Acoustic Guitar Syllabus 2020–2023 Or the Plectrum Guitar Section of the Guitar Syllabus 2016–2019, but Not a Mixture of Both

DJANGO REINHARDT JUSTIN BIEBER THE BEACH BOYS ACOUSTIC GUITAR THE LUMINEERS SYLLABUS BILL WITHERS Qualification specifications CHET ATKINS for graded exams 2020–2023 THE KINKS LED ZEPPELIN CAROLE KING BOB MARLEY ED SHEERAN BRUNO MARS THE BEATLES ELTON JOHN JOE PASS EXTREME EAGLES CHANGES FROM THE PLECTRUM GUITAR EXAMS ◗ Repertoire lists refreshed at all levels, featuring folk, acoustic, rock and pop, jazz, blues and country styles alongside favourite pieces from the plectrum guitar lists ◗ New exam books, containing all the pieces listed in this syllabus ◗ Repertoire now offers opportunities for both fingerstyle and plectrum playing ◗ Backing tracks now available for selected pieces ◗ Duets now available up to Grade 5 ◗ All pieces now presented in both standard and TAB notation ◗ An information and regulations section is no longer included in the syllabus — this information can be found at trinitycollege.com/music-regulations ◗ For information about Classical Guitar exams please see our Classical Guitar Syllabus 2020–2023

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

OVERLAP ARRANGEMENTS This syllabus is valid from 1 January 2020. The Guitar Syllabus 2016–2019 will remain valid until 31 July 2021. During this overlap period, candidates may enter for exams using the Acoustic Guitar Syllabus 2020–2023 or the plectrum guitar section of the Guitar Syllabus 2016–2019, but not a mixture of both. ACOUSTIC GUITAR SYLLABUS Qualification specifications for graded exams 2020–2023

Trinity College London trinitycollege.com Charity number England & Wales: 1014792 Charity number Scotland: SC049143 Patron: HRH The Duke of Kent KG Chief Executive: Sarah Kemp Copyright © 2019 Trinity College London Published by Trinity College London Online edition, July 2020 Heading Contents 3 / Welcome 4 / Introduction to Trinity’s graded music exams 9 / Learning outcomes and assessment criteria 11 / About the exam 14 / Exam guidance: Pieces 18 / Exam guidance: Technical work 19 / Exam guidance: Supporting tests 30 / Exam guidance: Marking 38 / Initial to Grade 5 40 / Initial 42 / Grade 1 44 / Grade 2 46 / Grade 3 48 / Grade 4 50 / Grade 5 52 / Grades 6–8 54 / Grade 6 56 / Grade 7 58 / Grade 8 60 / Policies 62 / Trinity publications 63 / Acoustic guitar resources

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

2 Welcome Welcome

Welcome to Trinity College London’s Acoustic Guitar syllabus containing details of graded exams from Initial to Grade 8. It offers the choice and flexibility to allow guitarists to play to their strengths, offering wide-ranging contemporary pieces and fingerstyle, plectrum, backing and duet options, as well as structured and relevant technical work. These elements are designed Welcome to progressively develop the skills and techniques guitarists really need from the early grades right the way through to Grade 8.

Styles This syllabus bridges the gap between classical and electric guitar, incorporating folk, acoustic, rock and pop, jazz, blues and country styles. It reinvents the popular Plectrum Guitar exams and ensures relevance to contemporary guitarists by giving teachers and learners the flexibility to develop both fingerstyle and plectrum playing. All pieces are available in both standard and TAB notation so are accessible for any learner.

Techniques The technical work is relevant to a whole range of popular music styles as it includes chord patterns and progressions, jazz scales, blues scales and modes in addition to the standard scales and arpeggios. Many of the pieces, particularly at the lower grades, can be played either with fingers or plectrum to suit learner preference.

Books and backing tracks Backing tracks recorded by professional session players allow guitarists to learn crucial ensemble skills by practising as part of a band. There are three books available — for Initial to Grade 2, Grades 3–5 and Grades 6–8 — which contain a wide range of styles, allowing candidates to follow distinct stylistic pathways as they progress.

Pro-skills Developed by professional guitarists, our online support resources show you what an exam is like, explore professional technique and look at where our exams can take you. Access them at trinitycollege.com/acoustic-guitar-resources

We hope you enjoy exploring the music on offer in this syllabus and we wish you every success in the exams and your wider music-making.

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

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

OBJECTIVE OF THE QUALIFICATIONS ASSESSMENT AND MARKING Trinity’s graded music exams provide a Trinity’s graded music exams are assessed by structured yet flexible framework for progress, external examiners trained and moderated which enables learners to demonstrate their by Trinity. Examiners provide marks and own musical personality and promotes comments for each component of the exam enjoyment in music performance. using the assessment criteria on pages 32–37. 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 30–37 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) Introduction Initial 8 32 40

Grade 1 12 48 60

Grade 2 18 72 90

Grade 3 18 102 120

Grade 4 24 126 150

Grade 5 24 156 180

Grade 6 36 184 220

Grade 7 48 222 270

Grade 8 54 266 320

RECOGNITION AND UCAS POINTS WHERE THE QUALIFICATIONS Trinity College London is an international COULD LEAD exam board regulated by Ofqual (Office While for some learners graded music exams of Qualifications and Examinations represent a personal goal or objective, Regulation) in England, CCEA Regulation they can also be used as a progression in Northern Ireland and by Qualifications route towards: Wales. Various arrangements are in ◗ 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 ACOUSTIC 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, each Scales, arpeggios, broken A combination of two tests worth 22 marks. chords, exercises, chord from sight reading, aural, sequences and cadences, improvisation and musical depending on the grade. knowledge, depending on the grade and candidate choice. About the exam

PIECES 66 MARKS

TECHNICAL WORK 14 MARKS

SUPPORTING TESTS 20 MARKS

11 About the exam

EXAM STRUCTURE AND MARK SCHEME

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

PIECE 1 22 PIECE 1 22

PIECE 2 22 PIECE 2 22

PIECE 3 22 PIECE 3 22

TECHNICAL WORK 14 TECHNICAL WORK 14

◗◗ Scales, arpeggios, broken chords, ◗◗ Scales, arpeggios, cadences, chord exercises, chord sequences progressions (depending on grade) (depending on grade)

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 ◗◗ Candidates playing electro-acoustic guitars may use an amplifier, but this is not compulsory. Candidates would need to provide their own amplifier.

