Exams

1What exams are for

SummaryThe exam is a tool for learning, not the goal: it gives the school year direction and a date. Nobody has to move up a grade every year.

Shine Music School offers external exams as a tool that serves learning, not as the one and only aim of music education.

Preparing for an exam can give the school year direction: it helps to settle on a level of challenge, choose repertoire, organise the work and set a date on which the student will present the result of their preparation.

The educational value does not lie only in passing. It also lies in learning to prepare a complete programme, sustain concentration, listen critically to one's own performance and turn the teacher's guidance into independent musical decisions.

1a. Progress and goals

We propose using the exam as a point of reference within a broader journey. The teacher should weigh both the external result and the progress seen during lessons.

We do not present moving up a grade every year as an obligation. Progress can mean consolidating technique, improving reading, widening repertoire, developing the ear, gaining stage confidence or learning to practise with greater depth and independence. Both institutions allow you to start at any grade and to skip grades; the only prerequisite is ABRSM's for Grades 6, 7 and 8 (see Requirements).

A student who gets a good mark has not necessarily developed all of these areas equally. For example, ABRSM Performance Grades (digital format) has no separate tests of scales, sight-reading or aural skills, whereas Practical Grades (face-to-face format) does include them.

1b. Deep work on the repertoire

As an educational principle of the school, exam repertoire should be worked on beyond correcting notes and rhythms.

We propose going deeper into tone, phrasing, articulation, dynamics, style, structure, coordination, continuity and communication. The student should understand what they want to express and how their technical decisions contribute to it. Preparation should not be reduced to repeating whole pieces. It helps to alternate work in sections, slow practice, analysis, exercises drawn from the repertoire and mock performances.

1c. Fulfilment and wellbeing

We want sitting the exam to let the student recognise the effort they have put in and experience the satisfaction of completing a musical project.

To achieve this, we recommend avoiding messages that link the student's personal worth to the mark. The assessment is information about one performance and specific criteria; it should not become a label for their talent or their future.

The teacher should suggest the exam when there is a reasonable balance between difficulty, available time, motivation and preparation.

1d. Academic recognition

ABRSM and Trinity exams are regulated qualifications in the United Kingdom (Ofqual, Qualifications Wales and CCEA Regulation) and sit within the RQF qualifications framework, with their equivalent in the European EQF framework: the Initial Grade at Entry Level 3 (EQF 1), Grades 1 to 3 at Level 1 (EQF 2), Grades 4 and 5 at Level 2 (EQF 3) and Grades 6 to 8 at Level 3 (EQF 4), the same level as British A Levels.

In the United Kingdom, performance Grades 6, 7 and 8 count towards the UCAS Tariff for university entry, in both the face-to-face and the digital format, with the same points for ABRSM and Trinity:

Trinity theory also counts (Grade 6: 4/5/6; Grade 7: 6/7/8; Grade 8: 8/9/10).

Outside the United Kingdom, the certificate is widely recognised, and what counts in each case is decided by each institution: in South Africa, for example, a passed Grade 8 in theory and in the instrument opens the door to the first year of a music degree; in the United States it can count as additional credits. The school does not guarantee admission or credit recognition at any institution: the decision always rests with the institution that receives the student.

Source: ABRSM, Piano Practical Grades Qualification Specification 2025 & 2026 (regulation and UCAS points); ABRSM, "Regulatory bodies and UCAS points"; Trinity, "Music recognition"; Trinity, "Digital Grades and Diplomas FAQs".

Back to the index

2Map of formats

SummaryDecide on the format before finalising the programme: it changes what the student presents. Face-to-face includes scales, sight-reading or aural tests; digital concentrates on the repertoire.

What this means for teachers: the format must be decided before finalising the preparation programme, because it changes what the student will have to present.

Back to the index

3ABRSM classical, face-to-face (Practical Grades)

SummaryThree pieces, scales and arpeggios, sight-reading and aural tests, in front of an examiner. 150 marks; the repertoire is worth 90.

Practical Grades assess performance and other musical skills through a face-to-face exam. ABRSM offers Grades 1–8 for a variety of instruments and singing; the Initial Grade exists for piano and bowed strings. This pathway should not be confused with Performance Grades, which is assessed through a recording and has a different structure.

3a. Repertoire

The candidate prepares three pieces or songs from the lists for their instrument and grade, one from each list. Pieces published with accompaniment are played with live accompaniment (in Jazz Practical Grades, also with a backing track). In piano, each piece is worth up to 30 marks: 90 for the repertoire. The final selection must be made from the official syllabus for the instrument, not only from the book the student uses.

3b. Technique

Instrumentalists present scales and arpeggios according to their syllabus; singers present an unaccompanied song in place of that component. In piano, scales and arpeggios are worth up to 21 marks. Keys, ranges, articulations, speeds and memory requirements must be checked in the syllabus for the instrument and grade. In ABRSM, scales are played from memory, with no support sheet of any kind (see Scores, memory and aids).

