CLASSICAL GUITAR SYLLABUS Qualification Specifications for Graded Exams 2020–2023

DOWLAND NUTTALL SAGRERAS CLASSICAL POWLESLAND GUITAR YORK SYLLABUS SEGOVIA Qualification specifications for graded exams 2020–2023 WALTON TARREGA FOGEL HVARTCHILKOV SANDERSON GUBAIDULINA STACHAK KRUISBRINK PRATTEN CARCASSI RODRIGO CARULLI SANZ SOR WHAT’S CHANGED? ◗ Repertoire lists refreshed at all levels, encompassing a wide range of musical styles ◗ Duets now available up to Grade 5 ◗ New graded exam books, featuring a varied selection of pieces and duets ◗ Pieces now only divided into groups at Grades 6–8 — at other grades, pieces can be chosen from a single list ◗ At Grades 6–8, at least one piece must now be chosen from each group ◗ An information and regulations section is no longer included in the syllabus — this information can be found at trinitycollege.com/music-regulations ◗ New Acoustic Guitar exams incorporating elements of the Plectrum Guitar exams available from 2020 — more information available in our Acoustic Guitar Syllabus 2020–2023

KEEP UP TO DATE Please check trinitycollege.com/classical-guitar to make sure you are using the latest version of the syllabus and for the latest information about our Classical Guitar exams.

OVERLAP ARRANGEMENTS This syllabus is valid from 1 January 2020. The 2016–2019 syllabus will remain valid until 31 July 2021. During this overlap period, candidates may present pieces and technical work from the 2016–2019 or the 2020–2023 syllabus, but not both. Candidates should indicate which syllabus they are presenting on the appointment form handed to the examiner at the start of the exam. CLASSICAL GUITAR SYLLABUS Qualification specifications for graded exams 2020–2023

Trinity College London trinitycollege.com Charity number England & Wales: 1014792 Charity number Scotland: SC049143 Patron: HRH The Duke of Kent KG Chief Executive: Sarah Kemp Copyright © 2019 Trinity College London Published by Trinity College London Online edition, July 2020 Heading Contents

3 / Welcome 4 / Introduction to Trinity’s graded music exams 9 / Learning outcomes and assessment criteria 11 / About the exam 14 / Exam guidance: Pieces 16 / Exam guidance: Technical work 17 / Exam guidance: Supporting tests 28 / Exam guidance: Marking 36 / Initial to Grade 5 37 / Initial 40 / Grade 1 43 / Grade 2 46 / Grade 3 49 / Grade 4 52 / Grade 5 55 / Grades 6–8 56 / Grade 6 60 / Grade 7 64 / Grade 8 68 / Policies 70 / Publishers and UK specialist supplier 72 / Trinity publications 73 / Classical guitar resources

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 and advertised via our website and in subsequent imprints.

2 Welcome Welcome

Welcome to Trinity College London’s Classical Guitar syllabus containing details of graded exams from Initial to Grade 8. It offers the choice and flexibility to allow classical guitarists to play to their strengths, offering wide-ranging repertoire choices as well as exercises designed Welcome to progressively develop the technique classical guitarists really need from the early grades right the way through to Grade 8.

Styles and duets Encompassing a range of inspiring repertoire from the Renaissance to the present day, the syllabus includes pieces published for the first time and more music by female composers. The duets option is now available up to Grade 5.

Books New graded exam books for Initial to Grade 8 feature a wide range of repertoire, while expanded alternative piece lists include options from Trinity’s Raise the Bar and Performance Edition series of publications.

Techniques Technical work includes specially composed exercises for each grade, covering the technique required specifically by guitarists, ensuring that all learners put scales and arpeggios into the performance context.

Benefit from industry expertise The syllabus and supporting books have been created in consultation with leading classical guitar specialists. You can access videos and articles produced with professionals to support teaching and learning at trinitycollege.com/classical-guitar-resources. Join us online and on social media to find out when new resources are available.

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.

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

OBJECTIVE OF THE QUALIFICATIONS ASSESSMENT AND MARKING Trinity’s graded music exams provide a Trinity’s graded music exams are assessed by structured yet flexible framework for progress, external examiners trained and moderated which enables learners to demonstrate their by Trinity. Examiners provide marks and own musical personality and promotes comments for each component of the exam enjoyment in music performance. using the assessment criteria on pages 30–35. The exams assess performance, technical The exams are marked out of 100. Candidates’ ability and responses to set musical tests results correspond to different attainment through face-to-face practical assessment. levels as follows: They offer learners of any age the opportunity to measure their development as performers Mark Attainment level against a series of internationally understood benchmarks, taking them from beginner 87–100 DISTINCTION level to the point where they can progress to higher education in music, or enter for 75–86 MERIT Trinity’s performance diplomas. 60–74 PASS

WHO THE QUALIFICATIONS ARE FOR 45–59 BELOW PASS 1

Trinity’s graded music exams are open to all 0–44 BELOW PASS 2 learners, with no age restrictions or other limitations. There is no requirement to have passed lower grades, theory exams or other See pages 28–35 for further information about qualifications, although the grades represent how the exams are marked. a system of progressive mastery and the outcomes for each level assume confidence in the requirements of previous grades. Repertoire selection and other exam content is designed to appeal to learners of all ages and backgrounds, reflecting the diversity of candidates. Trinity is committed to making its exams accessible to all, and each candidate is treated individually when considering how assessments can be adapted for those with special needs. Find out more at trinitycollege.com/music-csn

4 Introduction to Trinity’s graded music exams

DURATION OF STUDY (TOTAL QUALIFICATION TIME) All regulated qualifications are assigned a total qualification time. This should be used as guidance only. Total qualification time is an estimate of the average time a candidate spends with a teacher (guided learning hours) added to the average time spent learning independently. It is recognised that the amount of time needed to commit to a qualification will be dependent on each individual’s level of experience.

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

RECOGNITION AND UCAS POINTS WHERE THE QUALIFICATIONS Trinity College London is an international COULD LEAD exam board regulated by Ofqual (Office While for some learners graded music exams of Qualifications and Examinations represent a personal goal or objective, Regulation) in England, CCEA Regulation they can also be used as a progression in Northern Ireland and by Qualifications route towards: Wales. Various arrangements are in ◗◗ Diplomas in performing and teaching place with governmental education offered by Trinity or by other awarding authorities worldwide. organisations In the UK, Grades 6–8 are eligible for UCAS ◗◗ Music courses at conservatories and (Universities and Colleges Admissions Service) universities, for which Grade 8 is often points for those applying to colleges and specified as an entry requirement universities, as follows: ◗◗ Employment opportunities in music Grade 6 and the creative arts UCAS POINTS PASS 8 | MERIT 10 | DISTINCTION 12 Grade 7 UCAS POINTS PASS 12 | MERIT 14 | DISTINCTION 16 Grade 8 UCAS POINTS PASS 18 | MERIT 24 | DISTINCTION 30 5 Introduction to Trinity’s graded music exams

HOW TO ENTER FOR AN EXAM OTHER QUALIFICATIONS OFFERED BY TRINITY Exams can be taken at Trinity’s public exam centres, which are available After Grade 8 or the Advanced Certificate throughout the world. Details are available classical music exams, candidates can at trinitycollege.com/worldwide, and progress to diplomas at Associate (ATCL), candidates should contact their local Licentiate (LTCL) and Fellowship (FTCL) levels. Trinity representative for more information. These assess higher skills in performance, teaching and theory. Find out more at Alternatively, in the UK, schools and private trinitycollege.com/music-diplomas teachers with sufficient candidates may apply for an exam visit. Details are available at Adults who work as music educators may also trinitycollege.com/exam-visit wish to consider Trinity’s Level 4 Certificate for Music Educators (Trinity CME). Find out TRINITY QUALIFICATIONS THAT more at trinitycollege.com/CME COMPLEMENT THE CLASSICAL GUITAR We also offer: QUALIFICATIONS ◗◗ Graded, certificate and diploma Trinity’s music qualifications offer flexible qualifications in drama subjects progression routes from beginner to advanced ◗ levels in a range of musical styles. All are ◗ English language qualifications designed to help candidates develop as ◗◗ Teaching English qualifications musicians according to their individual ◗◗ Arts Award (only available in needs as learners. certain countries) Graded music exams assess a broad range of Specifications for all these qualifications musicianship skills, including performance, while can be downloaded from trinitycollege.com certificate exams focus entirely on performance, including separate marks for presentation skills. Find more information about certificate exams at trinitycollege.com/music-certificates Trinity’s graded Rock & Pop exams are available for bass, drums, guitar, keyboards and vocals. Find out more at trinityrock.com Candidates can enter any combination of graded or certificate exams, and do not need to pass any particular level in order to proceed to a higher level. Theory exams are available from Grade 1 to support learners to develop their understanding of the technical language of music. However, no theory qualifications or other prerequisites are required to enter graded or certificate exams at any level. Find out more at trinitycollege.com/theory

6 Introduction to Trinity’s graded music exams

REGULATED LEVELS OF TRINITY’S MUSIC QUALIFICATIONS

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

7 7 FTCL Introduction

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

7 Introduction to Trinity’s graded music exams

REGULATED TITLES AND QUALIFICATION NUMBERS FOR GRADED MUSIC EXAMS

Qualification Regulated title number

Initial TCL Entry Level Award in Graded Examination in Music Performance 601/0812/5 (Entry 3) (Initial)

Grade 1 TCL Level 1 Award in Graded Examination in Music Performance 501/2042/6 (Grade 1)

Grade 2 TCL Level 1 Award in Graded Examination in Music Performance 501/2041/4 (Grade 2)

Grade 3 TCL Level 1 Award in Graded Examination in Music Performance 501/2043/8 (Grade 3)

Grade 4 TCL Level 2 Certificate in Graded Examination in Music Performance 501/2044/X (Grade 4)

Grade 5 TCL Level 2 Certificate in Graded Examination in Music Performance 501/2045/1 (Grade 5)

Grade 6 TCL Level 3 Certificate in Graded Examination in Music Performance 501/2097/9 (Grade 6)

Grade 7 TCL Level 3 Certificate in Graded Examination in Music Performance 501/2098/0 (Grade 7)

Grade 8 TCL Level 3 Certificate in Graded Examination in Music Performance 501/2099/2 (Grade 8)

8 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 Perform music in a performances that demonstrate careful preparation, musical variety of styles set awareness and the beginning of thoughtful interpretation 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 2.1 Demonstrate familiarity with the fundamentals of ability on an instrument instrumental command through responding to 2.2 Demonstrate technical control and facility within set tasks set technical demands

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

9 Learning outcomes and assessment criteria

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 1.2 Demonstrate an understanding of music that allows variety of styles set a degree of personal interpretation in performance for the grade 1.3 Perform with general accuracy, technical fluency and musical awareness to convey musical character in a variety of styles

2. Demonstrate technical 2.1 Demonstrate a developing instrumental command ability on an instrument through responding to 2.2 Demonstrate technical control and facility within set tasks set technical demands

3. 3.1 Recognise and respond to elements of music in a Respond to set practical context musicianship tests 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 Perform music in a in performance variety of styles set 1.2 Present secure and sustained performances that demonstrate for the grade some stylistic interpretation 1.3 Perform with general accuracy, technical fluency and musical awareness to communicate musically in a variety of styles

2. Demonstrate technical 2.1 Demonstrate instrumental command ability on an instrument 2.2 Demonstrate technical control across the full compass of the through responding to instrument within set tasks set technical demands

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

10 About the exam About the exam

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

PIECES TECHNICAL WORK SUPPORTING TESTS Three pieces, each A technical exercise, followed A combination of two tests worth 22 marks. by either scales & arpeggios from sight reading, aural, or studies (Initial–Grade 7)/ improvisation and musical concerto extracts (Grade 8). knowledge, depending on the grade and candidate choice. About the exam

PIECES 66 MARKS

TECHNICAL WORK 14 MARKS

SUPPORTING TESTS 20 MARKS

11 About the exam

EXAM STRUCTURE AND MARK SCHEME

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

PIECE 1 22 PIECE 1 22

PIECE 2 22 PIECE 2 22

PIECE 3 22 PIECE 3 22

TECHNICAL WORK 14 TECHNICAL WORK 14

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

SUPPORTING TESTS 20 SUPPORTING TEST 1 10

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

TOTAL 100 TOTAL 100

12 About the exam

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

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

13 Exam guidance: Pieces Exam guidance: Pieces

◗◗ All tempo and performance markings should be observed (eg allegro, rall., cresc.). Metronome marks are given as a guide but do not need to be observed exactly, as long as the style and character of the piece PIECES is maintained. 66 MARKS ◗◗ Candidates may perform any or all of their

pieces from memory if they wish. However, this is not compulsory and no additional marks are given for this.

INSTRUMENTS CHOOSING PIECES ◗◗ All requirements are based on a ◗◗ Candidates play three pieces in their exam, hollow-bodied instrument strung in chosen as follows: nylon. Acoustic guitars with six steel strings and electric guitars must not be — Initial–Grade 5: Candidates choose three used. Classical guitars with cutaways pieces from the list. A maximum of two are acceptable. duets may be performed. Candidates may perform an own composition in place of ◗◗ Plectrums may not be used. one of the listed pieces (see page 15). ◗◗ The use of a capo is only permitted to — Grades 6–8: Pieces are divided into replicate Renaissance lute tuning. two groups: group A and group B. ◗◗ Candidates are expected to provide and Candidates choose at least one piece use a footstool or equivalent support. from each group. The third piece may be chosen from either group or may be the ◗◗ Younger candidates may use half- or candidate’s own composition (see page 15). three-quarter-sized instruments.

