Dip ABRSM, LRSM

[felia]

Does anybody know how is the standard of Dip ABRSM and LRSM? Which are the suitable repertoire for the examinations?

thanks.

Felia

[princess_moose]

Many people think the DipABRSM is just like a grade 9, but it is not. The standard expected is much higher than that.

Take a look at the syllabus, some of the pieces you might think are "easy" but it's more about an excellent performance at this level:

https://www.abrsm.org/resources/perfDip05Complete.pdf

They say, that the DipABRSM is equivalent to the standard one would be at the end of the first year of an undergraduate course in music, and LRSM, the standard at the end of a 3 year degree in music.

[firebolt145]

I took my DipABRSM when I was 13, two years ago. I played -

1) Beethoven - Pathetique Sonata (all 3 movements)
2) Chopin - Black Key Etude
3) Ravel - Oiseau Triste (I've forgotten how to spell it)
4) Gershwin - The lady I love, I got rhythm

Then there is Quick Study (similar to sight reading, but you have a couple minutes to try it out first), Program Notes (you submit a booklet talking about the composers you are playing and analysis of the pieces) and Viva Voce (where they ask you questions about your performance and your Program Notes).

I'm taking my LRSM in a week. I am playing -

1) Mozart - Sonata in C minor K.457 (3 movements)
2) Chopin - Etude op.10 no.3 and op.25 no.1
3) Debussy- Homage a Rameau
4) Liszt - Mephisto Waltz no.1

The rest is the same as the DipABRSM, though of course on a higher level of difficulty.

[rachel_ksy]

To say that its a little difficult than Grade 8 would be an understatement. This is because the standard of grade 8 has dropped over the years. When you talk about standard, i suppose you mean what is expected of you. Needless to say, you should not play any wrong notes. They also expect you to play in the correct style. Many examiners have shared with teachers in seminars that many people who take dip ABRSM/LRSM do not play in the correct style as some of them are too young to understand. For eg, a song taken from the baroque period has to played mostly devoid of expressions, but many people taking exams play it in the wrong style. Once a piece is played in the wrong style, the examiner WILL fail you.

[firebolt145]

Once a piece is played in the wrong style, the examiner WILL fail you.

I agree.

Needless to say, you should not play any wrong notes.

I disagree. If you play a FEW wrong notes, the examiner will usually accept you are just nervous. Musicality is more important.

[pianochild]

Here is the syllabus for dip ABRSM, LRSM, and FRSM:







Piano: DipABRSM
J.S. Bach Any one of the following 48 Preludes and Fugues from ‘The Well-Tempered Clavier’
Part 1: no.12 in F minor, BWV 857; r (Associated Board)
no.14 in F# minor, BWV 859; no.16 in G minor, BWV 861 R Part 2: no.5 in D, BWV 874; r no.9 in E, BWV 878; no.11 in F, BWV 880; D (Associated Board)
no.16 in G minor, BWV 885; no.17 in Ab, BWV 886 R Toccata no.3 in D, BWV 912: complete r Bach 7 Toccatas (Henle or Henle – Schott/M.D.S.)
Toccata no.5 in E minor, BWV 914: complete R
Bartók Any two or more of the ‘6 Dances in Bulgarian Rhythm’, from ‘Mikrokosmos’,Vol.6 (Boosey &
Hawkes)
Beethoven Sonata in F minor, Op.2 no.1: complete (Associated Board)
Sonata in C minor, Op.10 no.1: complete (Associated Board)
Sonata in F, Op.10 no.2: complete (Associated Board)
Sonata in C minor (‘Pathétique’), Op.13: complete (Associated Board)
Sonata in E, Op.14 no.1: complete (Associated Board)
Sonata in G, Op.14 no.2: complete (Associated Board)
Sonata in Ab, Op.26: complete (Associated Board)
Sonata in C# minor (‘Moonlight’), Op.27 no.2: complete (Associated Board)
Sonata in F, Op.54: complete (Associated Board)
Sonata in E minor, Op.90: complete (Associated Board)
6 Variations in F, Op.34 r Beethoven Variations, Vol.1 (Wiener Urtext/M.D.S)
32 Variations in C minor,WoO 80 R
L. Berkeley Concert Study in Eb, Op.48 no.2 (Chester/Music Sales)
Howard Blake Chaconne and Toccatina: nos.5 and 6 from ‘8 Character Pieces’ (Highbridge Music)
Brahms Capriccio in F# minor, Op.76 no.1. Brahms 8 Piano Pieces, Op.76 (Associated Board)
Rhapsody in G minor, Op.79 no.2. Brahms 2 Rhapsodies, Op.79 (Associated Board)
Intermezzo in A minor, Op.116 no.2. Brahms 7 Fantasies, Op.116 (Associated Board)
Intermezzo in A, Op.118 no.2 r Ballade in G minor, Op.118 no.3 D Brahms 6 Piano Pieces, Op.118 (Associated Board)
Romance in F, Op.118 no.5 R
Diana Burrell Constellations I and II. Spectrum (20 Contemporary Works for Solo Piano) (Associated Board)
Chopin Berceuse in Db, Op.57. Chopin Complete Piano Works, Vol.11 (P.W.M./M.D.S.)
Impromptu no.3 in Gb, Op.51 (Henle or Henle – Schott/M.D.S.)
Introduction and Variations in Bb on a theme from Hérold’s ‘Ludovic’, Op.12. Chopin Complete Piano
Works, Vol.13 (P.W.M./M.D.S.)
Mazurka in C# minor, Op.50 no.3 (Henle or Henle – Schott/M.D.S.)
Nocturne in E, Op.62 no.2. Chopin Nocturnes (Associated Board or Wiener Urtext/M.D.S.)
Any two of the 3 Nouvelles Études (Wiener Urtext/M.D.S.)
Copland Scherzo Humoristique ‘The Cat and the Mouse’ (Durand/U.M.P.)
Debussy La plus que lente: Valse (U.M.P.)
Any one of the following Préludes:
Book 1: no.4 ‘Les sons et les parfums tournent dans l’air du soir’, no.10 ‘La Cathédrale engloutie’
(U.M.P. orWiener Urtext/M.D.S.)
Book 2: no.3 ‘La Puerta del Vino’ (U.M.P. or Wiener Urtext/M.D.S.)
Suite ‘Pour le Piano’: 2nd movt, Sarabande (Henle or Henle – Schott/M.D.S. or U.M.P.)
Fauré Barcarolle no.1 in A minor, Op.26 r Fauré Piano Works, Vol.2 (Peters EP 9560b)
Barcarolle no.6 in Eb, Op.70 R Impromptu no.2 in F minor, Op.31. Fauré Piano Works, Vol.1 (Peters EP 9560a)
Gershwin ‘The Man I Love’ and ‘I Got Rhythm’. George Gershwin at the Keyboard (Warner/I.M.P.)
Haydn Andante con Variazioni in F minor,Hob.XVII/6 (Wiener Urtext/M.D.S.)
Sonata in Ab,Hob.XVI/46: complete. Haydn Selected Keyboard Sonatas, Book 4 (Associated Board)
Sonata in C,Hob.XVI/48: complete r Haydn Complete Keyboard Sonatas, Vol.3
Sonata in Eb,Hob.XVI/49: complete R (Wiener Urtext/M.D.S.)
Hindemith Interludium (p.12) and Fuga no.3, from ‘Ludus Tonalis’ (Schott ED 3964/M.D.S.)
Janác˘ ek Any two of the 4 pieces from ‘In the Mists’ (Bärenreiter)
Liszt Liebestraum no.2 (‘Seliger Tod’). Liszt Liebesträume: 3 Notturnos (Henle or Henle – Schott/M.D.S.)
Sonetto 123 del Petrarca: no.6 from ‘Anneés de Pèlerinage, 2ème Anneé, Italie’ (Henle or Henle –
Schott/M.D.S.)
John McCabe 5 Bagatelles: complete (Novello/Music Sales)
Joseph Makholm Any two of the ‘3 Impressions’ (Billaudot/U.M.P.)
Mendelssohn Prelude and Fugue in F minor: no.5 from ‘6 Preludes and Fugues’, Op.35 (Associated Board)
REPERTOIRE LISTS/Piano
Piano: DipABRSM
Messiaen Regard de l’Étoile: no.2
from r ‘Vingt Regards sur l’Enfant Jésus’ (Durand/U.M.P.)
Regard de la Vierge: no.4 R Rondeau (Leduc/U.M.P.)
Mozart Adagio in B minor, K.540.Mozart Miscellaneous Pieces (Associated Board)
Sonata in D, K.284: complete (Associated Board)
Sonata in C, K.309: complete (Associated Board)
Sonata in D, K.311: complete (Associated Board)
Sonata in Bb, K.570: complete (Associated Board)
10 Variations on ‘Les hommes pieusement’ (‘Unser dummer Pöbel meint’), K.455 (Associated Board)
9 Variations on a Minuet by Duport, K.573 (Associated Board)
Poulenc Toccata: no.3 from ‘Trois Pièces’ (Heugel/U.M.P.)
Prokofiev Visions Fugitives nos.8, 14, 19 and 20, from ‘Visions Fugitives’, Op.22 (Boosey & Hawkes)
Rachmaninov Any one of the following Preludes:
Prelude in Eb, Op.23 no.6 r Prelude in C minor, Op.23 no.7 D Rachmaninov Complete Preludes (Boosey & Hawkes)
Prelude in G, Op.32 no.5 D Prelude in G# minor, Op.32 no.12 R
Ravel Sonatine: complete (Peters EP 7375)
Edwin Roxburgh Moonscape. Spectrum (20 Contemporary Works for Solo Piano) (Associated Board)
Scarlatti Any one of the following pairs of Sonatas:
2 Sonatas in A, Kp.208 (L.238) and Kp.209 (L.428) r Scarlatti 60 Sonatas, Vol.1
2 Sonatas in G, Kp.259 (L.103) and Kp.260 (L.124) R (Schirmer/Music Sales)
Sonata in E minor, Kp.263 (L.321) and Sonata in E, Kp.264 (L.466) r Scarlatti 60 Sonatas, Vol.2
2 Sonatas in C, Kp.308 (L.359) and Kp.309 (L.454) R (Schirmer/Music Sales)
Schoenberg 6 Little Pieces, Op.19: complete (Universal 5069/M.D.S.)
Schubert Impromptu in Gb, Op.90 no.3, D899/3. Schubert 4 Impromptus, D.899 (Associated Board)
Sonata in A minor, Op.164, D.537: complete. Schubert Sonatas, Vol.1 (Associated Board)
Sonata in A, Op.120, D.664: complete. Schubert Sonatas, Vol.2 (Associated Board)
Schumann Des Abends (At Evening) and Aufschwung (Soaring): nos.1 and 2 from ‘Phantasiestücke’, Op.12
(Associated Board)
Novellette in F: no.1 from ‘8 Novelletten’, Op.21 (Henle or Henle – Schott/M.D.S.)
Romanze in B: no.3 from ‘3 Romanzen’, Op.28 (Associated Board)
Scriabin Impromptu in Bb, Op.12 no.2 (Belaieff 150/Peters)
Any two of the ‘24 Preludes’, Op.11 (Henle or Henle – Schott/M.D.S.)
Peter Sculthorpe Night Pieces: complete (Faber)
Shostakovich Preludes nos.3 in G and 11 in B, from ‘24 Preludes’, Op.34 (Boosey & Hawkes)
Preludes nos.5 in D and 19 in Eb, from ‘24 Preludes’, Op.34 (Boosey & Hawkes)
Stravinsky Tango (Schott ED 4917/M.D.S.)
Szymanowski Etude in Bb minor, no.3 from ‘4 Etudes’, Op.4 (Universal 03855/M.D.S.)


















