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1 Online Reording Trak Page g Keyoard Instruments... The Baroque Era (600 70)... The Classial Era (70 80)... The Romanti Era (790 90)... The Modern Era (880 forward)... Emotions in Musi... 6 Lustig Traurig, WoO (Classial) Beethoven Classial Sonatina... 8 Sonatina in A Minor (Classial) Benda Saraande... Saraande, HWV 7 (Baroque) Handel Theodor Kullak... Opening of the Children s Ball, Op. 8, No. (Romanti) Kullak Enrique Granados... 6 Vals poetio No. (Romanti) Granados The Waltz... 8 Valse miniature, Op. 0, No. 0 (Modern) Reikov Mozart s German Danes... 0 German Dane in B-flat Major, K. 600, No. (Classial) W. A. Mozart The Bourrée... Bourrée in A Minor, TWV : (Baroque) Telemann g ohann Seastian Bah... Klavierühlein für Wilhelm Friedemann Bah... Gottfried Stölzel... 6 Menuet in G Minor (Baroque) Stölzel Minuet and Trio... 8 Menuet Trio di. S. Bah (Prelude in G Minor), BWV 99 (Baroque). S. Bah...0/... 8 ohann Friedrih Reihardt... 9 Aria (Classial) Reihardt Domenio Cimarosa... Sonata in G Major (Classial) Cimarosa Edvard Grieg... 6 Arietta, Op., No. (Romanti) Grieg Bagatelle... 8 Bagatelle No., Op., No. (Modern) Therepnin The Charater Piee... 0 Prelude in C Minor, Op. 8, No. (Modern) Pahulski Souvenir... Souvenir, Op. 0, No. (Romanti) Karganov Giovanni Battista Pesetti... 6 Allegro in C Major (Baroque) Pesetti Programmati Titles... 9 Sommeraend, Op. 7, No. (Romanti) Grieg Sergei Prokofiev... Vision fugitive No. 0, Op., No. 0 (Modern) Prokofiev Chopin s Waltzes... Waltz in A Minor, Op. posthumous (Romanti) Chopin......

The Baroque Era (600 70) KEYBOARD INSTRUMENTS Baroque desries a dramati style of art and musi in Europe at a time when many athedrals (large hurhes) were

g Sound is reated y air sent through pipes, with eah pipe produing only one note.

g During the Baroque era, ohann Seastian Bah was etter known as a virtuoso organist and for his organ-uilding knowledge than he was as a omposer.

He uilt keyoards four to four-and-a-half otaves long. During the Classial era, pianos eame popular and larger.

2 The Baroque Era (600 70) KEYBOARD INSTRUMENTS Baroque desries a dramati style of art and musi in Europe at a time when many athedrals (large hurhes) were eing designed and uilt to awe and inspire worshippers. Large Baroque hurhes used pipe organs for their worship servies. g Sound is reated y air sent through pipes, with eah pipe produing only one note. The pipes reeive air from valves ontrolled y one or more manuals (keyoards). g Before eletriity, ellows had to e pumped y hand to reate the wind energy. g During the Baroque era, ohann Seastian Bah was etter known as a virtuoso organist and for his organ-uilding knowledge than he was as a omposer. Engraving of a 7th-entury organ The Classial Era (70 80) Bartolomeo Cristofori (6 7) invented the first piano during the Baroque era. He uilt keyoards four to four-and-a-half otaves long. During the Classial era, pianos eame popular and larger. Both Franz oseph Haydn (7 809) and Wolfgang Amadeus Mozart (76 79) owned pianos as well as harpsihords. In a letter to his father, Mozart praised ohann Andreas Stein s pianos. By this time, keyoards overed five to five-anda-half otaves. A five-otave pianoforte of ohann Andreas Stein (77, Berlin) A Cristofori pianoforte with a four-otave keyoard

8 Warm-Up Patterns in A Minor, pp. 9, Wrist Étude, Cartwheels, p. CLASSICAL Classial Sonatina A sonata was originally any instrumental work one played, not sung.

