CLASSICAL GUITAR

SAMPLE BOOKLET
A selection of pieces, exercises and studies
for Trinity College London exams
2020–2023

POWLESLAND
SANDERSON
SAGRERAS
DOWLAND
CARULLI
FOGEL

NOT FOR SALE

Contents
Trinity’s Classical Guitar Syllabus 2020–2023 2
Recognition and UCAS points 2
Contributors 3

The exam at a glance 4

About the exam 4
Exam structure and mark scheme 5

Classical guitar graded exam books 6

Pieces 6

Support publications 8

Sample pieces — About the pieces 9

Sample pieces 10
Initial 10
Grade 2 11
Grade 3 12
Grade 3 14
Grade 4 15
Grade 8 16

Sample studies 18

Sample technical exercise 18

Grade 5 18

Sample studies 18
Grade 1 19
Grade 3 19
Grade 7 19

Classical guitar resources 20

Contact us 20

Stay up to date 20

–1–
Trinity Classical Guitar Sample Booklet 2020–2023

Trinity’s Classical Guitar Syllabus 2020–2023

Trinity’s refreshed Classical Guitar syllabus offers the choice and flexibility to allow classical guitarists
to play to their strengths, offering wide-ranging repertoire choices as well as exercises designed to
progressively develop technique.

Styles and duets

Encompassing a range of inspiring repertoire from the Renaissance to the present day, the syllabus
includes pieces published for the first time and more music by female composers. The duets option
is now available up to Grade 5.

Books
New graded books for Initial to Grade 8 feature a wide range of repertoire, while expanded alternative
piece lists include options from Trinity’s Raise the Bar and Performance Edition series of publications.

Techniques
Technical work includes specially composed exercises for each grade, covering the technique required
specifically by guitarists, ensuring that all learners put scales and arpeggios into the performance context.

Benefit from industry experience

The syllabus and supporting books have been created in consultation with leading classical guitar
specialists. You can access videos and articles produced with professionals to support teaching and learning
at trinitycollege.com/classical-guitar-resources. Join us online and on social media to find out when new
resources are available.

Recognition and UCAS points

Trinity College London is an international exam board regulated by Ofqual (Office of Qualifications and
Examinations Regulation) in England, CCEA Regulation in Northern Ireland and by Qualifications Wales.
Various arrangements are in place with governmental education authorities worldwide. In the UK, Grades
6–8 are eligible for UCAS points for those applying to colleges and universities. Trinity exams are aligned
to the European Qualifications Framework (EQF).

DOWNLOAD OUR CLASSICAL GUITAR SYLLABUS 2020–2023:

trinitycollege.com/classical-guitar

–2–
Contributors
Trinity worked with a team of experts, including the following consultants, to develop the syllabus.

Nicholas Powlesland studied guitar and piano at the Guildhall School of Music
& Drama and has since forged a diverse musical career as a performer, teacher,
examiner and composer. He is probably best known as a composer of guitar
pieces for students, and his work has featured in many Trinity guitar syllabuses.
He has a substantial teaching practice in Lancashire working with individuals,
small groups and whole classes, and is a regular tutor at the World Youth Guitar
Festival. He is a regular consultant and adviser for Trinity and has been involved
in developing our classical, acoustic and Rock & Pop guitar syllabuses. He is
currently senior examiner for the Rock & Pop panel.

Martin Fogel has three award-winning CDs and has received international acclaim
for his artistry — ‘a Swedish genius’ (CD Journal, Japan), ‘exudes easy charm’
(Classical Music, UK) and ‘sheer magic’ (Classical Guitar Magazine, UK). A leading
exponent of the guitar music of Toru Takemitsu, he became an Associate of the
Royal Academy of Music in 2015. He has performed internationally, including
on TV and radio, and has won prizes in major competitions such as the Tokyo
International Guitar Competition and the Takemitsu Competition, Finland. In addition
to his virtuoso concert works for guitar, Martin has composed a range of miniature
pieces for students of all levels, and was the Leverhulme Artist-in-Residence at the
University of Southampton. He currently teaches at Junior Trinity, Trinity Laban
Conservatoire of Music and Dance.

Jens Franke trained at the Guildhall School of Music & Drama and King’s College,
London. An artist of eclectic taste, equally at home in the concert room or
theatre, he has worked with English National Ballet and was formerly orchestral
guitarist of the European Union Youth Orchestra. Recent recording credits include
two EPs, eight CDs for Schott London, an album of works by Johann Kaspar Mertz
(Stone Records), a collection of Schubert songs with Anna Huntley recorded
at the Wigmore Hall (Quartz) and, together with his guitar duo partner Jørgen
Skogmo, the complete ensemble works by Antoine de Lhoyer (Naxos) and the
complete guitar duets by José Ferrer (Naxos). Jens made his Milton Court debut
in 2018 (Guildhall Alumni Series) and teaches in the Junior Department of the
Guildhall School, and at Christ’s Hospital, West Sussex.

