FESTIVAL WORKSHOPS SYLLABUS (2013) · N.S. MUSIC FESTIVAL & WORKSHOPS SYLLABUS (2013) ... NC Piano Classes ... if the RCM syllabus requires more than one

North Shore Music Festival Syllabus 2013

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N.S. MUSIC FESTIVAL & WORKSHOPS SYLLABUS (2013)

Please read the revised 2013 Syllabus carefully and note the new changes marked with ***

WELCOME ..................................................................... 2 ELIGIBILITY OF TEACHERS AND ENTRANTS ............ 2

Eligibility ...................................................................... 2 Pre-school entrants ................................................ 2

Amateur Status of Entrants ........................................ 2 Teacher Participation *** ............................................ 2

Supervising ............................................................ 2 Sorting *** ............................................................... 2

GRADE LEVELS AND DIVISIONS FOR COMPETITIVE CLASSES ....................................................................... 2

Progression of Grade Levels ...................................... 3 Maximum Number of Entries ...................................... 3 Ensemble Classes ...................................................... 3 Accuracy of Entries..................................................... 3 Class Organization ..................................................... 3

MUSIC – SELECTING, GRADING, CLASSIFYING, MEMORIZATION, PREPARATION ................................ 3

Grading Pieces ........................................................... 3 Classifying Pieces ...................................................... 3 One Selection Only Per Class *** ............................... 4 Extended performance times ..................................... 4 Memorization .............................................................. 4 Music for the adjudicator *** ....................................... 4 Preparation of Music................................................... 4

PROGRAMS/TIMETABLES, FESTIVAL PROCEDURE, DRESS AND DEPORTMENT ......................................... 4

Schedules for participants *** ..................................... 4 Warm-up / practising .................................................. 4 Students Must Perform in the Class Scheduled. ........ 4 Suitable behaviour for a church venue is expected. .. 5 Audience Etiquette ..................................................... 5 Late students .............................................................. 5 When called to perform .............................................. 5 Appropriate dress ....................................................... 5 Deportment ................................................................. 5 Emergencies, questions, and irregularities ................ 5

ADJUDICATIONS, CERTIFICATES, MARKS, RANK, SEALS, TROPHIES, FINAL CONCERTS ...................... 5

Adjudications *** ......................................................... 5 Certificates .................................................................. 5 Marks .......................................................................... 5 Rank ........................................................................... 6 Seals ........................................................................... 6 Trophies ...................................................................... 6

Return of Trophies *** ............................................ 6 Announcement of marks, seals, or rank. .................... 6

Final Concerts ........................................................ 6 Solo trophies (including concerto) .......................... 6

Ensemble trophies .................................................. 6 REGISTRATION ............................................................. 6

On-line Registration ................................................ 6 Paper Registration .................................................. 6

ENTRY FEES AND TIME LIMITS *** .............................. 8 CLASSES OFFERED...................................................... 9

NON-COMPETITIVE SECTION (NC) ......................... 9 NC Piano Classes (NCP) ....................................... 9 NC Adult Piano Workshop (ADW) .......................... 9 NC Older Beginners Piano Workshop (OBW) ........ 9 NC Piano Accompanying Workshop (PAW) ........... 9 NC Mini-Master Piano Classes (MM). *** ............... 9 NC Mini-lesson Piano Classes (ML) ....................... 9 NC Strings Workshop (SW) .................................. 10 NC Winds Workshop (WW) .................................. 10 NC Vocal Workshop (VWT and VWP) *** ............ 10 NC Family Workshop (FAW): *** .......................... 10 NC Creative Composition Workshop (CCW) ........ 11

COMPETITIVE SECTION ......................................... 11 Competitive Strings Classes ................................. 11

Competitive Creative Composition Classes .............. 11 Competitive Piano Classes ....................................... 12

Canadian Composers (CA) .................................. 12 JS Bach (JS) ......................................................... 12 Baroque Style (BA) ............................................... 12 Classical Style (CL) .............................................. 12 Romantic Style (RO) ............................................. 12 Post Romantic Style (PR) ..................................... 12 20th – 21st Century Style (TC) ............................. 12 Popular Music (PO) .............................................. 13 Own Choice (OC) ................................................. 13 Repertoire (RE) .................................................... 13 Technical Study (TS) ............................................ 13 Concert Group (CG) ............................................. 13 Concert Group Open Piano Class *** (replaces the ARCT Open Trophy Class) ................................... 13 Piano Ensemble Teams ....................................... 14 Duet (DT) - one piano, four hands ........................ 14 Duo (DO) - two pianos, four hands ....................... 14 Trio/Quartet (TR/QU) one piano – 6 hands, or two pianos – 8 hands .................................................. 14 Concerto (CO) ...................................................... 14

GUIDE TO CONCERTI ................................................. 15 GUIDE TO CANADIAN COMPOSERS ......................... 18 NORTH SHORE FESTIVAL GUIDE TO CLASSIFYING PIANO PIECES ............................................................. 19


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WELCOME

Conceived in 1971, the North Shore Music Festival (NSMF) & Workshops has evolved into a friendly local festival, offering both Competitive and Non-competitive classes in Piano, Winds, Strings and Vocal. Classes are kept small, and time is allowed for adjudicators to address every entrant. Three Final Concerts are held, one for the Non-competitive section, and two for the Competitive Trophy winners. This educational project gives participants an opportunity to expand their musical studies beyond private lessons and examinations.

ELIGIBILITY OF TEACHERS AND ENTRANTS

Eligibility

This festival is open to current members of the Registered Music Teachers Association (RMTA) and its Student Auxiliaries. North Shore Branch teachers may enter any of their students, regardless of domicile. RMTA teachers of other branches may enter only their students who reside on the North Shore. Festival entry is through the regular teacher, not via a consulting teacher or the students themselves. North Shore students of non-registered teachers may enter if they have entered the festival in previous years, provided they are sponsored by their previous teacher (who must still be a current North Shore branch member, and who will be responsible for keeping track of the trophies). A letter of confirmation by the sponsoring teacher is required. Please note: adjudicators may not enter their students the year they are adjudicating at the NSMF unless it is possible to schedule them with other adjudicators.

Pre-school entrants

A preschool-age student is any child too young to enter Elementary School Grade 1 at the beginning of the current academic year (year beginning last September). Amateur Status of Entrants

Amateur refers to persons whose principle income does not come from musical services. Such a person may teach a limited number of students or perform in a limited capacity to raise funds for further musical study.

Amateurs must be taking regular lessons in the discipline entered. Competitive classes are open to amateur performers only. Non-competitive classes are open to amateur students and non-amateur adults. For example, a teacher may wish to perform and receive an evaluation from an adjudicator in solo or ensemble pieces. Teacher Participation ***

It is essential that North Shore Branch teachers be prepared to assist the Festival in the following two ways:

Supervising

Teachers are required to supervise as follows:

Number of Entries Supervision Requirement 1-15 one session 16-50 two sessions 51-75 three sessions 76-100 four sessions

With two or more sessions, one must be a Tuesday, Wednesday, or Thursday afternoon or evening. On the Registration Forms indicate your preferred days and sessions for supervising, otherwise a time will be assigned. Non-branch members may pay an additional $5 per entry in lieu of supervising. Teachers who are unable to supervise as scheduled should notify Pat Holme at [email protected]. If she is unable to find a substitute a $50 penalty will be charged to the teacher in question.

Sorting ***

Teacher help in sorting entries is vitally important to prevent errors. On the registration forms, indicate your preferred day and time for sorting (one short session of 1-2 hours on Thursday to Sunday the week following the deadline). Alice will call you if needed.

GRADE LEVELS AND DIVISIONS FOR COMPETITIVE CLASSES

Students should establish their grade level of achievement using the Royal Conservatory of Music as a guide, and enter all competitive classes at the same level. (Exception: Ensemble teams, see page 14).


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Division NSMF grade

Level RCM (or CC Grade)

Elementary (5 grade levels)

PSP (Preschool Prelim) P (Prelim) 1 2 3

Prep (or earlier) Prep (or earlier) 1 2 3

Junior (3 grade levels)

4 5 6

4 5 6

Intermediate (3 grade levels)

7 8 9

7 8 9

Senior (3 grade levels)

10 11 12

10 ARCT POST ARCT

Progression of Grade Levels

Students may stay at the same grade level for two years unless they have passed the practical exam the previous year, in which case they must proceed to a higher grade. Students taking a January exam in the current year may enter the same grade, provided they do not exceed the two year limit. Grade level 11 (ARCT or higher level pieces) is open to students who have not passed the ARCT practical exam the previous year. Students may play in level 11 for two years only, and then must proceed to level 12 whether or not they have passed the exam. Level 12 (ARCT or higher level pieces) is open to students who are no longer eligible to enter level 11, and to those who have passed the practical ARCT. Students may enter level 12 for two years only. Maximum Number of Entries

Students may enter a maximum of four solo competitive classes. A Concert Group class is considered a solo, while Concerto, Composition, and Ensemble are not. Any number of non-competitive classes may be entered and do not affect this maximum. Ensemble Classes

In competitive piano ensemble classes (Duet, Duo, Trio/Quartet) students may play on only one team of the same type. For example, a student may not play on two Duet teams, but may play on a Duet, and a Duo, and a Trio/Quartet team. Accuracy of Entries

The teacher (not the festival committee) is responsible for the accuracy of entries . This includes eligibility for the class, grade of the student, grade and classification of the piece, correct class, selection/parts played etc.). If an error is discovered prior to the performance, the student will be transferred if possible to the correct class, or to Own Choice, or to Repertoire. If an error is discovered during or after the class, the student receives

marks, adjudications and certificates, but MAY NOT PLACE FIRST OR WIN THE TROPHY. Please do not ask the Festival Committee to make adjustments for such errors. . Class Organization

The Festival Committee reserves the right to subdivide large classes, combine small classes, reclassify entries, or cancel classes with insufficient entries.

MUSIC – SELECTING, GRADING, CLASSIFYING, MEMORIZATION, PREPARATION

A wide range of repertoire is encouraged, and students may choose from any source or syllabus. Unless otherwise stated, good arrangements/transcriptions are acceptable, but must be stated as such on the entry form; e.g. Waltz in A minor by Chopin, arr. by L. Fletcher.

• In competitive classes and non-competitive piano classes, a piece or part of a piece that has been performed may not be used again. E.g. Students who perform the first movement of a sonata may not use it again in subsequent years as part of a longer selection.

• However, pieces used in Mini-lesson Classes may be played again in competitive classes, but not in the same year.

• Students may not change their selections. • Repeats are optional in all classes except da

capos which must be played. Grading Pieces

The RCM will be used as a guide. If the same piece is graded differently by another syllabus, the current RCM grading will take precedence. If a piece for a competitive class has not been graded by RCM or Conservatory of Canada, a copy (except for Preliminary and Popular pieces) must be submitted with registrations. Transcriptions or simplifications of original works must be entered in the appropriate grade level for the transcribed edition. If in doubt, send in a copy with entries. Classifying Pieces

For consistency in this Festival, please use the classifications in the Guide for Classifying Pieces, page 19. As a general rule, style of the piece takes precedence over composer dates if it is historically logical. For example, JS Bach would not be placed in any period later than Baroque, but a contemporary composer could write in any of the previous styles. Canadian compositions that are not entered in the Canadian composer class must be placed in the correct style class. If in doubt, put a note on the entry form.


