ABRSM. Qualification Specification. Graded Exams in Music Performance. Version 1.0: September 2018 Next review: September 2019

Transcription

1 ABRSM Qualification Specification Graded Exams in Music Performance 2018 Version 1.0: September 2018 Next review: September 2019

2 Contents Introduction... 3 About ABRSM, 3 This qualification specification, 3 About these qualifications...4 Overview, 4 Regulated qualification details, 5 Graded Exams in Music Performance... 6 Syllabuses, 6 Entry requirements, 6 Making an entry, 6 Access (for candidates with specific needs), 6 In the exam, 6 Elements of the exam, 7 Assessment objectives...8 About assessment objectives, 8 Grades 1 3 (RQF Level 1), 8 Grades 4 5 (RQF Level 2), 9 Grades 6 8 (RQF Level 3), 9 Exam requirements: Pieces...10 Overview, 10 Scope of the assessment, 10 Exam music, 11 Exam requirements: Supporting tests...12 Scales and arpeggios/broken chords, 12 Unaccompanied song, 12 Sight-reading, 13 Aural tests, 14 Exam syllabuses Grade 1, 21 Grade 2, 22 Grade 3, 23 Grade 4, 24 Grade 5, 25 Grade 6, 26 Grade 7, 27 Grade 8, 28 Assessment Marking criteria Results Results, mark forms and certificates, 35 Malpractice and maladministration, 35 2

3 Introduction About ABRSM Who we are We are the Associated Board of the Royal Schools of Music (ABRSM), a company registered in England and Wales (company registration number ) and a registered charity (charity registration number ). Our registered office is at 4 London Wall Place, London, EC2Y 5AU. Our mission ABRSM s mission is to inspire musical achievement. We do this in partnership with four Royal Schools of Music: Royal Academy of Music, Royal College of Music, Royal Northern College of Music and Royal Conservatoire of Scotland. We are passionate about music, its value as an art form and the importance of music education. We believe that being involved with music gives people unique, positive experiences with life-long benefits. Through our world-leading assessments, books and resources we provide people worldwide with the tools they need to teach, learn, make and enjoy music. Our scholarships, donations, sponsorship and partnerships create opportunities for people of all ages to discover music and fulfil their potential. Everything we do is designed to support learners and teachers on their musical journey. Find out more at How we are regulated ABRSM Graded Exams in Music Performance are regulated in England by the Office of Qualifications and Examinations Regulation (Ofqual) and the corresponding regulatory authorities in Wales (Qualifications Wales) and Northern Ireland (CCEA Regulation). They are part of the Regulated Qualifications Framework (RQF) in England and Northern Ireland. This qualification specification What this specification covers This qualification specification includes all the information required to deliver a qualification, including regulated qualification details, and assessment and learning outcomes. It is designed to help teachers, candidates, parents and organisations when preparing for Graded Exams in Music Performance in the exam subjects listed below. It should be read in conjunction with the relevant syllabus, which contains details of the exam requirements. Alto Saxophone, Baritone, Baritone Saxophone, Bass Trombone, Bassoon, Cello, Clarinet, Cornet, Descant Recorder, Double Bass, Eb Horn, Euphonium, Flugelhorn, Flute, Guitar, Harp, Harpsichord, Horn, Jazz Alto Saxophone, Jazz Baritone Saxophone, Jazz Clarinet, Jazz Cornet, Jazz Flugelhorn, Jazz Flute, Jazz Piano, Jazz Soprano Saxophone, Jazz Tenor Saxophone, Jazz Trombone, Jazz Trumpet, Oboe, Organ, Percussion, Piano, Singing, Soprano Saxophone, Tenor Horn, Tenor Saxophone, Treble Recorder, Trombone, Trumpet, Tuba, Viola and Violin. Validity of this specification This specification is valid from September 2018, and will be reviewed again in September We may change or add to this specification from time to time. The latest version will be available from 3

