SINGING SYLLABUS Qualification Specifications for Graded Exams 2018–2022

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BRITTEN GERSHWIN POULENC SINGING FAURÉ QUILTER SYLLABUS THIMAN Qualification specifications for graded exams 2018–2022 MENKEN PURCELL SKEMPTON BOULANGER MENDELSSOHN BERNSTEIN CRAWLEY SCHUBERT SONDHEIM WARLOCK ROREM DRING BART ROE KEEP UP TO DATE Please check trinitycollege.com/singing to make sure you are using the current version of the syllabus and for the latest information about our Singing exams.

DIGITAL ASSESSMENT: DIGITAL GRADES AND DIPLOMAS To provide even more choice and flexibility in how Trinity’s regulated qualifications can be achieved, digital assessment is available for all our classical, jazz and Rock & Pop graded exams, as well as for ATCL and LTCL music performance diplomas. This enables candidates to record their exam at a place and time of their choice and then submit the video recording via our online platform to be assessed by our expert examiners. The exams have the same academic rigour as our face-to-face exams, and candidates gain full recognition for their achievements, with the same certificate and UCAS points awarded as for the face-to-face exams. Find out more at trinitycollege.com/dgd SINGING SYLLABUS Qualification specifications for graded exams 2018–2022

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1 Header Left Contents

3 / Welcome 4 / Introduction to Trinity’s graded music exams 7 / Learning outcomes and assessment criteria 8 / About the exam 10 / Exam guidance: Songs 12 / Exam guidance: Technical work 13 / Exam guidance: Supporting tests 19 / Exam guidance: Marking 24 / Initial 27 / Grade 1 31 / Grade 2 35 / Grade 3 40 / Grade 4 45 / Grade 5 51 / Grade 6 60 / Grade 7 68 / Grade 8 78 / Policies 79 / Publishers 80 / Trinity publications 80 / Join us online…

Trinity accepts entries for its exams on the condition that candidates conform to the requirements of the appropriate syllabus. Any amendments to the requirements will be published on our website and in reprints of the document.

2 Welcome Welcome Welcome

Welcome to Trinity College London’s Singing syllabus, containing full details of graded exams for Initial and Grades 1–8. This 2018–2022 syllabus has performance at its heart. It offers the choice and flexibility to allow singers to perform to their strengths, enabling them to gain recognition for their own unique skills as performers. The music you want to sing Learners can progress in their own musical style by choosing from extensive and varied lists of songs carefully selected by our singing experts. The performer you want to be Our performance-grounded technical work and supporting tests are specifically designed to develop learners’ skills through the music they perform. The support you need Digital learner and teacher support resources are available at trinitycollege.com/singing-support. Join us via our website and social media for the full music experience and to find out when new resources are available. The recognition you deserve Learners are assessed through an externally regulated and internationally recognised exam system, with a 140-year heritage you can trust, and UCAS (Universities and Colleges Admissions Service) points available for Grades 6–8. For the first time, a series of graded repertoire books is available to support this syllabus. Each book contains a selection of songs spanning a range of styles and periods, including a number of previously unpublished songs. The books feature teaching notes written by vocal experts, translations of non-English song texts and a CD including recordings of the piano accompaniments and audio pronunciation guides for all song texts. We hope you enjoy exploring the music on offer in this syllabus and we wish you every success in the exams and your wider music-making.

ABOUT TRINITY COLLEGE LONDON Trinity College London is a leading international exam board and independent education charity that has been providing assessments around the world since 1877. We specialise in the assessment of communicative and performance skills covering music, drama, combined arts and English language. With over 850,000 candidates a year in more than 60 countries worldwide, Trinity qualifications are specifically designed to help students progress. Our aim is to inspire teachers and learners through the creation of assessments that are enjoyable to prepare for, rewarding to teach and that develop the skills needed in real life. At the heart of Trinity’s work is the belief that effective communicative and performance skills are life enhancing, know no boundaries and should be within reach of us all. We exist to promote and foster the best possible communicative and performance skills through assessment, content and training that is innovative, personal and authentic.

WHY CHOOSE TRINITY? Teachers and students choose Trinity because: ◗ We understand the transformative power of performance ◗ Our qualifications help ensure candidates make progress by providing carefully levelled stepping stones that build confidence and enjoyment while continuing to extend and challenge ◗ We aim to design assessments that have a positive impact on student learning, engagement and achievement ◗ We encourage candidates to bring their own choices and interests into our exams — this motivates students and makes the assessment more relevant and enjoyable ◗ Our flexible exams give candidates the opportunity to perform to their strengths and interests ◗ Our qualifications are accessible to candidates of all ages and from all cultures ◗ Our highly qualified and friendly examiners are trained to put candidates at their ease and provide maximum encouragement

3 Introduction to Trinity’s graded music exams Introduction to Trinity’s graded music exams

OBJECTIVE OF THE QUALIFICATIONS RECOGNITION AND UCAS POINTS Trinity’s graded music exams provide a structured yet Trinity College London is an international exam board flexible framework for progress, which enables a learner to regulated by Ofqual (Office of Qualifications and demonstrate their own musical personality and promotes Examinations Regulation) in England, CCEA Regulation enjoyment in music performance. in Northern Ireland and by Qualifications Wales. Various arrangements are in place with governmental education The exams assess music performance, technical ability authorities worldwide. and responses to set musical tests through face-to-face practical assessment. They offer learners of any age the In the UK, Grades 6–8 are eligible for UCAS (Universities opportunity to measure their development as performers and Colleges Admissions Service) points for those applying against a series of internationally understood benchmarks, to colleges and universities, as follows: taking them from beginner level to the point where they can Grade 6 progress to higher education in music, or enter for Trinity’s UCAS POINTS performance diplomas. PASS 8 | MERIT 10 | DISTINCTION 12

WHO THE QUALIFICATIONS ARE FOR Grade 7 Trinity’s graded music exams are open to all candidates, UCAS POINTS with no age restrictions or other limitations. There is no PASS 12 | MERIT 14 | DISTINCTION 16 requirement to have passed lower grades, theory exams or Grade 8 other qualifications, although the grades represent a system UCAS POINTS of progressive mastery and the outcomes for each level PASS 18 | MERIT 24 | DISTINCTION 30 assume confidence in the requirements of previous grades.

Repertoire selection and other exam content is designed to WHERE THE QUALIFICATIONS COULD LEAD appeal to learners of all ages and backgrounds, reflecting While for some learners graded music exams represent the diversity of candidates. a personal goal or objective, they can also be used as a Trinity is committed to making its exams accessible to all, and progression route towards: each candidate is treated individually when considering how ◗ Diplomas in performing and teaching offered by Trinity assessments can be adapted for those with special needs. or by other awarding organisations Find more information at trinitycollege.com/music-csn ◗ Music courses at conservatoires and universities, for which Grade 8 is often specified as an entry requirement ASSESSMENT AND MARKING ◗ Employment opportunities in music and the creative arts Trinity’s graded music exams are assessed by an external examiner trained and moderated by Trinity. Examiners HOW TO ENTER FOR AN EXAM provide marks and comments for each component of the exam using the assessment criteria on pages 20–23. Exams can be taken at Trinity’s public exam centres, which are available throughout the world. Details are The exam is marked out of 100. Candidates’ results available at trinitycollege.com/worldwide, and candidates correspond to different attainment levels as follows: should contact their local Trinity representative for more information. Mark Attainment level Alternatively, in the UK, schools and private teachers with 87–100 DISTINCTION sufficient candidates may apply for an exam visit. Details 75–86 MERIT are available at trinitycollege.com/examvisit

60–74 PASS

45–59 BELOW PASS 1

0–44 BELOW PASS 2

See pages 19–23 for further information about how the exam is marked.

4 Introduction to Trinity’s graded music exams

DURATION OF STUDY (TOTAL QUALIFICATION TIME) The time it takes each candidate to prepare for the exam is dependent on where the learning is taking place and on the needs and experience of the individual. The total qualification time (TQT) is a guide and is split as follows:

Guided learning hours Independent learning hours Total qualification time Introduction (GLH) (ILH) (TQT) (hours) Initial 8 32 40

Grade 1 12 48 60

Grade 2 18 72 90

Grade 3 18 102 120

Grade 4 24 126 150

Grade 5 24 156 180

Grade 6 36 184 220

Grade 7 48 222 270

Grade 8 54 266 320

TRINITY QUALIFICATIONS THAT COMPLEMENT OTHER QUALIFICATIONS OFFERED BY TRINITY THE SINGING QUALIFICATIONS After Grade 8 or the Advanced Certificate, candidates can Trinity’s music qualifications offer flexible progression progress to diplomas at Associate (ATCL), Licentiate (LTCL) routes from beginner to advanced levels in a range of and Fellowship (FTCL) levels. These assess higher skills in musical styles. All are designed to help candidates develop performance, teaching and theory. Find more information as musicians according to their individual needs as learners. about diploma exams at trinitycollege.com/music-diplomas Graded music exams assess a broad range of musicianship Adults who work as music educators may also wish to skills, including performance, while certificate exams focus consider Trinity’s Level 4 Certificate for Music Educators entirely on performance, including separate marks for (Trinity CME). Find more information about the Trinity CME presentation skills. Find more information about certificate at trinitycollege.com/CME exams at trinitycollege.com/certificates We also offer: Candidates can enter any combination of graded or ◗ Graded, certificate and diploma qualifications in certificate exams, and do not need to pass any particular drama-related subjects level in order to proceed to a higher level. ◗ English language qualifications Theory exams are available from Grade 1 to support learners ◗ Teaching English qualifications to develop their understanding of the technical language ◗ Arts Award (only available in certain countries) of music. However, no theory qualifications or other prerequisites are required to enter graded or certificate Specifications for all these qualifications can be downloaded exams at any level. Find more information about theory from trinitycollege.com exams at trinitycollege.com/theory

5 Introduction to Trinity’s graded music exams

Table showing music qualifications available

RQF* EQF** Classical Rock Theory Solo Group Level Level & Jazz & Pop & Written Certificates† Certificates†

7 7 FTCL

6 6 LTCL LMusTCL

ATCL AMusTCL 4 5 Certificate for Music Educators (Trinity CME)

Grade 8 Grade 8 Grade 8 Advanced Advanced

3 4 Grade 7 Grade 7 Grade 7

Grade 6 Grade 6 Grade 6

Grade 5 Grade 5 Grade 5 Intermediate Intermediate 2 3 Grade 4 Grade 4 Grade 4

Grade 3 Grade 3 Grade 3 Foundation Foundation

1 2 Grade 2 Grade 2 Grade 2

Grade 1 Grade 1 Grade 1

Entry 1 Initial Initial Level 3

* Regulated Qualifications Framework ** European Qualifications Framework † Not RQF or EQF regulated

REGULATED TITLES AND QUALIFICATION NUMBERS FOR GRADED MUSIC EXAMS

Title Qualification number Initial TCL Entry Level Award in Graded Examination in Music Performance (Entry 3) (Initial) 601/0812/5 Grade 1 TCL Level 1 Award in Graded Examination in Music Performance (Grade 1) 501/2042/6 Grade 2 TCL Level 1 Award in Graded Examination in Music Performance (Grade 2) 501/2041/4 Grade 3 TCL Level 1 Award in Graded Examination in Music Performance (Grade 3) 501/2043/8 Grade 4 TCL Level 2 Certificate in Graded Examination in Music Performance (Grade 4) 501/2044/X Grade 5 TCL Level 2 Certificate in Graded Examination in Music Performance (Grade 5) 501/2045/1 Grade 6 TCL Level 3 Certificate in Graded Examination in Music Performance (Grade 6) 501/2097/9 Grade 7 TCL Level 3 Certificate in Graded Examination in Music Performance (Grade 7) 501/2098/0 Grade 8 TCL Level 3 Certificate in Graded Examination in Music Performance (Grade 8) 501/2099/2

6 Learning outcomes and assessment criteria Learning outcomes and assessment criteria Learning outcomes and assessment criteria

INITIAL–GRADE 3 (Initial = RQF Entry Level 3, Grades 1–3 = RQF Level 1) Learning outcomes Assessment criteria The learner will: The learner can: 1. 1.1 Apply skills, knowledge and understanding to present performances that demonstrate Perform music in a variety of careful preparation, musical awareness and the beginning of thoughtful interpretation styles set for the grade 1.2 Perform with general security of pitch and rhythm, and with attention given to dynamics and articulation 1.3 Maintain a reasonable sense of continuity in performance and convey the mood of music in a variety of styles 2. Demonstrate technical ability 2.1 Demonstrate familiarity with the fundamentals of vocal command through responding to 2.2 Demonstrate technical control and facility within set tasks set technical demands

3. Respond to set 3.1 Recognise and respond to simple elements of music in a practical context musicianship tests 3.2 Demonstrate basic aural and musical awareness

GRADES 4–5 (RQF Level 2) Learning outcomes Assessment criteria The learner will: The learner can: 1. 1.1 Support their intentions in musical performance Perform music in a variety of styles 1.2 Demonstrate an understanding of music that allows a degree of personal set for the grade interpretation in performance 1.3 Perform with general accuracy, technical fluency and musical awareness to convey musical character in a variety of styles 2. Demonstrate technical ability 2.1 Demonstrate a developing vocal command through responding to 2.2 Demonstrate technical control and facility within set tasks set technical demands 3. Respond to set musicianship tests 3.1 Recognise and respond to elements of music in a practical context 3.2 Demonstrate aural and musical awareness

GRADES 6–8 (RQF Level 3) Learning outcomes Assessment criteria The learner will: The learner can: 1. 1.1 Integrate their musical skills, knowledge and understanding in performance Perform music in a variety of styles 1.2 Present secure and sustained performances that demonstrate some stylistic set for the grade interpretation 1.3 Perform with general accuracy, technical fluency and musical awareness to communicate musically in a variety of styles 2. Demonstrate technical ability 2.1 Demonstrate vocal command through responding to 2.2 Demonstrate technical control across the full compass of the voice within set technical demands set tasks

3. Respond to set musicianship tests 3.1 Recognise and respond to musical features in a practical context 3.2 Demonstrate musical and stylistic awareness 7 About the exam About the exam

Each exam has three core components: songs, technical work and supporting tests. There are slightly different requirements depending on the level of the exam.

SONGS TECHNICAL WORK SUPPORTING TESTS Choose three or four songs, depending Choose vocal exercises, Vaccai A combination of sight reading, aural, on the grade. exercise(s) or unaccompanied folk song. improvisation and musical knowledge — depending on grade and candidate choice.

SONGS INITIAL–GRADE 5: 66 MARKS TECHNICAL WORK GRADES 6–8: INITIAL–GRADE 5: 68 MARKS 14 MARKS GRADES 6–8: 12 MARKS

SUPPORTING TESTS 20 MARKS

EXAM STRUCTURE AND MARK SCHEME

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

SONG 1 22 SONG 1 17

SONG 2 22 SONG 2 17

SONG 3 22 SONG 3 17

TECHNICAL WORK 14 SONG 4 17 ONE of the following: TECHNICAL WORK 12 ◗ Vocal exercises ◗ Vaccai exercise ONE of the following: ◗ ◗ Unaccompanied folk song Vocal exercises ◗ Vaccai exercise(s) 20 SUPPORTING TESTS ◗ Unaccompanied folk song Any TWO of the following: SUPPORTING TEST 1 10 ◗ Sight reading ◗ ◗ Aural Sight reading ◗ Improvisation SUPPORTING TEST 2 10 ◗ Musical knowledge ONE of the following: ◗ Aural TOTAL 100 ◗ Improvisation

TOTAL 100

8 About the exam

ORDER OF THE EXAM Candidates can choose the order of the components of their exam, and should indicate their preferred order on the appointment form. This should be given to the examiner at the start of the exam. If no preference is indicated the examiner will ask to hear songs first, followed by technical work and supporting tests.

EXAM DURATIONS Exams are designed to include sufficient time for setting up and presenting all components, and overall durations are as follows: About the exam Initial Grade 1 Grade 2 11 mins 13 mins 13 mins

Grade 3 Grade 4 Grade 5 13 mins 18 mins 18 mins

Grade 6 Grade 7 Grade 8 23 mins 23 mins 28 mins

9 Exam guidance: Songs Exam guidance: Songs

◗ Songs that are indicated as (F) or (M) have been identified as being more suitable for either female or male candidates. However, this information is provided as guidance only, and candidates may choose to ignore it. ◗ All songs may be performed in any key, published or transposed, except for items in the opera, operetta & oratorio section of group A, which must be sung in the published key. Songs in this group written before 1750 SONGS may be performed at Baroque pitch (one semitone lower). ◗ In group A, where songs are grouped by voice type, candidates must observe the specified voice type and key except where established performance precedent allows for a different voice type or key. ◗ Candidates may perform an own composition in place of one of the listed songs (see page 11).

RANGES AND KEYS CHOOSING SONGS ◗ Ranges and keys are given alongside each song. Candidates perform three or four songs in their exam, Where several versions of a song are available, the highest chosen as follows: is listed first, with keys of lower versions following in square brackets. Alternatives to highest or lowest notes Initial–Grade 5 are shown in parentheses. Pitch notation used for ranges follows the Helmholtz system: ◗ Candidates perform three songs, chosen from the list(s). ◗ Except at Initial, songs are divided into groups based on style and genre. No more than TWO songs may be 

chosen from any one group. There are no compulsory     song groups.  ◗ Candidates may not perform more than one song by C c c’ c’’ c’’’ the same composer. ◗ Songs may be translated into English, or sung in any PERFORMANCE AND INTERPRETATION other published singing translation. ◗ Candidates should prepare all songs in full unless ◗ Songs that are indicated as (F) or (M) have been particular verses are specified. identified as being more suitable for either female or ◗ All da capo and dal segno instructions should be observed. male candidates. However, this information is provided ◗ All tempo and performance markings should be observed as guidance only, and candidates may choose to ignore it. (eg allegro, rall., cresc.). Metronome marks are given as a ◗ All songs may be performed in any key, published guide but do not need to be observed exactly, as long as or transposed. the style and character of the song is maintained. ◗ Candidates may perform an own composition in place of one of the listed songs (see page 11). MEMORY ◗ Candidates may perform any or all of their songs Grades 6–8 from memory, which may improve note security and ◗ Candidates perform four songs, chosen from the lists. confidence. Although this is not compulsory and no ◗ Songs are divided into groups based on style and genre. additional marks are given for this, over-reliance on the No more than TWO songs may be chosen from any one score may inhibit communication and this can be reflected group. At least ONE song must be chosen from group A. in the marks awarded. ◗ Candidates may not perform more than one song by the same composer. ACCOMPANIMENTS AND PAGE TURNS ◗ Songs must be sung in the original language unless ◗ Candidates are responsible for providing their own otherwise stated. accompanists and may not accompany themselves, unless they are performing an own composition. ◗ Programmes must include at least TWO living languages (ie not Latin). This may include English. ◗ Songs published with an accompaniment may not be performed unaccompanied.

10 Exam guidance: Songs

◗ Accompaniments must be performed as printed, without ◗ In accordance with the MPA’s Code of Fair Practice, giving additional help to the candidate (for example by candidates must produce original copies of all songs doubling the vocal line). to be performed at the exam, even if songs have been ◗ Accompaniments on instruments other than piano, memorised, handwritten or typeset. Songs where no for example guitar or lute, must be approved by original copy has been provided might be awarded Trinity before the day of the exam. Please note that no marks. non-piano accompaniments can be approved only if ◗ If candidates are performing songs that are not in musically appropriate (eg where the published piano Trinity’s graded repertoire books, they will need to accompaniment is an arrangement of a part written for provide a photocopy as a reference for the examiner. a different instrument). In all cases, accompaniment Photocopies will be kept by the examiner and destroyed must be provided on a single instrument. after the exam. Our examiners will have a copy of the ◗ Where accompaniments feature long introductions or repertoire contained in Trinity’s graded books. endings, these should be shortened if possible in a way ◗ Where music has been downloaded, candidates must that is musically appropriate. bring proof of purchase or details of the website where ◗ Difficult page turns may be overcome by photocopying the it was accessed for the examiner’s reference. relevant pages. Page turners may assist the accompanist at Grades 6–8. OWN COMPOSITION ◗ Accompanists and their page turners may only remain in ◗ Candidates can choose to perform an own composition the exam when required. as one of their songs. Own composition songs will ◗ Candidates may use a backing track or recording of be assessed in the same way as the listed repertoire. Exam guidance: Songs the piano accompaniment in exams up to and including Marks are not awarded for the quality of the composition. Grade 3. From Grade 4 onwards the accompaniment must ◗ Own compositions must be comparable in technical and be performed live in the exam. [Please note that although musical demand to the songs listed for the same grade. all Trinity’s graded repertoire books for singing contain backing track CDs, these may only be used in exams up to ◗ Own compositions may be accompanied or unaccompanied. and including Grade 3.] ◗ For the own composition option only, candidates may ◗ Recorded accompaniments need not be commercial accompany themselves. products, but must be of a good quality and must not ◗ A translation should be provided if the song includes change the difficulty of the song (eg by including the vocal lyrics in a language other than English. line where it is not included in the piano accompaniment). ◗ A typeset or handwritten copy of the composition must ◗ Where recorded accompaniments are used, candidates be given to the examiner at the beginning of the exam. must provide and operate their own playback equipment. At Initial to Grade 5, own compositions may be notated Equipment must produce a good sound quality at an in any easily readable form, including graphic score or adequate volume. Contact should be made with the centre lead-sheet. At Grades 6–8 they must be notated on a well in advance to confirm the arrangements (power stave. Marks will be deducted if notation is incomplete supply, equipment insurance, etc), which must be agreed or inaccurate, or if the performance varies significantly with Trinity’s local representative. All electrical devices from the notation. must comply with health and safety requirements in the ◗ Own compositions should be candidates’ own unaided country where the exam is taking place. work, although teachers may offer guidance as necessary.

MUSIC AND COPIES OBTAINING MUSIC FOR THE EXAM ◗ Candidates should obtain the music for their exam in good ◗ Trinity’s graded repertoire books can be ordered at time before entering for the exam, and they must bring it trinitycollege.com/shop or your local music shop. with them on the day of the exam. Vocal Exercises and Sing Musical Theatre books are ◗ We publish selected repertoire in our graded repertoire available, as well as sight reading and aural test books. books. Recommended editions for other songs are listed See page 80 for more information. in this syllabus, but candidates may perform from any ◗ Details of the publishers listed in this syllabus can be reliable edition that has not been shortened or otherwise found on page 79. simplified. Editions containing inauthentic performance directions are not acceptable. If a particular edition must ◗ Non-UK publishers may have different local agents in be used, this is indicated in the syllabus. Product codes for other parts of the world who may be able to supply publications are included where available. music more easily or quickly. Please contact the publishers directly for details. ◗ We take copyright infringement seriously and require candidates to ensure their music comes from a legitimate ◗ Trinity cannot guarantee that music will always be in source. Guidelines are available in the UK Music Publishers stock with local suppliers. Candidates and teachers should Association’s Code of Fair Practice, available at always check with the publisher before it is assumed that mpaonline.org.uk. Candidates must comply with copyright any item has gone out of print. and other intellectual property laws in the country where the exam is taking place. 11 Exam guidance: Technical work Exam guidance: Technical work

VACCAI EXERCISE(S) The Vaccai exercises focus on strengthening the core of the voice, developing confidence in managing intervals and encouraging clarity and accuracy of articulation and diction in the Italian language.

◗ Vaccai exercises must be performed from memory. TECHNICAL ◗ They must be sung in Italian. WORK ◗ They may be sung in any key, either published or transposed. ◗ The piano accompaniment for the exercise(s) should be provided by the candidate’s accompanist. ◗ Candidates may use a backing track or recording of the piano accompaniment in exams up to and including Grade 3. Backing tracks must be of a good quality and must not change the difficulty of the exercise (eg by including the vocal line where it is not included in the This section of the exam is designed to build an assured piano accompaniment). From Grade 4 onwards the vocal proficiency by developing specific skills progressively accompaniment must be performed live in the exam. through the grades. Each option also encourages musical UNACCOMPANIED FOLK SONG and expressive singing, as the techniques are embedded within pieces of music which have words that need to be The unaccompanied folk songs focus on control of pitch communicated effectively. and pulse, ensuring that key centre and flow are maintained while conveying a specific story, character or mood. Candidates choose one of the following three options: ◗ ◗ Vocal exercises (accompanied) Unaccompanied folk songs must be performed from memory. ◗ Vaccai exercise(s) (accompanied) ◗ They may be sung in any key, either published ◗ Unaccompanied folk song or transposed.

VOCAL EXERCISES ◗ Key chords and starting notes may be provided by candidates themselves, or by their accompanists. Trinity’s vocal exercises focus on the mastery of pitching ◗ Candidates must use the version from The Language of accuracy and dynamic gradation, rhythmic precision and Folk specified for the grade. Own choice unaccompanied careful diction, with a contemporary feel to the language folk songs are not permitted. and musical idiom. Further information about specific technical work ◗ Candidates should perform all three exercises listed for the requirements for each grade is given in the relevant grade (a. pitch and tone, b. rhythm, c. diction). sections of this syllabus. ◗ Vocal exercises must be performed from memory. ◗ They may be sung in any key, either published or transposed. If candidates are performing transposed versions, each exercise must be transposed by the same interval. ◗ The piano accompaniment for the exercises should be provided by the candidate’s accompanist. ◗ Candidates may use a backing track or recording of the piano accompaniment in exams up to and including Grade 3. Backing tracks must be of a good quality and must not change the difficulty of the exercise (eg by including the vocal line where it is not included in the piano accompaniment). From Grade 4 onwards the accompaniment must be performed live in the exam.

12 Exam guidance: Supporting tests Exam guidance: Supporting tests

SIGHT READING This test assesses candidates’ ability to perform a previously unseen musical extract, at a level approximately two grades lower than the exam being taken. Our sight reading pieces are designed to be musically intuitive and natural, preparing candidates for performance contexts. At all grades, the test is accompanied by the examiner at the SUPPORTING piano, and includes a short introduction. TESTS Candidates are given 30 seconds to study the test before performing it, during which time they may practise any or all of it aloud (unaccompanied). The tonic chord and starting note are given at the start of this period, and candidates may ask the examiner to re-sound the starting note at any time during the 30 seconds. The examiner will not mark this preparation period. The examiner gives the tonic chord and starting note one This section of the exam supports the development of more time before playing the introduction. As no lyrics broader musical skills by assessing candidates in two are given, candidates may sing with any appropriate vowel different supporting tests. sound or use tonic (relative) sol-fa. Higher and lower voice options are available from Grade 4 onwards. At Grades 6–8, Exam guidance: Technical work At Initial to Grade 5, candidates choose two supporting tests candidates may choose to read the test in either treble or from four options: bass clef. ◗ Sight reading Examples of sight reading tests may be found in Trinity’s ◗ Aural Sound at Sight series, available from trinitycollege.com/shop ◗ Improvisation or from your local music shop. ◗ Musical knowledge Technical expectations for the tests are given in the table on At Grades 6–8, all candidates are assessed in sight reading, the next page. Lists are cumulative, meaning that tests may and choose either aural or improvisation for their second also include requirements from lower grades. supporting test.

This flexibility is designed to allow candidates to demonstrate Exam guidance: Supporting tests their musical skills in different ways, while recognising that sight reading is an important skill at higher grades.

13 Exam guidance: Supporting tests

PARAMETERS FOR SIGHT READING TESTS

Keys and Time Note and Dynamics ranges* signatures* rest values* and tempi* Articulation* Other*

C major, moderato, by step and Initial major/minor 6th and major triad only q h mff legato, simple small intervals G major, phrasing including leaps to Grade 1 and minor 7th w (using breath dominant above marks or slurs) and below

Grade 2 A minor and ties allegretto h.

F major, , and Grade 3 D melodic minor, e Œ andante leaps of a sixth octave

D and Bb major, p, f, dim. and some chromatic Grade 4 and E minor q. ‰ cresc. notes

modulation, A and Eb major, , and rall., accel., x  leaps of a Grade 5 B and G minor, dotted a tempo, seventh major/minor 9th notes pause or an octave

progressive any common introduction Grade 6 F# and C minor terms and of chromatic signs intervals

E and Ab major, Grade 7 C# and F minor, triplets major/minor 10th

B and Db major, , G# and Bb minor & changing Grade 8 duplets (incl. double time sharps and flats) signatures

14 * Cumulative — tests may also include requirements from preceding grade(s) Exam guidance: Supporting tests

AURAL ◗ The candidate is then given 30 seconds’ preparation This test supports the development of candidates’ abilities time, during which they may prepare for their in musical perception and understanding by requiring the improvisation aloud. candidate to recognise musical features by ear (for example ◗ The test then follows. The examiner plays the stimulus metre and pulse, pitch, performance characteristics). again, and the candidate joins after the introduction, improvising for the specified number of repeats. All questions are based on a single musical example played The candidate should aim to improvise in a way that at the piano by the examiner. At most grades, candidates complements the musical style of the stimulus. are asked to describe various features of the music such as dynamics, articulation, texture and style. Candidates are not Motivic stimulus required to sing. This option requires the candidate to improvise solo in Practice tests can be found in Trinity’s Aural Tests from 2017 response to a short melodic fragment. books, available from trinitycollege.com/shop or from your local music shop. ◗ The candidate is given a notated melodic fragment, which the examiner plays twice on the piano for the IMPROVISATION candidate’s reference. ◗ Improvisation can develop creative musicianship skills that The candidate is then given 30 seconds’ preparation unlock a variety of musical styles and technical ability. Our time, during which they may prepare for their tests are designed to introduce teachers and candidates improvisation aloud. to improvisation gradually, creatively and with a range of ◗ The test then follows. The candidate should aim to supporting resources. improvise within the specified duration range and may begin by quoting the stimulus directly, developing This test assesses candidates’ ability to improvise fluently, their improvisation from there. However, they are not coherently and creatively in response to a musical Exam guidance: Supporting tests required to quote the stimulus directly, and may instead stimulus. Candidates choose a stimulus from the following develop their improvisation from ideas taken from the three options, indicating their choice of stimulus on the stimulus such as a small group of notes or an interval. appointment form: Responses must use the given time signature. ◗ Stylistic ◗ Motivic Harmonic stimulus ◗ Harmonic This option requires the candidate to improvise solo in Further guidance and example tests are available at response to a chord sequence. trinitycollege.com/supportingtests ◗ The candidate is given a notated chord sequence, including chord symbols, which the examiner plays twice Stylistic stimulus on the piano for the candidate’s reference. This option requires the candidate to improvise over a ◗ The candidate is then given 30 seconds’ preparation notated piano part played by the examiner. time, during which they may prepare for their improvisation aloud. ◗ The candidate is given a stimulus that includes the notated piano part and chord symbols. The stimulus begins with ◗ The test then follows. The candidate should improvise a two-bar introduction played by the examiner alone, for the specified number of repeats, following the followed by a further section over which the candidate chord sequence. Responses should contain melodic/ must improvise for a specified number of repeats. rhythmic interest. ◗ The examiner plays the stimulus twice for the candidate’s reference, without repeats. Parameters Technical expectations for the tests are given in the tables on the next page. Lists are cumulative, meaning that tests may also include requirements from lower grades.

