Guitar Syllabus Classical & Plectrum Grade exams 2016–2019 Trinity College London www.trinitycollege.com Charity number 1014792 Patron HRH The Duke of Kent KG Copyright © 2015 Trinity College London Published by Trinity College London Online edition, 27 November 2017 Contents Introduction ........................................................................................................................3 Why take a Trinity grade exam? ...........................................................................4 Range of qualifications ...............................................................................................5 About this syllabus .......................................................................................................6 About the exam ...............................................................................................................7 Exam structure and mark scheme....................................................................................7 Pieces.........................................................................................................................................8 Own composition ..................................................................................................................10 Mark scheme for pieces .......................................................................................................11 Technical work .......................................................................................................................12 Supporting tests: ..................................................................................................................13 Sight reading ....................................................................................................................14 Aural ...................................................................................................................................16 Improvisation ...................................................................................................................19 Musical knowledge ........................................................................................................23 Requirements: Guitar (subject code GTR) .................... In 1 2 3 4 5 6 7 8 Plectrum guitar (subject code PLE) .. In 1 2 3 4 5 6 7 8 Information and regulations ................................................................................60 Music publishers ..........................................................................................................64 Introduction I am delighted to introduce this syllabus containing details of grade exams for guitar. Like all Trinity College London (‘Trinity’) syllabuses, this syllabus is designed to enable candidates of all levels and abilities to demonstrate their skills in a way that suits their individual needs as learners. It does this by offering unrivalled flexibility of choice within each section of the exam, as well as giving candidates the opportunity to express their own musical identities through options to improvise and perform original compositions. Underpinning these innovative features is a uniquely diagnostic mark scheme, ensuring that candidates receive precise and specific feedback to inform their continued learning. Trinity aims to treat each candidate individually when considering how we can make our exams accessible to all, recognising that requirements vary. Please visit www.trinitycollege.com/music (‘our website’) for more information or contact us directly to discuss any specific requirements. We hope you enjoy exploring the music on offer in this syllabus, and we wish you every success in your exams and wider music-making. Further information on all our exams, as well as additional supporting materials for teachers and candidates, can be found on our website. Francesca Christmas Head of Academic Governance — Music 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. Trinity College London is an awarding body recognised by the Office of Qualifications and Examinations Regulation (Ofqual) in England and Northern Ireland, and by Qualifications Wales (QW). Trinity’s qualifications are regulated by these authorities within the Regulated Qualifications Framework (RQF). Various arrangements are in place with governmental education authorities worldwide. In the UK, Trinity’s Grade 6–8 exams can contribute towards entry into higher education through the allocation of UCAS points. Please see our website for full details. 3 Back to contents Why take a Trinity grade exam? Recognising that there is no single approach to musical assessment, Trinity’s grade exams are guided by a core philosophy of flexibility, placing the needs of individual candidates at the heart of the exam. This is done by:  offering freedom of choice within the exam to enable candidates to play to their strengths  examining real musical skills that are specific to each instrument or the voice  allowing candidates to express their own musical identities through options to improvise and present original compositions  using a diagnostic mark scheme, offering precise and specific feedback to inform continued learning  linking closely with Trinity’s other music qualifications to provide flexible progression routes  drawing on Trinity’s many relationships around the world to feature repertoire inspired by a range of musical genres, as well as exciting new works by up-and-coming composers. As well as incorporating these innovative features, Trinity’s graded music exams are delivered by a panel of friendly examiners who are rigorously trained and standardised. This aims to create a positive and personalised experience for all candidates. 