Keyboard & Organ Syllabus

Transcription

1 Keyboard & Organ Syllabus Trinity Guildhall Examinations 89 Albert Embankment London SE1 7TP UK T + 44 (0) F + 44 (0) E music@trinityguildhall.co.uk Patron HRH The Duke of Kent KG Executive Director & Head of Academic Governance (Performing & Creative Arts) Mark Stringer GMusRNCM(Hons) FTCL ARCM ARCO(CHM) PGCE HonLRSL FRSA Chief Examiner in Music Keith Beniston GLCM FLCM PGCE FRSA Syllabus Manager Lindsay Danby BMus(Hons) Head of Operations (Performing & Creative Arts) Abigail McElheron BA(Hons) HonTCL Copyright 2010 Trinity College London Published by Trinity College London First impression, August 2010

2 Contents Introduction... 3 Grade examinations Structure, duration & marking...4 Pieces... 6 Own Composition... 7 Supporting Tests: Sight Reading...8 Aural...12 Improvisation...16 Musical Knowledge...19 Requirements: Electronic Keyboard (subject code EK)...21 Digital Keyboard (subject code DK)...38 Electronic Organ (subject code EO)...47 Organ (subject code OGN)...63 Obtaining music publishers contact details...81 Trinity Guildhall publications

3 Keyboard & Organ Syllabus 2011 Introduction This syllabus contains full details of Grade examinations in Electronic Keyboard, Digital Keyboard, Electronic Organ and Organ. It is valid from 1 January 2011 and supersedes all previous syllabuses. From 2011, Trinity Guildhall will no longer offer Accordion Grade examinations. New Accordion Certificate examinations will be available in their place. Details of these are available on the website: The new syllabus contains refreshed repertoire choices for Electronic Organ and Organ, and significant changes to the Pieces and Technical Work for Electronic Keyboard (Initial Grade 5). The Digital Keyboard syllabus (Grades 6 8) contains changes to the Technical Work only for From January 2012, the Digital Keyboard syllabus will be revamped and renamed as Electronic Keyboard (Grades 6 8), with amendments to the repertoire and other aspects of the Technical Work. A new syllabus for will be available in July The only alteration to this syllabus will be to the requirements for Electronic Keyboard Grades 6 8. There will be a one session overlap in 2011, in which candidates may offer Pieces and Technical Work from either the syllabus or the 2011 syllabus, but not a mixture of both. A similar overlap will be implemented in 2012 for the new Electronic Keyboard (Grades 6 8). Full details of entry procedures, examination regulations and marking criteria are given in a separate booklet Information and Regulations which is available direct from Trinity s Head Office, Local Representatives or from our website This booklet is updated annually and candidates should ensure that they consult the current version for the year of entry. Trinity Guildhall examinations are offered and delivered by Trinity College London, the international examinations board. Trinity College London is an awarding body recognised in the United Kingdom by the Office of Qualifications and Examinations Regulation (Ofqual) in England, the Welsh Assembly Government (WAG) and the Northern Ireland Council for Curriculum, Examinations and Assessment (CCEA). Trinity s qualifications are accredited by these authorities within the Qualifications Framework. Various arrangements are in place with governmental education authorities worldwide. 3

4 Grade Examinations Structure Trinity Guildhall s practical examination grades are numbered from 1 to 8 in increasing order of difficulty. In Electronic Keyboard and Electronic Organ, an Initial examination acts as an introduction to the examination system. The structure of Graded Examinations is as follows: Pieces Candidates play three pieces, chosen from the published list(s). Technical Work Candidates prepare scales, arpeggios and other technical exercises as required in the syllabus. Supporting Tests For all instruments there are two further tests: Up to and including Grade 5, candidates may choose any two tests from: Aural Sight Reading Improvisation Musical Knowledge In Grades 6, 7 and 8, Test 1 must be Sight Reading. For Test 2 there is a choice between Aural and Improvisation. At the examination, candidates should note on the Appointment Slip which tests have been chosen. Order of examination Technical Work will normally be asked before pieces. Candidates wishing to present their examination in any other order may do so, but must write their preferred sequence on the back of the appointment slip and indicate this on entering the examination room. This choice does not extend to cases where the syllabus stipulates the location of any item, e.g. Own Composition. Duration Level Duration in minutes Initial 13 Grade 1 13 Grade 2 15 Grade 3 15 Grade 4 20 Grade 5 20 Grade 6 25 Grade 7 25 Grade

5 Marking Grade examinations The maximum marks available for all graded keyboard and organ examinations are as follows: Piece 1 22 Piece 2 22 Piece 3 22 Technical Work 14 Test 1 10 Test 2 10 TOTAL 100 Pass is awarded at 60 Merit is awarded at 75 Distinction is awarded at 87 Note that piece may occasionally consist of more than one musical item. The mark out of 22 for each piece* is made up of three component marks, awarded for: Notational Accuracy & Fluency (7 marks): How well the notes are prepared and realised. More conveniently thought of as: Me and the Music. Technical Facility (7 marks): Instrumental control and the ability to draw the most from the instrument; dynamics, tone colour, articulation, pedalling etc: Me and the Instrument. Communication (8 marks): How well the candidate interprets the music, engages the audience and conveys a sense of the meaning of the music they are playing: Me and the Audience. For more detail please see the Mark Scheme and Assessment Criteria sections in the Information and Regulations booklet, which is available from Head Office, Local Representatives or from the website * Note that piece may occasionally consist of more than one musical item. 5