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One Selection Only Per Class ***

Unless otherwise stated, this means one piece only, or one movement or part of a sonata/suite/collection. However, if the RCM syllabus requires more than one part to complete a list, e.g., a Prelude and Fugue; Sonata, first and second movements, Three Fantastic Dances, etc., then all parts must be played in competitive classes. *** Students will be marked on the required parts only. For Repertoire, Ensemble, Concert Group, and Concerto classes, refer to the specific requirements for these classes. Extended performance times

Extended performance times (with commensurate fees) have been provided to allow students to perform longer pieces in senior classes. This does not, however, extend the time allowed for adjudications. Students who perform a selection with more than one part must state this on the entry, and give total performance time, including normal breaks between parts. If time limits are exceeded, the adjudicator will stop the performance and evaluate only what has been played up to the time limit. Memorization

Unless otherwise stated, selections must be memorized. Mark deductions in the adjudicator’s guidelines are as follows:

• 4 marks Music is placed in view throughout the performance

• 3 marks Music is used for most of the performance

• 2 marks Several stops and starts have occurred

• 1 mark A definite break has marred the performance

The mark will appear as: e.g. 85 – 3 (Memory) = 82. If 3 or 4 marks must be deducted for memory, the student may not place First. Music for the adjudicator ***

Students must provide the adjudicator with a published / authorized copy of the edition used in the performance. Down-loaded music will be accepted only with proof of payment. In classes where memorization is optional, students who use their own music while performing must provide the adjudicator with a second published / authorized copy. Students who bring either no music or unauthorized photocopied music will receive no mark or rank but will receive a Participation certificate. In non-competitive classes, students will be ineligible to perform at the final concert. TEACHERS*** Please ensure that your families know that they must bring their music. Each year, some

students tell us that they did not know they had to bring it and become extremely upset, not a good start to the festival experience. Preparation of Music

The student’s name should be at the top of the page and also on the outside of the book. Before arriving at the Festival, the student should see that bars are numbered at the beginning of each line, and that any unnecessary markings are erased. (Changes in dynamics, articulation, fingering, tempo, pedaling, etc., may be left in.) For Concert Group classes, labels should be attached to show the order of performance.

PROGRAMS/TIMETABLES, FESTIVAL PROCEDURE, DRESS AND DEPORTMENT

Schedules for participants ***

Online schedules will be available on the Festival website www.nsmusicfestival.ca approximately two weeks before the festival. Program booklets will be available one week before the festival. One program booklet is required per family and teachers must order these when registering. Include the cost with their registration fees. Let Alice Rada know whether you will pick them up from her, or from *** Tom Lee Music at 800 - 801 Marine Drive, North Vancouver (Capilano Village), or from LONG & McQUADE at 1363 Main St., North Vancouver.*** Entry deadlines have been moved one week later to allow teachers more time with their students after the Christmas break. This results in the program booklets being available only one week before the festival. Teachers please pick them up immediately, and tell students to bring them to every class. This saves much confusion at the festival. Warm-up / practising

Warm-up and practicing are not allowed on festival pianos during the festival. Students Must Perform in the Class Scheduled.

Those who cannot perform on certain days because of religious reasons or required school activities should request this on the entry form. As a courtesy, students having to withdraw should notify the festival office in advance (number listed in the Program). Refunds are given only for illness, and applications must be accompanied by a doctor’s certificate.


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Suitable behaviour for a church venue is expected.

Incoming participants must wait quietly outside the performance rooms until the previous class’s performances are completed. Students should arrive a few minutes early and stay until all verbal adjudications are completed. This festival is an educational experience, and students learn from listening to the performances and evaluations of others. During a performance the audience must be silent and not move about, but may talk quietly between performances. Audience Etiquette

The following should not be brought into the performance rooms:

• Beepers • Beeping watches • Cell phones or other electronic devices • Babies or very young children

No flash cameras may be used during the performance. Video equipment, if quiet and unobtrusive, may be used to record your child’s performance only; do not record other students, adjudicators, or teachers without their permission. Late students

Students who arrive after the last entrant has played may not perform unless delayed by another class in this festival. However, if there is time after all verbal adjudications are finished, they may perform, but will receive no mark or rank. When called to perform

When called to perform, students should hand their music (opened to the correct page) to the adjudicator and wait for his/her signal to begin. At the end of the class, after all adjudications are finished, the students' music (which has adjudication sheets and certificates placed in it) will be distributed to all students. Appropriate dress

Festival classes are somewhat more formal than many school or recreational activities. Suggested attire for girls: conservative skirts and blouses, dresses, pant outfits, and shoes suitable for pedaling; for boys, collared shirts tucked into trousers (like those used for band), and non-athletic shoes if possible. Shorts, tank tops, T-shirts, torn jeans, sweats, and startling or bare fashion statements in clothing, footwear, hair, or jewelry, are best left for other activities. For final concerts, dress is at least smart casual. Jeans, athletic shoes, t-shirts, hoodies, etc. are not appropriate. Teachers should

ensure that their students know and follow the dress requirements for both festival classes and final concerts. Deportment

At festival classes, bowing before performing is optional. However, students must acknowledge applause after performing. Dress and deportment may be used by the adjudicator to break a tie. At the final concerts (more formal) performers are highlighted, and it is customary to applaud the entrance of each performer. Therefore, students should acknowledge applause before and after their performance. Emergencies, questions, and irregularities

Bring any such issues to the attention of the Supervisor on duty, who should confer with the Festival Coordinators if they are available. Interference from teachers or members of the audience may result in the student’s disqualification. Complaints and protests must be made in writing during the Festival and be accompanied by a protest fee of $10.00, which will be returned if the protest is substantiated. Questions or irregularities not covered in the syllabus will be referred to the Festival Committee, whose decision will be final.

ADJUDICATIONS, CERTIFICATES, MARKS, RANK, SEALS, TROPHIES, FINAL CONCERTS

Adjudications ***

Adjudications are given to each entrant (written, verbal, help at the instrument as time permits). Adjudicators are asked to use all of the time scheduled, and ideally, should not finish early, nor go overtime. ***In this festival, we ask adjudicators to write less, and to work briefly with each student within the time limit. Certificates

Certificates are given to every entrant (including others who may be performing with the entrant, if requested on the entry form). Marks

Marks are given in all Competitive classes and Non-competitive classes and Workshops, (except for Mini-lesson classes), and adjudicators are asked to use the following guideline:

• 90 and above should be reserved for exceptional performances

• most marks will range between 80-88 • marks below 80 are discouraging, but are

sometimes necessary • 75 should be the lowest mark given.


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In a competitive division (e.g. Ba 4,5,6) adjudicators may give the same First Place mark in different classes or grades (e.g. an 88 in 4A and 4B, or to a grade 5 student), but at the end of the competition they must choose the trophy winner by awarding an extra .5 mark and record it on the Official Program. Rank

First, Second, and Third Place are given in Competitive Classes only, and are written on the certificate. In a class, there can be no ties for first place, but as many second and third places as deemed appropriate. In very small classes, adjudicators are asked to include all students in the rankings, if possible. Seals

Seals are based on the mark only, and not on the rank. Thus, a Second Place with a mark of 88 would receive a Gold Seal, not Silver (as in the Olympics).

Seal Mark Gold 88 and above Excellent to Outstanding Silver 85-87 Very good to Very, Very

Good Bronze 80-84 Fairly Good to Good Participation; for marks less

than 80; and where no marks are given

Trophies

Trophies are awarded for the highest mark in a competitive division (e.g. Baroque 4,5,6), and are presented to the winners at the final concert. There are no ties for a trophy. A student may win a particular division trophy only once per grade level. For example, a student who stays in level 10 for more than one year and has won the Romantic trophy, may not re-enter the Romantic 10 class, but is eligible for the trophy again in Romantic 11.

Return of Trophies ***

It is the teacher’s responsibility to see that their students return trophies to the festival office during the first three days the festival is in session (dusted, polished, and in good repair); otherwise a late fee of $20 will be charged. Late trophies create additional work for the committee at a very busy time. Trophies that require repair must be returned to Alice Rada at least one week before the festival starts. Donated trophies become the property of the NSMF and will be used at the discretion of the Festival Committee. Special Certificates for trophy winners should be picked up when trophies are returned. Announcement of marks, seals, or rank.

There is no announcement of marks, seals or rank.

At the end of a competitive division (e.g. Baroque 4, 5, 6), the adjudicator will announce the winner of the trophy (but not the mark), and present the orange slip if the winner is present.

Final Concerts

All trophy winners and those who are invited to play are expected to perform, and their teachers will be notified by the day before the concert.

Solo trophies (including concerto)

The winner of a solo trophy will play that piece in the concert. The winner of more than one solo trophy will choose one solo only to perform. If the concert is too long, a student with a long piece will be asked to reduce the number of movements/parts.

Ensemble trophies

Each Duet, Duo, and Trio/Quartet winning team will be eligible to perform. Students who have also won solo trophies have the option of performing a solo, or ensemble pieces, or both.

REGISTRATION

There are TWO ways to register: on-line or by submission of a paper form.

On-line Registration

Follow the directions at www.nsmusicfestival.ca Use a PC with Internet Explorer or Firefox. Mac and Apple computers will not work. On-line registration is preferable, as it reduces the amount of typing. If you need help, please contact Alice Rada. Details for on-line registration are as for Paper Registration below.

Paper Registration

Include Master Sheet, cheque, copies of ungraded music for competitive classes. Deliver to Alice Rada, 1963 Arborlynn Dr., North Van. 604-987-1067 DEADLINE: see annual update pages Mailed or delivered registrations received after the deadline will not be accepted.

Accuracy

Entries must be accurate and complete . Please read the revised syllabus very carefully, and check and double-check your entries. THE TEACHER IS ULTIMATELY RESPONSIBLE FOR ANY ERRORS (See


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Syllabus page 3). Entry errors have resulted in disqualification of the student, a traumatic situation for all concerned.

Master sheets

Please TYPE OR PRINT CLEARLY. Handwriting can be hard to read, and result in errors. Give ALL information on the Master Sheets (the former entry-adjudication forms are no longer used) including grade level of the pieces, performance times where required, and EXTENDED TIME AND FEES. Use TWO OR MORE LINES if necessary. Make a copy for your records.

Teachers’ ID Number

Teachers will be assigned a different identity number each year. Please get the number from Alice Rada and write it on the master sheet in the space provided. Ensure correct order and spelling of student names, composer names, and titles in foreign languages. For composers, give last names only, but do differentiate Leopold Mozart and Bach’s sons with initials; e.g. L. Mozart, CPE Bach.

Student Names

List students alphabetically by their last names. The order of some names can be confusing, so be sure that the last name is placed first, followed by the given order of the other names; e.g. Chan (last name), Mai Ling (other names) so that certificates and trophy plates do not have to be redone.

Pieces

State the movement(s) or the number of the parts played. Performance times are not required except for senior classes, concert group, concerto classes, and selections with more than one part. Please time the student’s performance accurately and include the correct fee for extended times for senior classes.

Grading and classification of pieces

If the piece has been graded by RCM or CC, write in the grade. If not, check (√) ungraded, and submit a copy of the music for all competitive classes except Preliminary and Popular . For classifying pieces, refer

to the Guide to Classifying piano pieces. (See page 19). If in doubt, place a note on the Master Sheet.

Birthdates

Birthdates are no longer required.

Programs

Ensure that the correct number of programs has been ordered and paid for ($5 each). One program per family is required. Instruct students to bring the programs to each class. Programs for the teacher are optional. Write on the Master Sheet whether you want to pick up the programs from Alice Rada, or TOM LEE MUSIC, ***800-801 Marine Dr., North Vancouver, or LONG & McQUADE, 1363 Main St., North Vancouver.

Ensembles

Teachers with many ensemble entries may list them on a separate Master Sheet.

Student Telephone Numbers

Be sure to give student telephone numbers.

Festival Assistance

North Shore Branch teachers are required to assist in two ways, see page 2.

• Supervision at the Festival - Give a preferred date and time for supervision, plus one or two alternates. Could you substitute in case of an emergency?

• Sorting Entries *** - Give a preferred time and

date for this short 1-2 hour session on Thursday to Sunday the week after the deadline. Alice will call you if your help is needed.

Entry Fees

Teachers should write one cheque only, payable to the North Shore Music Festival. Post-dated cheques and separate cheques from parents will not be accepted. See page 8 for fees for classes. For on-line registrants payments, follow the instructions given.


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ENTRY FEES AND TIME LIMITS ***

Fees for most Solo classes (Competitive and Non-com petitive classes/workshops in Piano, Strings, Winds and Composition. For Vocal, Piano Mini-Lessons, Piano M ini Master Classes*** and Family Class ***, refer t o the individual classes.

