ABRSM: ARSM assessment and marking criteria

The marking scheme

The marks for ARSM are allocated as follows:

Maximum marks
Pieces/songs presented	30
Performance as a whole	20
Total	50

Pieces/songs are first marked out of 30 using the marking criteria, which are the same as those used in our graded music exams. These criteria guide the examiner’s approach to writing comments, piece by piece, while listening, and are used to award a single mark out of 30 to cover all works presented.

After the full programme has been completed, a mark out of 20 is awarded for the performance as a whole using a second set of criteria. Here the examiner assesses the entirety of the performance in terms of overall musical communication, interpretation and delivery.

The combination of the two marks awarded (one out of 30 plus one out of 20) provides a total mark out of 50, giving a result in one of four categories, as follows:

Result category	Mark band
Distinction	45 – 50
Merit	40 – 44
Pass	34 – 39
Below Pass	17 – 33

The total mark determines the ARSM result; a pass in each component of the assessment is not required to pass overall.

Our approach to marking

In all ABRSM exams, our examiners mark up or down from the pass mark for each component, rather than deducting marks from the maximum or adding marks from zero. When awarding marks, examiners balance the extent to which control of the qualities and skills listed in the marking criteria is demonstrated and contributes towards the overall musical outcome.

Using the two sets of marking criteria, our examiners assess the quality of the performance as generalist musicians, rather than as instrumental or vocal specialists, enabling examiners to mark consistently across all instruments (including voice). Using the approach outlined above, they assess and mark the musical performance, not the technical means used to achieve it.

Infringements

It is important that candidates, and those preparing them for exams, read and follow the exam requirements as set out in the ARSM syllabus. If the exam requirements are not met in any way, this could lead to a warning, mark deduction or disqualification, at ABRSM’s discretion. Examples of infringements include:

Offering an inappropriate standard of own-choice repertoire.
Presenting a programme that is too short or too long.
Presenting a programme containing less than 20 minutes of music from the ARSM repertoire lists.
Presenting ARSM-listed repertoire, but not as specified (e.g. incorrect number of movements).
For digital exams, submitting a video of the performance that has not been made in one single take or that has been edited in some other way.

The above list is not exhaustive.

Action is typically taken as follows:

Warnings, in the form of written correspondence, are applied to minor infringements. Repeat cases in subsequent exams may result in more severe action being taken.
Mark deductions from a component of the exam are applied to more serious cases (e.g. own-choice repertoire of an inappropriate standard) and may be two marks, or more, depending on the circumstances.
Disqualification is applied to cases where requirements are not fulfilled in a fundamental way (e.g. programmes that are significantly too short or where the recording has been edited in some way).

Examiners report infringements to ABRSM who investigate and decide what action is to be taken. It should be noted that infringements identified in exams may delay the release of the exam result.

ABRSM’s decision on any infringement is final. Prior acceptance of an infringement without penalty does not set a precedent and appeals will not be accepted on this basis.

Explanatory videos

To hear from our Chief Examiner about the ARSM assessment and marking criteria, watch these videos.

The marking criteria

Download the ARSM marking criteria (PDF)

Criteria for the pieces/songs presented

Mark	Pitch	Time	Tone	Shape	Performance
Distinction 27–30	Highly accurate notes and intonation	Fluent, with flexibility where appropriate Rhythmic character well conveyed	Well projected Sensitive use of tonal qualities	Expressive, idiomatic musical shaping and detail	Assured Fully committed Vivid communication of character and style
Merit 24–26	Largely accurate notes and intonation	Sustained, effective tempo Good sense of rhythm	Mainly controlled and consistent Good tonal awareness	Clear musical shaping, well-realised detail	Positive Carrying musical conviction Character and style communicated
Pass 20-23	Generally correct notes Sufficiently reliable intonation to maintain tonality	Suitable tempo Generally stable pulse Overall rhythmic accuracy	Generally reliable Adequate tonal awareness	Some realisation of musical shape and/or detail	Generally secure, prompt recovery from slips Some musical involvement
Below Pass 17-19	Frequent note errors Insufficiently reliable intonation to maintain tonality	Unsuitable and/or uncontrolled tempo Irregular pulse Inaccurate rhythm	Uneven and/or unreliable Inadequate tonal awareness	Musical shape and detail insufficiently conveyed	Insecure, inadequate recovery from slips Insufficient musical involvement
13-16	Largely inaccurate notes and/or intonation	Erratic tempo and/or pulse	Serious lack of tonal control	Musical shape and detail largely unrealised	Lacking continuity No musical involvement
10-12	Highly inaccurate notes and/or intonation	Incoherent tempo and/or pulse	No tonal control	No shape or detail	Unable to continue for more than a short section

Criteria for the performance as a whole

Mark	Communication	Interpretation	Delivery
Distinction 19–20	Consistently well-projected and involved, showing strong performance commitment and conviction Effective sequence and pacing of chosen programme; consistently good performance awareness and control	Consistently effective stylistic characterisation; interpretative demands of the programme well met Consistently good awareness and control of textures and ensemble, with effective blending and balancing	Consistently assured and controlled; technical challenges of the programme well met Consistently effective instrument management, fully responsive to the performance situation
Merit 17–18	Mainly well-projected and involved, showing positive performance commitment Largely effective sequence and pacing of chosen programme; mainly good performance awareness and control	Mostly effective stylistic realisation; interpretative demands of the programme largely well met Mainly good awareness and control of textures and ensemble, with appropriate blending and balancing	Effectively controlled; most technical challenges of the programme well met Mostly effective instrument management, mainly responsive to the performance situation
Pass 14-16	Projection and involvement sufficient to maintain an overall sense of performance Sequence and pacing of chosen programme shows adequate performance awareness and control	Sufficient stylistic realisation to meet the interpretative demands of the programme Adequate awareness and control of textures and ensemble, with sufficient blending and balancing	Generally controlled; technical challenges of the programme securely met overall Sufficiently reliable instrument management to meet the demands of the performance situation
Below Pass 10-13	Insufficient projection or sense of involvement to maintain a sense of performance Sequence and/or pacing of chosen programme shows inadequate performance awareness or control	Stylistic realisation not equal to the interpretative demands of the programme Insufficient awareness or control of textures and ensemble, and/or unsuitable blending and balancing	Consistency of control insufficient to meet the technical challenges of the programme Insufficiently reliable instrument management to meet the demands of the performance situation
7-9	Sense of performance largely absent	Stylistic realisation and/or control of textures and ensemble largely absent	Very insecure technical control and/or instrument management

Further information about ARSM

View ARSM index

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