All the Musical Terms required for Grades 1-5 in ABRSM Music Theory
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AURAL TESTS (ABRSM) Aural tests account for 18 out of the 150 marks in your ABRSM exams (12%) !hey "on#t count as much as $ein a$le to &lay your instrument 'ell $ut enouh to make the "ifference $et'een ass*+ail*Merit*,istinction Also confi"ence a$out this &art of the exam 'ill $oost your confi"ence for the 'hole exam -ou 'on#t $e oin throuh the exam 'orryin a$out this one $it How are the aural tests marked?
!he mark for aural tests is arri.e" at $y makin an o.erall assessment of the can"i"ate#s &erformance "urin the set of tests as a 'hole an" relatin this to the assessment criteria sho'n $elo' Rather than startin at /ero an" a'ar"in marks as the tests &rocee" or at 18 an" "e"uctin marks examiners use the &rinci&le of markin &ositi.ely or neati.ely from the &ass mark !he mark then reflects the cumulati.e $alance of ualities that the can"i"ate has "emonstrate" takin into account $oth the accuracy an" the confi"ence of their res&onses t is 'orth notin that hesitation is "eeme" as a mark loser A riht ans'er sai" ner.ously looses marks ractise s&eakin confi"ently e.en 'hen you#re not
Distinction (!)
3 4uick accurate an" &erce&ti.e res&onses
Merit (" # $)
3 oo" res&onses 3 Minor errors or hesitation
%ass (& # ')
3 A&&roximately half other tests correctly ans'ere" 3 6.i"ence of a'areness "es&ite hesitation an" error
Below %ass ( # )
3 Slo' an" uncertain res&onses 3 naccuracy in &arts of all tests
( # !)
3 7ery slo' an" most inaccurate res&onses 3 All tests entirely inaccurate
(*)
3 o 'ork offere"
H+, -A. / HEL% M0SEL1 ,/TH AURAL?
f your teacher for 'hate.er reason is una$le to un"ertake reular aural &ractice 'ith you there are many thins you can "o9 1
Sin u& to '''hofnotecom four months $efore your exam an" "o "aily online &ractice
;
!ry an" listen to lots of "ifferent ty&es of music 3 fin" the &ulse $y ta&&in alon 3 s&ot any chanes in tem&o an" &ulse 3 s&ot any chanes in key 3 try an" 'ork out 'hen it miht ha.e $een 'ritten an" 'hy you thouht that 3 s&ot the ca"ences an" try an" "eci"e 'hat they 'ere
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Bro'se -ou!u$e for recor"ins $y the main com&osers ty&ifyin each &erio" =ook &articularly for &iano music as it 'ill $e &iano in your exam
5
Sin all the time 3 Sin lou"ly in the sho'er*$ath*loo > et ri" of your inhi$itions 3 Sin to your fa.ourite music not ?ust listen to it 3 ractise sinin inter.als u& to an octa.e an" check them on your instrument 3 Sin Ma?or*@armonic*Melo"ic Scales an" Ar&eios
n.ol.e your other music teachers in the &rocess f you &lay &iano as 'ell as an orchestral instrument your &iano teacher 'ill $e ha&&y to hel& you 'ith aural as lon as you tell them Some school music "e&artments 'ill run extra aural if you ask
6.ery time you et a ne' &iece try sinin it first an" then see ho' close you ot
8
Aural 'ill al'ays $e easier if you "on#t ?ust lea.e it to a cou&le of 'eeks $efore the exam ractise it as &art of your reular routine
Aural Tests 2rade 1
!o sin or &lay from memory the upper &art of a t'o &art melo"y &laye" t'ice $y the examiner !he key chor" an" startin note 'ill first $e soun"e" an" name" an" the &ulse in"icate" $y a t'o $ar count in A secon" attem&t 'ill $e allo'e" if necessary
2
!o sin a melo"y from score 'ith an accom&animent &laye" $y the examiner +irst the examiner 'ill &lay an" name the key chor" an" the startin note an" then i.e the &ulse A $rief &erio" of &re&aration 'ill then follo' "urin 'hich the can"i"ate may sin out lou" !he examiner 'ill &lay the key chor" an" startin note aain an" then count in t'o $ars f necessary the examiner 'ill allo' a secon" attem&t :an"i"ates may choose to sin the test from the tre$le or $ass clef