15 Exam guidance: Supporting tests

Stylistic stimulus Initial Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

Length of introduction 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars

Length of improvised 4 bars 4 bars 4 bars 4 bars 4 bars 4 bars 8 bars 8 bars 8 bars section

Times improvised section 1 2 2 2 3 3 2 2 2 is played

Total to improvise 4 bars 8 bars 8 bars 8 bars 12 bars 12 bars 16 bars 16 bars 16 bars

Time signatures*

D and Bb major/ Keys* C major F and G major A minor G and B minor A and Eb major F# and C minor E and Ab major C# and F minor D and E minor

Number of chords per bar 1 1 1 1 1 up to 2 up to 2 up to 2 up to 2

I, ii, IV, V, vi I, ii, iii, IV, V, vi all chords I, IV, V I, ii, IV, V I, ii, IV, V I, ii, IV, V, vi Chords I, V I, V i, iib5, iv, V, VI i, iib5, III, iv, V, VI 7ths, 9ths, i, iv, V i, iib5, iv, V i, iib5, iv, V i, iib5, iv, V, VI 7ths 7ths suspensions

impressionistic/ Styles/speeds* march/lullaby fanfare/moderato tango/andante waltz/allegretto adagio/allegro grazioso/vivace agitato/nocturne gigue/grave irregular dance

Motivic stimulus Initial Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

Length of stimulus 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 1 bar 1 bar 1 bar

Length of response 4–6 bars 4–8 bars 6–8 bars 6–8 bars 8–12 bars 8–12 bars 12–16 bars 12–16 bars 12–16 bars

Time signatures*

Rhythmic features* minims, crotchets quavers dotted notes ties syncopation semiquavers triplets, duplets

Articulation* staccato accents slurs acciaccaturas sfz

minor 6th, augmented 4th, minor 7th, Intervals* up to minor 3rd major 3rd perfect 4th perfect 5th octave all up to major 10th major 6th diminished 5th major 7th

D and Bb major, Keys* C major F and G major A minor G and B minor A and Eb major F# and C minor E and Ab major C# and F minor D and E minor

Harmonic stimulus Initial Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

Length of chord sequence 4 bars 4 bars 4 bars 4 bars 4 bars 4 bars 8 bars 8 bars 8 bars

Times chord sequence 1 2 2 2 3 3 2 2 2 is played

Total to improvise 4 bars 8 bars 8 bars 8 bars 12 bars 12 bars 16 bars 16 bars 16 bars

Number of chords per bar 1 1 1 1 1 1 1 1 1

I, ii, IV, V I, ii, iii, IV, V, vi all chords Chords I, V I, V I, IV, V I, ii, IV, V i, iv, V i, iv, V, VI i, iib5, iv, V i, iib5, III, iv, V, VI 7ths, 9ths, 7ths 7ths suspensions

C, F, G, Bb, D, Eb, A major Keys C major C, F, G major A, D, E, G, B minor A, D, E, G, B, C, F# minor

16 * Cumulative — tests may also include requirements from preceding grade(s) Exam guidance: Supporting tests

Initial Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

Length of introduction 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars

Length of improvised 4 bars 4 bars 4 bars 4 bars 4 bars 4 bars 8 bars 8 bars 8 bars section

Times improvised section 1 2 2 2 3 3 2 2 2 is played

Total to improvise 4 bars 8 bars 8 bars 8 bars 12 bars 12 bars 16 bars 16 bars 16 bars

Time signatures*

D and Bb major/ Keys* C major F and G major A minor G and B minor A and Eb major F# and C minor E and Ab major C# and F minor D and E minor

Number of chords per bar 1 1 1 1 1 up to 2 up to 2 up to 2 up to 2

impressionistic/ Styles/speeds* march/lullaby fanfare/moderato tango/andante waltz/allegretto adagio/allegro grazioso/vivace agitato/nocturne gigue/grave irregular dance Exam guidance: Supporting tests

Initial Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

Length of stimulus 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 1 bar 1 bar 1 bar

Length of response 4–6 bars 4–8 bars 6–8 bars 6–8 bars 8–12 bars 8–12 bars 12–16 bars 12–16 bars 12–16 bars

Time signatures*

Rhythmic features* minims, crotchets quavers dotted notes ties syncopation semiquavers triplets, duplets

Articulation* staccato accents slurs acciaccaturas sfz

minor 6th, augmented 4th, minor 7th, Intervals* up to minor 3rd major 3rd perfect 4th perfect 5th octave all up to major 10th major 6th diminished 5th major 7th

D and Bb major, Keys* C major F and G major A minor G and B minor A and Eb major F# and C minor E and Ab major C# and F minor D and E minor

Initial Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

Length of chord sequence 4 bars 4 bars 4 bars 4 bars 4 bars 4 bars 8 bars 8 bars 8 bars

Times chord sequence 1 2 2 2 3 3 2 2 2 is played

Total to improvise 4 bars 8 bars 8 bars 8 bars 12 bars 12 bars 16 bars 16 bars 16 bars

Number of chords per bar 1 1 1 1 1 1 1 1 1

I, ii, IV, V I, ii, iii, IV, V, vi all chords Chords I, V I, V I, IV, V I, ii, IV, V i, iv, V i, iv, V, VI i, iib5, iv, V i, iib5, III, iv, V, VI 7ths, 9ths, 7ths 7ths suspensions

C, F, G, Bb, D, Eb, A major Keys C major C, F, G major A, D, E, G, B minor A, D, E, G, B, C, F# minor

17 Exam guidance: Supporting tests

MUSICAL KNOWLEDGE (Initial–Grade 5 only) This test encourages learners to understand the wider musical context of the songs they perform, as well as their knowledge of notation and the voice. The examiner will ask carefully graded questions based on the candidate’s chosen songs. Questions refer to the vocal line only. In the exam, candidates choose which song they would like to be asked about first. The examiner then chooses a second song for the remaining questions. Candidates’ musical scores should be free of annotations which might aid their responses. The examiner usually points to the relevant part of the score when asking questions. Candidates can use American terms (eighth note, half note, etc) as an alternative to English terms (quaver, minim, etc). The following table gives example questions and responses:

Parameters* Sample question Sample answer

Pitch names What is the pitch name of this note? G

Note durations How many beats are there for this note? Two

Initial Clefs, stave, barlines What is this sign? A treble clef Identify key/time signatures What is this called? A time signature

Basic musical terms and signs What is this called? A pause mark

Note values What is this note value? A quaver

Explain key/time signatures What does 4 mean? Four crotchet beats in a bar

Grade 1 Notes on ledger lines What is the name of this note? Bb Musical terms and signs What is the meaning of da capo? Go back to the start

Sound production Where is the sound produced when you sing? Larynx (voice box)

Metronome marks, grace notes Explain the sign d = 72 72 crotchet beats per minute and ornaments

Grade 2 Intervals (numerical only) What is the interval between these notes? A 3rd Show how you would support the breath Basic posture Candidate demonstrates when singing

Relative major/minor What is the relative major/minor of this song? D minor

Scale/arpeggio pattern What pattern of notes do you see here? A scale Grade 3 How might you warm up in preparation for Warm up Sustaining long breaths performing this song?

Modulation to closely related keys What key does this music change to? A minor

Tonic/dominant triads Name the notes of the tonic triad C, E, G

Grade 4 Intervals (full names) What is the interval between these notes? Perfect 5th

Show me the most challenging part of this Here [candidate indicates], Technical challenges song and tell me why because of the awkward leaps

Candidate identifies style of song and Musical style Comment on the style of this song gives examples of stylistic features Candidate suggests a musical How does this song reflect the period in Musical period period and gives examples of which it was written? Grade 5 how the music reflects this Candidate describes form of song Musical structures Describe the form of this song and identifies relevant sections

Subdominant triads Name the notes of the subdominant triad F, A, C

18 * Cumulative — tests may also include requirements from preceding grade(s) Exam guidance: Marking Exam guidance: Marking

HOW THE EXAM IS MARKED Marks are awarded for these components to form a The examiner gives comments and marks for each section maximum total mark for each song as follows: of the exam, up to the maximums listed in the table on Initial–Grade 5: Grades 6–8: page 8. It is not necessary to pass all sections or any max. mark for max. mark for particular section in order to achieve a pass overall. The each song each song Component total mark for the exam corresponds to different attainment levels as follows: 7 5 FLUENCY & ACCURACY 7 5 TECHNICAL FACILITY Overall mark Attainment level COMMUNICATION 8 7 87–100 DISTINCTION & INTERPRETATION 75–86 MERIT TOTAL MARK FOR 22 17 60–74 PASS EACH SONG

45–59 BELOW PASS 1 Total marks awarded for songs correspond to the attainment levels as follows: 0–44 BELOW PASS 2 Initial–Grade 5: Grades 6–8: HOW THE SONGS ARE MARKED total mark for total mark for each song each song Attainment level Each song is awarded three separate marks corresponding to three specific musical components, allowing candidates 19–22 16–17 DISTINCTION to receive precise feedback about specific aspects of their 16–18 13–15 MERIT performance. These marks combine to give an overall mark for the song. 13–15 10–12 PASS

The three components are: 10–12 7–9 BELOW PASS 1

Fluency & accuracy 3–9 3–6 BELOW PASS 2 The ability to perform fluently, with a stable pulse and with an accurate realisation of the notation.

Technical facility Exam guidance: Marking The ability to control the voice effectively, covering the various technical demands of the music. Communication & interpretation The interpretation of the music and the way the performance conveys a sense of stylistic understanding and audience engagement.

19 Exam guidance: Marking

HOW THE SONGS ARE MARKED Examiners use the criteria below to decide on the mark. Marks in square brackets relate to Grades 6–8.

Fluency 7 MARKS [5 MARKS] 6 MARKS [N/A] 5 MARKS [4 MARKS] 4 MARKS [3 MARKS] 3 MARKS [2 MARKS] 1–2 MARKS [1 MARK] & accuracy An excellent sense of fluency A very good sense of fluency A good sense of fluency though A generally reliable sense of fluency Only a limited sense of fluency with Little or no sense of fluency — control with secure control of pulse and with only momentary with occasional inconsistencies though with some inconsistencies a lack of basic control of pulse and of pulse and rhythm not established. rhythm. A very high degree of insecurities in control of pulse in control of pulse and rhythm. and stumbles in the control of pulse rhythm. Accuracy in notes sporadic, Accuracy in notes very limited with accuracy in notes. and rhythm. A high degree A good degree of accuracy and rhythm. A reasonable degree of with errors becoming intrusive. many errors of substance. of accuracy in notes — slips in notes despite some slips. accuracy in notes despite a number not significant. of errors.

Technical 7 MARKS [5 MARKS] 6 MARKS [N/A] 5 MARKS [4 MARKS] 4 MARKS [3 MARKS] 3 MARKS [2 MARKS] 1–2 MARKS [1 MARK] facility The various technical demands The various technical demands The various technical demands The various technical demands of the The technical demands of the music Many or all of the technical demands of the music fulfilled to a very of the music fulfilled with only of the music fulfilled for the music generally managed despite some often not managed. The performance of the music not managed. Significant high degree. An excellent level momentary insecurities. A most part. A good level of inconsistencies. A basic level of tone lacks a basic level of tone control. flaws in tone control. of tone control. very good level of tone control tone control though with control despite some insecurity. despite minimal blemishes. occasional lapses.

Communication 8 MARKS [7 MARKS] 7 MARKS [6 MARKS] 6 MARKS [5 MARKS] 5 MARKS [4 MARKS] 3–4 MARKS [2–3 MARKS] 1–2 MARKS [1 MARK] & interpretation An excellent level of stylistic A very good level of stylistic A good level of stylistic A reasonable level of stylistic Stylistic understanding generally Stylistic understanding not apparent understanding with keen understanding with most understanding though understanding though some lacking with limited realisation of with little or no realisation of attention to performance details. performance details realised. occasional performance details performance details omitted. performance details. Communication performance details. Communication Highly effective communication Effective communication and omitted. Communication and Communication and interpretation and interpretation inconsistent. and interpretation ineffective. and interpretation. interpretation overall. interpretation mostly effective. basically reliable though with some lapses.

20 Exam guidance:Header Marking Right

HOW THE SONGS ARE MARKED Examiners use the criteria below to decide on the mark. Marks in square brackets relate to Grades 6–8.

21 Exam guidance: Marking

HOW TECHNICAL WORK IS MARKED Examiners use the criteria below to decide on the mark. Marks in square brackets relate to Grades 6–8.

DISTINCTION MERIT PASS BELOW PASS 1 BELOW PASS 2 13–14 MARKS [11–12 MARKS] 11–12 MARKS [9–10 MARKS] 9–10 MARKS [7–8 MARKS] 6–8 MARKS [5–6 MARKS] 1–5 MARKS [1–4 MARKS] An excellent or very good sense of fluency and accuracy. A good sense of fluency and accuracy with occasional errors. A generally reliable sense of Limited or very limited fluency Little or no sense of fluency and A very high degree of technical control. A good degree of technical control. fluency and accuracy despite a and accuracy with errors accuracy with many errors. number of errors. becoming intrusive. Keen attention to performance details and musical character. Good attention to performance details and musical An unreliable degree of character overall. A reasonable degree of technical An inconsistent degree of technical control. control despite some inconsistencies. technical control. Little or no attention to performance Some attention to performance details Limited attention to performance details and musical character. and musical character. details and musical character.

HOW SUPPORTING TESTS ARE MARKED Examiners use the criteria below to decide on the mark.

DISTINCTION MERIT PASS BELOW PASS 1 BELOW PASS 2 9–10 MARKS 8 MARKS 6–7 MARKS 4–5 MARKS 1–3 MARKS

Aural An excellent or very good degree of A good degree of aural perception A generally reliable degree of aural A limited or very limited aural Unreliable aural perception in the aural perception in all aspects. in the majority of aspects. perception in most aspects though perception with some lack of majority or all aspects. Confident and prompt responses. Mostly confident and prompt responses. with some imprecision. precision in most aspects. Very hesitant or uncertain/missing Generally confident and prompt Hesitant or uncertain responses. responses. responses though with occasional hesitation or uncertainty.

Musical knowledge An excellent or very good degree of A good degree of musical knowledge A generally reliable degree of musical A limited or very limited degree of Unreliable musical knowledge in the musical knowledge in all aspects. in the majority of aspects. knowledge in most aspects. musical knowledge in most aspects. majority or all aspects. Confident and prompt responses. Mostly confident and prompt responses. Generally confident and prompt Hesitant or uncertain responses. Very hesitant or uncertain/missing responses though with occasional responses. hesitation or uncertainty.

Improvisation An excellent or very good sense of A good sense of musical structure, A generally reliable sense of musical A limited or very limited sense of Musical structure was only partially musical structure, based on the stimulus, based on the stimulus, delivered with structure, based on the stimulus, musical structure, with little relation or not apparent with no relation delivered with a high level of fluency. a good level of fluency. delivered with a reasonable level of to the stimulus, delivered with some to the stimulus and fluency often A highly creative and imaginative A creative and imaginative response fluency despite occasional lapses. hesitations and stumbles in fluency. compromised. response. overall. Some element of creativity and A lack of creativity and imagination Little or no creativity or imagination imagination in the response. in the response. in the response.

22 Exam guidance:Header Marking Right

HOW TECHNICAL WORK IS MARKED Examiners use the criteria below to decide on the mark. Marks in square brackets relate to Grades 6–8.

HOW SUPPORTING TESTS ARE MARKED Examiners use the criteria below to decide on the mark.

DISTINCTION MERIT PASS BELOW PASS 1 BELOW PASS 2 9–10 MARKS 8 MARKS 6–7 MARKS 4–5 MARKS 1–3 MARKS

Sight reading An excellent or very good sense of A good sense of fluency though with A generally reliable sense of fluency Only a limited sense of fluency Little or no sense of fluency — control fluency with secure control of pulse, occasional inconsistencies in control though with some inconsistencies with a lack of basic control of pulse, of pulse, rhythm and tonality not rhythm and tonality. of pulse, rhythm and tonality. and stumbles in the control of pulse, rhythm and tonality. established. A very high degree of accuracy in A good degree of accuracy in notes rhythm and tonality. Accuracy in notes sporadic with no Accuracy in notes very limited with no notes, with musical detail realised. despite some slips, with some musical A reasonable degree of accuracy in attention to musical detail. attention to musical detail. detail realised. notes despite a number of errors and with little attention to musical detail. Exam guidance: Marking Aural An excellent or very good degree of A good degree of aural perception A generally reliable degree of aural A limited or very limited aural Unreliable aural perception in the aural perception in all aspects. in the majority of aspects. perception in most aspects though perception with some lack of majority or all aspects. Confident and prompt responses. Mostly confident and prompt responses. with some imprecision. precision in most aspects. Very hesitant or uncertain/missing Generally confident and prompt Hesitant or uncertain responses. responses. responses though with occasional hesitation or uncertainty.

23 Initial Initial

EXAM DURATION EXAM STRUCTURE The Initial exam lasts The Initial exam contains the following: 11 minutes. Maximum marks SONG 1 22

SONG 2 22

SONG 3 22

TECHNICAL WORK 14 ONE of the following: ◗ Vocal exercises ◗ Vaccai exercise ◗ Unaccompanied folk song

SUPPORTING TESTS 20 Any TWO of the following: ◗ Sight reading ◗ Aural ◗ Improvisation ◗ Musical knowledge

TOTAL 100

SONGS Candidates perform a balanced programme of three songs, chosen from the list below — see pages 10–11 for guidance. Candidates may not perform more than one song by the same composer. Key; Range Composer Song Suggested edition 1. D; d’–e” ANDERSON To a Baby Brother from Song for a Baby Sister & To a Baby Brother Roberton 75252 2. D; c#’–e” ANDERSON Winter from Trinity Singing Initial Trinity TCL 016805 3. D; c#’–d” BARRATT Elephant from Trinity Singing Initial Trinity TCL 016805 4. G; d’–d” BELYEA Lions Roberton 75334 Whales — Swimming Free [1st and 3rd verses] 5. D; c ’–e” COOMBES Trinity TCL 016805 # from Trinity Singing Initial 6. Dm; d’–c” COURT Korimako, Bellbird from Trinity Singing Initial Trinity TCL 016805 7. Dm; c#’–c” CRAWLEY Food (from Ev’ryday Things) from Trinity Singing Initial Trinity TCL 016805 8. C; c’–c” CRAWLEY Mrs Dinosaur Roberton 75391 The Night the Witches Ride 9. Em; e’–e” CRAWLEY Roberton 75237 from Trick or Treat: Three Songs for Halloween 10. F; c’–c” CRAWLEY The Penguin Dance Roberton 75390 11. G; d’–e” CURWIN My Dog Spot Curwen JC72621 12. Dm; d’–c” GRITZ My Mother Said from Trinity Singing Initial Trinity TCL 016805 13. F; c’–d” HOLDSTOCK Flat as a Pancake from The Bright Umbrella Universal UE 17313 14. C; c’–d” HOLDSTOCK Pancake Calypso from The Bright Umbrella Universal UE 17313 15. Gm; d’–d” HOLDSTOCK The Bright Umbrella from The Bright Umbrella Universal UE 17313

24 = Songs included in the Trinity repertoire book for the grade Initial Initial 16. C; c’–c” HOLDSTOCK The Scarecrow from The Bright Umbrella Universal UE 17313 There is a Green Hill Far Away Canterbury 17. E ; e ’–e ” HORSLEY b b b from Hymns Ancient & Modern New Standard (no. 137) 0907547370 18. Am; e’–c#” LEE Earth Folk from Trinity Singing Initial Trinity TCL 016805 19. E; e’–e” LINDLEY Matthew, Mark, Luke and John Banks BR 197 Big Boats, Small Boats [any 2 verses and choruses] 20. G; d’–d” MARSH Faber 0571522068 from Junior Songscape Earth, Sea and Sky PITT Two Little Men in a Flying Saucer 21. C; c’–e” Trinity TCL 016805 arr. MARSH from Trinity Singing Initial REYNOLDS Morningtown Ride [verses 1 & 4] 22. C; c’–e” Faber 0571526446 arr. MARSH from Junior Songscape Children’s Favourites 23. C; d’–c” RITCHIE Albatross Flying So High from Trinity Singing Initial Trinity TCL 016805 Yesterday’s News (Pardon Our Rubbish!) 24. Bm; b–b’ ROE Thames TH978632 from Songs from the Betty Roe Shows vol. 1 O Come, Little Children A&C Black 25. D; d’–d” SCHULZ from Carol, Gaily Carol 713657944 Doll on a Music Box [1st verse only] (Chitty Chitty Bang Bang) 26. E ; b –c” SHERMAN Alfred ALF31373 b b from Broadway Presents! Kids’ Musical Theatre Anthology Let’s Go Fly a Kite (Mary Poppins) Trinity Faber 27. B ; c ’–d” SHERMAN b # from Any Dream Will Do TCL 011466 The Wonderful Thing about Tiggers Hal Leonard 28. F; c’–c” SHERMAN from The New Illustrated Treasury of Disney Songs HL00313100 Winnie the Pooh Hal Leonard 29. F; c’–b ’ SHERMAN b from The New Illustrated Treasury of Disney Songs HL00313100 30. D; c#’–c” STROGERS Cradle Song from Trinity Singing Initial Trinity TCL 016805 31. C; c’–c” TRAD. Bound for South Australia from Trinity Singing Initial Trinity TCL 016805 Donkey Riding [any 2 verses and choruses — upper line only] Schott ED12948 D; d’–d” 32. TRAD. from Best of Children’s Songs or Novello or F; f’–d” or The National Songbook NOV492393 Kumbayah [any 3 verses and choruses] Music Sales 33. C; c’–a’ TRAD. from The Library of Folk Songs AM961521 34. F; c’–d” TRAD. My Father’s Garden from Trinity Singing Initial Trinity TCL 016805 OUP TRAD. 9780193301559 The Smuggler’s Song 35. E ; d’–e ” arr. APPLEBY (melody), b b from Sing Together! & FOWLER 9780193301566 (piano score) TRAD. Aiken Drum [any 2 verses and choruses — upper line only] 36. G; d’–e” arr. CARSON Schott ED12948 from Best of Children’s Songs TURNER TRAD. There’s a Big Ship Sailing [any 3 verses] 37. F; c’–d” arr. CARSON Schott ED12948 from Best of Children’s Songs TURNER TRAD. Oats and Beans and Barley Grow [omit 2nd verse] 38. D; d’–c” Trinity TCL 016805 arr. DÉDIS from Trinity Singing Initial TRAD. Sur le pont d’Avignon 39. G; d’–d” Trinity TCL 016805 arr. LONG from Trinity Singing Initial TRAD. Good Night Boosey 40. Dm; d’–e” arr. RAO from The Boosey & Hawkes 20th Century Easy Song Collection M060112256 TRAD. arr. Humpty Dumpty 41. D; d’–d” Roberton 72176 ROBERTON from Humpty Dumpty and Shoo Shaggie TRAD. I Know Where I’m Going 42. G; g’–d” Trinity TCL 016805 arr. WRIGHT from Trinity Singing Initial Zip-a-dee-doo-dah (Song of the South) Hal Leonard 43. B ; b –d” WRUBEL b b from The New Illustrated Treasury of Disney Songs HL00313100

= Songs included in the Trinity repertoire book for the grade 25 Initial

Own composition Duration: 0.5 – 1 minute(s) Candidates may perform an own composition instead of one listed song. More information can be found on page 11. Own compositions must be comparable in technical and musical demand to the songs listed for this grade.

TECHNICAL WORK Candidates choose ONE of the following three options (1, 2 or 3), to be performed from memory — see page 12. 1. Vocal exercises Candidates perform the following three exercises: Vocal Exercises a. Sailing (pitch and tone) Trinity TCL 016775 b. Beat the Drum (rhythm) c. Springtime (diction)

2. Vaccai exercise Candidates perform the following exercise, in Italian: Metodo Pratico — Lektion I (The Scale only: Manca sollecita) Peters EP 2073a (high), EP 2073b (medium), EP 2073c (low)

3. Unaccompanied Candidates perform ONE of the following: The Language of Folk 1 folk song a. Three Jolly Fishermen Faber 0-571-53732-4 b. Chiall mo làmh a lùths (My Hand Has Lost Its Power) SUPPORTING TESTS Candidates choose TWO of the following: ◗ Sight reading ◗ Aural ◗ Improvisation ◗ Musical knowledge

1. Sight reading After 30 seconds’ preparation time, candidates perform a previously unseen musical extract at a level lower than the exam being taken, accompanied by the examiner. See page 14 for sight reading parameters.

2. Aural Candidates answer questions based on a single musical example played on the piano by the examiner — see page 15. Parameters Task Requirement

Melody only Listen to the melody three times Clap the pulse on the third playing, stressing the strong beat

4 bars Listen to the melody once Identify the dynamic as forte or piano

Major key Listen to the melody once Identify the articulation as legato or staccato

Listen to the first three notes of the Identify the highest or lowest note melody once

3. Improvisation Candidates perform an improvisation based on a stimulus chosen from the following three options: ◗ Stylistic ◗ Motivic ◗ Harmonic See pages 15–17 for the requirements and parameters.

4. Musical knowledge Candidates answer questions assessing their understanding of the songs performed, as well as their knowledge of notation and the voice. Questions are based on candidates’ chosen songs. See page 18 for example questions and responses.

