Guitar Grade 8

Our Guitar requirements and information summarise the most important points that teachers and candidates need to know when taking ABRSM graded Guitar exams.

They are detailed in the exam sections below (Pieces, Scales and arpeggios, Sight-reading and Aural tests) immediately after the grade-specific requirements, and are available to download as a PDF.

Further exam details and administrative information are given in our Information & Regulations, which you should read before booking an exam.

Eligibility

There are eight grades of exam for Guitar and candidates may be entered for any grade irrespective of age and without previously having taken any other grade in Guitar. Candidates for a Grade 6, 7 or 8 exam must already have passed ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a solo Jazz instrument. For full details, including a list of accepted alternatives, see Prerequisite for Grades 6-8.

Instruments

This syllabus is only appropriate for the standard classical instrument fitted with nylon strings (guitars with a cutaway body are permitted). Candidates may choose to use a capo at the 2nd or 3rd fret for the pieces in Grades 7 and 8 that have an optional F# tuning; no other use of the capo is permitted unless specified by the composer.

In the exam

Examiners: Generally, there will be one examiner in the exam room; however, for training and quality assurance purposes, a second examiner may sometimes be present. Examiners may ask to look at the music before or after the performance of a piece (a separate copy is not required – the candidate’s copy will suffice). Examiners may stop the performance of a piece when they have heard enough to form a judgment. They will not issue or discuss a candidate’s result. Instead, the mark form (and certificate for successful candidates) will be issued by ABRSM after the exam.

Order of the exam: The individual sections of the exam may be taken in any order, at the candidate’s choice, although it is preferable for accompanied pieces to be performed consecutively and at the beginning of the exam. For more information on accompanied pieces, see ‘Guitar requirements and information: Pieces’ in the ‘Pieces’ section below.

Tuning: The guitar should be tuned before entering the exam room, but in cases at Grades 1–5 where the candidate is playing with a piano accompaniment the teacher or accompanist may tune the candidate’s instrument to the piano (or advise on tuning) before the exam begins. In Grades 6–8, candidates must tune their instrument themselves. Examiners are unable to help with tuning.

Footstools: Candidates should provide their own footstool (or other form of guitar support) if required.

Music stands: All ABRSM public venues provide a music stand, but candidates are welcome to bring their own if they prefer. The examiner will be happy to help adjust the height or position of the stand.

Further information

• Assessment
• Obtaining exam music
• Access

Scales	D♭ major B♭, E♭ minors (harmonic and melodic)	2 octaves	fingers only; tirando or apoyando, as chosen by the examiner
	G, F# majors E minor (harmonic and melodic)	3 octaves	fingers only; tirando or apoyando, as chosen by the examiner
Chromatic scale	starting on F	3 octaves	fingers only; tirando or apoyando, as chosen by the examiner
Interval scales	D major, in tenths	1 octave	together or broken, as chosen by the examiner; tirando
	A major, in thirds G minor melodic, in sixths F# minor harmonic, in octaves Chromatic starting on E, in octaves	2 octaves	together or broken, as chosen by the examiner; tirando
Broken chords	A major G# minor	2 octaves	tirando; with over-ringing
Arpeggios	D♭ major B♭, E♭ minors	2 octaves	tirando; without over-ringing
	G, F# minors E minor	3 octaves	tirando; without over-ringing
Dominant sevenths	in the keys of C and B♭ (resolving on tonic)	3 octaves	tirando; without over-ringing
Diminished sevenths	starting on G and on F	3 octaves	tirando; without over-ringing

Scale speeds

The scale speeds in the section below are given as a general guide.

Scales (two octaves)
Scales (three octaves)
Chromatic scale
Interval scales (together/broken)
Broken chords
Arpeggios
Dominant sevenths/Diminished sevenths

 

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Guitar requirements and information: Scales and arpeggios

Examiners will usually ask for at least one of each type of scale/arpeggio etc. required at each grade and will ask for majors followed by minors within each type. In the Grade 5–8 fingers-only scales, they will also ask to hear a balance of the specified strokes. When asking for requirements, examiners will specify:

• The key (including minor form – harmonic or melodic – in the Grade 6–8 scales) or the starting note
• The stroke for fingers-only scales (tirando or apoyando), Grades 5–8
• The form for interval scales (together or broken)

All scales and arpeggios should:

• Be played from memory
• Be played in even notes (except where indicated at Grades 1–5)
• Be played from the lowest possible tonic/starting note unless the syllabus indicates otherwise
• Ascend and descend according to the specified range (and pattern)
• Be played legato

In Grades 1–4, candidates may choose to play ‘fingers-only’ scales either tirando (free stroke) or apoyando (rest stroke); from Grade 5, these scales must be prepared with both right-hand techniques. The tirando stroke is expected for all other requirements.

Any combination of alternating right-hand fingers may be used for ‘fingers-only’ scales. Any left-hand fingering may be used, but candidates are expected to observe the requirements regarding over-ringing and non-over-ringing for broken chords and arpeggios from Grade 3.

Arpeggios and dominant sevenths are required in root position only. Scales in thirds and tenths should begin with the tonic as the lower note, while scales in sixths should begin with the tonic as the upper note.

Download scale and arpeggio patterns (PDF).

Purchase Guitar Scales and Arpeggios, Grades 6–8.

Guitar requirements and information: Sight-reading

Candidates will be asked to play a short unaccompanied piece of music which they have not previously seen. They will be given half a minute in which to look through and, if they wish, try out all or any part of the test before they are required to play it for assessment. The table below shows the introduction of elements at each grade. Please note that these parameters are presented cumulatively, i.e. once introduced they apply for all subsequent grades (albeit within a logical progression of difficulty).

