Keyboard Syllabus 2011 - Updated 030910-1

Trinity Guildhall Examinations
89 Albert Embankment
London SE1 7TP UK
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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
Keyboard
& Organ Syllabus
2
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
3
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 signicant
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 Ofce of
Qualications and Examinations Regulation (Ofqual) in England, the Welsh Assembly Government
(WAG) and the Northern Ireland Council for Curriculum, Examinations and Assessment (CCEA).
Trinitys qualications are accredited by these authorities within the Qualications Framework.
Various arrangements are in place with governmental education authorities worldwide.
4
Duration
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.
Level Duration in minutes
Initial 13
Grade 1 13
Grade 2 15
Grade 3 15
Grade 4 20
Grade 5 20
Grade 6 25
Grade 7 25
Grade 8 30
Grade examinations
5
Marking
The maximum marks available for all graded keyboard and organ examinations are as follows:
Piece 1 22
Piece 2 22
Piece 3 22
Technical Work 14
Test 1 10
Test 2 10
TOTAL 100
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:
v Notational Accuracy & Fluency (7 marks):
How well the notes are prepared and realised. More conveniently thought of as: Me and the Music.
v 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.
v 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
* Note that piece may occasionally consist of more than one musical item.
Grade examinations
6

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 first-
time 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
7

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 Duration Requirements
Initial 12 minutes A piece containing sudden changes
1 1
1
/
2
2
1
/
2
minutes A piece with two contrasting sections
2 1
1
/
2
2
1
/
2
minutes A piece contrasting legato and staccato passages
3 1
1
/
2
2
1
/
2
minutes A piece which explores dynamic contrast
4 2
1
/
2
3
1
/
2
minutes A piece with long melodic phrases
5 2
1
/
2
3
1
/
2
minutes A piece containing contrasting voices and styles
6 3
1
/
2
4
1
/
2
minutes A piece using a variety of clusters
7 3
1
/
2
4
1
/
2
minutes A piece featuring contrary movement
8 4
1
/
2
5
1
/
2
minutes A piece featuring at least two contrapuntal voices
Grade examinations
8
Sight Reading Parameters for Electronic Keyboard

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.
* Please note, at any given grade candidates are expected to know the requirements of the preceding grade(s).
Keys

(cumulative*)
Time
signatures
(cumulative*)
Chords

(cumulative*)
Note
values
(cumulative*)
Note
patterns
(cumulative*)
Dynamics

(cumulative*)
Other

(cumulative*)
Initial C major
2
. and -
mf
five-finger
hand
position
only
Grade 1 as above
plus
4
I,V
plus .
and .
f
five-finger
hand
position
(RH not
tonic)
Grade 2 plus A minor
plus
3
plus IV
plus -
and
p
Change of
hand
position
within
octave
Grade 3
plus F and G
major;
D minor
(including
C#)
as above
plus VI
plus
, .
and .
. - .
as above
Grade 4
plus D
major;
B and E
minor
plus V
7
as above as above
two-part
right hand
Grade 5
plus A and
Bb major;
C minor
plus
6
plus .
and
_
syncopated
quavers
three-part
right hand
Grade examinations
9
Keys

(cumulative*)
Time
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(cumulative*)
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Dynamics

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Other

(cumulative*)
Grade 6
A and Eb
major;
F# and C
minor
plus
8
all common
chords
all common
note values
and rests
reasonably
complex
rhythms
plus mp,
cresc. and
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right-hand
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three notes
or more;
voice and
style at the
candidates
discretion
Grade 7
E and Ab
major,
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minor
plus
9
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chromatic
features;
elements
of stylistic
perception
Grade 8
B and Db
major;
G# and Bb
minor
plus

_
_

and

changing
time
signatures
plus duplets as above
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.
* Please note, at any given grade candidates are expected to know the requirements of the preceding grade(s).
Grade examinations
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Grade examinations
11
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Grade examinations
12
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 3 time, played twice;
ii) to state the time signature.
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.
Grade examinations
13

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 perfect fourth
a minor second a perfect fifth
a major second a minor sixth
a minor third a major sixth
a major third
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, 3 or 6 played twice, and state:
i) the time signature;
ii) if it began in the major or minor;
Grade examinations
14
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 perfect fifth
a minor second a minor sixth
a major second a major sixth
a minor third a minor seventh
a major third a major seventh
a perfect fourth 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
Grade examinations
15

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.
Grade examinations
16
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 melodic: based on a series of pitches
or rhythmic: based on a rhythmic idea
or 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.
Grade examinations
17

Written Keys for Chordal Tests
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.
Initial to Grade 3 Grades 4 & 5 Grades 6, 7 & 8
Electronic Keyboard/
Electronic Organ/
Organ
C, F & G major A, D, E, G & B minor
Digital Keyboard/
Electronic Organ/
Organ
C, F, G, Bb, D, Eb & A major
plus relative minors
Grade examinations
18
Parameters for Improvisation Tests

Grade
Melodic tests:
Max. range of
given motif
Rhythmic tests
Suggested
length of
response for
Melodic and
Rhythmic tests
Chordal tests

Initial 3 stepwise notes
In 4
2 bars
crotchets
minims

4 bar phrase
Major key
I/V
2 bars per chord
1
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step one leap
up to 4
th

In 4
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crotchets
minims, quavers

1 phrase
4 bar phrase
Major key
I/V
1 chord per bar
2
4 notes range
up to 5
th

As above with
dots
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Major key
I/IV/V
1 chord per bar
3
5 notes
range up to 6
th

As above with
ties
12 phrases
4 bar phrase
Major key
I/IV/V/ii
1 chord per bar
4

Octave
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4 bar phrase
Minor key
I/IV/V
1 chord per bar
5
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chromaticism)
In 2, 3or4
plus semiquavers

23 phrases

4 bar phrase
Minor key
I/IV/V/vi
1 chord per bar
6
Plus 6
8 bar phrase
Major key
I/ii/IV/V and 7ths
1 chord per bar
7 Plus triplets
34 phrases

812 bar phrase
Major or Minor key
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1 or 2 chords per bar
8
Twelfth
(chromatic)
Plus 7

