Percussion Syllabus 2017-19 (Online Edition)

Percussion Syllabus
Drum Kit, Tuned Percussion, Snare Drum,

Timpani & Orchestral Percussion
2017–2019
Trinity College London

www.trinitycollege.com
Charity number 1014792
Patron HRH The Duke of Kent KG
Copyright © 2016 Trinity College London
Published by Trinity College London
Online edition, 27 November 2017
Contents
Introduction......................................................................................................................... 3
Why take a Trinity grade exam?.......................................................................... 4
Range of qualifications............................................................................................... 5
About this syllabus........................................................................................................ 6
About the exam................................................................................................................ 7

Exam structure and mark scheme.................................................................................... 7
Pieces......................................................................................................................................... 8
Instruments.............................................................................................................................10
Own composition................................................................................................................... 13
Mark scheme for pieces....................................................................................................... 17
Technical work........................................................................................................................18
Supporting tests: ...................................................................................................................19
Sight reading....................................................................................................................20
Aural...................................................................................................................................22
Improvisation...................................................................................................................27
Musical knowledge.........................................................................................................32
Requirements:
Drum kit (subject code DRM)............................. 1 2 3 4 5 6 7 8
Orchestral percussion (subject code ORC)............................................................42

Tuned percussion (subject code TUN)............ 1 2 3 4 5 6 7 8
Snare drum (subject code SND)....................... 1 2 3 4 5 6 7 8
Timpani (subject code TMP)............................... 1 2 3 4 5 6 7 8
Information and regulations..................................................................................72
Music publishers............................................................................................................76
Rudiments table.............................................................................................................78
Trinity publications......................................................................................................79
Notes..................................................................................................................................... 80
Introduction
Like all Trinity College London (‘Trinity’) syllabuses, this syllabus is designed to enable candidates of
all levels and abilities to demonstrate their skills in a way that suits their individual needs as learners.
It does this by offering unrivalled flexibility of choice within each section of the exam, as well as giving
candidates the opportunity to express their own musical identities through options to improvise
and perform original compositions. Underpinning these innovative features is a uniquely diagnostic
mark scheme, ensuring that candidates receive precise and specific feedback to inform their
continued learning.
Trinity aims to treat each candidate individually when considering how we can make our exams
accessible to all, recognising that requirements vary. Please visit www.trinitycollege.com/music
(‘our website’) for more information or contact us directly to discuss any specific requirements.
Trinity would like to take this opportunity to wish you every success in your exams and wider music-
making. Further information on all our exams, as well as additional supporting materials for teachers
and candidates, can be found on our website.
Trinity accepts entries for its exams on the condition that candidates conform to the requirements of
the appropriate syllabus. Any amendments to the requirements will be published and advertised via our
website and in subsequent reprints.
Trinity College London is an awarding body recognised by the Office of Qualifications and Examinations
Regulation (Ofqual) in England and Northern Ireland, and by Qualifications Wales (QW). Trinity’s
qualifications are regulated by these authorities within the Regulated Qualifications Framework (RQF).
Various arrangements are in place with governmental education authorities worldwide.
In the UK, Trinity’s Grade 6–8 exams can contribute towards entry into higher education though the
allocation of UCAS points. Please see our website for full details.
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Why take a Trinity grade exam?
Recognising that there is no single approach to musical assessment, Trinity’s grade exams are guided
by a core philosophy of flexibility, placing the needs of individual candidates at the heart of the exam.
This is done by:
offering freedom of choice within the exam to enable candidates to play to their strengths
examining real musical skills that are specific to each instrument or the voice
a
llowing candidates to express their own musical identities through options to improvise and
present original compositions
u
sing a diagnostic mark scheme, offering precise and specific feedback to inform
continued learning
linking closely with Trinity’s other music qualifications to provide flexible progression routes
d
rawing on Trinity’s many relationships around the world to feature repertoire inspired by a range
of musical genres, as well as exciting new works by up-and-coming composers.
As well as incorporating these innovative features, Trinity’s graded music exams are delivered by a
panel of friendly examiners who are rigorously trained and standardised. This aims to create a positive
and personalised experience for all candidates.
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Range of qualifications
Trinity’s music qualifications offer flexible progression routes from beginner to advanced levels in a
range of musical genres. All are designed to help candidates develop as musicians according to their
individual needs as learners.
Grade exams assess a broad range of musicianship skills, including performance, while certificate
exams focus entirely on performance, including separate marks for presentation skills. Candidates can
enter any combination of grade or certificate exams, and do not need to pass any particular level in
order to proceed to a higher level.
Each level features an equivalent grade theory exam, supporting candidates in developing their
understanding of the technical language of music. However, no theory qualifications or other
prerequisites are required to enter grade or certificate exams at any level.
After Grade 8 or the Advanced Certificate, candidates can progress to diplomas at associate (ATCL),
licentiate (LTCL) and fellowship (FTCL) levels. These assess higher skills in performance, teaching,
theory and composition. Adults who work as music educators may also wish to consider Trinity’s Level
4 Certificate for Music Educators (Trinity CME).
This syllabus focuses on grade exams in percussion. Visit our website for more information about other
grade exams, certificate exams, diplomas, the Trinity CME, and Music Tracks — an initiative designed to
support teachers in delivering large- and small-group instrumental tuition.
RQF* EQF** Classical Rock Theory Music Solo Group

Level Level & Jazz & Pop & Written Tracks† Certificate † Certificate †
7 7 FTCL FMusTCL
6 6 LTCL LMusTCL
ATCL AMusTCL
4 5 Certificate for Music Educators
(Trinity CME)
3 4 Grade 8 Grade 8 Grade 8 Advanced Advanced
Grade 7 Grade 7 Grade 7
2 3 Grade 5 Grade 5 Grade 5 Intermediate Intermediate
1 2 Grade 3 Grade 3 Grade 3 Foundation Foundation
Grade 2 Grade 2 Grade 2 Track 2
Grade 1 Grade 1 Grade 1 Track 1
Entry
1 Initial Initial Initial Track
Level 3
Entry First Access
Levels 1–2 Track
* Regulated Qualifications Framework in England, † Not RQF or EQF regulated

Wales and Northern Ireland
** European Qualifications Framework
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About this syllabus
The objective of Trinity’s grade exams is to provide a framework for progress and enjoyment in
musical performance. They assess musical performance, technical ability and responses to set musical
tests through live practical assessment. They offer learners of any age the opportunity to measure
their development as performers against a series of internationally understood benchmarks, taking
them from beginner level to the point at which they can progress to higher education in music, or
enter for Trinity’s performance diplomas.
This syllabus is designed to give percussionists the freedom and choice to demonstrate the full extent
of their musicianship. Like all Trinity syllabuses, it is designed to support high quality teaching and
learning and to provide a basis for enjoyable music-making.
Syllabus support materials, teaching resources and discussion forums can be found on the Trinity
Music Support pages of our website.
The following pages provide more detail on the different sections of the exam.
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About the exam
Exam structure and mark scheme
Initial–Grade 5 Max. mark Grades 6–8 Max. mark
Piece 1 22 Piece 1 22
(in snare drum, timpani (in snare drum, timpani
and tuned percussion this and tuned percussion this
piece is a study) piece is a study)
Technical work 14 Technical work 14
Supporting tests 10 Supporting test 1 10
Any TWO of the following: 10 sight reading
sight reading Supporting test 2 10
or
One of the following:
aural (or unpitched aural
— drum kit only) ural (or unpitched aural
a
or — drum kit only)
improvisation or
or improvisation
musical knowledge
Total 100 100
Comments and marks are given for each section of the exam, up to the maximums listed in the table
above. It is not necessary to pass all sections or any particular section in order to achieve a pass overall.
The total mark for the exam corresponds to different pass/below pass bands as follows:
Overall mark Band

87–100 Distinction
75–86 Merit
60–74 Pass
45–59 Below pass 1
0–44 Below pass 2
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About the exam
Candidates may present the sections of the exam in an order of their choice, and should indicate their
preferred order on the appointment form. This should be given to the examiner at the start of the
exam. If no preference is indicated, the content of the exam will follow the order printed in the syllabus.
For timpanists, the technical work must constitute the first element of the exam and must be unaided.
Exams are designed to allow sufficient time for setting up and presenting all sections.
Level Exam duration

(minutes)
Grade 1 15
Grade 2 15
Grade 3 16
Grade 4 21
Grade 5 21
Grade 6 27
Grade 7 27
Grade 8 32
Pieces
Piece choice and programming
Drum kit candidates must perform three pieces: two pieces from group A and one piece from group B.
T
uned percussion, snare drum and timpani candidates must perform two pieces, freely chosen from
the list, and one study.
C
andidates may substitute one piece for an own composition (see page 13). In drum kit exams the
own composition may only be offered in place of the group B (unaccompanied) piece.
Accompanied pieces
In drum kit exams at all grades, the group A pieces must be played with the backing CD included
with the book, or live piano accompaniment (where this option is available). It is the responsibility
of the candidate to bring the backing CD to the exam.
In tuned percussion, snare drum and timpani exams up to and including Grade 3, at least one
accompanied piece must be performed. From Grade 4 onwards the candidate may choose
whether to perform any accompanied piece(s). Solo performances of accompanied pieces
are not acceptable.
Accompaniments and page turns

Candidates are responsible for providing their own accompanists.
Pieces which are published with an accompaniment must not be performed unaccompanied.
W
here accompaniments feature long introductions or endings, these should be shortened if possible
in a way that is musically appropriate.
D
ifficult page turns may be overcome by photocopying the relevant pages. Page turners may assist
the accompanist at Grades 6–8.
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About the exam
Accompanists and page turners may only remain in the exam when required.
T
uned percussion, snare drum and timpani candidates may use a backing track or recording of the
piano accompaniment in exams up to and including Grade 3. Recorded accompaniments need not be
commercial products, but must be of a good quality and must not change the difficulty of the piece
(eg by including the solo part where it is not included in the piano accompaniment).
T
uned percussion, snare drum and timpani candidates must provide and operate their own playback
equipment where recorded accompaniments are used. Equipment must produce a good sound
quality at an adequate volume. Contact should be made with the centre well in advance to confirm
the arrangements (power supply, equipment insurance, etc) which must be agreed with the Trinity
local representative. All electrical devices must comply with the health and safety requirements
applicable in the country where the exam is taking place.
Performance and interpretation

All pieces must be prepared in full unless otherwise stated.
Repeats of more than a few bars should not be played unless otherwise stated.
All da capo and dal segno instructions should be observed.
A
ll tempo and performance markings should be observed (eg Allegro, rall., cresc.). Metronome
marks are given as a guide but do not need to be observed exactly, as long as the style and
character of the piece is maintained.
S
olos, fills and other non-notated elements should be of a standard consistent with the other pieces
in the exam, and should demonstrate awareness of the given style.
C
andidates may perform any or all of their pieces from memory, although this is not compulsory
and no additional marks are given for this.
Unaccompanied pieces must be played without a metronome or click track.
Music and copies

