DIGITAL GRADED EXAMS:

CLASSICAL & JAZZ

SYLLABUS
Qualification specifications
from July 2023
 1/33 DIGITAL GRADES: CLASSICAL & JAZZ SYLLABUS

Options for Digital Music Grades

Choose between two pathways:
◗ Technical Work pathway
Perform three repertoire pieces* as well as technical work and receive a mark for the overall
performance (read this blog post by our Director of Music for further details).
OR
◗ Repertoire-only pathway
Perform four pieces of repertoire*

The exam entry process is exactly the same. Simply select Technical Work or Repertoire-only pathway.

* in line with current requirements in the Singing

syllabus, singers at Grades 6–8 will present four
pieces in the Technical Work pathway, and five in
the Repertoire-only pathway.

I know which pathway I want to take

TAKE ME TO TECHNICAL WORK PATHWAY

TAKE ME TO REPERTOIRE-ONLY PATHWAY

I’d like to learn more I’m looking for something else

CONTINUE TO LEARN MORE TAKE ME TO CONTENTS PAGE
 2/33 DIGITAL GRADES: CLASSICAL & JAZZ SYLLABUS

WELCOME INTRODUCTION

TECHNICAL WORK REPERTOIRE-ONLY

PATHWAY PATHWAY

LEARNING OUTCOMES AND LEARNING OUTCOMES AND

ASSESSMENT CRITERIA ASSESSMENT CRITERIA

STRUCTURE AND MARK STRUCTURE AND MARK

SCHEME SCHEME

PIECES PIECES

TECHNICAL WORK SUBMITTING YOUR EXAM

FOR ASSESSMENT

SUBMITTING YOUR EXAM

FOR ASSESSMENT MARKING

MARKING

ABOUT TRINITY COLLEGE LONDON

Trinity College London is a leading international exam board and independent education charity
that has been providing assessments around the world since 1872. We specialise in the assessment
of communicative and performance skills covering music, drama, combined arts and English
language. With over 850,000 candidates a year in more than 60 countries worldwide, Trinity
qualifications are specifically designed to help students progress. Our aim is to inspire teachers and
learners through the creation of assessments that are enjoyable to prepare for, rewarding to teach
and that develop the skills needed in real life.
At the heart of Trinity’s work is the belief that effective communicative and performance skills are
life enhancing, know no boundaries and should be within reach of us all. We exist to promote and
foster the best possible communicative and performance skills through assessment, content and
training that is innovative, personal and authentic.

Any amendments to the requirements will be published on the website and in updated versions
of the syllabus specifications.

CT_v.230823
 3/33 Welcome

Welcome
Welcome to Trinity College London’s syllabus for digital graded exams in classical and jazz
instruments, containing details of solo exams from Initial to Grade 8.
The digital graded exams enable candidates to record their exam performance at a place and time
of their choice and then submit the video recording via our online platform to be assessed by
our expert examiners. The exams have the same academic rigour as our face-to-face exams, and
candidates gain full recognition for their achievements, with the same certificate and UCAS points
awarded as for the face-to-face exams.

Designed for digital

Responsive to a changing world, these exams have been designed to support teaching, learning
and assessment through a digital medium.

Your performance, your choice

Sitting alongside our face-to-face graded exams, digital exams provide even more choice and
flexibility in how a regulated graded qualification can be achieved. Perform a selection of pieces
and technical work, or focus entirely on your performance of pieces by choosing our new
Repertoire-only pathway.

Digital support content

Comprehensive online resources provide support to candidates and teachers throughout their
digital exam journey.

IMPORTANT INFORMATION
1. T
 his syllabus should be read alongside the instrument-specific syllabuses, which list the pieces
for the grades.
2. To take this assessment you must have access to:
◗ A good quality audio-visual recording device with enough storage for your performance
(eg a good quality mobile phone, tablet, laptop or video camera)
◗ The internet — to upload your performance video and supporting files
3. Technical work requirements are provided in the separate technical work documents at
trinitycollege.com/digital-cj-grades. Candidates choosing the Technical Work pathway can
choose from groups of technical work which must be performed as part of the video submission.
4. F
 or syllabuses that require technical work to be played from memory, you must close your music
book and set the music stand aside. You may use a list of the requirements but you must hold
this list up to the camera before placing it on the music stand. Please refer to the guidance on
the technical work documents at trinitycollege.com/digital-cj-grades
5. A
 ll performances must be submitted as one continuous performance — this includes all pieces,
and technical work if applicable. Start the recording before your first item, and do not stop or
pause the video until you have completed all parts of the assessment. Any evidence of editing
will result in a syllabus infringement and your exam will not be assessed.
 4/33 Welcome

6. Y
 ou can be given assistance to film your performance, and another person can be present as
an accompanist or to operate your backing tracks (if applicable). A count-in at the start of a
pre-recorded track is permitted. However, indications of pulse, verbal or non-verbal entry cues
during the pieces or technical work, or the playing of an additional instrument by another
performer, will result in a syllabus infringement. The exception to this is where candidates would
prefer a verbal prompt when performing the technical work. See the technical work information
documents at trinitycollege.com/digital-cj-grades for further information for each instrument.
7. A
 udio and video may be recorded using separate devices, as long as they are recorded
simultaneously. No pre- or post-production techniques may be applied. A single external
microphone may be used but multiple microphone set-ups are not permitted.
 5/33 Introduction to Trinity’s digital graded music exams

Introduction to Trinity’s digital

graded music exams
WHICH INSTRUMENTS ARE THE DIGITAL EXAM OPTION AVAILABLE FOR?
Exams are available at Initial to Grade 8 for all instruments, except:
Grades 1–8 only Grades 6–8 only

Piano French Horn Flute

Electronic Keyboard Eb Tenor Horn Clarinet

Organ Trumpet Oboe

Cornet Bassoon
Drum Kit
Flugelhorn Saxophone
Orchestral Percussion
Eb Soprano Cornet Recorder
Tuned Percussion
Euphonium Jazz Flute
Snare Drum
Baritone Jazz Clarinet
Timpani
Trombone Jazz Saxophone
Violin
Bass Trombone
Singing
Viola
Tuba
Cello
Eb Bass
Double bass
Bb Bass
Scottish Traditional Fiddle

Harp

Classical Guitar

Acoustic Guitar
 6/33 Introduction to Trinity’s digital graded music exams

OBJECTIVE OF THE QUALIFICATIONS

Trinity’s graded music exams provide a structured yet flexible framework for progress, which enables
learners to demonstrate their own musical personality and promotes enjoyment in music performance.
The exams assess performance and technical ability through practical assessment. They offer
learners of any age the opportunity to measure their development as performers against a series
of internationally understood benchmarks, taking them from beginner level to the point where they
can progress to higher education in music, or enter for Trinity’s performance diplomas.