26 Grade 1 Grade 1

EXAM DURATION EXAM STRUCTURE The Grade 1 exam lasts The Grade 1 exam contains the following:

13 minutes. Maximum marks Grade 1 SONG 1 22

SONG 2 22

SONG 3 22

TECHNICAL WORK 14 ONE of the following: ◗ Vocal exercises ◗ Vaccai exercise ◗ Unaccompanied folk song

SUPPORTING TESTS 20 Any TWO of the following: ◗ Sight reading ◗ Aural ◗ Improvisation ◗ Musical knowledge

TOTAL 100

SONGS Candidates perform a balanced programme of three songs, chosen from the lists below — see pages 10–11 for guidance. No more than two songs may be chosen from any one group. Candidates may not perform more than one song by the same composer. Key; Range Composer Song Suggested edition

Group A: Musical theatre & film

Where Is Love? (Oliver!) Trinity Faber 1. C; c–d’ BART from Any Dream Will Do TCL 011466 Little April Shower (Bambi) Hal Leonard 2. C; b–e’ CHURCHILL from The New Illustrated Treasury of Disney Songs HL00313100 Lavender Blue (So Dear to My Heart) Hal Leonard 3. C; b–d’ DANIEL from The New Illustrated Treasury of Disney Songs HL00313100 DAVID, Cinderella Hal Leonard 4. C; c’–d” HOFFMANN & from Walt Disney’s Cinderella: Vocal Selections HL00359478 LIVINGSTONE I’m Late (Alice in Wonderland) Hal Leonard 5. C; c’–e” FAIN from The New Illustrated Treasury of Disney Songs HL00313100 Once Upon a Dream (Sleeping Beauty) Hal Leonard 6. F; d’–f” FAIN from The New Illustrated Treasury of Disney Songs HL00313100 The Second Star to the Right (Peter Pan) [no repeat] Hal Leonard 7. E ; c’–c” FAIN b from The New Illustrated Treasury of Disney Songs HL00313100 You’ve Got a Friend in Me (Toy Story) Hal Leonard 8. E ; e ’–e ” NEWMAN b b b from Contemporary Disney Songs HL00313169 Edelweiss Hal Leonard 9. B ; d’–c” RODGERS b from The Sound of Music: Vocal Selections HL00312392

27 Grade 1

My Favourite Things (The Sound of Music) Trinity Faber 10. Em; b–c” RODGERS from Any Dream Will Do TCL 011466 So Long, Farewell Hal Leonard 11. C; b–e”(g”) RODGERS from The Sound of Music: Vocal Selections HL00312392 ‘Orrible Little Blue Eyes (The Barnstormers) 12. G; d’–e” ROE Thames TH978632 from Songs from the Betty Roe Shows vol. 1 Truly Scrumptious 13. G; d’–d” SHERMAN Alfred TSF0070 from Chitty Chitty Bang Bang: Musical Selections WELCH/ Summer Holiday 14. F; c’–f” Faber 0571520774 BENNETT from Junior Songscape I Want to be Happy (No, No, Nanette) Trinity Faber 15. C; c’–e” YOUMANS from Wouldn’t It Be Loverly? TCL 011473

Group B: General song repertoire

1. Eb; c’–eb” BAYNON A Shepherd’s Carol Curwen JC72117 Boosey 2. G; d’–d” BENJAMIN Callers M060012822 3. G; d’–d” BRAHMS Marienwürmchen (Ladybird) from Seven Children’s Songs Roberton 75388 4. G; d’–d’’ CARTER One More Step Along the World I Go from Trinity Singing Grade 1 Trinity TCL 016812 5. D; c#’–e” CRAWLEY Little Leprechaun Roberton 75371 6. Gm; d’–eb” CRAWLEY We Can Make a Difference from Trinity Singing Grade 1 Trinity TCL 016812 Daisy Bell [1st verse and chorus only] Novello 7. F; c’–d” DACRE from The National Songbook NOV492393 8. G; d’–e” DAWSON The Magic Night from Trinity Singing Grade 1 Trinity TCL 016812 9. C; c’–d” EXLEY Hop Bird (from Four Small Songs) from Trinity Singing Grade 1 Trinity TCL 016812 10. C; g’–e” FRASER Fishing from Trinity Singing Grade 1 Trinity TCL 016812 G; Cakes (from Just Desserts) 11. HAMILTON Trinity TCL 016812 d’–c”(d”) from Trinity Singing Grade 1 12. D; b–c#” HAMILTON Ice Cream from Just Desserts Sounz 13. C; c’–d” HARRIS My Uncle Rumbold from Trinity Singing Grade 1 Trinity TCL 016812 Loving Shepherd of Thy Sheep (tune: Buckland, no. 134) Canterbury 14. D; c ’–d” HAYNE # from Hymns Ancient and Modern New Standard 0907547370 15. Gm; d’–d” JENKYNS The Crocodile Novello NOV160070 Away in a Manger (tune: Cradle Song, no. 22) Canterbury 16. F; c’–d” KIRKPATRICK from New English Hymnal 0907547516 Albatross (Toroa) [1st and 3rd verses only] 17. Cm; b–c” LENNOX Trinity TCL 016812 from Trinity Singing Grade 1 18. F; c’–e” MARSH Orange and Yellow and Brown from Junior Songscape Faber 0571520774 19. F; c’–d” MARSH Seagull from Trinity Singing Grade 1 Trinity TCL 016812 20. C; b’–c” MARSH The Lighthouse from Junior Songscape Earth, Sea and Sky Faber 0571522068 NEWLY & Gonna Build a Mountain [verses 1, 2 & 3 to be sung to the 21. E ; b –c” Faber 0571518672 b b BRICUSSE melody line — end before key change to E] from Songscape 22. G; d’–e” PARKE Over the Hills and Far Away from Trinity Singing Grade 1 Trinity TCL 016812 23. Ab; eb’–eb” ROBERTON Good Morrow to You, Springtime! Roberton 75019 24. Bb; f’–d” ROBERTON Softly Falls the Shades of Evening Roberton 75019 25. D; d’–d” ROBERTON The Cat and the Fiddle from Trinity Singing Grade 1 Trinity TCL 016812 26. G; d’–e” ROWLEY Candle-light Roberton 75074 27. G; d’–d” ROWLEY The Grandfather Clock from Trinity Singing Grade 1 Trinity TCL 016812 28. A; e’–e” TRAD. arr. ELKIN The Bouquet of Rosemary from Trinity Singing Grade 1 Trinity TCL 016812 TRAD. The Rebel Soldier 29. Bm; a–d” Faber 0571518672 arr. MARSH from Songscape 30. Dm; c’–d’’ WESTCOTT Twinkle, Twinkle, Little Star from Trinity Singing Grade 1 Trinity TCL 016812 28 = Songs included in the Trinity repertoire book for the grade Grade 1

Group C: Folk song

MAGUIRE arr. The Gypsy Rover 1. G; d’–d” Boosey M060087967 HARGEST JONES from Songs of Ireland All Through the Night from The National Novello NOV492393 or 2. G; d’–e” TRAD. Songbook or Songs of Wales Boosey M060087943

My Bonnie Lies Over the Ocean Grade 1 3. B ; d’–d” TRAD. Music Sales AM961521 b from The Library of Folk Songs The Overlander [any 3 verses & choruses] 4. D; b–d” TRAD. Trinity TCL 016812 from Trinity Singing Grade 1 TRAD. arr. Anna Marie OUP 9780193301559 (melody), 5. G; d’–e” APPLEBY & FOWLER from Sing Together! 9780193301566 (piano score) TRAD. arr. Ho-la-hi OUP 9780193301559 (melody), 6. D; d’–e” APPLEBY & FOWLER from Sing Together! 9780193301566 (piano score) Old King Cole [verse 1 and any other TRAD. 7. G; b’–c” two verses — upper line only] Schott ED12948 arr. CARSON TURNER from Best of Children’s Songs TRAD. The Garden Where the Praties Grow 8. G; d’–e” Boosey M060087967 arr. HARGEST JONES [verses 1 and 3 only] from Songs of Ireland TRAD. The Keel Row [any 3 verses] 9. D; a–d” Boosey M060087936 arr. HARGEST JONES from Songs of England TRAD. River Wisla 10. Gm; d’–e ” Novello NOV490383 b arr. I HOLST from Nineteen European Folk Songs TRAD. Spin, Spin 11. D; d’–d” Novello NOV490383 arr. I HOLST from Nineteen European Folk Songs TRAD. arr. Song of the Volga Boatmen 12. Em; c’–e” Dover DP14069 RUBIN & STILLMAN from A Russian Songbook

Own composition Duration: approximately 1 minute Candidates may perform an own composition instead of one listed song. More information can be found on page 11. Own compositions must be comparable in technical and musical demand to the songs listed for this grade.

= Songs included in the Trinity repertoire book for the grade 29 Grade 1

TECHNICAL WORK Candidates choose ONE of the following three options (1, 2 or 3), to be performed from memory — see page 12. 1. Vocal exercises Candidates perform the following three exercises: Vocal Exercises a. Spooky! (pitch and tone) Trinity TCL 016775 b. Riding the Waves (rhythm) c. Swallows Flying (diction)

2. Vaccai exercise Candidates perform the following exercise, in Italian: Metodo Pratico — Lektion I no. 2 (Skips of Thirds only: Peters EP 2073a (high), EP 2073b Semplicetta tortorella) (medium), EP 2073c (low)

3. Unaccompanied Candidates perform ONE of the following: The Language of Folk 1 folk song a. Ally Bally Bee (Coulter’s Candy) [verses 1 and 4] Faber 0-571-53732-4 b. Nelson’s Blood (Roll the Old Chariot Along) [verse 1, chorus, verse 2, chorus] SUPPORTING TESTS Candidates choose TWO of the following: ◗ Sight reading ◗ Aural ◗ Improvisation ◗ Musical knowledge

2. Aural Candidates answer questions based on a single musical example played on the piano by the examiner — see page 15. Parameters Task Requirement

Melody only Listen to the melody three times Clap the pulse on the third playing, stressing the strong beat

4 bars Listen to the melody once i) Identify the dynamic as forte or piano ii) Identify the articulation as legato or staccato Major key or Listen to the first two bars of the Identify the last note as higher or lower than the first note melody once Listen to the melody twice, with a Identify where the change occurs change of rhythm or pitch in the second playing

30 Grade 2 Grade 2

EXAM DURATION EXAM STRUCTURE The Grade 2 exam lasts The Grade 2 exam contains the following: 13 minutes. Maximum marks SONG 1 22

SONG 2 22

SONG 3 22 Grade 2

TECHNICAL WORK 14 ONE of the following: ◗ Vocal exercises ◗ Vaccai exercise ◗ Unaccompanied folk song

SUPPORTING TESTS 20 Any TWO of the following: ◗ Sight reading ◗ Aural ◗ Improvisation ◗ Musical knowledge

TOTAL 100

Group A: Musical theatre & film

1. Bb; c’–f” BART Consider Yourself from Oliver!: Vocal Selections Music Sales LK56070 Who Will Buy? (Oliver!) from Wouldn’t It Trinity Faber TCL 011473 2. Dm; d’–d” BART Be Loverly? or Oliver!: Vocal Selections or Music Sales LK56070 (F) I Got the Sun in the Morning 3. F; c’–c” BERLIN [with introduction] Hal Leonard HL00005576 from Annie Get Your Gun: Vocal Selections Heigh Ho (Snow White and the Seven Dwarfs) 4. G; d’–d” CHURCHILL from The New Illustrated Treasury of Hal Leonard HL00313100 Disney Songs Love Is a Song (Bambi) from Stage and Screen: The Black Book or Music Sales AM92249 5. Gm; d’–e” CHURCHILL single sheet [NB any version used must include or CC10505 both the verse (minor) and the chorus (major)] A Dream Is a Wish Your Heart Makes (Cinderella) DAVID, HOFFMAN 6. G; b–d” from The New Illustrated Treasury of Disney Hal Leonard HL00313100 & LIVINGSTONE Songs HACKADY & Just One Person (Snoopy) 7. D; c’–f” Trinity Faber TCL 011466 GROSSMAN from Any Dream Will Do When You Wish Upon a Star (Pinocchio) from 8. C; g–d” HARLINE Hal Leonard HL00313100 The New Illustrated Treasury of Disney Songs

31 Grade 2

(M) Camelot (Camelot) from The Singer’s Musical 9. F; c’–d” LOEWE Hal Leonard HL00361074 Theatre Anthology vol. 1 (Baritone/Bass) A Whole New World (Aladdin) 10. D; a–d’’ MENKEN Chester CH61681 from Making the Grade: Grades 2–3 Part of Your World (The Little Mermaid) 11. F; c’–c’’ MENKEN Chester CH61681 from Making the Grade: Grades 2–3 Doh-Re-Mi (The Sound of Music) 12. C; c’–c” RODGERS Hal Leonard HLE90001388 from Kids’ Book of Vocal Solos (F) Getting To Know You (The King and I) 13. A; c#’–c#” RODGERS from The Singer’s Musical Theatre Anthology Hal Leonard HL00740122 vol. 3 (Soprano) Poco Poppa Pizza and Mamma Piccolo 14. D; c#’–d” ROE (The Most Wanted Faces) Thames TH978633 from Songs from the Betty Roe Shows vol. 2 A Time for Us (Romeo and Juliet) 15. Gm; b –d” ROTA Hal Leonard HL00360735 b from 150 of the Most Beautiful Songs Ever Little People (Les Misérables) 16. D; a–d” SCHÖNBERG Hal Leonard HLE90001388 from Kids’ Book of Vocal Solos A Spoonful of Sugar (Mary Poppins) 17. G; c ’–d” SHERMAN Trinity Faber TCL 011473 # from Wouldn’t It Be Loverly? Hushabye Mountain 18. Cm; b–d ” SHERMAN Alfred TSF0070 b from Chitty Chitty Bang Bang: Musical Selections The Girl I Mean to Be (The Secret Garden) 19. E ; a –c” SIMON Trinity Faber TCL 011473 b b from Wouldn’t It Be Loverly? Tomorrow (Annie) from Audition Songs For Kids Wise AM 955273 20. F; a–d” STROUSE or Making the Grade: Grades 2–3 or Chester CH61681

Group B: General song repertoire

1. Eb; c’–eb” ANDERSON Evening in Autumn from Trinity Singing Grade 2 Trinity TCL 016829 Bm; g ’–d” ANON. Pastime with Good Company Hal Leonard HL40018 (high), 2. # [Gm] (attrib. HENRY VIII) from English Songs: Renaissance to Baroque HL40019 (low) 3. D; d’–e” BAYNON The Spanish Main from Trinity Singing Grade 2 Trinity TCL 016829 F; Coconut Man 4. BESWICK Universal UE 16393 c’–g”(e”) from Pick ‘n’ Choose Die Henne (Henny Penny) 5. G; d’–e” BRAHMS Roberton 75388 from Seven Children’s Songs Sandmännchen (The Sandman) 6. A; e’–f ” BRAHMS Patersons PAT00601 # from The Hundred Best Short Songs book 1 7. G; d’–f” BRITTEN Fancie Boosey M060014239 The World’s End [omit 3rd verse] 8. F; c’–e” BURTCH Trinity TCL 016829 from Trinity Singing Grade 2 9. Am; c’–e” CLEMENTS The Scarecrow Novello NOV160131 COGHLAN 10. E ; c’–e ” Rocking in Rhythm from Trinity Singing Grade 2 Trinity TCL 016829 b b & COGHLAN 11. Cm; bb–eb” CRAWLEY Abdul, the Magician from Trinity Singing Grade 2 Trinity TCL 016829 12. Dm; d’–d” CRAWLEY Grizelda from Trinity Singing Grade 2 Trinity TCL 016829 13. G; d’–e” DUNHILL How Soft upon the Evening Air Curwen JC2603 14. C; d’–f” EXLEY A Fly from Trinity Singing Grade 2 Trinity TCL 016829 Chocolate (from Just Desserts) 15. F; c’–c” HAMILTON Trinity TCL 016829 from Trinity Singing Grade 2 16. Bb; c’–d” HAMILTON Perfect Milkshake from Just Desserts Sounz 17. Eb; eb’–eb” JENKYNS Bessie, the Black Cat Novello NOV160110 18. G; d#’–e” JENKYNS The Little Spanish Town Novello NOV160071 19. Gm; d’–d” MARSH Something Spooky from Spooky Songs Faber 057153239X 20. F; f’–g” MAWBY I Will Lift Up Mine Eyes RSCM RA405

32 = Songs included in the Trinity repertoire book for the grade Grade 2

21. C; d’–e” NELSON Ghosts in the Belfry from Trinity Singing Grade 2 Trinity TCL 016829 22. D; d’–d” PERRY The Frog OUP 9780193419650 23. F; eb’–e” ROWLEY The Fairy Weavers Roberton 75076 G; d’–g” 24. SAUNDERS The Pussy Next Door Patersons PAT17440 (e”) Wiegenlied (Cradle Song) D 867 25. A ; e ’–e ” SCHUBERT Patersons PAT00603 b b b from The Hundred Best Short Songs book 3 Kinderwacht (The Children’s Watch), op. 79 Ditson 431-41002 F; c’–c” 26. SCHUMANN no. 22 from Easy German Classic Songs or or Faber 0571523455 (high), or G [F] The Language of Song: Elementary 0571523463 (low) Schmetterling (The Butterfly), op. 79 no. 2 27. C; e’–f” SCHUMANN Ditson 431-41002 from Easy German Classic Songs Grade 2 28. F; f’–f” SHAW London Birds Curwen JC71947 29. D; d’–b’ SKEMPTON Pigs Could Fly from Trinity Singing Grade 2 Trinity TCL 016829 30. C; c’–f” TATE Beauty Bright Roberton 75164 Fm; On the Back of an Eagle 31. TELFER Trinity TCL 016829 eb’–eb” from Trinity Singing Grade 2 32. D; d’–d” THIMAN The Skylark from Trinity Singing Grade 2 Trinity TCL 016829 33. F; c’–d” VINE Love Me Sweet from Trinity Singing Grade 2 Trinity TCL 016829

Group C: Folk song

Westering Home from Trinity Singing Grade 2 1. A; c ’–e” ROBERTON Trinity TCL 016829 # [NB only this version may be used] Cockles and Mussels 2. G; d’–d” TRAD. Music Sales AM961521 from The Library of Folk Songs 3. Dm; c#’–a’ TRAD. Coventry Carol from The Library of Folk Songs Music Sales AM961521 Go Tell It on the Mountain [any 3 verses and 4. F; c’–d” TRAD. Music Sales AM961521 choruses] from The Library of Folk Songs The Lark in the Morn 5. G; d’–e” TRAD. Music Sales AM961521 from The Library of Folk Songs TRAD. arr. A-roving OUP 9780193301559 (melody), 6. F; c’–f” APPLEBY & FOWLER from Sing Together! 9780193301566 (piano score) TRAD. arr. Bobby Shafto OUP 9780193301559 (melody), 7. G; d’–d” APPLEBY & FOWLER from Sing Together! 9780193301566 (piano score) TRAD. arr. Golden Slumbers OUP 9780193301559 (melody), 8. B ; d’–f” b APPLEBY & FOWLER from Sing Together! 9780193301566 (piano score) TRAD. arr. Sweet Nightingale [3 verses and choruses] OUP 9780193301559 (melody), 9. G; d’–e” APPLEBY & FOWLER from Sing Together! 9780193301566 (piano score) TRAD. The Ash Grove [any 2 verses] from Folk Songs 10. G; c’–e” Alfred VF1880 arr. COLE of England, Ireland, Scotland and Wales TRAD. Banana Boat Song (Day oh) [3 verses and 11. D; a–d” Boosey M060092695 arr. HARGEST JONES choruses] from Songs of The Americas TRAD. The Miller of Dee 12. Gm; d’–d” Boosey M060087936 arr. HARGEST JONES from Songs of England TRAD. 13. Gm; g’–e ” Farewell, Lad from Trinity Singing Grade 2 Trinity TCL 016829 b arr. O’NEILL TRAD. Dalmatian Cradle Song [NB only this version 14. Dm; c’–d” Roberton 75012 arr. ROBERTON may be used]

Own composition Duration: 1 – 1.5 minute(s) Candidates may perform an own composition instead of one listed song. More information can be found on page 11. Own compositions must be comparable in technical and musical demand to the songs listed for this grade.

= Songs included in the Trinity repertoire book for the grade 33 Grade 2

TECHNICAL WORK Candidates choose ONE of the following three options (1, 2 or 3), to be performed from memory — see page 12. 1. Vocal exercises Candidates perform the following three exercises: Vocal Exercises a. Straw Gold (pitch and tone) Trinity TCL 016775 b. Fire! (rhythm) c. Polly Parrot (diction)

2. Vaccai exercise Candidates perform the following exercise, in Italian: Metodo Pratico — Lektion II (Skips of Fourths only: Lascia il lido) Peters EP 2073a (high), EP 2073b (medium), EP 2073c (low)

3. Unaccompanied Candidates perform ONE of the following: The Language of Folk 1 folk song a. My Bonny Lad Faber 0-571-53732-4 b. The Handloom Weaver’s Lament [verse 1, chorus, verse 7, chorus] SUPPORTING TESTS Candidates choose TWO of the following: ◗ Sight reading ◗ Aural ◗ Improvisation ◗ Musical knowledge

1. Sight reading After 30 seconds’ preparation time, candidates perform a previously unseen musical extract at a level approximately two grades lower than the exam being taken, accompanied by the examiner. See page 14 for sight reading parameters.

2. Aural Candidates answer questions based on a single musical example played on the piano by the examiner — see page 15. Parameters Task Requirement

Melody only Listen to the melody three times Clap the pulse on the third playing, stressing the strong beat

4 bars Listen to the melody once i) Describe the dynamics, which will vary during the melody ii) Identify the articulation as legato or staccato Major or minor key or Listen to the melody once Identify the last note as higher or lower than the first note Listen to the melody twice, with a i) Identify where the change occurs change of rhythm or pitch in the ii) Identify the change as rhythm or pitch second playing

34 Grade 3 Grade 3

EXAM DURATION EXAM STRUCTURE The Grade 3 exam lasts The Grade 3 exam contains the following: 13 minutes. Maximum marks SONG 1 22

SONG 2 22

SONG 3 22

TECHNICAL WORK 14 ONE of the following: ◗ Vocal exercises ◗ Vaccai exercise

◗ Unaccompanied folk song Grade 3

SUPPORTING TESTS 20 Any TWO of the following: ◗ Sight reading ◗ Aural ◗ Improvisation ◗ Musical knowledge

TOTAL 100

Group A: Musical theatre & film

If I Only Had a Brain [1st verse and chorus only] 1. F; c’–e” ARLEN Alfred TSF0038 from The Wizard Of Oz: Vocal Selections (F) As Long as He Needs Me 2. C; c’–e” BART Music Sales LK56070 from Oliver!: Vocal Selections Bright Eyes (Watership Down) 3. G; f ’–e” BATT Music Sales AM92249 # from Stage and Screen: The Black Book Moonshine Lullaby (Annie Get Your Gun) 4. C; c’–e” BERLIN Trinity Faber TCL 011466 from Any Dream Will Do Curiouser (Alice In Wonderland) 5. E ; b –c’’ DAVIS Trinity Faber TCL 011473 b b from Wouldn’t It Be Loverly? The Bare Necessities (The Jungle Book) Hal Leonard HL00313100 6. F; c’–d” GILKYSON from The New Illustrated Treasury of Disney Songs or Wise AM966636 or More Audition Songs for Kids Somewhere My Love (Lara’s Theme from Dr Zhivago) 7. G; b–c” JARRE Music Sales AM92249 from Stage and Screen: The Black Book Hey, Look Me Over (Wildcat) 8. G; g –d” LEIGH Alfred MFM0106 # from Broadway Showstoppers Any Dream Will Do (Joseph and the Amazing 9. C; c’–f” LLOYD WEBBER Trinity Faber TCL 011466 Technicolor Dreamcoat) from Any Dream Will Do

35 Grade 3

10. F; c’–e” LLOYD WEBBER Mr Mistoffelees (Cats) from Wouldn’t It Be Loverly? Trinity Faber TCL 011473 (F) Wouldn’t It Be Loverly? (My Fair Lady) 11. F; c’–d” LOEWE Trinity Faber TCL 011473 from Wouldn’t It Be Loverly? (F) In My Own Little Corner (Cinderella) from The 12. F; d’–d” RODGERS Hal Leonard HL00740122 Singer’s Musical Theatre Anthology vol. 3 (Soprano) I Whistle a Happy Tune (The King and I) Hal Leonard 13. B ; d’–d” RODGERS b from Kids’ Book of Vocal Solos HLE90001388 Oh, What a Beautiful Mornin’ (Oklahoma!) E ; d’–e ” Music Sales AM951621 or 14. b b RODGERS from 50 Showstoppers: The Black Book or The [E] Hal Leonard HL00361074 Singer’s Musical Theatre Anthology (Baritone/Bass) Maybe Tomorrow Will Be Better 15. Dm; a–d” ROE Thames THA978635 from Songs from the Betty Roe Shows vol. 4 Be Kind to Your Parents (Fanny) 16. F; b–d” ROME Trinity Faber TCL 011466 from Any Dream Will Do Try to Remember (The Fantasticks) from The Singer’s 17. G; B–d’ SCHMIDT Hal Leonard HL00361074 Musical Theatre Anthology vol. 1 (Baritone/Bass) Castle on a Cloud (Les Misérables) Hal Leonard 18. Am; a–c” SCHÖNBERG from Kids’ Book of Vocal Solos HLE90001388 Chim Chim Cher-ee (Mary Poppins) 19. Cm; c’–d” SHERMAN from Broadway Presents! Teens’ Musical Theatre Alfred 32027 Anthology (Male Edition) Feed the Birds [with verse] (Mary Poppins) 20. G; g–d” SHERMAN Trinity Faber TCL 011480 from Over the Rainbow Round-shouldered Man (The Secret Garden) 21. B ; b –d ” SIMON Trinity Faber TCL 011466 b b # from Any Dream Will Do 22. Bb; b–d” STROUSE Maybe (Annie) from Any Dream Will Do Trinity Faber TCL 011466 You’re Never Fully Dressed Without a Smile 23. A ; e ’–f” STROUSE Music Sales AM22559 b b from Annie: Vocal Selections No One Knows Who I Am (Jekyll & Hyde) 24. Gm; c’–d” WILDHORN Trinity Faber TCL 011473 from Wouldn’t It Be Loverly? Fat Sam’s Grand Slam (Bugsy Malone) 25. C; c ’–e” WILLIAMS Trinity Faber TCL 011466 # from Any Dream Will Do So You Wanna Be a Boxer (Bugsy Malone) 26. G; d’(g)–d” WILLIAMS Trinity Faber TCL 011473 from Wouldn’t It Be Loverly?

Group B: General song repertoire

Dusk from The Boosey & Hawkes 20th Century Easy 1. F; c’–e ” ARMSTRONG GIBBS Boosey M060112256 b Song Collection When I Was One-and-Twenty 2. G; d’–f” ARMSTRONG GIBBS Trinity TCL 016836 from Trinity Singing Grade 3 Cm; Nothing-At-All! from The Boosey & Hawkes 20th 3. BARRATT Boosey M060112256 db’–eb” Century Easy Song Collection 4. G; d’–e” R R BENNETT Clock-a-Clay from The Insect World Universal UE 14167 5. Ab; eb’–eb” BRAHMS Cradle Song (Wiegenlied) from Seven Children’s Songs Roberton 75388 6. G; c’–e” CHILCOTT Irish Blessing from Trinity Singing Grade 3 Trinity TCL 016836 Gm/G; Lurking in the Pond 7. COWLES Trinity TCL 016836 d’–d” from Trinity Singing Grade 3 8. A; c#’–e” CRAWLEY Magic Carpet from Magic in the Air Roberton 75335 It Don’t Mean a Thing (If It Ain’t Got That Swing) 9. Gm; g’–d” ELLINGTON Alfred MFM0106 (Sophisticated Ladies) from Broadway Showstoppers 10. Dm; b–e” EXLEY Peacocks from Trinity Singing Grade 3 Trinity TCL 016836 Since First I Saw Your Face I Resolved 11. C; c’–c” FORD Stainer B616 from English Lute Songs book 1 Christopher Robin Is Saying His Prayers 12. C; c’–e” FRASER-SIMSON Schirmer GS81174 from The First Book of Mezzo-Soprano/Alto Solos 13. G; e’–e” GLANVILLE-HICKS Come Sleep from Trinity Singing Grade 3 Trinity TCL 016836 14. Am; d’–e” HARRIS Villanelle from Trinity Singing Grade 3 Trinity TCL 016836

36 = Songs included in the Trinity repertoire book for the grade Grade 3

Everyone Sang from The Boosey & Hawkes 20th 15. G; d’–e” HIGGINSON Boosey M060112256 Century Easy Song Collection 16. Gm; d’–d” HIGGINSON From a Railway Carriage from Trinity Singing Grade 3 Trinity TCL 016836 17. E; c#’–e” HURFORD Litany to the Holy Spirit OUP 9780193419377 18. E; c#’–e” HYDE The Apple Tree from Trinity Singing Grade 3 Trinity TCL 016836 19. Eb; c’–d” JENKYNS The Wizard Novello NOV160068 20. D; c#’–g” KNIGHT Christ Whose Glory Fills the Sky RSCM RA214 Don’t It Make My Brown Eyes Blue [end on bar 4 21. C; c’–d” LEIGH Faber 0571528317 of coda] from All Woman vol. 2 Moon River [without repeat] 22. C; c’–d” MANCINI Hal Leonard HL00360735 from 150 of the Most Beautiful Songs Ever Maladetto 23. F; e’–f” MONTEVERDI Chester CH55319 from The Chester Book of Celebrated Songs book 3 E ; Close Thine Eyes 24. b PLUMSTEAD Trinity TCL 016836 c’(bb)–eb” from Trinity Singing Grade 3 Where Go the Boats? Hal Leonard HL00740225 25. A; e’–g ” QUILTER # from 55 Songs (high), HL00740226 (low)

26. F#m; d’–e” RAPHAEL The Lamb from 3 Blake Songs Roberton 1030 Grade 3 What Then Is Love but Mourning Stainer B617 or Chester 27. Gm; g’–f” ROSSETER from English Lute Songs book 2 or The Chester Book CH55317 of Celebrated Songs book 1 This Little Rose Schirmer HL50499822 28. F; e’–f” [C] ROY from 28 American Art Songs (high), HL50499823 (low) 29. Am; d’–eb” RUBBRA Cradle Song from Four Short Songs for Medium Voice Lengnick AL1029 Abendlied (Evening Song) (Der Mond ist aufgegangen) 30. A ; e ’–e ” SCHUBERT Ditson 431-41002 b b b D 499 from Easy German Classic Songs Schirmer GS25443 (high), G; g’–g” Heidenröslein (The Hedge-Roses) D 257 GS25444 (low) or 31. [E] SCHUBERT from First Vocal Album Faber 0571523455 (high), or G [D] or The Language of Song: Elementary 0571523463 (low) F; f’–f” Marienwürmchen (The Ladybird), op. 79 no. 13 Schirmer GS25286 (high), 32. SCHUMANN [Eb] from Vocal Album GS25287 (low) 33. F; f’–f” STANFORD A Soft Day Stainer SS58 34. Ab; d#’–f” TAYLOR Christopher Wren Boosey M060027857 35. Ab; eb’–f” THIMAN The Path to the Moon Boosey M060028137 Cool Cat (from The Cat’s Whiskers) 36. Dm; d’–e” THORNE Trinity TCL 016836 from Trinity Singing Grade 3 A ; Don’t Bother Me 37. b THORNE Banks ECS433 c’–f”(g”) from The Cat’s Whiskers 38. Am; e’–e” TRAD. arr. WRIGHT El vito from Trinity Singing Grade 3 Trinity TCL 016836 39. F; c’–f” WOOD The Trees in England Banks 1760

Group C: Folk song

1. F; c’–f” TRAD. Shenandoah from The Library of Folk Songs Music Sales AM961521 Swing Low, Sweet Chariot 2. G; d’–e” TRAD. Music Sales AM961521 from The Library of Folk Songs G; d’–e” TRAD. Siyahamba Alfred 16959 (medium 3. [Eb] arr. ALBRECHT from International Folk Songs for Solo Singers high), 16960 (medium low) Alfred 16959 (medium high), G; TRAD. Chevaliers de la table ronde 16960 (medium low) or 4. d’–e”(g”) arr. ALTHOUSE from International Folk Songs for Solo Singers Faber 0571523455 (high), [F] [E ] or PEGLER/KEMP or The Language of Song: Elementary b 0571523463 (low) Alfred 16959 (medium high), TRAD. Santa Lucìa C; d’–e” 16960 (medium low) or 5. arr. ALTHOUSE from International Folk Songs for Solo Singers [C] [B ] Faber 0571523455 (high), b or PEGLER/KEMP or The Language of Song: Elementary 0571523463 (low)

= Songs included in the Trinity repertoire book for the grade 37 Grade 3

TRAD. Charlie Is My Darling [any 3 verses] 6. Bm; b–e” Alfred VF1880 arr. COLE from Folk Songs of England, Ireland, Scotland & Wales TRAD. Greensleeves [any 3 verses] 7. Em; b–d” Alfred VF1880 arr. COLE from Folk Songs of England, Ireland, Scotland & Wales TRAD. Ye Banks and Braes 8. G; d’–e” Alfred VF1880 arr. COLE from Folk Songs of England, Ireland, Scotland & Wales F; d’–e” TRAD. Kangding Love Song Alfred 43490 (medium high), 9. [D] arr. COURTNEY from Songs of the Far East for Solo Singers 43487 (medium low) 10. G; d’–e” TRAD. arr. FRASER An Eriskay Love Lilt Boosey M060034626 A ; e ’–f” TRAD. Arirang Alfred 43490 (medium high), 11. b b [F] arr. POORMAN/LIM from Songs of the Far East for Solo Singers 43487 (medium low) TRAD. 12. A ; e ’–e ” Fairy Lullaby Roberton 71898 b b b arr. ROBERTON TRAD. Cocky Robin 13. F; c’–e” Thames TH978098 arr. ROE from A Garland of Folksongs A Carol by Candlelight TRAD. 14. D; a–e” from Folk Songs: Witty and Whimsical Settings vol. 1 Spartan SP1291 arr. TANNER [NB only this version may be used] E ; e ’–e ” TRAD. Jasmine Flower Alfred 43490 (medium 15. b b b [C] arr. D WAGNER from Songs of the Far East for Solo Singers high), 43487 (medium low) TRAD. The Gartán Mother’s Lullaby from Trinity Singing 16. D ; d ’–e ” Trinity TCL 016836 b b b arr. WRIGHT Grade 3 [NB only this version may be used]

Own composition Duration: 1.5 – 2 minutes Candidates may perform an own composition instead of one listed song. More information can be found on page 11. Own compositions must be comparable in technical and musical demand to the songs listed for this grade.

