RONALD SMITH eM ULL La BOOK I: Grades 1 to 3 The Associated Board of the Royal Schools of MusicAural Training in Practice Book I: Grades 1-3 ‘This material has been prepared primarily to offer guidance for the Aural Tests in the Associated Board’s practical examinations. Where appropriate a background note has been given showing the purpose of the test, and in some cases a preliminary exercise has been suggested before attempting the practice tests. It should be noted that in most cases ample practice material will be found in the music pupils are currently learning, This should be used whenever possible to emphasise the relevance of aural training as an integral part of learning to play an instrument or to sing. However, it should be noted that the examples chosen for this publication are not necessarily of the technical level of the specific grade, but have been selected for their relevance to pupils’ aural development and to provide a broader range of music for listening than would otherwise be possible. RONALD SMITH THE ASSOCIATED BOARD OF THE ROYAL SCHOOLS OF MUSICTest 1A: Responding to the pulse of the music GRADE 1 Following on from the first steps in aural training found in the Associated Board’s Preparatory Test, the candidate is required: ‘To tap the pulse of a passage of music in 2 or 3 time played by the examiner. The examiner will commence playing the passage, and the candidate will be expected to join in as soon as possible by tapping the beat, stressing where the strong beat falls. The candidate will then be asked to state the time.” It will be noticed that all the following pieces have a strong rhythmic character and, except for Nos.15 and 20, begin on the first beat of the bar. The ability to feel the pulse in music is an essential step towards playing rhythmically and being able to repeat rhythm accurately. Every lesson in the early stages of learning an instrument should include practice in this skill. Occasionally the teacher should stop playing, having warned the pupil to continue tapping, so as to find out whether a steady pulse can be maintained. Pupils should make clear what time the piece is in through the regular stress within their tapping, but it is good practice always to ask them to state whether it is in 2 or 3 time to ensure that they have taken in what they are doing. There is no need to continue playing the piece once the beat has been clearly established. Likewise the piece can be repeated if necessary. Tapping, using two or three fingers of one hand on to the palm of the other, will be found to be more satisfactory than clapping. Some teachers may find the use of a wood block or other percussion instrument effective. Many suitable examples will be found in the Associated Board’s ‘Easier Piano Pieces’ series, notably Nos.2, 14, 21, 52, 64, 70 In the early days of learning an instrument, pupils should always experience the pulse of the music before attempting to play the notes. Their pieces will therefore provide the best possible material for this important element of musicianship, N.B. The candidate, in the examination, is required to tap the pulse, not the rhythm. It is a good principle to start tapping the pulse as soon as that is felt and then te introduce the regular stress, becoming more confident in the indication of the ‘down-beat’ stress as the piece progresses. PRACTICE TE! ‘S Introduce this test by saying: ‘Tap the pulse for this music, joining in as soon as you can. Stress where the strong beat falls.’ * With spirit Swinstead © The Associated Board of the Royal Schools of Musie * Throughout this book, the wording ofthe introductions to each testis not necessarily the precise wording tha the examiner will use inthe examination. © 1904 by The Associated Board of the Royal Schools of MusicAndante Dunhill © The Associated Board of the Royal Schools of Music Andantino — Burgmilller preligioso Munter und straff ‘Schumann oe N.B. Careful attention to the rhythmical playing of this piece is necessary, otherwise pupils may suspect that the pulse is stressed FU Ds Dr IDs cre. this, ofcourse, could apply to many other pieces Allegretto grazioso Gurlitt P £ Moderato HaydnTest 1A (cont) Allegretto quasi andante (dase, Rory Boyle © The Associated Board of the Royal Schools of Music Grandioso (2-160 Alan Haughton © The Associated Board of the Royal Schools of Music‘Throughout this book examples are given primarily from keyboard music, These will provide practice material in preparation for examinations, but teachers of singing or of instruments other than keyboard will find many suitable examples in their own teaching resources and in the music their pupils are playing. This applies to all grades, but here as a guide to the possibilities are a few examples taken from recent Associated Board syllabuses. VIOLIN, Moderato Haydn (arranged) ——— pp eg ff Sj Vigorously Arbeau (arranged) u Gre 3 SEs as Allegro Bartok (arranged) SS = ee Revised Euition: ©Copyright 1946 by Boosey & Hawkes, Ine., New York DOUBLE Bass Joyfully Caroline Emery/Jonathan Harvey ty 2 13 Sa SSE [SS See nf © Yorke Edition reprinted by permission * 0 Caroline Emery/Howard Ferguson 14 SE 2 ——- SS EF nf = SS = = *cciginaliy ween in ime © Yorke Edition reprinted by permission Voice Moderato ‘Traditional Mp, 15 ea aes c: —— + e ee How far isit to Beth - le-hem? Not ve - ry far. the : i z = Qe .Test 1A (cont) FLUTE Moderato Diabelli Traditional a2 , oo Ee f —— Fine ¢ —= —— a ws = = ‘DO. al Fine CLARINET Animato Folk Dance Stomping Folk Dance — j 7 — 2 ze” - BASSOON Jauntily —— 0 Se SSS et ee f TRUMPET in Bb Allegretto Hook 2 nf In addition, endless examples will be found in song books, especially those designed for young children. 