Spec¡men

Aural Tests
from 2011
with 2 CDs

Grades 1-3

ABRSM
lntroduction
Minor modifications to some aural tests take effect
for ABRSM Practical graded music exams from
January 2011 (all subjects except Jazz). For further
details of the changes visit www.abrsm.org/aural.
This book of specimen tests provides practice
examples which demonstrate the style and difficulty
level of the tests at Grades 1 to 3.
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' By integrating
aural activities in imaginative ways throughout 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'
Using the specimen tests
When preparing for an exam, these specimen tests
will provide valuable practice material to help prepare
candidates for what to expect on the day. Guided by
the examples provided, teachers will also be able to
devise their own exercises, ideally using music their
students are currently working on.
What does each test involve?
A description of the tasks involved in each test,
as well as any relevant parameters, is given in the
left-hand column at the start of each set of tests.
The same information can also be found in the
syllabus booklet.
What will happen ¡n the exam?
The examiner will deliver each test following a set
of spoken words and instructions (referred to as the
'rubric'). All music extracts will be played on the
piano, and the examiner will be ready to prompt the
candidate if necessary where there is hesitation.
ln this book, the examiner rubric is printed in the
right-hand column at the start of each set of tests and
at the top of any subsequent pages, so that teachers
are able to deliver the tests to their students in a way
that mirrors the exam exPerience.
For any test that requires a sung response, it is pitch
rather than vocal quality that 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 vowel), or
2
hummed or whistled (and at a different octave, if
appropriate).
Where tests require a spoken re3ponse, candidates
are encouraged to use ltalian terms where appropriate,
but there will be no penalty for those who do not
use such terms, provided their response is clear and
accurate.
Using the CDs
The CDs include recordings of all the tests in this
book, along with the spoken rubric. Answers are
given for all tests that require a spoken response.
An answer space is provided on the CD, but if extra
thinking time is required simply pause the recording.
Track numbers can be found at the start of each
music example, and there is also a track listing at the
back of the book.
Mockt"rtrff
On the CDs, at the end of each grade, there is a set
of tests presented in order, as they would be in the
exam, to form a mock test. The relevant tests are
marked in the book with the symbol shown above.
The mock tests are also available as free downloads
f rom www.a brsm.org/mocka u ra ltests.
Answers
Model answers for Tests 1D,2C,2D,3C and 3D are
printed at the back of this book, as a guide to the sort
of responses that would be successful in the exam.
Answers are also given on the CDs for any parts of
the tests that require a spoken response. ln some
cases there are other ways of responding that would
be equally successful, so the answers should be used
only as a guide. lt should also be noted that in an
exam the examiner will not provide answers.

How are the aural tests marked?
The mark for aural tests is arrived at by making an
overall assessment of the candidate's performance
during the set of tests as a whole, and relating this
to the assessment criteria shown below. Rather than
starting at zero and awarding marks as the tests
proceed, or at 18 and deducting marks, examiners
use the principle of marking positively or negatively
from the pass mark. The mark then reflects the
cumulative balance of qualities that the candidate has
demonstrated, taking into account both the accuracy
and the confidence of their responses,
Assessment citeria (all grades)
Distinction
(18) . Quick, accurate and perceptive responses
Merit
(15-17) ' Good responses
. Minor errors or hesitation
Pass
(12-14) . Approximately half the tests correctly
answered
. Evidence of awareness, despite hesitation
and error
Below Pass
(9{1) . Slow and uncertain responses
. lnaccuracy in parts of all tests
(6-8) . Very slow and mostly incorrect
responses
. All tests entirely inaccurate
(0) . No work offered
lntroduction
Access (for candidates with specific needs)
Deaf or hearing-impaired candidates may opt to
respond to alternative tests in place of the standard
tests, if requested at the time of entry. The syllabus
for these tests is available free on request from
ABRSM, For further information about alternative
tests and access for candidates wíth specific needs
please contact ABRSM's Access Co-ordinator or visít
the website.
Telephon e +44 (0)20 7636 5400
Textphon e +44 (0)20 7637 2582
Email accesscoordinator@abrsm.ac.uk
www.a brs m.org,/specia I needs
Other aural training resources from ABRSM
For further examples and comprehensive advice
on preparing candidates for aural tests, teachers
are referred to the new edition of Aural Training in
Practice QO11).
Please note that the music extracts in this book have been freely
adapted where necessary for the purpose of the aural tests.
First published in 2010 by ABRSM (Publishing) Ltd, a wholly
owned subsídiary of ABRSM, 24Portland Place, London WlB 1LU,
United Kingdom
O 2010 by The Associated Board of the Royal Schools of Music
Cover and text design by Vermillion
Music and text origination by Andrew Jones
Additional text setting by Hope Services Ltd
Printed in England by Halstan & Co. Ltd, Amersham, Bucks.
 Grade
To clap the pulse of a piece played by the examiner, First¡ clap in time while I ploy. Join in as soon as you
and to identify whether it is in two time or three can and give a louder clop on the strong beots.
time. The examiner will start playing the passage, IPlay the entire piece.J .
and the candidate should join in as soon as possible,
ls it in two time or three time? ... Thank yott'
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.

