TCL020246e Piano 2021-2023 Grade 1

01
G R A D E
PIANO
HOLLAND
12 pieces plus exercises for
Trinity College London
NORTON
exams 2021–2023
HAWTHORN &
SUSCHITZKY
TERZIBASCHITSCH
HALL & DRAYTON
PITTARELLO
YANDELL
TANNER
CLARKE
HANDEL
BOBER
TÜRK
Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1994@gmail.com) Order: 7444

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01
G R A D E
PIANO
12 pieces plus exercises for
Trinity College London
exams 2021–2023
Now with performance notes
ISBN 978-1-80051-077-7
Published by
Trinity College London Press Ltd
trinitycollege.com
Registered in England
Company no. 09726123
Copyright © 2020 Trinity College London Press Ltd
This impression August 2020
Cover photograph courtesy of Steinway & Sons
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ii
Contents
Performance notes ��2
Clarke King William’s March�� 5
Handel, ed. WIld Passepied in C major, HWV 559�� 6
Türk Arioso (from Klavierschule)��7
Holland Donkey Trot�� 8
Norton Walking Together�� 9
Terzibaschitsch Last Waltz*��10
Bober Stealth Mode�� 12
Yandell Pirate Stomp�� 14
Tanner The Croc That Swallowed a Clock�� 15
Hawthorn & Suschitzky Space Walk Rag �� 16
Hall & Drayton The Very Vicious Velociraptor�� 17
Pittarello Viking Village�� 18
Exercises��20
Scales and broken chords�� 22
 other
publications
video and online
resources
* The duet part in ‘Last Waltz’ must be performed in the exam by the teacher, another adult or another pupil
but may not be pre-recorded.
Metronome markings are given as a useful guide and are not definitive. Repeats of more than a few bars
should be omitted in the exam unless otherwise instructed, as indicated in this book. All da capo and dal segno
instructions should be observed.
Please refer to the Piano Syllabus 2021–2023 for details on all sections of the exam.
Check trinitycollege.com/piano to make sure you are using the current version.
The repertoire in this publication can also be used for Trinity’s Digital Grades and Diplomas.
Please check trinitycollege.com/dgd for more details.

