TCL031990e Piano Exam Pieces & Exercises From 2023 Initial (Extended)

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21 Pieces Plus Exercises for

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Also includes scales, arpeggios, and downloadable audio
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INITIAL
PIANO
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21 Pieces Plus Exercises for

Trinity College London Exams
from 2023
EXTENDED EDITION
Also includes scales, arpeggios,
and downloadable audio
ISBN 978-1-80490-326-1
Published by
Trinity College London Press Ltd
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Registered in England
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Copyright © 2023 Trinity College London Press Ltd
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Cover artwork: Rod Steele
Contents
Performance notes �� 2
Nottingham Little Sarabande��9
Reinagle Piece no. 6 (from 24 Short and Easy Pieces, op. 1)��10
Dunhill Sheep on the Downs��11
Bartók Imitation and Inversion (no. 23 from Mikrokosmos vol. 1) �� 12
Shlonsky Lullaby (from 11 Musical Postcards) ��13
Kendell Thoughtful (from Moods)�� 14
Proudler March of the Druids �� 15
Nottingham/Human You and Me*�� 16
Walshaw Train Ride ��18
Human Far, Far Away�� 19
Yandell Square Dance��20
Davey Autumn Waltz�� 21
Loeffler/Siegler arr. Misri Pokémon Theme�� 22
Kimura/Kaku arr. Csanyi-Wills Always with Me (from Spirited Away)�� 23
Trad. arr. Hussey Korobeiniki�� 24
Weiss/Peretti/Creatore arr. Hussey Can’t Help Falling in Love (Elvis)��25
U2, Bono arr. Dannheisser With or Without You (U2) �� 26
Manderson/Barnes/Kohn/ Kelleher/ Read All About It, Pt. III (Emeli Sandé)�� 27
James/Sandé arr. Sainio
Vicari Dandy Lion��28
Ellington/Strayhorn arr. Sheriff Satin Doll��29
Rollins arr. Treweek St Thomas��30
Exercises��31
Scales and arpeggios �� 33
Recording credits�� 35
* The duet part in ‘You and Me’ may be performed in the exam by a teacher, another adult or another student, or may be
pre-recorded.
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 from 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 be used for either Trinity’s face—to—face or digital grades.
Please check trinitycollege.com/dgd for more details.
Performance notes
Contents
Little Sarabande / Nottingham Page 9 This piece invites you to look over the rolling, grassy Downs,
taking in the panoramic view of nature, and of the sheep which
◗ Baroque style are grazing there. The long smooth slurs in this music could
◗ Courtly dance represent the fact that on a clear day, you can see for miles
◗ Tune in the right hand and miles around! The sheep seem happy and content in this
bright, major key piece. They’re not moving very quickly, just
A sarabande is a dance in triple time. It originated as a Span-
chewing the cud and enjoying the view.
ish dance with Arab influences, the zarabanda, and was then
taken up by many Baroque composers who wrote sarabandes At the start, your hands play together in unison, so you can
for instrumental groups and keyboard players. balance them nicely with one another. The next two bars go
into contrary motion, where the music goes in different direc-
Linda Nottingham’s Sarabande is influenced by those Baroque
tions, and both hands are still important. In bar 5, however, the
keyboard works, and so is an example of pastiche. She has
left hand starts to take on a more supporting/accompanying
chosen to write this piece in the key of A minor, which gives
role, so you may like to make sure it doesn’t sound too loud
the music a beautiful melancholic feeling. Notice how the
against the right hand’s tune.
right hand has the tune all the way through the piece, and the
left hand has a simpler, accompanying role — make sure that Whilst the music in the second half is quite similar to the first,
the notes in the right hand are always joined together where the piano dynamic gives you a chance to show that you can
marked, as this will help the tune to sing. create a completely different sound on the piano. Maybe we’ve
moved further away, and the sheep are even further in the
Make the most of the dynamic contrasts throughout to give
distance? (DB)
this piece lots of variety. The music should have a gentle, lilting
feel, and while you play it you can imagine people from the
18th century dancing along to your music. You could listen to
some other examples of sarabandes from the Baroque era to Imitation and Inversion (no. 23 from Mikrokosmos vol. 1) /
give you an idea of how similar pieces might sound. (WV) Bartók Page 12
◗ 20th century
◗ Two voices
Piece no. 6 (from 24 Short and Easy Pieces, op. 1) / ◗ Imitation and inversion
Reinagle Page 10
Béla Bartók was a composer and pianist from Hungary. Bartók
◗ Classical was special because he mixed traditional folk music with
◗ Bright and cheerful classical, making his music sound exciting and different. He
◗ Binary form with contrasts composed for large orchestras, small groups of musicians, and
for the piano. Some of his famous works include Concerto for
Alexander Reinagle lived at the same time as famous compos-
Orchestra and Mikrokosmos. This piece is called ‘Imitation and
ers like Mozart, Haydn and Clementi, and met Mozart whilst he
Inversion’ and these are two music techniques that composers
was visiting London. He wrote music in a similar Classical style
love to use as they add a special twist to a piece.
to these European composers.
Imitation is like playing a game of musical copycat! It’s a bit like
This fun, lively piece is full of running quavers in the right hand
when you repeat what someone has just said, but with music.
which, along with the staccato, rocking left-hand pattern at the
This makes the different voices sound like they’re talking to
end of each phrase, help to give this piece its jolly, bouncy feel.
each other, and it also makes the piece feel more exciting and
There’s no name given to this piece, just
connected.
‘Piece no. 6’, so what name would you choose for it?
Springing? Rolling? Laughing? The choice is yours! Inversion is when a musical idea gets turned upside down,
just like flipping a picture! Imagine if you drew a picture of a
This piece is in two parts. Both the ‘A’ section (bars 1-8) and the
smiley face and then flipped it over, it would look like a frowny
‘B’ section (bars 9-16) contain a four-bar phrase which repeats.
face, that’s the inversion. In music, when a melody goes up,
However, the first repeat (bar 5) is piano and so is a big con-
inversion makes it go down, and when it goes down, inversion
trast to the opening forte, and the second repeat
makes it go up.
(bar 13) starts quietly but then gets gradually louder right back
up to forte again. How well can you control this crescendo? See if you can spot these cool tricks happening in this charm-
(DB) ing piece. Other pieces you might want to enjoy exploring that
use the same techniques are : ‘Musette’ from Anna Magdalena
Notebook by Johann Sebastian Bach or ‘Old MacDonald Had a
Sheep on the Downs / Dunhill Page 11 Canon’ by various composers. (YC)
◗ Romantic
◗ Unison and contrary-motion passages
◗ Dynamic contrast
Dunhill was an English Romantic pianist and composer who

studied composition with Stanford, and who specialised in
performing the works of his British contemporaries.
2
Contents
Lullaby (from 11 Musical Postcards) / Shlonsky Page 13 March of the Druids / Proudler Page 15
◗ 20th century ◗ Modern Renaissance

◗ Slurs and phrasing ◗ Modal sound world
◗ Legato ◗ Left-hand tune
Verdina Shlonsky was born in 1905 to a Jewish family in The theme of Druids conjures up images of ancient times — im-
Kremenchuk (now Ukraine but back then it was the Russian agine a serious ceremony thousands of years ago! This solemn
Empire) and later she settled in Tel Aviv. Not only was she a piece written by a contemporary composer introduces us to
pianist and a composer but she painted too. She studied in Vi- the tune crossing between the hands and the need to consider
enna, Berlin and Paris. Also studying in Paris at that time was a balance when the tune transfers.
wonderful female composer, Nadia Boulanger.
While staying in one hand position throughout in both hands,
This little piece is written in the classical tradition of Lullabies this piece is a great introduction to playing with both slur and
writing. Verdina is depicting rocking of a baby through slur- staccato articulation and introducing gradation of tone as you
ring and repetition. Verdina‘s mother-tongues were Russian learn to carefully shape phrases through the dynamic mark-
and Ukrainian and one can hear (‘Спи-усни’, ‘Spi -Ysni’) which ings.
translates to ‘Sleepy-Sleep’.
Playing in D minor but with no added sharps or flats being
Try playing the pattern of two quavers and a crotchet and sing used, hints at the Dorian mode, a sound world that pre-dates
it to either the Russian original or the English ‘Sleepy-Sleep’ major and minor tonality. This interesting piece manages to
and you will notice that the first quaver is always a tiny bit be both modern and to take us back in time, and the grandeur
heavier in both hands. This creates a wonderful picture of a implied by the title will be communicated by a rigid tempo and
mother rocking her baby from side to side and trying to get it a commitment throughout the piece to playing deep into the
to sleep. key to convey the gravity of the event!
The challenge in this piece is to have a beautiful legato touch Familiarise yourself with the Dorian mode to develop a deeper
in the slurred patterns. The trick for beautiful legato is to have understanding of this music — folk songs like ‘Scarborough
a very soft and flexible wrist. Try doing some wrist warm-ups Fair’ use it and many jazz musicians improvise over it. Try im-
before you start practising the piece: move your wrist gently provising over the left hand up to bar 8 using the white notes
from side-to-side and then do a circular motion clockwise and in your right hand. You might even create your own piece to
anti-clockwise. Make sure it’s not just shaking but is a con- perform! (SL)
trolled slow motion!
Try to explore other pieces in this book to really to work on