Moderato -AJ Handel

)J
O I
I
I

f,
I

f --- +\ ^f ) J ) J

Allegro Weber

--:-++-
O \- J

p
QT ** t* af tt **

Allegro rna non troppo

% Puccini

¿l
*f
OC }C t.
rr rÍ IJ¿

p
I
rt r
.O
'l

+
IV
f
tI
Mozart
Andantino
I
-.

-+-------------l
d' '
7 ff

nw -¡-
).e ? ).t t.leC t-+C
I

.rl-t.TT-
+C ? CC l- t- C'l-F t? l- C:
--
-
4 AB 3575
 continued

Country dance

Le Couppey

7l

Allegretto comodo Kirnberger

a >\_-. 7 e--/ ¿
^f

Moderato

Folk tune

AB 3575
 Grade 1

To sing as 'echoes' three phrases played by the Next l'd like you to sing three phrases os echoes.
examiner. The phrases will be two bars long, in a Here is fhe key-chord [play] ond your starting
major key, and within the range of tonic-mediant. note Iplay].
First the examiner will play the key-chord and the
[Count in two bars.l ...Thankyou,
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.

echo 3

echo 3

echo 3

echo 3

echo 3

echo 3

echo 2

echo 1 echo 3

AB 3575
 Grade 1

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. Jhe 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. lf necessary, the
examiner will play both versions of the phrase again
(although this will affect the assessment).
Now l'll play a phrose twice, but with o change to
one of the notes the second time. Tell me whether
the change wos neor the beginning or near the end.
Here rs the key-chord tplayl ond the tonic tplayl.
[Count in two bars and play the phrase for the first
time.l And now with the change. [play the altered
phrase without counting in.l Was the change neor
the beginning or neor the end? ... Thank you.

beginning

Allegro Beethoven beginning

Traditional beginning

end
^f

beginning

Andante Schubert beginning

AB 3575
 continued

Now I'll play a phrase twice, but with a chonge to

one of the notes the second time. Tell me whether
the change was near the beginning or neor the end.
Here is the key-chord [play] ond the tonic [play].
[Count in two bars and play the phrase for the first
time.l And now with the change. lPlay the altered
phrase without counting in.l Wos thechangeneor
the beginning or near the end? ... Thonk you.

Moderato Traditional beginning

Andante Rimsky-Korsakov beginning

Moderato Student song beginning

Schubert beginning

end ^f

ffi
10
Allegro Traditional beginning

AB 3575
 Grade 1

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
(smpoth/detached).
listen to this piece, then I'll ask you about loud or
quiet ploying and obout smooth or detached notes.
[After playing, ask one qu.estion at a time: either
dynamics or changes, and then articulation.l ...
Thonk you.

& J. C. F. Bach

IE

Dynamics: The music began loudly; d¡d it stay loud ollthe wsy through?
Changes: Did the chonges from loud to quiet playing happen suddenly or grodualty?
Articulation: Were the quieter phrases played with smooth or detached notes?

Allegretto

Dynamic s: Where was the guietest part of the music?

Changes: Wos the change from quiet to loud playing sudden or graduol?
Articulation: At the beginnin* were the notes smooth or detached?

AB 3575
 continued
Listen to this piece, then I'll ask you about loud or
quiet ploying and obout smooth or detoched notes'

[After playing, ask one question at a time: either

dynamics or changes, and then articulation.l ...
Thonk you.

Alan Richardson
Allegretto
ñ\ l-¡''
dtl I l-l I l-l
-f3 ce cantabile
P
mf
u,-- p
t*: bt' ti *: \o+ .:-'- i' t*: bt, ti bt' uf,t b,->
I 'il
@ Oxford University Press 1955

-
Dynamics: Ihe music began quite loudly; d¡d ¡t stoy the same oll the way through?
Changes: Were the chonges in loud ond quiet ploying sudden or gradual?
Articulation: Were the notes smooth or detached?

Allegretto

Dynamic s: Where wos the guietesf part of the music?

