ACOUSTIC GUITAR SYLLABUS - Trinity College London
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DJANGO REINHARDT
JUSTIN BIEBER
THE BEACH BOYS
ACOUSTIC THE LUMINEERS
GUITAR BILL WITHERS
SYLLABUS
Qualification specifications
CHET ATKINS
for graded exams 2020–2023
THE KINKS
LED ZEPPELIN
CAROLE KING
BOB MARLEY
ED SHEERAN
BRUNO MARS
THE BEATLES
ELTON JOHN
JOE PASS
EXTREME
EAGLESCHANGES FROM THE PLECTRUM GUITAR EXAMS ◗◗ Repertoire lists refreshed at all levels, featuring folk, acoustic, rock and pop, jazz, blues and country styles alongside favourite pieces from the plectrum guitar lists ◗◗ New exam books, containing all the pieces listed in this syllabus ◗◗ Repertoire now offers opportunities for both fingerstyle and plectrum playing ◗◗ Backing tracks now available for selected pieces ◗◗ Duets now available up to Grade 5 ◗◗ All pieces now presented in both standard and TAB notation ◗◗ An information and regulations section is no longer included in the syllabus — this information can be found at trinitycollege.com/music-regulations ◗◗ For information about Classical Guitar exams please see our Classical Guitar Syllabus 2020–2023 KEEP UP TO DATE Please check trinitycollege.com/acoustic-guitar to make sure you are using the latest version of the syllabus and for the latest information about our Acoustic Guitar exams. OVERLAP ARRANGEMENTS This syllabus is valid from 1 January 2020. The Guitar Syllabus 2016–2019 will remain valid until 31 December 2020, giving a one year overlap. During this time, candidates may enter for exams using the Acoustic Guitar Syllabus 2020–2023 or the plectrum guitar section of the Guitar Syllabus 2016–2019, but not a mixture of both.
ACOUSTIC GUITAR SYLLABUS Qualification specifications for graded exams 2020–2023 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 © 2019 Trinity College London Published by Trinity College London Online edition, November 2019
Heading Contents 3 / Welcome 4 / Introduction to Trinity’s graded music exams 9 / Learning outcomes and assessment criteria 11 / About the exam 14 / Exam guidance: Pieces 18 / Exam guidance: Technical work 19 / Exam guidance: Supporting tests 30 / Exam guidance: Marking 38 / Initial to Grade 5 40 / Initial 42 / Grade 1 44 / Grade 2 46 / Grade 3 48 / Grade 4 50 / Grade 5 52 / Grades 6–8 54 / Grade 6 56 / Grade 7 58 / Grade 8 60 / Policies 62 / Trinity publications 63 / Acoustic guitar resources Trinity accepts entries for its exams on the condition that candidates conform to the requirements of the appropriate syllabus. Any amendments to the requirements will be published and advertised via our website and in subsequent imprints. 2
Welcome
Welcome
Welcome to Trinity College London’s Acoustic Guitar syllabus containing details of graded exams
from Initial to Grade 8. It offers the choice and flexibility to allow guitarists to play to their
strengths, offering wide-ranging contemporary pieces and fingerstyle, plectrum, backing and
duet options, as well as structured and relevant technical work. These elements are designed
Welcome
to progressively develop the skills and techniques guitarists really need from the early grades
right the way through to Grade 8.
Styles
This syllabus bridges the gap between classical and electric guitar, incorporating folk, acoustic,
rock and pop, jazz, blues and country styles. It reinvents the popular Plectrum Guitar exams and
ensures relevance to contemporary guitarists by giving teachers and learners the flexibility to
develop both fingerstyle and plectrum playing. All pieces are available in both standard and TAB
notation so are accessible for any learner.
Techniques
The technical work is relevant to a whole range of popular music styles as it includes chord
patterns and progressions, jazz scales, blues scales and modes in addition to the standard
scales and arpeggios. Many of the pieces, particularly at the lower grades, can be played
either with fingers or plectrum to suit learner preference.
Books and backing tracks
Backing tracks recorded by professional session players allow guitarists to learn crucial
ensemble skills by practising as part of a band. There are three books available — for Initial to
Grade 2, Grades 3–5 and Grades 6–8 — which contain a wide range of styles, allowing candidates
to follow distinct stylistic pathways as they progress.
Pro-skills
Developed by professional guitarists, our online support resources show you what an exam is
like, explore professional technique and look at where our exams can take you. Access them at
trinitycollege.com/acoustic-guitar-resources
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.
3Introduction 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, external examiners trained and moderated
which enables learners to demonstrate their by Trinity. Examiners provide marks and
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 performance, technical The exams are marked out of 100. Candidates’
ability and responses to set musical tests results correspond to different attainment
through face-to-face practical assessment. levels as follows:
They offer learners of any age the opportunity
to measure their development as performers Mark Attainment level
against a series of internationally understood
benchmarks, taking them from beginner 87–100 DISTINCTION
level to the point where they can progress
to higher education in music, or enter for 75–86 MERIT
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
passed lower grades, theory exams or other See pages 30–37 for further information about
qualifications, although the grades represent how the exams are marked.