Helen Sanderson studied guitar at the Royal College of Music, graduating

with prizes including the Anthony Saltmarsh Prize and the Madeline Walton
Prize for Guitar. She has worked in partnership with singers James Bowman and
Mark Wilde, and is a founding member of the VIDA Guitar Quartet. Performances
include recitals at the Southbank Centre, Kings Place, London and tours throughout
the USA and Europe. In parallel to her role as head of guitar performance at the
Royal Welsh College of Music and Drama, Helen founded the charity Guitar Circus
in 2006, and she was awarded a Winston Churchill Fellowship for her research
in guitar education. Helen is a sought-after masterclass artist, adjudicator and
international jury member for competitions such as BBC Young Musician of the
Year, the Guitar Foundation of America and Sky Arts’ series, Guitar Star. She is
artistic director for the National Youth Guitar Ensemble UK and is a D’Addario
Classical Artist.

–3–
Trinity Classical Guitar Sample Booklet 2020–2023

The exam at a glance

About the exam

PIECES
66 marks
Choose three pieces TECHNICAL WORK
each worth 22 marks. 14 marks
A technical exercise,
followed by either scales
and arpeggios or studies
(Initial–Grade 7)/concerto
extracts (Grade 8).

SUPPORTING TESTS
20 marks
A combination of two tests from
sight reading, aural, improvisation
and musical knowledge, depending
on grade and candidate choice.

Pieces
 andidates can express their musical identity by choosing three pieces from our varied repertoire lists.
C
At Initial to Grade 5, pieces are selected from a single list, with no restrictions on choice, while at Grades 6–8
at least one piece must be chosen from each of the two groups. Candidates can perform an own composition
in place of one of the listed pieces, and can choose to include up to two duets at Initial to Grade 5.

Technical work
This section of the exam supports the development of technical skills by assessing candidates’ performance
in a range of technical work requirements. All candidates begin with a technical exercise — a short musical
passage based on scale, arpeggio or chord patterns. At Initial to Grade 7 they then choose either scales &
arpeggios or studies — specially composed short pieces designed to develop and demonstrate a range of
specific guitar techniques. At Grade 8, candidates can select scales & arpeggios or concerto extracts.

Supporting tests
Trinity’s supporting tests encourage the development of the broader musical skills of sight reading, aural,
improvisation and musical knowledge. The choice offered to candidates in this part of the exam allows
them to demonstrate their own musical skills in different ways.

–4–
Exam structure and mark scheme
Initial–Grade 5 Maximum Grades 6–8 Maximum
marks marks

PIECE 1 22 PIECE 1 22

PIECE 2 22 PIECE 2 22

PIECE 3 22 PIECE 3 22

TECHNICAL WORK 14 TECHNICAL WORK 14

Technical exercise
„ Technical exercise
„

Either scales & arpeggios

„ Either scales & arpeggios
„

or studies or studies (Grades 6–7)/

concerto extracts (Grade 8)

SUPPORTING TESTS 20 SUPPORTING TEST 1 10

Any TWO of the following: Sight reading

„

Sight reading
„

Aural
„

Improvisation
„ SUPPORTING TEST 2 10

Musical knowledge
„
ONE of the following:
Aural
„

Improvisation
„

TOTAL 100 TOTAL 100

–5–
Trinity Classical Guitar Sample Booklet 2020–2023

Classical guitar graded exam books

Trinity’s classical guitar books feature newly selected repertoire from Initial to Grade 8.
They showcase more pieces by female composers, and include duets up to Grade 5 and
a range of previously unpublished works.

Pieces Initial
HARTOG La campanella
WANDERS Salsa Party
BRUN La tortue
CORR Gypsy Dance
POWLESLAND Pirates
DAVIES Finnish Folk Song
CRACKNELL Inca Dawn
LONGWORTH & WALKER La colombina
TRAD., arr. POWLESLAND Aura Lee
TRAD., arr. POWLESLAND The Rising Sun
PURCELL Rigadoon
NUTTALL The Bells of Dawn
LINDSEY-CLARK Helping Hand

Grade 1
HANDEL, adpt. MASON,
arr. LONGWORTH & WALKER Joy to the World
SCHUBERT, arr. HEGEL Die Forelle (The Trout)
RAK Chansonnette
POWLESLAND The Forest Wakes
RICHTER Spider
FOGEL Pirate’s Delight
TROMP Metamorphosis
CRACKNELL Oasis
SANDERSON Lotus Flower
TRAD., arr. HVARTCHILKOV Romance de amor
SCHUMANN, arr. POWLESLAND Melodie (from Album for the Young, op. 68)
CARULLI, arr. CRACKNELL Waltz in G
MÁRQUEZ Lágrimas de las ondas

Grade 2
SANZ, arr. POWLESLAND Paradetas
CARULLI Danse paysanne
AGUADO Waltz
LINNEMANN Killybegs Jig
NUTTALL The Mojave
McDOWALL Spanish Nocturne
HASTED Regular Reggae
LINDSEY-CLARK Barcarolle
BRUN Le paon
POWLESLAND In the Half-Light
COUPERIN, arr. POWLESLAND Le petit rien
TRAD., arr. RIVOAL A rosa vermelha
RODRIGUEZ, arr. CRACKNELL La cumparsita

