Range Details

Scales
A, E, Bb, Eb major;
2 octaves Hands separately and together
B, G, C minor (harmonic or melodic, candidate’s choice)
Pentatonic scale
G pentatonic major 2 octaves Hands separately and together
Contrary motion scales
A, F major 2 octaves Hands together
Chromatic contrary motion scale
Beginning on D 2 octaves Hands together
Arpeggios
A, E, Bb, Eb major;
2 octaves Hands separately and together
B, G, C minor

Option 2: Study
Tony Pegler Petite Française Electronic Keyboard Handbook 2021–2024: Grade 4 (LCM)

19
Component 2: Performance 60 marks
Performance of three pieces, one from List A, one from List B and EITHER a piece from List C OR an own choice
piece. Guidance for the standard required at each grade for own choice pieces can be found on pages 28–29.

List A
Composer Title Publication
Andrew Eales Flyaway Electronic Keyboard Handbook 2021–2024: Grade 4 (LCM)
Heather Hammond Pocketful of Pesetas Electronic Keyboard Handbook 2021–2024: Grade 4 (LCM)
Tony Pegler A Bit Dotty Electronic Keyboard Handbook 2021–2024: Grade 4 (LCM)
Andy Smith Flying Free Electronic Keyboard Handbook 2021–2024: Grade 4 (LCM)

List B
Composer Title Publication
Andy Carvill Special Agent Electronic Keyboard Handbook 2021–2024: Grade 4 (LCM)
Penny Weedon Bossa Nova Town Electronic Keyboard Handbook 2021–2024: Grade 4 (LCM)
Andy Smith Jim’s Gig Electronic Keyboard Handbook 2021–2024: Grade 4 (LCM)

List C
Composer Title Publication
Tony Pegler D’Swing Electronic Keyboard Handbook 2021–2024: Grade 4 (LCM)
arr. Chris Stanbury Mexican Fiesta! Electronic Keyboard Handbook 2021–2024: Grade 4 (LCM)
Penny Weedon Toccata Electronic Keyboard Handbook 2021–2024: Grade 4 (LCM)

Component 3: Discussion 7 marks

Candidates will be engaged in a short discussion with the examiner. For examination requirements see
pages 30–32.

Component 4: Accompanying Test or Chord Sequence Test 10 marks

Candidates choose from one of the following options:

Option 1: Accompanying Test

• Performance of a previously unseen written accompaniment to a melody played by the examiner

Option 2: Chord Sequence Test

• Performance of a previously unseen chord sequence with an improvised melody line.

The choice must be made before the test is seen. For further details see page 33.

Component 5: Aural Tests 8 marks.

Candidates will be asked to complete a series of aural tests. For examination requirements see pages
34–39. Specimen aural tests and the LCM Aural Handbook are available to view and download from the
LCME website.

20
Grade 5

Component 1: Technical Work 15 marks

Candidates can prepare either Option 1: Scales and arpeggios, or Option 2: Study.

Option 1: Scales and Arpeggios

The examiner will ask for a selection of the scales below. All are to be performed ascending and descending,
from memory. They may be requested either straight or swung.

Suggested tempo: scales q = 100, arpeggios q = 80 (iiiq pattern)

Requirements Range Details

Scales
E, B, Eb, Ab major;
3 octaves Hands separately and together
B, C, F minor (harmonic or melodic, candidate’s choice)
Pentatonic scale
F pentatonic major 3 octaves Hands separately and together
Blues Scale
G blues 3 octaves Hands separately and together
Contrary motion scales
E, Bb major;
2 octaves Hands together
A, E harmonic minor
Chromatic scales
Beginning on any note 3 octaves Hands separately and together
Arpeggios
E, B, Eb, Ab major;
2 octaves Hands separately and together
B, C, F minor

Option 2: Study
Tony Pegler A Walk in the Park Electronic Keyboard Handbook 2021–2024: Grade 4 (LCM)

Component 2: Performance 60 marks

Performance of three pieces, one from List A, one from List B and EITHER a piece from List C OR an own choice
piece. Guidance for the standard required at each grade for own choice pieces can be found on pages 28–29.

List A
Composer Title Publication
Tony Pegler Twelve Blue Bars Electronic Keyboard Handbook 2021–2024: Grade 5 (LCM)
Tony Pegler Valse de Paris Electronic Keyboard Handbook 2021–2024: Grade 5 (LCM)
Andrew Eales Beasties in the Basement Electronic Keyboard Handbook 2021–2024: Grade 5 (LCM)
Andrew Hague A Sunny Place Electronic Keyboard Handbook 2021–2024: Grade 5 (LCM)

List B
Composer Title Publication
Andy Smith Cornish Coast Electronic Keyboard Handbook 2021–2024: Grade 5 (LCM)
Penny Weedon Canals of Amsterdam Electronic Keyboard Handbook 2021–2024: Grade 5 (LCM)
Penny Weedon Waltz of the Spies Electronic Keyboard Handbook 2021–2024: Grade 5 (LCM)

21
List C
Composer Title Publication
Penny Weedon Scat-a-doodle Electronic Keyboard Handbook 2021–2024: Grade 5 (LCM)
Heather Hammond Cool Breeze Bossa Electronic Keyboard Handbook 2021–2024: Grade 5 (LCM)
Andy Smith Shark Attack Electronic Keyboard Handbook 2021–2024: Grade 5 (LCM)

Component 3: Discussion 7 marks

Candidates will be engaged in a short discussion with the examiner. For examination requirements see
pages 30–32.

Component 4: Accompanying Test or Chord Sequence Test 10 marks

Candidates choose from one of the following options:

Option 1: Accompanying Test

• Performance of a previously unseen written accompaniment to a melody played by the examiner

Option 2: Chord Sequence Test

• Performance of a previously unseen chord sequence with an improvised melody line.

The choice must be made before the test is seen. For further details see page 33.

Component 5: Aural Tests 8 marks

Candidates will be asked to complete a series of aural tests. For examination requirements see pages
34–39. Specimen aural tests and the LCM Aural Handbook are available to view and download from the
LCME website.

Grade 6

Component 1: Technical Work 15 marks

Candidates can prepare either Option 1: Scales and arpeggios, or Option 2: Studies.

Option 1: Scales and Arpeggios

The examiner will ask for a selection of the scales below. All are to be performed ascending and descending,
from memory. They may be requested either straight or swung.

Suggested tempo: scales q = 120, arpeggios q = 88 (jjjq pattern).

Requirements Range Details

Scales
B, F#, F, Ab, Db major;
3 octaves Hands separately and together
B, F#, C, F, Bb minor (harmonic and melodic)

Pentatonic Scale

F# pentatonic major 3 octaves Hands separately and together

Blues Scale
D blues 3 octaves Hands separately and together
Contrary motion scales
B, Bb, Ab major;
D, G, C harmonic minor 2 octaves Hands together

22
Chromatic scales
Beginning on any note 3 octaves Hands separately and together
Chromatic contrary motion scales
Beginning on E, Bb 2 octaves Hands together
Arpeggios
B, F#, F, Ab, Db major;
3 octaves Hands separately and together
B, F#, C, F, Bb minor
Dominant 7th arpeggio
In the key of F 3 octaves Hands separately and together
Diminished 7th arpeggio
Beginning on C 3 octaves Hands separately and together

Option 2: Studies
Penny Weedon Cascades Electronic Keyboard Handbook 2021–2024: Grade 6 (LCM)

Component 2: Performance 60 marks

Performance of three pieces, one from List A, one from List B and EITHER a piece from List C OR an own choice
piece. Guidance for the standard required at each grade for own choice pieces can be found on pages 28–29.