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
4Introduction to Trinity’s graded music exams
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
(GLH) (ILH) (TQT) (hours)
Introduction
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
place with governmental education ◗◗ D
iplomas in performing and teaching
authorities worldwide. offered by Trinity or by other awarding
organisations
In the UK, Grades 6–8 are eligible for UCAS
◗◗ Music courses at conservatories 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
PASS 12 | MERIT 14 | DISTINCTION 16
Grade 8
UCAS POINTS
PASS 18 | MERIT 24 | DISTINCTION 30
5Introduction to Trinity’s graded music exams
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) levels.
Trinity representative for more information. These assess higher skills in performance,
teaching and theory. Find out more at
Alternatively, in the UK, schools and private 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/exam-visit wish to consider Trinity’s Level 4 Certificate
for Music Educators (Trinity CME). Find out
TRINITY QUALIFICATIONS THAT more at trinitycollege.com/CME
COMPLEMENT THE ACOUSTIC GUITAR We also offer:
QUALIFICATIONS
◗◗ Graded, certificate and diploma
Trinity’s music qualifications offer flexible qualifications in drama subjects
progression routes from beginner to advanced
levels in a range of musical styles. All are ◗◗ English language qualifications
designed to help candidates develop as ◗◗ Teaching English qualifications
musicians according to their individual
needs as learners. ◗◗ Arts Award (only available in certain
countries)
Graded music exams assess a broad range of
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
6Introduction to Trinity’s graded music exams
REGULATED LEVELS OF TRINITY’S MUSIC QUALIFICATIONS
RQF* EQF** Classical Rock Theory Solo Group
Level Level & Jazz & Pop & Written Certificates† Certificates†
7 7 FTCL
6 6 LTCL LMusTCL
Introduction
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 4 Grade 4 Grade 4
Grade 3 Grade 3 Grade 3 Foundation Foundation
1 2 Grade 2 Grade 2 Grade 2
Grade 1 Grade 1 Grade 1
Entry
1 Initial Initial
Level 3
* Regulated Qualifications Framework
** European Qualifications Framework
† Not RQF or EQF regulated
7Introduction to Trinity’s graded music exams
REGULATED TITLES AND QUALIFICATION NUMBERS
FOR GRADED MUSIC EXAMS
Qualification
Regulated title
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
TCL Level 1 Award in Graded Examination in Music Performance 501/2041/4
(Grade 2)
Grade 3
TCL Level 1 Award in Graded Examination in Music Performance 501/2043/8
(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
TCL Level 3 Certificate in Graded Examination in Music Performance 501/2097/9
(Grade 6)
Grade 7
TCL Level 3 Certificate in Graded Examination in Music Performance 501/2098/0
(Grade 7)
Grade 8
TCL Level 3 Certificate in Graded Examination in Music Performance 501/2099/2
(Grade 8)
8Learning outcomes and assessment criteria
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
9Learning outcomes and assessment criteria
GRADES 4–5
(RQF Level 2)
LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
1. Support their intentions in musical performance
1.1
Perform music in a
Demonstrate an understanding of music that allows
1.2
variety of styles set
a degree of personal interpretation in performance
for the grade
1.3 Perform with general accuracy, technical fluency and
musical awareness to convey musical character in a
variety of styles
2.
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
set technical demands
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)
LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
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 within set tasks
set technical demands
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
10About the exam
About the exam
Each exam has three sections: pieces, technical work and supporting tests. There are slightly
different requirements depending on the level of the exam.
PIECES TECHNICAL WORK SUPPORTING TESTS
Three pieces, each Scales, arpeggios, broken A combination of two tests
worth 22 marks. chords, exercises, chord from sight reading, aural,
sequences and cadences, improvisation and musical
depending on the grade. knowledge, depending on the
grade and candidate choice.
About the exam
PIECES
66 MARKS
TECHNICAL
WORK
14 MARKS
SUPPORTING
TESTS
20 MARKS
11About the exam
EXAM STRUCTURE AND MARK SCHEME
Initial–Grade 5 Maximum Grades 6–8 Maximum
marks marks
PIECE 1 22 PIECE 1 22
PIECE 2 22 PIECE 2 22
PIECE 3 22 PIECE 3 22
TECHNICAL WORK 14 TECHNICAL WORK 14
◗◗ Scales, arpeggios, broken chords, ◗◗ Scales, arpeggios, cadences, chord
exercises, chord sequences progressions (depending on grade)
(depending on grade)
SUPPORTING TESTS 20 SUPPORTING TEST 1 10
Any TWO of the following: ◗◗ Sight reading
◗◗ Sight reading
◗◗ Aural
◗◗ Improvisation SUPPORTING TEST 2 10
◗◗ Musical knowledge
ONE of the following:
◗◗ Aural
◗◗ Improvisation
TOTAL 100 TOTAL 100
12About 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, examiners will ask to hear technical work first.
