ELECTRONIC KEYBOARD SAMPLE BOOKLET A selection of pieces and technical work for Trinity College London exams 2019–2022
HANDEL MORTON JOPLIN TRAD
NOT FOR SALE Contents
Trinity’s Electronic Keyboard Syllabus 2019–2022 3 What’s new? 3 Recognition and UCAS points 3 Contributors 4
The exam at a glance 5 About the exam 5 Exam structure and mark scheme 6
Electronic keyboard graded exam books 7 Pieces 7
Sample pieces — About the pieces 9
Sample pieces 10 Initial 10 Grade 2 11 Grade 4 12 Grade 6 14
Sample exercises & scales — About the exercises & scales 18
Sample exercises & scales 19 Initial 19 Grade 2 20 Grade 3 20 Grade 4 21 Grade 4 21 Grade 7 22
Support and resources 23
Contact us 23
Stay up to date 23
2 Trinity Electronic Keyboard Sample Booklet 2019–2022
Trinity’s Electronic Keyboard Syllabus 2019–2022
Develop specific skills Help your students build the specific skills used by keyboardists, including playing with a range of instrument voices in time with accompaniment patterns, and developing a wider understanding of common scales, modes and chord progressions. Encourage them to explore the technical possibilities of their instrument, and develop skills that are also relevant for learning piano and Rock & Pop keyboards. Explore varied repertoire Discover pieces across a variety of styles and genres — including popular classics, show tunes, film themes, jazz, folk and world music — and help your students develop technique through performing a wide range of music. Benefit from a range of support Use a syllabus and supporting books created in consultation with electronic keyboard specialists, and access digital support resources specific to your electronic keyboard teaching.
What’s new? New performance repertoire at all grades covers a wide range of styles, including popular classics, show tunes, film themes, jazz, folk and world music Restructured technical work: all candidates (except at Initial) perform a newly added keyboard exercise, which helps to develop a range of skills from awareness of chords and chord progressions to arpeggio playing and agility, with all candidates choosing either revised scales & chord knowledge or brand new technical exercises A new sequencing exercise option at Grades 6–8 provides an opportunity to explore the technological features of the instrument New graded exam books for Initial to Grade 8 feature between 8 and 10 specially arranged pieces and original compositions, full technical work requirements for the grade and accompanying audio downloads The new Sound at Sight: Grades 6–8 book offers a range of sight reading pieces, providing invaluable practice and exam preparation material for keyboard players at the higher grades A refreshed syllabus format makes the requirements for each grade easy to understand for teachers and learners Online digital support resources provide teachers and learners with support and advice on repertoire and technique: trinitycollege.com/keyboard-resources
Recognition and UCAS points Trinity College London is an international exam board regulated by Ofqual (Office of Qualifications and Examinations Regulation) in England, CCEA Regulation in Northern Ireland and by Qualifications Wales. Various arrangements are in place with governmental education authorities worldwide. In the UK, Grades 6–8 are eligible for UCAS points for those applying to colleges and universities.
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Contributors Trinity worked with a team of expert consultants to develop the new Electronic Keyboard syllabus: Peter Buckby is the director of Innovation Music, a music school network providing instrumental, vocal and theory lessons on the Yorkshire Coast. A keen keyboard player and teacher with over 16 years’ teaching experience, he has also delivered lectures for the University of Hull in creative music technology and spoken at conferences and events on the benefits of music-making to learners of all ages. Joanna Clarke is a Trinity College London examiner and currently their adviser for electronic keyboard. She runs her own teaching practice in the Midlands and has been involved with the electronic keyboard syllabus for a number of years, giving workshops to teachers and examiners both in the UK and abroad.
Nancy Litten is a musician and teacher, and her many roles and achievements have included setting up a keyboard orchestra for Kent, founding and directing National Electronic Keyboard Courses from 2005–2012, and adjudicating for the British and International Association of Festivals.
Victoria Proudler is a specialist in music teaching and is a director of music in Sheffield. She has been a music examiner for Trinity for many years and has arranged and composed many pieces for piano and electronic keyboard. Victoria has a wide range of performing experience, including performing on BBC radio, and has presented workshops for both examiners and teachers. Andrew Smith is based in Manchester where he works as a teacher, arranger and accompanist. His teaching positions took him to Egypt and Iceland before he returned to the UK and joined Trinity College London as an examiner in 2004.
The graded exam books that support the syllabus were put together by Trinity College London Press, with Christopher Hussey arranging many of the pieces: Christopher Hussey is a composer, arranger, audio producer and educational author. His original music has been performed internationally and has been shortlisted in BASCA’s British Composer Awards and recorded by the Czech Philharmonic Wind Ensemble. As an orchestrator and arranger, he has produced many scores for musical theatre, TV and concert halls, and has over 1,800 published arrangements ranging from choral pop to rock classics for jazz piano.
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4 Trinity Electronic Keyboard Sample Booklet 2019–2022 Trinity Electronic Keyboard Sample Booklet 2019–2022
The exam at a glance About the exam
PIECES 66 marks Choose three pieces TECHNICAL WORK each worth 22 marks. 14 marks A keyboard exercise (except at Initial), followed by either scales & chord knowledge or technical exercises.
SUPPORTING TESTS 20 marks A combination of two tests from sight reading, aural, improvisation and musical knowledge, depending on grade and candidate choice.
Pieces Candidates can express their musical identity by choosing pieces from our varied repertoire lists, while flexible performance options allow them to perform to their strengths. These options include playing an own composition, and playing an own choice piece or their own arrangement at Grades 6–8. Technical work This section of the exam supports the development of technical skills by assessing candidates’ performance in a range of technical work options. To help develop skills specific to electronic keyboard, Trinity’s technical work includes a compulsory keyboard exercise (except at Initial), designed to develop awareness of chords and chord progressions and arpeggio playing and agility; exercises that develop skills such as knowledge of keyboard functions; and an optional sequencing exercise at Grades 6–8. Supporting tests Trinity’s supporting tests encourage the development of the broader musical skills of sight reading, aural, improvisation and musical knowledge. The choice offered to candidates in this part of the exam allows them to demonstrate their own musical skills in different ways.
