Grade 8 Aural Skills ABRSM

It may be worth downloading ABRSMs aural trainer (there is both a

free LITE version and a more in depth version that costs £5.99)

I also thoroughly recommend getting the Aural Training in Practice

Book with accompanying CD which will allow you to work from
home on your listening skills.

Here are the different parts to the aural (listening) element of the
exam as described by the exam board.

I have added additional information and practice techniques where

appropriate.

TEST A

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 will affect the assessment).

This test is difficult as it requires the candidate to pick out the

bassline. Girls or those with high voice will then sing this up an
octave rather than at the heard pitch which adds another element of
difficulty.

Practice techniques:
 1) Listen to some recordings or YouTube videos of J.S Bach
three-part inventions and try picking out the bassline and then
singing or humming it back.
2) Play any three-note chord and listen and sing back the bottom
note.
3) Find an example in your three set pieces of a melody played
with the left hand (in the bass clef) and try singing this at the
same time as playing in the right hand.

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.

A cadence is an ending or conclusion of a piece or phrase or section

of a piece of music. There are four types that are required for the
exam:

Perfect Cadence: (V-I) This is the most common cadence and the
piece will feel as if it has ended satisfactorily. There is a strong
sense of resolution and the harmony moves from dominant (Chord V)
to the tonic (Chord I). Sometimes the seventh is added to the
dominant chord to create a dominant seventh chord which has a
distinctive sound you are required to recognise for the exam.

Imperfect Cadence: (I-V) or (IV-V) or (II-V) This always will end in a

dominant chord but the one before will be either tonic (Chord I),
subdominant (Chord IV) or supertonic (Chord II). As it finishes on the
dominant chord, it has an unfinished sound and feels like the piece
should continue rather than end there.
Interrupted Cadence: (V-VI) This cadence sounds like a ‘surprise’ or
‘unexpected’ cadence as it the dominant chord preparation which
feels like it should go to the tonic. However, this expectation is
subverted and it moves to the submediant (Chord VI) instead. The
dominant chord can sometimes be a dominant seventh chord just as
in the perfect cadence.

If the piece is in a major key the cadence will finish with a minor
chord (i.e. for a piece in C major: G major chord going to A minor
chord)

If the piece is in a minor key the cadence will finish with a major
chord (i.e. for a piece in A minor: E major chord going to F major
chord)

Plagal Cadence: (IV-I) This is often referred to as the ‘amen’

cadence as it sounds like the end of a religious choral work where
the whole choir sing “amen”. The subdominant (Chord IV) to tonic
(Chord I) make the piece feel finished but with a slightly different
sound world to a perfect cadence.

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.).

I recommend using chord numbers or technical names rather than

letter names as this will be different for each key so it is an added
element of difficulty unless you have perfect pitch to describe a
chord as C major first inversion rather than Ib or tonic root position.
The final two chords are the easiest to work out if you answered
correctly for the previous question identifying the type of cadence:

If you correctly recognised it as a perfect cadence then you will

know it is V-I

An imperfect cadence will always end in chord V but will have

either I,II or IV before it.

A plagal cadence will always be IV-I

An interrupted cadence will always be V-VI

This leaves you to work out the inversions of the chords and
whether chord V is the normal version or the dominant seventh (V7).

You then must identify the chord which occurs before the final two
chords which is something that will take practice. There are various
methods to do this and I will outline a few below.

It is important to note whether you are in a major key or a minor key

as this will have an obvious effect on whether the chords that make
up the harmony are major or minor.

In a major key:
I II III IV V VI VI
tonic superto media subdomin domina submedi leading note
nic nt ant nt ant
major minor minor major major minor diminshed

In a minor key:
 I II III IV V VI VI
tonic supertonic media subdomin dominant submedi leading
nt ant ant note
mino Half major minor major major diminshed
r diminshed

Therefore:

If you are in a major key (i.e. C major) and hear a major chord
preceding the final two cadence chords, you have the options of
Chord I, Chord IV, Chord V.

If you are in a major key and you hear a minor chord preceding the
final two cadence chords, you have the options of Chord II or Chord
VI. The mediant (Chord III) is rarely used in classical harmony and
for this reason it is not included in the aural tests.

If you are in a minor key (i.e. A minor) and hear a major chord
preceding the final two cadence chords, you have the options of
Chord IV or Chord VI.

