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ABRSM: Music Theory marking criteria: Grades 1-5

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Music Theory Grades 1-5

Access the marking criteria for Music Theory Grades 6-8

Each Music Theory paper carries a total of 100 marks, 66 are required to achieve
a pass, 80 to receive a merit and 90 for a distinction.

In the Music Theory papers at Grades 15 many of the questions are composite, testing
various aspects of the syllabus, and the answers are often right or wrong. Marking is then
usually a simple matter of calculation, i.e. by deductions from a maximum or by additions to
zero, and this is particularly the case in such questions as naming notes, when 10 correct
names are required for 10 marks. In these instances, the criteria are constructed using the
principle of deducting marks for faults.

Composite questions covering more than one aspect of the syllabus are considered below in a
subject-by-subject format. The criteria for questions which have a regular place in each paper
and which require a degree of creativity on the part of the candidate, such as the composition
of an answering rhythm, are set out in a mark-banded format.

It should be observed as a general principle that an answer to a question will not receive a pass
mark (e.g. 7 out of 10) if it is fundamentally wrong (e.g. a wrong key signature or transposition
to a wrong key), despite any merits that it might have; although the latter might well justify a
mark which is near a pass (e.g. 6 out of 10).

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General notes

1. Good practice

Candidates will be expected to present their work in a neat and orderly manner and to
conform to standards of good notational practice in such matters as:

i) writing note stems on the correct side of the note head

ii) writing accidental signs (or words) after the relevant note name in general
descriptions

iii) writing accidental signs before the relevant note on the stave

iv) positioning notes and rests clearly on the stave

v) positioning stems correctly up or down, according to the pitch of the note

vi) writing ties from the note heads rather than the tails, the curve of the tie being
in the opposite direction to the note stems.

No marks are deducted for incorrect spelling, provided the meaning is clear, except in
the copying questions in Grades 1 and 2 (8c).

2. Superfluous answers

In the case of superfluous answers (e.g. too many bar-lines), in general a wrong
answer will cancel out the mark awarded to a right one.

3. Interlocked questions

Occasionally the answer to a question may depend upon an answer to an earlier

part of the question: for example, candidates may be asked to name the key of a
passage, and subsequently to give the degree of the scale of a particular note in
the same passage. When the first answer is incorrect, the second answer will be

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accepted if correct in relation to the given first answer.

4. Key signatures

For full marks sharps and flats must be in the correct order and octave.

A deduction is made (of 1 mark) for sharps or flats which, though correct, are in
the wrong order, and also (of 1 mark) if written at the wrong octave

No marks are awarded if a sharp or flat is clearly on the wrong line or in the
wrong space

C clef key signatures should be arranged as follows:

Music Theory example

5. Naming keys

For full marks the correct key name must be given, regardless of whether it is written
with upper or lower case letters.

Major need not be stated when naming major keys (e.g. G or GM for G major
will be accepted though a lower-case letter on its own will be taken to imply
minor): candidates might use such signs as e or E- or Em for E minor.
Provided these methods are obviously understood, they will be accepted.

6. Time signatures

For full marks the correct time signature must be placed accurately on the stave.

Insert the time signature questions sometimes have more than one possible
answer (e.g. 2/4 or 4/8). Marks are not awarded for answers that are clearly
belied by the rhythmic grouping (e.g. 3/4 instead of 6/8), or for time signatures
which, though mathematically correct, are implausible (e.g. 8/4 or 16/8 instead

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of 4/2).

7. Rests

For full marks the correct symbols, written in the right order and correctly placed on
the stave, are required (markers will be tolerant towards the positioning of crotchet,
quaver and semiquaver rests provided they are within the stave).

8. Explaining terms and signs

For full marks a full and clear definition must be given, showing that the candidate
understands the practical effect of the term in question. To gain full marks, p, for
example, should be explained as quiet (or soft) etc: piano is not sufficient (although
it will be awarded 1 mark out of 2).

If the answer does show an understanding of the practical effect it is not penalised
if it happens to be somewhat oddly expressed!

Candidates are not expected to know the particular significance of slurs in music
for a string or wind instrument until at least Grade 4, although of course some
will. Full marks are given if a candidate puts not tongued or in one bow in place
of slurred

No marks are awarded for e.g. piano loud or rallentando getting faster.

9. Scales

For full marks scales should be correctly written as specified, according to the stated
key, clef, direction and note values, and should begin and end on the tonic note.

