Level 5

TECHNICAL REOUIREMENTS

THEORY REOUIREMENTS

Be able to write elements, recognize them individually, and recognize them in musical excerpts. Thestudent is responsible for all theory elements from Preparatory Level through Level 5.

Tonalitv

l. Scales and key signatures:o Major: all keyso minor, natural and harmonic: a, e, b, d, g, c, fo melodic: a, c, fo Chromatic scale on any white key

2. Intervals: Perfect, Major and minor, ascending and descending, on any note3. Names and Roman numerals of scale degrees in Major keys:

I - Tonicii - supertoniciii - mediantlV - Subdominant

Lines must be placed above and below Roman numerals for Major chords, such as L, and lower caseRoman numerals must be used for minor and diminished chords, such as vi or viio.

4. Chords/triads:a. Triads: Major and minor, blocked and broken in root position and inversions using figured bass:

R: ! or no figured bass; lst : r or 3 ;2n4: f . Stua*t. need to know full and abbreviatedforms of figuredbass (forexample,6 and ! forfirst inversion). Roots of C G D AE B F BbEbAt

b. Diminishedtriadsinrootposition:C G D A E B F$ Cil F Bb

V - Dominantvi - submediantviio - leading tone

OVERALLREQUIREMBNTS SCALES

CADBNCES/CHORI)PROGRESSIONS CHORDS ARPEGGIOS

Level 5

All elements mustbe performed

Elements may beplayed in any order

All Hands Together

5:00 minutes toperform

Minimum Scaletempo:

J: so

AI Ef Major

fi : Z octavesand

.T:3 octaves

fcharmonic andmelodic minor

Ft : z octaves

Chromatic scale,parallel motion,

I octave,begin on C

E At Eb Major

I-ry-ii-v7-I

f c minor

i-iv-if-V7-i

RH commontone chords

LH single notes (root)with legato pedal

f harmonic minorPrimary first,

then secondary,root position

A Eh Major

f c minor

2 octaves

V7, root position& inversions,

broken,up first,

then down,in the keys of

A Eb Major

Level 5 Evaluation Requirements 7l MTAC Piano Syllabus 2012

c. Roots of inverted triadsd. Primary and secondary triads in Major keys: C G D A E F Bt Ebe. Primary triads in harmonic minor: a e d 6f. Dominant 7th chord, root position V' ; first inversion Vf or V!

' inthekeysof:C G D A E B F Bb EbMajor;a e d harmonicminor. ontheseroots:c G D A E B FgF Bt. identi& by word and figured bass symbol (Dominant seventh, Dominant 7th,Y7)

g. Cadences: authentic, half, plagal, root position & common tone: C G D A F Majora harmonic minor

h. Arpeggio: Identif,i in music, beginning on any white key

Time and Rhvthm

Be able to: Rhythms suph as:-. identifunotesandrestswiththeirnames 12 N r \r\ i \ro give the number of beats each note receives 4 l' ) J) | J) , Jr I. *rit" counts using numbers t & 2 & I ur' &

Baroque

-- J.S. Bach

Know how to play the followingomaments:

)ta appoggruturaG9 turn.p mordent

Classical

Mozart

animato

con

con briocon motolargotranquillovivoenharmonic

ostinato

arpeggio

o match notes and rests of the same valueo determine the time signature for a rhythm. add missing notes or rests to a measurer add barlines to a rhythm

Siqns and Terms (Definitions are on page 48)

fr nrr::J j iJIJ:J II 2 3 4 | 2 34l&z 2&a 3 4

EJ,E,IT:IJ }; ?I,.23 4 5 6 123456

Romantic

HISTORY

Know the four periods of music history in order. Know at least one composer from each period. A list ofcomposers is on pages 16l-169. When asked to name a composer from a particular period, students mayuse any composer's name from that period.

The following composers may appear on the test:

20thl21st Centuries

Kabalevsky

Level 5 Evaluation Requirements 72

Schumann

MTAC Piano Syllabus 2012

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

1. Identifli Major and Perfect intervals up to and including an octave, ascending and descending,blocked and broken.

2. Identiff the difference between Major and minor triads in root position, blocked and broken.3. Hear the difference between a Major or minor scale in harmonic form.4. Be able to hear the difference between 214 and3l4, andbetween 314 and4l4 meters.5. Identifo the tonality of a simple four-measure phrase in Major or minor.6. Identiff a half or authentic cadence at the end of a chord progression, using common tone.7. Be able to hear the difference between a mordent and a turn.8. Be able to hear the difference between Vivo and Largo, and between tranquillo and animqto.9. Be able to hear whether a chord progression is in a Major key or a minor key.

