Piano Syllabus 2018-2020 PDF

TELEMANN
MENDELSSOHN
RAMSKILL
PIANO
BARTÓK
SYLLABUS
CORNICK
Piano / Piano Accompanying
HAYDN
Qualification specifications for
GEDIKE
graded exams 2018–2020
PROKOFIEV
IRELAND
TURINA
COUPERIN
CROSLAND
KARGANOV
SCARLATTI
BURGMÜLLER
DEBUSSY
RAMEAU
MOZART
ALWYN
BYRD
WHAT’S CHANGED?
This syllabus features the following changes from the 2015–2017 syllabus:
◗◗ New performance pieces at all levels, encompassing a wide range of musical styles
◗◗ New technical work exercises at all levels, covering key areas of technique
◗◗ Duets may now be selected from Initial to Grade 3
◗◗ Pieces are only divided into groups at Grades 6–8 — at other grades, pieces can be chosen
freely from the core and alternative repertoire lists
◗◗ Own composition requirements have been revised (see page 16)
◗◗ Revised aural and improvisation requirements applied from January 2017 and are included in
this syllabus (see pages 20–27)
◗◗ An information and regulations section is no longer included in the syllabus — this information
can be found at trinitycollege.com/music-regulations
KEEP UP TO DATE
Please check trinitycollege.com/piano to make sure you are using the latest version of the
syllabus and for the latest information about our Piano exams.
OVERLAP ARRANGEMENTS
This syllabus is valid from 1 January 2018. The 2015–2017 syllabus will remain valid until
31 December 2018, giving a one year overlap. During this time, candidates may present
pieces and technical work from the 2015–2017 or the 2018–2020 syllabus, but not both.
Candidates should indicate which syllabus they are presenting on the appointment form
handed to the examiner at the start of the exam.
photo: Zute Lightfoot, piano courtesy of Yamaha Music London

PIANO
SYLLABUS
Piano / Piano Accompanying
Qualification specifications for
graded exams 2018–2020
Trinity College London

trinitycollege.com
Charity number England & Wales: 1014792
Charity number Scotland: SC049143
Patron: HRH The Duke of Kent KG
Chief Executive: Sarah Kemp
Copyright © 2017 Trinity College London
Published by Trinity College London
Online edition, May 2020
1
Contents
3 / Welcome
4 / Introduction to Trinity’s graded music exams
9 / Learning outcomes and assessment criteria
11 / About the exam
15 / Exam guidance: Pieces
17 / Exam guidance: Technical work
18 / Exam guidance: Supporting tests
30 / Exam guidance: Marking
38 / Piano: Initial
42 / Piano: Grade 1
46 / Piano: Grade 2
50 / Piano: Grade 3
54 / Piano: Grade 4
58 / Piano: Grade 5
62 / Piano: Grade 6
66 / Piano: Grade 7
70 / Piano: Grade 8
74 / Piano Accompanying: Grade 5
91 / Policies
93 / Publishers
94 / Trinity publications
95 / Join us online…
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 Piano syllabus, containing details of graded exams in piano
Welcome
and piano accompanying. This 2018–2020 syllabus has performance at its heart. It offers the
choice and flexibility to allow pianists to play to their strengths, enabling them to gain recognition
for their own unique skills as performers.
The music you want to play
Learners can progress in their own musical style by choosing from lists of pieces carefully
selected by our piano experts, including specially commissioned pieces by contemporary
composers. Candidates from Initial to Grade 3 can also perform duets with their teacher
or another player.
The performer you want to be
Our performance-grounded technical work and supporting tests are specifically designed to
develop learners’ skills through the music they play.
The support you need
Digital learner and teacher support resources are available at trinitycollege.com/piano-resources.
Join us via our website and social media for the full music experience and to find out when new
resources are available.
The recognition you deserve
Learners are assessed through an externally regulated and internationally recognised exam
system with a 140-year heritage you can trust, and with UCAS (Universities and Colleges
Admissions Service) points available for Grades 6–8.
Graded repertoire books featuring the 2018–2020 selection of pieces and technical exercises are
available to support preparation for each grade. A version of the books with teaching notes and
an accompanying CD with high-quality recordings of all pieces and technical exercises for the
grade is also available. A separate Teaching Notes book offers a comprehensive guide to teaching
and learning all of the core and alternative pieces in this syllabus.
The Piano Stories series supports Trinity’s 2018–2020 exam repertoire books for piano by
providing teachers and beginner students with a range of creative musical activities to enhance
their preparation of pieces for their exam. The books are available for Initial to Grade 3 and are
accompanied by free, downloadable backing tracks.
We hope you enjoy exploring the music on offer in this syllabus and we wish you every success
in the exams and your wider music-making.
ABOUT TRINITY COLLEGE LONDON

Trinity College London is a leading international exam board and independent education
charity that has been providing assessments around the world since 1877. We specialise in the
assessment of communicative and performance skills covering music, drama, combined arts and
English language. With over 850,000 candidates a year in more than 60 countries worldwide,
Trinity qualifications are specifically designed to help students progress. Our aim is to inspire
teachers and learners through the creation of assessments that are enjoyable to prepare for,
rewarding to teach and that develop the skills needed in real life.
At the heart of Trinity’s work is the belief that effective communicative and performance skills
are life enhancing, know no boundaries and should be within reach of us all. We exist to promote
and foster the best possible communicative and performance skills through assessment, content
and training that is innovative, personal and authentic.
3
Introduction to Trinity’s graded music exams
Introduction to
Trinity’s graded
music exams
OBJECTIVE OF THE QUALIFICATIONS ASSESSMENT AND MARKING
Trinity’s graded music exams provide a Trinity’s graded music exams are assessed by
structured yet flexible framework for progress, an external examiner trained and moderated
which enables learners to demonstrate by Trinity. Examiners provide marks and
their own musical personality and promotes comments for each component of the exam
enjoyment in music performance. using the assessment criteria on pages 32–37.
The exams assess music performance, The exam is marked out of 100. Candidates’
technical ability and responses to set results correspond to different attainment
musical tests through face-to-face practical levels as follows:
assessment. They offer learners of any age the
opportunity to measure their development as Mark Attainment level
performers against a series of internationally
understood benchmarks, taking them from 87–100 DISTINCTION
beginner level to the point where they can
progress to higher education in music, or 75–86 MERIT
enter for Trinity’s performance diplomas.
60–74 PASS
WHO THE QUALIFICATIONS ARE FOR 45–59 BELOW PASS 1

Trinity’s graded music exams are open to all 0–44 BELOW PASS 2
learners, with no age restrictions or other
limitations. There is no requirement to have See pages 30–37 for further information about
passed lower grades, theory exams or other how the exam is marked.
qualifications, although the grades represent
a system of progressive mastery and the
outcomes for each level assume confidence
in the requirements of previous grades.
Repertoire selection and other exam content
is designed to appeal to learners of all ages
and backgrounds, reflecting the diversity
of candidates.
Trinity is committed to making its exams
accessible to all, and each candidate is
treated individually when considering how
assessments can be adapted for those
with special needs. Find out more at
trinitycollege.com/music-csn
4
DURATION OF STUDY (TOTAL QUALIFICATION TIME)

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

Trinity College London is an international COULD LEAD
exam board regulated by Ofqual (Office While for some learners graded music exams
of Qualifications and Examinations represent a personal goal or objective,
Regulation) in England, CCEA Regulation they can also be used as a progression
in Northern Ireland and by Qualifications route towards:
Wales. Various arrangements are in
◗ D
iplomas in performing and teaching
place with governmental education
offered by Trinity or by other awarding
authorities worldwide.
organisations
In the UK, Grades 6–8 are eligible for UCAS ◗ Music courses at 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
at trinitycollege.com/worldwide, and progress to diplomas at Associate (ATCL),
candidates should contact their local Licentiate (LTCL) and Fellowship (FTCL)
Trinity representative for more information. levels. These assess higher skills in
performance, teaching and theory. Find out
Alternatively, in the UK, schools and private more at trinitycollege.com/music-diplomas
teachers with sufficient candidates may apply
for an exam visit. Details are available at Adults who work as music educators may also
trinitycollege.com/examvisit wish to consider Trinity’s Level 4 Certificate
for Music Educators (Trinity CME). Find out
more at trinitycollege.com/CME
TRINITY QUALIFICATIONS THAT
COMPLEMENT THE PIANO QUALIFICATIONS We also offer:
Trinity’s music qualifications offer flexible ◗ Graded, certificate and diploma
progression routes from beginner to qualifications in drama-related subjects
advanced levels in a range of musical styles.
◗ English language qualifications
All are designed to help candidates develop
as musicians according to their individual ◗ Teaching English qualifications
needs as learners. ◗ Arts Award (only available in
Graded music exams assess a broad range of certain countries)
musicianship skills, including performance, while Specifications for all these qualifications
certificate exams focus entirely on performance, can be downloaded from trinitycollege.com
including separate marks for presentation skills.
Find more information about certificate exams
at trinitycollege.com/music-certificates
Trinity’s graded Rock & Pop exams are
available for bass, drums, guitar, keyboards
and vocals. Find out more at trinityrock.com
Candidates can enter any combination
of graded or certificate exams, and do not
need to pass any particular level in order
to proceed to a higher level.
Theory exams are available from Grade 1 to
support learners to develop their understanding
of the technical language of music. However,
no theory qualifications or other prerequisites
are required to enter graded or certificate
exams at any level. Find out more at
trinitycollege.com/theory
6
REGULATED LEVELS OF TRINITY’S MUSIC QUALIFICATIONS
RQF* EQF** Classical Rock Theory Solo Group

Level Level & Jazz & Pop & Written Certificates† Certificates†
7 7 FTCL
Introduction
6 6 LTCL LMusTCL
ATCL AMusTCL
4 5
Certificate for Music Educators
(Trinity CME)
Grade 8 Grade 8 Grade 8 Advanced Advanced
3 4 Grade 7 Grade 7 Grade 7
Grade 6 Grade 6 Grade 6
Grade 5 Grade 5 Grade 5 Intermediate Intermediate

2 3
Grade 3 Grade 3 Grade 3 Foundation Foundation
1 2 Grade 2 Grade 2 Grade 2
Entry
1 Initial Initial
Level 3
* Regulated Qualifications Framework

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

FOR GRADED MUSIC EXAMS
Regulated title Qualification

number
Initial
TCL Entry Level Award in Graded Examination in Music Performance 601/0812/5
(Entry 3) (Initial)
Grade 1
TCL Level 1 Award in Graded Examination in Music Performance 501/2042/6
(Grade 1)
Grade 2
(Grade 2)
Grade 3
(Grade 3)
Grade 4
TCL Level 2 Certificate in Graded Examination in Music Performance 501/2044/X
(Grade 4)
Grade 5
TCL Level 2 Certificate in Graded Examination in Music Performance 501/2045/1
(Grade 5)
Grade 6
(Grade 6)
Grade 7
(Grade 7)
Grade 8
(Grade 8)
8
Learning outcomes and assessment criteria

Learning outcomes
and assessment criteria
INITIAL–GRADE 3
(Initial = RQF Entry Level 3, Grades 1–3 = RQF Level 1)
LEARNING OUTCOMES ASSESSMENT CRITERIA

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

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

3.1
Respond to set practical context
musicianship tests
3.2 Demonstrate basic aural and musical awareness
9
GRADES 4–5
(RQF Level 2)

