BRASS SYLLABUS REQUIREMENTS

Programme planning
Candidates should use their discretion in their choice of three pieces to present a
contrasted and balanced programme. One piece must be chosen from each of the
three lists in each grade (A, B and C).
Tuning-up
Candidates must tune their instruments themselves at all grades. However, the
teacher or accompanist may advise on tuning at Grades 1–5, if needed.
Music stands
All ABRSM Centres provide a music stand, but candidates are welcome to bring their
own if they prefer.
Accompaniment
A live piano accompaniment is required for all pieces in List A and List B (except
those which are published as unaccompanied works). Candidates must provide their
own accompanist, who may remain in the exam room only while engaged in accom-
panying. The candidate’s teacher may act as accompanist; under no circumstances
will the examiner do so. All List C pieces are to be performed unaccompanied.
Tuttis
Accompanists should make cuts to extensive orchestral tuttis in concerto (or similar)
movements.
Cadenzas
Cadenzas should not be played unless specified in the syllabus.
Bass/treble clef
For the purposes of administering the scale and sight-reading requirements,
examiners will ask trombone, baritone, euphonium and tuba candidates whether
they are bass- or treble-clef readers.
Scales and arpeggios
Examiners will usually ask for at least one of each type of scale/arpeggio etc. required
at each grade, as well as aiming to hear a balance of the specified articulations. When
asking for requirements, examiners will specify only:
•      the key (including minor form – harmonic or melodic – in the Grade 6–8 scales)
•      the articulation
All scales and arpeggios should:
•      be played from memory
•      begin from the lowest possible tonic/starting note unless otherwise specified in
the syllabus*
•      ascend and descend according to the specified range

*  Disregarding additional lower notes available to trombones with a trigger or to baritones, euphoniums and tubas with a 4th valve

6
 Brass syllabus requirements
•      be played without undue accentuation and at a pace that is consistent with
accuracy and distinctness
Recommended minimum speeds are given online at www.abrsm.org/scalespeeds
and in These Music Exams (available online or free of charge from music retailers).
They are also to be found in the books of scale requirements published for all brass
subjects by ABRSM.
For transposing instruments, the naming of scales applies to the notation, not
the concert pitch; for example, D major for trumpet in B b will sound in C, not D.
Arpeggios, dominant and diminished sevenths are required in root position only.
Sight-reading
The sight-reading tests are without accompaniment. Candidates will be given a short
interval of up to half a minute in which to look through and, if they wish, try out
any part of the test before they are required to perform it for assessment. The same
procedure applies to the transposition tests for Grades 6–8 horn and trumpet
candidates. Books of specimen sight-reading tests are published for all brass subjects
by ABRSM.
Performance and assessment
When marking, examiners will be assessing not only the accuracy of notes and
rhythm, but also other elements inherent in a good performance, including intona-
tion, quality of tone, suitable choice of tempo, and expression and phrasing. Further
details of assessment criteria are given in These Music Exams.
Marking scheme
Schedule of maximum marks for all grades:
Pieces: 1 30
2 30
3 30
Aural tests 18
Scales and arpeggios 21
Sight-reading (& Transposition†) 21
Total 150

Horn & Trumpet Grades 6–8 Maximum marks: 12 for sight-reading, 9 for transposition (one
† 
combined mark will be recorded)

7
HORN (Subject Code: 13)
This syllabus is valid from 2013 until further notice.
In Grades 1–3, this syllabus may be offered on a mini-horn in Bb or F.
The accompanied pieces are published in F editions unless otherwise indicated. For those pieces not
published in F, candidates may use manuscript transpositions of their parts if necessary.
Some List C pieces are published with transposition suggestions but in the exam they should be played
in the written keys only.

Horn GRADE 1
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C:
LIST A
1 Beethoven Theme from Ninth Symphony. Winners Galore, arr. Lawrance (Brass Wind: & brass edition; F piano
accomp. published separately)
2 Arthur Campbell Chorale. No. 3 from Horn Solos, Book 1, arr. Campbell (Faber)
3 Tom Davoren Romanza ?
¸ Shining Brass, Book 1 (ABRSM: &  / brass edition; F piano accomp. published
˝
4 Philip Sparke A Knight’s Tale ˛   separately)
5 Haydn German Dance. Time Pieces for Horn, Vol. 1, arr. Harris and Skirrow (ABRSM: F/E b edition)
6 Henry VIII Pastime with Good Company ¸
˝ 10 Easy Tunes for Horn, arr. Humphries (Fentone F 486-401)
7 Susato La Mourisque ˛
8 Trad. English Song of the Western Men ¸
˝ Boosey Brass Method, Horn in F, Repertoire Book B (Boosey & Hawkes)
9 Trad. Japanese Koinobori ˛

LIST B
1 Bartók No. 3 from For Children, Vol. 1. Time Pieces for Horn, Vol. 1, arr. Harris and Skirrow (ABRSM: F/E b edn)
2 Lizzie Davis Mordred’s Castle: No. 2 from Hornets Nest (Brass Wind)
3 Tom Davoren Waltz for E. ¸ ?
˝ Shining Brass, Book 1 (ABRSM: &  / brass edition; F piano accomp. published separately)
4 David A. Stowell Strollin’ ˛
5 Peter Graham Moscow or Paris: No. 1 or No. 2 from Cityscapes for Horn in F (Gramercy Music)
6 Christopher Gunning Echoes or Sad Café. No. 4 or No. 7 from The Really Easy Horn Book, arr. Gunning and
Pearson (Faber)
7 Ian Lowes Nightfall. Boosey Brass Method, Horn in F, Repertoire Book B (Boosey & Hawkes)
8 Rendall and Thomas Birdie Song. Winners Galore, arr. Lawrance (Brass Wind: & brass edition; F piano accomp.
published separately)
9 Pam Wedgwood Hot Chilli or Cheeky Cherry: from Really Easy Jazzin’ About for French Horn (Faber)
LIST C
1 Lizzie Davis Tiny Minuet: from Polished Brass (Brass Wind: & brass edition)
2 Jock McKenzie Pop or Sizhu: No. 1 or No. 2 from Dance to the Beat of the World (Con Moto: & brass edition)
3 Peter Meechan One, Two, Three! ¸ ?
˝ Shining Brass, Book 1 (ABRSM: &  / brass edition)
4 Philip Sparke Puppet’s Dance ˛
5 John Miller Hungarian Hoe-down or Supersonic Samurai: No. 3 or No. 14 from Simple Studies for Beginner
Brass (Faber: & brass edition)
6 Mark Nightingale A Small Step or Fiesta Siesta: No. 1 or No. 2 from Easy Jazzy ’Tudes (Warwick Music: & brass edn)
7 Philip Sparke Modal Melody or Marching Home: No. 3 or No. 7 from Skilful Studies for Horn (Anglo Music
AMP 099-401)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 87

SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys:
C major; A minor (one octave, starting an octave above lowest tonic)
Scales: in the above keys (minor in natural or harmonic or melodic form at candidate’s choice)
Arpeggios: the common chords of the above keys for the range indicated

SIGHT-READING*: a short piece in simple time within the keys, notes and overall range of the scale
requirements set for this grade. Some accidentals, dotted and tied notes may be included. See also p. 7.
9
Horn GRADE 2

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C:
LIST A
1 Arbeau Pavane (from Orchésographie). No. 11 from Horn Solos, Book 1, arr. Campbell (Faber)
2 Brahms St Anthony Chorale (from Variations on a Theme by Haydn, Op. 56a). Time Pieces for Horn, Vol. 1, arr.
Harris and Skirrow (ABRSM: F/E b edition)
3 Mozart Aria (from The Marriage of Figaro) ¸ Winners Galore, arr. Lawrance (Brass Wind: & brass edition; F piano
˝
4 Trad. Welsh Calon Lân ˛   accomp. published separately)
5 Philip Sparke My Lady’s Pavan ¸ Shining Brass, Book 1 (ABRSM: &  /? brass edition; F piano accomp. published
˝
6 David A. Stowell A Walk in the Rain ˛   separately)
7 Trad. Welsh David of the White Rock. No. 3 from Going Solo – Horn, arr. Bissill and Campbell (Faber)
8 Trad. Welsh Men of Harlech. Winner Scores All, arr. Lawrance (Brass Wind: & brass edition; F piano accomp.
published separately)
9 Peter Warlock Basse-Dance. Boosey Brass Method, Horn in F, Repertoire Book B (Boosey & Hawkes)
LIST B
1 Lizzie Davis Dark Rider: No. 4 from Hornets Nest (Brass Wind)
2 Tom Davoren Hangin’ with Monti ¸ Shining Brass, Book 1 (ABRSM: &/? brass edition; F piano accomp. published
˝
3 Philip Sparke Tennessee Rag ˛   separately)
4 Peter Graham Seville or Kyoto: No. 3 or No. 4 from Cityscapes for Horn in F (Gramercy Music)
5 Chris Norton A Dab Hand. Boosey Brass Method, Horn in F, Repertoire Book B (Boosey & Hawkes)
6 Trad. Spiritual Nobody Knows. No. 1 from Going Solo – Horn, arr. Bissill and Campbell (Faber)
7 Walton Song at Dusk (from Duets for Children). Time Pieces for Horn, Vol. 1, arr. Harris and Skirrow (ABRSM:
F/E b edition)
8 Pam Wedgwood Easy Tiger or Keep Truckin’: from Really Easy Jazzin’ About for French Horn (Faber)
9 John Williams Somewhere in My Memory (from Home Alone). Winner Scores All, arr. Lawrance (Brass Wind: &
brass edition; F piano accomp. published separately)
LIST C
1 Lizzie Davis Tarantella: from Polished Brass (Brass Wind: & brass edition)
2 Jock McKenzie Calypso or Czardas: No. 11 or No. 20 from Dance to the Beat of the World (Con Moto: & brass
edition)
3 Peter Meechan Haunted House ¸ ?
˝ Shining Brass, Book 1 (ABRSM: &  / brass edition)
4 David A. Stowell High Street ˛
5 John Miller Sabre Dance or Scottish Warrior: No. 16 or No. 21 from Simple Studies for Beginner Brass (Faber: &
brass edition)
6 Mark Nightingale Ready, Aim, Fire! or The Nuthatch: No. 4 or No. 6 from Easy Jazzy ’Tudes (Warwick Music: &
brass edition)
7 Philip Sparke The Big Apple or Tom’s Tune: No. 11 or No. 13 from Skilful Studies for Horn (Anglo Music AMP
099-401)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 87

SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys:
Bb, C majors; B, D minors (one octave, starting an octave above lowest tonic)
Scales: in the above keys (minors in natural or harmonic or melodic form at candidate’s choice)
Arpeggios: the common chords of the above keys for the range indicated

SIGHT-READING*: a short piece in simple time within the keys, notes and overall range of the scale
requirements set up to and including this grade. Some accidentals, dotted and tied notes may be included.
See also p. 7.

