Contents

Trad. Celtic Medley* 2

Dowland Flow, My Tears 6
Bach Jesu, Joy of Man's Desiring (from Cantata, BWV 147) 9
Chopin Romanze (from Piano Concerto no. /, op. 11) 13
Morton King Porter Stomp 16
Jobim Girl from Ipanema 20
White/McKay/Willis

(Earth, Wind & Fire) September 24

Proudler Samba Nights 28

Technical work a
* own interpretation

Please refer to the Electronic Keyboard & Organ 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 reqistration 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

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

ELECTRONiC
KEYBOARD
Pieces & Technical Work for
Trinity Co\\eqe London
Exams 2019-2022
 Own interpretation”

Voice(s):
Style(s):
Other info: Fingered on bass chord setting to be used. Left voice is suggested for the LH,
changing split point and octave as required.
Bars 8-18 lower stave: suggested use of left hold if available

Celtic Medley
Auld Lang Syne Trad.

= 94—106

Sync start

1. h.

/5
3
 ñ'f’ /t Hundred Pipers

. = 12€r—138

Sync start

G/D

G/B D/A A

D/C G/B D/A

D/F# D/A A BL7

 The Atholl Highlanders
EL DL EL DL

EL DL EL BL/F EL/G

EL AL/EL DL EJ

AL/EL DL EL AL/EJ
EL

EE DL AL/EL EL

DE EL DL

EL AJ/EL BL/F EE/G EL

EL

DL EL N.C.
9J 12
 Drowsy Maggie
= 116—122
Em Em D G D/F#
Em

Sync start

Em Em D/F#Em
103

Em G D/FT Em D Em G D/Ft
10d

q9 Bm A G D/Ft Bm A G D/Ft Bm A G D/Ft

Bm A D/F Em D/Ft

Em Em D/F

Em G D/FT Em
D Em G D/Ft

Em Em Em Em D/Ft
D
D

Em
Voices: Xylophone, Flute Ensemble, Trance Synth (or Perc Synth), Dance Synth, 80s Synth (or Synth Brass) 80s
Style:
Split point:Accomp. Er3
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). Flute Ensemble
Transposition: Bars 6-21 Trance Synth (sound Octave -1), bars 22-37 Dance Synth Octave -1 to be played an octave hi
Pitch bend range = 2; Pitch bend (* or x) to be used where instructed: glide up/down to written note

Flow, My Tears
John Dowland
(Flute Ensemble to sound at written pitch
and octave lower, if possible)
Xylophone & Flute Ensemble
= 92—100
Am B°/A

1-bar Intro Fill

Accomp on

Am B°/A

Fill to B

(Trance Synth soundinq octave lower)

Trance S nth F ute Ense b e
Am Dm/F

Am C/G

E(SUS4)
Dm/F

Fill
 FA7 Dm/F C/E

Dm/F E(SUS4)

Fill to C (or A)

Dance Synth
c Dm C/E

26
Am C/GI C/G D’/FI Dm F

Am C^7/G Dm/F Drn7

30

Am Dm/F N.C.

Break
(or Accomp off
and Fill to A)

Xylophone & Flute Ensemble

Am a- - BO/A B°/A
Am To 80s Synth

•X
Accomp A Fill Fill to D (or B)
 80 Synth
Am 4
4221

B°/A E7/A

Am 5
2
2 1

Fill to C (or A)
80s Synth & Flute Ensemble
E
5
50

Am G Dm/F
53 5

Am E /Gt

Fill
CG D7/FA Dm/F Am/E G F E

Dm E A
4
â3

W
K2
7
I

G A G

W 7
7

”7
1-bar Ending
Voices: Full Church Organ, Strings, Oboe
Style: Highland Waltz or s’ Ballad (bars 1-24), Pop Waltz (bars 25-end)
Split point: Accomp. Bs2 Left Voice B
Other info: Fingered on bass chord setting to be used.
Left Voice (Organ) Octave -1 to be played an octave higher throughout.

Jesu, Joy of Man's Desirinq

from Cantata, BWV 147
Johann Sebastian Bach

Hiqhland Waltz: Variation C (or B)

Broadly .. = 58—66
Strips

Left Voice - Full Church Organ

ffub_ _ _ _ _ _ ____________ ________ _ ____ ______________________ __________________________

Sync start
Rhythm on
(Accomp off)

Oboe
I
G C/E D/FT Em D

Accomp on

J Remove
Left Voice
Fill to D (or A)

C/E D/F4 G D D7

Fill
 C/E G/B Em Am/C
4 Add Str

Oboe Strin s
C/E G/B Em Am G/B

D/Ft Em Em G/D
20

Pop Waltz: Variation C (or B)

Am/C C D7 D E/D
Pemove Strings
Oboe

m espress.

