OVERALL REOUIREMENTS SCALES CADENCES/CHORI) PROGRESSIONS CHORDS ARPEGGIOS POLY- RI{YTHM Level 6 All elements must be performed Elements may be played in any order All Hands Together 5:00 minutes to perform Minimum Scale tempo: j: s+ E B At Major ry:3 octaves and ) , ) ):4 octaves sflf harmonic and melodic minor [] = 3 octaves E B At Major Deceptive cadence I-IV-ii-V7-vi g{ f minor Authentic cadence i-iv-if-V7-i RH common tone chords LH single notes (root) with legato pedal V7, root position & inversions, blocked, up and down in the keys of EA' Major E Af Major g{ fminor 3 octaves 2 against3 Begin on C Triplets in RH Eighths in LH within I octave Chromatic scale, parallel motion, 2 octaves, start on E Level 6 TECHNICAL REQUIREMENTS THEORY REQUIREMENTS Be able to write elements, recognize them individually, and recognize them in musical excerpts. The student is responsible for all theory elements from Preparatory Level through Level 6. Tonality l. Scales and key signatures: o Major: all keys . minor, natural, harmonic and melodic: a, e,b, fl, d, g, c, f, bb Descending melodic minor scales must include all accidentals, even if they appeared in the ascending scale. o Chromatic scale on any note 2. Intervals: Perfect, Major, minor, Augmented, diminished, ascending and descending, on any note 3. Names and Roman numerals of scale degrees in Major and minor keys: Iori-Tonic V-Dominant ii or iio- supertonic vi or VI - submediant iii or III (IIf) - mediant viio - leading tone IV or iv - Subdominant Lines must be placed above and below Roman numerals for Major and Augmented chords, such as T and lower case Roman numerals must be used for minor and diminished chords, such as vi or viio. Level 6 Evaluation Requirements 75 MTAC Piano Syllabus 2012
Transcript
OVERALLREOUIREMENTS
SCALESCADENCES/CHORI)
PROGRESSIONSCHORDS ARPEGGIOS
POLY-RI{YTHM
Level 6
All elements mustbe performed
Elements may beplayed in any
order
All HandsTogether
5:00 minutes toperform
Minimum Scaletempo:j: s+
E B At Major
ry:3 octaves
and
) , ) ):4 octaves
sflfharmonic andmelodic minor
[] = 3 octaves
E B At MajorDeceptive cadence
I-IV-ii-V7-vi
g{ f minorAuthentic cadence
i-iv-if-V7-i
RH common tonechords
LH single notes(root)
with legato pedal
V7, rootposition
&inversions,blocked,up anddown
in thekeys ofEA'Major
E Af Major
g{ fminor
3 octaves
2 against3
Begin onC
Triplets inRH
Eighths inLH
within Ioctave
Chromatic scale,parallel motion,
2 octaves,start on E
Level 6TECHNICAL REQUIREMENTS
THEORY REQUIREMENTS
Be able to write elements, recognize them individually, and recognize them in musical excerpts. Thestudent is responsible for all theory elements from Preparatory Level through Level 6.
Tonality
l. Scales and key signatures:o Major: all keys. minor, natural, harmonic and melodic: a, e,b, fl, d, g, c, f, bb
Descending melodic minor scales must include all accidentals, even if they appeared in theascending scale.
o Chromatic scale on any note2. Intervals: Perfect, Major, minor, Augmented, diminished, ascending and descending, on any note3. Names and Roman numerals of scale degrees in Major and minor keys:
Iori-Tonic V-Dominantii or iio- supertonic vi or VI - submediantiii or III (IIf) - mediant viio - leading toneIV or iv - Subdominant
Lines must be placed above and below Roman numerals for Major and Augmented chords, such as Tand lower case Roman numerals must be used for minor and diminished chords, such as vi or viio.
Level 6 Evaluation Requirements 75 MTAC Piano Syllabus 2012
4. Chords/triads:a. Triads: Major and minor, blocked anp brokenjn root position and inversions using figured bass:p: jornofiguredbass; lst:6or 5;2nd: i. Studentsneedtoknowfullandabbreviated
forms of figured bass (for example, 6 and 5 for first inversion): all rootsb. Diminished and Augmented, root position only: all rootsc. Primary and secondary triads using figured bass: all Major keys; a e b d g c harmonic minor
66d. Dominant 7th chord, root position V7, first inversion V 3 or V i, se"ord inversion V 3 or V 1 , ard
third inversion V2, V 1, or V 3
o inthekeysof,C G D A E B F 86 EbMajora e b d g charmonicminor
o ontheseroots:C G D A E B FX F Bp
o identiff by word and figured bass symbol (Dominant seventh, Dominant 7th,V7)e. Cadences: authentic, half, plagal and deceptive, root position and common tone, one and two
staves:C G D A F 86 E6 Majora e dharmonicminor
f. Chord progression I - IV - I - V(7) - I, root position and common tone, one and two staves:CGDAF86E6Majora e dharmonicminor
Time and Rhvthm
Writeincounts n, | fi ?rA 3 t e I usinganycombinationofnotesfrompreviouslevels.