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Exam structure and mark scheme
Initial–Grade 5 Maximum Grades 6–8 Maximum marks marks
PIECE 1 22 PIECE 1 22
PIECE 2 22 PIECE 2 22
PIECE 3 22 PIECE 3 22
TECHNICAL WORK 14 TECHNICAL WORK 14
Keyboard exercise (Grades 1–5 only) Keyboard exercise Either scales & chord knowledge Either scales & chord knowledge or exercises or exercises
SUPPORTING TESTS 20 SUPPORTING TEST 1 10
Any TWO of the following: Sight reading Sight reading Aural Improvisation SUPPORTING TEST 2 10 Musical knowledge ONE of the following: Aural Improvisation
TOTAL 100 TOTAL 100
DOWNLOAD OUR ELECTRONIC KEYBOARD SYLLABUS 2019–2022
6 Trinity Electronic Keyboard Sample Booklet 2019–2022 Trinity Electronic Keyboard Sample Booklet 2019–2022
Electronic keyboard graded exam books
Trinity’s electronic keyboard graded exam books feature a selection of specially arranged pieces and original compositions across a range of styles, as well as the full technical work requirements for the grade, providing teachers and learners with everything they need to prepare for their Trinity electronic keyboard exam. Pieces Initial BRAHMS Lullaby (Wiegenlied) CLARKE Rock to the Roll DVORˇ ÁK Largo (from Symphony no. 9, ‘From the New World’) EASTBURN WINNER Little Brown Jug MOZART Voi, che sapete (from The Marriage of Figaro) RODGERS Edelweiss (from The Sound of Music) SULLIVAN Little Buttercup (from HMS Pinafore) TRAD. Michael Row the Boat* TRAD. The Skye Boat Song VIVALDI Spring (from The Four Seasons) Grade 1 BEETHOVEN Pastoral (theme from Symphony no. 6) ELGAR Land of Hope and Glory (Pomp and Circumstance March no. 1) LOGGINS Footloose* SCHUBERT Unfinished Symphony (theme from Symphony no. 8) SMITH Whirling Dervishes TRAD. Cockles and Mussels TRAD. English Country Garden TRAD. Shaker Tune TRAD. Star of County Down TRAD. Wild Mountain Thyme Grade 2 BURGMÜLLER Arabesque in A Minor, op. 100 no. 2 GERSHWIN Summertime (from Porgy and Bess) HANDEL Air (from Water Music)* HANDEL Sarabande (from Suite in D Minor, HWV 437) LITTEN Homeward Path MERRILL Mambo Italiano MOZART Eine Kleine Nachtmusik, K. 525 SHERMAN Chitty Chitty Bang Bang TRAD. Charlie Is My Darling TRAD. Scotland the Brave Grade 3 J S BACH Arioso (from Cantata, BWV 156) CLARKE Mediterranean Breeze FAULKNER Arkansas Traveller HOLST Jupiter (from The Planets) KANDER Theme from New York, New York MORODER The NeverEnding Story TCHAIKOVSKY Dance of the Little Swans (from Swan Lake) TRAD. Farewell to Lochaber TRAD. The Irish Washerwoman TRAD. The Sligo Maid*
* Own interpretation piece 7 Trinity Electronic Keyboard Sample Booklet 2019–2022 Trinity Electronic Keyboard Sample Booklet 2019–2022
Grade 4 BADELT/ZIMMER He’s a Pirate (from Pirates of the Caribbean: The Curse of the Black Pearl) BEETHOVEN Allegro (theme from Symphony no. 5, 4th movt) BEETHOVEN Pathétique (theme from Piano Sonata no. 8, 2nd movt) BRAHMS Hungarian Dance no. 5 JOPLIN Weeping Willow Rag LOWRY How Can I Keep from Singing? SHAIMAN You Can’t Stop the Beat (from Hairspray) SMITH High Wire TRAD. Wade in the Water* WAGNER Ride of the Valkyries (from Die Walküre) Grade 5 DORHAM Blue Bossa* HANDEL The Arrival of the Queen of Sheba (from Solomon) HURWITZ Engagement Party (from La La Land) PROUDLER Twilight Tango ROSSINI The Thieving Magpie (theme from the overture) SOUSA The Washington Post STRAUSS II Voices of Spring TRAD. Amazing Grace TRAD. Deep River TRAD. Hardiman the Fiddler Grade 6 J S BACH Jesu, Joy of Man’s Desiring (from Cantata, BWV 147) CHOPIN Romanze (from Piano Concerto no. 1, op. 11) DOWLAND Flow, My Tears JOBIM Girl from Ipanema MORTON King Porter Stomp PROUDLER Samba Nights TRAD. Celtic Medley* WHITE/MCKAY/WILLIS (EARTH, WIND & FIRE) September Grade 7 J S BACH Toccata and Fugue in D Minor, BWV 565 CROW & FROOM Tomorrow Never Dies* GLASS The Poet Acts (from The Hours) LITTEN Enchantment MENDELSSOHN-BARTHOLDY Wedding March (from A Midsummer Night’s Dream) MOZART Violin Concerto in G, K. 216 (1st movt) PARRY Jerusalem TRAD. The Contradiction Reel Grade 8 CHOPIN Minute Waltz (Waltz in Db Major, op. 64 no. 1) GILLESPIE A Night in Tunisia GRAINGER In Dahomey LISZT Friska (from Hungarian Rhapsody no. 2) PAGANINI Caprice no. 24 in A Minor (from 24 Caprices for Solo Violin)* THISELTON Spring Dance WHELAN Riverdance WIDOR Toccata (from Symphony for Organ no. 5, op. 42 no. 1) * Own interpretation piece
