Electronic Keyboard
& Organ Syllabus
Electronic Keyboard, Electronic Organ
& Organ
Grade exams
2015–2018
Trinity College London
www.trinitycollege.com
Charity number 1014792
Patron HRH The Duke of Kent KG
Chief Executive Sarah Kemp
Copyright © 2014 Trinity College London
Published by Trinity College London
Online edition, 27 November 2017
Contents
Introduction......................................................................................................................... 3
Why take a Trinity graded exam?....................................................................... 4
Range of qualifications............................................................................................... 5
About the exam................................................................................................................ 6
Exam structure and mark scheme.................................................................................... 6
Pieces......................................................................................................................................... 7
Instruments.............................................................................................................................10
Electronic keyboard glossary of chords.........................................................................12
Own composition................................................................................................................... 13
Mark scheme for pieces.......................................................................................................14
Technical work........................................................................................................................15
Supporting tests: ...................................................................................................................16
Sight reading..................................................................................................................... 17
Aural....................................................................................................................................21
Improvisation...................................................................................................................24
Musical knowledge.........................................................................................................28
Requirements:
Electronic keyboard
(subject code EK).................................. In
Electronic organ (subject code EO)... In
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
Organ (subject code OGN)............................. 1
2
3
4
5
6
7
8
Information and regulations..................................................................................78
Music publishers............................................................................................................82
Trinity publications..................................................................................................... 84
Introduction
I am delighted to introduce this syllabus containing details of grade exams for keyboard instruments.
Like all Trinity College London (‘Trinity’) syllabuses, this syllabus is designed to enable candidates
of all levels and abilities to demonstrate their skills in a way that suits their individual needs as
learners. It does this by offering unrivalled flexibility of choice within each section of the exam, as
well as giving candidates the opportunity to express their own musical identities through options to
improvise and perform original compositions. Underpinning these innovative features is a uniquely
diagnostic mark scheme, ensuring that candidates receive precise and specific feedback to inform
their continued learning.
Trinity aims to treat each candidate individually when considering how we can make our exams
accessible to all, recognising that requirements vary. Please visit www.trinitycollege.com/music
(‘our website’) for more information or contact us directly to discuss any specific requirements.
We hope you enjoy exploring the music on offer in this syllabus, and we wish you every success in
your exams and wider music-making. Further information on all our exams, as well as additional
supporting materials for teachers and candidates, can be found on our website.
Francesca Christmas
Head of Academic Governance – Music
Trinity accepts entries for its exams on the condition that candidates conform to the requirements of
the appropriate syllabus. Any amendments to the requirements will be published and advertised via
our website and in subsequent imprints.
Trinity College London is an awarding body recognised by the Office of Qualifications and Examinations
Regulation (Ofqual) in England and Northern Ireland, and by Qualifications Wales (QW). Trinity’s
qualifications are regulated by these authorities within the Regulated Qualifications Framework (RQF).
Various arrangements are in place with governmental education authorities worldwide.
In the UK, Trinity’s Grade 6–8 exams can contribute towards entry into higher education through the
allocation of UCAS points. Please see our website for full details.
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3
Why take a Trinity grade exam?
Recognising that there is no single approach to musical assessment, Trinity’s grade exams are guided
by a core philosophy of flexibility, placing the needs of individual candidates at the heart of the exam.
This is done by:
 offering freedom of choice within the exam to enable candidates to play to their strengths
 examining real musical skills that are specific to each instrument or the voice
 a
llowing candidates to express their own musical identities through options to improvise
and present original compositions
 u
sing a diagnostic mark scheme, offering precise and specific feedback to inform
continued learning
 linking closely with Trinity’s other music qualifications to provide flexible progression routes
 d
rawing on Trinity’s many relationships around the world to feature repertoire inspired by a range
of musical genres, as well as exciting new works by up-and-coming composers.
As well as incorporating these innovative features, Trinity’s grade music exams are delivered by
a panel of friendly examiners who are rigorously trained and standardised. This aims to create a
positive and personalised experience for all candidates.
4
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Range of qualifications
Trinity’s music qualifications offer flexible progression routes from beginner to advanced levels in a
range of musical genres. All are designed to help candidates develop as musicians according to their
individual needs as learners.
Grade exams assess a broad range of musicianship skills, including performance, while certificate
exams focus entirely on performance, including separate marks for stagecraft. Candidates can enter
any combination of grade or certificate exams, and do not need to pass any particular level in order to
proceed to a higher level.
Each level features an equivalent grade theory exam, supporting candidates in developing their
understanding of the technical language of music. However, no theory qualifications or other
prerequisites are required to enter grade or certificate exams at any level.
After Grade 8 or the Advanced Certificate, candidates can progress to diplomas at associate (ATCL),
licentiate (LTCL) and fellowship (FTCL) levels. These assess higher skills in performance, teaching,
theory and composition. Adults who work as music educators may also wish to consider Trinity’s Level
4 Certificate for Music Educators (Trinity CME).
This syllabus focuses on grade exams in keyboard instruments. Visit our website for more information
about other grade exams, certificate exams, diplomas, the Trinity CME, and Music Tracks — an initiative
designed to support teachers in delivering large- and small-group instrumental tuition.
RQF*
Level
EQF** Classical
Level & Jazz 7
7
FTCL
FMusTCL
6
6
LTCL
LMusTCL
ATCL
AMusTCL
4
5
3
4
2
1
Entry
Level 3
3
2
1 Rock
& Pop
Theory
& Written
Music
Tracks†
Solo
Certificate †
Group
Certificate †
Advanced
Advanced
Certificate for Music Educators
(Trinity CME)
Grade 8
Grade 8
Grade 8
Grade 7
Grade 7
Grade 7
Grade 6
Grade 6
Grade 6
Grade 5
Grade 5
Grade 5
Grade 4
Grade 4
Grade 4
Intermediate Intermediate
Grade 3
Grade 3
Grade 3
Grade 2
Grade 2
Grade 2
Track 2
Foundation
Grade 1
Grade 1
Grade 1
Track 1
Initial
Initial
Foundation
Initial Track
Entry
Levels 1–2
First Access
Track
* Regulated Qualifications Framework in England,
Wales and Northern Ireland
** European Qualifications Framework
† Not RQF or EQF accredited
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5
About the exam
Exam structure and mark scheme
Initial–Grade 5
Max. marks
Grades 6–8
Max. marks
Piece 1
22
Piece 1
22
Piece 2
22
Piece 2
22
Piece 3
22
Piece 3
22
Technical work*
14
Technical work*
14
ither:
E
i) scales and chord
knowledge
or
ii) exercises
Supporting tests
Any TWO of the
following:
Either:
i) scales and chord
knowledge
or
ii) exercises
10
10
10
sight reading
Supporting test 2
sight reading
or
aural
or
improvisation
or
musical knowledge
Total
Supporting test 1
10
One of the following:
improvisation
or
aural
100
100
* Electronic organ and organ technical work does not include exercises.
Comments and marks are given for each section of the exam, up to the maximums listed in the table
above. It is not necessary to pass all sections or any particular section in order to achieve a pass
overall. The total mark for the exam corresponds to different pass/below pass bands as follows:
6
Overall mark
Band
87–100
Distinction
75–86
Merit
60–74
Pass
45–59
Below pass 1
0–44
Below pass 2
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About the exam
Candidates may present the sections of the exam in an order of their choice, and should indicate their
preferred order on the appointment form. This should be given to the examiner at the start of the
exam. If no preference is indicated, pieces are heard first in exams for accompanied instruments, and
technical work is heard first in exams for unaccompanied instruments.
Exams are designed to allow sufficient time for setting up and presenting all sections.
Level
Exam duration (minutes)
Initial
13
Grade 1
13
Grade 2
15
Grade 3
15
Grade 4
20
Grade 5
20
Grade 6
25
Grade 7
25
Grade 8
30
Pieces
Electronic keyboard
Piece choice and programming
 Candidates must perform three pieces, and are encouraged to present a balanced programme.
 C
andidates may choose any three pieces from those listed for the grade. Initial–Grade 5 candidates
may substitute one piece for an own composition (see page 13). Grades 6–8 candidates may
substitute one piece for an own composition (see page 13), or for a piece of their own choice, or for
their own arrangement of a piece of their own choice (either a keyboard or a non-keyboard piece).
 O
wn choice pieces and arrangements must be comparable in technical and musical demand to the
pieces listed at the same grade. Pre-approval of own choice repertoire is not required, but marks
may be deducted if the demands of the piece are not appropriate for the grade.
 T
he lists contain pieces where there is greater opportunity for more individual interpretation and
also pieces with substantial opportunities for improvisation.
Own interpretation
 T
he aim of these pieces is to allow the candidate to create a personal arrangement with as much
artistic and musical flair as possible in line with the expectations for the grade.
 V
oice(s) and style are chosen by the candidate and the music should be adapted by changing
rhythm, register or even harmony to produce a creative response.
 A
uto intros/endings are not permitted, although the candidate may compose and perform their
own intro/ending.
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7
About the exam
Improvisation
 The aim of the improvisation pieces is to encourage creativity and originality.
 C
andidates must not bring additional notation or written-out solos to the exam and the
improvising must have a sense of spontaneity.
Chords
 S
ingle or fully fingered chords can be used at the candidate’s discretion, though at higher grades
the chords required may not be available as single fingered chords.
 C
andidates are free to use their judgement in choosing spacing and arrangement of the notes
according to the most convenient fingering.
Set up
 E
fficient setting up is a major part of the technique of the instrument and is expected to be
carried out quickly and efficiently in all exams.
 M
arks may be deducted for unnecessary delays in setting up for any part of the exam, including
protracted delays at the start or between items, or restarts due to improper set-up.
 A
t the end of each piece the candidate should begin setting up for the next piece. ‘Please set up
for the next piece’ is clearly marked in the music at the end of each piece in Trinity publications as
a reminder.
Electronic organ
Piece choice and programming
 Candidates must perform three pieces, and are encouraged to present a balanced programme.
 C
andidates may choose any three pieces from those listed for the grade. Candidates may substitute
one piece for an own composition (see page 13), or for a piece of their own choice. Own choice
pieces must be comparable in technical and musical demand to the pieces listed at the same grade.
Pre-approval of own choice repertoire is not required, but marks may be deducted if the demands
of the piece are not appropriate for the grade.
Organ
Piece choice and programming
 Candidates must perform three pieces, and are encouraged to present a balanced programme.
 Pieces by at least two composers should be played.
 P
ieces are divided into two groups: group A and group B. Candidates must choose at least one
piece from each group. The third piece may be chosen from either group, or may be the candidate’s
own composition (see page 13).
All instruments
Performance and interpretation
 All pieces must be prepared in full unless otherwise stated.
 Repeats of more than a few bars should not be played unless otherwise stated.
 All da capo and dal segno instructions should be observed.
 Cadenzas should be omitted unless otherwise stated.
 Candidates are encouraged to use appropriate ornamentation, particularly at Grades 6–8.
8
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About the exam
 A
ll tempo and performance markings should be observed (eg Allegro, rall., cresc.).
Metronome marks are given as a guide but do not need to be observed exactly, as long as the style
and character of the piece is maintained.
 C
andidates may perform any or all of their pieces from memory, although this is not compulsory
and no additional marks are given for this.
Page turns
 T
he examiner will not be able to act as a page turner. Difficult page turns may be overcome by
photocopying the relevant pages.
 A
page turner may assist at Grades 6–8, but may only remain in the exam when required to
turn pages.
Music and copies
 C
andidates are responsible for obtaining the music for their exam in good time prior to entering.
Candidates are advised to check the availability of pieces before deciding to perform them.
 R
ecommended editions are listed in the syllabus, but candidates may perform from any edition as
long as it has not been shortened or otherwise simplified. Where a particular edition must be used,
this is indicated in the syllabus. Product codes for publications are included where available.
 G
uidelines regarding the legitimacy of all forms of sheet music can be obtained from the UK Music
Publishers Association’s Code of Fair Practice, available at www.mpaonline.org.uk . Candidates must
comply with copyright and other intellectual property laws in the country where the exam is
taking place.
 In accordance with the Code of Fair Practice, candidates must produce original copies of all pieces
to be performed at the exam, even if pieces have been memorised, handwritten or typeset. Pieces
where no original copy has been provided may be awarded no marks.
 C
andidates must provide photocopies of all pieces, except pieces taken from Trinity publications,
to be performed as a reference for the examiner. Photocopies will be retained by the examiner and
destroyed after the exam.
 W
here music has been downloaded, candidates must bring proof of purchase or the web address
where it was accessed for the examiner’s reference.
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9
About the exam
Instruments
Electronic keyboard
 C
andidates are responsible for providing their own keyboard, music stand, keyboard stand, power
adaptor and seat (if required).
 A
mains power supply will be available at centres but candidates should check with the
representative to ensure it is within easy reach of the instrument.
 Candidates are responsible for the electrical safety of any equipment used in their exam.
 T
he steward will normally be responsible for assisting with the setting up and removal of the
instrument but the candidate should have a full working knowledge of the set up procedure.
 It is recommended that instruments have the following specification:
–– range: minimum 4 octaves (Initial–Grade 1); minimum 5 octaves (Grades 2–8)
–– keyboard: full-size keys
–– capability — from Grade 2: minimum 16-note polyphonic capacity; a range of individual
voices and rhythm styles; dual voice/layer
—— from Grade 3: registration memory; touch sensitivity option
—— from Grade 5: left split point
—— from Grade 6: a minimum of 8 registrations which can be pre-programmed
before the exam; touch sensitivity (compulsory); left voice; accompaniment
split point; pedal function with different settings to include sustain, registration
change, fill, rhythm start/stop; pitch bend function with moveable range; octave
transpose for both right and left voices; chord settings to include fingered
chords, fingered on bass and full keyboard chords.
 A
ll pieces and tests will be assessed on the musicality of the candidate’s performance and not on
the capacity of the instrument itself. However, performances that fail to realise a large amount of
the performance information on the printed score will not be able to attract high marks.
 C
andidates may therefore adapt the music, making use of the resources available. Any changes
must not substantially alter the character of the pieces (eg changing Clarinet/March to Electric
Guitar/Ballad).
 U
p to and including Grade 2, candidates using keyboards without registration memory may
find it necessary to alter the voice from that stipulated in the music to facilitate quick changes;
for example, by selecting voices with near or adjacent menu locations which give a noticeable
voice change.
 T
he ability to use dual voice and to program voice changes is important to build a musically
interesting performance.
 T
he use of volume control is important to add interest and shape and should follow the dynamics
marked in the score. Volume may be varied manually, through foot pedals, or through a touch
sensitive keyboard setting as appropriate.
 T
he use of Accompaniment B and, optionally, Accompaniments C and D at Grades 6–8, can also
add a feeling of climax and direction.
 L
eft and Accompaniment Split Point functions are required at Grades 6–8. Pieces which require
these functions have split points suggested for 5 octave keyboards where middle C is C3.
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About the exam
 G
uides for use of Octave Transpose on 5 octave keyboards are printed on Grades 6–8 pieces
which require this function.
 F
urther guidance on keyboard functions and a glossary of terms for Initial–Grade 8 are provided
on our website.
 C
andidates may introduce further changes according to the capabilities of their instrument,
as long as they are musically appropriate.
 A
uto intros/endings may only be used where indicated and must be integrated within the style
and instrumentation of the piece. They should not exceed four bars in length.
 P
re-recorded material is not permitted in electronic keyboard exams, but registration memory
facilities may be used.
Electronic organ
 A
rrangements over instruments must be discussed and agreed with the representative well in
advance of the exam date.
 Instruments must be installed before the start of the exam day and not removed until the end.
 Instruments must have a pedal board with a compass of at least one octave.
 Candidates have freedom of registration as appropriate to the music played.
 Style should be used at all levels where this enhances the performance.
 E
lectronic organs may be pre-programmed with the following only (the use of disks to facilitate
this is acceptable):
–– control data
–– registration changes
–– pedal functions
–– footswitches
–– knee lever.
 The repertoire for electronic organ and organ is not interchangeable.
Organ
 A
rrangements over instruments, venue and location must be discussed and agreed with the
representative well in advance of the exam date.
 Instruments must be installed before the start of the exam day and not removed until the end.
 If the exam is held in a public building, arrangements must be made to ensure there is no
audience present.
 C
andidates may play a conventional pipe organ, a pipeless analogue electronic organ, or a
computer organ.
 C
andidates should always check that the instrument they are using is adequate for the
requirements of the pieces they are performing in the exam.
 Candidates have freedom of registration as appropriate to the music played.
 Memory features other than adjustable pistons and the use of sequencers are not permitted.
 The repertoire for organ and electronic organ is not interchangeable.
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11
About the exam
Electronic keyboard glossary of chords
The glossary of chords below indicates the meanings of the chord symbols used in pieces published
by Trinity. It is not intended that these examples represent the way each chord must be arranged
within the pieces; candidates should use their judgement to choose spacing and arrangement of
the notes according to the most convenient fingering. Single fingered or fully fingered chords can
be used at the candidate’s discretion, though in the higher grades the chords required may not be
available as single fingered chords.
The following examples indicate the meaning of the chord requirements across Initial–Grade 8.

