CLASSICAL GUITAR SAMPLE BOOKLET a Selection of Pieces, Exercises and Studies for Trinity College London Exams 2020–2023

Home , Classical guitar

CLASSICAL GUITAR SAMPLE BOOKLET A selection of pieces, exercises and studies for Trinity College London exams 2020–2023

POWLESLAND SANDERSON SAGRERAS DOWLAND CARULLI FOGEL

NOT FOR SALE Contents

Trinity’s Classical Guitar Syllabus 2020–2023 2 Recognition and UCAS points 2 Contributors 3

The exam at a glance 4 About the exam 4 Exam structure and mark scheme 5

Classical guitar graded exam books 6 Pieces 6

Support publications 8

Sample pieces — About the pieces 9

Sample pieces 10 Initial 10 Grade 2 11 Grade 3 12 Grade 3 14 Grade 4 15 Grade 8 16

Sample studies 18

Sample technical exercise 18 Grade 5 18

Sample studies 18 Grade 1 19 Grade 3 19 Grade 7 19

Classical guitar resources 20

Stay up to date 20

– 1 – Trinity Classical Guitar Sample Booklet 2020–2023

Trinity’s Classical Guitar Syllabus 2020–2023

Trinity’s refreshed Classical Guitar syllabus offers the choice and flexibility to allow classical guitarists to play to their strengths, offering wide-ranging repertoire choices as well as exercises designed to progressively develop technique.

Styles and duets Encompassing a range of inspiring repertoire from the Renaissance to the present day, the syllabus includes pieces published for the first time and more music by female composers. The duets option is now available up to Grade 5. Books New graded books for Initial to Grade 8 feature a wide range of repertoire, while expanded alternative piece lists include options from Trinity’s Raise the Bar and Performance Edition series of publications. Techniques Technical work includes specially composed exercises for each grade, covering the technique required specifically by guitarists, ensuring that all learners put scales and arpeggios into the performance context. Benefit from industry experience The syllabus and supporting books have been created in consultation with leading classical guitar specialists. You can access videos and articles produced with professionals to support teaching and learning at trinitycollege.com/classical-guitar-resources. Join us online and on social media to find out when new resources are available.

Recognition and UCAS points Trinity College London is an international exam board regulated by Ofqual (Office of Qualifications and Examinations Regulation) in England, CCEA Regulation in Northern Ireland and by Qualifications Wales. Various arrangements are in place with governmental education authorities worldwide. In the UK, Grades 6–8 are eligible for UCAS points for those applying to colleges and universities. Trinity exams are aligned to the European Qualifications Framework (EQF).

DOWNLOAD OUR CLASSICAL GUITAR SYLLABUS 2020–2023: trinitycollege.com/classical-guitar

– 2 – Trinity Classical Guitar Sample Booklet 2020–2023

Contributors Trinity worked with a team of experts, including the following consultants, to develop the syllabus.

Nicholas Powlesland studied guitar and piano at the Guildhall School of Music & Drama and has since forged a diverse musical career as a performer, teacher, examiner and composer. He is probably best known as a composer of guitar pieces for students, and his work has featured in many Trinity guitar syllabuses. He has a substantial teaching practice in Lancashire working with individuals, small groups and whole classes, and is a regular tutor at the World Youth Guitar Festival. He is a regular consultant and adviser for Trinity and has been involved in developing our classical, acoustic and Rock & Pop guitar syllabuses. He is currently senior examiner for the Rock & Pop panel.

Martin Fogel has three award-winning CDs and has received international acclaim for his artistry — ‘a Swedish genius’ (CD Journal, Japan), ‘exudes easy charm’ (Classical Music, UK) and ‘sheer magic’ (Classical Guitar Magazine, UK). A leading exponent of the guitar music of Toru Takemitsu, he became an Associate of the Royal Academy of Music in 2015. He has performed internationally, including on TV and radio, and has won prizes in major competitions such as the Tokyo International Guitar Competition and the Takemitsu Competition, Finland. In addition to his virtuoso concert works for guitar, Martin has composed a range of miniature pieces for students of all levels, and was the Leverhulme Artist-in-Residence at the University of Southampton. He currently teaches at Junior Trinity, Trinity Laban Conservatoire of Music and Dance.

Jens Franke trained at the Guildhall School of Music & Drama and King’s College, London. An artist of eclectic taste, equally at home in the concert room or theatre, he has worked with English National Ballet and was formerly orchestral guitarist of the European Union Youth Orchestra. Recent recording credits include two EPs, eight CDs for Schott London, an album of works by Johann Kaspar Mertz (Stone Records), a collection of Schubert songs with Anna Huntley recorded at the Wigmore Hall (Quartz) and, together with his guitar duo partner Jørgen Skogmo, the complete ensemble works by Antoine de Lhoyer (Naxos) and the complete guitar duets by José Ferrer (Naxos). Jens made his Milton Court debut in 2018 (Guildhall Alumni Series) and teaches in the Junior Department of the Guildhall School, and at Christ’s Hospital, West Sussex.