6 Grade examinations Pieces Repeats, ornaments & tempi All da capo and dal segno instructions should be observed. Repeats of more than a few bars should be omitted unless otherwise instructed in the syllabus or printed music books, or where a substantial firsttime bar section would be lost. Cadential trills and other ornamentation appropriate to the style of the music are encouraged at all levels, and particularly in the higher grades. Metronome marks are given merely as a guide to performance, and candidates should observe terms showing the tempo and/or character of the music (e.g. Lento, Allegro) in their performance. Page-turners The examiner cannot act as a page-turner. In earlier grades, difficult page-turns should be overcome by photocopying the relevant pages. A page-turner may assist in Grades 6 8 examinations if absolutely necessary, but may remain in the examination room only whilst (s)he is needed. Playing from memory Candidates are free to play any or all of their pieces from memory, and to do so is likely to help with the security of their knowledge and their ability to communicate. It is not obligatory, however, and no separate marks are given for memorisation. Candidates who play from memory must ensure that an original copy of the music performed is brought to the examination for the examiner s reference. Music and copies Candidates are reminded that they must perform from an original copy of the relevant sheet music in the exam room. If an unauthorised copy (including an unauthorised photocopy) is used, candidates should be aware that Trinity may not award marks in relation to the performance of the prohibited piece(s) of music. Original copies of sheet music can be purchased or downloaded from music shops and publishers, for whom contact details are given at the end of this syllabus. Details regarding the legitimacy of all forms of sheet music can be obtained from the UK Music Publishers Association s Code of Fair Practice, available at It is strongly recommended that original copies of music needed for examinations are obtained before an examination entry is made; allowances cannot be made for delays in obtaining music. Candidates should note that variations in worldwide availability may occasionally be encountered; the contents of books should always be checked before purchase. Examiners of grade examinations welcome the provision of reference copies of pieces not published by Trinity Guildhall. Photocopies can legitimately be used for this purpose; any copies provided will be retained by the examiner and destroyed after the examination. 6

7 Grade examinations Own Composition Candidates in Electronic Keyboard, Electronic Organ and Organ may offer their own composition in place of a listed piece where indicated in the syllabus. This must be performed as the last of their group of pieces so that questions on the piece may follow immediately afterwards. Content The composition should follow the specification given, and must be of a similar technical and artistic level to the other pieces performed. The use of pre-recorded material or other instruments is not allowed. The piece should be substantially the candidate s unaided work, although the teacher may offer guidance as necessary. Candidates and teachers are advised to take note of the Levels of Achievement statements in the current Information and Regulations booklet when preparing own compositions. The timings given at each level should be observed carefully; credit will be lost if compositions fall appreciably short of, or exceed the indicated timespan. Notation The complete composition must be written out in the candidate s own hand (or be produced and printed by the candidate using a score-writing programme). At Initial Grade 5, the composition may be presented in any coherent form of notation. For compositions at Grades 6 8 staff notation is essential. Marks will be deducted if the notation is incomplete or technically inaccurate or if the performance varies significantly from what is written. Candidates must present a (photo)copy of the piece, which the examiner will keep, with name and candidate number clearly shown. Assessment After the performance, the examiner will ask the candidate to explain how the piece was composed and will ask further questions about the notation and structure. 16 marks are awarded for the performance, and 6 marks for clarity of explanation, structure and presentation. Composition requirements grade by grade: Grade Duration Requirements Initial 1 2 minutes A piece containing sudden changes / / 2 minutes A piece with two contrasting sections / / 2 minutes A piece contrasting legato and staccato passages / / 2 minutes A piece which explores dynamic contrast / / 2 minutes A piece with long melodic phrases / / 2 minutes A piece containing contrasting voices and styles / / 2 minutes A piece using a variety of clusters / / 2 minutes A piece featuring contrary movement / / 2 minutes A piece featuring at least two contrapuntal voices 7

8 Grade examinations Supporting Tests Sight Reading Sight Reading tests are set at the level of a piece prescribed approximately two grades lower than the grade undertaken; for instance, Grade 5 candidates should be able to read at sight the level of piece set for Grade 3 performance. Tests will follow the parameters given below. Note that the parameters are cumulative; the keys etc. used at each grade may also include any variable set for any previous grade. Candidates will be allowed 30 seconds to study the test before they attempt it. During this time they may practise any or all of the piece aloud. The examiner will only take account of the actual performance of the test. Candidates of Electronic Keyboard may choose between two different ways of performing the sight reading test; either with single-fingered chords and rhythm/style or with fully fingered chords without rhythm/style, at the candidate s choice. Specimen sight reading tests for Electronic Keyboard and Electronic Organ are available to purchase (see page 84). Specimen sight reading tests for Digital Keyboard are available to download free-of-charge from the website: Sight Reading Parameters for Electronic Keyboard Keys (cumulative*) Time signatures (cumulative*) Chords (cumulative*) Note values (cumulative*) Note patterns (cumulative*) Dynamics Initial C major 2 q and h mf Grade 1 as above plus 4 I,V plus î and î f Other (cumulative*) (cumulative*) five-finger hand position only five-finger hand position (RH not tonic) Grade 2 plus A minor plus 3 plus IV plus h. and Î p Change of hand position within octave Grade 3 Grade 4 plus F and G major; D minor (including C#) plus D major; B and E minor as above plus VI plus w, q. and e q h q plus V 7 as above as above as above two-part right hand Grade 5 plus A and Bb major; C minor plus 6 plus x and Å syncopated quavers three-part right hand * Please note, at any given grade candidates are expected to know the requirements of the preceding grade(s). 8