Contents
Performance notes
King William’s March / Clarke Page 5 time, the notes in both hands have moved up (an ascending
sequence), and this helpfully coincides with the crescendo
w Baroque marking — you might like to think of the conversation
w Shifts of hand position between the hands becoming slightly more argumentative at
w Legato and staccato playing this point!
The King William mentioned in the title of this piece, is It would be worth listening to some other dance movements
William of Orange, who became King of England in 1689. by Handel when you are learning this piece: try a movement
As you’d expect for a march written for a king, it is stately or two from the Music for the Royal Fireworks or the Water
and majestic. Music, some of his most famous compositions.
Although we’re playing it on the piano, imagine this played
on a trumpet, perhaps as a fanfare for the arrival of King Arioso / Türk Page 7
William. The staccato opening helps to give a clear sense of
rhythm and this follows into the legato quavers too, which w Classical
you might like to think of as quite deliberate and important w Projection of right-hand melody
— they’re certainly not in a hurry! There are also some large w Phrasing
intervals in this piece in both hands, which need careful
‘Arioso’ refers to a piece that is vocal in style — written
negotiation, particularly when the hand position changes as
in a similar way to a song. In this piece, you might like to
well. The right-hand shifts in bars 2 and 6 are good examples,
think of the right hand as a singer, with its beautiful and
and it’s worth thinking about shortening the first note of
expressive melody.
these bars slightly to give you the time you need to move. It’s
better that way than risking any danger of being late for the Although the right hand takes the lead, it’s important not to
next note and interrupting the march rhythm. neglect the left hand too much — for example, when there
are long rests in the second and fourth lines make sure that
Jeremiah Clarke’s most famous piece is the ‘Prince of
you’re prepared early for the left hand to come back in. You
Denmark’s March’, which is very similar in style to ‘King
want to avoid a last-second scramble to find the right note!
William’s March’. See if you can find a recording for solo
trumpet, perhaps with organ accompaniment, to give you a It’s also worth spending a bit of time thinking about the ends
sense of the majestic style of this music. of phrases in this piece. Except for the very end of the piece,
each phrase finishes with two slurred notes — aim for the
Passepied in C major / Handel Page 6 first one to be slightly emphasised, and the second one to
be softer. This fits in well with each phrase being rather like
w Baroque an arch, getting a little louder as you approach the middle,
w Upbeats and then gradually softening as you get to the end. It’s often
w Dialogue between the hands helpful to think of phrases as musical sentences — you could
try to pinpoint the most important note in each phrase, as
A Passepied is a dance movement, with the title translating you might highlight an important word in a sentence.
literally as ‘pass-foot’. Originally a lively folk dance from
Brittany, by Handel’s day it had become a more refined Perhaps the most well-known Arioso is by Johann Sebastian
courtly dance. Bach, from Cantata 156. Have a listen and see what
similarities you can hear.
As with all Passepieds, this piece begins with an upbeat
and each time you come across another one, (at the end of
bars 2, 6, 8 and 10), it might be useful to think of them like Donkey Trot / Holland Page 8
a springboard, lifting you onto the first beat of the next bar.
w Character piece
This fits nicely with the dance feel — the upbeats are perhaps
w Variety of articulation
where you have a foot in the air (or crossed over, as in the
w Use of sustaining pedal
original Passepied dance), and the downbeats are where
both feet are on the floor. You could try it out yourself! The ‘donkey’s trot’ in this piece can be heard in the left hand,
Notice that where the upbeat and downbeat are on the same and is on the go for most of the piece. Once the trotting
pitch in the second half of the piece, the suggested fingering finishes near the end, you might like to think of the last two
is different for the two notes, to help give that lifted and chords as a distant echo of a donkey’s ‘hee-haw’.
buoyant effect.
At the beginning, it’s a good idea to write a reminder to put
The second half of the piece also contains some your foot on the sustaining pedal, just so you’re ready for
‘conversation’ between the hands, with the right-hand when it’s needed, even though that’s not until the last four
melody in bar 7 copied by the left hand in bar 8, and then bars of the piece! It’s also perhaps worth thinking ahead
the same effect happens again in bars 9 and 10. The second to the hardest part of the piece — maybe bars 17–18 — so
2
that you have that in mind when setting the tempo at the falling in dynamics in bars 3–4 and bars 11–12. You may wish
opening. The indication ‘non legato’ applies mostly to the left to be generous with these crescendos and diminuendos,
hand, and means the notes can be slightly separated, and paying attention to them in this way will help bring a
although not as much as staccato. There are plenty of yearning quality.
different articulations and playing indications, and it really
brings the piece to life if you can incorporate these. In the Let the duet part take over during bars 17–24, where they
right hand in first bar, you might like to think of springing have the melody, while the candidate ‘poms’ away with
lightly up off the first note (staccato) and then landing a little short chords. You will need to listen carefully to the duet
more firmly on the second note to give it the slight emphasis part, especially when the music slows down over bars 23–24,
that’s marked. before you take the lead again in bar 25. The music gets
slower over the final two bars, but you get to decide how
Bars 14–16 have an unusual combination of dynamics slow it gets. Slowing down gradually will help paint the
marked, and it’s probably easiest to think of each of these picture of this sad dance.
bars starting progressively louder, but with the end of
each bar slightly softer than the start. In bars 17–18, the left
Stealth Mode / Bober Page 12
hand jumps up to play the E flat in the chord. The different
directions of the stems indicate that both hands are involved, w Crossing hands
so the three notes go down together, despite looking a little w Staccato
separated on the page. w Switching clefs in the left hand
For a rather more energetic donkey, definitely galloping not Like many of Melody Bober’s pieces, ‘Stealth Mode’
trotting, have a listen to ‘Wild Donkeys’ from Camille Saint- introduces certain techniques of piano playing. This piece
Saëns’ Carnival of the Animals. The donkeys gallop so fast features sneaky, short notes and sleight of the (left) hand!
that the piece is less than a minute long!
The short, staccato notes are important in making this piece
sound stealthy — perhaps you could play as though you are
Walking Together / Norton Page 9 walking on tip-toe… Although there are no indicated changes
w Equality between both hands in dynamic within the phrases, you may wish to accentuate
w Long, flowing phrases the rise and fall of each line, as though someone is sneaking
w Expressive dynamics around and then hiding out of sight once again. Just like
the music, the performer can become stealthy when the left
‘Walking Together’ comes from Christopher Norton’s hand crosses over to reach the top notes. In the first line,
Microjazz series which covers many instruments. These for example, once the left hand has played the first chord, it
pieces blend together lots of different musical styles, is a good idea to prepare the new position of the left hand
including Classical, Jazz, Rock and Pop. as early as possible, while the right hand keeps its position.
Preparing the left hand in this way throughout will help make
According to the composer, the performer should aim for this music sound sneaky.
‘absolute togetherness’ with this piece. You might want
to play this towards the higher end of the given tempo
range, which will help achieve the sense of flow and Pirate Stomp / Yandell Page 14
moving together.
w Fast tempo
The left hand should take the reins of the melody into bar 9, w Accelerando
as the right hand accompanies with a short, punchy rhythm. w Sea shanty style
Making the most of the crescendo in bar 8 will make this
Avast ye! ‘Pirate Stomp’ is classic ‘Piratey’ music much like
exchange more obvious.
‘The Drunken Sailor’ or ‘The Pirates of the Caribbean’. The
Have a listen to Christopher Norton’s other pieces — he has strong sense of rhythm in sea shanties like these came
his own YouTube channel. from the need for sailors to pull together when working
aboard ship.
Last Waltz (duet) / Terzibaschitsch Page 10 Just like all work songs, this piece has a strong first beat of
each bar, so you can emphasise this to create the energetic
w Melody and accompaniment over four hands sound of a rowdy group of pirates stomping around on
w Candidate part spans both hands their ship. The last two bars get faster and race towards
w Both performers share the lead an exciting ‘Hey!’ on the very last note. It is a good idea to
The Waltz is a very famous dance style between two people. work out your beginning tempo to take account of the faster
This piece therefore has a dance-like feel to it, with the tempo that will be needed at the end.
distinctive ‘um-pah-pah’ rhythm common to every waltz. Bar 17 features a ‘sneaky’ pause just before this exciting
‘Last Waltz’ has a slightly sad quality to it, being in a minor finish. You might want to experiment with how long you hold
key. Perhaps this is about two people sharing a last dance the last note in bar 17, making the ending as surprising and
before departing and not seeing each other for a long mischievous as possible!
time. Performers could therefore emphasise the romantic,
expressive parts of this duet, especially the rising and
3
As this piece is fast, it is a good idea to keep the right-hand The Very Vicious Velociraptor / Hall & Drayton Page 17
position the same for each phrase and use all the fingers.
For example, over bars 3–4, you could use fingers 1, 3, 4 w Hand coordination
and 5. w Articulation
w Characterisation and expression
Try playing other pirate music such as ‘The Drunken Sailor’ —
you could try to play it by ear as it is similar to ‘Pirate Stomp’. This delightful piece is sure to capture the imagination of
children who will enjoy its imagery and the chance to bring
drama and expression to the music.
The Croc That Swallowed a Clock / Tanner Page 15
A velociraptor was a small, fast-moving dinosaur with
w Counting and rhythm crocodile-like jaws and sharp claws, characteristics which
w Sustained notes are brilliantly illustrated in the music. The quaver phrases
w Character suggest speed while the accented staccato chords represent
vicious teeth and claws!
Mark Tanner composes a wide variety of highly attractive
music for piano students of all levels, and this appealing The quaver sequence from bars 12–14 should be shared
piece is no exception. The story of the crocodile that between the hands with an accent on the first note of each
swallowed a clock comes from J M Barrie’s Peter Pan, the grouping. To keep this section flowing and dramatic, practise
ticking a helpful warning that the beast is approaching! moving the hands into the new position for each bar as soon
as one hand has finished its run of notes — for example, the
This music is bursting with character, the tick of the
right hand will hover over the left-hand position in bar 12 in
clock (and perhaps also the snap of the crocodile’s jaws)
preparation for the next run of notes beginning on B in
colourfully portrayed in staccato notes/chords in both hands.
bar 13.
Make your staccato crisp and rhythmic, and absolutely in
time. You might find a metronome helpful here — it will The drama of this piece comes largely from the contrasting
certainly give you a good sense of the ticking clock! The tied articulation — the legato quaver figures suggest not only the
semibreves in bars 2, 5 and 13 are easy to sustain with good speed of the dinosaur but also a sense of concern, while the
fingering, leaving other fingers free to play the chords. staccato notes are the snap of its jaws. The dynamics fade
towards the end, perhaps indicating that the velociraptor has
By the time we reach bar 7, the ticking has been replaced by
retreated to its lair!
long smooth notes, suggesting the crocodile sliding about as
it gets closer. Make the slurred minims really smooth here to
contrast with the earlier staccato notes. In the final bars, the Viking Village / Pittarello Page 18
crocodile seems to be retreating only to reappear with a ff
accented semibreve and a final dramatic cluster chord in the w Accidentals
left hand to be played with a sharp snap of sound! w Intervals
w Rhythm
Space Walk Rag / Hawthorn & Suschitzky Page 16 A circle of huts and Vikings huddled around their campfire
is evoked in this characterful piece by young composer
w Contemporary ragtime Matthew Pittarello. A sense of menace is suggested by
w Rhythm the accidentals, and the 5ths in the left hand in bars 5–6.
w Hand independence The notes lie comfortably under the hands in a five-finger
position and the scale patterns in bars 11 and 13 should be
A Rag is a jazzy piece of music usually in duple time with
easy to manage.
a strict left-hand beat and a bouncy syncopated (off beat)
right-hand melody. The most famous piano rags were Control of dynamics is important in creating atmosphere,
composed by Scott Joplin — listen to his ‘Maple Leaf Rag’ from the haunting off-beat horn call of bars 1 and 3, which
to hear the distinctive style, syncopated rhythms and is a repeating motif in the piece, to the hairpins in bars 11–14,
unexpected harmonies. and the crescendo in bars 15–16, whose chords and rhythm
suggest drums. Aim for plenty of drama to bring the story of
Just as in a traditional rag, in ‘Space Walk Rag’ the left
the music to life and give the final staccato note in the left
hand marks the beat while the right hand plays a catchy
hand a brisk strike with either the second or third finger to
syncopated melody, characterised by contrasting slurred
highlight the sf.
(legato) and staccato notes. Don’t be tempted to ‘swing’
the quavers, especially in bars 3, 7 and 15 as the swinging
character of the music comes from the tied notes. Count Authors: Martin Ford, Owen Burton and Frances Wilson
carefully throughout and practise hands separately to ensure
the left-hand beat is secure and the right-hand melody notes
come in at the right time, especially the off-beat quavers
in bars 1, 5, 9 and 13. Good staccato will enhance the jaunty
character of the music — bounce the hand and wrist out
of the keyboard to create a clean, crisp sound. Although
marked mf, experiment with changes in the dynamics to
bring even greater character to the music.
4
Contents Performance
King William’s March