3c. Sight-reading and aural

The exam includes performing a passage not seen beforehand and musical listening tests. In piano, the candidate has half a minute to study and, if they wish, try out the sight-reading exercise before performing it. The aural tests cover pulse, rhythm, melody, harmony and other musical features, with demands that depend on the grade.

3d. Scoring

Breakdown for the Practical Grades piano syllabus 2025–2026 (valid until 31 December 2026; the 2027–2028 syllabus keeps the same breakdown). It must not be copied without checking to specialisms with particular structures.

Exam length: from 12 minutes (Initial Grade and Grade 1) to 30 minutes (Grade 8) for most instruments. Pass, Merit and Distinction thresholds in Assessment and results.

Source: ABRSM, "About Practical Grades"; ABRSM, Piano Practical Grades Qualification Specification 2025 & 2026 and 2027 & 2028; ABRSM, "Face-to-face exams" (durations).

3e. Suggested preparation

We recommend working on reading, aural skills and technique from the start of the school year, not saving them for the weeks before the exam. Mock exams should cover the whole run: repertoire, changes of task, responses to prompts and handling small mistakes.

Back to the index

4ABRSM classical, digital (Performance Grades)

SummaryFour pieces in a single video, with no scales, sight-reading or aural tests. 150 marks: 30 per piece and 30 for the overall performance. Book whenever you like and submit within 28 days.

Performance Grades are digital exams assessed from a video submitted by the candidate. ABRSM describes them as equivalent in demand and value to Practical Grades, with the emphasis on performance: communication, musical delivery and the development of a complete programme. They are available for piano, bowed strings and drum kit from the Initial Grade, and from Grade 1 to Grade 8 for all other instruments, singing, Singing for Musical Theatre and jazz.

4a. Components and assessment

The candidate presents four pieces or songs in one continuous performance: three from the syllabus (one from each list) and a fourth of their own choice, which can be another piece from the lists or any published piece of a similar or higher level, with a complete score in conventional notation. Each piece is worth up to 30 marks, plus 30 for the overall performance. There are no separate components for scales, sight-reading or aural tests.

Maximum programme time (piano): 5 minutes in Initial Grade, 6 in Grade 1, 7, 8, 10, 12, 15, 20 and 25 minutes in Grade 8. The examiner starts assessing from the first note and may stop listening if the limit is exceeded. There is no need to play from memory and no extra marks are given for doing so.

4b. Registration and submission

There are no registration periods or sessions: you book on any day of the year and, from the booking, you have 28 days to upload the video through your ABRSM account, once only. A video can only be submitted once. The recording rules are in Recording and digital submission; the fees in Fees.

Source: ABRSM, "About Performance Grades"; ABRSM, Performance Grades Qualification Specification (3rd edition, valid from 1 January 2025); ABRSM, Piano Performance Grades Syllabus 2025 & 2026.

4c. Suggested preparation

Although scales, reading and aural skills are not assessed separately, we propose keeping them in the teaching plan. We also recommend practising the complete programme, its transitions and recovering after a mistake. The aim is not only to have four pieces prepared separately, but to sustain a coherent performance.

Back to the index

5ABRSM: jazz and other specialisms

SummaryJazz is not Rock & Pop. The face-to-face Jazz Practical Grades are not offered in Spain*; the digital Jazz Performance Grades are, from Grade 1 to Grade 8. For the popular music pathway the school starts from Trinity Rock & Pop.

Jazz is not the same as Rock & Pop

ABRSM offers jazz pathways for piano and for flute, clarinet, saxophone, trumpet, cornet, flugelhorn and trombone, but that name must not be presented as equivalent to the Trinity Rock & Pop system. The Jazz Practical Grades (face-to-face, Grades 1–5) include repertoire, technique, quick study and aural tests. The quick study combines new musical material with an improvised response, and may involve reading or learning by ear according to the relevant requirements.

5a. Availability and grades

The Jazz Performance Grades are digital and available worldwide, including from Spain: four tunes, all from the syllabus (at least one from each list), in a single take. Grades 1 to 5 already existed; Grades 6 to 8 can be booked from 5 January 2026. In Grades 6 to 8, the tunes from lists A and B are played with ABRSM's minus-one tracks or with a live rhythm section.

Other ABRSM digital specialisms: Drum Kit (Initial Grade and Grades 1–8) and Singing for Musical Theatre (Grades 1–8), both in Performance Grades.

5b. The school's approach

For our popular music pathway we recommend starting from Trinity Rock & Pop, in line with the institutional preference. When a student is specifically interested in jazz, musical theatre or another specialism, the teacher should look into the relevant pathway instead of grouping all non-classical music under a single category.

Source: ABRSM, "About Practical Grades" and "Face-to-face exams" (countries); ABRSM, "Jazz" (Spain page); ABRSM, Jazz Performance Grades Qualification Specification from 2026.

