ELECTRON

KEYBOARD
=s & Technical Work
”- nity College London
-s 2019-2022

Free downloads NOllVblSlO3b

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Contents
Paqanini Caprice no. 24 in A Minor (from 24 Câprlces for Solo Violin)” 2
Chopin Minute Waltz (Waltz in DL Major, op. 64 no. 1) 8
Liszt Friska (from Hungarian Rhapsody no. Z) 14
Widor Toccata (from Symphony for Organ no. 5, op. 42 no. 1) 19
Grainqer
In Dahomey 24
Gillespie
A Night in Tunisia m
Whelan
Riverdance
Thiselton
Spring Dance

Technical work
* own interpretation

Please refer to the Electronic Keyboard & Orqan Syllabus 2019-2022 for details on all sections of the exam,
including information on keyboard specification, voices, volume and accompaniments etc, intros/endings, use of
pre-recorded material and registration facilities, own interpretation, chords, tempo and set up.

Summary of exam requirements

PIECES
Candidates perform a balanced programme of three pieces, chosen from this book. Instead of one listed piece, candidates can play an own
composition, an own choice piece or an own arrangement (see syllabus).

TECHNICAL WORK
— Keyboard exercise
— Either scales & chord knowledge or exercises
SUPPORTING TESTS
— Sight reading
— Aural or improvisation

” Sight readinq examples can be found in Sound at Sight Electronic Keyboard (Grades 6-8) (TCL 018984)
• Practice aural tests can be found in Aural Tests book 2 (Grades 6-8J from 2017 (TCL 015815)
• A ranqe of resources to support teachinq and learninq is available at trinitycoIIeqe.com/electronic-keyboard-resources
For quidance on improvisation, please visit trinitycoIIeqe.com/supportinqtests or refer to the syllabus
COLLEGE LONDON PRESS

ELECTRONIC
KEYBOARD
Pieces & Technical Work for
Trinity College London
Exams 2019-2022

Free downloads
Own interpretation*

Voice(s):
Style:

Caprice no. 24 in A
Minor Niccolo Paqanini
from 24 Caprices for Solo Violin

= 12€r—134
F
5

Em F

Am Am Am(add2

Dm Am

F E Am A Dm

AF° Am F E Am
“ Candidates should refer to the current syllabus requirements for own interpretation pieces.
 Am(add2 c(addz)

22

Am(add2) ctadd2)

25

A Dm

Am

Am
 Am(add2 G add2) Am add2

ctadd2) Amtaddz Gtadd2)

Am(add2) ctadd2) A/G Dm/F

G/F C/E Et° Am/E

49

F E7 Am

1 .
 A(°mit3)

A!°Mit3)

Am - /GI CG

D7/Ft Dm/F Am/E

 B/A
A7 Dm7

G7(SUS4) ¢A7 Am(add2

ATO*
G

E7 Am F
F7

F Am
Em

F Em F G

Am ytadd2 ctadd2

Em(add4 F‹add2
A«(add2)

Atadd2
ctadd2)

95
 Grand Piano, Piccolo, Strinqs, Pizzicato Strinqs Viennese Waltz
Voices: Style:

Split point:Accomp. B* Left Voice B2

Other info: Finqered on bass chord settinq to be used. All voices to sound at written pitch usinq octave tran
Bars 36-52, 108-124 Piccolo to sound an octave hiqher than written.
Transposition is as follows: Bars 52-84, 117-124, 133-end Left Voice Octave +1 to be played an octave low

Minute Waltz
Waltz in D› Major, op. 64 no.
Frédéric Chopin
1

Molto vivace = 194—204

Grand Piano
D
N.C.

(Accomp on) Accomp starts

Sync start
Rhythm on
(Accomp off)

AL7

Dt AL7

F7/A Benn

AL /C DL G/ DL/AJ

3
 AL7 DJ F7/A Burn
27 1'2
1 1

2 3

AL7/C DL GL6 DL/AL AL7

14
3!
'3 1423

; 4

DL F /A Burn A67/C DL GL6

Picco o
2
36

DL/AL AL7 DL F7/A

Pi aPnicc o o
42 3 1 1

Benn
AL7/C DJ GL6

46 1

DL/AL
AE7 DL AL
Strings

Fill to B Add Left Left Voice - Piz icato Str n s

Voice
DJ AL7/EL AL7 DL

DL/F DVCt
AJ7/C AL7 DL

Fm/C F Fm N.C.
5 I 2

Break
(or Accomp off
and Fill)

AL7/C
AL7 DL DL/AL

(Accomp on)
 AL /EL AF’ DL DL/F

AL7/C AL7 ALm^/C\ BL7

EL7 Gunn/DL A67 NC.