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

10
Horn GRADE 3

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C:
LIST A
1 Tom Davoren Rondo Olympia ¸ Shining Brass, Book 1 (ABRSM: &  /? brass edition; F piano accomp. published
˝
2 Lucy Pankhurst Sicilienne ˛   separately)
3 Handel See, the Conqu’ring Hero Comes (from Judas Maccabaeus) ¸ Time Pieces for Horn, Vol. 1, arr. Harris
˛   and Skirrow (ABRSM: F/E b edition)
˝
4 Schumann Soldiers’ March (from Album for the Young, Op. 68)
5 Mendelssohn O for the Wings of a Dove. 10 Easy Tunes for Horn, arr. Humphries (Fentone F 486-401)
6 Tchaikovsky Humoresque in C. No. 9 from Going Solo – Horn, arr. Bissill and Campbell (Faber)
7 Tchaikovsky Reverie. Winner Scores All, arr. Lawrance (Brass Wind: & brass edition; F piano accomp. published
separately)
8 Trad. English Greensleeves. No. 8 from ¸ Skilful Solos for F or E b Horn, arr. Sparke (Anglo Music AMP 192-
No. 4 from ˛   400: F/E b edition)
˝
9 Vivaldi Spring.
LIST B
1 Bernstein America (from West Side Story). Winner Scores All, arr. Lawrance (Brass Wind: & brass edition; F piano
accomp. published separately)
2 Richard Bissill Waltz to Take Away. No. 5 from Going Solo – Horn, arr. Bissill and Campbell (Faber)
3 Lizzie Davis En Cor: No. 7 from Hornets Nest (Brass Wind)
4 John Frith Broken Dreams ¸ Shining Brass, Book 1 (ABRSM: &  /? brass edition; F piano accomp. published
˝
5 Peter Meechan Purple Shade ˛   separately)
6 Peter Graham New York (grace note optional) or Vienna: No. 5 or No. 6 from Cityscapes for Horn in F (Gramercy
Music)
7 Paul Harris Hunt the Horn. Time Pieces for Horn, Vol. 1, arr. Harris and Skirrow (ABRSM: F/E b edition)
8 Sidney Ramin Music to Watch Girls By ¸
˝ Jazzed Up Too for F Horn, arr. Ramskill (Brass Wind)
9 Rodgers and Hart Blue Moon ˛

LIST C
1 Concone Study No. 1 or No. 3. Concone Studies for Horn in F, arr. Ashworth (Emerson E299a)
2 Lizzie Davis Horn of Wonder: from Polished Brass (Brass Wind: & brass edition)
3 Timothy Jackson How’s Tricks? ¸ ?
˝ Shining Brass, Book 1 (ABRSM: &  / brass edition)
4 Peter Meechan Summer Sound ˛
5 Jock McKenzie Halling: No. 28 from Dance to the Beat of the World (Con Moto: & brass edition)
6 Mark Nightingale Ermie’s Blues: No. 10 from Easy Jazzy ’Tudes (Warwick Music: & brass edition)
7 Philip Sparke Rondino or Classical Theme: No. 22 or No. 24 from Skilful Studies for Horn (Anglo Music AMP
099-401)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 88

SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys:
C, E minors (one octave, starting an octave above lowest tonic)
G, A majors; G minor (a twelfth, starting below stave)
Scales: in the above keys (minors in harmonic or melodic form at candidate’s choice)
Chromatic Scale: starting on C (one octave)
Arpeggios: the common chords of the above keys for the ranges indicated

SIGHT-READING*: a short piece in simple time within the keys, notes and overall range of the scale
requirements set up to and including this grade. See also p. 7.

11
 Horn GRADE 4

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C:
LIST A
1 Bizet Theme from L’Arlésienne. No. 11 from Going Solo – Horn, arr. Bissill and Campbell (Faber)
2 Tom Davoren Beaufort Allegro ¸ Shining Brass, Book 2 (ABRSM: &  /? brass edition; F piano accomp. published
˝
3 John Frith Jiggedy Jig ˛   separately)
4 Grieg Solveig’s Song (from Peer Gynt). Great Winners, arr. Lawrance (Brass Wind: & brass edition; F piano
accomp. published separately)
5 Humperdinck Evening Prayer (from Hänsel und Gretel). Time Pieces for Horn, Vol. 2, arr. Harris and Skirrow
(ABRSM: F/E b edition)
6 Mendelssohn Nocturne (from A Midsummer Night’s Dream). No. 17 from ¸ Horn Solos, Book 1, arr. Campbell
˝
7 Weber Huntsmen’s Chorus (from Der Freischütz). No. 19 from ˛   (Faber)
8 Mozart Adagio. No. 15 from ¸ Skilful Solos for F or E b Horn, arr. Sparke
9 Schubert Marche militaire (grace notes optional). No. 16 from ˛  (Anglo Music AMP 192-400: F/E b edition)
˝

LIST B
1 Richard Bissill Hymn of the High Plains. No. 7 from Going Solo – Horn, arr. Bissill and Campbell (Faber)
2 Jean-Michel Damase Berceuse, Op. 19 (Leduc AL 20897)
3 Lizzie Davis Taco Taco! or Zarabanda: No. 6 or No. 8 from Hornets Nest (Brass Wind)
4 Ron Goodwin 633 Squadron. Great Winners, arr. Lawrance (Brass Wind: & brass edition; F piano accomp.
published separately)
5 Peter Graham Buenos Aires: No. 7 from Cityscapes for Horn in F (Gramercy Music)
6 Ronald Hanmer Arioso or Finale: 3rd or 4th movt from Suite for Horn (Emerson E31: F/E b edition)
7 Peter Meechan Way Down South ¸ Shining Brass, Book 2 (ABRSM: &  /? brass edition; F piano accomp. published
˝
8 David A. Stowell Open Plains ˛   separately)
9 Robert Ramskill In the Fast Lane. Jazzed Up Too for F Horn, arr. Ramskill (Brass Wind)
LIST C
1 Concone Study No. 5. Concone Studies for Horn in F, arr. Ashworth (Emerson E299a)
2 Lizzie Davis Wipe Out: from Polished Brass (Brass Wind: & brass edition)
3 Tom Davoren Quiet Moment ¸ ?
˝ Shining Brass, Book 2 (ABRSM: &  / brass edition)
4 Timothy Jackson Circulation ˛
5 Jock McKenzie Tarantella: from Music Makes the World Go Around (Con Moto: & brass edition)
6 John Miller The Upward Slur or Articulation: No. 2 or No. 4 from Progressive Brass Studies (Faber: & brass
edition)
7 Philip Sparke Penny Parade or One-part Invention: No. 34 or No. 36 from Skilful Studies for Horn (Anglo
Music AMP 099-401)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 88

SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys:
Bb major; A, B minors (a twelfth)
E, F majors; F minor (two octaves)
Scales: in the above keys (minors in harmonic or melodic form at candidate’s choice)
Chromatic Scale: starting on A (a twelfth)
Arpeggios: the common chords of the above keys for the ranges indicated
Dominant Seventh: in the key of C (one octave)

SIGHT-READING*: a short piece in simple or compound time within the keys, notes and overall range of
the scale requirements set up to and including this grade. See also p. 7.