4 About these qualifications Overview Qualification objectives Graded Exams in Music Performance are designed as a progression route for learners developing their skills in musical performance. Each grade represents a new challenge for the learner, providing motivation and structure to develop and hone musical skills. Exams allow learners to receive formal recognition of the level of mastery they have achieved, and feedback to support their learning journey. The syllabuses are based on core musical skills listening, performing, reading, and musical knowledge and understanding. Together these skills give students a good foundation for their musical development and a range of different musical activities. Who the qualifications are for Learners may be entered for Graded Exams in Music Performance at any age. Learners entering for Grades 6 8 must fulfil the prerequisites detailed on page 6 of this specification and in the relevant syllabus. We aim to make our exams accessible to all candidates by providing access arrangements and reasonable adjustments where appropriate. Every effort has been made to make sure that the syllabus lists feature a broad range of repertoire to suit and appeal to candidates of differing ages, backgrounds and interests. Progression route Prior to completing Graded Exams in Music Performance, learners may wish to take the Prep Test. Presented in a relaxed and encouraging way, it is an ideal preparation for graded exams. It provides a goal to work towards as well as the thrill of receiving a certificate something to be really proud of. The Prep Test is designed to encourage the building of good musical and technical foundations. Further details can be found at We believe that a thorough understanding of the elements of music is essential for a full and satisfying performance at the higher grades. Our Graded Exams in Music Theory exams assess candidates on their ability to identify, use and manipulate musical symbols, to complete extracts and to answer questions relating to the elements of music. We also offer Practical Musicianship exams where, in developing their musicianship skills, candidates gain the understanding as well as the expressive and interpretive skills needed to master the musical language of the repertoire they are learning. A pass at Grade 5 or above is required in either Music Theory, Practical Musicianship or solo Jazz subject before candidates can enter for Grades 6, 7 and 8 practical exams. Candidates who successfully complete Grade 8 can progress on to one of ABRSM s higher level qualifications, including the ARSM and DipABRSM diplomas. The ARSM diploma bridges the gap between Grade 8 and DipABRSM (Music Performance), and provides musicians with an opportunity to develop their performance technique and interpretative skills, while focusing on programme building and extending their repertoire. Through a combination of live and written components, DipABRSM, LRSM and FRSM candidates demonstrate their performance, communication and research skills, as well as their musical knowledge and understanding. Each diploma serves as a stepping stone to the next level. Further details of these can be found at 4

5 About these qualifications Regulated qualification details Qualification titles The table below shows the regulated titles and qualification numbers of our graded music exams. Further information can be found at Qualification Number Qualification Title 501/2150/9 ABRSM Level 1 Award in Graded Examination in Music Performance (Grade 1) 501/2159/5 ABRSM Level 1 Award in Graded Examination in Music Performance (Grade 2) 501/2160/1 ABRSM Level 1 Award in Graded Examination in Music Performance (Grade 3) 501/2151/0 ABRSM Level 2 Certificate in Graded Examination in Music Performance (Grade 4) 501/2152/2 ABRSM Level 2 Certificate in Graded Examination in Music Performance (Grade 5) 501/2162/5 ABRSM Level 3 Certificate in Graded Examination in Music Performance (Grade 6) 501/2166/2 ABRSM Level 3 Certificate in Graded Examination in Music Performance (Grade 7) 501/2163/7 ABRSM Level 3 Certificate in Graded Examination in Music Performance (Grade 8) Qualification size The table below describes the size of the Graded Exams in Music Performance qualifications by showing the amount of time that a candidate would typically need to spend preparing for them: Under the guidance of a teacher (Guided Learning Hours); Under the guidance of a teacher and time spent preparing independently (Total Qualification Time); and: The assigned credit value (which denotes the size of the qualification). Level Guided Learning Hours* (GLH) Total Qualification Time* (TQT) Credits Grade Grade Grade Grade Grade Grade Grade Grade *The Guided Learning Hours and Total Qualification Time are estimates of the average amount of time that it might take a candidate to prepare for these qualifications, and should be used as guidance only; it is recognised that there will be variance dependent on each individual s level of experience. 5

