Professional Documents
Culture Documents
A question that crops up time and time again is whether I have a daily practice schedule or regimen
that I can recommend for classical guitarists.
I don't have one single, standard practice schedule that I use for everyone, but instead try and work
out a plan to suit each individual student at any given stage, and according to the amount of time
they have available for practice every day. However, what I always try to do is include these three
main components:
Repertoire
Scales and Arpeggios
Sight reading
Let's look at each of them in more detail.
1. REPERTOIRE
This is basically time spent learning new pieces, but just as importantly, it is about keeping on top
of the old ones, too.
One thing I've noticed with many classical guitar students is that left to their own devices they often
won't be able to play a single piece of music all the way through at any given time!
Here's the trap: they start learning a new piece and put all their energy into it for a while, and
completely forget about their old pieces. Then one day someone asks them to play a piece to show
what they can do on the guitar. But they've not yet got the latest piece together, and they can't quite
remember how to play any of the old pieces all the way through!
I therefore try and encourage students to get a tune up to performance standard, and then make sure
they keep it 'topped up' while they work on the next new tune. That way they always have
something they know well enough to play all the way through to a reasonable performance standard.
This useful when it comes to giving impromptu performances to doting friends or relatives. But
even more importantly, if you don't spend some time practicing pieces at a performance standard
then - guess what? - you'll never be much good at playing anything up to performance standard!
You may get quite good at learning how to stumble through bits of new pieces, but playing a
complete piece as a coherent whole means spending at least some time practicing doing just this.
For someone with, say, an hour available every day for work on repertoire I might suggest they
spend something like 15-20 mins working on new material, 20-30 mins running through tunes they
already know, then another 15-20 mins working on new material.
Scales and arpeggios are great for warming-up, for giving you fingerboard knowledge and
developing general technical ability, but they are also excellent vehicles for practicing almost every
other aspect of guitar playing, too.
For example, a lot of people forget about dynamics in music (playing loud and soft), so everything
ends up on the same volume level and loses musicality. Try this as an exercise: Choose a scale you
know well - any one will do. Now start by playing quietly, then very gradually increase the loudness
so that you are playing as loud as possible when you reach the mid point of the scale. Now as you
play the second half of the scale start playing quieter and quieter until you play as quiet as possible
at the end.
You can also change this round - start out loud, play quiet in the middle then finish loud. You can
then invent endless numbers of more complex patterns to practice, e.g. getting louder for 3 notes,
then getting quieter for 4 notes, then louder for 2 notes... and so on. You can also practice changing
abruptly from playing loud to playing quiet, e.g. 4 notes at full volume, then suddenly play a few
notes as quiet as a whisper. The trick is to be able to do it all in a very controlled way.
Other Uses for Scales
You can use scales to work on all kinds of other things. Here are some examples:
Scales can be used for building up speed, especially with the help of a metronome to advance the
speed by small increments. They can also be used for practicing rest strokes and free strokes, and
for working on different right hand finger combinations, e.g. i m or m i or m a or i m a etc.
You can practice playing scales in quavers - play each scale note twice (e.g. C C D D E E F F etc),
or in triplets - play each scale note 3 times (e.g. C C C D D D E E E etc). These exercises are great
for increasing speed and for working on right hand fingering.
You can play a scale very staccato (short, abrupt notes), then play it again legato (smooth and
sustained notes) to help you develop these different ways of articulating notes. You can also try
changing the tone as you play the scale, e.g. start by plucking close to the bridge for a hard, metallic
sound (referred to as playing 'sul ponticello' or 'metallico'). Then gradually move your right hand
nearer to the fingerboard to produce a warmer, softer sound (called playing 'sul tasto').
By incorporating elements such as these into your scale practice you'll develop a broad palette of
sounds that will greatly enhance your musicality when you play a piece.
Which Scales to Practice?
A lot of this depends on which ones you already know, and which new ones you're trying to learn.
The Trinity College of Music Guitar Scales and Arpeggios are an excellent free resource that I can
recommend, even if you have no intention of ever taking an exam on the guitar.
One good thing about following a syllabus such as Trinity's is that you can learn the scales and
arpeggios in a progressive and systematic way, and watch yourself advance through the grades over
a period of time.
Cycle of 4ths
One thing I do myself and would recommend to others as a tip is to practice scales going through
the cycle of 4ths. I'll explain what I mean.
Imagine you know five different major scales: C, D, F, G and A major Instead of playing the scales
in alphabetical order practice them in this order: A, D, G, C and F major This way the keys are
moving through the cycle of 4ths (A to D is 4; D to G is 4; G to C is 4; C to F is 4)
This can help reinforce your knowledge of music theory. For example: A major has 3 sharps in its
key signature, D has 2 sharps, G has one sharp, C has none, F has one flat. The next key in the cycle
of 4ths will have 2 flats (key Bb)...and so on.
Here's the complete cycle of 4ths. It is also called the circle of 4ths, because it can be arranged in a
circle, as the notes return to their starting point.
It is also known as the cycle (or circle) of 5ths. This is simply down to which direction you go
through the cycle. If you read it left to right (or clockwise for the circle) then it is going in 4ths.
Read it right to left (or anticlockwise through the circle) and it is going in 5ths.
Minor Scales
I like to practice minor scales by linking them to related major scales, again because it can help to
consolidate knowledge of music theory, and it ties in better with key relationships as they occur in
real music.
Every major key has a relative minor key that shares the same key signature. The relative minor key
of C major is A minor - they both have no sharps or flats in the key signature. The relative minor of
G major is E minor - they both have one sharp in the key signature.
For my major and minor scale practice schedule I do this sequence consisting of a major scale
followed by its relative minor:
C major then A minor
F major then D minor
Bbmajor then G minor
Ebmajor then C minor
Notice how the minor keys are also moving through the cycle of 4ths, only starting in a different
place from the major keys.
For minor scales the commonest forms are the harmonic minor and the melodic minor. One idea is
to practice the harmonic minors one day and the melodic minors the next.
Arpeggios
You can practice the major and minor arpeggios following the same sequence for the scales above.
But if you know some dominant 7th arpeggios here's a nice practice sequence I use for combining
them with major arpeggios:
C major then C7
F major then F7
Bbmajor then Bb7
Ebmajor then Eb7
...and so on following the cycle of 4ths
It also works nicely with minor instead of major arpeggios
C minor then C7
F minor then F7
Bbminor then Bb7
Ebminor then Eb7
...and so on following the cycle of 4ths
As well as the basic major and minor scales and arpeggios plus dominant 7th arpeggios, there are
lots of others you can add to a practice sequence. There are chromatic scales, major and minor
scales in 3rds, 6ths, octaves or 10ths, diminished 7th arpeggios and whole tone scales to name the
most common.
Beyond this there are countless others. There are the major scale modes (Aeolian, Locrian, Ionian,
Dorian, Phrygian, Lydian and Mixolydian) for each key, and the corresponding modes for the
melodic minor (ascending) and harmonic minor scales. There are diminished scales, synthetic
scales, multi-octave scales, hundreds of pentatonic sales (and many rock guitarists think there is just
one pentatonic scale!)...the list goes on and on.
So if ever you get bored with your scale practice schedule then why not learn an exotic new scale?
Here are some suggestions for you to track down and learn: the Enigmatic, 8 Note Spanish,
Overtone Dominant, Hungarian Minor, Super Locrian or Altered Hindu Ma-Grama
3. SIGHT READING
There's an old joke in electric guitar circles: How do you make the lead guitarist play quieter?
Answer: put some sheet music in front of them!
Let's face it - most guitar players are not great at reading music! Classical guitarists are generally a
bit better at reading than those playing other guitar styles - but often not much.
Perhaps this is because classical guitarists are quite self-contained. They don't have to play in
ensembles to make satisfying music, unlike bowed string, reed and brass players, who generally
have a far higher standard of reading ability as a result. Some argue that the guitar is notoriously
awkward for reading music because exactly the same note can be played in a number of different
places, unlike say the piano where each individual note can be found in one place only. But
violinists and cellists face a similar problem to guitarists, yet they tend to be good readers.
