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Contents
Performance notes 2

Anon., ed. Long Coranto (no. 21 f rom Fitzwilliam Virgind &d) 7

Du5ek Allegro (1st movt f rom Sonafa Xll in G rnaiul I
Schubert Valse sentimentale, op. 50 no.13 lo
Burgmriller Berceuse (no. 7 f rom 18 Characteristfc Studies, op- lO9f t2
Tchaikovsky SUBe Triiumerei (Sweet Reverie) (no.21 from Kinderalbun. og 3) 15

Beach Pantalon (from Younq People's Carnival, op.25) 18

McCabe Sports Car a

Wedgwood Large Wave 24
Gerou March of the Roman Leoionaries 6
Goodwin Settle Down a
Petot Typhoon 32
Fox Walk in the Park v
Exercises 37

Scales and arpeggios 40

Metronome markings are given as a useful guide and are not def initive. Repeats of more than a few bars
should be omitted in the exam unless otherwise instructed, as indicated in this book. All da capo and dalsegno
instructions should be observed.

Please refer to the Piano Syllabus 2021-2023 for details on all sections of the exam.
Check trinitycollege.com/piano to make sure you are using the current version.

Summary of exam requirements

PIECES
Candidates perform a balanced programme of three pieces, chosen from the complete list in the syllabus. See the back cover of this book
for alternative exam repertoire published by Trinity. An own composition may be played instead of one of the listed pieces.

TECHNICAL WORK
Candidates prepare 1. Scales, 2. Arpeggios and 3. Exercises

SUPPORTING TESTS
Candidates choose TWO of the followino:
- Sight reading
- Aural
- lmprovisation
- Musical knowledge
F Sight reading examples can be found in Slght Readinq Piano: Grades 3-5 (TCL O2O499) (available late 2020)
! Practice aural tests can be found in Aural lesfs book 1 (lnitial-Grade 5) f rom 2017 ICL 015808)
5 A range of resources to support teaching and learning is available at trinitycollege.com/piano-resources
F For guidance on improvisation and musical knowledge, please visit trinitycollege.com/supporting-tests or refer to the syllabus

The repertoire in this book can also be used for Trinity's submission exams.
. Please check trinitycollege.com/submission-exams for more details.
TRINITY
COLLEGE LONDON PRESS

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21 pieces plus exercises for
Trinity College London
exams 2021-2023

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Published by
Trinity College London Press Ltd
trinitycollege.com
Registered in England
Company no. 09726123