6 Graded exams in Music Performance This section provides a summary of the information that teachers and candidates need to know when taking Graded Exams in Music Performance. Syllabuses Syllabus availability When preparing for an exam, it is important to read the relevant syllabus. We update our syllabuses from time to time. Advance notice of any changes is given at In the first year of any new Graded Exam in Music Performance syllabus, we offer an overlap period in which candidates may follow specific requirements from the preceding syllabus. Information on the length of the overlap period and the requirements that it applies to are given at Syllabus corrections Any updates to a syllabus e.g. changes to publication details or other minor corrections or clarifications will be posted at Exam Regulations When preparing for an exam, it is important to read ABRSM s Exam Regulations, which set out the rules for completing the exams listed in this specification. This information is available at Entry requirements Candidates may be entered for any grade at any age. Candidates for a Grade 6, 7 or 8 exam must already have passed ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a solo Jazz instrument; for full details, including a list of accepted alternatives, see Making an entry Details of exam dates, locations, fees and how to book an exam are available online at Access (for candidates with specific needs) We aim to make our exams accessible to all candidates by providing access arrangements and reasonable adjustments. While changes will be made to the administration of the exam, we will not make any changes to the assessment standards; each candidate s performance is marked in line with the usual criteria. We publish guidelines for candidates with specific needs at Where a candidate has specific needs that are not covered by our guidelines, we consider each case individually. Further information is available from the Access Co-ordinator (accesscoordinator@ abrsm.ac.uk) or from In the exam Examiners There is usually one examiner in the exam room, however a second examiner may be present for training or quality assurance purposes. Examiners may ask to look at the candidate s or accompanist s copy of the music before or after the performance of a piece or programme. They may also stop the performance of a piece or programme when they have heard enough to make a judgment. Order of the exam The candidate can choose to take the sections of the exam in any order, although it is preferable for accompanied pieces (where applicable) to be performed one after the other. 6

7 Graded exams in Music Performance Instruments ABRSM public venues provide an upright or grand piano. Details of the instruments (and any other equipment e.g. footstools) which may be used are given in the relevant syllabus. Tuning In Grades 1 5, the teacher or accompanist may tune the candidate s instrument to the piano (or advise on tuning) before the exam begins. Grade 6 8 candidates must tune their instrument themselves. Harp candidates must bring their own instrument to the exam and make sure that it is tuned beforehand; they will be given enough time to make the necessary pedal/level changes for scale requirements and pieces. Timpani candidates should provide their own tuning forks or other pitch sources, and these may be used only before the beginning of each piece. Examiners are unable to help with tuning. Music stands ABRSM public venues provide a music stand, but candidates are welcome to bring their own if they prefer. The examiner will be happy to help adjust the height or position of the stand. Elements of the exam Structure Graded Exams in Music Performance are made up of Pieces, Scales and arpeggios/broken chords, Sight-reading and Aural tests. Exam timings The timings in the table below show the approximate length of each exam in minutes, including the candidate s entry and exit, any tuning time and time for the examiner to finish the mark form between exams. Examiners may take more or less time than the given timings. Grade Keyboard subjects Singing Harp & Organ All other subjects Grade 1* Grades 2 & 3* Grades 4 & 5* Grade Grade Grade * An additional three minutes is applied to Jazz exams at these grades. 7

8 Assessment objectives About assessment objectives The Regulated Qualification Framework (RQF) level describes the difficulty level of the qualification. There are nine qualification levels in the framework, labelled in order of difficulty from Entry Level to Level 8. For further information, visit The tables below describe the level of knowledge and skills required of candidates taking Graded Exams in Music Performance. Alongside this, they show the assessment objectives and corresponding marking criteria that examiners use to assess the performances at each level. The full marking criteria used by examiners are available on pages 30 and 31 of this specification, and in the relevant syllabus. Grades 1 3 (RQF Level 1) Assessment objectives Learners will: Demonstrate musical skill, knowledge and understanding through performing repertoire of elementary musical and technical demands, demonstrating control across the range of musical ingredients appropriate to simple repertoire and awareness of basic characteristic features and performance conventions. Demonstrate instrumental control and familiarity with prescribed note patterns relevant to the instrument, through playing prescribed technical requirements at elementary demand levels. Demonstrate notational and listening skills and understanding at elementary demand levels through responding to previously unseen music and prescribed aural tests. Marking criteria Learners can: Perform elementary repertoire with: Reliable pitch and intonation Stable rhythm at a suitable tempo Reliable tonal control and awareness Musical shape and detail Communication of character and style Perform specified elementary technical requirements with: Correct notes and secure continuity Reliable tonal control Respond to simple musical notation with: Overall security of notes, rhythm and continuity Respond to simple piano-based musical stimuli with: Overall accuracy and reliable musical perception 8

