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MOZART

LLOYD WEBBER
RODGERS
ELECTRONIC
TCHAIKOVSKY
KEYBOARD
HANDEL
& ORGAN
ELGAR
SYLLABUS
KANDER
SOUSA
Qualification specifications
for graded exams 2019–2022
JOPLIN
ZIMMER
SHERMAN
BEETHOVEN
STING
SULLIVAN
JOBIM
SCHUBERT
GERSHWIN
VIVALDI
GLASS
HOLST
WHAT’S CHANGED?
This syllabus features the following changes from the 2015–2018 syllabus:
◗◗ New performance repertoire for electronic keyboard at all grades, covering a wide range of
styles including popular classics, show tunes, film themes, jazz, folk and world music
◗◗ Restructured technical work for electronic keyboard: all candidates (except Initial) perform a
keyboard exercise, then choose either scales & chord knowledge or exercises
◗◗ Revised scales & chord knowledge requirements for electronic keyboard, with greater focus on
modal scales, chord progressions and arpeggios
◗◗ New electronic keyboard exercises at all grades, including a new sequencing option at Grades 6–8
◗◗ Electronic Organ exams are no longer offered (NB Electronic Organ exams from the 2015–2018
syllabus may be taken until 31 December 2019)
◗◗ Revised own composition requirements (see page 18)
◗◗ An information and regulations section is no longer included in this syllabus — this information
can be found at trinitycollege.com/music-regulations

KEEP UP TO DATE
Please check trinitycollege.com/electronic-keyboard to make sure you are using the latest
version of the syllabus and for the latest information about our Electronic Keyboard and
Organ exams.

OVERLAP ARRANGEMENTS
This syllabus is valid from 1 January 2019. The 2015–2018 syllabus will remain valid until
31 December 2019, giving a one year overlap. During this time, candidates may present
pieces and technical work from the 2015–2018 or the 2019–2022 syllabus, but not both.
Candidates should indicate which syllabus they are presenting on the appointment form
handed to the examiner at the start of the exam.
ELECTRONIC
KEYBOARD
& ORGAN
SYLLABUS
Qualification specifications for
graded exams 2019–2022

Trinity College London


trinitycollege.com
Charity number | 1014792
Patron | HRH The Duke of Kent KG
Chief Executive | Sarah Kemp
Copyright © 2018 Trinity College London
Published by Trinity College London
Online edition, November 2018

1
Contents
3 / Welcome

4 / Introduction to Trinity’s graded music exams

9 / Learning outcomes and assessment criteria

11 / About the exam

14 / Exam guidance: Instruments

16 / Exam guidance: Pieces

19 / Exam guidance: Technical work

21 / Exam guidance: Supporting tests

34 / Exam guidance: Marking

42 / Electronic Keyboard

78 / Organ

111 / Electronic keyboard glossary of chords

112 / Policies

114 / Publishers

115 / Trinity publications

116 / Electronic keyboard & organ resources

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

2
Welcome

Welcome
Welcome to Trinity College London’s Electronic Keyboard & Organ syllabus, containing details
of graded exams from Initial to Grade 8. It offers the choice and flexibility to allow electronic
keyboard players and organists to perform to their strengths, enabling them to gain recognition
for their own unique skills as performers.
Build authentic skills
Our technical work and supporting tests are specially designed to develop the skills that are
specific to your instrument. For electronic keyboard players, a combination of keyboard exercises
that build awareness of chords and chord progressions, and technical exercises that focus on

Welcome
a variety of keyboard techniques including a new sequencing option, develop essential and
authentic skills progressively through the grades.
Explore varied repertoire
Discover pieces across a variety of genres, showcasing the wide range of styles available to
keyboard and organ players. Electronic keyboard repertoire encompasses popular classics, show
tunes, film themes, jazz, folk and world music, expertly arranged according to the requirements
for the grade.
Benefit from industry expertise
The syllabus and supporting books have been created in consultation with leading electronic
keyboard and organ specialists. You can access videos and handouts to support teaching and
learning at trinitycollege.com/keyboard-resources, and join us online and on social media to
find out when new resources are available.
We hope you enjoy exploring the music on offer in this syllabus and we wish you every success
in the exams and your wider music-making.

ABOUT TRINITY COLLEGE LONDON


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

3
Introduction to Trinity’s graded music exams

Introduction to Trinity’s
graded music exams
OBJECTIVE OF THE QUALIFICATIONS ASSESSMENT AND MARKING
Trinity’s graded music exams provide a Trinity’s graded music exams are assessed by
structured yet flexible framework for progress, an external examiner trained and moderated
which enables learners to demonstrate by Trinity. Examiners provide marks and
their own musical personality and promotes comments for each component of the exam
enjoyment in music performance. using the assessment criteria on pages 36–41.
The exams assess music performance, The exam is marked out of 100. Candidates’
technical ability and responses to set results correspond to different attainment
musical tests through face-to-face practical levels as follows:
assessment. They offer learners of any age the
opportunity to measure their development as Mark Attainment level
performers against a series of internationally
understood benchmarks, taking them from 87–100 DISTINCTION
beginner level to the point where they can
progress to higher education in music, or 75–86 MERIT
enter for Trinity’s performance diplomas.
60–74 PASS

WHO THE QUALIFICATIONS ARE FOR 45–59 BELOW PASS 1


Trinity’s graded music exams are open to all
0–44 BELOW PASS 2
learners, with no age restrictions or other
limitations. There is no requirement to have See pages 34–41 for further information about
passed lower grades, theory exams or other how the exam is marked.
qualifications, although the grades represent
a system of progressive mastery and the
outcomes for each level assume confidence
in the requirements of previous grades.
Repertoire selection and other exam content
is designed to appeal to learners of all ages
and backgrounds, reflecting the diversity
of candidates.
Trinity is committed to making its exams
accessible to all, and each candidate is
treated individually when considering how
assessments can be adapted for those
with special needs. Find out more at
trinitycollege.com/music-csn

4
Introduction to Trinity’s graded music exams

DURATION OF STUDY (TOTAL QUALIFICATION TIME)


All regulated qualifications are assigned a total qualification time. This should be used as guidance
only. Total qualification time is an estimate of the average time a candidate spends with a teacher
(guided learning hours) added to the average time spent learning independently. It is recognised
that the amount of time needed to commit to a qualification will be dependent on each individual’s
level of experience.
Guided learning hours Independent learning hours Total qualification time
(GLH) (ILH) (TQT) (hours)
Initial 8 32 40

Grade 1 12 48 60

Grade 2 18 72 90

Introduction
Grade 3 18 102 120

Grade 4 24 126 150

Grade 5 24 156 180

Grade 6 36 184 220

Grade 7 48 222 270

Grade 8 54 266 320

RECOGNITION AND UCAS POINTS WHERE THE QUALIFICATIONS


Trinity College London is an international COULD LEAD
exam board regulated by Ofqual (Office While for some learners graded music exams
of Qualifications and Examinations represent a personal goal or objective,
Regulation) in England, CCEA Regulation they can also be used as a progression
in Northern Ireland and by Qualifications route towards:
Wales. Various arrangements are in
◗◗ D
 iplomas in performing and teaching
place with governmental education
offered by Trinity or by other awarding
authorities worldwide.
organisations
In the UK, Grades 6–8 are eligible for UCAS ◗◗ Music courses at conservatoires and
(Universities and Colleges Admissions Service) universities, for which Grade 8 is often
points for those applying to colleges and specified as an entry requirement
universities, as follows:
◗◗ Employment opportunities in music
Grade 6 and the creative arts
UCAS POINTS
PASS 6 | MERIT 10 | DISTINCTION 12
Grade 7
UCAS POINTS
PASS 10 | MERIT 12 | DISTINCTION 16
Grade 8
UCAS POINTS
PASS 18 | MERIT 24 | DISTINCTION 30
5
Introduction to Trinity’s graded music exams

HOW TO ENTER FOR AN EXAM OTHER QUALIFICATIONS OFFERED


BY TRINITY
Exams can be taken at Trinity’s public
exam centres, which are available After Grade 8 or the Advanced Certificate
throughout the world. Details are available classical music exams, candidates can
at trinitycollege.com/worldwide, and progress to diplomas at Associate (ATCL),
candidates should contact their local Licentiate (LTCL) and Fellowship (FTCL)
Trinity representative for more information. levels. These assess higher skills in
performance, teaching and theory. Find out
Alternatively, in the UK, schools and private more at trinitycollege.com/music-diplomas
teachers with sufficient candidates may apply
for an exam visit. Details are available at Music Tracks is an initiative in the UK designed
trinitycollege.com/exam-visit to support teachers in delivering instrumental
tuition for both large and small groups. Find out
more at trinitycollege.com/music-tracks
TRINITY QUALIFICATIONS THAT
COMPLEMENT THE ELECTRONIC We also offer:
KEYBOARD & ORGAN QUALIFICATIONS
◗◗ Graded, certificate and diploma
Trinity’s music qualifications offer flexible qualifications in drama-related subjects
progression routes from beginner to
◗◗ English language qualifications
advanced levels in a range of musical styles.
All are designed to help candidates develop ◗◗ Teaching English qualifications
as musicians according to their individual ◗◗ Arts Award (only available in
needs as learners. certain countries)
Graded music exams assess a broad range of Specifications for all these qualifications
musicianship skills, including performance, while can be downloaded from trinitycollege.com
certificate exams focus entirely on performance,
including separate marks for presentation skills.
Find more information about certificate exams
at trinitycollege.com/music-certificates
Trinity’s graded Rock & Pop exams are
available for bass, drums, guitar, keyboards
and vocals. Find out more at trinityrock.com
Candidates can enter any combination
of graded or certificate exams, and do not
need to pass any particular level in order
to proceed to a higher level.
Theory exams are available from Grade 1 to
support learners to develop their understanding
of the technical language of music. However,
no theory qualifications or other prerequisites
are required to enter graded or certificate
exams at any level. Find out more at
trinitycollege.com/theory

6
Introduction to Trinity’s graded music exams

REGULATED LEVELS OF TRINITY’S MUSIC QUALIFICATIONS

RQF* EQF** Classical Rock Theory Music Solo Group


Level Level & Jazz & Pop & Written Tracks† Certificates† Certificates†

7 7 FTCL

6 6 LTCL LMusTCL

4 5 ATCL AMusTCL

Introduction
Grade 8 Grade 8 Grade 8 Advanced Advanced

3 4 Grade 7 Grade 7 Grade 7

Grade 6 Grade 6 Grade 6

Grade 5 Grade 5 Grade 5 Intermediate Intermediate


2 3
Grade 4 Grade 4 Grade 4

Grade 3 Grade 3 Grade 3 Foundation Foundation

1 2 Grade 2 Grade 2 Grade 2 Track 2

Grade 1 Grade 1 Grade 1 Track 1

Entry Initial
1 Initial Initial
Level 3 Track

Entry First
Levels Access
1–2 Track

* Regulated Qualifications Framework in England and Northern Ireland


** European Qualifications Framework
† Not RQF or EQF regulated

7
Introduction to Trinity’s graded music exams

REGULATED TITLES AND QUALIFICATION NUMBERS


FOR GRADED MUSIC EXAMS

Regulated title Qualification


number

Initial
TCL Entry Level Award in Graded Examination in Music Performance 601/0812/5
(Initial) (Entry 3)

Grade 1
TCL Level 1 Award in Graded Examination in Music Performance 501/2042/6
(Grade 1)

Grade 2
TCL Level 1 Award in Graded Examination in Music Performance 501/2041/4
(Grade 2)

Grade 3
TCL Level 1 Award in Graded Examination in Music Performance 501/2043/8
(Grade 3)

Grade 4
TCL Level 2 Certificate in Graded Examination in Music Performance 501/2044/X
(Grade 4)

Grade 5
TCL Level 2 Certificate in Graded Examination in Music Performance 501/2045/1
(Grade 5)

Grade 6
TCL Level 3 Certificate in Graded Examination in Music Performance 501/2097/9
(Grade 6)

Grade 7
TCL Level 3 Certificate in Graded Examination in Music Performance 501/2098/0
(Grade 7)

Grade 8
TCL Level 3 Certificate in Graded Examination in Music Performance 501/2099/2
(Grade 8)

8
Learning outcomes and assessment criteria

Learning outcomes
and assessment criteria

Learning outcomes and assessment criteria


INITIAL–GRADE 3
(Initial = RQF Entry Level 3, Grades 1–3 = RQF Level 1)

LEARNING OUTCOMES ASSESSMENT CRITERIA


The learner will: The learner can:

1. Apply skills, knowledge and understanding to present


1.1 
Perform music in a performances that demonstrate careful preparation, musical
variety of styles set awareness and the beginning of thoughtful interpretation
for the grade
Perform with general security of pitch and rhythm, and with
1.2 
attention given to dynamics and articulation
Maintain a reasonable sense of continuity in performance
1.3 
and convey the mood of music in a variety of styles

2.
Demonstrate technical Demonstrate familiarity with the fundamentals of
2.1 
ability on an instrument instrumental command
through responding to 2.2 Demonstrate technical control and facility within set tasks
set technical demands

3. Recognise and respond to simple elements of music in a


3.1 
Respond to set practical context
musicianship tests
3.2 Demonstrate basic aural and musical awareness

9
Learning outcomes and assessment criteria

GRADES 4–5
(RQF Level 2)

LEARNING OUTCOMES ASSESSMENT CRITERIA


The learner will: The learner can:

1. Support their intentions in musical performance


1.1 
Perform music in a
Demonstrate an understanding of music that allows a
1.2 
variety of styles set
degree of personal interpretation in performance
for the grade
1.3 Perform with general accuracy, technical fluency and
musical awareness to convey musical character in a variety
of styles

2.
Demonstrate technical Demonstrate a developing instrumental command
2.1 
ability on an instrument
through responding to 2.2 Demonstrate technical control and facility within set tasks
set technical demands

3. Recognise and respond to elements of music in a


3.1 
Respond to set practical context
musicianship tests
3.2 Demonstrate aural and musical awareness

GRADES 6–8
(RQF Level 3)

LEARNING OUTCOMES ASSESSMENT CRITERIA


The learner will: The learner can:

1. Integrate their musical skills, knowledge and understanding


1.1 
Perform music in a in performance
variety of styles set
Present secure and sustained performances that demonstrate
1.2 
for the grade
some stylistic interpretation
Perform with general accuracy, technical fluency and musical
1.3 
awareness to communicate musically in a variety of styles

2.
Demonstrate technical Demonstrate instrumental command
2.1 
ability on an instrument 2.2 Demonstrate technical control across the full compass of
through responding to the instrument/voice within set tasks
set technical demands

3. 3.1 
Recognise and respond to musical features in a practical context
Respond to set
musicianship tests 3.2 Demonstrate musical and stylistic awareness

10
About the exam

About the exam


Each exam has three sections: pieces, technical work and supporting tests. There are slightly
different requirements depending on the level of the exam.

PIECES TECHNICAL WORK SUPPORTING TESTS


Choose three pieces, Electronic keyboard: keyboard A combination of two tests
each worth 22 marks. exercise, followed by either from sight reading, aural,
scales & chord knowledge improvisation and musical
or exercises. knowledge, depending on
Organ: scales & arpeggios grade and candidate choice.
(Grades 1–5); scales &
arpeggios and pedal study
(Grades 6–8).

About the exam


PIECES
66 MARKS

TECHNICAL
WORK
14 MARKS

SUPPORTING
TESTS
20 MARKS

11
About the exam

EXAM STRUCTURE AND MARK SCHEME

Initial–Grade 5 Maximum Grades 6–8 Maximum


marks marks

PIECE 1 22 PIECE 1 22

PIECE 2 22 PIECE 2 22

PIECE 3 22 PIECE 3 22

TECHNICAL WORK* 14 TECHNICAL WORK** 14

◗◗ Keyboard exercise (Grades 1–5 only) ◗◗ Keyboard exercise


◗◗ Either scales & chord knowledge ◗◗ Either scales & chord knowledge
or exercises or exercises

SUPPORTING TESTS 20 SUPPORTING TEST 1 10

Any TWO of the following: ◗◗ Sight reading


◗◗ Sight reading
◗◗ Aural
◗◗ Improvisation SUPPORTING TEST 2 10
◗◗ Musical knowledge
ONE of the following:
◗◗ Aural
◗◗ Improvisation

TOTAL 100 TOTAL 100

* Organ technical work at Grade 1 is scales, and at Grades 2–5 is scales & arpeggios.
12 ** Organ technical work at Grades 6–8 is scales & arpeggios and pedal study.
About the exam

ORDER OF THE EXAM


Candidates can choose the order of the sections of their exam, and should indicate their
preferred order on their appointment form. This should be given to the examiner at the start
of the exam. If no preference is indicated the examiner will ask to hear technical work first.

