DOWLAND NUTTALL SAGRERAS CLASSICAL POWLESLAND GUITAR YORK SYLLABUS SEGOVIA Qualification specifications for graded exams 2020–2023 WALTON TARREGA FOGEL HVARTCHILKOV SANDERSON GUBAIDULINA STACHAK KRUISBRINK PRATTEN CARCASSI RODRIGO CARULLI SANZ SOR RAK WHAT’S CHANGED? ◗◗ Repertoire lists refreshed at all levels, encompassing a wide range of musical styles ◗◗ Duets now available up to Grade 5 ◗◗ New graded exam books, featuring a wide range of pieces and duets ◗◗ Pieces only divided into groups at Grades 6–8 — at other grades, pieces can be chosen from a single list ◗◗ At Grades 6–8, at least one piece must now be chosen from each group ◗◗ New Acoustic Guitar exams incorporating elements of the Plectrum Guitar exams available from 2020. More information available in our Acoustic Guitar Syllabus 2020–2023 ◗◗ 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/classical-guitar to make sure you are using the latest version of the syllabus and for the latest information about our Classical Guitar exams.

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

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

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

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

2 Welcome Contents 3 / Welcome Welcome 4 / Introduction to Trinity’s graded music exams Welcome to Trinity College London’s Classical Guitar syllabus containing details of graded exams 9 / Learning outcomes and assessment criteria from Initial to Grade 8. It offers the choice and flexibility to allow classical guitarists to play to their strengths, offering wide-ranging repertoire choices as well as exercises designed to 11 / About the exam progressively develop the technique classical guitarists really need from the early grades right 14 / Exam guidance: Pieces the way through to Grade 8.

16 / Exam guidance: Technical work Styles and duets Welcome 17 / Exam guidance: Supporting tests Encompassing a range of inspiring repertoire from the Renaissance to the present day, the syllabus includes pieces published for the first time and more music by female composers. 28 / Exam guidance: Marking The duets option is now available up to Grade 5. 36 / Initial to Grade 5 Books 37 / Initial New graded books for Initial to Grade 8 feature a wide range of repertoire, while expanded 40 / Grade 1 alternative piece lists include options from Trinity’s Raise the Bar and Performance Edition series of publications. 43 / Grade 2 Techniques 46 / Grade 3 Technical work includes specially composed exercises for each grade, covering the technique 49 / Grade 4 required specifically by guitarists, ensuring that all learners put scales and arpeggios into the 52 / Grade 5 performance context. 55 / Grades 6–8 Benefit from industry expertise 56 / Grade 6 The syllabus and supporting books have been created in consultation with leading classical guitar specialists. You can access videos and articles produced with professionals to support 60 / Grade 7 teaching and learning at trinitycollege.com/guitar-resources. Join us online and on social media to find out when new resources are available. 64 / Grade 8 68 / Policies 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. 70 / Publishers and UK specialist supplier

72 / Trinity publications ABOUT TRINITY COLLEGE LONDON 73 / Classical Guitar resources Trinity College London is a leading international exam board and independent education charity that has been providing assessments around the world since 1877. We specialise in the assessment of communicative and performance skills covering music, drama, combined arts and English language. With over 850,000 candidates a year in more than 60 countries worldwide, Trinity qualifications are specifically designed to help students progress. Our aim is to inspire teachers and learners through the creation of assessments that are enjoyable to prepare for, rewarding to teach and that develop the skills needed in real life. At the heart of Trinity’s work is the belief that effective communicative and performance skills are life enhancing, know no boundaries and should be within reach of us all. We exist to promote and foster the best possible communicative and performance skills through assessment, content and training that is innovative, personal and authentic.

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

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

WHO THE QUALIFICATIONS ARE FOR 45–59 BELOW PASS 1

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

4 Introduction to Trinity’s graded music exams

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

Initial 8 32 40 Introduction

Grade 1 12 48 60

Grade 2 18 72 90

Grade 3 18 102 120

Grade 4 24 126 150

Grade 5 24 156 180

Grade 6 36 184 220

Grade 7 48 222 270

Grade 8 54 266 320

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

HOW TO ENTER FOR AN EXAM OTHER QUALIFICATIONS OFFERED BY TRINITY Exams can be taken at Trinity’s public exam centres, which are available After Grade 8 or the Advanced Certificate throughout the world. Details are available classical music exams, candidates can at trinitycollege.com/worldwide, and progress to diplomas at Associate (ATCL), candidates should contact their local Licentiate (LTCL) and Fellowship (FTCL) levels. Trinity representative for more information. These assess higher skills in performance, teaching and theory. Find out more at Alternatively, in the UK, schools and private trinitycollege.com/music-diplomas teachers with sufficient candidates may apply for an exam visit. Details are available at Adults who work as music educators may also trinitycollege.com/exam-visit wish to consider Trinity’s Level 4 Certificate for Music Educators (Trinity CME). Find out TRINITY QUALIFICATIONS THAT more at trinitycollege.com/CME COMPLEMENT THE CLASSICAL GUITAR We also offer: QUALIFICATIONS ◗◗ Graded, certificate and diploma Trinity’s music qualifications offer flexible qualifications in drama subjects progression routes from beginner to advanced levels in a range of musical styles. All are ◗◗ English language qualifications designed to help candidates develop as ◗◗ Teaching English qualifications musicians according to their individual ◗ needs as learners. ◗ Arts Award (only available in certain countries) Graded music exams assess a broad range of musicianship skills, including performance, while Specifications for all these qualifications certificate exams focus entirely on performance, can be downloaded from trinitycollege.com 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 Introduction

