Keyboard Syllabus 2011 - Updated 030910

Keyboard & Organ Syllabus
Trinity Guildhall Examinations 89 Albert Embankment London SE1 7TP UK T + 44 (0)20 7820 6100 F + 44 (0)20 7820 6161 E music@trinityguildhall.co.uk www.trinityguildhall.co.uk Patron HRH The Duke of Kent KG Executive Director & Head of Academic Governance (Performing & Creative Arts) Mark Stringer GMusRNCM(Hons) FTCL ARCM ARCO(CHM) PGCE HonLRSL FRSA Chief Examiner in Music Keith Beniston GLCM FLCM PGCE FRSA Syllabus Manager Lindsay Danby BMus(Hons) Head of Operations (Performing & Creative Arts) Abigail McElheron BA(Hons) HonTCL Copyright 2010 Trinity College London Published by Trinity College London First impression, August 2010
Contents
Introduction..................................................................................................................... 3 Grade examinations
Structure, duration & marking ........................................................................................ 4 Pieces .................................................................................................................................... 6 Own Composition................................................................................................................ 7 Supporting Tests: Sight Reading .............................................................................................................. 8 Aural .............................................................................................................................12 Improvisation .............................................................................................................16 Musical Knowledge ...................................................................................................19 Requirements: Electronic Keyboard (subject code EK) .............................................................. 21 Digital Keyboard (subject code DK) ...................................................................38 Electronic Organ (subject code EO) ...................................................................47 Organ (subject code OGN) ....................................................................................63
Obtaining music publishers contact details ....................................81 Trinity Guildhall publications .......................................................................... 84
Keyboard & Organ Syllabus 2011

Introduction
This syllabus contains full details of Grade examinations in Electronic Keyboard, Digital Keyboard, Electronic Organ and Organ. It is valid from 1 January 2011 and supersedes all previous syllabuses. From 2011, Trinity Guildhall will no longer offer Accordion Grade examinations. New Accordion Certificate examinations will be available in their place. Details of these are available on the website: www.trinityguildhall.co.uk. The new syllabus contains refreshed repertoire choices for Electronic Organ and Organ, and significant changes to the Pieces and Technical Work for Electronic Keyboard (InitialGrade 5). The Digital Keyboard syllabus (Grades 68) contains changes to the Technical Work only for 2011. From January 2012, the Digital Keyboard syllabus will be revamped and renamed as Electronic Keyboard (Grades 68), with amendments to the repertoire and other aspects of the Technical Work. A new syllabus for 20122013 will be available in July 2011. The only alteration to this syllabus will be to the requirements for Electronic Keyboard Grades 68. There will be a one session overlap in 2011, in which candidates may offer Pieces and Technical Work from either the 20072010 syllabus or the 2011 syllabus, but not a mixture of both. A similar overlap will be implemented in 2012 for the new Electronic Keyboard (Grades 68). Full details of entry procedures, examination regulations and marking criteria are given in a separate booklet Information and Regulations which is available direct from Trinitys Head Office, Local Representatives or from our website www.trinityguildhall.co.uk. This booklet is updated annually and candidates should ensure that they consult the current version for the year of entry.
Trinity Guildhall examinations are offered and delivered by Trinity College London, the international examinations board. Trinity College London is an awarding body recognised in the United Kingdom by the Office of Qualifications and Examinations Regulation (Ofqual) in England, the Welsh Assembly Government (WAG) and the Northern Ireland Council for Curriculum, Examinations and Assessment (CCEA). Trinitys qualifications are accredited by these authorities within the Qualifications Framework. Various arrangements are in place with governmental education authorities worldwide.
Grade Examinations
Structure
Trinity Guildhalls practical examination grades are numbered from 1 to 8 in increasing order of difficulty. In Electronic Keyboard and Electronic Organ, an Initial examination acts as an introduction to the examination system. The structure of Graded Examinations is as follows:
Pieces
Candidates play three pieces, chosen from the published list(s).
Technical Work
Candidates prepare scales, arpeggios and other technical exercises as required in the syllabus.
Supporting Tests
For all instruments there are two further tests: Up to and including Grade 5, candidates may choose any two tests from: Aural Sight Reading Improvisation Musical Knowledge In Grades 6, 7 and 8, Test 1 must be Sight Reading. For Test 2 there is a choice between Aural and Improvisation. At the examination, candidates should note on the Appointment Slip which tests have been chosen.
Order of examination
Technical Work will normally be asked before pieces. Candidates wishing to present their examination in any other order may do so, but must write their preferred sequence on the back of the appointment slip and indicate this on entering the examination room. This choice does not extend to cases where the syllabus stipulates the location of any item, e.g. Own Composition.
Duration
Level
Initial Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8 4
Duration in minutes
13 13 15 15 20 20 25 25 30
Grade examinations
Marking
The maximum marks available for all graded keyboard and organ examinations are as follows: Piece 1 Piece 2 Piece 3 Technical Work Test 1 Test 2 TOTAL Pass is awarded at 60 Merit is awarded at 75 Distinction is awarded at 87 Note that piece may occasionally consist of more than one musical item. The mark out of 22 for each piece* is made up of three component marks, awarded for: Notational Accuracy & Fluency (7 marks): How well the notes are prepared and realised. More conveniently thought of as: Me and the Music. Technical Facility (7 marks): Instrumental control and the ability to draw the most from the instrument; dynamics, tone colour, articulation, pedalling etc: Me and the Instrument. Communication (8 marks): How well the candidate interprets the music, engages the audience and conveys a sense of the meaning of the music they are playing: Me and the Audience. For more detail please see the Mark Scheme and Assessment Criteria sections in the Information and Regulations booklet, which is available from Head Office, Local Representatives or from the website www.trinityguildhall.co.uk 22 22 22 14 10 10 100
* Note that piece may occasionally consist of more than one musical item.
Grade examinations
Pieces
Repeats, ornaments & tempi
All da capo and dal segno instructions should be observed. Repeats of more than a few bars should be omitted unless otherwise instructed in the syllabus or printed music books, or where a substantial firsttime bar section would be lost. Cadential trills and other ornamentation appropriate to the style of the music are encouraged at all levels, and particularly in the higher grades. Metronome marks are given merely as a guide to performance, and candidates should observe terms showing the tempo and/or character of the music (e.g. Lento, Allegro) in their performance.
Page-turners
The examiner cannot act as a page-turner. In earlier grades, difficult page-turns should be overcome by photocopying the relevant pages. A page-turner may assist in Grades 68 examinations if absolutely necessary, but may remain in the examination room only whilst (s)he is needed.
Playing from memory

Candidates are free to play any or all of their pieces from memory, and to do so is likely to help with the security of their knowledge and their ability to communicate. It is not obligatory, however, and no separate marks are given for memorisation. Candidates who play from memory must ensure that an original copy of the music performed is brought to the examination for the examiners reference.
Music and copies

Candidates are reminded that they must perform from an original copy of the relevant sheet music in the exam room. If an unauthorised copy (including an unauthorised photocopy) is used, candidates should be aware that Trinity may not award marks in relation to the performance of the prohibited piece(s) of music. Original copies of sheet music can be purchased or downloaded from music shops and publishers, for whom contact details are given at the end of this syllabus. Details regarding the legitimacy of all forms of sheet music can be obtained from the UK Music Publishers Associations Code of Fair Practice, available at www.mpaonline.org.uk. It is strongly recommended that original copies of music needed for examinations are obtained before an examination entry is made; allowances cannot be made for delays in obtaining music. Candidates should note that variations in worldwide availability may occasionally be encountered; the contents of books should always be checked before purchase. Examiners of grade examinations welcome the provision of reference copies of pieces not published by Trinity Guildhall. Photocopies can legitimately be used for this purpose; any copies provided will be retained by the examiner and destroyed after the examination.
Grade examinations
Own Composition
Candidates in Electronic Keyboard, Electronic Organ and Organ may offer their own composition in place of a listed piece where indicated in the syllabus. This must be performed as the last of their group of pieces so that questions on the piece may follow immediately afterwards.
Content
The composition should follow the specification given, and must be of a similar technical and artistic level to the other pieces performed. The use of pre-recorded material or other instruments is not allowed. The piece should be substantially the candidates unaided work, although the teacher may offer guidance as necessary. Candidates and teachers are advised to take note of the Levels of Achievement statements in the current Information and Regulations booklet when preparing own compositions. The timings given at each level should be observed carefully; credit will be lost if compositions fall appreciably short of, or exceed the indicated timespan.
Notation
The complete composition must be written out in the candidates own hand (or be produced and printed by the candidate using a score-writing programme). At InitialGrade 5, the composition may be presented in any coherent form of notation. For compositions at Grades 68 staff notation is essential. Marks will be deducted if the notation is incomplete or technically inaccurate or if the performance varies significantly from what is written. Candidates must present a (photo)copy of the piece, which the examiner will keep, with name and candidate number clearly shown.
Assessment
After the performance, the examiner will ask the candidate to explain how the piece was composed and will ask further questions about the notation and structure. 16 marks are awarded for the performance, and 6 marks for clarity of explanation, structure and presentation. Composition requirements grade by grade: Grade Initial 1 2 3 4 5 6 7 8 Duration 12 minutes 11/221/2 minutes 11/221/2 minutes 11/221/2 minutes 21/231/2 minutes 21/231/2 minutes 31/241/2 minutes 31/241/2 minutes 41/251/2 minutes Requirements A piece containing sudden changes A piece with two contrasting sections A piece contrasting legato and staccato passages A piece which explores dynamic contrast A piece with long melodic phrases A piece containing contrasting voices and styles A piece using a variety of clusters A piece featuring contrary movement A piece featuring at least two contrapuntal voices
Grade examinations
Supporting Tests
Sight Reading
Sight Reading tests are set at the level of a piece prescribed approximately two grades lower than the grade undertaken; for instance, Grade 5 candidates should be able to read at sight the level of piece set for Grade 3 performance. Tests will follow the parameters given below. Note that the parameters are cumulative; the keys etc. used at each grade may also include any variable set for any previous grade. Candidates will be allowed 30 seconds to study the test before they attempt it. During this time they may practise any or all of the piece aloud. The examiner will only take account of the actual performance of the test. Candidates of Electronic Keyboard may choose between two different ways of performing the sight reading test; either with single-fingered chords and rhythm/style or with fullyfingered chords without rhythm/style, at the candidates choice. Specimen sight reading tests for Electronic Keyboard and Electronic Organ are available to purchase (see page 84). Specimen sight reading tests for Digital Keyboard are available to download free-of-charge from the website: www.trinityguildhall.co.uk.
Sight Reading Parameters for Electronic Keyboard

Keys Time signatures Chords Note values Note patterns Dynamics Other
(cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*)
Initial
C major
and
mf
five-finger hand position only five-finger hand position (RH not tonic) Change of hand position within octave
Grade 1
as above
plus 4
I,V
plus and
Grade 2 plus A minor
plus
plus IV
plus
h. and
plus F and G major; Grade 3 D minor (including C#) Grade 4 plus D major; B and E minor plus A and Bb major; C minor
plus VI as above plus V

7
plus
w , q. and e
q h q
as above as above
two-part right hand
as above
Grade 5
plus 6
plus and
syncopated quavers
three-part right hand
* Please note, at any given grade candidates are expected to know the requirements of the preceding grade(s).
Grade examinations
Sight Reading Parameters for Digital Keyboard

The sight reading test will be given in piano score (treble and bass clefs) to be played hands together after 30 seconds of preparation time.
Keys
Time signatures
Chords
Note values
Note patterns
Dynamics
Other
(cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*)
Grade 6
A and Eb major; F# and C minor
plus 8
all common note values and rests E and Ab major, C# and F minor all common chords plus 9 reasonably plus mp, complex cresc. and dim. rhythms
right-hand chords of three notes or more; voice and style at the candidates discretion
Grade 7
plus chromatic features; elements of stylistic perception
Grade 8
B and Db major; G# and Bb minor
plus 2 and changing time signatures
plus duplets
as above
Sight Reading Requirements for Electronic Organ

Note values
(cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*)
Grade examinations
10
Tempi and articulation Manuals Pedals Registration
Keys
Time signatures
(cumulative*)
(cumulative*)
Initial and
C major
2
moderato none
q 4
plus two-part texture none and plus legato none plus plus as above plus andante and more intricate phrasing
h
plus allegretto and simple phrasing remains within hand postion (not necessarily C)
five-finger hand position only
two manuals to be used throughout; contrasting sounds on both manuals; mf
Grade 1
plus G major; A minor (white notes only)
plus
w h.
and ties
Grade 2
as above
plus 3
as above white notes only
Grade 3
plus F major; D minor (including C#) plus and
as above
e,, and
plus staccato and three-part texture accents
Grade 4
q.
all notes
plus D and Bb major; E and D minor (plus accidentals) plus A and Eb major; B and G minor Grade 5 (including modulation)
plus
6
any common terms and signs
plus x and ; dotted notes and rests
plus rall., accel., more varied texture more independent solo voice on upper and some further a tempo and pedal part manual chromaticism pause full use of pedals use of swell pedal; cresc.; dim.; pp and ff as above as above as above as above
Grade 6 as above
plus F# and C minor
plus 8
Grade 7
plus 9 plus duplets/triplets
plus E and Ab major; C# and F minor plus B and Db major; G# and Bb minor Grade 8 (including double sharps and flats)
plus 2 and changing time signatures
changes of registration
Sight Reading Requirements for Organ

Time signatures Note values
(cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*)
Keys
(cumulative*)
(cumulative*)
Tempi and articulation Manuals Pedals Registration
Grade 1
C major, G major, A minor (white notes only)
2 and 4
none plus 3 plus and ties two-part texture none
q,h,w, and
moderato and legato
remains within hand postion (not necessarily C)
single manual; 8 only; mf as above

