Guitar Syllabus 2016-19 (Online Edition) PDF

Guitar Syllabus
Classical & Plectrum

Grade exams
20162019
Trinity College London

www.trinitycollege.com
Charity number 1014792
Patron HRH The Duke of Kent KG
Copyright 2015 Trinity College London
Published by Trinity College London
Online edition, 13 June 2016
Important information
Changes from the previous syllabus
There is new performance repertoire for classical guitar.
C
lassical guitar repertoire at all levels is divided into groups
A and B. Candidates at Initial to Grade 3 must choose at least
one piece from each group. Candidates at Grades 48 must
choose one piece from group A and two pieces from group B.
Duets are now included in the pieces books (Initial to Grade 3).
A
ll classical guitar candidates begin the technical work section
of the exam by performing a technical exercise. Candidates
then choose either scales and arpeggios or studies (Initial and
Grades 17) or concerto extracts (Grade 8).
Requirements for own composition have been revised.
Overlap arrangements
This syllabus is valid from 1 January 2016. The 2015 syllabus will
remain valid until 31 December 2016, giving a one-year overlap.
During this time, candidates may present pieces and technical work
from either syllabus, but not a mixture of both. Candidates should
indicate which syllabus they are presenting on the appointment
form handed to the examiner at the start of the exam.
Impression information
Please note that this is the first impression (September 2015).
Candidates should refer to www.trinitycollege.com/music to

ensure that they are using the latest impression of the syllabus.
Contents
Introduction......................................................................................................................... 3
Why take a Trinity grade exam?............................................................................ 4
Range of qualifications................................................................................................ 5
About this syllabus........................................................................................................ 6
About the exam................................................................................................................ 7

Exam structure and mark scheme.................................................................................... 7
Pieces......................................................................................................................................... 8
Own composition...................................................................................................................10
Mark scheme for pieces........................................................................................................ 11
Technical work........................................................................................................................12
Supporting tests:................................................................................................................... 13
Sight reading.....................................................................................................................14
Aural....................................................................................................................................16
Improvisation....................................................................................................................19
Musical knowledge..........................................................................................................21
Requirements:
Guitar (subject code GTR)..................... In 1 2 3 4 5 6 7 8
Plectrum guitar (subject code PLE)... In 1 2 3 4 5 6 7 8
Information and regulations..................................................................................58
Music publishers............................................................................................................62
Introduction
I am delighted to introduce this syllabus containing details of grade exams for guitar.
Like all Trinity College London (Trinity) syllabuses, this syllabus is designed to enable candidates of
all levels and abilities to demonstrate their skills in a way that suits their individual needs as learners.
It does this by offering unrivalled flexibility of choice within each section of the exam, as well as
giving candidates the opportunity to express their own musical identities through options to
improvise and perform original compositions. Underpinning these innovative features is a uniquely
diagnostic mark scheme, ensuring that candidates receive precise and specific feedback to inform
their continued learning.
Trinity aims to treat each candidate individually when considering how we can make our exams
accessible to all, recognising that requirements vary. Please visit www.trinitycollege.com/music
(our website) for more information or contact us directly to discuss any specific requirements.
We hope you enjoy exploring the music on offer in this syllabus, and we wish you every success in
your exams and wider music-making. Further information on all our exams, as well as additional
supporting materials for teachers and candidates, can be found on our website.
Francesca Christmas
Head of Academic Governance Music
Trinity accepts entries for its exams on the condition that candidates conform to the requirements of
the appropriate syllabus. Any amendments to the requirements will be published and advertised via our
website and in subsequent imprints.
Trinity College London is an awarding body recognised by the Office of Qualifications and Examinations
Regulation (Ofqual) in England and Northern Ireland, and by Qualifications Wales (QW). Trinitys
qualifications are regulated by these authorities within the Regulated Qualifications Framework (RQF).
Various arrangements are in place with governmental education authorities worldwide.
In the UK, Trinitys Grade 68 exams can contribute towards entry into higher education through the
allocation of UCAS points. Please see our website for full details.
Back to contents 3
Why
take a Trinity grade exam?
Recognising that there is no single approach to musical assessment, Trinitys grade exams are guided
by a core philosophy of flexibility, placing the needs of individual candidates at the heart of the exam.
This is done by:
offering freedom of choice within the exam to enable candidates to play to their strengths
examining real musical skills that are specific to each instrument or the voice
a
llowing candidates to express their own musical identities through options to improvise
and present original compositions
u
sing a diagnostic mark scheme, offering precise and specific feedback to inform
continued learning
linking closely with Trinitys other music qualifications to provide flexible progression routes
d
rawing on Trinitys many relationships around the world to feature repertoire inspired by a range
of musical genres, as well as exciting new works by up-and-coming composers.
As well as incorporating these innovative features, Trinitys graded music exams are delivered by
a panel of friendly examiners who are rigorously trained and standardised. This aims to create a
positive and personalised experience for all candidates.
4 Back to contents
Range
of qualifications
Trinitys music qualifications offer flexible progression routes from beginner to advanced levels in a
range of musical genres. All are designed to help candidates develop as musicians according to their
individual needs as learners.
Grade exams assess a broad range of musicianship skills, including performance, while certificate
exams focus entirely on performance, including separate marks for presentation skills. Candidates
can enter any combination of grade or certificate exams, and do not need to pass any particular level
in order to proceed to a higher level.
Each level features an equivalent grade theory exam, supporting candidates in developing their
understanding of the technical language of music. However, no theory qualifications or other
prerequisites are required to enter grade or certificate exams at any level.
After Grade 8 or the Advanced Certificate, candidates can progress to diplomas at associate (ATCL),
licentiate (LTCL) and fellowship (FTCL) levels. These assess higher skills in performance, teaching,
theory and composition. Adults who work as music educators may also wish to consider Trinitys
Level 4 Certificate for Music Educators (Trinity CME).
This syllabus focuses on grade exams in guitar. Visit our website for more information about other
grade exams, certificate exams, diplomas, the Trinity CME, and Music Tracks an initiative designed
to support teachers in delivering large- and small-group instrumental tuition.
RQF* EQF** Classical Rock Theory Music Solo Group

Level Level & Jazz & Pop & Written Tracks Certificate Certificate
7 7 FTCL FMusTCL
6 6 LTCL LMusTCL
ATCL AMusTCL
4 5 Certificate for Music Educators
(Trinity CME)
3 4 Grade 8 Grade 8 Grade 8 Advanced Advanced
Grade 7 Grade 7 Grade 7
2 3 Grade 5 Grade 5 Grade 5 Intermediate Intermediate
1 2 Grade 3 Grade 3 Grade 3 Foundation Foundation
Grade 2 Grade 2 Grade 2 Track 2
Grade 1 Grade 1 Grade 1 Track 1
Entry
1 Initial Initial Initial Track
Level 3
Entry First Access
Levels 12 Track
* Regulated Qualifications Framework in England, Not RQF or EQF regulated

Wales and Northern Ireland
** European Qualifications Framework
Back to contents 5
About
this syllabus
The objective of Trinitys grade exams is to provide a framework for progress and enjoyment in
musical performance. They assess musical performance, technical ability and responses to set
musical tests through live practical assessment. They offer learners of any age the opportunity
to measure their development as performers against a series of internationally understood
benchmarks, taking them from beginner level to the point at which they can progress to higher
education in music, or enter for Trinitys performance diplomas.
This syllabus is designed to give guitarists the freedom and choice to demonstrate the full extent
of their musicianship. Wide-ranging repertoire lists are provided, including a number of specially
commissioned pieces, and candidates at InitialGrade 3 can perform duets with their teacher or
any other player. A completely revised technical work section includes the option to perform studies
or concerto extracts as an alternative to scales and arpeggios, and there is flexibility of choice within
the supporting tests at all grades.
Syllabus support materials, teaching resources and discussion forums may be found on the Trinity
Music Support pages of our website.
The following pages provide more detail on the different sections of the exam.
6 Back to contents
About
the exam
Exam structure and mark scheme
InitialGrade 5 Max. marks Grades 68 Max. marks
Piece 1 22 Piece 1 22
Technical work 14 Technical work 14

echnical exercise and
T Technical exercise and
either scales & arpeggios either scales & arpeggios
or studies* or studies/concerto extracts*
Supporting tests 10 Supporting test 1 10

Any TWO of the following: 10 sight reading
sight reading Supporting test 2 10
or
One of the following:
aural
or improvisation
improvisation or
or aural
m
usical knowledge
Total 100 100
Comments and marks are given for each section of the exam, up to the maximums listed in the table
above. It is not necessary to pass all sections or any particular section in order to achieve a pass
overall. The total mark for the exam corresponds to different pass/below pass bands as follows:
Overall mark Band

87100 Distinction
7586 Merit
6074 Pass
4559 Below pass 1
044 Below pass 2
Candidates may present the sections of the exam in an order of their choice, and should indicate
their preferred order on the appointment form. This should be given to the examiner at the start of
the exam. If no preference is indicated, pieces are heard first in exams for accompanied instruments,
and technical work is heard first in exams for unaccompanied instruments.
* For plectrum guitar technical work all sections must be prepared.
Back to contents 7
About
the exam
Exams are designed to allow sufficient time for setting up and presenting all sections.
Level Exam duration

(minutes)
Initial 11
Grade 1 13
Grade 2 13
Grade 3 13
Grade 4 18
Grade 5 18
Grade 6 23
Grade 7 23
Grade 8 28
Pieces
Piece choice and programming
Candidates must perform three pieces, and are encouraged to present a balanced programme.
P
ieces for classical guitar are divided into two groups: group A and group B. Candidates at Initial
to Grade 3 must choose at least one piece from each group; the third piece may be chosen from
either group. Candidates at Grades 48 must choose one piece from group A and two pieces from
group B. Pieces for plectrum guitar are not divided into groups, and candidates may choose freely
from the list.
C
andidates are not permitted to select repertoire from both classical and plectrum guitar lists in
the same exam. All repertoire must be selected from the lists for the subject entered.
Performance and interpretation

All pieces must be prepared in full unless otherwise stated.
Repeats of more than a few bars should not be played unless otherwise stated.
All da capo and dal segno instructions should be observed.
Cadenzas should be omitted unless otherwise stated.
Candidates are encouraged to use appropriate ornamentation, particularly at Grades 68.
A
ll tempo and performance markings should be observed (eg Allegro, rall., cresc.).
Metronome marks are given as a guide but do not need to be observed exactly, as long as the
style and character of the piece is maintained.
C
andidates may perform any or all of their pieces from memory, although this is not compulsory
and no additional marks are given for this.
Page turns
T
he examiner will not be able to act as a page turner. Difficult page turns may be overcome by
photocopying the relevant pages.
8 Back to contents
About the exam
Instruments and tuning

