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woodwind syllabus 2017 online edition
Typology: Study notes
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Trinity College London www.trinitycollege.com Charity number 1014792 Patron HRH The Duke of Kent KG Copyright © 2016 Trinity College London Published by Trinity College London Online edition, 2 March 2018
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 music grade 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.
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 woodwind. 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.
This syllabus is designed to give woodwind players the freedom and choice to demonstrate the full extent of their musicianship. Wide-ranging repertoire lists are provided, with few limitations placed on programme selection. Technical work includes the option to perform exercises, studies or orchestral extracts as an alternative to scales and arpeggios, and there is flexibility of choice within the supporting tests at all grades.
The following pages provide more detail on the different sections of the exam.
Piece 1 22 Piece 1 22
Piece 2 22 Piece 2 22 Piece 3 22 Piece 3 22
Technical work Either scales & arpeggios or exercises
14 Technical work Either scales & arpeggios or orchestral extracts/study*
Supporting tests Any TWO of the following: sight reading or aural or improvisation or musical knowledge
Supporting test 1 sight reading
Supporting test 2 One of the following: improvisation or aural
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.
Candidates must perform three pieces, and are encouraged to present a balanced programme.
Pieces by at least two composers must be played.
Pieces are divided into two groups: group A and group B. Candidates must choose two pieces from group A and one piece from group B. Candidates may substitute one piece for an own composition (see page 13).
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.
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.
Piccolo and alto flute may be used only where stated in the syllabus.
Instruments should be played without any additional embouchure attachment.
Plastic instruments and instruments with curved headjoints may be used at all grades. However, please note that examiners use Trinity’s standard assessment criteria, and it is the candidate’s responsibility to ensure that their instrument is capable of achieving the full range of tonal colour and dynamics expected for the grade. We consider them suitable for use up to and including Grade 3.
Eb and bass clarinets may be used only where stated in the syllabus.
C and beginner Eb clarinets may be used up to and including Grade 3. Piano accompaniments will need to be transposed.
Non-wooden instruments (including plastic, ABS resin and hard rubber) may be used at all grades. However, please note that examiners use Trinity’s standard assessment criteria, and it is the candidate’s responsibility to ensure that their instrument is capable of achieving the full range of tonal colour and dynamics expected for the grade.
Cor anglais may be used only where stated in the syllabus.
Contrabassoon may be used only where stated in the syllabus. Mini bassoons and tenoroons may be used up to and including Grade 3. Any accompaniments will need to be transposed where appropriate.
Candidates may take any exam using one, or any combination of saxophones.
Technical work and supporting tests can be offered on either Bb or Eb saxophones, at the candidate’s choice.
Plastic instruments are not permitted.
Candidates may use recorders with baroque fingering. Instruments using German fingering must not be used.
Instruments pitched at A=415Hz may be used where suitable accompanying instruments are available.
At Initial–Grade 5 candidates may play either descant or treble recorder, or a combination of the two.
At Grades 6–8 both descant and treble recorders must be played.
At all grades, one piece only may be played on tenor, sopranino or bass recorder.
At Initial, the piano part may be transposed down a 5th and the exam taken on treble. In all other grades transposition of set repertoire is not permitted.
At Initial–Grade 5, technical work and supporting tests can be offered on either descant or treble recorders.
At Grades 6–8, technical work must be taken on treble recorder. Sight reading and improvisation can be on descant or treble recorder at the candidates’ choice.
Candidates are responsible for providing their own accompanists. Pieces published with an accompaniment must not be performed unnaccompanied.
Accompaniments should be played on the piano. Accompaniments on instruments other than the piano must be approved by Trinity’s central office before the day of the exam. Please note that non-piano accompaniment can only be approved if musically appropriate (eg where the published piano accompaniment is an arrangement of a part written for a different instrument). Accompaniments must be provided on a single instrument.
Where accompaniments feature long introductions or endings, these should be shortened if possible in a way that is musically appropriate.
Difficult page turns may be overcome by photocopying the relevant pages. Page turners may assist the accompanist at Grades 6–8.
Accompanists and page turners may only remain in the exam when required.
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.
Initial 0.5–
Use of different rhythmic values Clear melodic line Use of keys stipulated for technical work at this grade
Grade 1 approx. 1
Dynamic contrast Simple syncopation or other rhythmic feature Use of keys stipulated for technical work at this grade
Grade 2 1–1.
Use of different articulations Simple melodic ornamentation or inflection Use of keys stipulated for technical work at this grade
Grade 3 1.5–
Form should show clear sections (eg ‘ABA’) Melodic range of one octave or more Use of keys stipulated for technical work at this grade
Grade 4 2–
Tempo changes Use of a variety of different articulations Use of keys stipulated for technical work at this grade
Grade 5 3–
Chromaticism Use of semiquaver passages Use of keys stipulated for technical work at this grade
Grade 6 4–
More advanced use of form (eg theme and variations) Extensive range More advanced melodic ornamentation or inflection Use of any key
Grade 7 approx. 5
Modulation Use of irregular time signatures Use of any key
Grade 8 5–
Wide range of expressive techniques Creative use of form Extended techniques, wide range, chromaticism and rhythmic variation Use of any key
Each piece is awarded three separate marks corresponding to three different musical components, allowing candidates to receive precise feedback about specific aspects of their performance. These marks combine to give an overall mark for the piece. The three components are as follows:
fluency and accuracy: the ability to perform fluently, with a stable pulse and with an accurate realisation of the notation technical facility: the ability to control the instrument effectively, encompassing the various technical demands of the music communication and interpretation: the interpretation of the music and the way the performance conveys a sense of sylistic understanding and audience engagement. Marks are awarded for these to form a maximum total mark for each piece as follows:
Total marks awarded for pieces correspond to the pass/below pass bands as follows:
Further information about this mark scheme and the assessment criteria that support it is available on our website.