King William’s March notes
Jeremiah Clarke
(c.1674–1707)
March tempo q = 100
## c œ. . œ œ œ
œ
4
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3
œ œ œ œ
3
& . œ.
{ f
? ## c ˙ ˙
1
˙ ˙ ˙ ˙
œ œ
4
˙
5
## œ. 3
. œ œ œ
œ
4
œ œ œ œ œ œ œ œ.
3
œ ˙
& œ. œ œ œ œ J
.
{ ? ## ˙
1
˙ ˙ ˙ ˙
œ œ ˙ ˙
## œ. . œ œ œ œ œ œ.
œ œ œ. œ œ. œ œ œ œ œ œ ˙
9
œ. œ.
4 4 1
& .
{
p
? ## ˙ ˙ œ œ œ œ
˙ ˙ ˙ ˙
˙
1
## œ œ œ œ œ œ œ œœœœœœ œ
œ œ œ œ œ œ œ œ. œ ˙
2
13
œ
3 2
&
3 1
{ œ
f
? ## œ ˙ œ œ œœ œ œ œ ˙
œ œ ˙
1 2 1 2 1 1 4 1
© Copyright 2020 Trinity College London Press Ltd 5

Passepied in C major
notes
Passepied HWV 559

George Frideric Handel (1685–1759)
ed. Peter Wild
Moderato q = 104
3 œ œ œ œ œ œ œ
œ œ
1 2 3 3
&4 œ
{ ? 43 œ
mf
5
œ
1
œ œ œ
2
œ œ
4
œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ ˙ .. .. œ
4 4
&
1
{ ?
œ
1
œ œ
1
œ
4
œ œ œ
2
œ
p
.. .. œ
1
˙ œ œ ˙ œ
& œ œ œ œ œ œ œ œ œ
7 5 5 4 5 5
{ ? .
˙
5
œ
1
œ œ œ œ ˙.
cresc.
1
œ œ œ œ œ
œ œ œ œ œ œ.
œ œ œ œ. ˙ ..
11 4 5 4 1 2 3
& œ.
{ ? ˙
2
Omit the repeats in the exam.

œ
f
œ
4
œ œ œ. œ.
1
œ. ˙ ..
6 © Copyright 2020 Trinity College London Press Ltd

Arioso
notes
Arioso from Klavierschüle

Daniel Gottlob Türk
(1756–1813)
Poco adagio q = 66
2 œ œ j œ
4
&b 4 œ œ ‰ œ
2 1
œ œ
2
œ œ
4 3
{ ? 42 ˙
b
mf
3
˙ ˙ ˙
b œ 4
œ œ œ œ
3 2
œ œ œ œ
2
œ
3 2 3
..
œ œ œ
3
& œ
1
{ ?b
f
∑ Œ ‰ œ
J
2
œ œ
œ
1
œ .. &
& b .. œ œ œ œ œ ‰ nœ œ œ
9 1 2 2
œ #œ
3 3
{ & b .. œ
p
3
œ ‰ #œj
2
œ œ
4
œ œ œ5
œ
2
œ œ œ œ œ
œ œ œ ..
5
&b œ Œ
13
œ œ
1 2 1 5 1
œ œ
{ &b
f
Omit the repeats in the exam.

