Ek and organ syllabus 2015 - 2018

Trinity College Londonwww.trinitycollege.com

Charity number 1014792Patron HRH The Duke of Kent KG

Chief Executive Sarah Kemp

Copyright © 2014 Trinity College LondonPublished by Trinity College LondonOnline edition, 13 June 2016

Electronic Keyboard & Organ SyllabusElectronic Keyboard, Electronic Organ & Organ

2015–2018Grade exams

Important information Changes from the previous syllabus Refreshed technical work (scales & arpeggios, chord knowledge

and exercises).

New performance repertoire for electronic keyboard Initial–Grade 5.

Pieces are now in one group, which candidates are able to choose

freely from.

Electronic keyboard candidates performing an own interpretation

piece are no longer required to provide a statement for the examiner.

Electronic keyboard Grades 6–8 candidates may perform one

piece of their own choice, or an own arrangement of a piece of

their own choice.

Electronic organ candidates may perform one piece of their

own choice.

Updated repertoire lists for organ.

Please note that from 2015, candidates are required to provide the

examiner with photocopies of all pieces being performed, except

pieces taken from Trinity publications, in addition to bringing original

copies or authorised downloads into the exam.

Overlap arrangementsThis syllabus is valid from 1 January 2015. The 2013–2014 syllabus will remain valid until 31 December 2015, giving a one-year overlap. During this time, candidates may present pieces and technical work from either syllabus, but not a mixture of both.

Impression informationPlease note that this is the second impression (September 2015).

Candidates should refer to www.trinitycollege.com/music to ensure that they are using the latest impression of the syllabus.

Introduction ........................................................................................................................ 3

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

Range of qualifications .............................................................................................. 5

About the exam ...............................................................................................................6

Exam structure and mark scheme ...................................................................................6

Pieces ........................................................................................................................................ 7

Instruments ............................................................................................................................10

Electronic keyboard glossary of chords ........................................................................ 12

Own composition .................................................................................................................. 13

Mark scheme for pieces ......................................................................................................14

Technical work .......................................................................................................................15

Supporting tests: ..................................................................................................................16

Sight reading .................................................................................................................... 17

Aural ...................................................................................................................................21

Improvisation ..................................................................................................................24

Musical knowledge ........................................................................................................26

Requirements:

Electronic keyboard (subject code EK) ................................. In 1 2 3 4 5 6 7 8

Electronic organ (subject code EO) .. In 1 2 3 4 5 6 7 8

Organ (subject code OGN) ............................ 1 2 3 4 5 6 7 8

Information and regulations .................................................................................76

Music publishers .......................................................................................................... 80

Trinity publications .....................................................................................................82

Contents

3

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). Trinity’s 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, Trinity’s Grade 6–8 exams can contribute towards entry into higher education through the allocation of UCAS points. Please see our website for full details.

Introduction

I am delighted to introduce this syllabus containing details of grade exams for keyboard instruments.

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 ChristmasHead of Academic Governance – Music

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Why take a Trinity grade exam? Recognising that there is no single approach to musical assessment, Trinity’s grade exams are guided by a core philosophy of flexibility, placing the needs of individual candidates at the heart of the exam. This is done by:

offering freedom of choice within the exam to enable candidates to play to their strengths

examining real musical skills that are specific to each instrument or the voice

allowing candidates to express their own musical identities through options to improvise and present original compositions

using a diagnostic mark scheme, offering precise and specific feedback to inform continued learning

linking closely with Trinity’s other music qualifications to provide flexible progression routes

drawing on Trinity’s many relationships around the world to feature repertoire inspired by a range of musical genres, as well as exciting new works by up-and-coming composers.

As well as incorporating these innovative features, Trinity’s grade 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.

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RQF* Level

EQF** Level

Classical & Jazz

Rock & Pop

Theory & Written

Music Tracks†

Solo Certificate †

Group Certificate †

7 7 FTCL FMusTCL

6 6 LTCL LMusTCL

4 5

ATCL AMusTCL

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 Level 3

1 Initial Initial Initial Track

Entry Levels 1–2

First Access Track

* Regulated Qualifications Framework in England, Wales and Northern Ireland

** European Qualifications Framework

† Not RQF or EQF accredited

Range of qualificationsTrinity’s music qualifications offer flexible progression routes from beginner to advanced levels in a range of musical genres. All are designed to help candidates develop as musicians according to their individual needs as learners.

Grade exams assess a broad range of musicianship skills, including performance, while certificate exams focus entirely on performance, including separate marks for stagecraft. Candidates can enter any combination of grade or certificate exams, and do not need to pass any particular level in order to proceed to a higher level.

Each level features an equivalent grade theory exam, supporting candidates in developing their understanding of the technical language of music. However, no theory qualifications or other prerequisites are required to enter grade or certificate exams at any level.

After Grade 8 or the Advanced Certificate, candidates can progress to diplomas at associate (ATCL), licentiate (LTCL) and fellowship (FTCL) levels. These assess higher skills in performance, teaching, theory and composition. Adults who work as music educators may also wish to consider Trinity’s Level 4 Certificate for Music Educators (Trinity CME).

This syllabus focuses on grade exams in keyboard instruments. 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.

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About the exam Exam structure and mark scheme

Initial–Grade 5 Max. marks Grades 6–8 Max. marks

Piece 1 22 Piece 1 22



Technical work*

Either: i) scales and chord knowledge or ii) exercises

14 Technical work*

Either: i) scales and chord knowledge or ii) exercises

14

Supporting tests

Any TWO of the following:

sight reading or aural or improvisation or musical knowledge

10 10

Supporting test 1

sight reading

10

Supporting test 2

One of the following:

improvisation or aural

10

Total 100 100

* Electronic organ and organ technical work does not include exercises.

Overall mark Band

87–100 Distinction

75–86 Merit

60–74 Pass

45–59 Below pass 1

0–44 Below pass 2

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:

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About the exam

Level Exam duration (minutes)

Initial 13

Grade 1 13

Grade 2 15

Grade 3 15

Grade 4 20

Grade 5 20

Grade 6 25

Grade 7 25

Grade 8 30

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.