I think the main reason is the culture associated with the guitar. Many (most?) guitarists play other
styles such as rock, blues or folk before turning to classical guitar, and bring with them a culture of
playing by ear and jamming rather than one of reading music.
The Value of Sight Reading
As a teacher I'm always very keen to develop sight reading skills in classical guitar students. I don't
just do this so they will do well on the sight reading part in grade exams, although this is one
benefit.
So why do I consider developing music reading skills to be so important? Well, for pretty much the
same reasons that we're taught to read words at school - because there's a vast amount of written
material available, and being a fluent reader allows us to assimilate a lot of this information quickly
and easily.
The entire classical guitar repertoire is available in music notation. It therefore makes sense to
develop our music reading skills so that we don't have to labour over a piece for hours and hours
just to lift the notes off the page and onto the guitar. That time and energy is better spent on
overcoming technical and musical difficulties.
Sight Reading Tips
First of all, try and read new music regularly - do a little bit every day if you can, and you'll be
impressed by your progress after even a week or two.
Secondly, try and find music at an appropriate standard for your reading ability. We wouldn't give
an average 6 year old a novel by Charles Dickens or Dostoevsky to practice their reading skills.
Similarly it's important to read music at the right level: if it's far too easy it won't be interesting, and
if it's far too difficult it will be dispiriting.
Thirdly, even if you are reading at the right kind of level, sight reading is hard work and demands a
lot of mental energy. Don't set yourself too demanding a schedule of regular sight reading,
otherwise you'll find that the lawn urgently needs mowing or the washing up simply must be done
just when you planned to sit down with the guitar and begin your 2 hour session of fiendishly
difficult sight reading exercises.
Bear in mind that you don't need to buy lots of expensive books and do specially written sight
reading exercises - any old music will do if it's at the right standard. In fact, don't just read guitar
music: look at music for the violin, clarinet, flute and other instruments as well.
Track down free music: there are public libraries (remember them?) that generally have at least a
few shelves of music, and of course there's a wealth of material available on the Internet. Maybe
you even have friends with whom you can share music.
You can also recycle music. If you use something for sight reading then there's a good chance that
you won't remember much about it a month later, so it's OK to use it a second or even a third time.
Summary
In a nutshell, the practice schedule I'd recommend is based around the three components of
repertoire, scales and arpeggios and sight reading. How much time you spend on each of these and
the specific ground you cover depends very much on your level of playing ability.
Guitar Syllabus
Classical & Plectrum
20132014
Contents
Introduction......................................................................................................................... 3
Range of qualifications................................................................................................ 4
About the exams
Structure, Order of exam, Pass bands.............................................................................. 5
Assessment, Length of the exam....................................................................................... 6
During the exam...................................................................................................................... 7
Pieces......................................................................................................................................... 8
Special educational needs.................................................................................................... 9
Composition.............................................................................................................................10
Instruments............................................................................................................................... 11
Technical Work......................................................................................................................... 11
Supporting Tests:
Sight Reading.................................................................................................................... 13
Aural....................................................................................................................................15
Improvisation....................................................................................................................18
Musical Knowledge.........................................................................................................20
Certificate exams..................................................................................................................22
Requirements:
Guitar (subject code GTR)............................................................................................24
Plectrum guitar (subject code PLE)......................................................................... 48
Music publishers........................................................................................................... 60
Trinity College London publications.................................................................62
For essential information about our entry and exam requirements, the conduct of our exams, as
well as our processes and procedures, please read our Information & Regulations booklet or visit
www.trinitycollege.co.uk/essentialinformation
Trinity accepts entries for its exams on condition that candidates conform to the requirements of the
appropriate current syllabus. Any amendments to the requirements will be published and advertised
via our website and in subsequent printed syllabuses.
Trinity College London is an awarding body recognised by the Office of Qualifications and Examinations
Regulation (Ofqual) in England, the Welsh Government (WG), and the Northern Ireland Council for
the Curriculum Examinations and Assessment (CCEA). Trinitys qualifications are regulated by these
authorities within the Qualifications and Credit Framework (QCF). Various arrangements are in place with
governmental education authorities worldwide.
3
Range
of qualifications
Trinity qualifications offer a variety of routes through which candidates can progress in their musical
studies. Candidates may enter Grades, Certificates or any combination of the two, and need not pass
every preceding level to progress on to the next. Each level is supported by the Theory syllabus and
exams that develop a greater understanding of music and notation.
No theory qualifications or other prerequisites are required in order to enter for Trinitys Grade and
Certificate exams in music.
Beyond Grade 8, candidates should consider Trinitys suite of Diploma exams at ATCL, LTCL and FTCL
levels offering qualifications in performance, teaching, theory and composition. Rock & Pop exams are
also available for bass, drums, guitar, keyboards and vocals as well as jazz exams for flute, clarinet
and saxophone.
Group
and Solo
Certificates
Music
Tracks
QCF*
Level
EQF**
Level
FTCL Diploma
LTCL Diploma
ATCL Diploma
Entry
Level 1 & 2
Theory
& Written
Grade 8
Grade 8
Grade 8
Grade 7
Grade 7
Grade 7
Grade 6
Grade 6
Grade 6
Grade 5
Grade 5
Grade 5
Grade 4
Grade 4
Grade 4
Grade 3
Grade 3
Grade 3
Track 2*
Grade 2
Grade 2
Grade 2
Track 1*
Grade 1
Grade 1
Grade 1
Initial
Track*
Initial
Initial
Intermediate
Foundation
2
Entry
Level 3
Rock
& Pop
Advanced
Classical
& Jazz
First Access
Track
About
the exams
Structure
InitialGrade 5
Max.
marks
Grades 68
Max.
Solo and Ensemble
marks Certificates
Piece 1
22
Piece 1
22
Piece 2
22
Piece 2
22
Piece 3
22
Piece 3
22
Technical Work
14
Technical Work
14
10
10
Supporting Test 1
Presentation
Skills
10
10
Sight Reading
Supporting Test 2
Sight Reading
or
Aural
or
Improvisation
or
Musical Knowledge
Total
90
Either Scales,
Arpeggios &
Exercises
or
Technical Suite*
ither Scales,
E
Arpeggios &
Exercises
or
Technical Suite*
Supporting Tests
Performance
10
One of the
following:
Improvisation
or
Aural
100
100
100
Order of exam
Candidates may present the elements of the exam in an order of their choice and should indicate their
preferred sequence on the appointment form, which is given to the examiner when entering the exam
room. If no preference is indicated, Pieces will normally be heard first in exams for accompanied
instruments, and Technical Work will be heard first for unaccompanied instruments.
Pass bands
Pass Band
Mark
Distinction
87100
Merit
7586
Pass
6074
Below Pass 1
4559
Below Pass 2
044
About
the exams
Assessment
Comments and marks are given for each section of the exam. It is not necessary to pass each section
of the exam to achieve an overall pass.
Pieces are assessed by three distinct components:
Certificate exam
Programme
30
30
30
Total
22
90
For more information on assessment and the criteria examiners use to mark the exams,
visit our website.
Certificate exams
Level
Exam Duration
(minutes)
Level
Programme
Exam Duration
Duration (minutes) (minutes)
Initial
11
Grade 1
13
Grade 2
13
Grade 3
13
Foundation
810
13
Grade 4
18
Grade 5
18
Intermediate
1520
23
Grade 6
23
Grade 7
23
Grade 8
28
Advanced
2530
33
Certificate exams have a required overall timing for the chosen programme. Candidates should be aware
that over-/under-running by more than 10% will result in marks being deducted.
6
Special circumstances
W
hen the exam is underway, no external person other than the examiner and the candidate
(and accompanist and/or page turner if necessary) is allowed inside the exam room except in
special cases such as with an interpreter, facilitator, or assistant for a candidate with special
educational needs. Trinitys London office must approve such arrangements in writing before
an entry is made.
N
o photography or unauthorised audio or video recording is permitted during the exam except by
Trinity examiners for moderation and/or training purposes.