EXAM DURATIONS
Exams are designed to include sufficient time for setting up and presenting all sections,
and overall durations are as follows:

Initial Grade 1 Grade 2


13 mins 13 mins 15 mins

About the exam


Grade 3 Grade 4 Grade 5
15 mins 20 mins 20 mins

Grade 6 Grade 7 Grade 8


25 mins 25 mins 30 mins

13
Exam guidance: Instruments

Exam guidance: Instruments


ELECTRONIC KEYBOARD ◗◗ All pieces and tests will be assessed on the
musicality of the candidate’s performance
◗◗ Candidates are responsible for providing
and not on the capability of the instrument
their own keyboard, music stand, keyboard
itself. However, performances that do not
stand, power adaptor and seat (if required).
realise a large amount of the performance
◗◗ A mains power supply will be available at information on the printed score will not be
centres but candidates should check with able to achieve high marks.
the centre representative to ensure it will
◗◗ While every care has been taken to ensure
be within easy reach of the instrument.
that the pieces and tests are suitable
◗◗ Candidates are responsible for the electrical for the widest range of instruments, it is
safety of any equipment used in their exam. recognised that there will be occasions
◗◗ Stewards will normally assist with setting-up when performance as notated will not be
and removing the keyboard, but candidates possible on some instruments. In such
should have a full working knowledge of the cases, candidates may adapt the material
set-up procedure. to what is possible on the instrument they
have, modifying the music in an appropriate
◗◗ It is recommended that instruments have and imaginative way while preserving the
the following specification: substance of melody, harmony and rhythm.
— Range: minimum four octaves for ◗◗ It is recognised that instruments vary, and
Initial to Grade 1, minimum five octaves that not all voices and styles are equal.
for Grades 2–8 If candidates feel that the specified voices
— Keyboard: full-size keys and styles are not wholly appropriate
on their instrument, they may use
— Capability:
any musically acceptable alternative.
f rom Grade 2: minimum 16-note Any changes must not substantially alter
polyphonic capacity, a range of individual the character of the piece (eg changing
voices and rhythm styles, dual voice/layer, clarinet/march to electric guitar/ballad).
touch sensitivity option
◗◗ Up to and including Grade 2, candidates using
from Grade 3: registration memory keyboards without registration memory may
from Grade 5: left split point need to use a different voice from the one
indicated in the music, in order to achieve
f rom Grade 6: a minimum of quick changes (for example, by selecting
eight registrations that can be voices with near or adjacent menu locations).
pre-programmed before the exam;
touch sensitivity (compulsory); left ◗◗ The ability to use dual voice and to
voice; accompaniment split point; pedal programme voice changes is important to
function (with different settings to build a musically interesting performance.
include sustain, registration change, fill, ◗◗ The use of volume control is important to
rhythm start/stop); pitch bend function add interest and shape, and candidates
with moveable range; LFO/modulation should follow the dynamics marked in the
function; octave transpose for both right score. Candidates can vary the volume
and left voices; chord settings including manually, through foot pedals or through
fingered chords, fingered on bass and full a touch-sensitive keyboard setting.
keyboard chords

14
Exam guidance: Instruments

◗◗ The use of accompaniment B and, optionally, ORGAN


accompaniments C and D at Grades 6–8, can ◗◗ Candidates must contact the centre
add a feeling of climax and direction. representative well in advance of the exam
◗◗ Left and accompaniment split point date to discuss and agree arrangements for
functions are required at Grades 6–8. instruments, venue and location.
Pieces that require these functions have ◗◗ Instruments must be installed before the
split points suggested for five octave start of the exam day and not removed
keyboards where middle C is C3. until the end.
◗◗ Guides for the use of octave transpose on five ◗◗ If the exam is held in a public building,
octave keyboards are included in Grades 6–8 arrangements must be made to ensure
pieces that require this function. there is no audience present.
◗◗ A glossary of terms, including further ◗◗ Candidates may play a conventional pipe
guidance on keyboard functions, is organ, a pipeless analogue electronic organ,
available at trinitycollege.com/ or a computer organ.
keyboard-resources
◗◗ Candidates should always check that the
◗◗ Candidates may introduce additional instrument they are using is adequate
changes according to the capabilities for the requirements of the pieces they
of their instrument, as long as they are are performing.

Exam guidance: Instruments


musically appropriate.
◗◗ Candidates have freedom of registration
◗◗ Auto intros/endings may only be used where as appropriate to the music played.
indicated and must be integrated within
the style and instrumentation of the piece. ◗◗ Memory features other than adjustable
They should not exceed four bars in length. pistons and the use of sequencers are
not permitted.
◗◗ Pre-recorded material is not permitted
(except in the sequencing exercise), but ◗◗ In situations where an instrument has
registration memory facilities may be used. limited or no registration aids, the use of
a registrant is permitted. However, when
an organ does have standard or adjustable
combination actions, candidates are
expected to manage the registrations
without assistance.

15
Exam guidance: Pieces

Exam guidance: Pieces


◗◗ Candidates choose the voice(s) and style,
and should adapt the music by changing
rhythm, register or even varying melody
and harmony to produce a creative response.

PIECES ◗◗ Auto intros/endings are not permitted,


although candidates may compose and
66 MARKS
perform their own intro/ending, and bridge
passages between verses.

Chords
◗◗ Candidates may use single fingered chords
or fully fingered chords, though at higher
grades the chords required may not be
ELECTRONIC KEYBOARD available as single fingered chords.
Choosing pieces ◗◗ Candidates are free to use their judgement
in choosing spacing and arrangement
◗◗ Candidates play three pieces in their exam,
of the notes according to the most
chosen freely from the lists provided.
convenient fingering.
◗◗ Initial–Grade 5: In place of one of the listed
pieces, candidates may perform an own Set-up
composition (see page 18).
◗◗ Efficient setting-up is a major part of the
◗◗ Grades 6–8: In place of one of the listed technique of the instrument and is expected
pieces, candidates may perform an own to be carried out quickly and efficiently in
composition (see page 18), or a piece of all exams.
their own choice, or their own arrangement
of a piece of their own choice (either a ◗◗ Marks may be deducted for unnecessary
keyboard or a non-keyboard piece). delays in setting-up for any part of the exam,
including long delays at the start or between
◗◗ Own-choice pieces and arrangements must items, or restarts due to improper set-up.
contain a level of technical and musical
demand similar to that of the pieces listed ◗◗ To avoid delays between items, at the end
for the grade. Trinity does not pre-approve of each piece, candidates should begin
own-choice pieces or arrangements, setting-up for the next piece.
although marks may be deducted where
they do not allow candidates to demonstrate ORGAN
performance at the required level.
Choosing pieces

Own interpretation pieces ◗◗ Candidates play three pieces in their exam,


chosen from the lists provided.
◗◗ In each graded exam book there is one
own interpretation piece option, which ◗◗ Pieces are divided into two groups: group
candidates may select if they choose. A and group B. Candidates must choose at
It allows candidates to create a personal least one piece from each group. The third
arrangement with as much artistic and piece may be chosen from either group, or
musical flair as possible in line with the may be the candidate’s own composition
expectations for the grade, reflecting (see page 18).
real-life performance scenarios. ◗◗ Pieces by at least two composers should
be played.
16
Exam guidance: Pieces

PERFORMANCE AND INTERPRETATION MUSIC AND COPIES


◗◗ Candidates should prepare all pieces in ◗◗ Candidates should obtain the music for their
full unless stated otherwise in this syllabus. exam in good time before entering for the
exam, and they must bring it with them on
◗◗ Candidates should observe repeats of the day of the exam.
a few bars, but longer repeats should
not be played unless stated otherwise ◗◗ We publish selected pieces for electronic
in this syllabus. keyboard in our graded exam books.
Recommended editions for other pieces are
◗◗ All da capo and dal segno instructions listed in this syllabus, but candidates may
should be observed. perform from any reliable edition that has
◗◗ Candidates are not required to play not been shortened or otherwise simplified.
cadenzas unless stated otherwise Editions containing inauthentic performance
directions, for example Romantic phrasing
in this syllabus.
in Baroque repertoire, are not acceptable.
◗◗ Candidates are encouraged to use If a particular edition must be used, this is
appropriate ornamentation, particularly indicated in the syllabus. Product codes for
at Grades 6–8. publications are included where available.
◗◗ All tempo and performance markings ◗◗ We take copyright infringement seriously
should be observed (eg allegro, rall., cresc.). and require candidates to ensure their
Metronome marks are given as a guide music comes from a legitimate source.
but do not need to be observed exactly, as Guidelines are available in the UK Music
long as the style and character of the piece Publishers Association’s Code of Fair
is maintained. Practice, available at mpaonline.org.uk.
Candidates must comply with copyright
◗◗ Candidates may perform any or all of their and other intellectual property laws in the
pieces from memory if they wish. However, country where the exam is taking place.
this is not compulsory and no additional

Exam guidance: Pieces


◗◗ In accordance with the MPA Code of Fair
marks are given for this. Practice, candidates must produce original
copies of all pieces to be performed in the
PAGE TURNS exam, even if pieces have been memorised,
handwritten or typeset. Pieces where no
◗◗ The examiner will not be able to act as a page
original copy has been provided might
turner. Difficult page turns may be overcome be awarded no marks.
by photocopying the relevant pages.
◗◗ If candidates are performing pieces not
◗◗ A page turner may assist at Grades 6–8, contained in Trinity’s graded exam books,
but must only be present in the exam room they will need to provide a photocopy as a
when required to turn pages. reference for the examiner. Photocopies will
◗◗ The page turner should not be the be kept by the examiner and destroyed after
candidate’s teacher. the exam. Examiners will have a copy of
the repertoire contained in Trinity’s graded
exam books.
◗◗ Where music has been downloaded,
candidates must bring proof of purchase
or details of the website where it was
accessed for the examiner’s reference.

17
Exam guidance: Pieces

OBTAINING MUSIC FOR THE EXAM OWN COMPOSITION


◗◗ All publications listed in this syllabus can be ◗◗ Candidates can choose to perform an
ordered at trinitycollege.com/shop or your own composition as one of their pieces.
local music shop. Own composition pieces are assessed
◗◗ Trinity publishes graded exam books for in the same way as the listed repertoire.
electronic keyboard, as well as sight reading Marks are not awarded for the quality
books and aural test books. See page 115 for of the composition.
more information. ◗◗ Own compositions must be comparable in
◗◗ Details of the publishers listed in this technical and musical demand to the pieces
syllabus can be found on page 114. listed for the same grade. Examples of
optional compositional techniques that
◗◗ Non-UK publishers may have different local might be used at each level are listed in
agents in other parts of the world who each grade section of this syllabus.
may be able to supply music more easily
or quickly. Please contact the publishers ◗◗ A typeset or handwritten copy of the
directly for details. composition must be given to the examiner
at the beginning of the exam. At Initial to
◗◗ Trinity cannot guarantee that music will Grade 5, own compositions may be notated
always be in stock with local suppliers. in any easily readable form, including
Candidates and teachers should always graphic score or lead-sheet. At Grades 6–8
check with the publisher before it is assumed they must be notated on a stave. Marks will
that any item has gone out of print. be deducted if notation is incomplete or
inaccurate, or if the performance varies
significantly from the notation.
◗◗ Own compositions should be candidates’
own unaided work, although teachers may
offer guidance as necessary.

18
Exam guidance: Technical work

Exam guidance: Technical work


◗◗ At Grades 1–5 the keyboard exercise may
be played either from memory or using
the music. At Grades 6–8 it must be played
from memory.
◗◗ The master volume should be set to
TECHNICAL WORK 50–75% of maximum, resulting in a mf  
to f dynamic level.
14 MARKS
Scales & chord knowledge
Learning scales is an important part of
developing technical focus, strength and
agility, and harmonic and melodic skills.
This section of the exam supports the A wide range of scales relevant to authentic
development of technical skills by assessing performance contexts is covered in this
candidates’ performance in a range of component, including modes, pentatonic
technical work options. These promote and blues scales.
agility, harmonic and melodic awareness Chord knowledge develops awareness of
and underpin musical style. chord patterns and progressions.
Candidates prepare the scales and chords
ELECTRONIC KEYBOARD set for the grade, and play a selection as
From Grade 1, all candidates begin the requested by the examiner.
technical work section by performing a

Exam guidance: Technical work


keyboard exercise. They then choose one ◗◗ All requirements should be played with
of the following options: a piano voice, with no additional voice,
accompaniment, sustain pedal, rhythm
◗◗ Scales & chord knowledge or metronome click.
◗◗ Exercises ◗◗ All scales and chords must be played
At Initial, candidates don’t perform the from memory.
keyboard exercise but the other requirements ◗◗ The master volume should be set to
are the same. Full details of all requirements are 50–75% of maximum, resulting in a
included in the Trinity exam book for the grade. mf  to f dynamic level.
◗◗ Requirements may be played an
Keyboard exercise octave higher or lower if necessary to
At Grades 1–5 the keyboard exercise is a accommodate the range of the instrument.
scale, chosen by candidates from the list ◗◗ Scales should be played in similar motion,
for the grade, performed in the right hand except where stated.
accompanied by chords in the left hand.
It focuses on specific skills needed by ◗◗ All similar motion scales should be
electronic keyboard players that develop performed ascending then descending,
awareness of chords and chord progressions. with the right hand playing one octave
above the left hand, unless otherwise stated.
At Grades 6–8, candidates perform a scale
followed by an arpeggio. ◗◗ A minimum pace is indicated, increasing
gradually grade by grade. Rhythmic patterns
◗◗ The keyboard exercise should be played are all even quavers.
with a piano voice, with no additional voice,
accompaniment, sustain pedal, rhythm or
metronome click.
19
Exam guidance: Technical work

Exercises ORGAN
Exercises are specially composed short pieces Candidates prepare the scales and arpeggios
designed to demonstrate and develop key listed for the grade, and play a selection as
areas of technique through performance. requested by the examiner. Candidates at
Grades 6–8 also perform a pedal study.
Initial–Grade 5: Candidates should prepare
all three exercises from the list for the grade ◗◗ All scales and arpeggios must be played
(keyboard functions, scalic, pianistic), two of from memory. Candidates may use music
which are played in the exam. One is chosen for the pedal study at Grades 6–8.
by the candidate and one by the examiner. ◗◗ Scales should be played in similar motion,
Grades 6–8: Candidates should prepare except where stated.
any three exercises from the list for the ◗◗ All similar motion scales should be
grade (keyboard functions, scalic, pianistic, performed ascending then descending,
sequencing), two of which are played in the with the right hand playing one octave
exam. One is chosen by the candidate and above the left hand unless otherwise stated.
one by the examiner.
◗◗ A minimum pace is indicated, increasing
◗◗ Exercises may be played either from gradually grade by grade. Rhythmic patterns
memory or using the music. are all even quavers.
◗◗ Candidates choosing the sequencing Further information about specific technical
exercise should pre-record the sequenced work requirements for each grade is given in
part in advance of the exam. In the exam the relevant sections of this syllabus.
they should play the solo part live with
the sequenced part. Examiners assess the
performance of the live part, including
synchronisation with the sequenced part.
The performance of the sequenced part is
not assessed.
◗◗ Exercises are included in the Trinity exam
book for the grade.
Further information about specific technical
work requirements for each grade is given
in the relevant sections of this syllabus.

20
Exam guidance: Supporting tests

Exam guidance: Supporting tests


SIGHT READING
This test assesses candidates’ ability to
perform a previously unseen musical
extract, at a level approximately two grades
SUPPORTING lower than the exam being taken. Our sight
TESTS reading pieces are designed to be musically
intuitive and natural, preparing candidates
20 MARKS
for performance contexts.
After setting up their instrument, candidates
are given 30 seconds to study the test before
performing it, during which they may practise
any or all of it aloud. The examiner will not
mark this preparation period.
This section of the exam supports the Examples of sight reading tests for electric
development of broader musical skills keyboard may be found in Trinity’s Sound at
by assessing candidates in two different Sight series, available from trinitycollege.com/
supporting tests. shop or from your local music shop.
At Initial to Grade 5, candidates choose Candidates for Electronic Keyboard exams
two supporting tests from four options: at Initial to Grade 5 may choose between
◗◗ Sight reading two different ways of performing the sight
reading test: either with single fingered
◗◗ Aural chords with rhythm and accompaniment, or
◗◗ Improvisation with fully fingered chords without rhythm.
Candidates for Grade 6–8 exams must perform
◗◗ Musical knowledge
the sight reading test using fully fingered

Exam guidance: Supporting tests


At Grades 6–8, all candidates are assessed chords with rhythm and accompaniment.
in sight reading, and choose either aural or
Technical expectations for the tests are
improvisation for their second supporting test.
given in the tables on pages 22–23. Lists are
This flexibility is designed to allow candidates cumulative, meaning that tests may also
to demonstrate their musical skills in different include requirements from lower grades.
ways, while recognising that sight reading is an
important skill at higher grades.

21
Exam guidance: Supporting tests

SIGHT READING PARAMETERS FOR ELECTRONIC KEYBOARD

Keys* Time Chords* Note and Dynamics* Other*


signatures* rest values*

Initial C major 2 q and h mf


5-finger hand
position only

5-finger hand
Grade 1 4 I, V and f position (RH
not tonic)

change of
Grade 2 A minor 3 IV h. and Πp hand position
within octave

F and
w, q. and e
G major
Grade 3 VI
D minor
(incl C#)

D major
Grade 4 B and E V7 2-part RH
minor

A and
Grade 5 Bb major 6 x and  3-part RH
C minor

all common
chords and
dominant
Eb major RH chords of 3
7th chords mp, cresc., notes or more
Grade 6 F# and G 8 minor 7th
grace notes
dim.
minor spread chords
chords on
white root
notes only

minor 7th
chords on
E and
black notes dotted
Ab major
Grade 7 1, major 7th semibreves
F minor
chords on
white notes

major 7th
chords on
B and Db black notes duplets,
Grade 8
major triplets
diminished
chords

22 * Cumulative — tests may also include requirements from preceding grade(s)


SIGHT READING PARAMETERS FOR ORGAN * Cumulative — tests may also include requirements from preceding grade(s)

Keys* Time Note and Tempi and Manuals* Pedals* Registration and
signatures* rest values* articulation* dynamics*

C and G major remains within


moderato, single manual, 8’ only,
Grade 1 A minor (white 2, 4 q, h, w and hand position (not
legato mf
notes only) necessarily C)

allegretto,
Grade 2 3 2-part texture
h. and ties simple phrasing

andante, two manuals (hands on


F major notes between A2 and
Grade 3 more intricate the same manual), 4’,
D minor (incl C#) e, Πand G3 inclusive (toes only)
phrasing p and f, pedal couplers

D and Bb major
staccato, notes between F2 and
Grade 4 E and D minor 3-part texture manual couples, 2’, 16’
q. and ‰ accents, pause C4 inclusive (toes only)
(plus accidentals)

A and Eb major more varied texture, hands on separate


rall., accel., toe and heel signs, more
x and ;
Grade 5 B and G minor 6 dotted notes some further manuals, change of
a tempo independent pedal part
(incl modulation) and rests chromaticism manual

any common adjacent notes with same use of swell pedal, cresc.
Grade 6 F# and C minor 8 terms and signs foot, staccato, legato and dim., pp and ff

full use of pedals


E and Ab major more complex
Grade 7 9 throughout range,
C# and F minor textures
including crossing feet

B and Db major ,
G # and Bb minor changing duplets, changes
Grade 8
(incl double time triplets of registration
sharps and flats) signatures

23
Exam guidance: Supporting tests

Exam guidance: Supporting tests


Exam guidance: Supporting tests

AURAL Stylistic stimulus


This test supports the development of This option requires candidates to improvise on
candidates’ abilities in musical perception and their instrument over a notated accompaniment
understanding by requiring them to recognise played by the examiner at the piano.
musical features by ear (for example metre
◗◗ Candidates are given a stimulus that
and pulse, pitch, performance characteristics).
includes the notated piano part and chord
All questions are based on a single musical symbols. The stimulus begins with a two-bar
example played at the piano by the examiner. introduction played by the examiner alone,
At most grades, candidates are asked to followed by a further section over which
describe various features of the music such candidates must improvise for a specified
as dynamics, articulation, texture and style. number of repeats.
Candidates are not required to sing. ◗◗ The examiner plays the stimulus twice for
Practice tests can be found in Trinity’s candidates’ reference, without repeats.
Aural Tests from 2017 books, available from ◗◗ Candidates are then given 30 seconds’
trinitycollege.com/shop or from your local preparation time, during which they may
music shop. prepare for their improvisation aloud.
◗◗ The test then follows. The examiner plays
IMPROVISATION the stimulus again, and candidates join
in after the introduction, improvising
Improvisation can develop creative
for the specified number of repeats.
musicianship skills that unlock a variety
Candidates should aim to improvise in
of musical styles and technical ability.
a way that complements the musical style
Our tests are designed to introduce
of the stimulus.
teachers and candidates to improvisation
gradually, creatively and with a range of
supporting resources. Motivic stimulus
This test assesses candidates’ ability This option requires candidates to improvise
to improvise fluently, coherently and solo in response to a short melodic fragment.
creatively in response to a musical stimulus. ◗◗ Candidates are given a notated melodic
Candidates choose a stimulus from the fragment, which the examiner plays twice
following three options, indicating their on the piano for candidates’ reference.
choice of stimulus on the appointment form:
◗◗ Candidates are then given 30 seconds’
◗◗ Stylistic preparation time, during which they may
◗◗ Motivic prepare for their improvisation aloud.
◗◗ Harmonic ◗◗ The test then follows. Candidates should
aim to improvise within the specified
At all levels, responses should use both hands. duration range and may begin by quoting
Electronic keyboard candidates should use the stimulus directly, developing their
a piano voice. Single fingered chords or improvisation from there. However, they
fully fingered chords can be used at the are not required to quote the stimulus
candidate’s discretion. directly, and may instead develop their
improvisation from ideas taken from the
Further guidance and example tests are stimulus such as a small group of notes or
available at trinitycollege.com/supporting-tests an interval. Responses must use the given
time signature.