1. Support their intentions in musical performance

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

3.1
Respond to set practical context
musicianship tests
3.2 Demonstrate aural and musical awareness
GRADES 6–8
(RQF Level 3)

1. Integrate their musical skills, knowledge and understanding

1.1
Perform music in a in performance
variety of styles set
Present secure and sustained performances that demonstrate
1.2
for the grade
some stylistic interpretation
Perform with general accuracy, technical fluency and musical
1.3
awareness to communicate musically in a variety of styles
2.
Demonstrate technical Demonstrate instrumental command
2.1
ability on an instrument 2.2 Demonstrate technical control across the full compass of
through responding to the instrument/voice within set tasks
3. 3.1
Recognise and respond to musical features in a practical context
Respond to set
musicianship tests 3.2 Demonstrate musical and stylistic awareness
10
About the exam
About the exam

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

Choose three pieces, Scales, arpeggios A combination of two tests
each worth 22 marks. and exercises. from sight reading, aural,
improvisation and musical
knowledge, depending on
grade and candidate choice.
About the exam

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

marks marks
PIECE 1 22 PIECE 1 22
TECHNICAL WORK 14 TECHNICAL WORK 14
◗ Scales & arpeggios and exercises ◗ Scales & arpeggios and exercises
SUPPORTING TESTS 20 SUPPORTING TESTS 10
Any TWO of the following: Supporting test 1 —

◗ Sight reading ◗ Sight reading
◗ Aural
◗ Improvisation 10
◗ Musical knowledge
Supporting test 2 —
ONE of the following:
◗ Aural
◗ Improvisation
TOTAL 100 TOTAL 100
12
About the exam
PIANO ACCOMPANYING
Grade 5 Maximum Grades 6–8 Maximum

marks marks
About the exam

TECHNICAL WORK 14 TECHNICAL WORK 14
◗ Extracts ◗ Extracts
SUPPORTING TESTS 20 SUPPORTING TESTS 10
Any TWO of the following: Supporting test 1 —

◗ Sight reading ◗ Sight reading
◗ Aural
◗ Improvisation 10
Supporting test 2 —
◗ Aural
◗ Improvisation
TOTAL 100 TOTAL 100
13
About the exam
ORDER OF THE EXAM

Candidates can choose the order of the sections of their exam, and should indicate their
preferred order on their appointment form. This should be given to the examiner at the start
of the exam. If no preference is indicated the examiner will ask to hear technical work first.
EXAM DURATIONS
Exams are designed to include sufficient time for setting up and presenting all sections,
and overall durations are as follows:
Initial Grade 1 Grade 2

10 mins 11 mins 11 mins


14
Exam guidance: Pieces

PERFORMANCE AND INTERPRETATION
◗ Candidates should prepare all pieces in
full unless stated otherwise in this syllabus.
◗ Candidates should observe repeats of
PIECES a few bars, but longer repeats should
66 MARKS not be played unless stated otherwise
in this syllabus.
◗ All da capo and dal segno instructions
should be observed.
◗ Candidates are not required to play
cadenzas, unless stated otherwise
in this syllabus.

CHOOSING PIECES ◗ Candidates are encouraged to use
appropriate ornamentation, particularly
Candidates play three pieces in their exam, at Grades 6–8. Ornamentation in Trinity’s
chosen as follows: graded exam books is given as a guide.
However, any appropriate stylistic
Initial–Grade 3 interpretation will be accepted.
◗ Three pieces are chosen from the lists. ◗ All tempo and performance markings
One of these pieces may be a duet. should be observed (eg allegro, rall., cresc.).
◗ The candidate can play an own composition Metronome marks are given as a guide
in place of one of the listed pieces (see but do not need to be observed exactly, as
page 16). long as the style and character of the piece
is maintained.
Grades 4–5 ◗ Candidates may perform any or all of their
◗ Three pieces are chosen freely from pieces from memory if they wish. However,
the lists. this is not compulsory and no additional
marks are given for this.
◗ The candidate can play an own composition
in place of one of the listed pieces.
PAGE TURNS
Grades 6–8 ◗ The examiner will not be able to act as a page

turner. Difficult page turns may be overcome
◗ Pieces are divided into two groups: group A
by photocopying the relevant pages.
and group B.
◗ A page turner may assist at Grades 6–8,
◗ At least one piece must be chosen from
but must only be present in the exam room
each group. The third piece may be chosen
when required to turn pages.
from either group or may be the candidate’s
own composition. ◗ The page turner should not be the
candidate’s teacher.
15
MUSIC AND COPIES OWN COMPOSITION

◗ Candidates should obtain the music for their ◗ Candidates can choose to perform an
exam in good time before entering for the own composition as one of their pieces.
exam, and they must bring it with them on Own composition pieces are assessed
the day of the exam. in the same way as the listed repertoire.
◗ We publish core repertoire in our graded Marks are not awarded for the quality
exam books. Recommended editions of the composition.
for alternative pieces are listed in this ◗ Own compositions must be comparable in
syllabus, but candidates may perform technical and musical demand to the pieces
from any reliable edition that has not listed for the same grade. Examples of
been shortened or otherwise simplified. compositional techniques that may be
Editions containing inauthentic performance used at each level are listed in each grade
directions, for example Romantic phrasing section of this syllabus, and candidates
in Baroque repertoire, are not acceptable. can use the sample openings available at
Product codes for publications are included trinitycollege.com/piano-resources
where available.
◗ A typeset or handwritten copy of the
◗ We take copyright infringement seriously composition must be given to the examiner
and require candidates to ensure their at the beginning of the exam. At Initial to
music comes from a legitimate source. Grade 5, own compositions may be notated
Guidelines are available in the UK Music in any easily readable form, including
Publishers Association’s Code of Fair graphic score or lead-sheet. At Grades 6–8
Practice, available at mpaonline.org.uk. they must be notated on a stave. Marks will
Candidates must comply with copyright be deducted if notation is incomplete or
and other intellectual property laws in the inaccurate, or if the performance varies
country where the exam is taking place. significantly from the notation.
◗ In accordance with the MPA’s Code of Fair ◗ Own compositions should be candidates’
Practice, candidates must produce original own unaided work, although teachers may
copies of all pieces to be performed in the offer guidance as necessary.
exam, even if pieces have been memorised,
handwritten or typeset. Pieces where no
original copy has been provided might OBTAINING MUSIC FOR THE EXAM
be awarded no marks. ◗ Trinity’s graded exam books containing all
◗ If candidates are performing music from the core repertoire pieces in this syllabus
alternative repertoire lists, they will need can be ordered at trinitycollege.com/shop
to provide a photocopy as a reference for or your local music shop. Teaching Notes and
the examiner. Photocopies will be kept Scales & Arpeggios books are available, as
by the examiner and destroyed after the well as sight reading and aural test books.
exam. Our examiners will have a copy of ◗ Details of the publishers listed in this
the repertoire contained in Trinity’s graded syllabus can be found on page 93.
exam books.
◗ Non-UK publishers may have different local
◗ Where music has been downloaded, agents in other parts of the world who
candidates must bring proof of purchase may be able to supply music more easily
or details of the website where it was or quickly. Please contact the publishers
accessed for the examiner’s reference. directly for details.
◗ 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.
16
Exam guidance: Technical work

◗ Full details of scale patterns are given in the
two volumes of Piano Scales & Arpeggios.
The fingering in the scale books is advisory
but not compulsory; any logical and effective
fingering pattern giving a smooth legato
is acceptable.
TECHNICAL WORK
14 MARKS
EXERCISES
Exercises are specially composed short pieces
designed to demonstrate and develop three
key areas of technique in performance: tone,
balance and voicing; co-ordination; and finger
and wrist strength and flexibility.
This section of the exam supports the Candidates should prepare three exercises
development of technical skills by assessing

from the list for the grade, two of which are
candidates’ performance in a range of played in the exam. One is chosen by the
technical work options. These promote candidate and one by the examiner.
agility, harmonic and melodic awareness
and underpin musical style. ◗ Exercises may be played either from
memory or using the music.
Candidates perform scales, arpeggios
and exercises, giving a balanced suite of ◗ Exercises are included in the Trinity graded
technical tasks to develop musical ability exam book for the grade.
and technical skill. Further information about specific technical
work requirements for each grade is given
SCALES & ARPEGGIOS in the relevant sections of this syllabus.
As a pianist, learning scales and arpeggios
is an important part of developing technical
focus, strength and agility, and harmonic and
melodic skills.
Candidates prepare the scales and arpeggios
set for the grade, and play a selection
as requested by the examiner.
◗ All similar motion scales and arpeggios must
be performed ascending then descending,
with the right hand playing one octave
above the left hand.
◗ All scales and arpeggios must be performed
from memory.
◗ A minimum pace is indicated, increasing
gradually grade by grade. Rhythmic patterns
are all even quavers in pairs or fours
(except for Grade 1, which requires triplet
broken chords).
17
Exam guidance: Supporting tests

SIGHT READING
This test assesses candidates’ ability to
perform a previously unseen musical
extract, at a level approximately two grades
SUPPORTING lower than the exam being taken. Our sight
TESTS reading pieces are designed to be musically
intuitive and natural, preparing candidates
20 MARKS
for performance contexts.
Candidates are given 30 seconds to study
the test before performing it, during which
time they may practise any or all of it
aloud. The examiner will not mark this
preparation period.
This section of the exam supports the Examples of sight reading tests may be found
development of broader musical skills in Trinity’s Sound at Sight series, available
by assessing candidates in two different from trinitycollege.com/shop or from your
supporting tests. local music shop.
At Initial to Grade 5, candidates choose Technical expectations for the tests are given
two supporting tests from four options: in the table opposite. Lists are cumulative,
◗ Sight reading meaning that tests may also include
requirements from lower grades.
◗ Aural
◗ Improvisation
At Grades 6–8, all candidates are assessed
in sight reading, and choose either aural or
improvisation for their second supporting test.
This flexibility is designed to allow candidates
to demonstrate their musical skills in different
ways, while recognising that sight reading is an
important skill at higher grades.
18
PARAMETERS FOR SIGHT READING TESTS
Time Note and Dynamics

Keys* signatures* rest values* and tempi* Articulation*
p, f, simple
Initial C major 2 q, h and W moderato phrasing
G major,
Grade 1 A minor (white 4 w and H mf
notes only)
Grade 2
A minor
(including G#) 3 dand ties allegretto
Grade 3 D minor Éand Œ mp,

andante
slurs
Grade 4 D major, E minor jand E staccato, accents
F, Bb, Eb and A major,

B and G minor rit., rall.,

(majors modulate
Grade 5 to dominant only, 6 Œ., sand i a tempo,
pause,
simple
pedalling
minors to dominant allegretto
or relative
major only)
F# and C minor
(majors modulate
to dominant or pedalling
Grade 6 relative minor only, required but not
minors to dominant always marked
or relative
major only)
E and Ab major
any common pedalling
Grade 7 (modulations 9 terms essential
to any related key)
dim. and cresc.