38 = Songs included in the Trinity repertoire book for the grade Grade 3

TECHNICAL WORK Candidates choose ONE of the following three options (1, 2 or 3), to be performed from memory — see page 12. 1. Vocal exercises Candidates perform the following three exercises: Vocal Exercises a. Dancing by the Moonlight (pitch and tone) Trinity TCL 016775 b. The Swingin’ Band (rhythm) c. Birthday Limerick (diction)

2. Vaccai exercise Candidates perform the following exercise, in Italian: Metodo Pratico — Lektion II (Skips of Fifths only: Avvezzo a vivere) Peters EP 2073a (high), EP 2073b (medium), EP 2073c (low)

3. Unaccompanied Candidates perform ONE of the following: The Language of Folk 1 folk song a. Banks of the Nile [verses 1, 2, 4 and 6] Faber 0-571-53732-4 b. Mow Me Down My Meadow [verses 1, 2 and 3] SUPPORTING TESTS Candidates choose TWO of the following: ◗ Sight reading Grade 3 ◗ Aural ◗ Improvisation ◗ Musical knowledge

2. Aural Candidates answer questions based on a single musical example played on the piano by the examiner — see page 15. Parameters Task Requirement

Melody only Listen to the melody twice Clap the pulse on the second playing, stressing the strong beat

4 bars Listen to the melody once Identify the tonality as major or minor

Major or minor key Listen to the first two notes of Identify the interval by number only (second, third, fourth, fifth or the melody once or sixth) Study a copy of the melody i) Identify in which bar the change occurred (provided in treble, alto or bass ii) Identify the change as rhythm or pitch clef as appropriate), and listen to it once as written and once with a change of rhythm or pitch

39 Grade 4 Grade 4

EXAM DURATION EXAM STRUCTURE The Grade 4 exam lasts The Grade 4 exam contains the following: 18 minutes. Maximum marks SONG 1 22

SONG 2 22

SONG 3 22

TECHNICAL WORK 14 ONE of the following: ◗ Vocal exercises ◗ Vaccai exercise ◗ Unaccompanied folk song

SUPPORTING TESTS 20 Any TWO of the following: ◗ Sight reading ◗ Aural ◗ Improvisation ◗ Musical knowledge

TOTAL 100

Group A: Songs in a dramatic context

i) Opera, operetta & oratorio

Silent Worship (Non lo diro col labbro) (Tolomeo) Chester CH55317 G; d’–e” HANDEL 1. from The Chester Book of Celebrated Songs book 1 or Faber 0571523455 (high), or A [F] arr. SOMERVELL or The Language of Song: Elementary 0571523463 (low) (F) I’m Called Little Buttercup (HMS Pinafore) 2. C; b–d” SULLIVAN Dover DP11040 from The Authentic Gilbert and Sullivan Songbook (M) On a Tree by the River (Tit-Willow) (The Mikado) 3. A ; c’–d ” SULLIVAN Dover DP11040 b b from The Authentic Gilbert and Sullivan Songbook (M) When a Felon’s Not Engaged (Policeman’s Song) 4. F; F–c’ SULLIVAN [omitting chorus part] (Pirates of Penzance) Dover DP11040 from The Authentic Gilbert and Sullivan Songbook ii) Musical theatre & film

(F) I Feel Pretty 5. F; c’–g” BERNSTEIN Boosey M051933457 from West Side Story: Vocal Selections One Hand, One Heart 6. E ; e ’–e ” BERNSTEIN Boosey M051933457 b b b from West Side Story: Vocal Selections Can You Feel the Love Tonight? (The Lion King) Hal Leonard HL00313100 7. B ; e ’–f” JOHN from The New Illustrated Treasury of Disney Songs b b or Wise AM966636 or More Audition Songs for Kids 8. A; c’–f#” JOHN (M) Electricity from Billy Elliot the Musical Wise AM985512 40 Grade 4

(M) Old Devil Moon (Finian’s Rainbow) Hal Leonard HL00747032 9. G; d–f’ [F] LANE from The Singer’s Musical Theatre Anthology vol. 2 or HL00359571 (Tenor) or The Definitive Jazz Collection Close Every Door (Joseph and the Amazing 10. Fm; c’–f” LLOYD WEBBER Trinity Faber TCL 011497 Technicolor Dreamcoat) from Whistle Down the Wind 11. D; d’–d” LLOYD WEBBER Whistle Down the Wind from Whistle Down the Wind Trinity Faber TCL 011497 (F) A Bushel and a Peck (Guys and Dolls) 12. G; b–d” LOESSER Music Sales AM70079 from Guys and Dolls: Vocal Score Colors of the Wind (Pocahontas) 13. B ; f–c” MENKEN Hal Leonard HL00313100 b from The New Illustrated Treasury of Disney Songs (M) Grow for Me (Little Shop of Horrors) 14. Eb; bb–f” MENKEN from Broadway Presents! Teens’ Musical Theatre Alfred 32027 Anthology (Male Edition) Les poissons (The Little Mermaid) 15. C; e’–d” MENKEN Trinity Faber TCL 011480 from Over the Rainbow (F) When She Loved Me (Toy Story 2) 16. F; g–f” NEWMAN Hal Leonard HL00313100 from The New Illustrated Treasury of Disney Songs (F) Hello Young Lovers (The King and I) from The 17. D; b–d” RODGERS Hal Leonard HL00361071 Singer’s Musical Theatre Anthology vol. 1 (Soprano) (F) Honey Bun (South Pacific) from The Singer’s 18. E ; b –d” RODGERS Hal Leonard HL00740123 b b Musical Theatre Anthology vol. 3 (Mezzo-Soprano) I Have Dreamed (The King and I) 19. E ; b –e ” RODGERS Hal Leonard HL00313207 b b b from The Rodgers & Hammerstein Collection Something Good (The Sound of Music) 20. F; b–c” RODGERS Trinity Faber TCL 011480 from Over the Rainbow The Sound of Music 21. F; d’–d” RODGERS Hal Leonard HL00313518 Grade 4 from The Sound of Music: Vocal Selections We Kiss in a Shadow (The King and I) 22. F; c’–c” RODGERS Hal Leonard HL00313207 from The Rodgers & Hammerstein Collection I Met You Like a Stranger (Destination London) 23. D; b–f ” ROE Thames TH978635 # from Songs from the Betty Roe Shows vol. 4 Comedy Tonight (A Funny Thing Happened on the Way 24. G; a–e ” SONDHEIM Hal Leonard HL00313531 b to the Forum) from The Stephen Sondheim Collection (M) I’m Calm (A Funny Thing Happened on the Way 25. G; d’–f” SONDHEIM to the Forum) from Broadway Presents! Teens’ Alfred 32027 Musical Theatre Anthology (Male Edition) 26. Em; e’–e” WARREN 42nd Street from 42nd Street: Vocal Selections Faber 0571525970

Group B: General song repertoire in English

(F) Willow Song from Forty Songs from Elizabethan 1. Dm; d’–d” ANON. Stainer X2B and Jacobean Song Books book 2b (low voice) It’s Only a Paper Moon [standard version 2. G; d’–e” ARLEN including verse must be sung] Faber 0571528309 from Essential Audition Songs: Jazz Standards 3. Dm; d’–f#” ARMSTRONG GIBBS You Spotted Snakes Novello NOV160126 When Daisies Pied 4. F; c’–f” ARNE Boosey M060104657 from The Boosey & Hawkes Shakespeare Song Album Where the Bee Sucks 5. F; c’–e” ARNE Boosey M060104657 from The Boosey & Hawkes Shakespeare Song Album Am; d ’–g” Mother, I Cannot Mind My Wheel Hal Leonard HL50486751 6. # BARBER [F#m] from Ten Selected Songs (high), HL50486752 (low) My House from The Boosey & Hawkes 20th Century 7. F; c’–f” BERNSTEIN Boosey M060112256 Easy Song Collection (F) Peter, Peter from The Boosey & Hawkes 20th 8. G; c’–g” BERNSTEIN Boosey M060112256 Century Easy Song Collection The Little Nut Tree 9. D; f’–g” BUSH Novello NOV170301 from Eight Songs For High Voice and Piano 10. Em; b–d” CAMPIAN (M) When to Her Lute from English Lute Songs book 1 Stainer B616 Gm; d’–e” The Lamb Schirmer HL50499822 11. CHANLER [Fm] from 28 American Art Songs (high), HL50499823 (low) 41 Grade 4

Mid-winter [candidates should sing the upper part 12. E ; e ’–g” CHILCOTT OUP 9780193415232 b b of this two-part song] 13. C; c’–f” COPE Shiny from Trinity Singing Grade 4 Trinity TCL 016843 14. Eb; eb’–eb” COPLAND At the River from Old American Songs Boosey M051934126 Fine Knacks for Ladies 15. F; e’–f” DOWLAND Stainer B617 from English Lute Songs book 2 Sleep Little Babe from The Boosey & Hawkes 16. Fm; c’–f” FIELD Boosey M060112256 20th Century Easy Song Collection 17. Em; b–d” FORD (M) Now I See Thy Looks from English Lute Songs book 1 Stainer B616 Jeannie with the Light Brown Hair 18. E ; b –e ” FOSTER Trinity TCL 016843 b b b from Trinity Singing Grade 4 19. F; c’–d” GOODALL The Lord Is My Shepherd (Psalm 23) Faber 0571520774 HALLORAN/ Under Southern Skies 20. F; a–d” All Music 0801141540 MILLWARD from Songs that Shaped Australia 21. Eb; c’–d” HAMILTON Cry Me a River from The Definitive Jazz Collection Hal Leonard HL00359571 (F) Girl’s Song from The Boosey & Hawkes 22. G; d’–e” HOWELLS Boosey M060112256 20th Century Easy Song Collection (F) My True Love Hath My Heart from The Boosey & 23. E ; e ’–e ” KEEL Boosey M060112256 b b b Hawkes 20th Century Easy Song Collection Alfred 21836 (high), KEEN Homeward Bound 24. E ; b –e ” 4952 (medium high), b b b arr. ALTHOUSE from Folk Songs for Solo Singers vol. 1 4953 (medium low) 25. G; d’–g” MAWBY Psalm 23 RSCM RA10 Gm; d’–g” Black Is the Color of My True Love’s Hair Schirmer HL50499822 26. NILES [Ebm] from 28 American Art Songs (high), HL50499823 (low) Dm, d’–f” The Lass from the Low Countree Schirmer HL50499822 27. NILES [Bm] from 28 American Art Songs (high), HL50499823 (low) 28. D; d’–e” NOBLE Johnny Lengnick AL0344 29. F; c’–f” NOVELLO We’ll Gather Lilacs from Ivor Novello Song Album Faber 0571528678 30. F; e’–c” PARRY Career Paths from Trinity Singing Grade 4 Trinity TCL 016843 C; g’–g” Ah How Pleasant ‘Tis to Love Z353 IMC 2071 (high), 31. PURCELL [A] from 40 Songs 2072 (low) A ; e ’–g ” Fairest Isle (King Arthur) Z628 IMC 2071 (high), 32. b b b PURCELL [F] from 40 Songs 2072 (low) 33. Ab; cb’–eb” ROE Song of the Bluebell Wood Thames TH9781001 34. Am; e’–e” ROFE Dinah’s Song from Trinity Singing Grade 4 Trinity TCL 016843 D; 35. RUTTER Carol of the Children OUP 9780193420601 a–d”(e”) 36. G; d’–f” THIMAN I Love All Graceful Things Curwen JC71977 37. Eb; c’–f” THIMAN The Man in the Moon from Trinity Singing Grade 4 Trinity TCL 016843 Nine Lives (from The Cat’s Whiskers) 38. b–f” THORNE Trinity TCL 016843 from Trinity Singing Grade 4 39. G; a–d” TRAD. Lass of Richmond Hill from The Library of Folk Songs Music Sales AM961521 TRAD. Early One Morning [any 3 verses] from The Boosey & 40. E ; b –e ” Boosey M060112256 b b b arr. BRITTEN Hawkes 20th Century Easy Song Collection TRAD. O Waly, Waly [any 3 verses] from The Boosey & 41. A; e’–e” Boosey M060112256 arr. BRITTEN Hawkes 20th Century Easy Song Collection TRAD. My Love Is like a Red, Red Rose from Folk Songs of 42. A; a–e” Alfred VF1880 arr. COLE England, Ireland, Scotland and Wales TRAD. arr. HARGEST I Will Walk with My Love 43. E ; b –c” Boosey M060087967 b b JONES from Songs of Ireland 44. Fm; bb–eb” TRAD. arr. JOYCE The Leprehaun from Trinity Singing Grade 4 Trinity TCL 016843 TRAD. arr. LATHAM/ Scarborough Fair 45. D; c’–d” Chester CH61682 LANNING from Making the Grade: Grades 4–5 46. G; d’–d” TRAD. arr. NEWTON Amazing Grace from Making the Grade: Grades 4–5 Chester CH61682 47. E; b–e” TRAD. arr. O’LEARY Moreton Bay from Trinity Singing Grade 4 Trinity TCL 016843

42 = Songs included in the Trinity repertoire book for the grade Grade 4

48. D; c#’–e” TRAD. arr. STANFORD Trottin’ to the Fair Boosey M060025143 49. G; c’–e” TRAD. arr. TATE The Lark in the Clear Air from Trinity Singing Grade 4 Trinity TCL 016843 B m; TRAD. arr. 50. b The Turtle Dove Curwen JC71872 db’–eb” VAUGHAN WILLIAMS 51. C; e’–c” [A] VAUGHAN WILLIAMS From Far, from Eve and Morning from Changing Voices Peters EP 72482 Lullaby Boosey M060029233 52. F; a(b)–d” WARLOCK from Warlock Songs or Thames 978375 53. Eb; db’–d” WILLIAMSON Sweet and Low from Six English Lyrics Weinberger M570052813

Group C: General song repertoire in other languages

1. A; e’–f” DVORˇ ÁK The Lark from 50 Art Songs from the Modern Repertoire Schirmer GS32754 Alfred 3402 (medium Caro mio ben high), 3403 (medium low) E ; d’–f” 2. b GIORDANI from 26 Italian Songs and Arias [with CD: 3396/3397] or [C] or The Language of Song: Elementary Faber 0571523455 (high), 0571523463 (low) A ; e ’–f” Auf Flügeln des Gesanges (On Wings of Song), op. 13 Alfred 17611 (high), 3. b b MENDELSSOHN [F] no. 2 from Gateway to German Lieder 17617 (low) Maienlied (May Song), op. 8 no. 7 4. G; d’–f ” MENDELSSOHN Ditson 431-41002 # from Easy German Classic Songs La dormeuse from The First Solos: Songs by Women 5. A; e’–e” MERCKEN Hildegard 491-00511 Composers vol. 2 Alfred 3402 (medium G; f#’–e” Nel cor più non mi sento high), 3403 (medium low) 6. [Eb] PAISIELLO from 26 Italian Songs and Arias [with CD: 3396/3397] or or G [E] or The Language of Song: Elementary Faber 0571523455 (high), Grade 4 0571523463 (low) 7. Em; d#’–d” SCARLATTI O cessate di piagarmi from Trinity Singing Grade 4 Trinity TCL 016843 Toglietemi la vita ancor 8. Fm; b–d ” SCARLATTI Schirmer GS82067 b from The First Book of Baritone/Bass Solos Part II An die Laute D 905 Chester CH55317 D; d’–f ” 9. # SCHUBERT from The Chester Book of Celebrated Songs book 1 or Faber 0571523455 or D [B ] b or The Language of Song: Elementary (high), 0571523463 (low) A ; e ’–g ” Lachen und Weinen D 777 Alfred 17611 (high), 10. b b b SCHUBERT [F] from Gateway to German Lieder 17617 (low) Minnelied (Holder klingt der Vogelsang) (Love Song) 11. E ; d’–f” SCHUBERT Ditson 431-41002 b D 429 from Easy German Classic Songs Tischlerlied (Song of the Cabinet Maker) D 274 12. C; c’–d” SCHUBERT Ditson 431-41002 from Easy German Classic Songs E; c ’–f ” Schirmer GS25286 (high), 13. # # SCHUMANN An den Sonnenschein (To the Sunshine), op. 36 no. 4 [F] GS25287 (low) Auf dem Rhein (On the Rhein), op. 51 no. 4 Schirmer GS25286 (high), 14. F; c’–f” [F] SCHUMANN from Vocal Album GS25287 (low) Schneeglöckchen (Snowdrops), op. 79 no. 27 15. D; c ’–f ” SCHUMANN Trinity TCL 016843 # # from Trinity Singing Grade 4 G; f ’–g” Volksliedchen (Love-thoughts), op. 51 no. 2 Schirmer GS25286 (high), 16. # SCHUMANN [Eb] from Vocal Album GS25287 (low) TRAD. 17. Am; g–e” Jeune fillette from Trinity Singing Grade 4 Trinity TCL 016843 arr. WECKERLIN Dm; TRAD. Maman, dites-moi 18. Schirmer GS32612 eb’–f#” arr. WECKERLIN from Bergerettes

Own composition Duration: 2 – 2.5 minutes Candidates may perform an own composition instead of one listed song. More information can be found on page 11. Own compositions must be comparable in technical and musical demand to the songs listed for this grade.

= Songs included in the Trinity repertoire book for the grade 43 Grade 4

TECHNICAL WORK Candidates choose ONE of the following three options (1, 2 or 3), to be performed from memory — see page 12. 1. Vocal exercises Candidates perform the following three exercises: Vocal Exercises a. All in the Dreamtime (pitch and tone) Trinity TCL 016775 b. Voyage of Columbus (rhythm) c. To the Moon (diction)

2. Vaccai exercise Candidates perform the following exercise, in Italian: Metodo Pratico — Lektion III (Skips of Sixths: Bella prova è d’alma forte) Peters EP 2073a (high), EP 2073b (medium), EP 2073c (low)

3. Unaccompanied Candidates perform ONE of the following: The Language of Folk 1 folk song a. The Great Silkie [verses 1, 2, 3 and 6] Faber 0-571-53732-4 b. The Four Loom Weaver [verses 1, 3, 4 and 6] SUPPORTING TESTS Candidates choose TWO of the following: ◗ Sight reading ◗ Aural ◗ Improvisation ◗ Musical knowledge

2. Aural Candidates answer questions based on a single musical example played on the piano by the examiner — see page 15. Parameters Task Requirement

Harmonised Listen to the piece twice Clap the pulse on the second playing, stressing the strong beat

4 bars Listen to the piece twice i) Identify the tonality as major or minor ii) Identify the final cadence as perfect or imperfect Major or minor key or Listen to the first two notes of the Identify the interval as minor or major second, minor or major melody once third, perfect fourth or fifth, minor or major sixth

Study a copy of the melody i) Identify the bar in which the change of rhythm occurred (provided in treble, alto or bass clef ii) Identify the bar in which the change of pitch occurred as appropriate), and listen to it once as written and once with a change of rhythm and a change of pitch

44 Grade 5 Grade 5

EXAM DURATION EXAM STRUCTURE The Grade 5 exam lasts The Grade 5 exam contains the following: 18 minutes. Maximum marks SONG 1 22

SONG 2 22

SONG 3 22

TECHNICAL WORK 14 ONE of the following: ◗ Vocal exercises ◗ Vaccai exercise ◗ Unaccompanied folk song

SUPPORTING TESTS 20 Any TWO of the following: ◗ Sight reading ◗ Aural ◗ Improvisation ◗ Musical knowledge

TOTAL 100

SONGS Grade 5 Candidates perform a balanced programme of three songs, chosen from the lists below — see pages 10–11 for guidance. No more than two songs may be chosen from any one group. Candidates may not perform more than one song by the same composer. Key; Range Composer Song Suggested edition

Group A: Songs in a dramatic context i) Opera, operetta & oratorio

(F) The Last Rose of Summer (Martha) [Flotow version 1. F; f’–f” FLOTOW Schirmer GS82064 only] from The First Book of Soprano Solos Part II 2. E; B–e’ HANDEL (M) How Willing My Paternal Love (Samson) Novello NOV070144 Sorge nel petto (Solace to My Heart) (Rinaldo) from Aria 3. D; b–d” HANDEL Bärenreiter BA 10253 Album from Handel’s Operas (Mezzo-Soprano/Contralto) E ; 4. b HANDEL (F) Sweet Rose and Lily (Theodora) Novello NOV070459 bb–db”(eb”) (M) Bois épais (Amadis) Faber 0571523455 (high), 5. F; d–f’ [D] LULLY from The Language of Song: Elementary 0571523463 (low) (F) L’ho perduta (Barbarina’s aria) (Le nozze di Figaro) 6. Fm; f’–f” MOZART Dover DP19635 from Great Mozart Arias for Soprano (F) My Lord, a Suppliant at Thy Feet [recit. and air] 7. F; c’–e” SULLIVAN (Iolanthe) from Gilbert and Sullivan for Singers Hal Leonard HL00740215 (Mezzo-Soprano) (F) When a Merry Maiden Marries (The Gondoliers) 8. F; c’–f” SULLIVAN Dover DP11040 from The Authentic Gilbert and Sullivan Songbook

45 Grade 5

ii) Musical theatre & film

Any Place I Hang My Hat Is Home 9. F; c’–e ” ARLEN Hal Leonard HL00312157 b from The Judy Garland Souvenir Songbook Over the Rainbow (The Wizard Of Oz) 10. E ; c’–f” ARLEN Trinity Faber TCL 011480 b from Over the Rainbow 11. Fm; c’–f” BART Reviewing the Situation (Oliver!) from Over the Rainbow Trinity Faber TCL 011480 My Defences are Down (Annie Get Your Gun) 12. B ; c–e ’ BERLIN Trinity Faber TCL 011480 b b from Over the Rainbow (F) Far from the Home I Love (Fiddler on the Roof) 13. Cm; c’–e” BOCK Trinity Faber TCL 011497 from Whistle Down the Wind (M) Museum Song [with extended ending] 14. C; c–e’ COLEMAN Alfred VF1821 from Barnum: Vocal Selections 15. Eb; c–g’ COLEMAN (M) Stay with Me from City of Angels: Vocal Selections Hal Leonard HL00313356 (M) Bidin’ My Time (Girl Crazy) 16. E ; e ’–f” GERSHWIN Faber 0571525768 b b from The Best of George and Ira Gershwin 17. Eb; d’–f” GERSHWIN But Not for Me (Girl Crazy) from Whistle Down the Wind Trinity Faber TCL 011497 (M) Somebody Loves Me (George White’s Scandals of 18. G; d–e’ GERSHWIN Faber 0571525768 1922) from The Best of George and Ira Gershwin Swanee (Capitol Revue) 19. F; c’–f” GERSHWIN Faber 0571525768 from The Best of George and Ira Gershwin The Kite (Charlie Brown’s Kite) Hal Leonard 20. E ; b –e ” GESNER b b b from You’re a Good Man Charlie Brown: Vocal Selections HL00740595 Mama, a Rainbow (Minnie’s Boys) from The Singer’s 21. A; a–e” GROSSMAN Hal Leonard HL00740125 Musical Theatre Anthology vol. 3 (Baritone/Bass) (F) Bill (Show Boat) from The Singer’s Musical Theatre 22. B ; c’–d” KERN Hal Leonard HL00361071 b Anthology vol. 1 (Soprano) (M) Pilate’s Dream (Jesus Christ Superstar) from The 23. B m; A–b LLOYD WEBBER Hal Leonard HL00747033 b b Singer’s Musical Theatre Anthology vol. 2 (Baritone/Bass) 24. F; B–d’ LOESSER (M) Guys and Dolls from Broadway Songs Hal Leonard HL00310832 (M) They Call the Wind Maria (Paint your Wagon) 25. F; A–d’ LOEWE from The Singer’s Musical Theatre Anthology vol. 1 Hal Leonard HL00361074 (Baritone/Bass) 26. C; bb–e” MALTBY & SHIRE I Want to Go Home (Big) from Over the Rainbow Trinity Faber TCL 011480 There Must Be More (Grace Online) 27. D; c’–d” McCONAGHIE Trinity Faber TCL 011497 from Whistle Down the Wind Cold Enough to Snow (Life with Mikey) 28. G; d’–f” MENKEN Hal Leonard HL00313198 from Alan Menken Songbook Home (Beauty and the Beast, the Broadway Musical) 29. D; a–d” MENKEN Hal Leonard HL00313169 from Contemporary Disney Somewhere That’s Green (Little Shop of Horrors) 30. G; b–c” MENKEN from Broadway Presents! Teens’ Musical Theatre Alfred 32024 Anthology (Female Edition) 31. Bb; f–d” MINCHIN My House from Matilda the Musical Wise AM1005642 O’KEEFE & Legally Blonde (Legally Blonde) 32. G; g–d” Trinity Faber TCL 011480 BENJAMIN from Over the Rainbow Brush up Your Shakespeare (Kiss Me Kate) 33. F; b–c” PORTER Trinity Faber TCL 011497 from Whistle Down the Wind People Will Say We’re in Love (Oklahoma!) [no repeat] 34. C; b–e” RODGERS Hal Leonard HL00310832 from Broadway Songs Shall We Dance? (The King and I) 35. E ; c’–b ’ RODGERS Hal Leonard HL00313207 b b from The Rodgers & Hammerstein Collection The Surrey with the Fringe on Top (Oklahoma!) from 36. E; d#–e’ RODGERS The Singer’s Musical Theatre Anthology vol. 2 (Baritone/ Hal Leonard HL00747033 Bass) (F) What’s the Use of Wond’rin’ (Carousel) from The 37. D ; c’–f” RODGERS Hal Leonard HL00361071 b Singer’s Musical Theatre Anthology vol. 1 (Soprano) (M) I’m Not Saying a Word 38. A; e–f ’ RUSSELL Music Sales AM79476 # from Blood Brothers: Vocal Selections

46 Grade 5

(F) I Dreamed a Dream (Les Misérables) from The Singer’s 39. E ; g –c” SCHÖNBERG Hal Leonard HL00747031 b b Musical Theatre Anthology vol. 2 (Mezzo-Soprano) (F) When Will Someone Hear? (Martin Guerre) 40. b–e” SCHÖNBERG Music Sales AM953843 from 50 Showstoppers: The White Book 41. C; g–c” SONDHEIM Anyone Can Whistle from The Stephen Sondheim Collection Hal Leonard HL00313531 42. Db; d’–f” STILES Different (Honk!) from Whistle Down the Wind Trinity Faber TCL 011497 (F) Diamonds Are a Girl’s Best Friend (Gentlemen Prefer 43. Bb; f–bb’ STYNE Blondes) from The Singer’s Musical Theatre Anthology Hal Leonard HL00361072 vol. 1 (Mezzo-Soprano) 44. F; c’–f” WEILL My Ship (Lady in the Dark) from Over the Rainbow Trinity Faber TCL 011480 G; Oh the Rio Grande (Cowboy Song) (Johnny Johnson) 45. WEILL Alfred PF9922 b–e”(g”) from Kurt Weill Songs: A Centennial Anthology vol. 2 September Song (Knickerbocker Holiday) [NB one verse only to be sung: either first verse (male) or second 46. C; c’–e ” WEILL Alfred PF9922 b verse (female)] from Kurt Weill Songs: A Centennial Anthology vol. 2 Once Upon a Dream (Jekyll and Hyde) from The Singer’s 47. C m; b–d” WILDHORN Hal Leonard HL00740122 # Musical Theatre Anthology vol. 3 (Soprano) 48. Ab; b–e” WILDHORN Only Love (The Scarlet Pimpernel) from Over the Rainbow Trinity Faber TCL 011480 When I Look at You (The Scarlet Pimpernel) 49. G; b–d” WILDHORN Trinity Faber TCL 011497 from Whistle Down the Wind

Group B: General song repertoire in English

B m; f’–f” Boosey M060030840 1. b ARMSTRONG GIBBS Five Eyes [Gm] (high), M060030833 (low) 2. F; c’–f” ARNE The Lass with the Delicate Air Banks OSS 49 The Daisies, op. 2 no. 1 Schirmer GS82645 3. F; c’–f” [D] BARBER from 15 American Art Songs (high), GS82607 (low) 4. A; c#’–e” R R BENNETT The Bird’s Lament from The Aviary Universal UE14168 (M) The Self-Banished 5. D; A–d’ BLOW Boosey M051904501 from The New Imperial Edition of Bass Songs

