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 legato pedal then down, in RH Minimum Scale the key of B tempo: = 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 figured bass: 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 (da capo at fine): return to the beginning and play tofine slur: a curved line that indicates legato - A fermata:hold longer to play smoothly rit, ritard., ritordando : gradually slower J staccato: not connected, crisp a tempo: return to the original tempo bar line tie: a curved line connecting notes of treble clef , barline J the same pitch - hold for full value of measure both notes treble clef a repeat sign: 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 rhythm accidental: sharps (il), lut. $) or naturals () placed before notes, usually to indicate a note which is not in the key signature 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.