Keyboards, Organ & Accordions Syllabus COMPLETE

Keyboards, Organ
& Accordion Syllabus

Trinity Guildhall Examinations
89 Albert Embankment
London SE1 7TP UK
T + 44 (0)20 7820 6100
F + 44 (0)20 7820 6161
E music@trinityguildhall.co.uk
www.trinityguildhall.co.uk
Patron HRHThe Duke of Kent KG
Director of Music & Performing Arts Examinations
Mark Stringer GMusRNCM(Hons) FTCL ARCO(CHM) ARCM PGCE FRSA
Chief Examiner in Music
Keith Beniston GLCM FLCM PGCE FRSA
Syllabus Manager
Benjamin Norbury MA LTCL
Copyright Trinity College London 2006
Published by Trinity College London
Fourth impression, June 2007
2
Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Grade examinations
Structure, duration & marking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Pieces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Supporting Tests:
Sight Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Aural . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
Improvisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
Musical Knowledge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Requirements:
Electronic Keyboard (subject code EK) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Digital Keyboard (subject code DK) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
Electronic Organ (subject code EO) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
Organ (subject code OGN) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
Accordions (subject codes FBA/SBA) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
Ensemble Certificate examinations
Structure, duration & marking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113
Obtaining music publishers contact details . . . . . . . . . . . . . . . . . .114
Trinity Guildhall publications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118
Keyboards, Organ & Accordion Syllabus
20072010
Introduction
This syllabus contains full details of Grade and Certificate examinations in Electronic Keyboard, Digital
Keyboard, Electronic Organ, Organ, Classical free-bass and Standard-bass Accordion. It is valid from
1 January 2007 to 31 December 2010, and supersedes all previous syllabuses. A new syllabus will be
published in August 2010 with requirements from 2011.
Note that there will be no overlap allowed in 2007 from any previous grade practical syllabus from
either Trinity or Guildhall. This is due to the very significant changes introduced to the structure and
mark schemes. All candidates must use the new 2007 repertoire, technical work and supporting tests.
When this syllabus is replaced there will be an overlap for the first session only of 2011, during which
candidates will be able to offer pieces from the 20072010 lists.
Full details of entry procedures, examination regulations and marking criteria are given in a separate
leaflet Information and Regulations which is available direct from Trinity Guildhalls Head Office, Local
Representatives or from our website www.trinityguildhall.co.uk. This leaflet is updated annually, and
candidates should ensure that they consult the current version for the year of entry.
Acknowledgements
The invaluable contributions made to the development of this syllabus and related support materials by
all teachers, candidates, examiners and colleagues who have had an input over the course of
consultations, field-testing and production are gratefully acknowledged. In addition to the thanks
offered to the entire panel of Trinity Guildhall examiners and their wealth of experience, special mention
must be made of Natalie Bleicher, Matthew Brailsford, Phillip Buttall, Helen Capper, Alan Clarke, Paule
Clarke, James Griffiths, Kirsty Hetherington, Abi McElheron, Owen Murray, Roger Pope, David Sharpe,
Jeremy Ward and Claire Webb.
Benjamin Norbury Syllabus Manager
3
Duration
Grade Examinations
Structure
Trinity Guildhalls 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 from 2007 will be 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.
4
Level Duration in minutes
Keyboards & Organs Accordions
Initial 13
Grade 1 15 13
Grade 2 15 13
Grade 3 15 13
Grade 4 20 18
Grade 5 20 18
Grade 6 25 23
Grade 7 25 23
Grade 8 30 28
Marking
From 2007 the maximum marks available for all graded keyboard, organ and accordion
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
www.trinityguildhall.co.uk
Grade Examinations
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 first-
time 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 68 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 examiners reference.
Music and copies
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 may
use any reputable edition of the works listed in the syllabuses; publishers details are given mainly for
the purpose of identifying works and also as suggestions of suitable editions. Candidates should always
try to obtain reliable and authoritative editions of all music, but should note that variations in
worldwide availability may occasionally be encountered; candidates are advised always to check the
contents of books before purchase. Publishers contact details are given at the end of this syllabus.
Candidates must perform from published material in the examination room; photocopies of complete
pieces may not be used in examinations. If candidates or accompanists perform from photocopies
unauthorised by the publisher (other than short extracts to facilitate page-turning), no marks will be
awarded for that item.
Examiners 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 and
destroyed after the examination.
7
Grade Examinations
Own Composition
Candidates in Electronic Keyboard, Electronic Organ, Organ, Classical (free-bass) Accordion and Standard-
bass Accordion 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 the 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 candidates 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 candidates own hand (or be produced and printed
by the candidate using a score-writing program). At InitialGrade 5, the composition may be presented in
any coherent form of notation. For compositions at Grades 68 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. Sixteen marks are awarded for the
performance and six for clarity of explanation, structure and presentation.
The specific requirements are listed below.
Composition requirementsgrade by grade:
Grade Duration Requirements
Initial 12 minutes A piece containing sudden changes
1 1
1
/
2
2
1
/
2
minutes A piece containing sudden dynamic contrast
2 1
1
/
2
2
1
/
2
minutes A piece contrasting legato and staccato passages
3 1
1
/
2
2
1
/
2
minutes A piece which explores dynamic contrast (keyboards & organs)
or starts quietly and simply, and builds to a loud, grand climax
(accordions)
4 2
1
/
2
3
1
/
2
minutes A piece with long melodic phrases
5 2
1
/
2
3
1
/
2
minutes A piece containing contrasting voices and styles (keyboards &
organs) or containing many wide leaps (accordions)
6 3
1
/
2
4
1
/
2
minutes A piece using a variety of clusters (keyboards & organs) or
contrasting material in the high and low registers (accordions)
7 3
1
/
2
4
1
/
2
minutes A piece featuring contrary movement (keyboards & organs)
or several different tuplets (within the same pulse), e.g.
duplets, triplets etc. (accordions)
8 4
1
/
2
5
1
/
2
minutes A piece featuring at least two contrapuntal voices (keyboards
& organs) or featuring a variety of instrumental effects
(accordions)
Sight Reading Parameters for Electronic Keyboard
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 fullyfingered chords
without rhythm/style, at the candidates choice. Specimen sight reading tests for Electronic Keyboard
and Electronic Organ are available to purchase (see page 118). Specimen sight reading tests for
Accordions are available to download free-of-charge from the website: www.trinityguildhall.co.uk
Keys
Time
signatures
Chords
Note
values
Note
patterns
Dynamics Other
Initial C major
2
. and -
mf
five-finger
hand
position
only
Grade 1 as above plus
4
I,V
plus .
and .
f
five-finger
hand
position
(RH not
tonic)
Grade 2 plus A minor plus
3
plus IV
plus - and
,
p
Change of
hand
position
within
octave
Grade 3
plus F and G
major;
D minor
(including
C#) as above
plus VI
plus
.
, .
and .
. - .
as above
Grade 4
plus D
major;
B and E
minor
plus V
7
as above as above
two-part
right hand
Grade 5
plus A and
Bb major;
C minor
plus
6
plus . and
syncopated
quavers
three-part
right hand
9
Keys
Time
signatures
Chords
Note
values
Note
patterns
Dynamics Other
Grade 6
A and Eb
major;
F# and C
minor
plus
8
all common
chords
all common
note values
and rests
reasonably
complex
rhythms
plus mp,
cresc. and
dim.
right-hand
chords of
three notes
or more;
voice and
style at the
candidates
discretion
Grade 7
E and Ab
major,
C# and F
minor
plus
9
plus
chromatic
features;
elements of
stylistic
perception
Grade 8
B and Db
major;
G# and Bb
minor
plus

and
changing
time
signatures
plus
duplets
as above
Grade Examinations
Sight Reading Parameters for Digital Keyboard
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Grade Examinations
12
Sight Reading Parameters for Accordions
Time
signatures
Keys
Tempo
markings
Note values Dynamics Other
Grade 1 4 3
C, G major
A, D minor
Allegro,
moderato,
andante
and English
equivalents
. - -
.
.
plus
, -
mf
Hands together,
simple one note to
two three or four
combinations,
simple anacrusis
simple slurs
Grade 2 2 0
plus
F, D major
E minor
Allegretto plus .
- f p
simple ties
staccato
simple phrasing
Grade 3 8 6
plus
Bb, A, major
rit.
rall.
plus
,
.
diminuendo
crescendo
tenuto
Grade 4 /
plus
Eb major
B, G, F
#
, C minor
simile
plus triplets
and
wide
ranging
plus accents
and sf
Grade 5 %
plus
Ab, E, Db, B major
C
#
, F, G
#
, Bb
minor
plus
metronome
marks
plus double
dots
as above
Grade 6 1 9
as above
accel.
plus
-
and
acciaccatura
varied articulation
Grade 7
Time
signature
change,
e.g.
3
to
2
as above
plus
appoggiatura
different
articulation in
each hand
Grade 8
Time
signatue
change,
e.g.
3
to 8
plus grace
notes and 2
against 3
as above
13
Aural
Four tests are given for each grade (two for Grade 8), designed to develop the candidates 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 25 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 4-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 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.
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 Examinations
14
Grade Examinations
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 perfect fourth
a minor second a perfect fifth
a major second a minor sixth
a minor third a major sixth
a major third
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;
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.
15
Grade Examinations
2. To identify the interval formed by 2 notes selected by the examiner from the melody line, played
consecutively, as:
a unison a perfect fifth
a minor second a minor sixth
a major second a major sixth
a minor third a minor seventh
a major third a major seventh
a perfect fourth 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
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.
16
Grade Examinations
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
sub-dominant 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 candidates 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.
17
Grade Examinations
Improvisation
The improvisation tests explore the candidates 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 candidates 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 melodic: based on a series of pitches
or rhythmic: based on a rhythmic idea
or chordal: based on a set of chord symbols.
The parameters are given in the chart on page 19.
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 overleaf.
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 to 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, organ and accordion players may choose to perform the
improvisation as a solo, which must incorporate the chord pattern.
18
Written Keys for Chordal Tests
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, organ and accordion players 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 autoaccompaniment may be used with discretion.
Grade Examinations
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
Classical (free-bass)
Accordion/ Standard-
bass Accordion
C, F & G major
A, D, E, G&B minor
C, F, G, Bb, D, Eb & A major
plus relative minors
19
Grade Examinations

Grade
Melody tests:
Max. range of
given motif
Melody tests:
Suggested length
of response
Rhythm tests
Rhythm tests:
Suggested
length of
response
Chord tests
Phrase played round twice
Initial 3 stepwise notes
In 4
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

24 bars
In 4
4

2 bars
crotchets
minims, quavers

approx 2 bars
4 bar phrase
Major key
I/V
1 chord per bar
2
4 notes range
up to 5
th

As above with
dots
4 bar phrase
Major key
I/IV/V
1 chord per bar
3
5 notes
range up to
6th
approx 4 bars
As above with
ties
approx 4 bars
4 bar phrase
Major key
I/IV/V/ii
1 chord per bar
4
Octave
(diatonic)

4 bar phrase
Minor key
I/IV/V
1 chord per bar
5
Octave (simple
chromaticism)
Two phrases
approx 48 bars
each
In 2
4
3
4
or 44
4

plus semiquavers

Two phrases
approx 48 bars
each
4 bar phrase
Minor key
I/IV/V/vi
1 chord per bar
6
Plus 6
8

8 bar phrase
Major key
I/ii/IV/V and 7ths
1 chord per bar
7
34 phrases
Plus triplets
3-4 phrases
8-12 bars
812 bar phrase
Major or Minor key
I/ii/III/iv/V/VI and 6ths/7ths
1 or 2 chords per bar
8
Twelfth
(chromatic)
46 phrases
Plus 7
8

46 phrases
1216 bars
1216 bar phrase
Major or Minor key

All chords 6ths/7ths/9ths &
dim/aug
Simple suspensions
1 or 2 chords per bar
Parameters for Improvisation Tests
20
Grade Examinations
Musical Knowledge (Initial to Grade 5 only)
These questions test the candidates 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

