Keyboards, Organ & Accordion Syllabus

Trinity Guildhall Examinations 89 Albert Embankment London SE1 7TP UK

T + 44 (0)20 7820 6100 F + 44 (0)20 7820 6161 E music@trinityguildhall.co.uk www.trinityguildhall.co.uk

Patron HRH The Duke of Kent KG Director of Music & Performing Arts Examinations Mark Stringer GMusRNCM(Hons) FTCL ARCO(CHM) ARCM PGCE FRSA Chief Examiner in Music Keith Beniston GLCM FLCM PGCE FRSA

Syllabus Manager Benjamin Norbury MA LTCL

Copyright © Trinity College London 2006 Published by Trinity College London Fourth impression, June 2007 Contents

Introduction ...... 3

Acknowledgements ...... 3

Grade examinations Structure, duration & marking ...... 4

Pieces ...... 6

Supporting Tests:

Sight Reading ...... 8

Aural ...... 13

Improvisation ...... 17

Musical Knowledge ...... 20

Requirements:

Electronic Keyboard (subject code EK) ...... 22

Digital Keyboard (subject code DK) ...... 39

Electronic Organ (subject code EO) ...... 48

Organ (subject code OGN) ...... 64

Accordions (subject codes FBA/SBA) ...... 81

Ensemble Certificate examinations Structure, duration & marking ...... 113

Obtaining music — publishers’ contact details ...... 114

Trinity Guildhall publications ...... 118

2 Keyboards, Organ & Accordion Syllabus 2007–2010 Introduction This syllabus contains full details of Grade and Certificate examinations in Electronic Keyboard, Digital Keyboard, Electronic Organ, Organ, Classical free-bass and Standard-bass Accordion. It is valid from 1 January 2007 to 31 December 2010, and supersedes all previous syllabuses. A new syllabus will be published in August 2010 with requirements from 2011.

Note that there will be no overlap allowed in 2007 from any previous grade practical syllabus from either Trinity or Guildhall. This is due to the very significant changes introduced to the structure and mark schemes. All candidates must use the new 2007 repertoire, technical work and supporting tests.

When this syllabus is replaced there will be an overlap for the first session only of 2011, during which candidates will be able to offer pieces from the 2007–2010 lists.

Full details of entry procedures, examination regulations and marking criteria are given in a separate leaflet Information and Regulations which is available direct from Trinity Guildhall’s Head Office, Local Representatives or from our website www.trinityguildhall.co.uk. This leaflet is updated annually, and candidates should ensure that they consult the current version for the year of entry.

Acknowledgements The invaluable contributions made to the development of this syllabus and related support materials by all teachers, candidates, examiners and colleagues who have had an input over the course of consultations, field-testing and production are gratefully acknowledged. In addition to the thanks offered to the entire panel of Trinity Guildhall examiners and their wealth of experience, special mention must be made of Natalie Bleicher, Matthew Brailsford, Phillip Buttall, Helen Capper, Alan Clarke, Paule Clarke, James Griffiths, Kirsty Hetherington, Abi McElheron, Owen Murray, Roger Pope, David Sharpe, Jeremy Ward and Claire Webb.

Benjamin Norbury — Syllabus Manager

3 Grade Examinations Structure Trinity Guildhall’s practical examination grades are numbered from 1 to 8 in increasing order of difficulty. In Electronic Keyboard and Electronic Organ, an Initial examination acts as an introduction to the examination system. The structure of Graded Examinations from 2007 will be as follows: Pieces Candidates play three pieces, chosen from the published list(s).

Technical Work Candidates prepare scales, arpeggios and other technical exercises as required in the syllabus.

Supporting Tests For all instruments there are two further tests: Up to and including Grade 5, candidates may choose any two tests from: Aural Sight Reading Improvisation Musical Knowledge In Grades 6, 7 and 8, Test 1 must be Sight Reading. For Test 2 there is a choice between Aural and Improvisation. At the examination, candidates should note on the Appointment Slip which tests have been chosen. Order of examination Technical Work will normally be asked before pieces. Candidates wishing to present their examination in any other order may do so, but must write their preferred sequence on the back of the appointment slip and indicate this on entering the examination room. This choice does not extend to cases where the syllabus stipulates the location of any item e.g. Own Composition. Duration Level Duration in minutes Keyboards & Organs Accordions Initial 13 —

Grade 1 15 13

Grade 2 15 13

Grade 3 15 13

Grade 4 20 18

Grade 5 20 18

Grade 6 25 23

Grade 7 25 23

Grade 8 30 28

4 Grade Examinations Marking From 2007 the maximum marks available for all graded keyboard, organ and accordion examinations are as follows:

Piece 1 22 Piece 2 22 Piece 3 22 Technical Work 14 Test 1 10 Test 2 10

TOTAL 100

Pass is awarded at 60 Merit is awarded at 75 Distinction is awarded at 87

Note that ‘piece’ may occasionally consist of more than one musical item.

The mark out of 22 for each piece is made up of three component marks, awarded for:

• Notational Accuracy & Fluency (7 marks): How well the notes are prepared and realised. More conveniently thought of as: ‘Me and the Music’.

• Technical Facility (7 marks): Instrumental control and the ability to draw the most from the instrument; dynamics, tone colour, articulation, pedalling etc: ‘Me and the Instrument’.

• Communication (8 marks): How well the candidate interprets the music, engages the audience and conveys a sense of the meaning of the music they are playing: ‘Me and the Audience’.

For more detail please see the ‘Mark Scheme’ and ‘Assessment Criteria’ sections in the Information and Regulations booklet, which is available from Head Office, Local Representatives or from the website www.trinityguildhall.co.uk

5 Grade Examinations Pieces Repeats, ornaments & tempi All da capo and dal segno instructions should be observed. Repeats of more than a few bars should be omitted unless otherwise instructed in the syllabus or printed music books, or where a substantial first- time bar section would be lost. Cadential trills and other ornamentation appropriate to the style of the music are encouraged at all levels, and particularly in the higher grades. Metronome marks are given merely as a guide to performance, and candidates should observe terms showing the tempo and/or character of the music (e.g. Lento, Allegro) in their performance. Page-turners The examiner cannot act as a page-turner. In earlier grades, difficult page-turns should be overcome by photocopying the relevant pages. A page-turner may assist in Grades 6–8 examinations if absolutely necessary, but may remain in the examination room only whilst (s)he is needed. Playing from memory Candidates are free to play any or all of their pieces from memory, and to do so is likely to help with the security of their knowledge and their ability to communicate. It is not obligatory, however, and no separate marks are given for memorisation. Candidates who play from memory must ensure that an original copy of the music performed is brought to the examination for the examiner’s reference. Music and copies It is strongly recommended that original copies of music needed for examinations are obtained before an examination entry is made; allowances cannot be made for delays in obtaining music. Candidates may use any reputable edition of the works listed in the syllabuses; publishers’ details are given mainly for the purpose of identifying works and also as suggestions of suitable editions. Candidates should always try to obtain reliable and authoritative editions of all music, but should note that variations in worldwide availability may occasionally be encountered; candidates are advised always to check the contents of books before purchase. Publishers’ contact details are given at the end of this syllabus.

Candidates must perform from published material in the examination room; photocopies of complete pieces may not be used in examinations. If candidates or accompanists perform from photocopies unauthorised by the publisher (other than short extracts to facilitate page-turning), no marks will be awarded for that item.

Examiners welcome the provision of reference copies of pieces not published by Trinity Guildhall. Photocopies can legitimately be used for this purpose; any copies provided will be retained and destroyed after the examination.

6 Grade Examinations Own Composition Candidates in Electronic Keyboard, Electronic Organ, Organ, Classical (free-bass) Accordion and Standard- bass Accordion may offer their own composition in place of a listed piece where indicated in the syllabus. This must be performed as the last of their group of pieces so that the questions on the piece may follow immediately afterwards. Content The composition should follow the specification given, and must be of a similar technical and artistic level to the other pieces performed. The use of pre-recorded material or other instruments is not allowed. The piece should be substantially the candidate’s unaided work, although the teacher may offer guidance as necessary. Candidates and teachers are advised to take note of the Levels of Achievement statements in the current Information and Regulations booklet when preparing own compositions. The timings given at each level should be observed carefully; credit will be lost if compositions fall appreciably short of or exceed the indicated timespan. Notation The complete composition must be written out in the candidate’s own hand (or be produced and printed by the candidate using a score-writing program). At Initial–Grade 5, the composition may be presented in any coherent form of notation. For compositions at Grades 6–8 staff notation is essential. Marks will be deducted if the notation is incomplete or technically inaccurate or if the performance varies significantly from what is written. Candidates must present a (photo)copy of the piece, which the examiner will keep, with name and candidate number clearly shown. Assessment After the performance, the examiner will ask the candidate to explain how the piece was composed and will ask further questions about the notation and structure. Sixteen marks are awarded for the performance and six for clarity of explanation, structure and presentation.

The specific requirements are listed below.

Composition requirements—grade by grade:

Grade Duration Requirements

Initial 1—2 minutes A piece containing sudden changes 1 1 1 1 /2—2 /2 minutes A piece containing sudden dynamic contrast 1 1 2 1 /2—2 /2 minutes A piece contrasting legato and staccato passages 1 1 3 1 /2—2 /2 minutes A piece which explores dynamic contrast (keyboards & organs) or starts quietly and simply, and builds to a loud, grand climax (accordions) 1 1 4 2 /2—3 /2 minutes A piece with long melodic phrases 1 1 5 2 /2—3 /2 minutes A piece containing contrasting voices and styles (keyboards & organs) or containing many wide leaps (accordions) 1 1 6 3 /2—4 /2 minutes A piece using a variety of clusters (keyboards & organs) or contrasting material in the high and low registers (accordions) 1 1 7 3 /2—4 /2 minutes A piece featuring contrary movement (keyboards & organs) or several different tuplets (within the same pulse), e.g. duplets, triplets etc. (accordions) 1 1 8 4 /2—5 /2 minutes A piece featuring at least two contrapuntal voices (keyboards & organs) or featuring a variety of instrumental effects (accordions) 7 Grade Examinations Supporting Tests Sight Reading Sight Reading tests are set at the level of a piece prescribed approximately two grades lower than the grade undertaken; for instance, Grade 5 candidates should be able to read at sight the level of piece set for Grade 3 performance. Tests will follow the parameters given below. Note that the parameters are cumulative; the keys etc. used at each grade may also include any variable set for any previous grade. Candidates will be allowed 30 seconds to study the test before they attempt it. During this time they may practise any or all of the piece aloud. The examiner will only take account of the actual performance of the test. Candidates of Electronic Keyboard may choose between two different ways of performing the sight-reading test; either with single-fingered chords and rhythm/style or with fully–fingered chords without rhythm/style, at the candidate’s choice. Specimen sight reading tests for Electronic Keyboard and Electronic Organ are available to purchase (see page 118). Specimen sight reading tests for Accordions are available to download free-of-charge from the website: www.trinityguildhall.co.uk Sight Reading Parameters for Electronic Keyboard Time Note Note Keys Chords Dynamics Other signatures values patterns five-finger hand Initial C major and mf 2 —   — position only five-finger hand plus Grade 1 as above plus I,V  — f position 4 and  (RH not tonic) Change of hand plus and Grade 2 plus A minor plus 3 plus IV  — p position  within octave plus F and G major; plus , D minor   Grade 3 plus VI  — (including and  C#) as above plus D

major; 7 as above two-part Grade 4 plus V as above as above B and E right hand minor

plus A and plus and syncopated three-part Grade 5 Bb major; plus  6 — quavers right hand C minor 

8 Grade Examinations

Sight Reading Parameters for Digital Keyboard

Time Note Note Keys Chords Dynamics Other signatures values patterns

right-hand chords of A and Eb three notes major; or more; Grade 6 plus F# and C 8 voice and minor style at the candidate’s all common discretion note values and rests reasonably plus all common plus mp, E and A complex chromatic b chords cresc. and major, rhythms dim. features; Grade 7 plus C# and F 9 elements of minor stylistic perception

B and Db plus  and major;  plus Grade 8 changing as above duplets G# and Bb time minor signatures

9 Sight Reading Requirements for Electronic Organ Grade 8 Grade 4 Grade 6 Grade 5 Grade 2 Grade 3 Grade 7 Grade 1 Initial plus DandB plus EandA plus AandE lsBadD plus Band plus F (white notes only) (plus accidentals) (including double sharps andflats) G C B andGminor E andDminor (including C # plus G major; plus Gmajor; plus Fmajor; # modulation) and B (including and Fminor as above A minor # D minor C major Keys and Cminor b b b b b minor major; major; major; major; # ) Time signatures time signatures plus changing as above plus plus plus plus plus 2   9 and 8 4 3 6 plus duplets/triplets dotted notes and plus plus plus plus Note values plus  as above and   rests   and  and ties and and and  ,   ,    ; plus plus tempo plus terms andsigns plus more intricate any common articulation plus Tempi and and simple moderato as above phrasing phrasing rall., accel., a staccato andante accents allegretto and pause legato and and remains withinhand more varied texture three-part texture and some further two-part texture five-finger hand necessarily C) chromaticism position only postion (not as above as above Manuals more independent full use of pedals white notes only pedal part as above all notes Pedals none none none cresc.; dim.; solo voice onupper contrasting sounds on use of swell pedal t both manuals; used throughout; wo manualsto be Registration registration changes of as above as above manual ff pp mf and ; 10 Sight Reading Requirements for Organ

11 Time Tempi and Keys Note values Manuals Pedals Registration signatures articulation two manuals to be used five-finger hand Initial C major and moderato none throughout; 2   position only strings on both manuals; mf remains within plus G major; A minor single manual; Grade 1 plus plus and plus legato hand postion (not none (white notes only) 4 8’ only; mf   necessarily C) plus allegretto and Grade 2 as above plus plus and ties two-part texture none as above 3  simple phrasing two manuals plus andante and notes between A2 (hands on the plus F major; D minor plus , , Grade 3  more intricate as above and G3 inclusive same manual); (including C#) and  phrasing (toes only) 4’; p and f; as above pedal couplers plus D and B major; notes between F b plus staccato, 2 manual Grade 4 E and D minor plus and three-part texture and C inclusive  accents and pause 4 couples; 2’; 16’ (plus accidentals)  (toes only) hands on plus A and E major; more varied texture toe and heel signs separate b plus and ; plus rall., accel. and Grade 5 B and G minor plus  and some further and more inde- manuals; 6 dotted notes and a tempo (including modulation) chromaticism pendent pedal part change of rests manual

adjacent notes use of swell any common terms Grade 6 plus F# and C minor plus as above with same foot; pedal, cresc., 8 and signs staccato; legato dim., pp and ff as above full use of pedals plus E and Ab major; more complex throughout range, Grade 7 plus as above C# and F minor 9 textures including crossing feet as above plus B and Db major; plus and plus changes of Grade 8  as above as above G# and Bb minor (including changing duplets/triplets registration double sharps and flats) time signatures Grade Examinations

Sight Reading Parameters for Accordions

Time Tempo Keys Note values Dynamics Other signatures markings

Hands together, Allegro, simple one note to moderato, C, G major two three or four Grade 1 andante 4 3 A, D minor    mf combinations, and English plus  simple anacrusis equivalents simple slurs

plus simple ties Grade 2 2 0 F, D major Allegretto plus f p staccato E minor   simple phrasing

plus rit. diminuendo Grade 3 8 6 Bb, A, major plus tenuto rall.   crescendo

plus plus triplets plus accents Grade 4 Eb major simile / and and B, G, F#, C minor  sf

plus plus A , E, D , B major plus double Grade 5 % b b metronome as above C#, F, G#, Bb dots minor marks

wide Grade 6 1 9 accel. plus and varied articulation acciaccatura ranging

Time signature plus different Grade 7 change, as above articulation in e.g. appoggiatura each hand 3 to 2 as above Time signatue plus grace Grade 8 change, notes and 2 as above e.g. against 3 3 to 8

12 Grade Examinations

Aural Four tests are given for each grade (two for Grade 8), designed to develop the candidate’s abilities in the fields of musical perception, discrimination, memory, understanding, analysis and response. The tests, which are all based on the same example to encourage a deepening of knowledge, are carefully graded from basic skills to more advanced understanding.

NB Tests for Initial and Grade 1 are all in major keys; Grades 2—5 and 8 may be in major or minor. Grade 6 tests are major and Grade 7 are minor. Tests involving printed copies given to candidates will be provided in treble clef for most instruments, and in bass or alto clef for instruments normally reading those clefs.

Initial 1. To sing, hum or whistle the final note of a 4-bar melody in 2 time, played with the final note omitted. The note should be sung in strict time. The key chord will be sounded before the melody is played. In all circumstances this note will be the tonic.

2. To clap back the rhythm of the melody after hearing it played twice again.

3. To identify, after another hearing, whether the melody was played mainly legato or staccato.

4. To identify, after hearing again three consecutive notes from the melody, which of the three was the highest or lowest.

Grade 1 1. i) To clap back the rhythm of a four bar melody in 2, or 3 time, played twice; ii) to state the time signature.

2. To state, after hearing the melody again, whether the last note was higher, lower or the same as the first note.

3. To state, after hearing the melody again, whether the melody was played mainly legato or staccato.

4. To listen to the melody played twice more, first as originally heard and then with a change to the pitch at one point, and indicate where the change occurs. Candidates will not be required to describe the change.

Grade 2 1. To listen once to a short melody in 2, or 3 and to indicate a sense of the pulse and time signature during a second playing. Candidates should respond by either conducting clearly, using a simple, conventional, beat-shape or alternatively by other methods, provided the strong beats are indicated distinctly. The examiner will bring the candidate in at the start of the second playing.

2. To state, after hearing the melody again, whether the last note was higher, lower or the same as the first note.

3. To listen to the complete melody again and to state, i) whether it was in a major or minor key; ii) the dynamic level at the start and how it changed during the piece. Crescendo and diminuendo may be included. 4. To listen to one half of the melody played twice more, first as originally heard and then with a change in the rhythm or melody, and to identify the type of change made.

13 Grade Examinations

Grade 3 1. To listen once to a short melody in 3, or 4 and to indicate a sense of the pulse and time signature during a second playing. Candidates should respond by either conducting clearly, using a simple, conventional, beat-shape or alternatively by other methods, provided the strong beats are indicated distinctly. The candidate may begin right at the start, or can join in once the melody is under way.

2. To identify the interval formed by the first two notes of the melody, played from low to high and held as a sounding interval as a major second, minor third, major third, perfect fourth or perfect fifth. (All diatonic, from within the key.) Candidates may sing (or hum) the notes before answering.

3. To identify a triad played by the examiner as being either major or minor. The notes will be sounded together.

4. A printed copy of the melody will be handed to the candidate. The examiner will then play the original followed by a version (played twice) containing one change of pitch or rhythm. The candidate will be invited to indicate the bar in which the change occurred in the rhythm or melody.

Grade 4 1. To listen once to a short melody in 4, or 6 with a simple accompaniment and to indicate a sense of the pulse and time signature during a second playing. Candidates should respond by either conducting clearly, using a simple, conventional, beat-shape or alternatively by other methods, provided the strong beats are indicated distinctly.

2. To identify the interval formed by the first two notes of the melody, played consecutively, as: a unison a perfect fourth a minor second a perfect fifth a major second a minor sixth a minor third a major sixth a major third Candidates may sing or hum the notes before answering.

3. To listen to the piece again and to identify the cadence at the end as being either perfect or imperfect.

4. A printed copy of the melody line only will be handed to the candidate. The examiner will then play this, followed by a version (played twice) containing two changes, one of pitch and one of rhythm. The candidate will be invited to indicate the bars in which the changes occurred and to describe them.

Grade 5 1. To listen twice to a short piece of music in 2, 3 or 6 played twice, and state: i) the time signature; ii) if it began in the major or minor; iii) if the tonality changed as the piece progressed, and if so, how. After a further playing of the closing section of the piece, whether the cadence at the end was perfect, imperfect or interrupted.

14 Grade Examinations

2. To identify the interval formed by 2 notes selected by the examiner from the melody line, played consecutively, as: a unison a perfect fifth a minor second a minor sixth a major second a major sixth a minor third a minor seventh a major third a major seventh a perfect fourth an octave Candidates may sing or hum the notes before answering.

3. To listen to the piece again and to comment on the articulation and the dynamics.

4. A printed copy of the complete piece will be handed to the candidate. The piece will be played once more as originally heard and then twice with two changes to the ‘top’ line; one to the rhythm and one to the melody. The candidate will be asked to locate and describe the changes.

Grade 6 1. To listen to a short piece in a major key in 2, 3, 4 or 6 played twice, and state the time signature. Candidates will be invited to comment on the main features of the piece such as phrasing, style and dynamics. The candidate will have the opportunity to give comments after the first and/or second playing at their discretion.

2. To listen to the closing bars of the piece and identify its cadence as perfect, imperfect, plagal or interrupted.

3. To listen again to a part of the piece which modulates and state into which key the music has modulated. Keys used will be confined to dominant, subdominant and relative minor. The opening key will be stated and the tonic chord played before the start. Answers may be given as either key or technical names (e.g. in C major: ‘to G’ or ‘to the dominant’).

4. A printed copy of the piece will be handed to the candidate, who will be invited to compare this with a version played twice by the examiner containing two changes. These will be in the melody line only and may be to the rhythm, the pitch or the articulation. The candidate should identify the location and nature of the changes.

Grade 7 1. To listen twice to a short piece in a minor key and comment on the main features of the piece such as style, phrasing, articulation and dynamics. The candidate will have the opportunity to give comments after the first and/or second playing at their discretion.

2. To listen to a phrase from the piece and identify its cadence as perfect, imperfect, plagal or interrupted.

3. A printed copy of the first section of the piece will be handed to the candidate, who will be invited to compare this with a version played twice by the examiner containing three changes. These may be in the pitch (of the melody line only) or the rhythm. The candidate should identify and explain the changes.

15 Grade Examinations

4. To listen to the piece played with a modified ending and identify the key to which the music has modulated. The opening key will be stated and the key-chord played. Keys used will be limited to the sub-dominant minor, the relative major and the dominant of the relative major (e.g. G major in A minor). Answers may be given as key names or technical names. Part of the piece may be omitted by the examiner for clarity if appropriate.

Grade 8 1. A short piece will be played twice. The candidate will be invited to describe the significant features of the piece, such as style, rhythm, texture, dynamics, phrasing and articulation. Candidates are encouraged to make observations after the first playing and to supplement these after the second. This section will take the form of a short discussion with the examiner; credit will be given for the depth of perception in the candidate’s comments.

2. A printed copy of the entire piece will be handed to the candidate and played by the examiner, who will then play twice a version containing three changes which may be in the rhythm, melody, harmony, articulation, dynamics or tempo. The candidate will be invited to identify and explain the changes. Changes may occur in the treble or bass clef lines, or both. The original version, as supplied to the candidate, will be played again, before the version with the changes.

NB In all sections of the Aural Tests that involve the examiner handing the candidate a printed copy of the test, candidates and teachers should note that the copy will be a laminated page, which may not be marked by the candidate in any way whatsoever during the examination.

16 Grade Examinations

Improvisation The improvisation tests explore the candidate’s ability to respond creatively to an aural/visual stimulus offered by the examiner, usually as a rhythmic or melodic cell. The tasks undertaken develop from simple recognition, assimilation and invention to modulation, extension and other techniques.

In every case the stimulus has been designed to allow a genuinely free creative improvisation and to avoid the implication of a ‘mirror image’ response. At all grades the stimuli seek to provide a wide range of improvisatory possibilities, whilst avoiding excessive complication within themselves. The greatest credit will be given for candidates who most effectively incorporate elements of the stimulus into their improvisation, showing creativity and good instrumental knowledge and ability. Outline and Test Parameters According to the candidate’s choice, the examiner will tap the rhythm or play the pitches or chords on the piano, and will also give a notated copy of the relevant test to the candidate which the candidate can refer to throughout the test. In this way both auditory and visual learners will be assisted to produce their best possible response. Format Candidates may select any one of the following types of test: either melodic: based on a series of pitches or rhythmic: based on a rhythmic idea or chordal: based on a set of chord symbols.