A
ll exams are assessed on the basis of the performance given on the day of the exam, without
regard to any external circumstances.
Syllabus infringements
Any syllabus infringements (e.g. performing an incorrect item) may be reported directly to Trinitys
London office by the examiner. Exam reports may be withheld until the outcome of any referred
exam has been considered by Trinity.
About
the exams
Pieces
Musical instructions
All pieces should be prepared in full unless otherwise stated.
R
epeats of more than a few bars should not be played unless instructed otherwise in the syllabus or
exam publications.
A
ll da capo and dal segno instructions should be observed, as should 1st and 2nd time bars where
repeats are included.
Cadenzas should be omitted unless instructed otherwise in the syllabus.
Long introductions, tuttis and endings should be shortened as appropriate.
Trills and other appropriate ornamentation are expected, particularly in the higher grades.
A
ll tempo and performance markings should be observed (e.g. Allegro, rall., crescendo). Metronome
marks are given as a guide.
Guitar duets
Candidates who choose Guitar duets may perform them with a teacher, another adult or student.
A
lternatively, the accompanying line may be pre-recorded in exams up to and including Grade 3, but
candidates must provide their own playback equipment and must operate it themselves.
Editions
Recommended editions are listed in the syllabus. Candidates are free to perform from any other
edition, provided that it has not been shortened or otherwise simplified. When a particular edition
must be used this is indicated in the syllabus. Product codes for publications have been included
where possible.
About
the exams
Composition
Candidates may offer one of their own compositions as any one of the pieces in the exam. The focus
of the assessment will be on the performance following the normal marking scheme.
The technical and musical demand must be comparable to the listed pieces at the same level.
Compositions may be unaccompanied or accompanied.
C
ompositions should be substantially the candidates unaided work, although teachers may offer
guidance as necessary.
T
wo copies of the composition must be brought to the exam room. One must be handed to the
examiner at the start of the exam and will be retained.
The candidates name and number should be clearly shown at the start of the composition.
The composition may be handwritten or produced electronically.
C
ompositions from InitialGrade 5 may be presented in any coherent form of notation, which
may include lead sheet or graphic notation.
Compositions at Grades 68 must be presented in staff notation.
M
arks will be deducted if the notation is incomplete, inaccurate or if the performance varies
significantly from what is written.
Duration
(minutes)
Requirements
Initial
12
Grade 1
1.52.5
Grade 2
1.52.5
Grade 3
1.52.5
Grade 4
2.53.5
Grade 5
2.53.5
Grade 6
3.54.5
Grade 7
3.54.5
Grade 8
4.55.5
10
Instruments
Tuning
Candidates are responsible for the tuning of their instruments. Up to and including Grade 5 the teacher
or accompanist may assist with tuning. From Grade 6, candidates are expected to tune or adjust their
instrument without assistance.
Classical Guitar
This syllabus is designed for hollow-bodied classical guitars strung in nylon.
A
coustic guitars with six steel strings and electric guitars are not appropriate for this syllabus and
should not be used.
Classical guitars with cutaways are acceptable.
To promote good posture candidates are expected to provide and use a footstool or similar support.
Plectrum Guitar
This syllabus is designed for either an acoustic steel-stringed guitar or an electric guitar.
A classical guitar may also be used up to and including Grade 5.
Electric guitar candidates must provide their own portable amplifier and lead.
A footstool or similar support may be used to support good posture.
The candidate may choose to stand to play in the exam.
All pieces must be played with a plectrum.
Technical Work
This section of the exam encourages the development of appropriate technical skills. Candidates should
aim for accuracy at an appropriate tempo with even control of rhythm and tone. Higher marks are
given for attention to musical shaping, and the promptness and confidence of delivery.
Classical Guitar candidates can choose between the following two options:
either Scales and Arpeggios/Scales, Arpeggios and Exercises
All scales, arpeggios and exercises in Section i) are to be performed from memory and should be
played legato, mf and in straight rhythm unless otherwise instructed.
It is acceptable to begin on either of the right hand fingers stipulated, e.g. imim or mimi.
Unless specified in the syllabus, scales may be played either apoyando or tirando, to be chosen by
the candidate up to and including Grade 4. From Grade 5 upwards both options should be
prepared according to the criteria linked to each exercise. A tirando approach to arpeggios is
required, and the use of fingering based on pima is suggested. However, any technically sound
and systematic right hand fingering will be accepted for these and other exercises.
11
About
the exams
or Technical Suite
Scales and arpeggios for each grade in must be performed from memory.
Exercises included in the Technical Suite may be performed from the music.
C
andidates are to prepare all exercises and choose one exercise to play first;
the examiner will then select one of the remaining prepared exercises to be performed.
Plectrum Guitar candidates should be aware that:
All sections are to be prepared in full and performed from memory.
All scales and arpeggios to be performed ascending then descending.
Grade
Classical Guitar
Plectrum Guitar
Scales
Arpeggios
& Scales in 3rds
Scales
Arpeggios
& Scales in 3rds
Initial
q = 60
q = 60
q = 60
q = 60
Grade 1
q = 100
q = 80
q = 72
q = 72
Grade 2
q = 126
q = 100
q = 88
q = 88
Grade 3
q = 72
q = 60
q = 60
q = 60
Grade 4
q = 84
e = 108
q = 68
q = 68
Grade 5
q = 96
e = 120
q = 80
q = 80
Grade 6
q = 100
q = 80
q = 92
q = 60
Grade 7
q = 112
q = 92
q = 118
q = 90
Grade 8
q = 126
q = 100
q = 132
q = 100
12
Supporting Tests
All candidates of graded exams prepare two supporting tests for their exam; this allows candidates to
select supporting tests that draw on their strengths and interests. Trinity provides additional support
and resources for teaching and learning, please visit our website for more information.
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 will be given a piece of about Grade 3 level.
Candidates will be allowed 30 seconds to study the test before they attempt it. During this time they
may practise and try out the music. The examiner will then invite the candidate to perform the test
for assessment.
Examples of Sight Reading tests can be found in Trinitys Sound at Sight series available from your
local music retailer or from www.trinitycollege.co.uk/shop
Tests meet the following parameters:
Classical Guitar
Grade
Keys
Time
signatures
Articulation, positions,
shifts
(cumulative*)
(cumulative*)
(cumulative*)
(cumulative*)
(cumulative*)
2 and 4
q and h
moderato,
mf
E, F, G on 1st string;
B, C, D on 2nd string; G, A
on 3rd string; open basses
p and f
Initial
Grade 1
C major
Grade 2
G major
Grade 3
F major
D and E minor
Grade 4
A minor, plus
accidentals
Grade 5
A major
Grade 6
h. , w and _
allegretto
e, and _
mp and
andante
q. and
dim. and
cresc.
three-note chords (2
treble, 1 bass; may be
all fretted); accents;
more shifts
x and
plus rall;
a tempo
slurs
E and Bb major
G minor
dotted notes
accel.
Grade 7
B minor
triplets
Grade 8
Eb major
C minor
2 and changing
time signatures
ties
duplets
13
About
the exams
Plectrum Guitar
Grade
Initial
Keys
Time
signatures
Articulation, positions,
shifts
(cumulative*)
(cumulative*)
(cumulative*)
(cumulative*)
(cumulative*)
C major
2 and 4
q and h
moderato,
mf
E, F, G on 1st string;
B, C, D on 2nd string;
G, A on 3rd string;
open basses; even picking
p and f
Grade 1
h., w , _
allegretto
Grade 3
F major
E minor
e , and _
mp and
andante
Grade 4
A minor,
accidentals
q. and
Grade 6
E and Bb major
G minor
Grade 7
B minor
Grade 8
Eb major
C minor
14
2
2 and changing
time signatures
and CI
plus rall;
a tempo
dotted notes
accel.
triplets
use of mute
x and
duplets
A major
simple shifts;
2nd position; staccato;
two-note chords (open
bass); marcato
Grade 5
and ties
G major
A minor
Grade 2
Aural
Aural tests are designed to develop the candidates abilities in the fields of musical perception,
discrimination, memory, understanding, analysis and response. The questions, which are all based on
one musical example, encourage a deepening of knowledge and are carefully graded from basic skills
to more advanced understanding.