2
2 (as text)
B and Db major,
and ff and pp
G# and Bb minor duplets and
Grade 8 changing change in tenuto
(incl. double triplets
time terms, different
sharps and flats)
signatures dynamics for
RH and LH
* Cumulative — tests may also include requirements from preceding grade(s) 19

AURAL Stylistic stimulus

This test supports the development of This option requires the candidate to
candidates’ abilities in musical perception improvise over a notated piano part played
and understanding by requiring the candidate by the examiner.
to recognise musical features by ear (for
◗ The candidate is given a stimulus that
example metre and pulse, pitch, performance
includes the notated piano part and chord
characteristics).
symbols. The stimulus begins with a two-bar
All questions are based on a single musical introduction played by the examiner alone,
example played at the piano by the examiner. followed by a further section over which the
At most grades, candidates are asked to candidate must improvise for a specified
describe various features of the music such number of repeats.
as dynamics, articulation, texture and style. ◗ The examiner plays the stimulus twice for
Candidates are not required to sing. the candidate’s reference, without repeats.
Practice tests can be found in Trinity’s ◗ The candidate is then given 30 seconds’
Aural Tests from 2017 books, available from preparation time, during which they may
trinitycollege.com/shop or from your local prepare for their improvisation aloud.
music shop.
◗ The test then follows. The examiner plays
the stimulus again, and the candidate
IMPROVISATION joins after the introduction, improvising
Improvisation can develop creative for the specified number of repeats.
musicianship skills that unlock a variety The candidate should aim to improvise in
of musical styles and technical ability. a way that complements the musical style
Our tests are designed to introduce of the stimulus.
teachers and candidates to improvisation ◗ The candidate performs the test at the same
gradually, creatively and with a range of piano as the examiner, at a higher register.
supporting resources.
This test assesses candidates’ ability
to improvise fluently, coherently and
creatively in response to a musical stimulus.
Candidates choose a stimulus from the
following three options, indicating their
choice of stimulus on the appointment form:
◗ Stylistic
◗ Motivic
◗ Harmonic
At all levels, responses should use both hands.
Further guidance and example tests are
available at trinitycollege.com/supporting-tests
20
Motivic stimulus Harmonic stimulus

This option requires the candidate to This option requires the candidate to improvise
improvise solo in response to a short solo in response to a chord sequence.
melodic fragment.
◗ The candidate is given a notated chord
◗ The candidate is given a notated melodic sequence, including chord symbols, which
fragment, which the examiner plays twice the examiner plays twice on the piano for
on the piano for the candidate’s reference. the candidate’s reference.
◗ The candidate is then given 30 seconds’ ◗ The candidate is then given 30 seconds’
preparation time, during which they may preparation time, during which they may
prepare for their improvisation aloud. prepare for their improvisation aloud.
◗ The test then follows. The candidate should ◗ The test then follows. The candidate should
aim to improvise within the specified improvise for the specified number of
duration range and may begin by quoting repeats, following the chord sequence.
the stimulus directly, developing their Responses should contain melodic/
improvisation from there. However, they rhythmic interest.
are not required to quote the stimulus
directly, and may instead develop their Parameters
improvisation from ideas taken from the
stimulus such as a small group of notes or Technical expectations for the tests are given
an interval. Responses must use the given in the tables on the following pages. Lists are
time signature. cumulative, meaning that tests may also
include requirements from lower grades.
21
Stylistic stimulus
Initial Grade 1 Grade 2 Grade 3
Length of
2 bars 2 bars 2 bars 2 bars
introduction
Length of
improvised 4 bars 4 bars 4 bars 4 bars
section
Times
improvised
1 2 2 2
section
is played
Total to
improvise
Time signatures* 4 3
D and
F and
Keys* C major A minor Bb major,
G major
D and 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
* Cumulative — tests may also include requirements from preceding grade(s)
22
Grade 4 Grade 5 Grade 6 Grade 7 Grade 8
2 bars 2 bars 2 bars 2 bars 2 bars
3 3 2 2 2

5
2 6 1 9 4
G and A and F# and E and C# and

B minor Eb major C minor Ab major F minor
1 up to 2 up to 2 up to 2 up to 2
I, ii, IV, V, vi I, ii, iii, IV, V, vi all chords,

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

allegro vivace nocturne grave irregular dance
23
Motivic stimulus
Length of
stimulus
Length of
4–6 bars 4–8 bars 6–8 bars 6–8 bars
response
Time
signatures* 4 3
Rhythmic minims,
quavers dotted notes ties
features* crotchets
Articulation* staccato
up to
Intervals* major 3rd perfect 4th perfect 5th
minor 3rd
D and
Keys* C major F and G major A minor Bb major,
D and E minor
24
2 bars 2 bars 1 bar 1 bar 1 bar
8–12 bars 8–12 bars 12–16 bars 12–16 bars 12–16 bars
5
2 6 1 9 4

triplets,
syncopation semiquavers
duplets
accents slurs acciaccaturas sfz
augmented
minor 6th, 4th, minor 7th, all up to
octave
major 6th diminished major 7th major 10th
5th
G and A and F# and E and C# and

B minor Eb major C minor Ab major F minor
25
Harmonic stimulus
Length of chord
sequence
Times chord
sequence 1 2 2 2
is played
Total to
improvise
Number of
1 1 1 1
chords per bar
Chords I, V I, V I, IV, V I, ii, IV, V
Keys C major C, F and G major
26
3 3 2 2 2

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

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

A, D, E, G and B minor
A, D, E, G, B, C and F# minor
27
MUSICAL KNOWLEDGE Examiners then chooses a second piece for

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

Pitch names G
of this note?
How many beats are

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

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

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

Grade 1
Musical terms What is the meaning
Go back to the start
and signs of da capo?
Parts of the
What are these called? Pedals
instrument
28
Metronome marks,
72 crotchet beats
grace notes Explain the sign d = 72
per minute
and ornaments
Intervals What is the interval between

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

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

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

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

A minor
related keys change to?

Tonic/dominant triads Name the notes of the tonic triad C, E, G
Grade 4 What is the interval between

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

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

Subdominant triads F, A, C
subdominant triad
29
Exam guidance: Marking

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

22
EACH PIECE
30
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
31
HOW THE PIECES ARE MARKED
Examiners use the criteria below to decide on the mark:
7 MARKS 6 MARKS 5 MARKS
Fluency An excellent sense A very good sense A good sense of

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

& stylistic understanding stylistic understanding understanding though
interpretation with keen attention to with most performance occasional performance
performance details. details realised. details omitted.
Highly effective Effective communication Communication and
communication and interpretation overall. interpretation mostly
and interpretation. effective.
32
4 MARKS 3 MARKS 1–2 MARKS
A generally reliable sense Only a limited sense of Little or no sense of fluency

of fluency though with fluency with a lack of — control of pulse and
some inconsistencies and basic control of pulse rhythm not established.
stumbles in the control of and rhythm.
Accuracy in notes very
pulse and rhythm.
Accuracy in notes limited with many errors
A reasonable degree of sporadic, with errors of substance.
accuracy in notes despite becoming intrusive.
a number of errors.
4 MARKS 3 MARKS 1–2 MARKS
The various technical The technical demands of Many or all of the

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

A reasonable level of Stylistic understanding Stylistic understanding
stylistic understanding generally lacking with not apparent with little
though some performance limited realisation of or no realisation of
details omitted. performance details. performance details.
Communication and Communication and Communication and
interpretation basically interpretation inconsistent. interpretation ineffective.
reliable though with
some lapses.
33
HOW TECHNICAL WORK IS MARKED
DISTINCTION MERIT
13–14 MARKS 11–12 MARKS
Scales & arpeggios An excellent or very A good sense of fluency

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

good sense of fluency and accuracy with
and accuracy. occasional errors.
A very high degree of A good degree of
technical control. technical control.
Keen attention to Good attention to
performance details performance details and
and musical character. musical character overall.
34
PASS BELOW PASS 1 BELOW PASS 2

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

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

fluency and accuracy despite fluency and accuracy with fluency and accuracy
a number of errors. errors becoming intrusive. with many errors.
A reasonable degree of An inconsistent degree An unreliable degree
technical control despite of technical control. of technical control.
some inconsistences.
Limited attention to Little or no attention to
Some attention to performance details performance details and
performance details and musical character. musical character.
and musical character.
35
HOW SUPPORTING TESTS ARE MARKED
DISTINCTION MERIT
9–10 MARKS 8 MARKS
Sight reading An excellent or very good A good sense of fluency

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

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

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

sense of musical structure, structure, based on the
based on the stimulus, stimulus, delivered with
delivered with a high level a good level of fluency.
of fluency.
A creative and imaginative
A highly creative and response overall.
imaginative response.
36
Exam guidance:
Piano: Marking
Grade 7
PASS BELOW PASS 1 BELOW PASS 2

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

of fluency though with fluency with a lack of basic — control of pulse, rhythm
some inconsistencies and control of pulse, rhythm and tonality not established.
stumbles in the control of and tonality.
Accuracy in notes very
pulse, rhythm and tonality.
Accuracy in notes sporadic limited with no attention
A reasonable degree of with no attention to to musical detail.
accuracy in notes despite musical detail.
a number of errors and
with little attention to
musical detail.
A generally reliable degree A limited or very limited aural Unreliable aural perception
of aural perception perception with some lack of in the majority or all aspects.
in most aspects though precision in most aspects.
Very hesitant or uncertain/
with some imprecision.
Hesitant or uncertain missing responses.
Generally confident and responses.
prompt responses though
with occasional hesitation
or uncertainty.
A generally reliable degree A limited or very limited Unreliable musical knowledge

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

musical structure, based on sense of musical structure, partially or not apparent
the stimulus, delivered with with little relation to the with no relation to the
a reasonable level of fluency stimulus, delivered with some stimulus and fluency
despite occasional lapses. hesitations and stumbles often compromised.
in fluency.
Some element of creativity Little or no creativity or
and imagination in A lack of creativity and imagination in the response.
the response. imagination in the response.
37
Piano: Initial
Piano: Initial
EXAM STRUCTURE PIECES
Candidates play a balanced programme of
three pieces, chosen from the lists below.
Only one duet may be chosen.
Core repertoire
The following pieces are in the book Piano
The Initial exam lasts 10 minutes and contains
Exam Pieces & Exercises 2018–2020: Initial
the following:
published by Trinity.
Maximum
marks BADINGS Canon
PIECE 1 22 BÉRA-TAGRINE Conversation
CHARLTON Tickery Tockery

PIECE 2 22
DAXBÖCK ET AL. Lullaby
PIECE 3 22 HARRIS Spies on a Mission
HEUMANN Spanish Guitar Player
Allegro (no. 4 from

REINAGLE
TECHNICAL WORK 14 24 Short and Easy Pieces)
STAHL Stick and Hat [duet]*

◗ Scales & arpeggios and exercises
STRECKE The Waltz of the Toads
SUPPORTING TESTS 20
Any TWO of the following:

◗ Sight reading
◗ Aural
◗ Improvisation
TOTAL 100
38
Piano: Initial
Alternative repertoire
The following pieces are in the books listed in the right-hand column below.
Piano: Initial
ARNOLD Two Sad Hands 8 Children’s Pieces (Queen’s Temple QT 157)
Lyrical Piece, Essential Piano Repertoire — Preparatory Level

BEYER
op. 101 no. 39 (Kjos GP 450)
CROSLAND King for a Day! Magic Beans! (Ferrum 979-0-708147-26-8)
Essential Piano Repertoire — Preparatory Level