two manuals
Grade 2
as above
h.
plus andante and more intricate phrasing as above
plus allegretto and simple phrasing
Grade 3 as above
plus F major; D minor (including C#) plus
e,, and
and
notes between A2 (hands on the and G3 inclusive same manual); 4; p and f; (toes only)
pedal couplers
Grade 4 plus
plus D and Bb major; E and D minor (plus accidentals)
q.
plus staccato, three-part texture accents and pause
notes between F2 manual and C4 inclusive couples; 2; 16 (toes only)
Grade 5 plus
plus A and Eb major; B and G minor (including modulation)
6
any common terms and signs as above
toe and heel signs more varied texture plus x and ; plus rall., accel. and and more and some further dotted notes and a tempo independent pedal chromaticism rests part
hands on separate manuals; change of manual
Grade 6
plus F# and C minor
plus 8
as above
adjacent notes with use of swell same foot; stac- pedal, cresc., dim., pp and ff cato; legato
Grade 7
plus E and Ab major; C# and F minor plus 9
more complex textures as above plus duplets/ triplets as above
Grade 8
plus B and Db major; G# and Bb minor (including double sharps and flats) plus 2 and changing time signatures
full use of pedals throughout range, including crossing feet as above
as above
changes of registration
Grade examinations
11
Grade examinations
Aural
Four tests are given for each grade (two for Grade 8), designed to develop the candidates abilities in the fields of musical perception, discrimination, memory, understanding, analysis and response. The tests, which are all based on the same example to encourage a deepening of knowledge, are carefully graded from basic skills to more advanced understanding. NB Tests for Initial and Grade 1 are all in major keys; Grades 25 and 8 may be in major or minor. Grade 6 tests are major and Grade 7 are minor. Tests involving printed copies given to candidates will be provided in treble clef for most instruments, and in bass or alto clef for instruments normally reading those clefs.
Initial
1. To sing, hum or whistle the final note of a four-bar melody in 2 time, played with the final note omitted. The note should be sung in strict time. The key chord will be sounded before the melody is played. In all circumstances this note will be the tonic.
2. To clap back the rhythm of the melody after hearing it played twice again. 3. To identify, after another hearing, whether the melody was played mainly legato or staccato. 4. To identify, after hearing again three consecutive notes from the melody, which of the three was the highest or lowest.
Grade 1
1. i) To clap back the rhythm of a four-bar melody in 2, or ii) to state the time signature.
time, played twice;
2. To state, after hearing the melody again, whether the last note was higher, lower or the same as the first note. 3. To state, after hearing the melody again, whether the melody was played mainly legato or staccato. 4. To listen to the melody played twice more, first as originally heard and then with a change to the pitch at one point, and to indicate where the change occurs. Candidates will not be required to describe the change.
Grade 2
1. To listen once to a short melody in 2 or 3, and to indicate a sense of the pulse and time signature during a second playing. Candidates should respond by either conducting clearly, using a simple, conventional, beat-shape or alternatively by other methods, provided the strong beats are indicated distinctly. The examiner will bring the candidate in at the start of the second playing.
2. To state, after hearing the melody again, whether the last note was higher, lower or the same as the first note. 3. To listen to the complete melody again and to state: i) whether it was in a major or minor key; ii) the dynamic level at the start and how it changed during the piece. Crescendo and diminuendo may be included. 12
Grade examinations 4. To listen to one half of the melody played twice more, first as originally heard and then with a change in the rhythm or melody, and to identify the type of change made.
Grade 3
1. To listen once to a short melody in 3 or 4, and to indicate a sense of the pulse and time signature during a second playing. Candidates should respond by either conducting clearly, using a simple, conventional, beat-shape or alternatively by other methods, provided the strong beats are indicated distinctly. The candidate may begin right at the start, or can join in once the melody is under way.
2. To identify the interval formed by the first two notes of the melody, played from low to high and held as a sounding interval as a major second, minor third, major third, perfect fourth or perfect fifth. All diatonic, from within the key.) Candidates may sing (or hum) the notes before answering. 3. To identify a triad played by the examiner as being either major or minor. The notes will be sounded together. 4. A printed copy of the melody will be handed to the candidate. The examiner will then play the original followed by a version (played twice) containing one change of pitch or rhythm. The candidate will be invited to indicate the bar in which the change occurred in the rhythm or melody.
Grade 4
1. To listen once to a short melody in 4 or 6 with a simple accompaniment, and to indicate a sense of the pulse and time signature during a second playing. Candidates should respond by either conducting clearly, using a simple, conventional, beat-shape or alternatively by other methods, provided the strong beats are indicated distinctly.
2. To identify the interval formed by the first two notes of the melody, played consecutively, as: a unison a minor second a major second a minor third a major third a perfect fourth a perfect fifth a minor sixth a major sixth
Candidates may sing or hum the notes before answering. 3. To listen to the piece again and to identify the cadence at the end as being either perfect or imperfect. 4. A printed copy of the melody line only will be handed to the candidate. The examiner will then play this, followed by a version (played twice) containing two changes, one of pitch and one of rhythm. The candidate will be invited to indicate the bars in which the changes occurred and to describe them.
Grade 5
1. To listen twice to a short piece of music in 2, i) the time signature; ii) if it began in the major or minor;
or
played twice, and state:
13
Grade examinations iii) if the tonality changed as the piece progressed, and if so, how. After a further playing of the closing section of the piece, whether the cadence at the end was perfect, imperfect or interrupted. 2. To identify the interval formed by 2 notes selected by the examiner from the melody line, played consecutively, as: a unison a minor second a major second a minor third a major third a perfect fourth a perfect fifth a minor sixth a major sixth a minor seventh a major seventh an octave
Candidates may sing or hum the notes before answering. 3. To listen to the piece again and to comment on the articulation and the dynamics. 4. A printed copy of the complete piece will be handed to the candidate. The piece will be played once more as originally heard and then twice with two changes to the top line; one to the rhythm and one to the melody. The candidate will be asked to locate and describe the changes.
Grade 6
1. To listen to a short piece in a major key in 2, 3, 4 or 6 played twice, and state the time signature. Candidates will be invited to comment on the main features of the piece such as phrasing, style and dynamics. The candidate will have the opportunity to give comments after the first and/or second playing at their discretion.
2. To listen to the closing bars of the piece and identify its cadence as perfect, imperfect, plagal or interrupted. 3. To listen again to a part of the piece which modulates and state into which key the music has modulated. Keys used will be confined to dominant, subdominant and relative minor. The opening key will be stated and the tonic chord played before the start. Answers may be given as either key or technical names (e.g. in C major: to G or to the dominant). 4. A printed copy of the piece will be handed to the candidate, who will be invited to compare this with a version played twice by the examiner containing two changes. These will be in the melody line only and may be to the rhythm, the pitch or the articulation. The candidate should identify the location and nature of the changes.
Grade 7
1. To listen twice to a short piece in a minor key and comment on the main features of the piece such as style, phrasing, articulation and dynamics. The candidate will have the opportunity to give comments after the first and/or second playing, at their discretion.
2. To listen to a phrase from the piece and identify its cadence as perfect, imperfect, plagal or interrupted. 3. A printed copy of the first section of the piece will be handed to the candidate, who will be invited 14
Grade examinations to compare this with a version played twice by the examiner containing three changes. These may be in the pitch (of the melody line only) or the rhythm. The candidate should identify and explain the changes. 4. To listen to the piece played with a modified ending and identify the key to which the music has modulated. The opening key will be stated and the key-chord played. Keys used will be limited to the subdominant minor, the relative major and the dominant of the relative major (e.g. G major in A minor). Answers may be given as key names or technical names. Part of the piece may be omitted by the examiner for clarity if appropriate.
Grade 8
1. A short piece will be played twice. The candidate will be invited to describe the significant features of the piece, such as style, rhythm, texture, dynamics, phrasing and articulation. Candidates are encouraged to make observations after the first playing and to supplement these after the second. This section will take the form of a short discussion with the examiner; credit will be given for the depth of perception in the candidates comments.
2. A printed copy of the entire piece will be handed to the candidate and played by the examiner, who will then play twice a version containing three changes which may be in the rhythm, melody, harmony, articulation, dynamics or tempo. The candidate will be invited to identify and explain the changes. Changes may occur in the treble or bass clef lines, or both. The original version, as supplied to the candidate, will be played again, before the version with the changes. NB In all sections of the Aural Tests that involve the examiner handing the candidate a printed copy of the test, candidates and teachers should note that the copy will be a laminated page, which may not be marked by the candidate in any way whatsoever during the examination.
15
Grade examinations
Improvisation
The improvisation tests explore the candidates ability to respond creatively to an aural/visual stimulus offered by the examiner, usually as a rhythmic or melodic cell. The tasks undertaken develop from simple recognition, assimilation and invention to modulation, extension and other techniques. In every case the stimulus has been designed to allow a genuinely free creative improvisation and to avoid the implication of a mirror image response. At all grades the stimuli seek to provide a wide range of improvisatory possibilities, whilst avoiding excessive complication within themselves. The greatest credit will be given for candidates who most effectively incorporate elements of the stimulus into their improvisation, showing creativity and good instrumental knowledge and ability.
Outline and Test Parameters

According to the candidates choice, the examiner will tap the rhythm or play the pitches or chords on the piano, and will also give a notated copy of the relevant test to the candidate which the candidate can refer to throughout the test. In this way both auditory and visual learners will be assisted to produce their best possible response.
Format
Candidates may select any one of the following types of test: either or or melodic: based on a series of pitches rhythmic: based on a rhythmic idea chordal: based on a set of chord symbols.
The parameters are given in the chart on page 18.
Melodic Tests
The examiner will give the candidate a copy of a series of written pitches and will play it through twice with each pitch lasting for about 2 seconds. The candidate will play the pitches back to the examiner, and then has 30 seconds to prepare a short phrase incorporating these pitches, which is then performed. The candidate may play during the preparation time.
Rhythmic Tests
The examiner will give the candidate a written version of an opening rhythm and then play it twice. Candidates will then repeat it on their instrument using one pitch. They then have 30 seconds to develop a piece of music based on this rhythm and then adding melodic material as appropriate. Instrumental range used should reflect the parameters for melodic tests in the chart on page 18.
Chordal Tests
The examiner will give the candidate a copy of a 2-stave piano score containing chords written out without a time signature (with bar lines) and chord symbols printed above each chord. The examiner will play this through twice, establishing a moderate pulse with each chord played as 4 crotchets per bar (or 2 crotchets where more than one chord appears in a bar). The candidate then has 30 seconds (60 seconds for Grades 68) in which to prepare a short improvisation over the given chords. Candidates can choose to use the tempo and time signature that the examiner played, or to request a quicker or slower tempo and a 3, 4 or compound feel if they prefer. The examiner will then play the chords as before, while the candidate improvises above them. The phrase may be repeated several times, depending on length and speed, until the improvisation reaches a natural conclusion. Alternatively, keyboard players and organists may choose to perform the improvisation as a solo, which must incorporate the chord pattern. 16
Grade examinations
Written Keys for Chordal Tests
Initial to Grade 3
Grades 4 & 5
Grades 6, 7 & 8
Electronic Keyboard/ Electronic Organ/ Organ Digital Keyboard/ Electronic Organ/ Organ
C, F & G major
A, D, E, G & B minor
C, F, G, Bb, D, Eb & A major plus relative minors
Notes
Marks are awarded for planning, structure, form, melodic, harmonic & rhythmic creativity, inventiveness and logical progression, appropriate length and use of instrumental resources. Candidates should regard the note values and ranges given as the minimum that will be expected, but may extend these if they wish. Keyboard players and organists taking the melodic test may play chords if they wish, and will receive credit for their appropriate use, but they are not obligatory, and the test is essentially of melodic invention. The length of the response in the chart overleaf is given as a guide only, and the candidate should aim to perform a musically satisfying and balanced response. In all tests, chords, rhythm or autoaccompaniment may be used with discretion.
17
Grade examinations
Parameters for Improvisation Testsfor Improvisation Tests Parameters

Suggested length of response for Melodic and Rhythmic tests
Grade
Melodic tests: Max. range of given motif
Rhythmic tests
Chordal tests
Initial
3 stepwise notes
In 4 2 bars crotchets minims In 4 2 bars crotchets minims, quavers 1 phrase
4 bar phrase Major key I/V 2 bars per chord
3 notes one step one leap up to 4th
4 bar phrase Major key I/V 1 chord per bar
4 notes range up to 5th
As above with dots 12 phrases
4 bar phrase Major key I/IV/V 1 chord per bar 4 bar phrase Major key I/IV/V/ii 1 chord per bar
5 notes range up to 6th
As above with ties
Octave (diatonic)
In 2, 3 or 4 plus semiquavers
23 phrases
4 bar phrase Minor key I/IV/V 1 chord per bar
Octave (simple chromaticism)
4 bar phrase Minor key I/IV/V/vi 1 chord per bar
Plus 6 34 phrases
8 bar phrase Major key I/ii/IV/V and 7ths 1 chord per bar
Twelfth (chromatic)
Plus triplets
812 bar phrase Major or Minor key I/ii/III/iv/V/VI and 6ths/7ths 1 or 2 chords per bar
1216 bar phrase Major or Minor key 8 Plus 7 46 phrases All chords 6ths/7ths/9ths & dim/aug Simple suspensions 1 or 2 chords per bar
18
Grade examinations
Musical Knowledge (InitialGrade 5 only)

These questions test the candidates understanding of their chosen pieces, the context of their performance and their knowledge of their instrument and its technical demands, including best practice for rehearsal and performance. Five questions, each worth 2 marks, will normally be asked. Questions will include discussions on most of the areas mentioned below, but not all parameters will be relevant to all disciplines and pieces, and examiners will select questions as appropriate. Candidates must ensure that copies are not so heavily annotated that a reasonable range of questions for the grade is precluded. For melody line instrumentalists, questions will be based only on the instrumental line, and not on the accompaniment.
Initial
1. The pitch names, and durations of any notes (excluding those with leger lines except middle C) in the pieces played.
2. To identify, but not to explain clefs, stave, bar lines and key/time signatures in the pieces played. 3. Very simple musical terms and signs in the pieces, such as U , repeat, f and p. 4. Questions about the connection between the titles of the pieces and the music played (e.g. what is a Minuet? Why is this piece called Squabble?)
Grade 1
1. Pitch names, note types (e.g. minim) and durations of any notes in the pieces played, including dotted notes and any leger lines.
2. Clefs, time/key signatures and any common musical term/sign encountered. 3. Identify and explain p/f, accidentals, phrase marks, 1st & 2nd time bars and staccato/legato, when appearing in the pieces played. 4. Comment on any significant, interesting or unusual features of piece(s) played. Show a basic understanding of the instrument, including the names of its main parts (e.g. stand, display, controls etc) and maintenance.
Grade 2
As for Grade 1, and additionally: 1. Show an understanding of any term, sign or mark of expression in the pieces played.
2. Identify and explain any metronome marks, grace notes, ornaments etc. appearing in the pieces played. 3. The numerical value (only) of any interval (within an octave) between any two successive notes appearing in the pieces played (e.g. a second not a minor second). Intervals may be asked from a lower to a higher note or vice versa. 4. Be aware of appropriate basic posture when playing. 19
Grade examinations
Grade 3
As for previous grades, and additionally: 1. Identify and demonstrate an understanding of the keys (together with their relative major/minor) in which the pieces played are written.
2. Identify any common musical devices such as scale or arpeggio patterns in the pieces played. 3. Show an understanding of the reasons for, and methods employed in, the instrumental or vocal warm up (of both instrument and performer).
Grade 4
As for previous grades, and additionally: 1. Identify/explain any main key encountered throughout the pieces played, though no detailed knowledge of modulatory processes will be expected.
2. Name the tonic and the dominant (and the 3 notes of their triads) of any of the keys in which the pieces are written. 3. The full name of any interval (within an octave) between any two successive notes appearing in the pieces played (e.g. major second not second). Intervals may be asked from a lower to a higher note or vice versa. 4. Comment on any particular technical or musical challenges encountered in the preparation of the pieces played.
Grade 5 As for previous grades, and additionally:

1. Comment on any significant features of the musical style and period (e.g. Baroque, Romantic, Bebop) of the pieces played.
2. Point out any interesting or noteworthy structural/formal aspects of the pieces played. 3. Show an understanding of the keys used in the pieces played, including an understanding of modulations and a knowledge of tonic, dominant and subdominant of the keys in which the pieces are written.
Grades 68
Musical Knowledge questions are not available at these grades.
20
Electronic Keyboard
Instruments
Subject code: EK
Candidates are responsible for providing their own instrument, stand, power lead(s) and seat*. A mains power supply will be available at centres; candidates are responsible for the electrical safety of any equipment used in their examination. Efficient arrangements should be planned and agreed with the centre well in advance, regarding the physical setting up and removal of the keyboard, along with keyboard stand, music stand, seats, power adapters etc. in exam rooms, at the beginning and end or the examination. After setting up is completed, everyone involved, including the candidate, should be prepared to withdraw from the exam room until the examiner is ready to begin. Instruments must have at least the following specification:
Range
Minimum 4 octaves (InitialGrade 1) Minimum 5 octaves (Grade 2Grade 5)
Keyboard
Full-size keys
Capability
Minimum 16-note polyphonic capacity A range of individual voices and rhythm styles Dual voice/layer (from Grade 2) Voice change/Registration memory (from Grade 3) Touch sensitivity option (from Grade 3) Split point (2 voices simultaneously) (from Grade 5) Pedals are permitted but not necessary
Variation between instruments

Whilst every care has been taken to ensure that the pieces and tests are suitable for the widest range of instruments, it is recognised that there will be occasions when performance as notated will not be possible on every instrument. In such cases, candidates should adapt the material to what is possible on the instrument they have, modifying the music in an appropriate and imaginative way while preserving the substance of melody, harmony and rhythm. All pieces and tests will be assessed on the musicality of the candidates 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.
Dual voice, Voice changes, use of volume, Accompaniment B, etc.

