MDP PianoSyllabus 2013

Piano
SYLLABUS EDITION
About Us . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Why Choose the Music Development Program? . . . . . 4
Getting Started in the Music Development Program . 5
Recognition of Achievement . . . . . . . . . . . . . . . . . . . . 6
Repertoire List Format . . . . . . . . . . . . . . . . . . . . . . . . . 7
Q u ick R e fe re n ce :
Asse ssm e n t R e q u i re m e n ts
The Music Development Program Overview . . . . . . . . 8
Academic Assessments . . . . . . . . . . . . . . . . . . . . . . . . . 8
Overview of Academic Subjects . . . . . . . . . . . . . . . . . . 9
Technical Tests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Scales Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Chords and Arpeggios Chart . . . . . . . . . . . . . . . . . . 13
Technical Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Triads, Chords, and Arpeggios . . . . . . . . . . . . . . . . . 16
Cadences and Chord Progressions . . . . . . . . . . . . . 18
L e ve l-b y-L e ve l R e q u i re m e n ts
Preparatory A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Preparatory B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Level 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Level 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Level 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Level 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Level 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Level 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Level 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Level 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Level 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Level 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Associate Diploma in Piano Performance . . . . . . . . . . 97
Associate Diploma in Piano Pedagogy . . . . . . . . . . . . 104
Elementary Piano Pedagogy . . . . . . . . . . . . . . . . . . . 104
Intermediate Piano Pedagogy. . . . . . . . . . . . . . . . . . 106
Advanced Piano Pedagogy . . . . . . . . . . . . . . . . . . . . 108
R e gi ste r fo r an Asse ssm e n t
Assessment Sessions and
Registration Deadlines . . . . . . . . . . . . . . . . . . . . . . . 115
Online Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Asse ssm e n t R e gu latio n s
Assessment Procedures . . . . . . . . . . . . . . . . . . . . . . . . 116
Credits and Refunds for Missed Assessments . . . . . . 116
Students with Special Needs . . . . . . . . . . . . . . . . . . . . 117
Assessment Results . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Table of Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Supplemental Assessments . . . . . . . . . . . . . . . . . . . . . 119
Musicianship Assessments . . . . . . . . . . . . . . . . . . . . . . 119
Performance Assessments Certicates . . . . . . . . . . . . 119
School Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Certicates of Excellence . . . . . . . . . . . . . . . . . . . . . . . 120
Assessment Repertoire . . . . . . . . . . . . . . . . . . . . . . . . . 120
Substitutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Thematic Catalogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
R e so u rce s
General Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
General Reference Works . . . . . . . . . . . . . . . . . . . . . . . . 129
Keyboard Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
F re q u e n tly Aske d Q u e stio n s
Performance Assessments . . . . . . . . . . . . . . . . . . . . . . 133
Academic Co-requisites . . . . . . . . . . . . . . . . . . . . . . . . . 133
P e rfo rm an ce Asse ssm e n t D ay
C h e ck li st fo r S tu d e n ts . . . . . . . . . . . . . . 134
Contents
Inspire the desire to aspire.
Music has the power to change lives, build strong communities, and enrich societies.
Ultimately, people turn to music to form a deep connection with others and to satisfy their
abiding need for meaning.
The Royal Conservatory Music Development Program provides a recognized national
standard of success in music study through an eectively sequenced course from beginner
to advanced levels. The program inspires excellence through individual student assessments
and allows students to track their progress with others across the country. All students in the
United States deserve the opportunity to celebrate their musical achievements nationally.
Join the growing community of teachers, students, and families who are discovering the
benets of the Music Development Program as it enriches their lives!
The Music Development Program oers a exible program with comprehensive assessments
that include:
Preparatory Levels
Levels 110
Associate diplomas in performance and pedagogy
Licentiate diploma in performance for piano
Student Certicates are awarded for the successful completion of each level. Certicates of
Excellence are also awarded for outstanding achievement.
The Music Development Program provides comprehensive publications and tools for
music and arts educators and their students, including detailed syllabi, repertoire lists,
and innovative teaching resources. These resources, published by Frederick Harris Music,
support teachers and students in the study of piano, ute, guitar, violin, and voice, as well
as the academic subjects of theory, harmony, analysis, history, and pedagogy. In addition,
Frederick Harris Music publishes related resources for musicianship including aural skills,
sight reading, and technique. With more than 100 years of experience in the industry, their
publications are of the highest quality. Frederick Harris Musics award-winning materials
such as Celebration Series Perspectives have earned a reputation as an internationally proven
standard of excellence.
Find out more at www.MusicDevelopmentProgram.org.
About Us
About Us
4
Why Choose the Music Development Program?
A Compre he ns ive Program of Mus ical De ve lopme nt
The Music Development Program encompasses four main areas:
Repertoire
Each level includes a broad selection of pieces representing a variety of styles and
periods.
Repertoire selections are leveled progressively by difculty.
Periodic reviews of the repertoire keep the selections fresh and innovative.
Teachers and students can add favorite pieces through the Students Choice selections.
Technique
Each level of technique is designed to support the demands of the repertoire for that
level.
Technique includes scales, chords, arpeggios, patterns, and etudes.
Musicianship
A thoughtful and consistent approach to the development of reading and aural skills.
Musicianship skills are developed in conjunction with repertoire goals and
requirements.
Musicianship skills give students a solid foundation for independent creative musical
explorations.
Musical Literacy
The Music Development Programs academic subjects support students in acquiring the
theoretical and historical knowledge necessary for music literacy.
Academic levels are tied to performance levels, reinforcing concepts encountered in
repertoire, technique, and musicianship studies.
At-the-keyboard assessments of keyboard harmony and musicianship present students
with an opportunity to develop skills in improvisation and composition.
Why ChoosetheMusic
Development Program?
5
Getting Started in the Music Development Program
Getting Started in the
Music Development Program
How Do I Submit St ude nt s For As s e s s me nt ?
Online Assessment Registration
You can submit students for assessment by registering at www.MusicDevelopmentProgram.org.
Online Assessment Results
Students and teachers can access assessment results online within six weeks of the
assessment at www.MusicDevelopmentProgram.org.
Ent e ring t he Mus ic De ve lopme nt Program
How Do I Know What Level is Appropriate For My Student?
Students can enter the Music Development Program at any level. They can move from
level to level at their own pace. Students and teachers should consult the syllabus guide to
determine the appropriate level.
Many students and teachers start with the repertoire selections. The wide range of
selections in the Music Development Program repertoire lists makes it easy to match
each student to a level.
Review the scale, chord, and arpeggio patterns required at that level, noticing keys,
tempos, and formats. You may nd that your student is ahead in some areas, but requires
further development in others. Consider those elements that are already rmly in your
students grasp and decide which ones need additional review.
Finally, look at the musicianship requirements.
What if My Students Repertoire Level is Higher Than Their Technical and
Musicianship Levels?
If your students abilities in the areas of technique, aural skills, or reading skills are behind
his or her current repertoire level, we generally advise that you opt for a lower level.
At each level there is a range of challenge in the repertoire lists. Your student has the
option of substituting a piece from the next higher level for one assessment selection.
Planning your students progress in this way allows them to focus on the higher levels of
music making, the nesse of their performance, and the pleasure of accomplishment.
Your students will enjoy a high level of performance success while also securing
necessary musicianship skills that will provide them with a stronger foundation.
Who Will Assess My Students?
the Music Development Program is adjudicated by a professional body of distinguished
teachers and performers from across North America, each of whom is a specialist in one
or more areas represented in the program.
Adjudicators undergo a competitive admissions process and must meet a minimum
qualifying standard before being accepted as apprentice adjudicators.
Apprentices complete an intensive series of lectures, demonstrations, and a practicum,
coupled with a full year of observation in the eld before promotion to full adjudicator.
All adjudicators engage in yearly professional development and are subject to annual
performance reviews.
6
Recognition of Achievement
The As s e s s me nt Expe rie nce
The Music Development Program includes two different types of assessments: performance
and academic. Both create an opportunity to recognize achievement and receive meaningful
feedback.
Performance Assessments
are a comprehensive evaluation of a students current abilities on a chosen instrument,
including voice
are designed to be a warm and welcoming experience, one-on-one with a professional,
program-certied adjudicator
include a report from the adjudicator providing a breakdown of the numerical grade and
constructive written comments
are held twice a year, with all scheduling and location arrangements made by the Music
Development Program
What Can My Student Expect in a Performance Assessment?
Performance Assessments evaluate the following areas of your students musical
development:
performance of three to ve pieces of repertoire depending on level
performance of one or two etudes that focus on an aspect of performance skill
appropriate for the level
performance of technical skills such as scales, chords, and arpeggios, which progress in
difculty from level to level in a manner consistent with the technical demands of the
repertoire. An assessment includes a representative sampling from the published list of
requirements.
an evaluation of musicianship skills, appropriate for the level, through aural identication
of intervals, chord qualities, cadences, and ear-to-hand playbacks of rhythms and
melodies. A demonstration of rhythmic reading and sight playing ability further supports
music literacy.
Academic Assessments
Students complete a written assessment of their academic and/or historical knowledge in
a classroom setting.
Academic assessments are held twice a year, with all scheduling and location
arrangements made by the Music Development Program.
Certicates of Achievement
Certicates of Achievement are awarded to all students upon successful completion of any
assessment.
The Comprehensive Achievement Certicate is awarded to students who have completed
both the performance and academic assessments for a specic level, beginning in Level 5.
No application is necessary for the Comprehensive Achievement Certicate.
Certicates of Excellence
These certicates are awarded to students who earn the highest marks for their performance
assessment level. No application is necessary.
Recognition of Achievement
7
RepertoireList Format
Preparatory A and B Repertoire Lists
CelebratePiano!
, Lesson and Musicianship 1B FHM

L azy S u m m e r D ay
Levels 1 to Associate Diploma Repertoire Lists
Mozart, Wolfgang Amadeus
Alle gro i n F m ajo r, K 1 c (CelebrateMozart, vol. I FHM)
Beethoven, Ludwig van
S o n ata i n G m ajo r, o p . 79
1 st m o ve m e n t
Norton, Christopher
Christopher Norton Connections for Piano
, 5 FHM
S cam p
Hook, James
S o n ata i n D m ajo r, o p . 1 2, n o . 1
1 st m o ve m e n t
Fo r se le ctio n s wh e re n o p u b li sh e r i s gi ve n , stu d e n ts sh o u ld u se any stan d ard e d itio n .
m e th o d b o o k le ve l p u b li sh e r v
se le cti o n ti tle
co m p o se r
se le cti o n ti tle
so u rce r p u b li sh e r i
ti tle o f co m p le te wo rk e
p art o f co m p le te wo rk
i n Celebration Series Perspectives
: PianoRepertoire5
so u rce
p art o f co m p le te wo rk i n Celebration Series Perspectives
: PianoRepertoire6
Repertoire List Format
8
Quick ReferenceAssessment Requirements
The Mus ic De ve lopme nt Program Ove rvie w
A progressive assessment program for every student
Internationally recognized certicates and diplomas are awarded for successful completion
of each assessment. Comprehensive certicates are awarded upon completion of each
performance level and its co-requisites. Students may enter the Music Development
Program at any level from Preparatory A to Level 10. Students must complete prerequisite
assessments at least one session prior to attempting the Associate Diploma in Piano
Performance (p. 99) assessment and any of Parts 1, 2, or 3 of the Intermediate Piano
Pedagogy level (p. 108) and the Advanced Piano Pedagogy level (p. 110).
Certicates Assessments Required
Preparatory A Preparatory A
Preparatory B Preparatory B
Level 1 Piano Level 1 Piano
Level 5 Piano Level 5 Piano; Basic Rudiments
Level 6 Piano Level 6 Piano; Intermediate Rudiments
Level 7 Piano Level 7 Piano; Advanced Rudiments
Level 8 Piano Level 8 Piano; Advanced Rudiments
Level 9 Piano Level 9 Piano; Advanced Rudiments; Basic Harmony or Basic Keyboard
Harmony; History 1: An Overview
Level 10 Piano Level 10 Piano; Advanced Rudiments; Intermediate Harmony or Intermediate
Keyboard Harmony; History 1: An Overview; History 2: Middle Ages to Classical
Elementary Piano Pedagogy Elementary Piano Pedagogy Parts 1, 2, and 3
Intermediate Piano Pedagogy Intermediate Piano Pedagogy Parts 1, 2, and 3
Diplomas Assessments Required
Associate Diploma in Piano
Performance
Associate Diploma in Piano Performance; Counterpoint; Advanced Harmony or
Advanced Keyboard Harmony; History 3: 19th Century to Present; Analysis
Associate Diploma in Piano Pedagogy Advanced Piano Pedagogy Parts 1, 2, and 3; Counterpoint; Advanced Harmony
or Advanced Keyboard Harmony; History 3: 19th Century to Present; Analysis
Acade mic As s e s s me nt s
Essential Tools for Musical Development
Students are encouraged to begin academic studies as early as possible.
Beginning in Level 5, students must complete the required academic assessments in
order to receive Comprehensive Certicates.
S e e th e cu rre n t Theory Syllabus fo r d e tai le d acad e m ic asse ssm e n t re q u i re m e n ts.
Quick Reference:
Assessment Requirements
9
Ove rvie w of Acade mic Subje ct s
The following table lists all of the written academic assessments in music theory (including
Rudiments, Harmony and Counterpoint, Analysis, and History) in the Music Development
Program with brief details including the length of the assessment and a summary of the
content.
Subjects Academic Assessment Titles
Rudiments
Preparatory Rudiments (1 hour)
Building blocks of music notation
Basic Rudiments (1 hour)
Elements of music for the beginner
Intermediate Rudiments (2 hours)
Continuation of basic rudiments
Advanced Rudiments (2 hours)
Continuation of rudiments and preparation for harmony
Harmony and
Counterpoint
Introductory Harmony (2 hours)
Chord symbols and non-chord tones; elementary four-part and
melodic writing
Basic Harmony (3 hours)
or
Basic Keyboard Harmony (held during performance assessment
sessions)
Four-part writing, melodic composition, and harmonic and structural
analysis in major and minor keys
Intermediate Harmony (3 hours)
or
Intermediate Keyboard Harmony (held during performance
assessment sessions)
Four-part writing and melodic composition in major and minor keys;
modulation; harmonic and structural analysis of musical forms
Counterpoint (3 hours)
Composition and analysis of simple counterpoint in Baroque style
Advanced Harmony (3 hours)
or
Advanced Keyboard Harmony (held during performance assessment
sessions)
Advanced harmonic and contrapuntal techniques
Analysis
Analysis (3 hours)
Advanced harmonic and structural analysis of musical forms
History
History 1: An Overview (3 hours)
Introduction to styles, composers, and music from 1600 to the
present
History 2: Middle Ages to Classical (3 hours)
Styles, composers, and music of the Medieval, Renaissance, Baroque,
Rococo, and Classical periods
History 3: 19th Century to Present (3 hours)
Styles, composers, and music of the Romantic era to the present
Preparing for an Academic Assessment
Academic assessments test music theory and knowledge of music history in a
formal written setting.
Each assessment requires preparation with a qualied teacher.
Ofcial Examination Papers, available at music retailers, are published annually by
The Frederick Harris Music Co., Limited to aid with assessment preparation.
10
L e ve l / S cale Ty p e M ajo r K e ys H a rm o n i c
M i n o r K e ys
M e lo d i c
M i n o r
K e ys
N atu ral
M i n o r
K e ys
H a n d s O ctave s T e m p o
, =
N o te
Valu e s
Preparatory A
Pentascales
(end with blocked root position triad)
C G D A HS tonic to
dominant
100
,
Preparatory B
Pentascales
(end with blocked root position triad)
A E F E D HS tonic to
dominant
60
Scales C G A HS 1 60
Contrary Motion C HT 1 60
Level 1
Scales C G F A E D A E D HS 2 69
Staccato C G F HS 1 69
Contrary Motion C HT 2 69
Chromatic beginning
on C
HS tonic to
dominant
69
Level 2
Scales C G F B
,
A E D G A E D G A E D G HS 2 80
Staccato C G F B
,
HS 1 80
Parallel Motion C G HT 1 80
Contrary Motion G HT 2 80
Formula Pattern C HT 2 80
Chromatic beginning
on C
HS 1 80
Level 3
Scales G D F B
,
E B D G E B D G HS 2 92
Staccato G D F B
,
HS 2 92
Parallel Motion G D F B
,
E B D G E B D G HT 1 80
Formula Pattern G HT 2 80
Chromatic beginning
on G
HS 1 92
Level 4
Parallel Motion D A B
,
E
,
B F
G C B F
G C HT 2 92
Staccato D B
,
B G HS 2 104
Formula Pattern C HT 2 92
Chromatic beginning
on D
HS 1 104
Level 5
Parallel Motion A E E
,
A
,
F
C F F
C F HT 2 104
Staccato A E
,
F
C HS 2 112
Formula Pattern E
,
C HT 2 104
Chromatic beginning
on A
HT 1 104
Te chnical Te s t s
The following charts provide a summary of the scales, chords, and arpeggios required
for all levels from Preparatory A and B to Level 10 and Advanced Piano Pedagogy.
Requirements for each level are also provided in a chart in the Technical Tests section of
the respective level.
Technical Tests Summary: Scales
11
Technical Tests Summary: Scales co n ti n u e d )
M i n o r K e ys
M e lo d i c
M i n o r
K e ys
N atu ral
M i n o r
K e ys
, =
N o te
Valu e s
Level 6
Parallel Motion G E F A
,
D
,
G E F G
G E F G
HT 2 60
Staccato E F E E HT 2 60
Formula Pattern E F E HT 2 60
Chromatic beginning
on E D
,
HT 2 60
Level 7
Parallel Motion C D B F B
,

A
,
D
,

C D B F B
,

G
C D B F B
,

G
HT 2 76
Staccato C D C D C D HT 3 76
Formula Pattern C D C D HT 2 76
Chromatic beginning
on D A
,
HT 2 76
Scale in 6ths (blocked staccato)
or
Scale in Octaves (broken legato)
C (tonic as
upper note)
C
HS
HS
1
1
88
100
Level 8
Parallel Motion C D A E B B
,

E
,
G
,
C D A E B
B
,
E
,
F
C D A E B
B
,
E
,
F
HT 4 88
Staccato A B B
,
B B HT 3 88
Formula Pattern A B B
,
B HT 4 88
Chromatic beginning
on A B
,
HT 2 88
Scales in Octaves (blocked staccato)
or
Scales in Octaves (broken legato)
A B
,

A B
,
HS
HS
1
1
88
108
Level 9
Parallel Motion all keys all keys all keys HT 4 104
Staccato B A
,
D
,
G
F B
,
G
F B
,
HT 3 104
Formula Pattern B A
,
D
,
G
F B
,
HT 4 96
Chromatic beginning
on any note
HT 4 96
Scales in Octaves (blocked staccato)
or
Scales in Octaves (broken legato)
B A
,
D
,
B A
,
D
,
F
F
F
F
HT
HT
2
2
60
72
Chromatic Scales in Octaves
(blocked staccato)
or
(broken legato)
beginning
on any note

beginning
on any note
HT
HT
2
2
60
72
12
M i n o r K e ys
M e lo d i c
M i n o r
K e ys
N atu ral
M i n o r
K e ys
, =
N o te
Valu e s
Level 10
Staccato B
,
A
,
G
,
F
E
,
F
E
,
HT 3 120
Separated by a 3rd C D
,
D E
,
HT 4 104
Separated by a 6th E F G
,
G HT 4 104
Separated by a 10th A
,
A B
,
B HT 4 104
Formula Pattern B
,
A
,
G
,
F
E
,
HT 4 112
Chromatic beginning
on any note
HT 4 120
Scales in Octaves (blocked staccato) B
,
A
,
G
,
F
E
,
HT 2 80
(blocked staccato)
beginning
on any note
HT 2 80
Students must prepareone of thefollowing exercises:
Triplet Repeated-Note Pattern Scales
(321 ngering)
D A
,
G
,
D F
D F
HT 2 100
Double 3rd Scales, legato C B B
,
HT 2 60
Scales in Octaves with Alternating
Hands (blocked staccato)
any key HT
LH leads
2 84
Cross-Rhythm Scales (2 against 3)
parallel or contrary motionstudents
choice
D A
,
G
,
D F
HT LH 2
RH 3
100
LH
RH
Chromatic Scales Separated by a
Minor 3rd (parallel or contrary motion)
LH
beginning
on any note
HT 4 100
Advanced Piano Pedagogy
Staccato B
,
E
,
A
,
D
,

