CLASSICAL GUITAR SYLLABUS - DOWLAND NUTTALL - Trinity College London
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DOWLAND
NUTTALL
SAGRERAS
CLASSICAL POWLESLAND
GUITAR YORK
SYLLABUS SEGOVIA
Qualification specifications
for graded exams 2020–2023
WALTON
TARREGA
FOGEL
HVARTCHILKOV
SANDERSON
GUBAIDULINA
STACHAK
KRUISBRINK
PRATTEN
CARCASSI
RODRIGO
CARULLI
SANZ
SOR
RAKWHAT’S CHANGED? ◗◗ Repertoire lists refreshed at all levels, encompassing a wide range of musical styles ◗◗ Duets now available up to Grade 5 ◗◗ New graded exam books, featuring a wide range of pieces and duets ◗◗ Pieces only divided into groups at Grades 6–8 — at other grades, pieces can be chosen from a single list ◗◗ At Grades 6–8, at least one piece must now be chosen from each group ◗◗ New Acoustic Guitar exams incorporating elements of the Plectrum Guitar exams available from 2020. More information available in our Acoustic Guitar Syllabus 2020–2023 ◗◗ 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/classical-guitar to make sure you are using the latest version of the syllabus and for the latest information about our Classical Guitar exams. OVERLAP ARRANGEMENTS This syllabus is valid from 1 January 2020. The 2016–2019 syllabus will remain valid until 31 December 2020, giving a one year overlap. During this time, candidates may present pieces and technical work from the 2016–2019 or the 2020–2023 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.
CLASSICAL GUITAR SYLLABUS Qualification specifications for graded exams 2020–2023 Trinity College London trinitycollege.com Charity number England & Wales: 1014792 Charity number Scotland: SC049143 Patron: HRH The Duke of Kent KG Chief Executive: Sarah Kemp Copyright © 2019 Trinity College London Published by Trinity College London Online edition, October 2019
Heading Contents 3 / Welcome 4 / Introduction to Trinity’s graded music exams 9 / Learning outcomes and assessment criteria 11 / About the exam 14 / Exam guidance: Pieces 16 / Exam guidance: Technical work 17 / Exam guidance: Supporting tests 28 / Exam guidance: Marking 36 / Initial to Grade 5 37 / Initial 40 / Grade 1 43 / Grade 2 46 / Grade 3 49 / Grade 4 52 / Grade 5 55 / Grades 6–8 56 / Grade 6 60 / Grade 7 64 / Grade 8 68 / Policies 70 / Publishers and UK specialist supplier 72 / Trinity publications 73 / Classical Guitar resources Trinity accepts entries for its exams on the condition that candidates conform to the requirements of the appropriate syllabus. Any amendments to the requirements will be published and advertised via our website and in subsequent imprints. 2
Welcome
Welcome
Welcome to Trinity College London’s Classical Guitar syllabus containing details of graded exams
from Initial to Grade 8. It offers the choice and flexibility to allow classical guitarists to play
to their strengths, offering wide-ranging repertoire choices as well as exercises designed to
progressively develop the technique classical guitarists really need from the early grades right
the way through to Grade 8.
Styles and duets
Welcome
Encompassing a range of inspiring repertoire from the Renaissance to the present day, the
syllabus includes pieces published for the first time and more music by female composers.
The duets option is now available up to Grade 5.
Books
New graded books for Initial to Grade 8 feature a wide range of repertoire, while expanded
alternative piece lists include options from Trinity’s Raise the Bar and Performance Edition series
of publications.
Techniques
Technical work includes specially composed exercises for each grade, covering the technique
required specifically by guitarists, ensuring that all learners put scales and arpeggios into the
performance context.
Benefit from industry expertise
The syllabus and supporting books have been created in consultation with leading classical
guitar specialists. You can access videos and articles produced with professionals to support
teaching and learning at trinitycollege.com/guitar-resources. 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.
3Introduction to Trinity’s graded music exams
Introduction to Trinity’s
graded music exams
OBJECTIVE OF THE QUALIFICATIONS ASSESSMENT AND MARKING
Trinity’s graded music exams provide a Trinity’s graded music exams are assessed by
structured yet flexible framework for progress, external examiners trained and moderated
which enables learners to demonstrate 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 30–35.
The exams assess performance, technical The exams are marked out of 100. Candidates’
ability and responses to set musical tests results correspond to different attainment
through face-to-face practical assessment. levels as follows:
They offer learners of any age the opportunity
to measure their development as performers Mark Attainment level
against a series of internationally understood
benchmarks, taking them from beginner 87–100 DISTINCTION
level to the point where they can progress
to higher education in music, or enter for 75–86 MERIT
Trinity’s performance diplomas.
60–74 PASS
WHO THE QUALIFICATIONS ARE FOR 45–59 BELOW PASS 1
Trinity’s graded music exams are open to all 0–44 BELOW PASS 2
learners, with no age restrictions or other
limitations. There is no requirement to have
passed lower grades, theory exams or other See pages 28–35 for further information about
qualifications, although the grades represent how the exams are marked.
a system of progressive mastery and the
outcomes for each level assume confidence
in the requirements of previous grades.
