Test A

(i) Melodic Repetition – Singing back the lowest part of a three-part phrase played
twice. When the examiner says: “Here is your starting note” don’t forget to sing: “lah” –
this gives you the pitch and gets your vocal chords working. On the second playing you
may like to ‘lah’ along to it as the examiner plays. Or you could try making up words to
fit the rhythm.
(ii) Cadences – at the end of a phrase, played twice by the examiner – The chords will
be limited to tonic (root position, first or second inversions), supertonic (root position or
first inversion), subdominant (root position), dominant (root position, first or second
inversions), dominant 7th (root position) or submediant (root position).
The examiner plays the key chord to start with. All you have to do is name the cadence.
These are the possibilities:
PERFECT (Chord Va Vb Vc -Ia Ib Ic or dominant 7th-Ia Ib Ic … although in the
examples in the book the final chord is always in root position). Remember this ends in
major chord. It’s what you’d expect. It sounds final (like a full stop) and the last chord is
the key chord (i.e. the one the examiner plays as an arpeggio at beginning). Remember
if it’s a dominant 7th it will sound a bit richer or fuller.
PLAGAL (Chord IV to Ia Ib Ic … although examples in the book all go to Ia) This
sounds final but gentle, like an ‘amen’ in a hymn.
IMPERFECT (Any chord – but usually chord Ia Ib Ic, IIa IIb or IV, going to chord Va Vb
Vc … in the book all going to Va) This sounds like a comma, incomplete. It needs
another phrase to finalise it.
INTERRUPTED (Chord Va Vb Vc-VI or dominant 7th-VI). This one shifts up one note in
the bass and ends in a minor chord. It sounds like it’s going to be perfect because
you’re starting with a chord V but then, surprise, surprise, it’s not!! It’s like an
exclamation mark.
(iii) Chords– Identify the last three chords forming the above cadence. This is the
SAME piece of music as in ii) so see the choices of chords above. Firstly the three
chords are played in order. Then each chord is played separately and you name it
straight after it’s named. These seem to be the most common chord progressions for
each cadence and it will help you to listen carefully to the bass notes:
Perfect – if same bass note (in preceeding chord) = Ic Va Ia if bass note goes up one =
lVa/llb Va Ia
Imperfect – if bass note goes up one = Vb la Va if cadence itself shares bass note = la
lc Va if first chord sounds minor-ish = Vla llb Va
Plagal – if bass note goes up one = lb lVa Ia if bass note goes down one = lc lVa la if
first chord sounds minor-ish = Vla lVa la
Interrupted – if bass note goes up one = lVa Va Vla if same bass note = lc Va Vla if
going up more can be lla Va Vla
Test B
Sight-singing – Sight sing the lower part of a two-part phrase from score while the
examiner plays the upper part. You will have time to try it out beforehand. When you do
the actual thing, make sure you sing loudly so the sound of the piano isn’t too
overwhelming, as this may confuse you. However, you do need to follow the piano part
a bit to make sure you’re fitting in with the rhythm. Remember ‘cuckoo’ for going down a
third. Remember ‘my Bonnie’ (from the song My Bonnie Lies Over the Ocean) for up a
sixth. Push yourself on the higher notes!!
Test C
Modulations – Identify the modulation at the end of two different passages – the first
beginning in a major key and the second in a minor key. (It will either go to the
subdominant, the dominant or the relative minor/major key) Each will only be played
once.
SUBDOMINANT – Sounds slightly lowered and maybe a bit sad.
DOMINANT – Sounds happy, slightly sharpened, seems to have a richer sound. (Minor
passages may modulate to dominant major or dominant minor but you only need to say
dominant).
RELATIVE MINOR/RELATIVE MAJOR – Should be fairly obvious.
(sometimes it’s hard to distinguish SUBDOMINANT and MINOR. Minor should sound
more obviously minor!).
Test D
Identifying Features – The examiner plays a piece of music and then asks you to talk
about it describing certain features such as: Texture, Structure and Form,
Character/Style, Period/Composer, TONALITY and HARMONY, (major or minor –
major is happy, minor sad)DYNAMICS (piano, forte, mezzo-piano, pianissimo,
fortissimo etc.) ARTICULATION (staccato, legato) TEMPO and METRE, tempo: allegro
(fast) or largo (slow), metre: number of beats in a bar,GRADATION OF
TONE (crescendo, diminuendo). Here are some of those features in more detail:
TEXTURE It may be based on arpeggios or broken chords, it may have hymn-like
chords, it may be contrapuntal (many parts) with melodies in both hands. Ask yourself:
Where is the tune? Is there imitation? Are hands playing in unison? Phrases used in the
aural book answers as follows: ‘Single bass note on downbeat, followed by two chords’
‘Chordal passages alternate with phrases in octaves’, ‘Mostly two-part texture,
occasional chords’ ‘Louder phrases started in octaves, quieter phrases started with
chords’, ‘Melody with chordal accompaniment’ ‘Arpeggios at beginning, followed by
melody with chordal accompaniment’
STRUCTURE e.g. Were phrases equal length? Were any repeated? If so was the
cadence different? Phrases used in the aural book answers as follows: ‘Two main
sections, each with two phrases’ (possibly binary form), ‘Opening section/introduction’
‘Short introduction, followed by two phrases’, ‘Two equal length sections, each 8 bars’
‘Three sections, first and last share some of the same material i.e. ABA ternary’ form’
CHARACTER/STYLE use phrases such as: March-like, song-like (maybe a lullaby),
dance-like, imaginative, playful, dramatic etc, waltz-like (3/4 timing), march-like (2/4
timing) animated, loud, harmonic clashes, abrupt changes between ideas,
cantabile/legato melody, flowing scalic runs, playful, breathing-spaces between
phrases, warm chordal texture, use of chromatic notes, ornamentation, limited range
suggests it was written for harpsichord, use of sustaining pedal, dissonance (clashing of
sounds), relaxed tempo/rubato, swung rhythms, easy-going character, angry etc. You
could also say the major or minor key gives the character.
MUSIC PERIODS
Baroque (1650-1750) chords and ornaments e.g. trills, imitation written for harpsichord,
limited dynamic range e.g. Bach, Handel
Classical (1750-1820) broken chords in the left (‘alberti bass’) happy, simple harmony
e.g. Mozart, Haydn
Romantic (1810-1910) chromatic, sad, rubato (i.e. tempo variation), use of sustaining
pedal. Waltz-like rhythm, impressionistic e.g. Schumann, Tchaikovsky, Brahms
Modern (20th century) weird or jazzy, syncopation, abrupt changes clashing harmonies
e.g. Bartok You may want to say other things about the music e.g. “It is a descriptive or
character piece.”