List A
Composer Title Publication
Tony Pegler Bella Clave Electronic Keyboard Handbook 2021–2024: Grade 6 (LCM)
Andy Carvill Funky Minor Blues Electronic Keyboard Handbook 2021–2024: Grade 6 (LCM)
Nigel Wears When it’s Nightfall in New Orleans Electronic Keyboard Handbook 2021–2024: Grade 6 (LCM)
John Maul A Scarecrow’s Tale Electronic Keyboard Handbook 2021–2024: Grade 6 (LCM)

List B
Composer Title Publication
Tony Pegler Portsmouth Electronic Keyboard Handbook 2021–2024: Grade 6 (LCM)
Philip Leader Shaftesbury Capers Electronic Keyboard Handbook 2021–2024: Grade 6 (LCM)
Andy Smith Cuban Nights Electronic Keyboard Handbook 2021–2024: Grade 6 (LCM)

List C
Composer Title Publication
Penny Weedon Chat Chat Talk Talk Electronic Keyboard Handbook 2021–2024: Grade 6 (LCM)
Andy Smith Down The Road Electronic Keyboard Handbook 2021–2024: Grade 6 (LCM)
Penny Weedon Father Time Electronic Keyboard Handbook 2021–2024: Grade 6 (LCM)

Component 3: Discussion 7 marks

Candidates will be engaged in a short discussion with the examiner. For examination requirements see
pages 30–32.

Component 4: Accompanying Test or Chord Sequence Test 10 marks

Candidates choose from one of the following options:

Option 1: Accompanying Test

• Performance of a previously unseen written accompaniment to a melody played by the examiner

Option 2: Chord Sequence Test

• Performance of a previously unseen chord sequence with an improvised melody line.

The choice must be made before the test is seen. For further details see page 33.
23
Component 5: Aural Tests 8 marks
Candidates will be asked to complete a series of aural tests. For examination requirements see pages
34–39. Specimen aural tests and the LCM Aural Handbook are available to view and download from the
LCME website.

Grade 7

Component 1: Technical Work 15 marks

Candidates can prepare either Option 1: Scales and arpeggios, or Option 2: Studies.

Option 1: Scales and Arpeggios

The examiner will ask for a selection of the scales below. All are to be performed ascending and descending,
from memory. They may be requested either straight or swung.

Suggested tempo: scales q = 132 arpeggios q = 100 (jjjq pattern).

Requirements Range Details

Scales
D, A, B, Bb, Db major;
3 octaves Hands separately and together
F#, C#, G#, Bb, Eb minor (harmonic and melodic)
Pentatonic scale
B pentatonic major 3 octaves Hands separately and together
Blues scale
F blues 3 octaves Hands separately and together
Contrary motion scales
B, F#, Db major;
2 octaves Hands together
B, C, F harmonic minor
Chromatic scales
Beginning on any note 3 octaves Hands separately and together
Chromatic contrary motion scales
Beginning on C, F# 2 octaves Hands together
Arpeggios
D, A, B, Bb, Db major;
3 octaves Hands separately and together
F#, C#, G#, Bb, Eb minor
Dominant 7th arpeggios
In the keys of G, F 3 octaves Hands separately and together

Diminished 7th arpeggio

Beginning on B 3 octaves Hands separately and together

Option 2: Studies
Tony Pegler Helter Scaleter Electronic Keyboard Handbook 2021–2024: Grade 7 (LCM)

Component 2: Performance 60 marks

Performance of three pieces, one from List A, one from List B and EITHER a piece from List C OR an own choice
piece. Guidance for the standard required at each grade for own choice pieces can be found on pages 28–29.

24
List A
Composer Title Publication
John Maul Preacher From The Prairie Electronic Keyboard Handbook 2021–2024: Grade 7 (LCM)
Andy Smith La Sagrada Família Electronic Keyboard Handbook 2021–2024: Grade 7 (LCM)
Penny Weedon Kekuku Kika Kila Electronic Keyboard Handbook 2021–2024: Grade 7 (LCM)
Philip Leader The Three Sisters Electronic Keyboard Handbook 2021–2024: Grade 7 (LCM)

List B
Composer Title Publication
Nigel Wears The Accordionists of Paris Electronic Keyboard Handbook 2021–2024: Grade 7 (LCM)
Tony Pegler Heads-Up Electronic Keyboard Handbook 2021–2024: Grade 7 (LCM)
Andy Smith High Five Electronic Keyboard Handbook 2021–2024: Grade 7 (LCM)

List C
Composer Title Publication
Tony Pegler Hanjo Banjo Electronic Keyboard Handbook 2021–2024: Grade 7 (LCM)
Andy Smith The Ealing Samba Electronic Keyboard Handbook 2021–2024: Grade 7 (LCM)
Tony Pegler Alpine Polka Electronic Keyboard Handbook 2021–2024: Grade 7 (LCM)

Component 3: Discussion 7 marks

Candidates will be engaged in a short discussion with the examiner. For examination requirements see
pages 30–32.

Component 4: Accompanying Test or Chord Sequence Test 10 marks

Candidates choose from one of the following options:

Option 1: Accompanying Test

• Performance of a previously unseen written accompaniment to a melody played by the examiner

Option 2: Chord Sequence Test

• Performance of a previously unseen chord sequence with an improvised melody line.

The choice must be made before the test is seen. For further details see page 33.

Component 5: Aural Tests 8 marks

Candidates will be asked to complete a series of aural tests. For examination requirements see pages
34–39. Specimen aural tests and the LCM Aural Handbook are available to view and download from the
LCME website.

25
Grade 8

Component 1: Technical Work 15 marks

Candidates can prepare either Option 1: Scales and arpeggios, or Option 2: Studies.

Option 1: Scales and Arpeggios

The examiner will ask for a selection of the scales below. All are to be performed ascending and descending,
from memory. They may be requested either straight or swung.

Suggested tempo: scales q = 152, arpeggios q = 112 (jjjq pattern).