Grade 3
ATTAIGNANT French Dance (Tourdion)
CARULLI Valse (no. 21 from École de guitare, op. 241)
SOR Study in C (no. 6 from Introduction à l’étude de la guitare, op. 60)
GIULIANI Andantino (from Le papillon, op. 50)
CARCASSI Allegretto in D major
COTTAM Grasshopper Guiro
POWLESLAND Funky Juan
RYAN The Firth of Lorn
STACHAK Kurpie Étude
FOGEL Marshmallow Cocoa
GRIEG arr. POWLESLAND Album Leaf
TRAD., arr. RIVOAL Chorinho
TRAD., arr. SANDERSON The Coasts of High Barbary

–6–
Grade 4
DOWLAND, arr. HEGEL Orlando Sleepeth
DE VISÉE, arr. SCHEIT Gavotte (from Suite in D minor)
DAUBE, arr. WILLIS Menuets I & II (from Partie in A major)
SOR Andante (no. 2 from 24 leçons progressives, op. 31)
SAGRERAS Nostalgia: petite mélodie (from Tres piezas fáciles, op. 19)
SCHWERTBERGER Bossa-Nova Breeze
NORTON, arr. NESTOR Line by Line
RYAN Spice Trail
FOGEL Village Blackbird Blues
BARON Allemande (from Sonata for Two Guitars)

Grade 5
DOWLAND, arr. HEGEL Preludium
SOR Andante (no. 8 from 24 leçons progressives, op. 31)
GIULIANI Allegretto (no. 3 from 24 prime lezioni progressive, op. 139)
GUZMÁN Dedicatoria
PEARSON Skater’s Waltz
NORTON, arr. NESTOR Holidays
RYAN Memories of Summer
STACHAK Country Étude
SAUMELL El pañuelo de Pepa
DAW Inveraray Castle

Grade 6
J S BACH, arr. ERIKSON Sarabande (from Partita no. 1 for solo violin, BWV 1002)
MERTZ Capriccio
FERRER El afectuoso (no. 3 from Colección 4a)
FONDARD Valse suisse
PIAZZOLLA, arr. RYAN El viaje
YORK Lullaby
FELLOW No Man’s Land
TRAD., arr. COTTAM Kalamatianos
TRAD., arr. HVARTCHILKOV General’s Mandate
´ ´
DROZDZOWSKI Winter Story

Grade 7
SANZ, arr. KOENIGS Pavanas por la D
(from Instrucción de música sobre la guitarra española)
COSTE Tarantelle
PRATTEN Forgotten (no. 77 Impromptu)
TRAD., arr. RUSSELL The Bonnie, Bonnie Banks of Loch Lomond
TÁRREGA Rosita
ARCAS Bolero
SHAND Légende, op. 201
WALTON Bagatelle no. 2 (from Five Bagatelles for Guitar)
GUBAIDULINA Serenade
SMITH Halcyon Days

Grade 8
DOWLAND, arr. POWLESLAND Earl of Essex, His Galliard
KELLNER, transc. KÄPPEL Phantasia in A minor
COSTE Sérénade (1st movt from Les soirées d’auteuil, op. 23)
TRAD., arr. RUSSELL The Bucks of Oranmore
BARRIOS Oración para todos (Prayer for Everyone)
SEGOVIA Estudio sin luz
RODRIGO En los trigales
LAURO, rev. DIAZ Vals venezolano no. 3 ‘Natalia’ (from 4 valses venezolanos)
BENNETT Impromptus for Guitar (nos. I & V)
KRUISBRINK Adana (jhaptal) (no. 4 from Raga Suite)

–7–
Trinity Classical Guitar Sample Booklet 2020–2023

Support publications

Scales, Arpeggios & Studies

These volumes contain all the scales, arpeggios and
studies required for Trinity’s Classical Guitar and
Acoustic Guitar exams for Initial to Grade 8. Intuitive
and bespoke technical work is a hallmark of Trinity
exams. With a variety of options available, each
individual learner can play to their strengths and
build confidence in their technique.

Raise the Bar Guitar

A collection of the most popular
pieces from past Trinity exam
syllabuses accompanied by
teaching notes. Each book contains
an attractive and varied selection
that will help guitarists expand their
repertoire and discover more music
from different styles and periods.

Trinity Performance Edition for Guitar

Books showcasing previously unpublished
pieces by contemporary composers, with each
edition dedicated to one composer. Several
pieces have been selected for the 2020–2023
syllabus, while others make great transition
pieces between grades. All are perfect for
concert performance.

–8–
Sample pieces — About the pieces

Initial: POWLESLAND / Pirates

The intention with ‘Pirates’ is to inspire a love of the guitar by engaging the creative imagination
of players relatively new to the instrument. It aims to capture the adventurous spirit of famous
swashbuckling melodies using a range of notes familiar to the student guitarist.

Grade 2: CARULLI / Danse paysanne

‘Danse paysanne’ is a country dance, written by one of the most prolific guitar composers of the Classical
era, as well as the author of the first classical guitar method, Ferdinando Carulli. This joyful piece is a real treat,
mostly consisting of a two-part melody moving over a pedal note, emphasising the pastoral character of
the dance. It’s a great introduction to the Classical style.

