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Please use the links below to find the titles recommended in the ABRSM Cello Grade 5 from 2024 Syllabus:
Grade 5 Pieces
One piece must be chosen from each of Lists A, B and C.
Please note that the first three pieces in each list are found in ABRSM Cello Exam Pieces Grade 5 from 2024 available in different formats:
Cello Part only or Cello & Piano Parts or Cello & Piano Parts with Audio
Please see the list below of other pieces for Grade 5.
Grade 5 Scales
Grade 5 Sight-Reading
ABRSM Cello Specimen Sight-Reading, Grades 1-5
Grade 5 Aural
Specimen Aural Tests, Grades 4-5
Aural Training in Practice, Grades 4-5
Grade 5 Pieces
One piece must be chosen from each of Lists A, B and C:
| List A | Composer | Piece Details | Publication |
|---|---|---|---|
| 1 | Bazelaire | Bourrée d’Auvergne (No.1 from Suite française, Op.114) | |
| 2 | B. G. Marcello | Allegro (2nd movt from Sonata in E minor, Op. 2 No. 2) | |
| 3 | Ticciati | Fugue (No. 4 from Studies in Style and Technique, Book 2) | |
| 4 | B. Bernardi | Sonata in G minor upper part; complete | 9 Sonate facili (EMB Zeneműkiadó) |
| 5 | Boccherini | Minuet, arr. Suzuki without DC | Suzuki Cello School, Vol. 3 (Alfred) |
| Suzuki Cello School Volume 3 – Piano Accompaniment (Alfred) | |||
| 6 | Bréval | Allegro (1st movt from Sonata No.1 in C) | Bréval: Sonata No.1 in C (Stainer & Bell) or |
| Bréval: Sonata in C, arr. Schroeder (IMC) or | |||
| Best of Cello Classics (Schott) | |||
| 7 | Caldara | Presto (4th movt from Sonata in D) | Caldara: Sonata in D (Schott) |
| 8 | Haydn | Scherzando (1st movt from Trio in G, Hob. XI:70), arr. Pejtsik | Cello & Piano 1 (EMB Zeneműkiadó) |
| 9 | S. Paxton | Allegro moderato (1st movt from Sonata in G, Op. 3 No.1), arr. Buschmann | S. Paxton: Two Sonatas from Op. 3 (Simrock) |
| 10 | J. S. Bach | Aria in F (from Cantatas, BWV 208 and BWV 68), arr. K. & D. Blackwell | Solo Time for Cello, Book 2 (OUP) |
| 11 | Giuseppe Chinzer | Allegro (2nd movt from Sonata in G minor, Op.1 No. 6) | Three 18th-Century Sonatas for Cello (Faber) |
| 12 | Jonathan Dove | Prayer-wheel | Spectrum for Cello (ABRSM) |
| 13 | Lully | Gavotte | Suzuki Cello School, Vol. 3 (Alfred) |
| Suzuki Cello School Volume 3 – Piano Accompaniment (Alfred) | |||
| List B | |||
| 1 | Andrée | Romance (No.1 from Two Romances), arr. K. & D. Blackwell | |
| 2 | Dvořák | Humoresque (No. 7 from Humoresques, Op.101), arr. Bullard | |
| 3 | Tchaikovsky | Waltz (from The Sleeping Beauty, Act I, Op. 66), arr. Litten | |
| 4 | Borodin | Nocturne (from String Quartet No. 2), arr. Lanning | Classic Experience Encores for Cello (Cramer) |
| 5 | Flotow | M’appari (from Martha), arr. B. & R. De Smet | Cello Canto (Fentone) |
| 6 | Goltermann | Marche funèbre (No. 2 from Sechs tonbilder, Op. 97) | Cellissimo – Arietta (Schott) or |
| Best of Cello Classics (Schott) | |||
| 7 | Mendelssohn | Consolation, arr. Amsco | Cello Solos (Amsco) |
| 8 | Pergolesi | Nina, arr. Pejtsik | Violoncello Music for Beginners, Vol. 3 (EMB Zeneműkiadó) |
| 9 | Schubert | Ständchen (from Schwanengesang), arr. Bruce & Wells | More Time Pieces for Cello, Vol. 2 (ABRSM) |