G
,
B
,
E
,
G
F B
B
,
E
,
G
F B
HT 3 120
Separated by a 3rd A
,
A B
,
B HT 4 104
Separated by a 6th C D
,
D E
,
HT 4 104
Separated by a 10th E F G
,
G HT 4 104
Formula Pattern B
,
E
,
A
,
D
,
G
,
B
,
E
,
G
F B
HT 4 120
Chromatic beginning
on any note
HT 4 120
Scales in Octaves (blocked staccato) B
,
E
,
A
,
D
,
G
,
B
,
E
,
G
F B
B
,
E
,
G
F B
HT 2 84
(blocked staccato)
beginning
on any note
HT 2 104
Students must prepareone of thefollowing exercises:
Modal Scales
Supertonic (Dorian)
Mediant (Phrygian)
Subdominant (Lydian)
Dominant (Mixolydian)
beginning
on different
scale
degrees of
A E
,
D
,
HT 4 100
Double 3rd Scales, legato D A
,
A D HT 2 60
Tonic Arpeggios Beginning at the 6th or
10th
C D A
,
C D G
HT 4 80
Arpeggio Sequence
Ii
,
VI
6
vi
6
IV
6
4iv
6
4I
beginning
and ending
on C or F
HT 4 80
Chromatic Scales in Octaves, legato beginning
on any note
HT 2 72
Technical Tests Summary: Scales co n ti n u e d )
13
Technical Tests Summary: Chords and Arpeggios
*Play diminished 7th chords and arpeggios on the leading notes of the minor keys only.
L e ve l / C h o rd o r Arp e ggi o Ty p e M ajo r K e ys M i n o r K e ys P o si ti o n H an d s C ad e n ce /
P ro gre ssi o n
T e m p o
, =
N o te
Valu e s
Preparatory A
none
Preparatory B
Chords Triads broken C G A root 1st HS n/a 50
Level 1
Chords Triads broken
blocked
C G F A E D root 1st 2nd HS
HS
1
1
50
100
,
Level 2
blocked
C G F B
,
A E D G root 1st 2nd HS
HS
1
1
60
112
,
Level 3
blocked
G D F B
,
E B D G root 1st 2nd HS
HT
HS
2
1
2
69
50
120
,
Level 4
blocked
D A B
,
E
,
B F
G C root 1st 2nd HS

HT
HS
HT
2
1
2
1
VI
VI
76
60
132
120
,
Arpeggios Tonic D A G C root HS 2 72

Level 5
blocked
A E E
,
A
,
F
C F root 1st 2nd HT

HT
2
2
VI
VI
66
132
,
Dominant 7th

broken
blocked
A E E
,
A
,
root 1st 2nd 3rd HS
HS
1
1
72
120
,
Diminished 7th broken

blocked
F
C F root 1st 2nd 3rd HS

HS
1
1
72
120
,
Arpeggios Tonic A E E
,
A
,
F
C F root HS 2 80
Level 6
blocked
G E F A
,
D
,
G E F G
root 1st 2nd HT

HT
2
2
VI
VI
80
80
, ,
Tonic Four-note broken G E F A
,
D
,
G E F G
root 1st 2nd HS 1 88

Dominant 7th

broken
blocked
G E F A
,
D
,
G E F G
root 1st 2nd 3rd HS

HS
2
2
88
72
, ,
blocked
G E F G
root 1st 2nd 3rd HS

HS
2
2
88
72
, ,
Arpeggios Tonic
Dominant 7th
Diminished 7th
G E F A
,
D
,
G E F A
,
D
,
G E F G
G E F G
G E F G
root
root
root
1st HS
HS
HS
2
2
2
92
92
92
Level 7
Chords Tonic Four-note broken C D B F B
,
A
,
D
,
C D B F B
,
G
root 1st 2nd HS

HT
2
1 VI
69
60
Dominant 7th

broken
blocked
C D B F B
,
A
,
D
,
C D B F B
,
G
root 1st 2nd 3rd HT

HT
2
2
60
80
, ,
blocked
C D B F B
,
G
root 1st 2nd 3rd HT

HT
2
2
60
80
, ,
Arpeggios Tonic
Dominant 7th
Diminished 7th
C D B F B
,
A
,
D
,
C D B F B
,
A
,
D
,
C D B F B
,
G
C D B F B
,
G
C D B F B
,
G
root
root
root
1st 2nd HT
HT
HT
2
2
2
60
60
60
O
c
t
a
v
e
s
14
Technical Tests Summary: Chords and Arpeggios co n ti n u e d )
L e ve l / C h o rd o r Arp e ggi o Ty p e M ajo r K e ys M i n o r K e ys P o si ti o n H an d s C ad e n ce /
P ro gre ssi o n
T e m p o
, =
N o te
Valu e s
Level 8
Chords Tonic Four-note broken C D A E B B
,
E
,
G
,
C D A E B B
,
E
,
F
root 1st 2nd HT 2 IIVVI 80

Dominant 7th

broken
blocked
C D A E B B
,
E
,
G
,
C D A E B B
,
E
,
F
root 1st 2nd 3rd HT

HT
2
2
80
100
, ,
blocked
C D A E B B
,
E
,
F
root 1st 2nd 3rd HT

HT
2
2
80
100
, ,
Arpeggios Tonic
Dominant 7th
Diminished 7th
C D A E B B
,
E
,
G
,
C D A E B B
,
E
,
G
,
C D A E B B
,
E
,
F
C D A E B B
,
E
,
F
C D A E B B
,
E
,
F
root
root
root
1st 2nd HT
HT
HT
4
4
4
69
69
69
Level 9
Chords Tonic Four-note broken
blocked or
broken alternate-
note pattern
all keys all keys root 1st 2nd HT
HT
2
2
IIVI
6
4
VI
IIVI
6
4
VI
IIVI
6
4
VI
104
80
80
, ,
Dominant 7th

broken
blocked
all keys all keys root 1st 2nd 3rd HT
HT
2
2
104
104
, ,
blocked
all keys root 1st 2nd 3rd HT
HT
2
2
104
104
, ,
Arpeggios Tonic
Dominant 7th
Diminished 7th
all keys all keys root
root
root
1st
1st
1st
2nd
2nd
2nd
3rd
3rd
HT 4 84
Level 10
blocked
broken alternate-
note pattern
HT
HT
2
2
2
IIVI
6
4
V
7
I
IIVI
6
4
V
7
I
IIVI
6
4
V
7
I
120
120
96
,

,

Dominant 7th

broken
blocked
broken alternate-
note pattern
HT
HT
2
2
2
120
120
96
,

,

blocked
broken alternate-
note pattern
HT
HT
2
2
2
120
120
96
,

,

Arpeggios Tonic
Dominant 7th
Diminished 7th
root
root
1st
1st
1st
2nd
2nd
2nd
3rd
3rd
HT 4 92

Advanced Piano Pedagogy
blocked
broken alternate-
note pattern
HT
HT
2
2
2
Iviii
6
5I4
V
7
I
120
120
104
,

,

Dominant 7th

broken
blocked
broken alternate-
note pattern
HT
HT
2
2
2
120
120
104
,

,

blocked
broken alternate-
note pattern
HT
HT
2
2
2
120
120
104
,

,

Arpeggios Tonic
Dominant 7th
Diminished 7th
root
root
1st
1st
1st
2nd
2nd
2nd
3rd
3rd
HT 4 92
O
c
t
a
v
e
s
6
15
Te chnical Pat t e rns
Examples of all scale, chord, arpeggio, and cadence patterns are provided in TheRoyal
Conservatory of Music PianoTechniqueBook, 2008 Edition (The Frederick Harris Music Co.,
Limited).
Scales
P e n tascale s ( P re p arato ry A an d B )
Two -o ctave fo rm u la p atte rn i n e i gh th n o te s ( L e ve ls 2 to 5)

Two -o ctave fo rm u la p atte rn i n si xte e n th n o te s ( L e ve ls 6 to 7)
16
F o u r-o ctave fo rm u la p atte rn ( L e ve ls 8 to 1 0 an d Ad van ce d P i an o P e d ago g y)
Triads, Chords, and Arpeggios
B lo cke d tri ad s an d b ro ke n tri ad s
Consult the Technical Tests section of each level for the required rhythm.
D o m i n an t 7th ch o rd s
17
D i m i n i sh e d 7th ch o rd s*
* Start on the leading note of the minor key.
M ajo r an d m i n o r arp e ggi o s*
* Beginning in Level 9, students may be asked to begin major and minor arpeggios on any
inversion, or to play any single inversion in isolation.
B ro ke n alte rn ate -n o te p atte rn fo r m ajo r an d m i n o r ch o rd s
( L e ve ls 9, 1 0, an d Ad van ce d P i an o P e d ago g y)
18
B ro ke n alte rn ate -n o te p atte rn fo r d o m i n an t 7th an d d i m i n i sh e d 7th ch o rd s
( L e ve ls 9, 1 0, an d Ad van ce d P i an o P e d ago g y)
Cadences and Chord Progressions
Other versions of these progressions are acceptable.
I vi i i
6
5
I
6
4
V
7
I ch o rd p ro gre ssi o n ( Ad van ce d P i an o P e d ago g y)
VI cad e n ce ( L e ve ls 4 to 7)
I I VI
6
4VI ch o rd p ro gre ssi o n ( L e ve l 9)
I I VVI ch o rd p ro gre ssi o n ( L e ve l 8 )
I I VI
6
4V
7
I ch o rd p ro gre ssi o n ( L e ve l 1 0 )
Preparatory A
The Preparatory A level is designed to introduce beginners
to a positive assessment experience while supporting
student success and celebrating individual achievement.
Students discover the joy of making music at the piano
and demonstrate their basic understanding of keyboard
geography and the fundamentals of reading. The
importance of developing well-rounded musicianship is
established through inclusion of aural and reading skills
from the rst stages of study.
Preparatory A Requirements Marks
1 Repertoire
twoselections from the Repertoire Lists
oneStudents Choice
(The gures in parentheses indicate marks
awarded for memory as a portion of the total
mark for each selection.)
60
20 (2)
20 (2)
20 (2)
2 Technical Requirements
Technical Tests
Major keys: C, G, D
Minor keys: A
pentascales
20
3 Musicianship Requirements
Aural Skills
Clapback
Playback
Reading Skills
Playing
Clapping
20
10
(5)
(5)
10
(5)
(5)
Academic Co-requisites
None
Total possible marks (pass =60) 100
Students may choose to begin this assessment with
either Repertoire or Technical Requirements.
The Musicianship Requirements section is conducted at
the end of the assessment.
Resources for Preparatory A Assessment
Preparation
See p. 134 for a complete list of piano method books
suitable for Preparatory A assessment preparation.
Technique: Preparatory Technical Requirements for Piano
Musicianship: see p. 130 for Aural Skills and Reading
Skills resources
1 Repertoire
Students must prepare twocontrasting selections from
the following Repertoire Lists and oneselection of the
students choice that is of equal difculty and musical
quality to the required works in Preparatory A. Selections
must be memorized. Please note that two marks per piece
will be deducted if music is used.
Bullets used to denote selections for assessment
purposes:
one selection
Re pe rt oire
Berlin, Boris
Our Animal Friends GVT
T h e P lay fu l P u p
S tarli gh t th e P o n y
Chatman, Stephen
Amusements, 1 FHM
F o o li n Aro u n d
M o n ke y B u si n e ss
Ferrell, Billie
Solos Now(primer level) MYK
L i ttle M o n ste r
Kabalevsky, Dmitri
24 Pieces for Children, op. 39 SCH
M e lo d y ( n o . 1 )
M arch -L i ke ( n o . 3)
Niamath, Linda
In My Garden FHM
S p id e r s We b
Poe, John Robert
Simon Says KJO
Walk L i ke a D u ck
Thompson, John
John Thompsons Easiest PianoCourse, 2 WIL
T h e D an ci n g B e ar
T u rke y i n th e S traw
Re pe rt oire from Me t hod Books
TheABC of PianoPlaying, 2 FHM
T h e C u cko o
O n P arad e
We P lay H o cke y
T h e B alle ri n a
C rad le S o n g
A S kati n g Waltz
19
Level-by-Level Requirements
Preparatory A
Vi sit www.MusicDevelopmentProgram.org
fo r i n fo rm atio n ab o u t p u b licatio n s.
Alfreds BasicPianoLibrary, Lesson Book 1A ALF
H o rse S e n se
Alfreds BasicPianoLibrary, Lesson Book 1B ALF
T h e C lo wn
T h e C u cko o
O o m -P a-P a
T h e R ai n b o w
Waltz T i m e
T h e Wi n d m i ll
Alfreds Premier PianoCourse, Lesson 1B ALF
I Aske d M y M o th e r
T h e Jo ke
M y S o m b re ro
Alfreds Premier PianoCourse, Lesson 2A ALF
Q we rty
Alfreds Premier PianoCourse, Performance1B ALF
As M o rn i n g D awn s
M y D o g
P o go S ti ck
Bastien PianoBasics, Performance1 KJO
G o ld e n T ru m p e ts
O n th e P lan e t o f M ars
S e co n d s, P le ase !
Bastien PianoBasics, Piano1 KJO
C o p s an d R o b b e rs
M arch
R o ck G ro u p
S i n g, B i rd , S i n g
S p ace Walk
S p o o k s
S wi n gi n B e at
CelebratePiano!

Au ra L e e
L azy S u m m e r D ay
T h e S ad D rago n
CelebratePiano!
, Lesson and Musicianship 2A FHM

E asy D ay
CelebratePiano!
, Solos 1 FHM
L ad yb u g Waltz
T h e Te e te r-To tte r
T ru m p e t P arad e
CelebratePiano!
, Solos 2 FHM
C lo wn s
T h e M o u se i n th e G ran d fath e r C lo ck
Hal Leonard Student PianoLibrary, PianoLessons 2 HAL
B ayo u B lu e s
C i rcle D an ce
F i rst L i gh t
Hal Leonard Student PianoLibrary, PianoSolos 2 HAL
G o o fy G ad ge t
T h e S tre am
T ake I t S lo w
T h o se C re e p y C rawly T h i n gs o n th e C e llar F lo o r
Vi va L a R h u m b a
Musicfor Young Children, Moonbeams 1 MYC
An d an te
H u rrah
M e lo d y fo r Alp h o rn
M u si c S i gn s
Wake U p !
Musicfor Young Children, Moonbeams 2 MYC
F r re Jacq u e s
L ad y B u g
P i xi e Waltz
Musicfor Young Children, Sunbeams 2 MYC
G o to S le e p
TheMusicTree, Students Book 1 SUM
D ru m an d B u gle
F i rst B o o gi e
F o re st E ch o e s
O ve r th e R ai n b o w
P o n y S o n g
Wh e n th e S ai n ts G o M arch i n g I n
TheMusicTree, Students Book 2A SUM
L a B am b a
B ri sk M arch
T h e M e rry-G o -R o u n d B ro ke D o wn
T h e M o d e rn D rago n
PianoAdventures
, Lesson Book 1 FJH

D i n o sau r S to m p
T h e H au n te d M o u se
T h e Ju ggle r
S o n g fo r a S care cro w
PianoAdventures
, Lesson Book 2A FJH

M o o n li gh t M e lo d y
M y D ayd re am
O u r D e te cti ve Age n cy
S to rm s o n S atu rn
PianoAdventures
, Lesson Book 2B FJH

C are fre e Waltz
PianoDiscoveries, Explorer Book 1A HMP
E e k! B u m p ! Yi ke s! Ju m p !
G i ggli n g G o b li n s
H ave Yo u S e e n th e L e p re ch au n ?
T h e M i rro r
PianoDiscoveries, Explorer Book 1B HMP
L e t s G o to th e F ai r
T h e P h an to m R e tu rn s
R agam u f n R ag
T h i n gs T h at G o B u m p i n th e N i gh t
Wh e re H ave All th e S o ck s G o n e ?
Teaching LittleFingers toPlay MoreWIL
G o Te ll Au n t R h o d y
T h e P e t P arad e
T i s A G i ft To B e S i m p le
Waltz wi th o u t Wo rd s
20
Preparatory A
3 Musicianship
Aural Skills
C lap b ack
Students will choose to either clap, tap, or sing the rhythm
of a short melody after the adjudicator has played it twice.
The second measure will consist of only one note.
T i m e si gn atu re N o te valu e s Ap p ro xi m ate le n g th
_

,

two measures
Example only
P layb ack
Students will be asked to play back a melody based on
the rst three notes of the pentascale. The melody will
move in only one direction (up or down) and will contain
a repeated note and stepwise motion. The adjudicator will
name the key, play the tonic triad once, and play the melody
twice.
B e gi n n i n g n o te Ap p ro xi m ate le n g th K e ys
tonic or mediant four notes C, G, F major
Example only
Reading Skills
P layi n g
Students will be asked to play by sight twofour-note
melodies written on the grand staff:
one melody in the bass clef, played with the left hand
one melody in the treble clef, played with the right hand
The melodies will move by step in one direction only (up
or down) and may contain a repeated note. Fingering will
be indicated for the rst note only.
T i m e si gn atu re N o te valu e s K e ys

,
C major

C lap p i n g
Students will be asked to clap or tap a simple two-
measure rhythm. A steady pace and rhythmic accentuation
are expected.
T i m e si gn atu re Ap p ro xi m ate le n g th N o te valu e s
_
two measures
,
Example only
Technical Tests
Students must play all Technical Tests from memory,
ascending and descending, with good tone and logical
ngering, at a steady tempo. The metronome marking
indicates minimum speed.
S e e Te ch n ical P atte rn s o n p . 1 7 fo r e xam p le s.
21
Preparatory A
S cale K e ys P laye d T e m p o N o te
valu e s
Pentascales*
(ve-nger pattern)
C, G, D major
A minor
HS
tonic to dominant
ending with blocked root position triad
,