PERFORMANCE AND INTERPRETATION TUNING ◗◗ Candidates should prepare all pieces in ◗◗ Up to and including Grade 5, teachers full unless stated otherwise in this syllabus. may assist with tuning. At Grades 6–8, ◗◗ Candidates should observe repeats of candidates must tune their instruments a few bars, but longer repeats should without assistance. not be played unless stated otherwise ◗◗ Electronic tuners may be used up to and in this syllabus. including Grade 5. ◗◗ All da capo and dal segno instructions should be observed. PAGE TURNS ◗◗ Candidates are not required to play cadenzas unless stated otherwise ◗◗ Examiners will not be able to act as in this syllabus. page turners. ◗◗ Candidates are encouraged to use ◗◗ Difficult page turns may be overcome appropriate ornamentation, particularly by photocopying the relevant pages. at Grades 6–8. Ornamentation in Trinity’s exam publications is given as a guide. However, any appropriate stylistic interpretation will be accepted. 14 Exam guidance: Pieces

MUSIC AND COPIES ◗◗ Alternatively, the accompanying line may be pre-recorded in exams up to and including ◗ ◗ Candidates should obtain the music for their Grade 3, but candidates must provide their exam in good time before entering for the own playback equipment and must operate exam, and they must bring it with them on it themselves. the day of the exam. ◗◗ We publish selected pieces for classical guitar in our graded exam books. OWN COMPOSITION Recommended editions for other pieces ◗◗ Candidates can choose to perform an are listed in this syllabus, but candidates may own composition as one of their pieces. perform from any reliable edition that has Own compositions are assessed in the same not been shortened or otherwise simplified. way as the listed repertoire. Marks are not Editions containing inauthentic performance awarded for the quality of the composition. directions are not acceptable. If a particular edition must be used, it is indicated in this ◗◗ Own compositions must be comparable in syllabus. Product codes for publications are technical and musical demand to the pieces Exam guidance: Pieces included where available. listed for the same grade. Examples of optional compositional techniques that may ◗◗ We take copyright infringement seriously be used at each level are listed in each grade and require candidates to ensure their section of this syllabus. music comes from a legitimate source. Guidelines are available in the UK Music ◗◗ A typeset or handwritten copy of the Publishers Association’s Code of Fair composition must be given to the examiner Practice, available at mpaonline.org.uk. at the beginning of the exam. At Initial to Candidates must comply with copyright Grade 5, own compositions may be notated and other intellectual property laws in the in any easily readable form, including country where the exam is taking place. graphic score or lead-sheet. At Grades 6–8 they must be notated on a stave. Marks will ◗◗ In accordance with the MPA’s Code of Fair be deducted if notation is incomplete or Practice, candidates must produce original inaccurate, or if the performance varies copies of all pieces to be performed in the significantly from the notation. exam, even if they have been memorised, handwritten or typeset. Pieces where no ◗◗ Own compositions should be candidates’ original copy has been provided might unaided work, although teachers may offer be awarded no marks. guidance as necessary. ◗◗ If candidates are performing pieces not contained in Trinity’s graded exam books, OBTAINING MUSIC FOR THE EXAM they will need to provide a photocopy as a ◗◗ All publications listed in this syllabus can be reference for the examiner. Photocopies will ordered at trinitycollege.com/shop or your be kept by the examiner and destroyed after local music shop. the exam. Examiners will have a copy of the repertoire contained in Trinity’s graded ◗◗ Trinity publishes graded exam books for exam books. classical guitar, as well as scales, arpeggios & studies books, sight reading books ◗◗ Where music has been downloaded, and aural test books. See page 72 for candidates must bring proof of purchase more information. or details of the website where it was accessed for the examiner’s reference. ◗◗ Details of the publishers listed in this syllabus can be found on pages 70–71. DUETS ◗◗ Trinity cannot guarantee that music will always be in stock with local suppliers. ◗◗ Candidates at Initial to Grade 5 may include Candidates and teachers should always a maximum of two duets in their programme. check with the publisher before it is assumed ◗◗ Candidates should play the upper part that any item has gone out of print. (unless stated otherwise in this syllabus). The lower part may be performed in the exam by a teacher, another adult or student. 15 Exam guidance: Technical work Exam guidance: Technical work

◗◗ All scales and arpeggios must be played from memory. ◗◗ A minimum pace is indicated, increasing gradually grade by grade. ◗◗ At Initial–Grade 5, candidates should play TECHNICAL WORK the scale followed by the arpeggio. 14 MARKS At Grades 6–8, candidates should play a succession of scales and arpeggios as required for the grade. ◗◗ Full details of scale patterns are given in Trinity’s Guitar Scales, Arpeggios & Studies books. This section of the exam supports the development of technical skills by assessing Studies candidates’ performance in a range of Studies are specially composed short pieces technical work requirements. designed to demonstrate and develop key All candidates begin the technical work section areas of technique through performance. by performing a technical exercise. They then Candidates prepare three studies from the list choose one of the following options: for the grade, two of which are played in the ◗◗ Scales & arpeggios exam. One is chosen by the candidate and one ◗◗ Studies (Initial–Grade 7)/concerto extracts by the examiner. (Grade 8) ◗◗ Studies may be played either from memory or using the music. Technical exercise ◗◗ Studies are included in Trinity’s Guitar Technical exercises are short musical passages Scales, Arpeggios & Studies books. based on scale, arpeggio and/or chord patterns, increasing in length and complexity Concerto extracts as the grades progress. At Grade 8, candidates can demonstrate ◗◗ Technical exercises may be played either technique through performing extracts from memory or using the music. selected from three concertos. ◗◗ Technical exercises are included in Trinity’s Guitar Scales, Arpeggios & Studies books. Candidates prepare all three extracts, two of which are played in the exam. One is chosen by the candidate and one by the examiner. Scales & arpeggios ◗◗ Concerto extracts may be played either from Learning scales and arpeggios is an important memory or using the music. part of developing technical focus, strength and agility and melodic skills. ◗◗ Concerto extracts are included in Trinity’s Guitar Scales, Arpeggios & Studies from Candidates prepare the scales and arpeggios 2016: Grades 6–8. set for the grade, and play a selection as requested by the examiner. Further information about specific technical work requirements for each grade is given in ◗◗ All scales and arpeggios are to be performed ascending then descending. the relevant sections of this syllabus.

16 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 SUPPORTING than the exam being taken. Our sight reading TESTS pieces are designed to be musically intuitive and natural, preparing candidates for real 20 MARKS performance contexts. Candidates are given 30 seconds to study

the test before performing it, during which Exam guidance: Technical work they may practise any or all of it aloud. Examiners do not give marks for this preparation period. This section of the exam supports the development of broader musical skills Examples of sight reading tests may be found by assessing candidates in two different in Trinity’s Sound at Sight series, available supporting tests. from trinitycollege.com/shop or from your local music shop. At Initial to Grade 5, candidates choose two supporting tests from four options: Technical expectations for the tests are given in the table on page 18. Lists are cumulative, ◗◗ Sight reading meaning that tests may also include ◗◗ Aural requirements from lower grades. ◗◗ Improvisation ◗◗ Musical knowledge Exam guidance: Supporting tests At Grades 6–8, all candidates are assessed in sight reading, and choose either aural or improvisation for their second supporting test. This flexibility is designed to allow candidates to demonstrate their musical skills in different ways, while recognising that sight reading is an important skill at higher grades.

17 Exam guidance: Supporting tests ,

slurs various position shifts, full chord voicings full chord shifts, position various half barré notes), or four (three simple shifts, 2nd position, staccato 2nd position, simple shifts, one bass, treble (two chords three-note shifts more accents, be all fretted), may two-note chords (open bass) (open chords two-note Articulation, * shifts position, E, F, G on 1st string, G on 1st E, F, C, D on 2nd string, B, string, A on 3rd G, open basses within 1st position within 1st full fingerboard range and shifting full fingerboard full barré, natural harmonics natural full barré, cresc. a tempo f

, , rall. accel. mp , andante dim., * & tempi Dynamics allegretto mf , moderato p

 w ‰ Œ h

. e q. notes dotted triplets q duplets Note and rest Note * values ties h x

2 3 6 8 9 changing time signatures Time * signatures * major major b E, B b G minor B minor A major A minor accidentals Keys C major G major E C minor F major E minor D, Grade 6 Grade Grade 7 Grade Grade 5 Grade Grade 4 Grade Initial Grade 1 Grade SIGHT READING PARAMETERS Grade 2 Grade Grade 8 Grade Grade 3 Grade 18 * Cumulative — tests may also include requirements from preceding grade(s) Exam guidance: Supporting tests

AURAL ◗◗ Candidates are then given 30 seconds’ This test supports the development of preparation time, during which they may candidates’ abilities in musical perception and prepare for their improvisation aloud. understanding by requiring them to recognise ◗◗ The test then follows. The examiner plays the musical features by ear (for example metre, stimulus again, and candidates join in after pulse, pitch and performance characteristics). the introduction, improvising for the specified number of repeats. Candidates should aim All questions are based on a single musical to improvise in a way that complements the example played at the piano by the examiner. musical style of the stimulus. At most grades, candidates are asked to describe various features of the music such as dynamics, Motivic stimulus articulation, texture and style. Candidates are not required to sing. This option requires candidates to improvise solo in response to a short melodic fragment. Practice tests can be found in Trinity’s Aural Tests from 2017 books, available from ◗◗ Candidates are given a notated melodic trinitycollege.com/shop or from your local fragment, which the examiner plays twice music shop. on the piano for candidates’ reference. ◗◗ Candidates are then given 30 seconds’ Exam guidance: Supporting tests IMPROVISATION preparation time, during which they may Improvisation can develop creative musicianship prepare for their improvisation aloud. skills that unlock a variety of musical styles ◗◗ The test then follows. Candidates should aim and technical ability. Our tests are designed to improvise within the specified duration to introduce teachers and candidates to range and may begin by quoting the stimulus improvisation gradually, creatively and with directly, developing their improvisation from a range of supporting resources. there. However, they are not required to quote the stimulus directly, and may instead develop This test assesses candidates’ ability to improvise their improvisation from ideas taken from fluently, coherently and creatively in response to the stimulus such as a small group of notes a musical stimulus. Candidates choose a stimulus or an interval. Responses must use the given from the following three options, indicating their time signature. choice of stimulus on the appointment form: ◗◗ Stylistic Harmonic stimulus ◗◗ Motivic This option requires candidates to improvise ◗◗ Harmonic solo in response to a chord sequence. Further guidance and example tests are ◗◗ Candidates are given a notated chord available at trinitycollege.com/supporting-tests sequence, including chord symbols, which the examiner plays twice on the piano for Stylistic stimulus candidates’ reference. ◗◗ Candidates are then given 30 seconds’ This option requires candidates to improvise preparation time, during which they may over a notated piano part played by the examiner. prepare for their improvisation aloud. ◗◗ Candidates are given a stimulus that ◗◗ The test then follows. Candidates should includes the notated piano part and chord improvise for the specified number of symbols. The stimulus begins with a two-bar repeats, following the chord sequence. introduction played by the examiner alone, Responses should contain melodic/ followed by a further section over which rhythmic interest. candidates must improvise for a specified number of repeats. Parameters ◗◗ The examiner plays the stimulus twice for Technical expectations for the tests are given candidates’ reference, without repeats. in the tables on the following pages. Lists are cumulative, meaning that tests may also include requirements from lower grades. 19 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 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars introduction

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

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

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

5 Time signatures* 4 3 2 6 1 9 4

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

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

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

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

20 * 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 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars introduction

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

Times improvised Exam guidance: Supporting tests 1 2 2 2 3 3 2 2 2 section is played

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

5 Time signatures* 4 3 2 6 1 9 4

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

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

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

21 Exam guidance: Supporting tests

Motivic stimulus

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

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

Length of 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 response

Time 5 signatures* 4 3 2 6 1 9 4

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

Articulation* staccato accents slurs acciaccaturas sfz

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

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

22 * 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 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 1 bar 1 bar 1 bar stimulus

Length of 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 response Exam guidance: Supporting tests

Time 5 signatures* 4 3 2 6 1 9 4

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

Articulation* staccato accents slurs acciaccaturas sfz

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

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

23 Exam guidance: Supporting tests

Harmonic stimulus

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

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

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

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

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

I, ii, IV, V I, ii, iii, IV, V, vi all chords b5 b5 Chords I, V I, V I, IV, V I, ii, IV, V i, iv, V i, iv, V, VI i, ii , iv, V i, ii , 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

24 Exam guidance: Supporting tests

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

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

Times chord sequence 1 2 2 2 3 3 2 2 2 is played Exam guidance: Supporting tests

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

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

I, ii, IV, V I, ii, iii, IV, V, vi all chords b5 b5 Chords I, V I, V I, IV, V I, ii, IV, V i, iv, V i, iv, V, VI i, ii , iv, V i, ii , 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

25 Exam guidance: Supporting tests

MUSICAL KNOWLEDGE Examiners then choose a second piece for the (Initial–Grade 5 only) remaining questions. Candidates’ musical scores should be free of annotations which might This test encourages learners to understand the aid their responses. Examiners usually point wider musical context of the pieces they play, to the relevant part of the score when asking as well as their knowledge of notation and their questions. Candidates can use American terms instrument. Examiners ask carefully graded (eighth note, half note, etc) as an alternative questions based on candidates’ chosen pieces. to English terms (quaver, minim, etc). In the exam, candidates choose which piece The following tables give example questions they would like to be asked about first. and responses.