Maximum mark Fluency and accuracy 7 Technical facility 7 Communication and interpretation 8 Total mark for each piece 22
Total mark for each piece Band 19–22 Distinction 16–18 Merit 13–15 Pass 10–12 Below pass 1 3–9 Below pass 2
This section of the exam supports the development of broader musical skills by assessing candidates in two different supporting tests. At Initial–Grade 5, candidates must choose two supporting tests from the following options:
sight reading
aural
improvisation
musical knowledge.
At Grades 6–8, all candidates are assessed in sight reading and must choose between aural and improvisation for their second supporting test.
Each supporting test is awarded a single mark that corresponds to the pass/below pass bands as follows:
Mark Band 9–10 Distinction 8 Merit 6–7 Pass 4–5 Below pass 1 1–3 Below pass 2
Information about the assessment criteria that support this mark scheme is available on our website.
This test assesses candidates’ ability to perform an unseen musical extract, at a level approximately two grades lower than the exam being taken.
Candidates are given 30 seconds to study the test before performing it, during which time they may practise any or all of it aloud. The examiner does not mark this preparation period.
Examples of sight reading tests may be found in Trinity’s Sound at Sight series, available from www.trinitycollege.com/shop or your local music retailer.
Tests comply with the musical parameters listed in the table below. Lists are cumulative, meaning that tests may also include requirements from preceding grades.
(cumulative*)
(cumulative*)
(cumulative*)
(cumulative*) Initial ( flute and clarinet only )
2 q^ and^ h^ moderato^ and^ mf^ tongued
Grade 1 4 w^ and^ ^ p and f
Grade 2 (^3) h. and ties allegretto slurs,accidentals
Grade 5 6 x and ^ accents, tenuto
Grade 6 8 dotted notes rit. U
Grade 7 9 triplets accel.
Grade 8
(^22)
& changing time signatures
duplets
ff , pp and any standard performance direction
*)
*)
*)
*)
*)
*)
*)
Initial
major F C G 5th minor
Grade 1
major G F, G F F F, G C octave minor
Grade 2
major octave minor A A A A, C E E A
Grade 3
major G C D G 12th minor E D E A D G
Grade 4
major Bb C, D G, Bb C, D C, F F, Bb 12th minor G G B
Grade 5
major A, C Bb A D Bb Eb two octaves minor D E G B, D A D
major D D Bb A, Eb A, Eb A D two octaves minor D, F#^ E F#^ B G F#^ B
major E, Ab E, Ab E, Eb Ab, E E, Ab E, Eb A, Ab full range minor B F F C#^ C#^ F#
Grade 8
major B B, Db Ab, B Db B, Db F#^ B full range minor C#,^ G#^ Bb F Bb Eb Ab
The parameters for aural tests have changed. Changes apply to all exams taken from 1 January 2017 onwards. Please note that there is no overlap for supporting tests, and the previous aural tests cannot be offered after 31 December 2016.
This test supports the development of candidates’ abilities in the field of musical perception by assessing their responses to carefully graded questions. Questions are detailed in the table below and based on a single musical example, performed at the piano by the examiner. Practice tests can be found in Trinity’s Aural Tests from 2017 books, available from www.trinitycollege.com/shop or your local music retailer.
Initial
melody only 4 bars major key
2
Listen to the melody three times
Clap the pulse on the third playing, stressing the strong beat Listen to the melody once Identify the dynamic as forte or piano
Listen to the melody once Identify the articulation as staccato^ legato^ or
Listen to the first three notes of the melody once Identify the highest or lowest note
Grade 1
melody only 4 bars major key
2 or 3
Listen to the melody three times
Clap the pulse on the third playing, stressing the strong beat
Listen to the melody once
i) Identify the dynamic as forte or piano ii) Identify the articulation as legato or staccato Listen to the first two bars of the melody once
Identify the last note as higher or lower than the first note Listen to the melody twice, with a change of rhythm or pitch in the second playing
Identify where the change occurred
Grade 2
melody only 4 bars major or minor key
2 or 3
Listen to the melody three times
Clap the pulse on the third playing, stressing the strong beat
Listen to the melody once
i) Describe the dynamics, which will vary during the melody ii) Identify the articulation as legato or staccato
Listen to the melody once Identify the last note as higher or lowerthan the first note
Listen to the melody twice, with a change of rhythm or pitch in the second playing
i) Identify where the change occurred ii) Identify the change as rhythm or pitch
