Sample Booklet a Selection of Pieces and Exercises for Trinity College London Exams 2017–2020

Flute Sample booklet A selection of pieces and exercises for Trinity College London exams 2017–2020

NOT FOR SALE 2 Contents

Trinity’s Woodwind and Jazz Woodwind syllabuses 3 Recognition 3

Flute exams 3 Why a Trinity Flute exam? 3

How is the exam structured? 4 Pieces 4 Technical work 4 Supporting tests 4

Repertoire lists 6

Sample pieces 8 Initial 8 Grade 2 10 Grade 3 11 Grade 4 13 Grade 7 15

Sample exercises 17 Grade 1 17 Grade 5 19

Contributors 21

Teacher support 22

Certificate and theory exams 22

Repertoire books and support publications 23

2 Trinity Flute Sample booklet 2017–2020

Trinity’s Woodwind and Jazz Woodwind syllabuses

The 2017–2020 Woodwind and Jazz Woodwind syllabuses from Trinity College London offer the choice and flexibility to allow candidates to play to their strengths, enabling them to gain recognition for their own unique skills as performers. There are new classical repertoire lists for all instruments, covering a wide range of styles and genres. Initial exams for flute and clarinet have been introduced as well as a new set of flute and clarinet graded repertoire books. Audio recordings of each piece in the books are available on graded CDs and as individual downloads. Refreshed repertoire lists for jazz woodwind offer plenty of opportunities for improvisation, enabling teachers and candidates to explore different ways into this important jazz technique. Further repertoire choices for classical and jazz flute, clarinet and saxophone are available in the popular Musical Moments and Mosaics books. New technical work exercises for recorder, oboe and bassoon cover tone and phrasing, articulation and finger technique. They are available in new scales, arpeggios and exercises books for recorder, oboe and bassoon, providing a valuable teaching resource as well as excellent exam support. Scales, arpeggios and exercises books are also available for flute, clarinet and saxophone. Recognition Trinity exams are externally regulated in the UK and are recognised by education authorities in many countries around the world. Grades 6–8 are also eligible for UCAS (Universities and Colleges Admissions Service) points for those applying to UK colleges and universities.

Flute exams

Trinity’s Flute exams have been designed to develop confident, creative and skilled musicians through a structured learning framework, which nurtures development and evaluates a musician’s progress at every level. Trinity’s graded exams are guided by a core philosophy of flexibility, placing the needs of individual candidates at the heart of the exam. Why a Trinity Flute exam? ◗◗Choice and flexibility — candidates choose three pieces from the repertoire lists and may offer their own composition in place of one listed piece ◗◗At Initial to Grade 5, candidates choose two supporting tests from four options: sight reading, aural, improvisation and musical knowledge. At Grades 6–8, sight reading is compulsory and candidates choose one other test ◗◗Varied and exciting repertoire lists — including a range of genres and styles ◗◗Options to perform exercises (Grades 1–5) or orchestral extracts (Grade 6–8) instead of scales and arpeggios ◗◗Specially composed exercises — covering key aspects of technique to complement scales and arpeggios ◗◗Uniquely diagnostic mark scheme — providing detailed and specific musical feedback ◗◗Internationally recognised qualifications, with UCAS points available at Grades 6–8 ◗◗A range of support materials including books of repertoire, sight reading, aural tests, and scales, arpeggios and exercises ◗◗Delivered by a panel of friendly examiners who are rigorously trained and standardised, creating a positive and personalised experience for all candidates

3 Trinity Flute Sample booklet 2017–2020 Trinity Flute Sample booklet 2017–2020

How is the exam structured?

Trinity Flute exams are designed to give players Supporting tests the freedom and choice to demonstrate the At Initial to Grade 5, candidates choose two full extent of their musicianship. Wide-ranging supporting tests from four options: sight reading, repertoire lists are provided, with few limitations aural, improvisation and musical knowledge. At placed on programme selection. Technical work Grades 6–8, sight reading is compulsory, and includes the option to perform exercises or candidates choose from improvisation or aural for orchestral extracts as an alternative to scales their second test. This flexibility is designed to give and arpeggios, and there is flexibility of choice candidates choice in how they demonstrate their within the supporting tests at all grades. broader musical skills, while recognising that sight reading is an important skill at the higher grades. Pieces Candidates play three pieces selected from two Sight reading groups: two accompanied and one unaccompanied The sight reading test is designed to be musically piece. Candidates may substitute one piece for their intuitive to enable candidates to demonstrate own composition if they wish. This part of the exam their sight reading skills to the best of their ability. is designed to provide the right balance of flexibility Candidates perform a short, accessible musical and structure, enabling candidates to demonstrate extract after a brief period of preparation, at a level their own musical personalities while requiring approximately two grades lower than the exam them to present a balanced programme. being taken. Technical work Aural In the exam, candidates can choose to perform The aural test assesses candidates’ skills in musical either scales and arpeggios, or exercises (Grades perception and understanding through carefully 1–5)/orchestral extracts (Grades 6–8). This is graded questions about a single musical extract designed to enable candidates to demonstrate played at the piano by the examiner. At most grades their technical ability in a way that plays to their candidates are asked to describe various features strengths as musicians. of the extract such as dynamics, articulation, texture and style. No singing is required. Scales & arpeggios Improvisation A selection of scales is set for each grade, structured progressively to develop technique and awareness of This test assesses candidates’ ability to respond keys. Candidates prepare the scales and arpeggios fluently and creatively to a musical stimulus, set for the grade, and play a selection in the exam as which can be stylistic, motivic or harmonic at the requested by the examiner. candidate’s choice.

