Specimen

Au ral Tests
from 2011
with 2 CDs

Grades U & 5

ABRSM
 Introduction

M i n o r m o d i f i c a t i o n s t o s o m e aural t e s t s t o o k e f f e c t h u m m e d or w h i s t l e d ( a n d at a d i f f e r e n t octave, if
for A B R S M Practical g r a d e d m u s i c e x a m s f r o m appropriate).
January 2011 (all s u b j e c t s except Jazz). For f u r t h e r
details of t h e changes visit w w w . a b r s m . o r g / a u r a l . W h e r e tests require a spoken response, candidates

This b o o k of s p e c i m e n t e s t s p r o v i d e s p r a c t i c e are encouraged t o use Italian t e r m s where appropriate,

e x a m p l e s w h i c h d e m o n s t r a t e t h e style a n d d i f f i c u l t y but there will be no disadvantage t o t h o s e w h o do

level of t h e t e s t s at Grades 4 a n d 5. not, p r o v i d e d t h a t t h e i r response is equally clear

and accurate.
Listening lies at t h e heart of all g o o d m u s i c - m a k i n g .
D e v e l o p i n g aural awareness is f u n d a m e n t a l t o
Insert for Test B
musical t r a i n i n g because having a 'musical ear'
A separate insert is provided for t h e s t u d e n t t o use
i m p a c t s on all aspects of musicianship. By i n t e g r a t i n g
for Tests 4 B and 5B.
aural activities in i m a g i n a t i v e w a y s t h r o u g h o u t t h e
lesson, p r e p a r a t i o n for t h e aural tests w i t h i n an e x a m
will be a natural e x t e n s i o n of w h a t is already an U s i n g the C D s

essential part of t h e learning experience. The CDs include recordings of all t h e tests in this
book, a l o n g w i t h t h e spoken rubric. A n s w e r s are
given for all tests t h a t require a spoken response.
U s i n g the s p e c i m e n t e s t s
For tests t h a t require a sung response, there is an
W h e n p r e p a r i n g for an e x a m , these s p e c i m e n tests
o p p o r t u n i t y t o check t h e response. A n answer space
will provide valuable practice material t o help prepare
is p r o v i d e d on t h e CD, but if extra t h i n k i n g t i m e is
candidates for w h a t t o expect on t h e day. Guided by
required s i m p l y pause t h e recording. Track n u m b e r s
t h e examples p r o v i d e d , teachers w i l l also be able t o
are p r i n t e d at t h e s t a r t of each music e x a m p l e , and
devise t h e i r o w n exercises, ideally using music their
there is also a t r a c k list at t h e back of t h e book.
s t u d e n t s are c u r r e n t l y w o r k i n g o n .

Mock tests
W h a t does e a c h test involve?
O n t h e CDs, at t h e end of each grade, there is a set
A d e s c r i p t i o n of t h e tasks involved in each test,
of tests presented in order, as t h e y w o u l d be in t h e
as well as any relevant parameters, is given in t h e
e x a m , t o f o r m a m o c k test. The relevant tests are
left-hand c o l u m n at t h e start of each set of tests.
m a r k e d in t h e book w i t h t h e s y m b o l s h o w n above.
The same i n f o r m a t i o n can also be f o u n d in t h e
The m o c k tests are also available as free d o w n l o a d s
syllabus booklet.
from www.abrsm.org/mockauraltests.

W h a t will happen in the e x a m ?

Answers
The examiner w i l l deliver each test f o l l o w i n g a set
M o d e l answers for Tests 4 C ( i ) and 5 C ( i ) are p r i n t e d
of spoken w o r d s and i n s t r u c t i o n s (referred t o as t h e
at t h e back of this book, as a guide t o t h e sort of
' r u b r i c ' ) . A l l music extracts w i l l be played on t h e
responses t h a t w o u l d be successful in t h e e x a m .
piano, and t h e e x a m i n e r w i l l be ready t o p r o m p t t h e
A n s w e r s are also given on t h e CDs for any parts of
c a n d i d a t e if necessary w h e r e there is h e s i t a t i o n .
t h e tests t h a t require a spoken response. In s o m e
In t h i s book, t h e e x a m i n e r rubric is p r i n t e d in the
cases t h e r e are o t h e r ways of r e s p o n d i n g t h a t w o u l d
right-hand c o l u m n at t h e s t a r t of each set of tests and
be equally successful, so the answers s h o u l d be used
at t h e t o p of any s u b s e q u e n t pages, so t h a t teachers
only as a guide. It should also be n o t e d t h a t in an
are able t o deliver t h e tests t o t h e i r s t u d e n t s in a w a y
e x a m the e x a m i n e r w i l l not provide answers.
t h a t m i r r o r s t h e e x a m experience.

