VOCALS SYLLABUS - Trinity College London
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VOCALS
SYLLABUS BEYONCÉ
AEROSMITH
Qualification specifications
for graded exams from 2018
BLONDIE
THE ROLLING STONES
TAYLOR SWIFT
RED HOT CHILI PEPPERS
DUSTY SPRINGFIELD
AMY WINEHOUSE
QUEEN
DAVID BOWIE
THE XX
OASIS
SIA
U2WHAT’S CHANGED? This syllabus features the following changes from the 2015–2017 syllabus: New selection of songs at all levels, expertly arranged for the grade and in a wide range of styles Revised marking criteria, providing examiners, teachers and candidates with increased detail on how exams are marked (see pages 36–39) Revised parameters for own-choice songs (see pages 22–27) Revised requirements for using a microphone when performing songs Technical focus songs now feature two technical elements Band exams are no longer offered KEEP UP TO DATE WITH OUR SYLLABUSES Please check trinityrock.com to make sure you are using the current version of the syllabus and for the latest information about our Rock & Pop exams. You can also check out our syllabuses and graded songbooks for: Bass Drums Guitar K eyboards OVERLAP ARRANGEMENTS This syllabus is valid from 1 January 2018. The 2015–2017 syllabus will remain valid until 31 December 2018, giving a one year overlap. During this time, candidates may present songs from the 2015–2017 syllabus or the syllabus from 2018, but not both. Candidates should indicate which syllabus they are presenting on the appointment form handed to the examiner at the start of the exam.
VOCALS
SYLLABUS
Qualification specifications
for graded exams from 2018
Trinity College London
trinitycollege.com
Charity number England & Wales | 1014792
Charity number Scotland | SC049143
Patron | HRH The Duke of Kent KG
Chief Executive | Sarah Kemp
Copyright © 2017 Trinity College London
Published by Trinity College London
Online edition, May 2020
1Contents 3 / WELCOME 4 / INTRODUCTION TO TRINITY’S ROCK & POP EXAMS 9 / LEARNING OUTCOMES AND ASSESSMENT CRITERIA 14 / ABOUT THE EXAM 19 / EXAM GUIDANCE: SONGS 28 / EXAM GUIDANCE: SESSION SKILLS 34 / EXAM GUIDANCE: MARKING 40 / INITIAL 41 / GRADE 1 42 / GRADE 2 43 / GRADE 3 44 / GRADE 4 45 / GRADE 5 46 / GRADE 6: FEMALE 47 / GRADE 6: MALE 48 / GRADE 7: FEMALE 49 / GRADE 7: MALE 50 / GRADE 8: FEMALE 51 / GRADE 8: MALE 52 / PUBLICATIONS 53 / POLICIES 55 / ACCESS ALL AREAS… 56 / NOTES Trinity College London 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 on our website and in reprints of the document. 2
Welcome
Welcome
WELCOME
Welcome to Trinity College London’s Rock & Pop Vocals syllabus. Whether self-taught or taking
lessons, learning for fun or heading for a career in the music industry, these exams help musicians
develop real technical and performance skills to achieve their musical ambitions. We place
performance at the heart of our Rock & Pop exams, so everything in this syllabus is assessed
within a performance context that mirrors the skills you need in the industry.
REAL SONGS
Perform the music you love with our huge range of hit songs spanning all contemporary styles.
Choose your set list from the eight songs in our graded songbooks, perform a song of your own
choice, or perform a song you’ve written yourself.
REAL SKILLS
Develop the improvisation and playback session skills that professional musicians need.
Showcase your technical skills in a real-life context through our technical focus songs and
demonstrate your ability to deliver a compelling live performance.
REAL PROGRESS
Achieve your goals with an externally regulated and internationally recognised qualification.
Trust the 140-year heritage Trinity brings to contemporary music, and benefit from marks and
comments on your performance from industry experts.
The exams are supported by a range of resources that provide essential support for learners:
Graded songbooks containing all the songs needed for the exam, background information
on the songs, and performance hints and tips
Demo and backing tracks for the songs in the books, as downloads or on CD
Additional Trinity Rock & Pop arrangements suitable for use as own-choice songs, available
at trinityrock.com/extra-songs — check the website for the latest additions
Session skills example tests books.
We hope you enjoy exploring the songs 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 Rock & Pop exams
Introduction to Trinity’s
Rock & Pop exams
OBJECTIVE OF THE QUALIFICATIONS PARENTAL AND TEACHER GUIDANCE
Trinity’s graded Rock & Pop exams provide a The songs in Trinity’s Rock & Pop syllabuses
structured yet flexible framework for progress, have been arranged to represent the artists’
which enables a learner to demonstrate original recordings as closely and authentically
their own musical personality and promotes as possible. Popular music frequently deals
enjoyment in music performance. with subject matter that some may find
offensive or challenging. It is possible that the
The exams assess music performance,
songs may include material that some might
technical ability and responses to set
find unsuitable for use with younger learners.
musical tests through face-to-face practical
assessment. They offer learners of any age the There is no requirement that all songs in this
opportunity to measure their development as syllabus must be learnt. We recommend that
performers against a series of internationally parents, guardians and teachers exercise their
understood benchmarks, taking them from own judgement to satisfy themselves that the
beginner level to the point where they can lyrics of selected songs are appropriate for the
progress to higher education in music. learners concerned. Trinity does not associate
itself with, adopt or endorse any of the opinions
or views expressed in the selected songs.
WHO THE QUALIFICATIONS ARE FOR
Trinity’s Rock & Pop exams are open to all
learners, with no age restrictions or other ASSESSMENT AND MARKING
limitations. There is no requirement to have Trinity’s graded exams in Rock & Pop are
passed lower grades, theory exams or other assessed by external examiners, who are
qualifications, although the grades represent industry experts trained and moderated
a system of progressive mastery and the by Trinity. Examiners provide marks and
outcomes for each level assume confidence comments for each section of the exam
in the requirements of previous grades. using the marking criteria on pages 36–39.
We are committed to making our exams The exam is marked out of 100. Candidates’
accessible to all, and each candidate is treated results correspond to different attainment
individually when considering how assessments levels as follows:
can be adapted for those with special needs.
