Electronic Keyboard & Organ Syllabus

Home , Electronic keyboard

MOZART LLOYD WEBBER RODGERS ELECTRONIC TCHAIKOVSKY KEYBOARD HANDEL & ORGAN ELGAR SYLLABUS KANDER Qualification specifications for graded exams 2019–2022 SOUSA JOPLIN ZIMMER SHERMAN BEETHOVEN STING SULLIVAN JOBIM SCHUBERT GERSHWIN VIVALDI GLASS HOLST WHAT’S CHANGED? This syllabus features the following changes from the 2015–2018 syllabus: ◗◗ New performance repertoire for electronic keyboard at all grades, covering a wide range of styles including popular classics, show tunes, film themes, jazz, folk and world music ◗◗ Restructured technical work for electronic keyboard: all candidates (except Initial) perform a keyboard exercise, then choose either scales & chord knowledge or exercises ◗◗ Revised scales & chord knowledge requirements for electronic keyboard, with greater focus on modal scales, chord progressions and arpeggios ◗◗ New electronic keyboard exercises at all grades, including a new sequencing option at Grades 6–8 ◗◗ Electronic Organ exams are no longer offered ◗◗ Revised own composition requirements (see page 18) ◗◗ An information and regulations section is no longer included in this syllabus — this information can be found at trinitycollege.com/music-regulations

KEEP UP TO DATE Please check trinitycollege.com/electronic-keyboard to make sure you are using the latest version of the syllabus and for the latest information about our Electronic Keyboard and Organ exams.

OVERLAP ARRANGEMENTS This syllabus is valid from 1 January 2019. The 2015–2018 syllabus will remain valid until 31 December 2019, giving a one year overlap. During this time, candidates may present pieces and technical work from the 2015–2018 or the 2019–2022 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. ELECTRONIC KEYBOARD & ORGAN SYLLABUS Qualification specifications for graded exams 2019–2022

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 © 2018 Trinity College London Published by Trinity College London Online edition, April 2020

1 Contents

3 / Welcome

4 / Introduction to Trinity’s graded music exams

9 / Learning outcomes and assessment criteria

11 / About the exam

14 / Exam guidance: Instruments

16 / Exam guidance: Pieces

19 / Exam guidance: Technical work

21 / Exam guidance: Supporting tests

34 / Exam guidance: Marking

42 / Electronic Keyboard

78 / Organ

111 / Electronic keyboard glossary of chords

112 / Policies

114 / Publishers

115 / Trinity publications

116 / 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 Electronic Keyboard & Organ syllabus, containing details of graded exams from Initial to Grade 8. It offers the choice and flexibility to allow electronic keyboard players and organists to perform to their strengths, enabling them to gain recognition for their own unique skills as performers. Build authentic skills Our technical work and supporting tests are specially designed to develop the skills that are specific to your instrument. For electronic keyboard players, a combination of keyboard exercises that build awareness of chords and chord progressions, and technical exercises that focus on Welcome a variety of keyboard techniques including a new sequencing option, develop essential and authentic skills progressively through the grades. Explore varied repertoire Discover pieces across a variety of genres, showcasing the wide range of styles available to keyboard and organ players. Electronic keyboard repertoire encompasses popular classics, show tunes, film themes, jazz, folk and world music, expertly arranged according to the requirements for the grade. Benefit from industry expertise The syllabus and supporting books have been created in consultation with leading electronic keyboard and organ specialists. You can access videos and handouts to support teaching and learning at trinitycollege.com/keyboard-resources, and 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, an external examiner trained and moderated which enables learners to demonstrate by Trinity. Examiners provide marks and their own musical personality and promotes comments for each component of the exam enjoyment in music performance. using the assessment criteria on pages 36–41. The exams assess music performance, The exam is marked out of 100. Candidates’ technical ability and responses to set results correspond to different attainment musical tests through face-to-face practical levels as follows: assessment. They offer learners of any age the opportunity to measure their development as Mark Attainment level performers against a series of internationally understood benchmarks, taking them from 87–100 DISTINCTION beginner level to the point where they can progress to higher education in music, or 75–86 MERIT enter for 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 See pages 34–41 for further information about passed lower grades, theory exams or other how the exam is marked. qualifications, although the grades represent 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 (GLH) (ILH) (TQT) (hours) Initial 8 32 40

Grade 1 12 48 60

Grade 2 18 72 90 Introduction

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 conservatoires 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) Trinity representative for more information. levels. These assess higher skills in performance, teaching and theory. Find out Alternatively, in the UK, schools and private more at trinitycollege.com/music-diplomas teachers with sufficient candidates may apply for an exam visit. Details are available at Music Tracks is an initiative in the UK designed trinitycollege.com/exam-visit to support teachers in delivering instrumental tuition for both large and small groups. Find out more at trinitycollege.com/music-tracks TRINITY QUALIFICATIONS THAT COMPLEMENT THE ELECTRONIC We also offer: KEYBOARD & ORGAN QUALIFICATIONS ◗◗ Graded, certificate and diploma Trinity’s music qualifications offer flexible qualifications in drama-related subjects progression routes from beginner to ◗◗ English language qualifications advanced levels in a range of musical styles. All are designed to help candidates develop ◗◗ Teaching English qualifications as 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

6 6 LTCL LMusTCL

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

Regulated title Qualification 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. 2.1 Demonstrate familiarity with the fundamentals of Demonstrate technical instrumental command ability on an instrument 2.2 Demonstrate technical control and facility within set tasks through responding to 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 a variety of styles set 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 through responding to the instrument/voice 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 Choose three pieces, Electronic keyboard: keyboard A combination of two tests each worth 22 marks. exercise, followed by either from sight reading, aural, scales & chord knowledge improvisation and musical or exercises. knowledge, depending on Organ: scales & arpeggios grade and candidate choice. (Grades 1–5); scales & arpeggios and pedal study (Grades 6–8). 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

◗◗ Keyboard exercise (Grades 1–5 only) ◗◗ Keyboard exercise ◗◗ Either scales & chord knowledge ◗◗ Either scales & chord knowledge or exercises or exercises

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

* Organ technical work at Grade 1 is scales, and at Grades 2–5 is scales & arpeggios. 12 ** Organ technical work at Grades 6–8 is scales & arpeggios and pedal study. 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 the examiner will ask to hear technical work first.

EXAM DURATIONS Exams are designed to include sufficient time for setting up and presenting all sections, and overall durations are as follows:

Initial Grade 1 Grade 2 13 mins 13 mins 15 mins About the exam

Grade 3 Grade 4 Grade 5 15 mins 20 mins 20 mins

Grade 6 Grade 7 Grade 8 25 mins 25 mins 30 mins

13 Exam guidance: Instruments Exam guidance: Instruments

ELECTRONIC KEYBOARD ◗◗ All pieces and tests will be assessed on the musicality of the candidate’s performance ◗◗ Candidates are responsible for providing and not on the capability of the instrument their own keyboard, music stand, keyboard itself. However, performances that do not stand, power adaptor and seat (if required). realise a large amount of the performance ◗◗ A mains power supply will be available at information on the printed score will not be centres but candidates should check with able to achieve high marks. the centre representative to ensure it will ◗◗ While every care has been taken to ensure be within easy reach of the instrument. that the pieces and tests are suitable ◗◗ Candidates are responsible for the electrical for the widest range of instruments, it is safety of any equipment used in their exam. recognised that there will be occasions ◗◗ Stewards will normally assist with setting-up when performance as notated will not be and removing the keyboard, but candidates possible on some instruments. In such should have a full working knowledge of the cases, candidates may adapt the material set-up procedure. to what is possible on the instrument they have, modifying the music in an appropriate ◗◗ It is recommended that instruments have and imaginative way while preserving the the following specification: substance of melody, harmony and rhythm. — Range: minimum four octaves for ◗◗ It is recognised that instruments vary, and Initial to Grade 1, minimum five octaves that not all voices and styles are equal. for Grades 2–8 If candidates feel that the specified voices — Keyboard: full-size keys and styles are not wholly appropriate on their instrument, they may use — Capability: any musically acceptable alternative. from Grade 2: minimum 16-note Any changes must not substantially alter polyphonic capacity, a range of individual the character of the piece (eg changing voices and rhythm styles, dual voice/layer, clarinet/march to electric guitar/ballad). touch sensitivity option ◗◗ Up to and including Grade 2, candidates using from Grade 3: registration memory keyboards without registration memory may from Grade 5: left split point need to use a different voice from the one indicated in the music, in order to achieve from Grade 6: a minimum of quick changes (for example, by selecting eight registrations that can be voices with near or adjacent menu locations). pre-programmed before the exam; ◗ touch sensitivity (compulsory); left ◗ The ability to use dual voice and to voice; accompaniment split point; pedal programme voice changes is important to function (with different settings to build a musically interesting performance. include sustain, registration change, fill, ◗◗ The use of volume control is important to rhythm start/stop); pitch bend function add interest and shape, and candidates with moveable range; LFO/modulation should follow the dynamics marked in the function; octave transpose for both right score. Candidates can vary the volume and left voices; chord settings including manually, through foot pedals or through fingered chords, fingered on bass and full a touch-sensitive keyboard setting. keyboard chords

14 Exam guidance: Instruments

◗◗ The use of accompaniment B and, optionally, ORGAN accompaniments C and D at Grades 6–8, can ◗◗ Candidates must contact the centre add a feeling of climax and direction. representative well in advance of the exam ◗◗ Left and accompaniment split point date to discuss and agree arrangements for functions are required at Grades 6–8. instruments, venue and location. Pieces that require these functions have ◗◗ Instruments must be installed before the split points suggested for five octave start of the exam day and not removed keyboards where middle C is C3. until the end. ◗ ◗ Guides for the use of octave transpose on five ◗◗ If the exam is held in a public building, octave keyboards are included in Grades 6–8 arrangements must be made to ensure pieces that require this function. there is no audience present. ◗ ◗ A glossary of terms, including further ◗◗ Candidates may play a conventional pipe guidance on keyboard functions, is organ, a pipeless analogue electronic organ, available at trinitycollege.com/ or a computer organ. keyboard-resources ◗◗ Candidates should always check that the ◗ ◗ Candidates may introduce additional instrument they are using is adequate changes according to the capabilities for the requirements of the pieces they of their instrument, as long as they are are performing. Exam guidance: Instruments musically appropriate. ◗◗ Candidates have freedom of registration ◗ ◗ Auto intros/endings may only be used where as appropriate to the music played. indicated and must be integrated within the style and instrumentation of the piece. ◗◗ Memory features other than adjustable They should not exceed four bars in length. pistons and the use of sequencers are not permitted. ◗◗ Pre-recorded material is not permitted (except in the sequencing exercise), but ◗◗ In situations where an instrument has registration memory facilities may be used. limited or no registration aids, the use of a registrant is permitted. However, when an organ does have standard or adjustable combination actions, candidates are expected to manage the registrations without assistance.

15 Exam guidance: Pieces Exam guidance: Pieces

◗◗ Candidates choose the voice(s) and style, and should adapt the music by changing rhythm, register or even varying melody and harmony to produce a creative response.

◗◗ Auto intros/endings are not permitted, PIECES although candidates may compose and 66 MARKS perform their own intro/ending, and bridge passages between verses.

Chords ◗◗ Candidates may use single fingered chords or fully fingered chords, though at higher grades the chords required may not be ELECTRONIC KEYBOARD available as single fingered chords. Choosing pieces ◗◗ Candidates are free to use their judgement in choosing spacing and arrangement ◗◗ Candidates play three pieces in their exam, of the notes according to the most chosen freely from the lists provided. convenient fingering. ◗◗ Initial–Grade 5: In place of one of the listed pieces, candidates may perform an own Set-up composition (see page 18). ◗◗ Efficient setting-up is a major part of the ◗ ◗ Grades 6–8: In place of one of the listed technique of the instrument and is expected pieces, candidates may perform an own to be carried out quickly and efficiently in composition (see page 18), or a piece of all exams. their own choice, or their own arrangement of a piece of their own choice (either a ◗◗ Marks may be deducted for unnecessary keyboard or a non-keyboard piece). delays in setting-up for any part of the exam, including long delays at the start or between ◗ ◗ Own-choice pieces and arrangements must items, or restarts due to improper set-up. contain a level of technical and musical demand similar to that of the pieces listed ◗◗ To avoid delays between items, at the end for the grade. Trinity does not pre-approve of each piece, candidates should begin own-choice pieces or arrangements, setting-up for the next piece. although marks may be deducted where they do not allow candidates to demonstrate ORGAN performance at the required level. Choosing pieces

Own interpretation pieces ◗◗ Candidates play three pieces in their exam, chosen from the lists provided. ◗◗ In each graded exam book there is one own interpretation piece option, which ◗◗ Pieces are divided into two groups: group candidates may select if they choose. A and group B. Candidates must choose at It allows candidates to create a personal least one piece from each group. The third arrangement with as much artistic and piece may be chosen from either group, or musical flair as possible in line with the may be the candidate’s own composition expectations for the grade, reflecting (see page 18). real-life performance scenarios. ◗◗ Pieces by at least two composers should be played. 16 Exam guidance: Pieces

PERFORMANCE AND INTERPRETATION MUSIC AND COPIES ◗◗ Candidates should prepare all pieces in ◗◗ Candidates should obtain the music for their full unless stated otherwise in this syllabus. exam in good time before entering for the exam, and they must bring it with them on ◗◗ Candidates should observe repeats of the day of the exam. a few bars, but longer repeats should not be played unless stated otherwise ◗◗ We publish selected pieces for electronic in this syllabus. keyboard in our graded exam books. Recommended editions for other pieces are ◗◗ All da capo and dal segno instructions listed in this syllabus, but candidates may should be observed. perform from any reliable edition that has ◗◗ Candidates are not required to play not been shortened or otherwise simplified. cadenzas unless stated otherwise Editions containing inauthentic performance directions, for example Romantic phrasing in this syllabus. in Baroque repertoire, are not acceptable. ◗◗ Candidates are encouraged to use If a particular edition must be used, this is appropriate ornamentation, particularly indicated in the syllabus. Product codes for at Grades 6–8. publications are included where available. ◗◗ All tempo and performance markings ◗◗ We take copyright infringement seriously should be observed (eg allegro, rall., cresc.). and require candidates to ensure their Metronome marks are given as a guide music comes from a legitimate source. but do not need to be observed exactly, as Guidelines are available in the UK Music long as the style and character of the piece Publishers Association’s Code of Fair is maintained. Practice, available at mpaonline.org.uk. Candidates must comply with copyright ◗◗ Candidates may perform any or all of their and other intellectual property laws in the pieces from memory if they wish. However, country where the exam is taking place. this is not compulsory and no additional Exam guidance: Pieces ◗◗ In accordance with the MPA’s Code of Fair marks are given for this. Practice, candidates must produce original copies of all pieces to be performed in the PAGE TURNS exam, even if pieces have been memorised, handwritten or typeset. Pieces where no ◗◗ The examiner will not be able to act as a page original copy has been provided might turner. Difficult page turns may be overcome be awarded no marks. by photocopying the relevant pages. ◗◗ If candidates are performing pieces not ◗◗ A page turner may assist at Grades 6–8, contained in Trinity’s graded exam books, but must only be present in the exam room they will need to provide a photocopy as a when required to turn pages. reference for the examiner. Photocopies will ◗◗ The page turner should not be the be kept by the examiner and destroyed after candidate’s teacher. the exam. Examiners will have a copy of the repertoire contained in Trinity’s graded exam books. ◗◗ Where music has been downloaded, candidates must bring proof of purchase or details of the website where it was accessed for the examiner’s reference.