Exams are designed to allow sufficient time for setting up and presenting all sections.

PiecesElectronic keyboardPiece choice and programming

Candidates must perform three pieces, and are encouraged to present a balanced programme.

Candidates may choose any three pieces from those listed for the grade. Initial–Grade 5 candidates may substitute one piece for an own composition (see page 13). Grades 6–8 candidates may substitute one piece for an own composition (see page 13), or for a piece of their own choice, or for their own arrangement of a piece of their own choice (either a keyboard or a non-keyboard piece).

Own choice pieces and arrangements must be comparable in technical and musical demand to the pieces listed at the same grade. Pre-approval of own choice repertoire is not required, but marks may be deducted if the demands of the piece are not appropriate for the grade.

The lists contain pieces where there is greater opportunity for more individual interpretation and also pieces with substantial opportunities for improvisation.

Own interpretation

The aim of these pieces is to allow the candidate to create a personal arrangement with as much artistic and musical flair as possible in line with the expectations for the grade.

Voice(s) and style are chosen by the candidate and the music should be adapted by changing rhythm, register or even harmony to produce a creative response.

Auto intros/endings are not permitted, although the candidate may compose and perform their own intro/ending.

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About the exam Improvisation

The aim of the improvisation pieces is to encourage creativity and originality.

Candidates must not bring additional notation or written-out solos to the exam and the improvising must have a sense of spontaneity.

Chords

Single or fully fingered chords can be used at the candidate’s discretion, though at higher grades the chords required may not be available as single fingered chords.

Candidates are free to use their judgement in choosing spacing and arrangement of the notes according to the most convenient fingering.

Set up

Efficient setting up is a major part of the technique of the instrument and is expected to be carried out quickly and efficiently in all exams.

Marks may be deducted for unnecessary delays in setting up for any part of the exam, including protracted delays at the start or between items, or restarts due to improper set-up.

At the end of each piece the candidate should begin setting up for the next piece. ‘Please set up for the next piece’ is clearly marked in the music at the end of each piece in Trinity publications as a reminder.

Electronic organPiece choice and programming


Candidates may choose any three pieces from those listed for the grade. Candidates may substitute one piece for an own composition (see page 13), or for a piece of their own choice. Own choice pieces must be comparable in technical and musical demand to the pieces listed at the same grade. Pre-approval of own choice repertoire is not required, but marks may be deducted if the demands of the piece are not appropriate for the grade.

OrganPiece choice and programming


Pieces by at least two composers should be played.

Pieces are divided into two groups: group A and group B. Candidates must choose at least one piece from each group. The third piece may be chosen from either group, or may be the candidate’s own composition (see page 13).

All instruments Performance and interpretation

All pieces must be prepared in full unless otherwise stated.

Repeats of more than a few bars should not be played unless otherwise stated.

All da capo and dal segno instructions should be observed.

Cadenzas should be omitted unless otherwise stated.

Candidates are encouraged to use appropriate ornamentation, particularly at Grades 6–8.

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About the exam All 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.

Candidates 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

The examiner will not be able to act as a page turner. Difficult page turns may be overcome by photocopying the relevant pages.

A page turner may assist at Grades 6–8, but may only remain in the exam when required to turn pages.

Music and copies

Candidates 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.

Recommended 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.

Guidelines regarding the legitimacy of all forms of sheet music can be obtained from the UK Music Publishers Association’s Code of Fair Practice, available at www.mpaonline.org.uk . Candidates must comply with copyright and other intellectual property laws in the country where the exam is taking place.

In accordance with the Code of Fair Practice, candidates must produce original copies of all pieces to be performed at the exam, even if pieces have been memorised, handwritten or typeset. Pieces where no original copy has been provided may be awarded no marks.

Candidates must provide photocopies of all pieces, except pieces taken from Trinity publications, to be performed as a reference for the examiner. Photocopies will be retained by the examiner and destroyed after the exam.

Where music has been downloaded, candidates must bring proof of purchase or the web address where it was accessed for the examiner’s reference.

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About the exam InstrumentsElectronic keyboard

Candidates are responsible for providing their own keyboard, music stand, keyboard stand, power adaptor and seat (if required).

A mains power supply will be available at centres but candidates should check with the representative to ensure it is within easy reach of the instrument.

Candidates are responsible for the electrical safety of any equipment used in their exam.

The steward will normally be responsible for assisting with the setting up and removal of the instrument but the candidate should have a full working knowledge of the set up procedure.

It is recommended that instruments have the following specification:

– range: minimum 4 octaves (Initial–Grade 1); minimum 5 octaves (Grades 2–8)

– keyboard: full-size keys

– capability — from Grade 2: minimum 16-note polyphonic capacity; a range of individual voices and rhythm styles; dual voice/layer

— from Grade 3: registration memory; touch sensitivity option — from Grade 5: left split point — from Grade 6: a minimum of 8 registrations which can be pre-programmed

before the exam; touch sensitivity (compulsory); left voice; accompaniment split point; pedal function with different settings to include sustain, registration change, fill, rhythm start/stop; pitch bend function with moveable range; octave transpose for both right and left voices; chord settings to include fingered chords, fingered on bass and full keyboard chords.

All pieces and tests will be assessed on the musicality of the candidate’s performance and not on the capacity of the instrument itself. However, performances that fail to realise a large amount of the performance information on the printed score will not be able to attract high marks.

Candidates may therefore adapt the music, making use of the resources available. Any changes must not substantially alter the character of the pieces (eg changing Clarinet/March to Electric Guitar/Ballad).

Up to and including Grade 2, candidates using keyboards without registration memory may find it necessary to alter the voice from that stipulated in the music to facilitate quick changes; for example, by selecting voices with near or adjacent menu locations which give a noticeable voice change.

The ability to use dual voice and to program voice changes is important to build a musically interesting performance.