Find more information at trinitycollege.com/ Mark Attainment level
music-csn
87–100 DISTINCTION
75–86 MERIT
60–74 PASS
45–59 BELOW PASS 1
0–44 BELOW PASS 2
See pages 34–39 for further information about
how the exam is marked.
4Introduction to Trinity’s Rock & Pop 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.
Introduction
Guided learning hours Independent learning hours Total qualification time
(GLH) (ILH) (TQT) (hours)
Initial 8 32 40
Grade 1 12 48 60
Grade 2 18 72 90
Grade 3 18 102 120
Grade 4 24 126 150
Grade 5 24 156 180
Grade 6 36 184 220
Grade 7 48 222 270
Grade 8 54 266 320
RECOGNITION AND UCAS POINTS Grade 6
UCAS POINTS
Trinity College London is an international
exam board regulated by Ofqual (Office PASS 8 | MERIT 10 | DISTINCTION 12
of Qualifications and Examinations
Grade 7
Regulation) in England, CCEA Regulation
UCAS POINTS
in Northern Ireland and by Qualifications
PASS 12 | MERIT 14 | DISTINCTION 16
Wales. Various arrangements are in
place with governmental education Grade 8
authorities worldwide. UCAS POINTS
In the UK, Grades 6–8 are eligible for UCAS PASS 18 | MERIT 24 | DISTINCTION 30
(Universities and Colleges Admissions Service)
points for those applying to colleges and
universities, as shown in the next column.
5Introduction to Trinity’s Rock & Pop exams
WHERE THE QUALIFICATIONS COULD LEAD Theory exams are available from Grade 1 to
support learners to develop their understanding
While for some learners graded Rock & Pop
of the technical language of music. However, no
exams represent a personal goal or objective,
theory qualifications or other prerequisites are
they can also be used as a progression
required to enter graded or certificate exams at
route towards:
any level. Find more information about theory
Music courses at conservatoires and exams at trinitycollege.com/theory
universities, for which Grade 8 is often
specified as an entry requirement
Employment opportunities in music
OTHER QUALIFICATIONS OFFERED BY TRINITY
and the creative arts After Grade 8 or the Advanced Certificate in
classical subjects, candidates can progress
to diplomas at Associate (ATCL), Licentiate
HOW TO BOOK AN EXAM (LTCL) and Fellowship (FTCL) levels. These
Exams can be taken at Trinity’s public exam assess higher skills in performance, teaching
centres, which are available throughout and theory. Find more information about
the world. Details are available at diploma exams at trinitycollege.com/diplomas
trinityrock.com/exam-centres, and Adults who work as music educators may also
candidates should contact their local Trinity wish to consider Trinity’s Level 4 Certificate
representative for more information. for Music Educators (Trinity CME). Find more
In the UK you may book a public centre exam information about the Trinity CME at
session online at trinityrock.com/book. trinitycollege.com/CME
Alternatively, schools and private teachers We also offer:
with sufficient candidates may apply for an
exam visit (please see trinityrock.com/ Graded, certificate and diploma qualifications
exam-visit for details). in drama subjects
English language qualifications
TRINITY QUALIFICATIONS THAT COMPLEMENT Teaching English qualifications
THE ROCK & POP QUALIFICATIONS Arts Award (only available in
Trinity’s music qualifications offer flexible certain countries)
progression routes from beginner to advanced Specifications for all these qualifications can
levels in a range of musical styles. All are be downloaded from trinitycollege.com
designed to help candidates develop as
musicians according to their individual needs
as learners.
Graded music exams assess a broad range of
musicianship skills, including performance,
while certificate exams (available for classical
instruments and voice) focus entirely on
performance, including separate marks for
presentation skills. Find more information
about graded exams at trinitycollege.com/
gradedexams and about certificate exams
at trinitycollege.com/certificates
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.
6Introduction to Trinity’s Rock & Pop exams
Table showing music qualifications available
RQF* EQF** Classical Rock Theory Solo Group
Level Level & Jazz & Pop & Written Certificates† Certificates†
7 7 FTCL
Introduction
6 6 LTCL LMusTCL
ATCL AMusTCL
4 5
Certificate for Music Educators
(Trinity CME)
Grade 8 Grade 8 Grade 8 Advanced Advanced
3 4 Grade 7 Grade 7 Grade 7
Grade 6 Grade 6 Grade 6
Grade 5 Grade 5 Grade 5 Intermediate Intermediate
2 3
Grade 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 Rock & Pop exams
REGULATED TITLES AND QUALIFICATION NUMBERS
Regulated title Qualification
number
Initial
TCL Graded Examination in Rock and Pop (Entry 3) (Initial) 600/3695/3
Grade 1
TCL Level 1 Award in Graded Examination in Rock and Pop (Grade 1) 600/3546/8
Grade 2
TCL Level 1 Award in Graded Examination in Rock and Pop (Grade 2) 600/3588/2
Grade 3
TCL Level 1 Award in Graded Examination in Rock and Pop (Grade 3) 600/3590/0
Grade 4
TCL Level 2 Certificate in Graded Examination in Rock and Pop (Grade 4) 600/3591/2
Grade 5
TCL Level 2 Certificate in Graded Examination in Rock and Pop (Grade 5) 600/3592/4
Grade 6
TCL Level 3 Certificate in Graded Examination in Rock and Pop (Grade 6) 600/3593/6
Grade 7
TCL Level 3 Certificate in Graded Examination in Rock and Pop (Grade 7) 600/3594/8
Grade 8
TCL Level 3 Certificate in Graded Examination in Rock and Pop (Grade 8) 600/3595/X
8Learning outcomes and assessment criteria
Learning outcomes
Learning outcomes and assessment criteria
and assessment criteria
INITIAL
(RQF Entry Level 3)
LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
1.
Produce a performance that 1.1 Perform with adequate continuity and a sense of pulse
demonstrates a basic foundation
on their instrument and shows 1.2 Perform with some evidence of individual interpretation
some interpretation
2.
Perform audibly with a sense
2.1 D
emonstrate some sense of performance with some confidence and
of enthusiasm and enjoyment
capacity for audience engagement
and with some awareness of
audience
3.
