Trends in current piano syllabuses

Introduction

When Trinity launched its Piano 2023 albums, never had piano teachers been presented with such a large number of pieces that weren’t originally written for the piano. Packed with pop, film and gaming genres, it appeared a revolution rather than evolution had occurred. Even though more traditional selections could still be used – by using alternative-list pieces – the newly ordered books looked dramatically different to previous years’ when flicking through the pages. It set the tone because these books are seen by many as being representative: a one-stop shop for the exam board syllabus and for the majority of users who are less interested in the alternative lists.

Many teachers scratched their heads, as they never requested or were expecting such a radical makeover. Roll on another year, and ABRSM has released its new syllabus too – not as radical this time, but again looking more popular in some grades than previously. As teachers teach from the latest Trinity and ABRSM anthologies, or LCME’s (an exam board which, unusually, now appears the most traditional and conservative), we ask what the potential long-term implications are for pianists in the future, on both stylistic and technical grounds. Certainly, with the massive blurring in all exam boards of the traditional A, B and C pieces – previously linked around historical periods and styles – any grade can look more like a contemporary piano qualification than the old, traditional, more classical model, especially once selections are made.

Is populism killing progression?

There is a tried-and-tested canon for teaching the piano. Is the elephant in the room that, even though not a curriculum yet, the selections provided by main exam boards will inevitably become part of an overall curriculum? With so much material included that was never originally written for the piano, and with syllabuses having a bias towards new content (21st-century, educational or arrangements), how can piano teachers continue to provide a well-sequenced curriculum designed on repertoire, addressing musical, technical, stylistic and theoretical progression through to Grade 8 standard?

How would these books sit with well-respected piano pedagogues such as Geoffrey Tankard, Victor Booth and Joan Last? Or, more recently, with the author of The Foundation of Technique, Murray McLachlan, who reviews Grades 7 and 8 as part of this article. 

Are exam boards trying to be all things to all people? Are the new syllabuses fit for purpose? Is a 1980/90s Grade 8 (when the current authors took their exams) comparable to a 2024 Grade 8?

These are the sort of questions being asked by the piano teaching community.

Getting the fundamentals right

Here, for context, is a summary of the technical and musical requirements we believe are fundamental at each of the levels, based on our studies of piano pedagogy:

Pre-Grade 1 and Grade 1

• Healthy and comfortable pianistic set-up, with good posture and hand position, avoiding stiffness and tension
• Coordination with fingering in both hands
• Starting to move effectively out of hand position
• Note-reading, basic sense of rhythm
• Awareness of sound production
• Knowledge of the rudiments of theory, and basic aural ability.

Grades 2, 3 and 4

• Development of coordination and pianistic facility, with clean and shaped legato thirds and sixths
• Maintaining the pulse as rhythms change Making tonal and dynamic contrast, balanced between the hands
• Rudimentary imitation voicing.

Grades 5 and 6

• Greater level of finger dexterity – the mechanics need to be more advanced, with ability to play faster scales and have greater freedom across the keyboard
• More understanding of how to adapt to different styles
• Greater control of part-playing/polyphony and chords
• More developed articulation (legato, staccato, non-legato) Greater control of rhythm (beginnings of rubato, simple polyrhythms)
• Coordinated use of the sustaining pedal.

Grades 7 and 8

• Stamina – coping with larger works while maintaining a healthy technique Able to convey structure, e.g. first-movement form in a sonata
• Be confident with polyphony and polyrhythms Have a wide dynamic palette, tonal awareness, and sense of projection in recital repertoire
• Able to use rubato convincingly
• Skilful use of una corda and sustaining pedals.

From this starting point, in the following pages we give our views on current grades. In the case of Pre-Grade 1 and Grade 1, given this is an essential learning stage, we’ve given specific details on repertoire.

Piano Pre-Grade and Grade 1

Author and teacher Karen Marshall considers the pedagogical effectiveness of recent piano exam selections from ABRSM, Trinity and LCME

The fledgling pianist is usually at a tender age. Sadly, many never get to Grade 1 level. Pre-Grade 1 exams need to be incorporated in a way that doesn’t disrupt normal learning and progression; so when is the right time to embark on an exam?

For a rounded view, I compared notes on this with my trusted colleague Katrina Fox. Here, below, is a summary of which materials we’ve used and when, while agreeing it’s essential that students do not spend many weeks on just one or even three exam pieces.