8

15

C



C‹7(b5)




C7(#5)




C‹



Cº



C7(b9)



C6
C‹6



Cº7











C7
CŒ„Š7
C&



C9
C'9



C“4


C“2


This glossary of chords is also provided on our website.
12
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






C7(b5)




C‹7




C‹9



C/G



About the exam
Own composition
Candidates can choose to present an own composition as one of their pieces. The focus of the
assessment for this is on performance, using the same assessment criteria as for all other pieces.
Marks will not be awarded for the quality of the composition.
Candidates should note that:
 t he technical and musical demands of the own composition must be comparable to the pieces
listed at the same grade
 o
wn compositions should largely be candidates’ unaided work, although teachers may offer
guidance as necessary
 o
wn compositions at Initial–Grade 5 may be notated in any coherent form, including graphic
score or lead sheet. Own compositions at Grades 6–8 must be notated on a stave. Marks will be
deducted if notation is incomplete or inaccurate, or if the performance varies significantly from
the notation
 notation may be handwritten, typeset or produced electronically
 a copy of the own composition must be given to the examiner at the start of the exam.
Durations and compositional brief for own composition
Grade
Duration
(minutes)
Requirements
Initial
1–2
A piece containing sudden changes
Grade 1
1.5–2.5
A piece containing sudden dynamic contrast
Grade 2
1.5–2.5
A piece contrasting legato and staccato passages
Grade 3
1.5–2.5
A piece which starts quietly and simply, and builds
to a loud, grand climax
Grade 4
2.5–3.5
A piece with long melodic phrases
Grade 5
2.5–3.5
A piece containing many wide leaps
Grade 6
3.5–4.5
A piece containing use of the pitch bend function
Grade 7
3.5–4.5
A piece featuring legato 3rds in the right hand
Grade 8
4.5–5.5
A piece incorporating fingered on bass chords
(chords sounding in inversions)
Durations and compositional brief for own composition — Grade 6–8 organ
Grade
Duration
(minutes)
Requirements
Grade 6
3.5–4.5
A piece featuring the pedals
Grade 7
3.5–4.5
A piece featuring octaves in both hands
Grade 8
4.5–5.5
A piece featuring at least two contrapuntal voices
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13
About the exam
Mark scheme for pieces
Each piece is awarded three separate marks corresponding to three different musical components,
allowing candidates to receive precise feedback about specific aspects of their performance. These
marks combine to give an overall mark for the piece.
The three components are as follows:
 f luency and accuracy: the ability to perform fluently, with a stable pulse and with an accurate
realisation of the notation
 t echnical facility: the ability to control the instrument effectively, encompassing the various
technical demands of the music
 c ommunication and interpretation: the interpretation of the music and the way the performance
conveys a sense of sylistic understanding and audience engagement.
Marks are awarded for these to form a maximum total mark for each piece as follows:
Maximum mark
Fluency and accuracy
7
Technical facility
7
Communication and interpretation
8
Total mark for each piece
22
Total marks awarded for pieces correspond to the pass/below pass bands as follows:
Total mark for each piece
Band
19–22
Distinction
16–18
Merit
13–15
Pass
10–12
Below pass 1
3–9
Below pass 2
Further information about this mark scheme and the assessment criteria that support it is available
on our website.
14
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About the exam
Technical work
This section of the exam supports the development of technical skills by assessing candidates’
performance in a range of technical work options.
Electronic keyboard
Candidates choose one of the following options:
 scales and chord knowledge
 exercises
Scales and chord knowledge should be performed:
 on a piano voice
 from memory
 with no additional voice, accompaniment, rhythm or metronome click
 with the master volume set to 50–75% of maximum resulting in a mf to f dynamic level
 in similar motion, except where stated [scales]
 a
scending and descending, with the right hand one octave higher than the left hand unless
otherwise stated [scales]
 an octave higher or lower if necessary to accommodate the range of the instrument
 a
t the required tempo — see the tempi listed at each grade and in the relevant Trinity
book [scales].
Electronic organ and organ
 Scales and arpeggios are to be performed from memory.
 In the organ syllabus, music may be used for the pedal study at Grades 6–8.
 In the electronic organ syllabus, pedal sustain, if present, should be switched on for scales
and arpeggios.
Further information about specific technical work requirements for each grade is given in the
relevant sections of this syllabus.
Mark scheme
Technical work is awarded a single mark that corresponds to the pass/below pass bands as follows:
Mark
Band
13–14
Distinction
11–12
Merit
9–10
Pass
7–8
Below pass 1
1–6
Below pass 2
Information about the assessment criteria that support this mark scheme is available on our website.
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15
About the exam
Supporting tests
This section of the exam supports the development of broader musical skills by assessing candidates
in two different supporting tests. At Initial–Grade 5, candidates must choose two supporting tests
from the following options:
 sight reading
 aural
 improvisation
 musical knowledge
At Grades 6–8, all candidates are assessed in sight reading, and must choose between aural and
improvisation for their second supporting test.
Mark scheme
Each supporting test is awarded a single mark that corresponds to the pass/below pass bands
as follows:
Mark
Band
9–10
Distinction
8
Merit
6–7
Pass
4–5
Below pass 1
1–3
Below pass 2
Information about the assessment criteria that support this mark scheme is available on our website.
16
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About the exam
Sight reading
This test assesses candidates’ ability to perform an unseen musical extract, at a level approximately
two grades lower than the exam being taken.
After setting up their instrument, candidates are given 30 seconds to study the test before
performing it, during which time they may practise any or all of it aloud. The examiner does not mark
this preparation period.
Examples of sight reading tests for Initial–Grade 5 can be found in Trinity’s Sound at Sight series,
available from www.trinitycollege.com/shop or your local music retailer.
Candidates for electronic keyboard Initial–Grade 5 exams may choose between two different
ways of performing the sight reading test; either with single-fingered chords with rhythm and
accompaniment, or with fully-fingered chords without rhythm. Candidates for Grade 6–8 exams
must perform the sight reading test using fully-fingered chords with rhythm and accompaniment.
Specimen sight reading tests for Grades 6–8 are available to download from our website.
Tests comply with the musical parameters listed in the table overleaf. Lists are cumulative, meaning
that tests may also include requirements from preceding grades.
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17
About the exam
Sight reading parameters for electronic keyboard
Grade
Keys
Time
Chords
signatures
(cumulative*) (cumulative*) (cumulative*)
Initial
C major
Dynamics
(cumulative*)
(cumulative*) (cumulative*)
q and h
2
4
Grade 1
Note
values
_ and _
I,V
IV
h. and Œ
F and G
major;
Grade 3 D minor
(including
C#)
VI
w , q. and e
D major;
Grade 4 B and E
minor
V
Grade 2 A minor
A and Bb
Grade 5 major;
C minor
Eb major;
Grade 6 F# and
G minor
Grade 7
E and Ab
major;
F minor
Grade 8
B and Db
major
3
mf
five-finger
hand
position
only
f
five-finger
hand
position (RH
not tonic)
p
change of
hand
position
within
octave
two-part
right hand
7
x and 
three-part
right hand
8
all common
chords and
dominant 7th
chords, minor 7th
chords on white
root notes only
grace notes
right-hand
chords of
three notes
or more,
spread
chords
1 and "
minor 7th chords
on black notes,
major 7th chords
on white notes
dotted
semibreves
6
major 7th chords
on black notes,
duplets, triplets
diminished chords
* Tests may also include requirements from preceding grades.
18
Other
Back to contents
mp , cresc.,
dim.
Back to contents
8
9
A and Eb major;
B and G minor
(including
modulation)
F# and C minor
E and Ab major;
C# and F minor
B and Db major;
G# and Bb minor
(including double
sharps and flats)
Grade 5
Grade 6
Grade 7
Grade 8
19
* Tests may also include requirements from preceding grades.
changing
time signatures
plus duplets/
triplets
x and  ;;
dotted notes
and rests
D and Bb major;
E and D minor
(plus accidentals)
Grade 4
22 and
q. and ‰ ä
F major;
D minor
(including C#)
Grade 3
6
3
any common
terms and signs
rall., accel.,
a tempo
and pause
staccato and
accents
andante and
more intricate
phrasing
allegretto and
simple phrasing
h. and ties
4
G major;
A minor
(white notes only)
Grade 1
e, Œ and _
two-part texture
legato
w and _
2
Grade 2
remains within
hand position (not
necessarily C)
moderato
q and h
C major
Initial
white notes
only
(cumulative*)
Pedals
more varied
texture and
some further
chromaticism
full use of
pedals
more
independent
pedal part
three-part texture all notes
five-finger hand
position only
(cumulative*)
(cumulative*)
(cumulative*)
(cumulative*)
Manuals
(cumulative*)
Tempi and
articulation
Time signatures Note values
Keys
Grade
Sight reading requirements for electronic organ
changes of
registration
use of swell pedal;
cresc.; dim.; pp and ff
solo voice on
upper manual
two manuals to be
used throughout;
contrasting sounds
on both manuals; mf
(cumulative*)
Registration
About the exam
20
2 and 4
3
C major, G major,
A minor (white
notes only)
Back to contents
E and Ab major;
C# and F minor
B and Db major;
G# and Bb minor
(including double
sharps and flats)
Grade 6
Grade 7
Grade 8
* Tests may also include requirements from preceding grades.
changing
time
signatures
! and
9
duplets/triplets
F# and C minor
Grade 5
8
x and  ;;
dotted notes
and rests
A and Eb major;
B and G minor
(including
modulation)
e, Œ and _
any common
terms and signs
rall., accel.
and a tempo
notes between A2
and G3 inclusive
(toes only)
(cumulative*)
Pedals
more complex
textures
more varied
texture and
some further
chromaticism
changes of
registration
use of swell
pedal, cresc.,
dim., pp and ff
adjacent notes
with same foot;
staccato; legato
full use of pedals
throughout range,
including
crossing feet
hands on
separate
manuals;
change of
manual
manual couples;
2’; 16’
two manuals
(hands on the
same manual);
4’; p and f;
pedal couplers
single manual;
8’ only; mf
(cumulative*)
Registration
toe and heel
signs and more
independent
pedal part
notes between F2
three-part texture and C4 inclusive
(toes only)
andante and
more intricate
phrasing
staccato, accents
and pause
allegretto and
simple phrasing
h. and ties
q. and ‰ ä
two-part texture
moderato and
legato
(cumulative*)
Manuals
q , h , w and _
(cumulative*)
Tempi and
articulation
remains within
hand position (not
necessarily C)
(cumulative*)
Note values
D and Bb major;
E and D minor
(plus accidentals)
6
(cumulative*)
(cumulative*)
F major; D minor
(including C#)
Time
signatures
Keys
Grade 4
Grade 3
Grade 2
Grade 1
Grade
Sight reading requirements for organ
About the exam
About the exam
Aural
The parameters for aural tests have changed. Changes apply to all exams taken from 1 January 2017
onwards. Please note that there is no overlap for supporting tests, and the previous aural tests cannot
be offered after 31 December 2016.
This test supports the development of candidates’ abilities in the field of musical perception by
assessing their responses to carefully graded questions. Questions are detailed in the table below and
based on a single musical example, performed at the piano by the examiner. Practice tests can be
found in Trinity’s Aural Tests from 2017 books, available from www.trinitycollege.com/shop or your
local music retailer.
Grade
Parameters
Task
Response
Listen to the melody three
times
Clap the pulse on the third playing,
stressing the strong beat
Listen to the melody once
Identify the dynamic as forte or piano
Listen to the melody once
Identify the articulation as legato or
staccato
Listen to the first three
notes of the melody once
Identify the highest or lowest note
Listen to the melody
three times
Clap the pulse on the third playing,
stressing the strong beat
Listen to the melody once
i) Identify the dynamic as forte or piano
ii) Identify the articulation as legato or
staccato
Listen to the first two bars
of the melody once
Identify the last note as higher or lower
than the first note
Listen to the melody twice,
with a change of rhythm or
pitch in the second playing
Identify where the change occurred
Listen to the melody
three times
Clap the pulse on the third playing,
stressing the strong beat
Listen to the melody once
i) D
escribe the dynamics, which will vary
during the melody
ii) Identify the articulation as legato or
staccato
Listen to the melody once
Identify the last note as higher or lower
than the first note
Listen to the melody twice,
with a change of rhythm or
pitch in the second playing
i) Identify where the change occurred
ii) Identify the change as rhythm or pitch
melody only
4 bars
Initial
major key
2
melody only
4 bars
Grade 1
major key
2 or 3
melody only
4 bars
Grade 2
major or
minor key
2 or 3
Back to contents
21
About the exam
Grade
Parameters Task
melody only
Response
Listen to the melody twice
Clap the pulse on the second playing,
stressing the strong beat
Listen to the melody once
Identify the tonality as major or minor
Listen to the first two notes of
the melody once
Identify the interval by number only
(second, third, fourth, fifth or sixth)
Study a copy of the melody
(provided in treble, alto or bass
clef as appropriate), and listen to
it once as written and once with
a change of rhythm or pitch
i) Identify the bar in which the
change occurred
ii) Identify the change as rhythm
or pitch
Listen to the piece twice
Clap the pulse on the second playing,
stressing the strong beat
Listen to the piece twice
i) Identify the tonality as major
or minor
ii) Identify the final cadence as perfect
or imperfect
Listen to the first two notes of
the melody once
Identify the interval as minor or major
second, minor or major third, perfect
fourth or fifth, minor or major sixth
Study a copy of the melody
(provided in treble, alto or bass
clef as appropriate), and listen
to it once as written and once
with a change of rhythm and a
change of pitch
i) Identify the bar in which the change
of rhythm occurred
ii) Identify the bar in which the change
of pitch occurred
Listen to the piece twice
i) Clap the pulse on the second playing,
stressing the strong beat
ii) Identify the time signature
Listen to the piece twice
i) Identify the changing tonality
ii) Identify the final cadence as perfect,
plagal, imperfect or interrupted
Listen to two notes from the
melody line played consecutively
Identify the interval as minor or major
second, minor or major third, perfect
fourth or fifth, minor or major sixth,
minor or major seventh or octave
Study a copy of the piece, and
listen to it once as written and
once with a change of rhythm
and a change of pitch (both
changes in the melody line)
i) Identify the bar in which the change
of rhythm occurred
ii) Identify the bar in which the change
of pitch occurred
4 bars
Grade 3
major or
minor key
3 or 4
harmonised
4 bars
Grade 4
major or
minor key
4 or 6
harmonised
8 bars
Grade 5
major or
minor key
2, 3, 4 or 6
22
Back to contents
About the exam
Grade
Parameters
Task
Response
Listen to the piece twice
i) Identify the time signature
ii) C
omment on the dynamics
iii) C
omment on the articulation
