Level 7

TECHNICAL REOUIREMENTS

OVERALL CADENCES/ POLY- SCALES CHORDS ARPEGGIO REOUIREMENTS MODULATION RITYTHM

Level Ffl Dt Major Ffi Db Major 7th chords, root Fil Db 2 against3 Authentic cadence position, Major = 3 octaves All elements must ,W blocked, Begin on be performed and t-vi-tv-ii-If -vz-I Major d{ ur B ) t ) ):4 octaves Dominant, minor Elements may be df bb minor minor, half- Triplets in played in any d{ bt Deceptive cadence diminished (47), 4 octaves RH, order harmonic and 1V diminished ("7) eighths in melodic minor i-xi-if-V7-VI onB LH first; All Hands Together .,=I:3 octaves RH common tone V7 chords, root then chords position & triplet in 5:00 minutes to LH single notes inversions, LH, perform Ionian mode on C (root) broken, up first eighths in Aeolian mode on A with pedal then down, in RH Minimum Scale the key of B : = 3 octaves Major Within 1 ry octave 88 Whole Tone Scale on Ffl ]-l:zoctaves

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 Level T .

Tonalitv l. Scales and key signatures: o Major: all keys o minor, natural, harmonic and melodic: all keys Descending melodic minor scales must include all accidentals, even if they appeared in the ascending scale. r Circle of fifths r Chromatic scale on any note . Whole Tone Scale on any white key o Modes: Ionian on C, Dorian on D, Mixolydian on G, Aeolian on A

2. Intervals: Perfect, Major, minor, Augmented, diminished, ascending and descending, on any note

Lev el 7 Evaluation Requirements 79 MTAC Piano Syllabus 2012 3. Chords/triads: .__r a. Triads: Major and minor, diminished, Augmented: all roots Root position and inversions using : R: i o. no figured bass; lst : 6 or I ;2nd:X Students need to know full and abbreviated forms of figured bass (for example, 6 and ! for first inversion) b. Primary and secondary triads by name, quality and Roman numeral, using figured bass: all Major and harmonic minor keys o Lines must be placed above and below Roman numerals for Major and Augmented chords, such as V , 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 3or V J second inversion V l or V 1, and 6 third inversion V2, v t, orv I r Identiff by word and figured bass symbol (Dominant se{enth; Dominant 7th,Y7) . in all Major and minor keys o on all roots d. Diminished 7th (o7), root position and inversions, using figured bass: all roots e. Cadences: authentic, half, plagal and deceptive, root position and common tone, one and two staves: all Major and minor keys f. Chord progressions: all Major and minor keys, one and two staves I-ry-ii-v-I i-iv-iio6-V-i I-IV-ii-V7-vi I-iv-iio6-v7-vI

Time and Rhvthm

Writeincounts torl Q g usinganycombinationofnotesfrompreviouslevels. 2A 1t " 3

Signs and Terms (Definitions are on page 49)

allargando lento confuoco canon meno ^,ua. trill with prefix from below meno mosso r.ze trill with prefix from above piu Alberti bass piu mosso Sonata form (Sonata Allegro form) pesante whole tone scale rollentando Ionian mode ritenuto Dorian mode SCNZA Mixolydian mode sempre Aeolian mode giocoso grazioso

Lev el 7 Evaluation Requirements 80 MTAC Piano Syllabus 2012 HISTORY ! u Know the four periods of music history in order. Know at least three composers from each period. A list of composers is on pages 161- I 69. When asked to name a composer from a particular period, students may use any composer's name from that period.

