2011 Information & Regulations Booklet

8/3/2019 2011 Information & Regulations Booklet

1/38

Trinity Guildhall Examinations

89 Albert Embankment

London SE1 7TP UK

T + 44 (0)20 7820 6100

F + 44 (0)20 7820 6161

E [email protected]

www.trinityguildhall.co.uk

Patron HRH The Duke o Kent KG

Executive Director & Head of Academic Governance (Performing & Creative Arts)

Mark Stringer GMusRNCM(Hons) FTCL ARCM ARCO(CHM) PGCE HonLRSL FRSA

Chief Examiner

Nicholas KeyworthBA DipHE

Syllabus Manager

Lindsay Danby BMus(Hons)

Head of Operations (Performing & Creative Arts)

Abigail McElheron BA(Hons) HonTCL

Copyright 2010 Trinity College London

Published by Trinity College London

First impression, December 2010

Information

& Regulations

2011

for all Trinity GuildhallGrade music examinations


2/38

Special notices or 2011

Please note the ollowing inormation:

Grade syllabuses

New syllabuses or Percussion and Keyboards & Organ come into eect rom 1 January 2011.

Please note that Grade examinations are no longer available or Accordion, however newCertifcate examinations are available rom 1 January 2011 or both standard-bass and Classical

(ree-bass) Accordion.

There are no other new Grade syllabuses or 2011.

New syllabuses or Piano, Woodwind, and Electronic Keyboard Grades 68 will come into eect rom

1 January 2012 and will be published in August 2011.

There will be an overlap period o one session in which pieces rom either the old or new syllabus can

be perormed. Please check with your local Centre Representative or details o examination dates.

For all current syllabuses, please ensure that you are consulting the most up-to-date impression,

which are available on the Trinity Guildhall website www.trinityguildhall.co.uk/music

Theory examination dates 2011

May session 2011 Date o examination Saturday 7 May

International closing date (or entries to London ofce): entries to be received by Monday 7 March

UK closing date (or entries to London ofce): entries to be received by Monday 21 March

UK closing date (or entries to centre reps): entries to be received by Monday 14 March

November session 2011 Date o examination Saturday 5 November

International closing date (or entries to London ofce): entries to be received by Monday 5 September

UK closing date (or entries to London ofce): entries to be received by Monday 19 September

UK closing date (or entries to centre reps): entries to be received by Monday 12 September

Please note that entries received ater the closing date will not be accepted. Late entries can be

highly disruptive and delay the dispatch o examination materials.

Certifcate examinations

Available or most instruments, Certiicate examinations oer an alternative, perormance-ocused

route o progression to the graded examinations suite. They contain no technical work orsupporting tests, and are available at three levels:

Foundation (standard around Grade 3)

Intermediate (standard around Grade 5)

Advanced (standard around Grade 8)

Full details, including repertoire and guidelines, are available on the Trinity Guildhall website

www.trinityguildhall.co.uk/CertiicateExams


3/38


4/38

2

Contents

Entry requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

How to enter or an examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Entry process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Examination appointments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Absence through illness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Candidates with special educational needs/disabilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Venues and equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

The examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Results, reports and certiicates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Reerrals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Appeals procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Published material and copyright . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Certiicates o Special Merit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Prizes and exhibitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Malpractice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Customer service . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Data protection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Child protection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Equal opportunities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Aims and objectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Levels o achievement statements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Structure Grade examinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Marks Grade examinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Timings Grade examinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Assessment criteria Grade examinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Assessment criteria Drum Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Assessment criteria Certiicate examinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

Oicial recognition o qualiications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Entry to UK higher education and UCAS points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Allocation o UCAS tari points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33


5/38

33

Information & Regulations 2011

These regulations are in orce rom 1 January 2011 until urther notice and supersede all previous

Trinity Guildhall guidance relating to the conduct o examinations. They apply to all Trinity Guildhall

Grade and Certiicate examinations in Music, with the exception o the Joint Assessment Grades in the

UK and Rockschool examinations delivered outside the European Union by Trinity Guildhall.

Entry requirements

Anyone may enter or Grade or Certiicate examinations, regardless o age, gender, disability or

ethnicity. Trinity Guildhall accepts applications on condition that candidates conorm to the

requirements o the appropriate current syllabus and Information & Regulations. Trinity Guildhall

retains the right to revise the Information & Regulations rom time to time and any such changes will

be published and advertised via the website at www.trinityguildhall.co.uk

Candidates may enter any examination without previously having taken any other, but candidates

should have absorbed the technical demands o grades below the level at which they are entering.

No theory qualiication is required in order to enter or these examinations, although a separate series

o theory examinations is available or teachers who wish to use these as a complement to practical

training. Details o theory examinations are contained in a separate syllabus available rom Trinitys

London Oice and its Centre Representatives.

Candidates may enter or more than one practical examination in the same or dierent subjects at the

same session but no more than one entry will be accepted per candidate per session in the same grade

and subject.

How to enter for an examination

For examinations in the UK/Ireland

Examinations may be taken at any o Trinity Guildhalls public examination centres. For centre details

please consult the website www.trinityguildhall.co.uk . Schools or private teachers in England, Wales and

Scotland with suicient candidates may apply to enter under the Examiner Visit Scheme, thereby

beneiting rom the convenience o a reer choice o examination dates and an on-site visit rom an

examiner. Further details are available on the website.

For examinations in all other countries

Trinity Guildhall examination centres are located throughout the world. A ull list o centres and

Representatives is available on the website or rom Trinitys London Oice.

Trinity Guildhall examinations are oered and delivered by Trinity College London, the international

examinations board.

Trinity College London is an awarding body recognised in the United Kingdom by the Ofce o

Qualifcations and Examinations Regulation (Oqual) in England, the Welsh Assembly Government(WAG) and the Northern Ireland Council or Curriculum, Examinations and Assessment (CCEA).

Trinitys qualifcations are accredited by these authorities within the Qualifcations Framework.

Various arrangements are in place with governmental education authorities worldwide.


6/38

Inormation & Regulations 2011

4

Entry processAll entries or examinations must be made on an oicial Trinity Guildhall entry orm. Completed entry

orms must be accompanied by the correct entry ee, and must reach the Centre Representative by the

published closing date. Anyone wishing to make a late entry must contact the Centre Representative

irst (not Trinitys London Oice) beore completing the orm. Entry orms should only be sent to

Trinitys London Oice i the entries are or the London centre, or i you are advised to do so by

Trinitys London Oice. I the entry orm is incomplete, or i it is submitted ater the closing date, it may

be reused. In addition, we are required to collect candidates dates o birth or various government

and educational bodies and i this inormation is not provided on the entry orm, then the entry

process may be delayed. Cheques should be made payable to Trinity College London.

Candidates names as shown on the entry orm will be used when producing certiicates or successul

candidates. Trinity Guildhall is not responsible or errors on entry orms. I a correction is needed later,

an additional ee o 10 (or the local equivalent) will be charged.

Examination entries may be submitted by a teacher, parent/guardian or, i candidates are aged 18 or

over, by the candidate. The person who makes the application must sign and date the entry orm whichconstitutes an agreement to abide by Trinitys syllabus requirements, its Regulations and the

proessional judgements o its examiners. Correspondence will be conducted with this person only. A

receipt will only be provided i the appropriate section o the entry orm is completed and a stamped

addressed envelope is provided.