You and Me / Nottingham/Human Page 16
your legato as much as possible! (YC)
◗ Fun duet with technical basis
◗ Projection of melody/accompanying texture
Thoughtful (from Moods) / Kendell Page 14 ◗ Simple syncopation
◗ 20th Century This was conceived with the aim of combining a strict sense of
◗ Expression/mood pulse, control of rhythm (including syncopation), singing line,
◗ Balance between hands contrast in articulation and dynamic, and sensitive accompa-
nying skills.
Taken from his collection, Moods for solo piano, Iain Kendell’s
simple but effective piece invites the performer to both create The words provide a helpful tool to enable the rhythms to be
a mood, and to share it with the audience. learned away from the keyboard. They also reflect exactly
what is happening in the music at the time. A mixture of clap-
The four-bar phrases are coloured by the occasional use of ping and speaking (with and without a metronome), extending
non-diatonic notes (ie notes you wouldn’t expect in a piece in into each hand tapping its own rhythm, can set up a confident
C major). These unexpected sounds, especially the F#s, help to rhythmic approach before learning the notes.
create a feeling of questioning, or of feeling unsettled.
The first phrase requires projection of tone with firm fingers
The melody is very important, so try to make sure that it is and a loose wrist; the second phrase needs strong listening
heard above the left-hand accompaniment, though the sound skills and a sense of pulse to place the notes accurately, with
should never become too strong or argumentative. As the light staccato touch and a sense of humour. The third phrase
‘questioning’ F#s aren’t heard in the second phrase, you could has a sudden change of dynamic that will need plenty of
consider whether or not this part of the piece shows us the practice together to judge the balance; the fourth phrase is a
thoughts of a different person or character than the first — you celebration of the rewards that can be had playing together.
could invent two characters and even give them names if you After all, pianists do spend a lot of time on their own and duets
like! ARE great fun!
As the piece draws to a close, the opening tune returns, but After all the hard work, singing along will enable the players to
the dynamic level gets softer and softer — is the performer celebrate their instrument and their partnership. (LN)
becoming less sure of their thoughts, or just happier with
them? This is your choice as the performer! (DB)
3
Contents
Train Ride / Walshaw Page 18 Square Dance / Yandell Page 20
◗ Contemporary character piece ◗ New commission

◗ Staccato/legato/accents ◗ Tune switching between the hands
◗ Sharing the melody between the hands ◗ Exciting contrasts
This is about a journey. How does it start? What happens on Naomi Yandell is a teacher and composer who is based in
the way? Where are we going? Cambridge, U.K. This is a brand new piece that she has written
for this Trinity Piano syllabus.
First of all, the driver of the train has to ‘whistle off’ (Toot
Toot!), which means they will pull the lever for the whistle in a A square dance is a type of traditional dance for four couples,
steam train, or press the button for the air horn in a modern so eight people in total. This is a fun piece that plays on the
train, to let everyone know the train is leaving the station. idea of a couple dancing — look how the tune starts off in the
Whichever image we choose, the player needs to make a really left hand but passes almost immediately over to the right
good accent, getting right to the bottom of the keys, to make hand; you can almost imagine your hands are a pair of dancers
everyone take notice. as you play. Dancing a square dance is also an energetic activ-
ity, and there are lots of exciting dynamic contrasts to explore
Once the train sets off, the hands take turns to play the quaver here between forte and piano.
couplets, which need a relaxed down/up approach in the wrist.
They also play staccato quavers together, wrists staying loose. Articulation is really important in this piece too — make sure
A strong pulse is needed so that the train trundles along that you bring out the difference between the staccato and
smoothly and the crotchet rests provide a clear ending to each legato notes throughout. Enjoy playing the dramatic final line
phrase. Watch out for the dynamic differences along the way. where the music slows down and gets quieter, almost coming
What happens in bars 15 and 16 may be something to a complete halt, before a final burst of loud energy con-
exciting on the journey. Is something blocking the line? Howev- cludes the dance!
er it seems that the train gets to its destination safely.
See if you can find a video of a square dance online, here you
You might like to try a swing rhythm for the quavers as a fun should see lots of people having fun, swapping hands, chang-
way to practise this piece. How does this change the feel of the ing places and directions — much like the phrases of this piece.
music? (LN) (WV)
Far, Far Away / Human Page 19 Autumn Waltz / Davey Page 21
◗ New commission ◗ Elegant dance

◗ Imitation ◗ Tuneful
3
◗ Dynamic contrasts ◗ Lilting 4 time
3
What do you think of when you imagine things which are far The warmth in this piece comes from both the 4 dance feel
away? Have you ever tried playing echo games with friends, and the evocation of Autumn. Although written by a contem-
perhaps in a forest, or across a large field? Have you heard the porary composer, the genre of pianists playing waltzes and
echoes getting softer and softer with each repeat? minuets is significant, from Bach to Chopin to modern day, and
this piece is a perfect introduction to such works.
Some of the echoes in this piece are strong and confident
3
— others are much quieter. Part of the fun of this piece is Mastering playing in 4 time is helped by the tuneful line of
showing a big difference between them. How quiet can your this piece, where the phrases often extend over the bar lines.
pianissimo be in bar 6, for example? Counting a couple of bars of three, firm crotchets before you
start will help to regulate the tempo and practising hands
In the section from bar 9, our echoes seem to have gone into separately with the metronome will also cement achieving a
reverse! Instead of getting gradually quieter, they get louder smooth flow.
and louder, bit by bit, until we reach the loudest, fortissimo
part of the music. It can be tricky to control a crescendo over Moving to a new hand position at the end of bar 8 and man-
five bars like this — here’s a good exercise in not getting too aging the B flats and C sharp in the following bars should be
loud too quickly, or you’ll have given all your sound away be- carefully managed; it is always worth starting your practice
fore you get to the excitement of bar 13’s big accent. from half way through a piece to ensure that the ending is as
confident and well learnt as the beginning.
But, then, after a little pause, the composer asks you to play
very quietly again, and then at the end we then get to hear Explore the genre of the waltz to discover the amazing reper-
how long the piano can hold notes for before the sound dies toire that awaits you on your piano journey! It would be well
away completely. How long does it take on your instrument? worth your time to delve into recordings of Strauss, Chopin
5 seconds….15 seconds….30?? (DB) and Tchaikovsky. (SL)
4
Contents
Pokémon Theme / Loeffler/Siegler arr. Misri Page 22 Korobeiniki / Trad. arr. Hussey Page 24
◗ Game/animation music ◗ Folk song

