TCL030641e Graded Piano Favourites Exam Pieces & Exercises 2021-2023 Initial

INITIAL
PIANO
Prepared exclusively for Shubham Acharya (shubhamkacharya@gmail.com) Order: 15265

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INITIAL
PIANO
Pieces plus exercises for
Trinity College London
exams 2021–2023
ISBN 978-1-80490-165-6
Published by
Trinity College London Press Ltd
trinitycollege.com
Registered in England
Company no. 09726123
Copyright © 2020 Trinity College London Press Ltd
This impression November 2021
Cover photograph courtesy of Steinway & Sons
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or as allowed under the terms and conditions under which it was purchased.

Contents
Performance notes �� 2
Praetorius Old German Dance�� 5
Reinagle Allegretto (no. 9 from 24 Short and Easy Pieces, op. 1)�� 6
Müller, ed. Wild Summer Swing�� 7
Vogel March Time �� 8
Wild Into the Distance�� 9
Yandell Echo Dance ��10
Thuntawech Muay Thai (The Boxing Star)�� 11
Reinagle Allegro (no. 4 from 24 Short and Easy Pieces, op. 1)�� 12
Charlton Tickery Tockery�� 13
Technical work��14
Metronome markings are given as a useful guide and are not definitive. Repeats of more than a few bars
should be omitted in the exam unless otherwise instructed, as indicated in this book. All da capo and dal segno
instructions should be observed.
Please refer to the Piano Syllabus 2021–2023 for details on all sections of the exam.
Check trinitycollege.com/piano to make sure you are using the current version.
 other
publications
video and online
resources
The repertoire in this publication can also be used for Trinity’s Digital Grades and Diplomas.
Please check trinitycollege.com/dgd for more details.

Contents
Performance notes
Old German Dance / Praetorius Page 5 Amazingly, before he left for America, Reinagle met the
young Mozart during his time in London. There’s more
w Renaissance dance than a trace of Mozart’s style in Reinagle’s writing — it’s
w Rhythm worth listening to some of Mozart’s piano music to give you
w Dynamic contrasts some inspiration.
Michael Praetorius was one of the most prolific and versatile
musicians of his day, composing hundreds of pieces for Summer Swing / Müller Page 7
singers, instrumentalists and keyboard players, including an
enormous number of dances. w Classical
w Shifts of hand position
As with any dance, the rhythm is very important in this w Dynamic contrasts
piece — imagine dancing to it yourself, or perhaps even try it
out! If you find it difficult to keep the tempo steady, think of ‘Summer Swing’ is a dance movement, with the three beats
it with drums or other percussion instruments playing too, in a bar giving a sense of relaxed movement.
which is perhaps what might have originally happened in
It might help to have in mind a warm, summer atmosphere
performance. Before you start the piece, it might be helpful
for this piece — no hurry about it at all, but rather a slightly
to think about the quavers that come in the second half, just
lazy lilting feel. Similarly, with the dynamics, perhaps think of
in case you’re tempted to start a little too fast and then have
different characters or moods for each dynamic. The opening
to slow down for the quavers. With the fingering, once you’ve
and closing mf might be someone on a walk whistling to
got your hands in position at the beginning, there’s no need
themselves, then changing to humming at the end of bar 4,
to change position at all — you’ll have all the notes you need
then singing in bar 8, for example. See what ideas you can
already covered. Lastly, to really bring the piece alive, use
come up with to bring the dynamics to life for you.
the dynamic contrasts to give character and sense of fun.
Maybe in the soft sections you might imagine the dancers In terms of technique, watch out particularly for the changes
are crouching down and then standing back up again for the of hand position. Although the left hand stays in one position
louder sections. throughout, the right hand moves several times — take care
with the thumb going under your second finger in bars 8
It’s well worth having a listen to some of Praetorius’ dances
and 10. Lastly, it’s helpful to think of the different beats of the
played by groups of instruments, for example from his
bar in this piece to give it that dance feel, with the first beat
collection Terpsichore, which contains over 300 dances.
having slightly more emphasis than the other two beats.
Allegretto / Reinagle Page 6 To reinforce this idea of the dance rhythms, it would be
worth listening to some music in dance form — perhaps a
w Classical minuet by Mozart or Haydn, or even a waltz by Strauss.
w Balance between the hands
w Repeated notes
March Time / Vogel Page 8
Alexander Reinagle was a British-born composer who
w Romantic
emigrated to the United States shortly after America gained
w Staccato playing
independence. Reinagle crossed the Atlantic numerous times
w Dynamic contrasts
in his life, and you can perhaps hear the influence of sea
shanties on this short piece. Music has been used as a way to keep soldiers marching
together for thousands of years. The staccato markings at
Upbeat and tuneful, the right hand should be the leading
the beginning help to give this piece a really rhythmic start.
part throughout, and it might be helpful to imagine it being
sung — perhaps you could invent some words to fit the One of the challenges of this piece is keeping the quavers
melody? The recommended fingering at the start allows you evenly spaced. You might like to imagine you’re marching
to play the first two lines without changing hand position at to this music yourself as you play. The marking ‘moderato’
all. The third line of music has the trickiest fingering: mind and the metronome mark show it’s not too fast, but the
the gap at the start of bar 10! You might also like to try challenge is to keep the same speed throughout the piece.
changing the fingering on the repeated notes in bars 4, 10 Your left hand is the important to this, particularly with the
and 12 to make those notes lighter and easier to play — try constant crotchets in bars 5–8 acting rather like a drum in a
1–2–1 on the Gs, for example. In bar 12, the repeated notes marching band.
give you a chance to make a really effective crescendo, with
each note a little louder than the previous one. You could The dynamics are also essential ingredients in this piece.
think of this as leading the way back to the ‘chorus’ that we You might like to think of bars 7 and 8 as an ‘echo’ of
heard in the first section. bars 5 and 6, almost like the sound bouncing off the back
wall of a cave. Following that, there is a fairly rapid crescendo
2
to take us back to forte for the last few bars. After the crescendo Muay Thai / Thuntawech Page 11
is marked in bar 9, your eyes will move to the music on the
bottom line, meaning you can no longer see the indication to get w Counting
louder. It might be worth writing yourself a reminder in bar 10 w Different note values
that the crescendo is still happening, just to keep it fresh in your w Expression
mind.
Muay Thai is a form of boxing and the repeating, descending left-
Have a listen to some different marches — perhaps you can even hand notes which underpin the right-hand melody suggest the
find a video of a marching military band to get you in the mood excitement and tension of a boxing match. Keep the dynamic
for this piece! level low at the beginning to add to the story of the music. The
notes lie comfortably under the hands in a five-finger position;
practise each hand separately to gain confidence in playing the
Into the Distance / Wild Page 9 left- and right-hand parts before trying them together. At bar 9 a
w Call and response between both hands new idea is introduced with a ff marking and accented chords in
w Contrasts in volume 5ths in the right hand. Enjoy the drama of the music here and give
w Medieval sound the accented notes plenty of ‘punch’. In the final line, the left hand
takes over the accented figure and recalls the descending notes
Written by Peter Wild, this piece tells a musical story all about of the first two lines. The rit. in the final bar suggests the fight is
travelling. The excitement builds towards the middle, before over, but who knows who won it?!
fading away…into the distance…
As the performer, you get to narrate this story, whatever you Allegro / Reinagle Page 12
think it should be. The opening melody, starting with a wide leap Although born in Britain, Alexander Reinagle made
of a 5th, could be a trumpet call from far away. Maybe horses are Philadelphia his home, where he had a private teaching
riding over a hill and thundering past. Much of the piece is based practice as well as getting involved in many of the musical
on the notes D and A, so you’ll need to use all five fingers in activities of the city. We primarily know him as a composer of
both hands. The dynamics change quite a lot in this piece. Over teaching pieces and, although this is not the most inspiring
bars 13–14, the music gets softer, but the score does not say how choice at Initial level, it is solidly crafted and pedagogically
soft you should get. Experiment with fading away to different sound.
volumes, telling the story of going into the distance. There is
also a rit. over the last two bars, telling you to slow down. As In the central section, play the bass line legato, following the
this piece is quite quick, you might want to slow down gradually natural shape of stressed dominant resolving to tonic within
to emphasise the sense of fading away, or try slowing down at the contrasting dynamic levels. It may be a little early to teach
different rates and choose one which feels right to you. your pianists to conduct, but I find it useful to imagine how a
conductor would direct the wind to play forte, then elicit a piano
Echo Dance / Yandell Page 10 response from the strings — it needs a fraction more space than
if both were to play forte. The pulse doesn’t stop, but bends
w Melody shared between hands just enough for a different piano character and colour to be
w Dance style recognised and appreciated before returning to the confident,
w Energetic, short notes full forte tone.
‘Echo Dance’ has folk-dance feel to it and is similar to dances