Entries at one centre may be transerred to another centre or a ee, however they cannot be deerred

to a later session. I a candidate wishes to postpone the examination, the original ee cannot be

reunded. In the case o a transer, a new entry orm must be completed and the appropriate ee must

be paid (please contact Trinitys London Oice or urther details). There are special arrangements or

cases o illness or genuine compassionate circumstances (see page 5).Entries cannot be transerred rom the name o one candidate to another.

Trinity Guildhall reserves the right to reuse or cancel the entry o any candidate. The reason or the

reusal or cancellation will be given, and the entry ee will be reunded. Examination entry ees cannot

be reunded in other circumstances.

Centre Representatives will seek to meet requests or speciic dates within the stated examining period

i such requests are shown clearly on the entry orm but thiscannot be guaranteed. Requests or

morning or aternoon appointments will be observed where possible, but requests or precise times

cannot be accepted. Please note that examination dates may occasionally need to be changed rom

those published.

Late entries

Late entries will be accepted only at the discretion o the Centre Representative, and will be subject to

the ollowing surcharges:

Between the closing date and 21 days beore the examination date: + 50% o the ee

Between 20 and 14 days beore the examination date: + 100% o the ee

Entries cannot be accepted less than 14 days beore the examination date.

Trinity Guildhall and its Centre Representatives make no guarantee that acceptance o a late entry will

result in the examination taking place. I a late entry has been accepted but the examination cannot

take place, the ee will be reunded (at the discretion o Trinity Guildhall) but the surcharge will be

retained to cover costs o administration o the late entry. (Please read careully the requests or

special educational needs provision inormation (page 6) or candidates with special educational needs

who make late entries.)


7/38


55

Examination appointments

The Centre Representative will send an appointment slip or each accepted candidate to the person

who signed the entry orm. This will normally be 21 days beore the examination date. The slip will

show the name and number o the candidate, the grade and subject o examination and the date, time

and place o the examination. No change can be made to the date, time or place once the appointmentslip has been issued.

The Centre Representative must be told immediately i there are any errors on the appointment slip.

A wrong grade or subject cannot be altered on the day o the examination but a misspelling o a

candidates name can be notiied to the examiner.

Details o the pieces and options being oered should be written in the spaces provided on the

appointment slip. The pieces should be listed in the order in which they will be played and the

appropriate boxes ticked.

The appointment slip must be brought to the examination and given to the examiner. Trinity Guildhall

reserves the right to reuse to examine a candidate who cannot produce this.

Candidates must be ready 15 minutes beore the time o their appointment. Candidates who arrive

late may ind that their examination cannot be conducted, although every eort will be made to

accommodate them.

Absence through illness exceptional circumstances

I a candidate is ill and cannot take the examination, the Centre Representative must be inormed as

soon as possible. The person who signed the entry orm may apply to the Centre Representative or a

re-entry permit, providing a medical certiicate current or the date o the examination and the

appointment slip. The application must be made not later than 30 days ater the examination date. The

Centre Representative will orward the medical certiicate and appointment slip to Trinity Guildhall, who

will issue a re-entry permit or an examination at the same level in the same subject. This can be used

or an examination within 12 months o the original examination date upon payment o 50% o the

entry ee current at the new date o entering. I a permit is used towards entry or an examination at a

higher level, any dierence in ee is also payable.

Trinity Guildhall cannot normally oer re-entry permits or non-medical reasons, though sympathy will

be shown to genuine cases in which appropriate evidence is provided.

Candidates with special educational needs/disabilities

Trinity Guildhall welcomes entries rom candidates with special educational needs and will oer

appropriate provision wherever possible. Our policy is outlined below.

Reasonable adjustments to assessment arrangements

Applications or reasonable adjustments are made when entries are sent to Trinity Guildhall.

Adjustments are implemented according to individuals special educational needs/disabilities, relecting

their usual method o working, the assessment requirements as set out in the examination speciication,

and the guidelines stipulated by the regulatory authorities as well as the Joint Council or Qualiications.


8/38


6

Trinity Guildhall scrutinises applications or reasonable adjustments and requires the person entering

the candidate to ensure that the request is based upon irm evidence. The same standard o

assessment applies to all candidates, regardless o any special educational need/disability, and

allowances will only be made to the conduct o the examination i appropriate.

Reasonable adjustments are generally not appropriate where a candidates particular diiculty directly

aects perormance in the attributes that are the ocus o assessment.

By regularly reviewing the way in which we provide our examination services, or example through

audits covering instances o disability, illness, accident or bereavement, Trinity Guildhall aims to identiy

the barriers or impediments to access.

Requests for special educational needs provision

The speciic condition(s) and any request(s) or special tests should be clearly notiied on a Special

Educational Needs Request orm, available directly rom the Centre Representative, or as a download

rom the Trinity Guildhall website. Supporting documentation must be supplied to the Centre

Representative.

It is particularly important or candidates with special educational needs that their entries and ull

details o the special educational need are received on or beore the closing date or the examination.

The time between the closing date and the examination is used to prepare the appropriate materials

examiners do not carry special tests as a matter o course. Due to the extra preparation time required

to provide these individual tests, late entries or entry orms which do not contain ull details o the

nature o the special educational needs may not be able to be processed in time or the examination.

All provision or candidates with special educational needs is tailored to the particular needs o each

candidate. It is thereore very important to give as ull an explanation as possible o the nature o thecondition, and the requirements or special tests. Trinity Guildhall reserves the right to turn down

requests or provision i this inormation is not provided. In case o doubt, please contact Trinitys

London Oice.

Candidates who require wheelchair access to centres should notiy the Centre Representative directly.

Venues and equipment

All centres must provide appropriate examination acilities in order to host Trinity Guildhall

examinations. Examiner Visit Centre organisers must ollow Trinity Guildhalls published guidance andliaise with Trinitys London Oice to ensure that the acilities provided are adequate and meet Trinitys

requirements.

Public centres administered by Trinity Guildhall will provide waiting and warm-up room acilities

wherever possible, but cannot guarantee this. The examination room will have a tuned piano which is in

good condition, an adjustable stool and a music stand. All other instrumentalists must provide their

own instruments and accessories (e.g. ootstools or guitarists, extension leads, stands and seats or

keyboards, and other electrical devices such as CD players). Candidates wishing to take examinations in

Organ or Electronic Organ should discuss arrangements with their local Centre Representative beore

entering.CD players or other playback devices provided by candidates must be able to produce a good sound

quality with adequate volume. Small, un-ampliied playback devices such as iPods, mobile phones, etc.

are not acceptable.


9/38


77

Percussion examinations

At public centres where Percussion examinations are accepted, Trinity Guildhall will normally supply a

ive-piece drum kit plus cymbals (hi-hat, 20 ride, 16 crash, and 10 splash) as standard. Teachers/

parents/guardians should contact the Centre Representative well beore the date o the examination to

conirm that such equipment will deinitely be available. In the case o an Examiner Visit, the organiser

is responsible or providing the drum kit.

For all Drum Kit Grades (and other percussion examinations up to Grade 3) it is the responsibility o the

the person signing the entry orm to ensure that suitable playback equipment or CDs is provided or

the pieces backing tracks, and to administer the Unpitched Aural option (i chosen) at non-specialist

sessions. Some centres may provide this equipment, but the applicant should contact the centre well in

advance to conirm this. Other arrangements (about power supply, equipment insurance, etc.) must be

agreed with the Centre Representative prior to the examination. In all cases, the candidate is

responsible or providing the appropriate CD.

When the examination entry is made, it should be clearly indicated, or time-tabling purposes, when a

Drum Kit candidate is let-handed.

