OVERALL REOUIREMENTS SCALESA{ODES WHOLE TONE SCALE CADENCES/ MODULATION ARPEGGIO POLY- RHYTHM Level 8 All elements must be performed Elements may be played in any order All Hands Together 5:00 minutes to perform Minimum Scale tempo: ): gz Db Major in 3rds or l0ths ) ) ) ):4octaves Gt Db Bb Major eb bb melodic minor ) ) ) ):4octaves Octave scale Gb Major n : I octave (Students with small hands may break octaves) Dorian mode on A Phrygian mode on B Lydian mode on C fi:zoctaves Whole Tone scale on Cfl fi:zoctaves Modulation to the Dominant with legato pedal CtoG GtoD DtoA (See example on page 36) bb minor octaves Diminished 7th ('7) on BC# 4 octaves GT BI Major eb 4 2 against3 Begin on Db RH 3 octaves using triplets LH 2 octaves using eighth notes Level 8 TECHNICAL REOUIRE,MENTS THEORY REOUIREMENTS 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 I evel 8. Tonality 1. Scales and key signatures: o Major: all keys . minor, natural, harmonic and melodic: all keys Descending melodic minor scales must include all accidentals, even if they appeared in the ascending scale. o Circle of fifths o Chromatic scale on any note . Whole Tone Scale on any note o Modes: Ionian on C, G; Dorian on D, A; Phrygian on E, B; Lydian on F, C: Mixolydian on G, D; Aeolian on A, E; Locrian on B, F$ Level 8 Evaluation Requirements 83 MTAC Piano Syllabus 2012
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OVERALLREOUIREMENTS
SCALESA{ODESWHOLE TONE SCALE
CADENCES/MODULATION ARPEGGIO
POLY-RHYTHM
Level 8
All elements mustbe performed
Elements may beplayed in any
order
All HandsTogether
5:00 minutes toperform
Minimum Scaletempo:
): gz
Db Major in 3rdsor l0ths
) ) ) ):4octaves
Gt Db Bb Major
eb bb melodic minor
) ) ) ):4octaves
Octave scale Gb Major
n : I octave(Students with small
hands may breakoctaves)
Dorian mode on APhrygian mode on BLydian mode on C
fi:zoctaves
Whole Tone scale on Cfl
fi:zoctaves
Modulation to theDominant with legato
pedal
CtoGGtoDDtoA
(See example onpage 36)
bb minoroctaves
Diminished7th ('7)
onBC#
4 octaves
GT BIMajor
eb
4
2 against3
Begin on Db
RH 3 octavesusing triplets
LH 2 octavesusing eighth
notes
Level 8TECHNICAL REOUIRE,MENTS
THEORY REOUIREMENTS
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 I evel 8.
Tonality
1. Scales and key signatures:o Major: all keys. minor, natural, harmonic and melodic: all keys
Descending melodic minor scales must include all accidentals, even if they appeared in theascending scale.
o Circle of fifthso Chromatic scale on any note. Whole Tone Scale on any noteo Modes: Ionian on C, G; Dorian on D, A; Phrygian on E, B; Lydian on F, C: Mixolydian on G,
D; Aeolian on A, E; Locrian on B, F$
Level 8 Evaluation Requirements 83 MTAC Piano Syllabus 2012
' 2. Intervals: Perfect, Major, minor, Augmented, diminished, ascending and descending, on any note\__,/ 3. Chords/triads:
a. Triads: Major, minor, Augmented, diminished: all roo[sRoot position and inversions using figured bass: R :i or no figured bass; lst : u or 5 ;2nd:XStudents need to know full and abbreviated forms of figured bass (for example, 6 and I for firstinversion)
b. Primary and secondary triads by name, quality and Roman numeral, using figured bass: all Major*i
Yffi:T#T:|,|Jffi above and below Roman numerals for Major and Augmented chords,such as -Y., and lower case Roman numerals must be used for minor and diminished chords,such as vi or viio. 6 6
c. Dominant 7th chord, root position V7, first inversion V 3 or V i, ,".ond inversion V 3 or V 1, and
.41"':t,TJ,il i:tJ;#*T,r;. bass symbol (Dominant r.u.r,n, Dominant 7 th, y 7)
. in all Major and minor keysr on all roots
d. Diminished 7th (o7), root position and inversions, using figured bass: all rootse. Cadences: authentic, half, plagal and deceptive, root position and common tone, one and two
staves: all Major and minor keysf. Secondary Dominant: all Major and;ninor keys, using all primary and secondary triads and
inversions, labeled, for example, V 3 of vi vi. or V ! /vi vig. Chord progressions: identif, a modulation from C to G, G to D, and D to A. Be able to identitr the
pivot chord within the progression.