SIGIIT-READING REOUIREMENTS s

Be able to sight-read Level 3 music. All skills from previous levels may be included, with the addition ofcompound meters, tied notes, and dynamic voicing (bass clef .f, treble clef p). Students will have 30seconds to preview the example.

IMPROVISATION REQUIREMENTS (Optional)

Students may perform an optional Improvisation at their CM Evaluation. Improvisation is an optionalperformance segment. Any improvisation may be played during the performance portion of theevaluation.

o Improvisation is not rated by the evaluator.. Improvisation is limited to 5 - 60 seconds in length, as listed in the CM Syllabus according to the

CM level.e Improvisation is done in addition to and not in place of the other required segments of the CM

evaluation (technique, sight-reading, and repertoire). Students must prepare the entire technicalrequirements as indicated for their level. All segments (including improvisation) need to beperformed within the appropriate evaluation length of each level.

o Improvisation may be from any resource and is independent of a student's registered CM level.

REPERTOIRE REOUIREMENTS

Repertoire requirements for Level 5 begin on page 115.

Level 5 Evaluation Requirements 73 MTAC Piano Syllabus 2012

Vocabulary List: Signs and Terms

Students are responsible for all terms up to and including the Level for which they are being evaluated.

TEMPO MARKINGS FROM SLOWEST TO FASTEST

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

PREPARATORY LEVEL

J

p piano: soft.f forte: loud

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

staccato: not connected, crisp

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

both notes

repeat sign: play the music again

dynamics: syrnbols or terms that indicate loudor soft

fine: the end

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

A fermata:hold longerrit, ritard., ritordando : gradually slower

a tempo: return to the original tempo

bar linetreble clef

barlinemeasure

treble clefbrace

bass clef

brace

grand staff

ameasme

bassclei Grand Staff

mp

mfpp

trJ

LEVEL I

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

mezzo piano: medium soft

mezzo forte: medium loud

pianissimo: very soft

fortissimo: very loud

tenuto: hold the note for its full value.May also mean to stress the note.

or fiD. * damper pedal: thepedal on the far right; depress andrelease the damper pedal

&" --- play eight notes (an octave) higher8"___ or 8rD___ play eight notes (an octave) lower

T L -fz first and second endings

repetition: exact repeating of a melodic patternin the same voice, on the same pitch andwith the same rhythm

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

Section 3: Vocabulary - Definitions 46 MTAC Piano Syllabus 2012

LEVEL 2

allegro: fast, quick (cheerfully, merrily)

andante: walking tempo

moderato : moderate tempo

vivace : quickly, lively

ppp pianississimo: very, very soft

"ffi fortississimo: very, very loudsf sfz fz sforzando: a sudden, sharp accentcadence: the chords that end a phrase or section

of a composition

authentic cadence: cadence using the harmonicprogression ofV to I

half cadence: cadence using a harmonicprogression that ends on V

plagal cadence: cadence using the harmonicprogression ofIV to I

sequence: repeating a melodic pattern in thesame voice at a higher or lower pitch,often a 2nd or 3rd above or below

LEVEL 3

adagio: slow tempo, slower than andante

spiritoso: spirited

ac c e I er an do, ac c e l. : gradually faster, acceleratetempo

dolce:sweetly

molto: much, very

poco: 7ittle

una corda: apply the soft pedal (pedal on theleft)

tre corde: the release ofthe soft pedal (pedal onthe left)

relative Major and minor: Major and minorkeys sharing the same key signature

motif, motive: a short musical idea

legato pedal (syncopated pedal, overlappingpedal): creating a seamless, un-blurredlegato by raising and quickly re-depressing the damper pedal at the sametime as, or immediately after, the keysare played

LEVBL 4

andantino: a little faster than andante*

allegretto: a little slower than allegro

presto:very fast tempo

cantabile: in a singing style

espres s ivo : expressively

leggiero: lightly

subito:suddenly

---etto: suffix meaning little or less

---ino: suffix meaning little or less

articulation: the various ways in which notes areexecuted, including, but not limited to,staccato and legato

parallel Major and minor: keys sharing the sametonic note

transposition: the act of performing or writing amusical work in a key other than the keyin which it was originally written

meter: the arrangement of beats into groups ofequal size (measures) and with regularrecurring accents

imitation: statement of a motive in anothervoice or hand

b * trill:**#'...r--

_____t--1---

* This is the definition that will be used for CM testing, and indicates the most common use of the term. Some composers use it to meanslightly slower than andante.