Requirements Range Details

Scales

C, G, E, F#, Ab, Db major;

3 octaves Hands separately and together
A, B, F#, G, F, Bb minor (harmonic and melodic)

Pentatonic scale
C#, E pentatonic major 3 octaves Hands separately and together

Blues scale
A blues 3 octaves Hands separately and together
Contrary motion scales
D, A, B, F, Bb, Eb major;
2 octaves Hands together
B, G#, F, Eb harmonic minor
Chromatic scales
Beginning on any note 3 octaves Hands separately and together
Chromatic contrary motion scales
Beginning on any note 2 octaves Hands together
Arpeggios
C, G, E, F#, Ab, Db major;
3 octaves Hands separately and together
A, B, F#, G, F, Bb minor
Dominant 7th arpeggios
In the keys of C, G, D, F, Bb 3 octaves Hands separately and together

Diminished 7th arpeggios

Beginning on B, C, C# 3 octaves Hands separately and together

Option 2: Studies
Andy Smith Jasper The Wasp Electronic Keyboard Handbook 2021–2024: Grade 8 (LCM)

Component 2: Performance 60 marks

Performance of three pieces, one from List A, one from List B and EITHER a piece from List C OR an own choice
piece. Guidance for the standard required at each grade for own choice pieces can be found on pages 28–29.

List A
Composer Title Publication
Andy Smith Midnight Crusin’ Electronic Keyboard Handbook 2021–2024: Grade 8 (LCM)
Nigel Wears It’s Gospel Time Electronic Keyboard Handbook 2021–2024: Grade 8 (LCM)
Tony Pegler Toot Suite Electronic Keyboard Handbook 2021–2024: Grade 8 (LCM)
John Maul The Funk Patrol Electronic Keyboard Handbook 2021–2024: Grade 8 (LCM)

26
List B
Composer Title Publication
Philip Leader Montuno Island Electronic Keyboard Handbook 2021–2024: Grade 8 (LCM)
Tony Pegler Cramer Country Electronic Keyboard Handbook 2021–2024: Grade 8 (LCM)
Penny Weedon Weekend Love Electronic Keyboard Handbook 2021–2024: Grade 8 (LCM)

List C
Composer Title Publication
Tony Pegler Jack ‘n the Box Electronic Keyboard Handbook 2021–2024: Grade 8 (LCM)
Andy Smith Cat Walk Swing Electronic Keyboard Handbook 2021–2024: Grade 8 (LCM)
Tony Pegler Mine’s a Pint Electronic Keyboard Handbook 2021–2024: Grade 8 (LCM)

Component 3: Discussion 7 marks

Candidates will be engaged in a short discussion with the examiner. For examination requirements see
pages 30–32.

Component 4: Accompanying Test or Chord Sequence Test 10 marks

Candidates choose from one of the following options:

Option 1: Accompanying Test

• Performance of a previously unseen written accompaniment to a melody played by the examiner

Option 2: Chord Sequence Test

• Performance of a previously unseen chord sequence with an improvised melody line.

The choice must be made before the test is seen. For further details see page 33.

Component 5: Aural Tests 8 marks

Candidates will be asked to complete a series of aural tests. For examination requirements see pages
34–39. Specimen aural tests and the LCM Aural Handbook are available to view and download from the
LCME website.

27
5.  Own Choice Pieces

5.1 Information

Candidates may offer a piece of their choice in place of a piece chosen from List C of the LCME Electronic
Keyboard Handbook. Own choice pieces can be in any style and may include original compositions. They
must be of an equivalent standard and length to the pieces in the handbook for the grade and will be
assessed by the examiner on that basis. A copy of the music must be given to the examiner at the start
of the examination with change of sound, rhythm and fill-in points clearly marked. Parameters indicating
the level of difficulty required at each grade are listed in the table below. Knowledge of all parameters
tested at earlier grades is assumed.

Grade Keys Time Note Range

Signatures Values

• minims
4 3 • crotchets
• middle C to A, first ledger line above treble stave
1 C, F, G major 4,4 • quavers
• some movement between hand positions
• some use of extended finger positions
, • dotted crotchets

• two ledger lines below to two ledger lines above

C, F, G, D major; • triplets treble stave
2
A, E, D minor • swung quavers • more frequent movement between hand positions and
use of extended finger positions.

2 6 • semiquavers • frequent change of hand position and use of extended

3
up to two
4,8 • dotted quavers finger positions
sharps & flats

• left hand between middle C and two octaves below

4 up to two • right hand movement as for grade 3
sharps & flats • approaching full range of the treble stave

5 up to three full use of range in both hands

sharps & flats

up to four 5
6
sharps & flats 4

7 all keys

(continued on opposite page)

28
 Part Articulation Other Musical Rhythm Keyboard Features
Writing Components Styles & Techniques

• 8 beat
• intro
• waltz
• single note • use of treble clef • ending
1 • slurs • bossa nova
• fully fingered chords • chord symbols • fill-in
• rock
• registration memory
• 16-beat
• beguine

• 8-beat ballad
• staccato • modulation • swing
• double note
2 • legato • repeats • tango as for grade 1
• countermelodies
• accents • 1st & 2nd time bars • hoedown
• jazz waltz

• bass clef 6
3 • piano style both hands
• accented staccato
• expression • 8 jig • finger substitution
• tenuto • march
• syncopation
• cha cha

all articulation • grace notes

• sustain pedal
4 • right hand chords required at previous • mordents 6
grades • 8 ballad • jazz styling

all musical components

• 8-beat rock ‘n’ roll • jazz organ styling
5 required at previous
• swing funk • on bass chords
grades

• time signature changes • funky pop

• split keyboard
6 • tremolo
• spread chords
• showtime
12
• slow rock in 8
• latin styling

• gospel
• Hawaiian two-step • guitar styling
7 improvisation
march • quick style changes
• samba

• 16-beat funk
• full keyboard mode
8 glissando • gospel shuffle
• pitch bend
• salsa

29
6. Discussion

6.1 Information

The knowledge required for the Discussion is cumulative; any knowledge required in earlier grades is
required for later grades. There is no set form of words, or number of questions; examiners are encouraged
to conduct the tests in a flexible and conversational manner. Candidates are not expected to demonstrate
on their instrument or to sing but they may choose to do so if they feel that this would clarify their answer.
Although accuracy and appropriateness of response are the principal criteria of assessment, examiners will
also look for articulacy, use of correct terminology and a sense of engagement with, and understanding
of, the music performed.

6.2 Requirements

Grades 1 and 2
Candidates should be able to:
• name, and explain the meaning of, all basic notational elements in the music performed in the
performance component of the exam, including: staff, bars and barlines, clefs, pitches of individual
notes, rhythmic values of notes and rests (including dotted notes), key and time signatures, accidentals,
dynamics, articulation markings, phrases, ornaments, and any additional markings
• explain which is their favourite piece and why
• assign simple descriptive words to pieces to describe their mood (‘happy’, ‘sad’, ‘bouncy’, ‘jazzy’,
‘gentle’ etc.)
• discuss any alterations which have been made to the printed score in the List B pieces, and explain
why such alterations were made
• explain to the examiner which ‘voices’ (tones / sounds) were used for the melodies and which ‘styles’
(rhythms / accompaniments) were used for the pieces played and how to register and change these
voices and styles.
• show an understanding of the ‘voices’ used and be able to explain how the original instruments would
be played (blown, bowed, etc)
• demonstrate an understanding of basic keyboard functions. (intro, ending, fill-in, synchro start etc.)

