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.

TEMPO MARKINGS FROM SLOWEST TO FASTEST

largo, lento, adagio, andante, andantino, moderqto, allegretto, allegro, vivace, presto

PREPARATORY LEVEL

J

p piano: soft.

f forte: loud

slur: a curved line that indicates legato -to play smoothly

staccato: not connected, crisp

, tie: a curved line connecting notes ofJ the same pitch - hold for full value of

both notes

repeat sign: play the music again

dynamics: syrnbols or terms that indicate loudor soft

fine: the end

D.C. at fine (da capo at fine): return to thebeginning and play tofine

A fermata:hold longer

rit, ritard., ritordando : gradually slower

a tempo: return to the original tempo

bar linetreble clef

barlinemeasure

treble clefbrace

bass clef

brace

grand staff

ameasme

bassclei Grand Staff

mp

mfpp

trJ

LEVEL I

--- decrescendo, dim., diminuendo:gradually softer

mezzo piano: medium soft

mezzo forte: medium loud

pianissimo: very soft

fortissimo: very loud

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)

corrente: Italian origin, quick triple meter

sarabande: Spanish origin, triple meter, slow, dignified

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?

k. Which historic period does Vivaldi represent?

bitonalitydescriptive titlespolyphonic textureirregular rhythm

Chord 1

Chord 2Chord 3Chord 4

use right handuse left handuse damper pedaluse left hand

bitonalitypolyphonic textureorgan pointaugmentation

augmentationdiminutionsyncopationAlberti bass

BrittenMozafiGriegPoulenc

RomanticContemporaryBaroqueClassical

staccato notesloud melodyfast musiccontinuous held or repeated note

RomanticBaroqueClassicalContemporary

ClassicalRomanticContemporaryBaroque

ContemporaryClassicalBaroqueRomantic

t2 3 4

What term describes this example?

Level I 2010

Allegro molto

, 3. 4. 5.

- r+

Bartok: Three RondosAnswer questions 2l-28 about the music above. (14 points)

21. Give the English meaning of the tempo.

22. According to the key signature, what is the key?

23. Determine the time signature.

24. What is the texture of measures7-L2?

25. Name each circled chord with its root and quality.

What type of cadence ends the example?

Which historic period does Bartok represent?

Name each boxed interval with its number and quality.

a.

b.

c.

26.

27.

28. l.

2.

aJ.

4.

5.

Level 8 2010

Allegro

Beethoven: Sonata, Op.

{ ",i,".

Answer questions 29-36 about the music above. (15 points)

29. How else can the time signature be written?

30. What is the key?

31. Which form of minor is used?

32. Name each circled chord with its Roman numeral and figured bass6

(for example,I4).

What dynamic occurs in measure 8?

In the correct order, name the three sections of sonata form(also known as sonata allegro form). (3 points)

Which is the most likely tempo for the second movementof the sonata?

Which historical period does Beethoven represent?

2, No. I

a-

b.

c.

d.

e.

f.

33.

34.

35.

36.

AllegroAdagioPresto

Level S 2010

EAR TRAINING EVALIIATION

This is your Level S ear training er"aluation. Listen to each question and im musicd example.

Mark your answer. Each example will be played trvo times. (13 points)

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

Ilunor

5. Recognition of interv'als.

Ex. 1 Perfect 4th

Ex-z MqorTrh

Ex.3 minor 6th

2. Recognition of texture.

Polvohonic Homophonic

3. Recognition of the q""liry of a uiad.

minor

-

diminished

4. Rccognition of a chord progression.

A. Iii6T14VTI- B. IIVVVTI

a

Ausmented

Perfect 5th

Augmented 4th

Major 6th

rnelodic minor

melodic minor

harmonic minor melodic minor

6. Recognition of scales: natural, harmonic; or melodic minor.

E& I natural minor

-FJ..z namrdminor

-Elc 3 natural minor

-7. Recognition of meter.

harmonic minor

harmonic minor

f .i*. -

8. Recosnition of secondary dominant in a four-measure phrase.

Meas. 1 Meas.2

9. Recognition of a cadeirce.

Authentic Deceptive

I time

EarTrainlngTests o SetB r Level 8

Meas.3 Meas.4