Œ ‰ ?œ
J
2
œ
1
œ œ
1
œ & ..

notes
Donkey Trot Donkey Trot

Dulcie Holland
(1913–2000)
At a gently trotting pace q = 84
2
3 2
& 4 #œœ œœ œœ
1
œœ œœ œ œ #œœ. #œœ
1
. - - œœ œœ
{
. .
mf non legato
? 42
œ œ œ œ œ œ œ œ
œ œ 5
2 1 œ œ œ œ œ œ œ
œ œ œ
2
5
œ
6 4 2
& ˙ #œœ. œœ œœ
2 1
-̇ #œœ œœ
. . -̇
{ ?
œ
œ œ œ œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
>œ œœ œœ
& ˙˙ Œ œœ œœ œœ
11
œœ œ œœ œœ
{ ?
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
cresc.
>œ j >œ j >˙ ˙ œ œ œ

œ œ b œ œ œ b œ œ
l.h.
& #œ œ ‰ n œJ #œ œ ‰ n œJ #œ
17 1
{ ? œ
œ
f
‰ Œ ‰ ∑ œ œ #œ œ œ œ œ œ œ
> . . 2
Œ
˙ œ œ œ ˙ ˙
23
##˙˙ ˙˙
&
{ # ˙˙˙
meno f p ppp
? Œ Œ Œ ##œœ ˙˙
œ œ œ œœ
&
œ œ
°
© EMI Music Publishing Australia Pty Ltd
8 Used By Permission. All Rights Reserved. Unauthorised Reproduction is Illegal
Walking Together
notes
Christopher Norton
(b. 1953)
Moderato q. = 54 –63
#6 œ
& 8œ œ œ. œ. œ œ œ œ œ Œ. ∑
2 1 3
{ ? # 68 œ.
p
1
œ. œ. œ œ œ œ. œ. œ. œ œ œ
# œ œ œ œ œ Œ.
5
œ. œ. œ œ œ
2
& j œ
1 4
œ œ œ œ œ
{ ? # œ.
1
œ. œ. œ œ œ œ ‰ œ œ œ
1
rit.
œ. œ œ œ
# ‰
œœ œœ œœ Œ. ‰ œœ œœ œœ Œ. œ œ œ ‰ nœ #œ œ nœ œ
4
‰
9 1 2 5
&
2 1 5 4 1
. .> . .> œ #œ
{ ? # œ.
mf
œ œ œ
5
œ.
3 1
œ œ œ ˙.
2 1 2
dim.
1
˙.
# œ œ œ
a tempo
œ œ Œ. ∑
13
œ. œ. œ œ œ
2 3
&
1
{ ? # œ.
p
1
œ. œ. œ œ œ œ.
rit.
œ. œ. œ œ œ
# œ œ œ U
œ œ
17
œ. œ. œ œ œ œ.
4
& j œ
2
œ œ œ œ œ œ œ.
{ ? # œ.
1
œ. œ. œ œ œ œ ‰ œ œ œ
1
U
˙.
Composer’s metronome mark d. = c. 60
Copyright © 1990 By Boosey & Hawkes Music Publishers Ltd. Reproduced by permission of Boosey & Hawkes Music Publishers Ltd. 9
notes
Last Waltz
The Last Waltz (duet part)
Anne Terzibaschitsch
(b. 1955)
Andante
5
œ œ 4 œ œ œœ œœ œ œ œ œ # œœ œœ
? 43 Œ œœ #œœ
1
Œ œœ œœ
œ œ
Œ œœ œœ Œ œ œ Œ œœ œœ
# Œ œœ œœ Œ #œ œ
{
p
? 43 ˙. ˙.
˙. ˙. ˙. ˙. ˙.
con. P
8 œœ œœ œœ #œœ œ œ œ œ œœ œœ œœ œœ œ œ
? Œ œ œ
# Œ œ œ Œ œœ œœ Œ œœ œœ Œ œ œ #
Œ œ œ Œ œœ œœ
{ ? ˙.
f
˙. ˙. ˙. ˙. ˙. ˙.
5
15 œ œ œ œ œ œ œ œ œ ˙
3
œ œ #œ œ œ œ œ n˙.
3
? Œ œœœ #œœ Œ œœ œœ
{ ? ˙ œ
˙.
mf
˙. ˙. ˙. ˙.
rit. a tempo
21 œ œ œ œ œ œ œ ˙. œœ #œœ œœ œœ
? œ #œ œ œ œ n˙ 1
Œ œ œ Œ œ œ
œ œ
Œ œœ œœ
{ ?
˙.
˙. ˙. ˙.
p
˙. ˙. ˙.
œœ œœ rit.
28 œ œ œœ œœ œœ œœ œœ #œœœ œœœ #œœœ ˙˙
? Œ œœ œœ #
Œ œ œ Œ œ œ Œ œ Œ œ œ Œ Œ ˙
{ ?
˙. ˙. ˙. ˙ œ ˙. ˙ œ
˙.
10 Copyright © by Musikverlag Holzschuh, Manching

notes
Last Waltz
The Last Waltz (candidate’s part)
Anne Terzibaschitsch
(b. 1955)
œ
3 œ œ œ œ œ ˙.
Andante
œœ ˙ œœœœœœ ˙ œœœ Œ
&4 Œ Œ Œ Œ
1
{ 3
p
& 4 œ #œ #œ œ Œ
4
Œ Œ œ
1
∑ ∑ ∑ Œ Œ œ Œ Œ œ
œ œ œ ˙.
& ˙. Œ Œ œœ ˙ Œ œœœ œœœœœœ ˙ Œ
8
{ & ∑
f
œ #œ #œ œ
Œ Œ Œ œ ∑ ∑ ∑ Œ Œ œ
œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.