For any test t h a t requires a sung response, it is pitch

rather t h a n vocal quality t h a t is being assessed. The
examiner will be happy t o a d a p t t o t h e vocal range
of t h e candidate, w h o s e responses may be sung
:o any vowel (or c o n s o n a n t f o l l o w e d by v o w e l ) , or

2
 Introduction

How are the aural t e s t s m a r k e d ? A c c e s s (for c a n d i d a t e s with specrfic n e e d s )

The m a r k for aural tests is arrived at by m a k i n g an Deaf or hearing-impaired candidates may o p t :c

overall assessment of t h e candidate's p e r f o r m a n c e respond t o alternative tests in place of t h e stanca'z

d u r i n g t h e set of tests as a w h o l e , and relating this tests, if requested at t h e t i m e of entry. The syliaDuS

t o the assessment criteria s h o w n below. Rather for these tests is available free on request f r o m

t h a n s t a r t i n g at zero and a w a r d i n g marks as t h e A B R S M . For blind or partially-sighted candidates.

tests proceed, or at 18 and t h e n d e d u c t i n g marks, alternative tests are available for Test B. For f u r t h e r

examiners use the principle of m a r k i n g positively or i n f o r m a t i o n a b o u t alternative tests and access

negatively f r o m the pass mark. The m a r k t h e n reflects for candidates w i t h specific needs please c o n t a c t

t h e c u m u l a t i v e balance of s t r e n g t h s and weaknesses ABRSM's Access Co-ordinator or visit the website.

t h a t t h e c a n d i d a t e has d e m o n s t r a t e d , t a k i n g i n t o Telephone + 4 4 ( 0 ) 2 0 7 6 3 6 5 4 0 0
account t h e accuracy, perceptiveness and q u a l i t y of Textphone + 4 4 ( 0 ) 2 0 7 6 3 7 2 5 8 2
t h e responses given. Email accesscoordinator@abrsm.ac.uk
www.abrsm.org/specialneeds

A s s e s s m e n t criteria (all g r a d e s )
Distinction O t h e r aural training resources from A B R S M
(18) Quick, accurate and perceptive responses For f u r t h e r examples and c o m p r e h e n s i v e advice
on p r e p a r i n g candidates for aural tests, teachers
Merit
are referred t o the n e w e d i t i o n of Aural Training in
(15-17) G o o d responses
Practice (2011).
M i n o r errors or h e s i t a t i o n

Pass
Please note that the music extracts in this book have been freely
(12-14) A p p r o x i m a t e l y half t h e tests c o r r e c t l y adapted where necessary for the purpose of the aural tests.
answered
First published in 2010 by ABRSM (Publishing) Ltd, a wholly
Evidence of awareness, despite hesitation
owned subsidiary of ABRSM, 24 Portland Place, London W1B 1LU,
and error United Kingdom

Below Pass
Reprinted in 2010, 2011
(9-11) Slow and u n c e r t a i n responses
2010 by The Associated Board of the Royal Schools of Music
Inaccuracy in parts of all tests

(6-8) Very slow and m o s t l y incorrect responses Cover and text design by Vermillion

A l l tests entirely inaccurate Music and text origination by Andrew Jones

Additional text setting by Hope Services Ltd
(0) No w o r k offered Printed in England by Halstan & Co. Ltd, Amersham, Bucks.

3
 Grade U
T o sing or play from m e m o r y a melody played t w i c e Here is a melody for you to repeat. Would you pref er
by the examiner. T h e m e l o d y w i l l be w i t h i n t h e range to sing it or play it? *... ril play it twice. Here is the
of an octave, in a m a j o r or m i n o r key w i t h up t o t h r e e key-chord [ p l a y ] andyour starting note [ p l a y ] .
sharps o r flats. First the examiner will play the key-chord [ C o u n t in t w o bars, t h e n play t h e m e l o d y o n c e . ]
a d t h e s t a r t i n g n o t e and t h e n c o u n t in t w o bars. (If Here it is again. [ R e p e a t t h e m e l o d y w i t h o u t
t h e c a n d i d a t e chooses t o play, t h e e x a m i n e r w i l l also counting in.]... Thankyou.
name the key-chord and the starting note, as appropriate
for t h e i n s t r u m e n t . ) If necessary, t h e e x a m i n e r w i l l * [If the candidate chooses to play, name as well as play the key-chord
and starting note. With transposing instruments use only the examples
piay t h e m e l o d y again and a l l o w a s e c o n d a t t e m p t specified, naming the key-chord and starting note as shown, according
( a l t h o u g h this will affect t h e assessment). to the instrument.]

Copyright Anglo-Soviet Music Press

Reproduced by permission of Boosey & Hawkes Music Publishers Ltd

Moderato Spanish carol

mf

Moderato G. Jacob

mf
Copyright 1934 by Gordon Jacob
Exclusively licensed to J. Curwen & Sons Limited.
All rights transferred to G. Schirmer Limited.
All rights reserved. International Copyright Secured.
Used by permission of G. Schirmer Limited.

Sostenuto (Andantino) Hrold

3
mf

AB 3576
 Moderato J. S. Bach

mf

Moderato Byrd

Moderato Anon.