◗ ◗ Candidates playing electro-acoustic guitars PIECES may use pedals or effects where appropriate 66 MARKS (eg reverb, delay, compressor and/or chorus), but these are not compulsory. ◗◗ Electric guitars (solid or hollow body) may not be used at any grade. ◗◗ Candidates can choose to use a plectrum or finger strokes, or a combination. ◗◗ Younger candidates may use half- or three- CHOOSING PIECES quarter-sized instruments. ◗◗ Candidates play three pieces in their exam, freely chosen from the list for the grade. TUNING ◗◗ An own composition may be performed in ◗◗ Up to and including Grade 5, teachers place of one of the listed pieces (see may assist with tuning. At Grades 6–8, pages 15–17). candidates must tune their instruments without assistance. PERFORMANCE AND INTERPRETATION ◗◗ Electronic tuners may be used at any grade. ◗◗ Candidates should prepare all pieces in full unless stated otherwise in this syllabus. PAGE TURNS ◗◗ Candidates should observe all repeats, ◗◗ Examiners are not able to act as page turners. da capo and dal segno instructions, unless stated otherwise in this syllabus. ◗◗ Difficult page turns may be overcome by photocopying the relevant pages. ◗◗ All tempo and performance markings should be observed (eg allegro, rall., cresc.). DUETS ◗◗ Metronome marks are given as a guide but do not need to be observed exactly, as ◗◗ Duet options are available at Initial to long as the style and character of the piece Grade 5. is maintained. ◗◗ Candidates should play the upper part. ◗◗ Candidates may perform any or all of their The lower part may be performed live in the pieces from memory if they wish. However, exam by a teacher, another adult or student. this is not compulsory and no additional Alternatively, candidates can use the Trinity marks are given for this. recording (available to download or stream with the SoundWise code printed in the book). INSTRUMENTS AND AMPLIFICATION ◗◗ Candidates may use any acoustic guitar (nylon or steel strings) at any grade. ◗◗ Alternatively, an electro-acoustic guitar may be used at any grade.

14 Exam guidance: Pieces

BACKING TRACKS OBTAINING MUSIC FOR THE EXAM ◗◗ Backing tracks are available for selected ◗◗ All publications listed in this syllabus can be pieces (available to download or stream with ordered at trinitycollege.com/shop or your the SoundWise code printed in the book). local music shop. ◗◗ The repertoire lists in this syllabus ◗◗ Trinity publishes exam books for acoustic indicate whether backing tracks are guitar, as well as scales & arpeggios and optional or compulsory in the exam for specimen aural tests. See page 62 for applicable pieces. more information.

PLAYBACK EQUIPMENT IN THE EXAM OWN COMPOSITION ◗◗ Where Trinity duet recordings or backing ◗◗ Candidates can choose to perform an tracks are used, candidates must bring own composition as one of their pieces. them to the exam, and must provide and Own compositions are assessed in the same operate their own playback equipment. way as the listed pieces. Marks are not Equipment must produce a good awarded for the quality of the composition. sound quality at an adequate volume. Exam guidance: Pieces ◗◗ Own compositions must be comparable in Contact should be made with the centre technical and musical demand to the pieces well in advance to confirm the arrangements listed for the same grade. Examples of (power supply, equipment insurance, etc), optional compositional techniques that may which must be agreed with Trinity’s local be used at each level are listed on pages representative. All electrical devices must 16–17. comply with health and safety requirements in the country where the exam is taking place. ◗◗ A typeset or handwritten copy of the composition must be given to the examiner MUSIC AND COPIES at the beginning of the exam. At Initial to Grade 5, own compositions may be notated ◗◗ Candidates should obtain the music for their in any easily readable form, including exam in good time before entering for the graphic score or lead-sheet. At Grades 6–8 exam, and they must bring it with them on they must be notated on a stave. Marks will the day of the exam. be deducted if notation is incomplete or ◗◗ All pieces are published in our exam books, inaccurate, or if the performance varies in both standard and TAB notation. significantly from the notation. ◗◗ We take copyright infringement seriously ◗◗ Own compositions should be candidates’ and require candidates to ensure their unaided work, although teachers may offer music comes from a legitimate source. guidance as necessary. Guidelines are available in the UK Music Publishers Association’s Code of Fair Practice, available at mpaonline.org.uk. Candidates must comply with copyright and other intellectual property laws in the country where the exam is taking place. ◗◗ In accordance with the MPA’s Code of Fair Practice, candidates must produce original copies of all pieces to be performed at the exam, even if pieces have been memorised, handwritten or typeset. Pieces where no original copy has been provided might be awarded no marks.

15 Exam guidance: Pieces

PARAMETERS AND EXAMPLES OF COMPOSITIONAL TECHNIQUES FOR OWN COMPOSITIONS

Grade Duration Examples of composition techniques

0.5–1 minute(s) ◗◗ Use of different rhythmic values Initial ◗◗ Clear melodic line ◗◗ Use of keys listed for Initial technical work

approx. 1 minute ◗◗ Dynamic contrast Grade 1 ◗◗ Simple syncopation or other rhythmic feature ◗◗ Use of keys listed for Grade 1 technical work

1–1.5 minute(s) ◗◗ Use of different articulations Grade 2 ◗◗ Simple melodic ornamentation ◗◗ Use of keys listed for Grade 2 technical work

1.5–2 minutes ◗◗ Form showing clear sections, eg ABA Grade 3 ◗◗ Melodic range of one octave or more ◗◗ Use of keys listed for Grade 3 technical work

2–3 minutes ◗◗ Tempo changes Grade 4 ◗◗ Use of a variety of different articulations ◗◗ Use of keys listed for Grade 4 technical work