Parameters* Sample question Sample answer

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

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

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

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

Note values What is this note value? A quaver

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

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

Parts of the What is this part called? The bridge instrument

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

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

Intervals What is the interval between Grade 2 A 3rd (numerical only) these notes?

Candidate Basic posture Show me a good hand position demonstrates

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

Scale/arpeggio What pattern of notes do you A scale Grade 3 pattern see here? Exam guidance: Supporting tests How might you warm up By playing a selection Warm up in preparation for playing of scales/arpeggios/ this piece? chords in related keys

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

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

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

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

Candidate identifies Comment on the style the style of the piece Musical style of this piece and gives examples of stylistic features

Candidate suggests How does this piece reflect the a musical period and Musical period period in which it was written? gives examples of how Grade 5 the music reflects this

Candidate describes the form of the piece Musical structures Describe the form of this piece and identifies relevant sections

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

27 Exam guidance: Marking Exam guidance: Marking

HOW THE EXAM IS MARKED HOW THE PIECES ARE MARKED Examiners give comments and marks for each Each piece is awarded three separate marks section of the exam, up to the maximums listed corresponding to three specific musical in the table on page 12. It is not necessary components, allowing candidates to receive to pass all sections or any particular section precise feedback about specific aspects of in order to achieve a pass overall. The total their performance. These marks combine mark for the exam corresponds to different to give a total mark for the piece. attainment levels as follows: The three components are: Total mark Attainment level Fluency & accuracy The ability to perform fluently, with a stable 87–100 DISTINCTION pulse and with an accurate realisation of the notation. 75–86 MERIT Technical facility 60–74 PASS The ability to control the instrument 45–59 BELOW PASS 1 effectively, covering the various technical demands of the music. 0–44 BELOW PASS 2 Communication & interpretation The interpretation of the music and the way the performance conveys a sense of stylistic understanding and audience engagement. Marks are awarded for these components to form a maximum total mark for each piece as follows:

Max. mark for each piece Component

7 FLUENCY & ACCURACY

7 TECHNICAL FACILITY

COMMUNICATION 8 & INTERPRETATION

TOTAL MARK FOR 22 EACH PIECE

28 Exam guidance: Marking

The total marks awarded for each piece correspond to the attainment levels as follows:

Total mark for each piece Attainment level

19–22 DISTINCTION

16–18 MERIT

13–15 PASS

10–12 BELOW PASS 1

3–9 BELOW PASS 2 Exam guidance: Marking

29 HeadingExam guidance: Marking

HOW THE PIECES ARE MARKED

Examiners use the criteria below to decide on the mark.

7 MARKS 6 MARKS 5 MARKS 4 MARKS 3 MARKS 1–2 MARKS

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

7 MARKS 6 MARKS 5 MARKS 4 MARKS 3 MARKS 1–2 MARKS

Technical The various technical The various technical The various technical The various technical The technical demands of Many or all of the facility demands of the music demands of the music demands of the demands of the music the music often not managed. technical demands of fulfilled to a very fulfilled with only music fulfilled for generally managed despite the music not managed. The performance lacks a basic high degree. momentary insecurities. the most part. some inconsistencies. level of tone control. Significant flaws An excellent level A very good level of A good level of tone A basic level of tone control in tone control. of tone control. tone control despite control though with despite some insecurity. minimal blemishes. occasional lapses.

8 MARKS 7 MARKS 6 MARKS 5 MARKS 3–4 MARKS 1–2 MARKS

Communication An excellent level of A very good level of A good level of A reasonable level of Stylistic understanding Stylistic understanding & stylistic understanding stylistic understanding stylistic understanding stylistic understanding generally lacking with not apparent with little interpretation with keen attention to with most performance though occasional though some performance limited realisation of or no realisation of performance details. details realised. performance details omitted. performance details. performance details. details omitted. Highly effective Effective communication Communication and Communication and Communication and communication and interpretation overall. Communication and interpretation basically interpretation inconsistent. interpretation ineffective. and interpretation. interpretation mostly reliable though with effective. some lapses.

30 Exam guidance: Marking Exam guidance: Marking 3131

Heading

Exam guidance: Marking guidance: Exam Many or all of the or all of Many demands of technical managed.the music not flaws Significant control. in tone MARKS 1–2 understanding Stylistic with little apparent not of or no realisation details. performance and Communication ineffective. interpretation 1–2 MARKS 1–2 fluency of or no sense Little and pulse of — control established. not rhythm very in notes Accuracy errors with many limited substance. of MARKS 1–2

The technical demands of demands of technical The managed. not the music often a basic lacks performance The control. tone of level 3–4 MARKS understanding Stylistic lacking with generally of realisation limited details. performance and Communication inconsistent. interpretation Only a limited sense of fluency of sense Only a limited of control basic with a lack of and rhythm. pulse sporadic, in notes Accuracy intrusive. becoming with errors 3 MARKS 3 MARKS

some lapses. lapses. some reliable though with though reliable interpretation basically basically interpretation Communication and Communication A reasonable level of level A reasonable omitted. details insecurity. insecurity. some despite 5 MARKS performance though some A basic level of tone control control tone of level A basic understanding stylistic some inconsistencies. inconsistencies. some generally managed despite managed despite generally demands of the musicdemands of The various technical technical various The number of errors. errors. a number of accuracy in notes despite despite in notes accuracy 4 MARKS A reasonable degree of of degree A reasonable pulse and rhythm. and rhythm. pulse stumbles in the control of of in the control stumbles some inconsistencies and inconsistencies some of fluency though with fluency of A generally reliable sense sense reliable A generally 4 MARKS

A good sense of A good sense thoughfluency with occasional in inconsistencies pulse of control and rhythm. of A good degree in notes accuracy slips. some despite technical various The thedemands of for music fulfilled part. the most tone of A good level though with control lapses. occasional of A good level understanding stylistic though occasional performance omitted. details and Communication mostly interpretation effective. 5 MARKS 6 MARKS 5 MARKS A very good sense sense good A very with only fluency of insecurities momentary pulse of in control and rhythm. of A high degree — in notes accuracy significant. not slips technical various The the musicdemands of fulfilled with only insecurities. momentary of good level A very despite control tone minimal blemishes. of good level A very understanding stylistic performance with most realised. details communication Effective overall. and interpretation 6 MARKS 7 MARKS 6 MARKS An excellent sense sense An excellent with fluency of of control secure and rhythm. pulse degree high A very in notes. accuracy of technical various The the musicdemands of very to a fulfilled high degree. level An excellent control. tone of of level An excellent understanding stylistic to attention with keen details. performance Highly effective communication and interpretation. 7 MARKS 8 MARKS 7 MARKS

Fluency & accuracy Technical facility Communication & interpretation Examiners use the criteria below to decide on the mark. to below the criteria use Examiners HeadingExam guidance: Marking

HOW TECHNICAL WORK IS MARKED

Examiners use the criteria below to decide on the mark.

DISTINCTION MERIT PASS BELOW PASS 1 BELOW PASS 2 13–14 MARKS 11–12 MARKS 9–10 MARKS 6–8 MARKS 1–5 MARKS

Scales & arpeggios An excellent or very A good sense of fluency A generally reliable sense Limited or very limited Little or no sense of good sense of fluency and accuracy with of fluency and accuracy fluency and accuracy with fluency and accuracy and accuracy. occasional errors. despite a number of errors. errors becoming intrusive. with many errors. A very high degree of A good degree of A reasonable degree of An inconsistent degree An unreliable degree technical control. technical control. technical control despite of technical control. of technical control. some inconsistencies. Prompt responses. Prompt responses overall. Hesitancy in responses Uncertain responses with Generally prompt responses and restarts. many restarts and/or items despite some hesitancy and/ not offered. or restarts.

Technical exercises, studies An excellent or very A good sense of fluency A generally reliable sense of Limited or very limited Little or no sense of and concerto extracts good sense of fluency and accuracy with fluency and accuracy despite fluency and accuracy with fluency and accuracy and accuracy. occasional errors. a number of errors. errors becoming intrusive. with many errors. A very high degree of A good degree of A reasonable degree of An inconsistent degree An unreliable degree technical control. technical control. technical control despite of technical control. of technical control. some inconsistencies. Keen attention to Good attention to Limited attention to Little or no attention to performance details performance details and Some attention to performance details performance details and and musical character. musical character overall. performance details and musical character. musical character. and musical character.

32 Exam guidance: Marking Exam guidance: Marking 3333 Heading

Exam guidance: Marking guidance: Exam 2 PASS BELOW 1–5 MARKS of or no sense Little and accuracy fluency errors. with many degree An unreliable control. technical of with responses Uncertain items and/or restarts many offered. not of or no sense Little and accuracy fluency errors. with many degree An unreliable control. technical of to or no attention Little and details performance character. musical

of technical control. control. technical of in responses Hesitancy and restarts. limited or very Limited with and accuracy fluency intrusive. becoming errors degree An inconsistent control. technical of to attention Limited details performance character. and musical 1 PASS BELOW 6–8 MARKS limited or very Limited with and accuracy fluency intrusive. becoming errors degree An inconsistent

performance details details performance Some attention to to attention Some character. and musical inconsistencies. inconsistencies. some technical control despite despite control technical A reasonable degree of of degree A reasonable a number of errors. a number of or restarts. despite and accuracy fluency despite some hesitancy and/ hesitancy some despite of sense reliable A generally Generally prompt responses responses prompt Generally inconsistencies. inconsistencies. some technical control despite despite control technical A reasonable degree of of degree A reasonable despite a number of errors. errors. of a number despite of fluency and accuracy and accuracy fluency of A generally reliable sense sense reliable A generally 9–10 MARKS 9–10 PASS MERIT MARKS 11–12 A good sense of fluency of A good sense with and accuracy errors. occasional of A good degree control. technical overall. responses Prompt fluency of A good sense with and accuracy errors. occasional of A good degree control. technical to Good attention and details performance overall. character musical

DISTINCTION MARKS 13–14 An excellent or very or very An excellent fluency of good sense and accuracy. of degree high A very control. technical responses. Prompt or very An excellent fluency of good sense and accuracy. of high degree A very control. technical to attention Keen details performance character. and musical Scales & arpeggios Scales studies exercises, Technical extracts and concerto Examiners use the criteria below to decide on the mark. to below the criteria use Examiners HeadingExam guidance: Marking

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 A good sense of fluency A generally reliable sense Only a limited sense of Little or no sense of fluency sense of fluency with though with occasional of fluency though with fluency with a lack of basic — control of pulse, rhythm secure control of pulse, inconsistencies in control of some inconsistencies and control of pulse, rhythm and tonality not established. rhythm and tonality. pulse, rhythm and tonality. stumbles in the control of and tonality. Accuracy in notes very pulse, rhythm and tonality. A very high degree of A good degree of accuracy Accuracy in notes sporadic limited with no attention accuracy in notes, with in notes despite some A reasonable degree of with no attention to to musical detail. musical detail realised. slips, with some musical accuracy in notes despite musical detail. detail realised. a number of errors and with little attention to musical detail.

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

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

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

34 Exam guidance: Marking Exam guidance: Marking 3535

Heading Exam guidance: Marking guidance: Exam Musical structure only structure Musical apparent partially or not the to with no relation fluency and stimulus compromised. often or or no creativity Little imagination in the response. 2 PASS BELOW MARKS 1–3 fluency of or no sense Little rhythm pulse, of — control established. not and tonality very in notes Accuracy with no attention limited detail. musical to perception aural Unreliable or all aspects. in the majority or uncertain/ hesitant Very responses. missing knowledge musical Unreliable or all aspects. in the majority or uncertain/ hesitant Very responses. missing

A limited or very limited limited or very A limited structure, musical of sense the to relation with little with some delivered stimulus, and stumbles hesitations in fluency. and creativity A lack of imagination in the response. A limited or very limited aural aural limited or very A limited lack of with some perception aspects. in most precision or uncertain Hesitant responses. limited or very A limited knowledge musical of degree aspects. in most or uncertain Hesitant responses. 1 PASS BELOW MARKS 4–5 of sense Only a limited basicof with a lack fluency rhythm pulse, of control and tonality. sporadic in notes Accuracy to with no attention musical detail. musical

and imagination in the Some element of creativity creativity of element Some response. lapses. lapses. occasional despite a reasonable level of fluency of level a reasonable the stimulus, delivered with delivered the stimulus, or uncertainty. on based structure, musical with occasional hesitation hesitation with occasional of sense reliable A generally prompt responses though responses prompt Generally confident and confident Generally most aspects. aspects. most of musical knowledge in knowledge musical of A generally reliable degree degree reliable A generally or uncertainty. with occasional hesitation hesitation with occasional prompt responses though responses prompt accuracy in notes despite despite in notes accuracy detail. musical degree reliable A generally and confident Generally A reasonable degree of of degree A reasonable and errors number of a to attention with little perception aural of though aspects in most imprecision. with some pulse, rhythm and tonality. and tonality. rhythm pulse, stumbles in the control of of in the control stumbles some inconsistencies and inconsistencies some of fluency though with fluency of A generally reliable sense sense reliable A generally 6–7 MARKS 6–7 PASS

MERIT 8 MARKS A good sense of musical musical of A good sense on the based structure, with delivered stimulus, fluency. of a good level and imaginative A creative overall. response A good sense of fluency of A good sense though with occasional of control in inconsistencies and tonality. rhythm pulse, accuracy of A good degree some despite in notes musical with some slips, realised. detail aural of A good degree in the majority perception aspects. of and confident Mostly responses. prompt musical of A good degree in the majority knowledge aspects. of and confident Mostly responses. prompt

DISTINCTION MARKS 9–10 An excellent or very good or very An excellent structure, musical of sense on the stimulus, based with a high level delivered fluency. of and A highly creative response. imaginative An excellent or very good or very An excellent with fluency of sense pulse, of control secure and tonality. rhythm of degree high A very with in notes, accuracy realised. detail musical good or very An excellent perception aural of degree in all aspects. and prompt Confident responses. good or very An excellent knowledge musical of degree in all aspects. and prompt Confident responses. Improvisation Sight reading Sight Aural knowledge Musical Examiners use the criteria below to decide on the mark. to below the criteria use Examiners Initial to Grade 5 Initial to Grade 5

EXAM DURATION EXAM STRUCTURE The Initial exam The Grade 1 exam The Initial to Grade 5 exams contain lasts 11 minutes lasts 13 minutes the following: Maximum marks

PIECE 1 22

PIECE 2 22 The Grade 2 exam The Grade 3 exam lasts 13 minutes lasts 13 minutes PIECE 3 22

TECHNICAL WORK 14

◗◗ Technical exercise The Grade 4 exam The Grade 5 exam lasts 18 minutes lasts 18 minutes ◗◗ Either scales & arpeggios or studies

SUPPORTING TESTS 20

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

TOTAL 100

36 Initial

Initial Initial to Grade 5 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. A maximum of two duets (asterisked) may be played. An own composition may be played instead of one listed piece. See pages 14–15 for further guidance.

