Electronic Keyboard & Organ Syllabus - Electronic Keyboard, Electronic Organ & Organ - Trinity College ...
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Electronic Keyboard & Organ Syllabus Electronic Keyboard, Electronic Organ & Organ Grade exams 2015–2018 Trinity College London www.trinitycollege.com Charity number 1014792 Patron HRH The Duke of Kent KG Chief Executive Sarah Kemp Copyright © 2014 Trinity College London Published by Trinity College London Online edition, 27 November 2017
Contents
Introduction......................................................................................................................... 3
Why take a Trinity graded exam?....................................................................... 4
Range of qualifications............................................................................................... 5
About the exam................................................................................................................ 6
Exam structure and mark scheme.................................................................................... 6
Pieces......................................................................................................................................... 7
Instruments.............................................................................................................................10
Electronic keyboard glossary of chords.........................................................................12
Own composition................................................................................................................... 13
Mark scheme for pieces.......................................................................................................14
Technical work........................................................................................................................15
Supporting tests: ...................................................................................................................16
Sight reading..................................................................................................................... 17
Aural....................................................................................................................................21
Improvisation...................................................................................................................24
Musical knowledge.........................................................................................................28
Requirements:
Electronic keyboard
(subject code EK).................................. In 1 2 3 4 5 6 7 8
Electronic organ (subject code EO)... In 1 2 3 4 5 6 7 8
Organ (subject code OGN)............................. 1 2 3 4 5 6 7 8
Information and regulations..................................................................................78
Music publishers............................................................................................................82
Trinity publications..................................................................................................... 84Introduction
I am delighted to introduce this syllabus containing details of grade exams for keyboard instruments.
Like all Trinity College London (‘Trinity’) syllabuses, this syllabus is designed to enable candidates
of all levels and abilities to demonstrate their skills in a way that suits their individual needs as
learners. It does this by offering unrivalled flexibility of choice within each section of the exam, as
well as giving candidates the opportunity to express their own musical identities through options to
improvise and perform original compositions. Underpinning these innovative features is a uniquely
diagnostic mark scheme, ensuring that candidates receive precise and specific feedback to inform
their continued learning.
Trinity aims to treat each candidate individually when considering how we can make our exams
accessible to all, recognising that requirements vary. Please visit www.trinitycollege.com/music
(‘our website’) for more information or contact us directly to discuss any specific requirements.
We hope you enjoy exploring the music on offer in this syllabus, and we wish you every success in
your exams and wider music-making. Further information on all our exams, as well as additional
supporting materials for teachers and candidates, can be found on our website.
Francesca Christmas
Head of Academic Governance – Music
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.
Trinity College London is an awarding body recognised by the Office of Qualifications and Examinations
Regulation (Ofqual) in England and Northern Ireland, and by Qualifications Wales (QW). Trinity’s
qualifications are regulated by these authorities within the Regulated Qualifications Framework (RQF).
Various arrangements are in place with governmental education authorities worldwide.
In the UK, Trinity’s Grade 6–8 exams can contribute towards entry into higher education through the
allocation of UCAS points. Please see our website for full details.
3
Back to contentsWhy take a Trinity grade exam?
Recognising that there is no single approach to musical assessment, Trinity’s grade exams are guided
by a core philosophy of flexibility, placing the needs of individual candidates at the heart of the exam.
This is done by:
offering freedom of choice within the exam to enable candidates to play to their strengths
examining real musical skills that are specific to each instrument or the voice
a
llowing candidates to express their own musical identities through options to improvise
and present original compositions
u
sing a diagnostic mark scheme, offering precise and specific feedback to inform
continued learning
linking closely with Trinity’s other music qualifications to provide flexible progression routes
d
rawing on Trinity’s many relationships around the world to feature repertoire inspired by a range
of musical genres, as well as exciting new works by up-and-coming composers.
As well as incorporating these innovative features, Trinity’s grade music exams are delivered by
a panel of friendly examiners who are rigorously trained and standardised. This aims to create a
positive and personalised experience for all candidates.
4
Back to contentsRange of qualifications
Trinity’s music qualifications offer flexible progression routes from beginner to advanced levels in a
range of musical genres. All are designed to help candidates develop as musicians according to their
individual needs as learners.
Grade exams assess a broad range of musicianship skills, including performance, while certificate
exams focus entirely on performance, including separate marks for stagecraft. Candidates can enter
any combination of grade or certificate exams, and do not need to pass any particular level in order to
proceed to a higher level.
Each level features an equivalent grade theory exam, supporting candidates in developing their
understanding of the technical language of music. However, no theory qualifications or other
prerequisites are required to enter grade or certificate exams at any level.
After Grade 8 or the Advanced Certificate, candidates can progress to diplomas at associate (ATCL),
licentiate (LTCL) and fellowship (FTCL) levels. These assess higher skills in performance, teaching,
theory and composition. Adults who work as music educators may also wish to consider Trinity’s Level
4 Certificate for Music Educators (Trinity CME).
This syllabus focuses on grade exams in keyboard instruments. Visit our website for more information
about other grade exams, certificate exams, diplomas, the Trinity CME, and Music Tracks — an initiative
designed to support teachers in delivering large- and small-group instrumental tuition.
RQF* EQF** Classical Rock Theory Music Solo Group
Level Level & Jazz & Pop & Written Tracks† Certificate † Certificate †
7 7 FTCL FMusTCL
6 6 LTCL LMusTCL
ATCL AMusTCL
4 5 Certificate for Music Educators
(Trinity CME)
3 4 Grade 8 Grade 8 Grade 8 Advanced Advanced
Grade 7 Grade 7 Grade 7
Grade 6 Grade 6 Grade 6
2 3 Grade 5 Grade 5 Grade 5 Intermediate Intermediate
Grade 4 Grade 4 Grade 4
1 2 Grade 3 Grade 3 Grade 3 Foundation Foundation
Grade 2 Grade 2 Grade 2 Track 2
Grade 1 Grade 1 Grade 1 Track 1
Entry
1 Initial Initial Initial Track
Level 3
Entry First Access
Levels 1–2 Track
* Regulated Qualifications Framework in England, † Not RQF or EQF accredited
Wales and Northern Ireland
** European Qualifications Framework
5
Back to contentsAbout the exam
Exam structure and mark scheme
Initial–Grade 5 Max. marks Grades 6–8 Max. 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
ither:
E Either:
i) scales and chord i) scales and chord
knowledge knowledge
or or
ii) exercises ii) exercises
Supporting tests 10 Supporting test 1 10
Any TWO of the 10 sight reading
following:
Supporting test 2 10
sight reading
One of the following:
or
aural improvisation
or or
improvisation aural
or
musical knowledge
Total 100 100
* Electronic organ and organ technical work does not include exercises.
Comments and marks are given for each section of the exam, up to the maximums listed in the table
above. It is not necessary to pass all sections or any particular section in order to achieve a pass
overall. The total mark for the exam corresponds to different pass/below pass bands as follows:
Overall mark Band
87–100 Distinction
75–86 Merit
60–74 Pass
45–59 Below pass 1
0–44 Below pass 2
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Back to contentsAbout the exam
Candidates may present the sections of the exam in an order of their choice, and should indicate their
preferred order on the appointment form. This should be given to the examiner at the start of the
exam. If no preference is indicated, pieces are heard first in exams for accompanied instruments, and
technical work is heard first in exams for unaccompanied instruments.
Exams are designed to allow sufficient time for setting up and presenting all sections.
Level Exam duration (minutes)
Initial 13
Grade 1 13
Grade 2 15
Grade 3 15
Grade 4 20
Grade 5 20
Grade 6 25
Grade 7 25
Grade 8 30
Pieces
Electronic keyboard
Piece choice and programming
Candidates must perform three pieces, and are encouraged to present a balanced programme.
C
andidates may choose any three pieces from those listed for the grade. Initial–Grade 5 candidates
may substitute one piece for an own composition (see page 13). Grades 6–8 candidates may
substitute one piece for an own composition (see page 13), or for a piece of their own choice, or for
their own arrangement of a piece of their own choice (either a keyboard or a non-keyboard piece).
O
wn choice pieces and arrangements must be comparable in technical and musical demand to the
pieces listed at the same grade. Pre-approval of own choice repertoire is not required, but marks
may be deducted if the demands of the piece are not appropriate for the grade.
T
he lists contain pieces where there is greater opportunity for more individual interpretation and
also pieces with substantial opportunities for improvisation.
Own interpretation
T
he aim of these pieces is to allow the candidate to create a personal arrangement with as much
artistic and musical flair as possible in line with the expectations for the grade.
V
oice(s) and style are chosen by the candidate and the music should be adapted by changing
rhythm, register or even harmony to produce a creative response.
A
uto intros/endings are not permitted, although the candidate may compose and perform their
own intro/ending.
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Back to contentsAbout the exam
Improvisation
The aim of the improvisation pieces is to encourage creativity and originality.
C
andidates must not bring additional notation or written-out solos to the exam and the
improvising must have a sense of spontaneity.
Chords
S
ingle or fully fingered chords can be used at the candidate’s discretion, though at higher grades
the chords required may not be available as single fingered chords.
C
andidates are free to use their judgement in choosing spacing and arrangement of the notes
according to the most convenient fingering.
Set up
E
fficient setting up is a major part of the technique of the instrument and is expected to be
carried out quickly and efficiently in all exams.
M
arks may be deducted for unnecessary delays in setting up for any part of the exam, including
protracted delays at the start or between items, or restarts due to improper set-up.
A
t the end of each piece the candidate should begin setting up for the next piece. ‘Please set up
for the next piece’ is clearly marked in the music at the end of each piece in Trinity publications as
a reminder.
Electronic organ
Piece choice and programming
Candidates must perform three pieces, and are encouraged to present a balanced programme.
C
andidates may choose any three pieces from those listed for the grade. Candidates may substitute
one piece for an own composition (see page 13), or for a piece of their own choice. Own choice
pieces must be comparable in technical and musical demand to the pieces listed at the same grade.
Pre-approval of own choice repertoire is not required, but marks may be deducted if the demands
of the piece are not appropriate for the grade.
Organ
Piece choice and programming
Candidates must perform three pieces, and are encouraged to present a balanced programme.
Pieces by at least two composers should be played.
P
ieces are divided into two groups: group A and group B. Candidates must choose at least one
piece from each group. The third piece may be chosen from either group, or may be the candidate’s
own composition (see page 13).
All instruments
Performance and interpretation
All pieces must be prepared in full unless otherwise stated.
Repeats of more than a few bars should not be played unless otherwise stated.
All da capo and dal segno instructions should be observed.
Cadenzas should be omitted unless otherwise stated.
Candidates are encouraged to use appropriate ornamentation, particularly at Grades 6–8.
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Back to contentsAbout the exam
A
ll 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.
C
andidates may perform any or all of their pieces from memory, although this is not compulsory
and no additional marks are given for this.
Page turns
T
he examiner will not be able to act as a page turner. Difficult page turns may be overcome by
photocopying the relevant pages.
A
page turner may assist at Grades 6–8, but may only remain in the exam when required to
turn pages.
Music and copies
C
andidates are responsible for obtaining the music for their exam in good time prior to entering.
Candidates are advised to check the availability of pieces before deciding to perform them.
R
ecommended editions are listed in the syllabus, but candidates may perform from any edition as
long as it has not been shortened or otherwise simplified. Where a particular edition must be used,
this is indicated in the syllabus. Product codes for publications are included where available.
G
uidelines regarding the legitimacy of all forms of sheet music can be obtained from the UK Music
Publishers Association’s Code of Fair Practice, available at www.mpaonline.org.uk . Candidates must
comply with copyright and other intellectual property laws in the country where the exam is
taking place.
In accordance with the Code of Fair Practice, candidates must produce original copies of all pieces
to be performed at the exam, even if pieces have been memorised, handwritten or typeset. Pieces
where no original copy has been provided may be awarded no marks.
C
andidates must provide photocopies of all pieces, except pieces taken from Trinity publications,
to be performed as a reference for the examiner. Photocopies will be retained by the examiner and
destroyed after the exam.
W
here music has been downloaded, candidates must bring proof of purchase or the web address
where it was accessed for the examiner’s reference.
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Back to contentsAbout the exam
Instruments
Electronic keyboard
C
andidates are responsible for providing their own keyboard, music stand, keyboard stand, power
adaptor and seat (if required).
A
mains power supply will be available at centres but candidates should check with the
representative to ensure it is within easy reach of the instrument.
Candidates are responsible for the electrical safety of any equipment used in their exam.
T
he steward will normally be responsible for assisting with the setting up and removal of the
instrument but the candidate should have a full working knowledge of the set up procedure.
It is recommended that instruments have the following specification:
–– range: minimum 4 octaves (Initial–Grade 1); minimum 5 octaves (Grades 2–8)
–– keyboard: full-size keys
–– capability — from Grade 2: minimum 16-note polyphonic capacity; a range of individual
voices and rhythm styles; dual voice/layer
—— from Grade 3: registration memory; touch sensitivity option
—— from Grade 5: left split point
—— from Grade 6: a minimum of 8 registrations which can be pre-programmed
before the exam; touch sensitivity (compulsory); left voice; accompaniment
split point; pedal function with different settings to include sustain, registration
change, fill, rhythm start/stop; pitch bend function with moveable range; octave
transpose for both right and left voices; chord settings to include fingered
chords, fingered on bass and full keyboard chords.
A
ll pieces and tests will be assessed on the musicality of the candidate’s performance and not on
the capacity of the instrument itself. However, performances that fail to realise a large amount of
the performance information on the printed score will not be able to attract high marks.
C
andidates may therefore adapt the music, making use of the resources available. Any changes
must not substantially alter the character of the pieces (eg changing Clarinet/March to Electric
Guitar/Ballad).
U
p to and including Grade 2, candidates using keyboards without registration memory may
find it necessary to alter the voice from that stipulated in the music to facilitate quick changes;
for example, by selecting voices with near or adjacent menu locations which give a noticeable
voice change.
T
he ability to use dual voice and to program voice changes is important to build a musically
interesting performance.
T
he use of volume control is important to add interest and shape and should follow the dynamics
marked in the score. Volume may be varied manually, through foot pedals, or through a touch
sensitive keyboard setting as appropriate.
T
he use of Accompaniment B and, optionally, Accompaniments C and D at Grades 6–8, can also
add a feeling of climax and direction.
L
eft and Accompaniment Split Point functions are required at Grades 6–8. Pieces which require
these functions have split points suggested for 5 octave keyboards where middle C is C3.
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Back to contentsAbout the exam
G
uides for use of Octave Transpose on 5 octave keyboards are printed on Grades 6–8 pieces
which require this function.
F
urther guidance on keyboard functions and a glossary of terms for Initial–Grade 8 are provided
on our website.
C
andidates may introduce further changes according to the capabilities of their instrument,
as long as they are musically appropriate.
A
uto intros/endings may only be used where indicated and must be integrated within the style
and instrumentation of the piece. They should not exceed four bars in length.
P
re-recorded material is not permitted in electronic keyboard exams, but registration memory
facilities may be used.
Electronic organ
A
rrangements over instruments must be discussed and agreed with the representative well in
advance of the exam date.
Instruments must be installed before the start of the exam day and not removed until the end.
Instruments must have a pedal board with a compass of at least one octave.
Candidates have freedom of registration as appropriate to the music played.
Style should be used at all levels where this enhances the performance.
E
lectronic organs may be pre-programmed with the following only (the use of disks to facilitate
this is acceptable):
–– control data
–– registration changes
–– pedal functions
–– footswitches
–– knee lever.
The repertoire for electronic organ and organ is not interchangeable.
Organ
A
rrangements over instruments, venue and location must be discussed and agreed with the
representative well in advance of the exam date.
Instruments must be installed before the start of the exam day and not removed until the end.
If the exam is held in a public building, arrangements must be made to ensure there is no
audience present.
C
andidates may play a conventional pipe organ, a pipeless analogue electronic organ, or a
computer organ.
C
andidates should always check that the instrument they are using is adequate for the
requirements of the pieces they are performing in the exam.
Candidates have freedom of registration as appropriate to the music played.
Memory features other than adjustable pistons and the use of sequencers are not permitted.
The repertoire for organ and electronic organ is not interchangeable.
11
Back to contentsAbout the exam
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 the candidate’s discretion, though 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–Grade 8.
C C‹ C6 C‹6 C7 CŒ„Š7 C‹7
C‹7(b5) Cº Cº7 C& C9 C'9 C‹9
8
C7(#5) C7(b9) C“4 C“2 C7(b5) C/G
15
This glossary of chords is also provided on our website.
12
Back to contentsAbout the exam
Own composition
Candidates can choose to present an own composition as one of their pieces. The focus of the
assessment for this is on performance, using the same assessment criteria as for all other pieces.
Marks will not be awarded for the quality of the composition.
Candidates should note that:
t he technical and musical demands of the own composition must be comparable to the pieces
listed at the same grade
o
wn compositions should largely be candidates’ unaided work, although teachers may offer
guidance as necessary
o
wn compositions at Initial–Grade 5 may be notated in any coherent form, including graphic
score or lead sheet. Own compositions at Grades 6–8 must be notated on a stave. Marks will be
deducted if notation is incomplete or inaccurate, or if the performance varies significantly from
the notation
notation may be handwritten, typeset or produced electronically
a copy of the own composition must be given to the examiner at the start of the exam.
Durations and compositional brief for own composition
Grade Duration Requirements
(minutes)
Initial 1–2 A piece containing sudden changes
Grade 1 1.5–2.5 A piece containing sudden dynamic contrast
Grade 2 1.5–2.5 A piece contrasting legato and staccato passages
A piece which starts quietly and simply, and builds
Grade 3 1.5–2.5
to a loud, grand climax
Grade 4 2.5–3.5 A piece with long melodic phrases
Grade 5 2.5–3.5 A piece containing many wide leaps
Grade 6 3.5–4.5 A piece containing use of the pitch bend function
Grade 7 3.5–4.5 A piece featuring legato 3rds in the right hand
A piece incorporating fingered on bass chords
Grade 8 4.5–5.5
(chords sounding in inversions)
Durations and compositional brief for own composition — Grade 6–8 organ
Grade Duration Requirements
(minutes)
Grade 6 3.5–4.5 A piece featuring the pedals
Grade 7 3.5–4.5 A piece featuring octaves in both hands
Grade 8 4.5–5.5 A piece featuring at least two contrapuntal voices
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Mark scheme for pieces
Each piece is awarded three separate marks corresponding to three different musical components,
allowing candidates to receive precise feedback about specific aspects of their performance. These
marks combine to give an overall mark for the piece.
The three components are as follows:
f luency and accuracy: the ability to perform fluently, with a stable pulse and with an accurate
realisation of the notation
t echnical facility: the ability to control the instrument effectively, encompassing the various
technical demands of the music
c ommunication and interpretation: the interpretation of the music and the way the performance
conveys a sense of sylistic understanding and audience engagement.
Marks are awarded for these to form a maximum total mark for each piece as follows:
Maximum mark
Fluency and accuracy 7
Technical facility 7
Communication and interpretation 8
Total mark for each piece 22
Total marks awarded for pieces correspond to the pass/below pass bands as follows:
Total mark for each piece Band
19–22 Distinction
16–18 Merit
13–15 Pass
10–12 Below pass 1
3–9 Below pass 2
Further information about this mark scheme and the assessment criteria that support it is available
on our website.
14
Back to contentsAbout the exam
Technical work
This section of the exam supports the development of technical skills by assessing candidates’
performance in a range of technical work options.
Electronic keyboard
Candidates choose one of the following options:
scales and chord knowledge
exercises
Scales and chord knowledge should be performed:
on a piano voice
from memory
with no additional voice, accompaniment, rhythm or metronome click
with the master volume set to 50–75% of maximum resulting in a mf to f dynamic level
in similar motion, except where stated [scales]
a
scending and descending, with the right hand one octave higher than the left hand unless
otherwise stated [scales]
an octave higher or lower if necessary to accommodate the range of the instrument
a
t the required tempo — see the tempi listed at each grade and in the relevant Trinity
book [scales].
Electronic organ and organ
Scales and arpeggios are to be performed from memory.
In the organ syllabus, music may be used for the pedal study at Grades 6–8.
In the electronic organ syllabus, pedal sustain, if present, should be switched on for scales
and arpeggios.
Further information about specific technical work requirements for each grade is given in the
relevant sections of this syllabus.
Mark scheme
Technical work is awarded a single mark that corresponds to the pass/below pass bands as follows:
Mark Band
13–14 Distinction
11–12 Merit
9–10 Pass
7–8 Below pass 1
1–6 Below pass 2
Information about the assessment criteria that support this mark scheme is available on our website.
15
Back to contentsAbout the exam
Supporting tests
This section of the exam supports the development of broader musical skills by assessing candidates
in two different supporting tests. At Initial–Grade 5, candidates must choose two supporting tests
from the following options:
sight reading
aural
improvisation
musical knowledge
At Grades 6–8, all candidates are assessed in sight reading, and must choose between aural and
improvisation for their second supporting test.
Mark scheme
Each supporting test is awarded a single mark that corresponds to the pass/below pass bands
as follows:
Mark Band
9–10 Distinction
8 Merit
6–7 Pass
4–5 Below pass 1
1–3 Below pass 2
Information about the assessment criteria that support this mark scheme is available on our website.
16
Back to contentsAbout the exam
Sight reading
This test assesses candidates’ ability to perform an unseen musical extract, at a level approximately
two grades lower than the exam being taken.
After setting up their instrument, candidates are given 30 seconds to study the test before
performing it, during which time they may practise any or all of it aloud. The examiner does not mark
this preparation period.
Examples of sight reading tests for Initial–Grade 5 can be found in Trinity’s Sound at Sight series,
available from www.trinitycollege.com/shop or your local music retailer.
Candidates for electronic keyboard Initial–Grade 5 exams may choose between two different
ways of performing the sight reading test; either with single-fingered chords with rhythm and
accompaniment, or with fully-fingered chords without rhythm. Candidates for Grade 6–8 exams
must perform the sight reading test using fully-fingered chords with rhythm and accompaniment.
Specimen sight reading tests for Grades 6–8 are available to download from our website.
Tests comply with the musical parameters listed in the table overleaf. Lists are cumulative, meaning
that tests may also include requirements from preceding grades.
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Back to contentsAbout the exam
Sight reading parameters for electronic keyboard
Grade Keys Time Chords Note Dynamics Other
signatures values
(cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*)
five-finger
hand
Initial C major 2 q and h mf
position
only
five-finger
_ and _ hand
Grade 1 4 I,V f
position (RH
not tonic)
change of
hand
Grade 2 A minor 3 IV h. and Πp position
within
octave
F and G
major;
Grade 3 D minor VI w , q. and e
(including
C#)
D major;
7 two-part
Grade 4 B and E V
right hand
minor
A and Bb
x and
three-part
Grade 5 major; 6 right hand
C minor
all common right-hand
chords and chords of
Eb major; mp , cresc.,
dominant 7th three notes
Grade 6 F# and 8 grace notes
chords, minor 7th dim. or more,
G minor
chords on white spread
root notes only chords
minor 7th chords
E and Ab
on black notes, dotted
Grade 7 major; 1 and " major 7th chords semibreves
F minor
on white notes
major 7th chords
B and Db
Grade 8 on black notes, duplets, triplets
major
diminished chords
* Tests may also include requirements from preceding grades.
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Back to contentsSight reading requirements for electronic organ
Grade Keys Time signatures Note values Tempi and Manuals Pedals Registration
articulation
(cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*)
two manuals to be
five-finger hand used throughout;
Initial C major q and h moderato contrasting sounds
2 position only
on both manuals; mf
G major; remains within
Grade 1 A minor 4 w and _ legato hand position (not
(white notes only) necessarily C)
allegretto and
Grade 2 h. and ties two-part texture
3 simple phrasing
F major; andante and
white notes
Grade 3 D minor more intricate
e, Πand _ only
(including C#) phrasing
D and Bb major; q. and ‰ ä staccato and
Grade 4 E and D minor three-part texture all notes
Back to contents
accents
(plus accidentals)
A and Eb major; more varied
rall., accel., more
texture and solo voice on
x and ;;
B and G minor
Grade 5 dotted notes a tempo independent
(including 6 some further upper manual
and rests and pause pedal part
modulation) chromaticism
any common full use of use of swell pedal;
Grade 6 F# and C minor 8 terms and signs pedals cresc.; dim.; pp and ff
E and Ab major;
Grade 7 9
C# and F minor
B and Db major;
G# and Bb minor plus duplets/ changes of
22 and
Grade 8 changing
(including double triplets registration
time signatures
sharps and flats)
19
About the exam
* Tests may also include requirements from preceding grades.Sight reading requirements for organ
20
Grade Keys Time Note values Tempi and Manuals Pedals Registration
signatures articulation
(cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*)
C major, G major, remains within
About the exam
moderato and single manual;
Grade 1 A minor (white q , h , w and _ hand position (not
2 and 4 legato 8’ only; mf
notes only) necessarily C)
allegretto and
Grade 2 h. and ties two-part texture
3 simple phrasing
two manuals
andante and notes between A2 (hands on the
F major; D minor
Grade 3 more intricate and G3 inclusive same manual);
(including C#) e, Πand _
phrasing (toes only) 4’; p and f;
pedal couplers
D and Bb major; notes between F2
q. and ‰ ä staccato, accents manual couples;
Grade 4 E and D minor three-part texture and C4 inclusive
and pause 2’; 16’
(plus accidentals) (toes only)
hands on
A and Eb major; more varied toe and heel
separate
Back to contents
rall., accel. texture and signs and more
x and ;;
B and G minor
Grade 5 dotted notes manuals;
(including 6 and a tempo some further independent
and rests change of
modulation) chromaticism pedal part
manual
adjacent notes use of swell
any common
Grade 6 F# and C minor with same foot; pedal, cresc.,
8 terms and signs
staccato; legato dim., pp and ff
full use of pedals
E and Ab major; more complex throughout range,
Grade 7
C# and F minor 9 textures including
crossing feet
B and Db major; ! and
G# and Bb minor changing changes of
Grade 8 duplets/triplets
(including double time registration
sharps and flats) signatures
* Tests may also include requirements from preceding grades.About the exam
Aural
The parameters for aural tests have changed. Changes apply to all exams taken from 1 January 2017
onwards. Please note that there is no overlap for supporting tests, and the previous aural tests cannot
be offered after 31 December 2016.
This test supports the development of candidates’ abilities in the field of musical perception by
assessing their responses to carefully graded questions. Questions are detailed in the table below and
based on a single musical example, performed at the piano by the examiner. Practice tests can be
found in Trinity’s Aural Tests from 2017 books, available from www.trinitycollege.com/shop or your
local music retailer.
Grade Parameters Task Response
Listen to the melody three Clap the pulse on the third playing,
times stressing the strong beat
melody only
4 bars Listen to the melody once Identify the dynamic as forte or piano
Initial
major key
Identify the articulation as legato or
Listen to the melody once
staccato
2
Listen to the first three
Identify the highest or lowest note
notes of the melody once
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 or
4 bars staccato
Grade 1
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 occurred
pitch in the second playing
Listen to the melody Clap the pulse on the third playing,
three times stressing the strong beat
melody only i) D
escribe the dynamics, which will vary
during the melody
4 bars Listen to the melody once
ii) Identify the articulation as legato or
Grade 2 major or staccato
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 occurred
with a change of rhythm or
ii) Identify the change as rhythm or pitch
pitch in the second playing
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Back to contentsAbout the exam
Grade Parameters Task Response
Clap the pulse on the second playing,
Listen to the melody twice
stressing the strong beat
melody only Listen to the melody once Identify the tonality as major or minor
4 bars
Listen to the first two notes of Identify the interval by number only
Grade 3 major or
the melody once (second, third, fourth, fifth or sixth)
minor key
Study a copy of the melody
3 or 4 (provided in treble, alto or bass
i) Identify the bar in which the
change occurred
clef as appropriate), and listen to
ii) Identify the change as rhythm
it once as written and once with
or pitch
a change of rhythm or pitch
Clap the pulse on the second playing,
Listen to the piece twice
stressing the strong beat
i) Identify the tonality as major
or minor
Listen to the piece twice
harmonised ii) Identify the final cadence as perfect
or imperfect
4 bars
Identify the interval as minor or major
Grade 4 major or Listen to the first two notes of
second, minor or major third, perfect
minor key the melody once
fourth or fifth, minor or major sixth
4 or 6 Study a copy of the melody
(provided in treble, alto or bass i) Identify the bar in which the change
clef as appropriate), and listen of rhythm occurred
to it once as written and once ii) Identify the bar in which the change
with a change of rhythm and a of pitch occurred
change of pitch
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
8 bars
Grade 5 major or Identify the interval as minor or major
minor key Listen to two notes from the second, minor or major third, perfect
melody line played consecutively fourth or fifth, minor or major sixth,
2, 3, 4 or 6 minor or major seventh or octave
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
ii) Identify the bar in which the change
and a change of pitch (both
of pitch occurred
changes in the melody line)
22
Back to contentsAbout the exam
Grade Parameters Task Response
i) Identify the time signature
Listen to the piece twice ii) C omment on the dynamics
iii) C omment on the articulation
Identify and comment on two other
harmonised Listen to the piece twice
characteristics of the piece
8 bars
Grade 6
major key Identify the key to which the music modulates
Listen to the first four as subdominant, dominant or relative minor.