WHO THE QUALIFICATIONS ARE FOR

Trinity’s graded music exams are open to all learners, with no age restrictions or other limitations.
There is no requirement to have passed lower grades, theory exams or other qualifications,
although the grades represent a system of progressive mastery and the outcomes for each level
assume confidence in the requirements of previous grades.
Repertoire selection and other exam content is designed to appeal to learners of all ages and
backgrounds, reflecting the diversity of candidates.
Trinity is committed to making its exams accessible to all, and each candidate is treated individually
when considering how assessments can be adapted for those with special needs. Find more
information at trinitycollege.com/music-csn

HOW TO ENTER

ASSESSMENT AND MARKING

Trinity’s graded music exams are assessed by external examiners trained and moderated by Trinity.
Examiners provide marks and comments using the assessment criteria on pages 19–24 and 32–33.
The exams are marked out of 100. Candidates’ results correspond to different attainment levels as
shown in the next column.

Mark Attainment level

87–100 DISTINCTION
75–86 MERIT
60–74 PASS
45–59 BELOW PASS 1
0–44 BELOW PASS 2
 7/33 Introduction to Trinity’s digital graded music exams

DURATION OF STUDY (TOTAL QUALIFICATION TIME)

All regulated qualifications are assigned a total qualification time. This should be used as guidance
only. Total qualification time is an estimate of the average time a candidate spends with a teacher
(guided learning hours) added to the average time spent learning independently. It is recognised
that the amount of time needed to commit to a qualification will be dependent on each individual’s
level of experience.

Guided learning hours Independent learning Total qualification time

(GLH) hours (ILH) (TQT) (hours)
Initial 8 32 40
Grade 1 12 48 60
Grade 2 18 72 90
Grade 3 18 102 120
Grade 4 24 126 150
Grade 5 24 156 180
Grade 6 36 184 220
Grade 7 48 222 270
Grade 8 54 266 320

RECOGNITION AND UCAS POINTS

Trinity College London is an international exam board regulated by Ofqual (Office of Qualifications
and Examinations Regulation) in England, CCEA Regulation in Northern Ireland and by Qualifications
Wales. Various arrangements are in place with governmental education authorities worldwide.
In the UK, Grades 6–8 are eligible for UCAS (Universities and Colleges Admissions Service) points
for those applying to colleges and universities, as follows:
Grade 6
UCAS POINTS
PASS 8 | MERIT 10 | DISTINCTION 12

Grade 7
UCAS POINTS
PASS 12 | MERIT 14 | DISTINCTION 16

Grade 8
UCAS POINTS
PASS 18 | MERIT 24 | DISTINCTION 30
 8/33 Introduction to Trinity’s digital graded music exams

WHERE THE QUALIFICATIONS COULD LEAD

While for some learners graded music exams represent a personal goal or objective, they can also
be used as a progression route towards:
◗ Diplomas in performing and teaching offered by Trinity or by other awarding organisations
◗ M
 usic courses at conservatoires and universities, for which Grade 8 is often specified as an
entry requirement
◗ Employment opportunities in music and the creative arts

TABLE SHOWING MUSIC QUALIFICATIONS AVAILABLE

Awards and
Music Certificates Solo Group
RQF* EQF** Classical Rock Theory & Performance in Musical Certificates Certificates
Level Level & Jazz & Pop Written Digital in Bands Development † †
7 7 FTCL
6 6 LTCL LMusTCL LTCL
ATCL AMusTCL
4 5 Certificate for Music Educators ATCL
(Trinity CME)
Grade 8 Grade 8 Grade 8 Grade 8 Advanced Advanced
3 4 Grade 7 Grade 7 Grade 7 Grade 7 Level 6
Grade 6 Grade 6 Grade 6 Grade 6
Grade 5 Grade 5 Grade 5 Grade 5 Level 5: Intermediate Intermediate
2 3
Grade 4 Grade 4 Grade 4 Grade 4 Distinction

Grade 3 Grade 3 Grade 3 Grade 3 Foundation Foundation

Level 5:
1 2 Grade 2 Grade 2 Grade 2 Grade 2 Grade 2
Pass/Merit
Grade 1 Grade 1 Grade 1 Grade 1 Grade 1

Entry
1 Initial Initial Initial Initial Level 4
Level 3

Entry
Pre-initial Level 3
Level 2

Entry
Level 2
Level 1

* Regulated Qualifications Framework

** European Qualifications Framework
† Not RQF or EQF regulated
 9/33 Introduction to Trinity’s digital graded music exams

REGULATED TITLES AND QUALIFICATION NUMBERS

Regulated title Qualification number

Initial
TCL Entry Level Award in Graded Examination in Music
Performance (Entry 3) (Initial) 601/0812/5
Grade 1
TCL Level 1 Award in Graded Examination in Music
Performance (Grade 1) 501/2042/6
Grade 2
TCL Level 1 Award in Graded Examination in Music
Performance (Grade 2) 501/2041/4
Grade 3
TCL Level 1 Award in Graded Examination in Music
Performance (Grade 3) 501/2043/8
Grade 4
TCL Level 2 Certificate in Graded Examination in Music
Performance (Grade 4) 501/2044/X
Grade 5
TCL Level 2 Certificate in Graded Examination in Music
Performance (Grade 5) 501/2045/1
Grade 6
TCL Level 3 Certificate in Graded Examination in Music
Performance (Grade 6) 501/2097/9
Grade 7
TCL Level 3 Certificate in Graded Examination in Music
Performance (Grade 7) 501/2098/0
Grade 8
TCL Level 3 Certificate in Graded Examination in Music
Performance (Grade 8) 501/2099/2
 10/33 Technical work pathway > Learning outcomes

