Woodwind Spec Online 20-03-2023

CHAMINADE
HILLIARD
HINDEMITH
WOODWIND PERINPANAYAGAM
SYLLABUS MCDOWALL
VENUGOPAL
Face-to-face assessment
Flute TELEMANN
Clarinet
Oboe
SUTHERLAND
Bassoon BERNSTEIN
Saxophone
Recorder YARISON
Qualification specifications SADOH
for graded exams from
November 2022 BHACHU
POULENC
ANAND
PIAZZOLLA
BURRELL
MOZART
GERSHWIN
HANDEL
LI
WOODWIND SYLLABUS
Face-to-face assessment
Flute | Clarinet | Oboe | Bassoon | Saxophone | Recorder
Qualification specifications
for graded exams from November 2022
Charity number England & Wales: 1014792

Charity number Scotland: SC049143
Patron: HRH The Duke of Kent KG
trinitycollege.com
Copyright © 2022 Trinity College London
Published by Trinity College London
Online Edition, January 2023
Contents
3 / Welcome
4 / Introduction to Trinity’s graded music exams
9 / Learning outcomes and assessment criteria
11 / About the exam
15 / Pieces
20 / Technical work
22 / Supporting tests
36 / Marking
44 / Flute
62 / Clarinet
80 / Oboe
96 / Bassoon
112 / Saxophone
128 / Recorder
152 / Policies
154 / Trinity publications
156 / Articulation for scales and arpeggios
158 / Woodwind 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 Woodwind Syllabus for face-to-face exams, containing
details of graded exams from Initial to Grade 8. It offers the choice and flexibility to allow
woodwind players to perform to their strengths, enabling them to gain recognition for their own
unique skills as performers.
Extensive and varied repertoire including newly published pieces and specially commissioned
works by composers from all over the world
Brand new books for flute and clarinet with a minimum of 12 pieces per grade, including
popular classics, folk tunes and music from stage and screen
Combined classical and jazz repertoire options for the first time for flute, clarinet and
saxophone, allowing candidates to move fluidly between the lists
Ever-expanding repertoire as we introduce an ongoing programme of new pieces, removing the
syllabus end date
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.
DIGITAL ASSESSMENT: DIGITAL GRADES AND DIPLOMAS
To provide even more choice and flexibility in how Trinity’s regulated qualifications can be
achieved, digital assessment is available for all our Classical & Jazz and Rock & Pop graded
exams, as well as for ATCL and LTCL music performance diplomas. This enables candidates to
record their exam at a place and time of their choice and then submit the video recording via
our online platform to be assessed by our expert examiners. The exams have the same academic
rigour as our face-to-face exams, and candidates gain full recognition for their achievements,
with the same certificate and UCAS points awarded as for the face-to-face exams.
Find out more at trinitycollege.com/dgd
ABOUT TRINITY COLLEGE LONDON

Trinity College London is a leading internationally recognised awarding organisation and
independent education charity that has been providing assessments around the world since 1872.
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 REPERTOIRE
Trinity’s graded music exams provide a Trinity will make every effort to ensure that
structured yet flexible framework for progress, the pieces listed for each grade remain valid
which enables learners to demonstrate their own for the life of this syllabus. However, we
musical personality and promotes enjoyment reserve the right to change or add pieces. For
in music performance. the latest information go to trinitycollege.com/
woodwind
The exams assess performance, technical
ability and responses to set musical tests ASSESSMENT AND MARKING
through face-to-face practical assessment.
Trinity’s graded music exams are assessed by
They offer learners of any age the opportunity
external examiners trained and moderated
to measure their development as performers
by Trinity. Examiners provide marks and
against a series of internationally understood
comments for each component of the exam
benchmarks, taking them from beginner
using the assessment criteria on pages 38-43.
level to the point where they can progress
to higher education in music, or enter for The exams are marked out of 100. Candidates’
Trinity’s performance diplomas. results correspond to different attainment
levels as follows:
WHO THE QUALIFICATIONS ARE FOR
Trinity’s graded music exams are open to all Mark Attainment level
learners, with no age restrictions or other
87–100 DISTINCTION
limitations. There is no requirement to have
passed lower grades, theory exams or other 75–86 MERIT
qualifications, although the grades represent
60–74 PASS
a system of progressive mastery and the
outcomes for each level assume confidence 45–59 BELOW PASS 1
in the requirements of previous grades.
0–44 BELOW PASS 2
Repertoire selection and other exam content
is designed to appeal to learners of all ages See pages 36-43 for further information about
and backgrounds, reflecting the diversity how the exams are marked.
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 Total qualification time

(GLH) hours (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

COULD LEAD
Trinity College London is an international
exam board regulated by Ofqual (Office of While for some learners graded music exams
Qualifications and Examinations Regulation) represent a personal goal or objective, they can
in England, CCEA Regulation in Northern also be used as a progression route towards:
Ireland and by Qualifications Wales. Various
◗ Diplomas in performing and teaching
arrangements are in place with governmental
offered by Trinity or by other awarding
education authorities worldwide.
organisations
In the UK, Grades 6–8 are eligible for UCAS ◗ Music courses at conservatoires 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 progress
at trinitycollege.com/worldwide, and to diplomas at Associate (ATCL), Licentiate
candidates should contact their local (LTCL) and Fellowship (FTCL) levels. These
Trinity representative for more information. assess professional skills in performance,
Alternatively, in the UK, schools and private teaching and theory. Find out more at
teachers with sufficient candidates may apply trinitycollege.com/music-diplomas
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
TRINITY QUALIFICATIONS THAT Music Educators (Trinity CME). Find out more
COMPLEMENT THE WOODWIND at trinitycollege.com/CME
QUALIFICATIONS
We also offer:
Trinity’s music qualifications offer flexible
◗ Graded, certificate and diploma
progression routes from beginner to
qualifications in drama subjects
advanced levels in a range of musical styles.
All are designed to help candidates develop ◗ English language qualifications
as musicians according to their individual ◗ Teaching English qualifications
needs as learners.
◗ Arts Award (only available in certain
Graded music exams assess a broad range countries)
of musicianship skills, including performance,
Specifications for all these qualifications
while certificate exams focus entirely on
can be downloaded from trinitycollege.com
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 more information about theory exams
at trinitycollege.com/theory
6
REGULATED LEVELS OF TRINITY’S MUSIC QUALIFICATIONS

Awards and
Music Certificates
RQF* EQF** Classical Rock Theory Performance in Musical Solo Group
Level Level & Jazz & Pop & Written Digital in Bands Development Certificates† Certificates†
7 7 FTCL
6 6 LTCL LMusTCL LTCL
ATCL AMusTCL
4 5 ATCL
Certificate for Music Educators
(Trinity CME)
Grade 8 Grade 8 Grade 8 Grade 8 Advanced Advanced
3 4 Grade 7 Grade 7 Grade 7 Grade 7 Level 6
Grade 6 Grade 6 Grade 6 Grade 6
Grade 5 Grade 5 Grade 5 Grade 5 Level 5: Intermediate Intermediate
2 3
Grade 4 Grade 4 Grade 4 Grade 4 Distinction
Grade 3 Grade 3 Grade 3 Grade 3 Foundation Foundation

Level 5:
1 2 Grade 2 Grade 2 Grade 2 Grade 2 Grade 2 Pass/
Merit
Grade 1 Grade 1 Grade 1 Grade 1 Grade 1
Entry
1 Initial Initial Initial Initial Level 4
level 3
Entry
Pre-Initial Level 3
level 2
Entry
Level 2
level 1
* 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 (Entry 3)
(Initial) 601/0812/5
Grade 1
TCL Level 1 Award in Graded Examination in Music Performance (Grade 1) 501/2042/6
Grade 2
Grade 3
Grade 4
TCL Level 2 Certificate in Graded Examination in Music Performance (Grade 4) 501/2044/X
Grade 5
TCL Level 2 Certificate in Graded Examination in Music Performance (Grade 5) 501/2045/1
Grade 6
Grade 7
Grade 8
8
Learning outcomes
Learning outcomes
and assessment criteria
INITIAL TO GRADE 3
(Initial = RQF Entry Level 3, Grades 1–3 = RQF Level 1)
LEARNING OUTCOMES ASSESSMENT CRITERIA

The learner will: The learner can:
1. 1.1 Apply skills, knowledge and understanding to

Perform music in a present performances that demonstrate careful
variety of styles set preparation, musical awareness and the beginning
for the grade of thoughtful interpretation
1.2 Perform with general security of pitch and rhythm,
and with attention given to dynamics and articulation

1.3 Maintain a reasonable sense of continuity in
performance and convey the mood of music in
a variety of styles
2. 2.1 Demonstrate familiarity with the fundamentals

Demonstrate technical of instrumental command
ability on an instrument
2.2 Demonstrate technical control and facility within
through responding to
set tasks
set technical demands
3. 3.1 Recognise and respond to simple elements of

Respond to set music in a practical context
musicianship tests
3.2 Demonstrate basic aural and musical awareness
9
Learning outcomes
GRADES 4–5
(RQF Level 2)

1. 1.1 Support their intentions in musical performance

Perform music in a
1.2 Demonstrate an understanding of music that allows
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. 2.1 Demonstrate a developing instrumental command

Demonstrate technical
2.2 Demonstrate technical control and facility within
set tasks
3. 3.1 Recognise and respond to elements of music

Respond to set in a practical context
musicianship tests
3.2 Demonstrate aural and musical awareness
GRADES 6–8
(RQF Level 3)

1. 1.1 Integrate their musical skills, knowledge and

Perform music in a understanding in performance
variety of styles set
1.2 Present secure and sustained performances that
for the grade
demonstrate some stylistic interpretation
1.3 Perform with general accuracy, technical fluency
and musical awareness to communicate musically
in a variety of styles
2. 2.1 Demonstrate instrumental command

Demonstrate technical
2.2 Demonstrate technical control across the
full compass of the instrument within set tasks
3. 3.1 Recognise and respond to musical features

Respond to set in a practical context
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 Initial-Grade 5: either A combination of two tests
worth 22 marks scales & arpeggios or from sight reading, aural,
exercises improvisation and musical
knowledge, depending on the
Grades 6-8: either
grade and candidate choice
scales & arpeggios or
orchestral extract(s)/
study
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
ONE of the following: ONE of the following:

◗ Scales & arpeggios ◗ Scales & arpeggios
◗ Exercises ◗ Orchestral extract(s) / Study
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
* At Initial, flute and clarinet candidates play scales & triads
12
About the exam
ORDER OF THE EXAM

Candidates can choose to present the sections of their exam in any order. Accompanied pieces must
be played consecutively as one section, and all technical work must be performed as one unit.
Candidates should indicate their preferred exam order on their appointment form, which is given
to examiners at the start of the exam. If no preference is indicated, examiners will ask to hear
pieces first, followed by technical work and supporting tests.
EXAM DURATIONS
Exams are designed to include sufficient time for setting up and presenting all components,
and overall durations are as follows:
Initial Grade 1 Grade 2

11 mins 13 mins 13 mins
Grade 3 Grade 4 Grade 5

Grade 6 Grade 7 Grade 8

13
About the exam
INSTRUMENTS Saxophone
◗ Candidates may take any exam using one, or
Flute any combination of, saxophones.
◗ Piccolo and alto flute may be used only where ◗ Technical work and supporting tests can be
stated in the repertoire list. offered on either Bb or Eb saxophones, at the
◗ Instruments should be played without any
candidate’s choice.
additional embouchure attachment. ◗ Plastic instruments are not permitted.
◗ Plastic instruments and instruments with
curved headjoints may be used at all grades. Recorder
However, please note that examiners use
◗ Candidates may use recorders with baroque
Trinity’s standard assessment criteria, and
fingering. Instruments using German
it is the candidate’s responsibility to ensure
fingering must not be used.
that their instrument is capable of achieving
the full range of tonal colour and dynamics ◗ Instruments pitched at A=415Hz may be used
expected for the grade. We consider them where suitable accompanying instruments
suitable for use up to and including Grade 3. are available.
◗ At Initial–Grade 5, candidates may play either
Clarinet descant or treble recorder, or a combination
of the two.
◗ Eb and bass clarinets may be used only where
stated in the repertoire list. ◗ At Grades 6–8, both descant and treble
recorders must be played.
◗ C and beginner Eb clarinets may be
used up to and including Grade 3. Piano ◗ At all grades, one piece only may be played
accompaniments will need to be transposed. on tenor, sopranino or bass recorder.
◗ Non-wooden instruments (including plastic, ◗ At Initial, the piano part may be transposed
ABS resin and hard rubber) may be used at all down a 5th and the exam taken on treble.
grades. However, please note that examiners In all other grades transposition of set
use Trinity’s standard assessment criteria, repertoire is not permitted.
and it is the candidate’s responsibility to ◗ At Initial-Grade 5, technical work and
ensure that their instrument is capable of supporting tests can be offered on either
achieving the full range of tonal colour and descant or treble recorders (except for
dynamics expected for the grade. technical work at Initial, which must be taken
on descant recorder).
Oboe
◗ At Grades 6–8, technical work must be
◗ Cor anglais may be used only where stated in taken on treble recorder. Sight reading and
the repertoire list. improvisation can be on descant or treble
recorder at the candidate’s choice.
Bassoon
TUNING
◗ Contrabassoon may be used only where
stated in the repertoire list. ◗ Candidates are responsible for tuning their
own instruments.
◗ Mini bassoons and tenoroons may be
used up to and including Grade 3. Any ◗ Up to and including Grade 5, the teacher
accompaniments will need to be transposed or accompanist may assist with tuning. At
where appropriate. Grades 6–8, candidates must tune their
instruments without assistance.
14
Pieces
Pieces
short or unless it is stated otherwise in the
repertoire list or indicated in the Trinity
published book.
◗ Candidates are not required to play cadenzas
unless stated otherwise in the repertoire list.
PIECES
◗ Candidates are encouraged to use
66 MARKS appropriate ornamentation, particularly at
Grades 6–8. Ornamentation in Trinity’s exam
publications is given as a guide. However, any
appropriate stylistic interpretation will be
accepted.
◗ All tempo and performance markings
should be observed (eg allegro, rall., cresc.).
CHOOSING PIECES Metronome marks are given as a guide but
Candidates play three pieces in their exam, as do not need to be observed exactly, as long
follows: as the style and character of the piece is
maintained.
◗ Two accompanied pieces chosen from group
A, and one unaccompanied piece chosen ◗ Candidates may perform any or all of their
from group B. pieces from memory if they wish. However,
this is not compulsory and no additional
◗ Pieces by at least two composers must be marks are given for this.
played.
◗ The use of metronomes or other
◗ At Initial–Grade 3, one of the group A pieces timekeeping assistance is not allowed.
may be a duet.
◗ Candidates may perform an own ACCOMPANIMENTS AND PAGE TURNS
composition in place of one of the listed
pieces (NB accompanied own compositions ◗ Candidates are responsible for providing
must replace a group A piece, and their own accompanists.
unaccompanied own compositions must ◗ Accompaniments must be performed as
replace the group B piece). See pages 17-18. printed, without giving additional help to
◗ Flute, clarinet and saxophone candidates candidates (for example by doubling the solo
may choose to play one piece from the line).
Jazz Woodwind syllabus in place of one of ◗ Accompaniments on instruments other than
the listed pieces. The chosen piece must be piano must be approved by Trinity before
listed for the same instrument and grade, the day of the exam. Please note that non-
and must be selected from the same group piano accompaniments can be approved
(A or B). only if musically appropriate (eg where
the published piano accompaniment is an
PERFORMANCE AND INTERPRETATION arrangement of a part written for a different
instrument). In all cases, accompaniment
◗ Candidates should prepare all pieces in full must be provided on a single instrument.
unless stated otherwise in the repertoire list. ◗ Where accompaniments feature long
◗ All da capo and dal segno instructions should introductions or endings, these should
be observed. be shortened if possible in a way that is
musically appropriate.
◗ All other repeats (including first time bars)
should not be played, unless they are very
15
Pieces
◗ Difficult page turns may be overcome by ◗ We take copyright infringement seriously