46 phrases

1216 bar phrase
Major or Minor key

All chords 6ths/7ths/9ths &
dim/aug
Simple suspensions
1 or 2 chords per bar

Parameters for Improvisation Tests
Grade examinations
19

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
-
, 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.
Grade examinations
20
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
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
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.
21
Instruments
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
v Minimum 4 octaves (InitialGrade 1)
v Minimum 5 octaves (Grade 2Grade 5)
Keyboard
v Full-size keys
Capability
v Minimum 16-note polyphonic capacity
v A range of individual voices and rhythm styles
v Dual voice/layer (from Grade 2)
v Voice change/Registration memory (from Grade 3)
v Touch sensitivity option (from Grade 3)
v Split point (2 voices simultaneously) (from Grade 5)
v 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).
Electronic Keyboard Subject code: EK
* 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.
22
Electronic Keyboard
Up to and including Grade 2, candidates using keyboards without registration memory may nd 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.
23
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 lm 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 air 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 ngering.
Single ngered or fully ngered chords can be used at the candidates discretion, though in the higher
grades the chords required may not be available as single ngered 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 signicantly outside these limits, or if the chosen tempo is
not technically or rhythmically secure.
Set up
Efcient setting up is a major part of the technique of the instrument and is expected to be carried out
quickly and uently 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.
Electronic Keyboard
24
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
d = 60
Grade 1
d = 70
Grade 2
d = 80
Grade 3
d = 90
Grade 4
d = 100
Grade 5
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.
Electronic Keyboard
25
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
Electronic Keyboard
26
Electronic Keyboard Initial Subject code: EK
Pieces (3 x 22 marks)
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 Early One Morning
Trad. arr. Proudler Twinkle Twinkle Little Star*
di Capua arr. Clarke O sole mio
Trad. arr. Litten The Quartermasters Store
Trad. arr. Proudler Sloop John B
The following alternative pieces are also available:
Composer Piece Book Publisher
Mozart Don Giovanni The Electronic Keyboard Collection book 1 Trinity Faber
Trad. Over the Sea to Skye Keyed up, Initial Alfred
Trad. Home on the Range no. 34 34 well-known Folk Songs Schott ED 12663
(basic version)
Trad. Lavender Blue More Making the Grade, Preparatory Grade Chester
arr. Frith
Trad. Ye Banks and Braes More Making the Grade, Preparatory Grade Chester
arr. Frith
Group B
20112013 Initial published by Trinity Guildhall:
Bleicher Salsa rtmico
Proudler A Jolly Little Rag
Bowie arr. Litten Space Oddity
Mizell/Perren/Richards/ ABC**
Gordy, arr. Clarke
Bhamra Ghazal
The following alternative pieces may also be played:
Jennings Titanic Theme Keyed up, Initial Alfred
& Homer
Mercury Bohemian Rhapsody Keyed up, Initial Alfred
arr. Litten
Parton Jolene Keyed up, Initial Alfred
arr. Litten
Vance Catch a Falling Star The Complete Keyboard Player, book 6 Music Sales
& Pockriss AM69998
* own interpretation ** improvisation
27
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)
Electronic Keyboard Initial
28
Electronic Keyboard Grade 1 Subject code: EK
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
20112013 Grade 1 published by Trinity Guildhall:
Purcell arr. Clarke Rondo from Abdelazer
Trad. arr. Proudler Greensleeves
Paganini arr. Fletcher Caprice no. 24 from 24 Caprices*
Ponchielli arr. Litten Dance of the Hours from La gioconda
Trad. arr. Smith Romance de amor
Trad. Mango Walk Keyed up, Grade 1 Alfred
arr. Litten
Hook Gavotte Piano Time Pieces book 2 OUP
Group B
Trad. arr. Litten La bamba
Smith Karnak
Litten Southern Country**
Garvey/Potter/Potter/ One Day Like This
Turner/Jupp, arr. Proudler
Bhamra For the Love of Malkauns
Bullard Feeling Fine Piano Time Pieces book 2 OUP
Freedman Rock Around the Clock Making the Grade Keyboard Grade 1 Chester
arr. Fletcher
Howard Fly me to the Moon The Complete Keyboard Player book 6 Music Sales
arr. Baker AM69998
Jacobs Summer Nights Keyed up, Grade 1 Alfred
& Casey
Leiber I want to be free Keyed up, Grade 1 Alfred
& Stoller
Sting Fields of Gold The Complete Keyboard Player Wise
book 2 (new revised edition)
The Velvet There She Goes The Complete Keyboard Player Wise
Underground book 2 (new revised edition)
29
Electronic Keyboard Grade 1
& 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)
Triad of F and G major, D and E minor (root position and first inversion)
Chord of F
7
and G
7
(root position and first inversion)
1. Chickens
2. Bruce and the Spider
3. YeeHa!
Aural (see page 12)
30
Group A
Boccherini arr. Bleicher Minuet from Quintet op. 13 no. 5
Mozart arr. Beniston Mozartian Melody from Symphony no. 39*
Chopin arr. Litten Chopin Odyssey
Trad. arr. Proudler Danny Boy
Trad. arr. Clarke The House of the Rising Sun
Sherman Chim Chim Cher-ee The Complete Keyboard Player, Music Sales
& Sherman from Mary Poppins Film & TV Themes AM65962
Velaquez Besame Mucho Keyboard Klangwelt: LatinFestival Schott ED 9909
Group B
Rodrguez arr. Litten La Cumparsita**
Proudler Dance Etude
Cohen arr. Proudler Hallelujah
Buttereld Haunted House
Trad. arr. Dasgupta Bhajan
Andresson The Winner Takes it All The Complete Keyboard Player
& Ulvaeus book 3 (new revised edition) Wise
Blake Walking in the air The Electronic Keyboard Collection book 2 Trinity Faber
Lloyd Webber Memory The Electronic Keyboard Collection book 2 Trinity Faber
Norton Get in Step The Microjazz Collection 2 level 4 Boosey
M060106477
Rodgers DoReMi What else can I play? Piano Grade 2 Faber
arr. Williamson
Strauss II You And You The Electronic Keyboard Collection book 2 Trinity Faber
31
The following scales to be performed d = 80, legato and mf, hands together (unless otherwise stated)
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:

:
Triad of Bb and D major, G and B minor (root position, first and second inversions)
Chord of Bb
7
and D
7
(root position, first and second inversions)
1. Medieval Mood
2. Mountain Pass
3. Twistin Tango
Aural (see page 12)
32
Group A
Beethoven arr. Litten Minuet in G
Saint-Sans arr. Proudler The Swan from Carnival of the Animals
Gilbert and Sullivan The Sun Whose Rays Are All Ablaze from The Mikado
arr. Fletcher
Grieg arr. Clarke In the Hall of the Mountain King from Peer Gynt
Trad. arr. Fletcher Sea Shanty and Hornpipe*
Group B
Bleicher La puesta del sol**
Proudler Boogie on the Blues
Fletcher Why did you leave me?
Gold arr. Fletcher The Sarah Jane Adventures
Bhamra Bhangaragga
Afansieff Hero The Complete Keyboard Player, Music Sales
& Carey Greatest Hits AM 952677
Lennon When Im Sixty-Four The Complete Keyboard Player book 3 Music Sales
& McCartney AM91385
Lennon Lady Madonna The Complete Keyboard Player, Greatest Hits Music Sales
& McCartney AM 952677
Menken A Whole New World The Complete Keyboard Player, Greatest Hits Music Sales
arr. Baker AM 952677
Norton Fifth Dimension The Microjazz Collection 2 level 4 Boosey
M060106477
Reid & Brooker, A Whiter Shade of Pale The Complete Keyboard Player, Greatest Hits Music Sales
arr. Baker AM 952677
Rodgers Getting to know you What else can I play? Piano Grade 2 IMP Ltd
arr. Williamson
Washington When You Wish Upon The Complete Keyboard Player book 4 Music Sales
& Harline, A Star AM68552
33
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)
Triad of Eb and A major, C and F# minor (root position, first and second inversions)
Chord of Eb
7
and A
7
(root position, first, second and third inversions)
1. Cool it!
2. Sunshine and Shadow
3. A Little Waltz
Aural (see page 12)
34
Group A
Trad. arr. Bleicher Dashing White Sergeant*
Trad. arr. Robathan/Beniston Mexican Hat Dance (Jarabe tapatio)
Offenbach arr. Bleicher Barcarolle from The Tales of Hoffman
Rossini arr. Litten Overture from William Tell
Vivaldi arr. Proudler Themes from The Four Seasons
Stanley The Bluebell Polka The Complete Keyboard Player, Music Sales AM965701
arr. Baker Favourite Songs of Scotland
Group B
Villoldo arr. Litten El choclo
Fletcher Good Time Boogie**
Houston arr. Clarke Breaking Free from High School Musical
Lennon & McCartney Yesterday
arr. Clarke
Bhamra The Maharajas Sorrow
Andersson I know him so well The Complete Keyboard Player, Wise
Greatest Hits AM952677
Hawkins, Tuxedo Junction The Complete Keyboard Player, Jazz & Blues Music Sales
Johnson, Dash AM65970
& Feyne
Jobim Desafinado Keyboard Klangwelt: LatinFestival Schott ED 9909
& Mendoca
Mier What a Glorious Day! Jazz, Rags and Blues book 3 Alfred
Mier Fickle Fourths Jazz, Rags and Blues book 3 Alfred
* own interpretation
** improvisation
35
The following scales to be performed d =100, legato and mf, hands together (unless otherwise stated)
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)
Triad of Ab and E major, F and C# minor (root position, first and second inversions)
Chord of Ab
7
, E
7
, Fm
7
and C#m
7
(root position, first, second and third inversions)
Chord of Ab
+
, E
+
, F
, C#
, F#
7
, C#
7
(root position)
1. Go Ahead
2. Cochabamba
3. Boogie On Down
Aural (see page 12)
36
Group A
Mozart arr. Clarke 1st movement from Sonata in C, K. 545
Mozart arr. Smith Alla Turca from Sonata in A, K. 331
Strauss II arr. Proudler Waltzes from The Blue Danube
Saint-Sans arr. Clarke Danse macabre
Gilbert and Sullivan Three Little Maids from School from The Mikado
arr. Litten
Trad. Scottish Jig Medley* The Complete Keyboard Player, Wise
Favourite Songs of Scotland AM965701
Tchaikovsky Waltz Electronic Keyboard Cocktails Classics Cramer 90550
arr. Bolton from Serenade for Strings
Group B
Albniz arr. Fletcher Tango
Burnell Montuno**
Litten Birthday Bash
Grainer arr. Fletcher Doctor Who*
Bhamra Bollywood Love Song
Albert & Gaste Feelings The Complete Keyboard Player, Greatest Hits
Wise AM952677
Gershwin Aint Misbehavin The Complete Keyboard Player book 4 Wise AM68552
Kern Smoke Gets In Your Eyes The Complete Keyboard Player book 8 Wise AM78981
arr. Baker
Mier Pine Cone Rag Jazz, Rags and Blues book 3 Alfred
Norton Mechanics Rag The Microjazz Collection 3 level 5 Boosey M060106484
* own interpretation
** improvisation
37
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 Db
maj7
, B
maj7
, Bbm
7
, G#m
7
, Bbm
maj7
, G#m
maj7
, Db
6
, B
6
, Bbm
6
, G#m
6
Perfect cadence in C, G and F major
Example in C major:

1. Late Night Blues
2. Master Blues
3. Swingin It
Aural (see page 12)
38
Instruments
Instruments must have at least the following specification:
Range Minimum 61 keys (5 octaves)
Keyboard Full-size keys with touch sensitivity (to be used for all tests and pieces), and
external sustain pedal where needed.
Capability v 12-note polyphonic capacity
v 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.
v 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.
v 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.
v 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.
Digital Keyboard Subject code: DK
C6 Cm6 C 7 Cm7 5 C7sus4 C9 C 9 C13
C Cm C C+ Csus4 C7 C C7/ G
39
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: Mambo. Candidates may create their own rhythms and fill-ins where appropriate.
Use the fade-out or rhythm stop function to the end.
Key split: LH: B
2
and below; RH: C
2
and above (Song for Guy); LH: F#
2
and below; RH: G
2

and above (Sad songs say so much)
Grade 7
Angels
Suggested voice: Modern Electric Piano and Strings. To be played as written using external sustain
pedal.
Suggested style: 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.
Im Still Standing/Little Jeannie
Suggested voice: 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.
Suggested style: 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.
Key split: LH: F#
2
and below; RH: G
2
and above
40
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.
Suggested style: 90s dance. End the piece with right and left hand parts together on the second
quaver of the final bar (rhythm stop).
Key split: LH: F#
2
and below; RH: G
2
and above
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.
41
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 Piece Publisher
John Sad Songs Say So Much (from Elton John Anthology) Hal Leonard
John Song For Guy (from Elton John Anthology) Hal Leonard
Group B
Carmichael The Nearness Of You Wise AM936980
(from The Complete Keyboard Player, Dinner Jazz)
Davenport Fever (from The Complete Keyboard Player, Dinner Jazz) Wise AM936980
Dvor k Humoreske op. 101 no. 7 (from Digital Keyboard from 2000)* Trinity Guildhall
John I Guess Thats Why They Call It The Blues (from Elton John Love Songs) Faber 3687A
Rose, arr. 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:
Bb
9
, D
9
, Gm
9
, Bm
9
, Bb
7(9)
, D
7(9)
, Gm
7(9)
, Bm
7(9)
, Bb
sus4
, D
sus4
, Bb
sus2
, D
sus2
, Gm
sus2
, Bm
sus2
Plagal cadences in G and F major
IcVI progression in G and F major
42
Digital Keyboard Grade 6
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.
43
John Im Still Standing (from Elton John Anthology) Hal Leonard
John Little Jeannie (from Elton John Anthology) Hal Leonard
Widor Toccata in F from Symphony no. 5 Cramer 90504
(from Electronic Keyboard Cocktails Wedding Music)
Williams Angels (from Life thru a lens) Faber
Group B
Chopin Waltz in Db, op. 64 no. 1 (from Digital Keyboard from 2000) Trinity Guildhall
Donaldson, arr. Medley 13 Roarin-Twenties (from Ballroom Favourites 2) Faber 17788
Joplin The Entertainer (from Digital Keyboard from 2000) 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
Chord of Ab
+
7
, E
+
7
, Abm
maj7
, Em
maj7
, Ab
sus4
, E
sus4
, Ab
sus2
, E
sus2
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
IIb
7
VI progression in Bb and D major and A minor
44
arpeggio (in crotchets) in the right hand, ascending and descending (two octaves) (d = 126)
Articulation: f/
p
Keys: A, D, E, Bb, Eb major
A, D, E, Bb, Eb harmonic and melodic minor
iii) Stylistic Awareness (7 marks)
Styles: March, Waltz, Swing, Salsa, Reggae, Funk
Key Centres: A, D, F and Bb
45
Somerset-
Priddle Mad Max Beaufort Chase (from Digital Keyboard from 2000) Trinity Guildhall
Williams Let Me Entertain You (from Life thru a Lens) Faber
Group B
Gershwin I Got Rhythm (from Digital Keyboard from 2000) Trinity Guildhall
Grainger Country Gardens (from Digital Keyboard from 2000) Trinity Guildhall
McHugh
& Fields, arr. Medley 3 In the Mood for Love (from Ballroom Favourites 2) Faber 17788
Mozart Allegro in C, K. 5a (from Digital Keyboard from 2000) 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.
Chord of F#
7(b5)
, Eb
7(b5)
, B
7(b5)
, F#m
7(b5)
, Ebm
7(b5)
, Bm
7(b5)
, F#
sus4
, Eb
sus4
, B
sus4
, F#
sus2
, Eb
sus2
, B
sus2
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
46
arpeggio (in crotchets) in the right hand, ascending and descending (two octaves) (d = 132)
Articulation: f/
p
Keys: B, Ab, Db, C# and F# major
B, Ab, Db, C# and F# harmonic and melodic minor iii) Stylistic awareness (7 marks)
Styles: Reggae,
_ Swing, Techno, Funk, Fast 4 Gospel, 8-Beat and Jazz Waltz