Tickery Tockery / Charlton Page 13
such as the Polka. The 2 time signature creates a strong,
energetic sense of rhythm. This sounds immediately attractive and fun, but Kay Charlton
has packed it with detail to make it educational as well. There
Perhaps there are two partners in this dance, each echoing the
are several position changes, and a useful practice technique
other. When the opening four bars are repeated over bars 5–8,
would be to find each position in turn, playing the first note or
there is a kind of musical call and response. Different sections of
chord only. So the RH would play the first chord in bar 1, then
the piece present different musical characters. The first phrase
move to the E in bar 4, then to the chord in bar 8, etc. Check
is loud and confident. The echo that follows it might be more shy
that the wrist and arm stay supple, avoiding any tension as you
or playful. But these echoes can still be energetic. To emphasise
plan and visualise each move in advance. Once the positions are
the strong, foot-tapping rhythm, performers could give special
well known, try finding them out of order: where is the RH in bar
attention to the first beat of the bar. Keeping both hands in
9, bar 4, bar 13? This should be a fun game, the aim being to find
the same position, both spanning the notes D to A, will make
ease in negotiating your way around the keyboard. Play legato
it easier to play all the notes fluidly, but will also help with the
only where marked, otherwise slightly separate the crotchets,
dance feel, as the hands will rock back and forth. The music gets
for instance in bars 2 & 3. Play the same phrases at different
softer (diminuendo) over bars 15–16 so you could experiment
dynamic levels; how does mf feel and sound in comparison to
with fading to different volumes to create a sense of playfulness.
f, to ff? Finally, the title suggests something clock-like, so be
Strike the note firmly so that it sustains all the way through the sure to keep that pulse absolutely steady, particularly during
next two bars and play the right hand notes slightly detached to the rests. Two beats only for the final chord — feel that last rest
bring greater emphasis to the tenuto markings. firmly stopping the sound. Rests have power too!
Although there are limited dynamic markings, a slight

crescendo through the left hand ascending notes in the opening
Authors: Martin Ford, Owen Burton, Frances Wilson
melody will add to the mysterious character.
and Pamela Lidiard
3
[Blank page to facilitate page turns]
4
Contents Performance
notes
Barock/Baroque Old German Dance