TECHNICAL WORK PATHWAY

Learning outcomes and

assessment criteria
INITIAL–GRADE 3
(Initial = RQF Entry Level 3, Grades 1–3 = RQF Level 1)

LEARNING OUTCOMES ASSESSMENT CRITERIA

The learner will: The learner can:
1. P
 erform music in a variety of styles set for 1.1 A pply skills, knowledge and understanding
the grade to present performances that demonstrate
careful preparation, musical awareness and
the beginning of thoughtful interpretation
1.2 Perform with general security of pitch and
rhythm, and with attention given to dynamics
and articulation
1.3 Maintain a reasonable sense of continuity in
performance and convey the mood of music in
a variety of styles
2. D
 emonstrate technical ability on an 2.1 D
 emonstrate familiarity with the fundamentals
instrument through responding to set of instrumental command
technical demands 2.2 D
 emonstrate technical control and facility
within set tasks
3. Respond to set musicianship tests 3.1 R
 ecognise and respond to simple elements of
music in a practical context
3.2 D
 emonstrate basic aural and musical awareness
 11/33 Technical work pathway > Learning outcomes

GRADES 4–5
(RQF Level 2)

LEARNING OUTCOMES ASSESSMENT CRITERIA

The learner will: The learner can:
1. P
 erform music in a variety of styles set for 1.1 S upport their intentions in musical performance
the grade 1.2 D emonstrate an understanding of music that
allows a degree of personal interpretation
in performance
1.3 Perform with general accuracy, technical
fluency and musical awareness to convey
musical character in a variety of styles
2. D
 emonstrate technical ability on an 2.1 D
 emonstrate a developing instrumental
instrument through responding to set command
technical demands 2.2 D
 emonstrate technical control and facility
within set tasks
3. Respond to set musicianship tests 3.1 R
 ecognise and respond to elements of music in
a practical context
 emonstrate aural and musical awareness
3.2 D

GRADES 6–8
(RQF Level 3)

LEARNING OUTCOMES ASSESSMENT CRITERIA

The learner will: The learner can:
1. P
 erform music in a variety of styles set for 1.1 Integrate their musical skills, knowledge and
the grade understanding in performance
1.2 Present secure and sustained performances
that demonstrate some stylistic interpretation
1.3 Perform with general accuracy, technical
fluency and musical awareness to communicate
musically in a variety of styles
2. D
 emonstrate technical ability on an 2.1 D
 emonstrate instrumental command
instrument through responding to set 2.2 D
 emonstrate technical control across the full
technical demands compass of the instrument within set tasks
3. Respond to set musicianship tests 3.1 R
 ecognise and respond to musical features in a
practical context
3.2 D
 emonstrate musical and stylistic awareness
 12/33 Technical work pathway > Structure and mark scheme

TECHNICAL WORK PATHWAY >

Structure and mark scheme

TECHNICAL WORK
SING (14 marks)
Four songs for
Grades 6–8 Singing GRADES 6–8 SINGING
(68 marks) TECHNICAL WORK
(12 marks)

PLAY/SING
Three pieces/songs
(66 marks) OVERALL PERFORMANCE CRITERIA
(20 marks)

Perform three pieces from the repertoire list and technical work, and receive a mark for the
overall performance.
The structure and mark scheme are different for Singing Grades 6–8.

TECHNICAL WORK PATHWAY

TECHNICAL WORK PATHWAY (SINGING GRADES 6–8)
Maximum marks Maximum marks
PIECE 1 22 PIECE 1 17
PIECE 2 22 PIECE 2 17
PIECE 3 22 PIECE 3 17
TECHNICAL WORK 14 PIECE 4 17
OVERALL PERFORMANCE 20 TECHNICAL WORK 12
TOTAL 100 OVERALL PERFORMANCE 20
TOTAL 100
PROGRAMME ORDER
◗ Your pieces should be performed in the same order as they are listed on the upload form.
◗ Y
 our technical work can be played before, after or between pieces, but must be played as one
complete unit.
 13/33 Technical work pathway > Pieces

TECHNICAL WORK PATHWAY >

Pieces
CHOOSING PIECES
◗ Candidates perform three pieces chosen from the repertoire list in the current Trinity syllabus for
their instrument (four for Singing Grades 6–8)
◗ F
 or some instruments and grades, pieces are divided into groups A and B, while for others,
candidates may choose pieces from a single list. Please refer to the relevant graded syllabus for
full requirements relating to piece selection.

PERFORMANCE AND INTERPRETATION

◗ Please refer to the relevant graded exam syllabus
◗ The use of metronomes or other timekeeping assistance is not allowed

INSTRUMENTS
◗ Please refer to the relevant graded exam syllabus

SUPPORTING DOCUMENTS
There is a section on the online portal where you can provide any supporting documentation
◗ Enter the details of your pieces on the relevant screen
◗ If you are not playing from a Trinity graded music exam book, or are performing your own
composition, you must also upload scanned copies or photographs of those pieces. For each
piece, all pages should be in one single file. If you need to combine images into one file, there
are many apps that can help you and you will find them on your device’s application store.

ACCOMPANIMENT
◗ Please refer to the relevant graded exam syllabus for requirements relating to accompaniment
and backing tracks
◗ Pieces which are published with accompaniment may not be performed unaccompanied
◗ The accompanist does not need to be in shot during the filming of the performance
 andidates may use recorded accompaniments in place of a live accompanist or duet partner for
◗ C
all digital grade exams at all grades
◗ If you are using a recorded accompaniment, this must be clearly audible on the submitted video.
Recorded accompaniments should be played through an external speaker rather than directly
from a phone or tablet.

