Review of ABRSM 2027 & 2028 Piano Exam Pieces

Overview

It is that time of year again that piano teachers eagerly anticipate — the release of the new piano exam pieces. Teachers like myself live with these works for over two years, teaching them to students of all ages and abilities, so opening the new books always brings a sense of excitement and curiosity.

It is once again a privilege to receive review copies from ABRSM for my blog. I hope this review will provide a helpful overview for both teachers and students as they begin exploring the new repertoire.

At first glance, it is immediately clear that this is the most diverse collection of pieces ABRSM has released to date. It is wonderful to see composers from a broad range of backgrounds represented alongside such a variety of musical styles. While much of the repertoire remains rooted in the traditional exam canon, there are also fresh contemporary works that many students will thoroughly enjoy discovering and performing.

Grade 1

Grade 1 opens with Frosty Morning by Swinstead, a piece many pupils may already know from Piano Time 3, arranged by Pauline Hall. This piece requires a delicate touch, with crisp staccatos vividly depicting a wintery scene.

Also included is an arrangement of Haydn’s famous Surprise Symphony, a work that has appeared before in Grade 1 repertoire. Young pianists will no doubt enjoy delivering the unexpected loud chord halfway through the piece that takes the listener by surprise.

As expected, the B section contains more lyrical and reflective music. B2 continues ABRSM’s recent approach of incorporating pop-inspired repertoire into the syllabus. Performing this piece sensitively, without the aid of lyrics, may prove challenging for younger players, as it requires thoughtful phrasing and an introspective, controlled sound to capture the style convincingly.

It is also encouraging to see young contemporary composers represented in Section C. Students are likely to enjoy Santosh Baynes’ The Voyager, a piece full of excitement, drama, and driving momentum.

Finally, acclaimed composer Nikki Iles — who is quickly becoming a staple of ABRSM exam material — closes the grade with Roo’s Blues. Students will enjoy its catchy melody and blues-inspired style, though the swing rhythm and hand independence may prove challenging for beginners who have had limited experience with this style.

Overall, Grade 1 offers a varied and imaginative selection of repertoire, particularly appealing to young learners who can bring plenty of character and storytelling into both the exam room and recorded performances. This is certainly not the easiest  set of Grade 1 pieces that I have seen — with the exception of B1 Lullaby, most pieces present clear technical and musical challenges. I would therefore recommend that students are fully comfortable with beginner-level repertoire before making the step up to Grade 1.

Grade 2

Grade 2 offers something for everyone. There are several refreshing additions, including Feenstra’s My Heart (It Longs for You) — a piece I have not previously taught but one that immediately stands out. This lyrical, song-like work demands a true cantabile style from the performer, with sensitive pedalling playing an essential role. I will certainly be exploring more of this composer’s music, especially given her impressive catalogue of over 100 original piano works.

Pam Wedgwood’s Tarantella appears in the A section, a familiar favourite from the ever-popular Up-Grade! series. This lively piece is highly accessible, particularly for students with smaller hands, and its rhythmic energy makes it instantly appealing.

Christian Petzold’s Minuet No. 2 in G minor is another welcome inclusion. Although the notation itself is relatively straightforward, students will need to work carefully on articulation and phrasing in order to achieve the elegant character and dance-like style required.

Section C is equally strong. The traditional Japanese folk song Takeda Lullaby introduces students to the pentatonic scale and creates a beautifully atmospheric sound world. Sneaky Surprise by Chern — another young contemporary composer — captures a sense of playful tension, as though someone is tiptoeing around unnoticed. Students will particularly enjoy bringing this character to life through the crisp staccatos and contrasting dynamics.

Because the Grade 2 selection explores such a wide range of moods, characters, and musical styles, I would strongly encourage students to try all nine pieces before settling on their final choices. There is a great deal of wonderful music to discover in this syllabus.

Grade 3

Grade 3 opens with familiar classics by Wolfgang Amadeus Mozart and Johann Friedrich Burgmüller, both of which I imagine will be popular choices amongst students and teachers alike.

Many teachers — myself included — may be less familiar with Zoe Dixon’s Song Without Words. In previous syllabuses, Section A was traditionally dominated by Baroque or Classical works, so it is particularly notable that this contemporary composer was born in 1999. This modernisation of ABRSM’s repertoire choices is a very welcome development, and it is encouraging to see the board embracing a broader and more contemporary range of music in line with other exam boards.

