LEVEL 8 complete Evaluations Syllabi and... · CAPMT Student Evaluations Syllabus 2009 Level 8 –...
10
CAPMT Student Evaluations Syllabus 2009 Level 8 – p. 1 LEVEL 8 Complete Requirements Repertoire Three pieces: One from the Baroque or Classical Period, one from the Romantic Period, and one from the Twentieth Century. Two must be memorized. Anthologies Publisher Alfred Magrath, J.: Masterpieces with Flair!, Book 3 FJH Faber: The Developing Artist • Piano Literature, Book 4 • Piano Sonatinas, Book 4 Harris Celebration Series Perspectives : Piano Repertoire Level 8, Etudes, Level 8 Kjos Snell, K.: Piano Repertoire, Level 8 • Baroque and Classical • Romantic and 20 th Century • Etudes • First Sonata Album Additional Examples Baroque Bach, J. S.: 2 Part Inventions, Nos. 5, 7, 11, 12 Classical Mozart: Sonatas, K. 280 in F, K. 283 in G, K. 330, K. 570 Romantic Mendelssohn: Songs without Words, Op. 19, No. 1, Op. 53, No.2, Op. 62, Nos. 1 and 6, Op. 67, No. 6, Op. 85, No. 1 and Op. 102, No. 4 20 th Century Villa‐Lobos: Five Pieces on Brazilian Folk Songs Shostakovich: 24 Preludes Op. 34, Nos. 13, 16, 17, and 19 Oral Questions Questions may be asked about musical terms and signs found in the student’s repertoire. In addition, the student should know the style period represented by each piece, as well as one or more facts about the composer. If the repertoire includes pieces in binary, rounded binary, ternary, or Sonata Allegro form, the student may be asked to identify the form.
Transcript of LEVEL 8 complete Evaluations Syllabi and... · CAPMT Student Evaluations Syllabus 2009 Level 8 –...
CAPMTStudentEvaluationsSyllabus2009 Level8–p.1
LEVEL 8 CompleteRequirements
Repertoire
Threepieces:OnefromtheBaroqueorClassicalPeriod,onefromtheRomanticPeriod,andonefromtheTwentiethCentury.Twomustbememorized.
Anthologies
Publisher
Alfred Magrath,J.:MasterpieceswithFlair!,Book3
FJH Faber:TheDevelopingArtist
• PianoLiterature,Book4• PianoSonatinas,Book4
Harris CelebrationSeriesPerspectives:PianoRepertoireLevel8,Etudes,Level8
Kjos Snell,K.:PianoRepertoire,Level8
• BaroqueandClassical• Romanticand20thCentury• Etudes• FirstSonataAlbum
AdditionalExamples
Baroque Bach,J.S.:2PartInventions,Nos.5,7,11,12
Classical Mozart:Sonatas,K.280inF,K.283inG,K.330,K.570
Romantic Mendelssohn:SongswithoutWords,Op.19,No.1,Op.53,No.2,Op.62,Nos.1and6,Op.67,No.6,Op.85,No.1andOp.102,No.4
20thCentury Villa‐Lobos:FivePiecesonBrazilianFolkSongs
Shostakovich:24PreludesOp.34,Nos.13,16,17,and19
Oral Questions
Questionsmaybeaskedaboutmusicaltermsandsignsfoundinthestudent’srepertoire.Inaddition,thestudentshouldknowthestyleperiodrepresentedbyeachpiece,aswellasoneormorefactsaboutthecomposer.Iftherepertoireincludespiecesinbinary,roundedbinary,ternary,orSonataAllegroform,thestudentmaybeaskedtoidentifytheform.
CAPMTStudentEvaluationsSyllabus2009 Level8–p.2
Sight Reading
Sightreadashortmusicalexample,equalindifficultytoaLevel6piece.