9 Assessment objectives Grades 4 5 (RQF Level 2) Assessment objectives Learners will: Demonstrate musical skill, knowledge and understanding through performing repertoire of moderately complex musical and technical demands, demonstrating control across the range of musical ingredients appropriate to intermediate repertoire and awareness of straightforward characteristic features and performance conventions. Demonstrate instrumental control and familiarity with prescribed note patterns relevant to the instrument, through playing prescribed technical requirements at intermediate demand levels. Marking criteria Learners can: Perform intermediate repertoire with: Reliable pitch and intonation Stable rhythm at a suitable tempo Reliable tonal control and awareness Musical shape and detail Communication of character and style Perform specified intermediate technical requirements with: Correct notes and secure continuity Reliable tonal control Demonstrate notational and listening skills and understanding at intermediate demand levels through responding to previously unseen music and prescribed aural tests. Respond to moderately complex musical notation with: Overall security of notes, rhythm and continuity Respond to moderately complex piano-based musical stimuli with: Overall accuracy and reliable musical perception Grades 6 8 (RQF Level 3) Assessment objectives Learners will: Demonstrate musical skill, knowledge and understanding through performing repertoire of advanced musical and technical demands, demonstrating control across the range of musical ingredients appropriate to complex repertoire and awareness of sophisticated characteristic features and performance conventions. Demonstrate instrumental control and familiarity with prescribed note patterns relevant to the instrument, through playing prescribed technical requirements at advanced demand levels. Demonstrate notational and listening skills and understanding at advanced demand levels through responding to previously unseen music and prescribed aural tests. Marking criteria Learners can: Perform advanced repertoire with: Reliable pitch and intonation Stable rhythm at a suitable tempo Reliable tonal control and awareness Musical shape and detail Communication of character and style Perform specified advanced technical requirements with: Correct notes and secure continuity Reliable tonal control Respond to complex musical notation with: Overall security of notes, rhythm and continuity Respond to complex piano-based musical stimuli with: Overall accuracy and reliable musical perception 9

10 Exam requirements: pieces Overview For this section of the exam, candidates prepare and present a selection of pieces or songs chosen from the relevant syllabus. Our syllabuses include a wide range of repertoire for candidates to choose from; we want candidates to find music that inspires them and that they enjoy learning and performing. Choosing pieces Candidates choose one piece from each of the three lists (A, B and C) in each grade, with the following exceptions: Harpsichord candidates chose one piece from each of Lists B and C and one from either List A or D; Percussion candidates must present two pieces and one study. The first piece (or set combination) must be chosen from the Tuned Percussion list. The second piece and study must be from the set items listed for their other chosen instrument; Singing candidates at Grades 1 5 choose one song from each of the three lists (A, B and C). In Grades 6 8, candidates choose one song from any three of the five lists (A, B, C, D and E). Programme list Candidates should give the examiner a list of pieces/songs (including the syllabus number of each item - e.g. B3) that they will be performing, in the order that they are presenting them. Blank exam programme and running order forms are provided in each syllabus for this purpose. Scope of the assessment Accompaniment Accompaniments for accompanied pieces must be live. Candidates must provide their own accompanist (or duet partner, where applicable), and the accompanist may stay in the exam room only while accompanying. The candidate s teacher may accompany, but candidates may not accompany themselves and the examiner will not accompany under any circumstances. If necessary, the accompanist may simplify any part of a piano accompaniment. Repeats Da capo and dal segno indications should be performed, but all other repeats (including first-time bars) should be left out unless they are very short (i.e. of a few bars) or unless the syllabus specifies otherwise. Cadenzas and tuttis Cadenzas should not be played unless the syllabus specifies otherwise. Lengthy orchestra tutti sections should be cut. Interpreting the score Printed editorial suggestions such as fingering, metronome marks, ornament realisations, pedalling etc. do not need to be observed, or may be adapted as appropriate. Whether the piece contains musical indications or not, candidates are encouraged to interpret the score in a musical and stylistic way. We advise candidates to avoid any piece which relies on a particular technique for the full musical effect (whether marked in the music or not) that can t be managed. Performing from memory Candidates are free to perform any of their pieces from memory. If choosing to perform from memory, they must have a copy of the music for the examiner to refer to. No extra marks are awarded for playing from memory. 10

