TRINITY COLLEGE LONDON PRESS OI PIANO 12 pieces plus exercises for Trinity College London exams 2021-2023 Now with performance notes GRADE IsaN 972-+8008+-0777 Published by Trinity College London Press Lis Registered in Enoand Company no. 09726123 Copyright © 2020 Tinty College London Press Li This impression hugust 2020 Cover photograph courtesy of Stinway & Sons Unauthorised filesharing i illegal No pat of tis digital publication maybe copie, printed or reproduced in any form or by any means except as specticalypermited in writing by the pubsher ‘or as allowed under the terme and conditions under which it was purchased Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1994@gmail.com) Order: 7444Contents Performance note 2 Clarke King Wiliams March, 5 Handel, ed, Wild Passepied in C major, HWV 559. 6 Turk Aioso (from Kiavierschule) 7 Holland Donkey Trot 8 Norton Walking Together 9 Terzibaschitsch Last Waltz 10 Bober h Mo e Yandel Pirate Stomp Tanner The Croc That Swallowed a Clock Hawthorn & Space Walk Rag 16 Hall & Drayton The Very Vicious Velociraptor 7 Pittarello Viking Vi 18 Exercises 20 Scales and broken chords . 2 other video and onine * The duet part in ‘Last Waltz’ must be performed in the exam by the teacher, another adult or another pupil but may not be pre-recorded. Metronome markings are given as a useful guide and are not definitive. 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 dal segno 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. ion can also be used for Trinity's Digital Grades and Diplomas. Please check trinitycollege.com/dad for more details. Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1994@gmail.com) Order: 7444Performance notes King Wiliams March / Clarke Page 5 Baroque Shifts of hand position Legato and stacato playing ‘The King Willa mentioned inthe ttle ofthis piece is Wiliam of Orange, who became King of England in 1689. As you'd expect for a march written for aking, tis stately and majestic. Although we're playing it onthe piano, imagine this played fn a trumpet, perhaps asa fanfare forthe arrival of King Wiliam. The staccato opening helps to give a clear sense of "hythm and ths folows into the fegato quaverstoo, which YOU might ike to think of as quite deliberate and important ~ they're certainly not ina hurry There are also some large intervals inthis piece in both hands, which need careful negotiation, particularly when the hand postion changes as well The right-hand shifts in bars 2 and 6 are good examples, ands worth thinking about shortening the frst note of these bars slighty to give you the time you need to move. Its better that way than risking any danger of being late forthe next note and interrupting the march rhythm, Jeremiah Clarke's mast famous piece i the Prince of Denmark’ March, whichis very similar in style to "King William's March. See if you can find a recording for solo trumpet, perhaps with organ accompaniment, to give you 8 sense ofthe majestic style ofthis music Passepied in C major / Handel Page 6 Baroque Upbeats Dialogue between the hands | Passepied i a dance movement, withthe tt translating literally as 'pass-oot. Originally lively folk dance from Brittany, by Honcel's day it had become a more refined courtly dance. ‘As with all Passepieds, tis piece begins with an upbeat and each time you come across another one, atthe end of bars 2,6, 8 and 10), it might be useful to think of them tke springboard, iting you onto the fist beat ofthe next ba This fits nicely with the dance feel - the upbeats are perhaps wire you have a foot inthe air or crossed over as inthe criginal Passepied dance), and the downbeats are where both feet are on the floor You could try it out yourself Notice that where the upbeat and downbeat are on the same pitch inthe second half of the piece, the suggested fingering Isaifferent forthe two notes o help give that