ernuraa·e····¡

To clap the pulse of a piece played by the examiner, First, clap in time while 1play. Join in as soon as you
and to identify whether it is in two time or three can and give a /ouder clap on the strong beats.
time. The examiner will start playing the passage, [Play the entire piece.]
and the candidate should join in as soon as possible,
clapping in time and giving a louder clap on the /s it in two time or three time? ... Thank 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.

Allegretto Gluck
1 >__.-_ >~ > ,----_

e ....... > 1 V
1 t'!f' p mf
1 ~

• r ,.. '!'

Md
o erato Han di
e
>1 J1J ¡.. ~~ . ... 1"'1 1 fij¡ 1
--------
.. > 1 1 1 1
1 1 1
1 f.
f ______
2
~~~
mf
J J j J j J
1 '"'
1 1 1~

------

"
Allegro
.
~
-
- '-' ..
Weber

3 p
1!- 1!- 1!- 1!- * • !- !- t !!: ! ! ... ,.
1 1 1 1

"'~,
, Allegro ma non troppo ~Puccini
>____. -...._ >__.---
~
------------
r i ~· "' ... r r y
~,. ,.
>
i
@
1
4 p f
,._
;
~
• • A .~ ••
-¡
T 1

Andantino Mozart
¡¡ ¡¡

@
' T ~

S mp

;
l.~ ~ IJ ~ ~ J.~~ 1 e: e J.~~ .J. ~ ~ 1
,.. ,.. t . .;

4
' AB 3575
 continued

• Ritmico - Country dance

¡o. >~ ~ > >~ "*f . >'-..::" '....:!''!' -...-'

~
6 f mf f
:
~ r r r V •
V ~ V r r ¡.; r r

Moderato
' > .,¡,..
;¡¡.¡¡ ~
,.._ ¡.. > ~ >
~
> >
- Le Couppe y

.....
7
• f
1 > > ~ ,

p
.,... ~. ~~J
:
1 1 1

Kirnberger
' . " ¡¡
Allegretto comodo
> r-- - --...

1' ""':"'-' '--J >~ ~ 1*.........-/ -¡f

>
8 m:[_- .c--.

- .,..._..

• Moderato Pleyel

" '
~ 1
i 1
9 ff mf f
1 /:";.. . ;. ¡.. .~ l,oi
----
:
.____.. .... '

Folk tune
Li el
-
"
ª·
V y --
~-
• 1 ¡,.,..::; 1 ¡_..::; •
10 mf
• • • .,.. ... ..
' • 1 1 -,¡ 1 1

AB 3575 5
To sing as 'echoes' three phrases played by the Next l'd like you to sing three phrases as echoes.
examiner. The phrases will be two bars long, in a Here is the key·chord [play] and your starting
majar key, and within the range of tonic-mediant. note [play].
First the examiner will play the key-chord and the
[Count in two bars.J ... Thank you.
starting note (the tonic) and then count in two bars.
Alter the examiner has played ea eh phrase, the
candidate should sing back the echo without a pause, 1

keeping in time.

li!lim
u nu.
echo 1 echo 2 echo 3
1 ~ ~b~~~HiU a p 1 w )1'1 1 - 1 '-.-/ "-._.·
-
.
7 1 - 1 - 1 J!J 0u. 7 1 - 1 - 11

~ echo 1 echo 2 echo 3

2
~) !; V t_:t~' 1 1 • 1 - uV 1 J. 7 1 • 1 • 1 JO oo 4 $7 1 1 - 1 - 11

3
•

~ ~bH¡a
,,
w ww1
'"--".
&,
echo 1

1 - 1 - 1 w
~·
n w1J ~
echo 2

1 - 1 - 1 uuu ~ echo 3

1 - 1 - 11

4
•

w m,
~~¡,¡,~~¡,m 1 1 w
echo1

1 - 1 - 1 eJ w 1 J. ,
echo 2

1 - 1 - 1 n. J 1 j )h
echo 3

1 .. 1 - 11

~~(§)! w J J!
• echo1 echo 2 echo 3
5 1 1 - 1 - 1 J@J 1 j f 1 - 1 - 1 ¿g :.g JJt 1 1 - 1 - 11

echo 3

- 1{) J#1J. 7 1- 1 - 11

7
•

~~~ (i) ~ -a.:n 1 w Jl7 1 ~

echo 1

- 1 - 1 J n 1 w. ,
echo 2

1 - 1 - IRJIJ.<tl•l
. -
echo 3

- 11

• echo 1 echo 2 echo 3

8
~ ~¡,HiJ 1 w w ~ u w. ~
'---"
1 - 1 - 1 ww nª~ 1 1 - ' - I@J J 1J t 1 - 1 - 11

9
•

0 c.Kr/::-
#
~#¡¡ •m i w 0¡7 1
echo 1

1 - 1 - 1 J:n±J 7
echo 2

1 - 1 - 1 :g J J. 1
echo 3

7 1 - 1 - 11

"~
10 ~ ~¡,¡,~~ (i) 2a mª0, 1
echo1

1 - 1 - 1 w ma0 1 t
echo 2

1 - -
-._~/ J. ª~ t
1 :J 1
echo 3

1 - 1 - 11

6 AB 3575
 Grade 1
To identify where a change in pitch occurs during a Now 1'11 play a phrase twice, but with a change to
phrase played by the examiner. The phrase will be one of the notes the second time. Te/1 me whether
two bars long, in a major key, and the change will the change was near the beginning or near the end.
affect only one of the notes. First the examiner will Here is the key-chord [play] and the tonic [play].
play the key-chord and the tonic and then count in [Count in two bars and play the phrase for the first
two bars. The examiner will play the phrase twice, time.] And now with the change. [Play the altered
making the change in the second playing, after which phrase without counting in.] Was the change near
the candidate should state whether the change was the beginning or near the end? ... Thank you.
near the beginning or near the en d. lf necessary, the
examiner will play both versions of the phrase again
(although this will affect the assessment).

Andante Liszt beginning

1
1~ '~nw D;J J 1r D:J

~ Allegro Beethoven beginning

2~fñt¡J56J
.f
n1@3r 1 f=i.fB J 1

~ M d Traditional
'#i ñ J n1A r
end

.f
j 1
~ o erato beginning

3 ~(¡)ijjj)J
.
J 14]J#j 1 'iJ 33. J J J 1 ü J ~ :J 1

'i J 3
-...../ "---"
m.f end m.f

'--"'
J . J J J @ J J:J 1
1

\ ~ Moderato Scarlatti beginning

4
~~H(ifiiA f !
m.f
lE t r 1 lJnn a f 1 lE t 11'
j 1

l[t j
¡o
1
@im Andante Schubert

5
~~m~ J J ~ J 1r9 o ' 1 j
1rO o' 1
m.f m.f
end

-¡*i # J ~ J 1 At v ' 1

AB 3575 7
 continued
Now 1'11 play a phrase twice, but with a change to
one of the notes the second time. Te// me whether
the change was near the beginning or near the end.
Here is the key-chord [play] and the tonic [play].
[Count in two bars and play the phrase for the first
time.] And now with the change. [Play the altered
phrase without counting in.] Was the change near
the beginning or near the end? ... Thank you.