Helen Sanderson studied guitar at the Royal College of Music, graduating with prizes including the Anthony Saltmarsh Prize and the Madeline Walton Prize for Guitar. She has worked in partnership with singers James Bowman and Mark Wilde, and is a founding member of the VIDA Guitar Quartet. Performances include recitals at the Southbank Centre, Kings Place, London and tours throughout the USA and Europe. In parallel to her role as head of guitar performance at the Royal Welsh College of Music and Drama, Helen founded the charity Guitar Circus in 2006, and she was awarded a Winston Churchill Fellowship for her research in guitar education. Helen is a sought-after masterclass artist, adjudicator and international jury member for competitions such as BBC Young Musician of the Year, the Guitar Foundation of America and Sky Arts’ series, Guitar Star. She is artistic director for the National Youth Guitar Ensemble UK and is a D’Addario Classical Artist.

– 3 – Trinity Classical Guitar Sample Booklet 2020–2023

The exam at a glance

About the exam

PIECES 66 marks Choose three pieces TECHNICAL WORK each worth 22 marks. 14 marks A technical exercise, followed by either scales and arpeggios or studies (Initial–Grade 7)/concerto extracts (Grade 8).

SUPPORTING TESTS 20 marks A combination of two tests from sight reading, aural, improvisation and musical knowledge, depending on grade and candidate choice.

Pieces Candidates can express their musical identity by choosing three pieces from our varied repertoire lists. At Initial to Grade 5, pieces are selected from a single list, with no restrictions on choice, while at Grades 6–8 at least one piece must be chosen from each of the two groups. Candidates can perform an own composition in place of one of the listed pieces, and can choose to include up to two duets at Initial to Grade 5. Technical work This section of the exam supports the development of technical skills by assessing candidates’ performance in a range of technical work requirements. All candidates begin with a technical exercise — a short musical passage based on scale, arpeggio or chord patterns. At Initial to Grade 7 they then choose either scales & arpeggios or studies — specially composed short pieces designed to develop and demonstrate a range of specific guitar techniques. At Grade 8, candidates can select scales & arpeggios or concerto extracts. Supporting tests Trinity’s supporting tests encourage the development of the broader musical skills of sight reading, aural, improvisation and musical knowledge. The choice offered to candidates in this part of the exam allows them to demonstrate their own musical skills in different ways.

– 4 – Trinity Classical Guitar Sample Booklet 2020–2023

Exam structure and mark scheme

Initial–Grade 5 Maximum Grades 6–8 Maximum marks marks

PIECE 1 22 PIECE 1 22

PIECE 2 22 PIECE 2 22

PIECE 3 22 PIECE 3 22

TECHNICAL WORK 14 TECHNICAL WORK 14

Technical exercise Technical exercise Either scales & arpeggios Either scales & arpeggios or studies or studies (Grades 6–7)/ concerto extracts (Grade 8)

SUPPORTING TESTS 20 SUPPORTING TEST 1 10

Any TWO of the following: Sight reading Sight reading Aural Improvisation SUPPORTING TEST 2 10 Musical knowledge ONE of the following: Aural Improvisation

TOTAL 100 TOTAL 100

– 5 – Trinity Classical Guitar Sample Booklet 2020–2023

Classical guitar graded exam books

Trinity’s classical guitar books feature newly selected repertoire from Initial to Grade 8. They showcase more pieces by female composers, and include duets up to Grade 5 and a range of previously unpublished works.

Pieces Initial HARTOG La campanella WANDERS Salsa Party BRUN La tortue CORR Gypsy Dance POWLESLAND Pirates DAVIES Finnish Folk Song CRACKNELL Inca Dawn LONGWORTH & WALKER La colombina TRAD., arr. POWLESLAND Aura Lee TRAD., arr. POWLESLAND The Rising Sun PURCELL Rigadoon NUTTALL The Bells of Dawn LINDSEY-CLARK Helping Hand Grade 1 HANDEL, adpt. MASON, arr. LONGWORTH & WALKER Joy to the World SCHUBERT, arr. HEGEL Die Forelle (The Trout) RAK Chansonnette POWLESLAND The Forest Wakes RICHTER Spider FOGEL Pirate’s Delight TROMP Metamorphosis CRACKNELL Oasis SANDERSON Lotus Flower TRAD., arr. HVARTCHILKOV Romance de amor SCHUMANN, arr. POWLESLAND Melodie (from Album for the Young, op. 68) CARULLI, arr. CRACKNELL Waltz in G MÁRQUEZ Lágrimas de las ondas Grade 2 SANZ, arr. POWLESLAND Paradetas CARULLI Danse paysanne AGUADO Waltz LINNEMANN Killybegs Jig NUTTALL The Mojave McDOWALL Spanish Nocturne HASTED Regular Reggae LINDSEY-CLARK Barcarolle BRUN Le paon POWLESLAND In the Half-Light COUPERIN, arr. POWLESLAND Le petit rien TRAD., arr. RIVOAL A rosa vermelha RODRIGUEZ, arr. CRACKNELL La cumparsita Grade 3 ATTAIGNANT French Dance (Tourdion) CARULLI Valse (no. 21 from École de guitare, op. 241) SOR Study in C (no. 6 from Introduction à l’étude de la guitare, op. 60) GIULIANI Andantino (from Le papillon, op. 50) CARCASSI Allegretto in D major COTTAM Grasshopper Guiro POWLESLAND Funky Juan RYAN The Firth of Lorn STACHAK Kurpie Étude FOGEL Marshmallow Cocoa GRIEG arr. POWLESLAND Album Leaf TRAD., arr. RIVOAL Chorinho TRAD., arr. SANDERSON The Coasts of High Barbary

