Montana
Piano Curriculum Guide
3rd Edition, 2005
Montana State Music Teachers Association
Affiliate with Music Teachers National Association
We, the undersigned, hereby agree to assign to Montana State Music Teachers Association, for use by the membership, all of the material prepared by us under the title MONTANA PIANO CURRICULUM GUIDE, dated 2005, and completed in 2006, which includes technic, theory, history, sight reading, ear training, transposition, improvisation and repertoire.
Dated this 1st day of November, 2005.
(Signed) Kathleen Guehlstorff ,   Margaret McGillvray
1981, 1986, 2005 Montana State Music Teachers Association
Preface to the 3rd Edition:
Theory and Technic
The goals and basic information found in previous editions of the Montana Piano Curriculum Guide have been retained in this edition. The guide is intended to be used for the following purposes:
1. To assist piano teachers in designing lesson plans
2. To assist students in reaching specific goals
3. To assist teachers that wish to participate in Student Advancement programs
4. To assist teachers in the process of Certification
5. To serve as the state standard for pedagogical quality in piano teaching
We revised the Second Edition of the Piano Curriculum Guide for the following reasons:
· Simplicity and Clarity:
We have simplified both language and format in the Theory and Technic sections of each level to make them easier to read and to use.
· Ease of Editing:
The previous editions were typewritten and editing was a long and laborious process. We now have a word-processed edition that will make editing easier in the future.
· Updating Ear Training and Improvisation:
The previous edition did not have sufficient activities or continuity between levels in ear training and improvisation to fit with contemporary ideals. We have broadened both of these categories and brought them up to date.
· Sight reading:
We have adjusted the levels required for sight-reading to make them commensurate with today’s standards.
· Continuity:
Each subject or activity has been graded so that there is reasonable continuity
between levels.
Acknowledgements:
We would like to honor the writers and editors of the previous editions of the Piano Curriculum Guide: Priscilla B. Parlato, Bronetta Snyder, Millie Marsh, Mary O. Butler, Jean Rohrer, and Dorcas Zimmerman. Their commitment of time, energy, and expertise to create the original Piano Curriculum Guide for the MSMTA members is an incredible and lasting gift. We thank them all with grateful hearts. In addition, we would like to thank Jean Rohrer and Charlene Waddingham for their many hours of generous assistance on the current edition. We couldn’t have done it without them!
Sincerely,
Kathleen Guehlstorff
Margaret McGillvray
November 1, 2005, Billings

 

 

 

 

 

 

 

 

Level One

Technic

Pentascales - A pentascale is a five finger pattern consisting of the first five notes of a scale. Given the name of any major or minor pentascale play the following finger patterns in that pentascale position, hands together

Ex. #1

Ex. #2-RH: 13-24-35-42-1 LH: 53-42-31-24-5

Ex. #3-RH: 1321-2432-3543-2432-1 LH: 5345-4234-3123-4234-5

Theory

Intervals

  • Define interval as the distance between two notes
  • Recognize the difference between melodic and harmonic intervals
  • Shown notes a step (2nd) or skip (3rd) apart, name and identify the interval
  • Given a note representing any white key on either staff, draw another note a step or skip above or below it.

Harmony - Name the tonic and dominant tones in any major or minor key

Notation

  • Notate and identify a grand staff showing a brace, treble clef sign, bass clef sign, time signature, measures, a barline, a double bar, and repeat signs
  • Notate and name all space and line notes from bottom space F to top space G
  • Notate and determine the number of beats for each of the following:quarter, half, dotted half and whole notes; tied half notes; quarter, half and whole rests
  • Recognize, notate, and demonstrate symbols forstaccatoandlegato
  • State the function of a sharp, flat, or natural symbol

Rhythm - Given measures of Level One notation:

  • Name the appropriate time signature(2/4, 3/4, 4/4)
  • Number the beats
  • Add barlines
  • Finish incomplete measures of notation
  • Identify and define a tie

Form and Structure - Shown a simple melodic period made up of two

four-measure phrases:

  • Use slurs to mark the question and answer phrase
  • Label each phrase

Terms and Symbols - Define:

  • Ritardando(ritard,rit) - gradually slowing the tempo
  • Adagio -slow
  • Andante -a walking tempo
  • Moderato -moderately
  • Allegro -fast, with life
  • Piano- soft
  • Mezzo piano- moderately soft
  • Mezzo forte- moderately loud
  • Forte -loud

History - Identify the name and nationality of each composer of student's repertoire

Ear Training - Identify steps, skips, and repeated notes within a pentascale, and

indicate which tone is higher or lower

Transposition - Transpose five-finger melodies to two keys of choice

Preparing for Improvisation - Explore keyboard sounds and colors by improvising

short compositions; use tone clusters, high and low pitches, glissandos,

pedaling, and touch technic.