9 Grade examinations Sight Reading Parameters for Digital Keyboard The sight reading test will be given in piano score (treble and bass clefs) to be played hands together after 30 seconds of preparation time. Keys (cumulative*) Time signatures (cumulative*) Chords Note values Note patterns Dynamics Other (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*) right-hand chords of Grade 6 A and Eb major; F# and C minor plus 8 all common note values and rests three notes or more; voice and style at the candidate s discretion Grade 7 E and Ab major, C# and F minor plus 9 all common chords reasonably complex rhythms plus mp, cresc. and dim. plus chromatic features; elements of stylistic perception Grade 8 B and Db major; G# and Bb minor plus 2 2 and changing time signatures plus duplets as above * Please note, at any given grade candidates are expected to know the requirements of the preceding grade(s). 9

10 Grade examinations Sight Reading Requirements for Electronic Organ 10 Pedals (cumulative*) Manuals (cumulative*) Registration (cumulative*) Tempi and articulation (cumulative*) Note values (cumulative*) Time signatures (cumulative*) two manuals to be used throughout; contrasting sounds on both manuals; mf Keys (cumulative*) none five-finger hand position only Initial C major 2 q and h moderato none as above remains within hand postion (not necessarily C) plus 4 plus w and î plus legato plus G major; A minor (white notes only) Grade 1 two-part texture none plus allegretto and simple phrasing Grade 2 as above plus 3 plus h. and ties as above white notes only plus andante and more intricate phrasing plus e, Î, and î plus F major; D minor (including C#) Grade 3 as above three-part texture all notes plus q. ä plus staccato and and accents plus D and Bb major; E and D minor (plus accidentals) Grade 4 more independent pedal part more varied texture and some further chromaticism plus rall., accel., a tempo and pause solo voice on upper manual plus x and Å ; dotted notes and rests plus 6 plus A and Eb major; B and G minor (including modulation) Grade 5 full use of pedals use of swell pedal; cresc.; dim.; pp and ff any common terms and signs Grade 6 plus F# and C minor plus 8 as above as above as above plus 9 plus E and Ab major; C# and F minor Grade 7 as above as above changes of registration plus duplets/triplets plus 2 and changing time signatures plus B and Db major; G# and Bb minor (including double sharps and flats) Grade 8 * Please note, at any given grade candidates are expected to know the requirements of the preceding grade(s).

11 Grade examinations Sight Reading Requirements for Organ Keys (cumulative*) Time signatures (cumulative*) Note values (cumulative*) Tempi and articulation (cumulative*) Manuals (cumulative*) Pedals (cumulative*) Registration (cumulative*) Grade 1 C major, G major, A minor (white notes only) 2 and 4 q, h, w, and î moderato and legato remains within hand postion (not necessarily C) none single manual; 8 only; mf Grade 2 as above plus 3 plus h. and ties plus allegretto and simple phrasing two-part texture none as above Grade 3 plus F major; D minor (including C#) as above plus e, Î, and î plus andante and more intricate phrasing as above notes between A 2 and G 3 inclusive (toes only) two manuals (hands on the same manual); 4 ; p and f; pedal couplers Grade 4 Grade 5 plus D and Bb major; E and D minor (plus accidentals) plus A and Eb major; B and G minor (including modulation) plus 6 plus q. and ä plus staccato, plus x and Å ; dotted notes and rests accents and pause three-part texture and C4 inclusive notes between F2 (toes only) plus rall., accel. and a tempo more varied texture and some further chromaticism toe and heel signs and more independent pedal part manual couples; 2 ; 16 hands on separate manuals; change of manual Grade 6 plus F# and C minor plus 8 Grade 7 Grade 8 plus E and Ab major; C# and F minor plus B and Db major; G# and Bb minor (including double sharps and flats) plus 9 plus 2 and changing time signatures as above plus duplets/ triplets any common terms and signs as above as above more complex textures adjacent notes with same foot; staccato; legato full use of pedals throughout range, including crossing feet as above as above use of swell pedal, cresc., dim., pp and ff as above changes of registration * Please note, at any given grade candidates are expected to know the requirements of the preceding grade(s). 11