, 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.
21
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
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
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 68
Musical Knowledge questions are not available at these grades.
22
Instruments
Instruments must have at least the following specification:
Minimum 4 octaves with full-size keys (InitialGrade 1); 5 octaves full-size keys (Grades 25).
Minimum 8-note polyphonic capacity with a range of individual voices and styles.
Dual voice (from Grade 2) and Voice change memory (from Grade 3) are recommended. See below.
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 candidates 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.
Voices and Styles
It is recognised that instruments vary and that not all voices and styles are equal. If the candidate feels
that the voices and styles on their instrument are not wholly appropriate they may use any musically
acceptable alternative. The change must not substantially alter the character of the piece (e.g. changing
Clarinet/March to Electric Guitar/Ballad etc.), and any changes should be limited to Groups B and C.
Dual voice, Voice changes, use of volume, Accompaniment B, etc.
The ability to add Dual voice and to program Voice changes is important in building a musically
interesting work and it is essential that the candidate develops their technique in this area. Dual voice is
recommended from Grade 2, although not required in every piece. The ability to program changes of
voice at the touch of a button becomes desirable from Grade 3 onwards, and necessary by Grade 5 if the
full detail of the music is to be realised.
The use of the 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
This may be used, sparingly, in Groups A and B only. It is not to be used in Group C. While it is recognised
that auto intro/ending is an integral part of the instrument, careful thought must be 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
unbalanced. Any use should be confined to intros and endings not exceeding 4 bars.
Marks will be deducted for inappropriate or excessive use, or 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).
Electronic Keyboard Subject code: EK
23
Electronic Keyboard
Chords
Candidates have the choice of using either single-fingered or fingered chords, unless stipulated
otherwise in the syllabus (e.g. fingered chord scales), but will find that by Grade 2 or 3 the use of
fingered chords becomes, in many cases, the simplest method of producing the correct harmony.
Candidates must provide their own instrument, stand and power extension lead (where necessary).
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 Voices and Styles, above).
Group B
Group B works incorporate modern styles such as Latin Dance, Pop, Jazz and Film Music. The aim of
this group is to develop the candidates rhythmic ability and their use of the keyboard facilities. The
candidate may, if they so wish, change the voice or style as long as the result is musically acceptable.
Marks will be deducted for inappropriate choice of rhythm, style or tempo.
Group C
Own interpretation
The aim of this section is to create a personal arrangement with as much artistic and musical flair as
possible. Voice and Style are left to the candidates discretion and the work must be adapted in some
way, such as by 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 be used in this group, although the candidate's own
manual intro/ending may be used. Marks will be deducted for use of auto intro/ending. If the candidate
chooses a piece from the list which is not published by Trinity, the suggested Voice and Style are to be
ignored and the piece varied accordingly.
Structured composition
This option (if taken) must be 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 candidates
intentions. A copy should be handed to the examiner at the start of the examination. The chordal
outline given in the music should be used as the basis for the composition, with extra marks being
awarded for the inclusion of other harmonies and for the candidates imaginative flair.
Tempo
Many of the works now include a range of tempi to be used at the candidates discretion. Marks will be
deducted if the candidate chooses a tempo 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 be fluent. Marks will be deducted
for unnecessary delay in setting up for the examination, protracted delay in between 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.
24
Electronic Keyboard
Tempi for scales and arpeggios
A minimum pace is required, increasing gradually grade by grade:
Grade Scales Arpeggios
Initial
d = 72
Grade 1
d = 72
Grade 2
d = 72 d = 60
Grade 3
d = 84 d = 72
Grade 4
d = 96 d = 84
Grade 5
d = 108 d = 90
Technical Work
From Grade 1 scales are to be played hands together. From Grade 3 scales in swing are included and
the candidate can choose to employ swing rhythm. Marks will be deducted if this causes an
unnecessary delay in fluency.
The Fingered Chord Scale in Grades 1 to 3 does not have to be from memory; all other parts of
Technical Work must be 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 treble and bass clefs.
The scales given at the front of each book have been written to assist the student. The starting
note may be moved an octave higher or lower to accommodate the range of the instrument.
All technical work is printed, together with selected repertoire, in the corresponding grade book
from the series Electronic Keyboard from 2003 (InitialGrade 5) published by Trinity Guildhall (see
page 118).
Playing from memory All requirements must be performed from memory unless stated otherwise.
25
Electronic Keyboard Initial Subject code: EK
Pieces (3 x 22 marks)
Three pieces are to be played, one from each Group, to form a balanced programme. Candidates at Initial
level may not offer their own composition instead of a third piece.
Group A
The following pieces are contained in the book Electronic Keyboard Initial from 2003 published by Trinity
Guildhall:
Brahms Lullaby
Dvo rk Largo from New World Symphony
Haydn Theme from the Surprise Symphony
Strauss Kaiser Waltz
Trad. Chiapenecas
The following alternative pieces are also available:
Composer Piece Book Publisher
Borodin Polotsvian Dance The Electronic Keyboard Collection book 1 Trinity Faber
Delibes Copplia The Electronic Keyboard Collection book 1 Trinity Faber
Mozart Don Giovanni The Electronic Keyboard Collection book 1 Trinity Faber
Group B
Guildhall:
Lloyd Webber Close Every Door
Moss Floral Dance
Trad. Keel Row
Ward Starter Rumba
The following alternative pieces may also be played:
Milne Tango for Trampoline The Electronic Keyboard Collection book 1 Trinity Faber
Ward Sunset The Electronic Keyboard Collection book 1 Trinity Faber
Wedgwood Swinging Slippers! The Electronic Keyboard Collection book 1 Trinity Faber
Group C
Guildhall:
Trad. Ho La Hi
Trad. Kum Ba Yah
Trad. Michael Row The Boat
Trad. Oh Susannah
26
Composition
Project War of the Galaxies The Electronic Keyboard Collection book 1 Trinity Faber
Trad. Danny Boy, no. 13 34 Well-known Folk Songs Schott ED 12663
Trad. Home On The Range,
no. 34 [basic version] 34 Well-known Folk Songs Schott ED 12663
Trad. I Gave My Love A Cherry,
no. 5 34 Well-known Folk Songs Schott ED 12663
Trad. Little Brown Jug, no. 33 34 Well-known Folk Songs Schott ED 12663
Trad. Scarborough Fair The Electronic Keyboard Collection book 1 Trinity Faber
Trad. Skip To My Lou The Electronic Keyboard Collection book 1 Trinity Faber
Trad. Yankee Doodle, no. 27 34 Well-known Folk Songs Schott ED 12663
Technical Work (14 marks) (see page 24)
Both sections i) and ii) to be prepared from memory.
i) Scales
The following scales to be performed hands separately; legato and mf:
C major (one octave)
A harmonic minor (one octave)
ii) Arpeggios
The following arpeggios to be performed hands separately; legato and mf:
A minor (one octave)
Supporting Tests (2 x 10 marks)
Two tests are to be chosen from:
Sight Reading (see page 8)
Aural (see page 13)
Improvisation (see page 17)
Musical Knowledge (see page 20)
Electronic Keyboard Initial
27
Electronic Keyboard Grade 1 Subject code: EK
Three pieces are to be played, one from each Group, to form a balanced programme. Instead of the Group
C item, candidates may offer their own composition (see page 7).
Group A
The following pieces are contained in the book Electronic Keyboard Grade 1 from 2003 published by
Trinity Guildhall:
Brahms Waltz
Elgar Pomp And Circumstance
Verdi Anvil Chorus
from Il Trovatore
Chopin Prelude The Complete Keyboard Player, Classics Wise AM67661
Handel Air from the Water Music Electronic Keyboard Cocktails
Wedding Music Cramer AM90504
Holst World In Union Easiest Keyboard Collection Wise AM955801
Sports Themes
Paganini Theme The Complete Keyboard Player, Classics Wise AM 67661
Louiguy La Vie en Rose Big Band Hits (The Easy Keyboard Library) Faber 19098
Tchaikovsky Swan Lake The Electronic Keyboard Collection book 1 Trinity Faber
Ward Tibetan Tune The Electronic Keyboard Collection book 1 Trinity Faber
Group B
Trinity Guildhall:
Lloyd Webber No Matter What
Trad. La Cucharacha
Trad. The Campbells Are Coming
Andersson,
Anderson &
Ulvaeus I Do, I Do, I Do, I Do, I Do The Complete Keyboard Player, book 9 Wise AM78999
Andersson,
Anderson &
Ulvaeus Knowing Me Knowing You The Electronic Keyboard Collection book 1 Trinity Faber
Buckingham,
McVie, McVie,
Fleetwood The Chain Easiest Keyboard Collection Wise AM955801
& Nicks Sports Themes
Lloyd Webber Music Of The Night The Electronic Keyboard Collection book 1 Trinity Faber
Trad. Samba Ll Keyboard Klangwelt: Latin-Festival Schott ED 9909
Lloyd Webber
& John All The Love I Have Andrew Lloyd Webber Really Useful Company
Electronic Keyboard RUG 37438
28
Electronic Keyboard Grade 1
Ward In The Shadows The Electronic Keyboard Collection book 2 Trinity Faber
Ward Soulful Sax The Electronic Keyboard Collection book 1 Trinity Faber
Group C
Trinity Guildhall:
Trad. British Grenadiers
Trad. Country Gardens
Trad. Lord Of The Dance
Trad. Turkey In The Straw
Ward Comet
Composition
Project Big Band Stand The Electronic Keyboard Collection book 1 Trinity Faber
Composition
Project Caribbean Holiday The Electronic Keyboard Collection book 1 Trinity Faber
Offenbach Can Can The Electronic Keyboard Collection book 2 Trinity Faber
Trad. Alouette The Electronic Keyboard Collection book 1 Trinity Faber
Ward Trumpet Trip The Electronic Keyboard Collection book 1 Trinity Faber
All sections i) to iii) to be prepared. Sections i) and ii) must be performed from memory.
i) Scales
The following scales to be performed hands together; legato and mf:
F and G major (one octave)
A and D harmonic minor (one octave)
ii) Arpeggios
F and G major (one octave)
A and D minor (one octave)
iii) Fingered Chord Exercise (memory optional)
The following to be performed:
Scale of C major with fingered chords (one octave)
Aural (see page 13)
29
Three pieces are to be played, one from each Group, to form a balanced programme. Instead of the
Group C item, candidates may offer their own composition (see page 7).
Group A
Trinity Guildhall:
Smetana Ma Vlast
Strauss Tritsch Tratsch Polka
Trad. Dark Eyes
Gilbert & Pirates Chorus The Complete Keyboard Player, Classics Wise AM 67661
Sullivan
J Strauss II You And You The Electronic Keyboard Collection book 2 Trinity Faber
Mozart Theme from
Symphony No. 40 The Electronic Keyboard Collection book 3 Trinity Faber
Sherman & Chim Chim Cher-ee, The Complete Keyboard Player, Wise AM65962
Sherman from Mary Poppins Film & TV Themes
Trad. Swing Low Sweet Chariot Easiest Keyboard Collection -
Sports Themes Wise AM955801
Group B
Trinity Guildhall:
Fanciulli &
Nisa Guaglione
Trad. Yellow Bird
Ward Orlas Treat
Andersson
& Ulvaeus Super Trouper The Electronic Keyboard Collection book 2 Trinity Faber
Barroso Brasil Keyboard Klangwelt: LatinFestival Schott ED 9909
Lloyd Webber Memory The Electronic Keyboard Collection book 2 Trinity Faber
Lloyd Webber
& Black Next Time You Andrew Lloyd Webber Really Useful Company
Fall In Love Electronic Keyboard RUG 37438
Lloyd Webber,
Hart & Stilgoe Think Of Me Andrew Lloyd Webber Really Useful Company
Lloyd Webber
& Steinman The Vaults Of Heaven Andrew Lloyd Webber Really Useful Company
Trad. La Bamba Keyboard Klangwelt: Latin-Festival Schott ED 9909
Velaquez Besame mucho Keyboard Klangwelt: Latin-Festival Schott ED 9909
30
Ward Detroit Soul The Electronic Keyboard Collection book 3 Trinity Faber
Wedgwood Latin Lady The Electronic Keyboard Collection book 2 Trinity Faber
Group C
Trinity Guildhall:
Lloyd Webber Love Changes Everything
Trad. Kalinka
Ward The Reef
Blake Walking In The Air The Electronic Keyboard Collection book 2 Trinity Faber
Composition
Project Greek Dance The Electronic Keyboard Collection book 3 Trinity Faber
Composition
Project Indian Summer The Electronic Keyboard Collection book 2 Trinity Faber
Composition
Project Theme Of Peace The Electronic Keyboard Collection book 2 Trinity Faber
Lennon &
McCartney All My Loving The Complete Keyboard Player, Wise AM952677
Greatest Hits
Simon &
Garfunkel The Sound Of Silence The Complete Keyboard Player, Wise AM952677
Greatest Hits
All sections i) to iii) to be prepared. Sections i) and ii) must be performed from memory.
i) Scales
The following scales to be performed hands together; mf, and legato or staccato as requested by the
examiner:
A and D major (two octaves)
B and E harmonic minor (two octaves)
Contrary motion scale of C major (two octaves, legato only)
ii) Arpeggios
A and D major (two octaves)
B and E minor (two octaves)
iii) Fingered Chord Exercise (memory optional)
Scale of G major with fingered chords (one octave)
Sight Reading (see page 8); Aural (see page 13)
Improvisation (see page 17); Musical Knowledge (see page 20)
31
Group A
Trinity Guildhall:
Bizet Toreadors Song
Denza Funiculi, funicula
Grieg Anitra's Dance
Gordon The Complete Keyboard Player,
Down In The Glen Favourite Songs of Scotland Wise AM965701
Lloyd Webber Dont Cry For Me Argentina The Electronic Keyboard Collection book 3 Trinity Faber
Ruiz Sway Easiest Keyboard Collection Latin
Wise AM955834
Ward On The Savannah The Electronic Keyboard Collection book 3 Trinity Faber
Ward Under Arrest The Electronic Keyboard Collection book 3 Trinity Faber
Wedgwood Recharge The Electronic Keyboard Collection book 3 Trinity Faber
Yraider La Paloma The Complete Keyboard Player, Classics Wise AM67661
Group B
Trinity Guildhall:
Mancini Pink Panther
Meacham American Patrol
Ward Sunday Stroll
Ben Mas que nada Easiest Keyboard Collection
(Say no More) Sports Themes Wise AM955801
Jobim The Girl From Ipanema Keyboard Klangwelt: Latin-Festival Schott ED 9909
Lennon & Eleanor Rigby The Complete Keyboard Player,
McCartney Greatest Hits Wise AM952677
Lennon & When Im Sixty-Four The Complete Keyboard Player,
McCartney book 3 Wise AM91385
Menken A Whole New World The Complete Keyboard Player,
Greatest Hits Wise AM952677
Moreira, Engels Samba de Janeiro
& Zenker [complete with
percussion intro] Keyboard Klangwelt: Latin-Festival Schott ED 9909
Prado Mambo no. 5 Keyboard Klangwelt: Latin-Festival Schott ED 9909
32
Trad. Cielito Lindo Keyboard Klangwelt: Latin-Festival Schott ED 9909
Washington When You Wish The Complete Keyboard Player, Wise
& Harline Upon A Star book 4 AM68552
Lloyd Webber,
Black, Hampton Andrew Lloyd Webber Really Useful Company
& Powers With One Look Electronic Keyboard RUG 37438
Lloyd Webber, Andrew Lloyd Webber Really Useful Company
Hart & Stilgoe Angel Of Music Electronic Keyboard RUG 37438
Wonder Isnt She Lovely The Complete Keyboard Player, Music Sales
book 3 AM91385
Group C
Trinity Guildhall:
Bart Who Will Buy
Holst Theme from Jupiter
Ward Dance Track Wave
Andersson Fernando The Complete Keyboard Player, Wise AM91095
Abba
Hermosa Lambada Keyboard Klangwelt: Latin-Festival Schott ED 9909
Lloyd Webber Music Of The Night The Complete Keyboard Player, Wise AM963920
Best Songs from the Shows
Trad. Christmas Cracker Medley The Electronic Keyboard Collection book 3 Trinity Faber
Trad. Hogmanay Party The Electronic Keyboard Collection book 3 Trinity Faber
All sections i) to iv) to be prepared. Sections i) to iii) must be performed from memory.
i) Scales
examiner:
E, Bb and Eb major (two octaves)
B and C harmonic minor (two octaves)
Contrary motion scale of A major (two octaves, legato only)
ii) Arpeggios
The following arpeggios to be performed hands together, legato and mf:
E, Bb and Eb major (two octaves)
B and C minor (two octaves)
33
iii) Swing Rhythm Scale
The following scale to be performed hands together, mf, and in swing rhythm; additional use of rhythm
setting at candidate's choice
Scale of C major (two octaves)
iv) Fingered Chord Exercise (memory optional)
Scale of F major with fingered chords (one octave)
Aural (see page 13)
34
Group A
Trinity Guildhall:
Brahms Hungarian Dance no. 5
Delibes Flower Duet from Lakm
Fonteyn Pop Looks Bach
Beethoven Turkish March Electronic Keyboard Cocktails Cramer 90550
(The Ruins of Athens) Classics
Faur Pavane Easiest Keyboard Collection Wise AM955801
Sports Themes
Goodwin 633 Squadron Instrumental Classics Faber 2338a
(Easy Keyboard Library)
Mozart Romance from Eine Electronic Keyboard Cocktails Cramer 90504
Kleine Nachtmusik Wedding Music
Stanley The Bluebell Polka The Complete Keyboard Player, Wise AM965701
Favourite Songs of Scotland
Strauss Radetsky March The Complete Keyboard Player, Wise AM67661
Classics
Tchaikovsky Theme from The Complete Keyboard Player, Wise AM67661
Romeo and Juliet Classics
Group B
Trinity Guildhall:
Andersson Money, Money, Money
Barry/
Duran Duran A View To A Kill
Lloyd Webber On This Night Of A Thousand Stars
Bernstein Somewhere The Complete Keyboard Player, Wise AM 89550
Anthology
Van Heusen Come Fly With Me Big Band Hits (The Easy Keyboard Library) Faber 19098
Garland In The Mood Big Band Hits (The Easy Keyboard Library) Faber 19098
Hawkins,
Johnson, The Complete Keyboard Player, Wise AM65970
Dash & Feyne Tuxedo Junction Jazz & Blues
35
Hudson,
De Lange & The Complete Keyboard Player,
Mills Moonglow Jazz & Blues Wise AM65970
Jobim &
Mendoca Desafinado Keyboard Klangwelt: Latin-Festival Schott ED 9909
Group C
Trinity Guildhall:
Arlen Over The Rainbow
Cowles Scaling The Blues
Mancini Theme from The Thorn Birds
Andersson I Know Him So Well The Complete Keyboard Player, Wise AM952677
Greatest Hits
Bacharach What The World The Complete Keyboard Player, Wise AM952677
Needs Now Greatest Hits
Trad. Nursery Rhyme Medley The Complete Keyboard Player, Wise AM73057
Children's Songs
All sections i) to iv) to be prepared, and performed from memory.
i) Scales
examiner:
B and Ab major (two octaves)
F, C# and G# harmonic minor (two octaves)
Contrary motion scale of F major (two octaves)
Contrary motion scale of A harmonic minor (two octaves)
Chromatic scale (two octaves, starting on any black note requested)