It is common for two scales to be required for 5 marks each

1 mark will be deducted for each where the scale is written:

i) ascending instead of descending, or vice versa

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ii) with a key signature instead of without, or vice versa

iii) with a wrong key signature, but corrected by accidentals

iv) with time values other than those specified

v) in the harmonic or natural minor instead of melodic minor, or vice

versa this lesser penalty will always be used rather than the 2-mark
penalty for a wrong note

2 marks are deducted for each missing or incorrect note

A maximum of 2 marks are deducted for additional notes at the end, unless two
octaves are correctly written instead of one

Chromatic scales will be accepted written either harmonically or melodically, and

a combination of sharps and flats within the scale will be accepted, so long as they
are correctly used. However 1 mark will be deducted if the scale finishes with an
enharmonic equivalent of its starting note, and 1 mark will also be deducted if
three notes with the same letter-name are used, e.g. C flat C natural C sharp.
The standard deduction for wrong notes in this type of scale is 1 mark, not 2

No marks are awarded if a scale of the specified type is correctly written but in a
different key

No marks are awarded for a scale written correctly but in the wrong clef

If a key signature is incorrect, the key signature itself is not penalised but 2 marks
are deducted for each note that is made wrong by the key signature that has been
used, e.g. in G major if an E# is written instead of F# 2 marks each are deducted
for the E# and the omitted F#. Note that if the first and last notes of a scale are
made wrong by an incorrect key signature the deduction is 4 marks, not 2

2 marks per scale are deducted for an incorrect key signature which does not
need to be corrected by accidentals, e.g. C melodic minor ascending written with
a key signature of E - only

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1 mark per scale is deducted if superfluous accidentals are added, where a key
signature has been given or used.

10. Transposition

For full marks the notes should be transposed with complete accuracy, the rhythm
should be correct and the appropriate new key signature (if required) inserted.

Enharmonics and redundant accidentals are not normally penalised, but if the
working goes on to the second system and a key signature is required this must be
re-inserted.

The following criteria are applied:

i) If the transposition is to the correct pitch and the instructions in the rubric
concerning key signatures have been properly followed the working is marked out
of 10. 1 mark is normally deducted for each error but some allowance is made for
a recurrence of the same error in relatively quick succession.

ii) If an incorrect key signature is used (or a key signature used when none is
requested) but the level of transposition is correct the working is marked out of
10, with a deduction of 1 mark for the key signature error and further deductions
for errors arising from it.

iii) If the transposition is to an incorrect interval the working is marked out of 6,

with a deduction of 1 mark for each error according to the pitch used by the
candidate (with a similar tolerance for close recurrence of the same error as is
made in (i) above).

If a hybrid working is presented (i.e. a mixture of (ii) and (iii) above), it is assessed in
its entirety under each heading and awarded the better of the two marks.

A maximum penalty of 2 marks may be awarded for copying mistakes, such as

missing ties, omitted dots after notes, omitted time signature, etc.

11. Transcribing from short to open score

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For full marks the notes are set out on the staves accurately and the tenor part is
correctly transposed out of the bass clef.

A minimum of 3 marks is awarded for any complete attempt.

i) When the transcription is to Open Score candidates may write the alto part
either in the treble or alto clefs, the tenor part either in the treble clef (with or
without an octave indication) or in the tenor clef, and the soprano in either the
soprano or treble clefs

ii) Small errors such as missing or incorrect key signatures, time signatures,
isolated wrong notes or notes transferred to other staves, will be penalised but
will not normally depress below the pass mark providing the work fulfils the basic
criteria

iii) 3 marks will be deducted if any line is written in the wrong octave

iv) 4 marks will be deducted if any line is written at any other incorrect interval

v) Up to 2 marks will be deducted for poor alignment.

Grade 1 - rhythm writing

At Grade 1 a minimum of 3 marks is awarded for a complete attempt.

In the table below we can see how the marks are allocated for Grade 1:

Marks Description

910 An answer which provides a well-balanced, rhythmically interesting 4-bar

marks whole, having some reference to the given material

An answer which has more limited rhythmic interest but which shows a
8 marks
degree of constructive thought

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Marks Description

An exact copy of the given material (or a copy of it in reverse), or an

addition which has very little rhythmic interest, but whose note values add
up correctly in the given time signature
7 marks

Compound grouping is consistently used instead of simple but the bars still
add up

One of the added bars contains an incorrect number of beats

6 marks Over-use of rests

No proper rhythmic interest or variety

Both of the added bars contain an incorrect number of beats, but are
consistent with each other (implying a misinterpretation of the time
signature)

5 marks
Over-use of rests

Virtually no rhythmic interest or variety

Both of the added bars contain an incorrect number of beats and do not
correspond with each other

34
marks Over-use of rests

No proper overall rhythmic coherence

Grade 2 - rhythm writing

At Grade 2 a minimum of 3 marks is awarded for a complete attempt.

In the table below we can see how the marks are allocated for Grade 2:

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Marks Description

910 An answer which provides a well-balanced 4-bar whole and which relates
marks to the given material but has some degree of individuality

An answer which has more limited rhythmic interest but which shows
8 marks
rhythmic unity and a degree of constructive thought

An answer which has some rhythmic interest but which relies very heavily,
or exclusively, on given rhythmic patterns
7 marks
Compound grouping is consistently used instead of simple but the bars
still add up

One of the added bars contains an incorrect number of beats

Over-use of rests
6 marks

No proper rhythmic interest or variety in the added bars (e.g. mostly

repeated longer note values)

Two added bars contain an incorrect number of beats, but are consistent
with each other (implying a misinterpretation of the time signature)

5 marks
Over-use of rests

Virtually no rhythmic interest in the added bars

All added bars contain an incorrect number of beats and do not

correspond with each other

34
marks Over-use of rests

No proper overall rhythmic coherence

Grades 3 and 4 - rhythm writing

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At Grades 3 and 4 a minimum of 3 marks is awarded for a complete attempt.