Division Grade Levels Max. Performance Time Fee ELEMENTARY LEVELS PSP, P, 1, 2, 3 3’ $18 JUNIOR LEVELS 4, 5, 6 5’ $20 INTERMEDIATE LEVELS 7, 8, 9 8’ $22 SENIOR LEVELS 10, 11, 12 15’ $27 Extended Performance Times 20’ $32 25’ $37 30’ or more $42

Senior entries must state the student’s performance time. Fees for Concertos (Piano, Strings, Winds) and Pian o Ensembles (Duet, Duo, Trio-Quartet)

Division Grade Levels Max Performance Time Fee Elementary Levels PSP, P, 1, 2, 3 5’ $22 Junior Levels 4, 5, 6 8’ $27 Intermediate Levels 7, 8, 9 10’ $32 Senior Levels 10, 11, 12 15’ $37 Extended Perf. Times 20’ $42 25’ $47 30’ $52

All entries must state the parts played, and the student’s total performance time including normal breaks. Fees for Piano Concert Groups (3 selections)

Division Grade Levels Max Performance Time Fee Elementary Levels PSP, P, 1, 2, 3 7’ $27 Junior Levels 4, 5, 6 10’ $32 Intermediate Levels 7, 8, 9 15’ $37 Senior Levels 10, 11, 12 30’ $47 Extended Perf. Times 35’ $52 40’ $57 45’ $62 50’ $67 55’ $72 60’ (maximum) $77 *** Open Open Same as for Senior CG

All entries must state the parts played, and the student’s total performance time including normal breaks.


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CLASSES OFFERED

NON-COMPETITIVE SECTION (NC)

Unless otherwise stated, the guidelines below apply to all non-competitive classes/workshops. Participation in non-competitive classes does not affect the competitive level of the student, nor the maximum number of solos allowed. These classes give students an opportunity to play in a non-competitive workshop situation (written comments will be kept to a minimum). It is also a class situation and students are expected to stay and listen until the end of the class. Unless otherwise stated, memorization is not compulsory but is recommended. Full preparation of the piece is expected. Marks (but no rank) will be given and certificates with a coloured seal based on the mark will be given to entrants. Students who are using their own published copy of music must also provide a published/authorized copy for the adjudicator; otherwise, they will be ineligible to perform in a final concert. Suitable dress and deportment are expected. Each entry (solos / ensembles / concerto) comprises one piece only, or one movement or part of a sonata / sonatina / collection entered at the grade level of the piece. Students may enter one or more pieces of the same or different grade levels and styles, but each entry must bear a separate entry form and fee. Participants who enter more than one piece should state on the entry form whether they wish to play them consecutively, or with other entries between.

NC Piano Classes (NCP)

Memorization in this class is compulsory. Classes: NCPPSP, NCPP, NCP1, NCP2, NCP3, NCP4, NCP5, NCP6, NCP7, NCP8, NCP9, NCP10, NCP11, NCP12. *** NCP OPEN

NC Adult Piano Workshop (ADW)

Classes: ADWP, ADW1, ADW2, ADW3, ADW4, ADW5, ADW6, ADW7, ADW8, ADW9, ADW10, ADW11, ADW12

NC Older Beginners Piano Workshop (OBW)

Classes: OBWP, OBW1, OBW2, OBW3, OBW4, OBW5, OBW6, OBW7, OBW8, OBW9, OBW10, OBW11, OBW12

NC Piano Accompanying Workshop (PAW)

Piano accompanists (piano/voice, piano/instrument) will receive adjudication on the piano part. Students provide their own performers to accompany who do not need to be students of RMT members. Participation certificates

will be given to the other performers if requested on the entry form (give names). Classes: PAWPSP, PAWP, PAW1, PAW2, PAW3, PAW4, PAW5, PAW6, PAW7, PAW8, PAW9, PAW10, PAW11, PAW12

NC Mini-Master Piano Classes (MM). ***

This new class allows entrants to receive a mini-master class lesson. No pre-audition is necessary, but pieces must be very well-prepared and memorized; one or more entries of any period/style (each entry must bear a separate entry form and fee); marks, certificates/seals given; no ranking; no written adjudication. All of the scheduled time will be spent at the piano and entries will be grouped into suitable classes. If more than one adjudicator is designated for the master classes (see the current update page), students may state their preferred adjudicator, and the committee will schedule this if possible. Entries must state the student’s performance time. Any performance that exceeds the time limits will be stopped when the maximum time is reached.

Classes Maximum time (min)

Fee of the selection

Junior MM4, MM5, MM6 3’ $25 Intermediate MM7, MM8, MM9 5’ $30 Senior MM10, MM11, MM12, 7’ $35 Open MM OPEN 9’ $40

NC Mini-lesson Piano Classes (ML)

Unlike the Mini-Master Class, for a Mini-lesson class pieces may be at various stages of progress and do not need to be memorized or played in their entirety. There is also more time flexibility to allow for longer pieces. Students receive a mini-lesson (written comments will be kept to a minimum); participation certificates/seals; no marks. Memorization is not required but pieces must be well-prepared and played accurately at a reasonable tempo. Students using their own published / authorized copy of music must also provide a published / authorized copy for the adjudicator. Pieces used in Mini-lessons may be played in competitive classes, but not in the same year. Following are guidelines for the level of the piece and length of lesson. However, a student may choose any length of lesson regardless of the level of the piece, provided maximum performance times of pieces are not exceeded. For example, a student could choose a total lesson time of 15 minutes and play a grade 7 piece 3 minutes long if desired. This would leave a balance of 12 minutes for the lesson. Total lesson time includes the performance of the piece, so a shorter selection leaves


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more time for the lesson. On the entry form, students may request the adjudicator desired and the committee will schedule this if possible.

Classes Lesson Time (incl. performance)

Maximum time (min)

Fee

ML PSP, P, 1, 2, 3

7’ 2’ $18

ML 4, 5, 6 9’ 3’ $20 ML 7, 8, 9 11’ 4’ $22 13’ 5’ $24 ML 10, 11, 12 , ***OPEN

15’ 6’ $27

20’ 7’ $32 25’ 8’ $37 30’ 11’ $42 35’ 15’ $47 40’ 20’ $52

The TOTAL LESSON TIME must be stated on the entry form, with the appropriate fee included.

NC Strings Workshop (SW)

Classes: SWPSP, SWP, SW1, SW2, SW3, SW4, SW5, SW6, SW7, SW8, SW9, SW10, SW11, SW12

NC Winds Workshop (WW)

Classes: WWPSP, WWP, WW1, WW2, WW3, WW4, WW5, WW6, WW7, WW8, WW9, WW10, WW11, WW12

NC Vocal Workshop (VWT and VWP) ***

From 2013, the vocal workshop classes will be grouped by age groups instead of grade levels:

Junior 8 and under 10 and under 12 and under Intermediate 14 and under 16 and under 18 and under adult beginner Senior 20 and under Adult open

Students must provide their own accompanist, Participation certificates will be given to accompanists if requested on the entry form (give names). There will be two categories of vocal classes:

Vocal Workshop Traditional

Includes folk, traditional, art, classical, conservatory type songs, etc.

Max. Performance Time

Fee

Junior:VWT 8U, VWT 10U,VWT 12U

4’ $20

Intermediate: VWT 14U, VWT 16U, VWT 18U, VWT AB

6' $22

Senior: VWT 20U, VWT AO

8' $27

Vocal Workshop Popular

Includes popular, TV and movie songs, musical theatre, jazz, pop type 20th- 21st century idioms, etc.

Max Performance Time

Fee

Junior VWP 8U, VWP 10U,VWP 12U

4' $20

Intermediate VWP 14U, VWP 16U, VWP 18U, VWP AB

6' $22

Senior VWP 20U, VWP AO

8' $27

NC Family Workshop (FAW): ***

This is a fun class to encourage families to make music together. Teachers, do you have students with family members (siblings, parents, grandparents, cousins, aunts and uncles, even in-laws, etc.) who also sing or play (piano, guitar, strings, winds etc.), who would enjoy participating in this friendly class? At Park Royal one year, we had a grandfather playing ensembles with his grandchildren, a father who sang while his child accompanied, two cousins who performed piano and flute, a mother and daughter duet, etc. Please tell your families about this new class and ask them if they would like to encourage music-making in the family by participating in this class. Selections may be of any type/level/instrument/vocal (e.g. pop, jazz, classical etc.). The student entered must perform on the instrument you teach, but the other performers need not be your students. The ensemble will receive verbal and written adjudications, a mark (no rank), and the student entered will receive a certificate/seal. Other participants may also receive certificates/seals if requested on the entry form.

Class name

Max. performance time

Fee

Elementary P,1,2,3 FAW El

5’ $20

Junior 4,5,6 FAW Jr

5’ $20

Intermediate 7,8,9 FAW In

8’ $25

Senior 10,11, 12

FAW Sr

8’ $25


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NC Creative Composition Workshop (CCW)

Entrants should state their age on the entry form, submit an original, previously unpublished composition for solo/ensemble instrument or voice, and hand in to Alice Rada an audio recording (CD or tape, live or midi) no later than one week before the beginning of the festival.). A manuscript (legibly hand-written or computer generated by the student) is not required but is recommended. Students should enter at their level of achievement (although compositions may be at any level). They may play the piece themselves, or provide other performers to do so. Memorization is optional. Students may enter one or more pieces, but each entry must bear a separate entry form and fee. Those who enter more than one piece should state on the entry form whether they wish to play their pieces consecutively, or with other entries in between. Suitable dress and deportment is expected. Classes: CCWPSP, CCWP, CCW1, CCW2, CCW3, CCW4, CCW5, CCW6, CCW7, CCW8, CCW9, CCW10, CCW11 COMPETITIVE SECTION

Competitive Strings Classes

Students will receive marks and rank, certificates and seals, written and verbal adjudications, and trophies. One trophy will be awarded for the highest mark in the Elementary and Junior categories (levels PSP – 6), and another for the Intermediate and Senior categories (levels 7-12), and another for the Concerto classes. Memorization is compulsory except for ***sonatas (as in RCM). Students who are using their own published / authorized copy of music must also provide a published / authorized copy for the adjudicator; otherwise, they will be ineligible to perform in a final concert. Students must provide their own accompanist, and appropriate dress and deportment is expected. There are three categories of classes: Strings Own Choice (SOC), Strings Repertoire (SRE, and Strings Concerto). A selection is one piece of any style or period, or one movement or part of a sonata / suite / collection / concert. However, if the RCM syllabus requires more than one part to complete a list, then all parts must be played provided it can be done within the time limit. Extended performance times (with commensurate fees) have been provided for longer pieces in Senior classes (see page 8).

Strings Own Choice (SOC):

Students may enter one or more selections of any style or period at the grade level, but each entry must bear a separate form and fee.

Classes: SOCPSP, SOCP, SOC1, SOC2, SOC3, SOC4, SOC5, SOC6, SOC7, SOC8, SOC9, SOC10, SOC11, SOC12 Extended performance times must be stated on the entry

Strings Repertoire (SRE):

Students may enter one selection only at the grade level, or up to two levels higher. CLASSES: SREPSP, SREP, SRE1, SRE2, SRE3, SRE4, SRE5, SRE6, SRE7, SRE8, SRE9, SRE10, SR11, SR12. Extended performance times must be stated on the entry

Strings Concerto (SCN)

Students may enter one selection only at the grade level, or one grade higher. Classes: SCNPSP, SCNP, SCN1, SCN2, SCN3, SCN4, SCN5, SCN6, SCN7, SCN8, SCN9, SCN10, SCN11, SCN12, Extended performance times must be stated on the entry Competitive Creative Composition Classes

This class is the same as for the Non-competitive Creative Composition Workshop (see page 11), except that Marks, Rank, Certificates and Seals are given (no trophy), and a manuscript is compulsory. Entrants should state their age on the manuscript, submit an original, previously unpublished composition for solo/ensemble instrument or voice, and hand in to Alice Rada an audio recording (CD or tape, live or midi) AND a manuscript (legibly hand-written or computer generated by the student) no later than one week before the beginning of the festival. Entrants should enter at their level of achievement (although compositions may be at any level). Students may enter one or more pieces, but each entry must bear a separate entry form and fee. Participants who enter more than one piece/suite/collection should state on the entry form whether they wish to play their pieces consecutively, or with other entries in between. Memorization is optional. Entrants may play the piece themselves, or provide other performers to do so. Participation certificates will be given to other performers if requested on the entry form (give names). Suitable dress and deportment are expected *** Classes: CCPSP, CCP, CC1, CC2, CC3, CC4, CC5, CC6, CC7, CC8, CC9, CC10, CC11, CC12


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Competitive Piano Classes

Canadian Composers (CA)

Any music written or arranged by Canadian composers. Since Canadian Composers can write in any period/style, pieces not entered in this class must be placed in the correct style class: e.g. Baroque, Classical, Romantic, Post-Romantic, 20-21st Century See Appendix 2 for Canadian Composer list. Classes: CAPSP, CAP, CA1, CA2, CA3, CA4, CA5, CA6, CA7, CA8, CA9, CA10, CA11, CA12.

