Aural exam how to#

To answer this I ask the student why the composer has chosen to write their music in 4/4 rather than 2/4.

Aural exam how to#

One question that is asked of me frequently is how to tell the difference between two time signatures that sound the same, for example, 2/4 and 4/4, or 6/8 and 12/8. As an example, if a piece has 1 strong beat and 2 weak beats then the piece will be in 3 time. If you have been successful at this it is simply a question of counting the number of beats in each bar. To train your ears to pick out strong beats try deliberately emphasising the first beat of the bar in your pieces.ĭeciding whether the music is in 2, 3 or 4 time is straightforward if you have identified where the strong beats are during your clapping. The examiner will make an effort to play the strong beats with greater emphasis. This is what you must listen for in the exam. Time signatures give the music strong and weak beats, with the first beat of each bar being the strongest. These questions are about the time signature, something that has been a part of music since the Renaissance period.

Students are asked to give a louder clap on the so-called “strong-beats” and identify whether the music is in 2, 3 or 4 time. The difference between the two is that the pulse is an underlying constant, whereas the rhythm is a dynamic and changeable pattern of notes that actively contributes to the character of the music. When practising this test with students who do not know what a pulse is, the student will usually try and clap the rhythm. Our bodies are given a natural and tangible pulse by our hearts which can be both heard and felt.Įarly grade aural tests require the candidate to clap the pulse to a short excerpt of music. The best way I can explain pulse to someone who is a total stranger to the concept is to make it comparable to a heartbeat. This is something that has to written or physical presence and is merely felt by performer and listeners alike. The first - and arguably most elemental - of these aural skills is the ability to feel the pulse. The world of aural is much deeper and richer than is suggested by the tests alone, and students who are unable to appreciate this will inevitably struggle when progressing to higher grades. The reason why it is important to consider what skills make us good musicians, is that it is entirely possible to pass a Grade 1-3 aural test without any wider understanding of how these tests fit into the music-making process. Rather, the skills that we come to rely on begin at a very early stage, ideally from the very first lesson. What is exactly is meant when we talk about good musicianship? While your mind may jump to an image of a virtuoso pianist in mid-concert, it is not the playing of the instrument that makes a good musician. For many students the scope and challenges of these tests are a daunting prospect, however, if they are given some attention in the lessons before an exam then aural tests need not be a cause for concern. The reason for this is that at all Grades they test the listening skills that are essential for good musicianship.Īt lower levels, these skills are as basic as clapping the pulse of a piece, while at higher grades candidates must identify chord progressions and cadences. Like sight-reading, aural tests rarely undergo any fundamental changes within the exam syllabus. Further to last week’s post on sight-reading, this week I have turned my attention to the other exam staple: aural tests.