G; c ’–f ” Tell Me No More Hal Leonard HL40018 Grade 5 6. # # BLOW [Eb] from English Songs: Renaissance to Baroque (high), HL40019 (low) Boosey M060013591 (in Bb; a–eb” 7. BRAHE Bless This House Bb), M060013607 (in C), [C] [Eb] M060013614 (in Eb) 8. C; f’–f” BRITTEN Begone Dull Care! from Friday Afternoons, op. 7 Boosey M060105005 Boosey (custom print) 9. E; b–e” BRITTEN (F) The Birds M060013980 Come Live with Me and Be My Love 10. E; c ’–f” BULLARD Trinity TCL 016850 # from Trinity Singing Grade 5 (M) When I Was One and Twenty 11. D; d–e’ BUTTERWORTH Stainer B333 from A Shropshire Lad and Other Songs 12. Ab; eb’–f” CAMPION Fair, If You Expect Admiring from Trinity Singing Grade 5 Trinity TCL 016850 Am; e’–g” 13. CLUCAS Evenfall Recital RMS125 [Em] Simple Gifts from The Boosey & Hawkes 20th Century 14. A ; e ’–e ” COPLAND Boosey M060112256 b b b Easy Song Collection (F) Weep Not, My Wanton (On Spital Fields) 15. Cm; c’–e ’’ DOVE Peters EP 7898 b from Songs & Arias for Soprano Come Away, Come Sweet Love 16. Gm; f –f” DOWLAND Stainer B617 # from English Lute Songs book 2 17. Bb; g’–g” DOWLAND Flow Not So Fast from English Lute Songs book 2 Stainer B617 18. Am; e’–f” DOWLAND What If I Never Speed from English Lute Songs book 2 Stainer B617 E ; e ’–g” Stainer H183 (high), 19. b b DUNHILL The Cloths of Heaven [C] SS15 (low) Piercing Eyes 20. G; e’–g” HAYDN Chester CH55319 from The Chester Book of Celebrated Songs book 3

= Songs included in the Trinity repertoire book for the grade 47 Grade 5

Sweet Chance That Led My Steps Abroad 21. F; c’–f” HEAD Boosey M051922260 from Song Album 1: Songs of the Countryside Boosey M060032400 A ; e ’–a ” 22. b b b HEAD The Little Road to Bethlehem (in A ), M060032394 [F] b (in F — custom print) E ; b –e ” 23. b b b HEAD When Sweet Ann Sings Boosey M060831836 (g”) 24. G; d’–f” HELY-HUTCHINSON The Owl and the Pussy Cat from Three Nonsense Songs Patersons PAT00706 Fear No More the Heat o’ the Sun (from Cymbeline) 25. Em; d’–e” HIGGINSON Trinity TCL 016850 from Trinity Singing Grade 5 26. F; c’–d” IRELAND Spring Sorrow from Complete Songs vol. 4 Stainer B599 27. Eb; bb–eb’ KEEL Trade Winds Boosey M060034510 My Lovely Celia 28. E; b–e” MUNRO Chester CH55319 from The Chester Book of Celebrated Songs book 3 29. Gm; g’–f” PILKINGTON Rest, Sweet Nymphs from English Lute Songs book 2 Stainer B617 A; d ’–f ” I Attempt from Love’s Sickness (The Indian Queen IMC 2071 (high), 30. # # PURCELL [F] Z630) from 40 Songs 2072 (low) C; e’–g” (M) Man Is for the Woman Made Z605 IMC 2071 (high), 31. PURCELL [Ab] from 40 Songs 2072 (low) By the Sea (from Songs of the Sea, op. 1) 32. Dm; d’–e” QUILTER Trinity TCL 016850 from Trinity Singing Grade 5 Dream Valley from The New Imperial Edition of 33. G ; e ’–g ” QUILTER Boosey M051904105 b b b Mezzo-Soprano Songs How Should I Your True Love Know? 34. D ; f’–f” QUILTER Thames TH978421 b from A Century of English Song vol. 1 (Soprano) Boosey (custom print) F; d’–f” [E] M060021725 (high), 35. QUILTER June [D] M060021718 (medium), M060834233 (low) Fm; e ’–g” Weep You No More Boosey M060021879 (high), 36. b QUILTER [Dm] from 7 Elizabethan Lyrics, op. 12 M060021862 (low) (F) American Lullaby Schirmer GS82645 (high), 37. F; c’–f” [D] RICH from 15 American Art Songs GS82607 (low) Early in the Morning Boosey M051933952 (high), 38. B ; d’–f” ROREM b from 50 Collected Songs M051933969 (medium/low) F; All Things Bright and Beautiful 39. RUTTER OUP 9780193420625 bb–d”(g”) [NB only this version may be used] 40. C; d’–g” SHIELD Ye Balmy Breezes Gently Blow from O Tuneful Voice OUP 9780193457461 The Plough Boy Boosey M060014352 B ; c’–f” SHIELD 42. b from Folksong Arrangements vol. 3 (high), M060014345 [G] arr. BRITTEN [NB must be Britten arrangement] (medium) 43. Eb; db’–eb” STOVE Lullaby from Trinity Singing Grade 5 Trinity TCL 016850 The Salley Gardens Boosey M060014314 G ; g ’–a ” TRAD. 44. b b b from Folksong Arrangements vol. 1 (high), M060014307 [D ] arr. BRITTEN b [NB must be Britten arrangement] (medium) 45. C; bb–eb’’ TRAD. arr. HARTY My Lagan Love from Trinity Singing Grade 5 Trinity TCL 016850 VAUGHAN Linden Lea 46. G; d’–e” Boosey M060074912 WILLIAMS from Song Album vol. 1 E ; e ’–f” Balulalow OUP 9780193854055 (high), 47. b b WARLOCK [C] from Sing Solo Christmas 9780193851986 (low) Chopcherry 48. A; e’–e” WARLOCK Chester CH55318 from The Chester Book of Celebrated Songs book 2 49. C; c’–d” WILSON The Phoenix from Trinity Singing Grade 5 Trinity TCL 016850 F; e’–d”(f”) Music Sales AM947936 50. WOOD A Brown Bird Singing [D] (in F), AM947947 (in D) An Angry Cactus Does No Good 51. c ’–d” YATES Wirripang # from The Trouble with Geraniums The Trouble with Geraniums 52. b–e” YATES Wirripang from The Trouble with Geraniums

48 = Songs included in the Trinity repertoire book for the grade Grade 5

Group C: General song repertoire in other languages

Alfred 3402 (medium G; d’–e” ANON. Star Vicino 1. high), 3403 (medium low) [E ] (attrib. ROSA) from 26 Italian Songs and Arias b [with CD: 3396/3397] 2. F; f’–f” BOULANGER Cantique from Trinity Singing Grade 5 Trinity TCL 016850 Peters EP 3201a (high), Sonntag, op. 47 no. 3 3201b (medium), G; d’–g” 3. BRAHMS from Lieder vol. 1 3201c (low) or Faber [F] [E ] b or The Language of Song: Elementary 0571523455 (high), 0571523463 (low) Alfred 3402 (medium Sebben, crudele high), 3403 (medium low) Em; e’–e” 4. CALDARA from 26 Italian Songs and Arias [with CD: 3396/3397] or [Cm] or The Language of Song: Elementary Faber 0571523455 (high), 0571523463 (low) Le charme Leduc AL26431 or E ; b –e ” 5. b b b CHAUSSON from Mélodies pour chant et piano Faber 0571523439 (high), or G [E ] b or The Language of Song: Intermediate 0571523447 (low) (M) Bonjour, Suzon 6. F; c–f’ DELIBES Schirmer GS82066 from The First Book of Tenor Solos Part II Panis Angelicus (O Lord, Most Holy) Mayhew 1450213 7. G; f ’–e” FRANCK # from Songs of Prayer or Sacred Tenor Arias or 3611735 Stille sicherheit 8. D ; e’–f” FRANZ Schirmer GS82066 b from The First Book of Tenor Solos Part II (F) The Princess 9. Dm; d’–g” GRIEG Chester CH55318 from The Chester Book of Celebrated Songs book 2 10. B; b–d#” HAHN L’heure exquise from Chansons Grises Heugel HE7784 11. Fm; eb’–eb” HAHN Tyndaris, no. 7 from Études latines Heugel HE20174 12. F; c’–f” [Eb] MARTINI Plaisir d’amour Schirmer GS28150 Der Blumenstrauss (The Nosegay) 13. G; d’–e” MENDELSSOHN Trinity TCL 016850 from Trinity Singing Grade 5 14. A; e’–f#” MENDELSSOHN Minnelied from The First Book of Soprano Solos Schirmer GS81173

Oiseau, si tous les ans (Ariette, K. 307 (284d)) Grade 5 15. C; g’–g” MOZART Trinity TCL 016850 from Trinity Singing Grade 5 Waldeinsamkeit (The Quiet of the Woods), op. 76 no. 3 16. G; d’–g” REGER Trinity TCL 016850 from Trinity Singing Grade 5 Alfred 3402 (medium A ; e ’–f” Già il sole dal Gange 17. b b SCARLATTI high), 3403 (medium low) [E ] from 26 Italian Songs and Arias b [with CD: 3396/3397] E; e’–g ” Seligkeit D 433 Alfred 17611 (high), 18. # SCHUBERT [C] from Gateway to German Lieder 17617 (low) 19. G; f#’–g” SCHUBERT Trauer der Liebe D 465 from Easy German Classic Songs Ditson 431-41002 A; c’–f ” Was ist Silvia D 891 Schirmer GS25443 (high), 20. # SCHUBERT [F] from First Vocal Album GS25444 (low) A Legend (Légende), op. 54 no. 5 [in English or French] 21. Em; d’–e” TCHAIKOVSKY Schirmer GS32754 from 50 Art Songs from the Modern Repertoire VIVALDI Vieni, vieni o mio diletto [NB must be sung with repeats] 22. Bm; d’–f ” Trinity TCL 016850 # arr. HOLLOWAY from Trinity Singing Grade 5

Own composition Duration: 2.5 – 3 minutes Candidates may perform an own composition instead of one listed song. More information can be found on page 11. Own compositions must be comparable in technical and musical demand to the songs listed for this grade.

= Songs included in the Trinity repertoire book for the grade 49 Grade 5

TECHNICAL WORK Candidates choose ONE of the following three options (1, 2 or 3), to be performed from memory — see page 12. 1. Vocal exercises Candidates perform the following three exercises: Vocal Exercises a. The Grasshopper (pitch and tone) Trinity TCL 016775 b. Afternoon Tea (rhythm) c. The Letter (diction)

2. Vaccai exercise Candidates perform the following exercise, in Italian: Metodo Pratico — Lektion IV (Skips of Octaves only: Quell’ onda che ruina) Peters EP 2073a (high), EP 2073b (medium), EP 2073c (low)

3. Unaccompanied Candidates perform ONE of the following: The Language of Folk 2 folk song a. Sir Eglamore [verses 1, 2, 3, 5 and 7] Faber 0-571-53733-2 b. The Pit Boys SUPPORTING TESTS Candidates choose TWO of the following: ◗ Sight reading ◗ Aural ◗ Improvisation ◗ Musical knowledge

2. Aural Candidates answer questions based on a single musical example played on the piano by the examiner — see page 15. Parameters Task Requirement

Harmonised Listen to the piece twice i) Clap the pulse on the second playing, stressing the strong beat ii) Identify the time signature 8 bars Listen to the piece twice i) Identify the changing tonality Major or minor key ii) Identify the final cadence as perfect, plagal, imperfect , , or or interrupted

Listen to two notes from the Identify the interval as minor or major second, minor or major melody line played consecutively third, perfect fourth or fifth, minor or major sixth, minor or major seventh or octave

Study a copy of the piece, and listen i) Identify the bar in which the change of rhythm occurred to it once as written and once with ii) Identify the bar in which the change of pitch occurred a change of rhythm and a change of pitch (both changes in the melody line)

50 Grade 6 Grade 6

EXAM DURATION EXAM STRUCTURE The Grade 6 exam lasts The Grade 6 exam contains the following: 23 minutes. Maximum marks SONG 1 17

SONG 2 17

SONG 3 17

SONG 4 17

TECHNICAL WORK 12 ONE of the following: ◗ Vocal exercises ◗ Vaccai exercise ◗ Unaccompanied folk song

SUPPORTING TEST 1 10

◗ Sight reading

SUPPORTING TEST 2 10 ONE of the following: ◗ Aural ◗ Improvisation

TOTAL 100

SONGS Candidates perform a balanced programme of four songs, chosen from the lists below — see pages 10–11 for guidance. No more than two songs may be chosen from any one group. At least one song must be chosen from group A. Candidates may not perform more than one song by the same composer. Programmes must include at least two living languages (ie not Latin). This may include English. Grade 6 Key; Range Composer Song Suggested edition

Group A: Songs in a dramatic context i) Opera, operetta & oratorio Any voice

Ombra mai fu (Largo from Serse) [with recit: Frondi IMC 1695 (high), 1. F; d–f’ [D] HANDEL tenere] from 45 Arias from Operas & Oratorios vol. 2 1696 (low) Where’er You Walk (Semele) 2. B ; f–g’ HANDEL IMC 1693 b from 45 Arias from Operas & Oratorios vol. 1 (high) Soprano

I Dreamt I Dwelt in Marble Halls (The Bohemian Girl) 3. E ; e ’–g” BALFE Mayhew 3611717 b b from Great Soprano Arias 2 Bm; Summertime (Porgy and Bess) Hal Leonard HL00361071 4. f ’–f ”(b”) GERSHWIN from The Singer’s Musical Theatre Anthology vol. 1 # # or Faber 0571525768 [Am] (Soprano) or The Best of George and Ira Gershwin As When the Dove Laments Her Love [with recit: O didst 5. F; e’–g” HANDEL thou know] (Acis and Galatea) IMC 1695 from 45 Arias from Operas & Oratorios vol. 2 (high) 51 Grade 6

Bel piacere (Agrippina) 6. G; d’–g” HANDEL IMC 1693 from 45 Arias from Operas & Oratorios vol. 1 (high) Oh Sleep, Why Dost Thou Leave Me? (Semele) 7. E; d ’–g ” HANDEL IMC 1695 # # from 45 Arias from Operas & Oratorios vol. 2 (high) Và godendo (Serse) 8. B ; f’–b ” HANDEL IMC 1693 b b from 45 Arias from Operas & Oratorios vol. 1 (high) Cavatina: Light and Life Are Both Enfeebled [with recit: 9. F; c’–f” HAYDN Novello NOV072493 The winter with his dismal storms] (The Seasons) I Will Sing of Thy Great Mercies (St Paul) 10. F; e’–f” MENDELSSOHN Mayhew 3611728 from Sacred Soprano Arias Jerusalem, Thou That Killest the Prophets (St Paul) 11. B ; f’–f” MENDELSSOHN Schirmer GS32578 b from Anthology of Sacred Song vol. 1 (Soprano) MORENO La petenera (La Marchenera) 12. Am; e’–b ” UME UMV24369 b TORROBA from Zarzuela! If Somebody There Chanced to Be (Ruddigore) 13. A; e’–f ” SULLIVAN Hal Leonard HL00740214 # from Gilbert and Sullivan for Singers (Soprano) Kind Sir, You Cannot Have the Heart (The Gondoliers) 14. B ; f’–a ” SULLIVAN Schirmer GS33754 b b [NB cut at end of repeat of first section] Love Is a Plaintive Song (Patience) 15. A; e’–a” SULLIVAN Hal Leonard HL00740214 from Gilbert and Sullivan for Singers (Soprano) Mezzo-soprano, alto and countertenor

Return, O God of Hosts (Samson) 16. E ; b –e ” HANDEL IMC 1698 b b b from 45 Arias from Operas & Oratorios vol. 3 (low) Thou Shalt Bring Them In (Israel in Egypt) 17. E; b–c ” HANDEL Schirmer GS82069 # from The Second Book of Mezzo-Soprano/Alto Solos Verdi prati (Alcina) from 45 Arias from Operas & IMC 1696 or 18. E; c ’–e” HANDEL # Oratorios vol. 2 (low) or vocal score Bärenreiter BA 4061-90 Voi che sapete (Le nozze di Figaro) Chester CH65252 19. Bb; f’–f” MOZART from Voices or CH61597 or Lesley Garrett: Song Collection or vocal score or Schirmer GS33772 Vouchsafe O Lord (Te Deum) Hal Leonard 20. Dm; c ’–c” PURCELL # from The Oratorio Anthology (Alto/Mezzo-Soprano) HL00747059 Sir Rupert Murgatroyd (Ruddigore) 21. Em; b–e” SULLIVAN Hal Leonard HL00740215 from Gilbert and Sullivan for Singers (Mezzo-Soprano) Tenor

But Thou Didst Not Leave [with recit: He was cut off] 22. A; e–g’ HANDEL Novello NOV070137 (Messiah) Rend’ il sereno al ciglio [with recit: Rasserena, O madre] 23. G; d–e’ HANDEL (Sosarme) from 45 Arias from Operas & Oratorios vol. 2 IMC 1696 (low) In Mohrenland gefangen (Pedrillo’s Serenade) 24. D; e –d’ MOZART Bärenreiter BA 4591-90 # (Die Entführung aus dem Serail) 25. Bb; c–g’ PURCELL The Sailor’s Song (Dido and Aeneas) Novello NOV070318 Baritone and bass

I Got Plenty O’ Nuttin’ (Porgy & Bess) 26. G; b–d” GERSHWIN Faber 0571525768 from The Best of George and Ira Gershwin Ach, wir armen Leute (Hansel & Gretel) 27. Em; d–e’ HUMPERDINCK Schirmer GS81100 from Arias for Baritone Deh vieni alla finestra (Don Giovanni) 28. D; d–e’ MOZART Schirmer GS32586 from Operatic Anthology vol. IV (Baritone) O Isis und Osiris (Der Zauberflöte) 29. F; F–c’ MOZART Schirmer GS32587 from Operatic Anthology vol. V (Bass) Wer ein Liebchen (Die Entführung aus dem Serail) 30. Gm; G–d’ MOZART Peters EP 737 from Aria Album (Bass) The Sentry’s Song (When all night long) (Iolanthe) 31. B ; B –d’ SULLIVAN Dover DP11040 b b from The Authentic Gilbert and Sullivan Songbook

52 Grade 6 ii) Musical theatre Any voice

32. Eb; bb–f” BERNSTEIN Somewhere from West Side Story: Vocal Selections Boosey M051933457 Who am I? (Peter Pan) 33. C; g–e” BERNSTEIN Boosey M051922376 from Leonard Bernstein Song Album Timid Frieda [all verses] 34. E ; b –e ” BREL Hal Leonard HL00312047 b b b from Jacques Brel Is Alive and Well and Living in Paris Matelot (Sigh No More) 35. A ; c’–a ” COWARD Music Sales OP40708 b b from The Essential Noel Coward Songbook Love Is Here to Stay (The Goldwyn Follies) 36. F; c’–e” GERSHWIN Faber 0571525768 from The Best of George and Ira Gershwin I Can’t Take My Eyes from You 37. F; b –e” MENKEN Hal Leonard HL00313198 b from Alan Menken Songbook A m; Anything Goes [all refrains] 38. b PORTER Alfred VF1713 ab–c” from Cole Porter 100th Anniversary Ridin’ High (Red, Hot and Blue) 39. C; b–e” PORTER Alfred VF1713 from Cole Porter 100th Anniversary The Tale of the Oyster (Fifty Million Frenchmen) 40. E ; b –g” PORTER Alfred VF1713 b b from Cole Porter 100th Anniversary Isn’t It? (Saturday Night) from The Singer’s Musical 41. D; a–e” SONDHEIM Hal Leonard HL00740125 Theatre Anthology vol. 3 (Baritone/Bass) Not While I’m Around (Sweeney Todd) from The Singer’s 42. A ; e –a ’ SONDHEIM Hal Leonard HL00361073 b b b Musical Theatre Anthology vol. 1 (Tenor) Female voice

ANDERSSON/ Someone Else’s Story (Chess) from The Singer’s Musical 43. G ; f–c” Hal Leonard HL00747031 b ULVAEUS Theatre Anthology vol. 2 (Mezzo-Soprano) What It Means to Be a Friend 44. A; a–e” BROWN Hal Leonard HL00313435 from 13 The Musical: Vocal Selections You Don’t Know This Man (Parade) from The Singer’s 45. Gm; g–e ” BROWN Hal Leonard HL00740123 b Musical Theatre Anthology vol. 3 (Mezzo-Soprano) I’ll Follow My Secret Heart (Conversation Piece) 46. G; a–g” COWARD Music Sales OP40708 from The Essential Noel Coward Songbook If Love Were All (Bitter Sweet) 47. E ; b –g” COWARD Music Sales OP40708 b b from The Essential Noel Coward Songbook Blue Fairy’s Aria — ‘I have come to be your mother’ (The 48. Am; c’–a’’ DOVE Peters EP 7898 Adventures of Pinocchio) from Songs & Arias for Soprano Once You Lose Your Heart (Me and My Girl) from 49. Db; ab–db” GAY Hal Leonard HL00740122 The Singer’s Musical Theatre Anthology vol. 3 (Soprano) Grade 6 Someone to Watch over Me (Oh, Kay) from The Singer’s Hal Leonard HL00740122 50. C; c’–d” GERSHWIN Musical Theatre Anthology vol. 3 (Soprano) or The Best or Faber 0571525768 of George and Ira Gershwin or All Woman: Blues or Faber 057153225X Can’t Help Lovin’ Dat Man (Show Boat) Hal Leonard HL00361071 51. E ; b –g ” KERN from The Singer’s Musical Theatre Anthology vol. 1 b b b or Alfred MFM0001 (Soprano) or The Smash Broadway Collection Don’t Cry for Me Argentina (Evita) D ; a –d ” Hal Leonard HL00361072 52. b b b LLOYD WEBBER from The Singer’s Musical Theatre Anthology vol. 1 [C] or Alfred MFM0001 (Mezzo-Soprano) or The Smash Broadway Collection Wishing You Were Somehow Here Again (The Phantom of the Opera) Hal Leonard HL00740122 53. a–g” LLOYD WEBBER from The Singer’s Musical Theatre Anthology vol. 3 or Chester CH61597 (Soprano) or Lesley Garrett: Song Collection With One Look (Sunset Boulevard) Hal Leonard HL00740123 54. A; g –c ’ LLOYD WEBBER from The Singer’s Musical Theatre Anthology vol. 3 # # or Music Sales AM953843 (Mezzo-Soprano) or 50 Showstoppers — The White Book Just You Wait (My Fair Lady) from The Singer’s Musical 55. Cm; c’–e ” LOEWE Hal Leonard HL00740122 b Theatre Anthology vol. 3 (Soprano) Without You (My Fair Lady) from The Singer’s Musical Hal Leonard 56. C; b–e ” LOEWE b Theatre Anthology vol. 2 (Soprano) HL00747066

53 Grade 6

A Change in Me 57. A; e(a)–c” MENKEN Hal Leonard HL00312511 from Beauty and the Beast: Vocal Selections 58. a–eb” MENKEN Never Again (King David) from Alan Menken Songbook Hal Leonard HL00313198 If I Loved You (Carousel) from The Singer’s Musical 59. G; c’–g ” RODGERS Hal Leonard HL00361071 b Theatre Anthology vol. 1 (Soprano) Johnny One Note (Babes in Arms) from The Singer’s 60. E ; b –e ” RODGERS Hal Leonard HL00747031 b b b Musical Theatre Anthology vol. 2 (Mezzo-Soprano) The Lady Is a Tramp (Babes in Arms) from The Singer’s 61. A; a–b’ RODGERS Hal Leonard HL00361072 Musical Theatre Anthology vol. 1 (Mezzo-Soprano) How Many Tears? (Martin Guerre) from The Singer’s 62. C; a–f” SCHÖNBERG Hal Leonard HL00740122 Musical Theatre Anthology vol. 3 (Soprano) 63. A; e–b’ SCHWARTZ I’m Not That Girl from Wicked: Vocal Selections Hal Leonard HL00313267 How Could I Ever Know? (The Secret Garden) Hal Leonard HL00747066 64. D ; b –f” SIMON from The Singer’s Musical Theatre Anthology vol. 2 b b or Alfred MFM0001 (Soprano) or The Smash Broadway Collection Can You Find It in Your Heart? (Footloose) 65. C; a–db” SNOW from The Singer’s Musical Theatre Anthology vol. 3 Hal Leonard HL00740123 (Mezzo-Soprano) I Remember (Evening Primrose) from The Singer’s 66. C; c’–d” SONDHEIM Hal Leonard HL00740122 Musical Theatre Anthology vol. 3 (Soprano) Losing My Mind (Follies) from The Singer’s Musical 67. A ; f–a ’ SONDHEIM Hal Leonard HL00361072 b # Theatre Anthology vol. 1 (Mezzo-Soprano) Gimme Gimme (Thoroughly Modern Millie) 68. Gb; ab–d” TESORI from Broadway Presents! Teens’ Musical Theatre Alfred 32024 Anthology (Female Edition) Till There Was You (The Music Man) from The Singer’s 69. E ; d’–g” WILSON Hal Leonard HL00361071 b Musical Theatre Anthology vol. 1 (Soprano) Simple (Nine) from The Singer’s Musical Theatre 70. F; a–e” YESTON Hal Leonard HL00747066 Anthology vol. 2 (Soprano) Male voice

Promises, Promises (Promises, Promises) Hal Leonard HL00747033 71. F; A–e’ [G] BACHARACH from The Singer’s Musical Theatre Anthology vol. 2 or Music Sales AM953843 (Baritone/Bass) or 50 Showstoppers — The White Book Lucky to Be Me (On the Town) Hal Leonard HL00740125 72. F; B –f’(g’) BERNSTEIN from The Singer’s Musical Theatre Anthology vol. 3 b or Alfred MFM0001 (Baritone/Bass) or The Smash Broadway Collection 73. F; c#–d’ HENEKER She’s Too Far Above Me (Half a Sixpence) Faber 0571539949 All I Care About (Chicago) 74. D; A–f’ KANDER from The Singer’s Musical Theatre Anthology vol. 3 Hal Leonard HL00740125 (Baritone/Bass) The Impossible Dream (Man of La Mancha) 75. Bb; c–eb’ LEIGH from The Singer’s Musical Theatre Anthology vol. 1 Hal Leonard HL00361074 (Baritone/Bass) Luck Be a Lady (Guys and Dolls) 76. Db; db–eb’ LOESSER from The Singer’s Musical Theatre Anthology vol. 2 Hal Leonard HL00747033 (Baritone/Bass) 77. C; c–d’ LOEWE The Seven Deadly Virtues from Camelot (revised edition) Faber 0571536174 Me (Beauty and the Beast) 78. E; B–f’ MENKEN from The Singer’s Musical Theatre Anthology vol. 3 Hal Leonard HL00740125 (Baritone/Bass) Proud of Your Boy 79. D; e–f ” MENKEN Hal Leonard HL00126656 # from Aladdin the Musical: Vocal Selections This Nearly Was Mine (South Pacific) 80. G; B–d’ RODGERS from The Singer’s Musical Theatre Anthology vol. 1 Hal Leonard HL00361074 (Baritone/Bass) You Are Beautiful (Flower Drum Song) 81. F; e –g’ RODGERS Hal Leonard HL00361073 b from The Singer’s Musical Theatre Anthology vol. 1 (Tenor) 82. c–f#’ SONDHEIM Giants in the Sky from Into the Woods: Vocal Selections Hal Leonard HL00313442 Lost in the Darkness 83. B; G –e’ WILDHORN Music Sales CLM02502211 # from Jekyll & Hyde: Vocal Selections

54 Grade 6

Group B: General song repertoire in English

Eb; d’– Schirmer GS27973 (high), b ”(g ”) GS28597 (medium), 1. b b ADAM O Holy Night [Db] [C] GS28151 (medium low), [Bb] GS27974 (low) D ; f’–a ” The Holy City Hal Leonard HL40051 (high), 2. b b ADAMS [Ab] from Sacred Classics 40052 (low) Dm; d’–g” ARMSTRONG The Cherry Tree Trinity TCL 016867 (high), 3. [Bm] GIBBS from Trinity Singing Grade 6 TCL 017949 (low) D; c ’–f ” Thou Soft Flowing Avon Hal Leonard HL40018 (high), 4. # # ARNE [Bb] from English Songs: Renaissance to Baroque HL40019 (low) Under the Greenwood Tree 5. E ; c’–g” ARNE Chester CH55317 b from The Chester Book of Celebrated Songs book 1 A Child’s Prayer Novello (special order) 6. f’–f” BLISS from 9 Songs for Voice and Piano NOV170309 Gm; f’–g’’ Down by the Salley Gardens Boosey M051933853 (high), 7. CLARKE [Em] from Art Song in English M051933860 (low) Mrs Worthington 8. E ; b –d” COWARD Music Sales OP40708 b b from The Essential Noel Coward Songbook 9. Bm; d’–d” CUNNINGHAM I Am Alone from Songs from The Okavango Macbeth Goodmusic GM135 B ; f’–g” Summer Trinity TCL 016867 (high), 10. b CUNNINGHAM [G] from Trinity Singing Grade 6 TCL 017949 (low) 11. F; c’–c” DOWLAND Clear or Cloudy from English Lute Songs book 2 Stainer B617 If My Complaints Could Passions Move 12. Gm; f ’–f” DOWLAND Stainer B617 # from English Lute Songs book 2 13. Dm; f’–f” DRING To Daffodils from Dedications Thames TH978395 ELWYN- 14. D; d’–e’’ The Cloths of Heaven Roberton 1068 EDWARDS 15. F; a–d” FINZI Who Is Sylvia? from Let Us Garlands Bring Boosey M060030345 16. Em; b–d” FORD Fair Sweet Cruel from English Lute Songs book 1 Stainer B616 (M) The Sun Has Spread His Shining Wings 17. b –e ” FREED Sounz b b from Five Fairburn Songs C m; I Know a Bank from The Boosey & Hawkes 18. # HARRISON Boosey M060104657 d#’–f#” Shakespeare Song Album 19. Gm; d’–eb” HAYDN The Wanderer from O Tuneful Voice OUP 9780193457461 Cm; c’–g” Boosey M060831362 (high), 20. HEAD (M) Ave Maria [Am] M060801303 (low) Ab; eb’–ab” A Blackbird Singing Boosey M060032479 21. HEAD Grade 6 [F] from Over the Rim of the Moon (high), M060032462 (low) 22. D; d’–f#” HOPKINS A Melancholy Song Chester CH04044 Hope the Hornblower 23. B ; f’–f” IRELAND Stainer B040 or B600 b from Eleven Songs or Complete Songs vol. 5 24. F; f’–d” KEATS I Will Build My House in the Water Wirripang HKAW201 E ; g’–g” The Lamb Trinity TCL 016867 (high), 25. b KEATS [C] from Trinity Singing Grade 6 TCL 017949 (low) Bm; e’–g” Now Sleeps the Crimson Petal Trinity TCL 016867 (high), 26. L’ESTRANGE [Gm] from Trinity Singing Grade 6 TCL 017949 (low) Still the Lark Finds Repose 27. A; e’–f ” LINLEY Stainer B569 # from Songs of the Linleys (Soprano) 28. g–e” MATTHEWS Strugnell’s Haiku [complete] Faber 0571511732 Novello (custom print) 29. E ; c’–e ” PARRY Love Is a Bable b b NOV170106 30. G; d’–e” PINTO A Shepherd Lov’d a Nymph So Fair from O Tuneful Voice OUP 9780193457461 Dear Pretty Youth Z631 from The Junior Recitalist 31. G; d’–f” PURCELL Stainer D82 book 2 (Mezzo-Soprano/Contralto) Dm; d–f’ (M) Since from My Dear (The Prophetess Z627) IMC 2071 (high), 32. PURCELL [Bm] from 40 Songs 2072 (low)