Grade 3
In addition to the requirements for Grades 1 and 2, candidates may be asked to:
• identify intervals up to and including a fifth by numerical value only (‘second’, ‘fourth’ etc)
• describe the mood or character of pieces using appropriate descriptive words (‘fast and lively’, ‘gentle
and flowing’, ‘like a dance’, etc)
• identify contrasts of mood within pieces
• be able to explain any of the keyboard functions used in the performance (voices, styles, registrations,
fill-ins etc.), why they were used, what they achieve and how they are employed
• demonstrate a knowledge of orchestral instrumental families (brass, woodwind, strings, percussion etc.)
• be able to explain how the accompaniment (styles) section works

30
Grade 4
In addition to the requirements for Grades 1 to 3, candidates may be asked to:
• identify intervals up to and including an octave by numerical value only (‘fourth’, ‘seventh’ etc)
• discuss their approach to learning the pieces and identify any particular difficulties (musical or technical)
encountered
• identify the genres of the music performed (jazz, latin, pop, rock etc.)

Grade 5
In addition to the requirements for Grades 1 to 4, candidates may be asked to:
• identify intervals up to and including an octave by number and type (‘major 2nd’, ‘perfect 4th’ etc.)
• demonstrate knowledge of basic formal structures (e.g. contrasting or repeated sections)
• identify principal modulations (by naming the new key or its relationship to the home key)
• identify major and minor chords as occurring in the music (either as chords or as melodic patterns)
• demonstrate knowledge of a variety of popular and classical music genres and the instruments
typically found in the ensembles that play them (pop/ rock band, big band, jazz quartet, brass band,
symphony orchestra)
• demonstrate an understanding of the use of ‘reverb’, ‘chorus’ and ‘sustain’ and their effect

Grade 6
In addition to the requirements for Grades 1 to 5, candidates may be asked to:
• discuss their personal responses to the music performed: the extent to which they like or dislike it, or
find it challenging or rewarding, and why
• describe their approach to learning the music, including the use of certain techniques, and aspects
of interpretation
• identify melodic and harmonic features of the music (sequence, melodic inversion, circle of 5ths,
pedal points, etc)
• demonstrate knowledge of formal structures (ternary, binary, rondo etc)
• demonstrate a self-critical awareness of their own performance, indicating to the examiner which
aspects of their performance they were happy or unhappy with, and why
• demonstrate a knowledge of external control devices and their effects (foot switch, expression pedal)
• demonstrate an understanding of the advanced features on their keyboard (transpose, octave shift,
harmony)

Grade 7
In addition to the requirements for Grades 1 to 6, candidates may be asked to:
• identify cadences
• demonstrate historical and stylistic knowledge of the music styles and genres performed
• demonstrate a widening musical awareness a little beyond the music performed
• Identify the types of accompaniment chords that must be played in root position
• demonstrate an understanding of ‘on bass’ chords, their function and how are they played on their
keyboard

31
Grade 8
In addition to the requirements for Grades 1 to 7, candidates may be asked to:
• identify any interval by number and type
• demonstrate an understanding of advanced chord extensions (#/b 5, b9, sus, add etc)
• discuss with the examiner a range of issues arising from the music performed, demonstrating evidence
of a rounded musical awareness, in terms of both the repertoire itself and their response to it as a
performer
• discuss with the examiner those styles and performers which have been influential in the development
of their own playing
• demonstrate a complete understanding of the capabilities and facilities of their instrument
• demonstrate an understanding of the history and development of the keyboard

32
7.  Accompanying test or chord sequence test

7.1 Information

Accompanying Test
The accompanying test is designed to help keyboard players learn how to accompany another musician. In the
exam, a written score will be provided with a melody part (played by the examiner) and an accompaniment
part (performed by the candidate). The accompaniment part will consist of a countermelody in the right
hand and chord symbols for the left hand.
• Candidates will be given one minute to try out the accompaniment and set up their keyboard as
indicated.
• The examiner will play the melody on a keyboard or piano, unaccompanied.
• The examiner will ask the candidate to start the rhythm style and will give a verbal count in.
• The candidate will perform the accompaniment along to the examiner’s melody — both hands should
be attempted.
The test will be performed using the keyboard’s rhythm style section, which candidates must operate.
During the preparation time the rhythm, tempo and voice should be set up as indicated in the music and
the accompaniment function must be switchedon. To begin the test, the examiner will direct the candidate
to start the rhythm style (so that only the drums are audible), before giving a count-in. The performance
should be finished by stopping the rhythm style.

Chord Sequence Test

The chord sequence test is designed to help keyboard players develop the important skill of being able to
improvise a melody line over a given chord sequence. A written chord sequence of 8 bars will be provided,
with chord symbols. One minute of preparation time will be given to study the sequence and try out ideas.
Candidates will then be asked to play the chord sequence, adding an improvised melody line. The test is
performed to a rhythm style of the candidate’s choice.

7.2 Requirements

The keys tested at each grade are outlined below. Candidates are expected to be familiar with the primary
chords in the keys listed for the grade and for any previous grades.

Grade Keys Tested

Grade 1 C major, F major, G major, A minor
Grade 2 Bb major, D major, E minor
Grade 3 B minor
Grade 4 Bb major, C major, D major, F major, G major, A minor, B minor, E minor
Grade 5 C minor, D minor, G minor
Grade 6 A major, Ab major
Grade 7 E major, Eb major
A major, Ab major, Bb major, C major, D major, E major, Eb major, F major, G major, A minor, B minor, C minor,
Grade 8
D minor, E minor, G minor

33
8.  Aural Tests

8.1 Information

The following information should be read in conjunction with the requirements for the relevant grade.
1. In tests where a sung response is required candidates may use any clear and appropriate syllable or
vowel sound (‘ah’, ‘la’, ‘oo’, etc). They may also hum or whistle. Candidates may request tests to be
transposed if required by their vocal range. Candidates may play back such tests on their instrument
if they prefer; in this case, examiners must be informed prior to the administration of the tests.
2. Candidates may request any test to be given one repeat playing without loss of marks.
3. Examiners will use a piano to conduct the tests and will ask candidates to stand or sit in such a
position that they cannot see the piano keyboard.
4. The printed wording given for each test is a guide only; examiners are encouraged to conduct the
tests in a conversational manner.