Demonstrate that the Demonstrate a generally adequate technique
3.1
foundations of a secure
technique have been established 3.2 Perform with an adequate basic sound
4.
Demonstrate a range of Respond to a quick study piece with attention to note values and pitches
4.1
technical and musical abilities 4.2 Improvise with some melodic development, some harmonic awareness,
through either a quick study and a basic use of instrumental/vocal resources relevant to Initial level
piece or improvisation
9Learning outcomes and assessment criteria
GRADE 1
(RQF Level 1)
LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
1.
Produce a performance that Perform with general continuity and a sense of pulse
1.1
demonstrates preparation and 1.2 Perform with a developing feeling of individual interpretation
the beginnings of interpretation
2. Give a performance that is essentially accurate with general fluency and
2.1
Perform accurately and be able attention to musical and notational details
to create and convey mood to 2.2 Demonstrate an overall sense of performance with basic confidence and
the audience some capacity for audience engagement
3. Demonstrate a generally reliable technique
3.1
Show evidence of a basic
familiarity with the fundamentals 3.2 Perform with an adequate basic sound with some evidence of tonal control
of instrumental/vocal technique and projection
4. Respond to a quick study piece with continuity of pulse and attention to note
4.1
Demonstrate a range of values and pitches
technical and musical abilities
through either a quick study 4.2 Improvise with some melodic development, harmonic awareness, and use of
piece or improvisation basic instrumental/vocal resources relevant to Grade 1
GRADE 2
(RQF Level 1)
LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
1.
Produce a performance that Perform with generally secure rhythm and a sense of pulse
1.1
demonstrates preparation,
understanding and the beginnings Perform with a general feeling of individuality and commitment
1.2
of thoughtful interpretation
2. Give a performance that is generally accurate and fluent with fair attention
2.1
Perform clearly and accurately to musical and notational details
and be able to create and convey
mood to the audience 2.2 Demonstrate a competent sense of performance
3. Demonstrate a competent level of technical ability with varied use of
3.1
Show evidence of a technical instrumental/vocal resources
command of the instrument/voice 3.2 Perform with a good-quality sound that is flexible and well-projected
4. Respond to a quick study piece with continuity of pulse, attention to note
4.1
Demonstrate a range of values and pitches, and some sense of musical interpretation
technical and musical abilities 4.2 Improvise with a creative approach to melodic responses, awareness
through either a quick study of harmonic implications, and generally wide use of instrumental/vocal
piece or improvisation resources relevant to Grade 2
10Learning outcomes and assessment criteria
Learning outcomes and assessment criteria
GRADE 3
(RQF Level 1)
LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
1.
Produce a performance that Perform with secure rhythm and pulse
1.1
demonstrates careful preparation,
understanding and the beginnings 1.2 Perform with clear evidence of an emerging musical personality
of thoughtful interpretation
2.
Perform clearly and accurately, Give a performance that is accurate and fluent with perceptive attention
2.1
with a sense of spontaneity and to musical and notational details
be able to create and convey 2.2 Demonstrate a confident, communicative and consistent sense of performance
mood to the audience
3. Demonstrate a solid command of technique with musical and sensitive
3.1
Show evidence of a fluent control of intonation and other instrumental/vocal resources
technical command of the
instrument/voice 3.2 Perform with good production and projection of sound
4. Respond to a quick study piece with continuity of pulse, attention to note
4.1
Demonstrate a range of values and pitches, and a sense of musical interpretation
technical and musical abilities
through either a quick study 4.2 Improvise with controlled melodic development, appropriate harmonic
piece or an improvisation vocabulary, and full use of instrumental/vocal resources relevant to Grade 3
GRADE 4
(RQF Level 2)
LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
1.
Produce a performance that Give a performance that pays attention to musical and notational details
1.1
demonstrates an understanding Perform with some evidence of stylistic awareness and a general attempt
1.2
of the material, leading to a to convey individual musical intent
personal interpretation
2.
Perform clearly and with Demonstrate an overall sense of performance with confidence and some
2.1
projection, supporting mood capacity for audience engagement
and character and engaging
with the audience
3.
Show evidence of a basic Perform with a generally reliable technique
3.1
exploration of and familiarity 3.2 Perform with an adequate basic sound with some evidence of tonal control
with the fundamentals of and projection
instrumental/vocal technique
4. Respond to a quick study piece with continuity of pulse, attention to note
4.1
Demonstrate a range of values and pitches, and a sense of musical interpretation
technical and musical abilities
through either a quick study 4.2 Improvise with melodic development, harmonic awareness, and use of
piece or improvisation instrumental/vocal resources relevant to Grade 4
11Learning outcomes and assessment criteria
GRADE 5
(RQF Level 2)
LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
1.
Produce a performance Give a performance that pays close attention to musical and notational
1.1
that demonstrates a sound details
understanding of the material, Perform with awareness of and sensitivity to appropriate style, with
1.2
leading to a personal and evidence of an emerging musical personality
imaginative interpretation
2. Give a performance that is rhythmically secure and has a strong sense
2.1
Perform confidently with of pulse
projection, control and 2.2 Perform confidently with a consistent sense of performance and
engagement with the audience engagement with the audience
3. Perform with a solid command of technique, good intonation and a musical
3.1
Show evidence of consistent control of other instrumental/vocal resources
application of developing technical
skills and sound production 3.2 Perform with consistently good production, flexibility and projection of sound
4. Respond to a quick study piece with fluency, accurate notes and tonality,
4.1
Demonstrate a range of technical and detailed phrasing, articulation and dynamics
and musical abilities through 4.2 Improvise with well-controlled and imaginative melodic development,
either a quick study piece or strong planning and structure, appropriate harmonic vocabulary, and full
improvisation use of instrumental/vocal resources relevant to Grade 5
GRADE 6
(RQF Level 3)
LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
1.
Produce a secure and sustained 1.1 Perform with attention to dynamics, articulation and phrasing
performance that demonstrates Perform with general evidence of stylistic awareness and some attempt
1.2
a stylistic awareness and mature to convey individual musical intent and commitment
grasp of the material
2.