GURLITT Trumpet Tune
(Kjos GP 450)
HEUMANN Harlequin Waltz Give Me 5 (Schott ED 22252)
Tanzstück
ORFF My First Concert (Schott ED 20969)
(Dancing Piece)
Raise the Bar Piano: Initial–Grade 2

SEBBA Wotcha Doin’?
(Trinity TCL 015372)
STAHL Today I’m Fine [duet]* The Tower Worm (Breitkopf EB 8841)
STRECKE Ball Playing Tio, the Little Keyboard Man (Breitkopf EB 8845)
TERZIBASCHITSCH Interval Magic Piano Dreams: solo book 1 (Trinity TCL 015334)
TERZIBASCHITSCH Round Dance [duet]** Piano Dreams: duet book 2 (Trinity TCL 015365)
Allegro moderato (1st Essential Piano Repertoire — Preparatory Level

WILTON
movt from Sonatina) (Kjos GP 450)
* May be performed as primo only, or as a duet. If played primo only, it should be played at notated pitch.
If played as a duet, the duet part (lower part) must be performed in the exam by the teacher, another
adult or another pupil, but may not be pre-recorded.
** To be performed as a duet. The duet part (lower part) must be performed in the exam by the teacher,
another adult or another pupil, but may not be pre-recorded.
Own composition Own compositions must be comparable in

technical and musical demand to the pieces
Candidates may perform an own composition
listed for this grade. Suitable features include:
instead of one listed piece. More information
can be found on page 16. ◗ Use of different rhythmic values
◗ Clear melodic line
Duration: ◗ Use of keys stipulated for technical work
0.5–1 minute(s) at this grade
39
Piano: Initial
TECHNICAL WORK
Candidates prepare both sections. See page 17 for more information.
1. SCALES (from memory) — Examiners select from the following:
C major
one
A minor (candidates’ choice of either octave
harmonic or melodic or natural minor)
min.
mf
hands
Broken triad in C major and A minor, using legato
q = 60 separately
the following pattern:
to 5th
XERCISES (music may be used) — Candidates prepare three exercises in total: 1a or 1b,
2. E
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.
The exercises are in the book Piano Exam Pieces & Exercises 2018–2020: Initial.
1a. Joining In or
for tone, balance and voicing
Westminster Walk
1b.
2a. Dialogue or
for co-ordination
2b. Caribbean Sunshine
3a. My Turn Now or

for finger & wrist strength and flexibility
3b. Viennese Waltz
40
Piano: Initial
SUPPORTING TESTS
Piano: Initial
Candidates choose two of the following: Improvisation
◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗ Aural
three options:
◗ Improvisation
◗ Stylistic
◗ Motivic
Sight reading ◗ Harmonic
After 30 seconds’ preparation time, candidates See pages 20–27 for details of the
perform a previously unseen musical extract requirements and parameters.
at a level lower than the exam being taken.
See page 18 for sight reading parameters. Musical knowledge
Candidates answer questions assessing their
Aural understanding of the pieces performed, as well
Candidates answer questions based on a single as their knowledge of notation and the piano.
musical example played on the piano by the Questions are based on candidates’ chosen
examiner. See page 20 for more information. pieces. See pages 28–29 for example questions
and responses.
The aural test requirements for Initial
are below.
Aural questions
Parameters Task Requirement
Listen to the melody Clap the pulse on the third playing,

three times stressing the strong beat
Melody only
Listen to the melody once Identify the dynamic as forte or piano
4 bars
Major key Identify the articulation as legato
Listen to the melody once
or staccato
2
Listen to the first three
Identify the highest or lowest note
notes of the melody once
41
Piano: Grade 1
Piano: Grade 1
Core repertoire
The Grade 1 exam lasts 11 minutes and contains The following pieces are in the book Piano
the following: Exam Pieces & Exercises 2018–2020: Grade 1
Maximum
marks CHARLTON Walking (and Talking)
PIECE 1 22 CROSLAND Hand in Hand
GRILL I’m Happy

PIECE 2 22
GRUBER Jodler (Yodeler)
PIECE 3 22 KIRKBY-MASON Mango Walk [duet]*
MOWER Just for Starters
Minuet (no. 10 from 24

REINAGLE
TECHNICAL WORK 14 Short and Easy Pieces)
SCHEIN
◗ Scales & arpeggios and exercises Allemande
arr. SNELL
STRECKE The Enchanted Garden
SUPPORTING TESTS 20

◗ Sight reading
◗ Aural
◗ Improvisation
TOTAL 100
42
Piano: Grade 1
ARNOLD Across the Plains 8 Children’s Pieces (Queen’s Temple QT 157)
CROSLAND Can’t Stop Myself Get Set Jazz! Grades 0–2 (Spartan SP 1266)
Piano: Grade
Essential Piano Repertoire — Level 1
DIABELLI Bagatelle
(Kjos GP 451)
EMONTS Tango My First Concert (Schott ED 20969)
Raise the Bar Piano: Initial–Grade 2

GOEDICKE Dance
(Trinity TCL 015372) 1
GRAUPNER Bourrée The Keyboard Crocodile (Breitkopf EB 8516)
MOSS The Floral Dance Up-Grade! Duets: Grades 0–1

arr. WEDGWOOD [duet]* (Faber 0-571-53264-0)
RYBICKI In the Boat Splash! (Breitkopf EB 8796)

TELEMANN Minuet
(Kjos GP 451)
The First Day

TERZIBASCHITSCH Piano Dreams: solo book 1 (Trinity TCL 015334)
at School
TERZIBASCHITSCH The Last Waltz [duet]* Piano Dreams: duet book 1 (Trinity TCL 015358)
TRAD. English Country Grade by Grade — Piano Grade 1

arr. FARRINGTON Garden (Boosey M060126758)
* To be performed as a duet. The duet part (lower part) must be performed in the exam by the teacher,

can be found on page 16. ◗ Dynamic contrast
◗ Simple syncopation or other rhythmic
Duration: feature
approx. 1 minute ◗ Use of keys stipulated for technical work
at this grade
43
Piano: Grade 1
TECHNICAL WORK
Candidates prepare both sections. See page 17 for more information.
F and G major
D and E minor (candidates’ choice hands

separately
of either harmonic or melodic or
natural minor) min. one
mf legato
q = 70 octave
Chromatic scale in contrary motion
starting on D hands
together
C major contrary motion
2. BROKEN CHORDS (from memory) — Examiners select from the following:
F and G major min.

mf
one hands
legato
D and E minor q. = 50 octave separately
œ œ œ œ œ. œ œ
œ œ œ œ œ œ œ.
?b œ œ œ œ œ œ
3. E
The exercises are in the book Piano Exam Pieces & Exercises 2018–2020: Grade 1.
1a. Tundra or
1b. A Minor Blues
2a. Pas de Deux or

for co-ordination
2b. The Ming Vase
3a. Going Underground or

3b. Capriccio
44
Piano: Grade 1
SUPPORTING TESTS

◗ Aural
three options:
◗ Improvisation
◗ Stylistic
Piano: Grade
◗ Motivic
at a level lower than the exam being taken.
See page 18 for sight reading parameters. Musical knowledge
1
Aural understanding of the pieces performed, as well
Candidates answer questions based on a single as their knowledge of notation and the piano.
musical example played on the piano by the Questions are based on candidates’ chosen
examiner. See page 20 for more information. pieces. See pages 28–29 for example questions
and responses.
The aural test requirements for Grade 1
are below.
Aural questions

Melody only i) Identify the dynamic as forte or piano

Listen to the melody once ii) Identify the articulation as legato
4 bars or staccato
Major key Listen to the first two bars Identify the last note as higher or lower
of the melody once than the first note
2 or 3
Listen to the melody twice,
with a change of rhythm or Identify where the change occurs
pitch in the second playing
45
Piano: Grade 2
Piano: Grade 2

Core repertoire
The Grade 2 exam lasts 11 minutes and The following pieces are in the book Piano
contains the following: Exam Pieces & Exercises 2018–2020: Grade 2
Maximum
marks CLEAVER Persian Holiday
PIECE 1 22 FUX
Almost a Canon
arr. HAAS
PIECE 2 22 KUKUCK The Rowboat
LÖHLEIN
Balletto
PIECE 3 22 arr. HAAS
R MOHRS Shepherd’s Melody
V MOHRS Poor Mouse

TECHNICAL WORK 14
MOORE The Ballerina
◗ Scales & arpeggios and exercises PRÓSZY Ń

SKI The Marionettes [duet]*
TELEMANN Rigaudon
SUPPORTING TESTS 20

◗ Sight reading
◗ Aural
◗ Improvisation
TOTAL 100
46
Piano: Grade 2
CROSLAND Bendin’ the Rules Magic Beans! (Ferrum 979-0-708147-26-8)
The Four-Handed Keyboard Crocodile

GURLITT Peasant Dance [duet]*
(Breitkopf EB 8592)

HAYDN German Dance
(Kjos GP 452)
A Cavalry Song of the
Piano: Grade
KNIPPER Ponies! (Breitkopf EB 8781)
Steppes
LVOV- Raise the Bar Piano: Initial–Grade 2

The Sparrow
KOMPANEETS (Trinity TCL 015372)
LYSENKO Raindrops Splash! (Breitkopf EB 8796)

2
A Whole New World
MENKEN The Graded Piano Player book 2: Grades 2–3
(from Walt Disney’s
arr. BULLARD (Faber 0-571-53941-6)
Aladdin)
STRECKE Rustic Dance Tio on Tour (Breitkopf EB 8886)
TERZIBASCHITSCH The Gondola [duet]* Piano Dreams: duet book 2 (Trinity TCL 015365)
TERZIBASCHITSCH The Little Locomotive Piano Dreams: solo book 2 (Trinity TCL 015341)
WEDGWOOD Pterodactyl Take-off! Dinosaurs! (Faber 0-571-52242-4)

can be found on page 16. ◗ Use of different articulations
◗ Simple melodic ornamentation or inflection
1–1.5 minutes at this grade
47
Piano: Grade 2
TECHNICAL WORK
Candidates prepare all sections. See page 17 for more information.
Bb and D major
G and B minor (candidates’ choice of

either harmonic or melodic minor) min. two hands
f or p legato
Chromatic scale in similar motion q = 80 octaves together
starting on Bb
C major contrary motion
2. ARPEGGIOS (from memory) — Examiners select from the following:
Bb and D major min.

mf
two hands
legato
G and B minor q = 60 octaves separately
3. E
1a. Handing Over or

A Baroque Formation
1b.
2a. Off-centre or
for co-ordination
2b. Quick March
3a. Late Night Lullaby or

3b. Rockhopper
48
Piano: Grade 2
SUPPORTING TESTS

◗ Aural
three options:
◗ Improvisation
◗ Stylistic
◗ Motivic
Piano: Grade
at a level approximately two grades lower than
the exam being taken. See page 18 for sight Musical knowledge
reading parameters.
understanding of the pieces performed, as well
Aural as their knowledge of notation and the piano.
Candidates answer questions based on a single Questions are based on candidates’ chosen 2
musical example played on the piano by the pieces. See pages 28–29 for example questions
examiner. See page 20 for more information. and responses.
are below.
Aural questions

i) D
escribe the dynamics, which will vary
Melody only during the melody
4 bars ii) Identify the articulation as legato
or staccato
Major or minor key
Identify the last note as higher or lower
than the first note
2 or 3
Listen to the melody twice, i) Identify where the change occurs
with a change of rhythm or
pitch in the second playing ii) Identify the change as rhythm or pitch
49
Piano: Grade 3
Piano: Grade 3
Core repertoire
Maximum
marks J & A BULLARD Model T
PIECE 1 22 COUPERIN
Le petit rien
arr. SNELL
PIECE 2 22 The Clown and the