Exercises Musical knowledge Candidates prepare three exercises, of which The musical knowledge section of the exam is two are played in the exam. One is chosen by the based exclusively upon the repertoire played by candidate and one by the examiner. The exercises the candidate in the pieces section. It is delivered are designed to demonstrate tone and phrasing, conversationally by the examiner, who draws out articulation and finger technique. what the student knows through questions such as ‘point out the most interesting features of this piece’. Orchestral extracts At Grades 6–8 candidates prepare three orchestral extracts, of which two are performed in the exam. One is chosen by the candidate and one by the examiner. These are selected to demonstrate the same techniques as for the exercises.

4 Trinity Flute Sample booklet 2017–2020 Trinity Flute Sample booklet 2017–2020

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 Either scales Either scales & arpeggios & arpeggios or exercises or (Grades 1–5 only) orchestral extracts Supporting tests 10 Supporting test 1 10 Any TWO of the 10 sight reading following: Supporting test 2 10 sight reading One of the or following: aural or improvisation improvisation or or aural musical knowledge Total 100 100

Overall mark Band 87–100 Distinction 75–86 Merit 60–74 Pass 45–59 Below pass 1 0–44 Below pass 2

5 Trinity Flute Sample booklet 2017–2020 Trinity Flute Sample booklet 2017–2020

Repertoire lists

Trinity’s graded repertoire books offer a complete solution for the repertoire part of the exam, providing flute candidates with nine attractive and contrasting pieces from which to form a programme. Candidates must choose two pieces from group A and one piece from group B*. Candidates may substitute one piece for an own composition.

Flute — Initial (TCL 015402) Flute — Grade 1 (TCL 015419) Group A Group A J S Bach Chorale: Nun danket alle Gott Bennett Taking Pictures Cleaton Jazz with the Queen de Lalande Passepied pour la Jeunesse Dacre Daisy Bell Long Spooked Lyons Andantino Tanner Cormorant High Gunning & Pearce The Bluebell Line Susato Ronde VI Street Lazy Afternoon Trad. Farewell Nancy

Group B Group B Garnier Study no. 6 Anon. Medieval Dance Tune Rae Proclamation Anon. French Dance Trad. Blow the Wind Southerly Madden One More for the Road

Flute — Grade 2 (TCL 015426) Flute — Grade 3 (TCL 015433) Group A Group A Chamberlain Touchstone Albert & Gasté Feelings Haughton Riffs Arrieu Pièce pour flûte et piano Purcell The Sailor’s Dance McDowall Waltz Iles The Dance of the Snow Queen Norton Seashore Jagger/Richards Paint it Black Trad. The trees they do grow so high Trad. When the Boat Comes In Popp Piece no. 2 (Andantino)

Group B Group B Demersseman Air Hollandais Demersseman Mélodie Polonaise Green Bouncin’ Rae Four by Four Ledbury You Said Trad. Lovely Maiden

Flute — Grade 4 (TCL 015440) Flute — Grade 5 (TCL 015457) Group A Group A J S Bach Siciliano Degg Piece no. 7 Caird After All Kreisler Schön Rosmarin Degg Piece no. 3 Mozart Adagio from Flute Quartet in D Elgar Minuet McDowall Music Hall Sands Recuerdos de la Bahía Telemann Vivace, 1st movt from Sonata in F, Piazzolla Tango Final TWV 41:F2 Piazzolla Ausencias Group B Gariboldi Study no. 10 Group B Ledbury Boiling Point Harrison Round Dance & Swineherd’s Dance II van Eyck Prins Robberts Masco Ledbury Imaginings Demersseman Study no. 32

6 *Group B pieces are unaccompanied Trinity Flute Sample booklet 2017–2020 Trinity Flute Sample booklet 2017–2020

Flute — Grade 6 (TCL 015464) Flute — Grade 7 (TCL 015471) Group A Group A Fauré Morceau de Concours C P E Bach Sonata no. 4 in D major, 1st movt: C P E Bach Allegro, 2nd movt from Sonata in E minor Adagio and 2nd movt: Allegro Godard Idylle Gluck Allegro non molto, 1st movt from Gaubert Madrigal Concerto in G McGuire Caprice Mathias Allegro ritmico, 1st movt from Piazzolla Street Tango Sonatina, op. 98 Rabboni Sonata no. 7 in F Group B Roussel Krishna and Mr. de la Péjaudie from Stokes Jazz Single no. 15 Joueurs de Flûte, op. 27 Taggart Centre Ville Schocker Three Minute Sonata Telemann Adagio and Allegro from Fantasie no. 2 in A minor, TWV 40:3 Group B R R Bennett Poco lento and Allegro con grazia, 1st movt from Sonatina for Solo Flute Flute — Grade 8 (TCL 015488) Stamitz Allegro moderato, 1st movt from Capriccio-Sonata in A major Group A Piazzolla Tango Étude no. 5 Burton Allegretto grazioso, 1st movt from Sonatina Debussy Prélude à l’après-midi d’un faune Mozart Concerto no. 1 in G, K. 313, 1st movt: Allegro maestoso Prokofiev Andante, 3rd movt from Sonata no. 2, op. 94 Rutter Waltz Vivaldi Concerto no. 2 in G minor, op. 10 no. 2, RV439 La Notte, movts 1–4

Group B J S Bach Allemande, 1st movt from Partita in A minor, BWV 1013 Jacob The Pied Piper Stokes Jazz Single no. 8