The use of volume control is important to add interest and shape and should follow the dynamics marked in the score. Volume may be varied manually, through foot pedals, or through a touch sensitive keyboard setting as appropriate.

The use of Accompaniment B and, optionally, Accompaniments C and D at Grades 6–8, can also add a feeling of climax and direction.

Left and Accompaniment Split Point functions are required at Grades 6–8. Pieces which require these functions have split points suggested for 5 octave keyboards where middle C is C3.

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About the exam Guides for use of Octave Transpose on 5 octave keyboards are printed on Grades 6–8 pieces

which require this function.

Further guidance on keyboard functions and a glossary of terms for Initial–Grade 8 are provided on our website.

Candidates may introduce further changes according to the capabilities of their instrument, as long as they are musically appropriate.

Auto intros/endings may only be used where indicated and must be integrated within the style and instrumentation of the piece. They should not exceed four bars in length.

Pre-recorded material is not permitted in electronic keyboard exams, but registration memory facilities may be used.

Electronic organ

Arrangements over instruments must be discussed and agreed with the representative well in advance of the exam date.

Instruments must be installed before the start of the exam day and not removed until the end.

Instruments must have a pedal board with a compass of at least one octave.

Candidates have freedom of registration as appropriate to the music played.

Style should be used at all levels where this enhances the performance.

Electronic organs may be pre-programmed with the following only (the use of disks to facilitate this is acceptable):

– control data

– registration changes

– pedal functions

– footswitches

– knee lever.

The repertoire for electronic organ and organ is not interchangeable.

Organ

Arrangements over instruments, venue and location must be discussed and agreed with the representative well in advance of the exam date.

Instruments must be installed before the start of the exam day and not removed until the end.

If the exam is held in a public building, arrangements must be made to ensure there is no audience present.

Candidates may play a conventional pipe organ, a pipeless analogue electronic organ, or a computer organ.

Candidates should always check that the instrument they are using is adequate for the requirements of the pieces they are performing in the exam.

Candidates have freedom of registration as appropriate to the music played.

Memory features other than adjustable pistons and the use of sequencers are not permitted.

The repertoire for organ and electronic organ is not interchangeable.

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About the exam Electronic keyboard glossary of chordsThe glossary of chords below indicates the meanings of the chord symbols used in pieces published by Trinity. It is not intended that these examples represent the way each chord must be arranged within the pieces; candidates should use their judgement to choose spacing and arrangement of the notes according to the most convenient fingering. Single fingered or fully fingered chords can be used at the candidate’s discretion, though in the higher grades the chords required may not be available as single fingered chords.

The following examples indicate the meaning of the chord requirements across Initial–Grade 8.

C C‹ C6 C‹6 C7 CŒ„Š7 C‹7

C‹7(b5) Cº Cº7 C& C9 C„ˆˆ9 C‹9

C7(#5) C7(b9) C“4 C“2 C7(b5) C/G

This glossary of chords is also provided on our website.

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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.

Candidates should note that:

the technical and musical demands of the own composition must be comparable to the pieces listed at the same grade

own compositions should largely be candidates’ unaided work, although teachers may offer guidance as necessary

own compositions at Initial–Grade 5 may be notated in any coherent form, including graphic score or lead sheet. Own compositions at Grades 6–8 must be notated on a stave. Marks will be deducted if notation is incomplete or inaccurate, or if the performance varies significantly from the notation

notation may be handwritten, typeset or produced electronically

a copy of the own composition must be given to the examiner at the start of the exam.

Durations and compositional brief for own composition

Grade Duration (minutes)

Requirements

Initial 1–2 A piece containing sudden changes

Grade 1 1.5–2.5 A piece containing sudden dynamic contrast

Grade 2 1.5–2.5 A piece contrasting legato and staccato passages

Grade 3 1.5–2.5A piece which starts quietly and simply, and builds to a loud, grand climax

Grade 4 2.5–3.5 A piece with long melodic phrases

Grade 5 2.5–3.5 A piece containing many wide leaps

Grade 6 3.5–4.5 A piece containing use of the pitch bend function

Grade 7 3.5–4.5 A piece featuring legato 3rds in the right hand

Grade 8 4.5–5.5A piece incorporating fingered on bass chords (chords sounding in inversions)

Durations and compositional brief for own composition — Grade 6–8 organ

Grade Duration (minutes)

Requirements

Grade 6 3.5–4.5 A piece featuring the pedals

Grade 7 3.5–4.5 A piece featuring octaves in both hands

Grade 8 4.5–5.5 A piece featuring at least two contrapuntal voices

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14

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:

fluency and accuracy: the ability to perform fluently, with a stable pulse and with an accurate realisation of the notation

technical facility: the ability to control the instrument effectively, encompassing the various technical demands of the music

communication and interpretation: the interpretation of the music and the way the performance conveys a sense of sylistic understanding and audience engagement.

Marks are awarded for these to form a maximum total mark for each piece as follows:

Maximum mark

Fluency and accuracy 7

Technical facility 7

Communication and interpretation 8

Total mark for each piece 22

Total marks awarded for pieces correspond to the pass/below pass bands as follows:

Total mark for each piece Band

19–22 Distinction

16–18 Merit

13–15 Pass

10–12 Below pass 1

3–9 Below pass 2

Further information about this mark scheme and the assessment criteria that support it is available on our website.

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15

About the exam

Technical workThis section of the exam supports the development of technical skills by assessing candidates’ performance in a range of technical work options.

Electronic keyboard

Candidates choose one of the following options:

scales and chord knowledge

exercises

Scales and chord knowledge should be performed:

on a piano voice

from memory

with no additional voice, accompaniment, rhythm or metronome click

with the master volume set to 50–75% of maximum resulting in a mf to f dynamic level

in similar motion, except where stated [scales]

ascending and descending, with the right hand one octave higher than the left hand unless otherwise stated [scales]

an octave higher or lower if necessary to accommodate the range of the instrument

at the required tempo — see the tempi listed at each grade and in the relevant Trinity book [scales].

Electronic organ and organ

Scales and arpeggios are to be performed from memory.