17 Exam guidance: Pieces

OBTAINING MUSIC FOR THE EXAM OWN COMPOSITION ◗◗ All publications listed in this syllabus can be ◗◗ Candidates can choose to perform an ordered at trinitycollege.com/shop or your own composition as one of their pieces. local music shop. Own composition pieces are assessed ◗◗ Trinity publishes graded exam books for in the same way as the listed repertoire. electronic keyboard, as well as sight reading Marks are not awarded for the quality books and aural test books. See page 115 for of the composition. more information. ◗◗ Own compositions must be comparable in ◗◗ Details of the publishers listed in this technical and musical demand to the pieces syllabus can be found on page 114. listed for the same grade. Examples of optional compositional techniques that ◗◗ Non-UK publishers may have different local might be used at each level are listed in agents in other parts of the world who each grade section of this syllabus. may be able to supply music more easily or quickly. Please contact the publishers ◗◗ A typeset or handwritten copy of the directly for details. composition must be given to the examiner at the beginning of the exam. At Initial to ◗◗ Trinity cannot guarantee that music will Grade 5, own compositions may be notated always be in stock with local suppliers. in any easily readable form, including Candidates and teachers should always graphic score or lead-sheet. At Grades 6–8 check with the publisher before it is assumed they must be notated on a stave. Marks will that any item has gone out of print. be deducted if notation is incomplete or inaccurate, or if the performance varies significantly from the notation. ◗◗ Own compositions should be candidates’ own unaided work, although teachers may offer guidance as necessary.

18 Exam guidance: Technical work Exam guidance: Technical work

◗◗ At Grades 1–5 the keyboard exercise may be played either from memory or using the music. At Grades 6–8 it must be played from memory. ◗◗ The master volume should be set to TECHNICAL WORK 50–75% of maximum, resulting in a mf to f dynamic level. 14 MARKS Scales & chord knowledge Learning scales is an important part of developing technical focus, strength and agility, and harmonic and melodic skills. This section of the exam supports the A wide range of scales relevant to authentic development of technical skills by assessing performance contexts is covered in this candidates’ performance in a range of component, including modes, pentatonic technical work options. These promote and blues scales. agility, harmonic and melodic awareness Chord knowledge develops awareness of and underpin musical style. chord patterns and progressions. Candidates prepare the scales and chords ELECTRONIC KEYBOARD set for the grade, and play a selection as From Grade 1, all candidates begin the requested by the examiner. technical work section by performing a Exam guidance: Technical work keyboard exercise. They then choose one ◗◗ All requirements should be played with of the following options: a piano voice, with no additional voice, accompaniment, sustain pedal, rhythm ◗◗ Scales & chord knowledge or metronome click. ◗◗ Exercises ◗◗ All scales and chords must be played At Initial, candidates don’t perform the from memory. keyboard exercise but the other requirements ◗◗ The master volume should be set to are the same. Full details of all requirements are 50–75% of maximum, resulting in a included in the Trinity exam book for the grade. mf to f dynamic level. ◗◗ Requirements may be played an Keyboard exercise octave higher or lower if necessary to At Grades 1–5 the keyboard exercise is a accommodate the range of the instrument. scale, chosen by candidates from the list ◗◗ Scales should be played in similar motion, for the grade, performed in the right hand except where stated. accompanied by chords in the left hand. It focuses on specific skills needed by ◗◗ All similar motion scales should be electronic keyboard players that develop performed ascending then descending, awareness of chords and chord progressions. with the right hand playing one octave above the left hand, unless otherwise stated. At Grades 6–8, candidates perform a scale followed by an arpeggio. ◗◗ A minimum pace is indicated, increasing gradually grade by grade. Rhythmic patterns ◗◗ The keyboard exercise should be played are all even quavers. with a piano voice, with no additional voice, accompaniment, sustain pedal, rhythm or metronome click. 19 Exam guidance: Technical work

Exercises ORGAN Exercises are specially composed short pieces Candidates prepare the scales and arpeggios designed to demonstrate and develop key listed for the grade, and play a selection as areas of technique through performance. requested by the examiner. Candidates at Grades 6–8 also perform a pedal study. Initial–Grade 5: Candidates should prepare all three exercises from the list for the grade ◗◗ All scales and arpeggios must be played (keyboard functions, scalic, pianistic), two of from memory. Candidates may use music which are played in the exam. One is chosen for the pedal study at Grades 6–8. by the candidate and one by the examiner. ◗◗ Scales should be played in similar motion, Grades 6–8: Candidates should prepare except where stated. any three exercises from the list for the ◗◗ All similar motion scales should be grade (keyboard functions, scalic, pianistic, performed ascending then descending, sequencing), two of which are played in the with the right hand playing one octave exam. One is chosen by the candidate and above the left hand unless otherwise stated. one by the examiner. ◗◗ A minimum pace is indicated, increasing ◗◗ Exercises may be played either from gradually grade by grade. Rhythmic patterns memory or using the music. are all even quavers. ◗◗ Candidates choosing the sequencing Further information about specific technical exercise should pre-record the sequenced work requirements for each grade is given in part in advance of the exam. In the exam the relevant sections of this syllabus. they should play the solo part live with the sequenced part. Examiners assess the performance of the live part, including synchronisation with the sequenced part. The performance of the sequenced part is not assessed. ◗◗ Exercises are included in the Trinity exam book for the grade. Further information about specific technical work requirements for each grade is given in the relevant sections of this syllabus.

20 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 SUPPORTING lower than the exam being taken. Our sight TESTS reading pieces are designed to be musically intuitive and natural, preparing candidates 20 MARKS for performance contexts. After setting up their instrument, candidates are given 30 seconds to study the test before performing it, during which they may practise any or all of it aloud. The examiner will not mark this preparation period. This section of the exam supports the Examples of sight reading tests for electric development of broader musical skills keyboard may be found in Trinity’s Sound at by assessing candidates in two different Sight series, available from trinitycollege.com/ supporting tests. shop or from your local music shop. At Initial to Grade 5, candidates choose Candidates for Electronic Keyboard exams two supporting tests from four options: at Initial to Grade 5 may choose between ◗◗ Sight reading two different ways of performing the sight reading test: either with single fingered ◗ ◗ Aural chords with rhythm and accompaniment, or ◗◗ Improvisation with fully fingered chords without rhythm. Candidates for Grade 6–8 exams must perform

◗◗ Musical knowledge Exam guidance: Supporting tests the sight reading test using fully fingered At Grades 6–8, all candidates are assessed chords with rhythm and accompaniment. in sight reading, and choose either aural or Technical expectations for the tests are improvisation for their second supporting test. given in the tables on pages 22–23. Lists are This flexibility is designed to allow candidates cumulative, meaning that tests may also to demonstrate their musical skills in different include requirements from lower grades. ways, while recognising that sight reading is an important skill at higher grades.

21 Exam guidance: Supporting tests

SIGHT READING PARAMETERS FOR ELECTRONIC KEYBOARD

Keys* Time Chords* Note and Dynamics* Other* signatures* rest values*

5-finger hand Initial C major and 2 q h mf position only

5-finger hand Grade 1 4 I, V and f position (RH not tonic)

change of Grade 2 A minor 3 IV and Œ p hand position h. within octave

F and G major Grade 3 VI , and D minor w q. e (incl C#)

D major Grade 4 B and E V7 2-part RH minor

A and Bb major Grade 5 6 x and  3-part RH C minor

all common chords and dominant Eb major RH chords of 3 7th chords mp, cresc., Grade 6 F# and G grace notes notes or more 8 minor 7th dim. minor spread chords chords on white root notes only

minor 7th chords on E and black notes dotted Grade 7 Ab major 1, major 7th semibreves F minor chords on white notes

major 7th chords on B and Db duplets, Grade 8 black notes major triplets diminished chords

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

pp and ff

, pedal couplers dim. , and f changes registration of use of swell pedal, cresc. swell of use and manual couples, 2’, 16’ manual couples, single manual, 8’ only, single manual, 8’ only, mf two manuals (hands on two manual), 4’,the same p Registration and Registration * dynamics hands on separate hands on separate change of manuals, manual

and and 2 2 legato , staccato inclusive (toes only) (toes inclusive inclusive (toes only) (toes inclusive 3 4 notes between A between notes adjacent notes with same notes adjacent foot, G C full use of pedals of full use range, throughout feet including crossing notes between F between notes * Pedals toe and heel signs, more and heel signs, toe pedal part independent * Cumulative — tests may also include requirements from preceding grade(s) preceding from include requirements also may — tests * Cumulative more complex complex more textures 2-part texture 2-part remains withinremains (not hand position C) necessarily 3-part texture Manuals * more varied texture, texture, varied more furthersome chromaticism

, Exam guidance: Supporting tests , accel. , allegretto simple phrasing , moderato legato staccato common any and signs terms accents, pause accents, , andante intricate more phrasing Tempi and Tempi articulation * a tempo , rall.

; ‰  and and w , Œ h and and and ties

, . , . duplets, duplets, triplets e q Note andNote * values rest dotted notes notes dotted and rests q h x

, , changing time signatures Time * signatures 2 3 6 8 9 ) # minor major major major major * and B b and F minor and C minor # # # Keys G B and D b (incl double and flats) sharps E and A b C F major D minor (incl C A and E b B and G minor (incl modulation) D and B b E and D minor (plus accidentals) C and G major A minor (white only) notes F Grade 8 Grade SIGHT READING PARAMETERS FOR ORGAN FOR SIGHT READING PARAMETERS Grade 7 Grade Grade 3 Grade Grade 5 Grade Grade 2 Grade Grade 4 Grade Grade 1 Grade Grade 6 Grade

23 Exam guidance: Supporting tests

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

24 Exam guidance: Supporting tests

Harmonic stimulus This option requires candidates to improvise solo in response to a chord sequence. ◗◗ Candidates are given a notated chord sequence, including chord symbols, which the examiner plays twice on the piano for candidates’ reference. ◗◗ Candidates are then given 30 seconds’ preparation time, during which they may prepare for their improvisation aloud. ◗◗ The test then follows. Candidates should improvise for the specified number of repeats, following the chord sequence. Responses should contain melodic/ rhythmic interest.

Parameters Technical expectations for the tests are given in the tables on the following pages. Lists are cumulative, meaning that tests may also include requirements from lower grades. Exam guidance: Supporting tests

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

26 * 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 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 Exam guidance: Supporting tests

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

27 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

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

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

28 * 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

Time 5 signatures* 4 3 2 6 1 9 4

Rhythmic minims, triplets, quavers dotted notes ties syncopation semiquavers features* crotchets duplets Exam guidance: Supporting tests Articulation* staccato accents slurs acciaccaturas sfz

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

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

29 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 and A major Keys C major C, F and G major A, D, E, G and B minor A, D, E, G, B, C and F# minor

30 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

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, Exam guidance: Supporting tests 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 and A major Keys C major C, F and G major A, D, E, G and B minor A, D, E, G, B, C and F# minor

31 Exam guidance: Supporting tests

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

Parameters* Sample question Sample answer

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

How many beats are Note durations Two there 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 Go back to the start and signs of da capo?

Parts of the What are these called? The keys instrument

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

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

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 A scale Grade 3 pattern you see here?

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 Intervals (full names) Perfect 5th Grade 4 these notes?

Here [candidate

Show me the most Exam guidance: Supporting tests indicates], because Technical challenges challenging part of this of the awkward leaps/ piece and tell me why registration change

Candidate identifies Comment on the style style of piece and gives Musical style of this piece 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 form of piece and Musical structures Describe the form of this piece identifies relevant sections

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

33 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 effectively, covering the various technical 45–59 BELOW PASS 1 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

34 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

35 Exam 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 Little or no sense of fluency & accuracy of fluency with of fluency with only fluency though of fluency though with fluency with a lack of — control of pulse and secure control of momentary insecurities with occasional some inconsistencies and basic control of pulse rhythm not established. pulse and rhythm. in control of pulse inconsistencies in stumbles in the control of and rhythm. Accuracy in notes very and rhythm. control of pulse pulse and rhythm. A very high degree Accuracy in notes limited with many errors and rhythm. of accuracy in notes. A high degree of A reasonable degree of sporadic, with errors of substance. accuracy in notes — A good degree of accuracy in notes despite becoming intrusive. 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 high degree. momentary insecurities. the most part. some inconsistencies. basic 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 stylistic A reasonable level of Stylistic understanding Stylistic understanding & stylistic understanding stylistic understanding understanding though stylistic understanding generally lacking with not apparent with little interpretation with keen attention to with most performance occasional performance though some performance limited realisation of or no realisation of performance details. details realised. details omitted. details omitted. performance details. performance details. Highly effective Effective communication Communication and Communication and Communication and Communication and communication and interpretation overall. interpretation mostly interpretation basically interpretation inconsistent. interpretation ineffective. and interpretation. effective. reliable though with some lapses.

36 Exam guidance: Marking

Examiners use the criteria below to decide on the mark:

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

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

37 Exam 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

Keyboard exercise, An excellent or very A good sense of fluency A generally reliable sense Limited or very limited Little or no sense of scales & chord knowledge, good sense of fluency and accuracy with of fluency and accuracy fluency and accuracy with fluency and accuracy scales & arpeggios 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.

Exercises, pedal study An excellent or very A good sense of fluency A generally reliable sense of Limited or very limited Little or no sense of 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.

38 Exam guidance: Marking

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

39 Exam 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 A lack of creativity and imagination in the response. the response. imagination in the response.

40 Exam guidance: Marking

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

41 Electronic Keyboard: Initial Electronic Keyboard: Initial

EXAM STRUCTURE PIECES Candidates play a balanced programme of three pieces, chosen from the lists below. An own composition may be played instead of one listed piece. See pages 16–18 for further guidance.