= Songs included in the Trinity repertoire book for the grade 55 Grade 6

G; d–g’ (M) O Mistress Mine Boosey M060021893 (high), 33. QUILTER [Eb] from 3 Shakespeare Songs, op. 6 M060021886 (low) Under the Greenwood Tree Boosey M060021671 (high), 34. F; f’–f” QUILTER from 5 Shakespeare Songs, op. 23 M060021664 (low) Boosey M051933952 Love 35. E; c ’–g” ROREM (high), M051933969 # from 50 Collected Songs (medium/low) 36. Gm; eb’–d” RUBBRA Rune of Hospitality Lengnick AL0866 37. Eb; cb’–f” SALOMON Go, Lov’ly Rose from O Tuneful Voice OUP 9780193457461 38. Eb; d’–ab” SALOMON O Tuneful Voice from O Tuneful Voice OUP 9780193457461 (F) The Willow Song from The Junior Recitalist book 2 39. E; b–e” SULLIVAN Stainer D82 (Mezzo–Soprano/Contralto) F; e ’–f” TRAD. She Moved through the Fair from Trinity Singing Trinity TCL 016867 (high), 40. b [Eb] arr. HUGHES Grade 6 [NB only this version may be used] TCL 017949 (low) G; TRAD. Over the Mountains Trinity TCL 016867 (high), 41. d’–d”(g”) arr. QUILTER from Trinity Singing Grade 6 TCL 017949 (low) [E] E ; d’–f” Pretty Ring Time 42. b WARLOCK Banks OSS 602 (g”) from A First Book of Songs Sleep from Songs 1920–1922: Warlock Society vol. 3 Thames TH978102 43. Gm; d’–e ” WARLOCK b or A First Book of Songs or Banks OSS602 The First Mercy from Warlock Songs Boosey M060029233 44. f’–f” WARLOCK or Songs 1927–1928: Warlock Society vol. 7 or Thames TH978375 Walking the Woods 45. F; c’–f” WARLOCK Thames TH978375 from Songs 1927–1928: Warlock Society vol. 7 Lord, Make Me an Instrument OUP 9780193365810 (high), 46. E ; d’–g’’ WILLCOCKS b from Oxford Solo Songs Sacred 9780193365803 (low) F m; When I Am Dead, My Dearest 47. # WILLIAMSON Weinberger M570052783 A–eb” from Six English Lyrics

Group C: German Lied

1. A; e’–g#” BEETHOVEN Der Kuss from Ausgewählte Lieder Peters EP 731 Peters EP 3202a (high), E ; b –e ” Dein blaues Auge, op. 59 no. 8 b b b 3202b (low) or Faber 2. [D] BRAHMS from Lieder vol. 2 0571523455 (high), or E [C] or The Language of Song: Elementary b 0571523463 (low) Peters EP 3201a (high), G; f ’–a” Geheimnis, op. 71 no. 3 3. # BRAHMS 3201b (medium), [E ] [D] from Lieder vol. 1 b 3201c (low) Peters EP 3201a (high), D; f ’–a” O liebliche Wangen, op. 47 no. 4 4. # BRAHMS 3201b (medium), [C] [A] from Lieder vol. 1 3201c (low) Sapphische Ode, op. 94 no. 4 Alfred 17611 (high), 5. F; c’–f” [D] BRAHMS from Gateway to German Lieder 17617 (low) Alfred 17611 (high), Vergebliches Ständchen, op. 84 no. 4 A; e’–f ” 17617 (low) or Faber 6. # BRAHMS from Gateway to German Lieder [G] 0571523439 (high), or The Language of Song: Intermediate 0571523447 (low) Süsses, Begräbnis Alfred 17611 (high), 7. B; b–e’’ [A] LOEWE from Gateway to German Lieder 17617 (low) E; b–g ” Um schlimme Kinder artig zu machen IMC 1214 (high), 8. # MAHLER [C] from 24 Songs vol. 2 1232 (low) 9. Eb; d’–c” MENDELSSOHN Abendlied from Songs for Voice and Piano Dover DP19426 10. F; d’–f” MENDELSSOHN Das Erste Veilchen from Songs for Voice and Piano Dover DP19426 E ; d’–e ” Nachtlied Alfred 17611 (high), 11. b b MENDELSSOHN [C] from Gateway to German Lieder 17617 (low) Das Veilchen Trinity TCL 016867 (high), 12. F; e’–f” [D] MOZART from Trinity Singing Grade 6 TCL 017949 (low) 13. F; e’–g” SCHUBERT An den Frühling D 245 from Lieder vol. 7 Peters EP 2270

56 = Songs included in the Trinity repertoire book for the grade Grade 6

G; g’–g” An die Nachtigall D 497 Alfred 17611 (high), 14. SCHUBERT [Eb] from Gateway to German Lieder 17617 (low) 15. G; f#’–e” SCHUBERT An mein Klavier D 342 from Easy German Classic Songs Ditson 431 41002 Faber 0571523439 (high), D ; e ’–g ” Die Forelle D 550 b b b 0571523447 (low) 16. [A] or D SCHUBERT from The Language of Song: Intermediate b or Peters EP 20a (high), [B] [A] or Lieder vol. 1 20b (medium), 20c (low) A ; e ’–a ” Geheimes D 719 Peters EP 20a (high), 17. b b b SCHUBERT [F] [Eb] from Lieder vol. 1 20b (medium), 20c (low) D ; f’–e ” Liebst du um Schönheit, op. 12 no. 4 Alfred 17611 (high), 18. b b C SCHUMANN [Bb] from Gateway to German Lieder 17617 (low) Alfred 17611 (high), 17617 Der Nußbaum, op. 25 no. 3 G; d’–f ” (low) or Peters EP 2383a 19. # R SCHUMANN from Lieder vol. 1 [F] [E ] (high), 2383b (medium), b or Gateway to German Lieder 2383c (low) Alfred 17611 (high), 17617 (low) or Peters EP 2383a Die Lotosblume, op. 25 no. 7 F; c’–g” (high), 2383b (medium), 20. R SCHUMANN from Lieder vol. 1 or Gateway to German Lieder [E ] [D ] 2383c (low) or Faber b b or The Language of Song: Intermediate 0571523439 (high), 0571523447 (low) Fm; f ’–e ” Auf ein altes Bild (Mörike Lieder no. 23) Peters EP 4290a (high), 21. # # WOLF [Em] from Ausgewählte Lieder 4290b (low)

Group D: French mélodie

Hal Leonard E ; e ’–g” Mots d’amour 1. b b CHAMINADE HL00740270 (high), [C] from Women Composers: a Heritage of Song HL00740271 (low) D; e’–e” Hébé Leduc AL26431 2. CHAUSSON or Bb [G] from Mélodies pour chant et piano or Changing Voices or Peters EP 72482 3. G; c#’–f” CHAUSSON Les papillons from Mélodies pour chant et piano Leduc AL26431 G; e’–g” Chanson d’amour Hal Leonard HL47071 (high), 4. FAURÉ [F] from 50 Songs — High Voice (or Medium/Low Voice) HL47070 (medium/low) Hal Leonard HL47071 A ; e’–e ” Dans la forêt de septembre 5. b b FAURÉ (high), HL47070 [G ] from 50 Songs — High Voice (or Medium/Low Voice) b (medium/low) Peters EP 7520a (high), F; f’–g” Le secret 7520b (medium/low) or 6. [D ] FAURÉ from The Art of French Song vol. 2 b Faber 0571523439 (high), or E [D ] or The Language of Song: Intermediate b 0571523447 (low)

F; d’–g” Rêve d’amour Hal Leonard HL47071 (high), Grade 6 7. FAURÉ [Eb] from 50 Songs — High Voice (or Medium/Low Voice) HL47070 (medium/low) Hal Leonard HL47071 A ; g’–a ” Sylvie 8. b b FAURÉ (high), HL47070 [F] from 50 Songs — High Voice (or Medium/Low Voice) (medium/low) G; d’–a” Sérénade Lemoine HX26736 (high), 9. GOUNOD [F] from 11 Melodies HX26735 (medium) 10. F; f’–f” GOUNOD Viens! Les gazons sont verts! from Les mélodies favorites Lemoine HX26370 F ; f ’–f ” Quand je fus pris au pavillon Trinity TCL 016867 (high), 11. # # # HAHN [C] from Trinity Singing Grade 6 TCL 017949 (low) Élégie 12. Dm; a–e ” MASSENET Schirmer GS82065 b from The First Book of Mezzo-Soprano/Alto Solos Part II 13. Bb; c’–g” RAVEL Sainte Durand DR00724801 14. G; d’–g” SATIE La diva de I’empire Salabert SLB 00462100 G; f’–g” Les deux roses Peters EP 7520a (high), 15. VIARDOT [Eb] from The Art of French Song vol. 2 7520b (medium/low) 16. G; d’–g” VILLETTE Premier aveu, op. 4 from Trois Mélodies UMP 9790224405446

= Songs included in the Trinity repertoire book for the grade 57 Grade 6

Group E: General song repertoire in other languages

(M) If I Climb the Rocky Mountains [in Hungarian or 1. d’–e” BARTÓK Boosey M060011528 (high) German or English] from Eight Hungarian Folksongs (M) Skies Above are Heavy with Rain [in Hungarian or 2. d’–e” BARTÓK Boosey M060011528 (high) German or English] from Eight Hungarian Folksongs 3. Ab; eb’–ab” BELLINI Ma rendi pur contento from 15 Composizioni da Camera Ricordi NR 12328200 (M) Deh più a me non v’ascondete from Anthology of 4. A ; e ’–f” BONONCINI Schirmer GS25401 b b Italian Song of the 17th and 18th Centuries book 1 Alfred 3402 (medium high), Fm; e ’–g” Non posso disperar 5. b BONONCINI 3403 (medium low) [Dm] from 26 Italian Songs and Arias [with CD: 3396/3397] 6. Am; e’–a” CACCINI Ave Maria from Lesley Garrett: Song Collection Chester CH61597 Alfred 3402 (medium high), G; d’–f#” Alma del core 3403 (medium low) 7. [D] CALDARA from 26 Italian Songs and Arias [with CD: 3396/3397] or C [Bb] or The Language of Song: Elementary or Faber 0571523455 (high), 0571523463 (low) Alfred 3402 (medium high), D; d’–g” Vittoria mio core 8. CARISSIMI 3403 (medium low) [A] from 26 Italian Songs and Arias [with CD: 3396/3397] A; e’–f ” Canción Chester CH52563 (high), 9. # DE FALLA [G] from Siete canciones populares españolas CH04050 (medium) C m; # El paño muruno Chester CH52563 (high), 10. g ’–f ” DE FALLA # # from Siete canciones populares españolas CH04050 (medium) [Bm] F ; f ’–f ” Nana Chester CH52563 (high), 11. # # # DE FALLA [E] from Siete canciones populares españolas CH04050 (medium) 12. Ab; c’–f” DONIZETTI Amore e morte from Compozioni da camera vol. 1 Ricordi NR 13033000 Alfred 3402 (medium Bm; a –f ” Danza, danza fanciulla gentile 13. # # DURANTE high), 3403 (medium low) [Gm] from 26 Italian Songs and Arias [with CD: 3396/3397] Songs My Mother Taught Me [in Czech or German or 14. D; f ’–g” DVORˇ ÁK Simrock EE582 # English] (no. 4) from Gipsy Songs Am; d’–g” ELWYN- Gaeaf (Winter) [in Welsh only] Trinity TCL 016867 (high), 15. [Fm] EDWARDS from Trinity Singing Grade 6 TCL 017949 (low) Ave Maria OUP 9780193457843 (high), 16. F; f–g” [D] FRANCK from Sing Solo Sacred 9780193457850 (low) El majo discreto Schirmer GS81173 or A; e’–a” 17. GRANADOS from First Book of Soprano Solos Faber 0571523439 (high), or A [E] or The Language of Song: Intermediate 0571523447 (low) Ein Schwan (A Swan), op. 25 no. 2 18. E ; c’–e ’’ GRIEG Peters EP 3208b b b from Album of 60 Selected Songs (medium/low voice) En Svane (A Swan), op. 25 no. 2 19. F; d’–f’’ GRIEG Peters EP 7958 from Grieg Centenary Song Album (high) 20. Bm; d’–ab” LARA Granada from Voices Chester CH65252 Alfred 3402 (medium high), E; e’–f ” Pur dicesti 21. # LOTTI 3403 (medium low) [C] from 26 Italian Songs and Arias [with CD: 3396/3397] 22. C; c’–e” MARCELLO (F) Non m’è grave from Arie Antiche vol. 2 Ricordi NR 05398300 Corazón porque pasais…? 23. E; e’–e” OBRADORS Music Sales UMV34070 from Canciones clásicas españolas vol. 1 F; e’–a” T’intendo, si, mio cor Trinity TCL 016867 (high), 24. RIGHINI [D] from Trinity Singing Grade 6 TCL 017949 (low) 25. A; e’–f#” RIGHINI Vorrei di te fidarmi from 12 Ariettas Southern HL03770714 Alfred 3402 (medium high), Em; d ’–e” Sento nel core 26. # SCARLATTI 3403 (medium low) [Dm] from 26 Italian Songs and Arias [with CD: 3396/3397] 27. c’–g” TURINA Saeta en forma de Salve UME UMV16618 28. Eb; d’–eb” VERDI (M) Stornello from Composizione da camera Ricordi NR 12338100

58 = Songs included in the Trinity repertoire book for the grade Grade 6

Own composition Duration: 3 – 3.5 minutes Candidates may perform an own composition instead of one listed song. More information can be found on page 11. Own compositions must be comparable in technical and musical demand to the songs listed for this grade.

TECHNICAL WORK Candidates choose ONE of the following three options (1, 2 or 3), to be performed from memory — see page 12. 1. Vocal exercises Candidates perform the following three exercises: Vocal Exercises a. The Sleeping Giant (pitch and tone) Trinity TCL 016775 b. America (rhythm) c. A Mango Mystery (diction)

2. Vaccai exercise Candidates perform the following exercise, in Italian: Metodo Pratico — Lektion V (Semitones: Delira dubbiosa) Peters EP 2073a (high), EP 2073b (medium), EP 2073c (low)

3. Unaccompanied Candidates perform ONE of the following: The Language of Folk 2 folk song a. The Wee Weaver Faber 0-571-53733-2 b. Maid on the Shore [verses 1, 2, 3, 5 and 6] SUPPORTING TESTS Candidates prepare: ◗ Sight reading ◗ Aural or improvisation

2. Aural Candidates answer questions based on a single musical example played on the piano by the examiner — see page 15. Parameters Task Requirement

Harmonised Listen to the piece twice i) Identify the time signature ii) Comment on the dynamics Grade 6 8 bars iii) Comment on the articulation Major key Listen to the piece twice Identify and comment on two other characteristics of the piece , , or Listen to the first four bars of the Identify the key to which the music modulates as subdominant, piece once dominant or relative minor (answers may alternatively be given as key names)

Study a copy of the piece, and listen Locate and describe the changes as pitch or rhythm to it twice with two changes to the melody line

59 Grade 7 Grade 7

EXAM DURATION EXAM STRUCTURE The Grade 7 exam lasts The Grade 7 exam contains the following: 23 minutes. Maximum marks SONG 1 17

SONG 2 17

SONG 3 17

SONG 4 17

TECHNICAL WORK 12 ONE of the following: ◗ Vocal exercises ◗ Vaccai exercise ◗ Unaccompanied folk song

SUPPORTING TEST 1 10

◗ Sight reading

SUPPORTING TEST 2 10 ONE of the following: ◗ Aural ◗ Improvisation

TOTAL 100

Key; Range Composer Song Suggested edition

Group A: Songs in a dramatic context

i) Opera, operetta & oratorio Soprano

Quia respexit [end on first note of following chorus] 1. Bm; d’–f ” J S BACH Bärenreiter BA 5103-90 # from Magnificat in D, BWV 243 Barbarina’s Remorse (L’Augellino Belverde) 2. Cm; c’–b ’’ DOVE Peters EP 7898 b from Songs & Arias for Soprano Pie Jesu (Requiem) from Sacred Soprano Arias Mayhew 3611728 3. B ; e ’–f” FAURÉ b b or Sing Solo Sacred (high) or OUP 019 345784 9 He Shall Feed His Flock (version 1) [with recit: Then shall 4. B ; f’–g” HANDEL Novello NOV070137 b the eyes] (Messiah) O Had I Jubal’s Lyre (Joshua) from 45 Arias from IMC 1695 5. A; d ’–f ” HANDEL # # Operas & Oratorios vol. 2 (high) or Sacred Soprano Arias or Mayhew 3611728 6. Em; d’–g” HANDEL O That I On Wings Could Rise (Theodora) Novello NOV070459

60 Grade 7

V’adoro, pupille (Guilio Cesare) from 45 Arias from IMC 1697 7. F; f’–g” HANDEL Operas & Oratorios vol. 3 (high) or vocal score or Bärenreiter BA 4078-90 8. Dm; f’–a” MARQUÉS Lagrimas mías (El anillo de hierro) from Zarzuela! UME UMV24369 Vedrai carino (Don Giovanni) Schirmer GS81097 9. C; g’–g” MOZART from Arias for Soprano or The Prima Donna’s Album or GS32555 Sorry Her Lot (HMS Pinafore) 10. F; f’–b ” SULLIVAN Hal Leonard HL00740214 b from Gilbert and Sullivan for Singers (Soprano) Domine Deus (Gloria RV 589) OUP 9780193457805 11. C; f’–f” VIVALDI from Sing Solo Soprano or vocal score or Novello NOV078441 Mezzo-soprano, alto and countertenor

Seguidilla: Près des remparts de Séville (Carmen) 12. Bm; b–f” BIZET Peters EP 7553 from French Operatic Arias for Mezzo-Soprano Il segreto per esser felici (Lucrezia Borgia) 13. C; c’–f” DONIZETTI Schirmer GS81098 from Arias for Mezzo-Soprano Faites-lui mes aveux (Faust) 14. C; d’–g” GOUNOD Peters EP 7553 from French Operatic Arias for Mezzo-Soprano Father of Heav’n (Judas Maccabæus) 15. F; c’–e” HANDEL IMC 1694 from 45 Arias from Operas & Oratorios vol. 1 (low) Hence, Iris, Hence Away (Semele) 16. Fm; b –e ” HANDEL Novello NOV070146 b b (custom print vocal score) 17. C; b–a’ MONTEVERDI Arnalta’s Lullaby (L’incoronazione di Poppea Act II Scene X) Novello NOV200184 Chacun a son gout (Die Fledermaus) 18. D ; c’–a ” J STRAUSS Schirmer GS32584 b b from Operatic Anthology vol. II (Mezzo-Soprano and Alto) Were I Thy Bride (Yeoman of the Guard) 19. E ; b –e ” SULLIVAN Dover DP11040 b b b from The Authentic Gilbert and Sullivan Songbook Me voici dans son boudoir (Mignon) 20. E ; b –f” THOMAS Schirmer GS32584 b b from Operatic Anthology vol. II (Mezzo-Soprano and Alto) Tenor

Gentle Airs, Melodious Strains! (Athalia) Hal Leonard 21. A; e–f ’ HANDEL # from The Oratorio Anthology (Tenor) HL00747060 22. A; e–a’ HANDEL Lay Your Doubts and Fears Aside (Semele) Novello NOV070146 23. G; f#–a’ HANDEL Would You Gain the Tender Creature? (Acis and Galatea) Novello NOV070122 Now Nature Sinks Beneath the Weight [with recit: 24. E; B –e’ HAYDN Novello NOV072493 # The noonday sun] (The Seasons) Oh, Is There Not One Maiden Breast (Pirates of Penzance) 25. Db; ab–bb’ SULLIVAN [cutting chorus part and ending after cadenza ‘I’ll love you’] Hal Leonard HL00740124 from The Singer’s Musical Theatre Anthology vol. 3 (Tenor) Baritone and bass

Wohlzutun und mitzuteilen from Cantata no. 39: 26. Dm; G–e’ J S BACH Breitkopf EB 7039 Brich dem Hungrigen dein Brot BWV 39 Leave Me, Loathsome Light (Semele) 27. D; A–d’ HANDEL Schirmer GS32962 from Great Art Songs of Three Centuries (low)

More Sweet Is That Name (Semele) Grade 7 28. D; A–d’ HANDEL Novello NOV070146 (custom print vocal score) 29. Gm; c#–f’ HUMPHREY A Hymne to God the Father Schott ED11908 Ein Mädchen oder Weibchen (Die Zauberflöte) 30. F; B–d’ MOZART Schirmer GS32586 from Operatic Anthology vol. IV (Baritone) Ho capito, Signor, sì (Don Giovanni) Ricordi ER 00229100 31. F; c–c’ MOZART from Mozart Arie Scelte vol. IV or vocal score or Schirmer GS33818 In diesen heil’gen Hallen (Die Zauberflöte) 32. E; F –c’ MOZART Schirmer GS32587 # # from Operatic Anthology vol. V (Bass) Non siate ritrosi [with recit: Le nostre pene] (Cosí fan tutte) 33. G; d–e’ MOZART Schirmer GS32586 from Operatic Anthology vol. IV (Baritone) Fair Moon to Thee (HMS Pinafore) 34. D; c–f’(a’) SULLIVAN Hal Leonard HL00740217 from Gilbert and Sullivan for Singers: Baritone/Bass

61 Grade 7

ii) Musical theatre Any voice

(I’ll Build a) Stairway to Paradise (George White’s Scandals 35. C; c’–f” GERSHWIN Faber 0571525768 of 1922) from The Best of George and Ira Gershwin Fascinatin’ Rhythm (Lady, Be Good!) 36. E ; e ’–f” GERSHWIN Faber 0571525768 b b from The Best of George and Ira Gershwin Nice Work If You Can Get It (A Damsel in Distress) 37. G; b–e” GERSHWIN Faber 0571525768 from The Best of George and Ira Gershwin What More Do I Need? (Saturday Night) 38. E ; b –e ” SONDHEIM Hal Leonard HL00313531 b b b from The Stephen Sondheim Collection It Never Was You (Knickerbocker Holiday) 39. F; c’–f”(a”) WEILL Alfred PF9921 from Kurt Weill Songs: A Centennial Anthology vol. 1 Female voice

I Had Myself a True Love (St Louis Woman) from The 40. B ; f–c” ARLEN Hal Leonard HL00740123 b Singer’s Musical Theatre Anthology vol. 3 (Mezzo-Soprano) Will He Like Me? (She Loves Me) from The Singer’s 41. G; b–f ” BOCK Hal Leonard HL00747066 # Musical Theatre Anthology vol. 2 (Soprano) My Brother Lived in San Francisco (Elegies for Angels, 42. C; f#–db” HOOD Punks and Raging Queens) from The Contemporary Hal Leonard HL00740192 Singing Actor (Women’s Voices) vol. 1 Maybe This Time (Cabaret) from The Singer’s Musical 43. G; e–c” KANDER Hal Leonard HL00740123 Theatre Anthology vol. 3 (Mezzo-Soprano) 44. C; c’–eb” KANDER Roxie from Chicago the Musical: Vocal Selections IMP 4863A Take Back Your Mink (Guys and Dolls) from The Singer’s 45. B ; b –c” LOESSER Hal Leonard HL00361072 b b Musical Theatre Anthology vol. 1 (Mezzo-Soprano) Show Me (My Fair Lady) from The Singer’s Musical 46. G; d’–g” LOEWE Hal Leonard HL00361071 Theatre Anthology vol. 1 (Soprano) 47. D; b–d’’ MARGOSHES Think of Meryl Streep from Fame: The Musical Alfred 28453 48. F; g–c’’ SCHWARTZ Popular from Wicked: Vocal Selections Hal Leonard HL00313267 Another Hundred People (Company) from The Singer’s 49. C; c’–e ” SONDHEIM Hal Leonard HL00747031 b Musical Theatre Anthology vol. 2 (Mezzo-Soprano) One More Kiss (Follies) from The Singer’s Musical Theatre 50. D ; d’–a” SONDHEIM Hal Leonard HL00361071 b Anthology vol. 1 (Soprano) Take Me to the World (Evening Primrose) from 51. B ; b –e ” SONDHEIM Hal Leonard HL00747066 b b b The Singer’s Musical Theatre Anthology vol. 2 (Soprano) The Girls of Summer (Marry Me a Little) from 52. E; b–e” SONDHEIM Hal Leonard HL00740122 The Singer’s Musical Theatre Anthology vol. 3 (Soprano) Uptown, Downtown (Follies) from The Singer’s Musical 53. Am; g–b’ SONDHEIM Hal Leonard HL00740123 Theatre Anthology vol. 3 (Mezzo-Soprano) Not for the Life of Me 54. G; a –c” TESORI Hal Leonard HL02500565 b from Thoroughly Modern Millie: Vocal Selections In His Eyes (Jekyll and Hyde) from The Singer’s Musical 55. B ; b –f” WILDHORN Hal Leonard HL00740122 b b Theatre Anthology vol. 3 (Soprano) Male voice

The Mason (Working) from The Singer’s Musical Theatre 56. F; B –g’ CARNELIA Hal Leonard HL00740124 b Anthology vol. 3 (Tenor) 57. Am; A–e’ COLEMAN Funny from City of Angels: Vocal Selections Hal Leonard HL00313356 Hey There, Good Times [cut duet section] 58. B ; B –f’ COLEMAN Hal Leonard HL00313371 b b from I Love My Wife: Vocal Selections Mr Cellophane (Chicago) 59. A; c –g’ KANDER Hal Leonard HL00740124 # from The Singer’s Musical Theatre Anthology vol. 3 (Tenor) Music of the Night (The Phantom of the Opera) 60. D ; A –a ’ LLOYD WEBBER Really Useful RG10054 b b b from The Andrew Lloyd Webber Anthology 61. G; b–g” LOPEZ/MARX Purpose from Avenue Q: Vocal Selections Hal Leonard HL00313269 If I Can’t Love Her (Beauty and the Beast) Hal Leonard HL00740125 62. C; B–f’ MENKEN from The Singer’s Musical Theatre Anthology vol. 3 or HL00313169 (Baritone/Bass) or Contemporary Disney

62 Grade 7

Bring Him Home (Les Misérables) 63. A; e–a’ SCHÖNBERG from The Singer’s Musical Theatre Anthology vol. 2 Hal Leonard HL00747032 (Tenor) [NB must be sung in A] Empty Chairs at Empty Tables (Les Misérables) from The 64. A–g’ SCHÖNBERG Hal Leonard HL00747033 Singer’s Musical Theatre Anthology vol. 2 (Baritone/Bass) Stars (Les Misérables) from The Singer’s Musical Theatre 65. E; B–e’ SCHÖNBERG Hal Leonard HL00747033 Anthology vol. 2 (Baritone/Bass) In Pursuit of Excellence 66. Am; G–f ’ SCHWARTZ Alfred 0320B # from Children of Eden: Vocal Selections Winter’s on the Wing (The Secret Garden) from The IMP 22053 67. Am; d’–f ” SIMON Secret Garden: Vocal Selections or Broadway Presents! # or Alfred 32027 Teens’ Musical Theatre Anthology (Male Edition) Good Thing Going (Merrily We Roll Along) from The Hal Leonard HL00747033 68. F; c–f’ SONDHEIM Singer’s Musical Theatre Anthology vol. 2 (Baritone/Bass) or Alfred MFM0001 or The Smash Broadway Collection Johanna (Sweeney Todd) from The Singer’s Musical 69. E ; c–e ’ SONDHEIM Hal Leonard HL00361073 b b Theatre Anthology vol. 1 (Tenor) A m; Where’s the Girl? from The Scarlet Pimpernel: 70. b WILDHORN Alfred PF9806 Bb–eb’ Vocal Selections, Broadway Edition