C
lassical guitar candidates should note that all requirements are based on a hollow-bodied
instrument strung in nylon. Acoustic guitars with six steel strings and electric guitars are not
suitable for the classical guitar syllabus and should not be used. Classical guitars with cutaways
are acceptable.
P
lectrum guitar candidates should note that all requirements are based on either a steel-stringed
acoustic guitar or an electric guitar. However, a classical guitar may be used up to and including
Grade 5.
A
ll plectrum guitar pieces and technical work must be played with a plectrum. Classical guitar
pieces and technical work must not be played with a plectrum.
The use of a capo is only permitted to replicate Renaissance lute tuning.
Candidates with electric guitars must provide their own portable amplifier and lead.
C
lassical guitar candidates are expected to provide and use a footstool or equivalent support.
Plectrum guitar candidates may also do so but this is not a requirement. Alternatively, plectrum
guitar candidates may choose to perform standing up.
Younger candidates are permitted to use half- or three-quarter-sized instruments.
A
ll candidates are responsible for tuning their own instruments. Up to and including Grade 5,
the teacher or accompanist may assist with tuning. At Grades 68, candidates must tune their
instruments without assistance. Electronic tuners may be used up to and including Grade 5.
Duets
Candidates who choose duets may perform these with a teacher, another adult or student.
A
lternatively, the accompanying line may be pre-recorded in exams up to and including Grade 3,
but candidates must provide their own playback equipment and must operate it themselves.
Music and copies

C
andidates are responsible for obtaining the music for their exam in good time prior to entering.
Candidates are advised to check the availability of pieces before deciding to perform them.
R
ecommended editions are listed in the syllabus, but candidates may perform from any edition
as long as it has not been shortened or otherwise simplified. Where a particular edition must be
used, this is indicated in the syllabus. Product codes for publications are included where available.
G
uidelines regarding the legitimacy of all forms of sheet music can be obtained from the UK
Music Publishers Associations Code of Fair Practice, available at www.mpaonline.org.uk.
Candidates must comply with copyright and other intellectual property laws in the country where
the exam is taking place.
In accordance with the Code of Fair Practice, candidates must produce original copies of all pieces
to be performed at the exam, even if pieces have been memorised, handwritten or typeset. Pieces
where no original copy has been provided may be awarded no marks.
C
andidates must provide photocopies of all pieces to be performed (excluding Trinity publications)
as a reference for the examiner. Photocopies will be retained by the examiner and destroyed after
the exam.
If the music is transfered into tablature, a copy of the standard notation must be provided for
the examiner. Standard notation will be used in the musical knowledge test, if chosen.
W
here music has been downloaded, candidates must bring proof of purchase or the web address
where it was accessed for the examiners reference.
Back to contents 9
About
the exam
Own composition
Candidates can choose to present an own composition as one of their pieces. The focus of the
assessment for this is on performance, using the same assessment criteria as for all other pieces.
Marks will not be awarded for the quality of the composition.
Own compositions may be accompanied or unaccompanied, and must be comparable in technical and
musical demand to the pieces listed for the same grade. Examples of compositional techniques which
may be used at each level are given in the table below, and candidates may use the sample openings
available on the Trinity Music Support pages of our website if they wish.
A typeset or handwritten copy of the composition must be given to the examiner at the beginning
of the exam. At Initial to Grade 5 own compositions may be notated in any coherent form, including
graphic score or lead-sheet. At Grades 68 they must be notated on a stave. Marks will be deducted
if notation is incomplete or inaccurate, or if the performance varies significantly from the notation.
Own compositions should largely be candidates own unaided work, although teachers may offer
guidance as necessary.
Grade Duration (mins) Examples of composition techniques

Use of different rhythmic values
Initial 0.51 Clear melodic line
Use of keys stipulated for technical work at this grade
Dynamic contrast
Grade 1 approx. 1 Simple syncopation or other rhythmic feature
Use of different articulations
Grade 2 11.5 Simple melodic ornamentation or inflection
Form should show clear sections (eg ABA)
Grade 3 1.52 Melodic range of one octave or more
Tempo changes
Grade 4 23 Use of a variety of different articulations
Chromaticism
Grade 5 34 Use of semiquaver passages
More advanced use of form (eg theme and variations)
Extensive range
Grade 6 45
More advanced melodic ornamentation or inflection
Use of any key
Modulation
Grade 7 approx. 5 Use of irregular time signatures
Use of any key
Wide range of expressive techniques
Creative use of form
Grade 8 56
Extended techniques, wide range, chromaticism and rhythmic variation
Use of any key
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About the exam
Mark scheme for pieces

Each piece is awarded three separate marks corresponding to three different musical components,
allowing candidates to receive precise feedback about specific aspects of their performance. These
marks combine to give an overall mark for the piece.
The three components are as follows:
f luency and accuracy: the ability to perform fluently, with a stable pulse and with an accurate
realisation of the notation
t echnical facility: the ability to control the instrument effectively, encompassing the various
technical demands of the music
c ommunication and interpretation: the interpretation of the music and the way the performance
conveys a sense of sylistic understanding and audience engagement.
Marks are awarded for these to form a maximum total mark for each piece as follows:
Maximum mark
Fluency and accuracy 7
Technical facility 7
Communication and interpretation 8
Total mark for each piece 22
Total marks awarded for pieces correspond to the pass/below pass bands as follows:
Total mark for each piece Band

1922 Distinction
1618 Merit
1315 Pass
1012 Below pass 1
39 Below pass 2
Further information about this mark scheme and the assessment criteria that support it is available on
our website.
Back to contents 11
About
the exam
Technical work
This section of the exam supports the development of technical skills by assessing candidates
performance in a range of technical work options.
Classical guitar
All candidates begin the technical work section by performing a technical exercise. Candidates then
choose one of the following options:
scales and arpeggios
studies (Initial and Grades 17) or concerto extracts (Grade 8).
Plectrum guitar
Candidates must perform the complete technical work requirements as detailed for each grade in the
relevant sections of this syllabus.
Candidates must prepare technical work from the appropriate syllabus, and must not mix technical
work from the classical and plectrum guitar syllabuses. Further information about specific technical
requirements for each grade is given in the relevant sections of this syllabus.
Mark scheme
Technical work is awarded a single mark that corresponds to the pass/below pass bands as follows:
Mark Band
1314 Distinction
1112 Merit
910 Pass
78 Below pass 1
16 Below pass 2
Information about the assessment criteria that support this mark scheme is available on our website.
12 Back to contents
About the exam
Supporting tests
This section of the exam supports the development of broader musical skills by assessing candidates in
two different supporting tests. At InitialGrade 5, candidates must choose two supporting tests from the
following options:
sight reading
aural
improvisation
musical knowledge.
At Grades 68, all candidates are assessed in sight reading, and must choose between aural and
improvisation for their second supporting test.
Mark scheme
Each supporting test is awarded a single mark that corresponds to the pass/below pass bands
as follows:
Mark Band
910 Distinction
8 Merit
67 Pass
45 Below pass 1
13 Below pass 2
Information about the assessment criteria that support this mark scheme is available on our website.
Back to contents 13
About
the exam
Sight reading
This test assesses candidates ability to perform an unseen musical extract, at a level approximately
two grades lower than the exam being taken.
Candidates are given 30 seconds to study the test before performing it, during which time they may
practise any or all of it aloud. The examiner does not mark this preparation period.
Examples of classical guitar sight reading tests may be found in Trinitys Sound at Sight series,
available from www.trinitycollege.com/shop or your local music retailer. Sight reading examples for
plectrum guitar may be downloaded free of charge from our website.
Tests comply with the musical parameters listed in the table below. Lists are cumulative, meaning
that tests may also include requirements from preceding grades.
Classical guitar
Grade Keys Time Note values Dynamics Articulation, positions,

signatures & tempi shifts
(cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*)
E, F, G on 1st string;
moderato,
Initial 2 and 4 q and h
mf
B, C, D on 2nd string; G, A
on 3rd string; open basses
Grade 1 C major p and f within 1st position
h. , w , _
Grade 2 G major 3 and ties allegretto
simple shifts; 2nd position;

F major mp and
Grade 3
D and E minor e, and _ andante
staccato; two-note chords
(open bass)
three-note chords (2
A minor, plus dim. and treble, 1 bass; may be
Grade 4
accidentals q. and cresc. all fretted); accents;
more shifts
x and
plus rall;
Grade 5 A major 6 a tempo
slurs
various position shifts;

E and Bb major
Grade 6
G minor 8 dotted notes accel. full chord voicings (3 or
4 notes); half barr
full fingerboard range
Grade 7 B minor 9 triplets
and shifting
2
Eb major 2 and changing
Grade 8 duplets full barr; natural harmonics
C minor time signatures
* Tests may also include requirements from preceding grades.
14 Back to contents
About the exam
Plectrum guitar
Grade Keys Time Note values Dynamics & Articulation, positions,
signatures tempi shifts
(cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*)
E, F, G on 1st string;
moderato, B, C, D on 2nd string;
Initial C major 2 and 4 q and h
mf G, A on 3rd string;
open basses; even picking
Grade 1 p and f within 1st position
G major h. , w , _
Grade 2
A minor 3 and ties allegretto
simple shifts;
F major mp and
e, and _
2nd position; staccato;
Grade 3
E minor andante two-note chords (open
bass); marcato
A minor,
q. and

Grade 4 dim. and cresc. and Cl
accidentals
Trebles full range up to
D on string one; Basses
x and
plus rall;
Grade 5 A major 6 a tempo
full range up to 2nd
position; accents,
vibrato, glissando, slurs
Trebles full range up to
E and Bb major D on string one; Basses
Grade 6
G minor 8 dotted notes accel.
full range up to second
position; CV
full fingerboard range
Grade 7 B minor 9 triplets use of mute
and shifting
2
Eb major 2 and changing

Grade 8 duplets

and CI, III

C minor time signatures
Back to contents 15
About
the exam
Aural
This test supports the development of candidates abilities in the field of musical perception by
assessing their responses to carefully graded questions. Questions are detailed in the table below
and based on a single musical example, performed at the piano by the examiner. Practice tests can
be found in Trinitys Aural Tests from 2007 books, available from www.trinitycollege.com/shop
or your local music retailer.
Please note that aural specifications apply for 2016 only and that revised specifications will apply
for 20172019. More information on this will be available on our website in 2016.
Grade Parameters Task Response
Listen to the melody with

