Does any know of any details, useful stuff, examples, etc of the improvisation section of the TG exams?

I've found the stuff in the syllabus to be terribly vague....

I don't think that you are the only one.

Oh good...

What do you want to know? I did grade 8 jazz flute in dec and also did grade 6 and 7 jazz with them. I'll try to answer any questions you have.

I mean the classical exams rather than the jazz ones. I assume the improv is different.

Ah sorry! Hmm I'm not sure. But I think you can just take an impro piece instead of doing scales or something like that?

It's instead of aurals - I thought it would be interesting!

More fun! Although, putting on my serious hat , aural is very important!

Their published material is very vague, but apparently there is more on its way. I have had a few take this option, and all have had 8 or 9 marks out of 10, including a 9 for a grade 7 which I was pleased with (she was not doing A level music and would have really struggled with the style questions in the aural). Having spoken to the two examiners we have had so far: length of the improvisation is important, don't make it too short, although at earlier grades they are only expecting a few bars - I get students to play it in 4 beats per bar, not 2, at this stage. Style is up to you - jazzy, folk, completely avante garde etc. The given notes are only a guide, so you use these as basic idea. I get students to make sure they use the given notes in the first phrase and then extend it from there. DYNAMICS are really important! I introduce this by playing two bars followed by student playing two bars and so on, varying the style, articulation etc.

I thought the information on this was vague too, but I let a Grade 3 (pianist) have a go none-the-less and he got full marks. It was the melodic option; the examiner (up to Grade 3) plays a short opening in the key of C, F or G, without harmony, gives the candidate the score of what he has just played, allows a quick practice, and then it's the real thing. The examiner's comment was that the 'improvisation maintained the rhythm, style and tonality of the opening', so this must be what they're looking for at this stage. In other words, it wouldn't do to have something pre-prepared that you were hoping to use for any eventuality. (I haven't looked too closely at higher grades, but I would assume that modulation comes into play at some stage.) At this level it's optional to add a LH harmony, but my pupil did, since it was in C, and he felt able to cope with this - one chord per bar. According to the syllabus, this is 'optional, but credit will be given if it's attempted'.

I had forgotten to mention, though, to the pupil that there were actually other options that we could have done; I had only covered the melodic one in lessons, so when the examiner asked him, 'Are you doing the melodic, chordal or rhythmic option?', he hadn't a clue what he was talking about. So if you give the improvisation option a try, do remember to tell the pupil - or write on the appointment slip - which option he intends to do! The examiner managed to work it out after the boy explained what he had done with me, but I think he had a moment's panic!

I'll definitely be doing this again with others after this. However, I've been a little surprised at how many pupils just can't make a few notes sound like music! Maintaining the given time signature seems more difficult for some than I would have imagined too! But it has all opened up a whole new ball-game in lessons, since I started trying this with more pupils. Even with young beginners, if you teach them basic LH chords, even though it's optional in the exams, they can have good fun trying to harmonise simple little tunes that they've already played or made up. And it gets them listening.

They have published a series of little books covering this option *goes to see if she can find one*

*aha*

From Extemporization to Improvisation, A Practical Guide, by David Wright is the volume I can find - there are also two Aural Awareness and Extemporization books, published 1997. The one I have covers the sort of approach needed for grades 6-8 and Music Education Dips, and I think the other two will be the ones for the earlier grades. Examples are given, with possible solutions and also, where material has been taken from composers, the composers' completions. The books are little, but I can't see how much the one I found cost me - I enjoy doodling around, so had wondered about trying this option in an exam, but I see it still needs a fairly systematic approach, and it does become clear that they have particular goals in mind.

I found these books in a local bookshop, but bought up their last copies, and have not seen any more since. Trinity's publicatons page on their website give a link to a pdf file of their current publications; there is an improvisation book on there, but seems to be aimed at ATCL level. It might still provide useful groundwork though.

Thanks, this is really helpful!


Right - it wasn't clear to me from the syllabus whether one got the score for all 3 options - it mentioned it in the rhythm and harmony ones but didn't seem to in the melody one


Thanks, a, sounds like a useful resource!

Thanks guys - knew I could rely on the folks on this board

Forgot to say that my lot have all chosen the melodic option, but the examiners' haven't played them the notes first, as with Dulciana's student. They were asked to sightread the notes first and then start.

I have also been very clear for the examiners - writing everything with an option on the appointment slip - down to what type of minor scales they are doing - as there can be a considerable amount of confusion in the wording, especially for younger students!