11 Exam requirements: pieces Exam music Editions Wherever the syllabus includes an arrangement or transcription, the edition listed must be used in the exam; these are marked arr. or trans. in the syllabus. For all other pieces, suggested editions are given for guidance only and candidates may use any edition of their choice (in- or out-of-print or downloadable). Page-turns Examiners will be understanding if a page-turn interrupts the continuity of a piece, and this will not affect the marking. For awkward page-turns, candidates may use an extra copy of the music or a photocopy of a section of the piece (see Photocopies below). Candidates at Grades 1 5 are expected to make any page turns in their music themselves. Candidates at Grades 6 8 may bring a page-turner (who may also act as registrant Organ exams) to the exam if there is no solution to a page-turn. Prior permission is not required, and the page-turner may be the candidate s teacher. Examiners are unable to help with page-turning. Availability Exam music is available from music retailers and online, including at We aim to make sure that the publications listed in syllabuses will remain available for the duration of the syllabus. We advise candidates to get their music well before the exam in case items are not kept in stock by retailers. Questions about the music (e.g. editorial, availability) should be addressed to the relevant publisher: contact details are listed at org/publishers Photocopies Candidates may not use unauthorised photocopies (or other kinds of copies) of copyright editions. We may withhold the exam result if there is evidence of an illegal copy (or copies) being used in an exam. In the UK, copies may be used in some limited circumstances for full details, see the MPA s Code of Fair Practice at In all other cases, application should be made to the copyright holder before any copy is made, and candidates must bring evidence of permission received to the exam. 11

12 Exam requirements: supporting tests Scales and arpeggios/broken chords About the tests Scales and arpeggios are important for building strong technical skills and musical understanding. By practising them, candidates become familiar with their instrument and develop many aspects of technique, including articulation, tone and intonation. Playing scales and arpeggios also helps candidates to understand keys. This gives them confidence when sight-reading, learning new pieces and performing from a score or from memory, as a solo musician or with others. All Graded Exam in Music Performance candidates prepare scales and arpeggios/broken chords, with the exception of Singing candidates, who prepare an unaccompanied traditional song. The scales and arpeggios/broken chords to be prepared are detailed in the relevant syllabus. Requesting scales Examiners will usually ask for at least one of each type of scale/arpeggio/broken chord etc. required at each grade. They will also ask to hear a balance of the requirements (e.g. hand requirements, strokes, articulations etc.) where applicable. Examiners will specify the exact requirement each time. Performing from memory All scale and arpeggio/broken chord requirements must be performed from memory. Scale speeds Tables of scale speeds are given in each syllabus as a general guide. Scale patterns Examples of scale patterns are given in each syllabus. Supporting publications Books of the scale requirements are published by ABRSM for the instruments listed below. Purchasing these books is not a requirement. Bass Trombone, Baritone, Bassoon, Cello, Clarinet, Cornet, Descant Recorder, Double Bass, Euphonium, Flugelhorn, Flute, Guitar, Horn, Jazz Clarinet, Jazz Flute, Jazz Piano, Jazz Sax, Jazz Trombone, Jazz Trumpet, Oboe, Organ, Piano, Saxophone, Treble Recorder, Trombone, Trumpet, Tuba, Viola and Violin. Books of the scale requirements for pedal and non-pedal harp are published by Alaw. Unaccompanied song (Singing only) About the test In Singing exams, candidates perform an unaccompanied traditional song of their choice, from memory. This is instead of scales and arpeggios. Learning to sing unaccompanied helps candidates to develop their sense of key and pulse without reference to an accompanying instrument. It also encourages control of tonality and pitch, sense of rhythm, use of tonal colour, musical communication and memory skills. A traditional song is defined as a folk song originating among the people of a region and forming part of their culture. Folk songs are essentially colloquial and have no traceable composer, and they cover a broad range of topics, such as: the natural world and the cycle of life; love and romance; work and relaxation; historical events; and situations of hardship, suffering, inequality and rebellion. Genres The following genres are not suitable: hymns, carols, chants, plainsong; nursery rhymes; national anthems; stylized folk song arrangements (i.e. that rely on piano accompaniment for the full musical effect). 12