7 Trinity Flute Sample booklet 2017–2020 Trinity Flute Sample booklet 2017–2020

roup Sample pieces Jazz with the Queen roup JJaazzzz wwiitthh thhee Quueeeenn K. S. Cleaton (b. 1986) roup S leaton Initial Jazz with the ueen K. S. Cleaton b 1 Jazz with the Queen (b. 1986) Moderate bossa nova q = 118 S leaton Jazz with the ueen K. S. Cleaton # > b 1 4 ∑ ∑ œ. ˙ œ œ œ Ó (b. 1986) & 4 Moderate bossa nova q = 118 œ S leaton mf # 4 . >˙ b 1 & 4 ∑ ∑ œ œ œ œ œ Ó Moderate bossa nova q = 118 mf # 4 > j & 4 ∑ ∑ Œ ‰œ. œ™˙ ‰ œ œ œ Œœ œ ‰Ó œ ‰ & 4 œ œ >œ œ œ œ œ œ œ œ œ™ œ œ œ œ # > > œ œ œ > mf ™ j 4 mf > Œ ‰ ‰ Œ ‰ ‰ & 4 œ œ œ™ œ œ œ œ >œ œ > >œ œ œ œ œ œ œ >œ œ œ™ œ œ œ œ ?#4 mf > j 4 ∑ Ó ‰ j Œ ‰ œ œ œ‰ œ œ Œ œœ œ‰ œ ‰ & 4 œ œ œ œ œ œ œ œ œ œ œ™ œ™ J œ œ œ œ™ œJ œ œ ?#4 > œ > > œ œ œ œ œ > œ™ œ œ œ œ 4 mf ∑ >Ó ‰ j œ œ œ œ œ œ œ œ™ J œ œ™ J œ 4 {?#4 ∑ Ó ‰ j œ œ œ œ œ œ œ œ™ J œ œ™ J œ 5 { > # & œ ˙ œ œ Œ œ Œ œ Œ œ œ Œ 5 . w œ { # > & œ ˙ œ œ w œ Œ œ Œ œ Œ œ œ Œ 5 . # > j j & ‰ œ™˙ ‰ œ œ j j Œ œ Œ œ‰ j œŒ ‰œ j œŒ & œ. œ œ œ #wœ œ œ œ œ œ ™nœ œ œœ œœ œ œ œ œœ # œ™ œ œ œ™ œ #œ œ œ nœ™ œ œ œ œ œ œ œ œ & ‰ œ™ ‰ œ j j j j ‰ j œ ‰ j œ œ™ œ œ #œ™ œ œ œ œ œ™nœ œ œ œœ œœ œ œ œ œœ ?# œ™ j œ œ ™ #œ œ œ nœ™ j œ œ œ j œ œ j # ‰ œ œ‰ j j j j œ ‰ j œ j & œ™ œ™ œ œ œ œ œ œ œ œ œ™ œ œ‰ ™ j œœœ ?# œ™ j œ œ œ #œ™ œ œ œ œ œ™nœ œ œ œ™ œœ œœj œ œ j œ œ ™ œ œ ™ j #œ œ œ nœ™ j œ œ °œ œøœ j œ™ œ œ œ œ œ™ œ™ œ œ œ™ œ œ™ œ™ {?# j j j ° ø j œ œ j œ œ j œ™ œ œ œ œ œ œ™ œ™ œ 9 œ œ™ œ ™ ™ { ° ø # > œ Œ œ Œ w œ. ˙ œ œ œ Ó 9& œ { mf > # . ˙ & œ Œ œ Œ w œ œ œ œ œ Ó 9 mf # > j & œŒ Œ œ Œ w‰ j ‰ j œ‰. œ™ ˙ ‰ œ œ œ Œœ œ Ó‰ œ ‰ & ˙ œœ œœ ˙˙ œ™ œ œ œ œ # ˙˙ œœ œœ ˙ mf ™ j Œ Œ ‰ j ‰ j m‰f ‰ Œ ‰ ‰ & ˙ œ™ œ œ œ œ ˙˙ œœ œœ ˙˙ œ™ œ œ œ œ ?# œ ˙ ˙ mf j j Œ˙ œ œ œŒ ‰ j ‰ j œ‰ ™ œ j ‰ œ œ Œœ™ œ œ ‰ œ ‰j & ˙ œœ œœ ˙˙ œ™ œ ˙ œ œ œ œ™ œ œ ?#“‘ ˙˙ œ ˙ œœ œœ ˙ œ™ œ œ œ j œ ˙ œ œ œ mœf™ j œ™ œ j ˙ œ ˙ œ™ œ {?#“‘ œ ˙ opyrit 201 Trinity olljee onon re ˙ œ œ œ œ™ j œ™ œ j 8 ˙ œ ˙ œ™ œ ‘ opyrit 201 Trinity ollee onon re Initial flute piano part.indd{ 4 “ 14/04/2016 12:09:04

opyrit 201 Trinity ollee onon re Initial flute piano part.indd{ 4 14/04/2016 12:09:04

Initial flute piano part.indd 4 14/04/2016 12:09:04 13 > # ˙ & œ. œ nw mp

13 > # ˙ j Trinity Flute Sample booklet 2017–2020 & œŒ. œ ‰ œ œ ‰ nw‰ nœ œ ˙Trinity Flute Sample booklet 2017–2020 mp #œ nœ œœ œ ˙ mp œ œ ˙

1?3 # j # > œ œ™ j j & œŒ ™ ˙œ ‰ œ œ ‰ œ‰ . #œ nœ œ nw™ nœœ œ ˙œ œ œ œ mpp œ œ ˙ {?# j # œ œ™ j j & Œœ™ œ ‰ œ ‰œ œ‰ ™ nœ œ #œ nœ œœ œ ˙œ œ œ mp œ œ ˙

