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,
perfect, imperfect, interrupted or plagal. The key-chord will first be sounded.'

as

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 line 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 line, 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 tessitura 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
exerciseswhich 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 it 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 passageinto two phrases. In all the exercises,and in the three-part practice tests, it is an
acceptablepractice to give slight emphasis to the bass line.)

Con moto

arr. R. S.

mf

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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 test in Grades 6 and 7 (Test C). The passageused 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 they play a bass instrument, sing bass in 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 line and the recognition of chords and cadences, and in the preparation for this part of the test
pupils should still be encouraged to sing the bass line as the phrase is played a second time.

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Pupils will need to be familiar with the procedure they will meet in the examination and therefore it would be
advisableto savethe 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 in the recognition of cadencesand 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.
Exercises 6-20 should now be tackled in the following way:
(i)
(ii)
(iii)
(iv)

Play the phrase at a moderate speed with pupils concentrating their listening on the lowest line.
Play the phrase again with pupils singing the lowest part with the piano.
Ask pupils to name the cadence and the chords forming the cadence.
Play the last four chords again for pupils to name the two chords leading to the cadence plus the two
cadence chords.
Ravenscroft'sPsalter

Orlando Gibbons

Mainz Gesangbuch

Samuel$7ebbe the elder

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