Sync stop

N.C.

Remove Left Voice

(Rhythm/Accomp off) Accomp
A

89

Rhythm on (A) (Accomp on)

DL
93 1

Accomp on
 A67

97 35z

DL

Picco o Strin s
AL7 F /A
105
3

Fill to C (or B)

AL7/C DE

GL6 DL
DL/AL AL
Add Left Voice

F7/A Burn AL7/C DL

Left Voice - Pizzicato Str

 DL/Ar AL Dt
Strings

Remove
Left Voice

Fill to A

F7/A Burn ABC DL

125

3 3

DL/AL AL7 DL
Add Left Voice

Fill to D (or B)

F7/A
Burn AF7/C Dt

Left Voice - Pizzicato

(S Inc stop)
Sync
stop

AL DF

(Sync start,
Sync stop)

Sync Sync
start
stop
VOICE'S: Flutes + Oboes, Pizzicato Strings, Strings, Orchestral Woodwind, Spiccato Strings,
Theatre Orchestra (or Pizzicato & Glockenspiel), Symphony Horns (or Brass),
Bassoon
Style: US March (or Reel)
Split point: Accomp. & Left Voice Bars 1-12 A ", Bars 13-94 C3, Bars 95-106 Er3, Bars 107-end
C3 Other info: Fingered chord setting to be used.
All voices to sound at written pitch using octave transposition as necessary (unless otherwise stated).
Transposition is as follows: Bars 5-12 Left Voice +2 to be played two octaves lower than written;
Bars 13-30 Left Voice +1 to be played one octave lower than written;
Bars 51-58 Left Voice +1 to be played one octave lower than written.

Friska
from Hungarian Rhapsody no. 2
= 118—134 Franz Liszt
F utes + Oboes

Accomp off/Rhythm off

Add Left Left Voice - Pizzicato Strings

Voice

Flutes + Oboes & Strings

•'P*” z *— — ‹
 521 521

F utes + Oboes

Orch. Woodwind & Strings

2 1 5

molto rit.

Remove
Left Voice
 US March style
• = 126-138
ci7 cé7

Sync start
(Accomp on)
ct7 Ft

¢ 7 Fill

Fill to B
Spiccato Strin s Orch oodwi d

CP Fill F#

ct7 Fill A dd 6V
Spiccat Strin

Left Voice - Pizzicato Strinqs

Accomp off
Add
Orch Woodw nd

ci7 F[C4

Accomp on Remove
Sync L.V.
stop
 • = 9fi-102
Spiccato Strings & Orch. Woodwind
accel. poco a poco
59

(Accomp off/Rhythm of.f)

= 118—132

Theatre Orchestra

Sync start: A
c›7
CI

p cresc.
Fill to C (or B)

Add
Fill to D (or B)
c estra Woodwind

LVoice eSy
phfony Htorns

5 '
1 2
Accomp off (Rhythm on)

Pemove
Fill
 Spiccato Strings & Orch. Woodwind
CA7 FT cx7 F#

Accomp on
B F#
91

Fill to A

Spiccato Strings

Pemove
Left Voice - Bassoon

Accomp off (Rhythm on)

Theatre Orchestra
ct7
ct7 Ft

Add
Accomp on

(Theatre Orch.)
103

Remove
Left Voice - Bassoon

Accomp off Fill to B

107
cé7 cx7

Fill to D (or B)
Accomp on

Theatre Orchestra & Orch. Woodwind

CI F# Bm

Ending (1-bar)
Voices: Cathedral Organ (or Full Organ), Spiccato Strings, Trance (or Saw Lead), Dancy
Hook, Gemini (or PunchyChordz)
Style: Global DJ's (or Club
Mix) Split point: Accomp. F^
Left Voice F^
Other info: Fingered on bass chord setting to be used. All voices to sound at written pitch using octave transposition
as necessary (unless otherwise stated).
Transposition is as follows: Bars 2-18 Left Voice Octave +1 to be played an octave lower than written;
Bars 19-63, 8J-88 Right Voice Octave -1 to be played an octave higher than written;
Bars 19-45 Left Voice Octave -1 to be played an octave higher than written;
Bars 46-71, 89-95 Left Voice Octave +1 to be played an octave lower than written.