Sing, hum or whistle the final tonic note
a missing final note
major key Listen to the melody twice Clap the rhythm

Initial 4 bars
Identify the melody as mainly legato
Listen to the melody once
2 or staccato
Listen to three notes from

Identify the highest or lowest note
the melody
i) Clap back the rhythm

Listen to the melody twice
ii) Identify the melody as in 2 or 3 time
Identify the last note as higher, lower

major key Listen to the melody once
or the same as the first note
Grade 1 4 bars
Identify the melody as mainly legato
2 or 3 or staccato

with a change of pitch in Identify where the change occurs
the second playing
Indicate a sense of the pulse and

time signature during the second playing
Identify the last note as higher, lower or

the same as the first note
major or
minor key i) Identify the melody as major or minor
Grade 2 ii) Explain the dynamics during the
2 or 3 piece, which may also include
crescendo and diminuendo

with a change of rhythm or Identify the change as rhythm or pitch
pitch in the second playing
16 Back to contents
About the exam

Listen to the melody twice time signature during the second
playing
Identify the interval formed as a
Listen to the first two notes played
major second, minor third, major
from low to high
major or third, perfect fourth or perfect fifth
Grade 3 minor key
Listen to a triad played with three
Identify the triad as major or minor
3 or 4 notes sounding together
Study a copy of the melody,
provided in treble and bass clef as
Identify in which bar the change
appropriate, and listen to it three
occurred
times with a change of rhythm and
pitch in the second and third playing
Listen to the accompanied melody
time signature during the second
twice
playing
Identify the interval as a unison,
Listen to the first two notes played minor or major second, minor or
consecutively major third, perfect fourth or fifth,
major or
minor or major sixth
Grade 4 minor key
Identify the cadence as perfect
4 or 6 Listen to the melody once
or imperfect
Study a copy of the melody,
provided in treble and bass clef as
Identify in which bars the changes
appropriate, and listen to it three
to rhythm and pitch occurred
times with a change of rhythm and
pitch in the second and third playing
i) Identify the time signature
ii) Identify the opening as major
Listen to the piece twice
or minor
iii) Identify any changes in tonality
Identify the cadence as perfect,

Listen to the final part of the piece
imperfect or interrupted
major or Identify the interval as a unison,

minor key minor or major second, minor or
Grade 5 Listen to two notes from the melody
major third, perfect fourth or fifth,
line played consecutively
2, 3 or 6 minor or major sixth, minor or
major seventh or an octave
Explain the articulation and the
Listen to the piece once
dynamics
Study a copy of the piece and listen
to it three times with a change of Locate and describe the changes
rhythm and of pitch in the melody of rhythm and of pitch
line in the second and third playing
Back to contents 17
About
the exam
State the time signature and comment after

Listen to a piece twice either or both playings on the main features
of the piece, eg phrasing, style and dynamics
isten to the final part of

L Identify the cadence as perfect, imperfect,
the piece plagal or interrupted
major key isten to part of the
L
Grade 6
2, 3, 4 or 6 piece which modulates. Identify the key to which the music modulates
as dominant, subdominant or relative minor.
The opening key will first
be stated and the tonic Answers may alternatively be given as key names
chord played
tudy a copy of the

S
piece and listen to it Locate and describe changes as rhythm, pitch
twice with two changes or articulation
to the melody line
Comment, after either or both playings, on the

Listen to a piece twice main features of the piece, eg style, phrasing,
articulation and dynamics
isten to a passage from

L Identify the cadence as perfect, imperfect,
the piece once plagal or interrupted
minor key, tudy a copy of the first

S
Grade 7 any time section of the piece and Locate and describe three changes of pitch
signature listen to it twice with (of the melody line) or rhythm
three changes
isten to part of the

L
Identify the key to which the music has
piece once with a
modulated as sub-dominant minor, relative
modified ending. The
major or dominant of the relative major.
opening key will first
Answers may alternatively be given as
be stated and the tonic
key names
chord played
Comment on the significant features of the

Listen to a piece twice piece, eg style, rhythm, texture, dynamics,
phrasing and articulation
major or
minor key,
Grade 8 tudy a copy of the
S
Locate and describe, after either the second
any time
music and listen to it
signature and/or the third playing, the three changes
three times with three
as rhythm, melody, harmony, articulation,
areas of changes in the
dynamics or tempo
second and third playing
18 Back to contents
About the exam
Improvisation
This test assesses candidates ability to improvise fluently, coherently and creatively in response to
a musical stimulus. Candidates must choose a stimulus from the following options, indicating their
choice of stimulus on the appointment form:
melodic: based on a series of pitches

rhythmic: based on a rhythmic idea
chordal: based on a set of chord symbols
In the exam, candidates are presented with a notated stimulus, which the examiner then plays twice on
the piano. Where a melodic or rhythmic stimulus is chosen, the examiner asks candidates to play or tap
it back to ensure that they have understood it. Candidates are then given time to study the test before
they perform it, during which time they may prepare their response aloud. At InitialGrade 5, 30
seconds preparation time is given. At Grades 68, 60 seconds are given.
Where a chordal stimulus is chosen, candidates must choose to perform either unaccompanied or
accompanied by the examiner on the piano. Where an accompanied performance is chosen, the
examiner plays the chord sequence in a loop while candidates improvise a melodic line above.
Candidates may give performance instructions to the examiner regarding tempo and style.
Stimuli comply with the musical parameters listed in the table overleaf. Lists are cumulative, meaning
that tests may also include requirements from preceding grades. Further guidance and example
stimuli can be found on our website.
Please note that improvisation specifications apply for 2016 only and that revised specifications will
apply for 20172019. More information on this will be available on our website in 2016.
Written keys for chordal tests (cumulative*)
Initial, Grades 1, 2 & 3 Grades 4 & 5 Grades 6, 7 & 8
Classical & C, F, Bb, D, Eb & A major

C, F & G major A, D, E, G & B minor
plectrum guitar plus relative minors
Back to contents 19
About
the exam
Parameters for improvisation tests

Grade Melodic stimulus: Rhythmic stimulus Melodic & rhythmic Chordal test
max. range of given stimulus:
motif suggested length
(cumulative*) of response (cumulative*)
4 4-bar phrase
2 bars major key
Initial 3 stepwise notes I/V
crotchets
2 bars per chord
minims 1 phrase
3 notes one step 4bar phrase
major key
Grade 1 one leap up to a quavers I/V
4th 1 chord per bar
4bar phrase
4 notes range major key
Grade 2 with dots
up to a 5th I/IV/V
1 chord per bar
12 phrases
4bar phrase
5 notes range major key
Grade 3 with ties
up to a 6th I/ii/IV/V
1 chord per bar
4bar phrase
Grade 4 octave (diatonic) minor key
i/iv/V
2, 3 1 chord per bar
4 bars 23 phrases
4bar phrase
octave (simple semiquavers minor key
Grade 5 i/iv/V/VI
chromaticism)
1 chord per bar
4bar phrase
major key
Grade 6 6 I/ii/IV/V & 7ths
1 chord per bar
4bar phrase
34 phrases major or minor
key
I/ii/iii/IV/V/vi
Grade 7 triplets i/ii/III/iv/V/VI
& 6ths/7ths
twelfth 1 or 2 chords
(chromatic) per bar
4bar phrase
major or minor
key
all chords
6ths/7ths/9ths
Grade 8 7 46 phrases & dim/aug
simple
suspensions
1 or 2 chords
per bar
20 Back to contents
About the exam
Musical knowledge (InitialGrade 5 only)

This test assesses candidates understanding of the pieces being performed, as well as their
knowledge of notation and their instrument. It does this by assessing their responses to carefully
graded questions based on candidates three chosen pieces.
In the exam, candidates are invited to choose which piece they would like to be asked about first.
The examiner then chooses a second piece for the remaining questions. Candidates scores should be
free of annotations which might aid their responses. The examiner usually points to the relevant part
of the score when asking questions. American terms (eighth note, half note, etc) may be used as an
alternative to English terms (quaver, minim, etc).
Example questions and responses are given in the table below. Further guidance is available on
our website.
Grade Parameters Sample question Sample answer

(cumulative*)
Initial What is the pitch name of
Pitch names G
this note?
How many beats are there
Note durations Two
for this note?
Clefs, stave, barlines What is this sign? Treble clef
Identify key/time
What is this called? Time signature
signatures
Musical terms and signs
What is this called? A pause mark
(simple)
Grade 1 Note values What is this note value? Quaver
Explain key/time Four crotchet beats in
signatures What does 4 mean? a bar
Notes on ledger lines What is the name of this note? Bb
Musical terms and signs

What is the meaning of da capo? Go back to the start
(more comprehensive)
Parts of the instrument What is this part called? A bridge
Grade 2 Metronome marks,
72 crotchet beats per
grace notes and Explain the sign d = 72
minute
ornaments
Intervals What is the interval between
3rd
(numerical only) these notes?
Show me a good left hand Candidate
Basic posture
position for your instrument demonstrates
Back to contents 21
About
the exam
Grade Parameters Sample question Sample answer

(cumulative*)
Grade 3 What is the relative major/
Relative major/minor D minor
minor of this piece?
What pattern of notes do
Scale/arpeggio pattern Scale
you see here?
By playing a selection of
How do you warm up for a
Warm up scales and arpeggios in
piece like this?
related keys
Grade 4 Modulation to closely What key does this music
A minor
related keys change to?
Name the notes of the
Tonic/dominant triads C, E, G
tonic triad
What is the interval
Intervals (full names) Perfect 5th
between these notes?
Show me the most Here [candidate indicates],
Technical challenges challenging part of this because of the awkward
piece and tell me why leaps
Grade 5 Candidate identifies style of
Comment on the style of
Musical style piece and gives examples of
this piece
stylistic features
How does this piece reflect Candidate suggests a musical
Musical period the period in which it was period and gives examples of
written? how the music reflects this
Candidate describes form of
Describe the form of
Musical structures piece and identifies relevant
this piece
sections
Name the notes of the
Subdominant triads F, A, C
subdominant triad
22 Back to contents
Turn over for grade requirements
Back to contents 23
Guitar
Initial Subject code: GTR
Pieces (3 x 22 marks)
Three pieces are to be played, at least one from each group, to form a balanced programme.
Instead of one piece, candidates may offer an own composition (see page 10). A maximum of two duets
(asterisked) may be played. If duets are chosen, the accompaniment must be played in the exam.
Group A
The following pieces are contained in the book Guitar Initial Pieces 20162019 published by Trinity:
Praetorius Allemande
Trad., arr. Powlesland The Water is Wide*
Trad. Argentine Mi chacra
Trad. Jamaican Hill and Gully Rider
Trad. Swiss, arr. Sollory The Cuckoo*
Trad. Urdu Shine Like a Star
The following alternative pieces are also available:
Composer Piece Book Publisher