Time and Rhythm
Write in counts for any time signature.Syncopation (be able to define and recognize)
Sisns and Terms (Definitions are on page 50)
polyphonic texture m.d. (mano destra)
homophonic texture m.s. (mano sinistra)
augmentation Phrygian mode
diminution Lydian mode
pedal point (organ point) Locrian mode
pivot chord
Level 8 Evaluation Requirements 84 MTAC Piano Syllabus 2012
HISTORY
Know the four periods of music history in order. Know at least three composers from each period. A listof composers is on pages 161-169. When asked to name a composer from a particular period, studentsmay use any composer's name from that period.
The following composers may appear on the test:
Barooue Classical Romantic 20th/21st Centuries
J.S. Bach Beethoven Chopin Bart6kHandel Clementi Dvoi6k BrittenScarlatti Czerny Grieg Dello JoioTelemann Diabelli Mendelssohn u KabalevskyVivaldi Haydn Schubert Poulenc
Kuhlau Schumann ProkofievMozart Shostakovich
Know the following characteristics of the music of each period:
Baroque:
. Polyphonic textureo Use of ornamentationo Dance suite. Limited use of dynamic and expression marks written by the composero Terraced dynamics used in keyboard music due to instruments' limitations: p mp mf f \____r'
Classical
o Homophonic texture predominateso Cadence points usually obviouso Multi-movement Sonata"/Sonatina form developedo Use of Alberti bass
Romantic
o Programmatic music with descriptive titleso Use of colorful harmonies with altered and unusual chordso More chromaticismo Lyrical melodies
20th/21st Centuries
o Compositional style that can include atonality, bitonality and polytonalityo Irregular and changing time signatureso More use of polyphonic texturer A return to use of older forms such as Sonata and Suite
Level 8 Evaluation Requirements 85 MTAC Piano Syllabus 2012
.- EAR TRAINING RBOUIREMENTS (13 questions; included on written theory test)
'''-/ 1. Identiff all intervals up to and including an octave, ascending and descending, blocked and broken.2. IdentiS the difference between Major, minor, diminished and Augmented triads in root position,
blocked and broken.3. Hear the difference between natural, harmonic and melodic minor scales.4. Be able to hear the difference between 213 and 314,314 and 414, 414 and 514, and 514 and 6/8 meters.5. Identifz the tonality of a four-measure phrase in Major or minor.6. Distinguish between two chord progressions using authentic, half, plagal or deceptive cadences.7. Identiff Polyphonic and Homophonic textures.8. Distinguish between two chord progressions when given Roman numerals and figured bass.
SIGHT-READING REOUIRBMENTS
Be able to sight-read Level 6 music. All skills from previous levels rn* O" included, with the addition ofsixteenth and leger line notes, clef changes (example: both hands playing bass or treble clef) and morespecific tempo markings. Students will have 45 seconds to preview the example.
IMPROVISATION REOUIRBMENTS (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 REOUIREMENTS
Repertoire requirements for Level 8 begin on page 131.
Level 8 Evaluation Requirements 86 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
LEVEL 7
allargando : broadening, gradually slower,usually accompanied by a crescendo at aclimax
confuoco: with fire
meno: Tess
meno mosso: with less motion, slower
piu: mare
piu mosso:with more motion, quicker
p es ant e : heavily, ponderously
rallentondo : gradually slower
rit enuto : immediately slower
senza: without
sempre: always
gi o c o s o : humorously, j okingly
grazi os o : gracefu lly, elegantly
lento: slow tempo, not as slow as largo
whole tone scale: a six-note scale consisting entirely of whole steps (Major 2nds)
trill with prefix from below
trill with prefix from above
canon: a strict form of contrapuntal writing in which each voice imitates the melody of the first voiceexactly
Alberti bass: an accompaniment figure, usually in the left hand, using a three-pitch chord, played lowest,highest, middle, highest:
Sonata form (also known as Sonata Allegro form):
Exposition: a section with two contrasting themes called first and second themes; expositionsoften, but not always, end in the key of the dominant, or in the relative Major if the pieceis in a minor key
Development: themes are developed through key changes and the use of compositional devices;new material may appear.