8.2 Requirements

Grade 1
Test 1 (Rhythm)
A short harmonised passage, approximately 6 to 8 bars in length, will be played. The passage will be in
either 2/4 or 3/4 time. Candidates will be asked the following:
1a. To identify the time signature as ‘2’ or ‘3’ time (2 marks)
1b. To clap or tap on each pulse beat in time, in 2 or 3 time, accenting the first beat of each bar, as the
examiner plays the passage again (2 marks)

Test 2 (Pitch)
Two notes of different pitches will be played, one after the other. Candidates will be asked the following:
2a. To identify as ‘first’ or ‘second’ which of the two notes is either the higher or the lower, at the
examiner’s discretion (1 mark)

The two notes will be played again. Candidates will be asked the following:
2b. To sing back one of the two notes (either the first or the second, at the examiner’s discretion)
(1 mark)

The key-chord of a major key will be played, followed by a short unharmonised melody in the same key,
approximately 4 bars in length. The examiner will stop playing before the final (tonic) note. The candidate
will be asked the following:
2c. To sing clearly the missing final tonic (2 marks)

Grade 2
Test 1 (Rhythm)
A short harmonised passage, approximately 8 bars in length, will be played. The passage will be in either
3/4 or 4/4 time. Candidates will be asked the following:
1a. To identify the time signature as ‘3’ or ‘4’ time (1 mark)

34
 1b. To beat (conduct) time, with a clear beat-shape (conducting pattern), in time with the examiner’s
playing as the passage is repeated (1 mark)

The two notes will be played again. Candidates will be asked the following:
1c. To identify and describe the note values (rhythmic values of the notes) in the bar in any order (for
example, crotchets and quavers or quarter notes and eighth notes) (2 marks)

Test 2 (Pitch)
A major or minor triad will be played, followed by one note taken from the triad. Candidates will be asked
the following:
2a. To identify the note as ‘bottom, middle or top’, ‘Doh, Mi or Soh’ or ‘root, 3rd or 5th’ (candidate’s
choice) (1 mark)

The triad will be played again. Candidates will be asked the following:
2b. To state if the triad is major or minor (1 mark)

The key-chord of a major key (C, F, G, and D majors only) will be played, and the key stated, followed by
the first five notes of the scale in ascending order. The examiner will then play any one of these notes
again. Candidates will be asked the following:
2c. To identify the note by letter name, by tonic sol-fa name or by number (1, 2, 3, 4 or 5) (candidate’s
choice) (1 mark)
The test will be repeated, using a different example (1 mark)

Grade 3
Test 1 (Rhythm)
A short harmonised passage, approximately 8 bars in length, will be played. The passage will be in 6/8
time. Candidates will be asked the following:
1a. To beat (conduct) time, with a clear beat-shape (conducting pattern), 2 beats in the bar, in time
with the examiner as the passage is repeated (1 mark)

Candidates will be shown a line of music containing four individual bars of music in 6/8 time. One of the
bars on that line will be played, twice. Candidates will be asked the following:
1b. To indicate which bar has been played (1 mark)
The test will be repeated, using a different example (1 mark)

Test 2 (Pitch)
An interval will be played twice, once with the pitches sounded successively, and once with the pitches
sounded together. The intervals will be restricted to the following: Major 2nd, Major 3rd, Perfect 4th,
Perfect 5th. Candidates will be asked the following:
2a. To identify the interval, by numerical value only (2nd, 3rd, 4th, 5th) (1 mark)
The test will be repeated, using a different interval (1 mark)

The key-chord of a major or minor key (C, G, D, F and Bb majors; A and E minors only) will be played,
and the key stated. A short unharmonised melody in the same key, approximately 3 bars in length, will
be played, twice. Rhythms will be limited to crotchets, quavers, minims, dotted minims and semibreves.
Candidates will be asked the following:
2b. To sing back the melody (3 marks)

35
Grade 4
Test 1 (Rhythm)
A short harmonised passage, approximately 8 bars in length, will be played. The passage will be in either
2/4, 3/4, 4/4 or 6/8 time. Candidates will be asked the following:
1a. To beat (conduct) time, with a correct and clear beat-shape (conducting pattern) according to the
time signature of the music, in time with the examiner’s playing as they play the passage again
(passages in 6/8 time should be conducted with a 2-beat pattern) (1 mark)

A short phrase, approximately 2 bars in length, taken from the passage, will be played in an unharmonised
version, twice. The phrase will include no rhythmic values shorter than a semiquaver but may include
simple dotted patterns. Candidates will be asked the following:
1b. To clap or tap back the rhythm of the phrase (2 marks)

Test 2 (Pitch)
An interval will be played twice, once with the pitches sounded successively, and once with the pitches
sounded together. The interval will be restricted to any major, minor or perfect interval up to and including
an octave. Candidates will be asked the following:
2a. To identify the interval, by type and numerical value (major 2nd, minor 3rd, perfect 4th, major 7th
etc) (1 mark)
The test will be repeated, using a different interval (1 mark)

The candidate will be shown three similar versions of a short melody). The versions will differ in pitch, but
not in rhythm. One of the versions will be played, twice. Candidates will be asked the following:
2b. To identify which version was played (2 marks)

Grade 5
Test 1 (Rhythm)
A short harmonised passage, approximately 8 bars in length, will be played. The passage will be in either
2/4, 3/4, 4/4, 6/8 or 6/4 time. Candidates will be asked the following:
1a. To beat (conduct) time, with a correct and clear beat shape (conducting pattern) according to the
time signature of the music, in time with the examiner’s playing as they play the passage again
(passages in 6/8 or 6/4 time should be conducted with a 2-beat or 6-beat pattern as appropriate)
(2 marks)
A short phrase, approximately 2 bars in length, taken from the passage, will be played in an unharmonised
version, twice. Candidates will be asked the following:
1b. To identify and describe the note values (rhythmic values of the notes) in the phrase in any order
(for example: crotchets and quavers, or quarter notes and eighth notes) (2 marks)

Test 2 (Pitch)
An interval will be played twice, with the pitches sounded together. The interval may be any major, minor
or perfect interval within the octave, as well as the augmented 4th / diminished 5th. Candidates will be
asked the following:
2a. To identify the interval, by type and numerical value only (major 2nd, perfect 4th, diminished 5th,
major 7th etc) (1 mark)
The test will be repeated, using a different interval (1 mark)

The key-chord of a major key will be played, followed by a short melody in the same key, approximately

36
2 bars in length, finishing with a harmonised cadence (perfect, imperfect, plagal, or interrupted) in the
home key. Candidates will be asked the following:
2b. To identify the cadence, either by its conventional name, or as ‘finished’ (perfect and plagal) or
‘unfinished’ (imperfect or interrupted) (1 mark)
The test will be repeated, using a different example (1 mark)

Grade 6
Test 1 (Rhythm and Pitch)
A harmonised passage, in simple time, not more than six bars in length, containing some syncopated
patterns, will be played, twice. Candidates will be asked the following:
1a. To identify the time signature (1 mark)
1b. To identify whether the passage is in a major or minor key (1 mark)
1c. To identify, by number and type, any interval within the octave, occurring in the melody line between
two succeeding notes (these pitches will be played again, first as occurring in the melody, and
then with the pitches sounded together) (1 mark)

A short phrase from the passage, 1 to 2 bars in length, will be played again in an unharmonised version.
Candidates will be asked the following:
1d. To clap or tap back the rhythm of the phrase (1 mark)
1e. To identify and describe the note values (rhythmic values) in the phrase in any order (for example
crotchets and quavers, or quarter notes and eighth notes) (2 marks)

Test 2 (Pitch)
The key-chord of a major key will be played, followed by a short melody in the same key, approximately 2
bars in length, finishing with a harmonised cadence (perfect, imperfect, or interrupted) in the home key.
Candidates will be asked the following:
2a. To identify the cadence by its conventional name (1 mark)

