ELECTRONIC KEYBOARD

SAMPLE BOOKLET
A selection of pieces and technical work
for Trinity College London exams
2019–2022

HANDEL
MORTON
JOPLIN
TRAD

NOT FOR SALE

Contents
Trinity’s Electronic Keyboard Syllabus 2019–2022 3
What’s new? 3
Recognition and UCAS points 3
Contributors 4

The exam at a glance 5

About the exam 5
Exam structure and mark scheme 6

Electronic keyboard graded exam books 7

Pieces 7

Sample pieces — About the pieces 9

Sample pieces 10
Initial 10
Grade 2 11
Grade 4 12
Grade 6 14

Sample exercises & scales — About the exercises & scales 18

Sample exercises & scales 19

Initial 19
Grade 2 20
Grade 3 20
Grade 4 21
Grade 4 21
Grade 7 22

Support and resources 23

Contact us 23

Stay up to date 23

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 Trinity Electronic Keyboard Sample Booklet 2019–2022

Trinity’s Electronic Keyboard Syllabus 2019–2022

Develop specific skills
Help your students build the specific skills used by keyboardists, including playing with
a range of instrument voices in time with accompaniment patterns, and developing a
wider understanding of common scales, modes and chord progressions. Encourage them
to explore the technical possibilities of their instrument, and develop skills that are also
relevant for learning piano and Rock & Pop keyboards.
Explore varied repertoire
Discover pieces across a variety of styles and genres — including popular classics,
show tunes, film themes, jazz, folk and world music — and help your students develop
technique through performing a wide range of music.
Benefit from a range of support
Use a syllabus and supporting books created in consultation with electronic
keyboard specialists, and access digital support resources specific to your electronic
keyboard teaching.

What’s new?
New performance repertoire at all grades covers a wide range of styles, including popular classics,
„„
show tunes, film themes, jazz, folk and world music
Restructured technical work: all candidates (except at Initial) perform a newly added keyboard exercise,
„„
which helps to develop a range of skills from awareness of chords and chord progressions to arpeggio
playing and agility, with all candidates choosing either revised scales & chord knowledge or brand new
technical exercises
A new sequencing exercise option at Grades 6–8 provides an opportunity to explore the technological
„„
features of the instrument
New graded exam books for Initial to Grade 8 feature between 8 and 10 specially arranged pieces and
„„
original compositions, full technical work requirements for the grade and accompanying audio downloads
The new Sound at Sight: Grades 6–8 book offers a range of sight reading pieces, providing invaluable
„„
practice and exam preparation material for keyboard players at the higher grades
A refreshed syllabus format makes the requirements for each grade easy to understand for teachers
„„
and learners
Online digital support resources provide teachers and learners with support and advice on repertoire
„„
and technique: trinitycollege.com/keyboard-resources

Recognition and UCAS points

Trinity College London is an international exam board regulated by Ofqual (Office of Qualifications and
Examinations Regulation) in England, CCEA Regulation in Northern Ireland and by Qualifications Wales.
Various arrangements are in place with governmental education authorities worldwide.
In the UK, Grades 6–8 are eligible for UCAS points for those applying to colleges and universities.

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Trinity Electronic Keyboard Sample Booklet 2019–2022

Contributors
Trinity worked with a team of expert consultants to develop the new Electronic Keyboard syllabus:
Peter Buckby is the director of Innovation Music, a music school network providing instrumental, vocal and
theory lessons on the Yorkshire Coast. A keen keyboard player and teacher with over 16 years’ teaching
experience, he has also delivered lectures for the University of Hull in creative music technology and spoken
at conferences and events on the benefits of music-making to learners of all ages.
Joanna Clarke is a Trinity College London examiner and currently their adviser for electronic keyboard. She
runs her own teaching practice in the Midlands and has been involved with the electronic keyboard syllabus for
a number of years, giving workshops to teachers and examiners both in the UK and abroad.

Nancy Litten is a musician and teacher, and her many roles and achievements have included setting up a
keyboard orchestra for Kent, founding and directing National Electronic Keyboard Courses from 2005–2012,
and adjudicating for the British and International Association of Festivals.

Victoria Proudler is a specialist in music teaching and is a director of music in Sheffield. She has been
a music examiner for Trinity for many years and has arranged and composed many pieces for piano and
electronic keyboard. Victoria has a wide range of performing experience, including performing on BBC radio,
and has presented workshops for both examiners and teachers.
Andrew Smith is based in Manchester where he works as a teacher, arranger and accompanist. His teaching
positions took him to Egypt and Iceland before he returned to the UK and joined Trinity College London as an
examiner in 2004.

The graded exam books that support the syllabus were put together by Trinity College London Press, with
Christopher Hussey arranging many of the pieces:
Christopher Hussey is a composer, arranger, audio producer and educational author. His original music has
been performed internationally and has been shortlisted in BASCA’s British Composer Awards and recorded
by the Czech Philharmonic Wind Ensemble. As an orchestrator and arranger, he has produced many scores
for musical theatre, TV and concert halls, and has over 1,800 published arrangements ranging from choral
pop to rock classics for jazz piano.

DOWNLOAD OUR ELECTRONIC KEYBOARD SYLLABUS 2019–2022

4
 Trinity Electronic Keyboard Sample Booklet 2019–2022

The exam at a glance

About the exam

PIECES
66 marks
Choose three pieces TECHNICAL WORK
each worth 22 marks. 14 marks
A keyboard exercise (except
at Initial), followed by either
scales & chord knowledge or
technical exercises.

SUPPORTING TESTS
20 marks
A combination of two tests from
sight reading, aural, improvisation
and musical knowledge, depending
on grade and candidate choice.

Pieces
Candidates can express their musical identity by choosing pieces from our varied repertoire lists, while
flexible performance options allow them to perform to their strengths. These options include playing an
own composition, and playing an own choice piece or their own arrangement at Grades 6–8.

Technical work
This section of the exam supports the development of technical skills by assessing candidates’ performance
in a range of technical work options. To help develop skills specific to electronic keyboard, Trinity’s technical
work includes a compulsory keyboard exercise (except at Initial), designed to develop awareness of chords
and chord progressions and arpeggio playing and agility; exercises that develop skills such as knowledge of
keyboard functions; and an optional sequencing exercise at Grades 6–8.

Supporting tests
Trinity’s supporting tests encourage the development of the broader musical skills of sight reading, aural,
improvisation and musical knowledge. The choice offered to candidates in this part of the exam allows
them to demonstrate their own musical skills in different ways.

