Educational Resources
Selected and Reviewed by Andrew Eales
It’s that time again: right on cue, ABRSM have published their latest piano grade exam syllabus, accompanied as usual by a raft of resources to support players and teachers. With their 2027 & 2028 piano syllabus, they promise:
- Refreshed repertoire for Practical and Performance Grades, Initial to Grade 8, with new Piano Exam Pieces books for each.
- A separate, 68-page Teaching Notes booklet.
- A new online Piano Learning Hub with video demonstrations and learning resources.
- Audio recordings, available on all major streaming platforms.
They also confirm the following useful information:
- There are no changes to the scales and arpeggios or sight-reading and aural tests for Practical Grades.
- You can continue to use repertoire from the 2025 & 2026 Piano Syllabuses until 31 December 2027. During this overlap period you must choose all your set pieces from the same syllabus.
The first of these points may be disappointing for educators, but given the shift towards digital performance grades won’t perhaps come as a surprise. You can read about the pedagogy problems with their scales syllabus here, and significant concerns about the validity of their aural tests here.
My coverage of ABRSM always aims for balance and impartiality, and while critical of their support tests, my reviews of their Piano Exam Pieces books have regularly heaped praise on the board. Rightly so, because in recent years they have brilliantly balanced returning favourites with new commissions and inspiring discoveries.
So the big question is whether the latest Piano Exam Pieces will live up to the board’s high standards, delivering diversity, musical quality, educational value, and genuine appeal. And having had three weeks to live with and play through all these pieces ahead of their publication, that’s the question I hope to answer.
First impressions
There are many positive things to say about ABRSM’s new piano resources, with some exciting news coming up. But first impressions can be lasting, and we need to talk about the covers.
Following ABRSM’s recent piano syllabus books featuring a Black girl (2023–2024) and a Chinese boy (2025–2026), this time they show a young Asian female at the piano. But the presentation seems neither as vivid nor as inviting as usual, and the pianist herself looks uncertain, as though waiting for guidance rather than happily playing the instrument.
While it is good for covers to reflect the diversity of today’s piano students, it’s a tricky balance, and I wonder whether ABRSM may have misjudged this. Their intentions are undoubtedly good, but it’s important to avoid awkward stereotypes. No one should feel either excluded, or indeed patronised, by the covers of their piano exam books!
Moving on to the Teaching Notes, while other boards include these in their main music books, ABRSM continue to publish and charge for them separately. Their 68-page booklet follows the usual format, with advice about the nine pieces from each Piano Exam Pieces book, but not the alternatives.
The authors this time are the composer Kristina Arakelyan, Julian Hellaby, Victoria Proudler, and Anthony Williams. For each piece, they offer three paragraphs, covering musical context, technical challenges, performance and interpretation. The text reads well and could prove particularly helpful to less experienced teachers.
As in previous years, audio recordings are available to enjoy on the streaming service of your choice, and include not only the selected pieces featured within the books but also the many alternative choices available. Kudos to ABRSM for producing and making this professional content freely available.
And now for the biggest news! ABRSM have lately made a significant effort in expanding the digital resources they offer alongside their publications, and a headline innovation for the 2027 & 2028 Piano Exam Pieces comes in the form of a new ABRSM Piano Learning Hub on the board’s website here .
This features video demonstrations of the pieces which appear in the ABRSM books, followed by helpful practice tips, musical analysis, illuminating background context, creative suggestions, and informed reflections on the music.
Delivered by respected pianists and teachers, I think that this is an outstanding initiative which offers a potentially powerful resource. The QR codes to access this content, printed at the top of each piece in the books, will hopefully promote uptake.
I take the point that many responsible parents are trying to minimise their children’s screen time, but used judiciously the ABRSM digital resources could be a game-changer for some, including teachers looking for helpful support material.
What’s inside the books?
Within, the books are printed on soft cream paper, delivering three pieces from each of the usual Lists A, B, and C. I feel that it is a continuing strength of the ABRSM grade exams that they require this range of playing approaches. And while the lists are not as stylistically or historically distinct as in the past:
- List A pieces are generally faster, requiring technical agility
- List B pieces are more lyrical and expressive
- List C pieces represent a wide variety of musical traditions, styles, and characters
The music notation is as beautifully engraved as ever, and there are footnotes listing sources and giving insightful background information about each piece. Suggested fingerings, metronome marks, and ornament realisations have been added as standard in the early grades, while editorial dynamics and performance directions are identified as such in the footnotes for clarity.