It is recognised that instruments vary and that not all voices and styles are equal. If the candidate feels that the specified voices and styles are not wholly appropriate on their instrument, they may use any musically acceptable alternative. The change must not substantially alter the character of the pieces (e.g. changing Clarinet/March to Electric Guitar/Ballad).
* Adjustable piano stools may be available at the exam venue. It is the responsibility of the person who signed the entry form to contact the representative to confirm availability.
21
Electronic Keyboard Up to and including Grade 2, candidates using keyboards without registration memory may find it necessary to alter the voice from those stipulated in the music to facilitate quick changes; for example, by selecting voices with near or adjacent menu locations. The ability to use dual voice and to program voice changes is important in building a musically interesting performance. The use of volume control adds interest and shape and should be employed in all grades wherever possible and practical. The use of Accompaniment B can also add a feeling of climax and direction. The candidate may introduce further changes according to the capabilities of their instrument, as long as they add to the musical whole.
Auto intro/ending
Auto into/endings may only be used where indicated. Careful thought must be given to their integration within the style and instrumentation of the piece, and they should not exceed four bars in length.
Pre-recorded material
Whilst it is recognised that the use of pre-recorded material is an integral skill for electronic keyboard players, pre-recorded material is not permitted in Electronic Keyboard examinations. Registration memory facilities may, however, be used.
22
Electronic Keyboard
Pieces
Group A contains arrangements of popular classical and traditional western pieces that employ standard classical performance techniques. Group B incorporates pieces in more contemporary styles such as Latin, jazz, dance, pop, Indian and film music. Candidates must play three pieces chosen from the published lists, with at least one piece from each group. The third piece may be the candidates own composition of a similar length and technical demand to the other pieces chosen. Each grade contains one or more pieces which allows the candidate a greater level of creative input, either through own interpretation or improvisation. Inclusion of one or more of such pieces is not obligatory.
Own interpretation
The aim of these pieces is to allow the candidate to create a personal arrangement with as much artistic and musical flair as possible. Voice(s) and Style are left to the candidates discretion and the work must be adapted in other ways, such as by changing rhythm, register or even harmony, so long as the result is a well-shaped and musical account. Auto intros/endings are not permitted, though the candidates own manual intro/ending may be used. Candidates choosing these pieces must provide a short, neatly written or typed statement (of no more than 50 words) for the examiner, stating and explaining all of the interpretive choices made. If the statement is not written in English a translation into English must also be provided.
Improvisation
The length of improvisation will be dictated within the piece. Candidates are encouraged to be creative with this material but they may not bring additional notation or written-out solos into the examination room to assist in this part of the examination. Marks will be awarded for inventiveness, originality and style, appropriate to the character of the music.
Chords
The glossary of chords on page 25 indicates the meanings of the chord symbols used in pieces published by Trinity Guildhall. 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 candidates discretion, though in the higher grades the chords required may not be available as single fingered chords.
Tempo
Many of the works include a range of tempi to be used at the candidates discretion. Marks may be deducted if the candidate chooses a tempo significantly outside these limits, or if the chosen tempo is not technically or rhythmically secure.
Set up
Efficient setting up is a major part of the technique of the instrument and is expected to be carried out quickly and fluently at all examination levels. Marks may be deducted for unnecessary delay in setting up for any part of the examination, including protracted delay at the start or in between items, and restarts due to improper set up. At the end of each piece the candidate should begin setting up for the next piece, with or without prompting from the examiner. As a reminder, Please set up for the next piece is clearly marked in the music at the end of each piece in Trinity Guildhall publications. 23
Electronic Keyboard
Technical Work
The purpose of this section of the examination is to encourage the development of a variety of keyboard technical skills. The requirements for each grade are given in the main body of the syllabus. All technical work is printed, together with selected repertoire, in the corresponding grade book from the series Electronic Keyboard Pieces & Technical Work 20112013 (InitialGrade 5) published by Trinity Guildhall (see page 84). For scales and chord knowledge, a piano voice must be used. There should be no additional voice, accompaniment, rhythm or metronome click. The master volume should be set to 5075% of maximum resulting in a mff sound. The correct setting of the keyboard for this section will contribute to the marks.
Scales (from memory)

All scales listed for the grade must be prepared, but the examiner will ask for a selection only. All scales must be performed in similar motion, ascending and descending, with the right hand one octave higher than the left hand unless otherwise stated. The scales printed in the Trinity Guildhall repertoire books have been provided to assist the student. Starting notes may be moved an octave higher or lower to accommodate the range of the instrument.
Tempi for scales

A minimum pace is required, increasing gradually grade by grade: Grade Tempo
Initial Grade 1 Grade 2 Grade 3 Grade 4 Grade 5
d = 60 d = 70 d = 80 d = 90 d = 100 d = 110
Chord Knowledge (from memory)

All chords listed for the grade must be prepared, but the examiner will ask for a selection only. Whenever possible chords should be performed at the octave indicated in the book; however candidates should use their judgement to choose an appropriate alternative octave if necessary.
24
Electronic Keyboard
Glossary of chords
The following examples indicate the meaning of the chord requirements across InitialGrade 5.
C Cm C7 C C C7 C7
Cm7
C7
C6
Cm6
C9
Cm9
C7(9)
Cm7(9)
C&7
C&7
C7(b5)
Cm7(b5)
C4
C2
C7(b9)
Exercises (music may be used)

At Initial to Grade 5, the candidate must prepare all three exercises, which aim to cover the following keyboard techniques: 1. Bass clef reading and finger dexterity 2. Arpeggios and chord use 3. Using keyboard functions
25
Electronic Keyboard Initial

Pieces (3 x 22 marks)
Subject code: EK
Three pieces are to be played, with at least one from each group, to form a balanced programme. Inclusion of one or more pieces using either own interpretation or improvisation is not obligatory (see page 23). Instead of one piece, candidates may offer their own composition (see page 7).
Group A
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work 20112013 Initial published by Trinity Guildhall: Trad. arr. Smith Trad. arr. Proudler di Capua arr. Clarke Trad. arr. Litten Trad. arr. Proudler Early One Morning Twinkle Twinkle Little Star* O sole mio The Quartermasters Store Sloop John B
The following alternative pieces are also available:
Composer
Mozart Trad. Trad. Trad. arr. Frith Trad. arr. Frith
Piece
Don Giovanni Over the Sea to Skye Home on the Range no. 34 (basic version) Lavender Blue Ye Banks and Braes
Book
Publisher
The Electronic Keyboard Collection book 1 Trinity Faber Keyed up, Initial Alfred 34 well-known Folk Songs Schott ED 12663 More Making the Grade, Preparatory Grade More Making the Grade, Preparatory Grade Chester Chester
Group B
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work 20112013 Initial published by Trinity Guildhall: Bleicher Proudler Bowie arr. Litten Mizell/Perren/Richards/ Gordy, arr. Clarke Bhamra Salsa rtmico A Jolly Little Rag Space Oddity ABC** Ghazal
The following alternative pieces may also be played:
Composer
Jennings & Homer Mercury arr. Litten Parton arr. Litten Vance & Pockriss
Piece
Titanic Theme Bohemian Rhapsody Jolene Catch a Falling Star
Book
Keyed up, Initial Keyed up, Initial Keyed up, Initial The Complete Keyboard Player, book 6
Publisher
Alfred Alfred Alfred Music Sales AM69998
* own interpretation ** improvisation 26
Electronic Keyboard Initial
Technical Work (14 marks) (see page 24)

Candidates to prepare all sections [i) to iii)] which are contained in the book Electronic Keyboard Pieces & Technical Work 20112013 Initial published by Trinity Guildhall.
i) Scales (from memory)

The following scales to be performed legato, d = 60 and mf, hands separately in piano voice with auto accompaniment off: C major (one octave) A minor (one octave): candidates choice of either harmonic or melodic or natural minor Pentatonic scale starting on C (5 notes) Example:
ii) Chord knowledge (from memory)

To be played with the left hand, mf, in piano voice with auto-accompaniment off: Triad of C major and A minor (root position)
iii) Exercises (music may be used)

Candidates to prepare all three exercises: 1. Pause for Thought 2. Early Riser 3. Major to Minor
Supporting Tests (2 x 10 marks)

Two tests are to be chosen from:
Sight Reading (see page 8) Aural (see page 12) Improvisation (see page 16) Musical Knowledge (see page 19)
27
Electronic Keyboard Grade 1

Subject code: EK
Three pieces are to be played, with at least one from each group, to form a balanced programme. Inclusion of one or more of such pieces using either own interpretation or improvisation is not obligatory (see page 23). Instead of one piece, candidates may offer their own composition (see page 7).
Group A
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work 20112013 Grade 1 published by Trinity Guildhall: Purcell arr. Clarke Trad. arr. Proudler Paganini arr. Fletcher Ponchielli arr. Litten Trad. arr. Smith Rondo from Abdelazer Greensleeves Caprice no. 24 from 24 Caprices* Dance of the Hours from La gioconda Romance de amor
Composer
Trad. arr. Litten Hook
Piece
Mango Walk Gavotte
Book
Keyed up, Grade 1 Piano Time Pieces book 2
Publisher
Alfred OUP
Group B
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work 20112013 Grade 1 published by Trinity Guildhall: Trad. arr. Litten Smith Litten Garvey/Potter/Potter/ Turner/Jupp, arr. Proudler Bhamra La bamba Karnak Southern Country** One Day Like This For the Love of Malkauns
Composer
Bullard Freedman arr. Fletcher Howard arr. Baker Jacobs & Casey Leiber & Stoller Sting
Piece
Feeling Fine Rock Around the Clock Fly me to the Moon Summer Nights I want to be free Fields of Gold
Book
Piano Time Pieces book 2 Making the Grade Keyboard Grade 1 The Complete Keyboard Player book 6 Keyed up, Grade 1 Keyed up, Grade 1 The Complete Keyboard Player book 2 (new revised edition) The Complete Keyboard Player book 2 (new revised edition)
Publisher
OUP Chester Music Sales AM69998 Alfred Alfred Wise Wise
The Velvet There She Goes Underground * own interpretation ** improvisation 28

Candidates to prepare all sections [i) to iii)] which are contained in the book Electronic Keyboard Pieces & Technical Work 20112013 Grade 1 published by Trinity Guildhall.

The following scales to be performed d = 70, legato and mf, hands separately (unless otherwise stated) in piano voice with auto accompaniment off: F and G major (one octave) D and E minor (one octave): candidates choice of either harmonic or melodic or natural minor Chromatic scale in contrary motion starting on D (one octave, hands together) Pentatonic scales starting on G and F (5 notes)

To be played with the left hand, mf, in piano voice with auto-accompaniment off: Triad of F and G major, D and E minor (root position and first inversion) Chord of F7 and G7 (root position and first inversion)

Candidates to prepare all three exercises: 1. Chickens 2. Bruce and the Spider 3. YeeHa!

29

Subject code: EK
Group A
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work 20112013 Grade 2 published by Trinity Guildhall: Boccherini arr. Bleicher Mozart arr. Beniston Chopin arr. Litten Trad. arr. Proudler Trad. arr. Clarke Minuet from Quintet op. 13 no. 5 Mozartian Melody from Symphony no. 39* Chopin Odyssey Danny Boy The House of the Rising Sun
Composer
Sherman & Sherman Velaquez
Piece
Chim Chim Cher-ee from Mary Poppins Besame Mucho
Book
The Complete Keyboard Player, Film & TV Themes Keyboard Klangwelt: LatinFestival
Publisher
Music Sales AM65962 Schott ED 9909
Group B
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work 20112013 Grade 2 published by Trinity Guildhall: Rodrguez arr. Litten Proudler Cohen arr. Proudler Butterfield Trad. arr. Dasgupta La Cumparsita** Dance Etude Hallelujah Haunted House Bhajan
Composer
Andresson & Ulvaeus Blake Lloyd Webber Norton
Piece
The Winner Takes it All Walking in the air Memory Get in Step
Book
The Complete Keyboard Player book 3 (new revised edition) The Electronic Keyboard Collection book 2 The Electronic Keyboard Collection book 2 The Microjazz Collection 2 level 4 What else can I play? Piano Grade 2 The Electronic Keyboard Collection book 2
Publisher
Wise Trinity Faber Trinity Faber Boosey M060106477 Faber Trinity Faber
Rodgers DoReMi arr. Williamson Strauss II You And You


The following scales to be performed d = 80, legato and mf, hands together (unless otherwise stated) in piano voice with auto accompaniment off: Bb and D major (two octaves) G and B minor (two octaves): candidates choice of either harmonic or melodic or natural minor Chromatic scale in similar motion starting on Bb (one octave) Pentatonic scale starting on Bb and D (one octave, hands separately) Example, starting on D:

To be played with the left hand, mf, in piano voice with auto-accompaniment off: Triad of Bb and D major, G and B minor (root position, first and second inversions) Chord of Bb7 and D7 (root position, first and second inversions)

Candidates to prepare all three exercises: 1. Medieval Mood 2. Mountain Pass 3. Twistin Tango

31

Subject code: EK
Group A
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work 20112013 Grade 3 published by Trinity Guildhall: Beethoven arr. Litten Saint-Sans arr. Proudler Gilbert and Sullivan arr. Fletcher Grieg arr. Clarke Trad. arr. Fletcher Minuet in G The Swan from Carnival of the Animals The Sun Whose Rays Are All Ablaze from The Mikado In the Hall of the Mountain King from Peer Gynt Sea Shanty and Hornpipe*
Group B
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work 20112013 Grade 3 published by Trinity Guildhall: Bleicher Proudler Fletcher Gold arr. Fletcher Bhamra La puesta del sol** Boogie on the Blues Why did you leave me? The Sarah Jane Adventures Bhangaragga
Composer
Afansieff & Carey Lennon & McCartney Lennon & McCartney Menken arr. Baker Norton
Piece
Hero When Im Sixty-Four Lady Madonna A Whole New World Fifth Dimension
Book
The Complete Keyboard Player, Greatest Hits The Complete Keyboard Player book 3
Publisher
Reid & Brooker, A Whiter Shade of Pale arr. Baker Rodgers Getting to know you arr. Williamson Washington When You Wish Upon & Harline, A Star * own interpretation ** improvisation 32
Music Sales AM 952677 Music Sales AM91385 The Complete Keyboard Player, Greatest Hits Music Sales AM 952677 The Complete Keyboard Player, Greatest Hits Music Sales AM 952677 The Microjazz Collection 2 level 4 Boosey M060106477 The Complete Keyboard Player, Greatest Hits Music Sales AM 952677 What else can I play? Piano Grade 2 IMP Ltd The Complete Keyboard Player book 4 Music Sales AM68552


The following scales to be performed d = 90, legato and mf, hands together (unless otherwise stated) in piano voice with auto accompaniment off: Eb and A major (two octaves) C and F# minor (two octaves): candidates choice of either harmonic or melodic or natural minor Chromatic scale in similar motion starting on Eb (two octaves) Eb major contrary motion scale (two octaves) Minor pentatonic starting on C and G (one octave, right hand only)

To be played with the left hand, mf, in piano voice with auto-accompaniment off: Triad of Eb and A major, C and F# minor (root position, first and second inversions) Chord of Eb7 and A7 (root position, first, second and third inversions)

Candidates to prepare all three exercises: 1. Cool it! 2. Sunshine and Shadow 3. A Little Waltz