Level Two

Technic

Pentascales - Play Level One Exercise #1 in any major or minor pentascale

position using the following variations:

  • Either handstaccatowhile the other playslegato
  • Two note slur groups
  • Contrary motion
  • Arpeggios- two octaves hand over hand

Scales

Major white key scales of C, G, D, A, E, B, F

  • Hands together, one octave ascending and descending in parallel motion with no repeated notes

Chromatic scale:

  • Hands separately, one octave, ascending and descending

Cadences - With upper case Roman numerals representing major chords, play

authentic cadences (I V I) or (I V7 I) from the root position of the I chord in

all white keys.

Theory

Scales

  • For any one octave white key scale in both treble and bass clefs:

1. Notate the proper sharps or flats to alter individual notes

2. Notate the proper sharps or flats in the key signature

Intervals - Identify and notate half and whole steps

Cadences

  • Notate and identify an authentic cadence in both treble and bass clef, from the root position of the I chord using white key major scales
  • Identify and label authentic cadences for all white key major scales

Notation

· Notate and determine the number of beats for each of the following in 4/4 time:dotted quarter, eighth, and beamed eighth notes, and dotted quarter and eighth rests

  • Notate the seven sharps and flats in order

Rhythm - Given measures of notation in 2/4, 3/4, and 4/4:

  • Name the appropriate time signature
  • Number the beats
  • Add barlines
  • Finish incomplete measures

Form and Structure

  • Recognize and define A B or A B A form.A B form is binary with the parts being similar to the verse/chorus of a song.A B A or ternary form compares to the chorus/verse/chorus of a song.
  • Recognize and define first and second endings

Pedal - Define the basic function of the damper pedal

Terms and Symbols - Define:

  • 8va / all'ottava- one octave higher or lower
  • Diminuendo -gradually becoming softer
  • Crescendo -graduallybecoming louder
  • Allegretto -a lively tempo, slower than Allegro
  • Andantino -slightly slower thanAndante
  • Fermata - pause or hold
  • Accent - stress, emphasis upon a note

History - Identify the name and nationality of each composer of student's repertoire

Sight Reading - Sight-read Level One pieces

Ear Training

  • Distinguish between major and minor triads
  • Recognize and identify the I-V7-I progression (played from the root position of the I chord) as an authentic cadence, and give the numerical names of the chords
  • Recognize and identify the diatonic intervals of any major or minor pentascale when played from the tonic

Transposition - Transpose five-finger melodies to any major or minor key

Improvisation - Create a four or eight bar question and answer melody in a pentascale

position

Level Three

Technic

Pentascales - Play Level One Exercise #1 in all major or minor pentascale positions

using the following variations:

  • Either handfortewhile the other playspiano
  • Follow acrescendo-diminuendopattern
  • Play in four note slurs

Triads - Play tonic triads in all inversions and in any major or minor key moving up and down the keyboard, hands alone

Scales

  • All major white key scales, one octave in quarter notes, hands together in parallel and contrary motion, ascending and descending
  • All major black key scales (Db or C#, Eb, Gb or F#, Ab, Bb) one octave in quarter notes, hands together in parallel motion, ascending and descending
  • Chromatic scale, hands separately, two octaves, ascending and descending

Cadences - Play authentic (I V I) and plagal (I IV I) cadences from the root position

of the I chord in all major keys, hands separately, using blocked chords

Theory

Scales

  • For any one octave major scale in treble and bass clefs:

1. Notate the proper sharps or flats to alter individual notes

2. Notate the proper sharps or flats in the key signature

  • Notate and identify key signatures in all major keys

Intervals - Identify and notate the interval relationship between the tonic and any

higher note of a white key major scale: PU, M2, M3, P4, P5, M6, M7, and PO

Triads - Notate any major or minor triad

Cadences

  • Notate and identify an authentic cadence and a plagal cadence in both treble and bass from the root position of the I chord in any key
  • Label notated cadence chords