Repertoire selection and other exam content
is designed to appeal to learners of all ages
and backgrounds, reflecting the diversity
of candidates.
Trinity is committed to making its exams
accessible to all, and each candidate is
treated individually when considering how
assessments can be adapted for those
with special needs. Find out more at
trinitycollege.com/music-csn
4Introduction 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
Introduction
Grade 1 12 48 60
Grade 2 18 72 90
Grade 3 18 102 120
Grade 4 24 126 150
Grade 5 24 156 180
Grade 6 36 184 220
Grade 7 48 222 270
Grade 8 54 266 320
RECOGNITION AND UCAS POINTS WHERE THE QUALIFICATIONS
Trinity College London is an international COULD LEAD
exam board regulated by Ofqual (Office While for some learners graded music exams
of Qualifications and Examinations represent a personal goal or objective,
Regulation) in England, CCEA Regulation they can also be used as a progression
in Northern Ireland and by Qualifications route towards:
Wales. Various arrangements are in
place with governmental education ◗◗ D
iplomas in performing and teaching
authorities worldwide. offered by Trinity or by other awarding
organisations
In the UK, Grades 6–8 are eligible for UCAS
◗◗ Music courses at conservatories and
(Universities and Colleges Admissions Service)
universities, for which Grade 8 is often
points for those applying to colleges and
specified as an entry requirement
universities, as follows:
◗◗ Employment opportunities in music
Grade 6 and the creative arts
UCAS POINTS
PASS 8 | MERIT 10 | DISTINCTION 12
Grade 7
UCAS POINTS
PASS 12 | MERIT 14 | DISTINCTION 16
Grade 8
UCAS POINTS
PASS 18 | MERIT 24 | DISTINCTION 30
5Introduction to Trinity’s graded music exams
HOW TO ENTER FOR AN EXAM OTHER QUALIFICATIONS OFFERED
BY TRINITY
Exams can be taken at Trinity’s public
exam centres, which are available After Grade 8 or the Advanced Certificate
throughout the world. Details are available classical music exams, candidates can
at trinitycollege.com/worldwide, and progress to diplomas at Associate (ATCL),
candidates should contact their local Licentiate (LTCL) and Fellowship (FTCL) levels.
Trinity representative for more information. These assess higher skills in performance,
teaching and theory. Find out more at
Alternatively, in the UK, schools and private trinitycollege.com/music-diplomas
teachers with sufficient candidates may apply
for an exam visit. Details are available at Adults who work as music educators may also
trinitycollege.com/exam-visit wish to consider Trinity’s Level 4 Certificate
for Music Educators (Trinity CME). Find out
TRINITY QUALIFICATIONS THAT more at trinitycollege.com/CME
COMPLEMENT THE CLASSICAL GUITAR We also offer:
QUALIFICATIONS
◗◗ Graded, certificate and diploma
Trinity’s music qualifications offer flexible qualifications in drama subjects
progression routes from beginner to advanced
levels in a range of musical styles. All are ◗◗ English language qualifications
designed to help candidates develop as ◗◗ Teaching English qualifications
musicians according to their individual
needs as learners. ◗◗ Arts Award (only available in certain
countries)
Graded music exams assess a broad range of
musicianship skills, including performance, while Specifications for all these qualifications
certificate exams focus entirely on performance, can be downloaded from trinitycollege.com
including separate marks for presentation skills.
Find more information about certificate exams
at trinitycollege.com/music-certificates
Trinity’s graded Rock & Pop exams are
available for bass, drums, guitar, keyboards
and vocals. Find out more at trinityrock.com
Candidates can enter any combination of
graded or certificate exams, and do not need
to pass any particular level in order to proceed
to a higher level.
Theory exams are available from Grade 1
to support learners to develop their
understanding of the technical language
of music. However, no theory qualifications
or other prerequisites are required to enter
graded or certificate exams at any level.
Find out more at trinitycollege.com/theory
6Introduction to Trinity’s graded music exams
REGULATED LEVELS OF TRINITY’S MUSIC QUALIFICATIONS
RQF* EQF** Classical Rock Theory Solo Group
Level Level & Jazz & Pop & Written Certificates† Certificates†
7 7 FTCL
6 6 LTCL LMusTCL
Introduction
ATCL AMusTCL
4 5
Certificate for Music Educators
(Trinity CME)
Grade 8 Grade 8 Grade 8 Advanced Advanced
3 4 Grade 7 Grade 7 Grade 7
Grade 6 Grade 6 Grade 6
Grade 5 Grade 5 Grade 5 Intermediate Intermediate
2 3
Grade 4 Grade 4 Grade 4
Grade 3 Grade 3 Grade 3 Foundation Foundation
1 2 Grade 2 Grade 2 Grade 2
Grade 1 Grade 1 Grade 1
Entry
1 Initial Initial
Level 3
* Regulated Qualifications Framework
** European Qualifications Framework
† Not RQF or EQF regulated
7Introduction to Trinity’s graded music exams
REGULATED TITLES AND QUALIFICATION NUMBERS
FOR GRADED MUSIC EXAMS
Qualification
Regulated title
number
Initial
TCL Entry Level Award in Graded Examination in Music Performance 601/0812/5
(Entry 3) (Initial)
Grade 1
TCL Level 1 Award in Graded Examination in Music Performance 501/2042/6
(Grade 1)
Grade 2
TCL Level 1 Award in Graded Examination in Music Performance 501/2041/4
(Grade 2)
Grade 3
TCL Level 1 Award in Graded Examination in Music Performance 501/2043/8
(Grade 3)
Grade 4
TCL Level 2 Certificate in Graded Examination in Music Performance 501/2044/X
(Grade 4)
Grade 5
TCL Level 2 Certificate in Graded Examination in Music Performance 501/2045/1
(Grade 5)
Grade 6
TCL Level 3 Certificate in Graded Examination in Music Performance 501/2097/9
(Grade 6)
Grade 7
TCL Level 3 Certificate in Graded Examination in Music Performance 501/2098/0
(Grade 7)
Grade 8
TCL Level 3 Certificate in Graded Examination in Music Performance 501/2099/2
(Grade 8)
8Learning 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
9Learning 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
1.2
variety of styles set
a degree of personal interpretation in performance
for the grade
1.3 Perform with general accuracy, technical fluency and
musical awareness to convey musical character in a
variety of styles
2.
Demonstrate technical 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 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
10About the exam
About the exam
Each exam has three sections: pieces, technical work and supporting tests. There are slightly
different requirements depending on the level of the exam.
PIECES TECHNICAL WORK SUPPORTING TESTS
Three pieces, A technical exercise, followed A combination of two tests
each worth 22 marks. by either scales & arpeggios from sight reading, aural,
About the exam
or studies (Initial–Grade 7) / improvisation and musical
concerto extracts (Grade 8). knowledge, depending on
grade and candidate choice.
PIECES
66 MARKS
TECHNICAL
WORK
14 MARKS
SUPPORTING
TESTS
20 MARKS
11About 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
◗◗ Technical exercise ◗◗ Technical exercise
◗◗ Either scales & arpeggios ◗◗ Either scales & arpeggios
or studies or studies (Grades 6–7) /
concerto extracts (Grade 8)
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
12About the exam
ORDER OF THE EXAM
Candidates can choose the order of the sections of their exam, and should indicate their
preferred order on their appointment form. This should be given to the examiner at the start
of the exam. If no preference is indicated, examiners will ask to hear technical work first.
EXAM DURATIONS
Exams are designed to include sufficient time for setting up and presenting all components,
and overall durations are as follows:
About the exam
Initial Grade 1 Grade 2
11 mins 13 mins 13 mins
Grade 3 Grade 4 Grade 5
13 mins 18 mins 18 mins
Grade 6 Grade 7 Grade 8
23 mins 23 mins 28 mins
13Exam guidance: Pieces
Exam guidance: Pieces
◗◗ All tempo and performance markings
should be observed (eg allegro, rall., cresc.).
Metronome marks are given as a guide
but do not need to be observed exactly, as
long as the style and character of the piece
is maintained.
PIECES
66 MARKS ◗◗ Candidates may perform any or all of their
pieces from memory if they wish. However,
this is not compulsory and no additional
marks are given for this.
INSTRUMENTS
◗◗ All requirements are based on a
CHOOSING PIECES hollow-bodied instrument strung in
nylon. Acoustic guitars with six steel
◗◗ Candidates play three pieces in their exam, strings and electric guitars must not be
chosen as follows: used. Classical guitars with cutaways
— Initial–Grade 5: Candidates choose three are acceptable.
pieces from the list. A maximum of two
◗◗ Plectrums may not be used.
duets may be performed. Candidates may
perform an own composition in place of ◗◗ The use of a capo is only permitted to
one of the listed pieces (see page 15). replicate Renaissance lute tuning.
—G
rades 6–8: Pieces are divided into ◗◗ Candidates are expected to provide and
two groups: group A and group B. use a footstool or equivalent support.
Candidates choose at least one piece
from each group. The third piece may be ◗◗ Younger candidates may use half- or
chosen from either group or may be the three-quarter-sized instruments.
candidate’s own composition (see page 15).
TUNING
PERFORMANCE AND INTERPRETATION ◗◗ Up to and including Grade 5, teachers
◗◗ Candidates should prepare all pieces in may assist with tuning. At Grades 6–8,
full unless stated otherwise in this syllabus. candidates must tune their instruments
◗◗ Candidates should observe repeats of without assistance.
a few bars, but longer repeats should ◗◗ Electronic tuners may be used up to and
not be played unless stated otherwise including Grade 5.
in this syllabus.
◗◗ All da capo and dal segno instructions PAGE TURNS
should be observed.
◗◗ Examiners will not be able to act as
◗◗ Candidates are not required to play page turners.
cadenzas unless stated otherwise
in this syllabus. ◗◗ Difficult page turns may be overcome
by photocopying the relevant pages.
◗◗ Candidates are encouraged to use
appropriate ornamentation, particularly
at Grades 6–8. Ornamentation in Trinity’s
exam publications is given as a guide.
However, any appropriate stylistic
interpretation will be accepted.
14Exam guidance: Pieces
MUSIC AND COPIES ◗◗ Alternatively, the accompanying line may be
pre-recorded in exams up to and including
◗◗ Candidates should obtain the music for their Grade 3, but candidates must provide their
exam in good time before entering for the own playback equipment and must operate
exam, and they must bring it with them on it themselves.
the day of the exam.
◗◗ We publish selected pieces for classical OWN COMPOSITION
guitar in our graded exam books.
Recommended editions for other pieces ◗◗ Candidates can choose to perform an
are listed in this syllabus, but candidates may own composition as one of their pieces.
Own compositions are assessed in the same
Exam guidance: Pieces
perform from any reliable edition that has
not been shortened or otherwise simplified. way as the listed repertoire. Marks are not
Editions containing inauthentic performance awarded for the quality of the composition.
directions are not acceptable. If a particular ◗◗ Own compositions must be comparable in
edition must be used, it is indicated in this technical and musical demand to the pieces
syllabus. Product codes for publications are listed for the same grade. Examples of
included where available. optional compositional techniques that may
◗◗ We take copyright infringement seriously be used at each level are listed in each grade
and require candidates to ensure their section of this syllabus.
music comes from a legitimate source. ◗◗ A typeset or handwritten copy of the
Guidelines are available in the UK Music composition must be given to the examiner
Publishers Association’s Code of Fair at the beginning of the exam. At Initial to
Practice, available at mpaonline.org.uk. Grade 5, own compositions may be notated
Candidates must comply with copyright in any easily readable form, including
and other intellectual property laws in the graphic score or lead-sheet. At Grades 6–8
country where the exam is taking place. they must be notated on a stave. Marks will
◗◗ In accordance with the MPA’s Code of Fair be deducted if notation is incomplete or
Practice, candidates must produce original inaccurate, or if the performance varies
copies of all pieces to be performed in the significantly from the notation.
exam, even if they have been memorised, ◗◗ Own compositions should be candidates’
handwritten or typeset. Pieces where no unaided work, although teachers may offer
original copy has been provided might guidance as necessary.
be awarded no marks.
◗◗ If candidates are performing pieces not
OBTAINING MUSIC FOR THE EXAM
contained in Trinity’s graded exam books,
they will need to provide a photocopy as a ◗◗ All publications listed in this syllabus can be
reference for the examiner. Photocopies will ordered at trinitycollege.com/shop or your
be kept by the examiner and destroyed after local music shop.
the exam. Examiners will have a copy of ◗◗ Trinity publishes graded exam books for
the repertoire contained in Trinity’s graded classical guitar, as well as scales, arpeggios
exam books. and studies books, sight reading books
◗◗ Where music has been downloaded, and aural test books. See page 72 for
candidates must bring proof of purchase more information.
or details of the website where it was ◗◗ Details of the publishers listed in this
accessed for the examiner’s reference. syllabus can be found on pages 70–71.
DUETS ◗◗ Trinity cannot guarantee that music will
always be in stock with local suppliers.
◗◗ Candidates at Initial to Grade 5 may include Candidates and teachers should always
a maximum of two duets in their programme. check with the publisher before it is assumed
◗◗ Candidates should play the upper part that any item has gone out of print.
(unless stated otherwise in this syllabus).
The lower part may be performed in the
exam by a teacher, another adult or student.
15Exam guidance: Technical work
Exam guidance: Technical work
◗◗ All scales and arpeggios must be played
from memory.
◗◗ A minimum pace is indicated, increasing
gradually grade by grade.
◗◗ At Initial–Grade 5, candidates should play
TECHNICAL WORK the scale followed by the arpeggio.
14 MARKS At Grades 6–8, candidates should play
a succession of scales and arpeggios as
required for the grade.
◗◗ Full details of scale patterns are given in
the Scales, Arpeggios and Studies books.
This section of the exam supports the Studies
development of technical skills by assessing
candidates’ performance in a range of Studies are specially composed short pieces
technical work requirements. designed to demonstrate and develop key
areas of technique through performance.
All candidates begin the technical work section
by performing a technical exercise. They then Candidates prepare three studies from the list
choose one of the following options: for the grade, two of which are played in the
exam. One is chosen by the candidate and one
◗◗ Scales & arpeggios
by the examiner.
◗◗ Studies (Initial–Grade 7) / concerto extracts
(Grade 8) ◗◗ Studies may be played either from memory
or using the music.
Technical exercise ◗◗ Studies are included in the Scales, Arpeggios
& Studies books.
Technical exercises are short musical passages
based on scale, arpeggio and/or chord
patterns, increasing in length and complexity Concerto extracts
as the grades progress. At Grade 8, candidates can demonstrate
◗◗ Technical exercises may be played either technique through performing extracts
from memory or using the music. selected from three concertos.
◗◗ Technical exercises are included in the Candidates prepare all three extracts, two of
Scales, Arpeggios & Studies books. which are played in the exam. One is chosen by
the candidate and one by the examiner.
Scales & arpeggios
◗◗ Concerto extracts may be played either from
Learning scales and arpeggios is an important memory or using the music.
part of developing technical focus, strength
◗◗ Concerto extracts are included in the Scales,
and agility and melodic skills.
Arpeggios & Studies books.
Candidates prepare the scales and arpeggios
set for the grade, and play a selection as Further information about specific technical
requested by the examiner. work requirements for each grade is given in
the relevant sections of this syllabus.
◗◗ All scales and arpeggios are to be performed
ascending then descending.
16Exam guidance: Supporting tests
Exam guidance: Supporting tests
SIGHT READING
This test assesses candidates’ ability to
perform a previously unseen musical extract,
at a level approximately two grades lower
Exam guidance: Technical work
SUPPORTING than the exam being taken. Our sight reading
TESTS pieces are designed to be musically intuitive
and natural, preparing candidates for real
20 MARKS
performance contexts.
Candidates are given 30 seconds to study
the test before performing it, during which
they may practise any or all of it aloud.
Examiners do not give marks for this
This section of the exam supports the preparation period.
development of broader musical skills Examples of sight reading tests may be found
by assessing candidates in two different in Trinity’s Sound at Sight series, available
supporting tests. from trinitycollege.com/shop or from your
At Initial to Grade 5, candidates choose local music shop.
two supporting tests from four options: Technical expectations for the tests are given
Exam guidance: Supporting tests
◗◗ Sight reading in the table on page 18. Lists are cumulative,
meaning that tests may also include
◗◗ Aural
requirements from lower grades.
◗◗ Improvisation
◗◗ Musical knowledge
At Grades 6–8, all candidates are assessed
in sight reading, and choose either aural or
improvisation for their second supporting test.
This flexibility is designed to allow candidates
to demonstrate their musical skills in different
ways, while recognising that sight reading is
an important skill at higher grades.
1718
SIGHT READING PARAMETERS
Keys* Time Note and rest Dynamics & tempi* Articulation,
signatures* values* position, shifts*
E, F, G on 1st string
B, C, D on 2nd string
Initial 24 mf, moderato
q h G, A on 3rd string
open basses
Exam guidance: Supporting tests
Grade 1 C major p f within 1st position
Grade 2 G major 3 h. w allegretto
ties
F major simple shifts, 2nd position, staccato,
Grade 3 mp, andante
D, E minor e Πtwo-note chords (open bass)
three-note chords (2 treble 1 bass,
A minor
Grade 4 dim., cresc. may be all fretted), accents, more
accidentals q. ‰
shifts
Grade 5 A major 6 x rall., a tempo slurs
E, Bb major various position shifts, full chord
Grade 6 8 dotted notes accel.
G minor voicings (3 or 4 notes), half barré
* Cumulative — tests may also include requirements from preceding grade(s)
Grade 7 B minor 9 triplets full fingerboard range and shifting
Eb major
Grade 8 changing time duplets full barré, natural harmonics
C minor
signaturesExam guidance: Supporting tests
AURAL ◗◗ Candidates are then given 30 seconds’
This test supports the development of preparation time, during which they may
candidates’ abilities in musical perception and prepare for their improvisation aloud.
understanding by requiring them to recognise ◗◗ The test then follows. The examiner plays the
musical features by ear (for example metre and stimulus again, and candidates join in after
pulse, pitch, performance characteristics). the introduction, improvising for the specified
number of repeats. Candidates should aim
All questions are based on a single musical to improvise in a way that complements the
Exam guidance: Supporting tests
example played at the piano by the examiner. musical style of the stimulus.
At most grades, candidates are asked to
describe various features of the music such
as dynamics, articulation, texture and style. Motivic stimulus
Candidates are not required to sing. This option requires candidates to improvise
solo in response to a short melodic fragment.
Practice tests can be found in Trinity’s
Aural Tests from 2017 books, available from ◗◗ Candidates are given a notated melodic
trinitycollege.com/shop or from your local fragment, which the examiner plays twice
music shop. on the piano for candidates’ reference.
◗◗ Candidates are then given 30 seconds’
IMPROVISATION preparation time, during which they may
Improvisation can develop creative musicianship prepare for their improvisation aloud.
skills that unlock a variety of musical styles ◗◗ The test then follows. Candidates should aim
and technical ability. Our tests are designed to improvise within the specified duration
to introduce teachers and candidates to range and may begin by quoting the stimulus
improvisation gradually, creatively and with directly, developing their improvisation from
a range of supporting resources. there. However, they are not required to quote
the stimulus directly, and may instead develop
This test assesses candidates’ ability
their improvisation from ideas taken from
to improvise fluently, coherently and
the stimulus such as a small group of notes
creatively in response to a musical stimulus.
or an interval. Responses must use the given
Candidates choose a stimulus from the following
time signature.
three options, indicating their choice of stimulus
on the appointment form:
Harmonic stimulus
◗◗ Stylistic
This option requires candidates to improvise
◗◗ Motivic solo in response to a chord sequence.
◗◗ Harmonic
◗◗ Candidates are given a notated chord
Further guidance and example tests are sequence, including chord symbols, which
available at trinitycollege.com/supporting-tests the examiner plays twice on the piano for
candidates’ reference.
Stylistic stimulus ◗◗ Candidates are then given 30 seconds’
This option requires candidates to improvise preparation time, during which they may
over a notated piano part played by prepare for their improvisation aloud.
the examiner. ◗◗ The test then follows. Candidates should
◗◗ Candidates are given a stimulus that improvise for the specified number of
includes the notated piano part and chord repeats, following the chord sequence.
symbols. The stimulus begins with a two-bar Responses should contain melodic/
introduction played by the examiner alone, rhythmic interest.
followed by a further section over which
candidates must improvise for a specified Parameters
number of repeats. Technical expectations for the tests are given
◗◗ The examiner plays the stimulus twice for in the tables on the following pages. Lists are
candidates’ reference, without repeats. cumulative, meaning that tests may also
include requirements from lower grades. 19Exam 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, Bb major
Keys* C major F, G major A minor
D, 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
20 * 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
Exam guidance: Supporting tests
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
G, B minor A, Eb major F#, C minor E, Ab major C#, 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
21Exam 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, Bb major
Keys* C major F, G major A minor
D, E minor
22 * Cumulative — tests may also include requirements from preceding grade(s)Exam guidance: Supporting tests
Grade 4 Grade 5 Grade 6 Grade 7 Grade 8
Exam guidance: Supporting tests
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
accents slurs acciaccaturas sfz
augmented
minor 6th, 4th, minor 7th, all up to
octave
major 6th diminished major 7th major 10th
5th
G, B minor A, Eb major F#, C minor E, Ab major C#, F minor
23Exam 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, G major
24Exam guidance: Supporting tests
Grade 4 Grade 5 Grade 6 Grade 7 Grade 8
Exam guidance: Supporting tests
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
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, A major
A, D, E, G, B minor
A, D, E, G, B, C, F# minor
25Exam guidance: Supporting tests
MUSICAL KNOWLEDGE Examiners then choose a second piece for the
(Initial–Grade 5 only) remaining questions. Candidates’ musical scores
should be free of annotations which might
This test encourages learners to understand
aid their responses. Examiners usually point
the wider musical context of the pieces they
to the relevant part of the score when asking
play, as well as their knowledge of notation
questions. Candidates can use American terms
and their instrument. Examiners ask carefully
(eighth note, half note, etc) as an alternative to
graded questions based on candidates’ chosen
English terms (quaver, minim, etc).
pieces. Questions refer to the solo line only,
and not the accompaniment. The following tables give example questions
and responses.
In the exam, candidates choose which piece
they would like to be asked about first.
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 is this part called? The bridge
instrument
26 * 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?
Exam guidance: Supporting tests
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
Grade 4 What is the interval between
Intervals (full names) Perfect 5th
these notes?
Show me the most Here [candidate
Technical challenges challenging part of this indicates], because
piece and tell me why of the awkward leaps
Candidate identifies
Comment on the style 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
the 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
27Exam guidance: Marking
Exam guidance: Marking
HOW THE EXAM IS MARKED HOW THE PIECES ARE MARKED
Examiners give comments and marks for each Each piece is awarded three separate marks
section of the exam, up to the maximums listed corresponding to three specific musical
in the table on page 12. It is not necessary components, allowing candidates to receive
to pass all sections or any particular section precise feedback about specific aspects of
in order to achieve a pass overall. The total their performance. These marks combine
mark for the exam corresponds to different to give a total mark for the piece.
attainment levels as follows:
The three components are:
Total mark Attainment level Fluency & accuracy
The ability to perform fluently, with a stable
87–100 DISTINCTION pulse and with an accurate realisation of
the notation.
75–86 MERIT
Technical facility
60–74 PASS
The ability to control the instrument
45–59 BELOW PASS 1 effectively, covering the various technical
demands of the music.
0–44 BELOW PASS 2
Communication & interpretation
The interpretation of the music and the way
the performance conveys a sense of stylistic
understanding and audience engagement.
Marks are awarded for these components to
form a maximum total mark for each piece
as follows:
Max. mark
for each piece Component
7 FLUENCY & ACCURACY
7 TECHNICAL FACILITY
COMMUNICATION
8
& INTERPRETATION
TOTAL MARK FOR
22
EACH PIECE
28Exam 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
Exam guidance: Marking
13–15 PASS
10–12 BELOW PASS 1
3–9 BELOW PASS 2
29Exam guidance: Marking
Heading
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 understanding stylistic understanding stylistic understanding
interpretation with keen attention to with most performance though occasional
performance details. details realised. performance
Highly effective Effective communication details omitted.
communication and interpretation overall. Communication and
and interpretation. interpretation mostly
effective.
30Exam guidance: Heading
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 basic — control of pulse and
some inconsistencies and control of pulse and rhythm. rhythm not established.
stumbles in the control of
Accuracy in notes Accuracy in notes very
pulse and rhythm.
Exam
sporadic, with errors limited with many errors
Examguidance:
A reasonable degree of becoming intrusive. of substance.
accuracy in notes despite
a number of errors.
guidance:Marking
4 MARKS 3 MARKS 1–2 MARKS
Marking
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 basic
some inconsistencies.
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
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.
31Exam guidance: Marking
Heading
HOW TECHNICAL WORK IS MARKED
Examiners use the criteria below to decide on the mark.
DISTINCTION MERIT
13–14 MARKS 11–12 MARKS
Scales & arpeggios 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.
Prompt responses. Prompt responses overall.
Technical exercises, studies An excellent or very A good sense of fluency
and concerto extracts 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.
32Exam guidance: Heading
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.
Exam
Examguidance:
A reasonable degree of An inconsistent degree An unreliable degree
technical control despite of technical control. of technical control.
some inconsistencies.
Hesitancy in responses Uncertain responses with
guidance:Marking
Generally prompt responses and restarts. many restarts and/or items
despite some hesitancy and/ not offered.
or restarts.
Marking
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 inconsistencies.
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.
33Exam guidance: Marking
Heading
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.
34Exam guidance: Heading
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.
Exam
Examguidance:
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.
guidance:Marking
accuracy in notes despite musical detail.
a number of errors and
with little attention to
musical detail.
Marking
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
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.
35Initial to Grade 5
Initial to Grade 5
EXAM DURATION EXAM STRUCTURE
The Initial exam The Grade 1 exam The Initial to Grade 5 exams contain
lasts 11 minutes lasts 13 minutes the following:
Maximum
marks
PIECE 1 22
PIECE 2 22
The Grade 2 exam The Grade 3 exam
lasts 13 minutes lasts 13 minutes
PIECE 3 22
TECHNICAL WORK 14
The Grade 4 exam The Grade 4 exam ◗◗ Technical exercise
lasts 18 minutes lasts 18 minutes ◗◗ Either scales & arpeggios
or studies
SUPPORTING TESTS 20
Any TWO of the following:
◗◗ Sight reading
◗◗ Aural
◗◗ Improvisation
◗◗ Musical knowledge
TOTAL 100
36Initial
Initial
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below.
A maximum of two duets (asterisked) may be played. An own composition may be played
instead of one listed piece. See pages 14–15 for further guidance.
Composer Piece Book Publisher
Classical Guitar Exam
1. BRUN La tortue Trinity TCL019271
Pieces 2020–2023: Initial
Classical Guitar Exam
2. CORR Gypsy Dance Trinity TCL019271
Pieces 2020–2023: Initial
The Many Faces of the Productions d’Oz
3. COSTANTINO Luna
Guitar vol. 1 DZ1041
Classical Guitar Exam
4. CRACKNELL Inca Dawn Trinity TCL019271
Pieces 2020–2023: Initial
Classical Guitar Exam
5. DAVIES Finnish Folk Song Trinity TCL019271
Pieces 2020–2023: Initial
Raise the Bar Guitar:
6. GRIEG Morning Trinity TCL016553
Initial–Grade 2
Initial
Classical Guitar Exam
7. HARTOG La campanella Trinity TCL019271
Pieces 2020–2023: Initial
8. INTILANGELO Andante in A minor Guitar Basics Workouts Faber 0571536883
Classical Guitar Exam
9. LINDSEY-CLARK Helping Hand* Trinity TCL019271
Pieces 2020–2023: Initial
LONGWORTH & Classical Guitar Exam
10. La colombina Trinity TCL019271
WALKER Pieces 2020–2023: Initial
Classical Guitar Exam
11. NUTTALL The Bells of Dawn* Trinity TCL019271
Pieces 2020–2023: Initial
Classical Guitar Exam
12. POWLESLAND Pirates Trinity TCL019271
Pieces 2020–2023: Initial
PURCELL, Classical Guitar Exam
13. Rigadoon* Trinity TCL019271
arr. POWLESLAND Pieces 2020–2023: Initial
14. SOR, arr. KENYON Exercise 13, op. 35* ABC Guitar Jacaranda JM02–003
TRAD., Classical Guitar Exam
15. The Rising Sun Trinity TCL019271
arr. NUTTALL Pieces 2020–2023: Initial
TRAD., Classical Guitar Exam
16. Aura Lee Trinity TCL019271
arr. POWLESLAND Pieces 2020–2023: Initial
TRAD., Chansons et danses
17. Ojos Azules* Lemoine HL25163
arr. RIVOAL d’Amérique latine vol. C
Raise the Bar Guitar:
18. TROMP First Steps Trinity TCL016553
Initial–Grade 2
Classical Guitar Exam
19. WANDERS Salsa Party Trinity TCL019271
Pieces 2020–2023: Initial
= Pieces in Trinity’s graded exam books * Duet 37Initial
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 of the listed pieces.
More information can be found on page 15. ◗◗ Use of different rhythmic values
◗◗ Clear melodic line
Duration: ◗◗ Use of keys listed for Initial technical work
0.5–1 minute(s)
TECHNICAL WORK
Candidates prepare section 1. and either section 2. or section 3. (see page 16).