33

Subject code: EK
Group A
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work 20112013 Grade 4 published by Trinity Guildhall: Trad. arr. Bleicher Trad. arr. Robathan/Beniston Offenbach arr. Bleicher Rossini arr. Litten Vivaldi arr. Proudler Dashing White Sergeant* Mexican Hat Dance (Jarabe tapatio) Barcarolle from The Tales of Hoffman Overture from William Tell Themes from The Four Seasons
Composer
Stanley arr. Baker
Piece
The Bluebell Polka
Book
The Complete Keyboard Player, Favourite Songs of Scotland
Publisher
Music Sales AM965701
Group B
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work 20112013 Grade 4 published by Trinity Guildhall: Villoldo arr. Litten Fletcher Houston arr. Clarke Lennon & McCartney arr. Clarke Bhamra El choclo Good Time Boogie** Breaking Free from High School Musical Yesterday The Maharajas Sorrow
Composer
Andersson
Piece
I know him so well
Book
The Complete Keyboard Player, Greatest Hits The Complete Keyboard Player, Jazz & Blues
Publisher
Wise AM952677 Music Sales AM65970
Hawkins, Tuxedo Junction Johnson, Dash & Feyne Jobim Desafinado & Mendoca Mier What a Glorious Day! Mier Fickle Fourths * own interpretation ** improvisation 34
Keyboard Klangwelt: LatinFestival Jazz, Rags and Blues book 3 Jazz, Rags and Blues book 3
Schott ED 9909 Alfred Alfred


The following scales to be performed d =100, legato and mf, hands together (unless otherwise stated) in piano voice with auto accompaniment off: Ab and E major (two octaves) F and C# minor (two octaves): candidates choice of either harmonic or melodic or natural minor Ab major contrary motion scale (two octaves) Chromatic scales in similar motion starting on Ab and E (two octaves) Blues scale starting on C and G (two octaves, right hand only, straight and swing rhythm)

To be played with the left hand, mf, in piano voice with auto-accompaniment off: Triad of Ab and E major, F and C# minor (root position, first and second inversions) Chord of Ab7, E7, Fm7 and C#m7 (root position, first, second and third inversions) Chord of Ab+, E+, F, C#, F#7, C#7 (root position)

Candidates to prepare all three exercises: 1. Go Ahead 2. Cochabamba 3. Boogie On Down

35

Subject code: EK
Group A
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work 20112013 Grade 5 published by Trinity Guildhall: Mozart arr. Clarke Mozart arr. Smith Strauss II arr. Proudler Saint-Sans arr. Clarke Gilbert and Sullivan arr. Litten 1st movement from Sonata in C, K. 545 Alla Turca from Sonata in A, K. 331 Waltzes from The Blue Danube Danse macabre Three Little Maids from School from The Mikado
Composer
Trad. Tchaikovsky arr. Bolton
Piece
Scottish Jig Medley* Waltz from Serenade for Strings
Book
The Complete Keyboard Player, Favourite Songs of Scotland Electronic Keyboard Cocktails Classics
Publisher
Wise AM965701 Cramer 90550
Group B
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work 20112013 Grade 5 published by Trinity Guildhall: Albniz arr. Fletcher Burnell Litten Grainer arr. Fletcher Bhamra Tango Montuno** Birthday Bash Doctor Who* Bollywood Love Song
Composer
Piece
Book
Publisher
Albert & Gaste Feelings Gershwin Kern arr. Baker Mier Norton
The Complete Keyboard Player, Greatest Hits Wise AM952677 Aint Misbehavin The Complete Keyboard Player book 4 Wise AM68552 Smoke Gets In Your Eyes The Complete Keyboard Player book 8 Wise AM78981 Pine Cone Rag Mechanics Rag Jazz, Rags and Blues book 3 The Microjazz Collection 3 level 5 Alfred Boosey M060106484


The following scales to be performed d = 110, legato and mf, hands together (unless otherwise stated) in piano voice with auto accompaniment off: Db and B major (two octaves) Bb and G# minor (two octaves): candidates choice of either harmonic or melodic or natural minor Chromatic scales in similar motion starting on Db and B (two octaves) G harmonic minor contrary motion scale (two octaves) Blues scale starting on F and A (two octaves, right hand only, straight and swing rhythm)

To be played with the bass note in the left hand and three notes of the chord in the right hand mf, using piano voice and auto-accompaniment off: Chords of Dbmaj7, Bmaj7, Bbm7, G#m7, Bbmmaj7, G#mmaj7, Db6, B6, Bbm6, G#m6 Perfect cadence in C, G and F major Example in C major:

Candidates to prepare all three exercises: 1. Late Night Blues 2. Master Blues 3. Swingin It

37
Digital Keyboard
Instruments
Instruments must have at least the following specification: Range Keyboard Capability
Subject code: DK
Minimum 61 keys (5 octaves) Full-size keys with touch sensitivity (to be used for all tests and pieces), and external sustain pedal where needed. 12-note polyphonic capacity at least eight registration memories to store orchestral changes and settings in memory (using a disk drive or internal memory) when the instrument is unplugged, so that they can be retrieved in the examination for both pieces and other tests. key-split function with the facility to split at different points on the keyboard. to ensure that lower right hand notes are not hindered by the split point. the ability to transpose the section of the keyboard above the split point down an octave so that the right-hand part can be played an octave higher than written. A substantial variety of voices and styles; the range of voices and styles used will depend on the instrument and appropriate alternatives may be employed at the discretion of the candidate.
Instruments with facilities exceeding these requirements, including those with MIDI capability, are permitted. It must be stressed that all pieces and tests will be assessed on the musicality of the candidates performance and not on the capacity of the instrument itself. Candidates must provide their own instrument, stand and power lead(s). Many of the pieces are written to incorporate the use of single-fingered chords, thus freeing the left hand to make adjustments to volume and voice. Provided such adjustments can be otherwise accommodated, fully fingered chords may be used, except where otherwise stated.
Glossary of Chords
The following examples show the meaning of the chord symbols used in pieces published in Digital Keyboard from 2000. It is not intended that these examples represent the way each chord must be arranged: candidates should use their judgement to choose spacing and arrangement of notes that are appropriate for the style/voice used and the musical context.
Cm
C+
Csus4
C7
C7/ G
C6
Cm6
C 7
Cm7 5
C7sus4
C9
C 9
C13
38
Digital Keyboard
Pieces
Versatility is required to utilise fully the complex capabilities of the digital keyboard. At this level, therefore, the candidates performance should demonstrate their command of the instruments features through creative engagement with the material. To this end, the pieces published by Trinity in Digital Keyboard from 2000 include suggestions for the performance and interpretations of the pieces in that volume. The following notes are intended to help candidates with the development of their own responses to material not published by Trinity and are suggestions only, and not requirements. Group A pieces explore the candidates ability to play a melodic bass line and rhythm in the left hand, coordinated with melody and chords in the right. Grade 6 Song for Guy/Sad Songs Say so Much Suggested voice: Electric Bass (left hand). The right hand plays the melody one octave higher than written but transposed an octave lower using transposition function for ease of playing. Voices can change or mix according to the candidates creativity and musicianship, and extemporizations are encouraged though not obligatory. Suggested style: Key split: Grade 7 Angels Suggested voice: Suggested style: Modern Electric Piano and Strings. To be played as written using external sustain pedal. Using the auto play chord function, select Pianist Mode where the entire keyboard can be used to specify auto play chords while playing the score as written. Thus, the bass line and rhythm are carried by the auto play chord function while allowing the implied chords to show forth through the written and played score. Electric Bass (left hand). The right hand plays the melody one octave higher than written but transposed an octave lower using the transposition function for ease of playing. Voices can change or mix according to the candidates creativity and musicianship, and extemporizations are encouraged though not obligatory. Hard Rock (Im Still Standing) Mambo (Little Jeannie). Candidates should treat the entire piece as a skeleton score; filling it out with dense registration/orchestration. LH: F#2 and below; RH: G2 and above Mambo. Candidates may create their own rhythms and fill-ins where appropriate. Use the fade-out or rhythm stop function to the end. LH: B2 and below; RH: C2 and above (Song for Guy); LH: F#2 and below; RH: G2 and above (Sad songs say so much)
Im Still Standing/Little Jeannie Suggested voice:
Suggested style: Key split:
39
Digital Keyboard Grade 8 Let me Entertain You Suggested voice: Dance/Analogue Bass (left hand). Full Draw Bar Organ/Rock Organ (chorus but no Tremolo) for bars 112. Add Tremolo effect to the organ, Modern Electric Piano and Synth/Space type pads for bars 1320. Bars 2128 as bars 512; Synth/Space type pads for bars 2936. The right hand should play an amalgamation of the treble clef right hand part, together with the vocal line. 90s dance. End the piece with right and left hand parts together on the second quaver of the final bar (rhythm stop). LH: F#2 and below; RH: G2 and above
Suggested style: Key split:
Group B pieces explore the traditional digital keyboard technique of full-fingered chords in the left hand with a melody in the right. Split the keyboard with full chords in the left hand and melody/ harmony in the right, and consider each piece to be a very loose skeleton score which can be filled out with a choice of sounds, rhythms, fill ins and harmonies in the right hand. The aim is to create a personal arrangement with as much artistic and musical flair as possible. Group C pieces explore the candidates creative skills in response to given stimuli, and the application of these skills to the instrument.
40
Digital Keyboard Grade 6

Subject code: DK
Three pieces are to be played, one from each Group, to form a balanced programme. Candidates may not offer their own composition in place of a Group C item.
Group A
John John
Piece
Sad Songs Say So Much (from Elton John Anthology) Song For Guy (from Elton John Anthology)
Publisher
Hal Leonard Hal Leonard
Group B
Carmichael Davenport Dvork John Rose, arr. The Nearness Of You Wise AM936980 (from The Complete Keyboard Player, Dinner Jazz) Fever (from The Complete Keyboard Player, Dinner Jazz) Wise AM936980 Humoreske op. 101 no. 7 (from Digital Keyboard from 2000)* Trinity Guildhall I Guess Thats Why They Call It The Blues (from Elton John Love Songs) Faber 3687A Medley 1-Quickstep (from Ballroom Favourites 2) Faber 17788
* This piece may be performed in the tempo range of d = 5690.
Group C
The following compositions are taken from Digital Keyboard from 2000, published by Trinity Guildhall: Havanita (Chord sequence-based composition) Eyes Wide Open (Note pattern-based composition) Here we Are All (Word-based composition) The chosen item must last no more than 2 minutes. Havanita must be completed in staff notation**. A score of Eyes Wide Open or Here we are all must be presented in any coherent form of notation.
** A single line arrangement with chord symbols and any other relevant information (voices, style etc.).
Technical Work (14 marks)

All sections [i) to iii)] to be prepared from memory.
i) Chord knowledge (4 marks)

All chords to be performed with the bass note in the left hand and three notes of the chord in the right hand (doubling the tonic), using piano voice and auto-accompaniment off: Bb9, D9, Gm9, Bm9, Bb7(9), D7(9), Gm7(9), Bm7(9), Bbsus4, Dsus4, Bbsus2, Dsus2, Gmsus2, Bmsus2 Plagal cadences in G and F major IcVI progression in G and F major
41
ii) Figuration and accompaniment co-ordination (3 marks)

The candidate should select any appropriate keyboard style/accompaniment and perform the following sequence in any of the stated keys, as requested by the examiner: Sequence: Sustained tonic chord in the left hand, with its scale (in quavers) followed by its arpeggio (in crotchets) in the right hand, ascending and descending (two octaves) Articulation: f/p touch sensitive, legato and staccato, as requested by the examiner Keys: C, D, G, F and Bb major C, D, G, F and Bb harmonic and melodic minor
iii) Stylistic Awareness (7 marks)

The candidate should select any appropriate bass sound (electric or acoustic) for the bass line in the left hand, with appropriate sounds for chords in the right hand, and perform an accompaniment or keyboard groove in any of the following key centres and styles, as requested by the examiner. In each case the chord sequence will take the form of a twelve-bar blues, ending on the tonic. The tests must be played without music, and candidates should improvise in the required style rather than exactly copying the written examples in Digital Keyboard from 2000. Styles: March, Waltz, Swing, Salsa Key Centres: C, F and G

Candidates to prepare i) and ii):
i) Sight Reading (see page 8)* ii) Aural (see page 12) or Improvisation (see page 16)
* The sight reading test will be given in piano score (treble and bass clefs) to be played hands together after 30
seconds preparation time.
42

Subject code: DK
Group A
John John Widor Williams
Piece
Im Still Standing (from Elton John Anthology) Little Jeannie (from Elton John Anthology) Toccata in F from Symphony no. 5 (from Electronic Keyboard Cocktails Wedding Music) Angels (from Life thru a lens)
Publisher
Hal Leonard Hal Leonard Cramer 90504 Faber
Group B
Chopin Waltz in Db, op. 64 no. 1 (from Digital Keyboard from 2000) Donaldson, arr. Medley 13 Roarin-Twenties (from Ballroom Favourites 2) Joplin The Entertainer (from Digital Keyboard from 2000) Trinity Guildhall Faber 17788 Trinity Guildhall
Group C
The following compositions are taken from Digital Keyboard from 2000, published by Trinity Guildhall. Sundrop (Chord sequence-based composition) Cellular Motion (Note pattern-based composition) Western Wind (Poetry-based composition) The chosen item must last no more than 2 minutes. Sundrop must be completed in staff notation*. A score of Cellular Motion or Western Wind must be presented in any coherent form of notation.
* A single line arrangement with chord symbols and any other relevant information (voices, style etc.).

All sections [i) to iii)] to be prepared from memory

All chords to be performed with the bass note in the left hand and three notes of the chord in the right hand (doubling the tonic), using piano voice and auto-accompaniment off: Chord of Ab+7, E+7, Abmmaj7, Emmaj7, Absus4, Esus4, Absus2, Esus2 Perfect and plagal cadences in the keys of Bb major, D major and A minor IcVI progressions in Bb and D major and A minor IIb7VI progression in Bb and D major and A minor
43

The candidate should select any appropriate keyboard style/accompaniment and perform the following sequence in any of the stated keys, as requested by the examiner: Sequence: Sustained tonic chord in the left hand, with its scale (in quavers) followed by its arpeggio (in crotchets) in the right hand, ascending and descending (two octaves) (d = 126) Articulation: f/p touch sensitive, legato and staccato, as requested by the examiner Keys: A, D, E, Bb, Eb major A, D, E, Bb, Eb harmonic and melodic minor
iii) Stylistic Awareness (7 marks)

The candidate should select any appropriate bass sound (electric or acoustic) for the bass line in the left hand, with appropriate sounds for chords in the right hand, and perform an accompaniment or keyboard groove in any of the following key centres and styles, as requested by the examiner. In each case the chord sequence will take the form of a twelve-bar blues, ending on the tonic. The tests must be played without music, and candidates should improvise in the required style rather than exactly copying the written examples in Digital Keyboard from 2000. Styles: March, Waltz, Swing, Salsa, Reggae, Funk Key Centres: A, D, F and Bb

44

Subject code: DK
Group A
SomersetPriddle Williams
Piece
Mad Max Beaufort Chase (from Digital Keyboard from 2000) Let Me Entertain You (from Life thru a Lens)
Publisher
Trinity Guildhall Faber
Group B
Gershwin Grainger McHugh & Fields, arr. Mozart I Got Rhythm (from Digital Keyboard from 2000) Country Gardens (from Digital Keyboard from 2000) Medley 3 In the Mood for Love (from Ballroom Favourites 2) Allegro in C, K. 5a (from Digital Keyboard from 2000) Trinity Guildhall Trinity Guildhall Faber 17788 Trinity Guildhall
Group C
The following compositions are taken from Digital Keyboard from 2000, published by Trinity Guildhall. Good Evening, Ladies and Gentlemen! (Chord sequence-based composition) Uh-huh (Note pattern-based composition) I saw one like the son of man (Word-based composition) Pandoras Box (Shape-based composition) The chosen item must last no more than 2 minutes. Good Evening, Ladies and Gentlemen! must be completed in staff notation*. A score of Uh-huh or I saw one like the son of man or Pandoras Box must be presented in any coherent form of notation.
* A single line arrangement with chord symbols and any other relevant information (voices, style etc.).

All sections [i) to iii)] to be prepared from memory.