• Moderato Traditional beginning

6 '#lf(!JH JJ om 'ffi n 7 11 '#H!I J]l m lffi J] 2ll

mf end mf

'#liJI 4)3 m IBJ J] 2ll

nif

• Andante Rimsky-Korsakov beginning

7
rrmn rft ilJ l(fp
mf
7 xll &#n fir J. 33 1fS~
mf
7 711
end

~ fi F J. j 3 1JQW 2 2 11
mf

~ Moderato Student song

s ~~bb(!)t{~J J¿J IUflJ 1

mf

~ Andante Schubert

9
'(¡ji o fff? lfill J
mf
11 1

0 cKr/:'"
"~
~ Allegro Traditional beginning

10 '#n m" f&E! r n 1V w3J 1 &# Gr r

11
" n V J JJF 1 1
end f
&#11., ft u· r n V w; J 1 11
f
8 AB 3575
 Grade 1
To answer questions about two features of a piece Listen to this piece, then 1'1/ ask you about loud or
played by the examiner. Befo re playing, the examiner quiet playing and about smooth or detached notes.
will tell the candidate which two features the questions
[Alter playing, ask one question ata time:
will be about. The first will be dynamics (loud/quiet, or
dynamics (either 'loud/quiet' or 'changes'), and
sudden/gradual changes); the second will be articulation
then articulation.] ...
(smooth/ detached).
Thankyou.

: e gro
.~ r---
J C F Bach

.. --r· • • -.r---- - ¡¡• - -.¡/

1
f .;., '
p .::- - .f
-,¡

" ~ .r-
.. ":' • """"'=
..,.
• ~
p
'
;¡

Dynamics (loud/quiet): The music began loudly; did it stay /oud al/ the way through?
(changes): Did the changes from loud to quiet p/aying happen suddenly or gradual/y?
Articulation: Were the quieter phrases p/ayed with smooth or detached notes?

Allegretto
• ¡¡ :r: :(!: :(!: .;. .¡. . .. .;. .;. :(!:. ~ 10:~ !'-~
..----------
Hayd n

.. f
2
.¡,..¡,..¡,. . .¡,. >
p f
""
1

Dynamics (loud/quiet): Where was the quietest part of the music?

(changes): Was the change from quiet to /oud playing sudden or gradual?
Articulation: At the beginning, were the notes smooth or detached?

AB 3575 9
 continued
Listen to this piece, then 1'/1 ask you about loud or
quiet playing and about smooth or detached notes.
[Alter playing, ask one question ata time:
dynamics (either 'loud/quiet' or 'changes'), and
then articulation.J ...
Thankyou.

Alan Richardson
~All
' egretto -
•
'<i!DJ r ._______ ~~ ~ -A- ... ¡¡- j 11 '1
---- • ¡
• 1 11
mf dolce cantabile
1 1 1 ¡~¡

nff
1 1 1 1 1 1
3 p p
¡: !6-&: ~~: ~:: 111!-: r;;q. ~ ¡:- 1,-&: ~~: ~:: ~~: ¡q#, !!~~

' '
© Oxford University Press 1955

Dynamics (loud/quiet): The music began quite loudly; did it stay the same a/1 the way through?
(changes): Were the changes in loud and quiet p/aying sudden or gradual?
Articulation: Were the notes smooth or detached?

~ Allegretto Glinka
>
. >

..
4 f
.;, .;,

-
:
- - - l..---1 1
- -
.¡.. ~~ ~ ,;;-
--- >

• p f
~~ ~ r~ ~ ~~ ~ /~ >
:

- 1

Dynamics (loud/quiet): Where was the quietest part ofthe music?

(changes): Was the change from quiet in the middle to loud at the end made suddenly or gradua/ly?
Articulation: At the beginning, were the notes smooth or detached? ·

10 AB 3575
 CiD Animato Le Couppey

~· > > ~ ~ > > ~· .....

S p
f
:
> > > > -

---------
t _:!"'

~
==-- pp

Dynamics (loud/quiet): Where was the /oudest part of the music? And the quietest?
(changes): Did the change from /oud to quiet playing happen suddenly or gradual/y?
Articulation: At the start, were the notes p/ayed smoothly or were they detached?

Allegretto
,~1\ ¡~, neg
1 1 1

....... 1 1 1'------ r ~~r

6 p f
1' / ~ 1?-~ -~
:
@ 1

1 ~

\
~~r l,_J "--f 1
c__f ·::,;
..----....._ p

- .... 1 .,¡

Dynamics (loud/quiet): Where was the loudest part of the music?

(changes): Did the change from loud to quiet playing happen suddenly or gradual/y?
Articulation: At the beginning, were the notes smooth or detached?

AB3575 11
 continued

Listen to this piece, then 1'11 ask you about loud or

quiet playing and about smooth or detached notes.
[After playing, ask one question ata time:
dynamics (either 'loud/quiet' or 'changes'), and
then articulation.] ...
Thankyou.

J. N. Hummel
•
'
Allegretto
.;, r.,. .. f!:. .;.. .;, .;, .;.. ¡.. f!:.~f!:. .... ~ -
7
• p
- f

• ~ ~ ~ ~ ~ ~ ~ ~ 1i 1i 1i 1i ~ ~ ~

.. ,:---:,. . f!:. .;.. .. .. .;.. ¡.. f!:.

• ~ ~ ~ ~ ... ... "! "! 1i 1i ii ii ~ ~ ~

Dynamics (loud/quiet): Which was quieter- the beginning or the end?

(changes): Was the change from quiet to /oud p/aying made suddenly or gradual/y?
Articulation: Was the p/aying mainly smooth or detached?

@im Andantino
Schubert
'

8
~
p
':'

.;,
~ ~ ~ ~ i~ ':' 1~ ~ ~ ':'

.;.. ...
1 j
'

- r--'1 1 r--'1

........ ........
t!'

a..- . .,.
p legato
,... b.,. .. a.,.#..-. f!:. f!:.~ .... .,. ~ !: llll .,.,.,. f• •

Dynamics (loud/quiet): Which was louder- the beginning or the end?