Michael Praetorius
(1571–1621)
Steady q = 80-100
4
&4 œ
1
œ œ œ œ œ œ œ œ œ œ œ ˙ ˙
{ ? 44 ˙
mf
5
˙ ˙ ˙ ˙ ˙ ˙ ˙
& œ œ œ œ œ œ œ œ œ œ ˙ ˙
œ œ
{ ? ˙
p
˙ ˙ ˙ ˙ ˙ ˙ ˙
& ˙ ˙ œ œ œ œ œ œ ˙ ˙ œ œ œ œ ˙
{ mf
? œ œ œ œ œ œ ˙ ˙ œ œ œ œ œ œ œ œ ˙
13
& ˙ ˙ œ œ œ œ œ ˙ ˙ œ œ œ œ
œ ˙
{ f
? œ œ œ œ œ œ
p
˙ ˙
f
œ œ œ œ œ
œ œ œ ˙
© Copyright 2020 Trinity College London Press Ltd 5

notes
Allegretto Allegretto
no. 9 from 24 Short and Easy Pieces, op. 1
Alexander Reinagle
(1756–1809)
Allegretto q = 86
2 œ
&4 œ œ œ œ œ œ œ œ œ œ œ
4
{ ? 42 œ
mf
3
œ œ œ œ œ
˙
& œ œ œ œ œ ˙ ..
5
œ œ œ
{ ? œ
p
œ œ œ œ œ ˙ ..
œ œ
& .. œ œ
9 2 2 3
œ œ
1 1
œ œ œ œ œ œ
{ ? .. ˙ ˙ ˙ ˙
œ
& œ œ œ œ ˙ ..
13
œ œ œ
{ ? œ
mf
œ œ œ œ œ
˙ ..
6 © Copyright 2020 Trinity College London Press Ltd

Summer Swing
Ed. Peter Wild August Eberhard Müller
(1767–1817)
Summer Swing notes
August Eberhard Müller

(1767–1817)
ed. Wild
Allegretto q = 120
#3 œ. œ œ œ
& 4œ œ œ. œ œ œ. œ œ œ œ
5 2
J œ
2 3 2 1
J J
{ ? # 43 Œ
mf
˙˙
3
5
œœ ˙
˙
œ
œ ˙˙ œœ ˙˙
p
# . œ œ
& œ œ. œ œ œ œ Œ #œ œ
5
J œ. œ
3 2 2 1
J J
{ ? # ˙˙ œœ ˙˙ œœ ˙˙ œœ œœ
Œ
f
# œ. œ œ œ œ œ. œ œ
#œ œ œ œ œ
1
Œ
9
& J J
2 2 2
{ ?# ˙
4
Œ
˙
1
p
Œ ˙
4
Œ
˙
1
mf
# œ. U
œ œ œ. œ œ œ
13
& J œ. œ ˙
3 2
J J
{ ? # ˙˙ œœ ˙˙ œœ ˙˙ œœ U̇
˙

March Time
March Time notes
Wilhelm Moritz Vogel

(1846–1922)
Wilhelm Moritz Vogel
(1846–1922)
œ. œ. œ. œ.
Moderato q = 116
&c ∑ ∑
4
{ œ. œ. œ. œ.
f
?c œ. œ. œ œ œ œ
Œ œ. œ.
1
œ œ œ œ œ œ œ œ œ œ ˙.
Œ Œ
4 3
&
{ ?
˙.
Œ
mf
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ ˙. œ œ œ œ œ œ
Œ
7
&
{
p
œ œ ˙.
cresc.
? œ œ œ œ œ œ bœ
2
œ œ œ œ œ œ ˙ ˙ ˙. Œ
10
&
{ ? ˙.
f
œ œ ˙ œ ˙.
Œ

notes
Into the distance Into the Distance

Peter Wild
(b. 1958)
Allegretto q = 108
& œ œ œ œ œ œ œ œ œ œ
1
w œ œ œ ˙
{ ? ˙˙
p
1
5
˙˙ œ
œ œœ ˙˙ ˙
˙ ˙˙ œ
œ œœ ˙˙
Œ
œ œ Œ
5
& œ œ œ œ ˙ ˙ œ œ w
{ ? œ
2
œ œ
1
œ b˙
2
˙ œ
cresc.
4
Œ
œ
Œ
b˙ ˙
∑
9
& œ œ œ œ œ œ œ œ œ œ œ ˙ ˙
{
f mp
? ∑ œ œ œ œ œ œ w
w w
w
1
13
rit.
& œœ œœ œœ œ œ w
w
{ ? w
w
w
w

notes
Echo Dance Echo Dance

Naomi Yandell
(b. 1961)
With confidence q = 100-108
2 ∑ ∑
&4 œ œ œ œ œ
5
œ. œ. œ œ œ œ.
. .
{ f p
? 42 ∑ œ œ œ. ˙ ˙ ∑ œ œ œ.
1
Œ Œ Œ
7
& œ œ œ œ œ. œ. œ.
˙ œ œ œ.
{ ? ˙ ˙
œ.
f
Œ Œ
œ. œ. œ. œ. Œ
& Œ Œ ∑
13
œ. œ. œ œ œ œ ˙ œ œ
œ.
{
f
. œ.
? œ Œ Œ œ œ œ œ ˙ ∑ œ œ œ.
∑
19
& œ œ. œ œ œ œ œ œ œ œ œ
. . œ. ˙
{ œ. œ.
p
? ˙ ˙ ∑
œ œ .
œ ˙

Muay Thai
notes
Muay Thai
(The Boxing Star)
Mintra Thuntawech
Allegro q = 100 (b. 1989)
4
&4 ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ œ. œ œ ˙
1 3
{
mp
? 44
œ œ œ œ œ œ œ œ œ œ œ œ œ œ #˙
1 2
˙ œ œ œ œ ˙ œ œ œ œ œ œ. œ. œ œ œ. œ. ˙
5 5
&
{ ?
mf
œ œ œ œ œ œ œ œ œ œ œ œ œ. #œ. ˙
>œ >œ >œ >œ >œ >œ œ œ ˙