◗ Dynamics ◗ Hands playing together
◗ Solid pulse ◗ Dynamics
Pokémon was first introduced as computer game in Japan in ‘Korobeiniki’ (translation: ‘The Pedlars’) is a Russian folk song
the mid 1990s and become a huge international phenome- from the 19th century which tells the story of a young man
non. This piece of music is the theme song from the animated meeting a young woman. It found a new global audience when
Pokémon television series. it was adapted for the Nintendo Game Boy version of the game
Tetris in 1989.
The starting dynamic is piano (soft) however the underlying
pulse should be quite solid with a sense of intrigue and antic- The right and left hands answer each other with their melo-
ipation; the song was originally performed with a driving rock dies. In the first eight bars, when one hand plays the melody
beat. the other hand plays long notes. It will be important to consid-
er the balance between these parts: you can show with your
The opening bars are repeated with a slightly stronger playing where the musical interest is. Then the two hands play
mezzo forte dynamic (moderately loud) with a crescendo into similar rhythms in the last four bars. This musical ‘conversa-
forte (loud) and an exciting climax at the end. tion’ which results in two parts moving as one acts out the
folk-tale of the peddler and the young girl meeting, speaking
The final bar ends on the very last quaver; this may seem a
and agreeing.
little challenging at first, but a tip here is to imagine how this
would be sung for a strong, punchy ending — the last three There are three distinct dynamic levels in the piece: the mezzo
quavers are simply the word Po-ké-mon! (MR) forte at the beginning, then piano at bar 5 followed by bar
9’s forte. Be sure to bring these out, as it will help to give the
piece more character and structure for the listener. (GD)
Always with Me (from Spirited Away)
/ Kimura/Kaku arr. Csanyi-Wills Page 23
Can’t Help Falling in Love (Elvis)
◗ Amine film music
◗ Melodic playing / Weiss/Peretti/Creatore arr. Hussey Page 25
◗ Playing in thirds ◗ Pop
◗ Solo melody
‘Always with Me’ is the closing song from the Japanese Studio
◗ Repeated notes
Ghibli animated film Spirited Away about the inner strength
of a young girl and was written by Youmi Kimura a lyre player This song was recorded by Elvis Presley and released on his
and singer. The director Hayou Miyazaki said her song was album Blue Hawaii in 1961. If you listen to this recording, you
the inspiration for his film. This arrangement is based on the will hear that the melody is very prominent, never being over-
chorus of the song. whelmed by the accompaniment. The same effect could be
As this is a song, it is important to try to shape the melody as achieved here on the piano: even though both hands share the
if it were a voice. Try to work out where the breaths may go, same dynamic, the right hand with the melody needs to sing
and maybe have a little glimmer of silence at those points. out a bit more and the left hand’s repeated crotchets can be
The music starts with an upbeat, and this needs to lead clearly less prominent.
into the first beat of bar 1 (which should be a little louder). Be The notes of the melody need to be joined together (legato)
careful that the pulse is always clearly in three, and that the nicely, so as to create a singing line. There will also naturally
repeated notes in bars 1, 3, 9 and 11 are not all played with be some notes of the melody that sound more important than
the same stress. The dynamics give a clear sense of overall others. Musicians refer to this as ‘phrasing’, and it is one of
shape in this arrangement, so try to be aware of the soft start, the important elements needed to bring a performance to life.
sudden increase to forte in bar 8, and the diminuendo at the Think about the first two phrases of the melody, for instance.
end. There is also a ritardando at the end which needs to be Which are the most important notes, and which are less im-
carefully paced. portant? Experiment with your ideas and find a solution that
In the left hand from bar 9 there is a passage of descending sounds good to you!
thirds. These need to be played with the notes sounding exact- Work carefully on the repeating notes in the left hand, always
ly together and must be played at a volume which stays below going to the bottom of the key-bed, to develop your physical
that of the melody. There are different ways of fingering this connection with the keyboard. This will give you the confi-
passage so work out the best one for you, making sure that dence to repeat notes without striking them too hard or too
the chords are held for their full value. softly. (GD)
The music in Studio Ghibli films is always important and care-
fully related to the story and characters. Try to listen to some,
including Kimura’s song for Howl’s Moving Castle called ‘Sekai
no yakusoku’ (The promise of the world). (JH)
5
With or Without You (U2) / Dandy Lion / Vicari Page 28
U2, Bono arr. Dannheisser Page 26
◗ Jazzy
◗ Pop ◗ Broken chords
◗ Singing melody ◗ Rhythmic
◗ Dynamic control
‘Dandy Lion’ is written by the British composer and jazz pianist
In this piano arrangement the right hand plays the melody, Andrea Vicari. Much of her output is composed specifically for
originally sung by lead singer Bono, and should project a sing- education in a wide variety of genres.
ing quality (pay close attention to the phrase markings).
The music has a floaty nature with repetitive broken chord
The crescendo in bars 7-8 is challenging on the piano where patterns with only the odd change of harmony. The title
notes decay naturally, however there is an accent at the start ‘Dandy Lion’ conjures up the image of a weed in its last stages,
of bar 9 and the preceding quavers can build into this. Be sure when tiny seeds are ready to be distributed in the wind. The
to begin the piece no louder than piano (soft) to ensure the music portrays this effectively with phrases that rise and fall.
crescendo is effective. Dynamics in bars 6&7 and later in bars 15&16 help characterise
the music and make it expressive. This piece sounds best when
A sold pulse should be maintained; take care that long notes played with a legato (smooth) touch and bouncing on the re-
are given their full duration. peated left-hand note in bar 7 will give the piece a light feel.
The original recording of this song includes a drummer playing Although the hand positions are mainly centred around C in
a basic rock drum pattern; you may find it helpful to imagine a both hands, the left hand needs a more flexible approach with
drummer playing when you perform, to help provide a sense some stretching between fingers. The F# in the left hand in
of pulse and momentum. (MR) bars 5 and 6 is almost repeated in bars 13 and 14 but don’t be
caught out when the note changes to F§ in bar 14. (AV)
Read All About It, Pt. III (Emeli Sandé) / Manderson/Barnes/

Kohn/ Kelleher/ James/Sandé arr. Sainio Page 27
Satin Doll / Ellington/Strayhorn arr. Sheriff Page 29
◗ Pop
◗ Jazz
◗ Dynamic changes
◗ Swing feel
◗ Rit.
◗ Syncopation
Taken from her debut album Our Version of Events, Emeli
Duke Ellington was a prolific composer and band leader
Sande’s ‘Read All About It, Pt. III’ was performed at the closing
between the years 1923 until his death in 1974. He had a close
ceremony of the London Olympics in 2012 and achieved num-
professional relationship with Billy Strayhorn, who was an
ber one placing in the UK singles chart. Sande’s lyrics are full
exceptionally gifted pianist and composer who shunned the
of defiance, determination, and a rallying cry for change.
spotlight.
This piece sounds best performed with a consistent pulse with-
This music was written for Ellington’s big band with the inten-
out speeding up or slowing down (apart from the marked rit.
tion of getting people dancing! It sounds best when performed
at the end). There should be a strong sense of groove, paying
with a consistent pulse without speeding up or slowing down.
attention to the articulation and rests in the melody line. For a
Most importantly, it wants to swing!
piece to groove, you might like to imagine people dancing to it!
The marking ‘jaunty swing’ is achieved by making the first note
The piece begins at a moderately soft dynamic, but it’s possi-
of each quaver pair slightly longer than the second. You can
ble to shape the melody line giving some notes more weight
use scat-like sounds, such as ‘doo-bee’ to get a sense of how
than others. It is a good idea to try to sing the melody out loud
to play these notes, but the best solution is to listen to record-
to really understand the shape of the phrases, and to work out
ings of jazz from this era and pay close attention to how the
the best way to bring it to life. The crescendo and diminuendo
performers make it swing.
markings from bar 8 to the end are important in bringing the
music to life. In addition to the swing feel, the syncopation in this music is
integral to the sound of jazz. The most obvious example being
In bars 13 and 14, the melody line is passed from the right hand
the quaver rest at the start of bars 2, 4 and elsewhere in this
to the left. It’s a good idea to have your left hand in position
piece. Similarly, the ‘pushed’ note leading into bar 15. The best
early for this moment. The final phrase sounds best performed
way to play these syncopated rhythms is to make sure you
legato, with the rit. preparing the listener for the end of the
count as you play. It is a good idea to keep counting for the
piece. You could use substitute fingering here to achieve a
final two bars so that the held notes last their full length. You
smooth performance of the melodic line.
might like to think of the final note being the soft-plucked note
An excellent way to develop your understanding of how music of the double bass!
works, is to transcribe melodies like this by ear and then try to
There are many amazing recordings of the Duke Ellington big
play them at the keyboard. (PE)
band to listen to in order to develop your learning and under-
standing in this area. It’s also worth listening to his trio and
solo recordings to really hear Duke the pianist. (PE)
6
St Thomas / Rollins arr. Treweek Page 30 Contents
◗ Latin jazz
◗ Rhythmic
◗ Off-beat melody
St Thomas is an island in the Caribbean. It was where the com-

poser Sonny Rollins was born and the music has an infectious,
lively nature with a fun calypso groove.
Both hands have rhythms that land on the off-beats and this
gives the music identity and character. The calypso is a style of
music that originated in the Caribbean and is often sung and
danced to. By keeping a steady tempo, putting in the accents
and bringing out the melody in the right hand, you will be able
to recreate this celebratory feeling. Using a metronome or a
drum pattern would be a fun way to practise!
The music has two main sections with a 4-bar intro. There are
rhythmic challenges in this piece and you might first like to try
tapping out the rhythms like a drumming exercise.
The notes in the second part of the tune (from bar 13) can be
slightly tricky as the music initially moves in contrary motion
(opposite directions) and then in a similar direction. The final
bar is effective if the hands ‘bounce’ on beat 1 and then drop
into beat 2 making sure to press a little harder on the last
accented note.
Have a listen to the original track ‘St Thomas’ by Sonny Rollins

on his album Saxophone Colossus. (AV)
Authors:
◗ Daniel Beach (DB)
◗ Yulia Chaplina (YC)
◗ Gregory Drott (GD)
◗ Paul Edis (PE)
◗ John Human (JH)
◗ Sara Leport (SL)
◗ Linda Nottingham (LN)
◗ Matthew Regan (MR)
◗ William Vann (WV)
◗ Andrea Vicari (AV)
7
[Blank page to facilitate page turns]
8
Initial
Little Sarabande Little Sarabande Performance Contents
notes
Linda Nottingham
Linda Nottingham
q = 76
3 œ œ ˙ ˙ œ œ œ ˙
&4 ˙ œ
1
{
mf mp
? 43 ˙. ˙. # ˙. ˙.
2
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
5
&
{
? ˙.
mf
# ˙. œ nœ œ
f
˙.
œ œ œ ˙ œ œ œ œ œ œ œ œ
9
& ˙
{
mf
? ˙. ˙. # ˙. ˙.
œ œ œ œ.
& œ œ ˙
13
œ ˙.
{
p
? Œ œ œ œ œ #œ ˙.
Œ ˙
Copyright © 2023 Trinity College London Press Ltd 9