JS Bach (JS)

Music by JS Bach only, for Elementary, Junior, and Intermediate divisions. Senior JS Bach is entered into the Baroque class. A Prelude and Fugue is considered one selection if both parts are required in the RCM syllabus. Classes: JSPSP, JSP, JS1, JS2, JS3, JS4, JS5, JS6, JS7, JS8, JS9, Extended performance times must be stated on the entry form

Baroque Style (BA)

Early keyboard, Baroque, and Rococo music up to approximately 1750 in style (Handel, Scarlatti, Telemann, Rameau, Leopold Mozart, most pieces by JS Bach’s sons), including pieces written or arranged in these styles by later composers. In the senior division, solos by JS Bach are entered here. If in doubt, style takes precedence over composer dates provided it is historically logical. A Prelude and Fugue is considered one selection if both parts are required in the RCM syllabus. Classes: BAPSP, BAP, BA1, BA2, BA3, BA4, BA5, BA6, BA7, BA8, BA9, BA10, BA11, BA12 Extended performance times must be stated on the entry form

Classical Style (CL)

Music in the Classical style (circa 1750 – 1825), including Schubert’s sonatas, music by Wolfgang Mozart, Haydn, Beethoven, Kuhlau, Clementi, and pieces written or arranged in a definite Classical style by later composers. If in doubt, style takes precedence over composer dates provided it is historically logical. “Sonatas” written in non-classical styles should be placed in the appropriate period class; e.g. Scarlatti – Baroque; M. Albeniz – Baroque; Schumann – Romantic; Kabalevsky – Post Romantic; Bartok – 20-21st Century. One movement only. However, if the RCM syllabus requires more than one movement to complete a list, the student must play all the required movements in competitive classes.

Extended performance times (with commensurate fees) have been provided to allow for longer pieces in senior classes, especially Classical Sonatas. Teachers must time the student’s performance accurately and include the appropriate fees. Classes: CLPSP, CLP, CL1, CL2, CL3, CL4, CL5, CL6, CL7, CL8, CL9, CL10, CL11, CL12 Extended performance times must be stated on the entry form

Romantic Style (RO)

Music of the Romantic period (circa 1825 and on) written by and in the style of Schubert (except his sonatas which are entered into Classical), Schumann, Chopin, Mendelssohn, Brahms, Grieg, Tchaikovsky, Liszt, and most pieces by Rachmaninoff (see the Guide for Classifying Pieces). Descriptive “character” pieces, and folk material or arrangements using traditional harmonies by later composers would fit here. If in doubt, style takes precedence over composer dates provided it is historically logical. Classes: ROPSP, ROP, RO1, RO2, RO3, RO4, RO5, RO6, RO7, RO8, RO9, RO10, RO11, RO12 Extended performance times must be stated on the entry form

Post Romantic Style (PR)

Music in an Impressionistic or moderately contemporary style, including most pieces by Debussy, Ravel, Faure, Poulenc, Ibert, Turina, Granados, Kabalevsky, Tansman, etc. For help in classifying pieces by Scriabin, Shostakovich, Prokofiev, Stravinsky, Khachaturian, see the Guide to Classifying Pieces. If in doubt, style takes precedence over composer dates provided it is historically logical. Classes: PRPSP, PRP, PR1, PR2, PR3, PR4, PR5, PR6, PR7, PR8, PR9, PR10, PR11, PR12 Extended performance times must be stated on the entry form

20th – 21st Century Style (TC)

Music using predominantly Twentieth Century idioms, including most pieces by Bartok, Barber, Ginastera, Starer, Schoenberg, Papp, Gershwin, Copland. Moderately contemporary pieces should be entered in the Post Romantic class. If in doubt, style takes precedence over composer dates provided it is historically logical. “Qualified 20th – 21st century popular idiom pieces” Original compositions using jazz, ragtime, blues, etc., that are similar in quality to those in the RCM syllabus may be entered in the 20th – 21st Century class (or in Popular Music class). For example, the original version of the “The Entertainer” by Scott Joplin qualifies for the


13

Twentieth Century class, but simplified versions must go into Popular Music. For help in classifying pieces by C. Norton, see the Guide to Classifying Pieces. Classes: TCPSP, TCP, TC1, TC2, TC3, TC4, TC5, TC6, TC7, TC8, TC9, TC10, TC11, TC12 Extended performance times must be stated on the entry

Popular Music (PO)

Music in a “popular” idiom – Boogie, Blues, Pop, Jazz, Ragtime, Disco, and arrangements/transcriptions of music from classics, movies, TV, musicals, etc. Some improvising is allowed and the student should indicate this on the entry form. Pieces may be at the grade level entered or up to two levels higher. Classes: POPSP, POP, PO1, PO2, PO3, PO4, PO5, PO6, PO7, PO8, PO9, PO10, PO11, PO12. Extended performance times must be stated on the entry

Own Choice (OC)

One selection at the grade level of any style, period, or composer, including “Qualified 20th & 21st Century popular idiom pieces” Classes: OCPSP, OCP, OC1, OC2, OC3, OC4, OC5, OC6, OC7, OC8, OC9, OC10, OC11, OC12 Extended performance times must be stated on the entry

Repertoire (RE)

Pieces may be at the grade level entered, or up to two levels higher. The selection may be a solo piece, or one or more parts of a sonatina/sonata or a suite played within the time limit. “Qualified 20th & 21st Century popular idiom pieces” (See TC classes, page 12) may also be used. Classes: REPSP, REP, RE1, RE2, RE3, RE4, RE5, RE6, RE7, RE8, RE9, RE10, RE11, RE12. Extended performance times must be stated on the entry

Technical Study (TS)

One study of any style, period, or composer; memorization is required. RCM inventions in grades 1 and 2 may no longer be entered in the Technical Study class. Instead, they may be placed in a Baroque class, or if written by a Canadian, in a Canadian Composer class. Classes: TSPSP, TSP, TS1, TS2, TS3, TS4, TS5, TS6, TS7, TS8, TS9, TS10, TS11, TS12

Concert Group (CG)

Students perform a miniature recital of three selections with normal breaks between pieces (students do not wait between pieces for the adjudicator to finish writing). Pieces may be at the grade level entered or up to two

levels higher. Pieces should show contrast in style and mood, but must also be from three different periods. Note that contemporary composers may write pieces in any style or period. Thus, “Monkeys in the Tree” by Berlin (Romantic style character piece with traditional harmonies) cannot be used with “First Loss” by Schumann (also Romantic), even though there is contrast in mood. Pieces that are very short, or studies that are technically oriented only, may not provide the best program for a Concert Group. Consideration will be given to programming in the adjudicator’s marks and remarks. One or more parts of a sonata or suite may be played as representative of that period, and need not be performed in its entirety. Total performance time, including breaks, must be stated on the entry form for all levels. Time limits must not be exceeded, otherwise the adjudicator will stop the performance. Classes: CGPSP, CGP, CG1, CG2, CG3, CG4, CG5, CG6, CG7, CG8, CG9, CG10, CG11, CG12. ALL entries must state the parts played for each selection, the performance time for each selection, and the student’s total performance time including normal breaks.

Concert Group Open Piano Class *** (replaces the ARCT Open Trophy Class)

This is a Post level 12 trophy class. Students who enter this class may not reenter CG 11 or CG 12 in subsequent years. Students perform a recital of three selections with normal breaks between pieces (students do not wait between pieces for the adjudicator to finish writing). Selections must be from three different periods, and show contrast in style and mood. Consideration will be given to suitable programming by the adjudicator. Selections must be at the ARCT level or higher (see the new LRCT syllabus for possible repertoire). One or more parts of a sonata or suite may be played as representative of that period and need not be performed in its entirety. The entry form must state the parts played, the student’s performance time for each selection, the breaks between pieces, and the total performance time of the recital. There is no limit to the number of years a student may enter, but the same student may not win the trophy two years in a row.

CG OPEN Total Performance time

Fee

30’ $47 35’ $52 40’ $57 45’ $62 50’ $67 55’ $72


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ALL entries must state the parts played for each selection, the performance time for each selection, and the student’s total performance time including normal breaks.

Piano Ensemble Teams

Students may play on only one team of the same type. For example, a student may play on a Duet, AND a Duo, AND a Trio team, but not on TWO Duet teams.

Duet (DT) - one piano, four hands

One piece only, or more than one part of a suite, sonata, or composer collection, performed within the time limit. Enter at the grade level of the piece. One partner may be one grade above the level entered; the other partner may be at the grade level or lower. For example, a grade 9 student (one grade higher) may enter a grade 8 class (level of the piece) with a partner in grade 8 or lower. Classes: DTPSP, DTP, DT1, DT2, DT3, DT4, DT5, DT6, DT7, DT8, DT9, DT10, DT11, DT12. Senior entries must state the students’ performance time

Duo (DO) - two pianos, four hands

One piece only, or more than one part of a suite, sonata, or composer collection, performed within the time limit. Enter at the grade level of the piece. One partner may be one grade above the level entered; the other partner may be at the grade level or lower. For example, a grade 9 student (one grade higher) may enter a grade 8 class (level of the piece) with a partner in grade 8 or lower.

Classes: DOPSP, DOP, DO1, DO2, DO3, DO4, DO5, DO6, DO7, DO8, DO9, DO10, DO11, DO12. Senior entries must state the student’s performance time

Trio/Quartet (TR/QU) one piano – 6 hands, or two pianos – 8 hands

One trio or quartet entry only (not both). One piece, or more than one part of a suite, sonata, or composer collection, performed within the time limit. Enter at the grade level of the piece. One partner may be one grade above the level entered; the other partner(s) may be at the grade level or lower. For example, a grade 9 student (one grade higher) may enter a grade 8 class (level of the piece) with partner(s) in grade 8 or lower. Classes: TR/QU PSP, TR/QUP, TR/QU1, TR/QU2, TR/QU3, TR/QU4, TR/QU5, TR/QU6, TR/QU7, TR/QU8, TR/QU9, TR/QU10, TR/QU11, TR/QU12 Senior entries must state the students’ performance time.

Concerto (CO)

Using the Guide to Concerti (page 15), students should enter at their established grade level with a selection at the grade level or one grade higher. Students may use other repertoire, but must submit a copy for approval at the time of registration. Classes: COPSP, COP, CO1, CO2, CO3, CO4, CO5, CO6, CO7, CO8, CO9, CO10, CO11, CO12. All entries must state the movements played and the student’s performance time with breaks.


15

GUIDE TO CONCERTI

Preliminary

Anson, G. Kid Concerto, mvt. 2 Glover, D. Concerto in Chords, complete. Anson, G. Miniature Concerto, mvt. 1 or 2

Grade One

Anson, G. Kid Concerto, mvt. 2 or 3 Haydn, J. Concertino in C major (Piccolo), mvt. 2

Anson, G. Miniature Concerto, mvt. 1 and 2, or 2 and 3, or 4

Noona, W.&D. Concertino in D minor, mvt. 1 or 2

Bozza, E. Sicilienne et Rondo, mvt. 1 Rollin, C. Concerto in C major, mvt. 2

Grade Two

Anson, G. Kid Concerto, mvt. 1 or 4 Noona, W. & D. Concertino in D minor, any one mvt.