Piano: LRSM
Albéniz Any one of the 12 pieces from ‘Iberia’, except no.1 ‘Evocación’ (4 Vols: U.M.E./Music Sales)
J.S. Bach Chromatic Fantasia and Fugue in D minor, BWV 903 (Henle or Henle – Schott/M.D.S.)
Partita no.2 in C minor, BWV 826: complete. Bach Partitas 1–3 (Associated Board)
Partita no.5 in G, BWV 829: complete. Bach Partitas 4–6 (Associated Board)
Any one or two of the following 48 Preludes and Fugues from ‘The Well-Tempered Clavier’:
Part 1: no.3 in C#, BWV 848; no.4 in C# minor, BWV 849; r no.7 in Eb, BWV 852; no.8 in Eb minor, BWV 853; D (Associated Board)
no.20 in A minor, BWV 865; no.24 in B minor, BWV 869 R Part 2: no.3 in C#, BWV 872; no.4 in C# minor, BWV 873; r no.10 in E minor, BWV 879; no.14 in F# minor, BWV 883; D no.16 in G minor, BWV 885; no.18 in G# minor, BWV 887; D (Associated Board)

[pianochild]

AND:

no.21 in Bb, BWV 890; no.22 in Bb minor, BWV 891; D no.23 in B, BWV 892; no.24 in B minor, BWV 893 R
Bartók Suite, Op.14: complete (Universal 5891/M.D.S.)
Beethoven Sonata in C, Op.2 no.3: complete (Associated Board)
Sonata in Eb, Op.7: complete (Associated Board)
Sonata in D, Op.10 no.3: complete (Associated Board)
Sonata in G, Op.31 no.1: complete (Associated Board)
Sonata in D minor (‘Tempest’), Op.31 no.2: complete (Associated Board)
Sonata in Eb, Op.31 no.3: complete (Associated Board)
Sonata in Eb (‘Les Adieux’), Op.81a: complete (Associated Board)
REPERTOIRE LISTS/Piano 37
REPERTOIRE LISTS
38
REPERTOIRE LISTS
Piano: LRSM
Richard Rodney Bennett Any two of the ‘5 Studies’ (Universal 12995K/M.D.S.)
Berg Sonata, Op.1: complete (Universal 8812/M.D.S.)
Brahms Capriccio in B minor, Op.76 no.2 r Capriccio in C# minor, Op.76 no.5 D Brahms 8 Piano Pieces, Op.76 (Associated Board)
Capriccio in C, Op.76 no.8 R Capriccio in D minor, Op.116 no.1 r Capriccio in G minor, Op.116 no.3 D Brahms 7 Fantasies, Op.116 (Associated Board)
Capriccio in D minor, Op.116 no.7 R Intermezzo in Eb minor, Op.118 no.6. Brahms 6 Piano Pieces, Op.118 (Associated Board)
Rhapsody in B minor, Op.79 no.1. Brahms 2 Rhapsodies, Op.79 (Associated Board)
Rhapsody in Eb, Op.119 no.4. Brahms 4 Piano Pieces, Op.119 (Associated Board)
Casella Toccata, Op.6 (Ricordi/U.M.P.)
Chopin Any one of the 4 Ballades: G minor Op.23, F Op.38, Ab Op.47, F minor Op.52 (Wiener
Urtext/M.D.S.)
Barcarolle in F#, Op.60. Chopin Piano Pieces (Henle or Henle – Schott/M.D.S.)
Any two contrasted Études from the ‘12 Études’, Op.10 or the ‘12 Études’, Op.25 (Wiener Urtext/M.D.S.)
Fantaisie in F minor, Op.49 (Henle or Henle – Schott/M.D.S.)
Polonaise-Fantaisie in Ab, Op.61. Chopin Polonaises (Henle or Henle – Schott/M.D.S.)
Any one of the 4 Scherzi: B minor Op.20, Bb minor Op.31, C# minor Op.39, E Op.54 (Wiener
Urtext/M.D.S.)
Copland Sonata: complete (Boosey & Hawkes)
Dallapiccola Sonatina Canonica in Eb: complete (Suvini Zerboni/William Elkin)
Debussy Any one or more of the 3 pieces from ‘Estampes’: Pagodes, La soirée dans Grenade, Jardins sous la
pluie (Henle or Henle – Schott/M.D.S. or U.M.P.)
Any one, two or three of the ‘12 Études’ (Henle or Henle – Schott/M.D.S.)
Any one, two or three of the 6 pieces from ‘Images’, 1st and 2nd Sets: Reflets dans l’eau,Hommage à
Rameau,Mouvement, Cloche à travers les feuilles, Et la lune descend sur la temple qui fût,
Poissons d’or (2 vols: Henle or Henle – Schott/M.D.S. or U.M.P.)
L’Isle joyeuse (Henle or Henle – Schott/M.D.S. or U.M.P.)
Any two of the following Préludes:
Book 1: no.3 ‘Le vent dans la plaine’, no.5 ‘Les collines d’Anacapri’, no.7 ‘Ce qu’a vu le vent d’ouest’,
no.11 ‘La danse de Puck’ (U.M.P. orWiener Urtext/M.D.S.)
Book 2: no.4 ‘Les feés sont d’exquises danseuses’, no.7 ‘La terrasse des audiences du clair de lune’, no.8
‘Ondine’, no.11 ‘Les tierces alterneés’, no.12 ‘Feux d’artifice’ (U.M.P. orWiener Urtext/M.D.S.)
Dohnányi Rhapsody in C, Op.11 no.3 (Weinberger/William Elkin)
Fauré Barcarolle no.5 in F# minor, Op.66. Fauré Piano Works, Vol.2 (Peters EP 9560b)
Impromptu no.3 in Ab, Op.34. Fauré Piano Works, Vol.1 (Peters EP 9560a)
Nocturne no.4 in Eb, Op.36. Fauré Piano Works, Vol.3 (Peters EP 9560c)
Ferguson Sonata in F minor, Op.8: complete (Boosey & Hawkes)
Michael Finnissy Yvaropera 5. Spectrum (20 Contemporary Works for Solo Piano) (Associated Board)
Fricker Studies nos.2 and 4 from ‘12 Studies’, Op.38 (Schott ED 10804/M.D.S.)
Ginastera Any one or more of the ‘3 Danzas Argentinas’ (Durand/U.M.P.)
Sonata no.1, Op.22: complete (Boosey & Hawkes)
Granados Any one of the 6 pieces from ‘Goyescas’,Vols.1 and 2 (U.M.E./Music Sales)
Haydn Sonata in C,Hob.XVI/50: complete. Haydn Selected Keyboard Sonatas, Book 4 (Associated Board)
Sonata in Eb,Hob.XVI/52: complete.Haydn Complete Keyboard Sonatas, Vol.3 (Wiener Urtext/M.D.S.)
Hindemith Any one or two of the following Interludes and Fugues from ‘Ludus Tonalis’: Interludium p.7 and