Initial
Piece
No.6 from 24 Pieces, op.1 no. 6 Performance Contents
notes
from 24 Short and Easy Pieces, op. 1

Alexander Robert Reinagle
1756-1809
Alexander Robert Reinagle
Brightly q = 80
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. ˙
&c
3 1 3
{
?c ˙
f
5
˙
˙
˙
˙
˙ 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
5
{
? ˙
p
˙ ˙ ˙ ˙ ˙ œ. œ. ˙
& œ œ œ œ. œ.
œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ œ œ œ. ˙
93
{
? ˙
p
˙ ˙ ˙ ˙ ˙ œ. œ. ˙
& œ œ œ œ œ. œ. œ œ œ œ œ. œ. œ œ œ œ œ œ œ œ œ œ. ˙
13
{
p f
? ˙ ˙ ˙ ˙ ˙ ˙ œ. œ. ˙
10 Copyright © 2023 Trinity College London Press Ltd

Sheep on the Downs Performance Contents
notes
Initial
The Sheep On The Downs Thomas Dunhill
1877-1946
Thomas Dunhill
Moderato q = 80
#3 1 œ œ œ ˙
& 4œ œ ˙. œ œ
{
mf
œ œ œ œ œ ˙.
? # 43 œ ˙.
5
# ˙
4
œ ∑
5 2
& œ œ œ ˙˙..
{
? # ˙. ˙. ∑
˙.
1
9
# œ œ œ œ œ
œ ˙. œ
1
& œ œ
{
p
?# œ œ œ ˙. œ œ œ ˙.
5
#
& ˙ œ Œ Œ
13
œ œ œ ˙. œ
{
? # ˙.
˙ œ œ œ œ œ Œ Œ

Initial
Imitation and Inversion Performance Contents
notes
Imitation and Inversion
no. 23 from Mikrokosmos vol. 1
Béla
Béla Bartók
Bartók
1881-1945
Ben legato q = 92
4 1 ˙ Œ
&4 œ œ œ œ œ œ ˙ œ
{
? 44 Ó
mf
œ
5
œ œ œ ˙ ˙ œ Œ
& Ó Œ
4
œ œ œ ˙ ˙ œ
œ
{
? œ
p
œ œ œ ˙ œ œ ˙ œ Œ
Œ
7
& œ œ œ œ ˙ œ œ œ œ œ
{
p
? Ó œ œ œ œ ˙ œ œ œ Œ
& Ó
10
œ œ œ œ ˙ œ œ ˙
{
? œ œ œ œ ˙ œ œ
mf

Initial Lullaby Performance Contents
notes
Lullaby from 11 Musical Postcards

Verdina Shlonsky
Verdina Shlonsky
1905-1990
q = 48-52
2
5
&4 œ œ œ œ œ œ œ œ œ œ œ œ œ
{
? 42 œ
p
2
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
mf
œ œ
œ
1 2 1
& œ œ œ œ œ œ œ œ œ œ œ
œ
{
? œ œ œ œ œ œ œ œ œ œ œ œ
rall. 3
13
œ
1 2 1
& œ œ œ œ œ œ œ œ ˙˙
œ
{
? œ
p
œ œ
Copyright © 1955 Israeli Music Publications.

œ œ œ œ œ œ ˙˙˙
1
3
5
Theodore Presser Company authorized representative.

All rights reserved. Used with permission. 13
Initial Thoughtful Performance Contents
notes
Thoughtful from Moods Iain Kendell
Iain Kendell
1931-1985
Slow q = 72-78
4
3
&4 ˙ ˙ #œ œ ˙ #œ œ œ œ
{
mf
w w ˙ ˙
? 44
1
& ˙ ˙ œ ˙ œ œ œ
œ œ
{
? ˙ ˙ w ˙ ˙
& œ œ ˙ ˙ ˙ ˙ ˙
{
? bw w
mp
w
10
rit.
U
& #œ œ ˙ #œ œ œ œ ˙ ˙
{
? w ˙ ˙
pp
˙
U̇
Copyright © 1961 Chester Music Ltd.

International Copyright Secured. All Rights Reserved
14 Reprinted by Permission of Hal Leonard Europe Ltd.
Initial
March
MARCH OF THE DRUIDS
of the Druids Performance Contents
notes
Victoria Proudler
Victoria Proudler
b. 1975
In strict time q = 120
4
&b 4 œ œ œ œ
5
œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ
1 2
. . . . . .
{
? b 44 w
w
f
1
5
w
w
mf
w
˙ ˙
&b œ Œ
5
œ œ. œ œ œ œ œ
œ. œ. œ. œ. œ. œ. ˙ œ.
{
?b w
w
f
w
w
w ˙˙ œœ.
Œ
&b w
9
w w w
1
w w w w
{
mf
?b œ œ. œ. œ. œ œ. œ. œ. œ. œ œ œ œ œ œ œ ˙
1
5 4
&b œ Œ
13
œ. œ. œ. œ œ. œ. œ. œ. œ œ œ œ œ ˙ œ.
{
?b w
w
f
w
w
© 2022 Published by EVC Music Publications LTD

w ˙˙ œœ. Œ
Reproduced by permission of EVC Music Publications Ltd, United Kingdom.

All Rights Reserved. 15
Initial
You and Me You and Me Performance Contents
notes
Duet part (duet part)

Nottingham/Human
Linda Nottingham & John Human
œœ. œœ. œœœ. œœ. œœ. œœœ.

Agreeably q = 108
œ œ œ œ
? 44 Œ œ Œ œ Œ ‰ œ œ Œ œ Œ œ Œ ‰
{
? 44
mf
œ-
Œ
œ-
Œ
œ
sim.
Œ œ Œ
œ
Œ
œ
Œ
œ
Œ œ Œ
? œ
5
œ œ Ó œ œ œ œ œ œ œ Ó ∑
{
Sing it out don't be shy or mo - dest
f
? Œ Œ ‰ œj Œ Œ
˙ ˙ #˙ œ œ
˙ œ
>
? ‰ œœœ‰ œœœ ‰ œœœ‰ œœœ ‰ œœœ‰ œœœ ‰ œœœ‰ œœœ

9 sim.
{
mp pp
?
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
mf p
b œœœ. œœ. b œœ. n -œœ.

? Œ œœ. Œ Œ Œ bœ nœ Œ Ó Œ œ œ. Œ
13
{
f
? Œ Œ Œ Œ
3
Œ Œ
œ. œ. œ. # œ. œ-. œ #œ œ bœ œ œ œ.