12 Grade examinations Aural Four tests are given for each grade (two for Grade 8), designed to develop the candidate s abilities in the fields of musical perception, discrimination, memory, understanding, analysis and response. The tests, which are all based on the same example to encourage a deepening of knowledge, are carefully graded from basic skills to more advanced understanding. NB Tests for Initial and Grade 1 are all in major keys; Grades 2 5 and 8 may be in major or minor. Grade 6 tests are major and Grade 7 are minor. Tests involving printed copies given to candidates will be provided in treble clef for most instruments, and in bass or alto clef for instruments normally reading those clefs. Initial 1. To sing, hum or whistle the final note of a four-bar melody in 2 time, played with the final note omitted. The note should be sung in strict time. The key chord will be sounded before the melody is played. In all circumstances this note will be the tonic. 2. To clap back the rhythm of the melody after hearing it played twice again. 3. To identify, after another hearing, whether the melody was played mainly legato or staccato. 4. To identify, after hearing again three consecutive notes from the melody, which of the three was the highest or lowest. Grade 1 1. i) To clap back the rhythm of a four-bar melody in 2, or 3 time, played twice; ii) to state the time signature. 2. To state, after hearing the melody again, whether the last note was higher, lower or the same as the first note. 3. To state, after hearing the melody again, whether the melody was played mainly legato or staccato. 4. To listen to the melody played twice more, first as originally heard and then with a change to the pitch at one point, and to indicate where the change occurs. Candidates will not be required to describe the change. Grade 2 1. To listen once to a short melody in 2 or 3, and to indicate a sense of the pulse and time signature during a second playing. Candidates should respond by either conducting clearly, using a simple, conventional, beat-shape or alternatively by other methods, provided the strong beats are indicated distinctly. The examiner will bring the candidate in at the start of the second playing. 2. To state, after hearing the melody again, whether the last note was higher, lower or the same as the first note. 3. To listen to the complete melody again and to state: i) whether it was in a major or minor key; ii) the dynamic level at the start and how it changed during the piece. Crescendo and diminuendo may be included. 12

13 Grade examinations 4. To listen to one half of the melody played twice more, first as originally heard and then with a change in the rhythm or melody, and to identify the type of change made. Grade 3 1. To listen once to a short melody in 3 or 4, and to indicate a sense of the pulse and time signature during a second playing. Candidates should respond by either conducting clearly, using a simple, conventional, beat-shape or alternatively by other methods, provided the strong beats are indicated distinctly. The candidate may begin right at the start, or can join in once the melody is under way. 2. To identify the interval formed by the first two notes of the melody, played from low to high and held as a sounding interval as a major second, minor third, major third, perfect fourth or perfect fifth. All diatonic, from within the key.) Candidates may sing (or hum) the notes before answering. 3. To identify a triad played by the examiner as being either major or minor. The notes will be sounded together. 4. A printed copy of the melody will be handed to the candidate. The examiner will then play the original followed by a version (played twice) containing one change of pitch or rhythm. The candidate will be invited to indicate the bar in which the change occurred in the rhythm or melody. Grade 4 1. To listen once to a short melody in 4 or 6 with a simple accompaniment, and to indicate a sense of the pulse and time signature during a second playing. Candidates should respond by either conducting clearly, using a simple, conventional, beat-shape or alternatively by other methods, provided the strong beats are indicated distinctly. 2. To identify the interval formed by the first two notes of the melody, played consecutively, as: a unison a minor second a major second a minor third a major third a perfect fourth a perfect fifth a minor sixth a major sixth Candidates may sing or hum the notes before answering. 3. To listen to the piece again and to identify the cadence at the end as being either perfect or imperfect. 4. A printed copy of the melody line only will be handed to the candidate. The examiner will then play this, followed by a version (played twice) containing two changes, one of pitch and one of rhythm. The candidate will be invited to indicate the bars in which the changes occurred and to describe them. Grade 5 1. To listen twice to a short piece of music in 2, 3 or 6 played twice, and state: i) the time signature; ii) if it began in the major or minor; 13

14 Grade examinations iii) if the tonality changed as the piece progressed, and if so, how. After a further playing of the closing section of the piece, whether the cadence at the end was perfect, imperfect or interrupted. 2. To identify the interval formed by 2 notes selected by the examiner from the melody line, played consecutively, as: a unison a minor second a major second a minor third a major third a perfect fourth a perfect fifth a minor sixth a major sixth a minor seventh a major seventh an octave Candidates may sing or hum the notes before answering. 3. To listen to the piece again and to comment on the articulation and the dynamics. 4. A printed copy of the complete piece will be handed to the candidate. The piece will be played once more as originally heard and then twice with two changes to the top line; one to the rhythm and one to the melody. The candidate will be asked to locate and describe the changes. Grade 6 1. To listen to a short piece in a major key in 2, 3, 4 or 6 played twice, and state the time signature. Candidates will be invited to comment on the main features of the piece such as phrasing, style and dynamics. The candidate will have the opportunity to give comments after the first and/or second playing at their discretion. 2. To listen to the closing bars of the piece and identify its cadence as perfect, imperfect, plagal or interrupted. 3. To listen again to a part of the piece which modulates and state into which key the music has modulated. Keys used will be confined to dominant, subdominant and relative minor. The opening key will be stated and the tonic chord played before the start. Answers may be given as either key or technical names (e.g. in C major: to G or to the dominant ). 4. A printed copy of the piece will be handed to the candidate, who will be invited to compare this with a version played twice by the examiner containing two changes. These will be in the melody line only and may be to the rhythm, the pitch or the articulation. The candidate should identify the location and nature of the changes. Grade 7 1. To listen twice to a short piece in a minor key and comment on the main features of the piece such as style, phrasing, articulation and dynamics. The candidate will have the opportunity to give comments after the first and/or second playing, at their discretion. 2. To listen to a phrase from the piece and identify its cadence as perfect, imperfect, plagal or interrupted. 3. A printed copy of the first section of the piece will be handed to the candidate, who will be invited 14