=100 ,
K e ys fo r P re p arato ry A Major C, G, D
Minor A
* A pentascale comprises the rst ve degrees of a scale: tonic, supertonic, mediant, subdominant, and dominant.
Preparatory B
The Preparatory B level continues to support the
development of well-rounded musicians through
an assessment that celebrates student success and
achievement. Repertoire chosen from leading method
books and beyond encourages the development of
imagination and creativity while easing the transition
into the next stages of study. The Preparatory
Rudiments assessment promotes development of
musical literacy in the early years of study while
reinforcing concepts introduced in repertoire,
technique, and musicianship training.
Preparatory B Requirements Marks
1 Repertoire
twoselections from the Repertoire Lists
oneStudents choice
60
20 (2)
20 (2)
20 (2)
Technical Tests
Major keys: C, G, A, E, F
Minor keys: A, E, D
pentascales
scales
contrary motion scale
triads
20
Aural Skills
Clapback
Playback
Reading Skills
Playing
Clapping
20
10
(5)
(5)
10
(5)
(5)
None
Students may choose to begin this assessment with
either Repertoire or Technical Requirements.
The Musicianship Requirements section is conducted at
the end of the assessment.
Resources for Preparatory B Assessment
Preparation
Repertoire: Celebration Series Perspectives
: Preparatory Piano
Repertoire
Technique: Preparatory Technical Requirements for Piano
Skills resources
1 Repertoire
Students must prepare twocontrasting selections from
the following Repertoire Lists and oneselection of the
students choice that is of equal difculty and musical
quality to the required works in Preparatory B. Repertoire
selections must be memorized. Please note that two
marks per selection will be deducted if music is used.
purposes:
one selection
selection is found in Celebration Series Perspectives
:
Preparatory PianoRepertoireFHM
Re pe rt oire
Alexander, Dennis
Finger Paintings, 3 ALF
A S u m m e r M o rn i n g
S u n F u n
Just for You, 1 ALF
C e le b rati o n
Archer, Violet
Hereand NowALK
T h e H au n te d C ave
Bartk, Bla
TheFirst Termat thePianoEMB
D i alo gu e ( n o . 3)
Berlin, Boris
T h e S wi ss C u cko o (Legacy Collection, 5 FHM)
Our Animal Friends GVT
B u n n y s C rad le S o n g
T h e M arch i n g P i gs
T h e S le e p y K i tte n
Berr, Bruce
Imaginations in StyleHAL
F an fare
Chatman, Stephen
Amusements, 2 FHM
B ro ke n M u si c B o x
Away! FHM
B i rd i n g
Escapades, 1 FHM
A F o rgo tte n P ro m i se
Sports FHM
O li e th e G o ali e
Clementi, Muzio
Ari e tta i n C M ajo r, o p . 42, n o . 5
Coulthard, Jean
B i rth d ay M o rn i n g (Musicof Our Time, Preliminary
WAT)
T h e N e w D o lly D an ce s (Musicof Our Time,
Preliminary WAT)
22
Preparatory B
Crosby, Anne
FreddietheFrog FHM
F re d d i e th e F ro g
S tar sh at N i gh t
To F ly L i ke an E agle
In My Dreams FHM
F lo ati n g i n S p ace
Donkin, Christine
Comics & Card Tricks FHM
T h e T i re d T u rtle E xp re ss
T h e P ath o f th e P i n g-P o n g B all
Dunhill, Thomas
First Year Pieces ABR
M e lo d y i n C
O n th e R i ve r B an k
A S o n g o f E ri n
Gallant, Pierre
Clowning Around FHM
M arch o f th e 2n d s an d 3rd s
S aku ra ( Jap an e se ko to so n g) ( arr.)
T h e R h y th m M ach i n e
Te asi n g
Garscia, Janina
Winter Fun PWM
T h e L e ve re t
Gedike, Alexandr
60 SimplePianoPieces for Beginners, op. 36
A S o n g ( n o . 3)
George, Jon
D i stan t C h i m e s (TheMusic Tree, Students Choice:
Recreational Solos 3 SUM)
S tro lli n g i n th e P ark (Supplementary Solos, 1 SUM)
Gillock, William L.
Accent on Solos, 2 WIL
S tars o n a S u m m e r N i gh t
Hansen, Joan
Ae o li an L u llab y (Musicof Our Time, 1 WAT)
Hook, James
M i n u e tto , o p . 37, L e sso n 2
Kabalevsky, Dmitri
Childrens Adventures, op. 89 EMB
F i rst Waltz ( n o . 5)
P o lka ( n o . 2)
A L i ttle Jo ke ( n o . 6)
Khler, Christoph Louis Heinrich
C h i ld re n s S o n g (Everybodys Perfect Masterpieces, 1
ALF)
Last, Joan
Contrasts, 4 BOS [OP]
An Argu m e n t
B y th e M i ll P o n d
Roof Tops FOR
T h e D o ve -co t
S cu rryi n g C lo u d s
Markow, Andrew
Ju m p i n g Jack s FHM
Milligan, John
T ip p i -To e s (Legacy Collection, 1 FHM)
Niamath, Linda
In My Garden FHM
S wi n gi n g
Marching Miceand Other Pieces FHM
B allo o n s
Soda Pop and Other Delights FHM
P lay fu l P u p p y
S le e p y L i ttle K i tte n
Norton, Christopher
TheMicrojazz Collection, 1 B&H
Afte r th e B attle
S tru tti n
Parsons, Margaret (arr.)
H u sh -a-b ye (Legacy Collection, 1 FHM)
Sheftel, Paul
Merry and MellowHIN
C h i m e s
Snell, Keith, and Diane Hidy
S ch o o l s O u t (PianoTown, Lessons 2 KJO)
Tansman, Alexandre
On samuseau piano/ Happy Time, 1 WAR
Arab i a
Trk, Daniel Gottlob
Handstckefr angehendeKlavierspieler, 1 ABR
A C are fre e F e llo w
C h i ld re n s B allad
S ad F e e li n gs
Yo u th fu l H ap p i n e ss
P h rase E n d i n gs
Re pe rt oire from Me t hod Books
A C an o e T rip
E n ro u lan t m a b o u le
H allo we e n P ran k s
H o p S co tch
O ld M acD o n ald H ad a F arm
O n th e M e rry-G o -R o u n d
S p ri n g ti m e
T h e S wi ss C u cko o
Alfreds BasicPianoLibrary, Lesson Book, CompleteLevels 23
ALF
A 1 6th -C e n tu ry M arch
1 8th -C e n tu ry D an ce
C alyp so C arn i val
L o n e S tar Waltz
M alagu e a
R e d R i ve r Valle y
Alfreds Premier PianoCourse, Lesson 2A ALF
B o o m , B o o m !
B u tte r y Wo rld
D e se rt G o ld
K i n g Arth u r s Ad ve n tu re
M yste ry M o vi e
T i lt-a-Wh i rl
23
Preparatory B
Alfreds Premier PianoCourse, Lesson 2B ALF
Q u i e t T h o u gh ts
Bastien PianoBasics, Performance3 KJO
F i re wo rk s
D an ci n g th e M i n u e t
T aran te lla
G e rm an F o lk S o n g
G yp sy D an ce
T h e M i n stre l s S o n g
P re lu d e i n A M i n o r
Vi e n n e se Waltz
CelebratePiano!
, Lesson and Musicianship 2A FHM

T h e B o o gi e B u gle r
CelebratePiano!

Alo u e tte
D o n ke y R id i n g
G race fu l S wan
Ju m p i n g Jack s
L ast T rai n to B lu e svi lle
P o p co rn M an
R h y th m Ace
R id i n g th e Wave s
R u ssi an D an ce
S e a C h an ty
CelebratePiano!
, Lesson and Musicianship 3 FHM

D an ci n S h o e s
E ri e C an al
Ji gge ty-Jo g
A M o o n li gh t Waltz
O n a G re e k I slan d
O n th e T ram p o li n e
S i n gi n th e B lu e s
S p ark le rs
T aran te lla
CelebratePiano!
, Lesson and Musicianship 4 FHM

M i n u e t i n F M ajo r
T ak i n i t E asy
CelebratePiano!
, Solos 2 FHM
Alle gro , o p . 1 , n o . 4
B o u n ci n g o n M y B e d (Riseand ShineFHM)
M i n u e tto , o p . 1 , n o . 1
CelebratePiano!
, Solos 3 & 4 FHM

M e lo d y
M i n u e tto
Hal Leonard Student PianoLibrary, PianoLessons 3 HAL
C h o rale
T h e F i fe n H o rn
I n ch wo rm Waltz
R o m an ce
Hal Leonard Student PianoLibrary, PianoSolos 3 HAL
B lu e s P re lu d e
T h e C lo ck wo rk B alle ri n a
F i e sta M arch
L e ap F ro g
P o rcu p i n e P i zzi cato
T h e Wi n te r Wi n d
Musicfor Young Children, Sunbeams 3 MYC
D ays o f th e We e k
H e llo to S p ri n g
K e tch u p
O u r F ri e n d
T i s a G i ft to B e S i m p le
Waltz o f th e S u n b e am s
MusicPathways, PianoDiscoveries C FIS
T h e F am o u s H au n te d H o u se
O n th e M o ve
MusicPathways, PianoSolos B FIS
L ad y M o o n
TheMusicTree, Students Book 2A SUM
K n i gh ts at th e B all
M o rn i n g H as B ro ke n
TheMusicTree, Students Book 3 SUM
T h e An ts G o M arch i n g
B ro ke n R e co rd B o o gi e
C h an gi n g th e G u ard
C o u n try F id d le r
M o u n tai n B allad
P o p G o e s th e We ase l
S to m p D an ce
PianoAdventures
, Lesson Book 2A FJH

S n ake C h arm e r
Wh i rli n g L e ave s
PianoAdventures
, Lesson Book 2B FJH

Am arylli s
C an o e i n g i n th e M o o n li gh t
Ju m p i n Jazz C at
P u m p k i n B o o gi e
R id i n g th e Wi n d
S p an i sh C ab alle ro
PianoDiscoveries, AdventureBook 2A HMP
At D awn
B e d ti m e S to ry
C h i ld re n s S o n g
C lo wn s S h o e S h u f e
D ay D re am i n g
H o p , S k ip an d a Ju m p B lu e s
M arch o f th e C lo wn s
M arch o f th e M agi ci an
S i m p le G i fts
Twi n k li n g S tar
T h e Wate r I s Wid e
PianoDiscoveries, Explorer Book 1B HMP
H o b go b li n H o p
Suzuki PianoSchool, rev. ed., 1 SUM
Alle gre tto 1
Au clai r d e la lu n e
C u cko o
F re n ch C h i ld re n s S o n g
G o o d -b ye to Wi n te r
L i gh tly R o w
24
Preparatory B
Technical Tests
ngering, at a steady tempo. The metronome marking
indicates minimum speed. All scales are to be played legato.
3 Musicianship
Aural Skills
C lap b ack
Students will choose to either clap, tap, or sing the
rhythm of a short melody after the adjudicator has played
it twice.
T i m e si gn atu re N o te valu e s Ap p ro xi m ate le n g th
_

,

two measures
Example only
P layb ack
the rst three notes of the major scale. The melody may
change direction and may contain repeated notes or skips
of a 3rd. The adjudicator will name the key, play the tonic
triad once, and play the melody twice.
tonic or mediant four notes C, G, F major
Example only
Reading Skills
P layi n g
Students will be asked to play a short melody based on
the notes of the pentascale. The melody will be written on
the grand staff and divided between the hands. Fingering
will be indicated for the rst note of each hand only.
T i m e
si gn atu re
N o te valu e s Ap p ro xi m ate
le n g th
K e ys

,

four measures C or G
major
C lap p i n g
Students will be asked to clap or tap a simple two-
measure rhythm. A steady pace and rhythmic accentuation
are expected.
T i m e si gn atu re Ap p ro xi m ate le n g th N o te valu e s
_
two measures
,
Example only
25
S cale s K e ys P laye d T e m p o N o te
valu e s
Pentascales*
(ve-nger pattern)
A, E, F major
E, D minor
HS
tonic to dominant
end with blocked root position
triad
, =60
Scales C, G major
A minor (natural)
HS
1 octave
, =60
Contrary Motion C major HT
1 octave
, =60
C h o rd s K e ys P laye d T e m p o N o te
Valu e s
Triads
(root position and 1st inversion) broken
C, G major
A minor
HS
1 octave
, =50
K e ys fo r P re p arato ry B Major C, G, A, E, F
Minor A, E, D
* A pentascale comprises the rst ve degrees of a scale: tonic, supertonic, mediant, subdominant, and dominant.
Preparatory B
Level 1
Level 1 builds on the basic reading ability established
in the beginning stages of study. Foundational skills
continue to be expanded while exploring a wider range
of repertoire. Short dance pieces from the Baroque and
Classical eras are introduced, and two-part inventions
develop hand independence and contrapuntal awareness.
Technical requirements are extended to include a greater
variety of patterns and keys. Aural skills are nurtured
through clapping back rhythmic patterns and playing back
melodies. Substituting a piece from the Popular Selection
List for the etude is an attractive option for students who
enjoy contemporary styles, including arrangements of
familiar tunes from musicals and movies.
Level 1 Requirements M ark s
1 Repertoire
oneselection from List A: Baroque and Classical
Repertoire
oneselection from List B: Romantic, 20th-, and
21st-century Repertoire
oneselection from List C: Inventions
Memory (2 marks per selection awarded for
memory)
50
18
18
14
6
Etudes: oneetude from the Syllabus list
Technical Tests
Major keys: C, G, F
Minor keys: A, E, D
scales
staccatoscales
chromatic scale
triads
24
12
12
Aural Skills
Clapback
Playback
Reading Skills
Playing
Clapping
20
10
(5)
(5)
10
(7)
(3)
None
Resources for Level 1 Assessment Preparation
: PianoRepertoire1
Etudes: Celebration Series Perspectives
: PianoEtudes 1
Technique: Technical Requirements for Piano1
Popular Selections: Popular Selection List
Skills resources
1 Repertoire
Students must prepare threecontrasting selections:
onefrom each of List A, List B, and List C. Repertoire
selections must be memorized. Please note that up to two
memory marks will be deducted for each selection where
music is used.
purposes:
one selection
: Piano
Repertoire1 FHM
Lis t A
Baroque and Classical Repertoire
Anonymous
B u rle sq u e i n G m ajo r (Notebook for Wolfgang OTT)
Bach, Johann Christian
Notenbuch der Anna Magdalena Bach WIE
Ari a i n F m ajo r, B WV An h . 1 31
Bach, Johann Christoph Friedrich
MusikalischeNebenstunden ABR
M i n u e t i n C m ajo r
S ch wb i sch i n D m ajo r
Bach, Johann Sebastian
C h o rale , B WV 51 4
U k rai n i an F o lk S o n g, o p . 1 07, n o . 3 (Celebrate
Beethoven, vol. I FHM)
Clarke, Jeremiah
TheThird Book of theHarpsichord Master
M i n u e t i n D m ajo r, T 460
Clementi, Muzio
Introduction totheArt of Playing thePianoForte
P yre n e se M e lo d y (Masterwork Classics, 4 ALF)
Duncombe, William
ProgressiveLessons for theHarpsichord and Pianoforte
S o n ati n a i n C m ajo r (Masterwork Classics, 3 ALF)
Dunhill, Thomas
First Year Pieces ABR
G avo tte i n G m ajo r
Gossec, Franois-Joseph
An O ld F re n ch D an ce (arr. Margaret Parsons, in
Legacy Collection, 2 FHM)
Graupner, Christoph
Notebook for Wolfgang OTT
B o u rr e i n D m i n o r
Hssler, Johann Wilhelm
Fifty Pieces for Beginners, op. 38 ABR
M i n u e t i n C m ajo r ( n o . 4)
26
Level 1
Haydn, Franz Joseph
C ap ri cci o ( arr., fro m C ap ri ce , H o b . XVI I :1 )
G e rm an D an ce i n G m ajo r, H o b . I X:22, n o . 3
M i n u e t i n G m ajo r ( attr. tri o se cti o n o f th e 2n d
m o ve m e n t o f P i an o S o n ata, H o b . XVI :1 5)
Hook, James
Guida di Musica, op. 81
Alle gre tto i n C m ajo r ( n o . 4) (James Hook Album
ELK)
Krieger, Johann
Sechs musicalischePartien
M i n u e t i n A m i n o r
Mozart, Leopold
Notebook for Wolfgang OTT
B o u rr e i n E m i n o r ( attr.)
M i n u e t i n D m i n o r
M i n u e t i n F m ajo r, K 2
Telemann, Georg Philipp
An d an te i n G m i n o r
Trk, Daniel Gottlob
T h e H u n ti n g H o rn s an d th e E ch o
Zwlf Handstcke
Ari o so i n F m ajo r
Lis t B
Romantic, 20th-, and 21st-century
Repertoire
Adair, Yvonne
Sketches fromHans Christian Andersen OUP [OP]
T h e B ro n ze B e ar
Alexander, Dennis
Especially for Boys ALF
F ro gs an d S n ake s
Just for You, 1 ALF
C i n n am o n P o p co rn
Berlin, Boris
H o p sco tch (Legacy Collection, 1 FHM)
Blok, Vladimir
TwelvePieces in Folk Modes FHM
H ap p y T i m e s
Bonis, Mel.
Albumpour les tout-petites COM
T h e F le a
Boyd, Bill
Jazz Starters 3 HAL
To o B lu e
Brown, Stephen
Six PentatonicPreludes SWA
P e n tato n i c P re lu d e n o . 1
Chatman, Stephen
Amusements, 1 FHM
S i lly Argu m e n t
Chatman, Stephen (continued)
Escapades, 1 FHM
B e ave r B o o gi e
Crosby, Anne
In My Dreams FHM
R o b o ts
Dello Joio, Norman
Suitefor theYoung SCH; EDW; HAL
L i ttle S i ste r
Donkin, Christine
C rafty C ard T ri ck s
Legends & LoreFHM
D re am Jo u rn e y
Duke, David
M arch ( Lyd i an M o d e ) (Musicof Our Time, 1 WAT)
Eurina, Ludmilla
A S ad S o n g ( Ukrainian EchoesF H M )
Fairbank, Nicholas
A Pentad for PianoFAI
P e n tato n i c L u llab y
Frid, Grigori
Youthful Adventures FHM
T h e Jo lly F id d le r, o p . 41 , n o . 5
Gallant, Pierre
Animal Fair FHM
C ro c th e C u rm u d ge o n
Garscia, Janina
Very Easy PianoPieces for Children, op. 3 PWM
C h ri s s S o n g
T h e D o ll s H o rse
Gedike, Alexander
A H ap p y T ale ( n o . 31 )
A S ad S o n g ( n o . 39)
Gillock, William L.
Accent on Solos, 2 WIL
Arge n ti n a
Collected Short Lyric Pieces WIL
D ri fti n g C lo u d s
Grechaninov, Alexandr T.
Childrens Album, op. 98 OTT
F ai ry T ale ( n o . 1 )
Gurlitt, Cornelius
TheFirst Lessons, op. 117 KAL
R o ck i n g ( n o . 6)
T h e H u n t ( n o . 1 5)
Kabalevsky, Dmitri
M arch ( n o . 1 0 )
Waltz ( n o . 1 3)
Kasemets, Udo
OnePlus One, 2 BER
O ld M acD o n ald
Krahenbuehl, David
D ayd re am i n g (Contemporary PianoLiterature, 1 ALF)
27
Level 1
Krausas, Veronika
TheBestiary KRA
T h e Alli gato r
Lefeld, Jerzy
LittleFrogs and Other PianoPieces for Children PWM
A F o lk T u n e
Niamath, Linda
Soda Pop and Other Delights FHM
B i g Te d d y, L i ttle Te d d y
H id e an d S e e k
M arch o f th e Te rrib le T ro lls
A Zoofor You FHM
B e ars
Norton, Christopher
, 1 FHM
N o Wo rri e s
M e rry-G o -R o u n d
F o u r-Wh e e l D ri ve
D u e t fo r O n e
O n th e R i gh t L i n e s
Paterson, Lorna
G re m li n s (titled Marmoset in Safari SuiteFHM)
Pianimals FHM
Wallab i e s o n P arad e
Pearce, Elvina
C am e l R id e (CelebratePiano!
, Lesson and
Musicianship 3 FHM)
Poole, Clifford
C o b we b s (Legacy Collection, 1 FHM)
T h e I tch y An t (rst published under pseudonym
Ernest Marsden) (Legacy Collection, 2 FHM)
M i st (Legacy Collection, 1 FHM)
S p o o k s (Legacy Collection, 2 FHM)
Reubart, Dale
S q u are D an ce (CelebratePiano!
, Solos 3 & 4 FHM)