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Grade 4 Sample pieces — About the pieces BADELT/ZIMMER He’s a Pirate (from Pirates of the Caribbean: The Curse of the Black Pearl) BEETHOVEN Allegro (theme from Symphony no. 5, 4th movt) Initial: TRAD. / Michael Row the Boat BEETHOVEN Pathétique (theme from Piano Sonata no. 8, 2nd movt) This traditional spiritual song gives players the opportunity to present a personal arrangement, with BRAHMS Hungarian Dance no. 5 candidates able to choose voices and rhythms, add dynamics, and even vary rhythm and harmony to JOPLIN Weeping Willow Rag produce a creative response. This enables them to explore the features of their instrument, reflecting LOWRY How Can I Keep from Singing? real-life performance scenarios in which players are presented with a lead sheet. SHAIMAN You Can’t Stop the Beat (from Hairspray) “Own interpretation pieces offer the student a great place to develop their creative skills and add their SMITH High Wire own ideas to a piece. It’s fun here to extend the right-hand rhythm, adding extra notes from the chords TRAD. Wade in the Water* and passing notes from the scale of C major, to develop an exciting melody!” Peter Buckby WAGNER Ride of the Valkyries (from Die Walküre) Grade 5 Grade 2: HANDEL / Sarabande (from Suite in D Minor, HWV 437) DORHAM Blue Bossa* Handel popularised the dance form of the Sarabande in the Baroque period, and today many film and TV HANDEL The Arrival of the Queen of Sheba (from Solomon) adaptations exist of the piece. This arrangement features woodwind and brass voices over the repeating HURWITZ Engagement Party (from La La Land) harmonic sequence, and keyboard functions such as fill-in and voice changes. It also includes more complex PROUDLER Twilight Tango right-hand writing, including counterpoint and 3-part chords. This builds on the simpler 2-part chords used in ROSSINI The Thieving Magpie (theme from the overture) earlier grades, enabling the player to produce fuller right-hand textures, as well as simple counter-melodies. SOUSA The Washington Post STRAUSS II Voices of Spring “This piece covers both legato playing and requires practice of scalic runs with a consistent fingering to achieve a good performance of the middle section. Though written in time it should be played TRAD. Amazing Grace over a style.” Peter Buckby TRAD. Deep River TRAD. Hardiman the Fiddler Grade 4: JOPLIN / Weeping Willow Rag Grade 6 Originating in America, ragtime is characterised by its jaunty rhythms and whimsical mood. Scott Joplin, a J S BACH Jesu, Joy of Man’s Desiring (from Cantata, BWV 147) pioneer of the form, wrote more than 40 original ragtime pieces, such as ‘Entertainer’ and ‘Maple Leaf Rag’, CHOPIN Romanze (from Piano Concerto no. 1, op. 11) which share the same style and character. Written in the two-step march style, ‘Weeping Willow Rag’ features DOWLAND Flow, My Tears melodic syncopation across barlines, changing harmonies and key changes. While this arrangement assigns JOBIM Girl from Ipanema the left-hand stride pattern to the keyboard auto-accompaniment, the right hand needs to manoeuvre shifts MORTON King Porter Stomp between chord positions, and handle increased finger independence and a greater range of articulations. PROUDLER Samba Nights TRAD. Celtic Medley* “There are some speedy chord changes in this arrangement — you will need to consider chord voicing WHITE/MCKAY/WILLIS carefully and practise moving from chord to chord swiftly and smoothly. This piece also has syncopated (EARTH, WIND & FIRE) September rhythms just prior to a chord change — make sure you work on co-ordination, keeping your hands independent, to achieve the correct harmonic rhythm.” Peter Buckby Grade 7 J S BACH Toccata and Fugue in D Minor, BWV 565 Grade 6: MORTON / King Porter Stomp CROW & FROOM Tomorrow Never Dies* GLASS The Poet Acts (from The Hours) “Jelly Roll” Morton was an early jazz musician who combined classical, ragtime and blues with Caribbean LITTEN Enchantment influences. Written only two years after ‘Weeping Willow Rag’, ‘King Porter Stomp’ came to define MENDELSSOHN-BARTHOLDY Wedding March (from A Midsummer Night’s Dream) the emerging swing style and quickly became a foundation of every big band’s repertoire, with many interpretations being recorded over the decades. Morton himself considered the piano as less of a solo MOZART Violin Concerto in G, K. 216 (1st movt) instrumental voice and more like an orchestra. Accordingly, this arrangement exploits a variety of jazz voices PARRY Jerusalem including vibraphone, jazz flute, and