ii) Arpeggios
The following arpeggios to be performed hands together; mf, and legato or staccato as requested by the
examiner:
B and Ab major (two octaves)
F, C# and G# harmonic minor (two octaves)
36
The following scales to be performed hands together; mf and legato, and in swing rhythm; additional use
of rhythm setting at candidate's choice
A and E major (two octaves)
C and E harmonic minor (two octaves)
iv) Left Hand Chord Sequence Exercise
Chord sequence in three styles
Aural (see page 13)
37
Group A
Trinity Guildhall:
Charpentier Prelude (from Te Deum)
Elgar Chanson de matin
Souza Washington Post March
J S Bach Air On The G String The Complete Keyboard Player, Wise AM67661
Classics
Fu cik Entry Of The Gladiators Electronic Keyboard Cocktails Marches Cramer 90549
Jessel Parade Of The Complete Keyboard Player, Wise AM73057
The Tin Soldiers Children's Songs
Tchaikovsky Waltz from Electronic Keyboard Cocktails Cramer 90550
Serenade for Strings Classics
Williams Evergreen The Complete Keyboard Player, Songbook 6 Wise AM69998
Group B
Trinity Guildhall:
Coates Dambusters March
Dion My Heart Will Go On (from Titanic)
Martin Rumba
Aznavour She The Complete Keyboard Player, Songbook 6 Wise AM69998
Bernstein I Feel Pretty The Complete Keyboard Player, Songbook 6 Wise AM69998
Jobim Wave The Complete Keyboard Player, Jazz & Blues Wise AM65970
Kern Smoke Gets In Your Eyes The Complete Keyboard Player, Songbook 8 Wise AM78981
Trad. Tico Toco Keyboard Klangwelt: LatinFestival Schott ED 9909
Group C
Trinity Guildhall:
Berlin Puttin' On The Ritz
Trad. Folk Song
Ward Scarlet Bossa
38
Albert & Gaste Feelings The Complete Keyboard Player, Wise AM952677
Greatest Hits
Andersson Super Trouper The Complete Keyboard Player, Wise AM91095
Abba
Trad. Scottish Jig Melody The Complete Keyboard Player, Wise AM965701
Favourite Songs of Scotland
All sections i) to iv) to be prepared. Sections i)iii) must be performed from memory.
i) Scales
examiner:
Major scales starting on all white notes (two octaves, straight or swing rhythm as requested)
Bb and Eb and C# harmonic minor (two octaves)
Contrary motion scales of A and Bb major (two octaves)
Contrary motion scale of A and Bb harmonic minor (two octaves)
Chromatic scale in contrary motion (two octaves, starting on any note requested)
ii) Arpeggios
The following arpeggios to be performed hands together, mf, and legato or staccato as requested by the
examiner:
Major arpeggios starting on all white notes (two octaves)
Bb and Eb and C# minor (two octaves, straight or swing rhythm as requested)
The following scales to be performed hands together; mf and legato, and in swing rhythm; additional use
of rhythm setting at candidate's choice
Major scales starting on all white notes (two octaves)
C and E harmonic minor (two octaves)
iv) Exercise
Grade 5 Exercise (from Electronic Keyboard Grade 5 from 2003) Trinity Guildhall
Aural (see page 13)
39
Instruments
Instruments must have at least the following specification:
Range Minimum 61 keys (5 octaves)
Keyboard Full-size keys with touch sensitivity (to be used for all tests and pieces), and
external sustain pedal where needed.
Capability 12-note polyphonic capacity
at least eight registration memories to store orchestral changes and settings
in memory (using a disk drive or internal memory) when the instrument is
unplugged, so that they can be retrieved in the examination for both pieces
and other tests.
key-split function with the facility to split at different points on the keyboard
.
to ensure that lower right hand notes are not hindered by the split point.
the ability to transpose the section of the keyboard above the split point down an
octave so that the right-hand part can be played an octave higher than written.
A substantial variety of voices and styles; the range of voices and styles used
will depend on the instrument and appropriate alternatives may be employed at
the discretion of the candidate.
Instruments with facilities exceeding these requirements, including those with MIDI capability, are
permitted. It must be stressed that all pieces and tests will be assessed on the musicality of the
candidates performance and not on the capacity of the instrument itself.
Candidates must provide their own instrument, stand and power lead(s).
Many of the pieces are written to incorporate the use of single-fingered chords, thus freeing the left
hand to make adjustments to volume and voice. Provided such adjustments can be otherwise
accommodated, fully fingered chords may be used, except where otherwise stated.
Glossary of Chords
The following examples show the meaning of the chord symbols used in pieces published in Digital
Keyboard from 2000. It is not intended that these examples represent the way each chord must be
arranged: candidates should use their judgement to choose spacing and arrangement of notes that are
appropriate for the style/voice used and the musical context.
Digital Keyboard Subject code: DK
C6 Cm6 C 7 Cm7 5 C7sus4 C9 C 9 C13
C Cm C C+ Csus4 C7 C C7/ G
40
Digital Keyboard
Pieces
Versatility is required to utilise fully the complex capabilities of the digital keyboard. At this level,
therefore, the candidates performance should demonstrate their command of the instruments features
through creative engagement with the material.
To this end, the pieces published by Trinity in Digital Keyboard from 2000 include suggestions for the
performance and interpretations of the pieces in that volume. The following notes are intended to help
candidates with the development of their own responses to material not published by Trinity and are
suggestions only, and not requirements.
Group A pieces explore the candidates ability to play a melodic bass line and rhythm in the left hand,
coordinated with melody and chords in the right.
Grade 6
Song for Guy/Sad songs say so much
Suggested voice: Electric Bass (left hand). The right hand plays the melody one octave higher than
written but transposed an octave lower using transposition function for ease of
playing. Voices can change or mix according to the candidates creativity and
musicianship, and extemporizations are encouraged though not obligatory.
Suggested style: Mambo. Candidates may create their own rhythms and fill-ins where appropriate.
Use the fade-out or rhythm stop function to the end.
Key split: LH: B
2
and below; RH: C
2
and above (Song for Guy); LH: F#
2
and below; RH: G
2
and above (Sad songs say so much)
Grade 7
Angels
Suggested voice: Modern Electric Piano and Strings. To be played as written using external sustain
pedal.
Suggested style: Using the auto play chord function, select Pianist Mode where the entire
keyboard can be used to specify auto play chords while playing the score as
written. Thus, the bass line and rhythm are carried by the auto play chord
function while allowing the implied chords to show forth through the written and
played score.
I'm Still Standing/Little Jeannie
Suggested voice: Electric Bass (left hand). The right hand plays the melody one octave higher than
written but transposed an octave lower using the transposition function for ease of
playing. Voices can change or mix according to the candidates creativity and
musicianship, and extemporizations are encouraged though not obligatory.
Suggested style: Hard Rock (I'm Still Standing) Mambo (Little Jeannie). Candidates should treat the
entire piece as a skeleton score; filling it out with dense registration/orchestration.
Key split: LH: F#
2
and below; RH: G
2
and above
Grade 8
Let me entertain you
Suggested voice: Dance/Analogue Bass (left hand). Full Draw Bar Organ/Rock Organ (chorus but no
Tremolo) for bars 112. Add Tremolo effect to the organ, Modern Electric Piano and
Synth/Space type pads for bars 1320. Bars 2128 as bars 512; Synth/Space type
pads for bars 2936. The right hand should play an amalgamation of the treble clef
41
Digital Keyboard
right hand part, together with the vocal line.
Suggested style: 90s dance. End the piece with right and left hand parts together on the second
quaver of the final bar (rhythm stop).
Key split: LH: F#
2
and below; RH: G
2
and above
Group B pieces explore the traditional digital keyboard technique of full-fingered chords in the left hand
with a melody in the right. Split the keyboard with full chords in the left hand and melody/harmony in
the right, and consider each piece to be a very loose skeleton score which can be filled out with a
choice of sounds, rhythms, fill ins and harmonies in the right hand. The aim is to create a personal
arrangement with as much artistic and musical flair as possible.
Group C pieces explore the candidates creative skills in response to given stimuli, and the application of
these skills to the instrument.
42
Digital Keyboard Grade 6 Subject code: DK
Three pieces are to be played, one from each Group, to form a balanced programme. Candidates may
not offer their own composition in place of a Group C item.
Group A Piece Publisher
John Sad Songs Say So Much (from The Very Best of Elton John) Faber 17524
John Song For Guy (from Elton John Love Songs) Faber 3687A
Group B
Carmichael The Nearness Of You Wise AM936980
(from The Complete Keyboard Player, Dinner Jazz)
Davenport Fever (from The Complete Keyboard Player, Dinner Jazz) Wise AM936980
Dvo rk Humoreske op. 101 no. 7 (from Digital Keyboard from 2000)* Trinity Guildhall
John I Guess Thats Why They Call It The Blues (from Elton John Love Songs) Faber 3687A
Rose, arr. Medley 1-Quickstep (from Ballroom Favourites 2) Faber 17788
* This piece may be performed in the tempo range of d = 5690.
Group C
The following compositions are taken from Digital Keyboard from 2000, published by Trinity Guildhall.
Havanita (Chord sequence-based composition)
Eyes Wide Open (Note pattern-based composition)
Here we Are All (Word-based composition)
The chosen item must last no more than 2 minutes. Havanita must be completed in staff notation**.
A score of Eyes Wide Open or Here we are all must be presented in any coherent form of notation.
** A single line arrangement with chord symbols and any other relevant information (voices, style etc.).
Technical Work (14 marks)
All sections i) to iii) to be prepared from memory.
i) Chord knowledge and chord voicing (4 marks)
The candidate must briefly voice a chord by splitting the keyboard, with the left hand (electric or
acoustic bass sound) playing the root note and the right hand completing the chord, and explain how the
chord is formed (e.g. root, flat third, fifth, flat seventh). The examiner will select up to three examples
from the following:
Chords: major, minor, +5, added 6th, major and minor 7ths, diminished.
Tonal Centres: C, F and G
ii) Figuration and accompaniment co-ordination (3 marks)
The candidate should select any appropriate keyboard style/accompaniment and perform the following
sequence in any of the stated keys, as requested by the examiner:
Sequence: Sustained tonic chord in the left hand, with its scale (in quavers) followed by its
arpeggio (in crotchets) in the right hand, ascending and descending (two octaves)
Articulation: f/
p
touch sensitive, legato and staccato, as requested by the examiner
Keys: C, D, G, F and Bb major
C, D, G, F and Bb harmonic and melodic minor
43
Digital Keyboard Grade 6
iii) Stylistic Awareness (7 marks)
The candidate should select any appropriate bass sound (electric or acoustic) for the bass line in the left
hand, with appropriate sounds for chords in the right hand, and perform an accompaniment or keyboard
groove in any of the following key centres and styles, as requested by the examiner. In each case the
chord sequence will take the form of a twelve-bar blues, ending on the tonic. The tests must be played
without music, and candidates should improvise in the required style rather than exactly copying the
written examples in Digital Keyboard from 2000.
Styles: March, Waltz, Swing, Salsa
Key Centres: C, F and G
Candidates to prepare i) and ii):
i) Sight Reading (see page 8)*
ii) Aural (see page 13) or Improvisation (see page 17)
* The sight reading test will be given in piano score (treble and bass clefs) to be played hands together
after 30 seconds preparation time.
44
John Im Still Standing (from The Very Best of Elton John) Faber 17524
John Little Jeannie (from Elton John Anthology) Faber 70949
Widor Toccata in F from Symphony no. 5 Cramer 90504
(from Electronic Keyboard Cocktails Wedding Music)
Williams Angels (from Life thru a lens) Faber
Group B
Chopin Waltz in Db, op. 64 no. 1 (from Digital Keyboard from 2000) Trinity Guildhall
Donaldson, arr. Medley 13 Roarin-Twenties (from Ballroom Favourites 2) Faber 17788
Joplin The Entertainer (from Digital Keyboard from 2000)
Group C
Sundrop (Chord sequence-based composition)
Cellular Motion (Note pattern-based composition)
Western Wind (Poetry-based composition)
The chosen item must last no more than 2 minutes. Sundrop must be completed in staff notation*.
A score of Cellular Motion or Western Wind must be presented in any coherent form of notation.
* A single line arrangement with chord symbols and any other relevant information (voices, style etc.).
All sections i) to iii) to be prepared from memory
i) Chord Knowledge and Chord Voicing (4 marks)
The candidate must briefly voice a chord by splitting the keyboard, with the left hand (electric or
acoustic bass sound) playing the root note and the right hand completing the chord, and explain how the
chord is formed (e.g. root, flat third, fifth, sixth). The examiner will select up to three examples from the
following:
Chords: Major, minor, suspended 4th, flattened 5th, +5, minor 6th, added 6th, major and minor
7ths, diminished and 7th/9th chords.
Tonal Centres: A, D, F and Bb
Sequence: Sustained tonic chord in the left hand, with its scale (in quavers) followed by its arpeggio
(in crotchets) in the right hand, ascending and descending (two octaves) (d = 126)
Articulation: f/
p
Keys: A, D, E, Bb, Eb major
A, D, E, Bb, Eb harmonic and melodic minor
45
iii) Stylistic Awareness (7 marks)
Styles: March, Waltz, Swing, Salsa, Reggae, Funk
Key Centres: A, D, F and Bb
46
Somerset-
Priddle Mad Max Beaufort Chase (from Digital Keyboard from 2000) Trinity Guildhall
Williams Let Me Entertain You (from Life thru a Lens) Faber
Group B
Gershwin I Got Rhythm (from Digital Keyboard from 2000) Trinity Guildhall
Grainger Country Gardens (from Digital Keyboard from 2000) Trinity Guildhall
McHugh
& Fields, arr. Medley 3 In the Mood for Love (from Ballroom Favourites 2) Faber 17788
Mozart Allegro in C, K. 5a (from Digital Keyboard from 2000) Trinity Guildhall
Group C
Good Evening, Ladies and Gentlemen! (Chord sequence-based composition)
Uh-huh (Note pattern-based composition)
I saw one like the son of man (Word-based composition)
Pandora's Box (Shape-based composition)
The chosen item must last no more than 2 minutes. Good Evening, Ladies and Gentlemen! must be
completed in staff notation*. A score of Uh-huh or I saw one like the son of man or Pandora's Box must
be presented in any coherent form of notation.
* A single line arrangement with chord symbols and any other relevant information (voices, style etc.).
All sections i) to iii) to be prepared from memory.
i) Chord Knowledge and Chord Voicing (4 marks)
The candidate must briefly voice a chord by splitting the keyboard, with left hand (electric or acoustic
bass sound) playing the root note and right hand completing the chord, and explain how the chord is
formed (e.g. root, flat third, fifth, sixth). The examiner will select up to three examples from the following:
Chords: major, minor, suspended 4th, flattened 5th, +5, minor 6th, added 6th, major and minor
7ths, diminished, sixth/ninth, minor-major seventh, seventh/ninth, sharpened ninth, eleventh and
thirteenth chords.
Tonal Centres: B, E, Ab and Eb
47
Sequence: Sustained tonic chord in the left hand, with its scale (in quavers) followed by its
arpeggio (in crotchets) in the right hand, ascending and descending (two octaves) (d = 132)
Articulation: f/
p
Keys: B, Ab, Db, C# and F# major
B, Ab, Db, C# and F# harmonic and melodic minor
iii) Stylistic awareness (7 marks)
Styles: Reggae, %Swing, Techno, Funk, Fast 4 Gospel, 8-Beat and Jazz Waltz
Key Centres: B, E, Ab and Eb
48
These examinations can be taken only at centres where there is an organ, or where one can be
provided by the candidate or teacher. In the latter case, all arrangements must be discussed with
the representative well in advance of the closing date for the session concerned. The instrument
must be installed before the first examination of the day and must not be removed until a point at
which the examination timetable will not be disrupted, which might be after the last examination of
the day. The instrument must be insured at the candidates expense.
In all examinations candidates have freedom of interpretation and registration according to the
instrument being played and the character of the music. Where suggested notes for performance
or detailed registrations are given, candidates may, at their discretion, substitute any suitable
alternatives appropriate to the requirements of the music. Please note the following, however:
1 It is expected that style should be used at all levels, where this enhances the performance.
2 The use of rhythm sequence programming is acceptable at all levels, where appropriate.
3 Control data, including registration changes, functions of expression pedal(s), footswitch(es) and
knee lever, may also be programmed, when available.
4 No other performance data may be pre-programmed into the instrument or onto a floppy disk.
5 The use of disks to facilitate (2) and (3) above is acceptable.
6 All examinations may be taken on an instrument with a pedal-board which has a compass of one
octave. Instruments with pedal-boards of less than one octave are not acceptable. Pedals must
be used where specified in the pieces.
7 Where applicable, original two-stave piano music must be arranged by the candidate to make full
use of both manuals and pedal-board. A fully written-out score of any such arrangement will not
be required by the examiner.
8 Pedal Sustain, if present, should be switched on for scales and arpeggios. Rhythmic patterns
should be those shown in the comparable scale book published for Solo Piano.
9 Candidates are reminded that Trinity Guildhall accepts no responsibility for any defect which
may develop or become apparent in the instrument during the course of the examination. This
includes software (such as disks) when used.
10 Candidates relying on pre-recorded rhythm sequence programmes will be expected, in the event
of a breakdown, to be able to continue their performance without a re-start.
Electronic Organ Subject code: EO
49
Electronic Organ
Tempi for scales and arpeggios
A minimum pace is required, increasing gradually grade by grade:
Grade Scales Arpeggios Scales in
thirds
Sevenths Pedal
scales
Initial
d = 72