While the editors of specific pieces are sometimes (but not consistently) credited, it is striking that neither the overall editor of the books, nor the author(s) of the footnotes have been credited as they were in previous years. However, the audio recording artists, producers, and extended credits rightly appear in full.
Scales and arpeggios requirements for the Practical Grades are listed in each book, which is useful. The full list of around 48 syllabus choices from which the nine in each Piano Exam Pieces book are selected also appears, either within the book itself, or inside the rear cover (it would be helpful if they could standardise where these appear).
ABRSM also now offer Performance Grades up to Grade 8 for players with one hand (but not Practical Grades). Those choices are not listed in the main book at all, but can be found in the Performance Grades syllabus on their website here.
Key repertoire trends
It is beyond the scope of this review to comment on all the pieces included within the Piano Exam Pieces books, but as usual I will try to offer a flavour, and identify the main direction of travel. This has become more important of late, with the various exam boards seeming to explore different directions. Indeed, reviewing ABRSM’s 2025 & 2026 syllabus, I wrote,
“I have yet to come across a syllabus that seems, at one and the same time so assured, and yet so uncertain of its own identity.
This has the air of a syllabus that is undergoing a transition, unsure whether to retain classical music and established pedagogy at its core, or whether to sideline them in favour of populism and a quick sell.”
With the 2027 & 2028 syllabus, I think it is becoming harder than ever to discern ABRSM’s underlying aims, musical or educational. Here are the main trends that I’ve spotted…
New and rediscovered music
The most immediately striking feature of the 2027 & 2028 Piano Exam Pieces books is the sheer amount of new music they include, much of it by composers I’ve never previously come across or heard of. There are lots of fresh commissions, other recently published compositions, and rediscoveries of older treasures that had dropped out of circulation.
As a pianist, teacher, and reviewer with a fairly extensive collection of music, I was surprised to find that well over half of the 81 pieces included in the books are new to me. An astonishing 34 pieces carry the copyright line © 2026 ABRSM Publishing. Quite a few others are self-published, or from publications not widely known.
ABRSM seem to have pulled off a publishing coup in curating such an impressive range of new music. As always their presentation is marvellous, and considering the wide circulation these books have, the board deserves high praise for supporting upcoming composers.
That said, there’s a question of balance. As a teacher I find that when I have lived with and frequently taught a piece, there’s an experiential depth of insight that works well for my students. I am sure that many other teachers will similarly identify with this. And when it comes to exam preparation, we perhaps don’t want to treat our students as guinea pigs trying out less familiar repertoire.
As a reviewer I must evaluate new music with objectivity, and as a sometime publishing consultant, I have to admit that while there are a few standout pieces across this new syllabus, there are also several which, hand on heart, I would not have recommended for publication.
Only time will tell whether this music lands better with other teachers and, most importantly, inspires learners. But personally, I have to admit to being somewhat underwhelmed and a little concerned about the musical quality and overall appeal.
As for rediscovered piano works from previous generations of composers, in recent years we have embraced many wonderful pieces, and ABRSM have again played a part in this. But realistically, some rediscovered pieces still don’t shine as brightly as the masterpieces which outshone them in the first place.
Those included in the 2027 & 2028 Piano Exam Pieces books seem to me a rather a mixed bag, with some that have much stronger appeal than others, but few which genuinely stand out as neglected treasures.
Arrangements
Many will want to know about the simplified arrangements of classical, movie, folk, and pop songs that have been appearing more frequently in recent ABRSM syllabuses. In the new Piano Exam Books, there are several, albeit I found them less striking than those in the syllabus they replace.
Folk songs from around the world are common in the earlier grades, but I don’t think all of them translate into particularly idiomatic piano music.
In addition to these, Initial Grade includes an arrangement by Joseph Atkins of Day One from the movie Interstellar. I have seen the movie, but couldn’t have placed this music; young learners are less likely to have seen it, making this an odd choice.
Atkins also delivers arrangements of What Was I Made For? from the recent Barbie movie (Grade 1), and Popular from the musical Wicked (Grade 5). However, ‘Swifties’ learning his rendition of Taylor Swift’s Enchanted (Grade 3) may wonder why he has needlessly altered the chord progression in bar 10, thereby diminishing the song’s expressive harmonic colour.