MUSIC AND COPIES

◗ We publish selected pieces for many instruments in our graded music exam books.
Recommended editions for other pieces are listed in graded syllabuses, but candidates may
perform from any reliable edition which has not been shortened or otherwise simplified. If a
particular edition must be used, this is indicated in the syllabus. Product codes for publications
are included where available.
 14/33 Technical work pathway > Pieces

◗ W
 e take copyright infringement seriously and require candidates to ensure their music comes
from a legitimate source. Guidelines are available in the UK Music Publishers Association’s Code
of Fair Practice, available at mpaonline.org.uk. Candidates must comply with copyright and other
intellectual property laws in the country where the exam is taking place.

OWN COMPOSITION
◗ Candidates can choose to perform their own composition as one of their pieces. Own
composition pieces are assessed in the same way as the listed repertoire. Marks are not awarded
for the quality of the composition.
 wn compositions must be comparable in technical and musical demand to the pieces listed for
◗ O
the same grade. Examples of optional compositional techniques that may be used at each level
are listed in graded syllabuses.
◗ O
 wn compositions should be candidates’ own unaided work, although teachers may offer
guidance as necessary.

OBTAINING MUSIC FOR THE EXAM

◗ All publications listed in graded syllabuses can be ordered at shop.trinitycollege.com or your local
music shop. Visit store.trinitycollege.com to explore our range of downloadable digital publications.
◗ T
 rinity publishes repertoire and technical work books for many instruments for which graded
exams are offered.

 rinity cannot guarantee that music will always be in stock with local suppliers. Candidates and
◗ T
teachers should always check with the publisher before it is assumed that any item has gone out
of print.
 15/33 Technical work pathway > Technical work

TECHNICAL WORK PATHWAY >

Technical work
REQUIREMENTS
◗ Candidates perform a selection of technical work appropriate to their instrument and grade.
◗ Please refer to trinitycollege.com/digital-cj-grades for the relevant requirements.
◗ T
 he format of the technical work section is the same as in a face-to-face exam, but the list of
requirements is smaller than in the equivalent graded exam syllabus.
◗ In the case of scales & arpeggios, candidates select one of two defined groups, rather than
playing the full list from the equivalent syllabus. This reflects the process in face-to-face exams
where examiners ask for a selection of the requirements from the syllabus.
◗ In the case of studies, exercises and orchestral extracts, candidates perform the same number of
items as they would in a face-to-face exam.
◗ More information on the selection of items is available at trinitycollege.com/digital-cj-grades
◗ The use of metronomes or other timekeeping assistance is not allowed.

PERFORMING FROM MEMORY

◗ Some requirements must be played from memory, while for other requirements candidates can
use the music.
◗ If the syllabus requires you to play your technical work from memory, before you begin you must
close your music and set the music stand aside. You are allowed to refer to the requirements
on a sheet of paper, and this must be shown to the camera before you begin. Please refer to the
relevant technical work requirements at trinitycollege.com/digital-cj-grades
◗ It is permissible for another person to provide verbal prompts for candidates while playing the
technical work. They must announce the requirement, but must not provide any other help or
prompt. Please refer to the instructions at the front of the technical work information documents
at trinitycollege.com/digital-cj-grades

SUPPORTING DOCUMENTS
◗ If there is a choice of technical work for your instrument and grade, detail your selections on the
relevant screen when you upload your video.
 16/33 Technical work pathway > Submitting your exam

TECHNICAL WORK PATHWAY >

Submitting your exam

for assessment
Please read the following closely before you submit your video performance to our online platform
via trinitycollege.com/digital-cj-grades:
 lay back your video to ensure that the sound and visual quality is sufficient for an examiner to
◗ P
mark it.
 nsure your video is one continuous recording of all your pieces and technical work from start to
◗ E
finish, and you have not edited this into different sections or paused or stopped the video at any point.
◗ Only submit one take of your performance.
◗ Audio and video may be recorded using separate devices, but must be recorded simultaneously.
◗ No pre- or post-production techniques may be applied.
 single external microphone may be used but multiple microphone set-ups are not permitted.
◗ A
Please keep additional unused microphones away from your instrument to avoid unnecessary referral.
 o not provide any information at the beginning of your performance, such as your name or the
◗ D
titles of pieces — simply start recording and begin your performance.
 our files should be labelled with your name, subject and grade, for example:
◗ Y
ForenameSurname_Classical(Instrument)_Grade(Number).
◗ Enter the details of your pieces and technical work on the relevant screen.
◗ If applicable, remember to upload a scan or photograph of pieces that are not from published
Trinity graded music exam books (including own compositions, alternative pieces and
instruments where Trinity graded music exam books are not published).
◗ Y
 ou may record your video as an mp4 or mov file. Please remember to turn off HD settings, or
select the lowest available HD setting, on your device before you begin. Your exam does not need
to be recorded in high definition and this will result in files that are too large for upload.
◗ If uploading directly from a phone or tablet, you might need to compress the video first, so that it
doesn’t take too long to upload. There are many apps that can help you do this and you will find
them on your device’s application store.
◗ D
 o not delete your performance video until you have received your feedback and certificate, just
in case there are any technical issues and you are required to resubmit.
◗ Y
 our books/legally downloaded copies must be in shot when you film your performance. Please
make sure they will be visible to the examiner so that they can confirm that you are playing from
a legal copy — even if you choose to perform from memory. In the case that you have purchased
a digital copy and are playing from a tablet or eReader, please show the copy on screen to the
camera, ensuring that the watermark is clearly legible, so the examiner can confirm the purchase.
◗ F
 ull details of how to film your performance, what should be in shot and instrument-specific
guidance can be found at trinitycollege.com/music-filming-guidance
 17/33 Technical work pathway > Submitting your exam

