Specimen Aural Tests from 2011 with CD Grade 6 ABRSMHow are the aural tests marked? ‘The mark for aural tests is arrived at by making an overall assessment of the candidate's performance 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) Distinction (18) + Quick, accurate and perceptive responses Merit (15-17) + Good responses + Minor errors or hesitation Pass (12-14) + Approximately half the tests correctly answered + Evidence of awareness, despite hesitation and error Below Pass (9-1) + Slow and uncertain responses + Inaccuracy in parts of al tests (6-8) + Very slow and mostly incorrect responses + Alltests entirely inaccurate (0) + Nowork 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 blind or partially-sighted candidates alternative tests are available for Test B. 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 Email accesscoordinator@abrsm.ac.uk www-abrsm.org/specialneeds Other aural training resources from ABRSM For further examples and comprehensive advice on preparing candidates for aural tests, teachers are referred to the new edition of Aural Training in Practice (201). Please note thatthe music extracts inthis book have been freely adapted where necessary forthe purpose ofthe aural ets Fist published in 2010 by ABRSM (Publishing) td, a wholly ‘owned subsidiary of ABRSM, 24 Pertind Place, Landon WB LU, United Kingdom Reprinted in 2010, 201, 2012 © 2010 by The Associated Board ofthe Royal Schools of Music Cover and text design by Vermilion ‘Music and text origination by Banes Music Engraving ts ‘Additional text setting by Hope Services Ltd Printed in England by Halston & Co td, Amersham, Bucks. ESS Feet cioseteTo sing amelody from score, with an accompaniment played by the examiner. The candidate may choose to sing from treble or bass clef. The melody will be within the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner will name and play the key-chord and the starting note and then give the pulse. A brief period of preparation will follow during which the candidate may sing out loud. The examiner will play the key-chord and the starting note again and then count in two bars. If necessary, the examiner will allow a second attempt (although this will affect the assessment). 1 & Allegretto mf Moderato Grade 6 [When appropriate: Would you prefer to sing notes in treble clef or bass clef?) Here is a melody for you to sing while I play the ‘accompaniment - number ... on this page. First Ill give you the key-chord, your starting note and the speed; then you can have a few moments to look through and try it out loud, Here is the key-chord [name and play], | your starting note [name and play] and the speed indicate}. [After about 15 seconds:] Here is the key-chord again [play] and your starting note [play]; now I'll count you in two bars: (count in]. ... Thank you. T Ford D, Scarlatti Andante Ireland[When appropriate: Would you prefer to sing notes in treble clef or bass clef?) Here is a melody for you to sing while | play the ‘accompaniment - number ... on this page. First Ill give you the key-chord, your starting note and the speed; then you can have a few moments to look through and try it out loud, Here is the key-chord [name and play), your starting note [name and play] and the speed {indicate}. [After about 15 seconds:] Here is the key-chord again [play] and your starting note (play]; now I'll count you in two bars: [count in}. «» Thank you. ly, ocmy mp—2_ 4 oy Andante a Allegretto Austrian carol J. S.Bach SilcherGe soserue ss[When appropriate: Would you prefer to sing notes in treble clef or bass clef?] Here is a melody for you to sing while | play the ‘accompaniment ~ number ... on this page. First I'll give you the key-chord, your starting note and the speed; then you can have a few moments to look through and try it out loud. Here is the key-chord [name and play], your starting note (name and play] and the speed [indicate]. [After about 15 seconds:] Here is the key-chord again [play] and your starting note [play]; now I'll count you in two bars: [count in]. «« Thank you. cy Andante moderato Blow 10 en EEE Andante espressivo eee eevee, ‘Mendelssohn =G Andante moderato mes eyGrade 6 (i) To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two features the questions will be about. The first will be: texture or structure; the second will be one of the following: dynamics, articulation, tempo, tonality, character, style and period, texture/structure. (ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is in two time, three time or four time. The examiner will play the extract twice (unharmonized), after which the candidate should clap back the rhythm. The examiner will then ask whether the music is, in two time, three time or four time. The candidate is not required to state the time signature. con Ped. (i) Listen to this piece, then I'll ask you about ... [choose either texture or structure] and about ... [choose one other listed feature]. [After playing, ask one question at a time.) | Gi) Now clap the rhythm of the notes in this phrase, after I've played it twice more. [Play the extract once.] Here it is again. [Repeat the extract] .. Isit in two time, three time or four time? .. Thank you. Schumann ———e F F 7 ‘Texture: Describe the texture of the accompaniment in this piece. Structure: How many main sections are there in this piece? What can you say about the length of each section? _ gga ene a Agapecontinued | 60| Risoluto e pesante Bartok Ped. Ped.