photocopying the relevant pages. A page and require candidates to ensure their music
turner may assist the accompanist at Grades comes from a legitimate source. Guidelines
6-8. are available in the UK Music Publishers
◗ Accompanists and their page turners may
Association’s Code of Fair Practice, available
only remain in the exam when required. at mpaonline.org.uk. Candidates must
comply with copyright and other intellectual
◗ Candidates may use a backing track or property laws in the country where the exam
recording of the piano accompaniment in is taking place.
exams up to and including Grade 3. From
◗ In accordance with the MPA’s Code of
Grade 4 onwards the accompaniment must
be performed live in the exam. Fair Practice, candidates must produce
original copies of all copyright pieces to be
◗ Recorded accompaniments need not be performed at the exam, even if pieces have
commercial products, but must be of a good been memorised, handwritten or typeset.
quality and must not change the difficulty Pieces where no original copy has been
of the piece (eg by including the solo provided might be awarded no marks.
part where it is not included in the piano
◗ If candidates are performing pieces not
accompaniment).
contained in Trinity’s graded exam books,
◗ Where recorded accompaniments are they will need to provide a copy as a
used, candidates must provide and operate reference for the examiner (which may be
their own playback equipment. Equipment a photocopy). Photocopies will be kept by
must produce a good sound quality at an the examiner and destroyed after the exam.
adequate volume. Contact should be made Examiners will have a copy of the repertoire
with the centre well in advance to confirm contained in Trinity’s graded flute and
the arrangements (power supply, equipment clarinet books.
insurance, etc), which must be agreed with
◗ Candidates may read from printed music or
Trinity’s local representative. All electrical
devices must comply with health and safety from a tablet or eReader.
requirements in the country where the exam ◗ Candidates may perform from downloaded
is taking place. music, either purchased or free of charge.
In the case of free downloads, pieces must
MUSIC AND COPIES have no copyright restrictions in the country
where the music is downloaded. Candidates
◗ Candidates should obtain the music for their must bring proof of purchase or details of
exam in good time before entering for the the website where it was accessed for the
exam, and they must bring it with them on examiner’s reference.
the day of the exam.
◗ Arrangements (indicated in the repertoire DUETS
lists with arr. or transc.) must be performed
from the edition listed in the repertoire list. ◗ Candidates at Initial to Grade 3 may include a
maximum of one duet in their programme.
◗ For other pieces, recommended editions are
listed in the repertoire lists, but candidates ◗ Candidates should play the upper part (unless
may perform from any reliable edition which stated otherwise in the repertoire list). The
has not been shortened or otherwise altered lower part must be performed in the exam
or simplified. Editions containing inauthentic by a teacher, another adult or student. The
performance directions are not acceptable. lower part must be played on the same
Product codes for publications are included instrument as the candidate is playing (piano
where available. accompaniment is not acceptable), and may
not be pre-recorded.
16
Pieces
OWN COMPOSITION
◗ Candidates can choose to perform their
own composition as one of their pieces.
Own compositions are assessed in the same
way as the listed repertoire. Marks are not
awarded for the quality of the composition.
◗ Own compositions must be comparable in
technical and musical demand to the pieces
listed for the same grade. Examples of
optional compositional techniques that may
be used at each level are listed on page 18.
◗ Own compositions may be accompanied
or unaccompanied. Accompanied own
compositions must replace a group A piece,
and unaccompanied own compositions must
replace the group B piece.
◗ A typeset or handwritten copy of the
composition must be given to the examiner
at the beginning of the exam. At Initial to
Grade 5, own compositions may be notated
in any easily readable form, including graphic
score or lead-sheet. At Grades 6-8 they must
be notated on a stave. Marks will be deducted
if notation is incomplete or inaccurate, or if
the performance varies significantly from the
notation.
◗ Own compositions should be candidates’ own
unaided work, although teachers may offer
guidance as necessary.
17
Pieces
PARAMETERS AND EXAMPLES OF COMPOSITIONAL TECHNIQUES FOR OWN

COMPOSITIONS
Grade Duration Examples of composition techniques

Initial 0.5–1 minute(s) ◗ Use of different rhythmic values
◗ Clear melodic line
◗ Use of keys listed for Initial technical work
Grade 1 approx. 1 minute ◗ Dynamic contrast

◗ Simple syncopation or other rhythmic feature
◗ Use of keys listed for Grade 1 technical work
Grade 2 1–1.5 minute(s) ◗ Use of different articulations

◗ Simple melodic ornamentation
Grade 3 1.5–2 minutes ◗ Form showing clear sections, eg ABA

◗ Melodic range of one octave or more
Grade 4 2–3 minutes ◗ Tempo changes

◗ Use of a variety of different articulations
Grade 5 2–3 minutes ◗ Chromaticism

◗ Use of semiquaver passages
Grade 6 3–4 minutes ◗ More advanced use of form, eg theme and variations
◗ Extensive range
◗ More advanced melodic ornamentation
◗ Use of any key
Grade 7 3–4 minutes ◗ Modulation

◗ Use of irregular time signatures
◗ Use of any key
Grade 8 3.5–5 minutes ◗ Wide range of expressive techniques

◗ Creative use of form
◗ Extended techniques, wide range, chromaticism and
rhythmic variation
◗ Use of any key
18
Pieces
OBTAINING MUSIC FOR THE EXAM

◗ All publications listed for this syllabus can be
ordered at shop.trinitycollege.com or your
local music shop. Visit store.trinitycollege.com
to explore our range of downloadable digital
publications.
◗ Trinity publishes repertoire books, technical
work books, sight reading books and aural test
books to support this syllabus. See pages 154-
155 for more information.
◗ Trinity cannot guarantee that music will always
be in stock with local suppliers. Candidates
and teachers should always check with the
publisher before it is assumed that any item
has gone out of print.
19
Technical work
Technical work
SCALES & ARPEGGIOS
◗ Learning scales and arpeggios is an
important part of developing technical focus,
strength and agility and melodic skills.
TECHNICAL WORK ◗ Candidates prepare the scales and arpeggios
14 MARKS set for the grade, and play a selection as
requested by the examiner.
◗ All scales and arpeggios are to be performed
ascending then descending.
◗ A breath may be taken at the top of the
scale/arpeggio.
This section of the exam supports the ◗ All scales and arpeggios must be played from
development of technical skills by assessing memory.
candidates’ performance in a range of
technical work options. ◗ A minimum pace is indicated, increasing
gradually grade by grade.
◗ At Grades 6–8, candidates should play
Initial–Grade 5* the major scale and major arpeggio in
succession (major tonal centres) or the
Candidates choose ONE of the following
melodic minor scale, harmonic minor scale
options:
and minor arpeggio in succession (minor
◗ Scales & arpeggios tonal centres).
◗ Exercises ◗ Full details of scale patterns are given in
Trinity’s Scales, Arpeggios & Exercises books.
*At Initial, flute and clarinet candidates play
scales & triads.
EXERCISES
◗ Exercises are specially composed short
Grades 6–8 pieces designed to demonstrate and develop
Candidates choose ONE of the following key areas of technique through performance.
options: ◗ Candidates should prepare all three
◗ Scales & arpeggios exercises listed for the grade, two of which
are played in the exam. One is chosen by the
◗ Orchestral extract(s) or study candidate and one by the examiner.
The use of metronomes or other timekeeping ◗ Exercises may be played either from
assistance is not allowed. memory or using the music.
◗ Exercises are included in Trinity’s Scales,
Candidates should check which elements of Arpeggios and Exercises books.
the technical work need to be performed from
memory.
20
Technical work
ORCHESTRAL EXTRACTS
◗ At Grades 6–8, candidates can demonstrate
technique through performing extracts
selected from a range of orchestral works.
◗ Flute, clarinet, oboe and bassoon candidates
prepare three extracts, two of which are
played in the exam. One is chosen by the
candidate and one by the examiner. Recorder
candidates prepare and perform one extract.
◗ Extracts may be played either from memory
or using the music.
◗ If an extract has a long section of rest,
candidates may shorten this but should
maintain a feeling of pulse throughout their
performance.
STUDY
◗ At Grades 6–8, saxophone and recorder
candidates can demonstrate technique
through performing a study.
◗ Candidates prepare one study, chosen from
the technical work list for the grade.
◗ The study may be played either from
memory or using the music.
Further information about specific technical
work requirements for each grade is given in
the relevant sections of this syllabus.
21
Supporting tests
Supporting tests
SIGHT READING
This test assesses candidates’ ability to perform
a previously unseen musical extract, at a level
approximately two grades lower than the
exam being taken. Our sight reading pieces are
SUPPORTING
designed to be musically intuitive and natural,
TESTS preparing candidates for performance contexts.
20 MARKS
Candidates are given 30 seconds to study
the test before performing it, during which
time they may practise any or all of it aloud.
Examiners do not mark this preparation period.
Examples of sight reading tests may be found
This section of the exam supports the in Trinity’s Sight Reading series, available from
development of broader musical skills shop.trinitycollege.com or from your local
by assessing candidates in two different music shop.
supporting tests.
Technical expectations for the tests are
At Initial to Grade 5, candidates choose given in the tables on pages 23–25. Lists are
two supporting tests from four options: cumulative, meaning that tests may also include
◗ Sight reading requirements from lower grades.
◗ Aural A range of options is available for blind or

visually impaired candidates including Braille,
◗ Improvisation
enlarged print and modified stave notation
◗ Musical knowledge tests. Alternatively, blind or visually impaired
candidates may choose a memory test in place
At Grades 6–8, all candidates are assessed
of the standard sight reading test. Alternative
in sight reading, and choose either aural or
supporting tests must be requested at the time
improvisation for their second supporting test.
of booking, and further information is available
This flexibility is designed to allow candidates at trinitycollege.com/music-csn
to demonstrate their musical skills in different
ways, while recognising that sight reading is an
important skill at higher grades.
22
Supporting tests
PARAMETERS FOR SIGHT READING TESTS
Articulation etc* Articulation etc*

Time Note and Dynamics (Flute, clarinet, (Bassoon,
signatures* rest values* and tempi* oboe, saxophone) recorder)
Initial 2 q and h mf, moderato tongued tongued
Grade 1 4 w and  p, f
slurs
h. and
Grade 2 3 ties allegretto slurs, accidentals accidentals
(bassoon)
e , Œ and 
accidentals
Grade 3 mp, andante (recorder)
q. and ‰
staccato, accents,
Grade 4 dim., cresc. staccato
tenuto
Grade 5 6 x and  accents, tenuto

simple tenor clef
(bassoon)
U acciaccaturas,
Grade 6 8 dotted notes rit.
turns, trills
Grade 7 9 triplets accel.
ff , pp
2
Grade 8
2 duplets any standard
and changing performance
time signatures direction
* Cumulative — tests may also include requirements from previous grade(s) 23

Supporting tests
Sight reading — keys and ranges
Initial Grade 1 Grade 2 Grade 3
Flute* F major G major A minor E minor
Clarinet* C major F, G major A minor
Oboe* F, G major A minor D minor
C major
Bassoon* F major A, C minor
E minor
Saxophone* F, G major E minor A minor
Descant D major
G major E minor
recorder* D minor
G major
Treble recorder* C major A minor
G minor
Range of test 5th octave octave 12th
24 * Cumulative – tests may also include requirements from preceding grade(s)

Supporting tests
Bb major A, C E, Ab major
Flute* D major B major
G minor major B minor
Bb major D major E, Ab major B, Db major

Clarinet* G minor
D minor E minor F minor Bb minor
C, D major A major Bb major E, Eb major

Oboe* Ab, B major
B minor E minor F# minor F minor
G, Bb D major A, Eb Db major
Bassoon* Ab, E major
major G minor major F minor
B, D A, Eb E, Ab major B, Db major
Saxophone* C, D major
minor major C# minor Bb minor
Descant Bb major A major E, Eb major F# major

C, F major
recorder* A minor F# minor C# minor Eb minor
Treble Eb major D major A, Ab major B major

F, Bb major
recorder* D minor B minor F# minor Ab minor
2
Range of test 12th 2 octaves full range full range
octaves
25
Supporting tests
AURAL IMPROVISATION
This test supports the development of Improvisation can develop creative musicianship
candidates’ abilities in musical perception and skills that unlock a variety of musical styles
understanding by requiring them to recognise and technical abilities. Our tests are designed
musical features by ear (for example metre and to introduce teachers and candidates to
pulse, pitch, performance characteristics). improvisation gradually, creatively and with a
All questions are based on a single musical range of supporting resources.
example played at the piano by the examiner. This test assesses candidates’ ability to
At most grades, candidates are asked to improvise fluently, coherently and creatively
describe various features of the music such in response to a musical stimulus. Candidates
as dynamics, articulation, texture and style. choose a stimulus from the following three
Candidates are not required to sing. options, indicating their choice of stimulus on
Practice tests can be found in Trinity’s Aural the appointment form:
Tests from 2017 books, available from ◗ Stylistic
shop.trinitycollege.com or from your local
music shop. ◗ Motivic
Candidates with hearing loss may choose an ◗ Harmonic
aural awareness test in place of the standard
aural test. Alternative supporting tests must be Further guidance and example tests are
requested at the time of booking, and further available at trinitycollege.com/supporting-
information is available at trinitycollege.com/ tests
music-csn
A range of options is available for blind or
visually impaired candidates including Braille,
enlarged print and modified stave notation tests.
Alternative supporting tests must be requested
at the time of booking, and further information
is available at trinitycollege.com/music-csn
26
Supporting tests
Stylistic stimulus Harmonic stimulus

This option requires candidates to This option requires candidates to improvise
improvise over a notated piano part played solo in response to a chord sequence.
by the examiner.
◗ Candidates are given a notated chord
◗ Candidates are given a stimulus which sequence, including chord symbols, which
includes the notated piano part and the examiner plays twice on the piano for
chord symbols. The stimulus begins with candidates’ reference.
a two-bar introduction played by the
examiner alone, followed by a further ◗ Candidates are then given 30 seconds’
section over which candidates must preparation time, during which they may
improvise for a specified number of prepare for their improvisation aloud.
repeats. ◗ The test then follows. Candidates should
◗ The examiner plays the stimulus twice improvise for the specified number of
for candidates’ reference, without repeats, following the chord sequence.
repeats. Responses should contain melodic/
rhythmic interest.
◗ Candidates are then given 30 seconds’
preparation time, during which they may Parameters
prepare for their improvisation aloud. Technical expectations for the tests are
◗ The test then follows. The examiner given in the tables on the following pages.
plays the stimulus again, and candidates Lists are cumulative, meaning that tests
join after the introduction, improvising may also include requirements from lower
for the specified number of repeats. grades.
Candidates should aim to improvise in a
way that complements the musical style
of the stimulus.
Motivic stimulus
This option requires candidates to improvise
solo in response to a short melodic
fragment.
◗ Candidates are given a notated melodic
fragment, which the examiner plays twice
on the piano for candidates’ reference.
◗ Candidates are then given 30 seconds’
preparation time, during which they may
prepare for their improvisation aloud.
The test then follows. Candidates should
aim to improvise within the specified
duration range and may begin by quoting
the stimulus directly, developing their
improvisation from there. However, they
are not required to quote the stimulus
directly, and may instead develop their
improvisation from ideas taken from the
stimulus such as a small group of notes or
an interval. Responses must use the given
time signature.
27
Supporting tests
Stylistic stimulus
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
28 * Cumulative – tests may also include requirements from previous grade(s)

Supporting tests
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
Keys* D, Bb major
C major F, G major A minor
D, E minor
* Cumulative — tests may also include requirements from previous grade(s)

30
Supporting tests
Motivic stimulus
Length of
stimulus
Length of
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
Keys* D, Bb major
C major F, G major A minor
D, E minor
30
Supporting tests
Length of
2 bars 2 bars 1 bar 1 bar 1 bar
stimulus
Length of 12–16
response bars
5
Time
2 6 1 9 4
signatures*
Rhythmic triplets,
semiquavers
features* duplets
Articulation* accents slurs acciaccaturas sfz
all up
minor 6th, augmented 4th, minor 7th, to
Intervals* octave
major 6th diminished 5th major 7th major
10th
E, Ab C#, F
Keys* G, B minor A, Eb major F#, C minor
major minor
31
Supporting tests
Harmonic stimulus
Length of
chord sequence
Number of 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
(Flute, clarinet,
oboe, bassoon, C major C, F, G major
saxophone,
descant
recorder)
Keys
C major C, F, Bb major
(Treble recorder)
32
Supporting tests
Length of 8
chord sequence bars
Number of
times chord
3 3 2 2 2
sequence
is played
Total to 16
improvise bars
Number of
1 1 1 1 1
chords per bar
I, ii, iii, IV, V, vi