5 5
œ œ œ
4
& œ œ ∑ Œ Œ Œ Œ
15 3 2 2
{ & ∑ ˙. Œ
mf
œ. œ.
2
Œ œ. œ. Œ œ. œ. Œ œ. œ.
. œ. .œ œ.
œ œ. œ. Œ ˙ œ
rit. a tempo
Œ œ œ Œ œ œ Œ Œ Œ œœ ˙ Œ œœœ œœ
21 3 4
&
{ & Œ œ. œ. Œ œ. œ. Œ œœ. œœ. Œ #˙

1
3
2
p
œ #œ #œ œ
Œ Œ Œ œ ∑
˙. œœœœœœ ˙ œœœ œœ œœœ œœ

rit.
Œ ∑ ∑
28
&
{ & ∑ ∑ Œ Œ œ ∑ ˙. ∑ ˙.
Copyright © by Musikverlag Holzschuh, Manching 11

Stealth Mode
notes
Stealth Mode
Melody Bober
(b. 1955)
Sneakily q = 132-152
4
&4 Œ œ. œ. bœ. œ. œ. bœ. œ.
1 3 5 4 5
œ. bœ. #œ. #œ. bœ. ˙
{
2 2
œ.
mf
? 44 œœ.
l.h. l.h.
Œ Ó ∑ ∑ Ó ˙
1
1
5
& Œ œ. bœ.
5
œ. bœ. œ. #œ. œ. #œ. œ. bœ œ.
{
2 . w
? œœ.
l.h.
Œ Ó ∑ ∑ Ó ˙˙
& Œ bœœœ bœ œœœ œ œœœ Œ Œ

9
œ bœ
1 3
b˙˙˙ ˙˙˙
1
œ œ bœ
{
2 2
œ
f
w
l.h. l.h. mp
? w ∑ w ˙˙ ˙˙
w
1 1
5 5
˙
& Œ bœœœ bœ œœœ œ œœœ Œ œ œ ˙
13
œ bœ œ œ
1 3 1 2
{
2 2
? w
f l.h. l.h.
w ∑ w w
&
4
from Solo Xtreme, Book 2 © 2017 ALFRED MUSIC

12 All Rights Reserved. Used by Permission
. œ. #œ. œ. b œ œ. #œ. œ. b œ œ. bœ.
l.h. 2 l.h. 2
& Œ œ. bœ . . œ. ˙
17
1
{ & œœ
.
mf
1
5
Œ Ó ∑ ∑ Ó ˙
1
. œ. #œ. œ. b œ œ. #œ. œ. bœ.

l.h. 2
œ. bœ . œ. w
& Œ
21
{ & œ
œ.
Œ Ó ∑ ∑ ∑ ?
∑ Ó Œ Œ Ó
25 3 2
&
1 1 1
bw œœ
{
œ. w
> .
>
sub. p sfz p
? œ Œ bœ. Œ œ. Œ Ó bb ww nœ. Œ Ó
.
5 2 1
3
“”
œ. #œ.
1 2
œ.
1
b œ. n œ. b œ. n œ.
3 1 3 1
œ.
2
œ. 5
& Œ Œ Ó Œ Ó
29
{ ? w
mf
w Ó
p
œ.
1
Œ
œ.
5
Œ Ó
13
Pirate Stomp
notes
Pirate Stomp
Naomi Yandell
(b. 1961)
With lots of energy q = 144
4 ∑
5
& 4 ˙˙ œ œ œ œ œ œ œ œ œ
1
œ. œ. œ ˙
{ œ. œ. œ. œ. œ. œ.
mf f
? 44 ˙ ˙ ˙
∑ ˙ œ œ ˙ œ œ ˙ œ œ
1
5
& œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙
1
{ ? ˙˙
1
5
œœ. œœ. ˙˙ œœ. œœ. ˙˙
1
5
Œ œœ
1
5
b˙˙
1
5
Œ œœ
1
5
j j
9
œ œ œ
5
& œ.
3
œ œ ˙ ˙ œ. œ œ ˙
œ
{
p
Œ ˙ Œ œ ˙
? ˙ ˙˙ Œ œœ ˙˙ w œ w
˙ 1 1 5
1
5 5 5
j j
13
& œ. œ œ œ œ
2 3
œ œ œ œ œ ˙ œ. œ ˙
{ Œ ˙.
pp
Œ ˙. Œ ˙ Œ œ ˙
? w w w œ w
U >œ.
rit., sneakily accel. al fine 5
∑ Œ Œ
17
&
4
œ œ œ œ œ œ œ.
{ ? œ
2
œ
U̇
f
Œ
œœ
1
3
Œ œœ Œ
œ. >.
œ Œ

The Croc That Swallowed a Clock notes
The Croc that Swallowed a Clock

Mark Tanner
(b. 1963)
. . .
Pretty snappy q = 120 3
4 Œ
&4 Œ Œ
2
##œwœ œœ œœ
1 1
œ œ œ œ œ œ w œ œ œ œ œ œ
{
mf
? 44 œ Œ Œ œ. Œ #œ Œ œ. Œ #œ Œ œ. Œ Œ
. #œ. #œ.
1
4
. .
. . .
Œ bw ˙
5
b˙
5 3
& w ##œwœ œœ œœ
1 4
{ ? œ
. Œ
#œ.
Œ œ. Œ
#œ.
Œ bw
f
2
˙
1
b˙
3
bw ˙
9
b˙
2
& #œ œ ˙ w
{ ?
#œ
4
œ ˙ w bw
dim.
˙ b˙
& nw wœœ œœ œœ œœw œœ œœ wœœ œœ œœ