Recapitulation: expositional material returns with the original key of the piece emphasized;the section typically ends in the tonic key
Ionian mode: a scale or tonality in which half steps occur between notes 3-4 and 7-8, like the Major scale
Dorian mode: a scale or tonality in which half steps occur between notes 2-3 and 6-7, as if playing all thewhite keys from D to D
Mixolydian mode: a scale or tonality in which half steps occur between notes 3-4 and 6-7 , as if playingall white keys from G to G
Aeolian mode: a scale or tonality in which half steps occur between notes 2-3 and 5-6, as if playing allwhite keys from A to A; the same as natural minor
Section 3; Vocabulary - Definitions 49 MTAC Piano Syllabus 2012
LEVEL 8
polyphonic texture: music made up of trvo or more melodic lines, independently treated
homophonic texture: a melody in one voice or part with accompaniment; chordal texture is a type ofhomophonic texture, with pitches sounding simultaneously
I I
augmentation: the presentation of a subject or theme with note values doubled, for example, J becomes J
diminution: the presentation of a subject or theme with note values halved, for example, J b..o-", J
pivot chord: a chord which precedes a modulation, and is common to both the original key and the key towhich the music modulates
pedal point (organ point): a sustained or repeated tone, usually in the bass, over which a succession ofother harmonies occurs
m.d. (mano destra): a direction to play a note or passage with the right liand
m.s. (mano sinistra): a direction to play a note or passage with the left hand
Phrygian mode: a scale or tonality in which half steps occur between notes l-2 and 5-6, as if playing allthe white keys from E to E
Lydian mode: a scale or tonality in which half steps occur between notes 4-5 and 7-8, as if playing all thewhite keys from F to F
Locrian mode: a scale or tonality in which half steps occur between notes l-2 and.4-5, as if playing allthe white keys from B to B
.J LEVEL 9
Dances of a Baroque Suite:
allemande: German origin, simple binary form, usuall y io t, ti^"courante: French origin, shifting meters at cadences (usually a hemiola)
gigue, giga, jig: Irish origin, compound duple meter, usually quick
bourrrie: French origin, duple meter, begins on an upbeat
gavotte: French origin, duple meter (alla btreve Q), often begins on an upbeat
minuet: French origin, simple triple meter, moderate tempo
polonaise: Polish origin, triple meter, moderate tempo
counterpoint /contrapuntal: "note against note," or "melody against melody; " music consisting of two ormore independent lines sounding simultaneously - contrapuntal is often (but not always)considered synonymous with polyphonic
fugue: a polyphonic contrapuntal form of music consisting of two or more (usually 3 or 4) voices; thesubject or theme enters alone at the beginning of the composition and is imitated by the othervoices in succession
50 MTAC Piano Syllabus 2012
l. Write the key signature for each of the following Major keys. (6 points)
Et Major F$ Major Ab Major B Major Gt Major
2. Write the minor key signature for each of the following minor keys. (6 points)
E Major
bb minor g[ minor c mlnor fI minor d minor b minor
3. Write each of the following scales, one octave.(4 points)
Do not use key signatuies. Write accidentals before the notes.
cfl minor, natural form, ascending
f minor, harmonic form, descending
g minor, melodic form, ascending and descending (Use the first measure for the ascending scale and the
second measure for the descending scale.)
4. Add accidentals to complete each of the following scales. (2 points)
Chromatic
Cfl Major, ascending
Whole Tone
Level 8 2010
t at
5. a. Check the correct name for this mode. (1 point)
point)
Write a note above the given note to complete each of the following intervals. (8 points)
P8 A2
7. Write each of the following triads- (5 points)
LydianPhrygianLocrian
Add the accidental that will make this the Dorian mode. (l
6db minor 4
6c diminished 3
5fI minor 3
5bl diminished 3
6Cb Major 3
8. Name each of the following triads with its root, quality, and figured bass. (5 points)b-o
9. Write each of the following chords. Use the Major or minor key as indicated under each measure. (6 points)
-+ti
4tr3 6t[54
Y3(minor key)
y7(Major key)
.v7 nii(Major key)
(6 points)
(Major key) (Major key)
10. Add accidentals to complete each of the following diminished 7th chords.
Y5fg(Major key)
4g dim. 3
6e dim. 5 d dim. 7
6fI dim. 5
(4 points)
gl dim 74
bt dim. 2
11. Complete the circle of fifths by filling in the missing keys.
C MajorF Major _ Major
_ Major D Major_ Major A Major
AbMajor _ MajorCfilDb Major B/Cb Major
F$/Gb Major
Level 8 2010
3
?r fnJI$))'fiIIJ ' ffi'l@l ffiEj'lli7l3r)"r-Jlll
b. What rhythmic term identifies the circled notes in question l2-a? (l point)
13. Add barlines to the following example. (3 points)
Af}.n.|t 1J .[l fi 't ,ffi) ] 't J frn't il
12. a. Write counts under the notes for each measure of the following example. (4 points)
14. Write Roman numerals and hgured bass under the chords for this example. Use the new key to determinethe Roman numerals for the final three measures. (9 points)
New key: I
15. Circle the pivot chord in question 14. (Circle the chord or the Roman Numeral.) (l point)
16. To what key does the music modulate in measure 3? (1 point)
17. Transpose the following example to the key of D Major. (1 point)
18. Write each of the following half steps above the given note. (2 points)
Diatonic Half Step Chromatic Half Step
(Major key)
Level 8 2010
dau 84 e <'
19. Name each of the following cadences. Give the name, not the Roman numerals. (4 points)
_ai##l- a)
/)e
a) I
a)n
-U
e
rl
(Major key) (minor key) (minor key)
20. Check each correct answer. (11 points)
a. Which characteristic is prevelant in Baroquemusic?
b. Which of these chords is the secondary dominant?
c. What is the meaningaf m.s.?
d. What term is used for music that uses twokeys at the same time?
Which of these composers is from the Romanticperiod?
g. During which historic period was the sonata formpredominant?
h. What is the meaning of pedal point or organpoint?
During which period was progmmmatic musicmost prevelant?
j. Atonality is most likely to be found in musicfrom which period?