lifted and buoyant eect. ‘The second hal ofthe piece also contains some ‘conversation’ between the hands, withthe right-hand ‘melody in bar 7 copied by the left hand in bar 8, and then the same eect happens again in bars 9 and 10. The second time, the notes in bath hands have moved up (an ascending sequence), and tis helpfully coincides withthe crescendo ‘marking ~ you might lke to think of the conversation between the hands becoming sightly more argumentative at this point! It would be worth listening to some other dance movements by Handel when you are learning this piece:try a movement ‘or two from the Music forthe Royal Fireworks or the Water ‘Music, ome of his mast famous campasitons. Aioso/ Turk Page? Classical Projection of right-hand melody Phrasing ‘Arioso refers to piece thats vocal in style ~ written ina similar way to a song. inthis piece, you might ike to think ofthe right hand asa singer, with its beautiful and expressive melody. Although the right hand takes the lead, i's important not to neglect the left hand too much ~ for example, when there {are long restsin the second and fourth lines make sure that you're prepared early forthe left hand to come back in. You want to avoida last-second scramble to find the right note! ‘also worth spending abt of time thinking about the ends (of phrases in his pece. Except forthe very end ofthe piece, each phrase finishes with two slurred notes ~ aim for the first one tobe sightiy emphasised, and the second one to be softer This fits in well with each phrase being rather Tike {an arch, getting ite louder as you approach the middle, ‘and then gradually softening as you get to the end I's often helpful to think of phrases as musical sentences = you could try to pinpoin the most important note in each phrase, as YoU might highlight an important word in a sentence. Perhaps the most weltknown Aviso is by Johann Sebastian Bach from Cantata 156, Have alisten and see wnat similarities you can hear. Donkey Trot / Holland Page @ Character piece Variety o articulation Use of sustaining pedal ‘The ‘donkey/strot'in this piece can be heard in the ett hand, andis on the go for most ofthe piece. Once the trotting finishes near the end, you might like to think of the last two chords as adstant echo of a donkey's hee-haw’ [At the beginning, it's @ good idea to write @ reminder to put your foot on the sustaining pedal, just so you're ready for wien i's needed, even though thats not unl the last four bars ofthe piece! t's also perhaps worth thinking ahead to the hardest part ofthe piece ~ maybe bars T-18 ~ so 2 Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1994@gmail.com) Order: 7444that you have that in mind when setting the tempo at the ‘pening. The indication ‘non legato’ applies mostly tothe let, hand, and means the notes can be slightly separated, aithough not as much as staccato. There ae plenty of differen articulations and playing indications, andi really brings the peceto if you can incorporate these. n the right hand in frst ba you might lke t think of springing lightly up off the first noe (staccafo) and then landing a ite ‘more firmly on the second note to give tthe sight emphasis that's marked. Bars 14416 have an unusual combination of dynamics ‘marked, andi’ probably easiest to think of each ofthese. bars starting progressively louder, but with the end of each bar slightly softer than the start. In bars 7-1, the eft hand jumps up to play the € flat inthe chord, The different directions ofthe stems indicate that both hands are involved, 50 the three notes go down together, despite looking ite separated on the page. Fora rather more energetic donkey, definitely galloping not trotting, have a listen to "Wild Donkeys’ from Camille Saint Satins’ Carnival ofthe Animals. The donkeys gatop so fast that the piece is lss than a minute long! Walking Together / Norton Page 9 