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

12
Horn GRADE 5

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C:
LIST A
1 Beethoven Scherzo and Trio (from Septet, Op. 20) ¸ Time Pieces for Horn, Vol. 2, arr. Harris and Skirrow
˛   (ABRSM: F/E b edition)
˝
2 Saint-Saëns Romance, Op. 36
3 Cherubini Sonata No. 1. Cherubini 2 Sonatas (Concert Etudes) (G. Schirmer GS33559)
4 Debussy En bateau. No. 11 from ¸
˝ Horn Solos, Book 2, arr. Campbell (Faber)
5 Handel Mirth admit me of thy crew. No. 12 from ˛
6 John Frith Canzona ?
¸ Shining Brass, Book 2 (ABRSM: &  / brass edition; F piano accomp. published
˝
7 David A. Stowell Jam Bouree ˛   separately)
8 Ippolitov-Ivanov Cortège (from Caucasian Sketches). Undercover Hits for Horn in F, arr. Gout (Brass Wind)
9 Paradies Sicilienne, arr. Denwood (Emerson E474: F/E b edition)
LIST B
1 Bernstein Psalm 23 (from Chichester Psalms). Time Pieces for Horn, Vol. 2, arr. Harris and Skirrow (ABRSM:
F/E b edition)
2 Richard Bissill Calling All Cars (handstopping optional). Hornscape for Horn in F, arr. Bissill (Brass Wind)
3 Tom Davoren Lindy Hop! ¸ Shining Brass, Book 2 (ABRSM: &  /? brass edition; F piano accomp.
˝
4 Lucy Pankhurst Gone, Not Forgotten ˛   published separately)
5 W. Lloyd Webber Summer Pastures (Stainer & Bell H377)
6 Jim Parker Mapp and Lucia. The Music of Jim Parker for Horn in F (Brass Wind)
7 Philip Sparke March of the Toy Soldiers or Song of Farewell: No. 3 or No. 7 from Super Solos for F or E b Horn
(Anglo Music AMP 265-400: F/E b edition)
8 John Williams Raiders March (from Raiders of the Lost Ark). Great Winners, arr. Lawrance (Brass Wind: & brass
edition; F piano accomp. published separately)
9 Guy Woolfenden War Dance or Moonlight Rumba: from Horn Dances (Brass Wind)
LIST C
1 Concone Study No. 11 or No. 18. Concone Studies for Horn in F, arr. Ashworth (Emerson E299a)
2 Lizzie Davis Hornpipe: from Polished Brass (Brass Wind: & brass edition)
3 Kopprasch Study No. 8 or No. 10: from 60 Selected Studies for French Horn, Book 1 (Carl Fischer or Hofmeister
FH6014)
4 Jock McKenzie Fling: from Music Makes the World Go Around (Con Moto: & brass edition)
5 Peter Meechan Air ¸ ?
˝ Shining Brass, Book 2 (ABRSM: &  / brass edition)
6 David A. Stowell Flennon Study (either version) ˛
7 John Miller Prairie Song or March: No. 5 or No. 6 from Progressive Brass Studies (Faber: & brass edition)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 89

SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys:
B b major (a twelfth)
D, Eb, G majors; D, E, F # minors (two octaves)
Scales: in the above keys (minors in harmonic or melodic form at candidate’s choice)
Chromatic Scale: starting on F (two octaves)
Arpeggios: the common chords of the above keys for the ranges indicated
Dominant Seventh: in the key of C (two octaves)

SIGHT-READING*: see p. 7.

13
Horn GRADE 6

PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music, Practical Musicianship or any solo
Jazz subject.

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C:
LIST A
1 Richard Bissill My Lady Fair ¸
2 John Frith Allegro Appassionato ˝ Principal Horn (ABRSM)
3 Timothy Jackson The Old Lancashire Hornpipe ˛
4 Haydn Adagio: 2nd movt from Horn Concerto No. 2 in D (Boosey & Hawkes: F/D edition)
5 J. B. Loeillet Allegro (observing repeat): 2nd movt from Sonata for Horn, arr. Civil (Broadbent & Dunn 10220)
6 Mozart Allegro or Rondo–Allegro: 1st or 2nd movt from Horn Concerto No. 1 in D, K. 412/514 (Bärenreiter
BA 5314-90: F/D edition)
7 Mozart Andante: 2nd movt from Horn Concerto No. 2 in E b, K. 417 (Bärenreiter BA 5311-90: F/E b edition)
8 R. Strauss Andante for Horn, Op. posth. (Boosey & Hawkes)
9 R. Strauss Andante: 2nd movt from Horn Concerto No. 1 in E b, Op. 11 (Universal UE 34725)
LIST B
1 Richard Bissill Ghost Rider. Hornscape for Horn in F, arr. Bissill (Brass Wind)
2 Bozza En Irlande (Leduc AL 20930)
3 Dunhill Presto non troppo: No. 6 from Cornucopia, Op. 95 (Boosey & Hawkes)
4 John Frith Time Passing ¸
˝ Principal Horn (ABRSM)
5 Timothy Jackson Loch Lomond ˛
6 Hindemith Ruhig bewegt: 2nd movt from Horn Sonata (1939) (Schott ED 3642)
7 Richard Kershaw Night Ride (Broadbent & Dunn 13101)
8 Jim Parker The House of Eliott. The Music of Jim Parker for Horn in F (Brass Wind)
9 Guy Woolfenden Spanish Dance: from Horn Dances (Brass Wind)
LIST C
1 J. S. Bach Bourrée I and II: 5th and 6th movts from Suite No. 3. J. S. Bach 6 Suites for Horn Solo, arr. Orval
(Editions Marc Reift EMR 256)
2 Richard Bissill On Your Uppers ¸
˝ Principal Horn (ABRSM)
3 John Frith Tarantella ˛
4 Concone Study No. 17 or No. 25. Concone Studies for Horn in F, arr. Ashworth (Emerson E299a)
5 Kopprasch Study No. 13 or No. 21: from 60 Selected Studies for French Horn, Book 1 (Carl Fischer or Hofmeister
FH6014)
6 Gunther Schuller Allegro vivace: No. 4 from Studies for Unaccompanied Horn (OUP)
7 Lowell E. Shaw No. 1: from Just Desserts – Frippery Style (The Hornists’ Nest)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 89

SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys:
C, D b, F #, A b majors; C #, E b, G, A minors (two octaves)
Scales: in the above keys (minors in both harmonic and melodic forms)
Chromatic Scales: starting on E, F, F # and G (two octaves)
Arpeggios: the common chords of the above keys for the range indicated
Dominant Seventh: in the key of D (two octaves)
Diminished Seventh: starting on G (two octaves)

SIGHT-READING*: see p. 7.

TRANSPOSITION: candidates will be asked to transpose down a tone a short piece approximately
equivalent to a Grade 4 sight-reading test.

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

14
Horn GRADE 7

PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music, Practical Musicianship or any solo
Jazz subject.

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C:
LIST A
1 Beethoven Allegro moderato: 1st movt from Horn Sonata in F, Op. 17 (Boosey & Hawkes or Henle HN 498)
2 Richard Bissill The Drawing Room. Hornscape for Horn in F, arr. Bissill (Brass Wind)
3 Glazunov Rêverie, Op. 24 (Belaieff BEL 343)
4 Gliere Intermezzo, Op. 35 No. 11. Gliere Four Pieces for Horn and Piano, Op. 35 (Hans Pizka)
5 Mozart Allegro or Allegro: 1st or 3rd movt from Horn Concerto No. 3 in E b, K. 447 (Bärenreiter BA 5312-90:
F/E  b edition)
6 Mozart Rondo–Allegro vivace: 3rd movt from Horn Concerto No. 4 in E b, K. 495 (Bärenreiter BA 5313-90:
F/E  b edition)
7 Reinecke Notturno, Op. 112 (Schott COR 9)
8 F. Strauss 3rd movt (starting at Fig. K): from Horn Concerto in C minor, Op. 8 (G. Schirmer GS33556)
9 F. Strauss Nocturno, Op. 7 (Universal UE 1368)
LIST B
1 M. Arnold Andantino grazioso: 2nd movt from Horn Concerto No. 2, Op. 58 (Paterson PAT62001: F/E b edition)
2 Arnold Cooke Rondo in B b (Schott ED 10231)
3 Jean-Michel Damase Pavane variée (Lemoine)
4 John Frith Jousting. Principal Horn (ABRSM)
5 Armando Ghidoni Poésie et Gaîté (observing cadenza) (Leduc AL 29207)
6 Christopher Gibbs Meditation (Phylloscopus PP479)
7 Jan Koetsier Romanza, Op. 59 No. 2 (Editions Marc Reift EMR 240)
8 Prokofiev Morning Dance (from Romeo and Juliet). Hornscape for Horn in F, arr. Bissill (Brass Wind)
9 Guy Woolfenden Sword Dance: from Horn Dances (Brass Wind)
LIST C
1 J. S. Bach Gigue: 7th movt from Suite No. 2. J. S. Bach 6 Suites for Horn Solo, arr. Orval (Editions Marc Reift
EMR 256)
2 John Frith Olympic Spirit. Principal Horn (ABRSM)
3 B. Hummel Intermezzo: 2nd movt from Suite for Solo Horn in F, Op. 64 (Zimmermann ZM21270)
4 Kopprasch Study No. 16 or No. 33: from 60 Selected Studies for French Horn, Book 1 (Carl Fischer or Hofmeister
FH6014)
5 de Pré No. 2: from 20 Études pour le cor grave (Billaudot GB2127)
6 Gunther Schuller Allegro moderato: No. 2 from Studies for Unaccompanied Horn (OUP)
7 Lowell E. Shaw No. 4 or No. 6: from Just Desserts – Frippery Style (The Hornists’ Nest)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 90

SCALES AND ARPEGGIOS*: from memory, to be played slurred, legato-tongued and staccato in the follow-­
ing­ keys:
All keys, major and minor (two octaves; A and B b majors and minors both lower and upper two octaves)
Scales: in the above keys (minors in both harmonic and melodic forms)
Chromatic Scales: starting on any note (two octaves)
Arpeggios: the common chords of the above keys for the range indicated
Dominant Sevenths: in the keys of B, C, D b and D (two octaves)
Diminished Sevenths: starting on C and A b (two octaves)

SIGHT-READING*: see p. 7.

TRANSPOSITION: candidates will be asked to transpose down a tone a short piece approximately
equivalent to a Grade 5 sight-reading test.
15
Horn GRADE 8

PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music, Practical Musicianship or any solo
Jazz subject.