Initial
You and Me You and Me Performance Contents
notes
Candidate part (candidate’s part)

Nottingham/Human
Linda Nottingham & John Human
Agreeably q = 108
œ5 œ œ œ œ œ œ
4 Ó ∑ ∑
&4
{
Play in time, have some fun and
mf
4
don't be late syn - co - pate
&4 ∑ œ œ œ Ó ∑ œ œ œ Ó
2
œ2. œ. œ. œ œ œ
& Ó Œ Ó Œ Ó Œ Œ
5
{
and so it's
mp
& Ó Œ
œ. Ó Œ # œ. Ó œ. Œ Œ œ œ œ
3
œ œ œ ˙ ˙. œ œ œ ˙ ˙.
Œ Œ
9
&
{
you and me, soft in right
f p
me and you left hand too
& œ œ œ œ Œ œ œ œ œ Œ
w w
œ5 b œ4 œ3 # œ2 n>œ
1
œ œ.
Œ Œ Œ Œ Œ Ó Œ Œ
13
&
{
we can play as one (happily having) GREAT FUN!
& œ Œ Œ œ Œ #œ Œ œ Œ Ó Œ Œ
œ >1 œ œ.
4 3 2
5

Initial Train Ride Performance Contents
notes
Train Ride Gillian Walshaw

Gillian Walshaw
b. 1980
Moderato q = 84-88
U
2
5 3
Œ
4 5
& 4 œœ œ œœ ˙
1
> >œ ˙˙
{
mp
U
ff
? 42 >œ >œ œ œ œ œ
Œ œ œ œ
1 5
('Toot Toot!')
Œ
5 5
& œ ˙
2
. œ. œ. œ ˙˙
{
? œ.
2
œ. œ. œ Œ œ
5
œ œ œ œ œ
Œ
9
& œ œ œ
1
œ. œ. œœ œ œ œ œ
.
{
? œ.
2
œ. œ. œ Œ
mf
˙˙
1
5
˙˙
,
Œ ∑ ∑
13
& œ. œ. œ. œœ
{
? œ.
4
œ.
1
œ
5
Œ Œ
ff
# œ>œ
1
2 ('Beep Beep!')
U
# ˙>˙
,
>
∑ ∑ œœ Œ
17 5
& œ œ œ œ
{
?
p
∑ œ
1
œ œ œ œ Œ
f
œ
>
Œ

Initial Far, Far Away
in memory of Freddy Forbes Adam
Performance Contents
notes
Far, Far Away In memory of Freddy Forbes Adam

John Human
b. 1968
John J Human
Allegretto q = 104
4 1 œ #œ œ œ bœ œ
&4 œ #œ w w
{
? 44 w
w
mf
1
5
w
w œ
œ #œ œ #œ œ bœ œ
& Ó Ó
5
# œ. œ. w # ˙-˙ # w-w
{
f pp
? w ˙ # œ. œ. w w
rall.
∑
9
& w œ #œ #œ #œ
œ bœ #œ #œ
{
p
? œ bœ #œ #œ w œ #œ #œ #œ w
U U
Adagio ad. lib. Hold until sound dies away
Ó
13
& w nœ œ w
w w
w
>
{
ff pp
U U
? w w
w ˙˙ œ œ w
w
w

Initial
Square Dance Square Dance Performance Contents
Naomi Yandell
notes
Naomi Yandell
b. 1961
œ. œ œ œ œ
Allegretto q = 84
4 œ œ œ ˙
&b 4 ∑ œ Œ
1 5
œ. œ œ . .
{ 5
f
. .
? b 44 œ. œ œ œ œ ∑ ∑
œ œ œ ˙
1 1
œ œ œ œ
&b œ Œ #œ Œ Ó
5
œ.
1 3 2
œ œ. œ.
3
œ œ œ œ .
{
?b œ
2
Œ œ Œ œ Œ œ Œ
œ.
2
œ.
Œ
n œ.
1
# œ.
2
Œ œ. Œ
& b bœ nœ œ œ œ œ œ œ œ œ Œ Ó
9
œ ˙ œ œ.
3
{
?b œ
p
2
Œ Ó œ œ œ œ œ Œ Ó œ. œ. œ. œ.
& b œ œ œ œ. œ. ∑ ∑ œ œ œ ˙
13
{ f
? b œ. Œ Ó œ. œ œ œ Œ
œ. œ œ œ. œ. œ œ œ ˙
1
rit.
U
a tempo
>œ.
&b œ œ œ œ œ œ œ œ œ œ
4
œ œ nœ Œ Œ Ó
17 1
œ.
1 5 3
{
?b œ Œ
5
œ Œ
3
œ
1
Œ #œ U
Œ
2
f
œ Œ Œ œ. >.
œ Œ
œ
>.
Œ
20 Copyright © Naomi Yandell 2023

Initial Autumn Waltz Performance Contents
notes
Autumn Waltz Seána Davey

Seána Davey
Moderato q = 100
3 ˙
&b 4 œ œ ˙ œ œ œ
1
œ œ ˙
{
? 43 œ
b
mp
5
œ Œ œ œ
Œ
˙ œ
˙ Œ
&b œ œ
5 1
œ œ œ œ œ œ œ ˙ œ
{
? b ˙.
mf
˙. ˙. ˙
œ
œ ˙ #œ ˙
&b œ œ œ
9 5 2
œ œ
2 4 3 2 1
{
? b ˙. ˙. ˙.
1
˙.
5
&b ˙ Œ
13 5
œ
1 3 1
œ œ œ ˙. ˙
{
?b
œ œ
Œ
˙
1
œ ˙.
3
˙˙
5
Œ

Initial Pokémon Theme Performance Contents
notes
Pokemon Theme TAMARA LOEFFLER and JOHN SIEGLER

Tamara
arr. by Ravina MisriLoeffler & John Siegler
released 1998
arr. Ravina Misri
Allegro moderato q = 120
4
&4 Œ Ó ∑
5 4 2 1 3
œ œ œ œ œ œ œ œ œ œ œ œ
{
? 44
p
w
5
w w w
& Œ Ó Ó
5 4 3
œ œ œ œ œ œ œ œ œ œ œ ˙
{
? w
w ˙ ˙ ˙ Ó
& Œ Ó ∑
9 5 4 2 1 3
œ œ œ œ œ œ œ œ œ œ œ œ
{
?
mf
w w w w
‰ œj œ œ
4
& Œ Ó
13 4 3 1 3
œ œ œ œ œ œ œ œ œ œ œ ˙
{
? w
w ˙ ˙ ˙ Œ
Theme to the English adapted anime series POKEMON. Copyright © 1999 Pikachu Music.
‰ œj
>
f
All Rights Administered by BMG Rights Management (US) LLC. All Rights Reserved.
22 Used by Permission. Reprinted by Permission of Hal Leonard Europe Ltd.
Initial
Always with Me Performance Contents
Yumi Kimura
notes
Always with Me from Spirited Away
from Spirited Away
arr. Michael Csanyi-Wills
Youmi Kimura & Wakako Kaku

released 2001
arr. Michael Csanyi-Wills
Simply q = 120
3œ œ
1
œ œ œ œ œ œ œ œ œ1 œ3 œ œ œ œ œ œ
&4
{
p
˙. ˙. ˙. ˙.
? 43 Œ
1
œ œ œ œ œ ˙ œ œ
& œ œ œ œ œ œ
1
œ
5
œ
1 3
{
f
? ˙. ˙. ˙. ˙˙..
9
œ3 œ œ œ œ œ œ œ œ
1
œ
3
œ œ œ œ œ œ
&
{
?
˙˙..
1
3
˙˙..
1
3
˙˙..
1
3
˙˙..
1
3
œ
rit.
œ œ ˙ œ
& œ œ œ œ ˙.
13 1 3 4 1 3
{
? ˙˙..
1
3
Copyright © 2001 Studio Ghibli Inc.

˙.
4
˙.
2
p
˙.
1
All Rights Administered by Sony Music Publishing (US) LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
International Copyright Secured All Rights Reserved. Reprinted by Permission of Hal Leonard Europe Ltd. 23
Korobeiniki Performance Contents
notes
Intial
Korobeiniki Trad. Russian, Arr.Trad.
ChrisRussian
Hussey
arr. Chris Hussey
Steadily q = 90-94
4 œ w
1 3
&4 œ #œ œ œ #w
{ mf
? 44 w
1
œ
5
œ œ œ œ œ œ œ œ
& w œ
2
œ nœ œ œ œ œ ˙
{
p
? œ w ˙. œ œ
œ. ˙
& #w w nœ œ œ
3
œ œ
{
?
œ œ œ œ œ œ. ˙
f
œ œ œ œ
˙ Œ
10
œ œ œ. œ
3
& œ œ ˙ #œ
>
{
? œ œ œ œ œ œ œ œ œ œ œ. >œ
Œ
24 Copyright © 2023 Trinity College London Press

Initial
Can’t
Can’t Help Falling Help
in Love Falling in Love Performance Contents
notes
GEORGE DAVID WEISS, HUGO PERETTI and LUIGI CREATORE
Elvis arr. Chris Hussey
George David Weiss,
Hugo Peretti & Luigi Creatore
released 1961
Tenderly q = 66 arr. Chris Hussey
#2 1 ˙5 Œ œ
& 4˙ ˙ œ
{
? # 42 œ
mp
1
œ œ œ œ œ ˙
5
# ˙ ˙ Œ
˙
1
& œ
{
?# œ œ œ œ œ œ ˙
# œ
œ
9
œ
1
& ˙ ˙ ˙
{
?# œ œ œ œ œ œ ˙
#
& ˙ Œ
13
˙ ˙ œ
{
?# œ œ
from the Paramount Picture BLUE HAWAII

