Minimum 4 octaves (Initial Grade 1); 5 octaves (Grades 2 First Concert Certificate)

Transcription

1 Electronic Keyoard The aim of this new syllaus is to develop the candidate's use of the modern keyoard in a graded manner. To this end the choice of repertoire has een sustantially increased to cover all styles and techniques, and supporting tests have een revised. Instruments must have at least the following specification: Range Minimum 4 octaves (Initial Grade 1); 5 octaves (Grades 2 First Concert Certificate) Keyoard Full-size keys or mini-size keys (Initial Grade 1); full-size keys (Grades 2 First Concert Certificate) Capaility 8-note polyphonic capacity 1 Voices Accompaniment A range of individual voices. Dual voice capaility is required from Grade 2. Voice change memory is required from Grade 3. Auto-accompaniment features with a range of styles. For First Concert Certificate, the facility to hold the candidate's registrations and settings in memory (using a floppy disk drive or internal memory) when the instrument is unplugged, so that they can e retrieved in the examination, is required. Instruments with facilities exceeding these asic requirements, including those with MIDI capaility, are permitted. It must e stressed however that all pieces and tests will e assessed on the musicality of the candidate's performance and not on the capacity of the instrument itself. Candidates must provide their own instrument and stand. Many of the pieces are written to incorporate the use of single-fingered or fully-fingered chords. Whilst every care has een taken to ensure that the pieces and tests are suitale for the widest range of instruments, it is recognised that there will e occasions when performance as notated will not e possile on every instrument. In such cases, candidates should adapt the material, retaining the musical sustance, to what is possile on the instrument they have. Pieces Group A Group A works are popular classical arrangements or works that employ classical techniques. The candidate should adhere to the written score with regard to articulation, dynamics, rhythm and instrument set-up (see also Voice and Style, elow). As an alternative, candidates may play a piece from Group A of the corresponding grade in the Piano Syllaus , using Piano voice without Style, providing that the range of the piece is suitale for the range of the keyoard eing used. works incorporate modern styles such as Latin Dance, Pop, Jazz and Film Music. The aim of this group is to develop the candidate's rhythmic aility and their use of the keyoard facilities. The candidate may, if they so wish, change the voice or style as long as the result is musically acceptale. Marks will e deducted for inappropriate choice of rhythm, style or tempo. Own interpretation The aim of this section is to create a personal arrangement with as much artistic and musical flair as possile. Voice and Style are left to the candidate's discretion and the work must e adapted in some way, such as y changing rhythm, register or even harmony, so long as the result is a well-shaped and musical account. Auto intro and ending are not to e used in this group, although the candidate's own manual intro/ending may e used. Marks will e deducted for use of auto intro/ending. If the candidate chooses a piece from the list which is not pulished y Trinity, the suggested Voice and Style are to e ignored and the piece varied accordingly. Structured composition This option (if taken) must e written out, either in staff notation or in another coherent form of notation provided that it is consistent, appropriate and an accurate representation of the candidate's intentions. A copy should e handed to the examiner at the start of the examination. The chordal outline given in the music should e used as the asis for the composition, with extra marks eing awarded for the inclusion of other harmonies and for the candidate's imaginative flair. 1 Polyphonic capacity means the aility to play the stated numer of notes as a simultaneous chord without distortion or loss of sound. page 18