The parameters are given in the chart on page 19. Melodic Tests The examiner will give the candidate a copy of a series of written pitches and will play it through twice with each pitch lasting for about 2 seconds. The candidate will play the pitches back to the examiner, and then has 30 seconds to prepare a short phrase incorporating these pitches, which is then performed. The candidate may play during the preparation time. Rhythmic Tests The examiner will give the candidate a written version of an opening rhythm and then play it twice. Candidates will then repeat it on their instrument using one pitch. They then have 30 seconds to develop a piece of music based on this rhythm and then adding melodic material as appropriate. Instrumental range used should reflect the parameters for melodic tests in the chart overleaf. Chordal Tests The examiner will give the candidate a copy of a 2-stave piano score containing chords written out without a time signature (with bar lines) and chord symbols printed above each chord. The examiner will play this through twice, establishing a moderate pulse with each chord played as 4 crotchets per bar (or 2 crotchets where more than one chord appears in a bar). The candidate then has 30 seconds (60 seconds for Grades 6 to 8) in which to prepare a short improvisation over the given chords. Candidates can choose to use the tempo and time signature that the examiner played, or to request a quicker or slower tempo and a 3, 4 or compound ‘feel’ if they prefer. The examiner will then play the chords as before, while the candidate improvises above them. The phrase may be repeated several times, depending on length and speed, until the improvisation reaches a natural conclusion. Alternatively, keyboard, organ and accordion players may choose to perform the improvisation as a solo, which must incorporate the chord pattern.

17 Grade Examinations

Written Keys for Chordal Tests

Initial to Grade 3 Grades 4 & 5 Grades 6, 7 & 8

Electronic Keyboard/ Electronic Organ/ C, F & G major A, D, E, G & B minor Organ

Digital Keyboard/ C, F, G, Bb,D, Eb & A major Electronic Organ/ plus relative minors Organ Classical (free-bass) Accordion/ Standard- C, F, G, Bb,D, Eb & A major C, F & G major A, D, E, G & B minor bass Accordion plus relative minors

Notes Marks are awarded for planning, structure, form, melodic, harmonic & rhythmic creativity, inventiveness and logical progression, appropriate length and use of instrumental resources.

Candidates should regard the note values and ranges given as the minimum that will be expected, but may extend these if they wish.

Keyboard, organ and accordion players taking the melodic test may play chords if they wish, and will receive credit for their appropriate use, but they are not obligatory, and the test is essentially of melodic invention.

The length of the response in the chart overleaf is given as a guide only, and the candidate should aim to perform a musically satisfying and balanced response.

In all tests, chords, rhythm or auto–accompaniment may be used with discretion.

18 Grade Examinations

Parameters for Improvisation Tests

Rhythm tests: Melody tests: Melody tests: Suggested Chord tests Grade Max. range of Suggested length Rhythm tests length of Phrase played round twice given motif of response response

In 4 4 4 bar phrase 2 bars Major key Initial 3 stepwise notes crotchets I/V minims 2 bars per chord

2–4 bars approx 2 bars In 4 4 4 bar phrase 3 notes – one 2 bars Major key 1 step one leap – crotchets I/V up to 4th minims, quavers 1 chord per bar

4 bar phrase 4 notes – range As above with Major key 2 up to 5th dots I/IV/V 1 chord per bar approx 4 bars approx 4 bars 4 bar phrase 5 notes – As above with Major key 3 range up to ties I/IV/V/ii 6th 1 chord per bar

4 bar phrase Octave Minor key 4 (diatonic) I/IV/V

1 chord per bar In 23or 4 Two phrases 4 4 4 Two phrases approx 4–8 bars approx 4–8 bars each plus semiquavers each 4 bar phrase Octave (simple Minor key 5 chromaticism) I/IV/V/vi 1 chord per bar

8 bar phrase 6 Plus Major key 6 8 I/ii/IV/V and 7ths 1 chord per bar

3-4 phrases 3–4 phrases 8-12 bars

8–12 bar phrase Major or Minor key 7 Twelfth Plus triplets (chromatic) I/ii/III/iv/V/VI and 6ths/7ths 1 or 2 chords per bar

12–16 bar phrase Major or Minor key 7 Plus 4–6 phrases 8 4–6 phrases 8 All chords 6ths/7ths/9ths & 12–16 bars dim/aug Simple suspensions 1 or 2 chords per bar

19 Grade Examinations

Musical Knowledge (Initial to Grade 5 only) These questions test the candidate’s understanding of their chosen pieces, the context of their performance and their knowledge of their instrument and its technical demands, including best practice for rehearsal and performance.

Five questions, each worth 2 marks, will normally be asked. Questions will include discussions on most of the areas mentioned below, but not all parameters will be relevant to all disciplines and pieces, and examiners will select questions as appropriate. Candidates must ensure that copies are not so heavily annotated that a reasonable range of questions for the grade is precluded.

For melody line instrumentalists, questions will be based only on the instrumental line, and not on the accompaniment.

Initial 1. The pitch names, and durations of any notes (excluding those with leger lines except middle C) in the pieces played.

2. To identify, but not to explain clefs, stave, bar lines and key/time signatures in the pieces played.

3. Very simple musical terms and signs in the pieces, such as  , ‘repeat’, f and p. 4. Questions about the connection between the titles of the pieces and the music played (e.g. what is a Minuet? Why is this piece called ‘Squabble’?)

Grade 1 1. Pitch names, note types (e.g. minim) and durations of any notes in the pieces played, including dotted notes and any leger lines.

2. Clefs, time/key signatures and any common musical term/sign encountered.

3. Identify and explain p/f, accidentals, phrase marks, 1st & 2nd time bars and staccato/legato, when appearing in the pieces played.

4. Comment on any significant, interesting or unusual features of piece(s) played. Show a basic understanding of the instrument, including the names of its main parts (e.g. stand, display, controls etc) and maintenance.

Grade 2 As for Grade 1, and additionally: 1. Show an understanding of any term, sign or mark of expression in the pieces played.

2. Identify and explain any metronome marks, grace notes, ornaments etc. appearing in the pieces played.

3. The numerical value (only) of any interval (within an octave) between any two successive notes appearing in the pieces played. (e.g. ‘a second’ not ‘a minor second’). Intervals may be asked from a lower to a higher note or vice versa.

4. Be aware of appropriate basic posture when playing.

20 Grade Examinations

Grade 3 As for previous grades, and additionally: 1. Identify and demonstrate an understanding of the keys, (together with their relative major/minor), in which the pieces played are written.

2. Identify any common musical devices such as scale or arpeggio patterns in the pieces played.

3. Show an understanding of the reasons for, and methods employed in, the instrumental or vocal warm up (of both instrument and performer).

Grade 4 As for previous grades, and additionally: 1. Identify/explain any main key encountered throughout the pieces played, though no detailed knowledge of modulatory processes will be expected.

2. Name the tonic and the dominant (and the 3 notes of their triads) of any of the keys in which the pieces are written.

3. The full name of any interval (within an octave) between any two successive notes appearing in the pieces played. (e.g. ‘major second’ not ‘second’). Intervals may be asked from a lower to a higher note or vice versa.

4. Comment on any particular technical or musical challenges encountered in the preparation of the pieces played.

Grade 5 As for previous grades, and additionally: 1. Comment on any significant features of the musical style and period, (e.g. Baroque, Romantic, Bebop) of the pieces played.

2. Point out any interesting or noteworthy structural/formal aspects of the pieces played.

3. Show an understanding of the keys used in the pieces played, including an understanding of modulations and a knowledge of tonic, dominant and subdominant of the keys in which the pieces are written.

Grades 6–8 Musical Knowledge questions are not available at these grades.

21 Electronic Keyboard Subject code: EK Instruments

Instruments must have at least the following specification:

Minimum 4 octaves with full-size keys (Initial–Grade 1); 5 octaves full-size keys (Grades 2–5).

Minimum 8-note polyphonic capacity with a range of individual voices and styles.

Dual voice (from Grade 2) and Voice change memory (from Grade 3) are recommended. See below. Variation between instruments Whilst every care has been taken to ensure that the pieces and tests are suitable for the widest range of instruments, it is recognised that there will be occasions when performance as notated will not be possible on every instrument. In such cases, candidates should adapt the material to what is possible on the instrument they have, modifying the music in an appropriate and imaginative way while preserving the substance of melody, harmony and rhythm.

All pieces and tests will be assessed on the musicality of the candidate’s performance and not on the capacity of the instrument itself. However, performances that fail to realise a large amount of the performance information on the printed score will not be able to attract high marks. Voices and Styles It is recognised that instruments vary and that not all voices and styles are equal. If the candidate feels that the voices and styles on their instrument are not wholly appropriate they may use any musically acceptable alternative. The change must not substantially alter the character of the piece (e.g. changing Clarinet/March to Electric Guitar/Ballad etc.), and any changes should be limited to Groups B and C. Dual voice, Voice changes, use of volume, Accompaniment B, etc. The ability to add Dual voice and to program Voice changes is important in building a musically interesting work and it is essential that the candidate develops their technique in this area. Dual voice is recommended from Grade 2, although not required in every piece. The ability to program changes of voice at the touch of a button becomes desirable from Grade 3 onwards, and necessary by Grade 5 if the full detail of the music is to be realised. The use of the volume control adds interest and shape and should be employed in all grades wherever possible and practical. The use of Accompaniment B can also add a feeling of climax and direction. The candidate may introduce further changes according to the capabilities of their instrument as long as they add to the musical whole. Auto intro/ending This may be used, sparingly, in Groups A and B only. It is not to be used in Group C. While it is recognised that auto intro/ending is an integral part of the instrument, careful thought must be given to the style of the piece, the instrumentation, and the length of the intro/ending so that its use does not make the work unbalanced. Any use should be confined to intros and endings not exceeding 4 bars.

Marks will be deducted for inappropriate or excessive use, or when its employment detracts from the technical requirement of the piece (for example, when an introduction makes the opening of a piece easier to play).

22 Electronic Keyboard

Chords Candidates have the choice of using either single-fingered or fingered chords, unless stipulated otherwise in the syllabus (e.g. fingered chord scales), but will find that by Grade 2 or 3 the use of fingered chords becomes, in many cases, the simplest method of producing the correct harmony.

Candidates must provide their own instrument, stand and power extension lead (where necessary). Pieces Group A Group A works are popular classical arrangements or works that employ classical techniques. The candidate should adhere to the written score with regard to articulation, dynamics, rhythm and instrument set-up (See also Voices and Styles, above). Group B Group B works incorporate modern styles such as Latin Dance, Pop, Jazz and Film Music. The aim of this group is to develop the candidate’s rhythmic ability and their use of the keyboard facilities. The candidate may, if they so wish, change the voice or style as long as the result is musically acceptable. Marks will be deducted for inappropriate choice of rhythm, style or tempo. Group C Own interpretation The aim of this section is to create a personal arrangement with as much artistic and musical flair as possible. Voice and Style are left to the candidate’s discretion and the work must be adapted in some way, such as by changing rhythm, register or even harmony, so long as the result is a well-shaped and musical account. Auto intro and ending are not to be used in this group, although the candidate's own manual intro/ending may be used. Marks will be deducted for use of auto intro/ending. If the candidate chooses a piece from the list which is not published by Trinity, the suggested Voice and Style are to be ignored and the piece varied accordingly. Structured composition This option (if taken) must be written out, either in staff notation or in another coherent form of notation provided that it is consistent, appropriate and an accurate representation of the candidate’s intentions. A copy should be handed to the examiner at the start of the examination. The chordal outline given in the music should be used as the basis for the composition, with extra marks being awarded for the inclusion of other harmonies and for the candidate’s imaginative flair. Tempo Many of the works now include a range of tempi to be used at the candidate’s discretion. Marks will be deducted if the candidate chooses a tempo outside these limits, or if the chosen tempo is not technically or rhythmically secure. Set up Set up is a major part of the technique of the instrument and should be fluent. Marks will be deducted for unnecessary delay in setting up for the examination, protracted delay in between items and constant restarts due to improper set up. The candidate should set up for the next piece on completion of the present piece. Please set up for the next piece is clearly marked in the music at the end of each piece.

23 Electronic Keyboard Technical Work From Grade 1 scales are to be played hands together. From Grade 3 scales in swing are included and the candidate can choose to employ swing rhythm. Marks will be deducted if this causes an unnecessary delay in fluency.

The Fingered Chord Scale in Grades 1 to 3 does not have to be from memory; all other parts of Technical Work must be memorised. In Grade 4 left hand sequences are included. Style is required at the given tempo. Grade 5 introduces an exercise in piano score using treble and bass clefs. The scales given at the front of each book have been written to assist the student. The starting note may be moved an octave higher or lower to accommodate the range of the instrument. All technical work is printed, together with selected repertoire, in the corresponding grade book from the series Electronic Keyboard from 2003 (Initial–Grade 5) published by Trinity Guildhall (see page 118).

Playing from memory All requirements must be performed from memory unless stated otherwise.

Tempi for scales and arpeggios A minimum pace is required, increasing gradually grade by grade:

Grade Scales Arpeggios

Initial d = 72 — Grade 1 d = 72 — Grade 2 d = 72 d = 60 Grade 3 d = 84 d = 72 Grade 4 d = 96 d = 84 Grade 5 d = 108 d = 90

24 Electronic Keyboard — Initial Subject code: EK

Pieces (3 x 22 marks) Three pieces are to be played, one from each Group, to form a balanced programme. Candidates at Initial level may not offer their own composition instead of a third piece. Group A The following pieces are contained in the book Electronic Keyboard Initial from 2003 published by Trinity Guildhall:

Brahms Lullaby Dvorákˇ Largo from New World Symphony Haydn Theme from the Surprise Symphony Strauss Kaiser Waltz Trad. Chiapenecas

The following alternative pieces are also available: Composer Piece Book Publisher Borodin Polotsvian Dance The Electronic Keyboard Collection book 1 Trinity Faber Delibes Coppélia The Electronic Keyboard Collection book 1 Trinity Faber Mozart Don Giovanni The Electronic Keyboard Collection book 1 Trinity Faber

Group B The following pieces are contained in the book Electronic Keyboard Initial from 2003 published by Trinity Guildhall:

Lloyd Webber Close Every Door Moss Floral Dance Trad. Keel Row Ward Starter Rumba

The following alternative pieces may also be played:

Milne Tango for Trampoline The Electronic Keyboard Collection book 1 Trinity Faber Ward Sunset The Electronic Keyboard Collection book 1 Trinity Faber Wedgwood Swinging Slippers! The Electronic Keyboard Collection book 1 Trinity Faber Group C The following pieces are contained in the book Electronic Keyboard Initial from 2003 published by Trinity Guildhall:

Trad. Ho La Hi Trad. Kum Ba Yah Trad. Michael Row The Boat Trad. Oh Susannah

25 Electronic Keyboard — Initial

The following alternative pieces are also available:

Composition Project War of the Galaxies The Electronic Keyboard Collection book 1 Trinity Faber Trad. Danny Boy, no. 13 34 Well-known Folk Songs Schott ED 12663 Trad. Home On The Range, no. 34 [basic version] 34 Well-known Folk Songs Schott ED 12663 Trad. I Gave My Love A Cherry, no. 5 34 Well-known Folk Songs Schott ED 12663 Trad. Little Brown Jug, no. 33 34 Well-known Folk Songs Schott ED 12663 Trad. Scarborough Fair The Electronic Keyboard Collection book 1 Trinity Faber Trad. Skip To My Lou The Electronic Keyboard Collection book 1 Trinity Faber Trad. Yankee Doodle, no. 27 34 Well-known Folk Songs Schott ED 12663

Technical Work (14 marks) (see page 24) Both sections i) and ii) to be prepared from memory. i) Scales The following scales to be performed hands separately; legato and mf: C major (one octave) A harmonic minor (one octave) ii) Arpeggios The following arpeggios to be performed hands separately; legato and mf: C major (one octave) A minor (one octave)

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8)

Aural (see page 13)

Improvisation (see page 17)

Musical Knowledge (see page 20)

26 Electronic Keyboard — Grade 1 Subject code: EK

Pieces (3 x 22 marks) Three pieces are to be played, one from each Group, to form a balanced programme. Instead of the Group C item, candidates may offer their own composition (see page 7). Group A The following pieces are contained in the book Electronic Keyboard Grade 1 from 2003 published by Trinity Guildhall:

Brahms Waltz Elgar Pomp And Circumstance Verdi Anvil Chorus from Il Trovatore

The following alternative pieces are also available: Composer Piece Book Publisher Chopin Prelude The Complete Keyboard Player, Classics Wise AM67661 Handel Air from the Water Music Electronic Keyboard Cocktails — Wedding Music Cramer AM90504 Holst World In Union Easiest Keyboard Collection — Wise AM955801 Sports Themes Paganini Theme The Complete Keyboard Player, Classics Wise AM 67661 Louiguy La Vie en Rose Big Band Hits (The Easy Keyboard Library) Faber 19098 Tchaikovsky Swan Lake The Electronic Keyboard Collection book 1 Trinity Faber Ward Tibetan Tune The Electronic Keyboard Collection book 1 Trinity Faber Group B The following pieces are contained in the book Electronic Keyboard Grade 1 from 2003 published by Trinity Guildhall: Lloyd Webber No Matter What Trad. La Cucharacha Trad. The Campbells Are Coming

The following alternative pieces are also available: Andersson, Anderson & Ulvaeus I Do, I Do, I Do, I Do, I Do The Complete Keyboard Player, book 9 Wise AM78999 Andersson, Anderson & Ulvaeus Knowing Me Knowing You The Electronic Keyboard Collection book 1 Trinity Faber Buckingham, McVie, McVie, Fleetwood The Chain Easiest Keyboard Collection — Wise AM955801 & Nicks Sports Themes Lloyd Webber Music Of The Night The Electronic Keyboard Collection book 1 Trinity Faber Trad. Samba Lélé Keyboard Klangwelt: Latin-Festival Schott ED 9909 Lloyd Webber & John All The Love I Have Andrew Lloyd Webber Really Useful Company Electronic Keyboard RUG 37438 27 Electronic Keyboard — Grade 1

Ward In The Shadows The Electronic Keyboard Collection book 2 Trinity Faber Ward Soulful Sax The Electronic Keyboard Collection book 1 Trinity Faber Group C The following pieces are contained in the book Electronic Keyboard Grade 1 from 2003 published by Trinity Guildhall:

Trad. British Grenadiers Trad. Country Gardens Trad. Lord Of The Dance Trad. Turkey In The Straw Ward Comet

The following alternative pieces are also available:

Composition Project Big Band Stand The Electronic Keyboard Collection book 1 Trinity Faber Composition Project Caribbean Holiday The Electronic Keyboard Collection book 1 Trinity Faber Offenbach Can Can The Electronic Keyboard Collection book 2 Trinity Faber Trad. Alouette The Electronic Keyboard Collection book 1 Trinity Faber Ward Trumpet Trip The Electronic Keyboard Collection book 1 Trinity Faber

Technical Work (14 marks) (see page 24) All sections i) to iii) to be prepared. Sections i) and ii) must be performed from memory. i) Scales The following scales to be performed hands together; legato and mf: F and G major (one octave) A and D harmonic minor (one octave) ii) Arpeggios The following arpeggios to be performed hands separately; legato and mf: F and G major (one octave) A and D minor (one octave) iii) Fingered Chord Exercise (memory optional) The following to be performed: Scale of C major with fingered chords (one octave)

Supporting Tests (2 x 10 marks) Two tests are to be chosen from: Sight Reading (see page 8) Aural (see page 13) Improvisation (see page 17) Musical Knowledge (see page 20)

28 Electronic Keyboard — Grade 2 Subject code: EK

Pieces (3 x 22 marks) Three pieces are to be played, one from each Group, to form a balanced programme. Instead of the Group C item, candidates may offer their own composition (see page 7). Group A The following pieces are contained in the book Electronic Keyboard Grade 2 from 2003 published by Trinity Guildhall:

Smetana Ma Vlast Strauss Tritsch Tratsch Polka Trad. Dark Eyes

The following alternative pieces are also available: Composer Piece Book Publisher Gilbert & Pirates Chorus The Complete Keyboard Player, Classics Wise AM 67661 Sullivan J Strauss II You And You The Electronic Keyboard Collection book 2 Trinity Faber Mozart Theme from Symphony No. 40 The Electronic Keyboard Collection book 3 Trinity Faber Sherman & Chim Chim Cher-ee, The Complete Keyboard Player, Wise AM65962 Sherman from Mary Poppins Film & TV Themes Trad. Swing Low Sweet Chariot Easiest Keyboard Collection - Sports Themes Wise AM955801 Group B

The following pieces are contained in the book Electronic Keyboard Grade 2 from 2003 published by Trinity Guildhall:

Fanciulli & Nisa Guaglione Trad. Yellow Bird Ward Orlas Treat

The following alternative pieces are also available:

Andersson & Ulvaeus Super Trouper The Electronic Keyboard Collection book 2 Trinity Faber Barroso Brasil Keyboard Klangwelt: Latin—Festival Schott ED 9909 Lloyd Webber Memory The Electronic Keyboard Collection book 2 Trinity Faber Lloyd Webber & Black Next Time You Andrew Lloyd Webber Really Useful Company Fall In Love Electronic Keyboard RUG 37438 Lloyd Webber, Hart & Stilgoe Think Of Me Andrew Lloyd Webber Really Useful Company Electronic Keyboard RUG 37438 Lloyd Webber & Steinman The Vaults Of Heaven Andrew Lloyd Webber Really Useful Company Electronic Keyboard RUG 37438 Trad. La Bamba Keyboard Klangwelt: Latin-Festival Schott ED 9909 Velaquez Besame mucho Keyboard Klangwelt: Latin-Festival Schott ED 9909

29 Electronic Keyboard — Grade 2

Ward Detroit Soul The Electronic Keyboard Collection book 3 Trinity Faber Wedgwood Latin Lady The Electronic Keyboard Collection book 2 Trinity Faber Group C The following pieces are contained in the book Electronic Keyboard Grade 2 from 2003 published by Trinity Guildhall:

Lloyd Webber Love Changes Everything Trad. Kalinka Ward The Reef

The following alternative pieces are also available:

Blake Walking In The Air The Electronic Keyboard Collection book 2 Trinity Faber Composition Project Greek Dance The Electronic Keyboard Collection book 3 Trinity Faber Composition Project Indian Summer The Electronic Keyboard Collection book 2 Trinity Faber Composition Project Theme Of Peace The Electronic Keyboard Collection book 2 Trinity Faber Lennon & McCartney All My Loving The Complete Keyboard Player, Wise AM952677 Greatest Hits Simon & Garfunkel The Sound Of Silence The Complete Keyboard Player, Wise AM952677 Greatest Hits

Technical Work (14 marks) (see page 24) All sections i) to iii) to be prepared. Sections i) and ii) must be performed from memory. i) Scales The following scales to be performed hands together; mf, and legato or staccato as requested by the examiner: A and D major (two octaves) B and E harmonic minor (two octaves) Contrary motion scale of C major (two octaves, legato only) ii) Arpeggios The following arpeggios to be performed hands separately; legato and mf: A and D major (two octaves) B and E minor (two octaves) iii) Fingered Chord Exercise (memory optional) The following to be performed: Scale of G major with fingered chords (one octave)

Supporting Tests (2 x 10 marks) Two tests are to be chosen from: Sight Reading (see page 8); Aural (see page 13) Improvisation (see page 17); Musical Knowledge (see page 20) 30 Electronic Keyboard — Grade 3 Subject code: EK

Pieces (3 x 22 marks) Three pieces are to be played, one from each Group, to form a balanced programme. Instead of the Group C item, candidates may offer their own composition (see page 7). Group A The following pieces are contained in the book Electronic Keyboard Grade 3 from 2003 published by Trinity Guildhall:

Bizet Toreadors Song Denza Funiculi, funicula Grieg Anitra's Dance

The following alternative pieces are also available: Composer Piece Book Publisher Gordon The Complete Keyboard Player, Down In The Glen Favourite Songs of Scotland Wise AM965701 Lloyd Webber Don’t Cry For Me Argentina The Electronic Keyboard Collection book 3 Trinity Faber Ruiz Sway Easiest Keyboard Collection — Latin Wise AM955834 Ward On The Savannah The Electronic Keyboard Collection book 3 Trinity Faber Ward Under Arrest The Electronic Keyboard Collection book 3 Trinity Faber Wedgwood Recharge The Electronic Keyboard Collection book 3 Trinity Faber