Tests meet the following parameters:
Grade
Initial
Grade 1
Grade 2
Parameters
Task
Response
major key
4 bars
major key
4 bars
2 or 3
major or
minor key
2 or 3
15
About
the exams
Grade
Grade 3
Parameters
major or
minor key
3 or 4
Task
Response
Grade 4
major or
minor key
4 or 6
Grade 5
16
major or
minor key
2, 3 or 6
Grade
Grade 6
Grade 7
Grade 8
major key
2, 3, 4 or 6
minor key,
any time
signature
major or
minor key,
any time
signature
Task
Response
L
isten to the final part of
the piece
L
isten to part of the
piece which modulates.
The opening key will first
be stated and the tonic
chord played
S
tudy a copy of the
piece and listen to it
twice with two changes
to the melody line
L
isten to a passage from
the piece once
S
tudy a copy of the first
section of the piece and
listen to it twice with
three changes
L
isten to part of the
piece once with a
modified ending. The
opening key will first
be stated and the tonic
chord played
S
tudy a copy of the
music and listen to it
three times with three
areas of changes in the
second and third playing
17
About
the exams
Improvisation
This test explores the candidates ability to respond fluently, coherently and creatively to a
musical stimulus.
T
here are three possible types of stimulus a candidate can use in the exam as the starting
point for their improvisation:
Melodic: based on a series of pitches
Rhythmic: based on a rhythmic idea
Chordal: based on a set of chord symbols.
Candidates indicate their choice of stimulus on the appointment form.
In the exam the examiner will present the candidate with the notated stimulus.
The examiner will play the stimulus twice and then invite the candidate to play it back;
this is to ensure the candidate has understood the stimulus.
For InitialGrade 5, candidates will be given 30 seconds preparation time.
For Grades 68, candidates will be given 60 seconds preparation time.
D
uring this time they may practise their response. The examiner will then invite the candidate
to perform the test for assessment.
There are two possible ways of using the chordal stimulus:
Unaccompanied: the candidate will be invited to give a solo performance.
A
ccompanied by the examiner: the examiner will play through the chord sequence on a
loop while the candidate improvises a melodic line above. The candidate may give
instructions to the examiner regarding performance directions, e.g. tempo and style.
In all cases the stimulus is just a starting point for the improvisation. Candidates should therefore
develop a response that includes melodic, rhythmic and harmonic interest as appropriate for
their instrument.
G
ood responses may also include articulation and dynamic interest and be idiomatic of the voice
or instrument.
We provide further guidance and examples of responses on our website.
The parameters are given in the chart on page 19.
18
Melodic stimulus
max. range of
given motif
Initial
3 stepwise notes
Grade 1
3 notes one
step one leap
up to a 4th
Grade 2
4 notes range
up to a 5th
Grade 3
5 notes range
up to a 6th
Grade 4
Rhythmic stimulus
Chordal stimulus
(cumulative*)
(cumulative*)
4-bar phrase
major key
I/V
2 bars per chord
2 bars
crotchets
minims
quavers
4-bar phrase
major key
I/V
1 chord per bar
with dots
4-bar phrase
major key
I/IV/V
1 chord per bar
with ties
4-bar phrase
major key
I/IV/V/ii
1 chord per bar
octave (diatonic)
2, 3
semiquavers
Grade 5
octave (simple
chromaticism)
Grade 6
Grade 7
4-bar phrase
minor key
I/IV/V/vi
1 chord per bar
8-bar phrase
major key
I/ii/IV/V & 7ths
1 chord per bar
triplets
twelfth
(chromatic)
Grade 8
4-bar phrase
minor key
I/IV/V
1 chord per bar
Written keys
for chordal
stimulus
(cumulative*)
C, F, G major
A, D, E, G, B
minor
C, F, G, Bb, D,
Eb, A major
plus relative
minors
19
About
the exams
Parameters
Sample question
Sample answer
Pitch names
Note durations
Two
Treble clef
Identify key/time
signatures
Time signature
A pause mark
Note values
Quaver
Explain key/time
signatures
Bb
A bridge
Metronome marks,
grace notes and
ornaments
Intervals
(numerical only)
3rd
Basic posture
Candidate
demonstrates
(cumulative*)
Initial
Grade 1
Grade 2
20
Grade
Sample question
Sample answer
Relative major/minor
D minor
Scale/arpeggio pattern
Scale
Warm up
Modulation to closely
related keys
A minor
Tonic/dominant triads
C, E, G
Perfect 5th
Technical challenges
Musical style
Musical period
Musical structures
Subdominant triads
F, A, C
(cumulative*)
Grade 3
Grade 4
Grade 5
21
About
the exams
Certificate exams
Solo Certificate exams
In Solo Certificate exams candidates can create their own programme to meet the required
programme duration from the pieces listed our website. Up to one third of the programme can be
own choice or own composition.
A
ny own choice or own compositions must be of a similar technical and musical level of demand as
the listed pieces for that certificate. More information can be found on our website.
Trinity does not pre-approve any own-choice repertoire.
Presentation Skills
his is an assessed item in all Certificate exams, which should be approached as if it were a public
T
recital. Consideration will be given to the following areas:
S
tagecraft the candidates performance will be viewed as a whole from their entry into the exam
room until their exit.
P
rogramme notes candidates should present neatly produced programme notes. These could be in
a folded A4 booklet and should include the following items:
Date, time and place of the recital.
Names of those involved.
Titles, composers and a brief description of each piece.
Brief biography of the candidate.
Durations each piece should have its running time listed in the programme notes.
S
ense of occasion the examiner will expect the candidate and anyone else involved in the exam to
be appropriately dressed and aware of a recital style of presentation.
P
rogramme notes and introductions may be in any language although an English translation should
always be provided for the examiner.
22
23
Guitar
Initial
Pieces (3 x 22 marks)
Three pieces are to be played, chosen from the solo pieces or any duets for the grade, to form a
balanced programme. Instead of one item, candidates may offer their own composition (see page 10).
If a duet (or maximum two duets) are chosen, the accompaniment must be played in the exam.
Solo pieces the following solo pieces are contained in the book Guitar Initial Pieces & Exercises
20102015 published by Trinity College London:
Trad. English
Trad. French
J S Bach
MacDowell
Ryan
Fentimen
Montgomery
Powlesland
Sollory
Duet pieces contained in the book Guitar Duets InitialGrade 3 20102015 published by
Trinity College London:
Rosseter
What then is Love?
Vivaldi arr. Powlesland
Winter
Mozart arr. Sollory
Allegro
Sollory
Si la noche haze escura
Compton Majorca
Powlesland Dreamcatcher
The following alternative solo pieces are also available:
Composer Piece
Cracknell
Intilangela
Longworth
& Walker
Longworth
& Walker
Nuttall
& Whitworth
Sollory
Trad. arr. Longworth
& Walker
24
Publisher
Faber 0571531873
Faber 0571532284
Guitar Initial
to 5th,
ascending and
descending
with im right
hand fingering
one octave
with R.H.
thumb
to 5th,
ascending and
descending
with im right
hand fingering
Candidates
choice of
apoyando or
tirando
mf
tirando
Exercises are contained in the book Guitar Initial Pieces & Exercises 20102015 published by
Trinity College London.
* A written example of this mode can be found on our website or in the Trinity College London book
Guitar Initial Pieces & Exercises 20102015
Aural
(see page 15)
Improvisation
(see page 18)
Musical Knowledge
(see page 20)
25
Guitar
Grade 1
Pieces (3 x 22 marks)
Three pieces are to be played, chosen from the solo pieces or any duets for the grade, to form a
balanced programme. Instead of one item, candidates may offer their own composition (see page 10).
If a duet (or maximum two duets) are chosen, the accompaniment must be played in the exam.
