Latest exam updates

Performance Grades: Less than 24 hours remaining to book a June Performance Grade.

Performance Grade exams

We are now offering Performance Grade exams every month. Please check here for dates and fees. We are extending the introductory 15% discount for these exams so that it applies to all remotely-assessed Performance Grade and ARSM exams in 2021. Just enter code ABPG15MO when you book. Please also read our terms and conditions here.

Performance Grades discount: system error

We currently have an error in our systems relating to discount codes. When you add the code your order summary will show that 15% has been added to the total, not taken away. However, the 15% discount will be applied to your booking and the correct total will appear at the top of the next screen before you pay. We're working to fix this and apologise for any inconvenience caused.

Grade 5 Music Theory waiver (not applicable in the UK & Ireland)

We are extending our Grade 5 Music Theory waiver until 23 May 2021. This means that candidates with a Grade 6 to 8 Performance Grade exam submission date up to and including 23 May can take their exam without first passing Grade 5 Music Theory. We are making this exceptional arrangement to allow candidates who have been unable to take an exam in recent months to progress with their learning. From 24 May, the Grade 5 Music Theory requirement will return. For exam dates/exam submission dates after 23 May, all candidates taking a Grade 6 to 8 Performance or Practical Grade must first pass Grade 5 Music Theory.

Inspiring musical achievement for everyone

7 months ago

Like many organisations, ABRSM came under the spotlight this summer following the Black Lives Matter protests and the murder of George Floyd.  It was more than a wake up call for us. It made us fundamentally rethink who we are as an organisation and the enormous influence and reach of the music we publish and include on our syllabuses.  

We were already on a journey to make our syllabuses and the music we publish more inclusive of underrepresented composers. But the summer has given us focus and an absolute determination to take further action and commit to targets. We are also well aware that our journey is about responsibility, on the one hand, and humility on the other. 

As a global organisation present in over 90 countries, we have an enormous duty to deliver assessments of exacting standards, issuing certificates that carry with them the mark of quality that gives music learners the confidence to know that they are on a pathway of achievement. The criteria for the selection of music for those syllabuses are detailed and complex as they should be. But, for far too long the pool of composers from which we select has not been diverse enough in many of the musical areas we assess. Our Diversity and Inclusion Plan is a core, permanent commitment which promotes opportunity or everyone regardless of disability, age, sexual orientation, gender, or ethnicity. Our definition of ethnicity is closely aligned with the BBIPOC definition (Black, Brown, and Indigenous People of Colour) but goes further to reflect the range of nuanced definitions that exist across the 90 plus countries in which we operate.

Our responsibility, therefore, is to open up the pipeline of work from which we select, from composers living and dead. This does not just mean seeking advice from experts from Black, ethnically diverse and underrepresented groups on where we might find this music. It means commissioning new work. It means working with publishers to influence their choices. And it also means supporting and encouraging the next generation of composers and ensuring they have the keys to the detail and complexity of what makes it on to the syllabuses.   

This is why our Diversity and Inclusion Plan includes an Active Commissioning Programme to commission at least twenty new pieces for publication each year and a target that 50% of new works included on our syllabuses will be sought from composers who are from Black, Brown and Indigenous People of Colour (BBIPOC) backgrounds. As each syllabus is updated, we are now committing that 20% of all syllabus content (including new commissions, arrangements, and existing works) will be written by composers who are from BBIPOC backgrounds.

 It is also why we are announcing a new Mentorship and Development for Composers scheme that, by 2030, will have supported 100 composers specifically from underrepresented groups to write for music education.

But our diversity and inclusion journey is just as much about humility. We know we cannot do this alone. We know we must build lasting relationships with those who can help us. And we know we may stumble along the way.  For me, humility is about having the ability to recognise when we get it wrong and that we should defer to others when we need help. Our partnerships as we go forward are the difference between this being an empty promise and a transformative commitment. So, we must be open and transparent. We must welcome challenge.

Today, we are publishing a Progress Update on our Diversity and Inclusion Plan. We are going to do this every three months and make it available to everyone. We will also publish an Annual Statement on Diversity and Inclusion alongside our Annual Report and Accounts. We will be honest where we have work to do and we aim to celebrate the positive ways in which the organisation, its publications and syllabuses are changing. As we take these important steps, I would like to welcome any comments and suggestions you may have.

I have always said that it is our mission to inspire musical achievement for everyone. Today marks a step change in how we bring that mission to life.



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