13
4
Œ Œ Œ
{
3
2
. . . 2
1
. . . . . .
? nw w w w
2
>
& œ bœ bœ bœ. œ œ œ bœ bœ bœ œ œ w w
17
5
{ ? œ
.
p
Œ
bœ.
Œ œ. Œ
bœ.
Œ
ff
∑
¿¿¿¿
>.
Œ Ó
(cluster chord!)
© 2016 Spartan Press Music Publishers Ltd, Unit 2B Station Road, Scottish Highlands, PH21 1ER, UK. 15
Space Walk Rag

notes
Space walk rag

Philip Hawthorn & Anya Suschitzky
Moderato q = 116
#4
& 4Œ
j
œ œ ‰ #œ œ œ. œ. nœ œ Œ Œ Ó
2 2 5
œ œ œ œ œ œ
1 3 5
. œ.
{ mf
.
? # 44 œ
.
œ
œ
œ.
5
.
œ
œ
5
œ.
œ. œ œ.
n .
œ
œ
1
4
œœ
1
3
Œ Ó Œ
œ. œ. œ.
2
# Œ ‰
jœ œ. œ. nœ Œ œ. Œ Ó
5 4
& œ œ #œ œ œ œ œ œ œ œ
.
{ .
?# œ
œœ.
œ.
œœ. .
.œ œœ .
œ
œœ. #˙
Ó
œ. n œ. œ. œ.
1
# j
& Œ #œ œ ‰ œ œ œ. Œ Ó Œ ‰ j œ Œ
9 2 2 1
#œ œ œ # œ. n˙
{ ? # œ. Œ
1
œ. Œ œ. nœ. œ. œ.
œ. Œ
1
œ.
5
Œ œ. Œ ˙
Œ
#
‰
jœ œ. œ. œ œ Œ bœ œ œ œ œ œ œ. Œ Ó
13 4
& œ œ #œ
.
{ .
?# œ
œœ.
5
œ.
œœ. #˙˙.. Œ
#n˙˙ n#˙˙
1
4
œœ.
1
3
Œ
œ. Œ
Reproduced from The Usborne Book of Easy Piano Tunes

by permission of Usborne Publishing, 83-85 Saffron Hill, London EC1N 8RT, UK
16 www.usborne.com. Copyright © 1989 Usborne Publishing Ltd.
The Very Vicious Velociraptor

notes
Pauline Hall & Paul Drayton

(1924–2015/b. 1944)
#2 >.
Very fast and snappy h = 72– 84
U
& 2 ∑ œ Œ œ.œ Œ œœ Œ œ.œ Œ œ œ œ œ œ œ œ œ
1
> >. >
{ >œ. >œ. >œ. >. .

mf f
œ œ Œ œœ U .œ Œ œœ Œ
mf
? # 22 œ œ œ œ œ œ œ Œ œ Œ Œ
5 1
5 3
# >.
œ œœœ œœœ œœœœœœœœ œ œ Ó
œ
5
&
>. œœœœœœœœ
{ 5
.
? # #œ. Œ œœ Œ œ.
œ. Œ œ Œ >.
#œ Œ
1
2
>˙ œ.
œ. Œ œ Œ
>
>. >œ.
5
# œ œ nœ œ œ œ
4
#
3 2
œ œ Œ Œ
9
& œœœ œœœ œœœœœœœœ œœœ
{
>
.
œ .
œ > >œ. f
>œ
.
? # #œ Œ œ .
œ Œ œ .
Œ Œ #œ Œ Œ Œ
1 2 3 4
# >œ #>œœ. Œ
4
˙
5 1 5
Ó Ó
13
œœœœœ
1
& ˙
5
œ œ >œ œ œ œ
{ >
>œ œ œ >œ.
1
?# Ó Ó œ Œ œ Œ
1 >. œœœœœœœœ
# Ó #>œ. >˙ . ˙
œ Œ Ó Ó #œœ Œ Ó œ. Œ œ. Œ œ. Œ Ó
17
& ˙ ˙
{ ?#
˙ œ. Œ
> œœœœœœœœ ˙
p
œ. Œ ˙
Ó
œ.
Œ
œ.
Œ
pp
œ.
Œ Ó
from Prehistoric Piano Time by Pauline Hall © Oxford University Press 1996
Reproduced by permission. All rights reserved 17
notes
Viking Village Viking Village

Matthew Pittarello
(b. 2011)
j j
Vivacious! q = 132
4 ∑ ∑ œ œ œ ˙
1
&4
{ ? 44 œJ
p
5
œ œ
J
˙ bœ œ ˙
∑
& bœ ∑ ∑
4
œ ˙
{ ? bœ
mf
œ ˙
œœ
1
5
œœ œœ œœ œœ œœ œœ œœ œœ œœ
j œ j ˙ #œ bœ j œ j ˙ #œ bœ
7
& œ œ ˙ œ œ ˙
{ ? w
w w
w bw
w ˙ ˙˙
œ œ bœ œ œ œ œ œ œ w
& .. œ œ bœ nœ œ œ œ w ..
11 2
{ ? .. w
w ˙˙ œœ œœ w
w
1
5
˙˙ œœ œœ ..
Omit the repeat in the exam.

j œ j ˙
& œ œ œ œœ œœ œœ bœœ œœ œœ œœ œœ œœ œ #œ bœ œ ˙
15 1
{
f
? œ œ œ œ œ œ œ œ œ œ œ œ w w
œ œ œ œ œ œ œ œ œ œ œ œ w w
1 1
5 1 5
5
U œ œ œ œ
rit. a tempo
jœ j˙ ‰ œ bœ œ ˙
1
œ œ b˙ œ œ J J Œ
19
& œ œ J
{ U
p
sf
? bw
w w <n>˙˙ ˙˙ ˙˙ Œ
1
5
1
5
1
5 œ.
19
Contents
Sunny Afternoon Exercises

1a. Sunny Afternoon — tone, balance and voicing
Boldly q = c.90
#4
3
& 4 œ. œ
1 2 1 2
˙ ˙ œ œ œ ˙ ˙˙ w
w
{ ? # 44
mp
œ
5
œ œ œ œ œ. ˙ Œ œ.
1
œ. œ. œ Œ ˙
1b. Good Morning — tone, balance and voicing

Andante q. = c.44
6 j
&8 œ œ œ œ œ œ œ
5
œ œ œ œ. œ œ œ œ œ œ œ œ.
{ mf
? 68 œ.
5
œ. œ. œ.
mp
œ œ œ œ.
p
œ.
œ.
Walk and Whistle

2a. Walk and Whistle — co-ordination
Brightly q = c.100
4 œ- j
&b 4 œ œ ‰ J œ Œ œ œ ‰ œJ œ- Œ ‰ Œ
1 1
œ
1 1
œœ œ. œ ˙ œ. w
{
.
mf p f
? b 44 ˙ œ Œ ˙ œ Œ ˙ œ Œ Ó œ. œ. w
2 2 2
2b. Country Estate — co-ordination