Toccata
from Symphony for Organ no. 5, op. 42 no.
1 Charles-Marie Widor

Cathedral Organ & Spiccato Strings

Allegro = 112—124 F FA7 F6 F^

Left Voice - Cathedral Organ

1-bar Intro (Accomp on)

F^ F6 Em/G

C^ C6 ¢A7 CA7

C6 Bm/D G7/D A /Ct

 G /D Emtadd4) B /Dt Em/B C7/E

BL/D BL^ /F C7/E EL7

Gm/D C7

(6)- -I N.C. Cathedral Organ & Trance

Left Voice - Dancy Hook

Fill to B
 Fill to D

Trance
FA7 F6 FA7 FA7

Left Voice - Gemini

F6 Em/G CA7 C6 CA7

CA7 C6 Bm/D c/c

 cx°/c Dm/F A7/E

Fill

Dm Dm6 Dm7

Em/G B7/F# Em C/E

C/BL
F6/A c7/c Dm/F EO7

Dm/F Am/E
BJ^7/D E° A7/CI Dm

Gm/BJ C7(SUS4) C7 N.C.

To Cathedral Organ

r
Pemove Left Voice

Fill to A
 Cathedra Or an

(Accomp on)

F bass Fill to B
D ncy Hook

Add Left Voice

Fill to C (or A)

F^7 Dm/F Dancy Hook 6 Cathedral

F^7
Orqan
Dm/F F^ Dm/F
R9

Left Voice - Gemini

F^7BL/F F(SLJS4) F F(SMS2)

Ending (1-bar)
freely
Cathedral Organ

Pemove Left Voice

Accomp off
(Rhythm off)
Voices: Bright Piano, Theatre Orchestra, French Musette Accordion, Bassoon, Pizzicato Strings, Flute, Strings,
Orchestral Woodwind, Glockenspiel, Trumpet, Vibraphone
Style: Zither Polka, US March
Split point: Accomp. Cf3 Left Voice Cf^
Other info: Pedal function should be set to sustain. Fingered on bass chord setting to be used.
Left Voice is suggested for the Left Hand where particularly effective, changing split point and
octave as required.
All voices to sound at written pitch using octave transposition as necessary (unless otherwise stated).
Bar 33 beat 4-50 beat 1: Orchestral Woodwind to sound -1 and Glock to sound +1 so two octaves
apart; Bar 33 beat 4-37 Right Voice to be played an octave higher than written;
Register key set to +1 for 38-39 beat 3 (played at written pitch),
register key set to 0 for 39 beat 4-40 beat 3 (played up an octave).
Transposition is as follows: Bars 10-19, 23 beat 3-27, 33 beat 4-50 beat 1, 55-61 beat 1 Left Voice Octave +1
to be played an octave lower than written;
Bar 24, beats 1-2 Right Voice +1 to played an octave lower than written;
Bars 28-33 beat 1, 41 beat 3-47 beat 2 Right Voice -1 to be played an octave higher than written.

In Dahomey
Percy Grainger
Freely
Bri ht Piano Zither Polka Style= 82—94

Sync Start
(Accomp off)

Break
cx7 Ft Ft6/AT Fbm6/A GA cx7
5
1 1 4 2

Left Voice - French Musette Accordion

P - -
Accomp B on

F#6 N.C. cx7 Fb6/At F#m6/A

Break

GA7( 5)

Bri ht P ano
GA7( 5) Ctt7(SUS4) FI N.C.
5 4
3

black-note gliss. (r.h.)

RemoveLe t Voi eB ssoon
Left \/oice

’21

Sync Stop
Accomp off
 Pizzicato Strings

Rhythm A on
Flute & Pizzicato

Left Voice - French Musette Accordion

Left Voice - Strings

29

cresc. poco a poco

Orch. Woodwind & Glock.