Yraider La Paloma The Complete Keyboard Player, Classics Wise AM67661 Group B

The following pieces are contained in the book Electronic Keyboard Grade 3 from 2003 published by Trinity Guildhall:

Mancini Pink Panther Meacham American Patrol Ward Sunday Stroll

The following alternative pieces are also available:

Ben Mas que nada Easiest Keyboard Collection — (Say no More) Sports Themes Wise AM955801 Jobim The Girl From Ipanema Keyboard Klangwelt: Latin-Festival Schott ED 9909 Lennon & Eleanor Rigby The Complete Keyboard Player, McCartney Greatest Hits Wise AM952677 Lennon & When I’m Sixty-Four The Complete Keyboard Player, McCartney book 3 Wise AM91385 Menken A Whole New World The Complete Keyboard Player, Greatest Hits Wise AM952677 Moreira, Engels Samba de Janeiro & Zenker [complete with percussion intro] Keyboard Klangwelt: Latin-Festival Schott ED 9909 Prado Mambo no. 5 Keyboard Klangwelt: Latin-Festival Schott ED 9909

31 Electronic Keyboard — Grade 3

Trad. Cielito Lindo Keyboard Klangwelt: Latin-Festival Schott ED 9909 Washington When You Wish The Complete Keyboard Player, Wise & Harline Upon A Star book 4 AM68552 Lloyd Webber, Black, Hampton Andrew Lloyd Webber Really Useful Company & Powers With One Look Electronic Keyboard RUG 37438 Lloyd Webber, Andrew Lloyd Webber Really Useful Company Hart & Stilgoe Angel Of Music Electronic Keyboard RUG 37438 Wonder Isn’t She Lovely The Complete Keyboard Player, Music Sales book 3 AM91385 Group C The following pieces are contained in the book Electronic Keyboard Grade 3 from 2003 published by Trinity Guildhall:

Bart Who Will Buy Holst Theme from Jupiter Ward Dance Track — Wave

The following alternative pieces are also available:

Andersson Fernando The Complete Keyboard Player, Wise AM91095 Abba Hermosa Lambada Keyboard Klangwelt: Latin-Festival Schott ED 9909 Lloyd Webber Music Of The Night The Complete Keyboard Player, Wise AM963920 Best Songs from the Shows Trad. Christmas Cracker Medley The Electronic Keyboard Collection book 3 Trinity Faber Trad. Hogmanay Party The Electronic Keyboard Collection book 3 Trinity Faber

Technical Work (14 marks) (see page 24) All sections i) to iv) to be prepared. Sections i) to iii) must be performed from memory. i) Scales The following scales to be performed hands together; mf, and legato or staccato as requested by the examiner: E, Bb and Eb major (two octaves) B and C harmonic minor (two octaves) Contrary motion scale of A major (two octaves, legato only) ii) Arpeggios The following arpeggios to be performed hands together, legato and mf: E, Bb and Eb major (two octaves) B and C minor (two octaves)

32 Electronic Keyboard — Grade 3 iii) Swing Rhythm Scale The following scale to be performed hands together, mf, and in swing rhythm; additional use of rhythm setting at candidate's choice Scale of C major (two octaves) iv) Fingered Chord Exercise (memory optional) The following to be performed: Scale of F major with fingered chords (one octave)

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8)

Aural (see page 13)

Improvisation (see page 17)

Musical Knowledge (see page 20)

33 Electronic Keyboard — Grade 4 Subject code: EK

Pieces (3 x 22 marks) Three pieces are to be played, one from each Group, to form a balanced programme. Instead of the Group C item, candidates may offer their own composition (see page 7). Group A The following pieces are contained in the book Electronic Keyboard Grade 4 from 2003 published by Trinity Guildhall:

Brahms Hungarian Dance no. 5 Delibes Flower Duet from Lakmé Fonteyn Pop Looks Bach

The following alternative pieces are also available: Composer Piece Book Publisher Beethoven Turkish March Electronic Keyboard Cocktails — Cramer 90550 (The Ruins of Athens) Classics Fauré Pavane Easiest Keyboard Collection — Wise AM955801 Sports Themes Goodwin 633 Squadron Instrumental Classics Faber 2338a (Easy Keyboard Library) Mozart Romance from Eine Electronic Keyboard Cocktails — Cramer 90504 Kleine Nachtmusik Wedding Music Stanley The Bluebell Polka The Complete Keyboard Player, Wise AM965701 Favourite Songs of Scotland Strauss Radetsky March The Complete Keyboard Player, Wise AM67661 Classics Tchaikovsky Theme from The Complete Keyboard Player, Wise AM67661 Romeo and Juliet Classics

Group B The following pieces are contained in the book Electronic Keyboard Grade 4 from 2003 published by Trinity Guildhall:

Andersson Money, Money, Money Barry/ Duran Duran A View To A Kill Lloyd Webber On This Night Of A Thousand Stars

The following alternative pieces are also available:

Bernstein Somewhere The Complete Keyboard Player, Wise AM 89550 Anthology Van Heusen Come Fly With Me Big Band Hits (The Easy Keyboard Library) Faber 19098 Garland In The Mood Big Band Hits (The Easy Keyboard Library) Faber 19098 Hawkins, Johnson, The Complete Keyboard Player, Wise AM65970 Dash & Feyne Tuxedo Junction Jazz & Blues

34 Electronic Keyboard — Grade 4

Hudson, De Lange & The Complete Keyboard Player, Mills Moonglow Jazz & Blues Wise AM65970 Jobim & Mendoca Desafinado Keyboard Klangwelt: Latin-Festival Schott ED 9909 Group C The following pieces are contained in the book Electronic Keyboard Grade 4 from 2003 published by Trinity Guildhall:

Arlen Over The Rainbow Cowles Scaling The Blues Mancini Theme from The Thorn Birds

The following alternative pieces are also available:

Andersson I Know Him So Well The Complete Keyboard Player, Wise AM952677 Greatest Hits Bacharach What The World The Complete Keyboard Player, Wise AM952677 Needs Now Greatest Hits Trad. Nursery Rhyme Medley The Complete Keyboard Player, Wise AM73057 Children's Songs

Technical Work (14 marks) (see page 24) All sections i) to iv) to be prepared, and performed from memory. i) Scales The following scales to be performed hands together; mf, and legato or staccato as requested by the examiner: B and Ab major (two octaves) F, C# and G# harmonic minor (two octaves) Contrary motion scale of F major (two octaves) Contrary motion scale of A harmonic minor (two octaves) Chromatic scale (two octaves, starting on any black note requested) ii) Arpeggios The following arpeggios to be performed hands together; mf, and legato or staccato as requested by the examiner: B and Ab major (two octaves) F, C# and G# harmonic minor (two octaves)

35 Electronic Keyboard — Grade 4 iii) Swing Rhythm Scale The following scales to be performed hands together; mf and legato, and in swing rhythm; additional use of rhythm setting at candidate's choice A and E major (two octaves) C and E harmonic minor (two octaves) iv) Left Hand Chord Sequence Exercise The following to be performed: Chord sequence in three styles

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8)

Aural (see page 13)

Improvisation (see page 17)

Musical Knowledge (see page 20)

36 Electronic Keyboard — Grade 5 Subject code: EK

Pieces (3 x 22 marks) Three pieces are to be played, one from each Group, to form a balanced programme. Instead of the Group C item, candidates may offer their own composition (see page 7). Group A The following pieces are contained in the book Electronic Keyboard Grade 5 from 2003 published by Trinity Guildhall:

Charpentier Prelude (from Te Deum) Elgar Chanson de matin Souza Washington Post March

The following alternative pieces are also available:

Composer Piece Book Publisher J S Bach Air On The G String The Complete Keyboard Player, Wise AM67661 Classics Fucikˇ Entry Of The Gladiators Electronic Keyboard Cocktails — Marches Cramer 90549 Jessel Parade Of The Complete Keyboard Player, Wise AM73057 The Tin Soldiers Children's Songs Tchaikovsky Waltz from Electronic Keyboard Cocktails — Cramer 90550 Serenade for Strings Classics Williams Evergreen The Complete Keyboard Player, Songbook 6 Wise AM69998

Group B The following pieces are contained in the book Electronic Keyboard Grade 5 from 2003 published by Trinity Guildhall:

Coates Dambusters March Dion My Heart Will Go On (from Titanic) Martin Rumba

The following alternative pieces are also available:

Aznavour She The Complete Keyboard Player, Songbook 6 Wise AM69998 Bernstein I Feel Pretty The Complete Keyboard Player, Songbook 6 Wise AM69998 Jobim Wave The Complete Keyboard Player, Jazz & Blues Wise AM65970 Kern Smoke Gets In Your Eyes The Complete Keyboard Player, Songbook 8 Wise AM78981 Trad. Tico Toco Keyboard Klangwelt: Latin—Festival Schott ED 9909 Group C The following pieces are contained in the book Electronic Keyboard Grade 5 from 2003 published by Trinity Guildhall: Berlin Puttin' On The Ritz Trad. Folk Song Ward Scarlet Bossa

37 Electronic Keyboard — Grade 5

The following alternative pieces are also available:

Albert & Gaste Feelings The Complete Keyboard Player, Wise AM952677 Greatest Hits Andersson Super Trouper The Complete Keyboard Player, Wise AM91095 Abba Trad. Scottish Jig Melody The Complete Keyboard Player, Wise AM965701 Favourite Songs of Scotland

Technical Work (14 marks) (see page 24) All sections i) to iv) to be prepared. Sections i)–iii) must be performed from memory. i) Scales The following scales to be performed hands together; mf, and legato or staccato as requested by the examiner: Major scales starting on all white notes (two octaves, straight or swing rhythm as requested) Bb and Eb and C# harmonic minor (two octaves) Contrary motion scales of A and Bb major (two octaves) Contrary motion scale of A and Bb harmonic minor (two octaves) Chromatic scale in contrary motion (two octaves, starting on any note requested) ii) Arpeggios The following arpeggios to be performed hands together, mf, and legato or staccato as requested by the examiner: Major arpeggios starting on all white notes (two octaves) Bb and Eb and C# minor (two octaves, straight or swing rhythm as requested) iii) Swing Rhythm Scale The following scales to be performed hands together; mf and legato, and in swing rhythm; additional use of rhythm setting at candidate's choice Major scales starting on all white notes (two octaves) C and E harmonic minor (two octaves) iv) Exercise The following to be performed: Grade 5 Exercise (from Electronic Keyboard Grade 5 from 2003) Trinity Guildhall

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8)

Aural (see page 13)

Improvisation (see page 17)

Musical Knowledge (see page 20)

38 Digital Keyboard Subject code: DK Instruments

Instruments must have at least the following specification:

Range Minimum 61 keys (5 octaves) Keyboard Full-size keys with touch sensitivity (to be used for all tests and pieces), and external sustain pedal where needed. Capability • 12-note polyphonic capacity • at least eight registration memories to store orchestral changes and settings in memory (using a disk drive or internal memory) when the instrument is unplugged, so that they can be retrieved in the examination for both pieces and other tests. • key-split function with the facility to split at different points on the keyboard. to ensure that lower right hand notes are not hindered by the split point. • the ability to transpose the section of the keyboard above the split point down an octave so that the right-hand part can be played an octave higher than written. • A substantial variety of voices and styles; the range of voices and styles used will depend on the instrument and appropriate alternatives may be employed at the discretion of the candidate.

Instruments with facilities exceeding these requirements, including those with MIDI capability, are permitted. It must be stressed that all pieces and tests will be assessed on the musicality of the candidate’s performance and not on the capacity of the instrument itself.

Candidates must provide their own instrument, stand and power lead(s).

Many of the pieces are written to incorporate the use of single-fingered chords, thus freeing the left hand to make adjustments to volume and voice. Provided such adjustments can be otherwise accommodated, fully fingered chords may be used, except where otherwise stated. Glossary of Chords The following examples show the meaning of the chord symbols used in pieces published in Digital Keyboard from 2000. It is not intended that these examples represent the way each chord must be arranged: candidates should use their judgement to choose spacing and arrangement of notes that are appropriate for the style/voice used and the musical context.

C Cm C C+ Csus4 C7 C C7/ G

C6 Cm6 C7 Cm7 5 C7sus4 C9 C9 C13

39 Digital Keyboard

Pieces Versatility is required to utilise fully the complex capabilities of the digital keyboard. At this level, therefore, the candidate’s performance should demonstrate their command of the instrument’s features through creative engagement with the material.

To this end, the pieces published by Trinity in Digital Keyboard from 2000 include suggestions for the performance and interpretations of the pieces in that volume. The following notes are intended to help candidates with the development of their own responses to material not published by Trinity and are suggestions only, and not requirements.

Group A pieces explore the candidate’s ability to play a melodic bass line and rhythm in the left hand, coordinated with melody and chords in the right.

Grade 6 Song for Guy/Sad songs say so much Suggested voice: Electric Bass (left hand). The right hand plays the melody one octave higher than written but transposed an octave lower using transposition function for ease of playing. Voices can change or mix according to the candidate’s creativity and musicianship, and extemporizations are encouraged though not obligatory. Suggested style: Mambo. Candidates may create their own rhythms and fill-ins where appropriate. Use the ‘fade-out’ or ‘rhythm stop’ function to the end.

Key split: LH: B2 and below; RH: C2 and above (Song for Guy); LH: F#2 and below; RH: G2 and above (Sad songs say so much) Grade 7 Angels Suggested voice: Modern Electric Piano and Strings. To be played as written using external sustain pedal. Suggested style: Using the auto play chord function, select ‘Pianist Mode’ where the entire keyboard can be used to specify auto play chords while playing the score as written. Thus, the bass line and rhythm are carried by the ‘auto play chord’ function while allowing the implied chords to show forth through the written and played score. I'm Still Standing/Little Jeannie Suggested voice: Electric Bass (left hand). The right hand plays the melody one octave higher than written but transposed an octave lower using the transposition function for ease of playing. Voices can change or mix according to the candidate’s creativity and musicianship, and extemporizations are encouraged though not obligatory. Suggested style: Hard Rock (I'm Still Standing) Mambo (Little Jeannie). Candidates should treat the entire piece as a ‘skeleton score’; filling it out with dense registration/orchestration.

Key split: LH: F#2 and below; RH: G2 and above Grade 8 Let me entertain you Suggested voice: Dance/Analogue Bass (left hand). Full Draw Bar Organ/Rock Organ (chorus but no Tremolo) for bars 1–12. Add Tremolo effect to the organ, Modern Electric Piano and Synth/Space type pads for bars 13–20. Bars 21–28 as bars 5–12; Synth/Space type pads for bars 29–36. The right hand should play an amalgamation of the treble clef

40 Digital Keyboard

right hand part, together with the vocal line. Suggested style: 90s dance. End the piece with right and left hand parts together on the second quaver of the final bar (rhythm stop).

Key split: LH: F#2 and below; RH: G2 and above Group B pieces explore the traditional digital keyboard technique of full-fingered chords in the left hand with a melody in the right. Split the keyboard with full chords in the left hand and melody/harmony in the right, and consider each piece to be a very loose ‘skeleton score’ which can be filled out with a choice of sounds, rhythms, fill ins and harmonies in the right hand. The aim is to create a personal arrangement with as much artistic and musical flair as possible.

Group C pieces explore the candidate’s creative skills in response to given stimuli, and the application of these skills to the instrument.

41 Digital Keyboard — Grade 6 Subject code: DK

Pieces (3 x 22 marks) Three pieces are to be played, one from each Group, to form a balanced programme. Candidates may not offer their own composition in place of a Group C item. Group A Piece Publisher John Sad Songs Say So Much (from The Very Best of Elton John) Faber 17524 John Song For Guy (from Elton John Love Songs) Faber 3687A Group B Carmichael The Nearness Of You Wise AM936980 (from The Complete Keyboard Player, Dinner Jazz) Davenport Fever (from The Complete Keyboard Player, Dinner Jazz) Wise AM936980 Dvorákˇ Humoreske op. 101 no. 7 (from Digital Keyboard from 2000)* Trinity Guildhall John I Guess That’s Why They Call It The Blues (from Elton John Love Songs) Faber 3687A Rose, arr. Medley 1-Quickstep (from Ballroom Favourites 2) Faber 17788 * This piece may be performed in the tempo range of d = 56–90. Group C The following compositions are taken from Digital Keyboard from 2000, published by Trinity Guildhall. Havanita (Chord sequence-based composition) Eyes Wide Open (Note pattern-based composition) Here we Are All (Word-based composition)

The chosen item must last no more than 2 minutes. Havanita must be completed in staff notation**. A score of Eyes Wide Open or Here we are all must be presented in any coherent form of notation.

** A single line arrangement with chord symbols and any other relevant information (voices, style etc.).

Technical Work (14 marks) All sections i) to iii) to be prepared from memory. i) Chord knowledge and chord voicing (4 marks) The candidate must briefly voice a chord by splitting the keyboard, with the left hand (electric or acoustic bass sound) playing the root note and the right hand completing the chord, and explain how the chord is formed (e.g. root, flat third, fifth, flat seventh). The examiner will select up to three examples from the following: Chords: major, minor, +5, added 6th, major and minor 7ths, diminished. Tonal Centres: C, F and G ii) Figuration and accompaniment co-ordination (3 marks) The candidate should select any appropriate keyboard style/accompaniment and perform the following sequence in any of the stated keys, as requested by the examiner: Sequence: Sustained tonic chord in the left hand, with its scale (in quavers) followed by its arpeggio (in crotchets) in the right hand, ascending and descending (two octaves) Articulation: f/p touch sensitive, legato and staccato, as requested by the examiner Keys: C, D, G, F and Bb major C, D, G, F and Bb harmonic and melodic minor

42 Digital Keyboard — Grade 6 iii) Stylistic Awareness (7 marks) The candidate should select any appropriate bass sound (electric or acoustic) for the bass line in the left hand, with appropriate sounds for chords in the right hand, and perform an accompaniment or keyboard groove in any of the following key centres and styles, as requested by the examiner. In each case the chord sequence will take the form of a twelve-bar blues, ending on the tonic. The tests must be played without music, and candidates should improvise in the required style rather than exactly copying the written examples in Digital Keyboard from 2000.

Styles: March, Waltz, Swing, Salsa Key Centres: C, F and G

Supporting Tests (2 x 10 marks) Candidates to prepare i) and ii): i) Sight Reading (see page 8)* ii) Aural (see page 13) or Improvisation (see page 17)

* The sight reading test will be given in piano score (treble and bass clefs) to be played hands together after 30 seconds preparation time.

43 Digital Keyboard — Grade 7 Subject code: DK

Pieces (3 x 22 marks) Three pieces are to be played, one from each Group, to form a balanced programme. Candidates may not offer their own composition in place of a Group C item. Group A Piece Publisher John I’m Still Standing (from The Very Best of Elton John) Faber 17524 John Little Jeannie (from Elton John Anthology) Faber 70949 Widor Toccata in F from Symphony no. 5 Cramer 90504 (from Electronic Keyboard Cocktails — Wedding Music) Williams Angels (from Life thru a lens) Faber Group B Chopin Waltz in Db, op. 64 no. 1 (from Digital Keyboard from 2000) Trinity Guildhall Donaldson, arr. Medley 13 — Roarin-Twenties (from Ballroom Favourites 2) Faber 17788 Joplin The Entertainer (from Digital Keyboard from 2000) Group C The following compositions are taken from Digital Keyboard from 2000, published by Trinity Guildhall. Sundrop (Chord sequence-based composition) Cellular Motion (Note pattern-based composition) Western Wind (Poetry-based composition)

The chosen item must last no more than 2 minutes. Sundrop must be completed in staff notation*. A score of Cellular Motion or Western Wind must be presented in any coherent form of notation.

* A single line arrangement with chord symbols and any other relevant information (voices, style etc.).

Technical Work (14 marks) All sections i) to iii) to be prepared from memory i) Chord Knowledge and Chord Voicing (4 marks) The candidate must briefly voice a chord by splitting the keyboard, with the left hand (electric or acoustic bass sound) playing the root note and the right hand completing the chord, and explain how the chord is formed (e.g. root, flat third, fifth, sixth). The examiner will select up to three examples from the following: Chords: Major, minor, suspended 4th, flattened 5th, +5, minor 6th, added 6th, major and minor 7ths, diminished and 7th/9th chords. Tonal Centres: A, D, F and Bb ii) Figuration and accompaniment co-ordination (3 marks) The candidate should select any appropriate keyboard style/accompaniment and perform the following sequence in any of the stated keys, as requested by the examiner: Sequence: Sustained tonic chord in the left hand, with its scale (in quavers) followed by its arpeggio (in crotchets) in the right hand, ascending and descending (two octaves) (d = 126) Articulation: f/p touch sensitive, legato and staccato, as requested by the examiner Keys: A, D, E, Bb, Eb major A, D, E, Bb, Eb harmonic and melodic minor

44 Digital Keyboard — Grade 7 iii) Stylistic Awareness (7 marks) The candidate should select any appropriate bass sound (electric or acoustic) for the bass line in the left hand, with appropriate sounds for chords in the right hand, and perform an accompaniment or keyboard groove in any of the following key centres and styles, as requested by the examiner. In each case the chord sequence will take the form of a twelve-bar blues, ending on the tonic. The tests must be played without music, and candidates should improvise in the required style rather than exactly copying the written examples in Digital Keyboard from 2000.

Styles: March, Waltz, Swing, Salsa, Reggae, Funk Key Centres: A, D, F and Bb

Supporting Tests (2 x 10 marks) Candidates to prepare i) and ii): i) Sight Reading (see page 8)* ii) Aural (see page 13) or Improvisation (see page 17)

* The sight reading test will be given in piano score (treble and bass clefs) to be played hands together after 30 seconds preparation time.

45 Digital Keyboard — Grade 8 Subject code: DK

Pieces (3 x 22 marks) Three pieces are to be played, one from each Group, to form a balanced programme. Candidates may not offer their own composition in place of a Group C item. Group A Piece Publisher Somerset- Priddle Mad Max Beaufort Chase (from Digital Keyboard from 2000) Trinity Guildhall Williams Let Me Entertain You (from Life thru a Lens) Faber Group B Gershwin I Got Rhythm (from Digital Keyboard from 2000) Trinity Guildhall Grainger Country Gardens (from Digital Keyboard from 2000) Trinity Guildhall McHugh & Fields, arr. Medley 3 – In the Mood for Love (from Ballroom Favourites 2) Faber 17788 Mozart Allegro in C, K. 5a (from Digital Keyboard from 2000) Trinity Guildhall Group C The following compositions are taken from Digital Keyboard from 2000, published by Trinity Guildhall. Good Evening, Ladies and Gentlemen! (Chord sequence-based composition) Uh-huh (Note pattern-based composition) I saw one like the son of man (Word-based composition) Pandora's Box (Shape-based composition)

The chosen item must last no more than 2 minutes. Good Evening, Ladies and Gentlemen! must be completed in staff notation*. A score of Uh-huh or I saw one like the son of man or Pandora's Box must be presented in any coherent form of notation.

* A single line arrangement with chord symbols and any other relevant information (voices, style etc.).

Technical Work (14 marks) All sections i) to iii) to be prepared from memory. i) Chord Knowledge and Chord Voicing (4 marks) The candidate must briefly voice a chord by splitting the keyboard, with left hand (electric or acoustic bass sound) playing the root note and right hand completing the chord, and explain how the chord is formed (e.g. root, flat third, fifth, sixth). The examiner will select up to three examples from the following: Chords: major, minor, suspended 4th, flattened 5th, +5, minor 6th, added 6th, major and minor 7ths, diminished, sixth/ninth, minor-major seventh, seventh/ninth, sharpened ninth, eleventh and thirteenth chords. Tonal Centres: B, E, Ab and Eb ii) Figuration and accompaniment co-ordination (3 marks) The candidate should select any appropriate keyboard style/accompaniment and perform the following sequence in any of the stated keys, as requested by the examiner:

46 Digital Keyboard — Grade 8

Sequence: Sustained tonic chord in the left hand, with its scale (in quavers) followed by its arpeggio (in crotchets) in the right hand, ascending and descending (two octaves) (d = 132) Articulation: f/p touch sensitive, legato and staccato, as requested by the examiner Keys: B, Ab, Db, C# and F# major B, Ab, Db, C# and F# harmonic and melodic minor iii) Stylistic awareness (7 marks) The candidate should select any appropriate bass sound (electric or acoustic) for the bass line in the left hand, with appropriate sounds for chords in the right hand, and perform an accompaniment or keyboard groove in any of the following key centres and styles, as requested by the examiner. In each case the chord sequence will take the form of a twelve-bar blues, ending on the tonic. The tests must be played without music, and candidates should improvise in the required style rather than exactly copying the written examples in Digital Keyboard from 2000. Styles: Reggae, % Swing, Techno, Funk, Fast ‘4’ Gospel, 8-Beat and Jazz Waltz Key Centres: B, E, Ab and Eb

Supporting Tests (2 x 10 marks) Candidates to prepare i) and ii): i) Sight Reading (see page 8)* ii) Aural (see page 13) or Improvisation (see page 17)

* The sight reading test will be given in piano score (treble and bass clefs) to be played hands together after 30 seconds preparation time.