Fuga secunda in G, Interludium p.20 and Fuga quinta in E, Interludium p.38 and Fuga nona
in Bb (Schott ED 3964/M.D.S.)
Sonata no.2 in G: complete (Schott ED 2519/M.D.S.)
Sonata no.3 in Bb: complete (Schott ED 2521/M.D.S.)
Ireland Amberley Wild Brooks (Stainer & Bell)
April (Stainer & Bell)
Chelsea Reach (Stainer & Bell)
Ragamuffin (Stainer & Bell)
Kabalevsky Sonata no.3 in F, Op.46: complete. Kabalevsky 3 Sonatas (Boosey & Hawkes)
Bryan Kelly Sonata: complete (Novello/Music Sales)
Oliver Knussen Sonya’s Lullaby, Op.16 (Faber)
Kenneth Leighton Conflicts (Fantasy on Two Themes), Op.51 (Novello/Music Sales)
REPERTOIRE LISTS/Piano
39
REPERTOIRE LISTS
Piano: LRSM
Liszt Any one of the ‘5 Concert Studies’ r Liszt Piano Works, Vol.4 (Peters EP 3600d)
Any one of the ‘6 Paganini Studies’ R Any one of the ‘12 Études d’exécution transcendante’, except no.1. Liszt Piano Works, Vol.3
(Peters EP 3600c)
Either or both of the ‘2 Légendes’ (St François d’Assise; St François de Paule) (Peters EP 7202)
Les jeux d’eaux à la Villa d’Este: no.4 from ‘Années de Pèlerinage, 3ème Année’ (Henle or Henle –
Schott/M.D.S. or publ. separately: Schott ED 06297/M.D.S.)
Mendelssohn Andante and Rondo Capriccioso, Op.14 (Henle or Henle – Schott/M.D.S.)
Any one or two of the following from ‘6 Preludes and Fugues’, Op.35: no.1 in E minor, no.3 in
B minor, no.5 in F minor (Associated Board)
Variations Sérieuses, Op.54 (Henle or Henle – Schott/M.D.S.)
Messiaen Any one of the following from ‘8 Préludes’: no.3 ‘Le Nombre léger’, no.4 ‘Instants défunts’
(Durand/U.M.P.)
Any one of the following pieces from ‘Vingt Regards sur l’Enfant Jésus’: no.8 ‘Regard des hauteurs’,
no.11 ‘Première communion de la Vierge’, no.14 ‘Regard des Anges’, no.15 ‘Le baiser de l’Enfant-
Jésus’, no.16 ‘Regard des prophètes, des bergers et des Mages’ (Durand/U.M.P.)
Mozart Rondo in A minor, K.511 (Associated Board)
Sonata in A minor, K.310: complete (Associated Board)
Sonata in C minor, K.457: complete (Associated Board)
Sonata in F, K.533: complete (Associated Board)
Sonata in D, K.576: complete (Associated Board)
Poulenc ‘Napoli’ Suite: complete (Salabert/U.M.P.)
Prokofiev Sonata no.2 in D minor, Op.14: complete (Boosey & Hawkes)
Sonata no.3 in A minor, Op.28 (Boosey & Hawkes)
Sonata no.4 in C minor, Op.29: complete (Boosey & Hawkes)
Sonata no.5 in C, Op.38: complete (Boosey & Hawkes)
Rachmaninov Any one of the 9 ‘Etudes-tableaux’, Op.39. Rachmaninov Etudes-tableaux (Boosey & Hawkes)
Any one of the following Preludes:
Op.23: no.3 in D minor, no.4 in D, no.5 in G minor, no.10 in Gb, r Rachmaninov
Op.32: no.1 in C, no.2 in Bb minor, no.3 in E, no.4 in E minor, D Complete Preludes
no.6 in F minor, no.8 in A minor, no.9 in A, no.10 in B minor, no.13 in Db R(Boosey & Hawkes)
Ravel Jeux d’eau (Peters EP 7373)
Any one of the following pieces from ‘Miroirs’: no.1 ‘Noctuelles’, no.3 ‘Une Barque sur l’Océan’,
no.4 ‘Alborada del gracioso’ (Peters EP 7374)
Ondine: no.1 from ‘Gaspard de la Nuit’ (Peters EP 7378)
Toccata: no.6 from ‘Le Tombeau de Couperin’ (Peters EP 7376)
Roger Redgate trace. Spectrum (20 Contemporary Works for Solo Piano) (Associated Board)
Scarlatti Any one or two of the following pairs of Sonatas:
Sonata in D minor, Kp.52 (L.267) and Sonata in D, Kp.96 (L.465) r Scarlatti 60 Sonatas, Vol.1
2 Sonatas in C minor, Kp.115 (L.407) and Kp.116 (L.452) R (Schirmer/Music Sales)
Sonata in G minor, Kp.426 (L.128) and Sonata in G, Kp.427 (L.286) r Scarlatti 60 Sonatas, Vol.2
2 Sonatas in Bb, Kp.544 (L.497) and Kp.545 (L.500) R (Schirmer/Music Sales)
2 Sonatas in G, Kp.424 (L.289) and Kp.425 (L.333). Scarlatti 11 Sonatas (Associated Board)
Schoenberg Any two of the ‘5 Pieces’, Op.23 (Hansen/Music Sales)
Suite, Op.25: any two movts (Universal 07627/M.D.S.)
Schubert Sonata in A minor, Op.143, D.784: complete. Schubert Sonatas, Vol.2 (Associated Board)
Sonata in C minor, D.958: complete r Schubert Sonatas, Vol.3 (Associated Board)
Sonata in A, D.959: complete R
Schumann Any one of the following from ‘Novelletten’, Op.21: no.2 in D, no.8 in F# minor (Henle or Henle –
Schott/M.D.S.)
Sonata in G minor, Op.22: complete (Henle or Henle – Schott/M.D.S.)
Variations on the name ‘Abegg’, Op.1 (Henle or Henle – Schott/M.D.S.)
Scriabin Either or both of the following from ‘12 Etudes’, Op.8: no.10 in Db, no.12 in D# minor (Belaieff
145/Peters)
Sonata no.4 in F#, Op.30: complete (Belaieff 159/Peters)
Sonata no.5 in F#, Op.53 (Boosey & Hawkes)
Seiber Scherzando capriccioso (Schott ED 10247/M.D.S.)
Shostakovich Any one or two of the following from ‘24 Preludes and Fugues’, Op.87:
Vol. 1: no.4 in E minor, no.7 in A (Boosey & Hawkes)
Vol. 2: no.15 in Db, no.17 in Ab (Boosey & Hawkes)
Tippett Sonata no.2 (Schott ED 10815/M.D.S.)
Webern Variations, Op.27: complete (Universal 10881/M.D.S.)
REPERTOIRE LISTS/Piano
40
REPERTOIRE LISTS




















