Classical Guitar Syllabus 2020-2023

DOWLAND
NUTTALL
SAGRERAS
CLASSICAL
POWLESLAND
GUITAR
YORK
SYLLABUS
SEGOVIA
WALTON
Qualification specifications
for graded exams 2020–2023
TARREGA
FOGEL
HVARTCHILKOV
SANDERSON
GUBAIDULINA
STACHAK
KRUISBRINK
PRATTEN
CARCASSI
RODRIGO
CARULLI
SANZ
SOR
WHAT’S CHANGED?
◗ Repertoire lists refreshed at all levels, encompassing a wide range of musical styles
◗ Duets now available up to Grade 5
◗ New graded exam books, featuring a varied selection of pieces and duets
◗ Pieces now only divided into groups at Grades 6–8 — at other grades, pieces can be chosen
from a single list
◗ At Grades 6–8, at least one piece must now be chosen from each group
◗ An information and regulations section is no longer included in the syllabus — this information
can be found at trinitycollege.com/music-regulations
◗ New Acoustic Guitar exams incorporating elements of the Plectrum Guitar exams available
from 2020 — more information available in our Acoustic Guitar Syllabus 2020–2023
KEEP UP TO DATE
Please check trinitycollege.com/classical-guitar to make sure you are using the latest version
of the syllabus and for the latest information about our Classical Guitar exams.
OVERLAP ARRANGEMENTS
This syllabus is valid from 1 January 2020. The 2016–2019 syllabus will remain valid until
31 July 2021. During this overlap period, candidates may present pieces and technical work
from the 2016–2019 or the 2020–2023 syllabus, but not both. Candidates should indicate
which syllabus they are presenting on the appointment form handed to the examiner at
the start of the exam.
CLASSICAL
GUITAR
SYLLABUS
Qualification specifications
for graded exams 2020–2023
Trinity College London

trinitycollege.com
Charity number England & Wales: 1014792
Charity number Scotland: SC049143
Patron: HRH The Duke of Kent KG
Chief Executive: Sarah Kemp
Copyright © 2019 Trinity College London
Published by Trinity College London
Online edition, July 2020
Heading
Contents
3 / Welcome
4 / Introduction to Trinity’s graded music exams
9 / Learning outcomes and assessment criteria
11 / About the exam
14 / Exam guidance: Pieces
16 / Exam guidance: Technical work
17 / Exam guidance: Supporting tests
28 / Exam guidance: Marking
36 / Initial to Grade 5
37 / Initial
40 / Grade 1
43 / Grade 2
46 / Grade 3
49 / Grade 4
52 / Grade 5
55 / Grades 6–8
56 / Grade 6
60 / Grade 7
64 / Grade 8
68 / Policies
70 / Publishers and UK specialist supplier
72 / Trinity publications
73 / Classical guitar resources
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.
2
Welcome
Welcome
Welcome to Trinity College London’s Classical Guitar syllabus containing details of graded
exams from Initial to Grade 8. It offers the choice and flexibility to allow classical guitarists to
play to their strengths, offering wide-ranging repertoire choices as well as exercises designed
Welcome
to progressively develop the technique classical guitarists really need from the early grades
right the way through to Grade 8.
Styles and duets

Encompassing a range of inspiring repertoire from the Renaissance to the present day, the
syllabus includes pieces published for the first time and more music by female composers.
The duets option is now available up to Grade 5.
Books
New graded exam books for Initial to Grade 8 feature a wide range of repertoire, while expanded
alternative piece lists include options from Trinity’s Raise the Bar and Performance Edition series
of publications.
Techniques
Technical work includes specially composed exercises for each grade, covering the technique
required specifically by guitarists, ensuring that all learners put scales and arpeggios into the
performance context.
Benefit from industry expertise

The syllabus and supporting books have been created in consultation with leading classical
guitar specialists. You can access videos and articles produced with professionals to support
teaching and learning at trinitycollege.com/classical-guitar-resources. Join us online and on
social media to find out when new resources are available.
We hope you enjoy exploring the music on offer in this syllabus and we wish you every success
in the exams and your wider music-making.
ABOUT TRINITY COLLEGE LONDON

Trinity College London is a leading international exam board and independent education
charity that has been providing assessments around the world since 1877. We specialise in the
assessment of communicative and performance skills covering music, drama, combined arts and
English language. With over 850,000 candidates a year in more than 60 countries worldwide,
Trinity qualifications are specifically designed to help students progress. Our aim is to inspire
teachers and learners through the creation of assessments that are enjoyable to prepare for,
rewarding to teach and that develop the skills needed in real life.
At the heart of Trinity’s work is the belief that effective communicative and performance skills
are life enhancing, know no boundaries and should be within reach of us all. We exist to promote
and foster the best possible communicative and performance skills through assessment, content
and training that is innovative, personal and authentic.
3
Introduction to Trinity’s graded music exams
Introduction to Trinity’s
graded music exams
OBJECTIVE OF THE QUALIFICATIONS ASSESSMENT AND MARKING
Trinity’s graded music exams provide a Trinity’s graded music exams are assessed by
structured yet flexible framework for progress, external examiners trained and moderated
which enables learners to demonstrate their by Trinity. Examiners provide marks and
own musical personality and promotes comments for each component of the exam
enjoyment in music performance. using the assessment criteria on pages 30–35.
The exams assess performance, technical The exams are marked out of 100. Candidates’
ability and responses to set musical tests results correspond to different attainment
through face-to-face practical assessment. levels as follows:
They offer learners of any age the opportunity
to measure their development as performers Mark Attainment level
against a series of internationally understood
benchmarks, taking them from beginner 87–100 DISTINCTION
level to the point where they can progress
to higher education in music, or enter for 75–86 MERIT
Trinity’s performance diplomas.
60–74 PASS
WHO THE QUALIFICATIONS ARE FOR 45–59 BELOW PASS 1

Trinity’s graded music exams are open to all 0–44 BELOW PASS 2
learners, with no age restrictions or other
limitations. There is no requirement to have
passed lower grades, theory exams or other See pages 28–35 for further information about
qualifications, although the grades represent how the exams are marked.
a system of progressive mastery and the
outcomes for each level assume confidence
in the requirements of previous grades.
Repertoire selection and other exam content
is designed to appeal to learners of all ages
and backgrounds, reflecting the diversity
of candidates.
Trinity is committed to making its exams
accessible to all, and each candidate is
treated individually when considering how
assessments can be adapted for those
with special needs. Find out more at
trinitycollege.com/music-csn
4
DURATION OF STUDY (TOTAL QUALIFICATION TIME)

All regulated qualifications are assigned a total qualification time. This should be used as guidance
only. Total qualification time is an estimate of the average time a candidate spends with a teacher
(guided learning hours) added to the average time spent learning independently. It is recognised
that the amount of time needed to commit to a qualification will be dependent on each individual’s
level of experience.
Guided learning hours Independent learning hours Total qualification time
Introduction
(GLH) (ILH) (TQT) (hours)
Initial 8 32 40
Grade 1 12 48 60
Grade 2 18 72 90
Grade 3 18 102 120
Grade 4 24 126 150
Grade 5 24 156 180
Grade 6 36 184 220
Grade 7 48 222 270
Grade 8 54 266 320
RECOGNITION AND UCAS POINTS WHERE THE QUALIFICATIONS

Trinity College London is an international COULD LEAD
exam board regulated by Ofqual (Office While for some learners graded music exams
of Qualifications and Examinations represent a personal goal or objective,
Regulation) in England, CCEA Regulation they can also be used as a progression
in Northern Ireland and by Qualifications route towards:
Wales. Various arrangements are in
◗◗ D
iplomas in performing and teaching
place with governmental education
offered by Trinity or by other awarding
authorities worldwide.
organisations
In the UK, Grades 6–8 are eligible for UCAS ◗◗ Music courses at conservatories and
(Universities and Colleges Admissions Service) universities, for which Grade 8 is often
points for those applying to colleges and specified as an entry requirement
universities, as follows:
◗◗ Employment opportunities in music
Grade 6 and the creative arts
UCAS POINTS
PASS 8 | MERIT 10 | DISTINCTION 12
Grade 7
UCAS POINTS
Grade 8
UCAS POINTS
5
HOW TO ENTER FOR AN EXAM OTHER QUALIFICATIONS OFFERED

BY TRINITY
Exams can be taken at Trinity’s public
exam centres, which are available After Grade 8 or the Advanced Certificate
throughout the world. Details are available classical music exams, candidates can
at trinitycollege.com/worldwide, and progress to diplomas at Associate (ATCL),
candidates should contact their local Licentiate (LTCL) and Fellowship (FTCL) levels.
Trinity representative for more information. These assess higher skills in performance,
teaching and theory. Find out more at
Alternatively, in the UK, schools and private trinitycollege.com/music-diplomas
teachers with sufficient candidates may apply
for an exam visit. Details are available at Adults who work as music educators may also
trinitycollege.com/exam-visit wish to consider Trinity’s Level 4 Certificate
for Music Educators (Trinity CME). Find out
TRINITY QUALIFICATIONS THAT more at trinitycollege.com/CME
COMPLEMENT THE CLASSICAL GUITAR We also offer:
QUALIFICATIONS
◗◗ Graded, certificate and diploma
Trinity’s music qualifications offer flexible qualifications in drama subjects
progression routes from beginner to advanced
levels in a range of musical styles. All are ◗◗ English language qualifications
designed to help candidates develop as ◗◗ Teaching English qualifications
musicians according to their individual
◗◗ Arts Award (only available in
needs as learners.
certain countries)
Graded music exams assess a broad range of Specifications for all these qualifications
musicianship skills, including performance, while can be downloaded from trinitycollege.com
certificate exams focus entirely on performance,
including separate marks for presentation skills.
Find more information about certificate exams
at trinitycollege.com/music-certificates
Trinity’s graded Rock & Pop exams are
available for bass, drums, guitar, keyboards
and vocals. Find out more at trinityrock.com
Candidates can enter any combination of
graded or certificate exams, and do not need
to pass any particular level in order to proceed
to a higher level.
Theory exams are available from Grade 1
to support learners to develop their
understanding of the technical language
of music. However, no theory qualifications
or other prerequisites are required to enter
graded or certificate exams at any level.
Find out more at trinitycollege.com/theory
6
REGULATED LEVELS OF TRINITY’S MUSIC QUALIFICATIONS
RQF* EQF** Classical Rock Theory Solo Group

Level Level & Jazz & Pop & Written Certificates† Certificates†
7 7 FTCL
Introduction
6 6 LTCL LMusTCL
ATCL AMusTCL
4 5 Certificate for Music Educators
(Trinity CME)
Grade 8 Grade 8 Grade 8 Advanced Advanced
3 4 Grade 7 Grade 7 Grade 7
Grade 6 Grade 6 Grade 6
Grade 5 Grade 5 Grade 5 Intermediate Intermediate
2 3
Grade 3 Grade 3 Grade 3 Foundation Foundation
1 2 Grade 2 Grade 2 Grade 2
Entry
1 Initial Initial
Level 3
* Regulated Qualifications Framework

** European Qualifications Framework
† Not RQF or EQF regulated
7
REGULATED TITLES AND QUALIFICATION NUMBERS

FOR GRADED MUSIC EXAMS
Qualification
Regulated title
number
Initial
TCL Entry Level Award in Graded Examination in Music Performance 601/0812/5
(Entry 3) (Initial)
Grade 1
TCL Level 1 Award in Graded Examination in Music Performance 501/2042/6
(Grade 1)
Grade 2
(Grade 2)
Grade 3
(Grade 3)
Grade 4
TCL Level 2 Certificate in Graded Examination in Music Performance 501/2044/X
(Grade 4)
Grade 5
TCL Level 2 Certificate in Graded Examination in Music Performance 501/2045/1
(Grade 5)
Grade 6
(Grade 6)
Grade 7
(Grade 7)
Grade 8
(Grade 8)
8
Learning outcomes and assessment criteria
Learning outcomes
and assessment criteria
INITIAL–GRADE 3
(Initial = RQF Entry Level 3, Grades 1–3 = RQF Level 1)
LEARNING OUTCOMES ASSESSMENT CRITERIA

The learner will: The learner can:
1. Apply skills, knowledge and understanding to present

1.1
Perform music in a performances that demonstrate careful preparation, musical
variety of styles set awareness and the beginning of thoughtful interpretation
for the grade
Perform with general security of pitch and rhythm, and with
1.2
attention given to dynamics and articulation
Maintain a reasonable sense of continuity in performance
1.3
and convey the mood of music in a variety of styles
2.
Demonstrate technical Demonstrate familiarity with the fundamentals of
2.1
ability on an instrument instrumental command
through responding to 2.2 Demonstrate technical control and facility within set tasks
set technical demands
3. Recognise and respond to simple elements of music in a