The following composers may appear on the test:

Baroque Classical Romantic 20thl21st Centuries

J.S. Bach Beethoven Chopin Bart6k Handel Clementi Grieg Kabalevsky Scarlatti Haydn Schubert Prokofiev Telemann Kuhlau Schumann Shostakovich Mozart #

EAR TRAINING REQUIREMENTS (13 questions;included on written theory test)

1. Identiff all intervals up to and including an octave, ascending and descending, blocked and broken. 2. Identiff 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 214 and3l4, and between 314 and 414 meters. 5. Identiff the tonality of a four-measure phrase in Major or minor. 6. Distinguish between plagal, half, deceptive and authentic cadences in a chord progression. 7. Be able to hear the difference between Alberti bass and ostinato. 8. Be able to hear the difference between giocoso and doloroso, andbetween grazioso and confuoco. 9. Be able to identiff a chord progression when given the Roman numerals and figured bass.

SIGHT-READING REOUIREMENTS

Be able to sight-read Level 5 music. All skills from previous levels may be included, in addition to sixteenth notes and the use of more terms, signs and symbols. 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 optional performance segment. Any improvisation may be played during the ilerformance portion of the evaluation.

o 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 technical requirements as indicated for their level. All segments (including improvisation) need to be performed 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 REOUIRBMENTS

Repertoire requirements for Level 7 begin onpage 127.

Lev el 7 Evaluation Requirements 81 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.

TEMPO MARKINGS FROM SLOWEST TO FASTEST largo, lento, adagio, andante, andantino, moderqto, allegretto, allegro, vivace, presto

PREPARATORY LEVEL p piano: soft. fine: the end f forte: loud D.C. at fine ( at fine): return to the beginning and play tofine

slur: a curved line that indicates legato - A :hold longer to play smoothly rit, ritard., ritordando : gradually slower J : not connected, crisp a tempo: return to the original tempo bar line tie: a curved line connecting notes of treble , barline J the same pitch - hold for full value of measure both notes treble clef a : play the music again brace measme bass clef brace dynamics: syrnbols or terms that indicate loud bassclei Grand Staff or soft grand staff

LEVEL I

or fiD. * damper pedal: the pedal on the far right; depress and --- decrescendo, dim., diminuendo: release the damper pedal gradually softer &" --- play eight notes (an octave) higher mp mezzo piano: medium soft 8"___ or 8rD___ play eight notes (an octave) lower mf mezzo forte: medium loud -fz first and second endings pp pianissimo: very soft T L very loud tr fortissimo: repetition: exact repeating of a melodic pattern J tenuto: hold the note for its full value. in the same voice, on the same pitch and May also mean to stress the note. with the same

accidental: sharps (il), lut. $) or naturals () placed before notes, usually to indicate a note which is not in the

Section 3: Vocabulary - Definitions 46 MTAC Piano Syllabus 2012 LEVEL 2 allegro: fast, quick (cheerfully, merrily) authentic cadence: cadence using the harmonic progression to andante: walking tempo ofV I half cadence: cadence using a harmonic moderato : moderate tempo progression that ends on V vivace : quickly, lively plagal cadence: cadence using the harmonic ppp pianississimo: very, very soft progression ofIV to I "ffi fortississimo: very, very loud sequence: repeating a melodic pattern in the sf sfz fz sforzando: a sudden, sharp accent same voice at a higher or lower pitch, often a 2nd or 3rd above or below cadence: the chords that end a phrase or section of a composition

LEVEL 3 adagio: slow tempo, slower than andante tre corde: the release ofthe soft pedal (pedal on the left) spiritoso: spirited relative Major and minor: Major and minor ac c e I er an do, ac c e l. : gradually faster, accelerate keys sharing the same key signature tempo motif, motive: a short musical idea dolce:sweetly legato pedal (syncopated pedal, overlapping molto: much, very pedal): creating a seamless, un-blurred poco: 7ittle legato by raising and quickly re- una corda: apply the soft pedal (pedal on the depressing the damper pedal at the same left) time as, or immediately after, the keys are played