(changes): When the music became loud towards the end, was this a sudden ora gradual change?
Articulation: When the music was quiet at the beginning, were the notes smooth or detached?

12 AB 3575
 continued

Allegretto
Gossec
• ¡j .¡,..¡...¡,. .;, .¡,. .;, -'~f: .;, .¡,. .;, . ¡jr .¡,.

9
• p
¡¡

• ~
:ti! <1f ~ ~ <1f ~ <1f ~~
:ti! #.

¡¡ {L~ ...~ ~ ~ .;, .¡.. ~ ~ ~f:

..
f pp
¡j

.. b:;t il! <r! :;t il! :;t il! :ti! ~

:ti! <1f ~ ~

Dynamics (loud/quiet): Where was the Joudest part of the music?

(changes): Towards the end, did the music become quiet suddenly or gradual/y?
Articulation: At the beginning, were the notes smooth or detached?

, Con brio Verdi

1 .¡,. 1 .;, 1 1 1~1 r.,. 1~'• r

10
1 1 1 1 ~ ~ "!" ~ r 1
mp
1 1

ff
1'-
:
~ ;¡J. •
<1f <r/1
*

1 1

• .____..., 1*._./ • ií ....

,...--._
:
~_/ .,.
Dynamics (loud/quiet): The music began loudly; did it stay the same al/ the way through?
(changes): Did the music become quieter suddenly or gradual/y?
Articulation: At the start, were the notes smooth or detached?

AB3575 13
 Grade 2
To. clap the pulse of a pie ce played by the examiner, First, clap in time while 1play. Join in as soon as you
and to identify whether it is in two time or three can and give a louder clap on the strong beats.
time. The examiner will start playing the passage,
[Play the entire piece.]
and the candidate should jo in in as soon as possible,
clapping in time and giving a louder clap on the /s it in two time or three time? ... Thank you.
strong beats. The examiner will then as k whether the
music is in two time or three time. The candidate
is not required to state the time signature.

Lively Dandrieu
"' ¡f

1 1 1

----
@
mf
:
-

"' ¡f

1
eresc.
.¡,.. 1 P.· ~ .¡,.. ¡, ~

.. . ~ .. ~-
Mozart

.. ...-
1

...- $
2
..
f ;: ;: ;:
• •.;.. ¡,.
"'
i-
~
i-

. .
1

.. ,_.----_

l .. 1

:
~ .... ~ ... 1 1

' Allegro moderato

> -- .... - Kuhlau

3
@

f
- >

#t
- t:i
- ..;...;...;..
r
~
p
p.· P.· i
'
~
. .¡ti.

Allegretto
" :.;:;:.::--
___.... "' Czerny

4 p

14 AB3575
 continued

Andante Bononc1n1
' ' /' ~ ,;;;;;: ~
---
S mf
1
r f ~~
:
?- I~J
• . 1 1

1~

i •
------ - ~1 r'J.
J J J 1-e ?-~

~
"----- 1 _r

' . Moderato
~~)) l~t\ ~~)) 1---------- t\ .l~t\ ~~~
Coleridge-Taylor

6
• 1~1

mf
1~ 1~1
1~ 1~1

p
1~
.,.. :.,.. 179- .,.. 179- ~
:

~ =:::::: 1 1 1
------ t\

• ~ r 1
mf
.,.. l.,..j .J J. 11 J J ~
:
r
'

'\, ~ Allegro rnoderato

~ ~~
Mayer

7 p
' - r
mp
~ f!:. f!:. f!:. .. f!:. "f. ?-~ ~fl- ¡ .,...

---- ' 1 ~
1 •

~ .. ~ f:. f:. _.._ ~ ~ 1:_ f:. f:. b.._ h. . :$: :$:

AB 3575 15
 continued
First, clap in time while 1play. Join in as soon as you
can and give a louder clap on the strong beats.
[Play the entire piece.]
ls it in two time or three time? ... Thank you.

~ Moderato J. G. H. Bach (7)

"""
• ..mp .. ., -._.._
~·
8
?' .
1 1 .. -.f l.

mf -
:
u•
:;;;j:

' . Allegr"_-
.. .;.
Hummel

1.
mp
9

:
~ • $ e ¡.. t:= i:
• $ le ¡.. 1 i:
._L

f: .¡tL f: .¡,. .¡,. .~ ~ ~ ~ .N

• f mp
J..ijJ IJ
:

. i r r r f ~ r i
Allegro non troppo Dunhill

10
• mp
~·
~
: •
1

• ~ . ...___ .!'! ~..:____.!!

mf
.. •
1 .,¡
© 1931 by The Associated Board of The RAM. 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 as echoes.
examiner. The phrases will be two bars long, in a Here is the key-chord [play] and your starting
major key, and within the range of tonic-dominant. note [play].
First the examiner will play the key-chord and the
[Count in two bars.] ... Thank you.
starting note (the tonic) and then count in two bars.
Alter the examiner has played ea eh phrase, the
candidate should sing back the echo without a pause,
keeping in time.

o
echo 2 echo 3
IJ]J:J
v ..
¡J ,, - 1- 1[j JJ1 4 1 - 1 - 11

@iJ echol echo 2 echo 3

2
1m 1JJJ a aJ '
-
w
:____/
1
- .
1 - 1 - 10 ® t 1- 1 - 1 JJDJJ IJJ t 1 - - 11

14) V 1¿¿¡~,, 1 -
echo 2

1- 1 atJ u )1, 1
echo 3

- 1 - 11

n4n -
echo 3

1 13 3 ' 1 - 1 - 11
'-...../ .

1wa echo 2

1w ;~, 1 - 1 - 1 m #1n.l' 1 -
echo 3

1 - 11

AB 3575 17
 continued

Next /'d like you to sing three phrases as echoes.