2–3 minutes ◗◗ Chromaticism Grade 5 ◗◗ Use of semiquaver passages ◗◗ Use of keys listed for Grade 5 technical work

16 Exam guidance: Pieces

3–4 minutes ◗◗ More advanced use of form, eg theme and variations ◗◗ Extensive range Grade 6 ◗◗ More advanced melodic ornamentation ◗◗ Use of any key

3–4 minutes ◗◗ Modulation Grade 7 ◗◗ Use of irregular time signatures ◗◗ Use of any key

3.5–5 minutes ◗◗ Wide range of expressive techniques Exam guidance: Pieces ◗◗ Creative use of form Grade 8 ◗◗ Extended techniques, wide range, chromaticism and rhythmic variation ◗◗ Use of any key

17 Exam guidance: Technical work Exam guidance: Technical work

All scales and arpeggios are to be performed ascending then descending. A minimum pace is indicated, increasing gradually grade by grade. Full details of all requirements are given in the Scales, Arpeggios & Studies books. All elements TECHNICAL WORK are presented in standard notation. 14 MARKS Further information about specific technical work requirements for each grade is given in the relevant sections of this syllabus.

This section of the exam supports the development of technical skills by assessing candidates’ performance in a range of technical work requirements relevant to popular music styles, including scales & arpeggios, chord sequences, cadences and exercises. Candidates prepare all requirements set for the grade, and play a selection as requested by the examiner. All technical work elements must be played from memory. Candidates can choose to use a plectrum or finger strokes, or a combination. The plectrum strokes printed in Trinity’s Scales, Arpeggios & Studies books must be observed if using a plectrum.

18 Exam guidance: Supporting tests Exam guidance: Supporting tests

SIGHT READING This test assesses candidates’ ability to perform a previously unseen musical extract, at a level approximately two grades lower SUPPORTING than the exam being taken. Our sight reading TESTS pieces are designed to be musically intuitive and natural, preparing candidates for real 20 MARKS performance contexts. Candidates are given 30 seconds to study the test before performing it, during which they may practise any or all of it aloud. Examiners do not give marks for this preparation period. Exam guidance: Technical work This section of the exam supports the Sight reading tests may be played with or development of broader musical skills without a plectrum. by assessing candidates in two different supporting tests. Specimen sight reading tests are available at trinitycollege.com/acoustic-guitar-resources At Initial to Grade 5, candidates choose two supporting tests from four options: Tests are presented in standard notation. ◗◗ Sight reading Technical expectations for the tests are given in the table on page 20. Lists are cumulative, ◗ ◗ Aural meaning that tests may also include ◗◗ Improvisation requirements from lower grades. ◗◗ Musical knowledge At Grades 6–8, all candidates are assessed in sight reading, and choose either aural or Exam guidance: Supporting tests 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.

19 Exam guidance: Supporting tests ,

CI 

and CI, III and ½

 CV trebles full range up to D on string one, D on string up to full range trebles 2nd position, up to full range basses , slurs glissando vibrato, accents,  trebles full range up to D on string one, D on string up to full range trebles position, second up to full range basses simple shifts, 2nd position, staccato 2nd position, simple shifts, bass) (open chords , two-note marcato Articulation, * shifts position, E, F, G on 1st string, G on 1st E, F, C, D on 2nd string, B, string, A on 3rd G, picking even open basses, position within 1st ½ full fingerboard range and shifting full fingerboard  cresc. a tempo f p , , rall. accel. mp , andante dim., * & tempi Dynamics allegretto mf , moderato

 w ‰ Œ h

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

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

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

AURAL ◗◗ Candidates are then given 30 seconds’ This test supports the development of preparation time, during which they may candidates’ abilities in musical perception and prepare for their improvisation aloud. understanding by requiring them to recognise ◗◗ The test then follows. The examiner plays the musical features by ear (for example metre, stimulus again, and candidates join in after pulse, pitch and performance characteristics). the introduction, improvising for the specified number of repeats. Candidates should aim All questions are based on a single musical to improvise in a way that complements the example played at the piano by the examiner. musical style of the stimulus. At most grades, candidates are asked to describe various features of the music such Motivic stimulus as dynamics, articulation, texture and style. Candidates are not required to sing. This option requires candidates to improvise solo in response to a short melodic fragment. Practice tests can be found in Trinity’s Aural Tests from 2017 books, available from ◗◗ Candidates are given a notated melodic trinitycollege.com/shop or from your local fragment, which the examiner plays twice music shop. on the piano for candidates’ reference. ◗◗ Candidates are then given 30 seconds’ 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 Exam guidance: Supporting tests and technical ability. Our tests are designed to improvise within the specified duration to introduce teachers and candidates to range and may begin by quoting the stimulus improvisation gradually, creatively and with directly, developing their improvisation from a range of supporting resources. there. However, they are not required to quote the stimulus directly, and may instead develop This test assesses candidates’ ability to their improvisation from ideas taken from improvise fluently, coherently and creatively the stimulus such as a small group of notes in response to a musical stimulus. Candidates or an interval. Responses must use the given choose a stimulus from the following three time signature. 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 Tests are presented in standard notation. sequence, including chord symbols, which the examiner plays twice on the piano for Further guidance and example tests are candidates’ reference. available at trinitycollege.com/supporting-tests ◗◗ Candidates are then given 30 seconds’ preparation time, during which they may Stylistic stimulus prepare for their improvisation aloud. This option requires candidates to improvise over ◗◗ The test then follows. Candidates should a notated piano part played by the examiner. improvise for the specified number of ◗◗ Candidates are given a stimulus which repeats, following the chord sequence. includes the notated piano part and chord Responses should contain melodic/ symbols. The stimulus begins with a two-bar rhythmic interest. introduction played by the examiner alone, followed by a further section over which Parameters candidates must improvise for a specified Technical expectations for the tests are given number of repeats. in the tables on the following pages. Lists are ◗◗ The examiner plays the stimulus twice for cumulative, meaning that tests may also candidates’ reference, without repeats. include requirements from lower grades. 21 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