Copyright @2O2O Trinity College London Press Ltd

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 Performance notes
Coranto / Anon. Page 7
Renaissa nce
Articulation
Changing time signatures
'Coranto'takes its name from the word for'running'and
referred to the fast-paced dance that music with this title
was written to accompany. The editorial suggestion of 'lively'
is certainly appropriate!
The original score of this vivacious plece in tni Fitzwittiam
VirginalBook contains no phrasing, dynamics, f ingering,
change of time signature or tempo indications. Looking
at the editorial suggestions here, the slurring patterns
at the beginning help to emphasise the f irst beat of the
bar to strengthen the dance feel, and the dynamics help
to highlight the different sections of the piece. However,
there are different ways to approach this piece, particularly
bearing in mind that it was originally composed for the
virginals, a forerunner of the harpsichord and piano. The
sound of the virginals was relatively gentle, but the notes did
not sustain for very long, and so a relatively detached touch
on the piano might be one way to suggest an element of this,
and to enhance the rhythmic character of the music.
The change of time signature can also be interpreted in
different ways. You might like to think of the minim pulse
staying the same - even though that's the same as what's
suggested here in mathematicalterms, it means you can
see a more direct correlation between the two sections.
Compare, for example, the first bar of the piece with bars 11
and 12. In the original edition, bars 1l and 12 were combined
as one bar - so the first two notes in the top part were
minims, exactly as in the f irst bar of the piece. In other
words, the second section is an evolution of the first, with
new cross-rhythms introduced in the left hand.
Try to find a recording of this or another Coranto played on
a harpsichord or virginals - you'll notice the very different
sound generated by the plucking of the strings, giving the
music a very rhythmic character.
Allegro / Ou5ek Page 8
Classica I
Variety of articulation
Phrasing
We often translate'Allegro' simply as'quick' or'fast', but
this movement is an excellent example of when'lively'
or 'cheerf ul' is a much more accurate and appropriate
t ra nslation.
In conveying this cheerful mood, the score gives us plenty
of helpful leads - phrase markings, dynamics, rests, and
indications such as sfaccafo dots and wedges. You might
also like to think a little beyond this too, for example by
characterising the opening theme as bold or declamatory,
whereas you might think of the theme that starts in bar lO as
more lyrical in style. Other details can also help to give this
piece buoyancy and life, such as the frequent sets of three
quavers in the left hand at the ends of bars (eg bars 5 and 6).
Perhaps you could imagine each of these notes gains slightly
more energy than the previous one, propelling the music
towards the next bar - not in terms of tempo, but rather
the dynamic and musical intensity. This in turn feeds into
the overall feeling of elegance, with each phrase having a
distinctive shape, and the music always having a good sense
of direction.
When playing piano music f rom the Classical period, it's
worth having a listen to the sound of the fortepiano - the
predecessor of the modern piano. With its softer tone that
doesn't sustain as well as the modern piano, it gives pieces a
gentlel more intimate character.
Valse sentimentale / Schubert Page 10
Romantic
Expressive playing
Balance: between hands and within chords
Schubert's compositional output is astonishing given
his short lifespan, and he wrote several hundreds of
dance pieces, including many waltzes. The waltzes in the
'sentimental' collection are particularly appealing, with their
exoressive character.
The 'sentimental' aspect of this waltz, to a large degree,
comes from the repeated resolution of a dissonance, which
is first heard in bar 3. Here, the first right-hand chord
contains a dissonance (C sharp), before resolving (to B)
on the last crotchet of the bar. For the f irst two times this
happens (bars 3 and 5), Schubert marks an accent over the
f irst chord, to emphasise the 'clashing' effect of this chord.
By leaning on this chord and then lightening the one that
follows, it gives the piece a lilting effect that heightens the
usual rhythmic pattern of a waltz, where the f irst beat in the
left hand is stressed. lt seems reasonable to assume this
accentuation should continue for the rest of the piece.
Schubert gives the indication zart at the beginning, meaning
'tender' or 'delicate', which perfectly encapsulates the style
of this beautiful miniature. lt's also worth considering two
issues of balance in this piece. Firstly, the balance between
the hands, where the order of priority is headed up by the
right-hand melody, followed by the left-hand bass note, and
lastly by the left-hand chords. Secondly, the balance within
the right hand, where there are usually at least two parts.
Take bars 6-7 as an example, where the quavers in the lower
part of the right hand are the main melodic line, before it
switches back to the top part in bar 8. You might like to think
of this as passing a musical baton between the two parts!
