Certificate Examinations

Structure
Certificate examinations consist of a performance of a certain number of pieces without technical work
or supporting tests, and are particularly popular with soloists and ensembles seeking experience and
validation of the performing experience. They also provide a clear progression towards Trinity
Guildhall’s Performance Diplomas, giving pianists the opportunity to explore and develop their skills and
experience at a time when their technical abilites are opening up to them a wealth of new repertoire.

The items are presented as a concert performance for which a written programme is presented to the
examiner at the start. Spoken introductions may also be given to each piece. The quality of the
programme choice and planning is assessed, as is the stagecraft and presentation.

Certificate Examinations for one instrument

Examinations for solo performers are available at 2 levels:

Level Length of programme Number of pieces

First Concert Certificate 12–18 minutes 4
(Grades 5–6)
Performer’s Certificate 23–35 minutes 4
(Grade 8–ATCL)

A balanced programme of four pieces is selected to demonstrate the technical, musical and
interpretative range of the player’s abilities. The items available to choose from represent a wide
stylistic and historical cross-section of the instrument’s repertoire. A time limit is set and should be
closely observed (to within 10%). Candidates should ensure that their overall timings include breaks
between pieces.
Candidates for all Certificate examinations must provide for the examiner a copy of each piece that
they are performing . These copies must be the same edition as the candidate’s version. In solo
Certificate examinations, photocopies (made at the candidate’s expense) can legitimately be used for
this purpose, unless the performance is being given entirely from memory in which case originals must
be provided. Photocopies given to the examiner will be retained and destroyed after the examination.
For Ensemble examinations, the copies that are provided for examiners must be originals and in full
score.

Programme Planning and Notes

Examiners will award marks for the artistry and effectiveness of the programme’s design and the
balance of contrasts in styles and tempi within the programme. Written and (where applicable) spoken
material will be considered in relation to the quality of the writing of the programme notes, the
accuracy, interest and appropriateness of the points made and the degree of care taken with the
presentation of the material.

Candidates are required to provide examiners with copies of all music being performed, as well as a
neatly printed or typed copy of their programme, including timings for each item and a short
written programme note on each item, 40-100 words for First Concert Certificate or 75-150 words
for Performer‘s Certificate . Alternatively, candidates may introduce each item of their programme.
If spoken, each introduction should be given directly before the piece to which it relates. Notes may
be used but candidates should not read from a fully written-out text.

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 Certificate Examinations

Notes or introductions should focus mainly on the context and content of the chosen works. If
written in a language other than English, a translation — which need not be the candidate‘s own
work — must be provided for the examiner.
All notes or introductions must in all cases be the candidate‘s own unaided work.

Stagecraft and presentation

In this section examiners will assess the way that the performer(s) behave while ‘on stage’, their
awareness of and interaction with other members of the performing group and the ensemble skills
they show. In addition their sense of occasion and their personal presentation will be appraised.
Both candidate and accompanist should dress smartly and appropriately, as for a public
performance, school concert etc. If appropriate, school uniform may be worn.

Certificate Examinations for Ensembles

In order to encourage the co-operative skills essential for the development of a well-rounded musician,
assessments are offered for ensembles at three levels: First Recital (FR), Intermediate Recital (IR) and
Advanced Recital (AR). Ensemble performances can be an enjoyable and effective way to open or close a
session of solo examinations taken by individual students of one or more teachers, or within a school
entry. Provided that ensembles have repertoire of the appropriate level of difficulty and, as long as the
examination centre can accommodate the performers adequately, there is no restriction on the nature
or size of ensembles.
Any ensemble of three or more players and/or singers may be entered, except in the case of Piano—Six
Hands, for which a syllabus already exists, and which should be entered under its own subject code. Duos
will also be accepted, except in cases where standard grade examinations already exist (such as most
single-line instruments with piano, or piano duet).
Each part may be played by one player, as in chamber music, or by multiple performers according to the
suitability of the music. For example, a guitar quartet might be performed by four, eight or even twelve
players. Players may change instruments between pieces if they wish, but no extra credit will be given
for performing on more than one instrument.

A programme of contrasted items should be chosen to match the capabilities of the players, as follows:

Level Length of programme Number of pieces

First Recital up to 10 minutes 4–6
Certificate

Intermediate Recital
Certificate 10–15 minutes 3–4

Advanced Recital
Certificate 20–25 minutes 3

Repertoire should be chosen in line with the guidelines set out in the ‘Levels of Achievement’ statements
in the Information & Regulations 2007 booklet.

A special Ensemble Entry Form, obtainable from local representatives or from head office, must be used
for each ensemble. Each must be given a name (e.g. ‘The Proctor Quartet’) which will be printed on the
report form and certificate. Detailed instructions are given on the form. Trinity Guildhall reserves the
right to charge a supplementary fee for ensembles if additional setting-up time is needed.