F ute

Remove Left Voice

Left Voice - Strings

Rhythm Stop
 US March Style

Sync Start (Accomp off)

37

Trumpet &

Fill to B

C7(SUS4) C7 F G O7 Gm7 c7/c F6

Accomp on, Left Hold on

C !SUS4) ¢7 F F*/A BL , F /A BJ F7/A

4 31
4d
h
 Vibraphone
BE GmF/C C F6/A N.C.
2 53 Bri ht Piano

Pemove Left Voice

Zither Polka Syle Sync Stop (Accomp off)

Sync Start, Rhythm

C
(Accomp off)
Bright Piano & Orch. Woodwind
Gtm7 Ct7 FI F#6/AT FAm6/A

Left Voice - Pizzicato Strings

Accomp on
G17 GA7(95) Gt7 Gtt7 GA7(b5)

cx7 Bri ht P ano

CA7(SUS4) FT N.C.
3

Sync stop, Accomp off

Left Voice off
Voices: Acoustic Bass, Saxophone, Trombone, Big Band Brass, Strings
Style: Afro Cuban (or Latin), Big Band Swing
Split point: Accomp. C^ Left Voice Bars 1-4 Ev3,5-end C3
Other info: Fingered on chord setting to be used. All voices to sound at written pitch using octave transposition as
necessary (unless otherwise stated).
Transpositions: Saxophone, Trombone and Acoustic Bass (Left Voice) to sound an octave lower than
played throughout; Strings (Left Voice) to sound an octave higher than played throughout;
Bars 1-4 Left Voice to be played an octave higher than written;
Bars 5-40 beat 1 and 57-80 Right Voice to be played an octave higher than written;
Bars 41-52 and 65-80 Left Voice to be played an octave lower than written;
Bars 53-56 Right Voice -1 Octave to be played an octave higher than written;
Pitch bend range = 1; Pitch bend (> or x) to be used where instructed: glide up/down to written note

A Niqht in Tunisia
Dizzy Gillespie
= 145—159
Afro Cuban

Left Voice - Acoustic Bass

2 12
5 4 5 Fill
Rhythm start

Saxophone

Accomp on
Remove Left Voice

Trombone
Dm7 EL7 Dm7 EE

Big Band Swing style

ung 8
Dm EL7 Dm7 Em7 *5t A (*5t Dm

Fill
Afro Cuban
Dm7 Dm7

Big Band Swing style

swung 8s
EL7 Dm7 Em7!*5! A7($5) Dm Saxophone

Fill to B

Am7!**) D7 C7

Gm7($5) C T ro bone
FA7 Em7!**) A7 straight 8s

Afro Cuban
Dm7 Dm7

Biq Band Swinq style

swung 8s Big Band Brass
EL &Saxophone
Dm7 Em7!**! A7(b5) Do

Add Left
Fill to C
Voice Strinqs
(swung 8s)
(or B)
Em (*5! EL

Left Voice Strin s

Use Left Hold if possible
 Dm

F6

(Sync stop) Sync

stop

nBoid BBrass pitch

53N.G. j 3 bend

Pemove Left Voice

(Rhythm & Accomp off)

Saxophone
Dm6 EL7

Fill to A Accomp on

EL7 Dm6
14

Trombone
Em7t*5) A 4 Dm EL o tadds)
63 5

Fill

Add Left
Voice Strings
Left Voice Strin s
Use Left Hold if possible
 EL7 Dm6 E67 D<taddg
67h 1 2 I
5

Saxop one
Dm Am7(*’) D

Fill to B

Gm7 C7 Gm7!*^/ ¢7

Big Band Brass

FA7 A+ 54
Eli & Saxophone Dm7

Fill to C (or A)

Ӵ Remove Left Voice

E67 Dm7 EJ’ Dm7

83

Em7(b5) Dm Drn7

Fill to D (or B)
 EE7 Dm7 Dm
9/

A7(§5) Em7!*’! A7 pitch

bend 5
2

Dm6 Dm6 N.C.