;
!o i"entify the ca"ence at the en" of a &hrase as %er3ect or /m4er3ect5 !he &hrase 'ill $e in a ma?or or minor key an" 'ill $e &laye" t'ice $y the examiner !he chor"s formin the ca"ence 'ill $e in root &osition Before the first &layin the examiner 'ill &lay the key chor"
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%er3ect -adence (6 # /)
:onsists of chor" 7 follo'e" $y chor" t is calle" &erfect $ecause it soun"s com&lete
/m4er3ect -adence (7 # 6)
:onsists of a chor" (&ro$a$ly or 7) follo'e" $y chor" 7 !he fact that it finishes on 7 rather than resol.in onto chor" makes it feel unfinishe" or Cim&erfect#
!o i"entify two features of a &iece of music &laye" $y the examiner !he first feature 'ill $e confine" to one of the follo'in9 Te7ture
!o cla4 the rh9thm of a short extract &laye" t'ice $y the examiner from the &iece you#.e ?ust hear" an" to state 'hether it is in &8 : or ' time5 t is im&ortant to try an" "eci"e ho' many $eats there are in a $ar 'hen you are hearin the 'hole &iece &laye" throuh for the 3irst time as 'hen they &lay the extract you#ll $e too $usy tryin to remem$er it to cla& it $ack !he examiner 'ill not remin" you to listen out for the num$er of $eats in a $ar that#s u& to you
Aural Tests 2rade $ 1
!o sin or &lay from memory the lower &art of a t'o &art melo"y &laye" t'ice $y the examiner !he key chor" an" startin note 'ill first $e soun"e" an" name" an" the &ulse in"icate" $y a t'o $ar count in A secon" attem&t 'ill $e allo'e" if necessary
2
!o sin the upper &art of a t'o3&art &hrase from score 'ith the lo'er &art &laye" $y the examiner +irst the examiner 'ill &lay an" name the key chor" an" the startin note an" then i.e the &ulse A $rief &erio" of &re&aration 'ill then follo' "urin 'hich the can"i"ate may sin out lou" !he examiner 'ill &lay the key chor" an" startin note aain an" then count in t'o $ars f necessary the examiner 'ill allo' a secon" attem&t :an"i"ates may choose to sin the test from the tre$le or $ass clef
;
a) !o i"entify the ca"ence at the en" of a &hrase as %er3ect8 /m4er3ect or /nterru4ted5 !he &hrase 'ill $e in a ma?or or minor key an" 'ill $e &laye" t'ice $y the examiner !he chor"s formin the ca"ence 'ill $e in root &osition Before the first &layin the examiner 'ill &lay the key chor" %er3ect -adence (6 # /)
!his is forme" $y chor" 7 follo'e" $y chor" t is calle" &erfect $ecause it soun"s com&lete :hor" 7 can ha.e a th a""e" 'hich 'ill make the chor" soun" fuller an" the th 'ill feel like it nee"s to resol.e "o'n this is calle" a Dominant $th5
/nterru4ted (6 # ;i)
An interru&te" ca"ence soun"s like it#s oin to resol.e an" then instea" ste&s u& to a chor" that soun"s like it "oesn#t $elon (Ma?or*Minor Minor*Ma?or)
/m4er3ect -adence (7 # 6) !his is forme" $y a chor" (&ro$a$ly or 7) follo'e" $y chor" 7 !he fact that it finishes on 7 rather than resol.in onto chor" makes it feel unfinishe" or Cim&erfect# <) !o i"entify the t'o chor"s formin the a$o.e ca"ence !he chor"s 'ill $e limite" to the tonic su$"ominant "ominant "ominant se.enth or su$me"iant (all in root &osition) +irst the examiner 'ill name an" &lay the key3chor" then &lay the t'o chor"s as a &air (See exam&les at en" of ra"e section) c) !o i"entify 'hether the mo"ulation at the en" of the &assaes is to the "ominant su$"ominant or relati.e minor !he &assae 'ill $ein in a ma=or key Before &layin the &assae the examiner 'ill name an" &lay the startin key3chor" !he can"i"ate may ans'er usin the technical names or the letter name of the ne' key (See section on mo"ulations at the en" of ra"e 8 section) !he &assae 'ill only $e &laye" once