œ œ ˙ œ Œ
Copyright © 1961 Gladys Music. Copyright Renewed. Extended U.S. Renewal and British Reversionary Territories Assigned to Abilene
Music LLC, HJP Music, Hugo Peretti Music and Luigi Creatore Music. Administered in the United States during the Extended Renewal
by Steve Peter Music. All Rights Reserved. Used by Permission. Reprinted by Permission of Hal Leonard Europe Ltd. 25
Initial
With
With Or Without You or Without You Performance Contents
notes
(U2) U2, Bono

U2, Bono
arr. Jessica Dannheisser
released 1987
arr. Jessica Dannheisser
Allegretto q = 100
4
&4 Ó
3
œ œ œ œ œ œ ˙ œ œ œ œ œ œ
{
? 44 w
p
5
w
2
w
1
w
2
& ˙ w w ˙
œ œ œ œ œ
{
? w ˙
1
˙
3
˙ ˙ ˙
Ó
Ó
9
& ˙ ˙ œ œ œ >˙ ˙ ˙ œ œ
{
>
f
? ˙. ˙. œ ˙. œ ˙. œ
œ
2 2
U
rit.
Ó
13
& w œ œ œ ˙ ˙ w w
{
? ˙. œ ˙.
2
œ ˙. œ ˙ ˙ U
w
w
p
Copyright © 1987 UNIVERSAL MUSIC PUBLISHING INTERNATIONAL B.V. All Rights in the United States and
Canada Controlled and Administered by UNIVERSAL - POLYGRAM INTERNATIONAL PUBLISHING, INC.
26 All Rights Reserved. Used by Permission. Reprinted by Permission of Hal Leonard Europe Ltd.
Read All About It, Pt. III Performance Contents
notes
Emeli Sande
Intial (Emeli Sandé) arr. Mari Sainio
Read All About It, Pt. III Stephen Manderson, Tom Barnes, Ben Kohn,
Peter Kelleher, Iain James, Adele Sandé
released 2012
arr. Mari Sainio
Slow ballad q = 98
4 2
&4 œ œ œ œ œ
œœœ œœœœœ œœ œœœœœœœœ œœœœœ œœ
{? 44
mp
w
3
w w w
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 2 1
œ œ œ œ œ ˙ œ œ œ
{?
w w w w
Œ Œ
9
& œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ
{?
w w
mf
w ˙ Ó
rit.
& œ œ œ œ Œ œ œ œ œ Œ ∑
13
œ œ œ œ œ œ œ œ œ
{? Ó Œ
œ
1
Ó Œ œ
2
mp
∑ ∑ w
1
Copyright © 2012 Stellar Songs Ltd., Sony Music Publishing UK Limited and Bucks Music Group Ltd. Published by Bucks Music Group
LTD, Roundhouse, 212 Regents Park Road Entrance, London NW1 8AW. All Rights on behalf of Stellar Songs Ltd. and Sony Music
Publishing UK Limited Administered by Sony Music Publishing (US) LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
International Copyright Secured. All Rights Reserved. Reprinted by Permission of Hal Leonard Europe Ltd. 27
Initial
Dandy Lion
Dandy Lion Performance Contents
notes
Andrea Vicari
Andrea Vicari
b. 1965
Play with a light and airy feel q = 100
4
&b 4 Œ Œ Œ Œ
1 3 1 5 3 1
œœœ œ œœœœœœ œœœ œ œœœœœœ
{ mf legato
? b 44 œ œ Œ
2 1
Ó œœŒ Ó œœŒ
3 1
Ó œœŒ Ó
&b Œ Œ
5 1 2 3 2
œ œ œ œ œ œ œ œ œ w w
{
? b œ #œ Œ
4 2
Ó œ #œ Œ Ó Œ
f
n œ.
1
œ œ
2
w
3
&b Œ Œ Œ Œ
9
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
{ mf
?b œ œ Œ
2 1
Ó œ œ Œ Ó œ œ Œ
3 1
Ó œ œ Œ Ó
&b Œ Œ
13 1 2 3 2
œ œ œ œ œ œ œ œ œ. w w
{
? b œ #œ Œ
4 2
Ó œ nœ Œ
4 2
Ó Œ œ
2
œ œ
p
28 Copyright © 2023 Andrea Vicari. All rights reserved. Reproduced by permission.

Duke Ellington, Billy Strayhorn
Initial Satin Doll Performance
arr. Contents
Naadia Sheriff
notes
Further ammended bu John
Satin Doll
Duke Ellington & Billy Strayhorn
released 1953
arr. Naadia Sheriff
Jaunty swing q = 120 qaa z=[qp ]e
4
& 4 œ œ œ œ œ. Œ ‰ œj œ œ œ. Œ œ œ œ œ œ. Œ ‰ œ œ œ œ. Œ
3 2 3 2
{
mf
? 44 ˙ œ œ. œ œ œ œ. ˙ # œ œ. œ œ # œ œ.
Œ ‰ J Œ Œ ‰ J Œ
2 1
œ3 n œ œ. Œ
& Œ Œ bœ bœ bœ œ ∑
5 3 1
{
?
w
1
bw
2
˙
1
˙
4
˙
3
#˙
2
& œ œ œ œ œ. Œ ‰ œj œ œ œ. Œ œ œ œ œ œ. Œ ‰ œ œ œ œ. Œ
9 3 2 3 2
{
? n˙
2
œ œ.
Œ
œ œ œ œ.
‰ J Œ
˙ # œ œ.
Œ
œ œ # œ œ.
‰ J Œ
& Œ œ2 n œ œ. Œ Œ b œ3 b œ b œ n œ w ˙ Ó
13 1
{
f
w b ˙. œ œ
p
w ˙
? œ. Œ
1 1 5
Copyright © 1953 Sony Music Publishing (US) LLC. Copyright Renewed.

All Rights Administered by Sony Music Publishing (US) LLC, 424 Church Street, Suite 1200, Nashville, TN 37219.
International Copyright Secured. All Rights Reserved. Reprinted by Permission of Hal Leonard Europe Ltd. 29
Initial St Thomas Performance Contents
notes
St. Thomas Sonny Rollins

arr. James Treweek
ammended further bySonny Rollins
John Human
released 1956
arr. James Treweek
Brightly q = 108-120
4 2
4
&4 w ˙˙ ˙ w ˙˙ Œ
w w œ
{ mf
? 44 œ ‰ œJ ‰ œJ ‰ œJ w
5
œ ‰ œJ ‰ œJ ‰ œJ ˙. Œ
>5 > >

œ j œ
& Œ œ ‰ œJ ‰ œ œ œ œ œ œ œ ∑
5 2 1 2 1
{
? w
f
w ˙
4
œ œ Œ ‰ œJ ‰ œJ ‰ œJ
> > >

œ j œ œ
& Œ ‰ œ ‰ œ ∑
9
œ œ œ œ œ
1
œ J œ
{
? w w ˙
4
œ
œ Œ ‰ œJ ‰ œJ ‰ œJ
4
˙3 œ. >œ ˙4 œ. >œ
J ∑ ∑
13
& J
{
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˙ n œ. bœ ˙ ˙ n˙ b œ. nœ ˙ ˙
? J J
2
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˙ œ œ œ
17
˙
1 1
& œ.
{ >œ
mf f
˙ b˙ œ. œ œ
? ˙ #˙
Copyright © 1963 Prestige Music c/o Concord Music Publishing

Copyright Renewed. All Rights Reserved. Used by Permission
30 Reprinted by Permission of Hal Leonard Europe Ltd.
Exercises Contents
Initial 1c
Candidates may select from the exercises below, or from the 2021 books (labelled 1a, 1b etc), or a mixture of the two.
Please refer to the syllabus for further information.
1c. Smooth Customer — tone, balance

Smoothand voicing
Customer
Andante q = 66
4œ œ œ œ œ œ œ œ ˙ œ œ œ œ. œ. œ. œ œ
5
&4 ˙
{
p f
˙ ˙ œ œ ˙
? 44 ∑ ∑
2
Initial 1d
Bouncy Castle
1d. Bouncy Castle — tone, balance and voicing

Allegretto q = 88
4
& 4 œj œ œj œ œ œ œ ˙
j j
œ. œ œ œ œ œ œ œ ˙
{
.
mf f
? 44 œ œ ˙ ˙
Initial 2c ∑ Ó ˙ ˙
2c. First You Then Me — co-ordination

First You Then Me
Andante q = 69
3 œ5 œ œ œ œ œ œ œ œ œ ˙. ˙.
&4
3
{
? 43 ˙
mf
1
œ ˙ œ
mp
œ œ œ œ œ œ œ œ

Intial 2d
TCL0
TCL0
Perfect Partners
2d. Perfect Partners — co-ordination
Allegretto q = 76
3 3
&4 œ œ œ œ œ œ œ ˙. œ ˙
{ mp
? 43 ˙.
5
Initial 3c
œ œ œ œ œ œ œ ˙.
Rat-a-tat-tat!
3c. Rat-a-tat-tat! — finger & wrist strength and flexibility
Allegretto q = 104
4
5 2
&4 œ œ œ ˙ œ œ œ œ œ œ œ œ œ
1 1
œ œ œ ˙ œœ œœ œœ ˙˙ œ ˙
{ mf
œ ˙. Exercises
? 44 ˙. Piano Exam
Trinity œ œ ˙
˙
f
œ œ œ
˙
Ex. 3d. The Old Castle

3d. The Old Castle — finger & wrist strength
Initialand flexibility
Maestoso q = 76
3
4
&4 œ ˙˙.. œ œ ˙.
5
#œ #œ
1
{ ˙
f
? 43 ˙..
1
4
œ œ œ ˙˙..
1
2
p
˙˙..

