Specimen Aural Tests from 2011 Grade 7 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 (9-11) + Slowand uncertain responses * Inaccuracy in parts ofall 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 extract inthis book have been freely adapted where necessary fr the purpose of the aural tests Fist published in 2010 by ABRSM (Publishing) td, a whally ‘owned subsidiary of ABRSM, 24 Portland Place, London WIE TL, United Kingdom Reprinted in 2010, 2011 © 2010 by The Associated Board ofthe Roya Schools of Music Cover and text design by Vermilion ‘Music and text origination by Barnes Music Engraving its ‘Adcitional text setting by Hope Services Ltd Printed in England by Halstan& Co.Ltd, Amersham, BucksBoer To sing the upper part of a two-part phrase from score, with the lower part played by the examiner. The candidate may choose to sing from treble or bass clef. The upper part will be within the range of an octave, in a major or minor key with up to four 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). Andante [When appropriate: Would you prefer to sing notes in treble clef or bass clef?) Here is a two-part phrase; I'd like you to sing the upper part while | play the lower part - 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. F.Kachler Russian song JS. Bach BeethovenAllegretto New Year carol Moderato J.N. Hummel Moderato D Scarlatti Telemann anaes Beethoven continuedcontinued [When appropriate: Would you prefer to sing notes in to look through and try it out loud. Here is the treble clef or bass clef?) key-chord [name and play], your starting note [name Here is a two-part phrase; I'd like you to sing the upper and play] and the speed [indicate]. part while I play the lower part - number ... on this [After about 15 seconds:] Here is the key-chord again page. First I'll give you the key-chord, your starting [play] and your starting note [play]; now I'll count you note and the speed; then you can have afew moments _in two bars: (count in}... Thank you. Pl Andante Mozart 1a) Siciliano (2) _—~ F.Kuchler B Andante | ——_ |, Russian song “ Allegretto J.$.Bach New Year carol 6()) Toidentify the cadence at the end of a phrase as. perfect, imperfect or interrupted. The phrase will be in a major or minor key and will be played twice by the examiner. The chords forming the cadence will be in root position. Before the first playing, the examiner will play the key-chord, (ii) To identify the two chords forming the above cadence. The chords will be limited to the tonic, subdominant, dominant, dominant seventh or submediant (all in root position). First the examiner will name and play the key-chord, then play the two chords as a pair. The candidate may answer using technical names (tonic, dominant, etc.), chord numbers (I, V, etc.) or letter names (C major, G major, etc.). Brightly Andante - Grade 7 ,@y (D) Is the cadence at the end of this phrase perfect, imperfect or interrupted? I'll play it twice. Here is the key-chord [play]. [Play the phrase once.] Here it is again. (Repeat the phrase.] What is the cadence? ii) Next tell me what the two chords in that cadence are, Here is the key-chord again [name and play) and now the two chords [play them slowly, as a pair]. What are they? (Examples for Test 7C (il) can be found on pages 15-18.) Folksong Michael RoseiG continued (i) Is the cadence at the end of this phrase perfect, ii) Next tell me what the two chords in that cadence imperfect or interrupted? I'll play it twice. Here are. Here is the key-chord again [name and play] is the key-chord [play]. [Play the phrase once.) | and now the two chords [play them slowly, as a Here it is again. [Repeat the phrase.] What is pair]. What are they? the cadence? JN. Hummel ‘Tempo di menuetto = ——— Andantino Wile Moderato Handel! Easy going Michael Rose Moderato A Scarlatti SScontinued Michael Rose Andante Haydn Waltz —————_ H.. Richter — —_ Michael Rose Presto D. Scarlatti(i) Is the cadence at the end of this phrase perfect, (ii) Next tell me what the two chords in that cadence imperfect or interrupted? I'll play it twice. Here are, Here is the key-chord again [name and play] is the key-chord [play]. (Play the phrase once.) and now the two chords [play them slowly, as a Here it is again. [Repeat the phrase.] What is pair]. What are they? the cadence? Moderato Menuetto Haydn 6 Allegretto Cavalli ” Po Gently Michael RoseGrade 7 (@g To identify whether the modulation at the end Gi) Now a modulation. Tell me where the music of a different passage is to the dominant, ‘modulates to at the end