Rybicki, Feliks
I Begin toPlay, op. 20 PWM
C rad le S o n g
Schnittke, Alfred
Eight Pieces for PianoSIK
F o lk S o n g
Shostakovich, Dmitri
Six Childrens Pieces, op. 69 SCH
Waltz
Siegmeister, Elie
S o n g o f th e D ark Wo o d s (Contemporary Piano
Literature, 2 ALF)
Silvester, Frederick
Ji g (Legacy Collection, 1 FHM)
Stravinsky, Soulima
PianoMusicfor Children, 1 PET
F o r th e K id N e xt D o o r
S te p p i n g S to n e s
Tan, Chee-Hwa
A Childs Garden of Verses FHM
M y S h ad o w
P i rate S to ry
Wh e re G o th e B o ats?
Taranta, Italo
PianoMiniatures WIL
A S tarry N i gh t
Telfer, Nancy
My Bark CanoeFHM
M o n t su r u n l p h an t / C li m b u p o n an E le p h an t
Lis t C
Inventions
Archer, Violet
Eleven Short Pieces ALK
L i ttle P re lu d e
Christopher, Rene
T h e S n ake FHM
Duke, David (arr.)
S h e s L i ke th e S wallo w (Musicof Our Time, 2 WAT)
Dyson, George
TwelveEasy Pieces ABR
S tu d y i n C an o n
Gallant, Pierre
S u r le p o n t d Avi gn o n / O n th e B rid ge at Avi gn o n
( arr.)
Imitations and Inventions FHM
D an ci n g P artn e rs
A L i ttle S o n g b e twe e n F ri e n d s
Garztecka, Irena
LittleFrogs and Other PianoPieces for Children PWM
A B all
Gurlitt, Cornelius
FiresideFancies: 12 LittleTone-Pictures on FiveNotes
L i ttle C o n ve rsati o n , o p . 1 97, n o . 8
Keveren, Phillip
Mouseon a Mirror HAL
M o u se o n a M i rro r
Markow, Andrew
Te ap o t I n ve n ti o n FHM
Wh e re D id th e S u n G o ? FHM
Norton, Christopher
, 1 FHM
C aro l i n C an o n
28
Level 1
Etudes
Students must prepare oneselection from the following
list of etudes. Memorization is not required and will not be
rewarded with extra marks.
purposes:
:
Studies / Etudes 1 FHM
Chatman, Stephen
Away FHM
S caly T h i n gs
Crosby, Anne
In My Dreams FHM
C e le b rati o n
Diabelli, Anton
TheFirst TwelveLessons, op. 125 PET
S tu d y i n C m ajo r ( n o . 3)
Donkin, Christine
T i m e T rave l
Legends & LoreFHM
S o ari n g
Gallant, Pierre
Animal Fair FHM
P ap e r T i ge rs
George, Jon
KaleidoscopeSolos, 2 ALF
R e lay R ace ( C an o n )
Kabalevsky, Dmitri
Childrens Adventures, op. 89 EMB
S k ip p i n g R o p e ( n o . 1 7)
Le Couppey, Felix
TheAlphabet, op. 17 MAS
Norton, Christopher
TheFinal Frontier B&H
S p ace F le e t
Two -H an d e d B lu e s
Tansman, Alexander
B o th Ways
Wolfahrt, Franz
Kinder-Kavierschule, op. 36
S tu d y i n G m ajo r
29
Total
Substitutions
Permitted
Requires
Prior Approval
(Submit a Substitute Piece
Request)
Does Not Require
Prior Approval
Repertoire
Substitution
Repertoire
Substitution
Etude
Substitution
one
Repertoire
selection
or

one
Etude
Onerepertoire selection from piano
literature comparable in style and
difculty to the corresponding List
A or B of Level 1
or
Onerepertoire
selection from the
corresponding List of
Level 2
or
OneEtude from Level 2
or
OneStudents Choice selection
(must be of equal difculty and a
length of 3060 seconds)
Substitutions
Students may substitute onerepertoire selection or oneetude selection with a musical work not found in the Repertoire Lists
for Level 1. See p. 125 for more information on substitutions.
Level 1
Technical Tests
ngering, at a steady tempo. Metronome markings
indicate minimum speeds. All scales are to be played legato
unless otherwise indicated.
30
valu e s
Scales C, G, F major
A, E, D minor (natural and harmonic)
HS
2 octaves
, =69
Staccato C, G, F major HS
1 octave
, =69
Contrary Motion C major HT
2 octaves
, =69
Chromatic beginning on C HS
tonic to dominant
, =69
valu e s
Triads (root position and inversions)
broken
C, G, F major
A, E, D minor
HS
1 octave
,

=50
blocked C, G, F major
A, E, D minor
HS
1 octave
, =100
,

K e ys fo r L e ve l 1 Major C, G, F
Minor A, E, D
Level 1
31
3 Musicianship
Aural Skills
C lap b ack
T i m e si gn atu re Ap p ro xi m ate le n g th
_
three to four measures

Example only
1
2
P layb ack
the rst three notes of a major scale. The adjudicator will
name the key, play the tonic triad once, and play the melody
twice.
tonic, supertonic, or
mediant
four notes C, G, F major
Example only
1
Examples only
2
Reading Skills
P layi n g
Students will be asked to play a passage that is divided
between the hands and lies within the compass of the
staff. The melody will include half and quarter notes.
T i m e si gn atu re Ap p ro xi m ate le n g th K e ys
four measures C, G, F major

C lap p i n g
Students will be asked to clap or tap a rhythm. A steady
pace and rhythmic accentuation are expected.
two measures
Example only
Level 1
32
Level 2
Late-elementary students preparing for the Level 2
assessment will encounter repertoire in which elements
of Baroque and Classical style are presented. Character
pieces engage the imagination and encourage students to
continue their creative development. The increasing variety
in repertoire is supported through technical exercises
including scales played with both staccatoand legato
touches. Creativity is fostered through the development
of skills essential for well-rounded musicians, building a
foundation for improvisation and composition.
Level 2 Requirements Marks
1 Repertoire
oneselection from List A: Baroque and
Classical Repertoire
oneselection from List B: Romantic, 20th-, and
oneselection from List C: Inventions
50
18
18
14
memory)
6
Etudes: oneetude from the Syllabus list
Technical Tests
Major keys: C, G, F, B
,
Minor keys: A, E, D, G
scales
staccatoscales
parallel motion scales
formula pattern scale
chromatic scale
triads
24
12
12
Aural Skills
Clapback
Intervals
Playback
Reading Skills
Playing
Clapping
20
10
(3)
(3)
(4)
10
(7)
(3)
None
: PianoRepertoire2
: PianoStudies / Etudes 2
Skills resources
1 Repertoire
memory marks will be deducted for each selection if music
is used.
Bullets used to denote selections for assessment purposes:
one selection
part or section of a larger work
:
PianoRepertoire2 FHM
Lis t A
Baroque and Classical Repertoire
Anonymous
B o u rr e i n D m i n o r (Notebook for Wolfgang OTT)
E n tr e i n A m i n o r (Notebook for WolfgangOTT)
Arnold, Samuel
G avo tte i n C m ajo r, o p . 1 2, n o . 2
Bach, Carl Philipp Emanuel
M i n u e t i n E at m ajo r, H 1 71
M i n u e tto I I i n F m i n o r, H 1 96 /2
S u i te i n G m i n o r, B WV 822
VI I : M i n u e t I I I i n G m ajo r
Ari a i n D m i n o r, B WV 51 5
co ssai se i n G m ajo r, Wo O 23 (CelebrateBeethoven,
vol. I FHM)
Ten National Airs with Variations, op. 107
R u ssi an F o lk S o n g: B e au ti fu l M i n ka (no. 7) (arr., in
CelebrateBeethoven, vol. I FHM)
Clarke, Jeremiah
K i n g Wi lli am s M arch (Legacy Collection, 2 FHM)
Couperin, Franois
Premier livredeclavecin, 2
e
ordre (Franois Couperin: Complete
Keyboard Works, 1 DOV)
F an fare p o u r la su i te d e la D i an e
Second livredepices declavecin, 6
e
ordre (Franois Couperin:
CompleteKeyboard Works, 1 DOV)
L e s m o i sso n n e u rs
Diabelli, Anton
S o n ati n a i n C m ajo r, o p . 1 51 , n o . 2
2n d m o ve m e n t
Handel, George Frideric
I m p e rti n e n ce , H WV 494
Partita in G major, HWV 450
M e n u e t i n G m ajo r
Haydn, Franz Joseph
G e rm an D an ce i n G m ajo r, H o b . I X: 1 2 /7 (Celebrate
Haydn, vol. I FHM)
FiveContradances and OneQuadrille, Hob. IX:29 (Il MioPrimo
Haydn RIC)
Q u ad ri lle
Level 2
33
Level 2
Hook, James
Guida di musica, op. 81
G avo tta i n D m ajo r n o . 3 (James Hook AlbumELK)
Krebs, Johann Ludwig
M i n u e t i n B m i n o r
Alle gro i n F m ajo r, K 1 c (CelebrateMozart, vol. I FHM)
M i n u e t i n G m ajo r, K 1 e (CelebrateMozart, vol. I FHM)
M e n u e tto I i n C m ajo r ( fro m S o n ata i n C M ajo r fo r
K e yb o ard o r K e yb o ard an d Vi o li n , K 6)
Neefe, Christian Gottlob
Alle gre tto i n C m ajo r
Purcell, Henry
H o rn p ip e , Z T 685 (Essential Keyboard Repertoire, 4 ALF)
Rameau, Jean-Philippe
Pices declavecin (1724)
M e n u e t e n ro n d e au / M i n u e t i n R o n d o F o rm
Scarlatti, Domenico
S o n ata i n C m i n o r, L 21 7, K 73b (CelebrateScarlatti,
vol. I FHM)
Schubert, Franz
co ssai se , D 299, n o . 8
F an tasi a i n D m ajo r, T WV 33:1 6 ABR
3rd se cti o n : Vi te
Trk, Daniel Gottlob
A C h e e rfu l S p i ri t
C o n te n tm e n t
Lis t B
Repertoire
Barenboim, L.
P o li sh S o n g (FromRussia for YouthFHM)
Bartk, Bla
For Children, 2 B&H
C h i ld re n at P lay ( n o . 1 )
C h i ld re n s S o n g ( n o . 2)
Alle gre tto ( n o . 3)
Berkovich, Isak
M azu rka
Berlin, Boris
M arch o f th e G o b li n s (Legacy Collection, 2 FHM)
T h e M e rry-G o -R o u n d (Legacy Collection, 2 FHM)
Berr, Bruce
Ve n e ti an B o at S o n g (Hal Leonard Student Piano
Library, PianoSolos 4 HAL)
Blok, Vladimir
A L i ttle B allad
Bonis, Mel.
M ad ri gal
Brown, Stephen
FiveExtremities SWA
E xtre m i ty n o . 1
Byers, Rosemary
C h e sh i re C at C o o l (Hal Leonard Student Piano
Library, ShowcaseSolosHAL)
Caramia, Tony
P o rch S wi n g (Hal Leonard Student PianoLibrary, Piano
Solos 4 HAL)
Carroll, Walter
TheCountrysideFOR
T h e Wo o d F ai ri e s ( n o . 1 1 )
Chatman, Stephen
Amusements, 2 FHM
P i n g P o n g P arty
Coulthard, Jean
Ale xa s B e ll S o n g (Musicof Our Time, 1 WAT)
Ale xa s M u si c B o x (Musicof Our Time, 1 WAT)
F i rst L i ttle D an ce ( L ave n d e r s B lu e ) (Musicof Our
Time, 1 WAT)
G ran d m o th e r s N o n se n se S o n g (Musicof Our Time,
2 WAT)
L u llab y fo r a B ab y S e al (Musicof Our Time, 2 WAT)
Crosby, Anne
In My Dreams FHM
C an t C atch M e !
In theMermaids Garden FHM
T h e B an sh e e s B all
Duke, David
B u tte r i e s (Musicof Our Time, 3 WAT)
Frid, Grigori
I m S ad
T h e Te d d y B e ar
Garscia, Janina
Very Easy PianoPieces for Children, op. 3 PWM
T h e C lo ck
A Jo ke ( Z arci k)
Childrens Album, op. 98 OTT
F are we ll ( n o . 4)
Glass Beads, op. 123 OTT
L i ttle B e ggar ( n o . 2)
Harmer, Daniel
T h e To y-m ake r B E R
Joachim, Otto
12 TwelveTonePieces for Children BER
S n o wy M o rn i n g ( n o . 4)
G o ssip ( n o . 7)
Kabalevsky, Dmitri
Valse ( n o . 1 )
A L i ttle S o n g ( n o . 2)
Khachaturian, Aram
24 Easy PianoPieces for Children
An E ve n i n g T ale
34
Kraehenbuehl, David
M arch o f th e T ro lls (Contemporary PianoLiterature, 1
ALF)
Last, Joan
On theMoveB&H
S ai li n g b y M o o n li gh t
Mana Zucca (pseud. Augusta Zuckermann)
A S lu m b e r S o n g, o p . 63, n o . 6 JCC
Mrozinski, Mark
T u rk i sh B azaar (CelebratePiano!
, Lesson and
Musicianship 4 FHM)
Nakada, Yoshinao
Childrens Dreams KAW
S o L o n g, S e e Yo u To m o rro w
JapaneseFestival WAR
A S h o rt S to ry
Niamath, Linda
All Year Round FHM
Au tu m n L e ave s
A Zoofor You FHM
P e n gu i n s
Norton, Christopher
, 2 FHM
S id e walk C af
To ro n to T an go
T ru m p e t B lu e s
R ag T i m e
Paterson, Lorna
Pianimals FHM
C lo wn F i sh
Perry, Nina
Through theKaleidoscopeOUP
L u llab y ( n o . 5)
Pinto, Octavio
Festa deCrianas (Childrens Festival) SCH
P re lu d e ( n o . 1 )
Poole, Clifford
T h e M o u se i n th e C o al B i n (rst published under
pseudonym Charles Peerson) (Legacy Collection, 2
FHM)
P arad e (Legacy Collection, 2 FHM)
Reinecke, Carl
Serenadein G major, op. 183, no. 2
E le g y (Discovering PianoLiterature, 3 ALF)
Schumann, Robert
Albumfr dieJugend, op. 68
S o ld i e rs M arch ( n o . 2)
Stravinsky, Soulima
T ag
Szelnyi, Istvn
Musical Picture-Book EMB
F araway R e gi o n s
Tan, Chee-Hwa
T h e L an d o f N o d
Tansman, Alexandre
E n Valsan t / Waltzi n g
Tchaikovsky, Pyotr Ilyich
Albumfor theYoung, op. 39
T h e S i ck D o ll ( n o . 7)
Telfer, Nancy
ImNot Scared FHM
S ke le to n D an ce
Land of theSilver Birch FHM
L an d o f th e S i lve r B i rch ( arr.)
My Bark CanoeFHM
D o n ke y R id i n g
Put On Your Dancing Shoes NSM
Te ach i n g a B e ar to Waltz
TheSun and theMoon FHM
T h e S i le n t M o o n
Lis t C
Inventions
Bartk, Bla
Mikrokosmos, 1 B&H
L i ttle D an ce i n C an o n F o rm ( n o . 31 )
Champagne, Claude
P e ti t can o n N o . 2 CFP
Christopher, Rene
I n ve n ti o n i n C m ajo r
Dello Joio, Norman
Suitefor theYoung EDW
I n ve n ti o n ( o n a M ajo r an d M i n o r T ri ad i c M e lo d y)
Gallant, Pierre
Jazz I n ve n ti o n N o . 1
Jazz I n ve n ti o n N o . 2
Imitations and Inventions FHM
C h an gi n g Vo i ce s
L u llab y fo r Two
M i xo lyd i an M i x-u p
Gedike, Alexander
60 PianoPieces for Beginners, op. 36 PET
F u gato ( n o . 40 )
Gurlitt, Cornelius
C an o n
M o d e rato i n C m ajo r ( n o . 5)
McKinnon, Gordon A.
T h e Argu m e n t FHM
Niamath, Linda
Watermelon and Friends FHM
B an an a
I n ve n ti o n i n A m i n o r
Level 2
35
Level 2
Total
Substitutions
Permitted
Requires
Prior Approval
(Submit a Substitute Piece Request)
Does Not Require
Prior Approval
Repertoire
Substitution
Repertoire
Substitution
Etude
Substitution
one
Repertoire
selection
or
one
Etude
difculty to the corresponding
List A or B of Level 2
or
Onerepertoire
selection from the
corresponding List A
or B only of Level 3
or
Oneetude from Level 3
or
length of 3060 seconds)
Substitutions
Etudes
Students must prepare oneselection from the following
list of etudes. Memorization is not required and will not be
rewarded with extra marks.
:
PianoStudies / Etudes 2 FHM
Czerny, Carl
S tu d y i n C m ajo r, o p . 261 , n o . 3
Donkin, Christine
C razy C o m i cs
Gallant, Pierre
Clowning Around FHM
L i ttle L o p sid e d Waltz
Gurlitt, Cornelius
Dieersten Schrittedes jungen Klavierspielers, op. 82
E tu d e i n D m i n o r ( n o . 65)
Kabalevsky, Dmitri
S ch e rzo ( n o . 1 2)
Kadosa, Pl
Fourteen LittlePieces, in vol. 1 of 55 Small PianoPieces EMB
S tu d y i n A m i n o r
Khler, Christian Louis Heinrich
Dieallerleichtesten bungsstckefr den Clavierunterricht,
op. 190
S tu d y i n F m ajo r ( n o . 27)
Krausas, Veronika
K an garo o s
Niamath, Linda
All Year Round FHM
B ase b all P racti ce
C e le b rati o n
Norton, Christopher
TheFinal Frontier B&H
Aste ro id s
Tan, Chee-Hwa
T h e Wi n d
Telfer, Nancy
ImNot Scared FHM
C ro co d i le Te e th
36
valu e s
Scales C, G, F, B
,
major
A, E, D, G minor (natural, harmonic, and melodic)
HS
2 octaves
,
=80
Staccato C, G, F, B
,
major HS
1 octave
,
=80
Parallel Motion C, G major HT
1 octave
,
=80
Contrary Motion G major HT
2 octaves
,
=80
Formula Pattern C major HT
2 octaves
,
=80
Chromatic beginning on C HS
1 octave
,
=80
T ri ad s K e ys P laye d T e m p o N o te
valu e s
Triads
(root position and
inversions)
broken
C, G, F, B
,
major
A E D G minor

HS
1 octave
,
=60
blocked C, G, F, B
,
major
A E D G minor
HS
1 octave
,
=112
,

K e ys fo r L e ve l 2 Major C G F B
,
Minor A E D G
Level 2
Technical Tests
ngering, at a steady tempo. Metronome markings indicate
minimum speeds. All scales are to be played legatounless
otherwise indicated.
3 Musicianship
Aural Skills
C lap b ack
Students will choose to either clap, tap, or sing the rhythm of
a short melody after the adjudicator has played it twice.
_

three to four measures
Example only
1
Examples only
2
Intervals
Students will be asked to identify the following intervals.
The adjudicator will play each interval oncein broken form.
or
Students may choose to sing or hum the following
intervals. The adjudicator will play the rst note once.
Ab o ve a gi ve n n o te
major 3rd
perfect 5th
P layb ack
Students will be asked to play back a melody based on the
rst ve notes of a major scale. The melody may include
skips of a 3rd. The adjudicator will name the key, play the
tonic triad once, and play the melody twice.
tonic or dominant ve notes C, G, F major
Example only
1
2
Reading Skills
P layi n g
Students will be asked to play a passage that is divided
between the hands and lies within the compass of the
staff. The melody will include whole notes, half notes,
quarter notes, and eighth notes.
four measures C, G, F major