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

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

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

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

5 Time signatures* 4 3 2 6 1 9 4

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

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

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

23 Exam guidance: Supporting tests

Motivic stimulus

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

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

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

Time 5 signatures* 4 3 2 6 1 9 4

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

Articulation* staccato accents slurs acciaccaturas sfz

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

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

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

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

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

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

Time 5 signatures* 4 3 2 6 1 9 4 Exam guidance: Supporting tests

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

Articulation* staccato accents slurs acciaccaturas sfz

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

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

25 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

26 Exam guidance: Supporting tests

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

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

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

Total to 4 bars 8 bars 8 bars 8 bars 12 bars 12 bars 16 bars 16 bars 16 bars improvise Exam guidance: Supporting tests

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

27 Exam guidance: Supporting tests

MUSICAL KNOWLEDGE Examiners then choose a second piece for (Initial–Grade 5 only) the remaining questions. Candidates’ musical scores should be free of annotations that 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’ English terms (quaver, minim, etc). chosen pieces. The following table gives example questions In the exam, candidates choose which piece and responses. they would like to be asked about first.

Parameters* Sample question Sample answer

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

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

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

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

Note values What is this note value? A quaver

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

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

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

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

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

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

Candidate Basic posture Show me a good hand position demonstrates

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

Scale/arpeggio What pattern of notes do you A scale Grade 3 pattern see here?

How might you warm up By playing a selection Warm up in preparation for playing of scales/arpeggios/ this piece? chords in related keys Exam guidance: Supporting tests Modulation to closely What key does this music A minor related keys change to?

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

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

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

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

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

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

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

29 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

30 Exam guidance: Marking

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

Total mark for each piece Attainment level

19–22 DISTINCTION

16–18 MERIT

13–15 PASS

10–12 BELOW PASS 1

3–9 BELOW PASS 2 Exam guidance: Marking

31 HeadingExam guidance: Marking

HOW THE PIECES ARE MARKED

Examiners use the criteria below to decide on the mark.

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

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

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

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

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

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

32 Exam guidance: Marking Exam guidance: Marking

3333 Heading

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

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

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

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

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

HOW TECHNICAL WORK IS MARKED

Examiners use the criteria below to decide on the mark.

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

Technical work 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.

34 Exam guidance: Marking Exam guidance: Marking 3535 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 technical control. control. technical of in responses Hesitancy and restarts. 1 PASS BELOW 6–8 MARKS limited or very Limited with and accuracy fluency intrusive. becoming errors degree An inconsistent or restarts. despite some hesitancy and/ hesitancy some despite Generally prompt responses responses prompt Generally inconsistencies. inconsistencies. some technical control despite despite control technical A reasonable degree of of degree A reasonable despite a number of errors. errors. of a number despite of fluency and accuracy and accuracy fluency of A generally reliable sense sense reliable A generally 9–10 MARKS 9–10 PASS MERIT MARKS 11–12 A good sense of fluency of A good sense with and accuracy errors. occasional of A good degree control. technical overall. responses Prompt 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 Technical work Technical Examiners use the criteria below to decide on the mark. to below the criteria use Examiners HeadingExam guidance: Marking

HOW SUPPORTING TESTS ARE MARKED

Examiners use the criteria below to decide on the mark.

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

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

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

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

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

36 Exam guidance: Marking Exam guidance: Marking 3737

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

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

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

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

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

EXAM STRUCTURE The Initial to Grade 5 exams contain the following: Maximum marks

PIECE 1 22

PIECE 2 22

PIECE 3 22

TECHNICAL WORK 14

◗◗ Scales, arpeggios, broken chords, exercises, chord sequences (depending on grade)

SUPPORTING TESTS 20

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

TOTAL 100

38 Initial to Grade 5 Initial to Grade 5 EXAM DURATION The Initial exam The Grade 1 exam lasts 11 minutes lasts 13 minutes

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

The Grade 4 exam The Grade 5 exam lasts 18 minutes lasts 18 minutes

39 Initial Initial PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. An own composition may be played instead of one of the listed pieces. See pages 14–17 for further guidance. All pieces are included in Trinity’s Acoustic Guitar Exam Pieces 2020–2023: Initial–Grade 2.

Piece Artist/composer Performance requirements

Unaccompanied or with Trinity 1. AIN’T NO SUNSHINE Bill Withers, arr. Anders Rye backing track Unaccompanied or with Trinity 2. AMAZING GRACE John Newton, arr. T J Walker backing track Unaccompanied or with Trinity 3. OH WHEN THE SAINTS Trad., arr. T J Walker backing track Must be played with Trinity 4. REDEMPTION SONG Bob Marley, arr. T J Walker backing track 5. ROCKIN’ THE COUNTRY Brett Duncan Unaccompanied 6. STEGOSAURUS STRUT Nick Powlesland Unaccompanied Unaccompanied or duet (live or 7. SUMMER RAIN T J Walker with Trinity recording) The Beach Boys 8. SURFIN’ SAFARI Unaccompanied (Brian Wilson & Mike Love) Unaccompanied or with Trinity 9. WHITE WINDMILL T J Walker backing track

TECHNICAL WORK Candidates prepare both sections. See page 18 for more information. Plectrum strokes and rhythm patterns are shown in Trinity’s Guitar Scales, Arpeggios & Studies from 2016: Initial–Grade 5.

SCALES AND ARPEGGIOS (from memory ) — Examiners select from the following: i) Scales ◗◗ C and G major ◗◗ D minor to the 5th, ascending min. tempo: mf and descending = 60 ii) Arpeggios q ◗◗ C and G major ◗◗ D minor

40 Initial

SUPPORTING TESTS Improvisation Candidates choose two of the following: Candidates perform an improvisation based on a stimulus chosen from the following ◗◗ Sight reading three options: ◗◗ Aural ◗◗ Stylistic ◗◗ Improvisation ◗◗ Motivic ◗◗ Musical knowledge ◗◗ Harmonic Initial

Sight reading See pages 21–27 for the requirements and parameters. After 30 seconds’ preparation time, candidates perform a previously unseen musical extract at a level lower than the exam being taken. Musical knowledge See pages 19–20 for the requirements Candidates answer questions assessing their and parameters. understanding of the pieces performed, as well as their knowledge of notation and the Aural guitar. Questions are based on candidates’ chosen pieces. See pages 28–29 for example Candidates answer questions based on questions and responses. a single musical example played on the piano by the examiner. See page 21 for more information. The aural test requirements for Initial are below.