Grade 3: TRAD., arr. SANDERSON / The Coasts of High Barbary

Embrace your inner pirate with this boisterous sea shanty from Somerset, exploring the higher positions
on the fretboard. Helen Sanderson’s arrangement is in G minor — a less common key for guitarists — and
the accented notes of the accompaniment highlight the spirited and energetic character.

Grade 3: FOGEL / Marshmallow Cocoa

This miniature comes in the form of a gentle reminder that we all need a warm treat at times, especially
during the darker months of the year. The music is reminiscent in style of both the gavotte dances of
Bach and Weiss, and of contemporary film music, combining modern harmonic colours with Baroque
textures to make a joyful treat for the guitar.

Grade 4: SAGRERAS / Nostalgia: petite mélodie

‘Nostalgia: petite mélodie’ is from a set of three pieces by Argentinian guitarist and composer Julio
Sagreras called Tres piezas fáciles. This lyrical and gently flowing piece is best played with a sweet tone,
retaining a calm character throughout.

Grade 8: DOWLAND, arr. POWLESLAND / Earl of Essex, His Galliard

The English composer John Dowland was one of the finest lutenists of the Renaissance period.
Transcriptions of his works are frequently performed by classical guitarists, and this piece is one of the
most popular. Based upon the vigorous courtly dance, the Galliard, this should be played with energy,
textural clarity and crisp syncopation.

Watch performances of pieces and technical work with this icon at

trinitycollege.com/classical-guitar-resources

ORDER YOUR BOOKS FROM OUR ONLINE SHOP:

trinitycollege.com/shop-classical-guitar

–9–
Trinity Classical Guitar Sample Booklet 2020–2023

Sample pieces

Initial
Pirates
Nicholas Powlesland
(b. 1965)
Boldly q = 120
4
&4 ˙ 2
1 œ œ œ œ œ ˙
0
1
2
0
˙ œ œ œ ˙ 0 ˙ ˙ œ œ œ
‹ f

œ œ œ w œ ˙ w œ ˙
6

& œ œ œ œ œ œ w Œ Œ
1
0

‹ p

. œ ˙. œ w œ ˙ w œ ˙ œ œ œ œ
11

& Œ̇ œ œ
3

∑ Œ Œ
3

‹ cresc.

œ œ œ œ œ œ œ œ œ ˙
16

& ˙ ˙ œ œ œ ˙ ˙
‹ f

œ œ œ
21 rit.

& ˙ œ œ œ œ œ œ œ œ œ w
‹

6
– 10 – © Copyright 2019 Trinity College London Press Ltd
© Copyright 2019 Trinity College London Press Ltd
 Grade 2
Danse paysanne
Ferdinando Carulli
(1770–1841)
Moderato q = 76

#2 œ p œ
i m

& 4 œ œ œ œ œœ œ œœ œ œœ œ œœ œ œ œ œ œ œœ œ œœ œ œœ œ œœ œ
m i m
i

‹
mf
a

# œ œ œ
m m a
œ
i
œ
7 m m

& œœ œ œœ œ ˙ .. .. œ œ œ
i i
œ œ œ
m i

œ œ œ œ œ œ œ œ œ
4
2

œ œ
1
1

˙
2

‹ 3

mf
rall. a tempo

# œ œ œ œ œ ˙ .. .. œ œ œ œ œ
13 a i m i m a

& œ œ œ œ œœ
Fine p
œ œœ œ
œ œ œ œ œ˙ œ˙
‹ ˙
p f
a D.C. al Fine
œ
m
# œœ œœ œœ œ œ œ œ œœ œœ ˙
19 p m p m a

& #œ œ
4

œ œ œ ..
œ œ œ ˙
3

1 œ #œ œ
‹

4 © Copyright 2019 Trinity College London Press Ltd

– 11 – © Copyright 2019 Trinity College London Press Ltd

TCL019295 Classical Guitar Grade 2 2020-2023.indd 4 28/08/2019 16:08:36
Trinity Classical Guitar Sample Booklet 2020–2023

Grade 3
The Coasts of High Barbary
Trad.
arr. Sanderson

° b6
Lively q. = 100
Œ. œ œ
&b 8 ∑ ∑ ∑
V
Candidate
J
3
part
‹ f
> > > >
b 6 œ œœ j Œ.
Duet part ¢&‹ b 8 œ ‰ ‰ œœ. œ œ œ
œ œ
‰
œ.
> >œ. >œ.
Ê =D mf

° bb œ. œ œ œ. œ œ œ œJ œ œ œ. œX œ. œ
‰ œ
J
5

J
1

J J Œ
2 4 2

&
4 1
2

‹
>j >j > > >j
b Œ. Œ. ‰ œ œ œ ‰ ‰ j
¢&‹ b œ. œœ Œ œœ Œ œœ ‰ œœ ‰ Œ j œœ ‰ ‰
œ œ
œJ œ œ. œJ œ. œJ
œ. œJ œ
f

° b œ
. œ ‰ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ
J ‰ J ‰ J
10

J
1

&b
2 4
1 3 1

‹
j j
bb Œ j œœj ‰ ‰ Œ œj œœœ ‰ ‰ œ œ œ œ.
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¢‹
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˙.