The following solo pieces are contained in the book Guitar Grade 1 Pieces & Exercises 20102015
published by Trinity College London:
Carulli Vals
Grieg arr. Baulch
In the Hall of the Mountain King (from Peer Gynt Suite no. 1 op. 46)
Montoya arr. Thorlaksson El conde olinos (A Spanish folk song)
Gagnon Marrakech
Sollory
The Moons a Balloon
Ryan
Day of the Match
Ryan
Habanera Era
Preiss
Olinda (Frevo)
Cracknell
Ol Jos
The following duet pieces are contained in the book Guitar Duets InitialGrade 3 20102015 published by
Trinity College London:
Lully arr. Sollory
Trad. Mallorcan arr. Preiss
Trad. arr. Thorlaksson
Tchaikovsky arr. Sollory
Montgomery
Winfield
Menuet
Mateixas des Figueral
Mareta, Mareta (Folk song from Valencia)
Old French Song op. 39 no. 16
El Caballo
Hayride
Composer Piece
Attaignant
Burden
Longworth & Walker
MacDonald
Powlesland
Rak
Ryan
Sollory
Sor
Trad. arr. Garcia
Trad. Irish arr. Fiorentino
Trad. arr. Sollory
26
Publisher
Guitar Grade 1
tirando
with im right
hand fingering
Candidates
choice of
apoyando or
tirando
tirando
Dorian starting on D*
Arpeggios:
C major
E minor
mf
Exercises are contained in the book Guitar Grade 1 Pieces & Exercises 20102015 published by
Trinity College London.
* A written example of this mode can be found on our website or in the book Guitar Grade 1 Pieces
& Exercises 20102015 published by Trinity College London.
Aural
(see page 15)
Improvisation
(see page 18)
Musical Knowledge
(see page 20)
27
Guitar
Grade 2
Pieces (3 x 22 marks)
Three pieces are to be played, chosen from the solo pieces or any duets for the grade, to form a
balanced programme. Instead of one item, candidates may offer their own composition (see page 10).
If a duet (or maximum two duets) are chosen, the accompaniment must be played in the exam.
The following solo pieces are contained in the book Guitar Grade 2 Pieces & Exercises 20102015
published by Trinity College London:
de Vise
Minuet
Giuliani
Allegro op. 50 no. 1
Ponce
Preludio (no. 1 from Seis preludios cortos)
Trad. Jamaican arr. Baulch Mango Walk
Calatuyud Cerda
Vals (no. 1 from Cuatro piezas fciles para guitarra)
Benham Cubana
Rak
Spanish Dance
Sollory
Magnetic South
Powlesland
Sprite Nite
The following duet pieces are contained in the book Guitar Duets InitialGrade 3 20102015
published by Trinity College London:
Haydn arr. Sollory
Tedesca
Carulli Lezione
Trad. Brazilian arr. Rivoal Acordai Doncela
Preiss
Cancin de Cuna (Lullaby)
The following alternative solo pieces are also available:
Composer Piece
Publisher
Anderson
River Wisla (from Guitar Travels)
Anderson Guitar Publications AGP505
Burden
Primo Tango (from Travelling in Style Series 2: Trek 1)
Garden Music GM25
Cracknell
Apache Dance
(from Debbie Cracknell: Enjoy Playing Guitar Solos)
OUP 978-0-19-322114-7
Delalande
Danse (from Le petit livre de guitare vol. 2)
Les Productions DOZ DZ12
Dowland
arr. Kilvington
Orlando Sleepeth (from Dowlands Dozen)
Ricordi M570022502
Gerrits
Souvenir despagne (from La guitare enchante)
Dobermann Yppan DO28
Hartog
La Monteria (from I Toca Guitarra)
European Music Centre XAL10391
Longworth & Walker Fezd and Furious (from Guitar Basics Repertoire)
Faber 0571531873
Longworth & Walker Hey Jimi! (from Guitar Basics Repertoire)
Faber 0571531873
Nuttall Cadiz or On the Prairie (from Moving On)
Countryside Music
Trad. arr. Cracknell The Foggy Dew (from Enjoy Playing Guitar: Going Solo)
Oxford 9780193386358
Trad. arr. Fiorentino Master McGrath (from Celtic Music for Classical Guitar)
Carisch ML2601
Tromp
Sak Sat (from String Fingers)
XYZ Huizen Holland XYZ1211
Wanders
Ring Way Blues (from Mix on Six)
Broekmans & van Poppel BP1627
28
Guitar Grade 2
one octave
Arpeggios:
E minor
with im right
hand fingering
Candidates
choice of
apoyando or
tirando
mf
tirando
mf
R.H. thumb
R.H. fingering
based on pima
Exercises are contained in the book Guitar Grade 2 Pieces & Exercises 20102015 published by
Trinity College London.
* A written example of this chord sequence can be found on our website or in the book Guitar Grade 2
Pieces & Exercises 20102015 published by Trinity College London.
Aural
(see page 15)
Improvisation
(see page 18)
Musical Knowledge
(see page 20)
29
Guitar
Grade 3
Pieces (3 x 22 marks)
Three pieces are to be played, chosen from the solo pieces or any duets for the grade, to form a
balanced programme. Instead of one item, candidates may offer their own composition (see page 10).
If a duet (or maximum two duets) are chosen, the accompaniment must be played in the exam.
The following solo pieces are contained in the book Guitar Grade 3 Pieces & Exercises 20102015
published by Trinity College London:
de Murcia
Menuet (from Resumen de acompaar la parte con la guitarra)
Carcassi
Minuet op. 21 no. 12
Mertz
Lndler op. 9 no. 4
Trad. Japanese arr. Sollory Sakura
Hartog
Carratera resbaladiza
Carlson
Valse noble (from Eight Short Pieces for Solo Guitar)
York
Walking (from 8 Discernments)
Ryan
Banjo Bill
Sollory
Station to Station
The following duet pieces are contained in the book Guitar Duets InitialGrade 3 20102015 published by
Trinity College London:
Mozart arr. Preiss
Sor
Machado
Sollory
Rondo
Valse op. 44 no. 1
Marchinha de Carnaval
Danza Andaluza
Composer Piece
Brouwer
Brouwer
Carulli
Cracknell
Hartog
Hartog
Lindsey-Clark
Nuttall
Nuttall
Piazzolla
Powlesland
Pratesi
le Roy
Sor
Trad. arr. Sollory
Trad. Scottish
arr. Fiorentino
Tromp
de Valderrbano
Whitworth arr.
30
Publisher
Guitar Grade 3
two octaves
D harmonic minor
ma fingering,
straight
rhythm*
im fingering,
swing rhythm*
D melodic minor
Arpeggio:
Diminished 7th starting on A
Candidates
choice of
apoyando or
tirando
mf
p
mf
p
one octave
tirando
Exercises:
mf
Exercises are contained in the book Guitar Grade 3 Pieces & Exercises 20102015 published by
Trinity College London.
* Written examples of these exercises can be found on our website or in the book Guitar Grade 3 Pieces &
Exercises 20102015 published by Trinity College London.
Aural
(see page 15)
Improvisation
(see page 18)
Musical Knowledge
(see page 20)
31
Guitar
Grade 4
Pieces (3 x 22 marks)
Three pieces are to be played, chosen from the solo pieces and any other alternative piece(s) for the
grade, to form a balanced programme. Instead of one item, candidates may offer their own
composition (see page 10).
The following solo pieces are contained in the book Guitar Grade 4 Pieces & Exercises 20102015
published by Trinity College London:
dal Liuto
Pavana
J S Bach
Bourre (from Cello Suite no. 3, BWV 1009)
Giuliani
Bagatella op. 73 no. 3
Carcassi
Pastorale op. 21 no. 16
Ferrer
Ejercicio (no. 2 from Coleccin 12a de Ejercicios)
Hartog Nostalgia
Lindsey-Clark
Steely Blue
York
Garden Steps
Pujol
Buen augurio
The following alternative solo pieces are also available:
Composer Piece
Publisher
Anon.