Giuliani Andantino, p. 8* Easy Classical Guitar Duets Hal Leonard HAL697244
Le Roy J'ay Bien Mal Choisi* One + One vol. 1 Chanterelle ECH2201
Longworth & Walker Andante in A minor Guitar Basics Workouts Faber 0571536883
Trad. Mattachins Very Easy Guitar Tunes Usborne 9780746058794
Group B
Bayly Long, Long Ago

Costantino Luna
Longworth & Walker Night Night, Knight
Nuttall Saltarello*
Powlesland Showtime
Sherman & Sherman Chim Chim Cher-ee (from Mary Poppins)
Sollory Tika Taka

Longworth & Walker Hannah's Mouse Guitar Basics Faber 0571532284
Nuttall Fandango On the Way Countryside CTY007
Nuttall & Whitworth Carnival The Guitarist's Way book 1 Holley S001
Sollory Coffee* Jooby Tunes Camden CM243
Trad. Michael, Row the
Boat Ashore Very Easy Guitar Tunes Usborne 9780746058794
Trad. Chilean, arr. Rivoal Ojos Azules* Chansons et Danses
d'Amrique Latine vol. C Lemoine HL25163
Tromp First Steps String Fingers XYZ 1211
24 Back to contents
Guitar Initial
Technical work (14 marks)

Technical work should be prepared as given in Guitar Scales, Arpeggios and Studies InitialGrade 5
from 2016 published by Trinity.
Candidates to prepare i) Technical exercise

Technical exercise in C major (music may be used, q = 80)
Candidates to prepare in full either section ii) or section iii)

either ii) Scales & arpeggios (from memory, mf)
Candidates should prepare scales and arpeggios as listed below.
When the examiner requests a key, the candidate should play the scale and then the arpeggio.
scales: apoyando or tirando min. tempi:

G major
to the 5th im fingering (candidates choice) scales: q = 80
A minor
arpeggios: tirando arpeggios: q = 100
or iii) Studies (music may be used)

Candidates to prepare 1a or 1b; 2a or 2b; and 3a or 3b (three studies in total).
The candidate will choose one study to play first; the examiner will then select one of the remaining
two prepared studies to be performed.
1a. Star Gazer or
for tone and phrasing
1b. Playground Games
2a. Submarine or
for articulation
2b. Stop It!
3a. Ice Breaker or
for idiomatic elements
3b. Cross String Thing
Supporting tests (2 x 10 marks)

Candidates to prepare two from:
sight reading aural improvisation musical knowledge
(see page 14) (see page 16) (see page 19) (see page 21)
Back to contents 25
Guitar
Grade 1 Subject code: GTR
Group A
The following pieces are contained in the book Guitar Grade 1 Pieces 20162019 published by Trinity:
Anon. [Italian 17th C] Balletto

Kffner Andantino, op. 80
Mozart Theme from The Magic Flute
Sagreras, arr. Cracknell Marcha*
Trad. American, arr. Sollory Cape Cod Girls*
Trad. Spanish, arr. Sollory Ins

Longworth & Walker Caf Rico Guitar Basics Workouts Faber 0571536883
Ryan Snake in a Basket Scenes for Guitar book 1 Camden CM260
Sollory The Moon on the Water* Jooby Tunes Camden CM243
Trad. Japanese, arr. Sollory Akita Obako Songs from the East Camden CM268
Group B
Norman, arr. Powlesland James Bond Theme

Powlesland Spellbound
Rak Un aprs-midi d't (Summer Afternoon)
Searle Old York*
Sollory Mona Lisa
Trad. Brazilian Samba Ol
Trad. South American Tut Maramb

Longworth & Walker It's So Calypso Good Guitar Basics Repertoire Faber 0571536875
Mourat Swing en La Facilissimo Transatlantiques EMT1676
Nuttall Rocky Road On the Way Countryside CTY007
Powlesland Paradise Island The Real Guitar Book vol. 3 Camden CM245
Trad. Brazilian, arr. Rivoal Nesta Rua* Chansons et Danses
d'Amrique Latine vol. A Lemoine HL25161
Tromp Metamorphosis String Fingers XYZ 1211
26 Back to contents
Guitar Grade 1


Technical exercise in G major (music may be used, q = 56)

scales: apoyando or tirando
C major scales: one (candidates choice)
im fingering min. tempi:
F major octave arpeggios: tirando scales: q = 56
arpeggios: to
E natural the 5th scale: p fingering arpeggios: q = 112
tirando
minor arpeggio: pim fingering
1a. Paper Tiger or
1b. Highland Memories
2a. Scary Monsters or
for articulation
2b. Rock Bottom
3a. Poisson Rouge or
3b. Firefly Sky

Back to contents 27
Guitar
Group A
Diabelli Moderato, op. 39 no. 15

Ferrer Vals
Newsidler Tanz
Rameau, arr. Sollory Rigaudon*
Trad. Argentine, arr. Rivoal A que has venido, forastero*
Trad. Spanish, arr. Sollory Malaguea

Cracknell Coconut Corn Enjoy Playing Guitar: Going Solo OUP 978-0-19-338635-8
Ferrer Vals The Young Guitarist's Progress part 2 Garden GM7
Sor Etude, op. 44 no. 1 The Complete Studies for Guitar Chanterelle ECH491
Trad. Nicaraguan,
arr. Rivoal Pajarito* Chansons et Danses
d'Amrique Latine vol. D Lemoine HL25164
Group B
Fogel September Heath

Forrest Last Waltz*
Le Gars Aquarelle no. 3
Montreuil Calypso
Muro On the Swing
Nuttall Dancing Shadows
Ogawa Nuit toile

Anderson Barbados Guitar Travels Anderson AGP505
Ogawa Dtermin La guitare dans tous
ses tats vol. 2 Les Productions d'OZ DZ1042
Powlesland Jamaica The Real Guitar Book vol. 1 Camden CM191
Rak Spanish Dance Minute Solos Brenreiter Praha H7236
Sollory Ah! Sunflower Songs of Innocence & Experience Camden CM283
Tromp Minor Walk String Fingers XYZ 1211
28 Back to contents
Guitar Grade 2


Technical exercise in D major (music may be used, q = 86)

F major p fingering scale and arpeggio: tirando min. tempi:

scales: apoyando or tirando scales: q = 62
D melodic minor
im fingering (candidates choice) arpeggios: q = 94
A harmonic minor one octave
arpeggios: tirando
Chromatic scale apoyando or tirando

im fingering min. q = 94
starting on G (candidates choice)

1a. Skaters Waltz or
1b. Linecraft
2a. Tin Drum or
for articulation
2b. Porcupine Stomp
3a. Lost and Found or
3b. Mystic Drummer

Back to contents 29
Guitar
Group A
Anon. Wilson's Wilde

J S Bach Gavotte
Carcassi Allegretto
Carulli Le Nid et la Rose (The Nest and the Rose), op. 333*
Dowland A Coy Toy
Thorlaksson Early in the Morning*

Lester Sun Song Essential Guitar Skill: The Barr Ricordi LD613
Mertz Adagio The Guitarist's Hour vol. 2 Schott GA20
Sor Andante, op. 35 no. 1 The Complete Studies for Guitar Chanterelle ECH491
de Vise Menuet Rondeau The Baroque Book Chanterelle ECH2111
Group B
Brouwer Omaggio a Debussy

Machado Ponteio IV*
Muro A Song and a Dance
Ryan Surf Rider
Sor Etude, op. 60 no. 10
Tisserand Pas de Loup
Trad., arr. Powlesland El Noi de la Mare

Lindsey-Clark Oloroso Simply Spanish Montague MM116
Machado Baiozinho* Modinha Brasileira Lemoine HL24821
Machado Marchinha de Carnaval* Modinha Brasileira Lemoine HL24821
Muro Minuetto Basic Pieces vol. 2 Chanterelle 95722
Sollory Station to Station The Real Guitar Book vol. 3 Camden CM245
Trad. Japanese Sakura Songs from the East Camden CM268
30 Back to contents
Guitar Grade 3


Technical exercise in G major (music may be used, q. = 56)

C major
scales: apoyando or
A major two scales: im and ma
tirando (candidates choice) min. tempi:
B natural minor octaves arpeggios: pppimim
arpeggios: tirando
E harmonic minor scales: q = 70
arpeggios: q. = 38
C major scale one
im tirando
in thirds octave

1a. It Could be Sweet or
1b. The Tone Zone
2a. Sunflower or
for articulation
2b. Finger Pickin Good
3a. On Brooklyn Bridge or
3b. Half Way There

Back to contents 31
Guitar
Three pieces are to be played, one piece from group A and two pieces from group B, to form a balanced
programme. Instead of one piece, candidates may offer an own composition (see page 10).
Group A
Carulli Andantino
Losy Gigue in A minor
Newsidler Wascha Mesa
Sor Study in A minor, op. 35 no. 14

Brouwer Etude 6 or Etude 7 Etudes Simples vol. 2 Eschig ME7998
Cordero Estudio a la Cubana Modern Times - The Complete Series Chanterelle ECH750
Rak Petit Blues Jeux sur 6 Cordes Lemoine HL27270
Group B
Andes Cancion
Drozdzowski The Tulip Swing
Dyens On Joe's Deck
Muro Milonga
Pavlovits Prelude no. 2 The Silver Prelude
Villanueva Constellation no. 9

Hartog Reflections Guitar Crackers Alsbach ALB10482
Lindsey-Clark Vals - Homage to Antonio Lauro Simply Latin Montague MM121
Nuttall At the End of the Day Half Moon Countryside
Sollory Le Vent dans la Plaine
or Scattered Sky Estudines for Guitar Camden CM196
Stachak Waltz on a Melancholic Note Zaproszenie do Walca
(Invitation to the Waltz) Euterpe EU1007
Whitworth & Nuttall Night Piece Diversions Holley S006
32 Back to contents
Guitar Grade 4


Technical exercise in A major (music may be used, q = 130)