47 Electronic Organ Subject code: EO

These examinations can be taken only at centres where there is an organ, or where one can be provided by the candidate or teacher. In the latter case, all arrangements must be discussed with the representative well in advance of the closing date for the session concerned. The instrument must be installed before the first examination of the day and must not be removed until a point at which the examination timetable will not be disrupted, which might be after the last examination of the day. The instrument must be insured at the candidate’s expense.

In all examinations candidates have freedom of interpretation and registration according to the instrument being played and the character of the music. Where suggested ‘notes for performance’ or detailed registrations are given, candidates may, at their discretion, substitute any suitable alternatives appropriate to the requirements of the music. Please note the following, however:

1 It is expected that style should be used at all levels, where this enhances the performance. 2 The use of rhythm sequence programming is acceptable at all levels, where appropriate. 3 Control data, including registration changes, functions of expression pedal(s), footswitch(es) and knee lever, may also be programmed, when available. 4 No other performance data may be pre-programmed into the instrument or onto a floppy disk. 5 The use of disks to facilitate (2) and (3) above is acceptable. 6 All examinations may be taken on an instrument with a pedal-board which has a compass of one octave. Instruments with pedal-boards of less than one octave are not acceptable. Pedals must be used where specified in the pieces. 7 Where applicable, original two-stave piano music must be arranged by the candidate to make full use of both manuals and pedal-board. A fully written-out score of any such arrangement will not be required by the examiner. 8 Pedal Sustain, if present, should be switched on for scales and arpeggios. Rhythmic patterns should be those shown in the comparable scale book published for Solo Piano. 9 Candidates are reminded that Trinity Guildhall accepts no responsibility for any defect which may develop or become apparent in the instrument during the course of the examination. This includes software (such as disks) when used. 10 Candidates relying on pre-recorded rhythm sequence programmes will be expected, in the event of a breakdown, to be able to continue their performance without a re-start.

48 Electronic Organ

Tempi for scales and arpeggios A minimum pace is required, increasing gradually grade by grade:

Grade Scales Arpeggios Scales in Sevenths Pedal thirds scales

Initial d = 72 — — — d = 60 Grade 1 d = 72 d = 60 — — d = 60 Grade 2 d = 72 d = 60 — — d = 66 Grade 3 d = 84 d = 72 — — d = 66 Grade 4 d = 96 d = 84 — — d = 72 Grade 5 d = 108 d = 90 — — d = 72 Grade 6 d = 120 d = 96 d = 60 d = 66 d = 80 Grade 7 d = 132 — d = 60 d = 72 d = 88 Grade 8 d = 132 — d = 60 d = 80 d = 92

49 Electronic Organ — Initial Subject code: EO

Pieces (3 x 22 marks) Three pieces are to be played, at least one from each Group, to form a balanced programme. Candidates at Initial may not offer their own composition instead of a third piece. Group A

Composer Piece Book Publisher Blue Take My Hand Organ World book 1 Trinity Cowles Still Waters Organ World book 1 Trinity Cowles Whilst Waiting Organ World book 1 Trinity Ogden Poodles In Puddles Organ World book 1 Trinity Tchaikovsky An Ancient French Song Electronic Organ book 1 Guildhall Group B Anon Greensleeves The Joy of Organ Music Yorktown YK 21095 Anon Careless Love The Joy of Organ Music Yorktown YK 21095 Brahms Lullaby The Joy of Organ Music Yorktown YK 21095 Clarke Music Box Melody Electronic Organ book 1 Guildhall Hawker & I Only Want To Raymonde Be With You Electronic Organ book 1 Guildhall Joplin The Entertainer Electronic Organ book 1 Guildhall Lloyd Webber Any Dream Will Do Electronic Organ book 1 Guildhall Young When I Fall in Love Electronic Organ book 1 Guildhall

Technical Work (14 marks) (see page 49) Both sections i) and ii) to be prepared i) Exercise The following exercise to be played: Trad. Down in Yon Forest (from Organ World — book 1) Trinity ii) Scales (from memory) The following scales to be played legato and mf: Manual: C and G major (one octave, hands separately)

Pedal: C major (from C2 to G2 only)

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8)

Aural (see page 13)

Improvisation (see page 17)

Musical Knowledge (see page 20)

50 Electronic Organ — Grade 1 Subject code: EO

Pieces (3 x 22 marks) Three pieces are to be played, at least one from each Group, to form a balanced programme. Instead of one item, candidates may offer their own composition (see page 7). Group A Piece Book Publisher Bailey Scoobie Du Wup Organ World book 1 Trinity Lee Invocation Organ World book 1 Trinity Lee Stepping Stones Organ World book 1 Trinity Offenbach Can-Can Electronic Organ book 1 Guildhall Runswick Pronto Organ World book 1 Trinity Trad. The Skye Boat Song Electronic Organ book 1 Guildhall Group B Clarke Somewhere In My Dreams Electronic Organ book 1 Guildhall Hamlisch The Way We Were Electronic Organ book 1 Guildhall Maclellan Snowbird Electronic Organ book 1 Guildhall R Presley Love Is All Around Electronic Organ book 1 Guildhall Runswick Velvet Dreams Organ World book 1 Trinity

Schmidt Try To Remember Electronic Organ book 1 Guildhall Soloviev-Sedoy Moscow Nights The Joy of Organ Music Yorktown YK 21095

Technical Work (14 marks) (see page 49) Scales and Arpeggios (from memory) The following scales and arpeggios to be played legato and mf. Manual scales hands separately: Manual: Scales: D and F major (one octave) A and D harmonic minor (one octave) Arpeggios: D and F major (one octave) A and D minor (one octave) Pedal: C major (one octave)

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8)

Aural (see page 13)

Improvisation (see page 17)

Musical Knowledge (see page 20)

51 Electronic Organ — Grade 2 Subject code: EO

Pieces (3 x 22 marks) Three pieces are to be played, at least one from each Group, to form a balanced programme. Instead of one item, candidates may offer their own composition (see page 7). Group A Piece Book Publisher Bailey Moonlight Air Organ World book 1 Trinity Blue I Remember Organ World book 1 Trinity Cowles Follow Me! Organ World book 1 Trinity Holdsworth On The Move! Organ World book 1 Trinity MacDowell To A Wild Rose The Joy of Organ Music Yorktown YK 21095 Saint-Saëns My Heart at thy Sweet Voice The Joy of Organ Music Yorktown YK 21095 Strauss The Emperor Waltz The Joy of Organ Music Yorktown YK 21095 Trad. O sole mio The Complete Organ Player Wise AM33739 Songbook Series 2 vol. 2 Group B Angulo The Complete Organ Player Wise AM33739 & Seeger Guantanamera Songbook Series 2 vol. 2 Clarke Bird Of Paradise Electronic Organ book 2 Guildhall Coben The Old Piano Roll Blues The Complete Organ Player Wise AM33739 Songbook Series 2 vol. 2 Danvers Till Electronic Organ book 2 Guildhall Herman Hello Dolly Electronic Organ book 2 Guildhall Lennon Woman The Complete Organ Player Wise AM33739 Songbook Series 2 vol. 2 Mandel & Altman Song from ‘M.A.S.H.’ Electronic Organ book 2 Guildhall Richie Hello Electronic Organ book 2 Guildhall Wonder You Are The Sunshine The Complete Organ Player Music Sales Of My Life Songbook Series 2 vol. 2

Technical Work (14 marks) (see page 49) Scales and Arpeggios (from memory) The following scales and arpeggios to be played legato and mf. Manual scales hands separately or together, as requested by the examiner: Manual: Scales: A, D and B major (two octaves) D harmonic minor (two octaves) G melodic minor (two octaves) Chromatic scale on C (two octaves, hands separately only) Arpeggios: A, D and B major (two octaves) D and G minor (two octaves)

52 Electronic Organ — Grade 2

Pedal: Arpeggio of C major (one octave)

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8)

Aural (see page 13)

Improvisation (see page 17)

Musical Knowledge (see page 20)

53 Electronic Organ — Grade 3 Subject code: EO

Pieces (3 x 22 marks) Three pieces are to be played, at least one from each Group, to form a balanced programme. Instead of one item, candidates may offer their own composition (see page 7). Group A Piece Book Publisher Blue Autumn Leaves Organ World book 1 Trinity Bucalossi The Grasshoppers’ Dance Electronic Organ book 2 Guildhall Debussy Clair de lune The Joy of Organ Music Yorktown YK 21095 Haydn St. Anthony Chorale The Joy of Organ Music Yorktown YK 21095 Ogden Beyond The Stars Organ World book 1 Trinity Schumann Träumerei The Joy of Organ Music Yorktown YK 21095 Group B Brahms Hungarian Dance no. 4 The Joy of Organ Music Yorktown YK 21095 Clarke Sierra Serenade Electronic Organ book 2 Guildhall Cowles Tango For Bertha Organ World book 1 Trinity Ebb & Kander New York, New York Electronic Organ book 2 Guildhall Goodrum You Needed Me Electronic Organ book 2 Guildhall Howard & Blaikley Theme from Miss Marple Electronic Organ book 2 Guildhall Jessel Parade Of The Tin Soldiers The Joy of Organ Music Yorktown YK 21095 Williams Star Wars Electronic Organ book 2 Guildhall

Technical Work (14 marks) (see page 49) Scales and Arpeggios (from memory) The following scales and arpeggios to be played from memory, legato and mf. Manual scales hands together: Manual: Scales: Bb and Eb major (two octaves) B and F harmonic minor (two octaves) C melodic minor (two octaves) Chromatic scale in contrary motion from unison C (two octaves) Arpeggios: Bb and Eb major (two octaves) B, C and F minor (two octaves) Pedal: Dominant 7th in the key of F (one octave)

Supporting Tests (2 x 10 marks)

Two tests are to be chosen from:

Sight Reading (see page 8); Aural (see page 13)

Improvisation (see page 17); Musical Knowledge (see page 20)

54 Electronic Organ — Grade 4 Subject code: EO

Pieces (3 x 22 marks) Three pieces are to be played, at least one from each Group, to form a balanced programme. Instead of one item, candidates may offer their own composition (see page 7). Group A Piece Book Publisher Blue Tutti Frutti Organ World book 2 Trinity Booth Morning Serenade Organ World book 2 Trinity Delibes Waltz (from Naila) The Joy of More Organ Music Yorktown YK 21210 Mozart Romanze from Eine Kleine Nachtmusik, K. 525 Electronic Organ book 3 Guildhall Runswick The Hipster Organ World book 2 Trinity Group B Albeniz Tango The Joy of More Organ Music Yorktown YK 21210 Carmichael Georgia On My Mind Electronic Organ book 3 Guildhall Churchill Were I But Crazy For Love’s Sake! Electronic Organ book 3 Guildhall Clarke Carnival Calypso Electronic Organ book 3 Guildhall Hamlisch Nobody Does It Better Electronic Organ book 3 Guildhall Kenny I Made It Thru’ The Rain Electronic Organ book 3 Guildhall

Lloyd Webber Don’t Cry For Me Home Organist Library vol. 20: Argentina West End Show Tunes Wise AM91529 Lloyd Webber The Music Of The Night Home Organist Library vol. 20: West End Show Tunes Wise AM91529

Technical Work (14 marks) (see page 49) Scales and Arpeggios (from memory) The following scales and arpeggios to be played legato and mf. Manual scales hands together: Manual: Scales: E, Ab, Db and F# major (two octaves) C# harmonic minor (two octaves) F melodic minor (two octaves) Chromatic scale (similar motion) starting on any note requested (two octaves) Arpeggios: E, Ab, Db and F# major (two octaves) C# and F minor (two octaves) Pedal: Scale of C major (one octave) Scale of C harmonic minor (one octave)

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8); Aural (see page 13)

Improvisation (see page 17); Musical Knowledge (see page 20)

55 Electronic Organ — Grade 5 Subject code: EO

Pieces (3 x 22 marks) Three pieces are to be played, at least one from each Group, to form a balanced programme. Instead of one item, candidates may offer their own composition (see page 7). Group A Piece Book Publisher Bailey Blue Mood Organ World book 2 Trinity Blue Swing Boogie Organ World book 2 Trinity Monti Czardás The Joy of More Organ Music Yorktown YK 21210 Ogden Eurotunnel Shuttle Organ World book 2 Trinity Runswick Chromatique Organ World book 2 Trinity Tchaikovsky Waltz from Serenade for Strings, op. 48 Electronic Organ book 3 Guildhall Trad. The Floral Dance The Joy of More Organ Music Yorktown YK 21210 Group B Bayer, Sager & Allen Don’t Cry Out Loud Electronic Organ book 3 Guildhall Clarke Tropical Mix Electronic Organ book 3 Guildhall Garner Misty Electronic Organ book 3 Guildhall John & Rice Can You Feel Home Organist Library vol. 34: The Love Tonight Film & TV Themes Wise AM950510 Lewis How High The Moon Electronic Organ book 3 Guildhall Mancini Baby Elephant Walk Home Organist Library vol. 34: Film & TV Themes Wise AM950510 Menker & Rice A Whole New World Disney Hits for Organ Hal Leonard HL00199008 Schönberg I Dreamed A Dream Home Organist Library vol. 20: West End Show Tunes Wise AM91529 Suessdorf Moonlight In Vermont Electronic Organ book 3 Guildhall Williams The Raiders March Home Organist Library vol. 34: Film & TV Themes Wise AM950510

Technical Work (14 marks) (see page 49) Scales and Arpeggios (from memory) The following scales and arpeggios to be played legato and mf. Manual scales hands together: Manual: Scales: All major keys (two octaves) Bb and F# harmonic minor (two octaves) G# melodic minor (two octaves) Chromatic scale starting on any note requested (two octaves) Arpeggios: All major keys (two octaves) Bb, F# and G# minor (two octaves)

56 Electronic Organ — Grade 5

Pedal: Scales: C major (one octave) C melodic minor (one octave) Arpeggios: C major (one octave) C minor (one octave)

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8)

Aural (see page 13)

Improvisation (see page 17)

Musical Knowledge (see page 20)

57 Electronic Organ — Grade 6 Subject code: EO

Pieces (3 x 22 marks) Three pieces are to be played, freely chosen from the list below, to form a balanced programme. Instead of one item, candidates may offer their own composition (see page 7). Composer Piece Publisher Bizet Toreador’s Song from Carmen (from Opera Gala book 1) Stainer H 331 Bizet In The Depths Of The Holy Temple from The Pearl Fishers (from Opera Gala book 2) Stainer H332 Booth Blue Lullaby (from Organ World book 2) Trinity Brahms Ungarischer Tanz no. 5 [Repeats must be played] (from Die Welt der Orgel-Klassik I) Schott ED 5601 Cowles Interval (Ice Cream Music) (from Organ World book 2) Trinity Creamer Way Down Yonder In New Orleans & Layton (from Home Organist Library, vol. 7: Jazz Pieces)* Wise AM29638 Delibes Flower Duet from Lakmé (from Classical Concert) Stainer H362 Gibb, Gibb & Gibb Night Fever (from The Complete Organ Player: Super Solos) Wise AM939213 Gossec Gavotte [Repeats must be played] (from Die Welt der Orgel-Klassik I) Schott ED 5601 Haydn Rondo from Trumpet Concerto (from Classical Concert) Stainer H362 Hudson, De Lange & Mills Moonglow (from Home Organist Library, vol. 7: Jazz Pieces)* Wise AM29638 MacDonald, Salter & Withers Just The Two Of Us (from The Complete Organ Player: Super Solos) Wise AM939213 Marquina Spanish Gypsy Dance (from The Complete Organ Player: Super Solos) Wise AM939213 Oliver Opus 1 (from Home Organist Library, vol. 7: Jazz Pieces)* Wise AM29638 Roberts, Jacobson Swingin’ Shepherd Blues & Koffman (from Home Organist Library, vol. 8: Blues Solos) Wise AM29646 Robin & Shavers Undecided (from Home Organist Library, vol. 7: Jazz Pieces)* Wise AM29638 Runswick Blue Six (from Organ World book 2) Trinity Russell Don’t Get Around Much Anymore & Ellington (from Home Organist Library, vol. 7: Jazz Pieces)* Wise AM29638 Saint-Saëns Danse Macabre (from 25 Favourite Classics Everybody Loves To Hear, vol. 1, Classical All-Organ Library) Wise AM21569 Verdi Chorus of the Hebrew Slaves from Nabucco (from Opera Gala book 1) Stainer H 331 Verdi Drinking Song from La Traviata (from Opera Gala book 1) Stainer H 331 Verdi Quartet from Rigoletto (from Opera Gala book 1) Stainer H 331 Verdi The Anvil Chorus from Il Travatore (from Opera Gala book 2) Stainer H332 Weber Aufforderung zum Tanz [Repeats must be played] (from Die Welt der Orgel-Klassik I) Schott ED 5601

* This publication is unfortunately out of print, however candidates may still use it if they can obtain an original copy. Use of a photocopy is not acceptable. 58 Electronic Organ — Grade 6

Technical Work (14 marks) (see page 49) Scales and Arpeggios (from memory) Manual: The candidate should prepare all manual scales and arpeggios from one of the following key groups: Group 1: A, C, Eb, F# or Group 2: E, G, Bb, C#/Db or Group 3: B, D, F, Ab/G# The following to be performed hands together, mf and legato in all keys of the chosen group: The major scale (two octaves) The harmonic minor scale (two octaves) The melodic minor scale (two octaves) The major scale in 3rds (hands together a 3rd apart, left hand starting on the tonic) (two octaves) The major arpeggio (two octaves) The minor arpeggio (two octaves) The following also to be performed hands together, mf and legato Chromatic scale in minor thirds, starting an octave below middle C in the left hand and Eb in the right hand (three octaves) Diminished 7th starting on C (three octaves) Pedal/Manual: The following scales to be performed on the pedals, with the left hand or right hand (as requested by the examiner) playing on the manuals one octave higher, legato and mf: C major (one octave) C harmonic minor (one octave) C melodic minor (one octave)

Supporting Tests (2 x 10 marks) Candidates to prepare i) and ii): i) Sight Reading (see page 8) ii) Aural (see page 13) or Improvisation (see page 17)

59 Electronic Organ — Grade 7 Subject code: EO

Pieces (3 x 22 marks) Three pieces are to be played, freely chosen from the list below, to form a balanced programme. Instead of one item, candidates may offer their own composition (see page 7). Composer Piece Publisher Arndt Nola (from The Complete Organ Player: Super Solos) Wise AM 939213 Bailey Cookin’ With Gas (from Organ World book 3) Trinity Beethoven Adagio un poco mosso from Piano Concerto no. 5 (from Classical Concert) Stainer H362 Binge Elizabethan Serenade (from The Complete Organ Player: Super Solos) Wise AM939213 Boccherini Minuet from the Quintet (from Classical Concert) Stainer H362 Cowles An Intermezzo Sandwich (from Organ World book 3) Trinity Cowles Wedding Bossanova (from Organ World book 3) Trinity Gimbel & Thielmans Bluesette (from Home Organist Library vol. 8: Blues Solos) Wise AM 29646 Gounod Juliet’s Waltz Song from Romeo and Juliet (from Opera Gala book 3) Stainer H333 Parker Harlequin (from Organ World book 3) Trinity Puccini Your Tiny Hand Is Frozen from La Bohème (from Opera Gala book 3) Stainer H333 Raye, De Paul & Johnson I’ll Remember April (from Home Organist Library, vol. 7: Jazz Pieces)* Wise AM29638 Runswick Stay Awhile (from Organ World book 3) Trinity Shearing & Weiss Lullaby Of Birdland (from Home Organist Library, vol. 7: Jazz Pieces)* Wise AM29638 Vivaldi Spring from The Four Seasons (from Classical Concert) Stainer H362 Washington On Green Dolphin Street & Kaper (from Home Organist Library, vol. 7: Jazz Pieces)* Wise AM29638 Williams Devil's Galop (from The Complete Organ Player: Super Solos) Wise AM939213 Williams & Monk ’Round Midnight (from Home Organist Library, vol. 7: Jazz Pieces)* Wise AM29638

* This publication is unfortunately out of print, however candidates may still use it if they can obtain an original copy. Use of a photocopy is not acceptable.

Technical Work (14 marks) (see page 49) Scales and Arpeggios (from memory) Manual: The candidate should prepare all manual scales and arpeggios from one of the following key groups: Group 1: A, C, Eb, F# or Group 2: E, G, Bb, C#/Db or Group 3: B, D, F, Ab/G#

60 Electronic Organ — Grade 7

The following to be performed hands together, mf and legato in all keys of the chosen group: The major scale (two octaves) The harmonic minor scale (two octaves) The melodic minor scale (two octaves) The major scale in 6ths (hands together a 6th apart, right hand starting on the tonic) (two octaves) The major arpeggio in root position and first inversion (two octaves) The minor arpeggio in root position and first inversion (two octaves) The dominant 7th in root position The following also to be performed hands together, mf and legato C harmonic minor scale in contrary motion (two octaves) Pedal/Manual: The following scales to be performed on the pedals, with the left hand or right hand (as requested by the examiner) playing on the manuals one octave higher, legato and mf: C major in contrary motion (one octave) C harmonic minor in contrary motion (one octave)

Supporting Tests (2 x 10 marks) Candidates to prepare i) and ii): i) Sight Reading (see page 8) ii) Aural (see page 13) or Improvisation (see page 17)

61 Electronic Organ — Grade 8 Subject code: EO

Pieces (3 x 22 marks) Three pieces are to be played, freely chosen from the list below, to form a balanced programme. Instead of one item, candidates may offer their own composition (see page 7). Composer Piece Publisher J S Bach Prelude in C major BWV 553 (Prelude only) (from Bach Organ Works book 1: Eight Short Preludes and Fugues) Novello 10018 Bizet The Flower Song from Carmen (from Opera Gala book 3) Stainer H333 Ellis Coronation Scot (from The Complete Organ Player: Super Solos) Wise AM939213 Handel Zadok the Priest from Coronation Anthem no. 1 (from Classical Concert) Stainer H362 Hendricks & Timmons Moanin' (from Home Organist Library vol. 8: Blues Solos) Wise AM29646 Jobim One Note Samba (Samba De Uma Nota So) (from The Complete Organ Player: Super Solos) Wise AM939213 Mercer & Raksin Laura (from Home Organist Library, Vol. 7: Jazz Pieces)* Wise AM29638 Mozart Porgi, Amor from the Marriage of Figaro (from Classical Concert) Stainer H362 Paparelli, Gillespie & Leveen A Night In Tunisia (from Home Organist Library, vol. 7: Jazz Pieces)* Wise AM29638 Parish, Mills Organ Grinder's Swing & Hudson (from Home Organist Library vol. 8: Blues Solos) Wise AM29646 Parker Prelude In Ragtime (from Organ World book 3) Trinity Smetana Dance of the Comedians from The Bartered Bride (from Opera Gala book 3) Stainer H333 Runswick Well You Might (from Organ World book 3) Trinity Verdi Sempre Libera from La Traviata (from Opera Gala book 3) Stainer H333

* This publication is unfortunately out of print, however candidates may still use it if they can obtain an original copy. Use of a photocopy is not acceptable.

