How do examiners assess performance? Introduction | Pieces | Scales and arpeggios | Sight-reading | Aural tests
The basis of assessment
The tables on the following pages give the basis of assessment for our graded music exams. These are minimalist ‘criteria’ statements, which give clear guidance on what the examiner is looking for in the various sections. Every performance is unique and results are arrived at by balancing the various qualities in the playing, using the skill that comes from training and experience.
Assessment objectives ABRSM’s performance exams aim to give students opportunities to acquire the knowledge, skills and understanding to perform music with accuracy, technical fluency and musical awareness. Candidates are assessed on their ability to perform the set works with:
Accuracy, continuity and fluency Accuracy encompasses the technical control and co-ordination required to produce correct rhythm, including continuity of performance; convincing tempo, including consistency of the chosen speeds; clearly audible observance of performing directions; and accurate pitch, including well-centred intonation where appropriate. Slips from basically secure intonation are not as serious as an inability to centre the pitch precisely, which causes a loss of tonality.
Tonal awareness Tonal awareness covers the way an instrument is used and includes situations where a poor instrument may be skilfully managed. It encompasses the ability: to produce focused and consistent tone where required; to control and contrast dynamics and attack as appropriate to the musical context; and to grade musical tone into phrases. Pedalling for
pianists and vibrato for string players are extra tonal refinements that are welcomed at all stages but not expected until Grade 5.
Musical character and a sense of performance Musical character arises from the imaginative application of technical skills in ways that will most vividly convey the mood of the piece to the listener. A sense of performance encompasses the degree of engagement with the music, including the level of commitment and conviction evident in the playing or singing. Candidates will also be assessed on their abilities: • • •
to perform the prescribed technical exercises for the grade (e.g. scales and arpeggios) with fluency, accuracy, evenness and musical shape to respond to prescribed aural tests accurately, promptly and with musical perception to perform a short piece of unfamiliar music with accuracy, control, continuity and attention to expressive detail
Not all of the assessment objectives will necessarily be met in order for candidate to pass. A sense of musical character in performance, for example, is not required for a Pass to be awarded and is more appropriately identified with higher levels of attainment. Weakness in some of the assessment objectives may be balanced by better performance in others. The mark awarded will depend in practice on the extent to which the candidate has met the assessment objectives overall.
Assessment criteria • • • •
Pieces Scales, arpeggios, and unaccompanied traditional song Sight-reading Aural tests
Pieces The following table illustrates the basis of marking within the broad result bands. Each piece will be assessed independently using the principle of marking from the required pass mark negatively or positively, rather than awarding marks by deduction from the maximum or addition from zero. In awarding marks, examiners will balance the extent to which the cumulative qualities and abilities listed below are demonstrated and contribute towards the overall result. Pieces Mark
Grades 1–5
Grades 6–8
Distinction • •
27–30
•
•
Technical fluency Confident sense of performance and tonal control Sensitivity to musical detail and mood
•
A musically convincing tempo
•
An instinctive and communicative sense of performance
Attention to dynamics and phrasing Evidence of tonal awareness and control A suitable, sustained tempo Sense of the character of the piece
•
•
Awareness of style shown by good use of dynamic range, shape of phrasing and rubato Tonal control contributing to the musical character A musically convincing tempo
•
Attention to the musical detail
•
Overall security at a suitable and sustained tempo
•
Evidence of musical awareness, e.g. appropriate dynamics, phrasing, articulation
•
Musically authoritative playing, showing a high level of technical assurance Sensitive use of tonal qualities and rubato where appropriate
Merit • •
24–26
• •
•
•
Good sense of rhythm
Pass
•
General security of notes and rhythm Suitable tempo A reasonable sense of continuity Evidence of careful preparation
•
Prompt recovery from any slips
•
20–23
• •
Below Pass standard •
•
Just under the acceptable standard in general accuracy Inadequate sense of continuity
•
Poor recovery from slips
•
•
17–19
•
•
•
Serious difficulties with notes and/or time Frequent stumbles and breaks in continuity Halting or incomplete performance Serious lack of tonal control
•
Very weak in all respects
• •
13–16
•
Just under the acceptable standard in general accuracy A few slips or breaks in continuity Absence of dynamics, phrasing and articulation Unsuitable or unsustained tempo
•
Inappropriate style
•
• •
Serious difficulties with notes and/or time Frequent stumbles and breaks in continuity Halting or incomplete performance Absence of musical detail Serious lack of tonal control
•
Only some passages mastered
• •
•
Technically totally inadequate
•
Technically totally inadequate
10–12
•
Unable to continue for more than a few beats without error
•
Unable to continue for more than a short section without error
0
•
No work offered
•
No work offered
Scales, arpeggios and unaccompanied traditional song These comprise a progressive development of essential instrumental or vocal skills. This scheme of marking is applied to each grade. The pass mark is 14; the maximum mark is 21. Scales, arpeggios, and unaccompanied traditional song Mark 19–21
17–18
14–16
All grades • •
Quick response Fluent and musically presented
•
Confident and even tempo
• • •
Prompt response Well prepared Technically mostly secure and even
•
Few small slips or corrections
• • •
Cautious response Moderate tempo Keys known, despite some errors
•
Momentum generally maintained
Below Pass standard 11–13
7–10
0
• • •
Poor response Slow and inconsistent tempo Frequent errors
•
Some incomplete items
• • •
Very poor or incomplete response Extremely sporadic and uneven playing Very slow tempo
•
Technically inadequate
•
No work offered
Sight-reading
ABRSM publishes specimen sight-reading tests in all subjects for all grades. These illustrate the gradual, increasing difficulties which candidates will be required to face. Organ candidates and some brass candidates additionally undertake a transposition test at Grades 6, 7 and 8, and harpsichord candidates at all grades have a figured bass test. The examiner allows half a minute for silent or performed preparation according to the wishes of the candidate before the assessment begins. As with scales, arpeggios and unaccompanied traditional song, the pass mark is 14; the maximum mark is 21. Sight-reading Mark 19–21
17–18
14–16
All grades • •
Fluent Attention to expressive details
•
Musically aware
• •
Mostly accurate Usually steady pulse
•
Appropriate tempo
• •
Outline in place, despite errors Momentum generally maintained
•
Some awareness of key and time signatures
Below Pass standard 11–13
7–10 0
• •
Poor recognition of time and notes Lack of continuity
•
Inconsistent awareness of key
• •
Very poor recognition of time and notes No continuity or incomplete attempt
•
Complete disregard for key
•
No work offered
Aural tests
ABRSM publishes specimen aural tests for all grades. All candidates take the same group of tests. These are carefully graded from basic recognition of rhythm and memory of short phrases to tests demanding well-developed aural perception and discrimination. The pass mark is 12; the maximum mark is 18. Aural tests Mark 18
All grades •
Quick, accurate and perceptive response
•
Good response
•
Minor errors or hesitation
•
Approximately half the tests correctly answered
•
Evidence of awareness, despite hesitation and error
15–17
12–14 Below Pass standard 9–11
•
Slow and uncertain responses
•
Inaccuracy in parts of all tests
•
Very slow and mostly incorrect responses
•
All tests entirely inaccurate
•
No work offered
6–8 0
Exam Fees Practical Level Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8 Theory Level Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8
Fee 57 USD 63 USD 68 USD 78 USD 85 USD 107 USD 118 USD 149 USD Fee 34 USD 40 USD 43 USD 52 USD 56 USD 60 USD 62 USD 68 USD