5 5
œ œ œ œ œœ œœ œœ œ
5
& Œ Œ œ œ œ œ Œ Œ
9 1 1 5
1
> > >
{
ff
? Ó Ó Ó
˙ ˙ ˙ ˙ #˙
2
˙ œœ
rit.
˙˙ œœ ˙˙ œœ œ œ ˙
5 5
Œ Œ Œ Œ
13 5
& ˙
1 1 1 3
{ ? Œ
œ> >œ >œ Œ Œ œ> >œ >œ Œ Œ
>œ >œ >œ
Œ
œ
Œ ˙

notes
Allegro
Allegro
No. 4 from 24 Short and Easy Pieces, op. 1 Alexander Reinagle
(1756–1809)
q = 120
2 œ1 œ œ œ œ œ œ œ ˙
&4
{ ? 42 ˙
f
1
˙ ˙ ˙
œ œ œ œ œ
Fine
œ œ
5
œ ˙
3
& ™™
{ ?˙ ˙ ˙ ˙
™™
œ5 œ œ œ œ œ œ œ œ œ
9
& œ œ
{ ?˙
f
˙
p
˙ ˙
œ œ œ œ œ œ œ
D.C al Fine
œ œ
13
& œ
{ ?˙
f
˙ œ œ ˙
12 © Copyright 2017 Trinity College London Press

Tickery Tockery notes
Tickery Tockery
Kay Charlton
Andante q = 108 (b. 1968)
4
4 œœ œœ œœ œœ œœ œœ
1
&4 Œ Œ Œ Œ Œ Œ Œ
1
œ œ #œ
{
mf
œ œ œ œ œ œ œ œ bœ œ œ
? 44 Œ Œ Œ ∑
1 4
5 4
Œ Œ Œ œ œ Ó b˙˙
2
œ
4
&œ œ œ œ œ œ
1
œ œ . >
{ ?Œ œœ
1
3
Œ
œœ
Œ
œœ
Œ
œœ
Ó œ œ œ. Ó
ff
˙
>5
œ. œ.
9
& œ nœ Œ œ Œ œ œ œ ˙ Ó
3
œ œ œ
{ ?˙
p
2
œ.
Œ ˙ œ. Œ œ œ œ
f
œ œ œ œ œ. Œ
13
Œ Œ Œ Œ Œ Œ
5
&œ œ œ œ œ ˙˙
1 5 2 1
œ œ œ œ.
{ mf
>
f
?Œ œœ Œ œœ Œ œœ Œ œœ œ Œ Œ bœ Œ
œ. ˙
1 4
5 >
3
© Copyright 2017 Trinity College London Press 13

Contents
Piano - Initial
DIGITAL GRADES: TECHNICAL WORK
Candidates prepare either section 1 or section 2. All candidates must also prepare section 3.
Further information is available in the graded syllabus.
Choice of technical work should be indicated on the submission information form.
Scales are in Trinity’s Piano Scales & Arpeggios from 2015: Initial-Grade 5.
Exercises are in Trinity’s Piano Exam Pieces Plus Exercises 2021-2023: Initial.
Either
1. SCALES SET A (from memory) – All requirements should be performed.
C major left hand
A minor (candidate choice of either harmonic or melodic or one octave
right hand min.
natural minor) mf legato
♩ = 60
Broken triad in C major right hand
to 5th
Broken triad in A minor left hand
Or
2. SCALES SET B (from memory) – All requirements should be performed.
C major right hand
A minor (candidate choice of either harmonic or melodic or one octave
left hand min.
natural minor) mf legato
♩ = 60
Broken triad in C major left hand
to 5th
Broken triad in A minor right hand
3. EXERCISES (music may be used) – Candidates choose and perform two exercises (selected from different groups).
Group 1
1a. Plain Sailing
for tone, balance and voicing
1b. Nothing to Do
Group 2
2a. Smoothie
for co-ordination
2b. Swapping Over
Group 3
3a. Down the Hill
for finger & wrist strength and flexibility
3b. The Night Sky
FACE TO FACE GRADES: TECHNICAL WORK

Scales (from memory) — Examiners select from the following:
C major
A minor (candidate’s choice of either harmonic or melodic or one octave

natural minor)
min. hands
Broken triad in C major and A minor, using the following pattern: mf legato
q = 60 separately
to 5th
Exercises (music may be used) — Candidates prepare three exercises: 1a or 1b, 2a or 2b, and 3a or 3b.
14
TCL012982txt.pdf May 31, 2014 10:47:34 page 3