Perform with confidence and Demonstrate an overall sense of performance with general confidence
2.1
a sense of ownership and and a recognisable capacity for audience engagement
self-awareness that engages
the audience wholeheartedly
3.
Show familiarity with the full Give a performance that is technically reliable with generally secure
3.1
compass of the instrument/voice intonation and a good quality of tone
and use some advanced techniques
4. Respond to a quick study piece with mostly accurate notes and tonality,
4.1
Demonstrate a range of technical adequate continuity, musical development, and well-planned use of
and musical abilities through instrumental/vocal resources
either a quick study piece or 4.2 Improvise with imaginative melodic development, appropriate harmonic
improvisation procedures, well-planned length, and use of instrumental/vocal resources
12Learning outcomes and assessment criteria
Learning outcomes and assessment criteria
GRADE 7
(RQF Level 3)
LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
1. Perform with a good standard of dynamics, articulation and phrasing
1.1
Produce a secure and sustained
performance that demonstrates Perform with a clear awareness of appropriate style, with an individual
1.2
a sensitive stylistic interpretation musical personality
2.
Perform with confidence and Demonstrate a comfortable sense of performance with consistent
2.1
a sense of ownership and audience engagement
self-awareness, which engages
the audience
3.
Show familiarity with the full Give a performance that is fluent and accurate, with a strong technical
3.1
compass of the instrument/voice facility and a high quality of tone and intonation
and employ advanced techniques
4. Respond to a quick study piece with general accuracy in notes and tonality,
4.1
Demonstrate a range of with continuity and creative musical development, and with a wide use of
technical and musical abilities instrumental/vocal resources
through either a quick study 4.2 Improvise with creative melodic development, harmonic awareness,
piece or improvisation appropriate length and a wide use of instrumental/vocal resources
GRADE 8
(RQF Level 3)
LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
1.
Produce a secure and sustained Perform with keen attention to dynamics, articulation and phrasing
1.1
performance that demonstrates Perform with a high level of musical sensitivity and a convincing grasp of
1.2
a discriminating and sensitive appropriate style, with a clear, distinctive and authoritative musical personality
personal interpretation
2.
Perform with confidence and a
sense of authority and control Perform with confidence and effective engagement with the audience
2.1
that engages the audience
wholeheartedly
3.
Show familiarity with the full
compass of the instrument/ 3.1 P
erform with a strong command of technique with musical and sensitive
voice and employ advanced control of intonation and other instrumental/vocal resources
techniques with even control
across all registers
4. 4.1 R
espond to a quick study piece with accuracy in notes and tonality, fluency,
Demonstrate a range of imaginative musical development, strong planning and construction, and full
technical and musical abilities and creative use of instrumental/vocal resources
through either a quick study 4.2 Improvise with well-controlled and imaginative melodic development, clear
piece or improvisation and appropriate harmonic vocabulary, appropriate length and full and
creative use of instrumental/vocal resources
13About the exam
About the exam
Each exam has two main sections: songs and session skills.
SONGS SESSION SKILLS
(80 MARKS) (20 MARKS)
Choose three songs, including a technical Choose either playback or improvising.
focus song.
SONGS
80 MARKS
SESSION SKILLS
20 MARKS
14About the exam
EXAM STRUCTURE AND MARK SCHEME
Maximum
marks
SONG 1 25
A song chosen from the current Trinity Vocals
songbook, sung to a backing track
SONG 2 25
Either a different song chosen from the
current graded Trinity Vocals songbook
About the exam
Or a song from the additional Trinity vocals
arrangements at trinityrock.com/extra-songs
Or an own-choice song
Or a song composed by the candidate
If song 2 is an own-choice song or one
composed by the candidate it may:
Be unaccompanied
Be sung to a backing track (which can be
pre-recorded by the candidate)
Include a live self-played accompaniment on
any instrument
Include an accompaniment played or sung
live by another musician
SESSION SKILLS 20
Either playback or improvising
SONG 3 30
A technical focus song chosen from the
current graded Trinity Vocals songbook,
containing specific technical elements, sung
to a backing track
TOTAL 100
15About the exam
ORDER OF THE EXAM
Candidates can choose the order of the sections of their exam, and should indicate their
preferred order on the appointment form. This should be given to the examiner at the start
of the exam. If no preference is indicated, the exam will follow the order listed on page 15.
EXAM DURATIONS
Exams are designed to include sufficient time for setting up and presenting all sections, and
overall durations are as follows:
Initial Grade 1 Grade 2
13 mins 13 mins 15 mins
Grade 3 Grade 4 Grade 5
15 mins 20 mins 20 mins
Grade 6 Grade 7 Grade 8
25 mins 25 mins 30 mins
16About the exam
THE EXAM ROOM
The exam room will be equipped with the following:
Stereo pair of left and right PA speakers
A
mplifiers suitable for bass, guitar, keyboards and vocals
CD player
Small mixer connected to examiner’s laptop (used for playing backing tracks)
Digital or acoustic piano (contact centre for details)
Jack-to-jack and mic leads
Table, chairs and a music stand
Vocal microphone and adjustable microphone stand
Adjustable piano stool
A good-quality drum kit which comprises:
— Snare drum with adjustable drum-kit-sized stand
— Toms (three minimum): high/medium/low
About the exam
— Bass drum (18–22”)
— Hi hat (12–14”)
— Ride cymbal (18–22”)
— Crash cymbal (14–18”)
— Adjustable drum stool
A mains power supply will be available at centres — candidates are responsible for the electrical
safety of any of their own equipment used in their exam.
There may be a warm-up room or area where candidates can prepare just before the exam.
Facilities will vary between centres.
17About the exam
TUNING AND SET-UP IN THE EXAM ROOM
Assistance in set-up is permitted up to and Most candidates will perform standing up, but
including Grade 5. From Grade 6 onwards, may sit down for some songs if desired for a
candidates are expected to set up equipment particular effect.
without assistance.
The examiner will have all the backing tracks
for songs in the Trinity songbooks so the
TYPES OF VOICE candidate’s backing tracks are only required
as back-up copies.
All types of male and female voice may enter
for the exams. See page 19 for guidance At the beginning of the exam, the examiner
on transposing songs into different keys or will play the first few bars of the backing track
performing songs written for other voices. of the first song as a sound check, and any
adjustments to volume and set-up can be
made before the exam begins.