8 W(l) r)

Transposing instruments
in Bk G major, starting note B; in F: C major, starting note E; in Ek D major, starting note F#

C o n moto Grieg

hri J,|J
f
Transposing instruments
in Bk E minor, starting note B; in F: A minor, starting note E; in Eb: B minor, starting note F#

Adagio Haydn

10 y J 3
mf

Transposing instruments
in Bk G major, starting note D; in F: C major, starting note G; in Ek D major, starting note A

AB3576
 Grade U
To s i n g five notes from s c o r e in free time. The [ W h e n a p p r o p r i a t e : Would you prefer to sing notes
c a n d i d a t e m a y choose t o sing f r o m treble or bass clef. in treble clef or bass clef?]
The notes will be w i t h i n t h e range of a t h i r d above and Please sing the notes at number ...on this page.
b e l o w t h e t o n i c in t h e key of C, F or G major. The t e s t Sing them slowly, and l'll help by giving you the right
w i l l begin and end on t h e t o n i c and w i l l not c o n t a i n note ifyou sing a wrong one. Here is the key-chord
intervals greater t h a n a t h i r d . First t h e e x a m i n e r w i l l [ n a m e and p l a y ] and this is your starting note [name
n a m e and play t h e key-chord and t h e s t a r t i n g note. and p l a y ] . . . . Thankyou.
If necessary, t h e e x a m i n e r w i l l help t h e c a n d i d a t e by
p l a y i n g and i d e n t i f y i n g t h e c o r r e c t n o t e if any n o t e is
s u n g at t h e w r o n g p i t c h .

-e-
TT ^

TC 331

331

/ 1

i a

/ O

/ O 331

-e-
8 >tft'.\ 331 331

B I

-e- ZQZ

'ia
O " i t O
10

6 AB 3576
 Grade U
( i ) To a n s w e r questions about two features of a ( i ) Listen to this piece, then VU ask you about...
piece played by the examiner. Before p l a y i n g , [ c h o o s e one of t h e first t h r e e features listed
t h e e x a m i n e r w i l l teil t h e c a n d i d a t e w h i c h t w o b e l o w t h e p i e c e ] and about character.
f e a t u r e s t h e q u e s t i o n s w i l l be abouf. T h e first w i l l [ A f t e r p l a y i n g , ask one q u e s t i o n at a t i m e . ]
be one of t h e f o l l o w i n g : d y n a m i c s , a r t i c u l a t i o n ,
t e m p o , t o n a l i t y ; t h e s e c o n d w i l l be character. ( i i ) Now clap the rhythm of the notes in this phrase,
after l've played it twice more. [Play t h e e x t r a c t
( i i ) To clap the rhythm of the notes in an extract from once.] Here it is again. [Repeat t h e e x t r a c t . ] . . .
the s a m e piece, and to idehtify w h e t h e r it is in Is it in two time, three time or four time?...
two time, three time or four time. The e x a m i n e r Thankyou.
w i l l play t h e e x t r a c t t w i c e ( u n h a r m o n i z e d ) , a f t e r
w h i c h t h e c a n d i d a t e s h o u l d clap back t h e r h y t h m .
The e x a m i n e r w i l l t h e n ask w h e t h e r t h e m u s i c is
in t w o t i m e , t h r e e t i m e or f o u r t i m e . The c a n d i d a t e
is not r e q u i r e d t o state t h e t i m e s i g n a t u r e .

Copyright 1892 Novello & Company Limited for France, Italy, Mexico and Spain
All Rights Reserved.
Used by Permission.

D y n a m i c s : Describe the dynamics in this piece.

T e m p o : Did the tempo change or did it always stay the same?
Tonality: Was the music in a major key or in a minor key?
Character: What in the music gives this piece its character?

AB 3576 7
 :ontinued

(!) Listen to this piece, then lil ask you about... N

[ c h o o s e o n e of t h e first t h r e e f e a t u r e s listed
b e l o w t h e p i e c e ] and about character.
[ A f t e r p l a y i n g , ask one q u e s t i o n at a t i m e . ]

( i i ) Now clap the rhythm of the notes in this phrase,

after l've played it twice more. [Play t h e e x t r a c t
o n c e . ] Here it is again. [Repeat t h e e x t r a c t . ] . . .
Is it in two time, three time or four time?...
Thank you.

Reger

r r r r r r i . 1 -
i" fl - >
f un\ V 7

1
1
t
5-v-< 7 ^ i f 7 f 7

^. -0-
0 4
; 1 . P m P ip
w J
P '

Lr 1 HMf
1
4 h
*
Hf V m

D y n a m i c s : Was the last change in dynamics sudden or gradual?

A r t i c u l a t i o n : Were the chords in the accompaniment mainly smooth or mainly detached?
T e m p o : Was there any change in tempo, or did it al ways stay the same?
Character: What in the music gives this piece its character?

AB 3576
 continued

Vivace

P
clap Gum

P p
f

5 * 7 7 j'

D y n a m i c s : D/'d the dynamic changes happen suddenly or gradually?

A r t i c u l a t i o n : Were the chords played with smooth or detached notes?
Tonality: Was the music in a major key or in a minor key?
Character: What gives this music its character?

Sigurbjrnsson
Risoluto
|V I, L r PP

f
clap

00

- 7 i
-7
F

*)M>
J ';:J -0
' V 0 \m -e l
7P

D y n a m i c s : Describe the dynamics in this piece.

A r t i c u l a t i o n : Were the accompanying chords smooth or detached?
Tonality: Was the music in a major key or in a minor key?
Character: What in the music gives this piece its character?

AB 3576 9
 continued

( i ) Listen to this piece, then VII ask you about...