All requirements are in Trinity’s Guitar Scales, Arpeggios & Studies from 2016: Initial–Grade 5.
1. TECHNICAL EXERCISE (music may be used)
Technical exercise in C major (q = 80)
Either
2. SCALES & ARPEGGIOS (from memory, mf ) — Candidates play the scale followed by the
arpeggio. Examiners select from the following:
scales: apoyando or tirando min. tempi:
◗◗ G major
to the 5th im fingering (candidate choice) scales q = 80
◗◗ A minor
arpeggios: tirando arpeggios q = 100
Or
TUDIES (music may be used) — Candidates prepare 1a or 1b, 2a or 2b, and 3a or 3b
3. S
(three studies in total).
Candidates choose one study to play first. Examiners then select one of the remaining two
prepared studies to be performed.
Star Gazer
1a.
for tone and phrasing
Playground Games
1b.
Submarine
2a.
for articulation
Stop It!
2b.
Ice Breaker
3a.
for idiomatic elements
Cross String Thing
3b.
38Initial
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 19–25 for the requirements
perform a previously unseen musical and parameters.
extract at a level lower than the exam being
taken. See page 19 for the requirements Musical knowledge
and parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the guitar.
Candidates answer questions based on Questions are based on candidates’ chosen
a single musical example played on the pieces. See pages 26–27 for example questions
piano by the examiner. See pages 17–18 for and responses.
more information.
Initial
The aural test requirements for Initial
are below.
Aural questions
Parameters Task Requirement
Listen to the melody Clap the pulse on the third playing, stressing
three times the strong beat
Melody only
4 bars Listen to the melody once Identify the dynamic as forte or piano
Major key Listen to the melody once Identify the articulation as legato or staccato
2 Listen to the first three notes
Identify the highest or lowest note
of the melody once
39Grade 1
Grade 1
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. A maximum
of two duets (asterisked) may be played. An own composition may be played instead of one listed
piece. See pages 14–15 for further guidance.
Composer Piece Book Publisher
CARULLI, Classical Guitar Exam
1. Waltz in G* Trinity TCL019288
arr. CRACKNELL Pieces 2020–2023: Grade 1
Classical Guitar Exam
2. CRACKNELL Oasis Trinity TCL019288
Pieces 2020–2023: Grade 1
Classical Guitar Exam
3. FOGEL Pirate’s Delight Trinity TCL019288
Pieces 2020–2023: Grade 1
HANDEL,
adpt. MASON, Classical Guitar Exam
4. Joy to the World Trinity TCL019288
arr. LONGWORTH Pieces 2020–2023: Grade 1
& WALKER
5. KENYON Lil’ Bit Blue* ABC Guitar Jacaranda JM02–003
Raise the Bar Guitar:
6. LINDSEY-CLARK Cachucha Trinity TCL016553
Initial–Grade 2
LONGWORTH
7. Havana Good Time Guitar Basics Repertoire Faber 0571536875
& WALKER
Lágrimas de las Classical Guitar Exam
8. MÁRQUEZ Trinity TCL019288
ondas* Pieces 2020–2023: Grade 1
9. MOURAT Chanson d’antan Facilissimo Transatlantiques EMT1676
10. NUTTALL Rocky Road On the Way Countryside
It’s Just a Matter Raise the Bar Guitar:
11. POWLESLAND Trinity TCL016553
of Time Initial–Grade 2
Classical Guitar Exam
12. POWLESLAND The Forest Wakes Trinity TCL019288
Pieces 2020–2023: Grade 1
Classical Guitar Exam
13. RAK Chansonnette Trinity TCL019288
Pieces 2020–2023: Grade 1
Classical Guitar Exam
14. RICHTER Spider Trinity TCL019288
Pieces 2020–2023: Grade 1
15. ROBERTS The Grand Entrance New Beginnings Trinity TCL019134
16. RYAN Snake in a Basket Scenes for Guitar book 1 Camden CM260
Classical Guitar Exam
17. SANDERSON Lotus Flower Trinity TCL019288
Pieces 2020–2023: Grade 1
SCHUBERT, Classical Guitar Exam
18. Die Forelle (The Trout) Trinity TCL019288
arr. HEGEL Pieces 2020–2023: Grade 1
SCHUMANN, Melodie (from Album Classical Guitar Exam
19. Trinity TCL019288
arr. POWLESLAND for the Young, op. 68)* Pieces 2020–2023: Grade 1
TRAD.,
20. Carnival of Venice The Golden Collection Hvartchilkov
arr. HVARTCHILKOV
TRAD., Classical Guitar Exam
21. Romance de amor Trinity TCL019288
arr. HVARTCHILKOV Pieces 2020–2023: Grade 1
Classical Guitar Exam
22. TROMP Metamorphosis Trinity TCL019288
Pieces 2020–2023: Grade 1
23. WANDERS Chicago Blues Go for Guitar! vol. 1 Broekmans BP1646
40 = Pieces in Trinity’s graded exam books * DuetYou can also read