C
andidates are responsible for obtaining the music for their exam in good time prior to entering.
Candidates are advised to check the availability of pieces before deciding to perform them.
R
ecommended editions are listed in the syllabus, but candidates may perform from any edition as
long as it has not been shortened or otherwise simplified. Where a particular edition must be used,
this is indicated in the syllabus. Product codes for publications are included where available.
G
uidelines regarding the legitimacy of all forms of sheet music can be obtained from the UK
Music Publishers Association’s Code of Fair Practice, available at www.mpaonline.org.uk. Candidates
must comply with copyright and other intellectual property laws in the country where the exam is
taking place.
In accordance with the Code of Fair Practice, candidates must produce original copies of all pieces
to be performed at the exam, even if pieces have been memorised, handwritten or typeset. Pieces
where no original copy has been provided may be awarded no marks.
C
andidates must provide photocopies of all pieces to be performed (excluding Trinity publications)
as a reference for the examiner. Photocopies will be retained by the examiner and destroyed after
the exam.
W
here music has been downloaded, candidates must bring proof of purchase or the web address
where it was accessed for the examiner’s reference.
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About the exam
Instruments
Drum kit
A
t public centres where percussion exams are accepted, Trinity will normally supply a good quality
five–piece drum kit that comprises:
–– snare drum with adjustable drum kit size stand (not orchestral)
–– 3 toms, high/medium/low
–– bass drum (18–22”)
–– hi hat (12–14”)
–– ride cymbal (18–22”)
–– 2 crash cymbals (14–18”)
–– splash cymbal for Grades 5–8
–– adjustable drum stool.
In the case of an examiner visit, the organiser is responsible for providing the drum kit and
audio equipment.
C
andidates must provide their own sticks, which must be suitable for the repertoire being
performed; they may also bring their own pedals and cymbals.
C
andidates wishing to use their own drum kit may only do so at the discretion of the local
representative. Setting up the drum kit must not interfere with the timing of the session.
In
all instances, candidates should provide their own additional percussion instruments (eg cowbells)
where required.
When the exam entry is made, it should be clearly indicated when a candidate is left-handed.
Please note that a drum kit-equipped warm-up room is not supplied.
T
rinity recommends the use of ear defenders by candidates and examiners for the performance of
drum kit repertoire for health and safety reasons. These should be used for all pieces and studies.
Four and five-piece drum kits

It is important to note that all pieces can be played using a standard five-piece kit. However, should a
candidate wish to alter the set-up in any way, for example to remove the middle tom tom and bring
the ride cymbal nearer to the body in a classic four-piece set-up, they are free to do so, either at the
beginning of the exam or between pieces.
Audio equipment
A PA system and CD player, or other appropriate playback equipment, will be provided by the centre.
Candidates must bring their own CD into the exam room. Audio equipment may be operated by the
candidate or the examiner and candidates are welcome to check and set levels in a brief sound check
at the beginning of the exam should they wish.
Headphones
Candidates may prefer to play using headphones for accompanied pieces. A separate headphone mix
or a splitter should be used as the examiner must be able to hear the backing track through the main
speaker system. Candidates are responsible for providing their own headphones and cables. Due care
should be given to the balance of the kit and the backing track in the room during the performance.
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About the exam
Electric drum kits

Exams may be taken on electric drum kits up to and including Grade 5.
However, it is vital that the instrument is capable of producing all timbral and dynamic variety
demanded by the score, as well as any particular effects that individual pieces may call for. Particular
attention should be paid to the following areas:
–– dynamic contrast
–– snares on/off
–– cross stick
–– use of brushes
–– clarity of grace note rudiments
–– clarity of rolls
–– use of any additional percussion (eg cowbell)
–– differentiation between ghosted and non-ghosted notes
–– choked cymbal.
Set-up and adjustments

Candidates are responsible for setting up the drum kit; examiners are unable to assist.
Assistance in setting up and adjusting the drum kit is permitted up to and including Grade 5. From
Grade 6 onwards, candidates are expected to adjust and set up the kit unaided.
Tuned percussion
In Grades 1–5 candidates are encouraged to play their pieces on the instruments specified, though
any of the following instruments will be acceptable regardless of the specification:
–– glockenspiel
–– xylophone
–– vibraphone
–– marimba.
Candidates should always attempt to suit the instrument chosen to the music played.
T
hree and four mallet pieces are introduced as an option at Grade 5 and remain optional up to
Grade 8.
In Grades 6–8, where an instrument is specified in the printed music, the piece(s) must be played
on that instrument. Where no instrument is specified, candidates should choose the most suitable
instrument for performance.
Technical work in Grades 6–8 will require a four-octave instrument.
The use of the vibraphone pedal or finger damping on the glockenspiel is not required until Grade 3.
Sticks appropriate to the instrument played must be used, and should be in good condition.
Please note that a percussion-equipped warm-up room is not supplied.
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About the exam
Snare drum
Candidates must provide their own sticks, which must be suitable for the repertoire being performed.
Damping dusters may be used if appropriate for the drum or the music.
Timpani
H
and- or pedal-tuned timpani may be used up to Grade 5. For Grades 6–8, pedal-tuned timpani must
be used.
T
impanists may play standing or sitting; however consideration should be given to the advantages
of playing seated, as the seated position allows the feet to change intonation and re-tune the drums.
Rolls
should not be bounced or buzzed at any level. A clean and even single stroke roll is expected.
Up to and including Grade 2, rolls may be played as even, unaccented semiquavers according to the
player’s ability.
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About the exam
Own composition
Candidates can choose to present an own composition as one of their pieces. The focus of the
assessment for this is on performance, using the same assessment criteria as for all other pieces.
Marks will not be awarded for the quality of the composition.
Own compositions may be accompanied or unaccompanied, and must be comparable in technical and
musical demand to the pieces listed for the same grade. Examples of compositional techniques which
may be used at each level are given in the table below.
A typeset or handwritten copy of the composition must be given to the examiner at the beginning of
the exam. At Grades 1–5 own compositions may be notated in any coherent form, including graphic
score or lead-sheet. At Grades 6-8 they must be notated on a stave. Marks will be deducted if notation
is incomplete or inaccurate, or if the performance varies significantly from the notation.
Own compositions should largely be candidates’ own unaided work, although teachers may offer
guidance as necessary.
Parameters for drum kit [in place of group B (unaccompanied) piece]
Grade Duration (mins) Examples of composition techniques

Dynamic contrast
Grade 1 approx. 1 Simple fills
Use of rudiments featured in the technical work at this grade*
Use of accents
Grade 2 1–1.5 Use of simple pulsed rolls
Form should show clear sections (eg ABA)
Grade 3 1.5–2 Use of open/closed HH patterns
Tempo changes
Grade 4 2–3 Use of triplets and sextuplets
Use of ghosted notes
Grade 5 3–4
More advanced use of form (eg contrasting styles between sections)
Grade 6 4–5
Use of irregular time signatures
Grade 7 approx. 5
Use of any rudiments*
Creative use of form
Grade 8 5–6 Wide range of expressive techniques
Use of any rudiments*
* See page 78 for list of rudiments.
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About the exam
Parameters for tuned percussion
Grade Duration Examples of composition techniques

(mins)
Dynamic contrast
Grade 1 approx. 1 Simple syncopation
Use of keys stipulated for technical work at this grade
Use of accents
Grade 3 1.5–2 Melodic range of one octave or more
Tempo changes
Chromaticism
Use of semiquaver passages
Grade 5 3–4
Use of 3 mallets
More advanced use of form (eg theme and variations)
Extensive range
Grade 6 4–5
Use of 3 mallets
Use of any key
Modulation
Grade 7 approx. 5
Use of 4 mallets
Use of any key
Expressive techniques, wide range, chromaticism and rhythmic variation
Grade 8 5–6
Use of 4 mallets
Use of any key
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About the exam
Parameters for snare drum

Dynamic contrast
Use of accents
Grade 3 1.5–2 Use of crescendo/diminuendo
Tempo changes
Use of accented roll passages
Grade 5 3–4 Greater tonal exploration of the drum
Grade 6 4–5 Use of quintuplets
Grade 7 approx. 5 Clearly defined multiple bounce and double stroke rolls
Use of any rudiments
Use of any rudiments
* See page 78 for list of rudiments.
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About the exam
Parameters for timpani

Dynamic contrast
Use of 2 drums
Use of accents
Use of 2 drums
Grade 3 1.5–2 Use of damping
Use of 2 drums
Tempo changes
Use of 2 drums
Pedal glissandi
Grade 5 3–4 More sophisticated damping
Use of 3 drums
Grade 6 4–5 Basic pitch change on one drum
Use of 3 drums
Grade 7 approx. 5 Extensive use of tonal contrasts
Use of 3 drums
Use of 4 drums
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About the exam
Mark scheme for pieces

Each piece is awarded three separate marks corresponding to three different musical components,
allowing candidates to receive precise feedback about specific aspects of their performance.
These marks combine to give an overall mark for the piece.
The three components are as follows:
f luency and accuracy: the ability to perform fluently, with a stable pulse and with an accurate
realisation of the notation
t echnical facility: the ability to control the instrument effectively, encompassing the various
technical demands of the music
c ommunication and interpretation: the interpretation of the music and the way the performance
conveys a sense of sylistic understanding and audience engagement.
Marks are awarded for these to form a maximum total mark for each piece as follows:
Maximum mark
Fluency and accuracy 7
Technical facility 7
Communication and interpretation 8
Total mark for each piece 22
Total marks awarded for pieces correspond to the pass/below pass bands as follows:
Total mark for each piece Band

19–22 Distinction
16–18 Merit
13–15 Pass
10–12 Below pass 1
3–9 Below pass 2
Further information about this mark scheme and the assessment criteria that support it is available
on our website.
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About the exam
Technical work
This section of the exam supports the development of technical skills by assessing candidates’
performance in a range of technical work requirements.
Information about specific technical work requirements for each instrument and grade is given in the
relevant sections of this syllabus.
Tuned percussion broken chord patterns

Broken chords should be prepared in groups of four quavers, as given in the example below:
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 œ œ
& œ œ œ œ œ œ œ œ
Timpani tuning
Timpani should be tuned upward to the required note requested by the examiner; tuning must
be unaided.
Mark scheme
Technical work is awarded a single mark that corresponds to the pass/below pass bands as follows:
Mark Band
13–14 Distinction
11–12 Merit
9–10 Pass
7–8 Below pass 1
1–6 Below pass 2
Information about the assessment criteria that support this mark scheme is available on our website.
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About the exam
Supporting tests
This section of the exam supports the development of broader musical skills by assessing candidates
in two different supporting tests. At Grades 1–5, candidates must choose two supporting tests from the
following options:
sight reading
aural (or unpitched aural — drum kit only)
improvisation
musical knowledge.
At Grades 6–8, all candidates are assessed in sight reading, and must choose between aural and
improvisation for their second supporting test.
Mark scheme
Each supporting test is awarded a single mark that corresponds to the pass/below pass bands
as follows:
Mark Band
9–10 Distinction
8 Merit
6–7 Pass
4–5 Below pass 1
1–3 Below pass 2
Information about the assessment criteria that support this mark scheme is available on our website.
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About the exam
Sight reading
This test assesses candidates’ ability to perform an unseen musical extract, at a level approximately
two grades lower than the exam being taken.
For snare drum rudiments please refer to Pieces and Studies for Snare Drum Grades 1–5 and Pieces
and Studies for Snare Drum Grades 6–8.
Timpani candidates will be required to sight read on two timpani at Grades 1–5 and three timpani at
Grades 6–8.
Candidates are given 30 seconds to study the test before performing it, during which time they may
practise any or all of it aloud. The examiner does not mark this preparation period.
Examples of sight reading tests may be found in Trinity’s Sound at Sight series, available from
www.trinitycollege.com/shop or your local music retailer.
Tests comply with the musical parameters listed in the table below. Lists are cumulative, meaning that
tests may also include requirements from lower grades.
Sight reading parameters for drum kit
Grade Time Rhythm Dynamics/notation

signatures (cumulative*) (cumulative*)
(cumulative*)
1 4 !q , e ,  p, mf, f
2 x hi hat with foot
mp
3 3, 1 q. cross stick
accent
pp, ff, cresc., dim.