15 {?# j # Œ œ œ™ Œ j ˙ j œ & œ™ #œ œ œ cresc. œ f ™ œ œ œ œ œ

15 { # Œ Œ ˙ œ & œŒ #œ‰ œ ‰ Œ œœ ‰ œ œ ‰ cresc. œ f œ œ cresc. œ ##œ œ 1?5 # j # Œ j ‰ ‰j œŒ˙ ™ œ ‰ ‰ & œ™ Œœ œ #œ™ œ Œ œ œœ ˙œ œœ œ cresc. œ œ œ cresc. œ ##œ f œ {?# j # j j œ™ œ & œŒ ™ œ œ‰ ™ ‰œ Œ œ ‰˙ ‰ œ œ œœ œœ cresc. œ ##œ œ 17 {?# U # j & Œ j œ Œ j œ w œ œ™ œ œ™ œ ™ ˙

17 U { # U ˙ ‰ Œ j œ Œ Ó ˙ & œ œœ œ ˙ w œœ œ ˙ 1?7 # U U ˙ # œ Uj ‰ Œ ˙ # ‰ Œ j œ Œ Ó ˙ & œ œœ œ œœ ˙œ˙ œ w œœ œ ˙ #œ n>œ ˙ U {?# œ ‰ Œ U ˙ # j ˙ ˙ ‰ œ œj œ Ó ˙ Initial flute piano part.indd& 5 œ œœ œ ˙ #œ œ nœ ˙ 14/04/2016 12:09:04 œœ œ ˙ > {?# U œ j ‰ Œ ˙ Initial flute piano part.indd 5 œ œ œ œ œ œ 14/04/2016 12:09:04 #œ n>œ ˙ { Copyright © 2016 Trinity College London Press Ltd 9 Initial flute piano part.indd 5 14/04/2016 12:09:04 Trinity Flute Sample booklet 2017–2020 Trinity Flute Sample booklet 2017–2020

Graderoup 2 Air Hollandais

Air ollandais Jules Demersseman (1833 - 1866) ule emereman b 1–1 Maestoso [q = 105] œ œ œ œ > # œ œ œ œ™ œ œ œ œ œ ˙ & c œ œ œ f 5 > œ œ #œ œ > nœ™ œ # œ œ œ œ™ œ œ œ œ œ œ œ J œ œ & J œ ˙ Œ œ

10 œ œ >œ >œ >œ > >œ œ # ™ œ œ œ œ œ œ œ œ œ œ œ & J Œ

14 > œ™ œ œ œ œ # œ œ œ œ œ œ œ œ œ ˙ ˙ œ œ œ œ & J

Bouncin’ opyrit 201 Trinity ollee onon re

Bouncin Ian Green (?) an reen

Bouncy [q. = 90] . . œ. 6 j œ j œ œ œ œ œ j œ j œ œ œ œ™ œ à J &b8 œ. œ. J œ œ. œ. mf f

5 œ œ œ . . J œ œ œ œ œ œ . j à j &b œ œ œ œ œ œ œ. mf œ. pœ™ œ mf

9 . . . . œ. . . œ j œ œ œ œ œ j œ. œ. œ œ œ œ™ œ àœ œ &b œ. J œ œ. f 13 . œ œ œ œ œ . œ . b œ œ œ œ. œ œ & œ. œ œ œ œ œ œ œ mf . p ™ Copyright © 2016 Trinity College London Press Ltd opyrit 200 by ooey ake ui ublier t eproue by permiion o ooey ake ui ublier t © 10

Grade 2 flute part.indd 8 12/04/2016 13:54:38 Trinity Flute Sample booklet 2017–2020 Trinity Flute Sample booklet 2017–2020

GraderGouprou p 3 Waltz WWaallttzz Cecilia McDowell (b. 1951) eilia oall b 11 Amoroso h. = 63 3 ˙ œ ˙ & b 4 ∑ ∑ ∑ ∑ ™ œ mp 3 &b4 ™ ˙ ˙™ ˙™ ˙™ ˙™ ˙™ nœ œ ™ œ œ œ œ f Œ œ œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ Œ œ œdim. mp ? 3 b4 ˙™ ˙ ˙™ ˙ ™ ˙™ ˙ ˙ ™ ˙ ™ ˙ ™ con™ P ˙™ ™ ˙™ ™ ˙™ 7 ˙ œ œ œ œ ˙ ˙ œ ˙ {& b ™ J Œ Œ ∑ j b ˙ & ˙™ 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 b ˙™ ˙ ˙™ ˙™ ™ ˙ ™ ˙ ˙™ ™ ˙™ ™ ˙™ 13 œ œ œ ˙ œ œ œ ™ J œ œ™ J ˙ œ™ œ ˙ œ {& b Œ J mf

&b Œ Œ Œ Œ Œ Œ œ œ œœ œ œœ œ œ œ œ œ œ œ #œ œ mf œ œ œ œ œ œ œœ œœ œ œ œœ œœ ˙ ? ™ ˙ ˙™ ˙ ˙™ b ˙™ ™ ˙ ™ ˙ ˙™ ˙™ ™ ˙™ ™ ˙™ 19 ˙ œ œ œ { b ˙ œ ˙ Œ ˙™ ™ ˙™ ™ J ˙™ &

˙ bœ œj ˙ b˙ ˙ &b j 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 ? ˙ ˙ ˙ ˙ b ™ ˙™ ™ ˙ ™ ˙ ™ ˙™ ˙™ ™ ˙™ ™ ˙™ ˙™ ˙™ ˙™

{ opyrit 1 an uational ui onon 11

Grade 3 flute piano part.indd 8 14/04/2016 09:56:53 Trinity Flute Sample booklet 2017–2020 Trinity Flute Sample booklet 2017–2020