Here is the key-chord [play] and your starting
note [play].
[Count in two bars.] ... Thank you.

lr@IJtl·l - 1
echo 2

mQLJ J echo 3

f 1- 1- 1

• l echo 1 echo 2 echo 3

7 ~n~~(i)ijJJ}HO;)'ll-
.
:_..;
1- IJJWJ IJ ~
t 1- 1- IJ)JJ IJ- .Jl'~l- 1 ·11

8
• l
~~'Hill m&!1 ª echo 1

t 1 - 1 - 1o eu echo 2

L 1- 1- 1 w® echo 3

w* 1 - 1- fl

echo 2 echo 3

- 14@J) f 1 - 1 - 1

echo 2 echo 3

- 18 JJ1J Jl'l 1 - 1 - 1

18 AB 3575
 Grade 2
To identify a change in either pitch or rhythm Now 1'11 play a phrase twice, but with a change in
during a phrase played by the examiner. The phrase either pitch or rhythm the second time. Te// me what
will be two bars long, in a major key. First the examiner the difference was. Here is the key-chord [play] and
will play the key-chord and the tonic and then count the tonic [play]. [Count in two bars and play the
in two bars. The examiner will play the phrase twice, phrase for the first time.] And now with the change.
making the change in the second playing, after which [Play the altered phrase without counting in.]
the candidate should identify the change by describing How was it different? ... Thank you.
it, or singing/clapping. lf necessary, the examiner will
play both versions of the phrase again (although this
will affect the assessment).

pitch

@~" 1 r r r
~

rr1w 1
f

r r rE. ::,. r.- - - . .r

rhythm

@~b & 1 11

~ Allegro giojoso Finzi pitch

2
~~ mt! J'· r r 1w w w 1 @~1 J. p F F IJ J j
mp
1
©Copyright 1950 by Boosey & Co.
Reproduced by permission of Boosey & Hawkes
Muslc Publishers Ltd rhythm

@~1 J • F F IJ J j
1
11
mp

~ Moderato Le Couppey

3 ~~H~(i)cdyf:llf14@ 1
\, p

AB 3575 19
 continued
Now 1'11 play a phrase twice, but with a change in
either pitch or rhythm the second time. Te// me what
the difference was. Here is the key-chord [play] and
the tonic [play]. [Count in two bars and play the
phrase for the first time.] And now with the change.
[Play the al te red phrase without counting in.]
How was it different? ... Thank you.

~ Allegro Donizetti pitch

~~r f~, ~ ~ ¿q¡ f1 r a lr~f
4
iH! mf D E f'F ' 1 11
"1!
rhythm

~~
~PF ~ ~
tiN¡?
mf

pitch

¿~" 1 t1il u r ~ j/ 1 t 11

rhythm

¿~" 1 w¿;¡
mp
r Ef r=== ~
1 11

oC-K \(s-
~- ', . Moderato Sullivan pitch

~~m~ r w r IJ J J ,~1 J r IJ J J
~
6 11 11
mf
-,, rhythm

,~t J. p IJ J J
~
11

20 AB 3575
To answer questions about two features of a piece Listen to this piece, then 1'1/ askyou about ...
played by the examiner. Befare playing, the examiner [choose one of the followíng: loud or quiet playing,
will tell the candidate which two features the questions smooth or detached notes] and about tempo change.
will be about. The first will be one of the following:
[After playíng, as k one question ata time.]* .•.
dynamics (loud/quíet, or suddenjgradual changes),
artículatíon (smooth/detached); the second wíll be Thankyou.
lempo (becoming slower/faster, or stayíng the same).

Allegro Purcell

- - - - - - - - - - - - - - - - - - - - . : : : " = e n : : : z a rit.
~ .... . tr~

p legato l f
J cresc. poco a poco
~1 1

1~
~
e~
1 1 1
1
1

Dynamics (loud/quiet): Where was the quietest part of the music?

(changes): Did the change from quiet to loud p/aying happen suddenly or gradual/y?
Articulation: At the beginning, were the notes smooth or detached?
Tempo: Was there any change in the speed of the music, or did it always stay the same?

Un poco lento Heller

¡¡ ¡;¡ ¡;¡ ¡;¡ ¡;¡ ¡;¡ ¡;¡ ~

p
¡¡

~ - ~ if - i!~ - ~¡¡~
rit.
"'

l ~

~
"'
f

'i
1
p ttr
:

Dynamícs (loud/quiet): Where was the loudest part of the music?

(changes): Did the change to quiet playing at the end happen suddenly or gradual/y?
Artículation: Was the playing mainly smooth or detached?
Tempo: Did the speed of the music change at al/, or did it stay the same throughout?

* !f '!oud or quiet playing' is se!ected, as k either the question marked '!oud/quiet' or the question marked 'changes', but not both.

AB 3575 21
 continued

Listen to this piece, then 1'11 ask you about ...

[choose one of the following: /oud or quiet p/aying,
smooth or detached notes] and about tempo change.
[After playing, ask one question ata time.]* ...
Thankyou.

Allegro ma non troppo

~ Schumann
IQ(iii1

.
accel al fine
.
·." . .;, ~

• - - mf pp
1-*
*
Dynamics (loud/quiet): Where was the /oudest part of the music?
(changes): Did the change from quiet to loud p/aying near the beginning happen suddenly or gradual/y?
Articulation: Was the beginning p/ayed with smooth or detached notes?
Tempo: Was there any change in the speed of the music, or did it stay the same throughout?

Fauré
~
ltJI:Tj
•
Andante
~
- ""' /""". ""'
1"" [
/""".
J~J Jj _A ~ ;;;;:::::--...,

.
• r •
-~r r r~ /r 1 ~~ 1
r 1
4 f
mp
1
poco a poco cresc.
. J:---J\[) .,.. b..

1 1
1

rit.
~1 rJ J
""'
•
!;:." ~ . ~ :¡¡¡~1
r J ;
jp
J
:
' :;¡ '
í
Dynamics (loud/quiet): Where was the loudest part ofthe music? And the quietest?
(changes): Did the changes in /oud and quiet p/aying happen suddenly or gradual/y?
Articulation: Did the music ha ve mainly smooth or detached notes?
Tempo: Was there any change in the speed of the music, or did it a/ways stay the same?

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

22 AB3575
 continued

Vivo~
He 11 er
• ¡¡ ¡¡ . ¡----.._

• "ff
" ¡,..-- ·~

" ~ ~ ~ ~ ~ ... lt: ~

rit.
¡¡ !l. ¡-------..._
------
~
~

p " .......- ~----- J:' . ~

pp
~ ~ 1~ ~ ~ ... -(!:. ~

'

Dynamics (loud/quiet): Where was the quietest part of the music?

(changes): Did the changes in loud and quiet playing happen suddenly or gradual/y?
Articulation: Was the playing mainly smooth or detached?
Tempo: Was there any change in the speed of the music, or did it always stay the same?

-
~ Tempo di marcia Jeremiah Clarke
'<2m3 ¡¡ '?" '?" > '?" > ;. .,.. ;.

.. > "!
6 f
-
1 1 1 1 1 1 "!

•
¡¡
-- ..
.:-. .. .,.. •
---
p tf
: - -
1 1
' 1
-
Dynamics (loud/quiet): Where was the /oudest part of the music?
(changes): Was the change from quiet to /oud p/aying near the end sudden or gradual?
Articulation: At the beginning, was the melody played with smooth or detached notes?
Tempo: Did the speed of the music change anywhere, or did it a/ways stay the same?

