CAPMTStudentEvaluationsSyllabus2009 Level8–p.1

LEVEL 8 CompleteRequirements

Repertoire

Threepieces:OnefromtheBaroqueorClassicalPeriod,onefromtheRomanticPeriod,andonefromtheTwentiethCentury.Twomustbememorized.

Anthologies

Publisher

Alfred Magrath,J.:MasterpieceswithFlair!,Book3

FJH Faber:TheDevelopingArtist

• PianoLiterature,Book4• PianoSonatinas,Book4

Harris CelebrationSeriesPerspectives:PianoRepertoireLevel8,Etudes,Level8

Kjos Snell,K.:PianoRepertoire,Level8

• BaroqueandClassical• Romanticand20thCentury• Etudes• FirstSonataAlbum

AdditionalExamples

Baroque Bach,J.S.:2PartInventions,Nos.5,7,11,12

Classical Mozart:Sonatas,K.280inF,K.283inG,K.330,K.570

Romantic Mendelssohn:SongswithoutWords,Op.19,No.1,Op.53,No.2,Op.62,Nos.1and6,Op.67,No.6,Op.85,No.1andOp.102,No.4

20thCentury Villa‐Lobos:FivePiecesonBrazilianFolkSongs

Shostakovich:24PreludesOp.34,Nos.13,16,17,and19

Oral Questions

Questionsmaybeaskedaboutmusicaltermsandsignsfoundinthestudent’srepertoire.Inaddition,thestudentshouldknowthestyleperiodrepresentedbyeachpiece,aswellasoneormorefactsaboutthecomposer.Iftherepertoireincludespiecesinbinary,roundedbinary,ternary,orSonataAllegroform,thestudentmaybeaskedtoidentifytheform.

CAPMTStudentEvaluationsSyllabus2009 Level8–p.2

Sight Reading

Sightreadashortmusicalexample,equalindifficultytoaLevel6piece.

Technique

Scales

DbEbGbMajorbbcebharmonicandmelodicminor

Handstogether4octaves

q =100

Cadences

DbEbGbMajorbbcebminor

I­IV­ii6–V7­Ii–iv–iio6–V7­i

q

Scale:2Against3

DbMajor

Handstogether,RH:3octavesin8thnotesLH:2octavesintripletsReverse

q =100

Four­NoteTonicandDominantSeventhChordInversions

DbEbGbMajor

Handstogether.Rootpositionandinversions.Blocked,thenbroken.

q

Tonic,DominantSeventh(V7)Arpeggios

DbEbGbMajor

Handstogether4octaves.

q =84

Tonic,DiminishedSeventh(viio7)Arpeggios

bbcebminor

(beginontheleadingtoneofthescale)

Handstogether4octaves.

q =84

Terms and Signs

ornamentwithupperprefix ornamentwithlowerprefix

contrapuntaltexture robusto pedalpoint/organpoint

m.d.(manodestra) m.s.(manosinistra) pivotchord whole‐tonescale

augmentation diminution stretto hemiola

portato scherzo scherzando stringendo

CAPMTStudentEvaluationsSyllabus2009 Level8–p.3

Musical Style Periods

Althoughsomeofthecharacteristicslistedbelowmaybefoundinmorethanonestyleperiod,thelistingsgenerallyindicatetheearliestwidespreadusageand/oracontrastwiththepreviousstyleperiod.

CHARACTERISTICSOFBAROQUEMUSIC

• Extensiveuseofornamentation.• PolyphonictextureincludingFugues• Binarydanceforms• Harpsichordandclavichordwidelyused

CHARACTERISTICSOFCLASSICALMUSIC

• Homophonictexture• Phraseseasilydefined• Multi‐movementSonata/SonataAllegroform• Pianoreplacestheharpsichord• UseofAlbertibass

CHARACTERISTICSOFROMANTICMUSIC

• Widerrangeofexpressionindicatedbythecomposer• Morefluctuationintempo,includingrubato• Programmaticmusicwithdescriptivetitles• Increaseduseofchromaticism• Formalstructuresbecomelessimportant

CHARACTERISTICSOFIMPRESSIONISTICMUSIC

• Useofmodes,wholetonescales,andpentatonicscales• Pedalusedforcoloristiceffect• Glidingchordsinparallelmotion(planing)• Departurefromfunctionalharmony• Harmonyoftenbasedonfourthsandfifthsratherthantriads

CHARACTERISTICSOFTWENTIETHCENTURYMUSIC

• Mayincludebitonality,polytonality,atonality• Avarietyoftextures,includingclusters• Useofchangingmetersandasymmetricalrhythms• Influenceofjazz,ragtimeandblues• Pianooftenusedpercussively

CAPMTStudentEvaluationsSyllabus2009 Level8–p.4

Music Literacy

Thestudentisresponsibleforallterms,signs,andconceptsfrompreviouslevels.

• Writeawhole‐tonescalebeginningonanynote.