2 Auto intro/ending This may e used, sparingly, in Groups A and B only. It is not to e used in. It should e used with great care and marks will e deducted for inappropriate or excessive use. Its use should generally e confined to intros and endings not exceeding 4 ars. It is recognised that auto intro/ending is an integral part of the instrument ut careful thought must e given to the style of the piece, the instrumentation, and the length of the intro/ending so that its use does not make the work unalanced. Marks will e deducted when its employment detracts from the technical requirement of the piece (for example, when an introduction makes the opening of a piece easier to play). Voice and Style It is recognised that instruments vary and that not all voices and styles are equal in standard. If the candidate feels that the given voice/style detracts from the work and that an alternative is etter, and it is musically acceptale, this will e allowed. Marks will e deducted if the change alters sustantially the character of the piece (for example, changing Clarinet/March to Electric Guitar/Ballad). Any changes should e limited to Groups B and C. Tempo Many of the works now include a range of tempi to e used at the candidate's discretion. Marks will e deducted if the candidate chooses a tempo sustantially outside these limits, or if the chosen tempo is not technically or rhythmically secure. Set up Set up is a major part of the technique of the instrument and should e fluent. Marks will e deducted for unnecessary delay in setting up for the examination, protracted delay in etween items and constant restarts due to improper set up. The candidate should set up for the next piece on completion of the present piece. Please set up for the next piece is clearly marked in the music at the end of each piece. Voice Changes/Dual Voice, use of Volume, and Accompaniment B The aility to add Dual Voice and to program voice changes is important in uilding a musically interesting work and it is essential that the candidate can use the instrument to this end. These functions form part of the technique of the instrument from Grade 2 and a high mark is unlikely to e achieved if they are not employed, although a pass mark is otainale without their use. Similarly, the use of the volume control adds interest and shape and should e employed in all grades at the stated points. The candidate can introduce further changes if they add to the musical whole. The use of Accompaniment B also adds a feeling of climax and direction. It is realised that not all instruments carry this facility and in the event of this it is the candidate's responsiility to introduce a musically viale alternative. Chords The syllaus has een designed to e used with chords played either fully fingered (as descried elow) or with single fingers using the automatic accompaniment facility provided on all keyoards (Autochord, Casiochord etc). The decision as to which system to use is left to the discretion of the candidate/teacher. In higher grades, however, candidates may find that use of the single fingered mode allows the left hand more freedom for controlling voices, tone, volume etc. Fully-fingered chords Where the syllaus requires performance with fully-fingered chords (i.e. in the Fingered Chords section of the Technical Work for Grades 1 3) candidates should play all the notes of the chord required with the left hand. For example, where C is indicated, the notes C, E and G should e played (in any convenient inversion); where C 7 is required, C, E, G and B should e played. Technical Work All technical work is to e performed using Piano voice and without adding rhythm/style, except as outlined elow. From Grade 1 scales are to e played hands together. From Grade 3 scales in swing are included and the candidate can choose to employ swing rhythm if they wish, although care must e taken to avoid unnecessary delay in its use. The Fingered Chord Scale in Grades 1 to 3 does not have to e from memory; all other parts of Technical Work must e memorised. In Grade 4 left hand sequences are included. Style is required at the given tempo. Grade 5 introduces an exercise in piano score using trele and ass clefs. The scales given at the front of each music ook have een written to assist the student. The starting note may e moved an octave higher or lower to accommodate the range of the instrument. Sight Reading Candidates may choose etween two different ways of performing the sight reading test; either with single-fingered chords and rhythm/style or with fully-fingered chords with Piano voice and without rhythm/style, at the candidate's choice. A ook of sample tests, Sound at Sight Electronic Keyoard, pulished y Trinity/Faer, is availale from music retailers. page 19

3 Electronic Keyoard Initial scales and arpeggios 1 octave Scales of C major and A harmonic minor, hands separately, legato Arpeggios of C major and A minor, hands separately, legato Group A BRAHMS Lullay Trinity DVOŘÁK Largo from the New World Symphony Trinity HAYDN Theme from the Surprise Symphony Trinity STRAUSS Kaiser Waltz Trinity TRADITIONAL Chiapanecas Trinity Instead of the Group A item, candidates may offer a piece of the same group and grade from the Piano Syllaus (see page 18). LLOYD WEBBER Close Every Door Trinity MOSS Floral Dance Trinity TRADITIONAL The Keel Row Trinity WARD Starter Ruma Trinity TRADITIONAL Ho La Hi Trinity TRADITIONAL Kum Ba Yah Trinity TRADITIONAL Michael Row the Boat Trinity TRADITIONAL Oh Susannah Trinity Candidates at Initial may not offer their own composition instead of a third piece. page 20

4 Electronic Keyoard Grade 1 scales and arpeggios 1 octave Scales of G and F major; A and D harmonic minor, hands together, legato Arpeggios of G and F major; A and D minor, hands separately, legato and fingered chords Scale of C major with simple fingered chords Group A BRAHMS Waltz Trinity CHOPIN Prelude (from CKP Classics) Music Sales AM ELGAR Pomp and Circumstance March Trinity MENDELSSOHN Theme from Violin Concerto (from CKP Classics) Music Sales AM PAGANINI Theme (from CKP Classics) Music Sales AM VERDI Anvil Chorus Trinity Instead of the Group A item, candidates may offer a piece of the same group and grade from the Piano Syllaus (see page 18). JOHN Sacrifice (from CKP Greatest Hits) Music Sales AM LENNON & McCARTNEY Mull of Kintyre (from CKP Scottish Songs) Music Sales AM LLOYD WEBBER No Matter What Trinity NORTON Sprightly (from Microjazz Collection 1) Boosey M TRADITIONAL La Cucaracha Trinity TRADITIONAL The Campells are Coming Trinity HILL Sometimes when we touch (from CKP Greatest Hits) Music Sales AM TRADITIONAL The British Grenadiers Trinity TRADITIONAL Country Gardens Trinity TRADITIONAL Lord of the Dance Trinity TRADITIONAL Turkey in the Straw Trinity WARD Comet (structured composition) Trinity Instead of the item, candidates may offer their own composition (see page 4 5). page 21