Key Centres: B, E, Ab and Eb
47
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 It is expected that style should be used at all levels, where this enhances the performance.
2 The use of rhythm sequence programming is acceptable at all levels, where appropriate.
3 Control data, including registration changes, functions of expression pedal(s), footswitch(es)
and knee lever, may also be programmed, when available.
4 The use of disks to facilitate (2) and (3) above is acceptable.
5 No other performance data may be pre-programmed into the instrument or any other media
storage device.
6 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.
7 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.
8 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.
9 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.
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.
Electronic Organ Subject code: EO
48
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
d = 72

d = 60
Grade 1
d = 72 d = 60

d = 60
Grade 2
d = 72 d = 60

d = 66
Grade 3
d = 84 d = 72

d = 66
Grade 4
d = 96 d = 84

d = 72
Grade 5
d = 108 d = 90

d = 72
Grade 6
d = 120 d = 96 d = 60 d = 66 d = 80
Grade 7
d = 132
d = 60 d = 72 d = 88
Grade 8
d = 132
d = 60 d = 80 d = 92
49
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
Blue Take My Hand Organ World book 1 Trinity Guildhall
Cowles Still Waters Organ World book 1 Trinity Guildhall
Cowles Whilst Waiting Organ World book 1 Trinity Guildhall
Ogden Poodles In Puddles Organ World book 1 Trinity Guildhall
Tchaikovsky An Ancient French Song Electronic Organ book 1 Guildhall
Group B
Anon Greensleeves The Joy of Organ Music Yorktown YK 21095
Anon Careless Love The Joy of Organ Music Yorktown YK 21095
Brahms Lullaby The Joy of Organ Music Yorktown YK 21095
Clarke Music Box Melody Electronic Organ book 1 Guildhall
Hawker & I Only Want To
Raymonde Be With You Electronic Organ book 1 Guildhall
Joplin The Entertainer Electronic Organ book 1 Guildhall
Lloyd Webber Any Dream Will Do Electronic Organ book 1 Guildhall
Young When I Fall in Love Electronic Organ book 1 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 C
2
to G
2
only)
Aural (see page 12)
50
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 Piece Book Publisher
Bailey Scoobie Du Wup Organ World book 1 Trinity Guildhall
Lee Invocation Organ World book 1 Trinity Guildhall
Lee Stepping Stones Organ World book 1 Trinity Guildhall
Offenbach Can-Can Electronic Organ book 1 Guildhall
Runswick Pronto Organ World book 1 Trinity Guildhall
Trad. The Skye Boat Song Electronic Organ book 1 Guildhall
Group B
Clarke Somewhere In My Dreams Electronic Organ book 1 Guildhall
Hamlisch The Way We Were Electronic Organ book 1 Guildhall
Maclellan Snowbird Electronic Organ book 1 Guildhall
R Presley Love Is All Around Electronic Organ book 1 Guildhall
Runswick Velvet Dreams Organ World book 1 Trinity Guildhall
Schmidt Try To Remember Electronic Organ book 1 Guildhall
Soloviev-Sedoy Moscow Nights The Joy of Organ Music Yorktown YK 21095
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:
Aural (see page 12)
51
Bailey Moonlight Air Organ World book 1 Trinity Guildhall
Blue I Remember Organ World book 1 Trinity Guildhall
Cowles Follow Me! Organ World book 1 Trinity Guildhall
Holdsworth On The Move! Organ World book 1 Trinity Guildhall
MacDowell To A Wild Rose The Joy of Organ Music Yorktown YK 21095
Saint-Sans My Heart at thy
Sweet Voice The Joy of Organ Music Yorktown YK 21095
Strauss The Emperor Waltz The Joy of Organ Music Yorktown YK 21095
Trad. O sole mio The Complete Organ Player Wise AM33739
Songbook Series 2 vol. 2
Group B
Angulo The Complete Organ Player Wise AM33739
& Seeger Guantanamera Songbook Series 2 vol. 2
Clarke Bird Of Paradise Electronic Organ book 2 Guildhall
Coben The Old Piano Roll Blues The Complete Organ Player Wise AM33739
Danvers Till Electronic Organ book 2 Guildhall
Herman Hello Dolly Electronic Organ book 2 Guildhall
Lennon Woman The Complete Organ Player Wise AM33739
Mandel
& Altman Song from M.A.S.H. Electronic Organ book 2 Guildhall
Richie Hello Electronic Organ book 2 Guildhall
Wonder You Are The Sunshine The Complete Organ Player Music Sales
Of My Life Songbook Series 2 vol. 2
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)
52
Electronic Organ Grade 2
Aural (see page 12)
53
Blue Autumn Leaves Organ World book 1 Trinity Guildhall
Bucalossi The Grasshoppers Dance Electronic Organ book 2 Guildhall
Debussy Clair de lune The Joy of Organ Music Yorktown YK 21095
Haydn St. Anthony Chorale The Joy of Organ Music Yorktown YK 21095
Ogden Beyond The Stars Organ World book 1 Trinity Guildhall
Schumann Trumerei The Joy of Organ Music Yorktown YK 21095
Group B
Brahms Hungarian Dance no. 4 The Joy of Organ Music Yorktown YK 21095
Clarke Sierra Serenade Electronic Organ book 2 Guildhall
Cowles Tango For Bertha Organ World book 1 Trinity Guildhall
Ebb & Kander New York, New York Electronic Organ book 2 Guildhall
Goodrum You Needed Me Electronic Organ book 2 Guildhall
Howard
& Blaikley Theme from Miss Marple Electronic Organ book 2 Guildhall
Jessel Parade Of The Tin Soldiers The Joy of Organ Music Yorktown YK 21095
Williams Star Wars Electronic Organ book 2 Guildhall
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)
54
Blue Tutti Frutti Organ World book 2 Trinity Guildhall
Booth Morning Serenade Organ World book 2 Trinity Guildhall
Delibes Waltz (from Naila) The Joy of More Organ Music Yorktown YK 21210
Mozart Romanze from Eine Kleine
Nachtmusik, K. 525 Electronic Organ book 3 Guildhall
Runswick The Hipster Organ World book 2 Trinity Guildhall
Group B
