piano TRACKS Curriculum Overview Stage A Stage B Stage C Stage D Stage E Stage F Stage G Stage H Unit 1 - Notes and the Stave the musical alphabet all the notes within the main treble stave notes up to one ledger line above and below the treble clef stave notes up to two ledger lines above and below the treble clef stave notes up to three ledger lines above and below the treble clef stave notes beyond three ledger lines above and below the treble clef stave what an alto clef is what a tenor clef is their finger numbers all the notes within the main bass stave notes up to one ledger line above and below the bass clef stave notes up to two ledger lines above and below the bass clef stave notes up to three ledger lines above and below the bass clef stave notes beyond three ledger lines above and below the bass clef stave the names of the notes on the alto clef stave the names of the notes on the tenor clef stave what a stave is what the 8va sign means what the treble clef is what the 8vb sign means what the bass clef is treble clef middle C - G bass clef F - middle C and/or bass clef low C - G pre-stave notation stave notation in fixed 5 finger position (using notes above) play pieces in a fixed 5 finger position, but in different place on the piano notes in the above range notes in the above range notes in the above range notes in the above range students do not need to play tunes in the alto clef students do not need to play tunes in the tenor clef 1
write and identify all notes within the 5 note range above write and identify all notes within the treble and bass clef stave write and identify all notes in the above range play pieces that use the 8va and.or 8vb sign Unit 2 - Rhythm crotchets quavers quaver rests semiquavers semiquaver rests about complex triplets: triplets with different note minims minim rests dotted crotchets dotted quavers crotchet triplets values in and breve rests triplets with rests in semibreves semibreve rests what a single dot does to the length of a note what syncopation means minim triplets dotted minims ties fermatas what a triplet is duplets breves what a double dot does to the length of a note demisemiquavers crotchet rests what swung quavers are, where they are usually indicated clap rhythms with some or all of the above note values in clap rhythms with quavers in clap rhythms with quaver rests in clap rhythms with the notes they have learned so far in (including this stage) pieces semiquaver rests can write or complete written rhythms with complex triplets in pieces with breve or breve rests in pieces with demisemiquavers in some or all of the above note values in clap rhythms with minim and/or semibreve rests in clap rhythms with dotted crotchet - quaver patterns in play pieces that have simple syncopated rhythms in 1 hand (e.g. Calypso Joe) pieces with crotchet or minim triplets in (within a simple rhythm) potentially clap or complex triplets in pieces with double dotted notes in Play pieces that include more complex syncopated rhythms 2
quavers in work out the value of notes they know when a dot is added play quaver triplets (against and amid crotchets - i.e. not 2s against 3s) play triplet quavers amongst regular triplets. pieces with duplets in minim and/or semibreve rests in quaver rests in swung quavers in identify a tie dotted crotchet - quaver rhythms in ties in identify a fermata play pieces that have a fermata in Unit 3 - Tempo ritardando a tempo allargando Rubato animé alla misura rallentando ritenuto andantino tempo comodo calando doppio movimento accelerando allegretto grave largamente cédez incalzando allegro lento larghetto stringendo presser langsam andante moderato presto anima and animato presto possibile lebhaft adagio largo vivace and vivo leggiero ralentir lunga where to look for tempo indications con brio veloce ruhig what tempo means energico vite schnell senza misura 3
play fast and slow pieces 1 change to tempo 2 changes to tempo (i.e. has an a tempo in) multiple changes to tempo (sudden and gradual) small amounts of rubato in more frequent changes to tempo work towards a personal interpretation of rubato explain the difference between a ritardando and a ritenuto play pieces that have a sudden change to tempo Unit 4 - Pulse and Metre what pulse is 3/4 time signature 2/4 time signature 2/2 time signatures 3/2 time signatures 9/8 time signatures what bars and bar lines are 3/8 time signatures common & cut time signatures 4/2 time signatures 12/8 time signatures what a time signature is and where to find them 6/8 time signatures what simple & compound time is what irregular time signatures are how to group notes in compound time 4/4 time signature how to group notes in simple time clap a 2 beat pulse play in 3/4 play in 2/4 play in cut & common time or 2/2 clap a 3 beat pulse play in 3/8 identify whether a piece is in 2 or 3 time pieces or parts of pieces in the above time signatures play pieces in 9/8 and 12/8 pieces or parts of pieces in irregular metres clap a 4 beat pulse play in 6/8 play a piece with one change of time signature build on the number of changes to metre they can manage in a single piece 4