ltre oirco , lr rnmirlLor Qaaa 12
Romantic
Lullaby
Projecting a melody
A Berceuse is a lullaby or cradle song. In this lovely example,
the gently f lowing semiquavers and steady pulse help create
a peaceful atmosphere.
The cantabile marking at the start ('in a singing style') gives
a good guide to the importance of the melody in this piece
- the notes are marked by the stems that go upwards in the
right hand. You might like to think of the piece as a song
without words, and perhaps even try singing it to help with
the phrasing! Keeping the top of the right-hand-as /egafo as
possible will help project the tune with a singing tone, rather
than relying solely on the sustaining pedalto play smoothly.
Although the metronome mark and tempo indication aren't
particularly slow, it might also be helpf ul to think of the overall
pulse as being one dotted crotchet beat per bar. Certainly if
you were rocking a baby to sleep to this music, you'd want to
use that as your pulse, not the quavers! You can take plenty
of time at the two bars marked ral/., remembering that the
quintuplet in bar 15 is marked dolce ('sweetly' or 'softly')
- perhaps think of it being rather wistful or thoughtful in
charactel rather than in any sense fast or virtuosic.
You might like to listen to some other lullabies or cradle songs
while preparing this piece. Perhaps the most famous example,
and one of the most beautiful, is Brahms' 'Cradle Song'.
StiFe TrSumerei / Tchaikovskv Page 15
Romantic
Multiple voices in the left hand
Melody alternates between hands
Following the example of other composers such as Robert
Schumann, Tchaikovsky wrote an album of short piano
pieces specifically for young performers: Kinderalbum or
Album for the Younq was completed in 1878.
As the title suggests, 'Sweet Reverie' has a dream-like quality
with a rocking motion in the left hand. Rather than thinking
about each note separately, the piece has a continuous,
smooth and /egafo sound. The romantic qualities of the
piece come f rom generous and gradual phrases - you could
imagine breathing during a deep sleep. You might even want
to move your body and allow your own breathing to reflect
the lulling pattern of the music.
The pedalling is at the performer's discretion. lf used, this
technique can support the phrasing but take care not to
allow the pedalling to create a muddy sound. Controlling and
adjusting the tempo will also help to emphasise moments of
tension and relaxation. For example, at the end of sections
there is the option to slow down slightly, such as over bars
23-24,31-32 and 47-48.lssues of tempo and pedalling can
also be discussed with your teacher.
You could listen to different recordings of this piece and
others by Tchaikovsky to find your own approach.
Pantalon/Beacr :=:
Staccato
Comping in the left hand
Melody exchanges between hands
Amy Beach was an American composer anc : tr^ :. ;-,
the first successful American female composer .' .- -'=-
music. She wrote Younq Peop/e s Carnival in 189i , ^ : -
six pieces all to do with European pantomimes.
This piece musically depicts 'Pantalon', an amusinq .' .'. -'
deriving from the ltalian Commedia dell'arte. The or :l^=
1894 edition simply states that the tempo is Alleqro. ;,-
there is some flexibility with the speed of this piece, ii s -,=
if it does not drag, in order to convey the lighter, comic=
tone of the oiece.
Amy Beach is believed to have had small hands, so do
not worry if your left hand has to jump around a bit in a
'comping' style, as this would have been the case for her i:
This motion might even help you embody the jollity of the
work. Depending on hand size and comfort, an alternative
fingering would be to use finger 5 (right hand) on the thirc
quaver of bar 5 and finger 4 on the first quaver of bar 6, ar:
follow this pattern when this phrase is repeated.
Paaa
Sports Car / McCabe 21
Broken chords in left hand
I nnn nhr:coc
Syncopation
'Sports Car' is written by the British composer and pianist
John McCabe, who has written in pretty much every genre
there is. Much of his music uses repeating patterns to
achieve continuity and drive.
This piece has a perpetual sense of motion, resulting in
a driving, smooth and continuous sound. The repeating
patterns in the left hand could depict the road undernea-:
this sports car and the constantly changing landscape.
The balance between hands is one of the trickier aspec
this piece. The score indicates the left-hand part shou
played sfaccafo throughout, resulting in a sense of drl
you might not want these to be too intrusive and taf =
'back-seat' role to the melody. lt might be a gooo ic:,
make an exercise out of playing the left and righi--.- -
separately to help build independence between ti:- -
is a car horn sound over bars 35-42 and you cori : -- -
place a slight accent on these off-beat clusters r: :--:
the fun character. Above all. vou are encourar=: :- -:
enjoy the ride!
Large Wave / Pam Wedgwood
Ar:hocnrro iovf rrro
Ilco nf froo fomnn
Playing in high registers
'l aroe Wave'is hv the ts- .':- :t^- _ .:
Wedgwood. Much of i-:T -- -. - : - .
ttctt:llvelocerint': r -:
^
 Ca:s;u cc',:tilE,s impo:rant tnro.Jgnout,,,,,ith so lrani, cf._
beat notes and syncopated rhythms. The middle section of