3 8 Warm-Up Patterns in A Minor, pp. 9, Wrist Étude, Cartwheels, p. CLASSICAL Classial Sonatina A sonata was originally any instrumental work one played, not sung. Sonatinas are shorter and usually easier forms of sonatas. g By 770, sonata referred to a work for solo keyoard, or solo instrument and piano. g During the Classial era, sonatas usually had three or four movements. Today Georg Benda is est known for his dramati stage works, whih were admired y Mozart. He also omposed keyoard piees. His onemovement Sonatina in A Minor, written efore 770, has traits of Classial sonatas and sonatinas. g It has two themes that appear in ontrasting ut related keys. g With the da apo, the overall form is ternary or ABA. The restatement of the opening theme in its original key is a prominent feature of sonatas. Georg Anton Benda Sonatina in A Minor Allegro SECTION A theme a f r R Key: A Minor (i) # R # # R Georg Anton Benda (7 79) # # # n #

The Bourrée Warm-Up Patterns in A Minor, pp. 9, More Aout 8th-Century Artiulation, p. 9 BAROQUE The ourrée was originally an energeti log dane for ouples in entral Frane.

4 The Bourrée Warm-Up Patterns in A Minor, pp. 9, More Aout 8th-Century Artiulation, p. 9 BAROQUE The ourrée was originally an energeti log dane for ouples in entral Frane. Men proudly stamped, lapped, and shouted while the women were more flirtatious. g Couples raised their arms, snapped their fingers, and hammered out the rhythm of the dane with their feet, while sometimes rossing etween eah other. g It was sometimes sung and daned y winemakers as they rushed grapes, stamping on them with their are feet. g Fashionale during the reign of Louis XIV in the 7th entury, the ourt dane was quik, in duple meter with an upeat, hops, leaps, and slides. g Beause its harater was not onsidered nole enough, it lost its popularity in the Frenh ourts. However, it remained an optional dane in Baroque dane suites. Telemann was one of the most famous and prolifi omposers of his day, with over three thousand works. The melodi style of his ompositions is onsidered to e an important link etween the Baroque and Classial styles. A ouple daning a folk ourrée in the early 0th entury 8 Allegro SECTION A F Key: A Minor 8 Bourrée in A Minor from Ouverture in A Minor Ó # #.. Georg Philipp Telemann (68 767) TWV : F #

5 Daily Warm-Up... Hand-Shape Review... Major-Minor Workout... All Triads, Played with Variations... 6 The Triads, Wiek...6 Triad Variations, Wiek...6 Four-Note and Dominant Seventh Chords, Wiek... 8 Warm-Up Patterns in C Major and A Minor... 9 C Major and A Minor Sales in Douling Rhythms...9 Arpeggio Études in C Major, Op. 6, Nos. 8 and 9 (transposed), Czerny... 0 Arpeggio Études in A Minor, Op. 6, Nos. 8 and 9 (transposed), Czerny... Slurred Chords... Phrasing and oyful Musial Spirit... Arpeggio Étude in C Minor, Op. 6, No. 8 (transposed), Czerny... Sorrowful Musial Spirit... A Trill with Termination..... Wrist Étude (exerpt), Op. 8, No., Czerny.. Cartwheels (exerpt), Rii... Warm-Up Patterns in F Major and D Minor... F Major and D Minor Sales in Douling Rhythms... Arpeggio Études in F Major, Op. 6, Nos. 8 and 9 (transposed), Czerny... 6 Arpeggio Études in D Minor, Op. 6, Nos. 8 and 9 (transposed), Czerny... 7 Rests Voiing... 8 Finger Independene (exerpt), Op. 6, Shmitt. 8 The Musial Sore and Tehnique... 9 Étude (exerpt), Op. 8, No. 8, Czerny... 9 Warm-Up Patterns in D Major and B Minor... 0 D Major and B Minor Sales in Douling Rhythms...0 Arpeggio Études in D Major, Op. 6, Nos. 8 and 9, Czerny... Arpeggio Études in B Minor, Op. 6, Nos. 8 and 9 (transposed), Czerny... Fingering Legato Melodies... Pedaling to Connet Tones... More Aout Pedaling... Waltz-Style Pedaling... Warm-Up Patterns in B-flat Major and G Minor. B-flat Major and G Minor Sales in Douling Rhythms... Arpeggio Étude in B-flat Major, Op. 6, No. 7, Czerny... 6 Arpeggio Études in G Minor, Op. 6, Nos. 8 and 9 (transposed), Czerny... 7 Doule Notes... 8 Doule Third Étude, Wiek...8 Trill with Termination... 8 Étude (exerpt), Op. 8, No., Czerny... 8 More Aout 8th-Century Artiulation... 9 Bourrée in A Minor (exerpt), Telemann... 9 Baroque Style Elements... 0 Non-legato Touh... 0 Motive and Sequene... 0 Rhythm... 0 Menuet in G Minor (exerpt), Stölzel... 0 Counterpoint Finger Independene (for voiing)... Pedal Levels of the Damper Pedal... Finding Pedal Level... Finding Other Pedal Levels... Aria (exerpt), Reihardt... Warm-Up Patterns in G Major... G Major Sale in Douling Rhythms... Arpeggio Études in G Major, Op. 6, Nos. 8 and 9 (transposed), Czerny... Inreasing Speed... Étude for Agility (exerpt), Op. 99, No. 9, Czerny... Warm-Up Patterns in E-flat Major and C Minor. E-flat Major and C Minor Sales in Douling Rhythms... Arpeggio Étude in E-flat Major, Op. 6, No. 8, Czerny... 6 Arpeggio Études in C Minor, Op. 6, Nos. 8 and 9 (transposed), Czerny... 7 Singing a Melody... 8 Lyri Étude in E-flat Major, Op. 6, No. 9, Czerny... 8 Playing in Meter... 9 Grouping Chords and Otaves... 9 Bagatelle No., Op., No. (exerpt), Therepnin.9 Balaning a Melody and Repeated Chords... 0 Esapement and Doule Esapement... 0 Prelude in C Minor (exerpt), Op. 8, No., Pahulski... 0 Warm-Up Patterns in A-flat Major and F Minor. A-flat Major and F Minor Sales in Douling Rhythms... Arpeggio Étude in A-flat Major, Op. 8, No., Czerny... Layers of Sound... Étude in A-flat Major, Wiek... Baroque Style Review... Allegro in C Major (exerpt), Pesetti... Repeated-Note Étude (with otave extensions), Wiek... Warm-Up Patterns in D-flat Major and B-flat Minor D-flat Major and B-flat Minor Sales in Douling Rhythms... Arpeggio Étude in D-flat Major, Op. 99, No. 00, Czerny... 6 Arpeggio Étude in B-flat Minor, Op. 6, No. 7, Czerny... 7 Grae Notes within a Triplet, Broken ths, Changing Colors... 8 Wrist Flexiility... 9 Wrist-Staato Étude, Op. 76, No., Duvernoy. 9 Left-Hand Leaps in Chopin Waltzes... 0 Waltz in A Minor (exerpt), Op. posth., Chopin.. 0 Appendix... Diminished Seventh Chords... Sale Review...