d = 60
Grade 1
d = 72 d = 60

d = 60
Grade 2
d = 72 d = 60

d = 66
Grade 3
d = 84 d = 72

d = 66
Grade 4
d = 96 d = 84

d = 72
Grade 5
d = 108 d = 90

d = 72
Grade 6
d = 120 d = 96 d = 60 d = 66 d = 80
Grade 7
d = 132
d = 60 d = 72 d = 88
Grade 8
d = 132
d = 60 d = 80 d = 92
50
Electronic Organ Initial Subject code: EO
Three pieces are to be played, at least one from each Group, to form a balanced programme. Candidates
at Initial may not offer their own composition instead of a third piece.
Group A
Blue Take My Hand Organ World book 1 Trinity
Cowles Still Waters Organ World book 1 Trinity
Cowles Whilst Waiting Organ World book 1 Trinity
Ogden Poodles In Puddles Organ World book 1 Trinity
Tchaikovsky An Ancient French Song Electronic Organ book 1 Guildhall
Group B
Anon Greensleeves The Joy of Organ Music Yorktown YK 21095
Anon Careless Love The Joy of Organ Music Yorktown YK 21095
Brahms Lullaby The Joy of Organ Music Yorktown YK 21095
Clarke Music Box Melody Electronic Organ book 1 Guildhall
Hawker & I Only Want To
Raymonde Be With You Electronic Organ book 1 Guildhall
Joplin The Entertainer Electronic Organ book 1 Guildhall
Lloyd Webber Any Dream Will Do Electronic Organ book 1 Guildhall
Young When I Fall in Love Electronic Organ book 1 Guildhall
Both sections i) and ii) to be prepared
i) Exercise
The following exercise to be played:
Trad. Down in Yon Forest (from Organ World book 1) Trinity
ii) Scales (from memory)
The following scales to be played legato and mf:
Manual: C and G major (one octave, hands separately)
Pedal: C major (from C
2
to G
2
only)
Aural (see page 13)
51
Electronic Organ Grade 1 Subject code: EO
Three pieces are to be played, at least one from each Group, to form a balanced programme. Instead of
one item, candidates may offer their own composition (see page 7).
Group A Piece Book Publisher
Bailey Scoobie Du Wup Organ World book 1 Trinity
Lee Invocation Organ World book 1 Trinity
Lee Stepping Stones Organ World book 1 Trinity
Offenbach Can-Can Electronic Organ book 1 Guildhall
Runswick Pronto Organ World book 1 Trinity
Trad. The Skye Boat Song Electronic Organ book 1 Guildhall
Group B
Clarke Somewhere In My Dreams Electronic Organ book 1 Guildhall
Hamlisch The Way We Were Electronic Organ book 1 Guildhall
Maclellan Snowbird Electronic Organ book 1 Guildhall
R Presley Love Is All Around Electronic Organ book 1 Guildhall
Runswick Velvet Dreams Organ World book 1 Trinity
Schmidt Try To Remember Electronic Organ book 1 Guildhall
Soloviev-Sedoy Moscow Nights The Joy of Organ Music Yorktown YK 21095
Scales and Arpeggios (from memory)
The following scales and arpeggios to be played legato and mf. Manual scales hands separately:
Manual:
Scales:
D and F major (one octave)
A and D harmonic minor (one octave)
Arpeggios:
D and F major (one octave)
A and D minor (one octave)
Pedal:
Aural (see page 13)
52
Bailey Moonlight Air Organ World book 1 Trinity
Blue I Remember Organ World book 1 Trinity
Cowles Follow Me! Organ World book 1 Trinity
Holdsworth On The Move! Organ World book 1 Trinity
MacDowell To A Wild Rose The Joy of Organ Music Yorktown YK 21095
Saint-Sans My Heart at thy
Sweet Voice The Joy of Organ Music Yorktown YK 21095
Strauss The Emperor Waltz The Joy of Organ Music Yorktown YK 21095
Trad. O sole mio The Complete Organ Player Wise AM33739
Songbook Series 2 vol. 2
Group B
Angulo The Complete Organ Player Wise AM33739
& Seeger Guantanamera Songbook Series 2 vol. 2
Clarke Bird Of Paradise Electronic Organ book 2 Guildhall
Coben The Old Piano Roll Blues The Complete Organ Player Wise AM33739
Danvers Till Electronic Organ book 2 Guildhall
Herman Hello Dolly Electronic Organ book 2 Guildhall
Lennon Woman The Complete Organ Player Wise AM33739
Mandel
& Altman Song from M.A.S.H. Electronic Organ book 2 Guildhall
Richie Hello Electronic Organ book 2 Guildhall
Wonder You Are The Sunshine The Complete Organ Player Music Sales
Of My Life Songbook Series 2 vol. 2
The following scales and arpeggios to be played legato and mf. Manual scales hands separately or
together, as requested by the examiner:
Manual:
Scales:
A, D and B major (two octaves)
D harmonic minor (two octaves)
G melodic minor (two octaves)
Chromatic scale on C (two octaves, hands separately only)
Arpeggios:
A, D and B major (two octaves)
D and G minor (two octaves)
53
Electronic Organ Grade 2
Pedal:
Arpeggio of C major (one octave)
Aural (see page 13)
54
Blue Autumn Leaves Organ World book 1 Trinity
Bucalossi The Grasshoppers Dance Electronic Organ book 2 Guildhall
Debussy Clair de lune The Joy of Organ Music Yorktown YK 21095
Haydn St. Anthony Chorale The Joy of Organ Music Yorktown YK 21095
Ogden Beyond The Stars Organ World book 1 Trinity
Schumann Trumerei The Joy of Organ Music Yorktown YK 21095
Group B
Brahms Hungarian Dance no. 4 The Joy of Organ Music Yorktown YK 21095
Clarke Sierra Serenade Electronic Organ book 2 Guildhall
Cowles Tango For Bertha Organ World book 1 Trinity
Ebb & Kander New York, New York Electronic Organ book 2 Guildhall
Goodrum You Needed Me Electronic Organ book 2 Guildhall
Howard
& Blaikley Theme from Miss Marple Electronic Organ book 2 Guildhall
Jessel Parade Of The Tin Soldiers The Joy of Organ Music Yorktown YK 21095
Williams Star Wars Electronic Organ book 2 Guildhall
The following scales and arpeggios to be played from memory, legato and mf. Manual scales hands
together:
Manual:
Scales:
Bb and Eb major (two octaves)
B and F harmonic minor (two octaves)
C melodic minor (two octaves)
Chromatic scale in contrary motion from unison C (two octaves)
Arpeggios:
Bb and Eb major (two octaves)
B, C and F minor (two octaves)
Pedal:
Dominant 7th in the key of F (one octave)
55
Blue Tutti Frutti Organ World book 2 Trinity
Booth Morning Serenade Organ World book 2 Trinity
Delibes Waltz (from Naila) The Joy of More Organ Music Yorktown YK 21210
Mozart Romanze from Eine Kleine
Nachtmusik, K. 525 Electronic Organ book 3 Guildhall
Runswick The Hipster Organ World book 2 Trinity
Group B
Albeniz Tango The Joy of More Organ Music Yorktown YK 21210
Carmichael Georgia On My Mind Electronic Organ book 3 Guildhall
Churchill Were I But Crazy
For Loves Sake! Electronic Organ book 3 Guildhall
Clarke Carnival Calypso Electronic Organ book 3 Guildhall
Hamlisch Nobody Does It Better Electronic Organ book 3 Guildhall
Kenny I Made It Thru The Rain Electronic Organ book 3 Guildhall
Lloyd Webber Dont Cry For Me Home Organist Library vol. 20:
Argentina West End Show Tunes Wise AM91529
Lloyd Webber The Music Of The Night Home Organist Library vol. 20:
West End Show Tunes Wise AM91529
The following scales and arpeggios to be played legato and mf. Manual scales hands together:
Manual:
Scales:
E, Ab, Db and F# major (two octaves)
C# harmonic minor (two octaves)
F melodic minor (two octaves)
Chromatic scale (similar motion) starting on any note requested (two octaves)
Arpeggios:
E, Ab, Db and F# major (two octaves)
C# and F minor (two octaves)
Pedal:
Scale of C major (one octave)
Scale of C harmonic minor (one octave)
56
Bailey Blue Mood Organ World book 2 Trinity
Blue Swing Boogie Organ World book 2 Trinity
Monti Czards The Joy of More Organ Music Yorktown YK 21210
Ogden Eurotunnel Shuttle Organ World book 2 Trinity
Runswick Chromatique Organ World book 2 Trinity
Tchaikovsky Waltz from Serenade
for Strings, op. 48 Electronic Organ book 3 Guildhall
Trad. The Floral Dance The Joy of More Organ Music Yorktown YK 21210
Group B
Bayer, Sager
& Allen Dont Cry Out Loud Electronic Organ book 3 Guildhall
Clarke Tropical Mix Electronic Organ book 3 Guildhall
Garner Misty Electronic Organ book 3 Guildhall
John & Rice Can You Feel Home Organist Library vol. 34:
The Love Tonight Film & TV Themes Wise AM950510
Lewis How High The Moon Electronic Organ book 3 Guildhall
Mancini Baby Elephant Walk Home Organist Library vol. 34:
Film & TV Themes Wise AM950510
Menker & Rice A Whole New World Disney Hits for Organ Hal Leonard
HL00199008
Schnberg I Dreamed A Dream Home Organist Library vol. 20:
West End Show Tunes Wise AM91529
Suessdorf Moonlight In Vermont Electronic Organ book 3 Guildhall
Williams The Raiders March Home Organist Library vol. 34:
Film & TV Themes Wise AM950510
The following scales and arpeggios to be played legato and mf. Manual scales hands together:
Manual:
Scales:
All major keys (two octaves)
Bb and F# harmonic minor (two octaves)
G# melodic minor (two octaves)
Chromatic scale starting on any note requested (two octaves)
Arpeggios:
Bb, F# and G# minor (two octaves)
57
Pedal:
Scales:
C melodic minor (one octave)
Arpeggios:
C minor (one octave)
Aural (see page 13)
58
Three pieces are to be played, freely chosen from the list below, to form a balanced programme. Instead
of one item, candidates may offer their own composition (see page 7).
Composer Piece Publisher
Bizet Toreadors Song from Carmen (from Opera Gala book 1) Stainer H 331
Bizet In The Depths Of The Holy Temple from The Pearl Fishers
(from Opera Gala book 2) Stainer H332
Booth Blue Lullaby (from Organ World book 2) Trinity
Brahms Ungarischer Tanz no. 5 [Repeats must be played]
(from Die Welt der Orgel-Klassik I) Schott ED 5601
Cowles Interval (Ice Cream Music) (from Organ World book 2) Trinity
Creamer Way Down Yonder In New Orleans
& Layton (from Home Organist Library, vol. 7: Jazz Pieces)* Wise AM29638
Delibes Flower Duet from Lakm (from Classical Concert) Stainer H362
Gibb, Gibb
& Gibb Night Fever (from The Complete Organ Player: Super Solos) Wise AM939213
Gossec Gavotte [Repeats must be played]
Haydn Rondo from Trumpet Concerto (from Classical Concert) Stainer H362
Hudson,
De Lange
& Mills Moonglow (from Home Organist Library, vol. 7: Jazz Pieces)* Wise AM29638
MacDonald,
Salter
& Withers Just The Two Of Us (from The Complete Organ Player: Super Solos) Wise AM939213
Marquina Spanish Gypsy Dance (from The Complete Organ Player: Super Solos) Wise AM939213
Oliver Opus 1 (from Home Organist Library, vol. 7: Jazz Pieces)* Wise AM29638
Roberts,
Jacobson Swingin Shepherd Blues
& Koffman (from Home Organist Library, vol. 8: Blues Solos) Wise AM29646
Robin &
Shavers Undecided (from Home Organist Library, vol. 7: Jazz Pieces)* Wise AM29638
Runswick Blue Six (from Organ World book 2) Trinity
Russell Dont Get Around Much Anymore
& Ellington (from Home Organist Library, vol. 7: Jazz Pieces)* Wise AM29638
Saint-Sans Danse Macabre (from 25 Favourite Classics
Everybody Loves To Hear, vol. 1, Classical All-Organ Library) Wise AM21569
Verdi Chorus of the Hebrew Slaves from Nabucco
(from Opera Gala book 1) Stainer H 331
Verdi Drinking Song from La Traviata (from Opera Gala book 1) Stainer H 331
Verdi Quartet from Rigoletto (from Opera Gala book 1) Stainer H 331
Verdi The Anvil Chorus from Il Travatore (from Opera Gala book 2) Stainer H332
Weber Aufforderung zum Tanz [Repeats must be played]
* This publication is unfortunately out of print, however candidates may still use it if they can obtain an original copy.
Use of a photocopy is not acceptable.
59
Manual:
The candidate should prepare all manual scales and arpeggios from one of the following key groups:
Group 1: A, C, Eb, F#
or
Group 2: E, G, Bb, C#/Db
or
Group 3: B, D, F, Ab/G#
The following to be performed hands together, mf and legato in all keys of the chosen group:
The major scale (two octaves)
The harmonic minor scale (two octaves)
The melodic minor scale (two octaves)
The major scale in 3rds (hands together a 3rd apart, left hand starting on the tonic) (two octaves)
The major arpeggio (two octaves)
The minor arpeggio (two octaves)
The following also to be performed hands together, mf and legato
Chromatic scale in minor thirds, starting an octave below middle C in the left hand and Eb in the
right hand (three octaves)
Diminished 7th starting on C (three octaves)
Pedal/Manual:
The following scales to be performed on the pedals, with the left hand or right hand (as requested by the
examiner) playing on the manuals one octave higher, legato and mf:
C harmonic minor (one octave)
C melodic minor (one octave)
i) Sight Reading (see page 8)
60
Arndt Nola (from The Complete Organ Player: Super Solos) Wise AM 939213
Bailey Cookin With Gas (from Organ World book 3) Trinity
Beethoven Adagio un poco mosso from Piano Concerto no. 5
(from Classical Concert) Stainer H362
Binge Elizabethan Serenade
(from The Complete Organ Player: Super Solos) Wise AM939213
Boccherini Minuet from the Quintet (from Classical Concert) Stainer H362
Cowles An Intermezzo Sandwich (from Organ World book 3) Trinity
Cowles Wedding Bossanova (from Organ World book 3) Trinity
Gimbel
& Thielmans Bluesette (from Home Organist Library vol. 8: Blues Solos) Wise AM 29646
Gounod Juliets Waltz Song from Romeo and Juliet
Parker Harlequin (from Organ World book 3) Trinity
Puccini Your Tiny Hand Is Frozen from La Bohme
Raye, De Paul
& Johnson Ill Remember April (from Home Organist Library, vol. 7: Jazz Pieces)* Wise AM29638
Runswick Stay Awhile (from Organ World book 3) Trinity
Shearing
& Weiss Lullaby Of Birdland (from Home Organist Library, vol. 7: Jazz Pieces)* Wise AM29638
Vivaldi Spring from The Four Seasons (from Classical Concert) Stainer H362
Washington On Green Dolphin Street
& Kaper (from Home Organist Library, vol. 7: Jazz Pieces)* Wise AM29638
Williams Devil's Galop (from The Complete Organ Player: Super Solos) Wise AM939213
Williams
& Monk Round Midnight (from Home Organist Library, vol. 7: Jazz Pieces)* Wise AM29638
Manual:
or
or
61
The major scale in 6ths (hands together a 6th apart, right hand starting on the tonic) (two octaves)
The major arpeggio in root position and first inversion (two octaves)
The minor arpeggio in root position and first inversion (two octaves)
The dominant 7th in root position
C harmonic minor scale in contrary motion (two octaves)
Pedal/Manual:
C major in contrary motion (one octave)
C harmonic minor in contrary motion (one octave)
62
J S Bach Prelude in C major BWV 553 (Prelude only)
(from Bach Organ Works book 1: Eight Short Preludes and Fugues) Novello 10018
Bizet The Flower Song from Carmen (from Opera Gala book 3) Stainer H333
Ellis Coronation Scot
Handel Zadok the Priest from Coronation Anthem no. 1
Hendricks
& Timmons Moanin' (from Home Organist Library vol. 8: Blues Solos) Wise AM29646
Jobim One Note Samba (Samba De Uma Nota So)
Mercer
& Raksin Laura (from Home Organist Library, Vol. 7: Jazz Pieces)* Wise AM29638
Mozart Porgi, Amor from the Marriage of Figaro
Paparelli,
Gillespie
& Leveen A Night In Tunisia (from Home Organist Library, vol. 7: Jazz Pieces)* Wise AM29638
Parish, Mills Organ Grinder's Swing
& Hudson (from Home Organist Library vol. 8: Blues Solos) Wise AM29646
Parker Prelude In Ragtime (from Organ World book 3) Trinity
Smetana Dance of the Comedians from The Bartered Bride
Runswick Well You Might (from Organ World book 3) Trinity
Verdi Sempre Libera from La Traviata (from Opera Gala book 3) Stainer H333
Manual:
or
or
63
The major scale in 3rds (hands separately) (two octaves)
The major arpeggio in root position, first and second inversions (two octaves)
The minor arpeggio in root position, first and second inversions (two octaves)
The dominant 7th in root position (two octaves)
The diminished 7th starting on any note from the chosen group (two octaves)
C major scale in contrary motion (two octaves)
C harmonic minor scale in contrary motion (two octaves)
Pedal/Manual:
C major contrary motion (one octave)
C harmonic minor contrary motion (one octave)
64
Organ Subject code: OGN
Grade Manual
scales
Manual
arpeggios
Manual
sevenths
Pedal
scales
Pedal broken
chords
Grade 1
d = 72

Grade 2
d = 72 d = 60

Grade 3
d = 84 d = 72
d = 72
Grade 4
d = 96 d = 84
d = 84
Grade 5
d = 108 d = 90
d = 60 d = 84
Grade 6
d = 120 d = 96 d = 66 d = 72 d = 90
Grade 7
d = 132
d = 72

Grade 8
d = 132
d = 80

Technical Work
All scales, arpeggios and other material to be performed from memory. A minimum pace is
required, increasing gradually grade by grade:
These examinations can only be taken at centres where there is an organ, or where one can be
provided by the candidate or teacher. Candidates normally play a conventional pipe organ. In cases
where candidates wish to play a pipeless analogue electronic organ or a computer organ, the
specification must be sent to the Chief Examiner in Music for approval at least thirty days before an
entry is made. Candidates must satisfy themselves that the specification of the instrument is
adequate for the demands of the pieces they choose to play.
The instrument must be located within easy reach of the examination centre. Transport to and from
the location must be provided for the examiner(s) at no cost to Trinity. All arrangements must be
discussed with the representative well in advance of the closing date for the session concerned. If a
pipeless instrument is installed at the centre for the examination, the instrument must be installed
before the first examination of the day and must not be removed until a point at which the
examination timetable will not be disrupted, which might be after the last examination of the day.
The instrument must be insured at the candidates expense. For examinations held in churches and
other public buildings, arrangements must be made that the examination will not be interrupted by
members of the general public.
In all examinations candidates have freedom of interpretation and registration according to the
instrument being played and the character of the music. Memory features, other than adjustable
pistons and the use of sequencers, are not permitted. Page-turners may assist with registration
changes only where appropriate pre-set combination pistons are not available (whether adjustable
or fixed). If there is any doubt in this matter, the precise technical specification of the instrument
must be approved in writing by Trinity Guildhall before an entry is made.
The Organ syllabus may not be offered on Electronic Organ.
65
Organ
Examples of Technical Work
Patterns for pedal items for Grades 36 are as follows:

3 3
3
3
3
3 3

3
3
3
3
3 3 3
Broken Thirds (one octave)
Broken Chord (twelfth)
Running Triplets (one octave)
66
Organ Grade 1 Subject code: OGN
Three pieces are to be played, one from each Group, to form a balanced programme. Instead of one
item, candidates may offer their own composition (see page 7).
Alcock Trumpet Piece Organ Music for Manuals vol. 4 OUP
J S Bach Ich hab mein Sach Gott
heimgestellt BWV 708 Organ Works book 18 Novello NOV010013
Boyvin Duo du troisime ton Organ Music for Manuals vol. 3 OUP
Frescobaldi Magnificat Primi Toni Organ Music for Manuals vol. 1 OUP
Pachelbel Fuga Organ Music for Manuals vol. 3 OUP
Telemann O Lamm Gottes unschuldig Organ Music for Manuals vol. 3 OUP
Group B
Beethoven no. 1 of Two Equali Music for Memorial
and Thanksgiving Services Novello NOV262778
Franck Prire Music for Memorial
and Thanksgiving Services Novello NOV262778
Gebhardi Moderato (no. 2 of
Four Short Preludes) Organ Music for Manuals vol. 1 OUP
Heron Cornet Voluntary, slow movt Organ Music for Manuals vol. 4 OUP
Howells Eighteen Miniatures for Organ Mayhew
Liszt Offertorium
(Missa pro Organo) Music for Manuals book 3 De Haske F 463
Group C
Alain De Jules Lematre 4 Pieces for Organ Universal UE 17163
Hesford Partita for Anna
Magdalena, 3rd movt Miniatures vol. 1 De Haske F 607
Krner Moderato in B Minor Easy Organ Pieces book 1 Brenreiter BA 8416
Litzau Andante (no. 3 of
3 Short Preludes) Organ Music for Manuals vol. 5 OUP
Tournemire Immaculata Conceptio
B. Mariae Virginis no. 3 Petites fleurs musicales op. 66 Universal UE 17465
Technical Work (14 marks) (see pages 6465)
Scales
The following manual scales to be played legato and mf:
G, D, A and E major (one octave, hands together)
E, D, G and C harmonic minor (one octave, hands together)
Chromatic scale on G (one octave, hands separately)
67
J S Bach Herr Jesu Christ meines
Lebens Licht 23 Chorale Preludes Bayley / Ferguson
J S Bach Gottes Sohn ist kommen
(Fughetta) BWV 703 Complete Organ Works vol. 3 Brenreiter BA 5173
J S Bach Prelude in G minor Bach Organ Works book 1 Novello NOV010018
Boyvin Basse de trompette Organ Music for Manuals vol. 3 OUP
Praetorius Herr Gott, Dich loben wir
(verse 1 or 2 or 4 or 5) Chorale Arrangements Brenreiter BA 5496
Travers Trumpet Voluntary Organ Music for Manuals vol. 3 OUP
Group B
Bollmann Basso Ostinato Easy Graded Organ Music book 1 OUP
Bollmann Verset Music for Manuals book 2 De Haske F 367
Boly Messe du jour de nol
(4me Kyrie) Harmonia HU 3315
Franck la venue de nol Music for Manuals book 2 De Haske F 367
Franck Elgie from Two Pieces Csar Frank Organ Music for Manuals OUP
Reger Es ist gewilich an der Zeit
op. 135a no. 8 Music for Manuals book 2 De Haske F 367
Group C
Coleman Prelude An Easy Organ Manual OUP
Eben Kleine Choralpartita ber
O Jesu, all mein Leben
bist Du, 2nd movt Universal UE 17162
Hesford Gradual Missa Ungarica pro Organo Cramer 90124
Langlais Printemps [theme only] Mosaques vol. 3 Combre CO 4639
Peeters Choral and 1st Variation:
Herr Jesus hat
ein Gartchen 10 Organ Chorales Schott ED 2553
Walcha Chorale Prelude:
Zu Bethlehem Geboren A Graded Anthology for Organ book 2 Cramer 90583
68
Organ Grade 2
Scales:
The following manual scales to be played hands together, legato and mf:
B and F major (two octaves)
F harmonic minor (two octaves)
C and E major in contrary motion (one octave)
Chromatic scale on D (one octave)
Chromatic scale on D in contrary motion (one octave)
Arpeggios:
The following manual arpeggios to be played hands separately, legato and mf:
C, F and G major (two octaves)
A,D and E minor (two octaves)
Aural (see page 13)
69
Anon. no. 1 of Two Early Sixteenth
Century Pieces Faber Early Organ Series vol. 1 Faber
J S Bach Da Jesus an dem Kreuze
stund BWV 621 Complete Organ Works vol. 1 Brenreiter BA 5171
Stanley Voluntary VIII in D minor,
1st movt 10 Voluntaries op. 5 Hinrichsen H 1033
Van Noordt Psalm 38 Organ Music for Manuals vol. 3 OUP
Walther Herr Jesu Christ, dich zu uns
Wend [with repeats] Organ Music for Manuals vol. 1 OUP
Group B
Bollmann Plainte (no. 1 of Four Pieces) Organ Music for Manuals vol. 1 OUP
Bollmann Postlude Organ Music for Manuals vol. 3 OUP
Guilmant Communion Organ Music for Manuals vol. 5 OUP
Group C
Alain Ballade en mode phrygien LOeuvre dorgue vol. 3 Leduc AL 20184
Pinkham Canon at the octave Music for a Quiet Sunday Thorpe
Ridout Father Canticle of the Rose Mayhew
Tournemire Offertoire Miniatures vol. 2 De Haske F 642
The following scales and arpeggios to be played mf. Manual scales hands together and legato:
Manual:
Scales:
Bb, Eb, Ab and Db major (two octaves)
C# and G# harmonic minor (two octaves)
Chromatic scale on Ab (two octaves)
Eb major contrary motion scale (one octave)
Chromatic scale on Ab in contrary motion (one octave)
Arpeggios:
D, A and E major (two octaves)
G, C and F minor (two octaves)
Pedal:
F and G major scales in broken 3rds (one octave)
A and G melodic minor scales in broken 3rds (one octave)
70
Organ Grade 3
Aural (see page 13)
71
J S Bach Der Tag, der ist so
freudenreich BWV 605 Complete Organ Works vol. 1 Brenreiter BA 5171
J S Bach Christe, du Lamm Gottes
BWV 619 Complete Organ Works vol. 1 Brenreiter BA 5171
J S Bach Prelude and Fugue in G Bach Organ Works book 1 Novello NOV010018
Buxtehude Nun Komm der
Heiden Heiland The Progressive Organist book 2 Novello NOV262533
Kotter Preludium in Fa Faber Early Organ Series vol. 13 Faber
Pachelbel Da Jesus an dem Kreuze
stund BWV 621 Pques Schola Cantorum OL 1
Group B
Bollmann Entre Miniatures vol. 2 De Haske F 642
Elgar Andantino op. 14 no. 3 Miniatures vol. 2 De Haske F 642
Karg-Elert Freu dich sehr, Chorale-Improvisations
o meine Seele no.5 op. 65 book 1 Breitkopf EB 8261
Tuma Siciliana Suite for Organ [ed. Trevor] OUP
Group C
Dupr Audi, benigne Conditor Le tombeau de Titelouze Bornemann AL27836
Hurford Meditation Suite 'Laudate Dominum' OUP
Ridout Jesus meets his
Blessed Mother 14 Stations of the Cross Mayhew
Ridout Jesus Speaks to the
Women of Jerusalem 14 Stations of the Cross Mayhew
Peeters Partita: Alles ist an Gottes
Segen, 4th movt Thirty Chorale Preludes for Organ Peters EP 6023
Vierne Arabesque 24 Pieces en Style Libre vol. 2 Durand 0897300
The following scales and arpeggios to be played mf. Manual scales hands together and legato:
Manual:
Scales:
F# major (two octaves)
Bb and Eb harmonic minor (two octaves)
Chromatic scale on A, C, D, F and G (two octaves)
E harmonic minor contrary motion scale (one octave)
Chromatic scale on A in contrary motion (one octave)
72
Organ Grade 4
Arpeggios:
B and Bb major (two octaves)
B and Bb minor (two octaves)
Pedal:
A, E and Bb major scales in broken 3rds (one octave)
B, E and F melodic minor in broken 3rds (one octave)
Aural (see page 13)
73
J S Bach Herr Christ, der einge
Gottessohn BWV 601 Complete Organ Works vol. 1 Brenreiter BA 5171
J S Bach Prelude and Fugue
in E minor BWV 555 Bach Organ Works book 1 Novello NOV010018
Buxtehude Mensch, willt du leben
seliglich BuxWV 206 Faber Early Organ Series vol. 12 Faber
J C Kittel Prludium in A flat major Organ Music around J S Bach vol. 2 Breitkopf EB 8685
Purcell Rondeau and Aire Cramer
90109 ARCHIVE
Tomkins Verse Faber Early Organ Series vol. 2 Faber
Group B
Mendelssohn Sonata in A, op. 65 no. 3,
Andante tranquillo Complete Organ Works II Brenreiter BA 8197
Mendelssohn Sonata in D minor op. 65 no. 6,
Finale (Andante) Complete Organ Works II Brenreiter BA 8197
Merkel Pastorale no. 4 6 Preludes op. 23 De Haske F 365
Thalben-Ball Elegy Paxton NOV357436
Vierne Berceuse op. 31 no. 19 24 Pieces en Style Libre vol. 2 Durand 0897300
Whitlock Lantana Plymouth Suite OUP
Group C
Hakim Pastorale Mariales UMP
Mathias Chorale A William Mathias Organ Album OUP
Nielsen Prelude in F sharp minor Miniatures vol. 2 De Haske F 642
Peeters Koraal Suite modale op. 43 Lemoine 23673
Ridout Jesus Receives the Cross 14 Stations of the Cross Mayhew
Ridout Jesus is Laid in
the Sepulchre 14 Stations of the Cross Mayhew
74
Organ Grade 5
The following scales and arpeggios to be played mf. Manual scales hands together, and legato or
staccato as requested by the examiner; pedal scales legato only:
Manual:
Scales:
B, C, F, Eb and F# major (two octaves)
F# harmonic minor (two octaves)
A, C, D, E and G melodic minor (two octaves)
Chromatic scale starting on any note requested by the examiner (two octaves)
Chromatic scale in contrary motion starting on any note requested (two octaves)
Arpeggios:
Eb, Ab and Db major (two octaves)
C#, F# and G# minor (two octaves)
Pedal:
Scales:
A and G major in running triplets (one octave)
A and B melodic minor in running triplets (one octave)
Broken Chords:
F and G major (to 12th)
A and E minor (to 12th)
Aural (see page 13)
75
J S Bach Heut triumphieret Gottes Sohn BWV 630
(from Complete Organ Works vol. 1) Brenreiter BA 5171
J S Bach Trio Sonata in D minor, BWV 527, 2nd movt
Bruckner Fugue from Prelude and Fugue in C minor
(from Bruckner Album of Various Pieces for Organ) Edwin Kalmus KO 2036
Buxtehude Prludium und Fuga in G (from Buxtehude Organ Works vol. 2) Hansen WH 26990
Gigault Prelude du cinquime ton (from Organ book 2) OUP
Pachelbel Fantasia (from Organ book 2) OUP
Group B
Brahms Herzlich thut mich verlangen op. 122 no. 10 Novello NOV590116
Franck Prelude (from Prelude, Fugue and Variation op. 18) UMP
Ireland Sursum Corda (from Organ Music of John Ireland) Novello NOV010183
Mendelssohn Fugue from Sonata no. 6 (from Complete Organ Works vol. 2) Brenreiter BA 8197
Parry Chorale Prelude on Rockingham
(from 7 Chorale Preludes for Organ Set 1) Novello NOV590001
Widor Fourth movement (from Symphonie V in F, op. 42) Hamelle AL26865
Willan Chorale Prelude: Gelobt Sei Gott OUP
Whitlock Folk Tune (from 5 Short Pieces) OUP
Group C
Alain Lamento (from Loeuvre dorgue vol. 3) Leduc AL20814
Burrell Fragments I and II (from Unbeaten Tracks) Faber
Hakim Incantation (from Mariales) UMP
Hindemith Second movement (from Sonata no. 2) Schott ED 2558
Langlais Pasticcio (from Organ book) Elkan-Vogel
Ridout Veronica Wipes the Face of Jesus (from 14 Stations of the Cross) Mayhew
Ridout Jesus Falls the Third Time (from 14 Stations of the Cross) Mayhew
Vierne Carillon op. 31 no. 21 (from 24 Pieces en Style Libre vol. 2) Durand 0897300
Yon Humoresque (from Lorgano primitivo) Dover DP19613
76
Organ Grade 6
Manual:
Scales:
B and F melodic minor (two octaves)
Chromatic scale in major 6ths, starting on Eb left hand and C right hand (two octaves)
Arpeggios:
F# major (two octaves)
Eb minor (two octaves)
Dominant 7th in the key of C (two octaves)
Diminished 7th starting on B (two octaves)
Pedal:
Scales:
C and Bb major in running triplets (one octave)
C and G melodic minor in running triplets (one octave)
Broken Chords:
C and Bb major (to 12th)
F and G minor (to 12th)
77
J S Bach In dir ist Freude, BWV 615 (from Complete Organ Works vol. 1) Brenreiter BA 5171
J S Bach Wir glauben all an einem Gott BWV 680
Buxtehude Praeludium [and Fugue] BuxWV 138
Hindemith Sonata 1, 2nd movt Schott ED 2557
Howells Master Talliss Testament Novello
NOV590222 archive
Langlais Melody (from Triptyque) Novello
NOV620001 archive
Lbeck Praeludium and Fugue in E no. 2 (from Orgelwerke) Peters EP 4437
Group B
Bridge Adagio in E (from Three Pieces for Organ) Novello NOV010986
Franck Fugue and Variation (from Prelude, Fugue and Variation op. 18) UMP
Ireland Menuetto-Impromptu (from Organ Music of John Ireland) Novello NOV010183
Hurford Processional and French Carol (from Laudate Dominum) OUP
Roget Deploracin por la Semana Santa (from Pques) Schola Cantorum OL 1
Vierne Pastorale no. 20 (from 24 Pieces en Style Libre vol. 2) Durand 0897300
Whitlock Pazienza no. 2 (from The Complete Organ Music) OUP
Wills Elevation (from Colours of the Organ) Novello
NOV010092 archive
Group C
Karg-Elert Now thank we all our God op. 65 no. 59 Breitkopf EB 6238
Langlais Prelude on Coronation (from Modern Organ Music book 2) OUP
Mathias Processional (from A William Mathias Organ Album) OUP
Maxwell Davies no. 1 (Psalm 124) , and either no. 2 or no. 3
(from 3 Organ Voluntaries) Chester CH 55170
Messiaen Les Enfants de Dieu (from La Nativit de Seigneur vol. 2) Leduc AL 19269
Parry Chorale Prelude on Dundee
(from 7 Chorale Preludes for Organ Set 1) Novello NOV 010214
Peeters Scherzo (from Suite modale op. 43) Lemoine 23673
Ratcliffe Caprice (from Colours of the Organ) Novello
NOV010092 archive
78
Organ Grade 7
Manual:
Scales:
All harmonic minor keys (two octaves)
C#, F# and G# melodic minor (two octaves)
C and F major scales a 6th apart, right hand starting on the tonic (two octaves)
A and D harmonic minor scales a 6th apart, right hand starting on the tonic (two octaves)
Chromatic scale a minor 3rd apart, starting on G left hand and Bb right hand (two octaves)
Arpeggios:
Dominant 7th in the keys of G, B, E (three octaves)
Diminished 7th starting on A, C, D and F (three octaves)
Pedal Study:
J.S. Bach: Bars 1-9 from Prelude and Fugue in C minor, BWV 549
79
Alain Variations sur un thme de Clment Jannequin
(from Loeuvre dorgue vol. 2) Leduc AL20102
J S Bach Ach bleib bei uns, Herr Jesu Christ, BWV 649
J S Bach Herr Gott, nun schleu den Himmel auf, BWV 617
J S Bach Nun danket alle Gott, BWV 657
Buxtehude Toccata in F Bux157 [complete]
Hurford Dialogue no. 2 (from Two Dialogues) Novello
NOV 570032 archive
J C Kellner Jesu meine Freude (from Organ Music around J S Bach vol. 2) Breitkopf EB 8685
Mendelssohn Sonata no. 3 in A, 1st movt
Group B
Guilmant Marche sur un thme de Handel op. 15 no. 2 Schott ED 11311
Peeters Herr Jesu hat ein Gartchen no. 10 (from 10 Organ Chorales) Schott ED 2553
Howells Psalm Prelude no. 3 (from Three Psalm Preludes Set 1) Novello NOV590353
Ireland Meditation on John Kebles Rogationtide hymn
(from Organ Music of John Ireland) Novello NOV010183
Jongen Scherzetto op. 108 no. 1 (from A Jongen Organ Album) OUP
Karg-Elert Legend op. 141 no. 1 (from Triptyque) Novello
NOV 950170 archive
Messiaen Majest du Christ demandant sa gloire son Pre
(from LAscension) Leduc AL18826
Whitlock Divertimento (from The Complete Shorter Organ Music) OUP
Group C
Bollmann Toccata (from Suite gothique) UMP
Dupr Placare Christe servulis op. 38 no. 16 (from 16 Chorales) Bornemann
Krzanowski Relief III PWM PWM 9929
Mathias Toccata giocosa op. 36 no. 2 (from A William Mathias Organ Album) OUP
Messiaen Le Banquet Celeste Leduc AL 22893
Popplewell Triumphal March Banks 13983
Preston Alleluyas (from Modern Organ Music book 1) OUP
80
Organ Grade 8
staccato as requested by the examiner.
Manual:
Scales:
Bb and Eb melodic minor (two octaves)
D, G and Bb major scales a 3rd apart, left hand starting on the tonic (two octaves)
B, E and G melodic minor scales a 3rd apart, left hand starting on the tonic (two octaves)