In the organ syllabus, music may be used for the pedal study at Grades 6–8.

In the electronic organ syllabus, pedal sustain, if present, should be switched on for scales and arpeggios.

Further information about specific technical work 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

13–14 Distinction

11–12 Merit

9–10 Pass

7–8 Below pass 1

1–6 Below pass 2

Information about the assessment criteria that support this mark scheme is available on our website.

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About the exam Supporting testsThis section of the exam supports the development of broader musical skills by assessing candidates in two different supporting tests. At Initial–Grade 5, candidates must choose two supporting tests from the following options:

sight reading

aural

improvisation

musical knowledge

At Grades 6–8, all candidates are assessed in sight reading, and must choose between aural and improvisation for their second supporting test.

Mark scheme

Each supporting test is awarded a single mark that corresponds to the pass/below pass bands as follows:

Mark Band

9–10 Distinction

8 Merit

6–7 Pass

4–5 Below pass 1

1–3 Below pass 2

Information about the assessment criteria that support this mark scheme is available on our website.

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About the exam

Sight readingThis test assesses candidates’ ability to perform an unseen musical extract, at a level approximately two grades lower than the exam being taken.

After setting up their instrument, candidates are given 30 seconds to study the test before performing it, during which time they may practise any or all of it aloud. The examiner does not mark this preparation period.

Examples of sight reading tests for Initial–Grade 5 can be found in Trinity’s Sound at Sight series, available from www.trinitycollege.com/shop or your local music retailer.

Candidates for electronic keyboard Initial–Grade 5 exams may choose between two different ways of performing the sight reading test; either with single-fingered chords with rhythm and accompaniment, or with fully-fingered chords without rhythm. Candidates for Grade 6–8 exams must perform the sight reading test using fully-fingered chords with rhythm and accompaniment. Specimen sight reading tests for Grades 6–8 are available to download from our website.

Tests comply with the musical parameters listed in the table overleaf. Lists are cumulative, meaning that tests may also include requirements from preceding grades.

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About the exam Sight reading parameters for electronic keyboard

Grade

Keys (cumulative*)

Time signatures (cumulative*)

Chords (cumulative*)

Note values (cumulative*)

Dynamics (cumulative*)

Other (cumulative*)

Initial C major 2 and mf

five-finger hand position only

Grade 1 4 I,V _and _ f

five-finger hand position (RH not tonic)

Grade 2 A minor 3 IV and Œ p

change of hand position within octave

Grade 3

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

VI ,and

Grade 4 D major; B and E minor

V7 two-part

right hand

Grade 5 A and Bb major; C minor

6 and three-part right hand

Grade 6Eb major; F# and G minor

8

all common chords and dominant 7th chords, minor 7th chords on white root notes only

grace notesmp , cresc.,

dim.

right-hand chords of three notes or more, spread chords

Grade 7E and Ab major; F minor

1 and "minor 7th chords on black notes, major 7th chords on white notes

dotted semibreves

Grade 8B and Db major

major 7th chords on black notes, diminished chords

duplets, triplets

* Tests may also include requirements from preceding grades.

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19

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20

About the exam S

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Back to contents

21

About the exam AuralThis test supports the development of candidates’ abilities in the field of musical perception by assessing their responses to carefully graded questions. Questions are detailed in the table below and based on a single musical example, performed at the piano by the examiner. Practice tests can be found in Trinity’s Aural Tests from 2007 books, available from our online shop or your local music retailer.

Please note that aural specifications apply for 2015–2016 only and that revised specifications will apply for 2017–2018. More information on this will be available on our website in 2016.

Grade Parameters Task Response

Initial

major key

4 bars

2

◗ Listen to the melody with a missing final note

Sing, hum or whistle the final tonic note

◗ Listen to the melody twice Clap the rhythm

◗ Listen to the melody onceIdentify the melody as mainly legato or staccato

◗ Listen to three notes from the melody

Identify the highest or lowest note

Grade 1

major key

4 bars

2 or 3

◗ Listen to the melody twicei) Clap back the rhythm

ii) Identify the melody as in 2 or 3 time

◗ Listen to the melody onceIdentify the last note as higher, lower or the same as the first note

◗ Listen to the melody onceIdentify the melody as mainly legato or staccato

◗ Listen to the melody twice with a change of pitch in the second playing

Identify where the change occurs

Grade 2

major or minor key

2 or 3

◗ Listen to the melody twice Indicate a sense of the pulse and time signature during the second playing

◗ Listen to the melody onceIdentify the last note as higher, lower or the same as the first note

◗ Listen to the melody once

i) Identify the melody as major or minorii) Explain the dynamics during the

piece, which may also include crescendo and diminuendo

◗ Listen to the melody twice with a change of rhythm or pitch in the second playing

Identify the change as rhythm or pitch

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22

About the exam Grade Parameters Task Response

Grade 3

major or minor key

3 or 4

◗ Listen to the melody twiceIndicate a sense of the pulse and time signature during the second playing

◗ Listen to the first two notes played from low to high

Identify the interval formed as a major second, minor third, major third, perfect fourth or perfect fifth

◗ Listen to a triad played with three notes sounding together

Identify the triad as major or minor

◗ Study a copy of the melody, provided in treble and bass clef as appropriate, and listen to it three times with a change of rhythm and pitch in the second and third playing

Identify in which bar the change occurred

Grade 4

major or minor key

4 or 6

◗ Listen to the accompanied melody twice

Indicate a sense of the pulse and time signature during the second playing

◗ Listen to the first two notes played consecutively

Identify the interval as a unison, minor or major second, minor or major third, perfect fourth or fifth, minor or major sixth

◗ Listen to the melody onceIdentify the cadence as perfect or imperfect

◗ Study a copy of the melody, provided in treble and bass clef as appropriate, and listen to it three times with a change of rhythm and pitch in the second and third playing