Contents May 31, 2014 10:47:34 page 3
TCL012982txt.pdf
Scales
Initial Initial
Technical work —that all sections and options to
Initial
The fingering given in this book is offered as a recommendation only. Any other logical system of fingering is
be prepared
Technicalprovided
acceptable work — all sections andand
it is consistent options
allows to
an be prepared
even execution of the requirements.
i) Scales — the examiner will select from the following:Initial
Technical
Technical work
work —— all
all sections
sections and beInitial
will select fromoptions
and options to to be prepared
i) Scales — the examiner the following:
Please prepared
C majornote that the recommended speeds are a guide to what can be expected at each level. For the purposes
i) major —
C Scales — the examiner will
will select from
from the following:
of
i) fulfilling
Scales the examiner
exam criteria,select
accuracy, thefluency
following:and evenness of touch and tone should be regarded as equally
min. one octave hands
Amajor
C minor (candidate’s
Technical work — choice
all of either
sections harmonic
and options or melodic or
to be prepared min. legato one octave
important
Amajor
Technical
C aspects
minor (candidate’s
work — of
alltechnical
choice
sections competence.
of either harmonic
and options or melodic or
to be prepared mf hands
natural minor) q = 60 mf legato one
separately
i) Scales
natural
A minor
A Scales
i)
— the examiner
minor)
minor (candidate’s
(candidate’s
willofselect
choice
choice
— the examiner
either
willofselect
from the following:
harmonic
eitherfrom
harmonic or
or melodic
melodic or
the following: or
min.
min. q = 60
mf legato one octave
octave hands
hands
separately
Broken
natural
C triad
minor)
majorminor) in C major and A minor q
q== 60
60
mf legato to 5th
separately
separately
natural
Broken triad in C major and A minor to 5th
C major
Broken triad
ii) Exercises
Broken
A in
in C— major
these and
areA minor
included in the Piano Initial Pieces & Exercisesmin.book. to
one 5th
tooctave hands
ii)minor
A
triad
Exercises
minor
C
— major
(candidate’s
these
(candidate’s
and
areA
choice
choice of
minor
ofincluded
either harmonic
either in the or
harmonic or
melodic
Piano
melodic
or Pieces
Initial & Exercises
or & Exercises min.book. mf legato one 5th
octave hands
ii) Exercises
natural minor) — these are included in the Piano Initial Pieces book.q = 60 mf legato separately
natural minor)— these are included in the Piano Initial Pieces & Exercises book.q = 60
ii) Exercises separately
CBroken
major triad(one octave)
in C major and A minor to 5th
C
C major
Broken
major triad(one
(one octave)
in C major
octave)and A minor to 5th
C major (one octave)included in the Piano Initial Pieces & Exercises book.
ii) Exercises — these are
ii) Exercises — these are included in the Piano Initial Pieces & Exercises book.
ìììì
Right hand
œ œ œœ œœ œœœ œœ ìì œ
Right
Right
C hand
hand
major (one octave)
œ œœœ œœ œ œ
Right hand
C major (one octave)3
4 5 4
œ œ œ
4 54 45 1
& œ œ œ œ
1 1 5 4 3 1
œ œ œ
4 4 1 1
& œ
& œœ œœœ œ œœ œ œ œ
11 3 3 1 1 1 3 311 1
1 3 1 3
ìììì œ
Right hand
œ
Right hand
œ œ œœ œœ œœ œ œ
4 5 4
5 1
&
1 3 1 4 4 3 1
œœ œœ œœ œ œ œ œ œœ œœ œœ
1
& œ
1 3 1 3 1
œ œœ
œ œ
œœœ œœ ìì œœ
œœœ œœ œœ
ìììì
œœœ œœœ œœ œ œœ
œœ œ œ œ œœœ
Left
Lefthand
?
Left hand
hand
?hand œ œ œ œœœ
Left hand
? handœ
œ œ œ œ œ œœ œœ œœ œœ
œœ ìììì
œœ œœ œœ œ œ œ
Left
?
Left
? œœ 5
5
œœ œ œ 1
1
1
1
3
3
3
3
1
1
1
1
3
3 œ œ œ
1
1
3
3
1
1
5
5
5
5
5
5 1 3 1 3 1 5
5 1 3 1 3 1 5
C
C major broken triad
major5 broken
triad (to
(to 5th)
5th)
C major
Full broken
FullScore triad (to 5th)
Score triad (to 5th) Full
Full Score
Score 1
1
C major
Right
Right broken
hand
hand
C major broken triad (to 5th)
Full
C major
Full
RightFull
hand
Score
broken triad (to 5th)
Score Full Score
Full Score 11
& œœ œœ
Score Full 1
Full Score
& œœ œœ
Right hand 1
œœ
RightFull
handScore Score
Right hand
& œ œœ
&
& œ
œœ œ œ œœ œ
&
Left œœœ œœ
Left hand
hand œ œœ œ
?
? handœœ œœ œœ œœ œ
Left
Left hand œ
œœ œœ œ œ
Left hand
Left hand
? œœœ œœœœ
?
?
? œ œ œœ œ
œ œ
A
A minor:
minor: harmonic
harmonic (one
(one octave)
octave)
œ
ìì
#œ #œ
Right hand
œ œ œ œ œ œ
Right hand
œ
A minor: harmonic (one octave)
œ œ
5
A minor:
1 harmonic
œ
3 (one
1 octave)
4 4
œ œ
1
A minor: harmonic (one octave) 5
& hand
4 4 1 3 1
A minor:
handharmonic (one octave)
1 3 1 1 3
œœ
ìì ìì
##œœ ##œœ
Right
œœ œœ œ œ œ
œœ œœ
Right
œœ œœ
œ
ìì ìì
œ œœ œ œœ œœ œœ #œ œ #œœ œœ œ œœœ œœœ
# œ #
5
œ
Right hand 4 4
œ œœ
1
&
5
Right hand1 3 1 4 4 1 3 1
& œœ œœ œœ
1 3 1 5 4 1 3
4
œœ œ œ
5 1
&hand
1 3 1 4 4 1 3 1
&
1 3 1 1 3
œ #œ œ #œ œ œ œ œ œ ìì
Left
Left hand
?
Left hand œ œ œ œ
œ œ
? œ ##œœ œœ ##œœ œœ œ œ œ ìììì
Left hand
? hand œ œ
œœ œœ œ œ œ
œ œ œ œ œ œœ
ìììì
œ œœ
Left hand5 1 5
#œœ œ ##œœ œœ œ œ œ
1 3 3
? œ
5 1 5
Left 1 3 1
œ #
3 1
? œ œ œ œ œ œ œ œœ œœ
œœ œœ œ œ
5 1 3 1 3 5
5 1 3 1 1 5
3 1
3
3
5 1 3 1 3 5
5 1 3 1 1 5
3 15
3 1
Left hand Left hand
? œ œ œ œ
œ
Contents
A minor:
A minor:
TCL012982txt.pdf harmonic
May 31, (one
2014 10:47:34
harmonic (one octave)
page 4
octave)
Initial continued
ìì
œ #œ œ #œ œ œ œ
RightMay
hand
Initial
Right 31,continued
hand
œ œ
TCL012982txt.pdf 2014 10:47:34 page 4 55
œ œ œ œ œ
44 44
œ melodic (one octave)

TCL012982txt.pdf May 1 11
131, 2014 10:47:34
33 page
11 4 11 33
A&
minor:
A minor: melodic (one octave)
#œ #œœ œ nœ nœ œ œ œ
Right
Initialhand
continued
Initial
œ œ
continued
œ œìì œ
5
& œ œ œ œ œ œœ œœ ##œœ #œ #œ œnœœnœœ œœ œ