26 ˙ œ ˙ œ œ™ œ ˙ œ ˙ œ & b J œ Œ Ó dim. mf œ j œ œ œ b˙™ œ œ œ™ œ œ œ &b œ™ œ œ œ ‰ œ œ œ J ‰ œ œ œ œ œ mf Œ Œ Œ Œ œ œ œ œ œ œ Œ œ œ ? œ œ ˙ œ œ ˙™ ˙™ Œ œ œ ˙ b ˙™ œ œ ™ ˙™ ™

32 œ œ { œ™ œ œ ˙ œ ˙ œ™ ˙ J J & b Œ Œ ∑ mf

œ œ œ œ b œ™ œ œ #œ œ œ œ œ & J 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 ˙™ ™ & b ˙™ ˙™ ˙™ ˙™ ˙™ ˙™

38 ˙ { œ ˙ œ ˙ œ™ œ œ ˙ œ œ™ œ J œ ˙ & b Œ J Œ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ &b œ™ J œ œ œ œ œ œ™ J J #˙™ ™ Œ œ œ Œ œ œ > > > Œ ? ˙ Œ ? œ œ Œ Œ ? œ œ œ &b œ œ ™ & œ œ ˙™ & œ œ œ œ ™ ˙ œ œ œ œ ˙ œ œ >œ ™ ™ ˙™ ˙™ ™

{45 rit. ˙ œ ˙ œ œ œ ˙ œ œ ˙ ˙ & b œ ™ J Œ ™ œ œ ˙ ™ ™ mp J pp

b j & ˙ ˙™ 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 ˙™ mp Œ œ ™ ? ˙™ ˙™ ˙™ ˙™ b ˙™ ˙™ ˙™ ˙™ ˙ ˙™ ˙ ˙™ ˙ ˙™ ˙™ ™ ™ ™ ˙™ { 12 Copyright © 1985 Pan Educational Music, London Grade 3 flute piano part.indd 9 14/04/2016 09:56:53 Trinity Flute Sample booklet 2017–2020 Trinity Flute Sample booklet 2017–2020

Graderoup 4 Group Minuet Arr. Trevor Wye Minuet rom e Wand of out First Suite Edward Elgar Arr. Treor ye ar lar (1857—1934) from The Wand of Youth, First Suite 17–1

Andante q = 69 m # 3 œ #œ. œ™ m œ & 4 œ œ™ J œ œ œ œ™ J œ œ ˙ mp J #3 & 4 œ ˙ œ œ˙ œ œ œ œ œ œ ˙ ˙ ˙ œ nœ œ ˙™ œ #œ 3 ˙ œ œ œ œ œ œ œ œ œ ?#4 œ œ œ œ œ

5 3 { # œ œ Ÿ j & œ œ œ œ œ œ œ œ œ œ œ ˙ œ ‰ p ™ œ ™ # & ˙™ œ œ j j ‰ œ œ œ ˙ œ œ œ œ œ™ œ ˙ œ p > œ œ . œ. ?# œ œ œ œ œ œ œ œ œ.

ad lib. 9 “” m m # œ #œ. œ™ œ œ œ {& œ œ™ J œ œ ™ J œ -œ ˙ f J # - - & œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ #œ œ œ ˙œ œ ˙™ f 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 ™ J

13 :“; 3 # Ÿ { œ œ œ œ œ j ‰ & œ œ œ œ œ œ™ œ œ™ œ ˙ œ mf dim. p # & œ œ œ œ j ‰ œ œ œ œ œ œ œ œ œ œ œ ˙ œ J J p j j > . ?# œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ.

opyrit oello ompany imite ll rit reere 1 nternational opyrit eure e by permiion o oello ompany imite { 13

Grade 4 flute piano part.indd 14 22/04/2016 11:32:21 Trinity Flute Sample booklet 2017–2020 Trinity Flute Sample booklet 2017–2020

17 repeat 8va higher # œ. & ™ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ p # ™ œ œ œ & ™ œ. œ œ œ œ ˙ . œ œ œ œ #œ œ p . ?# ™ œ. Œ Œ œ. œ. œ œ. #œ #œ œ. œ. œ. Œ ™ . . œ.

21 { œ - - # œ œ œ - œ - - & œ™ œ œ œ™ œ œ œ œ™ œ œ œ mf J dJim. J

# œ ˙ & œ œ œ ˙ œ œ œ œ œ œ œ mf #œ dim. #œ ?# œ œ œ œ œ œ˙™ œ œ œ œ œ œ œ œ #œ

{25 1. > > # œ #œ œ Ÿ j & œ -œ œ œ œ ‰ ™ - f pœ > #œ™ #œ œ™ œ ˙ œ 3 # œ œ œ œ œ Œ j ‰ ™ & œ™ J œ œ œ œ œœ #œ ˙ ˙ œ ™ f ™ œ œ ˙ œ p œ > >œ ?# ˙ œ œ œ œ . œ Œ œ œ œ œ ™ - - œ œ. .