The key-chord of a major key will be played and the key named. A short harmonised passage in the same
key, approximately 4 bars in length, will then be played. The passage will contain one modulation to a
related key (dominant, subdominant, or relative minor), finishing with a perfect cadence in that key.
Candidates will be asked the following:
2b. To identify the key into which the passage has modulated, either by name or by relationship to the
home key (candidate’s choice) (1 mark)

Grade 7
Test 1
1a. A harmonised passage, approximately 12 to 16 bars in length, in either simple or compound time,
will be played. Candidates will be asked a selection of the following:
• To identify the time signature
• To identify whether the passage is in a major or minor key
• To describe the overall dynamics
• To describe the basic overall form (this will be limited to AB, ABA, AAB, ABAB, AABA)
(2 marks)

1b. Candidates will be given a copy of the score from Test 1a, without phrasing, tempo, articulation,

37
 or dynamic markings. The passage will be played once again in full; further shorter sections may
also be played again. Candidates will be asked a selection of the following:
• To suggest an appropriate tempo marking
• To describe changes in tempo
• To name the key
• To describe phrasing patterns
• To describe dynamics
• To describe articulation
• To identify modulations
• To identify ornaments
• To confirm their description of the form
(4 marks)

Test 2
The key-chord of a major or minor key will be played, followed by a short melody in the same key,
approximately 2 bars in length, finishing with a harmonised cadence (perfect, imperfect, plagal or
interrupted) in the home key.
Candidates will be asked to identify the cadence by its conventional name (1 mark)
The test will be repeated using a different example (1 mark)

Grade 8
Test 1
A harmonised passage, approximately 12 to 16 bars in length, in either simple or compound time, will be
played. Candidates will be asked a selection of the following:
• To identify the time signature
• To identify whether the passage is in a major or minor key
• To suggest an appropriate tempo marking
• To describe and identify any particularly noticeable aspects of the dynamics, phrasing, articulation,
modulation, ornamentation, texture, etc (examiners may play certain extracts from the passage again)
• To suggest a musical style (Renaissance, Baroque, Classical, Romantic, Twentieth Century or modern,
jazz/popular)
• To identify any interval in the melodic line between two successive notes, up to and including a major
10th (the two pitches will be played again, as occurring in the melody);
• To clap back, or identify and describe the note values (rhythmic values) of, a short phrase, 1 to 2 bars
in duration, taken from the passage and played again in an unharmonised version
• To identify a cadence, taken from the passage, played again by the examiner
(4 marks)

Test 2
Candidates will be given a copy of the score from Test 1, without phrasing, tempo, articulation, or dynamic
markings. The passage will be played once again in full; further shorter sections, up to 4 bars in length,
may also be played again, sometimes with changes in phrasing, tempo, articulation and/or dynamics.
Candidates will be asked a selection of the following:
• To name the key
• To identify modulations

38
• To identify ornaments
• To describe the overall form (in addition to those specified for Grade 7, these may include ABCA, ABCBA,
AA’BA, ABA’B, and similar structures, as well as more organic forms, or forms based on imitative or
fugal structures)
• To identify simple melodic, rhythmic or harmonic devices, such as sequence, inversion, repetition,
pedal points, augmentation/diminution, motivic development, etc
• To identify changes in phrasing, tempo, articulation and/or dynamics, in short passages, up to 2 bars
in length, played in two different styles by the examiner
(4 marks)

39
9. Assessment

9.1  Assessment domains

Assessment objectives
Candidates will be assessed on their ability to demonstrate mastery of the following:
• Technical accomplishment (the extent to which the instrument or voice is effectively controlled,
assessed via the candidate’s performance)
• Musicality (the ability to make sensitive and musical performance decisions)
• Musical knowledge (the synthesis of theoretical, notational and contextual knowledge)
• Communication (the degree to which the performer communicates with and engages the listener
through musical performance on their instrument or voice)

Coverage of the assessment domains

The following table shows the assessment domains which apply within each exam component:

Technical
Musicality Musical Knowledge Communication
Accomplishment
Technical Work ü ü ü
Performance ü ü ü ü
Discussion ü (Grades 4 to 8) ü
Sight Reading ü ü ü ü
Aural Tests ü (Grades 7 and 8) ü

Approximate weighting of the assessment domains

The following table shows the approximate weighting of the relevant assessment domains within each
component of the exam:

Technical
Musicality Musical Knowledge Communication
Accomplishment
Technical Work 75% 10% 15%

Performance
Grades 1 to 3 65% 15% 10% 10%
Grades 4 and 5 55% 20% 12.5% 12.5%
Grades 6 to 8 40% 30% 15% 15%

Discussion
Grades 1 to 3 — 100% ­
Grades 4 and 5 10% 90%
Grades 6 to 8 20% 80%

Sight Reading
Grades 1 to 3 37.5% 10% 42.5% 10%
Grades 4 and 5 35% 12.5% 40% 12.5%
Grades 6 to 8 32.5% 15% 37.5% 15%

Aural Tests
Grades 1 to 5 — 100%
Grades 6 to 8 10% 90%

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9.2  How marks are awarded

The following tables show the approximate weighting of the relevant assessment domains within each
component of the exam and the guidelines which the examiners use to award marks. The guidelines are
not intended to be mutually exclusive, but should function interrelatedly. Thus for any particular attainment
band, one or more criteria might exceed those specified, while one or more others might fail to meet the
requirements.

Technical Work
The examiner will consider the performance of the requested scales and arpeggios, and/or other tasks as
detailed in the requirements, and will award a mark, taking into account the following:

Assessment
Technical accomplishment Musicality Musical knowledge
domain

Distinction • Consistently accurate and fluent response • Musically shaped • Secure knowledge
85–100% • Within the prescribed tempo range • Performed at of pitch content of
the requested specified exercises
dynamics

Merit • Mostly accurate with occasional lapses • Evidence of • Mostly secure knowl-
75–84% • Within the prescribed tempo range musical shape edge of pitch content of
and phrasing specified exercises

Pass • Reasonable level of accuracy • Some evidence • Evidence of knowledge

65–74% • Some inconsistency of continuity produced by errors of musical shape of pitch content of
and/or restarts and phrasing specified exercises
• Choice of tempo could be more appropriate and/or
consistent

Below Pass • Containing restarts and errors • Musical shape • Some evidence of
55–64% • Variable and/or inappropriate tempo and phrasing knowledge of pitch
need more content of specified
attention and exercises
work

Below Pass • Many restarts and errors • Little or no • Little or no evidence

0–54% • Variable and/or inappropriate tempo evidence of of knowledge of pitch
musical shape or content of specified
phrasing exercises

41
Performance
The examiner will consider the performance of each of the pieces separately, and will award a mark for
each piece. These marks will be combined to produce the mark for Performance, with equal weighting.
In awarding the marks, the examiner will take into account the following:

Assessment Technical
Musicality Musical Knowledge Communication
domain Accomplishment

Distinction • High level of technical • Mature sense of • Secure understanding • Sense of individual
85–100% accomplishment, musical style and an of musical notation interpretative skill
demonstrating accuracy ability to take charge • Clear ability to engage
and fluency of expressive elements the listener fully
• Confident and assured
performance