Test Examples

With the melodic repetition question – Test A (i) – candidates are given the option of
singing from the bass or treble clef. Having made this decision during lessons and
practices, it may also be worth considering a candidate’s pitch range – particularly in the
case of teenage boys who are at the ‘in between’ stage.
With my own grade 8 pupil, I found the test examples in the aural book were either too
high or too low for his voice. I phoned the ABRSM and was advised that my pupil should
be aware of his own pitch range and spell it out to the examiner at the start of the exam;
efforts would then be made to pitch the melodic repetition test accordingly. The test is
not designed to gauge singing ability or range – it’s just there to show that a candidate
is able to follow and repeat a series of notes.

Test A (ii) on identifying cadences is not too difficult: as long as the pupil practises
listening to plenty of cadences, he should start to get a feel for their different
‘characters’.
To my mind, Test A (iii) – naming the chords of a cadence – is the greatest challenge –
particularly for candidates who have no experience of singing in a choir or have not
studied music in any depth at school or college. How anyone can confidently name the
chord which precedes a cadence just by listening to it. I have no idea! Presumably there
are plenty of musicians able to do this but – even with plenty of practice and with all the
advice and ‘clues’ I give my pupils (as in the sheet above) – the best I can do is still just
guess!
Test B – sight-singing – is a progression from easier tests in earlier grades, while Test
C – modulations – requires similar listening skills to A(ii) and can definitely improve with
practice.
Perhaps the greatest difference (compared with lower grade exams) is with the last one
– Test D – where the candidate can really ‘show off’ his musical knowledge. Of course,
the shy, quiet pupil may seem to be at a disadvantage here but he doesn’t really need
to be. All pupils should be encouraged to listen to a wide range of classical music from
different periods and to think about the aspects outlined above. Then, in order to talk
with confidence, all they need do is quickly run through a mental checklist: “Have I
mentioned the key? What about the texture … and the tempo? etc.” Examiners are not
interested in someone who can waffle on about what a wonderful piece of music it was
and how much it touched the listener’s heart – they want a detailed analysis, and a pupil
who is well-prepared, no matter how timid he may be, should be able to provide this.