Andante q. = c.44
#6 œ œ œ œj œ œ œ œ œ œ œ. œ œ œ œ.
& 8 œ
3
J J J
{
p
mp
œ. œ œ œ œ. œ œ œ œ œ œ.
? # 68 œ œ œ œ.
f
œ
5

Thoughtful Mood
3a. Thoughtful Mood — finger & wrist strength and flexibility

Wistfully q. = c.44
6
& b 8 œ œ œ œ. œ. œ œ œ œ œ # œ ˙.
3 4 2
œ œ œ œ. œ.
{
mf p
œ. œœ.. œœ..
? 68 œ. œ œ œ œ œ œ œ. œ œ œ. œ.
b J
1 2 3 5 1
3b. At the Market — finger & wrist strength and flexibility

Allegretto q = 94
#4
& 4œ œ. œ. œ œ œ œ œ œ œ #œ
1 2 4 1 2
. œ. œ #œ w
{ f p
? # 44 œ œ œ œ ˙ œ œ œ œ
˙
˙ ˙˙ œw œ ˙
5

Contents
Scales and broken chords

1. Scales (from memory) — Examiners select from the following:
F and G major
D and E minor (candidate’s choice of either harmonic or melodic or hands separately

natural minor) min.
mf legato one octave
q = 70
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 legato one octave hands separately
D and E minor q. = 50
      
      
      
Please note that the recommended speeds are a guide to what can be expected at each level. For the purposes
of fulfilling exam criteria, accuracy, fluency and evenness of touch and tone should be regarded as equally
important aspects of technical competence.
22
Publications available from trinitycollege.com/shop or your local music retailer
Contents
NEW Sight Reading Piano

Trinity College London Press is proud to announce a new
progressive sight reading method, available late 2020.
Ten lessons per grade each lead step-by-step to a duet

to read from sight with the teacher, to encourage the
development of ensemble sight reading skills — whilst
this is not required in grade exams, it is vital in building
Initial–Grade 2 TCL 020482 ISBN 978-0-85736-925-3
confidence in sight reading.
Grades 3–5 TCL 020499 ISBN 978-0-85736-926-0
Grades 6–8 TCL 020502 ISBN 978-0-85736-927-7
Specimen tests are included at the end of each grade,
offering a wealth of practice opportunity and making
this a truly comprehensive package: everything you
need to prepare for the sight reading test in your exam.
Raise the Bar — Piano

Raise the Bar is an invaluable collection of graded pieces, enhanced with helpful teaching notes.
Each book contains an attractive and varied selection that will help pianists expand their repertoire and
discover more music from different styles and periods. Pieces from all grades are listed on the Trinity
Piano syllabuses for 2018–2020 and 2021–2023.
Initial–Grade 2 Grades 3–5 Grades 6–8

TCL 015372 TCL 015389 TCL 015395
ISBN 978-0-85736-492-0 ISBN 978-0-85736-493-7 ISBN 978-0-85736-494-4
Piano Dreams
Pieces by Anne Terzibaschitsch for beginner and intermediate pianists, weaving storytelling with music through
the use of programmatic text, imaginative titles and lively illustrations.
Solo Book 1 Solo Book 2 Duet Book 1 Duet Book 2

TCL 015334 TCL 015341 TCL 015358 TCL 015365
ISBN 978-0-85736-488-3 ISBN 978-0-85736-489-0 ISBN 978-0-85736-490-6 ISBN 978-0-85736-491-3
23
Contents
NEW Piano Exam Pieces Plus Exercises 2021–2023 | Extended Edition

◗ 21 exam pieces: 12 in the printed book plus nine
included as a downloadable ebook
◗ Performance notes for all 21 pieces
◗ New technical exercises
◗ Scales and arpeggios
◗ Downloadable audio for all 21 pieces
The new Extended Edition of Trinity's graded exam

books for Piano provides the candidate with a much
Initial TCL 020512 ISBN 978-0-85736-928-4
greater choice of repertoire than ever before, with 12 Grade 1 TCL 020529 ISBN 978-0-85736-929-1
pieces in the book and nine more in a downloadable Grade 2 TCL 020536 ISBN 978-0-85736-930-7
ebook. Each book has been compiled and edited by Grade 3 TCL 020543 ISBN 978-0-85736-931-4
leading piano educators and contains pieces from Grade 4 TCL 020550 ISBN 978-0-85736-932-1
Grade 5 TCL 020567 ISBN 978-0-85736-933-8
across a range of styles and periods, along with new Grade 6 TCL 020574 ISBN 978-0-85736-934-5
technical work exercises. Grade 7 TCL 020581 ISBN 978-0-85736-935-2
Grade 8 TCL 020598 ISBN 978-0-85736-936-9
Performance notes are included for all 21 pieces, and
duets are included up to Grade 3. For the first time, the scales and arpeggios for the grade are included in the
graded exam book (Extended Edition only). Downloadable demo recordings are included along with separate
part recordings for the duets, although separate CDs are available to purchase for those who prefer.
NEW Piano Exam Pieces Plus Exercises 2021–2023

◗ 12 exam pieces
◗ Performance notes
◗ New technical exercises
Graded books for Piano exams in 2021–2023. Each

book has been compiled and edited by leading piano
educators and contains 12 pieces from across a range
of styles and periods, along with new technical work
exercises. Performance notes are included for all
12 pieces in the book, and duets are included up to Initial TCL 020239 ISBN 978-0-85736-914-7
Grade 1 TCL 020246 ISBN 978-0-85736-915-4
Grade 3. Grade 2 TCL 020253 ISBN 978-0-85736-916-1
Grade 3 TCL 020260 ISBN 978-0-85736-917-8
Separate CDs are available to purchase, containing Grade 4 TCL 020277 ISBN 978-0-85736-918-5
demo recordings of all pieces and exercises in the Grade 5 TCL 020284 ISBN 978-0-85736-919-2
above Extended Edition, along with separate part Grade 6 TCL 020291 ISBN 978-0-85736-920-8
Grade 7 TCL 020307 ISBN 978-0-85736-921-5
recordings for the duets.
Grade 8 TCL 020314 ISBN 978-0-85736-922-2
Piano CDs 2021–2023 Piano Scales & Arpeggios