Composer Piece Book Publisher

Classical Guitar Exam Pieces Initial 1. BRUN La tortue Trinity TCL019271 2020–2023: Initial Classical Guitar Exam Pieces 2. CORR Gypsy Dance Trinity TCL019271 2020–2023: Initial The Many Faces of the Guitar Productions d’Oz 3. COSTANTINO Luna vol 1 DZ1041 Classical Guitar Exam Pieces 4. CRACKNELL Inca Dawn Trinity TCL01927 2020–2023: Initial Classical Guitar Exam Pieces 5. DAVIES Finnish Folk Song Trinity TCL019271 2020–2023: Initial Raise the Bar Guitar: 6. GRIEG Morning Trinity TCL016553 Initial–Grade 2 Classical Guitar Exam Pieces 7. HARTOG La campanella Trinity TCL019271 2020–2023: Initial 8. INTILANGELO Andante in A minor Guitar Basics Workouts Faber 0571536883 Classical Guitar Exam Pieces 9. LINDSEY-CLARK Helping Hand* Trinity TCL019271 2020–2023: Initial LONGWORTH Classical Guitar Exam Pieces 10. La colombina Trinity TCL019271 & WALKER 2020–2023: Initial Classical Guitar Exam Pieces 11. NUTTALL The Bells of Dawn* Trinity TCL019271 2020–2023: Initial Classical Guitar Exam Pieces 12. POWLESLAND Pirates Trinity TCL019271 2020–2023: Initial PURCELL, Classical Guitar Exam Pieces 13. Rigadoon* Trinity TCL019271 arr. POWLESLAND 2020–2023: Initial Jacaranda 14. SOR, arr. KENYON Exercise 13, op. 35* ABC Guitar JM02–003 TRAD., Classical Guitar Exam Pieces 15. The Rising Sun Trinity TCL019271 arr. NUTTALL 2020–2023: Initial TRAD., Classical Guitar Exam Pieces 16. Aura Lee Trinity TCL019271 arr. POWLESLAND 2020–2023: Initial TRAD., Chansons et danses 17. Ojos azules* Lemoine HL25163 arr. RIVOAL d’Amérique latine vol C Raise the Bar Guitar: 18. TROMP First Steps Trinity TCL016553 Initial–Grade 2 Classical Guitar Exam Pieces 19. WANDERS Salsa Party Trinity TCL019271 2020–2023: Initial

= Pieces in Trinity’s graded exam books * Duet 37 Initial

TECHNICAL WORK Candidates prepare section 1. and either section 2. or section 3. (see page 16). All requirements are in Trinity’s Guitar Scales, Arpeggios & Studies from 2016: Initial–Grade 5.

1. TECHNICAL EXERCISE (music may be used)

Technical exercise in C major ( = 80) q

Either 2. SCALES & ARPEGGIOS (from memory, mf ) — Examiners select from the following. Candidates play the scale followed by the arpeggio.

scales: apoyando or tirando min. tempi: ◗◗ G major to the 5th im fingering (candidate choice) scales = 80 ◗◗ A minor q arpeggios: tirando arpeggios = 100 q

Or 3. STUDIES (music may be used) — Candidates prepare 1a or 1b, 2a or 2b, and 3a or 3b (three studies in total). Candidates choose one study to play first. Examiners then select one of the remaining two prepared studies to be performed.

1a. Star Gazer for tone and phrasing 1b. Playground Games

2a. Submarine for articulation 2b. Stop It!

3a. Ice Breaker for idiomatic elements 3b. Cross String Thing

38 Initial

Sight reading See pages 19–25 for the requirements and parameters. After 30 seconds’ preparation time, candidates perform a previously unseen musical extract at a level lower than the exam being Musical knowledge taken. See pages 17–18 for the requirements Candidates answer questions assessing their and parameters. understanding of the pieces performed, as well as their knowledge of notation and the guitar. Aural Questions are based on candidates’ chosen pieces. See pages 26–27 for example questions Candidates answer questions based on and responses. a single musical example played on the piano by the examiner. See page 19 for more information. The aural test requirements for Initial are below.

Aural questions Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing, stressing Melody only three times 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 2 Identify the highest or lowest note of the melody once

39 Grade 1 Grade 1 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. A maximum of two duets (asterisked) may be played. An own composition may be played instead of one listed piece. See pages 14–15 for further guidance.

Composer Piece Book Publisher CARULLI, Classical Guitar Exam Waltz in G* Trinity TCL01928 1. arr. CRACKNELL Pieces 2020–2023: Grade 1 Classical Guitar Exam 2. CRACKNELL Oasis Trinity TCL019288 Pieces 2020–2023: Grade 1 Classical Guitar Exam 3. FOGEL Pirate’s Delight Trinity TCL019288 Pieces 2020–2023: Grade 1 HANDEL, adpt. MASON, Classical Guitar Exam 4. Joy to the World Trinity TCL019288 arr. LONGWORTH Pieces 2020–2023: Grade 1 & WALKER 5. KENYON Lil’ Bit Blue* ABC Guitar Jacaranda JM02–003 Raise the Bar Guitar: 6. LINDSEY-CLARK Cachucha Trinity TCL016553 Initial–Grade 2 LONGWORTH 7. Havana Good Time Guitar Basics Repertoire Faber 0571536875 & WALKER Lágrimas de las Classical Guitar Exam 8. MÁRQUEZ Trinity TCL019288 ondas* Pieces 2020–2023: Grade 1 Transatlantiques 9. MOURAT Chanson d’antan Facilissimo EMT1676 10. NUTTALL Rocky Road On the Way Countryside It’s Just a Matter Raise the Bar Guitar: 11. POWLESLAND Trinity TCL016553 of Time Initial–Grade 2 Classical Guitar Exam 12. POWLESLAND The Forest Wakes Trinity TCL019288 Pieces 2020–2023: Grade 1 Classical Guitar Exam 13. RAK Chansonnette Trinity TCL019288 Pieces 2020–2023: Grade 1 Classical Guitar Exam 14. RICHTER Spider Trinity TCL019288 Pieces 2020–2023: Grade 1 15. ROBERTS The Grand Entrance New Beginnings Trinity TCL019134 16. RYAN Snake in a Basket Scenes for Guitar book 1 Camden CM260 Classical Guitar Exam 17. SANDERSON Lotus Flower Trinity TCL019288 Pieces 2020–2023: Grade 1 SCHUBERT, Classical Guitar Exam 18. Die Forelle (The Trout) Trinity TCL019288 arr. HEGEL Pieces 2020–2023: Grade 1 SCHUMANN, Melodie (from Album Classical Guitar Exam 19. Trinity TCL019288 arr. POWLESLAND for the Young, op. 68)* Pieces 2020–2023: Grade 1 TRAD., 20. Carnival of Venice The Golden Collection Hvartchilkov arr. HVARTCHILKOV TRAD., arr. Classical Guitar Exam 21. Romance de amor Trinity TCL019288 HVARTCHILKOV Pieces 2020–2023: Grade 1 Classical Guitar Exam 22. TROMP Metamorphosis Trinity TCL019288 Pieces 2020–2023: Grade 1 23. WANDERS Chicago Blues Go for Guitar! vol 1 Broekmans BP1646

40 = Pieces in Trinity’s graded exam books * Duet Grade 1

TECHNICAL WORK Candidates prepare section 1. and either section 2. or section 3. (see page 16). 1 All requirements are in Trinity’s Guitar Scales, Arpeggios & Studies from 2016: Initial–Grade 5.

1. TECHNICAL EXERCISE (music may be used)

Technical exercise in G major ( = 56) q

Either 2. SCALES & ARPEGGIOS (from memory, mf ) — Examiners select from the following. Candidates play the scale followed by the arpeggio.

scales: apoyando ◗◗ C major or tirando min. tempi: scales: one im fingering (candidate choice) ◗◗ F major octave scales arpeggios: tirando = 56 arpeggios: q arpeggios to the 5th scale: p fingering = 112 ◗◗ E natural minor tirando q arpeggio: pim fingering

1a. Paper Tiger for tone and phrasing 1b. Highland Memories

2a. Scary Monsters for articulation 2b. Rock Bottom

3a. Poisson Rouge for idiomatic elements 3b. Firefly Sky

= Pieces in Trinity’s graded exam books * Duet 41 Grade 1

SUPPORTING TESTS Improvisation Candidates choose two of the following: Candidates perform an improvisation based on a stimulus chosen from the following ◗◗ Sight reading three options: ◗◗ Aural ◗◗ Stylistic ◗◗ Improvisation ◗◗ Motivic ◗◗ Musical knowledge ◗◗ Harmonic Sight reading See pages 19–25 for the requirements After 30 seconds’ preparation time, candidates and parameters. perform a previously unseen musical extract at a level lower than the exam being taken. Musical knowledge See pages 17–18 for the requirements Candidates answer questions assessing their and parameters. understanding of the pieces performed, as well as their knowledge of notation and the guitar. Aural Questions are based on candidates’ chosen Candidates answer questions based on pieces. See pages 26–27 for example questions a single musical example played on the and responses. piano by the examiner. See page 19 for more information. The aural test requirements for Grade 1 are below.

Aural questions Parameters Task Requirement

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

Melody only i) Identify the dynamic as forte or piano Listen to the melody once 4 bars ii) Identify the articulation as legato or staccato

Major key Listen to the first two bars of the Identify the last note as higher or lower than melody once the first note 2 3 Listen to the melody twice, with a change of rhythm or pitch in the Identify where the change occurs second playing

42 Grade 2 Grade 2 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. A maximum of two duets (asterisked) may be played. An own composition may be played instead of one listed piece. See pages 14–15 for further guidance.

Composer Piece Book Publisher Classical Guitar Exam Pieces 1. AGUADO Waltz Trinity TCL019295 2020–2023: Grade 2 Classical Guitar Exam Pieces 2. BRUN Le paon Trinity TCL019295 2020–2023: Grade 2

Classical Guitar Exam Pieces Grade 3. CARULLI Danse paysanne Trinity TCL019295 2020–2023: Grade 2 4. COTTAM Tirandosaurus Rex Zebracadabra ESG 077 COUPERIN, Classical Guitar Exam Pieces 5. Le petit rien* Trinity TCL019295 arr. POWLESLAND 2020–2023: Grade 2 6. EYTHORSSON New Day Raise the Bar Guitar: Initial–Grade 2 Trinity TCL016553 2 La princesse Productions d’Oz 7. FIMBEL La paix des étoiles de la paix DZ2599 Classical Guitar Exam Pieces 8. HASTED Regular Reggae Trinity TCL019295 2020–2023: Grade 2 Gavotte or Hubertus Nogatz 9. KIRSCHBAUM Melodie und Bass vol 1 Tanz in der Burg KN1012 Classical Guitar Exam Pieces 10. LINDSEY-CLARK Barcarolle Trinity TCL019295 2020–2023: Grade 2 11. LINDSEY-CLARK By the Fireside Solo Now! vol 1 Chanterelle ECH2101 Classical Guitar Exam Pieces 12. LINNEMANN Killybegs Jig Trinity TCL019295 2020–2023: Grade 2 Classical Guitar Exam Pieces 13. McDOWALL Spanish Nocturne Trinity TCL019295 2020–2023: Grade 2 Classical Guitar Exam Pieces 14. NUTTALL The Mojave Trinity TCL019295 2020–2023: Grade 2 Productions d’Oz 15. OGAWA Nuit étoilée The Many Faces of the Guitar vol 1 DZ1041 16. OURKOUZOUNOV Valse slave Mise en scène Lemoine HL26826 Classical Guitar Exam Pieces 17. POWLESLAND In the Half-Light Trinity TCL019295 2020–2023: Grade 2 RODRIGUEZ, Classical Guitar Exam Pieces 18. La cumparsita* Trinity TCL019295 arr. CRACKNELL 2020–2023: Grade 2 SANZ, Classical Guitar Exam Pieces 19. Paradetas Trinity TCL019295 arr. POWLESLAND 2020–2023: Grade 2 Raise the Bar Guitar: 20. SOR Etude, op. 44 no. 2 Trinity TCL016553 Initial–Grade 2 21. SOR, arr. HARTOG Czardas String Walker Alsbach ALB10514 TRAD., Classical Guitar Exam Pieces 22. A rosa vermelha* Trinity TCL019295 arr. RIVOAL 2020–2023: Grade 2 TRAD., Chansons et danses d’Amérique 23. Unos ojos negros* Lemoine HL25161 arr. RIVOAL latine vol A TRAD., 24. Malagueña My First Concert Schott ED22050 arr. ZORDIKOWSKI 25. VACHEZ Petit air chromatique Ça ne manque pas d’airs! Doberman DO977 = Pieces in Trinity’s graded exam books * Duet 43 Grade 2

Own composition Own compositions must be comparable in Candidates may perform an own composition technical and musical demand to the pieces instead of one of the listed pieces. More listed for this grade. Suitable features include: information is on page 15. ◗◗ Use of different articulations ◗◗ Simple melodic ornamentation Duration: ◗◗ Use of keys listed for Grade 2 technical work 1–1.5 minute(s)

TECHNICAL WORK Candidates prepare section 1. and either section 2. or section 3. (see page 16). All requirements are in Trinity’s Guitar Scales, Arpeggios & Studies from 2016: Initial–Grade 5.