Dm6 E Am Dm Am/C F
27 2 32

Dm Am G/D C Am
30

Dm7 G Dm7 G7
 Strin s
G/B G C/E G/B Em

Fill to D (or A)

Am G/B Am/C ”D D7 Add

Oboe

Fill
Oboe Strin s
C/E G/B Am/C Remove Strings

Fill to B

Oboe
G7 C/G G! 4)

G(SUS4)
C/E G/B Em

Am G/B Am/C N.C.

Accomp off Ending (1-bar)

molto rit.

(no rhythm/accomp)
This page has been left blank to facilitate page turns
 Voices: Warm Strings, Grand Piano, Oboe, Flute, Acoustic Guitar
Style: Piano Ballad
Split point:Accomp. F3
Other info: Fingered on bass chord setting to be used. All voices to sound at written pitch using octave transposition as nece
Transposition is as follows: Bars 1-12 Octave -1 to be played an octave higher than written;
Bars 41-49 Acoustic Guitar to sound an octave lower than written

Romanze
from Piano Concerto no. I, op. 11
Frédéric Chopin
Adagio i = 62—72
Freely, ad lib.

W rS r n s

yfy espressivo

I
22
(Rhythm/Accomp off)

ffyespressivo fl 1

Warm Strings
& Piano

(Sync start/ Accomp on)

 A tempo
B /D# B(SUS4)

Sync start
Accomp on

E Fern B Com Fern

N.C. B
To Oboe

Accomp on
Accomp off Fill to B
Oboe
Ctm7 Ft7
4

mf'espressivo

Ft/E B/D# GI/Ft Cttm/E B B E

28

“3“

Oboe & Strinqs

FA7 Ft7

Fill to C (or A)

B F97 B CA/B
4
3 4
2
35

cresc.
 Ft/CA C4

Fill to D (or A)
Ac. Gtr. sounding octave lower
Flute & Acoustic Guitar
FA7

Ftt7 B7

B/FI FA7
Remove
Em/B
Ac. GtrF ute

Fill to A

Ft7 Em/B
50

1-bar Ending
Voices: Honky-Tonk Plano, Jazz Flute, Jazz Vibraphone, Jazz Guitar, Power Brass (Big Band Brass), Soft Trombones
Style: Fast Jazz, Big Band Swing
Split point: Accomp. B2
Other info: Fingered chord setting to be used. All voices to sound at written pitch (unless otherwise stated).
Transposition is as follows: Vibraphone and Guitar to sound Octave -J throughout
Pitch bend range = 1; Pitch bend to be used where instructed: = glide upwards to written notes

Kinq Porter
Stomp Jelly Roll Morton

Swung quavers = 162—188

Fast Jazz
Honhy Tonk Piano

S nc start 5 4 4 5 2

Jazz F ute
F7 Burn

Accomp on

EL AE BO

Fill

AJ F Burn

DL G7 AL F7 EL7 Add Jazz Vibes

Fill to B

vibes to sound an octave lower than written

AL GL7 F Burn
 EL7 AL B° EE7
25 4

Fill

At F7 Burn
2

DL G7 AJ F BL E67

Guitar to sound an octave

lower than written
Jaz Guitar loco
AF Fm ¢7

Fill to C or A)

F Burn AL BL7
39 _

Gtr to sound octave lower

A dre
[Link] Guitar/Jazz Flute
° " Fm

Fill Break
(or Accomp off and Fill)

C7 Fm Burn Bt
46

AJ EL7 AL To Power Brass

Fill(Sync. stop)
 Power Brass

AJ N.C.