Back to the index

6Trinity Classical & Jazz face-to-face

SummaryThree pieces, technical work and two supporting tests of your choice (sight-reading, aural, improvisation or musical knowledge). 100 marks; the repertoire is worth 66.

The face-to-face Classical & Jazz exams combine repertoire, technical work and two supporting tests. The usual repertoire is three pieces; Singing in Grades 6–8 requires four songs. In Grades 6 to 8 sight-reading is compulsory.

6a. Technical work

The candidate prepares the technical options in their syllabus, which may include scales and arpeggios, exercises, studies or orchestral excerpts; the examiner asks for a selection. Trinity should not be described as a system in which every instrument necessarily takes the same scales exam: the options change according to instrument and grade. When scales or arpeggios are chosen, Trinity requires them to be played from memory and does not allow metronomes or other tempo aids in that technical work (see Scores, memory and aids).

6b. Supporting tests

The options include sight-reading, aural tests, improvisation and musical knowledge; the choices available depend on the grade and the syllabus. For this reason, the teacher must check the permitted combinations before agreeing them with the student.

6c. Mark distribution

Thresholds in Assessment and results.

Source: Trinity, "Classical & Jazz grade exams"; Trinity, "Music grade exam requirements" (sight-reading compulsory in 6–8); Trinity, Piano Syllabus (February 2026 edition).

Back to the index

7Trinity Classical & Jazz digital

SummaryTwo routes: Technical Work (three pieces plus technical work) or Repertoire-only (four pieces). Not all digital Trinity exams include scales. The route is chosen when booking.

7a. Two different pathways

Trinity lets you choose between Technical Work and Repertoire-only in its digital Classical & Jazz exams. This distinction corrects an important generalisation: not all of Trinity's digital classical exams include technical work or scales.

7b. Technical Work

This pathway includes three pieces, technical work and an assessment of the overall performance; Singing in Grades 6–8 presents four songs. The technical requirements are reduced compared with face-to-face preparation: in scales and arpeggios the candidate chooses one of two defined groups (Set A or Set B) instead of the full list. The technical work can come before, after or between the pieces, but as a single unit.

No separate supporting tests are taken: the skills that underpin them are assessed within the performance presented.

7c. Repertoire-only

This pathway requires four pieces from the relevant lists, 25 marks each, or five songs of 20 marks in Singing, Grades 6–8. It includes no technical work or overall performance mark: the 100 marks are the repertoire. The additional piece can be chosen from any of the repertoire groups for the grade, in line with Trinity's general instructions.

7d. Educational choice

We propose Technical Work when it is useful to present the technical preparation explicitly, and Repertoire-only when an assessment centred on a repertoire programme is wanted. In both cases, the choice should respond to the student's profile and educational purpose, not only to the intention of avoiding a difficulty.

Source: Trinity, Digital Graded Exams: Classical & Jazz Syllabus (July 2023, current); Trinity, "Digital Classical & Jazz grade exams".

Back to the index

8Trinity Rock & Pop face-to-face

SummaryThree songs, one of them the Technical Focus, and a Session Skills test of your choice: Playback or Improvisation. 80 marks for the songs, 20 for the test.

The three songs

Trinity Rock & Pop face-to-face requires three songs with distinct roles. The instruments are vocals, electric guitar, bass, keyboards and drums.

A choice of your own must not be taken as valid just because it seems difficult: the teacher must check the requirements of the syllabus for that instrument. Even when playing from memory, the original Trinity book and the tracks must be brought to the exam.

8a. Technical Focus

The Technical Focus song integrates the assessment of certain technical skills within the musical performance. This does not amount to adding a separate block of scales: the Rock & Pop model organises the exam around songs and Session Skills.

8b. Session Skills

The candidate takes a Playback or Improvisation test, chosen when booking. In Playback they receive a short score, have 30 seconds to study it and then play back the phrases they hear over the track, reading the score if they wish; two passes, the first a trial and the second assessed. In Improvisation they receive a new chord chart, 30 seconds to study it, and the track plays four times. The test is worth 20 marks (Distinction 17–20, Merit 15–16, Pass 12–14).

8c. Scoring

80 marks across the songs (25 + 25 + 30) and 20 marks in Session Skills. The instrument's specific rubric must be consulted to identify which technical and stylistic aspects are assessed in each song.

8d. Suggested preparation

We recommend working on synchronisation with the tracks, rhythmic stability, articulation, tone and stylistic character. Playback and improvisation should be practised regularly, with varied material, to avoid the student relying exclusively on memorised exercises.

Source: Trinity, Rock & Pop Guitar Syllabus (April 2026 edition, face-to-face section); Trinity, "Exam formats: face-to-face and digital Rock & Pop exams".

Back to the index

9Trinity Rock & Pop digital

SummaryThe same three songs in a single continuous recording; instead of Session Skills, the overall performance is marked. 80 plus 20.