4 2 , , , flams
fp
drags
roll notation
5 6 e., , ., .
open hi hat
closed hi hat
6 , 9, C  ruffs
7 7  any
8 any any any

* Tests may also include requirements from preceding grades.
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About the exam
Sight reading parameters for tuned percussion, snare drum and timpani
Grade Key signature Time signature Dynamics Notation

(tuned percussion/ (cumulative*) (cumulative*) (cumulative*)
timpani only)
(cumulative*)
C, G, F majors notes q, e, x
(tuned percussion)
1 2, 3, 4 p, mf, f rests 
A minor
other
D major notes .
., 
2 6 mp, ff rests
D minor roll (snare drum only); ties;
other
trills (timpani only)
h
notes
Bb, Eb majors , ,
3 pp, cresc., dim. rests
B, E minors syncopation;
other
acciaccaturas; accents
A major
(tuned percussion) notes (snare drum only)
4 G major (timpani) 1 , e.
rests
G minor rolls; hat accents; acciden-
other
tals
Ab major notes
, , .
5 C, F majors
(timpani) 9, 8 fp
rests 
C#, F# minors fff other pause (timpani only)
E major notes
6 5, fz rests
C, F minors 2–note chords
other
(tuned percussion only)
notes
7 any marking rests
7, other
any
changing metres notes
all majors
8 rests
all minors other
* Tests may also include requirements from preceding grades. 21
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About the exam
Aural
The parameters for aural tests have changed. Changes apply to all exams taken from 1 January 2017
onwards. Please note that there is no overlap for supporting tests, and the previous aural tests cannot
be offered after 31 December 2016.
This test supports the development of candidates’ abilities in the field of musical perception by
assessing their responses to carefully graded questions. Questions are detailed in the table below
and based on a single musical example, performed at the piano by the examiner. Practice tests can
be found in Trinity’s Aural Tests from 2017 books, available from www.trinitycollege.com/shop or
your local music retailer.
Grade Parameters Task Response

Listen to the melody Clap the pulse on the third playing,
three times stressing the strong beat
melody only i) Identify the dynamic as forte or piano

Listen to the melody once ii) Identify the articulation as legato or
4 bars staccato
Grade 1
major key Listen to the first two bars of Identify the last note as higher or lower
the melody once than the first note
2 or 3
Listen to the melody twice,
with a change of rhythm or Identify where the change occurred
pitch in the second playing
Listen to the melody Clap the pulse on the third playing,

three times stressing the strong beat
melody only i) Describe the dynamics, which will vary

during the melody
4 bars Listen to the melody once
ii) Identify the articulation as legato or
Grade 2 major or staccato
minor key
Identify the last note as higher or lower
Listen to the melody once
than the first note
2 or 3
Listen to the melody twice,
i) Identify where the change occurred
with a change of rhythm or
ii) Identify the change as rhythm or pitch
pitch in the second playing
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About the exam

Clap the pulse on the second playing,
Listen to the melody twice
stressing the strong beat
melody only Listen to the melody once Identify the tonality as major or minor
4 bars
Listen to the first two notes of Identify the interval by number only
Grade 3 major or
the melody once (second, third, fourth, fifth or sixth)
minor key
Study a copy of the melody
3 or 4 (provided in treble, alto or bass
i) Identify the bar in which the
change occurred
clef as appropriate), and listen to
ii) Identify the change as rhythm
it once as written and once with
or pitch
a change of rhythm or pitch
Clap the pulse on the second playing,

Listen to the piece twice
stressing the strong beat
i) Identify the tonality as major

or minor
harmonised ii) Identify the final cadence as perfect
or imperfect
4 bars
Identify the interval as minor or major
Grade 4 major or Listen to the first two notes of
second, minor or major third, perfect
minor key the melody once
fourth or fifth, minor or major sixth
4 or 6 Study a copy of the melody

(provided in treble, alto or bass i) Identify the bar in which the change
clef as appropriate), and listen of rhythm occurred
to it once as written and once ii) Identify the bar in which the
with a change of rhythm and a change of pitch occurred
change of pitch
i) C
lap the pulse on the second
Listen to the piece twice playing, stressing the strong beat
ii) Identify the time signature
i) Identify the changing tonality

ii) Identify the final cadence as
harmonised Listen to the piece twice
perfect, plagal, imperfect
8 bars or interrupted
Grade 5 major or Identify the interval as minor or major

minor key Listen to two notes from the second, minor or major third, perfect
melody line played consecutively fourth or fifth, minor or major sixth,
2, 3, 4 or 6 minor or major seventh or octave
Study a copy of the piece, and

i) Identify the bar in which the change
listen to it once as written and
of rhythm occurred
once with a change of rhythm
ii) Identify the bar in which the
and a change of pitch (both
change of pitch occurred
changes in the melody line)
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About the exam
i) Identify the time signature

Listen to the piece twice ii) C omment on the dynamics
iii) C omment on the articulation
Identify and comment on two other

harmonised Listen to the piece twice
characteristics of the piece
8 bars
Grade 6
major key Identify the key to which the music modulates
Listen to the first four as subdominant, dominant or relative minor.
2, 3, 4 or 6 bars of the piece once Answers may alternatively be given as key
names
Study a copy of the

piece, and listen to it Locate and describe the changes as pitch
twice with two changes or rhythm
to the melody line

Listen to the piece twice ii) C omment on the dynamics
iii) C omment on the articulation
harmonised
Identify and comment on two other
8 bars characteristics of the piece
Grade 7 major or
minor key Identify the key to which the music
Listen to the first four modulates as subdominant, dominant or
2, 3, 4 or 6 bars of the piece once relative key. Answers may alternatively be
given as key names
Study a copy of the

Locate and describe the changes as pitch
piece, and listen to it
(melody line only) or rhythm
twice with three changes

Listen to the piece once ii) Comment on the dynamics
harmonised iii) C
omment on the articulation
12–16 bars
Identify and comment on three other
Grade 8 major or Listen to the piece twice
characteristics of the piece
minor key
2, 3, 4, 6 or 5 Study a copy of the

Locate and describe the changes as pitch
piece, and listen to it
or rhythm
twice with three changes
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About the exam
Unpitched aural tests for drum kit

The four tests given for each grade are designed to develop the candidate’s abilities in the fields
of musical perception, discrimination, memory understanding and analysis. The tests are carefully
graded from application of basic skills to more advanced understanding. In the exam, parts 1, 2 and 3
of this test will be administered using a CD (where a specialist examiner is not present)*; part 4 will be
administered live.
Part 1: Time signature

The candidate will be asked to recognise the time signature from a rhythmic phrase played twice on
the snare drum. The phrase will use one of the time signatures associated with the grade taken, as
indicated in the cumulative table on page 26. The pulse will be given and accents placed on the first
beat of the bar.
Part 2: Style recognition

The candidate will be asked to recognise the musical style of a pattern played on the drum kit twice.
The style will be taken from the cumulative table on page 26.
Part 3: Identify the changes

The candidate will listen to a short piece played twice/three times on the drum kit. On the second
playing the examiner will introduce one or more changes. The changes will be to either the rhythm
(rhythmic change) and/or to the drums/cymbals played (pattern change). The pattern change may be
either a change to the order in which the drum(s)/cymbal(s) are played or the introduction of a different
drum/cymbal.
From Grade 3 onwards the examiner will give the candidate a printed score of the original version of the
piece. The candidate will be expected to respond as outlined in the table on page 26.
Part 4: Playalong
The examiner will play a short piece of music twice on the piano. The candidate will be asked to listen to
the piece on the first playing. On the second playing, the candidate should accompany the examiner on
the drum kit using appropriate style, rhythm and fills for the grade taken. The time signature and count-in
will be provided by the examiner before the second playing. At Grades 1-4 the examiner will state the style;
for Grades 5-8 the candidate will be expected to recognise the style. The styles used will be appropriate
for the grade based on the styles list given in Part 2 (see page 26).
* In specialist centres in the UK all parts will be administered live, though the candidate will have no visual line
to the drum kit.
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About the exam
Unpitched Aural grade requirements
Grade Part 1 Part 2 Part 3

Time signature Style recognition Identify the changes
(cumulative*) (cumulative*)
Change(s) Required response
Straight 8s feel
1 change: Raise hand to identify
1 234 Basic Latin feel
rhythm or pattern moment of change
3 Straight
2 6 1 feel 1 change:
Identify the type of change
Basic 2 March rhythm or pattern
Basic Rhumba 1 change: Identify the bar in which

3
Indie Rock rhythm or pattern the change occurred
Bossa Nova
Identify the bar in which
Shuffle 1 change:
4 19 Show 2 feel rhythm or pattern
the change occurred and
the type of change
Reggae
Swing
 2 separate changes: Identify the bars in which
5  Jazz Waltz
1 of rhythm and 1 of the changes occurred and
Tango
pattern the type of change
Disco
Funk 2 changes involving: Identify the bars in which

6 Any Samba rhythm or pattern or the changes occurred and
6 Afro Cuban rhythm and pattern the type of change
7 Mambo
Identify the bars in
3 changes involving: which the changes
rhythm or pattern or occurred, giving a detailed
rhythm and pattern explanation of the nature
New Orleans 2nd of the changes
8
Line
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About the exam
Improvisation
This test assesses candidates’ ability to improvise fluently, coherently and creatively in response to
a musical stimulus.
Drum kit, snare drum and timpani: rhythmic stimulus

Candidates are given a notated rhythmic stimulus, which the examiner plays twice. The examiner then
invites the candidate to play it back to ensure that they have understood it.
Candidates are then given time to study the test before they perform it, during which time they may
prepare their response aloud. At Grades 1–5, 30 seconds’ preparation time is given. At Grades 6-8, 60
seconds are given.
Drum kit improvisations can be as time/groove with fills, or a more melodic/linear concept around
the drums, or both. Dynamic contrast, thematic development and awareness of phrase lengths and
structure should all be considered.
Stimuli comply with the musical parameters listed in the table below. Lists are cumulative, meaning
that tests may also include requirements from preceding grades.
Grade Parameters Suggested length of response

(cumulative*)
4
Grade 1 2 bars
crotchets, minims, quavers 4 bars
Grade 2 with dots
Grade 3 with ties
Grade 4 2, 3 two phrases
Grade 5 semiquavers 4–8 bars each
Grade 6 6 3–4 phrases

Grade 7 triplets 4–8 bars each
4–6 phrases
Grade 8 7 4–8 bars each
Tuned percussion: stylistic, motivic or harmonic stimulus

The requirements for the tuned percussion improvisation test have changed. Changes apply to all
exams taken from 1 January 2017 onwards. Please note that there is no overlap for supporting tests,
and the previous improvisation test cannot be offered after 31 December 2016.
This test assesses candidates’ ability to improvise fluently, coherently and creatively in response to a
musical stimulus. Candidates must choose a stimulus from the following three options, indicating their
choice of stimulus on the appointment form:
stylistic
motivic
harmonic
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About the exam
Stylistic stimulus
The stylistic stimulus requires candidates to improvise over a notated piano part played by the
examiner. Candidates are given a stimulus which includes the notated piano part and chord symbols.
The stimulus begins with a two-bar introduction played by the examiner alone, followed by a further
section over which candidates must improvise for a specified number of repeats. In the exam, the
examiner plays the stimulus twice for candidates’ reference, without repeats. Candidates are then
given 30 seconds’ preparation time, during which they may prepare for their improvisation aloud if
they wish. The test then follows. The examiner then plays the stimulus again, and candidates join after
the introduction, improvising for the specified number of repeats. Candidates should aim to improvise
in a way that complements the musical idiom of the stimulus.
Motivic stimulus
The motivic stimulus requires candidates to improvise unaccompanied in response to a short melodic
fragment. Candidates are given a notated melodic fragment which the examiner plays twice on the
piano for candidates’ reference (candidates are not required to play this back). Candidates are then
given 30 seconds’ preparation time, during which they may prepare for their improvisation aloud if
they wish. The test then follows. Candidates should aim to improvise within the specified duration
range and may begin by quoting the stimulus directly, developing their improvisation from there.
However, candidates are not required to quote the stimulus directly, and may instead develop their
improvisation from ideas taken from the stimulus such as a small group of notes or an interval.
Responses must use the given time signature.
Harmonic stimulus
The harmonic stimulus requires candidates to improvise unaccompanied in response to a chord
sequence. Candidates are given a notated chord sequence, including chord symbols, which the
examiner plays twice on the piano for candidates’ reference. Candidates are then given 30 seconds’
preparation time, during which they may prepare for their improvisation aloud if they wish. The test
then follows. Candidates should improvise for the specified number of repeats, following the chord
sequence. Please note that this test is always unaccompanied and the examiner will not provide a
piano accompaniment for melodic instruments.
Parameters for improvisation