AS 3575 23
 continued

Listen to this piece, then /'// ask you about ...

[choose one of !he following: loud or quiet playing,
smooth or detached notes] and about tempo change.
[Alter playing, ask one question ata time.]* ...
Thankyou.

Schumann
Allegretto

~·~ ~ =~~
~ ~ ~
@ 1
~ ere se.
p f
:
<9-
r r r
rit.
1

@
~ ~-~ . ----
:;;:
::::..--- p
dim.
1 .,. ' .,... " 1

r r
Dynamics (loud/quiet): Where was the loudest part of the music?
(changes): Did the changes in /oud and quiet p/aying happen suddenly or gradual/y?
Articulation: Were the notes p/ayed mainly smoothly, or were they detached?
Tempo: Was there any change in the speed of the mLisie, or did it always stay the same?

~ Jl
Andante '"' 1
Handel

f
1 ~ 1-------- w ~uJ
p
__.-"

8
~ .J 1 ~ J 1 t ¡JJ t ~ ..J.
• ~ 1 1

1
1

rit
ll .~ - 1 "i 1 "i tJ; ~'
e '--'

• 1
-
J
1.-=i
!.
1

J 1
1 1

:
1 1 1

Dynamics (loud/quiet): Where was the loudest part of the music?

(changes): Did the change from /oud to quiet playing happen suddenly or gradual/y?
Articulation: Was the p/aying mainly smooth or detached?
Tempo: Did the speed of the music change at al/, or did it stay the same throughout?

* !f '!oud or quiet playing' is selected, ask either the question(s) marked 'loud/quiet' or the question marked 'changes', but not both.

24 AB 3575
 continued

Moderato (Tempo di Polka)

1 )¡~ . ~ ¡,. -k~. .. k
Tchaikovsky
~

-
1
p
....
'*!' ~'*!'
......,
,. '!'
- "!'
mp
1

.. - :::;
~
~ :;¡

~
1 )¡~ ,¡, ;ir~. ,¡,

-
.).;
----- ro-- ~

"!'

1
p

-
'!' '*!' ~'*!'
- ,.. '!'
~
:
f

1......-J ~...____;

"'
Dynamics (loud/quiet): Where was the loudest part of the music?
(changes): Were the changes in loud and quiet p/aying sudden or gradual?
Articulation: Were the notes mainly smooth or detached?
Tempo: Was there any change in the speed of the music, or did it always stay the same?

. "
Andante
r-"::1

p ' - - f-.Y
-- /

:
" ,.._
1 zt
L's

- IV 7;_.~ ~'---"~~lf·~.... ~q"~ ~

~

p
n¡f
10

. IT ['j
:::---..
I"'j ['1 A 'ri
~

¡·______.. h 1 l.J i"j ft

~ ~ ~ ~ ~ ~
1~1
~ ~ ~
1 1 1 1 1

rall.

Dynamics (loud/quiet): Where was the loudest part of the music? And the quietest?
(changes): Were the changes in loud and quiet playing sudden or gradual?
Articulation: Were the notes mostly smooth or detached?
Tempo: Was there any change in the speed of the music, ardid it always stay the same?

AB 3575 25
 Grade 3
To clap the pulse of a piece played by the examiner, First, c/ap in time while 1play. Join in as soon as you
and to identify whether it is in two time, three time can and give a louder clap on the strong beats.
or four time. The examiner will start playing the [Play the entire piece.]
passage, and the candidate should join in as soon as
possible, clapping in time and giving a louder clap on Is it in two time, three time or four time? ...
the strong beats. The examiner will then as k whether Thankyou.
the music is in two time, three time or four time. The
can di date is not required to state the time signature.

Andantino Grec hanmov

.
. Af ~
- /-.' ~

¡¡
if
m espresstvo . - 1

\ •
~
,-.--,- c-.,
1
-
¡¡o ..,¡.
o, 1

-------- 1 !!'JI- V 1

r02:....
\QI:I
Tempo giusto
;., >~
.,., ~ ~ !!!:\ A ~ ¡, ¡¡ ~ .. ~
Gl uc k

2
.. mf
.. p
.. mf
... -.J
¡~ ¡!!:,,.;, ~ ¡~:¡!!: .. t ,,. !:. ~ ,;.,
F-.. ~ ,;.,
F-•. ~ ~ ... ,."" t

@11 Allegretto Somervell

'

• p
~ ...__, ~ ~ ...__,~ "!'"
~
"!'" ...__,~
~ ¡¡~
~
~
~
3
¡; ~~ [];;,.. lb#' ~.,. k;.,, h.á. *• :::--

1
Reproduced from 'Holiday Pictures' published by Stainer & Bell Ltd
23 Gruneisen Road, london N31DZ, ~ng!and www.stainer.co.uk

j_
Lively
1 f., > . .. 1 .---- ~ .. > . . ;;~
Coleridge-Taylor

• > 1 1 > 1 ,... 1 r 1

4 tf mf f 1

:
:i: #: ~ ~ ! e ~ ~ i: ·q~ ~ !: ~ ~ ~- ~·
e' e
¡_ ~ 1 1 1 --¡----.- ~
>----------

~~
"
1 1 11

:
f!:. e f!:. .. ~· ,.. :1: ~ :S: ,.. ,. ,.

26 AB 3575
 continued

"
Quick
> ,......,....., ,............, >
- l"""l"""' l"""l"""'

~
Traditional

S
f-------------
.;. ... ,.-;--...
--...,¡

.....
mp
.~
- r """"'"-~

' 1 1 1 l

;¡ - .. .. ~
...__ ...__

• ~

...
j~
------
- ...- ~

-"~
- .,... ~-
=------------;,.
.;.
- - ....
r

-·
1 l 1
'

1
Moderato
- ltalian song

~ '!' r --._
>----- r . . ..,.
'-------
6 11ff
J J J J • J uJ J J J J
.1!
-----=
1 ~~
-- "
~ '----'
r 1 ! 1

:
J J ~ _1 i J J t J • J

Frisch und munter [Brisk and lively) R. Fuchs

¡¡
>
~· ~
.,...
>

7
• mf
1

" 1
' 1
•
• ~ "'! > :;;
... :J.' "'! "'! >
<!
•

AB 3575 27
 continued

First, clap in time while 1play. Join in as soon as you

can and give a louder clap on the strong beats.
[Play the entire piece.]
ls it in two time, three time or four time? ...
Thankyou.