– 6 – Trinity Classical Guitar Sample Booklet 2020–2023

Grade 4 DOWLAND, arr. HEGEL Orlando Sleepeth DE VISÉE, arr. SCHEIT Gavotte (from Suite in D minor) DAUBE, arr. WILLIS Menuets I & II (from Partie in A major) SOR Andante (no. 2 from 24 leçons progressives, op. 31) SAGRERAS Nostalgia: petite mélodie (from Tres piezas fáciles, op. 19) SCHWERTBERGER Bossa-Nova Breeze NORTON, arr. NESTOR Line by Line RYAN Spice Trail FOGEL Village Blackbird Blues BARON Allemande (from Sonata for Two Guitars) Grade 5 DOWLAND, arr. HEGEL Preludium SOR Andante (no. 8 from 24 leçons progressives, op. 31) GIULIANI Allegretto (no. 3 from 24 prime lezioni progressive, op. 139) GUZMÁN Dedicatoria PEARSON Skater’s Waltz NORTON, arr. NESTOR Holidays RYAN Memories of Summer STACHAK Country Étude SAUMELL El pañuelo de Pepa DAW Inveraray Castle Grade 6 J S BACH, arr. ERIKSON Sarabande (from Partita no. 1 for solo violin, BWV 1002) MERTZ Capriccio FERRER El afectuoso (no. 3 from Colección 4a) FONDARD Valse suisse PIAZZOLLA, arr. RYAN El viaje YORK Lullaby FELLOW No Man’s Land TRAD., arr. COTTAM Kalamatianos TRAD., arr. HVARTCHILKOV General’s Mandate DROZDZOWSKI´ ´ Winter Story Grade 7 SANZ, arr. KOENIGS Pavanas por la D (from Instrucción de música sobre la guitarra española) COSTE Tarantelle PRATTEN Forgotten (no. 77 Impromptu) TRAD., arr. RUSSELL The Bonnie, Bonnie Banks of Loch Lomond TÁRREGA Rosita ARCAS Bolero SHAND Légende, op. 201 WALTON Bagatelle no. 2 (from Five Bagatelles for Guitar) GUBAIDULINA Serenade SMITH Halcyon Days Grade 8 DOWLAND, arr. POWLESLAND Earl of Essex, His Galliard KELLNER, transc. KÄPPEL Phantasia in A minor COSTE Sérénade (1st movt from Les soirées d’auteuil, op. 23) TRAD., arr. RUSSELL The Bucks of Oranmore BARRIOS Oración para todos (Prayer for Everyone) SEGOVIA Estudio sin luz RODRIGO En los trigales LAURO, rev. DIAZ Vals venezolano no. 3 ‘Natalia’ (from 4 valses venezolanos) BENNETT Impromptus for Guitar (nos. I & V) KRUISBRINK Adana (jhaptal) (no. 4 from Raga Suite)

– 7 – Trinity Classical Guitar Sample Booklet 2020–2023

Support publications

Scales, Arpeggios & Studies These volumes contain all the scales, arpeggios and studies required for Trinity’s Classical Guitar and Acoustic Guitar exams for Initial to Grade 8. Intuitive and bespoke technical work is a hallmark of Trinity exams. With a variety of options available, each individual learner can play to their strengths and build confidence in their technique.

Raise the Bar Guitar A collection of the most popular pieces from past Trinity exam syllabuses accompanied by teaching notes. Each book contains an attractive and varied selection that will help guitarists expand their repertoire and discover more music from different styles and periods.

Trinity Performance Edition for Guitar Books showcasing previously unpublished pieces by contemporary composers, with each edition dedicated to one composer. Several pieces have been selected for the 2020–2023 syllabus, while others make great transition pieces between grades. All are perfect for concert performance.

– 8 – Trinity Classical Guitar Sample Booklet 2020–2023

Sample pieces — About the pieces

Initial: POWLESLAND / Pirates The intention with ‘Pirates’ is to inspire a love of the guitar by engaging the creative imagination of players relatively new to the instrument. It aims to capture the adventurous spirit of famous swashbuckling melodies using a range of notes familiar to the student guitarist.

Grade 2: CARULLI / Danse paysanne ‘Danse paysanne’ is a country dance, written by one of the most prolific guitar composers of the Classical era, as well as the author of the first classical guitar method, Ferdinando Carulli. This joyful piece is a real treat, mostly consisting of a two-part melody moving over a pedal note, emphasising the pastoral character of the dance. It’s a great introduction to the Classical style.

Grade 3: TRAD., arr. SANDERSON / The Coasts of High Barbary Embrace your inner pirate with this boisterous sea shanty from Somerset, exploring the higher positions on the fretboard. Helen Sanderson’s arrangement is in G minor — a less common key for guitarists — and the accented notes of the accompaniment highlight the spirited and energetic character.