• Writeoridentifysecondarydominants:V(7)/V,V(7)/IV

• Harmonicallyanalyzeamusicalexamplewritteninchoralestyle,usingRomannumeralsandfiguredbass.Nomodulationwillbeinvolved.

• Matchornamentstotheirrealizations.

• Matchcharacteristicstomusicalstyleperiods.

• Identifythestyleperiodofmusicalexcerpts.

• Writecounts,addbarlinesortimesignaturestorhythmexamplesincluding32ndnotesandrests.

• Matchtermsandsignstotheirdefinitions.

• DemonstrateanunderstandingofthetonalstructureofSonataAllegroform.

• Scoreanalysis:Questionswillinvolveconceptsfromthisandearlierlevels.

Aural Training/Listening Skills

• Intervalidentification:Allmajorandminorintervalsplusthetritone.Eachwillbeplayedbrokenandsolid.

• Identificationoftheposition(root,1stinversion,or2ndinversion)andqualityofamajororminortriad.

• Identificationofthepositionofadominant7thchord:

Rootposition,1stinversion,2ndinversion,or3rdinversion

• Identifythestyleperiod(Baroque,Classical,Romantic,or20thCentury)ofamusicalexample.

CAPMTStudentEvaluationsSyllabus2009 Level8–p.5

Level 8 Sample Written Test

Scales

WriteawholetonescalebeginningonD. ____(4pts.)

Harmonic Analysis ____(5pts.)

GivetheRomannumeralsandfiguredbassforeachunderscoredchord.Thefirstonehasbeendoneasanexample.

I5/3 _____ ____________________

Secondary Dominants ____(4pts.)

Writethefollowingsecondarydominants:

Fmajor:V7/VCmajor:V7/IV Gmajor:V7/V Dmajor:V7/IV

Ornaments ____(2pts.)

Matcheachornamenttothecorrectrealization.

A B

____ ____

CAPMTStudentEvaluationsSyllabus2009 Level8–p.6

Musical Style Periods ____(12pts.)

Matcheachcharacteristicwiththeappropriatestyleperiod.Write“B”forBaroque,“C”forClassical,“R”forRomantic,“I”forImpressionisticor“T”forTwentiethCentury.

____Morefluctuationintempo,includingrubato

____Influenceofjazz,ragtimeandblues

____Harpsichordandclavichordwidelyused

____Harmonyoftenbasedonfourthsandfifthsratherthantriads

____Avarietyoftextures,includingclusters

____Homophonictexture

____Pedalusedforcoloristiceffect

____Extensiveuseofornamentation.

____UseofAlbertibass

____PolyphonictextureincludingFugues

____Multi‐movementSonata/SonataAllegroform

____Widerrangeofexpressionindicatedbythecomposer

Matching ____(8pts.)

___scherzo a.righthand

___portato b.2ormorevoicessoundingatthesametime

___m.s.(manosinistra) c.achordwhichprecedesamodulation,andiscommontoboththeoriginalkeyandthenewkey

___m.d.(manodestra) d.aplayfulorhumorouspiece,ajoke.

___hemiola e.halfwaybetweenlegatoandstaccato

___contrapuntaltexture f.quickening,accelerando

___pivotchord g.lefthand

___stringendo h.arhythmicdevicesuperimposing2beatsinthetimeof3,or3beatsinthetimeof2

Rhythm ____(4pts.)

Writecountsfortherhythmexamplebelow.

CAPMTStudentEvaluationsSyllabus2009 Level8–p.7

Score Analysis ____(18pts.)

ThefirstmovementofSonataOp.13,No.3byHeinrichJosephRiegeliswritteninSonataAllegroform.Answerthefollowingquestions:

1. IdentifythekeyandmodeoftheSonata.__________________

2. Whichtermbestdescribesthebassclefnotesinmeasures1–3and9–11?

Repetition___ Pedalpoint___ Sempre___

3. Identifytheornamentsfoundinthefollowingmeasures:

Measure13__________________

Measure16__________________

Measure37__________________

4. NamethethreemainsectionsofSonataAllegroformandgivetheinclusivemeasurenumbersforeach.

Firstsection: __________________ measures___to___

Secondsection: __________________ measures___to___

Thirdsection: __________________ measures___to___

5. Inthefirstsection,thesecondthemebeginsinmeasure17.LocatethefirstmeasureofthesamethemeinthethirdsectionoftheSonata.____

6. Identifythekeyandmodeofmeasures17‐36.________________

7. Whatisthetermfortheaccompanimentpatternfoundinthebassclefofmeasure17?____________________

8. Identifythekeyandmodeofmeasures37to42.__________________

9. Identifythecircledintervalinmeasure56.__________________

10. Identifythecirclednon‐harmonictonesinthefollowingmeasures:

Measure15__________________

Measure17__________________

_57_Possiblepoints _____Studentpoints

CAPMTStudentEvaluationsSyllabus2009 Level8–p.8

Sonata, Op. 3 No. 3

CAPMTStudentEvaluationsSyllabus2009 Level8–p.9

CAPMTStudentEvaluationsSyllabus2009 Level8–p.10