big band brass. Keyboard functions include dual voice and pitch bend TRAD. The Contradiction Reel to produce a soundscape with fuller colour and authenticity, and multiple accompaniment variations which Grade 8 provide rhythmic energy and variation at this fast, bebop tempo. CHOPIN Minute Waltz (Waltz in Db Major, op. 64 no. 1) “Multiple registrations are required, together with control of those registrations through a pedal so as not GILLESPIE A Night in Tunisia to disrupt the flow of the piece. Techniques can differ from instrument to instrument so it is important to GRAINGER In Dahomey understand the features of your keyboard well.” Peter Buckby LISZT Friska (from Hungarian Rhapsody no. 2) PAGANINI Caprice no. 24 in A Minor (from 24 Caprices for Solo Violin)* THISELTON Spring Dance WHELAN Riverdance ORDER YOUR BOOKS FROM OUR ONLINE SHOP: ORDER YOUR BOOKS FROM OUR ONLINE SHOP WIDOR Toccata (from Symphony for Organ no. 5, op. 42 no. 1) trinitycollege.com/shop-keyboard
9 Trinity Electronic Keyboard Sample Booklet 2019–2022 Trinity Electronic Keyboard Sample Booklet 2019–2022 EK 0 - Michael, Row the Boat Ashore - Own Interp. SampleCandi dpiecesate
InitialEKOw n0 int e-rp reMtatiiocn*hael, Row the Boat Ashore - Own Interp. C a oniced i da te Style Michael Row the Boat Own interpretation* Trad. Voices: oiceS t y l e : Michael Row the Boat Style Trad Voiqc e=s 1: 20 Michael Row the Boat StyCle: 1 2 4 4 Ó j Trad & 4 q = 120 œ œ. œ œ œ ˙ œ œ C œ 1 2 4 4 & 4 Ó œ. j œ œ ˙ œ 4 F C œ œ D‹ œ œ 3 5 & w ˙ œ œ. j œ œ œ œ ˙ œ œ 4 F C D‹ 3 5 & w ˙ œ œ. j 8 G G7 C œ C œ œ œ 2 4 1 2 3 ˙1 œ œ . j œ œ œ & ˙ ˙ ˙ œ œ œ œ œ ˙ 8 G G7 C C 2 4 1 2 3 1 & œ. j œ œ ˙ œ œ 12 ˙F C œ œ D‹ ˙ ˙ 3 œ 5 & w ˙ œ œ. j œ œ œ œ ˙ œ œ 12 F C D‹ 3 5 & w ˙ œ œ. j œ 16 G G7 œ C œ œ ˙ œ œ
& w w w w 16 G G7 C * Candidates should refer to the current syllabus requirements for own interpretation pieces. & © Copyrightw 2018 Trinity College Londonw Press Ltd w w
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2 opyri t 201 Trinity olle e ondon re td Please set up for the next piece Trinity Electronic Keyboard Sample Booklet 2019–2022 Trinity Electronic Keyboard Sample Booklet 2019–2022
Grade 2 Sarabande
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17 bD‹ A Œ F œ C œ Œ & 1 2 1 œ œ œ œ 3 2 1 œ œ 3 œ 2 œ œ #œ œ œ œ œ #œ œ œ œ œ œ b mf Œ œ œ Œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ mfG#‹œ D‹ #œ B¨ A œ 21 4 3 1 1 2 4 1 2 G‹ D‹ B¨ A 21 œ œ 4#w b3 1 œ œ œ œ Œ 1 2 4 œ œ 1 œ w Ó & œ œ œ œ œ œ œ 2 œ œ &b œ ecorderœ œ œ œ œ œ œ œ Œ œ œ œ œ œ #w Ó D‹ A œ F œ C 25 4 4 ecorder2 2 3 D‹ A F C 25 4 4 b Œ Ó ˙ ˙ Œ œ Œ 3 œ & 2 ˙ ˙ œ #˙ ˙ 2 ˙ ˙ ˙ ˙ b f & ˙ ˙ Œ œ ˙ ˙ Ó ˙ ˙ Œ œ ˙ ˙ Œ œ ˙f G‹ ˙ #˙ D‹ ˙ B¨ G‹ D‹ 5 A 4 D‹ 29 4 2 4 4 5 3 2 2 1 1 2 3 2 1 1 1 G‹ D‹ B¨œ G‹œ œ D‹˙ 5 A ˙ 4 D‹w. 29 b4 ˙ ˙ Œ œ 2 4 #œ 4 œ 5 3 #˙ 2 & 2 ˙ ˙ ˙. 1 œ 1 ˙ 2 3 œ 2 1 ˙ 1 ˙ 1 w. œ œ œ ˙ ˙ w. &© Copyrightb ˙ 2018˙ Trinity CollegeŒ œ London˙ .Press Ltd œ ˙ #œ œ œ ˙ #˙ w. 11 opyri t 201 Trinity olle e ondon re ˙td . œ Please set up for thew n.ext piece
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Scott oplin = 126 Voicesq: Piano, Clarinet Style: ianoRagtime Weeping Willow Rag 1 2 1 2 1 2 1 4 Sc1ott oplin q = 126 œ #4 œ #œ œ œ œ œ œ œ œ œ œ j iano œ œ œ ‰ œ œ & 4 1 3 œ œ œ œ œ œ 1 œ 2 œ 1 œ 2#œ1 œ œ œ œ œ2 ˙ œ 1 2 1 4 1 # f œ œ œ œ j ?4#4œ #œ œ œ œ œ œ œ œ œ œœœœœ œœ ‰ œ œ & 4 1 3 œ œ 1 œ œ œ œ∑ 4œ œ œ œ œ œ œ 2 ˙ #Accompœ off œ œ 4 5 Accomp on f Rhythm off Sync start œ œ ?#4 œ œ œ œ ∑ 4 5 4 5 Accomp off 3 Accomp on { G 1 G7 4 C C‹ G 2 5Rhythm off 3 4 Sync start 1 # ˙ j 1 j 1 2 . ˙ ˙ œ œ œ œ œ œ œ œ j j j œ œ & . ˙ œ#œ 5 J œ œ œ œ œ œ œ 3nœ œ œ œ œ œ bœ œ { G 1 G7 4 C . C‹ . G œ œ œ 2 J J 5 3 4 1 1 1 2 # ˙ j œ j . ˙ ˙ œ#œ œ œ œ œ œ œ j j œ j œ œ & . ˙ œ nœ œ œ J œ œ œ bœ œ œ œ œ œ œ œ œ G E‹ D . A7 J J . 3 D 9 4 1 5 œ œ 2 œ œ 1 4 2 # ˙ ˙ œ #œ œ œ œ œ œ œ œ ˙ œ & ˙ ˙ #œ œ œ œ œ ˙ œ œ œ G E‹ D A7 3 D Fill 9 4 1 5 œ œ 2 œ œ 1 4 2 # ˙ ˙ œ #œ œ œ œ œ œ œ œ ˙ œ & ˙ ˙ #œ œ œ œ œ ˙ œ œ œ G G7 C C‹ G Fill 13 1 j # ˙ ˙ œ œ œ œ œj j j j & ˙ ˙ œ#œ œ nœ œ œ J œ œ œ œ œ œ œ œ#œ œ G G7 C œ. œ C‹œ bœ. G œ œ œ œ 13 1 # ˙ j j ˙ ˙ œ œ œ œ œ œ œ œ j j j œ œ œ & ˙ œ#œ nœ œ œ J œ œ œ1. œ œ 2. #œ 3 E‹ Eº œ. œ œ bœ. œ œ œ œ 17 B7 2 G D7 G G 1 œ œ 5 2 1 # #˙ œ. J œ œ œ œ œ œ œ œ œ#œ œ œnœ n & ˙ œ. œ bœ œ œ 1. ˙ œ œ œ œ .2. œ Œ Ó 3 E‹J ‰ ‰ JEº Œ œ 17 B7 2 G D7 G G 1 5 2 Fill to B # œ. œ œ œ œ œ œ œ œ 1 n lay #rep˙eat œ in. t Je e œam bœ œ œ œ œ#œ œ œnœ œ . Œ Ó & J ‰ ‰ J Œ œ œ ˙ œ œ œ . œ © Copyright 2018 Trinity College London Press Ltd Fill to B