[ c h o o s e one of t h e first t h r e e f e a t u r e s listed
b e l o w t h e p i e c e ] and about character.
[ A f t e r p l a y i n g , ask one q u e s t i o n at a t i m e . ]

( i i ) Now clap the rhythm of the notes in this phrase,

after Vve played it twice more. [Play t h e e x t r a c t
once.] Here it is again. [Repeat t h e e x t r a c t . ] . . .
Is it in two time, three time or four time?...
Thankyou.

i
Allegro moderato Villa-Lobo

r - i n
mf

Tf f M *
f

Copyright 1948 (Renewed) by Music Sales Corporati

All Rights Reserved. International Copyright Secure
Used by Permissie

D y n a m i c s : Describe the dynamics in this piece.

T e m p o : Was there any change in tempo, or did it always stay the same?
Tonality: Did the music end in a major key or in a minor key?
Character: What gives this piece its musical character?

AB 3576
 continued

A r t i c u l a t i o n : In the middle section of the piece, was the lower part smooth or detached?
T e m p o : Was there any change in tempo, or did it always stay the same?
Tonality: Did the music end in a major key or in a minor key?
Character: What gives this piece its musical character?

AB 3576 11
 continu ad

( i ) Listen to this piece, then Vil ask you about...

[ c h o o s e one of t h e first t h r e e f e a t u r e s listed
b e l o w t h e p i e c e ] and about character.
[ A f t e r p l a y i n g , ask one q u e s t i o n at a t i m e . ]

( i i ) Now clap the rhythm of the notes in this phrase,

after Vve played it twice more. [Play t h e e x t r a c t
o n c e . ] Here it is again. [Repeat t h e e x t r a c t . ] . . .
Is it in two time, three time or four time?...
Thankyou.

LJ J J 1 s- \
77
r mp

f = v - F f -\
* 1 Jj r r * i 7 #
J 1
u

1997 by The Associated Board of the Royal Schools of Music

D y n a m i c s : Describe the dynamics in the second half of this piece.

T e m p o : Was there any change in tempo, or did it always stay the same?
Tonality. Was the music in a major key or in a minor key?
Character: What in the music gives this piece its character?

12 AB 3576
 continued

Steibelt
Andante
3:

dolce mf f P

clap

-9-

i
D y n a m i c s : Describe the dynamics in the first half of the piece.
A r t i c u l a t i o n : Were the quiet phrases played with smooth or detached notes?
Tonality: Did the music end in a major key or in a minor key?
Character: What in the music gives this piece its character?

f
> 1 clap i

T]
0-
m t i -

F 1
v m h ^ -: f - * - i
7 7
f 71
>
L .

W ^ -5 7 7
N f 7 7 fi

D y n a m i c s : The mus/'c b e g a n /oud/y. Describe the dynamic changes after that

A r t i c u l a t i o n : What was the difference in articulation between the first and last phrases?
Tonality: Did the piece end in a major key or in a minor key?
Character: What gives this piece its musical character?

AB 3576 13
 continued

( i ) Listen to this piece, then VII ask you about...

[ c h o o s e one of t h e first t h r e e f e a t u r e s listed
b e l o w t h e p i e c e ] and about character.
[ A f t e r p l a y i n g , ask one q u e s t i o n at a t i m e . ]

( i i ) Now clap the rhythm of the notes in this phrase,

after Vve played it twice more. [Play t h e e x t r a c t
o n c e . ] Here it is again. [Repeat t h e e x t r a c t . ] ...
Is it in two time, three time or four time?...
Thankyou.

Poco lento
C. Franck

J 1-
mf =
TT

J
ij hn ^
r r J ^ f J
J

i - J. j>n .
I * f
r p '[^ "f ftfurhr *r i

Dynamics: Describe the dynamic changes in this piece.

Tempo: Was there any tempo change, or did it always stay the same?
Tonality: Did the music end in a major key or in a minor key?
Character: What in the music gives this piece its character?

14 AB 3576
 Grade 5 5A
To sing or play from m e m o r y a melody played twice Here is a melody for you to repeat Would you pref er
by the examiner. The m e l o d y w i l l be w i t h i n t h e range to sing it or play it? *... VU play it twice. Here is the
of an octave, in a m a j o r or m i n o r key w i t h up t o t h r e e key-chord [ p l a y ] andyour starting note [ p l a y ] .
sharps or flats. First the examiner will play the key-chord [ C o u n t in t w o bars, t h e n play t h e m e l o d y o n c e . ]
and t h e s t a r t i n g n o t e and t h e n c o u n t in t w o bars. (If Here it is again. [Repeat t h e m e l o d y w i t h o u t
t h e c a n d i d a t e chooses t o play, t h e e x a m i n e r w i l l also counting in.]... Thankyou.
name the key-chord and the starting note, as appropriate
for t h e i n s t r u m e n t . ) If necessary, t h e e x a m i n e r w i l l * [If the candidate chooses to play, name as well as play the key-chord
and starting note. With transposing instruments use only the examples
play t h e m e l o d y again and a l l o w a s e c o n d a t t e m p t specified, naming the key-chord and starting note as shown, according
( a l t h o u g h t h i s w i l l affect t h e a s s e s s m e n t ) . to the instrument.]

AB 3576 15
5A continued

Here is a melody for you to repeat Would you pref er

to sing it or play it? * . . . VU play it twice. Here is the
key-chord [ p l a y ] andyour starting note [ p l a y ] .
[ C o u n t in t w o bars, t h e n play t h e m e l o d y o n c e . ]
Here it is again. [ R e p e a t t h e m e l o d y w i t h o u t
counting in.]... Thankyou.