EXAM DURATIONS
Exams are designed to include sufficient time for setting up and presenting all components,
and overall durations are as follows:
About the exam
Initial Grade 1 Grade 2
11 mins 13 mins 13 mins
Grade 3 Grade 4 Grade 5
13 mins 18 mins 18 mins
Grade 6 Grade 7 Grade 8
23 mins 23 mins 28 mins
13Exam guidance: Pieces
Exam guidance: Pieces
◗◗ Candidates playing electro-acoustic
guitars may use an amplifier, but this is
not compulsory. Candidates would need
to provide their own amplifier.
◗◗ Candidates playing electro-acoustic guitars
PIECES may use pedals or effects where appropriate
66 MARKS (eg reverb, delay, compressor and/or chorus),
but these are not compulsory.
◗◗ Electric guitars (solid or hollow body) may
not be used at any grade.
◗◗ Candidates can choose to use a plectrum
or finger strokes, or a combination.
◗◗ Younger candidates may use half- or three-
CHOOSING PIECES quarter-sized instruments.
◗◗ Candidates play three pieces in their exam,
freely chosen from the list for the grade. TUNING
◗◗ An own composition may be performed in ◗◗ Up to and including Grade 5, teachers
place of one of the listed pieces (see may assist with tuning. At Grades 6–8,
pages 15–17). candidates must tune their instruments
without assistance.
PERFORMANCE AND INTERPRETATION ◗◗ Electronic tuners may be used at any grade.
◗◗ Candidates should prepare all pieces in
full unless stated otherwise in this syllabus. PAGE TURNS
◗◗ Candidates should observe all repeats, ◗◗ Examiners are not able to act as page turners.
da capo and dal segno instructions,
unless stated otherwise in this syllabus. ◗◗ Difficult page turns may be overcome by
photocopying the relevant pages.
◗◗ All tempo and performance markings should
be observed (eg allegro, rall., cresc.).
DUETS
◗◗ Metronome marks are given as a guide
but do not need to be observed exactly, as ◗◗ Duet options are available at Initial to
long as the style and character of the piece Grade 5.
is maintained. ◗◗ Candidates should play the upper part.
◗◗ Candidates may perform any or all of their The lower part may be performed live in the
pieces from memory if they wish. However, exam by a teacher, another adult or student.
this is not compulsory and no additional Alternatively, candidates can use the Trinity
marks are given for this. recording (available to download or stream
with the SoundWise code printed in the book).
INSTRUMENTS AND AMPLIFICATION
◗◗ Candidates may use any acoustic guitar
(nylon or steel strings) at any grade.
◗◗ Alternatively, an electro-acoustic guitar
may be used at any grade.
14Exam guidance: Pieces
BACKING TRACKS OBTAINING MUSIC FOR THE EXAM
◗◗ Backing tracks are available for selected ◗◗ All publications listed in this syllabus can be
pieces (available to download or stream with ordered at trinitycollege.com/shop or your
the SoundWise code printed in the book). local music shop.
◗◗ The repertoire lists in this syllabus ◗◗ Trinity publishes exam books for acoustic
indicate whether backing tracks are guitar, as well as scales & arpeggios and
optional or compulsory in the exam for specimen aural tests. See page 62 for
applicable pieces. more information.
PLAYBACK EQUIPMENT IN THE EXAM OWN COMPOSITION
◗◗ Where Trinity duet recordings or backing ◗◗ Candidates can choose to perform an
tracks are used, candidates must bring own composition as one of their pieces.
them to the exam, and must provide and Own compositions are assessed in the same
operate their own playback equipment. way as the listed pieces. Marks are not
Equipment must produce a good awarded for the quality of the composition.
sound quality at an adequate volume.
Exam guidance: Pieces
◗◗ Own compositions must be comparable in
Contact should be made with the centre
technical and musical demand to the pieces
well in advance to confirm the arrangements
listed for the same grade. Examples of
(power supply, equipment insurance, etc),
optional compositional techniques that may
which must be agreed with Trinity’s local
be used at each level are listed on pages
representative. All electrical devices must
16–17.
comply with health and safety requirements
in the country where the exam is taking place. ◗◗ A typeset or handwritten copy of the
composition must be given to the examiner
MUSIC AND COPIES at the beginning of the exam. At Initial to
Grade 5, own compositions may be notated
◗◗ Candidates should obtain the music for their in any easily readable form, including
exam in good time before entering for the graphic score or lead-sheet. At Grades 6–8
exam, and they must bring it with them on they must be notated on a stave. Marks will
the day of the exam. be deducted if notation is incomplete or
◗◗ All pieces are published in our exam books, inaccurate, or if the performance varies
in both standard and TAB notation. significantly from the notation.