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° b œ J œ œ œ œ
15

&b J
3 1
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‹ mf

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¢&‹ b œ. œ. œ.
œ. œ. œ.
œ œ œ œ
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œ
˙. ˙. œ.
mf

18 © Copyright 2019 Trinity College London Press Ltd

TCL019301 Classical Guitar Grade 3 2020-2023.indd 18

– 12 – 29/08/2019
© Copyright 2019 Trinity College London Press Ltd 10:28:09
 ° b œ œ. œ œ œ. œ œ œ œJ œ œ œ. œ
VII

œ. J
20

b ‰ J J J Œ
2

&
‹ mp pont. mf
>j >j > > >j
b Œ. œœ
‰ ‰ Œ. œœ ‰ ‰ œœ ‰ œœ ‰ œ œ œ ‰ ‰
¢&‹ b œ. œ. œ. œ ‰ œ ‰ œ
‰
œ. œJ
mp pont. œ. œ œ œ

œ. œ ‰ œ œ. œ ‰ œ œ œ œ. œ ‰ œ
V

œ œ
VII
° bb œ œ J œ œ
25

œ œ J
4 2 4
2 4 2

& Π1
J J ‰ ‰ Œ 1
J J ‰ ‰ Œ
1
J J ‰ ‰
‹ mp

b œœ.. Œ. Œ. œœ.. œœ.. œ œ œ œ.

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¢&‹ b œ.
œ œ œ œJ ‰ ‰
œ. ˙.
œ œ œ œJ ‰ ‰ œ œ œ œ. ˙.
mf

œ œ œ œ œ œ œ œ œ œ œ œ
° b J ‰ J J œ œ. œ
29

&b J ΠJ
‹ f nat.
Œ.
b œ. Œ. œœœ... Œ. œœ.. œœ.. œ. œ œ œ œ œ œ
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nat.

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° b œ œ œ œ œ J œ œ œ.
33

&b J J J J Œ.
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f
œ.

19

TCL019301 Classical Guitar Grade 3 2020-2023.indd 19

– 13 – 29/08/2019 10:28:09
 Trinity Classical Guitar Sample Booklet 2020–2023

Grade 3
Marshmallow Cocoa
Martin Fogel
(b. 1974)

. Moderato q = 90
. .
## 4 œ œ œ ˙˙ œ œ œ ˙
œ œ œ̇ œ œ
II i m i m
4

˙ œ̇ œ ˙
& 4w
1 1

w ˙
2 2

˙
1
1

‹ mf

. .
## ‰ j . œ œ œ œ
i m

‰ j œ ˙ œ œ̇ œ ˙
5

& œ ˙ œ
2
œ̇
œ ˙ ˙
3 3

˙
2

˙ ˙
2

˙
1
1
‹ 1 3
1

p mf p

. . .
## œ œ œ ˙˙ œ œ œ ˙˙ œ œ œ̇ œ œ œ̇ œ
9

& w ˙
w ˙ ˙
‹ f

. . .i
i m
œ œ œ œ œ̇
i a m

## ‰ ‰ j œ ˙ œ œ̇ œ ˙
13

& j œ ˙ œ
2

œ ˙ ˙
3 2

˙ ˙ ˙ ˙
1

‹
mf f p

poco rit.
## ‰ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ ‰ œ œ œ ‰ œ œ œ w
17
i m

& w 2
w ˙ Œ œ ˙
2 3

‹
3
˙
p mf p

a tempo rit.
## ‰ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ ‰ œ œ œ ‰ œ œ œ w
21

& Œ œ ˙
3 3

‹ w 1
w ˙ ˙
2 u
pp p pp

12 © Copyright 2019 Trinity College London Press Ltd

– 14 – © Copyright 2019 Trinity College London Press Ltd

TCL019301 Classical Guitar Grade 3 2020-2023.indd 12 29/08/2019 10:28:07

 Grade 4
Nostalgia: petite mélodie
from Tres piezas fáciles
Julio Sagreras
dolce (1879–1942)
a
˙ œ. i œj ˙
a m
#
Larghetto q = 52 m m i a