Nahre Sol’s Optimistic Waltz is another lovely addition, clearly influenced by the elegant style of Tchaikovsky. Careful shaping of the melodic line will be essential in capturing the grace and lyrical character of this piece.

Taylor Swift also appears in Section B, further demonstrating ABRSM’s commitment to including pop repertoire — something that will undoubtedly appeal to younger learners who already know and enjoy the song before learning it on the piano.

Also featured in Section B is a sentimental traditional Chinese song. At first glance, it may appear relatively straightforward for this grade, but a convincing performance will require a great deal of expressive playing and musical sensitivity in order to convey its emotional depth.

Section C offers an especially varied selection of styles. Flamenco by William Gillock gives students the opportunity to imitate the sound of a guitar and evoke the passionate spirit of southern Spain. This energetic work demands stamina and intensity from beginning to end.

Finally, Bluesy Boogie Woogie by Skevington is sure to become a popular choice with students. Its lively character and infectious rhythms make it great fun to play, although learners will need to tackle some challenging counting and rhythmic coordination along the way.

Overall, Grade 3 offers an excellent balance between traditional repertoire and contemporary styles. The syllabus feels fresh, engaging, and musically diverse, while still developing the technical and expressive skills expected at this level.

Grade 4

Section A includes two traditional works by Scarlatti and Bach, very much in keeping with the established ABRSM tradition for this section. Students looking for something a little different, however, may be drawn to Hide and Seek by Ludvig Schytte. To bring this lively, fast-paced piece to life and capture its playful character, performers will need excellent clarity and nimble finger work.

In complete contrast, B1 The Lonesome Trail by Faux is a reflective and peaceful work that requires careful voicing of the chords in order to allow the right-hand melody to sing through naturally.

Students who enjoy a more modal and atmospheric sound world may prefer B3 Last Dark Before Dawn by Pirio. This mysterious piece combines a left-hand ostinato with a lyrical right-hand melody, requiring strong rhythmic coordination and control between the hands.

It is also wonderful to see Dmitri Shostakovich — one of my personal favourite composers — included in this grade. Clockwork Doll features constant interplay between the hands, and performers will need light, crisp staccato playing to capture the precise mechanical character of the music.

The grade concludes with the African American spiritual Wade in the Water. Many students may already know the popular version by Eva Cassidy, and this arrangement by David Önaç successfully captures the same bluesy, swinging style. The score is filled with expressive details that students can really bring to life in performance.

Overall, Grade 4 presents a lovely and well-balanced collection of pieces. While there is perhaps nothing especially groundbreaking in this syllabus, it remains firmly rooted in the strong ABRSM tradition associated with this grade. Nevertheless, the repertoire is varied, musical, and highly enjoyable, offering students an engaging introduction to the intermediate stages of piano playing.

Grade 5

Grade 5 opens with Schubert’s Minuet and Trio in B-flat, a piece that requires performers to capture the elegant and graceful character of the dance style. From experience, I know that some students may initially feel intimidated by the quintuplet ornamentation. However, I would encourage them to persevere, as this is a beautiful work that should not be overlooked.

It is also wonderful to see Saint-Saëns represented in Section A with Fossiles, a lively and energetic piece that demands dexterity and quick, agile finger work. I imagine that Diabelli’s Rondo will prove to be one of the most popular choices in the grade. This piece has appeared previously in the Grade 5 syllabus and was extremely popular then, so I expect it will continue to be a favourite amongst students and teachers alike.

B2, Ombrelle Versicolore by Fournier, particularly stands out to me as it is a piece I was previously unfamiliar with. This lyrical, song-like work requires sensitive voicing within the chords in order to bring out the melodic line effectively. Much of the appeal of this piece lies in the creation of tonal colour and atmosphere, something I think many students will enjoy exploring creatively.

B3 features Florence Price, a composer who is now rightly becoming a regular feature in exam syllabuses. Absence is a gentle, expressive waltz that will especially appeal to students drawn to the Romantic piano style.

Section C offers something for every musical taste thanks to its stylistic variety. It is lovely to see Popular from Wicked (the musical) included in the syllabus. Musical theatre repertoire has often been overlooked by exam boards in the past, so this broader and more diverse approach will no doubt be warmly welcomed by many students.