◗ Y
 ou are allowed to have someone filming your performance, and another person can be present
as an accompanist or to operate your backing tracks (if applicable). A count-in at the start of
a pre-recorded track is permitted. However, indications of pulse, verbal or non-verbal entry
cues during the pieces or technical work, or the playing of an additional instrument by another
performer, will result in a syllabus infringement.
◗ Y
 ou may not enter the same performance video for the same exam more than once, unless
Trinity requires you to resubmit your video.
◗ Y
 ou may not use the video from your original entry for any other Trinity exam entries.
Subsequent submissions with the same video may be invalidated.
◗ W
 e strongly advise candidates not to share their performance videos online. Pieces in the music
and drama syllabuses are under copyright, and many of those rights are not owned by Trinity.
Trinity only has the required permissions for usage of these pieces in TCL Press published
books and in relation to Trinity exams. As such, if you would like to share your videos online, you
should apply to the copyright owner(s) to obtain synchronisation licences. Any candidate sharing
performances of copyrighted material will be personally liable for any breach of copyright law.
 18/33 Technical work pathway > Marking

TECHNICAL WORK PATHWAY >

Marking
Examiners give comments and marks for each section of the exam up to the maximums listed in
the table on page 12.
It is not necessary to pass all sections or any particular section in order to achieve a pass overall.
The total mark for the exam corresponds to different attainment levels as follows:

Mark Attainment level

87–100 DISTINCTION
75–86 MERIT
60–74 PASS
45–59 BELOW PASS 1
0–44 BELOW PASS 2

HOW THE PIECES ARE MARKED

Each piece is awarded three separate marks corresponding to three specific musical components,
allowing candidates to receive precise feedback about specific aspects of their performance. These
marks combine to give an overall mark for the piece.
The three components are:
Fluency & accuracy
The ability to perform fluently, with a stable pulse and with an accurate realisation of the notation.

Technical facility
The ability to control the instrument effectively, covering the various technical demands of the music.

Communication & interpretation

The interpretation of the music and the way the performance conveys a sense of stylistic
understanding and audience engagement.

Marks are awarded for these components to form a maximum total mark for each piece as follows:

Maximum mark for each piece Component

7 FLUENCY & ACCURACY
7 TECHNICAL FACILITY
8 COMMUNICATION & INTERPRETATION
22 TOTAL MARK FOR EACH PIECE
 19/33 Technical work pathway > Marking

The total marks awarded for each piece correspond to the attainment levels as follows:

Total mark for each piece Attainment level

19–22 DISTINCTION
16–18 MERIT
13–15 PASS
10–12 BELOW PASS 1
3–9 BELOW PASS 2

HOW THE PIECES ARE MARKED

Examiners use the criteria below to decide on the mark.
Marks in square brackets relate to Singing Grades 6–8.

7 MARKS 6 MARKS 5 MARKS

[5 MARKS] [N/A] [4 MARKS]
Fluency An excellent sense of A very good sense A good sense of fluency
& accuracy fluency with secure of fluency with only though with occasional
control of pulse and momentary insecurities inconsistencies in
rhythm. in control of pulse and control of pulse and
A very high degree of rhythm. rhythm.
accuracy in notes. A high degree of A good degree of
accuracy in notes — slips accuracy in notes
were not significant. despite some slips.

7 MARKS 6 MARKS 5 MARKS

[5 MARKS] [N/A] [4 MARKS]
Technical The various technical The various technical The various technical
facility demands of the music demands of the music demands of the music
were fulfilled to a very were fulfilled with only were fulfilled for the
high degree. momentary insecurities. most part.
An excellent level of A very good level of A good level of tone
tone control. tone control despite control though with
minimal blemishes. occasional lapses.

8 MARKS 7 MARKS 6 MARKS

[7 MARKS] [6 MARKS] [5 MARKS]
Communication An excellent level of A very good level of A good level of stylistic
& interpretation stylistic understanding stylistic understanding understanding though
with keen attention to with most performance occasional performance
performance details. details realised. details were omitted.
Highly effective Effective Communication and
communication and communication and interpretation were
interpretation. interpretation overall. mostly effective.
 20/33 Technical work pathway > Marking

4 MARKS 3 MARKS 1–2 MARKS

[3 MARKS] [2 MARKS] [1 MARK]
Fluency A generally reliable Only a limited sense of Little or no sense of
& accuracy sense of fluency fluency with a lack of fluency — control of
though with some basic control of pulse pulse and rhythm was
inconsistencies and and rhythm. not established.
stumbles in the control Accuracy in notes was Accuracy in notes was
of pulse and rhythm. sporadic with errors very limited with many
A reasonable degree becoming intrusive. errors of substance.
of accuracy in notes
despite a number of
errors.

4 MARKS 3 MARKS 1–2 MARKS

[3 MARKS] [2 MARKS] [1 MARK]
Technical The various technical The technical demands Many or all of the
facility demands of the of the music were oftentechnical demands
music were generally not managed. of the music were not
managed despite some The performance lacked managed.
inconsistencies. a basic level of tone There were significant
A basic level of tone control. flaws in tone control.
control despite some
insecurity.

5 MARKS 3–4 MARKS 1–2 MARKS

[4 MARKS] [2–3 MARKS] [1 MARK]
Communication A reasonable level of Stylistic understanding Stylistic understanding
& interpretation stylistic understanding was generally lacking was not apparent with
though some with limited realisation little or no realisation of
performance details of performance details. performance details.
were omitted. Communication and Communication and
Communication and interpretation were interpretation were
interpretation were inconsistent. ineffective.
basically reliable though
with some lapses.
 21/33 Technical work pathway > Marking

HOW TECHNICAL WORK IS MARKED

Examiners use the criteria below to decide on the mark.
Marks in square brackets relate to Singing Grades 6–8.