Equality between both hands Long, flowing phrases Expressive dynamics “Walking Together’ comes from Christopher Norton's ‘Microjazz series which cavers many instruments. These pieces blend together lts of diferent musical styles, including Classical, Jaz, Rock and Pop. According tothe composes the performer shoud aim for ‘absolute togetherness’ wit this piece. You might want to play this towards the higher end of te given tempo range, which willnelp achieve the sense of flow and ‘moving together. ‘The left hand should take the reins ofthe melody nto bar 9, athe ight hand accompanies witha short, punchy rythm Making the most of the crescendo in bar 8 wil make this exchange more cbvious. Have listen to Christopher Norton's other pieces ~he has his own YouTube channel Last Waltz (duet) / Terzibaschitseh Page 10 Melody and accompaniment over four hands ‘Candidate part spans both hands Both performers share the lead ‘The Waltz sa very famous dance style between two people. This piece therefore has a dance-tke feel tot, with the Gistinctve ‘umpa-pat rhythm common to every waltz “Last Waltz’ has a slightly sad qual toi, being in a minor key. Perhaps thisis about two people sharing alast dance before departing and not seeing each other for along time, Performers could therefore emphasis the romantic, expressive parts ofthis duet, especialy the rising and falin in dynamics in bars 3-4 and bars 11-12. You may wish tobe generous with these crescendos and diminuendos, ‘and paying attention to them inthis way will help bring a yearning quay. Let the duet part take over during bars 17-24, where they have the melody, while the canidate ‘poms’ away with short chords. You wil need to listen carefully tothe duet part especialy when the music stows down over bars 23-24, before you tae the lead again in bar 2. The music gets slower over the final two bars, but you gt to decide how siow it gets. Siowing down graduelly wil hep paint the picture of this sad dance, Stealth Mode /Bober Page 12 Crossing hands Staccato Switching cles inthe let hand Like many of Melody Bober's pieces, ‘Stealth Mode’ introduces certain techniques of piano playing. This piece features sneaty, short notes and sleight ofthe (eft) hana ‘The short, staccato notes are important in making this piece sound stealthy ~ perhaps you could play as though you are walking ontig-toe... Although there are no indicated changes: In dynamic within the phrases, you may wish to accentuate the rise and fal ofeach line, as though someone is sneaking ‘around and then hiding aut of sight once again. Just ike the musi, the performer can become stealthy when the left hhand crosses over to reach the top notes. Inthe fist ine, for example, once the lft hand has played the frst chord it {sa good idea to prepare the new position ofthe left hand ‘as early as possible, while the right hand keep its position. Preparing the lft hand inthis way throughout wl help make this music sound sneaky. Pirate Stomp / Yandel Page 14 Fast tempo Accelerando ‘sea shanty style ‘Avast ye ‘Prate Stomp’ classic ‘Piratey’ music much ke "The Drunken Salo’ or The Pirates ofthe Caribbean’. The strong Sense of rhythm in sea shanties ike these came {rom the need for sailors to pull together when working ‘aboard ship. Jt lke all work songs, this piece has a strong fst beat of each bar, so you can emphasis this to create the energetic sound ofa rowdy group of pirates stomping around on their ship. The last two bars get faster and race towards {an exciting Hey on the very last note. Its a good idea to ‘work out your beginning tempo to take account of the faster tempo that will be needed atthe end. Bar 1 features a ‘sneaky’ pause just before ths exciting finish, You might want to experiment with how long you hold the last note in bar 17, making the ending as surprising and mischievous as possible! 