Mascarade (from Le petit livre de guitare vol. 2)
Les Productions DOZ DZ12
Eschig ME7998
Brouwer
tude 6 or 7 (from tudes simples 2e srie)
Carulli ed. Wynberg
Sicilienne (from First Repertoire for Solo Guitar Book 1)
Faber 507093
Garcia
Le Grand Brasseur (from 25 tudes squisses)
Mel Bay 95430
Nuttall Berceuse or Mexicana
(from Twelve Inventions)
Holley Music Holl S007
Rak
Petit Blues (from Jeux sur 6 cordes)
Lemoine HX27270
Robinson
Robinsons May
(from Easy Pieces from Shakespeares Time vol. 2)
Universal UE16693
Sollory
Summer Solstice Song
(from The Real Guitar Book vol. 2)
Camden Music CM192
Sor
Allegro moderato op. 31 no. 3
(from The Complete Studies for Guitar)
Chanterelle SPAECH0491
Sor
tude no. 18 op. 35 (from Complete Studies for Guitar)
Chanterelle 491
Trad. arr. Hartog
El noy de la mare (from Tapas de Espaa)
Alsbach Educa 10591
Trad. Scottish arr. Fiorentino Bonnie Laddie, Highland Laddie
(from Celtic Music for Classical Guitar)
Carisch ML2601
32
Guitar Grade 4
im fingering
E major
f
straight
rhythm*
B natural minor
B harmonic minor
B melodic minor
two octaves
ma fingering
Candidates
choice of
apoyando or
tirando
swing
rhythm*
Arpeggios:
D major
B minor
Dominant 7th in the
key of D (starting on A)
mf
p
f
p
tirando
mf
Arabesque (slurs)
Clair de Lune (half barr and arpeggios)
Espaa (scales)
Skyline Melody (full barrs)
Exercises are contained in the book Guitar Grade 4 Pieces & Exercises 20102015 published by
Trinity College London.
* See our website for examples of rhythmic styles.
Aural
(see page 15)
Improvisation
(see page 18)
Musical Knowledge
(see page 20)
33
Guitar
Grade 5
Pieces (3 x 22 marks)
Three pieces are to be played, chosen from the solo pieces and any other alternative piece(s) for
the grade, to form a balanced programme. Instead of one item, candidates may offer their own
composition (see page 10).
The following solo pieces are contained in the book Guitar Grade 5 Pieces & Exercises 20102015
published by Trinity College London:
Sor Galopp
Cutting Galliard
Mertz
Notturno op. 4 no. 1
Lauro
El negrito (no. 1 from Two Venezuelan Waltzes)
Lindsey-Clark
Rio by Night
Powlesland
Swing Thing
Ryan
Birds flew over the Spire
Oser Soledad
Baulch
Bonzas Blues
The following alternative solo pieces are also available:
Composer Piece
Brescianello
Brouwer
Carcassi
Domeniconi
Garcia
Giuliani
Hartog
Pearson
Piazzolla
Piazzolla arr. Ryan
Ryan
Sor
de Vise
34
Publisher
Guitar Grade 5
two octaves
ma fingering
three octaves
im fingering
ma fingering
C major pentatonic
im fingering
Arpeggios:
Bb major
Dominant 7th in the key
of Eb (starting on Bb)
two octaves
straight rhythm*;
norm. tone
apoyando
swing rhythm*;
pont. tone
mf
straight rhythm*;
norm. tone
tirando
mf
Exercises:
Paired slurs in A major
Bb major in 3rds
Full barr sequence**
or ii) Technical Suite
im fingering
Bb major scale
F# harmonic and melodic
minor scales
two octaves
ma fingering
Straight
rhythm
tirando
Bb major arpeggio
Chromatic scale
starting on E
apoyando
or tirando at
candidates choice
three octaves
im fingering
apoyando
or tirando at
candidates choice
Straight
rhythm
Exercises:
Candidates to prepare all of the following exercises; only two will be heard in the exam (see page 12):
1.
2.
3.
Exercises are contained in the book Guitar Grade 5 Pieces & Exercises 20102015 published by Trinity.
* See our website for examples of rhythmic styles. ** A written example of the full barr sequence can be
found on our website or in the book Guitar Grade 5 Pieces & Exercises 20102015 published by Trinity.
Aural
(see page 15)
Improvisation
(see page 18)
Musical Knowledge
(see page 20)
35
Guitar
Grade 6
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 10).
Group A
The following solo pieces are contained in the book Guitar Grade 6 Pieces & Exercises 20102015
published by Trinity College London:
Sanz Canarios
Cutting Almayne
J S Bach
Gavotte II (from Lute Suite BWV 995)
Diabelli
Allegro (from Sonata for Guitar in C, op. 29 no. 1)
Ferrer Nostalgia
The following alternative pieces are also available:
Composer
Piece
Barrios Mangor
Carcassi
Dowland
Giuliani
Matiegka
Sor
Trrega
Publisher
Group B
The following solo pieces are contained in the book Guitar Grade 6 Pieces & Exercises 20102015
published by Trinity College London:
Montoya arr. Thorlaksson El roble
Ponce Balletto
Ellington
Dont Get Around Much Anymore
Catalan folk song arr. Llobet Can del lladre (from Diez Canciones Populares Catalanas)
The following alternative pieces are also available:
Composer
Piece
Barrios Mangor
Garcia
Lauro
Moreno-Torroba
Nogueira
Piazzolla arr. Ryan
Williams arr. Burden
El Sueo de la Muequita
(from The Guitar Works of Augustin Barrios-Mangor vol. 1)
Belwin EL02602
tude No. 12, Coeur de la rose
or Les Ajoncs dor (from 25 tudes squisses)
Mel Bay MB 95430
El Marabino
(from Antonio Lauro: Works for Guitar vol. 2)
Caroni Music C2002
Alba de Tormes (from Castles of Spain, vol. 1)
Guitar Solo GSP74
Soneto em Mi Menor
(from Guitar Works of Paulinho Nogueira, vol. 1)
Guitar Solo GSP105
Los Sueos (from Play Piazzolla)
Boosey 9790060119712
Schindlers List
(from Travelling in Style Series 2: Trek 4)
Garden Music GM28
36
Publisher
Guitar Grade 6
three octaves
C major
two octaves
G melodic minor
three octaves
C melodic minor
two octaves
G natural minor
three octaves
C natural minor
two octaves
G harmonic minor
three octaves
C harmonic minor
two octaves
imam
fingering
ma
fingering
im
fingering
straight
rhythm*;
norm. tone
f
apoyando
p
swing
rhythm*;
pont. tone
mf
triplet
rhythm*;
norm. tone
Arpeggios:
G major
G minor
Dominant 7th in the key of C
(starting on G)
Diminished 7th
starting on G
C major
C minor
Dominant 7th in the
key of F (starting on C)
Diminished 7th
starting on C
three octaves
tirando
mf
two octaves
Exercises:
C major scale in 3rds
G major scale in 3rds
Chromatic scale in octaves
starting on C
Chromatic scale in octaves
starting on G
one octave
37
Guitar
Grade 6
or ii) Technical Suite
Scales & Arpeggios (from memory) candidate to choose either Group 1 or Group 2
Group 1
G major scale
C harmonic and melodic
minor scales
G major arpeggio
Diminished 7th arpeggio
(starting on C)
Group 2:
C major scale
G harmonic and melodic
minor scales
three octaves
two octaves
im fingering*
ma fingering*
apoyando or
tirando* at
candidates
choice
Straight rhythm
three octaves
tirando
two octaves
ma fingering*
three octaves
im fingering*
apoyando or
tirando* at
candidates
choice
Straight rhythm
G minor arpeggio
Dominant 7th arpeggio in
the key of F (starting on C)
tirando
two octaves
Exercises:
Candidates to prepare all of the following exercises; only two will be heard in the exam (see page 12):
1.
2.
3.
Exercises are contained in the book Guitar Grade 6 Pieces & Exercises 20102015 published by Trinity
College London.
* N.B. different fingering to that listed for the same scales in Technical Work Option i), and to that
contained in Guitar & Plectrum Guitar Scales & Exercises from 2007
38
39
Guitar
Grade 7
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 10).