A teacher may not take part in an ensemble examination except as a conductor.

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Certificate Examinations

Certificate Duration in minutes

First Concert Certificate 20

Performer’s Certificate 35

First Recital Certificate 15

Intermediate Recital Certificate 20

Advanced Recital Certificate 30

Marking — Certificate Examinations

The mark scheme of the examination is as follows:

Piece 1 22 marks

Piece 2 22 marks

Piece 3 22 marks

Piece 4 22 marks

Programme planning and notes 6 marks

Stagecraft and presentation 6 marks

The mark thresholds are as follows:

Distinction 87

Merit 75

Pass 60

Below Pass 1 45

Below Pass 2 33

The same criteria are applied to the performance of pieces as for Graded examinations, and are set out
in a separate leaflet Information and Regulations 2007 which is available direct from Trinity Guildhall’s
Head Office, Local Representatives or from the Trinity Guildhall website www.trinityguildhall.co.uk. This
also contains details of the criteria applied to the assessment of Programme Planning and Notes and
Stagecraft and Presentation.

For ensemble examinations, one written report will be issued for each ensemble, and each member will
receive a certificate.

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Notes

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Piano — First Concert Certificate Subject code: PNO

Pieces (4 x 22 marks)
Four pieces are to be played, to form a balanced programme of 12–18 minutes. It is not necessary to
choose a piece from each Group, but no more than two pieces may be chosen from any Group.

Group A — Baroque
C P E Bach Solo for the Cembalo BWV Anh 129
(from Baroque Real Repertoire) Trinity Faber
J S Bach 2-part Invention no. 8 in F, BWV 779 Bärenreiter BA 5150
(from Inventions and Sinfonias) or Peters EP 7156a
Couperin Les petits moulins à vent
(from Hours With The Masters book 4) Bosworth
Daquin L’amusante (from The Age of J S Bach — Intermediate Piano Book) Peters EP 4452
Daquin Le coucou (from Baroque Real Repertoire) Trinity Faber
Leo Toccata in G minor (from Classics to Moderns book 4) Yorktown YK20048

Group B — Classical
Beethoven Bagatelle in C, op. 119 no. 2 (from Complete Bagatelles) Henle HN 158
or Wiener Urtext UT50054
Kuhlau Sonatine in C op. 55 no. 3 Allegro con spirito
(from Sonatinas op. 20 & op. 55) Kjos KJ15968
Mozart Viennese sonatina no. 2 in A, KV 439b (from 6 Viennese Sonatinas) Schott ED 9021
Myslivecek Sonata in D (from Bärenreiter Sonatina Album vol. 2) Bärenreiter BA 6549
Schubert Moment musical in F minor, op. 94 no. 3 D. 780
(from Moments musicaux) Henle HN 275

Group C — Romantic
MacDowell To A Wild Rose, (No. 1 from Woodland Sketches, op. 51)
(from Real Repertoire) Trinity Faber
Mendelssohn Venetian Gondoliers Song, op. 19 no. 6
(from Romantic Real Repertoire) Trinity Faber
Wagner Albumblatt (from Little Piano Book vol. 4, The Romantic Period) Peters EP 4454

Group D — Early Modern

Debussy The Little Shepherd from Children’s Corner Suite
(from Twentieth Century Real Repertoire) Trinity Faber
Rowley Moonlight Dance (from Piano Pieces by Alec Rowley) Trinity TCL 001726
Satie Gnossienne no. 3 (from Piano Works vol. I) Schott ED 9013
Turina The Peasant’s Boots (from The Turina Collection) Schott SMC 534

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 Piano — First Concert Certificate

Group E — Contemporary
Berkeley Prelude no. 4 (from 6 Preludes) Chester CH02306
Boyle Hedley Kow (from Composers Series vol. 3, sel./ed. R Deering) Bosworth
Harvey Rumba Toccata
(from Twentieth Century Real Repertoire) Trinity Faber
Norton King Boogie or We Wish (from The Christopher Norton Concert Collection) Boosey

Programme Planning and Notes (6 marks) (see page 46)

Stagecraft and Presentation (6 marks) (see page 47)

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Piano — Performer’s Certificate Subject code: PNO

Pieces (4 x 22 marks)
Four pieces are to be played, to form a balanced programme of 23–35 minutes. It is not necessary to
choose a piece from each Group, but no more than two pieces may be chosen from any Group.