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!o i"entify two features of a &iece of music &laye" $y the examiner !he features 'ill $e confine" to the follo'in9 Tem4o8 D9namics8 Articulation8 Tonalit98 -haracter8 St9le and %eriod8 Te7ture8 Structure
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!o cla4 the rh9thm of a short extract &laye" t'ice $y the examiner from the &iece you#.e ?ust hear" an" to state 'hether it is in &8 :8 ' or >! time5 t is im&ortant to try an" "eci"e ho' many $eats there are in a $ar 'hen you are hearin the 'hole &iece &laye" throuh for the 3irst time as 'hen they &lay the extract you#ll $e too $usy tryin to remem$er it to cla& it $ack !he examiner 'ill not remin" you to listen out for the num$er of $eats in a $ar that#s u& to you
Modulations 3or 2rade $ and ! Startin in a MA+R @E0
Startin in a M/.+R @E0 (rade ! onl9)
SUBD+M/.A.T if you ha.e manae" to sin the $ass note all the 'ay throuh it 'ill fit in this chor" Still MA+R +eels like your a""in flats &ullin "o'n SUBD+M/.A.T if you ha.e manae" to sin the $ass note all the 'ay throuh it 'ill fit in this chor" Still M/.+R +eels like your a""in flats &ullin "o'n
D+M/.A.T RELAT/6E if you ha.e manae" M/.+R if you ha.e to sin the $ass note all the 'ay throuh it 'ill manae" to sin the $ass note all the 'ay .+T fit in this chor" Still MA+R throuh it 'ill fit in +eels like your a""in this chor" shar&s &ullin u& Soun"s M/.+R
D+M/.A.T RELAT/6E if you ha.e manae" MA+R if you ha.e to sin the $ass note all the 'ay throuh it 'ill manae" to sin the $ass note all the 'ay .+T fit in this chor" :oul" $e minor or throuh it 'ill fit in this chor" ma=or "e&en"in on 'hether the lea"in not Soun"s MA+R has $een shar&ene" +eels like your a""in shar&s &ullin u&
Aural Tests 2rade ! 1
a) !o sin or &lay from memory the lowest &art of a three &art melo"y &laye" t'ice $y the examiner !he key chor" an" startin note 'ill first $e soun"e" an" name" an" the &ulse in"icate" $y a t'o $ar count in A secon" attem&t 'ill $e allo'e" if necessary <) !o i"entify the ca"ence at the en" of a continuin &hrase as 4er3ect8 im4er3ect8 interru4ted or 4laal5 !he &hrase 'ill $e in a ma?or or minor key an" 'ill $e &laye" t'ice $y the examiner c) !o i"entify the three chor"s (inclu"in their &ositions) formin the a$o.e ca"ential &roression !he chor"s formin the ca"ence 'ill $e limite" to the tonic (root &osition first or secon" in.ersions) su&ertonic (root &osition or first in.ersion) su$"ominant (root &osition) "ominant (root &osition first or secon" in.ersions) "ominant se.enth (root &osition) or su$me"iant (root &osition) Before the first &layin the examiner 'ill &lay the chor" (See sheet on chor" &roressions)
2
!o sin the lower &art of a t'o3&art &hrase from score 'ith the u&&er &art &laye" $y the examiner +irst the examiner 'ill &lay an" name the key chor" an" the startin note an" then i.e the &ulse A $rief &erio" of &re&aration 'ill then follo' "urin 'hich the can"i"ate may sin out lou" !he examiner 'ill &lay the key chor" an" startin note aain an" then count in t'o $ars f necessary the examiner 'ill allo' a secon" attem&t :an"i"ates may choose to sin the test from the tre$le or $ass clef
;
!o i"entify 'hether the mo"ulations at the en" of t'o "ifferent &assaes are to the "ominant su$"ominant or relati.e minor*ma?or !he first &assae 'ill $ein in a ma=or key an" the secon" 'ill $ein in a minor key Before &layin each &assae the examiner 'ill name an" &lay the startin key3chor" !he can"i"ate may ans'er usin the technical names or the letter name of the ne' key (See section on mo"ulations) 6ach &assae 'ill only $e &laye" once