Group A
The following solo pieces are contained in the book Guitar Grade 7 Pieces & Exercises 20102015
published by Trinity College London:
Holborne
J S Bach
Sor
Rodgers/Hart arr. Almeida
Fantasia
Allemande (from Lute Suite in E minor, BWV 996)
tude op. 6 no. 9
Blue Moon
Composer
Piece
Coste
Granados ed. Petrou
de Narvaez
Morreno-Torroba
Reis
Sainz de la Maza
Trrega
Villa-Lobos
tude XII a Mr. Holm [de Copenhagen] (from 25 tudes op. 38) Schott GA34
Valses Poticos no. 2 (from Valses Poticos Guitar Solo) Schott 49003134
Differencias sobre Guardame las vacas
(from Hispanae Citharae Ars Viva ed. Emilio Pujol Vilarrub)
Schott GA176
La Seguidilla (from Aires de la Mancha)
Schott GA235
Uma Valsa e Dois Amores
(from The Guitar Works of Dilermando Reis, vol. 1)
Guitar Solo GSP40
Paseo (from Platero y Yo)
UME UMG21738
La Mariposa (from Opere per Chitarra vol. 2 Studi)
Brben E1532 B
Prelude no. 3, Homage to Bach (no Da Capo repeat)
(from Cinq Prludes)
Eschig M045045081
Publisher
Group B
The following solo pieces are contained in the book Guitar Grade 7 Pieces & Exercises 20102015
published by Trinity College London:
Moreno-Torroba
Crespo
Reis
Pujol
Sollory
Composer
Piece
40
Publisher
Guitar Grade 7
three octaves
two octaves
A melodic minor
three octaves
D melodic minor
two octaves
A natural minor
three octaves
D natural minor
two octaves
three octaves
D harmonic minor
two octaves
A major pentatonic
three octaves
D major pentatonic
two octaves
Mixolydian starting
on A
three octaves
Mixolydian starting
on D
Arpeggios:
A major
three octaves
mf
swing rhythm*;
pont. tone
apoyando
and legato
swing rhythm*;
tone colour
gradually changing
from norm. to pont.
to norm. again
straight rhythm*;
norm. tone
straight rhythm*;
norm. tone
straight rhythm*;
tasto tone
A minor
three octaves
norm. tone
D minor
two octaves
tasto tone
two octaves
tirando and
staccato
apoyando
and legato
pont. tone
two octaves
three octaves
mf
im fingering
D major
f
tirando and
legato
triplet
rhythm; pont. tone
ma fingering
two octaves
apoyando
and staccato
imam
fingering
ma fingering
A harmonic minor
straight rhythm*;
norm. tone
p
tirando and
legato
mf
Diminished 7th
starting on A
three octaves
Diminished 7th
starting on D
two octaves
Continued overleaf
41
Guitar
Grade 7
Exercises:
D major scale in
paired slurs
A major scale in 3rds
D harmonic minor
scale in 6ths
A melodic minor
scale in octaves
tirando and
legato
two octaves
mf
Group 1
A major scale
D harmonic and
melodic minor scales
three octaves
im
fingering*
two octaves
ma
fingering*
apoyando or
tirando* at
candidates choice
Straight
rhythm
A major arpeggio
Diminished 7th
arpeggio (starting
on A)
Group 2:
D major scale
A harmonic and
melodic minor scales
three octaves
two octaves
three octaves
tirando
ma
fingering*
im
fingering*
apoyando or
tirando* at
candidates choice
Straight
rhythm
A minor arpeggio
Dominant 7th
arpeggio in the key
of D (starting on A)
two octaves
tirando
Exercises:
Candidates to prepare all of the following exercises; only two will be heard in the exam (see page 12):
1.
2.
3.
Exercises are contained in the book Guitar Grade 7 Pieces & Exercises 20102015 published by
Trinity College London.
* N.B. different fingering to that listed for the same scales in Technical Work Option i), and to that
contained in Guitar & Plectrum Guitar Scales & Exercises from 2007.
43
Guitar
Grade 8
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 10).
Group A
The following solo pieces are contained in the book Guitar Grade 8 Pieces & Exercises 20102015
published by Trinity College London:
Dowland arr. Baulch The Right Honourable the Lady Cliftons Spirit
J S Bach
Prelude (from Lute Suite in E minor, BWV 996)
Weiss Fantasie
Sor
Rondo op. 22
Mertz
Polacca op. 5 no. 3
The following alternative pieces are also available:
Composer
Piece
J S Bach
Gilardino
Pernambuco
Ponce
Trrega
Turina
Villa-Lobos
Publisher
Group B
The following solo pieces are contained in the book Guitar Grade 8 Pieces & Exercises 20102015
published by Trinity College London:
de Falla
Danza del corregidor (from El sombrero de tres picos)
Piazzolla arr. Bentiez Milonga del ngel
Moreno-Torroba Sonatina
Ruiz-Pip
Danza (no. 1 of Seis canciones y danzas)
The following alternative pieces are also available:
Composer
Piece
Berkeley
Brouwer
Duarte
Jobim arr. Bellinati
Ryan
Sculthorpe
Villa-Lobos
Walton
44
Publisher
Guitar Grade 8
three octaves
two octaves
Bb harmonic minor
three octaves
F harmonic minor
two octaves
Bb major pentatonic
three octaves
F major pentatonic
two octaves
Bb natural minor
three octaves
F natural minor
two octaves
Bb melodic minor
three octaves
F melodic minor
two octaves
im
fingering
straight rhythm*;
norm. tone
imam
fingering
triplet rhythm*;
norm. tone
swing rhythm;
norm. tone
ma
fingering
im
fingering
two octaves
Locrian starting on Bb
three octaves
two octaves
Arpeggios:
Bb major
three octaves
swing rhythm;
gradually changing
from norm. to pont.
to norm. again
straight rhythm*;
norm. tone
f
apoyando
and legato
p
p
tirando and
legato
mf
im
fingering
triplet rhythm;
pont. tone
apoyando
and legato
dim.
ascending
and cresc.
descending
pont. tone
three octaves
norm. tone
F minor
two octaves
tasto. tone
two octaves
straight rhythm*;
gradually changing
from norm. to pont.
to norm. again
Bb minor
mf
imam
fingering
two octaves
three octaves
cresc.
ascending
and dim.
descending
tirando and
staccato
straight rhythm*;
tasto tone
F major
tirando and
legato
tirando and
legato
p
cresc.
ascending,
dim.
descending
* See our website for examples of rhythmic styles. ** A written example of this mode can be found on our
website or in the book Guitar Grade 8 Pieces & Exercises 20102015 published by Trinity.
Continued overleaf
45
Guitar
Grade 8
three octaves
two octaves
Exercises:
F major scale in
paired slurs
Bb major scale in 3rds
Bb major scale in 6ths
F major scale in 10ths
tirando and
staccato
three octaves
tirando and
legato
mf
two octaves
either Group 1:
Bb major scale
F harmonic and melodic minor
scales
three octaves
im
fingering*
two octaves
ma
fingering*
straight
rhythm*
apoyando or
tirando
at candidates
choice
Bb major arpeggio
Diminished 7th arpeggio
starting on Bb
or Group 2:
F major scale
Bb harmonic and melodic
minor scales
three octaves
two octaves
three octaves
tirando
ma
fingering*
im
fingering*
straight
rhythm*
apoyando or
tirando
at candidates
choice
Bb minor arpeggio
Dominant 7th arpeggio in the
key of Eb (starting on Bb)
tirando
two octaves
Exercises:
Candidates to prepare all of the following exercises; only two will be heard in the exam (see page 12):
1.
2.
3.
Exercises are contained in the book Guitar Grade 5 Pieces & Exercises 20102015 published by
Trinity College London.
* N.B. different fingering to that listed for the same scales in Technical Work Option i), and to that contained
in Guitar & Plectrum Guitar Scales & Exercises from 2007.
47
Plectrum
Guitar Initial
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the lists below, to form a balanced programme.
Instead of one item, candidates may offer their own composition (see page 10).
