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    Specimen Aural Tests

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    Specimen aural test ABRSM grade 1 - 3

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    Specimen Aural Tests

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    rindra R
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    Specimen aural test ABRSM grade 1 - 3

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    specimen-aural-tests

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    Specimen aural test ABRSM grade 1 - 3

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    Download as pdf
    2K views41 pages

    Specimen Aural Tests

    Uploaded by

    rindra R
    Specimen aural test ABRSM grade 1 - 3

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    © All Rights Reserved
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    sy Tella Aural Tests ABRSM Grades 1-3 TPO bc ee : i | " ) sul [hu m | | ii | ; ean 7 nnn il a ye me How are the aural tests marked? ‘The mark for aural tests is arrived at by making an ‘overall assessment of the candidate's aural skill, knowledge and understanding during the set of tests as a whole, and relating this to the assessment criteria shown below. Rather than starting at zero and awarding marks as the tests proceed, or at 18 and then deducting marks, examiners use the principle ‘of marking positively or negatively from the pass mark. The mark then reflects the cumulative balance of strengths and weaknesses that the candidate has: demonstrated, taking into account the accuracy, perceptiveness and quality of the responses given. Assessment criteria (all grades) + Accurate throughout + Musically perceotive * Confident response Merit + Strengths significantly outweigh 1516 weaknesses + Musically aware + Secure response Pass + Strengths just outweigh 12414 weaknesses + Cautious response BelowPass + Weaknesses outweigh strengths ont + Uncertain response 68 + Inaccuracy throughout + Vague response ° + No work offered Introduction ‘Access (for candidates with specific needs) Deaf or hearing-impaired candidates may opt to respond to alternative tests in place of the standard tests, if requested at the time of entry. The syllabus for these tests is available free on request from ABRSM. For further information about alternative tests and access for candidates with specific needs please contact ABRSM's Access Co-ordinator or visit the website. Telephone +44 (0)20 7636 5400 Textphone +44 (0)20 7637 2582 Emel accesscoorcinator@abrsm.2c.uk wnwabrsmorg/speciaineeds Other aural training resources from ABRSM For (urther examples and comprehensive advice (on preparing candidates for aural tests, teachers are referred to the new edition of Aural Training in Practice 2011). Poasa ete that the musi extract i this book havo boon eely adapted hare necessary forthe purpote othe aural ests. Fest published 2010 by ABRSM CPubsshing) Lid a wholly and subsiary of ABRSM Reprinted in 2010, 200, 2014, 2017 {© 2010 by The Associated Roar ot the yal Schools cf Muse Cover and text design by Verilion ‘Musicandtertorghtion by Andrew Jones ‘Addliona text setting by Hove Services ic Printed in England by Hasin & Co. td, Amersham Bucks, on materials ram sustainable sources Grade 1 To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or three time. The examiner will start playing the passage, and the candidate should join in as soon as possible, clapping in time and giving a louder clap on the strong beats. The examiner will then ask whether the music is in two time or three time. The candidate is not required to state the time signature. a nf Allegro ma non troppo ——— = First, clap in time while | play. Join in as soon as you can and give a louder clap on the strong beats. [Play the entire piece.] Is it in two time or three time? ... Thank you. Gluck Weber ee Mozart 4 433575 Ga, Rimico Country dance S 6 Moderato he Le Couppey 7 Allegretto comodo : Kimberger @__ Moderato Pleyel Guy Fake 10 ag 3575 5 Grade 1 To sing as ‘echoes’ three phrases played by the Next I'd like you to sing three phrases as echoes, ‘examiner. The phrases will be two bars long, in a Here is the key-chord [play] and your starting major key, and within the range of tonic-mediant. note [play] First the examiner will play the key-chord and the starting note (the tonic) and then count in two bars. ‘After the examiner has played each phrase, the candidate should sing back the echo without a pause, keeping in time. @ echo echa2 cro [Count in two bars. w. Thank you, & ‘echo echo 2 echo echo echo 2 echo3 = & echo echo? echo 3 & echo echa2 echo3 e echo 1 echo 2 echo3 echo2 echo & echo echo 2 echo 3 Pal a echo 1 echo? echo3, s Grade ig To identify where a change in pitch occurs duringa | Now I'll play a phrase twice, but with a change to phrase played by the examiner. The phrase willbe one of the notes the second time, Tell me whether two bars long, ina major key, and the change will the change was near the beginning or near the end. affect only one of the notes. First the examiner will | Here is the key-chord [play] and the tonic [play]. play the key-chord and the tonic and then count in [Count in two bars and play the phrase for the first two bars. The examiner will play the phrase twice, time.] And now with the change, [Play the altered making the change in the second playing, after which | phrase without counting in.] Was the change near the candidate should state whether the change was | the beginning or near the end? ... Thank you, near the beginning or near the end. If necessary, the ‘examiner will play both versions of the phrase again (although this will affect the assessment). end f Gy, teers Beethoven beginning ———— —— 2 ip end a ae & Traditional begining

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