C lap p i n g
two measures
Example only
37
Level 2
Level 3
Early-intermediate students have established reading
skills, familiarity with keys and patterns, and are
developing technical facility. The Level 3 assessment
provides opportunities for expanding musicianship skills
while exploring a wider range of repertoire, including
Classical sonatina movements and longer descriptive
pieces. Substituting a piece from the Popular Selection
List for one of the etudes is an attractive option for
students.
1 Repertoire
oneselection from List A: Baroque Repertoire
oneselection from List B: Classical and
Classical-style Repertoire
oneselection from List C: Romantic, 20th-, and
50
18
18
14
memory)
6
Etudes: twoetudes from the Syllabus list
Technical Tests
Major keys: G, D, F, B
,
Minor keys: E, B, D, G
scales
staccatoscales
chromatic scale
triads
24
6 +6
12
Aural Skills
Clapback
Intervals
Playback
Reading Skills
Playing
Clapping
20
10
(3)
(3)
(4)
10
(7)
(3)
None
: PianoRepertoire3
Skills resources
1 Repertoire
memory marks will be deducted for each selection if music
is used.
one selection
:
part or section of a larger work is found in Celebration
Series Perspectives
: PianoRepertoire3 FHM
Lis t A
Baroque Repertoire
M u se tte i n D m ajo r, B WV An h . 1 26 ( attr.)
P o lo n ai se i n G m i n o r, B WV An h . 1 1 9
G avo tte i n G m ajo r, H WV 491 (CelebrateHandel
FHM)
M i n u e t i n F m ajo r H WV 51 6a (CelebrateHandel
FHM)
Kirnberger, Johann Philipp
Recueil dairs dedansecaractristiques
B o u rr e i n D m ajo r ( n o . 3)
H arle q u i n ad e
Mozart, Leopold
M i n u e t i n E m i n o r (Notebook for Wolfgang OTT)
Petzold, Christian
M i n u e t i n G m ajo r, B WV An h . 1 1 4 (Notenbuch der
Anna Magdalena BachWIE)
M i n u e t i n G m i n o r, B WV An h . 1 1 5 (Notenbuch der
Anna Magdalena Bach WIE)
Purcell, Henry
H o rn p ip e i n B at m ajo r, Z T 683
38
Level 3
Lis t B
Classical and Classical-style Repertoire
Attwood, Thomas
Easy ProgressiveLessons ABR
S o n ati n a i n G m ajo r
Zwei Klaviersonatinen, Anh. 5 (CelebrateBeethoven,vol. I FHM)
S o n ati n a i n G m ajo r ( attr.)
1 st m o ve m e n t or 2n d m o ve m e n t: R o m an ze
Biehl, Albert
S o n ati n a i n G m ajo r, o p . 57, n o . 4
1 st or 2n d m o ve m e n t (TheEasiest Sonatina Album
FHM)
Clementi, Muzio
S o n ati n a i n C m ajo r, o p . 36, n o . 1
an y onem o ve m e n t
Gedike, Alexander
S o n ati n a i n C m ajo r ( n o . 20 )
Gurlitt, Cornelius
Six Sonatinas, op. 76
S o n ati n a i n A m i n o r ( n o . 5) (Joy of Sonatinas YOR)
3rd m o ve m e n t
Fifty Pieces for Beginners, op. 38
An d an ti n o i n A m ajo r ( n o . 31 )
Haydn, Franz Joseph
G e rm an D an ce i n G H o b .I X:1 2 /1 (CelebrateHaydn,
vol. I FHM)
Alle gro i n B at m ajo r, K 3 (CelebrateMozart, vol. I
FHM)
M e n u e tto I I i n F m ajo r ( fro m S o n ata i n C M ajo r fo r
K e yb o ard o r K e yb o ard an d Vi o li n , K 6)
M i n u e t i n D m ajo r, K 7 (CelebrateMozart, vol. I FHM)
Trk, Daniel Gottlob
C are fre e H ap p i n e ss
Lis t C
Repertoire
Alcon, Susan
CarefreeDays FHM
S u m m e r at L ast
Archer, Violet
L i ttle C an o n ( n o . 9)
Bartk, Bla
For Children, 1 B&H
P lay ( n o . 5)
Alle gro m o d e rato ( n o . 1 5)
For Children, 2 B&H
S o rro w ( n o . 7)
Berkovich, Isaak
Discovering PianoLiterature, 3 ALF
Vari ati o n s o n a R u ssi an F o lk so n g
Berlin, Boris
T h e H au n te d C astle (Legacy Collection, 3 FHM)
R o se m ary S kati n g Waltz (Legacy Collection, 3 FHM)
Holiday in Canada MAY
P rai ri e S o n g
Bernstein, Seymour
Moodscapes MAN
T h e E le gan t To re ad o r
Blok, Vladimir
M e lan ch o ly S o n g
Bonis, Mel.
C o m p li m e n t gran d m am an
D o u ce am i e / S we e t F ri e n d
M o n si e u r Vi e u xb o i s
Chatman, Stephen
E ch o e s o f N o ve m b e r (British Columbia SuiteFHM)
Coulthard, Jean
A L i ttle Jo ke (Musicof Our Time, 1 WAT)
Early Pieces for PianoCMC; ALK
T h e S o n g o f th e S h e p h e rd e ss ( n o . 3)
T h e S ad S to ry ( n o . 6)
A H ap p y D ay ( n o . 9)
Crawley, Clifford
Exchanges FHM
H ave a go o d d ay!
Ye s S i r!
Yo u re we lco m e
Crosby, Anne
In My Dreams FHM
F u n n y P u p p y
I n M y D re am s
L i ttle E lve s an d P i xi e s
T h e S to rm y S e a
Fine, Irving
Musicof Irving FineB&H
L u llab y fo r a B ab y P an d a
Fleming, Robert
H ap p y D ays (Legacy Collection, 3 FHM)
Fredrich, Frank
Creamof theCrop, 1 SUM
L e ge rd e m ai n ( T h e M agi ci an )
39
Level 3
40
George, Jon
A Day in theForest SUM
R ai n ... an d th e R ai n b o w
Childrens Album, op. 98 SCH
I n C am p ( n o . 2)
I n th e Wo o d lan d G lad e ( n o . 6)
C rad le S o n g ( L u llab y) ( n o . 9)
A L i ttle D an ce ( n o . 1 0 )
Afte r th e B all ( n o . 1 3)
Glass Beads, op. 123 SCH
M o rn i n g Walk ( n o . 1 )
S ad S o n g ( n o . 4)
Gurlitt, Cornelius
LittleFlowers, op. 205 ABR
L i ttle F lo we r i n E m i n o r ( n o . 1 )
Huang, An-Lun
A ChineseFestival, 1 BEL
P astu re s
Joachim, Otto
12 TwelveTonePieces for Children BER
P lasti c S o ld i e r ( n o . 5)
Kabalevsky, Dmitri
N i gh t o n th e R i ve r
C lo wn s ( n o . 20 )
Liebermann, Lowell
Albumfor theYoung PRE
S o n g ( n o . 1 1 )
Linn, Jennifer
T aran te lla HAL
Milhaud, Darius
Lenfant aime/ A Child Loves, op. 289 UNI
L e s e u rs / F lo we rs
Moss, Earle
I n a C an o e (Legacy Collection, 3 FHM)
L i ttle L am b (Legacy Collection, 3 FHM
Nakada, Yoshinao
A G re e n C ate rp i llar an d a B u tte r y
T h e S o n g o f Twi li gh t
Niamath, Linda
HereWeGo! FHM
C aro u se l
Norton, Christopher
, 3 FHM
B re e zy
G e n tle To u ch
U p an d Away
Wh i te S an d
C o co n u t R ag
Ouchterlony, David
K i ck i n S to n e s (Legacy Collection, 2 FHM)
Paterson, Lorna
Pianimals FHM
D o ve s
Waltzi n g P an d as
Wh ale s L am e n t
Persichetti, Vincent
LittlePianoBook, op. 60 ELK
D i alo gu e ( n o . 3)
Poole, Clifford
P o p G o e s th e We ase l! (Legacy Collection, 5 FHM)
Schumann, Robert
M e lo d y ( n o . 1 )
Scott, Cyril
For My Young Friends MAS
S e e saw
A H ap p y T ale ( n o . 4)
Siegmeister, Elie
S tre e t G am e s (Contemporary PianoLiterature, 2 ALF)
Stravinsky, Soulima
C o p s an d R o b b e rs
Tansman, Alexandre
Pour les enfants, 1 ESC
F i gu ri n e s d e S vre s / D re sd e n C h i n a F i gu re s
L e p e ti t o u rs e n p e lu ch e / T h e D an ci n g B e ar
Taranta, Italo
F o lk D an ce (Hal Leonard Student PianoLibrary, Piano
Solos 4 HAL)
Tarp, Svend Erik
Mosaik, op. 31 MMB
F lu te an d B asso o n P lay a D u e t ( n o . 6)
M o rn i n g P raye r ( n o . 1 )
Tcherepnin, Alexander
P re lu d e SUM
Telfer, Nancy
ImNot Scared FHM
G i an t I n se cts
T h e S le e p i n g D rago n
Land of theSilver Birch FHM
la clai re fo n tai n e
Planets and Stars FHM
S tar C lu ste r
Level 3
41
Etudes
Students must prepare twocontrasting selections from the
following list of etudes. Memorization is not required and
will not be rewarded with extra marks.
:
Bartk, Bla
TheFirst Termat thePianoEMB
M i n u e t
Bonis, Mel.
Albumpour les tout-petits COM
M ari o n n e tte s
Burgmller, Johann Friedrich
25 tudes faciles et progressives, op. 100
Arab e sq u e ( n o . 2)
Carroll, Walter
TheCountryside: First PianoLessons, 2 FOR
T h e Vi llage B an d
Czerny, Carl
S tu d y i n C m ajo r, o p . 261 , n o . 81
S tu d y i n D m i n o r, o p . 261 , n o . 53
S tu d y i n E at m ajo r, o p . 1 39, n o . 49
Donkin, Christine
C o m p u te r C h atte r
Legends & LoreFHM
Wi tch e s an d Wi zard s
Fitch, Gem
C h i n e se K i te s
Gurlitt, Cornelius
Technik und MelodieElementar-Klavierschule, op. 228
S tu d y i n A m i n o r
Niamath, Linda
Fancy FreeFHM
B i ke R id e
HereWeGo! FHM
All Ab o ard !
Norton, Christopher
I n te r-ci ty S to m p
Paterson, Lorna
Just a Second! FHM
R u sh H o u r
Schytte, Ludwig
25 kleinen Etden, op. 108
S tu d y i n A m i n o r ( n o . 5)
Telfer, Nancy
T h e M i lky Way
Total
Substitutions
Permitted
Requires
Prior Approval
(Submit a Substitute
Piece Request)
Does Not Require
Prior Approval
Repertoire
Substitution
Repertoire
Substitution
Etude
Substitution
one
Repertoire
selection
or
one
Etude
Onerepertoire selection from
piano literature comparable
in style and difculty to the
corresponding List A, B, or C of
Level 3
or
Oneselection from
the corresponding
List of Level 4 or
or
length of 11.5 minutes)
or
Oneselection from the Popular Selection
List for Level 3 or Level 4
Substitutions
Students may substitute onerepertoire selection or oneetude selection with a musical work not found in the Repertoire
Lists for Level 3. See p. 125 for more information on substitutions.
Level 3
S tu d e n ts m ay su b stitu te a p o p u lar
se le ctio n fo r o n e o f th e e tu d e s. S e e
p . 1 25 fo r d e tai ls.
42
valu e s
Scales G, D, F, B
,
major
E, B, D, G minor (harmonic and melodic)
HS
2 octaves
,

=92
Staccato G, D, F, B
,
major HS
2 octaves
,

=92
Parallel Motion G, D, F, B
,
major
E, B, D, G minor (harmonic and melodic)
HT
1 octave
,

=80
Formula Pattern G major HT
2 octaves
,

=80
Chromatic beginning on G HS
1 octave
,

=92
T ri ad s K e ys P laye d T e m p o N o te
valu e s
Triads
(root position and inversions)
broken
G, D, F, B
,
major
E, B, D, G minor
HS
2 octaves
,

=69
HT
1 octave
,

=50
blocked G, D, F, B
,
major
E, B, D, G minor
HS
2 octaves
,

=120 ,

K e ys fo r L e ve l 3 Major G, D, F, B
,
Minor E, B, D, G
Level 3
Technical Tests

43
3 Musicianship
Aural Skills
C lap b ack
Students will choose to either clap, tap, or sing the rhythm of
a short melody after the adjudicator has played it twice.
_

four measures
Example only
1
Example only
2
I n te rvals
or
Ab o ve a gi ve n n o te B e lo w a gi ve n n o te
major 3rd minor 3rd
perfect 5th perfect 5th
perfect octave
P layb ack
rst ve notes of a major scale. The adjudicator will name
the key, play the tonic triad once, and play the melody twice.
Tonic or mediant ve notes C, G, D, F major
Example only
1
2
Reading Skills
P layi n g
Students will be asked to play a short passage, hands
together. The right-hand part will be in quarter notes, half
notes, or eighth notes; the left-hand part will be in whole
notes and half notes.
four measures G, D, F major