The Initial exam lasts 13 minutes and contains Core repertoire the following: The following pieces are in Trinity’s Electronic Keyboard Pieces & Technical Work Maximum 2019–2022: Initial. marks

PIECE 1 22 1. BRAHMS Lullaby (Wiegenlied)

2. CLARKE Rock to the Roll PIECE 2 22 Largo (from Symphony no. 9, 3. DVORˇÁK ‘From the New World’) PIECE 3 22 EASTBURN 4. Little Brown Jug WINNER

Voi, che sapete TECHNICAL WORK 14 5. MOZART (from The Marriage of Figaro)

◗◗ Either scales & chord knowledge Edelweiss 6. RODGERS or exercises (from The Sound of Music) Little Buttercup 7. SULLIVAN (from HMS Pinafore) SUPPORTING TESTS 20 8. TRAD. Michael Row the Boat* Any TWO of the following: 9. TRAD. The Skye Boat Song ◗◗ Sight reading ◗ Spring ◗ Aural 10. VIVALDI (from The Four Seasons) ◗◗ Improvisation

◗◗ Musical knowledge * Own interpretation piece

TOTAL 100

42 Electronic Keyboard: Initial

Alternative repertoire The following pieces are in the books listed. Electronic Keyboard: Initial

JENNINGS/ Keyed Up: The Red Book 11. Titanic Theme Alfred 20103UK HORNER (Elementary)

MERCURY Keyed Up: The Red Book 12. Bohemian Rhapsody Alfred 20103UK arr. LITTEN (Elementary)

The Electronic Keyboard 13. MOZART Don Giovanni Trinity TCL011336 Collection book 1

PARTON Keyed Up: The Red Book 14. Jolene Alfred 20103UK arr. LITTEN (Elementary)

Home on the Range, 15. TRAD. 34 Well-known Folk Songs Schott ED12663 no. 34 (basic version)

Keyed Up: The Red Book 16. TRAD. Over the Sea to Skye Alfred 20103UK (Elementary)

More Making the Grade: 17. TRAD. arr. FRITH Lavender Blue Chester CH61275 Preparatory Grade

More Making the Grade: 18. TRAD. arr. FRITH Ye Banks and Braes Chester CH61275 Preparatory Grade

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 listed piece. More information can be found on page 18. ◗◗ Use of different rhythmic values ◗◗ Clear melodic line Duration: ◗◗ Use of a voice change 0.5–1 minute(s) ◗◗ Use of keys stipulated for technical work at this grade

43 Electronic Keyboard: Initial

TECHNICAL WORK

Candidates prepare either section 1. or section 2. (see pages 19–20). All requirements are in Trinity’s Electronic Keyboard Pieces & Technical Work 2019–2022: Initial.

Either 1. SCALES & CHORD KNOWLEDGE (from memory) — Examiners select from the following:

◗◗ C major

◗◗ A minor (candidate choice of either harmonic or melodic or natural minor) hands separately one legato, min. ◗◗ C major pentatonic (5 notes) octave = 60 mf q ◗◗ A minor pentatonic (5 notes)

◗◗ Chromatic scale starting on D RH only or LH only ◗◗ Triad of C major and A minor (candidate choice) (root position)

Or 2. EXERCISES (music may be used) — Candidates prepare all three exercises. Candidates choose one exercise to play first. Examiners then select one of the remaining two exercises to be performed.

1. Bossa Boy keyboard functions exercise

2. Smooth Parade scalic exercise

3. Windfall pianistic exercise

44 Electronic Keyboard: Initial

SUPPORTING TESTS

Candidates choose two of the following: Improvisation Electronic Keyboard: Initial ◗◗ Sight reading Candidates perform an improvisation based on a stimulus chosen from the following ◗◗ Aural three options: ◗◗ Improvisation ◗◗ Stylistic ◗◗ Musical knowledge ◗◗ Motivic ◗ Sight reading ◗ Harmonic After 30 seconds’ preparation time, candidates See pages 24–31 for the requirements perform a previously unseen musical extract and parameters. at a level lower than the exam being taken. See page 22 for sight reading parameters. Musical knowledge Candidates answer questions assessing their Aural understanding of the pieces performed, as Candidates answer questions based on a single well as their knowledge of notation and the musical example played on the piano by the electronic keyboard. Questions are based on examiner. See page 24 for more information. candidates’ chosen pieces. See pages 32–33 for example questions and responses. The aural test requirements for Initial are below.

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing, Melody only three times stressing the strong beat Listen to the melody once Identify the dynamic as forte or piano 4 bars Identify the articulation as legato Major key Listen to the melody once or staccato

Listen to the first three 2 Identify the highest or lowest note notes of the melody once

45 Electronic Keyboard: Grade 1 Electronic Keyboard: Grade 1

The Grade 1 exam lasts 13 minutes and Core repertoire contains the following: The following pieces are in Trinity’s Electronic Keyboard Pieces & Technical Work Maximum 2019–2022: Grade 1. marks

Pastoral (theme from PIECE 1 22 1. BEETHOVEN Symphony no. 6)

PIECE 2 22 Land of Hope and Glory 2. ELGAR (Pomp and Circumstance March no. 1) PIECE 3 22 3. LOGGINS Footloose*

Unfinished Symphony (theme 4. SCHUBERT from Symphony no. 8) TECHNICAL WORK 14 5. SMITH Whirling Dervishes ◗◗ Keyboard exercise 6. TRAD. Cockles and Mussels ◗◗ Either scales & chord knowledge or exercises 7. TRAD. English Country Garden

8. TRAD. Shaker Tune SUPPORTING TESTS 20 9. TRAD. Star of County Down

Any TWO of the following: 10. TRAD. Wild Mountain Thyme ◗◗ Sight reading ◗◗ Aural * Own interpretation piece ◗◗ Improvisation ◗◗ Musical knowledge

TOTAL 100

46 Electronic Keyboard: Grade 1

Alternative repertoire The following pieces are in the books listed.

11. BULLARD Feeling Fine Piano Time Pieces book 2 OUP 9780193727878

FREEDMAN Rock Around Making the Grade: 12. Chester CH71995 Electronic Keyboard: Grade arr. FLETCHER the Clock Keyboard Grade 1

13. HOOK Gavotte Piano Time Pieces book 2 OUP 9780193727878

Summer Keyed Up: The Yellow Book 14. JACOBS/CASEY Alfred 20104UK Nights (Upper Elementary)

I Want to Keyed Up: The Yellow Book 15. LEIBER/STOLLER Alfred 20104UK Be Free (Upper Elementary)

The Complete Keyboard Player 16. STING Fields of Gold Wise AM963193 book 2 (revised edition)

TRAD. Keyed Up: The Yellow Book 17. Mango Walk Alfred 20104UK 1 arr. LITTEN (Upper Elementary)

THE VELVET There She The Complete Keyboard Player 18. Wise AM963193 UNDERGROUND Goes book 2 (revised edition)

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 listed piece. More information can be found on page 18. ◗◗ Dynamic contrast ◗◗ Simple syncopation or other rhythmic Duration: feature approx. 1 minute ◗◗ Use of fills ◗◗ Use of keys stipulated for technical work at this grade

47 Electronic Keyboard: Grade 1

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. (see pages 19–20). All requirements are in Trinity’s Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 1.

1. KEYBOARD EXERCISE (music may be used)

Candidates should play one of the following scales in the RH, accompanied by chords I and V in the LH, as illustrated in Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 1. ◗◗ G major or D harmonic minor (candidate choice)

Either 2. SCALES & CHORD KNOWLEDGE (from memory) — Examiners select from the following:

◗◗ G major

◗◗ D minor (candidate choice of either harmonic or melodic or natural minor)

◗ ◗ Dorian scale on G hands separately ◗◗ Dorian scale on D

◗◗ G major pentatonic (5 notes) one legato, min. octave = 70 mf q ◗◗ D minor pentatonic (5 notes)

RH only, straight or ◗◗ Blues scale on D swung (candidate choice)

◗◗ Chromatic scale in contrary motion hands together starting on D

◗◗ Chord progression of I-V-I in the RH only or LH only following keys: G major, D minor (candidate choice)

Or 3. EXERCISES (music may be used) — Candidates prepare all three exercises. Candidates choose one exercise to play first. Examiners then select one of the remaining two exercises to be performed.

1. Left Right, Left Right keyboard functions exercise

2. Morning Stretch scalic exercise

3. Dark Towers pianistic exercise

48 Electronic Keyboard: Grade 1

SUPPORTING TESTS

Candidates choose two of the following: Improvisation ◗◗ Sight reading Candidates perform an improvisation based on a stimulus chosen from the following ◗◗ Aural three options:

◗◗ Improvisation Electronic Keyboard: Grade ◗◗ Stylistic ◗◗ Musical knowledge ◗◗ Motivic ◗ Sight reading ◗ Harmonic After 30 seconds’ preparation time, candidates See pages 24–31 for the requirements perform a previously unseen musical extract and parameters. at a level lower than the exam being taken. See page 22 for sight reading parameters. Musical knowledge Candidates answer questions assessing their Aural understanding of the pieces performed, as Candidates answer questions based on a single well as their knowledge of notation and the musical example played on the piano by the electronic keyboard. Questions are based on examiner. See page 24 for more information. candidates’ chosen pieces. See pages 32–33 for example questions and responses. 1 The aural test requirements for Grade 1 are below.

Aural questions

Parameters Task Requirement

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

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

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

49 Electronic Keyboard: Grade 2 Electronic Keyboard: Grade 2

The Grade 2 exam lasts 15 minutes and Core repertoire contains the following: The following pieces are in Trinity’s Electronic Keyboard Pieces & Technical Work Maximum 2019–2022: Grade 2. marks

Arabesque in A minor, PIECE 1 22 1. BURGMÜLLER op. 100 no. 2

Summertime PIECE 2 22 2. GERSHWIN (from Porgy and Bess)

3. HANDEL Air (from Water Music)* PIECE 3 22 Sarabande (from Suite 4. HANDEL in D minor, HWV 437)

TECHNICAL WORK 14 5. LITTEN Homeward Path

◗◗ Keyboard exercise 6. MERRILL Mambo Italiano ◗◗ Either scales & chord knowledge Eine Kleine Nachtmusik, 7. MOZART or exercises K. 525

8. SHERMAN Chitty Chitty Bang Bang SUPPORTING TESTS 20 9. TRAD. Charlie Is My Darling

Any TWO of the following: 10. TRAD. Scotland the Brave ◗◗ Sight reading ◗◗ Aural * Own interpretation piece ◗◗ Improvisation ◗◗ Musical knowledge

TOTAL 100

50 Electronic Keyboard: Grade 2

Alternative repertoire The following pieces are in the books listed.

ANDERSSON/ The Winner Takes The Complete Keyboard 11. Wise AM963204 ULVAEUS It All Player book 3 (revised edition)

The Electronic Keyboard 12. BLAKE Walking in the Air Trinity TCL011343 Collection book 2

Memory The Electronic Keyboard 13. LLOYD WEBBER Trinity TCL011343 Electronic Keyboard: Grade (from Cats) Collection book 2

The Microjazz Collection 2 14. NORTON Get in Step Boosey M060122521 (Level 4)

Do-Re-Mi (from RODGERS arr. What Else Can I Play? 15. The Sound of Faber 0571530443 WILLIAMSON Piano Grade 2 Music)

Chim Chim The Complete Keyboard 16. SHERMAN Cher-ee (from Wise AM65962 Player: Film & TV Themes Mary Poppins)

The Electronic Keyboard 17. STRAUSS II You and You Trinity TCL011343 Collection book 2 2

18. VELAQUEZ Besame Mucho Latin–Festival Schott ED9909

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 listed piece. More information can be found on page 18. ◗◗ Use of different articulations ◗◗ Simple melodic ornamentation Duration: ◗◗ Use of dual voice 1–1.5 minute(s) ◗◗ Use of keys stipulated for technical work at this grade

51 Electronic Keyboard: Grade 2

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. (see pages 19–20). All requirements are in Trinity’s Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 2.

1. KEYBOARD EXERCISE (music may be used)

Candidates should play one of the following scales in the RH, accompanied by chords I, IV and V7 in the LH, as illustrated in Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 2. ◗◗ F major or E harmonic minor (candidate choice)

Either 2. SCALES & CHORD KNOWLEDGE (from memory) — Examiners select from the following:

◗◗ F major

◗◗ E minor (candidate choice of either harmonic or melodic or natural minor) hands together ◗◗ Mixolydian scale on F two octaves ◗◗ Dorian scale on E

RH only, straight or legato, min. = 80 ◗◗ Blues scale on E swung (candidate mf q choice)

◗◗ F major pentatonic hands separately ◗◗ E minor pentatonic one octave ◗◗ Chromatic scale in similar motion starting hands together on F

◗◗ Chord progression of I-IV-V7-I in the RH only or LH only following keys: F major, E minor (candidate choice)

Or 3. EXERCISES (music may be used) — Candidates prepare all three exercises. Candidates choose one exercise to play first. Examiners then select one of the remaining two exercises to be performed.

1. Country Waltz keyboard functions exercise

2. Circus scalic exercise

3. Game Over! pianistic exercise

52 Electronic Keyboard: Grade 2

SUPPORTING TESTS

Candidates choose two of the following: Improvisation ◗◗ Sight reading Candidates perform an improvisation based on a stimulus chosen from the following ◗◗ Aural three options: ◗◗ Improvisation ◗◗ Stylistic ◗◗ Musical knowledge ◗◗ Motivic ◗ Sight reading ◗ Harmonic Electronic Keyboard: Grade After 30 seconds’ preparation time, candidates See pages 24–31 for the requirements perform a previously unseen musical extract and parameters. at a level approximately two grades lower than the exam being taken. See page 22 for sight Musical knowledge reading parameters. Candidates answer questions assessing their understanding of the pieces performed, as Aural well as their knowledge of notation and the Candidates answer questions based on a single electronic keyboard. Questions are based on musical example played on the piano by the candidates’ chosen pieces. See pages 32–33 examiner. See page 24 for more information. for example questions and responses. The aural test requirements for Grade 2 are below. 2

Aural questions

Parameters Task Requirement

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

i) Describe the dynamics, which will vary Melody only during the melody Listen to the melody once 4 bars ii) Identify the articulation as legato or staccato Major or minor key Identify the last note as higher or lower Listen to the melody once than the first note 2 or 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

53 Electronic Keyboard: Grade 3 Electronic Keyboard: Grade 3

The Grade 3 exam lasts 15 minutes and Core repertoire contains the following: The following pieces are in Trinity’s Electronic Keyboard Pieces & Technical Work Maximum 2019–2022: Grade 3. marks

Arioso (from Cantata, PIECE 1 22 1. J S BACH BWV 156)

PIECE 2 22 2. CLARKE Mediterranean Breeze

3. FAULKNER Arkansas Traveller PIECE 3 22 Jupiter (from 4. HOLST The Planets)

Theme from New York, 5. KANDER TECHNICAL WORK 14 New York

◗◗ Keyboard exercise 6. MORODER The NeverEnding Story ◗◗ Either scales & chord knowledge Dance of the Little Swans 7. TCHAIKOVSKY or exercises (from Swan Lake)

8. TRAD. Farewell to Lochaber SUPPORTING TESTS 20 9. TRAD. The Irish Washerwoman

Any TWO of the following: 10. TRAD. The Sligo Maid* ◗◗ Sight reading ◗◗ Aural * Own interpretation piece ◗◗ Improvisation ◗◗ Musical knowledge

TOTAL 100

54 Electronic Keyboard: Grade 3

Alternative repertoire The following pieces are in the books listed.

