Tower Hill (Farnaby); Sonata in A minor (Cimarosa); Allegretto (from Sonatina in G major, op. 55 no. 2) (Kuhlau); Étude no. 23 (from Études enfantines, op. 37) (Lemoine); Sicilienne (no. 11 from Album for the Young op. 68) (Schumann); Valse (no. 5 from Biriulki, op. 28) (Maykapar); Forty Winks (Tanner); Lights in the Rearview (Crosland); Calypso (Knowles); Please Count (Petot); Balloons in the Air (Taneva); Remembrance (Mifsud)
The benchmarking is consistent, there’s a wide range of styles and
periods and most importantly the music is very attractive to the
ear!....Having reviewed the Trinity syllabus for 2018–2019, I think
they have made significant improvements. Notably, they seem now to
have a stronger commitment to the Classical Canon. It is
encouraging to see the inclusion of music that supports development
towards the higher grades: sonatina movements and contrapuntal
pieces in two parts are featured, and this is most welcome.
Karen Marshall, European Piano Teachers Association, August 2020
.…when it comes to syllabus design that supports educational and
musical excellence, it now seems to me that TCL have delivered the
new number one choice, a syllabus that ticks every box. Welcome to
the new “Gold Standard".
Andrew Eales, pianodao.com, August 2020 The exceptionally
wide-ranging, new piano syllabus launched by Trinity last week goes
out of its way to provide maximum flexibility and opportunity for
candidates to flourish. The two-list format is quite different from
ABRSM, and even though numerous pieces in both boards interchange
and connect from grade to grade, the current Trinity list
prioritises flexibility and freedom of choice to an exceptional
extent. The sheer number of choices on offer is staggering, and
though past syllabus material is present, the fact that candidates
themselves have not known the music previously means that they are
presented throughout the whole selection with an extremely diverse
and contrasted range.
Murray McLachlan, European Piano Teachers Association, August 2020
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