Group B: General song repertoire in English

F m; ARMSTRONG 1. # Silver Boosey M060030918 c#’–f#” GIBBS E m; ARMSTRONG The Fields are Full 2. b Boosey M051909230 db’–gb” GIBBS from A Heritage of 20th Century British Song vol. 4 Jewels Trinity TCL 016874 (high), 3. F; d’–a” [C] BENNETT from Trinity Singing Grade 7 TCL 017956 (low) 4. Db; db’–ab” BOYCE (F) By Thy Banks, Gentle Stour from Sing Solo Soprano OUP 9780193457805 5. Am; b–e” BRITTEN Tit for Tat from Tit for Tat Faber 057150292X 6. Ab; eb’–f” DELIUS The Homeward Way Banks OSS 590 Bm; d’–f ” Twilight Fancies Banks OSS 588 (high), 7. # DELIUS [Gm] from 19 Songs OSS 47 (low) 8. Fm; c’–c” DOWLAND Sorrow, Sorrow, Stay from English Lute Songs book 2 Stainer B617 9. D; d’–f#” DRING (F) Business Girls from Five Betjeman Songs Weinberger M570052974 Crabbed Age and Youth Trinity TCL 016874 (high), 10. F; f’–f” [E ] DRING b from Trinity Singing Grade 7 TCL 017956 (low) 11. Gm; d’–g” DRING The Enchantment from Six Songs Thames TH978717 12. D; a#–d” FINZI Come Away, Death from Let Us Garlands Bring Boosey M060030345 13. E; a–e” FINZI It Was a Lover and His Lass from Let Us Garlands Bring Boosey M060030345 FLANDERS & Ill Wind 14. E ; g(e )–d’ Faber 0571529208 b b SWANN from The Songs of Michael Flanders and Donald Swann I Will Go with My Father A-Ploughing 15. Em; d’–e” GURNEY Boosey M051909117 from A Heritage of 20th Century British Song vol. 1 (M) Droop Not Young Lover 16. Am; G–e’ HANDEL Boosey M051904501 from The New Imperial Edition of Bass Songs Grade 7 (F) Sea Wrack 17. B ; b –e ” HARTY Boosey M051904204 b b b from The New Imperial Edition of Contralto Songs (F) The Hag from The Junior Recitalist book 2 18. Dm; a–f” HATTON Stainer D82 (Mezzo-Soprano/Contralto) A Green Cornfield 19. F; d’–f” HEAD Boosey M051922260 from Song Album 1: Songs of the Countryside 20. Fm; eb–g” HEAD A Piper from Song Album 1: Songs of the Countryside Boosey M051922260 (F) Foxgloves 21. C; g’–g” HEAD Boosey M051922260 from Song Album 1: Songs of the Countryside Gm; 22. HEAD Money, O Boosey M060060601 bb(g)–d” Ships of Arcady Boosey M060032479 (high), 23. D; d’–g” HEAD from Over the Rim of the Moon M060032462 (low)

= Songs included in the Trinity repertoire book for the grade 63 Grade 7

Am; a–e” 24. HOLST The Sergeant’s Song Curwen EA 12610A/B [Gm] Gavotte from A Century of English Song vol. 1 (Soprano) Thames TH978421 25. G; d’–g” HOWELLS or Sing Solo Soprano or OUP 9780193457805 F; d’–g” If There Were Dreams to Sell Trinity TCL 016874 (high), 26. IRELAND [Db] from Trinity Singing Grade 7 TCL 017956 (low) 27. Em; b–d” IRELAND Sea Fever from Eleven Songs or Complete Songs vol. 2 Stainer B040 or B597 (F) Mother I Will Have a Husband 28. G; d’–e” JACOB Thames TH978614 from A Century of English Song vol. 4 (Medium/low) 29. Gm; d’–g” KEATS (M) Love’s Secret Wirripang HKWB102 20. Dm; g’–f” KEATS Plucking the Rushes Wirripang HKAW105 31. G; d’–d” L’ESTRANGE (M) She Walks in Beauty from Love’s Philosophy Faber 0571532152 32. Gm; Bb–c’ LILBURN (M) Once the Strength from Sings Harry Wai-te-ata 33. Cm; eb’–g” MACONCHY Ophelia’s Song OUP 9780193455559 C m; 34. # MALASHKIN Oh Could I But Express in Song Chester CH61610 b–e”(g”) Gm; (M) O Fair Enough Are Sky and Plain 35. MOERAN Chester CH55318 db’–eb” from The Chester Book of Celebrated Songs book 2 (F) Dirge in Woods from The Junior Recitalist book 2 36. G; g–e” PARRY Stainer D82 (Mezzo-Soprano/Contralto) (F) My Heart Is Like a Singing Bird 37. F; c’–a” PARRY Stainer B525 from Seven Songs for High Voice G; d’–g” An Evening Hymn (Harmonia Sacra Z193) IMC 2071 (high), 38. PURCELL [Eb] from 40 Songs 2072 (low) Hark, How All Things (The Fairy Queen Z629) IMC 2071 (high), 39. G; d’–f” [E] PURCELL from 40 Songs 2072 (low) Gm; d’–g” If Music Be the Food of Love (first version: Z379A) IMC 2071 (high), 40. PURCELL [Ebm] from 40 Songs 2072 (low) Am; e’–f” Music for a While (Oedipus Z583) IMC 2071 (high), 41. PURCELL [Fm] from 40 Songs 2072 (low) B m; Autumn Evening Hal Leonard HL00740225 42. b QUILTER eb’–g” from 55 Songs (high), HL00740226 (low) Em; e’–g” Blow, Blow Thou Winter Wind Boosey M060021893 (high), 43. QUILTER [Cm] from 3 Shakespeare Songs, op. 6 M060021886 (low) D ; f’–a ” Fair House of Joy Boosey M060021879 (high), 44. b b QUILTER [Bb] from 7 Elizabethan Lyrics, op. 12 M060021862 (low) Stop All the Clocks (‘Funeral Blues’) Trinity TCL 016874 (high), 45. D; a–g” [C] ROE from Trinity Singing Grade 7 TCL 017956 (low) F m; c ’–f ” The Nightingale Trinity TCL 016874 (high), 46. # # # ROREM [Em] from Trinity Singing Grade 7 TCL 017956 (low) 47. Am; d’–g” RUBBRA Hymn to the Virgin from Two Songs Lengnick AL1163 F; c’–g ” The Fairy Lough Trinity TCL 016874 (high), 48. b STANFORD [D] from Trinity Singing Grade 7 TCL 017956 (low) Am; e’–a” Trinity TCL 016874 (high), 49. STOVE Love Song from Trinity Singing Grade 7 [F#m] TCL 017956 (low) TRAD. Death and the Lady 50. D; b–d’’ Chester CH55318 arr. HOLLOWAY from The Chester Book of Celebrated Songs 2 VAUGHAN The Bird’s Song (The Pilgrim’s Progress) 51. E ; d ’–f” OUP 9780193459298 b b WILLIAMS from Collected Songs vol. 3 Dm; 52. WARLOCK Bethlehem Down Boosey M060029141 c#’–eb” (M) Captain Stratton’s Fancy from Songs 1920–1922: Thames TH978102 53. F; c’–f” WARLOCK Warlock Society vol. 3 or Thirteen Songs for High Voice or Stainer B060 The Countryman Boosey M060029233 54. F; c’–f” WARLOCK from Warlock Songs or Thames 978375 The Lover’s Maze from Songs 1927–1928: Warlock Society Thames TH978375 55. Fm; e ’–f” WARLOCK b vol. 7 or A First Book of Songs or Banks OSS602 56. — YATES No. 1, 2 or 4 of Four Epigrams Wirripang

64 = Songs included in the Trinity repertoire book for the grade Grade 7

Group C: German Lied

E ; d’–a ” Bist du bei mir [in German] 1. b b J S BACH Universal UE 9559 [Db] [Bb] from Elisabeth Schumann Liederbuch Peters EP 3201a (high), A ; d’–g ” Feldeinsamkeit, op. 86 no. 2 2. b b BRAHMS 3201b (medium), [G] [F] from Lieder vol. 1 3201c (low) Peters EP 3201a (high), D; e–g’(a’) (M) Minnelied, op. 71 no. 5 3. BRAHMS 3201b (medium), [C] [B ] from Lieder vol. 1 b 3201c (low) Peters EP 3201a (high), Fm; d ’–a” Nachtigall, op. 97 no. 1 4. b BRAHMS 3201b (medium), [Dm] [Cm] from Lieder vol. 1 3201c (low) Peters EP 3201a (high), G; d’–g ” Ständchen (‘Der Mond steht’), op. 106 no. 1 5. # BRAHMS 3201b (medium), [E] [E ] from Lieder vol. 1 b 3201c (low) F m; # Schilflied, op. 71 no. 4 Trinity TCL 016874 (high), 6. c ’–f ” MENDELSSOHN # # from Trinity Singing Grade 7 TCL 017956 (low) [Dm] F; c’–f’’ MENDELSSOHN- Nachtwanderer Trinity TCL 016874 (high), 7. [Eb] HENSEL from Trinity Singing Grade 7 TCL 017956 (low) B ; f’–f” Ave Maria (Ellen’s dritter Gesang) D 839 [in German, Peters EP 20a (high), 8. b SCHUBERT [Ab] [G] not Latin] from Lieder vol. 1 20b (medium), 20c (low) A ; c–g ’ (M) Das Fischermädchen (Schwanengesang D 957) Peters EP 20a (high), 9. b b SCHUBERT [G] [F] from Lieder vol. 1 20b (medium), 20c (low) A ; e ’–f” Frühlingsglaube D 686, op. 20 no. 2 Peters EP 20a (high), 10. b b SCHUBERT [G] [F] from Lieder vol. 1 20b (medium), 20c (low) Cm; c’–f ” Schäfers Klagelied D 121 Peters EP 20a (high), 11. b SCHUBERT [Cm] [Bbm] from Lieder vol. 1 20b (medium), 20c (low) 12. Eb; eb’–g” C SCHUMANN Liebeszauber from Sämtliche Lieder vol. 1 Breitkopf EB 8558 A; f ’–f ” Röselein, Röselein, op. 89 no. 6 Peters EP 2385a (high), 13. # # R SCHUMANN [G] from Lieder vol. 3 2385b (medium) All mein’ Gedanken, op. 21 no. 1 Universal UE 5464a/b/c E; c ’–g ” 14. # # STRAUSS from Lieder vol. 2 (high/medium/low) [D] [C] or Elisabeth Schumann Liederbuch or UE 9559 Am; e’–f” Das verlassene Mägdlein (Mörike Lieder no. 7) Alfred 17611 (high), 15. WOLF [Gm] from Gateway to German Lieder 17617 (low) D; a’–g” Der Gärtner (Mörike Lieder no. 17) Peters EP 4290a (high), 16. WOLF [C] from Ausgewählte Lieder 4290b (low) B; a ’–g” (F) Ein Stündlein wohl vor Tag (Mörike Lieder no. 3) Peters EP 3140a (high), 17. b WOLF [Ab] from Mörike Lieder vol. 1 3140b (low) Em; g’–f ” Nun wandre Maria (no. 3 of Spanisch Liederbuch 1) Peters EP 4290a (high), 18. # WOLF [Cm] from Ausgewählte Lieder 4290b (low)

Group D: French mélodie

Choudens AC2485 F; e’–g” 1. BIZET Chanson d’avril from 20 Mélodies (soprano/tenor), AC2486 [E ] b (mezzo/baritone) Grade 7 Choudens AC2485 Fm; d’–g” 2. BIZET Pastorale from 20 Mélodies (soprano/tenor), AC2486 [Em] (mezzo/baritone) Mignonne Hal Leonard HL00740270 3. F; a–f” [E ] CHAMINADE b from Women Composers: A Heritage of Song (high), HL00740271 (low) Romance: l’âme évaporée 4. D; d’–g ” DEBUSSY Hal Leonard HL00660283 # from Songs of Claude Debussy vol. 2 (medium voice) Em; e’–g” Au cimitière Hal Leonard HL47071 (high), 5. FAURÉ [Cm] from 50 Songs — High Voice (or Medium/Low Voice) HL47070 (medium/low) Cm; g’–g” Hal Leonard HL47071 Clair de lune [Am] (high), HL47070 (medium/ 6. FAURÉ from 50 Songs — High Voice (or Medium/Low Voice) or Cm low) or Faber 0571523439 or The Language of Song: Intermediate [Gm] (high), 0571523447 (low)

= Songs included in the Trinity repertoire book for the grade 65 Grade 7

A ; e ’–f” Mandoline (Cinq mélodies ‘de Venise’) Hal Leonard HL47071 (high), 7. b b FAURÉ [G] from 50 Songs — High Voice (or Medium/Low Voice) HL47070 (medium/low) G ; g ’–a ” Nell Hal Leonard HL47071 (high), 8. b b b FAURÉ [D] from 50 Songs — High Voice (or Medium/Low Voice) HL47070 (medium/low) Cm; g–a ” (M) Sérénade toscane Hal Leonard HL47071 (high), 9. b FAURÉ [Bbm] from 50 Songs — High Voice (or Medium/Low Voice) HL47070 (medium/low) 10. A; c#’–f#” HAHN (F) L’incrédule from Mélodies vol. 1 Heugel HE8315 D ; d ’–f” Fleurs Peters EP 7520a (high), 11. b b POULENC [Db] from The Art of French Song vol. 2 7520b (medium/low) 12. b–f#” POULENC Le disparu Salabert SLB 00536300 D ; c ’– 13. b # POULENC (F) Les chemins de l’amour Eschig ME6222 gb”(eb”) Chanson triste Trinity TCL 016874 (high), 14. F; e’–f” [D] SAINT-SAËNS from Trinity Singing Grade 7 TCL 017956 (low) 15. C; d’–g” SATIE Je te veux Salabert SLB 00461400 TRAD. Gai lon la 16. E ; e ’–e ” Chester CH04051 b b b arr. HOPKINS from Five French Folksongs

Group E: General song repertoire in other languages

F; c’–a” J S BACH/ Ave Maria OUP 9780193457843 (high), 1. [D] GOUNOD from Sing Solo Sacred 9780193457850 (low) Vaga luna Ricordi M 041 23282 9 A ; c’–e ” 2. b b BELLINI from 15 Composizioni da Camera or Faber 0571523439 (high), or B [A ] b b or The Language of Song: Intermediate 0571523447 (low) Per la gloria d’adorarvi [ornaments must be included, Alfred 3402 (medium 3. F; d’–f” [D] BONONCINI either those published or candidate’s own] high), 3403 (medium low) from 26 Italian Songs and Arias [with CD: 3396/3397] (M) Pupille nere [in Italian only] 4. F; c–d’ BUONONCINI Boosey M051904501 from The New Imperial Edition of Bass Songs La conocchia (Nuits d’été à Pausilippe) D; c ’–f ” Faber 0571530753 5. # # DONIZETTI from The Language of Song: Advanced — High Voice (a’’) or Ricordi NR13033000 or Composizioni Da Camera vol. 1 Cm; f’–f” Oh, Lord, Have Mercy and Turn Thou Thy Face to Me Bärenreiter Praha H 1758 6. DVORˇ ÁK [Abm] from Biblical Songs, op. 99 (high), H 1560 (low) E; e’–f ” Oh, My Shepherd Is the Lord Bärenreiter Praha H 1758 7. # DVORˇ ÁK [B] from Biblical Songs, op. 99 (high), H 1560 (low) ELWYN- Y Gwanwyn (Spring) [in Welsh only] 8. G; e’–g” Cyhoeddiadau 9003 EDWARDS from Caneuon y Tymhorau (Songs of the Seasons) 9. Dm; G–d’ LEGRENZI (M) Cessa d’esser amante from Three Cantatas Green Man Leg1 Alfred 3402 (medium A; e’–f ” Le Violette 10. # SCARLATTI high), 3403 (medium low) [F] from 26 Italian Songs and Arias [with CD: 3396/3397] Verirrt, op. 17 no. 4 [in Finnish, German or English] 11. F; c–e ’ SIBELIUS Breitkopf EB 6943 b from 15 Selected Songs 12. A; d–g’ STRADELLA (M) Region sempre addita from Arie Antiche vol. 1 Ricordi NR 05025100 None but the Lonely Heart, op. 6 no. 6 Boosey M060097980 E ; d’–g” 13. b TCHAIKOVSKY [in Russian or English] (high) or M060097997 [C] from Songs vol. 1 (high) or Songs vol. 2 (low) (low) 14. F; a–e” VILLA-LOBOS Tu passaste por este jardim Eschig ME00261000

Own composition Duration: 3.5 – 4 minutes Candidates may perform an own composition instead of one listed song. More information can be found on page 11. Own compositions must be comparable in technical and musical demand to the songs listed for this grade.

66 = Songs included in the Trinity repertoire book for the grade Grade 7

TECHNICAL WORK Candidates choose ONE of the following three options (1, 2 or 3), to be performed from memory — see page 12. 1. Vocal exercises Candidates perform the following three exercises: Vocal Exercises a. The Sea (pitch and tone) Trinity TCL 016775 b. A Tuscan Morning (rhythm) c. Homeward Bound (diction)

2. Vaccai exercise Candidates perform the following exercise, in Italian: Metodo Pratico — Lektion VI (Syncopes: Nel contrasto amor s’accende) Peters EP 2073a (high), EP 2073b (medium), EP 2073c (low)

3. Unaccompanied Candidates perform ONE of the following: The Language of Folk 2 folk song a. Dance to Your Daddy Faber 0-571-53733-2 b. T Stands for Thomas SUPPORTING TESTS Candidates prepare: ◗ Sight reading ◗ Aural or improvisation

2. Aural Candidates answer questions based on a single musical example played on the piano by the examiner — see page 15. Parameters Task Requirement

Harmonised Listen to the piece twice i) Identify the time signature ii) Comment on the dynamics 8 bars iii) Comment on the articulation Major or minor key Listen to the piece twice Identify and comment on two other characteristics of the piece , , or Listen to the first four bars of the Identify the key to which the music modulates as subdominant, piece once dominant or relative key (answers may alternatively be given as key names)

Study a copy of the piece, and listen Locate and describe the changes as pitch (melody line only) to it twice with three changes or rhythm

3. Improvisation Candidates perform an improvisation based on a stimulus chosen from the following three options: ◗ Stylistic ◗ Motivic ◗ Harmonic Grade 7 See pages 15–17 for the requirements and parameters.

67 Grade 8 Grade 8

EXAM DURATION EXAM STRUCTURE The Grade 8 exam lasts The Grade 8 exam contains the following: 28 minutes. Maximum marks SONG 1 17

SONG 2 17

SONG 3 17

SONG 4 17

TECHNICAL WORK 12 ONE of the following: ◗ Vocal exercises ◗ Vaccai exercises ◗ Unaccompanied folk song

SUPPORTING TEST 1 10

◗ Sight reading

SUPPORTING TEST 2 10 ONE of the following: ◗ Aural ◗ Improvisation

TOTAL 100

Key; Range Composer Song Suggested edition

Group A: Songs in a dramatic context

i) Opera, operetta & oratorio Soprano

1. Bm; e#’–g” J S BACH Blute nur, du liebes Herz (Matthaus Passion BWV 244) Bärenreiter BA 5038-90

2. D; c#’–f#” J S BACH Et exultavit (Magnificat in D, BWV 243) Bärenreiter BA 5103-90 3. A; c#’–a” J S BACH Nur ein Wink (Weihnachts-Oratorium BWV 248) Bärenreiter BA 5014-90 Sylphinia’s Aria (Only a Miracle) 4. C; f ’–g” BARAB Schirmer GS81197 # from American Arias for Soprano De que me sirve (Los diamantes de la corona) 5. E ; f’–a ” BARBIERI UME UMV24369 b b from Zarzuela! Be Kind and Courteous (Midsummer Night’s Dream) 6. e’–c’’’ BRITTEN Boosey M051922949 from Opera Arias Soprano vol. 2 Embroidery aria (Peter Grimes) 7. b–b ” BRITTEN Boosey M051922932 b from Opera Arias Soprano vol. 1 68 Grade 8

Ah! Spietato! (Amadigi) 8. Em; e’–g” HANDEL IMC 1693 from 45 Arias from Operas & Oratorios vol. 1 (high) 9. Eb; d’–g” HANDEL Care speme, questo core (Giulio Cesare) Bärenreiter BA 4078-90 Ch’io mai vi possa (Siroe) 10. Em; e’–g” HANDEL IMC 1693 from 45 Arias from Operas & Oratorios vol. 1 (high) 11. Dm; a’–b” HANDEL Credete al mio dolore (Alcina) Bärenreiter BA 4061-90 Gm; 12. HANDEL If God Be for Us (Messiah) Novello NOV070137 eb’–ab” The Soft Complaining Flute (Ode on St. Cecilia’s Day) 13. Bm; f ’–g” HANDEL Schirmer GS32578 # from Anthology of Sacred Song vol. 1 (Soprano) 14. A; e’–a” HANDEL Venere bella (Giulio Cesare) Bärenreiter BA 4078-90 Vilia (The Merry Widow) from The Singer’s Musical 15. G; g’–b” LEHAR Hal Leonard HL00747066 Theatre Anthology vol. 2 (Soprano) The Black Swan (The Medium) 16. Gm; d’–g” MENOTTI Schirmer GS81197 from American Arias for Soprano Bester Jüngling (Der Schauspieldirektor) 17. E ; e ’–b ” MOZART Schirmer GS81097 b b b from Arias for Soprano Un marito, donne care (La finta semplice) from 18. G; d’–g” MOZART IMC 1688 Mozart Arias from Operas for Soprano and Piano vol. 1 Marenka’s Aria (The Bartered Bride) [in Czech or English] 19. A ; c’–a ” SMETANA Schirmer GS32583 b b from Operatic Anthology vol. 1 (Soprano) A ; Poor Wand’ring One (The Pirates of Penzance) 20. b SULLIVAN Dover DP11040 eb’–db’’’ from The Authentic Gilbert and Sullivan Songbook Mezzo-soprano, alto and countertenor

21. Am; c’–e” J S BACH Bereite dich, Zion (Weihnachts-Oratorium BWV 248) Bärenreiter BA 5014-90 F m; 22. # J S BACH Buß und Reu (Matthaus Passion BWV 244) Bärenreiter BA 5038-90 b#–e” 23. E; a–d” J S BACH Esurientes implevit bonis (Magnificat in D, BWV 243) Bärenreiter BA 5103-90

24. D; c#’–f#” J S BACH Et exultavit (Magnificat in D, BWV 243) Bärenreiter BA 5103-90

25. Bm; c#’–e” J S BACH Qui sedes (Mass in B minor, BWV 232) Bärenreiter BA 5935-90 26. Bm; b–e” J S BACH Schließe, mein Herze (Weihnachts-Oratorium BWV 248) Bärenreiter BA 5014-90 Must the Winter Come So Soon? (Vanessa) 27. Fm; e ’–f” BARBER Schirmer GS81098 b from Arias for Mezzo-Soprano Habanera: L’amour est un oiseau 28. Dm; d’–f ” BIZET Peters EP 7553 # from French Operatic Arias for Mezzo-Soprano 29. Cm; c’–eb” HANDEL Cor ingrato (Rinaldo) Bärenreiter BA 4033-90 Heroes When with Glory Burning (Joshua) 30. F; c’–f” HANDEL Schirmer GS32579 from Anthology of Sacred Song vol. 2 (Alto) 31. Am; d’–g” MONTEVERDI Addio, Roma (L’Incoronazione di Poppea; Act III Scene VI) Novello NOV200184 32. Dm; c’–e” MONTEVERDI In un fiorito prato (Orfeo; Act II bars 240–285) Novello NOV070214 Voce di donna (La Giocanda) 33. E ; a–g” PONCHIELLI Schirmer GS81098 b from Arias for Mezzo-Soprano Ah Tanya, Tanya (Eugene Onegin) 34. a–f” TCHAIKOVSKY Peters EP 7581 from Russian Operatic Arias for Mezzo-Soprano Connais-tu le pays (Mignon) 35. D ; c’–f” THOMAS Peters EP 7553 b from French Operatic Arias for Mezzo-Soprano 36. Bm; c#’–d” VIVALDI Qui sedes (Gloria RV 589) Novello NOV078441 Tenor Grade 8

37. Bm; e–a’ J S BACH Benedictus (Mass in B minor BWV 232) Bärenreiter BA 5935-90 Seht, was die Liebe tut [with recit: Wenn die Mietlinge 38. E ; d–b ’ J S BACH Breitkopf EB 7085 b b schlafen] (Cantata no. 85: Ich bin ein guter Hirt BWV 85) Una furtiva lagrima (L’elisir d’amore) 39. B m; f–a ’ DONIZETTI Schirmer GS32585 b b from Operatic Anthology vol. III (Tenor) Call Forth Thy Pow’rs [with recit: ‘Tis well my friends] 40. D; d–a’ HANDEL Novello NOV072486 (Judas Maccabæus) 69 Grade 8

Love in Her Eyes Sits Playing [with recit: Lo, here my love] 41. E ; f–a ’ HANDEL Novello NOV070122 b b (Acis and Galatea) No Unhallowed Desire [with recit: Ambition If ever honour 42. B ; f–g’ HANDEL Novello NOV072486 b was thine aim] (Judas Maccabæus) Sound an Alarm! (Judas Maccabæus) Mayhew 3611735 43. D; d–a’ HANDEL from Sacred Tenor Arias or 45 Arias from Operas & or IMC 1695 Oratorios vol. 2 (high) or vocal score or Novello NOV072486 44. Bb; d–g’ HANDEL Thus When the Sun (Samson) Novello NOV070144 Total Eclipse (Samson) 45. Em; e–g’ HANDEL IMC 1697 from 45 Arias from Operas & Oratorios vol. 3 (high) Be Thou Faithful unto Death (St Paul) 46. C; e–g’ MENDELSSOHN Schirmer GS32580 from Anthology of Sacred Song vol. 3 (tenor) If with All Your Hearts (Elijah) Mayhew 3611735 47. E ; f –a’ MENDELSSOHN b # from Sacred Tenor Arias or vocal score or Novello NOV070201 Take a Pair of Sparkling Eyes (The Gondoliers) 48. G ; g –a ’ SULLIVAN Dover DP11040 b b b from The Authentic Gilbert and Sullivan Songbook Baritone and bass

Gebt mir meinem Jesum wieder 49. G; A–e’ J S BACH Bärenreiter BA 5038-90 (Matthaus Passion BWV 244) Mache dich [with recit: Am Abend] 50. Gm; G–e ’ J S BACH Bärenreiter BA 5038-90 b (Matthaus Passion BWV 244) Quia fecit from Magnificat in D, BWV 243 Bärenreiter BA 5103-90 51. A; G –d ’ J S BACH # # or Sacred Bass and Baritone Arias or Mayhew 3611740 Hat man nicht auch Gold bei neben (Fidelio) 52. B ; b –d” BEETHOVEN Peters EP 737 b b from Arien Album Baritone/Bass Tickling a Trout (Albert Herring) 53. C ; a –g ” BRITTEN Boosey M051933297 # # # from Operatic Arias for Baritone Arm, Arm Ye Brave [with recit: I feel the Deity] 54. C; b–e’ HANDEL Novello NOV072486 (Judas Maccabæus) 55. D; a–e’ HANDEL Go My Faithful Soldier (Theodora) Novello NOV070459 Honour and Arms (Samson) from 45 Arias from Operas & IMC 1698 56. B ; G–e ’ HANDEL b b Oratorios vol. 3 (low) or Sacred Bass and Baritone Arias or Mayhew 3611740 O Ruddier Than the Cherry [with recit: I rage, I melt] (Acis and 57. Gm; F–f’ HANDEL IMC 1694 Galatea) from 45 Arias from Operas & Oratorios vol. 1 (low) 58. Eb; Bb–eb’ MENDELSSOHN Lord God of Abraham (Elijah) Novello NOV 070201 Non più andrai (Le nozze de Figaro) 59. C; c–e’ MOZART Schirmer GS32587 from Operatic Anthology vol. V (Bass) A More Humane Mikado (The Mikado) 60. A; A–d’ SULLIVAN Dover DP11040 from The Authentic Gilbert and Sullivan Songbook My Name Is John Wellington Wells (The Sorcerer) 61. E ; B –f SULLIVAN Dover DP11040 b b from The Authentic Gilbert and Sullivan Songbook De son coeur j’ai calmé la fièvre (Mignon) 62. D; b–d’’ THOMAS Schirmer GS32587 from Operatic Anthology vol. V (Bass) ii) Musical theatre Any voice

Blah Blah Blah (Delicious) 63. B ; d’–d” GERSHWIN Hal Leonard HL00322187 b from The Gershwin Song Collection vol. 2 (1931–1954) By Strauss (The Show Is On) 64. F; c’–f” GERSHWIN Faber 0571525768 from The Best of George and Ira Gershwin The Lorelei (Pardon My English) 65. B ; c’–f” GERSHWIN Hal Leonard HL00694999 b from 50 Gershwin Classics By the Sea (Sweeney Todd) from The Singer’s Musical 66. E; g –e” SONDHEIM Hal Leonard HL00361072 # Theatre Anthology vol. 1 (Mezzo-Soprano) Speak Low (One Touch of Venus) 67. F; c’–e ” WEILL Alfred PF9922 b from Kurt Weill Songs: A Centennial Anthology vol. 2 What Good Would the Moon Be? (Street Scene) 68. E ; c’–g” WEILL Alfred PF9922 b from Kurt Weill Songs: A Centennial Anthology vol. 2

70 Grade 8

Female voice

69. C; a–d” BROWN Still Hurting from The Last 5 Years: Vocal Selections Hal Leonard HL00313206 Your Daddy’s Son (Ragtime) from Broadway Presents! 70. Gm; g–f” FLAHERTY Alfred 32024 Teens’ Musical Theatre Anthology (Female Edition) The Light in the Piazza 71. C; g–e” GUETTEL Hal Leonard HL00313307 from The Light in the Piazza: Vocal Selections Art Is Calling for Me (The Prima Donna Song) 72. Eb; eb’–bb” HERBERT (The Enchantress) from The Singer’s Musical Theatre Hal Leonard HL00747066 Anthology vol. 2 (Soprano) Moon Fall from The Singer’s Musical Theatre 73. Am; b–g” HOLMES Hal Leonard HL00747066 Anthology vol. 2 (Soprano) Rosa’s Confession (The Mystery of Edwin Drood) from 74. a–a ” HOLMES Hal Leonard HL00747066 b The Singer’s Musical Theatre Anthology vol. 2 (Soprano) 75. Dm; c’–e” LIPPA Pulled from The Addams Family: Vocal Selections Hal Leonard HL00313506 Adelaide’s Lament (Guys and Dolls) from The Singer’s 76. a –c” LOESSER Hal Leonard HL00740123 b Musical Theatre Anthology vol. 2 (Mezzo-Soprano) 77. G; g–d” LOPEZ/MARX There’s a Fine, Fine Line from Avenue Q: Vocal Selections Hal Leonard HL00313269 I’d Give My Life for You (Miss Saigon) from The Singer’s 78. g–e” SCHÖNBERG Hal Leonard HL00740123 Musical Theatre Anthology vol. 3 (Mezzo-Soprano) Gifts of Love (The Baker’s Wife) 79. g –c” SCHWARTZ Hal Leonard HL00313325 # from The Baker’s Wife: Vocal Selections Broadway Baby from The Singer’s Musical 80. G; g–b’ SONDHEIM Hal Leonard HL00361072 Theatre Anthology vol. 1 (Mezzo-Soprano) Could I Leave You (Follies) from The Singer’s 81. B ; f –a’ SONDHEIM Hal Leonard HL00361072 b # Musical Theatre Anthology vol. 1 (Mezzo-Soprano) Happiness (Passion) 82. G; b–f” SONDHEIM Hal Leonard HL00313531 from The Stephen Sondheim Collection In Buddy’s Eyes (Follies) from The Singer’s Musical 83. G; f –d” SONDHEIM Hal Leonard HL00361072 # Theatre Anthology vol. 1 (Mezzo-Soprano) Not a Day Goes By (Merrily We Roll Along) Hal Leonard HL00361071 84. d’–f ” SONDHEIM from The Singer’s Musical Theatre Anthology vol. 1 # or Alfred MFM0001 or The Smash Broadway Collection The Little Things You Do Together (Company) 85. A; f –b’ SONDHEIM Hal Leonard HL00313531 # from The Stephen Sondheim Collection Surabaya Johnny (Happy End) 86. Cm; c –g ” WEILL Alfred PF9922 b b from Kurt Weill Songs: A Centennial Anthology vol. 2 The Princess of Pure Delight (Lady in the Dark) 87. F; c’–d” WEILL Alfred PF9922 from Kurt Weill Songs: A Centennial Anthology vol. 2 C m; Unusual Way (Nine) from The Singer’s Musical 88. # YESTON Hal Leonard HL00747066 g#–e” Theatre Anthology vol. 2 (Soprano) Male voice