If you are in a minor key and you hear a minor chord preceding the
final two cadence chords, you have the options of Chord I or Chord
IV.

Chord II in a minor key (the supertonic) is a half diminished chord (in

the key of A minor it is B,D,F) which has a unique sound. Practice
playing this chord in different keys so that you can recognise this
sound.

Using this technique of recognising major and minor chord sounds

will obviously limit your options to make it easier but will not
identify the exact chord. Learning to do this will take practice of
recognising sounds but also learning common cadential figures and
recognising those. Listening to the bassline is also a useful
technique and I will go over some common cadence progressions.
Common cadential progressions:

This list is not exhaustive but contains most of the cadences you
will find in the Grade 8 aural tests

Perfect:

Ic-V-I: Listen out for the bassline staying the same before moving to
the tonic (for example in C major the bassline would be G,G,C)

IV-V-I or IIb-V-1: Listen for the bassline moving up one note before
moving to the tonic (for example in C major the bassline would be
F,G,C)

Imperfect:

Vb-I-V: Listen for bassline going up one note before moving to

dominant (for example in C major the bassline would be B,C,G)

I-Ic-V: Listen for last two notes of bassline (the cadence itself)
remaining the same (for example in C major the bassline would be
C,G,G)

VI-IIb-V: (for example in C major the bassline would be A,F,G)

Plagal:

IIb-IV-I: Listen for bassline staying the same before going to the
tonic (for example in C major the bassline would be F,F,C)

Ic-IV-I: Listen for bassline going down one note before going to the
tonic (for example in C major the bassline would be G,F,C)

VI-IV-I: (for example in C major the bassline would be A,F,C)

Interrupted:

IV-V-VI: Listen for the bass rising by step (for example in C major
the bassline would be F,G,A)

Ic-V-VI: If bass stays the same before going up by step (for example
in C major the bassline would be G,G,A)
IIb-V-VI: Very similar to IV-V-VI except the first chord will have a
minor sonority in the major key or a half-diminished sound in a minor
key

Practice Techniques:

1) Try to play through all of the common cadential progressions

at the piano, both in C major and C minor.
2) Listen to a Haydn or Beethoven piano sonata on YouTube and
try to recognise cadences at the end of phrases.
3) Play through a major scale and work out the chord on each
note (tonic; supertonic; mediant etc.)
TEST B

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 will affect the
assessment).

Practice Techniques:

1) Practice interval singing in both a major and minor key. Sit at

a keyboard and try to sing first a 2nd (C to D), then a 3rd (C to E),
then a 4th (C to F) and so on all the way up to an octave. The
try in a minor key: 2nd (C to D), 3rd (C to Eb) and so on.
 2) Practice singing a scale both ascending and descending and
then an arpeggio both ascending and descending.
3) Try singing a bassline part from specimen sight reading tests
and playing the right hand at the same time at a slow tempo.

Remember all the same rules apply as to your piano sight reading
tests: work out key signature and accidentals as well as more
complicated rhythms and dynamics before you start.

TEST C

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.) 

Modulations to the dominant

The music will feel as if it is getting sharper (for example C major

with no sharps, modulates to G major with one sharp). In a minor
key, modulating to the dominant carries several difficulties as it
may modulate to either the dominant major or minor. Although you
are not required to distinguish between the two types of dominant –
a modulation to the dominant major may easily be confused with a
modulation to the relative major as there is a change from minor to
major tonality so watch out for this. A modulation to the dominant
minor will sound sharper (C minor with three flats, modulates to G
minor with two flats) but may not be as immediately obvious as with
a modulation to the dominant in a major key.

Modulations to the subdominant

The music will feel as if it getting flatter (for example C major with
no sharps or flats, modulates to F major with one flat). For
modulations to the subdominant when in a major key, try to listen
for the tonic chord becoming a dominant seventh chord (i.e. a c
major triad adding a Bb) which in turn becomes the pivot chord and
the dominant of the new key, F major. For modulations to the
subdominant when in a minor key, listen for the music becoming
flatter (from C minor with three flats, to F minor with four flats)

Modulations to the relative minor/major

This is the most straightforward of the modulations as listening for

a change between minor and major tonality is clearly recognisable.
Be wary of a move the dominant major in a minor key.