Aural questions Parameters Task Requirement

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

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

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

41 Grade 1 Grade 1 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. An own composition may be played instead of one of the listed pieces. See pages 14–17 for further guidance. All pieces are included in Trinity’s Acoustic Guitar Exam Pieces 2020–2023: Initial–Grade 2.

Piece Artist/Composer Performance requirements

Unaccompanied or with Trinity 1. CUBA KICK! Tim Pells backing track 2. A FISTFUL OF PESOS Nick Powlesland Unaccompanied 3. THE HUNGRY GHOST Leslie Searle Unaccompanied Unaccompanied or with Trinity 4. PERFECT SKY T J Walker backing track Ed Sheeran (with John McDaid, Must be played with Trinity 5. PHOTOGRAPH Tom Leonard & Martin Harrington), backing track arr. Anders Rye 6. SAILOR’S HORNPIPE Trad., arr. James Burden Unaccompanied Unaccompanied or duet (live or 7. A TALE OF THE GREEN ISLE Robert Morandell with Trinity recording) Unaccompanied or with Trinity 8. TANGO MEMORIES Tim Pells backing track Must be played with Trinity 9. WATERLOO SUNSET The Kinks (Ray Davies), arr. T J Walker backing track

42 Grade 1

Sight reading See pages 21–27 for the requirements and parameters. After 30 seconds’ preparation time, candidates perform a previously unseen musical extract Grade at a level lower than the exam being taken. Musical knowledge See pages 19–20 for the requirements Candidates answer questions assessing their and parameters. understanding of the pieces performed, as well as their knowledge of notation and the 1 Aural guitar. Questions are based on candidates’ chosen pieces. See pages 28–29 for example Candidates answer questions based on questions and responses. a single musical example played on the piano by the examiner. See page 21 for more information. The aural test requirements for Grade 1 are below.

Aural questions Parameters Task Requirement

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

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

43 Grade 2 Grade 2 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. An own composition may be played instead of one of the listed pieces. See pages 14–17 for further guidance. All pieces are included in Trinity’s Acoustic Guitar Exam Pieces 2020–2023: Initial–Grade 2.

Piece Artist/Composer Performance requirements

1. BAD JACK Nick Powlesland Unaccompanied Unaccompanied or duet (live or 2. BLUE RAG Robert Morandell with Trinity recording) 3. HOUSE OF THE RISING SUN Trad., arr. Tim Pells Unaccompanied 4. JAMAICA Nick Powlesland Unaccompanied 5. NEW MEMORY LANE Tim Pells Unaccompanied Must be played with Trinity 6. ROCKODILE REGGAE Robert Morandell backing track Unaccompanied or with Trinity 7. SAIL AWAY T J Walker backing track 8. TURKEY IN THE STRAW Trad., arr. Fred Sokolow Unaccompanied Louis Armstrong Must be played with Trinity 9. WHAT A WONDERFUL WORLD (Bob Thiele & George David backing track Weiss), arr. T J Walker

TECHNICAL WORK Candidates prepare all sections. See page 18 for more information. Plectrum strokes and rhythm patterns are shown in Trinity’s Guitar Scales, Arpeggios & Studies from 2016: Initial–Grade 5. SCALES, ARPEGGIO, BROKEN CHORDS AND CHORD SEQUENCES (from memory ) Examiners select from the following: i) Scales ◗◗ D major — open one octave ◗◗ D major — closed ◗◗ Bb major ◗◗ E harmonic minor two octaves ◗◗ A jazz melodic minor min. tempo: ii) Arpeggio = 88 p or f one octave q ◗◗ D major as requested by the examiner iii) Broken chords two octaves ◗◗ E minor ◗◗ A minor to the 12th iv) Chord sequences ◗◗ II-V7-I in C major ◗◗ II-V-I in D major 44 Grade 2

Sight reading See pages 21–27 for the requirements and parameters. After 30 seconds’ preparation time, candidates perform a previously unseen musical extract at a level approximately two grades lower than Musical knowledge the exam being taken. See pages 19–20 for the Candidates answer questions assessing their requirements and parameters. understanding of the pieces performed, as well as their knowledge of notation and the Grade Aural guitar. Questions are based on candidates’ chosen pieces. See pages 28–29 for example Candidates answer questions based on questions and responses. a single musical example played on the piano by the examiner. See page 21 for 2 more information. The aural test requirements for Grade 2 are below.

Aural questions Parameters Task Requirement

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

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

45 Grade 3 Grade 3 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. An own composition may be played instead of one of the listed pieces. See pages 14–17 for further guidance. All pieces are included in Trinity’s Acoustic Guitar Exam Pieces 2020–2023: Grades 3–5.

Piece Artist/Composer Performance requirements

1. ANNIE’S SONG John Denver, arr. T J Walker Unaccompanied Unaccompanied or with Trinity 2. BAYOU BLUE T J Walker backing track Eagles (Don Felder, Don Henley Unaccompanied or with Trinity 3. HOTEL CALIFORNIA & Glenn Frey), arr. T J Walker backing track Unaccompanied or duet (live or 4. JOYRIDE IN A PINK CADILLAC Robert Morandell with Trinity recording) 5. SETTING SAIL Tim Pells Unaccompanied 6. TOMORROW WILL BE BETTER Nick Powlesland Unaccompanied 7. TUESDAY BLUESDAY Nick Powlesland Unaccompanied 8. TURN TO DUST Nick Powlesland Unaccompanied