| 10 | Tchaikovsky | Chanson triste (No. 2 from 12 morceaux, Op. 40), arr. Legg & Gout | Learning the Tenor Clef (Faber) |
| 11 | Bazelaire | Chanson de Bresse (No. 3 from Suite française, Op.114) | Bazelaire: Suite française, Op.114 (Schott Freres) or |
| Solos for Young Cellists, Vol. 4 (Alfred–Summy-Birchard) | |||
| 12 | Bill Thorp | Wistaria | Grade by Grade, Cello Grade 5 (Boosey & Hawkes) 🕮 |
| 13 | A. E. Walton | The Call of the Angelus, arr. Woodhouse | Grade by Grade, Cello Grade 5 (Boosey & Hawkes) 🕮 |
| List C | |||
| 1 | Goltermann | ||
| 2 | Jacob | Robots’ March | |
| 3 | Michael Radanovics | On the Ground (No. 5 from Jazzy Cello) | |
| 4 | Jonathan Cole | Elegy | Spectrum for Cello (ABRSM) |
| 5 | G. Gershwin | Summertime (from Porgy and Bess), arr. Gout | Play Gershwin for Cello (Faber) |
| 6 | James MacMillan | Sabre Dance (No. 6 from Northern Skies) | James MacMillan: Northern Skies (Boosey & Hawkes) |
| 7 | Trad. Irish | The Frieze Breeches, arr. Davis– SOLO | Irish Folk Tunes for Cello (Schott) |
| 8 | Villoldo | El Choclo, arr. Speckert | Tango Classics for Cello (Bärenreiter) |
| 9 | Pam Wedgwood | Survivor (from After Hours) | Pam Wedgwood: After Hours for Cello (Faber) |
| 10 | Bartók | Sash Dance and In One Spot (Nos. 2 and 3 from Romanian Folk Dances), arr. Davies or trans. Silva | Bartók for Cello (Boosey & Hawkes) or |
| Bartók: Romanian Folk Dances for Cello (Universal) | |||
| 11 | Grieg | Puck (from Lyric Pieces, Op. 71 No. 3), arr. K. & D. Blackwell | Solo Time for Cello, Book 2 (OUP) |
| 12 | Joplin | Easy Winners, arr. Bruce & Wells | More Time Pieces for Cello, Vol. 2 (ABRSM) |
| 13 | Nazareth | Odeon, arr. Speckert | Tango Classics for Cello (Bärenreiter) |
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ABRSM Cello Grade 5 from 2024 additional resources & information
Theory of Music
ABRSM Theory of Music Exam Materials
Additional Theory of Music Resources
ABRSM Cello Grade 5 from 2024
Overlap
Bowed Strings candidates worldwide may play their three pieces from the 2020–2023 Bowed Strings Syllabus until 31 December 2024. All pieces must be from the same syllabus – candidates may not present a mixture from old and new syllabuses.
Amendments
The ABRSM will post updates to the syllabus e.g. changes to publication details or other minor corrections or clarifications at www.abrsm.org/syllabuscorrections.
Revision
The ABRSM has not scheduled the next revision of the Cello Syllabus. The ABRSM will post advance notice of planned changes to the Cello Syllabus (including syllabus overlap information) at www.abrsm.org/syllabusupdates.
Photocopies & downloads
Candidates should not perform from unauthorised photocopies (or other kinds of copies) or illegal downloads of copyright music in examinations. There are limited circumstances where can copies be used in an examination the UK. The MPA’s Code of Fair Practice gives further guidance. Before making a copy an application should be made to the copyright holder and evidence of permission should be brought to the exam. Candidates and Applicants must act within the law with regard to copyright.