Chromatic scale with hands a minor 3rd or a major 6th apart, starting on any notes requested by
the examiner (two octaves)
Arpeggios:
Dominant 7th in the keys of F, Ab, Eb and F# (three octaves)
Diminished 7th starting on Ab, Bb and C# (three octaves)
Pedal Study:
J.S. Bach: Bars 13-32 from Toccata, Adagio and Fugue in C, BWV 564
81
Accordions Subject code: FBA/SBA
Pieces
Piece is taken to mean any work or group of works listed after the name of the composer(s). In Classical
(free-bass) Accordion grade examinations, three pieces are to be performed, one from Group A and two
from Group B. Classical (free-bass) Accordion candidates have the option of choosing one of their Group
B pieces from the Standard-bass Accordion list for the grade that they are taking. In Standard-bass
Accordion Grade examinations, three pieces are to be performed from the single group of pieces.
Instruments
The repertoire for the first three grades may be played on smaller instruments, in later grades a larger
instrument is required. Where the candidates accordion does not cover the range expected in the
Technical Work section for the grade, the candidate should play the Technical Work in the range that suits
his/her instrument, under guidance from the teacher.
Technical Work
Technical work is marked out of 14. The requirements are shown in the main body of the syllabus.
Candidates should aim for accuracy at an appropriate and regular pace, with even bellows and a good tone
with no undue accentuation, as well as attention to musical shaping, promptness and confidence of
delivery.
All scales, broken chords and exercises must be performed ascending and descending unless otherwise
stated, and from memory.
Please note that this section does not form part of Ensemble examinations.
Grade Scales
Grade 1 = 70
Grade 2 = 70
Grade 3 = 90
Grade 4 = 90
Grade 5 = 110
Grade 6 = 110
Grade 7 = 120
Grade 8 = 120
Examples
The patterns given overleaf are examples of some of those required for the examinations in this syllabus,
as mentioned in the main body of the syllabus.
Accordions
82
Bellow markings
= bellows out V= bellows in
NB The bellows markings given below are recommendations. The candidate may use an alternative
bellows phrasing.
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4
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Major scale
C major scale (one octave):
Classical (free-bass) Accordion
Standard-bass Accordion
G major scale (one octave) in the left hand:
Ab major scale (two octaves) in the right hand:
Classical (free-bass) Accordion
F major scale (two octaves) in the right hand:
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Major scale, hands together, similar motion, one octave apart
Bb major scale (one octave), hands together, similar motion:
Accordions
83
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D harmonic minor scale (one octave) in the right hand:
Eb major scale (two octaves), hands together, similar motion:
Harmonic minor scale
B harmonic minor scale (two octaves) in the right hand:
E harmonic minor scale (two octaves) in the left hand:
Harmonic minor scale, hands together, similar motion, one octave apart
C harmonic minor scale (one octave), hands together, similar motion:
C harmonic minor scale (two octaves), hands together, similar motion:
Accordions
84
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Natural minor scale
The natural minor scale (aeolian mode) is a basic form of minor scale. It should be played according
to the key signature, without using any accidentals, as in the following example.
A natural minor (one octave) in the left hand:
Melodic minor scale
D melodic minor scale (one octave) in the left hand:
E melodic minor scale (two octaves) in the right hand:
C melodic minor scale (two octaves) in the left hand:
Melodic minor scale, hands together, similar motion, one octave apart
G melodic minor scale (one octave), hands together, similar motion:
F melodic minor scale (two octaves), hands together, similar motion:
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Accordions
85
Broken chord
C major broken chord (range of a tenth) in the right hand:
D minor broken chord (range of a tenth) in the left hand:
D major broken chord (two octaves) in the right hand:
C minor broken chord (two octaves) in the left hand:
Broken chord, hands together, similar motion, one octave apart
C major broken chord (range of a tenth), hands together, similar motion:
G major broken chord (two octaves), hands together, similar motion:
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Accordions
86
Chromatic scale
C chromatic scale (one octave) in the right hand:
C chromatic scale (one octave) in the left hand:
C chromatic scale (two octaves) in the right hand:
Chromatic scale, hands together, similar motion, one octave apart
C chromatic scale (one octave), hands together, similar motion:
Ab chromatic scale (two octaves), hands together, similar motion:
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Accordions
87
Chromatic scale in contrary motion, hands beginning and ending on the same note
Ab chromatic scale in contrary motion (two octaves), hands beginning and ending on same note:
Scale in contrary motion, hands beginning and ending four octaves apart
C major scale in contrary motion (two octaves), hands beginning and ending four octaves apart:
Broken chord in contrary motion, hands together
C broken chord in contrary motion (two octaves), hands together:
Scale in thirds
C major scale in thirds (two octaves), right hand only:
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Accordions
88
Left-hand scale exercise (first five notes of major and minor scales)
C major (with the range of a fifth):
A minor (with the range of a fifth):
Left-hand arpeggio exercise
G major (one octave):
D minor (one octave):
Scale exercise
A major scale exercise (two octaves), hands together in contrary motion:
G harmonic minor scale exercise (two octaves), hands together in contrary motion:
C melodic minor scale exercise (two octaves), hands together in contrary motion:
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89
Classical (free-bass) Accordion Grade 1 Subject code: FBA
Pieces(3 x 22 marks)
Three pieces are to be played, one to be chosen from Group A, one from Group B and the third from
either Group B or from the Standard-bass Accordion list for Grade 1. Instead of one item from Group B,
candidates may offer their own composition (see page 7).
Group A
Bellman Fjriln vingad syns p haga, no. 8 (from Nils Erics Melodibok) Trio
Kabalevsky Waltz, no. 13 (from 24 Little Pieces) Boosey M-080-03429-9
B Przybylski Song, no. 1 (from Miniatures) PKW
Telemann Gavotte (from Music Box book 1) Trio
Trad. Krisatallen den Fina (from Music Box book 1) Trio
Trk Arioso (from Music Box book 1) Trio
Group B
A Abbott Automne Akkordeonkiste
R Fleming Gentle Doll (from Explorations) Waterloo 00-777106250256
J Ganzer Ostinato, no. 2 (from Dies und Das) Jung
Holm Tget (from Nils Erics Melodibok) Trio
Kolinski The Robot, no. 4 (from Merry-Go-Round Carrousel book 2) Waterloo 00-777106250454
Papp Any one of nos. 29, 30, 33, 34, 35, 36, 40, 42, 43, 44
(from 44 Leichte Stcke) Augemus
Trad. Flickan I Havanna [Solo version, p. 16] (from Music Box book 1) Trio
Trad. Lilla Snigel: Tema med Variationen (from Nils Erics Melodibok) Trio
Scales and Broken Chords
The following all to be prepared from memory, mf, legato, hands separately:
Major scales of C, G and D (one octave)
Minor scales of A and D (one octave): harmonic, natural or melodic at candidates choice
Major broken chords of C and G (range of a tenth)
Minor broken chords of A and D (range of a tenth)
Aural (see page 13)
90
Standard-bass Accordion Grade 1 Subject code: SBA
Harris Clip Clop Ball or Lydia Dances (from Young Player vol. 1) Charnwood
L Kubanek Sonatina no. 1 (from 6 Sonatinen)* Bosworth BOE3716
Mitchell Jack the Lad or Sweet Jilly (from Twos Company) Kestrel KP11
Romani Arietta, p. 11 or Round Dance, p. 12 (from Work and Play Stage 1) Charnwood
Romani Prelude or Intermezzo (from Debut) Kestrel KP49
T Schlunk Nos. 1 and 2 (from Fr kleine Musikanten) Hohner MH 120104
A Saira Any one of nos. 8, 9, 10, 11, 15, 22, 28 (from Little Accordion Players Toy Box) AMS
Volpi No. 1 or no. 5 (from Pinocchio Suite) MAP Edition
Volpi No. 1 Valzer or no. 2 Marcetta or no. 3 Gavottina (from Bambi Danzano) Brben B450
* This publication is out of print, but may be obtained as an archive copy from the publishers.
Scales, Exercises and Broken Chords
The following all to be prepared from memory, mf, legato:
Major scales of C, G and D (one octave), right hand only
Minor scales of A and D (one octave), harmonic or melodic at candidates choice, right hand only
Left-hand scale exercise: first five notes only of the major and minor scales above
Major broken chords of C and G (range of a tenth), right hand only
Minor broken chords of A and D (range of a tenth), right hand only
Left-hand arpeggio exercises in the major and minor keys as above for broken chords (one octave)
Three pieces are to be played chosen from the list below. Instead of any one item, candidates may offer
their own composition (see page 7).
Aural (see page 13)
91
Classical (free-bass) Accordion Grade 2Subject code: FBA
Group A
Bartk Children at Play, no. 1 (from For Children book 1) Boosey M-060-11230-0
Bartk Study for the Left Hand, no. 6 (from For Children book 1) Boosey M-060-11230-0
Bellman/Saira Fredmans Epistle no. 1 (from Matkakuumetta) FAI
Mozart Allegro (from Music Box book 1) Trio
B Przybylski Willow, no. 2 (from Miniatures) PKW
Trad. Polkan gr or When the Saints go Marching in (from Music Box book 1) Trio
Group B
DeCoursey Bus Ride Waterloo 00-777106250089
P M Dubois Valse Triste or Musette
(from A la Tuilerie 6 Enfantines for Accordion Solo) Choudens/UMP
J Feld Das Hschen tanzt, no. 5 (from Spielzeug) Jung
J Feld Das Pppchen, no. 2 (from Spielzeug) Jung
P Fiala In the Rain or March (from For Children) Trio
R Fleming Days End (from Explorations) Waterloo 00-777106250171
J Ganzer Kanon, no. 2 or Fernes Vorberziehen, no. 4
or Am Abend, no. 5 (from Dies und Das) Jung
E Harris Jaunt, no. 1 or On the March, no. 2 or Bulgarian Shepherds Tune, no. 3
(from Accordion Miniatures book 2 Modal) Waterloo 00-777106251079
T Johansson Any one of nos. 4, 11, 13, 14, 16 (from Akkordeon-Musikant) Air-Sonet
Lundquist Piccolissima Sonatina, no. 1 (from Allerlei ) Hohner/Schott MH 132011
All to be prepared from memory, mf, legato and staccato:
Major scales of C, G, D, A and F (one octave), hands separately
Minor scales of A, D and E (one octave), harmonic or melodic at candidates choice, hands separately
Chromatic scale beginning on C (one octave), hands separately and together in similar motion
Major broken chords of C, G and F (range of a tenth), hands separately
Minor broken chords of A, E and D (range of a tenth), hands separately
Aural (see page 13)
92
W Bernau Andante, no. 9 (from Musikmappe book 1) Hohner MH 121054
W Bernau Sonatina in the Olden Style (from Musikmappe book 1) Hohner MH 121054
J Blatn Pochod (from Vortragsstcke fr Akkordeon) Supraphon
J Blatn Scherzo (from Vortragsstcke fr Akkordeon) Supraphon
H Boll Any one from Brenstarke Stcke Weiss
J Buek Do Kola (from Vortragsstcke fr Akkordeon) Supraphon
J Buek Scherzino (from Vortragsstcke fr Akkordeon) Supraphon
F Fugazza Il Gatto ed il Topolino or Proverbio Cinese (from Pierino si Diverte) Brben B201
H Klz Morgenstimmung or Joshua (from Akkordeon Zeitreise Soloband I) Heck
L Kubanek Sonatina no. 2 or Sonatina no. 3 (from 6 Sonatinen)* Bosworth BOE3716*
Romani By the Wappy Spring, no. 4 (from Scapegoat Hill Scenes) Kestrel KP4
Romani March Finale (from Debut) Kestrel KP49
Romani The Mill Chimney is Smoking, no. 1
or Up Odsal Top, no. 2 (from Scapegoat Hill Scenes) Kestrel KP4
A Saira Any one of nos. 30, 34, 36, 37, 39, 42, 43, 44, 45
(from Little Accordion Players Toy Box) AMS
T Schlunck Kehraus (from Fr kleine Musikanten book 1) Matthais Hohner
Supp/Suomela Galoppi (from Matkakuumetta) FAI
Trad./Rantanen Hpolska Jalasjrvelt or Valssi Suomusjrvelt
(from Finnish Folk Music for Accordion) FAI
Volpi Polka or Tarantella (from I Bambi Danzano) Brben B450
Volpi The Fairy with the Blue Hair, no. 4
or Pinnochio Becomes a Boy, no. 6 (from Pinocchio Suite) MAP Editions
Wirkhaus/
Suomela Kilisee, Kilisee Kulkunen (from Matkakuumetta) FAI
* This publication is out of print, but may be obtained as an archive copy from the publishers.
All to be prepared from memory, mf, legato and staccato, hands separately:
Major scales of C, G, D, A and F (one octave), right hand only
Minor scales of A, D and E (one octave), harmonic or melodic at candidates choice, right hand only
Left-hand scale exercise: first five notes only of the major and minor scales above
Chromatic scale beginning on C (one octave), right hand only
Major broken chords of C, G and F (range of a tenth)
Minor broken chords of A, E and D (range of a tenth)
93
Group A
J S Bach Minuet in G minor (from Notebook for Anna Magdalena Bach 1725) Brenreiter BA 5164
Clerambault Allegro (from Polyphones Spielbuch 4) Preissler JP 435/4
Hssler Allegro 1 and 2 (from Polyphones Spielbuch 4) Preissler JP 435/4
Kabalevsky The Clown (from 24 Little Pieces) Boosey M-060-03429-9
Nielsen Marziale (from Small Pieces for Young and Old, op. 53 vol. 1) Hansen WH29625
B Przybylski Any one piece, except nos. 1 or 2, from Miniatures PKW
Rameau Menuet (from Polyphones Spielbuch 4) Preissler JP 435/4
Schumann Soldiers March, op. 68 no. 2 (from Schumann for Younger People) Henle HN45 or Schott
Group B
A Abbott Pour Pierre Akkordeonkiste
Y Apparailly In Autumn (from The Seasons) Waterloo 00-777106250720
J Feld Die Eisenbahn (no. 1 from Spielzug) Jung
R Fleming Hopscotch (from Explorations) Waterloo 00-777106250287
J Ganzer Any one of nos. 6, 7, 8, 9, 10, 11, 12a, 12b (from Dies und Das) Jung
E Harris Ayre with Variations, no. 6 (from Accordion Miniatures book 2 Modal) Waterloo
G Katzer Romantisches Lied and Russisches Volkslied,
or Bitonales Lied and Hartnckiger Gedanke (from Fr Knpfe book 1) VNM
Lundquist Invention in F, no. 3 (from Neun zweistimmige Inventionen) Hohner MH 133266
Lundquist Imitation, no. 12 or Langsamer Walzer, no. 13 or Legato e semplice, no. 14
or Valse douce, no. 15 (from Allerlei ) Hohner MH 132011
Lundquist Klarlven or Trskodans (from Microscope) Trio
P Makkonen Floating in the Star Dust (from Space Music) FAI
T Pedersen Lille eventyr or Drillepolka (from Rytmiske Danse) Trio
T Pedersen Transmission from The Old Caf (from Billedbog) Trio
Picchio 3 Easy Studies Edition Rondo-Prague
A Poltz Invention in E for accordion solo Choudens AC20622
Trad./Rantanen Valssi Hailuodosta (from Finnish Folk Music for Accordion) FAI