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Trinity Electronic Keyboard Sample Booklet 2019–2022

Exam structure and mark scheme

Initial–Grade 5 Maximum Grades 6–8 Maximum
marks marks

PIECE 1 22 PIECE 1 22

PIECE 2 22 PIECE 2 22

PIECE 3 22 PIECE 3 22

TECHNICAL WORK 14 TECHNICAL WORK 14

Keyboard exercise (Grades 1–5 only)

„„ Keyboard exercise
„„
Either scales & chord knowledge
„„ Either scales & chord knowledge
„„
or exercises or exercises

SUPPORTING TESTS 20 SUPPORTING TEST 1 10

Any TWO of the following: Sight reading

„„
Sight reading
„„
Aural
„„
Improvisation
„„ SUPPORTING TEST 2 10

Musical knowledge
„„
ONE of the following:
Aural
„„
Improvisation
„„

TOTAL 100 TOTAL 100

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6
 Trinity Electronic Keyboard Sample Booklet 2019–2022

Electronic keyboard graded exam books

Trinity’s electronic keyboard graded exam books feature a selection of specially arranged
pieces and original compositions across a range of styles, as well as the full technical
work requirements for the grade, providing teachers and learners with everything they
need to prepare for their Trinity electronic keyboard exam.

Pieces
Initial
BRAHMS Lullaby (Wiegenlied)
CLARKE Rock to the Roll
DVOŘ ÁK Largo (from Symphony no. 9, ‘From the New World’)
EASTBURN WINNER Little Brown Jug
MOZART Voi, che sapete (from The Marriage of Figaro)
RODGERS Edelweiss (from The Sound of Music)
SULLIVAN Little Buttercup (from HMS Pinafore)
TRAD. Michael Row the Boat*
TRAD. The Skye Boat Song
VIVALDI Spring (from The Four Seasons)

Grade 1
BEETHOVEN Pastoral (theme from Symphony no. 6)
ELGAR Land of Hope and Glory (Pomp and Circumstance March no. 1)
LOGGINS Footloose*
SCHUBERT Unfinished Symphony (theme from Symphony no. 8)
SMITH Whirling Dervishes
TRAD. Cockles and Mussels
TRAD. English Country Garden
TRAD. Shaker Tune
TRAD. Star of County Down
TRAD. Wild Mountain Thyme

Grade 2
BURGMÜLLER Arabesque in A Minor, op. 100 no. 2
GERSHWIN Summertime (from Porgy and Bess)
HANDEL Air (from Water Music)*
HANDEL Sarabande (from Suite in D Minor, HWV 437)
LITTEN Homeward Path
MERRILL Mambo Italiano
MOZART Eine Kleine Nachtmusik, K. 525
SHERMAN Chitty Chitty Bang Bang
TRAD. Charlie Is My Darling
TRAD. Scotland the Brave

Grade 3
J S BACH Arioso (from Cantata, BWV 156)
CLARKE Mediterranean Breeze
FAULKNER Arkansas Traveller
HOLST Jupiter (from The Planets)
KANDER Theme from New York, New York
MORODER The NeverEnding Story
TCHAIKOVSKY Dance of the Little Swans (from Swan Lake)
TRAD. Farewell to Lochaber
TRAD. The Irish Washerwoman
TRAD. The Sligo Maid*

* Own interpretation piece 7

Trinity Electronic Keyboard Sample Booklet 2019–2022

Grade 4
BADELT/ZIMMER He’s a Pirate (from Pirates of the Caribbean: The Curse of
the Black Pearl)
BEETHOVEN Allegro (theme from Symphony no. 5, 4th movt)
BEETHOVEN Pathétique (theme from Piano Sonata no. 8, 2nd movt)
BRAHMS Hungarian Dance no. 5
JOPLIN Weeping Willow Rag
LOWRY How Can I Keep from Singing?
SHAIMAN You Can’t Stop the Beat (from Hairspray)
SMITH High Wire
TRAD. Wade in the Water*
WAGNER Ride of the Valkyries (from Die Walküre)

Grade 5
DORHAM Blue Bossa*
HANDEL The Arrival of the Queen of Sheba (from Solomon)
HURWITZ Engagement Party (from La La Land)
PROUDLER Twilight Tango
ROSSINI The Thieving Magpie (theme from the overture)
SOUSA The Washington Post
STRAUSS II Voices of Spring
TRAD. Amazing Grace
TRAD. Deep River
TRAD. Hardiman the Fiddler

Grade 6
J S BACH Jesu, Joy of Man’s Desiring (from Cantata, BWV 147)
CHOPIN Romanze (from Piano Concerto no. 1, op. 11)
DOWLAND Flow, My Tears
JOBIM Girl from Ipanema
MORTON King Porter Stomp
PROUDLER Samba Nights
TRAD. Celtic Medley*
WHITE/MCKAY/WILLIS
(EARTH, WIND & FIRE) September

Grade 7
J S BACH Toccata and Fugue in D Minor, BWV 565
CROW & FROOM Tomorrow Never Dies*
GLASS The Poet Acts (from The Hours)
LITTEN Enchantment
MENDELSSOHN-BARTHOLDY Wedding March (from A Midsummer Night’s Dream)
MOZART Violin Concerto in G, K. 216 (1st movt)
PARRY Jerusalem
TRAD. The Contradiction Reel

Grade 8
CHOPIN Minute Waltz (Waltz in Db Major, op. 64 no. 1)
GILLESPIE A Night in Tunisia
GRAINGER In Dahomey
LISZT Friska (from Hungarian Rhapsody no. 2)
PAGANINI Caprice no. 24 in A Minor (from 24 Caprices for Solo Violin)*
THISELTON Spring Dance
WHELAN Riverdance
WIDOR Toccata (from Symphony for Organ no. 5, op. 42 no. 1)
* Own interpretation piece

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 Trinity Electronic Keyboard Sample Booklet 2019–2022

Sample pieces — About the pieces

Initial: TRAD. / Michael Row the Boat
This traditional spiritual song gives players the opportunity to present a personal arrangement, with
candidates able to choose voices and rhythms, add dynamics, and even vary rhythm and harmony to
produce a creative response. This enables them to explore the features of their instrument, reflecting
real-life performance scenarios in which players are presented with a lead sheet.
“Own interpretation pieces offer the student a great place to develop their creative skills and add their
own ideas to a piece. It’s fun here to extend the right-hand rhythm, adding extra notes from the chords
and passing notes from the scale of C major, to develop an exciting melody!” Peter Buckby

Grade 2: HANDEL / Sarabande (from Suite in D Minor, HWV 437)

Handel popularised the dance form of the Sarabande in the Baroque period, and today many film and TV
adaptations exist of the piece. This arrangement features woodwind and brass voices over the repeating
harmonic sequence, and keyboard functions such as fill-in and voice changes. It also includes more complex
right-hand writing, including counterpoint and 3-part chords. This builds on the simpler 2-part chords used in
earlier grades, enabling the player to produce fuller right-hand textures, as well as simple counter-melodies.
“This piece covers both legato playing and requires practice of scalic runs with a consistent fingering
to achieve a good performance of the middle section. Though written in time it should be played
over a style.” Peter Buckby

