LC Music cheat sheet

Three pieces plus technical work, sight-reading and aural form the standard graded piano exam; marks weight roughly 30% per piece and 21% for technical work in the LCM mark scheme.

Technical work at each grade includes scales, arpeggios and broken chords in specified keys, hands separately and together, with a minimum tempo stated in the syllabus.

Sight-reading is graded for accuracy of notes and rhythm first, then continuity; a steady pulse with wrong notes usually outscores stopping to correct.

Aural tests typically require pulse clapping, singing back a short melody, identifying cadences and recognising interval or chord quality by ear.

Piano grades run from Pre-Grade 1 through Grade 8, with a performance-based Leisure Play alternative that drops sight-reading and aural.

Scales must be played from memory; a hesitation counts as a fault, and candidates are normally allowed one restart per item.

The sostenuto and una corda pedals appear in upper grades; pedal marks in the score are assessed as part of musical awareness.

Grade 8 candidates may present a short programme note or viva discussion of their pieces in some pathways.

Singing candidates perform three or four songs from memory; lyrics must be secure, and a lyric sheet is normally not permitted in the exam room.

Repertoire must include at least one song in a language other than the candidate's own at higher grades, with a published translation supplied to the examiner.

A backing track or accompanist may be used; the candidate supplies the pianist's copy in the correct key, transposed if necessary.

Aural tests for singers focus on pitch matching, singing back short phrases, and identifying rhythm and melody changes.

Vocal technical work covers breathing support, tone placement and range exercises rather than instrumental scales.

Marks reward communication and interpretation alongside accuracy, so dynamic contrast and characterisation count toward the total.

Musical theatre and classical pathways use separate repertoire lists; a song from the wrong list is not normally accepted.

Warm-up is not assessed but candidates should arrive ready to sing at pitch without a long settling period.

Classical guitar grades require three pieces, scales and arpeggios, sight-reading and aural; electric and acoustic pathways use different technical requirements.

Scale requirements include Segovia-style patterns and specified right-hand fingerings; tremolo and rasgueado appear at advanced grades.

Ukulele grades use re-entrant (high G) tuning as standard, with low-G alternatives noted in the syllabus for some pieces.

Chord accompaniment for ukulele is assessed on clean transitions and steady strumming patterns rather than speed.

Sight-reading for guitar is read in first position initially, expanding to higher positions and chords at upper grades.

Candidates must tune their own instrument before the exam; tuning is not assessed but an out-of-tune instrument affects intonation marks.

Fingerstyle and plectrum techniques are separate syllabus strands; candidates declare which pathway they are entering.

Ensemble and accompaniment options allow a candidate to be assessed as an accompanist rather than a soloist.

Violin, viola, cello and double bass grades require scales and arpeggios across the full range, with separate bowing patterns specified per grade.

Double bass candidates may use either French or German bow; the choice must be declared and used consistently.

Harp grades require pedalling or lever changes to be prepared in advance; a page-turn plan or lever chart is allowed.

Intonation is assessed against a reference pitch; examiners may ask for a scale to be repeated if tuning drifts.

Shifting and position work appear from around Grade 3, with thumb position required for cello and bass at higher grades.

Pizzicato, spiccato and détaché bowings are named in the technical requirements and must be demonstrated on demand.

Harp sight-reading may be played at a slower tempo, but lever or pedal changes must still be executed correctly.

String candidates normally provide their own instrument; an accompanist is required for most graded pieces.

Flute, oboe, clarinet, bassoon and saxophone grades require scales, arpeggios and dominant/diminished sevenths in specified keys and ranges.

Clarinet candidates may use B-flat or A instruments; transposition and instrument choice must match the printed syllabus requirements.

Saxophone grades distinguish between alto, tenor, soprano and baritone; technical work is written at concert pitch with transposition applied.

Tone quality and breath control are separately weighted criteria; long-note exercises are often part of the technical section.

Reeds must be prepared before entering; examiners do not allow extended reed adjustment time within the exam.

Sight-reading includes articulation and dynamic markings, which are assessed alongside note accuracy.

Oboe and bassoon candidates may be permitted a tuning note from the accompanist before the first piece.