Merit • Ability to cope well with • Evidence of musical • Secure understanding • Some sense of individ-
75–84% the technical demands shape and phrasing of musical notation ual interpretative skill
of the music • Confident perfor- should be evident • Ability to engage the
mance listener

Pass • Fairly accurate, • Some evidence of • Evidence of an under- • Communication of

65–74% reasonably fluent but appropriate musicality standing of musical something of the
occasionally hesitant • Reasonably confident notation substance of the
performance music
• Basic ability to engage
the listener

Below Pass • Some accurate and • Some signs that a • Evidence of an under- • Basic, but limited,
55–64% musical playing, but sense of musicality is standing of musical communication of
compromised by potentially attainable notation the substance of the
discontinuity in the per- music
formance and technical • Little evidence of an
inaccuracies ability to engage the
listener

Below Pass • Inaccuracies propor- • Musicality is not • Some evidence of • Little communication
0–54% tionately greater than clearly evident in the an understanding of of the substance of
correct playing and a playing musical notation the music
lack of continuity which • Very limited, or no,
jeopardises the sense of ability to engage the
performance listener

42
Discussion
The examiner will consider the candidate’s responses to questions, and participation in discussion, and
will award a mark taking into account the following:

Assessment
Musical Knowledge Musicality
domain

Distinction • Secure rudimentary and contextual knowledge in relation to the perfor- • Clear understanding
85–100% mances of matters relating
• Clear and considered personal response to learning and performing the to musicality and
repertoire interpretation
• Broad knowledge of the musical context which, at Grades 7 and 8, extends
beyond the confines of the repertoire performed
• Sound understanding of the technical capabilities of the instrument
• Confident responses, accurate and well communicated

Merit • Mostly assured in terms of rudimentary and contextual knowledge • Good understanding
75–84% • Mostly well-considered personal response to learning and performing the of matters relating
repertoire to musicality and
• Significant understanding of the musical context, which, at Grades 7 and 8, interpretation
extends beyond the confines of the repertoire performed
• Good understanding of the technical capabilities of the instrument
• Generally well-expressed answers, if a little hesitant

Pass • Some understanding of rudimentary and contextual knowledge • Some understanding

65–74% • Reasonably well-considered personal response to learning and performing of matters relating
the repertoire to musicality and
• Some understanding of the musical context, which, at Grades 7 and 8, interpretation
extends beyond the confines of the repertoire performed
• Some understanding of the technical capabilities of the instrument
• Reasonable level of articulacy, perhaps combined with some hesitation;
prompting may be required

Below Pass • Degree of inaccuracy suggesting that areas of the required knowledge and • Limited understanding
55–64% understanding have not been fully covered of matters relating
• Insufficient personal response to the repertoire and understanding of the to musicality and
musical context, which at Grades 7 and 8 does not extend beyond the interpretation
confines of the repertoire performed
• Insufficient understanding of the technical capabilities of the instrument
• Responses likely to be insufficiently articulate; significant hesitation, with
prompting required

Below Pass • Significant degree of inaccuracy, proportionately greater than accurate • Little or no
0–54% responses, in terms of rudimentary and contextual knowledge understanding of matters
• Little or no personal response to the repertoire or understanding of the relating to musicality and
musical context, which at Grades 7 and 8 does not extend beyond or even interpretation
as far as the confines of the repertoire performed
• Little or no understanding of the technical capabilities of the instrument
• Only a minority of responses are coherent and/or articulate; significant
hesitation, with much prompting required

43
Accompanying Test
The examiner will consider the performance of the accompaniment test, and will award a mark taking
into account the following:

Assessment Technical
Musicality Musical Knowledge Communication
domain Accomplishment

Distinction • Confident and accurate • Fluent performance, • Clear evidence • The musical substance
85–100% execution of pitches, characterised by of a thorough is conveyed with
chords and rhythms expressive and understanding of the confidence
• Appropriate and stylistic detail musical notation
consistent tempo

Merit • Mostly accurate • Mostly fluent • Evidence of an • Most aspects of the

75–84% execution of pitches, performance understanding of the musical substance
chords and rhythms • Evidence of stylistic musical notation are conveyed through
• Workable and largely and expressive performance
consistent tempo understanding
• Principal, but not all,
markings observed

Pass • Modest level of accuracy • Some fluency in • Evidence of an • Some sense of the
65–74% with pitch, chords and performance understanding of musical substance
rhythm • Basic sense of stylistic musical notation is conveyed through
• Tempo is not fully and expressive performance
consistent or appropriate understanding

Below Pass • Some accurate playing, • Lack of fluency in the • Evidence of an • The musical substance
55–64% but also a number of performance understanding of is insufficiently
errors • Insufficient sense of musical notation conveyed through
• Limited response to stylistic or expressive performance
markings understanding

Below Pass • Accuracy not present to • Fluency not present to • Some evidence of • No sense of the
0–54% any significant degree any significant degree an understanding of musical substance
• Little or no discernible • No sense of stylistic musical notation conveyed in
sense of tempo or expressive performance
understanding

Chord Sequence Test

The examiner will consider the performance of the chord sequence test, and will award a mark taking
into account the following:

Assessment Technical
Musicality Musical Knowledge Communication
domain Accomplishment

Distinction • Confident and accurate • Sensitive and musical • Clear evidence • The musical substance
85–100% execution of chords performance choices of a thorough is conveyed with
• Convincing melody with in relation to the understanding of the confidence
secure awareness of chords provided musical notation
key and effective use of
phrasing and rhythm

44
Merit • Mostly accurate • Mostly fluent • Evidence of an • Most aspects of the
75–84% execution of chords performance understanding of the musical substance
• Largely convincing • Evidence of stylistic musical notation are conveyed through
melody with good and expressive performance
awareness of key and understanding
use of phrasing and
rhythm

Pass • Modest level of accuracy • Some fluency in • Evidence of an • Some sense of the
65–74% with chords performance understanding of musical substance
• Melody has some • Basic sense of stylistic musical notation is conveyed through
convincing moments and expressive performance
with some awareness of understanding
key and use of phrasing
and rhythm

Below Pass • Some accurate playing • Lack of fluency in the • Evidence of an • The musical substance
55–64% of chords, but also a performance understanding of is insufficiently
number of errors • Insufficient sense of musical notation conveyed through
• Melody shows limited stylistic or expressive performance
awareness of key, understanding
phrasing and rhythm

Below Pass • Accuracy not present to • Fluency not present to • Some evidence of • No sense of the
0–54% any significant degree any significant degree an understanding of musical substance
• Little or no awareness of • No sense of stylistic musical notation conveyed in
key, phrasing or rhythm or expressive performance
understanding

Aural Tests
The examiner will consider the candidate’s responses to the tests, and will award a mark based on the
following:

Assessment
Musical Knowledge Musicality
domain

Distinction • Consistently accurate and prompt responses • Clear evidence of stylistic awareness and/or
85–100% perception of different approaches to interpreting
a passage of music

