Guitar Syllabus Classical & Plectrum - Grade exams
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Guitar Syllabus Classical & Plectrum Grade exams 2015 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, 14 January 2015
Important information
Changes from the previous syllabus
T
here are no changes except for minor updates. A new
syllabus for 2016 with fully updated repertoire and technical
work will be released in 2015.
Please note that from 2015, candidates are required to
provide the examiner with photocopies of all pieces being
performed (excluding Trinity publications), in addition
to bringing original copies or authorised downloads into
the exam.
Overlap arrangements
There is no overlap as the syllabus has not changed significantly.
This means that the 2013–2014 syllabus will not be valid after
31 December 2014.
Impression information
Please note that this is the first impression (June 2014).
Candidates should refer to www.trinitycollege.com/music
to ensure that they are using the latest impression of
the syllabus.Contents
Introduction......................................................................................................................... 3
Why take a Trinity grade exam?............................................................................ 4
Range of qualifications................................................................................................ 5
About this syllabus........................................................................................................ 6
About the exam................................................................................................................ 7
Exam structure and mark scheme.................................................................................... 7
Pieces......................................................................................................................................... 8
Own composition...................................................................................................................10
Mark scheme for pieces........................................................................................................ 11
Technical work........................................................................................................................12
Supporting tests: ................................................................................................................... 13
Sight reading.....................................................................................................................14
Aural....................................................................................................................................16
Improvisation....................................................................................................................19
Musical knowledge..........................................................................................................21
Requirements:
Guitar (subject code GTR)..................... In 1 2 3 4 5 6 7 8
Plectrum guitar (subject code PLE)... In 1 2 3 4 5 6 7 8
Information and regulations................................................................................. 60
Music publishers............................................................................................................65Introduction
I am delighted to introduce this syllabus containing details of grade exams for guitar.
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 the Welsh Government (WG). Trinity’s qualifications are regulated
by these authorities within the Qualifications and Credit Framework (QCF). 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 page 64 for further information.
Back to contents 3Why 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 graded music exams are delivered by
a panel of friendly examiners who are rigorously trained and standardised. This aims to create a
positive and personalised experience for all candidates.
4 Back to contentsRange of qualifications
Trinity’s music qualifications offer flexible progression routes from beginner to advanced levels in a
range of musical genres. All are designed to help candidates develop as musicians according to their
individual needs as learners.
Grade exams assess a broad range of musicianship skills, including performance, while certificate
exams focus entirely on performance, including separate marks for stagecraft. Candidates can enter
any combination of grade or certificate exams, and do not need to pass any particular level in order
to proceed to a higher level.
Each level features an equivalent grade theory exam, supporting candidates in developing their
understanding of the technical language of music. However, no theory qualifications or other
prerequisites are required to enter grade or certificate exams at any level.
After Grade 8 or the Advanced Certificate, candidates can progress to diplomas at associate (ATCL),
licentiate (LTCL) and fellowship (FTCL) levels. These assess higher skills in performance, teaching,
theory and composition. Adults who work as music educators may also wish to consider Trinity’s
Level 4 Certificate for Music Educators (Trinity CME).
This syllabus focuses on grade exams in guitar. 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.
QCF* 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 n/a Initial Track
Level 3
Entry First Access
Levels 1–2 Track
* Q
ualifications and Credit Framework in England, † Not QCF or EQF accredited
Wales and Northern Ireland
** European Qualifications Framework
Back to contents 5About this syllabus This syllabus is designed to give guitarists the freedom and choice to demonstrate the full extent of their musicianship. Wide-ranging repertoire lists are provided, and candidates at Initial–Grade 3 can perform duets with their teacher or any other player. There is also flexibility of choice within the supporting tests at all grades. The following pages provide more detail on the different sections of the exam. 6 Back to contents
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 scales,
E ither scales,
E
arpeggios & arpeggios &
exercises exercises
or or
technical suite* technical suite*
Supporting tests 10 Supporting test 1 10
Any TWO of the 10 sight reading
following:
Supporting test 2 10
sight reading
One of the
or
following:
aural
improvisation
or
or
improvisation
aural
or
musical knowledge
Total 100 100
* For plectrum guitar technical work all sections must be prepared.
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
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.
Back to contents 7About the exam
Exams are designed to allow sufficient time for setting up and presenting all sections.
Level Exam duration
(minutes)
Initial 11
Grade 1 13
Grade 2 13
Grade 3 13
Grade 4 18
Grade 5 18
Grade 6 23
Grade 7 23
Grade 8 28
Pieces
Piece choice and programming
Candidates must perform three pieces, and are encouraged to present a balanced programme.
Pieces by at least two composers must be played.
P
ieces for classical guitar Grades 6–8 are divided into two groups: group A and group B.
Candidates must choose at least one piece from each group. Pieces for classical guitar Initial–
Grade 5 and plectrum guitar are not divided into groups, and candidates may choose freely from
the list.
C
andidates are not permitted to select repertoire from both classical and plectrum guitar lists in
the same exam.
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.
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.
8 Back to contentsAbout the exam
Instruments and tuning
C
lassical guitar candidates should note that all requirements are based on a hollow-bodied
instrument strung in nylon. Acoustic guitars with six steel strings and electric guitars are not
suitable for the classical guitar syllabus and should not be used. Classical guitars with cutaways
are acceptable.