CROSLAND
Ballerina
PIECE 3 22 DONKIN Badlands
GRAHAM Between the Fingers
ROLLIN Sunrise on the Matterhorn

TECHNICAL WORK 14
D SCARLATTI Sonata in G major
◗ Scales & arpeggios and exercises SCHMITZ Tango-Prelude II [duet]*
SCHÖNMEHL Rain
SUPPORTING TESTS 20

◗ Sight reading
◗ Aural
◗ Improvisation
TOTAL 100
50
Piano: Grade 3
Praeludium vocis Piano Misterioso

ARENS
mollis a (Breitkopf EB 8883)
Polonaise in G minor, Notebook for Anna Magdalena Bach

J S BACH
BWV Anh. 119 (Bärenreiter BA 5242)
ELGAR Chanson de matin Pianoworks Duets 2

arr. BULLARD [duet]* (OUP 978-0-19-337836-0)
KELLY Almost a Waltz A Baker’s Dozen (Spartan SP 1269)
Raise the Bar Piano: Grades 3–5

KELLY Spanish Dance
Piano: Grade
Children’s Dances Grade by Grade — Piano Grade 3
KODÁLY
no. 2** (Boosey M060127670)
MIER Dance of the Gypsies Signature Solos book 3 (Alfred 45049)
Wilder Reiter
SCHUMANN
(The Wild Horseman)
Album for the Young, op. 68 (Wiener UT 50252) 3
SHERMAN & Hushabye Mountain
The Graded Piano Player book 2: Grades 2–3
SHERMAN (from Chitty Chitty
(Faber 0-571-53941-6)
arr. BULLARD Bang Bang)
Cheesed Off Cityscapes

TANNER
in Amsterdam (Spartan SP 1206)
TERZIBASCHITSCH The Little Elf Piano Dreams: solo book 2 (Trinity TCL 015341)
** To be played a semitone higher than notated, as requested by the composer.

can be found on page 16. ◗ Form should show clear sections, eg ‘ABA’
◗ Melodic range of one octave or more
1.5–2 minutes at this grade
51
Piano: Grade 3
TECHNICAL WORK
Eb and A major
C and F# minor (candidates’ choice of

either harmonic or melodic minor) min. two hands
f or p legato
Eb major contrary motion scale q = 90 octaves together
Chromatic scale in similar motion

starting on F#
Eb and A major min.

mf
two hands
legato
C and F# minor q = 70 octaves separately
3. E
1a. Latin Dance or

1b. Hand to Hand
2a. Prelude or
for co-ordination
2b. Simple Syncopations
3a. Staccato Bounce or

3b. Invention
52
Piano: Grade 3
SUPPORTING TESTS

◗ Aural
three options:
◗ Improvisation
◗ Stylistic
◗ Motivic
reading parameters.
Piano: Grade
Candidates answer questions based on a single Questions are based on candidates’ chosen
are below.
3
Aural questions
Clap the pulse on the second playing,

Listen to the melody twice
stressing the strong beat
Listen to the melody once Identify the tonality as major or minor

Melody only
Listen to the first two notes Identify the interval by number only
4 bars of the melody once (second, third, fourth, fifth or sixth)
Major or minor key Study a copy of the melody
(provided in treble, alto or i) Identify in which bar the change
3 or 4 bass clef as appropriate), has occurred
and listen to it once as
written and once with a ii) Identify the change as rhythm or pitch
change of rhythm or pitch
53
Piano: Grade 4
Piano: Grade 4
Candidates play a balanced programme

of three pieces, chosen freely from the
lists below.
Core repertoire
Maximum
marks ARENS Tango passionis
PIECE 1 22 BADINGS Ballo gaio
BURGMÜLLER Barcarolle, op. 100 no. 22

PIECE 2 22
Andantino (1st movt
ELGAR
from Sonatina)
PIECE 3 22
GARDEL
Por una cabeza
arr. FARRINGTON
Little Piece no. 17 (from

TECHNICAL WORK 14 GEDIKE 20 Little Pieces for
Beginners, op. 6)
◗ Scales & arpeggios and exercises KIRNBERGER Minuet in E major
MOORE Waltz mystique
Allegretto (from The

SUPPORTING TESTS 20 MOZART London Sketchbook,
K. 15hh)
◗ Sight reading
◗ Aural
◗ Improvisation
TOTAL 100
54
Piano: Grade 4
C P E BACH Andante Keynotes: Grades 3–4 (Faber 0-571-52322-6)
Study in E minor, Raise the Bar Piano: Grades 3–5

BERTINI
op. 29 no. 14 (Trinity TCL 015389)
GRIEG Waltz in A minor My First Concert (Schott ED 20969)
KIRCHNER Dreaming Lake Splash! (Breitkopf EB 8796)
Calm Water
Grade by Grade — Piano Grade 4
MAXWELL DAVIES (from Stevie’s Ferry
(Boosey M060127687)
to Hoy)
Menuetto and Trio

Six Viennese Sonatinas
MOZART (from Viennese
(Universal UE 13354)
Sonatina no. 6)
Easy Pieces of the 17th and 18th Centuries

NEEFE Arioso
(Bärenreiter H 4014)
Piano: Grade
PETOT You Have to Shake It Jazz Alley — Intermediate (Kjos WP 607)
Leichte Klavierstücke und Sonatinen

SUTERMEISTER Erster Ferienmorgen
(Schott ED 6806)
TERZIBASCHITSCH The Old Gramophone Piano Dreams: solo book 2 (Trinity TCL 015341) 4
TRAD.
Bop Goes the Weasel Repertoire Builder book 2 (Spartan SP 1212)
arr. HOLT

can be found on page 16. ◗ Tempo changes
◗ Use of a variety of different articulations
Duration:
◗ Use of keys stipulated for technical work
2–3 minutes
at this grade
55
Piano: Grade 4
TECHNICAL WORK
Ab and E major
F and C# minor (candidates’ choice of

either harmonic or melodic minor)
legato or two
staccato octaves
min. hands
E major contrary motion scale f or p
q = 100 together
starting on B
Chromatic scale in contrary motion legato one

starting on Ab only octave
Ab and E major min. two hands

f or p legato
F and C# minor q = 80 octaves separately
3. E
1a. Little Waltz or

Evening Sun
1b.
2a. Waltz Echoes or

for co-ordination
2b. A Walk in the Woods
3a. Timelines or
3b. Roll up, roll up!
56
Piano: Grade 4
SUPPORTING TESTS

◗ Aural
three options:
◗ Improvisation
◗ Stylistic
◗ Motivic
reading parameters.
Piano: Grade
are below.
Aural questions
Parameters Task Requirement 4

Clap the pulse on the second playing,
Listen to the piece twice
stressing the strong beat
i) Identify the tonality as major or minor

Listen to the piece twice ii) Identify the final cadence as perfect
Harmonised or imperfect
4 bars Identify the interval as minor or major
Listen to the first two notes
second, minor or major third, perfect
Major or minor key of the melody once
fourth or fifth, minor or major sixth
4 or 6 Study a copy of the melody

i) Identify the bar in which the change
(provided in treble, alto or
bass clef as appropriate), and of rhythm occurred
listen to it once as written ii) Identify the bar in which the change
and once with a change of of pitch occurred
rhythm and a change of pitch
57
Piano: Grade 5
Piano: Grade 5
Candidates play a balanced programme

of three pieces, chosen freely from the
lists below.
Core repertoire
Maximum
marks ALEXANDER All is Calm
PIECE 1 22 There Sleeps Titania

ALWYN
(from Midsummer Night)
PIECE 2 22 BALCH A Walk at Strumble Head
Scherzando (2nd movt

PIECE 3 22 CAMIDGE from Sonata no. 1 in
G major)
CORNICK Blues for Beth
HAYDN Andante in A, Hob I:53/II

TECHNICAL WORK 14
Andantino (1st movt from
JÁRDÁNYI
◗ Scales & arpeggios and exercises Sonatina no. 2)
PROKSCH And Now Let’s Handel
Circus Theme
SUPPORTING TESTS 20 PUSTILNIK
(including repeats)

◗ Sight reading
◗ Aural
◗ Improvisation
TOTAL 100
58
Piano: Grade 5
Gavotte en rondeau
J S BACH (from Overture
(Schott ED 6806)
in G minor)
BARTÓK Romanian Polka Romanian Folk Dances (Universal UE 5802)
Allegretto (1st movt

BENDA from Sonatine in
(Schott ED 6806)
F major)
Moderato cantabile
(1st movt from Eleven Sonatinas, op. 151 & op. 168
DIABELLI
Sonatina in F major, (Alfred 2419)
op. 168 no. 1)
FONTEYN Grade by Grade — Piano Grade 5

Pop Looks Bach
arr. FARRINGTON (Boosey M060127694)
Cavalryman
(no. 29 from Thirty Grade by Grade — Piano Grade 5
KABALEVSKY
Children’s Pieces, (Boosey M060127694)
op. 27)
Piano: Grade
NORTON Kettle Rag
The Newtonville Jazz Alley — Intermediate

PETOT
Bounce (Kjos WP 607)
SHOSTAKOVICH Gavotte Dances of the Dolls (Boosey M060024078)

5
Semplice (from Keynotes: Grades 4–5
VINE
Red Blues) (Faber 0-571-52323-4)

can be found on page 16. ◗ Chromaticism
◗ Use of semiquaver passages
Duration:
◗ Use of keys stipulated for technical work
3–4 minutes
at this grade
59
Piano: Grade 5
TECHNICAL WORK
Db and B major
Bb and G# minor (candidates’ choice

of either harmonic or melodic minor)
legato or
G harmonic minor contrary staccato
motion scale min. two hands
f or p
q = 110 octaves together
starting on Db
Chromatic scale in contrary motion,

legato
left hand starting on C and right hand
only
starting on E
2. ARPEGGIOS (from memory, in similar motion) — Examiners select from the following:
Db and B major
min. legato or two hands
Bb and G# minor f or p
q = 90 staccato octaves together
Diminished 7th starting on B
3. E
1a. In the Chapel or

Ornamental Garden
1b.
2a. Penny Farthing or

for co-ordination
2b. Gentle Arabesque
3a. Jumping Beans or

3b. By the Brook
60
Piano: Grade 5
SUPPORTING TESTS

◗ Aural
three options:
◗ Improvisation
◗ Stylistic
◗ Motivic
reading parameters.
are below.
Piano: Grade
Aural questions
i) Clap the pulse on the second playing,