All chords to be performed with the bass note in the left hand and three notes of the chord in the right hand (doubling the tonic), using piano voice and auto-accompaniment off: Chord of F#7(b5), Eb7(b5), B7(b5), F#m7(b5), Ebm7(b5), Bm7(b5), F#sus4, Ebsus4, Bsus4, F#sus2, Ebsus2, Bsus2 Perfect and plagal cadences in Eb and A major and D minor IcVI progressions in Eb and A major and D minor IIb7VI progression in Eb and A major and D minor IIVIcVI progression in Eb and A major and D minor
45

The candidate should select any appropriate keyboard style/accompaniment and perform the following sequence in any of the stated keys, as requested by the examiner: Sequence: Sustained tonic chord in the left hand, with its scale (in quavers) followed by its arpeggio (in crotchets) in the right hand, ascending and descending (two octaves) (d = 132) Articulation: f/p touch sensitive, legato and staccato, as requested by the examiner Keys: B, Ab, Db, C# and F# major B, Ab, Db, C# and F# harmonic and melodic minor iii) Stylistic awareness (7 marks) The candidate should select any appropriate bass sound (electric or acoustic) for the bass line in the left hand, with appropriate sounds for chords in the right hand, and perform an accompaniment or keyboard groove in any of the following key centres and styles, as requested by the examiner. In each case the chord sequence will take the form of a twelve-bar blues, ending on the tonic. The tests must be played without music, and candidates should improvise in the required style rather than exactly copying the written examples in Digital Keyboard from 2000. Styles: Reggae, 4 Swing, Techno, Funk, Fast 4 Gospel, 8-Beat and Jazz Waltz Key Centres: B, E, Ab and Eb

46
Electronic Organ
Subject code: EO
These examinations can be taken only at centres where there is an organ, or where one can be provided by the candidate or teacher. In the latter case, all arrangements must be discussed with the representative well in advance of the closing date for the session concerned. The instrument must be installed before the first examination of the day and must not be removed until a point at which the examination timetable will not be disrupted, which might be after the last examination of the day. The instrument must be insured at the candidates expense. In all examinations candidates have freedom of interpretation and registration according to the instrument being played and the character of the music. Where suggested notes for performance or detailed registrations are given, candidates may, at their discretion, substitute any suitable alternatives appropriate to the requirements of the music. Please note the following, however: 1 2 3 4 5 6 It is expected that style should be used at all levels, where this enhances the performance. The use of rhythm sequence programming is acceptable at all levels, where appropriate. Control data, including registration changes, functions of expression pedal(s), footswitch(es) and knee lever, may also be programmed, when available. The use of disks to facilitate (2) and (3) above is acceptable. No other performance data may be pre-programmed into the instrument or any other media storage device. All examinations may be taken on an instrument with a pedal-board which has a compass of one octave. Instruments with pedal-boards of less than one octave are not acceptable. Pedals must be used where specified in the pieces. Where applicable, original two-stave piano music must be arranged by the candidate to make full use of both manuals and pedal-board. A fully written-out score of any such arrangement will not be required by the examiner. Pedal Sustain, if present, should be switched on for scales and arpeggios. Rhythmic patterns should be those shown in the comparable scale book published for Solo Piano. Candidates are reminded that Trinity Guildhall accepts no responsibility for any defect which may develop or become apparent in the instrument during the course of the examination. This includes software (such as disks) when used.
8 9
10 Candidates relying on pre-recorded rhythm sequence programmes will be expected, in the event of a breakdown, to be able to continue their performance without a re-start.
47
Electronic Organ
Tempi for scales and arpeggios

A minimum pace is required, increasing gradually grade by grade: Grade Scales Arpeggios Scales in thirds Sevenths Pedal scales
Initial Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8
d = 72 d = 72 d = 72 d = 84 d = 96 d = 108 d = 120 d = 132 d = 132
d = 60 d = 60 d = 72 d = 84 d = 90 d = 96

d = 60 d = 60 d = 60

d = 66 d = 72 d = 80
d = 60 d = 60 d = 66 d = 66 d = 72 d = 72 d = 80 d = 88 d = 92
48
Electronic Organ Initial

Subject code: EO
Three pieces are to be played, at least one from each Group, to form a balanced programme. Candidates at Initial may not offer their own composition instead of a third piece.
Group A Composer
Blue Cowles Cowles Ogden Tchaikovsky
Piece
Take My Hand Still Waters Whilst Waiting Poodles In Puddles An Ancient French Song
Book
Organ World book 1 Organ World book 1 Organ World book 1 Organ World book 1 Electronic Organ book 1
Publisher
Trinity Guildhall Trinity Guildhall Trinity Guildhall Trinity Guildhall Guildhall
Group B
Anon Anon Brahms Clarke Hawker & Raymonde Joplin Lloyd Webber Young Greensleeves Careless Love Lullaby Music Box Melody I Only Want To Be With You The Entertainer Any Dream Will Do When I Fall in Love The Joy of Organ Music The Joy of Organ Music The Joy of Organ Music Electronic Organ book 1 Electronic Organ book 1 Electronic Organ book 1 Electronic Organ book 1 Electronic Organ book 1 Yorktown YK 21095 Yorktown YK 21095 Yorktown YK 21095 Guildhall Guildhall Guildhall Guildhall Guildhall

Both sections [i) and ii)] to be prepared
i) Exercise
The following exercise to be played: Trad. Down in Yon Forest (from Organ World book 1) Trinity Guildhall
ii) Scales (from memory)

The following scales to be played mf and legato:
Manual: C and G major (one octave, hands separately) Pedal: C major (from C2 to G2 only)

49
Electronic Organ Grade 1

Subject code: EO
Three pieces are to be played, at least one from each Group, to form a balanced programme. Instead of one item, candidates may offer their own composition (see page 7).
Group A
Bailey Lee Lee Offenbach Runswick Trad.
Piece
Scoobie Du Wup Invocation Stepping Stones Can-Can Pronto The Skye Boat Song
Book
Organ World book 1 Organ World book 1 Organ World book 1 Electronic Organ book 1 Organ World book 1 Electronic Organ book 1
Publisher
Trinity Guildhall Trinity Guildhall Trinity Guildhall Guildhall Trinity Guildhall Guildhall
Group B
Clarke Hamlisch Maclellan R Presley Runswick Somewhere In My Dreams The Way We Were Snowbird Love Is All Around Velvet Dreams Electronic Organ book 1 Electronic Organ book 1 Electronic Organ book 1 Electronic Organ book 1 Organ World book 1 Electronic Organ book 1 The Joy of Organ Music Guildhall Guildhall Guildhall Guildhall Trinity Guildhall Guildhall Yorktown YK 21095
Schmidt Try To Remember Soloviev-Sedoy Moscow Nights

Scales and Arpeggios (from memory)
The following scales and arpeggios to be played mf and legato. Manual scales hands separately: Manual: Scales: D and F major (one octave) A and D harmonic minor (one octave) Arpeggios: D and F major (one octave) A and D minor (one octave) Pedal: C major (one octave)

50

Subject code: EO
Group A
Bailey Blue Cowles Holdsworth MacDowell Saint-Sans Strauss Trad.
Piece
Moonlight Air I Remember Follow Me! On The Move! To A Wild Rose My Heart at thy Sweet Voice The Emperor Waltz O sole mio
Book
Organ World book 1 Organ World book 1 Organ World book 1 Organ World book 1 The Joy of Organ Music The Joy of Organ Music The Joy of Organ Music The Complete Organ Player Songbook Series 2 vol. 2
Publisher
Trinity Guildhall Trinity Guildhall Trinity Guildhall Trinity Guildhall Yorktown YK 21095 Yorktown YK 21095 Yorktown YK 21095 Wise AM33739
Group B
Angulo & Seeger Clarke Coben Danvers Herman Lennon Mandel & Altman Richie Wonder Guantanamera Bird Of Paradise The Old Piano Roll Blues Till Hello Dolly Woman The Complete Organ Player Songbook Series 2 vol. 2 Electronic Organ book 2 The Complete Organ Player Songbook Series 2 vol. 2 Electronic Organ book 2 Electronic Organ book 2 The Complete Organ Player Songbook Series 2 vol. 2 Electronic Organ book 2 Electronic Organ book 2 The Complete Organ Player Songbook Series 2 vol. 2 Wise AM33739 Guildhall Wise AM33739 Guildhall Guildhall Wise AM33739
Song from M.A.S.H. Hello You Are The Sunshine Of My Life
Guildhall Guildhall Music Sales

The following scales and arpeggios to be played mf and legato. Manual scales hands separately or together, as requested by the examiner: Manual: Scales: A, D and B major (two octaves) D harmonic minor (two octaves) G melodic minor (two octaves) Chromatic scale on C (two octaves, hands separately only) Arpeggios: A, D and B major (two octaves) D and G minor (two octaves)
Pedal:
Arpeggio of C major (one octave) 51

52

Subject code: EO
Group A
Blue Bucalossi Debussy Haydn Ogden Schumann
Piece
Book
Publisher
Trinity Guildhall Guildhall Yorktown YK 21095 Yorktown YK 21095 Trinity Guildhall Yorktown YK 21095
Autumn Leaves Organ World book 1 The Grasshoppers Dance Electronic Organ book 2 Clair de lune St. Anthony Chorale Beyond The Stars Trumerei The Joy of Organ Music The Joy of Organ Music Organ World book 1 The Joy of Organ Music
Group B
Brahms Clarke Cowles Ebb & Kander Goodrum Howard & Blaikley Jessel Williams Hungarian Dance no. 4 Sierra Serenade Tango For Bertha New York, New York You Needed Me The Joy of Organ Music Electronic Organ book 2 Organ World book 1 Electronic Organ book 2 Electronic Organ book 2 Yorktown YK 21095 Guildhall Trinity Guildhall Guildhall Guildhall Guildhall Yorktown YK 21095 Guildhall
Theme from Miss Marple Electronic Organ book 2 Parade Of The Tin Soldiers The Joy of Organ Music Star Wars Electronic Organ book 2

The following scales and arpeggios to be played from memory, mf and legato. Manual scales hands together:
Manual:
Scales: Bb and Eb major (two octaves) B and F harmonic minor (two octaves) C melodic minor (two octaves) Chromatic scale in contrary motion from unison C (two octaves) Arpeggios: Bb and Eb major (two octaves) B, C and F minor (two octaves)
Pedal:
Dominant 7th in the key of F (one octave)

Sight Reading (see page 8); Aural (see page 12) Improvisation (see page 16); Musical Knowledge (see page 19)
53

Subject code: EO
Group A
Blue Booth Delibes Mozart
Piece
Tutti Frutti Morning Serenade Waltz (from Naila) Romanze from Eine Kleine Nachtmusik, K. 525 The Hipster Tango Georgia On My Mind Were I But Crazy For Loves Sake! Carnival Calypso Nobody Does It Better I Made It Thru The Rain Dont Cry For Me Argentina* The Music Of The Night*
Book
Organ World book 2 Organ World book 2 The Joy of More Organ Music Electronic Organ book 3 Organ World book 2 The Joy of More Organ Music Electronic Organ book 3 Electronic Organ book 3 Electronic Organ book 3 Electronic Organ book 3 Electronic Organ book 3
Publisher
Trinity Guildhall Trinity Guildhall Yorktown YK 21210 Guildhall Trinity Guildhall Yorktown YK 21210 Guildhall Guildhall Guildhall Guildhall Guildhall
Runswick
Group B
Albeniz Carmichael Churchill Clarke Hamlisch Kenny Lloyd Webber Lloyd Webber
* available from www.sheetmusicdirect.com or www.musicroom.com

The following scales and arpeggios to be played mf and legato. Manual scales hands together:
Manual:
Scales: E, Ab, Db and F# major (two octaves) C# harmonic minor (two octaves) F melodic minor (two octaves) Chromatic scale (similar motion) starting on any note requested (two octaves) Arpeggios: E, Ab, Db and F# major (two octaves) C# and F minor (two octaves)
Pedal:
Scale of C major (one octave) Scale of C harmonic minor (one octave)

54

Subject code: EO
Group A
Bailey Blue Monti Ogden Runswick Tchaikovsky Trad.
Piece
Blue Mood Swing Boogie Czards Eurotunnel Shuttle Chromatique Waltz from Serenade for Strings, op. 48 The Floral Dance
Book
Organ World book 2 Organ World book 2 The Joy of More Organ Music Organ World book 2 Organ World book 2 Electronic Organ book 3 The Joy of More Organ Music
Publisher
Trinity Guildhall Trinity Guildhall Yorktown YK 21210 Trinity Guildhall Trinity Guildhall Guildhall Yorktown YK 21210
Group B
Bayer, Sager & Allen Clarke Garner John & Rice Lewis Mancini Schnberg Suessdorf Williams Dont Cry Out Loud Tropical Mix Misty Can You Feel The Love Tonight* How High The Moon Baby Elephant Walk* I Dreamed A Dream* Moonlight In Vermont The Raiders March* Electronic Organ book 3 Electronic Organ book 3 Electronic Organ book 3 Guildhall Guildhall Guildhall
Electronic Organ book 3
Guildhall
Electronic Organ book 3
Guildhall

The following scales and arpeggios to be played mf and legato. Manual scales hands together:
Manual:
Scales: All major keys (two octaves) Bb and F# harmonic minor (two octaves) G# melodic minor (two octaves) Chromatic scale starting on any note requested (two octaves) Arpeggios: All major keys (two octaves) Bb, F# and G# minor (two octaves)
55
Pedal:
Scales: C major (one octave) C melodic minor (one octave) Arpeggios: C major (one octave) C minor (one octave)

56

Subject code: EO
Three pieces are to be played, freely chosen from the list below, to form a balanced programme. Instead of one item, candidates may offer their own composition (see page 7).
Composer
Bizet Bizet Booth Brahms Cowles Creamer & Layton Delibes Gibb, Gibb & Gibb Gossec Haydn Hudson, De Lange & Mills MacDonald, Salter & Withers Marquina Oliver Roberts, Jacobson & Koffman Robin & Shavers Runswick Russell & Ellington Verdi Verdi Verdi Verdi Weber
Piece
Toreadors Song from Carmen (from Opera Gala book 1) In The Depths Of The Holy Temple from The Pearl Fishers (from Opera Gala book 2) Blue Lullaby (from Organ World book 2) Ungarischer Tanz no. 5 [Repeats must be played] (from Die Welt der Orgel-Klassik I) Interval (Ice Cream Music) (from Organ World book 2) Way Down Yonder In New Orleans* Flower Duet from Lakm (from Classical Concert) Night Fever (from The Complete Organ Player: Favourite Organ Pieces) Gavotte [Repeats must be played] (from Die Welt der Orgel-Klassik I) Rondo from Trumpet Concerto (from Classical Concert)
Publisher
Stainer H331 Stainer H332 Trinity Guildhall Schott ED 5601 Trinity Guildhall
Stainer H362
Wise AM939213 Schott ED 5601 Stainer H362
Moonglow*
Just The Two Of Us (from The Complete Organ Player: Favourite Organ Pieces) Spanish Gypsy Dance (from The Complete Organ Player: Favourite Organ Pieces) Opus 1* Swingin Shepherd Blues*
Wise AM939213 Wise AM939213
Undecided* Blue Six (from Organ World book 2) Dont Get Around Much Anymore* Chorus of the Hebrew Slaves from Nabucco (from Opera Gala book 1) Drinking Song from La Traviata (from Opera Gala book 1) Quartet from Rigoletto (from Opera Gala book 1) The Anvil Chorus from Il Travatore (from Opera Gala book 2) Aufforderung zum Tanz [Repeats must be played] (from Die Welt der Orgel-Klassik I)
Trinity Guildhall
Stainer H331 Stainer H331 Stainer H331 Stainer H332 Schott ED 5601 57