All stimuli comply with the musical parameters listed in the tables on the following pages. Lists
are cumulative, meaning that tests may also include requirements from preceding grades. Further
guidance and example stimuli can be found on our website.
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Stylistic stimulus
Grade Length of Length of Times improvised Total to Time Keys Number of Chords Styles/speeds
introduction improvised section is played improvise signatures chords per bar
section (cumulative*) (cumulative*) (cumulative*)
March, Lullaby,
Grade 1 2 bars 4 bars 2 8 bars 4 C , F and G major 1 I, V
Fanfare, Moderato
I, IV, V
Grade 2 2 bars 4 bars 2 8 bars A minor 1 Tango, Andante
i, iv, V
D and Bb major I, ii, IV, V
Grade 3 2 bars 4 bars 2 8 bars 3 1 Waltz, Allegretto
D and E minor i, iib5, iv, V
I, ii, IV, V
Grade 4 2 bars 4 bars 3 12 bars 2 G and B minor 1 Adagio, Allegro
i, iib5, iv, V
I, ii, IV, V, vi
Grade 5 2 bars 4 bars 3 12 bars 6 A and Eb major up to 2 Grazioso, Vivace
i, iib5, iv, V, VI
I, ii, IV, V, vi
Grade 6 2 bars 8 bars 2 16 bars 1 F# and C minor up to 2 i, iib5, iv, V, VI Agitato, Nocturne
7ths
I, ii, iii, IV, V, vi
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Grade 7 2 bars 8 bars 2 16 bars 9 E and Ab major up to 2 i, iib5, III, iv, V, VI Gigue, Grave
7ths
all chords
Impressionistic,
Grade 8 2 bars 8 bars 2 16 bars 5 C# and F minor up to 2 7ths, 9ths,
4 Irregular Dance
suspensions
29
About the exam
Motivic stimulus
30
Grade Length of Length of Time signatures Rhythmic features Articulation Intervals Keys
stimulus response (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*)
minims, crotchets,
Grade 1 2 bars 4–8 bars 4 up to major 3rd C, F and G major
quavers
About the exam
Grade 2 2 bars 6–8 bars dotted notes staccato perfect 4th A minor
D and Bb major
Grade 3 2 bars 6–8 bars 3 ties perfect 5th
D and E minor
Grade 4 2 bars 8–12 bars 2 syncopation accents minor 6th, major 6th G and B minor
Grade 5 2 bars 8–12 bars 6 semiquavers slurs octave A and Eb major

augmented 4th,
Grade 6 1 bar 12–16 bars 1 acciaccaturas F# and C minor
diminished 5th
Grade 7 1 bar 12–16 bars 9 minor 7th, major 7th E and Ab major
Grade 8 1 bar 12–16 bars triplets, duplets sfz all up to major 10th C# and F minor
5
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Harmonic stimulus
Grade Length of chord Times chord Total to improvise Number of Chords Keys
sequence sequence is played chords per bar (cumulative*)
Grade 1 4 bars 2 8 bars 1 I, V
Grade 2 4 bars 2 8 bars 1 I, IV, V C, F, G major
Grade 3 4 bars 2 8 bars 1 I, ii, IV, V
Grade 4 4 bars 3 12 bars 1 i, iv, V
A, D, E, G, B minor
Grade 5 4 bars 3 12 bars 1 i, iv, V, VI
I, ii, IV, V
Grade 6 8 bars 2 16 bars 1 i, iib5, iv, V
7ths
I, ii, iii, IV, V, vi C, F, G, Bb, D, Eb, A major
Grade 7 8 bars 2 16 bars 1 i, iib5, III, iv, V, VI A, D, E, G, B, C, F# minor
7ths
all chords
Grade 8 8 bars 2 16 bars 1
7ths, 9ths, suspensions
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31
About the exam
About the exam
Musical knowledge (Initial–Grade 5 only)

This test assesses candidates’ understanding of the pieces being performed, as well as their knowledge
of notation and their instrument. It does this by assessing their responses to carefully graded
questions based on candidates’ three chosen pieces.
In the exam, candidates are invited to choose which piece they would like to be asked about first. The
examiner then chooses a second piece for the remaining questions. Candidates’ scores should be
free of annotations which might aid their responses. The examiner usually points to the relevant part
of the score when asking questions. American terms (eighth note, half note, etc) may be used as an
alternative to English terms (quaver, minim, etc). Questions will be based only on the instrumental line,
and not on the accompaniment.
Example questions and responses are given in the tables below. Further guidance is available on
our website.
Sample questions for drum kit
Grade Parameters Sample question Sample answer

(cumulative*)
Grade 1 Note length name What is the name of this note? Quaver
Explain time signatures What does 4 mean? Four crotchet beats in a bar
Note durations What is this value of this note? Half a beat
Musical terms and signs What is the meaning of da capo? Go back to the start
Parts of the instrument What is this part called? The batter head
Grade 2 72 crotchet beats
Metronome marks Explain the sign  = 72
per minute
Musical style (simple) What is the style of this groove? 1 feel
Rudiments What rudiment is played here? Flam
Basic posture Show me your basic stick grip Candidate demonstrates

Grade 3 How do you best produce this
Kit techniques Candidate demonstrates
cross stick sound?
What sticking should be used to
Sticking pattern Paradiddle
approach this passage/idea?
Grade 4 Here [candidate indicates],
Show me the most challenging because of the co-ordination
Technical challenges
part of this piece and tell me why between hands and feet/
independence
Grade 5 Candidate identifies style of
Comment on the style of
Musical style (advanced) piece and gives examples of
this piece
stylistic features
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About the exam
Sample questions for tuned percussion, snare drum and timpani

Grade Parameters (cumulative*) Sample question Sample answer
Grade 1 Note values What is this note value? Quaver
Explain key/time signatures What does 4 mean? Four crotchet beats in a bar
Notes on ledger lines What is the name of this note? Bb
What is the meaning of
Musical terms and signs Go back to the start
da capo?
What is the top head of the
Parts of the instrument The batter head
drum called?
Grade 2 Metronome marks Explain the sign d = 72 72 crotchet beats per minute
Grace note rudiments What are these called? Flams/Drags/Ruffs
What is the interval
Intervals (numerical only) 3rd
between these notes?
Show me a good striking
Basic playing posture position on the timpani/snare Candidate demonstrates
drum/tuned instrument
Grade 3 What is the relative major/
Relative major/minor D minor
minor of this piece?
What pattern of notes do you
Scale/arpeggio pattern Scale
see here?
Rudiment patterns
What rudiment is played here? Flam
(snare drum/timpani)
How do you warm up for a
Warm up Rudiment patterns/exercises
piece like this?
Grade 4 Modulation to closely What key does this music
A minor
related keys change to?
Tonic/dominant triads Name the notes of the tonic triad C, E, G
What is the interval between
Intervals (full names) Perfect 5th
these notes?
Here [candidate indicates],
Show me the most challenging
Technical challenges because of the awkward
part of this piece and tell me why
leaps/sticking patterns
Grade 5 Candidate identifies style of
Comment on the style of
Musical style piece and gives examples of
this piece
stylistic features
Candidate suggests a musical
How does this piece reflect the
Musical period period and gives examples of
period in which it was written?
how the music reflects this
Candidate identifies form of
Musical structures Describe the form of this piece piece and describes relevant
sections
Name the notes of the
Subdominant triads F, A, C
subdominant triad
Roll lengths in relation to
rhythmic aspects of the What roll would you use here? 5 stroke/7 stroke etc.
music (snare drum)
* Tests may also include requirements from preceding grades. 33

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Drum
Kit — Grade 1 Subject code: DRM
Pieces (3 x 22 marks)
Three pieces are to be played, two pieces from group A and one piece from group B. Instead of the
group B piece, candidates may offer an own composition (see page 13).
Group A (to be played with CD)

The following pieces are contained in the book Pieces and Exercises for Drum Kit 1 2014–2019,
published by Trinity:
Double/Double Belfast to Peru

Riley/Staples Stoneroller
Robinson In the Pocket
Salmins Squibnocket Waltz
Group B (unaccompanied)
Ball Tom-a-Hawk
Gregory Song for a Small Boy
Technical work (14 marks)

Candidate to prepare all three exercises from Pieces and Exercises for Drum Kit 1 2014–2019.
The candidate will choose one exercise to play first; the examiner will then select one of the remaining
two exercises to be performed. Exercises may be played either from memory or using the printed music.
Supporting tests (2 x 10 marks)

Candidates to prepare two from:
sight reading aural or unpitched aural improvisation (rhythmic musical knowledge

(see page 20) (see pages 22 and 25) stimulus only) (see page 32)
(see page 27)
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Drum

Beer Can You Hear Me?

Ellington arr. Double Satin Doll
Riley/Staples Manny’s Blues
Tween/Taylor What’s Up?*
Double 21st Century Fox

Tween Flats in Dagenham
* Optional piano accompaniment available



(see page 27)
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Drum

Double/Double Need I Remind You?

Holland/McDonough Party People
McDonough Reggae Muffin
Salmins Way Cool
Gregory Meditation
Tween Muddy Boots



(see page 27)
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Drum

Ellis arr. Tween The Chicken

Jones arr. Double Soul Bossa Nova
Mobley arr. Double Soul Station
Riley/Staples The Spark, The Flame
McDonough The Amgard Corps

Robinson Ali’s Boogaloo



(see page 27)
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Drum

Ball Lime Tree Bay

Frishberg arr. Double You Would Rather Have the Blues
Miller Yabba Dabba
Tween/Taylor On the Path*
Double Benton Street Bop

Francis Samba Time



(see page 27)
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Drum

Double/Double Warning
Holland/McDonough London Town
Miller Aiden’s Song
Tween/Taylor Funky March*
McDonough Funkylicious
Salmins V is for Vernel


Candidates to prepare i) and ii)
i) s ight reading ii) aural or unpitched aural (see pages 22 and 25)
(see page 20) or improvisation (rhythmic stimulus only)
(see page 27)
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Drum

Miller Jaxon’s Jump

Riley/Staples Undertow
Taylor/McDonough So It Is
Tween/Taylor Good Gadd*
Riley 9 by 3
Salmins Line ’em Up


(see page 27)
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Drum

Riley/Staples Frantic
Robinson/Dutton Odd One Out
Salmins Brazil Overture
Weckl/Weingart Crossing Paths
Robinson Fusion Illusion

Whitfield Turkish Delight


(see page 27)
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Orchestral
Percussion Subject code: ORC
Pieces
Three pieces are played, one chosen from the tuned percussion list, one from the timpani list and one
from the snare drum list for the corresponding grade. The pieces chosen must not be taken from any
study lists. Instead of one piece, candidates may offer an own composition (see page 13). Programmes
must comprise one tuned percussion piece, one timpani piece and one snare drum piece.
Technical work
Technical work is that set for tuned percussion.
Supporting tests
Candidates must choose two out of the four available tests at Grades 1–5 and must offer sight reading
and either aural or improvisation at Grades 6–8 as stipulated on page 19.
Sight reading, either offered as a choice at Grades 1–5 or as a compulsory test for Grades 6–8, will be
requested on any instrument (tuned percussion, snare drum or timpani) at the examiner’s choice.
Candidates offering improvisation may choose to perform the test on any instrument (tuned
percussion, snare drum or timpani).
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Tuned
Percussion — Grade 1 Subject code: TUN
Two pieces are to be played, freely chosen from the list below, to form a balanced programme.
At least one accompanied piece must be performed. Pieces published with an accompaniment
are indicated with an asterisk (*). Pieces published with an accompaniment must not be played
unaccompanied. Instead of one piece, candidates may offer an own composition (see page 13).
Composer Piece Book Publisher

Aldous Ballad* Tuned Percussion Solos Mark Aldous
Anon. Jumping Dance* Percussion Music for Beginners EMB 13379
Czerny
arr. Barratt Rise and Shine* Bravo! Percussion Book 1 Boosey BH4300133
Faulkner Walking Along* Pieces and Studies for
Tuned Percussion Grades 1–5 Trinity
Haydn Lied* Percussion Music for Beginners EMB 13379
Hext The Music Box* Tuned-In Hext HXT7
Hext The Windmill* Tuned-In Hext HXT7
Kabalevsky
arr. Barratt Russian Dance* Bravo! Percussion Book 1 Boosey BH4300133
Trad. Oranges and Lemons* Pieces and Studies for
Trad. This Old Man* Pieces and Studies for
Zivkovic Polka* or Waltz* Funny Mallets:
My First book for Xylophone and Marimba Gretel-Verlag
Study (22 marks)