Tuned and orchestral percussion equipment is not supplied as standard at all centres. The Public

Centre Inormation lealet indicates the centres where instruments will be available, but the speciic

instrumentation must be conirmed with the Centre Representative in advance o the examination.

With the exception o sticks (which must be in good condition), candidates are not normally permitted

to bring their own percussion equipment where Trinity Guildhall provides it. Where it will not be

available at the candidates chosen centre, candidates may be permitted to provide their own

equipment; however, this is subject to venue suitability and cannot be guaranteed. Applicants must

include details about the instruments they wish to provide with the entry orm. Candidates wishing to

use their own kits may only do so at the discretion o the Centre Representative, and the setting-up o

the kit must not be allowed to interere with the timing o the session.

Outside the UK all arrangements must be discussed with the Centre Representative well in advance.

Please note that a percussion-equipped warm-up room is not supplied or Percussion examinations.

The examinationBeore the examination begins candidates should ensure that their appointment slip is illed in with the

names o the pieces that they are playing (listed in the correct order) and with their choice o technical

work and supporting tests marked. The sheet should be handed to the examiner on entering the

examination room. Candidates are permitted to play or sing a ew notes beore the examination starts

to get used to the acoustics o the examination room.

For piano and other unaccompanied instruments, scales will normally be asked beore pieces (or

candidates will be asked which they would preer to do irst). This general order is reversed or

accompanied instruments. Candidates wishing to present their examination in any other order may do

so, but must write their preerred sequence on the appointment slip and point it out to the examiner atthe start o the examination. This choice does not extend to cases where the syllabus stipulates the

location o any item, e.g. Technical Work in Singing, or Own Compositions in any discipline.

Examiners may choose to curtail any perormance once they have ormed a judgement. In cases where


10/38


8

candidates are required to observe an overall timing in their chosen programme, they must ensure

that these include the breaks between pieces. Over-running or under-running by more than 10% will

be penalised.

No one apart rom the candidate(s) and the accompanist (and the page-turner as and when required)

may be present in the examination room, except in special cases such as when there is a need or

interpreters, acilitators or assistants or candidates with special educational needs. Trinitys London

Oice must approve such arrangements in writing beore an entry is made.

Trinity Guildhall may engage more than one examiner or Grade examinations and reserves the right to

audio record all examinations or quality assurance purposes and to maintain an archive o recordings

or monitoring, examiner training and standardisation. These procedures are an essential eature o

Trinity Guildhalls commitment to quality assurance and are in no way detrimental to the candidate.

Perormances recorded by Trinity Guildhall will under no circumstances be released and will not be

used or commercial purposes without the perormers consent, but may be used or training purposes

and assessment standardisation. Examiners will not reer to recordings when making their assessments

and recordings will not be retained beyond their unctional need.

For examiner training and quality assurance purposes, Trinity Guildhall examinations are sometimes

videoed. Whenever ilming is scheduled to take place at a centre, a orm will be supplied, usually via

the Centre Representative, to the parents/guardians o those entering the examinations concerned or

directly to adult candidates. This orm requests permission or the candidate to be videoed. It also

oers the opportunity to withhold permission, without prejudice, and this will be accepted without

question in all cases. Candidates may also decline to be video-recorded on entering the exam room

whether or not they, or their parents/guardians have given permission in advance. It is the

responsibility o the person entering the candidate to ensure that the orms have been completed, and

they should be sent to the Centre Representative beore the examination. Even where consent has

been obtained, not all examinations in the session will necessarily be ilmed.

Where video recording may take place, candidates will be inormed by a notice on the exam room door

and/or in the waiting room, although Trinity Guildhall is extremely concerned to ensure that this should

not impose any additional pressure on the candidate, and has laid down strict rules about the way

equipment is placed and used.

Video equipment used will be in the orm o a discrete, single, static camera, operated by the

examiner(s) and will be used without any additional lighting. The machine may be set running

throughout some or all o the examination.

Trinity Guildhall is mindul o the sensitivities and legalities regarding the making o video recordings o

young people, and will always be pleased to halt any recording, or erase speciic examples on request,

without any reason being given, nor prejudice to the assessment. Recordings o any kind may not be

reerred to in the case o any appeal, or whatever reason. I any urther inormation or clariication is

required, please contact the Chie Examiner in Music in writing.

Please note that no photography or unauthorised audio or video recording is permitted during the

examination. Permission to record examinations by anyone other than those conducting the examining

process will not be granted. Any recordings made without the written agreement o Trinity Guildhall will

be coniscated and may invalidate the examination.


11/38


99

Page-turners, interpreters, accompanists and pre-recorded material

Trinity Guildhall does not provide accompanists nor can the examiner act as an accompanist or

page-turner. Candidates must make all their own arrangements and cover all associated costs or

accompanists, who will be allowed in the examination room only or those components o the

examination in which they are actively accompanying.

Page turns should normally be acilitated by photocopying the relevant pages. Page-turners are only

allowed or keyboard instruments. I a candidate needs to have a page-turner, arrangements are

entirely the responsibility o the candidate, as are any related costs. The page-turner is only allowed to

be present or the items requiring their services.

Interpreters are allowed or candidates whose irst language is not English and where the candidate

does not have suicient mastery o the English language or the communication requirements o the

examination. The candidate is responsible or all arrangements and costs o an interpreter, who must

not be the teacher or a relation o the candidate and whose involvement must be agreed with the

centre in advance o the examination.

With the exception o Jazz Woodwind, Guitar and Drum Kit examinations (where other rules apply and

are listed in the appropriate syllabus), candidates may use a recording o the piano accompaniment in

examinations up to and including Grade 3. Recordings o accompaniments need not be commercial

products but must be o good CD quality, and must not include the solo part; cassette recordings are

not acceptable. Any candidate using recordings will be responsible or providing and operating their

own playback equipment. Arrangements (about power supply, equipment insurance, etc.) must be

agreed well in advance with the Centre Representative by the person signing the entry orm (see page

6 Venues and equipment).

Solo perormances o accompanied pieces are not permitted. It is the responsibility o the candidate to

ensure that adequate accompaniment is provided, when pieces require it.

Results, reports and certificates

All candidates or practical examinations receive a written report.

Examiners issue reports only to the Centre Representative or Examiner Visit organiser. In turn, they will

issue reports only to the person who signed the application orm. Examiners and Centre

Representatives are not allowed to give details o reports or results in any other way, or to any otherperson. Neither Trinitys London Oice sta nor Centre Representatives are allowed to give

examination results over the telephone.

Report orms or Grade and Certiicate examinations are normally issued within a week o completion

o a centres examination session. Larger centres issue report orms on a ortnightly basis. Results are

provisional until conirmed (in the case o successul candidates) by the issue o a certiicate.

Certiicates show the date, centre, subject and level at which they have passed, as well as the name o

their teacher (and school i requested). Each perormer in an ensemble will receive a certiicate

showing his/her name and the name o the group. The details shown on certiicates will be those on

the entry orm.

Reports and certiicates will be posted to the Centre Representative, who will distribute them to

teachers. Trinity Guildhall cannot accept responsibility or the non-arrival o any examination report

orm or certiicate ater it has been posted. A duplicate o a certiicate which has been destroyed or lost


12/38


10

in the post can usually be provided or examinations passed within the previous 15 years. Duplicate

reports cannot be issued, though a summary o the marks can be provided.