E major
Bb major min. tempi:
G melodic minor scales: im and ma
scales: q = 82
D harmonic minor arpeggios: ppppima scales: apoyando or
Chromatic scale
two
tirando (candidates choice) arpeggios: q. = 44
octaves
starting on F arpeggios: tirando
Dominant 7th
arpeggio in the ppimim min. q = 66
key of D major
1a. Half Moon or
1b. Flamenco Fantasy
2a. River or
for articulation
2b. And Relax
3a. Dark Maze or
3b. Sorrow

Back to contents 33
Guitar
Group A
Aguado Lesson no. 8

Mourat Etude no. II
de Murcia Allegro
Sor Allegretto, op. 44 no. 19

J S Bach, arr. Koonce Sarabande BWV995 The Solo Lute Works
of Johann Sebastian Bach Kjos WG100
Carcassi Etude 1 or Etude 2 25 Etudes, op. 60 Chanterelle ECH9470
Weiss Prelude The Baroque Book Chanterelle ECH2111
Group B
Bravo La Nave de Zvonimir

Cordero El Caminante
Domeniconi Bosse Triste
Ferrer Nocturno, op. 17 no. 4
Sollory Mountain Song
Stachak Parisian Waltz

Brouwer Etude 9 Etudes Simples vol. 2 Eschig ME7998
Garcia Voiles Rouges, no. 5 25 Etudes Esquisses Mel Bay MB95430
Oser Meu Chorinho Samba Feliz Doblinger DOBL35933
Ponce Prlude VI 12 Prludes Schott GA540
Ryan Birds Flew over the Spire City Scenes Camden CM251
Trad., arr. Shibata Make Tomorrow a Sunny Day Songs of Oriental Children Lathkill LMP001
34 Back to contents
Guitar Grade 5


Technical exercise in F# minor (music may be used, q = 126)

Eb major scales: apoyando min. tempi:
F major two scales: im and ma or tirando
scales: q = 92
A natural minor octaves arpeggios: ppppima (candidates choice)
C melodic minor arpeggios: tirando arpeggios: q. = 50
G major scale in
im
broken thirds
one
min. q = 82
octave
C major scale in sixths ip/mp
tirando
Dominant 7th arpeggio

in the key of A major two
ppimim min. q = 76
Diminished 7th arpeggio octaves
starting on E
1a. Incognito or
1b. Over the Moon
2a. Mistral or
for articulation
2b. And So It Ends
3a. Mare Nectaris or
3b. All Barr One

Back to contents 35
Guitar
Group A
J S Bach, ed. Koonce Bourre from Suite in E minor, BWV996

Brouwer Etude for Ornaments, no. XVII from Estudios Sencillos
Dowland The Shoemaker's Wife
de Vise Passacaille

Brouwer Omaggio a Piazzolla Nuevos Estudios Sencillos Chester CH64273
Carcassi Etude in A minor, op. 60 no. 17 25 Etudes, op. 60 Chanterelle ECH9470
Sor Etude in B minor, op. 35 no. 22
or Etude, op. 31 no. 20 The Complete Studies for Guitar Chanterelle ECH491
Tansman Barcarolle Cavatina Schott GA165
Group B
Bloor Promise
Bogdanovic Jutarnje Kolo (Morning Dance)
Carulli Romanze (from Sonate, op. 21 no. 3)
Pavlovits Prelude no. 5 Bagatelle
Sagreras Tiempo de Zamba
Trrega Maria

Garcia L'Indigo Seul, no. 14 25 Etudes Esquisses Mel Bay MB95430
Lindsey-Clark Cycles in the Avenue Five Pictures of Sark Montague MM117
Martin Air Quatre Pices Brves Universal UE12711
Moreno Torroba Montemayor
(Romance de los Pinos) Castles of Spain vol. 1 Guitar Solo GSP74
Sor Minuet no. 3 20 Selected Minuets Schott GA15
Tarrega Vals in D, p. 58 Works for Guitar vol. 3 Berben B1533
36 Back to contents
Guitar Grade 6

Technical work should be prepared as given in Guitar Scales, Arpeggios and Studies Grades 68

Technical exercise in Ab major (music may be used, q = 126)

When the examiner requests a major tonal centre, the candidate should play in succession:
the major scale
the major arpeggio
When the examiner requests a minor tonal centre, the candidate should play in succession:
the harmonic minor scale
the minor arpeggio
G major, G minor two
Db major, C# minor octaves
three scales: apoyando
E major, E minor scales: im and ma
octaves and tirando
arpeggios: pimaima
Plus: arpeggios: tirando
Chromatic scale starting two min. tempi:

on Db octaves
scales: q = 106
E major scale in thirds im arpeggios: q. = 58
G harmonic minor scale one

in sixths octave
G major scale in octaves pi/pm
tirando
E harmonic minor scale
in tenths
in the key of C major two
ppimim min. q = 88
Diminished 7th arpeggio octaves
starting on C#
or iii) Studies (see overleaf)
Back to contents 37
Guitar
Grade 6

1a. Pr do Sol or
1b. Pav
2a. Find the Light or
for articulation
2b. Aquarius
3a. Its in the Trees or
3b. Dream Key

Candidates to prepare i) and ii)
i) sight reading ii) aural or improvisation
(see page 14) (see pages 16 or 19)
38 Back to contents
Guitar
Group A
J S Bach, arr. Koonce Gavotte 1 BWV995

Dowland Melancholy Galliard
Sanz, arr. Koenigs Passacalle
Sor Bagatelle, op. 43 no. 2

J S Bach, arr. Koonce Sarabande BWV997 The Solo Lute Works of
Johann Sebastian Bach Kjos WG100
Brouwer Etude 15 Etudes Simples vol. 3 Eschig ME8494
Mudarra Fantasa que contrahaze
la harpa en la manera
de Luduvico Hispanae Citharae Ars Viva Schott GA176
Sor Etude, op. 31 no. 19 The Complete Studies
for Guitar Chanterelle ECH491
Group B
Brouwer Pice sans titre

Gershwin,
arr. Takeuchi A Foggy Day
Lutosawski Rektor (Silesian Dance)
Moreno Torroba Jerigonza
Pernambuco Sons de Carilhes
Reis Uma Valsa e Dois Amores

Barrios Mangor Barcarolle (Julia Florida) Music for Guitar vol. 2 ZenOn 240272
Moreno Torroba Alcaiz Castles of Spain vol. 1 Guitar Solo GSP74
Piazzolla, arr. Ryan Ausencias Play Piazzolla Boosey 9790060119712
Sainz de la Maza Paseo Platero y Yo UME UMG21738
Trad. Catalan,
arr. Llobet El testament d'Amlia Guitar Works vol. 1:
Cancons Populars Catalanes Chanterelle ECH1801
Villa-Lobos Prlude no. 4 Cinq Prludes Eschig DF15722
Back to contents 39
Guitar
Grade 7


Technical exercise in B major (music may be used, q = 102)

the major scale
the major arpeggio
the melodic minor scale
the minor arpeggio
Bb major, Bb minor
two
C major, C minor
octaves
D major, D minor
scales: apoyando
scales: im and ma
F major, F minor and tirando
arpeggios: pimaima
three arpeggios: tirando
Plus:
octaves
Chromatic scale starting
min. tempi:
on F
scales: q = 122
C melodic minor scale in
octaves one arpeggios: q. = 66
pi/pm
octave
Bb major scale in tenths
D harmonic minor scale

im
in thirds
tirando
two
D major scale in sixths octaves pi/pm

in the key of F major
ppimim min. q = 100
Diminished 7th arpeggio three
starting on F octaves
or iii) Studies (see opposite)
40 Back to contents
Guitar Grade 7

1a. Cap Gris Nez or
1b. Rain Tree
2a. White Water or
for articulation
2b. Modes of Thought
3a. Mezquito or
3b. Night Vision

Back to contents 41
Guitar
Group A
J S Bach, arr. Koonce Gigue BWV997

Couperin, arr. Russell Les tours de passe-passe
Dowland, arr. Sollory Allemande My Lady Hunsdon's Puffe
Scarlatti, arr. Koenigs Sonata in A K322

J S Bach, ed. Yates Prelude from Cello Suite no. 2 Six Unaccompanied Cello Suites
Arranged for Guitar Mel Bay 96743
Sor Etude, op. 29 no. 17 The Complete Studies
for Guitar Chanterelle ECH491
arr. Takemitsu Amours Perdues (Kosma)
or Over the Rainbow (Arlen) 12 Songs for Guitar Schott Tokyo SJ1095
Villa-Lobos Etude 11 12 Etudes Eschig DF15851
Group B
Brouwer Lento, 1st movt from Elogio de la Danza

de Falla Homenaje
Ferrer La Ausencia, op. 61
Lauro Andreina
Ponce Valse
Villa-Lobos Mazurka-Chro

Assad Feliz Seis Brevidades
(Six Short Pieces) Doberman DO699
Bogdanovic Makendonsko Kolo
(Macedonian Dance) 6 Balkan Miniatures Guitar Solo GSP79
Brouwer Guajira criolla (sur un thme
d'Anckerman) and
Zapateado [both pieces] Deux Aires Populaires Cubains Eschig ME7999
Pernambuco Dengoso Famous Chros vol. 1 Chanterelle ECH761
Tansman Preludio Cavatina Schott GA165
Tarrega Gran Vals Works for Guitar vol. 3 Berben B1533
42 Back to contents
Guitar Grade 8


Technical exercise in Bb minor (music may be used, q = 106)

the major scale
the major arpeggio
the dominant 7th arpeggio starting on that note and resolving on the tonic
the melodic minor scale
the minor arpeggio
A major, A minor two
Eb major, Eb minor octaves
F# major, F# minor three
Ab major, G# minor octaves scales: im and ma
scales: apoyando
arpeggios: pimaima
Plus: and tirando
dominant 7ths:
arpeggios: tirando
Chromatic scale two ppimim
starting on Eb octaves min. tempi:
Chromatic scale three scales: q = 136

starting on G# octaves arpeggios: q. = 72
A melodic minor scale one dominant 7ths: q = 108
pi/pm
in tenths octave
A major scale in thirds im
Eb major scale in sixths two

Chromatic scale in pi/pm tirando
octaves
octaves starting on F#
Diminished 7th
starting on Ab
ppimim min. q = 108
Diminished 7th three
starting on F# octaves
or iii) Concerto extracts (see overleaf)
Back to contents 43
Guitar
Grade 8
or iii) Concerto extracts (music may be used)

Candidates to prepare the following three concerto extracts.
The candidate will choose one extract to play first; the examiner will then select one of the remaining
two extracts to be performed.
1. Vivaldi: Concerto in D, RV93 (1st movement, bars 24-51)
2. Castelnuovo-Tedesco: Concerto no. 1 in D, op. 99 (3rd movement, first section of cadenza)
3. Villa-Lobos: Concerto for Guitar and Small Orchestra (2nd movement, first section of cadenza)

44 Back to contents
Turn over for plectrum guitar repertoire lists
Back to contents 45
Plectrum
Guitar Initial Subject code: PLE
Three pieces are to be played, freely chosen from the lists below, to form a balanced programme.
Instead of one piece, candidates may offer an own composition (see page 10).
Bayly Long, Long Ago
Powlesland Showtime
Sherman & Sherman Chim Chim Cher-ee (from Mary Poppins)
Sollory Tika Taka
Trad. Jamaican Hill & Gully Rider
Composer Piece Publisher

Duncan Rockin the Country
(from Plectrum Guitar Pieces InitialGrade 2) Trinity TCL015259
Nuttall/Whitworth Song of the Mountains (from The Guitarists Way book 1) Holley S001
Powlesland Stegosaurus Strut
Sollory Night Passage
Wilson/Love Surfin Safari (from Plectrum Guitar Pieces InitialGrade 2) Trinity TCL015259
Wright Banjo Joe (from Plectrum Guitar Pieces InitialGrade 2) Trinity TCL015259
Note: If a book includes a backing CD, that CD must be used in the exam. In such instances, candidates
must provide their own playback equipment.