Grade 4: JOPLIN / Weeping Willow Rag

Originating in America, ragtime is characterised by its jaunty rhythms and whimsical mood. Scott Joplin, a
pioneer of the form, wrote more than 40 original ragtime pieces, such as ‘Entertainer’ and ‘Maple Leaf Rag’,
which share the same style and character. Written in the two-step march style, ‘Weeping Willow Rag’ features
melodic syncopation across barlines, changing harmonies and key changes. While this arrangement assigns
the left-hand stride pattern to the keyboard auto-accompaniment, the right hand needs to manoeuvre shifts
between chord positions, and handle increased finger independence and a greater range of articulations.
“There are some speedy chord changes in this arrangement — you will need to consider chord voicing
carefully and practise moving from chord to chord swiftly and smoothly. This piece also has syncopated
rhythms just prior to a chord change — make sure you work on co-ordination, keeping your hands
independent, to achieve the correct harmonic rhythm.” Peter Buckby

Grade 6: MORTON / King Porter Stomp

“Jelly Roll” Morton was an early jazz musician who combined classical, ragtime and blues with Caribbean
influences. Written only two years after ‘Weeping Willow Rag’, ‘King Porter Stomp’ came to define
the emerging swing style and quickly became a foundation of every big band’s repertoire, with many
interpretations being recorded over the decades. Morton himself considered the piano as less of a solo
instrumental voice and more like an orchestra. Accordingly, this arrangement exploits a variety of jazz voices
including vibraphone, jazz flute, and big band brass. Keyboard functions include dual voice and pitch bend
to produce a soundscape with fuller colour and authenticity, and multiple accompaniment variations which
provide rhythmic energy and variation at this fast, bebop tempo.
“Multiple registrations are required, together with control of those registrations through a pedal so as not
to disrupt the flow of the piece. Techniques can differ from instrument to instrument so it is important to
understand the features of your keyboard well.” Peter Buckby

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Trinity Electronic Keyboard Sample Booklet 2019–2022

EK 0 - Michael, Row the Boat Ashore - Own Interp.

Sample
Candidate pieces
EK 0 - Michael, Row the Boat Ashore - Own Interp.
Initial
Own interpretation*

Candidate
Voice(s):
Style: Michael Row the Boat
Own interpretation* Trad.
Voices:
Voice(s):
Style: Michael Row the Boat
Style:
Trad.
q = 120
Voices:
Style:
C
Michael Row the Boat
4 j
& 4 Óq = 120 œ. œ
4

œ œ ˙ œ
1 2

œ œ œ
Trad.

C
4 j
&4 Ó œ. œ
4

œ œ ˙ œ
1 2

œC œ œ
F D‹
j
4

& w ˙ œ œ.
3 5

œ œ œ œ ˙ œ œ
F C D‹
j
4

& w ˙ œ œ.
3 5

œ œ œ œ ˙ œ œ
G G7 C C

œ. œj œ œ ˙ œ œ
8

& ˙
2 4 1 2 3 1

˙ ˙ œ œ
G G7 C C
j œ
8

œ. œ œ
& ˙ œ œ ˙
2 4 1 2 3 1

˙ ˙ œ œ
F C D‹
j
12

& w ˙ œ œ.
3 5

œ œ œ œ ˙ œ œ
F C D‹
j
12

& w ˙ œ œ.
3 5

œ œ œ œ ˙ œ œ
16 G G7 C

& w w w w
16 G G7 C

& w w
* Candidates should refer to the current syllabus requirements for own interpretation pieces.

w w
© Copyright 2018 Trinity College London Press Ltd

* Candidates should refer to the current syllabus requirements for own interpretation pieces.

10
2 © Copyright 2018 Trinity College London Press Ltd Please set up for the next piece
 Trinity Electronic Keyboard Sample Booklet 2019–2022

Grade 2

Sarabande
from higher),
Voices: Recorder (sounding an octave Suite in D Minor, HWV 437
Mellow Horns (sounding an octave lower)
Style: Recorder
Voices: Waltz (Serenade)
(sounding an octave higher), George Frideric Handel
Ek 2 - Sarabande
Mellow Horns (sounding an octave lower)
Style: Recorder,
Waltz (Serenade)
Ek
Voices:
2(Waltz)
Style: - Sarabande
Serenade
mellow horns
Sarabande
Voices: Recorder,
h = 60mellow horns
Style: (Waltz) Serenade
Recorder
Sarabande
from Suite in D Minor, HWV 437
George Frideric Handel
h =D‹
60 from
A Suite in D Minor,FHWV 437 C George Frideric Handel
3
& b 2D‹˙˙ ˙˙ Œ œ A ˙ ˙ Ó ˙ ˙˙ Œ œ C ˙˙ ˙˙ Œ œ
4 3 4 3
Recorder
F˙
2 5 2 2 5 1 3

3 mf #˙ ˙
b Œ œ # ˙˙ ˙˙ Ó ˙˙ ˙˙ Œ œ ˙˙ ˙˙ Œ œ
4 3 4 3

& 2 ˙˙ ˙˙
2 5 2 2 5 1 3

G‹
mf D‹ B¨ A

bG‹˙˙ ˙˙ Œ œ D‹˙˙ ˙˙ Œ œ B¨˙˙ ˙˙ Œ œ A#˙˙ ˙˙ Ó

5 4
5
3 5 5
4
2

&
2 1 2 2 1 1

œ #˙˙ ˙˙ Ó
& b ˙˙ ˙˙ Œ œ ˙˙ ˙˙ Œ œ ˙˙ ˙˙ Œ
5 4
5
3
2
5 5
4
2
2 1 2 1 1

Mellow Horns
9 D‹ A F C

& bD‹˙˙ ˙˙ Œ œ A# ˙˙ ˙˙ Ó Œ œ C˙ ˙ Œ œ ˙˙ ˙˙
Mellow Horns
9 ˙ ˙
F

& b ˙˙mp ˙˙ Œ œ ˙ ˙ Ó ˙˙ ˙˙ Œ œ ˙˙ ˙˙ Œ œ
#˙ ˙
j
mp G‹ C7 F B¨ G‹ D‹ A7 D‹
˙ ˙ œ ˙ ˙
& bG‹˙˙ C7˙˙ Œ œ F ˙˙.. œ B¨œ #œ G‹œ œ D‹˙ A7#œ.
13