Applications or summaries o marks or replacement certiicates (Trinity Guildhall, Trinity College

London, or Guildhall) should be made to Trinitys London Oice unless indicated otherwise, quoting the

centre name, date o examination, candidates name and number, Grade and subject/instrument. The

cost o a replacement certiicate (due to loss or damage) is 20. The cost o an amendment to a

certiicate is 10.

Referrals

All examinations are assessed on the basis o the perormance given on the day o the examination,

without regard to any external circumstances.

I a candidate inringes examination regulations, e.g. by perorming an incorrect item or using an

unauthorised photocopy o music, the perormance will be heard without prejudice by the examiner in

order not to jeopardise the perormance o valid items.

The inringement may be reported to Trinitys London Oice, rather than the report orm being issued

to the Centre Representative, so that a decision can be taken about the validity o the examination.

Trinity Guildhall reserves the right to award no marks or invalid items. The outcome o reerred

examination reports will be passed to the Centre Representative as soon as possible ater the matter

has been considered.

Appeals procedureA new appeals procedure will come into eect rom 1 April 2011. For details o current procedures

please see www.trinitycollege.co.uk/appeals or contact Trinitys London Oice.


13/38


11

Published material and copyright

Candidates should obtain the music or examination beore entering. Trinity Guildhall cannot take

responsibility or the non-arrival o any items o repertoire.

Publishers names are given in the syllabuses simply as suggestions, and candidates are at liberty touse any other edition, provided that it has not been shortened or otherwise simpliied.

While every eort is made to check that items listed in syllabuses will remain in print, publishers may

withdraw a particular item. Always check availability beore you decide to play a particular piece.

Photocopies

We subscribe to the Music Publishers Associations Code o Fair Practice (available at www.mpaonline.

org.uk/Publications/The_Code_of_Fair_Practice_in_Full.html) which states:

Nothing done or the purpose o an examination (including continuous assessment) inringes copyright,except that candidates perorming a musical work in an examination may not use reprographic copies.

What this means in practice is that:

you must bring an original copy o the music to the examination room

you can give a photocopy o this original copy to the examiner

all photocopies supplied to the examiner will be retained ater the examination and destroyed

i there is no original in the room and you play rom photocopies you are liable to disqualiication.

Downloadable, web- or CD-based sheet music is acceptable, provided that the candidate candemonstrate to the examiner that the music is a legal copy.

Copies for examiners

For Grade examinations, candidates are strongly encouraged to provide a copy (which may be a

photocopy) o any piece not published by Trinity, particularly at the higher grades. In Certiicate

examinations, candidates are required to provide the examiner with a copy o all o the music being

perormed. Such copies need not include the accompaniment.

Where appropriate, candidates may give the examiner photocopies o the music providing they have all

the original music in the examination room.

Certificates of Special Merit

Candidates who have passed all the available grades in a particular subject (excluding Initial) can apply

or a Certiicate o Special Merit. Those who have achieved a Distinction at every grade will have the

words with Distinction added to this certiicate. To apply or a Certiicate o Special Merit, send a copy

o every certiicate or report orm to Trinitys London Oice. Since 2007, candidates have been allowed

to use a combination o Trinity College London, Guildhall Examinations Service or Trinity Guildhall

qualiications to apply or a Certiicate o Special Merit.


14/38


12

Prizes and exhibitions

A number o prizes and exhibitions are awarded each year or outstanding achievement in

examinations. Inormation about these is available rom Centre Representatives or via Trinity Guildhalls

website www.trinityguildhall.co.uk

Malpractice

In situations where a centre is ound to be inadequate or to be guilty o malpractice, either in terms o

provision o acilities or in administration, the centre may be required to suspend its activity until the

cause o the problem is identiied and rectiied. In extreme circumstances, the Centre Representative

may be asked to resign, or the centre may no longer be permitted to act as a registered centre. Trinity

Guildhall requires centres to report any suspected malpractice by candidates, teachers or examiners.

Customer serviceTrinity Guildhall strives constantly to update and improve its syllabuses. Amendments and additions are

published on the Trinity Guildhall website at www.trinityguildhall.co.uk . The website is also the source o

general inormation about Trinity Guildhall and its services. A Customer Service Statement is available

on the website.

Data protection

Trinity College London is registered as a Data Controller with the Inormation Commissioners Oice in

the UK under the Data Protection Act 1998. Please see the Trinity College London websitewww.trinitycollege.co.uk or the most up-to-date inormation about our data protection procedures

and policies.

Child protection

Trinity Guildhall examinations are delivered in ull compliance with the requirements o The Childrens

Act 1989 and similar relevant legislation. Trinity has also implemented a policy relating to child

protection, ull details o which can be ound on our website.

Equal opportunities

Trinity Guildhall is committed to providing equality o opportunity and treatment or all, and will not

unlawully or unairly discriminate directly or indirectly on the basis o gender, age, ethnic origin or

disability in its dealings with candidates, their parents/guardians, teachers, examiners, Centre

Representatives or stewards.


15/38


13

Aims and objectives

The aims of the qualifications

The aim o Grade music examinations is to provide a ramework or developing musical skills and an

assessment scheme against which an individuals progress and development may be measured,whether they are studying as a leisure activity or with a view to a career as a teacher or perormer.

Candidates must show their musical ability by playing (or singing) three pieces, and must also take

supporting tests designed to encourage the development o all-round musical skills that underpin

perormance, such as Technical Work, Sight Reading, Improvisation and Aural Tests.

Trinity Guildhalls eight practical examination grades are numbered rom 1 to 8 in increasing order o

diiculty. In many subjects, an Initial examination acts as an introduction to the examination system.

The perormance objectives o practical examinations are as ollows:

13

Level Objectives

Initial Pieces and tests explore the basic ability to produce a restricted range o notes

appropriate to the instrument. Pieces are brie, appropriate to the attention span o

younger candidates, and eature only simple rhythms.

Grade 1 Immediately attractive and straightorward pieces, using a restricted range o notes in

basic key(s) appropriate to the instrument; ability to sustain rhythmic luency over a

short time span. Supporting tests encourage the development o sound practice.

Grade 2 Extension o range o available notes, opening the way to new keys; ability to tacklemore elaborate rhythmic patterns with some variety o pace. Gradually increasing

complexity.

Grade 3 An increase in musical response to pieces, together with the development o

instrumental techniques such as piano pedalling.

Grade 4 Fluency in perorming pieces which are somewhat longer than in the earlier grades,

and which might include interpretation o ornaments.

Grade 5 An increasing perormance skill and sense o stylistic awareness are expected rom

this level onwards. An increased control over tone quality; uller understanding o

dierent patterns o articulation and phrasing, and how they are achieved technically.

Grade 6 More emphasis on interpretation to complement technical competence and accuracy

in playing pieces o some sophistication.

Grade 7 Technical control covering all but the extremes o instrumental range, using a wide

variety o keys; awareness o stylistic interpretation.

Grade 8 A ully integrated approach, combining technical assurance with a sense o style and

creative lair in pieces drawn largely rom the standard repertoire o the instrument.


16/38


14

Levels of achievement statements

Entry level (Initial)

At Initial, candidates will typically be able to show that they have acquired a basic oundation on their

instrument; they will demonstrate some interpretation through variation in dynamics and articulation,with a limited variety o pace. They will perorm audibly, with a sense o enthusiasm and enjoyment and

with some awareness o audience. These eatures will be demonstrated through material that is short

enough to allow candidates at this level to maintain concentration through to the end. Content will be

simple and straightorward, oten with attractive titles relating to amiliar subjects and contexts. The

musical language will be simple and accessible.