3 Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1994@gmail.com) Order: 7444[As this piece is fast its a ood idea to keep the right-hand Position the same for each phrase and use all the fingers. For example, over bars 3-4, you could use fingers 13,4 ‘and. Try playing other pirate music such as "The Drunken Sailor ‘you could try to play it by ear as it is similar to “Pirate Stomp’ ‘The Croc That Swallowed a Clock / Tanner Page 15 Counting and rhythm Sustained notes Character Mark Tanner composes a wide variety of highly attractive music for piano students of all evel, and this appealing piece is no exception. The story ofthe crocodile that swallowed a clock comes from J M Barrie's Peter Pan, the ticking a helpful warning that the beast is approaching! This music is bursting with character, the tick of the ‘lock (and perhaps also the snap ofthe crocodil's jaws) olourtully portrayed in staccato notes/chords in both hands, Make your staccato crisp and riythmic, and absolutely in time. You might find a metronome helpful here ~ it wil certainly ive you a good sense of the ticking clock The tied ‘semibreves in bars 2,5 and 13 are easy to sustain with good fingering, leaving other fingers free to play the chords. By the time we reach bar 7, the ticking has been replaced by long smooth notes, suggesting the crocodile sliding about as, itgets closer. Make the slurred minims rally smooth here to ‘contrast with the eal staccato notes. Inthe final bar, the ‘crocodile seems tobe retreating only to reappear with aff ‘accented semibrave and a final dramatic cluster chord in the left hand tobe played witha sharp snap of sound! ‘Space Walk Rag / Hawthorn & Suschitzky Contemporary ragtime Rhythm, Hand independence Page 16 ‘Rag is ajazzy piece of music usually in duple time with strict left-hand beat and a bouncy syncopated (off beat) Fight-hand melody. The most famous piano rags were ‘composed by Scott Joplin = listen to his ‘Maple Leaf Rag’ to hear the distinctive style, syncopated rhythms and Unexpected harmonies. ‘Just asin a tractional rag, in Space Walk Rag’ the lft hhand marks the beat while the right hand plays a catchy syncopated melody, characterised by contrasting slurred (legato) and staccato nates. Dan't be tempted toswing! the quavers, especially n bars 3,7 and 15 as the swinging character ofthe music comes from the tied notes. Count ‘carefully throughout and practise hands separately to ensure the left-hand beat is secure and the right-hand melody notes ‘come in atthe right time, especially the offbeat quavers in bars 1,5, 9 and 13, Good staccato will enhance the jaunty character ofthe music ~ bounce the hand and wrist out ‘of the keyboard to create a clean, crisp sound. Although marked mf; experiment with changes in the dynamics to bring even greater character to the music. 4 Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1994@gmi ‘The Very Vicious Velociraptor / Hall & Drayton. Page 17 Hand coordination Articulation Characterisation and expression ‘This delightful piece is sure to capture the imagination of children who will enjoy its imagery and the chance to bring drama and expression to the music. ‘A velociraptor was a small, fast-moving dinosaur with crocodie-ke jaws and sharp claws, characteristics which are brillant illustrated in the music. The quaver phrases Suggest speed while the accented staccato chords represent vicious teeth and claws! ‘The quaver sequence from bars 12-14 should be shared between the hands with an accent on the first note of each ‘grouping. To keep this section flowing an dramatic, practise ‘moving the hands into the new position for each bar as soon {as one hand has finished its run of notes ~ for example, the right hand will hover over the left-hand position in bar 12 in ‘preparation for the next run of notes beginning on Bin bar ‘The drama ofthis piece comes largely from the contrasting articulation ~ the