Listen to the piece twice stressing the strong beat
ii) Identify the time signature 5
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 Identify the interval as minor or major
minor key Listen to two notes from the second, minor or major third, perfect
melody line played consecutively fourth or fifth, minor or major sixth,
minor or major seventh or octave
2, 3, 4 or 6
Study a copy of the piece, and i) Identify the bar in which the change
listen to it once as written and of rhythm occurred
once with a change of rhythm
and a change of pitch (both ii) Identify the bar in which the change
changes in the melody line) of pitch occurred
61
Piano: Grade 6
Piano: Grade 6

three pieces, containing at least one piece
from each group.
Core repertoire is contained in the book Piano
Exam Pieces & Exercises 2018–2020: Grade 6
The Grade 6 exam lasts 22 minutes and
contains the following:
Core repertoire
Group A
Maximum
marks
Prelude in D minor,
J S BACH
PIECE 1 22 BWV 935
BENDA Sonatina in Eb
PIECE 2 22
Coranto (no. 218
BYRD from Fitzwilliam
Virginal Book)
PIECE 3 22
JONES Giga in A minor
Core repertoire
Group B
TECHNICAL WORK 14
BÉRA-TAGRINE Mazurka
KARGANOV Arabesque, op. 6 no. 4
RAMSKILL Weaving a Spell

SUPPORTING TEST 1 10
SCHMITZ Progression I
Sight reading
In Dreams (from
WALSH/SHORE The Lord of the Rings:
SUPPORTING TEST 2 10 arr. PODGORNOV The Fellowship
of the Ring)

◗ Aural
◗ Improvisation
TOTAL 100
62
Piano: Grade 6
Group A
Solo per il cembalo (Allegro), Notebook for Anna Magdalena Bach

C P E BACH
BWV Anh 129 (Bärenreiter BA 5242)
Allegro (1st movt from Complete Sonatas for Keyboard

DUŠEK
Sonata no. 3 in Bb major) (Bärenreiter BA 11513)
Scherzo in Bb major, 2 Scherzi, D 593

SCHUBERT
D 593 no. 1 (Henle HN 489)
Allegro (from Fantasia 12 Little Fantasias

TELEMANN
no. 1 in D major) (Schott ED 2330)
Group B
Vals sentimental, Valses 2 (Complete Works for Piano vol. 16)

GRANADOS
DLR VII:8.7 (Boileau 978-84-8020-690-7)
KALLMEYER Nemi Lounge The Cool Cat Piano Goodies (DVfM DV 32152)
Cortège de sauterelles Musiques d’enfants, op. 65

PROKOFIEV
(March of the Grasshoppers) (Boosey M060081798)
PÜTZ Raining Cats and Dogs Water (Schott ED 22276)
Versöhnung (Reconciliation)
Piano: Grade
REGER (no. 20 from Aus der
Jugendzeit, op. 17)
SATIE Gymnopédie no. 3 Gymnopédies (Henle HN 1072)
Own composition Own compositions must be comparable in 6

can be found on page 16. ◗ More advanced use of form (eg theme
and variations)
Duration: ◗ Extensive range
4–5 minutes
◗ More advanced melodic ornamentation
or inflection
◗ Use of any key
63
Piano: Grade 6
TECHNICAL WORK
Bb and D major
Bb and D harmonic and melodic minor four

octaves
min. legato or hands
Chromatic scales in similar motion
q = 120 staccato together
starting on Bb and D f or mf
or p
Chromatic scale in contrary motion two
starting on Eb octaves
min. legato one hands

C major scale in 3rds
q = 60 only octave separately
2. ARPEGGIOS (from memory, in similar motion) — Examiners select from the following:
Bb and D major
Bb and D minor
min. f or mf legato or four hands
q = 100 or p staccato octaves together
Diminished 7ths starting on Bb and D
Dominant 7ths in the keys Bb and D
3. E
1a. Nouvelle Gymnopédie or

Romantic Gesture
1b.
2a. Spinal Chords or

for co-ordination
2b. Three Against Two Ain’t Fair!
3a. Catch Me If You Can! or

3b. The Fugitive
64
Piano: Grade 6
SUPPORTING TESTS
Candidates prepare: Improvisation

◗ Aural or improvisation
three options:
Sight reading ◗ Stylistic
After 30 seconds’ preparation time, candidates ◗ Motivic

perform a previously unseen musical extract ◗ Harmonic
See pages 20–27 for details of the
the exam being taken. See page 18 for sight
requirements and parameters.
reading parameters.
Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 20 for more information.
are below.
Aural questions
i) Identify the time signature

Listen to the piece twice ii) Comment on the dynamics
iii) Comment on the articulation
Piano: Grade
Identify and comment on two other
Harmonised Listen to the piece twice
characteristics of the piece
8 bars Identify the key to which the music
modulates as subdominant, dominant
Major key Listen to the first four bars or relative minor
of the piece once
6
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 Locate and describe the changes
two changes to the as pitch or rhythm
melody line
65
Piano: Grade 7
Piano: Grade 7

from each group.
Core repertoire
Group A
Maximum
marks
Allegro (1st movt from
EBERL
PIECE 1 22 Sonate, op. 6)
Allegro (from Suite no. 7

HANDEL
PIECE 2 22 in G minor, HWV 432)
MOZART Minuet in D major, K. 355

PIECE 3 22
SCHYTTE Etude in A minor,
ed. SNELL op. 58 no. 6
Core repertoire
Group B
TECHNICAL WORK 14
CHANLER Aftermath
Lento (2nd movt
EARL
from Sonatina)
SUPPORTING TEST 1 10 No. 2 from Kinderstücke,

MENDELSSOHN
op. 72
Sight reading
PETER-HORAS Sarah
SUPPORTING TEST 2 10 TURINA Fiesta (from Miniatures)

◗ Aural
◗ Improvisation
TOTAL 100
66
Piano: Grade 7
Group A
Prelude in G major, The Well-Tempered Clavier Part 1

J S BACH
BWV 860 BWV 846–869 (Henle HN 1014)
Allegro molto (3rd movt

Piano Sonata in C major, Hob. XVI:50
HAYDN from Sonata in C major,
(Henle HN 1325)
Hob. XVI:50)
Allegro (1st movt from Piano Sonata in G major, K. 283 (189h)

MOZART
Sonata in G major, K. 283) (Henle HN 601)
Group B

HARRIS Study
Klavierstück in Easy Piano Pieces and Dances

LISZT
E major, R 60 (Bärenreiter BA 6577)
Visions fugitives, op. 22

PROKOFIEV Vision fugitive No. 10
(Boosey M060081781)
ROCHEROLLE La chapelle Souvenirs du château (Kjos GP 369)
Moment musical no. 6

Moments musicaux, op. 94 D 780
SCHUBERT in Ab major (Plaintes d’un
(Bärenreiter BA 9647)
troubadour)
SKULTE Arietta Das Pianobuch vol. 2 (Peters EP 10906b)
TANNER How Bleak the Sea Tonight Nightscapes (Spartan SP 1137)

Piano: Grade

can be found on page 16. ◗ Modulation
7
◗ Use of irregular time signatures
Duration:
◗ Use of any key
approx. 5 minutes
67
Piano: Grade 7
TECHNICAL WORK
Ab and E major
f or mf
G# and E harmonic and or p or
min.
melodic minor crescendo/ legato or four hands
q = 130 diminuendo staccato octaves together
Chromatic scale in similar motion a
minor 3rd apart, left hand starting ( p — f — p )
on C and right hand starting on Eb
min.
mf
two hands
E major scale in 3rds legato
q = 70 octaves separately
RPEGGIOS (from memory, in similar motion unless specified as contrary motion) —

2. A
Examiners select from the following:
Ab and E major
G# and E minor f or mf legato or four

or p or staccato octaves
Diminished 7ths starting on Ab and E min. hands
crescendo/
q = 110 diminuendo together
Dominant 7ths in the keys of Ab and E
( p — f — p )
two
E major contrary motion legato
octaves
3. E
1a. Obsessive Nature or

Con Amore
1b.
2a. Sunrise or
for co-ordination
2b. Vamp Style
3a. Top Ten or

3b. Under Control
68
Piano: Grade 7
SUPPORTING TESTS

three options:

the exam being taken. See page 18 for sight See pages 20–27 for details of the
reading parameters. requirements and parameters.
Aural
are below.
Aural questions

Harmonised Identify and comment on two other

8 bars
Identify the key to which the music
Major or minor key modulates as subdominant, dominant
Piano: Grade
Listen to the first four bars or relative key

of the piece once
2, 3, 4 or 6 Answers may alternatively be given as
key names

Locate and describe the changes
and listen to it twice with
as pitch (melody line only) or rhythm
three changes
7
69
Piano: Grade 8
Piano: Grade 8

from each group.
Core repertoire
Group A
Maximum
marks
Prelude in G major,
J S BACH
PIECE 1 22 BWV 902
Moderato (1st movt from

HAYDN Sonata in G minor,
PIECE 2 22 Hob. XVI:44)
Allegro (1st movt from

MOZART
PIECE 3 22 Sonata in Bb, K. 570)
Fanfarinette and La
RAMEAU triomphante (from
Suite in A minor)
TECHNICAL WORK 14 Core repertoire

Group B
◗ Scales & arpeggios and exercises Allegretto (1st movt from
BARTÓK
Suite, op. 14)
Intermezzo in B minor,
SUPPORTING TEST 1 10 BRAHMS
op. 119 no. 1
Minstrels
Sight reading DEBUSSY
(from Préludes Book 1)
Elegy
SUPPORTING TEST 2 10 IRELAND
(from A Downland Suite)
ONE of the following: MA/ZHANG N

Remote Xianggelila
arr. ZHANG Z
◗ Aural
◗ Improvisation
TOTAL 100
70
Piano: Grade 8
Group A
Allegro assai (1st

Six Piano Sonatas, Wq 55
C P E BACH movt from Sonata in
(Breitkopf EB 4401)
A major, Wq 55 no. 4)
Prestissimo (Finale
Sonata no. 5 in C minor, op. 10 no. 1
BEETHOVEN from Sonata no. 5 in
(Henle HN 47)
C minor, op. 10 no. 1)
Waltz in E minor, Waltz in E minor, op. post.