Pre-Grade 1 stages and exams: ABRSM’s Prep Test and Initial; Trinity’s Initial; and LCME’s Pre-prep, Step 1 and Step 2

ABRSM Prep Test and Initial

When we reviewed the ABRSM Prep Test 2025, we didn’t find this was easier than the ‘Initial’ grade, despite what is claimed. However, the level in terms of repertoire is easier if you use the alternative-list pieces found in Piano Star 1 or Piano Star: Five-Finger Tunes; both books helpfully feature static positions in both hands and limited note-ranges, as in Twinkle, Twinkle or Bobby Shaftoe’s Gone to Sea.

Yawning all Morning by Sarah Watts, from the Prep Test book, and Enchanted Garden, the duet by Michael McMillan, would be our preferred choices. Other pieces from the Prep Test may be less accessible or useful at this stage due to their wider note-ranges, ledger lines (in the duets) or too advanced coordination (e.g. The Lonely Locomotive).

The 2025/26 Initial book provides some lovely teaching content: Make Way for the King! (Wedgwood, list A), Melody in G (Beyer, list B) and In the Dead of Night (Jolliffe, list C) can provide a rich programme. Lift me up is very well arranged but is perhaps better learned outside the exam room; the complex notation and hand shifts make it just a bit too difficult.

High-quality pedagogical material on the alternative list includes Reinagle’s Allegretto, the primo part of Diabelli’s Scherzo duet, and The Secret Garden (Hall). Take care with the Clocks (Coldplay) arrangement, which will be a challenge for some at this stage.

Trinity Initial

My view of the 2021 Trinity album (still current) is that this is an excellent group of pieces, providing a broad range of material. The 2023 album is not as strong, however; the arrangements don’t appear to work in terms of musical content, teaching aspects or what young pianists are likely to recognise – Pokémon Theme (Loeffler/Siegler, arr. Misri), with its endless repeated notes and little articulation or phrasing, is a particular low. Read all About it, Pt. III (Sandé) also feels a bit forced; students struggle to recognise the tune, and the piece’s limited range of notation makes it neither engaging nor useful to teachers. Satin Doll (Ellington/Strayhorn, arr. Sheriff) – one of the arrangements – is better, but one can’t help but feel a student would get so much more from Imitation and Inversion (Bartók), Train Ride (Walshaw) or Square Dance (Yandell) from this collection. Teachers can go to the alternative list and certainly put together a wonderful selection. Try to avoid your student selecting a poor pedagogical programme (all arrangements) from the 2023 album, such as Pokémon Theme, Read All About It, and St Thomas (Rollins, arr. Treweek), with its combination of taxing syncopated rhythm and hand shifts.

LCME Pre-preparatory, Steps 1 and 2

The Pre-preparatory ‘Handbook’ from LCME works well when used alongside a first method book. It presents much material to build skills, meaning the student is not continually playing the three exam pieces. Preparing for this exam means pupils play five exercises and four pieces in total. There aren’t any scales, but there is a useful note-reading activity.

Step 1 contains five-finger scales, which seem easier than Trinity and ABRSM’s approach at this level; but in the view of some, including myself, the exercises go beyond the intended level. Teachers might prefer Trinity or ABRSM Initial since the LCME pieces, too, are incredibly broad in terms of technical challenge. Previous Step 1 books were more successful but these are no longer on the syllabus.

In Step 2, the scales are very challenging, with some included that are in Grade 2 ABRSM. In addition, four of the scales are hands together. The exercises are accessible but don’t necessarily show progression from Step 1. Again, the pieces vary enormously, and some appear to be at around Grade 1 level. The arrangements may be problematic because they don’t match what a student is likely to have heard at this (typical) age.

Grade 1: the important milestone

It can take up to three years for a student to reach Grade 1; if they start aged 8, the steadily progressing student is likely to be 11 when sitting Grade 1 (that’s the average age of entry for the ABRSM exam). Students need material that will open their eyes in practical terms to a whole range of new skills – materials need to be rich in content on so many levels. So, how do our three exam boards fare?

Grade 1 ABRSM (2025)

This album contains some ideal teaching material, but also an arrangement of a Disney tune, Remember Me, which is lovely but too hard for the grade – this is a view shared by many I’ve spoken to. Melody in F (Köhler, list A), A Song of Erin (Dunhill, list B) and The Wind (Chee-Hwa Tan, list C) provide a wonderful programme for contrast and progression. There are equally worthy pieces, from a teaching point of view, on the alternative list. The pop arrangements, however, are not always convincing. It’s a fact that if arrangements are too difficult, or not written well enough to sound authentic, these demotivate students.