4 4
Left
Left
Righthand
hand
hand
1 3 1 1 3 1
?
Initial continued 5
& œœ œœ œ œ œ œ
4 4 1
Initial continued
1 3 1
1 3
A minor:continued
Initial melodic (one octave)
##œœ ##œœ œœ
5 33 11 55
nnœœ
1
Right hand
5 33
nnœœ œœ œœ œœ
1 11
œ
œ
Right hand
œ
5
& œœ œœ œ œ œ #œ œ œœ
4 4
œœ
A minor:1 melodic (one
3 octave)
1 4 5 4 1 3 1
1
& nnœœœ
1 3 1 1 3
Right hand
œœ ##œœ ##œœ #œœ nnœœn œ œ œ œ

A minor:
Left melodic (one octave)
Righthand
? œ œ œn œ œ œœ
hand 5
œ
œœ œ œ œ œœ #œœ #œ #œœ œœœ
4 4 3
œ œœœ œ œ
1
3
&
1 3 1 5 1 3
4 4
œœ nœœ
Left hand 1
& nœn œ œn œ œ œœ
Right hand
1 3 1 1 3
?
&handœœ œœ œ œ œ œ œ
#œ œœ œœ œ œ
4 5 4
1 3 1 1 3 1
5 1
?hand œ œ œ œ ##œœ ##œœ œœ

1 3 5
Left
nnœœ
3
nnœœ
1
œœ
Left hand
? œ œ œ œ œ œœ œœ œœ œœ
5 1 3 1 5
3
œ #œœ ##œœ œœ
Left 1
? œ œ nnœœ nnœœ œœ œœ
Left hand
? œ œ # œœ
œœ œ œ œ œ œœ œœ
5 1 3 1 5
œ
A minor:
Left hand natural (one octave) 3
# œ nœ
1 1
A?
5
# œ nœ
1 3 5
œ œ
3
œ œ
1
œ œ œ œ œ œ
minor: natural (one octave) 1
œ œ œ œ œ œ
5 1 3 5
Right hand
œ
3 1
œ
5 1
œ
1 3 5
œ œ œ œ œ œ œ œœ œ œ
5 3
œ
4 4 1
œnatural (one octave)

1
A minor:
Right 5 1natural (one
hand 3 octave)
&
11 1 35
œ
3 1
œ
A minor: natural (one octave)
œ
3
œ
5 1
œ œ œ
4 4
minor:œ
1
A&
œœ œœ œœ œ œ œ
Right hand
natural (one octave) œ œ
1 3 1 1 3
A minor:
Right hand œ œ œ œ œ œ œ
Right hand 5
œ œ œ œ œœ
4 4
& œœ œ œ œ œ œœ
1 3 1 1 3 1
4 5 4
œ
1
& œœ œ œœ œ œ œ
1 3 1 1 3
œ œ
A minor: natural (one octave)
Right hand œ œ œ œ œ
Right hand
œ œ œ œœ
5
œœ
4 4
œ œœ
1
& œ œ œ œœ œ œ
1 3 1 5 1 3
4 4
œ œœ œœ œ œ œ œ
1
&hand
1 3 1 1 3
Left
?hand œ œ œœ œ œ œ œ œ œœ
5
œœ
4 4
c œœ œ œ
1
&
1 3 1 1 3
œ œœœ œœœ œœœ œœ œ œ œ œ

Left hand
?handcc œœ œœ œ œœœ œœœ œœœ
c œœ
Left
? œœ œ œ
Left
?
Left hand œ œ œ
œ œ œ œœ œ
œ œ
5 1 5
œ œ œ œ œ œ œ
Left hand 1 3
?hand œ
3
? cc œ œ œœ œœ œœ œ
1
œ œ œ œ œ œ œ œ
55 13 3 1 1 5 5
œ œ triad œ(to 5th) œ

3
œ
1
œ
3 1
œ œ œ œ œ œ
Left 1
A? œ
5 3 1 5
œ
1 3
c broken
1
minor
A minor
œ
œScore
broken
5
5 œ
triad (to(to
5th)5th)
1
1
3
3
1
1
3
3
1
œ œ
5
5
A minor
Right Full
hand
A minor broken
broken triad
triad (to 5th)1 1
Full Score1
5
1
5 3 3
œ œ œ
RightFull
handScore Full Score
1 1
œ
A
Right Full
minor
Full Score
broken
Score
hand triad (to 5th) Full Score
Full Score 1 1
œ
Right hand
&
RightFull
hand œ
& œœœ œœœ œ œ œœ œ œœ œ
A minor broken triad (to 5th)
Score Full Score 1
&& handScore
A minor broken triad (to 5th) 1
RightFull
handScore Full Score
& œœ œ
RightFull œ œ œ œ œ œœ
Full Score 1
& hand œ œ œ
&hand
Left
œ œ
Left hand
?hand
œœ œ œœ œ œ œ
Left
? œœ œœœ
Left hand
?
Left
œ œ
?handœ œœ œœœ œ œ
Left hand
? œ œ
Left
œ œ œ
? œ œ œ œ œ
16
œ œ
4
Contents
Plain Sailing Exercises

1a. Plain Sailing — tone, balance and voicing
Simply q = c.92
4
&4 ˙ œ. œ. œ œ
5
˙ w
w œ. œ. œ œ w
. .
{ ? 44
mf
∑ ∑ Ó ˙
1
œ. œ. œ œ w
1b. Nothing To Do — tone, balance and voicing

Andante q = c.84
3 œ
&4 œ œ œ œ œ ˙ Œ ˙.
3
{
mf p
˙. ˙. œ œ œ
? 43 ˙. ˙.
2
4
Smoothie
2a. Smoothie — co-ordination
Simply q = c.84
4 w
&4 œ œ œ œ œ œ œ œ œ œ w
1
{ ? 44
mf
INITIAL (2)
∑ œ œ œ œ œ
5
Swapping Over
p
˙ ˙ Œ œ œ ˙
2b. Swapping Over — co-ordination