2, 3, 4 or 6 bars of the piece once Answers may alternatively be given as key
names
Study a copy of the
piece, and listen to it Locate and describe the changes as pitch
twice with two changes or rhythm
to the melody line
i) Identify the time signature
Listen to the piece twice ii) C omment on the dynamics
iii) C omment on the articulation
harmonised
Identify and comment on two other
Listen to the piece twice
8 bars characteristics of the piece
Grade 7 major or
minor key Identify the key to which the music
Listen to the first four modulates as subdominant, dominant or
2, 3, 4 or 6 bars of the piece once relative key. Answers may alternatively be
given as key names
Study a copy of the
Locate and describe the changes as pitch
piece, and listen to it
(melody line only) or rhythm
twice with three changes
i) Identify the time signature
Listen to the piece once ii) Comment on the dynamics
harmonised iii) Comment on the articulation
12–16 bars
Identify and comment on three other
Grade 8 major or Listen to the piece twice
characteristics of the piece
minor key
2, 3, 4, 6 or 5 Study a copy of the
Locate and describe the changes as pitch
piece, and listen to it
or rhythm
twice with three changes
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Back to contentsAbout the exam
Improvisation
The requirements for the improvisation test have changed. Changes apply to all exams taken from
1 January 2017 onwards. Please note that there is no overlap for supporting tests, and the previous
improvisation test cannot be offered after 31 December 2016.
This test assesses candidates’ ability to improvise fluently, coherently and creatively in response to a
musical stimulus. Candidates must choose a stimulus from the following three options, indicating their
choice of stimulus on the appointment form:
stylistic
motivic
harmonic
At all levels, responses should use both hands. A piano voice should be used. Single fingered
chords or fully fingered chords can be used at the candidate’s discretion.
Stylistic stimulus
The stylistic stimulus requires candidates to improvise over a notated piano part played by the
examiner. Candidates are given a stimulus which includes the notated piano part and chord symbols.
The stimulus begins with a two-bar introduction played by the examiner alone, followed by a further
section over which candidates must improvise for a specified number of repeats. In the exam, the
examiner plays the stimulus twice for candidates’ reference, without repeats. Candidates are then
given 30 seconds’ preparation time, during which they may prepare for their improvisation aloud if
they wish. The test then follows. The examiner then plays the stimulus again, and candidates join after
the introduction, improvising for the specified number of repeats. Candidates should aim to improvise
in a way that complements the musical idiom of the stimulus.
Motivic stimulus
The motivic stimulus requires candidates to improvise unaccompanied in response to a short melodic
fragment. Candidates are given a notated melodic fragment which the examiner plays twice on the
piano for candidates’ reference (candidates are not required to play this back). Candidates are then
given 30 seconds’ preparation time, during which they may prepare for their improvisation aloud if
they wish. The test then follows. Candidates should aim to improvise within the specified duration
range and may begin by quoting the stimulus directly, developing their improvisation from there.
However, candidates are not required to quote the stimulus directly, and may instead develop their
improvisation from ideas taken from the stimulus such as a small group of notes or an interval.
Responses must use the given time signature.
Harmonic stimulus
The harmonic stimulus requires candidates to improvise unaccompanied 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 if they wish. The test
then follows. Candidates should improvise for the specified number of repeats, following the chord
sequence. Responses should contain melodic/rhythmic interest. Please note that this test is always
unaccompanied and the examiner will not provide a piano accompaniment for melodic instruments.
Parameters for improvisation
All stimuli comply with the musical parameters listed in the tables on the following pages. Lists
are cumulative, meaning that tests may also include requirements from preceding grades. Further
guidance and example stimuli can be found on our website.
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Back to contentsStylistic stimulus
Grade Length of Length of Times improvised Total to Time Keys Number of Chords Styles/speeds
introduction improvised section is played improvise signatures chords per bar
section (cumulative*) (cumulative*) (cumulative*)
Initial 2 bars 4 bars 1 4 bars 4 C major 1 I, V March, Lullaby
Grade 1 2 bars 4 bars 2 8 bars F and G major 1 I, V Fanfare, Moderato
I, IV, V
Grade 2 2 bars 4 bars 2 8 bars A minor 1 Tango, Andante
i, iv, V
D and Bb major I, ii, IV, V
Grade 3 2 bars 4 bars 2 8 bars 3 1 Waltz, Allegretto
D and E minor i, iib5, iv, V
I, ii, IV, V
Grade 4 2 bars 4 bars 3 12 bars 2 G and B minor 1 Adagio, Allegro
i, iib5, iv, V
I, ii, IV, V, vi
Grade 5 2 bars 4 bars 3 12 bars 6 A and Eb major up to 2 Grazioso, Vivace
i, iib5, iv, V, VI
I, ii, IV, V, vi
Grade 6 2 bars 8 bars 2 16 bars 1 F# and C minor up to 2 i, iib5, iv, V, VI Agitato, Nocturne
Back to contents
7ths
I, ii, iii, IV, V, vi
Grade 7 2 bars 8 bars 2 16 bars 9 E and Ab major up to 2 i, iib5, III, iv, V, VI Gigue, Grave
7ths
all chords
Impressionistic,
Grade 8 2 bars 8 bars 2 16 bars 5 C# and F minor up to 2 7ths, 9ths,
4 Irregular Dance
suspensions
* Tests may also include requirements from preceding grades.
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About the examMotivic stimulus
26
Grade Length of Length of Time signatures Rhythmic features Articulation Intervals Keys
stimulus response (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*)
Initial 2 bars 4–6 bars 4 minims, crotchets up to minor 3rd C major
About the exam
Grade 1 2 bars 4–8 bars quavers major 3rd F and G major
Grade 2 2 bars 6–8 bars dotted notes staccato perfect 4th A minor
D and Bb major
Grade 3 2 bars 6–8 bars 3 ties perfect 5th
D and E minor
Grade 4 2 bars 8–12 bars 2 syncopation accents minor 6th, major 6th G and B minor
Grade 5 2 bars 8–12 bars 6 semiquavers slurs octave A and Eb major
augmented 4th,
Grade 6 1 bar 12–16 bars 1 acciaccaturas F# and C minor
diminished 5th
Grade 7 1 bar 12–16 bars 9 minor 7th, major 7th E and Ab major
Grade 8 1 bar 12–16 bars triplets, duplets sfz all up to major 10th C# and F minor
5
4
* Tests may also include requirements from preceding grades.
Back to contentsHarmonic stimulus
Grade Length of chord Times chord Total to improvise Number of Chords Keys
sequence sequence is played chords per bar
Initial 4 bars 1 4 bars 1 I, V C major
Grade 1 4 bars 2 8 bars 1 I, V
Grade 2 4 bars 2 8 bars 1 I, IV, V C, F, G major
Grade 3 4 bars 2 8 bars 1 I, ii, IV, V
Grade 4 4 bars 3 12 bars 1 i, iv, V
A, D, E, G, B minor
Grade 5 4 bars 3 12 bars 1 i, iv, V, VI
I, ii, IV, V
Grade 6 8 bars 2 16 bars 1 i, iib5, iv, V
7ths
I, ii, iii, IV, V, vi C, F, G, Bb, D, Eb, A major
Grade 7 8 bars 2 16 bars 1 i, iib5, III, iv, V, VI A, D, E, G, B, C, F# minor
7ths
all chords
Grade 8 8 bars 2 16 bars 1
7ths, 9ths, suspensions
Back to contents
27
About the examAbout the exam
Musical knowledge (Initial–Grade 5 only)
This test assesses candidates’ understanding of the pieces being performed, as well as their
knowledge of notation and their instrument. It does this by assessing their responses to carefully
graded questions based on candidates’ three chosen pieces.
In the exam, candidates are invited to choose which piece they would like to be asked about first.
The examiner then chooses a second piece for the remaining questions. Candidates’ scores should be
free of annotations which might aid their responses. The examiner usually points to the relevant part
of the score when asking questions. American terms (eighth note, half note, etc) may be used as an
alternative to English terms (quaver, minim, etc).
Example questions and responses are given in the table below. Further guidance is available on
our website.
Grade Parameters Sample question Sample answer
(cumulative*)
Initial What is the pitch name of
Pitch names G
this note?
How many beats are there
Note durations Two
for this note?
Clefs, stave, barlines What is this sign? Treble clef
Identify key/time
What is this called? Time signature
signatures
Musical terms and signs
What is this called? A pause mark
(simple)
Grade 1 Note values What is this note value? Quaver
Explain key/time Four crotchet beats
signatures What does 4 mean? in a bar
Notes on ledger lines What is the name of this note? Bb
Musical terms and signs
What is the meaning of da capo? Go back to the start
(more comprehensive)
Parts of the instrument What are these called? Keys
Grade 2 Metronome marks,
72 crotchet beats per
grace notes and Explain the sign d = 72
minute
ornaments
Intervals What is the interval between
3rd
(numerical only) these notes?
Candidate
Basic posture Show me a good hand position
demonstrates
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Back to contentsAbout the exam
Grade Parameters Sample question Sample answer
(cumulative*)
Grade 3 What is the relative major/
Relative major/minor D minor
minor of this piece?
What pattern of notes do
Scale/arpeggio pattern Scale
you see here?
How might you warm up Playing a selection of
Warm up in preparation for playing scales and arpeggios in
this piece? related keys
Grade 4 Modulation to closely What key does this music
A minor
related keys change to?
Name the notes of the
Tonic/dominant triads C, E, G
tonic triad
What is the interval
Intervals (full names) Perfect 5th
between these notes?
Show me the most Here [candidate indicates],
Technical challenges challenging part of this because of the awkward
piece and tell me why leaps
Grade 5 Candidate identifies style of
Comment on the style of
Musical style piece and gives examples of
this piece
stylistic features
Candidate suggests a
How does this piece reflect
musical period and gives
Musical period the period in which it was
examples of how the music
written?
reflects this
Candidate describes form of
Describe the form of
Musical structures piece and identifies relevant
this piece
sections
Name the notes of the
Subdominant triads F, A, C
subdominant triad
* Tests may also include requirements from preceding grades.
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Back to contentsElectronic Keyboard — Initial Subject code: EK
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own composition (see page 13).
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work
2015–2018 Initial published by Trinity:
Beethoven arr. Proudler Ode to Joy*
di Capua arr. Clarke O Sole Mio
Clarke Rock to the Roll**
Foster arr. Smith Camptown Races
Franck arr. Litten Panis Angelicus
Litten Flea Hop
Smith Country Capers
Trad. arr. Ward The Keel Row
Trad. arr. Proudler What Shall We Do with the Drunken Sailor?