Scales and Arpeggios (from memory) Manual:
The candidate should prepare all manual scales and arpeggios from one of the following key groups: Group 1: A, C, Eb, F# or Group 2: E, G, Bb, C#/Db or Group 3: B, D, F, Ab/G# The following to be performed hands together, mf and legato in all keys of the chosen group: The major scale (two octaves) The harmonic minor scale (two octaves) The melodic minor scale (two octaves) The major scale in 3rds (hands together a 3rd apart, left hand starting on the tonic) (two octaves) The major arpeggio (two octaves) The minor arpeggio (two octaves) The following also to be performed hands together, mf and legato Chromatic scale in minor thirds, starting an octave below middle C in the left hand and Eb in the right hand (three octaves) Diminished 7th starting on C (three octaves)
Pedal/Manual:
The following scales to be performed on the pedals, with the left hand or right hand (as requested by the examiner) playing on the manuals one octave higher, mf and legato: C major (one octave) C harmonic minor (one octave) C melodic minor (one octave)

i) Sight Reading (see page 8) ii) Aural (see page 12) or Improvisation (see page 16)
58

Subject code: EO
Composer
Arndt Bailey Beethoven Binge Boccherini Cowles Cowles Gimbel & Thielmans Gounod Parker Puccini Raye, De Paul & Johnson Runswick Shearing & Weiss Vivaldi Washington & Kaper Williams Williams & Monk
Piece
Nola (from The Complete Organ Player: Favourite Organ Pieces) Cookin With Gas (from Organ World book 3) Adagio un poco mosso from Piano Concerto no. 5 (from Classical Concert) Elizabethan Serenade (from The Complete Organ Player: Favourite Organ Pieces) Minuet from the Quintet (from Classical Concert) An Intermezzo Sandwich (from Organ World book 3) Wedding Bossanova (from Organ World book 3) Bluesette* Juliets Waltz Song from Romeo and Juliet (from Opera Gala book 3) Harlequin (from Organ World book 3) Your Tiny Hand Is Frozen from La Bohme (from Opera Gala book 3) Ill Remember April* Stay Awhile (from Organ World book 3) Lullaby Of Birdland* Spring from The Four Seasons (from Classical Concert) On Green Dolphin Street* Devils Galop (from The Complete Organ Player: Favourite Organ Pieces) Round Midnight*
Publisher
Wise AM 939213 Trinity Guildhall Stainer H362 Wise AM939213 Stainer H362 Trinity Guildhall Trinity Guildhall
Stainer H333 Trinity Guildhall Stainer H333
Trinity Guildhall
Stainer H362
Wise AM939213

The candidate should prepare all manual scales and arpeggios from one of the following key groups: Group 1: A, C, Eb, F# or Group 2: E, G, Bb, C#/Db or Group 3: B, D, F, Ab/G# 59
Electronic Organ Grade 7 The following to be performed hands together, mf and legato in all keys of the chosen group: The major scale (two octaves) The harmonic minor scale (two octaves) The melodic minor scale (two octaves) The major scale in 6ths (hands together a 6th apart, right hand starting on the tonic) (two octaves) The major arpeggio in root position and first inversion (two octaves) The minor arpeggio in root position and first inversion (two octaves) The dominant 7th in root position The following also to be performed hands together, mf and legato C harmonic minor scale in contrary motion (two octaves)
Pedal/Manual:
The following scales to be performed on the pedals, with the left hand or right hand (as requested by the examiner) playing on the manuals one octave higher, mf and legato: C major in contrary motion (one octave) C harmonic minor in contrary motion (one octave)

60

Subject code: EO
Composer
J S Bach Bizet Ellis Handel Hendricks & Timmons Jobim Mercer & Raksin Mozart Paparelli, Gillespie & Leveen Parish, Mills & Hudson Parker Smetana Runswick Verdi
Piece
Prelude in C major BWV 553 (Prelude only) (from Bach Organ Works book 1: Eight Short Preludes and Fugues) The Flower Song from Carmen (from Opera Gala book 3) Coronation Scot (from The Complete Organ Player: Favourite Organ Pieces) Zadok the Priest from Coronation Anthem no. 1 (from Classical Concert) Moanin* One Note Samba (Samba De Uma Nota So) (from The Complete Organ Player: Favourite Organ Pieces) Laura* Porgi, Amor from the Marriage of Figaro (from Classical Concert)
Publisher
Novello 10018 Stainer H333 Wise AM939213 Stainer H362
Wise AM939213
Stainer H362
A Night In Tunisia* Organ Grinders Swing* Prelude In Ragtime (from Organ World book 3) Dance of the Comedians from The Bartered Bride (from Opera Gala book 3) Well You Might (from Organ World book 3) Sempre Libera from La Traviata (from Opera Gala book 3) Trinity Guildhall Stainer H333 Trinity Guildhall Stainer H333

The candidate should prepare all manual scales and arpeggios from one of the following key groups: Group 1: A, C, Eb, F# or Group 2: E, G, Bb, C#/Db or Group 3: B, D, F, Ab/G#
61
Electronic Organ Grade 8 The following to be performed hands together, mf and legato in all keys of the chosen group: The major scale (two octaves) The harmonic minor scale (two octaves) The melodic minor scale (two octaves) The major scale in 3rds (hands separately) (two octaves) The major arpeggio in root position, first and second inversions (two octaves) The minor arpeggio in root position, first and second inversions (two octaves) The dominant 7th in root position (two octaves) The diminished 7th starting on any note from the chosen group (two octaves) The following also to be performed hands together, mf and legato: C major scale in contrary motion (two octaves) C harmonic minor scale in contrary motion (two octaves)
Pedal/Manual:
The following scales to be performed on the pedals, with the left hand or right hand (as requested by the examiner) playing on the manuals one octave higher, mf and legato: C major contrary motion (one octave) C harmonic minor contrary motion (one octave)

62
Organ
Subject code: OGN
These examinations can only be taken at centres where there is an organ, or where one can be provided by the candidate or teacher. Candidates normally play a conventional pipe organ. In cases where candidates wish to play a pipeless analogue electronic organ or a computer organ, the specification must be sent to the Chief Examiner in Music for approval at least thirty days before an entry is made. Candidates must satisfy themselves that the specification of the instrument is adequate for the demands of the pieces they choose to play. The instrument must be located within easy reach of the examination centre. Transport to and from the location must be provided for the examiner(s) at no cost to Trinity. All arrangements must be discussed with the representative well in advance of the closing date for the session concerned. If a pipeless instrument is installed at the centre for the examination, the instrument must be installed before the first examination of the day and must not be removed until a point at which the examination timetable will not be disrupted, which might be after the last examination of the day. The instrument must be insured at the candidates expense. For examinations held in churches and other public buildings, arrangements must be made that the examination will not be interrupted by members of the general public. In all examinations candidates have freedom of interpretation and registration according to the instrument being played and the character of the music. Memory features, other than adjustable pistons and the use of sequencers, are not permitted. Page-turners may assist with registration changes only where appropriate pre-set combination pistons are not available (whether adjustable or fixed). If there is any doubt in this matter, the precise technical specification of the instrument must be approved in writing by Trinity Guildhall before an entry is made. The Organ syllabus may not be offered on Electronic Organ.
Technical Work
All scales, arpeggios and other material to be performed from memory. A minimum pace is required, increasing gradually grade by grade: Grade Manual scales Manual arpeggios Manual sevenths Pedal scales Pedal broken chords
Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8
d = 72 d = 72 d = 84 d = 96 d = 108 d = 120 d = 132 d = 132
d = 60 d = 72 d = 84 d = 90 d = 96

d = 66 d = 72 d = 80

d = 72 d = 84 d = 60 d = 72

d = 84 d = 90

63
Organ
Examples of Technical Work

Patterns for pedal items for Grades 36 are as follows: Broken Thirds (one octave)
Broken Chord (twelfth)
Running Triplets (one octave)

3 3 3 3 3 3 3
3 3 3
3 3
64
Organ Grade 1
Subject code: OGN
Three pieces are to be played, one from each Group, to form a balanced programme. Instead of one item, candidates may offer their own composition (see page 7).
Group A
Alcock J S Bach Bhm Boyvin Dandrieu Frescobaldi Pachelbel Telemann
Piece
Trumpet Piece Ich hab mein Sach Gott heimgestellt BWV 708 Minuet in G major Duo du troisime ton Chantons je vous prie (p.7) Magnificat Primi Toni Fuga O Lamm Gottes unschuldig no. 1 of Two Equali Prire Moderato (no. 2 of Four Short Preludes) Cornet Voluntary, slow movt Eighteen Offertorium (Missa pro Organo) Praeludium in C moll
Book
Organ Music for Manuals book 4 Organ Works book 18 A Graded Anthology vol. 2 (ed. Anne Marsden Thomas) Organ Music for Manuals book 3 Nols Organ Music for Manuals book 1 Organ Music for Manuals book 3 Organ Music for Manuals book 3 Music for Memorial and Thanksgiving Services Music for Memorial and Thanksgiving Services Organ Music for Manuals book 1 Organ Music for Manuals book 4 Miniatures for Organ Music for Manuals book 3 Easy Organ pieces from 19th Century vol. 3 A Graded Anthology vol. 2 10 Christmas Pastorals 4 Pieces for Organ Getting started on the Organ Miniatures vol. 1 Easy Organ Pieces book 1 Organ Music for Manuals book 5 A Graded Anthology vol. 2 (ed. Marsden Thomas) Petites fleurs musicales op. 66
Publisher
OUP Novello NOV010013 Cramer 90583 OUP Alfred 00-K03366 OUP OUP OUP
Group B
Beethoven Franck Gebhardi Heron Howells Liszt Litzau Novello NOV262778 Novello NOV262778 OUP OUP Mayhew 3611053 De Haske F 463 Brenreiter BA 8420 Cramer 90583 Peters EP 8087 Universal UE 17163 Animus De Haske F 607 Brenreiter BA 8416 OUP Cramer 90583
Mozart Minuet in F arr. Marsden Thomas Rathgeber Christmas Pastorella no. 5
Group C
Alain Hepburn Hesford Krner Litzau Peeters Tournemire De Jules Lematre O when the Saints Partita for Anna Magdalena, 3rd movt Moderato in B Minor Andante (no. 3 of 3 Short Preludes) Miniature op. 55 Immaculata Conceptio B. Mariae Virginis no. 3
Universal UE 17465
65
Organ
Technical Work (14 marks) (see pages 6364)

Scales
The following manual scales to be played mf and legato: G, D, A and E major (one octave, hands together) E, D, G and C harmonic minor (one octave, hands together) Chromatic scale on G (one octave, hands separately)

66
Organ Grade 2
Subject code: OGN
Group A
J S Bach J S Bach J S Bach Boyvin Dandrieu Greene Pachelbel Travers
Piece
Herr Jesu Christ meines Lebens Licht Gottes Sohn ist kommen (Fughetta) BWV 703 Prelude in G minor Basse de trompette Noel: Puer nobis nascitur Andante (only) from Voluntary XIII Fugue in C Trumpet Voluntary Basso Ostinato Verset Messe du jour de nol (4me Kyrie) la venue de nol Minuet no. 5 in C
Book
23 Chorale Preludes
Publisher
Bayley & Ferguson
Complete Organ Works vol. 3 Brenreiter BA 5173 Bach Organ Works book 1 Novello NOV010018 Organ Music for Manuals book 3 OUP Noels Alfred 00-K03366 Early organ music for manuals book 2 Novello NOV010184 A Graded Anthology vol. 2 Cramer 90583 (ed. Marsden Thomas) Organ Music for Manuals book 3 OUP Easy Graded Organ Music book 1 Music for Manuals book 2 Incognita Organo Volume 16 Music for Manuals book 2 Pieces for a Musical Clock Hob. XIX: 132 OUP De Haske F 367 Harmonia HU 3315 De Haske F 367 Barenreiter EN802 Brenreiter BA 8403 Peters EP 8087 De Haske F 367 Leduc AL20184 OUP
Group B
Bollmann Bollmann Boly Franck Haydn Mozart Rathgeber Reger
Adagio in C for glass harmonica KV 356 Christmas Pastorella no. 1 10 Christmas Pastorals Es ist gewilich an der Zeit op. 135a no. 8 Music for Manuals book 2 Monodie Prelude Kleine Choralpartita ber O Jesu, all mein Leben bist Du, 2nd movt Gradual Printemps [theme only] Choral and 1st Variation: Herr Jesus hat ein Gartchen Chorale Prelude: Zu Bethlehem Geboren Loeuvre dorgue vol. 3 An Easy Organ Album
Group C
Alain Coleman Eben
Hesford Langlais Peeters
Missa Ungarica pro Organo Mosaques vol. 3
Universal UE 17162 Cramer 90124 Combre CO 4639
10 Organ Chorales A Graded Anthology for Organ book 2
Schott ED 2553 Cramer 90583
Walcha
67
Organ Grade 2

Scales and Arpeggios (from memory) Scales:
The following manual scales to be played hands together, mf and legato: B and F major (two octaves) F harmonic minor (two octaves) C and E major in contrary motion (one octave) Chromatic scale on D (one octave) Chromatic scale on D in contrary motion (one octave)
Arpeggios:
The following manual arpeggios to be played hands separately, mf and legato: C, F and G major (two octaves) A,D and E minor (two octaves)

68
Organ Grade 3
Subject code: OGN
Group A
Anon. J S Bach Byrd Stanley Van Noordt Walther
Piece
no. 1 of Two Early Sixteenth Century Pieces Da Jesus an dem Kreuze stund BWV 621 Veni creator spiritus 1 Voluntary VIII in D minor, 1st movt Psalm 38 Herr Jesu Christ, dich zu uns Wend [with repeats]
Book
Early Organ Series 1: England 15101590 Complete Organ Works vol. 1 8 Organ Pieces 10 Voluntaries op. 5 Organ Music for Manuals book 3 Organ Music for Manuals book 1
Publisher
Faber 0 571 50771 9
Brenreiter BA 5171 Hinrichsen H1543A Peters EP7722 OUP OUP
Group B
Bollmann Bollmann Frank Guilmant Haydn Marpurg Plainte (no. 1 of Four Pieces) Organ Music for Manuals book 1 Postlude Organ Music for Manuals book 3 Vieux Nol A Graded Anthology vol. 3 (ed. Marsden Thomas) Communion Organ Music for Manuals book 5 Allegro in C no. 23 Pieces for a Musical Clock Hob. XIX: 132 Pastorella: Der Herr ist The Progressive Organist book 1 mein getreuer Hirt (ed. Trevor) OUP OUP Cramer 90584 OUP Barenreiter EN802 Novello NOV262483
Group C
Alain Langlais Moore Pinkham Ridout Tournemire Walcha Ballade en mode phrygien Pastoral Song Prelude Canon at the octave Father Offertoire Herzliebster Jesu Loeuvre dorgue vol. 3 A Graded Anthology vol. 3 (ed. Marsden Thomas) A Graded Anthology vol. 3 (ed. Marsden Thomas) Music for a Quiet Sunday Canticle of the Rose Miniatures vol. 2 A Graded Anthology vol. 3 (ed. Marsden Thomas) Leduc AL20184 Cramer 90584 Cramer 90584 UMP Mayhew 1405553 De Haske F 642 Cramer 90584
69
Organ Grade 3

The following scales and arpeggios to be played mf. Manual scales hands together and legato:
Manual:
Scales: Bb, Eb, Ab and Db major (two octaves) C# and G# harmonic minor (two octaves) Chromatic scale on Ab (two octaves) Eb major contrary motion scale (one octave) Chromatic scale on Ab in contrary motion (one octave) Arpeggios: D, A and E major (two octaves) G, C and F minor (two octaves)
Pedal:
F and G major scales in broken 3rds (one octave) A and G melodic minor scales in broken 3rds (one octave)