3.1
Respond to set practical context
musicianship tests
3.2 Demonstrate basic aural and musical awareness
9
GRADES 4–5
(RQF Level 2)
1. Support their intentions in musical performance

1.1
Perform music in a
Demonstrate an understanding of music that allows
1.2
variety of styles set
a degree of personal interpretation in performance
for the grade
1.3 Perform with general accuracy, technical fluency and musical
awareness to convey musical character in a variety of styles
2.
Demonstrate technical Demonstrate a developing instrumental command
2.1
ability on an instrument
through responding to 2.2 Demonstrate technical control and facility within set tasks
3. Recognise and respond to elements of music in a

3.1
Respond to set practical context
musicianship tests
3.2 Demonstrate aural and musical awareness
GRADES 6–8
(RQF Level 3)
1. Integrate their musical skills, knowledge and understanding

1.1
Perform music in a in performance
variety of styles set
Present secure and sustained performances that demonstrate
1.2
for the grade
some stylistic interpretation
Perform with general accuracy, technical fluency and musical
1.3
awareness to communicate musically in a variety of styles
2.
Demonstrate technical Demonstrate instrumental command
2.1
ability on an instrument 2.2 Demonstrate technical control across the full compass of the
through responding to instrument within set tasks
3. Recognise and respond to musical features in a practical context

3.1
Respond to set
musicianship tests 3.2 Demonstrate musical and stylistic awareness
10
About the exam
About the exam

Each exam has three sections: pieces, technical work and supporting tests. There are slightly
different requirements depending on the level of the exam.
PIECES TECHNICAL WORK SUPPORTING TESTS

Three pieces, each A technical exercise, followed A combination of two tests
worth 22 marks. by either scales & arpeggios from sight reading, aural,
or studies (Initial–Grade 7)/ improvisation and musical
concerto extracts (Grade 8). knowledge, depending on the
grade and candidate choice.
About the exam

PIECES
66 MARKS
TECHNICAL
WORK
14 MARKS
SUPPORTING
TESTS
20 MARKS
11
About the exam
EXAM STRUCTURE AND MARK SCHEME
Initial–Grade 5 Maximum Grades 6–8 Maximum

marks marks
PIECE 1 22 PIECE 1 22
TECHNICAL WORK 14 TECHNICAL WORK 14
◗◗ Technical exercise ◗◗ Technical exercise

◗◗ Either scales & arpeggios ◗◗ Either scales & arpeggios
or studies or studies (Grades 6–7)/
concerto extracts (Grade 8)
SUPPORTING TESTS 20 SUPPORTING TEST 1 10
Any TWO of the following: ◗◗ Sight reading

◗◗ Sight reading
◗◗ Aural
◗◗ Improvisation SUPPORTING TEST 2 10
◗◗ Musical knowledge
ONE of the following:
◗◗ Aural
◗◗ Improvisation
TOTAL 100 TOTAL 100
12
About the exam
ORDER OF THE EXAM

Candidates can choose the order of the sections of their exam, and should indicate their
preferred order on their appointment form. This should be given to the examiner at the start
of the exam. If no preference is indicated, examiners will ask to hear technical work first.
EXAM DURATIONS
Exams are designed to include sufficient time for setting up and presenting all components,
and overall durations are as follows:
About the exam

Initial Grade 1 Grade 2
11 mins 13 mins 13 mins


13
Exam guidance: Pieces

◗◗ All tempo and performance markings
should be observed (eg allegro, rall., cresc.).
Metronome marks are given as a guide
but do not need to be observed exactly, as
long as the style and character of the piece
PIECES is maintained.
66 MARKS ◗◗ Candidates may perform any or all of their
pieces from memory if they wish. However,
this is not compulsory and no additional
marks are given for this.
INSTRUMENTS
CHOOSING PIECES ◗◗ All requirements are based on a
◗◗ Candidates play three pieces in their exam, hollow-bodied instrument strung in
chosen as follows: nylon. Acoustic guitars with six steel
strings and electric guitars must not be
— Initial–Grade 5: Candidates choose three used. Classical guitars with cutaways
pieces from the list. A maximum of two are acceptable.
duets may be performed. Candidates may
perform an own composition in place of ◗◗ Plectrums may not be used.
one of the listed pieces (see page 15). ◗◗ The use of a capo is only permitted to
—G
rades 6–8: Pieces are divided into replicate Renaissance lute tuning.
two groups: group A and group B. ◗◗ Candidates are expected to provide and
Candidates choose at least one piece
use a footstool or equivalent support.
from each group. The third piece may be
chosen from either group or may be the ◗◗ Younger candidates may use half- or
candidate’s own composition (see page 15). three-quarter-sized instruments.
PERFORMANCE AND INTERPRETATION TUNING

◗◗ Candidates should prepare all pieces in ◗◗ Up to and including Grade 5, teachers
full unless stated otherwise in this syllabus. may assist with tuning. At Grades 6–8,
◗◗ Candidates should observe repeats of candidates must tune their instruments
a few bars, but longer repeats should without assistance.
not be played unless stated otherwise ◗◗ Electronic tuners may be used up to and
in this syllabus. including Grade 5.
◗◗ All da capo and dal segno instructions
should be observed.
PAGE TURNS
◗◗ Candidates are not required to play
cadenzas unless stated otherwise ◗◗ Examiners will not be able to act as
in this syllabus. page turners.
◗◗ Candidates are encouraged to use ◗◗ Difficult page turns may be overcome
appropriate ornamentation, particularly by photocopying the relevant pages.
at Grades 6–8. Ornamentation in Trinity’s
exam publications is given as a guide.
However, any appropriate stylistic
interpretation will be accepted.
14
MUSIC AND COPIES ◗◗ Alternatively, the accompanying line may be

pre-recorded in exams up to and including
◗◗ Candidates should obtain the music for their Grade 3, but candidates must provide their
exam in good time before entering for the
own playback equipment and must operate
exam, and they must bring it with them on
it themselves.
the day of the exam.
◗◗ We publish selected pieces for classical
guitar in our graded exam books. OWN COMPOSITION
Recommended editions for other pieces ◗◗ Candidates can choose to perform an
are listed in this syllabus, but candidates may own composition as one of their pieces.
perform from any reliable edition that has Own compositions are assessed in the same
not been shortened or otherwise simplified. way as the listed repertoire. Marks are not
Editions containing inauthentic performance awarded for the quality of the composition.
directions are not acceptable. If a particular
edition must be used, it is indicated in this ◗◗ Own compositions must be comparable in
syllabus. Product codes for publications are technical and musical demand to the pieces

included where available. listed for the same grade. Examples of
optional compositional techniques that may
◗◗ We take copyright infringement seriously be used at each level are listed in each grade
and require candidates to ensure their section of this syllabus.
music comes from a legitimate source.
Guidelines are available in the UK Music ◗◗ A typeset or handwritten copy of the
Publishers Association’s Code of Fair composition must be given to the examiner
Practice, available at mpaonline.org.uk. at the beginning of the exam. At Initial to
Candidates must comply with copyright Grade 5, own compositions may be notated
and other intellectual property laws in the in any easily readable form, including
country where the exam is taking place. graphic score or lead-sheet. At Grades 6–8
they must be notated on a stave. Marks will
◗◗ In accordance with the MPA’s Code of Fair be deducted if notation is incomplete or
Practice, candidates must produce original inaccurate, or if the performance varies
copies of all pieces to be performed in the significantly from the notation.
exam, even if they have been memorised,
handwritten or typeset. Pieces where no ◗◗ Own compositions should be candidates’
original copy has been provided might unaided work, although teachers may offer
be awarded no marks. guidance as necessary.
◗◗ If candidates are performing pieces not
contained in Trinity’s graded exam books, OBTAINING MUSIC FOR THE EXAM
they will need to provide a photocopy as a ◗◗ All publications listed in this syllabus can be
reference for the examiner. Photocopies will ordered at trinitycollege.com/shop or your
be kept by the examiner and destroyed after
local music shop.
the exam. Examiners will have a copy of
the repertoire contained in Trinity’s graded ◗◗ Trinity publishes graded exam books for
exam books. classical guitar, as well as scales, arpeggios
& studies books, sight reading books
◗◗ Where music has been downloaded,
and aural test books. See page 72 for
candidates must bring proof of purchase
more information.
or details of the website where it was
accessed for the examiner’s reference. ◗◗ Details of the publishers listed in this syllabus
can be found on pages 70–71.
DUETS ◗◗ Trinity cannot guarantee that music will
always be in stock with local suppliers.
◗◗ Candidates at Initial to Grade 5 may include
Candidates and teachers should always
a maximum of two duets in their programme.
check with the publisher before it is assumed
◗◗ Candidates should play the upper part that any item has gone out of print.
(unless stated otherwise in this syllabus).
The lower part may be performed in the
exam by a teacher, another adult or student.
15
Exam guidance: Technical work
Exam guidance: Technical work

◗◗ All scales and arpeggios must be played
from memory.
◗◗ A minimum pace is indicated, increasing
gradually grade by grade.
◗◗ At Initial–Grade 5, candidates should play
TECHNICAL WORK the scale followed by the arpeggio.
14 MARKS At Grades 6–8, candidates should play
a succession of scales and arpeggios as
required for the grade.
◗◗ Full details of scale patterns are given
in Trinity’s Guitar Scales, Arpeggios &
Studies books.
This section of the exam supports the
development of technical skills by assessing Studies
candidates’ performance in a range of Studies are specially composed short pieces
technical work requirements. designed to demonstrate and develop key
All candidates begin the technical work section areas of technique through performance.
by performing a technical exercise. They then
Candidates prepare three studies from the list
choose one of the following options:
for the grade, two of which are played in the
◗◗ Scales & arpeggios exam. One is chosen by the candidate and one
◗◗ Studies (Initial–Grade 7)/concerto extracts by the examiner.
(Grade 8) ◗◗ Studies may be played either from memory
or using the music.
Technical exercise ◗◗ Studies are included in Trinity’s Guitar
Technical exercises are short musical passages Scales, Arpeggios & Studies books.
based on scale, arpeggio and/or chord
patterns, increasing in length and complexity Concerto extracts
as the grades progress.
At Grade 8, candidates can demonstrate
◗◗ Technical exercises may be played either
technique through performing extracts
from memory or using the music.
selected from three concertos.
◗◗ Technical exercises are included in Trinity’s
Guitar Scales, Arpeggios & Studies books. Candidates prepare all three extracts, two of
which are played in the exam. One is chosen
by the candidate and one by the examiner.
Scales & arpeggios
◗◗ Concerto extracts may be played either from
Learning scales and arpeggios is an important memory or using the music.
part of developing technical focus, strength
and agility and melodic skills. ◗◗ Concerto extracts are included in Trinity’s
Guitar Scales, Arpeggios & Studies from
Candidates prepare the scales and arpeggios 2016: Grades 6–8.
set for the grade, and play a selection as
requested by the examiner. Further information about specific technical
work requirements for each grade is given in
◗◗ All scales and arpeggios are to be performed
ascending then descending. the relevant sections of this syllabus.
16
Exam guidance: Supporting tests

SIGHT READING
This test assesses candidates’ ability to
perform a previously unseen musical extract,
at a level approximately two grades lower
SUPPORTING than the exam being taken. Our sight reading
TESTS pieces are designed to be musically intuitive
and natural, preparing candidates for real
20 MARKS
performance contexts.
Candidates are given 30 seconds to study
the test before performing it, during which
Exam guidance: Technical work Exam guidance: Supporting tests

they may practise any or all of it aloud.
Examiners do not give marks for this
preparation period.
This section of the exam supports the
development of broader musical skills Examples of sight reading tests may be found
by assessing candidates in two different in Trinity’s Sound at Sight series, available
supporting tests. from trinitycollege.com/shop or from your
local music shop.
At Initial to Grade 5, candidates choose
two supporting tests from four options: Technical expectations for the tests are given
in the table on page 18. Lists are cumulative,
meaning that tests may also include
◗◗ Aural requirements from lower grades.
At Grades 6–8, all candidates are assessed
in sight reading, and choose either aural or
improvisation for their second supporting test.
This flexibility is designed to allow candidates
to demonstrate their musical skills in different
ways, while recognising that sight reading is
an important skill at higher grades.
17
18
SIGHT READING PARAMETERS
Keys* Time Note and rest Dynamics & tempi* Articulation,

signatures* values* position, shifts*
E, F, G on 1st string,
B, C, D on 2nd string,
Initial 2 4 mf, moderato
q h G, A on 3rd string,
open basses
Grade 1 C major p, f within 1st position
Grade 2 G major 3 allegretto

h. w
ties
F major simple shifts, 2nd position, staccato,

Grade 3 mp, andante
D, E minor two-note chords (open bass)
e Œ
A minor three-note chords (two treble one bass,