1. TECHNICAL EXERCISE (music may be used)

Technical exercise in D major ( = 86) q Either 2. SCALES & ARPEGGIOS (from memory, mf ) — Examiners select from the following. Candidates play the scale followed by the arpeggio. ◗◗ F major p fingering scale and arpeggio: tirando min. tempi: scales: apoyando or tirando ◗◗ D melodic minor scales = 62 one (candidate choice) q ◗◗ A harmonic minor arpeggios = 94 octave im fingering arpeggios: tirando q ◗◗ Chromatic scale apoyando or tirando min. tempo: starting on G (candidate choice) = 94 q Or 3. STUDIES (music may be used) — Candidates prepare 1a or 1b, 2a or 2b, and 3a or 3b (three studies in total). Candidates choose one study to play first. Examiners then select one of the remaining two prepared studies to be performed.

1a. Skater’s Waltz for tone and phrasing 1b. Linecraft

2a. Tin Drum for articulation 2b. Porcupine Stomp

3a. Lost and Found for idiomatic elements 3b. Mystic Drummer

44 Grade 2

Sight reading See pages 19–25 for the requirements and parameters. After 30 seconds’ preparation time, candidates perform a previously unseen musical extract at a level approximately two grades lower than Musical knowledge the exam being taken. See pages 17–18 for the Candidates answer questions assessing their Grade requirements and parameters. understanding of the pieces performed, as well as their knowledge of notation and the guitar. Aural Questions are based on candidates’ chosen pieces. See pages 26–27 for example questions Candidates answer questions based on 2 and responses. a single musical example played on the piano by the examiner. See page 19 for more information. The aural test requirements for Grade 2 are below.

Aural questions Parameters Task Requirement

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

Melody only i) Describe the dynamics, which will vary Listen to the melody once during the melody 4 bars ii) Identify the articulation as legato or staccato Major or minor key Identify the last note as higher or lower than Listen to the melody once the first note 2 3 Listen to the melody twice, i) Identify where the change occurs with a change of rhythm or pitch in the second playing ii) Identify the change as rhythm or pitch

45 Grade 3 Grade 3 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. A maximum of two duets (asterisked) may be played. An own composition may be played instead of one listed piece. See pages 14–15 for further guidance.

Composer Piece Book Publisher

1. ANDERSON Barcaruola Guitar Travels Anderson AGP505 Classical Guitar Exam 2. ATTAIGNANT French Dance (Tourdion) Trinity TCL019301 Pieces 2020–2023: Grade 3 J S BACH, 3. Gavotte The Baroque Book Chanterelle ECH2111 arr. WRIGHT 4. BROUWER Étude no. 5 Études simples vol 1 Eschig ME00799700 Classical Guitar Exam 5. CARCASSI Allegretto in D major Trinity TCL019301 Pieces 2020–2023: Grade 3 6. CARLEVARO Estudio primario no. 1 Modern Times Chanterelle ECH0750 Valse (no. 21 from École Classical Guitar Exam 7. CARULLI Trinity TCL019301 de guitare, op. 241) Pieces 2020–2023: Grade 3 Classical Guitar Exam 8. COTTAM Grasshopper Guiro Trinity TCL019301 Pieces 2020–2023: Grade 3 Classical Guitar Exam 9. FOGEL Marshmallow Cocoa Trinity TCL019301 Pieces 2020–2023: Grade 3 Andantino (from Classical Guitar Exam 10. GIULIANI Trinity TCL019301 Le papillon, op. 50) Pieces 2020–2023: Grade 3 GRIEG, Classical Guitar Exam 11. Album Leaf* Trinity TCL019301 arr. POWLESLAND Pieces 2020–2023: Grade 3 Melodie und gegriffener Hubertus Nogatz 12. KIRSCHBAUM Choral Bass vol 2 KN1016 13. KOSHKIN The Paper Dragon Mascarades vol 1 Lemoine HL24886 14. MACHADO Marchinha de carnaval* Modinha brasileira Lemoine HL24821 Raise the Bar Guitar: 15. MERTZ Adagio Trinity TCL016560 Grades 3–5 16. NUTTALL On the Prairie Moving On Countryside 17. OURKOUZOUNOV Cinq-huit Mise en scène Lemoine HL26826 Allegretto con 18. PONCE Seis preludios cortos Peermusic PM1472 moto, no. 5 Classical Guitar Exam 19. POWLESLAND Funky Juan Trinity TCL019301 Pieces 2020–2023: Grade 3 Raise the Bar Guitar: 20. RYAN Russian Bear Trinity TCL016560 Grades 3–5 Classical Guitar Exam Pieces 21. RYAN The Firth of Lorn Trinity TCL019301 2020–2023: Grade 3 22. SMITH Lost Horizons Atmospheres & Adventures Trinity TCL019127

46 = Pieces in Trinity’s graded exam books * Duet Grade 3

Study in C (no. 6 from Classical Guitar Exam 23. SOR Introduction à l’étude Trinity TCL019301 Pieces 2020–2023: Grade 3 de la guitare, op. 60) Classical Guitar Exam 24. STACHAK Kurpie Étude Trinity TCL019301 Pieces 2020–2023: Grade 3 Learn & Conquer Guitar TRAD., 25. Scarborough Fair Repertoire with Xuefei Yang, Doberman DO962 arr. GERRITS beginner book 1 TRAD., Classical Guitar Exam 26. Chorinho* Trinity TCL019301 arr. RIVOAL Pieces 2020–2023: Grade 3 TRAD., The Coasts of Classical Guitar Exam 27. Trinity TCL019301 arr. SANDERSON High Barbary* Pieces 2020–2023: Grade 3 28. WANDERS Salsa Guitarra tirando Broekmans BP1714 29. ZENAMON Escalando Modern Times Chanterelle ECH0750

Own composition Own compositions must be comparable in technical and musical demand to the pieces Grade Candidates may perform an own composition listed for this grade. Suitable features include: instead of one of the listed pieces. More information is on page 15. ◗◗ Form showing clear sections, eg ABA ◗◗ Melodic range of one octave or more 3 Duration: ◗◗ Use of keys listed for Grade 3 technical work 1.5–2 minutes

TECHNICAL WORK Candidates prepare section 1. and either section 2. or section 3. (see page 16). All requirements are in Trinity’s Guitar Scales, Arpeggios & Studies from 2016: Initial–Grade 5.

1. TECHNICAL EXERCISE (music may be used)

Technical exercise in G major ( .= 56) q Either 2. SCALES & ARPEGGIOS (from memory, mf ) — Examiners select from the following. Candidates play the scale followed by the arpeggio.

◗◗ C major scales: apoyando ◗◗ A major two scales: im and ma or tirando min. tempi: ◗◗ B natural minor octaves arpeggios: pppimim (candidate choice) scales = 70 ◗◗ E harmonic minor arpeggios: tirando q arpeggios ◗◗ C major scale in one octave im tirando . = 38 thirds q

= Pieces in Trinity’s graded exam books * Duet 47 Grade 3

1a. It Could Be Sweet for tone and phrasing 1b. The Tone Zone 2a. Sunflower for articulation 2b. Finger Pickin’ Good 3a. On Brooklyn Bridge for idiomatic elements 3b. Half Way There

SUPPORTING TESTS Improvisation Candidates choose two of the following: Candidates perform an improvisation based on a stimulus chosen from the following ◗◗ Sight reading three options: ◗◗ Aural ◗◗ Stylistic ◗◗ Improvisation ◗◗ Motivic ◗◗ Musical knowledge ◗◗ Harmonic Sight reading See pages 19–25 for the requirements After 30 seconds’ preparation time, candidates and parameters. perform a previously unseen musical extract Musical knowledge at a level approximately two grades lower than the exam being taken. See pages 17–18 for the Candidates answer questions assessing their requirements and parameters. understanding of the pieces performed, as well as their knowledge of notation and the guitar. Aural Questions are based on candidates’ chosen Candidates answer questions based on a single pieces. See pages 26–27 for example questions musical example played on the piano by the and responses. examiner. See page 19 for more information. The aural test requirements for Grade 3 are below.

Aural questions Parameters Task Requirement

Clap the pulse on the second playing, Listen to the melody twice Melody only stressing the strong beat Listen to the melody once Identify the tonality as major or minor 4 bars Identify the interval by number only Listen to the first two notes of the melody once Major or (second, third, fourth, fifth or sixth) minor key Study a copy of the melody (provided in treble, i) Identify in which bar the change alto or bass clef as appropriate), and listen to has occurred 3 4 it once as written and once with a change of ii) Identify the change as rhythm rhythm or pitch or pitch 48

Grade 4 Grade 4 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. A maximum of two duets (asterisked) may be played. An own composition may be played instead of one listed piece. See pages 14–15 for further guidance.

Composer Piece Book Publisher

Rumba por Givi Graded Repertoire for 1. ALI Mel Bay 20038 (from Flamenco Suite) Guitar book 2 Allemande (from Classical Guitar Exam 2. BARON Trinity TCL019318 Sonata for Two Guitars)* Pieces 2020–2023: Grade 4 3. BARON Bourrée My First Concert Schott ED22050 Raise the Bar Guitar: 4. BAULCH Glissaccatura Trinity TCL016560 Grades 3–5 Waltz for a Sad Cloud 6 Children’s Pieces or Learn & Doberman DO734 5. BOGDANOVIC (no. 2 from 6 Children’s Conquer Guitar Repertoire with or DO961 Pieces) Xuefei Yang, children’s book 1 6. BROUWER Étude no. 4 Études simples vol 1 Eschig ME00799700

7. BRUN L’éléphant Musicanimales Lemoine HL25247 Grade 25 Melodic and Progressive Chanterelle 8. CARCASSI Etude no. 7 in A minor Studies, op. 60 ECH0470 First Repertoire for 9. CARULLI Sicilienne, op. 34 no. 2 Faber 0571507093 Solo Guitar book 1 4 DAUBE, Menuets I & II Classical Guitar Exam 10. Trinity TCL019318 arr. WILLIS (from Partie in A major) Pieces 2020–2023: Grade 4 DE VISÉE, Gavotte (from Classical Guitar Exam 11. Trinity TCL019318 arr. SCHEIT Suite in D minor) Pieces 2020–2023: Grade 4 DOWLAND, Classical Guitar Exam 12. Orlando Sleepeth Trinity TCL019318 arr. HEGEL Pieces 2020–2023: Grade 4 13. DROZDZOWSKI´ ´ Rainy Impression All Year Round with the Guitar Euterpe EU1003 Separately or Les 100 Productions d’Oz 14. DYENS On Joe’s Deck de Roland Dyens vol 1 DZ1901 or DZ2201 Classical Guitar Exam Pieces 15. FOGEL Village Blackbird Blues Trinity TCL019318 2020–2023: Grade 4 Raise the Bar Guitar: 16. KLEYNJANS Petit air d’Argentine Trinity TCL016560 Grades 3–5 17. LINDSEY-CLARK Danza del arpa Simply Latin Montague MM121 18. MURO Milonga Basic Pieces vol 2 Chanterelle ECH0782 NORTON, Classical Guitar Exam 19. Line by Line Trinity TCL019318 arr. NESTOR Pieces 2020–2023: Grade 4 20. ROBERTS In Good Company New Beginnings Trinity TCL019134 Classical Guitar Exam 21. RYAN Spice Trail Trinity TCL019318 Pieces 2020–2023: Grade 4 Nostalgia: petite mélodie Classical Guitar Exam 22. SAGRERAS (from Tres piezas fáciles, Trinity TCL019318 Pieces 2020–2023: Grade 4 op. 19) 23. SAUMELL La caridad* 19 Contradanzas Lemoine HL29261

= Pieces in Trinity’s graded exam books * Duet 49 Grade 4

Classical Guitar Exam 24. SCHWERTBERGER Bossa-Nova Breeze Trinity TCL019318 Pieces 2020–2023: Grade 4 25. SMITH Calderas Atmospheres & Adventures Trinity TCL019127 Andante (no. 2 from Classical Guitar Exam 26. SOR 24 leçons progressives, Trinity TCL019318 Pieces 2020–2023: Grade 4 op. 31) 27. STACHAK Etude in C major Characteristic Études vol 1 Euterpe EU1801 Learn & Conquer Guitar TRAD., 28. Malborough Repertoire with Xuefei Yang, Doberman DO962 arr. GAGNON beginner book 1 Tango (with repeats) 29. VIÑAS Collected Guitar Works Chanterelle ECH0443 (from Capullos de Abril) 30. WATERS Whirligig Solo Now! vol 2 Chanterelle ECH2102 Romance (no. 14 Graded Repertoire 31. ZENAMON Mel Bay 20038 from 20 Epigrammes) for Guitar book 2

TECHNICAL WORK Candidates prepare section 1. and either section 2. or section 3. (see page 16). All requirements are in Trinity’s Guitar Scales, Arpeggios & Studies from 2016: Initial–Grade 5.