C lap p i n g
_
four measures
Example only
Level 3
44
Level 4
At the Level 4, students are exposed to new
accompaniment styles, independence in Baroque
repertoire, and an array of gurations in Classical
sonatinas. Selections from the Romantic period focus
on melody, balance, and expression, while those of the
contemporary era offer interesting rhythmic challenges.
The technical requirements are expanded to include
arpeggios, and cadences at the ends of triads.
1 Repertoire
oneselection from List B: Classical and Classical-
style Repertoire
50
18
18
14
memory)
6
Technical Tests
Major keys: D, A, B
,
, E
,
Minor keys: B, F
, G, C
staccatoscales
chromatic scale
triads
tonic arpeggios
24
6 +6
12
Aural Skills
Clapback
Intervals
Playback
Reading Skills
Playing
Clapping
20
10
(3)
(3)
(4)
10
(7)
(3)
None
: PianoRepertoire4
Popular Selections: Popular Section List
Skills resources
1 Repertoire
memory marks will be deducted for each section where
music is used.
one selection
:
Series Perspectives
Lis t A
Baroque Repertoire
Babell, William
R i gad o o n i n A m i n o r
M arch i n D m ajo r, B WV An h . 1 22 (Notenbuch der
Anna Magdalena Bach WEI)
E n gli sh S u i te n o . 3 i n G m i n o r, B WV 808
M u se tte
Notenbuch der Anna Magdalena Bach WEI
M i n u e t i n F m ajo r, B WV An h . 1 1 3
M i n u e t i n G m ajo r, B WV An h . 1 1 6
M i n u e t i n C m i n o r, B WV An h . 1 21
M i n u e t i n D m i n o r, B WV An h . 1 32 ( attr.)
Ai r i n D m i n o r, H WV 461 (CelebrateHandel FHM)
Ai r i n B at m ajo r, H WV 471 (CelebrateHandel FHM)
S o n ata i n G m ajo r, o p . 1 , n o . 5, H WC 363b
B o u rr e (CelebrateHandel FHM)
Fifty Pieces for Beginners, op. 38
Alle gre tto i n E m i n o r ( n o . 24)
M i n u e t i n D m ajo r, K 94 /73h (Mozart: PianoMusic
fromHis Early Years ALF)
Scarlatti, Domenico
S o n ata i n D m i n o r, L 423, K 32 (CelebrateScarlatti,
vol. I FHM)
Stlzel, Gottfried Heinrich
P arti ta i n G m i n o r (Clavierbchlein vor Wilhelm
Friedemann Bach BAR)
I tali an Ai r
F an tasi a i n E m i n o r, T WV 33:21
3rd se cti o n : T r s vi te
F an tasi a i n G m ajo r, T WV 33:7
2n d se cti o n : L argo
Level 4
45
Lis t B
Andr, Johann Anton
3rd m o ve m e n t: R o n d o
S o n ati n a i n F m ajo r, o p . 34, n o . 5
TwelveGerman Dances, WoO13 OTT; SCH
N o . 9 i n E at m ajo r
Biehl, Albert
S o n ati n a i n A m i n o r, o p . 94, n o . 4
1 st m o ve m e n t
Clementi, Muzio
2n d m o ve m e n t or
3rd m o ve m e n t
Diabelli, Anton
S o n ati n a i n G m ajo r, o p . 1 51 , n o . 1
onem o ve m e n t
S o n ati n a i n F m ajo r, o p . 1 68, n o . 1
1 st m o ve m e n t
Gurlitt, Cornelius
Six Sonatinas, op. 188
S o n ati n a i n G m ajo r ( n o . 3)
1 st m o ve m e n t
Haydn, Franz Joseph
S o n ata i n F m ajo r, H o b . XVI :9
3rd m o ve m e n t: S ch e rzo
Mayer, Charles
E xe rci se ( b u n gsst ck) , o p . 340, n o . 2 (A Romantic
Sketchbook for Piano, 2 ABR; Graded PianoforteStudies,
First Series, Grade3 ABR)
Melartin, Erkki
S o n ati n a
Schmitt, Jacob
2n d m o ve m e n t
1 st m o ve m e n t
Trk, Daniel Gottlob
Sixty Pieces for Aspiring Players, 1 ABR
G e rm an S o n g
Wesley, Samuel
S o n ati n a i n B at m ajo r, o p . 4, n o . 8
Lis t C
Repertoire
Alcon, Susan
Wind Chimes FHM
F e e li n g L u cky
Archer, Violet
Waltzi n g Alo n g (Rainbows ALK)
R o n d i n o ( n o . 4)
Wid e O p e n S p ace s ( n o . 5)
Barrell, Bernard
FiveBagatelles, op. 87 FRE
I n trad a ( n o . 1 ) (Studio21, 2 UNI)
Bartk, Bla
For Children, 1 B&H
C h i ld re n s G am e ( n o . 8 )
Alle gre tto ( n o . 22)
Alle gro n o n tro p p o ( n o . 33)
For Children, 2 B&H
An d an te , m o lto ru b ato ( n o . 28 )
D an ce ( n o . 8 )
T h e H i gh way R o b b e r ( n o . 31 )
F are we ll ( n o . 34)
Benedict, Robert C.
Watercolours for PianoWAT
S h allo ws
Berlin, Boris
S q u i rre ls at P lay (Legacy Collection, 3 FHM)
Yan i n a P o li sh D an ce (Legacy Collection, 3 FHM)
Berr, Bruce
Explorations in StyleHAL
D ro p le ts
Boyd, Bill
Bill Boyd: Jazz Sketches HAL
H o m e F ri e d P o tato e s
Burgmller, Johann Friedrich Franz
B allad e , o p . 1 00, n o . 1 5
Chatman, Stephen
Amusements, 3 FHM
G am e o f H yp n o si s
Coulthard, Jean
Four PianoPieces BER
P le ad i n g
Crosby, Anne
D re am catch e r
Decoursey, Ralph
S te am b o at s A-C o m i n ! BER
Level 4
46
Dello Joio, Norman
Suitefor theYoung EDW
L i ttle B ro th e r ( n o . 4)
S m all F ry ( n o . 1 1 )
Duke, David
B arcaro le (Musicof Our Time, 4 WAT)
Evans, Lee
S p o o ky S p i ri ts (Hal Leonard Student PianoLibrary,
ShowcaseSolos HAL)
Fiala, George
M o o d i n th e D o ri an M o d e (Horizons, 1 WAT)
M i n i atu re S u i te BER
Alm o st a Waltz
Filtz, Bohdana
A L o st To y (Ukrainian Echoes FHM)
P layi n g B all (Childhood Memories FHM)
Gillock, William L.
LyricPreludes in RomanticStyleSUM
I n te rlu d e
Goldston, Margaret
TheMagicTypewriter ECS
T h e M agi c Typ e wri te r
Grandfathers Album, op. 119 OTT
An O ld R o m an ce ( n o . 2)
O n th e M e ad o w ( n o . 4)
H ap p y M e e ti n g ( n o . 1 5)
R e tu rn i n g H o m e ( n o . 1 6)
Gurlitt, Cornelius
Der ersteVortrag, op. 210
D an ci n g o n th e G re e n
LittleFlowers, op. 205 ABR
L i ttle F lo we r i n F m ajo r ( n o . 8 )
Hanson, Howard
E n ch an tm e n t F I S
Haughton, Alan
Rhythmand Rag ABR
F re e way
Ishchenko, Yuri
T re m b i tas i n th e D i stan ce (Ukrainian Echoes FHM)
Kabalevsky, Dmitri
A S ad S to ry ( n o . 6) ( also ti tle d A S ad L i ttle
T ale )
D an ce o n th e L awn ( n o . 1 7)
H o p p i n g ( n o . 1 8 ) ( also ti tle d G alo p )
Childrens Adventures, op. 89
C h astu sh ka ( n o . 25)
Kirchner, Theodor Frchtegott
NewScenes of Childhood, op. 55 ABR
An d an ti n o ( n o . 3)
Kisbey-Hicks, Marjory
T h re e -le gge d R ace BER
Klein, Lothar
Spring FolioCMC
B alle t L e sso n
D o ts
Klose, Carol
D an ce o f th e T ro lls (Hal Leonard Student Piano
Library, ShowcaseSolos HAL)
Linn, Jennifer
Wi zard s Wi sh (Hal Leonard Student PianoLibrary,
ShowcaseSolos HAL)
Maikapar, Samuil
D e wd ro p s, o p . 33, n o . 1 2 MCA
Milhaud, Darius
L e s b o n b o n s / C an d y
Muczynski, Robert
Fables: NinePieces for theYoung, op. 21 SCH
F ab le ( n o . 3)
Nakada, Yoshinao
Childrens Dreams
A Wi n te r M e lo d y KAW
Norton, Christopher
, 4 FHM
D e e p i n T h o u gh t
O p e n Wi n d o w
P o si ti ve ly S wi n gi n g
P lay I t Agai n
Olson, Lynn Freeman
AudiencePleasers, 3 ALF
Wh i rli gi g
Papp, Lajos
Images LEM
T h e R o o ste r C ro ws
Paterson, Lorna
Just a Second FHM
L u llab y
Pianimals FHM
T h e L o o n
Pearce, Elvina
Seven Preludes in Seven Keys BEL
P re lu d e n o . 2 i n D m i n o r
Level 4
47
Level 4
Pentland, Barbara
Musicof Now, 3 AVO; CMC
Au b ad e
Pozzoli, Ettore
PiccolescintilleRIC
T h e C u cko o ( n o . 6)
B e fo re th e C rib ( n o . 7)
S o ld i e r s M arch ( n o . 1 2)
Rebikov, Vladimir Ivanovich
Silhouettes, op. 31 ALF; SCH
T h e L i ttle S h e p h e rd ( n o . 8 )
Reubart, Dale
Parodies FHM
T h i n gu m a Ji g
Schumann, Robert
T h e Wi ld H o rse m an ( n o . 8 )
T h e H ap p y F arm e r ( n o . 1 0 )
T h e F i rst L o ss ( n o . 1 6)
Sheftel, Paul
Interludes: Mood Studies for PianoFIS
N o ctu rn e
A S ad F ai ry T ale ( n o . 5)
Twi li gh t (Legacy Collection, 3 FHM)
Starer, Robert
Games with Names, Notes and Numbers SCH
Twe lve N o te s Twe lve T i m e s
Szelnyi, Istvn
Vierzig kleineKlavierstckefr Anfnger, 2 EMB
C h an gi n g B ars
Tansman, Alexandre
L i ttle P re lu d e
M lo d i e
F i n d e vacan ce s
P e ti te so le m n i t
R ve i l ( n o . l)
Taranta, Italo
PianoMiniatures WIL
C re o le L u llab y
T h e D o ll s F u n e ral ( n o . 7)
I tali an S o n g ( n o . 1 5)
O ld F re n ch S o n g ( n o . 1 6)
Telfer, Nancy
Shes LiketheSwallowFHM
F e lle r fro m F o rtu n e ( arr.)
Vandall, Robert D.
Bagatelles, 1 MYK
B agate lle n o . 8
Zhuravytsky, Vadim
T h e D e te cti ve (Postcards fromUkraineFHM)
Total
Substitutions
Permitted
Requires
Prior Approval
Request)
Does Not Require
Prior Approval
Repertoire
Substitution
Repertoire
Substitution
Etude
Substitution
one
Repertoire
selection
or
one
Etude
Level 4
or
Oneselection from the
corresponding List of
Level 5 or
or
OneStudents Choice selection (must
be of equal difculty and a length of
11.5 minutes)
or
Oneselection from the Popular
Selection List for Level 4 or Level 5
Substitutions
48
Etudes
:
Balzs, rpd
Fourteen Pieces for PianoEMB
G am e
Bonis, Mel.
Albumpour les tout-petits COM
L a to u p i e / T h e To p
T h e Wag tai l ( n o . 1 1 )
Chatman, Stephen
Preludes for Piano, 3 FHM
H o tsh o t
Crawley, Clifford
Exchanges FHM
Yo u re Jo k i n g!
Czerny, Carl
S tu d y i n B at m ajo r, o p . 599, n o . 83
Duvernoy, Jean-Baptiste
Elementary Studies, op. 176
S tu d y i n A m ajo r ( n o . 1 5)
Gillock, William L.
D rago n F ly
Cinquantepices lusagedes commensans, op. 38
Alle gro i n G m ajo r ( n o . 1 9)
Heller, Stephen
25 tudes faciles, op. 45
T h e Avalan ch e ( n o . 2)
Loeschhorn, Carl Albert
Etuden fr Anfanger, op. 65
S tu d y i n E m i n o r ( n o . 42)
Niamath, Linda
Fancy FreeFHM
M asq u e rad e
Norton, Christopher
B lu e s N o . 1
Reubart, Dale
KaleidoscopeFHM
B i ke R id e
Level 4
49
Level 4
Technical Tests
S cale K e ys P laye d T e m p o N o te
valu e s
Parallel Motion D, A, B
,
, E
,
major
B, F
, G, C minor (harmonic and melodic)

HT
2 octaves
,

=92
Staccato D, B
,
major
B, G minor (harmonic)
HS
2 octaves
, =104
Formula Pattern C minor (harmonic) HT
2 octaves
,

=92
Chromatic beginning on D HS
1 octave
,

=104
valu e s
Triads
broken
D, A, B
,
, E
,
major
B, F
, G, C minor
HS
2 octaves (no cadence)
,

=76
HT
1 octave
(ending with VI cadence)
,

=60
blocked D, A, B
,
, E
,
major
B, F
, G, C minor
HS
2 octaves
(no cadence)
,

=132 ,

HT
1 octave (ending with VI cadence)
,

=120 ,

Arp e ggi o s K e ys P laye d T e m p o N o te

valu e s
Tonic
(root position only)
D, A major
G, C minor
HS
2 octaves
,

=72
K e ys fo r L e ve l 4 Major D, A, B
,
, E
,
Minor B, F
, G, C
3 Musicianship
Aural Skills
C lap b ack
_

two to three measures
Example only
1
2
I n te rvals
or
major and minor 3rds minor 3rd
perfect 4th
perfect octave perfect octave
P layb ack
rst ve notes of a major scale. The adjudicator will name
the key, play the tonic triad once, and play the melody twice.
tonic, mediant, or
dominant
six notes C, F, G, D major
Example only
Reading Skills
P layi n g
Students will be asked to play a short passage, hands
together. The right-hand part will be in eighth notes,
quarter notes, or half notes; the left-hand part will be in
half notes.
D i f cu lty T i m e
si gn atu re
Ap p ro xi m ate
le n g th
K e ys
Level 1
repertoire
six measures G, F, D major

E, D minor
C lap p i n g
Students will be asked to clap or tap the rhythm of a
melody. A steady pace and rhythmic accentuation are
expected.
_
four measures
Example only
50
Level 4
51
Level 5
Level 5
The Level 5 assessment presents intermediate students
with the opportunity to expand their technical and musical
abilities. Musical engagement is promoted through a more
diverse selection of repertoire choices with longer forms,
thicker harmonic textures, and exposure to new genres. In
technical requirements, dominant-seventh and diminished-
seventh patterns are introduced to expand harmonic
vocabulary. These new patterns, which involve a wider span
of the hand, help to develop dexterity. The Basic Rudiments
academic assessment is a co-requisite that enriches musical
awareness and literacy through the study of notation,
including: intervals, key signatures, scales, and triads.
1 Repertoire
50
18
18
14
memory)
6
Technical Tests
Major keys: A, E, E
,
, A
,
Minor keys: F
, C
, C, F
staccatoscales
formula pattern scales
chromatic scale
triads
dominant 7th and diminished 7th chords
tonic arpeggios
24
6 +6
12
Aural Skills
Clapback
Intervals
Playback
Reading Skills
Playing
Clapping
20
10
(3)
(3)
(4)
10
(7)
(3)
Basic Rudiments
: PianoRepertoire5
Skills resources
1 Repertoire
music is used.
one selection
:
Series Perspectives
Lis t A
Baroque Repertoire
Arnold, Samuel
S o n ata i n D m ajo r, o p . 1 2, b k 2, n o . 3 (English Piano
Music 17801800 ABR)
2n d m o ve m e n t: S i ci li an a
M arch i n G m ajo r, B WV An h . 1 24 (Notenbuch der
An glo i se i n D m ajo r
Alle m an d e i n G m i n o r, B WV 836
F re n ch S u i te n o . 6 i n E m ajo r, B WV 81 7
M i n u e t
L i ttle P re lu d e i n C m ajo r, B WV 939
Dieupart, Charles
Six suittes declavessin (1701)

S u i te n o . 2 i n D m ajo r
P asse p i e d
Graupner, Christoph
I n trad a i n C m ajo r (BaroquePianoALF)
F u ga ( S o n ati n a) i n G m ajo r, H WV 582 (Celebrate
Handel FHM)
S o n ati n a i n B at m ajo r, H WV 585 (CelebrateHandel
FHM)
G i gu e i n D m ajo r ( n o . 1 0 )
Rameau, Jean-Philippe
Pices declavecin (1724)
S u i te n o . 1
D e u x ri gau d o n s Vi sit www.MusicDevelopmentProgram.org
Scarlatti, Domenico
S o n ata i n C m i n o r, L 357, K 40 (CelebrateScarlatti,
vol. I FHM)
S o n ata i n D m i n o r, L S 7, K 34 (CelebrateScarlatti, vol.
I FHM)
S o n ata i n B at, L S 36, K 42 (CelebrateScarlatti, vol. I
FHM)
Partita (Clavierbchlein vor WilhelmFriedemann Bach BAR)
B o u rr e i n G m i n o r
F an tasi a i n C m ajo r, T WV 33:1 4
2n d se cti o n : G ai m e n t i n C m ajo r
F an tasi a i n E at m ajo r, T WV 33:35
2n d se cti o n : M o d e rato i n C m i n o r
Zipoli, Domenico
Sonatedintavolatura per organoecimbalo, parte prima, op. 1
Ve rso i n E m i n o r
Lis t B
Alle gre tto i n F m ajo r
M i n u e t i n G m ajo r, Wo O 1 0, n o . 2 (Celebrate
Beethoven, vol. I FHM)
Zwei Klaviersonatinen, Anh. 5
S o n ati n a i n F m ajo r
1 st or 2n d m o ve m e n t
TwelveGerman Dances, WoO13 OTT; SCH
N o . 1 i n D m ajo r
N o . 5 i n F m ajo r
Cimarosa, Domenico
S o n ata n o . 1 7 i n D m i n o r (Melodious Masterpieces,
3 ALF)
Clementi, Muzio
1 st m o ve m e n t
3rd m o ve m e n t
Diabelli, Anton
2n d m o ve m e n t
S o n ati n a i n G m ajo r, o p . 1 68, n o . 2
1 st m o ve m e n t
S o n ati n a i n C m ajo r, o p . 1 68, n o . 3
1 st or 3rd m o ve m e n t
Gurlitt, Cornelius
Four Sonatinas, op. 214
S o n ati n a i n A m i n o r, o p . 21 4, n o . 4
1 st m o ve m e n t or
2n d and3rd m o ve m e n ts
C ap ri cci o i n C m ajo r
Haydn, Franz Joseph
D i ve rti m e n to i n G m ajo r, H o b . XVI : 8
3rd and4th m o ve m e n ts
Kuhlau, Friedrich
S i x Vari ati o n s i n G m ajo r, o p . 42, n o . 1
Lichner, Heinrich
S o n ati n a i n F m ajo r, o p . 4, n o . 2 KJO; SCH
1 st m o ve m e n t
M i n u e t i n F m ajo r, K 5
VienneseSonatinas, K 439b
Vi e n n e se S o n ati n a n o . 1 i n C m ajo r
M i n u e tto an d Tri o
Spindler, Fritz
S o n ati n a i n C m ajo r, o p . 1 57, n o . 4 ALF
2n d m o ve m e n t
Wesley, Samuel
S o n ata i n A m ajo r, o p . 5, n o . 1 (English PianoMusic
17801800 ABR)
2n d m o ve m e n t: Alle gro
Lis t C
Repertoire
Agay, Denes
Petit Trianon SuiteSCH
S arab an d e d am o u r
Archer, Violet
ThreeScenes (Habitant Sketches) BER
Ji g
Bartk, Bla
For Children, 1 B&H
C h i ld re n s D an ce ( n o . 1 0 )
B allad ( n o . 1 3)
M o d e rato ( n o . 26)
Je st ( n o . 27)
C h o ral ( n o . 28 )
For Children, 2 B&H
L e n to ( n o . 1 1 )
Te asi n g S o n g ( n o . 1 8 )
R o m an ce ( n o . 1 9)
G am e o f T ag ( n o . 20 )
Beach, Amy
Childrens Carnival, op. 25 HIL
P i e rro t an d P i e rre tte ( n o . 4)
52
Level 5
53
Level 5
Beckwith, John
Six Mobiles, 2 BER
M i n o r o r M ajo r?
Two an d T h re e are F i ve
Wh at G o e s U p M u st C o m e D o wn
Bortkiewicz, Sergei
Andersens Fairy Tales, op. 30 SIM
T h e H ard y T i n S o ld i e r ( n o . 3)
Bruce, Robert
PictureStudies for thePianoCEL
R ag D o ll
Carroll, Walter
Sea Idylls FOR
F ro m th e C li ffs ( n o . 1 )
S e a-N ym p h s ( n o . 3)
M o o n B e am s ( n o . 6)
A P assi n g S to rm ( n o . 7)
To a S e a-B i rd ( n o . 8 )
T h e L i fe b o at ( n o . 9)
Alo n e at S u n se t ( n o . 1 0 )
Chatman, Stephen
P o lte rge i st
Cherney, Brian
E le g y fo r a M i sty Afte rn o o n (Horizons, 1 WAT)
Copland, Aaron
S u n d ay Afte rn o o n M u sic (Masters of Our DayFIS)
Coulthard, Jean
T h e R o ck i n g C h ai r (Musicof Our Time, 5 WAT)
S tar G azi n g (Musicof Our Time, 6 WAT)
Four PianoPieces BER
L i ttle S o n g o f L o n g Ago
Creston, Paul
FiveLittleDances SCH
R u sti c D an ce ( n o . 1 )
Eurina, Ludmilla
P asto rale (Town and Country FHM)
Faith, Richard
Finger Paintings for PianoSHA
M o o n le ss N i gh t
Fiala, George
Australian Suite, op. 2 BER
B lack S wan
E m u
K o ala
Lyre B yrd
P latyp u s
Ten Postludes for Young Students, op. 7 WAT
P o stlu d e n o . 6 ( la S h o stako vi ch )
Filtz, Bohdana
A S o n g ab o u t G ran d m o th e r (Childhood Memories
FHM)
Fleming, Robert
Bag-o-Tricks WAT
G e n tly ( n o . 1 )
Frid, Grigori
A Day in theCountry FHM
G arm o sh ka
Russian Tales FHM
C h astu sh ka
A L i ttle S o n g
Gillock, William L.
L e ge n d
S e re n ad e
Gretchaninov, Alexander
Glass Beads, op. 123 OTT
Waltz
Grieg, Edvard
Lyric Pieces, op. 12
Waltz ( n o . 2)
Griesdale, Susan
PianoMimeOCE
D an ci n g C lo wn s
S le e p walk i n g
Hansen, Joan
T raf c (Musicof Our Time, 5 WAT)
Harmer, Daniel
H o p , S k ip an d Ju m p BER
Haughton, Alan
Rhythmand Rag ABR
L azy
Huang, An-Lun
A ChineseFestival, 1 BEL
C rad le S o n g
Ibert, Jacques
Petitesuiteen quinzeimages FOE
B e rce u se au x to i le s ( n o . 4)
Jaque, Rhen
R u sti c D an ce GVT
Kabalevsky, Dmitri
C rad le S o n g ( n o . 8 )
S o n ati n a i n A m i n o r ( n o . 1 8 )
A S lo w Waltz ( n o . 23)
Easy Variations for Piano, op. 51
F i ve H ap p y Vari ati o n s o n a R u ssi an F o lk S o n g
( n o . 1 )
Karganov, Gnari
Arab e sq u e , o p . 6, n o . 2
Kenins, Talivaldis
TwoLittlePieces (Meet Canadian Composers at thePiano, 2 GVT
[OP])
L i ttle M arch
54
Kirchner, Theodor F.
Miniaturen, op. 62 ABR
M i n i atu re i n C m i n o r ( n o . 1 5)
Koechlin, Charles
Dix petites pices faciles, op. 61c SAL
L a m ai so n h e u re se ( n o . 3)
Kuzmenko, Larysa
R o m an ce
Lebeda, Miroslav
Music for Young Pianists FHM
M arch
McLean, Edwin
Impressions on Rock, Bone, Wood, Earth FJH
B i rd Wh i stle ( B o n e )
Merath, Siegfried
Tanz-Typen, 1 OTT
C h a-C h a
Mier, Martha
Jazz, Rags & Blues, 2 ALF
R e d R o se R e n d e zvo u s
Mould, Warren
Jam ai can S e re n ad e (Legacy Collection, 3 FHM)
Muczynski, Robert
Fables: NinePieces for theYoung SCH
Alle gro ( n o . 1 )
Niemann, Walter
ImKinderland, op. 46 PET
C rad le S o n g
Norton, Christopher
, 5 FHM
S cam p
M o o n scap e
B o xcar B lu e s
I n a H u rry
Papineau-Couture, Jean
Ari a BER
Papp, Lajos
PetitesuiteEMB
C o ck-cro w
Pinto, Octavio
L i ttle M arch
S e re n ad e
Previn, Andr
Impressions for PianoWAR
T re e s at Twi li gh t ( n o . 7)
Reinecke, Carl
Hausmusik, op. 77
R o m an za ( n o . 8 )
Rejino, Mona
Portraits in StyleHAL
N o ctu rn e
Rowley, Alec
T h e L ake , o p . 42, n o . 9
Schoenmehl, Mike
PianoStudies in Pop SIK
M e lan ch o ly R e e cti o n s
Schumann, Robert
H u n ti n g S o n g ( n o . 7)
L i ttle F o lk S o n g ( n o . 9)
S i ci li e n n e ( n o . 1 1 )
A L i ttle R o m an ce ( n o . 1 9)
N o rd i c S o n g ( n o . 41 )
T h e B arre l-O rgan Waltz ( fro m lm sco re fo r
TheGady, o p . 97) SCH
Seven Dolls Dances SCH; SIK
H u rd y-G u rd y ( n o . 6)
T h e M e ch an i cal D o ll
Starer, Robert
Sketches in Color WAR
S h ad e s o f B lu e ( n o . 2)
B lack an d Wh i te ( n o . 3)
Takcs, Jen
Klngeund farben, op. 95 DOB
S o u n d i n g th e Acco rd i o n
Tansman, Alexandre
P e ti te p ro m e n ad e
Valse B o sto n
S o u ve n i r d e G e o rge G e rsh wi n , 1 925
P e ti te r ve ri e ( n o . 4)
P o lka ( n o . 1 0 )
M azu rka ( n o . 1 1 )
S we e t D re am s ( n o . 21 )
Telfer, Nancy
Wh e n R i ve rs F lo we d o n M ars
Volkmann, Robert
Lieder des Grossmtter, op. 27
G ran d m o th e r s S o n g ( n o . 1 0 )
Level 5
55
Etudes
:
Bertini, Henri Jrme
25 Primary Etudes for thePiano, op. 166
S tu d y i n G m ajo r ( n o . 7)
S we e t S o rro w ( n o . 1 6)
Crosby, Anne
D rago n y S ch e rzo
Czerny, Carl
S tu d y i n G m ajo r, o p . 1 39, n o . 38
Fuchs, Robert
Jugendklnge: LeichteStckefr Pianoforte, op. 32
T h e L i ttle T ru m p e te r ( n o . 4)
Gedike, Alexander
TwelveMelodious Studies for Beginners, op. 32
S tu d y i n C m ajo r ( n o . 1 6)
Gnesina, Yelena Fabianovna
Small Pieces Tableaux
S k ip p i n g R o p e
Gurlitt, Cornelius
Der ersteVortrg, op. 210
T h e M e rry Wan d e re r ( n o . 29)
Kabalevsky, Dmitri
P re lu d e ( n o . 1 9)
Kadosa, Pl
Eight LittlePianoPieces EMB
Vi vo
Maikapar, Samuil
S taccato P re lu d e , o p . 31 , n o . 6
Rohde, Eduard
D an ce o f th e D rago n i e s, o p . 76, n o . 7
Schoenmehl, Mike
C h i cke n T alk
Takcs, Jen
Fr mich, op. 76 DOB
T h e L i ttle F ly
I n C h u rch ( n o . 24)
Telfer, Nancy
S u p e rn o va
.
Total
Substitutions
Permitted
Requires
Prior Approval
Request)
Does Not Require
Prior Approval
Repertoire
Substitution
Repertoire
Substitution
Etude
Substitution
one
Repertoire
selection
or
one
Etude
Onerepertoire selection
from piano literature
comparable in style
and difculty to the
corresponding List A, B,
or C of Level 5
or
Oneselection from
the corresponding
List of Level 6 or
or
OneStudents Choice selection (must be
of equal difculty and a length of 1.52
minutes)
or
Oneselection from the Popular Selection List
for Level 5 or Level 6
Substitutions
Level 5
56
Level 5
K e ys fo r L e ve l 5 Major A, E, E
,
, A
,
Minor F
, C
, C, F
valu e s
Parallel Motion A, E, E
,
, A
,
major
F
, C
, C, F minor (harmonic and melodic)