6Test 1B: Echo singing “To sing, as an echo, three short phrases limited to a range of three notes in a major key played by the examiner. The echoes should follow each phrase in strict time without an intervening pause. The key- chord and tonic will first be sounded and the pulse indicated.’ The aim of this test is to develop a good sense of pitch as well as a rhythmical response. A limited number of notes is used, but, before attempting these, pupils should be secure in the pitching of single notes as required in the Associated Board’s Preparatory Test. If pupils find difficulty in pitching a note, it may be that the note is outside their vocal range, and so a suitable adjustment to the teacher’s choice of notes will be necessary. Where a pupil experiences greater difficulty and appears not to have any concept of pitch, extreme patience and regular help will be required starting with the apparent single pitch (monotone) the pupil is using, In all sung tests, pupils should be encouraged to use a strong voice (but not necessarily loud), preferably using a vowel preceded by 2 consonant. Do not just use ‘lah’, Vary the diet with, for example, ‘low’, ‘may’, ‘mee’, etc, and use pitch names which will help them associate names with note sounds: e.g. 4 Goes G sing FG AG F BY rau eal! 4 D Where pupils lack confidence to sing out, let them hum first, gradually opening the mouth until a clear vowel sound emerges: €.g.MMwma omm-me mm......mo. N.B. If the piano is used 10 give the pitch, it will probably be necessary to repeat the note several times in quick succession before the pupil picks up the vibration and attempts to reproduce the pitch, but do not ‘hammer’ the notes. Playing louder does not help. Practise other groups of notes of equal length before proceeding to the following practice tests, PRACTICE TESTS Introduce each test by saying: ‘I shall play three short phrases. After I play each phrase, I want you to sing it like an echo and in time, Here is the key-chord ..... and the tonic ..... Here is the pulse ‘Count in’ by giving two bars, e.g. in 2-time the pulse should be given as 1,2,1,2, with the test beginning on the next down-beat. This principle should be adopted in all tests in 1B, 1C, 2B, 2C, 3B and 3C. : mos A= J Q 2 SSS =| == fe i ee 3 ty GY ete eee =fs = oe = SI i aot‘Test 1B (cont.) response 1 response 2 response 3 3 response 1 response 2 response 3 6 response 1 response 2 response 3 7 response response 2 response 3 response 1 response 2 response 3 response 1 response 2 response 3 10 response 1 response 2 response 3 u response 1 response 2 response 3 12 response 1 response 2 response 3 135 response 1 response 2 response 3 14 response I response 2 response 3 185 In all the above tests ensure that pupils sing the echo with a strong sense of rhythm, particularly being careful that the response is not cutting short a long note at the end of the phrase: ¢.g. in No.12— eens bee da) eed echo echo (starting incorrectly one beat early)Test IC: Noticing differences ‘To recognise a rhythmic change to a two-bar phrase played twice by the examiner, with the change being made in the second playing. Candidates will be required ta recognise and tap or describe the change. The pulse will first be indicated. The examiner will be prepared to play both versions of the phrase a second time if necessary.’ Training to notice differences in performances helps musical concentration and develops the critical ear. In similar tests in the Associated Board’s Practical Musicianship examinations, the candidate is required to spot differences which occur between what is printed and what is played. That can be an aid to sight reading and pupils becoming more aware of mistakes in their own performances. In this test the candidate listens for the differences between two melodies played by the examiner, In Grade 1 this, is limited to a rhythmic change. Some preliminary practice will help using a tapped rhythm, ‘At first the answer might be restricted to tapping the two versions, For example, the pupil might say, “The first time itwent’ J 4 J (tapping the rhythm); ‘and the second time it went’ 4. )4 (again tapping the chythm). Later the pupil should be encouraged to describe the difference, saying, for example, “The first time the notes were evens the second time there was a dotted rhythm.’ Or simply, ‘It was uneven,’ leading to, ‘The first time there were three even crotchets (quarter notes); and the second time the rhythm was dotted crotchet, quaver, crotchet (dotted quarter note, eighth note, quarter note).’ In the Associated Board examinations the examiner will play the original phrase once and then the changed version once, after which candidates should respond either by illustration ot explanation to show that they have noticed the difference. The examiner will play both phrases again if necessary. Tap rhythm repeated as 1 = 2 i = SSS SS SS S555 —— 2 Z = ole 3 Z i 4 2 a : c= ss 2 SSS = — : —— 6 BS a oe Teachers should improvise further examples for regular practice using the procedure described above.Test 1€ (cont.) PRACTICE TESTS Introduce the test by saying: ‘I shall play a short phrase twice and will change the rhythm in the second playing. I would like you to tell me what the difference was. Here is the pulse .. giving of the pulse.) (See note in Test 1B, referring to the ‘Andante Mozart, thyhmic change ——— - — 1 =e re te Se eee ie 2 .— = P P Alla breve Tebahowst ahi change 2 — — eee oie € f = 7 = St St Mendetssohn rhythmic change ete = = $e SS mf Allegro moderato John Stanley shythmic change he 4-4 4 = = = =: 6 " a St Allegro Schubert, thythmic change = * + —— e- A ; — = 5 eat po - ee 2 PD 2 P st LS. Bach rhythmic change 6 ee 7 P P 4._Milesro non troppo Franck rhythmic change + 7 = 4 ay tet Pt = Ge SSS . i . Z at If Moderato Ravel thythmie change g — 8 Gree = : Cha= a Pp => pp — —_ Glocoso Holst rhythmic change 9 ae = = °° f a Allegro Haydn 10Andante maestoso JS. Bach rhythmic change A : = BE Se = f u 4 0 Sa & = = Ee mf mf sunave rhythmic change andre —> eS aS o = 2p : rhythmic change as “ee $ Reinecke shythmic change 9 2a P con grazia RS Se bee eee f = [= Allegro Se co rhythmic change + + £ ot 16 Jae Seer Pp P pee = soo ne Z o P Mahler P rhythmic change Comod nee eee eee + et fn ed 13 SHEE See p vpres — = Ap _ Larghetto Mozart shythmie change a = — 19 Gop t re Ge eet ee a SS ny —e mp mp Moderato Scottish traditional, _shythmi change 20 ee oe J Cat 7S 2 - uTest ID: Identifying expressive qualities in performance “To identify certain features of a piece played by the examiner. The features will be confined to contrasted dynamics (pif), gradation of tone (crescendoidiminuendo) and articulation (staccato! legato), of which the examiner will select one or two and advise the candidate accordingly before playing the piece. Questions on the selected features will then follow. Candidates will be expected to use Italian terms in their answers where appropriate.” ‘When listening to music pupils will, if given regular practice, recognise the expressive qualities which make a musical and stylistic performance and thus become more sensitive themselves as performers. In the following practice exercises, each of the three features is treated separately. Use of the Italian terms should be encouraged, starting with piano and forte PRACTICE EXERCIS! S: Contrast of dynamics (pif) ‘There is no need for an exaggerated dynamic difference, but a clear differentiation between the two is obviously required in the performance if aural confidence is to be nurtured. Vivace Tark plea ae SS aaa «Andante ~ = —~—iicn Pas — ee Seema = E = — se SSS = 3 mf P eb E P BP z a — = 2 sf Scherzando Schumann‘Test ID (cont.) Allegro moderato (ELEY (EE H. Hofmann PRACTICE EXERCISES: Articulation (staccatollegato or detached/smooth) Allegretto, ‘TE, Kirchner 7 if Minuet Haydn 2 — a 4Allegro moderato (4~¢.138) Alan Haughton < = © The Associated Board of the Royal Schools of Music In each of the practice exercises, ask pupils to describe the order of events and play their music as further examples, Then introduce music with each of these features included. Burgmilller’s 25 Easy and Progressive Studies (Associated Board ‘Easier Piano Pieces’ No.19) will provide excellent additional practice material. It should be noted that although (for obvious reasons) the tests in the examinations will be given on the piano pupils should therefore be acquainted with that medium — in the instrumental lesson teachers should constantly develop the aural aspect through the instrument being learnt. ‘The message must be: ‘Don’t just practise aural tests when an exam draws near. Each lesson should be a development of an alert and perceptive ear.’ Here are some examples taken from recent Associated Board syllabuses, VIOLIN, Weber (arranged) CELLO Allegretto grazioso © 1031 B. Schow’s Sihne, Mainz, © renewed 1959 Reproduced by permission of Schott & Co. Ltd, London 15Test ID (cont.) FLUTE Alan Ridout Allegretto v v mp Novello & Co. Lad reprinted by permission ‘TRUMPET in Bb Lively Christopher Gunning 13, f © Faber Music Ld repented by petmison ‘Teachers may prefer to use the words ‘smooth’ and ‘detached’ or ‘tongued’ (as appropriate), and these will be acceptable in the examination, To keep a lively approach to aural training, play pieces pupils have learnt, but include deliberate mistakes in dynamics, articulation, note lengths and pitch — but not all at once! This will increase their awareness, and their performance will thereby improve significantly. It also combines preparation for Tests C and D in a relevant and practical way. PRACTICE TESTS Here it is helpful