Merit • Accuracy in most of the tests but with a few • Some evidence of stylistic awareness and/or
75–84% incorrect responses perception of different approaches to interpreting
a passage of music

Pass • Reasonable standard of aural perception • Basic evidence of stylistic awareness and/or
65–74% demonstrated throughout the tests perception of different approaches to interpreting
a passage of music

Below Pass • Insufficient standard of aural perception • Insufficient evidence of stylistic awareness and/or
55–64% demonstrated throughout the tests perception of different approaches to interpreting
a passage of music

Below Pass • Inadequate standard of aural perception • Inadequate evidence of stylistic awareness and/or
0–54% demonstrated throughout the tests perception of different approaches to interpreting
a passage of music

45
9.3  Awards of Pass, Pass with Merit or Pass with Distinction

Distinction (85–100%)
A candidate who achieves a Pass with Distinction will have offered a highly accurate, fluent and musical
response in all or most of the components. They will have demonstrated secure technical accomplishment
and will have shown evidence of excellent musicality. They will have demonstrated a thorough knowledge
and understanding of rudimentary and contextual knowledge in relation to the repertoire performed. They
will have communicated, through performance, a sense of real engagement with, and an understanding
of, and at Grades 6 to 8, a sense of individual personality in relation to the repertoire.

Merit (75–84%)
A candidate who achieves a Pass with Merit will have offered an accurate, fluent and musical response in
all or most of the components. They will have demonstrated a good standard of technical accomplishment
and will have shown significant evidence of musicality. They will have demonstrated a largely assured
knowledge and understanding of rudimentary and contextual knowledge in relation to the repertoire
performed. They will have communicated, through performance, some sense of engagement with, some
understanding of, and at Grades 6 to 8, an emerging sense of musical personality in relation to, the repertoire.

Pass (65–74%)
A candidate who achieves a Pass will have offered a mostly accurate, fluent and musical response in all or
most of the components. They will have demonstrated an acceptable standard of technical accomplishment
and will have shown some evidence of musicality. They will have demonstrated some knowledge and
understanding of rudimentary and contextual knowledge in relation to the repertoire performed. They
will have communicated, through performance, a basic understanding of the repertoire, and ability to
engage the listener.

Below pass, upper level (55–64%)

A candidate who achieves a mark in this band will have demonstrated some inaccuracy, lack of fluency,
and lack of musicality in all or most of the components. They will not have demonstrated an acceptable
standard of technical accomplishment. Their knowledge and understanding of rudimentary and contextual
knowledge in relation to the repertoire performed will have been judged to be below the standard required
to pass. They will have failed to communicate, through performance, a sufficient degree of understanding
of the repertoire, or ability to engage the listener.

Below pass, lower level (0–54%)

A candidate who achieves a mark in this band will have demonstrated significant inaccuracy, lack of fluency,
and little or no musicality in all or most of the components. Their standard of technical accomplishment will
have been judged as significantly below that required for the grade. Their knowledge and understanding
of rudimentary and contextual knowledge in relation to the repertoire performed will have been minimal
in relation to the requirements of the grade. They will have failed to communicate, through performance,
any discernible understanding of the repertoire, and they will not have succeeded in engaging the listener.

46
10.  Regulated qualifications

10.1  Regulated qualification information

The table below shows the qualification number, title, Guided Learning Hours (GLH), Total Qualification Time
(TQT) and credit value of each grade. The awarding organisation is University of West London Qualifications
(UWLQ). Please contact us, or consult the Register of Regulated Qualifications: register.ofqual.gov.uk,
for further details.

Graded examinations
Qualification
Level Qualification Title GLH TQT Credit
Number
Grade 1 501/1985/0 UWLQ Level 1 Award in Graded Examination in 12 60 6
Music Performance (Grade 1)
Grade 2 501/2002/5 UWLQ Level 1 Award in Graded Examination in 18 90 9
Music Performance (Grade 2)
Grade 3 501/2004/9 UWLQ Level 1 Award in Graded Examination in 18 120 12
Music Performance (Grade 3)

Grade 4 501/2003/7 UWLQ Level 2 Certificate in Graded Examination 24 150 15

in Music Performance (Grade 4)
Grade 5 501/2006/2 UWLQ Level 2 Certificate in Graded Examination 24 180 18
in Music Performance (Grade 5)
Grade 6 501/2083/9 UWLQ Level 3 Certificate in Graded Examination 36 220 22
in Music Performance (Grade 6)
Grade 7 501/2082/7 UWLQ Level 3 Certificate in Graded Examination 48 270 27
in Music Performance (Grade 7)
Grade 8 501/2066/9 UWLQ Level 3 Certificate in Graded Examination 54 320 32
in Music Performance (Grade 8)

Performance diplomas
Qualification
Level Qualification Title GLH TQT Credit
Number
DipLCM 603/3771/0 UWLQ Level 4 Diploma in Music Performance 54 900 90
ALCM 603/3772/2 UWLQ Level 5 Diploma in Music Performance 65 1200 120
LLCM 603/3773/4 UWLQ Level 6 Diploma in Music Performance 108 1800 180
FLCM 600/0758/8 UWLQ Level 7 Diploma in Music Performance 134 2250 225

Teaching diplomas
Qualification
Level Qualification Title GLH TQT Credit
Number
DipLCM 600/0062/4 UWLQ Level 4 Diploma in Music Teaching 60 1000 100
ALCM 600/0829/5 UWLQ Level 5 Diploma in Music Teaching 75 1500 150
LLCM 600/0826/X UWLQ Level 6 Diploma in Music Teaching 120 2000 200

47
10.2  RQF levels

The Regulated Qualifications Framework (RQF) has eight levels plus entry level. The table below shows
the broad equivalences between UWLQ qualifications and other qualifications within the RQF and higher
education.

RQF Level UWLQ Qualification Equivalent Standard

1 Grades 1, 2 and 3 GCSE Grades 3 to 1
2 Grades 4 and 5 GCSE Grades 9 to 4
3 Grades 6, 7 and 8 A Level
4 DipLCM in Music Performance and Teaching First year undergraduate degree module
5 ALCM in Music Performance and Teaching Second year undergraduate degree module
6 LLCM in Music Performance and Teaching Final year undergraduate degree module
7 FLCM in Music Performance Masters degree module

10.3  UCAS tariff points

The Universities and Colleges Admissions Service (UCAS) includes regulated graded music examinations
at Grades 6 to 8 in its tariff as follows:

UCAS LCM Practical Examinations LCM Theory Examinations A Levels

Points
Grade 6 Grade 7 Grade 8 Grade 6 Grade 7 Grade 8 AS Level A2 Level
56 A*
48 A
40 B
32 C
30 Distinction
24 Merit D
20 A
18 Pass
16 Distinction B E
14 Merit
12 Distinction Pass C
10 Merit Distinction D
9 Merit
8 Pass Distinction Pass
7 Merit
6 Distinction Pass E
5 Merit
4 Pass

48
 LCM Examinations
University of West London
St Mary’s Road
London
W5 5RF

020 8231 2364

lcme.uwl.ac.uk
lcm.exams@uwl.ac.uk