1. TECHNICAL EXERCISE (music may be used)

Technical exercise in A major ( = 130) q Either 2. SCALES & ARPEGGIOS (from memory, mf ) — Examiners select from the following. Candidates play the scale followed by the arpeggio.

◗◗ E major min. tempi: ◗◗ Bb major scales: im and ma scales ◗◗ G melodic minor arpeggios: scales: apoyando = 82 two or tirando q ◗◗ D harmonic minor ppppima arpeggios octaves (candidate choice) ◗◗ Chromatic scale starting on F . = 44 arpeggios: tirando q ◗◗ Dominant 7th arpeggio min. tempo: ppimim... in the key of D major = 66 q

50 = Pieces in Trinity’s graded exam books Grade 4

1a. Half Moon for tone and phrasing 1b. Flamenco Fantasy 2a. River for articulation 2b. And Relax... 3a. Dark Maze for idiomatic elements 3b. Sorrow

SUPPORTING TESTS Improvisation Candidates choose two of the following: Candidates perform an improvisation based ◗◗ Sight reading on a stimulus chosen from the following three options: ◗◗ Aural ◗◗ Stylistic ◗◗ Improvisation ◗◗ Motivic ◗◗ Musical knowledge ◗◗ Harmonic Grade Sight reading See pages 19–25 for the requirements After 30 seconds’ preparation time, candidates and parameters. perform a previously unseen musical extract at a level approximately two grades lower than Musical knowledge 4 the exam being taken. See pages 17–18 for the Candidates answer questions assessing their requirements and parameters. understanding of the pieces performed, as well as their knowledge of notation and the guitar. Aural Questions are based on candidates’ chosen Candidates answer questions based on a single pieces. See pages 26–27 for example questions musical example played on the piano by the and responses. examiner. See page 19 for more information. The aural test requirements for Grade 4 are below.

Aural questions Parameters Task Requirement

Clap the pulse on the second playing, stressing Listen to the piece twice the strong beat Harmonised i) Identify the tonality as major or minor Listen to the piece twice ii) Identify the final cadence as perfect or imperfect 4 bars Identify the interval as minor or major second, Listen to the first two notes of the Major or minor or major third, perfect fourth or fifth, or melody once minor key minor or major sixth Study a copy of the melody (provided i) Identify the bar in which the change of rhythm 4 6 in treble, alto or bass clef as occurred appropriate), and listen to it once as written and once with a change of ii) Identify the bar in which the change of pitch occurred = Pieces in Trinity’s graded exam books rhythm and a change of pitch 51 Grade 5 Grade 5 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. A maximum of two duets (asterisked) may be played. An own composition may be played instead of one listed piece. See pages 14–15 for further guidance.

Composer Piece Book Publisher

1. BROUWER Omaggio a Tárrega, no. 5 Nuevos estudios sencillos Chester CH64273 25 Melodic and Progressive 2. CARCASSI Etude no. 2 in A minor Chanterelle ECH0470 Studies, op. 60 3. CORDERO El caminante Pequeña Suite Doberman DO886 4. COTTAM Mariana Zebramusic ESG 076 Classical Guitar Exam Pieces 5. DAW Inveraray Castle Trinity TCL019325 2020–2023: Grade 5 6. DE MURCIA Allegro Prélude & Allegro Eschig ME6808 DOWLAND, Classical Guitar Exam Pieces 7. Preludium Trinity TCL019325 arr. HEGEL 2020–2023: Grade 5 8. FELLOW Stonehenge Fingerfood Light Schott ED22598 Allegro moderato (no. 2 9. FERRER 24 estudios Schott GA569 from Colección 2a) Etude no. 3: 10. GARCIA 25 études esquisses Mel Bay 95430 Flocon de neige Allegretto (no. 3 Classical Guitar Exam Pieces 11. GIULIANI from 24 prime lezioni Trinity TCL019325 2020–2023: Grade 5 progressive, op. 139) 12. GIULIANI Allegro in C The Guitarist’s Collection book 1 Mayhew 3611140 Classical Guitar Exam Pieces 13. GUZMÁN Dedicatoria Trinity TCL019325 2020–2023: Grade 5 14. KOSHKIN Le pélerin Raise the Bar Guitar: Grades 3–5 Trinity TCL016560 15. LAURO El negrito Raise the Bar Guitar: Grades 3–5 Trinity TCL016560 16. LAURO La gatica Two Venezuelan Waltzes Universal UE29173 17. MACHADO Sambinha* Modinha brasileira Lemoine HL24821 18. MONTES Stay Nueve preludios azules Trinity TCL019110 NORTON, Classical Guitar Exam Pieces 19. Holidays Trinity TCL019325 arr. NESTOR 2020–2023: Grade 5 O’CAROLAN, The Lament for 20. arr. Celtic Music for Classical Guitar Carisch ML2601 Terence McDonough* FIORENTINO Classical Guitar Exam Pieces 21. PEARSON Skater’s Waltz Trinity TCL019325 2020–2023: Grade 5 PIAZZOLLA, 22. Vuelvo al sur Play Piazzolla Boosey M060119712 arr. RYAN Classical Guitar Exam Pieces 23. RYAN Memories of Summer Trinity TCL019325 2020–2023: Grade 5 Maria Luisa: Mazurka Guitar Works: 48 Early Works & Chanterelle ECH0883 24. SAGRERAS (from Tres piezas fáciles, Transcriptions or First Repertoire or Faber 0571507395 op. 19) for Solo Guitar book 2

52 = Pieces in Trinity’s graded exam books * Duet Grade 5

Classical Guitar Exam Pieces 25. SAUMELL El pañuelo de Pepa* Trinity TCL019325 2020–2023: Grade 5 26. SMITH Immram Atmospheres & Adventures Trinity TCL019127 Andante (no. 8 from Classical Guitar Exam Pieces 27. SOR 24 leçons progressives, Trinity TCL019325 2020–2023: Grade 5 op. 31) Andante (no. 21 28. SOR from 24 petites pièces The Complete Studies for Guitar Chanterelle ECH0491 progressives, op. 44) Classical Guitar Exam Pieces 29. STACHAK Country Étude Trinity TCL019325 2020–2023: Grade 5 30. STACHAK Irish Étude Characteristic Études vol 1 Euterpe EU1801

Own composition Own compositions must be comparable in technical and musical demand to the pieces Candidates may perform an own composition listed for this grade. Suitable features include: instead of one of the listed pieces. More information is on page 15. ◗◗ Chromaticism ◗◗ Use of semiquaver passages Duration: ◗◗ Use of keys listed for Grade 5 technical work 2–3 minutes Grade TECHNICAL WORK Candidates prepare section 1. and either section 2. or section 3. (see page 16). All requirements are in Trinity’s Guitar Scales, Arpeggios & Studies from 2016: Initial–Grade 5. 5 1. TECHNICAL EXERCISE (music may be used)

Technical exercise in F# minor ( = 126) q Either 2. SCALES & ARPEGGIOS (from memory, mf ) — Examiners select from the following. Candidates play the scale followed by the arpeggio. min. tempi: ◗◗ Eb major scales: apoyando scales ◗◗ F major two scales: im and ma or tirando = 92 ◗◗ A natural minor octaves arpeggios: ppppima (candidate choice) q arpeggios ◗◗ C melodic minor arpeggios: tirando . = 50 q ◗◗ G major scale in broken thirds im min. tempo: one octave = 82 ◗◗ C major scale in sixths ip/mp q ◗◗ Dominant 7th arpeggio in tirando the key of A major two min. tempo: ppimim… = 76 ◗◗ Diminished 7th arpeggio octaves q starting on E

= Pieces in Trinity’s graded exam books * Duet 53 Grade 5

1a. Incognito for tone and phrasing 1b. Over the Moon 2a. Mistral for articulation 2b. And So It Ends 3a. Mare Nectaris for idiomatic elements 3b. All Barre One SUPPORTING TESTS Improvisation Candidates choose two of the following: Candidates perform an improvisation based on a stimulus chosen from the following ◗◗ Sight reading three options: ◗◗ Aural ◗ ◗◗ Improvisation ◗ Stylistic ◗ ◗◗ Musical knowledge ◗ Motivic ◗◗ Harmonic Sight reading See pages 19–25 for the requirements After 30 seconds’ preparation time, candidates and parameters. perform a previously unseen musical extract at a level approximately two grades lower than Musical knowledge the exam being taken. See pages 17–18 for the Candidates answer questions assessing their requirements and parameters. understanding of the pieces performed, as well as their knowledge of notation and the guitar. Aural Questions are based on candidates’ chosen Candidates answer questions based on a single pieces. See pages 26–27 for example questions musical example played on the piano by the and responses. examiner. See page 19 for more information. The aural test requirements for Grade 5 are below.

Aural questions Parameters Task Requirement

i) Clap the pulse on the second playing, stressing Listen to the piece twice the strong beat ii) Identify the time signature Harmonised i) Identify the changing tonality 8 bars Listen to the piece twice ii) Identify the final cadence as perfect, plagal, imperfect or interrupted Major or Identify the interval as minor or major second, Listen to two notes from the melody minor key minor or major third, perfect fourth or fifth, minor line played consecutively or major sixth, minor or major seventh or octave 2 3 4 6 Study a copy of the piece, and listen i) Identify the bar in which the change of rhythm to it once as written and once with occurred a change of rhythm and a change of ii) Identify the bar in which the change of pitch pitch (both changes in the melody line) occurred 54 Grades 6–8 Grades 6–8

EXAM DURATION EXAM STRUCTURE The Grade 6 exam The Grade 7 exam The Grade 6–8 exams contain the following: lasts 23 minutes lasts 23 minutes Maximum marks

PIECE 1 22

PIECE 2 22 The Grade 8 exam lasts 28 minutes PIECE 3 22

TECHNICAL WORK 14

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

SUPPORTING TEST 1 10

◗◗ Sight reading

SUPPORTING TEST 2 10

ONE of the following: ◗◗ Aural ◗◗ Improvisation

TOTAL 100

55 Grade 6 Grade 6 PIECES Candidates perform a balanced programme of three pieces chosen from the lists below, containing at least one piece from each group. An own composition may be played instead of one listed piece. See pages 14–15 for further guidance.