' [If the candidate chooses to play, name as well as play the key-chord
and starting note. With transposing instruments use only the examples
specified, naming the key-chord and starting note as shown, according
to the instrument.]

Moderato English folksong

Transposing instruments
in Bk E minor, starting note G; in F: A minor, starting note C; in Ek B minor, starting note D

i
Andante Welsh melody

mf
Transposing instruments
in Bk C major, starting note G; in F: F major, starting note C; in Ek G major, starting note D

Andante Stamitz

Transposing instruments
in Bk E minor, starting note ; in F: A minor, starting note E; in Ek B minor, starting note F#

16 AB3576
 Grade 5 5B
To sing six notes from score in free time. The [ W h e n a p p r o p r i a t e : Would you prefer to sing notes
c a n d i d a t e m a y c h o o s e t o sing f r o m t r e b l e or bass clef. in treble clef or bass clef?]
The notes w i l l be w i t h i n t h e range of a f i f t h above and Please sing the notes at number ...on this page.
a f o u r t h b e l o w t h e t o n i c , in a m a j o r key w i t h up t o t w o Sing them slowly, and ril help by giving you the right
sharps or flats. The t e s t w i l l begin and e n d on t h e note ifyou sing a wrong one. Here is the key-chord
t o n i c and w i l l not c o n t a i n intervals g r e a t e r t h a n a [ n a m e and p l a y ] and this is your starting note [name
t h i r d , except for t h e rising f o u r t h f r o m d o m i n a n t t o and p l a y ] . . . . Thankyou.
t o n i c . First t h e e x a m i n e r w i l l n a m e and play t h e
key-chord and t h e s t a r t i n g n o t e . If necessary, t h e
e x a m i n e r w i l l help t h e c a n d i d a t e by p l a y i n g and
i d e n t i f y i n g t h e c o r r e c t n o t e if any n o t e is s u n g at t h e
w r o n g pitch.

BD
*f-a e-

I HEI I E

3
I E

i n

5 ZEE:
n u

o " <> o
/ O

E3
I / O

O "

10 ^ o > l t > =

AB 3576 17
5C Grade 5
( i ) To a n s w e r questions about two features of a ( i ) Listen to this piece, then VII ask you about...
piece played by the examiner. Before p l a y i n g , [ c h o o s e one of t h e first t h r e e f e a t u r e s listed
t h e e x a m i n e r w i l l teil t h e c a n d i d a t e w h i c h t w o b e l o w t h e p i e c e ] and about style and period.
features t h e q u e s t i o n s w i l l be a b o u t . The first w i l l [ A f t e r playing, ask one q u e s t i o n at a t i m e . ]
be one of t h e f o l l o w i n g : d y n a m i c s , a r t i c u l a t i o n ,
t e m p o , t o n a l i t y , character; t h e second w i l l be style ( i i ) Now clap the rhythm of the notes in this phrase,
and p e r i o d . after Vve played it twice more. [Play t h e e x t r a c t
o n c e . ] Here it is again. [ R e p e a t t h e e x t r a c t . ] ...
( i i ) To clap the rhythm of the notes in an extract from Is it in two time, three time or four time?...
the s a m e piece, and to identify w h e t h e r it is in Thank you.
two time, three time or four time. The e x a m i n e r
w i l l play t h e e x t r a c t t w i c e ( u n h a r m o n i z e d ) , after
w h i c h t h e c a n d i d a t e s h o u l d clap back t h e r h y t h m .
The e x a m i n e r w i l l t h e n ask w h e t h e r t h e m u s i c is
in t w o t i m e , three t i m e or f o u r t i m e . The c a n d i d a t e
is not r e q u i r e d t o s t a t e t h e t i m e s i g n a t u r e .

/w Handel
Moderato
o a

J. .h

r ^rr'
rrr rr r r P m P

clap*-

J 3:
f
m m
P=m-

* Omit ornaments for clapping.

A r t i c u l a t i o n : Describe the articulation used in this piece.

Tonality: Was this piece in a major key or in a minor key?
Character: What in the music gives this piece its character?
Style and Period: Is this Baroque, Romantic or 20th-century music? Which musical features teil you that?

18 AB 3576
 continued 5C

rit.

Prelude II (Andante con moto e poco rubato)

Music by George Gershwin
(Renewed) 1927 W B Music Corp, London, W 6 8BS
Warner/Chappell North America Ltd
GERSHWIN and GEORGE GERSHWIN are registered trademarks of Gershwin Enterprises
Reproduced by permission of Faber Music Ltd
All Rights Reserved.

D y n a m i c s : Were the dynamic changes sudden or gradual? Where was the quietest point?
T e m p o : Was there any tempo change, or did it always stay the same?
Tonality: Was the music in a major key or in a minor key?
Style and Period: Is this a Classical, Romantic or 20th-century piece? What in the music tells you that?

AB 3576 19
 continued

( i ) Listen to this piece, then Vil ask you about...

[ c h o o s e one of t h e first t h r e e f e a t u r e s listed
b e l o w t h e p i e c e ] and about style and period.
[ A f t e r playing, ask one q u e s t i o n at a t i m e . ]

( i i ) Now clap the rhythm of the notes in this phrase,

after l've played it twice more. [Play t h e e x t r a c t
o n c e . ] Here it is again. [Repeat t h e e x t r a c t . ] ...
Is it in two time, three time or four time?...
Thankyou.