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larinet
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13 Trinity Electronic Keyboard Sample Booklet 2019–2022 Trinity Electronic Keyboard Sample Booklet 2019–2022
Grade 6
oice onky Tonk iano aK i n l gte aP o ribtrap ero neS at o m itpar -o Ger Brra 6 Bi Band Bra So t Trombone Style a t a Bi Band SKing in Porter Stomp 2 Vo iSplicest: poi n t H ocnckomy-Tpo Bnk PIano, J azz Flute, J azz Vibraphone, J azz Guitar, t er in o in ered c ord ettin to be ed ll oice to o nd at ritten pitc nle ot er i e tated oi c e on Pokwye Tronk Bra ianss (oor B aig B a l ndte B r aas s ) , Siborfap t Troonmeb aon e s itar o er Bra Bi Band Bra So t Trombone St y l e : F Tarsant J apzoz iti, Boign Bi a anK d ollSiwnoi ngg Pibroap onr t e andr S ittaor tmo o ndp - cGta re –16 t ro o t Style a t a Bi Band S in Sp l i t P o i n t s : A cictoc m bpe. ndB2 ran e 1 itc bend to be ed ere in tr cted lide p ard to ritten note Split point ccomp B2 VoOictehse:r i n f o : H oFninkgye-Treodn kc hPoIardn os,e Jttaiznzg Ftolu tbee, uJ saezdz. Vibraphone, J azz Guitar, t e r i n o P in e o Awlel vrr oBedirca ec osss t (orod sr o Beuitngtin d B a tnt odw berBitr ta es nse )d p, iS t collhf t ( Toiunrcoleem s sbto oo n tohe ndesrw iaste rstaittteend) pi. tc nle ot er i e tated St y l e : F T a rTsantr aJ napszopz itio, sBoiitgnio Bi na ains d a ollsS wfoi nllog w sib: Vrap onibrapheo andne a ind tGaur ittoa r o ndto so u ncdta O ec t–a1 vt e r-o1 o througthout Sp l i t P o i n t s : A c Pictoc itmc hbp e.b ndBen2 dran e rang e 1 = 1;i tPci t cbhe ndbe ntod beto b e e uds ed ewreh einre t irn scttreud c te d : lid e= gpli daer udp wtoa r rdsit teon w nroitttee n notes Other info: Fingered chord setting toK be iunsedg. Porter Stomâ p All voices to sound at written pitch (unless otherwise stated). elly oll orton Transposition is as follows: Vibraphone and Guitar to sound Octave -1 throughout Jelly Roll Morton PSiwtcuhn bge qnuda rvaenrsgeq = = 11; 6P2Ki–tc18h8i bnendg to Pbe uoserd wtheerer i nsStrutctoed:m â =p glide upwards to written notes Fast Jazz elly oll orton onky Tonk iano Swung quavers q = 162–188 3 4 > Fast2 Jazz 2 2 3 b œ “” bœ œ œ œ 1 œ b 4 onky Tonk ianoœ œ. œ œ. œ bœ œ nœ bœ n œ &b bb4 œ œ œnœ œ J œ œ œnœ œ J Œ Œ 3 3 3 4 > 2mf 2 2 3 b œ “” bœ œ œ œ 1 œ b b4 œ œ œ. nœœ œb˙œ. œ bœ œ nœ bœ n œ &b bb4b4œœ œnœ œ Jb˙ ?œœ œnœ œ J ˙ bœ œ œ œ œ Œ ? bœ Œ &b b 4 3œ Œ ˙ 3 Œ n˙ & nœ Œ Œ œ œ1 nœ1 œ1 #œ1 1 mf Sync start n˙ 5 4 4 3 2 bœ nœ b˙ > b b4 a l te ? œ ˙ bœ œ œ œ œ ? b b œA¨ Œ Gb¨˙7 œF7 Œ n˙ &B¨‹ Œ bœ Œ &5 4 1 1 œ1 #œ1 nœ1 Syncœ2 start n˙ œ2 nœ { 5 4 4 3 2 > bœ b b œ. œ œ œ> œ œ &b b a l te œ œ ‰ œ nœ œ J nœ œ ‰ J œ A¨œ œ G¨œ7 œ F7œ œ œ œ B¨‹ J 5 . œ . . . . { 2 Accomp on 2 > b œ. œ œ œ œ b b E¨7 ‰ œA¨ œ Bº Eœ¨7 ‰ J œ œ & b nœ J nœ 1 9 œ œ1 œ1 œ œ œ 2 œ1 œ œ œ 2 1 4 5 . œ2 . . . . J b Accompj on nœ œ nœ œ œ œ œ b bb ‰ J . ‰ J ‰ . ‰ œ nœ œ nœ bœ nœ œ bœ & E¨7 œ #œ œ #œ œ A¨ J Bº E¨7 œ œ 1 1 4 Fill 9 2 1 2 1 2 1 5 b b j nœ œ. nœ œ. œ œ œ œ œ nœ bœ œ &b b ‰ Aœ¨ œ GJ¨7 F7œ ‰ J ‰ ‰B¨‹ nœ nœ bœ œ 13 #œ #œ J2 œ 2 Fill > b b œ. œ œ œ œ œ &b b œ œ ‰ œ nœ œ J nœ œ ‰ J œ A¨œ œ G¨œ7 œ F7œ œ œ œ B¨‹ J 13 . œ . . . . 2 2 > b b œ. œ œ œ œ œ b b D¨ G7 A¨ F7 ‰ Bœ¨7nœ œ E¨7 J nœ œA¨ ‰ J Addœ a & 2 œ 5 œ 17 œ. œ œ œ œ. œ. œ. œ œ. 4J Vibes b b j œ. œ œ œ . . > . œ œ œ- >œ &b b ‰ œ nœ œ J œ nœ œ œ œ bœ œ œ œ œ œ œ Œ D¨ G7 A¨ F7 B¨7 E¨7 A¨. Add a 17 2 5 4 Fill to B Vibes j œ. . > - > b b a l te a ibrap oneœ œ œ œVibes toœ soundœ. an octaveœ lower thanœ œ written. œ œ œ œ &b b ‰ œ nœ œ J nœ bœ œ œ œ œ. Œ A¨ G¨7 F7 B¨‹ Fill to B 21 ” 2 a “ l te a ibrap one Vibes to sound an octave lower than written > b 2 j œ œ j œ œ. &b bb ‰ j ‰ j ‰ œ nœ œ ‰ œ nœ œ ‰ J ‰ A¨ œ œG¨œ7 œ œ F7œ œ œ œ œ œ B¨‹ 21 m>f . . . “” 2 j œ j >œ . b b j 2 œ œ &1 © bCopyrightb o‰pyr i 2018 t 2‰01 Trinity Trjinit yCollege ollœe e Londonondon r ePress td Ltd œ ‰ œ nœ œ ‰ œ nœ œ ‰ J ‰ >œ œ œ œ. œ. œ œ œ œ. 14 mf
1 opyri t 201 Trinity olle e ondon re td Trinity Electronic Keyboard Sample Booklet 2019–2022 Trinity Electronic Keyboard Sample Booklet 2019–2022
E¨7 A¨ Bº E¨7 2 25 < > 1 2 1 1 2 1 4 “ nœ nœ œ œ œ œ bb b ‰ j œ ‰ j ‰ j œ Œ ‰ œ nœ œ œnœbœ œbœ Œ & b œ #œ œ œ œ #œ œ J nœ Fill
A¨ G¨7 F7 B¨‹ 2 29 <“> 2 > b b j œ œ j œ œ. &b b ‰ j ‰ j œ œ œ Œ ‰ œ nœ œ ‰ œ nœ œ ‰ J ‰ >œ œ œ œ œ œ œ œ œ
D¨ G7 A¨ F7 B¨7 E¨7 33 5 4 <“> > b b j œ œ œ œ œ œ œ œ œ j œ &b b ‰ œ nœ œ ‰ J ‰ J nœ ‰ ‰ bœ œ œ œ œ 3 J .