The digital exam keeps the same structure of three songs: one from the syllabus, one from the syllabus or of your own choice and a Technical Focus. It does not include a separate Session Skills test: Trinity assesses the skills that underpin it within the performance of the three songs.

9a. Scoring

Song 1 and Song 2, 25 marks each; Song 3 (Technical Focus), 30; overall performance, 20 (delivery and concentration 10, musical awareness 10). Total 100.

9b. Songs and tracks

Songs 1 and 3 are played with the Trinity track. Only Song 2 can be performed unaccompanied, or with your own track without the solo part, or with a live musician (who can be the teacher). A song of your own choice must be at the level of the songbook for the grade and is uploaded with the recording as a PDF (a lead sheet with lyrics, chords and melody; a chord chart with lyrics; or a score in staff notation or tablature). On the form you must state which song is the Technical Focus.

9c. Recording

All songs in one continuous recording, without stopping or pausing between them; if there is any evidence of editing or audio post-production, Trinity does not assess the exam. The only technical exception: the Rock & Pop tracks can be combined with the performance using a digital audio workstation (DAW), without applying effects. This is not permission to correct notes, pitch-correct, replace passages or build a performance from several takes. The full rules are in Recording and digital submission.

Source: Trinity, Digital Grades: Rock & Pop Syllabus (February 2026 edition); Trinity, "Digital Rock & Pop submission guide" (March 2026); Trinity, "Digital recording guidance" (February 2026).

Back to the index

10Scores, memory and aids

SummaryPieces may be read from the score at both institutions, with no extra marks for playing from memory. Trinity scales are played from memory, with a list of the NAMES in view if you like; in ABRSM, no sheet for scales.

10a. Do not confuse repertoire and technique

The question "can it be read?" must be settled separately for repertoire, technical work, lyrics, harmonic outline and supporting documents. Trinity expressly distinguishes between technical requirements that must be performed from memory and others in which the score may be used.

10b. The scales list (Trinity)

In Trinity's digital exams, scales and arpeggios are played from memory: before starting, the score must be closed and the music stand moved aside. It is permitted to have in view a list with the names of the scales to be played (with an indication of hands, range, dynamics or articulation depending on the instrument), never the notes, and that list must be shown to the camera before it is placed on the stand. Another person may announce each requirement aloud, with no other help. Exercises and studies may be played with the score. In the face-to-face exam, the chosen scales and arpeggios are played from memory.

There is no such aid in ABRSM: in Practical Grades, scales and arpeggios are played from memory, and Performance Grades have no scales.

10c. Scores for the repertoire

In ABRSM Performance Grades and in Trinity (face-to-face and digital, classical and Rock & Pop) it is not compulsory to play from memory and no marks are given for it. In Trinity, the books or legal copies must be visible in the video even if you play from memory, and you may read from paper or from a tablet showing the watermark. In face-to-face Rock & Pop you must bring the original songbook. In ABRSM, the score of the piece of your own choice is shown to the camera at the start; unauthorised photocopies and illegal downloads are not allowed.

10d. Checklist table

Source: Trinity, Digital Graded Exams: Classical & Jazz Syllabus (July 2023); Trinity, Filming guidance Music (February 2026); Trinity, Piano Syllabus (February 2026); ABRSM, Piano Performance Grades Syllabus 2025 & 2026; ABRSM, "About Practical Grades".

Back to the index

11Recording and digital submission

SummaryA single take, with no cuts or editing; the body, hands, face and instrument in view; better in landscape. 28 days from booking to submit. Keep the video and the proof of submission.

11a. ABRSM rules (Performance Grades)

A single continuous, unedited file containing, in this order: the announcement of the name, instrument, grade and pieces (the responsible adult may do this); the first page of the piece of your own choice shown to the camera; in Grades 6, 7 and 8, the photo ID held to the camera for 10 seconds and then the candidate's face; and the performance of the four pieces. The only editing allowed is a small cut in the introduction to add a forgotten detail; any editing of the performance is penalised up to and including disqualification.

• Framing: fixed camera; landscape or portrait is fine; candidate, instrument and music stand in view, with the face visible at all times (facing the camera or in profile). Piano and keyboards: the whole keyboard and, if possible, the pedals. Drums: hands, feet and face. The accompanist, if there is one, also in view.
• Settings: 720p, without the mirror-image option; no notifications, with battery and space.
• File: MP4, MOV or MPG, maximum 2 GB (a high-grade programme at 720p can be around 1 GB; it can be compressed).
• Accompaniment: live or recorded (or a combination); the accompaniment track must not include the candidate's line. The teacher may accompany. Accompaniment by video call is not recommended.
• Under-18s: a responsible adult present at the recording; they may turn pages, accompany and handle the device, and signs the declaration when the video is uploaded. Anyone else in the room: still, silent and out of shot.
• Submission: 28 days from booking, through the ABRSM account, once only; the programme is filled in online when the video is uploaded. ABRSM keeps the videos for 130 days. The video must not be posted on social media or shared outside the people involved.