to remember thar candidates will be asked to identify only one or two features in examination tests, and examiners will tell them, before playing the piece, which feature(s) they should listen for in particular. Introduce the test by saying: ‘Listen carefully while I play this short piece, and I shall then ask you about ...... and Ler it be a dialogue and, when necessary, play the whole of the piece again (or as much as is appropriate) as the examiner will in the examination, Dorothy Pilling — — Allegro giusto 16simile fae © The Associated Board of the Royal Schools of Music (a) I started the piece softly*. Did I make any crescendos during the piece? (b) Was the melody mainly legato (smooth) or staccato (detached)? (©) Tell me what you noticed was happening in the bass part. Moszkowski Andante sie (a) Can you describe how I played the piece? Was it loud or soft? () Was tt smooth or detached? fempo di marcia Guilmant (a) Was the piece mainly legato (smooth) or staccato (detached) ? (b) It had tao phrases of four bars. What difference did you notice in the second phrase? What signs would tell me t0 play it that way? *Some teachers prefer 10 use “quiet as the opposite of ‘loud’. This is equally acceptable as ‘soft, and both have been used deliberately in this book ro emphasise the point WTest 1D {cont.) Bouncy (+.-92) Lionel Salter © The Associated Board of the Royal Schools of Music (a) Was the piece legato all the toay through? Can you tell me where it changed? (b) What dynamic mark do you think it had at the beginning of the music ~ p for piano or f for forte? Did it change during the piece? In what way? Continuing (©) Was the melody smooth (legato) or detached (staccato)? (@) Did I play it loudly all the way through? Wha difference did I make? Poco vivo Heller(a) Whar did you notice about the dynamics ofthis piece? (b) Was it smooth all the coay through? Andante Rebikov esane (a) Was this piece loud or quiet? Did it stay the same? (b) Did I play it legato or staccato? Did it stay the same throughout the piece? 19Test 2A: Responding to the pulse of the music GRADE 2 ‘To tap the pulse of a passage of music in 2 (including §) or 3 time played by the examiner. The examiner will commence playing the passage, and the candidate will be expected to join in as soon as possible by tapping the beat, stressing where the strong beat falls. The candidate will then be asked to state the time.” Provided that pupils have had plenty of practice with examples similar to those givea in Grade 1, they should have little difficulty in responding to the slightly more difficult tests at this grade, The main difference is the inttoduction of compound duple time (8); the following practice exercises will therefore concentrate on this. Pupils should notice that some examples start with an ‘up-beat’ of anacrusis; this is often a feature of compound time. However, it is the main beats only that the pupit should tap as shown by the arrows in these examples. These exercises should be played with well-marked, but not over-exaggerated, rhythmic accentuation of the first and fourth quavers (eighth notes), so that the underlying thythm is two dotted crotchet (quarter note) beats to the bar. Ic is important to use a tempo at which the quavers flow, otherwise pupils may mistake the three quavers as triple time. Similarly, the first beat of the bar should receive more emphasis than the second, so that the two-beats-in-a- bar rhythm is clear. PRACTICE EXERCI: Allegretto ss © The Associated Board of the Royal Schools of Music ‘Samuel Wesley ee ee SET g_ = Ae =| | Gounod Repeat from if further practice is required. Vivace | 1 1 ‘ | : | 4 Store nf Repeat an octave higher if farther practice is required. Many craditional songs and dances are in § time. Such melodies would be ideal for practice for those not learning a keyboard instrument. PRACTICE TESTS As in Grade 1, introduce this test by saying: “Tap the pulse for this music, joining in as soon as you can, Stress where the strong beat falls.” [erettel . RegerTest 2A (cont.) len) Leopold Mozae: 4 ae ae mk (owl - _—— — ——— © The Associated Board of the Royal Schools of Music ‘Slow, with singing tone Michael Head © The Associated Board of the Royal Schools of Music 22Allegretto grazioso Karganov ‘con tenereeza = a me teneresed — Andantino 2 aa Granados {e will be seen that this last test could have been written in & time. Whilst cleatly retaining a duple-time movement, the use of the 8 time signature ensures the long smooth line of the melody and, later in the piece, allows the composer to use a distinctive simple-time division of the bea. 23Test 2B: Echo singing “To sing, as an echo, three short phrases limited to a range of five notes in a major key played by the examiner. The echoes should follow each phrase in strict time without an intervening pause. The key chord and tonic will first be sounded and the pulse indicated.” As in Grade 1, the aim of this test is to develop a good sense of pitch and a quick musical response. For this grade. the range of notes has been increased, but the memory span expectation remains the