your touch and sound to achieve a nice resonance

under

March of the Roman Legionaries / Gerou i Page 26

Typhoon / petot
Contemporary Page 32
Rhythmic precision
Contemporary jazz
Ternary form (ABA)
Changing time signatures
The constant, rhythmic tramp of Roman soldiers on Expression
the
march is portrayed in this characterf ul piece by American
composer and piano teacher Tom Gerou. There,s a f lavour
of Grieg's 'ln the Hall of the Mountain King' in the menacing
tread of this piece, and the direction to pliy ,with sarcasm,
offers scope for interpretation and musical shaping.

Accurate tempo and rhythmic precision are important

in
creating and maintaining the narrative of the music. Be
sure to articulate the notes as marked as the changes
in
articulation give the music forward-drive and character.
Crisp sfaccafo, using a ,plucked' f inger motion and strono
upward lift out of the keyboard, and percussive accents
where marked will enhance the drama of the music.

Notice how the dynamic level rncreases gradually, rising nands, and try to create the impression of one hand playing.
to forfe in bar 19, to create the impression of the army
At bar 1'l the time signature changes, with the direction to
getting closer. Now they are visible in all their
regalia, metre through the I passages. Here,
marching through the town, and the middle B section needs
a confident, fuil sound to portray this. While the ft-hand notes and the descending
left hand e right create a sense of urgency and
underpins the melody, the right hand has some jumps
to ng section returns.
negotiate. Make use of the rests to move the hand into
the
new position to ensure that you land on the next phrase
accurately. From bar 36, as the right hand moves up
the
registe; so the dynamic level drops and the piece ends
p,
as the legionaries' footsteps f ade into the distance.

Settle Down / Goodwirr Page 29

Jazz
Walk in the park / Fox Page 34
Syncopated rhythms
Jazz harmonies Contemporary
Syncopated rhythms
,-rerican composer Gordon Goodwin is also a musician and Expression
::r jleader, and this piece suggests
the sound of biq band
:_: magrne the right hand as a saxophone or trumpet, This appealing, cheerful piece by Gilon Fox illusrrates an
:--r-t3niod by trombones, bass and rhythm section, and
-'--:'- ,'brassy'sound, especially in the chords.
r -:,
=TS to enhance the)azz vibe of the music and
:-: ^:l the chords using the weight of your wrist some unexpectedly'crunchy, chords which are highliqhted
:: --l €specially in the accented chords. To by accents.
_-=.. , :--^ :ne chords carefully so that both
: :- I ::- . ^:,,, :heir shape and sound.
Don't be alarmed by the 6 time signature. This is the
compound time equivalent of ! and here the beat is marked
by a dotted crotchet. The music moves forward with a
'relaxed swagger' and eareful counting will ensure the off-
beat notes come in at the right time.

In the middle section, the left-hand accompaniment becomes

more bluesy in style - you may wish to give these notes
greater weight (imagine the resonant sound of a double bass
player plucking those left-hand notes) as they add colour
and interest especially where the right hand has sustained
chords. The piece combines legato and sfaccafo articulation
so bring plenty of contrast to each. Equally, dynamics should
be well-defined as these enhance the character of the oiece.

Authors: Martin Ford, owen Barton .nJrrun.., Wilson

5
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no. 221 from Fitzwilliam Virqinal Book

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 Valse sentimentale
op. 50 no. 13
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(1797-1828)

Waltz ): c.132

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 Berceuse
no.7 from 18 Characteristic Sfudies, op. 109

Friedrich Burgmriller
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Andantino con moto .l:88
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no.2l from Kinderalbum, op. 39

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 Exercises

la. Ggntlg Wavgs - tone, balance and voicing

Expressively ).: c.60

senza9d. fab t

1b. Dancing Shoes - tone, balance and voicing

Rhythmical and carefree J = 100

5 5 | 2 4 2 1 I t4

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 2a. Joining the DotS - co-or-oination
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39
 Scales and arpeggios
Tne fingering given in this book is offered as a recommendation
only. Any other logical system of fingering is
acceptable provided that it is consistent and allows an even execution
of irre requirements.