24
Exam guidance: Supporting tests

Harmonic stimulus
This option requires candidates to improvise
solo in response to a chord sequence.
◗◗ Candidates are given a notated chord
sequence, including chord symbols, which
the examiner plays twice on the piano for
candidates’ reference.
◗◗ Candidates are then given 30 seconds’
preparation time, during which they may
prepare for their improvisation aloud.
◗◗ The test then follows. Candidates should
improvise for the specified number of
repeats, following the chord sequence.
Responses should contain melodic/
rhythmic interest.

Parameters
Technical expectations for the tests are given
in the tables on the following pages. Lists are
cumulative, meaning that tests may also
include requirements from lower grades.

Exam guidance: Supporting tests

25
Exam guidance: Supporting tests

Stylistic stimulus

Initial Grade 1 Grade 2 Grade 3

Length of
2 bars 2 bars 2 bars 2 bars
introduction

Length of
improvised 4 bars 4 bars 4 bars 4 bars
section

Times
improvised
1 2 2 2
section
is played

Total to
4 bars 8 bars 8 bars 8 bars
improvise

Time signatures* 4 3

D and
F and
Keys* C major A minor Bb major,
G major
D and E minor

Number of
1 1 1 1
chords per bar

I, IV, V I, ii, IV, V


Chords I, V I, V
i, iv, V i, iib5, iv, V

Styles and march, fanfare, tango, waltz,


speeds* lullaby moderato andante allegretto

26 * Cumulative — tests may also include requirements from preceding grade(s)


Exam guidance: Supporting tests

Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

2 bars 2 bars 2 bars 2 bars 2 bars

4 bars 4 bars 8 bars 8 bars 8 bars

3 3 2 2 2

12 bars 12 bars 16 bars 16 bars 16 bars

5
2 6 1 9 4

Exam guidance: Supporting tests


G and A and F# and E and C# and
B minor Eb major C minor Ab major F minor

1 up to 2 up to 2 up to 2 up to 2

I, ii, IV, V, vi I, ii, iii, IV, V, vi all chords,


I, ii, IV, V I, ii, IV, V, vi
i, iib5, iv, V, VI i, iib5, III, iv, V, VI 7ths, 9ths,
i, iib5, iv, V i, iib5, iv, V, VI
7ths 7ths suspensions

adagio, grazioso, agitato, gigue, impressionistic,


allegro vivace nocturne grave irregular dance

27
Exam guidance: Supporting tests

Motivic stimulus

Initial Grade 1 Grade 2 Grade 3

Length of
2 bars 2 bars 2 bars 2 bars
stimulus

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

Time
signatures* 4 3

Rhythmic minims,
quavers dotted notes ties
features* crotchets

Articulation* staccato

up to
Intervals* major 3rd perfect 4th perfect 5th
minor 3rd

D and
Keys* C major F and G major A minor Bb major,
D and E minor

28 * Cumulative — tests may also include requirements from preceding grade(s)


Exam guidance: Supporting tests

Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

2 bars 2 bars 1 bar 1 bar 1 bar

8–12 bars 8–12 bars 12–16 bars 12–16 bars 12–16 bars

5
2 6 1 9 4

triplets,
syncopation semiquavers
duplets

Exam guidance: Supporting tests


accents slurs acciaccaturas sfz

augmented
minor 6th, 4th, minor 7th, all up to
octave
major 6th diminished major 7th major 10th
5th

G and A and F# and E and C# and


B minor Eb major C minor Ab major F minor

29
Exam guidance: Supporting tests

Harmonic stimulus

Initial Grade 1 Grade 2 Grade 3

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

Times chord
sequence 1 2 2 2
is played

Total to
4 bars 8 bars 8 bars 8 bars
improvise

Number of
1 1 1 1
chords per bar

Chords I, V I, V I, IV, V I, ii, IV, V

Keys C major C, F and G major

30
Exam guidance: Supporting tests

Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

4 bars 4 bars 8 bars 8 bars 8 bars

3 3 2 2 2

12 bars 12 bars 16 bars 16 bars 16 bars

1 1 1 1 1

I, ii, IV, V I, ii, iii, IV, V, vi all chords,

Exam guidance: Supporting tests


i, iv, V i, iv, V, VI i, iib5, iv, V i, iib5, III, iv, V, VI 7ths, 9ths,
7ths 7ths suspensions

C, F, G, Bb, D, Eb and A major


A, D, E, G and B minor
A, D, E, G, B, C and F# minor

31
Exam guidance: Supporting tests

MUSICAL KNOWLEDGE Examiners then choose a second piece for


(Initial–Grade 5 only) the remaining questions. Candidates’ musical
scores should be free of annotations that
This test encourages learners to understand
might aid their responses. Examiners usually
the wider musical context of the pieces
point to the relevant part of the score
they play, as well as to develop their
when asking questions. Candidates can use
knowledge of notation and their instrument.
American terms (eighth note, half note, etc)
Examiners ask carefully graded questions
as an alternative to English terms (quaver,
based on candidates’ chosen pieces.
minim, etc).
In the exam, candidates choose which piece
The following table gives example questions
they would like to be asked about first.
and responses.

Parameters* Sample question Sample answer

What is the pitch name


Pitch names G
of this note?

How many beats are


Note durations Two
there for this note?

Initial Clefs, stave, barlines What is this sign? A treble clef

Identify key/time
What is this called? A time signature
signatures

Basic musical terms


What is this called? A pause mark
and signs

Note values What is this note value? A quaver

Explain key/time Four crotchet beats


What does 4 mean?
signatures in a bar

Notes on ledger lines What is the name of this note? Bb


Grade 1
Musical terms What is the meaning
Go back to the start
and signs of da capo?

Parts of the
What are these called? The keys
instrument

32 * Cumulative — tests may also include requirements from preceding grade(s)


Exam guidance: Supporting tests

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

Intervals What is the interval between


Grade 2 A 3rd
(numerical only) these notes?

Candidate
Basic posture Show me a good hand position
demonstrates

What is the relative major/


Relative major/minor D minor
minor of this piece?

Scale/arpeggio What pattern of notes do


A scale
Grade 3 pattern you see here?

How might you warm up By playing a selection


Warm up in preparation for playing of scales/arpeggios/
this piece? chords in related keys

Modulation to closely What key does this music


A minor
related keys change to?

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

What is the interval between


Grade 4 Intervals (full names) Perfect 5th
these notes?

Here [candidate
Show me the most
indicates], because

Exam guidance: Supporting tests


Technical challenges challenging part of this
of the awkward leaps/
piece and tell me why
registration change

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

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

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

Name the notes of the


Subdominant triads F, A, C
subdominant triad

33
Exam guidance: Marking

Exam guidance: Marking


HOW THE EXAM IS MARKED HOW THE PIECES ARE MARKED
Examiners give comments and marks for each Each piece is awarded three separate marks
section of the exam, up to the maximums listed corresponding to three specific musical
in the table on page 12. It is not necessary components, allowing candidates to receive
to pass all sections or any particular section precise feedback about specific aspects of
in order to achieve a pass overall. The total their performance. These marks combine
mark for the exam corresponds to different to give a total mark for the piece.
attainment levels as follows:
The three components are:
Total mark Attainment level Fluency & accuracy
The ability to perform fluently, with a stable
87–100 DISTINCTION pulse and with an accurate realisation of
the notation.
75–86 MERIT
Technical facility
60–74 PASS The ability to control the instrument
effectively, covering the various technical
45–59 BELOW PASS 1
demands of the music.
0–44 BELOW PASS 2 Communication & interpretation
The interpretation of the music and the way
the performance conveys a sense of stylistic
understanding and audience engagement.
Marks are awarded for these components to
form a maximum total mark for each piece
as follows:

Max. mark
for each piece Component

7 FLUENCY & ACCURACY

7 TECHNICAL FACILITY

COMMUNICATION
8
& INTERPRETATION

TOTAL MARK FOR


22
EACH PIECE

34
Exam guidance: Marking

The total marks awarded for each piece


correspond to the attainment levels as follows:

Total mark
for each piece Attainment level

19–22 DISTINCTION

16–18 MERIT

13–15 PASS

10–12 BELOW PASS 1

3–9 BELOW PASS 2

Exam guidance: Marking

35
Exam guidance: Marking

HOW THE PIECES ARE MARKED

Examiners use the criteria below to decide on the mark:

7 MARKS 6 MARKS 5 MARKS

Fluency An excellent sense A very good sense A good sense of


& accuracy of fluency with of fluency with only fluency though
secure control of momentary insecurities with occasional
pulse and rhythm. in control of pulse inconsistencies in
and rhythm. control of pulse
A very high degree
and rhythm.
of accuracy in notes. A high degree of
accuracy in notes — A good degree of
slips not significant. accuracy in notes
despite some slips.

7 MARKS 6 MARKS 5 MARKS

Technical The various technical The various technical The various technical
facility demands of the music demands of the music demands of the
fulfilled to a very fulfilled with only music fulfilled for
high degree. momentary insecurities. the most part.
An excellent level A very good level of A good level of tone
of tone control. tone control despite control though with
minimal blemishes. occasional lapses.

8 MARKS 7 MARKS 6 MARKS

Communication An excellent level of A very good level of A good level of stylistic


& stylistic understanding stylistic understanding understanding though
interpretation with keen attention to with most performance occasional performance
performance details. details realised. details omitted.
Highly effective Effective communication Communication and
communication and interpretation overall. interpretation mostly
and interpretation. effective.

36
Exam guidance: Marking

4 MARKS 3 MARKS 1–2 MARKS

A generally reliable sense Only a limited sense of Little or no sense of fluency


of fluency though with fluency with a lack of — control of pulse and
some inconsistencies and basic control of pulse rhythm not established.
stumbles in the control of and rhythm.
Accuracy in notes very
pulse and rhythm.
Accuracy in notes limited with many errors
A reasonable degree of sporadic, with errors of substance.
accuracy in notes despite becoming intrusive.
a number of errors.

4 MARKS 3 MARKS 1–2 MARKS

The various technical The technical demands of Many or all of the


demands of the music the music often not managed. technical demands of
generally managed despite the music not managed.
The performance lacks a
some inconsistencies.
basic level of tone control. Significant flaws 
A basic level of tone control in tone control.
despite some insecurity.

5 MARKS 3–4 MARKS 1–2 MARKS

A reasonable level of Stylistic understanding Stylistic understanding


stylistic understanding generally lacking with not apparent with little
Exam guidance: Marking

though some performance limited realisation of or no realisation of


details omitted. performance details. performance details.
Communication and Communication and Communication and
interpretation basically interpretation inconsistent. interpretation ineffective.
reliable though with
some lapses.

37
Exam guidance: Marking

HOW TECHNICAL WORK IS MARKED

Examiners use the criteria below to decide on the mark:

DISTINCTION MERIT
13–14 MARKS 11–12 MARKS

Keyboard exercise, An excellent or very A good sense of fluency


scales & chord knowledge, good sense of fluency and accuracy with
scales & arpeggios and accuracy. occasional errors.
A very high degree of A good degree of
technical control. technical control.
Prompt responses. Prompt responses overall.

Exercises, pedal study An excellent or very A good sense of fluency


good sense of fluency and accuracy with
and accuracy. occasional errors.
A very high degree of A good degree of
technical control. technical control.
Keen attention to Good attention to
performance details performance details and
and musical character. musical character overall.

38
Exam guidance: Marking

PASS BELOW PASS 1 BELOW PASS 2


9–10 MARKS 6–8 MARKS 1–5 MARKS

A generally reliable sense Limited or very limited Little or no sense of


of fluency and accuracy fluency and accuracy with fluency and accuracy
despite a number of errors. errors becoming intrusive. with many errors.
A reasonable degree of An inconsistent degree An unreliable degree
technical control despite of technical control. of technical control.
some inconsistences.
Hesitancy in responses Uncertain responses with
Generally prompt responses and restarts. many restarts and/or items
despite some hesitancy and/ not offered.
or restarts.

A generally reliable sense of Limited or very limited Little or no sense of


fluency and accuracy despite fluency and accuracy with fluency and accuracy
a number of errors. errors becoming intrusive. with many errors.
A reasonable degree of An inconsistent degree An unreliable degree
technical control despite of technical control. of technical control.
some inconsistences.
Limited attention to Little or no attention to
Some attention to performance details performance details and
performance details and musical character. musical character.
and musical character.

Exam guidance: Marking

39
Exam guidance: Marking

HOW SUPPORTING TESTS ARE MARKED

Examiners use the criteria below to decide on the mark:

DISTINCTION MERIT
9–10 MARKS 8 MARKS

Sight reading An excellent or very good A good sense of fluency


sense of fluency with though with occasional
secure control of pulse, inconsistencies in control of
rhythm and tonality. pulse, rhythm and tonality.
A very high degree of A good degree of accuracy
accuracy in notes, with in notes despite some
musical detail realised. slips, with some musical
detail realised.

Aural An excellent or very good A good degree of aural


degree of aural perception perception in the majority
in all aspects. of aspects.
Confident and prompt Mostly confident and
responses. prompt responses.

Musical knowledge An excellent or very good A good degree of musical


degree of musical knowledge knowledge in the majority
in all aspects. of aspects.
Confident and prompt Mostly confident and
responses. prompt responses.

Improvisation An excellent or very good A good sense of musical


sense of musical structure, structure, based on the
based on the stimulus, stimulus, delivered with
delivered with a high level a good level of fluency.
of fluency.
A creative and imaginative
A highly creative and response overall.
imaginative response.

40
Exam guidance: Marking

PASS BELOW PASS 1 BELOW PASS 2


6–7 MARKS 4–5 MARKS 1–3 MARKS

A generally reliable sense Only a limited sense of Little or no sense of fluency


of fluency though with fluency with a lack of basic — control of pulse, rhythm
some inconsistencies and control of pulse, rhythm and tonality not established.
stumbles in the control of and tonality.
Accuracy in notes very
pulse, rhythm and tonality.
Accuracy in notes sporadic limited with no attention
A reasonable degree of with no attention to to musical detail.
accuracy in notes despite musical detail.
a number of errors and
with little attention to
musical detail.

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

A generally reliable degree A limited or very limited Unreliable musical knowledge


of musical knowledge in degree of musical knowledge in the majority or all aspects.
most aspects. in most aspects.
Very hesitant or uncertain/
Generally confident and Hesitant or uncertain missing responses.
prompt responses though responses.
with occasional hesitation
Exam guidance: Marking

or uncertainty.

A generally reliable sense of A limited or very limited Musical structure only


musical structure, based on sense of musical structure, partially or not apparent
the stimulus, delivered with with little relation to the with no relation to the
a reasonable level of fluency stimulus, delivered with some stimulus and fluency
despite occasional lapses. hesitations and stumbles often compromised.
in fluency.
Some element of creativity Little or no creativity or
and imagination in A lack of creativity and imagination in the response.
the response. imagination in the response.

41
Electronic Keyboard: Initial

Electronic Keyboard: Initial


EXAM STRUCTURE PIECES
Candidates play a balanced programme of
three pieces, chosen from the lists below.
An own composition may be played instead
of one listed piece. See pages 16–18 for
further guidance.

The Initial exam lasts 13 minutes and contains Core repertoire


the following: The following pieces are in Trinity’s
Electronic Keyboard Pieces & Technical Work
Maximum 2019–2022: Initial.
marks

PIECE 1 22 1. BRAHMS Lullaby (Wiegenlied)

2. CLARKE Rock to the Roll


PIECE 2 22
Largo (from Symphony no. 9,
3. DVOŘÁK
‘From the New World’)
PIECE 3 22
EASTBURN
4. Little Brown Jug
WINNER

Voi, che sapete


TECHNICAL WORK 14 5. MOZART
(from The Marriage of Figaro)

◗◗ Either scales & chord knowledge Edelweiss


6. RODGERS
or exercises (from The Sound of Music)

Little Buttercup
7. SULLIVAN
(from HMS Pinafore)
SUPPORTING TESTS 20
8. TRAD. Michael Row the Boat*
Any TWO of the following:
9. TRAD. The Skye Boat Song
◗◗ Sight reading
◗◗ Aural Spring
10. VIVALDI
(from The Four Seasons)
◗◗ Improvisation
◗◗ Musical knowledge * Own interpretation piece

TOTAL 100

42
Electronic Keyboard: Initial

Alternative repertoire
The following pieces are in the books listed.

Electronic Keyboard: Initial


JENNINGS/ Keyed Up: The Red Book
11. Titanic Theme Alfred 20103UK
HORNER (Elementary)

MERCURY Keyed Up: The Red Book


12. Bohemian Rhapsody Alfred 20103UK
arr. LITTEN (Elementary)

The Electronic Keyboard


13. MOZART Don Giovanni Trinity TCL011336
Collection book 1

PARTON Keyed Up: The Red Book


14. Jolene Alfred 20103UK
arr. LITTEN (Elementary)

Home on the Range,


15. TRAD. 34 Well-known Folk Songs Schott ED12663
no. 34 (basic version)

Keyed Up: The Red Book


16. TRAD. Over the Sea to Skye Alfred 20103UK
(Elementary)

More Making the Grade:


17. TRAD. arr. FRITH Lavender Blue Chester CH61275
Preparatory Grade

More Making the Grade:


18. TRAD. arr. FRITH Ye Banks and Braes Chester CH61275
Preparatory Grade

Own composition Own compositions must be comparable in


technical and musical demand to the pieces
Candidates may perform an own composition
listed for this grade. Suitable features include:
instead of one listed piece. More information
can be found on page 18. ◗◗ Use of different rhythmic values
◗◗ Clear melodic line
Duration: ◗◗ Use of a voice change
0.5–1 minute(s)
◗◗ Use of keys stipulated for technical work
at this grade

43
Electronic Keyboard: Initial

TECHNICAL WORK

Candidates prepare either section 1. or section 2. (see pages 19–20).