Grade 3: FOGEL / Marshmallow Cocoa This miniature comes in the form of a gentle reminder that we all need a warm treat at times, especially during the darker months of the year. The music is reminiscent in style of both the gavotte dances of Bach and Weiss, and of contemporary film music, combining modern harmonic colours with Baroque textures to make a joyful treat for the guitar.

Grade 4: SAGRERAS / Nostalgia: petite mélodie ‘Nostalgia: petite mélodie’ is from a set of three pieces by Argentinian guitarist and composer Julio Sagreras called Tres piezas fáciles. This lyrical and gently flowing piece is best played with a sweet tone, retaining a calm character throughout.

Grade 8: DOWLAND, arr. POWLESLAND / Earl of Essex, His Galliard The English composer John Dowland was one of the finest lutenists of the Renaissance period. Transcriptions of his works are frequently performed by classical guitarists, and this piece is one of the most popular. Based upon the vigorous courtly dance, the Galliard, this should be played with energy, textural clarity and crisp syncopation.

Watch performances of pieces and technical work with this icon at trinitycollege.com/classical-guitar-resources

ORDER YOUR BOOKS FROM OUR ONLINE SHOP: trinitycollege.com/shop-classical-guitar

– 9 – Trinity Classical Guitar Sample Booklet 2020–2023

Sample pieces

Initial Pirates Nicholas Powlesland (b. 1965) Boldly q = 120

0 1 1 4 2 0 2 œ ˙ & 4 ˙ œ œ œ œ ˙ œ œ œ ˙ 0 ˙ ˙ œ œ œ ‹ f

6 1 w œ œ œ œ œ 0 œ ˙ w œ ˙ &‹ œ œ œ œ w Œ Œ p

11 3 3 ˙. œ ˙. œ w w œ œ & œ œ œ ˙ œ ˙ œ œ ‹ Œ ∑ Œ Œ cresc.

16 œ œ œ ˙ & œ œ ˙ œ œ œ œ ˙ œ œ œ ˙ ˙ ‹ f

21 rit. œ œ œ œ œ œ œ œ &‹ ˙ œ œ œ œ w

TCL019271 Classical Guitar Initial 2020-2023.indd 6 23/08/2019 15:15:59 Trinity Classical Guitar Sample Booklet 2020–2023

Grade 2 Danse paysanne

Ferdinando Carulli (1770–1841)

Moderato q = 76 m i m i m i p #2 œ œ œ œ œ œ œ œ œ œ œ œ &‹ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ mf a m m a i 7 m i m i m i 4 2 # 1 œ œ œ œ œ 2 . . 1 œ œ œ œ œ œ œ œ &‹ œ œ œ œ ˙ . . œ œ œ œ œ œ œ œ œ œ œ 3 ˙ mf rall. a tempo a i a 13 m Fine p i m # œ œ œ œ œ œ œ œ œ œ œ œ ˙ . . œ œ &‹ œ œ œ œ œ œ œ . . œ˙ œ œ˙ œ p ˙ f a m D.C. al Fine 19 p m p m a 3 4 œ # œ œ œ œ œ ˙ . 1 œ œ œ œ œ œ œ œ œ œ œ œ &‹ #œ œ œ œ œ œ #œ œ ˙ .

Grade 3 The Coasts of High Barbary

Trad. arr. Sanderson

Lively q. = 100 V ° 3 Candidate b6 . œ œ part &b 8 ∑ ∑ ∑ Œ J ‹ f > > > > b Duet part b 6 œ ‰ œ ‰ œ œ œ j . Œ. = D ¢& 8 œ. œ œ œ œ œ. Ê ‹ mf ‰ > > >œ.

X 5 1 2 4 2 4 1 œ œ. œ ° b œ. œ œ œ. œ 2 œ œ œ œ œ œ. ‰ œ &b J J J J Œ J ‹ > >j >j > > œj j b Œ. œ Œ. œ œ œ ‰ œ Œ j œ ¢& b œ Œ œ Œ œ ‰ œ ‰ œ ‰ ‰ œ œ ‰ ‰ ‹ œ. œ œ œ. œ œ. œ J œ. œ œ J J f J

10 1 2 4 ° œ. œ 1 œ 3 1 œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ b ‰ œ J ‰ J ‰ J &b J ‹ j j b Œ j j Œ j œ œ œ œ œ. Œ j œ ‰ ‰ Œ j j ‰ ‰ ¢& b œ œ ‰ ‰ œ œ ‰ ‰ ˙. œ œ œ œ ‹ œ. œ œ. Œ. Œ. œ. Jœ J ˙. œ.

15 œ 3 œ. ° œ œ 1 œ œ b J œ œ. œ œ œ œ œ œ œ J œ œ &b J Œ J J J J J ‹ mf

b œ. œ. œ. œ. œ. œ. œ. œ j ¢& b œ. œ. œ œ œ œ. œ. œ. œ. œ. œ œ œ œ œ ‹ œ. œ. œ. ˙. ˙. œ. œ. œ mf .