Daily pratie should inlude:. Creating a naturally arhed hand shape with firm nail-joints.

Hand-Shape Review: Daily Warm-Up g Turn palms up (toward the eiling) in their natural urve.

g Gently plae the hand in its arh on the keyoard, aligning the forearm with fingers. g Diret the energy from the angled thum-tip toward the knukles.

6 Daily pratie should inlude:. Creating a naturally arhed hand shape with firm nail-joints.. Basi keyoard patterns in different keys: five-finger patterns, sales, hords (loked, staato, and roken), and arpeggios. Hand-Shape Review: Daily Warm-Up g Turn palms up (toward the eiling) in their natural urve. g Ativate or hollow out the palm musles keeping the top of the hand relaxed. g Knok the fingertips on the keyoard from the wrist to make them firm and heavy. g Gently plae the hand in its arh on the keyoard, aligning the forearm with fingers. g Diret the energy from the angled thum-tip toward the knukles. g Keep fingertips on the surfae of the keys, feeling eah one in Major-Minor Workout. This Not This Moderato Allegro* C Major Major-Minor Workout ' ' ' ' ' F ' ' ' ' ' C Minor Move hands forward to D-flat position ' ' ' ' ' ' ' ' ' ' D-flat Major simile C-sharp Minor # # # # n # # # n # simile * Pratie only as fast as an e ontrolled. Start at a moderate tempo and gradually inrease speed.

g When rossing, slightly roll finger, finger, and the thum. Avoid turning the wrist.

7 Allegro moderato f w w Allegro moderato f 6 In the Arpeggio Études in F Major: g Form the hord shape in the hand, and maintain it as the hand moves through different registers. g When rossing, slightly roll finger, finger, and the thum. Avoid turning the wrist. Arpeggio Études in F Major Carl Czerny (79 87) Op. 6, No. 8 (transposed) Carl Czerny (79 87) Op. 6, No. 9 (transposed) Not This This (finger )

GENERAL. Category A. Below 9 years (born after 23 September 2009) PRELIMINARY ROUND

GENERAL. Category A. Below 9 years (born after 23 September 2009) PRELIMINARY ROUND GENERAL Category A Below 9 years (born after 23 September 2009) 1. J. KRIEGER: Menuet in A Minor frompartita No. 5 in A Major 2. L. MOZART: Menuet in G Major, No. 4 from Notebook for Nannerl 3. W.A. MOZART: