Electronic Keyboard & Organ Syllabus - Electronic Keyboard, Electronic Organ & Organ - Trinity College ...

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CONTINUE READING
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..................................................................................................... 84
Introduction
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.
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Why 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.

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Range 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

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About 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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About 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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About 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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About 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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About 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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About 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.

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About 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.

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About 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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About the exam

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.

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About 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.

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About 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.

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About 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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About 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 Π       p              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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Sight 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, Œ and _                                            only
                               (including C#)                                               phrasing
                               D and Bb major;                              q. and ‰ ä      staccato and
                    Grade 4    E and D minor                                                                  three-part texture all notes

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                                                                                            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, Œ and _
                                                                                             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

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                                                                                             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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About 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)

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About 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

                                                                                                        23
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About 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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Stylistic 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

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                                                                                                                                               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.

            25
                                                                                                                                                                                             About the exam
Motivic 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.

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Harmonic 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

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            27
                                                                                                                                                               About the exam
About 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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About 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.

                                                                                                          29
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Electronic 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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Electronic 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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Electronic 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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Electronic 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)

                                                                                                       33
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Electronic 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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