◗◗ We take copyright infringement seriously ◗◗ Own compositions should be candidates’
and require candidates to ensure their unaided work, although teachers may offer
music comes from a legitimate source. guidance as necessary.
Guidelines are available in the UK Music
Publishers Association’s Code of Fair
Practice, available at mpaonline.org.uk.
Candidates must comply with copyright
and other intellectual property laws in the
country where the exam is taking place.
◗◗ In accordance with the MPA’s Code of Fair
Practice, candidates must produce original
copies of all pieces to be performed at the
exam, even if pieces have been memorised,
handwritten or typeset. Pieces where no
original copy has been provided might be
awarded no marks.
15Exam guidance: Pieces
PARAMETERS AND EXAMPLES OF COMPOSITIONAL TECHNIQUES FOR OWN COMPOSITIONS
Grade Duration Examples of composition techniques
0.5–1 minute(s)
◗◗ Use of different rhythmic values
Initial ◗◗ Clear melodic line
◗◗ Use of keys listed for Initial technical work
approx. 1 minute
◗◗ Dynamic contrast
Grade 1 ◗◗ Simple syncopation or other rhythmic feature
◗◗ Use of keys listed for Grade 1 technical work
1–1.5 minute(s)
◗◗ Use of different articulations
Grade 2 ◗◗ Simple melodic ornamentation
◗◗ Use of keys listed for Grade 2 technical work
1.5–2 minutes
◗◗ Form showing clear sections, eg ABA
Grade 3 ◗◗ Melodic range of one octave or more
◗◗ Use of keys listed for Grade 3 technical work
2–3 minutes
◗◗ Tempo changes
Grade 4 ◗◗ Use of a variety of different articulations
◗◗ Use of keys listed for Grade 4 technical work
2–3 minutes
◗◗ Chromaticism
Grade 5 ◗◗ Use of semiquaver passages
◗◗ Use of keys listed for Grade 5 technical work
16Exam guidance: Pieces
3–4 minutes
◗◗ More advanced use of form, eg theme and variations
◗◗ Extensive range
Grade 6
◗◗ More advanced melodic ornamentation
◗◗ Use of any key
3–4 minutes
◗◗ Modulation
Grade 7 ◗◗ Use of irregular time signatures
◗◗ Use of any key
3.5–5 minutes ◗◗ Wide range of expressive techniques
Exam guidance: Pieces
◗◗ Creative use of form
Grade 8 ◗◗ Extended techniques, wide range, chromaticism
and rhythmic variation
◗◗ Use of any key
17Exam guidance: Technical work
Exam guidance: Technical work
All scales and arpeggios are to be performed
ascending then descending. A minimum pace is
indicated, increasing gradually grade by grade.
Full details of all requirements are given in the
Scales, Arpeggios & Studies books. All elements
TECHNICAL WORK are presented in standard notation.
14 MARKS Further information about specific technical
work requirements for each grade is given in
the relevant sections of this syllabus.
This section of the exam supports the
development of technical skills by assessing
candidates’ performance in a range of
technical work requirements relevant to
popular music styles, including scales &
arpeggios, chord sequences, cadences
and exercises.
Candidates prepare all requirements set for
the grade, and play a selection as requested
by the examiner.
All technical work elements must be played
from memory.
Candidates can choose to use a plectrum or
finger strokes, or a combination. The plectrum
strokes printed in Trinity’s Scales, Arpeggios
& Studies books must be observed if using
a plectrum.
18Exam guidance: Supporting tests
Exam guidance: Supporting tests
SIGHT READING
This test assesses candidates’ ability to
perform a previously unseen musical extract,
at a level approximately two grades lower
SUPPORTING than the exam being taken. Our sight reading
TESTS pieces are designed to be musically intuitive
and natural, preparing candidates for real
20 MARKS
performance contexts.
Candidates are given 30 seconds to study
the test before performing it, during which
they may practise any or all of it aloud.
Examiners do not give marks for this
preparation period.
Exam guidance: Technical work Exam guidance: Supporting tests
This section of the exam supports the Sight reading tests may be played with or
development of broader musical skills without a plectrum.
by assessing candidates in two different
supporting tests. Specimen sight reading tests are available at
trinitycollege.com/acoustic-guitar-resources
At Initial to Grade 5, candidates choose
two supporting tests from four options: Tests are presented in standard notation.
◗◗ Sight reading Technical expectations for the tests are given
in the table on page 20. Lists are cumulative,
◗◗ Aural meaning that tests may also include
◗◗ Improvisation requirements from lower grades.
◗◗ Musical knowledge
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.