Candidates should prepare one of the following studies:
Faulkner Grade 1 Major Study or Grade 1 Minor Study
(from Pieces and Studies for Tuned Percussion Grades 1–5) Trinity

All sections to be prepared.
Scales & arpeggios (from memory) — the examiner will select from the following:
Scales:
C, G and F major
min. hand to hand,
A, E and D minor (candidate’s choice of either
q = 70 beginning on
harmonic or melodic or natural minor) one
Chromatic starting on C either hand at mf
octave
the direction of
Arpeggios: the examiner
min.
C, G and F major
e = 100
A, E and D minor

sight reading aural improvisation musical knowledge
(see page 20) (see page 22) (see page 27) (see page 32)
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Tuned
Aldous Along the Riverbank*
or Woodpecker* Tuned Percussion Solos Mark Aldous
Clarke The Duke of Gloucester’s
March* Bravo! Percussion Book 1 Boosey BH4300133
Faulkner Hi Five!* or In the Clouds*
or Rumba* Pieces and Studies for
or Up and Down* Tuned Percussion Grades 1–5 Trinity
Hext The Carousel* Tuned-In Hext HXT7
Offenbach The Can-Can* 1st Recital Series for Mallet Percussion
[piano accomp. available separately] Curnow CMP0853-03-400
Tchaikovsky The Hurdy Gurdy* Bravo! Percussion Book 1 Boosey BH4300133
Tchaikovsky The Organ Grinder* Percussion Music for Beginners EMB 13379
Trad. Hickory Dickory Dock* Pieces and Studies for
Trad. When I was a tailor* Bravo! Percussion Book 1 Boosey BH4300133
Zivkovic Ententanz* Funny Mallets:
Study (22 marks)

Scales:
D and Bb major
min. hand to hand,
B and G minor (candidate’s choice of either
q = 80 beginning on
harmonic or melodic or natural minor) one
Chromatic starting on D and Bb either hand at mf
octave
the direction of
min.
D and Bb major
e = 120
B and G minor

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Tuned
Aldous Newsflash* Tuned Percussion Solos Mark Aldous
Barratt Rosewood Tango*
or Tambov Troika* Bravo! Percussion Book 2 Boosey BH4300134
Bartlett Dreamy, no. 41* Play Percussion: 50 Short Pieces
for Tuned Percussion UMP M2244-00069
Faulkner Flamenco* Pieces and Studies for
Faulkner On the Breeze* Pieces and Studies for
Hext Cleo* Tuned-In Hext HXT7
Köhler Cock-a-doodle Waltz* Bravo! Percussion Book 2 Boosey BH4300134
L. Mozart Bourée* Percussion Music for Beginners EMB 13379
Reichardt Vivace* Percussion Music for Beginners EMB 13379
Weijmans Foxy..., no. 3 and
...and Rocky, no. 4 Mallet Minded De Haske DHP1001930-401
Zivkovic Das kleine Zirkuspony* Funny Mallets:
Study (22 marks)

Scales:
A and Eb major
min. hand to hand,
F# and C minor (candidate’s choice of either
q = 90 beginning on
harmonic or melodic minor) two
Chromatic starting on A and Eb either hand at mf
octaves
the direction of
min.
A and Eb major
e = 140
F# and C minor

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Tuned
Pieces published with an accompaniment are indicated with an asterisk (*). Pieces published with an
accompaniment must not be played unaccompanied. Instead of one piece, candidates may offer an
own composition (see page 13).
Aldous Tears of a Clown* or Latin Xylo* Tuned Percussion Solos Mark Aldous
Anon. Two Hungarian Dances* [both] Percussion Music for Beginners EMB 13379
Bartlett Minuet, no. 42 Play Percussion: 50 Short Pieces
Bernstein Cool from West Side Story* Solos for the Percussion Player Schirmer GS33209
Clementi Sonatina, no. 2 Masters on Marimba De Haske DHP1053787–401
Faulkner Tango* Pieces and Studies for
Hext Spike Island March* Tuned-In Hext HXT7
Menken Can You Feel the Love Tonight*†
or The Bells of Notre Dame*† Disney Solos for Mallet Percussion Hal Leonard
Trad. Charlie is my Darling* Pieces and Studies for
Weijmans Gallop, no. 2 13 Pieces for Mallets De Haske 970866
Weijmans On the Border, no. 11 Mallet Minded De Haske 991930
Zivkovic Alla Pollacca Funny Xylophone book 1 Gretel-Verlag
Zivkovic Xylophone Polka* Funny Mallets: My First book
for Xylophone and Marimba Gretel-Verlag
Study (22 marks)

Scales:
E and Ab major
min. hand to hand,
C# and F minor (candidate’s choice of either
q = 100 beginning on
harmonic or melodic minor) two
Chromatic starting on E and Ab either hand at mf
octaves
the candidate’s
Arpeggios: choice
min.
E and Ab major
e = 160
C# and F minor

† CD accompaniment permitted in the exam.
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Turn over for Grade 5 Tuned Percussion
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Tuned

Aldous Xylo Rhumba* Tuned Percussion Solos Mark Aldous
Alford Sparks* Boosey BH82886
Bartlett Boogalie-Woogalie, no. 48* Play Percussion: 50 Short Pieces
Bartlett Clowning Around!, no. 45* Play Percussion: 50 Short Pieces
Faulkner Czardina* Pieces and Studies for
Faulkner Hi Five! for Four* Pieces and Studies for
Green Caprice Valsante* Fischer W1519
Hext The Big Wheel* Tuned-In Hext HXT7
Joplin Magnetic Rag* Ragtime Favourites Fentone F855-400
Menken Friend like me*† or
Under the sea*† Disney Solos for Mallet Percussion Hal Leonard
Pershing Gavotte or Waltz Contemporary Etudes for 3 & 4 Mallets Alfred 19626
Weijmans Burlesca no. 5 or
Hungarian Folksong no. 7 13 Pieces for Mallets De Haske DHP0970866-401
Weijmans Rock, no. 23
or Challenger, no. 24 Mallet Minded De Haske DHP0970866-401
Zivkovic Memories Funny Vibraphone Gretel-Verlag
Zivkovic No Ragtime Funny Xylophone Book 1 Gretel-Verlag
Study (22 marks)


† CD accompaniment permitted in the exam.
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Tuned Percussion — Grade 5

Scales:
B and Db major
G# and Bb minor (candidate’s choice of either min.
harmonic or melodic minor) q = 110 hand to hand,
Chromatic starting on starting any note as beginning on
directed by the examiner two
either hand at mf
octaves
Arpeggios: min. tempi: the candidate’s
B and Db major arpeggios: choice
G# and Bb minor q. = 60
Dominant 7th in the keys of C, G and F 7ths:
Diminished 7th starting on C, Eb, Gb and A q = 90


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Tuned
Composer Piece Publisher
J S Bach Minuet and Badinerie (no. 19 from Masters on Marimba) De Haske DHP1053787–401
Dittersdorf Scherzo* [arr. Boo] Ludwig
Großmann Jacques’ Prélude
(Etüde no. 10 from Popular Songs for Marimba) Zimmerman ZM 35510
Handel Arrival of the Queen of Sheba
(no. 16 from Masters on Marimba) De Haske DHP1053787–401
Humperdink Evening Prayer (from The Solo Marimbist vol. 2) Per-Mus
Joplin Ragtime Dance* (from Ragtime Favourites) Fentone F855-400
Pershing Intrada or Fanfare or Burlesque or Toccata
(from Contemporary études for 3 & 4 Mallets) Alfred 19626
Peters 3 + 6 or Modo Nuovo (from Fundamental Solos for Mallets) Alfred 17321
Peters Dog Beach Mitchell
Peters Piece 1 (from Three Pieces for Three Mallets) Mitchell
Rosauro Children Song (from Vibes, Etudes and Songs) ProPercussao
Rosauro Etude in Bossa (from Vibes, Etudes and Songs) ProPercussao
Steinquest Rudimental Ragtime* Row Loff
Stock Lullaby for Lugansk (from 4 Mallets for Vibraphone)* Alto
Trad. arr. Glennie Londonderry Air (from Marimba Encores) Faber
Zivkovic Der Kleine Paganini (from Funny Xylophone book 1) Gretel-Verlag
Zivkovic Tropical Feel (from Funny Marimba book 2) Gretel-Verlag
Study (22 marks)

Butov No. 1 or no. 2 (from 24 Etudes for Marimba)

[may be played on xylophone at candidate’s choice] Southern Percussion
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Scales:
three min.
F#, C, G and F major
octaves q = 120
Eb, A, E and D harmonic and melodic minor
C and G major in 3rds
two min.
C harmonic minor in 3rds hand to hand,
octaves q = 60
Chromatic in minor 3rds starting on D and Bb beginning on
Arpeggios: either hand at mf
F#, C, G and F major the candidate’s
three min.
Eb, A, E and D minor choice
octaves q. = 66
Broken major chords starting on C, G and F
Broken minor chords starting on A, E and D
Dominant 7th in the keys of D, Bb, A and Eb two min.
Diminished 7th starting on C#, E, G and Bb octaves q = 100

i) s ight reading ii) aural (see page 22)
(see page 20) or improvisation (see page 27)
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Tuned
J S Bach O Sacred Head (from The Solo Marimbist vol. 2) Per-Mus
Debussy Le petit nègre (from The Solo Marimbist vol. 2) Per-Mus
Gaetano Swing Low Sweet Chariot (from Three Spirituals) Per-Mus
Glennie Giles (from Three Chorales for Marimba) Faber
Gomez Marimba Flamenca Southern Music HL03776319
Gomez Raindance Southern Music HL03775478
Jarvis Jungle Walk Southern Music HL03775950
Joplin New Rag* (from Ragtime Favourites) Fentone F855-400
Lipner Crystal Mallet Malletworks
Peters Chorale and Variations (from Fundamentals Solos for Mallets) Alfred 17321
Peters Sea Refractions or Sonata Allegro* or Teardrops Mitchell
Ptasazyńska Scherzo for Xylophone & Piano* PWM 7249
Stock Cycling Song (from Cross Sticks) Stock
Study (22 marks)

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Scales:
three min.
D, Bb, A and Eb major
octaves q = 130
B, G, F# and C harmonic and melodic minor
D and Bb major in 3rds
two min.
G harmonic minor in 3rds hand to hand,
octaves q = 70
Chromatic in minor 3rds starting on A and Eb beginning on
D, Bb, A and Eb major the candidate’s
three min.
B, G, F# and C minor choice
octaves q. = 72
Broken major chords starting on D, Bb, A and Eb
Broken minor chords starting on B, G, F# and C
Dominant 7th in the keys of B, Db and F# two min.
Diminished 7th starting on D, F, Ab and B octaves q = 110

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Tuned
J S Bach Courante (from Suite I), no. 21 (from Masters on Marimba) De Haske DHP1053787–401
Creston Concertino for Marimba, 1st movt* Schirmer GS33708
Gerassimez Eravie Svitzer
Großmann Rimpartido Alto*
(Etüde no. 8 from Popular Songs for Marimba) Zimmerman ZM 35510
Hamilton Green Log cabin Blues [no repeats]* Meredith
Heifetz Hora-Staccato* Fischer W2211
Inns Robin Harry Boosey BH83209
Kreisler Tambourin Chinoise* Foley CF1934
Mayuzumi Concertino for Xylophone, 1st movt or 3rd movt* Peters EP6856A
Musser Etude in A flat, op. 6 no. 2 — 2 mallets Studio4Music
Musser Etude in C major, op. 6 no. 10 — 4 mallets Studio4Music
Pershing Arioso or Alla Marcia (from Contemporary Solos for Four Mallets) Alfred 19627
Peters Yellow After the Rain Mitchell
Richards Zimba Zamba for Marimba & Piano* Studio M-050-00823-1
Rimsky-Korsakov The Flight of the Bumble Bee, no. 24
(from Masters on Marimba) De Haske DHP1053787–401
Sarasate arr. Eddy Zigeunerweisen* C S Records
Study (22 marks)