Grade 4 dim., cresc.
accidentals may be all fretted), accents, more shifts
q. ‰
Grade 5 A major 6 x  rall., a tempo slurs
E, Bb major various position shifts, full chord voicings

Grade 6 8 dotted notes accel.
G minor (three or four notes), half barré
* Cumulative — tests may also include requirements from preceding grade(s)

Grade 7 B minor 9 triplets full fingerboard range and shifting
Eb major
Grade 8 changing time duplets full barré, natural harmonics
C minor
signatures
AURAL ◗◗ Candidates are then given 30 seconds’

This test supports the development of preparation time, during which they may
candidates’ abilities in musical perception and prepare for their improvisation aloud.
understanding by requiring them to recognise ◗◗ The test then follows. The examiner plays the
musical features by ear (for example metre, stimulus again, and candidates join in after
pulse, pitch and performance characteristics). the introduction, improvising for the specified
number of repeats. Candidates should aim
All questions are based on a single musical to improvise in a way that complements the
example played at the piano by the examiner. musical style of the stimulus.
At most grades, candidates are asked to describe
various features of the music such as dynamics,
Motivic stimulus
articulation, texture and style. Candidates are
not required to sing. This option requires candidates to improvise
solo in response to a short melodic fragment.
Practice tests can be found in Trinity’s
Aural Tests from 2017 books, available from ◗◗ Candidates are given a notated melodic
trinitycollege.com/shop or from your local fragment, which the examiner plays twice
music shop. on the piano for candidates’ reference.
◗◗ Candidates are then given 30 seconds’

IMPROVISATION preparation time, during which they may
Improvisation can develop creative musicianship prepare for their improvisation aloud.
skills that unlock a variety of musical styles ◗◗ The test then follows. Candidates should aim
and technical ability. Our tests are designed to improvise within the specified duration
to introduce teachers and candidates to range and may begin by quoting the stimulus
improvisation gradually, creatively and with directly, developing their improvisation from
a range of supporting resources. there. However, they are not required to quote
the stimulus directly, and may instead develop
This test assesses candidates’ ability to improvise
their improvisation from ideas taken from
fluently, coherently and creatively in response to
the stimulus such as a small group of notes
a musical stimulus. Candidates choose a stimulus
or an interval. Responses must use the given
from the following three options, indicating their
time signature.
choice of stimulus on the appointment form:
◗◗ Stylistic Harmonic stimulus
◗◗ Motivic This option requires candidates to improvise
◗◗ Harmonic solo in response to a chord sequence.
Further guidance and example tests are ◗◗ Candidates are given a notated chord
available at trinitycollege.com/supporting-tests sequence, including chord symbols, which
the examiner plays twice on the piano for
Stylistic stimulus candidates’ reference.
◗◗ Candidates are then given 30 seconds’
This option requires candidates to improvise
preparation time, during which they may
over a notated piano part played by the examiner.
prepare for their improvisation aloud.
◗◗ Candidates are given a stimulus that ◗◗ The test then follows. Candidates should
includes the notated piano part and chord improvise for the specified number of
symbols. The stimulus begins with a two-bar repeats, following the chord sequence.
introduction played by the examiner alone, Responses should contain melodic/
followed by a further section over which rhythmic interest.
candidates must improvise for a specified
number of repeats.
Parameters
◗◗ The examiner plays the stimulus twice for
Technical expectations for the tests are given
candidates’ reference, without repeats.
in the tables on the following pages. Lists are
cumulative, meaning that tests may also
include requirements from lower grades.
19
Stylistic stimulus
Initial Grade 1 Grade 2 Grade 3
Length of
2 bars 2 bars 2 bars 2 bars
introduction
Length of
improvised 4 bars 4 bars 4 bars 4 bars
section
Times
improvised
1 2 2 2
section
is played
Total to
improvise
Time signatures* 4 3
D, Bb major
Keys* C major F, G major A minor
D, E minor
Number of
1 1 1 1
chords per bar
I, IV, V I, ii, IV, V

Chords I, V I, V
i, iv, V i, iib5, iv, V
Styles and march, fanfare, tango, waltz,

speeds* lullaby moderato andante allegretto
20 * Cumulative — tests may also include requirements from preceding grade(s)

Grade 4 Grade 5 Grade 6 Grade 7 Grade 8
2 bars 2 bars 2 bars 2 bars 2 bars

3 3 2 2 2
5
2 6 1 9 4
G, B minor A, Eb major F#, C minor E, Ab major C#, F minor
1 up to 2 up to 2 up to 2 up to 2
I, ii, IV, V, vi I, ii, iii, IV, V, vi all chords

I, ii, IV, V I, ii, IV, V, vi
i, iib5, iv, V, VI i, iib5, III, iv, V, VI 7ths, 9ths
i, iib5, iv, V i, iib5, iv, V, VI
7ths 7ths suspensions
adagio, grazioso, agitato, gigue, impressionistic,

allegro vivace nocturne grave irregular dance
21
Motivic stimulus
Length of
stimulus
Length of
4–6 bars 4–8 bars 6–8 bars 6–8 bars
response
Time
signatures* 4 3
Rhythmic minims,
quavers dotted notes ties
features* crotchets
Articulation* staccato
up to
Intervals* major 3rd perfect 4th perfect 5th
minor 3rd
D, Bb major
Keys* C major F, G major A minor
D, E minor

2 bars 2 bars 1 bar 1 bar 1 bar
8–12 bars 8–12 bars 12–16 bars 12–16 bars 12–16 bars

5
2 6 1 9 4
triplets,
syncopation semiquavers
duplets
accents slurs acciaccaturas sfz
minor 6th, augmented 4th, minor 7th, all up to

octave
major 6th diminished 5th major 7th major 10th
G, B minor A, Eb major F#, C minor E, Ab major C#, F minor
23
Harmonic stimulus
Length of chord
sequence
Times chord
sequence 1 2 2 2
is played
Total to
improvise
Number of
1 1 1 1
chords per bar
Chords I, V I, V I, IV, V I, ii, IV, V
Keys C major C, F, G major
24
3 3 2 2 2

1 1 1 1 1
I, ii, IV, V I, ii, iii, IV, V, vi all chords

i, iv, V i, iv, V, VI i, iib5, iv, V i, iib5, III, iv, V, VI 7ths, 9ths
7ths 7ths suspensions
C, F, G, Bb, D, Eb, A major

A, D, E, G, B minor
A, D, E, G, B, C, F# minor
25
MUSICAL KNOWLEDGE Examiners then choose a second piece for the

(Initial–Grade 5 only) remaining questions. Candidates’ musical scores
should be free of annotations which might
This test encourages learners to understand the
aid their responses. Examiners usually point
wider musical context of the pieces they play,
to the relevant part of the score when asking
as well as their knowledge of notation and their
questions. Candidates can use American terms
instrument. Examiners ask carefully graded
(eighth note, half note, etc) as an alternative
questions based on candidates’ chosen pieces.
to English terms (quaver, minim, etc).
In the exam, candidates choose which piece
The following tables give example questions
they would like to be asked about first.
and responses.
Parameters* Sample question Sample answer
What is the pitch name of

Pitch names G
this note?
How many beats are there

Note durations Two
for this note?
Initial Clefs, stave, barlines What is this sign? A treble clef
Identify key/time
What is this called? A time signature
signatures
Basic musical terms

What is this called? A pause mark
and signs
Note values What is this note value? A quaver
Explain key/time Four crotchet beats

What does 4 mean?
signatures in a bar
Notes on ledger lines What is the name of this note? Bb

Grade 1
Musical terms What is the meaning of
Go back to the start
and signs da capo?
Parts of the
What is this part called? The bridge
instrument

Metronome marks,
72 crotchet beats
grace notes Explain the sign q = 72 per minute
and ornaments
Intervals What is the interval between

Grade 2 A 3rd
(numerical only) these notes?
Candidate
Basic posture Show me a good hand position
demonstrates
What is the relative major/

Relative major/minor D minor
minor of this piece?
Scale/arpeggio What pattern of notes do you

A scale
Grade 3 pattern see here?
How might you warm up By playing a selection

Warm up in preparation for playing of scales/arpeggios/
this piece? chords in related keys
Modulation to closely What key does this music

A minor
related keys change to?
Tonic/dominant triads Name the notes of the tonic triad C, E, G
Grade 4 What is the interval between

Intervals (full names) Perfect 5th
these notes?
Show me the most Here [candidate

Technical challenges challenging part of this indicates], because
piece and tell me why of the awkward leaps
Candidate identifies
Comment on the style the style of the piece
Musical style
of this piece and gives examples of
stylistic features
Candidate suggests
How does this piece reflect the a musical period and
Musical period
period in which it was written? gives examples of how
Grade 5 the music reflects this
Candidate describes
the form of the piece
Musical structures Describe the form of this piece
and identifies relevant
sections
Name the notes of the

Subdominant triads F, A, C
subdominant triad
27
Exam guidance: Marking

HOW THE EXAM IS MARKED HOW THE PIECES ARE MARKED
Examiners give comments and marks for each Each piece is awarded three separate marks
section of the exam, up to the maximums listed corresponding to three specific musical
in the table on page 12. It is not necessary components, allowing candidates to receive
to pass all sections or any particular section precise feedback about specific aspects of
in order to achieve a pass overall. The total their performance. These marks combine
mark for the exam corresponds to different to give a total mark for the piece.
attainment levels as follows:
The three components are:
Total mark Attainment level Fluency & accuracy
The ability to perform fluently, with a stable
87–100 DISTINCTION pulse and with an accurate realisation of
the notation.
75–86 MERIT
Technical facility
60–74 PASS
The ability to control the instrument
45–59 BELOW PASS 1 effectively, covering the various technical
demands of the music.
0–44 BELOW PASS 2
Communication & interpretation
The interpretation of the music and the way
the performance conveys a sense of stylistic
understanding and audience engagement.
Marks are awarded for these components to
form a maximum total mark for each piece
as follows:
Max. mark
for each piece Component
7 FLUENCY & ACCURACY
7 TECHNICAL FACILITY
COMMUNICATION
8
& INTERPRETATION
TOTAL MARK FOR

22
EACH PIECE
28
The total marks awarded for each piece

correspond to the attainment levels as follows:
Total mark
for each piece Attainment level
19–22 DISTINCTION
16–18 MERIT
13–15 PASS
10–12 BELOW PASS 1
3–9 BELOW PASS 2
29
Heading
HOW THE PIECES ARE MARKED
Examiners use the criteria below to decide on the mark.
7 MARKS 6 MARKS 5 MARKS
Fluency An excellent sense A very good sense A good sense of

& accuracy of fluency with of fluency with only fluency though
secure control of momentary insecurities with occasional
pulse and rhythm. in control of pulse inconsistencies in
and rhythm. control of pulse
A very high degree
and rhythm.
of accuracy in notes. A high degree of
accuracy in notes — A good degree of
slips not significant. accuracy in notes
despite some slips.
Technical The various technical The various technical The various technical
facility demands of the music demands of the music demands of the
fulfilled to a very fulfilled with only music fulfilled for
high degree. momentary insecurities. the most part.
An excellent level A very good level of A good level of tone
of tone control. tone control despite control though with
minimal blemishes. occasional lapses.
Communication An excellent level of A very good level of A good level of

& stylistic understanding stylistic understanding stylistic understanding
interpretation with keen attention to with most performance though occasional
performance details. details realised. performance
Highly effective Effective communication details omitted.
communication and interpretation overall. Communication and
and interpretation. interpretation mostly
effective.
30
Exam guidance: Heading
Marking
4 MARKS 3 MARKS 1–2 MARKS
A generally reliable sense Only a limited sense of fluency Little or no sense of fluency
of fluency though with with a lack of basic control of — control of pulse and
some inconsistencies and pulse and rhythm. rhythm not established.
stumbles in the control of
Accuracy in notes sporadic, Accuracy in notes very
pulse and rhythm.
with errors becoming intrusive. limited with many errors
Exam guidance: Marking Exam guidance: Marking

A reasonable degree of of substance.
accuracy in notes despite
a number of errors.
4 MARKS 3 MARKS 1–2 MARKS
The various technical The technical demands of Many or all of the

demands of the music the music often not managed. technical demands of
generally managed despite the music not managed.
The performance lacks a basic
some inconsistencies.
level of tone control. Significant flaws
A basic level of tone control in tone control.
despite some insecurity.
5 MARKS 3–4 MARKS 1–2 MARKS
A reasonable level of Stylistic understanding Stylistic understanding

stylistic understanding generally lacking with not apparent with little
though some performance limited realisation of or no realisation of
details omitted. performance details. performance details.
Communication and Communication and Communication and

interpretation basically interpretation inconsistent. interpretation ineffective.
reliable though with
some lapses.
31
Heading
HOW TECHNICAL WORK IS MARKED
DISTINCTION MERIT
13–14 MARKS 11–12 MARKS
Scales & arpeggios An excellent or very A good sense of fluency

good sense of fluency and accuracy with
and accuracy. occasional errors.
A very high degree of A good degree of
technical control. technical control.
Prompt responses. Prompt responses overall.
Technical exercises, studies An excellent or very A good sense of fluency

and concerto extracts good sense of fluency and accuracy with
and accuracy. occasional errors.
A very high degree of A good degree of
technical control. technical control.
Keen attention to Good attention to
performance details performance details and
and musical character. musical character overall.
32
Marking
PASS BELOW PASS 1 BELOW PASS 2

9–10 MARKS 6–8 MARKS 1–5 MARKS
A generally reliable sense Limited or very limited Little or no sense of

of fluency and accuracy fluency and accuracy with fluency and accuracy
despite a number of errors. errors becoming intrusive. with many errors.