Piano: FRSM
J.S. Bach Partita no.6 in E minor, BWV 830: complete. Bach Partitas 4–6 (Associated Board)
J.S. Bach/Busoni Chaconne in D minor (from Partita no.2 for solo violin) (Peters EP 7436)
Barber Sonata in Eb, Op.26: complete (Schirmer/Music Sales)
Bartók Sonata (1926): complete (Universal 8772/M.D.S.)
Bax Sonata no.3 in G# minor: complete (Studio Music)
Beethoven Sonata in C (‘Waldstein’), Op.53: complete (Associated Board)
Sonata in F minor (‘Appassionata’), Op.57: complete (Associated Board)
Sonata in Eb (‘Les Adieux’), Op.81a: complete (Associated Board)
Sonata in A, Op.101: complete (Associated Board)
Sonata in E, Op.109: complete (Associated Board)
Sonata in Ab, Op.110: complete (Associated Board)
Sonata in C minor, Op.111: complete (Associated Board)
15 Variations and Fugue in Eb, Op.35 (‘Eroica Variations’) (Wiener Urtext/M.D.S.)
Pierre Boulez Sonata no.1: complete (Amphion/U.M.P.)
Brahms Sonata in C, Op.1: complete (Wiener Urtext/M.D.S.)
Sonata in F# minor, Op.2: complete (Wiener Urtext/M.D.S.)
Sonata in F minor, Op.5: complete (Wiener Urtext/M.D.S.)
11 Variations in D on an Original Theme, Op.21 no.1. Brahms Variations, Op.21 (Henle or
Henle – Schott/M.D.S.)
25 Variations and Fugue on a Theme by Handel, Op.24 (Henle or Henle – Schott/M.D.S.)
28 Variations on a Theme by Paganini, Op.35 (Henle or Henle – Schott/M.D.S.)
Bridge Sonata: complete (Stainer & Bell)
Chopin Sonata in Bb minor, Op.35: complete (Henle or Henle – Schott/M.D.S.)
Sonata in B minor, Op.58: complete (Henle or Henle – Schott/M.D.S.)
Fauré Theme and Variations in C# minor, Op.73 (Hamelle/U.M.P.)
Franck Prélude, Aria et Final, Op.23 (Peters EP 3740b)
Prélude, Choral et Fugue, Op.21 (Peters EP 3740a)
Grainger In Dahomey (‘Cakewalk Smasher’) (Peters EP 66950)
Hindemith Sonata no.3 in Bb: complete (Schott ED 2521/M.D.S.)
Liszt Après une Lecture de Dante (Fantasia quasi Sonata): no.7 from ‘Anneés de Pèlerinage, 2ème Anneé,
Italie’ (Henle or Henle – Schott/M.D.S.)
Funérailles (Henle or Henle – Schott/M.D.S.)
Mazeppa and/or Feux follets: no.4 and/or no.5 from ‘12 Études d’exécution transcendante’. Liszt
Piano Works, Vol.3 (Peters EP 3600c)
Sonata in B minor: complete (Henle or Henle – Schott/M.D.S.)
James MacMillan Sonata: complete (Boosey & Hawkes)
Martinu° Sonata no.1: complete (Eschig/U.M.P.)
Medtner Sonata tragica, Op.39 no.5: complete.Medtner Complete Piano Sonatas, Series 2 (Dover)
Mendelssohn Sonata in Bb, Op.106: complete (Peters EP 66853)
Messiaen Île de feu 1 and 2 (U.M.P.)
Prokofiev Sonata no.6 in A, Op.82: complete (Boosey & Hawkes)
Sonata no.7 in Bb, Op.83: complete (Boosey & Hawkes)
Sonata no.8 in Bb, Op.84: complete. Prokofiev Sonatas for Piano, Vol.2 (Boosey & Hawkes)
Sonata no.9 in C, Op.103: complete (Boosey & Hawkes)
Rachmaninov Sonata no.2 in Bb minor, Op.36 (revised version 1931): complete (Boosey & Hawkes)
Variations on a Theme of Corelli, Op.42 (Belwin Mills/Maecenas Europe)
Ravel Gaspard de la Nuit: complete (Peters EP 7378)
Schubert Fantasy in C (‘The Wanderer’), Op.15, D.760 (Associated Board)
Sonata in C minor, D.958: complete r Sonata in A, D.959: complete D Schubert Sonatas, Vol.3 (Associated Board)
Sonata in Bb, D.960: complete R
Schubert/Liszt Erlkönig and Gretchen am Spinnrade. Liszt Piano Works, Vol.9 (Peters EP 3602a)
Schumann Carnaval, Op.9: complete (Henle or Henle – Schott/M.D.S.)
Fantasy in C, Op.17 (Henle or Henle – Schott/M.D.S.)
Kreisleriana, Op.16: complete (Henle or Henle – Schott/M.D.S.)
Symphonische Etüden (12 Études Symphoniques), Op.13: complete (Henle or Henle Schott/M.D.S.)
Toccata in C, Op.7 (Henle or Henle – Schott/M.D.S.)
Stravinsky Serenade in A: complete (Boosey & Hawkes)
REPERTOIRE LISTS/Piano