Albeniz Tango The Joy of More Organ Music Yorktown YK 21210
Carmichael Georgia On My Mind Electronic Organ book 3 Guildhall
Churchill Were I But Crazy
For Loves Sake! Electronic Organ book 3 Guildhall
Clarke Carnival Calypso Electronic Organ book 3 Guildhall
Hamlisch Nobody Does It Better Electronic Organ book 3 Guildhall
Kenny I Made It Thru The Rain Electronic Organ book 3 Guildhall
Lloyd Webber Dont Cry For Me
Argentina*
Lloyd Webber The Music Of The Night*
* 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)
55
Bailey Blue Mood Organ World book 2 Trinity Guildhall
Blue Swing Boogie Organ World book 2 Trinity Guildhall
Monti Czards The Joy of More Organ Music Yorktown YK 21210
Ogden Eurotunnel Shuttle Organ World book 2 Trinity Guildhall
Runswick Chromatique Organ World book 2 Trinity Guildhall
Tchaikovsky Waltz from Serenade
for Strings, op. 48 Electronic Organ book 3 Guildhall
Trad. The Floral Dance The Joy of More Organ Music Yorktown YK 21210
Group B
Bayer, Sager
& Allen Dont Cry Out Loud Electronic Organ book 3 Guildhall
Clarke Tropical Mix Electronic Organ book 3 Guildhall
Garner Misty Electronic Organ book 3 Guildhall
John & Rice Can You Feel
The Love Tonight*
Lewis How High The Moon Electronic Organ book 3 Guildhall
Mancini Baby Elephant Walk*
Schnberg I Dreamed A Dream*
Suessdorf Moonlight In Vermont Electronic Organ book 3 Guildhall
Williams The Raiders March*
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:
Bb, F# and G# minor (two octaves)
56
Pedal:
Scales:
C melodic minor (one octave)
Arpeggios:
C minor (one octave)
Aural (see page 12)
57
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 Piece Publisher
Bizet Toreadors Song from Carmen (from Opera Gala book 1) Stainer H331
Bizet In The Depths Of The Holy Temple from The Pearl Fishers
(from Opera Gala book 2) Stainer H332
Booth Blue Lullaby (from Organ World book 2) Trinity Guildhall
Brahms Ungarischer Tanz no. 5 [Repeats must be played]
(from Die Welt der Orgel-Klassik I) Schott ED 5601
Cowles Interval (Ice Cream Music) (from Organ World book 2) Trinity Guildhall
Creamer Way Down Yonder In New Orleans*
& Layton
Delibes Flower Duet from Lakm (from Classical Concert) Stainer H362
Gibb, Gibb
& Gibb Night Fever
(from The Complete Organ Player: Favourite Organ Pieces) Wise AM939213
Gossec Gavotte [Repeats must be played]
Haydn Rondo from Trumpet Concerto (from Classical Concert) Stainer H362
Hudson,
De Lange
& Mills Moonglow*
MacDonald,
Salter
& Withers Just The Two Of Us
Marquina Spanish Gypsy Dance
Oliver Opus 1*
Roberts,
Jacobson Swingin Shepherd Blues*
& Koffman
Robin &
Shavers Undecided*
Runswick Blue Six (from Organ World book 2) Trinity Guildhall
Russell Dont Get Around Much Anymore*
& Ellington
Verdi Chorus of the Hebrew Slaves from Nabucco
Verdi Drinking Song from La Traviata (from Opera Gala book 1) Stainer H331
Verdi Quartet from Rigoletto (from Opera Gala book 1) Stainer H331
Verdi The Anvil Chorus from Il Travatore (from Opera Gala book 2) Stainer H332
Weber Aufforderung zum Tanz [Repeats must be played]
58
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 harmonic minor (one octave)
C melodic minor (one octave)
i) Sight Reading (see page 8)
59
Arndt Nola Wise AM 939213
(from The Complete Organ Player: Favourite Organ Pieces)
Bailey Cookin With Gas (from Organ World book 3) Trinity Guildhall
Beethoven Adagio un poco mosso from Piano Concerto no. 5
(from Classical Concert) Stainer H362
Binge Elizabethan Serenade
Boccherini Minuet from the Quintet (from Classical Concert) Stainer H362
Cowles An Intermezzo Sandwich (from Organ World book 3) Trinity Guildhall
Cowles Wedding Bossanova (from Organ World book 3) Trinity Guildhall
Gimbel
& Thielmans Bluesette*
Gounod Juliets Waltz Song from Romeo and Juliet
Parker Harlequin (from Organ World book 3) Trinity Guildhall
Puccini Your Tiny Hand Is Frozen from La Bohme
Raye, De Paul
& Johnson Ill Remember April*
Runswick Stay Awhile (from Organ World book 3) Trinity Guildhall
Shearing
& Weiss Lullaby Of Birdland*
Vivaldi Spring from The Four Seasons (from Classical Concert) Stainer H362
Washington On Green Dolphin Street*
& Kaper
Williams Devils Galop Wise AM939213
(from The Complete Organ Player: Favourite Organ Pieces)
Williams
& Monk Round Midnight*
Manual:
or
or
60
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:
C major in contrary motion (one octave)
C harmonic minor in contrary motion (one octave)
61
J S Bach Prelude in C major BWV 553 (Prelude only)
(from Bach Organ Works book 1: Eight Short Preludes and Fugues) Novello 10018
Bizet The Flower Song from Carmen (from Opera Gala book 3) Stainer H333
Ellis Coronation Scot
Handel Zadok the Priest from Coronation Anthem no. 1
Hendricks
& Timmons Moanin*
Jobim One Note Samba (Samba De Uma Nota So)
Mercer
& Raksin Laura*
Mozart Porgi, Amor from the Marriage of Figaro
Paparelli,
Gillespie
& Leveen A Night In Tunisia*
Parish, Mills Organ Grinders Swing*
& Hudson
Parker Prelude In Ragtime (from Organ World book 3) Trinity Guildhall
Smetana Dance of the Comedians from The Bartered Bride
Runswick Well You Might (from Organ World book 3) Trinity Guildhall
Verdi Sempre Libera from La Traviata (from Opera Gala book 3) Stainer H333
Manual:
or
or
62
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:
C major contrary motion (one octave)
C harmonic minor contrary motion (one octave)
63
Organ Subject code: OGN
Grade Manual
scales
Manual
arpeggios
Manual
sevenths
Pedal
scales
Pedal broken
chords
Grade 1
d = 72

Grade 2
d = 72 d = 60

Grade 3
d = 84 d = 72
d = 72
Grade 4
d = 96 d = 84
d = 84
Grade 5
d = 108 d = 90
d = 60 d = 84
Grade 6
d = 120 d = 96 d = 66 d = 72 d = 90
Grade 7
d = 132
d = 72