5 Electronic Keyoard Grade 2 scales and arpeggios 2 octaves Scales of D and A major; E and B harmonic minor, hands together, legato and staccato Arpeggios of D and A major; E and B minor, hands separately, legato Contrary motion scale of C major, legato and fingered chords Scale of G major with fingered chords Group A GILBERT & SULLIVAN Pirate Chorus (from CKP Classics) Music Sales AM KINGSLEY Popcorn (from Instrumental Classics for Keyoard) IMP 2338a SMETANA Theme from Ma Vlast Trinity STRAUSS Tritsch Tratsch Polka Trinity TRADITIONAL Dark Eyes Trinity Instead of the Group A item, candidates may offer a piece of the same group and grade from the Piano Syllaus (see page 18). ANDERSSON & ULVAEUS Knowing Me Knowing You (from CKP ABBA) Music Sales AM FANCIULLA & NISA Guaglione Trinity NORTON Coconut Rag (from Microjazz Collection 2) Boosey M TRADITIONAL Yellow Bird Trinity WARD Orla s Treat Trinity HERMOSA Lamada (from Easiest Keyoard Collection Latin) Music Sales LENNON & McCARTNEY All My Loving (from CKP Greatest Hits) Music Sales AM LLOYD WEBBER Love Changes Everything Trinity SIMON & GARFUNKEL The Sound of Silence (from CKP Greatest Hits) Music Sales AM TRADITIONAL Kalinka Trinity WARD The Reef (structured composition) Trinity Instead of the item, candidates may offer their own composition (see page 4 5). page 22

6 Electronic Keyoard Grade 3 scales and arpeggios 2 octaves Scales of E, B, and E major; B and C harmonic minor, hands together, legato and staccato Arpeggios of E, B and E major; B and C minor, hands together, legato Contrary motion scale of A major, legato Swing rhythm scale of C major, hands together, legato and fingered chords Scale of F major with fingered chords Group A BIZET Toreadors Song Trinity DENZA Funiculi, Funicula Trinity GORDON Down in the Glen (from CKP Favourite Songs of Scotland) Music Sales AM GRIEG Anitra s Dance Trinity RUIZ Sway (from Easiest Keyoard Collection Latin) Music Sales AM YRAIDER La Paloma (from CKP Classics) Music Sales AM Instead of the Group A item, candidates may offer a piece of the same group and grade from the Piano Syllaus (see page 18). LENNON & McCARTNEY Eleanor Rigy (from CKP Greatest Hits) Music Sales AM MANCINI The Pink Panther Trinity MENKEN A Whole New World (from CKP Greatest Hits) Music Sales AM MEACHAM American Patrol Trinity NORTON Inter-City Stomp (from Microjazz Collection 2) Boosey M WARD Sunday Stroll Trinity ANDERSSON Fernando (from CKP ABBA) Music Sales AM ANDERSSON Mamma Mia (from CKP ABBA) Music Sales AM BART Who Will Buy? Trinity HOLST Theme from Jupiter Trinity PARTON I Will Always Love You (from CKP Chart Hits of the 90s) Music Sales AM WARD Dance Track Wave (structured composition) Trinity Instead of the item, candidates may offer their own composition (see page 4 5). page 23

7 Electronic Keyoard Grade 4 scales and arpeggios (all requirements to e played hands together) 2 octaves Scales of B and A major; C#,G#, F harmonic minor, legato and staccato Arpeggios of B and A major; C#,G# and F minor, legato and staccato Swing rhythm scales of A and E major; E and C harmonic minor, legato Contrary motion scales of F major and A harmonic minor, legato and staccato Chromatic scale on any lack note, hands together, legato and staccato and fingered chords Chord sequence in three styles Group A BRAHMS Hungarian Dance no. 5 Trinity DELIBES Flower Duet from Lakmé Trinity FONTEYN Pop Looks Bach Trinity GOODWIN 633 Squadron (from Instrumental Classics) IMP 2338a STRAUSS Radetsky March (from CKP Classics) Music Sales AM TCHAIKOVSKY Theme from Romeo and Juliet (from CKP Classics) Music Sales AM Instead of the Group A item, candidates may offer a piece of the same group and grade from the Piano Syllaus (see page 18). ANDERSSON & ULVAEUS Money, Money, Money Trinity BARRY/LE BON A View to a Kill Trinity BERNSTEIN Somewhere Music Sales LLOYD WEBBER On this Night of a Thousand Stars Trinity NORTON Feet First (from Microjazz Collection 3) Boosey M STANLEY The Blueell Polka (from CKP Favourite Songs of Scotland) Music Sales AM ANDERSSON I Know Him So Well (from CKP Greatest Hits) Music Sales AM ARLEN Over The Rainow Trinity BACHARACH What the World Needs Now (from CKP Greatest Hits) Music Sales AM COWLES Scaling the Blues (structured composition) Trinity MANCINI Theme from The Thorn Birds Trinity TRADITIONAL Nursery Rhyme Medley (from CKP Childrens Songs) Music Sales AM Instead of the item, candidates may offer their own composition (see page 4 5). page 24