___1 Ped. Pd_—____4 Pd___1 © Copy 1940 by Hawkes Son (London Ld Repreduced by permission of ose & Havkes Muse Publehers Texture: Describe the two different textures used in this piece. Tonality: What can you say about the use of tonality in this music?(i) Listen to this piece, then I'll ask you about ... (ii) Now clap the rhythm of the notes in this phrase, [choose either texture or structure] and about ... after I've played it twice more. [Play the extract [choose one other listed feature]. [After playing, once. Here it is again. (Repeat the extract.] .. ask one question at a time.] Is it in two time, three time or four time? .. Thank you, Schubert/Liszt iy, xc con siete 7 2 if ‘marcatissimo ‘Texture: How did the start of the louder phrases differ in texture from the quieter ones? Dynamics: Describe the use of dynamics in this piece. Tonality: Describe the use of tonality in this piece. Style and Period: What is the style and period of this piece? What tells you that?Omit ornaments for capping. ‘Texture: Describe the texture in the first few bars of the piece. Articulation: What can you say about the articulation used in this piece? Character: What in the music gives this piece its character? Style and Period: Which period do you think this piece is from? What musical features suggest that?| (i) Listen to this piece, then I'll ask you about ... (ii) Now clap the rhythm of the notes in this phrase, [choose either texture or structure] and about .. after I’ve played it twice more. [Play the extract [choose one other listed feature]. [After playing, once.] Here it is again. (Repeat the extract.] ... ask one question at a time.] Is it in two time, three time or four time? ... Thank you. ey Che reece wd 5 pp iris dows ers expresif aa 3 SS ee cca 7 ‘Texture: What can you say about the use of texture in this piece? Structure: What can you say about the structure of this piece? Character: What in the music gives this piece its character? Style and Period: What can you say about the style and period of this piece?continued Ba Oe _ Texture: Describe the texture of this music. Structure: How many main sections are there in this piece and how are they related? Tonality: The music began in a major key. Describe the tonality during the rest of the piece. Style and Period: Which period do you think this piece is from? What in the music suggests that?60 | continued (i) Listen to this piece, then I'll ask you about ... [choose either texture or structure] and about .. [choose one other listed feature]. [After playing, ask one question at a time.) pedelicauly Texture: Describe the texture used in this music. ‘Tempo: Describe the use of tempo in this piece. (ii) Now clap the rhythm of the notes in this phrase, after I've played it twice more. [Play the extract once.] Here it is again. (Repeat the extract.) ... Is it in two time, three time or four time? ... Thank you. Alan Bullard clap: (© 2010 by The Associated Board ofthe Royal Schools of MusicAdagio non troppo Mendelssohn Ped Texture: Describe the use of texture in this piece. Structure: Which section of this piece was different from the rest of the music? What was the purpose of this section? Character: What in the music gives this piece its character?(i) Listen to this piece, then I'll ask you about... (ii) Now clap the rhythm of the notes in this phrase, [choose either texture or structure] and about ... after I've played it twice more. [Play the extract [choose one other listed feature]. [After playing, once.] Here it is again, [Repeat the extract.) .. | __ Isitin two time, three time or four time? ... ask one question at a time.] | | Thank you. Handel & Courante Texture: Describe the use of texture in this piece. Articulation: How did the articulation of the scalic passages compare with the articulation elsewhere?Beethoven fi clap. el ee Texture: Describe the use of texture in this piece. Structure: Describe the phrase structure of this music. yy ae ae ee ee ee oerAnswers ‘Answers for Test 6C and model answers for Test 6D(i) are printed here as a guide to the sort of responses that would be successful in an exam. Full credit would be given to these answers, if given promptly and confidently. However, for Test 6D(i) the answers are neither definitive nor ‘comprehensive and there are other ways of responding to the questions that would be equally successful. For some questions, candidates would not have to mention all the features given below in order to receive full credit. For example, in answering questions on character or style and period, giving two of the features listed would be sufficient. The supplied answers to questions on character give a list of features followed by two possible adjectives that describe the character of the piece. Candidates may equally well use a different adjective - the important thing is that, they identify relevant musical features which support their personal response. Marks are not awarded for individual tests but reflect the candidate's overall performance during the set of tests as a whole. Candidates are encouraged to use Italian or other musical terms in their answers where appropriate, and this is sometimes shown in the indicative responses below; any clear description is acceptable. The assessment criteria are given on page 3. GRADE 6 Test 6C 1. Perfect cadence 2. Imperfect cadence 3. Imperfect cadence 4, Perfect cadence 5. Perfect cadence 6. Imperfect cadence 7. Perfect cadence 