legato quaver figures suggest not only the speed of the dinosaur but also a sense of concern, while the staccato notes are the snap of is jaws. The dynamics fade towards the end, perhaps indicating thatthe velociraptor has retreated tots lair ‘Viking Village / Pittarelio Accidentals Intervals Rhythm, Page 18 ‘Acircle of huts and Vikings huddled around their campfire |s evoked in this characterful piece by young composer ‘Matthew Pittarllo. A sense of menace is suggested by the accidentals, and the Sths in the left hand in bars 5-6. ‘The notes lie comfortably under the hands in afive-inger psition and the scale patterns in bars 1! and 13 should be easy to manage. Control of dynamics is important in creating atmosphere, {rom the haunting offbeat horn call of bars 1 and 3, which 's a repeating motif inthe piece to the hairpins in bars 1-14, ‘and the crescendo in bars 15-16, whose chords and rhythm ‘suggest drums. Aim for plenty of drama to bring the story of the musi to life and give the final staccato note in the left hhand a brisk strike with ether the second or third finger to highlight the sf ‘Authors: Matin Ford, Owen Burton and Frances Wilson com) Order: 7444King William's March Jeremiah Clarke (c1era-707) March tempo J=100 q 2 gas Dg See Sf {© Copyright 2020 Tiny Calege London Press Ltd Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1994@gmall.com) Order: 7444Passepied in C major HWV 559 George rider Handel 1685-759) ‘a. eter vid Moderato -= 104 nf ‘Omit the repeats in the exam, Tri Prepared exclusively for Baraneetharan Ramanathan (baraneet! Sani UShGN er eaeEy ORUe TasArioso from Klavierschile Danie! Gottion Turk (7565813) Poco adagio += 66 nf ‘Omit the repeats in the exam, ony 2020 Jon Pres PSBSBAPRRTGRN SSE BERMES Haran Ramanathan (baraneetharanr1894@gmall.com) Order: 7444Donkey Trot Dulele Holland (1913-2000) Ata gently trotting pace If nom legato | EMI Music Publishing Austra Py Ltd Used 8 Permission Al RightsReserved, Unoutharised Reproduction i esa Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr 1S04@gmall com} Order 7.Walking Together (Christopher Norton (b.1953) a tempo Composer's metronome mark 4.= 60 Conyriant © 1990 By Boosey & Hawkes Muse Publishers Lt, Reproduced by permission o Boosey & Hawkes Music Pubisers Lt. Brepared excusively or Baraneeinaran Ramanathan (oaranestharanrts04@ghnall com) Order: 7444Last Waltz (duet part) Anne Terzibascitsch (0.1955) it. tempo 10 Copyright © by MsiveragHoeschuh Nanching Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1994@gmail.com) Order: 7444Last Waltz (candidate's part) Anne Terzibascitsch (0.1955) Andante oy rit, atempo Copyriat © by Musivetag Hozscuh Mancing Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1994@gmail.com) Order: 7444Stealth Mode Melody Bober (0.1955) {tom Solo Xtreme, Book 2 @ 2017 ALFRED MUSIC Al RightsReserved, Used by Permission Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1Sad¢@gimall com) Order: 7444bh l 3 Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1994@gmail.com) Order: 7444Pirate Stomp Naomi Yandel (b.196 ‘With lots of energy /= 144 nf . sneakily accel. al fine —- ‘OF f 4 {© Copyright 2020 Try College London Press Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1994@gmail.com) Order: 7444The Croc That Swallowed a Clock Pretty snappy 4= 120 ew OY (cluster chord!) {© 2016 Spartan Press Music Publishers Lt, Unit 28 Station Road, Scottish Highlands, PH2t TER UK Prepared excusWvely for Baraneeiharan Ramanathan (oarangetharanr1904@gmall.com) Order: 744Space Walk Rag Philip Hawthorn & Anya Suschitzky Reproduced from The Usborne Book of Easy Piano Tunes by permission of Usborne Pubishing, 83-85 Saffron Hil, London ECIN RT, UK 16 ‘warmusbornecom. Conyiht ©1989 Usborne Pushing Lt. Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1994@gmail.com) Order: 7444The Very Vicious Velociraptor Pauline Hall & Paul Drayton (1924-2015/0.1944) Very fast and snappy /=72-84 oo trom Prehistoric Pano Time by Pauline Hall @ Oxtoré Univesity Press 1996 Reproduced by permission Al gts reserved Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1994@gmall.com) Order: 7444Viking Village “eon Vivacious! 4= 132 1 Omit the repeat in the exam. © Coprih,2020 rity Coleg London Press td Prepared exclusively or Baraneetharan Ramanathan (baraneetharanisua¢@ogimall com) Order. 7444rit, tempo 19 Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1994@gmail.com) Order: 7444Exercises ta. Sunny Afternoon - tone, balance and voicing Boldly 4=<90 1b. Good Morning - tone, balance and voicing Andante 4044 | 2a. Walk and Whistle - co-ordination Brightly 2.100 : nf 2b. Country Estate - co-ordination Andante « : — 20 © Copyright 2020 Tint Colege London Pres Ls Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1994@gmail.com) Order: 74443a. Thoughtful Mood Wistfully = 044 Finger & wrist strength and flexibility 3b. At the Market - tinger & wrist strength and flexi Allegretto 1=94 lity f © copyright 2020 Tiny Cotege London ress Lia Prepared exclusively or Baraneetharan Ramanathan (baraneetharanr1994@gmail.com) Order: 7444Scales and broken chords 1. Seales (rom memory) ~ Examiners select from the folowing: Fendi and minor candidates choke atherharmonicormeleicar |, << suet mean me | we | esto | creoctie Geant nearer maon ring nD . ands Emre atin 2. Broken chords (om memory) = Examines selec rom the folowing — | ms, wy | eto | orecctave | hands seprately 7 ae Please note that the recommended speeds are a guide to what can be expected at each level. For the purposes of fulfiling exam criteria, accuracy, fluency and evenness of touch and tone should be regarded as equally important aspects of technical competence. 2 Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1994@gmail.com) Order: 7444Publications available from trinitycollege.com/shop or your local music retailer NEW Sight Reading Pian em BANS Trinity College London Press is proud to announce a new = progressive sight reading method, available late 2020. a Ten lessons per grade each lead step-by-step to a duet *) to read from sight with the teacher, to encourage the development of ensemble sight reading skills ~ whilst this s not required in grade exams, itis vita in building confidence in int reading. luicrde2 Tomes © SIMTTB.DESTIESES Grases 8 — TOLORO502 © WBNSTBOBSTIS9ZFT Specimen tests are included at the end of each grade, offering a wealth of practice opportunity and making this a truly comprehensive package: everything you need to prepare for the sight reading test in your exam, Raise LE Taira) Raise the Bar is an invaluable collection of graded pieces, enhanced Each book contains an attractive and varied selection that will help pianists expand their repertoire and discover more music from different styles and periods. Pieces from all grades are listed on the Trinity Piano syllabuses for 2018-2020 and 2021-2023, Intit-orage 2 Grades 35 Grates 6-8 ToLoware TeLosse9 ToL 015995, ISBN Se o-85736-4520 ISBNSTE-O8ST36-4987 ISBN STE-O-ESTa6-a544 Pieces by Anne Terzibaschitsch for beginner and intermediate pianists, weaving storytelling with music through the use of programmatic text, imaginative titles and lvely illustrations. Sola Book? Sola Book 2 Duet Book Duet Book 2 TeLOIs34 TeLoisaat TeLOI58 TeL O35 ISBNSTEO-05736-4899, 'SBN9780-05736-499-0 'SN 9780-05736-450-6 |SBN9T80-05736-2513 23 Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1994@gmail.com) Order: 7444Publications available from trinitycollege.com/shop or your local music retailer NEW Piano Exam Pieces Plus Exercises 2021-2023 | Extended Ed 21 exam pieces: 2 in the printed book plus nine included as a downloadable ebook Performance notes for all 2 pieces New technical exercises Scales and arpeggios Downloadable audio forall 21 