13 Exam requirements: supporting tests Languages The unaccompanied traditional song may be sung in any language. An English translation or short summary should be provided for the examiner when words other than English are used. The song may be sung in any comfortable key, and, if required, the first note or key-chord may be played on the piano to establish the pitch. The unaccompanied traditional song must be a different song to the candidate s accompanied songs. Timings Candidates must make sure that the unaccompanied traditional song fits the following timings: minimum maximum Grades minute 2 minutes Grades minute 3 minutes Editions There are no set songs for the unaccompanied traditional song. Candidates are free to perform a song from any source or publication at any grade. There are many available collections of traditional/folk songs, which are listed in the syllabus for reference. Sight-reading including Quick study, Transposition, and Figured bass realisation* Sight-reading Sight-reading is a valuable skill with many benefits. It helps candidates to perform new music with confidence and learn pieces or songs more quickly. Good sight-reading skills also help when making music with others, so singing in a choir or playing in an ensemble becomes more rewarding and enjoyable. Candidates will be asked to play or sing a short unaccompanied piece of music which they have not previously seen. Candidates will be given half a minute to look through and, if they wish, try out all or any part of the test before they play or sing it for assessment. In addition to Sight-reading, Horn, Trumpet and Organ candidates at Grades 6 8 also take a Transposition test, and Harpsichord candidates take a Figured bass realisation test. Quick study (Jazz exams only) Jazz candidates will be asked to play an unfamiliar piece of music, and to improvise a continuation based on the scale indicated. Candidates may choose to play either at sight or by ear. Transposition (Grade 6 8 Horn, Trumpet and Organ only) Grade 6 8 Horn, Trumpet and Organ candidates will be asked to transpose a simple passage of music which they have not previously seen. They will be given half a minute to look through and, if they wish, try out all or any part of the test before they play it for assessment. Figured bass realisation (Grade 4 8 Harpsichord only) Candidates will be asked to play a short figured bass realisation test which they have not previously seen. They will be given half a minute to look through and, if they wish, try out all or any part of the test before they play it for assessment. *In these cases, 12 marks are allocated to Sight-reading and 9 to Transposition or Figured bass realisation, and one combined mark (out of 21) is recorded. Parameters Tables or descriptions of the elements introduced at each grade for each of these tests are given in the relevant syllabus. Once a parameter is introduced, it applies to all higher grades. The sample parameters below show the requirements for Piano for 2017 and Please refer to our website for the full and most recent version of the syllabus. The syllabus for Piano 2017 and 2018, as well as syllabuses for other instruments covered by this specification, are available at 13

14 Exam requirements: supporting tests Grade Length (bars) Time Keys Hand position Other features that may be included 1 4 4/4 3/4 6 2/4 C, G, F majors A, D minors 2 D major E, G minors 3 up to 8 3/8 A, Bb, Eb majors B minor Each hand: playing separately in 5-finger position Hands playing together Hands playing outside 5-finger position Simple: dynamics note values articulations Occasional accidentals (within minor keys only) dotted notes tied notes 2-note chords in either hand 4 c. 8 6/8 anacrusis chromatic notes pause signs tenuto 5 c c /8 5/8 5/4 7 c /8 7/4 8 c. 1 page 12/8 E, Ab majors F #, C minors C #, F minors B, Db majors 4-part chords (2 notes max. in either hand) simple syncopation slowing of tempo at end triplet rhythms clef changes use of right pedal tempo changes 8va sign use of una corda pedal 3-part chords in either hand spread chords simple ornaments Supporting publications For practice purposes, books of sample Sight-reading or Quick study tests are published by ABRSM for the instruments listed below. Purchasing these books is not a requirement. Bass Trombone, Baritone, Bassoon, Cello, Clarinet, Cornet, Descant Recorder, Double Bass, Euphonium, Flugelhorn, Flute, Guitar, Harp, Horn, Jazz Clarinet, Jazz Flute, Jazz Piano, Jazz Sax, Jazz Trombone, Jazz Trumpet, Oboe, Organ (includes sample Transposition tests), Piano, Saxophone, Treble Recorder, Trombone, Trumpet, Tuba, Viola and Violin Aural tests Listening lies at the heart of all good music-making. Developing aural awareness is fundamental to musical training because having a musical ear impacts on all aspects of musicianship. Singing, both silently in the head and out loud, is one of the best ways to develop the musical ear. It connects the internal imagining of sound, the inner ear, with the external creation of it, without the necessity of mechanically having to find the note on an instrument (important though that connection is). By integrating aural activities in imaginative ways in the lesson, preparation for the aural tests within an exam will be a natural extension of what is already an essential part of the learning experience. 14