D‹˙ ˙ Ó
1 3

œ ˙˙ #œ. j
& b ˙˙ ˙˙ Œ œ ˙˙.. œ œ #œ œ ˙ œ ˙˙ ˙˙ Ó Fill to B
13 1 3

D‹ A F C Fill to B
Œ F œ œ œ œ œ œ Cœ œ œ œ
17

& bD‹œ œ Aœ œ œ œ Œ
1 2 1 3 2 1 3 2

#œ œ œ œ #œ œ
œ
17
b
& œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ Œ
1 2 1 3 2 1 3 2

#œ œ œ œ œ #œ œ
mf

mf G‹ D‹ B¨ A

& bG‹œ œ œ œ œ œ D‹œ œ œ œ œ Œ œ œ œ œ A#w

21
Ó
4

w
3 1 1 2 4 1 2

B¨
œ œ
œ œ
œ œ œ œ œ œ œ œ œ œ #w
21

& b œ Recorder œ œ œ Œ Ó
4

w
3 1 1 2 4 1 2

D‹ A F
œ C
25

& bD‹˙˙ ˙˙ Œ œ A# ˙˙ ˙˙ Ó ˙ ˙˙ Œ œ C ˙˙ ˙˙ Œ œ
4 4
Recorder
F˙
2 2 3

25

& b ˙˙ f ˙˙ Œ œ ˙ ˙ Ó ˙˙ ˙˙ Œ œ ˙˙ ˙˙ Œ œ
4 4
2 2 3

G‹
# ˙ D‹ ˙ B¨ G‹ D‹ A D‹
f
œœ œœ ˙ #˙˙˙ .
5 4

Œ œ D‹˙˙.. œ̇
B¨ #œ G‹
w
29 5

bG‹˙˙ ˙˙
4 2 4 4 3 2

œ ˙ w
w..
1

&
2 1 1 2 3 2 1 1

œ D‹ A D‹
œ̇ #œ œ œœ ˙ #˙˙˙ .
5 4

Œ œ ˙˙.. w
29 5

b ˙˙ ˙˙
4 2 4 4 3 2

œ ˙ w
w..
1

&© Copyright œ
2 1 1 2 3 2 1 1

2018 Trinity College London Press Ltd œ 11

© Copyright 2018 Trinity College London Press Ltd Please set up for the next piece 5
Trinity Electronic Keyboard Sample Booklet 2019–2022

EK 4 - Weeping Willow Rag

Grade 4
EK Voices:
4 - Weeping
Piano, Clarinet Willow Rag
Style: Ragtime Weeping Willow Rag
Voices:Voices:
Piano,
Style: Style:
Clarinet
Piano,
Ragtime
Ragtime
Clarinet
Weeping Willow Rag Scott Joplin

{
Scott Joplin
q = 126
Voices: Piano, Clarinet
Style: Piano
Ragtime Weeping Willow Rag
# 4q =œ126 œ œ œ

{
œ œ œ œ œ œ ‰ œj œ œ
2

œ
1 2 1

#œ œ œ œ
4 1 2 1

& 4 œ #œ œ œ œ
1

œ œ œ œ œ œ œ œ œ œ
Scott Joplin

Piano 3
˙
œ
1 1

# 4 œf œ œ œ
2

œ œ œ œ œ œ œ œ œœ œœ œœ œ œœ ‰ œ∑j œ œ
1 2 1 2

&?4# 44œ ##œœ œ œ œ

4 1 2 1
1

œ œ œ œ œ œ œ œ ˙
1 3 1 2

œ œ œ œ œ œ
Accomp off 4 5 Accomp on
?#4
f Rhythm off Sync start
4 ∑
Accomp off 5 4 5
G Accomp on
˙ jœ œ j
G G7 C C‹
#
3

j j j
4

& .. ˙˙˙ œ œ œ
5 Rhythm off 1
Sync start
œœ #œ œ nœœ œœ œœ J œ œ œœ œœ bœœ œ œ œ œ
2

˙ œ œ
3 4 1

œ œ œ
1 1 2

5
. J J . œ
˙ j œ j
G G7 C C‹ G
#
3

œœ #œ œ nœœœ œœœ œœœ J œœ œ œœj œœj bœœ œj œ œ œ

4

& .. ˙˙˙
1
5 2

˙ œ
3 4

œ œ œ œ
1 1 1
2

. J J . œ
œ
G E‹ D A7 D
# ˙ ˙ œ œ
œœ #œ œ œœ œœ œ œ œ œ
3

œ #œ œ œ œ œ ˙ œ
9 4 1 5

& ˙˙ ˙ œ œ œ
2 1

œ
4 2

˙
œœ #œ œ œœœ œœœ œ œ œ œ œ œ #œ œ œ œ ˙
G E‹ D A7 D
# ˙ ˙
3
Fill
œ œ œ
9 4 1 5

& ˙˙ ˙ œ œ
2 1 4 2

˙ œ
˙ jœ œ j
G G7 C C‹ G Fill
# œœ #œ œ nœœ œœ œœ J œ œ œj œj œ œj œ œ
& ˙˙˙ œ œ
1
13
˙ œ #œ œ
œ . œ œ bœ . œ œ œ œ
˙ j j
G G7 C C‹ G
#
& ˙˙˙ œœ #œ œ nœœœ œœœ œœœ œJ œœ œ œœj œœj bœœ œj œ œ œ
1
13
˙ œ œ
E‹ Eº
. .1. œ œ2. œ #œ
# #˙˙ œœ... œJ œœ œ œ bœœ œœ œ œ œ œ œ #œ œ œ nœ n
3
B7 2 G D7 G G
.
17
œ œ Œ Ó
1

œ œ .
5

& œ1. ˙ œ œ
2

œ
1

E‹J
‰ ‰ J Eº Œ 2.

# #˙ œœ... œJ œ œ œ bœ œ œ œ œ œ œ #œ œ œ nœ n
3
B7 2 G D7 G G Fill to B
.
17
˙ œin the exam
œ‰‰ œ œ Œ œ Œ Ó
1

œ œ .
5

&Play repeats
2

˙ œ œ œ
1

J J œ
© Copyright 2018 Trinity College London Press Ltd Fill to B

Play repeats in the exam

10 © Copyright 2018 Trinity College London Press Ltd

12
10 © Copyright 2018 Trinity College London Press Ltd
 Trinity Electronic Keyboard Sample Booklet 2019–2022