All requirements are in Trinity’s Electronic Keyboard Pieces & Technical Work 2019–2022: Initial.

Either
1. SCALES & CHORD KNOWLEDGE (from memory) — Examiners select from the following:

◗◗ C major

◗◗ A minor (candidate choice of either


harmonic or melodic or natural minor) hands separately one legato, min.
◗◗ C major pentatonic (5 notes) octave mf q = 60

◗◗ A minor pentatonic (5 notes)

◗◗ Chromatic scale starting on D


RH only or LH only
◗◗ Triad of C major and A minor (candidate choice)
(root position)

Or
2. EXERCISES (music may be used) — Candidates prepare all three exercises.
Candidates choose one exercise to play first. Examiners then select one of the remaining two
exercises to be performed.

Bossa Boy
1.  keyboard functions exercise

Smooth Parade
2.  scalic exercise

Windfall
3.  pianistic exercise

44
Electronic Keyboard: Initial

SUPPORTING TESTS

Candidates choose two of the following: Improvisation

Electronic Keyboard: Initial


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 24–31 for the requirements
perform a previously unseen musical extract and parameters.
at a level lower than the exam being taken.
See page 22 for sight reading parameters. Musical knowledge
Candidates answer questions assessing their
Aural understanding of the pieces performed, as
Candidates answer questions based on a single well as their knowledge of notation and the
musical example played on the piano by the electronic keyboard. Questions are based on
examiner. See page 24 for more information. candidates’ chosen pieces. See pages 32–33
for example questions and responses.
The aural test requirements for Initial
are below.

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


three times stressing the strong beat
Melody only
Listen to the melody once Identify the dynamic as forte or piano
4 bars
Major key Identify the articulation as legato
Listen to the melody once
or staccato
2
Listen to the first three
Identify the highest or lowest note
notes of the melody once

45
Electronic Keyboard: Grade 1

Electronic Keyboard: Grade 1


EXAM STRUCTURE PIECES
Candidates play a balanced programme of
three pieces, chosen from the lists below.
An own composition may be played instead
of one listed piece. See pages 16–18 for
further guidance.

The Grade 1 exam lasts 13 minutes and Core repertoire


contains the following: The following pieces are in Trinity’s
Electronic Keyboard Pieces & Technical Work
Maximum 2019–2022: Grade 1.
marks

PIECE 1 22 Pastoral (theme from


1. BEETHOVEN
Symphony no. 6)

PIECE 2 22 Land of Hope and Glory


2. ELGAR (Pomp and Circumstance
March no. 1)
PIECE 3 22
3. LOGGINS Footloose*

Unfinished Symphony (theme


4. SCHUBERT
from Symphony no. 8)
TECHNICAL WORK 14
5. SMITH Whirling Dervishes
◗◗ Keyboard exercise
6. TRAD. Cockles and Mussels
◗◗ Either scales & chord knowledge
or exercises 7. TRAD. English Country Garden

8. TRAD. Shaker Tune


SUPPORTING TESTS 20
9. TRAD. Star of County Down

Any TWO of the following: 10. TRAD. Wild Mountain Thyme


◗◗ Sight reading
* Own interpretation piece
◗◗ Aural
◗◗ Improvisation
◗◗ Musical knowledge

TOTAL 100

46
Electronic Keyboard: Grade 1

Alternative repertoire
The following pieces are in the books listed.

11. BULLARD Feeling Fine Piano Time Pieces book 2 OUP 9780193727878

FREEDMAN Rock Around Making the Grade:


12. Chester CH71995

Electronic Keyboard: Grade


arr. FLETCHER the Clock Keyboard Grade 1

13. HOOK Gavotte Piano Time Pieces book 2 OUP 9780193727878

Summer Keyed Up: The Yellow Book


14. JACOBS/CASEY Alfred 20104UK
Nights (Upper Elementary)

I Want to Keyed Up: The Yellow Book


15. LEIBER/STOLLER Alfred 20104UK
Be Free (Upper Elementary)

The Complete Keyboard Player


16. STING Fields of Gold Wise AM963193
book 2 (revised edition)

17.
TRAD.
arr. LITTEN
Mango Walk
Keyed Up: The Yellow Book
(Upper Elementary)
Alfred 20104UK 1
THE VELVET There She The Complete Keyboard Player
18. Wise AM963193
UNDERGROUND Goes book 2 (revised edition)

Own composition Own compositions must be comparable in


technical and musical demand to the pieces
Candidates may perform an own composition
listed for this grade. Suitable features include:
instead of one listed piece. More information
can be found on page 18. ◗◗ Dynamic contrast
◗◗ Simple syncopation or other rhythmic
Duration: feature
approx. 1 minute ◗◗ Use of fills
◗◗ Use of keys stipulated for technical work
at this grade

47
Electronic Keyboard: Grade 1

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. (see pages 19–20).
All requirements are in Trinity’s Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 1.

1. KEYBOARD EXERCISE (music may be used)

Candidates should play one of the following scales in the RH, accompanied by chords I and V in
the LH, as illustrated in Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 1.
◗◗ G major or D harmonic minor (candidate choice)

Either
2. SCALES & CHORD KNOWLEDGE (from memory) — Examiners select from the following:

◗◗ G major

◗◗ D minor (candidate choice of either


harmonic or melodic or natural minor)

◗◗ Dorian scale on G hands separately


◗◗ Dorian scale on D

◗◗ G major pentatonic (5 notes) one legato, min.


octave mf q = 70
◗◗ D minor pentatonic (5 notes)

RH only, straight or
◗◗ Blues scale on D swung (candidate
choice)

◗◗ Chromatic scale in contrary motion


hands together
starting on D

◗◗ Chord progression of I-V-I in the RH only or LH only


following keys: G major, D minor (candidate choice)

Or
3. EXERCISES (music may be used) — Candidates prepare all three exercises.
Candidates choose one exercise to play first. Examiners then select one of the remaining two
exercises to be performed.

Left Right, Left Right


1.  keyboard functions exercise

Morning Stretch
2.  scalic exercise

Dark Towers
3.  pianistic exercise

48
Electronic Keyboard: Grade 1

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic

Electronic Keyboard: Grade


◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 24–31 for the requirements
perform a previously unseen musical extract and parameters.
at a level lower than the exam being taken.
See page 22 for sight reading parameters. Musical knowledge
Candidates answer questions assessing their
Aural understanding of the pieces performed, as
Candidates answer questions based on a single well as their knowledge of notation and the
musical example played on the piano by the electronic keyboard. Questions are based on
examiner. See page 24 for more information. candidates’ chosen pieces. See pages 32–33
for example questions and responses. 1
The aural test requirements for Grade 1
are below.

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


three times stressing the strong beat

Melody only i) Identify the dynamic as forte or piano


Listen to the melody once ii) Identify the articulation as legato
4 bars or staccato

Major key Listen to the first two bars Identify the last note as higher or lower
of the melody once than the first note
2 or 3
Listen to the melody twice,
with a change of rhythm or Identify where the change occurs
pitch in the second playing

49
Electronic Keyboard: Grade 2

Electronic Keyboard: Grade 2


EXAM STRUCTURE PIECES
Candidates play a balanced programme of
three pieces, chosen from the lists below.
An own composition may be played instead
of one listed piece. See pages 16–18 for
further guidance.

The Grade 2 exam lasts 15 minutes and Core repertoire


contains the following: The following pieces are in Trinity’s
Electronic Keyboard Pieces & Technical Work
Maximum 2019–2022: Grade 2.
marks

PIECE 1 22 Arabesque in A minor,


1. BURGMÜLLER
op. 100 no. 2

PIECE 2 22 Summertime
2. GERSHWIN
(from Porgy and Bess)

3. HANDEL Air (from Water Music)*


PIECE 3 22
Sarabande (from Suite
4. HANDEL
in D minor, HWV 437)

TECHNICAL WORK 14 5. LITTEN Homeward Path

◗◗ Keyboard exercise 6. MERRILL Mambo Italiano


◗◗ Either scales & chord knowledge
Eine Kleine Nachtmusik,
or exercises 7. MOZART
K. 525

8. SHERMAN Chitty Chitty Bang Bang


SUPPORTING TESTS 20
9. TRAD. Charlie Is My Darling

Any TWO of the following: 10. TRAD. Scotland the Brave


◗◗ Sight reading
* Own interpretation piece
◗◗ Aural
◗◗ Improvisation
◗◗ Musical knowledge

TOTAL 100

50
Electronic Keyboard: Grade 2

Alternative repertoire
The following pieces are in the books listed.

ANDERSSON/ The Winner Takes The Complete Keyboard


11. Wise AM963204
ULVAEUS It All Player book 3 (revised edition)

The Electronic Keyboard


12. BLAKE Walking in the Air Trinity TCL011343
Collection book 2

Memory The Electronic Keyboard


13. LLOYD WEBBER Trinity TCL011343
(from Cats) Collection book 2

Electronic Keyboard: Grade


The Microjazz Collection 2
14. NORTON Get in Step Boosey M060122521
(Level 4)

Do-Re-Mi (from
RODGERS arr. What Else Can I Play?
15. The Sound of Faber 0571530443
WILLIAMSON Piano Grade 2
Music)

Chim Chim
The Complete Keyboard
16. SHERMAN Cher-ee (from Wise AM65962
Player: Film & TV Themes
Mary Poppins)

The Electronic Keyboard


17. STRAUSS II You and You
Collection book 2
Trinity TCL011343 2
18. VELAQUEZ Besame Mucho Latin–Festival Schott ED9909

Own composition Own compositions must be comparable in


technical and musical demand to the pieces
Candidates may perform an own composition
listed for this grade. Suitable features include:
instead of one listed piece. More information
can be found on page 18. ◗◗ Use of different articulations
◗◗ Simple melodic ornamentation
Duration: ◗◗ Use of dual voice
1–1.5 minute(s)
◗◗ Use of keys stipulated for technical work
at this grade

51
Electronic Keyboard: Grade 2

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. (see pages 19–20).
All requirements are in Trinity’s Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 2.

1. KEYBOARD EXERCISE (music may be used)

Candidates should play one of the following scales in the RH, accompanied by chords I, IV and V7
in the LH, as illustrated in Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 2.
◗◗ F major or E harmonic minor (candidate choice)

Either
2. SCALES & CHORD KNOWLEDGE (from memory) — Examiners select from the following:

◗◗ F major

◗◗ E minor (candidate choice of either


harmonic or melodic or natural minor) hands together
◗◗ Mixolydian scale on F two
octaves
◗◗ Dorian scale on E

RH only, straight or legato, min.


◗◗ Blues scale on E swung (candidate mf q = 80
choice)

◗◗ F major pentatonic
hands separately
◗◗ E minor pentatonic one
octave
◗◗ Chromatic scale in similar motion starting
hands together
on F

◗◗ Chord progression of I-IV-V7-I in the RH only or LH only


following keys: F major, E minor (candidate choice)

Or
3. EXERCISES (music may be used) — Candidates prepare all three exercises.
Candidates choose one exercise to play first. Examiners then select one of the remaining two
exercises to be performed.

Country Waltz
1.  keyboard functions exercise

2. Circus scalic exercise

3. Game Over! pianistic exercise

52
Electronic Keyboard: Grade 2

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

Electronic Keyboard: Grade


After 30 seconds’ preparation time, candidates See pages 24–31 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See page 22 for sight Musical knowledge
reading parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as
Aural well as their knowledge of notation and the
Candidates answer questions based on a single electronic keyboard. Questions are based on
musical example played on the piano by the candidates’ chosen pieces. See pages 32–33
examiner. See page 24 for more information. for example questions and responses.
The aural test requirements for Grade 2
are below.
2

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


three times stressing the strong beat

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

53
Electronic Keyboard: Grade 3

Electronic Keyboard: Grade 3


EXAM STRUCTURE PIECES
Candidates play a balanced programme of
three pieces, chosen from the lists below.
An own composition may be played instead
of one listed piece. See pages 16–18 for
further guidance.

The Grade 3 exam lasts 15 minutes and Core repertoire


contains the following: The following pieces are in Trinity’s
Electronic Keyboard Pieces & Technical Work
Maximum 2019–2022: Grade 3.
marks

PIECE 1 22 Arioso (from Cantata,


1. J S BACH
BWV 156)

PIECE 2 22 2. CLARKE Mediterranean Breeze

3. FAULKNER Arkansas Traveller


PIECE 3 22
Jupiter (from
4. HOLST
The Planets)

Theme from New York,


TECHNICAL WORK 14 5. KANDER
New York

◗◗ Keyboard exercise 6. MORODER The NeverEnding Story


◗◗ Either scales & chord knowledge
Dance of the Little Swans
or exercises 7. TCHAIKOVSKY
(from Swan Lake)

8. TRAD. Farewell to Lochaber


SUPPORTING TESTS 20
9. TRAD. The Irish Washerwoman

Any TWO of the following: 10. TRAD. The Sligo Maid*


◗◗ Sight reading
◗◗ Aural * Own interpretation piece

◗◗ Improvisation
◗◗ Musical knowledge

TOTAL 100

54
Electronic Keyboard: Grade 3

Alternative repertoire
The following pieces are in the books listed.

AFANASIEFF/ The Complete Keyboard


11. Hero Wise AM952677
CAREY Player: Greatest Hits

LENNON/ The Complete Keyboard


12. Lady Madonna Wise AM952677
MCCARTNEY Player: Greatest Hits

LENNON/ The Complete Keyboard


13. When I’m Sixty-Four Wise AM91385
MCCARTNEY Player book 3

MENKEN The Complete Keyboard


14. A Whole New World Wise AM952677
arr. BAKER Player: Greatest Hits

Electronic Keyboard: Grade


The Microjazz Collection 2
15. NORTON Fifth Dimension Boosey M060122521
(Level 4)

REID &
A Whiter Shade The Complete Keyboard
16. BROOKER Wise AM952677
of Pale Player: Greatest Hits
arr. BAKER

RODGERS arr. What Else Can I Play?


17. Getting to Know You Faber 0571530443
WILLIAMSON Piano Grade 2

WASHINGTON/ When You Wish The Complete Keyboard


18. Wise AM68552
HARLINE Upon a Star Player book 4

3
Own composition Own compositions must be comparable in
technical and musical demand to the pieces
Candidates may perform an own composition
listed for this grade. Suitable features include:
instead of one listed piece. More information
can be found on page 18. ◗◗ Form showing clear sections, eg ‘ABA’
◗◗ Melodic range of one octave or more
Duration: ◗◗ Use of bass clef
1.5–2 minutes
◗◗ Use of keys stipulated for technical work
at this grade

55
Electronic Keyboard: Grade 3

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. (see pages 19–20).
All requirements are in Trinity’s Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 3.

1. KEYBOARD EXERCISE (music may be used)

Candidates should play one of the following scales in the RH, accompanied by chords I, IV, V7 and
VI in the LH, as illustrated in Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 3.
◗◗ A major or G harmonic minor (candidate choice)

Either
2. SCALES & CHORD KNOWLEDGE (from memory) — Examiners select from the following:

◗◗ A major
◗◗ G minor (candidate choice of either
harmonic or melodic or natural
minor)
◗◗ Mixolydian scale on A hands together

◗◗ Dorian scale on G
two legato, min.
◗◗ Chromatic scale in similar motion octaves mf q = 90
starting on G and A

◗◗ A major pentatonic
hands separately, straight
or swung (candidate choice)
◗◗ G minor pentatonic

RH only, straight or swung


◗◗ Blues scale on G
(candidate choice)
◗◗ Chords in root position, first and
second inversions: E7, D7 RH only or LH only
◗◗ Chord progression of I-VI-IV-V7-I in (candidate choice)
the following keys: A major, G minor

Or
3. EXERCISES (music may be used) — Candidates prepare all three exercises.
Candidates choose one exercise to play first. Examiners then select one of the remaining two
exercises to be performed.

Highland Laddie
1.  keyboard functions exercise

Havana Moonlight
2.  scalic exercise

Midnight Valley
3.  pianistic exercise

56
Electronic Keyboard: Grade 3

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 24–31 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See page 22 for sight Musical knowledge

Electronic Keyboard: Grade


reading parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as
Aural well as their knowledge of notation and the
Candidates answer questions based on a single electronic keyboard. Questions are based on
musical example played on the piano by the candidates’ chosen pieces. See pages 32–33
examiner. See page 24 for more information. for example questions and responses.
The aural test requirements for Grade 3
are below.

Aural questions

Parameters Task Requirement


3
Clap the pulse on the second playing,
Listen to the melody twice
stressing the strong beat

Listen to the melody once Identify the tonality as major or minor


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

57
Electronic Keyboard: Grade 4

Electronic Keyboard: Grade 4


EXAM STRUCTURE PIECES
Candidates play a balanced programme of
three pieces, chosen from the lists below.
An own composition may be played instead
of one listed piece. See pages 16–18 for
further guidance.

The Grade 4 exam lasts 20 minutes and Core repertoire


contains the following: The following pieces are in Trinity’s
Electronic Keyboard Pieces & Technical Work
Maximum 2019–2022: Grade 4.
marks

PIECE 1 22 He’s a Pirate (from Pirates


BADELT/
1. of the Caribbean: The
ZIMMER
Curse of the Black Pearl)
PIECE 2 22
Allegro (theme from
2. BEETHOVEN
Symphony no. 5, 4th movt)
PIECE 3 22
Pathétique (theme from
3. BEETHOVEN Piano Sonata no. 8,
2nd movt)

TECHNICAL WORK 14 4. BRAHMS Hungarian Dance no. 5

◗◗ Keyboard exercise 5. JOPLIN Weeping Willow Rag

◗◗ Either scales & chord knowledge How Can I Keep from


6. LOWRY
or exercises Singing?

You Can’t Stop the Beat


7. SHAIMAN
(from Hairspray)
SUPPORTING TESTS 20
8. SMITH High Wire
Any TWO of the following:
◗◗ Sight reading 9. TRAD. Wade in the Water*

◗◗ Aural Ride of the Valkyries


10. WAGNER
◗◗ Improvisation (from Die Walküre)
◗◗ Musical knowledge
* Own interpretation piece

TOTAL 100

58
Electronic Keyboard: Grade 4

Alternative repertoire
The following pieces are in the books listed.