VII 20 ° œ œ. œ œ œ 2 œ b œ œ. œ. œ œ œ œ œ. &b ‰ J J J J Œ J ‹ mp pont. mf > > > > >j b . j ‰ ‰ . j œ b . Œ œ Œ œ ‰ ‰ œ ‰ œ ‰ ‰ œ œ ‰ ‰ ¢& œ œ. ‹ pont. œ. œ ‰ œ ‰ œ œ. œ mp œ. œ œ œ J

V VII 25 4 4 œ. œ ‰ 2 œ 4 œ. œ ‰ 2 œ 2 œ œ. œ ‰ œ ° 1 1 œ œ œ 1 bb œ œ œ œ J J œ œ & Œ J J ‰ ‰ Œ J J ‰ ‰ Œ J J ‰ ‰ ‹ mp

b œ. Œ. Œ. œ. œ. œ œ œ œ. ¢& b œ. œ. œ. œ. ˙. ‹ œ. œ œ œ . J ‰ ‰ œ œ œ œ ‰ ‰ œ œ œ œ. ˙ mf J .

29 ° œ œ œ œ œ œ œ œ œ œ œ b J ‰ J œ J œ œ. œ &b J Œ J ‹ f nat. Œ. b . Œ. . . . . œ œ ¢& b œ. œ. Œ œ. œ. œ œ œ œ œ œ. œ œ œ œ. ‹ J ‰ ‰ œ œ œ œ ‰ ‰ ˙ mp J . ˙. nat.

33 ° œ œ œ. b œ œ œ œ œ œ J œ œ œ. &b J J J J Œ. ‹ > >j b œ. œ. . j œ b œ. . œ. œ. œ œ œ j œ œ ‰ ‰ ¢& œ. œ œ œ œ œ œ ‹ œ. œ. œ. œ. Œ. œ f œ. J

TCL019301 Classical Guitar Grade 3 2020-2023.indd 19 – 13 – 29/08/2019 10:28:09 Trinity Classical Guitar Sample Booklet 2020–2023

Grade 3 Marshmallow Cocoa

Martin Fogel (b. 1974) Moderato q = 90 II . . i m i m 4 . 1 1 œ œ œ œ 2 # 4 œ 2 ˙˙ œ 1 ˙ œ œ œ œ œ œ œ # ˙ 1 ˙ ˙ &‹ 4 w w ˙ ˙ mf ˙

i m 5

. . 2 . 2 3 3 # 2 œ œ œ œ # ‰ ‰ j œ ˙ œ œ 1 œ ˙ & j œ ˙ 1 ˙œ ˙ ‹ œ œ 1 ˙ ˙ 1 ˙ 3 ˙ ˙ ˙ p mf p

9 . . œ œ œ œ . ## œ ˙˙ œ ˙ œ œ œ œ œ œ œ ˙ &‹ w w ˙ ˙ ˙ f ˙

i m i a m i 13 . . . œ 2 # ‰ ‰ ˙ œ œ œ 3 œ œ œ 2 ˙ # j œ ˙ j œ 1 ˙ œ &‹ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ mf f p

i m 17 poco rit. ## ‰ 2 œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ ‰ œ œ œ ‰ 2 œ œ œ 3 w & 3 w w ˙ Œ œ ‹ ˙ ˙ p mf p

21 a tempo rit. # 3 œ œ œ œ œ œ œ œ 3 # ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ ‰ œ œ w œ &‹ Œ ˙ 1 w 2 w ˙ ˙ u pp p pp

TCL019301 Classical Guitar Grade 3 2020-2023.indd 12 29/08/2019 10:28:07 Trinity Classical Guitar Sample Booklet 2020–2023

Grade 4 Nostalgia: petite mélodie from Tres piezas fáciles Julio Sagreras dolce (1879–1942) a a m i a Larghetto = 52 m i m q i i # ˙ œ. j c œ ∑œ œ œ ∑œ œ œ œ œ œ ˙ œ œ˙ œ &‹ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p mf

5 2 0 4 j # 0 nœ 1 Œ Œ œ œ ˙ 3 1 œ œ œ 2 ˙ œ œ. œ &‹ #œ œ œ œ œ œ œ œ œ œ œ œ

m i m a m m i 8 m i m a m i p m i Fine 3 p 0 2 0 œ 1 1 # 0 4 0 œ œ œ 2 œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ Œ & #œ #œ nœ 1 œ œ œ œ ‹ 2 œ #œ œ œ Œ Ó œ Œ Ó œ Œ œ œ œ

m m 12 i a i i a 3 2 j 1 4 4 # œ 3 Ó œ œ œ . #œ n˙ 2 œ œ œ ‰ #œ nœ œ ˙ & œ œ œ œ œ œ˙ œ ‹ Ó œ œ Œ Ó 3 œ œ œ mf œ

CV CIII 4 15 j 2 4 4 j 3 œ. œ ˙ œ. Œ # 1 œ œ œ œ˙ œ 3 2 1 œ œ œ ˙. Ó œ œ œ œ œ ‰ „œ bœ œ œ œ 0 nœ œ œ &‹ œ œ œ Œ œ œ mf

19 # Œ ˙. Œ ˙. & œœ œœ œœ œ œ œ œœ œœ œ œ œ œ ‹ œ œ #œ nœ œ œ œ p

CV D.C. al Fine 23 4 4 ˙. 3 # Œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ & œ ##œ #œ nœ œ œ œ Œ œœ Œ ‹ 3 œ #œ œ Œ Ó œ #œ 3 œ sfz