ATCL AMusTCL 4 5 Certificate for Music Educators (Trinity CME) Grade 8 Grade 8 Grade 8 Advanced Advanced

3 4 Grade 7 Grade 7 Grade 7

Grade 6 Grade 6 Grade 6

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

Grade 3 Grade 3 Grade 3 Foundation Foundation

1 2 Grade 2 Grade 2 Grade 2

Grade 1 Grade 1 Grade 1

Entry 1 Initial Initial Level 3

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

7 Introduction to Trinity’s graded music exams

REGULATED TITLES AND QUALIFICATION NUMBERS FOR GRADED MUSIC EXAMS

Qualification Regulated title number

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

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

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

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

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

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

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

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

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

8 Learning outcomes and assessment criteria Learning outcomes and assessment criteria Learning outcomes and assessment criteria

INITIAL–GRADE 3 (Initial = RQF Entry Level 3, Grades 1–3 = RQF Level 1)

LEARNING OUTCOMES ASSESSMENT CRITERIA The learner will: The learner can:

1. 1.1 Apply skills, knowledge and understanding to present Perform music in a performances that demonstrate careful preparation, musical variety of styles set awareness and the beginning of thoughtful interpretation for the grade 1.2 Perform with general security of pitch and rhythm, and with attention given to dynamics and articulation 1.3 Maintain a reasonable sense of continuity in performance and convey the mood of music in a variety of styles

2. Demonstrate technical 2.1 Demonstrate familiarity with the fundamentals of ability on an instrument instrumental command through responding to 2.2 Demonstrate technical control and facility within set tasks set technical demands

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

9 Learning outcomes and assessment criteria

GRADES 4–5 (RQF Level 2) LEARNING OUTCOMES ASSESSMENT CRITERIA The learner will: The learner can:

1. 1.1 Support their intentions in musical performance Perform music in a 1.2 Demonstrate an understanding of music that allows variety of styles set a degree of personal interpretation in performance for the grade 1.3 Perform with general accuracy, technical fluency and musical awareness to convey musical character in a variety of styles

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

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

GRADES 6–8 (RQF Level 3) LEARNING OUTCOMES ASSESSMENT CRITERIA The learner will: The learner can:

1. 1.1 Integrate their musical skills, knowledge and understanding Perform music in a in performance variety of styles set 1.2 Present secure and sustained performances that demonstrate for the grade some stylistic interpretation 1.3 Perform with general accuracy, technical fluency and musical awareness to communicate musically in a variety of styles

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

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

10 About the exam About the exam

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

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

PIECES 66 MARKS

TECHNICAL WORK 14 MARKS

SUPPORTING TESTS 20 MARKS

11 About the exam

EXAM STRUCTURE AND MARK SCHEME

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

PIECE 1 22 PIECE 1 22

PIECE 2 22 PIECE 2 22

PIECE 3 22 PIECE 3 22

TECHNICAL WORK 14 TECHNICAL WORK 14

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

SUPPORTING TESTS 20 SUPPORTING TEST 1 10

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

TOTAL 100 TOTAL 100

12 About the exam

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

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

Initial Grade 1 Grade 2 11 mins 13 mins 13 mins

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

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

13 Exam guidance: Pieces Exam guidance: Pieces ◗◗ All tempo and performance markings should be observed (eg allegro, rall., cresc.). Metronome marks are given as a guide but do not need to be observed exactly, as long as the style and character of the piece is maintained. PIECES 66 MARKS ◗◗ Candidates may perform any or all of their pieces from memory if they wish. However, this is not compulsory and no additional marks are given for this.

INSTRUMENTS ◗◗ All requirements are based on a CHOOSING PIECES hollow-bodied instrument strung in nylon. Acoustic guitars with six steel ◗◗ Candidates play three pieces in their exam, strings and electric guitars must not be chosen as follows: used. Classical guitars with cutaways — Initial–Grade 5: Candidates choose three are acceptable. pieces from the list. A maximum of two ◗◗ Plectrums may not be used. duets may be performed. Candidates may perform an own composition in place of ◗◗ The use of a capo is only permitted to one of the listed pieces (see page 15). replicate Renaissance lute tuning. — Grades 6–8: Pieces are divided into ◗◗ Candidates are expected to provide and two groups: group A and group B. use a footstool or equivalent support. Candidates choose at least one piece from each group. The third piece may be ◗◗ Younger candidates may use half- or chosen from either group or may be the three-quarter-sized instruments. candidate’s own composition (see page 15). TUNING PERFORMANCE AND INTERPRETATION ◗◗ Up to and including Grade 5, teachers ◗◗ Candidates should prepare all pieces in may assist with tuning. At Grades 6–8, full unless stated otherwise in this syllabus. candidates must tune their instruments ◗◗ Candidates should observe repeats of without assistance. a few bars, but longer repeats should ◗◗ Electronic tuners may be used up to and not be played unless stated otherwise including Grade 5. in this syllabus. ◗◗ All da capo and dal segno instructions PAGE TURNS should be observed. ◗◗ Examiners will not be able to act as ◗◗ Candidates are not required to play page turners. cadenzas unless stated otherwise in this syllabus. ◗◗ Difficult page turns may be overcome by photocopying the relevant pages. ◗ ◗ Candidates are encouraged to use appropriate ornamentation, particularly at Grades 6–8. Ornamentation in Trinity’s exam publications is given as a guide. However, any appropriate stylistic interpretation will be accepted. 14 Exam guidance: Pieces