{S Inc stop) (S ync s tart

off)

Fill Sync stop

Accomp off
 Voices: Heaven Pad or Synth Strings, Flute, Strings, Harp, Solo Violin, Piccolo, Orchestral Woodwind
Style: Waltz (bars 18-41), Celtic'e (bars 42-
end) Split point: Accomp. E^ Left Voice bars 1-9
A^, 10-end E3 Other info: Fingered on bass chord
setting to be used.
All voices to sound at written pitch using octave transposition as necessary (unless otherwise stated).
Bars 1-9 LV Octave +1 to be played an octave lower
Bars 2-9 RV Octave -1 to be played an octave higher
Bars 26-54 RV Octave -1 to be played an octave higher

Riverdance
Bill Whelan
Freely • = c.66 F ute Heave Pad

p Mod Wheel (LFO)

Left Voice - Heaven Pad

Accomp off, Rhythm off
Use Left Hold if possible

Strin s
10

To Harp

Sync Start)
 8 WaItz St yle ..- 112 (Rhythmically)

Sync Start
Rhythm B (Accomp off)
2 5

Add
Fill to C (or B) Left Voice
So o Vio in Picco o

"6
Atsus2 E7(SLIS4)
‘ i 5 2 !

Left Voi e Strin s

Accomp on
A(SUS2) Em7
z+

C/F G!SLIS4)
G(SUS4) C/F
34
5
5

Atsus2)
Em11
3$ To Celtic Style
5 4
 Celtic Style • = 120
Pemove Left Voice

Accomp off (Rhythm on) Fill to B

Strings 6 Orchestral Woodwind

Em C/E
46

Accomp on

E !SLJS4) A/E G C/G

¢A7 Bm7
GA7(oMit3) CG Am D7(SUS4)

2nd time Fill to C (or B)

Em C/E E7(SLiS 4)

A/E C/G GA7(omit3) C/G

2nd time Fill to D (or A)

A7 Bm7 D7(SUS4) E* Mod Wheel (LFO) slowly in

60

2nd time Fill to C (or B) m cresc. poco a poco

Sync
Stop
This page has been left blank to facilitate page turns
Voices: Flute, Harp, Strings, Trumpet, Violin
Style: a‘ Folk Rock (bars 1-23 and 52-91), Jazz Waltz or's Folk Rock (bars 24-51)
Split point: Accomp. bars 1-16 and 24-end A *, 17-23 D3. Left Voice bars 5-8 and 13-16 Ar*, 17-23 D^, 52-69 Ar*
Other info: Fingered on bass chord setting to be used.
Left Hold should be used if possible in bars 5-8, 13-23 and 52-69.
Left Voice chords should be played an octave lower. All voices to sound at written pitch using octave
transpose as necessary.

Sprinq Dance
Martin Thiselton
Harp (with reverb effect)
Em A Em7 Em D G6 A 4
A

Em A/E Em Bm Em Em

Em A/E Em7 A/E Em D/F# G6 A

5

LVoeice
Sftringt (Accomp
on)

Em/G Bm/FT Em Em

Remove
Left Voice
Harp (without reverb) Strin s
A G6 A F Em*

G6 Em7
 A Em A Vio n D/FI
E Bm/D
3

Y
Left Voice - Strinqs

D/FI

SAddtrins Am/C
D6 Am/E D/Ft

To Accomp B (or C or D)

Am C6 Am Bm Am/CD

Am G/B F/C E Com/E D/FIC Bm/D

Dm

Bm/D E D E
E csm o

Remove
Left Voice

Accomp off
(Rhythm on)
 Harp (without reverb) & Strings
Jazz Waltz or 8 Folk Rock Style • = 162

1 1 5

Em Em Em

Accomp(A)on

Em

Gm

Dm Gm BL Am Gm Dm

6 Folk Rock Style = 150

F ute Gm/BJ C Gm/BJ Dm/A Gm/BL
§2
h

VLe t
oicHaerp

(Accomp on)
 Em A/E Em
jy Trumpet

l3"<xx3 Le t Voice Str ngs

To Accomp B
(or C or D)

A/E Em A/E 4 Em Fern Em/G A

W 1 1 4 I I J

Harp (without reverb) & Strings

Em Fern 5 E./G A

Remove I
Left Voice ACcomp off (Rhythm on)

80

%6 5
 Technical work
Candidates prepare section 1. and e/fher section 2. or section 3.