19SIGHT READING PARAMETERS
20
Keys* Time Note and rest Dynamics & tempi* Articulation,
signatures* values* position, shifts*
E, F, G on 1st string,
B, C, D on 2nd string,
Initial C major 24 mf, moderato
G, A on 3rd string,
q h
open basses, even picking
Exam guidance: Supporting tests
Grade 1 p, f within 1st position
G major
Grade 2 3 h. w allegretto
A minor ties
F major simple shifts, 2nd position, staccato,
Grade 3 mp, andante
E minor e Πmarcato, two-note chords (open bass)
Grade 4 accidentals dim., cresc.
q. ‰ and ½CI
trebles full range up to D on string one,
Grade 5 A major 6 x rall., a tempo basses full range up to 2nd position,
accents, vibrato, glissando, slurs
trebles full range up to D on string one,
E, Bb major
* Cumulative — tests may also include requirements from preceding grade(s)
Grade 6 8 dotted notes accel. basses full range up to second position,
G minor
½CV
Grade 7 B minor 9 triplets full fingerboard range and shifting
Eb major
Grade 8 changing time duplets and CI, III
C minor
signaturesExam guidance: Supporting tests
AURAL ◗◗ Candidates are then given 30 seconds’
This test supports the development of preparation time, during which they may
candidates’ abilities in musical perception and prepare for their improvisation aloud.
understanding by requiring them to recognise ◗◗ The test then follows. The examiner plays the
musical features by ear (for example metre, stimulus again, and candidates join in after
pulse, pitch and performance characteristics). the introduction, improvising for the specified
number of repeats. Candidates should aim
All questions are based on a single musical
to improvise in a way that complements the
example played at the piano by the examiner.
musical style of the stimulus.
At most grades, candidates are asked to
describe various features of the music such
Motivic stimulus
as dynamics, articulation, texture and style.
Candidates are not required to sing. This option requires candidates to improvise
solo in response to a short melodic fragment.
Practice tests can be found in Trinity’s
Aural Tests from 2017 books, available from ◗◗ Candidates are given a notated melodic
trinitycollege.com/shop or from your local fragment, which the examiner plays twice
music shop. on the piano for candidates’ reference.
◗◗ Candidates are then given 30 seconds’
IMPROVISATION preparation time, during which they may
Improvisation can develop creative musicianship prepare for their improvisation aloud.
skills that unlock a variety of musical styles ◗◗ The test then follows. Candidates should aim
Exam guidance: Supporting tests
and technical ability. Our tests are designed to improvise within the specified duration
to introduce teachers and candidates to range and may begin by quoting the stimulus
improvisation gradually, creatively and with directly, developing their improvisation from
a range of supporting resources. there. However, they are not required to quote
the stimulus directly, and may instead develop
This test assesses candidates’ ability to
their improvisation from ideas taken from
improvise fluently, coherently and creatively
the stimulus such as a small group of notes
in response to a musical stimulus. Candidates
or an interval. Responses must use the given
choose a stimulus from the following three
time signature.
options, indicating their choice of stimulus
on the appointment form:
Harmonic stimulus
◗◗ Stylistic
This option requires candidates to improvise
◗◗ Motivic solo in response to a chord sequence.
◗◗ Harmonic ◗◗ Candidates are given a notated chord
Tests are presented in standard notation. sequence, including chord symbols, which
the examiner plays twice on the piano for
Further guidance and example tests are candidates’ reference.
available at trinitycollege.com/supporting-tests
◗◗ Candidates are then given 30 seconds’
preparation time, during which they may
Stylistic stimulus prepare for their improvisation aloud.
This option requires candidates to improvise over ◗◗ The test then follows. Candidates should
a notated piano part played by the examiner. improvise for the specified number of
◗◗ Candidates are given a stimulus which repeats, following the chord sequence.
includes the notated piano part and chord Responses should contain melodic/
symbols. The stimulus begins with a two-bar rhythmic interest.
introduction played by the examiner alone,
followed by a further section over which Parameters
candidates must improvise for a specified Technical expectations for the tests are given
number of repeats. in the tables on the following pages. Lists are
◗◗ The examiner plays the stimulus twice for cumulative, meaning that tests may also
candidates’ reference, without repeats. include requirements from lower grades.