Technical Work (14 marks) (see page 49) Scales and Arpeggios (from memory) Manual: The candidate should prepare all manual scales and arpeggios from one of the following key groups: Group 1: A, C, Eb, F# or Group 2: E, G, Bb, C#/Db or Group 3: B, D, F, Ab/G#

62 Electronic Organ — Grade 8

The following to be performed hands together, mf and legato in all keys of the chosen group: The major scale (two octaves) The harmonic minor scale (two octaves) The melodic minor scale (two octaves) The major scale in 3rds (hands separately) (two octaves) The major arpeggio in root position, first and second inversions (two octaves) The minor arpeggio in root position, first and second inversions (two octaves) The dominant 7th in root position (two octaves) The diminished 7th starting on any note from the chosen group (two octaves) The following also to be performed hands together, mf and legato C major scale in contrary motion (two octaves) C harmonic minor scale in contrary motion (two octaves) Pedal/Manual: The following scales to be performed on the pedals, with the left hand or right hand (as requested by the examiner) playing on the manuals one octave higher, legato and mf: C major contrary motion (one octave) C harmonic minor contrary motion (one octave)

Supporting Tests (2 x 10 marks) Candidates to prepare i) and ii): i) Sight Reading (see page 8) ii) Aural (see page 13) or Improvisation (see page 17)

63 Organ Subject code: OGN

These examinations can only be taken at centres where there is an organ, or where one can be provided by the candidate or teacher. Candidates normally play a conventional pipe organ. In cases where candidates wish to play a pipeless analogue electronic organ or a computer organ, the specification must be sent to the Chief Examiner in Music for approval at least thirty days before an entry is made. Candidates must satisfy themselves that the specification of the instrument is adequate for the demands of the pieces they choose to play.

The instrument must be located within easy reach of the examination centre. Transport to and from the location must be provided for the examiner(s) at no cost to Trinity. All arrangements must be discussed with the representative well in advance of the closing date for the session concerned. If a pipeless instrument is installed at the centre for the examination, the instrument must be installed before the first examination of the day and must not be removed until a point at which the examination timetable will not be disrupted, which might be after the last examination of the day. The instrument must be insured at the candidate’s expense. For examinations held in churches and other public buildings, arrangements must be made that the examination will not be interrupted by members of the general public.

In all examinations candidates have freedom of interpretation and registration according to the instrument being played and the character of the music. Memory features, other than adjustable pistons and the use of sequencers, are not permitted. Page-turners may assist with registration changes only where appropriate pre-set combination pistons are not available (whether adjustable or fixed). If there is any doubt in this matter, the precise technical specification of the instrument must be approved in writing by Trinity Guildhall before an entry is made.

The Organ syllabus may not be offered on Electronic Organ.

Technical Work

All scales, arpeggios and other material to be performed from memory. A minimum pace is required, increasing gradually grade by grade:

Grade Manual Manual Manual Pedal Pedal broken scales arpeggios sevenths scales chords

Grade 1 d = 72 — — — — Grade 2 d = 72 d = 60 — — — Grade 3 d = 84 d = 72 — d = 72 — Grade 4 d = 96 d = 84 — d = 84 — Grade 5 d = 108 d = 90 — d = 60 d = 84 Grade 6 d = 120 d = 96 d = 66 d = 72 d = 90 Grade 7 d = 132 — d = 72 — — Grade 8 d = 132 — d = 80 — —

64 Organ

Examples of Technical Work Patterns for pedal items for Grades 3–6 are as follows:

Broken Thirds (one octave)

                                

Broken Chord (twelfth)                  

Running Triplets (one octave)

3 3 3                         3 3 3 3

3 3 3 3                    3 3 3    

65 Organ — Grade 1 Subject code: OGN

Pieces (3 x 22 marks) Three pieces are to be played, one from each Group, to form a balanced programme. Instead of one item, candidates may offer their own composition (see page 7). Group A Piece Book Publisher Alcock Trumpet Piece Organ Music for Manuals vol. 4 OUP J S Bach Ich hab’ mein’ Sach’ Gott heimgestellt BWV 708 Organ Works book 18 Novello NOV010013 Boyvin Duo du troisième ton Organ Music for Manuals vol. 3 OUP Frescobaldi Magnificat Primi Toni Organ Music for Manuals vol. 1 OUP Pachelbel Fuga Organ Music for Manuals vol. 3 OUP Telemann O Lamm Gottes unschuldig Organ Music for Manuals vol. 3 OUP Group B Beethoven no. 1 of Two Equali Music for Memorial and Thanksgiving Services Novello NOV262778 Franck Prière Music for Memorial and Thanksgiving Services Novello NOV262778 Gebhardi Moderato (no. 2 of Four Short Preludes) Organ Music for Manuals vol. 1 OUP Heron Cornet Voluntary, slow movt Organ Music for Manuals vol. 4 OUP Howells Eighteen Miniatures for Organ Mayhew Liszt Offertorium (Missa pro Organo) Music for Manuals book 3 De Haske F 463 Group C Alain De Jules Lemaître 4 Pieces for Organ Universal UE 17163 Hesford Partita for Anna Magdalena, 3rd movt Miniatures vol. 1 De Haske F 607 Körner Moderato in B Minor Easy Organ Pieces book 1 Bärenreiter BA 8416 Litzau Andante (no. 3 of 3 Short Preludes) Organ Music for Manuals vol. 5 OUP Tournemire Immaculata Conceptio B. Mariae Virginis no. 3 Petites fleurs musicales op. 66 Universal UE 17465

Technical Work (14 marks) (see pages 64–65)

Scales The following manual scales to be played legato and mf: G, D, A and E major (one octave, hands together) E, D, G and C harmonic minor (one octave, hands together) Chromatic scale on G (one octave, hands separately)

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8); Aural (see page 13)

Improvisation (see page 17); Musical Knowledge (see page 20)

66 Organ — Grade 2 Subject code: OGN

Pieces (3 x 22 marks) Three pieces are to be played, one from each Group, to form a balanced programme. Instead of one item, candidates may offer their own composition (see page 7). Group A Piece Book Publisher J S Bach Herr Jesu Christ meines Lebens Licht 23 Chorale Preludes Bayley / Ferguson J S Bach Gottes Sohn ist kommen (Fughetta) BWV 703 Complete Organ Works vol. 3 Bärenreiter BA 5173 J S Bach Prelude in G minor Bach Organ Works book 1 Novello NOV010018 Boyvin Basse de trompette Organ Music for Manuals vol. 3 OUP Praetorius Herr Gott, Dich loben wir (verse 1 or 2 or 4 or 5) Chorale Arrangements Bärenreiter BA 5496 Travers Trumpet Voluntary Organ Music for Manuals vol. 3 OUP Group B Boëllmann Basso Ostinato Easy Graded Organ Music book 1 OUP Boëllmann Verset Music for Manuals book 2 De Haske F 367 Boëly Messe du jour de noël (4ème Kyrie) Harmonia HU 3315 Franck À la venue de noël Music for Manuals book 2 De Haske F 367 Franck Elégie from Two Pieces César Frank Organ Music for Manuals OUP Reger Es ist gewißlich an der Zeit op. 135a no. 8 Music for Manuals book 2 De Haske F 367 Group C Coleman Prelude An Easy Organ Manual OUP Eben Kleine Choralpartita über O Jesu, all mein Leben bist Du, 2nd movt Universal UE 17162 Hesford Gradual Missa Ungarica pro Organo Cramer 90124 Langlais Printemps [theme only] Mosaïques vol. 3 Combre CO 4639 Peeters Choral and 1st Variation: Herr Jesus hat ein Gartchen 10 Organ Chorales Schott ED 2553 Walcha Chorale Prelude: Zu Bethlehem Geboren A Graded Anthology for Organ book 2 Cramer 90583

67 Organ — Grade 2

Technical Work (14 marks) (see pages 64–65)

Scales and Arpeggios (from memory) Scales: The following manual scales to be played hands together, legato and mf: B and F major (two octaves) F harmonic minor (two octaves) C and E major in contrary motion (one octave) Chromatic scale on D (one octave) Chromatic scale on D in contrary motion (one octave) Arpeggios: The following manual arpeggios to be played hands separately, legato and mf: C, F and G major (two octaves) A,D and E minor (two octaves)

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8)

Aural (see page 13)

Improvisation (see page 17)

Musical Knowledge (see page 20)

68 Organ — Grade 3 Subject code: OGN

Pieces (3 x 22 marks) Three pieces are to be played, one from each Group, to form a balanced programme. Instead of one item, candidates may offer their own composition (see page 7). Group A Piece Book Publisher Anon. no. 1 of Two Early Sixteenth Century Pieces Faber Early Organ Series vol. 1 Faber J S Bach Da Jesus an dem Kreuze stund BWV 621 Complete Organ Works vol. 1 Bärenreiter BA 5171 Stanley Voluntary VIII in D minor, 1st movt 10 Voluntaries op. 5 Hinrichsen H 1033 Van Noordt Psalm 38 Organ Music for Manuals vol. 3 OUP Walther Herr Jesu Christ, dich zu uns Wend [with repeats] Organ Music for Manuals vol. 1 OUP Group B Boëllmann Plainte (no. 1 of Four Pieces) Organ Music for Manuals vol. 1 OUP Boëllmann Postlude Organ Music for Manuals vol. 3 OUP Guilmant Communion Organ Music for Manuals vol. 5 OUP Group C Alain Ballade en mode phrygien L’Oeuvre d’orgue vol. 3 Leduc AL 20184 Pinkham Canon at the octave Music for a Quiet Sunday Thorpe Ridout Father Canticle of the Rose Mayhew Tournemire Offertoire Miniatures vol. 2 De Haske F 642

Technical Work (14 marks) (see pages 64–65) Scales and Arpeggios (from memory) The following scales and arpeggios to be played mf. Manual scales hands together and legato: Manual: Scales: Bb, Eb, Ab and Db major (two octaves) C# and G# harmonic minor (two octaves) Chromatic scale on Ab (two octaves) Eb major contrary motion scale (one octave) Chromatic scale on Ab in contrary motion (one octave) Arpeggios: D, A and E major (two octaves) G, C and F minor (two octaves) Pedal: F and G major scales in broken 3rds (one octave) A and G melodic minor scales in broken 3rds (one octave)

69 Organ — Grade 3

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8)

Aural (see page 13)

Improvisation (see page 17)

Musical Knowledge (see page 20)

70 Organ — Grade 4 Subject code: OGN

Pieces (3 x 22 marks) Three pieces are to be played, one from each Group, to form a balanced programme. Instead of one item, candidates may offer their own composition (see page 7). Group A Piece Book Publisher J S Bach Der Tag, der ist so freudenreich BWV 605 Complete Organ Works vol. 1 Bärenreiter BA 5171 J S Bach Christe, du Lamm Gottes BWV 619 Complete Organ Works vol. 1 Bärenreiter BA 5171 J S Bach Prelude and Fugue in G Bach Organ Works book 1 Novello NOV010018 Buxtehude Nun Komm der Heiden Heiland The Progressive Organist book 2 Novello NOV262533 Kotter Präeludium in Fa Faber Early Organ Series vol. 13 Faber Pachelbel Da Jesus an dem Kreuze stund BWV 621 Pâques Schola Cantorum OL 1 Group B Boëllmann Entrée Miniatures vol. 2 De Haske F 642 Elgar Andantino op. 14 no. 3 Miniatures vol. 2 De Haske F 642 Karg-Elert Freu dich sehr, Chorale-Improvisations o meine Seele no.5 op. 65 book 1 Breitkopf EB 8261 Tuma Siciliana Suite for Organ [ed. Trevor] OUP Group C Dupré Audi, benigne Conditor Le tombeau de Titelouze Bornemann AL27836 Hurford Meditation Suite 'Laudate Dominum' OUP Ridout Jesus meets his Blessed Mother 14 Stations of the Cross Mayhew Ridout Jesus Speaks to the Women of Jerusalem 14 Stations of the Cross Mayhew Peeters Partita: Alles ist an Gottes Segen, 4th movt Thirty Chorale Preludes for Organ Peters EP 6023 Vierne Arabesque 24 Pieces en Style Libre vol. 2 Durand 0897300

Technical Work (14 marks) (see pages 64–65)

Scales and Arpeggios (from memory) The following scales and arpeggios to be played mf. Manual scales hands together and legato: Manual: Scales: F# major (two octaves) Bb and Eb harmonic minor (two octaves) Chromatic scale on A, C, D, F and G (two octaves) E harmonic minor contrary motion scale (one octave) Chromatic scale on A in contrary motion (one octave)

71 Organ — Grade 4

Arpeggios: B and Bb major (two octaves) B and Bb minor (two octaves) Pedal: A, E and Bb major scales in broken 3rds (one octave) B, E and F melodic minor in broken 3rds (one octave)

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8)

Aural (see page 13)

Improvisation (see page 17)

Musical Knowledge (see page 20)

72 Organ — Grade 5 Subject code: OGN

Pieces (3 x 22 marks) Three pieces are to be played, one from each Group, to form a balanced programme. Instead of one item, candidates may offer their own composition (see page 7). Group A Piece Book Publisher J S Bach Herr Christ, der ein’ge Gottessohn BWV 601 Complete Organ Works vol. 1 Bärenreiter BA 5171 J S Bach Prelude and Fugue in E minor BWV 555 Bach Organ Works book 1 Novello NOV010018 Buxtehude Mensch, willt du leben seliglich BuxWV 206 Faber Early Organ Series vol. 12 Faber J C Kittel Präludium in A flat major Organ Music around J S Bach vol. 2 Breitkopf EB 8685 Purcell Rondeau and Aire Cramer 90109 ARCHIVE Tomkins Verse Faber Early Organ Series vol. 2 Faber Group B Mendelssohn Sonata in A, op. 65 no. 3, Andante tranquillo Complete Organ Works II Bärenreiter BA 8197 Mendelssohn Sonata in D minor op. 65 no. 6, Finale (Andante) Complete Organ Works II Bärenreiter BA 8197 Merkel Pastorale no. 4 6 Preludes op. 23 De Haske F 365 Thalben-Ball Elegy Paxton NOV357436 Vierne Berceuse op. 31 no. 19 24 Pieces en Style Libre vol. 2 Durand 0897300 Whitlock Lantana Plymouth Suite OUP Group C Hakim Pastorale Mariales UMP Mathias Chorale A William Mathias Organ Album OUP Nielsen Prelude in F sharp minor Miniatures vol. 2 De Haske F 642 Peeters Koraal Suite modale op. 43 Lemoine 23673 Ridout Jesus Receives the Cross 14 Stations of the Cross Mayhew Ridout Jesus is Laid in the Sepulchre 14 Stations of the Cross Mayhew

73 Organ — Grade 5

Technical Work (14 marks) (see pages 64–65)

Scales and Arpeggios (from memory) The following scales and arpeggios to be played mf. Manual scales hands together, and legato or staccato as requested by the examiner; pedal scales legato only: Manual: Scales: B, C, F, Eb and F# major (two octaves) F# harmonic minor (two octaves) A, C, D, E and G melodic minor (two octaves) Chromatic scale starting on any note requested by the examiner (two octaves) Chromatic scale in contrary motion starting on any note requested (two octaves) Arpeggios: Eb, Ab and Db major (two octaves) C#, F# and G# minor (two octaves) Pedal: Scales: A and G major in running triplets (one octave) A and B melodic minor in running triplets (one octave) Broken Chords: F and G major (to 12th) A and E minor (to 12th)

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8)

Aural (see page 13)

Improvisation (see page 17)

Musical Knowledge (see page 20)

74 Organ — Grade 6 Subject code: OGN

Pieces (3 x 22 marks) Three pieces are to be played, one from each Group, to form a balanced programme. Instead of one item, candidates may offer their own composition (see page 7). Group A Piece Publisher J S Bach Heut triumphieret Gottes Sohn BWV 630 (from Complete Organ Works vol. 1) Bärenreiter BA 5171 J S Bach Trio Sonata in D minor, BWV 527, 2nd movt (from Complete Organ Works vol. 7) Bärenreiter BA 5177 Bruckner Fugue from Prelude and Fugue in C minor (from Bruckner Album of Various Pieces for Organ) Edwin Kalmus KO 2036 Buxtehude Präludium und Fuga in G (from Buxtehude Organ Works vol. 2) Hansen WH 26990 Gigault Prelude du cinquième ton (from Organ book 2) OUP Pachelbel Fantasia (from Organ book 2) OUP Group B Brahms Herzlich thut mich verlangen op. 122 no. 10 Novello NOV590116 Franck Prelude (from Prelude, Fugue and Variation op. 18) UMP Ireland Sursum Corda (from Organ Music of John Ireland) Novello NOV010183 Mendelssohn Fugue from Sonata no. 6 (from Complete Organ Works vol. 2) Bärenreiter BA 8197 Parry Chorale Prelude on Rockingham (from 7 Chorale Preludes for Organ Set 1) Novello NOV590001 Widor Fourth movement (from Symphonie V in F, op. 42) Hamelle AL26865 Willan Chorale Prelude: Gelobt Sei Gott OUP Whitlock Folk Tune (from 5 Short Pieces) OUP Group C Alain Lamento (from L’oeuvre d’orgue vol. 3) Leduc AL20814 Burrell Fragments I and II (from Unbeaten Tracks) Faber Hakim Incantation (from Mariales) UMP Hindemith Second movement (from Sonata no. 2) Schott ED 2558 Langlais Pasticcio (from Organ book) Elkan-Vogel Ridout Veronica Wipes the Face of Jesus (from 14 Stations of the Cross) Mayhew Ridout Jesus Falls the Third Time (from 14 Stations of the Cross) Mayhew Vierne Carillon op. 31 no. 21 (from 24 Pieces en Style Libre vol. 2) Durand 0897300 Yon Humoresque (from L’organo primitivo) Dover DP19613

75 Organ — Grade 6

Technical Work (14 marks) (see pages 64–65)

Scales and Arpeggios (from memory) The following scales and arpeggios to be played mf. Manual scales hands together, and legato or staccato as requested by the examiner; pedal scales legato only: Manual: Scales: All major keys (two octaves) B and F melodic minor (two octaves) Chromatic scale in major 6ths, starting on Eb left hand and C right hand (two octaves) Arpeggios: F# major (two octaves) Eb minor (two octaves) Dominant 7th in the key of C (two octaves) Diminished 7th starting on B (two octaves) Pedal: Scales: C and Bb major in running triplets (one octave) C and G melodic minor in running triplets (one octave) Broken Chords: C and Bb major (to 12th) F and G minor (to 12th)

Supporting Tests (2 x 10 marks) Candidates to prepare i) and ii): i) Sight Reading (see page 8) ii) Aural (see page 13) or Improvisation (see page 17)

76 Organ — Grade 7 Subject code: OGN

Pieces (3 x 22 marks) Three pieces are to be played, one from each Group, to form a balanced programme. Instead of one item, candidates may offer their own composition (see page 7). Group A Piece Publisher J S Bach In dir ist Freude, BWV 615 (from Complete Organ Works vol. 1) Bärenreiter BA 5171 J S Bach Wir glauben all an einem Gott BWV 680 (from Complete Organ Works vol. 4) Bärenreiter BA 5174 Buxtehude Praeludium [and Fugue] BuxWV 138 (from Complete Organ Works vol. 1) Bärenreiter BA 8221 Hindemith Sonata 1, 2nd movt Schott ED 2557 Howells Master Tallis’s Testament Novello NOV590222 archive Langlais Melody (from Triptyque) Novello NOV620001 archive Lübeck Praeludium and Fugue in E no. 2 (from Orgelwerke) Peters EP 4437 Group B Bridge Adagio in E (from Three Pieces for Organ) Novello NOV010986 Franck Fugue and Variation (from Prelude, Fugue and Variation op. 18) UMP Ireland Menuetto-Impromptu (from Organ Music of John Ireland) Novello NOV010183 Hurford Processional and French Carol (from Laudate Dominum) OUP Roget Deploración por la Semana Santa (from Pâques) Schola Cantorum OL 1 Vierne Pastorale no. 20 (from 24 Pieces en Style Libre vol. 2) Durand 0897300 Whitlock Pazienza no. 2 (from The Complete Organ Music) OUP Wills Elevation (from Colours of the Organ) Novello NOV010092 archive Group C Karg-Elert Now thank we all our God op. 65 no. 59 Breitkopf EB 6238 Langlais Prelude on ‘Coronation’ (from Modern Organ Music book 2) OUP Mathias Processional (from A William Mathias Organ Album) OUP Maxwell Davies no. 1 (Psalm 124) , and either no. 2 or no. 3 (from 3 Organ Voluntaries) Chester CH 55170 Messiaen Les Enfants de Dieu (from La Nativité de Seigneur vol. 2) Leduc AL 19269 Parry Chorale Prelude on ‘Dundee’ (from 7 Chorale Preludes for Organ Set 1) Novello NOV 010214 Peeters Scherzo (from Suite modale op. 43) Lemoine 23673 Ratcliffe Caprice (from Colours of the Organ) Novello NOV010092 archive

77 Organ — Grade 7

Technical Work (14 marks) (see pages 64–65) Scales and Arpeggios (from memory) The following scales and arpeggios to be played mf. Manual scales hands together, and legato or staccato as requested by the examiner; pedal scales legato only: Manual: Scales: All harmonic minor keys (two octaves) C#, F# and G# melodic minor (two octaves) C and F major scales a 6th apart, right hand starting on the tonic (two octaves) A and D harmonic minor scales a 6th apart, right hand starting on the tonic (two octaves) Chromatic scale a minor 3rd apart, starting on G left hand and Bb right hand (two octaves) Arpeggios: Dominant 7th in the keys of G, B, E (three octaves) Diminished 7th starting on A, C, D and F (three octaves) Pedal Study: J.S. Bach: Bars 1-9 from Prelude and Fugue in C minor, BWV 549 (from Complete Organ Works vol. 5) Bärenreiter BA 5175

Supporting Tests (2 x 10 marks) Candidates to prepare i) and ii): i) Sight Reading (see page 8) ii) Aural (see page 13) or Improvisation (see page 17)

78 Organ — Grade 8 Subject code: OGN

Pieces (3 x 22 marks) Three pieces are to be played, one from each Group, to form a balanced programme. Instead of one item, candidates may offer their own composition (see page 7). Group A Piece Publisher Alain Variations sur un thème de Clément Jannequin (from L’oeuvre d’orgue vol. 2) Leduc AL20102 J S Bach Ach bleib bei uns, Herr Jesu Christ, BWV 649 (from Complete Organ Works vol. 1) Bärenreiter BA 5171 J S Bach Herr Gott, nun schleuß den Himmel auf, BWV 617 (from Complete Organ Works vol. 1) Bärenreiter BA 5171 J S Bach Nun danket alle Gott, BWV 657 (from Complete Organ Works vol. 2) Bärenreiter BA 5172 Buxtehude Toccata in F Bux157 [complete] (from Complete Organ Works vol. 2) Bärenreiter BA 8222 Hurford Dialogue no. 2 (from Two Dialogues) Novello NOV 570032 archive J C Kellner Jesu meine Freude (from Organ Music around J S Bach vol. 2) Breitkopf EB 8685 Mendelssohn Sonata no. 3 in A, 1st movt (from Complete Organ Works vol. 2) Bärenreiter BA 8197 Group B Guilmant Marche sur un thème de Handel op. 15 no. 2 Schott ED 11311 Peeters Herr Jesu hat ein Gartchen no. 10 (from 10 Organ Chorales) Schott ED 2553 Howells Psalm Prelude no. 3 (from Three Psalm Preludes Set 1) Novello NOV590353 Ireland Meditation on John Keble’s Rogationtide hymn (from Organ Music of John Ireland) Novello NOV010183 Jongen Scherzetto op. 108 no. 1 (from A Jongen Organ Album) OUP Karg-Elert Legend op. 141 no. 1 (from Triptyque) Novello NOV 950170 archive Messiaen Majesté du Christ demandant sa gloire à son Père (from L’Ascension) Leduc AL18826 Whitlock Divertimento (from The Complete Shorter Organ Music) OUP Group C Boëllmann Toccata (from Suite gothique) UMP Dupré Placare Christe servulis op. 38 no. 16 (from 16 Chorales) Bornemann Krzanowski Relief III PWM PWM 9929 Mathias Toccata giocosa op. 36 no. 2 (from A William Mathias Organ Album) OUP Messiaen Le Banquet Celeste Leduc AL 22893 Popplewell Triumphal March Banks 13983 Preston Alleluyas (from Modern Organ Music book 1) OUP

79 Organ — Grade 8

Technical Work (14 marks) (see pages 64–65) Scales and Arpeggios (from memory) The following scales and arpeggios to be played mf. Manual scales hands together, and legato or staccato as requested by the examiner. Manual: Scales: Bb and Eb melodic minor (two octaves) D, G and Bb major scales a 3rd apart, left hand starting on the tonic (two octaves) B, E and G melodic minor scales a 3rd apart, left hand starting on the tonic (two octaves) Chromatic scale with hands a minor 3rd or a major 6th apart, starting on any notes requested by the examiner (two octaves) Arpeggios: Dominant 7th in the keys of F, Ab, Eb and F# (three octaves) Diminished 7th starting on Ab, Bb and C# (three octaves) Pedal Study: J.S. Bach: Bars 13-32 from Toccata, Adagio and Fugue in C, BWV 564 (from Complete Organ Works vol. 6) Bärenreiter BA 5176

Supporting Tests (2 x 10 marks) Candidates to prepare i) and ii): i) Sight Reading (see page 8) ii) Aural (see page 13) or Improvisation (see page 17)

80 Accordions Subject code: FBA/SBA

Pieces ‘Piece’ is taken to mean any work or group of works listed after the name of the composer(s). In Classical (free-bass) Accordion grade examinations, three pieces are to be performed, one from Group A and two from Group B. Classical (free-bass) Accordion candidates have the option of choosing one of their Group B pieces from the Standard-bass Accordion list for the grade that they are taking. In Standard-bass Accordion Grade examinations, three pieces are to be performed from the single group of pieces. Instruments The repertoire for the first three grades may be played on smaller instruments, in later grades a larger instrument is required. Where the candidate’s accordion does not cover the range expected in the Technical Work section for the grade, the candidate should play the Technical Work in the range that suits his/her instrument, under guidance from the teacher.