0i. Allegre tto Mozart

. :1íi-
--- ----
~
mp
r
===--
8

:
~ ~ !,-. 1"- .. 1--------- .. ¡,..

..

Animato Karganov
¡¡_

.. > "'!" > "'!" -"!" '!'

:
f . . . > >

>

Bryan Kelly
~
--- - 3 3

..
10
:
f """"
cantabüe
.. * ..
~
1 ••• •••
""""
....
~
.... -
_.... _ p ~ _... _
-· -
~

"'
.. mf ....... - 1 mp ....... -1
p
1
===-- pp
~ ;;¡ ,.. .,... ..
~· *----.. ~ ;;; ;;; .,._ * ~ ;... "'~
1
;;¡ ,..
-
mf p Ped. _ _ _~
© 1984 by The Associated Board of the Royal Schools of Music

28 AB3575
To sing as 'echoes' three phrases played by the Next l'd like you to sing three phrases as echoes.
examiner. The phrases will be two bars long, in a Here is the key-chord [play] and your starting
majar or minar key, and within the range of an octave. note [play].
First the examiner will play the key-chord and the
[Count in two bars.] ... Thank you.
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.

echo 2 echo 3

1 t@]W 1 Jp 1 • 1 - IJ"'-":J)p J- t
.~q~
1 1 - 1 - 11

echo 3

- 1 Jj J:l JJ J. g 1 -
1 1 - 11

1 r1 d94 IJ. J
1
echo 2
71- 1- 1 un ;p1 ª. 4
echo 3

'1 1 - 1 - 11

echo2 echo 3
- .. 1 w 49 r; 1r- *1 - 1 - 11

echo 2 echo3

lfflfiiAtl· - 1 JWJJjj 1 j-
'-'
t 1 - - 11

AB 3575 29
 continued
Next l'd like you to sing three phrases as echoes.
Here is the key-chord [play] and your starting
note [play].
[Count in two bars.] ... Thank you.

• l echo 1 . echo 2 echo 3

9
n ª
~ &'¡,&&m 1 w 4r 1 ot 1 - 1- 1 nr4o1w 4t 1 - 1 - 1JJW a 41J 0t 1 - 1 - 1r·
o\.~ \<r
"~ echo 1 echo 2 echo 3
10
~&(i)JIJ.@ 1tN '11 - 1- 1 J 42} 1J. t· 1- 1- 1 J a¿p IJd/?J '11 - 1 ·11

30 AB 3575
 Grade 3
To identify a change in either pitch or rhythm during Now 1'11 play a phrase twice, but with a change in
a phrase played by the examiner. The phrase will either pitch or rhythm the second time. Te/1 me what
be up to four bars long, in a majar or minar key. First the difference was. Here is the key-chord [play] and
the examiner will play the key-chord and the tonic the tonic [play]. [Count in two bars and play the
and then count in two bars. The examiner will play phrase for the first time.] And now with the change.
the phrase twice, making the change in the second [Play the altered phrase without counting in.]
playing, after which the candidate should identify the How was it different? ... Thank you.
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).

~
\QW Moderato Arcadelt pitch

, lffil 2 J J 1r· pr 1w J IJ
mf
11 tf2 ;. J r· pr
1 1w j 1 J 1

Qfim Andante Schumann pitch

2 Jn#(i)! J J
p
1 JlJ 1 J J J1 t 11 'ti¡¡#¡ J
p
j 1 J% J #J J td
1 1

rhythm

¿ti11# i J. Ji J =tzr 1J J 1J H
p

QliU Menuet (ampra pitch

'·3 ~~H(¡JI r r1 u
mp
1 r J r w 11 ~ti11¡¿F e'! E r Ir J r liT"
mp
11

rhythm

¿tiu¡ r u er r J r 1 1 r 11

AB 3575 31
 continued
Now 1'11 play a phrase twice, but with a change in
either pitch or rhythm the second time. Tell me what
the difference was. Here is the key-chord [play] and
the tonic [play]. [Count in two bars and play the
phrase for the first time.] And now with the change.
[Play the altered phrase without counting in.]
How was it different? ... Thank you.

pitch

,2['"
pp
11

rhythm

'~ r pp
11

\~ Andantino ~ Burgmüller pitch

:11
s T¡tw-g crr ra rD
mf ==--
r 1
P
11 ~~~u r±r
mf
~ ,.~
f:Q
~
1F~
p
r 1

pitch

frrpj f F rp TtU pTI

mf
11

,# af F rp
rhythm

11 11 1 [jJ] rs;\ 11

mf

32 AB 3575
 Grade 3Jm
To answer questions about two features of a piece Listen to this piece, then 1'11 ask you about ...
played by the examiner. Befo re playíng, the examíner [choose one of the followíng: /oud or quiet playing,
wíll tell the candídate whích two features the questíons smooth or detached notes, tempo change] and about
wíll be about. The fírst wíll be one of the followíng: major or minor key.
dynamícs (loud/quíet, or sudden/gradual changes),
[After playíng, ask one questíon ata tí me.]* ...
artículatíon (smooth/detached), lempo (becomíng
slower/faster, or stayíng the same); the second wíll be Thankyou.
tonalíty (major/mínor key).

c¡¡m' Allegretto
. ;. . .;.. ,.._.;..f:_ . ;.;.. ;. . ¡.. .. ,...,...,...~~~ ...
~·
~
Hünten

'¡
¡¡

...
p. ;.

poco rit.
¡.. . ;. ¡.. .;..;.. ... .;.. .?- !: ~. .,t.. . ;. ¡..
"'
f

"'___../
-
"'___../ -__../ -__../

¡¡ ~ f'-.-..
atempo
;. . .;.. ,t...(o.ft ·.;.,t.. . . .. .;..

l ..
¡¡

r· . :
P;..(o.. ,..;.. ,..;.. ... .;.. .?- ~!!:
f-. ?- .. .;..

Dynamícs (loud/quíet): Of the three sections in the music, which one was the loudest?
(changes): Did the change from quiet to loud playing happen suddenly or gradual/y?
Artículatíon: Was the upper part played with mainly smooth or detached notes?
Tempo: Was there any change in the speed of the music, or did it a/ways stay the same?
Tonalíty: Did the piece endina major key orina minor key?

~ Andante
Guilmant
¡¡
'
~
1 1 ll"'ff"" -.1
2 mf
. • ... ..... ,. ==- .. . ~ ~ ¡¡~~ .¡.·· ..