The Complete Keyboard Player:


11. ANDERSSON I Know Him so Well Wise AM952677
Greatest Hits

HAWKINS/
The Complete Keyboard Player:
12. JOHNSON/ Tuxedo Junction Wise AM65970
Jazz & Blues
DASH/FEYNE

JOBIM/
13. Desafinado Latin–Festival Schott ED9909
MENDOCA

14. MIER Fickle Fourths Jazz, Rags and Blues book 3 Alfred 16871

15. MIER What a Glorious Day! Jazz, Rags and Blues book 3 Alfred 16871

STANLEY The Complete Keyboard Player:


16. The Bluebell Polka Wise AM965701

Electronic Keyboard: Grade


arr. BAKER Favourite Songs of Scotland

Own composition Own compositions must be comparable in


technical and musical demand to the pieces
Candidates may perform an own composition
listed for this grade. Suitable features include:
instead of one listed piece. More information
can be found on page 18. ◗◗ Tempo changes
◗◗ Use of a variety of different articulations
Duration:
◗◗ Use of stop/start rhythm
2–3 minutes
◗◗ Use of keys stipulated for technical work
at this grade 4

59
Electronic Keyboard: Grade 4

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. (see pages 19–20).
All requirements are in Trinity’s Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 4.

1. KEYBOARD EXERCISE (music may be used)

Candidates should play one of the following scales in the RH, accompanied by chords I, IV, V7 and
VI in the LH, as illustrated in Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 4.
◗◗ Ab major, E major or C harmonic minor (candidate choice)

Either
2. SCALES & CHORD KNOWLEDGE (from memory) — Examiners select from the following:

◗◗ Ab and E majors

◗◗ C minor (candidate choice of either


harmonic or melodic or natural minor)

◗◗ Lydian scale on Ab hands together

◗◗ Mixolydian scale on E
◗◗ Chromatic scale in similar motion two legato, min.
starting on Ab and E octaves mf q = 100

◗◗ Ab major pentatonic hands separately,


straight or swung
◗◗ C minor pentatonic (candidate choice)
RH only, straight or
◗◗ Blues scale on E swung (candidate
choice)
◗◗ Chords in root position: Ab°, E°, Eb°7, B°7
◗◗ Chords in root position, first, second and
RH only or LH only
third inversions: Eb7, B7
(candidate choice)
◗◗ Chord progression of I-VI-IV-V7-I in the
following keys: Ab major, E major, C minor

Or
3. EXERCISES (music may be used) — Candidates prepare all three exercises.
Candidates choose one exercise to play first. Examiners then select one of the remaining two
exercises to be performed.

Marimba Baby
1.  keyboard functions exercise
Tango Turn
2.  scalic exercise
Happy Smiles
3.  pianistic exercise

60
Electronic Keyboard: Grade 4

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 24–31 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See page 22 for sight Musical knowledge
reading parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as
Aural well as their knowledge of notation and the
Candidates answer questions based on a single electronic keyboard. Questions are based on

Electronic Keyboard: Grade


musical example played on the piano by the candidates’ chosen pieces. See pages 32–33
examiner. See page 24 for more information. for example questions and responses.
The aural test requirements for Grade 4
are below.

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing,


Listen to the piece twice
stressing the strong beat
4
i) Identify the tonality as major or minor
Listen to the piece twice ii) Identify the final cadence as perfect
Harmonised or imperfect

4 bars Identify the interval as minor or major


Listen to the first two notes
second, minor or major third, perfect
of the melody once
Major or minor key fourth or fifth, minor or major sixth

4 or 6 Study a copy of the melody


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

61
Electronic Keyboard: Grade 5

Electronic Keyboard: Grade 5


EXAM STRUCTURE PIECES
Candidates play a balanced programme of
three pieces, chosen from the lists below.
An own composition may be played instead
of one listed piece. See pages 16–18 for
further guidance.

The Grade 5 exam lasts 20 minutes and Core repertoire


contains the following: The following pieces are in Trinity’s
Electronic Keyboard Pieces & Technical Work
Maximum 2019–2022: Grade 5.
marks

PIECE 1 22 1. DORHAM Blue Bossa*

The Arrival of the Queen of


2. HANDEL
PIECE 2 22 Sheba (from Solomon)

Engagement Party
3. HURWITZ
(from La La Land)
PIECE 3 22
4. PROUDLER Twilight Tango

The Thieving Magpie


TECHNICAL WORK 14 5. ROSSINI
(theme from the overture)

◗◗ Keyboard exercise 6. SOUSA The Washington Post


◗◗ Either scales & chord knowledge
7. STRAUSS II Voices of Spring
or exercises
8. TRAD. Amazing Grace

SUPPORTING TESTS 20 9. TRAD. Deep River

10. TRAD. Hardiman the Fiddler


Any TWO of the following:
◗◗ Sight reading * Own interpretation piece
◗◗ Aural
◗◗ Improvisation
◗◗ Musical knowledge

TOTAL 100

62
Electronic Keyboard: Grade 5

Alternative repertoire
The following pieces are in the books listed.

The Complete Keyboard


11. ALBERT/GASTE Feelings Wise AM952677
Player: Greatest Hits

12. MIER Pine Cone Rag Jazz, Rags and Blues book 3 Alfred 16871

The Microjazz Collection 3


13. NORTON Mechanics Rag Boosey M060122538
(Level 5)

Waltz from
TCHAIKOVSKY Electronic Keyboard
14. Serenade for Cramer 90550
arr. BOLTON Cocktails: Classics
Strings

The Complete Keyboard


Scottish Jig
15. TRAD. Player: Favourite Songs Wise AM965701
Medley
of Scotland

The Complete Keyboard


16. WALLER Ain’t Misbehavin’ Wise AM68552
Player book 4

Electronic Keyboard: Grade


Own composition Own compositions must be comparable in
technical and musical demand to the pieces
Candidates may perform an own composition
listed for this grade. Suitable features include:
instead of one listed piece. More information
can be found on page 18. ◗◗ Chromaticism
◗◗ Use of semiquaver passages
Duration: ◗◗ Use of a tempo change
2–3 minutes
◗◗ Use of keys stipulated for technical work
at this grade

63
Electronic Keyboard: Grade 5

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. (see pages 19–20).
All requirements are in Trinity’s Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 5.

1. KEYBOARD EXERCISE (music may be used)

Candidates should play one of the following scales in the RH, accompanied by chords I, II, IV, V and
VI in the LH, as illustrated in Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 5.
◗◗ Bb major, B major or B harmonic minor (candidate choice)

Either
2. SCALES & CHORD KNOWLEDGE (from memory) — Examiners select from the following:

◗◗ Bb and B majors

◗◗ B minor (candidate choice of either


harmonic or melodic or natural minor)
hands together
◗◗ Mixolydian scales on Bb and B

◗◗ Chromatic scale in similar motion starting


on any black note (examiner choice) two legato, min.
octaves mf q = 110
◗◗ Bb major pentatonic hands separately,
straight or swung
◗◗ B minor pentatonic (examiner choice)

RH only, straight or
◗◗ Blues scale on B swung (examiner
choice)

◗◗ Chords in root position: Bb°7, B°7


RH only or LH only or
◗◗ Chords in root position, first, second and
bass note in LH and
third inversions: Bb7, B7, Bbm7, Bm7
remaining notes in RH
◗◗ Chord progression of I-VI-IV-II-V7-I in the (candidate choice)
following keys: Bb major, B major, B minor

Or
3. EXERCISES (music may be used) — Candidates prepare all three exercises.
Candidates choose one exercise to play first. Examiners then select one of the remaining two
exercises to be performed.

Gym Workout
1.  keyboard functions exercise

Open Country
2.  scalic exercise

Baroque Swing
3.  pianistic exercise

64
Electronic Keyboard: Grade 5

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 24–31 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See page 22 for sight Musical knowledge
reading parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as
Aural well as their knowledge of notation and the
Candidates answer questions based on a single electronic keyboard. Questions are based on
musical example played on the piano by the candidates’ chosen pieces. See pages 32–33
examiner. See page 24 for more information. for example questions and responses.
The aural test requirements for Grade 5
are below.

Electronic Keyboard: Grade


Aural questions

Parameters Task Requirement

i) Clap the pulse on the second playing,


Listen to the piece twice stressing the strong beat
ii) Identify the time signature

i) Identify the changing tonality


Harmonised Listen to the piece twice ii) Identify the final cadence as perfect,
plagal, imperfect or interrupted
5
8 bars
Identify the interval as minor or major
Major or Listen to two notes from the second, minor or major third, perfect
minor key melody line played consecutively fourth or fifth, minor or major sixth,
minor or major seventh or octave
2, 3, 4 or 6
Study a copy of the piece, and i) Identify the bar in which the change
listen to it once as written and of rhythm occurred
once with a change of rhythm
and a change of pitch (both ii) Identify the bar in which the change
changes in the melody line) of pitch occurred

65
Electronic Keyboard: Grade 6

Electronic Keyboard: Grade 6


EXAM STRUCTURE PIECES
Candidates play a balanced programme of
three pieces, chosen from the list below.
Instead of one listed piece, candidates can
play an own composition, an own choice piece
or an own arrangement. See pages 16–18 for
further guidance.
The Grade 6 exam lasts 25 minutes and The following pieces are in Trinity’s
contains the following: Electronic Keyboard Pieces & Technical Work
2019–2022: Grade 6.
Maximum
marks Jesu, Joy of Man’s
1. J S BACH Desiring (from Cantata,
PIECE 1 22
BWV 147)

PIECE 2 22 Romanze (from Piano


2. CHOPIN
Concerto no. 1, op. 11)

PIECE 3 22 3. DOWLAND Flow, My Tears

4. JOBIM Girl from Ipanema

TECHNICAL WORK 14 5. MORTON King Porter Stomp

◗◗ Keyboard exercise 6. PROUDLER Samba Nights


◗◗ Either scales & chord knowledge
7. TRAD. Celtic Medley*
or exercises
WHITE/MCKAY/
8. WILLIS (EARTH, September
SUPPORTING TEST 1 10 WIND & FIRE)

◗◗ Sight reading * Own interpretation piece

SUPPORTING TEST 2 10

ONE of the following:


◗◗ Aural
◗◗ Improvisation

TOTAL 100

66
Electronic Keyboard: Grade 6

Own composition Own compositions must be comparable in


Candidates may perform an own composition technical and musical demand to the pieces
instead of one listed piece. More information listed for this grade. Suitable features include:
can be found on page 18. ◗◗ More advanced use of form, eg theme
and variations
Duration: ◗◗ Extensive range
3–4 minutes
◗◗ More advanced melodic ornamentation
◗◗ Use of any key/mode

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. (see pages 19–20).
All requirements are in Trinity’s Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 6.

1. KEYBOARD EXERCISE (from memory)

Candidates should choose one of the scale & arpeggio combinations (marked ) in section 2.
below using one of the tonal/modal centres of F, D or Db/C# (candidate choice).

Either
2. SCALES & CHORD KNOWLEDGE (from memory) — Examiners select from the following:

Using the tonal/modal centres of F, D


and Db/C#

Electronic Keyboard: Grade


* Major scale followed by major
7th arpeggio
* Dorian scale followed by minor
scale hands together,
7th arpeggio
arpeggio in RH only
* Mixolydian scale followed by major
arpeggio with a lowered 7th (F7, D7, Db7)
(NB: candidates will not be asked again for
whichever scale & arpeggio combination
they selected for section 1.) two legato, min.
octaves mf q = 120
◗◗ Major pentatonic scale on F, D and Db hands separately,
straight or swung
◗◗ Minor pentatonic scale on F, D and C# (examiner choice)
6
◗◗ Chromatic scale in similar motion
starting on any white note hands together
(examiner choice)

RH only, straight or
◗◗ Blues scale on F, D and C# swung (examiner
choice)

67
Electronic Keyboard: Grade 6

Chords in root position:


◗◗ F6, D6, Db6, Fm6, Dm6, Dbm6
bass note in LH and
◗◗ F7, D7, Db7, C7, A7, Ab7
remaining notes in RH
◗◗ F 7, D 7, Db 7, Fm7, Dm7, Dbm7
◗◗ F°7, D°7, Db°7

Or
 XERCISES (music may be used) — Candidates prepare three of the following
3. E
four exercises.
Candidates choose one exercise to play first. Examiners then select one of the remaining two
prepared exercises to be performed.

Eastern Song
1.  keyboard functions exercise

2. Beguine scalic exercise

Latin Escapade
3.  pianistic exercise

Fishes’ Lament
4.  sequencing exercise

68
Electronic Keyboard: Grade 6

SUPPORTING TESTS

Candidates prepare: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural or improvisation
three options:

Sight reading ◗◗ Stylistic

After 30 seconds’ preparation time, candidates ◗◗ Motivic


perform a previously unseen musical extract ◗◗ Harmonic
at a level approximately two grades lower than
See pages 24–31 for the requirements
the exam being taken. See page 22 for sight
and parameters.
reading parameters.

Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 24 for more information.
The aural test requirements for Grade 6
are below.

Aural questions

Parameters Task Requirement

Electronic Keyboard: Grade


i) Identify the time signature
Listen to the piece twice ii) Comment on the dynamics
iii) Comment on the articulation

Identify and comment on two other


Harmonised Listen to the piece twice
characteristics of the piece

8 bars Identify the key to which the music


modulates as subdominant, dominant
Major key Listen to the first four bars or relative minor
of the piece once
Answers may alternatively be given as
2, 3, 4 or 6 key names

Study a copy of the piece, 6


and listen to it twice with Locate and describe the changes
two changes to the as pitch or rhythm
melody line

69
Electronic Keyboard: Grade 7

Electronic Keyboard: Grade 7


EXAM STRUCTURE PIECES
Candidates play a balanced programme of
three pieces, chosen from the list below.
Instead of one listed piece, candidates can
play an own composition, an own choice piece
or an own arrangement. See pages 16–18 for
further guidance.
The Grade 7 exam lasts 25 minutes and The following pieces are in Trinity’s
contains the following: Electronic Keyboard Pieces & Technical Work
2019–2022: Grade 7.
Maximum
marks Toccata and Fugue in
1. J S BACH
D minor, BWV 565
PIECE 1 22
2. CROW & FROOM Tomorrow Never Dies*
PIECE 2 22
The Poet Acts
3. GLASS
(from The Hours)
PIECE 3 22
4. LITTEN Enchantment

Wedding March
TECHNICAL WORK 14 MENDELSSOHN-
5. (from A Midsummer
BARTHOLDY
Night’s Dream)
◗◗ Keyboard exercise
Violin Concerto in G,
◗◗ Either scales & chord knowledge 6. MOZART
K. 216 (1st movt)
or exercises
7. PARRY Jerusalem
SUPPORTING TEST 1 10
8. TRAD. The Contradiction Reel

◗◗ Sight reading * Own interpretation piece

SUPPORTING TEST 2 10

ONE of the following:


◗◗ Aural
◗◗ Improvisation

TOTAL 100

70
Electronic Keyboard: Grade 7

Own composition Own compositions must be comparable in


technical and musical demand to the pieces
Candidates may perform an own composition
listed for this grade. Suitable features include:
instead of one listed piece. More information
can be found on page 18. ◗◗ Modulation
◗◗ Use of irregular time signatures
Duration:
◗◗ Use of any key/mode
3–4 minutes

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. (see pages 19–20).
All requirements are in Trinity’s Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 7.

1. KEYBOARD EXERCISE (from memory)

Candidates should choose one of the scale & arpeggio combinations (marked ) in section 2.
below using one of the tonal/modal centres of Ab/G#, B or C (candidate choice).

Either
2. SCALES & CHORD KNOWLEDGE (from memory) — Examiners select from the following:

Using the tonal/modal centres of Ab/G#,


B and C:
* Major scale followed by major
7th arpeggio
* Dorian scale followed by minor
7th arpeggio scale hands together,

Electronic Keyboard: Grade


* ixolydian scale followed by major
M
 arpeggio in RH only
arpeggio with a lowered 7th
(Ab7, B7, C7)
(NB: candidates will not be asked again for
whichever scale & arpeggio combination two legato, min.
they selected for section 1.) octaves mf q = 130

◗◗ Major pentatonic scale on Ab, B and C hands separately,


straight or swung
◗◗ Minor pentatonic scale on G#, B and C (examiner choice)

◗◗ Chromatic scale in similar motion


hands together
starting on any note (examiner choice)

RH only, straight or
7
◗◗ Blues scale on Ab, B and C swung (examiner
choice)

71
Electronic Keyboard: Grade 7

Chords in root position:


◗◗ Ab6, B6, C6, Abm6, Bm6, Cm6
◗◗ Ab°7, B°7, C°7
◗◗ Ab+, B+, C+ bass note in LH and
remaining notes in RH
Chords in root position and all inversions:
◗◗ Ab7, B7, C7, Eb7, F#7, G7
◗◗ Ab 7, B 7, C 7, G#m7, Bm7, Cm7

Or
 XERCISES (music may be used) — Candidates prepare three of the following
3. E
four exercises.
Candidates choose one exercise to play first. Examiners then select one of the remaining two
prepared exercises to be performed.

A Little Blue
1.  keyboard functions exercise

Disco Kaleidoscope
2.  scalic exercise

Raspberry Jam
3.  pianistic exercise

Spanish Melody
4.  sequencing exercise

72
Electronic Keyboard: Grade 7

SUPPORTING TESTS

Candidates prepare: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural or improvisation
three options:

Sight reading ◗◗ Stylistic

After 30 seconds’ preparation time, candidates ◗◗ Motivic


perform a previously unseen musical extract ◗◗ Harmonic
at a level approximately two grades lower than
the exam being taken. See page 22 for sight See pages 24–31 for the requirements and
reading parameters. parameters.

Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 24 for more information.
The aural test requirements for Grade 7
are below.