J Webb Solace BMIC
All to be prepared from memory, mf , mp and p
<
f
>
p, legato and staccato:
Major scales of A, E, F, Bb and Eb (one octave), hands separately and together in similar motion
Minor scales of E, G and C (one octave), harmonic or melodic at candidates choice, hands separately
and together in similar motion
Chromatic scale beginning on Ab (two octaves), hands together in similar motion, one octave apart
Chromatic scale in contrary motion beginning on Ab (two octaves), hands beginning and ending on same
note
Classical (free-bass) Accordion Grade 3
94
Major broken chords of C, G, D and A (range of a tenth), hands separately and together in similar motion
Minor broken chords of A, E, G and C (range of a tenth), hands separately and together in similar motion
Aural (see page 13)
95
S Bethmann Abenleid (no. 5 from Vortragsstcke fr Akkordeon) Supraphon
Dyremose And the Girl Went to the Dance, from Swedish Musicians-Suite
(from Dyremose Pieces vol. 2) Hansen WH30328
Dyremose Attenzione! Ora Suona il Nonno (from Dyremose Pieces vol. 4) Hansen WH30330
Dyremose Gladness, from Miniature Suite no. 1 (from Dyremose Pieces vol. 2) Hansen WH30328
Dyremose Like Bells (from Dyremose Pieces vol. 3) Hansen WH30327
F Fugazzi Any one piece from I Successi di Pierino Brben B338
S Garbatini Robinia or Tuberosa or Cobea or Narciso or Fiordaliso (from Note e Fiori ) Brben B4361
P Grozdevij Lettische Polka (no. 6 from Vortragsstcke fr Akkordeon) Supraphon
H Klz A Story from New Orleans or The Entertainer or Lazy Blues Time
(from Akkordeon Zeitreise Soloband I) Heck
L Ko zeluh Pastorale (from Czech Music Masters, Accordion Repertoire 80) Supraphon
P Makkonen Folk Dance from Neptune, no. 2 (from Space Music) FAI
G Marcosignori Ninna Nanna or Gavotta or Danza Picena (from Quattro Bagatelle) Brben B1608
Picchio 3 Easy Studies Edition Rondo-Prague
W Richter Any one suite from 4 Akkordeonsuiten Weiss
Sanski/Saira Min soiten harmonikkaa (from Matkakuumetta) FAI
L Stark Any one piece, except no. 6, from Spielzeugland Harth Musikverlag/Hohner Verlag
Trad. Sirak de stojan razbole (from Music Box book 2) Trio
Trad./Rantanen Kopukkaa (from Finnish Folk Music for Accordion) FAI
Trad./Suomela Old MacDonald had a Farm (from Matkakuumetta) AMS
H Zilcher De flinken Akrobaten (from Album fr Akkordeon) Hohner MH 120028
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Major scales of A, E, F, Bb and Eb (one octave), hands separately and together in similar motion
Minor scales of E, G and C (one octave), harmonic or melodic at candidates choice, hands separately
and together in similar motion
Chromatic scale beginning on C (two octaves), right hand only
Major broken chords of C, G, D and A (range of a tenth), right hand only
Minor broken chords of A, E, G and C (range of a tenth), right hand only
96
Group A
J S Bach Prelude in C minor, no. 3 (from 6 Small Preludes) Hansen WH17387
J S Bach March in G, BWV anhang 124
(from Notebook for Anna Magdalena Bach 1725) Brenreiter BA 5164
Dyremose Abelone Hansdaughters Saturdays Birthday
Krebs Allegro, no. 16 (from Polyphones Spielbuch 4) Preissler JP 435/4
Mozart Adagio fr Glasharmonika, K. 356 (from Mozart Piano Pieces) Henle HN221 or Schott
Group B
M Bonay Une Petite Valse pour Rever Opaline Akkordeonkiste
J Feld Das Auto, no. 4 or Teddybr, no. 6 or Karten, no. 7
or Ein Teufelchen, no. 8 (from Spielzeug) Jung
P Fiala Thoughtful (from For Children) Trio
J Ganzer Any one of nos. 14, 15, 16, 17 (from Dies und Das) Jung
J Gould Carnival Suite PKV
E Harris Hymn of Thanksgiving, no. 9 or Celtic Plant, no. 10 or French Dancing Carol, no. 11
or Tudor Lullaby, no. 15 (from Accordion Miniatures book 2Modal) Waterloo
Jacobi Marsch in der Frhe, no. 1
(from 10 Polyphone Stcke nach spanischen Volksliedern) Preissler
L Kayser No. 4 (from Arabesques for Free Bass Accordion) Samfundet A.0371
Lundquist Gajo, no. 7 [with repeats] and Frhlich singen die Vgelein, no. 10
or Polka, no. 16 (from Allerlei ) Hohner MH 132011
P Makkonen Feather Pillow (The Dance of Four Virtuousos) FAI
P Makkonen Laalalalaa (Songs for Accordion) FAI
T Pedersen Bucket-Beat or Drag-Time or Accordion Boogie (Rytmiske Danse) Trio
T Pedersen The Dream by the Sea or A Military Band in the Square
or A Serious Conversation (from Billedbog) Trio
Picchio Ostinato Barvin Edizioni Musicali EC 01-03BV
97
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Major scales of A, E, B, F, Eb and Ab (two octaves), hands separately and together in similar motion
Minor scales of E, B, G, C and F (two octaves), harmonic or melodic at candidates choice, hands
separately and together in similar motion
Chromatic scales beginning on any note named by the examiner (2 octaves), hands together in similar
motion, one octave apart
Chromatic scales in contrary motion beginning on any note named by the examiner (two octaves),
hands beginning and ending on same note
Major broken chords of C, G, D, A, E, B and F (two octaves), hands separately
Minor broken chords of C, G, D, A, E, B and F (two octaves), hands separately
Aural (see page 13)
98
A Be cvarovsk Polonaise (from Czech Music Masters, Accordion Repertoire 80) Supraphon
Dyremose Sailors Hornpipe or Kerry Dance from English Dance Suite
Fetras/Romani Luftschlsser Walzer, no. 5 (from Continental Collection) Kestrel KP24
Gade/Pelz Tango Jealousy (from Meine Lieblingsmelodien book 1) Hohner
Kaplan Scherzo (no. 8 from Czech Music Masters, Accordion Repertoire 80) Supraphon
G Katzer Im Nebel or Musette or Sexten-Schaukel or Fragen und Antworten
or Auf engstem Raum or Gehen, aber night marschieren,
or Kleine Entwicklungen or Ohne Rast und Ruh (from Fr Knpfe book 1) VNM
HKlz Schuttleflug durch die Zeit, no. 6 (from Akkordeon Zeitreise Soloband I)
P Makkonen Rubber Shoe (from The Dance of the Four Virtuosos) FAI
G Marcosignori Scherzo (from Quattro Bagatelle) Brben B1608
V Melocchi Il Vecchio Organetto or Serenatella Stana (from Quattro Bagatelle) Brben B203
Mozart
trans. P Lupo Marcia Turca, K. 331 Ricordi
A On egin Scherzino Supraphon
L Pihlajamaa Skkijrven polka FAI
L Stark Eisenbahn, no. 6 (from Spielzeugland) Harth Musikverlag/Hohner
Trad., arr. Holm Folksdans n Israel (from Music Box book 2) Trio
H Zilcher Einmarsch der Exoten or Die schne Tnzerin
(from Album fr Akkordeonkiste) Hohner MH 120028
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Major scales of A, E, B, F, Eb and Ab (two octaves), hands separately and together in similar motion
Minor scales of E, B, G, C and F (two octaves), harmonic or melodic at candidates choice, hands
separately and together in similar motion
Chromatic scales beginning on any note named by the examiner (two octaves), right hand only
Major broken chords of C, G, D, A, E, B and F (two octaves), right hand only
Minor broken chords of C, G, D, A, E, B and F (two octaves), right hand only
99
Group A
Carl-Anton Nattserenad tillgnad Sofia Kyrka (from Music Box book 2) Trio
J S Bach Giguetta, no. 17 or Gavotte, no. 18 (from Polyphones Spielbuch 4) Preissler JP 435/4
Johnny Lyckliga Henriks Polka (from Music Box book 2) Trio
Kabalevsky Five Happy Variations on a Russian Folk Song
(from Five Easy Variations) Boosey M-060-03418-3
D Scarlatti Sonata in C, K. 309 (from 200 Sonatas vol. 3) EMB
J Travers Cornet Voluntary (Old English Organ Music for Manuals book 1) OUP 0-193758-24-5
Group B
Brixi Fuga in G minor (from Czech Classic Masters, Accordion Repertoire 80) Supraphon
P Fiala For Fun or Picnic (from For Children) Trio
J Gould Shake PKV
E Harris Song of the Tambura Player, no. 12 and Cinque Pas, no. 13
(from Accordion Miniatures book 2Modal) Waterloo 00-777106251079
G Katzer Novemberlied or In Kleinen Schritten aufeinander zu or Kreisbewegung
or Scaramouche or Zwei Gesichter (from Fr Knpfe book 1) VNM
G Katzer Zgernd gefasster Entschluss or Zwiegesicht
or Passacaglia 1 (from Fr Knpfe book 2) VNM
L Kayser No. 6 (from Arabesques for Free Bass Accordion) Samfundet A.0371
Lundquist No. 17 Karawane or no. 19 Im Hof des Tempels (from Allerlei ) Hohner MH 132011
Lundquist No. 2 Pastorale (from Partita Piccola) Hohner MH 133282
P Makkonen Tilulilulinttan (from Songs for Accordion) FAI
M Murto Images of Summer FAI
T Pedersen The Young Virtuoso Theme with Variations (from Billedbog) Trio
A Saira Ride an Island Pony or The Boys are Fighting Again (from 10 Stories for Children) FAI
H Valpola Clouds FAI
100
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Major scales of B, F#, F, Bb, Eb, Ab and Db (two octaves), hands together in similar motion
Minor scales of B, F#, C#, G#, F, Bb and Eb (two octaves), harmonic or melodic at candidates choice,
hands together in similar motion
Chromatic scales beginning on any note named by the examiner (two octaves), hands together in similar
Major broken chords of B, F#, F, Bb, Eb, Ab and Db (two octaves), hands together in similar motion
Minor broken chords of B, F#, C#, G#, F, Bb and Eb (two octaves), hands together in similar motion
Aural (see page 13)
101
Group A
Akesson Folklorstica (from Music Box book 2) Trio
I Beynon A Night in Mexico Matthais Hohner
B Boccosi Piccolo Barcarola Brben B556
B Dowlasz 2 or 3 movements from Suite 1 or Suite 2 (from Opus Sectile) Akkordeonkiste
Dyremose Daniels Polka from Svensk Spillemans Suite no. 1
Dyremose Gopak or Rumba Espana (from Dyremose Pieces vol. 1) Hansen WH30327
S Garbatini Scherzo Brben B2154
H Klz Classic theme with variations (from Akkordeon Zeitreise Soloband I) Heck
P Makkonen Jibadaba (from Songs for Accordion) FAI
P Makkonen Tooth Brush (from The Dance of the 4 Virtuosos) FAI
Moskowski/ShawSpanish Dance no. 1 Kestrel KP77/1
A Saira Yuri from St Petersburg (from 10 Stories for Children) FAI
Trad./M Pando Clarinet Polka Brben B2216
H Zilcher Abendstimmung or Jahrmarktsbilder (from Album fr Akkordeon) Hohner MH 120028
H Zilcher Variationen ber ein frnkisches Volkslied
[Theme and Variations 1, 2 and 3] (from Album fr Akkordeon) Hohner MH 120028
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Major scales of B, F#, F, Bb, Eb, Ab and Db (two octaves), hands together in similar motion
Minor scales of B, F#, C#, G#, F, Bb and Eb (two octaves), harmonic or melodic at candidates choice,
hands together in similar motion
Chromatic scales beginning on any note named by the examiner (two octaves), hands separately
Major broken chords exercises in B, F#, F, Bb, Eb, Ab and Db (two octaves), hands together, as in the
example below, given in the key of C major:
Minor broken chord exercises in B, F#, C#, G#, F, Bb and Eb (two octaves), hands together as in the
example above.
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102
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Scales in all major and minor keys (harmonic and melodic) (two octaves), hands together in similar motion
Contrary motion major scales of C, G and F (two octaves), hands beginning and ending four octaves apart
Chromatic scales beginning on any note named by the examiner (two octaves),
hands together in similar motion, one octave apart
Broken chords in all major and minor keys (two octaves), hands together in similar motion
Group A
J S Bach Bourre no. 1 or no. 2 from English Suite no. 1 in A minor, BWV 807
(from The Six English Suites) Brenreiter BA 5165
J S Bach Gavotte 1 and 2 (from Polyphones Spielbuch 4) Preissler JP 435/4
Group B
A Abbott Marche Choudens/UMP
F Angelis Soliloque (from Concert Suite in Three Movements) Angelis
A Hovhaness Suite for Accordion, op. 166 Peters EP 6153
U Jutila Pictures for Children FAI
B Precz Any two movements from Suite Para Nios no. 5 Brben B3789
A Saira Sam from L.A. (from 10 Stories for Children) FAI
Seger Fuga in F minor (from Czech Classic Masters, Accordion Repertoire 80) Supraphon
Semionov Bulgarian Suite Schmlling
Zolotaryov Winter Morning (from Childrens Suite no. 6) Schmlling M-2022-1060-4
Zolotaryov Im Kloster Ferapont Schmlling
103
Barton Prelude and Fugue in A minor Charnwood
W Beltrami Note in Festa Brben B503
W Beltrami Tarantella Brben B2382
W Beltrami Holiday for Accordion Brben B1160
B Boccosi Capriccio Brben B103
B Boccosi Scherzando col Mantice Brben B457
C Di Marco Omaggio a Piazzolla Brben B3154
E Ettore Spanish Holiday MAP Editions
L Fancelli Eschi della Versilia Brben B610
L Fancelli Hellzapopping Brben B2566
L Fancelli Stranezze Brben B114
F Ferrari Penso sempre a te Brben B194
P Makkonen The Heroes of the Milky Way (from Space Music) FAI
C Morbidelli Danza nella Jungla Brben B388
I Panitzki Variationen Polosynka Schmlling
A Saira Surfing Pedro (from 10 Stories for Children) FAI
Trad. Gankino Horo (from Music Box book 2) Trio
Trad. Gopak (from Music Box book 2) Trio
Trad. Karaminskaja (from Music Box book 2) Trio
K O Treibmann Sonatine Harth
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Scales in all major and minor keys (harmonic and melodic) (2 octaves), hands together in similar motion
Chromatic scales beginning on any note named by the examiner (2 octaves), hands together in similar motion
Chromatic scales in contrary motion beginning on any note named by the examiner (2 octaves).
See example below:
Standard-bass Accordion Grade 6
104
Broken chord exercises in all major and minor keys (two octaves), hands together, as in the example
below, given in the key of C major:
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105
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Contrary motion major scales of Bb, Eb and Ab (two octaves), hands beginning and ending four octaves apart
Broken chords in contrary motion in all major and minor keys (two octaves)
Dominant seventh broken chords in the keys of C, F and Bb (two octaves), hands separately, as shown in the
examples below and overleaf (given in the key of F major):
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Group A
J S Bach Bourre from French Suite no. 6 in E, BWV 817
(from The Six French Suites) Brenreiter BA5166
J S Bach Polonaise in G minor (from Oeuvres classiques vol. 2) Lemoine 24275
Liadov A Music Box Schmlling M-2022-1130-4
Rameau La Joyeuse (from Pices de Clavecin) Brenreiter BA 3800
D Scarlatti Sonata in D minor, K. 9 or Sonata in C, K. 132 (from 200 Sonatas vol. 1) EMB
Group B
H Noth Ein Tag wie jeder andere (from Sechs Momente) Oettinger/Akkordeonkiste 200781
J Podprock Suite Chorcika Schmlling
M Seiber Preludium und Fuge im Stile Buxtehudes Hohner 00133293
O Sommerfield Lyriske Strofer Norsk Music
G Wuensch Any two movements from Mini Suite no. 3, op. 42 no. 3 Waterloo 00-777106250461
Zolotaryov Andantino (from Partita) Schmlling M-2022-1096-3
106
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107
F Angelis Dapres Laurette Akkordeonkiste
B Boccosi Rapsodia dautunno Brben B164
B C
ernohorsk Toccata in C Supraphon