Grade 8
d = 132
d = 80

Technical Work
All scales, arpeggios and other material to be performed from memory. A minimum pace is
required, increasing gradually grade by grade:
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.
64
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 3
3
65
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).
Alcock Trumpet Piece Organ Music for Manuals book 4 OUP
J S Bach Ich hab mein Sach Gott
heimgestellt BWV 708 Organ Works book 18 Novello NOV010013
Bhm Minuet in G major A Graded Anthology vol. 2 Cramer 90583
(ed. Anne Marsden Thomas)
Boyvin Duo du troisime ton Organ Music for Manuals book 3 OUP
Dandrieu Chantons je vous prie (p.7) Nols Alfred 00-K03366
Frescobaldi Magnificat Primi Toni Organ Music for Manuals book 1 OUP
Pachelbel Fuga Organ Music for Manuals book 3 OUP
Telemann O Lamm Gottes unschuldig Organ Music for Manuals book 3 OUP
Group B
Beethoven no. 1 of Two Equali Music for Memorial
and Thanksgiving Services Novello NOV262778
Franck Prire Music for Memorial
and Thanksgiving Services Novello NOV262778
Gebhardi Moderato (no. 2 of
Four Short Preludes) Organ Music for Manuals book 1 OUP
Heron Cornet Voluntary, slow movt Organ Music for Manuals book 4 OUP
Howells Eighteen Miniatures for Organ Mayhew 3611053
Liszt Offertorium
(Missa pro Organo) Music for Manuals book 3 De Haske F 463
Litzau Praeludium in C moll Easy Organ pieces from Brenreiter BA 8420
19th Century vol. 3
Mozart Minuet in F A Graded Anthology vol. 2 Cramer 90583
arr. Marsden Thomas
Rathgeber Christmas Pastorella no. 5 10 Christmas Pastorals Peters EP 8087
Group C
Alain De Jules Lematre 4 Pieces for Organ Universal UE 17163
Hepburn O when the Saints Getting started on the Organ Animus
Hesford Partita for Anna
Magdalena, 3rd movt Miniatures vol. 1 De Haske F 607
Krner Moderato in B Minor Easy Organ Pieces book 1 Brenreiter BA 8416
Litzau Andante (no. 3 of
3 Short Preludes) Organ Music for Manuals book 5 OUP
Peeters Miniature op. 55 A Graded Anthology vol. 2 Cramer 90583
(ed. Marsden Thomas)
Tournemire Immaculata Conceptio
B. Mariae Virginis no. 3 Petites fleurs musicales op. 66 Universal UE 17465
66
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)
Organ
67
J S Bach Herr Jesu Christ meines
Lebens Licht 23 Chorale Preludes Bayley & Ferguson
J S Bach Gottes Sohn ist kommen
(Fughetta) BWV 703 Complete Organ Works vol. 3 Brenreiter BA 5173
J S Bach Prelude in G minor Bach Organ Works book 1 Novello NOV010018
Boyvin Basse de trompette Organ Music for Manuals book 3 OUP
Dandrieu Noel: Puer nobis nascitur Noels Alfred 00-K03366
Greene Andante (only) Early organ music for manuals book 2 Novello
from Voluntary XIII NOV010184
Pachelbel Fugue in C A Graded Anthology vol. 2 Cramer 90583
Travers Trumpet Voluntary Organ Music for Manuals book 3 OUP
Group B
Bollmann Basso Ostinato Easy Graded Organ Music book 1 OUP
Bollmann Verset Music for Manuals book 2 De Haske F 367
Boly Messe du jour de nol Incognita Organo Volume 16
(4me Kyrie) Harmonia HU 3315
Franck la venue de nol Music for Manuals book 2 De Haske F 367
Haydn Minuet no. 5 in C Pieces for a Musical Clock Barenreiter EN802
Hob. XIX: 132
Mozart Adagio in C Brenreiter BA 8403
for glass harmonica KV 356
Rathgeber Christmas Pastorella no. 1 10 Christmas Pastorals Peters EP 8087
Reger Es ist gewilich an der Zeit
op. 135a no. 8 Music for Manuals book 2 De Haske F 367
Group C
Alain Monodie Loeuvre dorgue vol. 3 Leduc AL20184
Coleman Prelude An Easy Organ Album OUP
Eben Kleine Choralpartita ber
O Jesu, all mein Leben
bist Du, 2nd movt Universal UE 17162
Hesford Gradual Missa Ungarica pro Organo Cramer 90124
Langlais Printemps [theme only] Mosaques vol. 3 Combre CO 4639
Peeters Choral and 1st Variation:
Herr Jesus hat
ein Gartchen 10 Organ Chorales Schott ED 2553
Walcha Chorale Prelude:
Zu Bethlehem Geboren A Graded Anthology for Organ book 2 Cramer 90583
68
Organ Grade 2
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)
Aural (see page 12)
69
Anon. no. 1 of Two Early Sixteenth Early Organ Series 1: Faber 0 571 50771 9
Century Pieces England 15101590
J S Bach Da Jesus an dem Kreuze
stund BWV 621 Complete Organ Works vol. 1 Brenreiter BA 5171
Byrd Veni creator spiritus 1 8 Organ Pieces Hinrichsen H1543A
Stanley Voluntary VIII in D minor,
1st movt 10 Voluntaries op. 5 Peters EP7722
Van Noordt Psalm 38 Organ Music for Manuals book 3 OUP
Walther Herr Jesu Christ, dich zu uns
Wend [with repeats] Organ Music for Manuals book 1 OUP
Group B
Bollmann Plainte (no. 1 of Four Pieces) Organ Music for Manuals book 1 OUP
Bollmann Postlude Organ Music for Manuals book 3 OUP
Frank Vieux Nol A Graded Anthology vol. 3 Cramer 90584
Guilmant Communion Organ Music for Manuals book 5 OUP
Haydn Allegro in C no. 23 Pieces for a Musical Clock Barenreiter EN802
Hob. XIX: 132
Marpurg Pastorella: Der Herr ist The Progressive Organist book 1 Novello NOV262483
mein getreuer Hirt (ed. Trevor)
Group C
Alain Ballade en mode phrygien Loeuvre dorgue vol. 3 Leduc AL20184
Langlais Pastoral Song A Graded Anthology vol. 3 Cramer 90584
Moore Prelude A Graded Anthology vol. 3 Cramer 90584
Pinkham Canon at the octave Music for a Quiet Sunday UMP
Ridout Father Canticle of the Rose Mayhew 1405553
Tournemire Offertoire Miniatures vol. 2 De Haske F 642
Walcha Herzliebster Jesu A Graded Anthology vol. 3 Cramer 90584
70
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)
Aural (see page 12)
71
J S Bach Der Tag, der ist so
freudenreich BWV 605 Complete Organ Works vol. 1 Brenreiter BA 5171
J S Bach Christe, du Lamm Gottes
BWV 619 Complete Organ Works vol. 1 Brenreiter BA 5171
J S Bach Prelude and Fugue in G Bach Organ Works book 1 Novello NOV010018
Bhm Prelude in A minor A Graded Anthology vol. 4 Cramer 90585
Buxtehude Nun Komm der
Heiden Heiland The Progressive Organist book 2 Novello NOV262533
Froberger Toccata in D minor no. 2 Various Organ Works Kalmus K03455
Kotter Preludium in Fa Early Organ Series 13: Faber 0 571 50783 2
Germany 15121577
Pachelbel Da Jesus an dem Kreuze
stund BWV 621 Pques Schola Cantorum OL 1
Group B
Albrechsberger Prelude A Graded Anthology vol. 4 Cramer 90585
Bollmann Entre Miniatures vol. 2 De Haske F 642
Elgar Andantino op. 14 no. 3 Miniatures vol. 2 De Haske F 642
Elgar Vesper voluntary no. 5 Vesper Voluntaries op. 14 Faber 0571508626
Ireland The holy boy Boosey BH 83212
Karg-Elert Freu dich sehr, Chorale-Improvisations
o meine Seele no.5 op. 65 book 1 Breitkopf EB 8261
Group C
Alain no. 1 of Deux danses Loeuvre dorgue vol. 2 Leduc AL20102
a Agni Yavishta
Demessieux Chorale-paraphrase Twelve Choral Preludes SummyBirchard
on Tu es petrus on Gregorian Chant Themes
Dupr Audi, benigne Conditor Le tombeau de Titelouze op. 38 Leduc AL27836
Macmillan White note paraphrase Boosey BH 11392
Ridout Jesus meets his
Blessed Mother 14 Stations of the Cross Mayhew 1400014
Ridout Jesus Speaks to the
Women of Jerusalem 14 Stations of the Cross Mayhew 1400014
Vierne Arabesque 24 Pieces en Style Libre vol. 2 Durand DF 00897300
72
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)
Aural (see page 12)
73
J S Bach Herr Christ, der einge
Gottessohn BWV 601 Complete Organ Works vol. 1 Brenreiter BA 5171
J S Bach Prelude and Fugue
in E minor BWV 555 Bach Organ Works book 1 Novello NOV010018
Buxtehude Mensch, willt du leben
seliglich BuxWV 206 Early Organ Series 12: Faber 0 571 50775 7
Germany 16501710
C
ernuhorsk Toccata C dur Vox Humana Czech Republic Brenreiter BA 8236