[moi_not_toi]

I still dont understand what it IS!

[tompilk]

it's the nest "grade" up from grade 8 abrsm, but at a proffessional standard from what i have heard. Makes me feel terrible when im learning Pathetique for that sort of thing, but i doubt i can play it to the level!!!
Tom

[princess_moose]

The pieces were on that link I provided, no need to copy them all out. Needless replies I have to scroll through  .

[firebolt145]

Whoops, didn't see that.

[bradley]

I did the DipABRSM exam about 2-3 years ago. It was a really good exam, quite different from the normal graded exams (1-8). It was a really good experience and I would definitely recommend doing them if you can 

[moi_not_toi]

Yes, I know it's a step up from Grade 8, but what is the whole thing about??
*completely lost*

[pianochild]

The pieces were on that link I provided, no need to copy them all out. Needless replies I have to scroll through  .

Yes, but its easier to just show them then open it up and finding them.
(and i didnt copy them of your document)

[felia]

I disagree. If you play a FEW wrong notes, the examiner will usually accept you are just nervous. Musicality is more important.

i can never do that, normally i wil play a bunch instead of a FEW. 

[pianowelsh]

The three 'dips' are basically Recitals NOT exams in the traditional ABRSM sense.  You play your recital, 30 - 60 mins depedning on your level of diploma with repertoire selected of the copious lists above!! You may play upto a third I believe off list!  There are also support tests which involve Quick study - NOT sightreading.. They look for a performance of the piece and you get upto 5 mins to prepare it! You take a viva voce where the examiners will ask you rigerous questions about your instrument, your programme and the composers.  You must also submit informed and well written programme notes. Naturally the recital needs to bel played to a good level. ABRSMdip is equivalent to first year music college level OR scholarship entry level at a university or college!. LRSM is roughly equivalent to grauate recital of a good university music degree. FRSM is equivalent of a final year BMus of a college of music OR a Masters level final performance at a University or part of a college masters degree.  You should be able to confidently go before the public as part of a lunchtime recital series if you are serious about this diploma..Its not for fun per say. Its a professional level of qualification and it is certainly not grade 9!

I would however argue that the ABRSM grade 8 isnt getting easier. Works like the Haydn no52 Eb sonata (first mvt) and Ravel Sonatine (second movement) are not easy works and candidates who can get a distinction level in these works are no slouches.  Regarding the actual quality of the playing needed to pass - I have my reservations knowing personally several ABRSM examiners. They do not compromise their artistic integrity for anyone. All are professional pianists.

The number of people who take these diplomas each year and particularly the FRSM is telling - VERY FEW!! and only typically 40% pass first time. SO they are tough.

[cygnusdei]

How do these compare to Artist Diploma (where you actually spend a few semesters in residence at a conservatory) in terms of prestige and recognition?

[jehangircama]

How does the ATCL Recital examination compare with the dipABRSM? Am planning to give it at the end of this year and am working on the following pieces:
1. Bach P&F BWV 848 in C sharp Bk 1
2. Beethoven Sonata No. 14 Op 27 no. 2 "Moonlight" (Complete)
3. Brahms intermezzo in A op 118 no. 2
4. Chopin Fantasie Impromptu

they don't have a sight reading/aural awareness section. it is just 90 marks for the recital and 10 marks for performance notes and presentation. Does anyone know what they mean by proper performance attitude or some such thing? Is the programme i've written up to the standard? and how much importance is given to the interpretation of the pieces? what would happen if your interpretation and that of the examiner is different?

[elevateme_returns]

well, ATCL and any TCL exam are for people that cant play the right notes. ABRSM exams are for people that can.

[pianowelsh]

Excuse me!! If you want to pass any exam you should aim to play the right notes... ive rarely heard anything so stupid. Abrsm certainly require sightreading - more accurately called quick study because its NOT sightreading. Also you must do a viva voce which is an in depth discussion regarding your interpretation and background knowledge of the work composer and era.   The old Guildhall dips used to be the same but what the situation is with the new trinityguildhall set up i dont know.

[richard black]

Right notes? Well, we all _aim_ to play them, basically, don't we? But stuff happens....

What the diplomas actually _are_, well, they're a device to take money off you and give you in return, provided you play decently, a bit of paper that says, er, you play decently. It's kinda fun to have letters after your name and all that but you only _need_ one if you want to move in the near future into teaching at an institution. Otherwise, why bother? Nobody asks Martha Argerich if she's got a diploma.

[pianowelsh]

Perhaps they should. Too many great players are put in postions of teaching in colleges when they have no clue how to teach - to take an exam would help them to form clear ideas and strategies of communication.   Certainly in UK it isn the case that diplomas are only for people who want teaching positions in colleges etc. If you dont have one you will struggle to attract regular students privately!! there is far more competition now and there are many qualified teachers who work from home often with degrees in performance and pedagogy. Diplomas help people to work in this capacity who perhaps havent had the opportunity to study intensively at college due to work or family commitments but who have talent and perseverance and a love for their subject. Agreed they are too expensive, but they are much more hard work than nipping down to the local DIY store to get some wall paper!  Often one of the first things I get asked by prospective students on the phone is 'are you qualified then ? do you have a degree or some letters after your name'  people view qualifications seriously. They should they are parting with considerable sums of money for lessons.  I am often annoyed by people who come to me who have been messed up by unqualified teachers who do it for pocket money (undeclared often) and they tell me - your so cheap I was paying the same for this lady down the road - and she was babysitting at the same time as teaching me! It makes me cross when the public are exploited in this way and professionals who have worked hard at their training are undercut. But such is the cut-throat world we live in.