AFANASIEFF/ The Complete Keyboard 11. Hero Wise AM952677 CAREY Player: Greatest Hits

LENNON/ The Complete Keyboard 12. Lady Madonna Wise AM952677 MCCARTNEY Player: Greatest Hits

LENNON/ The Complete Keyboard 13. When I’m Sixty-Four Wise AM91385 MCCARTNEY Player book 3

MENKEN The Complete Keyboard 14. A Whole New World Wise AM952677 arr. BAKER Player: Greatest Hits Electronic Keyboard: Grade

The Microjazz Collection 2 15. NORTON Fifth Dimension Boosey M060122521 (Level 4)

REID & A Whiter Shade The Complete Keyboard 16. BROOKER Wise AM952677 of Pale Player: Greatest Hits arr. BAKER

RODGERS arr. What Else Can I Play? 17. Getting to Know You Faber 0571530443 WILLIAMSON Piano Grade 2

WASHINGTON/ When You Wish The Complete Keyboard 18. Wise AM68552 HARLINE Upon a Star Player book 4 3

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 listed piece. More information can be found on page 18. ◗◗ Form showing clear sections, eg ‘ABA’ ◗◗ Melodic range of one octave or more Duration: ◗◗ Use of bass clef 1.5–2 minutes ◗◗ Use of keys stipulated for technical work at this grade

55 Electronic Keyboard: Grade 3

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. (see pages 19–20). All requirements are in Trinity’s Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 3.

1. KEYBOARD EXERCISE (music may be used)

Candidates should play one of the following scales in the RH, accompanied by chords I, IV, V7 and VI in the LH, as illustrated in Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 3. ◗◗ A major or G harmonic minor (candidate choice)

Either 2. SCALES & CHORD KNOWLEDGE (from memory) — Examiners select from the following:

◗◗ A major ◗◗ G minor (candidate choice of either harmonic or melodic or natural minor) ◗◗ Mixolydian scale on A hands together

◗◗ Dorian scale on G two legato, min. ◗ octaves = 90 ◗ Chromatic scale in similar motion mf q starting on G and A

◗◗ A major pentatonic hands separately, straight or swung (candidate choice) ◗◗ G minor pentatonic

RH only, straight or swung ◗◗ Blues scale on G (candidate choice) ◗◗ Chords in root position, first and 7 7 second inversions: E , D RH only or LH only ◗◗ Chord progression of I-VI-IV-V7-I in (candidate choice) the following keys: A major, G minor

Or 3. EXERCISES (music may be used) — Candidates prepare all three exercises. Candidates choose one exercise to play first. Examiners then select one of the remaining two exercises to be performed.

1. Highland Laddie keyboard functions exercise

2. Havana Moonlight scalic exercise

3. Midnight Valley pianistic exercise

56 Electronic Keyboard: Grade 3

SUPPORTING TESTS

Candidates choose two of the following: Improvisation ◗◗ Sight reading Candidates perform an improvisation based on a stimulus chosen from the following ◗◗ Aural three options: ◗◗ Improvisation ◗◗ Stylistic ◗◗ Musical knowledge ◗◗ Motivic ◗ Sight reading ◗ Harmonic After 30 seconds’ preparation time, candidates See pages 24–31 for the requirements perform a previously unseen musical extract and parameters. at a level approximately two grades lower than the exam being taken. See page 22 for sight Musical knowledge Electronic Keyboard: Grade reading parameters. Candidates answer questions assessing their understanding of the pieces performed, as Aural well as their knowledge of notation and the Candidates answer questions based on a single electronic keyboard. Questions are based on musical example played on the piano by the candidates’ chosen pieces. See pages 32–33 examiner. See page 24 for more information. for example questions and responses. The aural test requirements for Grade 3 are below.

Aural questions 3 Parameters Task Requirement

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

Listen to the melody once Identify the tonality as major or minor Melody only Listen to the first two notes Identify the interval by number only 4 bars of the melody once (second, third, fourth, fifth or sixth)

Major or minor key Study a copy of the melody (provided in treble, alto or or i) Identify in which bar the change 3 4 bass clef as appropriate), has occurred and listen to it once as written and once with a ii) Identify the change as rhythm or pitch change of rhythm or pitch

57 Electronic Keyboard: Grade 4 Electronic Keyboard: Grade 4

The Grade 4 exam lasts 20 minutes and Core repertoire contains the following: The following pieces are in Trinity’s Electronic Keyboard Pieces & Technical Work Maximum 2019–2022: Grade 4. marks

He’s a Pirate (from Pirates PIECE 1 22 BADELT/ 1. of the Caribbean: The ZIMMER Curse of the Black Pearl) PIECE 2 22 Allegro (theme from 2. BEETHOVEN Symphony no. 5, 4th movt) PIECE 3 22 Pathétique (theme from 3. BEETHOVEN Piano Sonata no. 8, 2nd movt)

TECHNICAL WORK 14 4. BRAHMS Hungarian Dance no. 5

◗◗ Keyboard exercise 5. JOPLIN Weeping Willow Rag ◗ ◗ Either scales & chord knowledge How Can I Keep from 6. LOWRY or exercises Singing?

You Can’t Stop the Beat 7. SHAIMAN (from Hairspray) SUPPORTING TESTS 20 8. SMITH High Wire Any TWO of the following: ◗◗ Sight reading 9. TRAD. Wade in the Water*

◗◗ Aural Ride of the Valkyries 10. WAGNER ◗◗ Improvisation (from Die Walküre) ◗◗ Musical knowledge * Own interpretation piece

TOTAL 100

58 Electronic Keyboard: Grade 4

Alternative repertoire The following pieces are in the books listed.

The Complete Keyboard Player: 11. ANDERSSON I Know Him so Well Wise AM952677 Greatest Hits

HAWKINS/ The Complete Keyboard Player: 12. JOHNSON/ Tuxedo Junction Wise AM65970 Jazz & Blues DASH/FEYNE

JOBIM/ 13. Desafinado Latin–Festival Schott ED9909 MENDOCA

14. MIER Fickle Fourths Jazz, Rags and Blues book 3 Alfred 16871

15. MIER What a Glorious Day! Jazz, Rags and Blues book 3 Alfred 16871

STANLEY The Complete Keyboard Player: Electronic Keyboard: Grade 16. The Bluebell Polka Wise AM965701 arr. BAKER Favourite Songs of Scotland

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 listed piece. More information can be found on page 18. ◗◗ Tempo changes ◗◗ Use of a variety of different articulations Duration: ◗◗ Use of stop/start rhythm 2–3 minutes ◗◗ Use of keys stipulated for technical work at this grade 4

59 Electronic Keyboard: Grade 4

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. (see pages 19–20). All requirements are in Trinity’s Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 4.

1. KEYBOARD EXERCISE (music may be used)

Candidates should play one of the following scales in the RH, accompanied by chords I, IV, V7 and VI in the LH, as illustrated in Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 4. ◗◗ Ab major, E major or C harmonic minor (candidate choice)

Either 2. SCALES & CHORD KNOWLEDGE (from memory) — Examiners select from the following:

◗◗ Ab and E majors

◗◗ C minor (candidate choice of either harmonic or melodic or natural minor)

◗◗ Lydian scale on Ab hands together ◗◗ Mixolydian scale on E ◗◗ Chromatic scale in similar motion two legato, min. octaves = 100 starting on Ab and E mf q

◗◗ Ab major pentatonic hands separately, straight or swung ◗◗ C minor pentatonic (candidate choice) RH only, straight or ◗◗ Blues scale on E swung (candidate choice) ◗◗ Chords in root position: Ab°, E°, Eb°7, B°7 ◗◗ Chords in root position, first, second and RH only or LH only third inversions: Eb7, B7 (candidate choice) ◗◗ Chord progression of I-VI-IV-V7-I in the following keys: Ab major, E major, C minor

Or 3. EXERCISES (music may be used) — Candidates prepare all three exercises. Candidates choose one exercise to play first. Examiners then select one of the remaining two exercises to be performed.

1. Marimba Baby keyboard functions exercise

2. Tango Turn scalic exercise

3. Happy Smiles pianistic exercise

60 Electronic Keyboard: Grade 4

SUPPORTING TESTS

Candidates answer questions based on a single electronic keyboard. Questions are based on Electronic Keyboard: Grade musical example played on the piano by the candidates’ chosen pieces. See pages 32–33 examiner. See page 24 for more information. for example questions and responses. The aural test requirements for Grade 4 are below.

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing, Listen to the piece twice stressing the strong beat 4 i) Identify the tonality as major or minor Listen to the piece twice ii) Identify the final cadence as perfect Harmonised or imperfect

4 bars Identify the interval as minor or major Listen to the first two notes second, minor or major third, perfect of the melody once Major or minor key fourth or fifth, minor or major sixth

4 or 6 Study a copy of the melody (provided in treble, alto or i) Identify the bar in which the change bass clef as appropriate), and of rhythm occurred listen to it once as written ii) Identify the bar in which the change and once with a change of of pitch occurred rhythm and a change of pitch

61 Electronic Keyboard: Grade 5 Electronic Keyboard: Grade 5

The Grade 5 exam lasts 20 minutes and Core repertoire contains the following: The following pieces are in Trinity’s Electronic Keyboard Pieces & Technical Work Maximum 2019–2022: Grade 5. marks

PIECE 1 22 1. DORHAM Blue Bossa*

The Arrival of the Queen of 2. HANDEL PIECE 2 22 Sheba (from Solomon)

Engagement Party 3. HURWITZ (from La La Land) PIECE 3 22 4. PROUDLER Twilight Tango

The Thieving Magpie 5. ROSSINI TECHNICAL WORK 14 (theme from the overture)

◗◗ Keyboard exercise 6. SOUSA The Washington Post ◗◗ Either scales & chord knowledge 7. STRAUSS II Voices of Spring or exercises 8. TRAD. Amazing Grace

SUPPORTING TESTS 20 9. TRAD. Deep River

10. TRAD. Hardiman the Fiddler Any TWO of the following: ◗◗ Sight reading * Own interpretation piece ◗◗ Aural ◗◗ Improvisation ◗◗ Musical knowledge

TOTAL 100

62 Electronic Keyboard: Grade 5

Alternative repertoire The following pieces are in the books listed.

The Complete Keyboard 11. ALBERT/GASTE Feelings Wise AM952677 Player: Greatest Hits

12. MIER Pine Cone Rag Jazz, Rags and Blues book 3 Alfred 16871

The Microjazz Collection 3 13. NORTON Mechanics Rag Boosey M060122538 (Level 5)

Waltz from TCHAIKOVSKY Electronic Keyboard 14. Serenade for Cramer 90550 arr. BOLTON Cocktails: Classics Strings

The Complete Keyboard Scottish Jig 15. TRAD. Player: Favourite Songs Wise AM965701 Medley of Scotland

The Complete Keyboard 16. WALLER Ain’t Misbehavin’ Wise AM68552 Player book 4 Electronic Keyboard: Grade

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 listed piece. More information can be found on page 18. ◗◗ Chromaticism ◗◗ Use of semiquaver passages Duration: ◗◗ Use of a tempo change 2–3 minutes ◗◗ Use of keys stipulated for technical work at this grade

63 Electronic Keyboard: Grade 5

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. (see pages 19–20). All requirements are in Trinity’s Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 5.

1. KEYBOARD EXERCISE (music may be used)

Candidates should play one of the following scales in the RH, accompanied by chords I, II, IV, V and VI in the LH, as illustrated in Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 5. ◗◗ Bb major, B major or B harmonic minor (candidate choice)

Either 2. SCALES & CHORD KNOWLEDGE (from memory) — Examiners select from the following:

◗◗ Bb and B majors

◗◗ B minor (candidate choice of either harmonic or melodic or natural minor) hands together ◗◗ Mixolydian scales on Bb and B

◗◗ Chromatic scale in similar motion starting on any black note (examiner choice) two legato, min. octaves = 110 mf q ◗◗ Bb major pentatonic hands separately, straight or swung ◗◗ B minor pentatonic (examiner choice)

RH only, straight or ◗◗ Blues scale on B swung (examiner choice)

◗◗ Chords in root position: Bb°7, B°7 RH only or LH only or ◗◗ Chords in root position, first, second and bass note in LH and third inversions: Bb7, B7, Bbm7, Bm7 remaining notes in RH ◗◗ Chord progression of I-VI-IV-II-V7-I in the (candidate choice) following keys: Bb major, B major, B minor

Or 3. EXERCISES (music may be used) — Candidates prepare all three exercises. Candidates choose one exercise to play first. Examiners then select one of the remaining two exercises to be performed.