All exercises require plectrum strokes and rhythm patterns as defined in Guitar Scales, Arpeggios and
Studies InitialGrade 5 from 2016 published by Trinity.
Both sections i) and ii) to be performed from memory:

i) Scales:
C and G major
D minor min. to 5th, ascending
mf
ii) Arpeggios: q = 60 and descending
C and G major
D minor

46 Back to contents
Plectrum
Guitar Grade 1 Subject code: PLE
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.

Powlesland A Fistful of Pesos (from Plectrum Guitar Pieces InitialGrade 2) Trinity TCL015259
Searle The Hungry Ghost (from Plectrum Guitar Pieces InitialGrade 2) Trinity TCL015259
Sokolow When the Saints Go Marching In
Sollory Naturally Minor (from Plectrum Guitar Pieces InitialGrade 2) Trinity TCL015259
Sollory Impossible Mission (from Plectrum Guitar Pieces InitialGrade 2) Trinity TCL015259
Stang Chuck B. Goode (from 21st Century Guitar Method 1) Belwin ELO3842
Trad. Sailors Hornpipe (from Plectrum Guitar Pieces InitialGrade 2) Trinity TCL015259
Trad. The Drummers Reel (from A First Book of Guitar Solos) OUP
Trad. arr.
Whitworth Cantico (from First Guitar Pieces) Holley S005

All sections i) to iii) to be performed from memory:

i) Scales:
C and G major
A natural minor min.
one octave
ii) Arpeggios: q = 72
mf
C and G major
A minor
iii) Chord sequence:
IV7I in C major

Back to contents 47
Plectrum

Anderson River Wisla (from Plectrum Guitar Pieces InitialGrade 2) Trinity TCL015259
Burden Malaguena (from Plectrum Guitar Pieces InitialGrade 2) Trinity TCL015259
Cracknell Nashville Nick (from Enjoy Playing Guitar: Going Solo) OUP
Nuttall The Wheatfields (from Moving On) Countryside
Powlesland Jamaica (from Plectrum Guitar Pieces InitialGrade 2) Trinity TCL015259
Powlesland Bad Jack (from Plectrum Guitar Pieces InitialGrade 2) Trinity TCL015259
Sokolow Turkey in the Straw (from Plectrum Guitar Pieces InitialGrade 2) Trinity TCL015259
Sollory No Time to Lose (from Plectrum Guitar Pieces InitialGrade 2) Trinity TCL015259
Stang Rock Ballad (from 21st Century Guitar Method 1) Belwin ELO3842

All sections i) to iv) to be performed from memory:

i) Scales:
D major open
one octave
D major closed
Bb major
E harmonic minor
min. two octaves
A jazz melodic minor
ii) Arpeggio: q = 88 p or f
one octave as requested by
D major
the examiner
iii) Broken chords:
two octaves
E minor
A minor to 12th
iv) Chord sequences:
IIV7I in C major
IIVI in D major

48 Back to contents
Plectrum

Cobby Valsetta (from Plectrum Guitar Pieces Grades 35) Trinity TCL015266
Lester Barr Dance (from Plectrum Guitar Pieces Grades 35) Trinity TCL015266
Nuttall Groovy Feeling (from First Performance Pieces) Countryside
Nuttall Inside Blues (from Diversions) Holley S006
Powlesland Tomorrow will be Better (from Plectrum Guitar Pieces Grades 35) Trinity TCL015266
Powlesland Tuesday Bluesday (from Plectrum Guitar Pieces Grades 35) Trinity TCL015266
Powlesland Turn to Dust (from Plectrum Guitar Pieces Grades 35) Trinity TCL015266
Sollory Desert Song (from The Real Guitar Book vol. 1) Camden CM191
Sollory Blue for a Day (from Plectrum Guitar Pieces Grades 35) Trinity TCL015266


i) Scales:
C and A major
B harmonic minor
min.
G melodic minor two octaves
G pentatonic major q = 60
p or f
ii) Arpeggio:
C major as requested by
the examiner
iii) Exercises:
Bb major ascending slurs
G minor half barr study
iv) Chord sequence:
IIV7I in G major

Back to contents 49
Plectrum

Crosland Vics Groove (from 25 Graded Pieces for Plectrum Guitar) Hampton HG801
Ford Funky Blues, ex. 1; Shuffle Blues, ex. 4; and Slow Blues, ex. 1
[with repeats] (from Rhythm Blues) Hal Leonard HL00070030
Garcia tude no. 8 (from Plectrum Guitar Pieces Grades 35) Trinity TCL015266
Lester Sun Song (from Plectrum Guitar Pieces Grades 35) Trinity TCL015266
Nuttall/
Whitworth Night Piece (from Diversions) Holley S006
Powlesland Chillout (from Plectrum Guitar Pieces Grades 35) Trinity TCL015266
Powlesland Mean Street (from Plectrum Guitar Pieces Grades 35) Trinity TCL015266
Sollory Ballade (from Plectrum Guitar Pieces Grades 35) Trinity TCL015266
Sollory Summer Solstice Song (from Plectrum Guitar Pieces Grades 35) Trinity TCL015266


i) Scales:
E major open
E major closed
min.
A natural minor two octaves
F# harmonic minor q = 68
ii) Arpeggio: p, mf or f
Dominant 7th in the key of A as requested by
iii) Exercises: the examiner
F major IVVI
D major slurred
F# minor half barr study
iv) Chord sequence:
D majorB7Em7A7

50 Back to contents
Plectrum

Chilton One More Time (from Plectrum Guitar Pieces Grades 35) Trinity TCL015266
Crosland Song for Dorothy (from Plectrum Guitar Pieces Grades 35) Trinity TCL015266
Ford Funky Blues, ex. 2; Shuffle Blues, ex. 2; and Slow Blues, ex. 3
Kessel Lonely Moments (from Plectrum Guitar Pieces Grades 35) Trinity TCL015266
Lester Short Poem (from Plectrum Guitar Pieces Grades 35) Trinity TCL015266
Powlesland Rockroach (from Plectrum Guitar Pieces Grades 35) Trinity TCL015266
Sollory Hazy Daze (from Plectrum Guitar Pieces Grades 35) Trinity TCL015266
Sollory Casablanca (from The Real Guitar Book vol. 2) Camden CM192


i) Scales:
B major
G natural minor
F harmonic and melodic minor min.
two octaves
E dorian q = 80
ii) Arpeggio: p, mf or f
Diminished 7th starting and as requested by
finishing on C the examiner
iii) Exercises:
IVIIIV7I in G major
A major paired slurs
iv) Chord sequence:
F#m7Bm7Em9A7

Back to contents 51
Plectrum

Chilton Country Pickin (from Plectrum Guitar Pieces Grades 68) Trinity TCL015273
Chilton Never So Close (from Plectrum Guitar Pieces Grades 68) Trinity TCL015273
Garcia tude 12 Coeur de la Rose
(from Plectrum Guitar Pieces Grades 68) Trinity TCL015273
Kessel The Fourth Way
(from The Jazz Guitar Artistry of Barney Kessel) Ashley Mark AM1305
Leavitt Solo in D, p. 116 (from Modern Method for Guitar book 2) Berklee GS44941
Lennon & Here, There and Everywhere
McCartney (from Plectrum Guitar Pieces Grades 68) Trinity TCL015273
Powlesland Swing Thing (from Plectrum Guitar Pieces Grades 68) Trinity TCL015273
Powlesland Country Ayre (from The Real Guitar Book vol. 2) Camden CM192
Sollory Wind of Change (from Plectrum Guitar Pieces Grades 68) Trinity TCL015273
52 Back to contents
Plectrum Guitar Grade 6

Studies Grades 68 from 2016 published by Trinity.
All sections i) to iii) to be performed from memory:

i) Scales:
A and E major three octaves
A harmonic, melodic and jazz melodic minor min.
G and Eb major q = 92
C harmonic and melodic minor two octaves
C dorian
ii) Arpeggios:
E and F major three octaves
p, mf or f
E and F minor
as requested by
Eb major min. the examiner
C minor q = 60 two octaves
Dominant 7th in E major, starting
and finishing on B
D major 7th to 12th
iii) Cadences & chord progressions:
Dm7G7Cmaj7 (Version 1)
Dm7G7Cmaj7 (Version 2)
Bbmaj7Gm7Cm7F9

