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Set Work Module

In most examination questions about works that candidates have studied before the exam, candidates must refer to the score in their answers.  Fortunately, some years ago Trinity College decided to allow candidates to take their scores into the examination room – as long as “bars are numbered correctly, beginning afresh with each movement.  Otherwise the score must be unmarked.”

There is a choice of answering two questions in the examination. 

The first question is a series of questions about the set work  These usually focus on harmony and structure, although questions can include other aspects too (such as types of texture, tonality, melodic decoration and development). Some of this material is covered in Intermediate and grade 6 courses, although the AMusTCL course will cover them in much greater detail. 

The second question is an essay.  In past examinations, questions have asked candidates to discuss such issues as whether the work is typical of its genre, whether it is a virtuoso work, or how the composer gains a sense of unity - or to discuss a statement about the work by a music theorist.

(If you are not experienced in writing essays about set works for an English examination, you should study the Processing Information section of the Musical Knowledge module.)

It is obvious from the some of these topics that you do not need to know about only the work you have studied.  Indeed, Trinity College have made it clear in the past that “the candidate should demonstrate an understanding of the stylistic and historical aspects of the set works as well as their structure and form.”  Unlike many other examinations, you can not gain high marks simply by analysing the score;  you should be familiar with other works written at the same time, before or after the work being studied.   This is covered to some extent in the Musical Knowledge Module;  however that is about music in general.   There are scores of music by the same composer and by different composers, so you can compare their instrumentation, structure and style.  Some of the questions focus on one movement in particular - so you have to know each movement well. There are detailed notes about each.  There is also some advice given by Trinity College about studying scores.

These works for examinations in 2025-2028 are covered:

Bach, Partita  no.6 in E minor
Mozart, Così fan tutte (Act 1 only)
Saint-Saëns, Symphony no.3 (organ) (passages including organ only)
Note:  Please consult the Trinity College website for passages of the Saint-Saëns that are included, and how they are to be numbered.

The material about the Bach includes information about Baroque dances (French and Italian), the Baroque Suite, influences on the composer, notes about the work, and its place in the composer's output, as well as the instrument for which it was written. For each movement there are notes and a detailed analysis.  The work is presented in its context - related to the composer's life, musical developments in the period before the work was written, the development of free-form music, other works of this type, and instrument(s) used.  There are short-answer and essay questions (in the style of those asked in past examinations).

The material about the Mozart includes information about influences on the composer, notes about the work, and its place in the composer's output, as well as the instrument for which it was written. For each movement there are notes and a detailed analysis.  The work is presented in its context - related to the composer's life, musical developments in the period before the work was written, the development of free-form music, other works of this type, and instrument(s) used.  There are short-answer and essay questions (in the style of those asked in past examinations).

The material about the Saint-Saëns includes information about influences on the composer, notes about the work, and its place in the composer's output, as well as the instrument for which it was written. For each movement there are notes and a detailed analysis.  The work is presented in its context - related to the composer's life, musical developments in the period before the work was written, the development of free-form music, other works of this type, and instrument(s) used.  There are short-answer and essay questions (in the style of those asked in past examinations).

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