P
lectrum guitar candidates should note that all requirements are based on either a steel-stringed
acoustic guitar or an electric guitar. However, a classical guitar may be used up to and including
Grade 5.
A
ll plectrum guitar pieces and technical work must be played with a plectrum. Classical guitar
pieces and technical work must not be played with a plectrum.
The use of the capo is only permitted to replicate Renaissance lute tuning.
Candidates with electric guitars must provide their own portable amplifier and lead.
C
lassical guitar candidates are expected to provide and use a footstool or equivalent support.
Plectrum guitar candidates may also do so but this is not a requirement. Alternatively, plectrum
guitar candidates may choose to perform standing up.
Younger candidates are permitted to use half- or three-quarter-sized instruments.
A
ll candidates are responsible for tuning their own instruments. Up to and including Grade 5,
the teacher or accompanist may assist with tuning. At Grades 6–8, candidates must tune their
instruments without assistance.
Duets
Candidates who choose duets may perform these with a teacher, another adult or student.
A
lternatively, the accompanying line may be pre-recorded in exams up to and including Grade 3,
but candidates must provide their own playback equipment and must operate it themselves.
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 (excluding Trinity publications) to be performed
as a reference for the examiner. Photocopies will be retained by the examiner and destroyed after
the exam.
If the music is transfered into tablature, a copy of the standard notation must be provided for
the examiner.
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.
Back to contents 9About 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
own compositions may be accompanied or unaccompanied
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 to a loud,
Grade 3 1.5–2.5
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 contrasting material in the high and low registers
A piece featuring several different tuplets within the same
Grade 7 3.5–4.5
pulse (eg duplets, triplets, etc)
Grade 8 4.5–5.5 A piece featuring a variety of effects
10 Back to contentsAbout 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.
Back to contents 11About 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.
Classical guitar
Candidates must perform one of the following two options:
Either
scales and arpeggios (Initial–Grade 2) or scales, arpeggios and exercises (Grades 3–8)
–– it is acceptable to begin on either of the right hand fingers stipulated, eg imim or mimi
–– t he use of fingering based on pima is recommended for arpeggios. However, any technically
sound and systematic right hand fingering will be accepted for these and other exercises
or
technical suite.
Plectrum guitar
Candidates must perform the complete technical work requirements as detailed for each grade 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.
Rhythmic styles for scales
When the syllabus requests that scales are played in straight rhythm, they should be performed with
even notes, taking notice of the specified tempi.
Scales requested with swing rhythm should be played at the specified tempo with the following rhythm
for each octave of the scale:
3 3 3
j j j
œ œ œ œ œ œ œ
Scales requested with triplet rhythm should be played at the specified tempi with the following rhythm
for each octave of the scale:
3 3
œ œ œ œ œ œ œ œ
Candidates must prepare technical work from the appropriate syllabus, and must not mix technical
work from the classical and plectrum guitar syllabuses. Further information about specific technical
requirements for each grade is given in the relevant sections of this syllabus.
12 Back to contentsAbout the exam
Supporting tests
This section of the exam supports the development of broader musical skills by assessing candidates in
two different supporting tests. At Initial–Grade 5, candidates must choose two supporting tests from the
following options:
sight reading
aural
improvisation
musical knowledge.
At Grades 6–8, all candidates are assessed in sight reading, and must choose between aural and
improvisation for their second supporting test.
Mark scheme
Each supporting test is awarded a single mark that corresponds to the pass/below pass bands
as follows:
Mark Band
9–10 Distinction
8 Merit
6–7 Pass
4–5 Below pass 1
1–3 Below pass 2
Information about the assessment criteria that support this mark scheme is available on our website.
Back to contents 13About 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.
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 may be found in Trinity’s Sound at Sight series, available from
www.trinitycollege.com/shop or your local music retailer.
Tests comply with the musical parameters listed in the table below. Lists are cumulative, meaning
that tests may also include requirements from preceding grades.
Classical guitar
Grade Keys Time Note values Dynamics Articulation, positions,
signatures & tempi shifts
(cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*)
E, F, G on 1st string;
moderato,
Initial 2 and 4 q and h B, C, D on 2nd string; G, A
mf
on 3rd string; open basses
Grade 1 C major p and f within 1st position
h. , w and _î
Grade 2 G major 3 ties
allegretto
simple shifts; 2nd position;
F major mp and
Grade 3
D and E minor e, Î and _· andante
staccato; two-note chords
(open bass)
three-note chords (2
A minor, plus dim. and treble, 1 bass; may be
Grade 4
accidentals q. and ä cresc. all fretted); accents;
more shifts
x and Å
plus rall;
Grade 5 A major 6 a tempo
slurs
various position shifts;
E and Bb major
Grade 6
G minor 8 dotted notes accel. full chord voicings (3 or
4 notes); half barré
full fingerboard range
Grade 7 B minor 9 triplets
and shifting
2
Grade 8
Eb major 2 and changing duplets
full barré; open string
C minor time signatures harmonics
* Tests may also include requirements from preceding grades.