Listen to the piece twice
Identify and comment on two other
characteristics of the piece
Listen to the first four
bars of the piece once
Identify the key to which the music modulates
as subdominant, dominant or relative minor.
Answers may alternatively be given as key
names
Study a copy of the
piece, and listen to it
twice with two changes
to the melody line
Locate and describe the changes as pitch
or rhythm
Listen to the piece twice
i) Identify the time signature
ii) C
omment on the dynamics
iii) C
omment on the articulation
Listen to the piece twice
Identify and comment on two other
characteristics of the piece
Listen to the first four
bars of the piece once
Identify the key to which the music
modulates as subdominant, dominant or
relative key. Answers may alternatively be
given as key names
Study a copy of the
piece, and listen to it
twice with three changes
Locate and describe the changes as pitch
(melody line only) or rhythm
Listen to the piece once
i) Identify the time signature
ii) Comment on the dynamics
iii) Comment on the articulation
major or
minor key
Listen to the piece twice
Identify and comment on three other
characteristics of the piece
2, 3, 4, 6 or 5
Study a copy of the
piece, and listen to it
twice with three changes
Locate and describe the changes as pitch
or rhythm
harmonised
8 bars
Grade 6
major key
2, 3, 4 or 6
harmonised
8 bars
Grade 7
major or
minor key
2, 3, 4 or 6
harmonised
12–16 bars
Grade 8
Back to contents
23
About the exam
Improvisation
The requirements for the improvisation test have changed. Changes apply to all exams taken from
1 January 2017 onwards. Please note that there is no overlap for supporting tests, and the previous
improvisation test cannot be offered after 31 December 2016.
This test assesses candidates’ ability to improvise fluently, coherently and creatively in response to a
musical stimulus. Candidates must choose a stimulus from the following three options, indicating their
choice of stimulus on the appointment form:
 stylistic
 motivic
 harmonic
At all levels, responses should use both hands. A piano voice should be used. Single fingered
chords or fully fingered chords can be used at the candidate’s discretion.
Stylistic stimulus
The stylistic stimulus requires candidates to improvise over a notated piano part played by the
examiner. Candidates are given a stimulus which includes the notated piano part and chord symbols.
The stimulus begins with a two-bar introduction played by the examiner alone, followed by a further
section over which candidates must improvise for a specified number of repeats. In the exam, the
examiner plays the stimulus twice for candidates’ reference, without repeats. Candidates are then
given 30 seconds’ preparation time, during which they may prepare for their improvisation aloud if
they wish. The test then follows. The examiner then plays the stimulus again, and candidates join after
the introduction, improvising for the specified number of repeats. Candidates should aim to improvise
in a way that complements the musical idiom of the stimulus.
Motivic stimulus
The motivic stimulus requires candidates to improvise unaccompanied in response to a short melodic
fragment. Candidates are given a notated melodic fragment which the examiner plays twice on the
piano for candidates’ reference (candidates are not required to play this back). Candidates are then
given 30 seconds’ preparation time, during which they may prepare for their improvisation aloud if
they wish. The test then follows. Candidates should aim to improvise within the specified duration
range and may begin by quoting the stimulus directly, developing their improvisation from there.
However, candidates are not required to quote the stimulus directly, and may instead develop their
improvisation from ideas taken from the stimulus such as a small group of notes or an interval.
Responses must use the given time signature.
Harmonic stimulus
The harmonic stimulus requires candidates to improvise unaccompanied in response to a chord
sequence. Candidates are given a notated chord sequence, including chord symbols, which the
examiner plays twice on the piano for candidates’ reference. Candidates are then given 30 seconds’
preparation time, during which they may prepare for their improvisation aloud if they wish. The test
then follows. Candidates should improvise for the specified number of repeats, following the chord
sequence. Responses should contain melodic/rhythmic interest. Please note that this test is always
unaccompanied and the examiner will not provide a piano accompaniment for melodic instruments.
Parameters for improvisation
All stimuli comply with the musical parameters listed in the tables on the following pages. Lists
are cumulative, meaning that tests may also include requirements from preceding grades. Further
guidance and example stimuli can be found on our website.
24
Back to contents
Back to contents
2 bars
Grade 8
8 bars
8 bars
8 bars
4 bars
4 bars
4 bars
4 bars
4 bars
4 bars
Length of
improvised
section
2
2
2
3
3
2
2
2
1
16 bars
16 bars
16 bars
12 bars
12 bars
8 bars
8 bars
8 bars
4 bars
Times improvised Total to
section is played improvise
* Tests may also include requirements from preceding grades.
2 bars
2 bars
Grade 4
Grade 7
2 bars
Grade 3
2 bars
2 bars
Grade 2
Grade 6
2 bars
Grade 1
2 bars
2 bars
Initial
Grade 5
Length of
introduction
Grade
Stylistic stimulus
C major
4
A and Eb major
F# and C minor
E and Ab major
C# and F minor
1
9
5
4
G and B minor
D and E minor
D and Bb major
A minor
6
2
3
(cumulative*)
(cumulative*)
F and G major
Keys
Time
signatures
up to 2
up to 2
up to 2
up to 2
1
1
1
1
1
7ths, 9ths,
suspensions
all chords
7ths
i, iib5, III, iv, V, VI
I, ii, iii, IV, V, vi
7ths
i, iib5, iv, V, VI
I, ii, IV, V, vi
i, iib5, iv, V, VI
I, ii, IV, V, vi
i, iib5, iv, V
I, ii, IV, V
i, iib5, iv, V
I, ii, IV, V
i, iv, V
I, IV, V
I, V
I, V
Number of
Chords
chords per bar
Impressionistic,
Irregular Dance
Gigue, Grave
Agitato, Nocturne
Grazioso, Vivace
Adagio, Allegro
Waltz, Allegretto
Tango, Andante
Fanfare, Moderato
March, Lullaby
(cumulative*)
Styles/speeds
About the exam
25
26
2 bars
2 bars
2 bars
1 bar
Grade 3
Grade 4
Grade 5
Grade 6
12–16 bars
12–16 bars
12–16 bars
8–12 bars
8–12 bars
6–8 bars
6–8 bars
4–8 bars
4–6 bars
Length of
response
(cumulative*)
minims, crotchets
(cumulative*)
4
6
9
5
4
triplets, duplets
semiquavers
sfz
acciaccaturas
slurs
syncopation
2
1
accents
ties
staccato
(cumulative*)
Articulation
3
dotted notes
quavers
Rhythmic features
Time signatures
* Tests may also include requirements from preceding grades.
1 bar
2 bars
Grade 2
Grade 8
2 bars
Grade 1
1 bar
2 bars
Initial
Grade 7
Length of
stimulus
Grade
Motivic stimulus
all up to major 10th
C# and F minor
E and Ab major
F# and C minor
minor 7th, major 7th
A and Eb major
augmented 4th,
diminished 5th
G and B minor
D and E minor
D and Bb major
A minor
F and G major
C major
(cumulative*)
Keys
octave
minor 6th, major 6th
perfect 5th
perfect 4th
major 3rd
up to minor 3rd
(cumulative*)
Intervals
About the exam
Back to contents
4 bars
4 bars
4 bars
8 bars
Grade 3
Grade 4
Grade 5
Grade 6
8 bars
4 bars
Grade 2
Grade 8
4 bars
Grade 1
8 bars
4 bars
Initial
Grade 7
Length of chord
sequence
Grade
Harmonic stimulus
2
2
2
3
3
2
2
2
1
Times chord
sequence is played
16 bars
16 bars
16 bars
12 bars
12 bars
8 bars
8 bars
8 bars
4 bars
Total to improvise
1
1
1
1
1
1
1
1
1
7ths, 9ths, suspensions
all chords
7ths
i, iib5, III, iv, V, VI
I, ii, iii, IV, V, vi
7ths
i, iib5, iv, V
I, ii, IV, V
i, iv, V, VI
i, iv, V
I, ii, IV, V
I, IV, V
I, V
I, V
Number of
Chords
chords per bar
A, D, E, G, B, C, F# minor
C, F, G, Bb, D, Eb, A major
A, D, E, G, B minor
C, F, G major
C major
Keys
About the exam
Back to contents
27
About the exam
Musical knowledge (Initial–Grade 5 only)
This test assesses candidates’ understanding of the pieces being performed, as well as their
knowledge of notation and their instrument. It does this by assessing their responses to carefully
graded questions based on candidates’ three chosen pieces.
In the exam, candidates are invited to choose which piece they would like to be asked about first.
The examiner then chooses a second piece for the remaining questions. Candidates’ scores should be
free of annotations which might aid their responses. The examiner usually points to the relevant part
of the score when asking questions. American terms (eighth note, half note, etc) may be used as an
alternative to English terms (quaver, minim, etc).
Example questions and responses are given in the table below. Further guidance is available on
our website.
Grade
Parameters
Sample question
Sample answer
Pitch names
What is the pitch name of
this note?
G
Note durations
How many beats are there
for this note?
Two
Clefs, stave, barlines
What is this sign?
Treble clef
Identify key/time
signatures
What is this called?
Time signature
Musical terms and signs
(simple)
What is this called?
A pause mark
Note values
(cumulative*)
Initial
Grade 1
Grade 2
28
What is this note value?
Quaver
Explain key/time
signatures
What does 4 mean?
Four crotchet beats
in a bar
Notes on ledger lines
What is the name of this note?
Bb
Musical terms and signs
(more comprehensive)
What is the meaning of da capo?
Go back to the start
Parts of the instrument
What are these called?
Keys
Metronome marks,
grace notes and
ornaments
Explain the sign d = 72
72 crotchet beats per
minute
Intervals
(numerical only)
What is the interval between
these notes?
3rd
Basic posture
Show me a good hand position
Candidate
demonstrates
Back to contents
About the exam
Grade
Parameters
Sample question
Sample answer
Relative major/minor
What is the relative major/
minor of this piece?
D minor
Scale/arpeggio pattern
What pattern of notes do
you see here?
Scale
Warm up
How might you warm up
in preparation for playing
this piece?
Playing a selection of
scales and arpeggios in
related keys
Modulation to closely
related keys
What key does this music
change to?
A minor
Tonic/dominant triads
Name the notes of the
tonic triad
C, E, G
Intervals (full names)
What is the interval
between these notes?
Perfect 5th
Technical challenges
Show me the most
challenging part of this
piece and tell me why
Here [candidate indicates],
because of the awkward
leaps
Musical style
Comment on the style of
this piece
Candidate identifies style of
piece and gives examples of
stylistic features
Musical period
How does this piece reflect
the period in which it was
written?
Candidate suggests a
musical period and gives
examples of how the music
reflects this
Musical structures
Describe the form of
this piece
Candidate describes form of
piece and identifies relevant
sections
Subdominant triads
Name the notes of the
subdominant triad
F, A, C
(cumulative*)
Grade 3
Grade 4
Grade 5
* Tests may also include requirements from preceding grades.
Back to contents
29
Electronic Keyboard — Initial
Subject code: EK
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own composition (see page 13).
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work
2015–2018 Initial published by Trinity:
Beethoven arr. Proudler
di Capua arr. Clarke
Clarke
Foster arr. Smith
Franck arr. Litten
Litten
Smith
Trad. arr. Ward
Trad. arr. Proudler
Winner arr. Marsden
Ode to Joy*
O Sole Mio
Rock to the Roll**
Camptown Races
Panis Angelicus
Flea Hop
Country Capers
The Keel Row
What Shall We Do with the Drunken Sailor?
My Little Dog
* own interpretation ** improvisation
The following alternative pieces are also available:
Composer Piece Book
Jennings & Homer
Titanic Theme
Mercury
arr. Litten
Bohemian Rhapsody
Mozart
Don Giovanni
Parton arr. Litten
Jolene
Trad.
Home on the Range no. 34
(basic version)
Trad.
Over the Sea to Skye
Trad. arr. Frith
Lavender Blue
Trad. arr. Frith
Ye Banks and Braes
Vance & Pockriss
Catch a Falling Star
30
Publisher
Keyed Up, Initial
Alfred
Keyed Up, Initial
The Electronic Keyboard
Collection book 1
Keyed Up, Initial
Alfred
Trinity Faber
Alfred
34 Well-known Folk Songs
Schott ED 12663
Keyed Up, Initial
Alfred
More Making the Grade,
Preparatory Grade
Chester
More Making the Grade,
Preparatory Grade
Chester
The Complete Keyboard
Player book 6
Music Sales AM69998
Back to contents
Electronic Keyboard — Initial
Technical work (14 marks) (see page 15)
Candidates to prepare in full either section i) or section ii)
either i) Scales & chord knowledge (from memory) — the examiner will select from the following:
C major
A minor
(candidate’s choice of either harmonic or
melodic or natural minor)
Pentatonic scale starting on C (5 notes)
C major contrary motion scale
hands
separately
min.
q = 60
one
octave
legato
and mf
hands
together
Chromatic scale starting on D
R.H. only
Triad of C major and A minor
(root position)
L.H. only
piano voice
with autoaccompaniment
off
or ii) Exercises (music may be used):
Candidates to prepare all three exercises.
The candidate will choose one exercise to play first; the examiner will then select one of the
remaining two exercises to be performed.
Dreaming
keyboard functions exercise
Stepping Out
scalic exercise
Clouds
pianistic exercise
Both sections are contained in the book Electronic Keyboard Pieces & Technical Work 2015–2018 Initial
published by Trinity.
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading
(see page 17)
aural
(see page 21)
improvisation
(see page 24)
Back to contents
musical knowledge
(see page 28)
31
Electronic Keyboard — Grade 1
Subject code: EK
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own composition (see page 13).
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work
2015–2018 Grade 1 published by Trinity:
Bernstein arr. Clarke
Kelley arr. Marsden
Litten
Smith
Trad. arr. Clarke
Trad. arr. Litten
Trad. arr. Smith
Trad. arr. Smith
Trad. arr. Ward
Verdi arr. Proudler
Theme from The Great Escape
Home on the Range
It’s Gonna be Good
Whirling Dervishes**
Swing Low, Sweet Chariot*
The Ash Grove
Romance de Amor
Scarborough Fair
La Cucaracha
La Donna e Mobile
* own interpretation ** improvisation
The following alternative pieces are also available:
Composer Piece Bullard
Feeling Fine
Freedman arr. Fletcher Rock Around the Clock
Hook
Gavotte
Howard arr. Baker
Fly Me to the Moon
Jacobs & Casey
Summer Nights
Leiber & Stoller
I Want to be Free
Mavers
There She Goes
Sting
Fields of Gold
Trad. arr. Litten
Mango Walk
32
Book
Publisher
Piano Time Pieces book 2
OUP
Making the Grade Keyboard, Grade 1 Chester
Piano Time Pieces book 2
OUP
The Complete Keyboard
Player book 6 Music Sales AM69998
Keyed Up, Grade 1
Alfred
Keyed Up, Grade 1
Alfred
The Complete Keyboard
Player book 2 (new revised edition)
Wise
The Complete Keyboard
Player book 2 (new revised edition)
Wise
Keyed Up, Grade 1
Alfred
Back to contents
Electronic Keyboard — Grade 1
Technical work (14 marks) (see page 15)
Candidates to prepare in full either section i) or section ii)
either i) Scales & chord knowledge (from memory) — the examiner will select from the following:
F and G major
D and E minor (candidate’s choice of
either harmonic or melodic or natural
minor)
Pentatonic scales starting on G and F
(5 notes)
Chromatic scale in contrary motion
starting on D
hands
separately
one
octave
min.
q = 70
C major contrary motion scale
legato
and mf
two
octaves
Triad of F and G major, D and E minor
(root position and first inversion)
Chord of F7 and G7
(root position and first inversion)
hands
together
piano voice
with autoaccompaniment
off
L.H. only
or ii) Exercises (music may be used):
Candidates to prepare all three exercises.
The candidate will choose one exercise to play first; the examiner will then select one of the
remaining two exercises to be performed.
Swaying
keyboard functions exercise
Spinning Wheel
scalic exercise
Parade
pianistic exercise
Both sections are contained in the book Electronic Keyboard Pieces & Technical Work 2015–2018 Grade 1