A reasonable degree of An inconsistent degree An unreliable degree
technical control despite of technical control. of technical control.
Hesitancy in responses Uncertain responses with
Generally prompt responses and restarts. many restarts and/or items
despite some hesitancy and/ not offered.
or restarts.
A generally reliable sense of Limited or very limited Little or no sense of

fluency and accuracy despite fluency and accuracy with fluency and accuracy
a number of errors. errors becoming intrusive. with many errors.
A reasonable degree of An inconsistent degree An unreliable degree
technical control despite of technical control. of technical control.
Limited attention to Little or no attention to
Some attention to performance details performance details and
performance details and musical character. musical character.
and musical character.
33
Heading
HOW SUPPORTING TESTS ARE MARKED
DISTINCTION MERIT
9–10 MARKS 8 MARKS
Sight reading An excellent or very good A good sense of fluency

sense of fluency with though with occasional
secure control of pulse, inconsistencies in control of
rhythm and tonality. pulse, rhythm and tonality.
A very high degree of A good degree of accuracy
accuracy in notes, with in notes despite some
musical detail realised. slips, with some musical
detail realised.
Aural An excellent or very good A good degree of aural

degree of aural perception perception in the majority
in all aspects. of aspects.
Confident and prompt Mostly confident and
responses. prompt responses.
Musical knowledge An excellent or very good A good degree of musical

degree of musical knowledge knowledge in the majority
in all aspects. of aspects.
Confident and prompt Mostly confident and
responses. prompt responses.
Improvisation An excellent or very good A good sense of musical

sense of musical structure, structure, based on the
based on the stimulus, stimulus, delivered with
delivered with a high level a good level of fluency.
of fluency.
A creative and imaginative
A highly creative and response overall.
imaginative response.
34
Marking
PASS BELOW PASS 1 BELOW PASS 2

6–7 MARKS 4–5 MARKS 1–3 MARKS
A generally reliable sense Only a limited sense of Little or no sense of fluency

of fluency though with fluency with a lack of basic — control of pulse, rhythm
some inconsistencies and control of pulse, rhythm and tonality not established.
stumbles in the control of and tonality.

Accuracy in notes very
pulse, rhythm and tonality.
Accuracy in notes sporadic limited with no attention
A reasonable degree of with no attention to to musical detail.
accuracy in notes despite musical detail.
a number of errors and
with little attention to
musical detail.
A generally reliable degree A limited or very limited aural Unreliable aural perception
of aural perception perception with some lack of in the majority or all aspects.
in most aspects though precision in most aspects.
Very hesitant or uncertain/
with some imprecision.
Hesitant or uncertain missing responses.
Generally confident and responses.
prompt responses though
with occasional hesitation
or uncertainty.
A generally reliable degree A limited or very limited Unreliable musical knowledge

of musical knowledge in degree of musical knowledge in the majority or all aspects.
most aspects. in most aspects.
Very hesitant or uncertain/
Generally confident and Hesitant or uncertain missing responses.
prompt responses though responses.
with occasional hesitation
or uncertainty.
A generally reliable sense of A limited or very limited Musical structure only

musical structure, based on sense of musical structure, partially or not apparent
the stimulus, delivered with with little relation to the with no relation to the
a reasonable level of fluency stimulus, delivered with some stimulus and fluency
despite occasional lapses. hesitations and stumbles often compromised.
in fluency.
Some element of creativity Little or no creativity or
and imagination in the A lack of creativity and imagination in the response.
response. imagination in the response.
35
Initial to Grade 5
Initial to Grade 5
EXAM DURATION EXAM STRUCTURE
The Initial exam The Grade 1 exam The Initial to Grade 5 exams contain
lasts 11 minutes lasts 13 minutes the following:
Maximum
marks
PIECE 1 22
PIECE 2 22
The Grade 2 exam The Grade 3 exam
lasts 13 minutes lasts 13 minutes
PIECE 3 22
TECHNICAL WORK 14
◗◗ Technical exercise
The Grade 4 exam The Grade 5 exam
lasts 18 minutes lasts 18 minutes ◗◗ Either scales & arpeggios
or studies
SUPPORTING TESTS 20
Any TWO of the following:

◗◗ Aural
TOTAL 100
36
Initial
Initial
Initial to Grade 5 Initial

PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below.
A maximum of two duets (asterisked) may be played. An own composition may be played
instead of one listed piece. See pages 14–15 for further guidance.
Composer Piece Book Publisher

Classical Guitar Exam Pieces
1. BRUN La tortue Trinity TCL019271
2020–2023: Initial
2. CORR Gypsy Dance Trinity TCL019271
2020–2023: Initial
The Many Faces of the Guitar Productions d’Oz
3. COSTANTINO Luna
vol 1 DZ1041
4. CRACKNELL Inca Dawn Trinity TCL01927
2020–2023: Initial
5. DAVIES Finnish Folk Song Trinity TCL019271
2020–2023: Initial
Raise the Bar Guitar:
6. GRIEG Morning Trinity TCL016553
Initial–Grade 2
7. HARTOG La campanella Trinity TCL019271
2020–2023: Initial
8. INTILANGELO Andante in A minor Guitar Basics Workouts Faber 0571536883
9. LINDSEY-CLARK Helping Hand* Trinity TCL019271
2020–2023: Initial
LONGWORTH Classical Guitar Exam Pieces
10. La colombina Trinity TCL019271
& WALKER 2020–2023: Initial
11. NUTTALL The Bells of Dawn* Trinity TCL019271
2020–2023: Initial
12. POWLESLAND Pirates Trinity TCL019271
2020–2023: Initial
PURCELL, Classical Guitar Exam Pieces
13. Rigadoon* Trinity TCL019271
arr. POWLESLAND 2020–2023: Initial
Jacaranda
14. SOR, arr. KENYON Exercise 13, op. 35* ABC Guitar
JM02–003
TRAD., Classical Guitar Exam Pieces
15. The Rising Sun Trinity TCL019271
arr. NUTTALL 2020–2023: Initial
16. Aura Lee Trinity TCL019271
arr. POWLESLAND 2020–2023: Initial
TRAD., Chansons et danses
17. Ojos azules* Lemoine HL25163
arr. RIVOAL d’Amérique latine vol C
18. TROMP First Steps Trinity TCL016553
Initial–Grade 2
19. WANDERS Salsa Party Trinity TCL019271
2020–2023: Initial
= Pieces in Trinity’s graded exam books * Duet 37

Initial
Own composition Own compositions must be comparable in

technical and musical demand to the pieces
Candidates may perform an own composition
listed for this grade. Suitable features include:
instead of one of the listed pieces. More
information is on page 15. ◗◗ Use of different rhythmic values
◗◗ Clear melodic line
Duration: ◗◗ Use of keys listed for Initial technical work
0.5–1 minute(s)
TECHNICAL WORK
Candidates prepare section 1. and either section 2. or section 3. (see page 16).
All requirements are in Trinity’s Guitar Scales, Arpeggios & Studies from 2016: Initial–Grade 5.
1. TECHNICAL EXERCISE (music may be used)
Technical exercise in C major (q = 80)
Either
2. SCALES & ARPEGGIOS (from memory, mf ) — Examiners select from the following.
Candidates play the scale followed by the arpeggio.
scales: apoyando or tirando min. tempi:

◗◗ G major
to the 5th im fingering (candidate choice) scales q = 80
◗◗ A minor
arpeggios: tirando arpeggios q = 100
Or
TUDIES (music may be used) — Candidates prepare 1a or 1b, 2a or 2b, and 3a or 3b
3. S
(three studies in total).
Candidates choose one study to play first. Examiners then select one of the remaining two
prepared studies to be performed.
Star Gazer
1a.
for tone and phrasing
Playground Games
1b.
Submarine
2a.
for articulation
Stop It!
2b.
Ice Breaker
3a.
for idiomatic elements
Cross String Thing
3b.
38
Initial
SUPPORTING TESTS Improvisation

Candidates choose two of the following: Candidates perform an improvisation based
on a stimulus chosen from the following
three options:
◗◗ Aural
◗◗ Stylistic
◗◗ Motivic
Initial
◗◗ Harmonic
Sight reading See pages 19–25 for the requirements

and parameters.
After 30 seconds’ preparation time, candidates
perform a previously unseen musical
extract at a level lower than the exam being Musical knowledge
taken. See pages 17–18 for the requirements Candidates answer questions assessing their
and parameters. understanding of the pieces performed, as well
as their knowledge of notation and the guitar.
Aural Questions are based on candidates’ chosen
pieces. See pages 26–27 for example questions
Candidates answer questions based on and responses.
a single musical example played on the
piano by the examiner. See page 19 for
more information.
The aural test requirements for Initial
are below.
Aural questions
Parameters Task Requirement
Listen to the melody Clap the pulse on the third playing, stressing
Melody only three times the strong beat
4 bars Listen to the melody once Identify the dynamic as forte or piano
Major key Listen to the melody once Identify the articulation as legato or staccato
2 Listen to the first three notes

Identify the highest or lowest note
of the melody once
39
Grade 1
Grade 1
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. A maximum
of two duets (asterisked) may be played. An own composition may be played instead of one listed
piece. See pages 14–15 for further guidance.

CARULLI, Classical Guitar Exam
1. Waltz in G* Trinity TCL01928
arr. CRACKNELL Pieces 2020–2023: Grade 1
Classical Guitar Exam
2. CRACKNELL Oasis Trinity TCL019288
Pieces 2020–2023: Grade 1
3. FOGEL Pirate’s Delight Trinity TCL019288
HANDEL,
adpt. MASON, Classical Guitar Exam
4. Joy to the World Trinity TCL019288
arr. LONGWORTH Pieces 2020–2023: Grade 1
& WALKER
5. KENYON Lil’ Bit Blue* ABC Guitar Jacaranda JM02–003
6. LINDSEY-CLARK Cachucha Trinity TCL016553
Initial–Grade 2
LONGWORTH
7. Havana Good Time Guitar Basics Repertoire Faber 0571536875
& WALKER
Lágrimas de las Classical Guitar Exam
8. MÁRQUEZ Trinity TCL019288
ondas* Pieces 2020–2023: Grade 1
Transatlantiques
9. MOURAT Chanson d’antan Facilissimo
EMT1676
10. NUTTALL Rocky Road On the Way Countryside
It’s Just a Matter Raise the Bar Guitar:
11. POWLESLAND Trinity TCL016553
of Time Initial–Grade 2
12. POWLESLAND The Forest Wakes Trinity TCL019288
13. RAK Chansonnette Trinity TCL019288
14. RICHTER Spider Trinity TCL019288
15. ROBERTS The Grand Entrance New Beginnings Trinity TCL019134
16. RYAN Snake in a Basket Scenes for Guitar book 1 Camden CM260
17. SANDERSON Lotus Flower Trinity TCL019288
SCHUBERT, Classical Guitar Exam
18. Die Forelle (The Trout) Trinity TCL019288
arr. HEGEL Pieces 2020–2023: Grade 1
SCHUMANN, Melodie (from Album Classical Guitar Exam
19. Trinity TCL019288
arr. POWLESLAND for the Young, op. 68)* Pieces 2020–2023: Grade 1
TRAD.,
20. Carnival of Venice The Golden Collection Hvartchilkov
arr. HVARTCHILKOV
TRAD., arr. Classical Guitar Exam
21. Romance de amor Trinity TCL019288
HVARTCHILKOV Pieces 2020–2023: Grade 1
22. TROMP Metamorphosis Trinity TCL019288
23. WANDERS Chicago Blues Go for Guitar! vol 1 Broekmans BP1646
40 = Pieces in Trinity’s graded exam books * Duet