Aural questions

Parameters Task Requirement

i) Identify the time signature


Listen to the piece twice ii) Comment on the dynamics
iii) Comment on the articulation

Electronic Keyboard: Grade


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

Study a copy of the piece,


Locate and describe the changes
and listen to it twice with
as pitch (melody line only) or rhythm
three changes

73
Electronic Keyboard: Grade 8

Electronic Keyboard: Grade 8


EXAM STRUCTURE PIECES
Candidates play a balanced programme of
three pieces, chosen from the list below.
Instead of one listed piece, candidates can
play an own composition, an own choice piece
or an own arrangement. See pages 16–18 for
further guidance.
The Grade 8 exam lasts 30 minutes and The following pieces are in Trinity’s
contains the following: Electronic Keyboard Pieces & Technical Work
2019–2022: Grade 8.
Maximum
marks Minute Waltz (Waltz in
1. CHOPIN
Db major, op. 64 no. 1)
PIECE 1 22
2. GILLESPIE A Night in Tunisia
PIECE 2 22
3. GRAINGER In Dahomey

PIECE 3 22 Friska (from Hungarian


4. LISZT
Rhapsody no. 2)

Caprice no. 24 in
TECHNICAL WORK 14 5. PAGANINI A minor (from 24
Caprices for Solo Violin)*
◗◗ Keyboard exercise
6. THISELTON Spring Dance
◗◗ Either scales & chord knowledge
or exercises 7. WHELAN Riverdance

Toccata (from
SUPPORTING TEST 1 10
8. WIDOR Symphony for Organ
no. 5, op. 42 no. 1)
◗◗ Sight reading
* Own interpretation piece

SUPPORTING TEST 2 10

ONE of the following:


◗◗ Aural
◗◗ Improvisation

TOTAL 100

74
Electronic Keyboard: Grade 8

Own composition Own compositions must be comparable in


technical and musical demand to the pieces
Candidates may perform an own composition
listed for this grade. Suitable features include:
instead of one listed piece. More information
can be found on page 18. ◗◗ Wide range of expressive techniques
◗◗ Creative use of form
Duration: ◗◗ Extended techniques, wide range,
3.5–5 minutes chromaticism and rhythmic variation
◗◗ Use of any key/mode

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. (see pages 19–20).
All requirements are in Trinity’s Electronic Keyboard Pieces & Technical Work 2019–2022: Grade 8.

1. KEYBOARD EXERCISE (from memory)

Candidates should choose one of the scale & arpeggio combinations (marked ) in section 2.
below using one of the tonal/modal centres of F#, Eb or A (candidate choice).

Either
2. SCALES & CHORD KNOWLEDGE (from memory) — Examiners select from the following:

Using the tonal/modal centres of F#, Eb


and A:
* Major scale followed by major
7th arpeggio
* Dorian scale followed by minor scale hands together,
7th arpeggio
arpeggio in RH only
* Mixolydian scale followed by major
arpeggio with a lowered 7th (F#7, Eb7, A7)
(NB: candidates will not be asked again for
whichever scale & arpeggio combination
Electronic Keyboard: Grade

two legato, min.


they selected for section 1.)
octaves mf q = 140
◗◗ Major pentatonic scale on F#, Eb and A hands separately,
straight or swung
◗◗ Minor pentatonic scale on F#, Eb and A (examiner choice)

◗◗ Chromatic scale in similar motion


hands together
starting on any note (examiner choice)

RH only, straight or
◗◗ Blues scale on F#, Eb and A swung (examiner
choice)

8
75
Electronic Keyboard: Grade 8

Chords in root position:


◗◗ F#6, Eb6, A6, F#m6, Ebm6, Am6
◗◗ F#°7, Eb°7, A°7
◗◗ F#9, Eb9, A9
bass note in LH and
◗◗ F#+, Eb+, A+ remaining notes in RH
Chords in root position and all inversions:
◗◗ F#7, Eb7, A7, Db7, Bb7, E7
◗◗ F# 7, Eb 7, A 7, F#m7, Ebm7, Am7

Or
 XERCISES (music may be used) — Candidates prepare three of the following
3. E
four exercises.
Candidates choose one exercise to play first. Examiners then select one of the remaining two
prepared exercises to be performed.

Big Band Bend


1.  keyboard functions exercise

Falling Leaves
2.  scalic exercise

3. Ballroom Elegance pianistic exercise

Circles
4.  sequencing exercise

76
Electronic Keyboard: Grade 8

SUPPORTING TESTS

Candidates prepare: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural or improvisation
three options:

Sight reading ◗◗ Stylistic

After 30 seconds’ preparation time, candidates ◗◗ Motivic


perform a previously unseen musical extract ◗◗ Harmonic
at a level approximately two grades lower than
See pages 24–31 for the requirements
the exam being taken. See page 22 for sight
and parameters.
reading parameters.

Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 24 for more information.
The aural test requirements for Grade 8
are below.

Aural questions

Parameters Task Requirement

i) Identify the time signature


Harmonised Listen to the piece once ii) Comment on the dynamics
iii) Comment on the articulation
12–16 bars
Identify and comment on three other
Listen to the piece twice
Major or minor key characteristics of the piece

Study a copy of the piece,


2, 3, 4, 6 or 5
Electronic Keyboard: Grade

Locate and describe the changes


and listen to it twice with
as pitch or rhythm
three changes

8
77
Organ: Grades 1–5

Organ: Grades 1–5


EXAM DURATION EXAM STRUCTURE
The Grade 1 exam The Grade 2 exam The Grade 1–5 exams contain the following:
lasts 13 minutes lasts 15 minutes
Maximum
marks

PIECE 1 22

PIECE 2 22
The Grade 3 exam The Grade 4 exam
lasts 15 minutes lasts 20 minutes
PIECE 3 22

TECHNICAL WORK* 14

The Grade 5 exam ◗◗ Scales & arpeggios


lasts 20 minutes

SUPPORTING TESTS 20

Any TWO of the following:


◗◗ Sight reading
◗◗ Aural
◗◗ Improvisation
◗◗ Musical knowledge

TOTAL 100

78 * Organ technical work at Grade 1 is scales only.


Organ: Grade 1

Organ: Grade 1
PIECES
Candidates play a balanced programme of three pieces, containing at least one piece from
each group. An own composition may be played instead of one listed piece. See pages 16–18
for further guidance.

Composer Piece Book Publisher

Group A

Organ Music for Manuals OUP

Organ: Grade
1. ALCOCK Trumpet Piece
book 4 9780193758513

Organ Works book 18:


Ich hab’ mein’ Sach’ Gott Novello
2. J S BACH Miscellaneous Chorale
heimgestellt, BWV 708 NOV010013
Preludes Part I

Music for Memorial and Novello


3. BEETHOVEN No. 1 from Two Equali
Thanksgiving Services NOV262778 1
A Graded Anthology for
4. BÖHM Minuet in G major Cramer 90583
Organ book 2

Organ Music for Manuals OUP


5. BOYVIN Duo du troisième ton
book 3 9780193758506

6. DANDRIEU Chantons je vous prie, p7 Noëls Kalmus K03366

Magnificat: Primi Toni Organ Music for Manuals OUP


7. FRESCOBALDI
(from 3 Versi) book 1 9780193758339

Moderato (no. 2 from Organ Music for Manuals OUP


8. GEBHARDI
Four Short Preludes) book 1 9780193758339

Slow movement from Organ Music for Manuals OUP


9. HERON
Cornet Voluntary book 4 9780193758513

Easy Organ Pieces from Bärenreiter


10. LITZAU Praeludium in C minor
the 19th Century vol. 3 BA8420

Minuet in F major (from A Graded Anthology for


11. MOZART Cramer 90583
The London Notebook) Organ book 2

Organ Music for Manuals OUP


12. PACHELBEL Fuga
book 3 9780193758506

Chorale Prelude: O Lamm Organ Music for Manuals OUP


13. TELEMANN
Gottes unschuldig book 3 9780193758506

79
Organ: Grade 1

Composer Piece Book Publisher

Group B

1. ALAIN De Jules Lemaître Four Pieces for Organ Universal UE17163

Music for Memorial and Novello


2. FRANCK Prière
Thanksgiving Services NOV262778

Getting Started on the


3. HEPBURN O When the Saints Animus
Organ

Vi hører fugler sjunge


4. HESFORD (3rd movt from Partita for Miniatures vol. 1 Fentone F607
Anna Magdalena, op. 137)

5. HOWELLS Eighteen Miniatures for Organ Mayhew 3611053

Easy Organ Pieces from Bärenreiter


6. KÖRNER Moderato in B minor
the 19th Century vol. 1 BA8416

Offertorium (Missa
7. LISZT Music for Manuals vol. 3 Fentone F463
pro Organo)

Andante (no. 3 from Organ Music for Manuals OUP


8. LITZAU
3 Short Preludes) book 5 9780193758520

Miniature, op. 55 (from A Graded Anthology for


9. PEETERS Cramer 90583
35 Miniature per Organo) Organ book 2

10. RATHGEBER Christmas Pastorella no. 5 10 Christmas Pastorales Peters EP8087

Immaculata Conceptio B. Petites fleurs musicales,


11. TOURNEMIRE Universal UE17465
Mariae Virginis no. 3 op. 66

Own composition Own compositions must be comparable in


technical and musical demand to the pieces
Candidates may perform an own composition
listed for this grade. Suitable features include:
instead of one listed piece. More information
can be found on page 18. ◗◗ Dynamic contrast
◗◗ Simple syncopation or other rhythmic
Duration: feature
approx. 1 minute ◗◗ Use of keys stipulated for technical work
at this grade

80
Organ: Grade 1

TECHNICAL WORK
Candidates prepare the following (see page 20).

SCALES (played on manuals, from memory) — Examiners select from the following:

◗◗ G, D, A and E major
one min. hands together legato,
◗◗ E, D, G and C harmonic minor
octave q = 72 mf
◗◗ Chromatic scale starting on G hands separately

SUPPORTING TESTS
Candidates choose two of the following: Improvisation

Organ: Grade
◗◗ Sight reading Candidates perform an improvisation based
◗◗ Aural on a stimulus chosen from the following
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic
Sight reading ◗◗ Harmonic
After 30 seconds’ preparation time, candidates See pages 24–31 for the requirements 1
perform a previously unseen musical extract and parameters.
at a level lower than the exam being taken.
See page 23 for sight reading parameters. Musical knowledge
Candidates answer questions assessing their
Aural
understanding of the pieces performed, as well
Candidates answer questions based on a single as their knowledge of notation and the organ.
musical example played on the piano by the Questions are based on candidates’ chosen
examiner. See page 24 for more information. pieces. See pages 32–33 for example questions
The aural test requirements for Grade 1 and responses.
are below.

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


three times stressing the strong beat

Melody only i) Identify the dynamic as forte or piano


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

81
Organ: Grade 2

Organ: Grade 2
PIECES
Candidates play a balanced programme of three pieces, containing at least one piece from
each group. An own composition may be played instead of one listed piece. See pages 16–18
for further guidance.

Composer Piece Book Publisher

Group A

Gottes Sohn ist


1. J S BACH kommen (Fughetta), Organ Works vol. 3 Bärenreiter BA5173
BWV 703
Herr Jesu Christ
2. J S BACH 23 Chorale Preludes Bayley & Ferguson
meines Lebens Licht

Prelude in G minor, Organ Works book 1: Eight


3. J S BACH Novello NOV010018
BWV 558 Short Preludes and Fugues

Messe du jour de noël


4. BOËLY Incognita Organo vol. 16 Harmonia HU3315
(4ème Kyrie)

Organ Music for Manuals OUP


5. BOYVIN Basse de trompette
book 3 9780193758506

6. DANDRIEU Puer nobis nascitur Noëls Kalmus K03366

Andante (only) from Early Organ Music for


7. GREENE Novello NOV010184
Voluntary XIII Manuals book 2

Minuet in C major, Pieces for a Musical Clock,


8. HAYDN Bärenreiter EN802
no. 5 Hob. XIX: 1–32

Adagio in C for Glass


9. MOZART Works for Organ Bärenreiter BA8403
Harmonica, KV 356

A Graded Anthology for


10. PACHELBEL Fugue in C Cramer 90583
Organ book 2

Christmas Pastorella
11. RATHGEBER 10 Christmas Pastorales Peters EP8087
no. 1

Organ Music for Manuals OUP


12. TRAVERS Trumpet Voluntary
book 3 9780193758506

82
Organ: Grade 2

Composer Piece Book Publisher

Group B

1. ALAIN Monodie L’oeuvre d’orgue vol. 3 Leduc AL20184

Easy Graded Organ


2. BOËLLMANN Basso Ostinato OUP 9780193758223
Music book 1

Music for Manuals


3. BOËLLMANN Verset Fentone F367
vol. 2

An Easy Album: Six


4. COLEMAN Prelude OUP 9780193751255
Pieces for Organ

2nd movt from Kleine


5. EBEN Choralpartita über ‘O Jesu, Universal UE17162
all mein Leben bist Du’

Organ: Grade
Music for Manuals
6. FRANCK À la venue de Noël Fentone F367
vol. 2

Missa Ungarica
7. HESFORD Gradual Cramer 90124
pro Organo

8. LANGLAIS Printemps (theme only) Mosaïque vol. 3 Combre CO4639


2
Choral and 1st Variation
10 Organ Chorales,
9. PEETERS from Herr Jesus hat ein Schott ED2553
op. 39
Gärtchen

Es ist gewißlich an der Zeit, Music for Manuals


10. REGER Fentone F367
op. 135a no. 8 vol. 2

Chorale Prelude: Zu A Graded Anthology


11. WALCHA Cramer 90583
Bethlehem Geboren for Organ book 2

83
Organ: Grade 2

Own composition Own compositions must be comparable in


technical and musical demand to the pieces
Candidates may perform an own composition
listed for this grade. Suitable features include:
instead of one listed piece. More information
can be found on page 18. ◗◗ Use of different articulations
◗◗ Simple melodic ornamentation
Duration: ◗◗ Use of keys stipulated for technical work
1–1.5 minute(s) at this grade

TECHNICAL WORK

Candidates prepare the following (see page 20).

SCALES & ARPEGGIOS (played on manuals, from memory) — Examiners select from
the following:

Scales:
◗◗ B and F major
two
◗◗ F harmonic minor
octaves
◗◗ C and E major in contrary motion min.
hands together
◗◗ Chromatic scale starting on D q = 72
legato,
◗◗ Chromatic scale starting on D one mf
in contrary motion octave

Arpeggios:
two min.
◗◗ C, F and G major hands separately
octaves q = 60
◗◗ A, D and E minor

84
Organ: Grade 2

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 24–31 for the requirements
perform a previously unseen musical extract and parameters.
at a level lower than the exam being taken.
See page 23 for sight reading parameters. Musical knowledge
Candidates answer questions assessing their
Aural understanding of the pieces performed, as well

Organ: Grade
Candidates answer questions based on a single as their knowledge of notation and the organ.
musical example played on the piano by the Questions are based on candidates’ chosen
examiner. See page 24 for more information. pieces. See pages 32–33 for example questions
and responses.
The aural test requirements for Grade 2
are below.

2
Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


three times stressing the strong beat

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

85
Organ: Grade 3

Organ: Grade 3
PIECES
Candidates play a balanced programme of three pieces, containing at least one piece from
each group. An own composition may be played instead of one listed piece. See pages 16–18
for further guidance.

Composer Piece Book Publisher

Group A

No. 1 from Two Early Early Organ Series


1. ANON. Faber 0571507719
Sixteenth Century Pieces vol. 1: England 1510–1590
Da Jesus an dem Kreuze
2. J S BACH Organ Works vol. 1 Bärenreiter BA5171
stund, BWV 621

3. BYRD Veni creator spiritus 1 8 Organ Pieces Hinrichsen H1543A

Allegro ma non troppo in Pieces for a Musical


4. HAYDN Bärenreiter EN802
C major, no. 23 Clock, Hob. XIX: 1–32

Pastorella: Der Herr ist The Progressive


5. MARPURG Novello NOV262483
mein getreuer Hirt Organist book 1

2nd movt from Voluntary Ten Organ Voluntaries,


6. STANLEY Peters EP7723
no. 5 in D minor op. 6

VAN Psalm 38 from the Organ Music for OUP


7.
NOORDT Tablature Book (1659) Manuals book 3 9780193758506

Herr Jesu Christ, dich zu Organ Music for


8. WALTHER OUP 9780193758339
uns Wend (with repeats) Manuals book 1

86
Organ: Grade 3

Composer Piece Book Publisher

Group B

1. ALAIN Ballade en mode phrygien L’oeuvre d’orgue vol. 3 Leduc AL20184

Plainte (no. 1 from Organ Music for OUP


2. BOËLLMANN
Four Pieces) Manuals book 1 9780193758339

Organ Music for OUP


3. BOËLLMANN Postlude
Manuals book 3 9780193758506

A Graded Anthology
4. FRANCK Vieux Noël Cramer 90584
for Organ book 3

Organ Music for OUP


5. GUILMANT Communion
Manuals book 5 9780193758520

Pastoral Song A Graded Anthology


6. LANGLAIS Cramer 90584
(from Organ Book) for Organ book 3

Prelude (from Three A Graded Anthology


7. MOORE Cramer 90584
Pieces for Withycombe) for Organ book 3

Organ: Grade
Canon at the Octave (from
Music for a Quiet
8. PINKHAM Be Thou My Vision: Partita Presser 493-00086
Sunday
on ‘Slane’)

9. RIDOUT Father Canticle of the Rose Mayhew 1405553

3
10. TOURNEMIRE Offertoire Miniatures vol. 2 Fentone F642

Herzliebster Jesu, was A Graded Anthology


11. WALCHA Cramer 90584
hast du verbrochen for Organ book 3

Own composition Own compositions must be comparable in


technical and musical demand to the pieces
Candidates may perform an own composition
listed for this grade. Suitable features include:
instead of one listed piece. More information
can be found on page 18. ◗◗ Form showing clear sections, eg ‘ABA’
◗◗ Melodic range of one octave or more
Duration: ◗◗ Use of keys stipulated for technical work
1.5–2 minutes at this grade

87
Organ: Grade 3

TECHNICAL WORK

Candidates prepare the following (see page 20).

SCALES & ARPEGGIOS (from memory) — Examiners select from the following:

Manual
Scales:
◗◗ Bb, Eb, Ab and Db major two octaves
◗◗ C# and G# harmonic minor min.
◗◗ Chromatic scale starting on Ab q = 84
legato,
◗◗ Eb major in contrary motion hands together,
◗◗ Chromatic scale starting on Ab in one octave mf
contrary motion

Arpeggios:
◗◗ D, A and E major two octaves
◗◗ G, C and F minor
min.
Pedal q = 72
Scales:
one octave mf
◗◗ F and G major in broken 3rds
◗◗ A and G melodic minor in broken 3rds

88
Organ: Grade 3

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 24–31 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See page 23 for sight Musical knowledge
reading parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the organ.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 32–33 for example questions
examiner. See page 24 for more information. and responses.

Organ: Grade
The aural test requirements for Grade 3
are below.

Aural questions

Parameters Task Requirement


3
Clap the pulse on the second playing,
Listen to the melody twice
stressing the strong beat

Listen to the melody once Identify the tonality as major or minor


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

89
Organ: Grade 4

Organ: Grade 4
PIECES
Candidates play a balanced programme of three pieces, containing at least one piece from
each group. An own composition may be played instead of one listed piece. See pages 16–18
for further guidance.