published by Trinity.
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading
(see page 17)
aural
(see page 21)
improvisation
(see page 24)
Back to contents
musical knowledge
(see page 28)
33
Electronic Keyboard — Grade 2
Subject code: EK
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own composition (see page 13).
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work
2015–2018 Grade 2 published by Trinity:
Alomía Robles arr. Smith
Immel arr. Clarke
Litten
Petzold attrib. J S Bach
arr. Marsden
Reed arr. Proudler
Saint-Saëns arr. Litten
Sanders arr. Smith
Strauss II arr. Ward
Trad. arr. Proudler
Trad. arr. Ward
El Cóndor Pasa*
Theme from Dallas
The Homeward Path**
Minuet in G
Perfect Day
The Elephant from The Carnival of the Animals
Adiós Muchachos
Tritsch-Tratsch Polka
Skye Boat Song
Yellow Bird
* own interpretation ** improvisation
The following alternative pieces are also available:
Composer Piece Book
Andersson & Ulvaeus
The Winner Takes it All
Blake
Walking in the Air
Lloyd Webber
Memory
Norton
Get in Step
Rodgers arr. Williamson Do–Re–Mi
Sherman & Sherman
Chim Chim Cher-ee
from Mary Poppins Strauss II
You and You
Velaquez
Besame Mucho
34
Publisher
The Complete Keyboard
Player book 3 (new revised edition)
Wise
The Electronic Keyboard
Collection book 2
Trinity Faber
The Electronic Keyboard
Collection book 2
Trinity Faber
The Microjazz Collection 2,
level 4
Boosey M060106477
What Else Can I Play? Piano Grade 2
IMP
The Complete Keyboard
Player, Film & TV Themes Music Sales AM65962
The Electronic Keyboard
Collection book 2
Trinity Faber
Keyboard Klangwelt:
Latin–Festival
Schott ED 9909
Back to contents
Electronic Keyboard — Grade 2
Technical work (14 marks) (see page 15)
Candidates to prepare in full either section i) or section ii)
either i) Scales & chord knowledge (from memory) — the examiner will select from the following:
Bb and D major
G and B minor (candidate’s choice
of either harmonic or melodic or
natural minor)
Chromatic scale in similar motion
starting on Bb
Pentatonic scale starting on Bb and
D (hands separately)
A harmonic minor contrary
motion scale
two
octaves
min.
q = 80
one
octave
legato
and mf
Triad of Bb and D major, G and
B minor (root position, first and
second inversions)
Chord of Bb7 and D7 (root position,
first and second inversions)
hands
together,
unless
otherwise
stated
piano voice
with autoaccompaniment
off
L.H. only
or ii) Exercises (music may be used):
Candidates to prepare all three exercises.
The candidate will choose one exercise to play first; the examiner will then select one of the
remaining two exercises to be performed.
Groovy Moves
keyboard functions exercise
Something Unexpected
scalic exercise
Strolling
pianistic exercise
Both sections are contained in the book Electronic Keyboard Pieces & Technical Work 2015–2018 Grade 2
published by Trinity.
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading
(see page 17)
aural
(see page 21)
improvisation
(see page 24)
Back to contents
musical knowledge
(see page 28)
35
Electronic Keyboard — Grade 3
Subject code: EK
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own composition (see page 13).
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work
2015–2018 Grade 3 published by Trinity:
Bizet arr. Clarke
Habanera from Carmen
Clarke
Mediterranean Breeze
Litten
Tomato Splat**
Mancini arr. Ward
Pink Panther
Offenbach arr. Litten
Can-Can from Orpheus in the Underworld
SmithKarukera*
Tchaikovsky arr. Proudler Waltz from Swan Lake
Trad. arr. Proudler
Saints Go Swingin’ In
Trad. arr. Smith
Waltzing Matilda
Waldteufel arr. Clarke
Skater’s Waltz
* own interpretation ** improvisation
The following alternative pieces are also available:
Composer Piece Book
Publisher
Afansieff & Carey
Hero
The Complete Keyboard
Player, Greatest Hits
Music Sales AM 952677
Lennon & McCartney
Lady Madonna
The Complete Keyboard
Player, Greatest Hits
Music Sales AM 952677
Lennon & McCartney
When I’m Sixty-Four The Complete Keyboard
Player book 3
Music Sales AM91385
Menken arr. Baker
A Whole New World
The Complete Keyboard
Player, Greatest Hits
Music Sales AM 952677
Norton
Fifth Dimension
The Microjazz Collection 2,
level 4
Boosey M060106477
Reid & Brooker arr. Baker A Whiter Shade of Pale The Complete Keyboard
Player, Greatest Hits
Music Sales AM 952677
Rodgers arr. Williamson Getting to Know You What Else Can I Play?
Piano Grade 2
IMP
Washington & Harline When You Wish
Upon a Star
The Complete Keyboard
Player book 4
Music Sales AM68552
36
Back to contents
Electronic Keyboard — Grade 3
Technical work (14 marks) (see page 15)
Candidates to prepare in full either section i) or section ii)
either i) Scales & chord knowledge (from memory) — the examiner will select from the following:
Eb and A major
C and F# minor (candidate’s choice
of either harmonic or melodic or
natural minor)
Chromatic scale in similar motion
starting on Eb
Eb major contrary motion scale
Minor pentatonic scale starting on
C and G
hands
together,
unless
otherwise
stated
two
octaves
min.
q = 90
one
octave
legato
and mf
Triad of Eb and A major, C and
F# minor (root position, first and
second inversions)
Chord of Eb7 and A7 (root position,
first, second and third inversions)
R.H. only
piano voice
with autoaccompaniment
off
L.H. only
or ii) Exercises (music may be used):
Candidates to prepare all three exercises.
The candidate will choose one exercise to play first; the examiner will then select one of the
remaining two exercises to be performed.
In a Trance
keyboard functions exercise
Trickling Triplets
scalic exercise
Lop-sided
pianistic exercise
Both sections are contained in the book Electronic Keyboard Pieces & Technical Work 2015–2018 Grade 3
published by Trinity.
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading
(see page 17)
aural
(see page 21)
improvisation
(see page 24)
Back to contents
musical knowledge
(see page 28)
37
Electronic Keyboard — Grade 4
Subject code: EK
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own composition (see page 13).
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work
2015–2018 Grade 4 published by Trinity:
Chopin arr. Proudler
Dance Prelude (based on Prelude in C minor, op. 28 no. 20)
Delibes arr. Clarke
Pizzicato from Sylvia
Glover-Kind arr. Litten
I Do Like to be Beside the Seaside
Joplin arr. Proudler
The Entertainer
LittenSeparation**
Perry arr. Proudler
Beautiful
Schubert arr. Smith
Marche Militaire, D. 733 no. 1
Smith
High Wire
Trad. arr. Marsden
Santa Lucia
Trad. arr. Ward
Folk Song*
* own interpretation ** improvisation
The following alternative pieces are also available:
Composer Piece Book
Andersson
I Know Him so Well
Hawkins, Johnson,
Dash & Feyne
Tuxedo Junction
Jobim & Mendoca
Desafinado
Mier
Fickle Fourths
Mier
What a Glorious Day!
Stanley arr. Baker
The Bluebell Polka
38
The Complete Keyboard
Player, Greatest Hits
Publisher
Wise AM952677
The Complete Keyboard
Player, Jazz & Blues Music Sales AM65970
Keyboard Klangwelt:
Latin–Festival
Schott ED 9909
Jazz, Rags and Blues book 3
Alfred
Jazz, Rags and Blues book 3
Alfred
The Complete Keyboard
Player, Favourite Songs
of Scotland
Music Sales AM965701
Back to contents
Electronic Keyboard — Grade 4
Technical work (14 marks) (see page 15)
Candidates to prepare in full either section i) or section ii)
either i) Scales & chord knowledge (from memory) — the examiner will select from the following:
Ab and E major
F and C# minor (candidate’s choice
of either harmonic or melodic or
natural minor)
Chromatic scales in similar motion
starting on Ab and E
Ab major contrary motion scale
Blues scale starting on C and G
(straight and swung rhythm)
Triad of Ab and E major, F and C#
minor (root position, first and
second inversions)
Chord of Ab7, E7, Fm7 and C#m7
(root position, first, second and
third inversions)
Chord of Ab+, E+, F°, C#°, F#°7, C#°7
(root position)
hands
together,
unless
otherwise
stated
two
octaves
min.
q = 100
legato
and
R.H. only
piano voice
with autoaccompaniment
off
L.H. only
or ii) Exercises (music may be used):
Candidates to prepare all three exercises.
The candidate will choose one exercise to play first; the examiner will then select one of the
remaining two exercises to be performed.
Deadly Nightshade
keyboard functions exercise
Hoedown
scalic exercise
Old Times
pianistic exercise
Both sections are contained in the book Electronic Keyboard Pieces & Technical Work 2015–2018 Grade 4
published by Trinity.
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading
(see page 17)
aural
(see page 21)
improvisation
(see page 24)
Back to contents
musical knowledge
(see page 28)
39
Electronic Keyboard — Grade 5
Subject code: EK
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own composition (see page 13).
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work
2015–2018 Grade 5 published by Trinity:
Berlin arr. Ward
Carmichael/Gorrell
arr. Smith
Fučík arr. Marsden
Joplin arr. Litten
Khachaturian arr. Clarke
Litten
Proudler
Schubert arr. Smith
Strauss Snr arr. Proudler
Zawinul arr. Clarke
Puttin’ on the Ritz*
Georgia on my Mind**
Entry of the Gladiators
Paragon Rag
Waltz from Masquerade
Water Pistols at Dawn
Twilight Tango
Impromptu in Ab, D. 935 no. 2
Radetzky March
Birdland
* own interpretation ** improvisation
The following alternative pieces are also available:
Composer Piece Book
Albert & Gaste
Feelings
Kern arr. Baker Smoke Gets In
Your Eyes
Mier
Pine Cone Rag
Norton
Mechanics Rag
Tchaikovsky arr. Bolton Waltz from Serenade
for Strings
Trad.
Scottish Jig Medley*
Waller
Ain’t Misbehavin’
40
The Complete Keyboard
Player, Greatest Hits
Publisher
Wise AM952677
The Complete Keyboard
Player book 8
Wise AM7898
Jazz, Rags and Blues book 3
Alfred
The Microjazz Collection 3,
level 5
Boosey M060106484
Electronic Keyboard Cocktails
— Classics
The Complete Keyboard
Player, Favourite Songs
of Scotland
The Complete Keyboard
Player book 4
Back to contents
Cramer 90550
Wise AM965701
Wise AM68552
Electronic Keyboard — Grade 5
Technical work (14 marks) (see page 15)
Candidates to prepare in full either section i) or section ii)
either i) Scales & chord knowledge (from memory) — the examiner will select from the following:
Db and B major
Bb and G# minor (candidate’s choice
of either harmonic or melodic or
natural minor)
Chromatic scales in similar motion
starting on Db and B
G harmonic minor contrary
motion scale
Blues scale starting on F and A
(straight and swung rhythm)
hands
together,
unless
otherwise
stated
two
octaves
min.
q = 110
legato
and mf
R.H. only
piano voice
with autoaccompaniment
off
bass note in
the left hand
and three
notes of the
chord in the
right hand
Chords of Dbmaj7, Bmaj7, Bbm7, G#m7,
Bbmmaj7, G#mmaj7, Db6, B6, Bbm6,
G#m6
Perfect cadence in C, G and F major
or ii) Exercises (music may be used):
Candidates to prepare all three exercises.
The candidate will choose one exercise to play first; the examiner will then select one of the
remaining two exercises to be performed.
Cool Beans
keyboard functions exercise
Rock Amok
scalic exercise
Balancing Act
pianistic exercise
Both sections are contained in the book Electronic Keyboard Pieces & Technical Work 2015–2018 Grade 5
published by Trinity.
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading
(see page 17)
aural
(see page 21)
improvisation
(see page 24)
Back to contents
musical knowledge
(see page 28)
41
Electronic Keyboard — Grade 6
Subject code: EK
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own choice piece or own arrangement (see page 7)
or an own composition (see page 13).
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work
from 2013 Grade 6 published by Trinity:
Pachelbel arr. Proudler Mozart arr. Smith
Fauré arr. Clarke
Trad. arr. Smith
Proudler
Wonder arr. Clarke
Pachelbel’s Canon
1st movement from Symphony no. 40 in G minor, K. 550*
Pavane
Korobeiniki (The Pedlars)
Samba Nights
Sir Duke**
* own interpretation ** improvisation
42
Back to contents
Electronic Keyboard — Grade 6
Technical work (14 marks) (see page 15)
Candidates to prepare in full either section i) or section ii)
either i) Scales & chord knowledge (from memory) — the examiner will select from the following:
D, F, Ab and B major
D, F, G# and B harmonic and
melodic minor
Chromatic scales in similar
motion starting on any black note
hands together
two
octaves
Major pentatonic scale starting
on D and Ab (straight and swung
rhythm)
Blues scale starting on D and E
(straight and swung rhythm)
legato
and mf
min.
q = 120
hands
separately
R.H. only
Triads of D, F, Ab and B major, D, F,
G# and B minor in all inversions
L.H. only
Chords of D°, F°, G#°, B°, Dm7, Fm7,
G#m7, Bm7, Dmaj7, Fmaj7, Abmaj7,
Bmaj7 in root position only
bass note in the
left hand and
the chord in the
right hand
Plagal cadence in D and F major
hands together
piano voice
with autoaccompaniment
off
or ii) Exercises (music may be used):
Candidates to prepare all three exercises.
The candidate will choose one exercise to play first; the examiner will then select one of the
remaining two exercises to be performed.
Going Round in Circles
Move It!
for fingered on bass chords and maintaining a relaxed right hand
for left hand dexterity between chords and melody line
Rattletrap
for use of pitch bend
Both sections are contained in the book Electronic Keyboard Pieces & Technical Work from 2013 Grade 6
published by Trinity.
Supporting tests (2 x 10 marks)
Candidates to prepare i) and ii)
i) sight reading
(see page 17)
ii) aural (see page 21)
or improvisation (see page 24)
Back to contents
43
Electronic Keyboard — Grade 7
Subject code: EK
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own choice piece or own arrangement (see page 7)
or an own composition (see page 13).
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work
from 2013 Grade 7 published by Trinity:
J S Bach arr. Proudler Prelude in C minor BWV 847
Nazareth arr. Jolliffe
Cavaquinho
Tchaikovsky arr. Clarke
Nutcracker Mash
Van Heusen/Cahn arr. Proudler Come Fly With Me*
LittenEnchantment
Hamilton arr. Clarke
Cry Me A River**
* own interpretation ** improvisation
44
Back to contents
Electronic Keyboard — Grade 7
Technical work (14 marks) (see page 15)
Candidates to prepare in full either section i) or section ii)
either i) Scales & chord knowledge (from memory) — the examiner will select from the following:
C, Eb, F# and A major
C, Eb, F# and A harmonic and
melodic minor
Chromatic scales in similar motion
starting on any white note
hands
together
two
octaves
C major scale in legato thirds
Major pentatonic scale starting
on Eb and A (straight and swung
rhythm)
Blues scale starting on B and Bb
(straight and swung rhythm)
legato
and mf
R.H. only
hands
separately
min.
q = 130
R.H. only
Triad of C, Eb, F# and A major, C, Eb,
F# and A minor in all inversions
L.H. only
Chords of C°7, Eb°7, F#°7, A°7, C+, Eb+,
F#+, A+, C9, Eb9, F#9, A9 in root
position only
bass note in
the left hand
and the chord
in the right
hand
piano voice
with autoaccompaniment
off
hands
together
Perfect and plagal cadence in A
major and C minor
or ii) Exercises (music may be used):
Candidates to prepare all three exercises.
The candidate will choose one exercise to play first; the examiner will then select one of the
remaining two exercises to be performed.
Dance Sequence
for right hand legato thirds
Reflections
for sustain pedalling and cantabile playing
Keyboard Percussion
for maintaining a steady pulse with even attack
Both sections are contained in the book Electronic Keyboard Pieces & Technical Work from 2013 Grade 7
published by Trinity.
Supporting tests (2 x 10 marks)
Candidates to prepare i) and ii)
i) sight reading
(see page 17)
ii) aural (see page 21)
or improvisation (see page 24)
Back to contents
45
Electronic Keyboard — Grade 8
Subject code: EK
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own choice piece or own arrangement (see page 7)