14 Back to contentsAbout the exam
Plectrum guitar
Grade Keys Time Note values Dynamics & Articulation, positions,
signatures tempi shifts
(cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*)
E, F, G on 1st string;
moderato, B, C, D on 2nd string;
Initial C major 2 and 4 q and h
mf G, A on 3rd string;
open basses; even picking
Grade 1 p and f within 1st position
G major h., w , _·
Grade 2
A minor 3 and ties
allegretto
simple shifts;
F major mp and 2nd position; staccato;
Grade 3
E minor e , Î and _· andante two-note chords (open
bass); marcato
q. and ä
A minor,
Grade 4 dim. and cresc. and ½Cl
accidentals
Trebles full range up to
D on string one; Basses
x and Å
plus rall;
Grade 5 A major 6 a tempo
full range up to 2nd
position; accents,
vibrato, glissando, slurs
Trebles full range up to
E and Bb major D on string one; Basses
Grade 6
G minor 8 dotted notes accel.
full range up to second
position; ½CV
full fingerboard range
Grade 7 B minor 9 triplets use of mute
and shifting; staccato
2
Eb major 2 and changing
Grade 8 duplets and CI, III
C minor time signatures
* Tests may also include requirements from preceding grades.
Back to contents 15About the exam
Aural
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 2007 books, available from www.trinitycollege.com/shop
or your local music retailer.
Grade Parameters Task Response
◗ Listen to the melody with
Sing, hum or whistle the final tonic note
a missing final note
major key ◗ Listen to the melody twice Clap the rhythm
Initial 4 bars
Identify the melody as mainly legato
◗ Listen to the melody once
2 or staccato
◗ Listen to three notes from
Identify the highest or lowest note
the melody
i) Clap back the rhythm
◗ Listen to the melody twice
ii) Identify the melody as in 2 or 3 time
Identify the last note as higher, lower
major key ◗ Listen to the melody once
or the same as the first note
Grade 1 4 bars
Identify the melody as mainly legato
◗ Listen to the melody once
2 or 3 or staccato
◗ Listen to the melody twice
with a change of pitch in Identify where the change occurs
the second playing
Indicate a sense of the pulse and
◗ Listen to the melody twice
time signature during the second playing
Identify the last note as higher, lower or
◗ Listen to the melody once
the same as the first note
major or
minor key i) Identify the melody as major or minor
Grade 2 ii) Explain the dynamics during the
◗ Listen to the melody once
2 or 3 piece, which may also include
crescendo and diminuendo
◗ Listen to the melody twice
with a change of rhythm or Identify the change as rhythm or pitch
pitch in the second playing
16 Back to contentsAbout the exam
Grade Parameters Task Response
Indicate a sense of the pulse and
◗L
isten to the melody twice time signature during the second
playing
Identify the interval formed as a
◗L
isten to the first two notes played
major second, minor third, major
from low to high
major or third, perfect fourth or perfect fifth
Grade 3 minor key
◗L
isten to a triad played with three
Identify the triad as major or minor
3 or 4 notes sounding together
◗S
tudy a copy of the melody,
provided in treble and bass clef as
Identify in which bar the change
appropriate, and listen to it three
occurred
times with a change of rhythm and
pitch in the second and third playing
Indicate a sense of the pulse and
◗L
isten to the accompanied melody
time signature during the second
twice
playing
Identify the interval as a unison,
◗L
isten to the first two notes played minor or major second, minor or
consecutively major third, perfect fourth or fifth,
major or
minor or major sixth
Grade 4 minor key
Identify the cadence as perfect
4 or 6 ◗L
isten to the melody once
or imperfect
◗S
tudy a copy of the melody,
provided in treble and bass clef as
Identify in which bars the changes
appropriate, and listen to it three
to rhythm and pitch occurred
times with a change of rhythm and
pitch in the second and third playing
i) Identify the time signature
ii) Identify the opening as major
◗ Listen to the piece twice
or minor
iii) Identify any changes in tonality
Identify the cadence as perfect,
◗ Listen to the final part of the piece
imperfect or interrupted
major or Identify the interval as a unison,
minor key minor or major second, minor or
Grade 5 ◗L
isten to two notes from the melody
major third, perfect fourth or fifth,
line played consecutively
2, 3 or 6 minor or major sixth, minor or
major seventh or an octave
Explain the articulation and the
◗ Listen to the piece once
dynamics
◗S
tudy a copy of the piece and listen
to it three times with a change of Locate and describe the changes
rhythm and of pitch in the melody of rhythm and of pitch
line in the second and third playing
Back to contents 17About the exam
Grade Parameters Task Response
State the time signature and comment after
◗ Listen to a piece twice either or both playings on the main features
of the piece, eg phrasing, style and dynamics
isten to the final part of
◗L Identify the cadence as perfect, imperfect,
the piece plagal or interrupted
major key isten to part of the
◗L
Grade 6
2, 3, 4 or 6 piece which modulates. Identify the key to which the music modulates
as dominant, subdominant or relative minor.