I, ii, IV, V
i, iib5, III, iv, V,
Chords i, iv, V i, iv, V, VI i, iib5, iv, V all
VI
7ths
7ths
Keys
(Flute, clarinet,
oboe, bassoon, C, F, G, Bb, D, Eb, A major
A, D, E, G, B minor
saxophone, A, D, E, G, B, C, F# minor
descant
recorder)
Keys C, F, G, Bb, D, Eb, Ab major

A, D, E, G, C minor
(Treble recorder) A, D, E, G, B, C, F minor
33
Supporting tests
MUSICAL KNOWLEDGE remaining questions. Candidates’ musical scores

(Initial–Grade 5 only) should be free of annotations which might
aid their responses. Examiners usually point
This test encourages learners to understand
to the relevant part of the score when asking
the wider musical context of the pieces they
questions. Candidates can use American terms
play, as well as their knowledge of notation.
(eighth note, half note, etc) as an alternative to
Examiners ask carefully graded questions
English terms (quaver, minim, etc).
based on candidates’ chosen pieces. Questions
refer to the solo line only. Further guidance is available at
trinitycollege.com/supporting-tests
In the exam, candidates choose which piece
they would like to be asked about first. The following table gives example questions
Examiners then choose a second piece for the and responses.
Parameters* Sample question Sample response
What is the letter name of

a. Pitch (letter) names G
this note?
How many beats are in

b. Note durations Two
this note?
Initial c. Clefs, staves, barlines What is this sign called? A treble clef
d. Identify key/time
What is this called? A time signature
signatures
e. Explain basic musical

What is this called? A pause mark
terms and signs
What is the name of this

a. Note values A quaver
note value?
b. Explain key/time Four crotchet beats in

What does 4 mean?
Grade 1 signatures a bar
c. Notes on ledger lines What is the letter name of

B flat
(up to 2 ledger lines) this note?
d. Explain musical terms What is the meaning

Go back to the start
and signs of da capo?
a. Intervals
What is the interval
(numerical only) A 3rd
between these two notes?
(2nd, 3rd, 4th, 5th)
72 crotchet beats
b. Metronome marks Explain the sign q = 72 per minute
Grade 2
c. Grace notes and What does this sign above
A mordent
ornaments the note mean?
d. Notes on ledger lines What is the letter name of

F sharp
(up to 3 ledger lines) this note?
34 * Cumulative – tests may also include requirements from previous grade(s)

Supporting tests
a. Intervals
What is the interval
(numerical only) A 6th
between these two notes?
(2nd to 7th)
This piece starts in F major.

b. Relative major/minor What is the relative minor D minor
of this key?
Grade 3
c. Scale/arpeggio/ What pattern of notes do
A scale
broken chord patterns you see here?
d. Transposition This note is an F. When

Dependent on
(clarinet & saxophone you play this note, which
instrument
only) note actually sounds?
a. Modulation to closely
related keys This piece starts in G major.
(relative major/ To which key has it D major or dominant
minor, subdominant, modulated here?
dominant)
This piece starts in F major.

Grade 4 b. Tonic/dominant triads Name the notes of the C, E, G
dominant triad.
c. Intervals (full names)

What is the full name
(any major, minor or
of the interval between Perfect 5th
perfect interval within
these two notes?
an octave)
Candidate identifies the

period, and describes
a. Musical period Comment on the period
the stylistic features of
and style and style of this piece.
the piece which reflect
the period
Candidate indicates
Grade 5 Describe the form of this
the form of the piece
b. Musical structures piece and show me the
and identifies relevant
relevant sections.
sections
This piece starts in D major.

c. Subdominant triads Name the notes of the G, B, D
subdominant triad.
35
Marking
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 tables 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 to
mark for the exam corresponds to different give an overall mark for the piece.
attainment levels as follows:
The three components are:
Total mark Attainment level
Fluency & accuracy
87–100 DISTINCTION The ability to perform fluently, with a stable
pulse and with an accurate realisation of the
75–86 MERIT notation.
60–74 PASS
Technical facility
45–59 BELOW PASS 1 The ability to control the instrument
effectively, covering the various technical
0–44 BELOW PASS 2 demands of the music.
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
36
Marking
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
37
Marking
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 and inconsistencies in
rhythm. control of pulse and
A very high degree
rhythm.
of accuracy in notes. A high degree of
accuracy in notes A good degree of
— slips were not accuracy in notes
significant. 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 music
were fulfilled to a very were fulfilled with only were fulfilled for the
high degree. momentary insecurities. most part.
An excellent level of A very good level of A good level of tone
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 details
were omitted
Highly effective Effective communication
communication and and interpretation overall. Communication and
interpretation. interpretation were
mostly effective
38
Marking
4 MARKS 3 MARKS 1–2 MARKS
Fluency A generally reliable Only a limited sense of Little or no sense of

& accuracy sense of fluency fluency with a lack of fluency — control of pulse
though with some basic control of pulse and rhythm was not
inconsistencies and and rhythm. established.
stumbles in the control
Accuracy in notes was Accuracy in notes was
of pulse and rhythm.
sporadic with errors very limited with many
A reasonable degree becoming intrusive. errors of substance.
of accuracy in notes
despite a number of
errors.
4 MARKS 3 MARKS 1–2 MARKS
Technical The various technical The technical demands Many or all of the technical
facility demands of the of the music were demands of the music
music were generally often not managed. were not managed.
managed despite some
The performance There were significant
inconsistencies.
lacked a basic level of flaws in tone control.
A basic level of tone tone control.
control despite some
insecurity.
5 MARKS 3–4 MARKS 1–2 MARKS
Communication A reasonable level of Stylistic understanding Stylistic understanding

& stylistic understanding was generally lacking was not apparent with
interpretation though some with limited realisation little or no realisation of
performance details of performance details. performance details.
were omitted.
Communication and Communication and
Communication and interpretation were interpretation were
interpretation were inconsistent. ineffective.
basically reliable though
with some lapses.
39
Marking
HOW TECHNICAL WORK IS MARKED
DISTINCTION MERIT
13–14 MARKS 11–12 MARKS
Scales & An excellent or very A good sense of fluency

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

orchestral good sense of fluency and accuracy with
extracts, and accuracy. occasional errors.
studies A very high degree A good degree of
of technical control. technical control.
Keen attention to Good attention to
performance details performance details and
and musical character. musical character overall.
40
Marking
PASS BELOW PASS 1 BELOW PASS 2

9–10 MARKS 6–8 MARKS 1–5 MARKS
Scales & A generally reliable sense Limited or very limited Little or no sense of
arpeggios of fluency and accuracy fluency and accuracy fluency and accuracy
despite a number of with errors becoming with many errors.
errors. intrusive.
An unreliable degree
A reasonable degree of An inconsistent degree of technical control.
technical control despite of technical control.
Uncertain responses
some inconsistencies.
Hesitancy in responses with many restarts
Generally prompt and restarts. and/or items not
responses despite some offered.
hesitancy and/or restarts.
Exercises, A generally reliable sense Limited or very limited Little or no sense of

orchestral of fluency and accuracy fluency and accuracy fluency and accuracy
extracts, despite a number of with errors becoming with many errors.
studies errors. intrusive.
An unreliable degree
A reasonable degree of An inconsistent degree of technical control.
technical control despite of technical control.
Little or no attention
some inconsistencies.
Limited attention to to performance details
Some attention to performance details and musical character.
performance details and musical character.
and musical character.
41
Marking
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
rhythm and tonality. of 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 responses. Mostly confident and
prompt responses.
Musical An excellent or very good A good degree of musical

knowledge degree of musical knowledge knowledge in the majority
in all aspects. of aspects.
Confident and prompt responses. Mostly confident and
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.
42
Marking
PASS BELOW PASS 1 BELOW PASS 2

6–7 MARKS 4–5 MARKS 1–3 MARKS
Sight reading A generally reliable sense Only a limited sense of Little or no sense of
of fluency though with fluency with a lack of fluency — control of pulse,
some inconsistencies and basic control of pulse, rhythm and tonality not
stumbles in the control of rhythm established.
pulse, rhythm and tonality. and tonality.
Accuracy in notes very
A reasonable degree of Accuracy in notes sporadic limited with no attention
accuracy in notes despite with no attention to to musical detail.
a number of errors and musical detail.
with little attention to
musical detail.
Aural A generally reliable degree A limited or very limited Unreliable aural

of aural perception in aural perception with some perception in the majority
most aspects though lack of precision in most or all aspects.
with some imprecision. aspects.
Very hesitant or
Generally confident and Hesitant or uncertain uncertain/missing
prompt responses though responses. responses.
with occasional hesitation
or uncertainty.
Musical A generally reliable A limited or very limited Unreliable musical

knowledge degree degree of musical knowledge in the majority
of musical knowledge in knowledge or all aspects.
most aspects. in most aspects.
Very hesitant or
Generally confident and Hesitant or uncertain uncertain/missing
prompt responses though responses. responses.
with occasional hesitation
or uncertainty.
Improvisation A generally reliable sense A limited or very limited Musical structure only
of musical structure, based sense of musical structure, partially or not apparent
on the stimulus, delivered with little relation to the with no relation to the
with a reasonable level of stimulus, delivered with stimulus and fluency
fluency despite occasional some hesitations and often compromised.
lapses. stumbles in fluency.
Little or no creativity
Some element of creativity A lack of creativity and or imagination in the
and imagination in the imagination in the response. response.
43
response.
Flute: Initial
Flute: Initial
PIECES
Candidates perform a balanced programme of three pieces chosen from the Flute Initial
repertoire list, available at trinitycollege.com/woodwind
◗ Programmes must comprise two accompanied pieces from group A and one unaccompanied
piece from group B.
◗ Only one duet may be chosen.
◗ Pieces by at least two composers must be played.
◗ An own composition may be played instead of one of the listed pieces.
See pages 15-19 for further guidance.
TECHNICAL WORK
Candidates prepare all sections. See pages 20-21 for further details.
All requirements are available at trinitycollege.com/woodwind-resources
SCALES & TRIADS (from memory)

Examiners select from the following:
Scales (first five notes only):

min. tempo:
◗ F major
♩q = 60
◗ G major ascending and
tongued mf
Triads: descending
min. tempo:
◗ F major
e = 120
◗ G major
SUPPORTING TESTS
Candidates choose TWO of the following:
◗ Sight reading
◗ Aural
◗ Improvisation
Sight reading
After 30 seconds’ preparation time, candidates perform a previously unseen musical extract at a
level lower than the exam being taken. See pages 23-25 for the parameters.
44
Flute: Initial
Aural
Candidates answer questions based on a single musical example played on the piano by the
examiner. See page 26 for more information.
The aural test requirements for Initial are below.
Aural questions
Parameters Task Requirement
Clap the pulse on the third playing, stressing

Listen to the melody three times
the strong beat
Melody only
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
Improvisation
Candidates perform an improvisation based on a stimulus chosen from the following three
options:
◗ Stylistic
◗ Motivic
◗ Harmonic
See pages 26-33 for the requirements and parameters.
Musical knowledge
Candidates answer questions assessing their understanding of the pieces performed, as well as
their knowledge of notation. Questions are based on candidates’ chosen pieces.
See pages 34-35 for example questions and responses.
45
Flute: Grade 1
Flute: Grade 1
PIECES
Candidates perform a balanced programme of three pieces chosen from the Flute Grade 1
piece from group B.
◗ One piece from the same group of the Grade 1 Jazz Flute list may be played instead of one of
the listed pieces.
TECHNICAL WORK
Candidates prepare either section 1 or section 2. See pages 20-21 for further details.
All requirements are in Trinity’s Flute Scales, Arpeggios & Exercises from 2015.
Either
1. SCALES & ARPEGGIOS (from memory)
Scales:
◗ F and G major
◗ E minor (candidate choice
min. tempi:
of either harmonic or tongued or
melodic or natural minor) one octave scales q = 72 mf
slurred
arpeggios e = 120
Arpeggios:
◗ F and G major
◗ E minor
Or
2. EXERCISES (music may be used) — Candidates prepare three exercises: 1a or 1b, 2a or 2b,
and 3a or 3b. Candidates choose one exercise to play first. Examiners then select one of the
remaining two prepared exercises to be performed.
1a. A Sad Story

1b. Rising and Falling for tone and phrasing
2a. Spiky
for articulation
2b. Snowflakes
3a. Symmetry
for finger technique
3b. Waltzing
46
Flute: Grade 1
SUPPORTING TESTS Improvisation

Candidates choose TWO of the following: Candidates perform an improvisation based
on a stimulus chosen from the following
◗ Sight reading three options:
◗ Aural ◗ Stylistic
◗ Improvisation ◗ Motivic
◗ Musical knowledge ◗ Harmonic
Sight reading See pages 26-33 for the requirements and

parameters.
After 30 seconds’ preparation time, candidates
perform a previously unseen musical extract
Musical knowledge
at a level lower than the exam being taken.
Candidates answer questions assessing their
See pages 23-25 for the parameters. understanding of the pieces performed, as well
as their knowledge of notation. Questions are
Aural based on candidates’ chosen pieces.
Candidates answer questions based on a single
See pages 34-35 for example questions and
musical example played on the piano by the
responses.
The aural test requirements for Grade 1 are
below.
Aural questions

the strong beat
i) Identify the dynamic as forte or piano

Melody only
Listen to the melody once ii) Identify the articulation as legato or
4 bars staccato
Major key
Listen to the first two bars of the Identify the last note as higher or lower than
2 or 3 melody once the first note
Listen to the melody twice, with

a change of rhythm or pitch in Identify where the change occurs
the second playing
47
Flute: Grade 2
Flute: Grade 2
PIECES
piece from group B.
the listed pieces.
TECHNICAL WORK
Either
Scales:
two octaves
◗ D major
◗ Bb major
◗ A and G minor (candidate min. tempi:
one octave
choice of either harmonic or tongued or
scales q = 72 mf
melodic or natural minor) slurred
arpeggios e = 120
Arpeggios:
two octaves
◗ D major
◗ Bb major
one octave
◗ A and G minor
Or
2. EXERCISES (music may be used) – Candidates prepare three exercises: 1a or 1b, 2a or 2b,
48
Flute: Grade 2
1a. Springtime
for tone and phrasing
1b. Little Pinkie Waltz
2a. A Conversation
for articulation
2b. On Tiptoes
3a. Swing Time
3b. A Minor Incident
SUPPORTING TESTS
Candidates choose TWO of the following: Improvisation
◗ Sight reading Candidates perform an improvisation based
◗ Aural on a stimulus chosen from the following
◗ Improvisation three options:
◗ Musical knowledge ◗ Stylistic
◗ Motivic
Sight reading
◗ Harmonic
perform a previously unseen musical extract See pages 26-33 for the requirements and
at a level approximately two grades lower than parameters.
the exam being taken.
Musical knowledge
See pages 23-25 for the parameters. Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation. Questions are
Candidates answer questions based on a single based on candidates’ chosen pieces.
responses.
below.
Aural questions

the strong beat
i) Describe the dynamics, which will vary

Melody only during the melody
Listen to the melody once
4 bars ii) Identify the articulation as legato or
Major or staccato
minor key
Identify the last note as higher or lower than
2 or 3 the first note
Listen to the melody twice, with i) Identify where the change occurs
a change of rhythm or pitch in
the second playing ii) Identify the change as rhythm or pitch
49
Flute: Grade 3
Flute: Grade 3
PIECES
piece from group B.
the listed pieces.
TECHNICAL WORK
Either
Scales:
◗ F and G major two octaves
◗ G minor (candidate choice of either
harmonic or melodic or natural minor)
◗ A major
◗ A minor (candidate choice of either to 12th min. tempi:
harmonic or melodic or natural minor) scales q = 84 tongued or
slurred mf
◗ Chromatic scale starting on G one octave arpeggios e = 132
Arpeggios:
◗ F and G major two octaves
◗ G minor
◗ A major
to 12th
◗ A minor
Or
50
Flute: Grade 3
1a. Persuasive
1b. Strolling
2a. In the Groove

for articulation
2b. Soaring
3a. Sunshine
3b. Solitude
SUPPORTING TESTS
◗ Motivic
Sight reading
◗ Harmonic
the exam being taken. See pages 23-25 for the
parameters. Musical knowledge
Aural understanding of the pieces performed, as well
Candidates answer questions based on a single as their knowledge of notation. Questions are
musical example played on the piano by the based on candidates’ chosen pieces.
examiner. See page 26 for more information. See pages 34-35 for example questions and
The aural test requirements for Grade 3 are responses.
below.
Aural questions
Clap the pulse on the second playing,