Identify in which bars the changes to rhythm and pitch occurred

Grade 5

major or minor key

2, 3 or 6

◗ Listen to the piece twice

i) Identify the time signatureii) Identify the opening as major

or minoriii) Identify any changes in tonality

◗ Listen to the final part of the pieceIdentify the cadence as perfect, imperfect or interrupted

◗ Listen to two notes from the melody line played consecutively

Identify the interval as a unison, minor or major second, minor or major third, perfect fourth or fifth, minor or major sixth, minor or major seventh or an octave

◗ Listen to the piece onceExplain the articulation and the dynamics

◗ Study a copy of the piece and listen to it three times with a change of rhythm and of pitch in the melody line in the second and third playing

Locate and describe the changes of rhythm and of pitch

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23

About the exam Grade Parameters Task Response

Grade 6major key

2, 3, 4 or 6

◗ Listen to a piece twiceState the time signature and comment after either or both playings on the main features of the piece, eg phrasing, style and dynamics

◗ Listen to the final part of the piece

Identify the cadence as perfect, imperfect, plagal or interrupted

◗ Listen to part of the piece which modulates. The opening key will first be stated and the tonic chord played

Identify the key to which the music modulates as dominant, subdominant or relative minor. Answers may alternatively be given as key names

◗ Study a copy of the piece and listen to it twice with two changes to the melody line

Locate and describe changes as rhythm, pitch or articulation

Grade 7minor key, any time signature

◗ Listen to a piece twiceComment, after either or both playings, on the main features of the piece, eg style, phrasing, articulation and dynamics

◗ Listen to a passage from the piece once

Identify the cadence as perfect, imperfect, plagal or interrupted

◗ Study a copy of the first section of the piece and listen to it twice with three changes

Locate and describe three changes of pitch (of the melody line) or rhythm

◗ Listen to part of the piece once with a modified ending. The opening key will first be stated and the tonic chord played

Identify the key to which the music has modulated as sub-dominant minor, relative major or dominant of the relative major. Answers may alternatively be given as key names

Grade 8

major or minor key, any time signature

◗ Listen to a piece twiceComment on the significant features of the piece, eg style, rhythm, texture, dynamics, phrasing and articulation

◗ Study a copy of the music and listen to it three times with three areas of changes in the second and third playing

Locate and describe, after either the second and/or the third playing, the three changes as rhythm, melody, harmony, articulation, dynamics or tempo

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24

About the exam

ImprovisationThis test assesses candidates’ ability to improvise fluently, coherently and creatively in response to a musical stimulus. Candidates must choose a stimulus from the following options, indicating their choice of stimulus on the appointment form:

melodic: based on a series of pitches

rhythmic: based on a rhythmic idea

chordal: based on a set of chord symbols

In the exam, candidates are presented with a notated stimulus, which the examiner then plays twice on the piano. Where a melodic or rhythmic stimulus is chosen, the examiner asks candidates to play or tap it back to ensure that they have understood it. Candidates are then given time to study the test before they perform it, during which time they may prepare their response aloud. At Initial–Grade 5, 30 seconds’ preparation time is given. At Grades 6–8, 60 seconds are given.

Where a chordal stimulus is chosen, the examiner will give the candidate a copy of a two–stave piano score containing notated chords with chord symbols printed above. The examiner will play this through twice at a steady tempo. The candidate should then prepare and perform a short improvisation based on the given chords. Candidates can choose to perform the improvisation as a solo incorporating the chord pattern, or they may request that the examiner play the chords while they improvise above them. The phrase may be repeated several times, depending on length and speed, until the improvisation reaches a natural conclusion.

Stimuli comply with the musical parameters listed in the table below and opposite. 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 2015–2016 only and that revised specifications will apply for 2017–2018. More information on this will be available on our website in 2016.

Written keys for chordal stimulus

Initial, Grades 1, 2 & 3 Grades 4 & 5 (cumulative*)

Grades 6, 7 & 8 (cumulative*)

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


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25

About the exam Parameters for improvisation tests

Grade Melodic stimulus: max. range of given motif

Rhythmic stimulus (cumulative*)

Melodic & rhythmic stimulus: suggested length of response

Chordal stimulus (cumulative*)

Initial 3 stepwise notes

4

2 bars crotchets minims 1 phrase

4-bar phrase major key I/V 2 bars per chord

Grade 13 notes — one step one leap — up to a 4th

quavers

4–bar phrase major key I/V 1 chord per bar

Grade 24 notes — range up to a 5th

with dots

1–2 phrases

4–bar phrase major key I/IV/V 1 chord per bar

Grade 35 notes — range up to a 6th

with ties

4–bar phrase major key I/ii/IV/V 1 chord per bar

Grade 4 octave (diatonic)

2, 3 4 bars semiquavers

2–3 phrases

4–bar phrase minor key i/iv/V 1 chord per bar

Grade 5octave (simple chromaticism)

4–bar phrase minor key i/iv/V/VI 1 chord per bar

Grade 6

twelfth (chromatic)

6

3–4 phrases

4–bar phrase major key I/ii/IV/V & 7ths 1 chord per bar

Grade 7 triplets

4–bar phrase major or minor key I/ii/iii/IV/V/vi i/ii/III/iv/V/VI & 6ths/7ths 1 or 2 chords per bar

Grade 8 7 4–6 phrases

4–bar phrase major or minor key all chords 6ths/7ths/9ths & dim/augsimple suspensions 1 or 2 chords per bar


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26

About the exam

Musical knowledge (Initial–Grade 5 only)This test assesses candidates’ understanding of the pieces being performed, as well as their knowledge of notation and their instrument. It does this by assessing their responses to carefully graded questions based on candidates’ three chosen pieces.

In the exam, candidates are invited to choose which piece they would like to be asked about first. The examiner then chooses a second piece for the remaining questions. Candidates’ scores should be free of annotations which might aid their responses. The examiner usually points to the relevant part of the score when asking questions. American terms (eighth note, half note, etc) may be used as an alternative to English terms (quaver, minim, etc).

Example questions and responses are given in the table below. Further guidance is available on our website.