pieces The new Extended Edition of Trinity's graded exam books for Piano provides the candidate with a much treater choice of repertoire than ever before with i2 Wil, ‘Law, stusrBogsriggz pieces in the book and nine more in a downloadable Grade 2 ‘TCL 020536 ISBN 978-0-85736-9307 book, Each book hasbeen compiled and-edtedby. wse3—TeLOxobaa_—_(sosTBOsHIGoa4 Lili ‘educators and contains pieces from foes er aeae ea ees eae 1ge of styles and periods, alongwith new GradeS TCL GROS67 ISBN 7TE 088796 939-8 technical work exercises, Gece? Yeeaosn —mvoteceseans2 cme Tae Eoreeesneanes Performance notes are included for al 21 pieces, and duets are included up to Grade 3. For the first time, the scales and arpeggios for the grade are included in the {graded exam book (Extended Edition only). Downloadable demo recordings are included along with separate part recordings for the duets, although separate CDs are available to purchase for those who prefer. NEW Piano Exam Pieces Plus Exercises 2021-2023 ‘2 exam pieces Performance notes New technical exercises Graded books for Piano exams in 2021-2023. Each book has been compiled and edited by leading piano educators and contains 12 pieces from across a range of styles and periods, along with new technical work exercises. Performance notes are included for all 12 pieces in the book, and duets are included up to at Ss See bees Grade ‘TCLO@O245 © «ISENGTE-DESTIENIS- 7 Grade2 —«‘TeLoam@ss—«SeNGTE-DaSTaEaIE; Grade3 -‘TeL00260 © ISENSTE-OASTIE TT Separate CDs are available to purchase, containing fyeq—feLostsw? «RENO ORSTSESIOS ‘demo recordings of all pieces and exercises in the Grades TCLOZ0ze4——ISENSTE-DaSTIE IZ above Extended Edition, along with separate part Gave TeLoams,sevsrecasra6sz08 Recorciygstortnaduct=t Grades TCLOZOBI_—_ISBNSTB-DaSTIES222 tek Pera eee) Piano Scales & Arpeggios {An alternative to the audio included with Valid for the 2021-2023 syllabus. the Extended Ecition, Init ToLoaIoa ss BNSTBO-RSTI697I2 Grade TCLoIO4S-——SBNTE-OASTICgTES Grade2 ‘TCLOMIOS2 ©—«—SENSTE-OASTIGgTI-G Grade3 —‘TCLO2I069—_ISBN975-0-857369802 Grades ‘TCLO2IO7G © «SENGTE-DaST3G98-9 Grades ‘TCLOZIO83 © «ISENSTE-OASTIG9E26 Grade6 —‘TCLOZ0I0-«SENSTEOESTI69E Grade7 —-‘TCLOZTIN6~—ISBNS7B-0897369840 Grade@ —‘TCLogNIa«—‘GENG7A-O-8S7369857 Intla-CredeS TCLOWSE2 —IGENSTe-OESTRE3442 Gradese@ TCLOWI99 —ISBNSTE-OEST3ER059 24 Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1994@gmail.com) Order: 7444Publications available from trinitycollege.com/shop or your local music retailer Bitola Rel MR Nols LeLe} eiccela i} rade Te 006509 isan 97@-0-85736:0007 Grade 2 T6 006516 ISBNS978-0-85736-0014 Grade 3 16006823 ISBN972-0-857360024 Grade 4 76006520 Isen972-0-85736-003-8 Grades Te006sa7 ISBN97E-0-85736-00¢5, Grade 6 Te 007876 1SBN978-0857360052 Grade 7 Teoo7e3 Iseng7e-0-85736-0069 Grade 8 Te007s80 ISBN978-0857360076 Aural Tests from 2017 ‘Aural Test books for Trinity exams Grades 1-8 ~ includes CD Book (nitis-crades) TCLOISSO8 ——SBNSTB-OaSTIESI6-4 Book2(Gredes 6-8) TCLOISSIS——_—ISBNSTB-0 897965961 Student Practice Notebook A diary (in AS format) for instrumental and singing teachers to record student progress and set goals. Also useful for parents guiding their child's practice. Includes termly evaluation sheets, Useful hints and advice on practising, top tips on preparing for exams, and essential theory. TeLo1sa10 \senove-c-asreaar6 ‘AHandbook of Musical Knowledge TCLOOISI _ISBNS78-0:85736-0151 The Music Teacher's Handbook TCLON6O2-—_‘1S8NO571525307 Keyboaré Musilanshp Book TeLsT002 Is8N978-0-85736-0108 Keyboard Musianshp Book 2 TCL61B0091S8NS75-0.5736.013, Getting Started Series japan Composition ToLome ——ssN0s7152236x Theory TeLomoé ——SBNOSTISRWSS ‘Aural book & CD) TeLons = sNOSTISZIITY Keyboard Musicinship TCL ON88—ISBNOSTIS2063, 25 Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1994@gmail.com) Order: 7444