Technical work will show that the oundations o a secure instrumental/vocal technique have been

established. A selection o supporting tests, set at the appropriate grade level, will allow candidates to

demonstrate a wider range o technical and musical abilities: musical perception and instrumental acility

through sight reading, instinctive musical awareness and understanding through aural tests, general andpiece-speciic knowledge through musical knowledge questions and musical imagination through

improvisation.

Foundation level (Grades 13)

At Foundation level, candidates will typically be able to apply their knowledge, understanding and skills to

produce a perormance that demonstrates careul preparation, understanding and the beginning o

thoughtul interpretation based on some creative engagement with the material. Candidates will perorm

clearly and accurately, with a luent technical command appropriate to the level and a sense o

spontaneity, sustaining these qualities through to the end. Through variations in pace, volume, rhythm

and articulation they will be able to create and convey mood.

These eatures will be demonstrated through material o suicient length to allow candidates to show

their ability to establish and sustain their perormance and interpretation. Content will include easily

recognisable orms (e.g. minuet, blues) as the oundation or the exploration o musical styles outside

their immediate experience. The musical language will contain a variety o expression across the three

pieces, with some independence rom the accompaniment where present, and will demand awareness o

balance and phrase.

The technical work perormed will show evidence o a basic exploration o and amiliarity with the

undamentals o instrumental/vocal command through use o a range o keys and other techniques. Aselection o supporting tests, set at the appropriate grade level, will allow candidates to demonstrate a

wider range o technical and musical abilities: musical perception and instrumental acility through sight

reading, instinctive musical awareness and understanding through aural tests, general and piece-speciic

knowledge through musical knowledge questions and musical imagination through improvisation.

Intermediate level (Grades 45)

At Intermediate level, candidates will typically be able to support their intentions in perormance by

demonstrating a sound understanding o the material, leading to a more personal and imaginative

interpretation, in which there is a reasonably consistent application o developing technical skills.Perormances will be clear and well-projected with appropriate volume, control o pace (including

variations in speed), control o tone quality and appropriate application o instrumental colour (e.g.

vibrato, tone control) to support mood and character.


17/38


15

Candidates will show evidence o sensitivity to and considerable control o material. Eective preparation

and study will lead to a secure, accurate and sustained perormance which will engage the audience.

These eatures will be demonstrated through material which is substantial enough to convey some

development, in terms o both the composers intentions and the candidates interpretation. Content

will be suiciently complex to provide some internal contrast and range (e.g. the preparation andachievement o climax, or a ternary orm movement with a contrasting middle section). There will be a

stylistic variety o musical language and orm. Some subtleties o syntax will provide opportunity or a

variety o approaches and interpretative choices (e.g. choice o articulation patterns in a movement rom

a Baroque suite) and candidates will demonstrate increasing independence rom the accompaniment,

where present, as well as appropriate interaction with it.

Technical work will explore the basic range o the instrument in a complete and mostly chromatic way,

demonstrating amiliarity with all commonly encountered keys and articulation patterns. Evidence o

considerable luency and variety in ways o perorming the material is required, and opportunities will

exist to show growing strength and lexibility. A selection o supporting tests, set at the appropriategrade level, will allow candidates to demonstrate a wider range o technical and musical abilities: musical

perception and instrumental acility through sight reading, instinctive musical awareness and

understanding through aural tests, general and piece-speciic knowledge through musical knowledge

questions and musical imagination through improvisation.

Advanced level (Grades 68)

At Advanced level, candidates will typically be able consciously to integrate their skills, knowledge and

understanding in a secure and sustained perormance which demonstrates mature grasp o the material.

Along with conidence, a sense o ownership and sel-awareness, this will result in a discriminating andsensitive personal interpretation that conveys complexity and control o shape

(e.g. throughout a sonata movement), and awareness o stylistic interpretation. The perormance will be

grounded in thorough and relevant preparation and will demonstrate authority and control. Candidates

will combine skillul and appropriate command with imaginative response and lair to engage the

audience wholeheartedly.

These eatures will be demonstrated through material largely drawn rom the standard repertoire or the

instrument. Overall length will be suicient to enable variety and range o presentation to be

demonstrated and sustained. Content will be substantial, with some depth and sophistication, enabling

the candidate to engage with complex emotions and abstract musical thought. It will be such as torequire analysis and relection in the preparation, and present challenging physical requirements in one

or more technical aspects. The musical language may demand considerable inerential understanding

and thoughtul interpretation to relect subtlety o meaning (e.g. contrapuntal texture; musical irony or

humour). Candidates will demonstrate independence rom as well as complex interaction with the

accompaniment, where present.

Technical work will show amiliarity with the ull compass o the instrument/voice and a comprehensive

physical integration, with even control across all registers. Advanced and sometimes extended

techniques will be employed proiciently, showing the instrumental/vocal acility required to perorm the

basic core o standard solo and orchestral works. A selection o supporting tests, set at the appropriategrade level, will allow candidates to demonstrate a wider range o technical and musical abilities: musical

perception and instrumental acility through sight reading, instinctive musical awareness and

understanding through aural tests and musical imagination through improvisation.


18/38


16

Structure Grade examinationsPieces

Candidates play three pieces, chosen rom the published list.

Technical workMost instruments have a choice o playing either scales and arpeggios or a study. Occasionally the

study may be preceded by one or more short exercise(s). In addition to scales and arpeggios, pianists

must play three short exercises. Scales and arpeggios should be perormed rom memory; exercises

and studies may generally be played rom the music.

Supporting tests

For most examinations there are two urther tests:

Up to and including Grade 5 candidates may choose any two tests rom:

Aural Sight Reading

Improvisation

Musical Knowledge.

In Grades 6, 7 and 8, Test 1 must be Sight Reading. For Test 2 there is a choice between Aural and

Improvisation.

Variations to exam structure

The structure is as above or all instruments and singers except or:

Singing Grades 6, 7 and 8: our songs are perormed, other elements identical Woodwind Technical Work: in addition to a study, candidates play a short exercise rom memory

Brass Technical Work: this includes a lip lexibility exercise and transposition or French Horn

and Trumpet

Drum Kit: two longer pieces are played and an extended Rudimental Study combines the third piece

and the technical requirements. Musical Knowledge is not available. Candidates may choose

between Aural and Unpitched Aural.

Piano accompanying (only available at Grades 58): there are no options or Supporting Tests

Test 1 is o Sight Reading and Test 2 is o Keyboard Musicianship.

The ollowing instruments have no alternatives to technical work:

Harp (technical development book)

Piano (scales and exercises)

Plectrum Guitar (scales only)

Electronic Keyboard (scales, chord knowledge and exercises)

Digital Keyboard (stylistic exercises only)

Organ (scales only)

Electronic Organ (scales only)

Percussion (see syllabus or details) Piano accompanying (exercises only).


19/38


17

Marks Grade examinationsAll Grade examinations are marked out o 100, and or almost all, the mark scheme is as ollows:

Piece 1 22

Piece 2 22

Piece 3 22Technical Work 14

Supporting Test 1 10

Supporting Test 2 10

The mark thresholds are as ollows:

Distinction 87

Merit 75

Pass 60

Below Pass 1 45

Below Pass 2 30

It is not necessary to pass each component to pass the exam overall.

Variations to mark scheme

The mark scheme is as above or all instruments and singers except or:

Singing Grades 68 Four songs are perormed, other elements identical:

17 marks or each song (total 68), 12 or Technical Work, and 10 each or two Supporting Tests.

