Grade VIII ABRSM aural tests

Sing or play from memory the lowest part of a three-part phrase played twice by the examiner

Name the cadence at the end of the piece, which is played twice.

Perfect cadence: V to I Plagal cadence: IV to I Imperfect cadence: Any chord going to V Interrupted cadence: V going to any other chord than I (typically VI)

Name the last 3 chords Will be limited to tonic, supertonic, subdominant, dominant, dominant 7th or submediant.

The cadence will give you a clue which is the last chord and possibly the preceding one. Ask yourself whether each chord is major or minor and this will also narrow it down.

B
Sing from sight the lower part of a two-part phrase while the examiner plays the upper part. You will have a few moments to look through it and are allowed to sing out loud during your preparation. Singing sol-fa is allowed and can be helpful.

C
Identify the modulation at the end of a piece as going to the dominant, subdominant or relative major/minor.

You will be given two short pieces, one in a major key and one in a minor key.

Major key excerpt Modulation to dominant Generally a brightening in mood. Ends in a major key, sing last chord and will make a perfect cadence to the tonic opening. If it is a short excerpt ending on an imperfect cadence, you will be certain it has modulated to the dominant. It will feel that it should go back to the beginning phrase. If it is a longer passage which has more preparation leading to the dominant modulation it may end on a perfect cadence but will still hold some tension and sound like it could jump back to the opening. Modulation to subdominant ends in a major key although a more subdued effect. Sounds like it is resting in the new key. Modulations into the dominant key often create a sense of increased tension while modulations into the subdominant create a sense of musical relaxation. Relative minor ends in a minor key.

Minor key excerpt Modulation to dominant can end in major or minor. If it is a short excerpt ending in an imperfect cadence it will still really be in the tonic key and hasnt really modulated, and in this case ends on a major chord (V). The imperfect cadence will give it away and as in the major key excerpts you can sing a perfect cadence to the tonic opening, and it will feel that it wants to jump back to the opening. If it is a longer passage which actually modulates to the dominant it often ends in a minor chord (v). This will sound finished and far away from the original key. Modulation to subdominant ends in a minor key, less bright than the progression to dominant. Modulation to relative major This will be a natural and smooth progression, as it shares the same key there is no need for preparatory accidentals leading up to the change and it will feel that it could go easily back to the beginning. The difference is it wont feel open-ended like the imperfect cadence it will be more closed. It will feel very close to the original key, almost sounds like tonic as there is only one note difference.

Describe the characteristic features of a piece played by the examiner.

Comment on texture, melody and accompaniment, harmony and tonality, style and period, character, structure and form, dynamics, rhythm, metre and tempo.