Cñanges : Was the chonge from quiet in the middte to loud at the end made suddenly or gradually?
Articulation: At the beginning, were the notes smooth or detached?

10 AB 3575
 continued

Animato Le Couppey

¿+' ->ee t7

f I
p

Dynamic s: Where was the loudest part of the music? And the quietest?
Changes: Did the change from loud to quiet playing hoppen suddenly or gradualty?
Articulation: At the stort, were the notes played smoothly or were they detached?

Allegretto
a , uneg
Gri

l-J
':-[ l{f
p
>\ f lí\, :-\.

i \-l 7 ,l
.)
j-\.
\_[
-_
p
rF r'--F
t'4
¿
p

Dynamic s: Where was the loudest port of the music?

Changes: Did the change from loud to quiet playing happen suddenly or gradualty?
Articulation: At the beginnin* were the notes smoofh or detached?

AB 3575 11
 continued

Listen to thls piece, then l'll osk you about loud or

quiet playing ond obout smooth or detached notes'

[After playing, ask one question at a time: either

dynamics or changes, and then articulation,l ...
Thonk you.

J. N. Hummel

Dynamics: Which was quieter - the beginning or the end?

Changes: Wos the chonge from quiet to loud ploying made suddenly or grodually?
Articulation: Was the playing mainly smooth or detoched?

,
T'-_
Schubert
Andantino

d ! =?
+ a ? +7 t t
a
n
.L: .:ta O* a)
f

--1 ra
a l-J l-J
a)
p legato
++'
f
-il¡ e" + t¡ #+ ? ?\+ O
CC
'l= '{- ? CO A rt)

Dynamic s: Which wos louder - the beginning or the end?

Cñanges : When the music become loud towords the end, was this o sudden or o graduol chonge?
Articulation: When the music wos quiet of the beginning, were the notes smooth or detached?

12 AB 3575
 continued

Allegretto

\\ .ir

l+¡rr|rlJ
f -- pp
I

Dynamic s: Where was the loudest port of the music?

Changes: Towards the end, did the music become quiet suddenly or groduatty?
Articulation: At the beginnin* were the notes smooth or detoched?

Con brio Verdi

a I ---z +,J- t ü ¿

Dynamics: Ihe music began loudly; d¡d ¡t stoy the some all the woy through?
Changes: Did the music become quieter suddenly or gradually?
Articulation: At the stort, were the notes smooth or detached?

AB 3575 13
 Grade 2

To clap the pulse of a piece played by the examiner, First, clap in time while I play. toin in as soon os you
and to identify whether it is in two time or three can and give o louder clap on the strong beats.
time. The examiner will start playing the passage,
IPlay the entire piece.J
and the candidate should join in as soon as possible,
clapping in time and giving a louder clap on the Is it in two time or three time? ... Thonk you.
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,

Dandrieu

& Allegro rnoderato

tI
Allegretto
@h

d
p- -
A

IH

14 AB 3575
 continued EE

a l:--[ r
J J J * i--: l.

Coleridge-Taylor

A l._-l | _ l:--- | _ l:-/l l_-\--- L-J

6l
|

*f
l-t------ It----/

p
e e e e e 8

A-\ro
I *f
e
----
¿) -1. .h .t.t 2

& Allegro rnoderato Mayer

7l p
e+CC
-/r
?. ¿. -?'
rnp
¡rT--fT- e'

d ' -".-J.,:-..----

,r---ff
CleC )??t?? lr-)htl **
I I l-

AB 3575 15
 continued

First, clop in time while I ploy. Join in as soon os you

can and give a louder clop on the strong beots.

IPlay the entire piece,J

ls it in two time or three time? ... Thonk yott.

(?)
wb Moderato J. G. H. Bach

a)
---.-- ---..-_---
nw
t ta

Hummel

-.--.-

.ffi Allegro non troppo Dunhill

rfr+'-
nw
"lE

d rJ= a
*f ta

tI
O 1931 by The Associated Board of The R.A.M. and The R.C.M.

16 AB 3575
 Grade 2
To sing as 'echoes' three phrases played by the Next l'd like you to sing three phrases os echoes.
examiner. The phrases will be two bars long, in a Here is fhe key-chord [play] ond your storting
major key, and within the range of tonic-dominant. note Iplay].
First the examiner will play the key-chord and the
[Count in two bars.] ...Tñankyou.
starting note (the tonic) and then count in two bars,
After the examiner has played each phrase, the
cahd¡date should sing back the echo without a pause,
keeping in time.

AB 3575 17
 continued
Next I'd like you to sing three phroses os echoes.
Here is the key-chord [play] ond your starting
note Iplay].

