We are not at liberty to tell you what the ABRSM aural tests will entail, please refer to the ABRSM’s own site for the syllabus.

All materials on Hofnote site have been written specifically for Hofnote and they are our own courses to prepare students who register with us for public exams given by the ABRSM.

Hofnote exercises will do more than just help you get the most marks for your aural tests, they are designed to develop your aural skills so that your musicianship shows in all your playing. This will help you score better in the rest of the exam too.

Use the demos further down this page to try out our exercises.

What is ABRSM Aural

About ABRSM Aural

What is ABRSM Aural?

ABRSM's core activity is the operation of an authoritative and internationally recognised system of exams and assessments. These are designed to encourage and motivate players and singers at all levels through the provision of goals and the measurement of progress. In addition to graded examinations, ABRSM publishes many collections of music, and provides training and workshop events for students and teachers.

Click here to visit ABRSM's own site

Price What you get
1-A1 : Get the Beat!
This section contains exercises to get you to recognise the beat - 2 or 3 beats per bar. Music has a number of underlying beats, or counts, in each bar. You can learn to recognise how many beats in a bar by listening for the first beat, which is slightly more stressed than the other beats. Listen to the stressed beat - that's No 1. Then count up the remaining weaker beats. Don't confuse the number of notes you hear with the number of beats. A beat can contain two or more actual sounds.
1-A2 : Get the Beat - with video
If you're not sure about counting the beats in the bar, this exercise includes a trainer in the second part of each question to show you how.
1-B1 : Which Notes?

When music is made of the notes of a particular scale, we say it is in that key. For example, if a tune is made of the notes of the scale of C major, then the tune is in the key of C major. In the exercises the key chord sets the scene - it gives you an idea of the key the exercises are in. The key note is the first note of the scale. When you hear a musical phrase, and sing it, the most important thing is to get the intervals (gaps) between the notes exact. This exercise is a vital step in training yourself to do just that.

Exercises have been included for practice purposes in keys which are not used at Grade 1. 


1-B2 : Get that Rhythm!
Here you can get to grips with hearing rhythm and recognising the detail. By choosing the correct score in the exercises, you will be showing that you can hear small detail in the rhythm , very important for being able to reproduce the rhythm accurately.
1-B3 : Singing Practice
In this section, you get to put what you have learned with Exercises 1-B1 and 1-B2 all together. Sing each of the three phrases as an echo in the two-bar gaps. You will need to sing exactly at the same speed as the music you hear for it to fit in the two-bar gaps provided
1-C1 : Spot the Difference

PLEASE NOTE: The updated version for the 2011 changes to the syllabus has been added at the bottom. You might still want to use this exercise as further, more detailed practice.

This section contains exercises to get you to recognise changes to the rhythm of a two-bar phrase. You will hear clicks to give you the number of beats per bar and the speed of the beat, then you will hear the example. As you listen, count the beats - this will help you to recognise changes in the changed version. Now listen to the second version. Which bar does the change occur in? How is the rhythm different from the first version? Here are the some differences you might hear: - Some notes might move quicker than in the original version - Some notes might move more slowly - A dotted rhythm might be introduced - A dotted rhythm might be evened out - A rhythm pattern might be reversed

1-D1 : Quiz Time!
There are three things to focus on in this section: recognising changes in dynamics (piano to forte or vice versa); recognising gradual changes in tone (crescendo or diminuendo); and recognising whether a piece is played mainly staccato (detached) or legato (smooth).
1-C2011 : Spot the Difference
Update for January 2011.
Listen to the original and the changed version of the music. Where is the change - near the beginning or near the end?