The opening key will first
be stated and the tonic Answers may alternatively be given as key names
chord played
tudy a copy of the
◗S
piece and listen to it Locate and describe changes as rhythm, pitch
twice with two changes or articulation
to the melody line
Comment, after either or both playings, on the
◗ Listen to a piece twice main features of the piece, eg style, phrasing,
articulation and dynamics
isten to a passage from
◗L Identify the cadence as perfect, imperfect,
the piece once plagal or interrupted
minor key, tudy a copy of the first
◗S
Grade 7 any time section of the piece and Locate and describe three changes of pitch
signature listen to it twice with (of the melody line) or rhythm
three changes
isten to part of the
◗L
Identify the key to which the music has
piece once with a
modulated as sub-dominant minor, relative
modified ending. The
major or dominant of the relative major.
opening key will first
Answers may alternatively be given as
be stated and the tonic
key names
chord played
Comment on the significant features of the
◗ Listen to a piece twice piece, eg style, rhythm, texture, dynamics,
phrasing and articulation
major or
minor key,
Grade 8 tudy a copy of the
◗S
Locate and describe, after either the second
any time
music and listen to it
signature and/or the third playing, the three changes
three times with three
as rhythm, melody, harmony, articulation,
areas of changes in the
dynamics or tempo
second and third playing
18 Back to contentsAbout the exam
Improvisation
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 options, indicating their
choice of stimulus on the appointment form:
melodic: based on a series of pitches
rhythmic: based on a rhythmic idea
chordal: based on a set of chord symbols
In the exam, candidates are presented with a notated stimulus, which the examiner then plays twice on
the piano. Where a melodic or rhythmic stimulus is chosen, the examiner asks candidates to play or tap
it back to ensure that they have understood it. Candidates are then given time to study the test before
they perform it, during which time they may prepare their response aloud. At Initial–Grade 5, 30
seconds’ preparation time is given. At Grades 6–8, 60 seconds are given.
Where a chordal stimulus is chosen, candidates must choose to perform either unaccompanied or
accompanied by the examiner on the piano. Where an accompanied performance is chosen, the
examiner plays the chord sequence in a loop while candidates improvise a melodic line above.
Candidates may give performance instructions to the examiner regarding tempo and style.
Stimuli comply with the musical parameters listed in the table overleaf. Lists are cumulative, meaning
that tests may also include requirements from preceding grades. Further guidance and example
stimuli can be found on our website.
Written keys for chordal tests (cumulative*)
Initial, Grades 1, 2 & 3 Grades 4 & 5 Grades 6, 7 & 8
Classical & C, F, G, Bb, D, Eb & A major
C, F & G major A, D, E, G & B minor
plectrum guitar plus relative minors
* Tests may also include requirements from preceding grades.
Back to contents 19About the exam
Parameters for improvisation tests
Grade Melodic stimulus: Rhythmic stimulus Melodic & rhythmic Chordal test
max. range of given stimulus:
motif suggested length
(cumulative*) of response (cumulative*)
4 4-bar phrase
2 bars major key
Initial 3 stepwise notes
crotchets I/V
2 bars per chord
minims 1 phrase
3 notes — one step 4–bar phrase
major key
Grade 1 one leap — up to a quavers I/V
4th 1 chord per bar
4–bar phrase
4 notes — range major key
Grade 2 with dots
up to a 5th I/IV/V
1 chord per bar
1–2 phrases
4–bar phrase
5 notes — range major key
Grade 3 with ties
up to a 6th I/ii/IV/V
1 chord per bar
4–bar phrase
Grade 4 octave (diatonic) minor key
i/iv/V
2, 3 1 chord per bar
4 bars 2–3 phrases
4–bar phrase
octave (simple semiquavers minor key
Grade 5
chromaticism) i/iv/V/VI
1 chord per bar
4–bar phrase
major key
Grade 6 6 I/ii/IV/V & 7ths
1 chord per bar
4–bar phrase
3–4 phrases major or minor
key
I/ii/iii/IV/V/vi
Grade 7 triplets i/ii/III/iv/V/VI
& 6ths/7ths
twelfth 1 or 2 chords
(chromatic) per bar
4–bar phrase
major or minor
key
all chords
6ths/7ths/9ths
Grade 8 7 4–6 phrases & dim/aug
simple
suspensions
1 or 2 chords
per bar
* Tests may also include requirements from preceding grades.
20 Back to contentsAbout 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 in
signatures What does 4 mean? 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 is this part called? A bridge
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?
Show me a good left hand Candidate
Basic posture
position for your instrument demonstrates
* Tests may also include requirements from preceding grades.
Back to contents 21About 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 do you warm up for a
Warm up Sustaining long breaths
piece like this?
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
How does this piece reflect Candidate suggests a musical
Musical period the period in which it was period and gives examples of
written? how the music 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.