Grade 1

information is on page 15. ◗◗ Dynamic contrast
◗◗ Simple syncopation or other rhythmic feature
◗◗ Use of keys listed for Grade 1 technical work
Duration:
approx. 1 minute
Grade
TECHNICAL WORK
Candidates prepare section 1. and either section 2. or section 3. (see page 16). 1
Technical exercise in G major (q = 56)
Either
scales: apoyando
◗◗ C major or tirando min. tempi:
scales: one im fingering
◗◗ F major (candidate choice) scales
octave
arpeggios: tirando q = 56
arpeggios:
arpeggios
to the 5th scale: p fingering
◗◗ E natural minor tirando q = 112
arpeggio: pim fingering
Or
3. S
Paper Tiger
1a.
Highland Memories
1b.
Scary Monsters
2a.
for articulation
Rock Bottom
2b.
Poisson Rouge
3a.
Firefly Sky
3b.
41
Grade 1

three options:
◗◗ Aural
◗◗ Stylistic
◗◗ Motivic
◗◗ Harmonic
After 30 seconds’ preparation time, candidates and parameters.
perform a previously unseen musical extract
at a level lower than the exam being taken. Musical knowledge
See pages 17–18 for the requirements Candidates answer questions assessing their
and parameters. understanding of the pieces performed, as well
Candidates answer questions based on pieces. See pages 26–27 for example questions
a single musical example played on the and responses.
more information.
The aural test requirements for Grade 1
are below.
Aural questions
Clap the pulse on the third playing, stressing

Listen to the melody three times
the strong beat
Melody only i) Identify the dynamic as forte or piano
Listen to the melody once
4 bars ii) Identify the articulation as legato or staccato
Major key Listen to the first two bars of the Identify the last note as higher or lower than
melody once the first note
23
Listen to the melody twice, with a
change of rhythm or pitch in the Identify where the change occurs
second playing
42
Grade 2
Grade 2
PIECES

1. AGUADO Waltz Trinity TCL019295
2020–2023: Grade 2
2. BRUN Le paon Trinity TCL019295
2020–2023: Grade 2
3. CARULLI Danse paysanne Trinity TCL019295
Grade
2020–2023: Grade 2
4. COTTAM Tirandosaurus Rex Zebracadabra ESG 077
COUPERIN, Classical Guitar Exam Pieces
5. Le petit rien* Trinity TCL019295
arr. POWLESLAND 2020–2023: Grade 2
6. EYTHORSSON New Day Raise the Bar Guitar: Initial–Grade 2 Trinity TCL016553 2
La princesse Productions d’Oz
7. FIMBEL La paix des étoiles
de la paix DZ2599
8. HASTED Regular Reggae Trinity TCL019295
2020–2023: Grade 2
Gavotte or Hubertus Nogatz
9. KIRSCHBAUM Melodie und Bass vol 1
Tanz in der Burg KN1012
10. LINDSEY-CLARK Barcarolle Trinity TCL019295
2020–2023: Grade 2
11. LINDSEY-CLARK By the Fireside Solo Now! vol 1 Chanterelle ECH2101
12. LINNEMANN Killybegs Jig Trinity TCL019295
2020–2023: Grade 2
13. McDOWALL Spanish Nocturne Trinity TCL019295
2020–2023: Grade 2
14. NUTTALL The Mojave Trinity TCL019295
2020–2023: Grade 2
Productions d’Oz
15. OGAWA Nuit étoilée The Many Faces of the Guitar vol 1
DZ1041
16. OURKOUZOUNOV Valse slave Mise en scène Lemoine HL26826
17. POWLESLAND In the Half-Light Trinity TCL019295
2020–2023: Grade 2
RODRIGUEZ, Classical Guitar Exam Pieces
18. La cumparsita* Trinity TCL019295
arr. CRACKNELL 2020–2023: Grade 2
SANZ, Classical Guitar Exam Pieces
19. Paradetas Trinity TCL019295
arr. POWLESLAND 2020–2023: Grade 2
20. SOR Etude, op. 44 no. 2 Trinity TCL016553
Initial–Grade 2
21. SOR, arr. HARTOG Czardas String Walker Alsbach ALB10514
22. A rosa vermelha* Trinity TCL019295
arr. RIVOAL 2020–2023: Grade 2
TRAD., Chansons et danses d’Amérique
23. Unos ojos negros* Lemoine HL25161
arr. RIVOAL latine vol A
TRAD.,
24. Malagueña My First Concert Schott ED22050
arr. ZORDIKOWSKI
25. VACHEZ Petit air chromatique Ça ne manque pas d’airs! Doberman DO977
Grade 2

Candidates may perform an own composition technical and musical demand to the pieces
instead of one of the listed pieces. More listed for this grade. Suitable features include:
information is on page 15. ◗◗ Use of different articulations
◗◗ Simple melodic ornamentation
Duration: ◗◗ Use of keys listed for Grade 2 technical work
1–1.5 minute(s)
TECHNICAL WORK
Technical exercise in D major (q = 86)
Either
◗◗ F major p fingering scale and arpeggio: tirando
min. tempi:
scales: apoyando or tirando scales q = 62
◗◗ D melodic minor
one (candidate choice)
◗◗ A harmonic minor arpeggios q = 94
octave im fingering arpeggios: tirando
◗◗ Chromatic scale apoyando or tirando min. tempo:
starting on G (candidate choice) q = 94
Or
3. S
1a. Skater’s Waltz

1b. Linecraft
2a. Tin Drum
for articulation
2b. Porcupine Stomp
3a. Lost and Found
3b. M ystic Drummer
44
Grade 2

◗◗ Sight reading on a stimulus chosen from the following
three options:
◗◗ Aural
◗◗ Stylistic
◗◗ Motivic
◗◗ Harmonic

and parameters.
at a level approximately two grades lower than Musical knowledge
the exam being taken. See pages 17–18 for the Candidates answer questions assessing their
Grade
requirements and parameters. understanding of the pieces performed, as well
Candidates answer questions based on
pieces. See pages 26–27 for example questions 2
and responses.
a single musical example played on the
more information.
are below.
Aural questions
Listen to the melody Clap the pulse on the third playing, stressing
three times the strong beat
Melody only i)
Describe the dynamics, which will vary
Listen to the melody once during the melody
4 bars
ii) Identify the articulation as legato or staccato
Major or minor key Identify the last note as higher or lower than
Listen to the melody once
the first note
23
Listen to the melody twice, i)
Identify where the change occurs
with a change of rhythm or
pitch in the second playing ii) Identify the change as rhythm or pitch
45
Grade 3
Grade 3
PIECES

1. ANDERSON Barcaruola Guitar Travels Anderson AGP505
2. ATTAIGNANT French Dance (Tourdion) Trinity TCL019301
J S BACH,
3. Gavotte The Baroque Book Chanterelle ECH2111
arr. WRIGHT
4. BROUWER Étude no. 5 Études simples vol 1 Eschig ME00799700
5. CARCASSI Allegretto in D major Trinity TCL019301
6. CARLEVARO Estudio primario no. 1 Modern Times Chanterelle ECH0750
Valse (no. 21 from École Classical Guitar Exam
7. CARULLI Trinity TCL019301
de guitare, op. 241) Pieces 2020–2023: Grade 3
8. COTTAM Grasshopper Guiro Trinity TCL019301
9. FOGEL Marshmallow Cocoa Trinity TCL019301
Andantino (from Classical Guitar Exam
10. GIULIANI Trinity TCL019301
Le papillon, op. 50) Pieces 2020–2023: Grade 3
GRIEG, Classical Guitar Exam
11. Album Leaf* Trinity TCL019301
arr. POWLESLAND Pieces 2020–2023: Grade 3
Melodie und gegriffener Hubertus Nogatz
12. KIRSCHBAUM Choral
Bass vol 2 KN1016
13. KOSHKIN The Paper Dragon Mascarades vol 1 Lemoine HL24886
14. MACHADO Marchinha de carnaval* Modinha brasileira Lemoine HL24821
15. MERTZ Adagio Trinity TCL016560
Grades 3–5
16. NUTTALL On the Prairie Moving On Countryside
17. OURKOUZOUNOV Cinq-huit Mise en scène Lemoine HL26826
Allegretto con
18. PONCE Seis preludios cortos Peermusic PM1472
moto, no. 5
19. POWLESLAND Funky Juan Trinity TCL019301
20. RYAN Russian Bear Trinity TCL016560
Grades 3–5
21. RYAN The Firth of Lorn Trinity TCL019301
2020–2023: Grade 3
22. SMITH Lost Horizons Atmospheres & Adventures Trinity TCL019127

Grade 3
Study in C (no. 6 from

23. SOR Introduction à l’étude Trinity TCL019301
de la guitare, op. 60)
24. STACHAK Kurpie Étude Trinity TCL019301
Learn & Conquer Guitar
TRAD.,
25. Scarborough Fair Repertoire with Xuefei Yang, Doberman DO962
arr. GERRITS
beginner book 1
TRAD., Classical Guitar Exam
26. Chorinho* Trinity TCL019301
arr. RIVOAL Pieces 2020–2023: Grade 3
TRAD., The Coasts of Classical Guitar Exam
arr. SANDERSON High Barbary* Pieces 2020–2023: Grade 3
28. WANDERS Salsa Guitarra tirando Broekmans BP1714
29. ZENAMON Escalando Modern Times Chanterelle ECH0750

Grade
information is on page 15. ◗◗ Form showing clear sections, eg ABA
◗◗ Melodic range of one octave or more 3
1.5–2 minutes
TECHNICAL WORK
Technical exercise in G major (q. = 56)
Either
◗◗ C major scales: apoyando

◗◗ A major two scales: im and ma or tirando min. tempi:
◗◗ B natural minor octaves arpeggios: pppimim (candidate choice) scales
◗◗ E harmonic minor arpeggios: tirando q = 70
arpeggios
◗◗ C major scale in
one octave im tirando q. = 38
thirds
47
Grade 3
Or
3. S
It Could Be Sweet
1a.
The Tone Zone
1b.
Sunflower
2a.
for articulation
Finger Pickin’ Good
2b.
On Brooklyn Bridge
3a.
Half Way There
3b.

three options:
◗◗ Aural
◗◗ Stylistic
◗◗ Motivic
◗◗ Musical knowledge ◗◗ Harmonic
Musical knowledge
at a level approximately two grades lower than
Candidates answer questions based on a single pieces. See pages 26–27 for example questions
musical example played on the piano by the and responses.
examiner. See page 19 for more information.
are below.
Aural questions
Clap the pulse on the second playing,

Listen to the melody twice
Melody only stressing the strong beat
Listen to the melody once Identify the tonality as major or minor
4 bars
Identify the interval by number only
Major or Listen to the first two notes of the melody once
(second, third, fourth, fifth or sixth)
minor key i)
Identify in which bar the change
Study a copy of the melody (provided in treble,
alto or bass clef as appropriate), and listen to has occurred
34 it once as written and once with a change of ii)
Identify the change as rhythm
rhythm or pitch or pitch
48
Grade 4
Grade 4
PIECES

Rumba por Givi Graded Repertoire for
1. ALI Mel Bay 20038
(from Flamenco Suite) Guitar book 2
Allemande (from Classical Guitar Exam
2. BARON Trinity TCL019318
Sonata for Two Guitars)* Pieces 2020–2023: Grade 4
3. BARON Bourrée My First Concert Schott ED22050
4. BAULCH Glissaccatura Trinity TCL016560
Grades 3–5
Waltz for a Sad Cloud 6 Children’s Pieces or Learn &
Doberman DO734
5. BOGDANOVIC (no. 2 from 6 Children’s Conquer Guitar Repertoire with
or DO961
Pieces) Xuefei Yang, children’s book 1
6. BROUWER Étude no. 4 Études simples vol 1 Eschig ME00799700
7. BRUN L’éléphant Musicanimales Lemoine HL25247
Grade
25 Melodic and Progressive Chanterelle
8. CARCASSI Etude no. 7 in A minor
Studies, op. 60 ECH0470
First Repertoire for
9. CARULLI Sicilienne, op. 34 no. 2 Faber 0571507093
DAUBE, Menuets I & II