70
Organ Grade 4
Subject code: OGN
Group A
J S Bach J S Bach J S Bach Bhm Buxtehude Froberger Kotter Pachelbel
Piece
Der Tag, der ist so freudenreich BWV 605 Christe, du Lamm Gottes BWV 619 Prelude and Fugue in G Prelude in A minor Nun Komm der Heiden Heiland Toccata in D minor no. 2 Preludium in Fa Da Jesus an dem Kreuze stund BWV 621
Book
Complete Organ Works vol. 1 Complete Organ Works vol. 1 Bach Organ Works book 1 A Graded Anthology vol. 4 (ed. Marsden Thomas) The Progressive Organist book 2 Various Organ Works Early Organ Series 13: Germany 15121577 Pques
Publisher
Brenreiter BA 5171 Brenreiter BA 5171 Novello NOV010018 Cramer 90585
Novello NOV262533 Kalmus K03455 Faber 0 571 50783 2
Schola Cantorum OL 1
Group B
Albrechsberger Prelude Bollmann Elgar Elgar Ireland Karg-Elert Entre Andantino op. 14 no. 3 Vesper voluntary no. 5 The holy boy Freu dich sehr, o meine Seele no.5 A Graded Anthology vol. 4 (ed. Marsden Thomas) Miniatures vol. 2 Miniatures vol. 2 Vesper Voluntaries op. 14 Chorale-Improvisations op. 65 book 1 Cramer 90585 De Haske F 642 De Haske F 642 Faber 0571508626 Boosey BH 83212 Breitkopf EB 8261
Group C
Alain Demessieux Dupr Macmillan Ridout Ridout Vierne no. 1 of Deux danses a Agni Yavishta Chorale-paraphrase on Tu es petrus Audi, benigne Conditor White note paraphrase Jesus meets his Blessed Mother Jesus Speaks to the Women of Jerusalem Arabesque Loeuvre dorgue vol. 2 Twelve Choral Preludes on Gregorian Chant Themes Le tombeau de Titelouze op. 38 Leduc AL20102 SummyBirchard Leduc AL27836 Boosey BH 11392 Mayhew 1400014 Mayhew 1400014 Durand DF 00897300
14 Stations of the Cross 14 Stations of the Cross 24 Pieces en Style Libre vol. 2
71
Organ Grade 4

The following scales and arpeggios to be played mf. Manual scales hands together and legato:
Manual:
Scales: F# major (two octaves) Bb and Eb harmonic minor (two octaves) Chromatic scale on A, C, D, F and G (two octaves) E harmonic minor contrary motion scale (one octave) Chromatic scale on A in contrary motion (one octave) Arpeggios: B and Bb major (two octaves) B and Bb minor (two octaves)
Pedal:
A, E and Bb major scales in broken 3rds (one octave) B, E and F melodic minor in broken 3rds (one octave)

72
Organ Grade 5
Subject code: OGN
Group A
J S Bach J S Bach Buxtehude
Piece
Herr Christ, der einge Gottessohn BWV 601 Prelude and Fugue in E minor BWV 555 Mensch, willt du leben seliglich BuxWV 206 Toccata C dur Prludium in A flat major Chorale prelude: Schmcke dich, O liebe Seele Rondeau and Aire Voluntary in G Verse Alloffertorio
Book
Complete Organ Works vol. 1 Bach Organ Works book 1
Publisher
Brenreiter BA 5171 Novello NOV010018
Cernuhorsk J C Kittel KargElert Purcell Purcell Tomkins Ziploi
Early Organ Series 12: Faber 0 571 50775 7 Germany 16501710 Vox Humana Czech Republic Brenreiter BA 8236 Organ Music around J S Bach vol. 2 Breitkopf EB 8685 66 Chorale Improvisations Breitkopf EB 8265 no. 5 op. 65 Cramer 90109 Archive Organ Works Novello NOV590294 Early Organ Series 2: Faber 0 571 50770 6 England 15901650 A Graded Anthology vol. 4 Cramer 90585 (ed. Marsden Thomas)
Group B
Karg-Elert Mendelssohn Mendelssohn Merkel Merkel Rheinberger Schumann Thalben-Ball Vierne Whitlock Chorale prelude: Schmcke 66 Chorale Improvisations dich, O liebe Seele op. 65 no. 5 Sonata in A, op. 65 no. 3, Andante tranquillo Complete Organ Works II Sonata in D minor op. 65 no. 6, Finale (Andante) Complete Organ Works II Pastorale no. 4 6 Preludes op. 23 Evening hymn Self Taught 1 Con moto no. 1 Twelve Monologues for Organ op. 162 Canonic study for Organ Works pedal piano op. 56 no.1 in C Elegy Berceuse op. 31 no. 19 24 Pieces en Style Libre vol. 2 Lantana Plymouth Suite Breitkopf EB 8265
Brenreiter BA 8197 Brenreiter BA 8197 De Haske F 365 Animus Novello NOV010044 Schott ED9906 Paxton NOV357436 Durand 0897300 OUP
Group C
Demessieux Choraleparaphrase on Hosanna filio David Twelve Choral Preludes on Gregorian Chant Themes SummyBirchard
73
Organ Grade 5 Hakim Lindberg Mathias Nielsen Peeters Ridout Ridout SaintSans arr. Webb Stanford Pastorale Gammal Fabdsalm frn Dalrna Chorale Prelude in F sharp minor Koraal Jesus Receives the Cross Jesus is Laid in the Sepulchre LElephant, from Carnival of the Animals no. 5 of 6 short Preludes and Postludes Mariales UMP M2244 0215 5 Norsk NM2352 OUP De Haske F 642 Lemoine 23673 Mayhew 1400014 Mayhew 1400014 Animus Mayhew 1400361
A Mathias Organ Album Miniatures vol. 2 Suite modale op. 43 14 Stations of the Cross 14 Stations of the Cross The Heavy-footed Organist Preludes and Postludes

The following scales and arpeggios to be played mf. Manual scales hands together, and legato or staccato as requested by the examiner; pedal scales legato only:
Manual:
Scales: B, C, F, Eb and F# major (two octaves) F# harmonic minor (two octaves) A, C, D, E and G melodic minor (two octaves) Chromatic scale starting on any note requested by the examiner (two octaves) Chromatic scale in contrary motion starting on any note requested (two octaves) Arpeggios: Eb, Ab and Db major (two octaves) C#, F# and G# minor (two octaves)
Pedal:
Scales: A and G major in running triplets (one octave) A and B melodic minor in running triplets (one octave) Broken Chords: F and G major (to 12th) A and E minor (to 12th)

74
Organ Grade 6
Subject code: OGN
Group A
J S Bach J S Bach J S Bach J S Bach Bruckner Homilius Tunder
Piece
Concerto in G BWV 592 (from Bach Organ works vol. 8) last movt (Presto) Gelobet seist du, Jesu Christ BWV 722 Heut triumphieret Gottes Sohn BWV 630 (from Complete Organ Works vol. 1) Trio Sonata in D minor, BWV 527, 2nd movt (from Complete Organ Works vol. 7) Fugue from Prelude and Fugue in C minor (from Bruckner Album of Various Pieces for Organ) Mache dich mein Geist bereit Incognita organo, no. 27 Chorale fantasia Komm, heiliger Geist (from Complete Organ Works)
Publisher
Brenreiter BA5178 Brenreiter BA 5173 Brenreiter BA 5171 Brenreiter BA 5177 Kalmus KO 2036 Harmonia Breitkopf EB6718
Group B
Brahms Dubois Franck Guilmant Herzlich thut mich verlangen op. 122 no. 10 In Paradisum (from Twelve pieces) Prelude (from Prelude, Fugue and Variation op. 18) Paraphrase on Handels Judas Maccabeus A Graded Anthology vol. 5 (ed. Marsden Thomas) Ireland Sursum Corda (from Organ Music of John Ireland) LefbureWly Andante Choseur de voix humaines Favourite organ music book 2 (ed. Sanger) Mendelssohn Fugue from Sonata no. 6 (from Complete Organ Works vol. 2) Mushel Toccata Parry Choral Prelude: Martyrdom (from Seven Choral Preludes set 2) Whitlock Folk Tune (from 5 Short Pieces) Widor Fourth movement (from Symphonie V in F, op. 42) Novello NOV590116 Alfred UMP M2244 0313 1 Cramer 90586 Novello NOV010183 OUP Brenreiter BA 8197 OUP 196 Archive Novello NOV590045 OUP Hamelle AL26865
Group C
Alain Alain Archer Bourgeois Burrell Gardner Hakim Hindemith Langlais Ridout Ridout Vierne Yon Lamento (from Loeuvre dorgue vol. 3) Leduc AL20814 Le Jardin Suspendu (from 3 Pieces) Leduc AL19744 Toccatina (from A little Suite for Organ) IAO/Allegro Serenade op. 22 Smith R 70055 Fragments I and II (from Unbeaten Tracks) Faber 0 571 51977 6 Pavin (from Five Dances for Organ) Gardner Incantation (from Mariales) UMP M2244 0215 5 Second movement (from Sonata no. 2) Schott ED 2558 Pasticcio (from Organ book) Elkan-Vogel 46300006 Veronica Wipes the Face of Jesus (from 14 Stations of the Cross) Mayhew 1400014 Jesus Falls the Third Time (from 14 Stations of the Cross) Mayhew 1400014 Carillon op. 31 no. 21 (from 24 Pieces en Style Libre vol. 2) Durand 0897300 Humoresque (from Lorgano primitivo) Dover DP19613 75
Organ Grade 6

Manual:
Scales: All major keys (two octaves) B and F melodic minor (two octaves) Chromatic scale in major 6ths, starting on Eb left hand and C right hand (two octaves) Arpeggios: F# major (two octaves) Eb minor (two octaves) Dominant 7th in the key of C (two octaves) Diminished 7th starting on B (two octaves)
Pedal:
Scales: C and Bb major in running triplets (one octave) C and G melodic minor in running triplets (one octave) Broken Chords: C and Bb major (to 12th) F and G minor (to 12th)

76
Organ Grade 7
Subject code: OGN
Group A
J S Bach J S Bach J S Bach J S Bach Buxtehude Couperin Buxtehude Hindemith Howells Langlais Lbeck
Piece
Prelude (from Prelude and Fugue in A major BWV 536) (from Complete Organ Works vol. 6) Fugue in G minor BWV 578 (from Complete Organ Works vol. 6) In dir ist Freude, BWV 615 (from Complete Organ Works vol. 1) Wir glauben all an einem Gott, BWV 680 (from Complete Organ Works vol. 4) Prelude, Fugue and Ciacona (from Organ works vol. 2, Preludes, Fugues and Toccatas) 8e couplet of Gloria, Dialogue en trio du Cornet et de la Tierce (from Messe pour les Paroisses) Praeludium [and Fugue] BuxWV 138 (from Complete Organ Works vol. 1) Sonata no. 1, 2nd movt Master Talliss Testament Melody (from Triptyque) Praeludium and Fugue in E no. 2 (from Orgelwerke)
Publisher
Brenreiter BA 5176 Brenreiter BA 5176 Brenreiter BA 5171 Brenreiter BA 5174 Hansen WH26990 UMP SP5843
Brenreiter BA 8221 Schott ED 2557 Novello NOV590222 archive Novello NOV620001 archive Peters EP 4437
Group B
Bridge Franck Ireland Parry Roget Smart Stanford Vierne Wills Adagio in E (from Three Pieces for Organ) Novello NOV010986 Fugue and Variation (from Prelude, Fugue and Variation op. 18) UMP M2244 0213 1 Menuetto-Impromptu (from Organ Music of John Ireland) Novello NOV010183 Choral Prelude on Eventide (from Seven Chorale Preludes set 2) Novello NOV590045 Deploracin por la Semana Santa (from Pques) Schola Cantorum OL 1 Postlude in C Novello NOV954514 Fantasia (from Fantasia and Toccata in D minor op. 57) Cathedral 227 Pastorale no. 20 (from 24 Pieces en Style Libre vol. 2) Durand 0897300 Elevation (from Colours of the Organ) Novello NOV010092 archive
Group C
Durufl Eben Farnham Hindemith KargElert Mathias Maxwell Davies Fugue op. 12 sur le Carillon de Soissons Lied des Leiermannes (from Faust) Toccata on O filii et filiae Sonata no. 2, 1st movt Now thank we all our God op. 65 no. 59 Processional (from A Mathias Organ Album) no. 1 (Psalm 124) , and either no. 2 or no. 3 (from 3 Organ Voluntaries) UMP M560220185 UMP M224402063 Presser Schott ED2558 Breitkopf EB 6238 OUP Chester CH 55170
77
Organ Grade 7 Messiaen Parry Peeters Ratcliffe Les Enfants de Dieu (from La Nativit du Seigneur vol. 2) Chorale Prelude on Dundee (from 7 Chorale Preludes for Organ Set 1) Scherzo (from Suite modale op. 43) Caprice (from Colours of the Organ) Leduc AL19269 Novello NOV 010214 Lemoine 23673 Novello NOV010092 archive

Manual:
Scales: All harmonic minor keys (two octaves) C#, F# and G# melodic minor (two octaves) C and F major scales a 6th apart, right hand starting on the tonic (two octaves) A and D harmonic minor scales a 6th apart, right hand starting on the tonic (two octaves) Chromatic scale a minor 3rd apart, starting on G left hand and Bb right hand (two octaves) Arpeggios: Dominant 7th in the keys of G, B, E (three octaves) Diminished 7th starting on A, C, D and F (three octaves)
Pedal Study:
J.S. Bach Bars 19 from Prelude and Fugue in C minor, BWV 549 (from Complete Organ Works vol. 5) Brenreiter BA 5175

78
Organ Grade 8
Subject code: OGN
Group A
Alain J S Bach J S Bach J S Bach J S Bach J S Bach Buxtehude Hurford J C Kellner Mendelssohn
Piece
Variations sur un thme de Clment Jannequin (from Loeuvre dorgue vol. 2) Prelude (from Prelude and Fugue in B minor BWV 544) (from Complete Preludes and Fugues for Organ) 1st movt (from Trio Sonata no. 6 in G BWV 530) (from Complete Organ Works vol. 7) Ach bleib bei uns, Herr Jesu Christ, BWV 649 (from Complete Organ Works vol. 1) Herr Gott, nun schleu den Himmel auf, BWV 617 (from Complete Organ Works vol. 1) Nun danket alle Gott, BWV 657 (from Complete Organ Works vol. 2) Toccata in F Bux157 [complete] (from Complete Organ Works vol. 2) Dialogue no. 2 (from Two Dialogues) Jesu meine Freude (from Organ Music around J S Bach vol. 2) Sonata no. 3 in A, op. 65 no.3 1st movt (from Complete Organ Works vol. 2)
Publisher
Leduc AL20102 Dover DP10018 Brenreiter BA 5177
Brenreiter BA 5171 Brenreiter BA 5171 Brenreiter BA 5172 Brenreiter BA 8222 Novello NOV 570032 archive Breitkopf EB 8685 Brenreiter BA 8197
Group B
Beethoven Dubois Guilmant Howells Ireland Jongen KargElert KargElert Messiaen Mulet Peeters Whitlock Adagio in F for mechanical organ (ed. Altman) Fiat lux (from 12 pieces for Organ) Marche sur un thme de Handel op. 15 no. 2 Psalm Prelude no. 3 (from Three Psalm Preludes Set 1) Meditation on John Kebles Rogationtide hymn (from Organ Music of John Ireland) Scherzetto op. 108 no. 1 (from A Jongen Organ Album) Valse mignonne (from 3 Pieces op. 142) Legend op. 141 no. 1 (from Triptyque) Majest du Christ demandant sa gloire son Pre (from LAscension) Tu es Petra (from Esquisses Byzantines) Herr Jesu hat ein Gartchen no. 10 (from 10 Organ Chorales) Divertimento (from The Complete Shorter Organ Music) Hinrichsen UMP M2244-02025 Schott ED 11311 Novello NOV590353 Novello NOV010183 OUP Breitkopf EB 8584 Novello NOV 950170 archive Leduc AL18826 Leduc AL16202 Schott ED 2553 OUP
79
Organ Grade 8
Group C
Anderson arr. Trotter Bollmann Dupr Gardonyi Krzanowski Mathias Messiaen Popplewell Sleigh Ride Toccata (from Suite gothique) Placare Christe servulis op. 38 no. 16 (from 79 Chorales) Mozart changes Relief III Toccata giocosa op. 36 no. 2 (from A Mathias Organ Album) Le Banquet Celeste Triumphal March Banks 14038 UMP M2244 0097 7 Bornemann Moseler MOS 19498 PWM 9929 OUP Leduc AL19269 Banks 13983