Drum Kit Two longer pieces are played and an extended Rudimental Study combines the third piece

and the technical requirements:

28 marks or each piece (total 56), 24 or Rudimental Study, and 10 each or two Supporting Tests.

Below Pass 2

30%

Below Pass 1

45%

Pass

60%

Merit

75%

Distinction

87%

Maximum

Mark

Available

Piece 1 7 10 13 16 19 22

Piece 2 7 10 13 16 19 22

Piece 3 7 10 13 16 19 22

Technical

Work5 7 9 11 13 14

Test 1 2 4 6 8 9 10

Test 2 2 4 6 8 9 10

TOTAL 30 45 60 75 87 100


20/38


18

Timings Grade examinations

Grade/level

Examination length in minutes

Piano

Other Keyboard

instruments,

Piano Accompanying, Harp,

Organ

PercussionAll other

instruments

Initial 10 13 11

1 11 13 15 13

2 11 15 15 13

3 12 15 16 13

4 16 20 21 18

5 16 20 21 18

6 22 25 27 23

7 22 25 27 23

8 27 30 32 28


21/38


19

InitialGrade 3 Grades 45 Grades 68

Distinction Accurate and luent reading

with keen and perceptive

attention to musical and

notational details.

Secure rhythm and pulse.

Accurate, luent and precise

reading with close attention

to musical and notational

details.

Secure rhythmically with a

strong sense o pulse.

Fully accurate, luent and

eortless with acute

attention to all musical and

notational details.

Fully secure in rhythm and

notes with a sensitive and


Merit Accurate and generally

luent playing with air


notational details.

Generally secure rhythm

and pulse with only minor

lapses.

Mainly accurate and luent

playing with some attention


details.

Generally reliable rhythm

and pulse with only

occasional lapses.

Accurate and generally

luent playing with some


notational details.

Generally rhythmical playing

with a reliable pulse.

Pass Essentially accurate with

adequate luency and some

attention to musical andnotational details.

Adequate continuity with a

sense o pulse. Only a ew

slips, hesitations and/or

conusions.

Essentially accurate with

adequate luency and basic

attention to musical andnotational details.

Pulse evident though with

occasional lapses.

Generally accurate playing

with adequate luency and

some attention to musicaland notational details.

Pulse evident with

occasional inconsistencies.

BelowPass 1

Some misreadings, stumbles

and/or errors o pitch and

rhythm, implying limited

preparation.

Poor continuity with

re-starts, little sense o

pulse, requent stumbles.

Some misreadings and/or

errors o pitch and rhythm

with little attention to detail,

implying limited preparation.

Cautious tempo, pulse oten

not evident, with requent

hesitations.

Misreadings and errors o

pitch and rhythm with little

attention to detail, implying

limited preparation.

Cautious tempo and pulse

not evident, with requent

stumbles and little

continuity.

BelowPass 2

Frequent and serious

misreadings and errors,

clearly inadequate

preparation.

Very poor continuity with

requent stumbles, many

restarts and/or stoppages.



clearly inadequate

preparation.


requent stumbles, restarts

and/or stoppages.



clearly inadequate

preparation.



and/or stoppages.

Assessment criteria Grade examinations

Pieces(except Drum Kit*)

Notational Accuracy & Fluency

*or criteria or Drum Kit pieces please see page 25.


22/38


20


Distinction Strong command o

technique with musicalcontrol o intonation and

other instrumental

resources.

Well-produced basic sound

with appropriate lexibility

and projection.

Solid command o technique

with musical and sensitivecontrol o intonation and

other instrumental

resources.

Consistently good

production, lexibility and

projection o sound,

showing an awareness o

the physiology o

perormance.

Seamless and eortless

command o technique withmusical, acute and sensitive

control o intonation and

other instrumental

resources.

Excellent production,

lexibility and projection

o sound, showing a clear

understanding o the

physiology o perormance.

Merit A secure technique evident,

with some variety in use o

instrumental resources.

Generally good basic sound

with some lexibility and

variety o tone.

A competent level o

technical ability, with varied

use o instrumental

resources.

Good quality, lexibility and

projection o sound.

A secure level o technical

ability, with conident and

varied use o instrumental

resources.

Good quality, lexibility and

projection o sound.

Pass Generally reliable technique,

with some lapses and

occasional variety in use o


Adequate basic sound with

some evidence o tonal

control.

Generally reliable technique,

with some limitations in use

o instrumental resources

and lapses in intonation.



control and projection.

Technically adequate with

occasional limitations in use


and laws in intonation.

Generally reliable tone

quality with some capacity

or tonal variety and

projection.

BelowPass 1

Unreliable technical control

o the instrument with

signiicant laws.

Variable and unstable basic

sound, poorly produced andmaintained.

Limited evidence o

appropriate technical ability

with signiicant laws in

some areas.

Inadequate basic sound,unstable and/or

uncontrolled.

Limited technical command

o the instrument with

signiicant laws in some

areas.

A poor basic sound withlimited lexibility and

potential or expression.

BelowPass 2

Many undamental technical

problems and errors.

Unsatisactory basic tone.

Obvious and consistent

ailings in technical

command.


Inadequate technical

command.

Unsatisactory basic tone

with no attempt at variety.

Technical Facility


23/38


21

Communication and Interpretation


Distinction Conident and consistent

sense o perormance with

some engagement with the

audience.

Awareness o appropriate

style with clear evidence o

an emerging musical

personality.

Conident, communicative

and consistent sense o

perormance and

engagement with the

audience.

Awareness o and sensitivity

to appropriate style with

evidence o an emerging

musical personality.

Conident, exciting and

eective engagement with

the audience.

A high level o musical

sensitivity and a convincing

grasp o appropriate style

with a clear, distinctive and

authoritative musical

personality.

Merit Recognisable sense o

perormance with

occasional lapses inengagement.

Coherent sense o

appropriate style with a

general eeling o

individuality and

commitment.

Recognisable and competent


occasional lapses inengagement.

Coherent sense o


general eeling o

individuality and

commitment.

Recognisable and

comortable sense o

perormance with consistentaudience engagement.

Clear awareness o


recognisable and individual


Pass A variable sense o

perormance with basic

conidence and some

capacity or audienceengagement.

A developing eeling o

stylistic awareness with

some evidence o individual

interpretation.

An overall sense o


conidence and some

capacity or audienceengagement.

Some evidence o stylistic

awareness and a general

attempt to convey individual

musical intent.

An adequate overall sense

o perormance with general

conidence and a

recognisable capacity oraudience engagement.

General evidence o stylistic

awareness and some


musical intent and

commitment.

BelowPass 1

Limited sense o

perormance and

communication.

Limited and/or

inappropriate stylistic

awareness and personal

engagement.

Limited and inconsistent


little attempt at engagementwith the audience.

Variable and/or inappropriate

stylistic awareness with little

personal engagement.

An inconsistent and/or

variable sense o

perormance or attempt atcommunication.

Poor stylistic awareness and

only sporadic evidence o

personal engagement or

commitment.

BelowPass 2

No sense o perormance

or attempt at

communication.

Stylistic awareness andpersonal engagement not

evident.

No sense o perormance or

attempt at communication.

Stylistic awareness and

personal engagement notevident.




personal engagement notevident.


24/38


22

Distinction Fluent, accurate and even with a strong technical acility.

High quality o tone and secure intonation.

Keen attention to details o dynamics, articulation and phrasing.

Prompt responses.

Merit Technically secure with occasional errors under stress.