22 Back to contentsTurn over for grade requirements
Back to contents 23Guitar — Initial Subject code: GTR Pieces (3 x 22 marks) Three pieces are to be played, chosen from the solo pieces or duets for the grade, to form a balanced programme. Instead of one piece, candidates may offer an own composition (see page 10). A maximum of two duets may be played. If duets are chosen, the accompaniment must be played in the exam. Solo pieces — the following solo pieces are contained in the book Guitar Initial Pieces & Exercises 2010–2015 published by Trinity: Trad. English The Drunken Sailor Trad. French Frère Jacques J S Bach Minuet (from The Anna Magdalena Notebook) MacDowell To a Wild Rose Ryan Cat Burglar Fentimen Cactus Sunset Montgomery Minor Mood Powlesland Get Up Get Down Sollory King of the Jungle Duet pieces — contained in the book Guitar Duets Initial–Grade 3 2010–2015 published by Trinity: Rosseter What then is Love? Vivaldi arr. Powlesland Winter Mozart arr. Sollory Allegro Sollory Si la noche haze escura Compton Majorca Powlesland Dreamcatcher The following alternative solo pieces are also available: Composer Piece Publisher Cracknell Inca Dawn (from Enjoy Playing Guitar Tutor Book 1) Oxford 978-0-19-337134-7 Intilangela Andante in A minor [no repeats] (from Guitar Basics Workout) Faber 0571536883 Longworth & Walker Melody’s Song or Salsa Study (from Guitar Basics Repertoire) Faber 0571531873 Longworth & Walker Rabbit Song (from Guitar Basics) Faber 0571532284 Nuttall & Whitworth Carnival (from The Guitarist’s Way Book 1) Holley Music HOLLS001 Sollory Night Passage (from The Real Guitar Book Volume One) Camden Music CM191 Trad. arr. Longworth & Walker Aura Lee (from Guitar Basics Repertoire) Faber 0571531873 24 Back to contents
Guitar — Initial
Technical work (14 marks)
Candidate to prepare in full either section i) or section ii)
either i) Scales & arpeggios (from memory) — the examiner will select from the following:
Scales: candidate’s
to 5th,
C and G major with im right choice of
ascending and
A minor hand fingering apoyando or
descending
tirando
min. with RH
Phrygian starting on E* one octave mf
q = 60 thumb
Arpeggio: tirando
to 5th,
D minor with im right
ascending and
hand fingering
descending
or ii) Technical suite
Exercises (music may be used):
Candidates to prepare all of the following exercises. The candidate will choose one exercise to play first;
the examiner will then select one of the remaining exercises to be performed.
1. Roller Coaster (scales)
2. A Minor Moment (string crossing)
3. Deep End of the Pool (thumb articulation)
4. Right Hand Exercises
Exercises are contained in the book Guitar Initial Pieces & Exercises 2010–2015 published by Trinity.
*A
written example of this mode can be found on our website or in the book Guitar Initial Pieces
& Exercises 2010–2015 published by Trinity.
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading aural improvisation musical knowledge
(see page 14) (see page 16) (see page 19) (see page 21)
Back to contents 25Guitar — Grade 1 Subject code: GTR Pieces (3 x 22 marks) Three pieces are to be played, chosen from the solo pieces or duets for the grade, to form a balanced programme. Instead of one piece, candidates may offer an own composition (see page 10). A maximum of two duets may be played. If duets are chosen, the accompaniment must be played in the exam. The following solo pieces are contained in the book Guitar Grade 1 Pieces & Exercises 2010–2015 published by Trinity: Carulli Vals Grieg arr. Baulch In the Hall of the Mountain King (from Peer Gynt Suite no. 1 op. 46) Montoya arr. Thorlaksson El conde olinos (A Spanish folk song) Gagnon Marrakech Sollory The Moon’s a Balloon Ryan Day of the Match Ryan Habanera Era Preiss Olinda (Frevo) Cracknell Olé José The following duet pieces are contained in the book Guitar Duets Initial–Grade 3 2010–2015 published by Trinity: Lully arr. Sollory Menuet Trad. Mallorcan arr. Preiss Mateixas d’es Figueral Trad. arr. Thorlaksson Mareta, Mareta (Folk song from Valencia) Tchaikovsky arr. Sollory Old French Song op. 39 no. 16 Montgomery El Caballo Winfield Hayride The following alternative solo pieces are also available: Composer Piece Publisher Attaignant Tourdion (from Le petit livre de guitare vol. 2) Les Productions D’OZ DZ12 Burden Kingston Calypso or Menorca (from Travelling in Style: The Start) Garden Music GM18 Longworth & Walker Havana Good Time or Tudor Dance or Way Down South (from Guitar Basics Repertoire) Faber 0571531873 MacDonald Tango (from Simply Guitar book 1) Montague MM123 Powlesland Baroque & Roll (from The Real Guitar Book vol. 3) Camden CM193 Rak Chanson ancienne (from Jeux sur 6 cordes) Lemoine HX27270 Ryan Snake in a Basket (from Scenes for Guitar Book 1) Camden Music CM260 Sollory Impossible Mission (from The Real Guitar Book vol. 1) Camden CM191 Sor Study op. 60 no. 2 (from Complete Studies for Guitar) Chanterelle 491 Trad. arr. Garcia Tumbalalaika (from First Guitar Pieces) Holley Music Holl S005 Trad. Irish arr. Fiorentino The Wild Colonial Boy (from Celtic Music for Classical Guitar) Carisch ML2601 Trad. arr. Sollory Akita Obako (from Songs from the East) Camden Music CM268 26 Back to contents
Guitar — Grade 1
Technical work (14 marks)
Candidate to prepare in full either section i) or section ii)
either i) Scales & arpeggios (from memory) — the examiner will select from the following:
Scales:
with RH thumb tirando
F major
min.
candidate’s
C and G major q = 100 with im right choice of
one octave hand fingering apoyando or mf
Dorian starting on D* tirando
Arpeggios: min. with right hand
C major fingering tirando
E minor q = 80 pimamip
or ii) Technical suite
Exercises (music may be used):
Candidates to prepare all of the following exercises. The candidate will choose one exercise to play first;
the examiner will then select one of the remaining exercises to be performed.
