Chopin Scherzo No. 2: Aural Exercises on Real and Tonal Sequences

Chopin Scherzo No. 2 – Part 1: Aural Exercises

Real and Tonal Sequences

A study of Chopin’s Scherzo No.2 bars 309 – 333

Grade 4 – 5 Harmony & Aural
Downloadable Worksheet, Answer Key, Score & Audio

In this aural lesson, you will listen to the Trio section of Chopin’s Scherzo No. 2 – bars 309 to 333, and learn how to recognise and distinguish two important types of musical sequence: real sequences and tonal sequences.

Before starting these exercises, you may find it helpful to read the blog article:

Real and Tonal Sequences in Music Theory – Explained with Examples

You will develop your ability to hear how sequences work in real music, rather than simply identifying them from a score.

You Will Need

  • Headphones, if there are audible distractions in the room
  • A sharpened pencil
  • The Student Worksheet below, if you wish to write your answers on paper

Instructions

Download the Student Worksheet

Chopin Scherzo No. 2 Sequences Aural Worksheet – 10 Questions

You will need to download and print the worksheet if you wish to complete the questions on paper.

Listen carefully to the numbered audio extracts and write down your answers.

Download the Answer Key

Chopin Scherzo No. 2 Sequence Aural Answer Key – 10 Questions

The Answer Key is provided so that you can check your answers after completing the exercises. You do not need to print the Answer Key unless you would prefer to.

Listen to the Audio Clips

AUDIO CLIP  – bars 309 – 324 Full version

AUDIO CLIP – bars 309–316 (simplified – melody and Bass line only)

AUDIO CLIP – bars 309–324 (simplified – melody and Bass line only)

AUDIO CLIP – Question 6 (C sharp and which other?)

AUDIO CLIP  – bars 325–333 Full version

 AUDIO CLIP  – bars 325–333 Simplified version

 AUDIO CLIP  – bars 30 – 41 Simplified version

Taking it further 

C♯ minor → F♯ minor → ?
This audio clip progress through C# minor then F# minor then another key. What is the last key in this sequence? On some manuscript paper write down the notes (The first note in the right hand is G sharp. The first note in the Left hand is C sharp).

Continuation of sequence (Answers are in the Answer key).

Download the Chopin Scherzo No. 2 – Trio Section Score (PDF)

The score provided here is entirely optional:

We recommend that it is only used after the listening tests, as an opportunity to check and see how the musical patterns and sequences you have been hearing are written down.

What You Will Learn

The questions become progressively more challenging and cover:

  1. A close look at the 8-bar pattern
  2. Hearing and recognising a sequence
  3. Identifying a sequence as real or tonal
  4. Describing the difference between a real and tonal sequence
  5. Listening to the bass line
  6. Hearing bass movement and comparing the sequences in terms of:
    • notes
    • intervals
  7. Sequence or not? – describing what happens to the melody later
  8. Understanding the musical effects of sequence
  9. Understanding why sequences create these musical effects
  10. Comparing the passage with other sequences

Learn Theory Through Listening

One of the most effective ways to learn music theory is to connect what you see with what you hear and play.

Listen carefully to each extract. Where possible, sing or play the musical examples on your own instrument, analyse what you hear, and experiment with the musical ideas being discussed.

This lesson uses extracts from Chopin’s Scherzo No. 2 to explore real and tonal sequences in a musical context. By listening to the sequences in the piece, you can develop a much stronger understanding of how they sound and how composers use them.

What’s Next?

👉 Aural Training: Part 2 Chopin’s Scherzo No.2 Aural Exercises: Phrasing, Cadences, harmony, sequences…

← Return to Aural Training – Music Theory Aural Exercises

 

Level and scope of the paper

This paper is designed to be accessible to students working at approximately Grade 4–5 level. The questions use musical concepts and skills that students at this stage should be developing, while introducing a small number of ideas that extend slightly beyond the core ABRSM syllabus.

The paper contains a range of elements:

  • Real and tonal sequences – these are a requirement in Grade 3 Trinity onwards. Although ABRSM students are expected to recognise basic repeating patterns, the distinction between real and tonal sequences is not a specific ABRSM syllabus requirement.
  • Intervals – students are expected to recognise and understand major, minor and perfect intervals by this stage. These concepts are covered by Grade 3 in both ABRSM and Trinity (as early as Grade 2 in Trinity).
  • C♯ minor – this key is formally introduced at Grade 5 in both ABRSM and Trinity. Question 6 therefore provides a slightly more challenging element for students working towards Grade 5, involving the recognition of an interval above the root note C♯.

Overall, the paper is intended to be manageable and accessible for a Grade 4–5 student, rather than requiring detailed knowledge beyond this level. Where a concept falls outside the strict ABRSM syllabus, it is used as a gentle extension of existing knowledge, rather than as an advanced theory requirement.