8. Imperfect cadence 9. Imperfect cadence 10. Perfect cadence Tl. Imperfect cadence 12. Perfect cadence 13. Perfect cadence 14, Perfect cadence 15. Imperfect cadence 16. Imperfect cadence 17. Perfect cadence 18. Imperfect cadence 19, Perfect cadence 20. Imperfect cadence Test 6D(i) 1. Schumann Texture: Single bass note on downbeat, followed by two chords Structure: Two; equal length/each 8 bars Character: Lilting, waltz-like triple metre, regular repeating accompaniment, lively tempo; animated, dance-like Style and Period: Romantic: rich (sometimes unexpected) chromatic harmony, irregular/asymmetrical phrases, waltz-style melody and accompaniment texture, use of sustaining pedal 2. Bartok Texture: Chordal passages alternate with phrases in octaves Tonality: Ends with a major chord, but elsewhere often dissonant, tonality unclear Character: Loud, harmonic clashes, abrupt changes between two ideas, repeating rhythms; angry, forceful Style and Period: Clashing harmonies, lack of defined key/ modal, use of accents, uneven phrase lengths. Schubert/Liszt Texture: Louder phrases started in octaves; quieter phrases started with chords Dynamics: Sudden change from very loud to much Quieter in each half of the piece Tonality: Alternates between minor and major Style and Period: Romantic; dramatic/bold contrasts of dynamics/texture/sonority, animated/fast waltz-like rhythm, use of sustaining pedal . Purcell ‘Texture: Contrapuntal/imitative/two-part/polyphonic Articulation: Mixture of staccato and legato, but mostly detached Character: Flowing tempo, major key, uniform loud dynamic, crisp articulation, fanfare-like chords; joyful, spirited Style and Period: Baroque; use of imitation, simple harmony, clear articulation and texture, ornamentation, use of a limited range of the keyboard suggests it was written for harpsichord Debussy Texture: Melody with accompaniment texture in two parts Structure: Short introduction, followed by two phrases. Character: Smooth repeating/ostinato accompaniment, cantabile/floating melody with flexible rhythm, quiet dynamic; calm, restful Style and Period: Colourful/pentatonic harmony, use of sustaining pedal/sonority, flexible rhythm, lack of dissonance; Impressionistic, some Romantic features 5. Rossini Texture: Melody with chordal accompaniment Structure: Three; first and last share some of the same material/ABA/major-minor-major Tonality: Brief section in minor key towards the middle, then return to major key Style and Period: Romantic; warm chordal texture, use of chromatic notes/harmonies, lyrical melody, abrupt change to minor key . Bullard Texture: Melody with chordal accompaniment Tempo: Relaxed/moderate, medium-swing tempo: rt, at end Character: Jaunty/swung rhythms, syncopation in the tune, generally quiet dynamic, relaxed tempo; cheerful, easy-going character Style and Period: 20th century; jazzy/syncopated rhythms, ‘bluesy’ melody and chords, use of call and. Answers 8, Mendelssohn Texture: Arpeggios at beginning, followed by melody with chordal accompaniment Structure: The opening section; introduction Character: Song-like melody, regular phrase lengths, slow tempo and ‘breathing spaces’ between phrases, major-minor alternations; serious, gentle Style and Period: Romantic; lyrical/cantabile melody, cchromaticism, rich sonority and use of sustaining pedal 9, Handel Texture: Mostly two-part texture, occasional chords Articulation: Scales legato; elsewhere mainly staccato Character: Flowing scalic runs, clear and contrasted articulations, major key, use of imitation; energetic, playful Style and Period: Baroque; imitative two-part texture, crisp articulation, limited dynamic and pitch range, regular phrase lengths, ornamentation 10. Beethoven Texture: Melody and accompaniment Structure: Two main sections, each with two phrases Character: Cantabile/legato melody, moderate tempo, quiet dynamic, major key, subtle use of dissonance; lyrical, graceful Style and Period: Classical; melody-dominated texture with broken chord accompaniment, regular phrase lengths, predictable cadences, mainly simple harmonyCD track list Tracks Test Examples 145 6A 1-11, 13-16 16-30 6B 1-11, 13-16 31-49 6c 119 50-58 6D 19 59-62 ‘Mock Test Examiner: Robin Zebaida Recorded in Spring 2010 at Red Gables Studi, Greenford Produced by Sebastian Forbes Balance Engineering by Ken Bair ‘Audio Eting by Ken Bai AMP production for ABRSM Publishing ABRSM (Publishing) Ltd is a wholly owned subsidiary of ABRSM Key-chords and starting notes for Test 6A For students who choose to play for Test 6A, key-chords and starting notes are as follows (listed by track number): 1. Gminor, starting note D 2. Gminor, starting note D 3. D major, starting note F 4. F major, starting note F 5, Eminor, starting note B 6. Fmajor, starting note C 7. Dimajor, starting note D 8. F major, starting note C 9. D minor, starting note F 10. C major, starting note G 11. D minor, starting note A 12. F major, starting note F in Bb: G major, starting note G in F: C major, starting note C in Bs: D major, starting note D 13, Bsmajor, starting note G in Bs F major, starting note A in F: Be major, starting note D in B: C major, starting note E 14, G minor, starting note D in Bs: A minor, starting note E in F:D minor, starting note A in B: E minor, starting note B 15. Eb maior, starting note G in Br: F major, starting note A in F: B» major, starting note D in Bs: C major, starting note E 59. (Mock Test) G minor. starting note G