1. Gym Workout keyboard functions exercise

2. Open Country scalic exercise

3. Baroque Swing pianistic exercise

64 Electronic Keyboard: Grade 5

SUPPORTING TESTS

Candidates choose two of the following: Improvisation ◗◗ Sight reading Candidates perform an improvisation based on a stimulus chosen from the following ◗◗ Aural three options: ◗◗ Improvisation ◗◗ Stylistic ◗◗ Musical knowledge ◗◗ Motivic ◗ Sight reading ◗ Harmonic After 30 seconds’ preparation time, candidates See pages 24–31 for the requirements perform a previously unseen musical extract and parameters. at a level approximately two grades lower than the exam being taken. See page 22 for sight Musical knowledge reading parameters. Candidates answer questions assessing their understanding of the pieces performed, as Aural well as their knowledge of notation and the Candidates answer questions based on a single electronic keyboard. Questions are based on musical example played on the piano by the candidates’ chosen pieces. See pages 32–33 examiner. See page 24 for more information. for example questions and responses. The aural test requirements for Grade 5 are below. Electronic Keyboard: Grade

Aural questions

Parameters Task Requirement

i) Clap the pulse on the second playing, Listen to the piece twice stressing the strong beat ii) Identify the time signature

i) Identify the changing tonality Harmonised Listen to the piece twice ii) Identify the final cadence as perfect, plagal, imperfect or interrupted 5 8 bars Identify the interval as minor or major Major or Listen to two notes from the second, minor or major third, perfect minor key melody line played consecutively fourth or fifth, minor or major sixth, minor or major seventh or octave 2, 3, 4 or 6 Study a copy of the piece, and i) Identify the bar in which the change listen to it once as written and of rhythm occurred once with a change of rhythm and a change of pitch (both ii) Identify the bar in which the change changes in the melody line) of pitch occurred

65 Electronic Keyboard: Grade 6 Electronic Keyboard: Grade 6

EXAM STRUCTURE PIECES Candidates play a balanced programme of three pieces, chosen from the list below. Instead of one listed piece, candidates can play an own composition, an own choice piece or an own arrangement. See pages 16–18 for further guidance. The Grade 6 exam lasts 25 minutes and The following pieces are in Trinity’s contains the following: Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 6. Maximum marks Jesu, Joy of Man’s 1. J S BACH Desiring (from Cantata, PIECE 1 22 BWV 147)

Romanze (from Piano PIECE 2 22 2. CHOPIN Concerto no. 1, op. 11)

PIECE 3 22 3. DOWLAND Flow, My Tears

4. JOBIM Girl from Ipanema

TECHNICAL WORK 14 5. MORTON King Porter Stomp

◗◗ Keyboard exercise 6. PROUDLER Samba Nights ◗◗ Either scales & chord knowledge 7. TRAD. Celtic Medley* or exercises WHITE/MCKAY/ 8. WILLIS (EARTH, September SUPPORTING TEST 1 10 WIND & FIRE)

◗◗ Sight reading * Own interpretation piece

SUPPORTING TEST 2 10

ONE of the following: ◗◗ Aural ◗◗ Improvisation

TOTAL 100

66 Electronic Keyboard: Grade 6

Own composition Own compositions must be comparable in Candidates may perform an own composition technical and musical demand to the pieces instead of one listed piece. More information listed for this grade. Suitable features include: can be found on page 18. ◗◗ More advanced use of form, eg theme and variations Duration: ◗◗ Extensive range 3–4 minutes ◗◗ More advanced melodic ornamentation ◗◗ Use of any key/mode

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. (see pages 19–20). All requirements are in Trinity’s Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 6.

1. KEYBOARD EXERCISE (from memory)

Candidates should choose one of the scale & arpeggio combinations (marked ) in section 2. below using one of the tonal/modal centres of F, D or Db/C# (candidate choice).

Either 2. SCALES & CHORD KNOWLEDGE (from memory) — Examiners select from the following:

Using the tonal/modal centres of F, D and Db/C# Electronic Keyboard: Grade * Major scale followed by major 7th arpeggio Dorian scale followed by minor * scale hands together, 7th arpeggio arpeggio in RH only * Mixolydian scale followed by major arpeggio with a lowered 7th (F7, D7, Db7) (NB: candidates will not be asked again for whichever scale & arpeggio combination they selected for section 1.) two legato, min. octaves = 120 mf q ◗◗ Major pentatonic scale on F, D and Db hands separately, straight or swung ◗◗ Minor pentatonic scale on F, D and C# (examiner choice) 6 ◗◗ Chromatic scale in similar motion starting on any white note hands together (examiner choice)

RH only, straight or ◗◗ Blues scale on F, D and C# swung (examiner choice)

67 Electronic Keyboard: Grade 6

Chords in root position: ◗◗ F6, D6, Db6, Fm6, Dm6, Dbm6 bass note in LH and ◗◗ F7, D7, Db7, C7, A7, Ab7 remaining notes in RH ◗◗ F 7, D 7, Db 7, Fm7, Dm7, Dbm7 ◗◗ F°7, D°7, Db°7

Or 3. EXERCISES (music may be used) — Candidates prepare three of the following four exercises. Candidates choose one exercise to play first. Examiners then select one of the remaining two prepared exercises to be performed.

1. Eastern Song keyboard functions exercise

2. Beguine scalic exercise

3. Latin Escapade pianistic exercise

4. Fishes’ Lament sequencing exercise

68 Electronic Keyboard: Grade 6

SUPPORTING TESTS

Candidates prepare: Improvisation ◗◗ Sight reading Candidates perform an improvisation based on a stimulus chosen from the following ◗◗ Aural or improvisation three options: ◗ Sight reading ◗ Stylistic ◗ After 30 seconds’ preparation time, candidates ◗ Motivic perform a previously unseen musical extract ◗◗ Harmonic at a level approximately two grades lower than See pages 24–31 for the requirements the exam being taken. See page 22 for sight and parameters. reading parameters.

Aural Candidates answer questions based on a single musical example played on the piano by the examiner. See page 24 for more information. The aural test requirements for Grade 6 are below.

Aural questions

Parameters Task Requirement Electronic Keyboard: Grade

i) Identify the time signature Listen to the piece twice ii) Comment on the dynamics iii) Comment on the articulation

Identify and comment on two other Listen to the piece twice Harmonised characteristics of the piece

8 bars Identify the key to which the music modulates as subdominant, dominant Major key Listen to the first four bars or relative minor of the piece once Answers may alternatively be given as 2, 3, 4 or 6 key names

Study a copy of the piece, 6 and listen to it twice with Locate and describe the changes two changes to the as pitch or rhythm melody line

69 Electronic Keyboard: Grade 7 Electronic Keyboard: Grade 7

EXAM STRUCTURE PIECES Candidates play a balanced programme of three pieces, chosen from the list below. Instead of one listed piece, candidates can play an own composition, an own choice piece or an own arrangement. See pages 16–18 for further guidance. The Grade 7 exam lasts 25 minutes and The following pieces are in Trinity’s contains the following: Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 7. Maximum marks Toccata and Fugue in 1. J S BACH D minor, BWV 565 PIECE 1 22 2. CROW & FROOM Tomorrow Never Dies* PIECE 2 22 The Poet Acts 3. GLASS (from The Hours) PIECE 3 22 4. LITTEN Enchantment

Wedding March MENDELSSOHN- TECHNICAL WORK 14 5. (from A Midsummer BARTHOLDY Night’s Dream) ◗◗ Keyboard exercise Violin Concerto in G, ◗◗ Either scales & chord knowledge 6. MOZART K. 216 (1st movt) or exercises 7. PARRY Jerusalem SUPPORTING TEST 1 10 8. TRAD. The Contradiction Reel

◗◗ Sight reading * Own interpretation piece

SUPPORTING TEST 2 10

ONE of the following: ◗◗ Aural ◗◗ Improvisation

TOTAL 100

70 Electronic Keyboard: Grade 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 listed piece. More information can be found on page 18. ◗◗ Modulation ◗◗ Use of irregular time signatures Duration: ◗◗ Use of any key/mode 3–4 minutes

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. (see pages 19–20). All requirements are in Trinity’s Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 7.

1. KEYBOARD EXERCISE (from memory)

Candidates should choose one of the scale & arpeggio combinations (marked ) in section 2. below using one of the tonal/modal centres of Ab/G#, B or C (candidate choice).

Either 2. SCALES & CHORD KNOWLEDGE (from memory) — Examiners select from the following:

Using the tonal/modal centres of Ab/G#, B and C: * Major scale followed by major 7th arpeggio * Dorian scale followed by minor

7th arpeggio scale hands together, Electronic Keyboard: Grade * Mixolydian scale followed by major arpeggio in RH only arpeggio with a lowered 7th (Ab7, B7, C7) (NB: candidates will not be asked again for whichever scale & arpeggio combination two legato, min. they selected for section 1.) octaves = 130 mf q ◗◗ Major pentatonic scale on Ab, B and C hands separately, straight or swung ◗◗ Minor pentatonic scale on G#, B and C (examiner choice)

◗◗ Chromatic scale in similar motion hands together starting on any note (examiner choice)

RH only, straight or 7 ◗◗ Blues scale on Ab, B and C swung (examiner choice)

71 Electronic Keyboard: Grade 7

Chords in root position: ◗◗ Ab6, B6, C6, Abm6, Bm6, Cm6 ◗◗ Ab°7, B°7, C°7 ◗◗ Ab+, B+, C+ bass note in LH and remaining notes in RH Chords in root position and all inversions: ◗◗ Ab7, B7, C7, Eb7, F#7, G7 ◗◗ Ab 7, B 7, C 7, G#m7, Bm7, Cm7

1. A Little Blue keyboard functions exercise

2. Disco Kaleidoscope scalic exercise

3. Raspberry Jam pianistic exercise

4. Spanish Melody sequencing exercise

72 Electronic Keyboard: Grade 7

SUPPORTING TESTS

Candidates prepare: Improvisation ◗◗ Sight reading Candidates perform an improvisation based on a stimulus chosen from the following ◗◗ Aural or improvisation three options:

Sight reading ◗◗ Stylistic After 30 seconds’ preparation time, candidates ◗◗ Motivic perform a previously unseen musical extract ◗◗ Harmonic at a level approximately two grades lower than the exam being taken. See page 22 for sight See pages 24–31 for the requirements and reading parameters. parameters.

Aural Candidates answer questions based on a single musical example played on the piano by the examiner. See page 24 for more information. The aural test requirements for Grade 7 are below.

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 Electronic Keyboard: Grade

Identify and comment on two other Harmonised Listen to the piece twice characteristics of the piece 8 bars Identify the key to which the music modulates as subdominant, dominant Major or minor key Listen to the first four bars or relative key of the piece once 2, 3, 4 or 6 Answers may alternatively be given as key names

Study a copy of the piece, Locate and describe the changes and listen to it twice with as pitch (melody line only) or rhythm three changes 7

73 Electronic Keyboard: Grade 8 Electronic Keyboard: Grade 8

EXAM STRUCTURE PIECES Candidates play a balanced programme of three pieces, chosen from the list below. Instead of one listed piece, candidates can play an own composition, an own choice piece or an own arrangement. See pages 16–18 for further guidance. The Grade 8 exam lasts 30 minutes and The following pieces are in Trinity’s contains the following: Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 8. Maximum marks Minute Waltz (Waltz in 1. CHOPIN Db major, op. 64 no. 1) PIECE 1 22 2. GILLESPIE A Night in Tunisia PIECE 2 22 3. GRAINGER In Dahomey

Friska (from Hungarian PIECE 3 22 4. LISZT Rhapsody no. 2)

Caprice no. 24 in TECHNICAL WORK 14 5. PAGANINI A minor (from 24 Caprices for Solo Violin)* ◗◗ Keyboard exercise 6. THISELTON Spring Dance ◗◗ Either scales & chord knowledge or exercises 7. WHELAN Riverdance

Toccata (from SUPPORTING TEST 1 10 8. WIDOR Symphony for Organ no. 5, op. 42 no. 1) ◗◗ Sight reading * Own interpretation piece SUPPORTING TEST 2 10

ONE of the following: ◗◗ Aural ◗◗ Improvisation

TOTAL 100

74 Electronic Keyboard: Grade 8

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 listed piece. More information can be found on page 18. ◗◗ 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/mode

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. (see pages 19–20). All requirements are in Trinity’s Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 8.

1. KEYBOARD EXERCISE (from memory)

Candidates should choose one of the scale & arpeggio combinations (marked ) in section 2. below using one of the tonal/modal centres of F#, Eb or A (candidate choice).

Either 2. SCALES & CHORD KNOWLEDGE (from memory) — Examiners select from the following:

Using the tonal/modal centres of F#, Eb and A: * Major scale followed by major 7th arpeggio Dorian scale followed by minor * scale hands together, 7th arpeggio arpeggio in RH only * Mixolydian scale followed by major arpeggio with a lowered 7th (F#7, Eb7, A7) (NB: candidates will not be asked again for whichever scale & arpeggio combination Electronic Keyboard: Grade two legato, min. they selected for section 1.) octaves = 140 mf q ◗◗ Major pentatonic scale on F#, Eb and A hands separately, straight or swung ◗◗ Minor pentatonic scale on F#, Eb and A (examiner choice)

◗◗ Chromatic scale in similar motion hands together starting on any note (examiner choice)

RH only, straight or ◗◗ Blues scale on F#, Eb and A swung (examiner choice) 8

75 Electronic Keyboard: Grade 8

Chords in root position: ◗◗ F#6, Eb6, A6, F#m6, Ebm6, Am6 ◗◗ F#°7, Eb°7, A°7 ◗◗ F#9, E 9, A9 b bass note in LH and + + + ◗◗ F# , Eb , A remaining notes in RH Chords in root position and all inversions: ◗◗ F#7, Eb7, A7, Db7, Bb7, E7 ◗◗ F# 7, Eb 7, A 7, F#m7, Ebm7, Am7

1. Big Band Bend keyboard functions exercise

2. Falling Leaves scalic exercise

3. Ballroom Elegance pianistic exercise

4. Circles sequencing exercise

76 Electronic Keyboard: Grade 8

SUPPORTING TESTS

Aural Candidates answer questions based on a single musical example played on the piano by the examiner. See page 24 for more information. The aural test requirements for Grade 8 are below.

Aural questions

Parameters Task Requirement

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

77 Organ: Grades 1–5 Organ: Grades 1–5

EXAM DURATION EXAM STRUCTURE The Grade 1 exam The Grade 2 exam The Grade 1–5 exams contain the following: lasts 13 minutes lasts 15 minutes Maximum marks

PIECE 1 22

PIECE 2 22 The Grade 3 exam The Grade 4 exam lasts 15 minutes lasts 20 minutes PIECE 3 22

TECHNICAL WORK* 14

The Grade 5 exam ◗◗ Scales & arpeggios lasts 20 minutes

SUPPORTING TESTS 20

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

TOTAL 100

78 * Organ technical work at Grade 1 is scales only. Organ: Grade 1 Organ: Grade 1

PIECES Candidates play a balanced programme of three pieces, containing at least one piece from each group. An own composition may be played instead of one listed piece. See pages 16–18 for further guidance.

