Rockschool music qualifications are tailor-made for the contemporary musician.
Trumpet
Grade 8
The Grade 8 Trumpet exam is for candidates who have been typically learning for three years or more and who have fully consolidated their intermediate level playing. They have mastered the key skills up to Grade 7 and since acquired a greater use of appropriate technique, more complex rhythms, coordination and musical understanding. Candidates will have developed a good sense of expression, have a strong grasp of stylistic awareness, and there is also the opportunity to improvise which is now individual, assured, accurate and expressive.
There are three types of exams available: Grade Exam, Graded Certificate or Performance Certificate.
Estimated Examination Time:
- Grade Exam: 32 minutes (approx.)
- Performance Certificate: 30 minutes (approx.)
Purchase Your Book & Exam Entry
The Rockschool Trumpet Grade 8 book contains everything you need to sit your Grade 8 exam – in one essential book.
Trumpet Grade 8
The essential syllabus for the aspiring, contemporary Trumpeter. Rockschool Trumpet Grade 8 will ...
Graded Music Exam: Grade 8
All instruments - General guidance: Graded Music Exams Overview - How to book an exam UK / Republ...
Performance Pieces
The pieces in the grade book can be used for both the Grade Exam and Performance Certificate. The expectation and length of pieces are designed so candidates can acquire a solid understanding and execution of notation accuracy, values, evenness of sound, tone quality/consistency, technical control, articulation, expression, style awareness and sync at an early intermediate level.
Featured Repertoire:
- Trombone Shorty – Hurricane Season
- Louis Armstrong – Hotter Than That
- Average White Band – Pick Up the Pieces
- Earth, Wind & Fire – September
- Randy Crawford – Street Life
- Benny Goodman – Sing, Sing, Sing
Technical Exercises
At Grade 8 there are three groups of technical work: scales, arpeggios and a technical study.
In this part of the exam, the examiner will ask for a selection of scales (Group A) and arpeggios (Group B) drawn from the lists below. All scales and arpeggios should be prepared with tongued, legato-tongued and slurred articulation, using either straight or swung rhythms. The examiner will announce the key, scale or arpeggio type and articulation for each example.
GROUP A – Scales
Tempo: Crotchet=120 bpm
- Db major scale, two octaves
- Db major pentatonic scale, two octaves
- F# major scale, two octaves
- F# major pentatonic scale, two octaves
- Bb natural minor scale, two octaves
- Bb minor pentatonic scale, two octaves
- C# natural minor scale, two octaves
- C# minor pentatonic scale, two octaves
- B dorian mode, two octaves
- C dorian mode, two octaves
- B phrygian mode, two octaves
- C phrygian mode, two octaves
- B lydian mode, two octaves
- C lydian mode, two octaves
- B mixolydian mode, two octaves
- C mixolydian mode, two octaves
- B locrian mode, two octaves
- C locrian mode, two octaves
- C bebop dominant scale, two octaves
- C whole tone scale, two octaves
- C phrygian dominant scale, two octaves
GROUP B – Arpeggios
Tempo: Crotchet=120 bpm
- Db major arpeggio, two octaves
- F# major arpeggio, two octaves
- Bb minor arpeggio, two octaves
- C# minor arpeggio, two octaves
- C diminished 7th arpeggio, two octaves
GROUP C – Technical Study
Candidates are to perform their choice of one of the three technical studies given in the grade book. The examiner will ask which study the candidate has prepared.
Supporting Tests
Quick Study Piece
At this grade the candidate will be asked to prepare and play a Quick Study Piece (QSP). Candidates will be required to sight-read a section of notation and improvise melodies over a chord sequence. An example QSP is provided in the grade book, however, the examiner will give the candidate a different version in the exam.
The candidate will be shown the test and played the track with the notated parts played. Any bars that require improvisation will not be demonstrated. The candidate will then have three minutes to study the test with the option of a click track. The backing track will be played twice more. The candidate will be allowed to practise during the first playing of the backing track, with the notated parts now absent, before playing it to the examiner on the second playing of the backing track.
The piece will contain up to 12 bars of sight reading and up to 16 bars of improvisation, and will be written in a contemporary music genre such as:
- Rock
- Pop
- Blues
- Soul
- Jazz
- Funk
- R&B
Ear Tests
In this section, candidates are tested on their melodic and harmonic recall skills.
Melodic Recall
Tempo: Crotchet = 95 bpm
The examiner will play the candidate a two-bar melody with a drum backing, containing notes drawn from both the F# blues scale and F# dorian mode. The first note of the melody will be the root note. The candidate will play the melody back on their instrument.
The test begins with a reference root note. The melody will then be played twice. Each time the melody is played it is preceded by a vocal count-in. There will then be a short gap for the candidate to practise. After the third vocal count-in (signifying the assessed part of the test) the candidate should play the melody along to the drum backing.