TECHNICAL WORK Candidates prepare all sections. See page 18 for more information. Plectrum strokes and rhythm patterns are shown in Trinity’s Guitar Scales, Arpeggios & Studies from 2016: Initial–Grade 5. SCALES, ARPEGGIO, EXERCISES AND CHORD SEQUENCE (from memory ) Examiners select from the following: i) Scales ◗◗ C and A major ◗◗ B harmonic minor min. tempo: ◗◗ G melodic minor two octaves ◗◗ G pentatonic major = 60 q ii) Arpeggio p or f ◗◗ C major as requested by the examiner iii) Exercises ◗◗ Bb major — ascending slurs ◗◗ G minor — half barré study iv) Chord sequence ◗◗ II-V7-I in G major

46 Grade 3

SUPPORTING TESTS

Candidates choose two of the following: Improvisation ◗◗ Sight reading Candidates perform an improvisation based on a stimulus chosen from the following ◗◗ Aural three options: ◗◗ Improvisation ◗◗ Stylistic ◗◗ Musical knowledge ◗◗ Motivic ◗ Sight reading ◗ Harmonic After 30 seconds’ preparation time, candidates See pages 21–27 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 19–20 for the Musical knowledge requirements and parameters. Candidates answer questions assessing their understanding of the pieces performed, as Aural well as their knowledge of notation and the Candidates answer questions based on guitar. Questions are based on candidates’ Grade a single musical example played on the chosen pieces. See pages 28–29 for example piano by the examiner. See page 21 for questions and responses. more information. The aural test requirements for Grade 3 are below. 3

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

47 Grade 4 Grade 4 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. An own composition may be played instead of one of the listed pieces. See pages 14–17 for further guidance. All pieces are included in Trinity’s Acoustic Guitar Exam Pieces 2020–2023: Grades 3–5.

Piece Artist/Composer Performance requirements

1. CHILLOUT Nick Powlesland Unaccompanied Unaccompanied or with Trinity 2. IN THE KNOW T J Walker backing track Justin Bieber (with Ed Sheeran Must be played with Trinity 3. LOVE YOURSELF & Benny Blanco) backing track 4. MEAN STREET Nick Powlesland Unaccompanied Unaccompanied or duet (live or 5. PINKY PLAYS THE BLUES Robert Morandell with Trinity recording) Unaccompanied or with Trinity 6. SEPIA TONED T J Walker backing track 7. SUN SONG Bryan Lester Unaccompanied Elton John & Bernie Taupin, Unaccompanied or with Trinity 8. YOUR SONG arr. Mark Rose backing track

TECHNICAL WORK Candidates prepare all sections. See page 18 for more information. Plectrum strokes and rhythm patterns are shown in Trinity’s Guitar Scales, Arpeggios & Studies from 2016: Initial–Grade 5. SCALES, ARPEGGIO, EXERCISES AND CHORD SEQUENCE (from memory ) Examiners select from the following: i) Scales ◗◗ E major — open ◗◗ E major — closed min. tempo: ◗◗ A natural minor two octaves ◗ # = 68 ◗ F harmonic minor q ii) Arpeggio p, mf or f ◗◗ Dominant 7th in the key of A as requested by the examiner iii) Exercises ◗◗ F major — IV-V-I ◗◗ D major — slurred ◗◗ F# minor — half barré study iv) Chord sequence ◗◗ D major-B7-Em7-A7

48 Grade 4

Sight reading See pages 21–27 for the requirements and parameters. After 30 seconds’ preparation time, candidates perform a previously unseen musical extract at a level approximately two grades lower than Musical knowledge the exam being taken. See pages 19–20 for the Candidates answer questions assessing their requirements and parameters. understanding of the pieces performed, as well as their knowledge of notation and the Aural guitar. Questions are based on candidates’ chosen pieces. See pages 28–29 for example Candidates answer questions based on questions and responses. a single musical example played on the piano by the examiner. See page 21 for more information. The aural test requirements for Grade 4

are below. Grade

Aural questions 4 Parameters Task Requirement

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

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

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

49 Grade 5 Grade 5 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. An own composition may be played instead of one of the listed pieces. See pages 14–17 for further guidance. All pieces are included in Trinity’s Acoustic Guitar Exam Pieces 2020–2023: Grades 3–5.

Piece Artist/Composer Performance requirements

Unaccompanied or with Trinity 1. BONNIE’S BOUNCE T J Walker backing track The Lumineers (Jeremy Fraites 2. HO HEY Unaccompanied & Wesley Schultz), arr. Mark Rose Bruno Mars (with Philip Lawrence 3. MARRY YOU Unaccompanied & Ari Levine), arr. Robert Morandell 4. ONE MORE TIME Roy Chilton Unaccompanied REWRITE THE STARS (from Zac Efron & Zendaya (Benj Pasek Unaccompanied or with Trinity 5. The Greatest Showman) & Justin Paul), arr. T J Walker backing track 6. ROCKROACH Nick Powlesland Unaccompanied 7. SONG FOR DOROTHY Ben Crosland Unaccompanied Led Zeppelin (Jimmy Page Unaccompanied or with Trinity 8. STAIRWAY TO HEAVEN & Robert Plant) backing track Unaccompanied or duet (live or 9. THAT’S THE WAY IT IS Robert Morandell with Trinity recording)

TECHNICAL WORK Candidates prepare all sections. See page 18 for more information. Plectrum strokes and rhythm patterns are shown in Trinity’s Guitar Scales, Arpeggios & Studies from 2016: Initial–Grade 5. SCALES, ARPEGGIO, EXERCISES AND CHORD SEQUENCE (from memory ) Examiners select from the following: i) Scales ◗◗ B major ◗◗ G natural minor ◗◗ F harmonic and melodic minor min. tempo: ◗ two octaves ◗ E dorian = 80 q ii) Arpeggio p, mf or f ◗◗ Diminished 7th starting as requested by and finishing on C the examiner iii) Exercises ◗◗ I-VI-II-V7-I in G major ◗◗ A major – paired slurs iv) Chord sequence ◗◗ F#m7-Bm7-Em9-A7

50 Grade 5

Sight reading See pages 21–27 for the requirements and parameters. After 30 seconds’ preparation time, candidates perform a previously unseen musical extract at a level approximately two grades lower than Musical knowledge the exam being taken. See pages 19–20 for the Candidates answer questions assessing their requirements and parameters. understanding of the pieces performed, as well as their knowledge of notation and the Aural guitar. Questions are based on candidates’ chosen pieces. See pages 28–29 for example Candidates answer questions based on questions and responses. a single musical example played on the piano by the examiner. See page 21 for more information. The aural test requirements for Grade 5 are below.