Composer Piece Book Publisher

Group A

Organ Music for Manuals OUP Organ: Grade 1. ALCOCK Trumpet Piece book 4 9780193758513

Organ Works book 18: Ich hab’ mein’ Sach’ Gott Novello 2. J S BACH Miscellaneous Chorale heimgestellt, BWV 708 NOV010013 Preludes Part I

Music for Memorial and Novello 3. BEETHOVEN No. 1 from Two Equali Thanksgiving Services NOV262778 1

A Graded Anthology for 4. BÖHM Minuet in G major Cramer 90583 Organ book 2

Organ Music for Manuals OUP 5. BOYVIN Duo du troisième ton book 3 9780193758506

6. DANDRIEU Chantons je vous prie, p7 Noëls Kalmus K03366

Magnificat: Primi Toni Organ Music for Manuals OUP 7. FRESCOBALDI (from 3 Versi) book 1 9780193758339

Moderato (no. 2 from Organ Music for Manuals OUP 8. GEBHARDI Four Short Preludes) book 1 9780193758339

Slow movement from Organ Music for Manuals OUP 9. HERON Cornet Voluntary book 4 9780193758513

Easy Organ Pieces from Bärenreiter 10. LITZAU Praeludium in C minor the 19th Century vol. 3 BA8420

Minuet in F major (from A Graded Anthology for 11. MOZART Cramer 90583 The London Notebook) Organ book 2

Organ Music for Manuals OUP 12. PACHELBEL Fuga book 3 9780193758506

Chorale Prelude: O Lamm Organ Music for Manuals OUP 13. TELEMANN Gottes unschuldig book 3 9780193758506

79 Organ: Grade 1

Composer Piece Book Publisher

Group B

1. ALAIN De Jules Lemaître Four Pieces for Organ Universal UE17163

Music for Memorial and Novello 2. FRANCK Prière Thanksgiving Services NOV262778

Getting Started on the 3. HEPBURN O When the Saints Animus Organ

Vi hører fugler sjunge 4. HESFORD (3rd movt from Partita for Miniatures vol. 1 Fentone F607 Anna Magdalena, op. 137)

5. HOWELLS Eighteen Miniatures for Organ Mayhew 3611053

Easy Organ Pieces from Bärenreiter 6. KÖRNER Moderato in B minor the 19th Century vol. 1 BA8416

Offertorium (Missa 7. LISZT Music for Manuals vol. 3 Fentone F463 pro Organo)

Andante (no. 3 from Organ Music for Manuals OUP 8. LITZAU 3 Short Preludes) book 5 9780193758520

Miniature, op. 55 (from A Graded Anthology for 9. PEETERS Cramer 90583 35 Miniature per Organo) Organ book 2

10. RATHGEBER Christmas Pastorella no. 5 10 Christmas Pastorales Peters EP8087

Immaculata Conceptio B. Petites fleurs musicales, 11. TOURNEMIRE Universal UE17465 Mariae Virginis no. 3 op. 66

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 listed piece. More information can be found on page 18. ◗◗ Dynamic contrast ◗◗ Simple syncopation or other rhythmic Duration: feature approx. 1 minute ◗◗ Use of keys stipulated for technical work at this grade

80 Organ: Grade 1

TECHNICAL WORK Candidates prepare the following (see page 20).

SCALES (played on manuals, from memory) — Examiners select from the following:

◗◗ G, D, A and E major hands together ◗◗ E, D, G and C harmonic minor one min. legato, octave = 72 q mf ◗◗ Chromatic scale starting on G hands separately

SUPPORTING TESTS Candidates choose two of the following: Improvisation Organ: Grade ◗◗ Sight reading Candidates perform an improvisation based ◗◗ Aural on a stimulus chosen from the following three options: ◗◗ Improvisation ◗◗ Stylistic ◗◗ Musical knowledge ◗◗ Motivic Sight reading ◗◗ Harmonic After 30 seconds’ preparation time, candidates See pages 24–31 for the requirements 1 perform a previously unseen musical extract and parameters. at a level lower than the exam being taken. See page 23 for sight reading parameters. Musical knowledge Candidates answer questions assessing their Aural understanding of the pieces performed, as well Candidates answer questions based on a single as their knowledge of notation and the organ. musical example played on the piano by the Questions are based on candidates’ chosen examiner. See page 24 for more information. pieces. See pages 32–33 for example questions The aural test requirements for Grade 1 and responses. are below.

Aural questions

Parameters Task Requirement

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

Melody only i) Identify the dynamic as forte or piano Listen to the melody once ii) Identify the articulation as legato 4 bars or staccato Major key Listen to the first two bars Identify the last note as higher or lower of the melody once than the first note or 2 3 Listen to the melody twice, with a change of rhythm or Identify where the change occurs pitch in the second playing

81 Organ: Grade 2 Organ: Grade 2

Composer Piece Book Publisher

Group A

Gottes Sohn ist 1. J S BACH kommen (Fughetta), Organ Works vol. 3 Bärenreiter BA5173 BWV 703 Herr Jesu Christ 2. J S BACH 23 Chorale Preludes Bayley & Ferguson meines Lebens Licht

Prelude in G minor, Organ Works book 1: Eight 3. J S BACH Novello NOV010018 BWV 558 Short Preludes and Fugues

Messe du jour de noël 4. BOËLY Incognita Organo vol. 16 Harmonia HU3315 (4ème Kyrie)

Organ Music for Manuals OUP 5. BOYVIN Basse de trompette book 3 9780193758506

6. DANDRIEU Puer nobis nascitur Noëls Kalmus K03366

Andante (only) from Early Organ Music for 7. GREENE Novello NOV010184 Voluntary XIII Manuals book 2

Minuet in C major, Pieces for a Musical Clock, 8. HAYDN Bärenreiter EN802 no. 5 Hob. XIX: 1–32

Adagio in C for Glass 9. MOZART Works for Organ Bärenreiter BA8403 Harmonica, KV 356

A Graded Anthology for 10. PACHELBEL Fugue in C Cramer 90583 Organ book 2

Christmas Pastorella 11. RATHGEBER 10 Christmas Pastorales Peters EP8087 no. 1

Organ Music for Manuals OUP 12. TRAVERS Trumpet Voluntary book 3 9780193758506

82 Organ: Grade 2

Composer Piece Book Publisher

Group B

1. ALAIN Monodie L’oeuvre d’orgue vol. 3 Leduc AL20184

Easy Graded Organ 2. BOËLLMANN Basso Ostinato OUP 9780193758223 Music book 1

Music for Manuals 3. BOËLLMANN Verset Fentone F367 vol. 2

An Easy Album: Six 4. COLEMAN Prelude OUP 9780193751255 Pieces for Organ

2nd movt from Kleine 5. EBEN Choralpartita über ‘O Jesu, Universal UE17162 all mein Leben bist Du’ Organ: Grade Music for Manuals 6. FRANCK À la venue de Noël Fentone F367 vol. 2

Missa Ungarica 7. HESFORD Gradual Cramer 90124 pro Organo

8. LANGLAIS Printemps (theme only) Mosaïque vol. 3 Combre CO4639 2 Choral and 1st Variation 10 Organ Chorales, 9. PEETERS from Herr Jesus hat ein Schott ED2553 op. 39 Gärtchen

Es ist gewißlich an der Zeit, Music for Manuals 10. REGER Fentone F367 op. 135a no. 8 vol. 2

Chorale Prelude: Zu A Graded Anthology 11. WALCHA Cramer 90583 Bethlehem Geboren for Organ book 2

83 Organ: Grade 2

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 listed piece. More information can be found on page 18. ◗◗ Use of different articulations ◗◗ Simple melodic ornamentation Duration: ◗◗ Use of keys stipulated for technical work 1–1.5 minute(s) at this grade

TECHNICAL WORK

Candidates prepare the following (see page 20).

SCALES & ARPEGGIOS (played on manuals, from memory) — Examiners select from the following:

Scales: ◗◗ B and F major two ◗◗ F harmonic minor octaves ◗◗ C and E major in contrary motion min. hands together ◗ = 72 ◗ Chromatic scale starting on D q legato, ◗◗ Chromatic scale starting on D one mf in contrary motion octave

Arpeggios: two min. ◗◗ C, F and G major hands separately octaves = 60 ◗◗ A, D and E minor q

84 Organ: Grade 2

SUPPORTING TESTS

Aural understanding of the pieces performed, as well Organ: Grade Candidates answer questions based on a single as their knowledge of notation and the organ. musical example played on the piano by the Questions are based on candidates’ chosen examiner. See page 24 for more information. pieces. See pages 32–33 for example questions and responses. The aural test requirements for Grade 2 are below. 2

Aural questions

Parameters Task Requirement

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

85 Organ: Grade 3 Organ: Grade 3

Composer Piece Book Publisher

Group A

No. 1 from Two Early Early Organ Series 1. ANON. Faber 0571507719 Sixteenth Century Pieces vol. 1: England 1510–1590 Da Jesus an dem Kreuze 2. J S BACH Organ Works vol. 1 Bärenreiter BA5171 stund, BWV 621

3. BYRD Veni creator spiritus 1 8 Organ Pieces Hinrichsen H1543A

Allegro ma non troppo in Pieces for a Musical 4. HAYDN Bärenreiter EN802 C major, no. 23 Clock, Hob. XIX: 1–32

Pastorella: Der Herr ist The Progressive 5. MARPURG Novello NOV262483 mein getreuer Hirt Organist book 1

2nd movt from Voluntary Ten Organ Voluntaries, 6. STANLEY Peters EP7723 no. 5 in D minor op. 6

VAN Psalm 38 from the Organ Music for OUP 7. NOORDT Tablature Book (1659) Manuals book 3 9780193758506

Herr Jesu Christ, dich zu Organ Music for 8. WALTHER OUP 9780193758339 uns Wend (with repeats) Manuals book 1

86 Organ: Grade 3

Composer Piece Book Publisher

Group B

1. ALAIN Ballade en mode phrygien L’oeuvre d’orgue vol. 3 Leduc AL20184

Plainte (no. 1 from Organ Music for OUP 2. BOËLLMANN Four Pieces) Manuals book 1 9780193758339

Organ Music for OUP 3. BOËLLMANN Postlude Manuals book 3 9780193758506

A Graded Anthology 4. FRANCK Vieux Noël Cramer 90584 for Organ book 3

Organ Music for OUP 5. GUILMANT Communion Manuals book 5 9780193758520

Pastoral Song A Graded Anthology 6. LANGLAIS Cramer 90584 (from Organ Book) for Organ book 3

Prelude (from Three A Graded Anthology 7. MOORE Cramer 90584 Pieces for Withycombe) for Organ book 3 Organ: Grade

Canon at the Octave (from Music for a Quiet 8. PINKHAM Be Thou My Vision: Partita Presser 493-00086 Sunday on ‘Slane’)

9. RIDOUT Father Canticle of the Rose Mayhew 1405553 3 10. TOURNEMIRE Offertoire Miniatures vol. 2 Fentone F642

Herzliebster Jesu, was A Graded Anthology 11. WALCHA Cramer 90584 hast du verbrochen for Organ book 3

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 listed piece. More information can be found on page 18. ◗◗ Form showing clear sections, eg ‘ABA’ ◗◗ Melodic range of one octave or more Duration: ◗◗ Use of keys stipulated for technical work 1.5–2 minutes at this grade

87 Organ: Grade 3

TECHNICAL WORK

Candidates prepare the following (see page 20).

SCALES & ARPEGGIOS (from memory) — Examiners select from the following:

Manual Scales: ◗◗ Bb, Eb, Ab and Db major two octaves ◗◗ C# and G# harmonic minor min. ◗◗ Chromatic scale starting on Ab = 84 q legato, ◗◗ Eb major in contrary motion hands together, ◗◗ Chromatic scale starting on Ab in one octave mf contrary motion

Arpeggios: ◗◗ D, A and E major two octaves ◗◗ G, C and F minor min. Pedal = 72 q Scales: one octave mf ◗◗ F and G major in broken 3rds ◗◗ A and G melodic minor in broken 3rds

88 Organ: Grade 3

SUPPORTING TESTS

Candidates choose two of the following: Improvisation ◗◗ Sight reading Candidates perform an improvisation based on a stimulus chosen from the following ◗◗ Aural three options: ◗◗ Improvisation ◗◗ Stylistic ◗◗ Musical knowledge ◗◗ Motivic ◗ Sight reading ◗ Harmonic After 30 seconds’ preparation time, candidates See pages 24–31 for the requirements perform a previously unseen musical extract and parameters. at a level approximately two grades lower than the exam being taken. See page 23 for sight Musical knowledge reading parameters. Candidates answer questions assessing their understanding of the pieces performed, as well Aural as their knowledge of notation and the organ. Candidates answer questions based on a single Questions are based on candidates’ chosen musical example played on the piano by the pieces. See pages 32–33 for example questions and responses. examiner. See page 24 for more information. Organ: Grade The aural test requirements for Grade 3 are below.

Aural questions 3 Parameters Task Requirement

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

89 Organ: Grade 4 Organ: Grade 4

Composer Piece Book Publisher

Group A

A Graded Anthology for Cramer 1. ALBRECHTSBERGER Prelude Organ book 4 90585 Christe, du Lamm Bärenreiter 2. J S BACH Organ Works vol. 1 Gottes, BWV 619 BA5171

Der Tag, der ist so Bärenreiter 3. J S BACH Organ Works vol. 1 freudenreich, BWV 605 BA5171

Organ Works book 1: Prelude and Fugue in Novello 4. J S BACH Eight Short Preludes G major, BWV 557 NOV010018 and Fugues

A Graded Anthology Cramer 5. BÖHM Prelude in A minor for Organ book 4 90585

Nun Komm der The Progressive Organist Novello 6. BUXTEHUDE Heiden Heiland book 2 NOV262533

Kalmus 7. FROBERGER Toccata in D minor no. 2 Various Works for Organ K03455

Early Organ Series vol. 13: Faber 8. KOTTER Präeludium in Fa Germany & Austria 0571507832 1512–1577

Da Jesus an dem Schola 9. PACHELBEL Pâques Kreuze stund, BWV 621 Cantorum OL1

90 Organ: Grade 4

Composer Piece Book Publisher

Group B

No. 1 from Deux danses 1. ALAIN L’oeuvre d’orgue vol. 2 Leduc AL20102 à Agni Yavishta

2. BOËLLMANN Entrée Miniatures vol. 2 Fentone F642

Chorale-paraphrase on Twelve Choral Preludes on 3. DEMESSIEUX Alfred 0603 ‘Tu es petrus’ Gregorian Chant Themes

Le tombeau de Titelouze, 4. DUPRÉ Audi, benigne Conditor Leduc AL27836 op. 38

5. ELGAR Andantino, op. 14 no. 3 Miniatures vol. 2 Fentone F642

6. ELGAR Vesper Voluntary no. 5 Vesper Voluntaries, op. 14 Faber 0571508626

7. IRELAND The Holy Boy Boosey M060832123

Freu dich sehr, o meine Chorale-Improvisations, 8. KARG-ELERT Breitkopf EB8261 Seele, no. 5 op. 65 book 1 Organ: Grade

9. MACMILLAN White Note Paraphrase Boosey M060113925

Jesus Meets His The Fourteen Stations 10. RIDOUT Mayhew 1400014 Blessed Mother of the Cross

Jesus Speaks to the The Fourteen Stations 11. RIDOUT Mayhew 1400014 Women of Jerusalem of the Cross 4

24 Pièces en style libre 12. VIERNE Arabesque Durand DF00897300 vol. 2

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 listed piece. More information can be found on page 18. ◗◗ Tempo changes ◗◗ Use of a variety of different articulations Duration: ◗◗ Use of keys stipulated for technical work 2–3 minutes at this grade

91 Organ: Grade 4

TECHNICAL WORK

Candidates prepare the following (see page 20).