Please note that the recommended speeds are a guide

to what can be expected at each level. For the purposes
of fulfilling exam criteria, accuracy, fluency and evenness of touch
and tone should be regarded as equally
important aspects of technical competence.

1. Scales (from memory) - Examiners select from the following:

Db and B major

Bb and G{ minor (candidate,s choice of either

harmonic
or melodic minor) leqato or
G harmonic minor contrary motion scale mtn. staccato
J=110 .f orp IWO OCtaVeS hands together
Chromatic scale in similar motion starting on Db

Chromatic scale in contrary motion, left hand starting on C and

riqht hand starting on E leqato only
2. Arpeggios (from memory, in similar motion) - Examiners select from the followinq:
Db and B major

Bb and G{ minor mtn. teqarc or

Diminished 7th starting on
)=90 "f orp sfaccafo
IWO OCtaVeS hands together
B

Db major scale

Db major arpeggio (two octaves)

3 major scale (two octaves)

l'- t I 31

14
 B major arpeggio (two octaves)

Bb minor scale: harmonic (two octaves)

Bb minor scale: melodic (two ootaves)

Bb minor arpeggio (two octaves)

^12 J

Gf, minor scale: harmonic (two octaves)

41
 3i mi,nor scale: melodic (two octaves)

G: minor arpeggio (two octaves)

G minor scale: harmonic, contrary motion (two octaves)

Diminished 7th starting on B (two octaves)

Chromatic scale in similar motion starting on Db (two octaves)

.t )e '1. )Q '-2- e

Chromatic scale in contrary motion starting on C and E,leqato only (two octaves)
 ':
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Audio tracklist Recording credits

1 Corante Pianists: lrina Lyakhovskaya (tracks 1,3, 4),

2 Allegro Yulia chaplina (tracks 2, B),

3 Valse sentimentale Pamela Lidiard ftracks5-7,1e-27),
4 Berceuse Linda Nottingham (tracks e,11,12),
Peter wild (tracks lo' 13-18)
5 suBe Trdumerei (sweet Reverie)
6 PantalOn Tracks l-4, B-12,19-27i
7 Soorts Car Recording producers: Ken Blair, Sebastian Forbes
I Large Wave Recording engineer: Will Anderson
9 March of the Roman Leoionaires Audio editors: Charlie Hembrow, Will Anderson,
Ken Blair
10 setile Down
11 Typhoon Tracks 1-4, 8-12:
12 Walk in the Park Recorded at All Saints' Church, East Finchley,
London' January 2020
13 Exercise la - Genile waves Piano tuner: Nioel Polmear, Steinwav & Sons
14 Exercise 1b - Dancing Shoes
15 Exercise 2a - Joining the Dots rracksle-27:
Recorded at Snape Maltings, suffolk, January 2017
16 Exercise 2b - Topsy-turvy Piano tuner: Graham cooke
17 Exercise 3a - Village Hop
18 Exercise 3b - BroadwaV rracksl3-18:
Recorded by Oli Middleton at Real World Studios,
19 ebook - Andante in A majo6 Hob | 53:ll Februarv 2O2O
20 ebook - Scherzando Audio editor: Charlie Hembrow
21 ebook - There Sleeps Titania rrack 5-7:
22 ebook - Andantino Recorded and engineered by Mark Rogers at
23 ebook _ Blues for Beth The Menuhin Hall
24 ebook - circus Theme
25 ebook - And Now Let,s Handel A bmp production for Trinity College London Press
26 ebook - A Walk at Strumble Head bmp-recording.co.uk
27 ebook - All ls Calm

Piano2021-2023 Grade 5 (ext) ISBN 978-0-85736-933-8

TCL 020567
lsBN 978-0-85736-933-B