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C:
LIST A
1 J. S. Bach Quoniam tu solus sanctus (from Mass in B minor) (solo line for Horn in D). Absolutely Horn, arr.
Bissill (Brass Wind)
2 Beethoven Poco adagio, quasi andante and Rondo–Allegretto moderato: 2nd and 3rd movts from Horn
Sonata in F, Op. 17 (Boosey & Hawkes or Henle HN 498)
3 Donizetti Concerto for Horn (complete), arr. Leloir (Billaudot GB1907)
4 John Frith The Pearl. Principal Horn (ABRSM)
5 Gliere Andante: 2nd movt from Horn Concerto, Op. 91 (Hans Pizka or Sikorski–Boosey & Hawkes)
6 Hutschenruijter Romanze, Op. 12 (Compusic XCOM305: E b edition)
7 Mozart Allegro or Rondo–Allegro: 1st or 3rd movt from Horn Concerto No. 2 in E b, K. 417 (Bärenreiter BA
5311-90: F/E b edition)
8 Saint-Saëns Morceau de Concert, Op. 94 (cutting Figs 3–4 and 10–11) (Durand)
9 Steup Allegro brillante: 1st movt from Sonata No. 11 in E b (Compusic XCOM309: E b edition)
10 R. Strauss Allegro or Rondo–Allegro: 1st or 3rd movt from Horn Concerto No. 1 in E b, Op. 11 (Universal UE
34725)
LIST B
1 Alan Abbott Alla Caccia (Weinberger)
2 Richard Bissill By Jupiter! Principal Horn (ABRSM)
3 York Bowen Moderato espressivo: 1st movt from Horn Sonata in E b, Op. 101 (Emerson E165)
4 Bozza En forêt, Op. 40 (Leduc AL 19955)
5 Büsser Cantecor, Op. 77 (Leduc AL 23101)
6 John Frith Vivo: 3rd movt from Horn Sonata (Emerson E538)
7 Hindemith Lebhaft: 3rd movt from Horn Sonata (1939) (Schott ED 3642)
8 Jan Koetsier Scherzo Brillante, Op. 96 (Editions Marc Reift EMR 267)
9 Trygve Madsen Allegro: 1st movt from Horn Sonata, Op. 24 (Musikk-Huset)
10 Gilbert Vinter Hunter’s Moon (Boosey & Hawkes)
LIST C
1 Jeffrey Agrell Romp for solo horn (special effects optional) (Editions Marc Reift EMR 2040)
2 J. S. Bach Gigue: 7th movt from Suite No. 3. J. S. Bach 6 Suites for Horn Solo, arr. Orval (Editions Marc Reift
EMR 256)
3 Derek Bourgeois Presto: No. 8 from Fantasy Pieces for Horn (Brass Wind)
4 B. Hummel Finale (flutter-tonguing optional): 4th movt from Suite for Solo Horn in F, Op. 64 (Zimmermann
ZM21270)
5 Kopprasch Study No. 14: from 60 Selected Studies for French Horn, Book 1 (Carl Fischer or Hofmeister FH6014)
6 Bernhard Krol Laudatio for solo horn (Simrock EE 2962)
7 de Pré No. 13: from 20 Études pour le cor grave (Billaudot GB2127)
8 Lowell E. Shaw No. 12: from Just Desserts – Frippery Style (The Hornists’ Nest)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 91

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

16
Horn GRADE 8

SCALES AND ARPEGGIOS*: from memory, to be played slurred, legato-tongued and staccato in the follow-­
ing­ keys:
A, B b, B majors; A, B b, B minors (three octaves)
All other keys, major and minor (two octaves)
Scales: in the above keys (minors in both harmonic and melodic forms)
Chromatic Scales: starting on any note (two octaves)
Whole-Tone Scales: starting on B and C (two octaves), as example given on p. 85
Arpeggios: the common chords of the above keys for the ranges indicated
Dominant Sevenths: in all keys (two octaves)
Diminished Sevenths: starting on G, A b and A (two octaves)

SIGHT-READING*: see p. 7.

TRANSPOSITION: candidates will be asked to transpose down a tone a short piece approximately
equivalent to a Grade 6 sight-reading test.

17
AURAL TESTS: included in the Practical exams for all subjects

Listening lies at the heart of all good music-making. Developing aural awareness is
fundamental to musical training because having a ‘musical ear’ impacts on all
aspects of musicianship. Singing, both silently in the head and out loud, is one
of the best ways to develop the ‘musical ear’. It connects the internal imagining of
sound, the ‘inner ear’, with the external creation of it, without the necessity of
mechanically having to ‘find the note’ on an instrument (important though that
connection is). By integrating aural activities in imaginative ways in the lesson,
preparation for the aural tests within an exam will be a natural extension of what is
already an essential part of the learning experience.
In the exam
Aural tests are an integral part of all Practical graded exams.
The tests are administered by the examiner from the piano. For any test that
requires a sung response, pitch rather than vocal quality is the object. The examiner
will be happy to adapt to the vocal range of the candidate, whose responses may be
sung to any vowel (or consonant followed by a vowel), hummed or whistled (and at
a different octave, if appropriate).
Assessment
A number of tests allow for a second attempt or for an additional playing by the
examiner, if necessary. Also, where there is hesitation on the part of the candidate,
the examiner will be ready to prompt, if necessary. In any such cases, this will affect
the assessment.
Marks are not awarded for each individual test nor deducted for mistakes but
reflect the candidate’s overall response in this section. The marking criteria for the
aural tests are given on p. 11.
Minor modifications (from 2011)
This syllabus includes the minor modifications introduced to some aural tests in
2011.
Specimen tests
Examples of the tests are given in new editions (from 2011) of Specimen Aural Tests
and Aural Training in Practice, available for purchase from music retailers and from
www.abrsm.org/shop.
Deaf or hearing-impaired candidates
Deaf or hearing-impaired candidates may opt to respond to alternative tests in
place of the standard tests, if requested at the time of entry. The syllabus for these
tests is available free on request from ABRSM (E accesscoordinator@abrsm.ac.uk).
Examples of the alternative tests are available for purchase from Allegro Music
(T +44 (0)1885 490375; E sales@allegro.co.uk). The minor modifications (from
2011) do not affect the alternative aural tests.