Grade Parameters

(cumulative*)

Sample question Sample answer

InitialPitch names

What is the pitch name of this note?

G

Note durationsHow many beats are there for this note?

Two

Clefs, stave, barlines What is this sign? Treble clef

Identify key/time signatures

What is this called? Time signature

Musical terms and signs (simple)

What is this called? A pause mark

Grade 1 Note values What is this note value? Quaver

Explain key/time signatures What does 4 mean?

Four crotchet beats in a bar

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

Musical terms and signs (more comprehensive)

What is the meaning of da capo? Go back to the start

Parts of the instrument What are these called? Keys

Grade 2 Metronome marks, grace notes and ornaments

Explain the sign d = 7272 crotchet beats per minute

Intervals (numerical only)

What is the interval between these notes?

3rd

Basic posture Show me a good hand positionCandidate demonstrates

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27

About the exam

Grade Parameters

(cumulative*)

Sample question Sample answer

Grade 3Relative major/minor

What is the relative major/minor of this piece?

D minor

Scale/arpeggio patternWhat pattern of notes do you see here?

Scale

Warm upHow might you warm up in preparation for playing this piece?

Playing a selection of scales and arpeggios in related keys

Grade 4 Modulation to closely related keys

What key does this music change to?

A minor

Tonic/dominant triadsName the notes of the tonic triad

C, E, G

Intervals (full names)What is the interval between these notes?

Perfect 5th

Technical challengesShow me the most challenging part of this piece and tell me why

Here [candidate indicates], because of the awkward leaps

Grade 5Musical style

Comment on the style of this piece

Candidate identifies style of piece and gives examples of stylistic features

Musical periodHow does this piece reflect the period in which it was written?

Candidate suggests a musical period and gives examples of how the music reflects this

Musical structuresDescribe the form of this piece

Candidate describes form of piece and identifies relevant sections

Subdominant triadsName the notes of the subdominant triad

F, A, C


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28

Electronic Keyboard — Initial Subject code: EK

Pieces (3 x 22 marks)

Three pieces are to be played, freely chosen from the list below, to form a balanced programme. Instead of one piece, candidates may offer an own composition (see page 13).

The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work 2015–2018 Initial published by Trinity:

Beethoven arr. Proudler Ode to Joy* di Capua arr. Clarke O Sole Mio Clarke Rock to the Roll** Foster arr. Smith Camptown Races Franck arr. Litten Panis Angelicus Litten Flea Hop Smith Country Capers Trad. arr. Ward The Keel Row Trad. arr. Proudler What Shall We Do with the Drunken Sailor? Winner arr. Marsden My Little Dog

* own interpretation ** improvisation

The following alternative pieces are also available:

Composer Piece Book Publisher

Jennings & Homer Titanic Theme Keyed Up, Initial AlfredMercury arr. Litten Bohemian Rhapsody Keyed Up, Initial AlfredMozart Don Giovanni The Electronic Keyboard Collection book 1 Trinity FaberParton arr. Litten Jolene Keyed Up, Initial AlfredTrad. Home on the Range no. 34 (basic version) 34 Well-known Folk Songs Schott ED 12663Trad. Over the Sea to Skye Keyed Up, Initial AlfredTrad. arr. Frith Lavender Blue More Making the Grade, Preparatory Grade ChesterTrad. arr. Frith Ye Banks and Braes More Making the Grade, Preparatory Grade ChesterVance & Pockriss Catch a Falling Star The Complete Keyboard Player book 6 Music Sales AM69998

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29

Technical work (14 marks) (see page 15)

Candidates to prepare in full either section i) or section ii)

either i) Scales & chord knowledge (from memory) — the examiner will select from the following:

C majorA minor (candidate’s choice of either harmonic ormelodic or natural minor)Pentatonic scale starting on C (5 notes)

min. = 60

one octave legato

and mf

hands separately

piano voice with auto-

accompaniment off

C major contrary motion scalehands

together

Chromatic scale starting on D R.H. only

Triad of C major and A minor (root position)

L.H. only

or ii) Exercises (music may be used):

Candidates to prepare all three exercises.

The candidate will choose one exercise to play first; the examiner will then select one of the remaining two exercises to be performed.

Dreaming keyboard functions exercise

Stepping Out scalic exercise

Clouds pianistic exercise

Both sections are contained in the book Electronic Keyboard Pieces & Technical Work 2015–2018 Initial published by Trinity.

Supporting tests (2 x 10 marks)

Candidates to prepare two from:

sight reading (see page 17)

aural (see page 21)

improvisation (see page 24)

musical knowledge (see page 26)

Electronic Keyboard — Initial

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30

Electronic Keyboard — Grade 1 Subject code: EK



The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work 2015–2018 Grade 1 published by Trinity:

Bernstein arr. Clarke Theme from The Great Escape Kelley arr. Marsden Home on the Range Litten It’s Gonna be Good Smith Whirling Dervishes** Trad. arr. Clarke Swing Low, Sweet Chariot* Trad. arr. Litten The Ash Grove Trad. arr. Smith Romance de Amor Trad. arr. Smith Scarborough Fair Trad. arr. Ward La Cucaracha Verdi arr. Proudler La Donna e Mobile




Bullard Feeling Fine Piano Time Pieces book 2 OUPFreedman arr. Fletcher Rock Around the Clock Making the Grade Keyboard, Grade 1 ChesterHook Gavotte Piano Time Pieces book 2 OUPHoward arr. Baker Fly Me to the Moon The Complete Keyboard Player book 6 Music Sales AM69998Jacobs & Casey Summer Nights Keyed Up, Grade 1 AlfredLeiber & Stoller I Want to be Free Keyed Up, Grade 1 AlfredMavers There She Goes The Complete Keyboard Player book 2 (new revised edition) WiseSting Fields of Gold The Complete Keyboard Player book 2 (new revised edition) WiseTrad. arr. Litten Mango Walk Keyed Up, Grade 1 Alfred

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31

Electronic Keyboard — Grade 1




F and G major

D and E minor (candidate’s choice of either harmonic or melodic or natural minor)