The following pieces are contained in the book Guitar Initial Pieces & Exercises 20102015 published by
Trinity College London:
Ryan
Montgomery
Powlesland
Sollory
Cat Burglar
Minor Mood
Get Up Get Down
King of the Jungle
Composer
Piece
Duncan
Nuttall/
Whitworth
Powlesland
Sollory
Wilson/Love
Wright
Publisher
Holley HollS001
Camden CM245
Camden CM191
Belwin ELO3842
Chanterelle ECH2101
Note: If a book includes a backing CD, that CD must be used in the examination.
ii) Arpeggios:
C and G major
D minor
mf
48
Aural
(see page 15)
Improvisation
(see page 18)
Musical Knowledge
(see page 20)
Plectrum
Guitar Grade 1
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the lists below, to form a balanced programme.
Instead of one item, candidates may offer their own composition (see page 10).
Composer
Piece
Powlesland
Searle
Sokolov
Sollory
Sollory
Stang
Trad.
Trad.
Trad.
Publisher
Note: If a book includes a backing CD, that CD must be used in the examination.
one octave
mf
Aural
(see page 15)
Improvisation
(see page 18)
Musical Knowledge
(see page 20)
49
Plectrum
Guitar Grade 2
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the lists below, to form a balanced programme.
Instead of one item, candidates may offer their own composition (see page 10).
Composer
Piece
Anderson
Burden
Cracknell
Nuttall
Powlesland
Powlesland
Sokolow
Sollory
Stang
Publisher
Note: If a book includes a backing CD, that CD must be used in the examination.
one octave
E harmonic minor
A jazz melodic minor
two octaves
ii) Arpeggio:
D major
one octave
two octaves
A minor
p or f
as requested by
the examiner
to 12th
Aural
(see page 15)
Improvisation
(see page 18)
Musical Knowledge
(see page 20)
Plectrum
Guitar Grade 3
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the lists below, to form a balanced programme.
Instead of one item, candidates may offer their own composition (see page 10).
Composer
Piece
Cobby
Lester
Nuttall
Nuttall
Powlesland
Powlesland
Powlesland
Sollory
Sollory
Publisher
Hampton HG801
Ricordi LD613
Countryside Music
Holley Holl S006
Camden CM191
Camden CM191
Camden CM191
Camden CM191
Camden CM191
Note: If a book includes a backing CD, that CD must be used in the examination.
two octaves
p or f
ii) Arpeggio:
C major
as requested by
the examiner
iii) Exercises:
Bb major ascending slurs
G minor half barr study
iv) Chord Sequence:
IIV7I in G major
Aural
(see page 15)
Improvisation
(see page 18)
Musical Knowledge
(see page 20)
51
Plectrum
Guitar Grade 4
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the lists below, to form a balanced programme.
Instead of one item, candidates may offer their own composition (see page 10).
Composer
Piece
Publisher
Crosland
Ford
Garcia
Lester
Nuttall/
Whitworth
Powlesland
Powlesland
Sollory
Sollory
Note: If a book includes a backing CD, that CD must be used in the examination.
two octaves
ii) Arpeggio:
Dominant 7th in the key of A
p, mf or f
as requested by
the examiner
iii) Exercises:
F major IVVI
D major ascending slurs
F# minor half barr study
iv) Chord Sequence:
D majorB7Em7A7
Aural
(see page 15)
Improvisation
(see page 18)
Musical Knowledge
(see page 20)
Plectrum
Guitar Grade 5
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the lists below, to form a balanced programme.
Instead of one item, candidates may offer their own composition (see page 10).
Composer
Piece
Publisher
Chilton
Crosland
Ford
Kessel
Lester
Powlesland
Sollory
Sollory
Note: If a book includes a backing CD, that CD must be used in the examination.
two octaves
ii) Arpeggio:
Diminished 7th starting and
finishing on C
p, mf or f
as requested by
the examiner
iii) Exercises:
IVIIIV7I in G major
A major paired slurs
iv) Chord Sequence:
F#m7Bm7Em9A7
Aural
(see page 15)
Improvisation
(see page 18)
Musical Knowledge
(see page 20)
53
Plectrum
Guitar Grade 6
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the lists below, to form a balanced programme.
Instead of one item, candidates may offer their own composition (see page 10).
Composer
Piece
Chilton
Chilton
Garcia
Kessel
Leavitt
Lennon &
McCartney
Powlesland
Powlesland
Sollory
Note: If a book includes a backing CD, that CD must be used in the examination.
54
Publisher
three octaves
two octaves
three octaves
p, mf or f
as requested by
the examiner
two octaves
to 12th
55
Plectrum
Guitar Grade 7
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the lists below, to form a balanced programme.
Instead of one item, candidates may offer their own composition (see page 10).
Composer
Piece
Byrd
Chilton
Chilton
Ford
Garcia
Gnattali
Howard,
arr. Jones
Kessel
Lennon &
McCartney
Kalmus CP145
Roy Chilton Music
Roy Chilton Music
Hal Leonard
Mel Bay MB95430
Chanterelle ECH727
Note: If a book includes a backing CD, that CD must be used in the exam.
56
Publisher
Wise AM967978
or Group 2:
Tonal/modal centres G
(three octaves, except where specified)
and C (two octaves)
p, mf or f
as requested by
the examiner
to 12th
ii) Cadences:
Fmin7sus4Bb9Eb6/9
Am9D13Gmaj7
Dmin7b5G7Cm7
Fmaj7Dm7Gm7C9Fmaj7
57
Plectrum
Guitar Grade 8
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the lists below, to form a balanced programme.
Instead of one item, candidates may offer their own composition (see page 10).
Composer
Piece
J S Bach
Carcassi
Chilton
Chilton
Elden
Kessel
Reinhardt
Sollory
York
Note: If a book includes a backing CD, that CD must be used in the examination.
58
Publisher
or Group 2:
Tonal/modal centres Bb
(three octaves, except where specified)
and D (two octaves)
p, mf or f
as requested by
the examiner
two octaves
to 12th
ii) Cadences:
Bm7E7Amaj7
Ebm7Ab9Dbmaj7
D#min7b5G#7C#min7
C6Am7Dm7G7Cmaj7
Gmaj7Em7Am7D13b9G6
59
Music publishers
Non-UK 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.
Trinity 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.
ABG (ABG Publications):
F +44 (0)1865 725811; www.geraldgarcia.com
Durand (Editions Durand): www.durand-salaberteschig.com; in UK: c/o De Haske Hal Leonard Ltd
60
Maecenas (Maecenas Music):
T +44 (0)20 8660 3914; www.maecenasmusic.co.uk
Kevin Mayhew (Kevin Mayhew Publishers):
T +44 (0)1449 737 978; www.kevinmayhew.com
Mel Bay (Mel Bay): c/o Kevin Mayhew Publishers
Montague (Montague Music):
T +44 (0)1832 274 790; www.simplyguitar.co.uk
Music Exchange (Music Exchange (Manchester)
Ltd): T +44 (0)161 946 9301;
www.music-exchange.co.uk
Music publishers
XYZ (XYZ International BV): T +31 35 69 58 599;
www.emcmusic.nl; in UK; c/o Spartan Press Music
Publishers Ltd
UK Specialist Suppliers
In case of difficulty obtaining music, many items
will be found in stock at:
Guitarnotes
T: +44 (0)115 962 2709; www.spanishguitar.com
61
Trinity
College London publications
Guitar Books
Guitar CDs
Aural Tests
The Sound at Sight series gives full instructions and practice materials for
preparation for the sight reading tests. Sound at Sight Guitar is available
in two books, InitialGrade 3 and Grades 48.
All Trinity College London publications are available from your local music shop or from
www.trinitycollege.co.uk/shop
For a publications catalogue or if you have any queries about music published by
Trinity College London, please contact:
Trinity College London
89 Albert Embankment
London SE1 7TP, UK
T +44 (0)20 7820 6100
F +44 (0)20 7820 6161
E music@trinitycollege.co.uk
www.trinitycollege.co.uk/music
62