DISTINCTION | 13–14 MARKS MERIT | 11–12 MARKS

[11–12 MARKS] [9–10 MARKS]
Scales & arpeggios An excellent or very good A good sense of fluency and
sense of fluency and accuracy. accuracy with occasional errors.
A very high degree of technical A good degree of technical
control. control.
Prompt responses. Prompt responses overall.

Exercises, studies and An excellent or very good A good sense of fluency and
orchestral extracts sense of fluency and accuracy. accuracy with occasional errors.
A very high degree of technical A good degree of technical
control. control.
Keen attention to performance Good attention to performance
details and musical character. details and musical character
overall.
 22/33 Technical work pathway > Marking

PASS BELOW PASS 1 BELOW PASS 2

9–10 MARKS 6–8 MARKS 1–5 MARKS
[7–8 MARKS] [5–6 MARKS] [1–4 MARKS]
Scales & arpeggios A generally reliable Limited or very Little or no sense of
sense of fluency limited fluency and fluency and accuracy
and accuracy accuracy with errors with many errors.
despite a number of becoming intrusive. An unreliable degree
errors. An inconsistent of technical control.
A reasonable degree of technical
degree of control. Uncertain responses
technical control with many restarts
Hesitancy in and/or items not
despite some responses and
inconsistencies. offered.
restarts.
Generally prompt
responses despite
some hesitancy
and/or restarts.

PASS BELOW PASS 1 BELOW PASS 2

9–10 MARKS 6–8 MARKS 1–5 MARKS
[7–8 MARKS] [5–6 MARKS] [1–4 MARKS]
Exercises, studies and A generally reliable Limited or very Little or no sense of
orchestral extracts sense of fluency limited fluency and fluency and accuracy
and accuracy accuracy with errors with many errors.
despite a number of becoming intrusive. An unreliable degree
errors. An inconsistent of technical control.
A reasonable degree of technical Little or no attention
degree of control. to performance
technical control Limited attention details and musical
despite some to performance character.
inconsistencies. details and musical
Some attention character.
to performance
details and musical
character.
 23/33 Technical work pathway > Marking

HOW OVERALL PERFORMANCE IS MARKED

The candidate’s entire performance (ie pieces and technical work) is awarded two separate marks
corresponding to two assessment areas, as below. Further information about the adaptation of the
supporting tests can be found at trinitycollege.com/digital-cj-grades

Performance delivery and focus (10 marks)

◗ Assurance and continuity of delivery
◗ Consistency of focus

Musical awareness (10 marks)

◗ Demonstration of musical personality
◗ Ability to work within, move between, or maintain styles

Examiners use the criteria below to decide on the mark.

DISTINCTION MERIT
9–10 MARKS 8 MARKS
Performance delivery The performances are The performances are mostly
and focus delivered with assurance, and delivered with assurance, and
transition between items is transition between items is mainly
smooth. smooth.
Focus is maintained throughout Focus is maintained throughout
the presentation the presentation for the most part.

Musical awareness There is a convincing level There is a good level of personal

of personal investment investment and commitment in
and commitment in the the performances.
performances. The ability to maintain or move
The ability to maintain or between styles is mostly well-
move between styles is well- developed.
developed.
 24/33 Technical work pathway > Marking

PASS BELOW PASS 1 BELOW PASS 2

6–7 MARKS 4–5 MARKS 1–3 MARKS
Performance delivery The performances Assurance in There is little or
and focus are delivered performance no assurance
with reasonable delivery is limited, in performance
assurance, and with unreliable delivery, with limited
transition between continuity between continuity between
items is moderately items. items.
smooth. Focus is Focus is not
Focus is adequately inconsistently maintained
maintained maintained throughout the
throughout the throughout the presentation.
presentation. presentation.

Musical awareness There is an There is a limited Personal investment

adequate level level of personal and commitment are
of personal investment and not demonstrated.
investment and commitment in the The ability to
commitment in the performances. maintain or move
performances. The ability to between styles is
The ability to maintain or move not yet evident.
maintain or move between styles is
between styles is limited.
reasonably well-
developed.
 25/33 Repertoire-only pathway > LEARNING OUTCOMES

REPERTOIRE-ONLY PATHWAY >

Learning outcomes and

assessment criteria
INITIAL–GRADE 3
(Initial = RQF Entry Level 3, Grades 1–3 = RQF Level 1)
LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
1. P
 erform music in a variety of styles set for 1.1 A pply skills, knowledge and understanding
the grade to present performances that demonstrate
careful preparation, musical awareness and
the beginning of thoughtful interpretation
1.2 Perform with general security of pitch and
rhythm, and with attention given to dynamics
and articulation
1.3 Maintain a reasonable sense of continuity in
performance and convey the mood of music in
a variety of styles

GRADES 4–5
(RQF Level 2)
LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
1. P
 erform music in a variety of styles set for 1.1 S upport their intentions in musical performance
the grade 1.2 D emonstrate an understanding of music that
allows a degree of personal interpretation
in performance
1.3 Perform with general accuracy, technical
fluency and musical awareness to convey
musical character in a variety of styles

GRADES 6–8
(RQF Level 3)
LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
1. P
 erform music in a variety of styles set for 1.1 Integrate their musical skills, knowledge and
the grade understanding in performance
1.2 Present secure and sustained performances
that demonstrate some stylistic interpretation
1.3 Perform with general accuracy, technical
fluency and musical awareness to communicate
musically in a variety of styles
 26/33 repertoire-only pathway > Structure and mark scheme

REPERTOIRE-ONLY PATHWAY >

Structure and mark scheme

SING
Five songs for
Grades 6–8 Singing

PLAY/SING
Four pieces/songs

Perform four pieces from the repertoire list.

The structure and mark scheme are different for Singing Grades 6–8.