Notation - 6/8 meter- Notate, identify, and determine the number of beats for each of

the following combinations in 6/8 time: three beamed eighth notes, a quarter

note and eighth note, a dotted quarter note, a dotted half note, and a dotted

quarter rest

Rhythm - Given measures of notation in 6/8:

  • Name the appropriate time signature
  • Number the beats
  • Add barlines
  • Finish incomplete measures

Time Signatures - Define Common Time and Cut Time

Circle of Fifths - Label the major keys in the Circle of Fifths

Terms and Symbols - Define:

  • Presto -very fast
  • Largo- very slow, broad
  • D.C. al Fine -Repeat from the beginning to the wordFine(end)
  • Fortissimo -Very loud
  • Pianissimo -Very soft
  • Loco- play the notes as written
  • 15ma / 8va double, quindicesima - two octaves higher or lower
  • simile- same as
  • sempre- always
  • ledger lines - short lines written above or below the staff
  • rallentando- slowing down gradually
  • Alberti Bass - 18thcentury broken chord accompaniment for the piano, often associated with Sonatas and Sonatinas

History

  • Identify the name and nationality of each composer of student's repertoire
  • Identify Bartolomeo Cristofori as the Italian manufacturer who invented the pianoforte in 1709.Describe the significance of this invention
  • Identify the 18thcentury Italian composer Domenico Alberti as the originator of Alberti Bass

Sight Reading - Sight-read Level One pieces

Ear Training

  • Recognize and identify any diatonic interval of a major scale when played from the tonic
  • Distinguish between a 3/4 and 4/4 rhythmic pattern
  • Rhythmic Dictation - Notate rhythmic patterns in 3/4 or 4/4 time using Level One Notation, include time signature and barlines

Transposition - Transpose five finger melodies accompanied by I and V or V7 chords

Improvisation - Given a simple folk tune, improvise by changing octave placement,

dynamics, major to minor, or rhythm

Level Four

Technic

Pentascales - Play any major or minor pentascale in the following four-measure rhythmic variations:

Scales - Played at MM = 60

  • All major scales, two octaves in eighth notes, hands together in parallel and contrary motion, ascending and descending
  • All harmonic minor scales, one octave in quarter notes, hands together in parallel motion, ascending and descending
  • Chromatic scale, maintain Level Three technique

Cadences

  • Play a complete authentic cadence (I- IV-I-V7-I ) from all positions of

the I chord in all major keys, hands separately

  • Play a half cadence (I-V) from all positions of the I chord

Arpeggios - Play four octave arpeggios, all keys, ascending and descending

hand over hand, adding the root on top

Theory

Scales

  • Define the natural and harmonic forms of the relative minor scales
  • For any one octave major, natural minor, or harmonic minor scale:

1. Notate the necessary sharps or flats to alter individual notes

2. Notate the proper sharps or flats in the key signature

Intervals - Notate the intervals that occur above the tonic in any harmonic

minor scale: PU, M2, m3, P4, P5, m6, M7, PO

Cadences

  • Notate and identify a complete authentic cadence, both treble and bass from the root position of the I chord in any major key
  • Identify and label the chord roots for any authentic, plagal, complete authentic, or half cadence

Notation - Notate and identify sixteenth notes and rests, and triplets

Rhythm - Given measures written in 2/4, 3/4, 4/4, 3/8, or 6/8

  • Name the appropriate time signature
  • Number the beats
  • Add barlines
  • Finish incomplete measures

Form and Structure

  • Theme and Variations:

1. Define Theme and Variations

2. Given an example of Theme and Variations, identify the form

  • 12 Bar Blues: Define 12 Bar Blues where each numeral represents one measure IIII - IVIV - II - V - IV (or V) - II

Pedal - Define the basic function of the una corda pedal

Circle of Fifths - Construct the Circle of Fifths and describe the relationship

between neighboring keys

Terms and Symbols - Define:

  • A tempo- return to the original tempo
  • Accidental - any chromatic sign not found in the key signature
  • Enharmonic tones - spelling notes two different ways
  • Triplet - three notes played in the same time as two notes of the same value