88
Aural Tests GRADE 1
A To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or
three time. The examiner will start playing the passage, and the candidate should join in as soon
as possible, clapping in time and giving a louder clap on the strong beats. The examiner will
then ask whether the music is in two time or three time. The candidate is not required to state
the time signature.
B To sing as ‘echoes’ three phrases played by the examiner. The phrases will be two bars long, in
a major key, and within the range of tonic–mediant. First the examiner will play the key-chord
and the starting note (the tonic) and then count in two bars. After the examiner has played each
phrase, the candidate should sing back the echo without a pause, keeping in time.
C To identify where a change in pitch occurs during a phrase played by the examiner. The phrase
will be two bars long, in a major key, and the change will affect only one of the notes. First the
examiner will play the key-chord and the tonic and then count in two bars. The examiner will
play the phrase twice, making the change in the second playing, after which the candidate should
state whether the change was near the beginning or near the end. If necessary, the examiner
will play both versions of the phrase again (although this will affect the assessment).
D To answer questions about two features of a piece played by the examiner. Before playing, the
examiner will tell the candidate which two features the questions will be about. The first will be:
dynamics (loud/quiet, or sudden/gradual changes); the second will be articulation (smooth/
detached).

Aural Tests GRADE 2

A To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or
three time. The examiner will start playing the passage, and the candidate should join in as soon
as possible, clapping in time and giving a louder clap on the strong beats. The examiner will
then ask whether the music is in two time or three time. The candidate is not required to state
the time signature.
B To sing as ‘echoes’ three phrases played by the examiner. The phrases will be two bars long, in
a major key, and within the range of tonic–dominant. First the examiner will play the key-chord
and the starting note (the tonic) and then count in two bars. After the examiner has played each
phrase, the candidate should sing back the echo without a pause, keeping in time.
C To identify a change in either pitch or rhythm during a phrase played by the examiner. The
phrase will be two bars long, in a major key. First the examiner will play the key-chord and the
tonic and then count in two bars. The examiner will play the phrase twice, making the change
in the second playing, after which the candidate should identify the change by describing it, or
singing/clapping. If necessary, the examiner will play both versions of the phrase again (although
this will affect the assessment).
D To answer questions about two features of a piece played by the examiner. Before playing, the
examiner will tell the candidate which two features the questions will be about. The first will be
one of the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/
detached); the second will be tempo (becoming slower/faster, or staying the same).

89
Aural Tests GRADE 3
A To clap the pulse of a piece played by the examiner, and to identify whether it is in two time,
three time or four time. The examiner will start playing the passage, and the candidate should
join in as soon as possible, clapping in time and giving a louder clap on the strong beats. The
examiner will then ask whether the music is in two time, three time or four time. The candidate
is not required to state the time signature.
B To sing as ‘echoes’ three phrases played by the examiner. The phrases will be two bars long, in
a major or minor key, and within the range of an octave. First the examiner will play the key-
chord and the starting note and then count in two bars. After the examiner has played each
phrase, the candidate should sing back the echo without a pause, keeping in time.
C To identify a change in either pitch or rhythm during a phrase played by the examiner. The
phrase will be up to four bars long, in a major or minor key. First the examiner will play the
key-chord and the tonic and then count in two bars. The examiner will play the phrase twice,
making the change in the second playing, after which the candidate should identify the change
by describing it, or singing/clapping. If necessary, the examiner will play both versions of the
phrase again (although this will affect the assessment).
D To answer questions about two features of a piece played by the examiner. Before playing, the
examiner will tell the candidate which two features the questions will be about. The first will be
one of the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/
detached), tempo (becoming slower/faster, or staying the same); the second will be tonality
(major/minor key).

Aural Tests GRADE 4

A To sing or play from memory a melody played twice by the examiner. The melody will be within
the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner
will play the key-chord and the starting note and then count in two bars. (If the candidate chooses
to play, the examiner will also name the key-chord and the starting note, as appropriate for the
instrument.) If necessary, the examiner will play the melody again and allow a second attempt
(although this will affect the assessment).
B To sing five notes from score in free time. The candidate may choose to sing from treble or bass
clef. The notes will be within the range of a third above and below the tonic in the key of C, F
or G major. The test will begin and end on the tonic and will not contain intervals greater than
a third. First the examiner will name and play the key-chord and the starting note. If necessary,
the examiner will help the candidate by playing and identifying the correct note if any note is
sung at the wrong pitch.
C (i) To answer questions about two features of a piece played by the examiner. Before playing, the
examiner will tell the candidate which two features the questions will be about. The first will be
one of the following: dynamics, articulation, tempo, tonality; the second will be character.
( ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is
in two time, three time or four time. The examiner will play the extract twice (unharmonized),
after which the candidate should clap back the rhythm. The examiner will then ask whether the
music is in two time, three time or four time. The candidate is not required to state the time
signature.

90
Aural Tests GRADE 5
A To sing or play from memory a melody played twice by the examiner. The melody will be within
the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner
will play the key-chord and the starting note and then count in two bars. (If the candidate chooses
to play, the examiner will also name the key-chord and the starting note, as appropriate for the
instrument.) If necessary, the examiner will play the melody again and allow a second attempt
(although this will affect the assessment).
B To sing six notes from score in free time. The candidate may choose to sing from treble or bass
clef. The notes will be within the range of a fifth above and a fourth below the tonic, in a major
key with up to two sharps or flats. The test will begin and end on the tonic and will not contain
intervals greater than a third, except for the rising fourth from dominant to tonic. First the
examiner will name and play the key-chord and the starting note. If necessary, the examiner will
help the candidate by playing and identifying the correct note if any note is sung at the wrong
pitch.
C (i) To answer questions about two features of a piece played by the examiner. Before playing, the
examiner will tell the candidate which two features the questions will be about. The first will be
one of the following: dynamics, articulation, tempo, tonality, character; the second will be style
and period.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is
in two time, three time or four time. The examiner will play the extract twice (unharmonized),
after which the candidate should clap back the rhythm. The examiner will then ask whether the
music is in two time, three time or four time. The candidate is not required to state the time
signature.