15 Grade examinations to compare this with a version played twice by the examiner containing three changes. These may be in the pitch (of the melody line only) or the rhythm. The candidate should identify and explain the changes. 4. To listen to the piece played with a modified ending and identify the key to which the music has modulated. The opening key will be stated and the key-chord played. Keys used will be limited to the subdominant minor, the relative major and the dominant of the relative major (e.g. G major in A minor). Answers may be given as key names or technical names. Part of the piece may be omitted by the examiner for clarity if appropriate. Grade 8 1. A short piece will be played twice. The candidate will be invited to describe the significant features of the piece, such as style, rhythm, texture, dynamics, phrasing and articulation. Candidates are encouraged to make observations after the first playing and to supplement these after the second. This section will take the form of a short discussion with the examiner; credit will be given for the depth of perception in the candidate s comments. 2. A printed copy of the entire piece will be handed to the candidate and played by the examiner, who will then play twice a version containing three changes which may be in the rhythm, melody, harmony, articulation, dynamics or tempo. The candidate will be invited to identify and explain the changes. Changes may occur in the treble or bass clef lines, or both. The original version, as supplied to the candidate, will be played again, before the version with the changes. NB In all sections of the Aural Tests that involve the examiner handing the candidate a printed copy of the test, candidates and teachers should note that the copy will be a laminated page, which may not be marked by the candidate in any way whatsoever during the examination. 15

16 Grade examinations Improvisation The improvisation tests explore the candidate s ability to respond creatively to an aural/visual stimulus offered by the examiner, usually as a rhythmic or melodic cell. The tasks undertaken develop from simple recognition, assimilation and invention to modulation, extension and other techniques. In every case the stimulus has been designed to allow a genuinely free creative improvisation and to avoid the implication of a mirror image response. At all grades the stimuli seek to provide a wide range of improvisatory possibilities, whilst avoiding excessive complication within themselves. The greatest credit will be given for candidates who most effectively incorporate elements of the stimulus into their improvisation, showing creativity and good instrumental knowledge and ability. Outline and Test Parameters According to the candidate s choice, the examiner will tap the rhythm or play the pitches or chords on the piano, and will also give a notated copy of the relevant test to the candidate which the candidate can refer to throughout the test. In this way both auditory and visual learners will be assisted to produce their best possible response. Format Candidates may select any one of the following types of test: either or or melodic: based on a series of pitches rhythmic: based on a rhythmic idea chordal: based on a set of chord symbols. The parameters are given in the chart on page 18. Melodic Tests The examiner will give the candidate a copy of a series of written pitches and will play it through twice with each pitch lasting for about 2 seconds. The candidate will play the pitches back to the examiner, and then has 30 seconds to prepare a short phrase incorporating these pitches, which is then performed. The candidate may play during the preparation time. Rhythmic Tests The examiner will give the candidate a written version of an opening rhythm and then play it twice. Candidates will then repeat it on their instrument using one pitch. They then have 30 seconds to develop a piece of music based on this rhythm and then adding melodic material as appropriate. Instrumental range used should reflect the parameters for melodic tests in the chart on page 18. Chordal Tests The examiner will give the candidate a copy of a 2-stave piano score containing chords written out without a time signature (with bar lines) and chord symbols printed above each chord. The examiner will play this through twice, establishing a moderate pulse with each chord played as 4 crotchets per bar (or 2 crotchets where more than one chord appears in a bar). The candidate then has 30 seconds (60 seconds for Grades 6 8) in which to prepare a short improvisation over the given chords. Candidates can choose to use the tempo and time signature that the examiner played, or to request a quicker or slower tempo and a 3, 4 or compound feel if they prefer. The examiner will then play the chords as before, while the candidate improvises above them. The phrase may be repeated several times, depending on length and speed, until the improvisation reaches a natural conclusion. Alternatively, keyboard players and organists may choose to perform the improvisation as a solo, which must incorporate the chord pattern. 16

17 Grade examinations Written Keys for Chordal Tests Initial to Grade 3 Grades 4 & 5 Grades 6, 7 & 8 Electronic Keyboard/ Electronic Organ/ Organ C, F & G major A, D, E, G & B minor Digital Keyboard/ Electronic Organ/ Organ C, F, G, Bb, D, Eb & A major plus relative minors Notes Marks are awarded for planning, structure, form, melodic, harmonic & rhythmic creativity, inventiveness and logical progression, appropriate length and use of instrumental resources. Candidates should regard the note values and ranges given as the minimum that will be expected, but may extend these if they wish. Keyboard players and organists taking the melodic test may play chords if they wish, and will receive credit for their appropriate use, but they are not obligatory, and the test is essentially of melodic invention. The length of the response in the chart overleaf is given as a guide only, and the candidate should aim to perform a musically satisfying and balanced response. In all tests, chords, rhythm or auto accompaniment may be used with discretion. 17

