Supporting Tests

Aural

• Every test is based on a single musical extract.
• The music chosen for the aural tests is simple to play and reflects a wide range of styles.
• Trinity Guildhall realize that not all teachers may have a keyboard instrument at their disposal for practice during lesson time, so all the tests up to and including Grade 3 are based on a single melody line, to allow them to be played on instruments other than a piano.
• As far as possible the tests require responses based on listening, and depend less on memory, singing and theoretical knowledge. Students should generally find that the required responses arise quite naturally as a result of the continuing development of their general musical sense through their playing/singing.
• On the few occasions when ‘sung’ responses are necessary – rarely more than one note – candidates are always invited to ‘sing, hum or whistle’.
• At most grades, candidates are asked to describe various features of the test music, such as dynamics, articulation, texture and style.
• Looking at printed scores forms part of the assessment sequence. Blind or visually impaired candidates may opt to take this assessment completely aurally. Please see the website www.trinityguildhall.co.uk for further information regarding special needs provision.
• Up to and including Grade 4, the printed score will be provided in the clef used by the candidate, e.g. alto clef for viola players.

• Sight reading is not a compulsory assessment until Grade 6 and above.
• When the tests are administered a closely timed 30-second preparation period is given, during which practicing aloud is both allowed and actively encouraged.
• The sight reading tests have been designed to be musically instinctive and not to try to catch candidates out.
• The standard of a sight reading test is normally that of the repertoire two grades lower.

Improvisation

• Candidates are offered a choice of musical ‘stimuli’ on which to base their improvisation. In each case the examiner will ask the candidate which type of stimulus they would like to prepare.
  
  This will be either:
  Pitched, in which the candidate is given some pulse-free, pitched notes; or
  Rhythmic, where the candidate extends a given rhythm pattern; or
  Chord-based, in which barl-long chords are played by the examiner, in strict time at a slow tempo, over which a candidate improvises freely.
  
  
• According to the candidate’s choice, the examiner plays the stimulus on the piano, and at the same time gives a notated copy of the relevant test to the candidate. In this way both auditory and visual learners are helped to produce the best response that they can. For visually impaired candidates, examiners will play the test several times in order for the candidate to memorise it.
• In every case the stimulus has been designed to allow a genuinely free creative reaction and to avoid the implication of a ‘mirror image’ response.
• The greatest credit is given to candidates who most effectively incorporate the characteristics of the stimulus into their improvisation, showing creativity and good instrumental knowledge and ability.


Chordal instruments
Candidates selecting the chord-based test on chordal instruments (piano, keyboards, guitar, harp, accordion or organ) may either opt to play the chords and/or bass line for themselves or may ask the examiner to play the chord pattern, while they improvise a melodic line (higher up the keyboard for keyboard instruments).

Transposing instruments
In pitched tests the examiner will play the test in the sounding key. Candidates will not be required to transpose at any stage in the Improvisation option.

Musical Knowledge

(Option up to Grade 5, not offered from Grade 6 onwards)

• Questions asked for the Musical Knowledge section are based almost exclusively upon the repertoire played in the pieces section of the examination.
• No questions are asked on any other music, including any score used for sight reading or supporting tests.
• As far as possible this section is managed conversationally by the examiner, seeking, within the limitations set, to discover what the student knows, rather than what they do not know.
• Examiners ask mainly ‘open’ questions such as ‘Point out the most interesting features of this piece’ or “What were the main challenges you encountered as you practiced this piece?”.
• Normally, the examiner aims to cover about five main points, although this may vary a little according to situation and grade. Each of these questions is worth two marks, and credit will be awarded according to the quality and detail of the answers given.
• To gain the highest marks candidates should show that they understand concepts discussed and should avoid pre-prepared answers.
• Candidates whose first language is not English may choose this section confident that the examiner will find straightforward graphic ways of communicating the questions. However, if necessary, an interpreter may be used for this section.

For arrangements to accommodate candidates with special needs, please contact Trinity Guildhall head office, or your local representative, at least six weeks before the examination.

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