uitar to sound an octave lower than written a itar A¨ loco F‹ C7 1 2 3 36 <“> 3 1 2 3 1 2 - œ. bœ œ œ > œ œ- bb b œ nœ œ #œ nœ #œ nœ nœ ‰ nœ œ œ nœ Œ & b œ œ3 nœ1 3 J . 3 mf 3 Fill to C (or A)
F7 B¨‹ A¨ B¨7 3 39 3 2 - > - 2 œ œ œ œ œ > b b ‰ œ œ œ œ œ œ œ œ œ œ j œ œ œ œ œ &b b J nœ ‰ J œ Œ ‰ J ‰ œ œ
tr to sound octave lower Add a Flute a itar a l te E¨ µ F‹ 43 2 1 3 bb b Œ j œ œ- j & b ∑ œ œ œ œ œ nœ ‰ œ œ œ ‰ œ Fill Break - (or Accomp off and Fill)
C7 F‹ B¨‹ B¨ 46 2 4 b b j j j - j &b b ‰ œ œ œ œ ‰ ‰ œ œ Œ ‰ œ ‰ œ œ œ œ nœ - -œ œ œ œ - J œ
A¨ E¨7 A¨ To Power Brass 49 2 2 1 3 œ bbbb ‰ j ‰ j ‰ j œ œ ‰ œ œ. œ Œ Ó & œ œ œ œ -œ œ œ œ œ œ œ œ . J . - > . > Fill Sync. stop
1
15 Trinity Electronic Keyboard Sample Booklet 2019–2022 Trinity Electronic Keyboard Sample Booklet 2019–2022
o er Bra
A¨ µ 4 4 53 3 2 1 1 > . œ. œ-b>œ > œ. b b œ œ œ œ œ œ œ œ œ. b b &b b œ œ œ œ œ œ œ nœ Œ ‰ J -œ œ Œ œ b b b f >
? bb b œ Œ Ó ∑ ∑ bb b b œ. To Big Band Swing Fill (to A) b b Sync stop set for Fill to A
Big Band Swing So t Trombone { G¨ G¨‹ D¨ G¨ G¨‹ D¨ 57 4 b b &b b b œ. œ œ. œ nœ œ ‰ j ‰ œ. œ. œ œ. œ nœ œ ‰ j ‰ œ. mf . . . œ â> . . . œ â>
61 G¨ G¨‹ D¨ B¨7 E¨6 3 A¨7 1 > b b ‰ œ œ bœ œ. œ œ- j &b b b œ. œ œ. œ nœ œ œ ˙ ‰ J ‰ œ ‰ œ Ó . . . J J Fill >
o er Bra G¨ G¨‹ D¨ G¨ G¨‹ D¨ 65 4 b b &b b b œ. œ œ. œ œ ‰ j ‰ œ. œ. œ œ. œ œ ‰ j ‰ œ. . . nœ . œ â> . . nœ . œ â>
o er Bra D¨ So t Trombone G¨ G¨‹ D¨ B¨7 E¨ A¨7 Add Soft 3 4 69 4 Trombones - > . 1 1 1 bœ œ œ œ j j bœ œ œ bbbb œ œ ‰ œ ˙ ‰ œ Œ œ bœ ‰ œ Œ ‰ J & b . œ. . œ. nœ œ J nœ bœ œ . > > ff Fill to B
G¨ Gº D¨ G¨ Gº - > 73 œ. bœ œ œ œ. œ. b b œ bœ œ J œ œ &b b b Œ Ó Œ ‰ Œ Ó
1
16 Trinity Electronic Keyboard Sample Booklet 2019–2022 Trinity Electronic Keyboard Sample Booklet 2019–2022
D¨ G¨ Gº D¨ B¨7 E¨6 76 bœ- >œ . . 4 œ œ œ . b bœ œ J œ œ bœ nœ > œ . &b bbb Œ ‰ Œ Ó ‰ œ ˙ ‰ œ ‰ œ œ œ mf J J J
A¨7 G¨ Gº D¨ G¨ Gº > >. > >. 80 5 bœ. bœ 2 bœ. bœ ∫ œ. b œ ∫ œ. b œ b b œ œ- j bœ. bœ œ œ >œ bœ. bœ œ œ >œ &b b b ‰ œ ‰ Œ ‰ J Ó ‰ Œ ‰ J > f
D¨ G¨ Gº D¨ B¨‹ E¨ A¨7 > 84 b>œ bœ. 2 ∫ œ. b œ > b b bœ. bœ œ œ œ bœ œ œ œ- œ œ bœ. œ. bœ œ œ >œ &b b b Ó ‰ Œ ‰ J ‰ J
D¨ B¨‹ E¨ A¨7 D¨ G¨7 2 4 88 1 3 >œ ˙. œ >œ ˙. œ >œ > œ- 1 œ ˙. œ œœ ˙˙. œœ œœ b b bœ œ bœ. œ. bœ œ bœ. œ. nœ ˙. œ b œ ˙. œ n œ &b b b ‰ J ff
D¨6 µ 92 w Uw b b ww ww &b b b ∑
U ? b b ∑ ∑ Œ Ó b b b r.h. 1-bar Ending Accomp off œ. { (when Ending finished)
Please set up for the next piece 19
17 Trinity Electronic Keyboard Sample Booklet 2019–2022 Trinity Electronic Keyboard Sample Booklet 2019–2022
Sample exercises & scales — About the exercises & scales
Initial: Bossa Boy — keyboard functions This short exercise includes use of both Intro and Ending, and application of a single dynamic change from mp to f. As with all pieces and exercises, care should also be taken to ensure the accompaniment volume is set so the melody can be heard clearly.
Grade 2: Game Over! — pianistic This fun miniature piece includes pianistic elements such as bass clef reading, slurring, and simple chromaticism.
Grade 3: Keyboard exercise This keyboard exercise comprises a scale in the right hand, accompanied by chords in the left hand. It is played with piano voice and auto-accompaniment off, so fully fingered chords must be used. It supports the development of knowledge of the most common chords, together with other relevant performance and technical skills such as bass clef reading, finger dexterity and a sense of pulse. Candidates may select the key used for the exercise from those offered for scales & chord knowledge at the grade — A major and G harmonic minor being available at Grade 3.
Grade 4: Tango Turn — scalic This exercise is evocative of the tango style with its melancholic mood and distinctive rhythm. It contrasts scalic passages with short arpeggios, building on the exercises at lower grades with changes in scale direction, modulation of key and specific articulation directions.