same (i.e. two bars) ‘The response, which is to echo the given melody, should continue with the pulse of the music without interruptior so that the three phrases, cach with their repeats, make up a continuous melodic line of 12 bars. Pupils might imitate with different dynamic levels, e.g. play given part f pupil echoes mp; but always the singing should be firm and with a strong feeling for the rhythm. Practise first with one phrase to gain understanding and security. This will allow an immediate second attempt i! the first has not been successful, This exercise can also be usefully practised with instrumental imitation, but remember it is the use of the voice as well as the memory which needs practice. Here are examples of two-bar phrases to imitate, 24PRACTICE TESTS The first five of the following tests use the examples on the previous page as the opening phrase, but continue after the echo with a second and third phrase, as will be the case in the examinations. As in Grade 1, introduce each test by saying: ‘I shall play three short phrases. After I play each phrase, I want you to sing it like an echo and in time, Here is the key-chord .... and the tonic .... Here is the pulse .... ” Note that the tests in Grade 2 do not always start on the tonic, as was the case in Grade 1 response 1 response 2 response 3 1 response 1 response 2 sponse 3 =a eae Se SSS EE response 1 response 2 response 3 = =——— SE eats + a reponse response? response 3 Epa = = response response 2 response 3 5 GN fot = = response 1 response 2 response 3 t ts 3 ae a = response 1 response 2 response 3 : Were le eee se response 1 response 3 == pS response 1 ___response 3 5 SS 25Test 2B (cont.) response 1 response 2 response 3 10 response 1 response 2 response 3 iw response | response 2 response 3 12 response | response 2 response 3 13-5 response 1 response 2 response 3 14 response | response 2 response 3 15, response | response 2 response 3 16 response 1 response 2 response 3 response | response 2 18 = response 3 response | response 2 response 3 19 response | response 2 response 3 20 = 26Test 2C: Noticing differences “To recognise a rhythmic or melodic change to a two-bar phrase in a major key played twice by the examiner, with the change being made in the second playing. Candidates will be required to recognise and tap, sing or describe the change. The key-chord and tonic will first be sounded and the pulse indicated. The examiner will be prepared to play both versions of the phrase a second time if necessary.” In Grade 1, only rhythmic changes had to be identified. Now, in Grade 2, this is extended to include melodic ‘changes, but tests will not have both in the same example. However, the candidate will be expected to recognise which itis, rhythmic or melodic, and then, as before, show the difference by illustration or explanation. ‘This exercise is invaluable for singing and instrumental pupils, because it helps them to listen more attentively and to spot their own mistakes before they become a habit, Practise first to spot whether it is a rhythmic or melodic difference. It is also useful to include examples which do not have a change to remove the guessing element. The following are a mixture of all three and are marked ‘R’ where there is a rhythmic change, ‘M’ where there is a melodic change, and ‘S’ where there is no difference. ‘Andante sostenuto Schubert repeated a5 af = St GE == Co) oe Suggested response: “The first time the first note was repeated; the second time it went up by step.” Menuetto vivace Schubert repeated as eG FP 6s) SESS Suggested response: “The first time it ended” (candidate sings the notes Fé, E, D); ‘the second time it ended’ (candidate sings the notes F# C4, D). Or the candidate might be able to give the names of the notes (though this would usually require the key to have been named). An alternative would be to use tonic-sol-fa pitch names: for example, in the above, “The first time it ended me-ray-doh; the second time it ended me-te-doh.” earere| Vivaldi repeated as Pe dames | ee Suggested response: ‘The first time the tune went up 10 2 high note twices the second time it went up to the high note only once.’ Candidates might elaborate and say, ‘Tt went up an octave first and then only a fifth.’ Or they might name the notes, having previously been given the key: ‘The first time it went wp to Ds the second time it went up only to A.’ They might even sing the notes and point the shape of the tune in the ait. Whatever the answer, a supplementary question would be 10 ask where the change occurred. ‘Near the beginning’ would be a perfectly acceptable answer, or raising the hand at the place where it changes in the second version, when both the original and the changed versions have been played again. It will be noticed from just these three examples that each test will elicit different types of response, but the guiding principle is to state what the difference is first, then where and, finally, explain or illustrate, as appropriate, the change that has taken place. ‘The examiner will be ready to play both versions again, perhaps to tease out a little more information. ‘The point being made is that it is the awareness of a difference which is of first importance, and then a developing skill of how to explain what has changed. Age and musical vocabulary will obviously play some part in how this will be expressed. 