Extended techniques such as flutter-tonguing or multiphonics appear only at diploma level, not in graded exams.

Trumpet, cornet, horn, trombone, euphonium and tuba grades require lip flexibility exercises, scales and arpeggios across the stated range.

Horn candidates read in F and may be asked to transpose simple passages at upper grades.

Trombone grades specify slide positions; bass trombone and valve attachments are introduced at higher grades.

Brass technical work is assessed on even tone across the range, not just accuracy of pitch.

Mutes and their notation (straight, cup, harmon) are tested in repertoire and sometimes in sight-reading.

Breathing and articulation exercises form part of the technical section for brass at most grades.

Candidates must warm up before entering; a cold instrument affects intonation and tone marks.

Marching brass and fanfare repertoire may be used where the syllabus lists it as an alternative.

Percussion grades cover snare drum, timpani, tuned percussion and drum kit; candidates declare which instruments they will present.

Snare drum rudiments (rolls, paradiddles, flams) are tested as technical work and must be played at specified dynamic levels.

Timpani candidates must tune intervals by ear and demonstrate rolls and muffling techniques.

Drum kit grades assess groove, fills and stylistic awareness across rock, funk, jazz and Latin patterns.

Tuned percussion sight-reading uses marimba, xylophone or vibraphone; four-mallet technique appears at upper grades.

Candidates must supply their own sticks and mallets; kit candidates may use the centre's kit if declared in advance.

Aural tests for percussion focus on rhythm clapping, pulse and identifying metre changes.

Multi-percussion set-ups require a written layout submitted before the exam so the examiner can follow the score.

Organ grades require manual and pedal technique; pedal scales and hymn accompaniment appear at intermediate grades.

Organ candidates must demonstrate registration changes and stop selection appropriate to the period of the piece.

Accordion grades require bellows control, stradella bass patterns and free-bass technique at higher grades.

Digital piano and keyboard grades may include auto-accompaniment, registration memory and style functions.

Organ sight-reading may include a short hymn tune to harmonise or a simple pedal part.

Accordion candidates must declare free-bass or stradella bass before the exam; the technical requirements differ.

Keyboard candidates are assessed on patch selection and balance between hands and accompaniment.

Church organ candidates may present a short improvisation or hymn introduction as an option at upper grades.

Jazz grades require an improvised solo over a specified progression, typically a blues or standard, alongside prepared pieces.

Lead sheets are provided with chord symbols; candidates must realise the harmony and improvise within the given form.

Swing, bebop, Latin and funk styles are named in the syllabus and assessed for stylistic authenticity.

Jazz aural tests include identifying chord qualities, recognising ii-V-I progressions and singing back improvised phrases.

Scales include modes (Dorian, Mixolydian, blues) and patterns matched to the chord changes.

Candidates may present their own composition or arrangement with a written chart at higher grades.

Rhythm section candidates are assessed on comping, time-keeping and interaction with the soloist.

Transcription and imitation of recorded solos may be offered as an option in some jazz pathways.

Traditional music grades cover fiddle, tin whistle, flute, harp, accordion and uilleann pipes, among others.

Repertoire includes jigs, reels, hornpipes and slow airs; ornamentation (cuts, rolls, crans) is assessed as part of style.

Candidates may perform unaccompanied or with a backing instrument; the choice is declared in advance.

Ornamentation must be idiomatic to the tradition; classical-style decoration is not a substitute.

Aural tests focus on recognising tune types by ear and clapping or singing back phrases.

Session etiquette and ensemble playing may be assessed in the ensemble pathway rather than the solo grade.

Tuning and intonation are judged against the fixed-pitch instruments in the ensemble where applicable.

Improvisation and variation on a tune are rewarded at upper grades as evidence of traditional style.

Musical theatre grades require songs from published stage shows; pop or film songs are only accepted where the syllabus lists them.

Candidates perform from memory with acting intention, and marks reward characterisation as well as vocal accuracy.

A short spoken monologue or dialogue excerpt may be required at some grades to demonstrate acting integration.

Keys must suit the candidate's voice; transposed published versions are permitted with the pianist's copy provided.

Dance or movement may be included in some pathways and is assessed separately from singing.