1. Step by Step (scales)
2. Thumb Thing in the Air (thumb articulation and chromatic scales)
3. Farewell (arpeggios)
4. Right Hand Exercises
Exercises are contained in the book Guitar Grade 1 Pieces & Exercises 2010–2015 published by Trinity.
* A written example of this mode can be found on our website or in the book Guitar Grade 1 Pieces
& Exercises 2010–2015 published by Trinity.
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading aural improvisation musical knowledge
(see page 14) (see page 16) (see page 19) (see page 21)
Back to contents 27Guitar — Grade 2 Subject code: GTR Pieces (3 x 22 marks) Three pieces are to be played, chosen from the solo pieces or duets for the grade, to form a balanced programme. Instead of one piece, candidates may offer an own composition (see page 10). A maximum of two duets may be played. If duets are chosen, the accompaniment must be played in the exam. The following solo pieces are contained in the book Guitar Grade 2 Pieces & Exercises 2010–2015 published by Trinity: de Visée Minuet Giuliani Allegro op. 50 no. 1 Ponce Preludio (no. 1 from Seis preludios cortos) Trad. Jamaican arr. Baulch Mango Walk Calatuyud Cerda Vals (no. 1 from Cuatro piezas fáciles para guitarra) Benham Cubana Rak Spanish Dance Sollory Magnetic South Powlesland Sprite Nite The following duet pieces are contained in the book Guitar Duets Initial–Grade 3 2010–2015 published by Trinity: Haydn arr. Sollory Tedesca Carulli Lezione Trad. Brazilian arr. Rivoal Acordai Doncela Preiss Canción de Cuna (Lullaby) The following alternative solo pieces are also available: Composer Piece Publisher Anderson River Wisla (from Guitar Travels) Anderson Guitar Publications AGP505 Burden Primo Tango (from Travelling in Style Series 2: Trek 1) Garden Music GM25 Cracknell Apache Dance (from Debbie Cracknell: Enjoy Playing Guitar Solos) OUP 978-0-19-322114-7 Delalande Danse (from Le petit livre de guitare vol. 2) Les Productions D’OZ DZ12 Dowland arr. Kilvington Orlando Sleepeth (from Dowland’s Dozen) Ricordi M570022502 Gerrits Souvenir d’espagne (from La guitare enchantée) Dobermann Yppan DO28 Hartog La Monteria (from I Toca Guitarra) European Music Centre XAL10391 Longworth & Walker Fez’d and Furious (from Guitar Basics Repertoire) Faber 0571531873 Longworth & Walker Hey Jimi! (from Guitar Basics Repertoire) Faber 0571531873 Nuttall Cadiz or On the Prairie (from Moving On) Countryside Trad. arr. Cracknell The Foggy Dew (from Enjoy Playing Guitar: Going Solo) Oxford 9780193386358 Trad. arr. Fiorentino Master McGrath (from Celtic Music for Classical Guitar) Carisch ML2601 Tromp Saké Saté (from String Fingers) XYZ Huizen Holland XYZ1211 Wanders Ring Way Blues (from Mix on Six) Broekmans & van Poppel BP1627 28 Back to contents
Guitar — Grade 2
Technical work (14 marks)
Candidate to prepare in full either section i) or section ii)
either i) Scales & arpeggios (from memory) — the examiner will select from the following:
Scales:
C major candidate’s mf
min. with im right choice of
A melodic and natural minor
q = 126 hand fingering apoyando or
A harmonic minor one octave tirando
p
D major
Arpeggios:
RH thumb
E minor min.
tirando mf
Arpeggiated D major chord q = 100 RH fingering
sequence — II-V-I* based on pima
or ii) Technical suite
Exercises (music may be used):
Candidates to prepare all of the following exercises. The candidate will choose one exercise to play first;
the examiner will then select one of the remaining exercises to be performed.
1. Snakes and Ladders (second position)
2. Charmed (bass muting)
3. Arpeggio Adventure (arpeggios and shifts)
4. Right Hand Exercises
Exercises are contained in the book Guitar Grade 2 Pieces & Exercises 2010–2015 published by Trinity.
* A written example of this chord sequence can be found on our website or in the book Guitar Grade 2
Pieces & Exercises 2010–2015 published by Trinity.
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading aural improvisation musical knowledge
(see page 14) (see page 16) (see page 19) (see page 21)
Back to contents 29Guitar — Grade 3 Subject code: GTR
Pieces (3 x 22 marks)
Three pieces are to be played, chosen from the solo pieces or duets for the grade, to form a balanced
programme. Instead of one piece, candidates may offer an own composition (see page 10). A maximum
of two duets may be played. If duets are chosen, the accompaniment must be played in the exam.
