TCL Grade 6 Timpani
General Info
1. Pedal-tuned timpani can be used only. 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. 4. Pieces that are published with an accompaniment may not be performed unaccompanied.
Pieces / Studies
Candidates can express their musical identity by choosing pieces and studies from our varied repertoire lists. Drum kit candidates choose two pieces with backing tracks and one unaccompanied piece, from a wide range of authentic styles including jazz, funk, show tunes, film, TV, Latin, reggae and swing. Percussionists choose from a varied selection of tuned percussion, timpani and snare drum pieces with accompanied and unaccompanied options. Candidates can further personalize their program by including an own composition.
Song List
| Item | Works | Composer | Publication | Publisher | Video |
|---|---|---|---|---|---|
| 1 | March (No. 9) | Gert Bomhof | Solo Pieces for Timpani | De Haske | |
| 2 | Memory (No. 10) | Gert Bomhof | Solo Pieces for Timpani | De Haske | |
| 3 | Swinging Timpani (No. 13) | Gert Bomhof | Solo Pieces for Timpani | De Haske | |
| 4 | Misterioso | Raynor Carroll | Exercises, Etudes and Solos for Timpani | Carl Fischer | |
| 5 | Variations | Raynor Carroll | Exercises, Etudes and Solos for Timpani | Carl Fischer | |
| 6 | Hop On, Hop Off | Lalo Davila | Timp-Tastic | Tapspace | |
| 7 | Mischievous March | David Hext | Percussion World: Timpani | Trinity College London Press | |
| 8 | Primeval Dance | John O'Reilly | Solos for the Percussion Player | Schirmer | |
| 9 | Solo II | Salvatore Rabbio | Contest & Recital Solos for Timpani | Alfred Music | |
| 10 | Solo VIII | Salvatore Rabbio | Contest & Recital Solos for Timpani | Alfred Music | |
| 11 | Experience in Six | William Schinstine | Timp Tunes | Southern Percussion | |
| 12 | Study no. 8 | Nick Woud | Symphonic Studies for Timpani | De Haske |
Study List
| Item | Works | Composer | Instrument | Publications | Publisher | Video |
|---|---|---|---|---|---|---|
| 1 | Ruthenium Rumba | Lorne Pearcey | Timpani | Timpani Studies | Mark Aldous | |
| 2 | Study No. 10 | Nick Woud | Timpani | Symphonic Studies for Timpani | De Haske |
Technical Works
Exercises
1. Tuning and pitch awareness
2. Roll development and sticking
3. Rhythmic independence and tuning
Orchestral Extracts
Candidates choose one extract to play first. Examiners then selet one of the remaining two extracts to be performed.
1. Beethoven: Sinfonie Nr. 1 - 3. Satz: Menuetto
2. Mozart: Die Zauberflote - Ouverture
3. Tchaikovsky: Sinfonie Nr. 4 - 1. Satz
Materials can be found in the Orchester Probespiel: Pauke/Schlagzeug.
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.
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 candidate's abilities in musical perception and understanding by requiring them to recognize musical features by ear. All questions are based on a single musical example played at the piano by the examiner.
About the Test
1. Listen to the piece once and Identify the time signature
2. Listen to the piece once and comment on the dynamics
3. Listen to the piece once and comment on the articulation
4. Listen to the piece twice and comment on three other characteristics of the piece
5. Study a copy of the piece, listen to it twice with three changes, locate and describe the changes as pitch or rhythm.
Supporting Publications
For practice purposes, sample Sight-reading tests are published by Trinity College London Press in Aural Tests Book 2 from 2017 (Grade 6-8). Purchasing the book is not a requirement.
Improvisation
This test assesses candidates’ ability to improvise fluently, coherently and creatively in response to a musical 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 60 seconds’ preparation time, during which they may prepare for their improvisation aloud.