TCL019318 Classical Guitar Grade 4 2020-2023.indd 7 29/08/2019 12:48:47 Trinity Classical Guitar Sample Booklet 2020–2023

GradeGroup A 8 Earl of Essex, His Galliard

John Dowland (1563–1626) arr. Powlesland Elegantly q = 90 4 œ 4 œ. œj œ #œ 3 3 œ ˙ œ œ œ œ œ œ ‰ œ. œ & 4 2 œ. œ œ ˙ œ #œ. œ ‹ ˙ œ œ ˙. Œ œ Œ ˙ ˙ œ . œ œ œ. œ. f

nœ j 4 j j j j œ œ nœ œ œ. œ œ. œ œ œ œ œ œ œ #œ œ œ œ œ œ &‹ œ œ ‰ œ nœ ˙ œ œ œ œ œ#œ ‰ œ ˙ J ˙ .J ˙. Jœ

9 4 œ œ ˙ 3 œ œ 0 ≈ œ nœ œ œ œ 2 ≈ œ œ &‹ œ œ œ œ ‚ ≈ œ œ œ œ œ œ ˙. „ œ mp

4 œ œ œ œ1 ≈ nœ œ œnœ œ œ & #œ œ œ 3 œ#œ œ #œ #œ œ œ œ œ œ nœnœ œ œ œ ‹ œ œ œ 2 œ ≈ œ ≈ œ œ œ œ ˙

14 œ œ œ 3 œ œ œ œ œ œ 1 œ œ œ œ œ œ #œ œ œ œ œ œ 2 œ œ œ œ œ œ œ œ œ &‹ œ œ œ. #œ ˙ ˙. Jœ

17 4 j 4 j j 1 #œ nœ. #œ ˙ 3 œ œ œ œ œ œ œ œ. œ œ œ. œ œ 3 œ œ œ. ˙ œ œ. & # œ œ 4 œ ‰ #œ n˙ œ #œ ‹ œ. œ œ œ Jœ œ œ. ‰ Œ f J œ œ. œ. J

21 j œ nœ j œ ˙ 2 0 #œ œ œ œ nœ œ. œ œ œ 4 ˙ œ œ œ œ œ œ œ œ œ. œ œ œ . œ œ œ ˙. ‰ œ. œ &‹ œ ‰ œ nœ œ œ œ œ œ. ‰ Œ#œ ˙ œ œ . J ˙. œ. œ.

26 ≈ œ œ œ œ œ œ œ #œ œ œ œ & œ #œ œ œ œ œ œ œ œ œ nœ nœ œ œ ‹ ˙ œ œ œ œ œ œ œ œ mp ˙. œ œ

29 j j œ œ œ œ œ œ#œ nœ œ nœ 4 œ ˙ œ œ & #œ #œ œ œ œ nœnœ œ œ œ œ œ œ œ œ ‹ Jœ ‰ Œ Œ ≈ œ ≈ œ œ œ œ œ œ œ

32 3 4 0 œ œ Œ #œ. 4 œ œ œ œ 3 1 4 0 2 œ. #œ œ ˙. Œ ≈ œ œ 4 œ œ œ#œ#œ ≈ ˙ & œ œ œ œ 2 œ œ œ œ œ#œ œ 4 œ ‹ „ Â ˙. œ. Jœ œ CII 35 hinge

. 4 ˙. j j ˙ œ #˙ 3 j #˙ 3 œ œ 0 1 œ œ & 2 nœ œ œ œ œ œ œ œ œ œ œ œ ‹ 3 ˙œ. #œ œ ˙ J œ J ˙#œ. œ 0 ˙ J œ J mf

39 ˙ œ œ œ œ œ #œ œ œ œ & #œ. œ œ œ #œ œ. œ œ #œ. œ ‰ #œ ‰ #œ ˙œ œ œ œ ‹ œ. J œ #œ œ œ J Œ J ˙ œ. œ. œ œ. œ. ˙.

43 2 œ #˙ œ œ ˙ nœ œ œ ˙ œ œ œ 4 #œ œ œ œ œ œ œ œ 1 1 œ œ &‹ nœ œ œ #œ œ œ œ ˙‰ J œ œ#œ œ œ œ#œ œ œ œ f

46 4 œ #˙ œ œ #œ #œ œ œ #œ #œ œ ‰ œ œ#œ œ œ 3 œ #œ ≈ œ œ ≈ œ . œ#œ œ œ &‹ ˙ J œ œ#œ#œ #œœ œ œ ≈ #œ#œ œ ˙ ˙

49 U 4 #œ #œ#œ œ œ œ œ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ &‹ œ œ ‰ #œ ‚ œ œ œ. œ J ˙ œ u 3

TCL019356 Classical Guitar Grade 8 2020-2023.indd 3 23/08/2019 15:18:28 – 17 – Guitar Grade 5