Sync stop To Big Band Fill (to A)

Swing set for Fill
to A
Big Band Swing
Soft T rombones
GL Gern
GL Gunn
Dt
57

DL BE7 EL6 AE7

Fill

Power Brass
Gern DL DL

Power Brass &

D› Soft Trombones
Gunn BL7 AJ7 Add Soft Trombones

Fill to B

GL GO DL GJ GO
 DL DL BL7

AL GJ G° DE G) GO

DD GJ DJ Burn EL AL

84 G

DL Burn AL7 DL GL 7

EL
88 I i 4

DL6
N.C.

r.h.
1-bar Ending Accomp off
(when Ending finished)
Voices: Alto Flute Ensemble (or Flutes›, Flugelhorn (or Trombone), Acoustic Guitar, Tenor Sax, Piano
Style: Bossa Nova
Split point: Accomp. F^ Left Voice F3
Other info: Fingered chord setting to be used. All voices to sound at written pitch using octave transposition as
necessary (unless otherwise stated). Flugelhorn, Acoustic Guitar and Tenor Sax to sound octave lower,
Piano (Left Voice) to sound two octaves higher.
Transposition is as follows: Bars 24 (last beat)—25 Right Voice -1 octave to be played up an octave,
Bars 50—65 Right Voice to be played an octave higher than written (sounding down an octave),
Bars 50—57 and 66—81 Left Voice to be played two octaves lower than written (sounding two octaves higher).

Girl from
Ipanema Antonio Carlos Jobim

= 118—124 FA
tloutes
F7(SUS4)
FA7

Intro (1-bar)
Rhythm on,
Accomp on

F^ F (StJS4) Add
riugelhorn

Fill(to A)

(Flugelhorn sounding octave lower)

Alto Flutes 6‹ Fluqelhorn
FA7 G7

Breal‹ (or Fill)

F^ G7
 FA7 -/ octave transpose (Play up an octave)

Fill to C (or B)
(Gtr. sounding octave lower)
Alto Flutes & Acoustic Guitar

23 *’

2
21 ’

2 I ’ ’

Am7 D* C
3

Fill to A

FA7 G7

42j2tp

Gm7 GL 7 F^ G‘7
To Tenor
46 Sax

To L.V. Piano
Fill to C (or B)
 Tenor Sax

FA7 G7

Le t Voice Piano

Am7AL7 Gm7
Remove L.V.

Fill

FA7
G7

FA7 Add Alto Flutes

Add L.V.

(Sax sounding octave lower) Fill to D (or B)

Tenor Sax & Alto Flutes
66 4

3 3
GL^7 B

' 21 '

Le t Voice Piano

70

3 3
Fern D7

Fill
 3 3
E67

5
1 1

3 3

Am7 D7 Gm7 C7 Pemove L.V.

Fill to A

(Flugelhorn sounding octave lower)

Alto Flutes 6 Fluqelhorn
FA7 G7
82

F^

FA7

FA7 FA7

Ending (1-bar)
 Voices: Piano, Power Brass, Jazz Flute, Electric Piano, Strings
Style: 70s Disco Funk
Split point: Accomp. Bars 1-6 A›2,[Link] F", Left Voice Bars 1—6 Ar2,7 end F^
Other info: Fingered setting to be used. All voices to sound at written pitch using octave transposition as necessary
(unless otherwise stated).
Transposition is as follows: Bars 1—6 Left Voice Octave -1 to be played an octave higher than written,
Bars 11—26, 43—58 Left Voice Octave +1 to be played an octave lower than written.

September
White/McKay/Willis
(Earth, Wind 6 Fire)
= 120—130
Piano
Com Bm7 Ctm7 F#m7 DA7 C#m7Bm Com

Left Voice - Piano

fi]»b_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __________________ 2

Sync start
Accomp off, Rhythm on

F#m7 DA7 Cém7 Bm7 Cém7 Ct7/E# Fern Power Brass

Remove Left Voice

8" 4 " "' § " "

(8)_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ .1 Accomp on

A7tsus4) Jazz F ute

Add Left
Fill (to A) Voice
 DA7 Com’Bm7 ¢#m7 F#m7 DA7

Left Voice - Piano

(Accomp on)

14
Ftm7 DA7 CAm7 Bm7 cé7 Ftm7

A7(SUS4)
2 D^ Cttm7 Bm7 Ctm7

Fill (to A)

20
Ftm7 D^ Ctm7 Bm7 Ctm7 Ftm7

Power Brass &

Jazz Flute
Com Bm7 cx7 FAm7 A7(SUS4)
2
’ k

Pemove
Left Voice

Fill to B
 Bm7 E7 Ctm7 F#m7 Bm7 E7 CAm7 Fern

Bm E
Cttm7 Ftm7 A7(SUS4)

Fill to D (or B)
E P & Strings
D^7 Cttm7 Bm7 c>7 FAm7 D^7 Com cx«7 Ftm7
35 Bm

@A7 Cém7Bm7 ci7 Fern A7(SUS4)