HT
2 octaves
,

=104
Staccato A, E
,
major
F
, C minor (harmonic)
HS
2 octaves
,

=112
Formula Pattern E
,
major
C minor (harmonic)
HT
2 octaves
,

=104
Chromatic beginning on A HT
1 octave
,

=104
valu e s
Triads
broken
A, E, E
,
, A
,
major
F
, C
, C, F minor
HT
2 octaves
,

=66
blocked
,

=132 ,

Dominant 7th
broken
A, E, E
,
, A
,
major HS
1 octave
,

=72
blocked
,

=120 ,

Diminished 7th
broken
F
, C
, C, F minor HS
1 octave
,

=72
blocked
,

=120 ,


valu e s
Tonic
A, E, E
,
, A
,
major
F
, C
, C, F minor
HS
2 octaves
,

=80
Technical Tests
indicate minimum speeds. All scales are to be played
legatounless otherwise indicated.
57
Level 5
3 Musicianship
Aural Skills
C lap b ack
_

two to four measures

Example only
1
2
I n te rvals
or
major and minor 3rds major and minor 3rds
major and minor 6ths
perfect 4th
P layb ack
the rst ve notes and upper tonic of a major scale. The
adjudicator will name the key, play the tonic triad once, and
play the melody twice.
tonic, mediant, or
dominant
seven notes C, G, D, F major
Example only
Reading Skills
P layi n g
Students will be asked to play a passage of music by sight.
si gn atu re
Ap p ro xi m ate
le n g th
K e ys
Level 2
repertoire
_
eight
measures
major and minor
keys up to two
sharps or two ats
C lap p i n g
melody. Tied notes may be included. A steady pace and
rhythmic accentuation are expected.
_

four measures
Example only
58
Level 6
Level 6
This late-intermediate level presents new challenges with the
introduction of larger works by major composers. Sonata-
allegro and rondo forms prepare students for the study
of sonata movements at higher levels. A wide selection of
20th- and 21st-century repertoire that includes atonal and
modal works, and pieces based on the blues scale, enriches
the students harmonic vocabulary. The technical tests at
Level 6 are organized by parallel tonic major and minor keys
to reinforce an understanding of tonal relationships. Tonic
chords are expanded to four-note forms to support wider
gurations in the repertoire. The Intermediate Rudiments
academic assessment is a co-requisite that reinforces basic
elements of notation while exploring concepts encountered
in the repertoire and technique at this level.
1 Repertoire
50
18
18
14
memory)
6
Technical Tests
Major keys: G, E, F, A
,
, D
,
Minor keys: G, E, F, G
, C

staccatoscales
chromatic scales
triads
tonic four-note chords
tonic arpeggios
dominant 7th and diminished 7th arpeggios
24
6 +6
12
Aural Skills
Clapback
Intervals
Chords
Playback
Reading Skills
Playing
Clapping
20
10
(2)
(3)
(2)
(3)
10
(7)
(3)
Intermediate Rudiments
: PianoRepertoire6
Skills resources
1 Repertoire
Students must prepare threecontrasting selections.
Repertoire selections must be memorized. Please note
that up to two memory marks will be deducted for each
selection where music is used.
one selection
:
Series Perspectives
Lis t A
Baroque Repertoire
P o lo n ai se i n G m i n o r, B WV An h . 1 23 (Notenbuch der
P o lo n ai se i n G m i n o r, B WV An h . 1 25 (Notenbuch der
An glo i se i n A m ajo r
S ch e rzo i n C m ajo r
O ve rtu re i n th e F re n ch S tyle i n B m i n o r, B WV 831
B o u rr e I
F re n ch S u i te n o . 1 i n D m i n o r, B WV 81 2
Sarabande
L i ttle P re lu d e i n D m i n o r, B WV 926
L i ttle P re lu d e i n C m i n o r, B WV 934
L i ttle P re lu d e i n E m i n o r, B WV 941
P re lu d e i n C m i n o r, B WV 999 (CelebrateBach, vol. I
FHM)
Clavierbchlein vor WilhelmFriedemann Bach BAR
Alle m an d e i n G m i n o r, B WV 837
M i n u e t n o . 3 i n G m ajo r, B WV 843
M arch i n E at m ajo r, B WV An h . 1 27
P o lo n ai se i n G m ajo r, B WV An h . 1 30
Alle m an d e i n A m i n o r, H WV 478 (CelebrateHandel
FHM)
S u i te n o . 4 i n D m i n o r, H WV 437 (CelebrateHandel
FHM)
S arab an d e or G i gu e
S u i te n o . 9 i n G m ajo r, H WV 442
P re lu d e
Klavierbungen, ersteSammlung DIA
M i n u e t i n E m ajo r
Recueil dairs dedansecaractristique
L e s C ari llo n s ( n o . 20 )
59
Level 6
B u rle sca i n D m ajo r ( 6th m o ve m e n t)
To ccata i n E at m ajo r (Essential Keyboard Repertoire,
7 ALF)
Scarlatti, Domenico
S o n ata i n A m ajo r, L S 31 , K 83b (CelebrateScarlatti,
vol. I FHM)
S o n ata i n G m ajo r, L 84, K 63 (CelebrateScarlatti,
vol. I FHM)
S o n ata i n B at m ajo r, L 97, K 440 (Celebrate
Scarlatti, vol. I FHM)
Seixas, Jos Antonio Carlos de
To ccata i n C m i n o r
P arti ta i n G m i n o r (Clavierbchlein vor Wilhelm
Friedemann Bach BAR)
M i n u e t i n G m i n o r ( 6th m o ve m e n t)
Ari a
F an tasi a i n C m i n o r, T WV 33:30
Zipoli, Domenico
Sonatedintavolatura per organoecimbalo, parte seconda,
op. 1 BAR
S u i te i n G m i n o r
S arab an d a i n G m i n o r
Lis t B
Sechs Sonaten fr Kenner und Liebhaber OTT
S o n ata n o . 5 i n F m ajo r, H 243
3rd m o ve m e n t
L u sti g u n d T rau ri g, Wo O 54
Benda, Jir Antonn (George Anton)
Sammlung vermischter Clavierstcke(Benda: 17 Sonatas for Piano
OUP)
S o n ati n a i n D m i n o r ( n o . 6)
S o n ati n a i n A m i n o r ALF
Cimarosa, Domenico
S o n ata i n A m i n o r, F 55
Clementi, Muzio
onem o ve m e n t
Diabelli, Anton
S o n ati n a i n G m ajo r, o p . 1 68, n o . 6
Dussek, Jan Ladislav
Six Sonatinas, op. 20 ABR
S o n ati n a i n G m ajo r ( n o . 1 )
2n d m o ve m e n t: R o n d o
Gurlitt, Cornelius
Four Sonatinas, op. 214
S o n ati n a i n G m ajo r ( n o . 3)
1 st m o ve m e n t
Haydn, Franz Joseph
D i ve rti m e n to i n C m ajo r, H o b . XVI :3
2n d m o ve m e n t: M i n u e tto an d Tri o
D i ve rti m e n to i n G m ajo r, H o b . XVI : G 1
1 st m o ve m e n t
S o n ata [D i ve rti m e n to ] i n D m ajo r, H o b . XVI : 4
2n d m o ve m e n t: M i n u e t an d Tri o
Hook, James
1 st m o ve m e n t
Kuhlau, Friedrich
1 st m o ve m e n t
1 st m o ve m e n t
1 st m o ve m e n t
Lichner, Heinrich
S o n ati n a i n G m ajo r, o p . 4, n o . 3 KJO; SCH
last m o ve m e n t: R o n d o
An d an ti n o , K 236 /588b
G e rm an D an ce , K 600
last m o ve m e n t
Rosetti, Antonio
Vier Klaviersonaten
S o n ata i n G m ajo r, R WV E 2
2n d m o ve m e n t: R o m an ce
Wesley, Samuel
S o n ati n a i n E at m ajo r, o p . 4, n o . 7
Lis t C
Repertoire
Alexander, Dennis
24 Character Preludes ALF
Z i gzag
Archer, Violet
ThreeScenes (Habitant Sketches) BER
C h u rch S ce n e
60
Level 6
Bartk, Bla
For Children, 1 B&H
Je e ri n g S o n g ( n o . 30 )
An d an te ( n o . 32)
D ru n kard s S o n g ( n o . 36)
For Children, 2 B&H
Vari ati o n s ( n o . 5)
R o u n d D an ce 1 ( n o . 6)
B agp ip e 2 ( n o . 30 )
Mikrokosmos, 3 B&H
M e rri m e n t ( n o . 84)
Ten Easy Pieces EMB
D awn
Berlin, Boris
Holiday in Canada MAY
Wi n te r S ce n e
Bernstein, Leonard
FiveAnniversaries
F o r S u san n a K yle B&H
Bloch, Ernest
Enfantines FIS
M e lo d y ( n o . 6)
P asto rale ( n o . 7)
Te asi n g ( n o . 9)
Bouchard, Rmi
Au jo u r d e l an (Golden Anniversary Collection WAT)
Boyd, Bill
Jazz Sketches HAL
O h S o B lu e
Byers, Rosemary Barrett
S e asid e M o rn i n g HAL
Carroll, Walter
Sea Idylls FOR
E arly M o rn i n g
E b b T id e
Chatman, Stephen
Fantasies FHM
M e lan ch o ly S o n g
P rai ri e S ky
R o se -ch e e k d T ara
Chopin, Frdric
P re lu d e i n C m i n o r, o p . 28, n o . 20
Waltz i n A m i n o r, o p . p o sth ., B 1 50
Copland, Aaron
T h e Yo u n g P i o n e e rs (Masters of Our Day FIS)
Coulthard, Jean
Pieces for thePresent WAT
Wh e re th e T rad e Wi n d s B lo w
Dahlgren, David F.
Jazz C at ALK
Dolin, Samuel
A S li gh tly S q u are R o u n d D an ce BER
Duke, David
C ap e B re to n L u llab y (Musicof Our Time, 5 WAT)
Dunhill, Thomas
T h e I ri sh B o y LEG
Faith, Richard
Finger Paintings for PianoSHA
C e le b rati o n
Fiala, George
Australian Suite, op. 2 BER
K an garo o
Fibich, Zdenek
C h i ld h o o d S p ri n g ( H u d e k 55)
Filtz, Bohdana
An An ci e n t T ale (Town and Country FHM)
Finch, Douglas
C an can FHM
Flagello, Nicholas
Episodes for PianoGEN
M arch
Fleming, Robert
Bag-O-Tricks WAT
B ri gh t-D an cy ( n o . 2)
Q u i e t M o o d ( n o . 3)
Four Modernistics CMC
M arch i n g
Gardiner, Mary
Turnabout STU
n o . 1
n o . 4
Gillock, William L.
Wi n te r S ce n e
Glire, Reinhold
Eight Easy PianoPieces, op. 43 ABR
P raye r ( n o . 2)
Greaves, Terrence
MoreSwinging Rhymes ABR
B aa, B aa, B lu e S h e e p s Waltz ( n o .5)
Grieg, Edvard
Ari e tta ( n o . 1 )
Watch m an s S o n g ( n o . 3)
F o lk so n g ( n o . 5)
P atri o ti c S o n g ( n o . 8 )
Haughton, Alan
Rhythmand Rag ABR
Yo u an d M e
61
Level 6
Hofmann, Heinrich
Skizzen, op. 77 ABR
O n th e L ake ( n o . 1 2)
L i ttle Wo o d -b i rd ( n o . 1 5) (Hofmann: 17 Miscellaneous
Pieces ABR)
Ibert, Jacques
P arad e ( n o . 6)
R o m an ce ( n o . 8 )
Jaque, Rhen
Je sti n g GVT
Kabalevsky, Dmitri
S o n g o f th e C avalry ( n o . 29) ( also ti tle d C avalry
G allo p )
Warri o r s D an ce ( n o . 1 9)
F ai ry T ale ( n o . 20 )
Kenins, Talivaldis
To ccata-D an ce (Legacy Collection, 4 FHM)
Khachaturian, Aram
Adventures of Ivan ALF; MCA
I van S i n gs
Klose, Carol
Vau d e vi lle R e p art e (Hal Leonard Student Piano
Koechlin, Charles
Dix petites pieces faciles, op. 61c SAL
L a jo li e e u r ( n o . 2)
B e rce u se
Kolodub, Janna
C arp ath i an Wate rfall (Postcards fromUkraineFHM)
Kullak, Theodor
Scenes fromChildhood, set 2, op. 81 PET; SCH
G ran d m o th e r Te lls a G h o st S to ry ( n o . 3)
Louie, Alexina
Star Light, Star Bright FHM
D i stan t S tar
Lutoslawski, Witold
Folk Mlodies (Most Beautiful Lutoslawski PWM)
M aste r M i ch ae l
Mendelssohn, Felix
L i e d o h n e Wo rte , o p . 1 9, n o . 4
Sechs Kinderstcke, op. 72
Alle gro n o n tro p p o ( n o . 1 )
Menotti, Gian Carlo
Poemetti per Maria Rosa: 12 Pieces for Children BEL
L u llab y
T h e S h e p h e rd
Muczynski, Robert
Fables: NinePieces for theYoung SCH
P re sto ( n o . 6)
Norton, Christopher
, 6 FHM
B ah am a B e ach
I n B e twe e n
M i ssi ssau ga R ag
Microstyles 1 B&H
O ri e n tal F lo we r
Pachulski, Henryk
Six Preludes, op. 8
P re lu d e i n C m i n o r ( n o . 1 ) (A RomanticSketchbook for
Piano, 3 ABR)
Papp, Lajos
Images LEM
H u n gari an D an ce
Pinto, Octavio
P layi n g M arb le s ( n o . 5)
Previn, Andr
B y a Q u i e t S tre am ( n o . 5)
R o u n d u p ( n o . 1 1 )
Prokoev, Sergei
Musicfor Children, op. 65 SCH
P ro m e n ad e ( n o . 2)
Valse m i n i atu re , o p . 1 0, n o . 1 0
Reinecke, Carl
S e re n ad e i n G m ajo r, o p . 1 83, n o . 2 ABR
P asto rale
Reubart, Dale
Pantomimes FHM
M arch o f th e B u ffo o n s
P re lu d e
Rorem, Ned
A Quiet Afternoon PER
A N e w G am e
Scharwenka, Xaver
A T ale ( n o . 3)
Schubert, Franz
Valses sentimentales, op. 50, D 797
Valse se n ti m e n tale n o . 1 3
Schumann, Robert
M i gn o n ( n o . 35)
Albumbltter, op. 124
Waltz i n A m i n o r ( n o . 4)
Kinderszenen, op. 15
F ro m F o re i gn L an d s an d P e o p le ( n o . 1 )
Southam, Ann
S e a F le a BER
Starer, Robert
P u rp le ( n o . 1 )
B ri gh t O ran ge ( n o . 4)
62
Level 6
Tansman, Alexandre
Ten Diversions for theYoung Pianist MCA
P raye r
Waltz ( n o . 8 )
Telfer, Nancy
F an tasy C M C
S h e s L i ke th e S wallo w ( arr.)
Vi ve la can ad i e n n e ! ( arr.)
Tsitsaros, Christos
S o n g o f th e F i sh e rm an (Hal Leonard Student Piano
Cinderella SuiteFHM
C i n d e re lla s S o rro w
Wuensch, Gerhard
A Winter Foursome, op. 39 WAT
F ro ste d Wi n d o ws ( n o . 1 )
Etudes
:
Bertini, Henri Jrme
Etudes for thePiano, op. 29
S tu d y i n E m i n o r ( n o . 1 4)
Concone, Giuseppe
Twenty-veMelodicStudies, Easy and Progressive, op. 24
S tu d y i n B at m ajo r ( n o . 5)
S tu d y i n C m ajo r ( n o . 1 0 )
Czerny, Carl
S tu d y i n A at m ajo r, o p . 1 39, n o . 51
Finney, Ross Lee
24 PianoInventions PET
P layi n g B all
S o n g o f th e B ro o k
Heller, Stephen
30 tudes progressives, op. 46
F lu tte ri n g L e ave s ( n o . 1 1 )
Notenbuch fr Klein und Gross, op. 138
B arcaro lle ( n o . 5) (CelebrateHeller FHM)
Kabalevsky, Dmitri
To ccati n a ( n o . 1 2)
Karganov, Gnari
Jugend-Album, op. 25
G am e o f P ati e n ce ( n o . 2)
Nakada, Yoshinao
T h e G e ar Wh e e ls o f a Watch
Nlck, August
MelodischeStudien fr Klavier
G o o d H u m o u re d
Papp, Lajos
Aquarium: 11 PianoPieces EMB
P e b b le s i n th e Wate r
Schoenmehl, Mike
LittleStories in Jazz OTT
T h e B ro ke n R e co rd
Dances of theDolls SIK
D an ce
Total
Substitutions
Permitted
Requires
Prior Approval
Request)
Does Not Require
Prior Approval
Repertoire
Substitution
Repertoire
Substitution
Etude
Substitution
one
Repertoire
selection
or
one
Etude
Level 6
or
Oneselection from
the corresponding
List of Level 7 or
or
1.52 minutes)
or
Substitutions
63
Level 6
valu e s
Parallel Motion G, E, F, A
,
, D
,
major
G, E, F, G
, C
minor (harmonic and

melodic)
HT
2 octaves
,

=60
Staccato E, F major
E minor (harmonic and melodic)
HT
2 octaves
,

=60
Formula Pattern E, F major
E minor (harmonic)
HT
2 octaves
,

=60
Chromatic beginning on E, D
,
HT
2 octaves
,

=60
valu e s
Triads
broken
G, E, F, A
,
, D
,
major
G, E, F, G
, C
minor
HT
2 octaves
,