MUSIC AND COPIES ◗◗ Alternatively, the accompanying line may be pre-recorded in exams up to and including ◗ ◗ Candidates should obtain the music for their Grade 3, but candidates must provide their exam in good time before entering for the own playback equipment and must operate exam, and they must bring it with them on it themselves. the day of the exam. ◗ ◗ We publish selected pieces for classical OWN COMPOSITION guitar in our graded exam books. Recommended editions for other pieces ◗◗ Candidates can choose to perform an own composition as one of their pieces.

are listed in this syllabus, but candidates may Exam guidance: Pieces perform from any reliable edition that has Own compositions are assessed in the same not been shortened or otherwise simplified. way as the listed repertoire. Marks are not Editions containing inauthentic performance awarded for the quality of the composition. directions are not acceptable. If a particular ◗◗ Own compositions must be comparable in edition must be used, it is indicated in this technical and musical demand to the pieces syllabus. Product codes for publications are listed for the same grade. Examples of included where available. optional compositional techniques that may ◗◗ We take copyright infringement seriously be used at each level are listed in each grade and require candidates to ensure their section of this syllabus. music comes from a legitimate source. ◗◗ A typeset or handwritten copy of the Guidelines are available in the UK Music composition must be given to the examiner Publishers Association’s Code of Fair at the beginning of the exam. At Initial to Practice, available at mpaonline.org.uk. Grade 5, own compositions may be notated Candidates must comply with copyright in any easily readable form, including and other intellectual property laws in the graphic score or lead-sheet. At Grades 6–8 country where the exam is taking place. they must be notated on a stave. Marks will ◗◗ In accordance with the MPA’s Code of Fair be deducted if notation is incomplete or Practice, candidates must produce original inaccurate, or if the performance varies copies of all pieces to be performed in the significantly from the notation. exam, even if they have been memorised, ◗◗ Own compositions should be candidates’ handwritten or typeset. Pieces where no unaided work, although teachers may offer original copy has been provided might guidance as necessary. be awarded no marks. ◗◗ If candidates are performing pieces not OBTAINING MUSIC FOR THE EXAM contained in Trinity’s graded exam books, they will need to provide a photocopy as a ◗◗ All publications listed in this syllabus can be reference for the examiner. Photocopies will ordered at trinitycollege.com/shop or your be kept by the examiner and destroyed after local music shop. the exam. Examiners will have a copy of ◗◗ Trinity publishes graded exam books for the repertoire contained in Trinity’s graded classical guitar, as well as scales, arpeggios exam books. and studies books, sight reading books ◗◗ Where music has been downloaded, and aural test books. See page 72 for candidates must bring proof of purchase more information. or details of the website where it was ◗◗ Details of the publishers listed in this accessed for the examiner’s reference. syllabus can be found on pages 70–71.

DUETS ◗◗ Trinity cannot guarantee that music will always be in stock with local suppliers. ◗◗ Candidates at Initial to Grade 5 may include Candidates and teachers should always a maximum of two duets in their programme. check with the publisher before it is assumed ◗◗ Candidates should play the upper part that any item has gone out of print. (unless stated otherwise in this syllabus). The lower part may be performed in the exam by a teacher, another adult or student. 15 Exam guidance: Technical work Exam guidance: Technical work

◗◗ All scales and arpeggios must be played from memory. ◗◗ A minimum pace is indicated, increasing gradually grade by grade. ◗◗ At Initial–Grade 5, candidates should play TECHNICAL WORK the scale followed by the arpeggio. 14 MARKS At Grades 6–8, candidates should play a succession of scales and arpeggios as required for the grade. ◗◗ Full details of scale patterns are given in the Scales, Arpeggios and Studies books.

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

16 Exam guidance: Supporting tests Exam guidance: Supporting tests

SIGHT READING This test assesses candidates’ ability to perform a previously unseen musical extract, Exam guidance: Technical work at a level approximately two grades lower SUPPORTING than the exam being taken. Our sight reading TESTS pieces are designed to be musically intuitive and natural, preparing candidates for real 20 MARKS performance contexts. Candidates are given 30 seconds to study the test before performing it, during which they may practise any or all of it aloud. Examiners do not give marks for this This section of the exam supports the preparation period. development of broader musical skills Examples of sight reading tests may be found by assessing candidates in two different in Trinity’s Sound at Sight series, available supporting tests. from trinitycollege.com/shop or from your At Initial to Grade 5, candidates choose local music shop. two supporting tests from four options: Technical expectations for the tests are given Exam guidance: Supporting tests ◗◗ Sight reading in the table on page 18. Lists are cumulative, meaning that tests may also include ◗◗ Aural requirements from lower grades. ◗◗ Improvisation ◗◗ Musical knowledge At Grades 6–8, all candidates are assessed in sight reading, and choose either aural or improvisation for their second supporting test. This flexibility is designed to allow candidates to demonstrate their musical skills in different ways, while recognising that sight reading is an important skill at higher grades.