Solo Guitar book 1
4
arr. WILLIS (from Partie in A major) Pieces 2020–2023: Grade 4
DE VISÉE, Gavotte (from Classical Guitar Exam Trinity TCL019318
11.
arr. SCHEIT Suite in D minor) Pieces 2020–2023: Grade 4
DOWLAND, Classical Guitar Exam
12. Orlando Sleepeth Trinity TCL019318
arr. HEGEL Pieces 2020–2023: Grade 4
13. ´ ´
DROZDZOWSKI Rainy Impression All Year Round with the Guitar Euterpe EU1003
Separately or Les 100 Productions d’Oz
14. DYENS On Joe’s Deck
de Roland Dyens vol 1 DZ1901 or DZ2201
15. FOGEL Village Blackbird Blues Trinity TCL019318
2020–2023: Grade 4
16. KLEYNJANS Petit air d’Argentine Trinity TCL016560
Grades 3–5
17. LINDSEY-CLARK Danza del arpa Simply Latin Montague MM121
18. MURO Milonga Basic Pieces vol 2 Chanterelle ECH0782
NORTON, Classical Guitar Exam
19. Line by Line Trinity TCL019318
arr. NESTOR Pieces 2020–2023: Grade 4
20. ROBERTS In Good Company New Beginnings Trinity TCL019134
21. RYAN Spice Trail Trinity TCL019318
Nostalgia: petite mélodie
22. SAGRERAS (from Tres piezas fáciles, Trinity TCL019318
op. 19)
23. SAUMELL La caridad* 19 Contradanzas Lemoine HL29261

Grade 4

24. SCHWERTBERGER Bossa-Nova Breeze Trinity TCL019318
25. SMITH Calderas Atmospheres & Adventures Trinity TCL019127
Andante (no. 2 from
26. SOR 24 leçons progressives, Trinity TCL019318
op. 31)
27. STACHAK Etude in C major Characteristic Études vol 1 Euterpe EU1801
Learn & Conquer Guitar
TRAD.,
28. Malborough Repertoire with Xuefei Yang, Doberman DO962
arr. GAGNON
beginner book 1
Tango (with repeats)
29. VIÑAS Collected Guitar Works Chanterelle ECH0443
(from Capullos de Abril)
30. WATERS Whirligig Solo Now! vol 2 Chanterelle ECH2102
Romance (no. 14 Graded Repertoire
31. ZENAMON Mel Bay 20038
from 20 Epigrammes) for Guitar book 2

information is on page 15. ◗◗ Tempo changes
◗◗ Use of a variety of different articulations
2–3 minutes
TECHNICAL WORK
Technical exercise in A major (q = 130)
Either
◗◗ E major min. tempi:

◗◗ Bb major scales: im and ma scales
◗◗ G melodic minor arpeggios: scales: apoyando q = 82
◗◗ D harmonic minor two ppppima or tirando
arpeggios
octaves (candidate choice)
◗◗ Chromatic scale starting on F q. = 44
arpeggios: tirando
◗◗ Dominant 7th arpeggio min. tempo:
ppimim...
in the key of D major q = 66
50 = Pieces in Trinity’s graded exam books

Grade 4
Or
3. S
Half Moon
1a.
Flamenco Fantasy
1b.
River
2a.
for articulation
And Relax...
2b.
Dark Maze
3a.
Sorrow
3b.

three options:
◗◗ Aural
◗◗ Stylistic
◗◗ Motivic
◗◗ Harmonic
Grade
Musical knowledge
at a level approximately two grades lower than
4
are below.
Aural questions
Clap the pulse on the second playing, stressing

Listen to the piece twice
the strong beat
Harmonised i) Identify the tonality as major or minor
ii)
Identify the final cadence as perfect or imperfect
4 bars
Identify the interval as minor or major second,
Listen to the first two notes of the
Major or minor or major third, perfect fourth or fifth, or
melody once
minor key minor or major sixth
Study a copy of the melody (provided
46 in treble, alto or bass clef as
i)
Identify the bar in which the change of rhythm
occurred
appropriate), and listen to it once as
written and once with a change of ii) Identify the bar in which the change of pitch
rhythm and a change of pitch occurred
51
Grade 5
Grade 5
PIECES

1. BROUWER Omaggio a Tárrega, no. 5 Nuevos estudios sencillos Chester CH64273
25 Melodic and Progressive
2. CARCASSI Etude no. 2 in A minor Chanterelle ECH0470
Studies, op. 60
3. CORDERO El caminante Pequeña Suite Doberman DO886
4. COTTAM Mariana Zebramusic ESG 076
5. DAW Inveraray Castle Trinity TCL019325
2020–2023: Grade 5
6. DE MURCIA Allegro Prélude & Allegro Eschig ME6808
DOWLAND, Classical Guitar Exam Pieces
7. Preludium Trinity TCL019325
arr. HEGEL 2020–2023: Grade 5
8. FELLOW Stonehenge Fingerfood Light Schott ED22598
Allegro moderato (no. 2
9. FERRER 24 estudios Schott GA569
from Colección 2a)
Etude no. 3:
10. GARCIA 25 études esquisses Mel Bay 95430
Flocon de neige
Allegretto (no. 3
11. GIULIANI from 24 prime lezioni Trinity TCL019325
2020–2023: Grade 5
progressive, op. 139)
12. GIULIANI Allegro in C The Guitarist’s Collection book 1 Mayhew 3611140
13. GUZMÁN Dedicatoria Trinity TCL019325
2020–2023: Grade 5
14. KOSHKIN Le pélerin Raise the Bar Guitar: Grades 3–5 Trinity TCL016560
15. LAURO El negrito Raise the Bar Guitar: Grades 3–5 Trinity TCL016560
16. LAURO La gatica Two Venezuelan Waltzes Universal UE29173
17. MACHADO Sambinha* Modinha brasileira Lemoine HL24821
18. MONTES Stay Nueve preludios azules Trinity TCL019110
NORTON, Classical Guitar Exam Pieces
19. Holidays Trinity TCL019325
arr. NESTOR 2020–2023: Grade 5
O’CAROLAN,
The Lament for
20. arr. Celtic Music for Classical Guitar Carisch ML2601
Terence McDonough*
FIORENTINO
21. PEARSON Skater’s Waltz Trinity TCL019325
2020–2023: Grade 5
PIAZZOLLA,
22. Vuelvo al sur Play Piazzolla Boosey M060119712
arr. RYAN
23. RYAN Memories of Summer Trinity TCL019325
2020–2023: Grade 5
Maria Luisa: Mazurka Guitar Works: 48 Early Works &
Chanterelle ECH0883
24. SAGRERAS (from Tres piezas fáciles, Transcriptions or First Repertoire
or Faber 0571507395
op. 19) for Solo Guitar book 2

Grade 5

25. SAUMELL El pañuelo de Pepa* Trinity TCL019325
2020–2023: Grade 5
26. SMITH Immram Atmospheres & Adventures Trinity TCL019127
Andante (no. 8 from
27. SOR 24 leçons progressives, Trinity TCL019325
2020–2023: Grade 5
op. 31)
Andante (no. 21
28. SOR from 24 petites pièces The Complete Studies for Guitar Chanterelle ECH0491
progressives, op. 44)
29. STACHAK Country Étude Trinity TCL019325
2020–2023: Grade 5
30. STACHAK Irish Étude Characteristic Études vol 1 Euterpe EU1801

information is on page 15. ◗◗ Chromaticism
◗◗ Use of semiquaver passages
2–3 minutes
Grade
TECHNICAL WORK
5
Technical exercise in F# minor (q = 126)
Either
min. tempi:
◗◗ Eb major scales: apoyando
or tirando scales
◗◗ F major two scales: im and ma
(candidate choice) q = 92
◗◗ A natural minor octaves arpeggios: ppppima
arpeggios: tirando arpeggios
◗◗ C melodic minor
q. = 50
◗◗ G major scale in broken thirds im min. tempo:
one octave
◗◗ C major scale in sixths ip/mp q = 82
◗◗ Dominant 7th arpeggio in tirando

the key of A major two min. tempo:
ppimim…
◗◗ Diminished 7th arpeggio octaves q = 76
starting on E
53
Grade 5
Or
3. S
Incognito
1a.
Over the Moon
1b.
Mistral
2a.
for articulation
And So It Ends
2b.
Mare Nectaris
3a.
All Barre One
3b.
three options:
◗◗ Aural
◗◗ Improvisation ◗◗ Stylistic
◗◗ Musical knowledge ◗◗ Motivic
◗◗ Harmonic
at a level approximately two grades lower than Musical knowledge
are below.
Aural questions
i) Clap the pulse on the second playing, stressing

Listen to the piece twice the strong beat
ii) Identify the time signature
Harmonised i) Identify the changing tonality
Listen to the piece twice ii) Identify the final cadence as perfect, plagal,
8 bars
imperfect or interrupted
Major or Identify the interval as minor or major second,
minor key Listen to two notes from the melody
minor or major third, perfect fourth or fifth, minor
line played consecutively
or major sixth, minor or major seventh or octave
2346 Study a copy of the piece, and listen i) Identify the bar in which the change of rhythm
to it once as written and once with occurred
a change of rhythm and a change of ii) Identify the bar in which the change of pitch
pitch (both changes in the melody line) occurred
54
Grades 6–8
Grades 6–8
EXAM DURATION EXAM STRUCTURE

The Grade 6 exam The Grade 7 exam The Grade 6–8 exams contain the following:
lasts 23 minutes lasts 23 minutes
Maximum
marks
PIECE 1 22
PIECE 2 22
The Grade 8 exam
lasts 28 minutes
PIECE 3 22
TECHNICAL WORK 14
◗◗ Technical exercise
Grades 6–8
◗◗ Either scales & arpeggios
or studies (Grades 6–7)/
concerto extracts (Grade 8)
SUPPORTING TEST 1 10
SUPPORTING TEST 2 10
ONE of the following:

◗◗ Aural
TOTAL 100
55
Grade 6
Grade 6
PIECES
Candidates perform a balanced programme of three pieces chosen from the lists below,
containing at least one piece from each group. An own composition may be played instead
of one listed piece. See pages 14–15 for further guidance.
Group A
Sarabande (from Partita
J S BACH, Classical Guitar Exam Pieces
1. no. 1 for solo violin, Trinity TCL019332
arr. ERIKSON 2020–2023: Grade 6
BWV 1002)
J S BACH, Bourrée (from Lute Suite
2. The Solo Lute Works Kjos WG100
ed. KOONCE in E minor, BWV 996)
3. CARCASSI Allegretto, no. 9 10 Vortragsstücke, op. 59 Peters EP8558
Romanze (from Sonate,
4. CARULLI Stars of Classical Guitar vol 2 Doblinger DOBL35922
op. 21 no. 3)
5. COSTE Etude, op. 34 no. 4 Trinity TCL016577
Grades 6–8
6. DE VISÉE Passacaille The Baroque Book Chanterelle ECH2111
7. DOWLAND Can She Excuse Solo Works for Guitar vol 2 Universal UE16712
El afectuoso (no. 3 Classical Guitar Exam Pieces
8. FERRER Trinity TCL019332
from Colección 4a) 2020–2023: Grade 6
9. FONDARD Valse suisse Trinity TCL019332
2020–2023: Grade 6
10. MERTZ Capriccio Trinity TCL019332
2020–2023: Grade 6
11. SANZ Canarios Anthology of Selected Pieces Schott ED12386
Waltz (no. 2 from The Guitarist’s Collection
12. SOR Mayhew 3611140
6 petites pièces, op. 32) book 1
13. TÁRREGA Malagueña Works for Guitar vol 3 Bèrben B1533
14. VIÑAS Recuerdo de la costa Collected Guitar Works Chanterelle ECH0443

Grade 6
Group B
1. BLOOR Promise Praise — Prayer — Promise Bloor
Omaggio a Mangoré,
2. BROUWER Nuevos estudios sencillos Chester CH64273
no. 2
CASTELNUOVO- Raise the Bar Guitar:
3. Andantino campestre Trinity TCL016577
TEDESCO Grades 6–8
4. DODGSON O Pussy My Love!, no. 6 Ode to the Guitar Ricordi RICL00011400
´ ´ Classical Guitar Exam