Mike Cornick — whose educational piano works are widely used by teachers — also appears in this section with Blues for Lydia. Its blues-inspired, melancholic character will particularly appeal to students who enjoy this genre and style of piano writing.

In contrast, the grade concludes with The Witch by Metelka. Through its varied articulations, rhythms, and dramatic dynamic contrasts, the piece creates a tense and atmospheric sound world. Students who enjoy a sense of theatricality and showmanship will have great fun bringing this vivid score to life.

Overall, Grade 5 presents a varied and thoughtfully balanced selection of repertoire, all appropriately matched to the technical and musical demands of this level. As Grade 5 is often viewed as a significant milestone in a pianist’s development, it is especially pleasing to see such an engaging and diverse range of music included in the syllabus.

Grade 6

Grade 6 offers a varied and engaging programme at the early advanced stage of piano playing. The syllabus opens with Minuet by Farrar. This joyful work, an English interpretation of the French minuet style, requires a delicate touch and careful attention to tonal colour in order to bring out its elegance and charm.

A2 features the first movement of Mozart’s Sonata in C, an immensely popular and recognisable work that many students encounter during their piano studies. Its inclusion is sure to make it a favourite choice amongst performers.

Chopin appears in A3 with the Polonaise in G minor. In previous syllabuses, Chopin would traditionally have been placed in Section B, so its inclusion in Section A highlights ABRSM’s evolving approach to categorising repertoire. Rather than grouping pieces strictly according to musical period, the board now appears to focus more on character, tempo, and mood — a change that brings greater stylistic variety to each section.

B2 includes one of my personal favourite composers, Enrique Granados. Vals Poético will particularly appeal to students who enjoy lyrical, nostalgic piano writing and opportunities for expressive shaping and tonal control.

Section C begins with Sultana, a lively piece inspired by the polka dance but infused with the musical flavours of Brazil. This rhythmic and energetic work demands agile fingers and sustained momentum throughout, but its brilliant vitality would make it an exciting and memorable conclusion to an exam performance.

Also featured is Spring Sunshine by Corey, an upbeat character piece written in 5/4 time. Its cheerful mood and flowing rhythms evoke the feeling of a relaxed afternoon stroll in warm sunshine, offering students an enjoyable opportunity to explore less familiar rhythmic patterns.

Overall, the Grade 6 repertoire is both interesting and refreshingly varied in character. One particularly notable feature is the absence of Baroque works from the main selection of nine pieces — although composers such as Bach and Scarlatti do appear in the extended repertoire list at the back of the book. This reflects ABRSM’s increasingly broad and flexible approach to repertoire selection, resulting in a syllabus that feels modern, diverse, and musically engaging.

Grade 7

Grade 7 opens with No. 6 from Six Christmas Pieces by Felix Mendelssohn. Despite the title, there is little overtly festive about the piece; instead, it evokes the playful energy and youthful interaction of childhood games. Its light character and lively dialogue between the hands make it an engaging opening to the syllabus.

Students looking for a more traditional and commanding Baroque work may gravitate towards A2, Passecaille by Handel. This piece demands firm articulation, nimble finger work, and strong rhythmic control in order to capture its stately character effectively.

I was less familiar with the composer of B1, Prelude in D minor by Čiurlionis, a contemporary of Alexander Scriabin. This atmospheric work contains the rich and adventurous harmonies often associated with turn-of-the-century writing. Students will need precision and fluency to execute the flowing semiquaver figurations cleanly throughout the piece.

It is also wonderful to see Clara Schumann represented in the syllabus once again after being somewhat overlooked in previous years. Her Adagio is written in a lyrical, Romantic song style, with a beautifully singing melody. Performers will need to shape the phrases carefully and sensitively in order to capture the reflective and expressive nature of the music.

Continuing the lyrical mood is B3, If I Told You I Love You by Feenstra. This piece adopts the style of a modern pop ballad, particularly through its expressive melody and the step-up modulation later in the work. Careful voicing of the melody, thoughtful pedalling, and tasteful use of rubato will all help performers convey the emotional warmth of this piece convincingly.

It is lovely to see Grieg included in the syllabus with C1, Småtroll. This exciting and energetic piece is full of momentum and reflects Grieg’s fascination with storytelling and Scandinavian folklore. Its lively character and rhythmic drive make it particularly rewarding to perform.