œœœ ∑œœœ œœœ ∑œœœ

i

& c œœœ œœœ œœ œœ œœ œœ œ̇œ œœ

i

‹ œ œ œ œ
p mf

# œ nœœ œœ Œ j
& Œ ˙
5

#œœ œœ œ̇œ œœ œ œœ œ.
œœ œœ œ
2

œ œ
0
4 1

œ œ
0 3

‹ œ
1 2

# œ œ œ œ œ
m i m a m i
œ œœ œœ œœ œœ Œ
8 m i p m m i m a i Fine

#œ œ œ
œ #œ œ nœ œ œ
p

& œ œŒ œ œ œ
3 2

#œ
0 0

œ œ
1

œ
1

Œ Ó Œ Ó
0 0

œ
4 2

œ œ
4
1
‹ 2

# œ. #œj n˙ Óœ ‰ #œ œ œ nœ œ œ œ
i a m i i a m

˙
12

& Ó œœ œœ œœ œ̇œ œœ
œ œ œ Œ Ó
3
2 1 4 4
3

œ
2

‹ mf 3

œj j
œ. ˙ œ. œ ˙. nœ œ Œœ
CV CIII

# Ó œœ œœ œœ œ̇œ œœ ‰ œ bœ œ œœ œœ
4
15

œ œ œ œ
2 4

& œœ
4

œ „ Œ
3

œ
1 3 2 1

‹ œ
0

mf

# Œ ˙. Œ œœ œœ œ œ ˙.
19

& œ œœ œœ œœ œœ œœ œœ œœ œœ
#œ nœ œ œ œ
‹
p

˙. œ œ œœ
œ œ #œ œ œ œ œ n œ
CV
œ
D.C. al Fine
# œ œ ##œœœ
& Œ œœ
23

nœ œ œ œœ Œ œœ Œ
4 4

œ Œ Ó œ #œ
3

‹ œ #œ3
3
œ
sfz

© Copyright 2019 Trinity College London Press Ltd 7

– 15 – © Copyright 2019 Trinity College London Press Ltd

TCL019318 Classical Guitar Grade 4 2020-2023.indd 7 29/08/2019 12:48:47
Trinity Classical Guitar Sample Booklet 2020–2023

Group A
Grade 8
Earl of Essex, His Galliard
John Dowland
(1563–1626)
arr. Powlesland

3 œ. œ œ œ œ œ. œj œ œ œœ œ #œ œ œœ œ
Elegantly q = 90

˙˙ ‰ œœ... œœ
&4 ˙ Œ ˙ œ
#œ
4

˙..
4

˙ œœ œ Œ œ œ
œ
3

œ. œ.
2
‹
f

nœ œœœj nœœ œœj œœ.. œj œ. œœj œœ œj œ

#œœ œ̇˙ œ œ œ œ
5

& œœ nœ ˙˙ œœ œ œ œ œ #œ ‰
J ‰ œ œ œ .J
4

‹ œJ ˙.

œ œ œ œ œ ˙ œ ≈ œ œ œ
9

& ≈ œ œ œ œ œ nœ ≈ œ œ œ œ œ
4

œ œ
3

‹ ˙.
0
2

‚ „
mp

œ œ œ œ œœ œ ≈ œ nœ œ œ nœ œœ
11

& œ œ œ #œ œ œ œ
#œ œ #œ #œ œ œ œ œ ≈ œ nœ nœ œ ≈œœœœ
4
1

œ
3

‹ œ ˙ 2

œœ œœœœœœœ œ œœœœœœœœœœœ #œ œ œ œ œ œ œ
14

& œ #œ œ œ
3

œ œ.
‹ ˙ ˙.
1

œJ
2

˙ œ œj œœ œ œœ. œ #œ nœ˙. œj œœ œ œœ.. œj œ #œ

17

& #œœœ. .. œ œ œ œ œ
4

‰ œ #œœ œ. #œœ..
4

n˙ œJ œ ‰ Œ
J œ œ œ J œ.
1

œ.
3 3
4
‹
f

j
œ nœœ œœ nœœ œœj œœ.. œ œ œ œœ ˙ œ. œ œ #œ˙.. œ œ œ œ ‰ œ.. œ
21

& œ œ ‰ œ nœ œœ œœ œ œ. œ ˙ Œ #œœ. ˙ œœ
œ ‰
2 0

. J
4

‹ œ ˙. œ. œ.

2 © Copyright 2019 Trinity College London Press Ltd

TCL019356 Classical Guitar Grade 8 2020-2023.indd 2 – 16 – © Copyright 2019 Trinity College London Press Ltd
23/08/2019 15:18:27
 ≈ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ
& ˙ œ #œ œ œ œ œ œ œ œ œ œœ œ œ œ
26

nœœ œ n
‹ mp ˙. œ œœœ œ

œœ œ œ #œ nœ œj nœ j ˙ œ
œ œ œ
29

& #œœ #œ œ œ œ œ nœ œ œ œ œœœ

≈ œ nœ ≈œœœ œ œœœœœœ
4

‹ J ‰ Œ Œ

œ œ Œ #œœ.. #œ œ œ œ œ œ
≈ œ œ #œ #œ ˙.
32

œ
& Œœ œ œ œ œ œ œ œ œ œ ≈ #œ œ ˙
3 4 0
4 3 1 4

0 2
4 œ œ
˙. œ. œJ œ
2 4
‹ „ Â

CII

˙. j j ˙œ œ œ #˙. j #˙œ œ œ
35 hinge

& œ. #œ nœ œ œ œ œ œ œ œ œ œ œ
˙ œ ˙ J œ J ˙#œ. œ ˙ J œ J
4
3 3
0 1
2
3 0
‹
mf

˙ œ œ œœ œ œœ œœ. œ œ œ œ #œœ œ œ #œœ œ˙ œ œ œ œ

39

.
& #œœ. #œ œJ #œ
œ .
. ‰ #œ ‰
œ . œ # œ œ œ J ˙.Œ J ˙
‹ œ. œ. œ œ.