The following solo pieces are contained in the book Guitar Grade 3 Pieces & Exercises 2010–2015
published by Trinity:
de Murcia Menuet (from Resumen de acompañar la parte con la guitarra)
Carcassi Minuet op. 21 no. 12
Mertz Ländler op. 9 no. 4
Trad. Japanese arr. Sollory Sakura
Hartog Carratera resbaladiza
Carlson Valse noble (from Eight Short Pieces for Solo Guitar)
York Walking (from 8 Discernments)
Ryan Banjo Bill
Sollory Station to Station
The following duet pieces are contained in the book Guitar Duets Initial–Grade 3 2010–2015 published
by Trinity:
Mozart arr. Preiss Rondo
Sor Valse op. 44 no. 1
Machado Marchinha de Carnaval
Sollory Danza Andaluza
The following alternative solo pieces are also available:
Composer Piece Publisher
Brouwer Étude 1 (from Études simples 1e série) Eschig ME7997
Brouwer No. 1 (from Estudios Sencillos Volume 1) Eschig ME7997
Carulli Walzer op. 121/1
(from Guitar Collection (Famous Pieces from Carulli to Tárrega)) Schott ED9694
Cracknell Robin’s Revel (from Enjoy Playing Guitar: Going Solo) Oxford 9780193386358
Hartog Cancion Del Limpiabotas (from i toca Guitarra!) Alsbach-Educa ALE10391
Hartog Cancion Cantabrico (from Tapas de España) Alsbach-Educa ALE10591
Lindsey-Clark Zincarlo (from Simply Spanish) Montague Music MM116
Nuttall Cool Blues (from First Performance Pieces) Countryside
Nuttall Gaelic Song 1 (from Twelve Inventions) Holley Music Holl S007
Piazzolla Artisane (from Play Piazzolla) Boosey 9790060119712
Powlesland Turn to Dust (from The Real Guitar Book vol. 1) Camden Music CM191
Pratesi Elegy (from Vincenzo Degni Short Melodies For Small Hands) Ricordi M041320533
le Roy Branle de Bourgogne (from Le petit livre de guitare vol. 2) Les Productions D’OZ DZ12
Sor Étude op. 60 no. 7 (from Complete Studies for Guitar) Chanterelle 491
Trad. arr. Sollory Luiyang River (from Songs from the East) Camden Music CM268
Trad. Scottish Charlie is my Darling
arr. Fiorentino (from Celtic Music for Classical Guitar) Carisch ML2601
Tromp Dance of the Dragon (from String Fingers) XYZ Huizen Holland XYZ1211
de Valderrábano Soneto del primer grado
(from Hispanae Citharae Ars Viva ed. Emilio Pujol Vilarrubí) Schott GA176
Trad. arr. Whitworth Helston Floral Dance (from Diversions) Holley Music Holl S006
30 Back to contentsGuitar — Grade 3
Technical work (14 marks)
Candidate to prepare in full either section i) or section ii)
either i) Scales, arpeggios & exercises (from memory) — the examiner will select from the following:
(Please note that ‘exercises’ refers to the exercises in this section, not those listed as part of the
technical suite)
Scales:
ma fingering, mf
C major
straight
candidate’s
D natural minor min. rhythm* p
choice of
two octaves
q = 72 apoyando or
D harmonic minor tirando mf
im fingering,
swing rhythm*
D melodic minor p
Arpeggio: min.
one octave
Diminished 7th starting on A q = 60
Exercises: tirando mf
C major in broken 3rds**
Half barré in A minor**
or ii) Technical suite
Exercises (music may be used):
Candidates to prepare all of the following exercises. The candidate will choose one exercise to play first;
the examiner will then select one of the remaining exercises to be performed.
1. Jiggery Pokery (scales)
2. Thurdles (broken chords)
3. Au lait (half barré)
4. Passagio (arpeggios)
Exercises are contained in the book Guitar Grade 3 Pieces & Exercises 2010–2015 published by Trinity.
* See page 12 for examples of rhythmic styles.
** Written examples of these exercises can be found on our website or in the book Guitar Grade 3 Pieces
& Exercises 2010–2015 published by Trinity.
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading aural improvisation musical knowledge
(see page 14) (see page 16) (see page 19) (see page 21)
Back to contents 31Guitar — Grade 4 Subject code: GTR 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 10). The following solo pieces are contained in the book Guitar Grade 4 Pieces & Exercises 2010–2015 published by Trinity: dal Liuto Pavana J S Bach Bourrée (from Cello Suite no. 3, BWV 1009) Giuliani Bagatella op. 73 no. 3 Carcassi Pastorale op. 21 no. 16 Ferrer Ejercicio (no. 2 from Colección 12a de Ejercicios) Hartog Nostalgia Lindsey-Clark Steely Blue York Garden Steps Pujol Buen augurio The following alternative solo pieces are also available: Composer Piece Publisher Anon. Mascarade (from Le petit livre de guitare vol. 2) Les Productions D’OZ DZ12 Brouwer Étude 6 or 7 (from Études simples 2e série) Eschig ME7998 Carulli ed. Wynberg Sicilienne (from First Repertoire for Solo Guitar Book 1) Faber 507093 Garcia Le Grand Brasseur (from 25 Études ésquisses) Mel Bay 95430 Nuttall Berceuse or Mexicana (from Twelve Inventions) Holley Music Holl S007 Rak Petit Blues (from Jeux sur 6 cordes) Lemoine HX27270 Robinson Robinson’s May (from Easy Pieces from Shakespeare’s Time vol. 2) Universal UE16693 Sollory Summer Solstice Song (from The Real Guitar Book vol. 2) Camden Music CM192 Sor Allegro moderato op. 31 no. 3 (from The Complete Studies for Guitar) Chanterelle 491 Sor Étude no. 18 op. 35 (from The Complete Studies for Guitar) Chanterelle 491 Trad. arr. Hartog El noy de la mare (from Tapas de España) Alsbach Educa 10591 Trad. Scottish arr. Fiorentino Bonnie Laddie, Highland Laddie (from Celtic Music for Classical Guitar) Carisch ML2601 32 Back to contents
Guitar — Grade 4
Technical work (14 marks)
Candidate to prepare in full either section i) or section ii)
either i) Scales & arpeggios (from memory) — the examiner will select from the following:
Scales:
f
A major
im fingering
straight
E major rhythm* mf
candidate’s
min. choice of
B natural minor p
q = 84 apoyando
or tirando
B harmonic minor ma fingering f
two octaves swing
rhythm* p
B melodic minor
Arpeggios:
D major min.