LEVBL 4 andantino: a little faster than andante* parallel Major and minor: keys sharing the same tonic note allegretto: a little slower than allegro transposition: the act of performing or writing a presto:very fast tempo musical work in a key other than the key cantabile: in a singing style in which it was originally written espres s ivo : expressively meter: the arrangement of beats into groups of leggiero: lightly equal size (measures) and with regular recurring accents subito:suddenly imitation: statement of a motive in another ---etto: suffix meaning little or less voice or hand ---ino: suffix meaning little or less b * trill:** the various ways in which notes are # articulation: '...r-- executed, including, but not limited to, _____t- staccato and legato -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 ostinato: a short musical pattern that is repeated throughout a composition or section of a con:with composition con brio : with brilliance enharmonic: pitches that are the same but named con moto:with motion or spelled differently, such as Cfl and Db largo: stately, broadly, dignified, very slow, slower than adagio ornaments: tranquillo : peacefully, tranquil, calm * -?--7--l- --T- .'.+ : -l Irrr vivo: brisk, lively I h I arpeggio: a broken chord in which the notes are performed melodically rather than :# ----T- -?--T harmonically. The arpeggio may be Italian: "to lean" + + -----1-- -trd- written out or indicated with a wavy line

placed in front of a chord. C\D turn: to turn around ---r- *-----r----T-T--'---l- the note ---i-----| -

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-

LEYEL 6

doloros o : sadly, sorrowfully opus: the term used to indicate the chronological number of a composer's marcqto: marked works, often as they are published robusto : boldly, robustly deceptive cadence: one in which the dominant s cherzando : jokingly, lightly, playfully is followed by a harmony other than the tonic, most often the submediant simile: similarly, the same as modulation: changing from one key (tonality) to sostenuto: sustained, giving note full value another within a composition or section fe forte piano.' loud followed immediately of a composition. by soft b double flat: an accidental that lowers the syncopation: a momentary contradiction of the pitch of a note by two half-steps meter or pulse, often by changing strong double sharp: an accidental thatraises the and weak beats within a measure x pitch of a note by two half-steps

Section 3: Vocabulary - Definitions 48 MTAC Piano Syllabus 2012 LEVEL 7

allargando : broadening, gradually slower, p es ant e : heavily, ponderously usually accompanied by a crescendo at a rallentondo : gradually slower climax rit enuto : immediately slower confuoco: with fire senza: without meno: Tess sempre: always meno mosso: with less motion, slower gi o c o s o : humorously, j okingly piu: mare grazi os o : gracefu lly, elegantly piu mosso:with more motion, quicker 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 voice exactly 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; expositions often, but not always, end in the key of the dominant, or in the relative Major if the piece is 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 the white 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 playing all 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 all white keys from A to A; the same as natural minor

Section 3; Vocabulary - Definitions 49 MTAC Piano Syllabus 2012 l. Name the Major key for each of the following key signatures. (6 points)

Major _ Major Major Major Major _ Major

2. Write the key signature for each of the following minor keys. (6 points)

f minor cfl minor e mmor bb minor c mlnor b minor

3. Write the following scales, one octave, ascending. Do not use key signatures. Put accidentals before the notes. (3 points) BbMajor

ffr minor, natural form

g minor, harmonic form

4. Add accidentals to complete each of the following scales. (3 points) Chromatic

d minor, melodic form

Whole Tone

Level 7 24fi 5. Complete the circle of fifths by adding the missing keys. (3 points) C Major _ Major G Major Bb Major D Major _ Major _ Major Ah Major E Major CillDb Major B/Cb Major Ffi/Gb Major

6. Write a note above each given note to complete the following intervals. (6 points)

P4 d8 m2d7*,4.6 M3

7. Name each of the following triads with its root and quality (for example, C Major). (6 points)

8. Circle the correct figured bass (inversion) for each of the following triads. (6 points)

s66 s66s66s66 566 s66 334 334334334 334 334

9. Add accidentals to complete each of the following seventh chords. (5 points)

x

4 6 4 6 B Dom. 7 cfl dim. 3 E Dom. 5 Ab Dom. 2 f dim.5

10. Name the Major key to which each of these Dominant Tths belongs. (5 points)

Key of: _ Major _ Major _ Major _ Major _ Major

I l. Label each of these chords with its scale degree name. Use the Maior kev for each example. The first one is given. (5 points)

t

Tonic

Level T }0IA 12. Name each of the following cadences. Give the name, not the Roman numerals. Use the Maior key for each example. (4 points)

a) 4 a I I t

rt

13. Transpose the following example to the key of G Major. (1 point)

14. Check the correct name for each of the following modes. (2 points) a. Dorian Aeolian Mixolydian b. Aeolian Dorian Ionian