17 Exam guidance: Supporting tests ,

arious position shifts, full chord full chord shifts, arious position slurs Articulation, * shifts position, voicings (3 or 4 notes), half barré (3 or 4 notes), voicings three-note chords (2 treble 1 bass, 1 bass, (2 treble chords three-note more accents, be all fretted), may shifts simple shifts, 2nd position, staccato 2nd position, simple shifts, two-note chords (open bass) (open chords two-note E, F, G on 1st string G on 1st E, F, C, D on 2nd string B, string A on 3rd G, open basses position within 1st v full fingerboard range and shifting full fingerboard full barré, natural harmonics natural full barré, cresc. a tempo , rall. * & tempi Dynamics accel. dim., mp , andante allegretto mf , moderato p f

 w ‰ Œ h

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

4

Time * signatures 2 3 6 8 9 changing time signatures * major major b E, B b G minor B minor A major A minor accidentals Keys F major E minor D, C major G major E C minor Grade 6 Grade Initial Grade 7 Grade Grade 5 Grade Grade 4 Grade SIGHT READING PARAMETERS Grade 3 Grade Grade 1 Grade 2 Grade Grade 8 Grade

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

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

Stylistic stimulus

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

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

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

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

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

5 Time signatures* 4 3 2 6 1 9 4

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

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

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

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

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

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

Length of Exam guidance: Supporting tests 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars introduction

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

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

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

5 Time signatures* 4 3 2 6 1 9 4

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

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

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

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

21 Exam guidance: Supporting tests

Motivic stimulus

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

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

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

Time 5 signatures* 4 3 2 6 1 9 4

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

Articulation* staccato accents slurs acciaccaturas sfz

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

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

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

Length of Exam guidance: Supporting tests 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, Bb major Keys* C major F, G major A minor G, B minor A, Eb major F#, C minor E, Ab major C#, F minor D, E minor

23 Exam guidance: Supporting tests

Harmonic stimulus

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

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

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

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

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

I, ii, IV, V I, ii, iii, IV, V, vi all chords b5 b5 Chords I, V I, V I, IV, V I, ii, IV, V i, iv, V i, iv, V, VI i, ii , iv, V i, ii , III, iv, V, VI 7ths, 9ths 7ths 7ths suspensions

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

24 Exam guidance: Supporting tests

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

Length of chord Exam guidance: Supporting tests 4 bars 4 bars 4 bars 4 bars 4 bars 4 bars 8 bars 8 bars 8 bars sequence

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

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

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

I, ii, IV, V I, ii, iii, IV, V, vi all chords b5 b5 Chords I, V I, V I, IV, V I, ii, IV, V i, iv, V i, iv, V, VI i, ii , iv, V i, ii , III, iv, V, VI 7ths, 9ths 7ths 7ths suspensions

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

25 Exam guidance: Supporting tests

MUSICAL KNOWLEDGE Examiners then choose a second piece for the (Initial–Grade 5 only) remaining questions. Candidates’ musical scores should be free of annotations which might This test encourages learners to understand aid their responses. Examiners usually point the wider musical context of the pieces they to the relevant part of the score when asking play, as well as their knowledge of notation questions. Candidates can use American terms and their instrument. Examiners ask carefully (eighth note, half note, etc) as an alternative to graded questions based on candidates’ chosen English terms (quaver, minim, etc). pieces. Questions refer to the solo line only, and not the accompaniment. The following tables give example questions and responses. In the exam, candidates choose which piece they would like to be asked about first.

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 is this part called? The bridge instrument

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

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

Intervals What is the interval between Grade 2 A 3rd (numerical only) these notes? Exam guidance: Supporting tests 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 Grade 4 Intervals (full names) Perfect 5th these notes?

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

Candidate identifies Comment on the style 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 the 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

27 Exam guidance: Marking Exam guidance: Marking

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

Max. mark for each piece Component

7 FLUENCY & ACCURACY

7 TECHNICAL FACILITY

COMMUNICATION 8 & INTERPRETATION

TOTAL MARK FOR 22 EACH PIECE

28 Exam guidance: Marking

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

Total mark for each piece Attainment level

19–22 DISTINCTION

16–18 MERIT Exam guidance: Marking 13–15 PASS

10–12 BELOW PASS 1

3–9 BELOW PASS 2

29 HeadingExam guidance: Marking

HOW THE PIECES ARE MARKED

Examiners use the criteria below to decide on the mark.

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

Fluency An excellent sense A very good sense A good sense of A generally reliable sense Only a limited sense of 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 basic — control of pulse and secure control of momentary insecurities with occasional some inconsistencies and control of pulse and rhythm. rhythm not established. pulse and rhythm. in control of pulse inconsistencies in stumbles in the control of Accuracy in notes Accuracy in notes very and rhythm. control of pulse pulse and rhythm. A very high degree sporadic, with errors limited with many errors and rhythm. of accuracy in notes. A high degree of A reasonable degree of becoming intrusive. of substance. accuracy in notes — A good degree of accuracy in notes despite slips not significant. accuracy in notes a number of errors. despite some slips.