Sisns and Terms (Definitions are on page 48)
doloroso fP forte piano
marcato syncopation
robusto opus
scherzando modulation
simile b double flat
sostenuto * double sharp
deceptive cadence
HISTORY
Know the four periods of music history in order. Know at least two composers from each period. A list ofcomposers is on pages 16l-169. When asked to name a composer from a particular period, students mayuse any composer's name from that period.
Level 6 Evaluation Requirements 76 MTAC Piano Syllabus 2012
EAR TRAINING REOUIREMENTS (15 questions; included on written theory test)
l. Identiff Major and Perfect intervals up to and including an octave, ascending and descending, -----/
blocked and broken.2. Identiff the difference between Major and minor triads in root position, blocked and broken.3. Hear the difference between Major, harmonic and melodic minor scales.4. Be able to hear the difference between 214 and 314 and between 314 and 414 meters.5. Identiflz the tonality of a four-measure phrase in Major or minor.6. Identifu a half, authentic, plagal and deceptive cadence at the end of a chord progression, in Major
keys.7. Be able to hear the difference between scherzando and doloroso, andbetween marcqto and sostenuto.8. Be able to hear whether a chord progression is in a Major key or a minor key.
SIGHT-READING RBOUIREMENTS
Be able to sight-read Level 4 music. All skills from previous levels *uy U. included, with the addition ofsixteenth notes, more attention to dynamics and phrasing, various octave placements and accidentals.Students will have 30 seconds to preview the example.
IMPROVISATION REOUIREMENTS (Optional)
Students may perform an optional Improvisation at their CM Evaluation. Improvisation is an optionalperformance segment. Any improvisation may be played during the performance portion of theevaluation.
r Improvisation is not rated by the evaluator.o Improvisation is limited to 5 - 60 seconds in length, as listed in the CM Syllabus according to the
CM level.o Improvisation is done in addition to and not in place of the other required segments of the CM
evaluation (technique, sight-reading, and repertoire). Students must prepare the entire technicalrequirements as indicated for their level. All segments (including improvisation) need to beperformed within the appropriate evaluation length of each level.
o Improvisation may be from any resource and is independent of a student's registered CM level.
REPERTOIRE REQUIRBMENTS
Repertoire requirements for Level 6 begin on page 121.
Level 6 Evaluation Requirements 77 MTAC Piano Syllabus 2012
Vocabulary List: Signs and Terms
Students are responsible for all terms up to and including the Level for which they are being evaluated.
tenuto: hold the note for its full value.May also mean to stress the note.
or fiD. * damper pedal: thepedal on the far right; depress andrelease the damper pedal
&" --- play eight notes (an octave) higher
8"___ or 8rD___ play eight notes (an octave) lower
T L -fz first and second endings
repetition: exact repeating of a melodic patternin the same voice, on the same pitch andwith the same rhythm
accidental: sharps (il), lut. $) or naturals ()placed before notes, usually to indicate anote which is not in the key signature
Section 3: Vocabulary - Definitions 46 MTAC Piano Syllabus 2012
LEVEL 2
allegro: fast, quick (cheerfully, merrily)
andante: walking tempo
moderato : moderate tempo
vivace : quickly, lively
ppp pianississimo: very, very soft
"ffi fortississimo: very, very loud
sf sfz fz sforzando: a sudden, sharp accent
cadence: the chords that end a phrase or sectionof a composition
authentic cadence: cadence using the harmonicprogression ofV to I
half cadence: cadence using a harmonicprogression that ends on V
plagal cadence: cadence using the harmonicprogression ofIV to I
sequence: repeating a melodic pattern in thesame voice at a higher or lower pitch,often a 2nd or 3rd above or below
LEVEL 3
adagio: slow tempo, slower than andante
spiritoso: spirited
ac c e I er an do, ac c e l. : gradually faster, acceleratetempo
dolce:sweetly
molto: much, very
poco: 7ittle
una corda: apply the soft pedal (pedal on theleft)
tre corde: the release ofthe soft pedal (pedal onthe left)
relative Major and minor: Major and minorkeys sharing the same key signature
motif, motive: a short musical idea
legato pedal (syncopated pedal, overlappingpedal): creating a seamless, un-blurredlegato by raising and quickly re-depressing the damper pedal at the sametime as, or immediately after, the keysare played
LEVBL 4
andantino: a little faster than andante*
allegretto: a little slower than allegro
presto:very fast tempo
cantabile: in a singing style
espres s ivo : expressively
leggiero: lightly
subito:suddenly
---etto: suffix meaning little or less
---ino: suffix meaning little or less
articulation: the various ways in which notes are
executed, including, but not limited to,staccato and legato
parallel Major and minor: keys sharing the sametonic note
transposition: the act of performing or writing amusical work in a key other than the keyin which it was originally written
meter: the arrangement of beats into groups ofequal size (measures) and with regularrecurring accents
imitation: statement of a motive in anothervoice or hand
b * trill:**#'...r--
_____t--1---
* This is the definition that will be used for CM testing, and indicates the most common use of the term. Some composers use it to mean
slightly slower than andante.** This is the definition that will be used for CM testing. The trill can be interpreted differently depending on the historical period and the
context ofthe music. Teachers are encouraged to study omamentation further. See the list ofresources on pages 173-174.