8 Electronic Keyoard Grade 5 scales and arpeggios (all requirements to e played hands together, legato and staccato, unless otherwise stated) 2 octaves Major scales and arpeggios on all white notes, legato and staccato, and swing rhythm (legato only) Scales of C#,E and B harmonic minor (not swing rhythm) Arpeggios of C#,E and B minor (including swing rhythm) Contrary motion scales of A and B major and A and B harmonic minor Contrary motion chromatic scale on any note and technical work Exercise Group A J S BACH Air on the G String (from CKP Classics) Music Sales AM CHARPENTIER Prelude from Te Deum Trinity ELGAR Chanson de Matin Trinity JESSEL Parade of the Tin Soldiers (from CKP Childrens Songs) Music Sales AM SOUZA Washington Post March Trinity Instead of the Group A item, candidates may offer a piece of the same group and grade from the Piano Syllaus (see page 18). JENNINGS & HORNER My Heart Will Go On (from Titanic) Trinity BERNSTEIN America (from CKP Greatest Hits) Music Sales AM COATES Damusters March Trinity ELLINGTON Satin Doll (from CKP Anthology) Music Sales AM MARTIN Ruma Trinity NORTON Beguine (from Microjazz Collection 3) Boosey M ALBERT & GASTE Feelings (from CKP Greatest Hits) Music Sales AM ANDERSSON & ULVAEUS Super Trouper (from CKP ABBA) Music Sales AM BERLIN Puttin on the Ritz Trinity TRADITIONAL Folk Song Trinity TRADITIONAL Scottish Jig Melody (from CPK Favourite Songs from Scoland) Music Sales AM WARD Scarlet Bossa (structured composition) Trinity Instead of the item, candidates may offer their own composition (see page 4 5). page 25

9 Electronic Keyoard First Concert Certificate Candidates must take the following three tests: a pieces (85 marks) See page 4 Four pieces to e performed, one chosen from Group A and three from, to form a alanced programme of etween 15 and 18 minutes in length, including reaks etween pieces (and introductions, if spoken). Group A (25 marks) arr. ROSE Medley no. 9 Foxtrot (from Ballroom Favourites 2) This material must e IMP arr. ROSE Medley no. 6 Foxtrot (from Ballroom Favourites 2) supplemented with IMP arr. ROSE Medley no. 14 Sama (from Ballroom Favourites 2) some asic sequencing, IMP arr. ROSE Medley no. 17 Tango (from Ballroom Favourites 2) and voices varied. IMP (60 marks) AFANASIEFF Hero (from CKP Greatest Hits) Music Sales AM ANDERSSON Gimme Gimme Gimme (from CKP ABBA) * Music Sales AM ANDERSSON Thank You for the Music (from CKP ABBA) * * Any two of these Music Sales AM ANDERSSON Dancing Queen (from CKP ABBA) * pieces equal one Music Sales AM ANDERSSON Take a Chance (from CKP ABBA) * choice. Music Sales AM ANDERSSON Summer Night City (from CKP ABBA) * Music Sales AM DAVENPORT Fever (from CKP Dinner Jazz) Music Sales AM GARDNER Misty (from CKP Dinner Jazz) Music Sales AM GOLD From a Distance (from CKP Anthology) Music Sales AM HAMMOND When you tell me that you love me (from CKP Chart Hits of the 90s) Music Sales AM HOWARD Don t Dream of Anyody ut Me (from CKP Dinner Jazz) Music Sales AM JOBIN Wave (from CKP Anthology) Music Sales AM JOBIN Girl from Ipanema (from CKP Anthology) Music Sales AM JOHN Rocket Man (from CKP Anthology) Music Sales AM NORTON Cycling (from Microjazz Collection 3) Boosey M NORTON In a Hurry (from Microjazz Collection 3) Boosey M NORTON Fleet Feet (from Microjazz Collection 3) Boosey M NORTON Haiku (from Microjazz Collection 3) Boosey M NORTON Womling (from Microjazz Collection 3) Boosey M NORTON Shoehorn Blues (from Microjazz Collection 3) Boosey M NORTON Highly Strung (from Microjazz Collection 3) Boosey M NORTON Steam Train Blues (from Microjazz Collection 3) Boosey M RODGERS Lover (from CKP Dinner Jazz) Music Sales AM SHEARING Lullay of Birdland (from CKP Dinner Jazz) Music Sales AM SILBAR The Wind Beneath My Wings (from CKP Anthology) Music Sales AM either viva voce or performance from memory (10 marks) See page 12 c presentation skills (5 marks) See page 5 page 26