History

  • Identify the name and nationality of each composer of student's repertoire
  • Match well known composers to the following periods of music: Baroque, Classical, Romantic, and Contemporary

Sight Reading - Sight-read Level Two pieces

Ear Training

  • Recognize and identify a plagal cadence, I - IV - Iprogression, in root position
  • Recognize and identify diatonic intervals of the harmonic minor scale when played from the tonic
  • Distinguish between a 2/4 and a 6/8 rhythmic pattern
  • Rhythmic Dictation - Notate rhythmic patterns using Levels One - Two Notation, include time signature and barlines

Transposition - Transpose a Level One composition in one of the following ways:

  • Move composition up or down a whole step
  • Transpose to any major or minor key

Improvisation - Improvise a simple eight-bar folk tune with a blocked chord

accompaniment using I, IV, and V7 chords. Add neighboring and passing

tones along with Level Three Improvisation techniques.

Level Five

Technic

Scales - Played at MM = 60

  • All major scales, two octaves in eighth notes, three octaves in triplets, hands together in parallel and contrary motion, ascending and descending
  • All harmonic minor scales, two octaves in eighth notes, hands together in parallel motion, ascending and descending
  • Chromatic scale, two octaves, hands together, ascending and descending

Cadences - Play a complete authentic cadence in all major (I - IV - I - V7 - I) and

harmonic minor (i - iv - i - V7 - i) keys from all three positions of the one chord,

hands separately

Triads - Play any specified major, minor, augmented, or diminished triad, hands

separately, in all inversions moving up and down the keyboard, blocked and

broken

Arpeggios - Play four octave arpeggios, all keys, ascending and descending hand

over hand, adding the root note on top

Theory

Scales

  • Notate a one-octave chromatic scale, ascending (using sharps as accidentals) and descending (using flats as accidentals) in both treble and bass
  • Name the degrees of a scale:tonic, supertonic, mediant, sub-dominant, dominant, submediant, leading tone/subtonic, and tonic

Intervals - Notate and identify major, minor, and perfect intervals above any given

note

Triads - Notate and identify any major, minor, diminished, or augmented triad in any

inversion

Cadences

  • Notate any complete authentic cadence, both treble and bass, from all positions of the I chord in any major or harmonic minor key
  • Identify and label notated complete authentic cadence chords (from all positions of the I chord) in all keys and name the chord roots

Notation

  • Identify double sharps and flats and state their function
  • Notate and identify thirty-second notes and rests

Rhythm - Given measures written in 2/4, 3/4, 4/4, 6/8, or 3/8 using Levels One

through Five Notation

  • Name the appropriate time signature
  • Number the beats
  • Add barlines
  • Finish incomplete measures

Form and Structure

  • Sonata and Sonatina - Write a description of the typical classical sonata.Sonatas usually have three or four contrasting movements; sonatinas are simpler examples of the form.
  • Sonata-allegro form - This form generally applies to the first movement of a sonata, although it is occasionally employed in other movements. The three sections of the form frequently used are outlined below:

1. Exposition - states two contrasting themes in closely related keys

2. Development - develops exposition material, adds new material and utilizes key changes

3. Recapitulation - restates exposition material in the tonic key

Introductions and codas (ending, "tail") are sometimes used in sonata-

allegro form

Terms and Symbols - Define:

  • Poco a poco -little by little
  • Cantabile- singing style
  • Dolce- sweet
  • Molto- very, much
  • Espressivo- with expression
  • Maestoso- majestic
  • Con moto- with motion

History

  • Identify the name and nationality of each composer of student's repertoire
  • State facts about the following composers:J.S. Bach, Clementi, Schubert, and Bartok. Include the composer's nationality, forms commonly used, the title of one well-known composition, and the compositional period.

Sight Reading - Sight-read Level Two or Three pieces

Ear Training

  • Recognize and identify the I - IV - I - V7 - Iprogression in root position asa complete authentic cadence, notate the numerical chord symbols
  • Rhythmic dictation - Notate rhythmic patterns using Levels Two - Three Technic/Pentascales.Include the time signature and barlines
  • Preparation for sight singing - given any tone as a root, sing the notes of a major scale usingsolfeggioor numbers.