28PRACTICE TI oo In the following examples the rhythmic change is given first, but in practice the tests should be mixed. Endless examples can be chosen ftom pupils’ own music or ftom song books etc. Introduce the test by saying: ‘I shall play a short phrase twice and will change the thythm or the melody in the second playing. I would like you to tell me what the difference was. Here is the key-chord .... and the tonic Here is the pulse .. Vivuce Besthoven shythmie change 9 = — satis — — z Co ore ' 1 Gay ee SS ops ort melodic change BS pe English Folk Song, rhythmic change e mp cy melodic change 4, Sostenuto ___ Karg-Blert __thythmie change _ 3 Ep a | fl Gals Jf St 6 < wot @ =a > > melodie change Presto Elgar 4 = e © Chorale Jase mn chythmie change es = by Eee 5 * Pape waz foe ne v nf melodie change 4 4 i nf‘Test 2C (cont.) 4 - P ._mélodic change te Corel ae f s f == mf melodic change ae oe Gifs ile pS Allegro con brio Beethoven» rhythmic change P Andante Somervell) _thythmic change 8 sb Se . e a, ——=— = melodic change 1 SS 7 Pp = Menuet Handel rhythmic change n n = a : 9 % ee = ==. _. | . t t melodie change = 2 7 Ge Tchaikovsky rhythmic change o go he ee Zee 2 Pte 0 2 he ae & SSS a — melodie change 2 ts alee e 30 pepe tees & SoS PpAndante rhythmic change =e P dolce —— o pdr ————= = melodic change Allegro oe Scarlatti a ane Pie) eae . f a 6 Se By SSS ot 1S Allegretto Mozart aoe = B geo Allegro moderato ene F Mendelssohn rhythmic change Bo] fe eels Allegro Purcell, thythmic change “RQ SETS SS Share 31 melodic changeTest 2D: Identifying expressive qualities in performance “To identify certain features of a piece played by the examiner. The features will be confined to contrasted dynamics (p/f), gradation of tone (crescendo/diminuendo), articulation (staccato/legato) and recognition of tempo changes (rallentando/accelerando etc.), of which the examiner will select one or two and advise the candidate accordingly before playing the piece. Questions on the selected features will then follow. Candidates will be expected to use Italian terms in their answers where appropriate.’ In the similar test to this in Grade 1, candidates were to listen for conteast of dynamics, gradation of tone and the difference between staccato and legato. Now we add changes in tempo, in particular the ralleniando and accelerando. The questions will be simple and direct. The aim is to develop pupils’ awareness of these features and their contribution to stylistic, musical playing. In the examination, the examiner will tell the candidate the features to be listened for in particular before playing the piece. In lessons, every opportunity should be taken to encourage pupils to talk about the music they are playing. Here are two extracts from a collection of pieces by Fibich called ‘Moods, Impressions and Souvenirs’ (Associated Board ‘Easier Piano Pieces’ No.48). a tempo ets 32A081 rall a tempo In each of the above examples, it is clear what sort of questions could be asked, but pupils should practise describing the piece without prompting. For example, in the first piece the pupil might say, ‘It started quietly (piano or pianissimo), smoothly (legato), and then it had a rallentando before returning to the same melody played a tempo and louder. It had a big crescendo and then a diminuendo to the end.’ Use the second piece in the same way, Although it will sometimes be necessary for you to ask questions, let the pupils tell you what they notice (and fee!) about a piece of music. Choose descriptive pieces and certainly do not confine their answers to the features required by the syllabus. Use the opportunity to enlarge their musical vocabulary and knowledge of the theory of music. 33‘Test 2D (cont.) PRACTICE TESTS Introduce the test by saying: ‘Listen carefully while I play this short piece, and 1 shall then ask you about ...... and Andante con poco moto, Harold Craxton eae eee pee pees | peeaeee pt > itt lento pi (© The Associated Boaed of the Royal Schools of Music (a) Did I keep to the same tempo all the way through the piece? Where did it change? Was it quicker or slower? (b) Did I play it piano or forte? And was it legato or detached? Allegro: tempo giusto ,;, 5 Bic Grant ©The Associated Board of the Royal Schools of Music (a) Iplayed the piece smoothly (legato) nearly all the way through. When I play it again, I want yott to indicate (by raising a hand) cohere I play some detached chords, (b) Did the music slow docon at all? Where did this happen? 