Source: ABRSM, "Performance Grades guidance" (accessed on 27/10/2026); ABRSM, "Performance Grade accompaniment"; ABRSM, Performance Grades Qualification Specification (3rd edition).

11b. Trinity rules (digital)

The whole programme in a single continuous recording: recording starts before the first piece and is not stopped or paused until the end; if there is any evidence of editing, Trinity does not assess the exam. The name and titles are not announced at the start: the score is shown to the camera and you begin to play.

• Framing: the whole body and the face in view. Piano and keyboards: from the side, with the face, both hands and all the keys visible. Singing: from the front, with hands, face and most of the body. Guitar and bass: camera slightly towards the side of the plucking hand, with both hands and the whole instrument. Drums: the whole candidate and the complete drum kit. The image must not be reversed.
• Audio: one external microphone at most. Video and audio may be recorded with two devices at the same time and joined afterwards; the beginning and the end may be trimmed; never equalisation, reverb, compression, pitch or tempo correction, nor removing the pauses between pieces. Recorded tracks and accompaniments, through an external speaker.
• File: .mp4 or .mov, maximum 3 GB (lower the resolution if it is larger), named "FirstnameSurname_Classical(Instrument)_Grade(N)" or "FirstnameSurname_Rock&Pop(Instrument)_Grade(N)".
• Documents: the books or legal copies in view; for pieces that are not in a Trinity book, one PDF per piece with all the pages; in Rock & Pop, the song of your own choice as a PDF and the Technical Focus indicated.
• Submission: through MyTrinity, with the digital form, within 28 days of booking (the exact date arrives by email). If there is a problem with the upload, Trinity notifies you and extends the deadline. Do not delete the video until you have the report and the certificate. A video cannot be reused for another exam session.

Trinity says nothing about camera orientation; the school's recommendation is to record in landscape.

Source: Trinity, Filming guidance Music (February 2026); Trinity, "Record" and "Submit" (Digital Grades and Diplomas); Trinity, Digital Graded Exams: Classical & Jazz Syllabus; Trinity, Digital Grades: Rock & Pop Syllabus; Trinity, "Digital recording guidance" (February 2026).

11c. Accompaniments

Trinity allows live accompaniment or tracks in its digital Classical & Jazz exams, depending on the conditions of the specialism; a countdown at the start of a track is allowed, but not pulse cues or entry cues during the piece. In Rock & Pop, Songs 1 and 3 are performed with Trinity's official track, and only Song 2 allows your own track or a live musician. For this reason, the rule for one song should not be applied to all the others: Song 1, Song 2 and the Technical Focus must be checked separately.

11d. How we do it at Shine before recording

Before the day of the recording, we go through the whole technical side with you.

1. We confirm the institution, the instrument, the grade and the pathway.
2. We download the current syllabus and digital instructions.
3. We check the repertoire, the accompaniments and the documents.
4. We test the framing, the lighting and the audio.
5. We make a short test recording.
6. We listen to it carefully before recording the exam.
7. We record in line with the institution's specific rules.
8. We review the complete file.
9. We submit it before the deadline.
10. We keep the proof of submission and a copy of the file.

Back to the index

12Fees

SummaryThe official fees for Spain for each exam and grade, in euros, as published by ABRSM and Trinity. Fees and deadlines checked on 9 November 2026

12a. ABRSM, 2026 fees for Spain

Published by ABRSM on its dates and fees page for Spain (accessed on 27/10/2026). They include the digital certificate; the paper certificate costs 4,00 EUR extra.

Other ABRSM fees in Spain: ARSM face-to-face 325,00 EUR; ARSM Performance digital 240,00 EUR; Open Music Assessment 135,00 EUR; Practical Musicianship, the same fee as the Practical Grade for the same grade; LRSM 479,00 / 571,00 EUR and FRSM 731,00 / 856,00 EUR (Performance / Teaching & Directing). Results Review: 35 GBP (Initial to Grade 5) and 50 GBP (Grades 6–8), paid to the London office.

Source: ABRSM, "Exam dates and fees 2026", Spain.

12b. Trinity College London, fees for Spain

Trinity sets its fees by country. The latest public list for Trinity Spain and Portugal is the one for the 2024/25 academic year (from 1 September 2024 to 31 August 2025). The fees for the current year are confirmed by the school with Trinity Spain at the time of registration.

* Fee for the 2024/25 year. Trinity Spain has not yet published those for this year; the school confirms them with Trinity before each registration.

The digital Classical & Jazz fee is the same for the Technical Work and Repertoire-only routes. Trinity theory in Spain is examined on paper, in English or Spanish; the digital theory format is not available in Spain. Diplomas 2024/25: ATCL Recital 395,00 EUR digital / 447,00 EUR face-to-face; LTCL Recital 497,00 / 562,00 EUR.