21Exam guidance: Supporting tests
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
4 bars 8 bars 8 bars 8 bars
improvise
Time signatures* 4 3
D, Bb major
Keys* C major F, G major A minor
D, E minor
Number of
1 1 1 1
chords per bar
I, IV, V I, ii, IV, V
Chords I, V I, V
i, iv, V i, iib5, iv, V
Styles and march, fanfare, tango, waltz,
speeds* lullaby moderato andante allegretto
22 * Cumulative — tests may also include requirements from preceding grade(s)Exam guidance: Supporting tests
Grade 4 Grade 5 Grade 6 Grade 7 Grade 8
2 bars 2 bars 2 bars 2 bars 2 bars
4 bars 4 bars 8 bars 8 bars 8 bars
3 3 2 2 2
Exam guidance: Supporting tests
12 bars 12 bars 16 bars 16 bars 16 bars
5
2 6 1 9 4
G, B minor A, Eb major F#, C minor E, Ab major C#, 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
23Exam guidance: Supporting tests
Motivic stimulus
Initial Grade 1 Grade 2 Grade 3
Length of
2 bars 2 bars 2 bars 2 bars
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, Bb major
Keys* C major F, G major A minor
D, E minor
24 * Cumulative — tests may also include requirements from preceding grade(s)Exam guidance: Supporting tests
Grade 4 Grade 5 Grade 6 Grade 7 Grade 8
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
Exam guidance: Supporting tests
triplets,
syncopation semiquavers
duplets
accents slurs acciaccaturas sfz
minor 6th, augmented 4th, minor 7th, all up to
octave
major 6th diminished 5th major 7th major 10th
G, B minor A, Eb major F#, C minor E, Ab major C#, F minor
25Exam guidance: Supporting tests
Harmonic stimulus
Initial Grade 1 Grade 2 Grade 3
Length of chord
4 bars 4 bars 4 bars 4 bars
sequence
Times chord
sequence 1 2 2 2
is played
Total to
4 bars 8 bars 8 bars 8 bars
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, G major
26Exam guidance: Supporting tests
Grade 4 Grade 5 Grade 6 Grade 7 Grade 8
4 bars 4 bars 8 bars 8 bars 8 bars
3 3 2 2 2
12 bars 12 bars 16 bars 16 bars 16 bars
Exam guidance: Supporting tests
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, A major
A, D, E, G, B minor
A, D, E, G, B, C, F# minor
27Exam guidance: Supporting tests
MUSICAL KNOWLEDGE Examiners then choose a second piece for
(Initial–Grade 5 only) the remaining questions. Candidates’ musical
scores should be free of annotations that might
This test encourages learners to understand
aid their responses. Examiners usually point
the wider musical context of the pieces they
to the relevant part of the score when asking
play, as well as their knowledge of notation
questions. Candidates can use American terms
and their instrument. Examiners ask carefully
(eighth note, half note, etc) as an alternative to
graded questions based on candidates’
English terms (quaver, minim, etc).
chosen pieces.
The following table gives example questions
In the exam, candidates choose which piece
and responses.
they would like to be asked about first.
Parameters* Sample question Sample answer
What is the pitch name of
Pitch names G
this note?
How many beats are there
Note durations Two
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 of da capo? Go back to the start
and signs
Parts of the
What is this part called? The bridge
instrument
28 * Cumulative — tests may also include requirements from preceding grade(s)Exam guidance: Supporting tests
Metronome marks,
Explain the sign q = 72
72 crotchet beats
grace notes
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 you
A scale
Grade 3 pattern see here?
How might you warm up By playing a selection
Warm up in preparation for playing of scales/arpeggios/
this piece? chords in related keys
Exam guidance: Supporting tests
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 the style of the piece
Musical style
of this piece and gives 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
the form of the piece
Musical structures Describe the form of this piece
and identifies relevant
sections
Name the notes of the
Subdominant triads F, A, C
subdominant triad
29Exam guidance: Marking
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
45–59 BELOW PASS 1 effectively, covering the various technical
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
30Exam guidance: Marking
The total marks awarded for each piece
correspond to the attainment levels as follows:
Total mark
for each piece Attainment level
19–22 DISTINCTION
16–18 MERIT
13–15 PASS
10–12 BELOW PASS 1
3–9 BELOW PASS 2
Exam guidance: Marking
31Exam guidance: Marking
Heading
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.
7 MARKS 6 MARKS 5 MARKS
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.
8 MARKS 7 MARKS 6 MARKS
Communication An excellent level of A very good level of A good level of
& stylistic understanding stylistic understanding stylistic understanding
interpretation with keen attention to with most performance though occasional
performance details. details realised. performance
Highly effective Effective communication details omitted.
communication and interpretation overall. Communication and
and interpretation. interpretation mostly
effective.
32Exam guidance: Heading
Marking
4 MARKS 3 MARKS 1–2 MARKS
A generally reliable sense Only a limited sense of fluency Little or no sense of fluency
of fluency though with with a lack of basic control of — control of pulse and
some inconsistencies and pulse and rhythm. rhythm not established.
stumbles in the control of
Accuracy in notes sporadic, Accuracy in notes very
pulse and rhythm.
with errors becoming intrusive. limited with many errors
Exam guidance: Marking
A reasonable degree of of substance.
accuracy in notes despite
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 basic
some inconsistencies.
level of tone control. Significant flaws
A basic level of tone control in tone control.
despite some insecurity.
Exam guidance: Marking
5 MARKS 3–4 MARKS 1–2 MARKS
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.
33Exam guidance: Marking
Heading
HOW TECHNICAL WORK IS MARKED
Examiners use the criteria below to decide on the mark.