MICROPHONES
These exams encourage the development of
good microphone technique. The requirements WHAT TO BRING TO THE EXAM
below apply for performance of songs. Essential — candidates must bring:
Initial: Candidates are encouraged to use a
A
n original Trinity Rock & Pop songbook
microphone, but this is not compulsory for and backing tracks, even if performing
any song. from memory
Grades 1–3: Candidates must use a
Their completed appointment form
microphone for song 3; it is advised but
If performing an own-choice song — the
not compulsory for songs 1 and 2.
original score and one copy for the
Grades 4–5: Candidates must use
examiner, plus the backing track in MP3
a microphone for songs 1 and 3. format on USB stick or CD (if appropriate)
Use of a microphone is advised for
song 2, unless this is sung with live Optional — candidates may bring:
piano or guitar accompaniment.
Their own microphone and lead
Grades 6–8: Candidates must use a
microphone for songs 1 and 3, and for Any other equipment (eg props) required
song 2 unless this is sung with live piano for their performances
or guitar accompaniment.
At all grades it is optional to use a microphone
for session skills.
18Exam guidance: Songs
Exam guidance: Songs
As we assess microphone technique, if one
is used, candidates may bring their own (see
page 18 for full requirements).
For song 2 only, candidates can perform a song
written in another language as an own-choice
SONGS selection. Candidates must supply a copy of
80 MARKS the original language and a translation of the
lyrics into English for the examiner.
Songs 1 and 3 must be sung with the backing
track. Only song 2 may be sung unaccompanied
(if appropriate — see further details below).
The vocals arrangements are as authentic as
possible to the original songs. All songs should
SONG 1
be sung with attention to breath control, Song 1 must be selected from the current
articulation, diction appropriate to the style, Trinity Vocals songbook for the grade,
ad libs consistent with the genre, control of and must be performed with the Trinity
tone in sustained notes and when moving backing track.
Exam guidance: Songs
across the vocal range, and attention to the
dynamics. It’s important to musically represent
the lyrics. SONG 2
Song 2 may be selected from the current
Ranges are given alongside each song, using Trinity Vocals songbook for the grade, or it
the Helmholtz system:
can be an own-choice song.
Own-choice songs must be equivalent in
standard to the songs in the Trinity Vocals
songbook for the grade. Parameters indicating
C c c' c'' c''' the length and level of difficulty required
at each grade are listed on pages 22–27.
Although at Grades 6–8 there are different Please note that revised own-choice
lists for male and female voices, these are parameters apply for this syllabus.
interchangeable and any song may be sung
by another voice. The own-choice song can be:
All songs can be transposed into a different Sheet music from a printed or online source
key to suit the range of the performer. An original song that the candidate
The transposition tool available at has written
trinityrock.com enables songs to be transposed
by +/– 5 semitones; the new key versions cover version that the candidate
A
can be saved to MP3 and used in the exam. has arranged
Please note that the examiner will not have Own-choice songs can:
their own transposed versions of backing tracks,
so it’s important that candidates bring their Be unaccompanied
transposed tracks to the exam. Be sung to a backing track (not including
the solo part) — this can be self-created
19Exam guidance: Songs
Include added accompaniment, performed PERFORMANCE AND INTERPRETATION
live by the candidate on any instrument Trinity’s Rock & Pop exams are designed
Be accompanied live by a musician, either to encourage musical performances that
playing or singing — the additional musician reflect a candidate’s own personal style and
should remain in the exam room for song 2 approach. This is because we understand that
only and may be a teacher contemporary music is flexible in its stylistic
interpretation, particularly at the higher
Candidates must provide a (photo)copy of grades. However, performances should not be
their chosen song for the examiner, with simplified and musical integrity should always
name and candidate number clearly shown. be maintained.
The examiner will retain this copy. Own-choice
songs may be presented as an original score,
handwritten or computer generated, in one REPEATS, EXPRESSIVE TECHNIQUES
of the following formats: AND TEMPI
A lead sheet with lyrics, chords and All songs should be prepared in full with all
melody line repeats, da capo and dal segno instructions and
A chord chart with lyrics 1st and 2nd time bars observed. Candidates are
encouraged to include a range of expressive
A
full score using conventional staff notation techniques such as vibrato, grace notes,
A song from the 2015–2017 Trinity Rock & Pop slides, staccato, changing vocal qualities, etc
syllabus may be selected as an own-choice appropriate to the style of the song, particularly
song, provided that it meets the current in the higher grades. Candidates should observe
own-choice parameters. A list of suitable songs terms showing tempo, dynamics, character and
can be found at trinityrock.com style of the music
SONG 3 BACKING TRACKS
Backing tracks for own-choice songs must be
Three of the songs in each Trinity songbook
of good quality, in MP3 format and presented
are identified as technical focus songs, and
on a USB stick or computer-readable audio CD.
these are marked with [TF] in the song
They must not include the solo part.
list sections of this syllabus. One of these
should be chosen for song 3, and it must be
performed with the Trinity backing track. PERFORMING FROM MEMORY
These songs are designed to develop technical Candidates may perform any or all of their
skills, and each song has two technical elements songs from memory. However, this is not
identified. Guidance on the preparation of these compulsory and no additional marks are
technical skills is included in the songbooks. given for this.
For the technical focus song, higher marks are
available in the technical control component MUSIC AND COPIES
to reflect the increased emphasis on this area.
It is essential that candidates bring an original
Examiners will refer to the technical elements
copy, or an authorised download, of the music
in their comments.
being performed into the exam room. If an
If a candidate includes two or three technical unauthorised copy is used, Trinity may not
focus songs in their set list, they should clearly award marks for that song. Original copies of
indicate on the appointment form which one is own-choice sheet music can be purchased or
to be examined as the technical focus song. downloaded from music shops and publishers.
Proof of purchase will be required for downloads.
Allowances cannot be made for delays in
obtaining printed music.