89. C; Ab–g’ BERNSTEIN Maria from West Side Story: Vocal Selections Boosey M051933457 Something’s Coming 90. C; d–f’ BERNSTEIN Boosey M051933457 from West Side Story: Vocal Selections If I Were a Rich Man (Fiddler on the Roof) from Broadway Alfred MFM0106 91. C; B–e ’ BOCK b Showstoppers or The Smash Broadway Collection or MFM0001 Tonight at Eight (She Loves Me) 92. D; d –e’ BOCK Hal Leonard HL00747032 # from The Singer’s Musical Theatre Anthology vol. 2 (Tenor) 93. C; c–g’ BROWN Pretty Music from Parade: Vocal Selections Hal Leonard HL00313148 Ol’ Man River (Show Boat) Hal Leonard HL00361074 94. C; G–e’ KERN from The Singer’s Musical Theatre Anthology vol. 1 or Alfred MFM0001 Grade 8 (Baritone/Bass) or The Smash Broadway Collection MALTBY & If I Sing (Closer Than Ever) from The Singer’s Musical 95. A; A–f’ Hal Leonard HL00740125 SHIRE Theatre Anthology vol. 3 (Baritone/Bass) Out There [start from C major section: ‘Safe behind 96. d–a’ MENKEN these windows’] Hal Leonard HL00313045 from The Hunchback of Notre Dame: Vocal Selections Where Is the Life that Late I Led? (Kiss Me, Kate) from The 97. F; b–f’’ PORTER Hal Leonard HL00361074 Singer’s Musical Theatre Anthology vol. 1 (Baritone/Bass) 71 Grade 8

A Bit of Earth (The Secret Garden) from The Secret IMP 22053 98. A; d ’–f ” SIMON Garden: Vocal Selections or The Singer’s Musical Theatre b # or Hal Leonard HL00747032 Anthology vol. 2 (Tenor) Pretty Women (Sweeney Todd) from The Stephen Hal Leonard HL00313531 99. G; c–e’ SONDHEIM Sondheim Collection or The Smash Broadway Collection or Alfred MFM0001 F m; The Ballad of Sweeney Todd 100. # SONDHEIM Hal Leonard HL00313444 f#–c#” from Sweeney Todd: Vocal Selections The Road You Didn’t Take (Follies) 101. C; a–e” SONDHEIM Hal Leonard HLE90000869 from Theatre Songs For Singers (Baritone/Bass) What Do I Need with Love? (Thoroughly Modern Millie) 102. d’–g” TESORI from Broadway Presents! Teens’ Musical Theatre Alfred 32027 Anthology (Male Edition) She Was There from The Scarlet Pimpernel: 103. c –g’ WILDHORN Alfred PF9806 # Vocal Selections, Broadway Edition This Is the Moment (Jekyll and Hyde) 104. E; b–g’ WILDHORN Hal Leonard HL00747032 from The Singer’s Musical Theatre Anthology vol. 2 (Tenor) Barrett’s Song (Titanic) 105. Am; a–g” YESTON Hal Leonard HL00740124 from The Singer’s Musical Theatre Anthology vol. 3 (Tenor)

Group B: General song repertoire in English

e’–e’’ Dirge (from Six Elizabethan Songs) Trinity TCL 016881 (high), 1. ARGENTO [d’–d’’] from Trinity Singing Grade 8 TCL 017963 (low) ARMSTRONG (F) A Song of Shadows 2. E ; e ’–g ” Thames TH978421 b b b GIBBS from A Century of English Song vol. 1 (Soprano) Gm; ARMSTRONG Ballad of Semmerwater 3. Thames TH978614 gb–eb” GIBBS from A Century of English Song vol. 4 (Medium/low) ARMSTRONG To One Who Passed Whistling through the Night 4. g’–g” Novello NOV170364 GIBBS from Song Album 2 5. G; b–g” BANTOCK (F) Song to the Seals Cramer 90206 Schirmer HL50490044 e’–g ” Sleep Now 6. # BARBER (high), HL50490045 [c’–e”] from 65 Songs (medium/low) Schirmer HL50490044 Solitary Hotel 7. Em; c’–f” BARBER (high), HL50490045 from 65 Songs (medium/low) 8. C; c’–f” BERNSTEIN (F) A Simple Song from Leonard Bernstein Song Album Boosey M051922376 E ; d’–f” Boosey M060802218 (high), 9. b BRIDGE Come to Me in My Dreams [Db] M060829673 (low) A; c’–f ” Go Not, Happy Day Boosey M060802218 10. # BRIDGE [G] from Song Album (high), M3109101742 (low) 11. Ab; c’–f” BRITTEN A Song of Enchantment from Tit for Tat Faber 057150292X Nurse’s Song Boosey (custom print) 12. B ; a–e” BRITTEN b from A Charm of Lullabies, op. 41 M060014130 Sephestia’s Lullaby Boosey (custom print) 13. Em; a–e” BRITTEN from A Charm of Lullabies, op. 41 M060014130 14. G; c’–g’’ BUSH Nonsense Song from Old Rhymes Reset Stainer B785 Is My Team Ploughing? 15. B ; e’–e” BUTTERWORTH Stainer B333 b from A Shropshire Lad and Other Songs 16. c’–gb” DICKINSON A Red, Red Rose from Songs in Blue Novello NOV170373 17. db’–f#” DIXON Nature’s Changes Wirripang 18. Gm; c’–d” DOWLAND Flow My Tears from English Lute Songs book 2 Stainer B617 C; b–f”(g”) A Bay in Anglesey Trinity TCL 016881 (high), 19. DRING [A] from Trinity Singing Grade 8 TCL 017963 (low) Blow, Blow thou Winter Wind 20. Gm; d ’–f” DRING Thames TH978390 b from Seven Shakespeare Songs 21. E; b–g” DRING It Was a Lover from Seven Shakespeare Songs Thames TH978390 22. Gm; c’–eb” DRING (F) Song of Nightclub Proprietress from Five Betjeman Songs Weinberger M570052974

72 = Songs included in the Trinity repertoire book for the grade Grade 8

Take, O Take Those Lips Away 23. Bm; g–d” DRING Thames TH978390 from Seven Shakespeare Songs 24. Eb; d’–g” ELGAR The Shepherd’s Song Banks BSS 2029 Bm; (F) Where Corals Lie 25. ELGAR Schirmer GS82069 d’(a#)–d” from The Second Book of Mezzo-Soprano/Alto Solos Fear No More the Heat o’ the Sun 26. D ; b –e ” FINZI Boosey M060030345 b b b from Let Us Garlands Bring 27. D; a–e” FINZI Rollicum-Rorum from Earth and Air and Rain, op. 15 Boosey M060066610 28. c’–f” FREED Tom’s A-Cold from Five Fairburn Songs Sounz E; c’–g ” Spring Trinity TCL 016881 (high), 29. # GURNEY [C] from Trinity Singing Grade 8 TCL 017963 (low) Do Not Go, My Love Schirmer GS82645 (high), 30. F; c’–g” HAGEMAN from 15 American Art Songs GS82607 (low) 31. c’–gb” HARRIS (F) The Swans from Wild Daisies Wai-te-ata 32. Fm; b–gb” HAYDN The Spirit’s Song from 35 Canzonettas and Songs Peters EP 1351a Dear Delight 33. A ; e ’–a ” HEAD Boosey M051922277 b b b from Song Album 2: Songs of Romance & Delight The Singer [must be sung unaccompanied] 34. Fm; c’–a ” HEAD Boosey M051922277 b from Song Album 2: Songs of Romance & Delight 35. Ab; d’–ab” HOWELLS (F) Come Sing and Dance OUP 9780193454514 King David 36. E; c ’–f” HOWELLS Boosey M051909230 # from A Heritage of 20th Century British Song vol. 4 37. Ab; c’–g” IRELAND The Trellis from Eleven Songs or Complete Songs vol. 1 Stainer B040 or B596 38. F; F–c’ JEFFREYS Praise the Lord, O My Soule from Three Devotional Songs Green Man Jef6 39. F; d’–bb” KEATS Columbine Wirripang HKHM101 40. Em; e’–e” KEATS Sea Wraith Wirripang HKJJD103 W LLOYD A Rent for Love 41. G; e ’–f” Mayhew 3611169 b WEBBER from The Songs of William Lloyd Webber A; d’–f” If There Are Angels Trinity TCL 016881 (high), 42. MCDOWALL [G] from Trinity Singing Grade 8 TCL 017963 (low) (M) Arise Ye Subterranean Winds Z631 43. C; G–c’ PURCELL IMC 1657 from Six Songs for Bass and Piano Bacchus Is a Pow’r Divine (Orpheus Britannicus Z360) 44. D; D–d’ PURCELL Green Man Pur12 from Songs for Bass Solo Novello (custom print) 45. Gm; d’–f” PURCELL (M) Celia Has a Thousand Charms (The Rival Sister Z609) NOV460100 C; e’–a” (F) Hark the Ech’ing Air (The Fairy Queen Z629) IMC 2071 (high), 46. PURCELL [Ab] from 40 Songs 2072 (low) B ; c–g’ (M) I’ll Sail Upon the Dog Star (A Fool’s Preferment Z571) IMC 2071 (high), 47. b PURCELL [G] from 40 Songs 2072 (low) Cm; d’–a ” O, Lead Me to Some Peaceful Gloom (Bonduca Z574) IMC 2071 (high), 48. b PURCELL [Am] from 40 Songs 2072 (low) Em; d ’–g” The Fatal Hour Z421 IMC 2071 (high), 49. # PURCELL [Cm] from 40 Songs 2072 (low) Cm; By a Fountainside Boosey M060021879 (high), 50. c ’–g ” QUILTER # # from 7 Elizabethan Lyrics, op. 12 M060021862 (low) [Bbm] Em; e’–g” Come Away Death Boosey M060021893 (high), 51. QUILTER [Cm] from 3 Shakespeare Songs, op. 6 M060021886 (low) 52. F; e’–f” QUILTER Go, Lovely Rose from The First Book of Tenor Solos Schirmer GS81175

Love’s Philosophy Grade 8 53. F; d’–f ’’ QUILTER Boosey M051909230 # from A Heritage of 20th Century British Song vol. 4 To Daisies, op. 8 no. 3 54. D ; e ’–a ” QUILTER Boosey M051909230 b b b from A Heritage of 20th Century British Song vol. 4 F ; e’–g ’’ Stopping By Woods Boosey M051933853 55. # # ROREM [Em] from Art Song In English (high), M051933860 (low)

= Songs included in the Trinity repertoire book for the grade 73 Grade 8

I Wandered Lonely as a Cloud from The Junior Recitalist 56. D ; d’–f” THIMAN Stainer D82 b book 2 (Mezzo-Soprano/Contralto) 57. Dm; d’–eb” TIPPETT Where the Bee Sucks from Songs for Ariel Schott ED10871 VAUGHAN Silent Noon 58. E ; c’–e ” Schirmer GS81174 b b WILLIAMS from The First Book of Mezzo-Soprano/Alto Solos F; f’–a ” VAUGHAN The Roadside Fire Boosey M060028618 (high), 59. b [Db] WILLIAMS from Songs of Travel M060028601 (low) Em; d –g” VAUGHAN The Vagabond Boosey M060028618 (high), 60. b [Cm] WILLIAMS from Songs of Travel M060028601 (low)

Group C: German Lied

1. D; c#’–a” BERG Die Nachtigall from 7 Early Songs Universal UE 8853 Peters EP 3201a (high), E; d’–g” An die Nachtigall, op. 46 no. 4 2. BRAHMS 3201b (medium), [D] [C] from Lieder vol. 1 3201c (low) Peters EP 3201a (high), F ; c ’–g” Immer leiser wird mein Schlummer, op. 105 no. 2 3. # # BRAHMS 3201b (medium), [E ] from Lieder vol. 1 b 3201c (low) E m; Peters EP 3201a (high), b Liebestreu 4. e ’–a ” BRAHMS 3201b (medium), b b from Lieder vol. 1 [Cm] [Bm] 3201c (low) E ; d’–f ” Wie bist du meine Königin Peters EP 3202a (high), 5. b # BRAHMS [Db] from Lieder vol. 2 3202b (low) C; c’–f ” Wie Melodien zieht es mir, op. 105 no. 1 Alfred 17611 (high), 6. # BRAHMS [A] from Gateway to German Lieder 17617 (low) D ; e ’–g ” Wir wandelten, op. 96 no. 2 Alfred 17611 (high), 7. b b b BRAHMS [Bb] from Gateway to German Lieder 17617 (low) 8. Em; b–e” CORNELIUS (F) In der Mondnacht, no. 16 from Ausgewählte Lieder Breitkopf EB 2083 Cm; c’–a ’’ Im Herbst Alfred 17611 (high), 9. b FRANZ [Am] from Gateway to German Lieder 17617 (low) A ; e ’–a ” Blicke mir nicht in die Lieder IMC 1216 (high), 10. b b b MAHLER [Eb] from 24 Songs vol. 4 1234 (low) d’–a” Erinnerung 11. MAHLER IMC 1213 (high), 1237 (low) [c’–g”] from Songs vol. 1 F; c’–a” (F) Wer hat dies Liedlein erdacht? from 24 Songs vol. 1 IMC 1213 (high), 1237 (low) 12. MAHLER [Eb] or Elisabeth Schumann Liederbuch or Universal UE 9559 Cm; f ’–g” Herbstlied Trinity TCL 016881 (high), 13. # MENDELSSOHN [Am] from Trinity Singing Grade 8 TCL 017963 (low) A; e’–a” Arie aus dem Spiegel von Arcadien Trinity TCL 016881 (high), 14. SCHOENBERG [E] from Trinity Singing Grade 8 TCL 017963 (low) Em; b–g” Aufenthalt (Schwanengesang D 957) Schirmer GS25443 (high), 15. SCHUBERT [C#m] from First Vocal Album GS25444 (low) G; f ’–g” Der Musensohn D 764 Peters EP 20a (high), 16. # SCHUBERT [E] [D] from Lieder vol. 1 20b (medium), 20c (low) E ; e ’–a ” Du bist die Ruh D 776 Peters EP 20a (high), 17. b b b SCHUBERT [C] [Bb] from Lieder vol. 1 20b (medium), 20c (low) F; e’–g” Erlafsee D 586 Peters EP 178a (high), 18. SCHUBERT [D] [C] from Lieder vol. 2 178b (medium), 178c (low) G; e’–f ” Im Frühling D 882 Peters EP 178a (high), 19. # SCHUBERT [F] [D] from Lieder vol. 2 178b (medium), 178c (low) Em; c’–g” Mignon 1: Heiß mich nicht reden D 877 no. 2 Peters EP 178a (high), 20. SCHUBERT [D] [C] from Lieder vol. 2 178b (medium), 178c (low) Dm; d’–g” Ständchen (Schwanengesang D 957) Peters EP 20a (high), 21. SCHUBERT [Cm] [Bm] from Lieder vol. 1 20b (medium), 20c (low) Bm; Peters EP 2383a (high), Die beiden Grenadiere, op. 49 no. 1 22. c ’(d’)–f ” SCHUMANN 2383b (medium), # # from Lieder vol. 1 [Am] [Gm] 2383c (low) Peters EP 2383a (high), A; e’–f ” (F) Lied der Suleika, op. 25 no. 9 23. # SCHUMANN 2383b (medium), [G] [F] from Lieder vol. 1 2383c (low) 74 = Songs included in the Trinity repertoire book for the grade Grade 8

E; d ’–f” (F) Schöne Wiege meiner Leiden, op. 24 no. 5 Peters EP 2384a (high), 24. # SCHUMANN [D] from Lieder vol. 2 2384b (medium) E ; d’–g” Singet nicht in Trauertönen, op. 98 no. 7 Peters EP 2385a (high), 25. b SCHUMANN [D] from Lieder vol. 3 2385b (medium) A ; b–g ” Widmung, op. 25 no. 1 Alfred 17611 (high), 26. b b SCHUMANN [F] from Gateway to German Lieder 17617 (low) F ; c ’–g ” Glückes genug, op. 37 no. 1 Universal UE 5466a/b/c 27. # # # STRAUSS [F] [D] from Lieder vol. 4 (high/medium/low) G; f ’–g” Morgen, op. 27 no. 4 Universal UE 5463a/b/c 28. # STRAUSS [F] [E] from Lieder vol. 1 (high/medium/low) Universal UE 5464a/b/c F ; c ’–g ” Traum durch die Dämmerung, op. 29 no. 1 29. # # b STRAUSS (high/medium/low) [E] [E ] from Lieder vol. 2 or Elisabeth Schumann Liederbuch b or UE 9559 A; e’–f ” Auch kleine Dinge können uns entzücken (Italienisches Alfred 17611 (high), 30. # WOLF [F] Liederbuch no. 1) from Gateway to German Lieder 17617 (low) E ; c –g” Auf einer Wanderung (Mörike Lieder no. 15) Peters EP 4290a (high), 31. b b WOLF [Eb] from Ausgewählte Lieder 4290b (low) (M) Fussreise (Mörike Lieder no. 10) Alfred 17611 (high), 32. F; e’–f” [D] WOLF from Gateway to German Lieder 17617 (low) B ; d’–f” In dem Schatten meiner Locken (Spanisch Liederbuch 1 Alfred 17611 (high), 33. b WOLF [G] no. 2) from Gateway to German Lieder 17617 (low) E ; d’–g” Verborgenheit (Secrecy) (Mörike Lieder no. 12) Peters EP 4290a (high), 34. b WOLF [Db] from Ausgewählte Lieder 4290b (low)

Group D: French mélodie

A; e’–f ” Villanelle Bärenreiter BA 5784-90 1. # BERLIOZ [F] from Les nuits d’été (high), BA 5786-90 (medium) Fm; d’–g” (M) Pastorale Peters EP 7519a (high), 2. BIZET [Dm] from The Art of French Song vol. 1 7519b (medium/low) F; c’–f ” Vieille chanson Peters EP 7520a (high), 3. # BIZET [E] from The Art of French Song vol. 2 7520b (medium/low) A ; e ’–g” Villanelle des petits canards Trinity TCL 016881 (high), 4. b b CHABRIER [F] from Trinity Singing Grade 8 TCL 017963 (low) 5. B; c’–e” CHAUSSON Sérénade italienne from Mélodies pour chant et piano Leduc AL26431 Sonnet mélancolique Alfred 36533 (high), 6. Gm; d’–g” DE CASTILLON from Gateway to French Mélodies 36534 (low) G m; La grotte 7. # DEBUSSY Hal Leonard HL00660283 b–d#” from Songs of Claude Debussy vol. 2 (medium voice) C; c’–g” Mandoline Peters EP 7519a (high), 8. DEBUSSY [Bb] from The Art of French Song vol. 1 7519b (medium/low) E ; d’–g” Nuit d’étoiles Trinity TCL 016881 (high), 9. b DEBUSSY [C] from Trinity Singing Grade 8 TCL 017963 (low) D; g’–a” Extase Peters EP 7519a (high), 10. DUPARC [Bb] from The Art of French Song vol. 1 7519b (medium/low) F; f’–g” (M) Sérénade florentine 11. DUPARC IMC 1112 (high), 1113 (low) [Db] from 11 Songs (high) or 12 Songs (low) D; d’–g” Chanson des noisettes Peters EP 7519a (high), 12. DUPONT [C] from The Art of French Song vol. 1 7519b (medium/low) Dm; d’–g” Après un rêve Peters EP 7519a (high), 13. FAURÉ [Cm] from The Art of French Song vol. 1 7519b (medium/low) C m; # Automne Peters EP 7520a (high), 14. e’–g#” FAURÉ

from The Art of French Song vol. 2 7520b (medium/low) Grade 8 [Bm] A; e’–f ” Dans les ruines d’une abbaye Hal Leonard HL47071 (high), 15. # FAURÉ [Gb] from 50 Songs — High Voice (or Medium/Low Voice) HL47070 (medium/low) Cm; b –g” Les berceaux Hal Leonard HL47071 (high), 16. b FAURÉ [Bbm] from 50 Songs — High Voice (or Medium/Low Voice) HL47070 (medium/low) D; d’–f ” Les roses d’Ispahan Hal Leonard HL47071 (high), 17. # FAURÉ [C] from 50 Songs — High Voice (or Medium/Low Voice) HL47070 (medium/low)

= Songs included in the Trinity repertoire book for the grade 75 Grade 8

E; d ’–a” Notre amour Hal Leonard HL47071 (high), 18. # FAURÉ [C] from 50 Songs — High Voice (or Medium/Low Voice) HL47070 (medium/low) Em; e’–f ” Prison Hal Leonard HL47071 (high), 19. # FAURÉ [Ebm] from 50 Songs — High Voice (or Medium/Low Voice) HL47070 (medium/low) 20. Bb; e’–g” GOUNOD Chanson de printemps from 11 Mélodies Lemoine HX26736 21. C; c’–e” HAHN (M) Paysage from Mélodies vol. 1 Heugel HE8315 Le voyage Alfred 36533 (high), 22. D; d’–f ” PALADILHE # from Gateway to French Mélodies 36534 (low) 23. Em; c’–e” POULENC Air romantique from Airs chantés Salabert SLB 00500900 A m; C 24. b POULENC Salabert SLB 00531000 eb’–ab” from Deux poèmes de Louis Aragon 25. F; c’–a#” POULENC Fêtes Galantes from Deux poèmes de Louis Aragon Salabert SLB 00531000 26. c’–gb” ROUSSEL Amoureux séparés Salabert SLB 00490800 27. Em; d#’–a” ROUSSEL Réponse d’une épouse sage Durand DF01131900 A; e’–a” Il est des mots d’amour, op. 11 Trinity TCL 016881 (high), 28. VILLETTE (g#”) [F] from Trinity Singing Grade 8 TCL 017963 (low)

Group E: General song repertoire in other languages

A ; c’–e” (F) In questa tomba oscura Peters EP 731 (high), 1. b BEETHOVEN [Bb] from Ausgewälte Lieder 732 (low) 2. d#’–f” BERIO Ballo from Canzoni Popolari Italiani Universal UE 15947 G; g’–e” (F) Seguidilla Murciana Chester CH56523 (high), 3. DE FALLA [F] from Siete canciones populares Españolas CH04050 (medium) 4. Ab; c’–a” DONIZETTI Eterno amore è fè from Composizioni da camera vol. 1 Ricordi NR 13033000 Alfred 3402 (medium Fm; c’–g” O del mio dolce ardor 5. GLUCK high), 3403 (medium low) [Dm] from 26 Italian Songs and Arias [with CD: 3396/3397] Faber 0571530753 (high), Mattinata E; c –a” 0571530761 (medium), 6. # LEONCAVALLO from The Language of Song: Advanced [D] [C] 057153077X (low) or or separate edition Ricordi LD755/756/757 Alfred 3402 (medium Am; b–a” Quella fiamma che m’accende 7. MARCELLO high), 3403 (medium low) [Em] from 26 Italian Songs and Arias [with CD: 3396/3397] A ; e ’–a ” (F) Dans un bois solitaire [in French only] Peters EP 4699a (high), 8. b b b MOZART [F] from Lieder 4699b (low) F; c’–a” Ridente la Calma Peters EP 4699a (high), 9. MOZART [D] from Lieder 4699b (low) F ; c ’–f ” Del cabello más sutil (from Dos cantares populares) Trinity TCL 016881 (high), 10. # # # OBRADORS [E] from Trinity Singing Grade 8 TCL 017963 (low) (F) Il mio ben quando verra from Anthology of Italian Song Schirmer GS25401 11. F; c’–a” PAISIELLO of the 17th and 18th Centuries book 1 or Arie Antiche vol. 1 or Ricordi NR 05025100 Stizzoso mio stizzoso (La Serva Padrona) 12. A ; b –a” PERGOLESI Ricordi NR 05025100 b b from Arie Antiche vol. 1 13. F; e’–f” RACHMANINOV To the Children [in Russian or English] from Songs book 2 Boosey M060022210 14. G; d’–a” ROSSINI (M) La Partenza from Serate Musicali vol. 1 Ricordi NR 11104000 15. C; e’–g” ROSSINI (F) La Pastorella from Serate Musicali vol. 1 Ricordi NR 11104000 C m; (M) At the Ball, op. 38 no. 3 [in Russian or English] 16. # TCHAIKOVSKY Boosey M060097980 c#’–f#” from Songs vol. 1 (high) 17. D; A–d’ TCHAIKOVSKY To the Forest from The New Imperial Edition of Bass Songs Boosey M051904501 Teco, sì, vengo anch’io (La caduta dei Decemviri) 18. G; c ’–e’’ VINCI Faber 057153077X # from The Language of Song: Advanced — Low Voice Poveri affetti miei (Orlando Furioso) from The Language 19. Gm; b–e ’’ VIVALDI Faber 0571530761 b of Song: Advanced — Medium Voice

76 = Songs included in the Trinity repertoire book for the grade Grade 8

Own composition Duration: 4 – 4.5 minutes Candidates may perform an own composition instead of one listed song. More information can be found on page 11. Own compositions must be comparable in technical and musical demand to the songs listed for this grade.

TECHNICAL WORK Candidates choose ONE of the following three options (1, 2 or 3), to be performed from memory — see page 12. 1. Vocal exercises Candidates perform the following three exercises: Vocal Exercises a. Song of the Sea (pitch and tone) Trinity TCL 016775 b. Indigo Shadows (rhythm) c. Playground Adventures (diction)

2. Vaccai exercises Candidates perform BOTH of the following exercises, in Italian: Metodo Practico a. Lektion IV (Skips of Sevenths only: Fra l’ombre un lampo solo) Peters EP 2073a (high), EP 2073b b. Lektion VII (Introduction to Roulades: Come il candore) (medium), EP 2073c (low)

3. Unaccompanied Candidates perform ONE of the following: The Language of Folk 2 folk song a. Sair Fyel’d Hinny Faber 0-571-53733-2 b. Ho Ho Bonny Lass SUPPORTING TESTS Candidates prepare: ◗ Sight reading ◗ Aural or improvisation

2. Aural Candidates answer questions based on a single musical example played on the piano by the examiner — see page 15. Parameters Task Requirement

Harmonised Listen to the piece once i) Identify the time signature ii) Comment on the dynamics 12–16 bars iii) Comment on the articulation Major or minor key Listen to the piece twice Identify and comment on three other characteristics of the piece , , , or Study a copy of the piece, and listen Locate and describe the changes as pitch or rhythm to it twice with three changes

3. Improvisation Candidates perform an improvisation based on a stimulus chosen from the following three options: ◗ Stylistic ◗ Motivic ◗ Harmonic

See page 15–17 for the requirements and parameters. Grade 8

77 Policies Policies

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The following Trinity publications support this syllabus. Vocal Exercises All are available from trinitycollege.com/shop or from Initial–Grade 8 TCL 016775 your local music shop. Singing Sound at Sight Singing: Exam Songs & Teaching Notes 2018–2021 (or 2018–2022) Book 1 (Initial–Grade 2) TCL 002716 (book, CD and teaching notes) Book 2 (Grades 3–5) TCL 002723 Initial TCL 016805 Book 3 (Grades 6–8) & CD TCL 014238 Grade 1 TCL 016812 Grade 2 TCL 016829 Specimen Aural Tests from 2017 Grade 3 TCL 016836 Book 1 (Initial–Grade 5) TCL 015808 Grade 4 TCL 016843 Book 2 (Grades 6–8) TCL 015815 Grade 5 TCL 016850 Theory of Music Workbooks Grade 6 [high voice] TCL 016867 Grade 1 TG 006509 Grade 6 [low voice] TCL 017949 Grade 2 TG 006516 Grade 7 [high voice] TCL 016874 Grade 3 TG 006523 Grade 7 [low voice] TCL 017956 Grade 4 TG 006530 Grade 8 [high voice] TCL 016881 Grade 5 TG 006547 Grade 8 [low voice] TCL 017963 Grade 6 TG 007476 Sing Musical Theatre Grade 7 TG 007483 Any Dream Will Do (Grades 1–3) TCL 011466 Grade 8 TG 007490 Wouldn’t It Be Loverly? (Grades 1–3) TCL 011473 Over the Rainbow (Grades 4–5) TCL 011480 Whistle Down the Wind (Grades 4–5) TCL 011497

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Get the full music experience online at trinitycollege.com/singing-resources Digital resources are available to support learning, including advice and content on: ◗ Songs, performance and technique ◗ Supporting tests ◗ Technical work You can access: ◗ Bite-sized videos to support the syllabus ◗ Practice resources for learners ◗ Tips for teachers 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

Facebook Twitter YouTube /TrinityCollegeLondon @TrinityC_L /TrinityVideoChannel (examples of graded exams, supporting tests and more)