Transposition - Transpose a Level One or easy Level Two piece to a related key

Improvisation

  • Improvise a 16 bar question and answer melody with a blocked chord accompaniment using I and V7 chords
  • Improvise a 12 bar blues using blocked chords in the bass

Level Six

Technic

Scales - Played at MM = 60

  • All major scales, one octave in quarter notes, two octaves in eighth notes, three octaves in triplets, and four octaves in sixteenth notes, hands together in parallel motion, ascending and descending
  • All harmonic minor scales hands together, ascending and descending:

1. Parallel motion - two octaves in eighth notes

2. Contrary motion - one octave in quarter notes

  • Play any scale of choice, one octave in parallel motion, ascending and descending, hands together in 2/4 time using these rhythms:

Cadences

  • Play a Complete Authentic Cadence in all major keys from all positions of the I chord, hands separately
  • Play a Half Cadence (I - Vori - V) in all major and harmonic minor keys from any position of the I chord, hands separately

Chords - Play blocked Dominant Seventh Chords in all inversions, ascending

and descending, hands separately in quarter notes. Dominant Seventh

Chords are the same for a major key and its parallel harmonic minor

Arpeggios - Play any major root position arpeggio, hands separately, two

octaves, both ascending and descending. Avoid using the thumb on the

black key tonic except in F# or Gb where all keys are black.

Theory

Scales

  • Define parallel minor
  • Given a major, notate its one octave parallel minor scale

Intervals

  • Given a note on either staff, notate any diminished or augmented interval above or below it
  • Identify any notated augmented or diminished interval

Chords - Notate the Dominant Seventh Chord of any major or parallel minor

key in all inversions

Cadences - Identify a half cadence from all positions of the I chord in all keys

Form and Structure - Rondo - (ex. A B A C A)

  • Principle Theme - opening recurring material
  • Digressions - contrasting sections

A Rondo should include at least five sections with a minimum of three

statements of the principle theme.

Pedal - Define legato / harmonic, rhythmic, and melodic pedaling

Terms and Symbols - Define:

  • Sforzando- sudden emphasis of tone or chord
  • Tenuto- hold for the full value of the note
  • Opus- work, a composition

History

  • Identify the name and nationality of each composer of chosen repertoire
  • State facts about the following composers:Handel, Kuhlau, Mendelssohn, and Kabalevsky. Include the composer's nationality, forms commonly used, the title of one well-known composition, and the compositional period
  • Identify the harpsichord, a keyboard instrument popular in the 14thcentury.This fore-runner of the piano uses a mechanism that plucks the string.

Sight Reading - Sight-read any easy Level Three piece

Ear Training

  • Recognize and identify Major, minor, diminished, or augmented triads in root position
  • Rhythmic Dictation - Notate rhythmic patterns using Level Four Technic/Pentascales

· Preparation for Sight Singing - Sing the diatonic intervals of any major or minor pentascale from the tonic

Transposition - Transpose a Level Two piece to a related key

Improvisation

  • Improvise a 16 bar question and answer melody with a march or waltz bass using I,IV, and V7 chords
  • Improvise a 12 bar blues using a ground bass pattern of choice

Level Seven

Technic

Scales - Played at MM = 72

  • All major scales, one octave in quarter notes, two octaves in eighth notes, three octaves in triplets, and four octaves in sixteenth notes, hands together in parallel motion, ascending and descending
  • All harmonic minor scales hands together ascending and descending:

1. Parallel motion - two octaves in eighth notes

2. Contrary motion - one octave in quarter notes

  • Rhythmic scale exercise - Play any scale three octaves in parallel motion, hands together, ascending and descending in 2/4 meter using these rhythms:

Cadences - Play a Complete Authentic Cadence in any harmonic minor key

(i - iv - i - V7 - i) from all three positions of the i chord, hands together, with each hand playing blocked quarter-note chords

Seventh Chords - Given a root note, play the following blocked chords, hands

separately:

  • Major seventh (M7),
  • Dominant or major-minor seventh (V7 or Mm7)
  • Minor seventh (m7)
  • Half-diminished seventh (half d7)
  • Fully diminished seventh (d7)

Arpeggios - Play any minor root position arpeggio, hands separately, both

ascending and descending. Avoid using the thumb on the black key tonic

except in eb minor.