4 Back to contents R ange of qualifications Trinity’s music qualifications offer flexible progression routes from beginner to advanced levels in a range of musical genres. All are designed to help candidates develop as musicians according to their individual needs as learners. Grade exams assess a broad range of musicianship skills, including performance, while certificate exams focus entirely on performance, including separate marks for presentation skills. Candidates can enter any combination of grade or certificate exams, and do not need to pass any particular level in order to proceed to a higher level. Each level features an equivalent grade theory exam, supporting candidates in developing their understanding of the technical language of music. However, no theory qualifications or other prerequisites are required to enter grade or certificate exams at any level. After Grade 8 or the Advanced Certificate, candidates can progress to diplomas at associate (ATCL), licentiate (LTCL) and fellowship (FTCL) levels. These assess higher skills in performance, teaching, theory and composition. Adults who work as music educators may also wish to consider Trinity’s Level 4 Certificate for Music Educators (Trinity CME). This syllabus focuses on grade exams in guitar. Visit our website for more information about other grade exams, certificate exams, diplomas, the Trinity CME, and Music Tracks — an initiative designed to support teachers in delivering large- and small-group instrumental tuition. RQF* EQF** Classical Rock Theory Music Solo Group Level Level & Jazz & Pop & Written Tracks† Certificate † Certificate † 7 7 FTCL FMusTCL 6 6 LTCL LMusTCL ATCL AMusTCL 4 5 Certificate for Music Educators (Trinity CME) 3 4 Grade 8 Grade 8 Grade 8 Advanced Advanced Grade 7 Grade 7 Grade 7 Grade 6 Grade 6 Grade 6 2 3 Grade 5 Grade 5 Grade 5 Intermediate Intermediate Grade 4 Grade 4 Grade 4 1 2 Grade 3 Grade 3 Grade 3 Foundation Foundation Grade 2 Grade 2 Grade 2 Track 2 Grade 1 Grade 1 Grade 1 Track 1 Entry 1 Initial Initial Initial Track Level 3 Entry First Access Levels 1–2 Track * Regulated Qualifications Framework in England, † Not RQF or EQF regulated Wales and Northern Ireland ** European Qualifications Framework 5 Back to contents About this syllabus The objective of Trinity’s grade exams is to provide a framework for progress and enjoyment in musical performance. They assess musical performance, technical ability and responses to set musical tests through live practical assessment. They offer learners of any age the opportunity to measure their development as performers against a series of internationally understood benchmarks, taking them from beginner level to the point at which they can progress to higher education in music, or enter for Trinity’s performance diplomas. This syllabus is designed to give guitarists the freedom and choice to demonstrate the full extent of their musicianship. Wide-ranging repertoire lists are provided, including a number of specially commissioned pieces, and candidates at Initial–Grade 3 can perform duets with their teacher or any other player. A completely revised technical work section includes the option to perform studies or concerto extracts as an alternative to scales and arpeggios, and there is flexibility of choice within the supporting tests at all grades. Syllabus support materials, teaching resources and discussion forums may be found on the Trinity Music Support pages of our website. The following pages provide more detail on the different sections of the exam. 6 Back to contents A bout the exam Exam structure and mark scheme Initial–Grade 5 Max. marks Grades 6–8 Max. 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 T echnical exercise and T echnical exercise and either scales & arpeggios either scales & arpeggios or studies* or studies/concerto extracts* Supporting tests 10 Supporting test 1 10 Any TWO of the following: 10 sight reading sight reading Supporting test 2 10 or One of the following: aural or improvisation improvisation or or aural m usical knowledge Total 100 100 Comments and marks are given for each section of the exam, up to the maximums listed in the table above. It is not necessary to pass all sections or any particular section in order to achieve a pass overall. The total mark for the exam corresponds to different pass/below pass bands as follows: Overall mark Band 87–100 Distinction 75–86 Merit 60–74 Pass 45–59 Below pass 1 0–44 Below pass 2 Candidates may present the sections of the exam in an order of their choice, 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, pieces are heard first in exams for accompanied instruments, and technical work is heard first in exams for unaccompanied instruments. * For plectrum guitar technical work all sections must be prepared. 7 Back to contents A bout the exam Exams are designed to allow sufficient time for setting up and presenting all sections. Level Exam duration (minutes) Initial 11 Grade 1 13 Grade 2 13 Grade 3 13 Grade 4 18 Grade 5 18 Grade 6 23 Grade 7 23 Grade 8 28 Pieces Piece choice and programming  Candidates must perform three pieces, and are encouraged to present a balanced programme.  Pieces for classical guitar are divided into two groups: group A and group B. Candidates at Initial to Grade 3 must choose at least one piece from each group; the third piece may be chosen from either group. Candidates at Grades 4–8 must choose one piece from group A and two pieces from group B. Pieces for plectrum guitar are not divided into groups, and candidates may choose freely from the list.  Candidates are not permitted to select repertoire from both classical and plectrum guitar lists in the same exam. All repertoire must be selected from the lists for the subject entered. Performance and interpretation  All pieces must be prepared in full unless otherwise stated.  Repeats of more than a few bars should not be played unless otherwise stated.  All da capo and dal segno instructions should be observed.  Cadenzas should be omitted unless otherwise stated.  Candidates are encouraged to use appropriate ornamentation, particularly at Grades 6–8.  