SCALES & ARPEGGIOS (from memory) — Examiners select from the following:

Manual Scales: ◗◗ F# major two octaves ◗◗ Bb and Eb harmonic minor ◗◗ Chromatic scales starting on A, C, D, F min. = 96 and G q legato, hands together, ◗◗ Chromatic scale starting on A in contrary mf motion one octave ◗◗ E harmonic minor in contrary motion

Arpeggios: ◗◗ B and Bb major two octaves ◗◗ B and Bb minor min. Pedal = 84 q Scales: one octave mf ◗◗ A, E and Bb major in broken 3rds ◗◗ B, E and F melodic minor in broken 3rds

92 Organ: Grade 4

SUPPORTING TESTS

Candidates choose two of the following: Improvisation ◗◗ Sight reading Candidates perform an improvisation based on a stimulus chosen from the following ◗◗ Aural three options: ◗◗ Improvisation ◗◗ Stylistic ◗◗ Musical knowledge ◗◗ Motivic ◗ Sight reading ◗ Harmonic After 30 seconds’ preparation time, candidates See pages 24–31 for the requirements perform a previously unseen musical extract and parameters. at a level approximately two grades lower than the exam being taken. See page 23 for sight Musical knowledge reading parameters. Candidates answer questions assessing their understanding of the pieces performed, as well Aural as their knowledge of notation and the organ. Candidates answer questions based on a single Questions are based on candidates’ chosen musical example played on the piano by the pieces. See pages 32–33 for example questions examiner. See page 24 for more information. and responses. The aural test requirements for Grade 4 are below. Organ: Grade

Aural questions

Parameters Task Requirement

4 bars Identify the interval as minor or major Listen to the first two notes second, minor or major third, perfect of the melody once Major or minor key fourth or fifth, minor or major sixth

93 Organ: Grade 5 Organ: Grade 5

Composer Piece Book Publisher

Group A

Herr Christ, der ein’ge Bärenreiter 1. J S BACH Organ Works vol. 1 Gottessohn, BWV 601 BA5171 Prelude and Fugue in Organ Works book 1: Eight Novello 2. J S BACH E minor, BWV 555 Short Preludes and Fugues NOV010018

Early Organ Series vol. 12: Mensch, willt du leben Faber 3. BUXTEHUDE The Netherlands & North seliglich, BuxWV 206 0571507824 Germany 1650–1710

Vox Humana vol. 6: Czech Bärenreiter 4. C ERNOHORSKÝ Toccata C dur Republic BA8236

Chorale prelude: Schmücke 66 Chorale Improvisations, Breitkopf 5. KARG-ELERT dich, o liebe Seele op. 65 vol. 5 EB8265

Organ Music around Breitkopf 6. KITTEL Präludium in A flat major J S Bach vol. 2 EB8685

7. MERKEL Evening Hymn Self Taught 1 Animus

8. MERKEL Pastorale, no. 4 Six Preludes, op. 23 Fentone F365

Novello 9. PURCELL Voluntary in G Organ Works NOV590294

Canonic Study for Pedal Schott 10. SCHUMANN Organ Works Piano in C major, op. 56 no. 1 ED9906

Ten Organ Voluntaries, 11. STANLEY Voluntary no. 2 in D minor Peters EP7722 op. 5

Early Organ Series vol. 2: Faber 12. TOMKINS Verse England 1590–1650 0571507727

A Graded Anthology for Cramer 13. ZIPOLI All’offertorio Organ book 4 90585

94 Organ: Grade 5

Composer Piece Book Publisher

Group B

Chorale-paraphrase on Twelve Choral Preludes on 1. DEMESSIEUX Alfred 0603 ‘Hosanna filio David’ Gregorian Chant Themes

UMP 2. HAKIM Pastorale Mariales M224402155

Gammal Fabødsalm från Gehrmans 3. LINDBERG Dalårna NM2352

OUP 4. MATHIAS Chorale A Mathias Organ Album 9780193755505

Andante tranquillo (2nd Complete Organ Works Bärenreiter 5. MENDELSSOHN movt from Sonata no. 3 vol. 2 BA8197 in A major, op. 65 no. 3) Finale: Andante (3rd movt Complete Organ Works Bärenreiter 6. MENDELSSOHN from Sonata no. 6 in vol. 2 BA8197 D minor, op. 65 no. 6)

7. NIELSEN Prelude in F sharp minor Miniatures vol. 2 Fentone F642

8. PEETERS Koraal Suite modale, op. 43 Lemoine 23673

12 Monologues for Organ, Novello 9. RHEINBERGER Con moto, no. 1

op. 162 NOV010044 Organ: Grade

The Fourteen Mayhew 10. RIDOUT Jesus Receives His Cross Stations of the Cross 1400014

Jesus is Laid in the The Fourteen Stations Mayhew 11. RIDOUT Sepulchre of the Cross 1400014

L’Eléphant (from Carnival The Heavy-footed 12. SAINT-SAËNS Animus of the Animals, arr. Webb) Organist 5

No. 5 from 6 Short 13. STANFORD Preludes and Postludes Mayhew 1400361 Preludes and Postludes

Novello 14. THALBEN-BALL Elegy NOV357436

24 Pièces en style libre Durand 15. VIERNE Berceuse, op. 31 no. 19 vol. 2 DF00897300

OUP 16. WHITLOCK Lantana Plymouth Suite 9780193758933

95 Organ: Grade 5

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 listed piece. More information can be found on page 18. ◗◗ Chromaticism ◗◗ Use of semiquaver passages Duration: ◗◗ Use of keys stipulated for technical work 2–3 minutes at this grade

TECHNICAL WORK

Candidates prepare the following (see page 20).

SCALES & ARPEGGIOS (from memory) — Examiners select from the following:

Manual Scales: ◗◗ B, C, F, Eb and F# major ◗◗ F# harmonic minor min. legato or staccato ◗◗ A, C, D, E and G melodic minor = 108 q as requested by the examiner ◗◗ Chromatic scales in similar and contrary two octaves motion starting on any note requested hands together by the examiner mf Arpeggios: min. ◗◗ Eb, Ab and Db major = 90 ◗◗ C#, F# and G# minor q

Pedal Scales: min. one octave = 60 ◗◗ A and G major in running triplets q ◗◗ A and B melodic minor in running triplets legato, mf Broken chords: min. ◗◗ F and G major to 12th = 84 ◗◗ A and E minor q

96 Organ: Grade 5

SUPPORTING TESTS

Candidates choose two of the following: Improvisation ◗◗ Sight reading Candidates perform an improvisation based on a stimulus chosen from the following ◗◗ Aural three options: ◗◗ Improvisation ◗◗ Stylistic ◗◗ Musical knowledge ◗◗ Motivic ◗ Sight reading ◗ Harmonic After 30 seconds’ preparation time, candidates See pages 24–31 for the requirements perform a previously unseen musical extract and parameters. at a level approximately two grades lower than the exam being taken. See page 23 for sight Musical knowledge reading parameters. Candidates answer questions assessing their understanding of the pieces performed, as well Aural as their knowledge of notation and the organ. Candidates answer questions based on a single Questions are based on candidates’ chosen musical example played on the piano by the pieces. See pages 32–33 for example questions examiner. See page 24 for more information. and responses. The aural test requirements for Grade 5 are below.

Aural questions

Parameters Task Requirement Organ: Grade

i) Clap the pulse on the second playing, Listen to the piece twice stressing the strong beat ii) Identify the time signature

97 Organ: Grades 6–8 Organ: Grades 6–8

EXAM DURATION EXAM STRUCTURE The Grade 6 exam The Grade 7 exam The Grade 6–8 exams contain the following: lasts 25 minutes lasts 25 minutes Maximum marks

PIECE 1 22

PIECE 2 22 The Grade 8 exam lasts 30 minutes PIECE 3 22

TECHNICAL WORK 14

◗◗ Scales & arpeggios ◗◗ Pedal study

SUPPORTING TEST 1 10

◗◗ Sight reading

SUPPORTING TEST 2 10

ONE of the following: ◗◗ Aural ◗◗ Improvisation

TOTAL 100

98 Organ: Grade 6 Organ: Grade 6

Composer Piece Book Publisher

Group A

Presto (last movt from Bärenreiter 1. J S BACH Organ Works vol. 8 Concerto in G, BWV 592) BA5178 Gelobet seist du, Jesu Christ, Bärenreiter 2. J S BACH Organ Works vol. 1 BWV 604 BA5171

Heut triumphieret Gottes Bärenreiter 3. J S BACH Organ Works vol. 1 Sohn, BWV 630 BA5171

2nd movt from Trio Sonata Bärenreiter 4. J S BACH Organ Works vol. 7 in D minor, BWV 527 BA5177

Fugue from Prelude and Album of Various 5. BRUCKNER Kalmus KO2036 Fugue in C minor Pieces for Organ

Prelude, Fugue and Durand 6. FRANCK Prelude Variation, op. 18 DF00268100

Incognita Organo vol. 7. HOMILIUS Mache dich mein Geist bereit Harmonia 27: Chorale Preludes

Fuga: Sostenuto e legato (2nd Complete Organ Works Bärenreiter 8. MENDELSSOHN movt from Sonata no. 6 in D vol. 2 BA8197 Organ: Grade minor, op. 65 no. 6)

Chorale fantasia Komm, Breitkopf 9. TUNDER Complete Organ Works Heiliger Geist, Herre Gott EB8825

Composer Piece Book Publisher

Group B 6

1. ALAIN Lamento L’oeuvre d’orgue vol. 3 Leduc AL20184 2. ALAIN Le jardin suspendu Trois Pièces Leduc AL19744 A Little Suite for 3. ARCHER Toccatina IAO Organ 4. BOURGEOIS Serenade, op. 22 Smith 70055

99 Organ: Grade 6

Eleven Chorale Herzlich thut mich verlangen, Novello 5. BRAHMS Preludes for the op. 122 no. 10 NOV590116 Organ, op. 122 Faber 6. BURRELL Fragments I and II Unbeaten Tracks 0571519776 7. DUBOIS In Paradisum Twelve Pieces for Organ Kalmus K03456 8. GARDNER Pavin Five Dances for Organ ScoreStore Paraphrase (on Handel’s A Graded Anthology 9. GUILMANT Cramer 90586 Judas Maccabeus) for Organ book 5 UMP 10. HAKIM Incantation Mariales M224402155 Ruhig bewegt (2nd movt 11. HINDEMITH Schott ED2558 from Sonata no. 2)

Organ Music of Novello 12. IRELAND Sursum Corda John Ireland NOV010183 Elkan-Vogel 13. LANGLAIS Pasticcio Organ Book: Ten Pieces 46300006 LEFÉBURE– Andante, ‘Choeur de voix Favourite Organ Music OUP 14. WÉLY humaines’ book 2 9780193755284 Seven Chorale Novello 15. PARRY Martyrdom Preludes set 2 NOV590045 Veronica Wipes the Face The Fourteen Stations Mayhew 16. RIDOUT of Jesus of the Cross 1400014 The Fourteen Stations Mayhew 17. RIDOUT Jesus Falls the Third Time of the Cross 1400014 24 Pièces en style libre Durand 18. VIERNE Carillon, op. 31 no. 21 vol. 2 DF00897300 24 Pièces en style libre Durand 19. VIERNE Lied, op. 31 no. 17 vol. 2 DF00897300 Folk Tune (from Five Short The Complete Shorter OUP 20. WHITLOCK Pieces) Organ Music 9780193759084 Adagio (4th movt from Hamelle 21. WIDOR Symphony no. 5 in F, op. 42) HA09247 Humoresque ‘L’organo Toccatas, Carillons and 22. YON Dover DP19613 primitivo’ Scherzos for Organ

100 Organ: Grade 6

TECHNICAL WORK

Candidates prepare section 1. and section 2. (see page 20).

1. SCALES & ARPEGGIOS (from memory) — Examiners select from the following:

Manual Scales: ◗◗ All major keys min. ◗◗ B and F melodic minor = 120 legato or staccato ◗◗ Chromatic scale in major 6ths, q as requested by the starting on E left hand and b examiner C right hand two octaves hands together Arpeggios: arpeggios min. mf ◗◗ F# major = 96 ◗◗ Eb minor q ◗◗ Dominant 7th in the key of C 7ths min. = 66 ◗◗ Diminished 7th starting on B q

Pedal Organ: Grade Scales: min. legato, ◗◗ C and Bb major in running triplets one octave = 72 mf ◗◗ C and G melodic minor in running q triplets

2. PEDAL STUDY (music may be used) 6 Bars 1–10 from Prelude in C, BWV 531 J S BACH Bärenreiter BA 5175 (from Complete Organ Works vol. 5)

101 Organ: Grade 6

SUPPORTING TESTS

Aural Candidates answer questions based on a single musical example played on the piano by the examiner. See page 24 for more information. The aural test requirements for Grade 6 are below.