Moderato q = 84
4
&4 œ œ œ œ ˙
3
œ œ œ œ œ œ œ ˙ œ œ œ ˙
{ ? 44 ˙.
p
5
œ
mf
œ œ ˙
p
∑ œ œ œ ˙

Down the Hill
Contents
3a. Down the Hill — finger & wrist strength and flexibility
Moderately q = c.84
3 ∑
&4 œ œ œ œ œ œ œ
5
œ œ œ œ ˙.
{ ? 43
f
∑ œ œ œ œ œ
1
p
˙ Œ ˙˙ Œ ˙˙..
3b. The Night Sky — finger & wrist strength and flexibility
Andante q = c.78
3 œ ˙ œ
1
&4 ˙ ˙ œ ˙.
{ ? 43 Œ
mp
˙˙
2
4
Œ
˙˙
Œ ˙˙
2
3
p
Œ
˙˙

Publications available from trinitycollege.com/shop or your local music retailer
Contents
NEW Sight Reading Piano

Trinity College London Press is proud to announce a new
progressive sight reading method, available late 2020.
Ten lessons per grade each lead step-by-step to a duet

to read from sight with the teacher, to encourage the
development of ensemble sight reading skills — whilst
this is not required in grade exams, it is vital in building
Initial–Grade 2 TCL 020482 ISBN 978-0-85736-925-3
confidence in sight reading.
Grades 3–5 TCL 020499 ISBN 978-0-85736-926-0
Grades 6–8 TCL 020502 ISBN 978-0-85736-927-7
Specimen tests are included at the end of each grade,
offering a wealth of practice opportunity and making
this a truly comprehensive package: everything you
need to prepare for the sight reading test in your exam.
Raise the Bar — Piano

Raise the Bar is an invaluable collection of graded pieces, enhanced with helpful teaching notes.
Each book contains an attractive and varied selection that will help pianists expand their repertoire and
discover more music from different styles and periods. Pieces from all grades are listed on the Trinity
Piano syllabuses for 2018–2020 and 2021–2023.
Initial–Grade 2 Grades 3–5 Grades 6–8

TCL 015372 TCL 015389 TCL 015395
ISBN 978-0-85736-492-0 ISBN 978-0-85736-493-7 ISBN 978-0-85736-494-4
Piano Dreams
Pieces by Anne Terzibaschitsch for beginner and intermediate pianists, weaving storytelling with music through
the use of programmatic text, imaginative titles and lively illustrations.
Solo Book 1 Solo Book 2 Duet Book 1 Duet Book 2

TCL 015334 TCL 015341 TCL 015358 TCL 015365
ISBN 978-0-85736-488-3 ISBN 978-0-85736-489-0 ISBN 978-0-85736-490-6 ISBN 978-0-85736-491-3
19
Contents
NEW Piano Exam Pieces Plus Exercises 2021–2023 | Extended Edition

◗ 21 exam pieces: 12 in the printed book plus nine
included as a downloadable ebook
◗ Performance notes for all 21 pieces
◗ New technical exercises
◗ Scales and arpeggios
◗ Downloadable audio for all 21 pieces
The new Extended Edition of Trinity's graded exam

books for Piano provides the candidate with a much
Initial TCL 020512 ISBN 978-0-85736-928-4
greater choice of repertoire than ever before, with 12 Grade 1 TCL 020529 ISBN 978-0-85736-929-1
pieces in the book and nine more in a downloadable Grade 2 TCL 020536 ISBN 978-0-85736-930-7
ebook. Each book has been compiled and edited by Grade 3 TCL 020543 ISBN 978-0-85736-931-4
leading piano educators and contains pieces from Grade 4 TCL 020550 ISBN 978-0-85736-932-1
Grade 5 TCL 020567 ISBN 978-0-85736-933-8
across a range of styles and periods, along with new Grade 6 TCL 020574 ISBN 978-0-85736-934-5
technical work exercises. Grade 7 TCL 020581 ISBN 978-0-85736-935-2
Grade 8 TCL 020598 ISBN 978-0-85736-936-9
Performance notes are included for all 21 pieces, and
duets are included up to Grade 3. For the first time, the scales and arpeggios for the grade are included in the
graded exam book (Extended Edition only). Downloadable demo recordings are included along with separate
part recordings for the duets, although separate CDs are available to purchase for those who prefer.
NEW Piano Exam Pieces Plus Exercises 2021–2023

◗ 12 exam pieces
◗ Performance notes
◗ New technical exercises
Graded books for Piano exams in 2021–2023. Each

book has been compiled and edited by leading piano
educators and contains 12 pieces from across a range
of styles and periods, along with new technical work
exercises. Performance notes are included for all
12 pieces in the book, and duets are included up to Initial TCL 020239 ISBN 978-0-85736-914-7
Grade 1 TCL 020246 ISBN 978-0-85736-915-4
Grade 3. Grade 2 TCL 020253 ISBN 978-0-85736-916-1
Grade 3 TCL 020260 ISBN 978-0-85736-917-8
Separate CDs are available to purchase, containing Grade 4 TCL 020277 ISBN 978-0-85736-918-5
demo recordings of all pieces and exercises in the Grade 5 TCL 020284 ISBN 978-0-85736-919-2
above Extended Edition, along with separate part Grade 6 TCL 020291 ISBN 978-0-85736-920-8
Grade 7 TCL 020307 ISBN 978-0-85736-921-5
recordings for the duets.
Grade 8 TCL 020314 ISBN 978-0-85736-922-2
Piano CDs 2021–2023 Piano Scales & Arpeggios

