Choosing pieces for a Trinity College London Jazz Woodwind exam isn’t solely about selecting what you enjoy playing - it’s paramount that you also meet the specific requirements of the syllabus. From the number needing to be performed, to the balance of styles and improvisation, every choice matters. In this post, we break down what to look for so you can select pieces that fit the criteria and set you up for a confident performance.
Exam level and format
If you’ve read any of our previous blogs or are already entering for Trinity exams, you’ll be familiar with the range of formats available. Nonetheless, it's important to note that there are differences in requirements between face-to-face and our two different types of digital exams: Technical pathway and Repertoire-only pathway. The requirements/assessed areas for each of these exams are as follows:
Face-to-face
- 3 pieces
- Technical work
- Supporting tests
Digital: Technical pathway
- 3 pieces
- Technical work selection
- Overall performance
Digital: Repertoire-only pathway
Common requirements across all Jazz Woodwind exams
Pieces are divided into two groups: Group A and Group B. Group A pieces are accompanied, whereas Group B pieces must be performed unaccompanied.
Candidates choose three pieces - four for Repertoire-only pathway exams – including at least two pieces from Group A and one from Group B.
One or two of the pieces performed must contain an improvisation section. These pieces are indicated on the repertoire list with an asterisk (*).
One of the pieces performed may be exchanged for another from the same group on the corresponding Classical repertoire list.
For all exams, one piece performed may be an own composition. However, where an accompanied own composition is performed, this must replace a Group A piece. Similarly, an unaccompanied own composition must replace the Group B piece. Any accompaniments should not be overly supportive of the candidate part, so that an assessment can be made. Please refer to the Jazz Woodwind syllabus for the parameters for writing your own composition.
Repertoire lists
Full repertoire lists for the instruments covered in this post can be found below:
Face-to-face and Technical pathway example piece selections
Grade 1 Jazz Flute
- Chill! By Rae – Group A
- Module 1 B* by J Wilson – Group A
- Funky Pheasant, no. 13 by Mower – Group B Grade 1 Flute
Grade 4 Jazz Clarinet
- Module 4 A* by J Wilson – Group A
- Truffle Takes a Stroll by Degg – Group A Grade 4 Clarinet
- Study no. 18 by Stokes – Group B
Grade 6 Jazz Saxophone
- Old Devil Moon* by Harburg & Lane, arr. Bennett – Group A (either Alto/Baritone Saxophone in Eb or Soprano/Tenor saxophone in Bb)
- City Awakening* by Budgen – Group A (Alto/Baritone Saxophone in Eb)
- Changing Times by Buckland – Group B
- It Don’t Mean a Thing by Ellington arr. Rae – Group A (either Alto/Baritone Saxophone in Eb or Soprano/Tenor saxophone in Bb)
Repertoire-only pathway example piece selections
Grade 3 Jazz Saxophone
- Don’t Get Around Much Anymore by Ellington – Group A (Alto/Baritone Saxophone in Eb)
- It Don’t Mean a Thing by Ellington arr. Rae – Group A (either Alto/Baritone Saxophone in Eb or Soprano/Tenor saxophone in Bb)
- Who’s Got the Answer?* by Miles – Group A (either Alto/Baritone Saxophone in Eb or Soprano/Tenor saxophone in Bb)
- Pecking and Preening by Morrison – Group B
Grade 5 Jazz Flute
- Dig It!* by Lopez-Real – Group A
- Blah-blah-blah!* by Miles – Group A
- Woodland Hoot by Nightingale – Group B
- Empire Building by Scott – Group B Grade 5 Flute
Grade 8 Jazz Clarinet
- I’m in the Mood for Love* by Fields & McHugh, arr. Taylor – Group A
- Slipped Disc by Goodman – Group A
- Soliloquy & Burlesque by Harris – Group A Grade 8 Clarinet
- Sheikh Rock ‘n’ Roll by Gumbley – Group B
Want to know more about our Jazz Woodwind exams? Or would you like further guidance about choosing repertoire for Classical Flute, Clarinet and Saxophone exams? Check out our other recent blogs:
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