Repertoire lists specify age-appropriate songs; candidates should check the approved list for their grade.

Microphone use is normally not permitted in graded exams; projection is assessed unamplified.

Sight-singing and aural tests form part of the graded exam unless the performance-only pathway is chosen.

Drama grades assess prepared monologues, duologues and improvised scenes against published criteria.

Candidates must present at least one classical and one contemporary piece at most grades.

Improvisation is assessed on responsiveness, character commitment and clarity of the given circumstances.

Voice work covers projection, articulation, pace and accent; breath support is assessed as part of delivery.

Movement and physicality are separate criteria, including posture, gesture and use of space.

Candidates must supply a copy of each script with cuts clearly marked for the examiner.

Sight-reading of a short unseen script tests cold-reading fluency and interpretation.

Devised work may be presented at upper grades with a written statement of intention.

Communication grades assess spoken presentation, prepared talk and impromptu speaking.

Marks reward structure, clarity, audience engagement and control of voice and body language.

Prepared talks must fit the stated time limit; overrunning is penalised in the time-keeping criterion.

Impromptu topics are given with a short preparation period, typically two to three minutes.

Visual aids may be used where the syllabus permits, but the talk must stand without them.

Listening and response criteria assess how the candidate answers questions from the examiner.

Reading aloud from an unseen text tests phrasing, emphasis and eye contact.

Group discussion elements assess turn-taking and building on others' points.

Ensemble grades assess individual contribution within a group, not the group's overall performance alone.

Each candidate is marked on ensemble awareness: balance, blend, tuning and response to cues.

A minimum and maximum group size is specified per grade; duets, trios and larger groups have separate requirements.

Candidates must submit a written programme listing each player's part and the group's rehearsal history where required.

Sight-reading in ensemble grades may be a short passage played together with limited preparation.

A conductor may be present for larger ensembles, but the candidate's own listening is still assessed.

Parts must be individually challenging; doubling a simple line throughout limits the available marks.

Ensemble exams may be recorded for moderation, and candidates should confirm the recording rules beforehand.

Conducting grades assess baton technique, gesture clarity, cueing and control of tempo and dynamics.

Candidates conduct a live ensemble or a recording, depending on the pathway, and must rehearse the group briefly.

Rehearsal technique is assessed separately: identifying faults, giving instructions and improving the result.

Score preparation is assessed; candidates must know the score without relying on it throughout.

Asymmetric and compound patterns (5/4, 7/8, 6/8) are required at upper grades.

Aural and score-reading tests include identifying errors deliberately introduced by the ensemble.

Candidates must state their intended interpretation before conducting and justify it briefly.

Choral conducting pathways add text diction and breathing cues to the assessed criteria.

Composition grades require a submitted portfolio with a written commentary explaining structure, harmony and instrumentation.

The score must be legible and performance-ready, with clear dynamics, articulations and tempo indications.

A recording is often required alongside the score; MIDI realisations are accepted only where stated.

Thesis components assess research question, methodology, use of sources and quality of argument.

Plagiarism rules apply to all submissions; sources must be cited in a consistent academic style.

Word counts and page limits are enforced, with a stated tolerance and a penalty for exceeding it.

Candidates may be called to a viva to defend their compositional or research choices.

Originality is assessed against the candidate's own prior work and the published criteria, not against commercial works.

Music in worship grades assess organ, piano or guitar accompaniment of hymns and worship songs.

Candidates must demonstrate hymn playing with clear registration, steady tempo and congregational leadership.

Transposition of a hymn into a comfortable congregational key is a common requirement.

Improvisation of short interludes or modulations between verses is assessed at upper grades.

Liturgical awareness is assessed: knowing where music fits in the service order and how to end cleanly.

Sight-reading includes a short hymn tune to harmonise at sight.

Candidates may present a worship song with a band or solo, with lead-sheet realisation assessed.

Pastoral sensitivity to the congregation's singing range is part of the marking criteria.

Creative media grades assess composition for film, games, television and other screen media.

Submissions require a score or DAW session plus a rendered audio file synced to picture.

Technical criteria include sync points, hit points and the relationship of music to dialogue and sound design.

Candidates must show DAW competence: routing, mixing, automation and use of virtual instruments.