20Exam guidance: Songs
COPYRIGHT IN A SONG PARAMETERS FOR OWN-CHOICE SONGS
Points to remember: Own-choice songs should match the standard
of songs in the Trinity Vocals songbook for the
Candidates can create a cover version of
appropriate grade.
a song and perform it in an exam or other
non-public performance The following tables give guidelines for what
C
andidates cannot record a cover version might be included at each grade. All techniques
or make recordings available to others are cumulative, but it is not expected that
(by uploading it to a website or copying it) songs will contain everything in the list — this
without the appropriate licence is intended to be a general guide to the type of
techniques appropriate at each grade.
C
andidates own the copyright of any songs
they have written themselves Please note that if the length of the song is
towards the maximum end of the time limit
Further information is available at then examiners may stop the performance once
trinityrock.com/syllabus they have heard enough to form a balanced
assessment. Songs that exceed the required
duration will be stopped when the maximum
OBTAINING MUSIC FOR THE EXAM length is reached. Own-choice songs may be
Trinity’s Rock & Pop songbooks contain eight shortened from the original if necessary, for
songs (including three technical focus songs), example by cutting instrumental intros and
plus background information on the songs outros, or by limiting the number of verses.
and performance tips. They are available from
trinityrock.com/shop or from your local music If candidates choose a style of song which
shop. See page 52 for further details. relies on spoken or ‘belted’ sections (eg rap,
Exam guidance: Songs
metal, story-telling ballad, etc) they must
ensure there is sufficient demonstration of
vocal techniques appropriate to the grade.
21Exam guidance: Songs
INITIAL
Duration 45 seconds – 2 minutes
Rhythmic values Simple rhythms, can include swung quavers
Syncopation Occasional simple syncopation
Dynamics mp, mf, f — few changes, simple contrasts only
Range and register No more than an octave, within one register
To suit vocal range — normally no more than one or two sharps or flats,
Keys
can include modal tonality
Melodic writing
Simple melodies — mainly stepwise movement within phrases
and intervals
Other directions/ Slurs and legato phrasing, simple breath control through balanced
techniques phrase lengths
Improvisation None
Time signatures , ,
Tempos 60–130 bpm
Accompaniment Supportive backing with clear entries guided by accompaniment
22Exam guidance: Songs
GRADE 1
Duration 1 – 2.5 minutes
More rhythmic variety — triplets can appear but rhythms still mostly
Rhythmic values
simple and straightforward
Syncopation Simple syncopation featuring more often
Dynamics p, mp, mf, f with occasional hairpins
Range and register As Initial
Occasional use of up to four sharps/flats if musically appropriate, but
Keys
mainly maximum two sharps/flats
Melodic writing
Wider melodic leaps up to a 6th used sparingly
and intervals
Other directions/ Mainly legato singing with some more accented and articulated phrases,
techniques blue notes
Improvisation None
Time signatures As Initial
Exam guidance: Songs
Tempos 60–160 bpm
Accompaniment Relatively supportive backing
23Exam guidance: Songs
GRADE 2
Duration 1.5 – 3 minutes
Wider range of rhythmic variety, occasional complexity and unexpected
Rhythmic values
rhythmic patterns within broadly straightforward rhythms
Syncopation Syncopation becoming a standard part of melodic writing
As Grade 1 but with crescendos/decrescendos within phrases and greater
Dynamics
use of contrasts
Up to a 10th, use of both lower and upper registers but no swift changes
Range and register
between the two
Keys Up to four sharps/flats
Melodic writing Occasional leaps up to a 7th, intervals up to a 4th a standard part of
and intervals melodic writing
Other directions/ Long notes and sustained phrases, chest voice or lower range
techniques with projection
Improvisation None
Time signatures , occasional changes of time signature
Tempos 50–160 bpm
Accompaniment Relatively supportive with some rhythmic independence
24Exam guidance: Songs
GRADE 3
Duration 1.5 – 3.5 minutes
Rhythmic values Increasing rhythmic complexity and variation
Syncopation Can be present throughout
pp, ff, increased use of crescendo/diminuendo on longer phrases and
Dynamics
long notes
Range and register As Grade 2 but with occasional faster register changes
Keys As Grade 2
Melodic writing
As Grade 2, leaps more frequent
and intervals
Other directions/ Grace notes, staccato phrases, vocal emphasis of consonants to enhance
techniques style/emotion in fast rhythms and in slow sustained ballads
Improvisation None
Time signatures ,
Exam guidance: Songs
Tempos Full range of tempos, tempo changes within songs
Relatively supportive accompaniment, more independent vocal entries,
Accompaniment
less guidance in accompaniment
25Exam guidance: Songs
GRADE 4
Duration 2.5 – 4 minutes
Rhythmic values All rhythms can be used, increasing in complexity as the level increases
Syncopation Present throughout, increasing in complexity as the level increases
Time signatures All regular time signatures
Dynamics All dynamics
Up to an 11th; moving between high and low registers more common,
Range and register
including fast changes
Keys Any key, including key changes
Melodic writing Octave leaps can be used, melodic writing can use any interval,
and intervals occasional chromaticism
Other directions/
Increasing complexity to test articulation and melodic agility
techniques
Improvisation Improvised solos of about four bars
Accompaniment Moderately supportive backing
GRADE 5
Duration 2.5 – 4 minutes
Time signatures Irregular time signatures, more frequent changes of time signature
Range and register Up to a 12th
Melodic writing
Increased chromaticism, use of pentatonic and blues scales
and intervals
Other directions/
Melisma
techniques
Improvisation Improvised solos of about eight bars
Accompaniment Moderately supportive backing
26Exam guidance: Songs
GRADE 6
Duration 3 – 4.5 minutes
Range and register Up to a 13th
Melodic writing Leaps of over an octave, technically more challenging downward leaps
and intervals can appear
Other directions/ Effects such as creaks, growls, slides, screams, glottal and theatrics/
techniques dramatisations; occasional rap elements
Improvisation Improvised solos of about 12 bars
Accompaniment Backing becoming independent
GRADE 7
Duration 3 – 4.5 minutes
Range and register Up to a 14th
Melodic writing Further development of downward leaps, a high level of agility and
Exam guidance: Songs
and intervals freedom of movement between registers
Other directions/ Further development of techniques introduced at Grade 6, greater use
techniques of rap if musically appropriate
Improvisation Improvised solos of about 16 bars
Accompaniment Almost fully independent backing
GRADE 8
Duration 3.5 – 5 minutes
Range and register Up to two octaves
Melodic writing Vocal parts requiring advanced tonal and melodic control; leaps across
and intervals the complete range if musically appropriate, including downward leaps