Technique
Scales
DbEbGbMajorbbcebharmonicandmelodicminor
Handstogether4octaves
q =100
Cadences
DbEbGbMajorbbcebminor
IIVii6–V7Ii–iv–iio6–V7i
q
Scale:2Against3
DbMajor
Handstogether,RH:3octavesin8thnotesLH:2octavesintripletsReverse
q =100
FourNoteTonicandDominantSeventhChordInversions
DbEbGbMajor
Handstogether.Rootpositionandinversions.Blocked,thenbroken.
q
Tonic,DominantSeventh(V7)Arpeggios
DbEbGbMajor
Handstogether4octaves.
q =84
Tonic,DiminishedSeventh(viio7)Arpeggios
bbcebminor
(beginontheleadingtoneofthescale)
Handstogether4octaves.
q =84
Terms and Signs
ornamentwithupperprefix ornamentwithlowerprefix
contrapuntaltexture robusto pedalpoint/organpoint
m.d.(manodestra) m.s.(manosinistra) pivotchord whole‐tonescale
augmentation diminution stretto hemiola
portato scherzo scherzando stringendo
CAPMTStudentEvaluationsSyllabus2009 Level8–p.3
Musical Style Periods
Althoughsomeofthecharacteristicslistedbelowmaybefoundinmorethanonestyleperiod,thelistingsgenerallyindicatetheearliestwidespreadusageand/oracontrastwiththepreviousstyleperiod.
CHARACTERISTICSOFBAROQUEMUSIC
• Extensiveuseofornamentation.• PolyphonictextureincludingFugues• Binarydanceforms• Harpsichordandclavichordwidelyused
CHARACTERISTICSOFCLASSICALMUSIC
• Homophonictexture• Phraseseasilydefined• Multi‐movementSonata/SonataAllegroform• Pianoreplacestheharpsichord• UseofAlbertibass
CHARACTERISTICSOFROMANTICMUSIC
• Widerrangeofexpressionindicatedbythecomposer• Morefluctuationintempo,includingrubato• Programmaticmusicwithdescriptivetitles• Increaseduseofchromaticism• Formalstructuresbecomelessimportant
CHARACTERISTICSOFIMPRESSIONISTICMUSIC
• Useofmodes,wholetonescales,andpentatonicscales• Pedalusedforcoloristiceffect• Glidingchordsinparallelmotion(planing)• Departurefromfunctionalharmony• Harmonyoftenbasedonfourthsandfifthsratherthantriads
CHARACTERISTICSOFTWENTIETHCENTURYMUSIC
• Mayincludebitonality,polytonality,atonality• Avarietyoftextures,includingclusters• Useofchangingmetersandasymmetricalrhythms• Influenceofjazz,ragtimeandblues• Pianooftenusedpercussively
CAPMTStudentEvaluationsSyllabus2009 Level8–p.4
Music Literacy
Thestudentisresponsibleforallterms,signs,andconceptsfrompreviouslevels.
• Writeawhole‐tonescalebeginningonanynote.
• Writeoridentifysecondarydominants:V(7)/V,V(7)/IV
• Harmonicallyanalyzeamusicalexamplewritteninchoralestyle,usingRomannumeralsandfiguredbass.Nomodulationwillbeinvolved.
• Matchornamentstotheirrealizations.
• Matchcharacteristicstomusicalstyleperiods.
• Identifythestyleperiodofmusicalexcerpts.
• Writecounts,addbarlinesortimesignaturestorhythmexamplesincluding32ndnotesandrests.
• Matchtermsandsignstotheirdefinitions.
• DemonstrateanunderstandingofthetonalstructureofSonataAllegroform.
• Scoreanalysis:Questionswillinvolveconceptsfromthisandearlierlevels.
Aural Training/Listening Skills
• Intervalidentification:Allmajorandminorintervalsplusthetritone.Eachwillbeplayedbrokenandsolid.
• Identificationoftheposition(root,1stinversion,or2ndinversion)andqualityofamajororminortriad.
• Identificationofthepositionofadominant7thchord:
Rootposition,1stinversion,2ndinversion,or3rdinversion
• Identifythestyleperiod(Baroque,Classical,Romantic,or20thCentury)ofamusicalexample.
CAPMTStudentEvaluationsSyllabus2009 Level8–p.5
Level 8 Sample Written Test
Scales
WriteawholetonescalebeginningonD. ____(4pts.)
Harmonic Analysis ____(5pts.)
GivetheRomannumeralsandfiguredbassforeachunderscoredchord.Thefirstonehasbeendoneasanexample.
I5/3 _____ ____________________
Secondary Dominants ____(4pts.)
Writethefollowingsecondarydominants:
Fmajor:V7/VCmajor:V7/IV Gmajor:V7/V Dmajor:V7/IV
Ornaments ____(2pts.)
Matcheachornamenttothecorrectrealization.
A B
____ ____
CAPMTStudentEvaluationsSyllabus2009 Level8–p.6
Musical Style Periods ____(12pts.)
Matcheachcharacteristicwiththeappropriatestyleperiod.Write“B”forBaroque,“C”forClassical,“R”forRomantic,“I”forImpressionisticor“T”forTwentiethCentury.
____Morefluctuationintempo,includingrubato
____Influenceofjazz,ragtimeandblues
____Harpsichordandclavichordwidelyused
____Harmonyoftenbasedonfourthsandfifthsratherthantriads
____Avarietyoftextures,includingclusters
____Homophonictexture
____Pedalusedforcoloristiceffect
____Extensiveuseofornamentation.
____UseofAlbertibass
____PolyphonictextureincludingFugues
____Multi‐movementSonata/SonataAllegroform
____Widerrangeofexpressionindicatedbythecomposer
Matching ____(8pts.)
___scherzo a.righthand
___portato b.2ormorevoicessoundingatthesametime
___m.s.(manosinistra) c.achordwhichprecedesamodulation,andiscommontoboththeoriginalkeyandthenewkey
___m.d.(manodestra) d.aplayfulorhumorouspiece,ajoke.
___hemiola e.halfwaybetweenlegatoandstaccato
___contrapuntaltexture f.quickening,accelerando
___pivotchord g.lefthand
___stringendo h.arhythmicdevicesuperimposing2beatsinthetimeof3,or3beatsinthetimeof2
Rhythm ____(4pts.)
Writecountsfortherhythmexamplebelow.
CAPMTStudentEvaluationsSyllabus2009 Level8–p.7
Score Analysis ____(18pts.)
ThefirstmovementofSonataOp.13,No.3byHeinrichJosephRiegeliswritteninSonataAllegroform.Answerthefollowingquestions:
1. IdentifythekeyandmodeoftheSonata.__________________
2. Whichtermbestdescribesthebassclefnotesinmeasures1–3and9–11?
Repetition___ Pedalpoint___ Sempre___
3. Identifytheornamentsfoundinthefollowingmeasures:
Measure13__________________
Measure16__________________
Measure37__________________
4. NamethethreemainsectionsofSonataAllegroformandgivetheinclusivemeasurenumbersforeach.
Firstsection: __________________ measures___to___
Secondsection: __________________ measures___to___
Thirdsection: __________________ measures___to___
5. Inthefirstsection,thesecondthemebeginsinmeasure17.LocatethefirstmeasureofthesamethemeinthethirdsectionoftheSonata.____
6. Identifythekeyandmodeofmeasures17‐36.________________
7. Whatisthetermfortheaccompanimentpatternfoundinthebassclefofmeasure17?____________________
8. Identifythekeyandmodeofmeasures37to42.__________________
9. Identifythecircledintervalinmeasure56.__________________
10. Identifythecirclednon‐harmonictonesinthefollowingmeasures:
Measure15__________________
Measure17__________________
_57_Possiblepoints _____Studentpoints
CAPMTStudentEvaluationsSyllabus2009 Level8–p.8
Sonata, Op. 3 No. 3
CAPMTStudentEvaluationsSyllabus2009 Level8–p.9
CAPMTStudentEvaluationsSyllabus2009 Level8–p.10