Anson, G. Miniature Concerto, any two mvts. Rollin, C. Concerto in C major, mvt. 2 Berkovich, I. Concerto Opus, 44, mvt. 2 or 3 Silvanski, N. Petit Piano Concerto, mvt. 2 Bozza, E. Sicilienne et Rondo, mvt. 1 Thompson, J. Concertino in E minor, complete Dupont, J. Concertino, mvt. 1 Thompson, J. Concerto Americana, mvt. 2 Haydn, J. Concertino in C major (Piccolo), mvt. 2

Grade Three

Anson G. Kid Concerto, any two mvts. Noona, W. & D. Concertino in D minor, mvt. 3 Anson, G. Miniature Concerto, any three mvts. Rollin, C. Concerto Romantique, mvt. 2 Berkovich, I. Concerto Ous 44, mvt. 2 or 3 Silvanski, N. Petit Piano Concerto, mvt. 2 Bozza, E. Sicilienne et Rondo, mvt. 2 Thompson, J. Concertino in E minor, complete Dupont, J. Concertino, mvt. 1 or 2 Thompson, J. Concerto Americana, any one mvt. Haydn, J. Concertino in C major (Piccolo), mvt. 2

Grade Four

Anson G. Kid Concerto, any three mvts. Haydn, J. Concerto in C major, mvt. 2 Berkovich, I. Concerto Opus 44, mvt. 1 or 2 Kasschau, H. Country Concerto, mvt. 1 or 2 Bozza, E. Sicilienne et Rondo, mvt. 2 Rollin C. Concerto Romantique, mvt. 3 Dupont, J. Concertino, mvt. 2 Silvanski, N. Petit Piano Concerto, mvt. 1 or 3 Haydn, J. Concertino in C major (Piccolo), mvt. 2 and 3 Thompson, J. Concerto Americana, Mvt. 1 or 3

Grade Five

Berkovich, I. Concerto Opus 44, mvt. 1 Rollin C. Concerto in C major, mvt. 1 or 3 Carre, J. Concertino, any one mvt. Rollin C. Concerto Romantique, mvt. 1 or 3 Haydn, J. Concertino in C major (Piccolo), mvt. 1 Rowley, A. Miniature Concerto, mvt. 2 Haydn, J. Concerto in C major, mvt. 3 Rzayev, A. Concertino, mvt. 2 Kasschau, H. Concerto in C major, any one mvt. Silvanski, N. Petit Piano Concerto, mvt. 1 or 3 Kasschau, H. Country Concerto, mvt. 1 or 3 Thompson, J. Concerto in D minor, mvt. 2 Lantier, P. Concertinetto, complete Williams, J. Concerto in C major, mvt. 2

Grade Six

Konzert in B flat, Op. 13, No. 4, mvt. 2 Rowley, A. Miniature Concerto, mvt. 2 or 3


16

Boykin, H. Concerto in F major, any one mvt. Rzayev, A. Concertino, mvt. 2 Carre, J. Concertino, mvt. 1 or 3 Silvanski, N. Petit Piano Concerto, mvt. 1 and 2,

or 2 and 3 Haydn, J. Concerto in C major, Mvt. 1 or 3 Thompson, J. Concerto in D minor, mvt. 1 or 3 Kasschau, H. Country Concerto, mvts. 2 and 3 Wheeler, G. Concerto in D, mvt. 2 Kasschau, H. Concerto in C major, mvt. 2 or 3 Williams, J. Concerto in C major, mvt. 1 or 3 Rollin, C. Concerto in C major, mvt. 1 and 2, or 2 and 3 Williams, J. Concerto in F major, any one mvt. Rollin, C. Concerto Romantique, mvt. 2 Williams, J. Concerto in G major, mvt. 1

Grade Seven

Alexander, D.

Concerto in D major, complete Thompson, J. Bolero, complete (without introduction)

Bach, J.C. Konzert in B flat, Op. 13, No. 4, mvt. 2 Thompson, J. Concerto in D minor, mvt. 1 Boykin, H. Concerto in F major, mvt. 1 or 3 Wheeler, G. Concerto in D, mvt. 2 or 3 Carre, J. Concertino, mvt. 1 and 2, or 2 and 3 Williams, J. Concerto in A minor, mvt. 1 Haydn, J. Concerto in C major, mvt. 1 Williams, J. Concerto in C major, mvt. 1 or 3 Hummel, J. Concertino, Op. 73, mvt. 2 Williams, J. Concerto in F major, any one mvt. Kasschau, H.

Concerto in C major, mvt. 1 and 2, or 2 and 3 Williams, J. Concerto in G major, mvt. 1 or 3

Rowley, A. Miniature Concerto, mvt. 1 or 3

Grade Eight

Alexander, D. Concerto in D major, complete Mozart, W. Concerto in F major, K. 459, mvt. 2 Bach, J. C. Konzert in B flat, Op. 13, No. 4, mvt. 1 or 3 Rachmaninoff,

S Rapsodie sur un theme de Paganini (arr. C. Lambert)

Boykin, H. Concerto in F major, mvt. 1 and 2, or 2 and 3

Rowley, A. Miniature Concerto, mvt. 1 or 3

Frank, M. Youth Concerto in E flat, mvt. 1, or 2 and 3 Rzayev, A. Concertino, mvt. 1 or 3 Haydn, J. Concerto in C major, mvt. 1 and 2 Thompson, J. Bolero, complete (without

introduction) Haydn, J. Concerto in D major, any one mvt. Thompson, J. Concerto in D minor, mvt 1 and 2,

or 2 and 3 Haydn, J. Concerto in G major, any one mvt. Wheeler, G. Concerto in D, mvt. 1 or 3 Hummel, J. Concertino, Op. 73, any one mvt. Williams, J. Concerto in A minor, mvt. 1, or 2

and 3 Kabalevsky, D. Rhapsody on a Theme of School Years,

Theme, Cadenza and 2 variations. Williams, J. Concerto in C major, mvt. 1 and 2,

or 2 and 3 Kasschau, H. Concerto in C major, complete Williams, J. Concerto in F. major, mvt. 1 or 3 Kasschau, H. Legend of Sleepy Hollow, mvt. 1 or 2 Williams, J. Concerto in G major, mvt. 1 and 2,

or 2 and 3

Grade Nine

Bach, J. C. Konzert in B flat, Op. 13, No.4, mvt. 1 or 3 Mozart W. Concerto in C major, K246, any one mvt.

Bach, J.S. Concerto in F minor, mvt. 1 or 3 Mozart, W. Concerto in E flat major, K271, mvt. 1 or 2

Bach, J. S. Concerto in G minor, any one mvt. Mozart, W. Concerto in F major, K413, any one mvt.

Francaix, J. Concertino, mvt. 1 or 4 Mozart, W. Concerto in A major, K414, any one mvt.

Haydn, J. Concerto in C major, mvt. 1 and 2 Mozart, W. Concerto in C major, K415, any one mvt.

Haydn, J. Concerto in D major, any one mvt. Mozart, W. Concerto in F major, K459, any one mvt.

Haydn, J. Concerto in G major, mvt. 1 or 3 Rachmaninoff, Rapsodie sur un theme de Paganini


17

S (arr. C. Lambert) Hummel, J. Concertino, Op. 73, mvt. 1 or 3 Rowley, A. Concertino, mvt. 1 or 3 Kabalevsky, D. Concerto No. 3, any one mvt. Shostakovich,

D. Concertino, Op. 94, complete

Kabalevsky, D. Rhapsody on a Theme of School years, Theme Cadenza, and 3 variations.

Thompson, J. Bolero, complete, including introduction

Kasschau, H. Legend of Sleepy Hollow, mvt. 1 and 2, or 3 Wheeler, G. Concerto in D, mvts. 1 and 2 Kraehenbuehl, D.

Rhapsody in Rock, complete Williams, J. Concerto in C major (the 4th), mvt. 1 or 3

Grade Ten

Grade 10 students may choose from the following list, or from any concerto not already listed which is of Grade 10 standard or higher (first or last movement only ). If in doubt as to grading, consult the Festival Committee. Bach J. S. Concerto in F minor, mvts. 2 and 3 Mozart, W. Concerto in A major, K414, mvt. 1

or 3 Bach, J. S. Concerto in G minor, mvt. 1 or 3 Mozart, W. Concerto in C major, K415, mvt. 1

or 3 Beethoven, L. Concerto #1 in C major, op.15, first or last

mvt.(Grade 10 or higher) Mozart, W. Concerto in F major, K459, mvt. 3

Francaix, J. Concertino, first 3 mvts. Or last 3 mvts. Rimsky-Korsakov Concerto in C major, complete (Grade 10 and higher)

Haydn, J. Concerto in D major, mvts. 1and 2, or 2 and 3

Rowley, A. Concerto in D minor, op. 49, mvt. 1 and 2, or 2 and 3

Kabalevsky, D. Concerto no. 3, mvt. 1 or 3 Shostakovich, D. Concertino, Op. 94, complete Mendelssohn, F.

Capriccio Brilliante, Op. 22, complete (Grade 10 or higher)

Turina, J. Rapsodia Sinfonica, complete (Grade 10 and higher)

Mozart, W. Concerto in E flat major, K271, mvt.1,or Rondo & Minuet (Grade 10 or higher)

Williams, J. Concerto in C major (the 4th), mvt. 1 and 2, or 2 and 3

Grades Eleven and Twelve

Unless otherwise stated, concerti not already listed may be used, provided they are of degree standard or higher (first or last movement only ). If in doubt as to grading, consult the Festival Committee.


18

GUIDE TO CANADIAN COMPOSERS

Adaskin, M Anderson-Wuensch, J Anhalt, I Applebaum, L Archer, V Barclay, R Bartley, E Bayley, R Beckwith, J Benedict, R Berlin, B Bissell, K Blachford, F Bouchard, R Bruce, R Buczynski, W Burritt, L Buxton, W Camilleri, C Caton, F Champagne, C Chatman, S Cherney, B Christopher, R Chuhaldin, A Clarke, P Cooney, C Coulthard, J Coutts, G Crawley, C Crone, B Crosby, A Danna, M DeCoursey, R

Dela, M Dolin, S Donkin, C Dubois, P Duke, D Eaton, R Eckhardt-Grammatte, S Egbert, C Egglestone, A Elliot, C Ethridge, J Farrell, D Pepin, C Fiala, G Finch, D Fleming, R Freedman, H Gallant, P Gardiner, M George, G Gilley, E Glick, S Godden, R Gratton, H Green, R Guerrero-Haehnel, A Hansen, J Harmer, D Harris, C Harris, E Healey, D Henderson, R Heins, D Hetu, J

Hicks, M Hill, E Holt, P Hurst, G Janus, E Jaque, R Joachim, O Johnston, R Kaplan, D Kunz, A Kasemets, U Kemp, W Kenins, T Krausus, V Kunz, A ? Kunz, J ? Kuzmenko, L Kymlicka, M Laumes, D Lea, W Leacock, L Louie, A Lowe, M MacMillan, E Markow, A Marsden, E Mather, C McCauley, W McKay, G McKinnon, G McLean, G Melecci, A Milligan, J Morawetz, O Morel, F

Moss, E Mould, W Niamath, L Ouchterlony, D Papineau-Couture, J Parsons-Poole, M Paterson, L Peacock, K Peerson, C Pentland, B Pepin, C Peterson, O Poole, C Reubart, D Ridout, G Saint-Jean, R Sampson, R Schneider, E Skarecky, J Slater, N Somers, H Southam, A Spencer, M Stone, C Street, A Silvester, F Szczeniowski, A Telfer, N Thurgood, G Turner, R Vanier, J Washburn, J Weinzweig, G Willan, H Wuensch, G


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NORTH SHORE FESTIVAL GUIDE TO CLASSIFYING PIANO PIE CES

Although some pieces could be placed in more than one category, for consistency in this festival, use the following NSF Guide (which takes precedence over RCM or CC categories). If in doubt, style takes precedence over composer dates as long as it is historically logical.