Karen Marshall addressing piano teachers at an ABRSM conference in 2019 / Courtesy Karen Marshall

Grade 1 Trinity 2023

This is a mixed bag. The Melodie duet (Vaňhal) can be relied upon to produce good results, as can Water Sprite (Goodrich). Chris’s Song (Garścia) is a bit harder but offers some lovely opportunities to pass the thumb under. Hug a Pug (Arens) is great, although some may question why there are two (both excellent) pieces by Arens in this book. A Peculiar Party (Zhenyan Li) is quite challenging for this level, as is Railbird Rag (Cleaver). Bless the Child (Holiday & Herzog Jr., arr. Vicari) and Guajira Guantanamera (Diaz, arr. Wilson) are even tougher asks for a Grade 1 student.

Do revisit the 2021 album, which is still current, for more accessible choices. My go-to selection, based on pedagogy, would be The Very Vicious Velociraptor (Hall & Drayton), which has useful scale patterns and develops finger work; Pirate Stomp (Yandell); and Walking Together (Norton). My colleague Katrina Fox also uses the duet Last Waltz (Terzibaschitsch) for festivals – it’s very useful for pairings of uneven standard, so a good Grade 2 pupil could take the teacher part.

Grade 1 LCME 2021 (current) and Anthology

Overall, the Grade 1 Handbook seems quite challenging for the level, but there are enough pieces on the alternative list if looking for a balanced selection on technical grounds. It does have some excellent teaching material, however, with pieces that encourage learning from patterns, such as Dance Song (Scholze) and Andante (Wilton). Song of the Dark Woods (Siegmeister) and Tricky Traffic (Garrow) are also accessible pieces. The other pieces, though excellent in themselves, are perhaps better suited to later stages of learning on account of the number of challenges they combine.

For teaching, the accompanying LCME Anthology of past material for Grades 1 and 2 is also a good resource, but this only covers lists B and C. The range of styles broadly covers the late 18th century to the present.

This concludes my whistle-stop tour of the early grades.

 Piano Grades 2, 3 and 4

Amy Wakefield Taylor makes the case for including a mixture of genres, with reference to ABRSM, LCME and Trinity (photo Helen Tabour)

From a bird’s-eye view, looking at these three syllabuses, I feel that I need to wear multiple hats. In past times, it felt easier to distinguish between them and, therefore, to cater for each individual pupil. Perhaps, when looking solely at the supporting tests for each board, the difference is still significant. For example, at Grades 2–4, one is still able to choose between sight-reading, improvisation, aural and musical knowledge for Trinity, and for ABRSM the aural and sight-reading are compulsory.

In terms of pieces, ABRSM would have been weighted towards classical, generally speaking, while Trinity less so. One could say that this is still the case, but that the boundary (the ‘classical line’) has shifted towards modern-day music. Although the shift is a little disappointing – and, as a proponent of core repertoire, I undoubtedly foresee some problems pedagogically – I do see the advantages and the rationale for these changes to the piano curriculum. So, what are these changes?

Core repertoire vs other

In the case of Trinity, the ratio of core repertoire to other genres or styles in the syllabus looks like this:

• 2021–23: 6 out of 10 pieces = core repertoire
• 2023 onwards: 2 out of 12 pieces = core repertoire

Through the eyes of a young student, however, the selection in the more recent syllabuses could look very inviting, offering melodies they might recognise (analogous to a child in a sweet shop being more likely to buy confectionery they know over something completely unfamiliar).

When we show our pupils a syllabus/book of music that includes completely unknown styles, genres and titles, and then introduce another filled with music from their favourite films, music from adverts/games/TV series, doesn’t it seem reasonable to think that they are more likely to gravitate towards the latter? One reason could be that when someone has an aural memory of a piece and a personal connection, they will find it much easier to learn. Generally, people like listening to concerts which include music they have heard many times before. These known melodies have a relevance, which sadly isn’t always the case with core classics.