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Scales:
three min.
E, Ab, B, Db and F# major
octaves q = 140
C#, F, G# and Bb harmonic and melodic minor
A and Eb major in 3rds
two min.
C melodic minor in 3rds hand to hand,
octaves q = 80
Chromatic in minor 3rds starting on E and Ab beginning on
E, Ab, B, Db and F# major the candidate’s
three min.
C#, F, G# and Bb minor choice
octaves q. = 80
Broken major chords starting on E, Ab, Db and F#
Broken minor chords starting on C#, F, G# and Bb
Dominant 7th in all keys two min.
Diminished 7th starting on any note octaves q = 120

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Snare
Drum — Grade 1 Subject code: SND
Rudimental study (22 marks)

Candidates should prepare the following study:
Skinner Grade 1 Rudimental Study

(from Pieces and Studies for Snare Drum Grades 1–5) Trinity
Two pieces are to be played, freely chosen from the list below, to form a balanced programme. At least
one accompanied piece must be performed. Pieces published with an accompaniment are indicated
with an asterisk (*). Pieces published with an accompaniment must not be played unaccompanied.
Instead of one piece, candidates may offer an own composition (see page 13).
Barratt Jamie’s Two Step*
or Pamp’s Rag* Bravo! Percussion book 1 Boosey BH4300133
Bartlett Just a Minute March
or Three and Easy Play Percussion: 50 Short Pieces
for Snare Drum UMP M2244–00076
Beck Single Stick It 10 Intermediate Snare Drum Solos Kendor 13477
Hannickel Pathfinder* 1st Recital Series for Snare Drum
[piano accomp. available separately] Curnow CMP0851-03-400
Skinner/
Faulkner Austrian Dance*
or Stepping Out* Pieces and Studies for
Snare Drum Grades 1–5 Trinity
Skinner Accent Patrol Pieces and Studies for

i) Orchestral Figures
Grade 1 figures (from Pieces and Studies for Snare Drum Grades 1–5) Trinity
ii) Multiple Bounce Roll Study
Skinner Grade 1 Multiple Bounce Roll Study

sight reading aural improvisation (rhythmic musical knowledge

(see page 20) (see page 22) stimulus only) (see page 32)
(see page 27)
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Snare


Barratt Middlesex March*
or Musette* Bravo! Percussion book 1 Boosey BH4300133
Bartlett Five’s Alive
or Marchin’ to April
or Slammin’ the Flam Play Percussion: 50 Short Pieces
Beck Flam It 10 Intermediate Snare Drum Solos Kendor 13477
Faulkner Jiggity Jig* Pieces and Studies for
Hans Accent Etude in 2/4 40 Intermediate Snare Drum Solos Hal Leonard HL06620067
Skinner/
Faulkner March in Time* Pieces and Studies for
Skinner Rolling Pieces and Studies for



(see page 27)
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Snare


Barratt Rosewood Tango*
or Rudimento!*
or The Stickler* Bravo! Percussion book 2 Boosey BH4300134
Bartlett Spanish Accents
or Roll on Friday Play Percussion: 50 Short Pieces
Beck Paradiddle Waltz 10 Intermediate Snare Drum Solos Kendor 13477
Bomhof March & Dance On Stage, Musical Solos for Snare Drum De Haske DHP1012692-401
Hans Upstairs/Downstairs 40 Intermediate Snare Drum Solos Hal Leonard HL06620067
Oskam Funky Five Rudimental Drumming De Haske DHP1002053-401
Sonntag Little Drummer Boy Magic Sticks Zimmermann 33490
Skinner/
Faulkner Alla Marcia* or Polka*
or This Old Man* Pieces and Studies for



(see page 27)
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Snare


Bartlett Football Crazy! or Young,
Free and Singles! Play Percussion: 50 More Short
Pieces for Snare Drum UMP M2244–00373
Beck Mixing It Up or Syncopated 10 Intermediate Snare Drum Solos Kendor 13477
Bellson Out on a Wing or Trixie Solos & Duets for Snare Drum Alfred 34470
Hans Tijuana Tap 40 Intermediate Snare Drum Solos Hal Leonard HL06620067
Slawson Calypso Hippo
or Groove Trail Dynamic Solos for Snare Drum Alfred 37481
Sonntag Happy Sticks Magic Sticks Zimmermann 33490
Skinner Snares Off or Three by Two
or Tambou-rim Pieces and Studies for



(see page 27)
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Snare


Bartlett Demo for Doubles!
or Ruff-ly Britannia Play Percussion: 50 More Short
Pieces for Snare Drum UMP M2244–00373
Beck Slow Fast 10 Intermediate Snare Drum Solos Kendor 13477
Bellson Chicken in the Basket Solos & Duets for Snare Drum Alfred 34470
Bomhof Even and Odd On Stage, Musical Solos
for Snare Drum De Haske DHP1012692-401
Goldenberg Farfel’s Gavotte 12 Progressive Solos for Snare Drum Hal Leonard 00347783
Skinner Latin Paradiddle
or Scottish March Pieces and Studies for
Sonntag Study on Variable Meters Magic Sticks Zimmermann 33490
Zivkovic Etude no. 1 Ten Etudes for Snare Drum Studio4Music



(see page 27)
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Snare


Goldenberg Soldier’s March (from 12 Progressive Solos for Snare Drum) Hal Leonard 00347783
Skinner Camp Duty (from Pieces and Studies for Snare Drum Grades 6–8) Trinity
Skinner/
Faulkner Tango* (from Pieces and Studies for Snare Drum Grades 6–8) Trinity
Slawson Uncle’s Ant Farm (from Dynamic Solos for Snare Drum) Alfred 37481
Sonntag Study no. 2 (from Magic Sticks) Zimmermann 33490
Wilshere Bronze (from Percussion World — Snare Drum) Trinity
Zivkovic Etude no. 5 (from Ten Etudes for Snare Drum) Studio4Music


(see page 27)
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Snare


Bellson Andy’s Workout (from Solos & Duets for Snare Drum) Alfred 34470
Goldenberg 5 Romp (from 12 Progressive Solos for Snare Drum) Hal Leonard 00347783
Goldenberg Etude in 7, p. 68 (from Modern School for Snare Drum) Alfred 0714B
Hans Meter Reader (from 40 Intermediate Snare Drum Solos) Hal Leonard HL06620067
Skinner TV Theme or Variations on a Bolero or March ‘Out of Step’
Wilshere Silver (from Percussion World — Snare Drum) Trinity


(see page 27)
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Snare



Bomhof Teccolino (from Rhythms & Rolls) De Haske DHP1023252-401
Goldenberg Graduation Etude (from 12 Progressive Solos for Snare Drum) Hal Leonard 00347783
Goldenberg Ramble Rumble (from 12 Progressive Solos for Snare Drum) Hal Leonard 00347783
Skinner Man of La Mancha (from Pieces and Studies for Snare Drum Grades 6–8) Trinity
Skinner Caixa March (from Pieces and Studies for Snare Drum Grades 6–8) Trinity
Wilshere Gold (from Percussion World — Snare Drum) Trinity


(see page 27)
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Timpani
— Grade 1 Subject code: TMP
Technical work (14 marks) must be offered first in the exam (see page 18)
As directed by the examiner, candidates are required to:
i) Sing or whistle a given note, then tune one drum to that note.
Barratt Alpenstock* or Kettle Waltz*
or Pick Up Your Sticks!* Bravo! Percussion book 1 Boosey BH4300133
Faulkner Day Out* or Ländler*
or Lazy and Long*
or Spiky and Short* Pieces and Studies for
Timpani Grades 1–5 Trinity
Obradovic/
Faulkner Basically Beethoven* Pieces and Studies for
Study (22 marks)

Obradovic/
Faulkner Grade 1 Study
(from Pieces and Studies for Timpani Grades 1–5) Trinity


(see page 27)
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Timpani
i) Sing or whistle a given note and tune one drum to that note.
ii) Tune a second drum so that the two drums form the interval of a perfect 4th or perfect 5th above
the given note.

Alan Twilight Outrider* 1st Recital Series for Timpani
[piano accomp. available separately] Curnow
Barratt Classical Minuet* or Fanfare*
or March Past Kiev* Bravo! Percussion book 1 Boosey BH4300133
Barratt Schmaltzy Waltz* Bravo! Percussion book 2 Boosey BH4300134
Bartlett Piccadilly Circus, Leicester
Square or See–Saw
or Waltz of Sorts Play Percussion: 50 Short
Pieces for Timpani UMP M2244-00052
Faulkner Hi Five!* or Jiggity Jig*
or On Parade* Pieces and Studies for
Rossini William Tell* Pieces and Studies for
Study (22 marks)

Obradovic/


(see page 27)
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Timpani
ii) Tune a second drum so they form the interval of a major 3rd, perfect 4th or perfect 5th above the
given note, or a major 2nd below the given note.
The following alternative pieces are available:

Barratt Bravura* Bravo! Percussion book 1 Boosey BH4300133
Barratt Flight Past* or Rolling By* Bravo! Percussion book 2 Boosey BH4300134
Bartlett Enjoy the Trip(let)! Percussion World — Timpani Trinity
Bartlett 6 Syncopate or Gimme Five!
or Pocketful o’ Paradiddles Play Percussion: 50 Short
Faulkner May Dance* or Troika Tune*
or Gopak* Pieces and Studies for
Kendle Nimble Stix Percussion World — Timpani Trinity
Muczynski Movement no. 2, Three
Designs for Three Timpani Solos for the Percussion Player Schirmer GS33209
Slawson Beat Four Hits the Floo
or Gut Buster Dynamic Solos for Timpani Alfred 39038
Study (22 marks)

Obradovic/


(see page 27)
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Timpani
ii) Tune a second drum so that the drums form an interval of a minor 3rd, major 3rd, perfect 4th,
perfect 5th or major 6th above the given note or a major 2nd or minor 3rd below the given note.
Barratt Burlesca* Bravo! Percussion book 2 Boosey BH4300134
Bartlett Roll Up, Roll Down! Play Percussion: 50 More Short
Bartlett Sweet Sixteenths Percussion World — Timpani Trinity
Bomhof Ballad, no. 5 Solo Pieces for Timpani De Haske DHP0970888-401
Faulkner Circus Polka* Pieces and Studies for
Faulkner Music for a Solemn Pieces and Studies for
Occasion* Timpani Grades 1–5 Trinity
Joplin Maple Leaf Rag* 1st Recital Series for Timpani [piano
accomp. available separately] Curnow CMP0852-03-400
Kendle Galop Percussion World — Timpani Trinity
Slawson Different Strokes Dynamic Solos for Timpani Alfred 39038
Study (22 marks)

Obradovic/


(see page 27)
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Timpani
i) Tune one drum relative to a given ‘A’.

ii) Tune a second drum to form the interval of a major 2nd, minor 3rd, major 3rd, perfect 4th, perfect
5th or major 6th either above or below the pitch of the first drum.
Bartlett Faintly Funky
or Take Your Time Play Percussion: 50 Short
Bomhof Tripletude, no. 6 or
Changing Meters I, no. 7 Solo Pieces for Timpani De Haske DHP0970888-401
Faulkner My Homeland* Pieces and Studies for Timpani
Grades 1–5 Trinity
Muczynski No. 1 or no. 3 3 Designs for Three Timpani Schirmer GS35357
Obradovic/
Faulkner Blues* Pieces and Studies for
Tcherepnin Sonatina, 3rd or 4th movt*
[version for 3 timpani] Solos for the Percussion Player Schirmer GS33209
Whaley Statement for Timpani Meredith
Woud Study no. 1 or Study no. 4 Symphonic Studies for Timpani De Haske DHP0991775-401
Study (22 marks)

Obradovic/


(see page 27)
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Timpani
i) Tune three or four drums, relative to a given ‘A’ to any notes requested by the examiner.
Bartlett Paradiddle Fiddle! or Tango Timpano or Where’s the Downbeat?!
(from Play Percussion: 20 Short Solos for Timpani) UMP M2244-00755
Bomhof Dancing Timpani, no. 8 or March, no. 9 or Memory no. 10
(from Solo Pieces for Timpani) De Haske DHP0970888-401
Caroll Misterioso or Variations (from Exercises, Etudes and Solos for Timpani) Batterie BT1500
Hext Mischievous March* (from Percussion World — Timpani) Trinity
O’Reilly Primeval Dance (from Solos for the Percussion Player) Schirmer GS33209
Rabbio Solo II or Solo VIII (from Contest & Recital Solos for Timpani) Alfred 37480
Slawson Tamale Timbales (from Dynamic Solos for Timpani) Alfred 39038
Woud Study no. 7 or Study no. 8
(from Symphonic Studies for Timpani) De Haske DHP0991775-401
Study (22 marks)

Woud Study no. 10 (from Symphonic Studies for Timpani) De Haske 991775

(see page 27)
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Timpani
i) Tune three or four drums, relative to a given ‘A’ to any notes requested by the examiner.
Bartlett Fourths, of course!