18 Grade examinations Parameters for Improvisation Tests Grade Melodic tests: Max. range of given motif Rhythmic tests Suggested length of response for Melodic and Rhythmic tests Chordal tests Initial 3 stepwise notes In 4 2 bars crotchets minims 4 bar phrase Major key I/V 2 bars per chord 1 3 notes one step one leap up to 4 th In 4 2 bars crotchets minims, quavers 1 phrase 4 bar phrase Major key I/V 1 chord per bar 2 4 notes range up to 5 th As above with dots 1 2 phrases 4 bar phrase Major key I/IV/V 1 chord per bar 3 5 notes range up to 6 th As above with ties 4 bar phrase Major key I/IV/V/ii 1 chord per bar 4 Octave (diatonic) In 2, 3 or 4 plus semiquavers 2 3 phrases 4 bar phrase Minor key I/IV/V 1 chord per bar 5 Octave (simple chromaticism) 4 bar phrase Minor key I/IV/V/vi 1 chord per bar 6 Plus phrases 8 bar phrase Major key I/ii/IV/V and 7ths 1 chord per bar 7 Twelfth Plus triplets (chromatic) 8 12 bar phrase Major or Minor key I/ii/III/iv/V/VI and 6ths/7ths 1 or 2 chords per bar 8 Plus phrases bar phrase Major or Minor key All chords 6ths/7ths/9ths & dim/aug Simple suspensions 1 or 2 chords per bar 18

19 Grade examinations Musical Knowledge (Initial Grade 5 only) These questions test the candidate s understanding of their chosen pieces, the context of their performance and their knowledge of their instrument and its technical demands, including best practice for rehearsal and performance. Five questions, each worth 2 marks, will normally be asked. Questions will include discussions on most of the areas mentioned below, but not all parameters will be relevant to all disciplines and pieces, and examiners will select questions as appropriate. Candidates must ensure that copies are not so heavily annotated that a reasonable range of questions for the grade is precluded. For melody line instrumentalists, questions will be based only on the instrumental line, and not on the accompaniment. Initial 1. The pitch names, and durations of any notes (excluding those with leger lines except middle C) in the pieces played. 2. To identify, but not to explain clefs, stave, bar lines and key/time signatures in the pieces played. 3. Very simple musical terms and signs in the pieces, such as U, repeat, f and p. 4. Questions about the connection between the titles of the pieces and the music played (e.g. what is a Minuet? Why is this piece called Squabble?) Grade 1 1. Pitch names, note types (e.g. minim) and durations of any notes in the pieces played, including dotted notes and any leger lines. 2. Clefs, time/key signatures and any common musical term/sign encountered. 3. Identify and explain p/f, accidentals, phrase marks, 1st & 2nd time bars and staccato/legato, when appearing in the pieces played. 4. Comment on any significant, interesting or unusual features of piece(s) played. Show a basic understanding of the instrument, including the names of its main parts (e.g. stand, display, controls etc) and maintenance. Grade 2 As for Grade 1, and additionally: 1. Show an understanding of any term, sign or mark of expression in the pieces played. 2. Identify and explain any metronome marks, grace notes, ornaments etc. appearing in the pieces played. 3. The numerical value (only) of any interval (within an octave) between any two successive notes appearing in the pieces played (e.g. a second not a minor second ). Intervals may be asked from a lower to a higher note or vice versa. 4. Be aware of appropriate basic posture when playing. 19

20 Grade examinations Grade 3 As for previous grades, and additionally: 1. Identify and demonstrate an understanding of the keys (together with their relative major/minor) in which the pieces played are written. 2. Identify any common musical devices such as scale or arpeggio patterns in the pieces played. 3. Show an understanding of the reasons for, and methods employed in, the instrumental or vocal warm up (of both instrument and performer). Grade 4 As for previous grades, and additionally: 1. Identify/explain any main key encountered throughout the pieces played, though no detailed knowledge of modulatory processes will be expected. 2. Name the tonic and the dominant (and the 3 notes of their triads) of any of the keys in which the pieces are written. 3. The full name of any interval (within an octave) between any two successive notes appearing in the pieces played (e.g. major second not second ). Intervals may be asked from a lower to a higher note or vice versa. 4. Comment on any particular technical or musical challenges encountered in the preparation of the pieces played. Grade 5 As for previous grades, and additionally: 1. Comment on any significant features of the musical style and period (e.g. Baroque, Romantic, Bebop) of the pieces played. 2. Point out any interesting or noteworthy structural/formal aspects of the pieces played. 3. Show an understanding of the keys used in the pieces played, including an understanding of modulations and a knowledge of tonic, dominant and subdominant of the keys in which the pieces are written. Grades 6 8 Musical Knowledge questions are not available at these grades. 20

21 Electronic Keyboard Instruments Candidates are responsible for providing their own instrument, stand, power lead(s) and seat*. A mains power supply will be available at centres; candidates are responsible for the electrical safety of any equipment used in their examination. Efficient arrangements should be planned and agreed with the centre well in advance, regarding the physical setting up and removal of the keyboard, along with keyboard stand, music stand, seats, power adapters etc. in exam rooms, at the beginning and end or the examination. After setting up is completed, everyone involved, including the candidate, should be prepared to withdraw from the exam room until the examiner is ready to begin. Instruments must have at least the following specification: Range Minimum 4 octaves (Initial Grade 1) Minimum 5 octaves (Grade 2 Grade 5) Keyboard Full-size keys Capability Minimum 16-note polyphonic capacity A range of individual voices and rhythm styles Dual voice/layer (from Grade 2) Voice change/registration memory (from Grade 3) Touch sensitivity option (from Grade 3) Split point (2 voices simultaneously) (from Grade 5) Pedals are permitted but not necessary Subject code: EK Variation between instruments Whilst every care has been taken to ensure that the pieces and tests are suitable for the widest range of instruments, it is recognised that there will be occasions when performance as notated will not be possible on every instrument. In such cases, candidates should adapt the material to what is possible on the instrument they have, modifying the music in an appropriate and imaginative way while preserving the substance of melody, harmony and rhythm. All pieces and tests will be assessed on the musicality of the 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. Dual voice, Voice changes, use of volume, Accompaniment B, etc. It is recognised that instruments vary and that not all voices and styles are equal. If the candidate feels that the specified voices and styles are not wholly appropriate on their instrument, they may use any musically acceptable alternative. The change must not substantially alter the character of the pieces (e.g. changing Clarinet/March to Electric Guitar/Ballad). * Adjustable piano stools may be available at the exam venue. It is the responsibility of the person who signed the entry form to contact the representative to confirm availability. 21