Preliminary (preparatory)

Adair – Sketches from Hans Andersen: Nos. 3,5,6,7, ROP Noona – The Peacock’s Fan PRP

Anon. – A 16th Century March BAP Norton – Struttin’ TCP

Bartok - Dialogue TCP Nurimov – A Sad Little Song PRP

Bonis – Prayer PRP Olson - Lady Moon PRP

Clementi – Arietta in C Major, Op.42, No.5 CLP Olson - On the Move ROP

Ferrell - Little Monster ROP Olson – The Famous Haunted House PRP

Gurlitt - Dance CLP Owens – Israell Dance ROP

Hook – Minuetto, Op.37, Lesson 2 BAP Palmer - A 16th-Century March BAP

Kabalevsky - A Little Joke, Op.39. No.6 PRP Papp – Lydian Melody TCP

Kabalevsky – First Waltz, Op.89, No.5 PRP Papp – Two Responses BAP

Kabalevsky - Polka,Op.39, No.2 ROP Pearce – Singin’ the Blues TCP

Kabalevsky - Song, Op.39, No.8 PRP Saliutrinskaya – Russian Song ROP

Kranz – A Cuckoo in the Woods ROP Sheftel - Chimes ROP

Last - An Argument ROP Tchaikovsky – Old Russian Song ROP

Last – By the Mill Pond ROP Turk – A Carefree Fellow CLP

Last – March and Run ROP Turk - Children's Ballad CLP

Last – Trampoline ROP Turk – Cradle Song CLP

Lvov-Kompaniets – A Sad Song ROP Turk - Phrase Endings BAP

Mozart, L. - Minuet in F Major BAP Turk - Sad Feelings CLP

Mrozinski – On a Greek Island PRP Turk – Youthful Joy CLP

Grade I

Inventions ***RCM List C pieces in Grade 1 and 2 levels may no longer be entered in Technical Study (TS) classes. Those with traditional harmonies may go into Baroque (BA) classes, or if written by a Canadian, into Canadian Composer (CA) classes.

Adair – The Bronze Bear RO1 Kabalevsky – Skipping Rope, Op.89, No.17 PR1

Anon – Aria BA1 Kabalevsky – Waltz PR1

Anon – Burlesque in G Major BA1 Krausas - The Alligator CA1

Anon – Contredanse BA1 Krieger - Minuet in A Minor BA1

Anon – Hark the Tiny Cowslip Bell BA1 Last – Skipping Along RO1

Anon – Humoresque in G Major BA1 Le Couppey – Study in C Major, Op.17, No.6 CL1

Aubry - Woodland Scene RO1 Lefeld – A Folk Tune RO1

Bach, JCF – Aria in F Major, BWV Anh.131 BA1 Lefeld - Little Mouse PR1


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Bach, JCF – Schwabisch BA1 Lubarsky – The Busy Hen RO1

Blok - Happy Times PR1 Melartin – A Song RO1

Blok - The Bear in the Forest, Op.11, No.6 PR1 Mozart L - Minuet in F Major BA1

Bonis – The Flea PR1 Mozart L - Bourree in E Minor BA1

Bonis – The Sewing Machine PR1 Mozart L - Humoresque in G Major BA1

Buttstedt – Air in F Major BA1 Mozart L - Minuet in D Minor BA1

C.P.E. Bach – Minuet in C Major BA1 Mozart WA - Minuet in F Major, K.2 CL1

Clarke - Minuet in D Major BA1 Norton – Carol in Canon BA1

Czerny - Study in C Major, Op. 777, No.3 CL1 Norton – Duet for One PR1

Dandrieu – The Fifes BA1 Norton – On the Right Lines TC1

Dello Jolo – Mountain Melody CL1 Norton – Space Fleet TC1

Diabelli – Study in C Major, Op.125, No.3 CL1 Norton – Two-Handed Blues TC1

Duncombe – Sonata in C Major CL1 Oesten - Hunting Horns RO1

Frid – The Jolly Fiddler PR1 Owens - Prelude for Aries RO1

Garscia – The Little Bell PR1 Papp – Invention No. 2 TC1

Garztecka - A Ball BA1 Papp - Martellato and Forte-Piano TC1

Gedike - A Happy Tale, Op.36, no.31 RO1 Ple – The Little Troop PR1

Gedike – A Little Rabbit BA1 Rybicki – Cradle Song RO1

Gedike – A Sad Song PR1 Rybicki – Skipping Rope RO1

Gedike – Rigaudon BA1 Satie – Berceuse PR1

George - Dialogue (Canon) BA1 Satie – The Fable TC1

George – Relay Race RO1 Schnittke – Folk Song TC1

Gerstein – Bagatelle RO1 Schubert – Ecossaise RO1

Gossec – Old French Dance CL1 Sheftel - Ins and Outs TC1

Graupner - Bourree in D Minor BA1 Shostakovich – Soldier’s March PR1

Grechaninov – Fairy Tale RO1 Shostakovich – Waltz PR1

Gurlitt – Little Conversation BA1 Shut – Baby Birds TC1

Gurlitt - Morning Greeting, Op. 117, No.13 RO1 Stravinsky – Stepping Stones PR1

Gurlitt - The Hunt, Op.117, No.15 RO1 Stravinsky – The Kid Next Door TC1

Hassler - Minuet in C Major, Op.38. No.4 CL1 Stravinsky – The New Dress TC1

Hassler – Suite in C Major BA1 Tansman – Arabia PR1

Haydn - German Dance, Hob. IX:22, No.3 CL1 Tansman - Both Ways PR1

Hook – Gavotte BA1 Taranta – A Starry Night RO1

Hook – Minuetto in C Major BA1 Taylor-Colin – The Grasshopper PR1

Hopkins – Legends PR1 Turk - Arioso in F Major CL1

Hullmandel – Allegro in G Major CL1 Turk – Merriment CL1

Kabalevsky – Battle Song PR1 Turk – The Hunting Horns and the Echo CL1

Kabalevsky – March, Op.39, No.10 PR1 Wolfahrt – Study in G Major RO1

Kabalevsky - Porcupine Dance, Op. 89, No.8 PR1


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Grade II

Inventions ***RCM List C pieces in Grade 1 and 2 levels may no longer be entered in Technical Study (TS) classes. Those with traditional harmonies may go into Baroque (BA) classes, or if written by a Canadian, into Canadian Composer (CA) classes

Anon. – Bourree in D Minor BA2 Kolomiyets – A Little Waltz RO2

Anon. – Entrée BA2 Krausas - Kangaroos CA2

Anon.– Ecossaise BA2 Krebs – Minuet in B Minor BA2

Arnold – Gavotte in C Major, Op.12, No.2 BA2 Last - Sailing by Moonlight RO2

Bach, CPE – Minuet BA2 Lukomsky – Polka RO2

Bach, CPE – Minuetto II in F Minor, H 196/ 2 BA2 Mana-Zucca – A Slumber Song RO2

Bach, WF - Minuet in G BA2 Maykapar - Country Dance RO2

Balaze – Trudging TC2 Maykapar – Waltz RO2

Bartok - Children at Play TC2 Mozart, WA - Menuetto in C Major CL2

Bartok – Children’s Song TC2 Mrozinski – Turkish Bazaar PR2

Bartok - Little Dance in Canon Form TC2 Nakada – A Short Story RO2

Bender - Inuit Lullaby PR2 Nakada – So Long, See You Tomorrow PR2

Berkovich – Mazurka RO2 Neefe - Allegretto in C Major BA2

Berkovich - Study in C Major RO2 Norton – Asteroids TC2

Berkovich – Variations on a Russian Folk Song RO2 Norton – Chant TC2

Bertini – Op. 166, No. 6 RO2 Norton – Ragtime TC2

Bertini - Study in G Major, Op.166, No.6 CL2 Norton – Sprightly TC2

Bonis - Marionnettes PR2 Norton - Tram Stop TC2

Bonis – Compliment a grand maman RO2 Papp – Alternating Pairs TC2

Bonis – M. Vieuxbois PR2 Pinto – Minuet PR2

Bonis – Madrigal RO2 Pinto – Prelude PR2

Carroll – Sheltering in the Wood RO2 Rameau - Minuet in Rondo Form BA2

Carroll – Wood Fairies RO2 Reinecke – Elegy RO2

Clementi – Waltz CL2 Saint-Luc – Bourree in G Major BA2

Czerny - Study in C Major, Op.261, No.3 CL2 Scarlatti - Minuet in C Major BA2

Frid – The Teddy Bear TC2 Schubert - Ecossaise, D 299, No.8 RO2

Garscia - The Clock PR2 Schulz – A Spring Song CL2

Gedike – Fugato Op.36 No.40 & No.46 BA2 Schumann - Melody, Op.68.No.1 RO2

Gedike - Military Trumpets, Op.36, No.53 RO2 Shostakovich – The Bear TC2

Gedike - Study in G Major RO2 Sperontes – Menuet in D BA2

Gedike – The Shepherd’s Pipe PR2 Steibelt – Aria in A minor RO2

Glinka – Russian Polka RO2 Stravinsky – Pastoral Tune PR2

Goud - Moon through the Window TC2 Stravinsky – Wistful PR2

Gurlitt – Etude in D Minor, Op.82, No.65 RO2 Szelenyi – At the Playground TC2

Gurlitt – Theme and Variation CL2 Szelenyi – Bagpipe Music PR2

Gurlitt – Canon BA2 Szelenyi – Faraway Regions TC2

Hassler - Moderato in C Major, Op.38, No.5 BA2 Tan - The Land of Nod PR2


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Hook – Gavotta in D major BA2 Tan - The Wind PR2

Hummel – Ecossaise CL2 Thomas – In the Wood RO2

Kabalevsky - A Little Song, Op.27. No.2 PR2 Tigranian – Inv. No.5, Canon TC2

Kabalevsky – Scherzo, Op.39, No.12 PR2 Turk – Bliss; Contentment BA2

Kadosa - Study in A Minor TC2 Turk – A Cheerful Spirit BA2

Khachaturian - An Evening Tale PR2 Turk – Merriment BA2

Khachaturian – Children’s Dream PR2 Vinogradov – The Bears Dance PR2

Khachaturian - Skipping Rope PR2 Wuytack – Ostinato TC2

Kohler – Study in F Major, Op.190, No.27 CL2 Zucca – A Slumber Song R02

Grade III

Andre – Rondo CL3 Gurlitt – Dancing on the Green RO3

Anonymous – Polonaise in G minor BA3 Gurlitt – Little Flower in E Minor RO3

Bach, JC - Menuetto in C Major BA3 Gurlitt – Study in A Minor RO3

Bach, JCF - Schwabisch BA3 Gurlitt - Undaunted CL3

Bartok – Bagatelle TC3 Hassler – Andantino in A Major, Op.38, No.31 CL3

Bartok - Minuet CL3 Hiller – Andante in A major BA3

Bartok – Play TC3 Kabalevsky – Clowns PR3

Bartok – Slovak Peasant’s Dance TC3 Kabalevsky – Moonlight on the River PR3

Bennett – Diversions TC3 Karganov – Catch Me! RO3

Berkovich – Sonatina CL3 Kirnberger – Bourree BA3

Bernstein – The Elegant Toreador PR3 Maykapar – A Fairy Tale RO3

Blok - Two Ants TC3 Maykapar – Ballad RO3

Bonis, Mel – Douce amie/ Sweet Friend PR3 Maykapar - The Young Shepherd's Song RO3

Bonis, Mel - Marionettes PR3 Mozart, L - Minuet in E minor BA3

Borsody – The Snail and the Cuckoo TC3 Nakada – A Green Caterpillar and a Butterfly RO3

Burgmuller - Arabesque, Op.100, No.2 RO3 Nakada – Song of Twilight RO3

Carroll – The Village Band RO3 Norton - Coconut Rag TC3

Czerny - Study in C Major, Op.261, No.81 CL3 Norton - Inter-city Stomp TC3

Czerny - Study in D Minor, Op.261, No.53 CL3 Norton – White Sand TC3

Czerny - Study in Eb Major, Op.139, No.49 CL3 Papp – Variations TC3

Dello Jolo – Small Fry PR3 Raphling - Bike Ride PR3

Dvarionas – Prelude RO3 Rebikoff – The Solders Pass PR3

Eben - Bird on the Windowsill TC3 Schytte – Study in A Minor, Op.108, No.5 RO3

Fitch - Chinese Kites PR3 Shostakovich – A Happy Tale, Op.69, No.4 TC3

Fuchs – Timid Little Heart RO3 Tansman – Dresden China Doll PR3

Gedike – Scrappy Squirrels RO3 Tansman – The Dancing Bear PR3

Gedike - Study in E Minor, Op.32, No.12 RO3 Tansman - The Doll RO3

Grechaninov - After the Ball RO3 Tarp – Flute and Bassoon Play a Duet PR3


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Grechaninov – Children’s Album, Op.98, any one of Nos. 2,3,5,6,7-10,12,14,15 RO3 Tchaikovsky – Morning Prayer, Op.39, No.1 RO3