of this passage - you subdominant or relative minor. The passage, | _ will hear it only once. It begins in ... major, and played once by the examiner, will begin in a major | this is the key-chord [play]. [Play the passage.] key. First the examiner will name and play the Where does it modulate to? ... Thank you. starting key-chord. The candidate may answer using technical names (dominant, subdominant, relative minor) or the letter name of the new key. Menuet Salieri Handel Andante 1.5. Bach a valse, ae Michael Rosecontinued iii) Now a modulation. Tell me where the music modulates to at the end of this passage - you will hear it only once. It begins in ... major, and this is the key-chord [play]. [Play the passage.] Where does it modulate to? ... Thank you. Modena Belin 6 mf cantando Grave e pesante a Tork Vivace =~ ~ Gurlitt Etwas geschwind Schubert Ziemlich langsam Schubert 10Beethoven Minuet ‘Mendelssohn(iii) Now a modulation. Tell me where the music modulates to at the end of this passage - you will hear it only once. It begins in ... major, and this is the key-chord [play]. [Play the passage.) Where does it modulate to? ... Thank you. Allegro —— J.S,Bach —~ 6 Fairly lively Michael Rose v7 mf Andante con espressione Gluck ~— — Galliarde Gervaise pooarar Andante molto cantabile hoven a Beeth rf fT mfi Grade 7 /70| (® Toanswer questions about two features ofa _—_—()_ Listen to this piece, then I'll ask about ... and piece played by the examiner. Before playing, the about ... [choose any two of the features listed examiner will tell the candidate which two of the below the piece]. [After playing, ask one question following features the questions will be about: ata time] dynamics, articulation, tempo, tonality, character, style and period, texture, structure. (ii) Now clap the rhythm of the notes in this phrase, after I've played it twice more. (Play the extract i) To clap the rhythm of the notes in an extract once.] Here it is again. [Repeat the extract.] from the same piece, and to identify whether Is it in two time, three time, four time or 6/8 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, four time or 6/8 time. in two time, three time, four time or 6/8 time. | time? ... Thank you. Purcell Moderato * Omit ornaments for clapaing Texture: Describe the texture in this piece. Structure: What can you say about the phrase structure of the bass line?(i) Listen to this piece, then I'll ask you about ... and about ... [choose any two of the features listed below the piece]. [After playing, ask one question atatime.] 2 P comme une improvisation (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.] .. Isit in two time, three time, four time or 6/8 time? ... Thank you. Grovlez Reproduced rom Almanach ux Images! © Copyright 197 Stier & Bll td, 23 Guneisen oad, London N3 10, England wwwstainercouk ‘Texture: Compare the texture of the opening bars with the texture in the rest of the piece. Structure: What is the musical function of the first section in this piece?Andante grazioso , Mozart r clap xture: Describe the texture of the music. ructure: What can you say about is Phrase structure of this piece? varacter: What in th(i) Listen to this piece, then I'll ask you about ... and ii) Now clap the rhythm of the notes in this phrase, about ... [choose any two of the features listed after I've played it twice more. [Play the extract below the piece]. [After playing, ask one question conce.] Here it is again. [Repeat the extract]. atatime.] Isit in two time, three time, four time or 6/8 | time? ... Thank you. Moderate bossa-nova tempo Mike Cornick © Copyright 1994 by Universal Eton (London) Lid, Londor/UE 16550 Reproduced by permission. Al rights reserved. Texture: Describe the texture used in this piece. Tonality: Comment on the use of tonality in this music. Character: What in the music gives this piece its character?continued Andante maestoso Mendelssohn mfp | sranquitoe legato con Ped, ture: Describe the texture used in this music vamics: Describe the use of dynamics in this piece. sracter: What in the music gives this piece its character? fe and Period: In which style and period was this piece written? What tells you that?