Dyremose Finnish Polka from Swedish Musicians-Suite
(from Dyremose Pieces vol. 2) Hansen/Music Sales WH30328
Dyremose Ringdans from Bulgarian Dance Suite
(from Dyremose Pieces vol. 6) Hansen/Music Sales WH30332
L Fancelli Pupazetti Brben B229/MAP Editions
P Frosini Bats at Sunset MAP Editions
Fugazza Czardas or Danza Orientale (from Atlantic Musicale) Ricordi/MAP Editions
J Gart Scherzo MAP Editions
J Gart Vivo MAP Editions
Lecuona,
arr. Magnante Malaguena Edizioni Curci/Weinberger
J Lchter Albanesische Impressionen Preissler
Moszkowski/
Shaw Spanish Dance no. 3 Kestrel KP77/3
Piazzola/Angelis Bandoneon Akkordeonkiste
B Precz Grafelds Impression Brben B3742
B Przybylski The Cathedral in Oliwa or Sonatina Piccola (from Accordion Collection book 4) Astra
Volpi Concertino in D minor Brben B286
Volpi Preludio op. 31 Brben B122/MAP Editions
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Chromatic scales in contrary motion beginning on any note named by the examiner (two octaves), hands
beginning and ending on same note
Broken chord exercises in all major and minor keys (two octaves), hands together, as in the example below,
given in the key of C major:
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108
Broken chord exercises in contrary motion in all major and minor keys (two octaves), hands together, as
in the example below, given in the key of C major:
Dominant seventh broken chords in the keys of C, F and Bb (two octaves), right hand only, as in the
example below, given in the key of F major:
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109
Group A
J S Bach Gigue from French Suite no. 5 in G (from The Six French Suites) Brenreiter BA5166
J S Bach Prelude and Fugue in C minor, no. 2 (from Well-Tempered Clavier, book 1) Brenreiter BA5191
J S Bach Prelude and Fugue in D minor, no. 6 (from Well-Tempered Clavier, book 1) Brenreiter BA5191
Daquin Le Coucou Billaudot/UMP EP01320
Rameau La Livri and Le Rappel des Oiseaux (from Pices de Clavecin) Brenreiter BA3800
D Scarlatti Sonata in C, K. 11 and Sonata in C, K. 159 (from 200 Sonatas vol. 1) EMB
Group B
E Avril Toccata Moderne Bala Music
N Bartow Three Characteristic Dances Hohner 0133377
P M Dubois Scherzo Indigo
(from Berceuse turquoise & Scherzo indigo for accordion solo) Choudens/UMP 20556
P Fiala Aphorisms Trio
Jacobi Intermde (from Divertissement) Hohner
L Kayser No. 10 Arabesque for Free-bass Accordion Samfundet A.0371
Lundquist Sonatina Piccola Hohner MH 133330
Semionov Childrens Suite no. 2 Schmlling M-2022-1010-9
Semionov Childrens Suite no. 1 Schmlling M-2022-1011-6
A Surkov Volkslied Variations Schmlling
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Contrary motion scales in all major keys (two octaves), hands beginning and ending three octaves apart
beginning and ending on same note
Broken chords in contrary motion in all major and minor keys (two octaves)
Dominant seventh broken chords in all major keys (two octaves), hands together, as shown in the example
overleaf (given in the key of F major):
110
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111
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Scales in thirds in C and Bb majors (two octaves), right hand only
beginning and ending on same note.
Broken chord exercises in all major and minor keys (two octaves), hands together in similar motion, as in
the example below, given in the key of C major:
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W Beltrami Mister van Damme Brben B453
H Brehme Herbst-Elegie und Capriccio Hohner MH133145
H Brehme Paganiniana book 1 [Theme and Etudes 1, 4, 10 and 11] Hohner MH 134018
L Fancelli Acquarelli Cubani (from Tre Impressioni) Brben B163/MAP Editions
L Ferrari Trecate Pantomima Umoristica Brben
P Frosini Flirtation MAP Editions
W Jacobi Konzertrondo Hohner 00133204
Moszkowski/
Shaw Spanish Dance no. 5 Kestrel KP77/5
J Oppenheimer Ciaccona Brben B1168
Palmer/Hughes Schne Minka (from Palmer-Hughes Accordion Course book 10) Alfred
B Precz Fantasia Polacca Brben B2821
B Przybylski Three Night Pictures (from Accordion Collection book 4) Astra
Repnikov Toccata Schmlling M-2022-1077-2
Volpi Fileuse Brben B139/MAP Editions
112
Broken chord exercises in contrary motion in all major and minor keys (two octaves), as in the example
below, given in the key of C major:
Dominant seventh broken chords in all major keys (two octaves), right hand only.
See example on page 110.
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113
Certificate Examinations for Ensembles
Structure
Certificate examinations consist of a performance of a certain number of pieces without technical work
or supporting tests, and are particularly popular with ensembles seeking experience and validation of
the performing experience.
In order to encourage the co-operative skills essential for the development of a well-rounded musician,
assessments are offered for ensembles at three levels: First Recital (FR), Intermediate Recital (IR) and
Advanced Recital (AR). Ensemble performances can be an enjoyable and effective way to open or close
a session of solo examinations taken by individual students of one or more teachers, or within a school
entry. Provided that ensembles have repertoire of the appropriate level of difficulty and, as long as the
examination centre can accommodate the performers adequately, there is no restriction on the nature
or size of ensembles.
A programme of contrasted items should be chosen to match the capabilities of the players, as follows:
Level Length of programme Number of pieces
First Recital up to 10 minutes 46
Certificate
Intermediate Recital
Certificate 1015 minutes 34
Advanced Recital
Certificate 2025 minutes 3
Repertoire should be chosen in line with the guidelines set out in the Levels of Achievement
statements in the Information & Regulations booklet, where the relevant assessment criteria are also to
be found.
Marking
The items are presented as a concert performance for which a written programme is presented to the
examiner at the start, together with (photo)copies of the music being performed. Spoken introductions
may also be given to each piece. The examination is marked out of 100, with the marks for performance
(88 marks) divided equally amonst the pieces. The quality of the programme choice and planning is
assessed (6 marks), as is the stagecraft and presentation (6 marks). Mark boundaries are as follows:
Pass 60, Merit 75, Distinction 87.
Programme planning and notes
Examiners will award marks for the artistry and effectiveness of the programmes design and the
balance of contrasts in styles and tempi within the programme. Written and (where applicable) spoken
material will be considered in relation to the quality of the writing of the programme notes, the
accuracy, interest and appropriateness of the points made and the degree of care taken with the
presentation of the material.
Stagecraft and presentation
In this section examiners will assess the way that the performer(s) behave whenever on stage, their
awareness of and interaction with other members of the performing group and the ensemble skills that
they show. In addition their sense of occasion and their personal presentation will be appraised.
114
Music Publishers
Abbreviations used in this syllabus are given in brackets after the publishers full name.
Please notes that agents or distributors addresses are given for non-UK publishers. These
publishers may have different local agents in other parts of the world who may be able to supply
music more easily or quickly. Details of these may be obtained by contacting the publishers directly
at the addresses listed here.
Trinity Guildhall cannot guarantee that music will always be in stock with local suppliers. Candidates
and teachers should always check with the publisher before it is assumed that any item has gone
out of print.
Alfred Publishing ( Alfred): www.alfred.com
in UK: Alfred UK
Burnt Mill Elizabeth Way, Harlow, Essex CM20 2HX, UK
Tel: +44 (0)1279 828960 Fax: +44 (0)1279 828961
in Australia: Alfred Australia
P.O. Box 2355, Taren Point NSW 2229
Tel: 61 2 9524 0033 Fax: 61 2 9527 0023
AMA Verlag (AMA): Wesselinger Str. 28, D-50321 Brhl, Germany
Tel: +49 (0)2232 969324 Fax: +49 (0)2232 969366
AMS Production Ky ( AMS): Ari-Matti Saira, Havutie 3, FIN-31600 Jokioinen, Finland
Tel/Fax: +358 3 4384 174
Ancora Verlagsservice ( Ancora): Schreinerstr. 8, D-85077 Manching, Germany
Tel: +49 (0)8459 32490 Fax: +49 (0)8459 324915 www.ancora-verlagsservice.de
Edition Astra ( Astra): ul. Nawrot 36/11, 90-055 Ldz, Poland
Tel/Fax: +48 42 674 23 39
Augemus Musikverlag ( Augemus): Ralf Kaupenjohann, Bleckstrae 1a, D-44989 Bochum, Germany
Tel/Fax: +49 (0)234 534221 www.augemus.de
Bala Music (Bala): Sndergade 62, 8000 rhus C, Denmark
Tel: +4586 19 64 67 Fax: +4586 12 78 42
Banks Music Publications (Banks): c/o The Old Forge, Sand Hutton, York, YO41 1LB, UK
tel. +44 (0)1904 468 679; www.banksmusicpublications.cwc.net
Brenreiter Ltd (Brenreiter): Burnt Mill, Elizabeth Way, Harlow, Essex CM20 2HX, UK
tel. +44 (0)1279 828930; www.brenreiter.com
Barvin Edizioni Musicali (Barvin): Via Aurelia, 2871, 00050 Torre in Pietra (RM), Italy
Tel: +39 06 61699069 Fax: +39 06 61699069
Bayley & Ferguson (Bayley/Ferguson): c/o Glasgow Music Centre, 65 Berkeley Street, Glasgow
G3 7DZ, UK; tel. +44 (0)141 221 9444; www.glasgowmusiccentre.co.uk
Edizioni Brben (Ancona) (Brben): c/o Fentone Music Ltd, Fleming Road, Earlstrees, Corby, Northants
NN17 2SN, UK
ditions Grard Billaudot (Billaudot): 14 rue de lchiquier, Paris 75010, France
Tel: +33 (0)1 4770 1446 Fax: +33 (0)1 4523 2254
Borg Music: Boris Borgstrom, 150 Geneva Street, St. Catharines, Ontario, L2R 4N9 Canada
Tel: (905) 682 5492 Fax: (905) 682 9145
ditions Bornemann (Paris) (Bornemann): in UK: c/o United Music Publishers Ltd; in USA: c/o
Robert King Music Sales Inc.
Boosey & Hawkes Music Publishers Ltd (Boosey): www.boosey.com
Retail: c/o Schott & Co. Limited, 48 Gt Marlborough Street, London, W1F 7BB, UK Tel: +44 (0)20 7437
1246 Fax: +44 (0)20 7437 0263 Trade: Boosey & Hawkes c/o Schott & Co. Limited, MDS Music
Distribution Service, 5/6 Raywood Office Complex, Leacon Lane, Charing, Ashford, Kent TN27 0EN, UK
Tel: +44 (0)1233 712233 Fax: +44 (0)1233 714948
Bosworth & Co. Ltd (Bosworth): c/o Music Sales Ltd
Breitkopf & Hrtel (Breitkopf): Walkmhlstrae 52, Wiesbaden D-65195, Germany
tel. +49 611 45008 58; www.breitkopf.com; in UK: c/o Broome Cottage, The Street, Suffield, Norwich
NR11 7EQ, UK; tel. +44 (0)1263 768 732
British Music Information Centre (BMIC): Lincoln House, 75 Westminster Bridge Road, London,
SE1 7HS, UK Tel: +44 (0)20 7928 1902 www.bmic.co.uk
Broekmans & Van Poppel (Broekmans): Van Baerlstraat 92-94, 1071 BB Amsterdam, Netherlands
tel. +44 (20) 6796575; www.broekmans.com
Cascade Music Publishing (Cascade): 30 College Green, Bristol BS1 5TB, UK
tel. +44 (0)1454 323 608
Charnwood Music: 52 Merrion Ave, Stanmore, Middlesex, London HA7 4RU, UK
Tel: +44 7770450840 Fax: +44 2084163231
Chester Music Ltd (Chester): c/o Music Sales
Choudens: in UK c/o UMP
ditions Combre (Combre): 24, Boulevard Poissonnire, 75009 Paris, France;
tel. +33 (0)1 48 24 89 24; in UK: c/o United Music Publishers Ltd
Cramer Music Ltd (Cramer): 23 Garrick Street, London WC2E 9RY, UK
tel. +44 (0)20 7240 1612; www.cramermusic.co.uk
Edizioni Curci (Curci): c/o Weinberger
Deffner: PO Box 608, Mineola, NY 11501, USA
Tel: 516 746 3100 www.accordions.com/deffnermusic
De Haske Music (UK) Ltd (De Haske): Fleming Road, Earlstrees, Corby, Northants. NN17 2SN, UK
tel. +44 (0)1536 260981; www.dehaske.com
Editoria de Musica Boileau
Provena 287, 08037 Barcelona, Spain
Tel: +34 93 215 53 34/+34 93 487 74 56 www.boileau-music.com
Dover Publications (Dover): c/o Music Sales
Durand et Cie (Paris) (Durand): 5 rue du Helder, 75009 Paris, France
tel. +33 (0)1 53 24 80 01; www.durand-salabert-eschig.com
for the rest of the world: c/o United Music Publishers Ltd
Editio Musica Budapest Ltd (EMB): in UK: c/o Faber Music Ltd
Elkan-Vogel (Elkan-Vogel): P.O. Box 7720, New York, NY 101500-1914, USA
in UK: c/o United Music Publishers Ltd
Edition Eres (Eres): Horst Schubert e. K., Hauptstr. 35, D-28859 Lilienthal, Germany
Tel: +49 (0)4298 1676 Fax: +49 (0)4298 5312
Faber Music Ltd (Faber): Burnt Mill, Elizabeth Way, Harlow, Essex CM20 2HX, UK
tel. +44 (0)1279 828 982; www.fabermusic.com
Fennica Gehrman: PO Box 158, FIN-00121 Helsinki, Finland, UK sales : c/o Sulasol, Fredrikinkatu
51-53 B,00100 Helsinki, Finland Tel: +358 9 413 61111 Fax: +358 9 413 61122; www.sulasol.fi
Finnish Accordion Institute (FAI): Kyrsselnkatu 3, FIN-39500 Ikaalinen, Finland
Tel: +358 3 4400221 Fax: +358 3 4589071
Guildhall (Guildhall): c/o Faber Music Ltd
Hal Leonard Publishing Co. (Hal Leonard): 7777 W. Bluemound Road, P.O. Box 13819, Milwaukee WI
53213, USA; tel. +1 414 7743630; in UK: c/o Music Sales Ltd
Hamelle (Paris) (Hamelle): c/o Editions Alphonse Leduc; in UK: c/o United Music Publishers Ltd
115
Music publishers
Wilhelm Hansen Edition (Hansen): Bornholmsgade 1, DK-1266, Copenhagen, Denmark
Tel: +45 3311 7888 www.ewh.dk; in UK: c/o Music Sales
Harmonia (Harmonia): c/o Spartan Press Music Publishers Ltd
Harth: Harth (Gerig) Harth Musikverlag/Pro musica Verlag GmbH, Bergisch-Gladbach, Germany
Tel: +49 (0)2204 20030 Fax: +49 (0)2204 200333
Musikverlag Herbert Heck (Heck): Ossweiler Weg 27, D-71334 Waiblingen, Germany
Tel: +49 7151 / 54 368 Fax: +49 7151 / 59 504; www.mvheck.de
G Henle Verlag (Henle): Forstenreider Allee 122, D81476 Munich, Germany
Tel: +49 89 759820 Fax: +49 89 759240; www.henle.de
Hinrichsen Edition (Hinrichsen): c/o Peters Edition Ltd
Hohner: c/o Schott
Musikverlag Ralf Jung ( Jung): Hasebrinkstrasse 41, 49716 Meppen, Germany
Tel: +495931 929726 Fax: +49 5931 929727
Edwin F Kalmus & Co. Inc. (Kalmus): P.O. Box 5011, Boca Raton, FL 33431, USA
tel. +1 800 434 6340; in UK: c/o Music Sales Ltd
Kestrel Publications: 4 Ouse Drive, Wetherby, West Yorkshire, LS22 7UQ, UK
Tel: +44 (0)1937 583967
Robert King Music Sales Inc (Robert King): 140 Main Street, North Easton, Massachusetts 02356,
USA; fax. +1 508 238 2571; www.rkingmusic.com; in UK: c/o United Music Publishers Ltd
Editions Alphonse Leduc (Leduc): 175, rue Saint-Honor, 75040 Paris, France
tel. +33 (0)1 42 96 89 11; in UK: c/o United Music Publishers Ltd
Editions Henry Lemoine (Lemoine): 41 rue Bayen, 75017 Paris, France; www.editions-lemoine.fr
in UK: c/o United Music Publishers Ltd; in USA: c/o Theodore Presser Company
Maecenas Music Ltd (Maecenas): 5 Bushey Close, Old Barn Lane, Kenley, Surrey, CR8 5AU, UK
tel. +44 (0)20 8660 3914
MAP Editions: 2 Bence Close, Darton, Barnsley, Yorkshire S75 5PB, UK
tel: +44 (0)1226 382976
Kevin Mayhew Publishers (Kevin Mayhew): Buxhall, Stowmarket, Suffolk IP14 3BW, UK
tel. +44 (0)1449 737 978; www.kevinmayhew.com
Music Sales Ltd (Music Sales): Distribution Centre, Newmarket Road, Bury St. Edmunds, Suffolk
IP33 3YB, UK; tel. +44 (0)1284 702 600; www.musicroom.com
Norsk Music: P.O. Box 1499 Vika, N- 0116 OSLO, Norway
Tel: (+47) 23 00 20 10 / 23 00 20 21 orders; www.norskmusikkforlag.no
Novello & Co. Ltd (Novello): c/o Music Sales Ltd
Oxford University Press (OUP): Music Department, Great Clarendon Street, Oxford OX2 6DP, UK
tel. +44 (0)1536 454 590; www.oup.co.uk
in Australia: c/o Alfred Australia, P.O. Box 2355, Taren Point, NSW 2229
tel. +61 2 9524 0033; promo@alfredpub.com.au
in USA: Oxford University Press Inc, 198 Maddison Avenue, New York, NY 10016
Paxton Music (Paxton): c/o Music Sales Ltd
Peermusic Classical (Peer): Mulenkamp 45, 22303, Hamburg, Germany
Tel: +49 (0)40 2783790 Fax: +49 (0)40 27837940; website: www.peermusic-classical.de
Peters Edition Ltd (Peters): 10-12 Baches Street, London N1 6DN, UK
tel. +44 (0)20 7553 4000; www.edition-peters.com; in UK: c/o Faber Music Ltd
Preissler: c/o Ancora
Prokordeon-Musikverlag (PKW): Im Bahnhof 127, 30890 Barsinghausen-Egestorf, Germany
Tel: +49 5105 58 50 14 Fax: +49 5105 580 34; werner.musik@t-online.de
Music publishers
116
117
PWM Edition (PWM): al. Krasinskiego 11a, 31-111 Krakow, Poland
tel. +48 (012) 422 70 44; www.pwm.com.pl; in UK: c/o Universal Edition (London) Ltd
Really Useful Company (RUC): c/o Music Sales Ltd
Ricordi & Co (Ricordi): www.ricordi.com; in UK: c/o United Music Publishers Ltd
Edition Rondo Prague: Edition Rondo-Prague, Hlavni 22, CZ-141 00 Prague 4, Czech Republic
Edition Samfundet: Grbrdresrde 18.1, DK-1154 Copenhagen K, Denmark
Tel: +45 3313 5445 www.samfundet.dk
Scheibenreif: Dr. Herbert Scheibenreif, Resselgasse 2, A-2620 Neunkirchen, Austria
Tel/Fax: +43-2635-69421 www.accordion-cd.co.at www.accordions.com/scheibenreif
G Schirmer Ltd (Schirmer): c/o Music Sales Ltd
Schola Cantorum (Schola Cantorum): Rue du sapin 2a, C.P. 156, CH 2114 Fleurier, Switzerland;
tel. +41 (0)32 861 37 19; www.schola-editions.com; in UK: c/o United Music Publishers Ltd
Schott Music Ltd (Schott): 48 Great Marlborough Street, London W1F 7BB, UK
tel. +44 (0)20 7437 1246/(0)20 7534 0710: www.schott-music.com
Scottish Music Centre (SMC): 1 Bowmont Gardens, Glasgow G12 9LR, UK
Tel: +44 (0)141 334 6393; www.scottishmusiccentre.com
Karthause-Schmlling (Schmlling): Postfach 1609, 59159 Kamen, Germany
Tel: +49 (0)2307 75115 Fax: +49 (0)2307 71822; in UK: c/o Charnwood Music
Spartan Press Music Publishers Ltd (Spartan): Strathmashie House, Laggan Bridge,
Scottish Highlands, PH20 1BU, UK; tel. +44 (0)1528 544 770; www.spartanpress.co.uk
Stainer & Bell Ltd (Stainer): P.O. Boxes 110, Victoria House, 23 Gruneisen Road, London N3 1DZ, UK
tel. +44 (0)20 8343 3303; www.stainer.co.uk
Theodore Presser Company (Presser): 588 North Gulph Road, King of Prussia, PA 19406, USA
tel. +1 610 525 3636; www.presser.com; in UK: c/o United Music Publishers Ltd
Thorpe Music (Thorpe): c/o Maecenas Music Ltd
Trinity (Trinity): c/o Faber Music Ltd
Trinity Faber (Trinity Faber): c/o Faber Music Ltd
United Music Publishers Ltd (UMP): 33 Lea Road, Waltham Abbey, Essex EN9 1ES, UK
Tel: +00 44 (0)1992 703 110; www.ump.co.uk
Universal Edition (London) Ltd (Universal): 48 Great Marlborough Street, London W1F 7BB, UK
tel. +44 (0)20 7437 1246/(0)20 7534 0710: www.universaledition.com
VNM: c/o AMA
Waterloo Music (Waterloo): 3 Regina Street, North Waterloo, Ontario N2J 4A5, Canada
Josef Weinberger Ltd (Weinberger): 12-14 Mortimer Street, London W1T 3JJ, UK
Tel: 44 + (0)20 7580 2827; www.josef-weinberger.com; in UK: c/o Faber Music Ltd
Wise (Wise): c/o Music Sales Ltd
Yorktown (Yorktown): c/o Music Sales
Specialist Accordion Suppliers
Akkordeonkiste
Heideweg 4, D-30916 Isernhagen, Germany
T +49 (0)5136 896669; E akkordeonkiste@aol.com
Trevani
14 Mapledale Avenue, Croydon, CR0 5TB, UK
T +44 (0)20 8656 1450; www.trevani.co.uk
Music publishers
Trinity Guildhall Publications
118
Keyboard Books Electronic Keyboard Examination Pieces (from 2003). Trinity Guildhall publish
six books from InitialGrade 5 of solo keyboard pieces and technical work for
each grade. These remain valid from the old Trinity syllabus.
Digital Keyboard Examination Pieces (from 2000). Repertoire, technical work
and sample tests for Grades 68 of the Digital Keyboard syllabus published in
one book. This again, continues to be valid from the old Trinity syllabus.
Keyboard CDs A CD of all InitialGrade 5 repertoire found in Electronic Keyboard Examination
Pieces (from 2003) is available.
Aural Tests Trinity Guildhall Aural Tests from 2007: In two volumes, Initial to Grade 5 and
Grade 6 to Grade 8, each with CD, containing sample tests for the Aural
section of the exam. With explanations, sample answers and advice on
completing the tests.
Sight Reading The Sound at Sight series gives full instructions and practice materials for
preparation for the sight reading tests. Sound at Sight Electronic Keyboard is
available in one volume, InitialGrade 5. Sound at Sight Piano in three volumes
may be useful for accordion candidates wanting extra sight reading practice
material.
Keyboard Repertoire The following joint Trinity Faber publications are also available for Electronic
Keyboard:
Electronic Keyboard Collection: InitialGrade 1
Electronic Keyboard Collection: Grades 12
Electronic Keyboard Collection: Grades 23
Electronic Organ Books Trinity and Guildhall repertoire books that remain available and in use on the
2007 syllabus are as follows:
Electronic Organ World book 1: InitialGrade 3
Electronic Organ World book 2: Grades 46
Electronic Organ World book 3: Grades 78
Electronic Organ Repertoire book 1: InitialGrade 1
Electronic Organ Repertoire book 2: Grades 23
Electronic Organ Repertoire book 3: Grades 45
All Trinity Guildhall publications are available from your local music shop, but can also be obtained
directly from our distributors:
FM Distribution Ltd, Burnt Mill, Elizabeth Way, Harlow CM20 2HX, UK
T +44 (0)1279 828982 F +44 (0)1279 828983
E sales@fmdistribution.com www.fabermusic.com
If you are ordering directly from FM Distribution Ltd, please order carefully as no returns can be
accepted. A postage charge will be added to your order.
For a publications list or if you have any queries about music published by Trinity Guildhall, please
contact:
Trinity Guildhall Examinations, 89 Albert Embankment, London SE1 7TP, UK
T +44 (0)20 7820 6100 F +44 (0)20 7820 6161
E music@trinityguildhall.co.uk www.trinityguildhall.co.uk
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