012982txt.pdf May 31, 2014 10:47:34 page 3
012982txt.pdf May 31, 2014 10:47:34 page 3 Contents
Scales
The May
L012982txt.pdf
L012982txt.pdf
L012982txt.pdf fingering
May
May
31, 2014given
31, 2014
31, in page
10:47:34
2014 10:47:34
10:47:34 this 333book
page
page is offered as a recommendation only. Any other logical system of fingering is
acceptable provided that it is consistent and allows an even execution of the requirements.
Initial
Initial
Please note that the recommended speeds are a guide to what can be expected at each level. For the purposes
of fulfilling exam criteria, accuracy, fluency and evenness of touch and tone should be regarded as equally
important aspects of technical competence.
Technical work — all sections and options to be prepared
Technical work — all sections and options to be prepared
i) Scales — the examiner will select from the following:
i) Scales — the examiner will select from the following:
Scales (from memory) — check relevant syllabus for details:
Initial
Initial
C major
C major
C major
A minor (candidate’s choice of either harmonic or melodic or min. one octave hand
Technical
A work — all
minor(candidate’s
(candidate’s sections
choice and
ofharmonic
either options
harmonic to be prepared min. mf legato one octave hand
Technical
A minor workchoice
— allof sections
either and options
or melodic oror melodic or
to be prepared q = 60
one octave
legato separat
natural minor) mf
i) Scales
natural
natural — the
minor)
minor) examiner will select from the following: q = 60 separat
i) Scales —
i) Scales — the
the examiner
examiner will
will select
select from
from the
the following:
following: min. hands
Broken
C major
Broken
triad
triad in C
in C major
major and A
and
minor,
A minor
using the following pattern: mf legato to 5th
Broken
C
C major triad in C major and A minor
major q = 60 to 5th
separately
ii)
A Exercises — these are included in the Piano Initial Pieces & Exercises
min.book. one octave hands
ii)minor
A
A minor
minor
(candidate’s
Exercises
(candidate’s
(candidate’s
choice
— these areof
choice
choice of
either
either harmonic
ofincluded
either in the or
harmonic
harmonic or
or
melodic
Piano
melodic
melodic
or
Initial
or Pieces & Exercises
or min.book.
min. mf legato one
one octave
octave
to 5th hands
hands
natural minor) qq = 60 mf
mf legato
legato separately
natural
natural minor)
minor) q== 60
60 separately
separately
CBroken
majortriad(one
in
in C octave)
C major and
and A
A minor to
to 5th
CBroken
major
Broken triad(one
triad in C octave)
major
major and A minor
minor to 5th
5th
ii) Exercises — these are included in the Piano Initial Pieces & Exercises book.
ii) Exercises —
ii) Exercises — these
these are
are included
included in
in the
the Piano
Piano Initial
Initial Pieces
Pieces &
& Exercises
Exercises book.
book.
ìììì
Right hand
Right hand
C major (one octave)
œ
4 5
œ œœ œœ œœ œœ œœ œ œ
C major (one octave)3 4
œ œ
4 5 1
& œ œ
1 1 4 3 1
œ œ
1
& œ œœ œœ œ œ
1 3 1 3 1
œ ìì œ
Right hand
œ ìì
Right hand
œœ œœ
4 5
œ
55 4
œ œ œ
44 44 1
& œ œ
1 3 1 11 3 1
& œ œœ œœ œ œ œ œ œ œ œœ œœ œœ œ
11 33 1
1 33 11
œ œ
œ
ìììì
Left hand
? œ œ œ
œ œ
œ œ œœ œœ œœ œœ œœ œ œ
œ œœ œ œœ œ œœ œ
Left hand
?hand
handœ
œ œ œ œ
ìì
œœ œœ œ œ œ
œ œ œœ œœ œ œ ìì
œ
Left
?
Left
? œœ œ œ 1
1
3
3
1
1
œ 3
3
1
1
œ œ œœ 5
5
5
5 1 3 1 3 1 5
11 33 11 3
3 1
1 5
5
5
55
C major broken triad (to 5th)

Full
C major
Full
RightFull
Score
broken
hand
triad (to 5th)
Score
Score Full
Full Score
Full Score 11 11
Right hand
RightFull
hand
Right handScore Full Score
Score
&
&
& œœœœ œœ œœ œœ œœ œ œ
& œœœœ œ œ
Lefthand
Left
Left hand
hand
? œœœ œœœœ œœ œœ œœ œœ œœ œ
Left hand
?
?
? œ œ
A
A minor:
minor: harmonic
harmonic (one
(one octave)
octave)
A minor: harmonic (one octave)
A minor:
handharmonic (one octave)
##œœ œœ ##œœ œœ œ œ
ìì ìì
Right
œ œœ
Right hand
œ
œ œœ ##œœ œœ ##œœ œœœ œ œœœœ œœœ œœœ
ìì ìì
œ
5
œ
Right hand
œ
4 4
& œœœ œœ œ œœ œœ œœ
5 1
&
4 5 4
Right hand
1
1
1
3
3
3
1
1
1
4 4
5
1
11
3
33 11
œ œ œœ œœ
4 5 4 1
& œ œ
1 3 1 4 4 1 3 1
&
1 3 1 1 3
33
#œ œ #œ
Left hand
Prepared
Left hand exclusively for Spardha Learnings Pvt Ltd (saurabh.srivastav@spardha.co) Order: 37587
? œ œ œ œ œ
012982txt.pdf May 31, 2014 10:47:34 page 4
A
A minor:
L012982txt.pdf
minor: harmonic
May 31, (one
2014 10:47:34
harmonic (one octave)
page 4
octave)
Initial continued
L012982txt.pdf May 31, 2014 10:47:34 page 4
#œ œ #œ œ œ
ìì
Right hand
œ
Initial
Right 31,continued
hand
œ
L012982txt.pdf May 2014 10:47:34 page 4
œ œ œ œ œ œ
55
œ (one octave)
44 44
œ melodic
11
A&
L012982txt.pdf May 1
131, 2014 10:47:34
3
3 page
1
1 4 11 33
minor:
L012982txt.pdf May 31, 2014 10:47:34 page 4
A minor: melodic (one octave)
#œ œ nœ nœ œ
Right
Initialhand
# œ
continued
œ
& œ œ œ œœ œ œœ œœ ##œœ #œœ #œ œnœœnœœ œœ œœ œ
œ
Initial continued
œìì œ
4 5 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
5 33 11 55
nnœœ
5 1
Right hand 33
# œ nnœœ œœ œœ œœ
1 11
œ
œ #
Right hand
œ # 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
œ
œ nœœ
Left hand 1
& nœn œ œn œ œ œœ
Right hand
1 3 1 1 3
? œ œœ œ œ œ œ œ #œ œœ œœ œ œ
4 5 4 1
&
Left handœ
1 3 1 1 3
5 1
?hand œ œ œ œ ##œœ ##œœ œœ