34Gavotte IS. Bach a i I (a) Did you notice that I played several staccato chords? I will play the piece again, and I want you to tell me (or show me) where these come, (b) Did the beat remain the same or did I slotw down at the end? Grechaninov ‘Moderato assai poco accel = tee ritard, a tempo all pe = 2 f meeza=| F fo 4 = « SS SS SS § =, = et 7 (ee en ee # =o © The Associated Board of the Royal Schools of Music‘Test 3A (cont) Andante pomposo Tark SR Se ee : : = . Ss FEleen i le roe es > 5—55=> = jE fa ee aie long PFE th ee lt td ry oH (cS eee ) po 2s ft ow pia st jd gu |e ee This last example shows well how the basic triple beat remains whether the pulse is divided into two quavers (simple time) or into a triplet movement (compound).Test 3B: Echo singing ‘To sing, as an echo, three short phrases limited to a range of one octave in a major or minor key played by the examiner. The echoes should follow each phrase in strict time without an intervening pause. The key-chord and tonic will first be sounded and the pulse indicated.’ If pupils have worked steadily and consistently through the steps from the Preparatory Test level to this stage, the extra range of notes which they will meet in this grade should provide no difficulties. The melodies will be either major or minor, but always memorable in shape and thythm. This point needs to be kept in mind when improvising melodies for pupils, as is the natural flow for the repetition, so that the resulting melody makes a satisfying whole. ‘The following examples illustrate this point; the first is more naturally singable than the second. Care in this respect will lead to the all-important building up of confidence. ap rspome response response 3 4 1G = Se = ss E . , _ response | , response 2 response 3 igs. Sa P= S144 PRACTICE TESTS As in Grades 1 and 2, introduce each test by saying: ‘I shall play three short phrases. After I play each phrase, I want you to sing it like an echo and in time. Here is the key-chord .... and the tonic .... Here is the pulse .....” response 1 response 2 response 3 Ds Ps ' Ds =a ¢ sesponse 3 — response | response 3 a fies aE lp = BTest 3B (cont.) response | response 2 response 3 response 3 response 1 response 2 7 = response | response 2 response 3 response 1 response 2 response 3 response 1 response 2 response 3 10 response I - response 2 ut = response 3 response 1 response 2 response 3 response 1 response 2 response 3 13 = = response | 14 = response 2 response 3 response response 2 15 = response 3 44Test 3C: Noticing differences ‘To recognise a rhythmic or melodic change to a four-bar phrase in a major or minor key played twice by the examiner, with the change being made in the second playing. Candidates will be required to recognise and tap, sing or describe the change. The key-chord and tonic will first be sounded and the pulse indicated. The examiner will be prepared to play both versions of the phrase a second time if necessary.” “This test follows on from Test 2C. The changes are slightly less obvious, but the same principles apply both as regards spotting the difference and the way it can be described or illustrated. Before proceeding to the Practice ‘Tests below, reference should be made to the preparatory advice given for Test 2C. In the examination the phrases are extended to four bars, so it is advisable to stretch pupiis’ concentration and keep them alert by playing whole sections of pieces in two different versions, altering a particular rhythm or changing the melody. Vary examples, but it is wise, especially at first, to have only one kind of change ~ rhythmic or melodic. Later, as confidence develops, two or even three changes could be included in any one piece However, in the examination only one change will be made. Take every opportunity to discuss various ways in which pieces might be played to develop discriminating and discerning attitudes towards performance, especially in respect of balance between parts in keyboard or ensemble performance tonal shaping of phrases articulation variation of tempo (including rubato) PRACTICE TESTS As in Grade 2, introduce the test by saying: ‘I shall play a short phrase twice and will change the rhythm or the melody in the second playing. I would like you to tell me what the difference was. Here is the key-chord .... and the tonic .... Here is the pulse .....” Moderato Dy con & £ 1 oe ¥ ip rhythmic change * Grieg Tempo siusto 2 (ee = : ow * rhythmic change Tis tee melodic change Baty a —4 _ Sie a eS . tf rs aTest 3C (cont.) Schumann cae ——— fe rhythmic change ——————— = Andante Tchaikovsky hee =>: ‘ shythmic change eae Get SS . P melodic change ¢, — 4 Sas : P JS. Bach rhythmic change paetoe melodie change Andante con moto Mendelssohn ‘ (age SS e ™p thythmic change é ee emp melodic change boee = empAndante 0 = Haydn 7 GPR 5 = es Pcanial shythmic change Dt = BaP PS Peantatile. —— . melodic change 6. woe oP s ev Pecaniabile g Corelli * DIOL 5 rhythmic change pa $ melodic change Ss Gordon Jacob a = Ss P ee py Fi = SS ir pe a ee: SS ee P melodic change ie za a ieee pe eee P ©The Associated Board ofthe Rosl Schools of Music _ Allegro moderate Schubert JF = (er Cif tier rit. 7 7 rhythinie change te Ae ee as eS melodic change ee —Test 3D: Listening to music with understanding ‘To identify certain features of a piece played by the examiner. The features will be confined ta contrasted dynamics (p/f), gradation of tone (crescendo/diminuendo), articulation (staccato/legato), recognition of tempo changes (rallentando/accelerando etc.) and recognition of major and minor tonality, of which the examiner will select one or two and advise the candidate accordingly before playing the piece. Questions on the selected features will then follow. Candidates will be expected to use Italian terms in their answers where appropriate.’ Candidates will now be required to identify features of a piece other than those concerned with tempo, dynamics and articulation, though these will still be included in the questioning. In Grade 3 they are expected to notice whether the piece is in a major or minor key. Some practice towards this will have occurred in Test 3B, though there the candidate would not have been asked whether the melody was major or minor. ‘Most tests will remain major or minor throughout, but candidates should also be prepared to spot changes which might occur during the piece. For example: Enckhausen Lez oni After playing this piece the examiner might say: “The piece started in a minor key. Did it remain in the minor or did it change” He may go on to ask: ‘Did you notice where the change occurred?” Now play the piece on the opposite page, asking the pupil to indicate by a hand signal when it is minor (perhaps by pointing the finger downwards) and when it is major (finger pointing upwards). 48deem ma Johan AgrelTest 3D cont.) It will be found that melodies can serve very well for recognition of major and minor keys. The following examples are from instrumental pieces published by the Associated Board. from ‘Spanish Dance’ for violin by Michael Head P subito poco crese. P © The Associated Board of the Royal Schools of Music from ‘Square Dance’ for bassoon by Michael Rose Vivo (2= 108-112) SEE = aS SS Tee Ei p= Ses f —— i= == = Se, SS om ase et tie Ro eof as from ‘Latin Rondo’ for Eb saxophone by Robin Grant Allegro, tempo giusto (2= 112-120) a ==] © The Associated Board of the Royal Schools of Music 50from Starters for Clarinet, arranged by Gordon Lewin Turkish Folktune Allegretto deciso from A Sketchbook for Viola by Michael Rose b = F Pas mp = — pitt P © The Associated Board ofthe Royal Schools of Music from an arrangement of the Entr’acte from Schubert's Rosamunde for violin or flute Andantino (4-5) 9 = = Se ee ie p4 51Test 3D (cont.) PRACTICE TESTS As in Grades I and 2, introduce the test by saying: ‘Listen carefully while I play this short piece, and I shall then ask you about ...... and Allegro comodo poe vallentando vena tte fet 2 (a) Did she piece star in.a major or minor key? What did you notice about the last two chords? (b) How did I vary the speed of the piece? (€) Tell me what else you noticed about th For example, what dynamics did I use? say I played the piece. ) ne * RL in \* ie dh He i) i Mh (a) Was that piece in a major or minor key? Did it stay in the major all the time? (©) Did I make a diminuendo or a crescendo anywhere? Was it loud or soft all the time? (©) What about the tempo? Did I have a rallentando at the end or did the beat keep steady? 52Stolzel | S| T = | (a) Did the piece start in a major or minor key? Did it change and, if so, where? After Question (a) repeat the piece piano. (b) What can you tell me about the different dynamic I used? Allegro. a =x aaN 4 fbn mart. — page tt (@) Was that piece in a major or minor key? (b) Did I play it smoothly or ina detached style?? ‘Tchaikovsky Allegro = (a) I played the lower-part chords in a detached style, but what did you notice about the melody (b) Did the piece have a crescendo? What about a diminuendo? (©) Was it in a major or minor key? 33Test 3D cont, Poco allegro pee eS === = - = a SS SS 0 P [pag FE E t ps Fit = = (a) That piece is a walte, but did the beat keep steady all the toay through? What happened and where? (©) Was it in a major or minor key? (©) Did the dynamics vary towards the end? In what way? 54(a) That piece finished in a major key. Did it start in a major or in a minor key? (N.B. It may be necessary to play the piece again. If so, ask pupils to look out, at the same time, for other features such as the legato nature of the piece, the crescendo and diminuendo, and the steady tempo.) (a) This piece starts in the minor. Show mes by raising your hand, when it changes to the major. Samuel Arnold teers) —. im, - a hb (b) Lam going to play the opening bars again, and I want you 10 notice the dynamics I use. What did you notice? (©) Is the piece mainly smooth or detached?Test 3D (cont) g_Moderato Bruch Pea oe 9 molto cantabile Pp. EE : ah ¥ = tun poco rit (a) Was that piece in a major or minor key? (b) Did the tempo keep steady all the way through? If not, where did a change occur, and what tas the change? (©) The piece started quietly. Did it stay quiet all rhe way through? (d) Would you describe the playing as legato or stacca\o? This last example, taken from the Associated Board’s More Romantic Pieces for Piano, is longet than would be given in an examination, but it serves to illustrate the way repertoire pieces can be used to develop pupils’ aural awareness. Printed in England by Callraving Limtea Thetforg Norfolk 36 3:08