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Differentiating 2/4 and 4/4 in Grade 7 ABRSM Aural Test?
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Topic: Differentiating 2/4 and 4/4 in Grade 7 ABRSM Aural Test?
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chopinfrederic
Jr. Member
Posts: 77
Differentiating 2/4 and 4/4 in Grade 7 ABRSM Aural Test?
on: March 09, 2015, 02:46:35 PM
Hello,
I'm kind of confused on how to differentiate 2/4 and 4/4 by hearing. I got it right sometimes, but another time I got it wrong. My test is coming up really soon. 2 more days to go.
Can anybody help me please?
Thank you very much in advance!
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chopinlover01
PS Silver Member
Sr. Member
Posts: 2118
Re: Differentiating 2/4 and 4/4 in Grade 7 ABRSM Aural Test?
Reply #1 on: March 09, 2015, 03:22:18 PM
Try feeling the pulse of the piece you're hearing. Listen to some pieces in various time sigs and see if that helps.
Good luck with your exam!
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1piano4joe
PS Silver Member
Sr. Member
Posts: 418
Re: Differentiating 2/4 and 4/4 in Grade 7 ABRSM Aural Test?
Reply #2 on: March 09, 2015, 04:54:34 PM
Hi chopinfrederic,
I don't know of a reliable method that works in every case. There may be one, there may be several, I just don't know one. Since you only have two days, I'll give it a shot and offer my 2 cents worth.
I suspect that there isn't a way that works 100% of the time. This makes sense to me since pretty much anything goes in music. For instance, in 3/4 time sometimes you accent the 1st beat say in a waltz, 2nd beat in a mazurka or even a 3rd beat sometimes or none at all.
What to do? Well, I don't have a "simple" solution. Also, I'm not familiar with this specific aural test. So, what I'm about to say may or may not help at all. If the listening test is only a few measures than some of my ideas may not help. Anyway, here goes.
Tempo, phrasing, pulse, period, accompaniment, etc. may offer a hint or clue.
Marches can have a loud/ soft pulse and a "march tempo". If you heard one, it would suggest 2/4 time.
I'm only guessing but could a four measure phrase be in 2/4 time? Maybe, but this would suggest to me a 4/4 time.
Did Chopin write in 2/4? I have no idea. I'm just speculating but maybe if it sounds like a lyrical, romantic piece than it's probably not 2/4.
An Alberti bass is often used in a sonatina which many times is 4/4 but not always. This wouldn't be so "reliable" then, would it?
Anyway, that's the best I could do.
I hope that helps, Joe.
P.S. I know the RCM aural test is a small percentage of your grade. If that's the case in the ABRSM, I wouldn't get overly worried about it as it won't neither make nor break you.
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8_octaves
Sr. Member
Posts: 354
Re: Differentiating 2/4 and 4/4 in Grade 7 ABRSM Aural Test?
Reply #3 on: March 09, 2015, 05:35:46 PM
Quote from: 1piano4joe on March 09, 2015, 04:54:34 PM
Did Chopin write in 2/4? I have no idea.
Hi 1piano4joe,
yes, he did. E.g. the Nocturne op.15,2 F sharp major, Etudes op. 10 nr 3,5, op. 25,9, Etude (Methode d. m. ) Nr 2 A flat major, all three Ecossaises, some parts (Theme + some of the variations, incl. the difficult "supplement"-variation ) from op. 2 "La ci darem..", then the beginning of the Kurpinsky-part of the Fantasy on polish airs, "many" rondos, e.g. the rondo-part of the "Krakowiak", the rondo of the piano concerto e-minor, and his op.1-rondo c-minor.
And the finale of his Trio op.8. And some of his Polish songs op.74: "Trübe Wellen", a part of the song "Mir aus den Augen", "der Bote", "zwei Leichen", "Melancholie", "Die Heimkehr".
The mazurka op.33,3 C major is a funny case: It's written in 3/4, but Chopin once met Meyerbeer, who insisted, after they played / heard it many times, that it was 2/4. Chopin: "3/4!!!" Meyerbeer: "No, 2/4!!!!!!" Chopin: "..........**!!!",
and sources (Schonberg, I think, if I'm correct, but maybe other sources say it, too) say, that Chopin got very angry (which was a rare thing to occur, I think. )!
So, perhaps @chopinfrederic, it might be an idea to listen closely to some 2/4-recordings, and then compare them to some 4/4 recordings, in addition to the hints already given (pulse, etc., and "weighting" of parts of bars in different metrums.)
Cordially, 8_octaves!
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"Never be afraid to play before an artist.
The artist listens for that which is well done,
the person who knows nothing listens for the faults." (T. Carreņo, quoting her 2nd teacher, Gottschalk.)
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