Remove E.P.
Strin s

Fill to A

D^7 Cttm7 Bm Cttm7 Fém7 DA7 CAm7 Bm7 CAm7

43 4 4

Le t Voice P ano

46
Ftm’ D^ Cttm7 Bm7 ci7 Fttm
h u ñ

49
A7(SLIS4) Cttm7 Bm7 Cttm7 F#m7
h b

Fill (to A)
 DA7 Cttm7Bm Cttm7 Fém7 D67 CAm7

FAm7 A7tsus4

Remove
Left Voice

Fill to C (or B)

E7 CAm7 FAm7 Bm7 E7 FAm7

Power Brass
Bm E7 Fbm7 A7(SLIS4)

Fill to D (or B)

Bm CAm7 FAm7 Bm7 Cttm7 Fttm7

E7
E7

2nd time: Fade Out

CAm7 F#m7
A7(SUS4)
Bm E7

Fill (to D)
Voices:Guitar (to sound at written pitch), Trumpet, Brass, Flute, Marimba, Piano
Style:Brazillian Samba
Split point: Accomp. bars 1-24 and 57-end Ff2. Accomp. and Left Voice bars 25-56 C^
Other info: In bars 25-56, Left Voice chords should be played an octave lower. All voices to sound at written pitch usinq

= 84
Samba Niqhts
Victoria Proudler
Guitar

Rhythm on (Accomp off)

Accomp on
Trumpet
Cm BL AL Cm BL

AL Cm AJ G7

Add Brass
Cm Fm Cm Fm

Fill to B Fill

Cm Fm Cm G7 Cm F’ine
To rlute

To Accomp A
(1st time)
Ending (2nd time)
 F ute
Dm7($5)
Cm
s
. 2 1
25

Left Voice Mari ba

(Accomp on)

Cm
G

D7

Cm
37 G7 3
2 •

To Accomp B
(or C or D)
 Piano
Fm6
4! 1 5

Left Voice P ano

G7 Cm
45 1 1
’ 3 1
2

Fm6

53
G7 5 Cm
5

Remove
Left Voice

Brass
Cm Fm Cm Fm

Fill
D.S. al Fine

Cm Fm Cm G7 Trumpet

To Accomp A
 Technical work
Candidates prepare section 1. and either section 2. or section 3.

1. KEYBOARD EXERCISE (from memory)

Candidates should choose one of the scale 6 arpeggio combinations (marked ’) in section 2. below using one of the tonal/modal centres of
F, D or DB (candidate's choice).
Either
Z. SCALES & CHORD KNOWLEDGE (from memory) — Examiners select from the followinq:

Using the tonal/modal centres of F, D and DB:

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 (F’, D’, DL’)* arpeggio in RH only
(NB — candidates will not be asked again for whichever
scale & arpeggio combination they selected for section
1.) legato min.
two octaves
Major pentatonic scale on F, D and DB = 120
hands separately, straight
Minor pentatonic scale on F, D and Ct or swung (examiner's choice)

Chromatic scale in similar motion startinq on any white

hands together
note (examiner's choice)
RH only, straight or swung
Blues scale on F, D and C#
lexaminer's choice)
Chords in root position:
F^, D^, D8^, Fms, Dms, D8m^
bass note in LH and
F7,D’, DB’, C’, A7, A87
remaining notes in RH
F°7,D^’, DL°’, Fm’, Dm’, Dkm’
F°’, D°7,DL°’

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. Eastern Song keyboard functions exercise

2. Bequine scalic exercise
3. Latin Escapade pianistic exercise
4. Fishes’ Lament sequencing exercise
[Link] exercise
Two octave scale, followed by arpeqqio

F major scale, major 7th arpeqqio

4 !

5 ' * 1 3 I I

*
4

D major scale, major 7th arpeqqio

1
31 4 t

I 31 41 31

D major scale, major 7th arpeqqio

Dorian scale startinq on F, minor 7th arpeqqio
4
h 4

5 1 3 1 3 1 4 1 5

Dorian scale startinq on D, minor 7th arpeqqio

I
3 1

Dorian scale startinq on CA, minor 7th arpeqqio

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

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

Mixolydian scale startinq of D›, major arpeqqio with lowered 7th

2. Scales & chord knowledqe
Two octave scale, followed by arpeqqio

F major scale, major 7th arpeqqio

n
4!
4 I 4

3j 1

D major scale, major 7th arpeqqio

4
41 13

1 4 31 41 — I
5

Dr major scale, major 7th arpeqqio

Dorian scale startinq on F, minor 7th arpeqqio

Dorian scale startinq on D, minor 7th arpeqqio

! 3 4 1 3 1 3 1 4 I 3 1 5

Dorian scale startinq on CA, minor 7th arpeqqio

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

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

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

F major pentatonic scale (two octaves), straight and swung

r.h.
D major pentatonic scale (two octavesJ, straight and swung

5 4 3 2 1 2 1 4 3 2 I

DE major pentatonic scale (two octaves), straight and swung

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

D minor pentatonic scale (two octaves), straiqht and swung

Ctt minor pentatonic scale (two octaves), straiqht and swung

Chromatic scale in similar motion startinq on any white note, eg B, (two octaves)