Source: Trinity College London, "Tarifas de examen 2024/2025 para España y Portugal"; Trinity, "Fees and payment outside the UK & Ireland"; Trinity, "Music theory: where and when can I take an exam".

A digital Trinity registration can be cancelled with a refund within 14 days of booking.

Back to the index

13Dates and deadlines

SummaryFace-to-face exams have fixed sessions and registration deadlines; digital exams are booked on any day and submitted within the following 28 days. Fees and deadlines checked on 9 November 2026

13a. ABRSM

ABRSM runs two face-to-face sessions a year in Spain (May–June and November–December); the list of venues is known when registration opens, and appointments are confirmed about two weeks after the closing date. For Catalonia and Aragon, ABRSM's local representative is the one who confirms the venues for each session; a centre can also host an exam with an examiner on its own premises (Private Visit) through that representative. For paper theory for Grades 6 to 8, ABRSM has no public venues in the north of Spain: a Private Visit at a school is requested from theory@abrsm.ac.uk.

Source: ABRSM, "Exam dates and fees 2026", Spain; ABRSM, "Face-to-face exams"; ABRSM, "Local exam contacts", Spain.

13b. Trinity College London

Trinity's face-to-face sessions are booked by the exam centres with Trinity Spain, so there is no single public calendar: the school confirms the session and its closing date to you. Registrations received after the closing date may carry a surcharge or not be accepted.

Source: Trinity, "Where and when can I take an exam"; Trinity, "When should I book my exam"; Trinity, "Theory of Music exam dates"; Trinity Spain, "Notas clave 2024-2025".

Back to the index

14Registration: how it works with Shine

SummaryWe handle the registration with each institution and, for digital exams, we submit your video. You prepare the programme with your teacher.

How each institution handles registration: in ABRSM, exams are booked online from an ABRSM account (the person booking must be over 18; a school or a teacher can book for their students), face-to-face ones within the registration periods and digital ones on any day. In Trinity, outside the United Kingdom, face-to-face registrations are made through the local representative, Trinity College London Spain (+34 985 536 155, info@trinitycollege.eu), and through registered exam centres; digital ones, by the route Trinity Spain indicates.

With Shine, the process is this:

1. Your teacher and you choose the institution, pathway, grade and format (Map of formats).
2. The school checks the current syllabus, the requirements and the fees, and confirms the dates to you.
3. The school registers you with the institution.
4. Face-to-face: we tell you where and when the exam is. Digital: we record or review your video and we submit it before the deadline.
5. The results and the certificate reach you through the school (Assessment and results).

Questions? Write to us using the form on this page.

Source: ABRSM, "How to book digital exams"; Trinity, "Book an exam"; Trinity Spain, "Contacto".

Back to the index

15Assessment and results

SummaryPass, Merit or Distinction. ABRSM marks out of 150 and Trinity out of 100. ABRSM results usually arrive within a week (up to 28 days); Trinity's, in about two weeks.

ABRSM

You do not need to pass every component to pass the exam. Results: ABRSM aims to publish them within a week of the exam or of the video submission, with a maximum of 28 days (in busy periods, Performance Grades can take longer). Online theory: 28 days. Paper theory: about six weeks outside the United Kingdom. Results are published in the account of the person who made the booking; a student with their own account sees them seven days later. Everyone receives the examiner's report (mark form); those who pass also receive the free digital certificate, and the paper certificate can be ordered for 4,00 EUR. If you disagree with the result, the review (Results Review) is requested within three weeks of publication; ABRSM replies within six weeks.

Source: ABRSM, "About Performance Grades" and "About Practical Grades"; ABRSM, Music Theory Qualification Specification; ABRSM, "Results and certificates"; ABRSM, Marking Appeals Policy (2025).

Trinity

Results: face-to-face, up to two weeks from the exam; digital, an average of two weeks from the video upload (Trinity escalates cases that reach 21 days); paper theory, up to eight weeks. Face-to-face results are communicated by the local representative; digital ones arrive by email and in MyTrinity. The digital certificate is sent by email after the result, with a link to request the paper copy; the certificate is the same in the digital and the face-to-face format.

Source: Trinity, "Release of music results"; Trinity, "Results, scoring and exam feedback"; Trinity, Piano Syllabus (February 2026) and Theory of Music Syllabus (April 2026).

15a. Using the result educationally

We propose devoting a lesson after the exam to going through the report with the student. The conversation should identify achievements, recurring difficulties and two or three specific goals for the next period. We do not recommend using the mark as the only indicator of annual progress.

Back to the index

16Requirements for Grades 6, 7 and 8

SummaryABRSM asks for a Grade 5 in theory (or an equivalent it recognises, including Trinity's Grade 5 theory) before Grades 6, 7 and 8, face-to-face and digital. Trinity does not require any previous exam.