The following scales and arpeggios to be played mf. Manual scales hands together, and legato or staccato as requested by the examiner.
Manual:
Scales: Bb and Eb melodic minor (two octaves) D, G and Bb major scales a 3rd apart, left hand starting on the tonic (two octaves) B, E and G melodic minor scales a 3rd apart, left hand starting on the tonic (two octaves) Chromatic scale with hands a minor 3rd or a major 6th apart, starting on any notes requested by the examiner (two octaves) Arpeggios: Dominant 7th in the keys of F, Ab, Eb and F# (three octaves) Diminished 7th starting on Ab, Bb and C# (three octaves)
Pedal Study:
J.S. Bach Bars 1332 from Toccata, Adagio and Fugue in C, BWV 564 (from Complete Organ Works vol. 6) Brenreiter BA 5176

80
Music Publishers
Abbreviations used in this syllabus are given in brackets after the publishers full name. Please notes that agents or distributors addresses are given for non-UK publishers. These publishers may have different local agents in other parts of the world who may be able to supply music more easily or quickly. Details of these may be obtained by contacting the publishers directly at the addresses listed here. Trinity Guildhall cannot guarantee that music will always be in stock with local suppliers. Candidates and teachers should always check with the publisher before it is assumed that any item has gone out of print. Allegro Music (Allegro): 43 The Hop Pocket Craft Centre, New House Farm, Bishops Frome, Worcestershire WR6 5BT, UK T +44 (0)1885 490375; www.allegro.co.uk Alfred Publishing (Alfred): www.alfred.com in UK: Alfred UK Burnt Mill Elizabeth Way, Harlow, Essex CM20 2HX, UK T +44 (0)1279 828960; www.alfreduk.com in Australia: Alfred Australia P.O. Box 2355, Taren Point NSW 2229 T 61 2 9524 0033 Animus Cathedral Music UK (Animus): 4 Rawlinson Street, Dalton-in-Furness, Cumbria LA15 8AL, UK T +44 (0)1229 467432; www.animusi.co.uk Banks Music Publications (Banks): The Granary, Wath Court, Hovingham, York, YO62 4NN, UK T +44 (0)1653 628 545; www.banksmusicpublications.co.uk Brenreiter Ltd (Brenreiter): Burnt Mill, Elizabeth Way, Harlow, Essex CM20 2HX, UK T +44 (0)1279 828930; www.brenreiter.com Bayley & Ferguson (Bayley & Ferguson): c/o Glasgow Music Centre, 65 Berkeley Street, Glasgow G3 7DZ, UK; T +44 (0)141 221 9444; www.glasgowmusiccentre.co.uk ditions Bornemann (Paris) (Bornemann): in UK: c/o United Music Publishers Ltd; in USA: c/o Robert King Music Sales Inc. Boosey & Hawkes Music Publishers Ltd (Boosey): www.boosey.com Trade: c/o Music Distribution Service (MDS), 5/6 Raywood Office Complex, Leacon Lane, Charing, Ashford, Kent TN27 0EN, UK Retail: freephone (UK only) T +44 (0)800 731 4778; US/international T +44 (0)870 421 5453 Trade: T +44 (0)1233 712233 Breitkopf & Hrtel (Breitkopf): Walkmhlstrae 52, Wiesbaden D-65195, Germany T +49 611 45008 58; www.breitkopf.com; in UK: c/o Broome Cottage, The Street, Suffield, Norwich NR11 7EQ, UK; T +44 (0)1263 768 732 Chester Music Ltd (Chester): c/o Music Sales ditions Combre (Combre): 24, Boulevard Poissonnire, 75009 Paris, France; T +33 (0)1 48 24 89 24; in UK: c/o United Music Publishers Ltd Cramer Music Ltd (Cramer): 23 Garrick Street, London WC2E 9RY, UK T +44 (0)20 7240 1612; www.cramermusic.co.uk De Haske Music (UK) Ltd (De Haske): Fleming Road, Earlstrees, Corby, Northants. NN17 2SN, UK T +44 (0)1536 260981; www.dehaske.com Dover Publications (Dover): c/o Music Sales
81
Music publishers Durand et Cie (Paris) (Durand): 5 rue du Helder, 75009 Paris, France T +33 (0)1 53 24 80 01; www.durand-salabert-eschig.com for the rest of the world: c/o United Music Publishers Ltd Elkan-Vogel (Elkan-Vogel): P.O. Box 7720, New York, NY 101500-1914, USA in UK: c/o United Music Publishers Ltd Faber Music Ltd (Faber): Burnt Mill, Elizabeth Way, Harlow, Essex CM20 2HX, UK T +44 (0)1279 828 982; www.fabermusic.com Gardner (Gardner): c/o ScoreStore Music Ltd www.johnlintongardner.co.uk Guildhall (Guildhall): c/o Faber Music Ltd Hal Leonard Publishing Co. (Hal Leonard): 7777 W. Bluemound Road, P.O. Box 13819, Milwaukee WI 53213, USA; T +1 414 7743630; in UK: c/o Music Sales Ltd Hamelle (Paris) (Hamelle): c/o Editions Alphonse Leduc; in UK: c/o United Music Publishers Ltd Wilhelm Hansen Edition (Hansen): Bornholmsgade 1, DK-1266, Copenhagen, Denmark T +45 3311 7888 www.ewh.dk; in UK: c/o Music Sales Harmonia (Harmonia): c/o Spartan Press Music Publishers Ltd Hinrichsen Edition (Hinrichsen): c/o Peters Edition Ltd Incorporated Association of Organists (IAO): c/o Allegro Music Edwin F Kalmus & Co. Inc. (Kalmus): P.O. Box 5011, Boca Raton, FL 33431, USA T +1 800 434 6340; in UK: c/o Music Sales Ltd Editions Alphonse Leduc (Leduc): 175, rue Saint-Honor, 75040 Paris, France T +33 (0)1 42 96 89 11; in UK: c/o United Music Publishers Ltd Editions Henry Lemoine (Lemoine): 41 rue Bayen, 75017 Paris, France; www.editions-lemoine.fr in UK: c/o United Music Publishers Ltd; in USA: c/o Theodore Presser Company Kevin Mayhew Publishers (Kevin Mayhew): Buxhall, Stowmarket, Suffolk IP14 3BW, UK T +44 (0)1449 737 978; www.kevinmayhew.com K H Mseler Verlag (Mseler): Hoffmann-von-FallerslebenStr. 8, 38304 Wolfenbttel, Deutschland T +49-5331-9597-0; www.moeseler-verlag.de Music Sales Ltd (Music Sales): Distribution Centre, Newmarket Road, Bury St. Edmunds, Suffolk IP33 3YB, UK; T +44 (0)1284 702 600; www.musicroom.com Norsk Musikforlag (Norsk): P.O. Box 1499 Vika, N- 0116 OSLO, Norway T (+47) 23 00 20 10 / 23 00 20 21 orders; www.norskmusikkforlag.no Novello & Co. Ltd (Novello): c/o Music Sales Ltd Oxford University Press (OUP): Music Department, Great Clarendon Street, Oxford OX2 6DP, UK T +44 (0)1536 454 590; www.oup.co.uk in Australia: c/o Alfred Australia in USA: Oxford University Press Inc, 198 Maddison Avenue, New York, NY 10016 Paxton Music (Paxton): c/o Music Sales Ltd Peters Edition Ltd (Peters): 10-12 Baches Street, London N1 6DN, UK T +44 (0)20 7553 4000; www.edition-peters.com; in UK: c/o Faber Music Ltd PWM Edition (PWM): al. Krasinskiego 11a, 31-111 Krakow, Poland T +48 (012) 422 70 44; www.pwm.com.pl; in UK: c/o Universal Edition (London) Ltd R Smith & Company (Smith): 66-78 Denington Road, Wellingborough, Northants NN8 2QH, UK T +44 (0)1933 445 440; www.rsmith.co.uk Schola Cantorum (Schola Cantorum): Rue du sapin 2a, C.P. 156, CH 2114 Fleurier, Switzerland; T +41 (0)32 861 37 19; www.schola-editions.com; in UK: c/o United Music Publishers Ltd 82
Music publishers Schott Music Ltd (Schott): 48 Great Marlborough Street, London W1F 7BB, UK T +44 (0)20 7437 1246/(0)20 7534 0710; www.schott-music.com ScoreStore Music Ltd (ScoreStore): Redwood, Swallowfield Road, Arborfield, Berkshire RG2 9JY, UK T+44 (0)118 976 2020; www.scorestore.co.uk Spartan Press Music Publishers Ltd (Spartan): Strathmashie House, Laggan Bridge, Scottish Highlands, PH20 1BU, UK; T +44 (0)1528 544 770; www.spartanpress.co.uk Stainer & Bell Ltd (Stainer): P.O. Boxes 110, Victoria House, 23 Gruneisen Road, London N3 1DZ, UK T +44 (0)20 8343 3303; www.stainer.co.uk SummyBirchard Inc (SummyBirchard): c/o Alfred Publishing Theodore Presser Company (Presser): 588 North Gulph Road, King of Prussia, PA 19406, USA T +1 610 525 3636; www.presser.com; in UK: c/o United Music Publishers Ltd Trinity (Trinity): c/o Faber Music Ltd Trinity Faber (Trinity Faber): c/o Faber Music Ltd Trinity Guildhall (Trinity Guildhall): c/o Faber Music Ltd United Music Publishers Ltd (UMP): 33 Lea Road, Waltham Abbey, Essex EN9 1ES, UK T +00 44 (0)1992 703 110; www.ump.co.uk Universal Edition (London) Ltd (Universal): 48 Great Marlborough Street, London W1F 7BB, UK T +44 (0)20 7437 1246/(0)20 7534 0710; www.universaledition.com Wise Publications (Wise): c/o Music Sales Ltd Yorktown (Yorktown): c/o Music Sales
83
Trinity Guildhall Publications

Keyboard Books Electronic Keyboard Pieces & Technical Work 20112013. Trinity Guildhall publishes six books from InitialGrade 5 of solo keyboard pieces and technical work for each grade. Electronic Keyboard Pieces & Technical Work 20112013 Initial Electronic Keyboard Pieces & Technical Work 20112013 Grade 1 Electronic Keyboard Pieces & Technical Work 20112013 Grade 2 Electronic Keyboard Pieces & Technical Work 20112013 Grade 3 Electronic Keyboard Pieces & Technical Work 20112013 Grade 4 Electronic Keyboard Pieces & Technical Work 20112013 Grade 5 TG 008589 TG 008596 TG 008602 TG 008619 TG 008626 TG 008633
Digital Keyboard Examination Pieces (from 2000). Repertoire, technical work and sample tests for Grades 68 of the Digital Keyboard syllabus published in one book. This will continue to be valid until the end of 2011. TCL 001313 Aural Tests Trinity Guildhall Aural Tests from 2007: In two volumes, Initial to Grade 5 and Grade 6 to Grade 8, each with CD, containing sample tests for the Aural section of the exam. With explanations, sample answers and advice on completing the tests. The Sound at Sight series gives full instructions and practice materials for preparation for the sight reading tests. Sound at Sight Electronic Keyboard is available in one volume, InitialGrade 5. The following joint Trinity Faber publications are also available for Electronic Keyboard: Electronic Keyboard Collection: InitialGrade 1 0 571 52221 1 Electronic Keyboard Collection: Grades 12 0 571 52353 6 Electronic Keyboard Collection: Grades 23 0 571 52354 4
Sight Reading
Keyboard Repertoire
Electronic Organ Books Trinity and Guildhall repertoire books are available as follows: Electronic Organ World book 1: InitialGrade 3 Electronic Organ World book 2: Grades 46 Electronic Organ World book 3: Grades 78 Electronic Organ Repertoire book 1: InitialGrade 1 Electronic Organ Repertoire book 2: Grades 23 Electronic Organ Repertoire book 3: Grades 45
TCL 621016 TCL 621023 TCL 621030 GSM 10172 GSM 10189 GSM 10196
All Trinity Guildhall publications are available from your local music shop or can also be obtained directly from our distributors: Faber Music Distribution Ltd, Burnt Mill, Elizabeth Way, Harlow CM20 2HX, UK T +44 (0)1279 82 89 82 F +44 (0)1279 82 89 83 E sales@fabermusic.com www.fabermusic.com If you are ordering directly from Faber, please order carefully as no returns can be accepted. A postage charge will be added to your order. For a publications list or if you have any queries about music published by Trinity Guildhall, please contact: Trinity Guildhall Examinations, 89 Albert Embankment, London SE1 7TP, UK T +44 (0)20 7820 6100 F +44 (0)20 7820 6161
E music@trinityguildhall.co.uk www.trinityguildhall.co.uk
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Keyboard & Organ Syllabus

Keyboard & Organ Syllabus 2011

Playing from memory

Music and copies

Sight Reading Parameters for Electronic Keyboard

(cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*)

Grade 2 plus A minor

plus VI as above plus V

two-part right hand

three-part right hand

Sight Reading Parameters for Digital Keyboard

(cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*)

A and Eb major; F# and C minor

plus chromatic features; elements of stylistic perception

B and Db major; G# and Bb minor

plus 2 and changing time signatures

Sight Reading Requirements for Electronic Organ

five-finger hand position only

two manuals to be used throughout; contrasting sounds on both manuals; mf

plus G major; A minor (white notes only)

as above white notes only

plus F major; D minor (including C#) plus and

plus x and ; dotted notes and rests

plus F# and C minor

plus 9 plus duplets/triplets

plus 2 and changing time signatures

Sight Reading Requirements for Organ

Tempi and articulation Manuals Pedals Registration

C major, G major, A minor (white notes only)

remains within hand postion (not necessarily C)

single manual; 8 only; mf as above

plus allegretto and simple phrasing

plus F major; D minor (including C#) plus

plus D and Bb major; E and D minor (plus accidentals)

plus staccato, three-part texture accents and pause

notes between F2 manual and C4 inclusive couples; 2; 16 (toes only)

plus A and Eb major; B and G minor (including modulation)

hands on separate manuals; change of manual

plus F# and C minor

plus E and Ab major; C# and F minor plus 9

more complex textures as above plus duplets/ triplets as above

full use of pedals throughout range, including crossing feet as above

time, played twice;

played twice, and state:

Outline and Test Parameters

The parameters are given in the chart on page 18.

Written Keys for Chordal Tests

C, F, G, Bb, D, Eb & A major plus relative minors

Parameters for Improvisation Testsfor Improvisation Tests Parameters

Melodic tests: Max. range of given motif

In 4 2 bars crotchets minims In 4 2 bars crotchets minims, quavers 1 phrase

4 bar phrase Major key I/V 2 bars per chord

3 notes one step one leap up to 4th

4 bar phrase Major key I/V 1 chord per bar

4 notes range up to 5th

As above with dots 12 phrases

5 notes range up to 6th

As above with ties

4 bar phrase Minor key I/IV/V 1 chord per bar

Octave (simple chromaticism)

4 bar phrase Minor key I/IV/V/vi 1 chord per bar

Musical Knowledge (InitialGrade 5 only)

Grade 5 As for previous grades, and additionally:

(cumulative) (cumulative) (cumulative) (cumulative) (cumulative) (cumulative) (cumulative*)

(cumulative) (cumulative) (cumulative) (cumulative) (cumulative) (cumulative) (cumulative*)