Back to contents 53
Plectrum

Byrd Spanish Guitar Blues (from Plectrum Guitar Pieces Grades 68) Trinity TCL015273
Chilton Soul Agent (from Plectrum Guitar Pieces Grades 68) Trinity TCL015273
Chilton Ballad (from Plectrum Guitar Pieces Grades 68) Trinity TCL015273
Ford Funky Blues, ex. 4, Shuffle Blues, ex. 3 and Slow Blues, ex. 4
Garcia tude 22 Caf Venezolano
(from Plectrum Guitar Pieces Grades 68) Trinity TCL015273
Gnattali tude IV (from 10 Studies) Chanterelle ECH727
Howard,
arr. Jones Fly me to the Moon (from Plectrum Guitar Pieces Grades 68) Trinity TCL015273
Kessel Be Deedle De Do (from Plectrum Guitar Pieces Grades 68) Trinity TCL015273
Lennon &
McCartney Yesterday (from The Beatles for Jazz Guitar) Music Sales NO90512
54 Back to contents

i) Scales & arpeggios (from memory) candidate to choose either group 1 or group 2
The major scale

either group 1: The harmonic minor scale
Tonal/modal centres E The melodic minor scale
(three octaves, except where The mixolydian scale
specified) and Eb (two octaves) (two octaves only)
The blues scale (two octaves only)
The major arpeggio
or group 2: The minor arpeggio

min. tempi:
Tonal/modal centres G The dominant 7th starting
scales: p, mf or f
(three octaves, except where and finishing on the selected
tonal centres q = 118 as requested by
specified) and C (two octaves)
[eg starting on E to form the arpeggios: the examiner
dominant 7th of A major] q = 90
For both groups candidates
should also prepare: to 12th
A major 7th arpeggio
ii) Cadences:
Fmin7sus4Bb9Eb6/9
Am9D13Gmaj7
Dmin7b5G7Cm7
Fmaj7Dm7Gm7C9Fmaj7

Back to contents 55
Plectrum

J S Bach Double (from Pumping Nylon) Alfred 7000
Carcassi Study no. 22 (from Plectrum Guitar Pieces Grades 68) Trinity TCL015273
Chilton Mister Punch (from Plectrum Guitar Pieces Grades 68) Trinity TCL015273
Chilton Overlap (from Plectrum Guitar Pieces Grades 68) Trinity TCL015273
Elden Solo no. 2 (from Plectrum Guitar Pieces Grades 68) Trinity TCL015273
Kessel Blue Boy (from Plectrum Guitar Pieces Grades 68) Trinity TCL015273
Reinhardt Montagne Sainte-Geneviere (from Undiscovered Indit) Faber
Sollory tude 10 La Chasse (from Plectrum Guitar Pieces Grades 68) Trinity TCL015273
56 Back to contents

i) Scales & arpeggios (from memory) candidate to choose either group 1 or group 2
The major scale

either group 1:
The harmonic minor scale
Tonal/modal centres F
(three octaves, except The melodic minor scale
where specified) The jazz melodic scale
and F# (two octaves) The pentatonic major scale
(two octaves only)
The major arpeggio
or group 2:
Tonal/modal centres Bb The minor arpeggio
(three octaves, except The dominant 7th starting and
where specified) finishing on the selected tonal centres
min. tempi:
and D (two octaves) [eg starting on F to form the
scales: p, mf or f
dominant 7th of Bb major]
q = 132 as requested by
For both groups arpeggios: the examiner
candidates should also
q = 100
prepare: two octaves
Diminished 7th starting
and finishing on E
D minor 7th arpeggio to 12th
ii) Cadences:
Bm7E7Amaj7
Ebm7Ab9Dbmaj7
D#min7b5G#7C#min7
C6Am7Dm7G7Cmaj7
Gmaj7Em7Am7D13b9G6

Back to contents 57
Information
and regulations
The following section contains key information and regulations that apply to all of Trinitys graded
music exams. Please note that Trinitys separate Information & Regulations booklet gives more
detailed guidance and can be downloaded from our website.
Entry requirements Entry process

T
here are no age requirements or limitations E
xam entries may be submitted by a teacher,
for any Trinity grade exams. parent or guardian, or by candidates
C
andidates may enter any combination of themselves if they are aged 18 or over.
grades and do not need to pass any particular Correspondence will be conducted with this
level in order to proceed to a higher level. person only.
In addition, no theory qualifications or other A
ll entries must be made on an official Trinity
prerequisites are required to enter grades entry form and sent to the local Trinity
at any level. representative along with the correct entry fee
C
andidates may enter for more than one grade in advance of the closing date for application to
exam in the same or different subjects at the the exam. Closing dates and contact details for
same session, but no more than one entry will local representatives can be found on our website.
be accepted per candidate per session in the C
heques should be made payable to Trinity
same grade and subject. College London. A receipt will only be provided
if the appropriate section of the entry form
Candidates with special needs
is completed and a stamped addressed
T
rinity is committed to creating an inclusive envelope supplied.
environment where candidates with special
W
here possible, the Trinity representative will
needs are able to demonstrate their skills and
seek to meet a request for a specific exam date
feel welcomed. We aim to make our exams
if it is clearly specified on the entry form, but
accessible to all. We treat each learner
this cannot be guaranteed. Requests for
individually when considering how we can
morning or afternoon appointments will be
achieve this aim, recognising that requirements
observed where possible, but requests for
vary. Candidates can be assured that we do not
precise times cannot be accepted. Please note
compromise on the standard of marking or
that exam dates may occasionally need to be
allow the quality of exams to be affected in any
changed from those published.
way. If a candidate has any special needs, we
will try to help. Of course we will not make any B
y entering for a Trinity exam, candidates agree
change that affects the assessment standards. to abide by Trinitys regulations, syllabus
We will treat each request individually, so please requirements and the professional judgements
visit our website or contact us to discuss of its examiners.
your requirements. E
ntries at one centre may be transferred to
another centre for a fee, but cannot be deferred
Exam centres to a later exam session. In the case of a transfer,
E
xams can be taken at one of Trinitys Public a new entry form must be completed and the
exam centres which are available throughout appropriate fee must be paid (please contact
the world. Details of these are available on our Trinitys central office for further details).
website. Candidates should contact the local Entries may not be transferred from one
Trinity representative for more information. candidate to another.
In the UK and Ireland, schools and private T
rinity is required to collect candidates dates of
teachers with sufficient candidates may apply birth in order to produce anonymised statistical
to enter under the Examiner Visit Scheme. information for various government and
Further details are available on our website. educational bodies. If this information is not
provided on the entry form then the entry
process may be delayed.
58 Back to contents
Information and regulations
Inaccurate and late entries T

he appointment form must be handed to the
If an entry form is incomplete, it may be refused. examiner on entering the exam room. Before
the exam, candidates should ensure that they
C
andidates names as shown on the entry
have filled in the names of the pieces that they
form will be used when producing certificates
will be playing and their choice of technical work
for successful candidates. Please ensure that
and supporting tests.
all details on the entry form are complete
and accurate. On the day
If you require a correction to be made on an C
andidates are advised to arrive at least 15
entry form or to details held about you on minutes before the start of the exam to allow
Trinitys database, please contact your time for warming up and any other necessary
Trinity representative. preparation. Candidates who arrive late may
P
lease note that entries will not be accepted if find that their exam cannot be conducted,
received less than 14 days before the exam date. although every effort will be made to
Late entries received more than 14 days before accommodate them.
the exam date may be accepted at the discretion P
ublic centres administered by Trinity will
of the Trinity representative, depending on endeavour to provide waiting and warm-up
availability. Please contact your Trinity facilities wherever possible, but Trinity cannot
representative before submitting a late entry. guarantee this.
E
ntries which are received following the C
andidates are responsible for their own
application closing date will be subject to the property at all times. Trinity will not accept any
following surcharges: liability in the event of candidates instruments
f or late entries received up to 21 days or other property being lost, stolen or damaged,
before the exam date: either while in transit to or from the exam centre
+ 50% of the entry fee or at any time before, during or after the exam.
for late entries received between 20 and 14
In the exam
days before the exam date:
+ 100% of the entry fee. E
ach exam room is equipped with a tuned piano,
an adjustable stool and a music stand. Where
Trinity makes no guarantee that acceptance of a
exams are taking place under the Examiner Visit
late entry will result in the exam taking place. If
Scheme, a digital piano may be used, as long as
a late entry is accepted but an exam slot is not
the instrument is sufficient to allow candidates
available, Trinity may at its discretion refund the
to demonstrate the full extent of their
entry fee, although the surcharge fee will be
musicianship. A digital piano may only be used
retained in all cases to cover administration costs.
where candidates have been notified in advance
Exam appointments and have given their consent.
O
nce the entry has been processed, your local C
andidates may play a few notes before the
Trinity representative will send an appointment exam begins to help them adjust to the
form giving details of the date, time and place of acoustics of the room.
the exam, along with the candidates ID number C
andidates can choose where to direct their
and their instrument and grade. This will normally performance, but the examiner may offer advice
be sent 21 days before the date of the exam. on the best position to stand or sit in the exam
If there are any errors in the information room for effective communication.
specified on the appointment form, please T
he examiner may choose to curtail performances
notify your Trinity representative immediately. once they have formed a judgement.
An incorrect exam subject or grade cannot be G
enerally, only one examiner will be present in
altered on the day of the exam, but any the exam room. However, for training and
misspelling of the candidates name should quality assurance purposes, another examiner
be pointed out to the examiner. may also be present.
Back to contents 59
Information
and regulations
W
hen the exam is underway, no external Exceptional circumstances
person other than the examiner and the
candidate (and accompanist/page turner if If candidates are ill and cannot take an exam as
necessary) is allowed in the room, except in planned, the Trinity representative must be
special circumstances such as with an informed as soon as possible. The person who
interpreter, facilitator, or assistant for a signed the entry form may apply to the Trinity
candidate with special needs. Trinitys central representative for a re-entry permit by
office must approve such arrangements in providing a medical certificate current for the
writing before an entry is made. Please note date of the exam and the appointment form
that no external person may listen outside the originally issued.
exam room. T
he re-entry application must be made no later
Interpreters are allowed for candidates whose than 30 days after the exam date. The Trinity
first language is not English and where representative will forward the medical
candidates do not have sufficient English certificate and appointment form to Trinity,
language fluency to meet the communication who will issue a re-entry permit for an exam at
requirements of the exam. Candidates are the same level in the same subject.
responsible for all arrangements with and costs A
re-entry permit can be used for an exam
of interpreters, whose involvement must be within 21 days to 12 months of the original exam
agreed with the centre in advance of the exam. date upon payment of 50% of the entry fee
Interpreters must not assist candidates beyond current at the new date of entering. If a permit
interpreting. If the examiner suspects that is used towards entry for an exam at a higher
interpreters are assisting candidates level, any difference in fee is also payable.
inappropriately, they will refer the matter If candidates wish to postpone or cancel an
to Trinitys central office. exam, the original fee will not be refunded.
There are special arrangements in case of
Recordings of exams
genuine compassionate circumstances. Trinity
T
rinity audio records all grade exams for quality will not offer re-entry permits for non-medical
assurance purposes. reasons, though sympathy will be shown to
T
rinity exams are also sometimes filmed for genuine cases in which appropriate evidence
training and quality assurance purposes. In such is provided.
cases, Trinity will always seek permission from P
lease note that Trinity cannot reconsider
the candidate or parent/guardian first. marks where external circumstances may have
Candidates may refuse to be filmed at any point affected these.
and may request for footage to be deleted
without giving a reason. Results, reports and certificates
A
ll audio and visual recording devices will be A
ll candidates receive a written report.
discreet and should not cause any distraction Examiners issue reports only to the Trinity
to candidates. representative, and are not allowed to give
E
xaminers will not refer to recordings when details of reports or results in any other way.
making their assessments. Trinitys recordings In turn, Trinity representatives will despatch
of exams (film and audio) will not be released those reports to the person who signed the
to candidates under any circumstances after application form.
the exam. R
eport forms are normally issued within a week
C
andidates and accompanists are not of completion of a centres exam session,
authorised to make any recordings of an although in circumstances where a particularly
assessment. If made, such recordings will be large number of candidates attended the same
confiscated on the spot and may invalidate exam session, Trinity representatives may issue
the exam. report forms on a fortnightly basis.
60 Back to contents
Information and regulations
In the case of successful candidates, results are Data protection