Listen to the melody twice
stressing the strong beat
Melody only Listen to the melody once Identify the tonality as major or minor
4 bars
Listen to the first two notes of Identify the interval by number only (second,
Major or the melody once third, fourth, fifth or sixth)
minor key
Study a copy of the melody
3 or 4 (provided in treble clef, or in alto i) Identify in which bar the change has
or bass clef if requested), and occurred
listen to it once as written and
once with a change of rhythm ii) Identify the change as rhythm or pitch
or pitch
51
Flute: Grade 4
Flute: Grade 4
PIECES
piece from group B.
the listed pieces.
TECHNICAL WORK
Either
Scales:
◗ C, G and Eb major
◗ D and E minor (candidate choice of either two
harmonic or melodic or natural minor) octaves
◗ Chromatic scale starting on D
◗ Pentatonic (major) scale starting on D min. tempi:
scales q = 96
◗ B minor (candidate choice of either tongued or
to 12th arpeggios e = 138 mf
harmonic or melodic or natural minor) slurred
7ths q = 69
Arpeggios:
◗ C, G and Eb major two
◗ D and E minor octaves
◗ Dominant 7th in the keys of C and G
◗ B minor to 12th
Or
52
Flute: Grade 4
1a. Memories
1b. Sing It!
2a. Groove in Blue

for articulation
2b. Mechanical
3a. Sighing
3b. The Machine

◗ Aural
◗ Stylistic
◗ Improvisation
◗ Musical knowledge ◗ Motivic
◗ Harmonic
Sight reading
See pages 26-33 for the requirements and
parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23-25 for the Musical knowledge
parameters. Candidates answer questions assessing their
Candidates answer questions based on a single based on candidates’ chosen pieces. See pages
musical example played on the piano by the 34-35 for example questions and responses.
below.
Aural questions

Listen to the piece twice
i) Identify the tonality as major or minor

Listen to the piece twice ii) Identify the final cadence as perfect or
Harmonised imperfect
4 bars
Identify the interval as minor or major
Listen to the first two notes of the
second, minor or major third, perfect fourth
Major or melody once
or fifth, minor or major sixth
minor key
4 or 6 Study a copy of the melody (provided i) Identify the bar in which the change of
in treble clef, or in alto or bass clef if rhythm occurred
requested), and listen to it once as
written and once with a change of ii) Identify the bar in which the change of
rhythm and a change of pitch pitch occurred
53
Flute: Grade 5
Flute: Grade 5
PIECES
piece from group B.
the listed pieces.
TECHNICAL WORK
Either
Scales:
◗ A, E, Ab and Eb major
◗ C, F, C# and F# minor (candidate choice
of either harmonic or melodic or natural
minor)
min. tempi:
◗ Chromatic scale starting on E scales q = 116
◗ Pentatonic (major) scale starting on C two tongued
octaves arpeggios e = 152 or slurred mf
(starting on lowest C) 7ths q = 76
Arpeggios:
◗ C, F, C# and F# minor
◗ Dominant 7th in the key of Ab
◗ Diminished 7th starting on F#
Or
1a. Shaping
1b. Reaching
54
Flute: Grade 5
2a. Down Home

for articulation
2b. Exploring
3a. Crystal
3b. A Little Waltz
SUPPORTING TESTS
◗ Motivic
Sight reading
◗ Harmonic
musical example played on the piano by the based on candidates’ chosen pieces. See pages
examiner. See page 26 for more information. 34-35 for example questions and responses.

below.
Aural questions
i) Clap the pulse on the second playing,

Listen to the piece twice stressing the strong beat
ii) Identify the time signature
i) Identify the changing tonality

Harmonised Listen to the piece twice ii) Identify the final cadence as perfect,
plagal, imperfect or interrupted
8 bars
Major or
Listen to two notes from the second, minor or major third, perfect
minor key
melody line played consecutively fourth or fifth, minor or major sixth, minor
2, 3, 4 or 6 or major seventh or octave
Study a copy of the piece, and i) Identify the bar in which the change of
listen to it once as written and rhythm occurred
once with a change of rhythm and
a change of pitch (both changes in ii) Identify the bar in which the change of
the melody line) pitch occurred
55
Flute: Grade 6
Flute: Grade 6
PIECES
piece from group B.
◗ Only one piccolo or alto flute item may be chosen.
the listed pieces.
TECHNICAL WORK
Candidates prepare either section 1 or section 2. See page 20-21 for further details.
Either
Scales & arpeggios are in Trinity’s Flute Scales, Arpeggios & Exercises from 2015.
Candidates prepare scales and arpeggios

from the following tonal centres:
◗ Bb major, Bb minor
◗ D major, D minor tongued
◗ F# major, F# minor min. tempi:
or
scales q = 120
two slurred
Plus: arpeggios q. = 63 f or p
octaves or
◗ Pentatonic (major) scale starting on F# 7ths q = 96
staccato-
◗ Chromatic scale starting on Bb tongued
◗ Whole-tone scale starting on D
◗ Dominant 7th in the key of B
◗ Diminished 7th starting on Bb
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:
◗ melodic minor scale
◗ harmonic minor scale
◗ minor arpeggio
56
Flute: Grade 6
Or
2. ORCHESTRAL EXTRACTS (music may be used) – Candidates prepare three extracts: 1a or
1b, 2a or 2b, and 3a or 3b. Candidates choose one extract to play first. Examiners then select
one of the remaining two prepared extracts to be performed.
The piccolo option may be substituted for one of the extracts.
Orchestral extracts are in Orchester Probespiel: Flute/Piccolo (Peters EP8659).
1a. Bizet: Carmen, 3. Akt 1. Bild Vorspiel (beginning to figure 2)

1b. Brahms: Sinfonie Nr. 4, 4. Satz (entire extract)
2a. Mozart: Die Zauberflöte, 1. Akt Nr. 8 Finale (beginning to bar 181)
for articulation
2b. Strawinsky: Petruschka (beginning to figure 3)
3a. Mozart: Die Zauberflöte, 2. Akt Nr. 21 Finale (entire extract)

3b. Verdi: Rigoletto, 1. Akt Arie der Gilda (entire extract)
Piccolo — Mozart: Die Zauberflöte (entire extract)
SUPPORTING TESTS musical example played on the piano by the

Candidates prepare:
◗ Sight reading
below.
◗ Aural or Improvisation
Improvisation
Sight reading
Candidates perform an improvisation based
After 30 seconds’ preparation time, candidates on a stimulus chosen from the following
perform a previously unseen musical extract three options:
the exam being taken. See pages 23-25 for the ◗ Stylistic
parameters. ◗ Motivic
◗ Harmonic
Aural
Candidates answer questions based on a single parameters.
Aural questions
i) Identify the time signature

Listen to the piece twice ii) Comment on the dynamics
iii) Comment on the articulation
Harmonised Listen to the piece twice Identify and comment on two other
characteristics of the piece
8 bars
Identify the key to which the music modulates
Major key Listen to the first four bars of the as subdominant, dominant or relative minor
piece once Answers may alternatively be given as key
2, 3, 4 or 6 names
Study a copy of the piece, and
Locate the changes and describe them as pitch
listen to it twice with two changes
or rhythm
to the melody line
57
Flute: Grade 7
Flute: Grade 7
PIECES
piece from group B.
the listed pieces.

TECHNICAL WORK
Either
Candidates prepare scales and arpeggios from

the following tonal centres:
◗ B major, B minor
◗ Eb major, Eb minor
◗ G major, G minor
tongued
◗ A major, A minor min. tempi:
or
scales q = 132
Plus: two slurred f or
arpeggios q. = 69
◗ Pentatonic (major) scales starting on Eb and A octaves or p
7ths q = 104
staccato-
◗ Chromatic scale starting on B
tongued
◗ Whole-tone scale starting on A
◗ Dominant 7th in the keys of Ab and D
◗ Diminished 7th starting on B
◗ Augmented arpeggio starting on G
◗ major scale
◗ major arpeggio
◗ minor arpeggio
58
Flute: Grade 7
Or
1a. J S Bach: Matthäus-Passion, Arie: Aus Liebe will mein Heiland
sterben (entire extract) for tone and phrasing
1b. Debussy: Prélude à l’après-midi d’un faune (beginning to bar 25)
2a. Beethoven: Ouverture zu Leonore Nr. 3 (bar 328 to end)
for articulation
2b. Reznicek: Donna Diana, Ouverture (figure 1 to figure 3)
3a. Dvořák: Sinfonie Nr. 8, 4. Satz (entire extract, no repeats)
3b. Schumann: Sinfonie Nr. 1, 4. Satz (entire extract)
Piccolo – Rossini: Die diebische Elster, Ouverture (entire extract)
SUPPORTING TESTS examiner. See page 26 for more information.

Candidates prepare: The aural test requirements for Grade 7 are
below.
◗ Sight reading
◗ Aural or Improvisation Improvisation
Sight reading Candidates perform an improvisation based
three options:
at a level approximately two grades lower than ◗ Stylistic
the exam being taken. See pages 23-25 for the ◗ Motivic
parameters. ◗ Harmonic
Aural See pages 26-33 for the requirements and
Aural questions

Harmonised Identify and comment on two other
8 bars characteristics of the piece
Major or Identify the key to which the music modulates

minor key Listen to the first four bars of the as subdominant, dominant or relative key
piece once Answers may alternatively be given as key
2, 3, 4 or 6 names
Locate the changes and describe them as
listen to it twice with three
pitch (melody line only) or rhythm
changes
59
Flute: Grade 8
Flute: Grade 8
PIECES
piece from group B.
the listed pieces.

TECHNICAL WORK
Either
from the following tonal centres: three
octaves
◗ C major, C minor
◗ E major, E minor
◗ Ab major, G# minor two
◗ F major, F minor octaves
tongued or
◗ Db major, C# minor min. tempi:
slurred or
scales q = 132
Plus: staccato- f or
arpeggios q. = 69
tongued p
◗ Chromatic scale starting on C three 7ths q = 104
octaves or mixed
◗ Dominant 7th in the key of F
articulation
◗ Diminished 7th starting on C
◗ Pentatonic (major) scale starting on Ab
◗ Whole-tone scale starting on C#
two
◗ Dominant 7th in the key of F#
octaves
◗ Diminished 7th starting on Ab
◗ Augmented arpeggios starting on E and F
◗ major scale
◗ major arpeggio
◗ minor arpeggio
60
Flute: Grade 8
Or
1a. Mahler: Sinfonie Nr. 9, 1. Satz (entire extract)

1b. Ravel: Daphnis et Chloé, 2ème Suite (solo only: figure 176 to end)
2a. Busoni: Doktor Faust, Erstes Bild (entire extract) and Zweites Bild
(entire extract)
for articulation
2b. Strawinsky: Concerto in Es ‘Dumbarton Oaks’, II Allegretto
(entire extract)
3a. Rossini: Wilhelm Tell, Ouverture (bar 197 to end)

3b. Strawinsky: Petruschka (figure 3 to bottom of page 33)
Piccolo – Smetana: Die verkaufte Braut, Ouverture (entire extract)

below.
◗ Sight reading
◗ Aural or Improvisation Improvisation

three options:
parameters.
◗ Harmonic
Aural questions

Harmonised Listen to the piece once ii) Comment on the dynamics
12–16 bars
Identify and comment on three other
Major or Listen to the piece twice
minor key
2, 3, 4, 6 or 5 listen to it twice with three
or rhythm
changes
61
Clarinet: Initial
Clarinet: Initial
PIECES
Candidates perform a balanced programme of three pieces chosen from the Clarinet Initial
piece from group B
TECHNICAL WORK
Candidates prepare all sections. See pages 20-21 for further details.
All requirements are available at trinitycollege.com/woodwind-resources
SCALES & TRIADS (from memory)


min. tempo:
◗ C major
♩q = 60
◗ D minor ascending and
tongued mf
Triads: descending
min. tempo:
◗ C major
e = 120
◗ D minor
SUPPORTING TESTS
◗ Sight reading
◗ Aural
◗ Improvisation
Sight reading
level lower than the exam being taken. See pages 23-25 for the parameters.
62
Clarinet: Initial
Aural
Aural questions

the strong beat
Melody only
Major key
2
of the melody once
Improvisation
options:
◗ Stylistic
◗ Motivic
◗ Harmonic
Musical knowledge
Candidates answer questions assessing their understanding of the pieces performed, as well as
their knowledge of notation. Questions are based on candidates’ chosen pieces.
See pages 34-35 for example questions and responses.
63
Clarinet: Grade 1
Clarinet: Grade 1
PIECES
Candidates perform a balanced programme of three pieces chosen from the Clarinet Grade 1
piece from group B.
◗ One piece from the same group of the Grade 1 Jazz Clarinet list may be played instead of one
of the listed pieces.
See pages 15–19 for further guidance.
TECHNICAL WORK
Candidates prepare either section 1 or section 2. See pages 20–21 for further details.
All requirements are in Trinity’s Clarinet Scales, Arpeggios & Exercises from 2015.
Either
Scales:
◗ F and G major
◗ A minor (candidate choice of
min. tempi:
either harmonic or melodic or tongued or
natural minor) one octave scales q = 72 mf
slurred
arpeggios e = 120
Arpeggios:
◗ F and G major
◗ A minor
Or
2. EXERCISES (music may be used) — Candidates prepare three exercises: 1a or 1b, 2a or 2b, and
3a or 3b. Candidates choose one exercise to play first. Examiners then select one of the remaining
two prepared exercises to be performed.
1a. Going through a Phrase

1b. A Soft Drum
2a. Chalk and Cheese
for articulation
2b. Answering Back
3a. Relaxing
3b. Steady Now!
64
Clarinet: Grade 1


parameters.
Musical knowledge
responses.
below.
Aural questions

the strong beat

Melody only Listen to the melody once ii) Identify the articulation as legato or
4 bars
staccato
Major key

the second playing
65
Clarinet: Grade 2
Clarinet: Grade 2
PIECES
piece from group B.
TECHNICAL WORK
Either
Scales:
◗ F major
two octaves
◗ G minor (candidate choice of either
harmonic or melodic or natural
minor)
◗ C major to 12th
min. tempi:
◗ E minor (candidate choice of either tongued or
harmonic or melodic or natural one octave scales q = 72 mf
slurred
minor) arpeggios e = 120
Arpeggios:
◗ F major two octaves
◗ G minor
◗ C major to 12th
◗ E minor one octave
Or
66
Clarinet: Grade 2
1a. Snake in a Basket

1b. D-lightful
2a. Vive la Difference
for articulation
2b. One Man Band
3a. The Sphinx
3b. A Cloudy Day

on a stimulus chosen from the following three
◗ Sight reading
options:
◗ Aural
◗ Stylistic
◗ Improvisation
◗ Motivic
◗ Harmonic
After 30 seconds’ preparation time, candidates parameters.
at a level approximately two grades lower than Musical knowledge
the exam being taken. See pages 23-25 for the Candidates answer questions assessing their
parameters. understanding of the pieces performed, as well
Candidates answer questions based on a single See pages 34-35 for example questions and
musical example played on the piano by the responses.
below.
Aural questions

the strong beat

Melody only during the melody
4 bars Listen to the melody once
ii) Identify the articulation as legato or
Major or staccato
minor key
67
Clarinet: Grade 3
Clarinet: Grade 3
PIECES
piece from group B.
TECHNICAL WORK
Either
Scales:
◗ C and Bb major
two octaves
◗ A minor (candidate choice of either
minor)
◗ D minor (candidate choice of either
harmonic or melodic or natural to 12th
min. tempi:
minor)
scales q = 84 tongued or
◗ A major slurred mf
arpeggios e = 132
one octave
◗ Chromatic scale starting on G
Arpeggios:
◗ C and Bb major two octaves
◗ A minor
◗ D minor to 12th
◗ A major one octave
Or 2. EXERCISES (music may be used) – Candidates prepare three exercises: 1a or 1b, 2a or
2b, and 3a or 3b. Candidates choose one exercise to play first. Examiners then select one of the
68
Clarinet: Grade 3
1a. Whistling a Tune

1b. Meandering
2a. Hit It!

for articulation
2b. Hot and Cold
3a. Wandering
3b. Dig the Digit!
SUPPORTING TESTS
three options:
◗ Improvisation
◗ Stylistic
◗ Motivic
Sight reading ◗ Harmonic
After 30 seconds’ preparation time, candidates See pages 26-33 for the requirements and
perform a previously unseen musical extract parameters.
Musical knowledge
parameters.
responses.
below.
Aural questions