Grechaninov - Horse and Rider RO3 Turk - Having Fun CL3

Grechaninov – Mazurka Op, 98, No.13 RO3

Grade IV

Anon. – Minuet in C Minor BA4 Lubarsky – Variations RO4

Anon. – Minuet in F Major BA4 Mayer – Exercise CL4

Bach, CPE – March in D Major BA4 Maykapar – Polka RO4

Bach, CPE – Polonaise in G Major BA4 Melartin – Sonatina CL4

Balazs – Game TC4 Mendelssohn - Romance in G Minor RO4

Bartok – Children’s Game TC4 Mozart, WA - Waltz in G Major CL4

Bartok - Syncopated Dance TC4 Muczynski – Fable, Op.21, No.3 TC4

Berens – Study No. 5 (1988) CL4 Nakada – A Winter Melody PR4

Bertini- Study No. 4 CL4 Norton - Blues No. 1 TC4

Bonis – La toupie/ The Top PR4 Norton – Play it Again TC4

Burgmuller - Progress, Op.100, No.6 RO4 Papp – The Rooster Crows TC4

Burgmuller - The Wagtail RO4 Perry – Elephant Tune PR4

Clementi – Sonatina in G Major, Op.36, No.2, Mvt 3 CL4 Poot - Across the Channel TC4

Crawley - You're Joking CA4 Pozzoli – Before the Crib RO4

Czerny - Study in B. Flat Major, Op.599, no.83 CL4 Pozzoli – Soldier’s March RO4

Czerny - Study in G Major, Op.599, no.45 CL4 Pozzoli – The Cuckoo RO4

Duvernoy - Study in C Major, Op.176, No.24 CL4 Rameau – Minuet BA4

Duvernoy – Study No. 6 (1988) CL4 Rebikov – The Little Shepherd PR4

Gedike - Study in G Major, Op.36, No.26 RO4 Schumann - The Wild Horseman RO4

Gillock – Dragon Fly RO4 Schytte – Study No. 3 (1988) CL4 Grechaninov – Grandfather’s Album, Op. 119 (all except A Happy Meeting) RO4 Scott – Loneliness TC4

Gurlitt – Dancing on the Green RO4 Sheftel – Nocturne PR4

Gurlitt – Study No. 1 (1988) RO4 Shostakovich – A Sad Fairy Tale TC4

Hanson – Enchantment PR4 Snowdon – Adults TC4

Hassler – Allegro in G Major, Op.38, No.19 CL4 Szelenyi – Changing Bars TC4

Hassler – Allegretto in E Minor, Op.38, No.24 BA4 Tansman - Melodie RO4

Heller - The Avalanche RO4 Tansman – Petite Solennite RO4

Kabalevsky – Chastushka , Op.89, No.25 PR4 Tansman - Skating RO4

Kabalevsky – Dance on the Lawn PR4 Tansman – Vacation is Over RO4

Karganov – Little Waltz RO4 Turk – Dedicated Most Humbly BA4

Karp - Sailing Along TC4 Turk – German Song CL4

Kirchner – Andantino, Op.55, No.3 RO4 Weber – Waltz in G Major RO4

Last – Boats at Anchor RO4 Wesley – Sonatina in B Flat Major, Op.4, No.8 CL4


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Loeschhorn – Study in E Minor, Op.65, No.42 RO4

Grade V

Bach, JCF - Allegro in C Major BA5 Lemoine - Study in A Flat Major, Op. 37. No.44 RO5

Bach, JCF – Allegretto in F Major BA5 Loeschhorn - Study in D Minor, Op.65, No.40 CL5

Bach, JCF – Angloise in D Major BA5 Maikapar - Staccato Prelude, Op.31, No.6 RO5

Bartok – Jest TC5 Merath – Cha-Cha PR5

Benjamin – Soldiers in the Distance PR5 Mirsalis – In the Village PR5

Bertini – Study in G Major, Op.166, No.7 CL5 Mozart, L. - Allegro in A Major BA5

Bortkiewicz – The Hardy Tin Soldier PR5 Norton – Dreaming TC5

Burgmuller - Sweet Sorrow RO5 Norton – In a Hurry TC5

Burgmuller - The Hunt, Op. 100, No.9 RO5 Norton – Scamp TC5

C.P.E. Bach – La Caroline BA5 Pachulski – Valse Mignonne RO5

Carroll – See Idylls RO5 Pinto – Little March PR5

Creston – Rustic Dance TC5 Pinto – Serenade PR5

Czerny – Study in G Major, Op.139, No.38 CL5 Previn – Poodles TC5

Dieupart – Passepied in D Major BA5 Previn – Promenade in the Park TC5

Eurina - Blues "Mignon" TC5 Rebikov - In the Forest, Op.51, No.4 TC5

Faith – Moonless Night TC5 Rebov – Polka PR5

Fuchs – The Little Trumpeter, Op.32, No.4 RO5 Rohde – Dance of the Dragonflies, Op.76, No.7 RO5

Gedike - Study in C Major, Op. 32, No.16 RO5 Rowley – The Lake, Op.42, No.9 RO5

Gnesina – Skipping Rope RO5 Schoenmehl – Chicken Talk TC5

Graupner – Intrada BA5 Schoenmehl – Melancholy Reflections PR5

Grieg – Arietta RO5 Schumann - A Little Romance RO5

Grieg - Waltz, Op. 12, No.2 RO5 Shostakovich – Hurdy-gurdy PR5

Gurlitt – The Merry Wanderer, Op.210, No.29 RO5 Shostakovich – The Mechanical Doll TC5

Haufrecht - Tick-Tock Toccata TC5 Stolzel – Bourree in G Minor BA5

Heller - Study in D Major, Op.125, No.12 RO5 Takacs – Sounding the Accordion PR5

Kabalevsky – A Merry Dance Variations PR5 Takacs - The Little Fly TC5

Kabalevsky – A Slow Waltz PR5 Tansman – In Memory of George Gershwin PR5

Kabalevsky - Prelude, Op.39, No.19 PR5 Tchaikovsky – In Church, Op.39, No.24 RO5

Kabalevsky – Sonatina PR5 Tchaikovsky - Mazurka, Op.39, No. 11 RO5

Kadosa – Vivo TC5 Thompson – Germany RO5

Karganov – Arabesque, Op.6, No.2 RO5 Thompson – Italy RO5

Khachaturian – Evening Song PR5 Volkmann – Grandmother’s Song RO5

Kirchner – Miniature in C Minor RO5 Wesley – Sonata in A Major CL5

Kirnberger – Gigue in D Major BA5 Weybright – Rumba PR5

Krebs – Toccata BA5


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Grade VI

Bach, JCF - Angloise in A Major BA6 Kabalevsky - Warrior's Dance PR6

Bach, JCF – Scherzo in C Major BA6 Karganov - Game of Patience RO6

Bartok – Jeering Song TC6 Khachaturian – Ivan Sings PR6

Bernstein – For Susanna Kyle TC6 Kirchner – Miniature PR6

Bertini - Study in E Minor, Op.29, No.14 RO6 Kirnberger – Minuet in E Major BA6

Bloch – Melody RO6 Krebs – Bourree in A Minor BA6

Bloch – Pastorale PR6 Lebeda – Miniature TC6

Boldyrev – Sonatina TC6 Martinu – It Isn’t Bad, Is It, to Pick a Few Flowers PR6

Cimarosa – Sonata in A Minor CL6 Menotti – The Shepherd PR6

Cimarosa – Sonata in D Minor BA6 Mozart – Andantino, KV 236 (588b) CL6

Concone – Study in B Flat Major, Op.24, No.5 RO6 Nakada – Gear-wheels of a Watch PR6

Creston - Pastoral Dance, TC6 Nolck – Good Humored, Op.194, No.4 RO6

Czerny – Study in A Flat Major, Op.139, No.51 CL6 Norton – Oriental Flower PR6 Diabelli – Sonatina in F Major, Op.168, No.1, 3rd mvt. CL6 Pachulski – Prelude in C minor RO6

Faith – Celebration TC6 Papp – Hungarian Dance TC6

Fibich – Childhood-Spring RO6 Papp – Pebbles in the Water TC6

Filtz - An Ancient Tale PR6 Pinto – Playing Marbles TC6

Finney – Playing Ball TC6 Previn – Quiet Stream TC6

Fuchs - A Little Song, Op.47, No.4 RO6 Previn – Roundup TC6

Giarbella – Gnomi PR6 Previn – Twilight TC6

Gillock – Winter Scene PR6 Prokofiev – Promenade PR6

Gliere – Prayer, Op. 43, No.2 RO6 Rebikov – Valse Miniature Op.10, No.10 RO6

Gnesina – Song of the Brook RO6 Scarlatti – All sonatas in RCM Grade 6 BA6

Grieg – Arietta RO6 Scharwenka – A Tale, Op.62, No.3 RO6

Gurlitt - Study in E Minor, Op.132, No.1 RO6 Schoenmehl – The Broken Record TC6

Haydn – Sonata in G Major, Hob. XVI/8,1st mvt. CL6 Schubert - Sentimental Waltz RO6

Heller - Barcarole, Op.138, No.5 RO6 Schumann - Waltz in A Minor, Op.124, No.4 RO6

Heller - Dusk, Op.138, No.3 RO6 Scriabin – Prelude, Op.2, No.2 PR6

Heller - Fluttering Leaves RO6 Seixas – Toccata in C Minor BA6

Hofmann – Little Forest Bird RO6 Shostakovich – Dance PR6

Hofmann – On the Lake, Op.77, No.12 RO6 Starer – Black and White TC6

Ibert – Parade PR6 Starer – Bright Orange TC6

Ibert – Petite Suite: Lullabye PR6 Starer – Purple TC6

Kabalevsky – A Short Story PR6 Szymanowski – Krakowiak TC6

Kabalevsky - Toccatina, Op.27, No.12 PR6 Telemann – Fantasia in G minor, TWV 33:29 BA6

Grade VII

Albeniz – Sonata in D Major BA7 Khachaturian – Ivan is Very Busy PR7


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Alcock – Minuet in A Major BA7 Kirnberger – Passepied in D Major BA7

Balazs - A Sort of Rondo TC7 Kossenko - Melody, Op.15, No.11 RO7 Bach, C.P.E. – Sonatina in D Minor Wq 62/12, H66 BA7 Kossenko – Waltz RO7

Bartok – Pentatonic Tune TC7 Krebs – Sonatina No.4 in B Flat Major BA7

Benjamin - Romance Impromptu RO7 Lutoslawski – Bucolics #IV TC7

Bertini - Etude in E Minor, Op.29, No.16 RO7 Lutoslawski – Master Michael TC7

Bertini – Etude in C Minor, Op.29, No.7 RO7 Maikapar - Toccatina, Op. 8, No.1 PR7

Bloch – Enfantines Dreams PR7 Mendelssohn - Venetian Boat Song RO7

Bonsor – Feelin’ Good TC7 Menotti – Giga PR7

Brahms – Waltz in G Sharp Minor RO7 Menotti – Lullaby PR7

Chopin – Prelude in E Minor RO7 Niemann – Little Mermaid in the Shell PR7

Concone – Study in C Major, Op.24, No.22 RO7 Niemann – The Good Hen PR7

Dello Joio – Prayer of the Matador PR7 Norton – Wound Up TC7

Fiocco – Andante in E Minor BA7 Papp – Song and Dance TC7

Gillock – Moonlight Mood PR7 Piinto – Sleeping Time PR7

Gliere – Arietta RO7 Previn – Mechanical Toy TC7

Gnesina – Spinning Top PR7 Previn – Mimicry TC7

Godard – First Sorrow, Op.149, No.6 RO7 Prokofiev – Blacksmith’s Processions TC7

Granados – The Little Orphan Girl PR7 Prokofiev – Evening TC7

Granados – The Phantom PR7 Prokofiev – March, Op 65, No.10 TC7

Grieg - Elfin Dance RO7 Rebikov – Waltz RO7

Gurlitt - Study in G Major, Op.132, No.7 RO7 Rybicki – Our Little Garden PR7

Heller - Grief, Op.47, No.15 RO7 Schmitt - Study in G Major, Op.3, No.3 CL7

Hofmann – Elegie, Op.77, No.2 RO7 Schoenmehl – Cyclone TC7

Hofmann – Go To Sleep! Op.77, No.9 RO7 Schumann – Children’s Sonata, 2nd mvt. RO7