Modern repertoire as incentive

Many teachers have found there to be a barrier at Grades 3–4, where intermediate learners ‘hit a wall’ and give up playing. At this point, when students are developing a little more skill in note-reading and working out music independently, it could be argued that these familiar tunes might just give them the little push they need to move past that barrier. They would then have more of a chance of developing a rich and thorough repertoire later on. Also, if we mix the musical diet, then later on the core repertoire won’t seem quite as tedious or gruelling.

Negotiating a mixed repertoire

My wonderful teacher and esteemed colleague Susan Bettaney always says, ‘We can sell anything if we put it in the shop window’ – a maxim that has long remained fresh in my mind. The idea of ‘tit for tat’, that the student chooses a piece for their own pleasure and then I say ‘Now choose one for me (the teacher)’, surely offers a more comfortable path through the thorny brambles of the repertoire. We can use our bargaining skills to choose a varied diet/curriculum which will appease the students’ feeling of pleasure from playing, but also naturally aid the learning of a range of techniques, styles and performance skills (mentioned in the requirements needed for each grade in our joint introduction, page 15). In my view, for this level these sweeteners are very much needed. However, it is down to the teacher to ensure the decisions are not entirely left to the student – we need to educate our students to enjoy new contexts and sounds.

My final advice would be to proceed with caution but enjoy the fruits on offer, embracing the more liberal times in which we live while at the same time, as teachers, keeping a careful measure of boundaries to cater effectively for the progression and success of our students. Very importantly, we want our students to enjoy exams! I am convinced that this is a balance the exam boards are trying to achieve; perhaps just a re-labelling here and there would give teachers and students a helping hand to facilitate their choices with more ease.

Below is an example of a suitably varied and stretching programme based on the current Grade 3 exam books. (Note that it is possible to include one ‘popular’ film theme or song alongside core repertoire within each syllabus. It is certainly more helpful from a planning point of view to have separate lists to choose from.)

Piano Grades 5 and 6

Author and teacher Karen Marshall assesses the repertoire options from ABRSM, Trinity and LCME

Let’s start with the albums of Trinity Grades 5 and 6 (2023) and ABRSM Grade 5 (2025). There is a vast difference between their contents and syllabuses. This is particularly relevant as many teachers tend to use the material from the main albums without exploring the alternative lists. I’ve always felt that this late intermediate/early advanced stage is the make or break of a student advancing to higher levels. If your student hasn’t got a good enough technical facility but also playing stamina nor stylistic awareness, then they are not going to scrape a pass – especially at Grade 6 (which also awards UCAS points). Never truer was the quote by Joan Last in her book The Young Pianist (1954; fifth impression 1963): ‘Success or failure as a pianist depends largely on the early years, when good habits are being formed. One must, at all costs, train the hands and arms in good habits, so that the pupil is not constantly struggling to express [themself] against the handicap of poor technique.’

If you are going to be able to play a Bach Prelude and Fugue, you need the facility to do so and previous repertoire that will be enabling. As a piano pedagogue and published writer of piano curriculum books, I am concerned that many pieces (particularly in Trinity’s 2023 album) don’t hit the mark in this respect – particularly the arrangements.

So, what have we got in terms of core repertoire – tried-and-tested, written by great composers – versus non-core material in the albums themselves? A survey suggests:

What is striking about recent books is the dominance of contemporary repertoire and a notable lack of good Baroque and Classical material. Yet it is the latter group that is the most tried-and-tested to provide the technical facility that Joan Last and others refer to.

To demonstrate this point, or imbalance, here’s a summary looking across trends in the Grade 5 books.

Grade 5 ABRSM

Here, there’s published guidance on the characteristics of each list, explaining the different emphases:

However broad or appealing the selection is meant to be, core repertoire (as defined above) in list A is limited to the Spiritoso by Clementi (from Sonatina in C, Op. 36) and La tarantelle from Burgmüller. For technical progression, I’d also have preferred the J. S. Bach Invention BWV 779 (on the alternative list) to appear in the album, and, for developing finger dexterity, something other than Hook’s Hornpipe (as wonderful as this is musically) by Nikki Iles. As you move through the album, the genres and styles can feel scattered, with teachers having to think carefully about which technical areas are covered. Granted, publisher selections may be shaped by third-party copyright permissions or commercial points when it comes to contemporary repertoire, but we still need a sense of balance from a technical perspective.