4 bars
Major or Listen to the first two notes of Identify the interval by number only (second,
minor key the melody once third, fourth, fifth or sixth)
3 or 4 Study a copy of the melody

i) Identify in which bar the change has
(provided in treble clef, or in alto or
bass clef if requested), and listen occurred
to it once as written and once with ii) Identify the change as rhythm or pitch
a change of rhythm or pitch
69
Clarinet: Grade 4
Clarinet: Grade 4
PIECES
piece from group B.
TECHNICAL WORK
◗
◗ two octaves
min. tempi:
◗
slurred mf
◗
one octave arpeggios e = 138
7ths q = 69
◗
two octaves
◗
◗
1a. Express Yourself

1b. Rephrase That
70
Clarinet: Grade 4
2a. Scat!
for articulation
2b. Haiku
3a. Arpeggiate
3b. Fair Comment
SUPPORTING TESTS
three options:
◗ Improvisation
◗ Stylistic
◗ Motivic
Musical knowledge
parameters.
responses.
below.
Aural questions


Harmonised imperfect
4 bars
Major or second, minor or major third, perfect fourth
melody once
minor key or fifth, minor or major sixth

(provided in treble clef, or in alto or i) Identify the bar in which the change of
bass clef if requested), and listen rhythm occurred
to it once as written and once with ii) Identify the bar in which the change of
a change of rhythm and a change pitch occurred
of pitch
71
Clarinet: Grade 5
Clarinet: Grade 5
PIECES
piece from group B.
TECHNICAL WORK
Either
Scales:
◗ C, F, C# and F# minor (candidate choice
of either harmonic or melodic or
natural minor)
◗ Chromatic scale starting on E (starting min. tempi:
on low E) scales q = 116 tongued or
two octaves mf
◗ Pentatonic (major) scale starting on C arpeggios e = 152 slurred
7ths q = 76
Arpeggios:
◗ C, F, C# and F# minor
◗ Dominant 7th in the keys of G and D
◗ Diminished 7th starting on G
Or
1a. Lilt
1b. Sequences
72
Clarinet: Grade 5
2a. A Conversation
for articulation
2b. Got the Blues
3a. Gliding
3b. Hide and Seek
SUPPORTING TESTS
three options:
◗ Improvisation
◗ Motivic
Sight reading
◗ Harmonic
See pages 34-35for example questions and
below.
Aural questions

Harmonised i) Identify the changing tonality

8 bars Listen to the piece twice ii) Identify the final cadence as perfect,
plagal, imperfect or interrupted

Major or Listen to two notes from the second, minor or major third, perfect fourth
minor key melody line played consecutively or fifth, minor or major sixth, minor or
major seventh or octave
2, 3, 4 or 6
i) Identify the bar in which the change of
rhythm occurred
ii) Identify the bar in which the change of
a change of pitch (both changes in
pitch occurred
the melody line)
73
Clarinet: Grade 6
Clarinet: Grade 6
PIECES
piece from group B.
◗ Only one Eb clarinet or bass clarinet item may be chosen.
TECHNICAL WORK
Either
Scales & arpeggios are in Trinity’s Clarinet Scales, Arpeggios & Exercises from 2015.
Candidates prepare scales and

arpeggios from the following tonal
centres: three octaves
◗ F major, F minor
◗ A major, A minor
two octaves min. tempi: tongued or
◗ Db major, C# minor
scales q = 120 slurred or
f or
Plus: arpeggios q. = 63 staccato-
p
three octaves 7ths q = 96 tongued
◗ Chromatic scale starting on F
◗ Diminished 7th starting on F
◗ Pentatonic (major) scale starting on Db
◗ Whole-tone scale starting on A two octaves
◗ Dominant 7th in the key of F#
◗ major scale
◗ major arpeggio
◗ minor arpeggio
74
Clarinet: Grade 6
Or
2. ORCHESTRAL EXTRACTS (music may be used) – Candidates prepare three extracts:
1a or 1b, 2a or 2b, and 3a or 3b. Candidates choose one extract to play first. Examiners then
select one of the remaining two prepared extracts to be performed.
One extract for Eb clarinet or bass clarinet may be substituted for one of the extracts.
Extracts for A clarinet may be played on an A clarinet or a Bb clarinet.
Orchestral extracts are in Orchester Probespiel: Clarinet (Peters EP8661).
1a. Beethoven: Sinfonie Nr. 4, 2. Satz (bars 81-89, 1st clarinet part)
1b. Tchaikovsky: Sinfonie Nr. 6, 1. Satz (entire extract)
2a. Beethoven: Sinfonie Nr. 6, 5. Satz (entire extract)

for articulation
2b. Verdi: Rigoletto, 3. Akt (entire extract)
3a. Borodin: Fürst Igor, Nr. 8 Tanz der Polowetzer Mädchen (bars 111-138)
3b. Liszt: Ungarische Rhapsodie Nr. 2 (bars 11-18)
Eb clarinet – Ravel: Boléro (entire extract)

Bass clarinet – Liszt: Dante-Sinfonie, 1. Inferno (bars 286-294)

Candidates prepare:
◗ Sight reading
below.
Improvisation
Sight reading
options:
◗ Stylistic
◗ Motivic
parameters.
◗ Harmonic
Aural questions

8 bars characteristics of the piece
Identify the key to which the music
modulates as subdominant, dominant or
Listen to the first four bars of the
relative minor
Major key piece once
Answers may alternatively be given as key
names
2, 3, 4 or 6
Locate the changes and describe them as
listen to it twice with two changes
pitch or rhythm
to the melody line
75
Clarinet: Grade 7
Clarinet: Grade 7
PIECES
piece from group B.
TECHNICAL WORK
Either

◗ F# major, F# minor
◗ D major, D minor two octaves
◗ Eb major, Eb minor min. tempi: tongued or
Plus:
arpeggios q. = 69 staccato- f or p
◗ Chromatic scale starting on F# three octaves 7ths q = 104 tongued
◗ Pentatonic (major) scales starting on
Bb and Eb
◗ Whole-tone scale starting on Eb two octaves
◗ Dominant 7th in the keys of Eb and G
◗ Augmented arpeggio starting on D
◗ major scale
◗ major arpeggio
◗ minor arpeggio
76
Clarinet: Grade 7
Or
1a. Puccini: Tosca, 3. Akt (entire extract)
1b. Schubert: Sinfonie Nr. 7, 2. Satz (entire extract)

for articulation
2b. Brahms: Sinfonie Nr. 1, 3. Satz (bars 1-23)
3a. Mendelssohn: Sinfonie Nr. 3, 2. Satz (bars 8-31)

3b. Rimsky-Korsakow: Scheherazade, 4. Satz (entire extract)
Eb clarinet – Strawinsky: Le Sacre du Printemps, 1. Teil (three bars before figure 10 to figure 12)
Bass clarinet – Verdi: Aida, 4. Akt 2. Szene (figure B to figure C)

Candidates prepare:
◗ Sight reading
below.
Improvisation
Sight reading
options:
◗ Stylistic
◗ Motivic
parameters.
◗ Harmonic
Aural questions

Harmonised
Identify and comment on two other
8 bars Listen to the piece twice
modulates as subdominant, dominant or
Major or relative key
piece once
minor key Answers may alternatively be given as key
names
2, 3, 4 or 6
Study a copy of the piece, and Locate the changes and describe them as
listen to it twice with three changes pitch (melody line only) or rhythm
77
Clarinet: Grade 8
Clarinet: Grade 8
PIECES
piece from group B.
TECHNICAL WORK
Either

◗ Ab major, G# minor
◗ C major, C minor two octaves tongued or
◗ B major, B minor min. tempi: slurred or
scales q = 132 staccato-
Plus: arpeggios q. = 69 tongued f or p
◗ Chromatic scale starting on E 7ths q = 104 or mixed
◗ Whole-tone scale starting on G three octaves articulation
◗ Dominant 7th in the keys of A and C
◗ Diminished 7th starting on E
◗ Pentatonic (major) scale starting on C
two octaves
◗ Augmented arpeggios starting on Ab
and B
◗ major scale
◗ major arpeggio
◗ minor arpeggio
78
Clarinet: Grade 8
Or

1b. Kodály: Tänze aus Galanta (bars 31-49)
2a. Beethoven: Sinfonie Nr. 6, 1. Satz (bars 476-492)

2b. Mendelssohn: Ein Sommernachtstraum, Scherzo for articulation
(bars 222-385, 1st clarinet part)
3a. Prokofieff: Peter und der Wolf (entire extract)

3b. Rimsky-Korsakow: Scheherazade, 3. Satz (entire extract)
Eb clarinet – Berlioz: Symphonie fantastique, 5. Satz (bars 40-64)

Bass clarinet – Strauss: Don Quixote (entire extract)

below.
◗ Sight reading
Aural or Improvisation Improvisation
options:
parameters. ◗ Harmonic
Aural questions

12-16 bars
Identify and comment on three other
Major or Listen to the piece twice
minor key
2, 3, 4, 6 or 5 listen to it twice with three changes pitch or rhythm
79
Oboe: Grade 1
Oboe: Grade 1
PIECES
Candidates perform a balanced programme of three pieces chosen from the Oboe Grade 1
piece from group B.
TECHNICAL WORK
All requirements are in Trinity’s Oboe Scales, Arpeggios & Exercises from 2017.
Either
Scales:
◗ F and G major
◗ E minor (candidate choice of
min. tempi:
slurred
arpeggios e = 80
Arpeggios:
◗ F and G major
◗ E minor
Or
1a. Curves
1b. Rising and Falling
2a. Neat and Tidy
for articulation
2b. Tee-ya-ti-dum
3a. Like a CD
3b. Smooth
80
Oboe: Grade 1
SUPPORTING TESTS
three options:
◗ Improvisation
◗ Stylistic
◗ Motivic
See pages 23-25 for the parameters. Musical knowledge
below.
Aural questions

the strong beat

Melody only
4 bars staccato
Major key

the second playing
81
Oboe: Grade 2
Oboe: Grade 2
PIECES
piece from group B.
TECHNICAL WORK
Either
Scales:
◗ C and D major
to 12th
minor)
min. tempi:
◗ A minor (candidate choice of either tongued or
harmonic or melodic or natural one octave scales q = 66 mf
slurred
Arpeggios:
◗ C and D major to 12th
◗ D minor
◗ A minor one octave
Or
1a. The Peace Pipe

1b. Emerging
2a. Py-a-ta-ti
for articulation
2b. Light and Shade
82
Oboe: Grade 2
3a. Twister
3b. Negotiate

◗ Sight reading
options:
◗ Aural
◗ Stylistic
◗ Improvisation
◗ Motivic
◗ Harmonic
below.
Aural questions

the strong beat

Melody only
during the melody
Major or staccato
minor key
83
Oboe: Grade 3
Oboe: Grade 3
PIECES
piece from group B.
TECHNICAL WORK
Either
Scales:
two octaves
◗ C major
◗ F major
◗ E minor (candidate choice of either to 12th
harmonic or melodic minor)
◗ Bb major (starting an octave above
the lowest tonic)
◗ G minor (candidate choice of either one octave min. tempi:
harmonic or melodic minor) scales q = 72 tongued or
slurred mf
◗ Chromatic scale starting on G arpeggios e = 100
Arpeggios:
two octaves
◗ C major
◗ F major
to 12th
◗ E minor
the lowest tonic) one octave
◗ G minor
Or
84
Oboe: Grade 3
1a. Draw a Line

1b. Olde England
2a. A Good Read

for articulation
2b. Oh Boy
3a. Thirds
3b. Highland Tune
SUPPORTING TESTS
three options:
◗ Improvisation
◗ Stylistic
◗ Motivic
Musical knowledge
parameters.
responses.
below.
Aural questions

4 bars
Major or
the melody once third, fourth, fifth or sixth)
minor key
or bass clef if required), and listen occurred
to it once as written and once ii) Identify the change as rhythm or pitch
with a change of rhythm or pitch
85
Oboe: Grade 4
Oboe: Grade 4
PIECES
piece from group B.
TECHNICAL WORK
Either
Scales:
◗ D and Eb major
◗ C and D minor (candidate choice of two octaves
either harmonic or melodic minor)
◗ Chromatic scale starting on C
◗ G major to 12th
min. tempi:
◗ A major scales q = 80 tongued or
one octave mf
◗ Pentatonic (major) scale starting on F arpeggios e = 120 slurred
7ths q = 69
Arpeggios:
◗ D and Eb major
two octaves
◗ C and D minor
◗ Dominant 7th in the key of F
◗ G major to 12th
◗ A major one octave
Or
1a. Lament
1b. Song Without Words
86
Oboe: Grade 4
2a. Animato
for articulation
2b. Haiku
3a. Spinning Wheel

3b. Run Around
SUPPORTING TESTS
three options:
◗ Improvisation
◗ Motivic
Sight reading
◗ Harmonic
parameters.
Musical knowledge
parameters.
based on candidates’ chosen pieces.
responses.
below.
Aural questions


Harmonised
imperfect
4 bars
melody once

(provided in treble clef, or in alto i) Identify the bar in which the change of
or bass clef if required), and listen rhythm occurred
of pitch
87
Oboe: Grade 5
Oboe: Grade 5
PIECES
piece from group B.
TECHNICAL WORK
Either
Scales:
◗ Bb and E major
◗ B and C# minor (candidate choice of
two octaves
◗ Chromatic scale starting on Eb
◗ Pentatonic (major) scale starting on D
◗ Ab and A major min. tempi:
◗ F and F# minor (candidate choice of to 12th scales q = 92 tongued or
either harmonic or melodic minor) slurred mf
arpeggios e = 132
Arpeggios: 7ths q = 76
◗ Bb and E major
◗ B and C# minor two octaves
◗ Dominant 7th in the keys of F and G
◗ Diminished 7th starting on B
◗ Ab and A major
to 12th
◗ F and F# minor
Or
1a. Major Sevenths

1b. Sweet Waltz
88
Oboe: Grade 5
2a. Calypso
for articulation
2b. Two Doves
3a. Echoes
3b. Hide and Seek
SUPPORTING TESTS
three options:
◗ Improvisation
◗ Motivic
Sight reading
◗ Harmonic
below.
Aural questions


8 bars plagal, imperfect or interrupted

2, 3, 4 or 6 major seventh or octave
89
Oboe: Grade 6
Oboe: Grade 6
PIECES
piece from group B.
◗ Only one cor anglais item may be chosen.
TECHNICAL WORK
Either
Scales & arpeggios are in Trinity’s Oboe Scales, Arpeggios & Exercises from 2017.
centres: two octaves
to 12th min. tempi: tongued or
◗ Ab major, G# minor scales q = 108 slurred or
f or
p
7ths q = 90 tongued
◗ Chromatic scale starting on Bb
◗ Whole-tone scale starting on D
two octaves
◗ Pentatonic (major) scale starting on Bb
◗ Dominant 7th in the key of Eb
◗ major scale
◗ major arpeggio
◗ minor arpeggio
90
Oboe: Grade 6
Or
The cor anglais option may be substituted for one of the extracts.
Orchestral extracts are in Orchester Probespiel: Oboe (Edition Peters EP8660).
1a. Beethoven: Sinfonie Nr. 3 ‘Eroica’, 2. Satz Marcia funebre (bars
8–56) for tone and phrasing
1b. Mascagni: Cavalleria rusticana, Nr. 5 Romanze (bars 1–44)
2a. Wagner: Die Meistersinger von Nürnberg, Vorspiel (bars 122–134)

for articulation
2b. Weber: Der Freischütz, 2. Aufzug Ariette des Ännchen (bars 1–26)
3a. Smetana: Die verkaufte Braut, 1. Akt 4. Szene Quartett (entire

extract) for finger technique
3b. Verdi: Aida, 1. Akt 1. Szene Romanze des Radames (entire extract)
Cor anglais – Dvořák: Sinfonie Nr. 9, 2. Satz Largo (entire extract)

Candidates prepare:
◗ Sight reading
below.
Improvisation
Sight reading
options:
◗ Stylistic
◗ Motivic
parameters.
◗ Harmonic
Aural questions