22 Electronic Keyboard Up to and including Grade 2, candidates using keyboards without registration memory may find it necessary to alter the voice from those stipulated in the music to facilitate quick changes; for example, by selecting voices with near or adjacent menu locations. The ability to use dual voice and to program voice changes is important in building a musically interesting performance. The use of volume control adds interest and shape and should be employed in all grades wherever possible and practical. The use of Accompaniment B can also add a feeling of climax and direction. The candidate may introduce further changes according to the capabilities of their instrument, as long as they add to the musical whole. Auto intro/ending Auto into/endings may only be used where indicated. Careful thought must be given to their integration within the style and instrumentation of the piece, and they should not exceed four bars in length. Pre-recorded material Whilst it is recognised that the use of pre-recorded material is an integral skill for electronic keyboard players, pre-recorded material is not permitted in Electronic Keyboard examinations. Registration memory facilities may, however, be used. 22

23 Pieces Electronic Keyboard Group A contains arrangements of popular classical and traditional western pieces that employ standard classical performance techniques. Group B incorporates pieces in more contemporary styles such as Latin, jazz, dance, pop, Indian and film music. Candidates must play three pieces chosen from the published lists, with at least one piece from each group. The third piece may be the candidate s own composition of a similar length and technical demand to the other pieces chosen. Each grade contains one or more pieces which allows the candidate a greater level of creative input, either through own interpretation or improvisation. Inclusion of one or more of such pieces is not obligatory. Own interpretation The aim of these pieces is to allow the candidate to create a personal arrangement with as much artistic and musical flair as possible. Voice(s) and Style are left to the candidate s discretion and the work must be adapted in other ways, such as by changing rhythm, register or even harmony, so long as the result is a well-shaped and musical account. Auto intros/endings are not permitted, though the candidate s own manual intro/ending may be used. Candidates choosing these pieces must provide a short, neatly written or typed statement (of no more than 50 words) for the examiner, stating and explaining all of the interpretive choices made. If the statement is not written in English a translation into English must also be provided. Improvisation The length of improvisation will be dictated within the piece. Candidates are encouraged to be creative with this material but they may not bring additional notation or written-out solos into the examination room to assist in this part of the examination. Marks will be awarded for inventiveness, originality and style, appropriate to the character of the music. Chords The glossary of chords on page 25 indicates the meanings of the chord symbols used in pieces published by Trinity Guildhall. It is not intended that these examples represent the way each chord must be arranged within the pieces; candidates should use their judgement to choose spacing and arrangement of the notes according to the most convenient 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. Tempo Many of the works include a range of tempi to be used at the candidate s discretion. Marks may be deducted if the candidate chooses a tempo significantly outside these limits, or if the chosen tempo is not technically or rhythmically secure. Set up Efficient setting up is a major part of the technique of the instrument and is expected to be carried out quickly and fluently at all examination levels. Marks may be deducted for unnecessary delay in setting up for any part of the examination, including protracted delay at the start or in between items, and restarts due to improper set up. At the end of each piece the candidate should begin setting up for the next piece, with or without prompting from the examiner. As a reminder, Please set up for the next piece is clearly marked in the music at the end of each piece in Trinity Guildhall publications. 23

24 Electronic Keyboard Technical Work The purpose of this section of the examination is to encourage the development of a variety of keyboard technical skills. The requirements for each grade are given in the main body of the syllabus. All technical work is printed, together with selected repertoire, in the corresponding grade book from the series Electronic Keyboard Pieces & Technical Work (Initial Grade 5) published by Trinity Guildhall (see page 84). For scales and chord knowledge, a piano voice must be used. There should be no additional voice, accompaniment, rhythm or metronome click. The master volume should be set to 50 75% of maximum resulting in a mf f sound. The correct setting of the keyboard for this section will contribute to the marks. Scales (from memory) All scales listed for the grade must be prepared, but the examiner will ask for a selection only. All scales must be performed in similar motion, ascending and descending, with the right hand one octave higher than the left hand unless otherwise stated. The scales printed in the Trinity Guildhall repertoire books have been provided to assist the student. Starting notes may be moved an octave higher or lower to accommodate the range of the instrument. Tempi for scales A minimum pace is required, increasing gradually grade by grade: Grade Tempo Initial d = 60 Grade 1 d = 70 Grade 2 d = 80 Grade 3 d = 90 Grade 4 d = 100 Grade 5 d = 110 Chord Knowledge (from memory) All chords listed for the grade must be prepared, but the examiner will ask for a selection only. Whenever possible chords should be performed at the octave indicated in the book; however candidates should use their judgement to choose an appropriate alternative octave if necessary. 24