15 Exam requirements: supporting tests Aural tests are an integral part of all practical exams. The tests are given by the examiner from the piano. For any test that requires a sung response, pitch rather than vocal quality is being assessed. The examiner will be happy to adapt to the vocal range of the candidate, whose responses may be sung to any vowel (or consonant followed by a vowel), hummed or whistled (and at a different octave, if appropriate). Deaf or hearing-impaired candidates Deaf or hearing-impaired candidates may respond to alternative tests in place of the standard tests, if requested at the time of entry. Further information, including the syllabus for the alternative tests, is available at org/specificneeds Scope of the assessment Some tests allow for a second attempt or for an additional playing by the examiner, if necessary. The examiner will also be ready to prompt, where helpful, although this may affect the assessment. One mark is awarded for the candidate s overall response in this section. The information on pages 16 to 20 sets out the tasks that candidates will be asked to complete in the exam. 15

16 Exam requirements: supporting tests Aural Tests GRADE 1 A B C D To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or three time. The examiner will start playing the passage, and the candidate should join in as soon as possible, clapping in time and giving a louder clap on the strong beats. The examiner will then ask whether the music is in two time or three time. The candidate is not required to state the time signature. To sing as echoes three phrases played by the examiner. The phrases will be two bars long, in a major key, and within the range of tonic mediant. First the examiner will play the key-chord and the starting note (the tonic) and then count in two bars. After the examiner has played each phrase, the candidate should sing back the echo without a pause, keeping in time. To identify where a change in pitch occurs during a phrase played by the examiner. The phrase will be two bars long, in a major key, and the change will affect only one of the notes. First the examiner will play the key-chord and the tonic and then count in two bars. The examiner will play the phrase twice, making the change in the second playing, after which the candidate should state whether the change was near the beginning or near the end. If necessary, the examiner will play both versions of the phrase again (although this may affect the assessment). 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: dynamics (loud/quiet, or sudden/gradual changes); the second will be articulation (smooth/detached). Aural Tests GRADE 2 A B C D To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or three time. The examiner will start playing the passage, and the candidate should join in as soon as possible, clapping in time and giving a louder clap on the strong beats. The examiner will then ask whether the music is in two time or three time. The candidate is not required to state the time signature. To sing as echoes three phrases played by the examiner. The phrases will be two bars long, in a major key, and within the range of tonic dominant. First the examiner will play the key-chord and the starting note (the tonic) and then count in two bars. After the examiner has played each phrase, the candidate should sing back the echo without a pause, keeping in time. To identify a change in either pitch or rhythm during a phrase played by the examiner. The phrase will be two bars long, in a major key. First the examiner will play the key-chord and the tonic and then count in two bars. The examiner will play the phrase twice, making the change in the second playing, after which the candidate should identify the change in the second playing by describing it, or singing/ clapping. If necessary, the examiner will play both versions of the phrase again (although this may affect the assessment). 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 one of the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/detached); the second will be tempo (becoming slower/faster, or staying the same). 16