[Count in two bars.] ... Thank you.

1B AB 3575

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
thb candidate should identify the change by describing
it, or singing/clapping. lf necessary, the examiner will
play both versions of the phrase again (although this
will affect the assessment).
Grade 2
Now l'll play a phrase twice, but with a chonge in
either pitch or rhythm the second time. Tell me what
the difference wos. Here is the key-chord lplayl ond
thetonic [play]. lCount ih two bars and play the
phrase for the f irst time ,l And now with the change.
IPlay the altered phrase without counting in.]
How wos it different? ... Thonk you.

Moderato pitch

rhythm

Allegro gioioso pitch

@ Copyright 1950 by Boosey & Co.

Reproduced by permission of Boosey & Hawkes
Music Publishers Ltd rhythm

AB 3s75 19
 continued
Now I'll play o phrose twice, but with o chonge in
either pitch or rhythm the second time. Tell me what
the difference was. Here is the key-chord lplayl ond
thetonic [play]. [Count in two bars and play the
phrase for the first time .l And now with the change.
IPlay the altered phrase without counting in,]
Hów was it different? ... Thonk you.

rhythm

rhythm

Moderato

rhythm

20 AB 3575
 Grade 2
To answer questions about two features of a piece lisfen to thls piece, then l'll ssk you about ...
played by the examiner. Before playing, the examiner [choose one of the following: loud or quiet playing,
will tell the candidate which two features the questions smooth or detached notesl and obout tempo chonge.
will be about. The first will be one of the following:
[After playing, ask one qüestion at a time.]* ...
dynamics (loudrzquiet, or sudde n/gradual changes),
articulation (smooth,/detached); the second will be Thonk you.
tempo (becoming slower/faster, or staying the same).

senza rit.
-¿O) )-b
¿l
p legato,
t1 I cresc. poco a poco
h-l f
€}

Dynamics'. Where was the quietest port of the music?

Changes: Did the change from quiet to loud playing happen suddenly or graduolly?
Articulation: At the beginning, were the notes smooth or detoched?
Te m po: Was there ony change in the spee d of the music, or did it olways stoy the same?

LJn poco lento Heller

Dynamic s: Where wos the loudest part of the music?

Changes: Did the chdnge to quiet playing at the end happen suddenly or gradually?
Articulation: Wos the playing mainly smooth or detached?
Tempo: Did the speed of the music change at all, or did it stoy the some throughout?

' lf 'loud or quiet playing' is selected, ask either the question marked 'dynamics' or the question marked 'changes', but not both.

AB 3575 21
 continued
listen to this piece, then l'll ask you about ...
[choose one of the following: loud or quiet playing,
smooth or detached notesl ond about tempo chonge.

lAfter playing, ask one question at a time.]* ...

Thank you.

Allegro rna non troppo

Schumann

accel. al fine

Dynamics: Where was the loudest part of the music?

Changes: Did the change from quiet to loud playing neor the beginning hoppen suddenly or gradually?
Articulation: Was the beginning ployed with smooth or detached notes?
Tempo: Was the re any change in the speed of the music, or did it stay the same throughout?

Dynamic s: Where was the loudest port of the music? And the quiefest?
Changes: Did the changes ¡n loud and quiet playing happen suddenly or gradually?
Articulation: Did the music have mainly smooth or detoched notes?
Tempo: Was there ony chonge in the spee d of the musiq or did it olways stay the some?
. lf 'loud or quiet playing' is selected, ask either the question(s) marked 'dynamics' or the question marked 'changes', but not both.

22 AB 3575
 continued

Vivo Heller

,--
'l
a) ff- vr,--.- ll-
*f
e
i: C
{- 8t -* ++ C
F.

Dynamic s: Where was the quietest part of the music?

Changes: Did the changes in loud ond quiet ploying happen suddenly or gradually?
Articulation: Was the ploying mainly smooth or detached?
Tem po: Wos there any change in the spee d of the music, or did it always stay the same?

Tempo di marcia Jeremiah Clarke

t-
a)
f

-----
C
p tr

Dynamics: Where wos the loudest part of the music?

Changes: Was the chonge from quiet to loud ploying neor the end sudden or groduol?
A rt ic u at io n : At the beginnin* was the melody ployed with smooth or detached notes?
I

Tempo: Did the speed of the music change anywhere, or did it always stay the some?

AB 3575 23
 continued
listen to this piece, then I'll osk you obout ...
[choose one of the following: loud or quiet playing,
smooth or detached notesl and obout tempo chonge.

[After playing, ask one question at a time.]* ...

Thank you.