J C Kittel Prludium in A flat major Organ Music around J S Bach vol. 2 Breitkopf EB 8685
KargElert Chorale prelude: Schmcke 66 Chorale Improvisations Breitkopf EB 8265
dich, O liebe Seele no. 5 op. 65
Purcell Rondeau and Aire Cramer
90109 Archive
Purcell Voluntary in G Organ Works Novello NOV590294
Tomkins Verse Early Organ Series 2: Faber 0 571 50770 6
England 15901650
Ziploi Alloffertorio A Graded Anthology vol. 4 Cramer 90585
Group B
Karg-Elert Chorale prelude: Schmcke 66 Chorale Improvisations Breitkopf EB 8265
dich, O liebe Seele op. 65 no. 5
Mendelssohn Sonata in A, op. 65 no. 3,
Andante tranquillo Complete Organ Works II Brenreiter BA 8197
Mendelssohn Sonata in D minor op. 65 no. 6,
Finale (Andante) Complete Organ Works II Brenreiter BA 8197
Merkel Pastorale no. 4 6 Preludes op. 23 De Haske F 365
Merkel Evening hymn Self Taught 1 Animus
Rheinberger Con moto no. 1 Twelve Monologues Novello NOV010044
for Organ op. 162
Schumann Canonic study for Organ Works Schott ED9906
pedal piano op. 56 no.1 in C
Thalben-Ball Elegy Paxton NOV357436
Vierne Berceuse op. 31 no. 19 24 Pieces en Style Libre vol. 2 Durand 0897300
Whitlock Lantana Plymouth Suite OUP
Group C
Demessieux Choraleparaphrase on Twelve Choral Preludes SummyBirchard
Hosanna filio David on Gregorian Chant Themes
74
Organ Grade 5
Hakim Pastorale Mariales UMP M2244 0215 5
Lindberg Gammal Fabdsalm frn Norsk NM2352
Dalrna
Mathias Chorale A Mathias Organ Album OUP
Nielsen Prelude in F sharp minor Miniatures vol. 2 De Haske F 642
Peeters Koraal Suite modale op. 43 Lemoine 23673
Ridout Jesus Receives the Cross 14 Stations of the Cross Mayhew 1400014
Ridout Jesus is Laid in
the Sepulchre 14 Stations of the Cross Mayhew 1400014
SaintSans LElephant, from The Heavy-footed Organist Animus
arr. Webb Carnival of the Animals
Stanford no. 5 of 6 short Preludes and Postludes Mayhew 1400361
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)
Aural (see page 12)
75
J S Bach Concerto in G BWV 592 (from Bach Organ works vol. 8) Brenreiter BA5178
last movt (Presto)
J S Bach Gelobet seist du, Jesu Christ BWV 722 Brenreiter BA 5173
J S Bach Heut triumphieret Gottes Sohn BWV 630
(from Complete Organ Works vol. 1) Brenreiter BA 5171
J S Bach Trio Sonata in D minor, BWV 527, 2nd movt
Bruckner Fugue from Prelude and Fugue in C minor
(from Bruckner Album of Various Pieces for Organ) Kalmus KO 2036
Homilius Mache dich mein Geist bereit Incognita organo, no. 27 Harmonia
Tunder Chorale fantasia Komm, heiliger Geist Breitkopf EB6718
(from Complete Organ Works)
Group B
Brahms Herzlich thut mich verlangen op. 122 no. 10 Novello NOV590116
Dubois In Paradisum (from Twelve pieces) Alfred
Franck Prelude (from Prelude, Fugue and Variation op. 18) UMP M2244 0313 1
Guilmant Paraphrase on Handels Judas Maccabeus Cramer 90586
A Graded Anthology vol. 5 (ed. Marsden Thomas)
Ireland Sursum Corda (from Organ Music of John Ireland) Novello NOV010183
LefbureWly Andante Choseur de voix humaines OUP
Favourite organ music book 2 (ed. Sanger)
Mendelssohn Fugue from Sonata no. 6 (from Complete Organ Works vol. 2) Brenreiter BA 8197
Mushel Toccata OUP 196 Archive
Parry Choral Prelude: Martyrdom (from Seven Choral Preludes set 2) Novello NOV590045
Whitlock Folk Tune (from 5 Short Pieces) OUP
Widor Fourth movement (from Symphonie V in F, op. 42) Hamelle AL26865
Group C
Alain Lamento (from Loeuvre dorgue vol. 3) Leduc AL20814
Alain Le Jardin Suspendu (from 3 Pieces) Leduc AL19744
Archer Toccatina (from A little Suite for Organ) IAO/Allegro
Bourgeois Serenade op. 22 Smith R 70055
Burrell Fragments I and II (from Unbeaten Tracks) Faber 0 571 51977 6
Gardner Pavin (from Five Dances for Organ) Gardner
Hakim Incantation (from Mariales) UMP M2244 0215 5
Hindemith Second movement (from Sonata no. 2) Schott ED 2558
Langlais Pasticcio (from Organ book) Elkan-Vogel 46300006
Ridout Veronica Wipes the Face of Jesus (from 14 Stations of the Cross) Mayhew 1400014
Ridout Jesus Falls the Third Time (from 14 Stations of the Cross) Mayhew 1400014
Vierne Carillon op. 31 no. 21 (from 24 Pieces en Style Libre vol. 2) Durand 0897300
Yon Humoresque (from Lorgano primitivo) Dover DP19613
76
Organ Grade 6
Manual:
Scales:
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)
77

