In July 2014 the new Trinity College of London (TCL) piano grade exam syllabus was released. I have enjoyed teaching the TCL syllabus and my students have enjoyed learning the pieces: some highlights of the previous syllabus include Fanfare for the Common Cold (Grade 2), Allegro Non Troppo (Grade 2), Song of Twilight (Grade 3) and Tapping Heels (Grade 4). To assist in my preparation to teaching the new syllabus, I recently attended a presentation for piano teachers given by Peter Wild, Associate Chief Examiner, and Govind Kharbanda.
One of my main reasons for switching from ABRSM to TCL for graded exams is that TCL focusses on the individual, and the exam structure offers flexibility and choice to enable students to play to their strengths. Part of my teaching philosophy is to encourage students to play with expression and confidence, and I am keen to help them develop performance skills. Performance is at the heart of the TCL graded exams, and the pieces carry a maximum of 66% of the marks available in the exam.
Unlike ABRSM exams where students must select a piece from A, B and C sections (traditionally divided approximately into Baroque/Early Classical, Classical/Romantic and Modern/Jazz/Pop), TCL offers students up to Grade 3 free choice to select pieces which suit their individual strengths and allow students and teachers to create an interesting programme. This helps students understand how to build a contrasting concert programme and is particularly useful for students who wish to study for a Diploma at post-Grade 8 level. All the pieces offer contrasting moods, tempi, character and technical demands, and the syllabus combines well-known works and composers with music by lesser-known composers. There are always pieces with a Jazz-leaning and also some contemporary classical pieces. Arrangements of well-known jazz standards and songs, for example, are always good-quality arrangements. Right from the earliest grade, the pieces offer plenty of opportunities to explore aspects such as dynamics, tone quality, articulation and expression, and the pieces are chosen to encourage further listening and “listening around” the pieces to give students a broader frame of reference and set the music in context. In TCL the emphasis is very much on performance and students are encouraged to consider aspects such as stage craft and presentation. A duet option is also available in the early grades.
In marking the pieces, the marks awarded are subdivided into three areas:
- Accuracy & notational fluency – or “me and the music”
- Technique – “me and the instrument”
- Communication and interpretation – “me and the audience”
There is also a choice of supporting tests and up to Grade 4 students may select two of the following:
- Musical Knowledge
I have found that many early and younger students find sight-reading at Grade1/2 level very daunting and I prefer to teach it within the context of learning new music, allowing students to develop their sight-reading skills at their own pace.
Musical Knowledge is a useful option and gives the student the opportunity to learn some music theory within the context of the pieces they are playing, thus making the theory relevant.
Many students, particularly boys, find singing in aural tests excruciating, and so in Trinity aural tests there is no singing (except at Grade 1). The test is designed to explore musical understanding, awareness and perception.
Technical work and exercises
Technical requirements in TCL exams are less onerous than in the ABRSM syllabus. Scales and arpeggios are relevant to the pieces, and TCL encourages students to take a musical approach to scales, demonstrating that they can play with fluency, accuracy and good tone. From Grade 4 students must play scales and arpeggios legato and staccato, forte or piano, and from Grade 5 students play scales in major thirds, and arpeggios of the dominant and diminished 7th. In my experience, most young people who want to learn the piano simply want to be able to play well and enjoy playing the piano. For the more serious pianist, the technical requirements in the ABRSM syllabus, where by Grade 5 the student will have learnt scales in all the major and minor keys, is more useful.
For each TCL exam, the student must prepare three short technical exercises. The exercises focus on aspects of technique such as balance, tone, voicing, coordination, and finger and wrist strength and flexibility. The exercises related to various pieces in the syllabus: for example, A Lucky Find (3a, Grade 6) is useful in enabling the student to shape a good cantabile line in Chopin’s Cantabile in B-flat and practises playing chords as an accompaniment. Music lies at the foundation of all the TCL technical requirements, and indeed the entire exam.
Exam report and results
All candidates receive useful feedback on each element of the exam, and results are released quickly, usually within a week of the exam date (certificates take somewhat longer).
I know some teachers hold strong views about the usefulness of exams, and the individual exam boards. At the end of the day, I feel it’s important to find pieces and technical exercises/supporting tests which allow the student to explore a varied range of repertoire and techniques and, above all, to enjoy playing the piano.
Trinity College London – syllabus support
Trinity College YouTube channel – includes an introduction to the grade exams and sample exams to show how the actual exam is conducted
6 thoughts on “Trinity College of London new piano syllabus – an overview”
This is an excellent idea. However, I feel that the emphasis should be on enjoying and exploring new music without any pressure so the time scale should be very flexible. There is an analogy to learning to read. A learner who discovers the reading is enjoyable, is likely to read spontaneously and improve her / his reading skills.
Actually, there is a similar initiative in litearcy to encourage learners to read books – The Six Book Challenge. Here is a link: http://sixbookchallenge.org.uk/
In The Six Book Challenge audio books can be used. I think that the musical equivalent is listening to a piece of music and following the performance with a score. This is a very useful activity as well and it can be integrated with the idea in this blog. Another related activity is turning the pages during someone else’s performance – a fellow student or a teacher. From my experience, you gain great deal from helping in this way.
Thanks for this. I assume you meant to leave this comment on my 20-Piece Challenge article rather than this one? I agree that the exercise should, fundamentally, about enjoying and exploring music. I hope it will be fun rather than arduous!
How did I only stumble across this post today?! (it’s been an overwhelming past 12 months…)
I *frequently* have teachers asking me about Trinity College (and ABRSM, for that matter – ABRSM is not well known in Australia) and this is an absolutely wonderful summary of the way the Trinity exams are structured, and what is beneficial about them. I’ll be sending anyone who asks me in the future straight to this post!!
Glad you found it helpful, Elissa. Please feel free to reblog it on your own site if useful (with a link back to me).
I’ll do better than that – I’ll be posting it in the Australasian Piano Teacher’s facebook group, where the most eager audience for this will be! There was a discussion there just the other day…. 🙂
Great! It’s wonderful that technology allows us to exchange our ideas and resources across the continents. 🙂