25 Electronic Keyboard Glossary of chords The following examples indicate the meaning of the chord requirements across Initial Grade 5. C Cm C7 Cû Cº Cº7 CŒ Š7 Cm7 C Œ Š7 C6 Cm6 C9 Cm9 C7(9) Cm7(9) C&7 C&Œ Š7 C7(b5) Cm7(b5) C 4 C 2 C7(b9) Exercises (music may be used) At Initial to Grade 5, the candidate must prepare all three exercises, which aim to cover the following keyboard techniques: 1. Bass clef reading and finger dexterity 2. Arpeggios and chord use 3. Using keyboard functions 25

26 Electronic Keyboard Initial Subject code: EK Pieces (3 x 22 marks) Three pieces are to be played, with at least one from each group, to form a balanced programme. Inclusion of one or more pieces using either own interpretation or improvisation is not obligatory (see page 23). Instead of one piece, candidates may offer their own composition (see page 7). Group A The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work Initial published by Trinity Guildhall: Trad. arr. Smith Trad. arr. Proudler di Capua arr. Clarke Trad. arr. Litten Trad. arr. Proudler Early One Morning Twinkle Twinkle Little Star* O sole mio The Quartermaster s Store Sloop John B The following alternative pieces are also available: Composer Piece Book Publisher Mozart Don Giovanni The Electronic Keyboard Collection book 1 Trinity Faber Trad. Over the Sea to Skye Keyed up, Initial Alfred Trad. Home on the Range no well-known Folk Songs Schott ED (basic version) Trad. Lavender Blue More Making the Grade, Preparatory Grade Chester arr. Frith Trad. Ye Banks and Braes More Making the Grade, Preparatory Grade Chester arr. Frith Group B The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work Initial published by Trinity Guildhall: Bleicher Proudler Bowie arr. Litten Mizell/Perren/Richards/ Gordy, arr. Clarke Bhamra Salsa rítmico A Jolly Little Rag Space Oddity ABC** Ghazal The following alternative pieces may also be played: Composer Piece Book Publisher Jennings Titanic Theme Keyed up, Initial Alfred & Homer Mercury Bohemian Rhapsody Keyed up, Initial Alfred arr. Litten Parton Jolene Keyed up, Initial Alfred arr. Litten Vance Catch a Falling Star The Complete Keyboard Player, book 6 Music Sales & Pockriss AM69998 * own interpretation ** improvisation 26

27 Electronic Keyboard Initial Technical Work (14 marks) (see page 24) Candidates to prepare all sections [i) to iii)] which are contained in the book Electronic Keyboard Pieces & Technical Work Initial published by Trinity Guildhall. i) Scales (from memory) The following scales to be performed legato, d = 60 and mf, hands separately in piano voice with auto accompaniment off: C major (one octave) A minor (one octave): candidate s choice of either harmonic or melodic or natural minor Pentatonic scale starting on C (5 notes) Example: ii) Chord knowledge (from memory) To be played with the left hand, mf, in piano voice with auto-accompaniment off: Triad of C major and A minor (root position) iii) Exercises (music may be used) Candidates to prepare all three exercises: 1. Pause for Thought 2. Early Riser 3. Major to Minor Supporting Tests (2 x 10 marks) Two tests are to be chosen from: Sight Reading (see page 8) Aural (see page 12) Improvisation (see page 16) Musical Knowledge (see page 19) 27

28 Electronic Keyboard Grade 1 Subject code: EK Pieces (3 x 22 marks) Three pieces are to be played, with at least one from each group, to form a balanced programme. Inclusion of one or more of such pieces using either own interpretation or improvisation is not obligatory (see page 23). Instead of one piece, candidates may offer their own composition (see page 7). Group A The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work Grade 1 published by Trinity Guildhall: Purcell arr. Clarke Trad. arr. Proudler Paganini arr. Fletcher Ponchielli arr. Litten Trad. arr. Smith Rondo from Abdelazer Greensleeves Caprice no. 24 from 24 Caprices* Dance of the Hours from La gioconda Romance de amor The following alternative pieces are also available: Composer Piece Book Publisher Trad. Mango Walk Keyed up, Grade 1 Alfred arr. Litten Hook Gavotte Piano Time Pieces book 2 OUP Group B The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work Grade 1 published by Trinity Guildhall: Trad. arr. Litten Smith Litten Garvey/Potter/Potter/ Turner/Jupp, arr. Proudler Bhamra * own interpretation ** improvisation 28 La bamba Karnak Southern Country** One Day Like This For the Love of Malkauns The following alternative pieces are also available: Composer Piece Book Publisher Bullard Feeling Fine Piano Time Pieces book 2 OUP Freedman Rock Around the Clock Making the Grade Keyboard Grade 1 Chester arr. Fletcher Howard Fly me to the Moon The Complete Keyboard Player book 6 Music Sales arr. Baker AM69998 Jacobs Summer Nights Keyed up, Grade 1 Alfred & Casey Leiber I want to be free Keyed up, Grade 1 Alfred & Stoller Sting Fields of Gold The Complete Keyboard Player Wise book 2 (new revised edition) The Velvet There She Goes The Complete Keyboard Player Wise Underground book 2 (new revised edition)