Clarinet
C E E7 A‹ C7 F
œ œ œ œ #œ œ œ œ œ œ œ œ b œœ œœ œ ˙ œœ œ œ œ
1

. œ œ
21 3

& .œ œ œ œ œ J œ ˙
1 4

J J
1

J
mf

-œ. -œ. -œ. b A¨7

-œ. C A‹ E‹ B E‹ G7
œ œ œ œ œ œ œ œ œ œ œ #œ #œ œ Œ
5

œ œ œ bœ nœœ.. ˙
3 4
2 5 4
25 3 2 1
2 1

& J ˙
1

œ œ œ œ œ #œ œ œ œ œœ œœ œ œœ b œœ œœ œœ ˙˙
C E E7 A‹ C7 F
œ œœ œ œ œ
29

& œ œ J J J J

1. 2.
-œ. -œ. -œ. b -œ. A¨7 C A‹ D7 G7 C C
œœ^
œ œ œ bœ nœœ.. œ œ œ œ ˙ œj œ œj œ œ bœ . ˙ œœ Œ
33 4 5 5

& J œ -. -. œ-. . ˙
1 2 1 4

#˙ nœ œ œ
f
2nd time: Ending Fill

Please set up for the next piece 11

13
Trinity Electronic Keyboard Sample Booklet 2019–2022

Grade 6

K ing P or t e r S t om p - G r 6
Voices:
Style: King Porter Stomp
Honky-Tonk Piano, Jazz Flute, Jazz Vibraphone, Jazz Guitar, Power Brass (Big Band Brass), Soft Trombones
Fast Jazz, Big Band Swing
Split point: Honky-Tonk
V oices: Accomp. B2 PIano, J azz Flute, J azz V ibraphone, J azz Guitar,
Other info: Power
Fingered chord
(or setting to be used.SAll
oftvoices to sound at written pitch (unless otherwise stated).
Voices:
S tyle:
Brass
K ing P or t e r S t om p - G r 6
Big Band Brass), Trombones
Honky-Tonk Piano, Jazz Flute, Jazz Vibraphone, Jazz Guitar, Power Brass (Big Band Brass), Soft Trombones
Fast J azz, Big Band
Transposition S wing Vibraphone and Guitar to sound Octave –1 throughout
is as follows:
Style: Fast Jazz, Big Band Swing
S plit Points: Accomp.
Pitch bendB2 range = 1; Pitch bend to be used where instructed:  = glide upwards to written notes
Split
V oices: point: Accomp.
Other info: Honky-Tonk
Fingered B2chord
PIano, J azz Flute,
setting J azz V ibraphone, J azz Guitar,
to be used.

â
Other info: Power
Fingered chord
Brass
All voices setting
(orsound
to Big Bandattowritten
be used.
Brass), SAll
oftvoices
pitch tootherwise
Trombones
(unless sound at written
stated).pitch (unless otherwise stated).
S tyle: Fast J azz, Big
Transposition Band
is as S wing
follows: Vibraphone and Guitar
Transposition is as follows: V ibraphone and Guitar to sound to sound Octave –1 throughout
Octave -1 throughout
S plit Points: Accomp.
Other info:
Pitch
PitchbendB2 range
bend range = 1;= Pitch
1; Pitch
Fingered chord setting to be used.
King Porter Stomp
bend to be
bend used
to be where
used instructed:
where  = glide= upwards
instructed: to written
glide upwards notes notes
to written

â
All voices to sound at written pitch (unless otherwise stated). Jelly Roll Morton
Transposition is as follows: V ibraphone and Guitar to sound Octave -1 throughout Jelly Roll Morton
Swung
Pitch bend rangeq== 1;162–188
quavers
King Porter Stomp
Pitch bend to be used where instructed: = glide upwards to written notes

{
Fast Jazz
Jelly Roll Morton

“”
Honky-Tonk Piano

b œ>œ
Swung quavers q = 162–188

œ œ. œ œ œ œ œ œ. œ bœ œ nœ bœ b œ œ œ œ nœ

{
bbb 4Honky-Tonk
œ œ œ œ
4
Fast Jazz 3

b nœ J nœ J Œ Œ
2 3

& 4
2 2
1

“”mf 3
Piano

b œ œ œ œ b œ>œ
bbbb 4 œ œ œ nœ œ J œ œ . œ œ . œ b œ œ nœ bœ Œ n œ Œ
3

œ n œœ œ œ b ˙
4

œ ˙
3

b nœ J
2

&& b b4b 44 œœ
3

Œ n˙ & bœ œ œœ #œœ nœœ Œ ? bœ Œ

2 2

Œ b˙˙ ? œ
1

œ3 n˙ 3
œ nœ b >œ
mf Sync start
nœ b ˙˙
1 1 1 1 1

bbb 4 œJazz Flute ? œ n˙ & bœœ nœœ œœ #œœ nœœ Œ ? bœ Œ

5 4 4 3 2

b
& 4 œœA¨ Œ b ˙
˙ œ Œ
n˙ >œ bœ>œ
œ.
G¨7 F7 B¨‹
b œ œ œ
& b bbJazz
5
‰ œ œ œ ‰ J œ
1 2 1 1 1 1
Sync start
nœ J nœ
2 5 4 4 3 2

œ œ œ œ œ. œ. œ. œ œ œ.
œ. Flute J
A¨ G¨7 F7 B¨‹
œ. œ >œ œ
5
bb b œ œ
‰ œ œ œ ‰ J œ
Accomp on 2

b n œ J nœ
2

& œ. E¨7œ œ œ œ œ. œ. œ. œ œ œ. JA¨ Bº E¨7

bbbAccomp j on nœJ œ. nœ ‰ œ. œ œ œ nœ bœ 1

œ œ nœ œ bœ œ œ
9
b ‰ ‰ ‰ n œ
1 1 2 1 2 1 4 5

J
2

& œ #œ œ #œ œ J
E¨7 A¨ Bº E¨7
b j nœ œ. nœ œ. œ œ œ Fill
& b bb ‰ A¨œ #œ œ G¨7 nœ bœ nœ œ bœ œ
1

œ œ
9

#œF7œ ‰ J ‰ ‰ J nœ
1 1 2 1 2 1 4 5

J
2

œ
B¨‹
œ. œ Fill >
œ œ
b
& b bb œ œ œ œ œ œ ‰ J œ œ œ
13
‰ œ nœ œ
2

J nœ
2

. œG¨7 . œ. œ. œ œ œ. J
A¨ F7 B¨‹
œ. œ >œ œ
b
& b bb œ D¨ œ œ œG7 œ œ ‰ J œ œ œ
13
‰ œ nœ œ
2

J nœ
2

. j œ œ. . œ.A¨ œ. œ œF7œ. J
> -
B¨7 E¨7 A¨
œ œ œ œ. œ. >
Add Jazz

b œ œ bœ œ œ œ œ œ. œ œ œ
œ œ ŒVibes
& b bb ‰ œ nœ œ
17 2 5

J nœ
4

.
Fill to-B
D¨ G7 A¨ F7 B¨7
>
E¨7 A¨
j œ. œ œ œ œ œ. œ. œ >œ Vibes
Add Jazz
17
b b
2 5