1. KEYBOARD EXERCISE (from memory)

Candidates should choose one of the scale & arpeggio combinations (marked *) in section 2. below using one of the tonal/modal centres of
Ft, EL or A (candidate's choice).
Either
2. SCALES & CHORD KNOWLEDGE (from memory) — Examiners select from the following:

Using the tonal/modal centres of F#, Ek and A:

Major scale followed by major 7th arpeggio”
Dorian scale followed by minor 7th arpeggio*
scale hands together,
Mixolydian scale followed by major arpeggio with a lowered
7th (Ft’, EB’, A’)” arpeqqio in RH
only
(NB — candidates will not be asked again for
whichever scale 6 arpeqqio combination they selected
for section 1.) legato min.
two octaves
Major pentatonic scale on F#, Ek and A = 140
hands separately, straight
Minor pentatonic scale on F$, EL and A or swung (examiner's choice)

Chromatic scale in similar motion starting on any note

hands toqether
(examiner's choice)
RH only, straight or swung
Blues scale on F#, EL and A (examiner's choice)
Chords in root position:

bass note in LH and

remaininq notes in RH
Chords in root position and all inversions:
F#’, EN’, A’, Dk’, B67, E7
F@’, EL^’, A^’, Fern’, Elm’, Am’

3. EXERCISES (music may be used) — Candidates prepare three of the following four exercises.
Candidates choose one exercise to play first. Examiners then select one of the remaining two prepared exercises to be performed.

1. Big Band Bend keyboard functions exercise

2. Falling Leaves scalic exercise
3. Ballroom Elegance pianistic exercise
4. Circles sequencing exercise
1. Keyboard exercise
Two octave scale, followed by arpeggio
F major scale, major 7th arpeggio

E> major scale, major 7th arpeggio

A major scale, major 7th arpeqqio

Dorian scale starting on FI, minor 7th arpeqqio

Dorian scale starting on E›, minor 7th arpeqqio

2
h g e -

2 t 4 1 3 1 4
1 3 2 3 I 4

Dorian scale starting on A, minor 7th arpeqqio

Mixolydian scale starting of Ff, major arpeqqio with lowered 7th

Mixolydian scale starting of Es, major arpeggio with lowered 7th

Mixolydian scale starting of A, major arpeqqio with lowered 7th

2. Scales & chord knowledqe
Two octave scale, followed by arpeqqio
FI major scale, major 7th arpeqqio

E› major scale, major 7th arpeqqio

4
41 3 ' 2

3 l 4 1 3 1 2 1 4 1 3 1 4 I

A major scale, major 7th arpeqqio

Dorian scale starting on FI, minor 7th arpeqqio

Dorian scale starting on E›, minor 7th arpeqqio

2 1 4 1 3 1 4 1 3 2 3 1 1 3 1 4 1 2

Dorian scale startinq on A, minor 7th arpeqqio

Mixolydian scale startinq of FI, major arpeqqio with lowered 7th

Mixolydian scale startinq of Er, major arpeqqio with lowered 7th

3 14 13 14 121 41 3I 41

Mixolydian scale startinq of A, major arpeqqio with lowered 7th

Ftt major pentatonic scale (two octaves), straiqht and swung

(5 4 3)

EL major pentatonic scale (two octaves), straiqht and swunq

3 2 1 2 1 3 2
(2)
A major pentatonic scale (two octaves), straiqht and swung

F# minor pentatonic scale (two octaves), straight and swung

2 1 3 2 1 2 1 3 2 1 2

E minor pentatonic scale (two octaves), straight and swung

5321

A minor pentatonic scale (two octaves), straight and swung

Chromatic scale in similar motion startinq on any note, eq Dk or B (two octaves)