Aural Tests GRADE 6

A To sing or play from memory the upper part of a two-part phrase played twice by the examiner.
The upper part will be within the range of an octave, in a major or minor key with up to three
sharps or flats. First the examiner will play the key-chord and the starting note and then count
in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and
the starting note, as appropriate for the instrument.) If necessary, the examiner will play the
phrase again and allow a second attempt (although this will affect the assessment).
B To sing a melody from score, with an accompaniment played by the examiner. The candidate
may choose to sing from treble or bass clef. The melody will be within the range of an octave, in
a major or minor key with up to three sharps or flats. First the examiner will name and play the
key-chord and the starting note and then give the pulse. A brief period of preparation will follow
during which the candidate may sing out loud. The examiner will play the key-chord and the
starting note again and then count in two bars. If necessary, the examiner will allow a second
attempt (although this will affect the assessment).
C To identify the cadence at the end of a phrase as perfect or imperfect. The phrase will be in a
major or minor key and will be played twice by the examiner. The chords forming the cadence
will be in root position. Before the first playing, the examiner will play the key-chord.
D (i) To answer questions about two features of a piece played by the examiner. Before playing, the
examiner will tell the candidate which two features the questions will be about. The first will be:
texture or structure; the second will be one of the following: dynamics, articulation, tempo, tonality,
character, style and period, texture/structure.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is
in two time, three time or four time. The examiner will play the extract twice (unharmonized),
after which the candidate should clap back the rhythm. The examiner will then ask whether the
music is in two time, three time or four time. The candidate is not required to state the time
signature.

91
Aural Tests GRADE 7
A To sing or play from memory the lower part of a two-part phrase played twice by the examiner.
The lower part will be within the range of an octave, in a major or minor key with up to three
sharps or flats. First the examiner will play the key-chord and the starting note and then count in
two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the
starting note, as appropriate for the instrument.) If necessary, the examiner will play the phrase
again and allow a second attempt (although this will affect the assessment).
B To sing the upper part of a two-part phrase from score, with the lower part played by the
examiner. The candidate may choose to sing from treble or bass clef. The upper part will be
within the range of an octave, in a major or minor key with up to four sharps or flats. First the
examiner will name and play the key-chord and the starting note and then give the pulse. A brief
period of preparation will follow during which the candidate may sing out loud. The examiner
will play the key-chord and the starting note again and then count in two bars. If necessary, the
examiner will allow a second attempt (although this will affect the assessment).
C(i) To identify the cadence at the end of a phrase as perfect, imperfect or interrupted. The phrase
will be in a major or minor key and will be played twice by the examiner. The chords forming
the cadence will be in root position. Before the first playing, the examiner will play the key-chord.
(ii) To identify the two chords forming the above cadence. The chords will be limited to the tonic,
subdominant, dominant, dominant seventh or submediant (all in root position). First the
examiner will name and play the key-chord, then play the two chords as a pair. The candidate
may answer using technical names (tonic, dominant, etc.), chord numbers (I, V, etc.) or letter
names (C major, G major, etc.).
(iii) To identify whether the modulation at the end of a different passage is to the dominant,
subdominant or relative minor. The passage, played once by the examiner, will begin in a major
key. First the examiner will name and play the starting key-chord. The candidate may answer
using technical names (dominant, subdominant, relative minor) or the letter name of the new
key.
D (i) To answer questions about two features of a piece played by the examiner. Before playing, the
examiner will tell the candidate which two of the following features the questions will be about:
dynamics, articulation, tempo, tonality, character, style and period, texture, structure.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is
in two time, three time, four time or 6/8 time. The examiner will play the extract twice
(unharmonized), after which the candidate should clap back the rhythm. The examiner will then
ask whether the music is in two time, three time, four time or 6/8 time.

92
Aural Tests GRADE 8
A (i) To sing or play from memory the lowest part of a three-part phrase played twice by the examiner.
The lowest part will be within the range of an octave, in a major or minor key with up to three
sharps or flats. First the examiner will play the key-chord and the starting note and then count
in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and
the starting note, as appropriate for the instrument.) If necessary, the examiner will play the
phrase again and allow a second attempt (although this will affect the assessment).
(ii) To identify the cadence at the end of a continuing phrase as perfect, imperfect, interrupted or
plagal. The phrase will be in a major or minor key and will be played twice by the examiner.
The chords forming the cadence will be limited to the tonic (root position, first or second
inversions), supertonic (root position or first inversion), subdominant (root position), dominant
(root position, first or second inversions), dominant seventh (root position) or submediant (root
position). Before the first playing, the examiner will play the key-chord.
(iii) To identify the three chords (including their positions) forming the above cadential progression.
The chords will be limited to the tonic (root position, first or second inversions), supertonic
(root position or first inversion), subdominant (root position), dominant (root position, first or
second inversions), dominant seventh (root position) or submediant (root position). First the
examiner will name and play the key-chord, then play the three chords in sequence, finally playing
each chord individually, pausing for the candidate to identify it. The candidate may answer using
technical names (tonic, first inversion, etc.), chord numbers (Ib, etc.) or letter names (C major
in first inversion, etc.).
B To sing the lower part of a two-part phrase from score, with the upper part played by the
examiner. The candidate may choose to sing from treble or bass clef. The lower part will be
within the range of an octave, in a major or minor key with up to four sharps or flats. First the
examiner will name and play the key-chord and the starting note and then give the pulse. A brief
period of preparation will follow during which the candidate may sing out loud. The examiner
will play the key-chord and the starting note again and then count in two bars. If necessary, the
examiner will allow a second attempt (although this will affect the assessment).
C To identify whether the modulations at the end of two different passages are to the dominant,
subdominant or relative minor/major. The first passage will begin in a major key and the second
will begin in a minor key; each passage will be played once by the examiner. Before playing each
passage, the examiner will name and play the starting key-chord. The candidate may answer using
technical names (dominant*, subdominant, relative minor/major) or the letter name of the new
key. (* Minor-key passages may modulate to the dominant major or minor but the candidate is
only required to specify ‘dominant’ in such cases.)
D To describe the characteristic features of a piece played by the examiner. After hearing the piece,
the candidate should describe any notable features (such as texture, structure, character, style
and period, etc.). The examiner will prompt the candidate with questions only if this becomes
necessary.

93