Aural questions Grade Parameters Task Requirement i) Clap the pulse on the second playing, 5 Listen to the piece twice stressing the strong beat ii) Identify the time signature

i) Identify the changing tonality Harmonised Listen to the piece twice ii) Identify the final cadence as perfect, 8 bars plagal, imperfect or interrupted Major or Identify the interval as minor or major minor key Listen to two notes from the melody second, minor or major third, perfect line played consecutively fourth or fifth, minor or major sixth, 2 3 4 6 minor or major seventh or octave

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

51 Grades 6–8 Grades 6–8

EXAM STRUCTURE The Grade 6–8 exams contain the following:

Maximum marks

PIECE 1 22

PIECE 2 22

PIECE 3 22

TECHNICAL WORK 14

◗◗ Scales, arpeggios, cadences, chord progressions (depending on grade)

SUPPORTING TEST 1 10

◗◗ Sight reading

SUPPORTING TEST 2 10

ONE of the following: ◗◗ Aural ◗◗ Improvisation

TOTAL 100

52 Grades 6–8

EXAM DURATION The Grade 6 exam The Grade 7 exam lasts 23 minutes lasts 23 minutes

The Grade 8 exam lasts 28 minutes Grades 6–8

53 Grade 6 Grade 6 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. An own composition may be played instead of one of the listed pieces. See pages 14–17 for further guidance. All pieces are included in Trinity’s Acoustic Guitar Exam Pieces 2020–2023: Grades 6–8.

Piece Artist/Composer Performance requirements

1. COUNTRY PICKIN’ Roy Chilton Unaccompanied The Beatles (John Lennon 2. HERE, THERE AND EVERYWHERE & Paul McCartney), Unaccompanied arr. George Adie LeAnn Rimes (Diane Unaccompanied or with Trinity 3. HOW DO I LIVE Warren), arr. T J Walker backing track Django Reinhardt & Stéphane Must be played with Trinity 4. MINOR SWING Grappelli, arr. T J Walker backing track 5. NEVER SO CLOSE Roy Chilton Unaccompanied Led Zeppelin (Jimmy Page Must be played with Trinity 6. OVER THE HILLS AND FAR AWAY & Robert Plant) backing track Must be played with Trinity 7. RUBY BLUE T J Walker backing track 8. SWING THING Nick Powlesland Unaccompanied Carole King, 9. YOU’VE GOT A FRIEND Unaccompanied arr. Robert Morandell

TECHNICAL WORK Candidates prepare all sections. See page 18 for more information. Plectrum strokes and rhythm patterns are shown in Trinity’s Guitar Scales, Arpeggios & Studies from 2016: Grades 6–8. SCALES, ARPEGGIOS, CADENCES AND CHORD PROGRESSIONS (from memory ) Examiners select from the following: i) Scales ◗◗ A and E major three octaves ◗◗ A harmonic, melodic and jazz melodic minor min. tempo: = 92 q ◗◗ G and Eb major ◗◗ C harmonic and melodic minor two octaves ◗◗ C dorian p, mf or f as requested by ii) Arpeggios the examiner ◗◗ E and F major three octaves ◗◗ E and F minor min. tempo: ◗◗ Eb major = 60 q ◗◗ C minor two octaves ◗◗ Dominant 7th in E major, starting and finishing on B 54 Grade 6

min. tempo: ◗◗ D major 7th to the 12th = 60 q iii) Cadences and p, mf or f chord progressions as requested by ◗◗ Dm7-G7-Cmaj7 (version 1) the examiner ◗◗ Dm7-G7-Cmaj7 (version 2) ◗◗ Bbmaj7-Gm7-Cm7-F9

Sight reading ◗◗ Motivic After 30 seconds’ preparation time, candidates ◗◗ Harmonic perform a previously unseen musical extract See pages 21–27 for the requirements at a level approximately two grades lower than and parameters. the exam being taken. See pages 19–20 for the requirements and parameters.

Aural Candidates answer questions based on a single musical example played on the piano by the examiner. See page 21 for more information. The aural test requirements for Grade 6 are below. Grade

Aural questions Parameters Task Requirement 6 i) Identify the time signature Listen to the piece twice ii) Comment on the dynamics iii) Comment on the articulation

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

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

55 Grade 7 Grade 7 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. An own composition may be played instead of one of the listed pieces. See pages 14–17 for further guidance. All pieces are included in Trinity’s Acoustic Guitar Exam Pieces 2020–2023: Grades 6–8. Piece Artist/Composer Performance requirements 1. ALIEN WAFFLE HOUSE Mike Dawes Unaccompanied 2. ANJI Davy Graham, arr. Clive Carroll Unaccompanied 3. BALLAD Roy Chilton Unaccompanied 4. BE DEEDLE DE DO Barney Kessel Unaccompanied Unaccompanied or with Trinity 5. CLASSICAL GAS Mason Williams backing track 6. FLY ME TO THE MOON Bart Howard, arr. Andy Jones Unaccompanied Extreme (Nuno Bettencourt Must be played with Trinity 7. HOLE HEARTED & Gary Cherone) backing track (SOMEWHERE) OVER THE Chet Atkins (Harold Arlen 8. Unaccompanied RAINBOW & E Y Harburg) 9. SOUL AGENT Roy Chilton Unaccompanied

SCALES & ARPEGGIOS AND CADENCES (from memory ) — Examiners select from the following: i) Scales & arpeggios — Candidates choose either group 1 or group 2

Either group 1 ◗◗ the major scale ◗◗ Tonal/modal centres ◗◗ the harmonic minor scale E (three octaves, except ◗◗ the melodic minor scale where specified) and ◗◗ the mixolydian scale Eb (two octaves) (two octaves only) Or group 2 ◗◗ the blues scale (two octaves only) ◗ min. tempi: ◗ Tonal/modal centres p, mf or f G (three octaves, except ◗◗ the major arpeggio scales as requested where specified) and ◗◗ the minor arpeggio = 118 q by the C (two octaves) ◗◗ the dominant 7th starting arpeggios examiner and finishing on the selected = 90 tonal centres (eg starting on q E to form the dominant 7th of A major)

