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Revision as of 05:37, 9 August 2023
General Info
1. Hand or pedal-tuned timpani may be used.
2. Timpanists may play standing or sitting. However, consideration should be given to the advantages of playing seated, as the seated position allows the feet to change intonation and re-tune the drums.
3. Rolls should not be bounced or buzzed at any level. A clean and even single stroke roll is expected.
Pieces / Studies
Candidates can express their musical identity by choosing pieces and studies from our varied repertoire lists. Candidates can further personalize their program by including an own composition.
Song List
Study List
Item | Works | Composer | Instrument | Publications | Publisher | Video |
---|---|---|---|---|---|---|
1 | Penguin Waddle | Lorne Pearcey | Timpani | Timpani Studies | Mark Aldous | |
2 | Grade 4 Study | Jan Faulkner & Jayne Obradovic | Timpani | Percussion Exam Pieces & Studies Timpani: Grades 1-5 | Trinity College London Press |
Sight reading
This test assesses candidates’ ability to perform a previously unseen musical extract, at a level approximately two grades lower than the exam being taken.
About the Test
After 30 seconds’ preparation time, candidates perform a previously unseen musical extract at a level lower than the exam being taken. Candidates choose whether to perform the test on keyboard percussion, snare drum or timpani.
Supporting Publications
For practice purposes, sample Sight-reading tests are published by Trinity College London Press in Graded Percussion Sight-Reading, Grades 1-8. Purchasing the book is not a requirement.
Aural
This test supports the development of candidates’ abilities in musical perception and understanding by requiring them to recognize musical features by ear (for example meter and pulse, pitch, performance characteristics). All questions are based on a single musical example played at the piano by the examiner.
Candidates are asked to describe various features of the music such as dynamics, articulation, texture and style. Candidates are not required to sing.
1. Listen to the melody twice times, clap the pulse on the second playing and stressing the strong beat, identify the time signature after clapping.
2. Listen to the melody twice, identify the changing tonality and the final cadence (Perfect, Plagal, Imperfect or Interrupted)
3. Listen to two notes from the melody line played consecutively and identify the interval
4. Study a copy of the piece and listen to it once as written and once with a change of rhythm and a change of pitch (both changes in the melody line)
Improvisation
This test assesses candidates’ ability to improvise fluently, coherently and creatively in response to a musical stimulus.
Rhythmic stimulus
Candidates are given a notated rhythmic stimulus, which the examiner plays twice. The examiner then invites the candidate to play it back to ensure that they have understood it. Candidates are then given time to study the test before they perform it, during which they may prepare their response aloud. 30 seconds' preparation time is given.
Musical Knowledge
This test encourages learners to understand the wider musical context of the pieces they play, as well as their knowledge of notation and their instrument. Examiners ask carefully graded questions based on candidates’ chosen pieces. Questions refer to the solo line only, and not the accompaniment. In the exam, candidates choose which piece they would like to be asked about first. Examiners then choose a second piece for the remaining questions. Candidates’ musical scores should be free of annotations which might aid their responses. Examiners usually point to the relevant part of the score when asking questions. Candidates can use American terms (eighth note, half note, etc) as an alternative to English terms (quaver, minim, etc).