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!o "escri$e the characteristic features of a &iece &laye" $y the examiner After hearin the &iece the can"i"ate shoul" "escri$e any nota$le features such as Tem4o8 D9namics8 Articulation8 Tonalit98 -haracter8 St9le and %eriod8 Te7ture8 Structure5 !he examiner 'ill &rom&t the can"i"ate 'ith uestions only if it $ecomes necessary
,hat in the 4iece i;e the music its character? Tem4o
li.ely slo' mo"erate chanin
D9namics
mainly lou" mainly uiet ra"ual or su""en chanes
Articulation
staccato leato accente"
Tonalit9
ma?or or minor key minor sometimes i.es a feelin of sa"ness
Sinin !he $est 'ay to learn inter.als is to kee& sinin them !here are lots of hel&ful 'e$sites !ry '''musicalinter.alstutorinfo as a starter @ere are some hel&ful hints9 Minor &nd Dhite :hristmas E"e to Foy Fa's +ur 6lise (to& to $ottom) Ma=or &nd @a&&y Birth"ay +rere Facues Ru"ol&h the Re" ose" Rein"eer rd Minor : reenslee.es e' Dorl" Sym&hony rd Ma=or : E Dhen the Saints Dhile She&her"s Datche" !heir +locks o& oes the Deasel Ence in Royal ,a.i"#s :ity Mornin @as Broken %er3ect 'th Aul" =an Syne f -ou#re @a&&y an" -ou Gno' it A'ay in a Maner %er3ect "th !'inkle !'inkle Star Dars main theme Minor th =et My eo&le o =o.e Story (hih to lo') !he 6ntertainer (;r" 3
-adential %roressions 2rade $
-adential %roressions 2rade !
,hich 4eriod o3 music is this 4iece 3rom? ,hat musical 3eatures tell 9ou that?
5 Baroue music9
** C $"*
3 Dritten $y &eo&le such as Bach and Handel8 %urcell8 6i;aldi C
!he tem&o stays the same throuhout a&art from a &ossi$le rallentan"o at the en"
C
!he rhythmic &atterns are .ery similar throuhout
C
Mo.ements are usually $ase" on one melo"ic i"ea
C
@armony is uite sim&le $ase" mainly on tria"s of the keys in the &iece thouh "ominant th an" sus&ensions are foun" too
C
!exture can $y homo&honic or &oly&honic or a com$ination of $oth !extures are often &olarise" > 'ith t'o melo"ic &arts in the to& lines o.er a "ifferentiate" $ass
C
/M/TAT/+. is .ery common A tune starts in one han" an" is re&eate" in the other
C
,ynamics chanes are usually terrace" > chanes are su""en rather than ra"ual
C
,on#t use the &e"al of the &iano much as music 'as oriinally 'ritten for instruments such as har&sichor" En a mo"ern &iano Baroue music is often &laye" in a mezzo staccato style as a result
C
Hse of ornaments such as trills
C
+or ra"e 8 only it is 'orth kno' a little $it a$out Renaissance Music ('"* # **) Dritten $y Tallis an" B9rd5 +eatures inclu"e9 Sometimes still 'ritten in mo"es use of imitation an" contra&untal in style Eften 'ith as many as < lines of counter&oint at one time May em&loy a roun" $ass Melo"ic lines are smooth an" e.en in structure as are the rhythms
&5 -lassical music
:5 Romantic music9
$"* C !&*
3
Dritten $y such &eo&le as Moart and Ha9dn and earl9 works <9 Beetho;en and Schu
C
!em&os usually remain unchane" throuhout
C
ice short 'ell $alance" melo"ies often accom&anie" $y
C
Geys chanes are usually closely relate"
C
Most chanes in "ynamics are ra"ual (crescen"o an" "iminuen"o) as o&&ose" to the su""en chanes in Baroue
C
Staccato an" leato are often use"
C
Eccasionally uses &e"als as the &ianoforte 'as comin into use
!&* C **
3 Dritten $y Schumann8 -ho4in8 Brahms and later works <9 Beetho;en and Schu
'5 Earl9 Twentieth -entur9
3 Dritten $y Schoen
Use3ul Enlish ,ords
ma?or an" minor keys 'hether the &ulse of the music alters (rallentan"o or acceleran"o) remem$er to ta4 9our 3oot to feel for tem&o chanes lou"s an" softs D9namics 2radation o3 tone crescen"o or "iminuen"o staccato or leato Articulation St9le and %eriod 'hen the music 'as 'ritten (see rele.ant sheet) the moo" of the &iece (see rele.ant sheet) -haracter Tonalit9 Tem4o
