ABRSM GRADE 8 AURAL
Style: Utilization of sequence (2 parts), not any dynamic contrast/terrace dynamic, limited range of input keys, use of usually in the, simple a harmonious relationship, non-legato Texture: Homophonic (Melody against melody)
Style: Simple harmony, regular term length with cadence, lovely melody, use of scaly passing, gentle dynamic shaping Structure: Melody against accompaniment
Style: Levato playing, make use of sustaining your pedal, cantabile melody, chromatic harmony/rich harmony, large dynamic selection Texture:
Design: Use of discordant, crashing harmony, sudden alter, syncopated beat, wide energetic range, no define important, irregular phrase, use of bunch chord Feel:
Design: Bluesy melody, call and response among melody and accompaniment, crashes chord Consistency:
(i) To sing or perform from memory space the lowest element of a three-part phrase performed twice by examiner. The best part will be within the selection of an octave, in a major or small key with up to 3 sharps or flats. Initial the examiner will play the key-chord as well as the starting notice and then consider two bars. (If the candidate decides to play, the examiner may also name the key-chord and the starting be aware, as suitable for the tool. ) If possible, the examiner will play the phrase once again and allow a second attempt (although this will impact the assessment). (ii) To identify the cadence at the end of a continuous phrase while perfect, imperfect, interrupted or perhaps plagal. The phrase will be in a major or minor key and you will be played twice by the reviewer, evaluator. The chords forming the cadence will be limited to the tonic (root position, initially or second inversions), supertonic (root situation or initially inversion), subdominant (root position), dominant (root position, initially or second inversions), prominent seventh (root position) or submediant (root position). Ahead of the first playing, the examiner will play the key-chord. (iii) To identify the three...