Section 3: Vocabulary - Definitions 47 MTAC Piano Syllabus 2012
LEVEL 5
qnimato: animated, with spirit
con:with
con brio : with brilliance
con moto:with motion
largo: stately, broadly, dignified, very slow,slower than adagio
tranquillo : peacefully, tranquil, calm
vivo: brisk, lively
arpeggio: a broken chord in which the notes are
performed melodically rather thanharmonically. The arpeggio may bewritten out or indicated with a wavy lineplaced in front of a chord.
ostinato: a short musical pattern that is repeatedthroughout a composition or section of acomposition
enharmonic: pitches that are the same but namedor spelled differently, such as Cfl and Db
ornaments:
mordent:*
----T -?--T+ +-----1-- -trd-
C\D
---r- - -'---l----i----- *-----r----T-T-|
-
LEYEL 6
doloros o : sadly, sorrowfully
marcqto: marked
robusto : boldly, robustly
s cherzando : jokingly, lightly, playfully
simile: similarly, the same as
sostenuto: sustained, giving note full value
fe forte piano.' loud followed immediatelyby soft
syncopation: a momentary contradiction of the
meter or pulse, often by changing strongand weak beats within a measure
opus: the term used to indicate thechronological number of a composer'sworks, often as they are published
deceptive cadence: one in which the dominantis followed by a harmony other than thetonic, most often the submediant
modulation: changing from one key (tonality) toanother within a composition or sectionof a composition.
b double flat: an accidental that lowers thepitch of a note by two half-steps
x double sharp: an accidental thatraises thepitch of a note by two half-steps
--T- -?--7--l--l .'.+
IrrrI h I
-appoggiatura:#Italian: "to lean"
turn: to turn aroundthe note
xThis is the definition that will be used for CM testing. The appoggiatura can be interpreted differently depending on the historical period and
the context ofthe music. Teachers are encouraged to study omamentation further. See the list ofresources on pages 173'174-
Section 3: Vocabulary - Definitions 48 MTAC Piano Syllabus 2012
l. Write the key signature for each of the following Major keys. (7 points)
FilMajor Eb Major Db Major B Major D Major A Major Bt Major
2. Name the minor key for each of the following key signatures. (6 points)
I
minor minor mlnor
3. Write the following scales, one octave, ascending. Do notnotes. (4 points)
E Major
minor mlnor minor
use a key signature. Put accidentals before the
c minor, harmonic form
a minor, melodic form, ascending only
d minor, natural form
4. Add accidentals to complete the following chromatic scale. (1 point)
Level 6201A
5. Name each interval with its number and quality (for example, P4). (6 points)
6. Write a note above the given note to complete each of the following intervals. (4 points)
P8 m77. Name each of the following triads with its root and quality (Major, minor, Augmented, or diminished).
(4 ooints) ,
8. Circle the correct figured bass (inversion) for each triad. (4 points)
s66566334334
9. Write each of the following triads. (4 points)
566334
s66334
6f minor 3
6Al Major 4
5b diminished 3
5Gb Augmented 3
10. Name the Major key to which each of the following Dominant 7th chords belongs. (3 points)
Key of: Major Major
I l. Write each of the following Dominant 7th chords in the indicated key. (3 points)
4e harmonic minor: T2 G Major: Y7
12. Label each of the following chords with its Roman numeral and figured bass.
example. (4 points)
6Eb Major: Y 5
Use the minor key for each
t
Level 6 2010
13.
I4
14.
35>
Write counts under the notes for each measure of the following example.
3N J-J: IJ ) J-EI.D ) .l))Add one note to each measure to complete the following example.
(4 points)
1lfi N(4 points)
J) l.15. Transpose the following example to the key of D Major. (l point)
16. Name each of the following cadences. Whether to use the Major key or the minor key is indicated undereach example. (4 points)
(Major key) (minor key) (Major key) (Major key)
)))Jld l- ).l) tffinJ
17. Check the correct answer for each question. (5 points)
a. Schumann lived during which historicalperiod?
Which composer is from the Baroqueperiod?
Which list of historical periods is in thecorrect order?