Allegretto Schumann

Dynamic Where was the loudest part of the music?

s'.
C ha nges : Did
the changes in loud ond quiet playing happen suddenly or grodually?
Articulation: Were the notes ployed moinly smoothly, or were they detached?
Tempo: Was there any chonge in the speed of the music, or did it olwoys stoy the same?

Andante Handel
t

a)
I r t_ ----\ L-J =l_J I

p
{ j
.t
) tt¿ l t+J I I ) \

I I
-
A\t- t¿ I

\tl l )

Dynamic s: Where was the loudest port of the music?

Changes: Did the change from loud to quiet ploying happen suddenly or grodually?
Articulation: Wos the playing moinly smooth or detached?
Tempo: Did the speed of the music change of all, or did it stoy the some throughout?

* lf 'loud or quiet playing' is selected, ask either the question(s) marked 'dynamics'
or the question marked 'changes', but not both.

24 AB 3575
 continued

Moderato (Tempo di Polka) Tchaikovsky

Dynamic s'. Where wos the loudest part of the music?

Changes: Were the chonges in loud ond quiet playing sudden or gradual?
Articulation: Were the notes mainly smooth or detached?
Tem po: Was there any change in the spee d of the music, or did it alwoys stay the some?

@ Andante
¡
Liszt

a?\ \ _d t-.-3 lqn¡i --_----- <'/

{-

10 s .Í\ ntf p
.:
1)
t-

)
rlI
¿.) I l.l
-
r l¿'¿ .) ¿.:
t--------

rall.

Dynamic s: Where was the loudest port of the music? And the quiefest?
Changes: Were the changes in loud ond quiet playing sudden or graduol?
Articulation: Were the notes mostly smooth or detoched?
Te m p o : Was there any change in the spee d of the music, or did it olwoys stay the some?

AB 3575 25
 Grade 3
To clap the pulse of a piece played by the examiner, First, clap in time while I play. Join in os soon as you
and to identify whether it is in two time, three time con ond give a louder clap on the strong beots.
or four time. The examiner will start playing the
IPlay the entire piece.J
passage, and the candidate should join in as soon as
possible, clapping in time and giving a louder clap on ls it in two time, three time or four time? ...

the strong beats. The examiner will then ask whether Thonk you.
the music is in two time, three time or four time, The
candidate is not required to state the time signature.

Andantino Grechaninov

& Tempo giusto

h ,-ñ-.r
Gluck

2lE

Allegretto Somervell

d
n
ll .

=7
t-J'_ fit? I
t¿-

2. 2t }>. háG l;:=T h

Reproduced from'Holiday Pictures'published by Stainer & Bell Ltd

23 Gruneisen Road, London N31DZ, England www.stainer.co.uk

Coleridge-Taylor

26 AB 3575
 continued

Quick Traditional

Frisch und rnunter [Brisk and lively]

AB 3575 27
 co ntin u ed

First, clop in time while I play. loin in as soon os you

can and give a louder clap on the strong beots.

IPlay the entire piece,J

ls it in two time, three time or four time? ...
Thank you.

Allegretto Mozart

ü nw
Lt I
,_
?C +?t )C
-

Animato Karganov

a) - t-
q
ta ta ta

Bryan Kelly

f cantabile

---"--z' ---=-/

r-

-
I
nw
- I

p- I

pp
ri
ñ T= + +=t' f.\
e
FF

nw p Ped.
^f '

O 1984 by The Associated Board of the Royal Schools of Music

28 AB 3575
 Grade 3
To sing as 'echoes' three phrases played by the Next l'd like you to sing three phrases os echoes.
examiner. The phrases will be two bars long, in a Here is the key-chord [play] and your starting
major or minor key, and within the range of an octave. note Iplay].
First the examiner will play the key-chord and the
[Count in two bars.] ...
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.

AB 3575 29
 co ntin u ed

Next I'd like you to sing three phrases os echoes.

Here is fhe key-chord lplay] and your storting
note Iplay].

[Count in two bars.] ...Thankyott.