Harmonised
Identify the key to which the music modulates as
Major key Listen to the first four bars of
subdominant, dominant or relative minor
the piece once
2, 3, 4 or 6 Answers may alternatively be given as key names
Study a copy of the piece,
and listen to it twice with two
or rhythm
changes to the melody line
91
Oboe: Grade 7
Oboe: Grade 7
PIECES
piece from group B.
TECHNICAL WORK
Either
centres:
two octaves
tongued
◗ A major, A minor to 12th min. tempi:
or
scales q = 120
Plus: slurred or
arpeggios q. = 66 f or p
staccato-
◗ Chromatic scale starting on F 7ths q = 96
tongued
◗ Whole-tone scale starting on C
◗ Pentatonic (major) scale starting on C two octaves
and Eb
◗ Dominant 7th in the keys of Ab and F
◗ Augmented arpeggio starting on C
◗ major scale
◗ major arpeggio
◗ minor arpeggio
92
Oboe: Grade 7
Or
1a. Brahms: Violinkonzert, 2. Satz (entire extract)

1b. Tschaikowsky: Sinfonie Nr. 4, 2. Satz (entire extract)
2a. Bartók: Konzert für Orchester, II Giuco delle coppie (entire extract)
for articulation
2b. Mozart: Sinfonie Nr. 41 ‘Jupiter’, 1. Satz (entire extract)
3a. Mozart: Cosi fan tutte, Ouverture (bar 81 to end of extract)

3b. Strawinsky: Pulcinella Suite, V Toccata (entire extract)
Cor anglais – Franck: Sinfonie d-Moll, 2. Satz (entire extract)

Candidates prepare:
◗ Sight reading
below.
Improvisation
Sight reading
options:
◗ Stylistic
◗ Motivic
parameters.
◗ Harmonic
Aural questions

Harmonised
Major or modulates as subdominant, dominant or
minor key relative key
piece once
2, 3, 4 or 6 names
93
Oboe: Grade 8
Oboe: Grade 8
PIECES
piece from group B.
TECHNICAL WORK
Either

centres:
two octaves
◗ D major, D minor
◗ Db major, C# minor tongued or
◗ B major, B minor min. tempi: slurred or
scales q = 132 staccato-
f or p
Plus: two and a arpeggios q. = 69 tongued
◗ Chromatic scale starting on B half octaves 7ths q = 104 or mixed
articulation
◗ Whole-tone scale starting on Db
◗ Dominant 7th in the keys of B and E
two octaves
◗ Diminished 7th starting on E and B
◗ Augmented arpeggios starting on B
and D
◗ major scale
◗ major arpeggio
◗ minor arpeggio
94
Oboe: Grade 8
Or
1a. Strauss: Der Rosenkavalier, 2. Aufzug [Rosenüberreichung] (5 bars
before figure 30 to 2nd bar of figure 31, and from Etwas fliessender
after figure 33 to 2 bars before figure 37) for tone and phrasing
1b. Strawinsky: Pulcinella Suite, II Serenata (beginning of extract to 1st bar
of figure 10)
2a. Mendelssohn: Sinfonie Nr. 3 ‘Schottische’, 2. Satz (entire extract)
for articulation
2b. Verdi: Rigoletto, 3. Akt 7. Szene (omit last 2 bars, no repeats)
3a. Mussorgski: Bilder einer Ausstellung, III Les Tuileries (entire extract)
3b. Ravel: Le Tombeau de Couperin, Prélude (entire extract) for finger technique
Cor anglais - Ravel: Klavierkonzert G-Dur, 2. Satz (figure 6 to 1st bar of figure 9
SUPPORTING TESTS The aural test requirements for Grade 8 are

Candidates prepare: below.
◗ Sight reading Improvisation
◗ Aural or Improvisation Candidates perform an improvisation based
Sight reading
options:
◗ Stylistic
at a level approximately two grades lower than ◗ Motivic
the exam being taken. See pages 23-25 for the ◗ Harmonic
parameters. See pages 26-33 for the requirements and
parameters.
Aural
Aural questions

12-16 bars iii) Comment on the articulation
Major or Identify and comment on three other

minor key characteristics of the piece
95
Bassoon: Grade 1
Bassoon: Grade 1
PIECES
Candidates perform a balanced programme of three pieces chosen from the Bassoon Grade 1
piece from group B.
TECHNICAL WORK
All requirements are in Trinity’s Bassoon Scales, Arpeggios & Exercises from 2017.
Either
Scales:
◗ C (starting an octave above the
lowest tonic) and F major
either harmonic or melodic or min. tempi:
natural minor) one octave mf
slurred
arpeggios e = 80
Arpeggios:
◗ C (starting an octave above the
lowest tonic) and F major
◗ A minor
Or
1a. Contemplate
1b. Without Words
2a. Marching Off
for articulation
2b. Shuffle
3a. Symmetry
3b. Eastern Twist
96
Bassoon: Grade 1
SUPPORTING TESTS
three options:
◗ Improvisation
◗ Stylistic
◗ Motivic
below.
Aural questions

the strong beat

Melody only
4 bars staccato
Major key

the second playing
97
Bassoon: Grade 2
Bassoon: Grade 2
PIECES
piece from group B.
TECHNICAL WORK
Either
Scales:
two octaves
◗ F major
harmonic or melodic or natural to 12th
minor)
◗ G major
min. tempi:
◗ E minor (candidate choice of either one octave tongued or
harmonic or melodic or natural scales q = 66 mf
slurred
Arpeggios:
two octaves
◗ F major
◗ D minor to 12th
◗ G major
one octave
◗ E minor
Or
1a. Springtime
1b. Tempo di Valse
98
Bassoon: Grade 2
2a. Dinosaur Dance

for articulation
2b. Vive la Différence
3a. Sphynx
3b. Semitonal

◗ Sight reading
options:
◗ Aural
◗ Stylistic
◗ Improvisation
◗ Motivic
◗ Harmonic
at a level lower than the exam being taken. See Musical knowledge
pages 23-25 for the parameters. Candidates answer questions assessing their
musical example played on the piano by the See pages 34-35 for example questions and
examiner. See page 26 for more information. responses.
below.
Aural questions

the strong beat

Melody only
during the melody
Major or staccato
minor key
99
Bassoon: Grade 3
Bassoon: Grade 3
PIECES
piece from group B.
TECHNICAL WORK
Either
Scales:
two octaves
◗ C and G major
the lowest tonic)
to 12th
◗ A minor (candidate choice of either
◗ G minor (candidate choice of either min. tempi:
harmonic or melodic minor) one octave scales q = 72 tongued or
slurred mf
◗ Chromatic scale starting on G arpeggios e = 100
Arpeggios:
two octaves
◗ C and G major
the lowest tonic) to 12th
◗ A minor
◗ G minor one octave
Or
100
Bassoon: Grade 3
1a. Whistling a Tune

1b. Balance
2a. Hot and Cold

for articulation
2b. Folksy
3a. Chromatic Dance

3b. Sunshine
SUPPORTING TESTS
three options:
◗ Improvisation
◗ Stylistic
◗ Motivic
Musical knowledge
parameters.
responses.
below.
Aural questions

4 bars
Major or
minor key
3 or 4 (provided in treble clef, or in alto or i) Identify in which bar the change has
bass clef if requested), and listen occurred
to it once as written and once with ii) Identify the change as rhythm or pitch
a change of rhythm or pitch
101
Bassoon: Grade 4
Bassoon: Grade 4
PIECES
piece from group B.
TECHNICAL WORK
Either
Scales:
◗ Ab, D and Eb major
◗ G, B and C minor (candidate choice of two octaves
min. tempi:
◗ Chromatic scale starting on F
slurred mf
◗ Pentatonic (major) scale starting on F one octave arpeggios e = 120
7ths q = 69
Arpeggios:
◗ Ab, D and Eb major
two octaves
◗ G, B and C minor
◗ Dominant 7th in the key of C
Or
1a. Semplice
1b. Melodie
2a. Q & A
for articulation
2b. Scat
3a. Handy
3b. At the Ball
102
Bassoon: Grade 4

◗ Aural
◗ Stylistic
◗ Improvisation
◗ Motivic
◗ Harmonic
below.
Aural questions


Harmonised Listen to the piece twice ii) Identify the final cadence as perfect or
4 bars imperfect

melody once
Major or or fifth, minor or major sixth
minor key
4 or 6 (provided in treble clef, or in alto or i) Identify the bar in which the change of
of pitch
103
Bassoon: Grade 5
Bassoon: Grade 5
PIECES
piece from group B.
TECHNICAL WORK
Either
Scales:
◗ A, Bb (candidates may start on the
lowest tonic or an octave higher), Eb
and E major
◗ A, G, C and F# minor (candidate
choice of either harmonic or melodic
minor)
min. tempi:
◗ Chromatic scale starting on A scales q = 92 tongued or
◗ Pentatonic (major) scale starting on C two octaves mf
arpeggios e = 132 slurred
◗ A, Bb (candidates may start on the
lowest tonic or an octave higher), Eb
and E major
◗ A, G, C and F# minor
◗ Dominant 7th in the keys of Bb and D
◗ Diminished 7th starting on E
Or
1a. Lilt
1b. Just a Minuet
104
Bassoon: Grade 5
2a. A Conversation
for articulation
2b. Chase Away
3a. Gliding
3b. Seven Up
SUPPORTING TESTS
three options:
◗ Improvisation
◗ Motivic
Sight reading
◗ Harmonic
below.
Aural questions



2, 3, 4 or 6
105
Bassoon: Grade 6
Bassoon: Grade 6
PIECES
piece from group B.
◗ Only one contrabassoon item may be chosen.
TECHNICAL WORK
Either
Scales & arpeggios are in Trinity’s Bassoon Scales, Arpeggios & Exercises from 2017.
two octaves min. tempi: tongued or
f or
p
7ths q = 90 tongued
◗ Chromatic scale starting on Bb
three octaves
◗ Dominant 7th in the key of Eb
◗ Whole-tone scale starting on G
two octaves
◗ Pentatonic (major) scale starting on G
◗ major scale
◗ major arpeggio
◗ minor arpeggio
106
Bassoon: Grade 6
Or
Orchestral extracts are in Orchester Probespiel: Bassoon (Edition Peters EP8662).
1a. Donizetti: Der Liebestrank, 2. Akt Nr. 19 Romanze des Nemorino

(opening to bar 9) for tone and phrasing
1b. Strawinsky: Der Feuervogel, Berceuse (entire extract)
2a. Beethoven: Sinfonie Nr. 4, 1. Satz (bars 65–78 and bars 221–237)
for articulation
2b. Bizet: Carmen, Zwischenspiel (first section only, ie first 28 bars)

3b. Beethoven: Violinkonzert, 3. Satz: Rondo (bars 134–142 and bars for finger technique
150–158)

Candidates prepare: below.
Sight reading
options:
◗ Stylistic
at a level approximately two grades lower than ◗ Motivic
parameters. See pages 26-33 for the requirements and
parameters.
Aural
Aural questions

Harmonised
the piece once
2, 3, 4 or 6 Answers may alternatively be given as key names
or rhythm
107
Bassoon: Grade 7
Bassoon: Grade 7
PIECES
piece from group B.
TECHNICAL WORK
Either
from the following tonal centres: three octaves
◗ Db major, C# minor two octaves
tongued
min. tempi:
Plus: or slurred
scales q = 120
or f or
three octaves arpeggios q. = 66
staccato- p
◗ Dominant 7th in the key of F 7ths q = 96
tongued
◗ Whole-tone scale starting on A
◗ Pentatonic (major) scale starting on A
and Eb two octaves
◗ Augmented arpeggio starting on G
◗ major scale
◗ major arpeggio
◗ minor arpeggio
108
Bassoon: Grade 7
Or
1a. Beethoven: Violinkonzert, 1. Satz (bars 18–25, upper part) AND

2. Satz (entire extract) for tone and phrasing
1b. Tschaikowsky: Sinfonie Nr. 4, 2. Satz (bars 274–290)
2a. Mozart: Die Zauberflöte, Ouverture (bars 27–53)

for articulation
2b. Rossini: Der Barbier von Sevilla, Ouverture (bars 179–197)
3a. Brahms: Variationen über ein Thema von Haydn, Var. II (entire
extract, upper part, no repeats)
3b. Rossini: Der Barbier von Sevilla, 2. Akt Nr. 14 Temporale (Gewitter)
(bars 35–53 downbeat)

Candidates prepare: examiner. See page 26 for more information.
◗ Sight reading The aural test requirements for Grade 7 are
below.
Improvisation
Sight reading
options:
the exam being taken. See pages 23-25 for the ◗ Stylistic
◗ Harmonic
Aural
parameters.
Aural questions

piece once
2, 3, 4 or 6 names
109
Bassoon: Grade 8
Bassoon: Grade 8
PIECES
piece from group B.
TECHNICAL WORK
Either

◗ E major, E minor two octaves tongued or
◗ Ab major, G# minor min. tempi: slurred or
scales q = 132 staccato- f or
Plus: arpeggios q. = 69 tongued p
◗ Chromatic scale starting on D three octaves 7ths q = 104 or mixed
◗ Dominant 7th in the key of G articulation
◗ Whole-tone scale starting on B
◗ Pentatonic (major) scale starting on B
◗ Dominant 7th in the key of B
two octaves
◗ Diminished 7th starting on B and F#
◗ Augmented arpeggios starting on F#
and Ab
◗ major scale
◗ major arpeggio
◗ minor arpeggio
110
Bassoon: Grade 8
Or
1a. Ravel: Boléro (entire extract)

1b. Rimsky-Korsakow: Scheherazade, 2. Satz Andantino (bars 5–26)
2a. Berlioz: Symphonie fantastique, 4. Satz Der Gang zum Richtplatz

(entire extract, upper part) for articulation
2b. Bizet: Carmen, 3. Akt 2. Bild No. 25 (entire extract)
3a. Mozart: Così fan tutte, Ouverture (entire extract)

3b. Strawinsky: Pulcinella-Suite, 6. Satz: Gavotta con due variazioni, for finger technique
Variazione IIa (entire extract, 1st bassoon only, no repeats)

below.
Candidates prepare:
Sight reading options:
After 30 seconds’ preparation time, candidates ◗ Stylistic
◗ Motivic
parameters.
parameters.
Aural
Aural questions


111
Saxophone: Grade 1
Saxophone: Grade 1
PIECES
Candidates perform a balanced programme of three pieces chosen from the Saxophone Grade 1
piece from group B.
◗ One piece from the same group of the Grade 1 Jazz Saxophone list may be played instead of
one of the listed pieces.
TECHNICAL WORK
All requirements are in Trinity’s Saxophone Scales, Arpeggios & Exercises from 2015.
Either
Scales:
◗ F and G major
either harmonic or melodic or min. tempi:
natural minor) tongued or
one octave scales q = 72 mf
slurred
arpeggios e = 120
Arpeggios:
◗ F and G major
◗ E minor
Or
1a. A Mouthful
1b. Snake in a Basket
2a. Waltz by Step
for articulation
2b. The Earthworm
3a. Smooth
3b. … and back again
112
Saxophone: Grade 1
SUPPORTING TESTS
three options:
◗ Improvisation
◗ Stylistic
◗ Motivic
below.
Aural questions

the strong beat

Melody only
4 bars staccato
Major key

the second playing
113
Saxophone: Grade 2
Saxophone: Grade 2
PIECES
piece from group B.
TECHNICAL WORK
Either
Scales:
two octaves
◗ D major
◗ C major (starting on either C)

◗ A and B minor (candidate min. tempi:
one octave
choice of either harmonic or tongued or
scales q = 72 mf
melodic or natural minor) slurred
arpeggios e = 120
Arpeggios:
two octaves
◗ D major
◗ C major (starting on either C)
one octave
◗ A and B minor
Or
1a. The Peace Pipe

1b. The Cossack
2a. Light and Shade
for articulation
2b. The Same but Different!
114
Saxophone: Grade 2
3a. Twister
3b. Shaker

◗ Aural
◗ Stylistic
◗ Improvisation
◗ Motivic
◗ Harmonic
at a level lower than the exam being taken. Musical knowledge
See pages 23-25 for the parameters.

below.
Aural questions

the strong beat

Melody only
during the melody
Major or staccato
minor key
115
Saxophone: Grade 3
Saxophone: Grade 3
PIECES
piece from group B.
TECHNICAL WORK
Either
Scales:
◗ C major
two octaves
◗ F major
◗ E and G minor (candidate choice of to 12th
min. tempi:
either harmonic or melodic minor) scales q = 84 tongued or
slurred mf
◗ Chromatic scale starting on G one octave arpeggios e = 132
Arpeggios:
◗ C major two octaves
◗ D minor
◗ F major
to 12th
◗ E and G minor
Or
116
Saxophone: Grade 3
1a. Last Dance