Andante Grieg
EI

1
r r Li f
1
p cantabile

J
con Ped.

rail.
a tempo

i ' * Lr Lr =
M
mf-

j
f

r Omit grace notes and rail. for clapping.

D y n a m i c s : Describe the dynamics in this piece.

T e m p o : Was there any change in tempo, or did it stay the same throughout?
Character: What in the music gives this piece its character?
Style and Period: Is the style and period of this music Baroque, Classical or Romantic?
Which features of the music suggest that?

20 AB 3576
 continued

Rameau

* p * r . r 0 r - rf-

mp

^=4\ 1* r f f r f
i'

clap*-

F 0 M F
ar u pgpp

?r r

Ip ft ir p=p F=0-
P

tr
r rail.

i I

* i f i T
Omit ornament for clapping.

D y n a m i c s : Were the dynamic changes gradual orsudden? Where was the loudest point?
T e m p o : Was there any change in tempo, or did it always stay the same?
Tonality: Did the music end in a major key or in a minor key?
Style a n d Period: Is the style and period of this music Baroque, Romantic or 20th century?
Which features of the music suggest that?

AB 3576 21
5C continued

( i ) Listen to this piece, then ril ask you about...

[ c h o o s e one of t h e first t h r e e features listed
b e l o w t h e p i e c e ] and about style and period.
[ A f t e r playing, ask one q u e s t i o n at a t i m e . ]

( i i ) Now clap the rhythm of the notes in this phrase,

after l've played it twice more. [Play t h e e x t r a c t
once.] Here it is again. [Repeat t h e e x t r a c t . ] ...
Is it in two time, three time or four time?...
Thankyou.

D y n a m i c s : What was the dynamic difference between the first and second phrases?
T e m p o : Was there any tempo change, or did it always stay the same?
Tonality: Was the music in a major key or in a minor key?
Style and Period: Is this piece from the Baroque, Classical or Romantic period? What tells you this?

22 AB 3576
 continued 5C

Falla
Risoluto

fff1

ff

3 = J

r r r lt

clap

* d #
T > > >

n ,,rn
> >
JJJ

s 5
P 7 p 7

Copyright 1921. New Edition Copyright 1999 for all countries Chester Music Limited, 14-15 Berners Street, London W1T 3LJ, United Kingdom.
Co-published for Spain and Spanish-speaking territories (and including Portugal but excluding Brazil) with Manuel de Falla Ediciones.
All Rights Reserved. Used by Permission.

D y n a m i c s : Describe the dynamics in this piece.

T e m p o : Did the tempo change or did it always stay the same?
Character: What in the music gives this piece its character?
Style and Period: Is this a Baroque, Classical or 20th-century piece? Which musical features teil you that?

AB 3576 23
 continued

( i ) Listen to this piece, then VU ask you about...

[ c h o o s e one of t h e first t h r e e f e a t u r e s listed
b e l o w t h e p i e c e ] and about style and period.
[ A f t e r playing, ask one q u e s t i o n at a t i m e . ]

( i i ) Now clap the rhythm of the notes in this phrase,

after l've played it twice more. [Play t h e e x t r a c t
o n c e . ] Here it is again. [Repeat t h e e x t r a c t . ] ...
Is it in two time, three time or four time?...
Thankyou.

Christopher Norton
Moderato

A r t i c u l a t i o n : Was the lower part played smoothly or with detached notes?

Tonality: Was this piece in a major key or in a minor key?
Character: What in the music gives this piece its character?
Style and Period: Is this a Classical, Romantic or 20th-century piece? Which musical features teil you that?

24 AB 3576
 continued

m Allegretto Lutostawsk

poco r i t . Poco meno mosso

Dm m

pif dim.
f

rit. Tempo I
clap*-

S7\
m

accel. a l fine

5 7 h 7

W e

* Omit rit. for clapping. Copyright 1947 by Polskie Wydawnictwo Muzyczne - PWM Edition Krakw.
Copyright renewed 1975 by Polskie Wydawnictwo Muzyczne - PWM Edition.
Exclusively licensed in 1990 to Chester Music Limited, 14-15 Berners Street.
London WIT 3LJ, United Kingdom for the World excluding Poland, Albania.
Bulgaria, China, the Czech and Slovak Republics, Slovenia, Croatia.
Bosnia and Herzegovina, Montenegro, Serbia and Macedonia, Cuba
North Korea, Vietnam, Rumania, Hungary and the former USSR.
All Rights Reserved. International Copyright Secured.
Used by Permission.

D y n a m i c s : Where was the loudest point in the music? And the quietest?
A r t i c u l a t i o n : Were the notes in the upper part mainly smooth or mainly detached?
T e m p o : What happened to the tempo after the slower middle section?
Style a n d Period: Is this a Classical, Romantic or 20th-century piece? What in the music tells you that?

AB3576 25
 5C continued

( i ) Listen to this piece, then VII ask you about...