Hovhaness – Jhale at the Waterfall TC7 Schumann - Fantastic Dance, Op.124, No.5 RO7

Hummel – Scherzo in A major CL7 Shostakovich – Prelude No.5 in F Minor PR7

Ibert – La promenade PR7 Storace – Sonatina No.5 in D Major CL7

Ibert – Le cavalier PR7 Swinstead – Study in G Major PR7

Ibert – Serenade sur l’eau PR7 Takacs - In A Great Hurry TC7

Jarnach – Fantasia TC7 Takacs – Song and Alborada PR7

Kabalevsky - Dance, Op.27, No.27 PR7 Tansman – Prayer PR7

Kabalevsky - Etude, Op. 27, No.3 PR7 Tcherepnin – Bagatelle, Op.5, No.9 TC7

Kabalevsky - Rondo-Toccata, Op.60, No.4 PR7 Thompson – Variations on Three Blind Mice PR7

Kabalevsky – Variations, Op. 51, No.4 PR7 Vorisek – Rondo in G Major, Op.18 No.1 CL7

Grade VIII

Albeniz – Espana PR8 Mendelssoohn – Andante Sostenuto, Op.72, No.2 RO8

Arne – Gigue BA8 Menotti – Stranger’s Dance PR8


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Bach, JCF – Allegro in G Major BA8 Menotti – War Song PR8

Bartok – Canon TC8 Nakada – Etude Allegro PR8

Bartok - Evening at the Village TC8 Norton – Jane’s Song PR8 Benjamin – Silent and Soft and Slow Descends the Snow PR8 Paribeni – Ingressus PR8

Burgmuller - Morning Bell RO8 Piazzolla - Milonga del angel PR8

Burgmuller - The Gypsies RO8 Pinto - Roda-roda! PR8

Casella – Bolero PR8 Previn – In Perpetuel Motion TC8

Debussy - Album Leaf PR8 Ravel – Prelude PR8

Debussy – The Little Shepherd PR8 Rebikov – Berceuse RO8

Gade – The Merry-Go-Round RO8 Rebikov – Valse Melancolique RO8

Glavina – Terze TC8 Rowley – Lied, Op.42, No.13 RO8

Gliere – Cradle Song RO8 Satie – Gnossienne No. 3 PR8

Goud - Spider on the Ceiling TC8 Satie – Gymnopedie No. 3 PR8

Grieg - Little Bird RO8 Schoenmehl – Classical Pop Tune TC8

Groviez – Berceuse PR8 Schubert – Scherzo in B flat major RO8

Groviez – Little Litanies of Jesus PR8 Scriabin – Prelude No. 15 PR8

Heller - Etude in D Minor, Op.45, No.15 RO8 Scriabin – Prelude No. 22 PR8

Heller - Etude in E Minor, Op.47, No.16 RO8 Shostakovich – Prelude No. 15 TC8

Hofmann – Lyric Song, Op.88, No.7 RO8 Smetana – Chanson RO8

Hofmann – Nocturne, Op.88, No.3 RO8 Stamaty – Etude in F Major Op.38, No.2 RO8

Ibert – Giddy Girl PR8 Starer – Crimson and Pink TC8

Kabalevsky – Early Morning Exercises, Op.3/86, No.2 PR8 Swinstead – Study in D Major RO8

Kabalevsky - Etude, Op.27, No.24 PR8 Takacs - Toccatina, Op. 95, No.12 TC8

Kadosa - Allegro, Op.23/f, No.5 TC8 Tarenghi - Dance of the Marionettes RO8

Kalinnokov – Chanson Triste RO8 Torjussen – To the Rising Sun RO8

Loeschorn - Song of the Waterfall RO8 Turina – The sleeping Village PR8

Lutoslawski – The Schoolmaster TC8 Zipoli – Aria BA8

Lyadov – Prelude in B Flat RO8

Grade IX

Arlen - Over the Rainbow TC9 Manzano – Decadent Sentimental Song PR9

Bach, CPE - Sonata in A Major BA9 Mendelssohn - Song Without Words, Op. 102, No.3 RO9

Bach, JC - Sonata, Op. 5, No.2 BA9 Mompou – All pieces in RCM Grade 9 PR9

Bartok - Bagatelle, Op.6, No.2 TC9 Moszkowski - Study in E Flat Major, Op. 91, No.17 RO9

Berens - Study in A Minor, Op.61, No.13 CL9 Moszkowski - Study in E Flat Major, Op .91, No.6 CL9

Berens - Study in F Major, Op. 61, No.8 CL9 Palmgren – May Night PR9

Berens - Study in F Major, Op.61, No.10 CL9 Pinto – Run, run PR9

Concone – Study in C Major, Op.30, No.20 RO9 Pinto - Salta, Salta PR9

Copland – Four Piano Blues, No. 3 TC9 Poulenc – Valse PR9


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Cramer - Study in E Minor, Op.39, No.2 CL9 Poulenc – Villageoises PR9

Czerny - Study in C Major, Op. 553, No.1 CL9 Prokofiev – Gavotte TC9

Debussy - La fille aux cheveux de lin PR9 Prokofiev – Sostenuto TC9

Duvernoy - Study in C Major, Op.120, No.10 RO9 Ravel – Menuet PR9

Faure – Improvisation PR9 Ravel – Minuet on the Name “Haydn” PR9

Faure – Romance sans paroles, Op.17, No.3 PR9 Satie – Fourth Nocturne TC9

Gade - Scherzo, Op.19, No.2 RO9 Schytte – Study in A Major, Op.68,No.7 RO9

Ginastera – Tribute to Morillo TC9 Scriabin – Preludes, Op. 11, No. 9,10,13 PR9

Glinka – Fugue in A minor PR9 Shchedrin – Humoreske TC9

Granados – Players PR9 Shostakovich – Prelude, Op.34, No.24 TC9

Grovlez – All pieces in RCM Grade 9 PR9 Sibelius - Romance, Op.24, No.9 PR9

Grovlez - La sarabande PR9 Starer – Preludes, Op. 11, No.2 and No.3 TC9

Heller - Etude in G Major, Op. 47, No.24 RO9 Strauss – Traumerei RO9

Hofmann – To the Lute, Op.37, Book 2, No.1 RO9 Takacs – Kleine Sonata, Op. 51 TC9

Ibert – The Crystal Cage PR9 Takacs - Merry Andrew TC9

Ibert – The Little White Donkey PR9 Tcherepnin – Bagatelles Op. 5 TC9

Ibert – La promenade en traineau PR9 Turina – All pieces in RCM Grade 9 PR9

Ireland – The Darkened Valley PR9 Turina - Sacro-Monte, Op.55, No.5 PR9 Kabalevsky – All pieces in RCM Grade 9, including Preludes and Fugues, Op. 61, No. 5 and No. 6 PR9 Vellones – Danse des Moujiks RO9

Kabalevsky - Variations in D Major, Op.40, No.1 PR9 Villa-Lobos – Le Polichinelle TC9

Khachaturian – Sonatina PR9 Weiner – Fox Dance RO9

Grade X

Barber - Pas de deux TC10 Moszkowski - Etude in C Major, Op. 72. No.4 RO10

Bartok - Bagatelle, Op. 6, No.5 TC10 Moszkowski – Op.42, No. 3 PR10

Bartok - Rondo No.1, Op.84 TC10 Moszkowski – Op.72, No.4 RO10

Beach - A Hermit Thrush PR10 Moszkowski - Study in C Major, Op. 91, No.15 RO10

Berens - Study in A Minor, Op.61, No. 32 CL10 Muczynski - Six Preludes, Op.6, No.1, No.6 TC10

Bridge – Rosemary PR10 Palmgren – The Sea PR10

Copland – The Cat and the Mouse TC10 Pepin - Three Pieces for the Golden Legend CA10

Czerny - Study in A Minor, Op.740, No.41 CL10 Poulenc – All pieces in RCM Grade 10 PR10

Czerny - Study in F Major, Op. 299, No.12 CL10 Poulenc - Suite Francaise, 3rd Movement, 6th Movement,7th Movement PR10

Debussy – All pieces in RCM Grade 10 PR10 Rachmaninoff – All pieces in RCM Grade 10 RO10

Debussy – Mist PR10 Rachmaninoff - Etude-tableau, Op.33, No.8 RO10

Duvernoy - Study in C Major, Op.120, No.13 CL10 Rachmaninoff - Melody, Op.3, No.3 RO10

Falla – Danse du Meunier PR10 Ravel – Prelude PR10

Falla – Ritual Fire Dance PR10 Rhene-Baton – Fileuses Pres de Carantec PR10

Falla - The Miller's Dance PR10 Saint-Saens – Study in Rhythm RO10

Faure – Barcarolle PR10 Schoenberg – Six Little Piano Pieces TC10


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Faure – Nocturne PR10 Scott – Danse Negre PR10

Gershwin – Rialto Ripples TC10 Scott - Lotus Land, Op. 47, No.1 PR10 Ginastera – Rondo on Argentine Children’s Folk Tunes TC10 Scriabin - Etude, Op.2, No.1 RO10

Griffes – All pieces in RCM Grade 10 PR10 Scriabin – Prelude Op. 11, No. 14 PR10

Haberbier - Serenade, Op. 53, No.5 RO10 Scriabin – Prelude Op.2, No. 1 RO10

Heller - Prelude in C sharp Minor, Op.81, No.10 TS10 Shostakovich – 24 Preludes TC10

Hovhaness – Macedonian Mountain Dance PR10 Shostakovich – Three Fantastic Dances TC10

Ibert – Le vent dans les ruins PR10 Somers - Strangeness of Heart CA10

Kabalevsky - Variations in A Minor, Op.40, No.2 PR10 Southam - Four Bagatelles, No.2 and No.4 CA10

Loeschhorn - Etude in E Minor, Op.67, No. 5 RO10 Takacs – Toccata TC10

Lyadov - A Trifle, Op.2, No.12 TC10 Tsitsaros – Gallop TC10

Messiaen – Piante calme TC10 Tsitsaros - Snow Games TC10

Grade XI and XII

Albeniz – All pieces found in RCM Syllabus, ARCT PR11 Medtner – Fairy Tale PR11

Anhalt – Fantasia TC11 Moscheies – All pieces in RCM Syllabus, ARCT RO11

Barber – All pieces in RCM Syllabus, ARCT TC11 Moszkowski – All pieces in RCM Syllabus ARCT RO11

Copland - Passacaglia TC11 Persichetti – Poems for Piano, No.7 & 11 TC11

Crumb – Processional TC11 Poulenc – All pieces in RCM Syllabus, ARCT PR11

Dohnanyi – All pieces in RCM Syllabus, ARCT PR11 Prokofiev – All pieces in RCM Syllabus, ARCT TC11

Faure – All pieces in RCM Syllabus, ARTC PR11 Rachmaninoff – All pieces in RCM Syllabus, ARCT except: RO11

Finney – Variations on a Theme by Alban Berg TC11 Rachmaninoff – Preludes Op.32, No. 12 PR11

Ginastera – All pieces in RCM Syllabus, ARCT TC11 Ravel – All pieces in RCM Syllabus, ARCT PR11

Granados – The Maiden and the Nightingale PR11 Rawsthorne – Bagatelles TC11

Griffes – All pieces in RCM Syllabus, ARTC PR11 Saint-Saens – All pieces in RCM Syllabus, ARCT RO11

Hindemith – Sonata No. 2 TC11 Sancan – Toccata TC11

Honegger – Danse and Hommage a Ravel TC11 Scriabin – All pieces in RCM Syllabus, ARCT PR11

Ireland – Island Spell PR11 Shostakovich – 24 Preludes and Fugues TC11

Kabalevsky – Prelude, Op. 38, No.18 TC11 Stravinsky – - Four Studies TC11

Kennan – Three Preludes TC11 Szymanoski – Etudes Op. 4 PR11

Khachaturian – Toccata TC11 Weber – All pieces in RCM Syllabus, ARCT RO11

Ligeti – Etudes for Piano TC11 Webern – Variations, Op.27 TC11

Martin – Eight Preludes for Piano TC11

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