(i) Listen to this piece, then I'll ask you about ... and (ii) Now clap the rhythm of the notes in this phrase, about ... [choose any two of the features listed after I've played it twice more. (Play the extract below the piece]. [After playing, ask one question once.] Here it is again. [Repeat the extract.] .. atatime.] Isit in two time, three time, four time or 6/8 time? ... Thank you. Clementi Allegretto ae Conese ‘Texture: Describe the texture of the musi Character: What in the music gives this piece its character?continued Andante espressivo e molto rubato pete a — dunga pausa a rall.e dim. a es pp — |e Ped. J Ped. 1 Ped. ww 1 © Copyright 1915 Wintvop Rogers id ayn strict tie for lapping Reproduced by permission of Boose & Haves Music Publishers td sructure: How were the sections of this piece defined? Which section of the piece was different from the others? =mpo: Describe the use of tempo in this piece.continued (i) Listen to this piece, then I'll ask you about ... and (ii) Now clap the rhythm of the notes in this phrase, about ... [choose any two of the features listed after I've played it twice more. [Play the extract below the piece]. [After playing, ask one question | _once.] Here it is again. (Repeat the extract.] at atime.) | Isitin two time, three time, four time or 6/8 time? ... Thank you. Menuett 2 . Handel (omit ornament fo clapping, Texture: Describe the texture used in the music. Structure: How many main sections does this piece have? How are they related? 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? What are its stylistic features?Poco meno mosso we = © Copyright 1922 Hones & Son (London) Ltd Reproduced by permision f Boosey & Hawes Music Publishers Ltd =xture: Compare the texture used in the middle section of this piece with the textures heard elsewhere. icture: How many main sections were there in this music? How were they defined? mfcontinued Prokofiev e poco meno mosso (tap atempo —__ wf © Copyright 1922 Hawkes & Son (London) Ltd fected by permis ot oeey& Hes Muse Able id =xture: Compare the texture used in the middle section of this piece with the textures heard elsewhere. tructure: How many main sections were there in this music? How were they defined?continued nd (ii) Now clap the rhythm of the notes in this phrase, (i) Listen to this piece, then I'll ask you about about ... [choose any two of the features listed after I've played it twice more. [Play the extract below the piece]. [After playing, ask one question once. Here it is again. [Repeat the extract.] .. at atime.) Is it in two time, three time, four time or 6/8 time? ... Thank you, rubato ‘Omit ornament and ply in strc time fr clapping. Texture: Describe the texture in this piece. What can you say about the accompaniment texture? Structure: How many main sections did you hear? How were they related? Character: What in the music gives this piece its character? Style and Period: This is a piece from the Romantic period. Which features of the music tell you that?Answers for Test 7C and model answers for Test 7D(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 7D(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 ist 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. For questions on style and period, likely composer names have been given in brackets. Although at Grade 7 there is no specific requirement to name a composer, students may find it helpful to relate what has been heard to familiar repertoire in order to place the piece in a stylistic context. 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. Answers GRADE7 Test 7C(i) and (ii) Cadence Chords* 1. Perfect Vand | 2. Imperfect land V 3. Perfect Vand | 4. Interrupted? and VI 5. Imperfect land V 6. Interrupted V7 and VI 7. Imperfect IV and V 8. Perfect Wand! 9. Interrupted Vand VI 10. Interrupted V7 and VI M1. Imperfect Vand V 12. Interrupted V7 and VI 13. Imperfect land V 14. Perfect Vand! 15. Imperfect IVandV 16. Perfect Vand! 17. Perfect Vand! 18. Interrupted V7 and VI * Answers for 7C(ii) are given here using chord numbers (1, V, etc.) but itis also acceptable for the candidate to answer using technical names (tonic, dominant, etc.) or letter names (C major, G major, etc.). Test 7CGii) 1. Dominant/E major 2. Subdominant/A major 3. Relative minor/A minor 4, Subdominant/D major 5, Relative minor/B minor 6 7 8. 9 Relative minor/F minor Dominant/F major Dominant/G major Subdominant/D flat major 10. Relative minor/B minor 11. Dominant/G major 12. Relative minor/E minor 13. Dominant/B major 14. Subdominant/G major 15. Dominant/G major 16. Subdominant/A major 7. Relative minor/F sharp minor 18. Subdominant/C major 19, Relative minor/D minor 20. Dominant/B majorAnswers Test 7D) 1. Purcell Texture: Two-part (except for final chord) Structure: Same phrase repeated three times/ostinato/ ground bass Tonality: Minor key with a few chromatic notes Style and Period: + Baroque (Purcell, Telemann) + Ground bass, two-part contrapuntal texture, ‘ornamentation, use ofa limited range of the keyboard 2. Grovlez ‘Texture: Single-line/monophonic opening; melody with chordal accompaniment for the rest of the piece Structure: Introduction Character: Decorative melody (sounds almost improvised), quiet dynamic, use of minor mode, slow tempo; calm, thoughtful Style and Period + 20th century/Impressionistic (Debussy, Ravel) * Colourful parallel harmonies, modal/pentatonic melody, use of embellishment/decoration/ improvisation, impressionistic sonority with use of sustaining pedal 3. Mozart Texture: Melody with chordal accompaniment. Structure: Balanced/regular four-bar phrases Character: Balanced phrases, lilting rhythms in ‘compound time, mainly quiet dynamic, major key, gentle, graceful Style and Period: + Classical (Haydn, Mozart) + Melody-dominated texture, repetition of ideas, balanced phrases (which are clearly punctuated with cadences), simple harmony, melodic decoration/turns 4, Mike Cornick Texture: Tune with chordal accompaniment TTonality: Major key, jazz chords/harmonies/added notes Character: Syncopated rhythms, jazzy chord changes, smooth/stepwise melody, dynamic interest; warm, easy-going. Style and Period: + 20th century (obim) + Latin groove/rhythms, syncopations, colourful jazz chords, melodic inflections /embellishments 3. Mendelssohn Texture: Thick chords/homophonic texture Dynamics: Opening chords loud/very loud; then moderately loud, followed by quiet last phrase, getting ‘even quieter towards the end Character: Minor key, stately tempo, loud fanfare-like chords at beginning followed by smoother melody, rich processional/hymn-like chords; dramatic, majestic Style and Period: + Romantic (Mendelssohn, Brahms) + Rich chords, use of a wide range of the keyboard, very wide dynamic range, lyrical/cantabile melody, use of sustaining pedal for sonority 5. Clementi Texture: Mostly two-part, melody with accompaniment, Articulation: Mixture of legato and staccato in both hands Character: Lively tempo, balanced phrases with regular cadences, major key, clear and detailed articulation, scalic runs; elegant, light Style and Period: + Classical (Mozart, Clementi) + Clear-cut, generally balanced phrase lengths with regular cadences, melody and accompaniment with use of arpeggiated accompaniment figures, use of ccrese. and dim, light piano sonority with a moderate pitch range, reliance on primary chords Bridge Structure: Sections defined by melody and cadences; third section, which uses contrasting material ‘Tempo: Moderate tempo, with flexibility/use of tempo rubato; more significant tempo changes in second half rall, at end Tonality: Major key, with chromaticism/use of unrelated chords Style and Period: + Romantic (Schumann, Grieg) + Lyrica/flowing melody with extended phrases, flexible tempo/rubato, use of sustaining pedal, chromatic harmonyAnswers 8. Handel Texture: Two-part; melody and accompaniment/bass line Structure: Two; first half of each section uses same basic melody/harmony in second section itis elaborated Character: Minor key, fairly slow tempo, use of descending sequence, melodic ornamentation, light texture; stately, sombre Style and Period: * Baroque (Bach, Handel) ‘+ Thin/two-part texture, melody heavily ornamented, Use of a limited range of the keyboard suggests it was written for harpsichord, clear articulation and texture, diatonic harmony, binary form/two-section structure 9. Prokofiev Texture: Octave/unison texture in middle section; melody accompanied by chords elsewhere Structure: Three; outer sections share similar material and melody, articulation and tempo change in middle section Character: Energetic rhythms, vivid contrasts of articulation, use of the bass register for melodic ideas, fast tempo, use of accents; cheeky, humorous Style and Period + 20th century (Barték, Stravinsky) + Repeated rhythms with percussive accents, abrupt changes of mood, use of a wide range of the keyboard, tempo changes, dry sonority 10. Chopin Texture: Melody with chordal accompaniment; repeated pattern: single bass note followed by two chords Structure: Two; melody similar at beginning of each section Character: Lyrical/cantabile melodic lines with elaborate decorations, rich harmonies, repeating accompaniment. pattern, gentle dynamic, slow tempo; calm, soothing, Style and Period: + Romantic (Chopin, Liszt) + Flexibility of tempo/rubato, rich harmonies with some chromaticism, warm sonority with cantabile tone and Use of sustaining pedal, melodic decoration