[jozzilee]

Hey fellow music lovers, upon reading all of the posts, I think they all sounded quite wise and provided angles to DipABRSM and LRSM exams. I myself took DipABRSM at aged 15, and LRSM last year. The general impression is that the difficulty gap between Grade 8 and DipABRSM. is huge, but the leap from DipABRSM. to LRSM is even greater. Those who intend to take LRSM after DipABRSM should consider a 2-3 year preparation and find a teacher in the top conservatoires. I myself currently studying under Patsy Toh (Fou Tsong's Wife) at RAM (Royal Academy). Regarding FRSM, which is the top level that ABRSM currently provides, my advice is not to take it until one feels that one has reached to a very mature age both physically and psychologically. Of course everyone is different and hence the 'mature' age varies.

Regarding performance, a candidate should aim to play to composer's intentions and also slight self interpretation (this should be discussed with an experienced teacher and should not be a primary concern - coz you are not Glenn Gould!). Stressing about interpretation, one should aim at tempo, pedaling and understanding, but never ever on notes, or dynamics or playing without historical context, i.e. the worst possible outcome will be to play a Mozart Sonata like Poulenc's Novettes or Chopin Mazurka!

In terms of note accuracy, of course one should try to aim for at least 95% or above accuracy (allow minor errors but not major collapses), but clarity and effortless playing is more crucial even when you play wrong notes. My advice to all candidates is that whatever wrong notes you play, you should craft it nice (not notety)! This is always a challenge particularly under intense pressure. Regarding quick study, DipABRSM. is of Grade 6 level while LRSM is Grade 7. Usually examiners like to pick 20th or late 19th century composers because their pieces have more dynamic range, more complicated rhythms and more irregular time and key signatures. This is when one need to demonstrate how one can cope with sudden changes and adapt to composer's intentions. This requires a lot of dedication and my suggestion is to take spectrum 3&4 for training and record your performance after each round for careful listening. In fact you should record your repertoire performance as well regularly (after you have learnt your pieces well of course) and be the critic of yourself! This is a crucial part of one's preparation for these exams especially towards the last two to three months before the actual exam because this is the polishing part and usually separate one from a fail candidate to pass or pass to distinction.

Here below is the repertoire I played for DipABRSM. and LRSM respectively (Please see NB at the end for more advice!)
 
ABRSM:

Sonata Op.14 No.10 Complete                                                   Beethoven
Fatasiestucke (excuse spellings) Op.12                                          Schumann
(1)Des Abends
(2)Aufschwung
1st book of Preludes                                                                Debussy  
La Cathedrale Engloutie (excuse spellings)
The Cat and the Mouse                                                            Copland

LRSM

24 Preludes and Fugues Op.87                                                   Shostakovich                                         
No.4 e minor prelude and fugue
Sonata Op.31 No.2 'The Tempest' Complete                                 Beethoven
Rhapsodie op.79 No.1                                                               Brahms


Indeed the above repertoire, as some may expect, is very Germanic (especially LRSM). My forte is Beethoven and Brahms so you will expect me to choose them. Another thing one may notice is that my repertoire in LRSM consists of less composers . This is because I wanted to demonstrate depth in LRSM and breadth in DipABRSM. I was little when I took DipABRSM, so I went for a sort of 'teenage naughtiness' with my repertoire and hence Copland's cat and mouse was chosen. But LRSM requires more mature ad rigorous performance so I picked great works like Brahms.  NB: do not simply copy my repertoire and learn it just because I passed with them. It is only a suggestion and since players have different hand shapes, different liking, it will be silly to come up with the optimal repertoire set. However, for these exams one should aim to disguise weaknesses and demonstrate strengths. So don't pick Liszt's hungarian rhapsodie because you think it is hard and flashy! One should aim to play a piece effortlessly not to 'kung fu' through your recital! Remember examiners hate banging all the way through without awareness! Listening to great pianists like Daniel Barenboim (Beethoven), Lupu (Brahms), Richter (Bach), Gilel (Grieg), Ashlenazy or Fou Tsong (Chopin) and Howard (Liszt) should greatly improve one's performance (but again don't copy!).

I have said more than enough and hopefully should clarify somethings and adds another angle to these exams.   


(NB: this is a suggestion but not something you should definitely copy since players have different hand shapes, different preferences and different strengths). The idea is to however to disguise weakness     

[scott13]

I completely disagree with the notion that Dip ABRSM is a much higher standard than Grade 8, simply put it is not. It is meant to be roughly equal to a recital given at the end of your first year in an undergraduate degree in performance. So it is really only a year's work away after you pass grade 8.

100% right notes are not expected at first year, nor are this expected for Dip either. What is far more important is a strong sense of musicality and expression plus stylistic awareness.

I planned to sit my Dip ABRSM, but after studying for a year at a conservatory, my teacher told me I would be wasting my time, and advised me to instead aim for my LTCL and spend another year refining the repertoire i choose for that examination.

For those interested my LTCL programme is based around the theme of Reflection. The pieces are:

1) Chopin - Allegro de Koncert Op 46
2) Rachmaninoff - Etude in A Minor Op 39 #2
3) Beethoven - Sonata in A Op 101

Now although i may spend another year or two preparing these pieces, in my opinion it's a far better use of my time than sitting an examination where the music could be learned to a very high level in 2-3 months.

[pianoplayjl]

The pieces in Dip ABRSM and other boards are meant to be harder than 8th grade. They examiners would obviously demand a really high standard because you've completed 8th grades! In fact the standards are so high here in the AMEB in Australia that once you reach diploma grades you have 2 examiners in an exam and 3 in a Fellowship. Now this is proof of how though it gets in Australia!

JL

[bleicher]

Diplomas run by exams boards based in the uk are regulated by the government Office of Qualifications and Examinations Regulation (Ofqual) and form part of the National Qualifications Framework (NQF). Ofqual regulate and inspect the exams to ensure that they are equivalent level across all boards.

Grade 8 of any UK-based exams board (ABRSM, Trinity Guildhall, LCM) is at level 3 of the National Qualifications Framework and is equivalent to A-level standard. A-levels are the exams we take aged 17/18 at the end of secondary school.

DipABRSM and ATCL are at level 4 of the NQF and are equivalent to the end of first year of full-time study at a higher education institution.

LRSM and LTCL are at level 6 of the NQF and are equivalent to undergraduate degree level.

FRSM and FTCL are at level 7 of the NQF and are equivalent to postgraduate degree level.

[scott13]

The pieces in Dip ABRSM and other boards are meant to be harder than 8th grade. They examiners would obviously demand a really high standard because you've completed 8th grades! In fact the standards are so high here in the AMEB in Australia that once you reach diploma grades you have 2 examiners in an exam and 3 in a Fellowship. Now this is proof of how though it gets in Australia!

JL

But frequently they are the same, only Dip will request the entire piece, where as grade 8 typically only asks for one movement.

Two examiners is not proof of anything. There are two for a very good reason, so you cannot fail based on one judge not liking your interpretation of a work. University recitals normally have three judges on the panel, and five for graduate recitals. Keep in mind two judges will often be interested and look for two different aspects of the performance.