1 3 5
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
Left 1
? œ œ # œ nnœœ nnœœ œœ œœ
Left hand
œ #
? œ œœ œ œ œ #œ œœ œœ œœ
5 1 3 1 5
#œ œ
A minor: natural (one octave)
œ natural (oneœ octave)
Left hand 3
nœ
1 1
A?
5
# œ nœ
1 3 5
œ œ
3
œ
1
œ œ
minor:
œ œ œ œ
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 œ 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 œ œ œ
5 1
œ (one octave)
4 4
minor:œ
1
A& œ œ œ œ
Right hand
œ œ œ œ
1 3 1 1 3
A minor:
œ œ
Right hand
Right hand œ œ œ œ œ œ œ œ œ œ œ œ
4 5 4
natural
œœnatural œ
1
& œ œ œ œ
1 3 1 5 1 3
œ
4 4
œ œ œ œ œ
1
&
1 3 1 1 3
œ œ
A minor: (one octave)
œœ œœ œœ œœ œ œ œ œœ œ œ œ œœ œœ
Right hand 5
œœ
4 4
œœ
1
&
1 3 1 5 1 3
4 4 1
Righthand
& œ œ œœ œ œœ œ œ œ œœ œ
1 3 1 1 3
Left hand
? œ œ
5
cœ œ œ œ œ œ
œ œ œœ
4 4
œœ œ œ
1
&hand
1 3 1 1 3
œ
œœœ œœœ œœ œœ œ œ œ œ
Left hand
?cc œ œ œœ
Left
? œ
c œœ œ œ œ œ œ œ œœ œ œ
Left hand
?hand
Left hand œ œ œ œ
œ œ œ œ œ œœ
œ œ œ
5 1 5
œ œ œ œ
Left 1 3
?hand
3
? cc œ œ œœ œœ œœ œ œ œ œ œ œœ œœ œœ
1
œ œ
55 13 3 1 1 5 5
œ œ triad œ(to 5th) œ

3
œ œ œ œ œ œ œ
1
œ
3 1
Left 1
A? œ
5 3 1 5
œ
1 3
c broken
1
minor
A minor œ œ
broken
œ
5
5
triad (to 5th)5th)
1
1
3
3
1
1
3
3
1
œ œ
5
5
A minor
Right
A Fullbroken
hand
minor Score
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5th)1 1
Full Score1
5
1
5 3 3
œ œ œ
RightFull
handScore Full Score
1 1
œ
A
Right Full
minor
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broken
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hand triad (to 5th) Full Score
Full Score 1
œ
Right hand
&
&
Full Scoreœ
œ œœœ œ œ œœ œ œœ
A minor broken triad (to 5th)
Full Score 1
œœ Score œ œ
Right hand
&& hand
A minor broken triad (to 5th) 1
Right handScore
Full Full Score
RightFull œ
& œœ œ œ œ œœ œ Full Score 1
& hand
&
Left
œ
Left hand œ œ œ œ
?hand œœœ œœ œ œœ œ œ œ
Left hand
?
Left hand
?hand
Left œœ
œ œ œ œœ
? œ
Left
?hand
Left œœ œœ œ œœ œ œ
? œ œexclusively
œ œ forœ Spardha Learnings Pvt Ltd (saurabh.srivastav@spardha.co) Order: 37587
34
œ œ
Prepared
Recording Credits Contents
Audio track list Recording credits

1 Little Sarabande Pianists:
2 Piece no. 6 (from 24 Short and Easy Pieces, op. 1) Andrea Vicari (tracks 21, 23)
Greg Drott (tracks 17, 18)
3 Sheep on the Downs
Irina Lyakhovskaya (tracks 2, 3)
4 Imitation and Inversion (no. 23 from Mikrokosmos vol. 1) John Human (track 16)
5 Lullaby (from 11 Musical Postcards) John Paul Ekins (tracks 6, 12)
6 Thoughtful (from Moods) Linda Nottingham (tracks 8, 9, 10, 11, 24-29)
Matt Regan (tracks 15, 19)
7 March of the Druids
Paul Edis (tracks 20, 22)
8 You and Me (together) Sara Leport (tracks 7, 14)
9 You and Me (candidate part) Will Vann (tracks 1, 13)
Yulia Chaplina (tracks 4, 5)
10 You and Me (duet part)
11 Train Ride
12 Far, Far Away Producers:
Tracks 16, 20, 22
13 Square Dance
Recording producer: Ken Blair
14 Autumn Waltz Recorded at World Heart Beat Studio, London, May 2023
15 Pokémon Theme
Tracks 15, 19, 21, 23, 24-29:
16 Always with Me (from Spirited Away) Recording producer: Myles Eastwood
17 Korobeiniki Recorded at Master Chord Studio, London, May 2023
18 Can’t Help Falling in Love (Elvis) Tracks 1, 2, 3, 4, 5, 17, 18:
19 With or Without You (U2) Recording producer: Myles Eastwood
Recorded at World Heart Beat Studio, London, May 2023
20 Read All About It, Pt. III (Emeli Sandé)
Tracks 6, 7, 8, 9, 10, 11, 12, 14:
21 Dandy Lion
Recording producer: Jeff Knowler
22 Satin Doll
Recorded at Master Chord Studio, London, May 2023
23 St Thomas
Track 13:
24 Exercise 1c: Smooth Customer Recording producer: Jeff Knowler
25 Exercise 1d: Bouncy Castle Recorded at World Heart Beat Studio, London, May 2023
26 Exercise 2c: First You Then Me
27 Exercise 2d: Perfect Partners
28 Exercise 3c: Rat-a-tat-tat!
29 Exercise 3d: The Old Castle
35
EXPLORE TRINITY EBOOKS
Contents
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Trinity’s 2021 Piano books are valid for use in exams indefinitely
alongside the 2023 books, providing the largest selection of repertoire
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they love for as long as they wish.
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Including 10 lessons per grade, level-appropriate sight reading tips throughout, duets to build confidence and
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Introducing Theory
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Theory of Music Workbooks Grades 1-8

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Includes: information about the test pieces, what the examiner will do,
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Audio INITIAL

21 Pieces Plus Exercises for

21 Pieces Plus Exercises for

Unauthorised file sharing is illegal

Cover artwork: Rod Steele

Dunhill was an English Romantic pianist and composer who

◗ 20th century ◗ Modern Renaissance

Try to explore other pieces in this book to really to work on

Train Ride / Walshaw  Page 18 Square Dance / Yandell  Page 20

◗ Contemporary character piece ◗ New commission

Far, Far Away / Human  Page 19 Autumn Waltz / Davey  Page 21

◗ New commission ◗ Elegant dance

◗ Game/animation music ◗ Folk song

Read All About It, Pt. III (Emeli Sandé) / Manderson/Barnes/

St Thomas is an island in the Caribbean. It was where the com-

Have a listen to the original track ‘St Thomas’ by Sonny Rollins

Copyright © 2023 Trinity College London Press Ltd 9

from 24 Short and Easy Pieces, op. 1

10 Copyright © 2023 Trinity College London Press Ltd

Copyright © 2023 Trinity College London Press Ltd 11

12 Copyright © 2023 Trinity College London Press Ltd

Lullaby from 11 Musical Postcards

Copyright © 1955 Israeli Music Publications.

Theodore Presser Company authorized representative.

Copyright © 1961 Chester Music Ltd.

In strict time q = 120

© 2022 Published by EVC Music Publications LTD

Reproduced by permission of EVC Music Publications Ltd, United Kingdom.

Duet part (duet part)

œœ. œœ. œœœ. œœ. œœ. œœœ.

? ‰ œœœ‰ œœœ ‰ œœœ‰ œœœ ‰ œœœ‰ œœœ ‰ œœœ‰ œœœ

b œœœ. œœ. b œœ. n -œœ.

16 Copyright © 2023 Trinity College London Press Ltd

Candidate part (candidate’s part)

Copyright © 2023 Trinity College London Press Ltd 17

Train Ride Gillian Walshaw

18 Copyright © 2023 Trinity College London Press Ltd

Far, Far Away In memory of Freddy Forbes Adam

Copyright © 2023 Trinity College London Press Ltd 19

20 Copyright © Naomi Yandell 2023

Autumn Waltz Seána Davey

Copyright © 2023 Trinity College London Press Ltd 21

Pokemon Theme TAMARA LOEFFLER and JOHN SIEGLER

Youmi Kimura & Wakako Kaku

Copyright © 2001 Studio Ghibli Inc.

24 Copyright © 2023 Trinity College London Press

from the Paramount Picture BLUE HAWAII

(U2) U2, Bono

Play with a light and airy feel q = 100

œœœ œ œœœœœœ œœœ œ œœœœœœ

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St. Thomas Sonny Rollins

>5 > >

> > >

Copyright © 1963 Prestige Music c/o Concord Music Publishing

1c. Smooth Customer — tone, balance

1d. Bouncy Castle — tone, balance and voicing

2c. First You Then Me — co-ordination

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Ex. 3d. The Old Castle

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C major broken triad (to 5th)

A minor: melodic (one octave)

TCL031990e Piano Exam Pieces & Exercises From 2023 Initial (Extended)

TCL031990e Piano Exam Pieces & Exercises From 2023 Initial (Extended)

Train Ride / Walshaw Page 18 Square Dance / Yandell Page 20

Far, Far Away / Human Page 19 Autumn Waltz / Davey Page 21