¡¡ /" ......._ Ir

.. >~
-- -- 1
..:J.. J- 1!!-~

:
p
.. .. ~ ~ ,. ==- .. ==-
PJYR

1
' 1

Dynamícs (loud/quíet): Where was the quietest point in the music? "'
(changes): Were the changes in loud and quiet playing sudden or gradual?
Artículatíon: Was the piece played in a smooth or detached style?
Tempo: Did the speed of the music change at al/, or did it a/ways stay the same?
Tonalíty: Was the piece in a major key orina minor key?

• lf 'loud or quiet p!ayíng' ís selected, ask either the question marked 'loud/quíet' or the question marked 'changes', but not both.

AB 3575 33
 continued
Listen to this piece, then 1'11 ask you about ...
[choose one of the following: /oud or quiet p/aying,
smooth or detached notes, lempo change] and about
majar or minar key.
[Alter playing, ask one question ata time.]* ...
Thankyou.

..
1
Tempo di marcia

'!'
1 1 1

(
- 1

'!' 'lll'· 'lit 'llf

1

1 .
1

1,
1
Student song

'-----
3 .f .;. ... p

1 1
:¡¡ iii
senza rit.
1 1 1 1 1

.. ~ _.., '!' 1 'lll'· 'lll''ll!

----: /" 0
.f
. ,;, ;.. .. ~ ;.

1
:¡¡. :¡¡ :¡¡
Dynamics (loud/quiet): Where was the quietest part of the music?
(changes): Were the changes in loud and quiet playing sudden or gradual?
Articulation: Was the quiet phrase played with smooth or detached notes?
Tempo: Did the speed of the music change, or did it always stay the same?
Tonality: Was the piece in a majar key orina minar key?

~ Munter [Lively]
- Volkmann

4 mf
~
'-J
,. ,. ... ~. ~
m.f i!:
. .a.
-
.~: .;. .¡...
---==
,...¡... . .S.

rall. atempo
~ t:'\

•
.
- ..,;,. ¡. $.
.f
....
- ==-
'
t:'\
mf~
·~ ,. ,.
*
~· .J J
• - '
Dynamics (loud/quiet): Did the music begin loudly or quietly?
(changes): Was the loudest point in the music reached suddenly or gradual/y?
Articulation: Was the ending smooth or detached?
Tempo: Did the speed of the music change at al/, or did it always stay the same?
Tonality: Did the piece endina majar key orina minar key?

* !f '!oud or quiet playing' is selected, ask either the question marked 'loud/quiet' or the question marked 'changes', but not both.

34 AB 3575
 continued

(im: Moderato
~ ~ ... -----
Chopin

S p - '

111-
'"
1"-
1

1"-
n(
.,.. $ j:
- ~ e

~ ¡¡
#
F.l tr~ F.l 1± .. .. ~ "~-
rit .

-
~

•
f
.......
-f~ -
~ e :e~. !:e~ & #! ¡¡q¡ meno
!"- • J ce!
' 1
1

Dynamics (loud/quiet): Where was the loudest part of the music?

(changes): Was the loudestpoint reached by a sudden or gradual change?
Articulation: Was the melody played with mainly smooth or detached notes?
Tempo: Was there anychange in the speed ofthe music, ardid it always staythe same?
Tonality: Did the music endina majar key orina minar key?

'//
Allegro Purcell
•
1 ¡ J ""

6
• .,.
f
-,......, 1
1

:¡; "1 ~ "1 p

:0
r
poco rit.
J.J..J.Ji ~ 1'1 - .1\tr 1

~ < .........,¡
p
1 # ~ 1

"1 ~ t ~ ¡· t 1
r
Dynamics (loud/quiet): The music began loudly; did it stay loud throughout?
(changes): Was the change from loud to quiet playing sudden or gradual?
Articulation: Were the notes smooth or detached?
Tempo: Was there any change in the speed of the music, or did it always stay the same?
Tonality: Was the music in a majar key orina minar key?

AB 3575 35
 continued
Listen ta this piece, then 1'11 ask yau abaut ...
[choose one of the following: loud or quiet p/aying,
smooth or detached notes, lempo change] and abaut
majar ar minar key.
[After playing, ask one question ata time.]* ...
Thankyau.
Schumann
,¡ /
Lent~
• ,__ ~
1 r--
----- -

• nif
1 S "' ~~ _..,
tJ T" ... 1- ·~ 1
'--"

~)) "J~ j~
7
j.--
:
1
-~ ---
1
- r--
rit.

-- -
• J
~]1 ,J
.. _J.---... U_ vr " 1'* 1- -~

1 ...
Dynamics (loud/quiet): Which was /auder- the first ha/f af the piece ar the secand half?
(changes): Was the change ta very quiet p/aying made suddenly ar gradual/y?
Articulation: Was the playing smaath ar detached?
Tempo: Was there any change in the speed af the music, ardid it a/ways stay the same?
Tonality: Was the piece in a majar key ar in a minar key?

Grieg
'' Allegro
;;;;;--- .. ±!... _¡,¡. ,!. ,!. • ,!. ,!.
¡¡
----
......
-----

8
• 1 1 1 1 1 f p nif
¡¡
p fo

·~ 1~1
1 1 1 ~
"'------71
rall.
¡¡ ;;;;;;;:- .!!... ,... ~ ~
-
• 1 1 1
p
1 1
f
- x•t~• 1
~
ppp
¡¡
-- :
$ 1~

·~ 1.:___----1 ~

Dynamics (loud/quiet): Where was the quietest point in the music?

(changes): Was the first change from quiet to /aud p/aying sudden or gradual?
Articulation: Were the quiet chords p/ayed with smooth or detached notes?
Tempo: Was there any change in the speed of the music, or did it a/ways stay the same?
Tonality: Did the piece endina majar key orina minar key?

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

36 AB 3575
 continued

Kabalevsky
~ Moderato

--- ~

m
!""--.
----

9
•
:
r cantabile
llfr q'!"

-
¡¡~

-
"
-
rl r
"1 J.
' 1 '

!lferesc. ~~ .... ¡¡~ -

[J 1~ !!!

f
:
'1 J. "1 J Jr JJ J. J J - ;¡¡ ?-~

' 1
-
----
.
-
rit atempo
1 ""' ,__.- ro--.
----
"
:
mp
- r~r
\:1

""'
r
p
1
!l!f
1
¡q~ ;t i

~
' 1 V 1 V ' 1 "d

©Copyright 1952 by Boosey & Hawkes Music Publishers Ud

for the United Kingdom and the Republic of !reland
Reproduced by permission of Boosey & Hawkes Music Publishers Ltd

Dynamics (loud/quiet): Where was the /oudest point in the music?

