Unit 1 - Notes and the Stave their fger numbers the music alphabet what a stave is all the notes with the ma treble and bass clef staves. notes up to one ledger le above and below the treble and bass clef staves notes up to two ledger les above and below the treble and bass clef staves notes up to three ledger les above and below the treble and bass clef staves notes beyond three ledger les above and below the treble and bass clef staves what an alto clef is and how to work out the note names what a tenor clef is and how to work out the note names what the treble and bass clefs are what the 8va sign means treble clef middle C - G what the 8vb sign means bass clef F - middle C pre-stave notation stave notation fixed 5 fger position (usg notes above) write and identify all notes with the 5 note range above notes the above ranges, keepg with the parameters of Unit 7 - Hand Position and Coordation write and identify all notes with the treble and bass clef stave write and identify notes with the above ranges play pieces that use the 8va and.or 8vb sign students do not need to play music written the alto clef students do not need to play music written the tenor clef 1
Unit 2 - Rhythm crotchets mims semibreves quavers (groups) mim rests semibreve rests sgle quavers quaver rests dotted crotchets semiquavers dotted quavers what syncopation means semiquaver rests crotchet triplets mim triplets about complex triplets: triplets with different note values and triplets with rests breves breve rests duplets dotted mims ties fermatas what a double dot crotchet rests what a sgle dot does to the length of a note what a triplet is what swung quavers are, where they are usually dicated does to the length of a note demisemiquavers clap rhythms with clap rhythms with clap rhythms with clap rhythms with and rhythms pieces semiquaver rests can write or complete written rhythms with complex triplets pieces with breve or breve rests pieces with demisemiquavers identify a tie and ties identify fermatas and play pieces with fermatas work out the length of a note with a dot and rhythms pieces with crotchet or mim triplets (with a simple rhythm) potentially clap or complex triplets play triplet quavers amongst and agast regular quavers pieces with double dotted notes pieces with duplets work out the length of a note with a double dot Play pieces that clude more complex syncopated rhythms 2
Unit 3 - Tempo Note: need not be limited to just these terms - this is simply a selection of common terms different languages. ritardando a tempo allargando rubato animé alla misura rallentando ritenuto andanto tempo comodo calando doppio movimento accelerando allegretto grave largamente cédez calzando allegro lento larghetto strgendo presser langsam andante moderato presto anima and animato presto possibile lebhaft adagio largo vivace and vivo leggiero ralentir lunga what tempo means con brio veloce ruhig where to look for tempo dications energico vite schnell senza misura should get the opportunity to play pieces at different speeds and consider how the speed (basically) contributes to character a sgle change to tempo e.g. a rit with no a tempo play pieces at a variety of sgle tempos 2 changes to tempo (i.e. has an a tempo ) play pieces that have a sudden change to tempo multiple changes to tempo (sudden and gradual) small amounts of rubato work towards a personal terpretation of rubato Play pieces with more frequent changes to tempo, and pieces at a wider variety of tempos 3
Unit 4 - Pulse and Metre what pulse is 3/4 time signature 2/4 time signature 2/2 time signature 3/2 time signature 9/8 time signature what bars and bar les are what time signatures are and where to fd them 4/4 time signature 3/8 time signature common & cut time 4/2 time signature 12/8 time signature signatures 6/8 time signature what irregular time signatures are upbeats what simple & compound time is how to group notes simple time how to group notes compound time clap a 2 beat pulse play 3/4 play 2/4 play cut & common time or potentially more frequent changes to metre clap a 3 beat pulse clap a 4 beat pulse play 3/8 play 6/8 2/2 identify whether a pieces or parts of pieces the above time signatures play pieces 9/8 and 12/8 play 4/4 piece is 2 or 3 time pieces or parts of pieces irregular metres play a piece with one change of time signature 4