1b. Olde Englande
2a. A Handful
for articulation
2b. Sidestepping
3a. Highland Tune

3b. Gently Does It
SUPPORTING TESTS
three options:
◗ Improvisation
◗ Stylistic
◗ Motivic
Musical knowledge
parameters.
responses.
below.
Aural questions

4 bars
Major or
minor key
3 or 4 (provided in treble clef, or in alto or i) Identify in which bar the change has
bass clef if required), and listen to occurred
it once as written and once with a ii) Identify the change as rhythm or pitch
change of rhythm or pitch
117
Saxophone: Grade 4
Saxophone: Grade 4
PIECES
piece from group B.
TECHNICAL WORK
Either
Scales:
◗ Eb major
two
◗ C minor (candidate choice of either octaves
◗ Chromatic scale starting on D
◗ A and G major
◗ A and F# minor (candidate choice of to 12th min. tempi:
either harmonic or melodic minor) scales q = 96
tongued or
arpeggios e = 138 slurred mf
◗ Pentatonic (major) scale starting on G one octave 7ths q = 69
Arpeggios:
◗ Eb major two
◗ C minor octaves
◗ Dominant 7th in the key of G
◗ A and G major
to 12th
◗ A and F# minor
Or
118
Saxophone: Grade 4
1a. Song Without Words

1b. Leap of Faith
2a. Details, Details!

for articulation
2b. Blue Lament
3a. Spinning Wheel

3b. Run Around

◗ Aural
◗ Stylistic
◗ Improvisation
◗ Musical knowledge ◗ Motivic
◗ Harmonic
Sight reading
parameters.
the exam being taken. See pages 23-25 for the Musical knowledge
parameters. Candidates answer questions assessing their
Candidates answer questions based on a single based on candidates’ chosen pieces. See pages
musical example played on the piano by the 34-35 for example questions and responses.
below.
Aural questions


Harmonised Listen to the piece twice ii) Identify the final cadence as perfect or
4 bars imperfect

melody once
Major or or fifth, minor or major sixth
minor key
4 or 6 (provided in treble clef, or in alto or i) Identify the bar in which the change of
of pitch
119
Saxophone: Grade 5
Saxophone: Grade 5
PIECES
piece from group B.
TECHNICAL WORK
Either
Scales:
◗ Bb, Eb and E major
◗ E and C# minor (candidate choice of two octaves
◗ Chromatic scale starting on E
◗ Ab major min. tempi:
◗ F minor (candidate choice of either to 12th scales q = 116 tongued or
harmonic or melodic minor) slurred mf
arpeggios e = 152
◗ Bb, Eb and E major
◗ E and C# minor two octaves
◗ Dominant 7th in the keys of A and F
◗ Diminished 7th starting on D
◗ Ab major
to 12th
◗ F minor
Or
1a. At Sixes and Sevens
1b. Rising and Falling
120
Saxophone: Grade 5
2a. A Good Turn

for articulation
2b. A Little Waltz
3a. Be Flattered
3b. Viennese
SUPPORTING TESTS
three options:
◗ Improvisation
◗ Motivic
Sight reading
◗ Harmonic
below.
Aural questions



2, 3, 4 or 6 major seventh or octave
121
Saxophone: Grade 6
Saxophone: Grade 6
PIECES
piece from group B.
TECHNICAL WORK
Either
Scales & arpeggios are in Trinity’s Saxophone Scales, Arpeggios & Exercises from 2015.
centres: two octaves
min. tempi: tongued or
◗ Ab major, G# minor to 12th scales q = 120 slurred or
Plus: arpeggios q. = 63 staccato- f or p
7ths q = 96 tongued
two octaves
◗ Whole-tone scale starting on E
◗ Pentatonic (major) scale starting on Ab
to 12th
◗ Dominant 7th in the key of Db
◗ major scale
◗ major arpeggio
◗ minor arpeggio
122
Saxophone: Grade 6
Or
2. STUDY (music may be used)
Candidates prepare one of the following:
48 Studies for Oboe or

a. Ferling No. 17 or no. 18 Billaudot CC3082
Saxophone, op. 31
36 More Modern Studies for

b. Rae Return Flight or Breakaway Universal UE21613
Solo Saxophone
c. Wilson No. 11 or no. 12 Saxtudes Camden CM240

Candidates prepare: Candidates perform an improvisation based
◗ Sight reading
options:
◗ Stylistic
Sight reading ◗ Motivic
After 30 seconds’ preparation time, candidates ◗ Harmonic
parameters.
parameters.
Aural
below.
Aural questions

Harmonised iii) Comment on the articulation
8 bars Identify and comment on two other
Listen to the first four bars of
Major key subdominant, dominant or relative minor
the piece once
Answers may alternatively be given as key names
2, 3, 4 or 6 Study a copy of the piece,
or rhythm
123
Saxophone: Grade 7
Saxophone: Grade 7
PIECES
piece from group B.
TECHNICAL WORK
Either
from the following tonal centres: two and a
half octaves
◗ Eb major, Eb minor two octaves
to 12th
tongued
Plus: min. tempi:
or
two and a scales q = 132
◗ Chromatic scale starting on B slurred or
half octaves arpeggios q. = 69 f or p
staccato-
◗ Diminished 7th starting on B 7ths q = 104
tongued
◗ Pentatonic (major) scale starting on Eb
◗ Whole-tone scale starting on Eb
two octaves
◗ Augmented arpeggio starting on Eb
◗ Pentatonic (major) scale starting on G
to 12th
◗ Dominant 7th in the key of D
◗ major scale
◗ major arpeggio
◗ minor arpeggio
124
Saxophone: Grade 7
Or
Saxophone, op. 31
Scale Force or Hocus 36 More Modern Studies for

b. Rae Universal UE21613
Pocus Solo Saxophone

◗ Sight reading
options:
◗ Stylistic
parameters.
parameters.
Aural
below.
Aural questions

piece once
2, 3, 4 or 6 names
125
Saxophone: Grade 8
Saxophone: Grade 8
PIECES
piece from group B.
TECHNICAL WORK
Either

two and a
from the following tonal centres:
half octaves
◗ Db major, C# minor two octaves
tongued or
◗ F# major, F# minor to 12th
min. tempi: slurred or
Plus: scales q = 132 staccato- f or
◗ Chromatic scale starting on Bb two and a arpeggios q. = 69 tongued p
◗ Dominant 7th in the key of Eb half octaves 7ths q = 104 or mixed
articulation
◗ Whole-tone scale starting on C#
◗ Dominant 7th in the key of F# two octaves
◗ Augmented arpeggios starting on D and F
◗ Pentatonic (major) scale starting on F#
to 12th
◗ major scale
◗ major arpeggio
◗ minor arpeggio
126
Saxophone: Grade 8
Or
Saxophone, op. 31
36 More Modern Studies for

b. Rae Devil’s Brew Universal UE21613
Solo Saxophone

◗ Sight reading
options:
◗ Stylistic
parameters.
parameters.
Aural
below.
Aural questions


127
Recorder: Initial
Recorder: Initial
PIECES
Candidates perform a balanced programme of three pieces chosen from the Recorder Initial
piece from group B.
TECHNICAL WORK
Technical work must be taken on descant recorder.
Candidates prepare either Section 1 or Section 2. See pages 20-21 for further details.
All requirements are in Trinity’s Recorder Scales, Arpeggios & Exercises from 2017.
Either
1. SCALES & TRIADS (from memory)

min. tempo:
◗ G major
q = 60
◗ D major ascending and
tongued mf
Triads: descending
min. tempo:
◗ G major
e = 120
◗ D major
Or
and 3a or 3b.
Candidates choose one exercise to play first. Examiners then select one of the remaining two
prepared exercises to be performed.
1a. Steady Now

1b. Top to Bottom
2a. Spider in the Sink!

for articulation
2b. Upstairs
3a. In Threes
3b. Round and Round
128
Recorder: Initial

◗ Sight reading options:

parameters.
Musical knowledge
at a level lower than the exam being taken. See
pages 23-25 for the parameters. Candidates answer questions assessing their
Aural questions

the strong beat
Melody only
Major key
2
of the melody once
129
Recorder: Grade 1
Recorder: Grade 1
PIECES
Candidates perform a balanced programme of three pieces chosen from the Recorder Grade 1
piece from group B.
TECHNICAL WORK: DESCANT RECORDER

Either
Scales:
◗ F and C major
◗ D minor (candidate choice of
min. tempi:
slurred
arpeggios e = 120
Arpeggios:
◗ F and C major
◗ D minor
Or
1a. Go East
1b. Kyoto
2a. Log Drum
for articulation
2b. Marcial
3a. Arpeggioni
3b. The Third Way
130
Recorder: Grade 1
TECHNICAL WORK: TREBLE RECORDER

Either
Scales:
◗ Bb and F major
◗ G minor (candidate choice of
min. tempi:
slurred
arpeggios e = 120
Arpeggios:
◗ Bb and F major
◗ G minor
Or
1a. Go East
1b. Kyoto
2a. Log Drum
for articulation
2b. Marcial
3a. Arpeggioni
3b. The Third Way
SUPPORTING TESTS
◗ Sight reading
◗ Aural
◗ Improvisation
Sight reading
level lower than the exam being taken.
See pages 23-25 for the parameters.
131
Recorder: Grade 1
Aural
The aural test requirements for Grade 1 are below.
Aural questions

the strong beat

Melody only
4 bars staccato
Major key

the second playing
Improvisation Musical knowledge

Candidates perform an improvisation based Candidates answer questions assessing their
on a stimulus chosen from the following understanding of the pieces performed, as well
three options: as their knowledge of notation. Questions are
◗ Stylistic
◗ Motivic See pages 34-35 for example questions and
responses.
◗ Harmonic
parameters.
132
Recorder: Grade 2
Recorder: Grade 2
PIECES
piece from group B.

Either
Scales:
◗ D major
◗ D minor (candidate choice of to 12th
either harmonic or melodic or
natural minor)
one octave and down
◗ G major
to the dominant
min. tempi:
◗ E minor (candidate choice of tongued
either harmonic or melodic or one octave scales q = 72 mf
or slurred
natural minor) arpeggios e = 120
Arpeggios:
◗ D major to 12th
◗ D minor
one octave and down
◗ G major
to the dominant
◗ E minor one octave
Or
133
Recorder: Grade 2
1a. Minor Steps

1b. Shaping
2a. Echo Swing
for articulation
2b. Some Cuckoo
3a. Jazz Hands
3b. Off and On

Either
Scales:
◗ G major
◗ G minor (candidate choice of to 12th
either harmonic or melodic or
natural minor)
one octave and down
◗ C major
to the dominant
min. tempi:
◗ A minor (candidate choice of tongued
either harmonic or melodic or one octave scales q = 72 mf
or slurred
natural minor) arpeggios e = 120
Arpeggios:
◗ G major to 12th
◗ G minor
one octave and down
◗ C major
to the dominant
◗ A minor one octave
Or
1a. Minor Steps

1b. Shaping
2a. Echo Swing
for articulation
2b. Some Cuckoo
3a. Jazz Hands
3b. Off and On
134
Recorder: Grade 2
SUPPORTING TESTS perform a previously unseen musical extract

◗ Sight reading parameters.
◗ Aural
Aural
◗ Improvisation
◗ Musical knowledge musical example played on the piano by the
Sight reading
After 30 seconds’ preparation time, candidates below.
Aural questions

the strong beat
Melody only i) Describe the dynamics, which will vary

4 bars during the melody
ii) Identify the articulation as legato or
staccato
Major or
minor key Identify the last note as higher or lower than
the first note
2 or 3
i) Identify where the change occurs
ii) Identify the change as rhythm or piitch
the second playing
Improvisation Musical knowledge

Candidates perform an improvisation based Candidates answer questions assessing their
on a stimulus chosen from the following understanding of the pieces performed, as well
three options: as their knowledge of notation. Questions are
◗ Stylistic
◗ Motivic See pages 34-35 for example questions and
responses.
◗ Harmonic
parameters.
135
Recorder: Grade 3
Recorder: Grade 3
PIECES
piece from group B.

Either
Scales:
to 12th
either harmonic or melodic
minor)
one octave and down
◗ F and Bb major
to the dominant
◗ A and G minor (candidate min. tempi:
choice of either harmonic or tongued
melodic minor) or slurred
arpeggios e = 132
◗ Chromatic scale starting on G
Arpeggios:
to 12th
◗ E minor
one octave and down
◗ F and Bb major
to the dominant
◗ A and G minor one octave
Or
136
Recorder: Grade 3
1a. A Major Event

1b. Espressivo
2a. On Tiptoe
for articulation
2b. Ornamental Garden
3a. A Smoothie
3b. Wedding Dance

Either
Scales:
to 12th
either harmonic or melodic
minor)
one octave and down
◗ Bb and Eb major
to the dominant
◗ D and C minor (candidate min. tempi:
choice of either harmonic or tongued
melodic minor) or slurred
arpeggios e = 132
Arpeggios:
to 12th
◗ A minor
one octave and down
◗ Bb and Eb major
to the dominant
◗ D and C minor one octave
Or
1a. A Major Event

1b. Espressivo
2a. On Tiptoe
for articulation
2b. Ornamental Garden
3a. A Smoothie
3b. Wedding Dance
137
Recorder: Grade 3


parameters.
Musical knowledge
below.
Aural questions

4 bars
Major or the melody once third, fourth, fifth or sixth)
minor key
or bass clef if requested), and occurred
once with a change of rhythm ii) Identify the change as rhythm or pitch
or pitch
138
Recorder: Grade 4
Recorder: Grade 4
PIECES
piece from group B.

Either
Scales:
two octaves
◗ C major
◗ Eb major to 12th
◗ A major
◗ A and B minor (candidate one octave and down
choice of either harmonic or to the dominant
melodic minor)
◗ F# minor (candidate choice of
either harmonic or melodic one octave
minor)
min. tempi:
◗ Chromatic scale starting on C scales q = 96 tongued
two octaves mf
(tongued only) arpeggios e = 138 or slurred
◗ Pentatonic (major) scale 7ths q = 69
one octave
starting on F
Arpeggios:
two octaves
◗ C major
◗ Eb major to 12th
◗ A major one octave and down
◗ A and B minor to the dominant
◗ F# minor one octave
◗ Dominant 7th in the key of F two octaves
139
Recorder: Grade 4
Or
1a. Balancing Act
1b. Converse
2a. Dainty
for articulation
2b. Nice Groove
3a. Cheeky
3b. Sharpish

Either
Scales:
two octaves
◗ F major
◗ Ab major to 12th
◗ D major
◗ D and E minor (candidate one octave and down
choice of either harmonic or to the dominant
melodic minor)
◗ B minor (candidate choice of
either harmonic or melodic one octave
minor)
min. tempi:
◗ Chromatic scale starting on F scales q = 96 tongued
two octaves mf
(tongued only) arpeggios e = 138 or slurred
◗ Pentatonic (major) scale 7ths q = 69
one octave
starting on Bb
Arpeggios:
two octaves
◗ F major
◗ Ab major to 12th
◗ D major one octave and down
◗ D and E minor to the dominant
◗ B minor one octave
◗ Dominant 7th in the key of Bb two octaves
Or
140
Recorder: Grade 4
1a. Balancing Act

1b. Converse
2a. Dainty
for articulation
2b. Nice Groove
3a. Cheeky
3b. Sharpish

◗ Sight reading
three options:
◗ Aural
◗ Stylistic
◗ Improvisation
◗ Motivic
◗ Harmonic
the exam being taken. Candidates answer questions assessing their
responses.
below.
Aural questions


Harmonised
imperfect
4 bars
melody once

i) Identify the bar in which the change of
(provided in treble clef, or in alto or
of pitch
141
Recorder: Grade 5
Recorder: Grade 5
PIECES
piece from group B.