&

&

echo 3

30 AB 3575

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.
lf necessary, the examiner will play both versions of
the phrase again (although this will affect the
assessment).
Moderato Arcadelt
Andante Schumann
-
p
Menuet Campra
AB 3575
Grade 3
Now I'll play a phrase twice, but with a chonge in
either pitch or rhythm the seco nd time. Tell me what
the difference wos. Here is the key-chord lplayT and
the tonic [play]. [Count in two bars and play the
phrase for the first time .l And now with the chonge.
[Play the altered phrase without counting in,]
How wos it different? ... Thonk you.
pitch
rhythm
pitch
rhythm
31
 continued
Now I'll play a phrase twice, but with a chonge in
either pitch or rhythm the second time. Tell me whot
the difference wos. Here is the key-chord lplayl and
the tonic [play]. [Count in two bars and play the
phrase for the first time .l And now with the chonge.
[Play the altered phrase without counting in.]
How was it different? ... Thonk you.

pitch

7-
I LI .¿ O

rhythm

rhythm

-P

Andante

rhythm

32 AB 3575

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 (loudlquiet, or sudde n/gradual changes),
a rticu ation (smooth,/detached), tem po ( becom i ng
I
Grade 3
listen to this piece, then I'll ask you obout ...
[choose one of the following: loud or quiet playing,
smooth or detached notes, tempo changeT and obout
mojor or minor key.
[After playing, ask one question at a time.]* ...

slowefiaster, or staying the same); the second will be Thank you.

tona ity (major/mi nor key),
I

poco rit.

Dyna mics: Of the three sections in the music, which one was the loudesf?
C ha nges : Did the change from quiet to loud ploying hoppen suddenly or graduolly?
Articu lation: Wos the upper port ployed with moinly smooth or detached notes?
Tempo: Was there ony chonge in the speed of the music, or did it olways stay the same?
Tona lity Did the piece end in a mojor key or in a minor key?

Guilmant
Andante

l-' t'fr+ ¿
*f
) ta ..** ,¿t* * ta

Dynamic s: Where was the guiefest point in the music?

Changes: Were the chonges in loud ond quiet playing sudden or graduol?
Articulation: Wos the piece played in a smooth or detoched style?
Tempo: Did the speed of the music change at all, or did it always stay the same?
Tonality: Wos the piece in o moior key or in a minor key?
* lf 'loud or quiet playing' is selected, ask either the question marked 'dynamics' or the question marked 'changes', but not both.

AB 3575 33
 contrnued
listen to fhís piece, then I'll ask you obout ...
[choose one of the following: loud or quiet playing,
smooth or detached notes, tempo changef and about
mojor or minor key.
[After playing, ask one question at a time.]* ...

Thánk you.

Tempo di marcia Student song

Dynamic s: Where was the guietest part of the music?

Changes Were the changes in loud and quiet ploying sudden or graduol?
Articulation: Was the quiet phrase played with smooth or detoched notes?
Tempo: Did the speed of the music chonge, or did it alwoys stay the some?
To n a I ity : Was the piece in a major key or in o minor key?

Munter [Lively] Volkmann

a ternpo

Dynamic s: Did the music begin loudly or quietly?

C ha nges : Was the loudest point in the music reached suddenly or groduolly?
Articulation: Was the ending smooth or detached?
Tempo: Did the speed of the music change at oll, or did it always stay the some?
Tonality: Did the piece end in a mojor key or in a minor key?

* lf 'loud or quiet playing' is selected, ask either the question marked 'dynamics' or the question marked 'changes', but not both.

34 AB 3575
 continued

& Moderato Chopin

a ...- .|-
*f --
I

p
t + ,+ J 8l
2
frt
tI

Dynamics: Where wos the loudest part of the music?

Changes: Wos the loudest point reached by o sudden or grodual chonge?
Articulation: Was the melody played with mainly smooth or detached notes?
Tempo: Wos there any change in the speed of the music, or did it always stay the same?
Tonality: Did the music end in o major key or in o minor key?

Dynamics: Ihe music began loudly; did it stay loud throughout?

Cha nges : Was the chonge from loud to quiet ploying sudden or grodual?
Articulation: Were the notes smooth or detached?
Tempo: Wos there any change in the speed of the music, or did it olwoys stoy the same?
Tonality: Wos the music in a major key or in a minor key?

AB 3575 35
 continued
listen to this piece, then I'll osk you about ...
lchoose one of the following: loud or quiet playing,
smooth or detached notes, tempo change) ond about
major or minor key.
[After playing, ask one question at a time,]* ...

Thánk you.
Schumann

dl ), + -l ¿ '- f 'l
-l J
'ü
v=t
*f l>l '4t

---¡ ,1t-
--tt''

rit.
I

sffi
e T t va e q- '+
'ü
Q .--t-
4
1
l_.-T
'^rh , )'
-
Dynamic s: Which was louder - the first half of the piece or the second holf?
Changes: Wos the chonge to very quiet ploying mode suddenly or grodually?
A rt ic u at i o n : Was the playing smooth or detached?
I

Tem po: Wos there any change in the speed of the music, or did it alwoys stoy the some?
Tonality: Wos the piece in a mojor key or in a minor key?