At Grade 4 if a candidate attempts both parts of the either/or question both will be assessed
and the higher mark awarded.

In the tables below we can see how the marks are allocated for Grades 3 and 4:

Marks Description

910 An answer which provides a well-balanced 4-bar whole and which relates
marks to the given material but has some degree of individuality

An answer which has more limited rhythmic interest but which shows
8 marks
rhythmic unity and a degree of constructive thought

An answer which has some rhythmic interest but which relies very heavily,
7 marks
or exclusively, on given rhythmic patterns

One of the added bars contains an incorrect number of beats

Over-use of rests

6 marks No proper rhythmic interest in the added bars (e.g. mostly repeated
longer note values)

Though the bars might add up correctly the working shows no proper
sense of organizing the notes used into a clear beat-structure

Two added bars contain an incorrect number of beats, but are consistent
with each other (implying a mistaken interpretation of the time signature)

5 marks
Over-use of rests

Virtually no rhythmic interest in the added bars

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Marks Description

All added bars contain an incorrect number of beats and do not

correspond with each other

34
marks Over-use of rests

No proper overall rhythmic coherence

Composing a rhythm to words Grade 4

Marks Description

910 Underlay is correct and rhythm shows some variety and musical
marks imagination

8 marks Underlay is largely correct and rhythm is not completely repetitive

Errors in underlay but some idea of verbal accentuation

7 marks
Repetitive rhythmic patterns

Much faulty underlay, with limited knowledge of verbal accentuation

6 marks
One of the bars contains an incorrect number of beats

Widespread incorrect verbal accentuation or very little rhythmic

interest per se
5 marks
Two bars contain an incorrect number of beats, but are consistent with
each other

Verbal accentuation incorrect throughout. No real rhythmic interest

34 marks

All bars contain an incorrect number of beats and do not correspond

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Marks Description

with each other

Grade 5 - melody writing and word setting

At Grade 5 if a candidate attempts both parts of the either/or question both will be assessed
and the higher mark awarded.

At Grade 5 a minimum of 5 marks is awarded for a complete attempt.

In the tables below we can see how the marks are allocated for Grade 5:

Composing a melody from a given opening Grade 5

Marks Description

The melody has a good sense of shape and direction and implies a
plausible harmonic foundation

The melody has an overall unity of style and a clear phrase structure

Structural aspects of the given opening have been well utilised and
1215 adapted
marks
An awareness of the anacrusic nature of the opening, if present

The melody is well suited to, and within the compass of, the chosen
instrument

Tempo, dynamics/performance directions are musically appropriate

The melody has some shape and direction, and a degree of overall

1011 stylistic unity

marks
Some utilisation of structural features of the given opening and some

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Marks Description

sense of phrase

The melody is reasonably suited to, and mostly within the compass of,
the instrument chosen

Tempo, dynamics / performance directions are generally musically

appropriate

The melody lacks overall shape and direction

Poor maintenance of the style/character of the opening

Very repetitious and unimaginative use of structural features of the

opening

89 Little sense of phrase structure

marks

Some faults in rhythmic notation

The melody is not well suited to, or does not keep well within the
compass of, the chosen instrument

Tempo, dynamics/performance directions are inappropriate and/or

very sparse

The melody is very shapeless and meandering

No proper sense of style or character

57
No real utilisation of structural features of the given opening. Frequent
marks
faults in rhythmic notation

The melody shows no real thought for the practicalities or compass of

the chosen instrument

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Marks Description

Tempo, dynamics/performance directions are totally inappropriate or

absent

Composing a melody to given words Grade 5

Marks Description

The melody has a good shape and is sensitive to the meaning of the
words

1215 Underlay/verbal accentuation is musically satisfactory

marks
Tempo, dynamics/performance directions are appropriate

Awareness of tessitura and other practical vocal capabilities

The melody has some shape and a degree of sensitivity to the text

Underlay/verbal accentuation is generally satisfactory

1011
marks
Tempo, dynamics/performance directions are generally appropriate

Some awareness of tessitura and practical vocal capabilities

The melody has limited shape and sensitivity to the text

A number of faults in underlay/verbal accentuation

89 marks Some words not set, or incorrectly placed

Tempo, dynamics/performance directions inappropriate and/or very

sparse

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Marks Description

Little awareness of tessitura or other practical vocal capabilities

Setting has no real melodic interest

Widespread faults in underlay/verbal accentuation

A number of words not set or incorrectly placed

57 marks

Tempo, dynamics/performance directions totally inappropriate or

absent

No real awareness of tessitura or other practical vocal capabilities

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