(from Play Percussion: 20 Short Solos for Timpani) UMP M2244-00755
Bomhof Changing Meters II, no. 12 or Happiness, no. 14
or Gracious no. 15 (from Solo Pieces for Timpani) De Haske DHP0970888-401
Caroll Prelude (from Exercises, études and solos for timpani) Batterie BT1500
Evans Shades of Bartók Southern Percussion
Fink Sonatina (from Solo book for Timpani vol. 2) Simrock EE2868
Hext Trinity Variations* (from Percussion World — Timpani) Trinity
Ridout Sonatina for Timpani — Movement 1 or Movement 3 Boosey BH4300039
Woud No. 5 or No. 17 (from The Timpani Challenge — 30 Performance Studies) Pustjens
Study (22 marks)


(see page 27)
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Timpani
i) Tune four drums, relative to a given ‘A’ to any notes requested by the examiner.
Beck Any two movements from Sonata for Timpani Boston BMC13776
Bomhof Eightnology no. 16 or Changing Meters III, no. 17
or Performing Timpani no. 18
(from Solo Pieces for Timpani) De Haske DHP0970888-401
Carter Saëta (from Solos for the Percussion Player) Schirmer GS33209
Frock Beguine and Samba (from Seven Solo Dances for the Advanced Timpanist)
Southern Music HL03770400
Hext Dialogues* (from Percussion World — Timpani) Trinity
Ukena No. II Funk Southern Music HL03775549
Woud No. 23 (from The Timpani Challenge — 30 Performance Studies) Pustjens
Study (22 marks)


(see page 27)
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Information and regulations
The following section contains key information and regulations that apply to all of Trinity’s graded music
exams. Please note that Trinity’s separate Information & Regulations booklet gives more detailed guidance
and can be downloaded from our website.
Entry requirements Entry process

T
here are no age requirements or limitations E
xam entries may be submitted by a
for any Trinity grade exams. teacher, parent or guardian, or by candidates
C
andidates may enter any combination of themselves if they are aged 18 or over.
grades and do not need to pass any particular Correspondence will be conducted with this
level in order to proceed to a higher level. person only.
In addition, no theory qualifications or other A
ll entries must be made on an official Trinity
prerequisites are required to enter grades entry form and sent to the local Trinity
at any level. representative along with the correct entry fee
C
andidates may enter for more than one grade in advance of the closing date for application to
exam in the same or different subjects at the the exam. Closing dates and contact details for
same session, but no more than one entry will local representatives can be found on
be accepted per candidate per session in the our website.
same grade and subject. C
heques should be made payable to Trinity
Candidates with special needs College London. A receipt will only be provided
T
rinity is committed to creating an inclusive if the appropriate section of the entry form
environment where candidates with special is completed and a stamped addressed
needs are able to demonstrate their skills envelope supplied.
and feel welcomed. We aim to make our W
here possible, the Trinity representative will
exams accessible to all. We treat each learner seek to meet a request for a specific exam
individually when considering how we can date if it is clearly specified on the entry form,
achieve this aim, recognising that requirements but this cannot be guaranteed. Requests for
vary. Candidates can be assured that we do morning or afternoon appointments will be
not compromise on the standard of marking or observed where possible, but requests for
allow the quality of exams to be affected in any precise times cannot be accepted. Please note
way. If a candidate has any special needs, we that exam dates may occasionally need to be
will try to help. Of course we will not make any changed from those published.
change that affects the assessment standards. B
y entering for a Trinity exam, candidates
We will treat each request individually, so please agree to abide by Trinity’s regulations, syllabus
visit our website or contact us to discuss your requirements and the professional judgements
requirements. of its examiners.
Exam centres E
ntries at one centre may be transferred to
E
xams can be taken at one of Trinity’s Public another centre for a fee, but cannot be deferred
exam centres which are available throughout to a later exam session. In the case of a transfer,
the world. Details of these are available on our a new entry form must be completed and the
website. Candidates should contact the local appropriate fee must be paid (please contact
Trinity representative for more information. Trinity’s central office for further details).
In the UK and Ireland, schools and private Entries may not be transferred from one
teachers with sufficient candidates may apply candidate to another.
to enter under the Examiner Visit Scheme. T
rinity is required to collect candidates’ dates
Further details are available on our website. of birth in order to produce anonymised
statistical information for various government
and educational bodies. If this information is
not provided on the entry form then the entry
process may be delayed.
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Inaccurate and late entries T

he appointment form must be handed to the
If an entry form is incomplete, it may examiner on entering the exam room. Before
be refused. the exam, candidates should ensure that they
have filled in the names of the pieces that they
C
andidates’ names as shown on the entry
will be playing and their choice of technical work
form will be used when producing certificates
and supporting tests.
for successful candidates. Please ensure that
all details on the entry form are complete On the day
and accurate. C
andidates are advised to arrive at least 15
If you require a correction to be made on an minutes before the start of the exam to allow
entry form or to details held about you on time for warming up and any other necessary
Trinity’s database, please contact your preparation. Candidates who arrive late may
Trinity representative. find that their exam cannot be conducted,
although every effort will be made to
P
lease note that entries will not be accepted
accommodate them.
if received less than 14 days before the exam
date. Late entries received more than 14 days P
ublic centres administered by Trinity will
before the exam date may be accepted at endeavour to provide waiting and warm-up
the discretion of the Trinity representative, facilities wherever possible, but Trinity cannot
depending on availability. Please contact guarantee this.
your Trinity representative before submitting C
andidates are responsible for their own
a late entry. property at all times. Trinity will not accept any
E
ntries which are received following the liability in the event of candidates’ instruments
application closing date will be subject to the or other property being lost, stolen or damaged,
following surcharges: either while in transit to or from the exam centre
or at any time before, during or after the exam.
–– f or late entries received up to 21 days
before the exam date: In the exam
+ 50% of the entry fee E
ach exam room is equipped with a tuned piano,
–– for late entries received between 20 and 14 an adjustable stool and a music stand. Where
days before the exam date: exams are taking place under the Examiner
+ 100% of the entry fee. Visit Scheme, a digital piano may be used, as
Trinity makes no guarantee that acceptance of long as the instrument is sufficient to allow
a late entry will result in the exam taking place. candidates to demonstrate the full extent of
If a late entry is accepted but an exam slot is their musicianship. A digital piano may only be
not available, Trinity may at its discretion refund used where candidates have been notified in
the entry fee, although the surcharge fee will be advance and have given their consent.
retained in all cases to cover administration costs. C
andidates may play a few notes before
Exam appointments the exam begins to help them adjust to the
acoustics of the room.
O
nce the entry has been processed, your local
Trinity representative will send an appointment C
andidates can choose where to direct their
form giving details of the date, time and place of performance, but the examiner may offer advice
the exam, along with the candidate’s ID number on the best position to stand or sit in the exam
and their instrument and grade. This will normally room for effective communication.
be sent 21 days before the date of the exam. T
he examiner may choose to curtail
If there are any errors in the information performances once they have formed
specified on the appointment form, please a judgement.
notify your Trinity representative immediately.
An incorrect exam subject or grade cannot
be altered on the day of the exam, but any
misspelling of the candidate’s name should
be pointed out to the examiner.
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G
enerally, only one examiner will be present C
andidates and accompanists are not
in the exam room. However, for training and authorised to make any recordings of an
quality assurance purposes, another examiner assessment. If made, such recordings will be
may also be present. confiscated on the spot and may invalidate
W
hen the exam is underway, no external the exam.
person other than the examiner and the Exceptional circumstances
candidate (and accompanist/page turner if If candidates are ill and cannot take an exam
necessary) is allowed in the room, except as planned, the Trinity representative must
in special circumstances such as with an be informed as soon as possible. The person
interpreter, facilitator, or assistant for a who signed the entry form may apply to the
candidate with special needs. Trinity’s central Trinity representative for a re-entry permit by
office must approve such arrangements in providing a medical certificate current for the
writing before an entry is made. Please note date of the exam and the appointment form
that no external person may listen outside the originally issued.
exam room.
T
he re-entry application must be made no
Interpreters are allowed for candidates whose later than 30 days after the exam date. The
first language is not English and where Trinity representative will forward the medical
candidates do not have sufficient English certificate and appointment form to Trinity,
language fluency to meet the communication who will issue a re-entry permit for an exam at
requirements of the exam. Candidates are the same level in the same subject.
responsible for all arrangements with and
A
re-entry permit can be used for an exam
costs of interpreters, whose involvement must
within 21 days to 12 months of the original
be agreed with the centre in advance of the
exam date upon payment of 50% of the entry
exam. Interpreters must not assist candidates
fee current at the new date of entering. If a
beyond interpreting. If the examiner suspects
permit is used towards entry for an exam
that interpreters are assisting candidates
at a higher level, any difference in fee is
inappropriately, they will refer the matter to
also payable.
Trinity’s central office.
If candidates wish to postpone or cancel an
Recordings of exams
exam, the original fee will not be refunded.
T
rinity audio records all grade exams for quality There are special arrangements in case of
assurance purposes. genuine compassionate circumstances. Trinity
T
rinity exams are also sometimes filmed for will not offer re-entry permits for non-medical
training and quality assurance purposes. In reasons, though sympathy will be shown to
such cases, Trinity will always seek permission genuine cases in which appropriate evidence
from the candidate or parent/guardian first. is provided.
Candidates may refuse to be filmed at any point P
lease note that Trinity cannot reconsider
and may request for footage to be deleted marks where external circumstances may have
without giving a reason. affected these.
A
ll audio and visual recording devices will be Results, reports and certificates
discreet and should not cause any distraction
A
ll candidates receive a written report.
to candidates.
Examiners issue reports only to the Trinity
E
xaminers will not refer to recordings when representative, and are not allowed to give
making their assessments. Trinity’s recordings details of reports or results in any other way.
of exams (film and audio) will not be released to In turn, Trinity representatives will despatch
candidates under any circumstances after those reports to the person who signed the
the exam. application form.
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R
eport forms are normally issued within a UK’s Children’s Act 1989 and other relevant
week of completion of a centre’s exam session, legislation. Trinity has also implemented a policy
although in circumstances where a particularly relating to child protection, full details of which
large number of candidates attended the same can be found on our website.
exam session, Trinity representatives may issue Data protection
report forms on a fortnightly basis.
T
rinity College London is registered as a Data
In the case of successful candidates, results Controller with the Information Commissioner’s
are provisional until confirmed by the issue of Office in the United Kingdom under the Data
a certificate six to eight weeks after the end of Protection Act 1998. Please see our website for
the exam session. the most up-to-date information about its data
C
ertificates show the date, centre, subject, and protection procedures and policies. You can
level achieved by a successful candidate, as write to the Data Protection Officer at Trinity’s
well as the name of their teacher and school central office for further information.
(if requested). The personal details shown on Customer service
certificates will be taken from those recorded on
T
rinity strives to update and improve its
the entry form.
syllabuses where necessary. Amendments
T
rinity cannot accept responsibility for the non- and additions are regularly published on our
arrival of any exam report or certificate after website, which is also a source of general
it has been posted. Please refer to Trinity’s information about Trinity and its products and
website or contact your local representative for services. A Customer Service Statement
information about replacement certificates and is available on our website.
certifying statements.
Malpractice
Syllabus infringements
T
rinity requires its registered exam centres to
A
ll syllabus infringements (eg choosing an report any suspected malpractice by candidates,
incorrect piece or technical work item) will be teachers or examiners. In situations where a
referred directly to Trinity’s central office by centre is found to be inadequate or to be guilty
the examiner. Exam reports may be withheld of malpractice, either in terms of provision
until the outcome of any referral has been of facilities or in administration, the exam
considered by Trinity. Depending on the severity centre may be required to suspend all of its
of the infringement, marks may be deducted or, activities relating to Trinity exams until the
in extreme cases, the exam may be invalidated. cause of the problem is identified and rectified,
Results review and appeals procedure if appropriate. In extreme circumstances, the
A
nyone who wishes to question the outcome centre may no longer be permitted to act as an
of their exam result should refer to exam centre registered with Trinity.
www.trinitycollege.com/resultsenquiry In the very rare cases or circumstances where
for full details of our results review and a centre or individual may be suspected of
appeals process. malpractice, Trinity will aim to minimise any
inconvenience caused to any affected candidate,
Policies and would like to thank candidates, teachers
and centre staff for their kind co-operation in
Equal opportunities
reporting any suspected incident of cheating,
T
rinity is committed to providing equality of thereby assisting Trinity in upholding the quality
opportunity and treatment for all, and will not and integrity of its exam process.
unlawfully or unfairly discriminate directly or
indirectly on the basis of any characteristic.
Child protection
T
rinity College London exams are delivered in
full compliance with the requirements of the
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Music publishers
About the exam
Non-UK publishers may have different local agents in other parts of the world who may be able to supply
music more easily or quickly. Details of these may be obtained by contacting the publishers directly.
Trinity cannot guarantee that music will always be in stock with local suppliers. Candidates and teachers
should always check with the publisher before it is assumed that any item has gone out of print.
Alfred (Alfred Music): www.alfred.com Malletworks (Malletworks Music):