** This is the definition that will be used for CM testing. The trill can be interpreted differently depending on the historical period and thecontext ofthe music. Teachers are encouraged to study omamentation further. See the list ofresources on pages 173-174.

Section 3: Vocabulary - Definitions 47 MTAC Piano Syllabus 2012

LEVEL 5

qnimato: animated, with spirit

con:with

con brio : with brilliance

con moto:with motion

largo: stately, broadly, dignified, very slow,slower than adagio

tranquillo : peacefully, tranquil, calm

vivo: brisk, lively

arpeggio: a broken chord in which the notes areperformed melodically rather thanharmonically. The arpeggio may bewritten out or indicated with a wavy lineplaced in front of a chord.

ostinato: a short musical pattern that is repeatedthroughout a composition or section of acomposition

enharmonic: pitches that are the same but namedor spelled differently, such as Cfl and Db

ornaments:

mordent:*

----T -?--T+ +-----1-- -trd-

C\D

---r- - -'---l----i----- *-----r----T-T-|

-

LEYEL 6

doloros o : sadly, sorrowfully

marcqto: marked

robusto : boldly, robustly

s cherzando : jokingly, lightly, playfully

simile: similarly, the same as

sostenuto: sustained, giving note full value

fe forte piano.' loud followed immediatelyby soft

syncopation: a momentary contradiction of themeter or pulse, often by changing strongand weak beats within a measure

opus: the term used to indicate thechronological number of a composer'sworks, often as they are published

deceptive cadence: one in which the dominantis followed by a harmony other than thetonic, most often the submediant

modulation: changing from one key (tonality) toanother within a composition or sectionof a composition.

b double flat: an accidental that lowers thepitch of a note by two half-steps

x double sharp: an accidental thatraises thepitch of a note by two half-steps

--T- -?--7--l--l .'.+IrrrI h I

-appoggiatura:#Italian: "to lean"

turn: to turn aroundthe note

xThis is the definition that will be used for CM testing. The appoggiatura can be interpreted differently depending on the historical period andthe context ofthe music. Teachers are encouraged to study omamentation further. See the list ofresources on pages 173'174-

Section 3: Vocabulary - Definitions 48 MTAC Piano Syllabus 2012

1. Name the Major key for each key signature. (4 points)

a)

. rl rl

Major Major

2. Name the minor key for each key signature. (4 points)

mtnor mlnor

3. Add accidentals to complete each scale. (4 points)

B Major

Major

minor

Major

minor

og minor,

{}

harmonic form

a)

c minor, melodic form

b minor, natural formI'

laat

4. Add accidentals to complete the chromatic scale beginning on A. (l point)

Level 5 2010

I! II

5. Give the number and circle the quality for each interval. The first one is given. (6 points)

mmPP

6. Name the root of each triad.(5 points)

@mlnordiminished

u Majorminordiminished

7. Check the figured bass (inversion) for each triad.

PPPPCircle whether each triad is Major, minor or diminished.

mP

The first one is given.

Majorminordiminished

diminished

The first one is given. (4 points)

Majorminordiminished

Majorminor

Majorminordiminished

Tt

5J

5_3

64

6_3

64

5_3

6,

53

6.,,/i

8. Write the following Dominant 7th chords in the key indicated by each kev signature. Whether to use theMajor key or the minor key is indicated before each Roman numeral. (4 points)

6Majorkey: I5

I

Major key: Y76

minor key: l[ 5 Majorkey: l[7

.[))&3 &

9. Check the correct counting for each example. (3 points)

Example Aj

Example B Example C

cJ rnnJ-Ill gJ nn il13.i) )I &2&3 &.4&a 123&.4 5 6

1

a

a

&.