Composer Piece Book Publisher

Group A

Sarabande (from Partita J S BACH, Classical Guitar Exam Pieces 1. no. 1 for solo violin, Trinity TCL019332 arr. ERIKSON 2020–2023: Grade 6 BWV 1002) J S BACH, Bourrée (from Lute Suite 2. The Solo Lute Works Kjos WG100 ed. KOONCE in E minor, BWV 996) 3. CARCASSI Allegretto, no. 9 10 Vortragsstücke, op. 59 Peters EP8558 Romanze (from Sonate, 4. CARULLI Stars of Classical Guitar vol 2 Doblinger DOBL35922 op. 21 no. 3) Raise the Bar Guitar: 5. COSTE Etude, op. 34 no. 4 Trinity TCL016577 Grades 6–8 6. DE VISÉE Passacaille The Baroque Book Chanterelle ECH2111 7. DOWLAND Can She Excuse Solo Works for Guitar vol 2 Universal UE16712 El afectuoso (no. 3 Classical Guitar Exam Pieces 8. FERRER Trinity TCL019332 from Colección 4a) 2020–2023: Grade 6 Classical Guitar Exam Pieces 9. FONDARD Valse suisse Trinity TCL019332 2020–2023: Grade 6 Classical Guitar Exam Pieces 10. MERTZ Capriccio Trinity TCL019332 2020–2023: Grade 6 11. SANZ Canarios Anthology of Selected Pieces Schott ED12386 Waltz (no. 2 from The Guitarist’s Collection 12. SOR Mayhew 3611140 6 petites pièces, op. 32) book 1 13. TÁRREGA Malagueña Works for Guitar vol 3 Bèrben B1533 14. VIÑAS Recuerdo de la costa Collected Guitar Works Chanterelle ECH0443

56 = Pieces in Trinity’s graded exam books Grade 6

Group B

1. BLOOR Promise Praise — Prayer — Promise Bloor Omaggio a Mangoré, 2. BROUWER Nuevos estudios sencillos Chester CH64273 no. 2 CASTELNUOVO- Raise the Bar Guitar: 3. Andantino campestre Trinity TCL016577 TEDESCO Grades 6–8 4. DODGSON O Pussy My Love!, no. 6 Ode to the Guitar Ricordi RICL00011400 Classical Guitar Exam 5. DROZDZOWSKI´ ´ Winter Story Trinity TCL019332 Pieces 2020–2023: Grade 6 Separately or Les 100 de Productions d’Oz 6. DYENS Babybaião Roland Dyens vol 1 DZ1907or DZ2201 Classical Guitar Exam 7. FELLOW No Man’s Land Trinity TCL019332 Pieces 2020–2023: Grade 6 Productions d’Oz 8. KLEYNJANS Délia, op. 272 DZ1687 9. MONTES Entre azules Nueve preludios azules Trinity TCL019110 MORENO 10. Torija Castles of Spain vol 1 GSP 074 TORROBA 11. OURKOUZOUNOV Lamentoso, no. 5 Cinq nuances modales Doberman DO1039 PIAZZOLLA, Classical Guitar Exam 12. El viaje Trinity TCL019332 arr. RYAN Pieces 2020–2023: Grade 6 TRAD., Classical Guitar Exam 13. Kalamatianos Trinity TCL019332 arr. COTTAM Pieces 2020–2023: Grade 6

TRAD., arr. Classical Guitar Exam Grade 14. General’s Mandate Trinity TCL019332 HVARTCHILKOV Pieces 2020–2023: Grade 6 11 Etudes or Learn & Conquer Guitar Repertoire Doberman DO539 15. VERDERY Let Go with Xuefei Yang, or DO963 intermediate book 1 6 Classical Guitar Exam 16. YORK Lullaby Trinity TCL019332 Pieces 2020–2023: Grade 6

= Pieces in Trinity’s graded exam books 57 Grade 6

TECHNICAL WORK Candidates prepare section 1. and either section 2. or section 3. (see page 16). All requirements are in Trinity’s Guitar Scales, Arpeggios & Studies from 2016: Grades 6–8.

1. TECHNICAL EXERCISE (music may be used)

Technical exercise in A major ( = 126) b q Either 2. SCALES & ARPEGGIOS (from memory, mf ) When examiners request a major tonal centre, candidates should play in succession the: ◗◗ major scale ◗◗ major arpeggio When examiners request a minor tonal centre, candidates should play in succession the: ◗◗ harmonic minor scale ◗◗ minor arpeggio Examiners select from the following:

◗◗ G major, G minor two octaves ◗◗ Db major, C# minor scales: apoyando scales: im and ma and tirando three arpeggios: pimaima arpeggios: ◗◗ E major, E minor octaves tirando min. tempi: scales Plus: two = 106 ◗◗ Chromatic scale starting q octaves on Db arpeggios . = 58 ◗◗ E major scale in thirds im q ◗◗ G harmonic minor scale in sixths one octave ◗◗ G major scale in octaves pi/pm ◗ ◗ E harmonic minor scale tirando in tenths ◗◗ Dominant 7th arpeggio in the key of C major two min. tempo: ppimim… ◗◗ Diminished 7th arpeggio octaves = 88 q starting on C#

58 Grade 6

1a. Pôr do Sol for tone and phrasing 1b. Pavô

2a. Find the Light for articulation 2b. Aquarius

3a. It’s in the Trees for idiomatic elements 3b. Dream Key

SUPPORTING TESTS Improvisation Candidates prepare: Candidates perform an improvisation based on a stimulus chosen from the following ◗◗ Sight reading three options: ◗◗ Aural or improvisation ◗◗ Stylistic Sight reading ◗◗ Motivic After 30 seconds’ preparation time, candidates ◗◗ Harmonic perform a previously unseen musical extract at a level approximately two grades lower than See pages 19–25 for the requirements the exam being taken. See pages 17–18 for the and parameters. requirements and parameters.

Aural Candidates answer questions based on a single Grade musical example played on the piano by the examiner. See page 19 for more information. The aural test requirements for Grade 6 are below. 6

Aural questions Parameters Task Requirement

i) Identify the time signature Listen to the piece twice ii) Comment on the dynamics iii) Comment on the articulation Harmonised Identify and comment on two other Listen to the piece twice 8 bars characteristics of the piece Identify the key to which the music modulates Major key Listen to the first four bars of the as subdominant, dominant or relative minor piece once Answers may alternatively be given as 2 3 4 6 key names Study a copy of the piece, and listen to it Locate and describe the changes as pitch twice with two changes to the melody line or rhythm 59 Grade 7 Grade 7 PIECES Candidates perform a balanced programme of three pieces chosen from the lists below, containing at least one piece from each group. An own composition may be played instead of one listed piece. See pages 14–15 for further guidance.

Composer Piece Book Publisher

Group A

J S BACH, Gavotte 1 (from Lute Suite 1. The Solo Lute Works Kjos WG100 arr. KOONCE in A minor, BWV 995) J S BACH, Prelude (from Cello Suite Productions d’Oz 2. Cello Suites 1, 2, 3 arr. KOONCE no. 1, BWV 1007) DZ2420 3. CARCASSI Caprice no. 4 in A minor 6 Caprices, op. 26 Schott GA72 Classical Guitar Exam 4. COSTE Tarantelle Pieces 2020–2023: Trinity TCL019349 Grade 7 Andante cantabile 5. DIABELLI (2nd movt from Sonata 3 Sonatas Schott GA57 in C major, op. 29 no. 1) Andantino (no. 6 from 6. FERRER 24 estudios Schott GA569 Colección 4a) Rondo (no. 2 from 7. GIULIANI Araniti 3 Rondos, op. 17) Raise the Bar Guitar: 8. HOLBORNE Fantasia Trinity TCL016577 Grades 6–8 Adagio con dolore and The Guitarist’s 9. MERTZ Allegro conspirito (from Mayhew 3611140 Collection book 1 Flowers of my Homeland) Classical Guitar Exam 10. PRATTEN Forgotten (no. 77 Impromptu) Pieces 2020–2023: Trinity TCL019349 Grade 7 Pavanas por la D (from Classical Guitar Exam SANZ, 11. Instrucción de música Pieces 2020–2023: Trinity TCL019349 arr. KOENIGS sobre la guitarra española) Grade 7 SCARLATTI, 12. Sonata in A, K 208 8 Sonatas Schott ED12442 trans. BURLEY Mes ennuis: 13. SOR Bagatelle, no. 2 Ut Orpheus CH283 6 Bagatelles, op. 43 Classical Guitar Exam TRAD., The Bonnie, Bonnie Banks 14. Pieces 2020–2023: Trinity TCL019349 arr. RUSSELL of Loch Lomond Grade 7

60 = Pieces in Trinity’s graded exam books Grade 7

Group B

Classical Guitar Exam 1. ARCAS Bolero Pieces 2020–2023: Trinity TCL019349 Grade 7 Barcarolle (Julia Raise the Bar Guitar: 2. BARRIOS MANGORÉ Trinity TCL016577 Florida) Grades 6–8 3. BROUWER Un dia de noviembre Chester CH61839 Separately Productions d’Oz 4. DYENS Les balancelles or Les 100 de Roland DZ1923 or DZ2201 Dyens vol 1 Etude no. 19: Les 5. GARCIA 25 études esquisses Mel Bay 95430 moulines marinières Classical Guitar Exam 6. GUBAIDULINA Serenade Pieces 2020–2023: Trinity TCL019349 Grade 7 7. MONTERO Azul Tres colores porteños Piles PIL1590 8. PERNAMBUCO Sons de Carilhões Famous Chôros vol 1 Chanterelle ECH0761 9. PIAZZOLLA, arr. RYAN Tango final Play Piazzolla Boosey M060119712 Classical Guitar Exam 10. SHAND Légende, op. 201 Pieces 2020–2023: Trinity TCL019349 Grade 7 Classical Guitar Exam 11. SMITH Halcyon Days Pieces 2020–2023: Trinity TCL019349 Grade 7 Classical Guitar Exam 12. TÁRREGA Rosita Pieces 2020–2023: Trinity TCL019349 Grade 7 Prélude no. 3 in 13. VILLA-LOBOS Cinq préludes Eschig DF15722

A minor Grade Bagatelle no. 2 Classical Guitar Exam 14. WALTON (from Five Bagatelles Pieces 2020–2023: Trinity TCL019349 for Guitar) Grade 7 7 Own composition Own compositions must be comparable in technical and musical demand to the pieces Candidates may perform an own composition listed for this grade. Suitable features include: instead of one of the listed pieces. More information is on page 15. ◗◗ Modulation ◗◗ Use of irregular time signatures ◗◗ Use of any key Duration: 3–4 minutes

= Pieces in Trinity’s graded exam books 61 Grade 7

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. (see page 16). All requirements are in Trinity’s Guitar Scales, Arpeggios & Studies from 2016: Grades 6–8.

1. TECHNICAL EXERCISE (music may be used)

Technical exercise in B major ( = 102) q Either 2. SCALES & ARPEGGIOS (from memory, mf ) When examiners request a major tonal centre, candidates should play in succession the: ◗◗ major scale ◗◗ major arpeggio When examiners request a minor tonal centre, candidates should play in succession the: ◗◗ harmonic minor scale ◗◗ melodic minor scale ◗◗ minor arpeggio Examiners select from the following:

◗◗ Bb major, Bb minor two ◗◗ C major, C minor octaves ◗◗ D major, D minor scales: apoyando scales: im and ma and tirando ◗◗ F major, F minor min. tempi: arpeggios: pimaima arpeggios: scales three tirando Plus: = 122 ◗◗ Chromatic scale octaves q arpeggios starting on F . = 66 ◗◗ C melodic minor scale q one in octaves pi/pm octave ◗◗ Bb major scale in tenths ◗◗ D harmonic minor scale im in thirds two tirando ◗◗ D major scale in sixths pi/pm octaves min. tempo: ◗◗ Dominant 7th arpeggio = 100 in the key of F major q ppimim… ◗◗ Diminished 7th arpeggio three starting on F octaves

62 Grade 7

1a. Cap Gris Nez for tone and phrasing 1b. Rain Tree

2a. White Water for articulation 2b. Modes of Thought

3a. Mezquito for idiomatic elements 3b. Night Vision

SUPPORTING TESTS Improvisation Candidates prepare: Candidates perform an improvisation based ◗◗ Sight reading on a stimulus chosen from the following three options: ◗◗ Aural or improvisation ◗◗ Stylistic Sight reading ◗◗ Motivic After 30 seconds’ preparation time, candidates ◗◗ Harmonic perform a previously unseen musical extract at a level approximately two grades lower than See pages 19–25 for the requirements the exam being taken. See pages 17–18 for the and parameters. requirements and parameters.

Aural Candidates answer questions based on a single musical example played on the piano by the examiner. See page 19 for more information. Grade The aural test requirements for Grade 7 are below.

Aural questions 7 Parameters Task Requirement

i) Identify the time signature Listen to the piece twice ii) Comment on the dynamics Harmonised iii) Comment on the articulation 8 bars Identify and comment on two other Listen to the piece twice characteristics of the piece Major or Identify the key to which the music modulates as minor key Listen to the first four bars of the subdominant, dominant or relative key piece once 2 3 4 6 Answers may alternatively be given as key names Study a copy of the piece, and listen Locate and describe the changes as pitch (melody to it twice with three changes line only) or rhythm

63 Grade 8 Grade 8 PIECES Candidates perform a balanced programme of three pieces chosen from the lists below, containing at least one piece from each group. An own composition may be played instead of one listed piece. See pages 14–15 for further guidance.