Blues scale on F (two octaves), straight and swung

Blues scale on EL (two octaves), straight and swung

Blues scale on A (two octaves), straiqht and swung

Chords in root position

F#6 A6 F#m6 Am6

07 E6O7 AO7 A+

A9

Chords in root position and all inversions

F97 F47/At FA/C4 F97/E

EL7 EL /G EL7/BL EE7/DL

A7 A /E A7/G

DE7
DE7/F DL7/AL DL /CL
h
 BL7 BL7/D BL7/F BL7/AL

E7 E7/Gtt E /B E7/D

F9^7/EN
Ftt°7 Ft^7/CA

EE^7/D
EL^7 EL^7/G EL^*/BL

AA7
A^7/C4 A^ /E A^7/GB
7

Fttm7 7/A
79 F#m7/CI Fém7/E

E6m7 Elm /BL

E6m7/GL ELm7/DL

Am7 Am7/C Am /E Am7/G

3. Exercises
1. Biq Band Bend — keyboard functions

Voice: Big Band Brass

Style: Classic Big Band
Pitch bend: quick down and up again to pitch
repeated down and up again to pitch
-------” quick down and slowly up again to
pitch

3
•= 120 J=« I
Bi Branad ss
G7 G7( 5)

A D7 G7

A7/Ctt

D7 G7/D

G( D

G G7 ( C

Fill
2. Fallinq Leaves — scalic

Voice: Electric Piano

Style: Dance

• = 95
E ectric Piano
Am Dm7

Left Voice - Electric Piano

G CA7 E7

Am Dm7

E F^ E7 Am
3. Ballroom Eleqance — pianistic

Voices: Piano,
Strings Style: None

Piano

4 4

add Str n s
8

32l3

16 rit.
4. Circles - sequencing

Voices: (Fantasia), Electric Piano with

sustain Style: Hip Hop
Other info: For pre-recorded material fingered on bass chord setting should be used. The volume of
the pre-recorded track should be appropriately set so that the live performance is clear.

= t20
Electric Piano w/sustain

Live

Fantasia and accomp

F# Ft°’/E4 Dim B^7/AT
Pre-recorded

C4 F4^7/Ef

Ek^7/D EE/Bk AL A °’/G

Fm BE EE EL^7/D C’ FmF° EL/BE BL7

ELECTR0NlCKEYB0ARDGRADE08
Pieces & Technical Work
for Trinity College London
Exams 2019-2022

Tnis book contains everything neeoed to prepare for the performance and
tecn nical work comDonent s of a Trinity Electronic Keyboard Grade 8 exam.

All ten performance Dieces have Deen composed or arranqed sDecifically

for the keyboard, and encompass a wide ranqe of styles — from classical
favourites to TV, film or show tnemes. Tne ‘own interpretation’ piece allows
the candidate to create a personal ar ranqement, choosing their own voices,
style, kevboard functions and interpretation. Also included are the scales,
chord knowledge and exercises that form the tecnnic at work component of
tne exam.

This series provides progressive steps in Performance and keyboard

functons for alIe!ectronic keyboard students, whether preparing for a
Trinity exam or studyinq on another Dath.

All pieces nave been adaptea and arranged by Christopher Hussey, with the
exceDtion of ‘SDFing Dance’ by Martin Thise!ton.

Paganini / CaDrice to. 24 in A Minor (from £4 Caprices for Solo Violin)

Chopin / Minute Wa!tz Waltz in DL Major, oD. 64 no. 1)
Liszt / Friska ffrom Hungarian Rhapsoay no. £)
Widor / Toccata from Symphony for Organ no. 5, op. 42 no. 1)
Grainger / In Dahomey
Gillespie / A Night in Tunisia
Whelan / Riverdance
Thiselton / SDrinq Dance

Demo recordinqs can be

downloaded free — see inside
back cover for details.

The follow in q *rinit y pu blie ations, waila bIe from trinitycoIIeqe.com/shop o r youi- local music shop, may
be r seful when Dre pari nq la r a T iin ity El ec tronic Key ooard Gra de 8 exa m:

Sound at S iqht E lect ronic Key Board Gi-aches 6—8 TCL 018984 ISBN 978-0-85736-807-2
Aura I Tests book 2 (Grade s 6—8) from 2017 TCL 015815 ISBN 978-0-85736-5361
Theory Wom k look Grate 8 ISBN 978 0 85736-007-6
St udent Practice Not ebook TCL 015310 ISBN 978—O—85736—487—6

All syl la buses a nd fu ‹-t he i- info ^mati on a bout Trinity Co Ilege Land an exa in s ca n be obtained from
trinitycoIIege.com

TRINiW