Group A — Baroque
J S Bach Prelude from English Suite no. 5 in E minor, BWV 810 Bärenreiter BA 5165
(from English Suites BWV 806-811) or Peters (ed. Kreuz) EP 4580B
J S Bach Prelude and Fugue in C minor, BWV 871
(from The Well-Tempered Clavier book 2) any reliable edition
J S Bach Prelude and Fugue in G, BWV 860
(from The Well-Tempered Clavier book 1) any reliable edition
D Scarlatti Fugue in G minor, K. 30 (The Cat Fugue)
from Schott Piano Colletion — D. Scarlatti) Schott ED 7200

Group B — Classical
Beethoven Andante Favori in F, WoO 57 Henle HN 21
Beethoven Rondo in C, op. 51 no. 1 Henle HN 140
Clementi Sonata in C, op. 34 no. 1, 1st movt: Allegro con spirito Peters EP 146a
Field Nocturne no. 6 in F (from Nocturnes) Peters EP 491
Haydn Fantasy in C, Hob. XVII/4 Henle HN 69
Hummel Rondo in Eb, op. 11 Peters EP 7045
Lipavsky Theme with 10 Variations
(from 18th-century Bohemian Variations) Bärenreiter Praha H 4136
Mozart Fantasy in C minor, K. 475 Henle HN 345 or Wiener Urtext UT50228

Group C — Romantic
Brahms Intermezzo in Eb, op. 117 no. 1 (from Drei Intermezzi op. 117) Henle HN 121
Brahms Intermezzo in A minor, op. 116 no. 2 (from Fantasien op. 116) Henle HN 120
Brahms Intermezzo in E, op. 116 no. 4 (from Fantasien op. 116) Henle HN 120
Brahms Intermezzo in B minor, op. 119 no. 1 (from Klavierstücke op. 119) Henle HN 123
Chabrier Ronde Champêtre (from Complete Works for Piano) Dover
Chopin Mazurka in A minor, op. 59 no. 1 any reliable edition
Chopin Nocturne in B, op. 32 no. 1 any reliable edition
Chopin Nocturne in Eb, op. 55 no. 2 any reliable edition
Chopin Prelude in F minor op. 28 no. 18 any reliable edition
Chopin Valse Brillante (no. 4 in F) op. 34 no. 3 any reliable edition
Lavallée Le Papillon (The Butterfly) UMP
Liadov Prelude in Db, op. 57 no. 1 Peters EP 7422
Liszt Spozalizio (from Années de pèlerinage II, Italie) Henle HN 174
Martucci Scherzo op. 53 no. 2 Ricordi 128001
Mendelssohn Prelude and Fugue in D, op. 35 no. 2 Henle HN 281
(from Selected Pieces or Piano Works vol. IV) or Peters EP 1704c
Schumann Arabeske op. 18 (from Arabeske and Blumenstücke) Wiener Urtext UT50059

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 Piano — Performer’s Certificate

Group D — Early Modern

Albéniz Any or all of the following from Suite Espagnole op. 47:
Sevilla, Aragón, Cuba, Cádiz Schott ED 5068
Arndt Nola — A Silhouette for the Piano Masters M3562
Bartók 6 Bulgarian Dances [complete]
(from Mikrokosmos book 6 [Definitive edition 1987]) Boosey
Britten Fun-Fair (no. 3 from Holiday Diary op. 5) Boosey
Debussy Arabesque no. 2 Any reliable edition
Debussy Bruyères (no. 5 from Preludes book 2) Any reliable edition
Debussy La fille aux cheveux de lin (no. 8 from Preludes book 1) Any reliable edition
Debussy Prélude (from Suite Bergamasque) Any reliable edition
Gershwin Three Preludes [complete] Boosey
Granados Zapateado (no. 6 from Seis piezas sobre
cantos populares españoles) UME UMP71040
Ireland Sonatina (complete) OUP
Ireland The Darkened Valley Stainer H 0642
Moeran Windmills (from Fancies) Schott ED 12343
Turina Exaltacion (from Danzas Fantasticas op. 22) UME UMP21257

Group E — Contemporary
Burrows Jig Green Man Press Bur10
Causton Non mi comporto male OUP
Horne 4ths and 5ths (from The Boosey & Hawkes
20th-Century Piano Collection from 1945) Boosey
Kapustin Toccatina op. 36 A-RAM
Kats-Chernin Russian Rag (no. 1 from Book of Rags) Boosey
Lutoslawski 2 studies [either or both may be played]
(from The Most Beautiful Lutoslawski) PWM 10 226
Makholm Bebop ‘n You (no. 3 from Trois Impressions) Billaudot
Rawsthorne Any two from 4 Romantic Pieces (from Selected Piano Pieces) OUP

Programme Planning and Notes (6 marks) (see page 46)

Stagecraft and Presentation (6 marks) (see page 47)

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