DISTINCTION MERIT
13–14 MARKS 11–12 MARKS
Technical work 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.
34Exam guidance: Heading
Marking
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.
Exam guidance: Marking
A reasonable degree of An inconsistent degree An unreliable degree
technical control despite of technical control. of technical control.
some inconsistencies.
Hesitancy in responses Uncertain responses with
Generally prompt responses and restarts. many restarts and/or items
despite some hesitancy and/ not offered.
or restarts.
Exam guidance: Marking
35Exam guidance: Marking
Heading
HOW SUPPORTING TESTS ARE MARKED
Examiners use the criteria below to decide on the mark.
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.
36Exam guidance: Heading
Marking
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.
Exam guidance: Marking
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
Exam guidance: Marking
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 the A lack of creativity and imagination in the response.
response. imagination in the response.
37Initial to Grade 5
Initial to Grade 5
EXAM STRUCTURE
The Initial to Grade 5 exams contain
the following:
Maximum
marks
PIECE 1 22
PIECE 2 22
PIECE 3 22
TECHNICAL WORK 14
◗◗ Scales, arpeggios, broken chords,
exercises, chord sequences
(depending on grade)
SUPPORTING TESTS 20
Any TWO of the following:
◗◗ Sight reading
◗◗ Aural
◗◗ Improvisation
◗◗ Musical knowledge
TOTAL 100
38Initial to Grade 5
Initial to Grade 5
EXAM DURATION
The Initial exam The Grade 1 exam
lasts 11 minutes lasts 13 minutes
The Grade 2 exam The Grade 3 exam
lasts 13 minutes lasts 13 minutes
The Grade 4 exam The Grade 5 exam
lasts 18 minutes lasts 18 minutes
39Initial
Initial
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. An own
composition may be played instead of one of the listed pieces. See pages 14–17 for further guidance.
All pieces are included in Trinity’s Acoustic Guitar Exam Pieces 2020–2023: Initial–Grade 2.
Piece Artist/composer Performance requirements
Unaccompanied or with Trinity
1. AIN’T NO SUNSHINE Bill Withers, arr. Anders Rye
backing track
Unaccompanied or with Trinity
2. AMAZING GRACE John Newton, arr. T J Walker
backing track
Unaccompanied or with Trinity
3. OH WHEN THE SAINTS Trad., arr. T J Walker
backing track
Must be played with Trinity
4. REDEMPTION SONG Bob Marley, arr. T J Walker
backing track
5. ROCKIN’ THE COUNTRY Brett Duncan Unaccompanied
6. STEGOSAURUS STRUT Nick Powlesland Unaccompanied
Unaccompanied or duet (live or
7. SUMMER RAIN T J Walker
with Trinity recording)
The Beach Boys
8. SURFIN’ SAFARI Unaccompanied
(Brian Wilson & Mike Love)
Unaccompanied or with Trinity
9. WHITE WINDMILL T J Walker
backing track
TECHNICAL WORK
Candidates prepare both sections. See page 18 for more information.
Plectrum strokes and rhythm patterns are shown in Trinity’s Guitar Scales, Arpeggios & Studies
from 2016: Initial–Grade 5.
SCALES AND ARPEGGIOS (from memory) — Examiners select from the following:
i) Scales
◗◗ C and G major
◗◗ D minor to the 5th, ascending min. tempo:
mf
ii) Arpeggios and descending q = 60
◗◗ C and G major
◗◗ D minor
40Initial
SUPPORTING TESTS Improvisation
Candidates choose two of the following: Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Sight reading
three options:
◗◗ Aural
◗◗ Stylistic
◗◗ Improvisation
◗◗ Motivic
◗◗ Musical knowledge
◗◗ Harmonic
Initial
Sight reading See pages 21–27 for the requirements
and parameters.
After 30 seconds’ preparation time, candidates
perform a previously unseen musical extract
at a level lower than the exam being taken. Musical knowledge
See pages 19–20 for the requirements Candidates answer questions assessing their
and parameters. understanding of the pieces performed, as
well as their knowledge of notation and the
Aural guitar. Questions are based on candidates’
chosen pieces. See pages 28–29 for example
Candidates answer questions based on questions and responses.
a single musical example played on the
piano by the examiner. See page 21 for
more information.
The aural test requirements for Initial
are below.
Aural questions
Parameters Task Requirement
Listen to the melody Clap the pulse on the third playing, stressing
Melody only three times the strong beat
4 bars Listen to the melody once Identify the dynamic as forte or piano
Major key Listen to the melody once Identify the articulation as legato or staccato
2 Listen to the first three
Identify the highest or lowest note
notes of the melody once
41Grade 1
Grade 1
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. An own
composition may be played instead of one of the listed pieces. See pages 14–17 for further guidance.
All pieces are included in Trinity’s Acoustic Guitar Exam Pieces 2020–2023: Initial–Grade 2.