Candidates to prepare i) Technical exercise Technical exercise in F# minor (music may be used, q = 126) Candidates to prepare in full either section ii) or section iii) either ii) Scales & arpeggios (from memory, mf ) Candidates should prepare scales and arpeggios as listed below. When the examiner requests a key, the candidate should play the scale and then the arpeggio. Eb major Trinity Classical Guitar Sample Booklet 2020–2023 scales: im and ma scales: apoyando or tirando min. tempi: F major two octaves arpeggios: (candidate’s choice) scales: q = 92 A natural minor ppppima arpeggios: tirando arpeggios: q. = 50 C melodic minor SampleG major scale in technical broken thirds exercise im one octave min. q = 82 C major scale in sixths ip/mp tirando Dominant 7th arpeggio in the key of A major In the technical work section all candidatestwo octaves begin withppimim… a technical exercise, and then opt tomin. perform q = 76 scales Diminished 7th arpeggio starting on E and arpeggios or studies/concerto extracts. The technical exercises combine scale, arpeggio and chord or iii) Studies (music may be used) patterns, increasing in length and complexity as the grades progress. Candidates to prepare 1a or 1b; 2a or 2b; and 3a or 3b (three studies in total). TheThe Grade candidate 5 technical will choose oneexercise study to is play based first; the around examiner the will Fthen# minor select one scale of the and remaining chord. two In prepared between studies scale to be passages, performed. there1a. Incognito is what looks like oran F# minor1b. Over arpeggio, the Moon but forwhen tone theand phrasing l.v. is observed, this turns into a broken chord. At the2a. Mistral end, there is a delayor between2b. And Sothe It Endsleadingfor note articulation resolving to the tonic, giving the exercise a humorous3a. Mare Nectaris character. or 3b. All Barré One for idiomatic elements

Grade 5

Technicali) Technical exercise exercise

In F# minor IV II 4 3 4 3 3 2 4 3                    i m          CII 5 1 4 3 4 1 1 1              p p i m a    p m    p i   l.v. CII 9 CII IV 1          3              i m      l.v.  Copyright © 2015 Trinity College London Press Ltd Sample studies

23 Sample studies Studies are categorised in the following three groups at all levels: tone and phrasing, articulation, and idiomatic elements. Within these categories a wide range of technical elements is explored, including different types of articulation, chords, dynamics, barré and half barré, harmonics, tremolo, campanella Guitar Scales Initial to Grade 5 from 2016 [imp 4, Jun 2019].indd 23 20/06/2019 17:06:23 and étouffé. Designed to focus on tone and phrasing, the Grade 1 study ‘Highland Memories’ looks at melody and accompaniment playing by separating each style. Beginning with an introductory accompaniment figure that is reflected later, the study’s central idea is a question and answer phrase. The piece makes phrasing easy to understand by adding dynamic markings that reflect a common phrase shape. The Grade 3 study ‘Finger Pickin’ Good’ focuses on ascending slur technique, while incorporating a range of musical elements that give the study a strong character. The music has been carefully crafted to include only slurs from open strings; this allows the student to focus on the mechanics of the ascending slur, without adding too much complexity. ‘Mezquito’ features extended use of the tremolo technique, which helps students develop good right-hand finger independence and timing. The piece incorporates tremolo on the 2nd string, dynamics and a rit. at the end; this adds complexity to the study and requires careful and detailed playing.

– 18 – F majorF major arpeggio arpeggio (to 5th), (to 5th), tirando tirando

         i i m m    E naturalE natural minor minor scale scale (one (oneoctave), octave), tirando tirando                   p p p p    

E minorE minor arpeggio arpeggio (to 5th), (to 5th), tirando tirando              p p i i m m  l.v. (letl.v. ring) (let ring) iii)iii) Studies Studies

1a. Paper1a. Paper Tiger Tiger — tone — tone and andphrasing phrasing (crescendo (crescendo and diminuendo)and diminuendo) = 100 PlayfullyPlayfullyq q = 100 a ma i mm i im m i mi i                                           mf mf 6 6 Trinity Classical Guitar Sample Booklet 2020–2023                                      mf Grade  1 mf

1b. Highland1b. Highland Memories Memories — tone — tone and phrasingand phrasing (even (even tone toneand bassand bassover-ringing) over-ringing) = 98 Expressively q = 98 i m i m Expressively q i m i m                         3         3    f p i m sim.   f  p i m sim. 8  m rit. 8 m rit.                            m dim.     m dim.  