œ œ . œ œ œ
& b b ‰ Jazz œ nœFlute œ & Jazz Vibraphone œ than written
œ œ œ. Œ
4

J nœ to sound an octavebœlower
“”
Vibes
A¨ G¨7 F7 B¨‹
j œ œ j
Fill to B
>œ œ.
bbbJazz j
21
b ‰ ‰ jœ œ œ œ œ œ œ œ ‰ œ nœ œ ‰ œ nœ œ ‰ J ‰
2

& œ
“” mf>
Flute & Jazz Vibraphone Vibes to sound an octave lower than written
œ . F7 . œ . B¨‹
2

A¨ G¨7
21
bbb ‰ j ‰ j œ œ j >œ œ.
b j œCollege ‰ œ nœ œ ‰ œ nœ œ ‰ J ‰
2

&16© Copyright œ>20182018Trinity œ œ œ œ œ œ œ

œ . . œ .
2
© Copyright Trinity College London
London Press
Press Ltd Ltd
mf
14
16 © Copyright 2018 Trinity College London Press Ltd
 Trinity Electronic Keyboard Sample Booklet 2019–2022

<“>
E¨7 A¨ Bº E¨7

b j nœ œ j nœ œ œœœ
b ‰ œ ‰ œj #œ œ œ Œ œ nœ bœ nœ œ bœ Œ
2

‰ œ nœ œ
25 4

& b b ‰ œ #œ œ
1 2 1 1 2 1

J
Fill

<“>A¨ G¨7 F7 B¨‹

>œ œ.
bb j œ œ j
& b b ‰ œj ‰ œj œ œ œ œ œ œ œ œ œ œ Œ
29 2

‰ œ nœ œ ‰ œ nœ œ ‰ J ‰
2

>

<“>D¨ G7 A¨ F7 B¨7 E¨7

j œ œ >
bb ‰ œJ ‰ œJ œ œ nœ œ œ ‰ œJ ‰ bœj œ œ œ œ œ
33 4

& b b ‰ œ nœ œ
5

.
3

Guitar to sound an octave

lower than written

<“>A¨ loco
Jazz Guitar
F‹ C7
- -œ
b nœ œ. b œ nœ œ œ ‰ n>œ œ œ
œ nœ
b
& b b œ. œ nœ œ nœ œ #œ nœ #œ
36 3 1 2 3

Œ
1 2 3 1 2

J
3 1 3
3 3
mf
Fill to C (or A)

F7 B¨‹ A¨ B¨7

bbb ‰ œ œ nœ œ -œ ‰ >œ œ œ œ œ -œ Œ j œ œ œ œ œ œ œ œ >œ

3

œ œ
39 3

b ‰ J ‰ œ œ
2 2

& J J

Gtr to sound octave lower

Add Jazz Flute
Jazz Guitar/Jazz Flute
E¨ µ F‹
b j
& b bb ‰ œ œ œ œ -œ ‰ œj
43
∑ Œ
œ œ œ œ œ nœ
2 1 3

-
Fill Break
(or Accomp off and Fill)

C7 F‹ B¨‹ B¨
b j j j
& b bb ‰ œ œ nœ œ œ- ‰ œ- ‰ œ œ ‰ -œ ‰ œj œ œ œ œ
46

œ Œ
2 4

œ œ - J

A¨ E¨7 A¨
b œ œ œ .
To Power Brass

& b bb ‰ œj œ œ œ œ- ‰ œj ‰ œj œ œ œ œ œ
49
‰ J œ œ. Œ Ó
2 3

œ.
2 1

- > . >
Fill (Sync. stop)

17

15
Trinity Electronic Keyboard Sample Booklet 2019–2022

{
Power Brass
A¨ µ
œ. -œ b>œ >œ >œ.
bb œ. œ bbbbb
4

.
4

& b b œ œ œ œ œ œ œ œ œ nœ œ œ Œ œ œ œœŒ œ
53 3

‰ J
2 1 1

->
f

? bb œœ
bb œ. Œ Ó ∑ ∑ bbbbb
To Big Band Swing Fill (to A)
Sync stop set for Fill to A

Big Band Swing

Soft Trombones
G¨ G¨‹ D¨ G¨ G¨‹ D¨
bb
57

& b b b œ. œ. œ. œ. nœ œ. ‰ œj ‰ â >œ. nœ œ. ‰ œj ‰ â >œ.

4

œ. œ œ. œ
. .
mf

> œ -œ ‰ j Ó
G¨ G¨‹ D¨ B¨7 E¨6 A¨7
b ‰ œJ ‰ œ œ bœ œ.
& b bbb œ. œ. œ. œ.
61 3

nœ œ. ‰ œJ ˙ œ
1

J >
Fill

Power Brass
G¨ G¨‹ D¨ G¨ G¨‹ D¨
b
& b bbb œ. œ. œ. œ.
65

nœ œ. ‰ œ â >œ. nœ œ. ‰ œ â >œ.
j ‰ j ‰
4

œ. œ œ. œ
. .

Power Brass &

Soft Trombones
b -œ >œ œ œ.
D¨
G¨ G¨‹ D¨ B¨7 E¨ A¨7 Add Soft
j j
3

b ‰ nœœ Œ bœœ bœ ‰ œœ Œ b œ œ ‰ J œ
Trombones

& b bbb œ. œ. œ. œ.
4 4
69
‰ œ ˙
1 1 1

nœ œ. J > > ff
Fill to B

b -œ >œ
G¨ Gº D¨ G¨ Gº
œ. œ œ. œ.
b œ bœ œ œ
& b bbb
J œ
73
Œ Ó Œ ‰ Œ Ó

18

16
 Trinity Electronic Keyboard Sample Booklet 2019–2022

b -œ >œ œ œ. œ.
D¨ G¨ Gº D¨ B¨7 E¨6
76
bb bœ œ
‰ J œ œ Œ bœ nœ.
4
>
‰ œJ ‰ œ œ œ œ.
&b b b Œ Ó ‰ œ ˙
J J
mf

b >œ. b >œ. b >œ b >œ.

