8/9/2019 Gr 8 Aural Q1
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Test
8A:
Melodic memory
(three-part)
and identifiiing
GRADE
8
chords
and cadences
:
'To
sing or
play
from rnernory
the
lousest
part
of a short three-part
phrase played
twice
by
the
exarniner.
The key-chord
and starting
note
will first
be sounded and named,
and the
pulse
indicated.
A
second
attempt
will
be allowed if necessary.'
r-i) To identify the cadence at the end of a further (following) phrase, played twice by the examiner, as
perfect, imperfect, interrupted
or
plagal.
The
key-chord
will first
be sounded.'
iii)
'To
identify up to four chords
in
the
above
cadential
progression,
played
twice by the exarniner,
as
tonic
(root
position,
first or second
inversions),
supertonic
(root
position
or first
inversion),
subdorninant
(root position),
dominant
(root
position,
first
or second inversions),
dorninant
seventh
(root
position)r
or subrnediant
(root
position).
Candidates rnay
alternatively
use
the
equivalent
roman
notation.
The key-chord
will
first
be
sounded.'
The
first
part
of this test represents
a logical
development
from
Test
7A,
and if
pupils
have masrered
the
skills
required
for
that test, and have continued
to
exercise
those skills, they
should have no
difficulty
in
listening
to,
memorizing
and
performing
the
lowest
line
of
three.
The 'lowest
part'
of
a three-part
phrase
will have
the feeling
of a bass ine
even if
the
parts
are for two
sopranos
and
an alto
(SSA).
In this
test, with the 'further
(following)'phrase
in four-parr
harmony,
it is more likely
that
the
lowest
part
will
be a
genuine
bass ine,
in
other
words
providing
the bass notes
of the harmony, and
that the
phrase
will
be
homophonic
rather
than
polyphonic,
but
that does not mean
that
the
part
will
be less
memorable.
However,
it
will almost certainly
be in
the bass
essitura
and therefore some
candidates
(for
example, sopranos
and
altos,
and those using treble
pitched
instruments
for
this
test) will be
performing
the
parr
one or even
two
octaves
above
the
given pitch.
Although
that in
itself
should
present
no
difficulty,
pupils
will need
to
be
aware of
this
and
be
prepared
Singing
or
playing
the lowest line
will
provide
the
link
to the second
part
of the rest,
that
is, naming
the
cadence
and identif
ing the last four
chords including the two cadence chords. Collections of arrangements of traditional
songs'
hymn books and simple choral
pieces
will
provide
useful resource material
for
preliminary
exercises.
The
exercises
which
follow illustrate
how
such material
can
be adapted
for
practice
purposes.
Obviously
good
sense
must
prevail
in the choice of material.
First,
some
practice
in
concentrating
one's listening
on the lowest
part.
In the
following exercises,
play
the
phrase
whilst
pupils
listen,
giving
particular
artention
to
the bass
line;
then
repeat
it asking them to sing the line
as t is
played.
They
should then
repeat
it from
memory. Before each
playing,
give
the
key-chord and starting note.
(Note:
it is
advisable
that
pupils
should
sing all
exercises
at
this stage;
if
necessary,
divide the
passage
nto
two
phrases.
In
all the
exercises,and in the
three-part
practice
tests,
it is
an
acceptable
practice
to
give
slight emphasis
o the
bass ine.)
Con
moto
arr.
R. S.
mf
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8/9/2019 Gr 8 Aural Q1
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Test 8A
(cont.)
Calmly
with feeling
arr. R. S.
'Jre
now turn to the
preparation
for
the
chord
and cadence
resrs
(Test
SA(ii)
and
(iii)).
Like
the
first
parr,
this
forms a logical development
of the
cadence
est
in
Grades
6 and 7
(Test
C).
The
passage
used in this
test
will
have
a
four-part
texture.
It might be worth explaining
here
why
the
test is
divided
in
this way. Inevitably,
some
candidates could
experience
difftculty
memorizing
and/or
performing
the
lowest
part
and spoil
their
chances
to
do well in the
chord/cadence
test.
By
starting afresh,
such candidates
have
an
equal
chance with
those
who
do nor find
any difficulty
picking
out
the
lowest
part,
which
may
be because
hey
play
a bass nstrument,
sing bass
n
a choir or have
a
particular
faiitity
to memorize and reproduce a part. However, this should not
detract from
the essential
relationship
which
exists
between the bass ine
and
the recognition
of
chords
and
cadences,
and in
the
preparation
for
this
part
of
the
test
pupils
should still be encouraged
o
sing the
bass
ine
as
the
phrase
s
played
a
second
time.
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8/9/2019 Gr 8 Aural Q1
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Pupils
will
need to be
familiar with the
procedure
they
will
meet
in the examination
and
therefore
it
would
be
advisable
o save
he use of
practice
and specimen
tests for
the
later stagesof
preparation
for the examination.
The
syllabus
states that simple
roman
notation
may be used to describe
the chords,
and
this
method is
strongly
recommended.
Clearly
it is less cumbersome to
say
'IV
Ic V7
I' than
'subdominant,
root
position;
tonic,
second
inversion;
dominant
seventh,
root
position;
tonic, root
position'.
However, the choice
must
be
left to the teacher's
discretion;
either
method will
be equally acceptable
in
the
examination.
t$7hat
is more important
is
that
pupils
should
be encouraged
to
listen and think in
terms
of a sequence
of chords.
This is
certainly
a
more
musical
approach and better than identiSzingeach chord in isolation.
If
pupils
are secure
n
the
recognition of cadences
and the naming of the
last two chords, the next step
is for
them
to
memorize
the
sound and
name the most
common
'lead
in' chords
(Ic,
II, IIb
and
Ip to a
perfect
(or
interrupted)
cadence.
Later they should
practise
adding
a further
chord, as
'up
to four'
may be
required
in
the
examination.
Pupils
should
now
practise
memorizing the sound
of chord
progressions
such as the following,
naming
them
as
one
statement:
for example, Ib V
I; II Ic
V
I;
IV I
V
I;
VI
IV I; Ib I V;
IIb
V7 VI.
Mix the
progressions
and
vary
the
keys,
including
minor keys.
Exercises6-20 should now be tackled in the following way:
(i)
Play the
phrase
at a moderate speed with
pupils
concentrating
their
listening
on the
lowest
line.
(ii)
Play the
phrase
again
with
pupils
singing
the lowest
part
with
the
piano.
(iii)
Ask
pupils
to name the cadence and the
chords
forming the cadence.
(iv)
Play the
last
four
chords
again for
pupils
to
name the two chords
leading
to
the cadence
plus
the
two
cadence
chords.
Samuel$7ebbe
he elder
Ravenscroft'sPsalter
Orlando Gibbons
Mainz
Gesangbuch
67
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