˙ œ œ œ œ #˙ œ œ œœ
43

œ
& n œ œ œ #œ œ œ œ œnœ œ œ œ œ œ œ #œ œ œ #œ œ œ œ œ #œ
2

‰̇˙ J œ œ œ 1 1
4

‹
f

#˙‰ œ œ #œ œ œ œ œ #œ œ #œ #œ œ œ≈ œ œ œ #≈œ œ #œ œ. œ #œ œ œ
46

& ˙ J œ #œ #œ œ œ ≈ #œ
4

œ #œ œ 3
#œ œ
‹ ˙ ˙
U
œ œ #œ œ œ œ œ #œ œ œ œ œ œ #œ #œ œ œ œ œ œ œ œ œ œ œ œœœ
49

& œ œ #œ œ ‰ œ #œJ œ œ
4

œ œ
‹ œ œ. ˙ œ
u
‚

TCL019356 Classical Guitar Grade 8 2020-2023.indd 3 23/08/2019 15:18:28

– 17 –
 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.
Eb major
Trinity Classical Guitar Sample Booklet 2020–2023 scales: im and ma scales: apoyando or tirando min. tempi:
F major
two octaves arpeggios: (candidate’s choice) scales: q = 92
A natural minor
ppppima arpeggios: tirando arpeggios: q. = 50
C melodic minor
Sample
G major scale intechnical
broken thirds exercise
one octave
im
min. q = 82
C major scale in sixths ip/mp
tirando
Dominant
In the 7th arpeggio
technical workinsection
the key of A
allmajor
candidates begin with a technical exercise, and then opt tomin.
perform
two octaves ppimim… q = 76 scales
Diminished 7th arpeggio starting on E
and arpeggios or studies/concerto extracts. The technical exercises combine scale, arpeggio and chord
or iii) Studies (music may be used)
patterns, increasing in length and complexity as the grades progress.
Candidates to prepare 1a or 1b; 2a or 2b; and 3a or 3b (three studies in total).
TheThe
Grade 5 technical
candidate exercise
will choose one study tois based
play around
first; the examinerthe
will F # minor
then scale
select one and
of the chord.
remaining twoInprepared
between scale
studies to bepassages,
performed.

there is what looks like an F# minor arpeggio, but when the l.v. is observed, this turns into a broken chord.
1a. Incognito or 1b. Over the Moon for tone and phrasing
2a. Mistral
At the end, there is a delay or 2b. And So
between theIt Ends
leadingfornote
articulation
resolving to the tonic, giving the exercise a
3a. Mare Nectaris or 3b. All Barré One for idiomatic elements
humorous character.

Grade 5
i) Technical exercise
Technical exercise
In F# minor

  4  3 4 
IV II

     
    
3 3 2 4 3

  

     
i m

 1 1
5
CII

   
4 3 4 1 1

    
  
p

p p i m a       
p m
i
l.v.

  
CII
      
9 CII IV

        
1

3
  
 

i m
l.v.
Copyright © 2015 Trinity College London Press Ltd

Sample studies
23
Studies are categorised in the following three groups at all levels: tone and phrasing, articulation, and
idiomatic elements. Within these categories a wide range of technical elements is explored, including
different types of articulation, chords, dynamics, barré and half barré, harmonics, tremolo, campanella
Guitar Scales Initial to Grade 5 from 2016 [imp 4, Jun 2019].indd 23 20/06/2019 17:06:23
and étouffé.
Designed to focus on tone and phrasing, the Grade 1 study ‘Highland Memories’ looks at melody and
accompaniment playing by separating each style. Beginning with an introductory accompaniment figure
that is reflected later, the study’s central idea is a question and answer phrase. The piece makes phrasing
easy to understand by adding dynamic markings that reflect a common phrase shape.
The Grade 3 study ‘Finger Pickin’ Good’ focuses on ascending slur technique, while incorporating a range
of musical elements that give the study a strong character. The music has been carefully crafted to include
only slurs from open strings; this allows the student to focus on the mechanics of the ascending slur,
without adding too much complexity.
‘Mezquito’ features extended use of the tremolo technique, which helps students develop good right-hand
finger independence and timing. The piece incorporates tremolo on the 2nd string, dynamics and a rit. at
the end; this adds complexity to the study and requires careful and detailed playing.