A¨7 G¨ Gº D¨ G¨ Gº

∫ œœ.. bb œœ ∫b œœ... bb œœ
b b œ -
œ j b œ œ ‰ >œ Ó œ œ ‰ >œ
80

&b b b ‰ œ ‰ Œ ‰ Œ
5 2

> J J
f

b >œ b >œ.
D¨ G¨ Gº D¨ B¨‹ E¨ A¨7

∫b œœ... bb œœ >
bb œ œ ‰ œ bœ œ œ -œ ‰ œ œ bœ. œ. bœ œ œ >œ
84

&b b b Ó ‰ Œ
2

J J

>œ ˙˙.. œœ œ>œœ ˙˙˙.. >

œœœœ nœœœœ
D¨ B¨‹ E¨ A¨7 D¨ G¨7
-œ
b b>œ œ bœ. œ. bœ œ bœ. œ. nœœ ˙. œ b œ ˙..
2

& b bbb ‰
88 1 4
3

J
1

ff

{
U
ww ww
D¨6 µ

b w
w w
w
& b bbb
92
∑

? bb b U
bb ∑ ∑ Œ Ó
r.h. œ.
1-bar Ending Accomp off
(when Ending finished)

Please set up for the next piece 19

17
Trinity Electronic Keyboard Sample Booklet 2019–2022

Sample exercises & scales — About the exercises & scales

Initial: Bossa Boy — keyboard functions
This short exercise includes use of both Intro and Ending, and application of a single dynamic change from
mp  to f. As with all pieces and exercises, care should also be taken to ensure the accompaniment volume is
set so the melody can be heard clearly.

Grade 2: Game Over! — pianistic

This fun miniature piece includes pianistic elements such as bass clef reading, slurring, and simple
chromaticism.

Grade 3: Keyboard exercise

This keyboard exercise comprises a scale in the right hand, accompanied by chords in the left hand. It is
played with piano voice and auto-accompaniment off, so fully fingered chords must be used. It supports
the development of knowledge of the most common chords, together with other relevant performance
and technical skills such as bass clef reading, finger dexterity and a sense of pulse. Candidates may select
the key used for the exercise from those offered for scales & chord knowledge at the grade — A major and
G harmonic minor being available at Grade 3.

Grade 4: Tango Turn — scalic

This exercise is evocative of the tango style with its melancholic mood and distinctive rhythm. It contrasts
scalic passages with short arpeggios, building on the exercises at lower grades with changes in scale
direction, modulation of key and specific articulation directions.

Grade 4: Ab Lydian — modal scales

The contemporary electronic keyboard player is constantly looking for new sounds and ways to develop
language in accompaniments, improvisations and compositions. Exploration of the modes through the
grades can open a new palette of sounds across a breadth of musical styles. Commonly used in a major
setting to provide added lift, the Lydian scale sounds particularly effective over major 7th chords.

Grade 7: Spanish Melody — sequencing

In this exercise the candidate pre-records the strings and bass lines before the exam and plays only the
piano and flute voices as a live performance. Examiners assess the performance of the live part, including
synchronisation with the sequenced part. The candidate needs to carefully balance the different parts in
order to create an expressive musical performance.

18
 Trinity Electronic Keyboard Sample Booklet 2019–2022

Sample exercises & scales

ii) Exercises
Initial
Bossa
Bossa
1. Boy
Boy
Bossa Boy Initialfunctions
— —keyboard
keyboard KEYBOARD FUNCTIONS EXERCISE
functions
Intro and Ending Adjust Accompaniment volume as necessary
Accompaniment volume Guitar (sounding an octave lower)
Voice: Acoustic
Dynamic changeBossa Voice: Acoustic guitar
Style: Style: Bossa

q = 100-110
Acoustic Guitar
A‹ D‹ A‹ E7
4 Πw
4

& 4 œ. œ. ˙ œ. œ. ˙ œ #œ œ
mp
Intro (short)

5 A‹ D‹ E7 A‹

& œ. œ. ˙ œ. œ. ˙ Œ œ #œ #œ w
f Ending (short)

Initial - Smooth Parade

2. Smooth Parade — scalic
Scalic Exercises
Voice: Strings
Voice: Strings
Style:English
Style: English Waltz
Waltz

q = 80
Strings
C F G C
3 œ œ ˙.
&4 œ
1

œ œ œ ˙.
mf

G C

& œ
5
œ œ ˙. œ
3

œ œ ˙.

15
19
 Technical work
Trinity Electronic Keyboard
Candidates Sample
prepare section 1. andBooklet 2019–2022
either section 2. or section 3.

1. KEYBOARD EXERCISE (music may be used)

Grade
Candidates 2
should play one of the following scales in the RH, accompanied by chords I, IV, V and VI in the LH, as illustrated below and on page 17.
7

A major or G harmonic minor (candidate’s choice)

Grade 2 Piano Style exercise
Game
3. Game Over!
Either
— pianistic
Over! — pianistic
Game
2. SCALES & Over!
CHORD KNOWLEDGE (from memory) — Examiners select from the following:

AVoice: Electric
majorAElectric
Voice: Piano
Piano
GStyle:
Style:
minorNoneNone choice of either harmonic or
(candidate’s
melodic or natural minor)
hands together
q = 130
Mixolydian scale on A

Dorian scaleElectric
on G Piano
## 4 j
legato min.

j ‰ nœj
two octaves

Œ Œ ‰ œ Œ Œ ‰ Œ Œ
q = 90
œ œ
1
mf

A major4
&
Chromatic scale in similar motion starting on5G and A 2 2 1

nœ #œ . J nœ œ # œ œ
œ. or swung (candidate’s choice) œ. œœ ˙

{
pentatonic
hands separately, straight

˙ only, straight or˙swung ˙ ˙

G minor pentatonic
mf
? 4 on‰ G ˙
##scale ˙ ˙ ˙
4
RH
Blues
(candidate’s choice)
Chords in root position, first and second inversions: E7, D7
Accomp and Rhythm off RH only or LH only (candidate’s choice)
Chord progression of I-VI-IV-V7-I in the following keys:
A major, G minor

# j .
œ œ œ œ. Œ Ó
&# Œ Œ ‰ œ Œ Œ ‰
5Or 2

œ œ.one exercise to play first.

œ Examiners then select one of the œ bœ œ œ ˙
1 1 3

Candidates#choose
J remaining two exercises to be performed.
3. EXERCISES (music may be used) — Candidates prepare all three exercises.