A written commentary explains creative decisions, instrumentation and the dramatic function of the cue.

Copyright clearance rules apply to any sampled or quoted material used in the submission.

Stem delivery and loudness standards may be specified for the final mix.

Candidates should check file format and sample-rate requirements before submission.

Early learning grades assess musical response in young children through singing, movement and simple percussion.

Assessment is often continuous and observed rather than a formal recital; the teacher may submit evidence.

Criteria include pulse awareness, pitch matching, turn-taking and engagement with musical games.

Repertoire uses short songs with repetition and actions to build pulse and memory.

Instrument handling is assessed for safety and basic technique with untuned percussion.

Group sizes are small, and individual contribution is observed within group activity.

Parental or carer presence may be permitted in some pathways but is not assessed.

Progression to Pre-Grade 1 follows when pulse and pitch matching are secure.

Stave House is an early musical literacy method using characters and stories to teach stave notation.

Assessment focuses on recognising notes on the stave, rhythm values and simple sight-reading.

Children learn note names through character associations tied to lines and spaces.

Rhythm reading uses syllable or character names for note values and rests.

Progression moves from recognising single notes to reading short melodies and clapping rhythms.

The method is designed for group teaching as well as individual lessons.

Assessment is often teacher-led with moderation, rather than a formal examiner recital.

Transition to an instrument is supported once stave reading is secure.

Recital grades replace technical work with a longer programme of pieces, typically 15 to 25 minutes depending on grade.

The programme must be balanced across periods or styles as specified in the syllabus.

Candidates submit a written programme with timings and composer dates before the exam.

Marks reward programme construction, continuity between pieces and sustained concentration.

Memory is not compulsory at most grades but is rewarded where offered.

Sight-reading and aural are usually omitted, with marks concentrated on performance.

A short spoken introduction to the programme may be required at upper grades.

Overrunning the time limit is penalised; programming to the stated maximum is risky.

Leisure Play exams assess performance of pieces only, without technical work, sight-reading or aural tests.

The format suits adult learners and returners who want a performance goal without the full graded syllabus.

Candidates present a short programme of pieces at an appropriate level, agreed with the teacher.

Marks focus on accuracy, musicality and communication rather than breadth of technique.

There is no pass mark tied to a grade level; the assessment is criterion-referenced against the chosen level.

Repertoire is flexible and may include popular, jazz or classical pieces.

The exam can be taken as a stepping stone toward a formal graded exam.

Feedback is written and typically includes suggestions for further development.

Pre-Grade 1 introduces exam conditions gently: a short programme, simple technical work and basic aural.

Pieces are short and often use five-finger positions or open strings depending on the instrument.

Aural tasks include clapping a pulse, echoing a short rhythm and singing back two or three notes.

Sight-reading at this level may be replaced by simple pattern recognition or not assessed at all.

The exam is designed to build confidence; examiners are instructed to put young candidates at ease.

Technical work is limited to a small number of scales or exercises, often hands separately.

Progression to Grade 1 assumes secure pulse, basic notation reading and simple hand coordination.

Early learning pathways may be assessed by the teacher with external moderation.

Recorded digital exams require a single continuous take with no edits; the candidate must show the instrument and room at the start.

Live online exams run over video conferencing with an invigilator or responsible adult present off camera.

Audio must be uncompressed where possible; the platform specifies file formats and maximum file sizes.

The camera must show hands and instrument clearly; a side or overhead angle may be requested for keyboard.

Identity checks are performed at the start by holding up the candidate's ID or stating a candidate number.

Aural and sight-reading components are conducted live or supplied as separate timed tasks.

Network failure during a live exam is handled by the centre's contingency rules, not by the candidate.

Recordings must be uploaded by the stated deadline; late submissions may not be assessed.

Performance diplomas sit above Grade 8 and require a recital of substantial length, often 30 to 45 minutes.

Programme notes and a written submission on interpretation are typically required.

Memory is expected for at least part of the programme at some levels.

Diploma levels are tiered (for example Associate, Licentiate, Fellowship) with increasing length and depth.

A viva or discussion with the examiner may follow the recital at higher levels.

Repertoire must meet period and difficulty requirements; lighter works cannot fill the programme.