Harmonic Recall
Tempo: Crotchet = 95 bpm
The examiner will play you a two-bar chord sequence in the key of C major or C minor, drawn from any diatonic chords, including sevenths. The test contains two chords per bar. You will be asked to identify the chord sequence.
The test begins with a reference root note. The chord sequence will then be played twice. Each time the chord sequence is played, it is preceded by a vocal count-in. After the second playthrough, the examiner will ask the candidate to state the chord sequence. The candidate may use chord names (C major 7, G 7 etc.) or numerals (I major 7, V 7 etc.).
General Musicianship Questions
The final part of the exam is the General Musicianship Questions (GMQs) section, where the examiner will ask five questions drawn from the topics listed below. For the notation section, the examiner will ask the candidate to choose a piece they’ve played in the exam.
Notation
The candidate may be asked to explain the meaning of a number of features found on your score, drawn from the following:
- time signature
- key signature
- tempo marking
- repeat symbols
- navigation (D.S., D.C., Coda etc.)
- articulation/expression indications and symbols
- dynamic indications
- special effects indications and symbols
The candidate may also be asked to:
- identify the pitch of any note(s) found on your score
- identify the rhythmic value of any note(s) or rest(s) found on your score
Genre
The candidate may be asked to give one example of a musical feature of the piece which is representative of its genre, for example:
- rhythmic features
- harmonic features
- melodic features
- tempo
- feel/groove
Music Theory
The candidate may be asked to describe the construction of one of the following chord types:
- dominant 9#11
Exam Structure
There are three types of exam available, a Grade Exam, Graded Certificate, or Performance Certificate.
Grade Exam
| 3 Performance Pieces (two of which may be Free Choice Pieces) | Candidates choose to play either Performance Pieces or Technical Exercises first | These account for 60% of the exam mark |
| Technical Exercises (Section A, B, C and D for Level 3 qualifications) | Candidates choose to play either Performance Pieces or Technical Exercises first | These account for 15% of the exam mark |
| Sight Reading or Improvisation & Interpretation (Debut to Grade 5); Quick Study Pieces (Grade 6 to Grade 8) | Candidates are given an unseen test to prepare and perform | This accounts for 10% of the exam marks |
| 2 Ear Tests | Candidates respond to 2 aural tests. | These account for 10% of the exam marks |
| 5 General Musicianship Questions | Candidates answer 5 questions based on one of the pieces performed | These account for 5% of the exam marks |
Graded Certificate
| 3 Performance Pieces (two of which may be Free Choice Pieces) | Candidates choose to play either Performance Pieces or Technical Exercises first | These account for 75% of the exam mark |
| Technical Exercises | Candidates choose to play either Performance Pieces or Technical Exercises first | These account for 25% of the exam mark |
Performance Certificate
| 5 Performance Pieces only (three of these can be Free Choice Pieces) | These account for 20% of the exam mark each. |
Assessment Criteria
(Please note: Graded Certificates consist of just Performance Pieces and Technical Exercises. Please see the exam structure tab for more info)
Performance Pieces
| Attainment Band | Distinction | Merit | Pass | Below Pass | Below Pass 2 |
|---|---|---|---|---|---|
| Mark Range | 18-20 | 15-17 | 12-14 | 6-11 | 0-5 |
| Command of Instrument | Consistently clear production of sound and even tone quality throughout | Mostly clear production of sound and even tone quality overall | Some clear production of sound and generally even tone quality | Sound produced is unclear with uneven quality of tone produced | No attempt and/or incomplete performance |
| Sync or Pulse | Performance consistently synchronised to the music, or an internal pulse maintained | Performance mostly synchronised to the music, or an internal pulse maintained | Performance sometimes synchronised to the music, or an internal pulse maintained | Performance not synchronised to the music, or an internal pulse not maintained | No attempt and/or incomplete performance |
| Accuracy & Understanding | all of the written music accurately performed or equivalent skills demonstrated throughout. Understanding of musical structure shown all of the time. | Most of the written music accurately performed or equivalent skills demonstrated overall. Understanding of musical structure shown most of the time. | Some of the written music accurately performed or equivalent skills generally demonstrated. Understanding of musical structure shown some of the time. | Written music not accurately performed or equivalent skills not demonstrated. Understanding of musical structure not evidenced. | No attempt and/or incomplete performance |
| Style & Expression | Consistently convincing projection of the music. | Mostly convincing projection of the music. | Some convincing projection of the music. | Music not convincingly projected. | No attempt and/or incomplete performance |
Technical Exercises
| Attainment Band | Distinction | Merit | Pass | Below Pass | Below Pass 2 |
|---|---|---|---|---|---|
| Mark Range | 13–15 | 11–12 | 9–10 | 4–8 | 0–3 |
| Command of Instrument | Consistently clear production of sound and even tone quality throughout | Mostly clear production of sound and even tone quality overall | Some clear production of sound and generally even tone quality | Sound produced is unclear with uneven quality of tone produced | No attempt and/or incomplete performance |