Other directions/
Full range of techniques
techniques
Improvisation Multiple improvised solos of any length
Accompaniment Backing can be fully independent
27Exam guidance: Session skills
Exam guidance: Session skills
Candidates should listen to the backing track,
repeating what they hear, reading the music
from the song chart if they wish. The test
consists of a series of short melodic phrases,
and candidates should repeat each of these
SESSION straight back in turn. A count-in is given at the
SKILLS beginning of the backing track, and a backing
20 MARKS rhythm is played throughout.
In the exam, candidates have two chances to
sing along with the track:
First time — for practice
Second time — for assessment
Contemporary musicians need to develop a
range of listening and improvisation skills, Candidates should follow the musical direction
whether they are an artist or session musician. in the written score, and copy the expressive
The session skills tests have been specifically techniques heard on the track. No variation
designed to develop and reinforce those skills. or improvisation is required — the song chart/
recording should be copied as accurately
Candidates choose either playback or as possible, including details of phrasing,
improvising, and can choose whether to articulation and dynamics. The music is
use a microphone. printed without text and may be sung to any
vowel (with or without consonant) or to sol-fa.
PLAYBACK Technical expectations for the playback test
are given in the table on pages 30–31.
Professional musicians need excellent listening
and sight reading skills. The playback test All requirements are cumulative, meaning
develops both. that tests may also include requirements from
lower grades.
Candidates choosing this option are required
to perform some music they have not seen or Sample tests are available in our Session Skills
heard before. books (see page 52) and free examples can be
downloaded from trinityrock.com
Candidates are given a song chart and have
30 seconds to study it and try out any
sections. The starting note is given at the
start of this period. The examiner then plays
the backing track.
28Exam guidance: Session skills
IMPROVISING In the exam candidates have two chances to
sing along with the track:
Improvisation is a key skill for contemporary
musicians. Many of the best songs came First time — for practice
from studio improvisation sessions.
Second time — for assessment
Improvisation skills allow singers to work with
other musicians to bounce creative ideas Candidates are responsible for choosing a
around and develop their own songs or unique suitable tone quality and using appropriate
cover versions. When on stage, improvisation expressive techniques to communicate
can help bring excitement and colour to the the style of the music. This may include
live performance. Improvisation can develop (depending on the grade of exam being taken):
creative musicianship skills that unlock a choosing a suitable phrase or lyric; changing
variety of musical styles and technical ability. the vocal tone, range and rhythmic pattern
Our tests are designed to introduce candidates at some point to add contrast and develop
to improvisation gradually, creatively and with the material sung; using a variety of dynamic
a range of supporting resources. levels; use of sustained phrases, vocal effects
and articulations appropriate to the style.
Candidates choosing this option are required
The music is printed without text and may be
to improvise in a specified style over a
sung to any vowel (with or without consonant)
recorded backing track that they have not
or to sol-fa.
seen or heard before. The backing track
consists of a passage of music played on a loop. Technical expectations for the improvisation
test are given in the table on pages 32–33.
Candidates are given a chord chart and the
examiner plays a short section of the backing All requirements are cumulative, meaning
Exam guidance: Session skills
track so they can get a feel for the tempo and that tests may also include requirements from
style. They then have 30 seconds to study it lower grades.
and try out any sections. The examiner then
Sample tests are available in our Session Skills
plays the backing track.
books (see page 52) and free examples can be
Candidates should improvise in the given style downloaded from trinityrock.com
over the backing track, which is played four
times through before fading out. A count-in is
given at the beginning of the recording, and a
backing rhythm is played throughout.
29Exam guidance: Session skills
Playback
Initial Grade 1 Grade 2 Grade 3
Total length 8 bars 8 to 12 bars
Length of
repeated 2 bars 2 to 4 bars
sections
Time signatures
dotted
crotchets,
minims, semibreves,
Note values dotted minims semiquavers,
crotchets quavers
swung
quavers
semibreves,
Rest values crotchets minims,
quavers
mp and mf,
Dynamics and no dynamics
p and f staccato and
articulation or phrasing
legato, accents
C major, G major, F major, D major,
Keys
A minor E minor D minor B minor
stepwise
major/minor
Intervals movement perfect 4th perfect 5th
3rd
only
Overall melodic
a 4th a 6th an octave
range
blues scale,
Additional
ties chromatic
parameters
melodic notes
Please note that all requirements are cumulative.
30Exam guidance: Session skills
Grade 4 Grade 5 Grade 6 Grade 7 Grade 8
12 to 16 bars 16 to 20 bars 20 to 24 bars
4 to 8 bars
time signature
, , , , , changes
crotchet
triplets, dotted
dotted semiquavers,
quaver triplets duplets
quavers demisemiquavers,
semiquaver
triplets
dotted dotted
semiquavers
crotchets quavers
Exam guidance: Session skills
any common
crescendo and
pp, ff and sfz tenuto, subito terms and
diminuendo
signs
any major or
A major, E major, minor key up any major or
C minor G minor to 5 sharps or minor key
flats
major/minor major/minor major/minor major/minor
octave
6th 7th 10th 12th
an 11th a 12th
chord symbols key changes
syncopation included in the within the
song chart song
31Exam guidance: Session skills
Improvising
Initial Grade 1 Grade 2 Grade 3
Total bars 4 8
Time signatures ,
& rhythm swung
quavers
Harmonic 1 chord per
changes bar
Solo break
Any major or
Keys Any major key
minor key
diatonic
I, IV and
chord on any
V chords,
degree of the
Chords simple major 7th chords
scale (not
and minor
diminished or
chords only
augmented)
simple rock, ballad,
Styles country blues
pop heavy rock
Please note that all requirements are cumulative.