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

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

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

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

30 ExamExam guidance: guidance: Marking Marking 3131

Heading

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

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

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

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

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

HOW TECHNICAL WORK IS MARKED

Examiners use the criteria below to decide on the mark.

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

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

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

32 ExamExam guidance: guidance: Marking Marking 3333 Heading

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

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

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

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

HOW SUPPORTING TESTS ARE MARKED

Examiners use the criteria below to decide on the mark.

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

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

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

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

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

34 ExamExam guidance: guidance: Marking Marking 3535

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

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

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

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

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

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

PIECE 1 22

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

TECHNICAL WORK 14

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

SUPPORTING TESTS 20

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

TOTAL 100

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

Composer Piece Book Publisher

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

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

Own composition Own compositions must be comparable in technical and musical demand to the pieces Candidates may perform an own composition listed for this grade. Suitable features include: instead of one of the listed pieces. More information can be found on page 15. ◗◗ Use of different rhythmic values ◗◗ Clear melodic line Duration: ◗◗ Use of keys listed for Initial technical work 0.5–1 minute(s)

TECHNICAL WORK

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

1. TECHNICAL EXERCISE (music may be used)

Technical exercise in C major ( = 80) q

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

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

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

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

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

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

38 Initial

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

Aural questions Parameters Task Requirement

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

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

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

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

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

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

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

Own composition Own compositions must be comparable in technical and musical demand to the pieces Candidates may perform an own composition listed for this grade. Suitable features include: instead of one of the listed pieces. More information can be found on page 15. ◗◗ Dynamic contrast ◗◗ Simple syncopation or other rhythmic Duration: feature approx. 1 minute ◗◗ Use of keys listed for Grade 1 technical work

TECHNICAL WORK

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

1. TECHNICAL EXERCISE (music may be used)

Technical exercise in G major ( = 56) q

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

scales: apoyando ◗◗ C major or tirando min. tempi: 1 scales: one im fingering (candidate choice) ◗◗ F major octave scales arpeggios: tirando = 56 arpeggios: q arpeggios to the 5th scale: p fingering = 112 ◗◗ E natural minor tirando q arpeggio: pim fingering

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

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

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

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

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

SUPPORTING TESTS

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

Aural questions Parameters Task Requirement

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

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

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

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

Composer Piece Book Publisher Classical Guitar Exam Pieces 1. AGUADO Waltz 2020–2023: Grade 2 Trinity TCL019295 Classical Guitar Exam Pieces 2. BRUN Le paon 2020–2023: Grade 2 Trinity TCL019295 Classical Guitar Exam Pieces 3. CARULLI Danse paysanne 2020–2023: Grade 2 Trinity TCL019295 4. COTTAM Tirandosaurus Rex Zebracadabra ESG 077 COUPERIN, Classical Guitar Exam Pieces 5. Le petit rien* arr. POWLESLAND 2020–2023: Grade 2 Trinity TCL019295 6. EYTHORSSON New Day Raise the Bar Guitar: Initial–Grade 2 Trinity TCL016553 La princesse Productions d’Oz 7. FIMBEL La paix des étoiles de la paix DZ2599 Classical Guitar Exam Pieces 8. HASTED Regular Reggae 2020–2023: Grade 2 Trinity TCL019295 Gavotte or Hubertus Nogatz 9. KIRSCHBAUM Melodie und Bass vol. 1 Tanz in der Burg KN1012

Classical Guitar Exam Pieces Grade 10. LINDSEY-CLARK Barcarolle 2020–2023: Grade 2 Trinity TCL019295 11. LINDSEY-CLARK By the Fireside Solo Now! vol. 1 Chanterelle ECH2101 Classical Guitar Exam Pieces 12. LINNEMANN Killeybegs Jig 2020–2023: Grade 2 Trinity TCL019295 Classical Guitar Exam Pieces 13. McDOWALL Spanish Nocturne 2 2020–2023: Grade 2 Trinity TCL019295 Classical Guitar Exam Pieces 14. NUTTALL The Mojave 2020–2023: Grade 2 Trinity TCL019295 Productions d’Oz 15. OGAWA Nuit étoilée The Many Faces of the Guitar vol. 1 DZ1041 16. OURKOUZOUNOV Valse slave Mise en scène Lemoine HL26826 Classical Guitar Exam Pieces 17. POWLESLAND In the Half-Light 2020–2023: Grade 2 Trinity TCL019295 RODRIGUEZ, Classical Guitar Exam Pieces 18. La cumparsita* arr. CRACKNELL 2020–2023: Grade 2 Trinity TCL019295 SANZ, Classical Guitar Exam Pieces 19. Paradetas arr. POWLESLAND 2020–2023: Grade 2 Trinity TCL019295 Raise the Bar Guitar: 20. SOR Etude, op. 44 no. 2 Trinity TCL016553 Initial–Grade 2 21. SOR, arr. HARTOG Czardas String Walker Alsbach ALB10514 Classical Guitar Exam Pieces 22. TRAD., arr. RIVOAL A rosa vermelha* 2020–2023: Grade 2 Trinity TCL019295 Chansons et danses d’Amérique 23. TRAD., arr. RIVOAL Unos Ojos Negros* Lemoine HL25161 latine vol. A TRAD., arr. 24. Malagueña My First Concert Schott ED22050 SZORDIKOWSKI Petit air 25. VACHEZ Ça ne manque pas d’airs! Doberman DO977 chromatique