5. DROZDZOWSKI Winter Story Trinity TCL019332
Separately or Les 100 de Productions d’Oz
6. DYENS Babybaião
Roland Dyens vol 1 DZ1907or DZ2201
7. FELLOW No Man’s Land Trinity TCL019332
Productions d’Oz
8. KLEYNJANS Délia, op. 272
DZ1687
9. MONTES Entre azules Nueve preludios azules Trinity TCL019110
MORENO
10. Torija Castles of Spain vol 1 GSP 074
TORROBA
11. OURKOUZOUNOV Lamentoso, no. 5 Cinq nuances modales Doberman DO1039
PIAZZOLLA, Classical Guitar Exam
12. El viaje Trinity TCL019332
arr. RYAN Pieces 2020–2023: Grade 6
TRAD., Classical Guitar Exam
13. Kalamatianos Trinity TCL019332
arr. COTTAM Pieces 2020–2023: Grade 6
TRAD., arr. Classical Guitar Exam
14. General’s Mandate Trinity TCL019332
Grade
HVARTCHILKOV Pieces 2020–2023: Grade 6
11 Etudes or Learn &
Conquer Guitar Repertoire Doberman DO539
15. VERDERY Let Go
with Xuefei Yang, or DO963
intermediate book 1 6
16. YORK Lullaby Trinity TCL019332

information is on page 15. ◗◗ More advanced use of form, eg theme
and variations
◗◗ Extensive range
Duration:
◗◗ More advanced melodic ornamentation
3–4 minutes
◗◗ Use of any key
57
Grade 6
TECHNICAL WORK
All requirements are in Trinity’s Guitar Scales, Arpeggios & Studies from 2016: Grades 6–8.
Technical exercise in Ab major (q = 126)
Either
2. SCALES & ARPEGGIOS (from memory, mf )
When examiners request a major tonal centre, candidates should play in succession the:
◗◗ major scale
◗◗ major arpeggio
When examiners request a minor tonal centre, candidates should play in succession the:
◗◗ harmonic minor scale
◗◗ minor arpeggio
Examiners select from the following:
◗◗ G major, G minor
two octaves
◗◗ Db major, C# minor
scales: apoyando
scales: im and ma and tirando
three arpeggios: pimaima arpeggios:
◗◗ E major, E minor min. tempi:
octaves tirando
scales
Plus:
two q = 106
◗◗ Chromatic scale starting
octaves arpeggios
on Db
q. = 58
◗◗ E major scale in thirds im
◗◗ G harmonic minor scale
in sixths
one octave
◗◗ G major scale in octaves pi/pm
◗◗ E harmonic minor scale tirando
in tenths
◗◗ Dominant 7th arpeggio
in the key of C major two min. tempo:
ppimim…
◗◗ Diminished 7th arpeggio octaves q = 88
starting on C#
58
Grade 6
Or
3. S
Pôr do Sol
1a.
Pavô
1b.
Find the Light
2a.
for articulation
Aquarius
2b.
It’s in the Trees
3a.
Dream Key
3b.

Candidates prepare: Candidates perform an improvisation based
three options:
◗◗ Aural or improvisation
◗◗ Stylistic
Sight reading ◗◗ Motivic
After 30 seconds’ preparation time, candidates ◗◗ Harmonic
at a level approximately two grades lower than See pages 19–25 for the requirements
the exam being taken. See pages 17–18 for the and parameters.
requirements and parameters.
Aural
Candidates answer questions based on a single
Grade
musical example played on the piano by the
are below. 6
Aural questions
i) Identify the time signature

Listen to the piece twice ii) Comment on the dynamics
iii) Comment on the articulation
Harmonised
Identify and comment on two other
8 bars characteristics of the piece
Identify the key to which the music modulates
Major key as subdominant, dominant or relative minor
Listen to the first four bars of the
piece once Answers may alternatively be given as
2346 key names
Study a copy of the piece, and listen to it Locate and describe the changes as pitch
twice with two changes to the melody line or rhythm
59
Grade 7
Grade 7
PIECES
Group A
J S BACH, Gavotte 1 (from Lute Suite
arr. KOONCE in A minor, BWV 995)
J S BACH, Prelude (from Cello Suite Productions d’Oz
2. Cello Suites 1, 2, 3
arr. KOONCE no. 1, BWV 1007) DZ2420
3. CARCASSI Caprice no. 4 in A minor 6 Caprices, op. 26 Schott GA72
4. COSTE Tarantelle Pieces 2020–2023: Trinity TCL019349
Grade 7
Andante cantabile
5. DIABELLI (2nd movt from Sonata 3 Sonatas Schott GA57
in C major, op. 29 no. 1)
Andantino (no. 6 from
6. FERRER 24 estudios Schott GA569
Colección 4a)
Rondo (no. 2 from
7. GIULIANI Araniti
3 Rondos, op. 17)
8. HOLBORNE Fantasia Trinity TCL016577
Grades 6–8
Adagio con dolore and
The Guitarist’s
9. MERTZ Allegro conspirito (from Mayhew 3611140
Collection book 1
Flowers of my Homeland)
10. PRATTEN Forgotten (no. 77 Impromptu) Pieces 2020–2023: Trinity TCL019349
Grade 7
Pavanas por la D (from Classical Guitar Exam
SANZ,
11. Instrucción de música Pieces 2020–2023: Trinity TCL019349
arr. KOENIGS
sobre la guitarra española) Grade 7
SCARLATTI,
12. Sonata in A, K 208 8 Sonatas Schott ED12442
trans. BURLEY
Mes ennuis:
13. SOR Bagatelle, no. 2 Ut Orpheus CH283
6 Bagatelles, op. 43
TRAD., The Bonnie, Bonnie Banks
14. Pieces 2020–2023: Trinity TCL019349
arr. RUSSELL of Loch Lomond
Grade 7

Grade 7
Group B
1. ARCAS Bolero Pieces 2020–2023: Trinity TCL019349
Grade 7
Barcarolle (Julia Raise the Bar Guitar:
2. BARRIOS MANGORÉ Trinity TCL016577
Florida) Grades 6–8
3. BROUWER Un dia de noviembre Chester CH61839
Separately
Productions d’Oz
4. DYENS Les balancelles or Les 100 de Roland
DZ1923 or DZ2201
Dyens vol 1
Etude no. 19: Les
5. GARCIA 25 études esquisses Mel Bay 95430
moulines marinières
6. GUBAIDULINA Serenade Pieces 2020–2023: Trinity TCL019349
Grade 7
7. MONTERO Azul Tres colores porteños Piles PIL1590
8. PERNAMBUCO Sons de Carilhões Famous Chôros vol 1 Chanterelle ECH0761
9. PIAZZOLLA, arr. RYAN Tango final Play Piazzolla Boosey M060119712
10. SHAND Légende, op. 201 Pieces 2020–2023: Trinity TCL019349
Grade 7
11. SMITH Halcyon Days Pieces 2020–2023: Trinity TCL019349
Grade 7
12. TÁRREGA Rosita Pieces 2020–2023: Trinity TCL019349
Grade 7
Prélude no. 3 in
13. VILLA-LOBOS Cinq préludes Eschig DF15722
A minor
Grade
Bagatelle no. 2 Classical Guitar Exam
14. WALTON (from Five Bagatelles Pieces 2020–2023: Trinity TCL019349
for Guitar) Grade 7
7
information is on page 15. ◗◗ Modulation
◗◗ Use of irregular time signatures
Duration:
3–4 minutes
61
Grade 7
TECHNICAL WORK
Technical exercise in B major (q = 102)
Either
◗◗ major scale
◗◗ melodic minor scale
◗◗ Bb major, Bb minor
two
◗◗ C major, C minor
octaves
◗◗ D major, D minor scales: apoyando
scales: im and ma and tirando
◗◗ F major, F minor min. tempi:
arpeggios: pimaima arpeggios:
three scales
Plus: tirando
octaves q = 122
◗◗ Chromatic scale
arpeggios
starting on F
q. = 66
◗◗ C melodic minor scale
in octaves one
pi/pm
octave
◗◗ Bb major scale in tenths
◗◗ D harmonic minor scale
im
in thirds
two tirando
◗◗ D major scale in sixths pi/pm
octaves min. tempo:
◗◗ Dominant 7th arpeggio q = 100
in the key of F major
ppimim…
◗◗ Diminished 7th arpeggio three
starting on F octaves
62
Grade 7
Or
3. S
Cap Gris Nez

1a.
Rain Tree
1b.
White Water
2a.
for articulation
Modes of Thought
2b.
Mezquito
3a.
Night Vision
3b.

three options:
◗◗ Stylistic
Sight reading
◗◗ Motivic
◗◗ Harmonic
Aural
Grade
are below.
Aural questions 7
i) Identify the time signature

Listen to the piece twice ii) Comment on the dynamics
Harmonised iii) Comment on the articulation
8 bars Identify and comment on two other
characteristics of the piece
Major or
minor key Identify the key to which the music modulates as
Listen to the first four bars of the
subdominant, dominant or relative key
piece once
2346 Answers may alternatively be given as key names
Study a copy of the piece, and listen Locate and describe the changes as pitch (melody
to it twice with three changes line only) or rhythm
63
Grade 8
Grade 8
PIECES
Group A
Bourrée (6th movt from
J S BACH,
1. Lute Suite in E major, BWV The Solo Lute Works Kjos WG100
arr. KOONCE
1006a)
J S BACH, Gigue (4th movt from Lute
arr. KOONCE Suite in A minor, BWV 997)
3. BROCÁ El catalán Trinity TCL016577
Grades 6–8
Sérénade (1st movt from Classical Guitar Exam
4. COSTE Les soirées d’auteuil, Pieces 2020–2023: Trinity TCL019356
op. 23) Grade 8
Canción del Emperador Hispanae Citharae
5. DE NARVÁEZ Schott GA176
(Song of the Emperor) Ars Viva
DOWLAND,
6. Earl of Essex, His Galliard Pieces 2020–2023: Trinity TCL019356
arr. POWLESLAND
Grade 8
Fuga (from Sonata Baroque Guitar
7. DURANT Schott ED13489
in A minor) Anthology vol 4
Allegro (final movt from
8. GIULIANI Sonatina in D major, Tecla 2564–3
op. 71 no. 3)
KELLNER,
9. Phantasia in A minor Pieces 2020–2023: Trinity TCL019356
transc. KÄPPEL
Grade 8
10. SCARLATTI, arr. FISK Sonata in A, K 322 Sonatas vol 2 GSP 096
Rondo in D (no. 6 from
The Guitarist’s
11. SOR 6 pièces: Est-ce bien ça?, Schott GA21
Hour vol 3
op. 48)
12. TRAD., arr. RUSSELL The Bucks of Oranmore Pieces 2020–2023: Trinity TCL019356
Grade 8

Grade 8
Group B
Oración para todos
1. BARRIOS Pieces 2020–2023: Trinity TCL019356
(Prayer for Everyone)
Grade 8
Impromptus for Guitar Classical Guitar Exam
2. BENNETT (nos. I & V) (both to be Pieces 2020–2023: Trinity TCL019356
played) Grade 8
3. DODGSON Hornets’ Nest, no. 9 Ode to the Guitar Ricordi RICL00011400
Separately
Productions d’Oz
4. DYENS Alba nera or Les 100 de Roland
DZ1950 or DZ2201
Dyens vol 1
Adana (jhaptal)
5. KRUISBRINK Pieces 2020–2023: Trinity TCL019356
(no. 4 from Raga Suite)
Grade 8
Vals venezolano no. 3 Classical Guitar Exam
6. LAURO, rev. DIAZ ‘Natalia’ (from 4 valses Pieces 2020–2023: Trinity TCL019356
venezolanos) Grade 8
LENNON &
7. McCARTNEY, Yesterday 12 Songs for Guitar Schott Tokyo SJ1095
arr. TAKEMITSU
8. PERNAMBUCO Reboliço Trinity TCL016577
Grades 6–8
Tres canciones
9. PONCE Por ti mi corazón, no. 2 Schott GA111
populares mexicanas
10. PUJOL Tonadilla 3 morceaux espagnols Eschig ME258688
11. RODRIGO En los trigales Pieces 2020–2023: Trinity TCL019356
Grade 8
12. SEGOVIA Estudio sin luz Pieces 2020–2023: Trinity TCL019356
Grade 8
13. TÁRREGA Gran Vals Trinity TCL016577
Grades 6–8
Mazurka-Chôro
14. VILLA-LOBOS (1st movt from Suite Eschig ME6737
populaire brésilienne)
Grade
15. VILLA-LOBOS Prélude no. 5 in D major Cinq préludes Eschig DF15722

technical and musical demand to the pieces 8
information is on page 15. ◗◗ Wide range of expressive techniques
◗◗ Creative use of form
Duration: ◗◗ Extended techniques, wide range,
3.5–5 minutes chromaticism and rhythmic variation
65
Grade 8
TECHNICAL WORK
Technical exercise in Bb minor (q = 106)
Either
◗◗ major scale
◗◗ dominant 7th arpeggio starting on that note and resolving on the tonic
◗◗ melodic minor scale
◗◗ A major, A minor two