{29 2. più lento rall. Ÿ U U # ˙ œ j ‰ & œ œ œ œ œ œ œ œ œ œ™ œ œ™ œ ˙ œ . pp #œ U œ #œ U˙ œ # ? œ œ œ œ œ œ œ œ œ ˙ œ & Œ œ œ œ J ‰ œ œ ˙ œ. pp U j ?# Œ œ œ œ ˙ ˙ œ ‰ œ œ ˙ œ œ œ ˙ œ . œ ˙ œ œ œ Œ { 1 Copyright © Novello & Company Limited. All rights reserved. 14 International copyright secured. Used by permission of Novello & Company Limited. Grade 4 flute piano part.indd 15 22/04/2016 11:32:21 Trinity Flute Sample booklet 2017–2020 Trinity Flute Sample booklet 2017–2020

Group Graderoup 7 CapriccioSonata Allegro moderato Anton Stamitz 1t moement rom Capriccio-Sonata in maor (1750 — 1789/1809) nton Stamit 170–1710 Allegro moderato [q = 130] œ œ # # œ œ œ œ œ œ ˙ œ œ œ œ j œ œ œ œ œ œ & # C œ œ œ œ œ œ œ œ œ œ œ Œ œ f œ f

6 œ # # œ œ œ œ œ œ œ ˙ œ œ œ & # ˙ œ œ œ œ ˙ œ Œ #œ œ œ ˙ œ œ 6 sfzp

11 œ œ m # # œ œ œ œœ ˙ #œ œ œ m œ œ & # œ œ œ Œ ˙ œ œ œ œ œ œ ˙ œ œ œ œ œ œ p mp

17 . nœ Ÿ # # œ . #œ œ œ œ #œ œ œ œ™ œ#œ & # œ ˙ ˙ #œ œ œ œ œ œ œœœœ œ œ™ œ J 6 ˙ J mf mf sfp p p

23 # # œ œ Ÿ # œ #œ œ œ™ œ œœ œ#œœœ œ œ œ œ œ œ & #œ œ nœ œ J œœ œ ˙™ ™ ™ œ œ f p p mf f

28 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 f

33 œ œ # # œ œ œ nœ™ œ ˙ œ œ #œ™ œ œ œ ˙ #œ & # œ œ œ œ œ œ ˙ œ ™ œ ˙ #œ œ Œ mf mf f

2 opyrit 201 Trinity ollee onon re

Grade 7 flute part.indd 24 27/04/2016 14:15:09 Trinity Flute Sample booklet 2017–2020 Trinity Flute Sample booklet 2017–2020

39 . . Ÿ 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 3 œ œ œ œ 3 3 œ & 3 3 p 3 3 mp 3 3 mf œ

42 3 œ œ œ. Ÿœ œ. œ œ. œ. œ Ÿ œ œ ### œ œ . . #œ . . . œ œ œ œ & 3 œ œ œ œ œ œ. œ œ œ œ œ œ f œ p 3 3 3 mp

45 # œ Ÿ œ œ œ Ÿ œ œ ˙ œ œ œ ## œ œ œ œ œ w & œ œ œ œ œ œ œ œ mf f ff ff

49 Ÿ # # w œ œ ˙ ˙ œ œ œ nœ ˙ & # œ #œ œ œ œ œ œ œ ff sffzp sffzp f sffzp

53 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. 6 3 œ 3 3 J f sffp mf f

57 Ÿ œ Ÿ œ œ. # # Ÿ ˙ œ œ ˙ œ œ œ. ˙ œ œ ˙ œ & # œ œ Ó œ œ œ œ œ œ œ œ œ œ #œ p mp mf mf

64 œ # # œ œ œ œ œ™ œ œ œ œ Ÿ œ # œ œ œ J œ œ œ œ œ ˙ œ™ J & 6 sfzp p p

68 œ œ # # œ #œ œ œ œ œ™ œ œ œ œ œ œ œ œ Ÿ & # œ œ J œ œ ˙™ ™ f p p f

Sample exercises

The exercises featured in Trinity’s Scales, Arpeggios & Exercises books offer carefully graded short pieces in a Graderange of1 continued attractive styles, which develop players’ technical skills. Below are examples of these exercises for Flute Grades 1 and 5. ii) Exercises Grade 1

1a A Sad Story tone an prain

q = 112 #4 œ œ œ œ œ #œ œ œ & 4 œ œ Ó œ œ œ œ œ ˙ Ó œ mf f 6 slower # œ œ ˙ œ œ œ ˙ & œ Ó œ œ #œ Ó œ œ Ó mf

1b Rising and Falling tone an prain

h = 92 # œ œ & C œ œ œ œ ˙™ Œ œ œ œ ˙™ Œ œ œ œ p

6 # ˙ œ œ œ œ œ œ œ ˙™ œ & ™ Œ #˙™ Œ #œ Œ nœ œ œ f mp

12 # œ ˙™ & ˙™ Œ œ œ œ Œ œ œ œ œ ˙™ Œ mf p

2a Spiky artiulation

h = 84 . > . > œ. œ œ œ œ œ œ. . œ. . œ. œ œ . . . >œ &bC œ Œ œ œ œ œ Œ œ œ œ œ f .

6 > . >œ œ. . . . œ > œ. œ &b œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ Œ Ó . p...... f

17 Flute scales Grades1-8_2015new.indd 4 6/24/2014 4:48:03 PM Trinity Flute Sample booklet 2017–2020 Trinity Flute Sample booklet 2017–2020

2b Snowflakes artiulation

q = 108 . . 2 œ œ . œ œ œ . œ. . . j œ. &b4 œ œ J ‰ Œ œ œ œ œ. œ œ ‰ Œ œ œ œ. mp

7 . œ œ œ . œ. . j œ œ œ. œ. œ œ œ œ. œ. &b ‰ Œ œ œ œ œ œ. œ ‰ Œ J ‰ Œ J . f mp echo

14 œ œ œ œ. œ. œ. . j œ j &b J ‰ Œ œ œ œ. œ ‰ Œ œ œ œ. œ ‰ Œ f . p .