= Pieces in Trinity’s graded exam books * Duet 43 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 of the listed pieces. More information can be found on page 15. ◗◗ Use of different articulations ◗◗ Simple melodic ornamentation Duration: ◗◗ Use of keys listed for Grade 2 technical work 1–1.5 minute(s)

TECHNICAL WORK

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

1. TECHNICAL EXERCISE (music may be used)

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

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

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

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

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

are below. Grade

Aural questions Parameters Task Requirement 2 Listen to the melody Clap the pulse on the third playing, stressing three times the strong beat Melody only i) Describe the dynamics, which will Listen to the melody once vary during the melody 4 bars ii) Identify the articulation as legato or staccato Identify the last note as higher or lower than Major or minor key Listen to the melody once the first note

2 3 Listen to the melody twice, i) Identify where the change occurs with a change of rhythm or pitch in the second playing ii) Identify the change as rhythm or pitch

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

Composer Piece Book Publisher

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

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

22. SMITH Lost Horizons Atmospheres & Adventures Trinity TCL019127 Study in C (no. 6 from Classical Guitar Exam 23. SOR Introduction à l’étude Pieces 2020–2023: Grade 3 Trinity TCL019301 de la guitare, op. 60) Classical Guitar Exam 24. STACHAK Kurpie Étude Pieces 2020–2023: Grade 3 Trinity TCL019301 Learn & Conquer Guitar TRAD., 25. Scarborough Fair Repertoire with Xuefei Yang, Doberman DO962 arr. GERRITS beginner book 1 TRAD., Classical Guitar Exam 26. Chorinho* arr. RIVOAL Pieces 2020–2023: Grade 3 Trinity TCL019301 TRAD., The Coasts of Classical Guitar Exam 27. arr. SANDERSON High Barbary* Pieces 2020–2023: Grade 3 Trinity TCL019301 28. WANDERS Salsa Guitarra tirando Broekmans BP1714 29. ZENAMON Escalando Modern Times Chanterelle ECH0750

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

TECHNICAL WORK 3

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

1. TECHNICAL EXERCISE (music may be used)

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

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

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

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

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

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

Aural questions Parameters Task Requirement

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

48

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

Composer Piece Book Publisher Rumba por Givi Graded Repertoire 1. ALI Mel Bay 20038 (from Flamenco Suite) for Guitar book 2 Allemande (from Classical Guitar Exam 2. BARON Sonata for Two Guitars)* Pieces 2020–2023: Grade 4 Trinity TCL019318 3. BARON Bourrée My First Concert Schott ED22050 Raise the Bar Guitar: 4. BAULCH Glissaccatura Trinity TCL016560 Grades 3–5 6 Children’s Pieces or Learn & Waltz for a Sad Cloud (no. 2 Doberman DO734 5. BOGDANOVIC´ Conquer Guitar Repertoire with from 6 Children’s Pieces) or DO961 Xuefei Yang, children’s book 1 6. BROUWER Étude no. 4 Études simples vol. 1 Eschig ME00799700 7. BRUN L’éléphant Musicanimales Lemoine HL25247 25 Melodic and Progressive 8. CARCASSI Etude no. 7 in A minor Chanterelle ECH0470 Studies, op. 60 First Repertoire for 9. CARULLI Sicilienne, op. 34 no. 2 Faber 0571507093 Solo Guitar book 1 DAUBE, Menuets I & II (from Classical Guitar Exam 10. Trinity TCL019318 arr. WILLIS Partie in A major) Pieces 2020–2023: Grade 4 Grade DOWLAND, Classical Guitar Exam 11. Orlando Sleepeth arr. HEGEL Pieces 2020–2023: Grade 4 Trinity TCL019318 12. DROZDZOWSKI´ ´ Rainy Impression All Year Round with the Guitar Euterpe EU1003 Separately or Les 100 Productions d’Oz 13. DYENS On Joe’s Deck de Roland Dyens vol. 1 DZ1901 or DZ2201 4 Classical Guitar Exam Pieces 14. FOGEL Village Blackbird Blues 2020–2023: Grade 4 Trinity TCL019318 Raise the Bar Guitar: 15. KLEYNJANS Petit air d’Argentine Trinity TCL016560 Grades 3–5 16. LINDSEY-CLARK Danza del arpa Simply Latin Montague MM121 17. MURO Milonga Basic Pieces vol. 2 Chanterelle ECH0782 NORTON, Classical Guitar Exam 18. Line by Line arr. NESTOR Pieces 2020–2023: Grade 4 Trinity TCL019318 19. ROBERTS In Good Company New Beginnings Trinity TCL019134 Classical Guitar Exam 20. RYAN Spice Trail Pieces 2020–2023: Grade 4 Trinity TCL019318 Nostalgia: petite mélodie (from Classical Guitar Exam 21. SAGRERAS Tres piezas fáciles, op. 19) Pieces 2020–2023: Grade 4 Trinity TCL019318 22. SAUMELL La caridad* 19 Contradanzas Lemoine HL29261 Classical Guitar Exam 23. SCHWERTBERGER Bossa-Nova Breeze Pieces 2020–2023: Grade 4 Trinity TCL019318 24. SMITH Calderas Atmospheres & Adventures Trinity TCL019127