Technical Work Technical work is marked out of 14. The requirements are shown in the main body of the syllabus. Candidates should aim for accuracy at an appropriate and regular pace, with even bellows and a good tone with no undue accentuation, as well as attention to musical shaping, promptness and confidence of delivery. All scales, broken chords and exercises must be performed ascending and descending unless otherwise stated, and from memory. Please note that this section does not form part of Ensemble examinations.

Grade Scales

Grade 1 = 70  Grade 2 = 70  Grade 3 = 90  Grade 4 = 90  Grade 5 = 110  Grade 6 = 110  Grade 7 = 120  Grade 8 = 120 

Examples The patterns given overleaf are examples of some of those required for the examinations in this syllabus, as mentioned in the main body of the syllabus.

81 Accordions

Bellow markings = bellows out V = bellows in

NB The bellows markings given below are recommendations. The candidate may use an alternative bellows phrasing.

Major scale C major scale (one octave): Classical (free-bass) Accordion W V 4 i i i i i i i i i i i i i i h q Standard-bass Accordion i i Wi B 4 i i i i i i i i i i i h q G major scale (one octave) in the leftW hand: B#4 i i i i i i i i i i i i i i h q Ab majorbb scale (two octaves) in the irighti i hand:i i i i i i i i Vbb 42 i i i i i i i i i i i i i i i i i i

Classical (free-bass) Accordion F majorb2 scale (two octaves) in the righti i hand:i i i i i i i i i V 4 i i i i i i i i i i i i i i i i i i

Major scale, hands together, similar motion, one octave apart Bb majorb scale (one octave), hands together,W similar motion: Vb 4 i i i i i i i i i i i i i q i i h {Bbb4 i i i i i i i i i i i i i h q

82 Accordions Eb major scale (two octaves), handsi together,i i i isimilari i motion:i i i i Vbbb42 i i i i i i i i i i i i i i i i i i i i i 8va i i i i i i i i {Bbbb42 i i i i i i i i i i i i i i i i i i

Harmonic minor scale D harmonic minor scale (one octave)W in the right hand: Vb4 i i i i i i#i i #i i i i i i h q B harmonic# minor scale (two octaves)i i ini thei#i righti ihand:i i i i V #42 i i i i i i#i i i i i#i i i i i i i E harmonic minor scale (two octaves)i i ini thei#i lefti hand:i i i i i B#42 i i i i i i#i i i i i#i i i i i i i

Harmonic minor scale, hands together, similar motion, one octave apart C harmonicb minor scale (one octave),W hands together, similar motion: Vbb4 i i i i i i=i i =i i i i i i h q =i i =i {Bbbb4 i i i i i i i i i i i h q C harmonic minor scale (two octaves), ihandsi i =itogether,i i similari i i motion: Vbbb42 i i i i i=i i i i i i i=i i i i i i i i i B b 8va i i i i=i i i i i i { bb42 i i i i i i=i i i i i=i i i i i i i

83 Accordions

Natural minor scale The natural minor scale (aeolian mode) is a basic form of minor scale. It should be played according to the key signature, without using any accidentals, as in the following example. A natural minor (one octave)=( ) =( ) in theW left=( ) =(hand: ) B 4 i i i i i i i i i i i i i i h q

Melodic minor scale D melodic minor scale (one=i#i octave)iW ini=( ) theib( ) left hand: Bb4 i i i i i i i i i h q

E melodic minor scale (two octaves) in the right hand: i i i#i#i i=i i=( ) i i i =( ) =( ) V#42 i i i i i#i#i i i i i i i i i i i i

C melodic minor scale (two octaves) in the left hand: B b i i i=i=i ibi ib( ) i i i b( ) b( ) bb42 i i i i i=i=i i i i i i i i i i i i

Melodic minor scale, hands together, similar motion, one octave apart G melodic minor scale (one octave),i Whands=( ) b( ) together, similar motion: Vbb4 i i i i i=i#i i i i i i i h q =( ) b( ) {Bbb4 8vai i i i i=i#i i i i i i i i h q

F melodic minor scale (two octaves), hands together, similar motion: i i i i=i=iibi ib( ) i i i i b( ) b( ) Vbbbb42 i i i i i=i=i i i i i i i i i i =i=iibi ib( ) b( ) b( ) 8va i i i i i i {Bbbbb42 i i i i i=i=i i i i i i i i i i i i

84 Accordions

Broken chord C major broken chord (range ofi a tenth)Wi in the right hand: V 68 i i i i i i i i i. i i i i i i i i i. D minor broken chordi (rangei ofi ai. tenth)Wi in ithe lefti hand: . Bb68 i i i i i i i i i i i i i

D major broken chord (two octaves) in the right hand: # i ii iii iii ii i V #42 iiiiiii ii i i ii iiiiiii i r

C minor broken chord (two octaves) in the left hand: B b i ii iii iii ii i bb42 iiiiiii ii i i ii iiiiiii i r

Broken chord, hands together, similar motion, one octave apart C major broken chord (range of a tenth),W hands together, similar motion: V 68 i i i i i i i i i. i i i i i i i i i. i i i i i. i i i i {B 68 i i i i i i i i i i i i i. G major broken ichord (twoi i octaves),i i i handsiii itogether,iii similariii imotion:ii i V#42 i i i i i i i ii iii i r i 8va i i i iii ii ii i {B#42 i i i i i i i i i i i ii iiiiiii i r

85 Accordions

Chromatic scale C chromatic scale (one octave) in the right hand: V 42 i#ii#iii#ii #ii#iiiibi=i biibiiibiibi i r C chromatic scale (one octave) ini theiibi left hand: B 42 i#ii#iii#ii #ii#i =i biibiiibiibi i r

C chromatic scale (two octaves) in the right hand: i i#i i #i i#i i V 42 i#i i#i i i#i i #i i#i i i#i i#i i ibi ibi ibi i ibi V ibi i ibi i bi ibi i ibi ibi i r

Chromatic scale, hands together, similar motion, one octave apart C chromatic scale (one octave), hands together, similar motion: V 42 i#i i#i i i#i i #i i#i i i ibi=i bi ibi i ibi ibi i r i i ibi {B 42 i#ii#i i i#i i #i i#i =i bi ibi i ibi ibi i r

Ab chromatic scale (two octaves), hands together, similar motion: bi =ibi=ibi=i ibi=ibi=i ibi=i V 42 bi =ibi =i i bi =ibi i i bi =i ibi=ibi=i ibi=i {B 42 bi8va =ibi =i i bi =ibi i i bi =ibi =i bi ibi i ibi ibi i ibi V ibi ibi i ibi ibi i ibi i bi r bi ibi i ibi ibi i {B ibi ibi ibi i ibi ibi i ibi i bi r

86 Accordions

Chromatic scale in contrary motion, hands beginning and ending on the same note Ab chromatic scale in contrary motion (two octaves), hands beginning and ending on same note: bi =ibi=ibi=i ibi=ibi=i ibi=i V 42 bi =ibi =i i bi =ibi i i B 2 bi8va ibi i ibi ibi i { 4 ibi i bi ibi i ibi ibi i ibi i bi ibi i ibi ibi i ibi V ibi ibi i ibi ibi i ibi i bi r B ibi=ibi=i ibi=i bi { bi=ibi=i ibi=ibi i ibi=ibi=ibi=i r

Scale in contrary motion, hands beginning and ending four octaves apart C major scale in contrary motion (two octaves), hands beginning and ending four octaves apart: i i i i i i i i i i i i V 42 i i i i i i i i i i i i i i i i i B i i i i i i i i i i i { 42 i i i i i i i i i i i i i i i i i i

Broken chord in contrary motion, hands together C broken chord in contrary motion (two octaves), hands together: i i i i i i i i i i i i V 42 i i i i i i i i i i i i i i i i i i i i i r B i i i i i i i i i i i i i { 42 i i i i i i i i i i i i i i i i i i i i r

Scale in thirds C major scale in thirds (two octaves), right hand only: i i i i i i i i i i i i i i i V 42 i i i i i i i i i i i i i i i i i i

87 Accordions

Left-hand scale exercise (first five notes of major and minor scales) C major (with the range of a fifth): B 4 i i i i i i i i h q

A minor (with the range of a fifth): B 4 i i i i i i i i h q

Left-hand arpeggio exercise G major (one octave): B#68 i i i i i i i. r. D minor (one octave):i Bb68 i i i i i i. r.

Scale exercise A major scale exercise (two octaves), hands together in contrary motion: # i i i i i i i i i i i i i i i i i V## 42 i i i i i i i i i i i i B###2 8vai i i i i i i i i i i i { 4 i i i i i i i i i i i i i i i i i

G harmonic minor scale exercise (two octaves), hands together in contrary motion: i i i i i i#ii i i i i i i i Vbb42 i i i i i i#i #i i i i i i i Bbb2 8vai#i i i i i i i i i#i i { 4 i i #i i i i i i i i i i i i#i i i

C melodic minor scale exercise (two octaves), hands together in contrary motion: b i i i=i=iibi ib( ) i i i b( ) b( ) Vbb42 i i i i i=i=i i i i i i i i i i i i B b i ib( ) ib( ) i i i b( ) b( ) i i i=i=i i { bb42 i i i i i i i i i i i i i=i=i i i

88 Classical (free-bass) Accordion — Grade 1 Subject code: FBA

Pieces (3 x 22 marks) Three pieces are to be played, one to be chosen from Group A, one from Group B and the third from either Group B or from the Standard-bass Accordion list for Grade 1. Instead of one item from Group B, candidates may offer their own composition (see page 7).

Group A Bellman Fjäriln vingad syns på haga, no. 8 (from Nils Erics Melodibok) Trio Kabalevsky Waltz, no. 13 (from 24 Little Pieces) Boosey M-080-03429-9 B Przybylski Song, no. 1 (from Miniatures) PKW Telemann Gavotte (from Music Box book 1) Trio Trad. Krisatallen den Fina (from Music Box book 1) Trio Türk Arioso (from Music Box book 1) Trio Group B A Abbott Automne Akkordeonkiste R Fleming Gentle Doll (from Explorations) Waterloo 00-777106250256 J Ganzer Ostinato, no. 2 (from Dies und Das) Jung Holm Tåget (from Nils Erics Melodibok) Trio Kolinski The Robot, no. 4 (from Merry-Go-Round Carrousel book 2) Waterloo 00-777106250454 Papp Any one of nos. 29, 30, 33, 34, 35, 36, 40, 42, 43, 44 (from 44 Leichte Stücke) Augemus Trad. Flickan I Havanna [Solo version, p. 16] (from Music Box book 1) Trio Trad. Lilla Snigel: Tema med Variationen (from Nils Erics Melodibok) Trio

Technical Work (14 marks) (see pages 81–88)

Scales and Broken Chords The following all to be prepared from memory, mf, legato, hands separately: Major scales of C, G and D (one octave) Minor scales of A and D (one octave): harmonic, natural or melodic at candidate’s choice Major broken chords of C and G (range of a tenth) Minor broken chords of A and D (range of a tenth)

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8)

Aural (see page 13)

Improvisation (see page 17)

Musical Knowledge (see page 20)

89 Standard-bass Accordion — Grade 1 Subject code: SBA

Pieces (3 x 22 marks) Three pieces are to be played chosen from the list below. Instead of any one item, candidates may offer their own composition (see page 7).

Harris Clip Clop Ball or Lydia Dances (from Young Player vol. 1) Charnwood L Kubanek Sonatina no. 1 (from 6 Sonatinen)* Bosworth BOE3716 Mitchell Jack the Lad or Sweet Jilly (from Two’s Company) Kestrel KP11 Romani Arietta, p. 11 or Round Dance, p. 12 (from Work and Play Stage 1) Charnwood Romani Prelude or Intermezzo (from Debut) Kestrel KP49 T Schlunk Nos. 1 and 2 (from Für kleine Musikanten) Hohner MH 120104 A Saira Any one of nos. 8, 9, 10, 11, 15, 22, 28 (from Little Accordion Player’s Toy Box) AMS Volpi No. 1 or no. 5 (from Pinocchio Suite) MAP Edition Volpi No. 1 Valzer or no. 2 Marcetta or no. 3 Gavottina (from Bambi Danzano) Bérben B450

* This publication is out of print, but may be obtained as an archive copy from the publishers.

Technical Work (14 marks) (see pages 81–88) Scales, Exercises and Broken Chords The following all to be prepared from memory, mf, legato: Major scales of C, G and D (one octave), right hand only Minor scales of A and D (one octave), harmonic or melodic at candidate’s choice, right hand only Left-hand scale exercise: first five notes only of the major and minor scales above Major broken chords of C and G (range of a tenth), right hand only Minor broken chords of A and D (range of a tenth), right hand only Left-hand arpeggio exercises in the major and minor keys as above for broken chords (one octave)

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8)

Aural (see page 13)

Improvisation (see page 17)

Musical Knowledge (see page 20)

90 Classical (free-bass) Accordion — Grade 2 Subject code: FBA

Pieces (3 x 22 marks) Three pieces are to be played, one to be chosen from Group A, one from Group B and the third from either Group B or from the Standard-bass Accordion list for Grade 2. Instead of one item from Group B, candidates may offer their own composition (see page 7). Group A Bartók Children at Play, no. 1 (from For Children book 1) Boosey M-060-11230-0 Bartók Study for the Left Hand, no. 6 (from For Children book 1) Boosey M-060-11230-0 Bellman/Saira Fredman’s Epistle no. 1 (from Matkakuumetta) FAI Mozart Allegro (from Music Box book 1) Trio B Przybylski Willow, no. 2 (from Miniatures) PKW Trad. Polkan går or When the Saints go Marching in (from Music Box book 1) Trio Group B DeCoursey Bus Ride Waterloo 00-777106250089 P M Dubois Valse Triste or Musette (from A la Tuilerie — 6 Enfantines for Accordion Solo) Choudens/UMP J Feld Das Häschen tanzt, no. 5 (from Spielzeug) Jung J Feld Das Püppchen, no. 2 (from Spielzeug) Jung P Fiala In the Rain or March (from For Children) Trio R Fleming Day’s End (from Explorations) Waterloo 00-777106250171 J Ganzer Kanon, no. 2 or Fernes Vorüberziehen, no. 4 or Am Abend, no. 5 (from Dies und Das) Jung E Harris Jaunt, no. 1 or On the March, no. 2 or Bulgarian Shepherd’s Tune, no. 3 (from Accordion Miniatures book 2 — Modal) Waterloo 00-777106251079 T Johansson Any one of nos. 4, 11, 13, 14, 16 (from Akkordeon-Musikant) Air-Sonet Lundquist Piccolissima Sonatina, no. 1 (from Allerlei) Hohner/Schott MH 132011

Technical Work (14 marks) (see pages 81–88) Scales and Broken Chords All to be prepared from memory, mf, legato and staccato: Major scales of C, G, D, A and F (one octave), hands separately Minor scales of A, D and E (one octave), harmonic or melodic at candidate’s choice, hands separately Chromatic scale beginning on C (one octave), hands separately and together in similar motion Major broken chords of C, G and F (range of a tenth), hands separately Minor broken chords of A, E and D (range of a tenth), hands separately

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8)

Aural (see page 13)

Improvisation (see page 17)

Musical Knowledge (see page 20)

91 Standard-bass Accordion — Grade 2 Subject code: SBA

Pieces (3 x 22 marks) Three pieces are to be played chosen from the list below. Instead of any one item, candidates may offer their own composition (see page 7).

W Bernau Andante, no. 9 (from Musikmappe book 1) Hohner MH 121054 W Bernau Sonatina in the Olden Style (from Musikmappe book 1) Hohner MH 121054 J Blatný Pochod (from Vortragsstücke für Akkordeon) Supraphon J Blatný Scherzo (from Vortragsstücke für Akkordeon) Supraphon H Boll Any one from Bärenstarke Stücke Weiss J Bušek Do Kola (from Vortragsstücke für Akkordeon) Supraphon J Bušek Scherzino (from Vortragsstücke für Akkordeon) Supraphon F Fugazza Il Gatto ed il Topolino or Proverbio Cinese (from Pierino si Diverte) Bérben B201 H Kölz Morgenstimmung or Joshua (from Akkordeon Zeitreise Soloband I) Heck L Kubanek Sonatina no. 2 or Sonatina no. 3 (from 6 Sonatinen)* Bosworth BOE3716* Romani By the Wappy Spring, no. 4 (from Scapegoat Hill Scenes) Kestrel KP4 Romani March Finale (from Debut) Kestrel KP49 Romani The Mill Chimney is Smoking, no. 1 or Up Odsal Top, no. 2 (from Scapegoat Hill Scenes) Kestrel KP4 A Saira Any one of nos. 30, 34, 36, 37, 39, 42, 43, 44, 45 (from Little Accordion Player’s Toy Box) AMS T Schlunck Kehraus (from Für kleine Musikanten book 1) Matthais Hohner Suppé/Suomela Galoppi (from Matkakuumetta) FAI Trad./Rantanen Hääpolska Jalasjärveltä or Valssi Suomusjärveltä (from Finnish Folk Music for Accordion) FAI Volpi Polka or Tarantella (from I Bambi Danzano) Bérben B450 Volpi The Fairy with the Blue Hair, no. 4 or Pinnochio Becomes a Boy, no. 6 (from Pinocchio Suite) MAP Editions Wirkhaus/ Suomela Kilisee, Kilisee Kulkunen (from Matkakuumetta) FAI

* This publication is out of print, but may be obtained as an archive copy from the publishers.

Technical Work (14 marks) (see pages 81–88) Scales, Exercises and Broken Chords All to be prepared from memory, mf, legato and staccato, hands separately: Major scales of C, G, D, A and F (one octave), right hand only Minor scales of A, D and E (one octave), harmonic or melodic at candidate’s choice, right hand only Left-hand scale exercise: first five notes only of the major and minor scales above Chromatic scale beginning on C (one octave), right hand only Major broken chords of C, G and F (range of a tenth) Minor broken chords of A, E and D (range of a tenth) Left-hand arpeggio exercises in the major and minor keys as above for broken chords (one octave)

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8); Aural (see page 13)

Improvisation (see page 17); Musical Knowledge (see page 20)

92 Classical (free-bass) Accordion — Grade 3 Subject code: FBA

Pieces (3 x 22 marks) Three pieces are to be played, one to be chosen from Group A, one from Group B and the third from either Group B or from the Standard-bass Accordion list for Grade 3. Instead of one item from Group B, candidates may offer their own composition (see page 7). Group A J S Bach Minuet in G minor (from Notebook for Anna Magdalena Bach 1725) Bärenreiter BA 5164 Clerambault Allegro (from Polyphones Spielbuch 4) Preissler JP 435/4 Hässler Allegro 1 and 2 (from Polyphones Spielbuch 4) Preissler JP 435/4 Kabalevsky The Clown (from 24 Little Pieces) Boosey M-060-03429-9 Nielsen Marziale (from Small Pieces for Young and Old, op. 53 vol. 1) Hansen WH29625 B Przybylski Any one piece, except nos. 1 or 2, from Miniatures PKW Rameau Menuet (from Polyphones Spielbuch 4) Preissler JP 435/4 Schumann Soldier’s March, op. 68 no. 2 (from Schumann for Younger People) Henle HN45 or Schott Group B A Abbott Pour Pierre Akkordeonkiste Y Apparailly In Autumn (from The Seasons) Waterloo 00-777106250720 J Feld Die Eisenbahn (no. 1 from Spielzug) Jung R Fleming Hopscotch (from Explorations) Waterloo 00-777106250287 J Ganzer Any one of nos. 6, 7, 8, 9, 10, 11, 12a, 12b (from Dies und Das) Jung E Harris Ayre with Variations, no. 6 (from Accordion Miniatures book 2 — Modal) Waterloo G Katzer Romantisches Lied and Russisches Volkslied, or Bitonales Lied and Hartnäckiger Gedanke (from Für Knöpfe book 1) VNM Lundquist Invention in F, no. 3 (from Neun zweistimmige Inventionen) Hohner MH 133266 Lundquist Imitation, no. 12 or Langsamer Walzer, no. 13 or Legato e semplice, no. 14 or Valse douce, no. 15 (from Allerlei) Hohner MH 132011 Lundquist Klarälven or Träskodans (from Microscope) Trio P Makkonen Floating in the Star Dust (from Space Music) FAI T Pedersen Lille eventyr or Drillepolka (from Rytmiske Danse) Trio T Pedersen Transmission from The Old Café (from Billedbog) Trio Picchio 3 Easy Studies Edition Rondo-Prague A Poltz Invention in E for accordion solo Choudens AC20622 Trad./Rantanen Valssi Hailuodosta (from Finnish Folk Music for Accordion) FAI J Webb Solace BMIC

Technical Work (14 marks) (see pages 81–88) Scales and Broken Chords All to be prepared from memory, mf , mp and p< f> p, legato and staccato: Major scales of A, E, F, Bb and Eb (one octave), hands separately and together in similar motion Minor scales of E, G and C (one octave), harmonic or melodic at candidate’s choice, hands separately and together in similar motion Chromatic scale beginning on Ab (two octaves), hands together in similar motion, one octave apart Chromatic scale in contrary motion beginning on Ab (two octaves), hands beginning and ending on same note

93 Classical (free-bass) Accordion — Grade 3

Major broken chords of C, G, D and A (range of a tenth), hands separately and together in similar motion Minor broken chords of A, E, G and C (range of a tenth), hands separately and together in similar motion

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8)

Aural (see page 13)

Improvisation (see page 17)

Musical Knowledge (see page 20)

94 Standard-bass Accordion — Grade 3 Subject code: SBA

Pieces (3 x 22 marks) Three pieces are to be played chosen from the list below. Instead of any one item, candidates may offer their own composition (see page 7). S Bethmann Abenleid (no. 5 from Vortragsstücke für Akkordeon) Supraphon Dyremose And the Girl Went to the Dance, from Swedish Musicians-Suite (from Dyremose Pieces vol. 2) Hansen WH30328 Dyremose Attenzione! Ora Suona il Nonno (from Dyremose Pieces vol. 4) Hansen WH30330 Dyremose Gladness, from Miniature Suite no. 1 (from Dyremose Pieces vol. 2) Hansen WH30328 Dyremose Like Bells (from Dyremose Pieces vol. 3) Hansen WH30327 F Fugazzi Any one piece from I Successi di Pierino Bérben B338 S Garbatini Robinia or Tuberosa or Cobea or Narciso or Fiordaliso (from Note e Fiori) Bérben B4361 P Grozdevij Lettische Polka (no. 6 from Vortragsstücke für Akkordeon) Supraphon H Kölz A Story from New Orleans or The Entertainer or Lazy Blues Time (from Akkordeon Zeitreise Soloband I) Heck L Kozeluhˇ Pastorale (from Czech Music Masters, Accordion Repertoire 80) Supraphon P Makkonen Folk Dance from Neptune, no. 2 (from Space Music) FAI G Marcosignori Ninna Nanna or Gavotta or Danza Picena (from Quattro Bagatelle) Bérben B1608 Picchio 3 Easy Studies Edition Rondo-Prague W Richter Any one suite from 4 Akkordeonsuiten Weiss Sanski/Saira Minä soiten harmonikkaa (from Matkakuumetta) FAI L Stark Any one piece, except no. 6, from Spielzeugland Harth Musikverlag/Hohner Verlag Trad. Sirak de stojan razbole (from Music Box book 2) Trio Trad./Rantanen Kopukkaa (from Finnish Folk Music for Accordion) FAI Trad./Suomela Old MacDonald had a Farm (from Matkakuumetta) AMS H Zilcher De flinken Akrobaten (from Album für Akkordeon) Hohner MH 120028

Technical Work (14 marks) (see pages 81–88) Scales, Exercises and Broken Chords All to be prepared from memory, mf , mp and p< f> p, legato and staccato: Major scales of A, E, F, Bb and Eb (one octave), hands separately and together in similar motion Minor scales of E, G and C (one octave), harmonic or melodic at candidate’s choice, hands separately and together in similar motion Chromatic scale beginning on C (two octaves), right hand only Major broken chords of C, G, D and A (range of a tenth), right hand only Minor broken chords of A, E, G and C (range of a tenth), right hand only Left-hand arpeggio exercises in the major and minor keys as above for broken chords (one octave)

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8); Aural (see page 13)

Improvisation (see page 17); Musical Knowledge (see page 20)

95 Classical (free-bass) Accordion — Grade 4 Subject code: FBA

Pieces (3 x 22 marks) Three pieces are to be played, one to be chosen from Group A, one from Group B and the third from either Group B or from the Standard-bass Accordion list for Grade 4. Instead of one item from Group B, candidates may offer their own composition (see page 7).