Grade 5 Trinity 2023 (standard edition)

The ABRSM selection is positively conservative compared to Trinity’s Grade 5, where, other than the Kuhlau (first movement from Sonatina in F, Op. 88 No. 4), the entire album is unfamiliar. The Jaëll (Grisaille) and Fibich (Lento assai) are most welcome new discoveries, but other pieces vary considerably in length (30–70 bars) and levels. I am scratching my head as to where this is going to fit in my curriculum, and quickly make the decision that if I have a Trinity Grade 5 student, I’m heading back to the 2021 book!

Grade 5 LCME

This Grade 5 feels far more familiar, in terms of classical repertoire, but less so in that much of it is again contemporary. It is also difficult! There is a wonderful Kuhlau Sonatina movement, and the Gambarini Gigue is lots of fun. The B list, though, is beyond most Grade 5 students’ ability within my teaching practice. Students love Time Traveler (Olson) on list C, but the other two pieces are tough. To widen the range, the LCME Anthology sorts out additional B and C choices but not the A. On balance, if I were just using the handbooks, I would likely opt to miss out Grade 5.

Grade 6 ABRSM

ABRSM’s Grade 6 album feels like I’ve arrived home. In list A, I love the Bach Invention BWV 785 for developing dexterous finger-work and two-part playing, and the Tailleferre (Sonata alla Scarlatti, a real find!) for developing articulation and dynamics (none are marked), and playing in 2/2. The Musical Clock by Nielsen was part of my own teacher Christine Brown’s core repertoire, and comes with pedigree. But I am missing a sonata movement and wish that the Haydn on the syllabus (fourth movement from Sonata in G, Hob. XVI:6) were in the book, as my students need this experience. The list B pieces also work from a technical point of view. I’m not so keen on the Hensel Bagatelle, but my students love the Ffrench (Last Song), which is broad in teaching content too. For the list C pieces, though, I’m heading to the alternatives, as these here – apart from the Bartók – are not as convincing.

Grade 6 Trinity

Now, if I felt I’d got my comfy slippers on, it was short-lived. As I play through the Trinity 2023 Grade 6 album, it starts well with a good old Sonatina movement – essential at this level – by Josef Mysliveček (a friend of Mozart’s); but I’ve no Baroque music at all. There’s some attractive Romantic music such as Un Recuerdo by Kawanagh, which is super for expression and legato pedalling, but the rest of the material in this collection is all new ground for me (as a teacher) in so many ways. And it’s not drawing me in or helping me address chord voicing or part-playing as effectively as in previous syllabuses (cf. 2021’s Impromptu by Farrenc).

Moreover, this is tough music for Grade 6, with pieces ranging from 12–70 bars in length. Again, I’m heading back to the Trinity 2021 Grade 6 album and to less anxiety. I’m sticking with this book if I have a student preparing for Trinity Grade 6, but will head to the wider syllabus that includes material I know well and fits in with my curriculum.

Grade 6 LCME

I love the Invention BWV 785, which is also in the ABRSM syllabus. There’s also some Classical Dussek on offer (Rondo from Sonatina in F, Op. 19). The book is then dominated by contemporary repertoire. I’d have loved some part-playing, and Romantic music by Hofmann or Mendelssohn. There’s also some lovely music by Farrenc, for example, perfect for this level, which could have been included. That said, the present pieces are attractive, just challenging at times. The LCME Anthology (Grades 5 & 6) really helps to broaden the curriculum choice, and also provides my Hofmann piece (Am Abend) with much-needed part-playing and voicing.

Final thoughts

From his book We Piano Teachers (1948 edition), Victor Booth wrote: ‘Teachers, like poets, are born, not made.’ This statement is true in only one sense; natural endowment, though essential, must be regarded as merely suitable soil in which to plant a seed. When the plant begins to grow, it needs perpetual care and attention if we’re to bring forth the finest blooms. As teachers, to help our students meet their potential, we can no longer simply pick three pieces out of the albums provided. We need to dig deeper into the wider syllabus to provide material with the depth of teaching content our students deserve, if they are to succeed to advanced levels. We need to do our research to develop a curriculum incorporating the best material from all exam boards.

Piano Grades 7 and 8

Pianist, writer and educator Murray McLachlan reflects on how the top grades from ABRSM, LCME and Trinity have changed, and what this means for pedagogical progress (photo Kathryn Page)

I have vivid childhood memories from the 1970s of the supreme importance my first piano teacher in Aberdeen, Mary Alexander, attached to the annual entry of most of her pupils for both Trinity practical and theory examinations. Grade 7 and 8 standards and demands were most sacrosanct. These were final exams only to be taken with the utmost seriousness of purpose!