CHOPIN
op. post. (Henle HN 771)
Presto (final movt

Piano Suites (London 1720)
HANDEL from Suite no. 3 in
(Henle HN 336)
D minor, HWV 428)
Prelude (from Partita Raise the Bar Piano: Grades 6–8

HENGEVELD
rhythmique) (Trinity TCL 015395)
Group B
GRIEG Erotik Lyric Pieces book 3, op. 43 (Peters EP 2154)
KALLMEYER Six-Eight-Prelude The Cool Cat Piano Goodies (DVfM DV 32152)
Moment musical in
Das Pianobuch vol. 2
REGER C# minor, op. 44
(Peters EP 10906b)
no. 5
Herberge (The Waldszenen (Forest Scenes), op. 82

SCHUMANN
Wayside Inn) (Wiener UT 50066)
Snow, Moon and Night Pieces

SCULTHORPE
Flowers (Faber 0-571-50369-1)

Piano: Grade

can be found on page 16. ◗ Wide range of expressive techniques
◗ Creative use of form
Duration: ◗ Extended techniques, wide range,
5–6 minutes chromaticism and rhythmic variation
◗ Use of any key
8
71
Piano: Grade 8
TECHNICAL WORK
F#, Eb and B major

f or mf
F#, Eb and B harmonic and melodic or p or
min.
minor crescendo/ legato or four hands
q = 140 diminuendo staccato octaves together
Chromatic scales in similar motion ( p — f — p )
starting on F#, Eb and B
B major scale in 3rds min.

mf
two hands
legato
C harmonic minor scale in 3rds q = 80 octaves separately
RPEGGIOS (from memory, in similar motion unless specified as contrary motion) —

2. A
Examiners select from the following:
F#, Eb and B major
F#, Eb and B minor
Diminished 7ths starting on F#, f or mf legato or four

Eb and B or p or staccato octaves
min. hands
crescendo/
Dominant 7ths in the keys of F#, q = 120 diminuendo together
Eb and B ( p — f — p )
Eb major contrary motion

two
legato
octaves
F# minor contrary motion
3. E
1a. Who Knows Where? or

Three by Three
1b.
2a. Broadway Show or

for co-ordination
2b. Interlace
3a. Jazz Fusion or

3b. Looking Back to the Future
72
Piano: Grade 8
SUPPORTING TESTS

three options:

reading parameters.
Aural
are below.
Aural questions
Harmonised Listen to the piece once ii) Comment on the dynamics

12–16 bars
Identify and comment on three other
Major or minor key Listen to the piece twice
2, 3, 4, 6 or 5 Study a copy of the piece,

as pitch or rhythm
three changes
Piano: Grade
8
73
Piano Accompanying: Grade 5

three pieces, one from each group.
It is the candidate’s responsibility to provide
and rehearse with the soloist(s) for the pieces
in groups A and B.
Maximum
marks
PIECE 1 22
PIECE 2 22
PIECE 3 22
TECHNICAL WORK 14
◗ Extracts
SUPPORTING TESTS 20

◗ Sight reading
◗ Aural
◗ Improvisation
TOTAL 100
74
Group A
VOICE
ARNE When Daisies Pied (from Selected Songs) (Cramer 90142)
PERGOLESI Se tu m’ami (from 24 Italian Songs and Arias) (Schirmer GS26114)
PURCELL Music for a While (from 15 Songs and Airs set 2) (Novello NOV170266)
VIOLIN
Andante (3rd movt from Sonata no. 1 in B minor, BWV 1014)
J S BACH
(from Six Sonatas, BWV 1014–1019 vol. 1) (Bärenreiter BA 5118)
Allegro (2nd movt from Sonata in E minor, op. 5 no. 8)

CORELLI
(from Violin Sonatas, op. 5 vol. 1) (Wiener UT50236)
FIOCCO
Allegro (Schott ED 11963)
arr. BENT & O’NEILL
CELLO
Piano Accompanying: Grade

LE FLEMING Air (from Air and Dance) (Chester CH 56275)
Rough Justice (from Microjazz Cello collection 2)

NORTON
(Boosey M060111136)
FLUTE
Siciliano (2nd movt from Sonata no. 2 in Eb, BWV 1031)
J S BACH
(from Flute Sonatas vol. 1) (Peters EP4461AA)
COWLES Busy Lizzie (from Woodwind World Flute book 4) (Trinity TCL 320049)
RUTTER Prelude (from Suite antique) (OUP 9780193586918)
CLARINET 5
Allegro (from Woodwind World Clarinet book 3)
DRUSCHETZKY
LUTOSŁAWSKI No. 2 of 5 Dance Preludes (Chester CH 55171)
Group B
VOICE
FAURÉ ed. KAGEN Chanson d’amour (from 30 Songs) (IMC 1601/2/1131)
Du bist die Ruh (from Schubert Lieder vol. 5 — high voice)

SCHUBERT
(Bärenreiter BA 7008)
Linden Lea (available in F, G or A) (Boosey M060028434 (in F),

VAUGHAN WILLIAMS
M060028441 (in G), M060028458 (in A))
75
VIOLIN
DVOŘÁK Larghetto (2nd movt from Sonatina in G, op. 100) (Peters EP 9363)
Chanson de matin, op. 15 no. 2 (from Edward Elgar: Chanson de matin

ELGAR
and Chanson de nuit) (Novello NOV 120431R)
SHOSTAKOVICH
Romance (from The Gadfly, op. 97) (Fentone F 399–401)
arr. FRASER
CELLO
SQUIRE Romance (Stainer 2284)
TROWELL Meditation (from 12 Morceaux faciles, op. 4 book 3) (Schott ED 11212)
FLUTE
Meadow-Sweet (from Woodwind World Flute book 3)
COWLES
RUTTER Chanson (from Suite antique) (OUP 9780193586918)
CLARINET
FINZI Carol (from Five Bagatelles, op. 23) (Boosey M060030253)
Daydreams (from Woodwind World Clarinet book 4)

HARRIS
Group C (piano solo)
Entr’acte (no. 24: Andantino from Carmen) (from Piano Plus)

BIZET
FAURÉ Agnus Dei (from Requiem) (from Piano Plus) (Trinity TCL 003034)
Propter magnam gloriam (from Gloria) (from Piano Plus)

VIVALDI
Any piece from Piano Exam Pieces & Exercises 2018–2020: Grade 5
VARIOUS
TECHNICAL WORK
Candidates prepare all extracts set for Grade 5 technical development in the book Piano Plus 2
published by Trinity. The examiner chooses three extracts to be performed in the exam.
76
SUPPORTING TESTS

◗ Aural
three options:
◗ Improvisation
◗ Stylistic
◗ Motivic
reading parameters.
musical example played on the piano by the pieces. See page 28–29 for example questions

are below.
Aural questions
i) C
lap 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

5
Listen to the piece twice ii) Identify the final cadence as perfect,
Harmonised
plagal, imperfect or interrupted
8 bars
Identify the interval as minor or major
Listen to two notes from
second, minor or major third, perfect
Major or minor key the melody line played
fourth or fifth, minor or major sixth,
consecutively
minor or major seventh or octave
2, 3, 4 or 6
and listen to it once as i) Identify the bar in which the change
written and once with a of rhythm occurred
change of rhythm and ii) Identify the bar in which the change
a change of pitch (both of pitch occurred
changes in the melody line)
77


in groups A and B.
Maximum
marks
PIECE 1 22
PIECE 2 22
PIECE 3 22
TECHNICAL WORK 14
◗ Extracts
◗ Sight reading

◗ Aural
◗ Improvisation
TOTAL 100
78
Group A
VOICE
Sebben crudele (from 24 Italian Songs and Arias)
CALDARA
(Schirmer GS 26114)
FAURÉ ed. KAGEN Claire de lune (from 30 Songs) (IMC 1601/2/1131)
RUTTER All Things Bright and Beautiful (OUP 9780193420625)
VIOLIN
4th movt (from Sonata no. 1 in B minor, BWV 1014) (from Six Sonatas,
J S BACH
BWV 1014–1019 vol. 1) (Bärenreiter BA 5118)
Giga — Allegro (4th movt from Sonata in D minor, op. 5 no. 7)

CORELLI
(Stainer 7406A)
CELLO
LE FLEMING Dance (from Air and Dance) (Chester CH 56275)
Any Allegro movement from 6 Sonatas for cello

VIVALDI
(Schott ED 4927)
FLUTE

Allegro (4th movt from Sonata in F, HWV 369) (from Eleven Sonatas
HANDEL
for Flute & Basso Continuo) (Bärenreiter BA 4225)
RUTTER Waltz (from Suite antique) (OUP 9780193586918)
CLARINET
LUTOSŁAWSKI No. 1 from 5 Dance Preludes (Chester CH 55171)
Allegro animato (2nd movt from Sonata for Clarinet in Eb, op. 167)
SAINT-SAËNS
(Durand DF01006300)
Group B
VOICE
6
FAURÉ ed. KAGEN Après un rêve (from 30 Songs) (IMC 1601/2/1131)
Sweet Chance That Led My Steps Abroad (available in D or F)

HEAD
(Boosey M060032691 (in D), M060032707 (in F))
SCHUBERT An die Musik (any reliable edition)
79
VIOLIN
Chanson de nuit, op. 15 no. 1 (from Edward Elgar: Chanson de matin and
ELGAR
Chanson de nuit) (Novello NOV 120431R)
ELGAR Salut d’amour (Schott ED 11174-02)
FAURÉ Sicilienne, op. 78 (Peters EP 7386)
CELLO
ELGAR Chanson de nuit, op. 15 no. 1 (Novello NOV 120943 [archive])
Sicilienne, op. 78 (from Elégie, op. 24; Sicilienne, op. 78)

FAURÉ
(Peters EP 7385)
FAURÉ
Après un rêve (IMC 540)
arr. CASALS
FLUTE
FAURÉ ed. BUESSER Sicilienne, op. 78 (Chester CH 55156)
GODARD Idylle (from Suite de trois morceaux, op. 116) (Chester CH 55136)
MOWER The Great Outside (from Landscapes) (Itchy Fingers IFP 034)
CLARINET
MOZART 2nd movt (Concerto in A, K. 622) (any reliable edition)
Prelude (from The Victorian Kitchen Garden Suite)

READE
(Weinberger JW 485)
Polovtsian Dance (no. 17 from Prince Igor) (from Piano Plus)

BORODIN
And with His Stripes We Are Healed (from Messiah) (from Piano Plus)
HANDEL
Come, Gentle Spring (from The Seasons) (from Piano Plus)

HAYDN
VARIOUS
TECHNICAL WORK
80
SUPPORTING TESTS

three options:

reading parameters.
Aural
are below.
Aural questions


Identify and comment on two other

Harmonised Listen to the piece twice
8 bars Identify the key to which the music

modulates as subdominant, dominant
Major key Listen to the first four bars or relative minor
of the piece once
Answers may alternatively be given 6
2, 3, 4 or 6 as key names

and listen to it twice with Locate and describe the changes
two changes to the as pitch or rhythm
melody line
81


in groups A and B.
Maximum
marks
PIECE 1 22
PIECE 2 22
PIECE 3 22
TECHNICAL WORK 14
◗ Extracts
◗ Sight reading

◗ Aural
◗ Improvisation
TOTAL 100
82
Group A
VOICE
BERLIOZ Villanelle (from Les nuits d’été) (Bärenreiter BA 5784-90)
GURNEY Desire in Spring (from 20 Favourite Songs) (OUP 9780193453920)
SULLIVAN Orpheus with His Lute (Cramer)
VIOLIN
Second Fantasy Piece (Allegro Vivace) (from Fantasy Pieces, op. 43)
GADE
(Hansen WH 03537)
HANDEL Allegro (2nd movt from Sonata no. 4 in D, HWV 371) (Peters EP 2475b)
MOZART Allegretto (2nd movt from Sonata in G, K. 301) (Peters EP 7579a)
CELLO
BERKELEY Andantino, op. 21 no. 2a (Chester CH 00945)
STRAVINSKY
Russian Maiden’s Song (Boosey M060027017)
arr. MARKEVICH
FLUTE
R R BENNETT Allegro tranquillo (no. 1 from Summer Music) (Novello NOV 120560)
Allegro (2nd movt from Sonata in E minor, HWV 359b)

HANDEL
(from Eleven Sonatas for Flute) (Bärenreiter BA 4225)
CLARINET

Larghetto (2nd movt from Clarinet Quintet in A, K. 581)
MOZART arr. HYDE
(Boosey M060038617)
No. 1: Zart und mit Ausdruck (from Fantasiestücke, op. 73)

