Candidates for Grade 6, 7 or 8 exams 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 Regulation 1d.
Practical Bassoon Grade 7 exams consist of three pieces, chosen by the candidate from the appropriate lists in the current syllabus, scales and arpeggios, sight-reading and aural tests.
Total marks in all individual Practical exams are 150. 100 marks are required to achieve Pass, 120 marks to pass with Merit and 130 marks to pass with Distinction.
Find out about our Performance Grades and alternative route to a graded music exam.
Practical Bassoon Grade 7 exams consist of three pieces, chosen by the candidate from the appropriate lists in the current syllabus, scales and broken chords, sight-reading and aural tests.
Total marks in all individual Practical exams are 150. 100 marks are required to achieve Pass, 120 marks to pass with Merit and 130 marks to pass with Distinction.
Find out about our Performance Grades and alternative route to a graded music exam.
Three pieces: one chosen by the candidate from each of the three Lists, A, B and C - 30 marks each
| No. | Composer | Piece information | Publication(s) |
|---|---|---|---|
| 1 | Dard | Adagio 1st movt from Sonata in D minor, Op. 2 No. 5 |
|
| 2 | Devienne |  Rondeau: Allegro3rd movt from Sonata in G minor, Op. 24 No. 5 |
|
| 3 | Mozart | Rondo: Tempo di Menuetto 3rd movt from Concerto in B♭, K. 191 (bassoon tacet in tuttis) |
|
| 4 | Mozart | Allegro 1st movt from Sonata in B♭, K. 292 |
|
| 5 | I. J. Pleyel | Rondo: Allegretto 3rd movt from Concerto in B♭ |
|
| 6 | Senaillé arr. De Smet or Parker |
Allegro spiritoso from Introduction and Allegro spiritoso |
|
| 7 | Telemann | Allegro 2nd movt from Sonata in F minor, TWV 41:f1 |
|
| 8 | Vivaldi trans. Hara and Nagy |
Largo And Allegro 3rd movt And 4th movt from Sonata in B♭, RV 46 |
 Baroque Sonatas for Bassoon, Vol. 1, trans. Hara and NagyEditio Musica Budapest (Z.12196) More details |
| 9 | Vivaldi | Allegro non molto 1st movt from Concerto in C, RV 472 |
|
| 10 | Vivaldi | Allegro molto Or Allegro 1st movt Or 3rd movt from Concerto in A minor, RV 497 F.VIII No. 7 |
| No. | Composer | Piece information | Publication(s) |
|---|---|---|---|
| 1 | Clérisse | Notturno | |
| 2 | Hindemith | 2nd movt from Sonata for Bassoon (starting at Marsch) |
|
| 3 | Hurlstone | Vivace 1st movt from Sonata in F |
|
| 4 | Elena Kats-Chernin | Melancholic Piece No. 2 from Four Light Bassoon Pieces |
|
| 5 | Ord Hume | The Carnival (observing printed cadenzas) |
|
| 6 | Ravel trans. Oubradous |
Pièce en forme de habanera | |
| 7 | A. Ridout | Ritmico 1st movt from Sonata for Bassoon |
|
| 8 | Saint-Saëns | Allegro moderato 1st movt from Sonata in G, Op. 168 |
|
| 9 | Schumann arr. Gatt |
Romance No. 1 from Three Romances, Op. 94 |
|
| 10 | Tcherepnin | Mi temps 2nd movt from Sonatine sportive, Op. 63 (observing printed cadenzas) |
| No. | Composer | Piece information | Publication(s) |
|---|---|---|---|
| 1 | Derek Bourgeois | Tempo di valse No. 4 from Fantasy Pieces for Bassoon |
|
| 2 | Kopprasch trans. Kovar |
Presto No. 38 from 60 Studies, Op. 6 |
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| 3 | Peter Lawrance | Allegro giocoso No. 24 from Featuring Melody for Bassoon |
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| 4 | Graham Lyons | No. 2 from Arthritis III |
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| 5 | Milde | Allegretto Or Molto allegro No. 4 Or No. 21 from 50 Concert Studies, Op. 26 |
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| 6 | Ottó Oromszegi | Allegro giocoso No. 7 from 15 Characteristic Pieces in Hungarian Style |
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| 7 | Alexandre Ouzounoff | Mont Athos (Grèce) Or Aconcagua (Argentine) No. 14 Or No. 16 from Bassoon on the Top, Vol. 1 |
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| 8 | Pivoňka | Moderato No. 7 from Rhythmical Etudes |
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| 9 | Graham Sheen | Scherzino No. 4 from Five Bagatelles |
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| 10 | Weissenborn | Study No. 15 Or Study No. 17 from Bassoon Studies, Op. 8, Vol. 2 |