Grade 4: Ab Lydian — modal scales The contemporary electronic keyboard player is constantly looking for new sounds and ways to develop language in accompaniments, improvisations and compositions. Exploration of the modes through the grades can open a new palette of sounds across a breadth of musical styles. Commonly used in a major setting to provide added lift, the Lydian scale sounds particularly effective over major 7th chords.
Grade 7: Spanish Melody — sequencing In this exercise the candidate pre-records the strings and bass lines before the exam and plays only the piano and flute voices as a live performance. Examiners assess the performance of the live part, including synchronisation with the sequenced part. The candidate needs to carefully balance the different parts in order to create an expressive musical performance.
18 Trinity Electronic Keyboard Sample Booklet 2019–2022 Trinity Electronic Keyboard Sample Booklet 2019–2022
Sample exercises & scales
Initialii) Exercises
Bossa1.B Boosssaa B BoyBoyo y —k ekeyboard ybInoitairadl functions nKEcYtionBO ARD FUNCTIONS EXERCISE Intro and Ending Adjust Accompaniment volume as necessary Accom poianciem e n t vco olu mtice itar o ndin an octa e lo er Dynamic change Voice: Acoustic guitar Style Bo a Style: Bossa
q = 100-110 co tic itar A‹ D‹ A‹ E7 4 4 & 4 œ œ œ œ Œ œ #œ œ w m.p . ˙ . . ˙ Intro (short)
5 A‹ D‹ E7 A‹
& œ. œ. ˙ œ. œ. ˙ Œ œ #œ #œ w f Ending (short)
Initial - Smooth Parade 2. Smooth Parade calic Scalic Exercises oicVeo ic eS:tr Sin trin gs StyleSt yl eEn li : Englis h Walta ltz
q = 80 Strin C F G C 1 3 & œ œ œ ˙. 4 œ œ œ ˙. mf G C 5 3 & œ œ œ . ˙ œ œ œ ˙.
1 19 e a r
Trinity ElectronicCandidat eKeyboards prepare se Samplection . and Booklet either se c2019–2022tion . or section 3. Trinity Electronic Keyboard Sample Booklet 2019–2022
. O (music may be used)
GradeCandidate s 2should play one of the following scales in the RH, accompanied by chords I, IV, V7 and VI in the LH, as illustrated below and on page 17. A major or G harmonic minor (candidate’s choice) Grade 2 Piano Style exercise — pianistic Game3.Eithe Gamer Over! — pianistic Game . Over! O O G (from memory) — Examiners select from the following:
Voice: AVoice: major AElectric Electric Piano Piano Style: GStyle: minor None (c andidaNonete’s choice of either harmonic or melodic or natural minor) hands together Mixolydian sqc ale= 130 on A Dorian scaleElectric on G Piano legato min. two octaves Chromatic sc1ale in similar motion starting on5 G and A 2 2 = 901 # mf q A maj#or4 pentajtonic j j & 4 œ ŒŒ‰œ ŒŒ‰hands separately, straigœht Œ Œ‰ œn œ# . J œn œ or swung (candidaœ teœ# ’s choiceœ) œ œ œn G minor penmftatonic . . œ ˙ RH only, straight or swung Blues scale on G ˙ ˙ (candidate’s choice) ˙ ˙ ?##4 ‰ ˙ ˙ ˙ ˙ Chords 4in root position, first and second inversions: E7, D7 Accomp and Rhythm off { Chord progression of I-VI-IV-V7-I in the following keys: RH only or LH only (candidate’s choice) A major, G minor
5Or 1 2 13 3. # # (music may be used) — Candidaj tesœ .prepare all three exerciœses. œ œ. C&andidates choœ# osœe. onŒŒ‰e exercise to play fiœrst. Exœaminers thŒŒ‰en select one of tJhe remaining twŒÓo exercises to be perfoœrmedœb . œ œ ˙ . Highland Laddie keyboard functions exercise . ?#. Havana M˙oonlight ˙ ˙ ˙# scalic eœxercise Œ Œ œ ˙ 3. Midnig# ht Valley pianistic exercise œ œ œ œ { 1 2 1 .
Grade 3 Keyboard . e ar exercise e er e
A major scale accompanied by LH chords I, IV, V7 and vi
A F©‹/A 5 D/A E7/G© A 4 1 4 4 1 4 1 3 1 3 1 œ 1 3 1 3 1 # #4 œ œ œ œ œ œ œ œ & # œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ * œ ˙ ?# #4 w w w ˙ ˙ # 4 w w w ˙ ˙ {* Chord V may be played in place of V7 (ie E/G may be played in place of E7/G ) 16
20 20 Quick Voice changes requiring Registration Memory 3. er e GRADE 4 KEYBOARD FUNCTIONS EXsERCISE .M aarri mm baa aB a b— y ey oar nctions Voice: Muted Trumpet, Marimba Style: Blues Rock Voices: te r pet ari a so n in an octa e lo er Style: l es oc
q = 120 te r pet ari a E¨7 3 2 1 1 3 b - j 1 b b4 Œ œ œ œ. bœ œ œ œ ‰ Œ Œ œ œ œ œ ˙. b˙. Œ & 4 œ. œ. œ œ œ. œ -f - - tre olo
te r pet ari a 5 A¨7 3 E¨7 3 1 -. -. -. 1 b œ œ bœ bœ bœ œ œ &b b Œ ‰ Œ Œ nœ œ œ œ . ˙. Œ J -œ. œ ˙