Unit 5 - Dynamics how to play loudly how to play softly mezzo piano and its symbol pianissimo and its symbol sf, sfz fp the word and sign for piano mezzo forte and its symbol fortissimo and its symbol the word and sign for forte crescendo and its sign dimuendo and its sign play loudly and quietly and thk about how that contributes to character identify and play piano and forte their pieces a mixture of the above dynamics identify the above symbols and terms their pieces sort p,f,mp,mf to order of loud/ softness a mixture of the above dynamics identify the above symbols and terms their pieces sf, sfz, or variants fp multiple changes of dynamic manage more frequent changes of dynamics with pieces and see how this contributes to character/style. beg to develop historical stylistic awareness of dynamics work towards a personal terpretation of dynamics 5
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 endg staccato pair) tenuto and its symbol staccato + legato staccato + tenuto play legato a mixture of the articulations learned so far play pieces that are staccato vs legato with confidence and conviction play staccato change from legato to staccato or vice versa a sgle piece build an awareness of the vagaries of the notation system manage more frequent changes of articulation with pieces and see how this contributes to character/style. beg to develop historical stylistic awareness of articulation Notice that slurs are not ties 6
Unit 7 - Hand Positions and Co-ordation play hands separately (cludg pieces usg two hands) play a fixed 5 fger position play different areas of the piano (over the same notes) play several fixed 5 fger positions play simple hands together pieces e.g. semibreves agast crotchets, mims agast crotchets, semibreves agast mims beg to move beyond 5 fger position, with stretches of up to 1 octave ( one hand) play with both hands the treble clef play with both hands the bass clef chord voicg: play two simple voices one hand (e.g. semibreve vs 2 mims) and spot these pieces stretches of around an octave, with both hands creasg dependence play pieces that require simple hand crossg Play more chords with two more complicated voices (e.g. rests one part) stretches and jumps of over an octave, with both hands creasg dependence play creasgly complex chords with 2 voices, and articulate the different voices with greater effectiveness creasgly large or unusual ranges and requirg greater dependence of the hands (and feet). 3 voices with creasg confidence approach pieces with 4 voices 7
Unit 8 - Intervals skips 2nds (major) 6ths (major) about major, mor, and perfect steps 3rds (major) 7ths (major) tervals to identify tervals of up to one octave augmented 4ths & dimished 5ths unison 4ths (perfect) octaves 5ths (perfect) steps skips steps and skips play pieces usg the above tervals spot the above tervals their pieces play pieces usg 6ths - 8ths spot all the tervals learned so far their pieces aurally identify major 2nds and major 3rds (implicitly from the tonic) aurally identify perfect 4ths and perfect 5ths (implicitly from the tonic) aurally identify a mor vs major tervals (e.g. mor 3rd vs major 3rd) write and name major, mor, and perfect, tervals of up to 1 octave aurally identify tervals of up to one octave (cludg major, mor, or perfect qualifiers) aurally identify augmented 4ths and dimished 5ths aurally identify all tervals learned so far 8
Unit 9 - Accidentals sharps flats naturals fd these notes on the piano (cludg C flat etc.) sharps/flats/ naturals double sharps double flats fd these on the piano potentially spot them a piece and play that piece 9
Unit 10 - Tonality that there are major and mor sounds key signatures: key signatures: key signatures: key signatures: key signatures: Circle of 5ths - add remag key C major D mor B flat major A major E major signatures G major E mor B mor E flat major A flat major F major A mor G mor F sharp mor C sharp mor D major C mor F mor What a key signature is hear a difference between major and mor sounds simply describe moods of major/ mor sounds play different keys but do not need to know that s what they are dog (e.g. they can play 5 fger position on G (g major), or A (a mor) etc. play pieces the above keys fd a key signature play pieces the above keys play up to two flats or sharps play up to three flats or sharps play up to four flats or sharps consistently check for key signature when sight-readg or learng a new piece and identify it with accuracy and speed. Consider how the key of a piece can affect the character or mood. Use various techniques to remember/work out the key signature of a piece 10