32Exam guidance: Session skills
Grade 4 Grade 5 Grade 6 Grade 7 Grade 8
12 16
, time signature
, changes
syncopation
more varied
some use of
rate of
2 chords
harmonic
per bar
change
up to 2 bars up to 4 bars
Exam guidance: Session skills
major and
power chords,
minor 9ths,
major 7th and added 6th
diminished any common
minor 7th sus 4 chords chords (major
and chords
chords and minor),
augmented
slash chords
chords
any common
style including
funk, jazz,
reggae, Latin, hybrid styles
shuffle, boogie-woogie,
R ‘n’ B metal (eg jazz funk,
disco boogie-style rock
Latin soul,
samba)
33Exam guidance: Marking
Exam guidance: Marking
HOW THE EXAM IS MARKED HOW THE SONGS ARE MARKED
The examiner gives comments and marks for Each song is awarded three separate marks
each section of the exam, up to the maximums corresponding to three specific musical
listed on page 15. components, allowing candidates to receive
precise feedback about specific aspects of
It is not necessary to pass all sections or any
their performance. These marks combine to
particular section in order to achieve a pass
give an overall mark for the song.
overall. No marks are awarded for a section
if no attempt is made.
The three components are:
The total mark for the exam corresponds
to different attainment levels as follows: Fluency & security
Fluency, synchronisation with the backing
Overall mark Attainment level track, security in notes and rhythm.
Technical control
87–100 DISTINCTION Ability to control the voice effectively,
75–86 MERIT achieving the various technical demands
of the song; sound quality.
60–74 PASS Communication & style
45–59 BELOW PASS 1 Stylistic understanding (eg mood and
character), musical detail (eg dynamics
0–44 BELOW PASS 2 and articulation), audience engagement.
Marks are awarded for these, to form a
maximum total mark for each song as follows:
Songs Song 3 Component
1&2
8 8 FLUENCY & SECURITY
8 12 TECHNICAL CONTROL
COMMUNICATION
9 10
& STYLE
TOTAL MAXIMUM
25 30 MARK FOR
EACH SONG
34Exam guidance: Marking
The marks for song 3 are different because HOW SESSION SKILLS ARE MARKED
higher marks are awarded under technical Session skills are awarded a single mark that
control to reflect the two areas of technical focus. corresponds to different attainment levels
Total marks awarded for songs correspond to as follows:
the attainment levels as follows:
Overall mark Attainment level
Songs Song 3 Attainment level
1&2 17–20 DISTINCTION
22–25 26–30 DISTINCTION 15–16 MERIT
19–21 22–25 MERIT 12–14 PASS
15–18 18–21 PASS 9–11 BELOW PASS 1
11–14 14–17 BELOW PASS 1 0–8 BELOW PASS 2
0–10 0–13 BELOW PASS 2
Exam guidance: Marking
35Exam guidance: Marking
HOW THE SONGS ARE MARKED
Examiners use the criteria below to decide on the mark:
Fluency & 8 MARKS 7 MARKS 6 MARKS
security
Excellent fluency Very good sense Good sense of fluency
and synchronisation. of fluency and and synchronisation
Very high level of synchronisation with though with
security in notes only momentary lapses. occasional lapses.
and rhythm. High level of security Good level of security
in notes and rhythm in notes and rhythm
with minimal despite occasional
inaccuracies. inaccuracies.
Technical 8 MARKS 7 MARKS 6 MARKS
control
Technical demands Technical demands Technical demands
(Songs 1 & 2)
fulfilled to a very fulfilled with only largely fulfilled
high degree. momentary though with
Excellent sound quality. insecurities. occasional insecurities.
Very good sound Good sound quality
quality with minimal despite occasional
blemishes. lapses.
Technical 12 MARKS 10-11 MARKS 8-9 MARKS
control
Technical focus Technical focus elements Technical focus
(Song 3)
elements fulfilled to fulfilled with only elements largely
a very high degree. momentary insecurities. fulfilled though with
Excellent sound quality. Very good sound quality occasional insecurities.
with minimal blemishes. Good sound quality
despite occasional
lapses.
Communication 9 MARKS (SONGS 1 & 2) 8 MARKS (SONGS 1 & 2) 6-7 MARKS (SONGS 1 & 2)
& style 10 MARKS (SONG 3) 9 MARKS (SONG 3) 7-8 MARKS (SONG 3)
Highly convincing Very good communication Good communication
communication and engagement with only and engagement
and engagement. momentary insecurities. overall though with
Excellent stylistic Very good stylistic occasional insecurities.
understanding and understanding and Good stylistic
realisation of musical realisation of musical understanding
detail. detail with minimal and realisation of
lapses. musical detail despite
occasional lapses.
36Exam guidance: Marking
5 MARKS 3-4 MARKS 1-2 MARKS
Generally reliable level of Unreliable fluency Little or no sense of fluency
fluency and synchronisation and synchronisation. or synchronisation.
though with some lapses. Unreliable level of security Extremely unreliable level of
Reasonable level of security in notes and rhythm. security in notes and rhythm.
in notes and rhythm despite
some inaccuracies.
5 MARKS 3-4 MARKS 1-2 MARKS
Technical demands generally Technical demands often Technical demands hardly
fulfilled though with not fulfilled. or not at all fulfilled.
some insecurities. Unreliable sound quality. Basic sound quality not
Basic sound quality achieved achieved.
despite some lapses.
7 MARKS 4-6 MARKS 1-3 MARKS
Technical focus elements Technical focus elements Technical focus elements
generally fulfilled though often not fulfilled. hardly or not at all fulfilled.
with some insecurities. Unreliable sound quality. Basic sound quality not
Basic sound quality achieved achieved.
despite some lapses.
Exam guidance: Marking
5 MARKS (SONGS 1 & 2) 3-4 MARKS (SONGS 1 & 2) 1-2 MARKS (SONGS 1 & 2)
6 MARKS (SONG 3) 4-5 MARKS (SONG 3) 1-3 MARKS (SONG 3)
Generally reliable level Unreliable communication Little or no communication
of communication and and engagement. and engagement.
engagement though with Unreliable stylistic Extremely unreliable stylistic
some insecurities. understanding and understanding and realisation
Reasonable stylistic realisation of musical detail. of musical detail.
understanding and
realisation of musical
detail despite some lapses.
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