te r pet tre olo slo in to ar s Trinity Electronic Keyboard Sample Booklet 2019–2022 ari aTrinity Electronict e Keyboarden an inis in Sample on Booklet b 2019–2022 B¨7 2 A¨7 E¨7 3 9 1 j œ j œ j œ w U bbb Œ ‰bœ nœ Œ Œ ‰ bœ nœ Œ Œ ‰ œ ‰ bw bw Grade& 4 J b œ œ bbœ nœ J J J Ending Tango . G a rad e 4 -Turn T r ang o— T —su scaliccrnalic
VVooiiccee: :G u i ta ir t(asor u snod n in ing an o canta voce talow er l)o er SSttyylele: :T a n gan o o
q = 120 itar
C‹ 1 F‹ 1 3 1 3 1 œ œ b 4 j œ œ œ œ bœ nœnœ œ œ œ &b b4 ‰ œ œ œ œnœnœ œ Œ ‰ œ œnœ œ Œ mf #œ J G C‹ D7 G
5 4 œ œ 3 4 2 nœ œ œ œ œ œ . . . . œ œ C minorb scale:J melodic (two octaves) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b b ‰ nœ 5 nœ œ ‰ nœ nœ œ ‰ œ Œ & 4 1 4 4 J 1 3 1 3 1 1 3 1 4 1 J3 1 œnœ nœ œ bœ bœ œ b C‹ œ œ œ F‹ œ œ œ 9 b nœ œ 1œ bœ & b 3 œ œ1 nœ 1 3 1 bœ. œ. œ œ- œ œ œ . . œ œ- œ œ œ œ bœ œ œ bb nœ œ œ œ œ ‰ œ œ Œ œbœ œnœ œnœnœ ‰ J Œ & b œ œ œ#œ œnœ nœ œ J œ œ bœ ? b œ œ œnœ œ ? bœ œ œ œ b œG œ &A¨ œ nœ nœ bœGbœ œ G7 C‹ œ œ b 1 3 1 œ œ 1 1 3 1 œ4 œ 4 1 3 1 5 5 3 œ4 3 1 13 2 . . œ 3 2 1 œ œ œ œ . . nœ œ œ j œ œ œ nœ œ œ œ œ œ œ œ œ œ C minorbb scale‰ :J natural (two ocœntaœves) ‰ œ œ ‰ J œ œ ‰ J œ Œ & b œ œ 5 4 1 4 4 { 1 3 1 3 1 1 3 1 4 1 3 1 œ œ œ œ œ 2 b œ œ œ œ œ œ œ œ &b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Grade 4 œ œ œ ? œ œ œ œ ? œ œ œ œ bb œ œ œ & œ œ œ œ œ œ œ œ œ œ b — modal1 3 scales1 œ œ 1 3 1 œ œ 4 1 3 1 5 Ab Lydian5 œ4 3 1
Lydian scale on Ab (two octaves) 3 { 2 3 1 3 1 4 1 3 1 1 3 1 4 1 3 1 3 2 œbœ œ œ œbœ œ œbœ œ œ & bœ œ œbœ bœ bœbœ œ œ œ bœ bœ œ œ œ œ bœ bœ ? œ œbœ ? bœbœ œ œ bœ œ œbœ & œ bœ œ bœ œ œ bœ bœ3 1 4 1 3 bœ œ 1 2 1 œ œ 3 1 4 1 bœ3 bœ œ1 œ4 œ4 œ1
Mixolydian scale on E (two octaves) 1 { 1 3 1 4 1 3 1 4 5 4 3 1 4 1 3 œ #œ œ œ œ #œ œ & œ#œ#œ œ œ#œ œ œ œ œ #œ œ œ#œ œ œ œ #œ #œ œ œ œ #œ œ œ ? #œ œ œ#œ #œ œ œ#œ œ #œ œ œ#œ œ œ œ #œ œ #œ œ 1 3 1 4 1 3 1 3 1 1 œ #œ œ5 #œ 4 1 3 œ œ5
Chromatic scale in similar motion starting on Ab (two octaves) 1 1 3 1 { 3 1 3 1 2 3 1 3 1 2 3 1 3 2 3 1 3 1 2 3 21 œ #œ œ #œ œ œ #œ œ & œ #œ œ #œ œ #œ œ bœ nœ #œ œ œ #œ œ #œ œ œ #œ œ #œ ? œ #œ œ #œ œ #œ œ œ œ #œ œ #œ œ & œ bœ3 nœ1 #œ3 2 1 3 1 3 2 1 3 1 3 1 3 1 2 3 1 3 œ1 œ2 #œ3 1
3 3 1 3 2 1 3 1 3 2 1 3 1 1 3 2 1 3 1 3 2 1 3 1 3 bœ œ bœ œ œ bœ œ bœ {& œ œ bœ œ bœ œ bœ œ œ bœ œ bœ œ œ bœ œ bœ œ bœ œ bœ œ œ bœ œ bœ bœ ? œ bœ œ œ bœ œ bœ œ & 3 œ1 bœ3 œ1 2 3 1 3 1 2 3 1 3 1 3 1 1 œ2 bœ3 œ1 bœ3 2 3 1 3 {20 Trinity Electronic Keyboard Sample Booklet 2019–2022 Trinity Electronic Keyboard Sample Booklet 2019–2022
Grade 7
Spanish . a e Melody — se encin— sequencing Sequencing exercise Rhythm VOoincleys: :8 b eat Strin s ass l te Piano Left Vo icSetyle Sp: lit: D 3 eat The volum eSplit of t hpeo isnetq: ue nec te dV oitrcaec k should be set lower than the right and left voices so Victoria Proudler that the Gliv re atp ederrf oeinrm o7a: n:c e e Sis p col elaeanr. i os ht em pre erelcoord ey trac s o l e appropriately set so t at t e li e per or ance is clear
q = 75 l te # œœœœœ œ œœœœ œœœœœ œ œœœœ œœœ œ œ #4 œœ œ œœœ œ œœœ œ œ œ#œœœ i e & m4f Piano ##4 œ œœ œ œœ œ œ œœ & 4 œ œ œœ œ œ œœ œ#œ œ œœœ œ œ œ œ mf œ œ œ œ Strin s ## 4 {& 4 w w w w w Pre recor e mp w ww ww w ass j j j j ? ## 4 . . . . 4 mœp œ ˙ œ œ ˙ œ œ ˙ œ œ œ œ Sync start
5 { Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~ œœ œ œœ œ œ ## ˙ œœœœœœœ ˙ œœ œœ œœœœ œœ œœœœœ œœœœœ œ œ œœœ & 3
# œ œœ œ œœ œ œ œ œ & # œœ œ œ œ œ œ œ œ#œ œœ œ œ œ œ œ œ œ #œ œ œ ## & w w w { w ww ww #w ? ## j j j j { œ. œ ˙ œ. œ œ œ œ. œ ˙ œ. œ ˙ 9 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # w œ œ œ œ œ œ œ œœœœœ œ ˙ w & # fade # & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ œ œ œ œ œ œ # & # w { w ww w w ? # j j j j # œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙
22{ Trinity Electronic Keyboard Sample Booklet 2019–2022 Trinity Electronic Keyboard Sample Booklet 2019–2022
Support and resources
Join us online to access a range of resources to support electronic keyboard teaching and learning at trinitycollege.com/keyboard-resources
Discover online digital content, including videos and downloadable handouts from teachers and leading musicians, with advice and support on: Repertoire Technical work Keyboard techniques
Contact us 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
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