Composer Piece Book Publisher

Group A

A Graded Anthology for Cramer


1. ALBRECHTSBERGER Prelude
Organ book 4 90585
Christe, du Lamm Bärenreiter
2. J S BACH Organ Works vol. 1
Gottes, BWV 619 BA5171

Der Tag, der ist so Bärenreiter


3. J S BACH Organ Works vol. 1
freudenreich, BWV 605 BA5171

Organ Works book 1:


Prelude and Fugue in Novello
4. J S BACH Eight Short Preludes
G major, BWV 557 NOV010018
and Fugues

A Graded Anthology Cramer


5. BÖHM Prelude in A minor
for Organ book 4 90585

Nun Komm der The Progressive Organist Novello


6. BUXTEHUDE
Heiden Heiland book 2 NOV262533

Kalmus
7. FROBERGER Toccata in D minor no. 2 Various Works for Organ
K03455

Early Organ Series vol. 13:


Faber
8. KOTTER Präeludium in Fa Germany & Austria
0571507832
1512–1577

Da Jesus an dem Schola


9. PACHELBEL Pâques
Kreuze stund, BWV 621 Cantorum OL1

90
Organ: Grade 4

Composer Piece Book Publisher

Group B

No. 1 from Deux danses


1. ALAIN L’oeuvre d’orgue vol. 2 Leduc AL20102
à Agni Yavishta

2. BOËLLMANN Entrée Miniatures vol. 2 Fentone F642

Chorale-paraphrase on Twelve Choral Preludes on


3. DEMESSIEUX Alfred 0603
‘Tu es petrus’ Gregorian Chant Themes

Le tombeau de Titelouze,
4. DUPRÉ Audi, benigne Conditor Leduc AL27836
op. 38

5. ELGAR Andantino, op. 14 no. 3 Miniatures vol. 2 Fentone F642

6. ELGAR Vesper Voluntary no. 5 Vesper Voluntaries, op. 14 Faber 0571508626

7. IRELAND The Holy Boy Boosey M060832123

Freu dich sehr, o meine Chorale-Improvisations,


8. KARG-ELERT Breitkopf EB8261
Seele, no. 5 op. 65 book 1

Organ: Grade
9. MACMILLAN White Note Paraphrase Boosey M060113925

Jesus Meets His The Fourteen Stations


10. RIDOUT Mayhew 1400014
Blessed Mother of the Cross

Jesus Speaks to the The Fourteen Stations


11. RIDOUT
Women of Jerusalem of the Cross
Mayhew 1400014 4
24 Pièces en style libre
12. VIERNE Arabesque Durand DF00897300
vol. 2

Own composition Own compositions must be comparable in


technical and musical demand to the pieces
Candidates may perform an own composition
listed for this grade. Suitable features include:
instead of one listed piece. More information
can be found on page 18. ◗◗ Tempo changes
◗◗ Use of a variety of different articulations
Duration: ◗◗ Use of keys stipulated for technical work
2–3 minutes at this grade

91
Organ: Grade 4

TECHNICAL WORK

Candidates prepare the following (see page 20).

SCALES & ARPEGGIOS (from memory) — Examiners select from the following:

Manual
Scales:
◗◗ F# major
two octaves
◗◗ Bb and Eb harmonic minor
◗◗ Chromatic scales starting on A, C, D, F min.
and G q = 96
legato,
hands together,
◗◗ Chromatic scale starting on A in contrary
mf
motion one octave
◗◗ E harmonic minor in contrary motion

Arpeggios:
◗◗ B and Bb major two octaves
◗◗ B and Bb minor
min.
Pedal q = 84
Scales:
one octave mf
◗◗ A, E and Bb major in broken 3rds
◗◗ B, E and F melodic minor in broken 3rds

92
Organ: Grade 4

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 24–31 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See page 23 for sight Musical knowledge
reading parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the organ.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 32–33 for example questions
examiner. See page 24 for more information. and responses.
The aural test requirements for Grade 4
are below.

Organ: Grade
Aural questions

Parameters Task Requirement

Clap the pulse on the second playing,


Listen to the piece twice
stressing the strong beat
4
i) Identify the tonality as major or minor
Listen to the piece twice ii) Identify the final cadence as perfect
Harmonised or imperfect

4 bars Identify the interval as minor or major


Listen to the first two notes
second, minor or major third, perfect
of the melody once
Major or minor key fourth or fifth, minor or major sixth

4 or 6 Study a copy of the melody


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

93
Organ: Grade 5

Organ: Grade 5
PIECES
Candidates play a balanced programme of three pieces, containing at least one piece from
each group. An own composition may be played instead of one listed piece. See pages 16–18
for further guidance.

Composer Piece Book Publisher

Group A

Herr Christ, der ein’ge Bärenreiter


1. J S BACH Organ Works vol. 1
Gottessohn, BWV 601 BA5171
Prelude and Fugue in Organ Works book 1: Eight Novello
2. J S BACH
E minor, BWV 555 Short Preludes and Fugues NOV010018

Early Organ Series vol. 12:


Mensch, willt du leben Faber
3. BUXTEHUDE The Netherlands & North
seliglich, BuxWV 206 0571507824
Germany 1650–1710

Vox Humana vol. 6: Czech Bärenreiter


4. C  ERNOHORSKÝ Toccata C dur
Republic BA8236

Chorale prelude: Schmücke 66 Chorale Improvisations, Breitkopf


5. KARG-ELERT
dich, o liebe Seele op. 65 vol. 5 EB8265

Organ Music around Breitkopf


6. KITTEL Präludium in A flat major
J S Bach vol. 2 EB8685

7. MERKEL Evening Hymn Self Taught 1 Animus

8. MERKEL Pastorale, no. 4 Six Preludes, op. 23 Fentone F365

Novello
9. PURCELL Voluntary in G Organ Works
NOV590294

Canonic Study for Pedal Schott


10. SCHUMANN Organ Works
Piano in C major, op. 56 no. 1 ED9906

Ten Organ Voluntaries,


11. STANLEY Voluntary no. 2 in D minor Peters EP7722
op. 5

Early Organ Series vol. 2: Faber


12. TOMKINS Verse
England 1590–1650 0571507727

A Graded Anthology for Cramer


13. ZIPOLI All’offertorio
Organ book 4 90585

94
Organ: Grade 5

Composer Piece Book Publisher

Group B

Chorale-paraphrase on Twelve Choral Preludes on


1. DEMESSIEUX Alfred 0603
‘Hosanna filio David’ Gregorian Chant Themes

UMP
2. HAKIM Pastorale Mariales
M224402155

Gammal Fabødsalm från Gehrmans


3. LINDBERG
Dalårna NM2352

OUP
4. MATHIAS Chorale A Mathias Organ Album
9780193755505

Andante tranquillo (2nd


Complete Organ Works Bärenreiter
5. MENDELSSOHN movt from Sonata no. 3
vol. 2 BA8197
in A major, op. 65 no. 3)
Finale: Andante (3rd movt
Complete Organ Works Bärenreiter
6. MENDELSSOHN from Sonata no. 6 in
vol. 2 BA8197
D minor, op. 65 no. 6)

7. NIELSEN Prelude in F sharp minor Miniatures vol. 2 Fentone F642

8. PEETERS Koraal Suite modale, op. 43 Lemoine 23673

12 Monologues for Organ, Novello


9. RHEINBERGER Con moto, no. 1
op. 162 NOV010044

Organ: Grade
The Fourteen Mayhew
10. RIDOUT Jesus Receives His Cross
Stations of the Cross 1400014

Jesus is Laid in the The Fourteen Stations Mayhew


11. RIDOUT
Sepulchre of the Cross 1400014

L’Eléphant (from Carnival The Heavy-footed


12. SAINT-SAËNS
of the Animals, arr. Webb) Organist
Animus 5
No. 5 from 6 Short
13. STANFORD Preludes and Postludes Mayhew 1400361
Preludes and Postludes

Novello
14. THALBEN-BALL Elegy
NOV357436

24 Pièces en style libre Durand


15. VIERNE Berceuse, op. 31 no. 19
vol. 2 DF00897300

OUP
16. WHITLOCK Lantana Plymouth Suite
9780193758933

95
Organ: Grade 5

Own composition Own compositions must be comparable in


technical and musical demand to the pieces
Candidates may perform an own composition
listed for this grade. Suitable features include:
instead of one listed piece. More information
can be found on page 18. ◗◗ Chromaticism
◗◗ Use of semiquaver passages
Duration: ◗◗ Use of keys stipulated for technical work
2–3 minutes at this grade

TECHNICAL WORK

Candidates prepare the following (see page 20).

SCALES & ARPEGGIOS (from memory) — Examiners select from the following:

Manual
Scales:
◗◗ B, C, F, Eb and F# major
◗◗ F# harmonic minor min. legato or staccato
◗◗ A, C, D, E and G melodic minor q = 108 as requested by the
examiner
◗◗ Chromatic scales in similar and contrary two octaves
motion starting on any note requested hands together
by the examiner mf
Arpeggios:
min.
◗◗ Eb, Ab and Db major
q = 90
◗◗ C#, F# and G# minor

Pedal
Scales: min.
one octave
◗◗ A and G major in running triplets q = 60
◗◗ A and B melodic minor in running triplets legato,
mf
Broken chords:
min.
◗◗ F and G major to 12th
q = 84
◗◗ A and E minor

96
Organ: Grade 5

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 24–31 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See page 23 for sight Musical knowledge
reading parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the organ.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 32–33 for example questions
examiner. See page 24 for more information. and responses.
The aural test requirements for Grade 5
are below.

Aural questions

Parameters Task Requirement

Organ: Grade
i) Clap the pulse on the second playing,
Listen to the piece twice stressing the strong beat
ii) Identify the time signature

i) Identify the changing tonality


Harmonised Listen to the piece twice ii) Identify the final cadence as perfect,
plagal, imperfect or interrupted 5
8 bars
Identify the interval as minor or major
Major or Listen to two notes from the second, minor or major third, perfect
minor key melody line played consecutively fourth or fifth, minor or major sixth,
minor or major seventh or octave
2, 3, 4 or 6
Study a copy of the piece, and i) Identify the bar in which the change
listen to it once as written and of rhythm occurred
once with a change of rhythm
and a change of pitch (both ii) Identify the bar in which the change
changes in the melody line) of pitch occurred

97
Organ: Grades 6–8

Organ: Grades 6–8


EXAM DURATION EXAM STRUCTURE
The Grade 6 exam The Grade 7 exam The Grade 6–8 exams contain the following:
lasts 25 minutes lasts 25 minutes
Maximum
marks

PIECE 1 22

PIECE 2 22
The Grade 8 exam
lasts 30 minutes
PIECE 3 22

TECHNICAL WORK 14

◗◗ Scales & arpeggios


◗◗ Pedal study

SUPPORTING TEST 1 10

◗◗ Sight reading

SUPPORTING TEST 2 10

ONE of the following:


◗◗ Aural
◗◗ Improvisation

TOTAL 100

98
Organ: Grade 6

Organ: Grade 6
PIECES
Candidates play a balanced programme of three pieces, containing at least one piece from
each group. An own composition may be played instead of one listed piece. See pages 16–18
for further guidance.

Composer Piece Book Publisher

Group A

Presto (last movt from Bärenreiter


1. J S BACH Organ Works vol. 8
Concerto in G, BWV 592) BA5178
Gelobet seist du, Jesu Christ, Bärenreiter
2. J S BACH Organ Works vol. 1
BWV 604 BA5171

Heut triumphieret Gottes Bärenreiter


3. J S BACH Organ Works vol. 1
Sohn, BWV 630 BA5171

2nd movt from Trio Sonata Bärenreiter


4. J S BACH Organ Works vol. 7
in D minor, BWV 527 BA5177

Fugue from Prelude and Album of Various


5. BRUCKNER Kalmus KO2036
Fugue in C minor Pieces for Organ

Prelude, Fugue and Durand


6. FRANCK Prelude
Variation, op. 18 DF00268100

Incognita Organo vol.


7. HOMILIUS Mache dich mein Geist bereit Harmonia
27: Chorale Preludes

Fuga: Sostenuto e legato (2nd


Complete Organ Works Bärenreiter
8. MENDELSSOHN movt from Sonata no. 6 in D
vol. 2 BA8197
minor, op. 65 no. 6) Organ: Grade
Chorale fantasia Komm, Breitkopf
9. TUNDER Complete Organ Works
Heiliger Geist, Herre Gott EB8825

Composer Piece Book Publisher

Group B 6
1. ALAIN Lamento L’oeuvre d’orgue vol. 3 Leduc AL20184
2. ALAIN Le jardin suspendu Trois Pièces Leduc AL19744
A Little Suite for
3. ARCHER Toccatina IAO
Organ
4. BOURGEOIS Serenade, op. 22 Smith 70055

99
Organ: Grade 6

Eleven Chorale
Herzlich thut mich verlangen, Novello
5. BRAHMS Preludes for the
op. 122 no. 10 NOV590116
Organ, op. 122
Faber
6. BURRELL Fragments I and II Unbeaten Tracks
0571519776
7. DUBOIS In Paradisum Twelve Pieces for Organ Kalmus K03456
8. GARDNER Pavin Five Dances for Organ ScoreStore
Paraphrase (on Handel’s A Graded Anthology
9. GUILMANT Cramer 90586
Judas Maccabeus) for Organ book 5
UMP
10. HAKIM Incantation Mariales
M224402155
Ruhig bewegt (2nd movt
11. HINDEMITH Schott ED2558
from Sonata no. 2)

Organ Music of Novello


12. IRELAND Sursum Corda
John Ireland NOV010183
Elkan-Vogel
13. LANGLAIS Pasticcio Organ Book: Ten Pieces
46300006
LEFÉBURE– Andante, ‘Choeur de voix Favourite Organ Music OUP
14.
WÉLY humaines’ book 2 9780193755284
Seven Chorale Novello
15. PARRY Martyrdom
Preludes set 2 NOV590045
Veronica Wipes the Face The Fourteen Stations Mayhew
16. RIDOUT
of Jesus of the Cross 1400014
The Fourteen Stations Mayhew
17. RIDOUT Jesus Falls the Third Time
of the Cross 1400014
24 Pièces en style libre Durand
18. VIERNE Carillon, op. 31 no. 21
vol. 2 DF00897300
24 Pièces en style libre Durand
19. VIERNE Lied, op. 31 no. 17
vol. 2 DF00897300
Folk Tune (from Five Short The Complete Shorter OUP
20. WHITLOCK
Pieces) Organ Music 9780193759084
Adagio (4th movt from Hamelle
21. WIDOR
Symphony no. 5 in F, op. 42) HA09247
Humoresque ‘L’organo Toccatas, Carillons and
22. YON Dover DP19613
primitivo’ Scherzos for Organ

100
Organ: Grade 6

Own composition Own compositions must be comparable in


Candidates may perform an own composition technical and musical demand to the pieces
instead of one listed piece. More information listed for this grade. Suitable features include:
can be found on page 18. ◗◗ More advanced use of form, eg theme
and variations
Duration: ◗◗ Extensive range
3–4 minutes
◗◗ More advanced melodic ornamentation
◗◗ Use of any key

TECHNICAL WORK

Candidates prepare section 1. and section 2. (see page 20).

1. SCALES & ARPEGGIOS (from memory) — Examiners select from the following:

Manual
Scales:
◗◗ All major keys
min.
◗◗ B and F melodic minor q = 120 legato or staccato
◗◗ Chromatic scale in major 6ths,
as requested by the
starting on Eb left hand and
examiner
C right hand two octaves
hands together
Arpeggios:
arpeggios min. mf
◗◗ F# major
 q = 96
◗◗ Eb minor
◗◗ Dominant 7th in the key of C 7ths min.
q = 66
◗◗ Diminished 7th starting on B

Pedal
Organ: Grade
Scales:
min. legato,
◗◗ C and Bb major in running triplets one octave
q = 72 mf
◗◗ C and G melodic minor in running
triplets

2. PEDAL STUDY (music may be used)


6
Bars 1–10 from Prelude in C, BWV 531
J S BACH Bärenreiter BA 5175
(from Complete Organ Works vol. 5)

101
Organ: Grade 6

SUPPORTING TESTS

Candidates prepare: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural or improvisation
three options:

Sight reading ◗◗ Stylistic

After 30 seconds’ preparation time, candidates ◗◗ Motivic


perform a previously unseen musical extract ◗◗ Harmonic
at a level approximately two grades lower than
See pages 24–31 for the requirements
the exam being taken. See page 23 for sight
and parameters.
reading parameters.

Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 24 for more information.
The aural test requirements for Grade 6
are below.

Aural questions

Parameters Task Requirement

i) Identify the time signature


Listen to the piece twice ii) Comment on the dynamics
iii) Comment on the articulation

Identify and comment on two other


Harmonised Listen to the piece twice
characteristics of the piece

8 bars Identify the key to which the music


modulates as subdominant, dominant
Major key Listen to the first four bars or relative minor
of the piece once
Answers may alternatively be given as
2, 3, 4 or 6 key names

Study a copy of the piece,


and listen to it twice with Locate and describe the changes
two changes to the as pitch or rhythm
melody line

102
Organ: Grade 7

Organ: Grade 7
PIECES
Candidates play a balanced programme of three pieces, containing at least one piece from
each group. An own composition may be played instead of one listed piece. See pages 16–18
for further guidance.