[ c h o o s e one of t h e first t h r e e f e a t u r e s listed
b e l o w t h e p i e c e ] and about style and period.
[ A f t e r playing, ask one q u e s t i o n at a t i m e . ]

( i i ) Now clap the rhythm of the notes in this phrase,

after Vve played it twice more. [Play t h e e x t r a c t
o n c e . ] Here it is again. [Repeat t h e e x t r a c t . ] ...
Is it in two time, three time or four time?...
Thankyou.

Oteg Lento con rubato Chopin

~i

~i r'd -*
-*
4 -m
-i *" 1 clap*

- ^3- ^ ^
1 J J U U 1f * c

li i r^Tj
*9
t
J1

1
i

i
I i
"tr'
?
'J r^-
. -.
~*
*1 i f ~i
.f _
# i

J \,\^n\4A- 3-
1 1 " 1
'f- J l r--J L f 1

* Play in strict time and omit trill for clapping.

D y n a m i c s : What can you say about the dynamic level and dynamic changes in this piece?
A r t i c u l a t i o n : Was the melody phrased smoothly or in a detached style?
Character: What in the music gives this piece its character?
Style a n d Period: Is this Baroque, Classical or Romantic music? Which features of the music suggest that?

26 AB 3576
 continued 5C

Dynamics: Was the end louder or quieter than the beginning? Was the dynamic at the end reached suddenly
or gradually?
A r t i c u l a t i o n : During the final phrase, was the articulation smooth or detached?
T e m p o : Did the tempo vary or did it stay the same?
Style and Period: Is the style and period of this music Classical, Romantic or 20th century?
Which features of the music suggest that?

AB 3576 27
 Answers

M o d e l answers for Tests 4 C ( i ) and 5 C ( i ) are p r i n t e d here GRADE 4

as a guide t o t h e sort of responses t h a t w o u l d be successful
Test 4 C ( i )
in an e x a m . Full credit w o u l d be given t o these answers, if
1. E. G e r m a n
given p r o m p t l y and confidently. However, t h e y are neither
D y n a m i c s : Started p, cresc. t o in t h e m i d d l e , d i m . t o p
definitive nor c o m p r e h e n s i v e and t h e r e are o t h e r w a y s
t o w a r d s t h e end
of r e s p o n d i n g t o the q u e s t i o n s t h a t w o u l d be equally
T e m p o : It stayed t h e same
successful. For s o m e questions, candidates w o u l d not have
Tonality: M a j o r
to m e n t i o n all t h e features given b e l o w in order t o receive
Character: Repeated lilting r h y t h m s , m o d e r a t e t e m p o ,
full credit. For example, in a n s w e r i n g q u e s t i o n s on character
major key; graceful, c a l m
or style and p e r i o d , g i v i n g t w o of t h e features listed w o u l d be
sufficint. The supplied answers t o q u e s t i o n s on character 2. Reger
give a list of features f o l l o w e d by t w o possible adjectives D y n a m i c s : Sudden
t h a t describe t h e character of t h e piece. Candidates may Articulation: Detached
equally well use a d i f f e r e n t adjective - t h e i m p o r t a n t t h i n g Tempo: It stayed t h e same
is t h a t t h e y i d e n t i f y relevant musical features w h i c h s u p p o r t
Character: M i x t u r e of staccato and legato notes, q u i t e
their personal response.
fast t e m p o , major key, m a i n l y loud d y n a m i c ; lively,
happy
M a r k s are not a w a r d e d for individual tests but reflect the
candidate's overall p e r f o r m a n c e d u r i n g t h e set of tests as 3. G u r l i t t
a w h o l e . Candidates are encouraged t o use Italian or o t h e r D y n a m i c s : Suddenly
musical t e r m s in their answers w h e r e a p p r o p r i a t e , and t h i s Articulation: Detached
is s o m e t i m e s s h o w n in t h e indicative responses below; any Tonality: M a j o r
clear d e s c r i p t i o n is acceptable. The assessment criteria are Character: S t r o n g / b o l d c o n t r a s t s , fast t e m p o , major key;
given on page 3. bright, lively

4. Sigurbjrnsson
D y n a m i c s : M o s t l y loud, but g o t quieter t o w a r d s t h e end
Articulation: Detached
Tonality: M i n o r
Character: Low p i t c h range, march-like r h y t h m , m i n o r
key, m a i n l y loud d y n a m i c ; f o r c e f u l / s t r o n g , s o l e m n

5. Villa-Lobos
D y n a m i c s : Started mf, w e n t a little quieter, ended f
T e m p o : It stayed t h e same
Tonality: M a j o r
Character: Dance-like r h y t h m s , s i m p l e t u n e , major key;
lively, happy

6. Grechaninov
Articulation: Detached
Tempo: It s l o w e d d o w n t w i c e - j u s t after t h e m i d d l e and
t o w a r d s t h e end
Tonality: M i n o r
Character: Triple m e t r e / s t r o n g d o w n b e a t s , staccato
a c c o m p a n i m e n t in t h e m i d d l e , m i n o r key; dance-like,
sad

7. Stephen D u r o
D y n a m i c s : Quiet, g o t gradually louder, t h e n quieter again
t o w a r d s t h e end
Tempo: It stayed t h e same
Tonality: M a j o r
Character: Jazzy r h y t h m s , t r i p l e m e t r e , 'catchy' t u n e ,
major key; happy, j a u n t y