ABRSM. To book a Practical Grade or a Performance Grade 6, 7 or 8 you must first have passed Grade 5 (or higher) in Music Theory, Practical Musicianship or a Jazz Practical Grade. ABRSM accepts as equivalents, among others, Grade 5 (or higher) in Theory of Music from Trinity College London, the London College of Music, the Australian Music Examination Board or the University of South Africa, and AP Music Theory with a score of 3 or more; any other qualification should be checked with syllabus@abrsm.ac.uk at least three weeks before booking. Exams passed since 1994 are checked by ABRSM in its records; earlier ones require a copy of the certificate. There are no requirements for the Initial Grade or for Grades 1 to 5, and you do not need to pass one grade to enter the next. In Grades 6 to 8, the candidate shows photo ID: at the venue, in the face-to-face exam; to the camera for 10 seconds, in the video.

Trinity. There are no prerequisites for any grade, neither theory nor lower grades, in Classical & Jazz, Rock & Pop or theory; you can enter directly at Grade 8. Trinity recommends choosing the level that matches the student's current preparation.

Adjustments. Both institutions offer adjustments for specific needs. In ABRSM they are requested when booking, for each booking, with the access options on the form (rest breaks, a companion or prompter, among others), and cannot be changed afterwards; questions go to specificneeds@abrsm.ac.uk. In Trinity, through the local representative when registering.

Source: ABRSM, "About Practical Grades" (requirements and accepted alternatives); ABRSM, "About Performance Grades"; ABRSM, Fair access guidelines for Performance Grades; Trinity, "Music grade exam requirements"; Trinity, Digital Graded Exams: Classical & Jazz Syllabus; Trinity, Digital Grades: Rock & Pop Syllabus.

Back to the index

17Planning the school year

SummaryDiagnostic check and choice at the start, three strands of work during the year, full mock exams at the end, and a new project after the exam.

Start: diagnostic check and choice

The teacher should assess current repertoire, technique, reading, aural skills, independence in practice, motivation and availability. The choice of exam must be recorded under its full name: "ABRSM online" or "Trinity classical" are not descriptions precise enough to organise the preparation.

Development: consolidation

We propose combining three strands of work:

• Specific preparation of the exam components.
• General musical education not limited to the syllabus.
• Complementary repertoire chosen for artistic interest.

In digital formats without separate sight-reading or aural tests, the internal teaching plan must keep those areas.

Closing: mock exams

We recommend running full mock exams far enough in advance to make improvements. In digital, a mock exam should include equipment, tracks, documentation and a review of the file. In face-to-face, it should reproduce the changes between components and the response to prompts.

After the exam

The exam should close a stage without closing off learning. We propose starting a different project afterwards: new repertoire, chamber music, improvisation, composition, reading or a public performance, depending on the student's profile.

Back to the index

18Communicating with students and families

SummaryThe exam is an opportunity with clear goals and an external assessment; it complements lessons, it does not replace a broad education. Eight phrases we do not say.

Recommended message

"We offer the exam as an opportunity to prepare a musical project with clear goals and to receive an external assessment. We will choose the grade and the format according to the student's preparation and needs. The exam complements lessons, but does not replace a broad musical education."

Statements to avoid

• "All students must move up a grade every year".
• "The certificate guarantees getting into a university".
• "Online is the same exam as face-to-face".
• "All digital Trinity exams include scales".
• "The format without scales does not require technique".
• "We can edit the recording until it is perfect".
• "Any song will do as your own choice".
• "A crib sheet is allowed because other students have used one".

The differences between structures and the recording restrictions are a particular reason to avoid generalisations about format and editing.

Back to the index

19Checklists

SummaryBefore registering and before submitting a video: two lists so that nothing is left to chance.

Checklist for families

Before registering

• The student and family know the educational purpose.
• The teacher has assessed the preparation.
• The institution and pathway are identified.
• The instrument and grade are confirmed.
• The current syllabus is filed.
• The repertoire meets the conditions.
• Prerequisites are checked (Grades 6, 7 and 8).
• Local availability is confirmed.
• Fees and deadlines are reviewed (Fees, Dates and deadlines).
• Any need for adjustments has been looked into.

Before submitting a video

• The correct filming guidance has been used.
• The complete programme and the order of performance have been reviewed.
• Technical work and memory have been checked.
• Any written aid has express authorisation.
• Tracks and accompaniments follow the rules.
• Documents are prepared.
• The recording meets the continuity conditions.
• No prohibited modifications have been made.
• Image and audio allow the performance to be assessed.
• The file meets the format and size requirements.
• Submission and proof of submission are recorded.

Back to the index

20Sources and review

SummaryEverything this guide says comes from the official ABRSM and Trinity pages; the syllabus for each instrument takes precedence over the general pages. Fees and deadlines are checked every week.