There is usually no technical work or sight-reading at performance diploma level.

Candidates must demonstrate a coherent artistic identity across the programme, not just accurate playing.

Teaching diplomas assess pedagogy through a written portfolio, lesson plans and a practical teaching demonstration.

Candidates must show understanding of progression, diagnosis of faults and appropriate repertoire selection.

A demonstration lesson is observed, with the candidate teaching a pupil of a stated level.

Written work includes essays on teaching philosophy and case studies of pupil development.

Knowledge of safeguarding and professional conduct is assessed in most teaching diplomas.

Candidates must show awareness of different learning styles and inclusive practice.

Assessment of the candidate's own performing ability is included but weighted below pedagogy.

A viva may examine the candidate's rationale for their teaching decisions.

Theory grades run from Grade 1 to Grade 8 and cover notation, keys, intervals, chords, harmony and form.

Grade 5 theory is commonly required as a prerequisite for practical Grade 6 and above.

Questions include writing scales in a given clef, identifying intervals and completing cadences.

Harmonisation of a melody and four-part writing appear at upper grades.

Transposition between instruments and clefs is tested from intermediate grades.

Analysis of a short passage for form, cadence and harmonic function appears at Grade 6 and above.

Answers must use correct notation conventions: stems, beams, accidentals and rests.

Theory exams are written papers with a fixed time limit and no reference materials.

Theory diplomas require extended written work: analysis, harmony, counterpoint and sometimes composition.

Candidates submit a portfolio or sit a long written paper, depending on the diploma level.

Advanced harmonic analysis includes chromatic harmony, modulation and part-writing exercises.

Counterpoint in species or free style is assessed at the higher diploma levels.

A dissertation or extended essay may be required, with academic referencing standards enforced.

Candidates may be examined viva voce on their analytical conclusions.

Knowledge of historical context and stylistic conventions is assessed alongside technical accuracy.

Diploma theory often assumes Grade 8 theory as a baseline and builds on it.

Piano candidates at upper grades may present a balanced programme with at least one Baroque and one Romantic work where the syllabus requires it.

Repeats are normally omitted unless the syllabus states otherwise; ornaments should be realised in period style.

Page turns must be planned; a photocopy of a single page for turning is usually permitted.

Scales may be requested in similar or contrary motion, and in thirds at Grade 8.

Aural tests at upper grades include identifying cadences, modulations and chord inversions.

Sight-reading at Grade 8 includes texture and articulation, not just notes and rhythm.

The viva at Grade 8 may ask about the structure and context of the chosen pieces.

Marks are deducted for stopping and restarting in performance pieces.

Song choices must be declared on the entry form; substitutions are not normally allowed on the day.

Breathing and posture are observed throughout; audible gasping between phrases affects the tone criterion.

Diction is assessed for clarity of consonants and purity of vowels, including in foreign languages.

Stylistic awareness distinguishes Baroque ornamentation from Romantic legato and from musical theatre belt.

Candidates should bring a printed lyric sheet only where the syllabus requires it for a language check.

Aural tests for singers include identifying intervals and singing back the lower part of a two-part phrase.

Microphones are not used in graded exams; projection must be acoustic.

The accompanist should be rehearsed in advance; unrehearsed tempo disagreements cost marks.

Guitar candidates must bring their own instrument and a footstool or support where used.

Classical guitar technical work includes scales in thirds and sixths at upper grades.

Ukulele sight-reading uses chord charts as well as notation at intermediate grades.

Electric guitar pathways assess tone, effects use and stylistic authenticity within the chosen genre.

Barre chords and position shifts are tested in the technical requirements for ukulele at higher grades.

Accompaniment candidates must follow a singer or instrumentalist, with marks for balance and cueing.

Capo use is permitted where the syllabus states it; the sounding key must be declared.

Ensemble options allow guitarists to be assessed within a band or duo.

String candidates should bring a spare set of strings and a tuning fork or electronic tuner.

Vibrato is assessed from intermediate grades for tone and expressive control.

Harp candidates must submit a lever or pedal plan with the programme where changes are frequent.

Double bass candidates may use a stool; posture and instrument height are part of technique assessment.