Quality o tone and intonation mostly reliable.

Good standard o dynamics, articulation and phrasing.

Generally prompt responses.

Pass Mostly luent but some unevenness o technique and/or tempi apparent.

Some degree o variance in quality o tone and intonation.

Inconsistency in dynamics, articulation and phrasing.

Hesitant and uncertain responses, occasional restarts.

Below Pass 1 Limited knowledge o the work set with requent errors in notes and

technique.

Poor tone quality and intonation.

Inattention to dynamics, articulation, phrasing.

Frequent restarts and/or mistakes in tonality.

Below Pass 2 No sense o luency.

Further work needed to build on all areas o existing technique.

Lacking awareness o control o dynamics, articulation and phrasing.

Most examples containing serious laws; evident guesswork.

Distinction Fully correct in notes and tonality.

Fluent and persuasive with assured and appropriate continuity.

Musically persuasive, alert to details o phrasing, articulation and dynamics.

Merit Generally accurate in notes and tonality.

Mostly consistent pulse and appropriate tempo.

Some details o phrasing, articulation and dynamics.

Pass Note values and pitches substantially correct with general awareness o

tonality.

Adequate continuity o pulse with occasional errors and/or hesitations.

Little attention to details o musical interpretation.

Below Pass 1 Misreadings and errors in many notes, tonality variable and insecure.

Hesitations, stumbles and/or resumptions, with little sense o pulse.

No attention to phrasing, articulation and dynamics.

Below Pass 2 Most pitches and note values incorrect, no sense o tonality.

No basic pulse apparent.

Perormance abandoned or curtailed.

Sight Reading

Technical Work


25/38


23

Distinction Well-controlled, imaginative and adventurous melodic responses.

Strong planning and construction with clear and appropriate harmonic

vocabulary and syntax.

Full and creative use o instrumental resources, relevant to the grade.

Merit A creative approach to melodic responses.

Awareness o most harmonic implications.

Length generally well-planned.

Generally wide use o instrumental resources relevant to the grade.

Pass Some attempt at melodic development.

Awareness o tonality and basic harmonic procedures.

Appropriate length.

Use o most basic instrumental resources relevant to the grade.

Below Pass 1 Little melodic development, repetitive and/or hesitant.

Poor harmonic awareness, little planning.

Inappropriate length.

Rudimentary use o instrumental resources relevant to the grade.

Below Pass 2 Very poor evidence o melodic inventiveness or creativity, rhythmic stimulusnot acknowledged.

No harmonic awareness, understanding or planning evident.

Very poor and limited use o instrumental resources relevant to the grade.

Improvisation

Distinction No errors o substance; musically perceptive and well-inormed.

Convincing rhythmic and harmonic sense.

Prompt and intuitive responses.

Merit Substantially correct; occasional errors or lack o knowledge o detail or

substance.

Secure rhythmic and harmonic sense.

Ready responses, mostly conident.

Pass Generally correct in two-thirds o the responses, basic knowledge and

perception o main eatures.

Sustainable awareness o pulse, rhythm and harmony.

Some caution; sel-corrected responses.

Below Pass 1 Frequent errors o knowledge and perception o main eatures.

Unconvincing awareness o pulse, rhythm and harmony.

Over cautious and tentative responses.

Below Pass 2 Clear lack o basic knowledge.

Many errors in pulse, rhythm and harmony.

Evident guesswork.

Aural


26/38


24

Distinction Full understanding o all aspects tested and their context.

Fully complete and correct answers.

Conident and prompt responses.

Merit Secure understanding o most aspects.

Generally complete and correct answers.

Generally conident with occasional conusion.

Pass Adequate basic understanding.

Correct answers, sometimes limited in scope.

Some hesitation and searching beore responding.

Below Pass 1 Flaws in basic understanding; general concepts not grasped.

Answers incomplete or mostly wrong.

Uncertain responses or prompting.

Below Pass 2 Lack o basic knowledge or understanding.

Consistently inaccurate answers.

Evident guesswork or ailure to respond.

Musical Knowledge (InitialGrade 5 only)

It is the intention that candidates demonstrate their knowledge by reerence to the printed score, rather

than reproducing previously prepared answers. I annotations to the printed score are so extensive as

to preclude a reasonable range o questions the report may be reerred to Trinitys London Oice or

review or the examiner may award no marks or the section.


27/38


25

Assessment criteria for Drum Kit pieces

Notational accuracy and

communicationTechnical facility Timekeeping and style

Distinction Accurate, with observant

detail and a consistent

sense o perormance.

Solid/strong command o

technique. Consistent tone

with lexibility and

projection.

Sensitive and appropriate

playing.

Completely secure rhythm

and pulse.

Stylish and idiomatic with a

clear musical personality.

Merit Mainly accurate with a

recognisable sense o

perormance.

Secure level o technique.

Good tone with some

variety, lexibility and

projection.

Generally secure rhythm

and pulse.

A coherent sense o

appropriate style.

Pass Reasonably accurate with

adequate, i variable, sense

o perormance.

Generally reliable technique

with some limitation in

variety.

Adequate tone some

lapses in sound production.

Adequate luency and

continuity o pulse.

Some awareness o style

and individuality.

Below

Pass 1

Some misreadings and/or

errors.

Little sense o perormance

or engagement.

Unreliable/limited control.

Poor sound with signiicant

laws.

Poor continuity and pulse

with requent stumbles and/

or luctuations.

Limited stylistic awareness.

Below

Pass 2


mistakes and/or

misreadings.

No sense o perormance.

Inadequate technical control

with requent ailings.


Very poor continuity.

No sense o style.


28/38


26

Distinction No errors o substance; musically perceptive and well-inormed.

Convincing rhythmic and stylistic sense.

Prompt and intuitive responses.

Merit Substantially correct; occasional errors or lack o knowledge o detail

or substance.

Secure rhythmic and stylistic sense.

Ready responses, mostly conident.

Pass Generally correct in two-thirds o responses, basic knowledge and

perception o main eatures.

Substantial awareness o pulse rhythm and style.

Some caution; sel-corrected responses.

Below Pass 1 Frequent error o knowledge and perception o main eatures.

Unconvincing awareness o pulse, rhythm and style.

Overcautious and tentative responses.

Below Pass 2 Clear lack o basic knowledge.

Many errors in pulse, rhythm and style.

Evident guesswork.

Unpitched Aural (available or Drum Kit only)


29/38


27

Assessment criteria for Certificate examinations (pieces)

Foundation Intermediate Advanced

Distinction Accurate reading, mostly

luent with keen attention


details. Secure and

convincing rhythm and

pulse.

Accurate and luent reading

with keen attention to

musical and notational

details.

Secure and convincing

rhythm and pulse.

Consistently accurate, luent

and eortless, with

competent attention to all

musical and notational

details.

Fully secure in rhythm and

notes, with a sensitive and


Pass Essentially accurate in

notes, with adequate

luency and some attention


details.


sense o pulse. A ew slips

but good recovery.

Essentially accurate in notes

with adequate luency and

some attention to musical

and notational details.


sense o pulse, possibly with

minor slips.

Generally accurate playing

with adequate luence and

some attention to musical

and notational details.

Pulse evident but

sometimes inconsistent.

BelowPass 1

Frequent errors. Poor continuity with little

sense o pulse and requent

stumbles.

Frequent misreadings anderrors.

Poor continuity with little

sense o pulse and requent

stumbles.

Frequent misreadings anderrors with little attention to

detail.