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

Identify and comment on two other Listen to the piece twice Harmonised characteristics of the piece

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

102 Organ: Grade 7 Organ: Grade 7

Composer Piece Book Publisher

Group A

Bärenreiter 1. J S BACH Fugue in C major, BWV 545 Organ Works vol. 5 BA5175 Bärenreiter 2. J S BACH In dir ist Freude, BWV 615 Organ Works vol. 1 BA5171

Prelude (from Prelude and Bärenreiter 3. J S BACH Organ Works vol. 6 Fugue in A major, BWV 536) BA5176

Wir gläuben all an einen Gott, Bärenreiter 4. J S BACH Organ Works vol. 4 BWV 680 BA5174

Praeludium (and Fugue), Complete Organ Bärenreiter 5. BUXTEHUDE BuxWV 138 Works vol. 1 BA8221

Organ works vol. 2: Hansen 6. BUXTEHUDE Prelude and Fugue in A minor Preludes, Fugues and WH26990 Toccatas

8e couplet of Gloria: Dialogue 7. COUPERIN en trio du cornet et de la Mass for the Parishes Kalmus KO3314 tierce

2nd movt (Sehr langsam and 8. HINDEMITH Phantasie, frei) from Sonata Schott ED2557 no. 1

Novello Organ: Grade 9. HOWELLS Saraband in Modo Elegiaco Six Pieces for Organ NOV590354

Universal 10. LANGLAIS In Paradisum, no. 2 Triptyque grégorien UE16968

11. LÜBECK Prelude and Fugue in C minor Organ Works Peters EP4437

Novello 12. SMART Postlude in C NOV954514 7

Fantasia and Toccata 13. STANFORD Fantasia Stainer H365 in D minor, op. 57

103 Organ: Grade 7

Composer Piece Book Publisher

Group B

Three Pieces Novello 1. BRIDGE Adagio in E major for Organ NOV010986 Fugue sur le Carillon Europart 2. DURUFLÉ de Soissons, op. 12 M560220185

3. EBEN Lied des Leiermannes Faust UMP M224402063

4. FARNAM Toccata on ‘O filii et filiae’ Presser 113-25819

Prelude, Fugue and Durand 5. FRANCK Fugue and Variation Variation, op. 18 DF00268100 Lebhaft (1st movt from 6. HINDEMITH Schott ED2558 Sonata no. 2) Organ Music of 7. IRELAND Menuetto-Impromptu Novello NOV010183 John Ireland Now Thank We All Our God, 8. KARG-ELERT Breitkopf EB6238 op. 65 no. 59 A Mathias Organ OUP 9. MATHIAS Processional Album 9780193755505

MAXWELL No. 1 (Psalm 124) and either Three Organ 10. Chester CH55170 DAVIES no. 2 or no. 3 Voluntaries La nativité du 11. MESSIAEN Les enfants de Dieu Leduc AL19269 seigneur vol. 2 7 Chorale Preludes Novello 12. PARRY Chorale Prelude on ‘Dundee’ set 1 NOV590001 7 Chorale Preludes Novello 13. PARRY Chorale Prelude on ‘Eventide’ set 2 NOV590045

14. PEETERS Scherzo Suite modale, op. 43 Lemoine 23673

The Colours of the Novello 15. RATCLIFFE Caprice Organ NOV010092 Deploración por la Semana Schola Cantorum 16. ROGET Pâques Santa OL 1 24 Pièces en style Durand 17. VIERNE Pastorale, no. 20 libre vol. 2 DF00897300 The Colours of the Novello 18. WILLS Elevation Organ NOV010092

104 Organ: Grade 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 listed piece. More information can be found on page 18. ◗◗ Modulation ◗◗ Use of irregular time signatures Duration: ◗◗ Use of any key 3–4 minutes

TECHNICAL WORK

Candidates prepare section 1. and section 2. (see page 20).

1. SCALES & ARPEGGIOS (from memory) — Examiners select from the following:

Manual Scales: ◗◗ All harmonic minor keys ◗◗ C#, F# and G# melodic minor

◗◗ C and F major in 6ths, right hand starting on the tonic min. legato or staccato = 132 ◗◗ A and D harmonic minor in 6ths, right q as requested by the examiner hand starting on the tonic two octaves hands together ◗◗ Chromatic scale in major 6ths, starting on Eb left hand and C right hand mf

◗◗ Chromatic scale in minor 3rds, starting on G left hand and Bb right hand

Arpeggios: min. ◗◗ Dominant 7ths in the keys of G, B and E = 72 ◗◗ Diminished 7ths starting on A, C, D and F q Organ: Grade

2. PEDAL STUDY (music may be used)

Bars 1–9 from Prelude and Fugue in C minor, BWV 549 J S BACH Bärenreiter BA 5175 (from Complete Organ Works vol. 5)

105 Organ: Grade 7

SUPPORTING TESTS

Candidates prepare: Improvisation ◗◗ Sight reading Candidates perform an improvisation based on a stimulus chosen from the following ◗◗ Aural or improvisation three options: ◗ Sight reading ◗ Stylistic ◗ After 30 seconds’ preparation time, candidates ◗ Motivic perform a previously unseen musical extract ◗◗ Harmonic at a level approximately two grades lower than See pages 24–31 for the requirements and the exam being taken. See page 23 for sight parameters. reading parameters.

Aural Candidates answer questions based on a single musical example played on the piano by the examiner. See page 24 for more information. The aural test requirements for Grade 7 are below.

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

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

106 Organ: Grade 8 Organ: Grade 8

Composer Piece Book Publisher

Group A

Variations sur un thème de 1. ALAIN L’oeuvre d’orgue vol. 2 Leduc AL20102 Clément Jannequin Ach bleib bei uns, Herr Jesu Bärenreiter 2. J S BACH Organ Works vol. 1 Christ, BWV 649 BA5171

Herr Gott, nun schleuß den Bärenreiter 3. J S BACH Organ Works vol. 1 Himmel auf, BWV 617 BA5171

Nun danket alle Gott, Bärenreiter 4. J S BACH Organ Works vol. 2 BWV 657 BA5172

Prelude and Fugue in C major, 5. J S BACH Organ Works vol. 2 Peters EP241 BWV 545

Prelude or Fugue in G major, Bärenreiter 6. J S BACH Organ Works vol. 5 BWV 541 BA5175

Vivace (1st movt from Trio Bärenreiter 7. J S BACH Sonata no. 6 in G major, Organ Works vol. 7 BA5177 BWV 530)

Adagio in F major for Selected Works for Hinrichsen 8. BEETHOVEN Mechanical Organ Organ H1438

Toccata in F major, Complete Organ Works Bärenreiter 9. BUXTEHUDE BuxWV 157 (complete) vol. 2 BA8222

Novello 10. HURFORD Dialogue no. 2 Two Dialogues NOV570032

Organ Music around Breitkopf

11. KELLNER Jesu, meine Freude Organ: Grade J S Bach vol. 2 EB8685

Allegro maestoso (3rd movt Complete Organ Works Bärenreiter 12. MENDELSSOHN from Sonata no. 5 in D major, vol. 2 BA8197 op. 65 no. 5)

Herr Jesus hat ein Gärtchen, 10 Organ Chorales, 13. PEETERS Schott ED2553 no. 10 op. 39 8

107 Organ: Grade 8

Composer Piece Book Publisher

Group B

1. ANDERSON Sleigh Ride (arr. Trotter) Banks 14038

2. BOËLLMANN Toccata Suite gothique UMP M224400977

Twelve Pieces 3. DUBOIS Fiat lux Kalmus K03456 for Organ Le tombeau de 4. DUPRÉ Placare Christe servulis, no. 16 Leduc AL27836 Titelouze, op. 38

5. GARDONYI Mozart Changes Möseler MOS19498

6. GIGOUT Toccata in B minor Leduc AL21738

Three Psalm Preludes, Novello 7. HOWELLS Psalm Prelude no. 3 op. 32 set 1 NOV590353 Meditation on John Keble’s Organ Music of 8. IRELAND Novello NOV010183 Rogationtide Hymn John Ireland A Jongen Organ OUP 9. JONGEN Scherzetto, op. 108 no. 1 Album 9780193754942

10. KARG-ELERT Valse mignonne 3 Pieces, op. 142 Breitkopf EB8584

Novello 11. KARG-ELERT Legend, no. 1 Triptych, op. 141 NOV950170

12. KRZANOWSKI Relief III PWM 9929

A Mathias Organ OUP 13. MATHIAS Toccata giocosa, op. 36 no. 2 Album 9780193755505

14. MESSIAEN Le banquet céleste Leduc AL22893

Majesté du Christ demandant 15. MESSIAEN L’Ascension Leduc AL18826 sa gloire à son Père

16. MULET Tu es petra Esquisses byzantines Leduc AL16202

OUP 17. MUSHEL Toccata 9780193756014 archive

18. POPPLEWELL Triumphal March Banks 13983

Divertimento (from 4 The Complete Shorter OUP 19. WHITLOCK Extemporizations) Organ Music 9780193759084

108 Organ: Grade 8

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 listed piece. More information can be found on page 18. ◗◗ 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

TECHNICAL WORK

Candidates prepare section 1. and section 2. (see page 20).

1. SCALES & ARPEGGIOS (from memory) — Examiners select from the following:

Manual Scales: ◗◗ Bb and Eb melodic minor

◗◗ D, G and Bb major in 3rds, left hand starting on the tonic min. ◗◗ B, E and G melodic minor in 3rds, = 132 legato or staccato left hand starting on the tonic q as requested by the examiner ◗◗ Chromatic scale in minor 3rds, starting on two octaves hands together any notes requested by the examiner mf ◗◗ Chromatic scale in major 6ths, starting on any notes requested by the examiner

Arpeggios: ◗◗ Dominant 7ths in the keys of F, Ab, Eb min. and F# = 80 q ◗◗ Diminished 7ths starting on Ab, Bb and C#

2. PEDAL STUDY (music may be used)

Bars 13–32 from Toccata, Adagio and Fugue in C, BWV 564

J S BACH Bärenreiter BA 5176 Organ: Grade (from Complete Organ Works vol. 6)

109 Organ: Grade 8

SUPPORTING TESTS

Aural Candidates answer questions based on a single musical example played on the piano by the examiner. See page 24 for more information. The aural test requirements for Grade 8 are below.

Aural questions

Parameters Task Requirement

i) Identify the time signature Harmonised Listen to the piece once ii) Comment on the dynamics iii) Comment on the articulation 12–16 bars 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, , , , or Locate and describe the changes 2 3 4 6 5 and listen to it twice with as pitch or rhythm three changes

110 Electronic keyboard glossary of chords Electronic keyboard glossary of chords Electronic keyboard glossary of chords

The glossary of chords below indicates the meanings of the chord symbols used in pieces published by Trinity. It is not intended that these examples represent the way each chord must be arranged within the pieces; candidates should use their judgement to choose spacing and arrangement of the notes according to the most convenient fingering. Single fingered or fully fingered chords can be used at candidates’ discretion, although in the higher grades the chords required may not be available as single fingered chords. The following examples indicate the meaning of the chord requirements across Initial to Grade 8.

C C‹ Cº C6 C‹6 C7 C‹7 b ww ww bw bw ? w bw b w w b w w b w

C‹7(b5) C&7 Cº7 C^7 C7(b5) r CØ7 C‹(^7) C& r C7(#5) ∫w w bbw b bw w #w #bw ? bb w w w b w bw w w

C(„ˆˆ2) C‹(„ˆˆ2) C(“2) r C(„ˆˆ9) r C‹(„ˆˆ9) C(“4) C7(“4) C7(“2) C‹(„ˆˆ4) w w bw bw w ? ww ww bww ww ww ww bww

C5 r C(;3) C8 C9 C‹9 C7(b9) C/E C/G w bwœ b œ b œ w ? w w b w w w w w w ww ww bww w

111 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.

112 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. 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 Policies 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.

113 Publishers Publishers

ALFRED DE HASKE HARMONIA PRESSER

Alfred Music De Haske Hal Leonard Ltd Harmonia Theodore Presser alfred.com dehaske.com c/o De Haske Company (in UK: c/o Faber) presser.com DOVER HINRICHSEN ALLEGRO PWM Dover Publications Hinrichsen Edition Allegro Music doverpublications.com c/o Peters Polskie Wydawnictwo allegro.co.uk c/o De Haske Muzyczne IAO pwm.com.pl ANIMUS DURAND (in UK: c/o Universal) Incorporated Association Animus Music Publishing Editions Durand of Organists SCHOLA CANTORUM animusi.co.uk durand-salabert-eschig.com iao.org.uk (in UK: c/o De Haske) c/o Allegro Editions Schola Cantorum BANKS schola-editions.com ELKAN-VOGEL KALMUS Banks Music Publications SCHOTT banksmusicpublications. Elkan-Vogel Edwin F Kalmus & Co. Inc. co.uk c/o Presser efkalmus.com Schott Music Ltd schott-music.com BÄRENREITER EUROPART LEDUC SCORESTORE Bärenreiter Ltd Editions Europart-Music Editions Alphonse Leduc baerenreiter.com europart-diffusion.com alphonseleduc.com ScoreStore (in UK: c/o De Haske) scorestore.co.uk BOOSEY FABER LEMOINE SMITH Boosey & Hawkes Music Faber Music Ltd Publishers Ltd fabermusic.com Editions Henry Lemoine R Smith & Company Ltd boosey.com henry-lemoine.com rsmith.co.uk FENTONE (in UK: c/o Faber) BREITKOPF STAINER Fentone Music Ltd MAYHEW Breitkopf & Härtel c/o De Haske Stainer & Bell Ltd breitkopf.com Kevin Mayhew Ltd stainer.co.uk GEHRMANS kevinmayhew.com CHESTER TRINITY Carl Gehrmans Musikförlag MÖSELER Chester Music Ltd gehrmans.se Trinity College c/o De Haske K H Möseler Verlag London Press HAMELLE moeseler-verlag.de trinitycollege.com COMBRE Editions Hamelle NOVELLO UMP Editions Combre c/o Leduc editions-combre.com Novello & Co Ltd United Music Publishing Ltd (in UK: c/o Faber) HANSEN c/o De Haske ump.co.uk

CRAMER Edition Wilhelm Hansen OUP UNIVERSAL c/o De Haske Cramer Music Ltd Oxford University Press Universal Edition cramermusic.co.uk oup.co.uk (London) Ltd universaledition.com PETERS WISE Peters Edition Ltd editionpeters.com Wise Publications 114 c/o De Haske Trinity publications Trinity publications

The following Trinity publications support Sound at Sight (sample sight reading tests) this syllabus. All are available from Sound at Sight Electronic TCL 011510 trinitycollege.com/shop or from your Keyboard: Initial–Grade 5 local music shop. Sound at Sight Electronic TCL 018984 Electronic Keyboard Exam Pieces Keyboard: Grades 6–8 & Technical Work 2019–2022 Initial TCL 018625 Specimen Aural Tests from 2017 Grade 1 TCL 018632 Book 1: Initial–Grade 5 TCL 015808 Grade 2 TCL 018649 Book 2: Grades 6–8 TCL 015815

Grade 3 TCL 018656 Theory of Music Workbooks Grade 4 TCL 018663 Grade 1 TG 006509 Grade 5 TCL 018670 Grade 2 TG 006516 Publishers Grade 6 TCL 018687 Grade 3 TG 006523 Grade 7 TCL 018694 Grade 4 TG 006530 Grade 8 TCL 018700 Grade 5 TG 006547

Electronic Keyboard Repertoire Grade 6 TG 007476 Trinity publications Electronic Keyboard Collection: TCL 011336 Grade 7 TG 007483 Initial–Grade 1 Grade 8 TG 007490 Electronic Keyboard Collection: TCL 011343 Grades 1–2 Electronic Keyboard Collection: TCL 011350 Grades 2–3

115 Resources Resources

Join us online to access a range of resources to support teaching and learning at trinitycollege.com/keyboard-resources Discover digital content, including videos and downloadable handouts from teachers and leading musicians, with advice and support on: ◗◗ Repertoire ◗◗ Technical work ◗◗ Keyboard techniques

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

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

116