ABRSM Exams

Pupil Book Grades 6 - 8

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AURAL TESTS (ABRSM)

Aural tests account for 18 out of the 150 marks in your ABRSM exams (12%). They
dont count as much as being able to play your instrument well, but enough to make
the difference between Pass/Fail/Merit/Distinction. Also, confidence about this part of
the exam will boost your confidence for the whole exam. You wont be going through
the exam worrying about this one bit.
How are the aural tests marked?
The mark for aural tests is arrived at by making an overall assessment of the
candidates 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 deducting marks, examiners use the principle of
marking positively or negatively from the pass mark. The mark then reflects the
cumulative balance of qualities that the candidate has demonstrated, taking into
account both the accuracy and the confidence of their responses. It is worth noting
that hesitation is deemed as a mark loser. A right answer said nervously looses marks.
Practise speaking confidently even when youre not!
Distinction
(18)

- Quick accurate and perceptive responses

Merit
(15 17)

- Good responses
- Minor errors or hesitation

Pass
(12 14)

- Approximately half other tests correctly answered

- Evidence of awareness, despite hesitation and error

Below Pass
(9 11)

- Slow and uncertain responses

- Inaccuracy in parts of all tests

(6 8)

- Very slow and most inaccurate responses

- All tests entirely inaccurate

(0)

- No work offered

HOW CAN I HELP MYSELF WITH AURAL?

If your teacher, for whatever reason is unable to undertake regular aural practice with
you there are many things you can do:
1.

Purchase ABRSM specimen aural books with CD backing tracks and test
yourself regularly.

2.

Sign up to www.hofnote.com four months before your exam and do daily

online practice.

3.

Try and listen to lots of different types of music.

- find the pulse by tapping along
- spot any changes in tempo and pulse
- spot any changes in key
- try and work out when it might have been written and why you thought
that
- spot the cadences and try and decide what they were

4.

Browse YouTube for recordings by the main composers typifying each

period. Look particularly for piano music, as it will be piano in your exam.

5.

Sing all the time!

- Sing loudly in the shower/bath/loo get rid of your inhibitions
- Sing to your favourite music, not just listen to it
- Practise singing intervals up to an octave and check them on your
instrument
- Sing Major/Harmonic/Melodic Scales and Arpeggios

6.

Involve your other music teachers in the process. If you play piano as well
as an orchestral instrument, your piano teacher will be happy to help you
with aural as long as you tell them. Some school music departments will
run extra aural if you ask.

7.

Every time you get a new piece try singing it first and then see how close
you got.

8.

Aural will always be easier if you dont just leave it to a couple of weeks
before the exam. Practise it as part of your regular routine.

Aural Tests Grade 6

1.

To sing or play from memory the upper part of a two part melody played
twice by the examiner. The key chord and starting note will first be
sounded and named, and the pulse indicated by a two bar count in. A
second attempt will be allowed if necessary.

2.

To sing a melody from score, with an accompaniment played by the

examiner. First the examiner will play and name the key chord and the
starting note and then give the pulse. A brief period of preparation will
then follow during which the candidate may sing out loud. The examiner
will play the key chord and starting note again and then count in two bars.
If necessary, the examiner will allow a second attempt. Candidates may
choose to sing the test from the treble or bass clef.

3.

To identify the cadence at the end of a phrase as Perfect or Imperfect. 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.

4.

Perfect Cadence (V I)

Consists of chord V followed by chord I.

It is called perfect because it sounds
complete.

Imperfect Cadence (x V)

Consists of a chord (probably I, II or IV)

followed by chord V. The fact that it
finishes on V rather than resolving onto
chord I makes it feel unfinished or
imperfect.

To identify two features of a piece of music played by the examiner. The

first feature will be confined to one of the following:
Texture

See later sheet

Structure

See later sheet (form)

The second feature will be selected from:

Tempo, Dynamics, Articulation, Tonality, Character, Style and Period,
Texture, Structure
4b

To clap the rhythm of a short extract played twice by the examiner from
the piece youve just heard and to state whether it is in 2, 3 or 4 time. It is
important to try and decide how many beats there are in a bar when you
are hearing the whole piece played through for the first time as when they
play the extract youll be too busy trying to remember it to clap it back.
The examiner will not remind you to listen out for the number of beats in a
bar, thats up to you!

Aural Tests Grade 7

1.

To sing or play from memory the lower part of a two part melody played
twice by the examiner. The key chord and starting note will first be
sounded and named, and the pulse indicated by a two bar count in. A
second attempt will be allowed if necessary.