| Sync or Pulse | Performance consistently synchronised to the music, or an internal pulse maintained | Performance mostly synchronised to the music, or an internal pulse maintained | Performance sometimes synchronised to the music, or an internal pulse maintained | Performance not synchronised to the music, or an internal pulse not maintained | No attempt and/or incomplete performance |
| Accuracy & Understanding | all of the written music accurately performed or equivalent skills demonstrated throughout. Understanding of musical structure shown all of the time. | Most of the written music accurately performed or equivalent skills demonstrated overall. Understanding of musical structure shown most of the time. | Some of the written music accurately performed or equivalent skills generally demonstrated. Understanding of musical structure shown some of the time. | Written music not accurately performed or equivalent skills not demonstrated. Understanding of musical structure not evidenced. | No attempt and/or incomplete performance |
Ear Tests
| Attainment Band | Distinction | Merit | Pass | Below Pass | Below Pass 2 |
|---|---|---|---|---|---|
| Mark Range | 9-10 | 7-8 | 6 | 3-5 | 0-2 |
| Accuracy & Understanding | All of the written music accurately performed or equivalent skills demonstrated throughout. Understanding of musical structure shown all of the time. | Most of the written music accurately performed or equivalent skills demonstrated overall. Understanding of musical structure shown most of the time. | Some of the written music accurately performed or equivalent skills generally demonstrated. Understanding of musical structure shown some of the time. | Written music not accurately performed or equivalent skills not demonstrated. Understanding of musical structure not evidenced. | No attempt and/or incomplete performance |
Supporting Tests
| Attainment Band | Distinction | Merit | Pass | Below Pass | Below Pass 2 |
|---|---|---|---|---|---|
| Mark Range | 9-10 | 7-8 | 6 | 3-5 | 0-2 |
| Command of Instrument | Consistently clear production of sound and even tone quality throughout | Mostly clear production of sound and even tone quality overall | Some clear production of sound and generally even tone quality | Sound produced is unclear with uneven quality of tone produced | No attempt and/or incomplete performance |
| Sync or Pulse | Performance consistently synchronised to the music, or an internal pulse maintained | Performance mostly synchronised to the music, or an internal pulse maintained | Performance sometimes synchronised to the music, or an internal pulse maintained | Performance not synchronised to the music, or an internal pulse not maintained | No attempt and/or incomplete performance |
| Accuracy & Understanding | All of the written music accurately performed or equivalent skills demonstrated throughout. Understanding of musical structure shown all of the time. | Most of the written music accurately performed or equivalent skills demonstrated overall. Understanding of musical structure shown most of the time. | Some of the written music accurately performed or equivalent skills generally demonstrated. Understanding of musical structure shown some of the time. | Written music not accurately performed or equivalent skills not demonstrated. Understanding of musical structure not evidenced. | No attempt and/or incomplete performance |
General Musicianship Questions
| Attainment Band | Distinction | Merit | Pass | Below Pass | Below Pass 2 |
|---|---|---|---|---|---|
| Mark Range | 5 correct responses | 4 correct responses | 3 correct responses | 2 correct responses | 0-1 correct responses |
Performance Certificate
| Attainment Band | Distinction | Merit | Pass | Below Pass | Below Pass 2 |
|---|---|---|---|---|---|
| Mark Range | 18-20 | 15-17 | 12-14 | 6-11 | 0-5 |
| Command of Instrument | Consistently clear production of sound and even tone quality throughout | Mostly clear production of sound and even tone quality overall | Some clear production of sound and generally even tone quality | Sound produced is unclear with uneven quality of tone produced | No attempt and/or incomplete performance |
| Sync or Pulse | Performance consistently synchronised to the music, or an internal pulse maintained | Performance mostly synchronised to the music, or an internal pulse maintained | Performance sometimes synchronised to the music, or an internal pulse maintained | Performance not synchronised to the music, or an internal pulse not maintained | No attempt and/or incomplete performance |
| Accuracy & Understanding | All of the written music accurately performed or equivalent skills demonstrated throughout. Understanding of musical structure shown all of the time. | Most of the written music accurately performed or equivalent skills demonstrated overall. Understanding of musical structure shown most of the time. | Some of the written music accurately performed or equivalent skills generally demonstrated. Understanding of musical structure shown some of the time. | Written music not accurately performed or equivalent skills not demonstrated. Understanding of musical structure not evidenced. | No attempt and/or incomplete performance |
| Style & Expression | Consistently convincing projection of the music. | Mostly convincing projection of the music. | Some convincing projection of the music. | Music not convincingly projected. | No attempt and/or incomplete performance |