15. Check the answer for each of the following questions. (4 points)

a. Which historical period is earliest? Contemporary Baroque Classical Romantic

b. Kuhlau is from which historical period? Classical Romantic Baroque Contemporary

c. Which composers represent the Baroque period? Clementi and Haydn Bartok and Shostakovich Scarlatti and Telemann Schubert and Grieg

Romantic Classical Contemporary Baroque

Level 7 24fi 16. Write the enharmonic equivalent for each of the following notes. (2 points)

-ati b.

17. Write counts under the notes for each measure of the following example. (2 points) I .> tffit lI,ffiI).t)J ah-

18. Check the correct term for each of the following definitions or musical examples. (8 points)

a. exact imitation of an entire theme sequence canon gtocOSO . sempre

b. less piu mosso meno grazioso

c. immediately slower ritenuto ritardondo rallentando allargando

d. Exposition, Development, Sonata form Recapitulation canon Alberti bass lento

e. more meno MOSSO con piu

f. without sempre senzo allargando con

g. gradually slower ritenuto giocoso allargando pesante

h. heavily lento pesante allargando giocoso

Level 7 24fi tr -.a,tf

J.S. Bach: Invention No. 5 Answer questions 19-28 about the music above. (14 points)

19. What is the key?

20. lnmeasures l-2,whatcompositional technique is used (under the brackets)?

21. Name the circled chord with its root and quality.

22. lnmeasure 3, what two accidentals are used? (2 points) and trltAr 23. Circle the correct way to perform the ornament in measure 1. ffiffi- - -- - 24. Whatis the name of the the ornament in measure 4,beat7? 25.Circlethecorrectwaytoperformtheornamentinffiffi measure 4,beat2. a

26. What is the English meaning for the symbol A ?

27. Which historical period does J.S. Bach represent?

28. Name each boxed interval with its quality and number. a.

b.

c.

d.

Level 7 2010 Mendelssohn: Funerol March Answer questions 29-33 about the music above. (14 points)

29. What is the minor key? minor

30. What is the English meaning of the tempo mark?

31. Name each circled chord with its Roman numeral and figured bass. a.

b.

c.

d.

e.

f.

32. Give the English meaning for each of these symbols used in u. mf the example. b.

c. sfz d.p

e. dim.

JJ. Mendelssohn is from the same historic period as Chopin. What is the name of the period?

Level 7 201$ EAR TRAINING EVALUATION

This is your lrvel 7 ear training evaluation. Listen to each question and its musical example. Mark your answer. Each orample will be played two tirnes. (13 points)

1. Recognition of Major or minor in a four-measure phrase. Maior minor

2. Recognition ofAlberti bass. ' Yes No

3. Recognition of Major, minor, diminished, orAugmented triads. c Ex. I Major minor diminished Augmented F;..2 Major - minor diminished - Augmented - - - 4. Recognition of intervals.

F;l...z minor 3rd Augrnented 5th - - 5. Recognition of natural minor, harmonic minor, or melodic minor scales. Ex. I nanual minor harmonic minor melodic minor F;l'.Z naftralminor harmonicminor melodicminor Ex. 3 natural minor - harmonic minor melodic minor - 6. Recognition of a chord progression. A IIViiVTI B. ItVIVTI

7. Recognition of meter in a four-measure phrase. 1.i,,,"- t'i,o"

8. Recognition of tempo. Giocoso Doloroso

9. Recognition of a cadence. Plagal- Deceptive

EarTrainlngTests r SetB o Level 7