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

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

Blues scale on CQ (two octaves), straiqht and swunq

Chords inFroot position

F6 D6 D66 Dm6

@7
C7
 Fm6

FA7 Fm*
DA7 D6^7

D6m7

o7 DO7 Dgo7
3. Exercises
1. Eastern Sonq — keyboard functions

Voices: Sheng (or Eastern wind instrument) at sounding pitch, Sitar, Xylophone
Style: 16-bedt Oriental style (eg Dangdut)
Other info: Rhythm to be set at low volume

.=115

Sheen

Fill Fill
Accomp off
Rhythm on (low volume)

D5
4

Accomp on Fill

Xylophone + Duet Harmony

add Sitar

Fill Fill to D
2. Bequine — scalic

Voice: Flute, Piano

Style: Beguine

= t00
F ute
Fm ¢7 C7
Fm

Left Voice P ano

Fm
Fm G7
4

EL7 AJ
¢7

Benn EL* AF
Gm7($5) C7 Fm C7 Fm
3. Latin Escapade - pianistic

Voices: Classical Guitar (sounding at written pitch), Strings

Style: None

= 120
assica Gui a
4 3

h l k k

Rhythm & Accomp off

5
2

cresc.

add Str n s
4. Fishes' Lament - sequencing

Voices: (Clarinet), Electric

Piano Style: Epic Ballad
Other info: The volume of the pre-recorded track should be appropriatley set so
that the live performance is clear.

E ectric P a o

‹ = 90

Live

Pre-recorded

dd
4

G7AS4) G7
 c \addz) c taddz

12 2

c ‹add2 c taddz

19 I

G7(SLIS4) G7

4 5
23
2

Fade

CMtaddz
ELECTR0NICKEYB0ARDGRADE06
Pieces & Technical Work
for Trinity College London
Exams 2019-2O2'£

This book contains everything needea to prepare for the performance and
technical work components of a Trinity Electronic Keyboard Grade 6 exam.

All eight performance pieces have been composed or arranged specifically

for the keyboard, and encompass a wide i-ange of styles — from classical
favourites to TV, film or show themes. The ’own interpretation’ piece allows
the candidate to create a personal arrangement, choosing their own voices,
style, keyboard functions and interpretation. Also included are the scales,
chord knowledge and exercises that form the technical work component of
the exam.

This series Drovides progressive steps in performance and keyboard

f rtnctions for all electronic keyboard students, whether preparing for a
Trinity exam or studying on another path.
All pieces have been adapted and arranged by Christopher Hussey, with the
exception of ‘Samba Nights’ by Victoria Proudler.

Trad. / Celtic Medley

Dowland / Flow, My Tears
Bach / Jesu, Joy of Man's Desiring (from Cantafa, BWV 147)
Chopin / Romanze mom Piano Concerto no. I, op. 11)
Morton / Kinq Porter Stomp
Jobim / Girl from Ipanema
White/McKay/Willis (Earth, Wind & Fire) / September
Proudler / Samba Nights

Demo recordings can be

downloaded free — see inside
back cover for details.

The followinq Trinity publications, availab Ie fi-om [Link]/shop or your local music shop, may
be usefu I when grepar inq for a Ti inity Electi-on ie Keyboard Grade 6 exa m:

Sound at Siq ht Elect ronic Keyboard Grades 6—8 TCL 018984 ISBN 978-0-85736-807-2

Ar -al Tests book 2 (Grades 6 8) from 2017 TCL 015815 ISBN 978-0-85736-536-1
TIJeoi-y Wo kbook Grade 6 TG 007d76 ISBN 978-0-85736 005-2
St udent Practice Notebook TCL 015310 lSBN978-0-85T36487-6

A!I sy Ila fuses a nd fui ther infoi-mation a bout Ti inity College London exa nos can Ice obtained from
[Link]

TRiNIW
COLLEGE LONDON PRESS