Piece Artist/Composer Performance requirements
1. Unaccompanied or with Trinity
CUBA KICK! Tim Pells
backing track
2. A FISTFUL OF PESOS Nick Powlesland Unaccompanied
3. THE HUNGRY GHOST Leslie Searle Unaccompanied
Unaccompanied or with Trinity
4. PERFECT SKY T J Walker
backing track
Ed Sheeran (with John McDaid,
Must be played with Trinity
5. PHOTOGRAPH Tom Leonard & Martin Harrington),
backing track
arr. Anders Rye
6. SAILOR’S HORNPIPE Trad., arr. James Burden Unaccompanied
Unaccompanied or duet (live or
7. A TALE OF THE GREEN ISLE Robert Morandell
with Trinity recording)
Unaccompanied or with Trinity
8. TANGO MEMORIES Tim Pells
backing track
Must be played with Trinity
9. WATERLOO SUNSET The Kinks (Ray Davies), arr. T J Walker
backing track
TECHNICAL WORK
Candidates prepare all sections. See page 18 for more information.
Plectrum strokes and rhythm patterns are shown in Trinity’s Guitar Scales, Arpeggios & Studies
from 2016: Initial–Grade 5.
SCALES, ARPEGGIOS AND CHORD SEQUENCE (from memory)
Examiners select from the following:
i) Scales
◗◗ C and G major
◗◗ A natural minor min. tempo:
one octave
ii) Arpeggios q = 72
mf
◗◗ C and G major
◗◗ A minor
iii) Chord sequence
◗◗ I-V7-I in C major
42Grade 1
SUPPORTING TESTS Improvisation
Candidates choose two of the following: Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Sight reading
three options:
◗◗ Aural
◗◗ Stylistic
◗◗ Improvisation
◗◗ Motivic
◗◗ Musical knowledge
◗◗ Harmonic
Sight reading See pages 21–27 for the requirements
and parameters.
After 30 seconds’ preparation time, candidates
perform a previously unseen musical extract
Grade
at a level lower than the exam being taken. Musical knowledge
See pages 19–20 for the requirements Candidates answer questions assessing their
and parameters. understanding of the pieces performed, as
well as their knowledge of notation and the 1
Aural guitar. Questions are based on candidates’
chosen pieces. See pages 28–29 for example
Candidates answer questions based on questions and responses.
a single musical example played on the
piano by the examiner. See page 21 for
more information.
The aural test requirements for Grade 1
are below.
Aural questions
Parameters Task Requirement
Clap the pulse on the third playing, stressing
Listen to the melody three times
the strong beat
Melody only i) Identify the dynamic as forte or piano
Listen to the melody once
4 bars ii) Identify the articulation as legato or staccato
Major key Listen to the first two bars of Identify the last note as higher or lower than
the melody once the first note
23
Listen to the melody twice,
with a change of rhythm or Identify where the change occurs
pitch in the second playing
43Grade 2
Grade 2
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. An own
composition may be played instead of one of the listed pieces. See pages 14–17 for further guidance.
All pieces are included in Trinity’s Acoustic Guitar Exam Pieces 2020–2023: Initial–Grade 2.
Piece Artist/Composer Performance requirements
1. BAD JACK Nick Powlesland Unaccompanied
Unaccompanied or duet (live or
2. BLUE RAG Robert Morandell
with Trinity recording)
3. HOUSE OF THE RISING SUN Trad., arr. Tim Pells Unaccompanied
4. JAMAICA Nick Powlesland Unaccompanied
5. NEW MEMORY LANE Tim Pells Unaccompanied
Must be played with Trinity
6. ROCKODILE REGGAE Robert Morandell
backing track
Unaccompanied or with Trinity
7. SAIL AWAY T J Walker
backing track
8. TURKEY IN THE STRAW Trad., arr. Fred Sokolow Unaccompanied
Louis Armstrong
Must be played with Trinity
9. WHAT A WONDERFUL WORLD (Bob Thiele & George David
backing track
Weiss), arr. T J Walker
TECHNICAL WORK
Candidates prepare all sections. See page 18 for more information.
Plectrum strokes and rhythm patterns are shown in Trinity’s Guitar Scales, Arpeggios & Studies
from 2016: Initial–Grade 5.
SCALES, ARPEGGIO, BROKEN CHORDS AND CHORD SEQUENCES (from memory)
Examiners select from the following:
i) Scales
◗◗ D major — open one octave
◗◗ D major — closed
◗◗ Bb major
◗◗ E harmonic minor
two octaves
◗◗ A jazz melodic minor min. tempo:
ii) Arpeggio q = 88 p or f
one octave
◗◗ D major as requested by
the examiner
iii) Broken chords
two octaves
◗◗ E minor
◗◗ A minor to the 12th
iv) Chord sequences
◗◗ II-V7-I in C major
◗◗ II-V-I in D major
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