◗◗ Eb major, Eb minor octaves
◗◗ F# major, F# minor three scales: im and ma min. tempi:

scales: apoyando
◗◗ Ab major, G# minor octaves
and tirando scales
arpeggios: pimaima
q = 136
Plus: dominant 7ths: arpeggios:
two arpeggios
◗◗ Chromatic scale starting ppimim... tirando
octaves q. = 72
on Eb
dominant 7ths
◗◗ Chromatic scale starting three q = 108
on G# octaves
◗◗ A melodic minor scale in one
pi/pm
tenths octave
◗◗ A major scale in thirds im
◗◗ Eb major scale in sixths

two pi/pm
◗◗ Chromatic scale in tirando
octaves min. tempo:
octaves starting on F#
q = 108
◗◗ Diminished 7th starting
on Ab
ppimim…
◗◗ Diminished 7th starting three
on F# octaves
66
Grade 8
Or
3. CONCERTO EXTRACTS (music may be used) — Candidates prepare all three extracts.
Candidates choose one extract to play first. Examiners then select one of the remaining two
extracts to be performed.
Vivaldi: Concerto in D, RV 93 (1st movement, bars 24–51)

1.
Castelnuovo-Tedesco: Concerto no. 1 in D, op. 99 (3rd movement, first section of cadenza)
2.
Villa-Lobos: Concerto for Guitar and Small Orchestra (2nd movement, first section of cadenza)
3.

three options:
◗◗ Stylistic
Sight reading
◗◗ Motivic
◗◗ Harmonic
Aural
are below.
Aural questions
Grade
i)
Identify the time signature
Listen to the piece once ii)
Comment on the dynamics
Harmonised
12–16 bars
iii) Comment on the articulation
8
Identify and comment on three other
Major or minor key Listen to the piece twice
characteristics of the piece
23465 Study a copy of the piece,

Locate and describe the changes as pitch
and listen to it twice with
or rhythm
three changes
67
Policies
Policies
SAFEGUARDING AND CHILD PROTECTION DATA PROTECTION
Trinity is fully committed to safeguarding Trinity is registered as a Data Controller with
and protecting the candidates that we the Information Commissioner’s Office in
work with. All posts, including examiners, the United Kingdom under data protection
are subject to a safer recruitment process, legislation. Please see trinitycollege.com/
including the disclosure of criminal records data-protection for the most up-to-date
and vetting checks. Our safeguarding policies information about Trinity’s data protection
and procedures are regularly reviewed and procedures and policies.
promote safeguarding and safer working
practice across all parts of our work. CUSTOMER SERVICE
Trinity is committed to providing a high-quality
EQUAL OPPORTUNITIES service for all our users from initial enquiry
rinity is committed to providing equality of
T through to certification. Full details of our
opportunity and treatment for all, and will not customer service commitment can be found
unlawfully or unfairly discriminate directly or at trinitycollege.com/customer-service
indirectly on the basis of any characteristic.
QUALITY ASSURANCE
REASONABLE ADJUSTMENT Please note that, for training/monitoring
Trinity is committed to creating an inclusive purposes, it may, on occasion, be necessary
environment where candidates with special for there to be more than one examiner in
needs are able to demonstrate their skills the room.
and feel welcomed. We aim to make our
Trinity audio records and sometimes films
exams accessible to all. We treat each
exams for quality assurance and training
learner individually when considering how
purposes. In the case of filming, Trinity will
we can achieve this aim, recognising that
always seek permission from the candidate
requirements vary. Candidates can be assured
(or a parent or guardian) first. All recording
that we do not compromise on the standard
devices will be discreet and should not cause
of marking or allow the quality of exams to be
any distraction to candidates.
affected in any way.
All provision is tailored to the particular EXAM INFRINGEMENTS
needs of each candidate. In order to be most
beneficial, as full an explanation as possible of All exam infringements (eg choosing an
the required provision should be given. The need incorrect piece) will be referred directly
and request for provision should be made on the to Trinity’s central office by the examiner.
appropriate form available to download from Exam reports may be withheld until the
trinitycollege.com/music-csn. For enquiries outcome of any referral has been considered
please contact music-csn@trinitycollege.com by Trinity. Depending on the severity of the
infringement, marks may be deducted or, in
extreme cases, the exam may be invalidated.
68
Policies
MALPRACTICE RESULTS REVIEW AND APPEALS

PROCEDURE
rinity requires its registered exam centres
T
to report any suspected malpractice Anyone who wishes to question their exam
by candidates, teachers or examiners. result should refer to trinitycollege.com/
In situations where a centre is found to be results-enquiry for full details of our results
inadequate or to be guilty of malpractice, review and appeals process.
Policies
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
have its registered status withdrawn.
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.
69
Publishers and UK specialist supplier
Publishers and
UK specialist supplier
The following list covers all publications listed in this syllabus. Publisher abbreviations used in the
repertoire lists are printed in bold. UK distributors are indicated where applicable. Publishers may
have different local agents in other parts of the world who may be able to supply music more easily
or quickly; please contact publishers directly for details.
ALSBACH CARISCH EUTERPE MEL BAY
Alsbach Educa Carisch Music Publishing House Euterpe Mel Bay Publications Inc
c/o De Haske carisch.com euterpe.pl melbay.com
c/o Universal
ANDERSON CHANTERELLE MONTAGUE
FABER
Anderson Guitar Edition Chanterelle Montague Music
Publications chanterelle.com Faber Music Ltd (contact specialist guitar
(contact specialist guitar fabermusic.com music supplier)
music supplier) CHESTER
GSP MUSIC EXCHANGE
ARANITI Chester Music Ltd
c/o De Haske Guitar Solo Publications Music Exchange
Fondazione Araniti gspguitar.com (Manchester) Ltd
Editions COUNTRYSIDE c/o De Haske music-exchange.co.uk
fondazionearaniti.org
Countryside / Peter HUBERTUS NOGATZ PEER
BÈRBEN Nuttall Guitar Music
peternuttall.co.uk Hubertus Nogatz Verlag Peermusic Classical
Edizioni Bèrben nogatz.de peermusicclassical.com
berben.it DE HASKE c/o De Haske
c/o De Haske HVARTCHILKOV
De Haske Hal Leonard Ltd PETERS
BLOOR dehaske.com Stanislav Hvartchilkov
hvartchilkov.com Peters Edition Ltd
Yvonne Bloor DOBERMAN editionpeters.com
yvonnebloor.com JACARANDA
Doberman Yppan PILES
BOOSEY dobermaneditions.com Jacaranda Music
jacaranda-music.com Piles Editorial de Música
Boosey & Hawkes Music DOBLINGER pilesmusic.com
Publishers Ltd KIOS
boosey.com Musikverlag Doblinger PRODUCTIONS D’OZ
doblinger.at Neil A Kjos Music Company
BROEKMANS c/o Universal kjos.com Les Productions d’Oz
c/o De Haske productionsdoz.com
Broekmans & Van Poppel ESCHIG
broekmans.com LEMOINE RICORDI
Editions Max Eschig
CAMDEN durand-salabert-eschig.com Les Editions Henry Casa Ricordi
c/o De Haske Lemoine ricordi.it
Camden Music henry-lemoine.com c/o De Haske
camdenmusic.com ESG c/o Faber
c/o Spartan SCHOTT
ESG Music MAYHEW
c/o Music Exchange Schott Music Ltd
Kevin Mayhew Ltd schott-music.com
kevinmayhew.com
70
SCHOTT TOKYO UK SPECIALIST

SUPPLIER
c/o Schott
In case of any
SPARTAN difficulty in obtaining
Spartan Press Music
music, the following
Publishers Ltd specialist supplier may
spartanpress.co.uk be helpful:
TECLA
GUITARNOTES
Tecla Editions
0776 500 4663
tecla.com
spanishguitar.com
TRANSATLANTIQUES
Editions Musicales
Transatlantiques
c/o De Haske
TRINITY
Trinity College
London Press
trinitycollege.com
UNIVERSAL
Universal Edition
(London) Ltd
universaledition.com
UT ORPHEUS
Ut Orpheus Edizioni
utorpheus.com
71
Trinity publications
Trinity publications
The following Trinity publications support Sound at Sight (sample sight reading tests)
this syllabus. All are available from
Initial–Grade 3 TCL 011527
trinitycollege.com/shop or from your
local music shop. Grades 4–8 TCL 011534
Classical Guitar Exam Pieces 2020–2023 Specimen Aural Tests from 2017
Initial TCL 019271 Book 1: Initial–Grade 5 TCL 015808
Grade 1 TCL 019288 Book 2: Grades 6–8 TCL 015815
Grade 2 TCL 019295
Theory of Music Workbooks
Grade 3 TCL 019301
Grade 1 TG 006509
Grade 4 TCL 019318
Grade 2 TG 006516
Grade 5 TCL 019325
Grade 3 TG 006523
Grade 6 TCL 019332
Grade 4 TG 006530
Grade 7 TCL 019349
Grade 5 TG 006547
Grade 8 TCL 019356
Grade 6 TG 007476
Raise the Bar: Guitar Grade 7 TG 007483
Initial–Grade 2 TCL 016553 Grade 8 TG 007490
Grades 3–5 TCL 016560
Trinity Performance Edition

Atmospheres & Adventures
TCL 019127
(Alistair Smith)
New Beginnings (Brian Roberts) TCL 019134
Nueve preludios azules
TCL 019110
(Alfonso Montes)
Guitar Scales, Arpeggios & Studies from 2016

Initial–Grade 5 TCL 015082
72
Classical guitar resources
Classical guitar resources

Join us online to access a range of resources
to support teaching and learning at
trinitycollege.com/classical-guitar-resources
Discover digital content, including videos and
articles from teachers and leading musicians,
Trinity publications Classical guitar resources

with advice and support on:
◗◗ Pieces, performance and technique
◗◗ Technical work
◗◗ Supporting tests
For further help you can contact the music
support team at Trinity’s central office
at music@trinitycollege.com, or find the
contact details of your local representative
at trinitycollege.com/worldwide
Facebook Twitter YouTube

/TrinityCollegeLondon @TrinityC_L /TrinityVideoChannel
(examples of graded exams,
supporting tests and more)
73
Notes
Notes
Notes
74
Notes
Notes
75
Notes
Notes
76

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DOWLAND

Trinity College London

Styles and duets

Benefit from industry expertise

ABOUT TRINITY COLLEGE LONDON

WHO THE QUALIFICATIONS ARE FOR 45–59 BELOW PASS 1

DURATION OF STUDY (TOTAL QUALIFICATION TIME)

Grade 3 18 102 120

Grade 4 24 126 150

Grade 5 24 156 180

Grade 6 36 184 220

Grade 7 48 222 270

Grade 8 54 266 320

RECOGNITION AND UCAS POINTS WHERE THE QUALIFICATIONS

HOW TO ENTER FOR AN EXAM OTHER QUALIFICATIONS OFFERED

REGULATED LEVELS OF TRINITY’S MUSIC QUALIFICATIONS

RQF* EQF** Classical Rock Theory Solo Group

* Regulated Qualifications Framework

REGULATED TITLES AND QUALIFICATION NUMBERS

LEARNING OUTCOMES ASSESSMENT CRITERIA

1. Apply skills, knowledge and understanding to present

3. Recognise and respond to simple elements of music in a

1. Support their intentions in musical performance

3. Recognise and respond to elements of music in a

1. Integrate their musical skills, knowledge and understanding

3. Recognise and respond to musical features in a practical context

About the exam

PIECES TECHNICAL WORK SUPPORTING TESTS

About the exam

EXAM STRUCTURE AND MARK SCHEME

Initial–Grade 5 Maximum Grades 6–8 Maximum

TECHNICAL WORK 14 TECHNICAL WORK 14

◗◗ Technical exercise ◗◗ Technical exercise

SUPPORTING TESTS 20 SUPPORTING TEST 1 10

Any TWO of the following: ◗◗ Sight reading

TOTAL 100 TOTAL 100

ORDER OF THE EXAM

About the exam

Grade 3 Grade 4 Grade 5

Grade 6 Grade 7 Grade 8

Exam guidance: Pieces

PERFORMANCE AND INTERPRETATION TUNING

MUSIC AND COPIES ◗◗ Alternatively, the accompanying line may be

Exam guidance: Pieces

Exam guidance: Technical work

Exam guidance: Supporting tests

Exam guidance: Technical work Exam guidance: Supporting tests

Keys* Time Note and rest Dynamics & tempi* Articulation,

Grade 1 C major p, f within 1st position

Grade 2 G major 3 allegretto

F major simple shifts, 2nd position, staccato,

A minor three-note chords (two treble one bass,

Grade 5 A major 6 x  rall., a tempo slurs

E, Bb major various position shifts, full chord voicings

* Cumulative — tests may also include requirements from preceding grade(s)

AURAL ◗◗ Candidates are then given 30 seconds’

Exam guidance: Supporting tests

Initial Grade 1 Grade 2 Grade 3

I, IV, V I, ii, IV, V

Styles and march, fanfare, tango, waltz,

20 * Cumulative — tests may also include requirements from preceding grade(s)

Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

2 bars 2 bars 2 bars 2 bars 2 bars

4 bars 4 bars 8 bars 8 bars 8 bars

* Regulated Qualifications Framework