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

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

Own composition Own compositions must be comparable in technical and musical demand to the pieces Candidates may perform an own composition listed for this grade. Suitable features include: instead of one of the listed pieces. More information can be found on page 15. ◗◗ Tempo changes ◗◗ Use of a variety of different articulations Duration: ◗◗ Use of keys listed for Grade 4 technical work 2–3 minutes

TECHNICAL WORK

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

1. TECHNICAL EXERCISE (music may be used)

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

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

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

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

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

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

Aural questions Parameters Task Requirement

Clap the pulse on the second playing, stressing the Listen to the piece twice Harmonised strong beat i) Identify the tonality as major or minor Listen to the piece twice 4 bars ii) Identify the final cadence as perfect or imperfect Identify the interval as minor or major second, Listen to the first two notes of the Major or minor or major third, perfect fourth or fifth, minor melody once minor key or major sixth Study a copy of the melody (provided in i) Identify the bar in which the change of rhythm 4 6 treble, alto or bass clef as appropriate), and occurred listen to it once as written and once with a ii) Identify the bar in which the change of pitch change of rhythm and a change of pitch occurred

= Pieces in Trinity’s graded exam books * Duet 51 Grade 5 Grade 5 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. A maximum of two duets (asterisked) may be played. An own composition may be played instead of one listed piece. See pages 14–15 for further guidance.

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

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

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

Own composition Own compositions must be comparable in technical and musical demand to the pieces Candidates may perform an own composition listed for this grade. Suitable features include: instead of one of the listed pieces. More information can be found on page 15. ◗◗ Chromaticism ◗◗ Use of semiquaver passages Duration: ◗ 2–3 minutes ◗ Use of keys listed for Grade 5 technical work

TECHNICAL WORK

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

1. TECHNICAL EXERCISE (music may be used)

Technical exercise in F minor ( = 126) # q Either 5 2. SCALES & ARPEGGIOS (from memory, mf ) — Candidates play the scale followed by the arpeggio. Examiners select from the following: min. tempi: ◗◗ Eb major scales: apoyando scales ◗◗ F major two scales: im and ma or tirando = 92 ◗◗ A natural minor octaves arpeggios: ppppima (candidate choice) q arpeggios ◗◗ C melodic minor arpeggios: tirando . = 50 q ◗◗ G major scale in broken thirds im min. tempo: one octave = 82 ◗◗ C major scale in sixths ip/mp q ◗◗ Dominant 7th arpeggio in tirando the key of A major two min. tempo: ppimim… = 76 ◗◗ Diminished 7th arpeggio octaves q starting on E

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

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

1a. Incognito for tone and phrasing 1b. Over the Moon 2a. Mistral for articulation 2b. And So It Ends 3a. Mare Nectaris for idiomatic elements 3b. All Barre One

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

Aural questions Parameters Task Requirement

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

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

PIECE 1 22

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

TECHNICAL WORK 14

◗◗ Technical exercise

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

SUPPORTING TEST 1 10

◗◗ Sight reading

SUPPORTING TEST 2 10

ONE of the following: ◗◗ Aural ◗◗ Improvisation

TOTAL 100

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

Composer Piece Book Publisher

Group A

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

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

Group B

1. BLOOR Promise Praise — Prayer — Promise Bloor Omaggio a Mangoré, 2. BROUWER Nuevos estudios sencillos Chester CH64273 no. 2 CASTELNUOVO- Raise the Bar Guitar: 3. Andantino campestre Trinity TCL016577 TEDESCO Grades 6–8 4. DODGSON O Pussy My Love!, no. 6 Ode to the Guitar Ricordi RICL00011400 Classical Guitar Exam 5. DROZDZOWSKI´ ´ Winter Story Pieces 2020–2023: Grade 6 Trinity TCL019332 Separately or Les 100 de Productions d’Oz 6. DYENS Babybaião Roland Dyens vol. 1 DZ1907or DZ2201 Classical Guitar Exam 7. FELLOW No Man’s Land Pieces 2020–2023: Grade 6 Trinity TCL019332 Productions d’Oz 8. KLEYNJANS Délia, op. 272 DZ1687 9. MONTES Entre azules Nueve preludios azules Trinity TCL019110 MORENO 10. Torija Castles of Spain vol. 1 GSP 074 TORROBA 11. OURKOUZOUNOV Lamentoso, no. 5 Cinq nuances modales Doberman DO1039 PIAZZOLLA, Classical Guitar Exam 12. El viaje arr. RYAN Pieces 2020–2023: Grade 6 Trinity TCL019332 TRAD., Classical Guitar Exam 13. Kalamatianos arr. COTTAM Pieces 2020–2023: Grade 6 Trinity TCL019332 TRAD., arr. Classical Guitar Exam 14. General’s Mandate HVARTCHILKOV Pieces 2020–2023: Grade 6 Trinity TCL019332 Grade 11 Etudes or Learn & Conquer Guitar Repertoire Doberman DO539 15. VERDERY Let Go with Xuefei Yang, or DO963 intermediate book 1 Classical Guitar Exam 16. YORK Lullaby 6 Pieces 2020–2023: Grade 6 Trinity TCL019332