B minor tirando mf
e = 108
Dominant 7th in the
key of D (starting on A)
or ii) Technical suite
Exercises (music may be used):
Candidates to prepare all of the following exercises. The candidate will choose one exercise to play first;
the examiner will then select one of the remaining exercises to be performed.
1. Arabesque (slurs)
2. Clair de Lune (half barré and arpeggios)
3. España (scales)
4. Skyline Melody (full barrés)
Exercises are contained in the book Guitar Grade 4 Pieces & Exercises 2010–2015 published by Trinity.
* See page 12 for examples of rhythmic styles.
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading aural improvisation musical knowledge
(see page 14) (see page 16) (see page 19) (see page 21)
Back to contents 33Guitar — Grade 5 Subject code: GTR
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 10).
The following solo pieces are contained in the book Guitar Grade 5 Pieces & Exercises 2010–2015
published by Trinity:
Sor Galopp
Cutting Galliard
Mertz Notturno op. 4 no. 1
Lauro El negrito (no. 1 from Two Venezuelan Waltzes)
Lindsey-Clark Rio by Night
Powlesland Swing Thing
Ryan Birds flew over the Spire
Oser Soledad
Baulch Bonza’s Blues
The following alternative solo pieces are also available:
Composer Piece Publisher
Brescianello Menuet and Trio no. 35 (from The Baroque Book) Chanterelle SPAECH2111
Brouwer Étude 9 (from Études simples 2e série) Eschig ME7998
Carcassi Étude no. 2 in A minor
(from 25 Études op. 60) Chanterelle or Orphee ECH470
Domeniconi Danza del Cuculo
(from Modern Times — The Complete Series in one vol.) Chanterelle ECH750
Garcia Floçons de neige (from 25 Études ésquisses) Mel Bay MB 95430
Giuliani Étude 11 in A minor (from Studies op. 100) Schott GA69
Hartog Saudades Brasileiras (from Guitar Crackers) Alsbach ALB10482
Pearson Rumba (from La Guitarra Flamenca) Hampton Music HG305
Piazzolla Sensuel (from Play Piazzolla) Boosey 9790060119712
Piazzolla arr. Ryan Vuelvo al sur (from Play Piazzolla) Boosey 9790060119712
Ryan Highland Chimes (from Scenes for Guitar Book 1) Camden Music CM260
Sor Moderato op. 35 no. 17
(from The Complete Studies for Guitar) Chanterelle SPAECH0491
de Visée Chaconne (from The Baroque Book) Chanterelle SPAECH2111
34 Back to contentsGuitar — Grade 5
Technical work (14 marks)
Candidate to prepare in full either section i) or section ii)
either i) Scales, arpeggios & exercises (from memory) — the examiner will select from the following:
(Please note that ‘exercises’ refers to the exercises in this section, not those listed as part of the
technical suite)
Scales: straight
two
F major ma fingering rhythm*;
octaves
Bb major norm. tone apoyando f
three
Chromatic starting on E im fingering swing
min. octaves
rhythm*;
F# natural and harmonic q = 96 pont. tone
ma fingering mf
and melodic minor
straight
C major pentatonic im fingering rhythm*; p
two norm. tone
octaves
Arpeggios:
Bb major min. tirando
Dominant 7th in the key e = 120
of Eb (starting on Bb)
mf
Exercises:
Paired slurs in A major
Bb major in 3rds
Full barré sequence**
or ii) Technical suite
Scales and arpeggios
(from memory): im fingering apoyando
Bb major scale straight or tirando at
two rhythm candidate’s
min. tempi:
F# harmonic and melodic octaves choice
scales: ma fingering
minor scales
q = 96
Bb major arpeggio arpeggios: tirando
e = 120 apoyando
Chromatic scale three straight or tirando at
im fingering
starting on E octaves rhythm candidate’s
choice
Exercises (music may be used):
Candidates to prepare all of the following exercises. The candidate will choose one exercise to play
first; the examiner will then select one of the remaining exercises to be performed.
1. Chromatic Conundrum (slurs and glissandi)
2. Central Park in the Dark (full barré)
3. Summer Sunset (slurs)
Exercises are contained in the book Guitar Grade 5 Pieces & Exercises 2010–2015 published by Trinity.
*S
ee page 12 for examples of rhythmic styles. ** A written example of the full barré sequence can be
found on our website or in the book Guitar Grade 5 Pieces & Exercises 2010–2015 published by Trinity.
Back to contents 35You can also read