Group A J S Bach Prelude in C minor, no. 3 (from 6 Small Preludes) Hansen WH17387 J S Bach March in G, BWV anhang 124 (from Notebook for Anna Magdalena Bach 1725) Bärenreiter BA 5164 Dyremose Abelone Hansdaughter’s Saturday’s Birthday (from Dyremose Pieces vol. 3) Hansen WH30329 Krebs Allegro, no. 16 (from Polyphones Spielbuch 4) Preissler JP 435/4 Mozart Adagio für Glasharmonika, K. 356 (from Mozart Piano Pieces) Henle HN221 or Schott Group B M Bonay Une Petite Valse pour Rever Opaline Akkordeonkiste J Feld Das Auto, no. 4 or Teddybär, no. 6 or Karten, no. 7 or Ein Teufelchen, no. 8 (from Spielzeug) Jung P Fiala Thoughtful (from For Children) Trio J Ganzer Any one of nos. 14, 15, 16, 17 (from Dies und Das) Jung J Gould Carnival Suite PKV E Harris Hymn of Thanksgiving, no. 9 or Celtic Plant, no. 10 or French Dancing Carol, no. 11 or Tudor Lullaby, no. 15 (from Accordion Miniatures book 2—Modal) Waterloo Jacobi Marsch in der Frühe, no. 1 (from 10 Polyphone Stücke nach spanischen Volksliedern) Preissler L Kayser No. 4 (from Arabesques for Free Bass Accordion) Samfundet A.0371 Lundquist Gajo, no. 7 [with repeats] and Fröhlich singen die Vögelein, no. 10 or Polka, no. 16 (from Allerlei) Hohner MH 132011 P Makkonen Feather Pillow (The Dance of Four Virtuousos) FAI P Makkonen Laalalalaa (Songs for Accordion) FAI T Pedersen Bucket-Beat or Drag-Time or Accordion Boogie (Rytmiske Danse) Trio T Pedersen The Dream by the Sea or A Military Band in the Square or A Serious Conversation (from Billedbog) Trio Picchio Ostinato Barvin Edizioni Musicali EC 01-03BV

96 Classical (free-bass) Accordion — Grade 4

Technical Work (14 marks) (see pages 81–88)

Scales and Broken Chords All to be prepared from memory, mf , mp and p< f> p, legato and staccato: Major scales of A, E, B, F, Eb and Ab (two octaves), hands separately and together in similar motion Minor scales of E, B, G, C and F (two octaves), harmonic or melodic at candidate’s choice, hands separately and together in similar motion Chromatic scales beginning on any note named by the examiner (2 octaves), hands together in similar motion, one octave apart Chromatic scales in contrary motion beginning on any note named by the examiner (two octaves), hands beginning and ending on same note Major broken chords of C, G, D, A, E, B and F (two octaves), hands separately Minor broken chords of C, G, D, A, E, B and F (two octaves), hands separately

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8)

Aural (see page 13)

Improvisation (see page 17)

Musical Knowledge (see page 20)

97 Standard-bass Accordion — Grade 4 Subject code: SBA

Pieces (3 x 22 marks) Three pieces are to be played chosen from the list below. Instead of any one item, candidates may offer their own composition (see page 7). A Becvarovskýˇ Polonaise (from Czech Music Masters, Accordion Repertoire 80) Supraphon Dyremose Sailor’s Hornpipe or Kerry Dance from English Dance Suite (from Dyremose Pieces vol. 2) Hansen WH30328 Fetras/Romani Luftschlösser Walzer, no. 5 (from Continental Collection) Kestrel KP24 Gade/Pelz Tango Jealousy (from Meine Lieblingsmelodien book 1) Hohner Kaplan Scherzo (no. 8 from Czech Music Masters, Accordion Repertoire 80) Supraphon G Katzer Im Nebel or Musette or Sexten-Schaukel or Fragen und Antworten or Auf engstem Raum or Gehen, aber night marschieren, or Kleine Entwicklungen or Ohne Rast und Ruh (from Für Knöpfe book 1) VNM H Kölz Schuttleflug durch die Zeit, no. 6 (from Akkordeon Zeitreise Soloband I) P Makkonen Rubber Shoe (from The Dance of the Four Virtuosos) FAI G Marcosignori Scherzo (from Quattro Bagatelle) Bérben B1608 V Melocchi Il Vecchio Organetto or Serenatella Stana (from Quattro Bagatelle) Bérben B203 Mozart trans. P Lupo Marcia Turca, K. 331 Ricordi A Oneginˇ Scherzino Supraphon L Pihlajamaa Säkkijärven polka FAI L Stark Eisenbahn, no. 6 (from Spielzeugland) Harth Musikverlag/Hohner Trad., arr. Holm Folksdans ån Israel (from Music Box book 2) Trio H Zilcher Einmarsch der Exoten or Die schöne Tänzerin (from Album für Akkordeonkiste) Hohner MH 120028

Technical Work (14 marks) (see pages 81–88) Scales, Exercises and Broken Chords All to be prepared from memory, mf , mp and p< f> p, legato and staccato: Major scales of A, E, B, F, Eb and Ab (two octaves), hands separately and together in similar motion Minor scales of E, B, G, C and F (two octaves), harmonic or melodic at candidate’s choice, hands separately and together in similar motion Chromatic scales beginning on any note named by the examiner (two octaves), right hand only Major broken chords of C, G, D, A, E, B and F (two octaves), right hand only Minor broken chords of C, G, D, A, E, B and F (two octaves), right hand only Left-hand arpeggio exercises in the major and minor keys as above for broken chords (one octave)

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8); Aural (see page 13)

Improvisation (see page 17); Musical Knowledge (see page 20)

98 Classical (free-bass) Accordion — Grade 5 Subject code: FBA

Pieces (3 x 22 marks) Three pieces are to be played, one to be chosen from Group A, one from Group B and the third from either Group B or from the Standard-bass Accordion list for Grade 5. Instead of one item from Group B, candidates may offer their own composition (see page 7). Group A Carl-Anton Nattserenad tillägnad Sofia Kyrka (from Music Box book 2) Trio J S Bach Giguetta, no. 17 or Gavotte, no. 18 (from Polyphones Spielbuch 4) Preissler JP 435/4 Johnny Lyckliga Henriks Polka (from Music Box book 2) Trio Kabalevsky Five Happy Variations on a Russian Folk Song (from Five Easy Variations) Boosey M-060-03418-3 D Scarlatti Sonata in C, K. 309 (from 200 Sonatas vol. 3) EMB J Travers Cornet Voluntary (Old English Organ Music for Manuals book 1) OUP 0-193758-24-5 Group B Brixi Fuga in G minor (from Czech Classic Masters, Accordion Repertoire 80) Supraphon P Fiala For Fun or Picnic (from For Children) Trio J Gould Shake PKV E Harris Song of the Tambura Player, no. 12 and Cinque Pas, no. 13 (from Accordion Miniatures book 2—Modal) Waterloo 00-777106251079 G Katzer Novemberlied or In Kleinen Schritten aufeinander zu or Kreisbewegung or Scaramouche or Zwei Gesichter (from Für Knöpfe book 1) VNM G Katzer Zögernd gefasster Entschluss or Zwiegesicht or Passacaglia 1 (from Für Knöpfe book 2) VNM L Kayser No. 6 (from Arabesques for Free Bass Accordion) Samfundet A.0371 Lundquist No. 17 Karawane or no. 19 Im Hof des Tempels (from Allerlei) Hohner MH 132011 Lundquist No. 2 Pastorale (from Partita Piccola) Hohner MH 133282 P Makkonen Tilulilulinttan (from Songs for Accordion) FAI M Murto Images of Summer FAI T Pedersen The Young Virtuoso — Theme with Variations (from Billedbog) Trio A Saira Ride an Island Pony or The Boys are Fighting Again (from 10 Stories for Children) FAI H Valpola Clouds FAI

99 Classical (free-bass) Accordion — Grade 5

Technical Work (14 marks) (see pages 81–88) Scales and Broken Chords All to be prepared from memory, mf , mp and p< f> p, legato and staccato: Major scales of B, F#, F, Bb, Eb, Ab and Db (two octaves), hands together in similar motion Minor scales of B, F#, C#, G#, F, Bb and Eb (two octaves), harmonic or melodic at candidate’s choice, hands together in similar motion Chromatic scales beginning on any note named by the examiner (two octaves), hands together in similar motion, one octave apart Chromatic scales in contrary motion beginning on any note named by the examiner (two octaves), hands beginning and ending on same note Major broken chords of B, F#, F, Bb, Eb, Ab and Db (two octaves), hands together in similar motion Minor broken chords of B, F#, C#, G#, F, Bb and Eb (two octaves), hands together in similar motion

Supporting Tests (2 x 10 marks) Two tests are to be chosen from:

Sight Reading (see page 8)

Aural (see page 13)

Improvisation (see page 17)

Musical Knowledge (see page 20)

100 Standard-bass Accordion — Grade 5 Subject code: SBA

Pieces (3 x 22 marks) Three pieces are to be played chosen from the list below. Instead of any one item, candidates may offer their own composition (see page 7). Group A Akesson Folklorstica (from Music Box book 2) Trio I Beynon A Night in Mexico Matthais Hohner B Boccosi Piccolo Barcarola Bérben B556 B Dowlasz 2 or 3 movements from Suite 1 or Suite 2 (from Opus Sectile) Akkordeonkiste Dyremose Daniel’s Polka from Svensk Spillemans Suite no. 1 (from Dyremose Pieces vol. 2) Hansen WH30328 Dyremose Gopak or Rumba Espana (from Dyremose Pieces vol. 1) Hansen WH30327 S Garbatini Scherzo Bérben B2154 H Kölz Classic theme with variations (from Akkordeon Zeitreise Soloband I) Heck P Makkonen Jibadaba (from Songs for Accordion) FAI P Makkonen Tooth Brush (from The Dance of the 4 Virtuosos) FAI Moskowski/ShawSpanish Dance no. 1 Kestrel KP77/1 A Saira Yuri from St Petersburg (from 10 Stories for Children) FAI Trad./M Pando Clarinet Polka Bérben B2216 H Zilcher Abendstimmung or Jahrmarktsbilder (from Album für Akkordeon) Hohner MH 120028 H Zilcher Variationen über ein fränkisches Volkslied [Theme and Variations 1, 2 and 3] (from Album für Akkordeon) Hohner MH 120028

Technical Work (14 marks) (see pages 81–88) Scales, Exercises and Broken Chords All to be prepared from memory, mf , mp and p< f> p, legato and staccato: Major scales of B, F#, F, Bb, Eb, Ab and Db (two octaves), hands together in similar motion Minor scales of B, F#, C#, G#, F, Bb and Eb (two octaves), harmonic or melodic at candidate’s choice, hands together in similar motion Chromatic scales beginning on any note named by the examiner (two octaves), hands separately Major broken chords exercises in B, F#, F, Bb, Eb, Ab and Db (two octaves), hands together, as in the example below, given in the key of C major: i i i i i i i i i i i i V 42 i i i i i i i i i i i i i i i i i i i i i r B { 42 i i i i i i i i i r Minor broken chord exercises in B, F#, C#, G#, F, Bb and Eb (two octaves), hands together as in the example above.

Supporting Tests (2 x 10 marks) Two tests are to be chosen from: Sight Reading (see page 8); Aural (see page 13) Improvisation (see page 17); Musical Knowledge (see page 20)

101 Classical (free-bass) Accordion — Grade 6 Subject code: FBA

Pieces (3 x 22 marks) Three pieces are to be played, one to be chosen from Group A, one from Group B and the third from either Group B or from the Standard-bass Accordion list for Grade 6. Instead of one item from Group B, candidates may offer their own composition (see page 7). Group A J S Bach Bourrée no. 1 or no. 2 from English Suite no. 1 in A minor, BWV 807 (from The Six English Suites) Bärenreiter BA 5165 J S Bach Gavotte 1 and 2 (from Polyphones Spielbuch 4) Preissler JP 435/4 Group B A Abbott Marche Choudens/UMP F Angelis Soliloque (from Concert Suite in Three Movements) Angelis A Hovhaness Suite for Accordion, op. 166 Peters EP 6153 U Jutila Pictures for Children FAI B Precz Any two movements from Suite Para Niños no. 5 Bérben B3789 A Saira Sam from L.A. (from 10 Stories for Children) FAI Seger Fuga in F minor (from Czech Classic Masters, Accordion Repertoire 80) Supraphon Semionov Bulgarian Suite Schmülling Zolotaryov Winter Morning (from Children’s Suite no. 6) Schmülling M-2022-1060-4 Zolotaryov Im Kloster Ferapont Schmülling

Technical Work (14 marks) (see pages 81–88)

Scales and Broken Chords All to be prepared from memory, mf , mp and p< f> p, legato and staccato: Scales in all major and minor keys (harmonic and melodic) (two octaves), hands together in similar motion Contrary motion major scales of C, G and F (two octaves), hands beginning and ending four octaves apart Chromatic scales beginning on any note named by the examiner (two octaves), hands together in similar motion, one octave apart Chromatic scales in contrary motion beginning on any note named by the examiner (two octaves), hands beginning and ending on same note Broken chords in all major and minor keys (two octaves), hands together in similar motion

Supporting Tests (2 x 10 marks) Candidates to prepare i) and ii):

i) Sight Reading (see page 8)

ii) Aural (see page 13) or Improvisation (see page 17)

102 Standard-bass Accordion — Grade 6 Subject code: SBA

Pieces (3 x 22 marks) Three pieces are to be played chosen from the list below. Instead of any one item, candidates may offer their own composition (see page 7). Barton Prelude and Fugue in A minor Charnwood W Beltrami Note in Festa Bérben B503 W Beltrami Tarantella Bérben B2382 W Beltrami Holiday for Accordion Bérben B1160 B Boccosi Capriccio Bérben B103 B Boccosi Scherzando col Mantice Bérben B457 C Di Marco Omaggio a Piazzolla Bérben B3154 E Ettore Spanish Holiday MAP Editions L Fancelli Eschi della Versilia Bérben B610 L Fancelli Hellzapopping Bérben B2566 L Fancelli Stranezze Bérben B114 F Ferrari Penso sempre a te Bérben B194 P Makkonen The Heroes of the Milky Way (from Space Music) FAI C Morbidelli Danza nella Jungla Bérben B388 I Panitzki Variationen Polosynka Schmülling A Saira Surfing Pedro (from 10 Stories for Children) FAI Trad. Gankino Horo (from Music Box book 2) Trio Trad. Gopak (from Music Box book 2) Trio Trad. Karaminskaja (from Music Box book 2) Trio K O Treibmann Sonatine Harth

Technical Work (14 marks) (see pages 81–88) Scales, Exercises and Broken Chords All to be prepared from memory, mf , mp and p< f> p, legato and staccato: Scales in all major and minor keys (harmonic and melodic) (2 octaves), hands together in similar motion Chromatic scales beginning on any note named by the examiner (2 octaves), hands together in similar motion Chromatic scales in contrary motion beginning on any note named by the examiner (2 octaves). See example below: i i#i i #i i#i i V 42 i#i i#i i i#i i #i i#i i i#i i#i B { 42 i i bi i bi i bi i i bi i bi i ibi ibi ibi i ibi V ibi i ibi i bi ibi i ibi ibi i r B { i #i i #i i i #i i #i i #i i i r

103 Standard-bass Accordion — Grade 6

Broken chord exercises in all major and minor keys (two octaves), hands together, as in the example below, given in the key of C major: i i i i i i i i i i i i V 42 i i i i i i i i i i i i i i i i i i i i i r B { 42 i i i i i i i i i r

Supporting Tests (2 x 10 marks) Candidates to prepare i) and ii):

i) Sight Reading (see page 8)

ii) Aural (see page 13) or Improvisation (see page 17)

104 Classical (free-bass) Accordion — Grade 7 Subject code: FBA

Pieces (3 x 22 marks) Three pieces are to be played, one to be chosen from Group A, one from Group B and the third from either Group B or from the Standard-bass Accordion list for Grade 7. Instead of one item from Group B, candidates may offer their own composition (see page 7). Group A J S Bach Bourrée from French Suite no. 6 in E, BWV 817 (from The Six French Suites) Bärenreiter BA5166 J S Bach Polonaise in G minor (from Oeuvres classiques vol. 2) Lemoine 24275 Liadov A Music Box Schmülling M-2022-1130-4 Rameau La Joyeuse (from Pièces de Clavecin) Bärenreiter BA 3800 D Scarlatti Sonata in D minor, K. 9 or Sonata in C, K. 132 (from 200 Sonatas vol. 1) EMB Group B H Noth Ein Tag wie jeder andere (from Sechs Momente) Oettinger/Akkordeonkiste 200781 J Podprocký Suite Chorcika Schmülling M Seiber Preludium und Fuge im Stile Buxtehudes Hohner 00133293 O Sommerfield Lyriske Strofer Norsk Music G Wuensch Any two movements from Mini Suite no. 3, op. 42 no. 3 Waterloo 00-777106250461 Zolotaryov Andantino (from Partita) Schmülling M-2022-1096-3

Technical Work (14 marks) (see pages 81–88) Scales and Broken Chords All to be prepared from memory, mf , mp and p< f> p, legato and staccato: Scales in all major and minor keys (harmonic and melodic) (two octaves), hands together in similar motion Contrary motion major scales of Bb, Eb and Ab (two octaves), hands beginning and ending four octaves apart Chromatic scales beginning on any note named by the examiner (two octaves), hands together in similar motion, one octave apart Chromatic scales in contrary motion beginning on any note named by the examiner (two octaves), hands beginning and ending on same note Broken chords in all major and minor keys (two octaves), hands together in similar motion Broken chords in contrary motion in all major and minor keys (two octaves) Dominant seventh broken chords in the keys of C, F and Bb (two octaves), hands separately, as shown in the examples below and overleaf (given in the key of F major): i i i i i i i i i Vb42 i i i i i i i i i i i i i i i i i i Vb i i i i i i i i i i i i i i r

105 Classical (free-bass) Accordion — Grade 7 i i i i i i i i i i i i i i i i i i Bb42 i i i i i i i i i Bb i i i i i i i i i i i i i i r

Supporting Tests (2 x 10 marks) Candidates to prepare i) and ii):

i) Sight Reading (see page 8)

ii) Aural (see page 13) or Improvisation (see page 17)

106 Standard-bass Accordion — Grade 7 Subject code: SBA

Pieces (3 x 22 marks) Three pieces are to be played chosen from the list below. Instead of any one item, candidates may offer their own composition (see page 7). F Angelis D’apres Laurette Akkordeonkiste B Boccosi Rapsodia d’autunno Bérben B164 B Cˇernohorský Toccata in C Supraphon Dyremose Finnish Polka from Swedish Musicians-Suite (from Dyremose Pieces vol. 2) Hansen/Music Sales WH30328 Dyremose Ringdans from Bulgarian Dance Suite (from Dyremose Pieces vol. 6) Hansen/Music Sales WH30332 L Fancelli Pupazetti Bérben B229/MAP Editions P Frosini Bats at Sunset MAP Editions Fugazza Czardas or Danza Orientale (from Atlantic Musicale) Ricordi/MAP Editions J Gart Scherzo MAP Editions J Gart Vivo MAP Editions Lecuona, arr. Magnante Malaguena Edizioni Curci/Weinberger J Löchter Albanesische Impressionen Preissler Moszkowski/ Shaw Spanish Dance no. 3 Kestrel KP77/3 Piazzola/Angelis Bandoneon Akkordeonkiste B Precz Grafeld’s Impression Bérben B3742 B Przybylski The Cathedral in Oliwa or Sonatina Piccola (from Accordion Collection book 4) Astra Volpi Concertino in D minor Bérben B286 Volpi Preludio op. 31 Bérben B122/MAP Editions

Technical Work (14 marks) (see pages 81–88) Scales, Exercises and Broken Chords All to be prepared from memory, mf , mp and p< f> p, legato and staccato: Scales in all major and minor keys (harmonic and melodic) (two octaves), hands together in similar motion Chromatic scales beginning on any note named by the examiner (two octaves), hands together in similar motion, one octave apart Chromatic scales in contrary motion beginning on any note named by the examiner (two octaves), hands beginning and ending on same note Broken chord exercises in all major and minor keys (two octaves), hands together, as in the example below, given in the key of C major: i i i i i i i i i i i i V 42 i i i i i i i i i i i i i i i i i i i i i r B { 42 i i i i i i i i i r

107 Standard-bass Accordion — Grade 7

Broken chord exercises in contrary motion in all major and minor keys (two octaves), hands together, as in the example below, given in the key of C major: i i i i i i i i i i i i V 42 i i i i i i i i i i i i i i i i i i i i i r B { 42 i i i i i i i i i r

Dominant seventh broken chords in the keys of C, F and Bb (two octaves), right hand only, as in the example below, given in the key of F major: i i i i i i i i i Vb42 i i i i i i i i i i i i i i i i i i Vb i i i i i i i i i i i i i i r

Supporting Tests (2 x 10 marks) Candidates to prepare i) and ii):

i) Sight Reading (see page 8)

ii) Aural (see page 13) or Improvisation (see page 17)

108 Classical (free-bass) Accordion — Grade 8 Subject code: FBA

Pieces (3 x 22 marks) Three pieces are to be played, one to be chosen from Group A, one from Group B and the third from either Group B or from the Standard-bass Accordion list for Grade 8. Instead of one item from Group B, candidates may offer their own composition (see page 7). Group A J S Bach Gigue from French Suite no. 5 in G (from The Six French Suites) Bärenreiter BA5166 J S Bach Prelude and Fugue in C minor, no. 2 (from Well-Tempered Clavier, book 1) Bärenreiter BA5191 J S Bach Prelude and Fugue in D minor, no. 6 (from Well-Tempered Clavier, book 1) Bärenreiter BA5191 Daquin Le Coucou Billaudot/UMP EP01320 Rameau La Livri and Le Rappel des Oiseaux (from Pièces de Clavecin) Bärenreiter BA3800 D Scarlatti Sonata in C, K. 11 and Sonata in C, K. 159 (from 200 Sonatas vol. 1) EMB Group B E Avril Toccata Moderne Bala Music N Bartow Three Characteristic Dances Hohner 0133377 P M Dubois Scherzo Indigo (from Berceuse turquoise & Scherzo indigo for accordion solo) Choudens/UMP 20556 P Fiala Aphorisms Trio Jacobi Interméde (from Divertissement) Hohner L Kayser No. 10 Arabesque for Free-bass Accordion Samfundet A.0371 Lundquist Sonatina Piccola Hohner MH 133330 Semionov Children’s Suite no. 2 Schmülling M-2022-1010-9 Semionov Children’s Suite no. 1 Schmülling M-2022-1011-6 A Surkov Volkslied Variations Schmülling

Technical Work (14 marks) (see pages 81–88) Scales and Broken Chords All to be prepared from memory, mf , mp and p< f> p, legato and staccato: Scales in all major and minor keys (harmonic and melodic) (two octaves), hands together in similar motion Contrary motion scales in all major keys (two octaves), hands beginning and ending three octaves apart Chromatic scales beginning on any note named by the examiner (two octaves), hands together in similar motion, one octave apart Chromatic scales in contrary motion beginning on any note named by the examiner (two octaves), hands beginning and ending on same note Broken chords in all major and minor keys (two octaves), hands together in similar motion Broken chords in contrary motion in all major and minor keys (two octaves) Dominant seventh broken chords in all major keys (two octaves), hands together, as shown in the example overleaf (given in the key of F major):

109 Classical (free-bass) Accordion — Grade 8 i i i i i i i i i Vb42 i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i {Bb42 i i i i i i Vb i i i i i i i i i i i i i i r i i i i i i {Bb i i i i i i i i i i i i i i r

Supporting Tests (2 x 10 marks) Candidates to prepare i) and ii):

i) Sight Reading (see page 8)

ii) Aural (see page 13) or Improvisation (see page 17)

110 Standard-bass Accordion — Grade 8 Subject code: SBA

Pieces (3 x 22 marks) Three pieces are to be played chosen from the list below. Instead of any one item, candidates may offer their own composition (see page 7).