1orm>Structure
the structure of the &iece > &ro$a$ly either AB or ABA or alternati.ely one i"ea throuhout !ry an" listen for "ifferences $et'een the "ifferent sections as the "ifferences may nee" to $e liste" in your ans'er !he "ifferences coul" $e to any of the elements liste" in this section Also listen out for reular &hrasin an intro"uction an ostinato $ass line any "efinin features that you notice
Te7ture
thick or thin homo4honic > melo"y usually in the u&&er &art 'ith chor"s or $roken chor"s in the lo'er &art contra4untal > t'o melo"ic lines one in each han" of eual im&ortance %ol94honic # similar to contra&untal in that music simultaneously com$ines se.eral "ifferent lines
Rh9thm
the &attern of note .alues (reular irreular "otte" tri&lets synco&ate" etc)
Use3ul /talian ,ords
Tem4o
D9namics
rallentando accelerando a tempo
piano forte mezzo piano mezzo forte pianissimo fortissimo
short an" "etache" smooth hol" for their full lenth su""en accent
mesto scherzando maestoso misterioso tranquillo energico lento Andante Allegro Allegretto Cantabile
sa" &layful ma?estically mysteriously tranuil calm eneretic slo'ly 'alkin &ace li.ely uick $ut not as uick as Allero in a sinin style
,hat ha;e scales e;er done 3or me? Scales hel& the fluency of your &layin your siht rea"in im&ro.isation com&osition an" aural (listenin a$ilities) as 'ell as $ein useful for &racticin techniues on your instrument Remem$er most &ieces are com&ose" usin scales an" ar&eios as the $uil"in $locks
Scale Practice Tips Ti4 %ractice scales when 9ou donFt need to t miht seem .ery o$.ious to say &ractice scales reularly $ut you 'oul" $e sur&rise" at ho' many &eo&le "onJt !hey try an" cram them ?ust $efore a lesson or exam !his is not an efficient use of your time es&ecially 'hen kno'in your scales makes learnin all &ieces so much uicker @a.in ?ust one or t'o scale tarets each 'eek an" re.ie'in your scales reularly makes a hue "ifference to your o.erall &layin an" &roress et them on your &ractice &lan an" you 'ill soon 'on"er 'hat all the fuss 'as a$out Ti4 & S4eed comes later !here is al'ays room for slo' scales &ractice 3 e.en 'hen you can &lay them :oncentrate on your techniue ettin e.ery note totally e.en ensurin finerin is correct e.ery time Ence you are confi"ent you can s&ee" them u& $ut not to a &oint 'here you start to make mistakes Ti4 : Use d9namics Hse scales to &ractice "ynamics :oncentrate on &layin pp all the 'ay throuh a scale 'ith all notes soun"in e.enly ractice ff for the 'hole scale 3 make it slo' as 'ell for a reat $reath control exercise ractice ra"ual crescen"os an" "iminuen"os as 'ell Ti4 ' %ractice articulation Scales may $e &laye" leato staccato tonue" slurre" or e.en accente" Make use of scales to &ractice "ifferent techniues 'ithout ha.in to 'orry a$out the notes in a &iece Ti4 " -hane the rh9thm Ence you kno' your scales &lay them in other rhythms than straiht ua.ers Dhat a$out s'in ua.ers or tri&lets or "otte" rhythmsK Ti4 Down and u4 Scales are enerally &laye" startin at the $ottom 3 oin to the to& an" $ack to the $ottom aain nstea" start at the to& o to the $ottom an" $ack to the to& Dhen you can "o this for all scales try startin in the mi""le Ti4 $ -an8 .earl98 -anGt :reate an honest list of scales you can "o can nearly "o an" really can#t "o Dith reular &ractice scales 'ill ra"ually make their 'ay from :an#t to early to :an an" you ha.e the satisfaction of chartin their &roress to see ho' far you#.e come !his 'ill hel& to kee& you moti.ate" on a $a" scale "ay
S-ALES %ractise all articulations set 3or 9our instrument