Composer Piece Book Publisher

Group A

Bourrée (6th movt from J S BACH, 1. Lute Suite in E major, BWV The Solo Lute Works Kjos WG100 arr. KOONCE 1006a) J S BACH, Gigue (4th movt from Lute 2. The Solo Lute Works Kjos WG100 arr. KOONCE Suite in A minor, BWV 997) Raise the Bar Guitar: 3. BROCÁ El catalán Trinity TCL016577 Grades 6–8 Sérénade (1st movt from Classical Guitar Exam 4. COSTE Les soirées d’auteuil, Pieces 2020–2023: Trinity TCL019356 op. 23) Grade 8 Canción del Emperador Hispanae Citharae 5. DE NARVÁEZ Schott GA176 (Song of the Emperor) Ars Viva Classical Guitar Exam DOWLAND, 6. Earl of Essex, His Galliard Pieces 2020–2023: Trinity TCL019356 arr. POWLESLAND Grade 8 Fuga (from Sonata Baroque Guitar 7. DURANT Schott ED13489 in A minor) Anthology vol 4 Allegro (final movt from 8. GIULIANI Sonatina in D major, Tecla 2564–3 op. 71 no. 3) Classical Guitar Exam KELLNER, 9. Phantasia in A minor Pieces 2020–2023: Trinity TCL019356 transc. KÄPPEL Grade 8 10. SCARLATTI, arr. FISK Sonata in A, K 322 Sonatas vol 2 GSP 096 Rondo in D (no. 6 from The Guitarist’s 11. SOR 6 pièces: Est-ce bien ça?, Schott GA21 Hour vol 3 op. 48) Classical Guitar Exam 12. TRAD., arr. RUSSELL The Bucks of Oranmore Pieces 2020–2023: Trinity TCL019356 Grade 8

64 = Pieces in Trinity’s graded exam books Grade 8

Group B

Classical Guitar Exam Oración para todos 1. BARRIOS Pieces 2020–2023: Trinity TCL019356 (Prayer for Everyone) Grade 8 Impromptus for Guitar Classical Guitar Exam 2. BENNETT (nos. I & V) (both to be Pieces 2020–2023: Trinity TCL019356 played) Grade 8 3. DODGSON Hornets’ Nest, no. 9 Ode to the Guitar Ricordi RICL00011400 Separately Productions d’Oz 4. DYENS Alba nera or Les 100 de Roland DZ1950 or DZ2201 Dyens vol 1 Classical Guitar Exam Adana (jhaptal) 5. KRUISBRINK Pieces 2020–2023: Trinity TCL019356 (no. 4 from Raga Suite) Grade 8 Vals venezolano no. 3 Classical Guitar Exam 6. LAURO, rev. DIAZ ‘Natalia’ (from 4 valses Pieces 2020–2023: Trinity TCL019356 venezolanos) Grade 8 LENNON & 7. McCARTNEY, Yesterday 12 Songs for Guitar Schott Tokyo SJ1095 arr. TAKEMITSU Raise the Bar Guitar: 8. PERNAMBUCO Reboliço Trinity TCL016577 Grades 6–8 Tres canciones 9. PONCE Por ti mi corazón, no. 2 Schott GA111 populares mexicanas 10. PUJOL Tonadilla 3 morceaux espagnols Eschig ME258688 Classical Guitar Exam 11. RODRIGO En los trigales Pieces 2020–2023: Trinity TCL019356 Grade 8 Classical Guitar Exam 12. SEGOVIA Estudio sin luz Pieces 2020–2023: Trinity TCL019356 Grade 8 Raise the Bar Guitar: 13. TÁRREGA Gran Vals Trinity TCL016577 Grades 6–8 Mazurka-Chôro 14. VILLA-LOBOS (1st movt from Suite Eschig ME6737 populaire brésilienne) Grade 15. VILLA-LOBOS Prélude no. 5 in D major Cinq préludes Eschig DF15722

Own composition Own compositions must be comparable in technical and musical demand to the pieces 8 Candidates may perform an own composition listed for this grade. Suitable features include: instead of one of the listed pieces. More information is on page 15. ◗◗ Wide range of expressive techniques ◗◗ Creative use of form Duration: ◗◗ Extended techniques, wide range, 3.5–5 minutes chromaticism and rhythmic variation ◗◗ Use of any key

= Pieces in Trinity’s graded exam books 65 Grade 8

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. (see page 16). All requirements are in Trinity’s Guitar Scales, Arpeggios & Studies from 2016: Grades 6–8.

1. TECHNICAL EXERCISE (music may be used)

Technical exercise in B minor ( = 106) b q Either 2. SCALES & ARPEGGIOS (from memory, mf ) When examiners request a major tonal centre, candidates should play in succession the: ◗◗ major scale ◗◗ major arpeggio ◗◗ dominant 7th arpeggio starting on that note and resolving on the tonic When examiners request a minor tonal centre, candidates should play in succession the: ◗◗ harmonic minor scale ◗◗ melodic minor scale ◗◗ minor arpeggio Examiners select from the following:

◗◗ A major, A minor two ◗◗ Eb major, Eb minor octaves

◗◗ F# major, F# minor three min. tempi: scales: im and ma scales: apoyando ◗◗ Ab major, G# minor octaves arpeggios: pimaima and tirando scales = 136 Plus: arpeggios: q two dominant 7ths: ◗◗ Chromatic scale starting ppimim... tirando arpeggios octaves . = 72 on Eb q dominant 7ths ◗◗ Chromatic scale starting three = 108 on G# octaves q ◗◗ A melodic minor scale in one pi/pm tenths octave

◗◗ A major scale in thirds im

◗◗ Eb major scale in sixths two ◗◗ Chromatic scale in pi/pm tirando octaves octaves starting on F# min. tempo: = 108 ◗◗ Diminished 7th starting q on Ab ppimim… ◗◗ Diminished 7th starting three on F# octaves

66 Grade 8

Or 3. CONCERTO EXTRACTS (music may be used) — Candidates prepare all three extracts. Candidates choose one extract to play first. Examiners then select one of the remaining two extracts to be performed.

1. Vivaldi: Concerto in D, RV 93 (1st movement, bars 24–51)

2. Castelnuovo-Tedesco: Concerto no. 1 in D, op. 99 (3rd movement, first section of cadenza)

3. Villa-Lobos: Concerto for Guitar and Small Orchestra (2nd movement, first section of cadenza)

Aural Candidates answer questions based on a single musical example played on the piano by the examiner. See page 19 for more information. The aural test requirements for Grade 8 are below.

Aural questions Parameters Task Requirement Grade

i) Identify the time signature Listen to the piece once ii) Comment on the dynamics Harmonised iii) Comment on the articulation 12–16 bars 8 Identify and comment on three other Listen to the piece twice Major or minor key characteristics of the piece

Study a copy of the piece, 2 3 4 6 5 Locate and describe the changes as pitch and listen to it twice with or rhythm three changes

67 Policies Policies

SAFEGUARDING AND CHILD PROTECTION DATA PROTECTION Trinity is fully committed to safeguarding Trinity is registered as a Data Controller with and protecting the candidates that we the Information Commissioner’s Office in work with. All posts, including examiners, the United Kingdom under data protection are subject to a safer recruitment process, legislation. Please see trinitycollege.com/ including the disclosure of criminal records data-protection for the most up-to-date and vetting checks. Our safeguarding policies information about Trinity’s data protection and procedures are regularly reviewed and procedures and policies. promote safeguarding and safer working practice across all parts of our work. CUSTOMER SERVICE Trinity is committed to providing a high-quality EQUAL OPPORTUNITIES service for all our users from initial enquiry Trinity is committed to providing equality of through to certification. Full details of our opportunity and treatment for all, and will not customer service commitment can be found unlawfully or unfairly discriminate directly or at trinitycollege.com/customer-service indirectly on the basis of any characteristic. QUALITY ASSURANCE REASONABLE ADJUSTMENT Please note that, for training/monitoring Trinity is committed to creating an inclusive purposes, it may, on occasion, be necessary environment where candidates with special for there to be more than one examiner in needs are able to demonstrate their skills the room. and feel welcomed. We aim to make our Trinity audio records and sometimes films exams accessible to all. We treat each exams for quality assurance and training learner individually when considering how purposes. In the case of filming, Trinity will we can achieve this aim, recognising that always seek permission from the candidate requirements vary. Candidates can be assured (or a parent or guardian) first. All recording that we do not compromise on the standard devices will be discreet and should not cause of marking or allow the quality of exams to be any distraction to candidates. affected in any way.

All provision is tailored to the particular EXAM INFRINGEMENTS needs of each candidate. In order to be most beneficial, as full an explanation as possible of All exam infringements (eg choosing an the required provision should be given. The need incorrect piece) will be referred directly and request for provision should be made on the to Trinity’s central office by the examiner. appropriate form available to download from Exam reports may be withheld until the trinitycollege.com/music-csn. For enquiries outcome of any referral has been considered please contact [email protected] by Trinity. Depending on the severity of the infringement, marks may be deducted or, in extreme cases, the exam may be invalidated.

68 Policies

MALPRACTICE RESULTS REVIEW AND APPEALS PROCEDURE Trinity requires its registered exam centres to report any suspected malpractice Anyone who wishes to question their exam by candidates, teachers or examiners. result should refer to trinitycollege.com/ In situations where a centre is found to be results-enquiry for full details of our results

inadequate or to be guilty of malpractice, review and appeals process. Policies either in terms of provision of facilities or in administration, the exam centre may be required to suspend all of its activities relating to Trinity exams until the cause of the problem is identified and rectified, if appropriate. In extreme circumstances, the centre may have its registered status withdrawn. In the very rare cases or circumstances where a centre or individual may be suspected of malpractice, Trinity will aim to minimise any inconvenience caused to any affected candidate, and would like to thank candidates, teachers and centre staff for their kind co-operation in reporting any suspected incident of cheating, thereby assisting Trinity in upholding the quality and integrity of its exam process.

69 Publishers and UK specialist supplier Publishers and UK specialist supplier

The following list covers all publications listed in this syllabus. Publisher abbreviations used in the repertoire lists are printed in bold. UK distributors are indicated where applicable. Publishers may have different local agents in other parts of the world who may be able to supply music more easily or quickly; please contact publishers directly for details.

ALSBACH CARISCH EUTERPE MEL BAY

Alsbach Educa Carisch Music Publishing House Euterpe Mel Bay Publications Inc c/o De Haske carisch.com euterpe.pl melbay.com c/o Universal ANDERSON CHANTERELLE MONTAGUE FABER Anderson Guitar Edition Chanterelle Montague Music Publications chanterelle.com Faber Music Ltd (contact specialist guitar (contact specialist guitar fabermusic.com music supplier) music supplier) CHESTER GSP MUSIC EXCHANGE ARANITI Chester Music Ltd c/o De Haske Guitar Solo Publications Music Exchange Fondazione Araniti gspguitar.com (Manchester) Ltd Editions COUNTRYSIDE c/o De Haske music-exchange.co.uk fondazionearaniti.org Countryside / Peter HUBERTUS NOGATZ PEER BÈRBEN Nuttall Guitar Music peternuttall.co.uk Hubertus Nogatz Verlag Peermusic Classical Edizioni Bèrben nogatz.de peermusicclassical.com berben.it DE HASKE c/o De Haske c/o De Haske HVARTCHILKOV De Haske Hal Leonard Ltd PETERS BLOOR dehaske.com Stanislav Hvartchilkov hvartchilkov.com Peters Edition Ltd Yvonne Bloor DOBERMAN editionpeters.com yvonnebloor.com JACARANDA Doberman Yppan PILES BOOSEY dobermaneditions.com Jacaranda Music jacaranda-music.com Piles Editorial de Música Boosey & Hawkes Music DOBLINGER pilesmusic.com Publishers Ltd KIOS boosey.com Musikverlag Doblinger PRODUCTIONS D’OZ doblinger.at Neil A Kjos Music Company BROEKMANS c/o Universal kjos.com Les Productions d’Oz c/o De Haske productionsdoz.com Broekmans & Van Poppel ESCHIG broekmans.com LEMOINE RICORDI Editions Max Eschig CAMDEN durand-salabert-eschig.com Les Editions Henry Casa Ricordi c/o De Haske Lemoine ricordi.it Camden Music henry-lemoine.com c/o De Haske camdenmusic.com ESG c/o Faber c/o Spartan SCHOTT ESG Music MAYHEW c/o Music Exchange Schott Music Ltd Kevin Mayhew Ltd schott-music.com kevinmayhew.com 70 Publishers and UK specialist supplier Publishers and UK specialist supplier

SCHOTT TOKYO UK SPECIALIST SUPPLIER c/o Schott In case of any SPARTAN difficulty in obtaining

music, the following Spartan Press Music Publishers Ltd specialist supplier may spartanpress.co.uk be helpful:

TECLA GUITARNOTES

Tecla Editions 0776 500 4663 tecla.com spanishguitar.com TRANSATLANTIQUES

Editions Musicales Transatlantiques c/o De Haske

TRINITY

Trinity College London Press trinitycollege.com

UNIVERSAL

Universal Edition (London) Ltd universaledition.com

UT ORPHEUS

Ut Orpheus Edizioni utorpheus.com

71 Trinity publications Trinity publications

The following Trinity publications support Sound at Sight (sample sight reading tests) this syllabus. All are available from Initial–Grade 3 TCL 011527 trinitycollege.com/shop or from your local music shop. Grades 4–8 TCL 011534

Classical Guitar Exam Pieces 2020–2023 Specimen Aural Tests from 2017 Initial TCL 019271 Book 1: Initial–Grade 5 TCL 015808 Grade 1 TCL 019288 Book 2: Grades 6–8 TCL 015815 Grade 2 TCL 019295 Theory of Music Workbooks Grade 3 TCL 019301 Grade 1 TG 006509 Grade 4 TCL 019318 Grade 2 TG 006516 Grade 5 TCL 019325 Grade 3 TG 006523 Grade 6 TCL 019332 Grade 4 TG 006530 Grade 7 TCL 019349 Grade 5 TG 006547 Grade 8 TCL 019356 Grade 6 TG 007476 Raise the Bar: Guitar Grade 7 TG 007483 Initial–Grade 2 TCL 016553 Grade 8 TG 007490 Grades 3–5 TCL 016560 Grades 6–8 TCL 016577

Trinity Performance Edition Atmospheres & Adventures TCL 019127 (Alistair Smith) New Beginnings (Brian Roberts) TCL 019134 Nueve preludios azules TCL 019110 (Alfonso Montes)

Guitar Scales, Arpeggios & Studies from 2016 Initial–Grade 5 TCL 015082 Grades 6–8 TCL 015099

72 Classical guitar resources Classical guitar resources Join us online to access a range of resources to support teaching and learning at trinitycollege.com/classical-guitar-resources Discover digital content, including videos and

articles from teachers and leading musicians, Trinity publications with advice and support on: ◗◗ Pieces, performance and technique ◗◗ Technical work ◗◗ Supporting tests For further help you can contact the music support team at Trinity’s central office at [email protected], or find the contact details of your local representative Classical guitar resources at trinitycollege.com/worldwide

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

73 Notes Notes Notes

74 Notes Notes

75 Notes Notes