Theory

Scales

Notate a whole tone scale in either treble or bass, one octave beginning on

either C or Db

Intervals - Given a note on either staff, notate any major, minor, diminished,

augmented, or perfect interval below it.

Triads - Notate the diatonic triads of any major or minor scale

Seventh Chords

  • Notate the Level Seven Technic seventh chords
  • Identify the Dominant Seventh Chord of any key in any position
  • Using chord symbols, label any Level Seven Technic seventh chord

Form and Structure

  • Binary (A B) and Ternary (A B A) - Recognize and define.These forms begin and end on the tonic usually modulating in the contrasting section to a closely related key.
  • Polonaise and Mazurka - Polish dances in 3/4

Pedal - Define the basic function of the sostenuto pedal

Terms - Define:

  • Con brio- with spirit
  • Portato- half way betweenlegatoandstaccato
  • Scherzando- playfully
  • Marcato- marked or stressed
  • Alla breve- cut time

History

  • Identify the name and nationality of each composer of student's repertoire
  • Identify style characteristics of the following periods of music:

1. Baroque - polyphony, ornamentation

2. Classical - strong dynamic contrasts, well defined structure, prominent cadences

3. Romantic - sentimentality and melancholy, increased chromaticism and harmonic innovation resulting in thicker and more colorful textures

4. Contemporary - movement away from a tonal center, greater use of dissonance

  • State facts about the following composers:D. Scarlatti, Mozart, Chopin, and MacDowell. Include the composer's nationality, forms commonly used, the title of one well-known composition, and the compositional period.

Sight Reading - Sight-read Level Three and early Level Four pieces

Ear Training

  • Recognize and Identify a Complete Authentic Cadence, give the numerical chord names, and specify whether the V or V7 was used
  • Recognize and identify major and minor triads played in any inversion and specify the inversion
  • Rhythmic dictation - Notate rhythmic patterns using Levels Three and Four Notation

Transposition - Transpose any Level Three piece

Improvisation - Improvise in one of the following ways:

  • Add chord tones to the melody for a fuller sound
  • Add non-harmonic tones
  • Arpeggiate chords
  • Add sixths or sevenths to triads
  • Alter the rhythmic structure

Level Eight

Technic

Scales - Played at MM =72

  • All keys, hands together, one octave in quarter notes, parallel motion, ascending and descending in this sequence:

1. Major

2. Parallel harmonic minor

3. Relative harmonic minor

  • Rhythmic scale exercise - Play any scale in parallel motion, hands together beginning two octaves apart, ascending and descending in the following way:one hand playing two octaves in eighth notes while the other hand plays one octave in quarter notes

Cadences - Play an Authentic, Plagal, or Complete Authentic four voiced

cadence with two hands from all three positions of the I chord in the

following way:

  • The right hand will play blocked triads in three voices using the V chord rather than the V7
  • The left hand will play a single bass note, doubling the root of the chord

Arpeggios - Play any major or minor root position arpeggio, two octaves,

hands together in parallel motion, ascending and descending

Chord progression - Fully diminished leading tone seventh to minor i

  • Play the viio7 to i progression in all minor keys as shown in the example below:

Example in

c minor

(root position)

Theory

Triads - Figured chord symbols/numbers indicate intervals as spelled up

from the lowest note. In analysis these symbols are often abbreviated.

  • Given a figured chord symbol, notate the corresponding major triad, or major-minor seventh chord (dominant seventh / V7) in the correct position.A major-minor seventh refers to a minor third interval placed above a major triad.
  • Given a triad or seventh chord in any position, notate the figured chord symbol (refer to the following figures)

Triad Inversions:

Dominant Seventh Chord Inversions:

The symbols for naming the qualities of the triads include:

  • Upper case Roman numerals represent major chords
  • Lower case Roman numerals represent minor chords
  • Upper case Roman numerals with + represent augmented chords
  • Lower case Roman numerals with o represent diminished chords

Designate the Primary and Secondary triads of any major scale and

give the quality of each. Tonic, subdominant and dominant triads are

primary, all others are secondary. The qualities of the diatonic triads are:

  • For a major scale:I - ii - iii - IV - V- vi - viio - I
  • For a harmonic minor scale:I - iio - III+ - iv - V - VI - viio - I

Cadences - Given any major or minor key, notate the Authentic, Plagal, or

Complete Authentic Cadences in four voices from all positions of the I

chord using blocked triads.

