As a young musician, there was nothing I liked better than to sit at the piano and try and play my scales as fast as possible. I enjoyed the feel of the patterns under my fingers and thought it sounded very impressive if I could play each scale so loudly, the neighbours would hear! While this may not sound like the best motivation or practice, I gradually began to realise the importance of learning the different combinations of shapes and flats and how these were the foundational elements of key and tonality. The fluency I developed was definitely very helpful when playing my pieces. What had started simply as a challenge to myself to see how dramatically I could glide through the different octaves and how fast I could get my fingers working, over time became the basis of improvisation and composition, structural awareness and greater accuracy when sight-reading.

Scales are a requirement for every instrumental Practical Grade exam. Technical fluency is crucial for convincing musical communication, and by learning the different keys and patterns of scales and arpeggios, the underlying harmonic foundation becomes embedded and secure. Fluency in scales and arpeggios quickly becomes fluency in all performance.

There are different scale and arpeggio requirements for each instrument and the specifics for each instrument and grade can be found in the Qualification Specification for each subject. In the exam, the examiner will ask for a selection of the scales and arpeggios for the grade, with at least one from every section of the syllabus requirements, so that a secure assessment can be made. There is a predictable order in which these are asked, with scales before arpeggios, and major scales or arpeggios before minor scales or arpeggios. 

As you move through the grades, you will notice that the range of the required scales or arpeggios may extend and that new keys are added across the levels so that all 12 keys are learnt by grade 8.

As well as developing the range of keys, variation in terms of articulation and bowing ensures that the scales can be adapted to enhance any musical setting. For example, staccato is introduced at Grade 5 on the piano and bowing patterns are developed at different grades in the strings. In woodwind and brass instruments tongued, legato-tongued, staccato or slurred articulations are gradually implemented across the levels.

Did you know that the scale and arpeggio keys for any specific grade also relate to the sight-reading options that may be included in the exam, and to the pieces that will be included in the syllabus?

While each instrument and grade has its own unique set of keys and specifications, there are generic elements of their performance that can be applied for a successful outcome in the exam. The following questions that an examiner may be considering are based on the criteria, which can be found at the end of the syllabus document for your instrument. 

Pitch

  • How accurate are the patterns across the specified range of the scale?
  • Are there frequent corrections or retakes or are the keys and patterns clearly defined and convincing?
  • Does intonation remain well-centred and stable across the whole range?

Rhythm and flow

  • Is the chosen tempo appropriate for the grade?
  • Is the rhythmic flow regularly controlled and continuous?
  • Are there any pauses or retakes which affect momentum?

Tone and shaping

  • How clear and even is the tone across the whole range of each scale or arpeggio?
  • Is each note clearly defined and projected?
  • Are there any unexpectedly loud or quiet moments, or is the whole scale or pattern evenly and reliably controlled?
  • Is the scale played musically, with a sense of overall dynamic shape and direction to the high point?

Overall Response

  • How confidently is each item played?
  • Is every pattern secure, or is there an element of caution or uncertainty before delivery?
  • Are all the items attempted or are there some which are incomplete?

With a clearly projected tone, fluent rhythmic flow and musical shaping, scales can become more than just a combination of pitches to produce a particular key or tonality. They can become the foundation of musical expression and communication. Many learners find scales a challenge though and it can be difficult to find the motivation to learn them, however important you may know them to be. In this video, Mark Armstrong, one of our chief examiners, gives some creative and imaginative ways to make scales fun, starting with just the first five notes of any scale.

We aim to make the exams as accessible and inclusive as we can and our designated Specific Needs team is there to answer any questions regarding access requirements. You may like to watch these videos to find out more about our specific needs policy and how to make a booking for a candidate who needs adjustments such as extra time for processing.

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Sarah Baker is an ABRSM Examiner, musician, conductor, and composer. She composes music for performers of all ages and abilities, and her works are included in ABRSM's one-hand piano syllabus.

Last modified: Friday, 14 August 2026, 2:32 PM