W Beltrami Mister van Damme Bérben B453 H Brehme Herbst-Elegie und Capriccio Hohner MH133145 H Brehme Paganiniana book 1 [Theme and Etudes 1, 4, 10 and 11] Hohner MH 134018 L Fancelli Acquarelli Cubani (from Tre Impressioni) Bérben B163/MAP Editions L Ferrari Trecate Pantomima Umoristica Bérben P Frosini Flirtation MAP Editions W Jacobi Konzertrondo Hohner 00133204 Moszkowski/ Shaw Spanish Dance no. 5 Kestrel KP77/5 J Oppenheimer Ciaccona Bérben B1168 Palmer/Hughes Schöne Minka (from Palmer-Hughes Accordion Course book 10) Alfred B Precz Fantasia Polacca Bérben B2821 B Przybylski Three Night Pictures (from Accordion Collection book 4) Astra Repnikov Toccata Schmülling M-2022-1077-2 Volpi Fileuse Bérben B139/MAP Editions

Technical Work (14 marks) (see pages 81–88)

Scales, Exercises and Broken Chords All to be prepared from memory, mf , mp and p< f> p, legato and staccato: Scales in all major and minor keys (harmonic and melodic) (two octaves), hands together in similar motion Scales in thirds in C and Bb majors (two octaves), right hand only Chromatic scales beginning on any note named by the examiner (two octaves), hands together in similar motion, one octave apart Chromatic scales in contrary motion beginning on any note named by the examiner (two octaves), hands beginning and ending on same note. Broken chord exercises in all major and minor keys (two octaves), hands together in similar motion, as in the example below, given in the key of C major: i i i i i i i i i i i i V 42 i i i i i i i i i i i i i i i i i i i i i r B { 42 i i i i i i i i i r

111 Standard-bass Accordion — Grade 8

Broken chord exercises in contrary motion in all major and minor keys (two octaves), as in the example below, given in the key of C major: i i i i i i i i i i i i V 42 i i i i i i i i i i i i i i i i i i i i i r B { 42 i i i i i i i i i r

Dominant seventh broken chords in all major keys (two octaves), right hand only. See example on page 110.

Supporting Tests (2 x 10 marks) Candidates to prepare i) and ii):

i) Sight Reading (see page 8)

ii) Aural (see page 13) or Improvisation (see page 17)

112 Certificate Examinations for Ensembles

Structure

Certificate examinations consist of a performance of a certain number of pieces without technical work or supporting tests, and are particularly popular with ensembles seeking experience and validation of the performing experience.

In order to encourage the co-operative skills essential for the development of a well-rounded musician, assessments are offered for ensembles at three levels: First Recital (FR), Intermediate Recital (IR) and Advanced Recital (AR). Ensemble performances can be an enjoyable and effective way to open or close a session of solo examinations taken by individual students of one or more teachers, or within a school entry. Provided that ensembles have repertoire of the appropriate level of difficulty and, as long as the examination centre can accommodate the performers adequately, there is no restriction on the nature or size of ensembles.

A programme of contrasted items should be chosen to match the capabilities of the players, as follows: Level Length of programme Number of pieces

First Recital up to 10 minutes 4–6 Certificate

Intermediate Recital Certificate 10–15 minutes 3–4

Advanced Recital Certificate 20–25 minutes 3

Repertoire should be chosen in line with the guidelines set out in the ‘Levels of Achievement’ statements in the Information & Regulations booklet, where the relevant assessment criteria are also to be found. Marking The items are presented as a concert performance for which a written programme is presented to the examiner at the start, together with (photo)copies of the music being performed. Spoken introductions may also be given to each piece. The examination is marked out of 100, with the marks for performance (88 marks) divided equally amonst the pieces. The quality of the programme choice and planning is assessed (6 marks), as is the stagecraft and presentation (6 marks). Mark boundaries are as follows: Pass 60, Merit 75, Distinction 87. Programme planning and notes Examiners will award marks for the artistry and effectiveness of the programme’s design and the balance of contrasts in styles and tempi within the programme. Written and (where applicable) spoken material will be considered in relation to the quality of the writing of the programme notes, the accuracy, interest and appropriateness of the points made and the degree of care taken with the presentation of the material. Stagecraft and presentation In this section examiners will assess the way that the performer(s) behave whenever ‘on stage’, their awareness of and interaction with other members of the performing group and the ensemble skills that they show. In addition their sense of occasion and their personal presentation will be appraised.

113 Music Publishers

Abbreviations used in this syllabus are given in brackets after the publisher’s full name. Please notes that agents’ or distributors’ addresses are given for non-UK publishers. These publishers may have different local agents in other parts of the world who may be able to supply music more easily or quickly. Details of these may be obtained by contacting the publishers directly at the addresses listed here. Trinity Guildhall cannot guarantee that music will always be in stock with local suppliers. Candidates and teachers should always check with the publisher before it is assumed that any item has gone out of print. Alfred Publishing (Alfred): www.alfred.com • in UK: Alfred UK Burnt Mill Elizabeth Way, Harlow, Essex CM20 2HX, UK Tel: +44 (0)1279 828960 Fax: +44 (0)1279 828961 • in Australia: Alfred Australia P.O. Box 2355, Taren Point NSW 2229 Tel: 61 2 9524 0033 Fax: 61 2 9527 0023 AMA Verlag (AMA): Wesselinger Str. 2–8, D-50321 Brühl, Germany Tel: +49 (0)2232 969324 Fax: +49 (0)2232 969366 AMS Production Ky (AMS): Ari-Matti Saira, Havutie 3, FIN-31600 Jokioinen, Finland Tel/Fax: +358 3 4384 174 Ancora Verlagsservice (Ancora): Schreinerstr. 8, D-85077 Manching, Germany Tel: +49 (0)8459 32490 Fax: +49 (0)8459 324915 www.ancora-verlagsservice.de Edition Astra (Astra): ul. Nawrot 36/11, 90-055 Lódz, Poland Tel/Fax: +48 42 674 23 39 Augemus Musikverlag (Augemus): Ralf Kaupenjohann, Bleckstraße 1a, D-44989 Bochum, Germany Tel/Fax: +49 (0)234 534221 www.augemus.de Bala Music (Bala): Søndergade 62, 8000 Århus C, Denmark Tel: +4586 19 64 67 Fax: +4586 12 78 42 Banks Music Publications (Banks): c/o The Old Forge, Sand Hutton, York, YO41 1LB, UK tel. +44 (0)1904 468 679; www.banksmusicpublications.cwc.net Bärenreiter Ltd (Bärenreiter): Burnt Mill, Elizabeth Way, Harlow, Essex CM20 2HX, UK tel. +44 (0)1279 828930; www.bärenreiter.com Barvin Edizioni Musicali (Barvin): Via Aurelia, 2871, 00050 Torre in Pietra (RM), Italy Tel: +39 06 61699069 Fax: +39 06 61699069 Bayley & Ferguson (Bayley/Ferguson): c/o Glasgow Music Centre, 65 Berkeley Street, Glasgow G3 7DZ, UK; tel. +44 (0)141 221 9444; www.glasgowmusiccentre.co.uk Edizioni Bèrben (Ancona) (Bèrben): c/o Fentone Music Ltd, Fleming Road, Earlstrees, Corby, Northants NN17 2SN, UK Éditions Gérard Billaudot (Billaudot): 14 rue de l’Échiquier, Paris 75010, France Tel: +33 (0)1 4770 1446 Fax: +33 (0)1 4523 2254 Borg Music: Boris Borgstrom, 150 Geneva Street, St. Catharines, Ontario, L2R 4N9 Canada Tel: (905) 682 5492 Fax: (905) 682 9145 Éditions Bornemann (Paris) (Bornemann): in UK: c/o United Music Publishers Ltd; in USA: c/o Robert King Music Sales Inc. Boosey & Hawkes Music Publishers Ltd (Boosey): www.boosey.com Retail: c/o Schott & Co. Limited, 48 Gt Marlborough Street, London, W1F 7BB, UK Tel: +44 (0)20 7437 1246 Fax: +44 (0)20 7437 0263 Trade: Boosey & Hawkes c/o Schott & Co. Limited, MDS Music

114 Music publishers

Distribution Service, 5/6 Raywood Office Complex, Leacon Lane, Charing, Ashford, Kent TN27 0EN, UK Tel: +44 (0)1233 712233 Fax: +44 (0)1233 714948 Bosworth & Co. Ltd (Bosworth): c/o Music Sales Ltd Breitkopf & Härtel (Breitkopf): Walkmühlstraße 52, Wiesbaden D-65195, Germany tel. +49 611 45008 58; www.breitkopf.com; in UK: c/o Broome Cottage, The Street, Suffield, Norwich NR11 7EQ, UK; tel. +44 (0)1263 768 732 British Music Information Centre (BMIC): Lincoln House, 75 Westminster Bridge Road, London, SE1 7HS, UK Tel: +44 (0)20 7928 1902 www.bmic.co.uk Broekmans & Van Poppel (Broekmans): Van Baerlstraat 92-94, 1071 BB Amsterdam, Netherlands tel. +44 (20) 6796575; www.broekmans.com Cascade Music Publishing (Cascade): 30 College Green, Bristol BS1 5TB, UK tel. +44 (0)1454 323 608 Charnwood Music: 52 Merrion Ave, Stanmore, Middlesex, London HA7 4RU, UK Tel: +44 7770450840 Fax: +44 2084163231 Chester Music Ltd (Chester): c/o Music Sales Choudens: in UK c/o UMP Éditions Combre (Combre): 24, Boulevard Poissonnière, 75009 Paris, France; tel. +33 (0)1 48 24 89 24; in UK: c/o United Music Publishers Ltd Cramer Music Ltd (Cramer): 23 Garrick Street, London WC2E 9RY, UK tel. +44 (0)20 7240 1612; www.cramermusic.co.uk Edizioni Curci (Curci): c/o Weinberger Deffner: PO Box 608, Mineola, NY 11501, USA Tel: 516 746 3100 www.accordions.com/deffnermusic De Haske Music (UK) Ltd (De Haske): Fleming Road, Earlstrees, Corby, Northants. NN17 2SN, UK tel. +44 (0)1536 260981; www.dehaske.com Editoria de Musica Boileau Provença 287, 08037 Barcelona, Spain Tel: +34 93 215 53 34/+34 93 487 74 56 www.boileau-music.com Dover Publications (Dover): c/o Music Sales Durand et Cie (Paris) (Durand): 5 rue du Helder, 75009 Paris, France tel. +33 (0)1 53 24 80 01; www.durand-salabert-eschig.com for the rest of the world: c/o United Music Publishers Ltd Editio Musica Budapest Ltd (EMB): in UK: c/o Faber Music Ltd Elkan-Vogel (Elkan-Vogel): P.O. Box 7720, New York, NY 101500-1914, USA in UK: c/o United Music Publishers Ltd Edition Eres (Eres): Horst Schubert e. K., Hauptstr. 35, D-28859 Lilienthal, Germany Tel: +49 (0)4298 1676 Fax: +49 (0)4298 5312 Faber Music Ltd (Faber): Burnt Mill, Elizabeth Way, Harlow, Essex CM20 2HX, UK tel. +44 (0)1279 828 982; www.fabermusic.com Fennica Gehrman: PO Box 158, FIN-00121 Helsinki, Finland, UK sales : c/o Sulasol, Fredrikinkatu 51-53 B,00100 Helsinki, Finland Tel: +358 9 413 61111 Fax: +358 9 413 61122; www.sulasol.fi Finnish Accordion Institute (FAI): Kyrösselänkatu 3, FIN-39500 Ikaalinen, Finland Tel: +358 3 4400221 Fax: +358 3 4589071 Guildhall (Guildhall): c/o Faber Music Ltd Hal Leonard Publishing Co. (Hal Leonard): 7777 W. Bluemound Road, P.O. Box 13819, Milwaukee WI 53213, USA; tel. +1 414 7743630; in UK: c/o Music Sales Ltd Hamelle (Paris) (Hamelle): c/o Editions Alphonse Leduc; in UK: c/o United Music Publishers Ltd

115 Music publishers

Wilhelm Hansen Edition (Hansen): Bornholmsgade 1, DK-1266, Copenhagen, Denmark Tel: +45 3311 7888 www.ewh.dk; in UK: c/o Music Sales Harmonia (Harmonia): c/o Spartan Press Music Publishers Ltd Harth: Harth (Gerig) Harth Musikverlag/Pro musica Verlag GmbH, Bergisch-Gladbach, Germany Tel: +49 (0)2204 20030 Fax: +49 (0)2204 200333 Musikverlag Herbert Heck (Heck): Ossweiler Weg 27, D-71334 Waiblingen, Germany Tel: +49 7151 / 54 368 Fax: +49 7151 / 59 504; www.mvheck.de G Henle Verlag (Henle): Forstenreider Allee 122, D–81476 Munich, Germany Tel: +49 89 759820 Fax: +49 89 759240; www.henle.de Hinrichsen Edition (Hinrichsen): c/o Peters Edition Ltd Hohner: c/o Schott Musikverlag Ralf Jung (Jung): Hasebrinkstrasse 41, 49716 Meppen, Germany Tel: +495931 929726 Fax: +49 5931 929727 Edwin F Kalmus & Co. Inc. (Kalmus): P.O. Box 5011, Boca Raton, FL 33431, USA tel. +1 800 434 6340; in UK: c/o Music Sales Ltd Kestrel Publications: 4 Ouse Drive, Wetherby, West Yorkshire, LS22 7UQ, UK Tel: +44 (0)1937 583967 Robert King Music Sales Inc (Robert King): 140 Main Street, North Easton, Massachusetts 02356, USA; fax. +1 508 238 2571; www.rkingmusic.com; in UK: c/o United Music Publishers Ltd Editions Alphonse Leduc (Leduc): 175, rue Saint-Honoré, 75040 Paris, France tel. +33 (0)1 42 96 89 11; in UK: c/o United Music Publishers Ltd Editions Henry Lemoine (Lemoine): 41 rue Bayen, 75017 Paris, France; www.editions-lemoine.fr in UK: c/o United Music Publishers Ltd; in USA: c/o Theodore Presser Company Maecenas Music Ltd (Maecenas): 5 Bushey Close, Old Barn Lane, Kenley, Surrey, CR8 5AU, UK tel. +44 (0)20 8660 3914 MAP Editions: 2 Bence Close, Darton, Barnsley, Yorkshire S75 5PB, UK tel: +44 (0)1226 382976 Kevin Mayhew Publishers (Kevin Mayhew): Buxhall, Stowmarket, Suffolk IP14 3BW, UK tel. +44 (0)1449 737 978; www.kevinmayhew.com Music Sales Ltd (Music Sales): Distribution Centre, Newmarket Road, Bury St. Edmunds, Suffolk IP33 3YB, UK; tel. +44 (0)1284 702 600; www.musicroom.com Norsk Music: P.O. Box 1499 Vika, N- 0116 OSLO, Norway Tel: (+47) 23 00 20 10 / 23 00 20 21 orders; www.norskmusikkforlag.no Novello & Co. Ltd (Novello): c/o Music Sales Ltd Oxford University Press (OUP): Music Department, Great Clarendon Street, Oxford OX2 6DP, UK tel. +44 (0)1536 454 590; www.oup.co.uk in Australia: c/o Alfred Australia, P.O. Box 2355, Taren Point, NSW 2229 tel. +61 2 9524 0033; [email protected] in USA: Oxford University Press Inc, 198 Maddison Avenue, New York, NY 10016 Paxton Music (Paxton): c/o Music Sales Ltd Peermusic Classical (Peer): Mulenkamp 45, 22303, Hamburg, Germany Tel: +49 (0)40 2783790 Fax: +49 (0)40 27837940; website: www.peermusic-classical.de Peters Edition Ltd (Peters): 10-12 Baches Street, London N1 6DN, UK tel. +44 (0)20 7553 4000; www.edition-peters.com; in UK: c/o Faber Music Ltd Preissler: c/o Ancora Prokordeon-Musikverlag (PKW): Im Bahnhof 127, 30890 Barsinghausen-Egestorf, Germany Tel: +49 5105 58 50 14 Fax: +49 5105 580 34; [email protected]

116 Music publishers

PWM Edition (PWM): al. Krasinskiego 11a, 31-111 Krakow, Poland tel. +48 (012) 422 70 44; www.pwm.com.pl; in UK: c/o Universal Edition (London) Ltd Really Useful Company (RUC): c/o Music Sales Ltd Ricordi & Co (Ricordi): www.ricordi.com; in UK: c/o United Music Publishers Ltd Edition Rondo Prague: Edition Rondo-Prague, Hlavni 22, CZ-141 00 Prague 4, Czech Republic Edition Samfundet: Gråbrødresræde 18.1, DK-1154 Copenhagen K, Denmark Tel: +45 3313 5445 www.samfundet.dk Scheibenreif: Dr. Herbert Scheibenreif, Resselgasse 2, A-2620 Neunkirchen, Austria Tel/Fax: +43-2635-69421 www.accordion-cd.co.at www.accordions.com/scheibenreif G Schirmer Ltd (Schirmer): c/o Music Sales Ltd Schola Cantorum (Schola Cantorum): Rue du sapin 2a, C.P. 156, CH – 2114 Fleurier, Switzerland; tel. +41 (0)32 861 37 19; www.schola-editions.com; in UK: c/o United Music Publishers Ltd Schott Music Ltd (Schott): 48 Great Marlborough Street, London W1F 7BB, UK tel. +44 (0)20 7437 1246/(0)20 7534 0710: www.schott-music.com Scottish Music Centre (SMC): 1 Bowmont Gardens, Glasgow G12 9LR, UK Tel: +44 (0)141 334 6393; www.scottishmusiccentre.com Karthause-Schmülling (Schmülling): Postfach 1609, 59159 Kamen, Germany Tel: +49 (0)2307 75115 Fax: +49 (0)2307 71822; in UK: c/o Charnwood Music Spartan Press Music Publishers Ltd (Spartan): Strathmashie House, Laggan Bridge, Scottish Highlands, PH20 1BU, UK; tel. +44 (0)1528 544 770; www.spartanpress.co.uk Stainer & Bell Ltd (Stainer): P.O. Boxes 110, Victoria House, 23 Gruneisen Road, London N3 1DZ, UK tel. +44 (0)20 8343 3303; www.stainer.co.uk Theodore Presser Company (Presser): 588 North Gulph Road, King of Prussia, PA 19406, USA tel. +1 610 525 3636; www.presser.com; in UK: c/o United Music Publishers Ltd Thorpe Music (Thorpe): c/o Maecenas Music Ltd Trinity (Trinity): c/o Faber Music Ltd Trinity Faber (Trinity Faber): c/o Faber Music Ltd United Music Publishers Ltd (UMP): 33 Lea Road, Waltham Abbey, Essex EN9 1ES, UK Tel: +00 44 (0)1992 703 110; www.ump.co.uk Universal Edition (London) Ltd (Universal): 48 Great Marlborough Street, London W1F 7BB, UK tel. +44 (0)20 7437 1246/(0)20 7534 0710: www.universaledition.com VNM: c/o AMA Waterloo Music (Waterloo): 3 Regina Street, North Waterloo, Ontario N2J 4A5, Canada Josef Weinberger Ltd (Weinberger): 12-14 Mortimer Street, London W1T 3JJ, UK Tel: 44 + (0)20 7580 2827; www.josef-weinberger.com; in UK: c/o Faber Music Ltd Wise (Wise): c/o Music Sales Ltd Yorktown (Yorktown): c/o Music Sales

Specialist Accordion Suppliers Akkordeonkiste Heideweg 4, D-30916 Isernhagen, Germany T +49 (0)5136 896669; E [email protected] Trevani 14 Mapledale Avenue, Croydon, CR0 5TB, UK T +44 (0)20 8656 1450; www.trevani.co.uk

117 Trinity Guildhall Publications

Keyboard Books Electronic Keyboard Examination Pieces (from 2003). Trinity Guildhall publish six books from Initial–Grade 5 of solo keyboard pieces and technical work for each grade. These remain valid from the old Trinity syllabus.

Digital Keyboard Examination Pieces (from 2000). Repertoire, technical work and sample tests for Grades 6–8 of the Digital Keyboard syllabus published in one book. This again, continues to be valid from the old Trinity syllabus.

Keyboard CDs A CD of all Initial—Grade 5 repertoire found in Electronic Keyboard Examination Pieces (from 2003) is available. Aural Tests Trinity Guildhall Aural Tests from 2007: In two volumes, Initial to Grade 5 and Grade 6 to Grade 8, each with CD, containing sample tests for the Aural section of the exam. With explanations, sample answers and advice on completing the tests. Sight Reading The Sound at Sight series gives full instructions and practice materials for preparation for the sight reading tests. Sound at Sight Electronic Keyboard is available in one volume, Initial–Grade 5. Sound at Sight Piano in three volumes may be useful for accordion candidates wanting extra sight reading practice material. Keyboard Repertoire The following joint Trinity Faber publications are also available for Electronic Keyboard: Electronic Keyboard Collection: Initial–Grade 1 Electronic Keyboard Collection: Grades 1–2 Electronic Keyboard Collection: Grades 2–3

Electronic Organ Books Trinity and Guildhall repertoire books that remain available and in use on the 2007 syllabus are as follows: Electronic Organ World book 1: Initial–Grade 3 Electronic Organ World book 2: Grades 4–6 Electronic Organ World book 3: Grades 7–8 Electronic Organ Repertoire book 1: Initial–Grade 1 Electronic Organ Repertoire book 2: Grades 2–3 Electronic Organ Repertoire book 3: Grades 4–5

All Trinity Guildhall publications are available from your local music shop, but can also be obtained directly from our distributors:

FM Distribution Ltd, Burnt Mill, Elizabeth Way, Harlow CM20 2HX, UK T +44 (0)1279 828982 F +44 (0)1279 828983 E [email protected] www.fabermusic.com

If you are ordering directly from FM Distribution Ltd, please order carefully as no returns can be accepted. A postage charge will be added to your order.

For a publications list or if you have any queries about music published by Trinity Guildhall, please contact:

Trinity Guildhall Examinations, 89 Albert Embankment, London SE1 7TP, UK T +44 (0)20 7820 6100 F +44 (0)20 7820 6161 E [email protected] www.trinityguildhall.co.uk

118 Notes Notes