play in 4/4 Stage A Stage B Stage C Stage D Stage E Stage F Stage G Stage H Unit 5 - Dynamics how to play loudly p, f, mp, mf symbols crescendo & sign sf, sfz, pp, ff how to play softly diminuendo & sign play pieces that are loud play pieces that have some or all of the above symbols in play pieces that include a crescendo and/or a diminuendo sf or sfz in manage more frequent changes of dynamics within pieces and see how this contributes to character/style. begin to develop historical stylistic awareness of dynamics play pieces that are soft play pieces that have loud and soft in them sort p,f,mp,mf into order of loud/ softness consider how dynamics might be used in a piece pp in ff in work towards a personal interpretation of dynamics multiple changes of dynamic Unit 6 - Articulation how to play legato and the symbol how to play staccato and the symbol accents and the symbol drop & float articulation/ couplets (legato ending in staccato pair) tenuto staccato + legato notes staccato + tenuto 5
play legato play accented notes within a piece identify these (and notice they are not ties) play tenuto notes within a piece play these notes in pieces play these notes in pieces play pieces that are staccato vs legato with confidence and conviction play staccato change from legato to staccato or vice versa in a single piece a mixture of the articulations learned so far the drop and float articulation in a mixture of the articulations learned so far build an awareness of the vagaries of the notation system build an awareness of the vagaries of the notation system manage more frequent changes of articulation within pieces and see how this contributes to character/style. begin to develop historical stylistic awareness of articulation Unit 7 - Hand positions and Co-ordination play hands separately (including pieces using two hands) play in several fixed 5 finger positions begin to move beyond 5 finger position, with stretches of up to 1 octave (in one hand) stretches of around an octave, with both hands increasing independence stretches of over an octave, with both hands increasing independence play in a fixed 5 finger position play in up to two fixed 5 finger positions in a piece (either hand separately, or hands together if one hand remains in position or they move in similar motion) play in more than two fixed 5 finger positions in a piece, with hands becoming more independent. play pieces that require simple hand crossing 6
play in different areas of the piano (over the same notes) play simple hands together pieces e.g. semibreves against crotchets, minims against crotchets, semibreves against minims begin to play more complex hands together rhythms e.g. mixing crotchets/minims/ quavers vs. semibreves play increasingly complex hands together pieces play with both hands in the treble clef chord voicing: play increasingly more complicated chords with multiple voices in up to 3 voices in up to 4 voices in play with both hands in the bass clef chord voicing: play two simple voices in one hand (e.g. semibreve vs 2 minims) and spot these in pieces Unit 8 - Intervals skips 2nds 6ths about major, minor, and perfect steps 3rds 7ths intervals 4ths 5ths octaves unison to identify intervals of up to one octave where the lower note is not the tonic augmented 4ths & diminished 5ths steps in play pieces using the above intervals play pieces using 6ths - 8ths aurally identify 2nds and 3rds (from the tonic) aurally identify 4ths and 5ths from the tonic aurally identify a minor vs major intervals (e.g. minor 3rd vs major 3rd) aurally identify intervals of up to one octave where the lower note is the tonic (including aurally identify augmented 4ths and diminished 5ths 7
the tonic (including spot them in music major, minor, or perfect) skips in steps and skips in spot all the intervals learned so far in music write and name major, minor, and perfect, intervals of up to 1 octave aurally identify all intervals learned so far Unit 9 - Accidentals sharps flats naturals double sharps double flats find these notes on the piano (including C flat etc.) sharps/flats/ naturals in find these on the piano potentially spot them in a piece and play that piece that there are major and minor sounds Unit 10 - Tonality key signatures: key signatures: key signatures: key signatures: key signatures: Circle of 5ths - add C major D minor B minor A major E major remaining key signatures G major E minor B flat major F sharp minor C sharp minor F major A minor g minor E flat major A flat major D major c minor F minor What a key signature is 8
can tell the difference between major and minor (clear examples) can describe simple major & minor moods (e.g. happy, bright, sad, spooky) play in different keys but do not need to know that s what they are doing (e.g. they can play in 5 finger position on G (g major), or A (a minor) etc. play pieces in the above keys find a key signature play pieces in the above keys consistently check for key signature when sight-reading or learning a new piece play in up to two flats or sharps play in up to three flats or sharps play in up to four flats or sharps Use various techniques to remember/work out the key signature of a piece identify the key of a piece and basic modulations with increasing confidence and accuracy. consider how tonality can contribute to the character of a piece. Unit 11 - Scales, Arpeggios, and Other Technical Exercises C major 1 octave hands separately tonic (explicitly of C major, implicitly of other keys) tonic - any key up to