Either
Scales:
◗ C minor (candidate choice of either two octaves
◗ E, Eb and G major
◗ F and C# minor (candidate choice of to 12th
◗ Ab major one octave and
◗ F# minor (candidate choice of either down to the
harmonic or melodic minor) dominant
min. tempi:
◗ Chromatic scale starting on C tongued
scales q = 116
◗ Pentatonic (major) scale starting on C or mf
two octaves arpeggios e = 152 slurred
◗ C minor
◗ E, Eb and G major
to 12th
◗ F and C# minor
one octave and
◗ Ab major
down to the
◗ F# minor
dominant
◗ Diminished 7th starting on C two octaves
◗ Dominant 7ths in the keys of A and Db one octave
Or
142
Recorder: Grade 5
1a. Persuasion
1b. Sequences
2a. Good Effects
for articulation
2b. Left, Right!
3a. Minor Debate
3b. Trills and Spills

Either
Scales:
◗ F minor (candidate choice of either two octaves
◗ A, Ab and C major
◗ Bb and F# minor (candidate choice of to 12th
◗ Db major one octave and
◗ B minor (candidate choice of either down to the
harmonic or melodic minor) dominant
min. tempi:
◗ Chromatic scale starting on F tongued
scales q = 116
◗ Pentatonic (major) scale starting on F or mf
two octaves arpeggios e = 152 slurred
◗ F minor
◗ A, Ab and C major
to 12th
◗ Bb and F# minor
one octave and
◗ Db major
down to the
◗ B minor
dominant
◗ Diminished 7th starting on F two octaves
◗ Dominant 7ths in the keys of D and Gb one octave
Or
1a. Persuasion
1b. Sequences
2a. Good Effects
for articulation
2b. Left, Right!
143
Recorder: Grade 5
3a. Minor Debate

3b. Trills and Spills
SUPPORTING TESTS
three options:
◗ Improvisation
◗ Motivic
Sight reading
◗ Harmonic
below.
Aural questions



2, 3, 4 or 6
144
Recorder: Grade 6
Recorder: Grade 6
PIECES
piece from group B.
◗ Both descant and treble recorders must be played.
TECHNICAL WORK
Technical work must be played on treble recorder.
Either
Scales & arpeggios are in Trinity’s Recorder Scales, Arpeggios & Exercises from 2017.
arpeggios from the following
two octaves
tonal centres:
◗ A major, A minor to 12th
one octave and down min. tempi: tongued or
to the dominant scales q = 120 slurred
mf
Plus: arpeggios q = 63 or staccato-
◗ Chromatic scale starting on F 7ths q = 96 tongued
two octaves
◗ Whole-tone scale starting on F
◗ Diminished 7th starting on F
◗ Pentatonic (major) scale
starting on Eb one octave
◗ Dominant 7th in the key of D
145
Recorder: Grade 6
◗ major scale
◗ major arpeggio
◗ minor arpeggio

Or
2. STUDY or ORCHESTRAL EXTRACT (music may be used)
Five Studies for Finger

a. Brüggen Allegro, no. 1 Broekmans BP712
Control
Modern Exercises for
b. Linde Allegro moderato, no. 11 Schott ED4797
Treble Recorder
Other Ornaments, no. Handleitung für das spiel
c. Mönkemeyer Moeck EM2001
108 der Alt-blockflöte book 2
Höchster was ich habe Orchestral Studies for
d. J S Bach Schott ED11459
(from Cantata 39), no. 14 Recorder (ed. Hunt)
O Ruddier than the
Cherry (from Acis and
Orchestral Studies for
e. Handel Galatea), no. 4 (may Schott ED11459
Recorder (ed. Hunt)
be played on treble or
sopranino)
SUPPORTING TESTS
Candidates prepare:
◗ Sight reading
Sight reading
After 30 seconds’ preparation time, candidates perform a previously unseen musical extract
at a level approximately two grades lower than the exam being taken. See pages 23-25 for the
parameters.
Aural
The aural test requirements for Grade 6 are on the next page.
146
Recorder: Grade 6
Aural questions

Harmonised
the piece once
Answers may alternatively be given as key names
2, 3, 4 or 6
or rhythm
Improvisation
options:
◗ Stylistic
◗ Motivic
◗ Harmonic
147
Recorder: Grade 7
Recorder: Grade 7
PIECES
piece from group B.
TECHNICAL WORK
Either
arpeggios from the following
tonal centres: to 12th
one octave and
◗ Db major, C# minor
down to the
dominant tongued
min. tempi:
or slurred
Plus: scales q = 132
or mf
◗ Chromatic scale starting on Bb arpeggios q = 69
to 12th staccato-
◗ Augmented arpeggio starting 7ths q = 116
tongued
on C
◗ Whole-tone scale starting on Db
◗ Pentatonic (major) scales
starting on E and Db
one octave
◗ Dominant 7ths in the keys of A
and Eb
◗ major scale
◗ major arpeggio
◗ minor arpeggio

148
Recorder: Grade 7
Or
Five Studies for Finger
a. Brüggen Molto adagio, no. 4 Broekmans BP712
Control
Allegretto grazioso, no. 10 Modern Exercises for Treble
b. Linde Schott ED4797
or Allegro vivace, no. 13 Recorder
Handleitung für das Spiel der
c. Mönkemeyer Flat Keys, no. 24 Moeck EM2001
Alt-blockflöte book 2
Bestelle dein Haus (from Orchestral Studies for
d. J S Bach Schott ED11459
Cantata 106), no. 10 Recorder (ed. Hunt)
Lento from Dance of the
e. Gluck Blessed Spirits (from Schott ED11459
Recorder (ed. Hunt)
Orfeo), no. 15

Candidates prepare:
◗ Sight reading
below.
Improvisation
Sight reading
After 30 seconds’ preparation time, candidates on a stimulus chosen from the following three
perform a previously unseen musical extract options:
◗ Stylistic
◗ Harmonic
Aural
parameters.
Aural questions

Harmonised
piece once
2, 3, 4 or 6 names
149
Recorder: Grade 8
Recorder: Grade 8
PIECES
piece from group B.
TECHNICAL WORK
Either
two octaves
centres:
◗ Ab major
◗ G# minor
◗ G major, G minor to 12th
tongued or
one octave min. tempi: slurred or
and down to scales q = 132 staccato-
◗ B major, B minor mf
the dominant arpeggios q = 76 tongued
Plus: 7ths q = 132 or mixed
◗ Pentatonic (major) scale starting on G articulation
◗ Diminished 7ths starting on Ab and G two octaves
◗ Augmented arpeggios starting on Ab
and G
◗ Chromatic scale starting on F# to 12th
◗ Whole-tone scale starting on F#
one octave
◗ Dominant 7ths in the keys of G and E
◗ major scale
◗ major arpeggio
◗ minor arpeggio

150
Recorder: Grade 8
Or
Allegretto, no. 2 Five Studies for Finger

a. Brüggen Broekmans BP712
or Vivace, no. 3 Control
Handleitung für das Spiel der
b. Mönkemeyer Intervals, no. 88 Moeck EM2001
Alt-blockflöte book 2
Stein, der über alle
c. J S Bach Schätze (from Cantata Schott ED11459
Recorder (ed. Hunt)
152), no. 13
Augelletti, che Cantate Orchestral Studies for
d. Handel Schott ED11459
(from Rinaldo), no. 5 Recorder (ed. Hunt)

◗ Sight reading
options:
◗ Stylistic
parameters.
parameters.
Aural
below.
Aural questions


151
Policies
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Trinity is committed to providing a high-quality
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rinity is committed to providing equality of
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REASONABLE ADJUSTMENT
Please note that, for training/monitoring
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152
Policies
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thereby assisting Trinity in upholding the quality
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153
Trinity publications
The following Trinity publications support this Mosaics Flute book 2 (Grades 6-8) TG 009272
syllabus. All are available from
shop.trinitycollege.com or your local music Flute All Sorts (Grades 1-3) TCL 011367
shop. Visit store.trinitycollege.com to explore Woodwind World Flute book 1 TCL 320018
our range of downloadable digital publications.
Woodwind World Flute book 2 TCL 320025
Flute Exam Pieces from 2023
Initial TCL 020826 Woodwind World Flute book 3 TCL 320032
Grade 1 TCL 020833 Woodwind World Flute book 4 TCL 320049
Grade 2 TCL 020840 Woodwind World Flute book 5 TCL 320056
Grade 3 TCL 020857

Clarinet repertoire
Grade 4 TCL 020864
Musical Moments Clarinet book 1 TG 009593
Grade 5 TCL 020871
Grade 6 TCL 020888
Grade 7 TCL 020895
Grade 8 TCL 020901
Mosaics Clarinet book 1 TG 009289
Clarinet Exam Pieces from 2023
(Initial-Grade 5)
Initial TCL 020918
Mosaics Clarinet book 2 TG 009296
Grade 1 TCL 020925 (Grades 6-8)
Grade 2 TCL 020932 Clarinet All Sorts (Grades 1-3) TCL 011299
Grade 3 TCL 020949 Woodwind World Clarinet book 1 TCL 350015
Grade 8 TCL 020994
Saxophone repertoire
Flute repertoire Musical Moments Alto Saxophone TG 009647
Musical Moments Flute book 1 TG 009548 book 1
Musical Moments Flute book 2 TG 009555 Musical Moments Alto Saxophone TG 009654
book 2
Musical Moments Flute book 3 TG 009562
Musical Moments Alto Saxophone TG 009661
Musical Moments Flute book 4 TG 009579 book 3
Musical Moments Flute book 5 TG 009586 Musical Moments TG 009678
Mosaics Flute book 1 TG 009265 Alto Saxophone book 4
(Initial-Grade 5)
154
Musical Moments TG 009685 Clarinet: Initial-Grade 2 TCL 019417

Alto Saxophone book 5
Clarinet: Grades 3-5 TCL 019424
Musical Moments TG 009692
Clarinet: Grades 6-8 TCL 019431
Tenor Saxophone book 1
Oboe: Initial-Grade 2 TCL 019448
Tenor Saxophone book 2 Oboe: Grades 3-5 TCL 019455
Musical Moments TG 009715 Oboe: Grades 6-8 TCL 019462
Saxophone: Initial-Grade 2 TCL 019479
Saxophone: Grades 3-5 TCL 019486
Saxophone: Grades 6-8 TCL 019493
Sound at Sight (sample sight reading tests)
Mosaics Saxophone book 1 TG 009302
(Initial-Grade 5) Bassoon (Grades 1-8) TG 007568
Mosaics Saxophone book 2 TG 009319 Descant Recorder (Initial-Grade 5) TCL 011541

(Grades 6-8) Treble Recorder (Grades 1-8) TCL 011558
Recorder repertoire Specimen Aural Tests from 2017

Recorder Anthology book 1 TG 009234 Book 1 (Initial-Grade 5) TCL 015808
(Initial-Grade 1)
Book 2 (Grades 6-8) TCL 015815
Recorder Anthology book 2 TG 009241
(Grades 2-3)
Theory of Music Workbooks
Recorder Anthology book 3 TG 009258
(Grades 4-5) Grade 1 TG 006509
Grade 2 TG 006516
Scales, Arpeggios & Exercises Grade 3 TG 006523
Flute & Jazz Flute (Grades 1-8) TCL 013392 Grade 4 TG 006530
Clarinet & Jazz Clarinet TCL 013408 Grade 5 TG 006547
(Grades 1-8)
Grade 6 TG 007476
Saxophone & Jazz Saxophone TCL 013415
(Grades 1-8) Grade 7 TG 007483
Oboe (Grades 1-8) TCL 015587 Grade 8 TG 007490
Bassoon (Grades 1-8) TCL 015594

Recorder (Initial-Grade 8) TCL 015600
Sight Reading
Flute: Initial-Grade 2 TCL 019387
Flute: Grades 3-5 TCL 019394

Flute: Grades 6-8 TCL 019400
155
Articulation for scales and arpeggios
Articulation for scales and

arpeggios
The various articulation patterns for scales and arpeggios in this syllabus are given below.
Trinity publishes books of scales and arpeggios for all woodwind instruments.
D natural minor scale (one octave, slurred)
&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
F major scale (to 12th, with mixed articulation)
.
œ . œ œ œ. œ. œ œ œ. œ. œ
œ
& b œ œ œ. œ. œ œ œ œ. œ. œ œ
œ
F major arpeggio (to 12th, slurred)
œ œ œ œ œ œ
&b œ œ œ œ œ œ œ.
F major arpeggio (to 12th, with mixed articulation)
œ œ œ. œ œ œ.
&b œ œ œ. œ œ œ. œ.
Dominant 7th in the key of G (2 octaves, with mixed articulation)

[Candidates may choose to finish dominant 7th arpeggios on the tonic]
.
# œ œ. œ œ œ œ. œ.
& œ œ œ. œ. œ œ œ œ œœ
. œ. ( )
156
Articulation for scales and arpeggios
Whole-tone scale starting on C (2 octaves, slurred)
œ # œ #œ #œ
#œ œ œ œ #œ #œ # œ œ œ œ #œ
& œ œ œ #œ #œ #œ #œ œ œ œ
C major scale (one octave and down to the dominant, tongued) (recorder only)
œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ
C major arpeggio (one octave and down to the dominant, tongued) (recorder only)
œ œ œ
œ œ œ
& œ œ œ œ.
157
Woodwind resources
Woodwind resources
Join us online to access a range of resources
to support teaching and learning at
trinitycollege.com/woodwind-resources
Discover digital content, including videos and
articles from teachers and leading musicians,
with advice and support on:
◗ Pieces, performance and technique
◗ Technical work
◗ Supporting tests
For further help please contact your local

representative. Contact details are listed at
trinitycollege.com/worldwide
Facebook Twitter YouTube

/TrinityCollegeLondon @TrinityC_L /TrinityVideoChannel
158

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Find out more at trinitycollege.com/dgd

ABOUT TRINITY COLLEGE LONDON

DURATION OF STUDY (TOTAL QUALIFICATION TIME)

Guided learning hours Independent learning 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

Grade 3 Grade 3 Grade 3 Grade 3 Foundation Foundation

REGULATED TITLES AND QUALIFICATION NUMBERS

LEARNING OUTCOMES ASSESSMENT CRITERIA

1. 1.1 Apply skills, knowledge and understanding to

2. 2.1 Demonstrate familiarity with the fundamentals

3. 3.1 Recognise and respond to simple elements of

LEARNING OUTCOMES ASSESSMENT CRITERIA

1. 1.1 Support their intentions in musical performance

2. 2.1 Demonstrate a developing instrumental command

3. 3.1 Recognise and respond to elements of music

LEARNING OUTCOMES ASSESSMENT CRITERIA

1. 1.1 Integrate their musical skills, knowledge and

2. 2.1 Demonstrate instrumental command

3. 3.1 Recognise and respond to musical features

About the exam

PIECES TECHNICAL WORK SUPPORTING TESTS

EXAM STRUCTURE AND MARK SCHEME

Initial–Grade 5 Maximum Grades 6–8 Maximum

TECHNICAL WORK* 14 TECHNICAL WORK 14

ONE of the following: ONE of the following:

SUPPORTING TESTS 20 SUPPORTING TEST 1 10

Any TWO of the following: ◗ Sight reading

TOTAL 100 TOTAL 100

* At Initial, flute and clarinet candidates play scales & triads

ORDER OF THE EXAM

Initial Grade 1 Grade 2

Grade 3 Grade 4 Grade 5

Grade 6 Grade 7 Grade 8

◗ Difficult page turns may be overcome by ◗ We take copyright infringement seriously

PARAMETERS AND EXAMPLES OF COMPOSITIONAL TECHNIQUES FOR OWN

Grade Duration Examples of composition techniques

Grade 1 approx. 1 minute ◗ Dynamic contrast

Grade 2 1–1.5 minute(s) ◗ Use of different articulations

Grade 3 1.5–2 minutes ◗ Form showing clear sections, eg ABA

Grade 4 2–3 minutes ◗ Tempo changes

Grade 5 2–3 minutes ◗ Chromaticism

Grade 7 3–4 minutes ◗ Modulation

Grade 8 3.5–5 minutes ◗ Wide range of expressive techniques

OBTAINING MUSIC FOR THE EXAM

◗ Aural A range of options is available for blind or

PARAMETERS FOR SIGHT READING TESTS

Articulation etc* Articulation etc*

Initial 2 q and h mf, moderato tongued tongued

Grade 5 6 x and  accents, tenuto

Grade 7 9 triplets accel.

* Cumulative — tests may also include requirements from previous grade(s) 23

Sight reading — keys and ranges

1. 1.1 Apply skills, knowledge and understanding to

2. 2.1 Demonstrate familiarity with the fundamentals

3. 3.1 Recognise and respond to simple elements of

1. 1.1 Support their intentions in musical performance

2. 2.1 Demonstrate a developing instrumental command

3. 3.1 Recognise and respond to elements of music

1. 1.1 Integrate their musical skills, knowledge and

2. 2.1 Demonstrate instrumental command

3. 3.1 Recognise and respond to musical features