J S Bach Prelude (from Prelude and Fugue in A major BWV 536)
J S Bach Fugue in G minor BWV 578
J S Bach In dir ist Freude, BWV 615 (from Complete Organ Works vol. 1) Brenreiter BA 5171
J S Bach Wir glauben all an einem Gott, BWV 680
Buxtehude Prelude, Fugue and Ciacona
(from Organ works vol. 2, Preludes, Fugues and Toccatas) Hansen WH26990
Couperin 8e couplet of Gloria, Dialogue en trio du Cornet et de la Tierce
(from Messe pour les Paroisses) UMP SP5843
Buxtehude Praeludium [and Fugue] BuxWV 138
Hindemith Sonata no. 1, 2nd movt Schott ED 2557
Howells Master Talliss Testament Novello
NOV590222 archive
Langlais Melody (from Triptyque) Novello NOV620001 archive
Lbeck Praeludium and Fugue in E no. 2 (from Orgelwerke) Peters EP 4437
Group B
Bridge Adagio in E (from Three Pieces for Organ) Novello NOV010986
Franck Fugue and Variation (from Prelude, Fugue and Variation op. 18) UMP M2244 0213 1
Ireland Menuetto-Impromptu (from Organ Music of John Ireland) Novello NOV010183
Parry Choral Prelude on Eventide (from Seven Chorale Preludes set 2) Novello NOV590045
Roget Deploracin por la Semana Santa (from Pques) Schola Cantorum OL 1
Smart Postlude in C Novello NOV954514
Stanford Fantasia (from Fantasia and Toccata in D minor op. 57) Cathedral 227
Vierne Pastorale no. 20 (from 24 Pieces en Style Libre vol. 2) Durand 0897300
Wills Elevation (from Colours of the Organ) Novello
NOV010092 archive
Group C
Durufl Fugue op. 12 sur le Carillon de Soissons UMP M560220185
Eben Lied des Leiermannes (from Faust) UMP M224402063
Farnham Toccata on O filii et filiae Presser
Hindemith Sonata no. 2, 1st movt Schott ED2558
KargElert Now thank we all our God op. 65 no. 59 Breitkopf EB 6238
Mathias Processional (from A Mathias Organ Album) OUP
Maxwell Davies no. 1 (Psalm 124) , and either no. 2 or no. 3
(from 3 Organ Voluntaries) Chester CH 55170
78
Organ Grade 7
Messiaen Les Enfants de Dieu (from La Nativit du Seigneur vol. 2) Leduc AL19269
Parry Chorale Prelude on Dundee
(from 7 Chorale Preludes for Organ Set 1) Novello NOV 010214
Peeters Scherzo (from Suite modale op. 43) Lemoine 23673
Ratcliffe Caprice (from Colours of the Organ) 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
79
Alain Variations sur un thme de Clment Jannequin
(from Loeuvre dorgue vol. 2) Leduc AL20102
J S Bach Prelude (from Prelude and Fugue in B minor BWV 544) Dover DP10018
(from Complete Preludes and Fugues for Organ)
J S Bach 1st movt (from Trio Sonata no. 6 in G BWV 530) Brenreiter BA 5177
(from Complete Organ Works vol. 7)
J S Bach Ach bleib bei uns, Herr Jesu Christ, BWV 649
J S Bach Herr Gott, nun schleu den Himmel auf, BWV 617
J S Bach Nun danket alle Gott, BWV 657
Buxtehude Toccata in F Bux157 [complete]
Hurford Dialogue no. 2 (from Two Dialogues) Novello
NOV 570032 archive
J C Kellner Jesu meine Freude (from Organ Music around J S Bach vol. 2) Breitkopf EB 8685
Mendelssohn Sonata no. 3 in A, op. 65 no.3 1st movt
Group B
Beethoven Adagio in F for mechanical organ (ed. Altman) Hinrichsen
Dubois Fiat lux (from 12 pieces for Organ) UMP M2244-02025
Guilmant Marche sur un thme de Handel op. 15 no. 2 Schott ED 11311
Howells Psalm Prelude no. 3 (from Three Psalm Preludes Set 1) Novello NOV590353
Ireland Meditation on John Kebles Rogationtide hymn
(from Organ Music of John Ireland) Novello NOV010183
Jongen Scherzetto op. 108 no. 1 (from A Jongen Organ Album) OUP
KargElert Valse mignonne (from 3 Pieces op. 142) Breitkopf EB 8584
KargElert Legend op. 141 no. 1 (from Triptyque) Novello
NOV 950170 archive
Messiaen Majest du Christ demandant sa gloire son Pre
(from LAscension) Leduc AL18826
Mulet Tu es Petra (from Esquisses Byzantines) Leduc AL16202
Peeters Herr Jesu hat ein Gartchen no. 10 (from 10 Organ Chorales) Schott ED 2553
Whitlock Divertimento (from The Complete Shorter Organ Music) OUP
80
Organ Grade 8
Group C
Anderson Sleigh Ride Banks 14038
arr. Trotter
Bollmann Toccata (from Suite gothique) UMP M2244 0097 7
Dupr Placare Christe servulis op. 38 no. 16 (from 79 Chorales) Bornemann
Gardonyi Mozart changes Moseler MOS 19498
Krzanowski Relief III PWM 9929
Mathias Toccata giocosa op. 36 no. 2 (from A Mathias Organ Album) OUP
Messiaen Le Banquet Celeste Leduc AL19269
Popplewell Triumphal March Banks 13983
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
81
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
v in UK: Alfred UK
Burnt Mill Elizabeth Way, Harlow, Essex CM20 2HX, UK
T +44 (0)1279 828960; www.alfreduk.com
v 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
82
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
Music publishers
83
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
Music publishers
84
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 TG 008589
Electronic Keyboard Pieces & Technical Work 20112013 Grade 1 TG 008596
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.
Sight Reading 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.
Keyboard Repertoire 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
Electronic Organ Books Trinity and Guildhall repertoire books are available as follows:
Electronic Organ World book 1: InitialGrade 3 TCL 621016
Electronic Organ World book 2: Grades 46 TCL 621023
Electronic Organ World book 3: Grades 78 TCL 621030
Electronic Organ Repertoire book 1: InitialGrade 1 GSM 10172
Electronic Organ Repertoire book 2: Grades 23 GSM 10189
Electronic Organ Repertoire book 3: Grades 45 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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