Practice Techniques

The most useful method of practice for this element of the exam is
to try as many of the specimen examples on the CD provided with
the workbook as this allows you to check your answers.

TEST D

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.

Texture

Melody and accompaniment: Is the melody in the left or right hand?

Is the accompaniment chordal; broken chord pattern (such as
alberti bass); a single bassline; or ostinato figure?

Homophony or melody dominated homophony: Is the piece chordal

with a melodic line at the top of the chords?

Polyphonic: Is it two, three or four-part counterpoint (i.e. two, three

or four distinct melodic lines interweaving)? Is there imitation
between the parts or are they inverted (switched around)?

Monophonic: Is the piece a single line – or in octaves between the

hands?

Tessitura (the range or where it is played on the keyboard) also

comes under texture in this case. Is it mostly a high or low
tessitura? Does it use a wide range of the piano?
Structure

How many sections are there? Is there an introduction or a coda?

Ternary: Three sections following ABA pattern (the first and final
section are the same or similar with a contrasting middle section)

Binary: Two different sections often contrasting

Fugue: This is also related to texture but fugues have a specific

structure with staggered entries.

Character

This is a wide-ranging category so students can describe anything

that gives the piece its own character. Here are some examples of
what the examiner might be looking for:

Tempo: what is the speed of the piece and does it change?

Time signature: Is it a 3/4 waltz or dance; a 4/4 march; is in

compound time?

Dynamics: Is it loud or quiet; are there sudden or gradual changes;

does it use a large dynamic range?

Melodic lines: Are they long or short; is it an ostinato; does it

explore a wide range of notes; how are they articulated – legato or
staccato. If it is a jazz piece does it have straight or swung quavers.
Harmony and Tonality

Is it in a major or minor key (or atonal)?

Does it use chromatic harmony?

Does it use7th and 9th chords etc. (20th century jazz style)?

What cadences does the piece use?

Is there a drone bass or a pedal note?

Is there dissonant harmony or cluster chords (20th century pieces)?

Style and Period

These are taken from answers in the ABRSM specimen test book –
the list of composers and periods is not exhaustive but cover the
most likely range of pieces that will be played.

Baroque (Bach, Handel, Scarlatti)

Fugal style, suspensions create tension and release, use a limited

range of the keyboard and a single dynamic level suggest it was
written for harpsichord/organ. Contrapuntal texture, melody heavily
ornamented, clear articulation and texture, diatonic harmony, binary
form/two-section structure.

Classical (Mozart, Haydn, Beethoven, Clementi, Schubert)

Balanced phrase lengths, regular cadences, melody and

accompaniment with use of arpeggiated accompaniment figures,
use of cresc. and dim., light piano sonority with a moderate pitch
range, reliance on primary chords. Melody dominated texture,
repetition of ideas, melodic decoration/ turns, reliance on primary
chords.

Romantic (Chopin, Schumann, Tchaikovsky)

Dramatic dynamic contrasts, variety of textures suggest orchestral

origins, intense chromaticism, flexibility of tempo, use of sustain
pedal, expressive melodic shaping, rubato, chromaticism in melody.
Rich sonority, use of wide range of keyboard, cantabile tone.

20th Century:

Jazz (Gershwin, Miles Davis, Bernstein)

Jazz style/Broadway, use of swing, syncopation, element of

surprise, added note/extended harmony, use of parallel chords,
pedalled/blurred sonorities give colour.

French/Impressionist (Debussy, Ravel)

Parallel harmonies, modal/pentatonic melody, use of embellishment/

decoration/ improvisation, impressionistic sonority with use of
sustaining pedal.

Atonal (Schoenberg)

No strong tonal centre, sparse angular melodic style, asymmetric

phrases

Russian (Stravinsky, Shostakovich)

Repeated rhythms with percussive accents, abrupt changes of

mood, use of a wide range of the keyboard, tempo changes, dry
sonority.
British (Britten, Peter Maxwell-Davies)

Modal scale, dissonance, uniformity of texture

Practice Techniques

1) Listen to as many recordings as possible on YouTube or

Spotify or each style mentioned.
2) Turn on BBC radio 3 and try to guess the period and composer
3) Try to describe your own exam pieces using the terms
described above – structure, harmony, character, texture etc.