{ ?Havana
2. ## Moonlight
1. Highland Laddie

˙
3. Midnight Valley
˙ ˙ #
1
˙ scalic
œ. Œ
keyboard functions exercise

exercise

pianistic exercise
2
œ. Œ œ œ œ œ ˙
1

Grade 3
Keyboard
1. Keyboardexercise
exercise

{
A major scale accompanied by LH chords I, IV, V7 and vi

### 4 œœœ œœœ

A F©‹/A D/A E7/G© A
œ œ œ œ œœœœ
5

œœ œ
4 1 4 4 1 4

& 4
1 3 1 3 1 1 3 3 1

œ œ œœœ
1

œ œ
œœœ œ˙
? ### 44 w
w w
w w
w ˙˙
*
˙˙
w w w ˙ ˙
* Chord V may be played in place of V7 (ie E/G# may be played in place of E7/G#)

16

20
20
 -.
Muted Trumpet (tremolo slowing towards
Marimba
j œ j bU
the Keyboard
Trinity Electronic end and finishing
Sampleon Db)
Booklet 2019–2022
b Œ ‰ bbœœ nœœ œ Œ Œ ‰ bœj nœ œ ‰ œJ w bw
B¨7 A¨7 E¨7
b œ
œ nœœ Œ w
9 2

b Œ ‰
3

& b
1

Grade 4 J J b œJ œ
Ending

Tango
Tango4 -Turn
2. Grade — scalic
Tango—Turn
Turn scalic

Voice:Guitar
Voice: Guitar (sounding
(sounding an octave
an octave lower)lower)
Style:Tango
Style: Tango

q = 120
Guitar

b 4
C‹
jœ œ œœœ Œ
F‹
b œ nœ nœ œ œ œœœ
b b ‰ nœ nœ œ ‰ œJ œ nœ œ Œ
1 1

& 4 œ œ #œ œ
3 1 3 1

mf
G C‹ D7 G
nœ œ œ œ œ œ œ œ œ œ . œ. œ œ œ œ œ. œ. œœ œ

{
b J œ œ œ œ œ œ
5
bb ‰ nœ nœ œ ‰ J nœ nœ œ ‰ œ Œ
3 4 4

C&
2

J
œ
minor scale: melodic (two octaves)

b œ œ œ nœ n œ b œ bœ œ œ œ œ 4 5

œ
1 4

œ œ bœ bœ œ œ -
4

b nœ
1 1

& b œC‹œ œ œ œ nœ
1 3 1 3 3 1 4 1 3 1

b œ . œ. œœ œœ
œ - F‹
b œ nœ nœ œ œ œœ. œœ. bœœ œœ œ
& b b œ œ œ #œ œ nnœœnnœœ œœ œ œ ‰ J Œ œ œ nœ œ œ œ bœ bœ ‰ J Œ
9 3 1 3 1
1 1

? bb œ œ œ œ œ nœ n œ œ b œ b œ ? œœœœœ
b G &
A¨œ œ œ
œ œ œ œG7
œ œ œ .
G
œ .
œ œ œ œ œ. œ.
C‹
n œ œ œ œ œ n œ œ œ œ œ œœ
3 1

{
1 3 1 4 1 3 5

j
1 1 4 1

b œ œ œ
3 4 3 1

J œ J
5

nœ œ ‰ œ œ
13
‰ natural (two octaves)
b bscale: ‰ ‰ J Œ
2

C&
3 2 1

minor

b œ œ œ œ œœœœœœ
œ œœœœ
5

œ
1 4 4

&b b œ œ œ œ œ œ œ œ
4 1 1
1 3 1 3 3 1 4 1 3 1

œ œ œ œ œ 23
œœœœœ
? bb 4œ œ œ œ œ œ œ œ &
Grade
œ œ œ œ œ ? œœœœ
b œœ œ œ œ œ œ
Ab Lydian — modal scales

{
1 3 1 1 3 1 4 1 3 1 5
5 4 3 1

Lydian scale on Ab (two octaves)

œ b œ œ œ b œ œ œ bœ œ œ
3

œ
1

b œ bœ bœ œ œ œ
2 3 1 3 1

bœ
4 1 3 1 1 3 1 4 3 1 3 2

& œ b œ œ œ œ œ bœ bœ
bœ bœ œ
? bœ œ œ bœ œ œ bœ & bœ
? bœ œ œ bœ œ œ
bœ œ b œ œ bœ bœ
b œ œ œ bœ œ œœœœ

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

Mixolydian scale on E (two octaves)

œ #œ œ œ œ #œ œ œ #œ œ
1 1 3

œ
1 3 1 4 1 3 4 5 4 1 4 1 3

& œ œ #œ #œ œ œ #œ œ œ
# œ œ œ # œ #œ œ œ
œ #œ # œ œ œ œ # œ
? # œ œ œ #œ #œ œ œ œ œ #œ œ œ
œ #œ œ œ #œ
#œ # œ œ œ œ œ
œ 1 3 1 4 1 3 1 3 1 1
5 4 1 3 5

Chromatic scale in similar motion starting on Ab (two octaves)

œ #œ œ œ #œ œ
1

œ #œ
1 3
21
œ
3 1 3 1

œ #œ
3 1 3 1 2 3 1 3 1 2 2 3 1 3 1 2 3

& œ #œ
œ œ # œ œ #œ œ œ #œ
Trinity Electronic Keyboard Sample Booklet 2019–2022

Grade 7
Spanish Melody
4. Spanish Melody — sequencing
— sequencing
Sequencing exercise
Rhythm Voices:
Only: 8 beat(Strings, Bass), Flute, Piano
Left Voice Split: D3 8-beat
Style:
The volumeSplit
of the sequenced
point: trackD3should be set lower than the right and left voices so
Left Voice Victoria Proudler
Grade 7:setSpanish
that the liveOther
performance melody
is volume
info: The clear. of the pre-recorded track should be appropriately

{
so that the live performance is clear.

q = 75

## 4 œœœœœ œ œœœœ œœ œœœ œ œœœœ œœœœœ œ œœœœ œœœœ

Flute

& 4 œ œ œ œ#œœœ
Live mf

# 4 œ œœœ œ œ œ œœœœ œ œœœ

Piano

& #4 œœ œœ œ#œ œ œœœœ œœ œ

{
mf œ œ œ
# 4 Strings

& #4 w
w w w
w w
w
mp
w ww ww w
Pre-recorded
Bass
? ## 44 . j j j j
œ œ˙ œ. œ˙ œ. œ˙ œ. œœ œ
mp

{
Sync start

~~~~~~~~~~~ Ÿ~~~~~~~~~~~ œ
5
## ˙Ÿ œ œ œ œ
œ œœ ˙ œœœ œœœ œœœœ œœ œ œ œœœœœœ œœœœœ œ œ œœœ
œ
&
3

# œ œœ œ œœ œœ œ œœ œ œ œ
&# œœ #œ œ œ œ

{
œ œœ
œ œœ œ œ œ œ #œ œ
#
& # w w w
w
w ww ww #w
w
w
? ## j j j j
œ. œ˙ œ. œœ œ œ. œ˙ œ. œ˙

{
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
9
## w œ œ œ œ œ œ œ œœœœœ œ ˙ w
&
#
fade

&# œœ œ œ œ œ œ œ œ œœ œ œ œ œ
œœ œ œ
œ w

{
œ œ œ œ
#
& # w
w w
w w
w w
w
w ww w w
? ## j j j j
œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙
51
22
 Trinity Electronic Keyboard Sample Booklet 2019–2022

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