Ensemble string playing assesses bow distribution and matching of articulation across the section.

Harmonics and sul tasto or sul ponticello appear in upper-grade repertoire and technical work.

Cellists may use a rockstop or strap; the examiner should be informed of any floor protection needed.

Sight-reading for strings at upper grades includes shifting and position changes.

Woodwind candidates should bring spare reeds and, for double reeds, a soaking container.

Flute candidates may use open or closed hole models; the syllabus does not require a specific type.

Clarinet candidates must declare B-flat or A instrument for each piece where relevant.

Saxophone transposition must be applied correctly when reading concert-pitch accompaniment parts.

Tone across the break and in the altissimo register is assessed at upper grades.

Articulation criteria include staccato, legato, accents and double-tonguing at advanced grades.

Sight-reading includes rests and dynamic markings, which are assessed as part of musical awareness.

Instrumental maintenance, such as pad condition, affects intonation and is the candidate's responsibility.

Brass candidates should bring valve oil and a spare mouthpiece where possible.

Lip flexibility and range exercises are part of the technical requirements at most grades.

Horn players may be asked to transpose a short passage at sight at upper grades.

Trombone slide technique is assessed for accuracy of positions and legato tonguing.

Tuba and euphonium candidates may use compensating or non-compensating instruments as declared.

Mutes must be changed quietly and quickly; fumbling counts against presentation.

Breathing marks should be planned in the score; unplanned gasps affect phrasing marks.

Ensemble brass playing assesses balance and blend within the section.

Percussion candidates must submit a set-up plan for multi-percussion and drum kit items.

Snare drum rudiments are tested from memory at a specified tempo and dynamic.

Timpani tuning is assessed by ear, with intervals checked against a reference pitch.

Four-mallet technique for vibraphone and marimba appears at upper grades.

Drum kit candidates must demonstrate a range of styles, including brush work where specified.

Tuned percussion sight-reading requires reading in both treble and bass clefs at upper grades.

Candidates provide their own sticks, mallets and beaters; the centre supplies instruments.

Aural tests include identifying metre and clapping back syncopated rhythms.

Organ candidates must manage registration without long pauses; stop changes should be planned in the score.

Pedal technique is assessed separately from manual technique at grades where pedals are required.

Accordion bellows direction changes should be planned to avoid awkward phrase breaks.

Free-bass accordion candidates must declare the system used; the technical requirements differ from stradella.

Digital keyboard candidates should bring a USB or set-up sheet for registrations if permitted.

Hymn accompaniment for organ includes choosing a tempo that a congregation can sing.

Accordion sight-reading tests both treble and bass clefs with chord symbols realised.

Keyboard candidates are assessed on balance between melody and auto-accompaniment.

Jazz candidates must improvise over the stated form; playing the written melody only limits the marks.

Chord-scale relationships are tested in the technical section, including modes of the major scale.

Swing feel is assessed on the placement of the off-beat and the length of the eighth note.

Candidates may bring a rhythm section or use backing tracks where the syllabus allows.

Jazz sight-reading uses lead-sheet notation with chord symbols and rhythmic notation.

Aural tests include identifying chord extensions and recognising ii-V-I cadences.

Stylistic awareness distinguishes bebop, cool, modal and fusion idioms.

Improvisation is assessed for motivic development, not just technical fluency.

Traditional candidates should declare whether they perform accompanied or unaccompanied.

Ornamentation must be idiomatic: cuts, rolls, crans and slides are assessed for style and timing.

Tune types must be identified correctly, as jigs, reels, hornpipes or slow airs.

Backing instruments must not obscure the melody; balance is assessed in accompanied items.

Aural tests include recognising tune types and clapping back the pulse of a dance tune.

Variation and improvisation on a repeated tune are rewarded at upper grades.

Fixed-pitch instruments such as accordion or concertina set the tuning reference in ensembles.

Repertoire should draw on the named tradition and be declared on the entry form.

Songs must come from the approved musical theatre list for the grade; film and pop songs are excluded unless listed.

Acting through song is assessed: the candidate must communicate character and intention.

A short spoken introduction or monologue may be required at some grades.

Transposition is permitted, but the accompanist's copy must be in the chosen key.