– 18 –
  mf mf

        
                     
6 6


  mf mf
Grade 1
1b. Highland Memories
1b. Highland — tone
Memories and phrasing
— tone (even(even
and phrasing tone tone
and bass over-ringing)
and bass over-ringing)

    Expressively q = 98       
Expressively q = 98

i m i m

i m i m
                   
      
3
3
 f
f
i m sim. sim.
p i m
p
8  mp
8 mp rit.
  
rit.
                     
       
mp dim. pp
mp dim. pp

Grade 3 continued
Grade
7
Grade 33 continued 7

2b. 2b.
Finger Pickin’
Finger Good
Pickin’ — articulation
Good (ascending
— articulation slurs)
(ascending
Guitar Scales Initial to Grade 5 from 2016 [imp 4, Jun 2019].indd 7
slurs) 20/06/2019 17:03:56
Guitar Scales Initial to Grade 5 from 2016 [imp 4, Jun 2019].indd 7 20/06/2019 17:03:56
Country stylestyle
Country q = 102
         
q = 102

  
   
II II I I
  0  1      3        
  mf mf
1 3
0
mp mp mf mf

5      II II
5

    3     
 f f
          0  01  1     
 
3
p p mf mf

Guitar Grade
Guitar 7 continued
Grade 7 continued
Grade
3a. 3a. On7Brooklyn
On Brooklyn Bridge — idiomatic
Bridge elements
— idiomatic (half
elements barré)
(half barré)
3a. 3a. Relaxed
Mezquito
Mezquito but
Relaxed cool
but cool
q elements
— idiomatic
— idiomatic q elements
= 100 (tremolo)
= 100 (tremolo)

 Precise
 Precise but with with sensitivity q=112q       
½CII½CII ½CII½CII ½CI½CI ½CII
½CII ½CII
½CII ½CI½CI

p amp iapm ai mp ia mp ai mp ai mpai 

mpai 
m i 
 
but sensitivity

= 112

 4 4œœœ mf œœœ mf œœœ œœœ 1œœœ 1œœœ 

œœœœœœ   1œ œœœœ 1œœœœ
1
1 œœœœœœ œœœœœœ œœœ œœœ 1 œœœ œœœ œœœ
 
4 
4 œœœ
œœœ 1 1œœœ
œœœ
œ 
œ œ
1

&4 & 4 œ œ œ œ œ œ œ œ œ œ œ
‹ 2 œ 2 œ3 œ 3   œ œ   
‹ mf ½CV
3œ 3 3 3 
0 0
3 2 2 2 2

œmf ½CV œ ½CIII½CIII ½CI½CI œ œ ½CII½CII

3
½CII ½CI½CI

    

½CII

   11     1œ œ1œœœ 

5 5

4 

 
œ 


œœœ 1 1œœœ


œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ 4œœœ 4œœœœœœ œœœ
4

& &             œ 3œ  
œ 3 œ  œ œ 2 2  œ œ
œ 3 œ mf3 œmf3 œ 3 œ
‹
œ œ œ œ
‹ œ œ
2 œ2
3

1 œ 1
œ œ œ    
f 3
f

4œœœ 4œœœ œœœ4 elements

4œœœ œœœ œœœ œœœ œœœœœœ œœœœœœ
œœœ œœœœœœœœœ œœœœœœ œœœœœœ œœœ
7
œœœ œœœ œœœ œœœ
7
3b. 3b.
Half Half
Way Way There
There — idiomatic elements (half barré)
& œ
— idiomatic (half barré)
& Flowing œ
œ = 110 œ 3 œ 3 œ
‹
‹ 1 1 p½CV mi ma œ
œ œ œ œ œœ œœ
4 4

bœ œ bœ
œ Flowing
3 q3
q = 110
œ œ
½CV
œ œ œ ½CVII 1œ1 œ œ
#œ œ#œœ 1 œ½CV
œ œœ
3 #œœ # œ œ
a 1 ½CV

3& 4 œ œ ˙ œ œ
½CVII

IV ˙IV
œ œ œ
p i

& 104 œ œ œ
molto
œ
molto
rit. rit.
œ œ œ U U
10
‹ ‹0 œœ œ0 mpœœ œl.v.œœsempre
œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ
œ œ 1œ#œœ œ1 œ œ1 œœ œ 2 œ œ2 œœ œ1 œ œ1 œœ œ2 œ œ2 œœ œ œ 1œœœ œ 2 œ œ2 œœ œ1 œ 1œœœ œ2 œ 2 œ 1 œ 1 œ
& 6&mp l.v.2sempre
‹œ œ ˙
œ 1 #œ
6‹
œ 1
œ ½CVII œ
½CVII œu
œ œ 2 œ 2 0œ 0œ œ œœ œ œ #œœ#u
œ
2 ½CV
˙ œ
½CV

& & ˙ œ œ œ ˙ œ
pp
œ
‹ œ‹ œ œ mfœ œœ
pp

œ œ œ œ‚ ‚
½CVU
U ˙˙.
mf © Copyright 2015 Trinity College
½CVLondon Press Ltd
œ
rit.
12 3b. Night#œ 0 œ ˙. ˙.
– 19 –
œ œ
œ œ
rit. I
# œ œ œ
œ 0 œ 0 œ ˙˙.. .
½CV

œ œ œœ
12

&& œ œ 3 œ 1œ
œ œœ
Vision — idiomatic
½CV elements (artificial harmonics) I
2 œœ 0
3b. Night Vision — idiomatic elements (artificial harmonics) 1
Trinity Classical Guitar Sample Booklet 2020–2023

Classical guitar resources

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– 20 –