17 Exam requirements: supporting tests Aural Tests GRADE 3 A B C D To clap the pulse of a piece played by the examiner, and to identify whether it is in two time, three time or four time. The examiner will start playing the passage, and the candidate should join in as soon as possible, clapping in time and giving a louder clap on the strong beats. 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. To sing as echoes three phrases played by the examiner. The phrases will be two bars long, in a major or minor key, and within the range of an octave. First the examiner will play the key-chord and the starting note and then count in two bars. After the examiner has played each phrase, the candidate should sing back the echo without a pause, keeping in time. To identify a change in either pitch or rhythm during a phrase played by the examiner. The phrase will be up to four bars long, in a major or minor key. First the examiner will play the key-chord and the tonic and then count in two bars. The examiner will play the phrase twice, making the change in the second playing, after which the candidate should identify the change by describing it, or singing/clapping. If necessary, the examiner will play both versions of the phrase again (although this may affect the assessment). 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 one of the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/detached), tempo (becoming slower/faster, or staying the same); the second will be tonality (major/minor key). Aural Tests GRADE 4 A B C (i) (ii) To sing or play from memory a melody played twice by the examiner. 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 play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the melody again and allow a second attempt (although this may affect the assessment). To sing five notes from score in free time. The candidate may choose to sing from treble or bass clef. The notes will be within the range of a third above and below the tonic in the key of C, F or G major. The test will begin and end on the tonic and will not contain intervals greater than a third. First the examiner will name and play the key-chord and the starting note. If necessary, the examiner will help the candidate by playing and identifying the correct note if any note is sung at the wrong pitch. 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 one of the following: dynamics, articulation, tempo, tonality; the second will be character. 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 (unharmonised), 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. 17

18 Exam requirements: supporting tests Aural Tests GRADE 5 A B C (i) (ii) To sing or play from memory a melody played twice by the examiner. 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 play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the melody again and allow a second attempt (although this may affect the assessment). To sing six notes from score in free time. The candidate may choose to sing from treble or bass clef. The notes will be within the range of a fifth above and a fourth below the tonic, in a major key with up to two sharps or flats. The test will begin and end on the tonic and will not contain intervals greater than a third, except for the rising fourth from dominant to tonic. First the examiner will name and play the key-chord and the starting note. If necessary, the examiner will help the candidate by playing and identifying the correct note if any note is sung at the wrong pitch. 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 one of the following: dynamics, articulation, tempo, tonality, character; the second will be style and period. 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 (unharmonised), 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. Aural Tests GRADE 6 A B C D (i) (ii) To sing or play from memory the upper part of a two-part phrase played twice by the examiner. The upper part 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 play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the phrase again and allow a second attempt (although this may affect the assessment). To sing a melody 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 may affect the assessment). 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. 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. 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 (unharmonised), 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. 18

19 Exam requirements: supporting tests Aural Tests GRADE 7 A B C (i) (ii) (iii) D (i) (ii) To sing or play from memory the lower part of a two-part phrase played twice by the examiner. The lower part 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 play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the phrase again and allow a second attempt (although this may affect the assessment). 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 may affect the assessment). (i) 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. 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.). To identify whether the modulation at the end of a different passage is to the dominant, subdominant or relative minor. The passage, played once by the examiner, will begin in a major key. First the examiner will name and play the starting key-chord. The candidate may answer using technical names (dominant, subdominant, relative minor) or the letter name of the new key. To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two of the following features the questions will be about: dynamics, articulation, tempo, tonality, character, style and period, texture, structure. 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, four time or 6/8 time. The examiner will play the extract twice (unharmonised), 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. 19

20 Exam requirements: supporting tests Aural Tests GRADE 8 A (i) (ii) (iii) B C D To sing or play from memory the lowest part of a three-part phrase played twice by the examiner. The lowest part 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 play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the phrase again and allow a second attempt (although this may affect the assessment). 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. 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 key-chord. To identify the three chords (including their positions) forming the above cadential progression. The chords 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). First the examiner will name and play the key-chord, then play the three chords in sequence, finally playing each chord individually, pausing for the candidate to identify it. The candidate may answer using technical names (tonic, first inversion, etc.), chord numbers (Ib, etc.) or letter names (C major in first inversion, etc.). To sing the lower part of a two-part phrase from score, with the upper part played by the examiner. The candidate may choose to sing from treble or bass clef. The lower 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 may affect the assessment). 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; each passage will be played once by the examiner. Before playing each passage, the examiner will name and play the starting key-chord. The candidate may answer using technical names (dominant*, subdominant, relative minor/major) or the letter name of the new key. (*Minor-key passages may modulate to the dominant major or minor but the candidate is only required to specify dominant in such cases.) 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 texture, structure, character, style and period, etc.). The examiner will prompt the candidate with questions only if this becomes necessary. Supporting publications Examples of the tests are given in Specimen Aural Tests and Aural Training in Practice (from 2011), published by ABRSM. Purchasing these books is not a requirement. 20