For both groups candidates also prepare to the 12th ◗◗ A major 7th arpeggio

56 Grade 7

ii) Cadences

7 4 9 6/9 ◗◗ Fmin sus -Bb -Eb p, mf or f ◗◗ Am9-D13-Gmaj7 as requested ◗◗ Dmin7b5-G7-Cm7 by the examiner ◗◗ Fmaj7-Dm7-Gm7-C9- Fmaj7

SUPPORTING TESTS Improvisation Candidates prepare: Candidates perform an improvisation based on a stimulus chosen from the following ◗◗ Sight reading three options: ◗◗ Aural or improvisation ◗◗ Stylistic ◗ Sight reading ◗ Motivic ◗ After 30 seconds’ preparation time, candidates ◗ Harmonic perform a previously unseen musical extract See pages 21–27 for the requirements at a level approximately two grades lower than and parameters. the exam being taken. See pages 19–20 for the requirements and parameters.

Aural Candidates answer questions based on a single musical example played on the piano by the examiner. See page 21 for more information. The aural test requirements for Grade 7 are below.

Aural questions Parameters Task Requirement Grade i) Identify the time signature Listen to the piece twice ii) Comment on the dynamics iii) Comment on the articulation Harmonised Identify and comment on two other characteristics 7 Listen to the piece twice 8 bars of the piece

Major or Identify the key to which the music modulates as minor key Listen to the first four bars subdominant, dominant or relative key of the piece once 2 3 4 6 Answers may alternatively be given as key names Study a copy of the piece, Locate and describe the changes as pitch (melody and listen to it twice with line only) or rhythm three changes

57 Grade 8 Grade 8 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. An own composition may be played instead of one of the listed pieces. See pages 14–17 for further guidance. All pieces are included in Trinity’s Acoustic Guitar Exam Pieces 2020–2023: Grades 6–8.

Piece Artist/Composer Performance requirements

1. BLUE BOY Barney Kessel Unaccompanied 2. DEEP RIVER BLUES Trad., arr. Doc Watson Unaccompanied 3. FOR MY FATHER Andy McKee Unaccompanied 4. MISTER PUNCH Roy Chilton Unaccompanied Must be played with Trinity 5. MISTER SANDMAN Chet Atkins (Pat Ballard) backing track Joe Pass (Cole Porter), 6. NIGHT AND DAY Unaccompanied arr. François Leduc 7. OVERLAP Roy Chilton Unaccompanied 8. SOLO NO. 2 Lucky Elden Unaccompanied

SCALES & ARPEGGIOS AND CADENCES (from memory ) — Examiners select from the following: i) Scales & arpeggios — Candidates choose either group 1 or group 2

Either group 1 ◗◗ the major scale ◗◗ Tonal/modal centres ◗◗ the harmonic minor scale F (three octaves, except ◗◗ the melodic minor scale where specified) and ◗◗ the jazz melodic scale F# (two octaves) ◗◗ the pentatonic major scale Or group 2 (two octaves only) ◗ ◗◗ the major arpeggio min. tempi: ◗ Tonal/modal centres p, mf or f Bb (three octaves, except ◗◗ the minor arpeggio scales as requested where specified) and ◗◗ the dominant 7th starting = 132 q by the D (two octaves) and finishing on the selected arpeggios examiner tonal centres (eg starting on = 100 F to form the dominant 7th of q Bb major)

For both groups candidates also prepare two octaves ◗◗ Diminished 7th starting and finishing on E

58 Grade 8

min. tempo: ◗◗ D minor 7th arpeggio to the 12th = 100 q ii) Cadences ◗◗ Bm7-E7-Amaj7 p, mf or f as requested by the ◗◗ Ebm7-Ab9-Dbmaj7 examiner ◗◗ D#min7b5-G#7-C#min7 ◗◗ C6-Am7-Dm7-G7-Cmaj7 ◗◗ Gmaj7-Em7-Am7- D13b9-G6

Aural Candidates answer questions based on a single musical example played on the piano by the examiner. See page 21 for more information. The aural test requirements for Grade 8 are below.

Aural questions Parameters Task Requirement Grade i) Identify the time signature Harmonised Listen to the piece once ii) Comment on the dynamics 12–16 bars iii) Comment on the articulation 8 Major or Identify and comment on three other Listen to the piece twice minor key characteristics of the piece 2 3 4 6 5 Study a copy of the piece, and listen Locate and describe the changes as to it twice with three changes pitch or rhythm

59 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.

60 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 Policies 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.

61 Trinity publications Trinity publications The following Trinity publications support this syllabus. All are available from trinitycollege.com/shop or from your local music shop.

Acoustic Guitar Exam Pieces 2020–2023 Initial–Grade 2 TCL 019936 Grades 3–5 TCL 019943 Grades 6–8 TCL 019950

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

Specimen Aural Tests from 2017 Book 1: Initial–Grade 5 TCL 015808 Book 2: Grades 6–8 TCL 015815

Theory of Music Workbooks Grade 1 TG 006509 Grade 2 TG 006516 Grade 3 TG 006523 Grade 4 TG 006530 Grade 5 TG 006547 Grade 6 TG 007476 Grade 7 TG 007483 Grade 8 TG 007490

62 Acoustic guitar resources Acoustic guitar resources Join us online to access a range of resources to support teaching and learning at trinitycollege.com/acoustic-guitar-resources Trinity publications Discover digital content, including videos and articles from teachers and professional musicians, with advice and support on: ◗◗ Pieces, performance and technique ◗◗ Technical work ◗◗ Supporting tests ◗◗ Life in the music industry Acoustic guitar resources For further help you can contact the music support team at Trinity’s central office at [email protected], or find the contact details of your local representative at trinitycollege.com/worldwide

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

63 Notes Notes Notes