Dance or movement elements are assessed separately where the pathway includes them.

Vocal style should match the show's idiom, including belt, mix and legit styles.

Microphones are not used; acoustic projection is assessed.

Sight-singing and aural tests apply unless the performance-only pathway is chosen.

Candidates must present both classical and contemporary material at most grades.

Scripts must be supplied to the examiner with cuts clearly marked.

Improvisation is assessed on commitment, clarity of circumstance and responsiveness to a partner.

Voice criteria include projection, articulation, pace and accent control.

Movement criteria include posture, gesture, spatial awareness and physical characterisation.

Sight-reading of an unseen script tests cold-reading fluency and interpretation.

Devised work requires a written statement of intention at upper grades.

Duologues assess interaction and listening as much as individual performance.

Prepared talks must fit the stated time limit; time-keeping is an assessed criterion.

Impromptu topics allow a short preparation period, usually two to three minutes.

Marks reward structure, clarity and audience engagement.

Visual aids may be used only where the syllabus permits them.

Reading aloud from an unseen text tests phrasing, emphasis and eye contact.

Question-and-answer with the examiner assesses listening and response.

Group discussion assesses turn-taking and building on others' points.

Voice and body language are assessed separately from content.

Each candidate is assessed individually on their contribution to the ensemble.

Balance, blend, tuning and response to cues are the core criteria.

Group size limits are specified per grade; duets and trios have separate requirements.

A written programme listing each player's part must be submitted where required.

Parts must be individually challenging; doubling a simple line limits the marks.

Ensemble sight-reading may be a short passage played together with limited preparation.

A conductor may be present, but the candidate's own listening is still assessed.

Recording rules for moderation should be confirmed before the exam.

Batons and score preparation are the candidate's responsibility; the score must be clearly marked.

Rehearsal technique is assessed separately from performance conducting.

Asymmetric and compound patterns are required at upper grades.

Aural and score-reading tests include spotting deliberate errors by the ensemble.

Candidates must state and justify their intended interpretation.

Choral pathways add diction and breathing cues to the criteria.

Cueing and gesture clarity are assessed alongside control of tempo and dynamics.

Candidates must know the score without relying on it throughout.

Portfolios must include a score, a recording where required, and a written commentary.

Scores must be legible and performance-ready with clear dynamics and articulations.

MIDI realisations are accepted only where the syllabus explicitly allows them.

Thesis work is assessed on research question, methodology, sources and argument quality.

Citation must follow a consistent academic style; plagiarism rules apply.

Word and page limits are enforced with a stated tolerance.

A viva may be held to defend compositional or research choices.

Originality is assessed against the candidate's own prior work and the published criteria.

Hymn playing is assessed for registration, steady tempo and congregational leadership.

Transposition into a comfortable congregational key is a common requirement.

Interludes and modulations between verses are assessed at upper grades.

Liturgical awareness includes knowing where music fits in the service order.

Sight-reading may include a short hymn tune to harmonise.

Worship songs may be presented with a band or solo using lead-sheet realisation.

Pastoral sensitivity to the congregation's singing range is part of the criteria.

Clean endings and clear introductions are assessed as part of leadership.

Submissions require a score or DAW session plus a rendered audio file synced to picture.

Sync and hit points are assessed against dialogue and sound design.

DAW competence includes routing, mixing, automation and virtual instrument use.

A written commentary explains creative decisions and dramatic function.

Copyright clearance applies to any sampled or quoted material.

Stem delivery and loudness standards may be specified for the final mix.

File format and sample-rate requirements must be checked before submission.

Music must support the narrative without masking dialogue.

Assessment is often continuous and observed rather than a formal recital.

Criteria include pulse awareness, pitch matching, turn-taking and engagement with musical games.

Repertoire uses short songs with repetition and actions to build pulse and memory.

Instrument handling is assessed for safety and basic technique with untuned percussion.

Group sizes are small, and individual contribution is observed within group activity.

Parental or carer presence may be permitted but is not assessed.

Progression to Pre-Grade 1 follows when pulse and pitch matching are secure.

Teacher evidence and moderation may replace a formal examiner visit.

The method uses characters and stories to teach stave notation to young children.