REPERTOIRE-ONLY PATHWAY
REPERTOIRE-ONLY PATHWAY (SINGING GRADES 6–8)
Maximum marks Maximum marks
PIECE 1 25 PIECE 1 20
PIECE 2 25 PIECE 2 20
PIECE 3 25 PIECE 3 20
PIECE 4 25 PIECE 4 20
TOTAL 100 PIECE 5 20
TOTAL 100

PROGRAMME ORDER
◗ Your pieces should be performed in the same order as they are listed on the upload form.
 27/33 repertoire-only pathway > Pieces

REPERTOIRE-ONLY PATHWAY >

Pieces
CHOOSING PIECES
◗ Candidates perform four pieces in total (five for Singing Grades 6–8).
◗ T
 his includes performing three pieces chosen from the repertoire list in the current Trinity
syllabus for their instrument (four for Singing Grades 6–8).
 or some instruments and grades, pieces are divided into groups A and B, while for others,
◗ F
candidates may choose pieces from a single list. Please refer to the relevant graded syllabus for
full requirements relating to piece selection.
 dditionally, candidates perform one further piece, chosen from the repertoire list for their
◗ A
instrument. This additional piece can be any piece listed for the grade, and may be chosen from
any group. For orchestral percussion, tuned percussion, snare drum and timpani exams, the
additional piece may not be selected from the study list.

PERFORMANCE AND INTERPRETATION

◗ Please refer to the relevant graded exam syllabus
◗ The use of metronomes or other timekeeping assistance is not allowed

INSTRUMENTS
◗ Please refer to the relevant graded exam syllabus

SUPPORTING DOCUMENTS
There is a section on the online portal where you can provide any supporting documentation.
◗ Enter the details of your pieces on the relevant screen
◗ If you are not playing from a Trinity graded music exam book, or are performing your own
composition, you must also upload scanned copies or photographs of those pieces. For each
piece, all pages should be in one single file. If you need to combine images into one file, there
are many apps that can help you and you will find them on your device’s application store.

ACCOMPANIMENT
◗ Please refer to the relevant graded exam syllabus for requirements relating to accompaniment
and backing tracks
◗ Pieces which are published with accompaniment may not be performed unaccompanied
◗ The accompanist does not need to be in shot during the filming of the performance
◗ C
 andidates may use recorded accompaniments in place of a live accompanist or duet partner for
all digital grade exams at all grades
◗ If you are using a recorded accompaniment, this must be clearly audible on the submitted video.
Recorded accompaniments should be played through an external speaker rather than directly
from a phone or tablet.
 28/33 repertoire-only pathway > Pieces

MUSIC AND COPIES

◗ We publish selected pieces for many instruments in our graded music exam books.
Recommended editions for other pieces are listed in graded syllabuses, but candidates may
perform from any reliable edition which has not been shortened or otherwise simplified. If a
particular edition must be used, this is indicated in the syllabus. Product codes for publications
are included where available.
 e take copyright infringement seriously and require candidates to ensure their music comes
◗ W
from a legitimate source. Guidelines are available in the UK Music Publishers Association’s Code
of Fair Practice, available at mpaonline.org.uk. Candidates must comply with copyright and other
intellectual property laws in the country where the exam is taking place.

OWN COMPOSITION
◗ Candidates can choose to perform their own composition as one of their pieces. Own
composition pieces are assessed in the same way as the listed repertoire. Marks are not awarded
for the quality of the composition.
 wn compositions must be comparable in technical and musical demand to the pieces listed for
◗ O
the same grade. Examples of optional compositional techniques that may be used at each level
are listed in graded syllabuses.
 wn compositions should be candidates’ own unaided work, although teachers may offer
◗ O
guidance as necessary.

OBTAINING MUSIC FOR THE EXAM

◗ All publications listed in graded syllabuses can be ordered at shop.trinitycollege.com or your local
music shop. Visit store.trinitycollege.com to explore our range of downloadable digital publications.
◗ Trinity publishes repertoire books for many instruments for which graded exams are offered.
◗ T
 rinity cannot guarantee that music will always be in stock with local suppliers. Candidates and
teachers should always check with the publisher before it is assumed that any item has gone out
of print.
 29/33 repertoire-only pathway > Submitting your exam

REPERTOIRE-ONLY PATHWAY >

Submitting your exam

for assessment
Please read the following closely before you submit your video performance to our online platform
via trinitycollege.com/digital-cj-grades:
 lay back your video to ensure that the sound and visual quality is sufficient for an examiner to
◗ P
mark it.
 nsure your video is one continuous recording of all your pieces from start to finish, and you
◗ E
have not edited this into different sections or paused or stopped the video at any point.
◗ Only submit one take of your performance.
◗ Audio and video may be recorded using separate devices, but must be recorded simultaneously.
◗ No pre- or post-production techniques may be applied.
 single external microphone may be used but multiple microphone set-ups are not permitted.
◗ A
Please keep additional unused microphones away from your instrument to avoid unnecessary referral.
 o not provide any information at the beginning of your performance, such as your name or the
◗ D
titles of pieces — simply start recording and begin your performance.
 our files should be labelled with your name, subject and grade, for example:
◗ Y
ForenameSurname_Classical(Instrument)_Grade(Number).
◗ Enter the details of your pieces on the relevant screen.
◗ If applicable, remember to upload a scan or photograph of pieces that are not from published
Trinity graded music exam books (including own compositions, alternative pieces and
instruments where Trinity graded music exam books are not published).
◗ Y
 ou may record your video as an mp4 or mov file. Please remember to turn off HD settings, or
select the lowest available HD setting, on your device before you begin. Your exam does not need
to be recorded in high definition and this will result in files that are too large for upload.
◗ If uploading directly from a phone or tablet, you might need to compress the video first, so that it
doesn’t take too long to upload. There are many apps that can help you do this and you will find
them on your device’s application store.
◗ D
 o not delete your performance video until you have received your feedback and certificate, just
in case there are any technical issues and you are required to resubmit.
◗ Y
 our books/legally downloaded copies must be in shot when you film your performance. Please
make sure they will be visible to the examiner so that they can confirm that you are playing from
a legal copy — even if you choose to perform from memory. In the case that you have purchased
a digital copy and are playing from a tablet or eReader, please show the copy on screen to the
camera, ensuring that the watermark is clearly legible, so the examiner can confirm the purchase.
◗ F
 ull details of how to film your performance, what should be in shot and instrument-specific
guidance can be found at trinitycollege.com/music-filming-guidance
 30/33 repertoire-only pathway > Submitting your exam