So, has much changed since then? Do Grade 7 and 8 exams still stand as high pedagogical peaks worth aiming for today? Certainly, there is much more variety of repertoire choice on offer in 21st-century brands from these tests. Today, boards develop, expand, and change set lists for syllabuses at a much faster pace. ABRSM is keen on market research via surveys and seems to have considerably diversified and expanded possibilities for candidates. It is no longer necessary to present three pieces from three contrasted periods. You don’t have to learn literally dozens of scales and arpeggios. Trinity mirrors this trend, too. This means that a Grade 8 examination in 2024 will often be far quicker than it would have been in 1984.

In terms of time-clipping, LCME stands exempt. Happily, for those who value foundations and background facility, its scales and arpeggios syllabus for Grades 7 and 8 can be considered both challenging and extensive – it resembles an ABRSM scales syllabus from the last century. True, LCME does offer an option of playing two studies instead of scales, but its scale/arpeggio selections are certainly educationally more comprehensive than either Trinity or ABRSM.

Volume, breadth and duration

In terms of repertoire selection, at LCME you can still play a Classical sonata first movement and a Baroque piece if you enter Grade 8. Though this is true for Trinity Grade 8 too, sadly it is not possible if you enter the exam through ABRSM. ABRSM has shifted – wrongly, in my strong opinion – towards selections that are not period specific, requiring music that is technically challenging in list A, reflective in list B and characterful in list C. The danger here is that teachers will be tempted to choose a diet of chocolates and sweets exclusively for their pupils, rather than stylistically contrasted and educationally nutritious pieces.

For those of you with long memories, ABRSM Grade 8 piano used to demand over 100 scales and arpeggios for preparation. Until the 1980s it was necessary to prepare a complete three-movement sonata as a list B requirement, as well as a polyphonic work, commonly a Prelude and Fugue, or a Scarlatti sonata in list A. List C tended to be a concert standard Romantic or 20th-century piece. In total contrast, it is now possible to prepare three pieces for Grade 8 piano (Joplin’s Maple Leaf Rag, Debussy’s La fille aux cheveux de lin and Mozart’s Rondo alla Turca are all possible from the new syllabus) and finish them in well under ten minutes. As for scales, only three pitches are listed, from which all the variants are taken.

Turning to Grade 8 Trinity reveals a similar picture. I well remember doing this exam in 1978 and playing four works from different musical periods, as well as tackling viva voce (analytical questions on the chosen pieces), aural, sight-reading and a substantial number of scales. The current Trinity syllabus asks for only three pieces – not necessarily from different periods – along with scales and arpeggios based on just two pitches. Further, in 2023 your entire programme could be arrangements in popular styles.

Significance of exams

Of course, one can argue that quality is always preferable to quantity and that standards remain intact. Descriptors of what is expected remain consistent and persuasive. Exam boards have always been keen to stress that a syllabus is not a curriculum in itself. A high mark at a top grade is no guarantee that a glittering musical career will ensue. Nonetheless, for many time-pressed teachers and UCAS points-obsessed parents, examinations are the be-all and end-all of piano education. Whether boards care to admit it or not, they have a huge responsibility to ensure that grade requirements present a balanced selection of material that will add and guide pedagogical progression for those customers they serve who are primarily or even exclusively exam-oriented. There should be no loopholes or easy options that take away from this surely essential mission.

In 2024, syllabus choice may never have been greater for Grade 7 and 8 candidates, but ultimately this range is double-edged. Pedagogues need to show strength and be persuasive; pupils and their parents need to realise that getting a good mark in a high grade is not necessarily the most important thing. Teachers have a greater responsibility than ever to choose repertoire that develops musicianship and technique, as well as potentially scoring well with an examiner.

If you scroll carefully through the list of alternative pieces for both ABRSM and Trinity, it is possible to find material that will develop polyphony, a sense of Classical architecture, as well as cantabile and motoric rhythm. But will all candidates do this when they can pick easier options instead?

Let’s close by contrasting two possible scenarios for ABRSM Grade 8 repertoire selection. In the following table, the first programme, taken from the alternative lists, is unquestionably educationally nutritious and contrasting in terms of period. The second programme is shorter in duration. Though satisfying in itself, it cannot be considered as substantial as the first.