or an own composition (see page 13).
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work
from 2013 Grade 8 published by Trinity:
Monti arr. Proudler Rimsky-Korsakov arr. Clarke
Bricusse/Newley arr. Proudler
Jenkins arr. Clarke
MIchael arr. Litten
Thiselton
Czardas
Flight of the Bumblebee
Feeling Good*
Palladio
Kissing A Fool**
Spring Dance
* own interpretation ** improvisation
46
Back to contents
Electronic Keyboard — Grade 8
Technical work (14 marks) (see page 15)
Candidates to prepare in full either section i) or section ii)
either i) Scales & chord knowledge (from memory) — the examiner will select from the following:
Db, E, G and Bb major
C#, E, G and Bb harmonic and
melodic minor
Chromatic scales in similar
motion starting on any note
Chromatic scales with hands a
minor third apart starting on Bb
and Db
Major pentatonic scale starting
on E and Db (straight and swung
rhythm)
Blues scale starting on C# and G#
(straight and swung rhythm)
hands together
two
octaves
legato
and mf
hands
separately
min.
q = 140
R.H. only
Triad of Db, E, G and Bb major, C#,
E, G and Bb minor in all inversions
L.H. only
Chords of C#°7, E°7, G°7, Bb°7,
Dbadd9, Eadd9, Gadd9, Bbadd9,
C#m7(b5), Em7(b5), Gm7(b5), Bbm7(b5)
in root position only
bass note in the
left hand and the
chord in the right
hand
Perfect, imperfect and plagal
cadence in Bb major and G minor
hands together
piano voice
with autoaccompaniment
off
or ii) Exercises (music may be used):
Candidates to prepare all three exercises.
The candidate will choose one exercise to play first; the examiner will then select one of the
remaining two exercises to be performed.
Smoothly Does It
for right hand legato octaves and left hand fingered
on bass chords
All Fired Up
Ornamental Cascade
for broken chord playing and stride bass
for dexterity with ornaments and use of the thumb
Both sections are contained in the book Electronic Keyboard Pieces & Technical Work from 2013 Grade 8
published by Trinity.
Supporting tests (2 x 10 marks)
Candidates to prepare i) and ii)
i) sight reading
(see page 17)
ii) aural (see page 21)
or improvisation (see page 24)
Back to contents
47
Electronic Organ — Initial
Subject code: EO
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own choice piece (see page 8) or an own composition
(see page 13).
Composer Piece Anon.
Anon.
Blue
Beethoven
Beethoven Brahms
Brahms
Cowles
Cowles
Haydn
Ogden
Schubert
Careless Love
The Joy of Organ Music
Greensleeves
The Joy of Organ Music
Take My Hand
Organ World book 1 Für Elise Die Welt Der Orgel Klassik II Schlußchor ‘An die Freude’ Die Welt Der Orgel Klassik II Guten Abend, gut’ Nacht Die Welt Der Orgel Klassik I
Lullaby
The Joy of Organ Music
Still Waters
Organ World book 1 Whilst Waiting
Organ World book 1 Andante, Symphonie mit
dem Paukenschlag
Die Welt Der Orgel Klassik II
Poodles In Puddles
Organ World book 1 Wiegenlied
Die Welt Der Orgel Klassik II
Book Publisher
Yorktown YK 21095
Yorktown YK 21095
Trinity
Schott ED6615
Schott ED6615
Schott 5601
Yorktown YK 21095
Trinity
Trinity
Schott ED6615
Trinity
Schott ED6615
Technical work (14 marks) (see page 15)
Candidates to prepare in full both sections i) and ii)
i) Exercise (music may be used):
Trad.
Down in Yon Forest (from Organ World book 1)
Trinity
ii) Scales (from memory):
Manual (hands separately)
C and G major
Pedal
C major
min. q = 72
one octave
min. q = 60
from C2 to G2
mf
and
legato
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading
(see page 17)
48
aural
(see page 21)
improvisation
(see page 24)
Back to contents
musical knowledge
(see page 28)
Electronic Organ — Grade 1
Subject code: EO
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own choice piece (see page 8) or an own composition
(see page 13).
Composer
Piece Book Bailey
Dvořak
Haydn
Lee
Lee
Liszt
Runswick
Runswick
Soloviev-Sedoy
Scoobie Du Wup
Thema aus der Symphonie
no. 9 ‘Aus der neuen
Welt’ op. 95
Chorale St. Antoni
Invocation
Stepping Stones
Liebestraum
Pronto
Velvet Dreams
Moscow Nights
Organ World book 1
Publisher
Trinity
Die Welt Der Orgel Klassik I
Die Welt Der Orgel Klassik II
Organ World book 1
Organ World book 1
Die Welt Der Orgel Klassik II
Organ World book 1
Organ World book 1
The Joy of Organ Music
Schott 5601
Schott ED6615
Trinity
Trinity
Schott ED6615
Trinity
Trinity
Yorktown YK 21095
Technical work (14 marks) (see page 15)
Candidates to prepare the following:
Scales & arpeggios (from memory):
Manual (hands separately)
Scales:
min.
q = 72
D and F major
A and D harmonic minor
Arpeggios:
D and F major
A and D minor
min.
q = 60
Pedal
one octave
mf
and
legato
min.
q = 60
C major scale
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading
(see page 17)
aural
(see page 21)
improvisation
(see page 24)
Back to contents
musical knowledge
(see page 28)
49
Electronic Organ — Grade 2
Subject code: EO
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own choice piece (see page 8) or an own composition
(see page 13).
Composer
Piece Book Publisher
Auric
Bailey
Blue
Cowles
Holdsworth
Lehar
MacDowell
Mozart
Raposo
Saint-Saëns
Strauss
Tchaikovsky
Moulin Rouge Waltz
Moonlight Air
I Remember
Follow Me!
On The Move!
Vilia
To A Wild Rose
Türkischer Marsch
Sing
My Heart at thy
Sweet Voice The Emperor Waltz
Melodie
The Complete Organ Player book 2
Organ World book 1
Organ World book 1
Organ World book 1
Organ World book 1
The Joy of Organ Music
The Joy of Organ Music
Die Welt Der Orgel Klassik II
The Complete Organ Player book 2
Wise AM19449
Trinity
Trinity
Trinity
Trinity
Yorktown YK21095
Yorktown YK 21095
Schott ED6615
Wise AM19449
The Joy of Organ Music
The Joy of Organ Music
Die Welt Der Orgel Klassik II
Yorktown YK 21095
Yorktown YK 21095
Schott ED6615
Technical work (14 marks) (see page 15)
Candidates to prepare the following:
Scales & arpeggios (from memory)
Manual
Scales:
A, D and B major
D harmonic minor
G melodic minor
min.
q = 72
Chromatic scale starting on C
Arpeggios:
A, D and B major
D and G minor
hands separately
and together
two
octaves
min.
q = 60
Pedal
min.
q = 66
C major arpeggio
hands separately
hands separately
and together
mf
and
legato
one
octave
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading
(see page 17)
50
aural
(see page 21)
improvisation
(see page 24)
Back to contents
musical knowledge
(see page 28)
Electronic Organ — Grade 3
Subject code: EO
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own choice piece (see page 8) or an own composition
(see page 13).
Composer
Piece Book Blue
Brahms
Cowles
Debussy
Handel
Haydn
Jessel
Ogden
Schumann
Autumn Leaves
Hungarian Dance no. 4
Tango For Bertha
Clair de lune
Arioso
St. Anthony Chorale
Parade Of The Tin Soldiers
Beyond The Stars
Träumerei
Organ World book 1
The Joy of Organ Music
Organ World book 1
The Joy of Organ Music
Die Welt Der Orgel Klassik I
The Joy of Organ Music
The Joy of Organ Music
Organ World book 1
The Joy of Organ Music
Publisher
Trinity
Yorktown YK 21095
Trinity
Yorktown YK 21095
Schott 5601
Yorktown YK 21095
Yorktown YK 21095
Trinity
Yorktown YK 21095
Technical work (14 marks) (see page 15)
Candidates to prepare the following:
Scales & arpeggios (from memory)
Manual (hands together)
Scales:
Bb and Eb major
B and F harmonic minor,
C melodic minor
Chromatic scale in contrary motion from
unison C
min.
q = 84
Arpeggios:
Bb and Eb major
B, C and F minor
min.
q = 72
Pedal
min.
q = 66
Dominant 7th in the key of F
two octaves
mf
and
legato
one octave
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading
(see page 17)
aural
(see page 21)
improvisation
(see page 24)
Back to contents
musical knowledge
(see page 28)
51
Electronic Organ — Grade 4
Subject code: EO
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own choice piece (see page 8) or an own composition
(see page 13).
Composer
Piece Albeniz
Blue
Booth
Delibes
Lloyd Webber
Lloyd Webber
Runswick
Tango
The Joy of More Organ Music
Tutti Frutti
Organ World book 2
Morning Serenade
Organ World book 2
Waltz (from Naila)
The Joy of More Organ Music
Don’t Cry For Me
Argentina*
The Music Of The Night*
The Hipster
Organ World book 2
Book Publisher
Yorktown YK 21210
Trinity
Trinity
Yorktown YK 21210
Trinity
* available as digital downloads from www.sheetmusicdirect.com or www.musicroom.com
Technical work (14 marks) (see page 15)
Candidates to prepare the following:
Scales & arpeggios (from memory)
Manual (hands together)
Scales:
E, Ab, Db and F# major
C# harmonic minor
F melodic minor
Chromatic scale starting on any note
requested
min.
q = 96
Arpeggios:
E, Ab, Db and F# major
C# and F minor
min.
q = 84
two octaves
mf
and
legato
Pedal
min.
q = 72
Scales:
C major
C harmonic minor
one octave
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading
(see page 17)
52
aural
(see page 21)
improvisation
(see page 24)
Back to contents
musical knowledge
(see page 28)
Turn over for Grade 5 repertoire
Back to contents
53
Electronic Organ — Grade 5
Subject code: EO
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own choice piece (see page 8) or an own composition
(see page 13).
Composer
Piece Bailey
Blue
Brahms
John & Rice
Mancini
Monti
Ogden
Runswick
Schönberg
Smetana
Trad.
Williams
Blue Mood
Organ World book 2
Swing Boogie
Organ World book 2
Ungarischer Tanz no. 5
Die Welt Der Orgel Klassik I
Can You Feel
The Love Tonight*
Baby Elephant Walk*
Czardás
The Joy of More Organ Music
Eurotunnel Shuttle
Organ World book 2
Chromatique
Organ World book 2
I Dreamed A Dream*
Thema aus der
symphonischen Dichtung
‘Die Moldau’
Die Welt Der Orgel Klassik I
The Floral Dance
The Joy of More Organ Music
The Raiders March*
Book * available as digital downloads from www.sheetmusicdirect.com or www.musicroom.com
54
Back to contents
Publisher
Trinity
Trinity
Schott 5601
Yorktown YK 21210
Trinity
Trinity
Schott 5601
Yorktown YK 21210
Electronic Organ — Grade 5
Technical work (14 marks) (see page 15)
Candidates to prepare the following:
Scales & arpeggios (from memory)
Manual (hands together)
Scales:
All major keys
Bb and F# harmonic minor
G# melodic minor
Chromatic scale starting on any note requested
min.
q = 108
Arpeggios:
All major keys
Bb, F# and G# minor
min.
q = 90
two octaves
mf
and
legato
Pedal
Scales:
C major
C melodic minor
min.
q = 72
Arpeggios:
C major
C minor
one octave
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading
(see page 17)
aural
(see page 21)
improvisation
(see page 24)
Back to contents
musical knowledge
(see page 28)
55
Electronic Organ — Grade 6
Subject code: EO
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own choice piece (see page 8) or an own composition
(see page 13).
Composer Piece Bizet
Toreador’s Song from Carmen (from Opera Gala book 1)
Bizet
In The Depths Of The Holy Temple from The Pearl Fishers
(from Opera Gala book 2)
Booth
Blue Lullaby (from Organ World book 2)
Brahms
Ungarischer Tanz no. 5 [Repeats must be played]
(from Die Welt der Orgel-Klassik I)
Cowles
Interval (Ice Cream Music) (from Organ World book 2)
Creamer & Layton Way Down Yonder In New Orleans*
Delibes Flower Duet from Lakmé (from Classical Concert)
Gibb, Gibb & Gibb Night Fever
(from The Complete Organ Player: Favourite Organ Pieces)
Gossec
Gavotte [Repeats must be played]
(from Die Welt der Orgel-Klassik I) Haydn
Rondo from Trumpet Concerto (from Classical Concert)
Hudson, De Lange
& Mills Moonglow*
MacDonald, Salter Just The Two Of Us
& Withers (from The Complete Organ Player: Favourite Organ Pieces)
Marquina Spanish Gypsy Dance
(from The Complete Organ Player: Favourite Organ Pieces)
Oliver
Opus 1*
Roberts, Jacobson & Koffman
Swingin’ Shepherd Blues*
Robin & Shavers Undecided*
Runswick
Blue Six (from Organ World book 2)
Russell & Ellington Don’t Get Around Much Anymore*
Verdi
Chorus of the Hebrew Slaves from Nabucco
(from Opera Gala book 1)
Verdi
Drinking Song from La Traviata (from Opera Gala book 1)
Verdi
Quartet from Rigoletto (from Opera Gala book 1)
Verdi
The Anvil Chorus from Il Travatore (from Opera Gala book 2)
Weber
Aufforderung zum Tanz [Repeats must be played]
(from Die Welt der Orgel-Klassik I)
* available as digital downloads from www.sheetmusicdirect.com or www.musicroom.com
56
Back to contents
Publisher
Stainer H331
Stainer H332
Trinity
Schott ED 5601
Trinity
Stainer H362
Wise AM939213
Schott ED 5601
Stainer H362
Wise AM939213
Wise AM939213
Trinity
Stainer H331
Stainer H331
Stainer H331
Stainer H332
Schott ED 5601
Electronic Organ — Grade 6
Technical work (14 marks) (see page 15)
Candidates to prepare the following:
Scales & arpeggios (from memory)
Manual
Key groups
The candidate should prepare one of the key groups below.
When the examiner requests a key, the candidate will perform in succession:
the major scale
the harmonic minor scale
the melodic minor scale
the major scale in 3rds (hands together a third apart, left hand starting on the tonic)
the major arpeggio
the minor arpeggio
min. tempi:
scales: q = 120
arpeggios: q = 96
3rds: q = 60
Group 1: A, C, Eb, F#
or Group 2: E, G, Bb, Db/C#
or Group 3: B, D, F, Ab/G#
Also:
Chromatic scale in minor thirds, starting on C
an octave below middle C in the left hand and
on Eb in the right hand
min.
q = 60
Diminished 7th starting on C
min.
q = 66
hands
together,
two octaves
mf
and
legato
three octaves
Pedal/Manual
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:
Scales
C major
C harmonic and melodic minor
min.
q = 80
one octave
mf
and
legato
Supporting tests (2 x 10 marks)
Candidates to prepare i) and ii)
i) sight reading
(see page 17)
ii) aural (see page 21)
or improvisation (see page 24)
Back to contents
57
Electronic Organ — Grade 7
Subject code: EO
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own choice piece (see page 8) or an own composition
(see page 13).
Composer Piece ArndtNola
(from The Complete Organ Player: Favourite Organ Pieces)
Bailey
Cookin’ With Gas (from Organ World book 3)
Beethoven Adagio un poco mosso from Piano Concerto no. 5
(from Classical Concert)
Binge Elizabethan Serenade
(from The Complete Organ Player: Favourite Organ Pieces)
Boccherini
Minuet from the Quintet (from Classical Concert)
Cowles
An Intermezzo Sandwich (from Organ World book 3)
Cowles
Wedding Bossanova (from Organ World book 3)
Gimbel
& Thielmans
Bluesette*
Gounod Juliet’s Waltz Song from Romeo and Juliet
(from Opera Gala book 3)
Parker
Harlequin (from Organ World book 3)
Puccini Your Tiny Hand Is Frozen from La Bohème
(from Opera Gala book 3)
Raye, De Paul
& Johnson I’ll Remember April*
Runswick
Stay Awhile (from Organ World book 3)
Shearing & Weiss Lullaby Of Birdland*
Vivaldi
Spring from The Four Seasons (from Classical Concert)
Washington
& Kaper
On Green Dolphin Street*
Williams
Devil’s Galop
(from The Complete Organ Player: Favourite Organ Pieces)
Williams & Monk ‘Round Midnight*
* available as digital downloads from www.sheetmusicdirect.com or www.musicroom.com
58
Back to contents
Publisher
Wise AM 939213
Trinity
Stainer H362
Wise AM939213
Stainer H362
Trinity
Trinity
Stainer H333
Trinity
Stainer H333
Trinity
Stainer H362
Wise AM939213
Electronic Organ — Grade 7
Technical work (14 marks) (see page 15)
Candidates to prepare the following:
Scales & arpeggios (from memory)
Manual
Key groups
The candidate should prepare one of the key groups below.
When the examiner requests a key, the candidate will perform in succession:
the major scale
the harmonic minor scale
the melodic minor scale
the major scale in 6ths (hands together a 6th apart, right hand starting on the tonic)
the major arpeggio in root position and first inversion
the minor arpeggio in root position and first inversion
the dominant 7th in root position
min. tempi:
scales: q = 132
arpeggios: q = 96
6ths: q = 60
7ths: q = 72
Group 1: A, C, Eb, F#
or Group 2: E, G, Bb, Db/C#
or Group 3: B, D, F, Ab/G#
Also:
C harmonic minor scale in contrary motion
hands together,
two octaves
mf
and
legato
min.
q = 132
Pedal/Manual
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:
Scales
C major in contrary motion
C harmonic minor in contrary motion
min.
q = 88
one octave
mf
and
legato
Supporting tests (2 x 10 marks)
Candidates to prepare i) and ii)
i) sight reading
(see page 17)
ii) aural (see page 21)
or improvisation (see page 24)
Back to contents
59
Electronic Organ — Grade 8
Subject code: EO
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own choice piece (see page 8) or an own composition
(see page 13).
Composer Piece J S Bach
Bizet
Ellis
Handel Hendricks
& Timmons
Jobim Mercer & Raksin
Mozart
Paparelli, Gillespie
& Leveen Parish, Mills & Hudson
Parker
Runswick
Smetana Verdi
Prelude in C major BWV 553 (Prelude only)
(from Bach Organ Works book 1: Eight Short Preludes and Fugues) Novello 10018
The Flower Song from Carmen (from Opera Gala book 3)
Stainer H333
Coronation Scot
(from The Complete Organ Player: Favourite Organ Pieces)
Wise AM939213
Zadok the Priest from Coronation Anthem no. 1
(from Classical Concert)
Stainer H362
Moanin’*
One Note Samba (Samba De Uma Nota So)
(from The Complete Organ Player: Favourite Organ Pieces)
Laura*
Porgi, Amor from the Marriage of Figaro
(from Classical Concert)
Wise AM939213
Stainer H362
A Night In Tunisia*
Organ Grinder’s Swing*
Prelude In Ragtime (from Organ World book 3)
Well You Might (from Organ World book 3)
Dance of the Comedians from The Bartered Bride
(from Opera Gala book 3)
Sempre Libera from La Traviata (from Opera Gala book 3)
* available as digital downloads from www.sheetmusicdirect.com or www.musicroom.com
60
Publisher
Back to contents
Trinity
Trinity
Stainer H333
Stainer H333
Electronic Organ — Grade 8
Technical work (14 marks) (see page 15)
Candidates to prepare the following:
Scales & arpeggios (from memory)
Manual
Key groups
The candidate should prepare one of the key groups below.
When the examiner requests a key, the candidate will perform in succession:
the major scale
the harmonic minor scale
the melodic minor scale
the major scale in 3rds (hands separately)
the major arpeggio in root position, first and second inversions
the minor arpeggio in root position, first and second inversions
the dominant 7th in root position
the diminished 7th starting on any note from the chosen key group
Group 1: A, C, Eb, F#
or Group 2: E, G, Bb, Db/C#
or Group 3: B, D, F, Ab/G#
min. tempi:
scales: q = 132
arpeggios: q = 96
3rds: q = 60
7ths: q = 80
Also:
Scales
C major in contrary motion
C harmonic minor in contrary motion
hands together,
two octaves
mf
and
legato
min.
q = 132
Pedal/Manual
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:
Scales
C major in contrary motion
C harmonic minor in contrary motion
min.
q = 92
one octave
mf
and
legato
Supporting tests (2 x 10 marks)
Candidates to prepare i) and ii)
i) sight reading
(see page 17)
ii) aural (see page 21)
or improvisation (see page 24)
Back to contents
61
Organ — Grade 1
Subject code: OGN
Pieces (3 x 22 marks)
Three pieces are to be played, at least one from each group, to form a balanced programme.
Instead of one piece, candidates may offer an own composition (see page 13).
Group A
Piece
Book
Alcock
Trumpet Piece
Organ Music for Manuals book 4
J S Bach
Ich hab’ mein’ Sach’ Gott
heimgestellt BWV 708
Organ Works book 18
Beethoven
no. 1 of Two Equali
Music for Memorial
and Thanksgiving Services
Böhm
Minuet in G major
A Graded Anthology vol. 2
(ed. Anne Marsden Thomas)
Boyvin
Duo du troisième ton
Organ Music for Manuals book 3
Dandrieu
Chantons je vous prie (p.7) Noéls
Frescobaldi
Magnificat Primi Toni
Organ Music for Manuals book 1
Gebhardi
Moderato (no. 2 of
Four Short Preludes)
Organ Music for Manuals book 1
Heron
Cornet Voluntary, slow movt Organ Music for Manuals book 4
Litzau
Praeludium in C moll
Easy Organ pieces from
19th Century vol. 3
Mozart
Minuet in F
A Graded Anthology vol. 2 arr. Marsden Thomas
Pachelbel
Fuga
Organ Music for Manuals book 3
Telemann
O Lamm Gottes unschuldig Organ Music for Manuals book 3
Publisher
OUP
Novello NOV010013
Novello NOV262778
Cramer 90583
OUP
Alfred 00-K03366
OUP
OUP
OUP
Bärenreiter BA 8420
Cramer 90583
OUP
OUP
Group B
Alain
De Jules Lemaître
Franck
Prière
Hepburn
O when the Saints
Hesford
Partita for Anna
Magdalena, 3rd movt
Howells
Eighteen
Körner
Moderato in B Minor
LisztOffertorium
(Missa pro Organo)
Litzau
Andante (no. 3 of
3 Short Preludes)
Peeters
Miniature op. 55
Rathgeber
Christmas Pastorella no. 5
Tournemire
Immaculata Conceptio
B. Mariae Virginis no. 3
62
4 Pieces for Organ
Music for Memorial
and Thanksgiving Services
Getting started on the Organ
Novello NOV262778
Animus
Miniatures vol. 1
Miniatures for Organ
Easy Organ Pieces book 1
De Haske F 607
Mayhew 3611053
Bärenreiter BA 8416
Music for Manuals book 3
De Haske F 463
Organ Music for Manuals book 5
A Graded Anthology vol. 2
(ed. Marsden Thomas)
10 Christmas Pastorals
Petites fleurs musicales op. 66
Back to contents
Universal UE 17163
OUP
Cramer 90583
Peters EP 8087
Universal UE 17465
Organ — Grade 1
Technical work (14 marks) (see pages 15)
Candidates to prepare the following:
Scales (played on manuals from memory)
G, D, A and E major
E, D, G and C harmonic minor
min.
q = 72
Chromatic scale starting on G
one
octave
hands together
hands
separately
mf
and
legato
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading
(see page 17)
aural
(see page 21)
improvisation
(see page 24)
Back to contents
musical knowledge
(see page 28)
63
Organ — Grade 2
Subject code: OGN
Pieces (3 x 22 marks)
Three pieces are to be played, at least one from each group, to form a balanced programme.
Instead of one piece, candidates may offer an own composition (see page 13).
Group A
Piece
Book
Publisher
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
Bärenreiter BA 5173
J S Bach
Prelude in G minor
Bach Organ Works book 1
Novello NOV010018
Boëly
Messe du jour de noël (4ème Kyrie)
Incognita Organo Volume 16
Harmonia HU 3315
Boyvin
Basse de trompette
Organ Music for Manuals book 3
OUP
Dandrieu
Noel: Puer nobis nascitur
Noels Alfred 00-K03366
Greene
Andante (only) Early organ music for manuals book 2Novello
from Voluntary XIII
NOV010184
Haydn
Minuet no. 5 in C Pieces for a Musical Clock
Hob. XIX: 1–32
Barenreiter EN802
Mozart
Adagio in C
for glass harmonica KV 356
Bärenreiter BA 8403
Pachelbel
Fugue in C
A Graded Anthology vol. 2
Cramer 90583
(ed. Marsden Thomas)
Rathgeber
Christmas Pastorella no. 1
Peters EP 8087
Travers
Trumpet Voluntary
Organ Music for Manuals book 3
OUP
Group B
Alain
Boëllmann
Boëllmann
Coleman
Eben
Franck
Hesford
Langlais
Peeters
Reger
Walcha
64
Monodie
Basso Ostinato
Verset
Prelude
Kleine Choralpartita über
O Jesu, all mein Leben
bist Du, 2nd movt
À la venue de noël
Gradual
Printemps [theme only]
Choral and 1st Variation:
Herr Jesus hat
ein Gartchen
Es ist gewißlich an der Zeit op. 135a no. 8
Chorale Prelude:
Zu Bethlehem Geboren
L’oeuvre d’orgue vol. 3
Easy Graded Organ Music book 1
Music for Manuals book 2
An Easy Organ Album
Music for Manuals book 2
Missa Ungarica pro Organo
Mosaïques vol. 3
Leduc AL20184
OUP
De Haske F 367
OUP
Universal UE 17162
De Haske F 367
Cramer 90124
Combre CO 4639
10 Organ Chorales
10 Christmas Pastorals
Music for Manuals book 2
A Graded Anthology for Organ book 2
Back to contents
Schott ED 2553
De Haske F 367
Cramer 90583
Organ — Grade 2
Technical work (14 marks) (see pages 15)
Candidates to prepare the following:
Scales & arpeggios (played on manuals from memory)
Scales:
B and F major, F harmonic minor
C and E major in contrary motion
Chromatic scale starting on D
min.
q = 72
Chromatic scale starting on D in contrary motion
hands
together
one octave
min.
q = 60
Arpeggios:
C, F and G major, A, D and E minor
two octaves
two octaves
mf
and
legato
hands
separately
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading
(see page 17)
aural
(see page 21)
improvisation
(see page 24)
Back to contents
musical knowledge
(see page 28)
65
Organ — Grade 3
Subject code: OGN
Pieces (3 x 22 marks)
Three pieces are to be played, at least one from each group, to form a balanced programme.
Instead of one piece, candidates may offer an own composition (see page 13).
Group A
Piece
Book
Anon.
No. 1 of Two Early Sixteenth
Century Pieces
J S Bach
Da Jesus an dem Kreuze
stund BWV 621
Byrd
Veni creator spiritus 1
Haydn
Allegro in C no. 23
Marpurg
Pastorella: Der Herr ist
mein getreuer Hirt
Stanley
Voluntary V in D minor,
2nd movt
Van Noordt
Psalm 38
Walther
Herr Jesu Christ, dich zu uns
Wend [with repeats]
Early Organ Series 1:
England 1510–1590
Complete Organ Works vol. 1
8 Organ Pieces
Pieces for a Musical Clock
Hob. XIX: 1–32
The Progressive Organist book 1
(ed. Trevor)
10 Voluntaries op. 6 (ed. Phillips)
Organ Music for Manuals book 3
Organ Music for Manuals book 1
Publisher
Faber 0 571 50771 9
Bärenreiter BA 5171
Hinrichsen H1543A
Barenreiter EN802
Novello NOV262483
Peters EP7723
OUP
OUP
Group B
Alain
Ballade en mode phrygien
Boëllmann
Plainte (no. 1 of Four Pieces)
Boëllmann
Postlude
Frank
Vieux Noêl
Guilmant
Communion
Langlais
Pastoral Song
Moore
Prelude
Pinkham
Canon at the octave
Ridout
Father
Tournemire
Offertoire
Walcha
Herzliebster Jesu
66
L’oeuvre d’orgue vol. 3
Leduc AL20184
Organ Music for Manuals book 1
OUP
Organ Music for Manuals book 3
OUP
A Graded Anthology vol. 3
(ed. Marsden Thomas)
Cramer 90584
Organ Music for Manuals book 5
OUP
A Graded Anthology vol. 3
(ed. Marsden Thomas)
Cramer 90584
A Graded Anthology vol. 3
(ed. Marsden Thomas)
Cramer 90584
Music for a Quiet Sunday
Presser 493-00086
Canticle of the Rose
Mayhew 1405553
Miniatures vol. 2
De Haske F 642
A Graded Anthology vol. 3
(ed. Marsden Thomas)
Cramer 90584
Back to contents
Organ — Grade 3
Technical work (14 marks) (see pages 15)
Candidates to prepare the following:
Scales & arpeggios (from memory)
Manual
Scales:
Bb, Eb, Ab and Db major
C# and G# harmonic minor
Chromatic scale starting on Ab
min.
q = 84
Eb major in contrary motion
Chromatic scale starting on Ab in contrary motion
Arpeggios:
D, A and E major
G, C and F minor
two octaves
one octave
min.
q = 72
two octaves
min.
q = 72
one octave
mf
hands together
and legato
Pedal
Scales:
F and G major in broken 3rds
A and G melodic minor in broken 3rds
mf
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading
(see page 17)
aural
(see page 21)
improvisation
(see page 24)
Back to contents
musical knowledge
(see page 28)
67
Organ — Grade 4
Subject code: OGN
Pieces (3 x 22 marks)
Three pieces are to be played, at least one from each group, to form a balanced programme.
Instead of one piece, candidates may offer an own composition (see page 13).
Group A
Piece
AlbrechsbergerPrelude
J S Bach
Der Tag, der ist so
freudenreich BWV 605
J S Bach
Christe, du Lamm Gottes
BWV 619
J S Bach
Prelude and Fugue in G
Böhm
Prelude in A minor
Buxtehude
Nun Komm der
Heiden Heiland
Froberger
Toccata in D minor no. 2
Kotter
Präeludium in Fa
Pachelbel
Da Jesus an dem Kreuze
stund BWV 621
Book
A Graded Anthology vol. 4
(ed. Marsden Thomas)
Publisher
Cramer 90585
Complete Organ Works vol. 1
Bärenreiter BA 5171
Complete Organ Works vol. 1
Bach Organ Works book 1
A Graded Anthology vol. 4
(ed. Marsden Thomas)
Bärenreiter BA 5171
Novello NOV010018
The Progressive Organist book 2
Various Organ Works
Early Organ Series 13:
Germany 1512–1577
Novello NOV262533
Kalmus K03455
Pâques
Cramer 90585
Faber 0 571 50783 2
Schola Cantorum OL 1
Group B
Alain
Boëllmann
Demessieux
Dupré
Elgar
Elgar
Ireland
Karg-Elert
Macmillan
Ridout
Ridout
Vierne
68
No. 1 of Deux danses
a Agni Yavishta
L’oeuvre d’orgue vol. 2
Leduc AL20102
Entrée
Miniatures vol. 2
De Haske F 642
Chorale-paraphrase
Twelve Choral Preludes
Summy–Birchard
on Tu es petrus
on Gregorian Chant Themes
Audi, benigne Conditor
Le tombeau de Titelouze op. 38
Leduc AL27836
Andantino op. 14 no. 3
Miniatures vol. 2
De Haske F 642
Vesper voluntary no. 5 Vesper Voluntaries op. 14
Faber 0571508626
The holy boy
Boosey BH 83212
Freu dich sehr, Chorale-Improvisations
o meine Seele no.5
op. 65 book 1
Breitkopf EB 8261
White note paraphrase
Boosey BH 11392
Jesus meets his
Blessed Mother
14 Stations of the Cross
Mayhew 1400014
Jesus Speaks to the
Women of Jerusalem
14 Stations of the Cross
Mayhew 1400014
Arabesque
24 Pieces en Style Libre vol. 2
Durand DF 00897300
Back to contents
Organ — Grade 4
Technical work (14 marks) (see pages 15)
Candidates to prepare the following:
Scales & arpeggios (from memory)
Manual
Scales:
F# major
Bb and Eb harmonic minor
Chromatic scales starting on A, C, D, F and G
min.
q = 96
Chromatic scale starting on A in contrary motion
E harmonic minor in contrary motion
Arpeggios:
B and Bb major
B and Bb minor
two octaves
one octave
min.
q = 84
two octaves
min.
q = 84
one octave
mf
hands together
and legato
Pedal
Scales:
A, E and Bb major in broken 3rds
B, E and F melodic minor in broken 3rds
mf
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading
(see page 17)
aural
(see page 21)
improvisation
(see page 24)
Back to contents
musical knowledge
(see page 28)
69
Organ — Grade 5
Subject code: OGN
Pieces (3 x 22 marks)
Three pieces are to be played, at least one from each group, to form a balanced programme.
Instead of one piece, candidates may offer an own composition (see page 13).
Group A
Piece
Book
Publisher
J S Bach
Herr Christ, der ein’ge
Gottessohn BWV 601
Complete Organ Works vol. 1
Bärenreiter 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
Early Organ Series 12:
Faber 0 571 50775 7
seliglich BuxWV 206
Germany 1650–1710
Černuhorský Toccata C dur
Vox Humana Czech Republic
Bärenreiter BA 8236
Karg-Elert
Chorale prelude: Schmücke 66 Chorale Improvisations
dich, O liebe Seele
op. 65 no. 5
Breitkopf EB 8265
Kittel
Präludium in A flat major
Organ Music around J S Bach vol. 2 Breitkopf EB 8685
Merkel
Pastorale no. 4
6 Preludes op. 23
De Haske F 365
Merkel
Evening hymn
Self Taught 1 Animus
Purcell
Voluntary in G
Organ Works Novello NOV590294
Schumann
Canonic study for
pedal piano op. 56 no.1 in C Organ Works
Schott ED9906
Stanley
Voluntary II in D minor
10 Voluntaries op. 5 (ed. Phillips)
Peters EP7722
Tomkins
Verse
Early Organ Series 2:
England 1590–1650
Faber 0 571 50770 6
Ziploi
All’offertorio
A Graded Anthology vol. 4
(ed. Marsden Thomas)
Cramer 90585
Group B
Demessieux
Chorale–paraphrase on Twelve Choral Preludes
Hosanna filio David on Gregorian Chant Themes
Hakim
Pastorale Mariales
Lindberg
Gammal Fabødsalm från
Dalårna
Mathias
Chorale A Mathias Organ Album
Mendelssohn Sonata in A, op. 65 no. 3,
Andante tranquillo Complete Organ Works II
Mendelssohn Sonata in D minor op. 65
no. 6, Finale (Andante)
Complete Organ Works II
Nielsen
Prelude in F sharp minor Miniatures vol. 2
Peeters
Koraal Suite modale op. 43
Rheinberger Con moto no. 1 Twelve Monologues
for Organ op. 162
Ridout
Jesus Receives the Cross 14 Stations of the Cross
Ridout
Jesus is Laid in
the Sepulchre 14 Stations of the Cross
Saint–Saêns
L’Elephant, from The Heavy-footed Organist
arr. Webb
Carnival of the Animals
Stanford
No. 5 of 6 short
Preludes and Postludes Preludes and Postludes
70
Back to contents
Summy–Birchard
UMP M2244 0215 5
Norsk NM2352
OUP
Bärenreiter BA 8197
Bärenreiter BA 8197
De Haske F 642
Lemoine 23673
Novello NOV010044
Mayhew 1400014
Mayhew 1400014
Animus
Mayhew 1400361
Organ — Grade 5
Thalben-Ball
Vierne
Whitlock
Elegy
Berceuse op. 31 no. 19
24 Pieces en Style Libre vol. 2
Lantana
Plymouth Suite
Paxton NOV357436
Durand 0897300
OUP
Technical work (14 marks) (see pages 15)
Candidates to prepare the following:
Scales & arpeggios (from memory)
Manual
Scales:
B, C, F, Eb and F# major
F# harmonic minor,
A, C, D, E and G melodic minor
min.
= 108
two octaves
Chromatic scales in similar and contrary motion
starting on any note requested by the examiner
Arpeggios:
Eb, Ab and Db major
C#, F# and G# minor
mf
hands together
and legato
or staccato as
requested by the
examiner
min.
= 90
Pedal
Scales:
A and G major in running triplets
A and B melodic minor in running triplets