Pentatonic scales starting on G and F (5 notes)

min. = 70

one octave

legato and mf

hands separately


accompaniment off

Chromatic scale in contrary motion starting on D hands

togetherC major contrary motion scale

two octaves

Triad of F and G major, D and E minor (root position and first inversion)

Chord of F7 and G7 (root position and first inversion)

L.H. only




Swaying keyboard functions exercise

Spinning Wheel scalic exercise

Parade pianistic exercise

Both sections are contained in the book Electronic Keyboard Pieces & Technical Work 2015–2018 Grade 1 published by Trinity.




aural (see page 21)



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32





Alomía Robles arr. Smith El Cóndor Pasa* Immel arr. Clarke Theme from Dallas Litten The Homeward Path**Petzold attrib. J S Bach arr. Marsden Minuet in GReed arr. Proudler Perfect Day Saint-Saëns arr. Litten The Elephant from The Carnival of the Animals Sanders arr. Smith Adiós Muchachos Strauss II arr. Ward Tritsch-Tratsch Polka Trad. arr. Proudler Skye Boat Song Trad. arr. Ward Yellow Bird




Andersson & Ulvaeus The Winner Takes it All The Complete Keyboard Player book 3 (new revised edition) WiseBlake Walking in the Air The Electronic Keyboard Collection book 2 Trinity FaberLloyd Webber Memory The Electronic Keyboard Collection book 2 Trinity FaberNorton Get in Step The Microjazz Collection 2, level 4 Boosey M060106477Rodgers arr. Williamson Do–Re–Mi What Else Can I Play? Piano Grade 2 IMPSherman & Sherman Chim Chim Cher-ee from Mary Poppins The Complete Keyboard Player, Film & TV Themes Music Sales AM65962Strauss II You and You The Electronic Keyboard Collection book 2 Trinity FaberVelaquez Besame Mucho Keyboard Klangwelt: Latin–Festival Schott ED 9909

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33





Bb and D major

G and B minor (candidate’s choice of either harmonic or melodic or natural minor)

min. = 80

two octaves

legato and mf

hands together,

unless otherwise

statedpiano voice with auto-

accompaniment off

Chromatic scale in similar motion starting on BbPentatonic scale starting on Bb and D (hands separately)

A harmonic minor contrary motion scale

one octave

Triad of Bb and D major, G and B minor (root position, first and second inversions)

Chord of Bb7 and D7 (root position, first and second inversions)

L.H. only




Groovy Moves keyboard functions exercise

Something Unexpected scalic exercise

Strolling pianistic exercise





aural (see page 21)



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34





Bizet arr. Clarke Habanera from Carmen Clarke Mediterranean Breeze Litten Tomato Splat** Mancini arr. Ward Pink Panther Offenbach arr. Litten Can-Can from Orpheus in the Underworld Smith Karukera* Tchaikovsky arr. Proudler Waltz from Swan Lake Trad. arr. Proudler Saints Go Swingin’ In Trad. arr. Smith Waltzing Matilda Waldteufel arr. Clarke Skater’s Waltz




Afansieff & Carey Hero The Complete Keyboard Player, Greatest Hits Music Sales AM 952677Lennon & McCartney Lady Madonna The Complete Keyboard Player, Greatest Hits Music Sales AM 952677Lennon & McCartney When I’m Sixty-Four The Complete Keyboard Player book 3 Music Sales AM91385Menken arr. Baker A Whole New World The Complete Keyboard Player, Greatest Hits Music Sales AM 952677Norton Fifth Dimension The Microjazz Collection 2, level 4 Boosey M060106477Reid & Brooker arr. Baker A Whiter Shade of Pale The Complete Keyboard Player, Greatest Hits Music Sales AM 952677Rodgers arr. Williamson Getting to Know You What Else Can I Play? Piano Grade 2 IMPWashington & Harline When You Wish Upon a Star The Complete Keyboard Player book 4 Music Sales AM68552

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35





Eb and A major

C and F# minor (candidate’s choice of either harmonic or melodic or natural minor)

Chromatic scale in similar motion starting on EbEb major contrary motion scale min.

= 90

two octaves

legato and mf

hands together,

unless otherwise

stated piano voice with auto-

accompaniment off

Minor pentatonic scale starting on C and G

one octave

R.H. only

Triad of Eb and A major, C and F# minor (root position, first and second inversions)

Chord of Eb7 and A7 (root position, first, second and third inversions)

L.H. only




In a Trance keyboard functions exercise

Trickling Triplets scalic exercise

Lop-sided pianistic exercise





aural (see page 21)



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36





Chopin arr. Proudler Dance Prelude (based on Prelude in C minor, op. 28 no. 20) Delibes arr. Clarke Pizzicato from Sylvia Glover-Kind arr. Litten I Do Like to be Beside the Seaside Joplin arr. Proudler The Entertainer Litten Separation** Perry arr. Proudler Beautiful Schubert arr. Smith Marche Militaire, D. 733 no. 1 Smith High Wire Trad. arr. Marsden Santa Lucia Trad. arr. Ward Folk Song*




Andersson I Know Him so Well The Complete Keyboard Player, Greatest Hits Wise AM952677Hawkins, Johnson, Dash & Feyne Tuxedo Junction The Complete Keyboard Player, Jazz & Blues Music Sales AM65970 Jobim & Mendoca Desafinado Keyboard Klangwelt: Latin–Festival Schott ED 9909Mier Fickle Fourths Jazz, Rags and Blues book 3 AlfredMier What a Glorious Day! Jazz, Rags and Blues book 3 AlfredStanley arr. Baker The Bluebell Polka The Complete Keyboard Player, Favourite Songs of Scotland Music Sales AM965701

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37





Ab and E major

F and C# minor (candidate’s choice of either harmonic or melodic or natural minor)

Chromatic scales in similar motion starting on Ab and E

Ab major contrary motion scale

min. = 100

two octaves

legato and

hands together,

unless otherwise

stated


accompaniment off

Blues scale starting on C and G (straight and swung rhythm)