3a Symmetry iner teniue

q = 116 #2 œ œ œ œ œ œ & 4 Œ œ œ œ œ Œ œ œ œ œ f p 6 # œ œ œ œ œ œ œ œ œ œ œ & Œ Œ œ œ Œ œ œ f

12 poco rit. # œ œ œ œ & œ Œ œ Œ œ œ œ œ œ Œ p

3b Waltzing iner teniue

q = 120 #3 œ , œ œ œ , , , & 4 #œ nœ œ œ Œ ˙ Œ œ œ œ ˙ Œ œ œ œ ˙ Œ mf p

9 œ # #œ œ nœ œ , œ œ #˙ œ œ nœ œ & œ Œ Œ œ Œ œ œ œ ˙ Œ mf p

Flute scales Grades1-8_2015new.indd 5 6/24/2014 4:48:04 PM

18 Grade 5 continued

Trinity Flute Sample booklet 2017–2020 Trinity Flute Sample booklet 2017–2020 1b Reaching tone an prain q = 100 Grade 5 continued Grade 5 œ œ œ œ œ ˙ œ ˙ # # 4 œ œ œ œ œ œ œ œ & # #4 œ ˙ œ ˙ 1b Reachingp cresc. tone an prain f dim. q = 100 7 œ œœ œ œ œ œ œ œ ˙ œ ˙œ # ##4œœ #œœ œ œ œ œ œ œ œœ œ œ & # #4 œ ˙ #˙ Ó œ œ ˙ œ ˙ p cresc. p p cresc. f dim.

127 # œ œ œ œ œ ˙ œ ˙ œ œ œ #### œ œ œ #œ œœ œ œ œœ œœ ˙ ˙ & # # œ ˙ #˙ Ó œ œ œ ˙ œÓ f dim. p p cresc. p

12 œ ˙ œ ˙ œ # # œ œ œ œ œ œ œ ˙ ˙ & # # œ ˙ œ Ó f dim. p

2a Down ome artiulation h = 72 œ bœ œ œ œ œ bœ œ œ œ nœ^ œ b œ œ œ œ œ >œ œ œ. œ œ œ œ œ œ œ &b bC J J ‰ ‰ J Ó ‰ J 2a Downf marc. ome artiulation h = 72 5 œ œ^ œ ^ ^ bœ œ œ bœœœ œ œ nœ œ œ œbœbœœ œ œ œ nœ^œ œ bœ œœ b œ œ œ œ œ >œ œœœ >œœ. œ œ. œ œ œ œ œ œbœœ &b bC J J ‰ J ‰ ‰ J Œ Œ Ó ‰Œ J f marc. dim. p

95 U œ œ^ œ ^ œ œ^ bœ œ^œ œ œ ˙ œ bnœ œœ œ œ œ bœ œ nœ œ œ œ bœ^ œ b n˙œ œ œ >œ, œœ œœ. œ œ œ >œ œ œ. œ b>œœ &b b Œ ‰ J J ‰ Œ J Œ‰ Ó Œ J f dim. ffp

9 U œ ^ bœ œ^ ˙ œ bœ œ œ œ nœ œ œ b n˙ , œ œ œ œ œ >œ œ œ. >œ 2b&b bExploringŒ artiulation‰ J J ‰ Ó J f ff q = 63 #œ œ nœ nœ œ œ œ œ. œ^ œ œ œ bœ . ^ b 4 œ œ œ œ œ œ œ #œ œ œ &b b4 œ Œ Œ mf 3 . œ nœ œ œ. bœ. . . nœ œ œ œ œ œ. œ^ b œ œ œ nœ nœ œ œ^ œ œ œ &b b Œ œ nœ Œ Flute scales Grades1-8_2015new.indd 34 6/24/2014 4:48:26 PM 5 œ œ œ œ œ - œ œ nœ œ. œ œ nœ œ œ. b œ œ œ œ- œ œ . . œ œ #œ œ œ œ œ &b b J ‰ J ‰ œ nœ œ Œ œ nœ œ ‰ J f pp Flute scales Grades1-8_2015new.indd 34 6/24/2014 4:48:26 PM

3a Crystal iner teniue

q = 108 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 & # 4 J ‰ J ‰ mf

5 # œ œ œ œ œ œ -œ œ œ ## œ #œ J nœ œ œ œ œ œ œ œ œ & ‰ œ œ -œ Œ œ œ f p poco rit. - 9 œ œ # # œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ Œ Ó & œ œ œ œ œ œ œ

Flute scales Grades1-8_2015new.indd 35 6/24/2014 4:48:27 PM 2b Exploring artiulation q = 63 #œ œ nœ nœ œ œ œ œ. œ^ œ œ œ bœ . ^ b 4 œ œ œ œ œ œ œ #œ œ œ &b b4 œ Œ Œ mf 3 . œ œ nœ œ œ. bœ. . . nœ œ œ œ œ. œ^ b œ œ œ nœ nœ œ œ^ œ œ œ &b b Œ œ nœ Œ

5 œ œ œ œ œ - œ œ nœ œ. œ œ nœ œ œ. b œ œ œ œ- œ œ . . œ œ #œ œ œ œ œ &b b J ‰ J ‰ œ nœ œ Œ œ nœ œ ‰ J f pp

Trinity Flute Sample booklet 2017–2020 Trinity Flute Sample booklet 2017–2020

3a Crystal iner teniue

q = 108 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 & # 4 J ‰ J ‰ mf

5 # œ œ œ œ œ œ œ- œ œ ## œ #œ J nœ œ œ œ œ œ œ œ œ & ‰ œ œ -œ Œ œ œ f p poco rit. - 9 œ œ # œ œ œ œ œ ## œ œ œ œ œ œ œ œ œ œ œ Œ Ó & œ œ œ œ œ œ œ

Flute scales Grades1-8_2015new.indd 35 6/24/2014 4:48:27 PM

20 Trinity Flute Sample booklet 2017–2020 Trinity Flute Sample booklet 2017–2020

Contributors

Trinity works with a range of contributors when creating syllabuses and accompanying books and audio.