Assessment focuses on note recognition, rhythm values and simple sight-reading.

Rhythm reading uses syllable or character names for note values and rests.

Progression moves from single notes to short melodies and clapped rhythms.

The method suits group teaching as well as individual lessons.

Assessment is often teacher-led with moderation.

Transition to an instrument follows once stave reading is secure.

Character associations link notes to lines and spaces on the stave.

Programmes run 15 to 25 minutes depending on grade, with a written programme and timings submitted in advance.

Marks reward programme construction, continuity and sustained concentration.

Memory is not compulsory at most grades but is rewarded where offered.

Sight-reading and aural are usually omitted, concentrating marks on performance.

A short spoken introduction may be required at upper grades.

Overrunning the time limit is penalised.

The programme must be balanced across periods or styles as specified.

Composer dates and work titles must be listed accurately on the programme.

Leisure Play assesses pieces only, without technical work, sight-reading or aural tests.

The format suits adult learners and returners seeking a performance goal.

Candidates present a short programme at an appropriate level, agreed with the teacher.

Marks focus on accuracy, musicality and communication.

There is no pass mark tied to a grade level; assessment is criterion-referenced.

Repertoire is flexible and may include popular, jazz or classical pieces.

The exam can be a stepping stone toward a formal graded exam.

Written feedback typically includes suggestions for further development.

Pre-Grade 1 introduces exam conditions gently with a short programme and simple technical work.

Pieces are short and often use five-finger positions or open strings.

Aural tasks include clapping a pulse, echoing rhythm and singing back short phrases.

Sight-reading may be replaced by pattern recognition or omitted.

Technical work is limited, often hands separately.

Examiners are instructed to put young candidates at ease.

Progression to Grade 1 assumes secure pulse and basic notation reading.

Early learning pathways may be teacher-assessed with external moderation.

Recorded exams require a single continuous take with no edits.

The candidate must show the instrument and room at the start of the recording.

Live online exams run over video conferencing with an adult present off camera.

Audio should be uncompressed where possible; formats and file sizes are specified by the platform.

The camera must show hands and instrument clearly; a side angle may be requested.

Identity checks are performed at the start of the exam.

Network failure during a live exam is handled by the centre's contingency rules.

Recordings must be uploaded by the stated deadline.

Diploma recitals run 30 to 45 minutes and require substantial repertoire.

Programme notes and a written submission on interpretation are typically required.

Memory is expected for at least part of the programme at some levels.

Diploma levels are tiered, with increasing length and depth.

A viva or discussion with the examiner may follow the recital.

Repertoire must meet period and difficulty requirements.

There is usually no technical work or sight-reading at performance diploma level.

Candidates must demonstrate a coherent artistic identity across the programme.

Teaching diplomas assess pedagogy through a portfolio, lesson plans and a practical demonstration.

Candidates must show understanding of progression and diagnosis of faults.

A demonstration lesson is observed with a pupil of a stated level.

Written work includes essays on teaching philosophy and case studies.

Safeguarding and professional conduct are assessed.

Awareness of different learning styles and inclusive practice is required.

The candidate's own performing ability is assessed but weighted below pedagogy.

A viva may examine the rationale for teaching decisions.

Theory grades run from Grade 1 to Grade 8, covering notation, keys, intervals, chords, harmony and form.

Grade 5 theory is commonly required before practical Grade 6 and above.

Questions include writing scales, identifying intervals and completing cadences.

Harmonisation and four-part writing appear at upper grades.

Transposition between instruments and clefs is tested from intermediate grades.

Analysis for form, cadence and harmonic function appears at Grade 6 and above.

Answers must use correct notation conventions.

Theory exams are timed written papers with no reference materials.

Theory diplomas require extended written work: analysis, harmony, counterpoint and sometimes composition.

Candidates submit a portfolio or sit a long written paper.

Advanced harmonic analysis includes chromatic harmony and modulation.

Counterpoint in species or free style is assessed at higher levels.

A dissertation or extended essay may be required with academic referencing standards.

A viva voce may examine analytical conclusions.

Historical context and stylistic conventions are assessed alongside technical accuracy.

Diploma theory assumes Grade 8 theory as a baseline.