Grieg

--------/ \{-7

Dynamic s: Where was the guietest point in the music?

Changes: Wos the first change from quiet to loud playing sudden or groduol?
Articulation: Were the quiet chords ployed with smooth or detached notes?
Tempo: Wos there ony chonge ¡n the spee d of the music, or did it olwoys stay the same?
Tonalify: Did the piece end in a maior key or in a minor key?
. lf 'loud or quiet playing' is selected, ask either the question marked 'dynamics' or the question marked 'changes', but not both.

36 AB 3575
 continued

Kabalevsky
Moderato

ar nr at
'l
fr2
I
p cantabile
./ l.

¿ rÍ",,,,,. 4¿ fr+ +

./ ./ -l .b- ,\l
:
ll f C
-1.

rit. a tempo

a) ?fr
t,rL r fr'r 4t ft+ I
4

nw p
-- ri I
I , r/-

O Copyright'1952 by Boosey & Hawkes Music Publishers Ltd

for the Un¡ted Kingdom and the Republic of lreland
Reproduced by permiss¡on of Boosey & Hawkes Mus¡c Publishers Ltd

Dynamics: Where wos the loudest point in the music?

Changes: Did the change from quiet to loud playing hoppen suddenly or gradually?
Articulation: Was the beginning played smoothly or wos it detached?
Tempo: Wos tlrere any change in the speed of the music, or did it alwoys stay the mme?
Tonality: Did the piece end in a major key or in a minor key?

AB 3575 37
 co ntin u ed

listen fo this piece, then l'll osk you obout ...

[choose one of the following: loud or quiet playing,
smooth or detached notes, tempo changeT and about
major or minor key.
[After playing, ask one question at a time.]* ...

Thank you.

mf stacc. sernpre

senza rit.
) a a )

f
).t.1 )) ) L .l

Dynamic s: Where was the guietest point in the piece?

Changes: Wos the change from quiet in the middle to loud at the end made suddenly or grodually?
Articulation: Were the notes smooth or detoched?
Tempo: Was there any chonge in the spee d of the music, or did it always stay the some?
Tonality: Wos the piece in a maior key or in o minor key?

* lf ,loud or quiet playing' is selected, ask either the question marked 'dynamics' or the question marked 'changes', but not both.

3B AB 3575
 Answers
Model answers for Tests lD,2C,2D,3C and 3D are printed GRADE 1
here as a guíde to the sort of responses that would be
Test lD
successful in an exam. Full credit would be given to these
1. J. C. F. Bach
answers, if given promptly and confidently. However, they
Dynamics: No
are neither definitive nor comprehensive and there are other
Changes: Suddenly
ways of responding to the questions that would be equally
Articulation: Smooth
successful. ln Tests 2C and 3C there may be several different
ways of correctly describing a change in rhythm (for Test 2C Haydn
ex. 1, for example, 'The last note was longer'would also be Dynamics: ln the middle
correct); and instead of describing the change in words, the Changes: Gradual
candidate may clap or sing to show how the altered version Articulation: Detached
was different.
3. Alan Richardson
Marks are not awarded for each part of the tests but reflect Dynamics: No
the candidate's overall performance during the set of tests as Changes: Sudden
a whole. Candidates are encouraged to use ltalian or other Articulation: Smooth
musical terms in their answers where appropriate. However,
Glinka
any clear description is acceptable and in the answers below
Dynamics: ln the middle
only English terms have been used. The assessment criteria
Changes: Gradually
are given on page 3.
Articulation: Detached

5. Le Couppey
Dynamics: At the star| at the end
Changes: Suddenly
Articulation: Detached

Grieg
Dynamics: ln the middle
Changes: Gradually
Articulation: Smooth

7, Hummel
Dynamics: The beginning
Changes: Suddenly
Articulation: Detached

8. Schubert
Dynamics: The end
Changes: Gradual
Articulation: Detached

9. Gossec
Dynamics: ln the middle
Changes: Gradually
Articulation: Detached

10. Verdi
Dynamics: No
Changes: Suddenly
Articulation: Detached

39
Answe rs

GRADE 2 4. Fauré
Dynamics: ln the middle; at the end
Test 2C
Changes: Gradually
1. Haydn
Articulation: Smooth
Pitch: There was a lower note near the beginning
Tempo: lt slowed down towards the end
Rhythm: There was a shorter note near the end
.
5. Heller
2. Finzi
Dynamics: At the end
Pitch: There was a higher note near the beginning
Changes: Gradually
Rhythm: The first note was shorter
Articulation: Smooth
3. Le Couppey Tempo: lt slowed down towards the end
Pitch: There was a lower note near the beginning
6. Jeremiah Clarke
Rhythm: There was a dotted rhythm near the end
Dynamics: At the end
4. Donizetti Changes: Sudden
Pitch: There was a lower note in the middle Articulation: Detached
Rhythm: The first note was shorter Tempo: lt stayed the same