R.H. only

Triad of Ab and E major, F and C# minor (root position, first and second inversions)

Chord of Ab7, E7, Fm7 and C#m7 (root position, first, second and third inversions)

Chord of Ab+, E+, F°, C#°, F#°7, C#°7 (root position)

L.H. only




Deadly Nightshade keyboard functions exercise

Hoedown scalic exercise

Old Times pianistic exercise





aural (see page 21)



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38





Berlin arr. Ward Puttin’ on the Ritz* Carmichael/Gorrell arr. Smith Georgia on my Mind**Fucík arr. Marsden Entry of the GladiatorsJoplin arr. Litten Paragon Rag Khachaturian arr. Clarke Waltz from Masquerade Litten Water Pistols at Dawn Proudler Twilight Tango Schubert arr. Smith Impromptu in Ab, D. 935 no. 2 Strauss Snr arr. Proudler Radetzky March Zawinul arr. Clarke Birdland




Albert & Gaste Feelings The Complete Keyboard Player, Greatest Hits Wise AM952677Kern arr. Baker Smoke Gets In Your Eyes The Complete Keyboard Player book 8 Wise AM7898Mier Pine Cone Rag Jazz, Rags and Blues book 3 AlfredNorton Mechanics Rag The Microjazz Collection 3, level 5 Boosey M060106484Tchaikovsky arr. Bolton Waltz from Serenade for Strings Electronic Keyboard Cocktails — Classics Cramer 90550Trad. Scottish Jig Medley* The Complete Keyboard Player, Favourite Songs of Scotland Wise AM965701Waller Ain’t Misbehavin’ The Complete Keyboard Player book 4 Wise AM68552

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39





Db and B major

Bb and G# minor (candidate’s choice of either harmonic or melodic or natural minor)

Chromatic scales in similar motion starting on Db and B

G harmonic minor contrary motion scale

min. = 110

two octaves

legato and mf

hands together,

unless otherwise

stated


accompaniment off

Blues scale starting on F and A (straight and swung rhythm)

R.H. only

Chords of Dbmaj7, Bmaj7, Bbm7, G#m7, Bbmmaj7, G#mmaj7, Db6, B6, Bbm6, G#m6

Perfect cadence in C, G and F major

bass note in the left hand

and three notes of the chord in the right hand




Cool Beans keyboard functions exercise

Rock Amok scalic exercise

Balancing Act pianistic exercise





aural (see page 21)



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40



Three pieces are to be played, freely chosen from the list below, to form a balanced programme. Instead of one piece, candidates may offer an own choice piece or own arrangement (see page 7) or an own composition (see page 13).

The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work from 2013 Grade 6 published by Trinity:

Pachelbel arr. Proudler Pachelbel’s Canon Mozart arr. Smith 1st movement from Symphony no. 40 in G minor, K. 550* Fauré arr. Clarke Pavane Trad. arr. Smith Korobeiniki (The Pedlars) Proudler Samba Nights Wonder arr. Clarke Sir Duke**


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41





D, F, Ab and B major

D, F, G# and B harmonic and melodic minor

Chromatic scales in similar motion starting on any black note

min. = 120

two octaves

legato and mf

hands together


accompaniment off

Major pentatonic scale starting on D and Ab (straight and swung rhythm)

hands separately

Blues scale starting on D and E (straight and swung rhythm)

R.H. only

Triads of D, F, Ab and B major, D, F, G# and B minor in all inversions

L.H. only

Chords of D°, F°, G#°, B°, Dm7, Fm7, G#m7, Bm7, Dmaj7, Fmaj7, Abmaj7, Bmaj7 in root position only

bass note in the left hand and

the chord in the right hand

Plagal cadence in D and F major hands together




Going Round in Circles for fingered on bass chords and maintaining a relaxed right hand

Move It! for left hand dexterity between chords and melody line

Rattletrap for use of pitch bend

Both sections are contained in the book Electronic Keyboard Pieces & Technical Work from 2013 Grade 6 published by Trinity.


Candidates to prepare i) and ii)

i) sight reading (see page 17)

ii) aural (see page 21) or improvisation (see page 24)

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42





J S Bach arr. Proudler Prelude in C minor BWV 847 Nazareth arr. Jolliffe Cavaquinho Tchaikovsky arr. Clarke Nutcracker Mash Van Heusen/Cahn arr. Proudler Come Fly With Me* Litten Enchantment Hamilton arr. Clarke Cry Me A River**


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43





C, Eb, F# and A major

C, Eb, F# and A harmonic and melodic minor

Chromatic scales in similar motion starting on any white note

min. = 130

two octaves

legato and mf

hands together


accompaniment off

C major scale in legato thirds R.H. only

Major pentatonic scale starting on Eb and A (straight and swung rhythm)

hands separately

Blues scale starting on B and Bb (straight and swung rhythm)

R.H. only

Triad of C, Eb, F# and A major, C, Eb, F# and A minor in all inversions

L.H. only

Chords of C°7, Eb°7, F#°7, A°7, C+, Eb+, F#+, A+, C9, Eb9, F#9, A9 in root position only

bass note in the left hand and the chord

in the right hand

Perfect and plagal cadence in A major and C minor

hands together




Dance Sequence for right hand legato thirds

Reflections for sustain pedalling and cantabile playing

Keyboard Percussion for maintaining a steady pulse with even attack

Both sections are contained in the book Electronic Keyboard Pieces & Technical Work from 2013 Grade 7 published by Trinity.


Candidates to prepare i) and ii)

i) sight reading (see page 17)

ii) aural (see page 21) or improvisation (see page 24)

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44





Monti arr. Proudler Czardas Rimsky-Korsakov arr. Clarke Flight of the Bumblebee Bricusse/Newley arr. Proudler Feeling Good* Jenkins arr. Clarke Palladio MIchael arr. Litten Kissing A Fool** Thiselton Spring Dance


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Education

Ek and organ syllabus 2015 - 2018