An alternative to the audio included with
Valid for the 2021–2023 syllabus.
the Extended Edition.
Initial TCL 021038 ISBN 978-0-85736-977-2
Grade 1 TCL 021045 ISBN 978-0-85736-978-9
Grade 2 TCL 021052 ISBN 978-0-85736-979-6
Grade 3 TCL 021069 ISBN 978-0-85736-980-2
Grade 4 TCL 021076 ISBN 978-0-85736-981-9
Grade 5 TCL 021083 ISBN 978-0-85736-982-6
Grade 6 TCL 021090 ISBN 978-0-85736-983-3
Grade 7 TCL 021106 ISBN 978-0-85736-984-0
Grade 8 TCL 021113 ISBN 978-0-85736-985-7
Initial–Grade 5 TCL 012982 ISBN 978-0-85736-344-2

Grades 6–8 TCL 012999 ISBN 978-0-85736-345-9
24
Contents
Theory of Music Workbooks

Grades 1–8
Grade 1 TG 006509 ISBN 978-0-85736-000-7
Grade 2 TG 006516 ISBN 978-0-85736-001-4
Grade 3 TG 006523 ISBN 978-0-85736-002-1
Grade 4 TG 006530 ISBN 978-0-85736-003-8
Grade 5 TG 006547 ISBN 978-0-85736-004-5
Grade 6 TG 007476 ISBN 978-0-85736-005-2
Grade 7 TG 007483 ISBN 978-0-85736-006-9
Grade 8 TG 007490 ISBN 978-0-85736-007-6
Aural Tests from 2017

Aural Test books for Trinity exams Grades 1–8 — includes CD
Book 1 (Initial–Grade 5) TCL 015808 ISBN 978-0-85736-535-4
Book 2 (Grades 6–8) TCL 015815 ISBN 978-0-85736-536-1
Student Practice Notebook

A diary (in A5 format) for instrumental and singing teachers to record student progress and
set goals. Also useful for parents guiding their child’s practice. Includes termly evaluation sheets,
useful hints and advice on practising, top tips on preparing for exams, and essential theory.
TCL 015310 ISBN 978-0-85736-487-6
Musicianship
A Handbook of Musical Knowledge TCL 001191 ISBN 978-0-85736-015-1
The Music Teacher's Handbook TCL 011602 ISBN 0 571 52330 7
Keyboard Musicianship Book 1 TCL 617002 ISBN 978-0-85736-010-6
Keyboard Musicianship Book 2 TCL 618009 ISBN 978-0-85736-011-3
Getting Started Series

Composition TCL 011381 ISBN 0 571 52236 X
Theory TCL 011404 ISBN 0 571 52195 9
Aural (book & CD) TCL 011374 ISBN 0 571 52137 1
Keyboard Musicianship TCL 011398 ISBN 0 571 52136 3
25

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01

Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1994@gmail.com) Order: 7444

Prepared exclusively for Baraneetharan Ramanathan (baraneetharanr1994@gmail.com) Order: 7444

King William’s March

© Copyright 2020 Trinity College London Press Ltd 5

Passepied HWV 559

Omit the repeats in the exam.

6 © Copyright 2020 Trinity College London Press Ltd

Arioso from Klavierschüle

Omit the repeats in the exam.

© Copyright 2020 Trinity College London Press Ltd 7

Donkey Trot Donkey Trot

>œ j >œ j >˙ ˙ œ œ œ

Composer’s metronome mark d. = c. 60

10 Copyright © by Musikverlag Holzschuh, Manching

œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.

{ & Œ œ. œ. Œ œ. œ. Œ œœ. œœ. Œ #˙

˙. œœœœœœ ˙ œœœ œœ œœœ œœ

Copyright © by Musikverlag Holzschuh, Manching 11

œ. bœ. #œ. #œ. bœ. ˙

œ. bœ. œ. #œ. œ. #œ. œ. bœ œ.

& Œ bœœœ bœ œœœ œ œœœ Œ Œ

from Solo Xtreme, Book 2 © 2017 ALFRED MUSIC

. œ. #œ. œ. b œ œ. #œ. œ. bœ.

With lots of energy q = 144

14 © Copyright 2020 Trinity College London Press Ltd

The Croc That Swallowed a Clock notes

The Croc that Swallowed a Clock

& nw wœœ œœ œœ œœw œœ œœ wœœ œœ œœ

Space Walk Rag

Space walk rag

Reproduced from The Usborne Book of Easy Piano Tunes

The Very Vicious Velociraptor

Pauline Hall & Paul Drayton

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Viking Village Viking Village

Omit the repeat in the exam.

18 © Copyright 2020 Trinity College London Press Ltd

Sunny Afternoon Exercises

1b. Good Morning — tone, balance and voicing

Walk and Whistle

2b. Country Estate — co-ordination

20 © Copyright 2020 Trinity College London Press Ltd

3a. Thoughtful Mood — finger & wrist strength and flexibility

3b. At the Market — finger & wrist strength and flexibility

© Copyright 2020 Trinity College London Press Ltd 21

Scales and broken chords

D and E minor (candidate’s choice of either harmonic or melodic or hands separately

2. Broken chords (from memory) — Examiners select from the following:

NEW Sight Reading Piano

Ten lessons per grade each lead step-by-step to a duet

Raise the Bar — Piano

Initial–Grade 2 Grades 3–5 Grades 6–8

Solo Book 1 Solo Book 2 Duet Book 1 Duet Book 2

NEW Piano Exam Pieces Plus Exercises 2021–2023 | Extended Edition

The new Extended Edition of Trinity's graded exam

NEW Piano Exam Pieces Plus Exercises 2021–2023

Graded books for Piano exams in 2021–2023. Each

Piano CDs 2021–2023 Piano Scales & Arpeggios

Initial–Grade 5 TCL 012982 ISBN 978-0-85736-344-2

Theory of Music Workbooks