28
8. Steibelt
D y n a m i c s : Started p, t h e n mf, cresc. t o f
Articulation: Smooth
Tonality: M i n o r
Character: M i n o r key, m o d e r a t e t e m p o , c o n t r a s t s
b e t w e e n quiet legato playing and louder staccato
phrases; unsettled/changeable, serious

9. Jensen
D y n a m i c s : Sudden changes - m o d e r a t e l y quiet, very
quiet, fairly loud
A r t i c u l a t i o n : First phrase staccato; last phrase legato
Tonality: M a j o r
Character: D e t a c h e d notes, fairly fast t e m p o , major key,
dance-like r h y t h m s ; graceful, cheerful

10. C. Franck
D y n a m i c s : Started quietly, cresc. t o f in m i d d l e , last
phrase pp
Tempo: It stayed t h e same
Tonality: M i n o r
Character: S m o o t h melody, s l o w t e m p o , m i n o r key; sad,
melancholie
 Answers

6. Falla
GRADE 5 D y n a m i c s : ff, s u b i t o / s u d d e n l y p, back t o ff at end
Test 5 C ( i ) Tempo: It stayed t h e same
1. Handel Character: P o w e r f u l / t h i c k chords, s t r o n g d y n a m i c and
A r t i c u l a t i o n : M o s t l y detached/non-legato t h r o u g h o u t r h y t h m i c contrasts, q u i t e fast t e m p o ; b o l d , vigorous
Tonality: M a j o r Style and Period: 2 0 t h - c e n t u r y ; s t r o n g repeated chords,
Character: D e t a c h e d a r t i c u l a t i o n , m o d e r a t e t e m p o , major w i d e d y n a m i c range, use of accents, sudden changes,
key, loud d y n a m i c t h r o u g h o u t ; j o y f u l , e n e r g e t i c / l i v e l y use of s o m e dissonance, contrasts b e t w e e n major and
Style and Period: Baroque; s t r o n g melodie ideas ( w h i c h minor
are copied b e t w e e n t h e p a r t s ) , use of a l i m i t e d range
7. C h r i s t o p h e r N o r t o n
of t h e keyboard, o r n a m e n t a t i o n , absence of d y n a m i c
Articulation: Smoothly
change
Tonality: M a j o r
2. Gershwin
Character: Jazzy/syncopated r h y t h m s , 'bluesy' t u n e w i t h
D y n a m i c s : Gradual; at the end
'crushed notes', m o d e r a t e / f l o w i n g t e m p o , major key;
Tempo: It s l o w e d d o w n t o w a r d s t h e end
jaunty, 'happy-go-lucky'/light-hearted
Tonality: M a j o r
Style and Period: 2 0 t h - c e n t u r y ; jazzy/syncopated
Style and Period: 2 0 t h - c e n t u r y ; jazzy style i n c l u d i n g
r h y t h m s , 'bluesy' m e l o d y and chords, call and response
'bluesy' t u n e and chords, 'crushed notes', flexible
b e t w e e n t o p line and bass line
rhythms
8. Lutosfawski
3. Grieg
D y n a m i c s : A r o u n d t h e m i d d l e ; at the end
D y n a m i c s : Started p, cresc. t o f in t h e m i d d l e , d i m . t o
Articulation: Detached
pp at end
Tempo: Back t o original t e m p o , t h e n accel. t o t h e end
Tempo: It s l o w e d d o w n t w i c e - t o w a r d s the m i d d l e and
Style and Period: 2 0 t h - c e n t u r y ; dissonant/clashing notes,
t o w a r d s t h e end
off-beat accents, changes of t e m p o , spiky a r t i c u l a t i o n
Character: Legato/cantabile melody, fairly slow t e m p o ,
major key; peaceful, lyrical 9. Chopin
Style and Period: Romantic; song-like melody, use of D y n a m i c s : Generally quiet t h r o u g h o u t , gradual changes
rubato, rich h a r m o n i e s , use of sustaining pedal Articulation: Smoothly
Character: Slow w a l t z t e m p o , m i n o r key, step-wise
4. Rameau
m e l o d y in left-hand; sad, c a l m
D y n a m i c s : Sudden; a b o u t a t h i r d of t h e way t h r o u g h
Style and Period: Romantic; cantabile melody, rich
Tempo: It s l o w e d d o w n t o w a r d s t h e end
h a r m o n i e s , use of s u s t a i n i n g pedal, flexible t e m p o /
Tonality: M i n o r
rubato
Style and Period: Baroque; o r n a m e n t a t i o n , m e l o d i e ideas
in b o t h upper and lower parts, use of a l i m i t e d range of 10. K a m m e l
the keyboard, light a r t i c u l a t i o n D y n a m i c s : Louder; gradually
Articulation: Detached
5. Mozart
Tempo: Rit./rall. t o w a r d s t h e end
D y n a m i c s : Second phrase m u c h quieter
Style and Period: Classical; clearly-defined, regular
Tempo: There was a rit./rall. t o w a r d s t h e end
phrases w i t h cresc. and d i m . , use of scale and arpeggio
Tonality: M a j o r
patterns, simple harmony
Style and Period: Classical; graceful m e l o d y w i t h s i m p l e
a c c o m p a n i m e n t , repeated ideas, clearly-defined
phrases, gentle d y n a m i c shaping

30