Broken chords:
F and G major
A and E minor
min.
= 60
one octave
min.
= 84
to 12th
mf
and legato
Supporting tests (2 x 10 marks)
Candidates to prepare two from:
sight reading
(see page 17)
aural
(see page 21)
improvisation
(see page 24)
Back to contents
musical knowledge
(see page 28)
71
Organ — Grade 6
Subject code: OGN
Pieces (3 x 22 marks)
Three pieces are to be played, at least one from each group, to form a balanced programme.
Instead of one piece, candidates may offer an own composition (see page 13).
Group A
J S Bach
J S Bach
J S Bach
J S Bach
Bruckner
Franck
Homilius
Mendelssohn
Tunder
Piece
Concerto in G BWV 592 (from Bach Organ works vol. 8)
last movt (Presto)
Gelobet seist du, Jesu Christ BWV 604
Heut triumphieret Gottes Sohn BWV 630
(from Complete Organ Works vol. 1)
Trio Sonata in D minor, BWV 527, 2nd movt
(from Complete Organ Works vol. 7)
Fugue from Prelude and Fugue in C minor
(from Bruckner Album of Various Pieces for Organ)
Prelude (from Prelude, Fugue and Variation op. 18)
Mache dich mein Geist bereit Incognita organo, no. 27
Fugue from Sonata no. 6 (from Complete Organ Works vol. 2)
Chorale fantasia Komm, heiliger Geist… (from Complete Organ Works)
Publisher
Bärenreiter BA5178
Bärenreiter BA 5171
Bärenreiter BA 5171
Bärenreiter BA 5177
Kalmus KO 2036
UMP M2244 0313 1
Harmonia
Bärenreiter BA 8197
Breitkopf EB6718
Group B
Alain
Alain
Archer
Bourgeois
Brahms
Burrell
Dubois
Gardner
Guilmant
Hakim
Hindemith
Ireland
Langlais
Lefébure–Wély
Parry
Ridout
Ridout
Vierne
Vierne
Whitlock
Widor
Yon
72
Lamento (from L’oeuvre d’orgue vol. 3)
Leduc AL20814
Le Jardin Suspendu (from 3 Pieces)
Leduc AL19744
Toccatina (from A little Suite for Organ)
IAO/Allegro
Serenade op. 22
Smith R 70055
Herzlich thut mich verlangen op. 122 no. 10
Novello NOV590116
Fragments I and II (from Unbeaten Tracks)
Faber 0 571 51977 6
In Paradisum (from Twelve pieces)
Alfred
Pavin (from Five Dances for Organ)
Gardner
Paraphrase on Handel’s Judas Maccabeus
A Graded Anthology vol. 5 (ed. Marsden Thomas)
Cramer 90586
Incantation (from Mariales)
UMP M2244 0215 5
Second movement (from Sonata no. 2)
Schott ED 2558
Sursum Corda (from Organ Music of John Ireland)
Novello NOV010183
Pasticcio (from Organ book)
Elkan-Vogel 46300006
Andante Choseur de voix humaines
Favourite organ music book 2 (ed. Sanger)
OUP
Choral Prelude: Martyrdom (from Seven Choral Preludes set 2) Novello NOV590045
Veronica Wipes the Face of Jesus (from 14 Stations of the Cross)
Mayhew 1400014
Jesus Falls the Third Time (from 14 Stations of the Cross)
Mayhew 1400014
Carillon op. 31 no. 21 (from 24 Pieces en Style Libre vol. 2)
Durand 0897300
Lied op. 31 no. 17 (from 24 Pieces en Style Libre vol. 2)
Durand 0897300
Folk Tune (from 5 Short Pieces)
OUP
Fourth movement (from Symphonie V in F, op. 42)
Hamelle AL26865
Humoresque (from L’organo primitivo)
Dover DP19613
Back to contents
Organ — Grade 6
Technical work (14 marks) (see pages 15)
Candidates to prepare in full section i) and section ii):
i) Scales & arpeggios (from memory)
Manual
Scales:
min.
q = 120
All major keys
B and F melodic minor
Chromatic scale in major 6ths,
starting on Eb left hand and C right hand
Arpeggios:
F# major
two octaves
mf
hands together
and legato
or staccato as
requested by the
examiner
one octave
mf
and legato
min. tempi:
arpeggios: q = 96
7ths: q = 66
Eb minor
Dominant 7th in the key of C
Diminished 7th starting on B
Pedal
min.
q = 72
Scales:
C and Bb major in running triplets
C and G melodic minor in running triplets
and ii) Pedal study (music may be used):
J S Bach
Bars 1-10 from Prelude in C, BWV 531
(from Complete Organ Works vol. 5)
Bärenreiter BA 5175
Supporting tests (2 x 10 marks)
Candidates to prepare i) and ii)
i) sight reading
(see page 17)
ii) aural (see page 21)
or improvisation (see page 24)
Back to contents
73
Organ — Grade 7
Subject code: OGN
Pieces (3 x 22 marks)
Three pieces are to be played, at least one from each group, to form a balanced programme.
Instead of one piece, candidates may offer an own composition (see page 13).
Group A
J S Bach
J S Bach
J S Bach
J S Bach
Buxtehude
Buxtehude
Couperin
Hindemith
Howells
Langlais
Lübeck
Smart
Stanford
Piece
Prelude (from Prelude and Fugue in A major BWV 536)
(from Complete Organ Works vol. 6)
Fugue in C major BWV 545
(from Complete Organ Works vol. 5)
In dir ist Freude, BWV 615 (from Complete Organ Works vol. 1)
Wir glauben all an einem Gott, BWV 680
(from Complete Organ Works vol. 4)
Praeludium [and Fugue] BuxWV 138
(from Complete Organ Works vol. 1)
Prelude and Fugue in A minor
(from Organ Works vol. 2, Preludes, Fugues and Toccatas)
8e couplet of Gloria, Dialogue en trio du Cornet et de la Tierce
(from Messe pour les Paroisses)
Sonata no. 1, 2nd movt Saraband in Modo Elegiaco (from Six Pieces for Organ)
In Paradisum (from Triptyque Grégorien)
Prelude and Fugue in C minor (from Orgelwerke)
Postlude in C
Fantasia (from Fantasia and Toccata in D minor op. 57)
Publisher
Bärenreiter BA 5176
Bärenreiter BA 5175
Bärenreiter BA 5171
Bärenreiter BA 5174
Bärenreiter BA 8221
Hansen WH26990
Alfred K03314
Schott ED 2557
Novello NOV590354
Universal UE 16968
Peters EP 4437
Novello NOV954514
Cathedral 227
Group B
Bridge
Adagio in E (from Three Pieces for Organ)
Novello NOV010986
Duruflé
Fugue op. 12 sur le Carillon de Soissons
UMP M560220185
Eben
Lied des Leiermannes (from Faust)
UMP M2244–02063
Farnham
Toccata on O filii et filiae
Presser
Franck
Fugue and Variation (from Prelude, Fugue and Variation op. 18)
Durand
Hindemith
Sonata no. 2, 1st movt
Schott ED2558
Ireland
Menuetto-Impromptu (from Organ Music of John Ireland)
Novello NOV010183
Karg–Elert
Now thank we all our God op. 65 no. 59
Breitkopf EB 6238
Mathias
Processional (from A 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 Nativité du Seigneur vol. 2)
Leduc AL19269
Parry
Chorale Prelude on Dundee
(from 7 Chorale Preludes for Organ Set 1)
Novello NOV 010214
Parry
Choral Prelude on Eventide (from Seven Chorale Preludes set 2) Novello NOV590045
Peeters
Scherzo (from Suite modale op. 43)
Lemoine 23673
Ratcliffe
Caprice (from Colours of the Organ)
Novello NOV010092 archive
Roget
Deploración por la Semana Santa (from Pâques)
Schola Cantorum OL 1
Vierne
Pastorale no. 20 (from 24 Pieces en Style Libre vol. 2)
Durand 0897300
Wills
Elevation (from Colours of the Organ)
Novello
NOV010092 archive
74
Back to contents
Organ — Grade 7
Technical work (14 marks) (see pages 15)
Candidates to prepare in full section i) and section ii):
i) Scales & arpeggios (from memory)
Manual
Scales:
All harmonic minor keys
C#, F# and G# melodic minor
C and F major in 6ths,
right hand starting on the tonic
min.
q = 132
A and D harmonic minor in 6ths,
right hand starting on the tonic
two octaves
Chromatic scale in major 6ths,
starting on Eb left hand and C right hand
Chromatic scale in minor 3rds,
starting on G left hand and Bb right hand
Arpeggios:
Dominant 7ths in the keys of G, B and E
mf
hands together
and legato
or staccato as
requested by the
examiner
min.
q = 72
Diminished 7ths starting on A, C, D and F
and ii) Pedal study (music may be used):
J S Bach
Bars 1–9 from Prelude and Fugue in C minor, BWV 549
(from Complete Organ Works vol. 5)
Bärenreiter BA 5175
Supporting tests (2 x 10 marks)
Candidates to prepare i) and ii)
i) sight reading
(see page 17)
ii) aural (see page 21)
or improvisation (see page 24)
Back to contents
75
Organ — Grade 8
Subject code: OGN
Pieces (3 x 22 marks)
Three pieces are to be played, at least one from each group, to form a balanced programme.
Instead of one piece, candidates may offer an own composition (see page 13).
Group A
Alain
J S Bach
J S Bach
J S Bach
J S Bach
J S Bach
J S Bach
Beethoven
Buxtehude
Hurford
Kellner
Mendelssohn
Peeters
Piece
Publisher
Variations sur un thème de Clément Jannequin
(from L’oeuvre d’orgue vol. 2)
Leduc AL20102
1st movt (from Trio Sonata no. 6 in G BWV 530)
(from Complete Organ Works vol. 7)
Bärenreiter BA 5177
Ach bleib bei uns, Herr Jesu Christ, BWV 649
(from Complete Organ Works vol. 1)
Bärenreiter BA 5171
Herr Gott, nun schleuß den Himmel auf, BWV 617
(from Complete Organ Works vol. 1)
Bärenreiter BA 5171
Nun danket alle Gott, BWV 657
(from Complete Organ Works vol. 2)
Bärenreiter BA 5172
Prelude and Fugue in C BWV 545
(from Organ Works vol. 2)
Peters EP241
Prelude or Fugue in G BWV 541
(from Complete Organ Works vol. 5)
Bärenreiter BA 5175
Adagio in F for mechanical organ (ed. Altman)
Hinrichsen
Toccata in F Bux157 [complete]
(from Complete Organ Works vol. 2)
Bärenreiter BA 8222
Dialogue no. 2 (from Two Dialogues)
Novello NOV 570032 archive
Jesu meine Freude (from Organ Music around J S Bach vol. 2)
Breitkopf EB 8685
Sonata no. 5 in D, op. 65 no. 5, 3rd movt
(from Complete Organ Works vol. 2)
Bärenreiter BA 8197
Herr Jesu hat ein Gartchen no. 10 (from 10 Organ Chorales)
Schott ED 2553
Group B
Anderson
arr. Trotter Sleigh Ride
Banks 14038
Boëllmann
Toccata (from Suite gothique)
UMP M2244 0097 7
Dubois
Fiat lux (from 12 pieces for Organ)
Alfred K03456
Dupré
Placare Christe servulis op. 38 no. 16 (from Le Tombeau de Titelouze)Leduc AL27836
Gardonyi
Mozart changes
Möseler MOS 19498
Gigout
Toccata in B minor
Leduc
Howells
Psalm Prelude no. 3 (from Three Psalm Preludes Set 1)
Novello NOV590353
Ireland
Meditation on John Keble’s Rogationtide hymn
(from Organ Music of John Ireland)
Novello NOV010183
Jongen
Scherzetto op. 108 no. 1 (from A Jongen Organ Album)
OUP
Karg–Elert
Valse mignonne (from 3 Pieces op. 142)
Breitkopf EB 8584
Karg–Elert
Legend op. 141 no. 1 (from Triptyque)
Novello NOV 950170 archive
Krzanowski
Relief III
PWM 9929
Mathias
Toccata giocosa op. 36 no. 2 (from A Mathias Organ Album)
OUP
Messiaen
Le Banquet Celeste
Leduc AL19269
Messiaen
Majesté du Christ demandant sa gloire à son Père
(from L’Ascension)
Leduc AL18826
Mulet
Tu es Petra (from Esquisses Byzantines)
Leduc AL16202
76
Back to contents
Organ — Grade 8
Mushel
Popplewell
Whitlock
Toccata
Triumphal March
Divertimento (from The Complete Shorter Organ Music)
OUP 196 archive
Banks 13983
OUP
Technical work (14 marks) (see pages 15)
Candidates to prepare in full section i) and section ii):
i) Scales & arpeggios (from memory)
Manual
Scales:
Bb and Eb melodic minor
D, G and Bb major in 3rds, left hand starting on the tonic
min.
q = 132
B, E and G melodic minor in 3rds,
left hand starting on the tonic
Chromatic scale in minor 3rds, starting on any notes
requested by the examiner
two
octaves
Chromatic scale in major 6ths, starting on any notes
requested by the examiner
Arpeggios:
Dominant 7ths in the keys of F, Ab, Eb and F#
Diminished 7ths starting on Ab, Bb and C#
mf
hands together
and legato
or staccato as
requested by the
examiner
min.
q = 80
and ii) Pedal study (music may be used):
J S Bach
Bars 13–32 from Toccata, Adagio and Fugue in C, BWV 564
(from Complete Organ Works vol. 6)
Bärenreiter BA 5176
Supporting tests (2 x 10 marks)
Candidates to prepare i) and ii)
i) sight reading
(see page 17)
ii) aural (see page 21)
or improvisation (see page 24)
Back to contents
77
Information and regulations
The following section contains key information and regulations that apply to all of Trinity’s graded
music exams. Please note that Trinity’s separate Information & Regulations booklet gives more detailed
guidance and can be downloaded from our website.
Entry requirements
Entry process
 T
here are no age requirements or limitations
for any Trinity grade exams.
 E
xam entries may be submitted by a
teacher, parent or guardian, or by candidates
themselves if they are aged 18 or over.
Correspondence will be conducted with this
person only.
 C
andidates may enter any combination of
grades and do not need to pass any particular
level in order to proceed to a higher level.
In addition, no theory qualifications or other
prerequisites are required to enter grades
at any level.
 C
andidates may enter for more than one grade
exam in the same or different subjects at the
same session, but no more than one entry will
be accepted per candidate per session in the
same grade and subject.
Candidates with special needs
 T
rinity is committed to creating an inclusive
environment where candidates with special
needs are able to demonstrate their skills
and feel welcomed. We aim to make our
exams accessible to all. We treat each learner
individually when considering how we can
achieve this aim, recognising that requirements
vary. Candidates can be assured that we do
not compromise on the standard of marking or
allow the quality of exams to be affected in any
way. If a candidate has any special needs, we
will try to help. Of course we will not make any
change that affects the assessment standards.
We will treat each request individually, so
please visit our website or contact us to discuss
your requirements.
Exam centres
 E
xams can be taken at one of Trinity’s Public
exam centres which are available throughout
the world. Details of these are available on our
website. Candidates should contact the local
Trinity representative for more information.
 In the UK and Ireland, schools and private
teachers with sufficient candidates may apply
to enter under the Examiner Visit Scheme.
Further details are available on our website.
78
 A
ll entries must be made on an official Trinity
entry form and sent to the local Trinity
representative along with the correct entry fee
in advance of the closing date for application to
the exam. Closing dates and contact details for
local representatives can be found on
our website.
 C
heques should be made payable to Trinity
College London. A receipt will only be provided
if the appropriate section of the entry form
is completed and a stamped addressed
envelope supplied.
 W
here possible, the Trinity representative will
seek to meet a request for a specific exam
date if it is clearly specified on the entry form,
but this cannot be guaranteed. Requests for
morning or afternoon appointments will be
observed where possible, but requests for
precise times cannot be accepted. Please note
that exam dates may occasionally need to be
changed from those published.
 B
y entering for a Trinity exam, candidates
agree to abide by Trinity’s regulations, syllabus
requirements and the professional judgements
of its examiners.
 E
ntries at one centre may be transferred
to another centre for a fee, but cannot be
deferred to a later exam session. In the case
of a transfer, a new entry form must be
completed and the appropriate fee must be
paid (please contact Trinity’s London office for
further details). Entries may not be transferred
from one candidate to another.
 T
rinity is required to collect candidates’ dates
of birth in order to produce anonymised
statistical information for various government
and educational bodies. If this information is
not provided on the entry form then the entry
process may be delayed.
Back to contents
Information and regulations
Inaccurate and late entries
 If an entry form is incomplete, it may be refused.
 C
andidates’ names as shown on the entry
form will be used when producing certificates
for successful candidates. Please ensure that
all details on the entry form are complete
and accurate.
 If you require a correction to be made on an
entry form or to details held about you on
Trinity’s database, please contact your
Trinity representative.
 P
lease note that entries will not be accepted
if received less than 14 days before the exam
date. Late entries received more than 14 days
before the exam date may be accepted at
the discretion of the Trinity representative,
depending on availability. Please contact your
Trinity representative before submitting a
late entry.
 E
ntries which are received following the
application closing date will be subject to the
following surcharges:
–– f or late entries received up to 21 days
before the exam date:
+ 50% of the entry fee
–– for late entries received between 20 and 14