Alto (Alto Publications): www.malletworks.com; in UK: c/o Southern
www.altopublications.com Percussion
Batterie (Batterie Music): Mark Aldous (Mark Aldous Music):
www.batteriemusic.com www.markaldous.com
Boosey (Boosey & Hawkes Music Publishers Ltd): Meredith (Meredith Music Publications):
www.boosey.com www.meredithmusic.com
Boston (Boston): c/o Music Sales Mitchell (Mitchell Peters): c/o Southern
Percussion
C S Records (C S Records):
c/o Southern Percussion Music Sales (Music Sales Ltd):
www.musicsales.com
Chappell (Warner/Chappell Music):
www.warnerchappell.com Per-Mus (Per-Mus Publications):
www.permus.com; in UK: c/o Southern Percussion
Curnow (Curnow Music Press):
www.curnowmusicpress.com; in UK: c/o De Haske Peters (Peters Edition Ltd):
Hal Leonard Ltd www.edition-peters.com
De Haske (De Haske Hal Leonard Ltd): ProPercussao (ProPercussao Brasil):
www.dehaske.com www.propercussaobrasil.com; in UK: c/o Southern
Percussion
EMB (Editio Musica Budapest Ltd):
www.emb.hu; in UK: c/o Faber Music Pustjens (Pustjens Percussion Products):
www.pustjenspercussion.nl; in UK: c/o Southern
Faber (Faber Music Ltd): www.fabermusic.com
Percussion
Fentone (Fentone Music Ltd):
PWM (Polskie Wydawnictwo Muzyczne):
www.fentone.com; in UK: c/o De Haske Hal
www.pwm.com.pl; in UK: c/o Universal Edition
Leonard Ltd
Row Loff (Row Loff Productions):
Fischer (Carl Fischer Music):
www.rowloff.com; in UK: c/o Southern Percussion
www.carlfischer.com; in UK: c/o Schott
Schirmer (G. Schirmer Inc.): c/o Music Sales
Foley (Charles Foley): c/o Carl Fischer Music
Schott (Schott Music Ltd):
Gretel-Verlag (Gretel-Verlag):
www.schott-music.com
c/o Southern Percussion
Simrock (Simrock): c/o Schott Music Ltd
Hal Leonard (via De Haske Hal Leonard):
www.dehaske.com Southern (Southern Music Company):
www.southernmusic.com; in UK: c/o De Haske Hal
Hext (Hext Music): www.hextmusic.co.uk; in UK:
Leonard Ltd
c/o Southern Percussion
Southern Percussion (Southern Percussion):
Kendor (Kendor Music Inc.):
www.southernpercussion.co.uk
www.kendormusic.com; in UK: c/o Music Sales
Stock (Stock): c/o Southern Percussion
Ludwig (LudwigMasters Publications):
www.ludwigmasters.com; c/o Boosey & Hawkes Studio (Studio Music Company):
or Southern Percussion www.studio-music.co.uk
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Music
Aboutpublishers
the exam
Studio4Music (Studio4Music): c/o Mostly

Marimba; www.mostlymarimba.com; in UK: c/o
Southern Percussion
Svitzer (Edition Svitzer):
www.editionsvitzer.com; in UK: c/o Southern
Percussion
Trinity (Trinity College London Press):
www.trinitycollege.com
UMP (United Music Publishing Ltd):
www.ump.co.uk
Universal (Universal Edition (London) Ltd):
london.universaledition.com
Zimmermann (Musikverlag Zimmermann):
www.musikverlag-zimmermann.de; in UK: c/o
Universal Edition
UK specialist supplier
In case of any difficulty in obtaining music,
the following specialist supplier may be helpful:
Southern Percussion (Southern Percussion):
T +44 (0)1702 522 101;
www.southernpercussion.co.uk
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Rudiments table
Rudiment Grade Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8
Single strokes ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓
Double strokes ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓
Single paradiddle ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓
Flam ✓ ✓ ✓ ✓ ✓ ✓ ✓
Drag ✓ ✓ ✓ ✓ ✓ ✓ ✓
Four stroke ruff ✓ ✓ ✓ ✓ ✓ ✓ ✓
Five stroke roll ✓ ✓ ✓ ✓ ✓ ✓
Seven stroke roll ✓ ✓ ✓ ✓ ✓ ✓
Nine stroke roll ✓ ✓ ✓ ✓ ✓ ✓
Flam tap ✓ ✓ ✓ ✓ ✓
Flam accent ✓ ✓ ✓ ✓ ✓
Flamacue ✓ ✓ ✓ ✓ ✓
Flam paradiddle ✓ ✓ ✓ ✓ ✓
Double paradiddle ✓ ✓ ✓ ✓ ✓
Paradiddle-diddle ✓ ✓ ✓ ✓ ✓
Drag and stroke ✓ ✓ ✓ ✓
Double drag and stroke ✓ ✓ ✓ ✓
Drag paradiddle ✓ ✓ ✓ ✓
Single ratamacue ✓ ✓ ✓ ✓
Double ratamacue ✓ ✓ ✓ ✓
Triple ratamacue ✓ ✓ ✓ ✓
Triple paradiddle ✓ ✓ ✓
Reverse paradiddle* ✓ ✓ ✓
Pata fla fla ✓ ✓
Swiss army triplet* ✓ ✓
Inward paradiddle* ✓ ✓
* Drum kit only.
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Trinity publications
Drum kit books Drum Kit Exam Pieces and Studies 2014–2019. Containing all pieces, studies
and rudiments required for Trinity drum kit exams from 2014, plus backing CD
for all group A pieces. Published in four books as follows:
Drum Kit 1: Grades 1 & 2 TCL 012227
Also available: Introducing Drum Kit TG 008534
Percussion books Trinity books for tuned percussion, snare drum and timpani containing
pieces and studies (and technical work, for snare drum only) for Trinity
exams from 2007. Available as follows:
Pieces and Studies for Tuned Percussion Grades 1–5 TG 005649
Pieces and Studies for Snare Drum Grades 1–5 TG 005632
Pieces and Studies for Snare Drum Grades 6–8 TG 006363
Pieces and Studies for Timpani Grades 1–5 TG 005656
Percussion Teacher’s Book: Ensembles & Accompaniments: containing extra
ensemble parts for group teaching and a CD of all piano accompaniments.
TG 006370
Aural tests Trinity College London Aural Tests from 2017: In two volumes, Initial to
Grade 5 and Grade 6 to Grade 8, each with two CDs, containing sample tests
for the aural section of the exam. With explanations, sample answers and
advice on completing the tests.
Book 1: Initial–Grade 5 TCL 015808
Book 2: Grades 6–8 TCL 015815
Unpitched Aural: Specimen Tests for Drum Kit: sample tests for candidates
preparing for the unpitched aural section of drum kit exams.
TG 008770
Sight reading Sound at Sight Drum Kit: graded practice tests for the sight reading
component of drum kit exams.
Book 1: Grades 1–4 TG 008749
Book 2: Grades 5–8 TG 008855
Percussion repertoire The following Trinity publications remain available and are, in some cases,
used in the Trinity percussion syllabus:
Percussion World: Tuned Percussion TCL 617026
Percussion World: Snare Drum TCL 615022
Percussion World: Timpani TCL 616029
All Trinity publications are available from www.trinitycollege.com/shop or your local music retailer.
79
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Notes
80
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Percussion Syllabus

Drum Kit, Tuned Percussion, Snare Drum,

Trinity College London

Why take a Trinity grade exam?.......................................................................... 4

About this syllabus........................................................................................................ 6

About the exam................................................................................................................ 7

Mark scheme for pieces....................................................................................................... 17

Drum kit (subject code DRM)............................. 1 2 3 4 5 6 7 8

Orchestral percussion (subject code ORC)............................................................42

Snare drum (subject code SND)....................... 1 2 3 4 5 6 7 8

Timpani (subject code TMP)............................... 1 2 3 4 5 6 7 8

Information and regulations..................................................................................72

RQF* EQF** Classical Rock Theory Music Solo Group

* Regulated Qualifications Framework in England, † Not RQF or EQF regulated

Overall mark Band

Level Exam duration

Accompaniments and page turns

Performance and interpretation

Music and copies

Four and five-piece drum kits

Electric drum kits

Set-up and adjustments

Parameters for drum kit [in place of group B (unaccompanied) piece]

Grade Duration (mins) Examples of composition techniques

* See page 78 for list of rudiments.

Parameters for tuned percussion

Grade Duration Examples of composition techniques

Parameters for snare drum

Grade Duration (mins) Examples of composition techniques

* See page 78 for list of rudiments.

Parameters for timpani

Grade Duration (mins) Examples of composition techniques

Mark scheme for pieces

The three components are as follows:

Communication and interpretation 8

Total mark for each piece 22

Total mark for each piece Band

Tuned percussion broken chord patterns

Sight reading parameters for drum kit

Grade Time Rhythm Dynamics/notation

2 x hi hat with foot

pp, ff, cresc., dim.

8 any any any

Grade Key signature Time signature Dynamics Notation

Grade Parameters Task Response

melody only i) Identify the dynamic as forte or piano

Listen to the melody Clap the pulse on the third playing,

melody only i) Describe the dynamics, which will vary

Grade Parameters Task Response

Clap the pulse on the second playing,

i) Identify the tonality as major

4 or 6 Study a copy of the melody

i) Identify the changing tonality

Grade 5 major or Identify the interval as minor or major

Study a copy of the piece, and

Grade Parameters Task Response

i) Identify the time signature

Identify and comment on two other

Study a copy of the

* Regulated Qualifications Framework in England, † Not RQF or EQF regulated

Listen to the melody Clap the pulse on the third playing,

melody only i) Describe the dynamics, which will vary

i) Identify the tonality as major

4 or 6 Study a copy of the melody

i) Identify the changing tonality

Study a copy of the piece, and

i) Identify the time signature

Study a copy of the

i) Identify the time signature

Study a copy of the

i) Identify the time signature

2, 3, 4, 6 or 5 Study a copy of the