5. Schubert 7. Schumann
Pitch: There was a higher note in the middle Dynamics: ln the middle
Rhythm: There was a longer note near the end Changes: Gradually
Articulation: Smoothly
6. Sullivan Tempo: lt slowed down towards the end
Pitch: There was a higher note near the end
Rhythrn: There was a dotted rhythm in the middle 8. Handel
Dynamics: At the beginning
Changes: Suddenly
Test 2D Articulation: Smooth
1. Purcell Tempo: lt slowed down towards the end
Dynamics: ln the middle
Changes: Gradually
9. Tchaikovsky
Dynamics: At the end
Articulation: Detached
Changes: Gradual
Tempo: lt stayed the same
Articulation: Detached
2. Heller Témpo: lt stayed the same
Dynamics: Just before the end
10, Liszt
Changes: Suddenly
Dynamics: ln the middle; at the end
Articulation: Smooth
Changes: Gradual
Tempo: lt slowed down towards the end
Articulation: Smooth
3. Schumann Tempo: lt slowed down towards the end
Dynamics: Just after the beginning
Changes: Suddenly
Articulation: Smooth
Tempo: lt got faster towards the end

40
 An swe rs

GRADE 3 4. Volkmann
Dynamics: Loudly
Test 3C
Changes: Gradually
1. Arcadelt
Articulation: Smooth
Pitch: There was a lower note near the beginning
Tempo: lt slowed down near the end
Rhythm: There was a shorter note in the middle
. Tonality: Major
2. Schumann
5. Chopin
Pitch: There was a lower note near the end
Dynamics: ln the second halfltowards the end
Rhythm: There was a dotted rhythm near the beginning
Changes: Gradual
3. Campra Articulation: Smooth
Pitch: There was a higher note near the end Tempo: lt slowed down towards the end
Rhythm: There were even notes near the beginning Tonality: Minor

4. Geminiani 6. Purcell
Pitch: There was a lower note near the end Dynamics: No, the second half was quiet
Rhythm: The second note was longer Changes: Sudden
Articu lation: Detached
5. Burgmüller Tempo: lt slowed down towards the end
Pitch: There was a lower note near the end Tonality: Major
Rhythm: There was a shorter note in the middle
7. Schumann
6. Handel Dynamics: The first half \
Pitch: There was a higher note in the middle Changes: Gradually
Rhythm: There was a longer note near the end Articulation: Smooth
Tempo: lt slowed down towards the end
Tonality: Major
Test 3D
1. Hünten 8. Grieg
Dynamics: The second section Dynamics: At the end
Changes: Suddenly Changes: Sudden
Articulation: Detached Articulation: Detached
Tempo: lt slowed down in the middle Tempo: lt slowed down towards the end
Tonality: Major Tonality: Minor

2. Guilmant 9. Kabalevsky
Dynamics: At the end Dynamics: ln the middle
Changes: Gradual Changes: Gradually
Articulation: Smooth Articulation: Smoothly
Tempo: lt stayed the same Tempo: lt slowed down in the second half/near the end
Tonality: Minor Tonality: Minor

3. Student song 10. Handel

Dynamics: The middle Dynamics: ln the middle
Changes: Sudden Changes: Gradually
Articulation: Smooth Articu lation: Detached
Tempo: lt stayed the same Tempo: lt stayed the same
Tonality: Major Tonality: Major

41
CD track List

GRADE 1

Tracks Test Examples

1-9 1A 1-9
10-18 1B 1-9
19-27 1C 1-9
28-36 1D 1-9
37-40 Mock Test

GRADE 2
Tracks Test Examples
41-49 2A 1-9
50-58 28 1-9
s9-63 2C 1-5
64-72 2D 1-9
73-76 Mock Test

GRADE 3
Tracks Test Examples
1-9 3A 1-9
10-18 3B 1-9
19-23 3C 1-5
24-32 3D 1-9
33-36 Mock Test

Examiners: Juliet Allen, Robin Zebaida

Recorded in Spring 2010 at Red Gables Studio, Greenford

Produced by Sebastian Forbes
Balance Engineering by Ken Blair
Audio Editing by Ken Blair

A BMP production for ABRSM Publishing

ABRSM (Publishing) Ltd is a wholly owned subsidiary of ABRSM

44