Meanwhile, classic jazz standards are sadly missed, having previously been a small but popular element of the syllabus, notably at the higher grades. While ABRSM cater for serious jazz players elsewhere, a general exposure to the genre is educationally important and musically rewarding. It’s a pity that in this syllabus it has been confined to a few pastiches.
Having dabbled with anime, game music, and the popular minimalism of Ludovico Einaudi in recent years, ABRSM have also omitted this music from their 2027 & 2028 Piano Exam Pieces. This is a particularly abrupt about-turn having made so much of their appearance last time, which again leaves me questioning whether the board have a clear sense of strategic direction for their piano syllabus.
I suspect these various omissions will disappoint the many players who enjoy contemporary styles, and are so motivated by playing familiar music.
Overall, I think it’s fair to say that this isn’t as musically diverse and engagingly varied a syllabus as we have lately come to expect from ABRSM.
Core repertoire
Bearing in mind the wealth of new music I have outlined, readers will want to know whether the core classical and established pedagogy repertoire is sufficiently represented in the new ABRSM syllabus.
I am pleased to see that the great composers of the Baroque and Classical eras are certainly here in force, with Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Mendelssohn, and Chopin all present and correct.
But oddly, when it comes to the ‘Golden Age’ of the nineteenth and twentieth centuries, beloved favourites and key influencers have almost entirely been replaced by lesser-known contemporaries.
Teachers will notice that Schumann, Heller, Brahms, Tchaikovsky, Debussy, Satie, Bartók, Kabalevsky, and Prokofiev don’t appear in the Piano Exam Pieces 2027 & 2028 books themselves, despite their seminal contributions to the piano pedagogy repertoire.
And interestingly, with the exception of one piece by Shostakovich (Clockwork Doll, Grade 4), ABRSM have entirely excluded Russian composers from these publications, despite the critical importance and significant popular appeal of their extensive pedagogic repertoire. We can but speculate whether this was intentional or a bizarre oversight.
I would encourage teachers to remember that if we want learners to understand piano music in its proper cultural context, we really need to look beyond the syllabus, and supplement the ABRSM exam repertoire with the truly pivotal music and pioneering composers who have shaped the artistic heritage and story of our instrument.
Benchmarking
When it comes to assigning grade levels to pieces, benchmarking them against reliable and continuing criteria, ABRSM have long been considered the leaders in the field, but in recent years there has been disquiet about the suspicion that grade inflation and ‘dumbing down’ were creeping in.
Perhaps mindful of this, the 2027 & 2028 Piano Exam Pieces books contain, overall, their most difficult music selections for several years. This is especially noticeable in the Initial Grade book and at Grade 8, although across the syllabus the challenge seems higher than usual.
So let’s check out the Initial Grade pieces. Here’s the list, together with their challenges in terms of notation understanding, technique, and musicianship:
- Fairground (John Rowcroft): a traditional pedagogic piece in a five-note position with variety and strong educational value.
- Halima pakasholo (trad. Namibian): musically repetitive, but with tricky syncopations and slightly awkward patterns.
- Busy, Buzzy Bumblebee (Ailie Robertson): very chromatic, with moving hand positions throughout, this piece only touches the imagination when played with speed and finger dexterity.
- The Manta Ray (Louise Drewett): this is a lovely piece, but both hands are notated in the bass clef, and make extensive use of ledger lines. Hand positions move frequently, and the cantabile line significantly depends on RH fingers 4 and 5 having strength and independence.
- Why me? (Dani Howard): this requires the sustain pedal, and uses ledger lines extensively in both hands.
- Aloha’oe (Liliuokalani): a melodically appealing piece which requires extended finger positions.
- The Sky at Night (Louise Chamberlain): a pentatonic piece using just the black keys, notated as sharps. Atmospheric but repetitive, lacking in variety, and could place some strain on smaller hands.
- In the Dark (Victoria Proudler): again chromatic, and includes triads, but this is manageable and the most pedagogically secure piece of the nine.
- Day One from Interstellar (Hans Zimmer, arr. Joseph Atkins): ledger lines and position changes in both hands throughout.