SCHUMANN
(Henle HN 416)
Group B
VOICE
CHAUSSON Le colibri (IMC 1130/31)
Is She Not Passing Fair? (from New Imperial Edition of Tenor Songs)
ELGAR
(Boosey M051904303)
7
FAURÉ Ici-bas (IMC)
SCHUMANN Der Nussbaum (Peters EP 8160a/b/c)
83
VIOLIN
KREISLER Liebeslied (Schott BSS 29029)
MASSENET
Méditation (UMP)
trans. MARSICK
CELLO
FAURÉ Berceuse, op. 16 (Hamelle HA 09060)
SAINT-SAËNS The Swan (from Carnival of the Animals) (Durand DF00376700)
FLUTE
ARRIEU 1st movt (from Sonatine) (Amphion A126)
ROUSSEL Krishna (from Joueurs de flûte, op. 27) (Broekmans 1573)
CLARINET
HOROVITZ 2nd movt (from Sonatina) (Novello NOV 120541)
SAINT-SAËNS Allegretto (1st movt from Sonata, op. 167) (Durand 1006300)
Wir setzen uns mit Tränen nieder (from St Matthew Passion)

J S BACH
(from Piano Plus) (Trinity TCL 003034)
Entr’acte (no. 24: Allegro vivo from Carmen) (from Piano Plus)
BIZET
Va pensiero (Chorus of the Hebrew Slaves from Nabucco)

VERDI
VARIOUS
TECHNICAL WORK
84
SUPPORTING TESTS

three options:

reading parameters.
Aural
are below.
Aural questions


Harmonised Identify and comment on two other

8 bars
Identify the key to which the music
Major or minor key modulates as subdominant, dominant
Listen to the first four bars or relative key
of the piece once
2, 3, 4 or 6 Answers may alternatively be given
as key names

as pitch (melody line only) or rhythm
three changes 7
85


in groups A and B.
Maximum
marks
PIECE 1 22
PIECE 2 22
PIECE 3 22
TECHNICAL WORK 14
◗ Extracts
◗ Sight reading

◗ Aural
◗ Improvisation
TOTAL 100
86
Group A
VOICE
Five Eyes (available in G minor or Bb minor)
ARMSTRONG GIBBS
(Boosey M060030833 (G minor), M060030840 (Bb minor))
PURCELL Hark! The Echoing Air from The Fairy Queen (Novello NOV 952908)
Love’s Philosophy (available in C or D)

QUILTER
(Boosey M060021732 (in C), M060021749 (in D))
SCHUBERT Der Musensohn (from Selected Songs) (any reliable edition)
SCHUBERT Die Forelle (from Selected Songs) (any reliable edition)
VIOLIN
Allegro (4th movt from Sonata no. 3 in E, BWV 1016)
J S BACH
(from Six Sonatas, BWV 1014–1019 vol. 1) (Bärenreiter BA 5118)
Allegro (1st movt from Concerto in A minor, BWV 1041)

J S BACH
(Bärenreiter BA 5189–90)
Fourth Fantasy Piece (Allegro molto vivace)

GADE
(from Fantasy Pieces, op. 43) (Hansen WH 03537)
Minuetto (2nd movt from Sonata in E minor, K. 304)

MOZART
(from Violin Sonatas vol. 1) (Peters EP 7579a)
SCHUBERT 1st movt (from Sonatina in D, op. 137 no. 1) (Stainer 35592)
CELLO
MENDELSSOHN Song Without Words, op. 109 (Stainer R2247)
SHOSTAKOVICH Allegro (2nd movt from Sonata in D minor, op. 40) (Peters EP 4748) Piano Accompanying: Grade
FLUTE
Allegro moderato (1st movt from Sonata no. 2 in Eb, BWV 1031)
J S BACH
(from Flute Sonatas vol. 1) (Peters EP 4461AA)
Presto (3rd movt from Sonata no. 1 in B minor, BWV 1030)

J S BACH
(from Flute Sonatas vol. 1) (Peters EP 4461AA)
MATHIAS Allegro ritmico (1st movt from Sonatina) (OUP 9780193577770)
8
87
CLARINET
Fourth Fantasy Piece (Allegro molto vivace) (from Fantasy Pieces,

GADE
op. 43) (Hansen WH 03537)
LUTOSŁAWSKI No. 3 (from 5 Dance Preludes) (Chester CH 55171)
Allegro con fuoco (1st movt from Sonata for Clarinet and Piano)
POULENC
(Chester CH 70972)
Group B
VOICE
ELGAR The Shepherd’s Song (from Seven Lieder) (any reliable edition)
HOWELLS Come Sing and Dance (OUP 9780193454514)
RACHMANINOV Vocalise, op. 34 no. 14 (Boosey M060022289)
SCHUMANN Widmung (any reliable edition)
VIOLIN
DVOŘÁK 4th movt (from Sonatina in G, op. 100) (Peters EP 9363)
MENDELSSOHN 2nd movt (from Concerto in E minor, op. 64) (Peters EP 1731)
CELLO
Allegro appassionato (from Allegro apassionato, op. 43)

SAINT-SAËNS
(Stainer R10020)
FLUTE
GAUBERT Madrigal (Enoch UNI 14224)
POULENC Allegretto malincolico (1st movt from Sonata) (Chester CH 01605)
CLARINET
Allegretto grazioso (3rd movt from Sonata no. 1 in F minor)
BRAHMS
(from Sonatas, op. 120) (Peters EP 3896W)
Andante con moto (3rd movt from Sonata no. 2 in Eb)

BRAHMS
(from Sonatas, op. 120) [without Allegro section] (Peters EP 3896W)
SCHUMANN No. 2: Lebhaft, leicht (from Fantasiestücke, op. 73) (Henle HN 416)
88
Ode to Joy (chorus from Symphony no. 9 in D minor) (from Piano Plus)
BEETHOVEN
Wie lieblich sind deine Wohnungen (How lovely is thy dwelling place)
BRAHMS
(from Ein deutsches Requiem) (from Piano Plus) (Trinity TCL 003034)
Bess, You Is My Woman Now (duet from Porgy and Bess)

GERSHWIN
VARIOUS
TECHNICAL WORK
8
89
SUPPORTING TESTS

three options:

reading parameters.
Aural
are below.
Aural questions
Harmonised Listen to the piece once ii) Comment on the dynamics

12–16 bars
Identify and comment on three other
Major or minor key Listen to the piece twice
2, 3, 4, 6 or 5 Study a copy of the piece,

as pitch or rhythm
three changes
90
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91
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92
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93
Trinity publications
Trinity publications
The following Trinity publications support Piano Scales & Arpeggios
this syllabus. All are available from from 2015
trinitycollege.com/shop or from your Initial–Grade 5 TCL 012982
local music shop.
Grades 6–8 TCL 012999
Piano Exam Pieces & Exercises
2018–2020 Piano Sound at Sight
Book only Book, CD (2nd series)
& teaching
notes Book 1 (Initial–Grade 2) TCL 009180
Book 2 (Grades 3–4) TCL 009197
Initial TCL 016584 TCL 016676
Grade 1 TCL 016591 TCL 016683
Grade 2 TCL 016607 TCL 016690
Grade 3 TCL 016614 TCL 016706
Piano Sound at Sight
Grade 4 TCL 016621 TCL 016713 (original series)
Grade 5 TCL 016638 TCL 016720 Book 1 (Initial–Grade 2) TCL 002648
Grade 6 TCL 016645 TCL 016737 Book 2 (Grades 3–5) TCL 002655
Grade 7 TCL 016652 TCL 016744 Book 3 (Grades 6–8) TCL 002679
Grade 8 TCL 016669 TCL 016751
Piano Plus TCL 003034
Teaching Notes
2018–2020 Piano Plus 2 TCL 003041
Initial–Grade 8 TCL 016768
Specimen Aural Tests
Piano Stories from 2017
Initial TCL 018144 Book 1 (Initial–Grade 5) TCL 015808
Grade 1 TCL 018151 Book 2 (Grades 6–8) TCL 015815
Grade 2 TCL 018243
Grade 3 TCL 018250 Theory of Music Workbooks
Grade 1 TCL 006509
Raise the Bar Piano
Grade 2 TCL 006516
Initial–Grade 2 TCL 015372 Grade 3 TCL 006523
Grades 3–5 TCL 015389 Grade 4 TCL 006530
Grades 6–8 TCL 015395 Grade 5 TCL 006547
Piano Dreams Grade 6 TCL 007476
Solo Book 1 TCL 015334 Grade 7 TCL 007483
Solo Book 2 TCL 015341 Grade 8 TCL 007490
Duet Book 1 TCL 015358

Duet Book 2 TCL 015365
94
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TELEMANN

photo: Zute Lightfoot, piano courtesy of Yamaha Music London

Trinity College London

4 / Introduction to Trinity’s graded music exams

9 / Learning outcomes and assessment criteria

11 / About the exam

15 / Exam guidance: Pieces

17 / Exam guidance: Technical work

18 / Exam guidance: Supporting tests

30 / Exam guidance: Marking

74 / Piano Accompanying: Grade 5

78 / Piano Accompanying: Grade 6

82 / Piano Accompanying: Grade 7

86 / Piano Accompanying: Grade 8

ABOUT TRINITY COLLEGE LONDON

WHO THE QUALIFICATIONS ARE FOR 45–59 BELOW PASS 1

DURATION OF STUDY (TOTAL QUALIFICATION TIME)

Grade 3 18 102 120

Grade 4 24 126 150

Grade 5 24 156 180

Grade 6 36 184 220

Grade 7 48 222 270

Grade 8 54 266 320

RECOGNITION AND UCAS POINTS WHERE THE QUALIFICATIONS

HOW TO ENTER FOR AN EXAM OTHER QUALIFICATIONS OFFERED

REGULATED LEVELS OF TRINITY’S MUSIC QUALIFICATIONS

RQF* EQF** Classical Rock Theory Solo Group

3 4 Grade 7 Grade 7 Grade 7

Grade 6 Grade 6 Grade 6

Grade 5 Grade 5 Grade 5 Intermediate Intermediate

Grade 3 Grade 3 Grade 3 Foundation Foundation

1 2 Grade 2 Grade 2 Grade 2

Grade 1 Grade 1 Grade 1

* Regulated Qualifications Framework

REGULATED TITLES AND QUALIFICATION NUMBERS

Regulated title Qualification

Learning outcomes and assessment criteria

LEARNING OUTCOMES ASSESSMENT CRITERIA

1. Apply skills, knowledge and understanding to present

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

LEARNING OUTCOMES ASSESSMENT CRITERIA

1. Support their intentions in musical performance

3. Recognise and respond to elements of music in a

LEARNING OUTCOMES ASSESSMENT CRITERIA

1. Integrate their musical skills, knowledge and understanding

About the exam

PIECES TECHNICAL WORK SUPPORTING TESTS

About the exam

EXAM STRUCTURE AND MARK SCHEME

Initial–Grade 5 Maximum Grades 6–8 Maximum

TECHNICAL WORK 14 TECHNICAL WORK 14

SUPPORTING TESTS 20 SUPPORTING TESTS 10

Any TWO of the following: Supporting test 1 —

TOTAL 100 TOTAL 100

Grade 5 Maximum Grades 6–8 Maximum

About the exam

TECHNICAL WORK 14 TECHNICAL WORK 14

SUPPORTING TESTS 20 SUPPORTING TESTS 10

Any TWO of the following: Supporting test 1 —

TOTAL 100 TOTAL 100

ORDER OF THE EXAM

Initial Grade 1 Grade 2

Grade 3 Grade 4 Grade 5

* Regulated Qualifications Framework