Composer Piece Book Publisher

Group A

Bärenreiter
1. J S BACH Fugue in C major, BWV 545 Organ Works vol. 5
BA5175
Bärenreiter
2. J S BACH In dir ist Freude, BWV 615 Organ Works vol. 1
BA5171

Prelude (from Prelude and Bärenreiter


3. J S BACH Organ Works vol. 6
Fugue in A major, BWV 536) BA5176

Wir gläuben all an einen Gott, Bärenreiter


4. J S BACH Organ Works vol. 4
BWV 680 BA5174

Praeludium (and Fugue), Complete Organ Bärenreiter


5. BUXTEHUDE
BuxWV 138 Works vol. 1 BA8221

Organ works vol. 2:


Hansen
6. BUXTEHUDE Prelude and Fugue in A minor Preludes, Fugues and
WH26990
Toccatas

8e couplet of Gloria: Dialogue


7. COUPERIN en trio du cornet et de la Mass for the Parishes Kalmus KO3314
tierce

2nd movt (Sehr langsam and


8. HINDEMITH Phantasie, frei) from Sonata Schott ED2557
no. 1

Novello
9. HOWELLS Saraband in Modo Elegiaco Six Pieces for Organ
Organ: Grade

NOV590354

Universal
10. LANGLAIS In Paradisum, no. 2 Triptyque grégorien
UE16968

11. LÜBECK Prelude and Fugue in C minor Organ Works Peters EP4437

Novello
12. SMART Postlude in C
NOV954514 7
Fantasia and Toccata
13. STANFORD Fantasia Stainer H365
in D minor, op. 57

103
Organ: Grade 7

Composer Piece Book Publisher

Group B

Three Pieces Novello


1. BRIDGE Adagio in E major
for Organ NOV010986
Fugue sur le Carillon Europart
2. DURUFLÉ
de Soissons, op. 12 M560220185

3. EBEN Lied des Leiermannes Faust UMP M224402063

4. FARNAM Toccata on ‘O filii et filiae’ Presser 113-25819

Prelude, Fugue and Durand


5. FRANCK Fugue and Variation
Variation, op. 18 DF00268100
Lebhaft (1st movt from
6. HINDEMITH Schott ED2558
Sonata no. 2)
Organ Music of
7. IRELAND Menuetto-Impromptu Novello NOV010183
John Ireland
Now Thank We All Our God,
8. KARG-ELERT Breitkopf EB6238
op. 65 no. 59
A Mathias Organ OUP
9. MATHIAS Processional
Album 9780193755505
MAXWELL No. 1 (Psalm 124) and either Three Organ
10. Chester CH55170
DAVIES no. 2 or no. 3 Voluntaries

La nativité du
11. MESSIAEN Les enfants de Dieu Leduc AL19269
seigneur vol. 2
7 Chorale Preludes Novello
12. PARRY Chorale Prelude on ‘Dundee’
set 1 NOV590001
7 Chorale Preludes Novello
13. PARRY Chorale Prelude on ‘Eventide’
set 2 NOV590045

14. PEETERS Scherzo Suite modale, op. 43 Lemoine 23673

The Colours of the Novello


15. RATCLIFFE Caprice
Organ NOV010092
Deploración por la Semana Schola Cantorum
16. ROGET Pâques
Santa OL 1
24 Pièces en style Durand
17. VIERNE Pastorale, no. 20
libre vol. 2 DF00897300
The Colours of the Novello
18. WILLS Elevation
Organ NOV010092

104
Organ: Grade 7

Own composition Own compositions must be comparable in


technical and musical demand to the pieces
Candidates may perform an own composition
listed for this grade. Suitable features include:
instead of one listed piece. More information
can be found on page 18. ◗◗ Modulation
◗◗ Use of irregular time signatures
Duration:
◗◗ Use of any key
3–4 minutes

TECHNICAL WORK

Candidates prepare section 1. and section 2. (see page 20).

1. SCALES & ARPEGGIOS (from memory) — Examiners select from the following:

Manual
Scales:
◗◗ All harmonic minor keys
◗◗ C#, F# and G# melodic minor

◗◗ C and F major in 6ths, right hand starting


on the tonic
min. legato or staccato
◗◗ A and D harmonic minor in 6ths, right q = 132 as requested by the
hand starting on the tonic examiner
two octaves
hands together
◗◗ Chromatic scale in major 6ths, starting on
Eb left hand and C right hand mf

◗◗ Chromatic scale in minor 3rds, starting on


G left hand and Bb right hand

Arpeggios:
min.
◗◗ Dominant 7ths in the keys of G, B and E
q = 72
◗◗ Diminished 7ths starting on A, C, D and F
Organ: Grade

2. PEDAL STUDY (music may be used)

Bars 1–9 from Prelude and Fugue in C minor, BWV 549


J S BACH Bärenreiter BA 5175
(from Complete Organ Works vol. 5)

105
Organ: Grade 7

SUPPORTING TESTS

Candidates prepare: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural or improvisation
three options:

Sight reading ◗◗ Stylistic

After 30 seconds’ preparation time, candidates ◗◗ Motivic


perform a previously unseen musical extract ◗◗ Harmonic
at a level approximately two grades lower than
See pages 24–31 for the requirements and
the exam being taken. See page 23 for sight
parameters.
reading parameters.

Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 24 for more information.
The aural test requirements for Grade 7
are below.

Aural questions

Parameters Task Requirement

i) Identify the time signature


Listen to the piece twice ii) Comment on the dynamics
iii) Comment on the articulation

Harmonised Identify and comment on two other


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

Study a copy of the piece,


Locate and describe the changes
and listen to it twice with
as pitch (melody line only) or rhythm
three changes

106
Organ: Grade 8

Organ: Grade 8
PIECES
Candidates play a balanced programme of three pieces, containing at least one piece from
each group. An own composition may be played instead of one listed piece. See pages 16–18
for further guidance.

Composer Piece Book Publisher

Group A

Variations sur un thème de


1. ALAIN L’oeuvre d’orgue vol. 2 Leduc AL20102
Clément Jannequin
Ach bleib bei uns, Herr Jesu Bärenreiter
2. J S BACH Organ Works vol. 1
Christ, BWV 649 BA5171

Herr Gott, nun schleuß den Bärenreiter


3. J S BACH Organ Works vol. 1
Himmel auf, BWV 617 BA5171

Nun danket alle Gott, Bärenreiter


4. J S BACH Organ Works vol. 2
BWV 657 BA5172

Prelude and Fugue in C major,


5. J S BACH Organ Works vol. 2 Peters EP241
BWV 545

Prelude or Fugue in G major, Bärenreiter


6. J S BACH Organ Works vol. 5
BWV 541 BA5175

Vivace (1st movt from Trio


Bärenreiter
7. J S BACH Sonata no. 6 in G major, Organ Works vol. 7
BA5177
BWV 530)

Adagio in F major for Selected Works for Hinrichsen


8. BEETHOVEN
Mechanical Organ Organ H1438

Toccata in F major, Complete Organ Works Bärenreiter


9. BUXTEHUDE
BuxWV 157 (complete) vol. 2 BA8222

Novello
10. HURFORD Dialogue no. 2 Two Dialogues
NOV570032

Organ Music around Breitkopf


11. KELLNER Jesu, meine Freude
J S Bach vol. 2 EB8685
Organ: Grade

Allegro maestoso (3rd movt


Complete Organ Works Bärenreiter
12. MENDELSSOHN from Sonata no. 5 in D major,
vol. 2 BA8197
op. 65 no. 5)

Herr Jesus hat ein Gärtchen, 10 Organ Chorales,


13. PEETERS Schott ED2553
no. 10 op. 39
8
107
Organ: Grade 8

Composer Piece Book Publisher

Group B

1. ANDERSON Sleigh Ride (arr. Trotter) Banks 14038

2. BOËLLMANN Toccata Suite gothique UMP M224400977

Twelve Pieces
3. DUBOIS Fiat lux Kalmus K03456
for Organ
Le tombeau de
4. DUPRÉ Placare Christe servulis, no. 16 Leduc AL27836
Titelouze, op. 38

5. GARDONYI Mozart Changes Möseler MOS19498

6. GIGOUT Toccata in B minor Leduc AL21738

Three Psalm Preludes, Novello


7. HOWELLS Psalm Prelude no. 3
op. 32 set 1 NOV590353
Meditation on John Keble’s Organ Music of
8. IRELAND Novello NOV010183
Rogationtide Hymn John Ireland
A Jongen Organ OUP
9. JONGEN Scherzetto, op. 108 no. 1
Album 9780193754942

10. KARG-ELERT Valse mignonne 3 Pieces, op. 142 Breitkopf EB8584

Novello
11. KARG-ELERT Legend, no. 1 Triptych, op. 141
NOV950170

12. KRZANOWSKI Relief III PWM 9929

A Mathias Organ OUP


13. MATHIAS Toccata giocosa, op. 36 no. 2
Album 9780193755505

14. MESSIAEN Le banquet céleste Leduc AL22893

Majesté du Christ demandant


15. MESSIAEN L’Ascension Leduc AL18826
sa gloire à son Père

16. MULET Tu es petra Esquisses byzantines Leduc AL16202

OUP
17. MUSHEL Toccata 9780193756014
archive

18. POPPLEWELL Triumphal March Banks 13983

Divertimento (from 4 The Complete Shorter OUP


19. WHITLOCK
Extemporizations) Organ Music 9780193759084

108
Organ: Grade 8

Own composition Own compositions must be comparable in


technical and musical demand to the pieces
Candidates may perform an own composition
listed for this grade. Suitable features include:
instead of one listed piece. More information
can be found on page 18. ◗◗ Wide range of expressive techniques
◗◗ Creative use of form
Duration: ◗◗ Extended techniques, wide range,
3.5–5 minutes chromaticism and rhythmic variation
◗◗ Use of any key

TECHNICAL WORK

Candidates prepare section 1. and section 2. (see page 20).

1. SCALES & ARPEGGIOS (from memory) — Examiners select from the following:

Manual
Scales:
◗◗ Bb and Eb melodic minor

◗◗ D, G and Bb major in 3rds, left hand


starting on the tonic
min.
◗◗ B, E and G melodic minor in 3rds, q = 132 legato or staccato
left hand starting on the tonic as requested by the
examiner
◗◗ Chromatic scale in minor 3rds, starting on two octaves
hands together
any notes requested by the examiner
mf
◗◗ Chromatic scale in major 6ths, starting on
any notes requested by the examiner

Arpeggios:
◗◗ Dominant 7ths in the keys of F, Ab, Eb min.
and F# q = 80
◗◗ Diminished 7ths starting on Ab, Bb and C#

2. PEDAL STUDY (music may be used)

Bars 13–32 from Toccata, Adagio and Fugue in C, BWV 564


J S BACH Bärenreiter BA 5176
(from Complete Organ Works vol. 6)
Organ: Grade

8
109
Organ: Grade 8

SUPPORTING TESTS

Candidates prepare: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural or improvisation
three options:

Sight reading ◗◗ Stylistic

After 30 seconds’ preparation time, candidates ◗◗ Motivic


perform a previously unseen musical extract ◗◗ Harmonic
at a level approximately two grades lower than
See pages 24–31 for the requirements
the exam being taken. See page 23 for sight
and parameters.
reading parameters.

Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 24 for more information.
The aural test requirements for Grade 8
are below.

Aural questions

Parameters Task Requirement

i) Identify the time signature


Harmonised Listen to the piece once ii) Comment on the dynamics
iii) Comment on the articulation
12–16 bars
Identify and comment on three other
Listen to the piece twice
Major or minor key characteristics of the piece

Study a copy of the piece,


2, 3, 4, 6 or 5 and listen to it twice with
Locate and describe the changes
as pitch or rhythm
three changes

110
Electronic keyboard glossary of chords

Electronic keyboard glossary of chords


Electronic keyboard
glossary of chords
The glossary of chords below indicates the meanings of the chord symbols used in pieces
published by Trinity.
It is not intended that these examples represent the way each chord must be arranged within the
pieces; candidates should use their judgement to choose spacing and arrangement of the notes
according to the most convenient fingering.
Single fingered or fully fingered chords can be used at candidates’ discretion, although in the
higher grades the chords required may not be available as single fingered chords.
The following examples indicate the meaning of the chord requirements across Initial to Grade 8.

bw
bbw
C C‹ Cº C6 C‹6 C7 C‹7
? w
w bw
w bbw
w ww
w b ww
w w
w w
w
w w w w w w w

C‹7(b5) C&7

? bb∫w w bbw bbbw bw #bw


Cº7 C^7 C7(b5) or CØ7 C‹(^7) C& or C7(#5)
w
w w
w w
w w
w w
w #w
w w
w
w w w w w w w

C(„ˆˆ2) C‹(„ˆˆ2)

wbw bw
C(“2) or C(„ˆˆ9) or C‹(„ˆˆ9) C(“4) C7(“4) C7(“2) C‹(„ˆˆ4)
? ww
w ww
w
w b ww
w
w ww
w w
w ww
w b ww
w
w

C5

w bw w
b wbw bw
or C(;3) C8 C9 C‹9 C7(b9) C/E C/G
? w wœ
ww wœ wœ
b ww w
w w
w w w w
w

111
Policies

Policies
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practice across all parts of our work. CUSTOMER SERVICE
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indirectly on the basis of any characteristic.
QUALITY ASSURANCE
REASONABLE ADJUSTMENT Please note that, for training/monitoring
Trinity is committed to creating an inclusive purposes, it may, on occasion, be necessary
environment where candidates with special for there to be more than one examiner in
needs are able to demonstrate their skills the room.
and feel welcomed. We aim to make our Trinity audio records and sometimes films
exams accessible to all. We treat each exams for quality assurance and training
learner individually when considering how purposes. In the case of filming, Trinity will
we can achieve this aim, recognising that always seek permission from the candidate
requirements vary. Candidates can be assured (or a parent or guardian) first. All recording
that we do not compromise on the standard devices will be discreet and should not cause
of marking or allow the quality of exams to be any distraction to candidates.
affected in any way.
All provision is tailored to the particular EXAM INFRINGEMENTS
needs of each candidate. In order to be most
beneficial, as full an explanation as possible of All exam infringements (eg choosing an
the required provision should be given. The need incorrect piece) will be referred directly
and request for provision should be made on the to Trinity’s central office by the examiner.
appropriate form available to download from Exam reports may be withheld until the
trinitycollege.com/music-csn. For enquiries outcome of any referral has been considered
please contact music-csn@trinitycollege.com by Trinity. Depending on the severity of the
infringement, marks may be deducted or, in
extreme cases, the exam may be invalidated.

112
Policies

MALPRACTICE RESULTS REVIEW AND APPEALS


PROCEDURE
 rinity requires its registered exam centres
T
to report any suspected malpractice Anyone who wishes to question their exam
by candidates, teachers or examiners. result should refer to trinitycollege.com/
In situations where a centre is found to be results-enquiry for full details of our results
inadequate or to be guilty of malpractice, review and appeals process.
either in terms of provision of facilities or
in administration, the exam centre may be
required to suspend all of its activities relating
to Trinity exams until the cause of the problem
is identified and rectified, if appropriate.
In extreme circumstances, the centre may
have its registered status withdrawn.
In the very rare cases or circumstances where
a centre or individual may be suspected of
malpractice, Trinity will aim to minimise any

Policies
inconvenience caused to any affected candidate,
and would like to thank candidates, teachers
and centre staff for their kind co-operation in
reporting any suspected incident of cheating,
thereby assisting Trinity in upholding the quality
and integrity of its exam process.

113
Publishers

Publishers
ALFRED DE HASKE HARMONIA PRESSER

Alfred Music De Haske Hal Leonard Ltd Harmonia Theodore Presser


alfred.com dehaske.com c/o De Haske Company
(in UK: c/o Faber) presser.com
DOVER HINRICHSEN
ALLEGRO PWM
Dover Publications Hinrichsen Edition
Allegro Music doverpublications.com c/o Peters Polskie Wydawnictwo
allegro.co.uk c/o De Haske Muzyczne
IAO pwm.com.pl
ANIMUS DURAND (in UK: c/o Universal)
Incorporated Association
Animus Music Publishing Editions Durand of Organists SCHOLA CANTORUM
animusi.co.uk durand-salabert-eschig.com iao.org.uk
(in UK: c/o De Haske) c/o Allegro Editions Schola Cantorum
BANKS schola-editions.com
ELKAN-VOGEL KALMUS
Banks Music Publications SCHOTT
banksmusicpublications. Elkan-Vogel Edwin F Kalmus & Co. Inc.
co.uk c/o Presser efkalmus.com Schott Music Ltd
schott-music.com
BÄRENREITER EUROPART LEDUC
SCORESTORE
Bärenreiter Ltd Editions Europart-Music Editions Alphonse Leduc
baerenreiter.com europart-diffusion.com alphonseleduc.com ScoreStore
(in UK: c/o De Haske) scorestore.co.uk
BOOSEY FABER
LEMOINE SMITH
Boosey & Hawkes Music Faber Music Ltd
Publishers Ltd fabermusic.com Editions Henry Lemoine R Smith & Company Ltd
boosey.com henry-lemoine.com rsmith.co.uk
FENTONE (in UK: c/o Faber)
BREITKOPF STAINER
Fentone Music Ltd MAYHEW
Breitkopf & Härtel c/o De Haske Stainer & Bell Ltd
breitkopf.com Kevin Mayhew Ltd stainer.co.uk
GEHRMANS kevinmayhew.com
CHESTER TRINITY
Carl Gehrmans Musikförlag MÖSELER
Chester Music Ltd gehrmans.se Trinity College
c/o De Haske K H Möseler Verlag London Press
HAMELLE moeseler-verlag.de trinitycollege.com
COMBRE
Editions Hamelle NOVELLO UMP
Editions Combre c/o Leduc
editions-combre.com Novello & Co Ltd United Music Publishing Ltd
(in UK: c/o Faber) HANSEN c/o De Haske ump.co.uk

CRAMER Edition Wilhelm Hansen OUP UNIVERSAL


c/o De Haske
Cramer Music Ltd Oxford University Press Universal Edition
cramermusic.co.uk oup.co.uk (London) Ltd
universaledition.com
PETERS
WISE
Peters Edition Ltd
editionpeters.com Wise Publications
114 c/o De Haske
Trinity publications

Trinity publications
The following Trinity publications support  Sound at Sight (sample sight reading tests)
this syllabus. All are available from
Sound at Sight Electronic TCL 011510
trinitycollege.com/shop or from your Keyboard: Initial–Grade 5
local music shop.
Sound at Sight Electronic TCL 018984
Electronic Keyboard Exam Pieces Keyboard: Grades 6–8
& Technical Work 2019–2022
Initial TCL 018625 Specimen Aural Tests from 2017

Grade 1 TCL 018632 Book 1: Initial–Grade 5 TCL 015808

Grade 2 TCL 018649 Book 2: Grades 6–8 TCL 015815

Grade 3 TCL 018656 Theory of Music Workbooks


Grade 4 TCL 018663 Grade 1 TG 006509
Grade 5 TCL 018670 Grade 2 TG 006516
Grade 6 TCL 018687

Publishers Trinity publications


Grade 3 TG 006523
Grade 7 TCL 018694 Grade 4 TG 006530
Grade 8 TCL 018700 Grade 5 TG 006547

Electronic Keyboard Repertoire Grade 6 TG 007476

Electronic Keyboard Collection: TCL 011336 Grade 7 TG 007483


Initial–Grade 1 Grade 8 TG 007490
Electronic Keyboard Collection: TCL 011343
Grades 1–2
Electronic Keyboard Collection: TCL 011350
Grades 2–3

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Electronic keyboard & organ resources

Electronic keyboard
& organ resources
Join us online to access a range of resources
to support teaching and learning at
trinitycollege.com/keyboard-resources
Discover digital content, including videos and
downloadable handouts from teachers and leading
musicians, with advice and support on:
◗◗ Repertoire
◗◗ Technical work
◗◗ Keyboard techniques

For further help you can contact the music


support team at Trinity’s central office
at music@trinitycollege.com, or find the
contact details of your local representative
at trinitycollege.com/worldwide

Facebook Twitter YouTube


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

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