ABRSM Grade 8 aural tests: what to expect and how to practise

A three-part phrase is played twice; sing (or play) the lowest part.

The examiner plays the key-chord and starting note, counts in two bars and plays a three-part phrase twice. You sing — or play, on an instrument pitched in C, B♭, E♭ or F — the lowest part, which stays within an octave in a major or minor key with up to three sharps or flats. The examiner listens for accurate pitch and rhythm. A further playing and a second attempt are possible but may affect the mark. Tip: the bass often leaps by a fourth or fifth at cadences — use those leaps as landmarks.

Name the cadence at the end of the phrase: perfect, imperfect, interrupted or plagal.

The examiner plays the key-chord, then a phrase twice, in a major or minor key. You name the cadence: perfect, imperfect, interrupted or plagal. The chords can now include inversions — I and V in root position, first or second inversion, ii in root position or first inversion — as well as IV, V7 and vi in root position. The examiner wants the correct name. Tip: a plagal cadence (IV–I) is the soft 'Amen' ending, without the strong pull of V to I. See the cadence guide.

Name the three chords of the cadential progression, with their positions.

Next the examiner names and plays the key-chord, plays the three chords of that cadential progression in sequence, then plays each one alone, pausing for you to name it with its position — for example Ic, V, I. Technical names, numbers or letter names are all accepted. The examiner listens for each chord and position named correctly. Tip: the bass note gives the position away: the root means root position, the third first inversion, the fifth second inversion. Ic leading to V is a very common approach to a cadence.

Sing the lower part of a two-part phrase from notation while the examiner plays the upper part.

You sing the lower part of a two-part phrase from a score, in treble or bass clef, while the examiner plays the upper part. It lies within an octave, major or minor, with up to four sharps or flats. You hear the key-chord, starting note and pulse, prepare briefly (aloud if you wish), then hear the chord and note again and a two-bar count-in. The examiner listens for accurate pitch and rhythm held against the other line. Tip: practise singing bass lines while a melody sounds above you, rather than on their own.

Two passages (one starting major, one minor): where does each modulate?

You hear two passages, each played once after the examiner names and plays its starting key-chord. The first begins in a major key, the second in a minor key; for each, say whether it modulates to the dominant, the subdominant or the relative minor or major, by technical name or letter name. For a minor-key passage that goes to the dominant, 'dominant' is enough. Tip: compare the closing cadence with the opening chord; from a minor key, a sudden brightening usually means the relative major. See the modulation guide.

Describe the characteristic features of a piece in your own words.

The examiner plays a piece, and afterwards you talk about what stands out in it — its period, character, form and texture, plus any details worth mentioning, such as dynamics or changes of key. Nothing is named in advance, and the examiner only steps in with questions if you need help. The examiner listens for accurate, specific observations, ideally saying where things happen, delivered with confidence. Tip: use a running order — period and character, then structure, texture and details — so you never dry up. See the Grade 8 musical features answers.