days before the exam date:
+ 100% of the entry fee.
 Trinity makes no guarantee that acceptance of
a late entry will result in the exam taking place.
If a late entry is accepted but an exam slot is
not available, Trinity may at its discretion refund
the entry fee, although the surcharge fee will be
retained in all cases to cover administration costs.
Exam appointments
 O
nce the entry has been processed, your local
Trinity representative will send an appointment
form giving details of the date, time and place
of the exam, along with the candidate’s ID
number and their instrument and grade. This
will normally be sent 21 days before the date of
the exam.
 If there are any errors in the information
specified on the appointment form, please
notify your Trinity representative immediately.
An incorrect exam subject or grade cannot
be altered on the day of the exam, but any
misspelling of the candidate’s name should
be pointed out to the examiner.
 T
he appointment form must be handed to the
examiner on entering the exam room. Before
the exam, candidates should ensure that they
have filled in the names of the pieces that they
will be playing and their choice of technical
work and supporting tests.
On the day
 C
andidates are advised to arrive at least 15
minutes before the start of the exam to allow
time for warming up and any other necessary
preparation. Candidates who arrive late may
find that their exam cannot be conducted,
although every effort will be made to
accommodate them.
 P
ublic centres administered by Trinity will
endeavour to provide waiting and warm-up
facilities wherever possible, but Trinity cannot
guarantee this.
 C
andidates are responsible for their own
property at all times. Trinity will not accept any
liability in the event of candidates’ instruments
or other property being lost, stolen or damaged,
either while in transit to or from the exam
centre or at any time before, during or after
the exam.
In the exam
 E
ach exam room is equipped with a tuned
piano, an adjustable stool and a music stand.
Where exams are taking place under the
Examiner Visit Scheme, a digital piano may be
used, as long as the instrument is sufficient to
allow candidates to demonstrate the full extent
of their musicianship. A digital piano may only
be used where candidates have been notified in
advance and have given their consent.
 C
andidates may play a few notes before
the exam begins to help them adjust to the
acoustics of the room.
 The
examiner may choose to curtail
performances once they have formed a
judgement.
 G
enerally, only one examiner will be present
in the exam room. However, for training and
quality assurance purposes, another examiner
may also be present.
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79
Information and regulations
 Interpreters are allowed for candidates
whose first language is not English and where
candidates do not have sufficient English
language fluency to meet the communication
requirements of the exam. Candidates are
responsible for all arrangements with and
costs of interpreters, whose involvement must
be agreed with the centre in advance of the
exam. Interpreters must not assist candidates
beyond interpreting. If the examiner suspects
that interpreters are assisting candidates
inappropriately, they will refer the matter
to Trinity’s Central office.
Recordings of exams
 T
rinity audio records all grade exams for quality
assurance purposes.
 T
rinity exams are also sometimes filmed for
training and quality assurance purposes. In
such cases, Trinity will always seek permission
from the candidate or parent/guardian first.
Candidates may refuse to be filmed at any point
and may request for footage to be deleted
without giving a reason.
 A
ll audio and visual recording devices will be
discreet and should not cause any distraction
to candidates.
 E
xaminers will not refer to recordings when
making their assessments. Trinity’s recordings
of exams (film and audio) will not be released
to candidates under any circumstances after
the exam.
 C
andidates and accompanists are not
authorised to make any recordings of an
assessment. If made, such recordings will be
confiscated on the spot and may invalidate
the exam.
Exceptional circumstances
 If candidates are ill and cannot take an exam
as planned, the Trinity representative must
be informed as soon as possible. The person
who signed the entry form may apply to the
Trinity representative for a re-entry permit by
providing a medical certificate current for the
date of the exam and the appointment form
originally issued.
 T
he re-entry application must be made no
later than 30 days after the exam date. The
Trinity representative will forward the medical
80
certificate and appointment form to Trinity,
who will issue a re-entry permit for an exam at
the same level in the same subject.
 A
re-entry permit can be used for an exam
within 21 days to 12 months of the original exam
date upon payment of 50% of the entry fee
current at the new date of entering. If a permit
is used towards entry for an exam at a higher
level, any difference in fee is also payable.
 If candidates wish to postpone or cancel an
exam, the original fee will not be refunded.
There are special arrangements in case of
genuine compassionate circumstances. Trinity
will not offer re-entry permits for non-medical
reasons, though sympathy will be shown to
genuine cases in which appropriate evidence
is provided.
Results, reports and certificates
 A
ll candidates receive a written report.
Examiners issue reports only to the Trinity
representative, and are not allowed to give
details of reports or results in any other way.
In turn, Trinity representatives will despatch
those reports to the person who signed the
application form.
 R
eport forms are normally issued within a
week of completion of a centre’s exam session,
although in circumstances where a particularly
large number of candidates attended the same
exam session, Trinity representatives may issue
report forms on a fortnightly basis.
 In the case of successful candidates, results
are provisional until confirmed by the issue of
a certificate six to eight weeks after the end of
the exam session.
 C
ertificates show the date, centre, subject, and
level achieved by a successful candidate, as
well as the name of their teacher and school
(if requested). The personal details shown on
certificates will be taken from those recorded
on the entry form.
 T
rinity cannot accept responsibility for the nonarrival of any exam report or certificate after
it has been posted. Please refer to Trinity’s
website or contact your local representative for
information about replacement certificates and
certifying statements.
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Information and regulations
Syllabus infringements
Malpractice
 A
ll syllabus infringements (eg choosing an
incorrect piece or technical work item) will be
referred directly to Trinity’s London office by
the examiner. Exam reports may be withheld
until the outcome of any referral has been
considered by Trinity. Depending on the
severity of the infringement, marks may be
deducted or, in extreme cases, the exam may
be invalidated.
 T
rinity requires its registered exam centres
to report any suspected malpractice by
candidates, teachers or examiners. In situations
where a centre is found to be inadequate or
to be guilty of malpractice, either in terms of
provision of facilities or in administration, the
exam centre may be required to suspend all of
its activities relating to Trinity exams until the
cause of the problem is identified and rectified,
if appropriate. In extreme circumstances, the
centre may no longer be permitted to act as an
exam centre registered with Trinity.
Results review and appeals procedure
 A
nyone who wishes to question the outcome
of their exam result should refer to
www.trinitycollege.com/resultsenquiry
for full details of our results review and
appeals process.
Policies
Equal opportunities
 T
rinity is committed to providing equality of
opportunity and treatment for all, and will not
unlawfully or unfairly discriminate directly or
indirectly on the basis of any characteristic.
 In the very rare cases or circumstances where
a centre or individual may be suspected
of malpractice, Trinity will aim to minimise
any inconvenience caused to any affected
candidate, and would like to thank candidates,
teachers and centre staff for their kind
co-operation in reporting any suspected
incident of cheating, thereby assisting Trinity
in upholding the quality and integrity of its
exam process.
Child protection
 T
rinity College London exams are delivered in
full compliance with the requirements of the
UK’s Children’s Act 1989 and other relevant
legislation. Trinity has also implemented a
policy relating to child protection, full details of
which can be found on our website.
Data protection
 T
rinity College London is registered as a Data
Controller with the Information Commissioner’s
Office in the United Kingdom under the Data
Protection Act 1998. Please see our website for
the most up-to-date information about its data
protection procedures and policies. You can
write to the Data Protection Officer at Trinity’s
London office for further information.
Customer service
 T
rinity strives to update and improve its
syllabuses where necessary. Amendments
and additions are regularly published on our
website, which is also a source of general
information about Trinity and its products and
services. A Customer Service Statement
is available on our website.
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81
Music publishers
Non-UK 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.
Trinity 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.
Allegro (Allegro Music): T +44 (0)1885 490375;
www.allegro.co.uk
Faber (Faber Music Ltd): T +44 (0)1279 828 982;
www.fabermusic.com
Alfred (Alfred Publishing): www.alfred.com
·in UK: Alfred UK; T +44 (0)1279 828960;
www.alfreduk.com
· in Australia: Alfred Australia; T 61 2 9524 0033
Gardner (Gardner): c/o ScoreStore Music Ltd;
www.johnlintongardner.co.uk
Animus (Animus Music Publishing):
T +44 (0)1229 467432; www.animusi.co.uk
Hamelle (Hamelle (Paris)): c/o Editions Alphonse
Leduc; in UK: c/o Music Sales Ltd
Banks (Banks Music Publications):
T +44 (0)1653 628 545;
www.banksmusicpublications.co.uk
Hansen (Wilhelm Hansen Edition):
T +45 3311 7888 www.ewh.dk;
in UK: c/o Music Sales Ltd
Bärenreiter (Bärenreiter Ltd): T +44 (0)1279
828930; www.bärenreiter.com
Harmonia (Harmonia): c/o De Haske Hal
Leonard Ltd
Bayley & Ferguson (Bayley & Ferguson):
T +44 (0)141 221 9444;
www.glasgowmusiccentre.co.uk
Hinrichsen (Hinrichsen Edition): c/o Peters
Edition Ltd
Bornemann (Éditions Bornemann (Paris)): in UK:
c/o United Music Publishers Ltd; in USA: c/o
Robert King Music Sales Inc.
Boosey (Boosey & Hawkes Music Publishers Ltd):
www.boosey.com
Retail: freephone (UK only) T +44 (0)800 731
4778; US/international T +44 (0)870 421 5453
Trade: T +44 (0)1233 712233
Breitkopf (Breitkopf & Härtel): T +49 611 45008 58;
www.breitkopf.com; in UK: T +44 (0)1263 768 732
Chester (Chester Music Ltd): c/o Music Sales
Combre (Éditions Combre): T +33 (0)1 48 24 89
24; www.editions-combre.com
Cramer (Cramer Music Ltd):
T +44 (0)20 7240 1612; www.cramermusic.co.uk
De Haske (De Haske Hal Leonard Ltd):
T +44 (0)20 7395 0380; www.dehaske.com
Dover (Dover Publications): c/o Music Sales
IAO (Incorporated Association of Organists):
c/o Allegro Music
Kalmus (Edwin F Kalmus & Co. Inc.):
T +1 800 434 6340; in UK: c/o Music Sales Ltd
Leduc (Editions Alphonse Leduc):
T +33 (0)1 42 96 89 11;
in UK: c/o Music Sales Ltd
Lemoine (Editions Henry Lemoine):
www.editions-lemoine.fr
in UK: c/o Faber Music Ltd;
in USA: c/o Theodore Presser Company
Kevin Mayhew (Kevin Mayhew Publishers):
T +44 (0)1449 737 978; www.kevinmayhew.com
Möseler (K H Möseler Verlag):
T +49-5331-9597-0; www.moeseler-verlag.de
Music Sales (Music Sales Ltd):
T +44 (0)1284 702 600; www.musicroom.com
Norsk (Norsk Musikforlag): T (+47) 23 00 20
10/23 00 20 21 orders; www.norskmusikkforlag.no
Novello (Novello & Co. Ltd): c/o Music Sales Ltd
Durand (Durand et Cie (Paris)):
T +33 (0)1 53 24 80 01;
www.durand-salabert-eschig.com;
in UK c/o De Haske Hal Leonard Ltd
Elkan-Vogel (Elkan-Vogel): www.presser.com
82
Hal Leonard (Hal Leonard Publishing Co.):
T +1 414 7743630; in UK: c/o Music Sales Ltd
OUP (Oxford University Press):
T +44 (0)1536 454 590; www.oup.co.uk
in Australia: c/o Alfred Australia
in USA: Oxford University Press Inc, 198
Maddison Avenue, New York, NY 10016
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Music publishers
Paxton (Paxton Music): c/o Music Sales Ltd
Peters (Peters Edition Ltd):
T +44 (0)20 7553 4000; www.edition-peters.
com; in UK: c/o Faber Music Ltd
Spartan (Spartan Press Music Publishers Ltd):
T +44 (0)1528 544 770; www.spartanpress.co.uk
Stainer (Stainer & Bell Ltd):
T +44 (0)20 8343 3303; www.stainer.co.uk
Presser (Theodore Presser Company):
T +1 610 525 3636; www.presser.com
Summy–Birchard (Summy–Birchard Inc):
c/o Alfred Publishing
PWM (PWM Edition): T +48 (012) 422 70 44;
www.pwm.com.pl
in UK: c/o Universal Edition (London) Ltd
Trinity (Trinity College London):
www.trinitycollege.com; (trade only) c/o MDS
www.mds-partner.com
Smith (R Smith & Company):
T +44 (0)1933 445 440; www.rsmith.co.uk
Trinity Faber (Trinity Faber): c/o Faber Music Ltd
Schola Cantorum (Schola Cantorum):
T +41 (0)32 861 37 19; www.schola-editions.com
Schott (Schott Music Ltd): T +44 (0)20 7437
1246/(0)20 7534 0710; www.schott-music.com
ScoreStore (ScoreStore Music Ltd):
T+44 (0)118 976 2020; www.scorestore.co.uk
UMP (United Music Publishers Ltd):
T +44 (0)1284 850753; www.ump.co.uk
Universal (Universal Edition (London) Ltd):
T +44 (0)20 7437 1246/(0)20 7534 0710
www.universaledition.com
Wise (Wise Publications): c/o Music Sales Ltd
Yorktown (Yorktown): c/o Music Sales Ltd
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83
Trinity publications
Keyboard Books
Supporting repertoire and excercise books for the Electronic Keyboard
Syllabus 2015–2018
Electronic Keyboard Pieces & Technical Work 2015–2018 Initial
Electronic Keyboard Pieces & Technical Work 2015–2018 Grade 1
Electronic Keyboard Pieces & Technical Work 2015–2018 Grade 2
Electronic Keyboard Pieces & Technical Work 2015–2018 Grade 3
Electronic Keyboard Pieces & Technical Work 2015–2018 Grade 4
Electronic Keyboard Pieces & Technical Work 2015–2018 Grade 5
TCL 013293
TCL 013309
TCL 013316
TCL 013323
TCL 013330
TCL 013347
Electronic Keyboard Pieces & Technical Work from 2013 Grade 6
Electronic Keyboard Pieces & Technical Work from 2013 Grade 7
Electronic Keyboard Pieces & Technical Work from 2013 Grade 8
TG 009326
TG 009333
TG 009340
Keyboard CDs
Electronic Keyboard Pieces & Exercises 2015–2018 Initial–Grade 3 TCL 013644
Electronic Keyboard Pieces & Exercises 2015–2018 Grades 4 & 5 TCL 013651
Aural Tests
Trinity College London 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, Initial–Grade 5.
Keyboard Repertoire The following joint Trinity Faber publications are also available:
Electronic Keyboard Collection: Initial–Grade 1
0 571 52221 1
Electronic Keyboard Collection: Grades 1–2
0 571 52353 6
Electronic Keyboard Collection: Grades 2–3
0 571 52354 4
Electronic Organ BooksTrinity repertoire books are available as follows:
Electronic Organ World book 1: Initial–Grade 3
Electronic Organ World book 2: Grades 4–6
Electronic Organ World book 3: Grades 7–8
All Trinity College London publications are available from your local music shop or
from www.trinitycollege.com/shop
84
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TCL 621016
TCL 621023
TCL 621030
Notes
Notes
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85
Notes
Notes
86
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