All tempo and performance markings should be observed (eg Allegro, rall., cresc.). Metronome marks are given as a guide but do not need to be observed exactly, as long as the style and character of the piece is maintained.  Candidates may perform any or all of their pieces from memory, although this is not compulsory and no additional marks are given for this. Page turns  The examiner will not be able to act as a page turner. Difficult page turns may be overcome by photocopying the relevant pages. 8 Back to contents About the exam Instruments and tuning  Classical guitar candidates should note that all requirements are based on a hollow-bodied instrument strung in nylon. Acoustic guitars with six steel strings and electric guitars are not suitable for the classical guitar syllabus and should not be used. Classical guitars with cutaways are acceptable.  Plectrum guitar candidates should note that all requirements are based on either a steel-stringed acoustic guitar or an electric guitar. However, a classical guitar may be used up to and including Grade 5.  All plectrum guitar pieces and technical work must be played with a plectrum. Classical guitar pieces and technical work must not be played with a plectrum.  The use of a capo is only permitted to replicate Renaissance lute tuning.  Candidates with electric guitars must provide their own portable amplifier and lead.  Classical guitar candidates are expected to provide and use a footstool or equivalent support. Plectrum guitar candidates may also do so but this is not a requirement. Alternatively, plectrum guitar candidates may choose to perform standing up.  Younger candidates are permitted to use half- or three-quarter-sized instruments.  All candidates are responsible for tuning their own instruments. Up to and including Grade 5, the teacher or accompanist may assist with tuning. At Grades 6–8, candidates must tune their instruments without assistance. Electronic tuners may be used up to and including Grade 5. Duets  Candidates who choose duets may perform these with a teacher, another adult or student.  Alternatively, the accompanying line may be pre-recorded in exams up to and including Grade 3, but candidates must provide their own playback equipment and must operate it themselves. Music and copies  Candidates are responsible for obtaining the music for their exam in good time prior to entering. Candidates are advised to check the availability of pieces before deciding to perform them.  Recommended editions are listed in the syllabus, but candidates may perform from any edition as long as it has not been shortened or otherwise simplified. Where a particular edition must be used, this is indicated in the syllabus. Product codes for publications are included where available.  Guidelines regarding the legitimacy of all forms of sheet music can be obtained from the UK Music Publishers Association’s Code of Fair Practice, available at www.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 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 may be awarded no marks.  Candidates must provide photocopies of all pieces to be performed (excluding Trinity publications) as a reference for the examiner. Photocopies will be retained by the examiner and destroyed after the exam.  If the music is transfered into tablature, a copy of the standard notation must be provided for the examiner. Standard notation will be used in the musical knowledge test, if chosen.  Where music has been downloaded, candidates must bring proof of purchase or the web address where it was accessed for the examiner’s reference. 9 Back to contents A bout the exam Own composition Candidates can choose to present an own composition as one of their pieces. The focus of the assessment for this is on performance, using the same assessment criteria as for all other pieces. Marks will not be awarded for the quality of the composition. Own compositions may be accompanied or unaccompanied, and must be comparable in technical and musical demand to the pieces listed for the same grade. Examples of compositional techniques which may be used at each level are given in the table below, and candidates may use the sample openings available on the Trinity Music Support pages of our website if they wish. A typeset or handwritten copy of the composition must be given to the examiner at the beginning of the exam. At Initial to Grade 5 own compositions may be notated in any coherent form, including graphic score or lead-sheet. At Grades 6–8 they must be notated on a stave. Marks will be deducted if notation is incomplete or inaccurate, or if the performance varies significantly from the notation. Own compositions should largely be candidates’ own unaided work, although teachers may offer guidance as necessary. Grade Duration (mins) Examples of composition techniques  Use of different rhythmic values Initial 0.5–1  Clear melodic line  Use of keys stipulated for technical work at this grade  Dynamic contrast Grade 1 approx. 1  Simple syncopation or other rhythmic feature  Use of keys stipulated for technical work at this grade  Use of different articulations Grade 2 1–1.5  Simple melodic ornamentation or inflection  Use of keys stipulated for technical work at this grade  Form should show clear sections (eg ‘ABA’) Grade 3 1.5–2  Melodic range of one octave or more  Use of keys stipulated for technical work at this grade  Tempo changes Grade 4 2–3  Use of a variety of different articulations  Use of keys stipulated for technical work at this grade  Chromaticism Grade 5 3–4  Use of semiquaver passages  Use of keys stipulated for technical work at this grade  More advanced use of form (eg theme and variations)  Extensive range Grade 6 4–5  More advanced melodic ornamentation or inflection  Use of any key  Modulation Grade 7 approx. 5  Use of irregular time signatures  Use of any key  Wide range of expressive techniques  Creative use of form Grade 8 5–6  Extended techniques, wide range, chromaticism and rhythmic variation  Use of any key 10 Back to contents