Overcautious tempo and

pulse not evident, with

requent stumbles and little

continuity.

Below

Pass 2

Many errors, clearly

inadequate preparation.

Very poor continuity withrequent stumbles, restarts

and/or stoppages.

Many misreadings and

errors, clearly inadequate

preparation.



and/or stoppages.

Many misreadings and

errors, clearly inadequate

preparation.



and/or stoppages.

Accuracy and Fluency


30/38


28


Distinction Mostly secure command o

technique with musical

awareness o intonation and

other instrumental

resources.

Well produced basic sound

with generally appropriate

lexibility and projection.

Secure command o

technique with sensitive

control o intonation and

other instrumental

resources.

Good production, lexibility

and projection o sound,

showing an awareness o


Secure command o

technique with musical,

acute and sensitive control

o intonation and other


Good production, lexibility

and projection o sound,

showing a clear

understanding o the


Pass Generally reliable technical

control, though with some

lapses. Occasional variety in

use o instrumental

resources.



control.

Generally reliable technique,

with some limitations in use


and lapses in intonation.



control and projection.

Technically adequate with

occasional slips and/or

omissions in use o


Flaws in intonation.

Generally reliable tone

quality with some capacity

or tonal variety and

projection.

BelowPass 1

Unreliable technical controlo the instrument with

signiicant laws.

Variable and unstable basic

sound, poorly produced and

maintained.

Limited evidence oappropriate technical ability

with signiicant laws in

some areas.

Basic sound inadequate,

unstable and/or controlled.

Limited technical commando the instrument with

signiicant laws in some

areas.

A poor basic sound oering

limited lexibility and

potential or expression.

Below

Pass 2

Many undamental technical

problems and errors.

Clearly unsatisactory basictone.

Consistent ailings in

technical command.

Very poor basic tone.

Clearly inadequate technical

command.

Unsatisactory basic tonewith no attempt at variety.

Technique


31/38


29


Distinction Conident sense o

perormance with some

engagement with the

audience.

Awareness o appropriate

style with hints o an

emerging musical

personality.

Conident, communicative

and consistent sense o

perormance and

engagement with the

audience.

Appropriate awareness o,

and sensitivity to,

appropriate style with

evidence o an emerging


Conident, exciting and

eective engagement with

the audience.

A high level o musical

sensitivity and a convincing

grasp o appropriate style

with a generally clear,

distinctive and authoritative


Pass A perormance with basic, i

variable, sense o

conidence and some

capacity or audience

engagement.

An emerging eeling o

stylistic awareness with

some evidence o individual

interpretation.

An overall sense o


conidence and some eort

at audience engagement.

Some evidence o stylistic

awareness and an overall, i

possibly variable, attempt to

convey individual musical

intent.

An adequate overall sense

o perormance with general

conidence and a

recognisable capacity or

audience engagement.

General evidence o stylistic

awareness and some


musical intent and

commitment.Below

Pass 1


or attempt at

communication.

Limited and/or

inappropriate stylistic

awareness and personal

engagement.


or attempt at engagement

with the audience.

Limited and or

inappropriate sense o style

with little personal

engagement.


or attempt at

communication.

Poor stylistic awareness and

little personal engagement

or commitment.

Below

Pass 2




personal engagement not

evident.





evident.





evident.

Communication


32/38


30

Presentation skills

Marks

A well-balanced, interesting and

eective programme,

demonstrating a wide range o

abilities at an appropriatestandard using the available time

to the ull.

Planning, balance andconstruction of the programme

Assesses eectiveness and

stylistic and technical balance othe pieces, accuracy o the timing

o the programme.

(4 marks available).

The programme notes give an

interesting, well-researched,

convincing and personal insight

into the works being perormed,adding to the audiences

appreciation and understanding.

The programme is well produced

and correctly written/spelt.

Written programme notesFrom a short note o several

sentences about each piece or

Foundation to a more extendedand insightul piece o work or

Advanced. Need not be longer

than 2 pages. Must be

candidates own work, showing

personal creativity and input.


Not available.

Presentation SkillsPresentation o the

perormance to the

listener, includingstagecrat and personal

presentation and

comportment.


3 A solid and well-chosen

programme, demonstrating a

range o abilities and alling within

the stipulated time limits.

The programme notes give a

good account o the music,

without adding signiicantly to the

audiences experience. The

programme is neatly produced

with only minor mistakes in parts.

Not available.

2 An acceptable but limited

programme, possibly with a

restricted range o styles and/or

not well balanced, time limits not

adhered to, proportion o own-

choice repertoire slightly too high

or standard dubious.

The programme notes cover all

the details but show little

personal understanding or

appreciation o the composers

work, with most inormation

either generic or derivative.

Production is uneven in quality.

An impressive and

comortable level o

stagecrat with

evidence o good

preparation.

1

0

Programme shows signiicant

laws in construction and balance,

displaying a limited range o skills,

time limits not adhered to,

proportion o own-choice

repertoire too high or standard

clearly too low in parts.

Signiicant over- or under-running

and/or inringement o own-choice

repertoire guidelines.

The programme notes are

inaccurate and/or cursory.

Production is careless with many

mistakes, possibly showing

evidence o downloading or

other indiscriminate plagiarism.

The programme notes are very

inadequate or missing altogether.

Source material is thoughtless

and/or blatantly inappropriate

with no personal engagement

and no care is taken withproduction.

Slightly nervous

stagecrat with

uncertainty and/or lack

o preparation showing.

Very uncomortable on

stage with clear

evidence o inadequate

preparation.

4


33/38


31

Official recognition of qualifications

Trinity works closely with government agencies worldwide to secure appropriate oicial recognition o

all suitable qualiications. In the UK, Trinitys ull range o Grade and Diploma examinations in music

(Practical and Theory) have been ormally accredited in England by the Ofce o Qualifcations and

Examinations Regulation (Oqual) and the corresponding regulatory authorities in Wales (WAG) andNorthern Ireland (CCEA). The Grade examinations are now accredited within the Qualiications

Framework according to the ollowing chart, and can be built into music education programmes in the

school curriculum, in the independent sector and in private tuition.

Trinity QualificationsNational QualificationsFramework Level

Other Qualifications

FTCL 7 Masters Degrees/

Postgraduate Certiicates andDiplomas

LTCL 6 Honours Degrees/Graduate Diplomas

ATCL 4 Certiicates o HigherEducation

Grades 68 3 (Advanced) A/AS Level

Grades 45 2 (Intermediate) GCSE Grade A*C

Grades 13 1 (Foundation) GCSE Grade DG

Initial Entry Certiicate o EducationalAchievement

Initial is not accredited by Oqual but is comparable to Entry level.

Comparisons to other qualiications are made in terms o standards, not breadth o study. This is

because qualiications vary in terms o content, assessment methods, volume and purpose.


34/38


32

Entry to UK higher education and UCAS points

The United Kingdom Universities and Colleges Admissions Service (UCAS) has conirmed the inclusion

o Trinity Guildhall Grade music examinations within the UCAS tari system, which is open to any

student applying or a course o study at a UK university or other higher education institution. These

examinations will contribute towards a students score o UCAS points when they apply or entry tohigher education.

The UCAS points system assists admissions tutors to make broad comparisons across applicants to

higher education with dierent types and levels o qualiications. The way in which points are awarded

provides a level o conidence to university admissions sta or the use o the tari within the higher

education sector. Thereore, recognition is attributed to qualiications oered by applicants which may

otherwise not be known by university sta, and is important in

Documents

2011 Information & Regulations Booklet