The grade concludes with Christopher Norton’s Wildcat from his ever-popular Rock Preludes collection. Other pieces from this set have appeared in previous Grade 7 syllabuses and have always proved popular with my students, largely because of their crossover appeal between rock, jazz, and pop styles. This boisterous and energetic work is packed with rhythmic drive and character, and performers will need to pay close attention to the many detailed markings in the score.

Overall, Grade 7 offers an impressively wide-ranging and varied collection of repertoire. There is a great deal for students to explore stylistically, with pieces that cater to many different musical tastes and personalities.

Grade 8

Grade 8 opens with the Allegro from the Italian Concerto by Johann Sebastian Bach. Written in ritornello form, this lively and energetic piece requires the performer to maintain the fast, buoyant character typical of keyboard writing from the Baroque period. Clarity, articulation, and rhythmic precision will all be essential for a convincing performance.

Students who favour the Classical and early Romantic repertoire may instead be drawn to Beethoven’s Rondo, taken from the famous Grande Sonate Pathétique in C minor. This movement contains all the hallmarks of Beethoven’s dramatic and expressive writing, combining lyrical moments with bold contrasts and virtuosic energy.

B1, Rosemary, is a particularly lovely addition to the syllabus, offering performers the opportunity to showcase expressive, tender, and nuanced piano playing. B2 features Chopin’s Nocturne in E minor, a work that beautifully exemplifies Chopin’s Romantic piano style. A delicate and well-balanced left-hand accompaniment will be essential in allowing the melodic line to sing naturally above the texture.

It is also pleasing to see the inclusion of Alexis Ffrench, now Artistic Director of ABRSM. His relaxed and atmospheric compositional style, drawing influence from jazz and contemporary popular music, is likely to prove a favourite choice amongst students preparing for the exam.

As a Welsh musician myself, I was especially pleased to see Gwilym Simcock represented with C3, Winterley. It is still relatively rare to find Welsh composers featured prominently within piano exam syllabuses, making this inclusion particularly welcome. This jazz-influenced work requires strong momentum, rhythmic fluency, and an assured sense of flow. Students willing to tackle its rhythmic complexities will undoubtedly find it highly rewarding both musically and technically.

Overall, the Grade 8 syllabus remains firmly rooted in the traditional ABRSM approach, with expected appearances from staple composers such as Bach, Beethoven, and Chopin. While the repertoire choices may not feel especially groundbreaking, the syllabus still offers a rich variety of musical styles and characters, particularly when considering the extended repertoire list included at the back of the book.

Final Thoughts

Overall, the ABRSM 2027–2028 piano syllabus feels like one of the most varied and inclusive collections the board has produced to date. Across all grades, there is a noticeable effort to balance the traditional core repertoire expected from ABRSM with a much broader range of contemporary styles, composers, and musical influences.

Long-established staples of the piano repertoire remain at the heart of the syllabus, ensuring students continue to engage with important works by composers such as Bach, Mozart, Beethoven, Chopin, and Schubert. At the same time, the inclusion of contemporary composers, film-inspired writing, jazz, blues, pop ballads, musical theatre, and folk influences creates a syllabus that feels far more reflective of the musical world students experience today.

One of the strongest features of this syllabus is its stylistic diversity. Students now have greater opportunities to explore different genres and discover music that genuinely connects with their own personalities and interests. Whether it is the lyrical romanticism of Florence Price, the rhythmic energy of Christopher Norton, the atmospheric contemporary sound worlds of Alexis Ffrench and Feenstra, or the inclusion of popular music and musical theatre, there is a clear attempt to make the exam repertoire more engaging and relevant for modern learners.

As a teacher, I particularly welcome the growing representation of younger and more diverse composers throughout the grades. This not only broadens students’ musical awareness but also helps move piano education beyond a narrow historical canon while still respecting the traditions that have long defined ABRSM examinations.

Technically, the syllabus remains appropriately challenging throughout all levels. Many of the pieces require far more than simply accurate note-playing; students will need imagination, stylistic understanding, tonal control, rhythmic awareness, and expressive maturity in order to perform them convincingly. In many ways, this syllabus places an even greater emphasis on musical storytelling and character than previous years.

Ultimately, I believe the 2027–2028 syllabus succeeds in offering something for everyone. Teachers will find plenty of rewarding repertoire to explore with their students, while learners themselves are likely to feel inspired by the breadth of musical choices available. It will certainly be exciting to see which pieces emerge as the favourites over the next two years.