Clearly then, several of these pieces demand skills which aren’t covered in most first method books, and which in previous ABRSM syllabuses were not introduced until Grade 1 or beyond.
It seems to me that this raises questions about the purpose and value of an Initial Grade. But again, when noting ABRSM’s shifting benchmarks, I should note that Grade 1 is also more difficult than in recent years, and for example includes semiquavers, which in recent years have been reserved for Grade 2 and beyond.
The reason that these points matter so much is simple. Young players who anticipate reaching a particular level soon become discouraged when set music that is plainly too difficult for them. I would hate to think that poor benchmarking in this syllabus would lead to some prematurely giving up on their piano journey.
At the other end of the spectrum, the List A pieces in the Grade 8 book offer a choice between the first movement of Bach’s Italian Concerto (previously set in 1975), third movement of Beethoven’s Pathétique Sonata (previously set in 2011) and the Fugue from Ravel’s Le tombeau de Couperin (also set in 2011).
These are some of the most demanding selections for several years. A direct comparison with other recent Grade 8 choices that remain as alternatives (such as the decidedly simpler slow movement from the Pathétique) serves to highlight that standards are somewhat inconsistent, resulting in a notable disparity between the music featured in the new Piano Exam Pieces books and the approved alternatives.
Alternative choices
This brings me neatly to a consideration of those alternatives, most of which have been carried over from previous piano syllabuses going back to 2021. ABRSM have boosted the lists with a few new additions, including several pieces from Karen Marshall’s upcoming Encore Plus! Series, which is scheduled to follow soon, and eagerly awaited.
I think that few will argue with the point that, across every grade, the alternative selections offer several easier and more appealing options. I suspect these lists may therefore prove a more attractive repertoire focus for teachers wishing to maximise motivation and confidence.
Closing thoughts
What are teachers and learners looking for in an exam repertoire selection? It’s a basic question, but perhaps one which ABRSM’s current team of selectors have overlooked.
First of all, I would suggest that players enjoy:
- Music they recognise and like
- Music which is correctly matched to their level, ensuring that it is technically and musically accessible
- Music which pairs enjoyment, imagination, discovery, and a sense of achievement
- Music which includes memorable tunes, catchy rhythms, and will impress friends and family
- Music which they can personally, culturally, and emotionally relate to with ease
Meanwhile, teachers value:
- Music which will motivate students and add enjoyment to lessons
- Music which they can teach with knowledge and expertise
- Music with substance and educational value, and which supports established curriculum content and values
By now it is probably clear that, disappointingly, I don’t think the new ABRSM syllabus choices fulfil these goals with quite the necessary care, consistency, and aplomb that we have come to expect.
It seems to me that with this syllabus ABRSM have prioritised novelty over experience, and their publishing interests above our pedagogic ones. Turning their backs on so much core and popular piano music in favour of new material that often underwhelms, and with benchmarking that breaks with their own established levels, this is a syllabus selection that I fear will leave many disappointed and worse, discouraged.
But every cloud has a silver lining, and it is fitting and fair to conclude my review by listing some of the standout musical discoveries that I most enjoyed when going through these publications. Do check these out:
- Louise Drewett: The Manta Ray (initial, but rather hard)
- Balys Dvarionas: Preliudas from Mažoji siuita (Grade 2)
- Sebastian Ooi Wei Chern: Sneaky Surprise (Grade 2)
- Alonso Malik Pirio: Last Dark Before Dawn (Grade 4)
- Danielle Fournier: Ombrelle versicolore (Grade 5)
- Chiquinha Gonzaga: Sultana (Grade 6, but again, hard at this level)
- Zhu Jian’er: An Offering of Intimacy (Grade 8)
I am also pleased to see music by several friends featured in the books:
Naoko Ikeda, Victoria Proudler, Nikki Iles, Pam Wedgwood, Heather Hammond, David Önaç, Jakub Metelka, Barbara Arens, and Christopher Norton, you can all take a bow!
Ultimately, readers will have to decide for themselves whether this syllabus’s emphasis on new repertoire represents welcome innovation, or a departure from the balance that has characterised ABRSM’s strongest piano syllabuses.
Take a look at the full repertoire lists on the ABRSM website, listen to the official recordings, and I hope you find suitable music here that offers lasting appeal, and which allow you or your students to shine!
And for a second opinion, check out David Barton’s thoughtful review.
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