Unit 11 - Scales, Arpeggios, and Other Technical Exercises C major 1 octave hands separately tonic (explicitly of C major, implicitly of other keys) domant (explicitly of C major, implicitly of other keys) the followg scales: 2 octaves HS 1 octave HT C major G major D major pattern of tones and semitones a major scale As the previous stages plus: Scales all keys major and mor 3 the followg scales (mors can be any one or all forms): octaves hands together 2 octaves HS 2 octaves HT 2 octaves HT 2 octaves HT 1 octave HT Arpeggios all C major E major F sharp/ G flat keys major and F major major mor 3 octaves G major B major hands together. A mor A flat major D Major B flat major Mors may be D mor D flat major harmonic and/or A major E flat major melodic. A 1 octave C F sharp mor should have an major scale F major B mor awareness of both contrary motion forms A 2 octave chromatic scale on D HS The followg arpeggios: A mor E mor D mor G mor 1 octave HS 2 octave contrary motion scale C major C major G major E major F major 2 octave chromatic D mor scale on D HT C mor 2 octave contrary motion scale G major E mor harmonic 2 octave chromatic scale HT on A C F sharp C sharp/d flat mor F mor B flat mor 2 octave contrary motion scale D major A harmonic mor 2 octave chromatic scales hands together on any note A mor The followg arpeggios: E flat 11
Unit 11 - Scales, Arpeggios, and Other Technical Exercises 2 octaves HS The followg arpeggios: C major 2 octaves HS G major E major D major B major A major B flat major F major E flat major A mor B mor E mor C mor D mor G mor 2 octave chromatic contrary motion scale on D A The followg arpeggios: 2 octaves HT C major D major B major B flat major A flat major A mor B mor C sharp/d flat mor C mor B flat mor the technical names for the degrees of the scale 12
Unit 12 - Chords and Harmony what a chord is C tonic triad (root position and versions) C major broken chord chords I and V (root position and versions) The followg tonic triads: G, D, and F major what alberti bass is chord IV (root positions and versions) primary chords the followg keys: what a perfect cadence is (V - I) how to work out primary chords any key what an imperfect cadence is (specifically II-V and IV-V) what a plagal cadence is (IV - I) A and D mor the followg broken chords C, G, D, and F major A and D mor G, D, and F major A and D mor play and write 2 note chords (2nds - 5ths) play and write 3 note chords identify and play C tonic triad pieces identify and play C broken chord pieces identify and play the above tonic triads (root position) their pieces identify and play the above broken chords their pieces spot V chords the pieces they are playg identify and play I, IV, and V chords pieces the above keys simple alberti bass patterns spot perfect cadences at the end of their pieces beg to be able to identify perfect cadences aurally potentially spot imperfect cadences their pieces. beg to be able to identify perfect or imperfect cadences aurally potentially spot plagal cadences their pieces. beg to be able to identify these three cadences aurally develop a greater understandg of the function of cadence pots their pieces. 13
Unit 13 - Ornaments grace notes (acciaccaturas) upper and lower modents trills turns appoggiatura identify and play sgle grace notes identify and play upper and lower mordents identify and play simple trills identify and play turns and appoggiaturas decipher any ornaments written superscript on the score Unit 14 - Pedallg where the susta pedal is what the susta pedal does the solid le symbol for usg the susta pedal a specific area more symbols for usg the susta pedal what the una corda pedal is and where hold the susta pedal down for a full piece for atmospheric affect start to use the susta pedal a small area of a piece use the susta pedal with more control small areas of a piece use the pedal with creasg discretion and control develop some awareness of the historical context of the susta pedal work towards a personal terpretation of usg the susta pedal potentially use the una corda pedal a piece 14
Unit 15 - Forms and Structure simple repeat signs what a waltz is AB form DC/DS al Fe what a sonata/ sonata is what a march is what a muet is ABA form DC/DS al Coda what a muet and trio is what a phrase is simple sonata form what a fugue is what 1st and 2nd time bars are what a suite is what a rondo is simple repeats play simple marches play a waltz play a muet identify phrases their pieces 1st and 2nd time bars spot when a piece they play is AB form spot when a piece they play is ABA form a greater mixture of structural devices develop dependence workg out the structure and of pieces that clude complex repeats a DC/DS al Fe structure a play a part or all of a short sonata play a rondo play a simple fugue play a muet and trio play a movement or two from a suite and have some awareness of the stylistic differences between the styles 15