Form and Structure - Baroque Dance Suite

Define a typical Baroque dance suite and name four dances which may

occur. A dance suite may include an Allemande, Courante, Sarabande,

Gigue, Bouree, Gavotte, or Minuet.

Terms - Define:

  • Accelerando- gradually increasing the rate of speed, accelerating
  • D.S. al Fine- repeat from the sign to the wordfine
  • Simile- in a similar way
  • Hemiola -The rhythmic relation of three notes in the time of two, commonly a rhythm that results from alternating 6/8 and 3/4

History

  • Identify the name and nationality of each composer of student's repertoire
  • State facts about the following composers: Purcell, Beethoven, Brahms, and Debussy.Include the composer's nationality, forms commonly used, the title of one well-known composition, and the compositional period.
  • Identify style characteristics of the Impressionistic period, for example:melodic doubling, open fifths, arpeggiated chords, ancient modes, strong dissonances, angular melodies, irregular rhythms, and extremely sparse or dense tones.These Impressionistic tools produce subtle textures and colors suggesting impressions of the natural world.

Sight Reading - Sight-read Level Four pieces

Ear Training

  • Recognize and Identify augmented or diminished triads in any inversion
  • Melodic and rhythmic dictation - notate short major pentatonic melodies with a blocked chord bass ofI, IV, and V7 using Levels Three and Four Notation

Transposition - Transpose any Level Three or early Level Four piece.

Improvisation

  • Improvise using Level Seven Techniques
  • Improvise using blocked chords and a fake book

Level Nine

Technic

Scales

  • All major keys, MM= 72, hands together working up to four octaves as follows:

1. Parallel tenths ascending and descending

2. Parallel thirds ascending and descending

  • All melodic minor scales, two octaves in quarter notes, hands together in parallel motion, ascending and descending
  • Modal white key scales - one octave in parallel motion, hands together, ascending and descending (refer to Level Nine Theory)

Seventh Chords - Play any major seventh, dominant seventh, minor seventh,

half diminished seventh, or full diminished seventh chord, hands

separately in all inversions. (refer to Level Seven Technic)

Arpeggios - Play major or minor arpeggios in any inversion, two octaves,

hands together in parallel motion, ascending and descending

Secondary Dominants - Given any major key, play the secondary dominants

of the tonic, supertonic, mediant, subdominant, submediant, and altered

leading tone triads as shown below in the key of C:

Theory

Scales - Notate any one octave melodic minor scale, ascending and

descending, with key signature and the proper accidentals

Modal Scales

  • Church modes were the basis of western music in the Middle Ages and Renaissance.Each modal scale can be thought of as beginning on a specific degree of a major scale just as the relative minor scale occurs on the sixth degree of the major scale.For example, the Ionian (major) mode begins on the first degree of the major scale, the Dorian mode begins on the second degree, Phrygian the third, Lydian the fourth, Mixolydian the fifth, Aeolian (natural minor) the sixth, and Locrian the seventh.
  • Notate these modal white key scales - Dorian (D to D), Phrygian (E to E), Lydian (F to F), Mixolydian (G to G), and the Aeolian(A to A, natural minor)

Intervals - Tritone

Notate tritone intervals (three whole steps) up from given notes. Tritones can be notated as augmented fourths or diminished fifths and occur naturally between the fourth and seventh degrees of the major scale.

Modulation - define common chord modulation

Chord progression - viio7 to I - Given any minor key, notate the viio7 to i

Progression (refer to Level Seven Technic)

Form and Structure - Invention and Fugue

Inventions and Fugues are imitative compositions originating in the Baroque period. They are contrapuntal, that is, they have two or more equally important interweaving or overlapping voices. In both Inventions and Fugues one main melodic idea is restated throughout.

  • Fugues have two or more voices.In the opening exposition, the main melodic idea is stated in each voice successively.Throughout the fugue there are sections containing the subject and its counterpoint, the answer, separated by short episodes.