A panel of experts makes sure that the chosen pieces match the criteria and are engaging and varied. For this syllabus the panel was led by Clara Charlesworth. Clara Charlesworth studied Performance and Orchestral Studies at the Guildhall School of Music & Drama and has had a career as a general woodwind teacher and flute specialist, directing many bands and ensembles across the UK. Clara is an examiner for Trinity, and worked on the flute lists, orchestral extracts and technical work.

So that the Trinity syllabuses feature the right pieces at the right level and support our pedagogical values, Trinity commissions composers such as Kimee Cleaton. Kimee Cleaton is a singer, musician, teacher, conductor and composer. Initially self-taught, she later went on to study at Brighton Institute of Modern Music. She began writing music at the age of eight, primarily for flute and piano, and later branched out to musical theatre, choral works and further instrumental music in her teens. She currently conducts two choirs, a male voice choir and a mixed-voice community choir, and teaches in and around Shropshire, both privately and with the Shropshire Music Service. She performs regularly with local choirs and orchestras as a soprano soloist, and as a solo artist for special events, and she is an organist at her local parish church.

Trinity also works with experts to produce the accompanying recordings. For this syllabus we partnered with David Cuthbert, Rebecca Larsen, and Emilia Zakrzewska, all of whom are eminent musicians with distinctive performing careers. David Cuthbert graduated from the Royal Academy of Music in London with a First Class Honours degree and a Distinction for his postgraduate studies. He has a varied career that sees him performing on stage with the UK’s leading orchestras, working in the pit in London’s West End and performing operas and ballets, as well as working in the studio recording film scores and commercial music. David teaches flute at three leading schools in London and works with orchestras in the community doing outreach projects. Rebecca Larsen graduated from the Royal Academy of Music in 1996 and has since forged a thriving freelance career, working with the BBC Symphony Orchestra, London Sinfonietta, Royal Philharmonic Orchestra, Academy of St Martin in the Fields and many more. She has recorded for radio and TV and has held her current flute position in London’s West End musical Wicked for the last nine years. Emilia Zakrzewska began learning the flute during her childhood years spent in Stratford-upon-Avon before attending the Purcell School of Music. She went on to study with David Nicholson and Sheena Gordon at the Royal Conservatoire of Scotland and Sebastian Bell and Kate Hill at the Royal Academy of Music. Emilia has a varied career performing with numerous UK orchestras including the Royal Northern Sinfonia, Royal Philharmonic Orchestra, and the BBC Symphony and Concert Orchestras.

21 Trinity Flute Sample booklet 2017–2020 Trinity Flute Sample booklet 2017–2020

Teacher support

At the heart of Trinity College London’s activity in music education is teacher support. The focus of our activity is supporting and building a community of educators through high-quality online and face-to-face professional development.

Discover Trinity College London We hold a wide range of teacher support events all over the world. Details can be found at trinitycollege.com/discover or by contacting your local representative. Certificate and theory exams

Trinity’s certificate exams provide an alternative to graded music exams, focusing solely on performance. Structured as a mini-recital, the candidate is given the choice and flexibility to put together a programme from a wide repertoire list and can include own-choice pieces and their own compositions. Certificate exams are available at Foundation, Intermediate and Advanced levels. Visit trinitycollege.com/music-certificates for full details. 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 more information about theory exams at trinitycollege.com/theory

22 Trinity Flute Sample booklet 2017–2020 Trinity Flute Sample booklet 2017–2020

Repertoire books and support publications

A wide range of Trinity College London publications is available to support candidates as they work towards their Flute exams. Flute publications by other publishers are also available from our online shop trinitycollege.com/shop

Flute Exam Pieces 2017–2020 Mosaics Flute Books (Initial–Grade 8) A range of solo pieces for flute by Mike Mower A set of graded repertoire books for flute is is available in our Mosaics series. Two books are available for Initial to Grade 8. Each book contains available: Book 1 (beginner to Grade 5 standard) the score and part for a range of accompanied and contains 65 solo pieces and Book 2 (Grade 6 to unaccompanied pieces for the grade. The flute Grade 8 standard) contains 42 solo pieces. The parts are also available separately. collection of flute pieces was written with the idea of entertaining the player and listener with a great CDs of Flute Exam Pieces variety of styles. Each piece is intended to stand on & Exercises 2017–2020 its own as a short concert piece rather than a study, and the pieces can be played together as a concert (Initial–Grade 8) performance suite. Audio recordings of each piece in the repertoire book for the grade, as well as the exercises Flute & Jazz Flute Scales, (Grades 1–5 only), are available on graded CDs. Arpeggios & Exercises Musical Moments Flute books Scales, arpeggios and exercises for flute are available in a book for Grades 1–8. Composed by Our Musical Moments series is a set of progressive Jeffery Wilson, the exercises offer carefully graded flute repertoire books featuring a wide range short pieces in a range of attractive styles, which of musical genres and including accompanied develop players’ technical skills. They can be used pieces. Five books are available, with repertoire to support teaching and learning more broadly as carefully selected to ensure technical difficulty is well as for exam preparation. stepped progressively from beginner at Book 1, to intermediate standard at Book 5.

23 Flute Sample booklet 2017–2020

For online versions of the Trinity music syllabuses and further information about the exams visit trinitycollege.com/music

/TrinityCollegeLondon /TrinityVideoChannel @TrinityC_L

5 027741 017857

MUSIC-BROC-02 (FLU-02)