Grade	Length (bars)	Time	Keys	Other features that may be included
Grade 1	4	4/4 3/4	C, G, F majors A, E minors	note values: dotted minim, minim, crotchet, two quavers beamed together crotchet rests 1st position accidentals (within minor keys only) single-line texture passages for thumb alone f and p dynamic marks cresc. and dim. hairpins
	6	2/4	(as above)	(as above)
Grade 2			D minor	four quavers beamed together and dotted crotchet, quaver patterns staccato mp and mf dynamic marks
Grade 3	up to 8	3/8	D major	quaver rests 2nd position integration of thumb and fingers into simple broken-chord patterns accents slurs pp dynamic mark
Grade 4	c. 8	6/8	A major	simple semiquaver patterns tied notes chromatic notes simple two-part writing (mostly open strings in one or other voice) pause sign tenuto
Grade 5	c. 8–12		B minor	anacrusis simple syncopation use of fingerboard up to 5th position simple two-note chords within a single voice slowing of tempo at end ff dynamic mark
Grade 6		9/8 5/8 5/4	B♭ major F# minor	triplet patterns use of fingerboard above 5th position three-note chords within a single voice easily prepared partial barrés
Grade 7	c. 12–16	7/8 7/4	E major G minor	simple use of 12th-fret harmonics four-note chords slowing of tempo followed by a tempo
Grade 8	c. 16–20	12/8	C minor	full barrés acceleration of tempo simple ornaments

For practice purposes, a book of sample sight-reading tests is published for Guitar by ABRSM.

Purchase Guitar Specimen Sight-Reading Tests, Grades 1–8.

1. (i) To sing or play from memory the lowest part of a three-part phrase played twice by the examiner. The lowest part will be within the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the phrase again and allow a second attempt (although this will affect the assessment).

   (ii) To identify the cadence at the end of a continuing phrase as perfect, imperfect, interrupted or plagal. The phrase will be in a major or minor key and will be played twice by the examiner. The chords forming the cadence will be limited to the tonic (root position, first or second inversions), supertonic (root position or first inversion), subdominant (root position), dominant (root position, first or second inversions), dominant seventh (root position) or submediant (root position). Before the first playing, the examiner will play the key-chord.

   (iii) To identify the three chords (including their positions) forming the above cadential progression. The chords will be limited to the tonic (root position, first or second inversions), supertonic (root position or first inversion), subdominant (root position), dominant (root position, first or second inversions), dominant seventh (root position) or submediant (root position). First the examiner will name and play the key-chord, then play the three chords in sequence, finally playing each chord individually, pausing for the candidate to identify it. The candidate may answer using technical names (tonic, first inversion, etc.), chord numbers (Ib, etc.) or letter names (C major in first inversion, etc.).

2. To sing the lower part of a two-part phrase from score, with the upper part played by the examiner. The candidate may choose to sing from treble or bass clef. The lower part will be within the range of an octave, in a major or minor key with up to four sharps or flats. First the examiner will name and play the key-chord and the starting note and then give the pulse. A brief period of preparation will follow during which the candidate may sing out loud. The examiner will play the key-chord and the starting note again and then count in two bars. If necessary, the examiner will allow a second attempt (although this will affect the assessment).
3. To identify whether the modulations at the end of two different passages are to the dominant, subdominant or relative minor/major. The first passage will begin in a major key and the second will begin in a minor key; each passage will be played once by the examiner. Before playing each passage, the examiner will name and play the starting key-chord. The candidate may answer using technical names (dominant*, subdominant, relative minor/major) or the letter name of the new key. (* Minor-key passages may modulate to the dominant major or minor but the candidate is only required to specify ‘dominant’ in such cases.) 
4. To describe the characteristic features of a piece played by the examiner. After hearing the piece, the candidate should describe any notable features (such as texture, structure, character, style and period, etc.). The examiner will prompt the candidate with questions only if this becomes necessary.

 

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Guitar requirements and information: Aural tests

Listening lies at the heart of all good music-making. Developing aural awareness is fundamental to musical training because having a ‘musical ear’ impacts on all aspects of musicianship. Singing, both silently in the head and out loud, is one of the best ways to develop the ‘musical ear’. It connects the internal imagining of sound, the ‘inner ear’, with the external creation of it, without the necessity of mechanically having to ‘find the note’ on an instrument (important though that connection is). By integrating aural activities in imaginative ways in the lesson, preparation for the aural tests within an exam will be a natural extension of what is already an essential part of the learning experience.

In the exam

Aural tests are an integral part of all Practical graded exams. The tests are administered by the examiner from the piano. For any test that requires a sung response, pitch rather than vocal quality is being assessed. The examiner will be happy to adapt to the vocal range of the candidate, whose responses may be sung to any vowel (or consonant followed by a vowel), hummed or whistled (and at a different octave, if appropriate).

Assessment

Some tests allow for a second attempt or for an additional playing by the examiner, if necessary. The examiner will also be ready to prompt, where helpful, although this may affect the assessment.

Marks are not awarded for each individual test or deducted for mistakes; instead they reflect the candidate’s overall response in this section. See marking criteria.

Specimen tests

Examples of the tests are given in Specimen Aural Tests and Aural Training in Practice (from 2011).

Deaf or hearing-impaired candidates

Deaf or hearing-impaired candidates may choose alternative tests in place of the standard tests, if requested at the time of entry. See more information on alternative tests.