[pytheamateur]

To say that its a little difficult than Grade 8 would be an understatement. This is because the standard of grade 8 has dropped over the years. When you talk about standard, i suppose you mean what is expected of you. Needless to say, you should not play any wrong notes.

Really? No wrong notes?  When I was doing my earlier grades my teacher said that apparently the examiner would knock off 3 points for each wrong note in the pieces (it was marked out of 150 at that time and you had to get 100 to pass).  I cannot really see how they can justify doing that at diploma level as well, especially given that one of the professors at the Royal College Music played some wrong notes in Beethoven's Tempest Sonata in his recent recital (which in itself is nothing scandalous at all).

[pytheamateur]

I completely disagree with the notion that Dip ABRSM is a much higher standard than Grade 8, simply put it is not. It is meant to be roughly equal to a recital given at the end of your first year in an undergraduate degree in performance. So it is really only a year's work away after you pass grade 8. 

Yes theoretically that's true, but the reality is many youngsters are already capable of playing to LRSM standard before they enter conservatory.  I have serious doubt that anyone will ever be offered a place to study piano performance if he only passed his grade 8 exam during his last year at school (or more correctly speaking, played to grade 8 standard).

I passed my grade 8 when I was 15 and would not have stood the slightest chance to be admitted to a conservatory.  There was also a classmate who passed grade 8 at age 13 but did not go into music.

[nyiregyhazi]

Really? No wrong notes?  When I was doing my earlier grades my teacher said that apparently the examiner would knock off 3 points for each wrong note in the pieces (it was marked out of 150 at that time and you had to get 100 to pass).  

Your teacher was bullshitting you. It's not necessarily even as much as 1 point per wrong note.

[pytheamateur]

well, ATCL and any TCL exam are for people that cant play the right notes. ABRSM exams are for people that can.

Here are a few links to Youtube of playing by people with ATCL standard.

This is apparently a recital of the entire ATCL program given a few days before the exam, which the boy passed.

This boy seemed to have passed ATCL already when the recording was made.

A medical doctor with ATCL playing some pop tunes on a digital piano.

It will be a useful exercise to compare the above with playing of people who has just passed grade 8 to see how big the gap is.

[scott13]

Yes theoretically that's true, but the reality is many youngsters are already capable of playing to LRSM standard before they enter conservatory.  I have serious doubt that anyone will ever be offered a place to study piano performance if he only passed his grade 8 exam during his last year at school (or more correctly speaking, played to grade 8 standard).

I passed my grade 8 when I was 15 and would not have stood the slightest chance to be admitted to a conservatory.  There was also a classmate who passed grade 8 at age 13 but did not go into music.

You may well be amazed to hear that I was admitted to study piano performance at a conservatory after playing the piano for only 18 months. I had sat no graded exams, but clearly the people on the panel could see past the wrong notes I hit, and appreciate that I have talent, and 3 years of their time invested in training me, will pay off.

This should hopefully illustrate my point that it is musicality and stylistic awareness over right notes any day. Conservatory training is partly teaching you to always hit right notes.

Also considering I played music for my audition far harder than most other candidates played who had been playing much longer, would have also been points in my favour. It is people like you that give students poor self esteem. BY stating people with grade 8 playing ability "would never be admitted" is a load of crap and does nothing but destroy confidence students have in their own playing.

Please never become a teacher. You would be terrible at it.

[pytheamateur]

You may well be amazed to hear that I was admitted to study piano performance at a conservatory after playing the piano for only 18 months. I had sat no graded exams, but clearly the people on the panel could see past the wrong notes I hit, and appreciate that I have talent, and 3 years of their time invested in training me, will pay off.

This should hopefully illustrate my point that it is musicality and stylistic awareness over right notes any day. Conservatory training is partly teaching you to always hit right notes.

Also considering I played music for my audition far harder than most other candidates played who had been playing much longer, would have also been points in my favour. It is people like you that give students poor self esteem. BY stating people with grade 8 playing ability "would never be admitted" is a load of crap and does nothing but destroy confidence students have in their own playing.

Please never become a teacher. You would be terrible at it.

So what age were you when you were admitted to conservatory?  And I gather that you were admitted straight to conservatory and not the junior department?  What kind of pieces were you playing after 18 months of learning?  I would like to get these facts first before responding further.

[scott13]

So what age were you when you were admitted to conservatory?  And I gather that you were admitted straight to conservatory and not the junior department?  What kind of pieces were you playing after 18 months of learning?  I would like to get these facts first before responding further.

I was 19. I played Chopin's Polonaise in A Op 40 #1, Bach's P & F 16 WTC book 1, Clementi's Sonata in D (forget the opus) and Rachmaninoff's Prelude in G minor Op 23 #5.

I was admitted straight into the conservatory. Now after just over 2 years learning, im currently studying: Chopin's Allegro de Concert,Etude in C Op 10 #1, Brahms Piano Sonata #3, Liszt Grande Etude #3 and Beethoven Op 101.

[pianoplayjl]

The grades wouldn't be like some sort of standard of expectations which pieces are to be played is it? I mean if LRSM demands really high expectations of pieces played wouldn't a person only playing 6th grade pieces be also just as good in terms of quality of pieces if played well? I'm just saying IMHO grades are just about the difficulty of pieces not standards because any person from any grade can perform to an excellent standard, regardless of difficulty of pieces. Sorry if my post seems stupid but this is MO.

JL

[nyiregyhazi]

The grades wouldn't be like some sort of standard of expectations which pieces are to be played is it? I mean if LRSM demands really high expectations of pieces played wouldn't a person only playing 6th grade pieces be also just as good in terms of quality of pieces if played well? I'm just saying IMHO grades are just about the difficulty of pieces not standards because any person from any grade can perform to an excellent standard, regardless of difficulty of pieces. Sorry if my post seems stupid but this is MO.

JL

So, an examiner might expect no more musical insight from a pianist playing advanced Beethoven, than from a beginner playing a little minuet?

[pianoplayjl]

So, an examiner might expect no more musical insight from a pianist playing advanced Beethoven, than from a beginner playing a little minuet?

Yes. But that is not my point. My point is IMO it is not that standards of performance increase with every grade but the pieces itself.

[nyiregyhazi]

Yes. But that is not my point. My point is IMO it is not that standards of performance increase with every grade but the pieces itself.

So are you suggesting that Grade 1 beginner pianists play with the same musical profundity that is expected at Diploma level? Or that diploma level pianists only the need same superficial musicality of a Grade 1 beginner? I'd be interested to know which way around it is. 

[pytheamateur]

I was 19. I played Chopin's Polonaise in A Op 40 #1, Bach's P & F 16 WTC book 1, Clementi's Sonata in D (forget the opus) and Rachmaninoff's Prelude in G minor Op 23 #5.

I was admitted straight into the conservatory. Now after just over 2 years learning, im currently studying: Chopin's Allegro de Concert,Etude in C Op 10 #1, Brahms Piano Sonata #3, Liszt Grande Etude #3 and Beethoven Op 101.

Thanks for the information.  Well, I have to say you are very exceptional.  No only I would be amazed at your progress, but so would other members of this forum, as no doubt were your teachers at the conservatory (which I assume to be Trinity or Guildhall, as you are preparing for LTCL), who I think would very much have loved to be able to nurture your talent at an earlier age.