The main references are the official ABRSM pages on Practical Grades and Performance Grades, and Trinity's pages on Classical & Jazz, its digital routes and Rock & Pop. Instrument syllabuses add conditions that the general pages do not cover: for example, ABRSM piano and the Trinity Rock & Pop syllabuses for Keyboards, Drums and Vocals. Before registering a student, the school consults the current syllabus for their instrument and grade.

ABRSM

• About Practical Grades: https://www.abrsm.org/prerequisite
• About Performance Grades: https://www.abrsm.org/en-gb/performance-grades/about-performance-grades
• Performance Grades guidance (recording and submission): https://www.abrsm.org/en-gb/performance-grades/guidance
• Performance Grade accompaniment: https://www.abrsm.org/en-gb/performance-grades/accompaniment
• Exam dates and fees 2026, Spain: https://www.abrsm.org/en-es/dates-and-fees/exam-dates-and-fees-latest
• Local exam contacts, Spain: https://www.abrsm.org/en-es/dates-and-fees/local-exam-contacts
• Face-to-face exams (sessions, venues, durations): https://www.abrsm.org/en-gb/how-to-book/face-to-face-exams
• Results and certificates: https://www.abrsm.org/en-gb/about-our-exams/results-and-certificates
• Regulatory bodies and UCAS points: https://www.abrsm.org/en-gb/about-our-exams/regulatory-bodies-and-ucas-points
• About Music Theory: https://www.abrsm.org/en-gb/music-theory/about-music-theory
• Performance Grades Qualification Specification (3rd edition, 2025): https://www.abrsm.org/sites/default/files/2026-02/00%20Performance%20Grades%20Qual%20Spec%20-%20Generic%20Parts%2020260130_access.pdf
• Piano Practical Grades Qualification Specification 2025 & 2026: https://www.abrsm.org/sites/default/files/2024-06/Piano%202025%20&%202026%20Prac%20syllabus%2020240524_access.pdf
• Piano Performance Grades Syllabus 2025 & 2026: https://www.abrsm.org/sites/default/files/2024-06/17%20Performance%20Grades%20Qual%20Spec%20-%20Piano%202025%20&%202026%2020240603_access%20(1).pdf
• Jazz Performance Grades Qualification Specification from 2026: https://www.abrsm.org/sites/default/files/2025-09/Jazz%20Performance%20Grades%20Qualification%20Specification%20from%202026.pdf
• Music Theory Qualification Specification: https://www.abrsm.org/sites/default/files/2023-09/Music%20Theory%20Qual%20Spec%20April%202023%20[2023%20rebrand].pdf
• Marking Appeals Policy (2025): https://www.abrsm.org/sites/default/files/2025-09/ABRSM%20Marking%20Appeals%20Policy.pdf

Trinity College London

• Classical & Jazz grade exams: https://www.trinitycollege.com/qualifications/music/grade-exams/about
• Digital Classical & Jazz grade exams: https://www.trinitycollege.com/qualifications/music/grade-exams/digital
• Rock & Pop grades: https://www.trinitycollege.com/qualifications/music/rock-and-pop/grades
• Digital Grades and Diplomas: Record and Submit: https://www.trinitycollege.com/qualifications/digital/digital-grades-diplomas/record and https://www.trinitycollege.com/qualifications/digital/digital-grades-diplomas/submit
• Filming guidance Music (February 2026): https://www.trinitycollege.com/resource?id=9163
• Digital Graded Exams: Classical & Jazz Syllabus: https://www.trinitycollege.com/resource?id=9166
• Digital Grades: Rock & Pop Syllabus: https://www.trinitycollege.com/resource?id=9167
• Piano Syllabus (February 2026): https://www.trinitycollege.com/resource?id=9079
• Rock & Pop Guitar Syllabus (April 2026): https://www.trinitycollege.com/resource?id=7899
• Tarifas de examen 2024/2025 para España y Portugal: https://www.trinitycollege.com/resource?id=8145
• Trinity Spain (music, contact, register of centres): https://www.trinitycollege.com/local-trinity/spain
• Release of music results: https://www.trinitycollege.com/qualifications/music/release-of-music-results
• Music recognition (Ofqual, UCAS): https://www.trinitycollege.com/about-us/recognition/music-recognition
• Theory of Music exam dates: https://www.trinitycollege.com/qualifications/music/theory/exam-dates
• Support: Where and when can I take an exam: https://support.trinitycollege.com/support/solutions/articles/202000096443-where-and-when-can-i-take-an-exam-
• Support: Results, scoring and exam feedback: https://support.trinitycollege.com/support/solutions/articles/202000097086-results-scoring-exam-feedback
• Support: Music grade exam requirements: https://support.trinitycollege.com/support/solutions/articles/202000096435-music-grade-exam-requirements
• Support: Digital recording guidance: https://support.trinitycollege.com/support/solutions/articles/202000101849-digital-recording-guidance

Fees and deadlines checked on 9 November 2026 If you see a figure or a rule that has changed, write to us: we will check it and correct it.

Back to the index