Own composition Own compositions must be comparable in Candidates may perform an own composition technical and musical demand to the pieces instead of one of the listed pieces. listed for this grade. Suitable features include: More information can be found on page 15. ◗◗ More advanced use of form, eg theme and variations Duration: ◗◗ Extensive range 3–4 minutes ◗◗ More advanced melodic ornamentation ◗◗ Use of any key

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

TECHNICAL WORK

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

1. TECHNICAL EXERCISE (music may be used)

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

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

58 Grade 6

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

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

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

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

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

Aural

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

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

59 Grade 7 Grade 7 PIECES Candidates perform a balanced programme of three pieces chosen from the lists below, containing at least one piece from each group. An own composition may be played instead of one listed piece. See pages 14–15 for further guidance.

Composer Piece Book Publisher

Group A

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

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

Group B

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

Prélude no. 3 in Grade 13. VILLA-LOBOS Cinq préludes Eschig DF15722 A minor Bagatelle no. 2 Classical Guitar Exam 14. WALTON (from Five Bagatelles Pieces 2020–2023: Trinity TCL019349 for Guitar) Grade 7 7

Own composition Own compositions must be comparable in technical and musical demand to the pieces Candidates may perform an own composition listed for this grade. Suitable features include: instead of one of the listed pieces. More information can be found on page 15. ◗◗ Modulation ◗◗ Use of irregular time signatures Duration: ◗◗ Use of any key 3–4 minutes

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

TECHNICAL WORK

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

1. TECHNICAL EXERCISE (music may be used)

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

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

62 Grade 7

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

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

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

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

SUPPORTING TESTS

Candidates prepare: Improvisation ◗◗ Sight reading Candidates perform an improvisation based ◗◗ Aural or improvisation on a stimulus chosen from the following three options: Sight reading ◗◗ Stylistic After 30 seconds’ preparation time, candidates ◗◗ Motivic perform a previously unseen musical extract at a level approximately two grades lower than the ◗◗ Harmonic exam being taken. See pages 17–18 for for the See pages 19–25 for the requirements requirements and parameters. and parameters. Aural Candidates answer questions based on a single musical example played on the piano by the Grade examiner. See page 19 for more information. The aural test requirements for Grade 7 are below. 7 Aural questions Parameters Task Requirement

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

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

Composer Piece Book Publisher

Group A

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

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

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

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

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

TECHNICAL WORK

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

1. TECHNICAL EXERCISE (music may be used)

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

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

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

◗◗ A major scale in thirds im

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

66 Grade 8

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

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

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

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

SUPPORTING TESTS

Candidates prepare: Improvisation ◗◗ Sight reading Candidates perform an improvisation based ◗◗ Aural or improvisation on a stimulus chosen from the following 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 pages 17–18 for the See pages 19–25 for the requirements requirements and parameters. and parameters.

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

i) Identify the time signature 8 Listen to the piece once ii) Comment on the dynamics Harmonised 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, and 2 3 4 6 5 Locate and describe the changes as pitch listen to it twice with three or rhythm changes

67 Policies Policies

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

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

68 Policies

MALPRACTICE RESULTS REVIEW AND APPEALS PROCEDURE Trinity requires its registered exam centres to report any suspected malpractice Anyone who wishes to question their exam by candidates, teachers or examiners. result should refer to trinitycollege.com/ In situations where a centre is found to be results-enquiry for full details of our results inadequate or to be guilty of malpractice, review and appeals process. either in terms of provision of facilities or in administration, the exam centre may be required to suspend all of its activities relating to Trinity exams until the cause of the problem is identified and rectified, if appropriate. In extreme circumstances, the centre may have its registered status withdrawn. In the very rare cases or circumstances where a centre or individual may be suspected of malpractice, Trinity will aim to minimise any inconvenience caused to any affected candidate, and would like to thank candidates, teachers and centre staff for their kind co-operation in reporting any suspected incident of cheating, thereby assisting Trinity in upholding the quality and integrity of its exam process. Policies

69 Publishers and UK specialist supplier Publishers and UK specialist supplier

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

ALSBACH CARISCH EUTERPE MEL BAY

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

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

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

TECLA GUITARNOTES

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

Editions Musicales Transatlantiques c/o De Haske

TRINITY

Trinity College London Press

trinitycollege.com Publishers and UK specialist supplier

UNIVERSAL

Universal Edition (London) Ltd universaledition.com

UT ORPHEUS

Ut Orpheus Edizioni utorpheus.com

71 Trinity publications Trinity publications

The following Trinity publications support Sound at Sight (sample sight reading tests) this syllabus. All are available from Initial–Grade 5 TCL 015082 trinitycollege.com/shop or from your local music shop. Grades 6–8 TCL 015099

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

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

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

72 Classical Guitar resources Classical Guitar resources

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

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

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

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