(changes): Did the change from quiet to loud playing happen suddenly or gradual/y?
Articulation: Was the beginning p/ayed smoothly or was it detached?
Tempo: Was there any change in the speed of the music, or did it always stay the same?
Tonality: Did the piece endina major key orina minor key?
'>,

AB 3575 37
 continued
Listen to this piece, then 1'11 ask you about ...
[choose one of the following: /oud or quiet playing,
smooth or detached notes, tempo change] and about
major or minor key.
[Alter playing, ask one question ata time.]* ...
Thankyou.

Allegro Handel
• _...., 1 1

~ ................ 1 ....

~ ~ l,......JI 1

10 mf stacc. sempre
~ .,.. .... .,. ... ¡.,..

1 1 .J nn.J ,J
- .J J 1- J-
.. 1 1 1 1 1'
r p
,.. ,.. ,.. "" "" ,J .J J
: "'"
...... -
senza rit.

J J IJ 1 J
1 1
.
Dynamics (loud/quiet): Where was the quietest point in the piece?
"~ (changes): Was the change from quiet in the middle to Joud at the end made suddenly or gradual/y?
Articulation: Were the notes smooth or detached?
Tempo: Was there any change in the speed of the music, or did it a/ways stay the same?
Tonality: Was the piece in a major key orina minor key?

·• lf 'loud or quíet playíng' ís selected, ask either the question marked 'loud/quiet' or the questíon marked 'changes', but not both.

38 AB 3575
 Answers

Model answers for Tests 1D, 2C, 20, 3C and 3D are printed GRADE1
here as a guide to the sort of responses that would be
Test 1D
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 (loud/quiet): 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. In Tests 2C and 3C there may be several different
ways of correctly describing a change in rhythm (for Test 2. Haydn
2C ex. 1, for example, 'The last note was longer' would al so Dynamics (loud/quiet): In the middle
be correct); and instead of giving a spoken response, 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 individual tests but reflect the Dynamics (loud/quiet): No
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,
4. Glinka
any clear description is acceptable, and in the answers below
Dynamics (loud/quiet): In the middle
only English terms have been used. The assessment criteria
(changes): Gradually
are given on page 3.
Articulation: Detached

5. Le Couppey
Dynamics (loud/quiet): At the start; at the end
(changes): Suddenly
Articulation: Detached

6. Grieg
Dynamics (loud/quiet): In the middle
(changes): Gradually
Articulation: Smooth

7. Hummel
Dynamics (loud/quiet): The beginning
(changes): Suddenly
Articulation: Detached

8. Schubert
Dynamics (loud/quiet): The end
(changes): Gradual
\
Articulation: Detached

9. Gossec
Dynamics (loud/quiet): In the middle
(changes): Gradually
Articulation: Detached

10. Verdi
Dynamics (loud/quiet): No
(changes): Suddenly
Articulation: Detached

39
 Answers

GRADE2 4. Fauré
Dynamics (loud/quiet): In !he middle; al 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 (loud/quiet): Al 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 (loud/quiet): 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 (loud/quiet): In 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
Rhythm: There was a dotted rhythm in the middle 8. Handel
Dynamics (loud/quiet): Al the beginning
(changes): Suddenly
Test 20 Articulation: Smooth
1. Purcell Tempo: lt slowed down towards the end
Dynamics (loud/quiet): In the middle
9. Tchaikovsky
(changes): Gradually
Dynamics (loud/quiet): Al the end
Articulation: Detached
(changes): Gradual
Tempo: lt stayed the same
Articulation: Detached
2. Heller Tempo: lt stayed the same
Dynamics (loud/quiet): Just before the end
10. Liszt
(changes): Suddenly
Articulation: Smooth Dynamics (loud/quiet): In the middle; al the end
(changes): Gradual
Tempo: lt slowed down towards the end
Articulation: Smooth
3. Schumann Tempo: lt slowed down towards the end
Dynamics (loud/quiet): Just alter the beginning
(changes): Suddenly
Articulation: Smooth
Tempo: lt gol !aster towards the end

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 Answers

GRADE3 4. Volkmann
Dynamics (loud/quiet): Loudly
Test 3C
(changes): Gradually
1. Arcadelt
Articulation: Smooth
Pitch: There was a lower note near the beginning
Tempo: lt slowed down near !he end
Rhythm: There was a shorter note in the middle
Tonality: Majar
2. Schumann
5. Chopin
Pitch: There was a lower note near the end
Dynamics (loud/quiet): In !he second half/
Rhythm: There was a dotted rhythm near the beginning
towards !he end
3. Campra (changes): Gradual
Pitch: There was a higher note near the end Articulation: Smooth
Rhythm: There were even notes near !he beginning Tempo: lt slowed down towards the end
Tonality: Minar
4. Geminiani
Pitch: There was a lower note near the end 6. Purcell
Rhythm: The second note was longer Dynamics (loud/quiet): No, !he second half was quiet
(changes): Sudden
5. Burgmüller Articulation: Detached
Pitch: There was a lower note near the end Tempo: lt slowed down towards the end
Rhythm: There was a shorter note in the middle Tonality: Majar

6. Handel 7. Schumann
Pitch: There was a higher note in the middle Dynamics (loud/quiet): The first half
Rhythm: There was a longer note near the end (changes): Gradually
Articulation: Smooth
Tempo: lt slowed down towards the end
Test 3D
Tonality: Majar
1. Hünten
Dynamics (loud/quiet): The second section 8. Grieg
(changes): Suddenly Dynamics (loud/quiet): Al the end
Articulation: Detached (changes): Sudden
Tempo: lt slowed down in the middle Articulation: Detached
Tonality: Majar Tempo: lt slowed down towards !he end
Tonality: Minar
2. Guilmant
Dynamics (loud/quiet): At the end 9. Kabalevsky
(changes): Gradual Dynamics (loud/quiet): In !he middle
Articulation: Smooth (changes): Gradually
Tempo: lt stayed !he same Articulation: Smoothly
Tonality: Minar Tempo: lt slowed down in the second half/near the end
Tonality: Minar
3. Student song
Dynamics (loud/quiet): The middle 10. Handel
(changes): Sudden Dynamics (loud/quiet): In !he middle
Articulation: Smooth (changes): Gradually
Tempo: lt stayed the same Articulation: Detached
Tonality: Majar Tempo: lt stayed the same
Tonality: Majar

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eo trae k list
GRADE1
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

GRADE2
Tracks Test Examples
41-49 2A 1-9
50-58 2B 1-9
59-63 2C 1-5
64-72 20 1-9
73-76 Mock Test

GRADE3
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 Barwell, 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 whol!y owned subsidiary of ABRSM

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