---- -e Right onourable the Lady Clifton's Spirit _________ _L..

-- -.== Prelude (from Lute Suite in E minor, BWV 996) _________ 4

Fanta s i e ------------------------------------------------- --------------------------------- ___ 7

Rondo op. 22 ... _ ..10

Polacca op. 5 no. 3 ... ---------- -------- -- ____ 14

B

== ::-~ Ia Danza del corregidor (from El sombrero de tres picos)..... . ·--···· ··· ...... 16

=·==zz lla arr. Bentiez Milonga del angel.......... . ................. ..... . ............ -···-·-·· -··-··-· ···· ... 19

-Torroba Sonatina ........................................ .......... .. ····-···· ·· ···-·······-······--···-·22 = ·- ·-Pip6 Danza (no. 1 of Seis canciones y danzas) ··········-···-·······-··············· ......... 26

Technical Suite (Scales, Arpeggios and Exercises) ···--·--·-- ··-· --·· ............ 29

- ::::. ative pieces for this grade (2010-2012):

..: PA ::;::~.::mbuco

- - ·aa c obos

G PB

.::.=~ eley

.::- Ner

2 e = .en

=- harpe

Pieces

P6 de Mico (from Famous ChOros vol. 1)

Sonatina Meridional, 3rd movt: Fiesta

Garrotfn (from Hommage a Tarrega op. 69)

Choros no. 1

Quatre Pieces pour Ia guitar, 1st movt (from Quatre pieces pour Ia guitare)

Etude 20 (from £tudes simples 4• serie)

English Suite op. 31, 1st movt

Sugarloaf Mountain (from Scenes from Brazil)

Into the Dreaming

Chanterelle 761

Schott GA151

Schott GA 136

Eschig ME0741800

Berben 4781

Eschig ME8495

Nove~lo NOV120101

Camden Music CM246

Faber 0 571 51518 5

ee pieces to be performed, at least one from each group, chosen from the pieces included in this book or from -.--o alternative pieces listed for the grade, to form a balanced programme. Full details of alternative pieces are

~ - ·en above and in the current Guitar Syllabus. One piece may be replaced by the candidate's own composition of ::: imilar length and standard to the other pieces chosen.

Technical work ~ee inside back cover for details.

Supporting tests "' didates to prepare i) and ii):

Sight Reading

ural or Improvisation

-ee .he current Guitar Syllabus for details .

..... _ 1 ates and teachers must refer to the Information & Regulations booklet for all examination requirements =~ _ requlations. Syllabuses and further information can be obtained from your Trinity Guildhall Centre Representative

s Head Office.

Guitar Grade 8 Pieces & Exercises for Trinity· Guildhall examinations

2010-2015

Published by: Trinity College London 89 Albert Embankment London SE1 7TP UK

T +44 (0)20 7820 6100 F +44 (0)20 7820 6161 E music@trinityguildhall.co.uk www.trinityguildhall.co.uk

•

Copyright © 2009 Trinity College London

Unauthorised photocopying is illegal No part of this publication may be copied or reproduced in any form or by any means without the prior permission of the publisher.

Music processed by Artemis Music Ltd. Printed in England by Halstan & Co. Ltd, Amersham, Bucks.

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onourable the Lady Clifton's Spirit

I

John Dowland

(1563-1626)

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ec e Candidates choosing Option ii) Technical Suite in the Techn ica l Work section of the examinat ion must prepare 2 . :~E =: .: scales, arpeggios and exercises.

Scales and arpeggios cto be performed from memory)

As given in Guitar & Plectrum Guitar Scales and Exercises from 2007, published by Trinity Guildhall.

Scales to be prepared apoyando or tirando, * at candidate's choice. Straight rhythm. Arpeggios to be prepared tirando .

Choose either Group 1 or Group 2.

Group 1 Bb major scale (three octaves), im fingering F harmonic and melodic minor scales (two octaves), ma fingering** Bb major arpeggio (three octaves) Diminished 7th arpeggio starting on Bb (three octaves)

Group 2 F major scale (two octaves), ma fingering** Bb harmonic and melodic minor scales (three octaves), im fingering** Bb minor arpeggio (three octaves) Dominant 7~h arpeggio in the key of Eb, starting on Bb (two octaves)

* apoyando = rest stroke; tirando = free stroke ** N.B. different fingering to that listed for the same scales in Technical Work Option i), and to that printed in Guitar & Guitar Scales & Exercises from 2007.