provisional until confirmed by the issue of a
certificate six to eight weeks after the end of T
rinity College London is registered as a Data
the exam session. Controller with the Information Commissioners
Office in the United Kingdom under the Data
C
ertificates show the date, centre, subject, and Protection Act 1998. Please see our website for
level achieved by a successful candidate, as well the most up-to-date information about its data
as the name of their teacher and school (if protection procedures and policies. You can
requested). The personal details shown on write to the Data Protection Officer at Trinitys
certificates will be taken from those recorded London office for further information.
on the entry form.
T
rinity cannot accept responsibility for the Customer service
non-arrival of any exam report or certificate T
rinity strives to update and improve its
after it has been posted. Please refer to Trinity's syllabuses where necessary. Amendments
website or contact your local representative for and additions are regularly published on our
information about replacement certificates and website, which is also a source of general
certifying statements. information about Trinity and its products
and services. A Customer Service Statement
Syllabus infringements is available on our website.
A
ll syllabus infringements (eg choosing an
incorrect piece or technical work item) will be Malpractice
referred directly to Trinitys central office by T
rinity requires its registered exam centres to
the examiner. Exam reports may be withheld report any suspected malpractice by candidates,
until the outcome of any referral has been teachers or examiners. In situations where a
considered by Trinity. Depending on the severity centre is found to be inadequate or to be guilty
of the infringement, marks may be deducted or, of malpractice, either in terms of provision of
in extreme cases, the exam may be invalidated. facilities or in administration, the exam centre
may be required to suspend all of its activities
Results review and appeals procedure relating to Trinity exams until the cause of the
A
nyone who wishes to question the outcome problem is identified and rectified, if appropriate.
of their exam result should refer to In extreme circumstances, the centre may no
www.trinitycollege.com/resultsenquiry longer be permitted to act as an exam centre
for full details of our results review and registered with Trinity.
appeals process. In the very rare cases or circumstances where a
centre or individual may be suspected of
Policies malpractice, Trinity will aim to minimise any
inconvenience caused to any affected candidate,
Equal opportunities
and would like to thank candidates, teachers
T
rinity is committed to providing equality of and centre staff for their kind co-operation in
opportunity and treatment for all, and will not reporting any suspected incident of cheating,
unlawfully or unfairly discriminate directly or thereby assisting Trinity in upholding the quality
indirectly on the basis of any characteristic. and integrity of its exam process.
Child protection
T
rinity College London exams are delivered in
full compliance with the requirements of the
UKs Childrens Act 1989 and other relevant
legislation. Trinity has also implemented a policy
relating to child protection, full details of which
can be found on our website.
Back to contents 61
Music publishers

Non-UK 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.
Trinity 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.
ABG (ABG Publications): www.geraldgarcia.com Guitar Solo (Guitar Solo Publications):

Alfred (Alfred Publishing): www.alfred.com; in UK: www.gspguitar.com
c/o Faber Music Hal Leonard (via De Haske Hal Leonard):
Alsbach (c/o European Music Centre): in UK: c/o www.dehaske.com
Spartan Press Hampton (Hampton Music Publishers):
Anderson (Anderson Guitar Publications): www.hampton4guitarmusic.co.uk
contact specialist guitar music supplier Holley (Holley Music): www.alisonbendy.com
Ashley Mark (Ashley Mark Publishing Company): Kjos (Neil A Kjos Music Company):
www.ashleymark.co.uk www.kjos.com; in UK: c/o Music Sales
Brenreiter (Brenreiter Ltd): Lathkill (Lathkill Music Publishers):
www.baerenreiter.com www.lathkillmusic.co.uk
Brenreiter Praha (Brenreiter Praha): Learntoplaymusic (LearnToPlayMusic.com):
www.baerenreiter.cz; in UK: c/o Brenreiter www.learntoplaymusic.com
Belwin (Belwin Mills): c/o Alfred Music; in UK: c/o Lemoine (Editions Henry Lemoine):
Faber Music www.henry-lemoine.com; in UK: c/o Faber Music
Brben (Edizioni Brben): www.berben.it; in UK: Les Productions d'OZ (Les Productions d'OZ):
c/o De Haske Hal Leonard Ltd www.productionsdoz.com
Berklee (Berklee Press): www.berkleepress.com Mel Bay (Mel Bay Publications): www.melbay.com
Boosey (Boosey & Hawkes Music Publishers Ltd): Montague (Montague Music):
www.boosey.com contact specialist guitar music supplier
Camden (Camden Music): Music Sales (Music Sales Ltd):
www.camdenmusic.com; in UK: c/o Spartan Press www.musicsales.com
Chanterelle (Edition Chanterelle of Allegra OUP (Oxford University Press): www.oup.co.uk
Musikverlag in Erzhausen): www.chanterelle.com Ricordi (Casa Ricordi): www.ricordi.it; in UK: c/o
Chester (Chester Music Ltd): c/o Music Sales Ltd De Haske Hal Leonard Ltd
Countryside (Countryside/Peter Nuttall Guitar Roy Chilton (Roy Chilton Music):
Music): www.peternuttall.co.uk www.roychiltonmusic.co.uk
Doberman (Doberman Yppan): Schott (Schott Music Ltd): www.schott-music.com
www.dobermaneditions.com Spartan (Spartan Press): www.spartanpress.co.uk
Doblinger (Musikverlag Doblinger): Transatlantiques (Editions Musicales
www.doblinger-musikverlag.at; in UK: Transatlantiques): c/o Music Sales
c/o Universal Edition
Trinity (Trinity College London):
Eschig (Editions Max Eschig): www.trinitycollege.com
www.durand-salabert-eschig.com; in UK: c/o
UME (Union Musical Ediciones): c/o Music
De Haske Hal Leonard Ltd
Sales Ltd
Euterpe (Publishing House Euterpe):
www.euterpe.pl; in UK: c/o Universal Edition Universal (Universal Edition (London) Ltd):
london.universaledition.com
Faber (Faber Music Ltd): www.fabermusic.com
Usborne (Usborne Publishing Ltd):
Garden (Garden Music): www.gardenmusic.co.uk www.usborne.com
62 Back to contents

Music publishers
Wise (Wise Publications): c/o Music Sales Ltd

XYZ (XYZ International): c/o European Music
Centre; in UK: c/o Spartan Press
ZenOn (ZenOn Music): www.zen-on.co.jp
UK Specialist Supplier
In case of difficulty obtaining music, many items
will be found in stock at:
Guitarnotes (Guitarnotes)
T: +44 (0)115 962 2709; www.spanishguitar.com
Back to contents 63
Notes

64 Back to contents

Guitar Syllabus 2016-19 (Online Edition) PDF

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Guitar Syllabus

Classical & Plectrum

Trinity College London

Candidates should refer to www.trinitycollege.com/music to

Why take a Trinity grade exam?............................................................................ 4

About this syllabus........................................................................................................ 6

About the exam................................................................................................................ 7

Mark scheme for pieces........................................................................................................ 11

Plectrum guitar (subject code PLE)... In 1 2 3 4 5 6 7 8

Information and regulations..................................................................................58

RQF* EQF** Classical Rock Theory Music Solo Group

* Regulated Qualifications Framework in England, Not RQF or EQF regulated

Technical work 14 Technical work 14

Supporting tests 10 Supporting test 1 10

Overall mark Band

* For plectrum guitar technical work all sections must be prepared.

Level Exam duration

Performance and interpretation

Instruments and tuning

Music and copies

Grade Duration (mins) Examples of composition techniques

Mark scheme for pieces

Total mark for each piece Band

Grade Keys Time Note values Dynamics Articulation, positions,

Grade 1 C major p and f within 1st position

simple shifts; 2nd position;

various position shifts;

* Tests may also include requirements from preceding grades.

Grade 1 p and f within 1st position

and CI, III

* Tests may also include requirements from preceding grades.

Grade Parameters Task Response

Listen to the melody with

major key Listen to the melody twice Clap the rhythm

Listen to three notes from

i) Clap back the rhythm

Identify the last note as higher, lower

Listen to the melody twice

Indicate a sense of the pulse and

Identify the last note as higher, lower or

Listen to the melody twice

Grade Parameters Task Response

Identify the cadence as perfect,

major or Identify the interval as a unison,

Grade Parameters Task Response

State the time signature and comment after

 isten to the final part of

 tudy a copy of the

Comment, after either or both playings, on the

 isten to a passage from

minor key,  tudy a copy of the first

 isten to part of the

Comment on the significant features of the

melodic: based on a series of pitches

Written keys for chordal tests (cumulative*)

Initial, Grades 1, 2 & 3 Grades 4 & 5 Grades 6, 7 & 8

Classical & C, F, Bb, D, Eb & A major

* Tests may also include requirements from preceding grades.

Parameters for improvisation tests

Musical knowledge (InitialGrade 5 only)

Grade Parameters Sample question Sample answer

Notes on ledger lines What is the name of this note? Bb

Musical terms and signs

* Regulated Qualifications Framework in England, Not RQF or EQF regulated

Listen to the melody with

Listen to three notes from

Listen to the melody twice

Listen to the melody twice

isten to the final part of

tudy a copy of the

isten to a passage from

minor key, tudy a copy of the first

isten to part of the

melodic: based on a series of pitches