1. Subject: entrance of the first voice

2. Answer: entrance of the second voice at an interval of a fifth

3. Episode: melodic sections that do not include the subject

  • Inventions are smaller imitative forms in which a single motive and its counterpoint, the countermotive, are stated successively in two or three voices to form the basis of the entire work.There is no set procedure regarding the initial entrances of the voices.Three part inventions are commonly called sinfonias.

Terms and Symbols - Define:

  • Vivace- fast and lively
  • Subito -suddenly
  • Rubato- robbed time, not in strict time
  • Sequence - the repetition of the same melodic pattern at successive intervals

History

  • Identify the name and nationality of each composer of student's repertoire
  • State facts about the following composers:Telemann, CPE Bach, Liszt, and Ravel.Include the composer's nationality, forms commonly used, the title of one well-known composition, and the compositional period.
  • Identify style characteristics of Impressionistic music as discussed in Level Eight / History.

Sight Reading - Sight-read any Level Four or Level Five piece

Ear Training

  • Recognize and Identify any natural, harmonic, or melodic minor scale
  • Identify dominant seventh (V7) and diminished seventh (viio7) chords
  • Melodic and Harmonic Dictation - Notate major pentatonic melodies with a blocked chord bass of I, IV, V, V7 , or viio7

Transposition - Transpose any Level Four composition up or down a major third

Improvisation - Choose one of the following:

  • Improvise a 24 measure harmonized melody in ternary form
  • Improvise using methods listed in Level Seven
  • Improvise using a fake book, employ chord inversions for good voice leading.
  • In any white key modal scale, improvise an original melody with bass accompaniment.

 

 

 

Level Ten

Technic

Scales

All major scales, MM = 80, two octaves in eighth notes hands together

in parallel motion ascending and descending as follows:

  • Parallel tenths
  • Parallel thirds
  • Parallel sixths ascending and descending

Dominant Arpeggios - Given any dominant or diminished seventh chord (in

any position) play two octave arpeggios, hands together, ascending and

descending

Common-chord modulation - Play a common-chord modulation around the

circle of fifths from any specified major or minor key as shown below:

 

Theory

Modal scales

  • Given any major key signature, notate a specified modal scale

using the same key signature

  • Given the letter name of any modal scale, notate that scale using the correct key signature

Cadences

  • Notate and identify a deceptive cadence (V to vi)
  • Identify a perfect cadence
  • Identify an imperfect cadence

Pedal - Define half-pedal and flutter pedal

Common-chord modulation - Notate common chord modulations using

primary chords around the circle of fifths (refer to Technic above)

Terms and Symbols - Define:

  • Agitato- restless, agitated
  • Meno mosso- less movement
  • Piu mosso- more movement, faster
  • Leggiero- light, swift, and delicate
  • Sostenuto- sustained
  • Glissando- a rapid scale effect produced by sliding finger or fingers up or down the keys
  • Senza- without
  • Acciaccatura- a grace note which is played simultaneously with the principle note and immediately released
  • Appoggiatura- an accented non-harmonic grace note that resolves stepwise to a harmonic note

History

  • Identify the name and nationality of each composer of student's repertoire.
  • State facts about the following composers:Couperin, Haydn, Rachmaninoff, Copland, Rameau, J.C. Bach, Grieg, Villa-Lobos, Poulenc, and Prokofieff.Include the composer's nationality, forms commonly used, the title of one well known composition, and the compositional period.
  • Identify style characteristics of Jazz music: syncopated rhythms against a regular pulse; lowered or ‘blues' thirds, fifths, and sevenths; ostinato-like ground bass, and harmonic deviations such as chromaticism, tonal clusters, and atonality.Jazz shows a strong Afro-American influence originating from spirituals, blues, and work songs and has developed into a contemporary improvisational style.

Sight Reading - Sight-read Level Five or Level Six pieces

Ear Training

  • Recognition - Identify authentic or complete authentic cadences (perfect or imperfect) and plagal cadences
  • Melodic, harmonic, and rhythmic dictation - Notate major or minor pentatonic melodies with a blocked chord bass of I or i, IV or iv, V7, or viio7.

Transposition Transpose Level Four compositions up or down a minor third

Improvisation

  • Improvise using Level Seven techniques or by method of choice. The improvisation should reflect Level Ten skills.
  • Improvise a three section 12 bar piece

1. Begin in any major key

2. Modulate to the parallel harmonic minor

3. Return to the major key




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