Exercises l o 1. Fandantangle (artificial harmonics, tambora and hinge barre) ~

J. ·

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CI ----- -l

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Copyright© 2009 Trinity College London

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3. Cheap Picasso Fake (chromatic octaves and glissandi)

.. . = 54-66

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Copyright © 2009 Trinity College London

· materlal is plin.:oo ~

To be pia ed tirando ana /eqa.o; cres£. ascen<f111g c OO cfun. o25Cal!flll(j:

Bb major (three octaves) im lngering. Straigh rhythm. norm. !one

F major (two octaves) im fingering. Straight rhythm. norm. tone

To be played tirando and staccato:

Bb harmonic minor (three octaves), mf. imam finger ing. Triplet rhythm. norm. tone

F harmonic minor (two octaves), mf. imam fingering. Trip let rhythm. norm. tone

Bb major pentatonic (three octaves),f. ma fingering. Swing rhythm. norm. tone

F major pentatonic (two octaves),f. ma fingering. Swing rhythm. norm. tone

To be played apoyando and legato, with tone colour gradually changing from norm. to pont. to norm. again:

Bb natural minor (three octaves),f. ma fingering. Swing rhythm

F natural minor (two octaves),f. ma fingering. Swing rhythm

To be played apoyando and legato:

Bb melodic minor (three octaves),p, im fingering. Straight rhythm. norm. tone

F melodic minor (two octaves), p. im fingering. Straight rhythm. tasto tone

To be played tirando and legato, with tone colour gradually changing from norm. to pont. to norm. again:

Chromatic starting on Bb (three octaves), mf. imam fingering . Straight rhythm

Chromatic starting on F (two octaves), '"!f. imam finger ing. Straight rhythm

To be played apoyando and legato; dim. ascending and cresc. descending:

Locrian starting on Bb (three octaves), im fingering. Triplet rhythm. pont. tone

Locrian starting on F (two octaves), im fingering. Triplet rhythm. pont. tone (see below):

' J d d ~r 'r ~r

Arpeggios

The following arpeg~os to be performed tirando and legato:

Bb major (three octaves),f. pont. tone

F major (two octaves) .f. pont. tone

Bb minor (three octaves),p, norm. tone

F minor (two octaves), p. tasto tone

'r f etc.

Dominant 7th in the key of Eb (three octaves, starting on Bb); cresc. ascending, dim. descending

Dominant 7th in the key of Bb (two octaves, starting on F); cresc. ascending, dim. descending

The following arpeggios to be performed tirando, staccato and 11ff: Diminished 7th starting on Bb (three octaves), mf Diminished 7th starting on F (two octaves), mf

Exercises

The following exercises to be performed tirando, legato and 11ff: F major scale in paired slurs (three octaves)

Bb major scale in 3rds (two octaves)

Bb major scale in 6ths (two octaves)

F major scale in 10ths (two octaves)

Chromatic scale in octaves (two octaves, starting on F)

or ii) Technical Suite

Scales and Arpeggios (to be performed from memory)

As given in Guitar & Plectrum Guitar Scales & Exercises from 2007 publ ished by Trinity Guildhall.

Scales to be prepared apoyando or tirando, * at candidate's choice. Straight rhythm.

Arpeggios to be prepared tirando. Choose either Group 1 or Group 2.

Group 1

Bb major scale (three octaves), im fingering

F harmonic and melodic minor scales (two octaves), ma fingering **

Bb major arpeggio (three octaves)

Diminished 7th arpeggio starting on Bl,.(three octaves)

Group 2

F major scale (two octaves), ma fingering**

Bb harmonic and melodic minor scales (three octaves), im fingering **

Bb minor arpeggio (three octaves)

Dominant 7th arpeggio in the key of Eb (two octaves, starting on Bb)

* apoyando = rest stroke; tirando = free stroke

\

** N.B. different fingering to that listed for the same scales in Technica l Work Option i), and to that printed in Guitar & Plectrum Guitar Scales & Exercises from 2007.

Exercises

Candidates to prepare all of the following exercises, printed in this book:

1. Fandantangle (artificial harmonics, tambora and hinge barre)

2. E.S.P. (scales and chords in IOths)

3. Cheap Picasso Fake (chromatic octaves and glissandi)