In my original post I was expressing what I thought (and still think) to be a general rule and perhaps should not have phrased it in such absolute terms.  I was also having in mind people who had the benefit of piano lessons as a child but were struggling with the grades in a slow pace and who did not reach Grade 8 level until 17 or 18.  For those people, I'm not sure if another year of study would be sufficient to reach DipABRSM level (unless of course they radically change their way of study).

As for what you regard as "a load of crap", I think your case rather supports the point I was making.  The Bach G Minor Prelude and Fugue is ATCL level and the Rachmaninov G minor prelude is LTCL level: you were able to play them well enough to impress the panel into accepting you as a student, doesn't it mean your level of playing was clearly beyond Grade 8 when you auditioned?

A teacher who sticks to conventional wisdom and fails to recognise an exceptional talent when he sees one is indeed a terrible teacher.  However, he will be equally terrible if he fails to see things in perspective and distinguish the exception from the rule.  It is one thing to be encouraging and help a student realise his full potential; it is quite another to raise his hopes unrealistically.

With hindsight, nobody should have been surprised if Horowitz had started playing the piano at 17 and still got accepted to the Kiev Conservatory 18 months later.    The really interesting question (which I cannot answer) is whether he would still be known as the pianist that he was.

[beebert]

Scott13, did you start playing the piano from scratch at the age of 17/18 and when you were 19 you could already play rachmaninoff´s prelude? That, I must say, is impressing! How old are you now?

[scott13]

Yes that is indeed the case. That particular prelude is actually not very difficult. The first two pages essentially repeat after the slower section, only with a few chord changes, so learning the first two pages is roughly 2/3s of the piece.

The middle section is what gave me grief, as you have some very beautiful inner voices that need to sing, but not overshadow the melody, but a day or two and this section should be no problems.

The best advice I can give to learn this piece quickly, is break it into small sections that you can repeat maybe 50-100 times in 2-4 minutes, then move on. Then within 2 hours you should have the first two pages to tempo, in small sections, then work out which connecting sections are difficult, and repeat the above process.

Also loose all tension in your wrists and arms. If you make a conscious effort to balance the arm from the shoulder, when you drop your arm into the chords, you should end up with a nice clean articulation, and almost no tension, apart from the small amount needed to stop the motion of the arm after it has hit the keys.

[precipitato]

Hi all!

Interesting... Yes, its nowhere near grade 9! imagine you going through all the learning process from grade 1 to 8 again... Then that is the standard for DipAB! from grade 1 - DipAB learning process... then you get LRSM! FRSM is something which requires a truly high standard of performance.

By my own experience, the first two is a little more to your technical capabilities, until FRSM then they truly see your musicianship, to see if you truly flair in the particular instrument. Doesn't mean DipAB and LRSM are just notes!

Just to let you know, perhaps, my repertoire? (I took trinity, as DipAB had the other components i didn't like, yeah you know... but they're the same by experience from my piano teacher!)

ATCL (DipAB): 12 yr old 3 years ago
1. Bach: Prelude and Fugue BWV 862
2. Mozart: Sonata K 331
3. Chopin: Nocturne op.9 no.1
4. Poulenc: Trois Novelettes (1 and 2 only)

LTCL (LRSM): 2 years ago
1. Bach: Toccata BWV 916
2. Beethoven: Tempest Sonata
3. Liszt: Un Sospiro
4. Bartok: Allegro Barbaro

FTCL (FRSM): Sometime this year, wasted last year for personal matters
1. Beethoven: Either Appassionata or op.109
2. Liszt: Dante Sonata
3. Debussy: Feux d'artifice

And maybe my brother's too

 ATCL: 12 years old 5 years ago
1. Bach: Prelude and Fugue BWV 848
2. Mozart: Sonata K. 310
3. Chopin: Fantasie Impromptu
4. Britten: (something which i forgot... sorry!)

LTCL: 4 years ago
Exactly same repertoire as me ^^

FTCL: 3 years ago
1. Beethoven: Waldstein Sonata
2. Chopin: Andante Spianato and Grande Polonaise Brillante
3. Bach-Busoni: Chaconne in D minor

(phew no failures )

so well, seems like you are interested in taking exams! all the best in your piano progress

[beebert]

That grade 8-dip abrsm is the same difficulty gap as grade 1-8 is definately not true.. My god, how can you even say that. If you have talent and practice hard, you can go from complete beginner who cannot read notes to grade 8 within 4 years. Then after that, you are technically prepared for dip abrsm maybe a year or two later. Though dipabrsm is alot harder from a musical point of view..

[precipitato]

That grade 8-dip abrsm is the same difficulty gap as grade 1-8 is definately not true.. My god, how can you even say that. If you have talent and practice hard, you can go from complete beginner who cannot read notes to grade 8 within 4 years. Then after that, you are technically prepared for dip abrsm maybe a year or two later. Though dipabrsm is alot harder from a musical point of view..

na its just to deter off ppl from thinking its a grade 9 or 10!
but however, for people overseas it wont be as easy as taking in London too...

[beebert]

I took my DipABRSM when I was 13, two years ago. I played -

1) Beethoven - Pathetique Sonata (all 3 movements)
2) Chopin - Black Key Etude
3) Ravel - Oiseau Triste (I've forgotten how to spell it)
4) Gershwin - The lady I love, I got rhythm

Then there is Quick Study (similar to sight reading, but you have a couple minutes to try it out first), Program Notes (you submit a booklet talking about the composers you are playing and analysis of the pieces) and Viva Voce (where they ask you questions about your performance and your Program Notes).

I'm taking my LRSM in a week. I am playing -

1) Mozart - Sonata in C minor K.457 (3 movements)
2) Chopin - Etude op.10 no.3 and op.25 no.1
3) Debussy- Homage a Rameau
4) Liszt - Mephisto Waltz no.1

The rest is the same as the DipABRSM, though of course on a higher level of difficulty.

Now we can simply make clear for us the difficulty range between grade 8 and dipabrsm. You took you dipabrsm when you were 13(impressive), how old were you when you took your grade 8?

[enjru]

I suspect standards have really fallen a LOT! I passed Grade 8 with High Distinction in my mid-teens just less than 30 years ago. There are at least 12 pieces I can play easily from that list, including a couple from the FRSM list, LOL! I am SURE there's at least a couple from that ABRSM list which I played for my Grade 8 or even Grade 7 exams!

[pytheamateur]

I suspect standards have really fallen a LOT! I passed Grade 8 with High Distinction in my mid-teens just less than 30 years ago. There are at least 12 pieces I can play easily from that list, including a couple from the FRSM list, LOL! I am SURE there's at least a couple from that ABRSM list which I played for my Grade 8 or even Grade 7 exams!

Yes in the old days, for Grade 8 you often had to play the entirety of a classical sonata; now you only have to play one movement, with the whole sonata being reserved for the DipAbrsm syllabus.  Examples are Beethoven's Op 2, No1, Op 14, Nos 1 and 2.

[pytheamateur]

na its just to deter off ppl from thinking its a grade 9 or 10!
but however, for people overseas it wont be as easy as taking in London too...

I certainly found that the marking was stricter in Hong Kong than in North West England.  At the time I thought this was due to the lower standards in a remote region.  Did you find the same thing even in London?