ABRSM vs RCM vs Other Music Exam Systems, A Practical Comparison for Private Teachers

Teaching long enough means you will eventually get the question, “Should we do ABRSM or RCM?” Sometimes it comes from an eager parent. Sometimes it comes from a transfer student who already has a stack of certificates.

The tricky part is that exams can help a lot, or they can quietly take over your studio if you let them. Every studio is different, and every student is different.

Why this comparison matters

Music exam systems shape what you teach, how you pace lessons, and what students think “progress” looks like. They can also affect motivation, parent expectations, and your calendar.

If you have ever had a student who plays three pieces beautifully but freezes when asked to clap a rhythm, you already know the hidden value of a well-rounded syllabus. If you have ever watched an anxious 12-year-old melt down over a theory requirement, you also know the downside of picking the wrong fit.

The big picture, what most exam systems test

Even though the details vary, most major systems look at some mix of:

• Repertoire (prepared pieces)
• Technique (scales, arpeggios, patterns, etudes)
• Musicianship (sight-reading, aural skills, sometimes improvisation)
• Theory (either integrated into the practical exam or as a separate exam)

Where they differ is in emphasis, format, and how flexible they are for different learning styles.

ABRSM, who it tends to fit well

ABRSM is widely recognized internationally, and many families have heard of it. In many areas it is the default “formal exam” option, especially for families who move countries or want a globally familiar credential.

What teachers often like about ABRSM

• Clear grade structure that parents understand quickly
• Strong focus on well-rounded musicianship, especially aural and sight-reading
• Good external motivation for students who like goals and deadlines

Common friction points in real studios

• Aural and sight-reading can become the sticking point. If a student can play Grade 4 pieces but cannot sing back intervals comfortably, you may spend a big chunk of lesson time shoring that up.
• Repertoire lists can feel limiting for some students. This depends on the instrument and the current syllabus.
• Exam day logistics vary by region. Some areas have plenty of sessions. Others have long waits or limited locations.

A practical example

If you teach a 7-year-old who learns fast by ear but struggles to read, ABRSM can be a helpful structure if you start sight-reading tiny and early. If you wait until the “exam year” to address reading, the exam can turn into a stress project.

RCM, who it tends to fit well

RCM is especially common in Canada and parts of the US, and it is very detailed. Many teachers appreciate how much guidance it provides, including graded technical requirements and a broad repertoire framework.

What teachers often like about RCM

• Very specific technical expectations, which can help you plan week to week
• A wide repertoire library, often with a lot of choice across styles
• A clear pathway into advanced levels, which can be motivating for serious teens

Common friction points in real studios

• The workload can feel heavy for some students. A student who already juggles sports and a packed school schedule may struggle with the volume of requirements.
• Theory and co-requisites can affect pacing. Some students love theory. Others hit a wall when theory becomes a gatekeeper.
• Parents can treat levels like school grades. You may need to remind them that Level 6 is not “better” than Level 5 if the student is burning out.

A practical example

If you charge $60/hour and a family wants their child to do an RCM exam in four months, you might need to be very honest about what weekly practice time makes that realistic. A student practicing 15 minutes, four days a week will likely need a longer runway than the family expects.

Other exam options worth knowing about

Depending on where you live and what you teach, you may have solid alternatives that fit certain students better.

Trinity College London

Many teachers like Trinity for students who do well with performance and flexibility.

• Often more choice in repertoire and, in some tracks, less emphasis on certain traditional components
• Can be a great fit for creative students who want to include contemporary styles or who feel boxed in by set lists

Caveat: This won’t work for everyone, but if you have a student who plays confidently yet panics during sight-reading, a different exam format can keep them progressing without turning lessons into weekly tests.

MTB (Music Teachers Board)

MTB has become popular in some areas because it can be accessible and flexible.

• Practical for teachers who want variety in pieces
• Often easier to schedule depending on your region and the exam format offered

Caveat: Recognition varies by location. If a family wants an exam credential for a specific school application, check what that school actually accepts.

AMEB (Australia), NZMEB (New Zealand), and other national boards

If you teach in regions where these are common, the biggest advantage is local familiarity.

• Parents and schools may already understand the system
• Exam availability can be better locally

Caveat: Transferability depends on where the student might move later.

“Teacher-run” assessments and festivals

Some studios choose festivals, guild auditions, studio recitals with adjudication, or teacher-designed assessments.

• Great for younger beginners who need a gentle first goal
• More control over pacing and repertoire

Caveat: If the family wants a standardized credential, these may not satisfy that need. They can still be excellent musical experiences.

How to choose the right system for a specific student

When a parent asks, “Which exam is best?” I try to translate it into better questions.

1) What kind of motivation does this student respond to?

• Deadline-driven students often do well with any formal exam system.
• Anxious perfectionists may do better with a lower-pressure option first, like a festival class or a performance certificate.

Example: A 10-year-old who cries after every mistake might still do exams, but you may start with a shorter program or a performance-focused track so the first experience feels manageable.

2) What skills are currently underdeveloped?

Exams can either support weak areas or spotlight them in a painful way.

• If sight-reading is weak, choose a path that gives you time to build it without panic.
• If aural skills are weak, plan a long runway and start with tiny weekly habits.

Example: For a teen who can play advanced repertoire but cannot keep a steady pulse, a system with clear technical and musicianship expectations can help you rebuild foundations.

3) How much practice time is realistic in this season?

This is the question families often skip.

You can keep it simple:

• “How many days per week can you practice?”
• “How many minutes on a normal school night?”
• “What changes during sports season?”

Then match the exam timeline to reality.

4) What does the family actually want from the credential?

Sometimes “we want exams” means:

• They want a structured curriculum.
• They want proof of progress.
• They want something that looks good for school.
• They want a goal because practice is slipping.

Those are different problems. One exam system is not automatically the answer to all of them.

5) What do you want your studio to feel like?

This one matters. Exams affect your teaching life.

• If you love coaching details and polishing programs, a heavier syllabus might feel satisfying.
• If you prefer variety and student-led repertoire, you may want an exam path that allows flexibility, or you may use exams for a smaller group of students.

This won’t work for everyone, but some teachers set a studio policy like, “Exams are optional and we only do them when the student asks and practice is consistent.” That keeps exams from becoming the default expectation.

Practical takeaway, what to try this week

Pick one student who might do an exam in the next 6 to 12 months and do a quick “exam fit check” in your notes.

• Motivation: What goal style works for them?
• Skills: What is the weakest exam category right now (reading, aural, technique, theory, performance stamina)?
• Time: What practice schedule is actually happening?
• Option: Which system, or non-exam alternative, matches that reality?

Then send one simple message to the parent or adult student:

• “If we aim for an exam in the spring, we should start sight-reading for two minutes each lesson now.”
• “If soccer season is heavy, we can plan for a later session so this stays enjoyable.”
• “If you want a recognized credential, ABRSM or RCM both work here. Let’s choose based on whether you prefer more repertoire choice or a tighter set of requirements.”

Exams can be a great tool. They just work best when you pick them on purpose, for the student in front of you.