this stage the following 2 octave scales hands together the following 2 octave scales hands together the technical names for the degrees of the scale Scales in all keys major and minor 3 octaves hands togheter dominant (explicitly of C major, implicitly of other keys) dominant - any key up to this stage C major E major the following 2 octave scales hands together Arpeggios in all keys major and minor 3 octaves hands together. the following 2 octave scales hands separately pattern of tones and semitones in a major scale C major the following 2 octave scales hands separately G major B major F sharp/ G flat major D Major B flat major A flat major Minors may be harmonic and/or melodic. should have an awareness of both forms G major F major A major E flat major D flat major D major A minor F major B major F sharp minor the following 1 octave scales hands together: D minor A minor B minor C sharp minor 9
C major the following 1 octave scales hands together: E minor C minor F minor G major F major D minor the following 2 octave scales in contrary motion B flat minor D major A minor G minor G major the following 2 octave scales in contrary motion D minor the following 2 octave scales in contrary motion E minor harmonic D major A 1 octave C major scale in contrary motion C major 2 octave chromatic scales hands together on: A harmonic minor A 2 octave chromatic scale on D hands separately E major A 2 octave chromatic scales hands together on any note The following 1 octave arpeggios hands separately A 2 octave chromatic scale on D hands together C 2 octave chromatic contrary motions on C major The following 2 octave arpeggios hands separately F sharp D G major C major E flat A F Major G major The following 2 octave arpeggios hands separately The following 2 octave arpeggios hands together D minor D major E major C major A minor A major B major D major 10
F major B flat major B major A minor E flat major B flat major E minor B major A flat major D minor B minor A minor G minor C minor B minor C sharp minor C minor B flat minor Unit 12 - Chords and Harmony what a chord is C tonic triad about I and V chords C broken chord The following tonic triads: what alberti bass is chord IV (primary chords) what a perfect cadence is (V - I) what an imperfect cadence is (specifically II-V and IV-V) what a plagal cadence is (IV - I) G, D, and F major primary chords in the following keys: A and D minor the following broken chords C, G, D, and F major A and D minor G, D, and F major A and D minor play and write 2 note chords play and write 3 note chords identify and play the above tonic triads (root position) in their pieces identify and play I, IV, and V chords in pieces in the above keys spot perfect cadences at the end of their pieces potentially spot imperfect cadences in their pieces. potentially spot plagal cadences in their pieces. 11
identify and play C tonic triad (root position) in pieces identify and play the above broken chords (root position) in their pieces simple alberti bass patterns begin to be able to identify perfect cadences aurally begin to be able to identify perfect or imperfect cadences aurally begin to be able to identify these three cadences aurally identify and play C broken chord (root position) in pieces spot V chords in the pieces they are playing potentially harmonise a simple tune with I and V in the keys they know develop a greater understanding of the function of cadence points in their pieces. Unit 13 - Ornaments grace notes (acciaccaturas) upper and lower modents trills turns appoggiatura identify and play single grace notes identify and play upper and lower mordents identify and play simple trills identify and play turns and appoggiaturas decipher any ornaments written in superscript on the score Unit 14 - Pedalling where the sustain pedal is what the sustain pedal does the solid line symbol for using the sustain pedal in a specific area more symbols for using the sustain pedal what the una corda pedal is and where 12
hold the sustain pedal down for a full piece for atmospheric affect start to use the sustain pedal in a small area of a piece use the sustain pedal with more control in small areas of a piece use the pedal with increasing discretion and control develop some awareness of the historical context of the sustain pedal work towards a personal interpretation of using the sustain pedal potentially use the una corda pedal in a piece Unit 15 - Forms and Structure simple repeat signs what a waltz is what a basic phrase is DC/DS al Fine what a sonata/ sonatina is what a minuet and trio is what a march is what a minuet is 1st and 2nd time bars AB form ABA form DC/DS al Coda simple sonata form what a fugue is what a suite is what a rondo is play simple marches play a waltz play pieces in AB form DC/DS al Fine play a part of a short sonatina play a rondo simple repeats in play a minuet play pieces in ABA form DC/DS al Coda play a simple fugue identify if a piece is in AB or ABA form a single change to character play a minuet and trio use 1st and 2nd time bars begin to identify simple phrases in pieces identify where a piece changes character and why (e.g. dynamic change, major to minor) play a movement or two from a suite and have some awareness of the stylistic differences between the styles 13
more than one change to mood or character 14