2.

To sing the upper part of a two-part phrase from score, with the lower part
played by the examiner. First the examiner will play and name the key
chord and the starting note and then give the pulse. A brief period of
preparation will then follow during which the candidate may sing out loud.
The examiner will play the key chord and starting note again and then
count in two bars. If necessary, the examiner will allow a second attempt.
Candidates may choose to sing the test from the treble or bass clef.

3.

a) To identify 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.
Perfect Cadence (V I)

This is formed by chord V followed by chord

I. It is called perfect because it sounds
complete. Chord V can have a 7th added,
which will make the chord sound fuller and
the 7th will feel like it needs to resolve down
this is called a Dominant 7th.

Interrupted (V vi)

An interrupted cadence sounds like its going

to resolve and then instead steps up to a
chord that sounds like it doesnt belong.
(Major/Minor, Minor/Major)

Imperfect Cadence (x V) This is formed by a chord (probably I or IV)

followed by chord V. The fact that it finishes
on V rather than resolving onto chord I
makes it feel unfinished or imperfect.
b) 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. (See examples at end
of grade 7 section.)
c) To identify whether the modulation at the end of the passages is to the
dominant, subdominant or relative minor. The passage will begin in a
major key. Before playing the passage, the examiner will name and
play the starting key-chord. The candidate may answer using the
technical names or the letter name of the new key. (See section on
modulations at the end of grade 8 section.) The passage will only be
played once.

4.

To identify two features of a piece of music played by the examiner. The

features will be confined to the following:
Tempo, Dynamics, Articulation, Tonality, Character, Style and Period,
Texture, Structure

4b

To clap the rhythm of a short extract played twice by the examiner from
the piece youve just heard and to state whether it is in 2, 3, 4 or 6/8 time.
It is important to try and decide how many beats there are in a bar when
you are hearing the whole piece played through for the first time as when
they play the extract youll be too busy trying to remember it to clap it
back. The examiner will not remind you to listen out for the number of
beats in a bar, thats up to you!

Modulations for Grade 7 and 8

Starting in a
MAJOR
KEY

Starting in a
MINOR
KEY
(grade 8
only)

SUBDOMINANT
if you have
managed to sing
the bass note all
the way through it
will fit in this
chord.
Still MAJOR
Feels like your
adding flats,
pulling down
SUBDOMINANT
if you have
managed to sing
the bass note all
the way through it
will fit in this
chord.
Still MINOR
Feels like your
adding flats,
pulling down

DOMINANT
if you have managed
to sing the bass note all
the way through it will
NOT fit in this chord.
Still MAJOR
Feels like your adding
sharps, pulling up

RELATIVE
MINOR
if you have
managed to sing the
bass note all the way
through it will fit in
this chord.
Sounds MINOR

DOMINANT
if you have managed
to sing the bass note all
the way through it will
NOT fit in this chord.
Could be minor or
major depending on
whether the leading not
has been sharpened.
Feels like your adding
sharps, pulling up

RELATIVE
MAJOR
if you have
managed to sing the
bass note all the way
through it will fit in
this chord.
Sounds MAJOR

Aural Tests Grade 8

1.

a) To sing or play from memory the lowest part of a three part melody
played twice by the examiner. The key chord and starting note will first
be sounded and named, and the pulse indicated by a two bar count in.
A second attempt will be allowed if necessary.
b) To identify the cadence at the end of a continuing phrase as perfect,
imperfect, interrupted or plagal. The phrase will be in a major or
minor key and will be played twice by the examiner.
c) To identify the three chords (including their positions) forming the
above cadential progression. The chords forming the cadence will be
limited to the tonic (root position, first or second inversions),
supertonic (root position or first inversion), subdominant (root
position), dominant (root position, first or second inversions),
dominant seventh (root position) or submediant (root position). Before
the first playing the examiner will play the chord. (See sheet on chord
progressions.)

2.

To sing the lower part of a two-part phrase from score, with the upper part
played by the examiner. First the examiner will play and name the key
chord and the starting note and then give the pulse. A brief period of
preparation will then follow during which the candidate may sing out loud.
The examiner will play the key chord and starting note again and then
count in two bars. If necessary, the examiner will allow a second attempt.
Candidates may choose to sing the test from the treble or bass clef.

3.

To identify whether the modulations at the end of two different passages

are to the dominant, subdominant or relative minor/major. The first
passage will begin in a major key and the second will begin in a minor
key. Before playing each passage, the examiner will name and play the
starting key-chord. The candidate may answer using the technical names or
the letter name of the new key. (See section on modulations.) Each passage
will only be played once.

4.

To describe the characteristic features of a piece played by the examiner.

After hearing the piece, the candidate should describe any notable features,
such as Tempo, Dynamics, Articulation, Tonality, Character, Style and
Period, Texture, Structure. The examiner will prompt the candidate with
questions only if it becomes necessary.

What in the piece give the music its character?

Tempo

lively, slow, moderate, changing

Dynamics

mainly loud, mainly quiet, gradual or sudden changes

Articulation

staccato, legato, accented

Tonality

major or minor key, minor sometimes gives a feeling of sadness

Rhythm

similar, every changing, lilting, dotted, jazzy, dance-like

Style

bold, relaxed, graceful, calm

Dance

march, waltz, minuet

Texture

Thick and heavy, light

Singing
The best way to learn intervals is to keep singing them. There are lots of
helpful websites. Try www.musicalintervalstutor.info as a starter. Here are
some helpful hints:
Minor 2nd White Christmas, Ode to Joy, Jaws, Fur Elise (top to bottom)
Major 2nd Happy Birthday, Frere Jacques, Rudolph the Red Nosed
Reindeer
rd
Minor 3
Greensleeves, New World Symphony
rd
Major 3
O When the Saints, While Shepherds Watched Their Flocks,
Pop Goes the Weasel, Once in Royal Davids City, Morning
Has Broken
th
Perfect 4 Auld Lang Syne, If Youre Happy and You Know it, Away in
a Manger
th
Perfect 5 Twinkle Twinkle, Star Wars main theme
Minor 6th Let My People Go, Love Story (high to low), The
Entertainer (3rd -4th notes)
Major 6th My Bonnie Lies Over the Ocean, It Came Upon a Midnight
Clear
th
Minor 7
Somewhere (Westside Story), Star Trek (original theme)
th
Major 7
Bali Hai (South Pacific), Somewhere Over the Rainbow
(notes 2 and 3)
Octave
Somewhere Over the Rainbow

Cadential Progressions Grade 7

Cadential Progressions Grade 8

Which period of music is this piece from? What musical

features tell you that?

1. Baroque music:

1600 - 1750
- Written by people such as Bach and Handel, Purcell,
Vivaldi
-

The tempo stays the same throughout, apart from a possible

rallentando at the end

The rhythmic patterns are very similar throughout

Movements are usually based on one melodic idea

Harmony is quite simple, based mainly on triads of the keys

in the piece, though dominant 7th and suspensions are found
too

Texture can by homophonic or polyphonic or a combination

of both. Textures are often polarised with two melodic
parts in the top lines over a differentiated bass

IMITATION is very common. A tune starts in one hand

and is repeated in the other

Dynamics changes are usually terraced changes are

sudden rather than gradual

Dont use the pedal of the piano much as music was

originally written for instruments such as harpsichord. On a
modern piano Baroque music is often played in a mezzo
staccato style as a result

Use of ornaments such as trills

For Grade 8 only it is worth know a little bit about

Renaissance Music (1450 1600) Written by Tallis and
Byrd. Features include: Sometimes still written in modes,
use of imitation and contrapuntal in style. Often with as
many as 4 lines of counterpoint at one time. May employ a
ground bass. Melodic lines are smooth and even in
structure, as are the rhythms.

2. Classical music

1750 - 1820
-

Written by such people as Mozart and Haydn and early

works by Beethoven and Schubert

Tempos usually remain unchanged throughout

Nice short, well balanced melodies often accompanied by

broken chords in the left hand, trills and ornaments are
used, but less so than in the Baroque period

Keys changes are usually closely related

Most changes in dynamics are gradual (crescendo and

diminuendo) as opposed to the sudden changes in Baroque

Staccato and legato are often used

Occasionally uses pedals, as the pianoforte was coming into

use

3. Romantic music: 1820 - 1900

- Written by Schumann, Chopin, Brahms and later works by
Beethoven and Schubert
- The tempo may change frequently (accelerando and rallentando) and
there may be pauses and also lots of rubato (which means not playing in
strict time, but being more expressive)
- Often the melodies are long and very expressive, ornaments are more
limited than in Classical and Baroque
- The harmony is rich and complicated with use of chromatic notes and
modulation to remote keys
- The texture is more homophonic that polyphonic
- Lots of crescendo and diminuendo, staccato and legato
- Extensive use of the pedal

4. Early Twentieth Century

- Written by Schoenberg, Bartok, Stravinsky
- Unusual rhythms with tempos and time signatures that change frequently
- Melodies with wide leaps and jagged shapes
- Often difficult to tell what key youre in with very dissonant harmonies
Texture can be homophonic or contrapuntal
- Lots of changes of mood and character
- The later Twentieth Century saw the introduction of jazz and pieces with
nice lyrical tunes. Features include: swung quavers, more complex chords
with added 7ths and 9ths etc. and syncopation.

Useful English Words

Tonality
Tempo

major and minor keys

whether the pulse of the music alters (rallentando or accelerando)
remember to tap your foot to feel for tempo changes
Dynamics
louds and softs
Gradation of tone crescendo or diminuendo
Articulation
staccato or legato
Style and Period
when the music was written (see relevant sheet)
Character
the mood of the piece (see relevant sheet)
Form/Structure

the structure of the piece probably either AB or ABA or

alternatively one idea throughout. Try and listen for differences
between the different sections as the differences may need to be
listed in your answer. The differences could be to any of the
elements listed in this section. Also listen out for regular
phrasing, an introduction, an ostinato bass line, any defining
features that you notice.

Texture

thick or thin
homophonic melody, usually in the upper part, with chords
or broken chords in the lower part.
contrapuntal two melodic lines, one in each hand of equal
importance.
Polyphonic similar to contrapuntal in that music
simultaneously combines several different lines

Rhythm

the pattern of note values (regular, irregular, dotted, triplets,

syncopated etc.)

Useful Italian Words

Tempo

rallentando
accelerando
a tempo

gradually slowing down

gradually getting faster
return to the original tempo

Dynamics

piano
forte
mezzo piano
mezzo forte
pianissimo
fortissimo

soft/quiet
loud
moderately quiet
moderately loud
very quiet
very loud

Gradation of tone

crescendo
diminuendo

gradually getting louder

gradually getting quieter

Articulation

staccato
legato
tenuto
sforzando

short and detached

smooth
hold for their full length
sudden accent

Character

mesto
scherzando
maestoso
misterioso
tranquillo
energico
lento
Andante
Allegro
Allegretto
Cantabile

sad
playful
majestically
mysteriously
tranquil, calm
energetic
slowly
walking pace
lively
quick, but not as quick as Allegro
in a singing style

What have scales ever done for me?

Scales help the fluency of your playing, your sight reading, improvisation,
composition and aural (listening abilities) as well as being useful for practicing
techniques on your instrument. Remember most pieces are composed using scales and
arpeggios as the building blocks.

Scale Practice Tips

Tip 1: Practice scales when you don't need to
It might seem very obvious to say practice scales regularly, but you would be
surprised at how many people don't! They try and cram them just before a lesson or
exam. This is not an efficient use of your time, especially when knowing your scales
makes learning all pieces so much quicker! Having just one or two scale targets each
week and reviewing your scales regularly makes a huge difference to your overall
playing and progress. Get them on your practice plan and you will soon wonder what
all the fuss was about!
Tip 2: Speed comes later
There is always room for slow scales practice - even when you can play them.
Concentrate on your technique, getting every note totally even, ensuring fingering is
correct every time. Once you are confident you can speed them up... but not to a point
where you start to make mistakes.
Tip 3: Use dynamics
Use scales to practice dynamics. Concentrate on playing pp all the way through a
scale with all notes sounding evenly. Practice ff for the whole scale - make it slow as
well for a great breath control exercise! Practice gradual crescendos and diminuendos
as well.
Tip 4: Practice articulation
Scales may be played legato, staccato, tongued, slurred, or even accented. Make use
of scales to practice different techniques without having to worry about the notes in a
piece.
Tip 5: Change the rhythm
Once you know your scales play them in other rhythms than straight quavers. What
about swing quavers, or triplets or dotted rhythms?
Tip 6: Down and up
Scales are generally played starting at the bottom - going to the top and back to the
bottom again. Instead, start at the top, go to the bottom and back to the top. When you
can do this for all scales try starting in the middle!
Tip 7: Can, Nearly, Cant
Create an honest list of scales you can do, can nearly do and really cant do. With
regular practice scales will gradually make their way from Cant to Nearly to Can and
you have the satisfaction of charting their progress to see how far youve come. This
will help to keep you motivated on a bad scale day!

SCALES

CAN

NEARLY

CANT

Practise all
articulations set
for your
instrument