Winner arr. Marsden My Little Dog
* own interpretation ** improvisation
The following alternative pieces are also available:
Composer Piece Book Publisher
Jennings & Homer Titanic Theme Keyed Up, Initial Alfred
Mercury
arr. Litten Bohemian Rhapsody Keyed Up, Initial Alfred
Mozart Don Giovanni The Electronic Keyboard
Collection book 1 Trinity Faber
Parton arr. Litten Jolene Keyed Up, Initial Alfred
Trad. Home on the Range no. 34
(basic version) 34 Well-known Folk Songs Schott ED 12663
Trad. Over the Sea to Skye Keyed Up, Initial Alfred
Trad. arr. Frith Lavender Blue More Making the Grade,
Preparatory Grade Chester
Trad. arr. Frith Ye Banks and Braes More Making the Grade,
Preparatory Grade Chester
Vance & Pockriss Catch a Falling Star The Complete Keyboard
Player book 6 Music Sales AM69998
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Back to contentsElectronic Keyboard — Initial
Technical work (14 marks) (see page 15)
Candidates to prepare in full either section i) or section ii)
either i) Scales & chord knowledge (from memory) — the examiner will select from the following:
C major
A minor hands
(candidate’s choice of either harmonic or
separately
melodic or natural minor)
one piano voice
Pentatonic scale starting on C (5 notes)
min. octave legato with auto-
q = 60 and mf hands accompaniment
C major contrary motion scale
together off
Chromatic scale starting on D R.H. only
Triad of C major and A minor
L.H. only
(root position)
or ii) Exercises (music may be used):
Candidates to prepare all three exercises.
The candidate will choose one exercise to play first; the examiner will then select one of the
remaining two exercises to be performed.
Dreaming keyboard functions exercise
Stepping Out scalic exercise
Clouds pianistic exercise
Both sections are contained in the book Electronic Keyboard Pieces & Technical Work 2015–2018 Initial
published by Trinity.
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading aural improvisation musical knowledge
(see page 17) (see page 21) (see page 24) (see page 28)
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Back to contentsElectronic Keyboard — Grade 1 Subject code: EK
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own composition (see page 13).
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work
2015–2018 Grade 1 published by Trinity:
Bernstein arr. Clarke Theme from The Great Escape
Kelley arr. Marsden Home on the Range
Litten It’s Gonna be Good
Smith Whirling Dervishes**
Trad. arr. Clarke Swing Low, Sweet Chariot*
Trad. arr. Litten The Ash Grove
Trad. arr. Smith Romance de Amor
Trad. arr. Smith Scarborough Fair
Trad. arr. Ward La Cucaracha
Verdi arr. Proudler La Donna e Mobile
* own interpretation ** improvisation
The following alternative pieces are also available:
Composer Piece Book Publisher
Bullard Feeling Fine Piano Time Pieces book 2 OUP
Freedman arr. Fletcher Rock Around the Clock Making the Grade Keyboard, Grade 1 Chester
Hook Gavotte Piano Time Pieces book 2 OUP
Howard arr. Baker Fly Me to the Moon The Complete Keyboard
Player book 6 Music Sales AM69998
Jacobs & Casey Summer Nights Keyed Up, Grade 1 Alfred
Leiber & Stoller I Want to be Free Keyed Up, Grade 1 Alfred
Mavers There She Goes The Complete Keyboard
Player book 2 (new revised edition) Wise
Sting Fields of Gold The Complete Keyboard
Player book 2 (new revised edition) Wise
Trad. arr. Litten Mango Walk Keyed Up, Grade 1 Alfred
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Back to contentsElectronic Keyboard — Grade 1
Technical work (14 marks) (see page 15)
Candidates to prepare in full either section i) or section ii)
either i) Scales & chord knowledge (from memory) — the examiner will select from the following:
F and G major
D and E minor (candidate’s choice of
either harmonic or melodic or natural hands
minor) one separately
Pentatonic scales starting on G and F octave
(5 notes)
piano voice
Chromatic scale in contrary motion min. legato with auto-
starting on D q = 70 and mf hands accompaniment
two together off
C major contrary motion scale
octaves
Triad of F and G major, D and E minor
(root position and first inversion)
L.H. only
Chord of F7 and G7
(root position and first inversion)
or ii) Exercises (music may be used):
Candidates to prepare all three exercises.
The candidate will choose one exercise to play first; the examiner will then select one of the
remaining two exercises to be performed.
Swaying keyboard functions exercise
Spinning Wheel scalic exercise
Parade pianistic exercise
Both sections are contained in the book Electronic Keyboard Pieces & Technical Work 2015–2018 Grade 1
published by Trinity.
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading aural improvisation musical knowledge
(see page 17) (see page 21) (see page 24) (see page 28)
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Back to contentsElectronic Keyboard — Grade 2 Subject code: EK
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own composition (see page 13).
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work
2015–2018 Grade 2 published by Trinity:
Alomía Robles arr. Smith El Cóndor Pasa*
Immel arr. Clarke Theme from Dallas
Litten The Homeward Path**
Petzold attrib. J S Bach
arr. Marsden Minuet in G
Reed arr. Proudler Perfect Day
Saint-Saëns arr. Litten The Elephant from The Carnival of the Animals
Sanders arr. Smith Adiós Muchachos
Strauss II arr. Ward Tritsch-Tratsch Polka
Trad. arr. Proudler Skye Boat Song
Trad. arr. Ward Yellow Bird
* own interpretation ** improvisation
The following alternative pieces are also available:
Composer Piece Book Publisher
Andersson & Ulvaeus The Winner Takes it All The Complete Keyboard
Player book 3 (new revised edition) Wise
Blake Walking in the Air The Electronic Keyboard
Collection book 2 Trinity Faber
Lloyd Webber Memory The Electronic Keyboard
Collection book 2 Trinity Faber
Norton Get in Step The Microjazz Collection 2,
level 4 Boosey M060106477
Rodgers arr. Williamson Do–Re–Mi What Else Can I Play? Piano Grade 2 IMP
Sherman & Sherman Chim Chim Cher-ee
from Mary Poppins The Complete Keyboard
Player, Film & TV Themes Music Sales AM65962
Strauss II You and You The Electronic Keyboard
Collection book 2 Trinity Faber
Velaquez Besame Mucho Keyboard Klangwelt:
Latin–Festival Schott ED 9909
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