◗ Y
 ou are allowed to have someone filming your performance, and another person can be present
as an accompanist or to operate your backing tracks (if applicable). A count-in at the start of a
pre-recorded track is permitted. However, indications of pulse, verbal or non-verbal entry cues
during the pieces, or the playing of an additional instrument by another performer, will result in a
syllabus infringement.
◗ Y
 ou may not enter the same performance video for the same exam more than once, unless
Trinity requires you to resubmit your video.
◗ Y
 ou may not use the video from your original entry for any other Trinity exam entries.
Subsequent submissions with the same video may be invalidated.
◗ W
 e strongly advise candidates not to share their performance videos online. Pieces in the music
and drama syllabuses are under copyright, and many of those rights are not owned by Trinity.
Trinity only has the required permissions for usage of these pieces in TCL Press published
books and in relation to Trinity exams. As such, if you would like to share your videos online, you
should apply to the copyright owner(s) to obtain synchronisation licences. Any candidate sharing
performances of copyrighted material will be personally liable for any breach of copyright law.
 31/33 Repertoire-only pathway > Marking

REPERTOIRE-ONLY PATHWAY >

Marking
Examiners give comments and marks for each section of the exam up to the maximums listed in
the table on page 26.
It is not necessary to pass all sections or any particular section in order to achieve a pass overall.
The total mark for the exam corresponds to different attainment levels as follows:

Mark Attainment level

87–100 DISTINCTION
75–86 MERIT
60–74 PASS
45–59 BELOW PASS 1
0–44 BELOW PASS 2

HOW THE PIECES ARE MARKED

Each piece is awarded three separate marks corresponding to three specific musical components,
allowing candidates to receive precise feedback about specific aspects of their performance. These
marks combine to give an overall mark for the piece.
The three components are:
Fluency & accuracy
The ability to perform fluently, with a stable pulse and with an accurate realisation of the notation.

Technical facility
The ability to control the instrument effectively, covering the various technical demands of the music.

Communication & interpretation

The interpretation of the music and the way the performance conveys a sense of stylistic
understanding and audience engagement.

Marks are awarded for these components to form a maximum total mark for each piece as follows:

Maximum mark for each piece Component

8 FLUENCY & ACCURACY
8 TECHNICAL FACILITY
9 COMMUNICATION & INTERPRETATION
25 TOTAL MARK FOR EACH PIECE
 32/33 Repertoire-only pathway > Marking

The total marks awarded for each piece correspond to the attainment levels as follows:

Total mark for each piece Attainment level

22–25 DISTINCTION
19–21 MERIT
15–18 PASS
11–14 BELOW PASS 1
3–10 BELOW PASS 2

HOW THE PIECES ARE MARKED

Examiners use the criteria below to decide on the mark.
Marks in square brackets relate to Singing Grades 6–8.

8 MARKS 7 MARKS 6 MARKS

[6 MARKS] [5 MARKS] [4 MARKS]
Fluency An excellent sense of A very good sense A good sense of fluency
& accuracy fluency with secure of fluency with only though with occasional
control of pulse and momentary insecurities inconsistencies in
rhythm. in control of pulse and control of pulse and
A very high degree of rhythm. rhythm.
accuracy in notes. A high degree of A good degree of
accuracy in notes — slips accuracy in notes
were not significant. despite some slips.

8 MARKS 7 MARKS 6 MARKS

[6 MARKS] [5 MARKS] [4 MARKS]
Technical The various technical The various technical The various technical
facility demands of the music demands of the music demands of the music
were fulfilled to a very were fulfilled with only were fulfilled for the
high degree. momentary insecurities. most part.
An excellent level of A very good level of A good level of tone
tone control. tone control despite control though with
minimal blemishes. occasional lapses.

9 MARKS 8 MARKS 7 MARKS

[8 MARKS] [7 MARKS] [6 MARKS]
Communication An excellent level of A very good level of A good level of stylistic
& interpretation stylistic understanding stylistic understanding understanding though
with keen attention to with most performance occasional performance
performance details. details realised. details were omitted.
Highly effective Effective Communication and
communication and communication and interpretation were
interpretation. interpretation overall. mostly effective.
 33/33 Repertoire-only pathway > Marking

5 MARKS 3–4 MARKS 1–2 MARKS

[3 MARKS] [2 MARKS] [1 MARK]
Fluency A generally reliable Only a limited sense of Little or no sense of
& accuracy sense of fluency fluency with a lack of fluency — control of
though with some basic control of pulse pulse and rhythm was
inconsistencies and and rhythm. not established.
stumbles in the control Accuracy in notes was Accuracy in notes was
of pulse and rhythm. sporadic with errors very limited with many
A reasonable degree becoming intrusive. errors of substance.
of accuracy in notes
despite a number of
errors.

5 MARKS 3–4 MARKS 1–2 MARKS

[3 MARKS] [2 MARKS] [1 MARK]
Technical The various technical The technical demands Many or all of the
facility demands of the of the music were oftentechnical demands
music were generally not managed. of the music were not
managed despite some The performance lacked managed.
inconsistencies. a basic level of tone There were significant
A basic level of tone control. flaws in tone control.
control despite some
insecurity.

5–6 MARKS 3–4 MARKS 1–2 MARKS

[4–5 MARKS] [2–3 MARKS] [1 MARK]
Communication A reasonable level of Stylistic understanding Stylistic understanding
& interpretation stylistic understanding was generally lacking was not apparent with
though some with limited realisation little or no realisation of
performance details of performance details. performance details.
were omitted. Communication and Communication and
Communication and interpretation were interpretation were
interpretation were inconsistent. ineffective.
basically reliable though
with some lapses.