Level 5 2010

| 2 3 &a4& _l 234 5 6I 2 3 & 4 &a I 2 &3 4 5 6

t2t&1&

23 &2 &.3

10. Add one note to each measure to complete the fbllowing example. (4 points)

3ilfiJ-Ij) ir-l J-Jl ,h lffifr1 r)J )I l. Check the correct definition for each term or musical example. (8 points)

a. enharmonic notes Ffl and GFt and GilFil and Gb

animated, with spiritfastwalking tempo

furnmordentappoggiatura

happily, cheerfullypeacefully, tranquil, calmwith brilliance

with brilliancewith motionwith happiness

b. animato

d. tranquillo

e. con moto

g. largo

furntrillmordent

very faststately, broadly, very slowmoderate tempo

with motionorderlymusical pattern that is repeated for a section of the music

h. ostinato

Level5 2010

12. Write the Primary triads for the key of d minor. harmonic form. (3 points)

-aaI

I

13. Write the secondary triads

IV

for the key of Eb Maior. (4 points)t[

ll

14. Check the Roman numeral

a. Tonic _-T]fI

iiifor each scale degree name.

b. Mediant c. Leading Tone _ iii

-Yviio

c.A7

Y

(3 points)

iiiiiv.1

15. Check the scale degree name for each Roman numeral. (3 points)

a. T[r _ Subdominant b. ii _ SupertonicDominant Subdominant

SubmediantTonic

DominantDominant 7thSubdominant

16. Check the name for each cadence

D Major

in the indicated key. (3 points)

a minor

HalfAuthentic

AuthenticPlagal

(2 points)

Schumann

3. Romantic 4. ContemporaryClassical

C Major

ClassicalRomanticBaroque

PlagalHalf

17. Check the name for each missing historical period that creates the correct order. (2 points)

1. Baroque 2. Contemporary

Classical

Check the historical

Kabalevsky

period for each composers.

ContemporaryBaroqueRomantic

I

a) a e

I

e

t

I

18.

Level 5 2010

-

? ?"K )' fr+ IJ.S. Bach: Short Prelude

Answer questions 19-25 about the music above' (9 points)

19. What is the minor keY?

20. Which form of minor is used?

21. How many beats are in each measure?

22. Whattype of note receives one beat?

23. lnmeasures 3-4,whatterm is used to describe the music

under the brackets?

24. Write the name of the root of each circled chord. circle

Major, minor, or diminished for each'

25. Which historical period does J.S- Bach represent?

Major minor diminished

Major minor diminished

mrnor

a.

b.

Level5 2010

c.

-

Major minor diminished.

(Burgmuller: Spinning Song)

6TV-3

26.

27.

Answer questions 26-29 about the music above. (10 points)

How else can the time signature be written?

Check the correct Roman numeral for each circled triad.

Write the English meaning for each of these symbolsused in the music.

29. Checkthe correct name for each boxed interval.

6-tv 4a.

b.

l.

lll vi

6T4

6I3

28.

c. I

a tempo

8va

m7M7 P8

Level5 2010

m3 M3 P4

EARTRAINING EVALUAilON

This is your l,evel5 ear training evaluation. Listen to each question and irc musical example.

Markyour arswer. Each example will be played two times. (13 points)

1. Recognition of Maior or rninor in a four-measure phrase'Ex. 1 Major

-

minor

-Ex.z Major

-2. Recognition of an ornament.

Mordent

3. Recognition of a Major or minor ctrord progression'Major

4. Recognition of Major and Perfect intervals.Ex. 1 Major 3rd

-

Major 6th

Ex. 2 Perfea 4th

-

Major 7th

5. Rccognition of Major or harmonic minor scales'Ex. 1 Major

-

harmonic minor

F;r-z Major

-

harmonicminor

6. Recognition of meter in a four-measure phrase.

Ex. 1 7 o*,F;x-Z f .i*.

7.

&

Rccognition of tempo.

9. Recognition of a cadence.Authentic I M7 IHatf IIVIVT

t timef ,i*.

IargoVivo

Recognition of a Major or minor triad.

Major

-

minor

EarTralnlngfests r SetB . Level 5

1 Technic & Theory 5 p 12 Technic & Theory 5 p 23 Technic & Theory 5 p 34 Vocabulary 5 p 15 Vocabulary 5 p 26 Vocabulary 5 p 37 Sample Test 5 p 18 Sample Test 5 p 29 Sample Test 5 p 310 Sample Test 5 p 411 Sample Test 5 p 512 Sample Test 5 p 613 Sample Test 5 p 7