An alternative to the audio included with
Valid for the 2021–2023 syllabus.
the Extended Edition.
Initial TCL 021038 ISBN 978-0-85736-977-2
Grade 1 TCL 021045 ISBN 978-0-85736-978-9
Grade 2 TCL 021052 ISBN 978-0-85736-979-6
Grade 3 TCL 021069 ISBN 978-0-85736-980-2
Grade 4 TCL 021076 ISBN 978-0-85736-981-9
Grade 5 TCL 021083 ISBN 978-0-85736-982-6
Grade 6 TCL 021090 ISBN 978-0-85736-983-3
Grade 7 TCL 021106 ISBN 978-0-85736-984-0
Grade 8 TCL 021113 ISBN 978-0-85736-985-7
Initial–Grade 5 TCL 012982 ISBN 978-0-85736-344-2

Grades 6–8 TCL 012999 ISBN 978-0-85736-345-9
20
Contents
NEW Introducing Theory

This book has been designed to help the beginner student to read and write commonly
used musical symbols, providing a firm grounding in notation from which to progress
onto Trinity’s Theory of Music Workbook Grade 1.
There is ample opportunity to practise each element throughout this workbook, with
symbols often explored in more than one way to build deeper understanding and to
consolidate the learning.
‘Did you know?’, ‘Handy tip’ and ‘Remember’ boxes give advice along the way,
TCL 024107
encouraging the development of good musical handwriting habits. After completing the
ISBN 978-1-80051-473-7 exercises in this book, any student is sure to feel confident when they begin studying for
their first Theory of Music exam.
By Naomi Yandell, author of Trinity’s popular Theory of Music Workbook series.
Theory of Music Workbooks

Grades 1–8
Grade 1 TG 006509 ISBN 978-0-85736-000-7
Grade 2 TG 006516 ISBN 978-0-85736-001-4
Grade 3 TG 006523 ISBN 978-0-85736-002-1
Grade 4 TG 006530 ISBN 978-0-85736-003-8
Grade 5 TG 006547 ISBN 978-0-85736-004-5
Grade 6 TG 007476 ISBN 978-0-85736-005-2
Grade 7 TG 007483 ISBN 978-0-85736-006-9
Grade 8 TG 007490 ISBN 978-0-85736-007-6
Aural Tests from 2017

Aural Test books for Trinity exams Grades 1–8 — includes CD
Book 1 (Initial–Grade 5) TCL 015808 ISBN 978-0-85736-535-4
Book 2 (Grades 6–8) TCL 015815 ISBN 978-0-85736-536-1
Student Practice Notebook

A diary (in A5 format) for instrumental and singing teachers to record student progress and
set goals. Also useful for parents guiding their child’s practice. Includes termly evaluation sheets,
useful hints and advice on practising, top tips on preparing for exams, and essential theory.
TCL 015310 ISBN 978-0-85736-487-6
Musicianship
A Handbook of Musical Knowledge TCL 001191 ISBN 978-0-85736-015-1
The Music Teacher's Handbook TCL 011602 ISBN 0 571 52330 7
Keyboard Musicianship Book 1 TCL 617002 ISBN 978-0-85736-010-6
Keyboard Musicianship Book 2 TCL 618009 ISBN 978-0-85736-011-3
21

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Prepared exclusively for Shubham Acharya (shubhamkacharya@gmail.com) Order: 15265

Prepared exclusively for Shubham Acharya (shubhamkacharya@gmail.com) Order: 15265

Prepared exclusively for Shubham Acharya (shubhamkacharya@gmail.com) Order: 15265

‘Echo Dance’ has folk-dance feel to it and is similar to dances

Although there are limited dynamic markings, a slight

Barock/Baroque Old German Dance

© Copyright 2020 Trinity College London Press Ltd 5

6 © Copyright 2020 Trinity College London Press Ltd

Summer Swing notes

August Eberhard Müller

© Copyright 2014 Trinity College London Press Ltd 7

Wilhelm Moritz Vogel

8 © Copyright 2014 Trinity College London Press Ltd

Into the distance Into the Distance

© Copyright 2020 Trinity College London Press Ltd 9

Echo Dance Echo Dance

10 © Copyright 2020 Trinity College London Press Ltd

>œ >œ >œ >œ >œ >œ œ œ ˙

> > >

© Copyright 2020 Trinity College London Press Ltd 11

12 © Copyright 2017 Trinity College London Press

Tickery Tockery notes

© Copyright 2017 Trinity College London Press 13

FACE TO FACE GRADES: TECHNICAL WORK

A minor (candidate’s choice of either harmonic or melodic or one octave

TCL012982txt.pdf May 31, 2014 10:47:34 page 3

TCL012982txt.pdf May 31, 2014 10:47:34 page 3

œ melodic (one octave)

A minor: melodic (one octave)

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

œœ ##œœ ##œœ #œœ nnœœn œ œ œ œ

?hand œ œ œ œ ##œœ ##œœ œœ

œnatural (one octave)

œ œœœ œœœ œœœ œœ œ œ œ œ

œ œ triad œ(to 5th) œ

Plain Sailing Exercises

1b. Nothing To Do — tone, balance and voicing

2b. Swapping Over — co-ordination

© Copyright 2020 Trinity College London Press Ltd 17

18 © Copyright 2020 Trinity College London Press Ltd

NEW Sight Reading Piano

Ten lessons per grade each lead step-by-step to a duet

Raise the Bar — Piano

Initial–Grade 2 Grades 3–5 Grades 6–8

Solo Book 1 Solo Book 2 Duet Book 1 Duet Book 2

NEW Piano Exam Pieces Plus Exercises 2021–2023 | Extended Edition

The new Extended Edition of Trinity's graded exam

NEW Piano Exam Pieces Plus Exercises 2021–2023

Graded books for Piano exams in 2021–2023. Each

Piano CDs 2021–2023 Piano Scales & Arpeggios

Initial–Grade 5 TCL 012982 ISBN 978-0-85736-344-2

NEW Introducing Theory

By Naomi Yandell, author of Trinity’s popular Theory of Music Workbook series.

Theory of Music Workbooks

Aural Tests from 2017

Student Practice Notebook

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TCL030641e Graded Piano Favourites Exam Pieces & Exercises 2021-2023 Initial

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