Grade 3 continued 7 GradeGrade 3 3 continued 7

Guitar Scales 2b.Initial to GradeFinger 5 from 2016 Pickin’ [imp 4, Jun 2019].indd Good 7 — articulation (ascending slurs) 20/06/2019 17:03:56 Guitar Scales Initial2b. to GradeFinger 5 from 2016 Pickin’ [imp 4, Jun 2019].indd Good 7 — articulation (ascending slurs) 20/06/2019 17:03:56 = 102 CountryCountry style styleq q = 102 II II I I 3  1 1 3     0 0                                mf mf m m mf mf 5  5  II II       3 3 1 1         0 0                   f f mf mf       GuitarGuitar Grade Grade 7 continued 7 continued 3a.Grade 3a.On BrooklynOn 7 Brooklyn Bridge Bridge — idiomatic — idiomatic elements elements (half (half barré) barré) 3a. 3a.Mezquito MezquitoRelaxedRelaxed — idiomaticbut — idiomaticcoolbut coolq elements= 100q elements= 100 (tremolo) (tremolo) ½CII½CII ½CII½CII ½CI½CI ½CII½CII ½CII½CII ½CI½CI  PrecisePrecise but withbut withsensitivity sensitivityq = 11q 2= 112     p amp ipam amipipamamipami p ami p ami  i                    1 1           4 4 1 1 1 1 1 1 1 mf mf   œ œœœœ 1œ   œœ œ   œœœ œœœœœœœ œœœ  œœœœœœ œœœ œœœ œœœœœœœœœœ0œœ0œœœ œœœœœœ 4 4œœœ œœœ œœœ 3 3  œœœ œœœ 2 2  2 2 & 4 2 2 3 3 3 3 œ œ 3 3 œ œ œ œ œ œ & 4 ½CV½CVœ ½CIIIœ ½CIIIœ œ œ½CIœ½CI   œ œ½CII½CII œ½CII½CIIœ œ œ½CI½CI     mf mf 5‹ 5 ‹ œ œ œ œ    4 4           1 1           1 1       1 1                œ œœœœœ  4 4 œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ3 3 œœœœœœ œœœœœœœœœ      mf mf 3 œœœ2 2       2 2 3 3 3 3 œ 3   œ & & f f œ œ  œ œ œ œ œ œ œ    œ  œ 1 œ œ œ œ œ ‹ œ‹ œ 1 œ œ œ œ     7 3b.7 3b.Half Half Way Way There There — idiomatic — idiomatic elements elements (half (half barré) barré) 4 4 4 4 4 4 Flowingœœœ œ= 11œ0œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ Flowingœœœ q œ3= œ11q0œ œœœ œ3 œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ & 3 ½CœV œ 3 œ & ½CœV œ a œ œ œ ½CVII œ œ œ œ ½CVœ œ 1 b1œ p i ma ½CVI1 I 1 1 ½C1 V b‹œ p i m œ œ œ œ ‹ œœ œ œ œ#œœ œ œ#œ œ œœ œ 3 3 œ IV IV ˙ moltomolto rit. rit.œ #œœ #œ œ œ œœ 10& 4 œ ˙ œ 10& 4‹ 0 œ œ ‹ 0 œ œ U œ œ 2 2 œ U œ mp l.v. sempre œ 1 2 1 2 1 2 œ 1 2 1 mp l.œv. sempœ œre œ œ œ1 œ1œ œ œ œ œ œ 1œ œ œ œ œ œ1œ œ œ œ2œ œ œ1 œ œ œ2 œ 1 œ œ œ œ œ2 œ œ1 œ œ œ œœœ œ œ œœœ œ œœœ œ œ œœœ½CœV œœœ œ œ œœœ œ œœœ œ œ½CVIIœ œ & 6& 2 œ #œ #œ œ œ ½CV œ œ ½CVII œ 6 œ 2 0 œ 2 0 œ œu ‹ œ œ œ œ œ œœ #œœ#uœ pp ‹ &œ ˙ ˙ œœ œ œ œ œœ ˙ ˙ œ pp &‹ ‹ œ œ ‚ ‚ œ œ œ œ œ œ œ œ mf œ ½CV œ œ mf rit.© Copyright 2015 Trinity College½CV London Press Ltd 12 ½CV – 19 – rit. I 12 3b. Night Vision — idiomatic½CV elementsœ (artificial harmonics) I 0 U˙. 3b. Night Vision#œ — idiomatic elements (artificial harmonics) 0 1 0 U œ œœ œ 3 1 œ ˙.˙. #œ œ œ 2 0 œ œ ˙. & œ œ œ œ œ 3 œ œ œ ˙. & ‹ œ Amaze yourself q = 72 œ œ 0 2 œœ œ ‹ œ Amaze yourself q = 72œ 0 œœ ˙. œ œ œ ˙.pp   œ  pp    2    2 3  2 23    20 3  20 3          0       0              1          16     1       16  mp   mp  7 7  Guitar Scales Initial to Grade 5 from 2016 [imp 4, Jun 2019].indd 162 2  20/06/2019 17:05:38 3 2 3 1 2 3 2 Guitar Scales Initial to Grade 5 from 2016 [imp 4, Jun 2019].indd 162 0 2  20/06/2019 17:05:38 3  2   3 1   2   3  2         0                 1    1        11   11     3 2   3        2                         pp   pp 

20 20

Guitar Scales Grades 6-8 from 2016.indd 20 12/08/2015 11:08:13 Guitar Scales Grades 6-8 from 2016.indd 20 12/08/2015 11:08:13 Trinity Classical Guitar Sample Booklet 2020–2023

Classical guitar resources

Join us online to access a range of resources to support teaching and learning at trinitycollege.com/classical-guitar-resources Discover digital content, including videos and articles from teachers and leading musicians, with advice and support on: Pieces, performance and technique Technical work Supporting tests

For further help you can contact the music support team at Trinity’s central office at [email protected], or find the contact details of your local representative at trinitycollege.com/worldwide

Stay up to date

/TrinityCollegeLondon /TrinityVideoChannel

@TrinityC_L @trinity_college_london_music

– 20 –