=80
blocked HT
2 octaves
,

=80 ,

,
Tonic Four-note Chords
broken
G, E, F, A
,
, D
,
major
G, E, F, G
, C
minor
HS
1 octave (no cadence)
,

=88
Dominant 7th
broken
G, E, F, A
,
, D
,
major
G, E, F, G
, C
minor
HS
2 octaves
,

=88
blocked
,

=72 ,

,
Diminished 7th
broken
G, E, F, G
, C
minor HS
2 octaves
,

=88
blocked
,

=72 ,

,
valu e s
Tonic
(root followed by 1st inversion)
G, E, F, A
,
, D
,
major
G, E, F, G
, C

minor
HS
2 octaves
,

=92
Dominant 7th
Diminished 7th
G, E, F, G
, C
minor
K e ys fo r L e ve l 6 Major G, E, F, A
,
, D
,
Minor G, E, F, G
, C

Technical Tests
64
3 Musicianship
Aural Skills
C lap b ack
_
two to four measures

Example only
1
2
I n te rvals
or
major 2nd
major and minor 6ths minor 6th
C h o rd s
Students will be asked to identify any of the following
chords after the adjudicator has played the chord once in
blocked form, close position.
C h o rd s P o si ti o n
major and minor triads root position
P layb ack
complete major scale (tonic to tonic, mediant to mediant,
dominant to dominant). The adjudicator will name the key,
play the tonic triad once, and play the melody twice.
tonic, mediant, or
dominant
nine notes C, G, D, F major
Example only
Reading Skills
P layi n g
Students will be asked to play a passage of music at sight.
si gn atu re
Ap p ro xi m ate
le n g th
K e ys
Level 3
repertoire
_
eight measures major and

minor keys
up to three
sharps or
three ats
C lap p i n g
expected.
_
four measures
Example only
.
Level 6
65
Level 7
Level 7
The Level 7 assessment provides a gradual transition into
early-advanced repertoire. Two-part inventions and other
Baroque forms involving more elaborate ornamentation,
longer Classical sonatina movements, and more complex
19th- and 20th-century works form the basis for repertoire
study at this level. Technical tests reinforce patterns
and keys from earlier levels and expand to support the
ongoing development of uency and facility. The Advanced
Rudiments academic assessment is a co-requisite that
provides students with essential skills for reading and
writing music. Some high schools may accept the Level 7
assessment for credit.
1 Repertoire
style Repertoire
50
18
18
14
memory)
6
Technical Tests
Major keys: C, D, B, F, B
,
, A
,
, D
,
Minor keys: C, D, B, F, B
,
, G
, C

staccatoscales
chromatic scales
scale in 6ths or octaves
tonic arpeggios
24
6 +6
12
Aural Skills
Clapback
Intervals
Chords
Playback
Reading Skills
Playing
Clapping
20
10
(2)
(3)
(2)
(3)
10
(7)
(3)
Advanced Rudiments
: PianoRepertoire7
Skills resources.
1 Repertoire
music is used.
one selection
:
Series Perspectives
Lis t A
Baroque Repertoire
Alcock, John
Six Suites of Easy Lessons ABR
S u i te n o . 1 i n A m ajo r
M i n u e t
S o n ata i n E m i n o r, Wq 62 /1 2, H 66
3rd m o ve m e n t: S arab an d e
F re n ch S u i te n o . 4 i n E at m ajo r, B WV 81 5
Alle m an d e
F re n ch S u i te n o . 5 i n G m ajo r, B WV 81 6
G avo tte
P o lo n ai se
I n ve n ti o n n o . 1 i n C m ajo r, B WV 772
L i ttle P re lu d e i n F m ajo r, B WV 927
L i ttle P re lu d e i n C m ajo r, B WV 933
L i ttle P re lu d e i n D m i n o r, B WV 935
L i ttle P re lu d e i n A m i n o r, B WV 942
Couperin, Franois
Lart detoucher leclavecin
Alle m an d e i n D m i n o r
Fiocco, Joseph-Hector
S u i te i n G m ajo r, o p . 1 , n o . 1
1 1 th m o ve m e n t
Ai r i n G m i n o r, H WV 467 BAR
S u i te n o . 4 i n D m i n o r, H WV 437
3rd m o ve m e n t: C o u ran te (CelebrateHandel FHM)
S u i te n o . 7 i n G m i n o r, H WV 432
Alle gro
S u i te n o . 8 i n G m ajo r, H WV 441 (CelebrateHandel
FHM)
1 st m o ve m e n t: Alle m an d e or
2n d m o ve m e n t: Alle gro or
4th m o ve m e n t: Ari a
66
P asse p i e d i n D m ajo r ( n o . 1 )
S o n ati n a N o . 4 i n B at m ajo r
3rd m o ve m e n t
Scarlatti, Domenico
S o n ata i n A m i n o r, L 93, K 1 49 (CelebrateScarlatti,
vol. 1 FHM)
S o n ata i n F m ajo r, L 297, K 274
S o n ata i n A m ajo r, L 483, K 322 (CelebrateScarlatti,
vol. 1 FHM)
F an tasi a i n B at m ajo r, T WV 33:1 8
2n d m o ve m e n t: G ai m e n t
F an tasi a i n B at m ajo r, T WV 33:36
Vi vace
F an tasi a i n G m i n o r, T WV 33:29
1 st se cti o n : Alle gro
Essercizii Musici, TWV 32
S o lo i n F m ajo r, T WV 32: 4
2n d m o ve m e n t: B o u rr e
Lis t B
Albniz, Mateo
S o n ata i n D m ajo r AL F
B agate lle i n D m ajo r, o p . 33, n o . 6
B agate lle , o p . 1 1 9, n o . 1
F r E li se , Wo O 59
Clementi, Muzio
1 st m o ve m e n t
S o n ati n a i n D m ajo r, o p . 36, n o . 6
1 st m o ve m e n t or 2n d m o ve m e n t: R o n d o
Diabelli, Anton
S o n ati n a i n C m ajo r, o p . 1 51 , n o . 2
1 st m o ve m e n t
Haydn, Franz Joseph
S o n ata [D i ve rti m e n to ] i n C m ajo r, H o b . XVI :1
2n d m o ve m e n t
S o n ata [D i ve rti m e n to ] i n G m ajo r, H o b . XVI :27
2n d m o ve m e n t: M e n u e t an d Tri o
S o n ata [D i ve rti m e n to ] i n E at m ajo r, H o b . XVI :28
3rd m o ve m e n t
S o n ata i n D m ajo r, H o b XVI I : D 1
3rd m o ve m e n t: F i n ale
Hummel, Johann Nepomuk
Anweisung zumPiano-forteSpiel
S ch e rzo i n A m ajo r ( n o . 45) (Sixteen Short Pieces
ABR)
Kuhlau, Friedrich
2n d m o ve m e n t
1 st m o ve m e n t
1 st m o ve m e n t
S o n ati n a i n A m i n o r, o p . 88, n o . 3
3rd m o ve m e n t
4th m o ve m e n t: Alle gro
Vi e n n e se S o n ati n a n o . 2 i n A m ajo r
1 st m o ve m e n t
Vi e n n e se S o n ati n a n o . 5 i n F m ajo r
1 st m o ve m e n t
1 st m o ve m e n t
Schumann, Robert
C h i ld re n s S o n ata, o p . 1 1 8a, n o . 1
1 st m o ve m e n t or 2n d m o ve m e n t: T h e m e an d
vari ati o n s
Storace, Stephen
S o n ati n a n o . 5 i n D m ajo r
1 st m o ve m e n t
Vorisek, Jan Vclav
R o n d o i n G m ajo r, o p . 1 8, n o . 1
Lis t C
Repertoire
Alexander, Dennis
24 Character Preludes ALF
L o n gi n g
Bartk, Bla
For Children, 1 B&H
Alle gro ( n o . 1 2)
P e n tato n i c T u n e ( n o . 29)
An d an te tran q u i llo ( n o . 31 )
Wi n te r S o lsti ce S o n g ( n o . 38 )
For Children, 2 B&H
B allad ( n o . 35)
Benjamin, Arthur L.
R o m an ce -I m p ro m p tu ALF
Bernstein, Seymour
Birds, 1 MAN
T h e P u rp le F i n ch an d T h e H u m m i n gb i rd
Bloch, Ernest
Enfantines FIS
D re am ( n o . 1 0 )
Blok, Vladimir
B ash k i r C h astu sh ka
Level 7
67
Level 7
Bober, Melody
CycloneFJH
Wh i rli n g Wi n d s
Bonsor, Brian
Jazzy Piano, 2 UNI
F e e li n G o o d
Brown, Stephen
West Coast Sundries SWA
B allad e fo r L i li an e
Buczynski, Walter
Ten PianoPieces for Children CMC
M o o d I n d i go
Chatman, Stephen
Amusements, 3 FHM
E arth q u ake
Fantasies FHM
B lu e An ge l
K ath e ri n e
N i gh t S o u n d s
S u n ri se at Je ri ch o B e ach
G i n ge r S n ap s
Chopin, Frdric
P o lo n ai se i n B at m ajo r, o p . p o sth ., C T 1 60 ( 1 81 7)
P o lo n ai se i n G m i n o r, o p . p o sth ., C T 1 61
P re lu d e i n E m i n o r, o p . 28, n o . 4
Coulthard, Jean
Pieces for thePresent WAT
F ar Ab o ve th e C lo u d s
Dello Joio, Norman
LyricPieces for theYoung EDW
P raye r o f th e M atad o r
Duncan, Martha
Isla Vista Suite
E u calyp tu s G ro ve (Diamond JubileeCollection WAT)
Eckhardt-Gramatt, Sophie-Carmen
FromMy Childhood, 1: Alphabet Pieces WAT
P P o i ssard e ( F i sh e rwo m an )
Eggleston, Anne
H u rry! H u rry! H u rry! (Horizons, 2 WAT)
Falla, Manuel de
R ci t d u p ch e u r [also ti tle d T h e F i sh e rm an s
S to ry, T h e M agi c C i rcle ] ( fro m El amor brujo CHS
Fiala, George
Sonatina, op. 1 BER
1 st m o ve m e n t
Frid, Grigori
Russian Tales FHM
N o ctu rn e
A S ad S o n g
Fuchs, Robert
Jugendalbum, op. 47
M o th e r Te lls a S to ry ( n o . 1 6) (Fuchs: Childrens
Pieces ABR)
Gallant, Pierre
A Jo ke (Legacy Collection, 4 FHM)
Gillock, William L.
M o o n li gh t M o o d
Ginastera, Alberto
Dos canciones, op. 3 RIC
M i lo n ga
Glire, Reinhold
Ari e tta ( n o . 7)
Pices enfantines / TwelveChildrens Pieces, op. 31 MAS
C rad le S o n g ( n o . 3)
R o m an ce ( n o . 7)
Godard, Benjamin
F i rst S o rro w, o p . 1 49, n o . 6
Granados, Enrique
Cuentos dela juventud / Stories of theYoung, op. 1 ABR; MAS
L a h u e rfan a / T h e L i ttle O rp h an G i rl ( n o . 9)
Grieg, Edvard
E l n D an ce ( n o . 4)
Alb u m -le af ( n o . 7)
S o li tary T rave lle r ( n o . 2)
Haughton, Alan
MoreRhythmand Rag ABR
B re ad an d B u tte r
Hofmann, Heinrich
Skizzen, op. 77
G o to S le e p ! ( n o . 9)
Ibert, Jacques
Petitesuiteen quinzeimages HUG
L e cavali e r S an s-S o u ci ( n o . 5)
S r n ad e su r l e au ( n o . 1 0 )
Jaque, Rhen
L u ti n / G o b li n (Meet Canadian Composers at thePiano,
2 GVT [OP])
S u i te n o . 1 p o u r p i an o BER
L h e u re d an go i sse
Kabalevsky, Dmitri
S e ve n G o o d -H u m o u re d Vari ati o n s o n a U k rai n i an
F o lk S o n g ( n o . 4)
Four Rondos, op. 60
R o n d o M arch ( n o . 1 )
R o n d o D an ce ( n o . 2)
R o n d o S o n g ( n o . 3)
68
Level 7
Khachaturian, Aram
Adventures of Ivan ALF; MCA
I van I s Ve ry B u sy
Koechlin, Charles
Dix petites pices faciles, op. 61c SAL
L e n fan t b i e n sage ( n o . 1 )
S i ci li e n n e ( n o . 1 0 )
Kossenko, Viktor
24 Pieces for Children, op. 15
Waltz
Lebeda, Miroslav
Music for Young Pianists FHM
To ccata
Louie, Alexina
B lu e S ky I I
S h o o ti n g S tars
Lutoslawski, Witold
Bucolics PWM
n o . 4
MacDowell, Edward
Woodland Sketches, op. 51
To a Wi ld R o se ( n o . 1 )
Martinu, Bohuslav
Spring in theGarden BAR
I t I sn t B ad , I s I t, To P i ck a F e w F lo we rs
Mendelssohn, Felix
Lieder ohneWorte, op. 30
C o n so lati o n ( n o . 3)
Ve n e ti an B o at S o n g ( n o . 6)
Menotti, Gian Carlo
Poemetti per Maria Rosa: 12 Pieces for Children BEL
G i ga
War S o n g
Muczynski, Robert
Diversions SCH
Alle gro m o lto ( n o . 9)
Niemann, Walter
ImKinderland, op. 46 PET
T h e L i ttle M e rm aid i n th e S h e ll ( n o . 9)
Norton, Christopher
, 7 FHM
F an tasy B o ssa
H an gi n g G ard e n s
R i n gi n g C h an ge s
Papp, Lajos
S o n g an d D an ce
P e ti te S u i te EMB
Alp i n e H o rn an d C h am o i s
Pentland, Barbara
Hands across theC AVO
S p ark s ( n o . 1 )
S e ash o re ( n o . 3)
Pinto, Octavio
Scenas infantis SCH
S le e p i n g T i m e
Poole, Clifford
G h o st To wn (Legacy Collection, 4 FHM)
N o ctu rn e (Legacy Collection, 4 FHM)
Poulenc, Francis
Villageoises SAL
Valse tyro li e n n e ( n o . 1 )
S taccato ( n o . 2)
Prokoev, Sergei
Musicfor Children, op. 65 SCH
R e gre ts ( n o . 5)
Waltz ( n o . 6)
M arch o f th e G rassh o p p e rs ( n o . 7)
M arch ( n o . 1 0 )
E ve n i n g ( n o . 1 1 )
Albumof Easy Pieces
Waltz ( n o . 6)
Rossi, Wynn-Anne
An Alaska Tour FJH
Arcti c M o o n
Rybicki, Feliks
This Is Our Garden Fair PWM
O u r L i ttle G ard e n
Schubert, Franz
Walzer, Lndler, und Ecossaisen, op. 18, D 145
Waltz i n B m i n o r ( n o . 6)
Schumann, Robert
F an tasti c D an ce ( n o . 5)
Wi e ge n li e d ch e n / L i ttle C rad le S o n g ( n o . 6)
Stone, Court
O ttawa Valle y S o n g HOM
Takcs, Jen
FromFar Away Places, op. 111 UNI
S o n g an d Alb o rad a ( n o . 1 4)
C h an t d e l alo u e tte / S o n g o f th e L ark ( n o . 22)
Telfer, Nancy
T h e M o rn i n g D e w ( arr.)
Thompson, John
Vari ati o n s o n T h re e B li n d M i ce WIL
69
Level 7
Tsitsaros, Christos
Cinderella SuiteFHM
At th e P ri n ce s B all
NineTales FHM
T ap D an ce
Wuensch, Gerhard
TwelveGlimpses into20th Century Idioms, op. 37 B&H
B e atle ss
Q u i ck M arch i n M i n o r S i xth s

Etudes
:
Bertini, Henri Jrme
Etudes for thePiano, op. 29
S tu d y i n C m i n o r ( n o . 7)
Concone, Giuseppe
Twenty-veMelodicStudies, Easy and Progressive, op. 24
S p i n n i n g To p
Hofmann, Heinrich
Skizzen, op. 77
E le gi e ( n o . 2)
Kabalevsky, Dmitri
E tu d e ( n o . 3)
D an ce ( n o . 27)
Maikapar, Samuil
Tries, op. 8
To ccati n a ( n o . 1 )
Norton, Christopher
, 7 FHM
Wo u n d U p
Previn, Andr
M e ch an i cal To y
Schoenmehl, Mike
C yclo n e
Swinstead, Felix
Six Studies for theDevelopment of theLeft Hand B&H
S tu d y i n G m ajo r
Takcs, Jen
Klngeund Farben, op. 95 DOB
I n a G re at H u rry ( n o . 3)
Batagelles, op. 5
B agate lle ( n o . 9)
Total
Substitutions
Permitted
Requires
Prior Approval
Request)
Does Not Require
Prior Approval
Repertoire
Substitution
Repertoire
Substitution
Etude
Substitution
one
Repertoire
selection
or
one
Etude
Level 7
or
Oneselection from
the corresponding
List of Level 8 or
or
1.52 minutes)
or
se le ctio n fo r o n e o f th e e tu d e s.
S e e p . 1 25 fo r d e tai ls.
Substitutions
70
Technical Tests
Level 7
valu e s
Parallel Motion C, D, B, F, B
,
, A
,
, D
,
major
C, D, B, F, B
,
, G
, C
(harmonic and melodic)

HT
2 octaves
, =76
Staccato C, D major
C, D minor (harmonic and melodic)
HT
3 octaves
, =76
Formula Pattern C, D major
C, D minor (harmonic)
HT
2 octaves
, =76
Chromatic Beginning on D and A
,
HT
2 octaves
, =76
Scale in 6ths
blocked staccato
or
C major
(beginning on tonic as upper note, mediant as
lower note)
HS
1 octave
,

=88
Scale in octaves
broken legato
C major
,

=100
valu e s
broken
C, D, B, F, B
,
, A
,
, D
,
major
C, D, B, F, B
,
, G
, C
minor
HS
2 octaves
(no cadence)
,

=69
HT
1 octave
,

=60
Dominant 7th
broken
C, D, B, F, B
,
, A
,
, D
,
major
C, D, B, F, B
,
, G
, C
minor
HT
2 octaves
,

=60
blocked
,

=80 ,

,
Diminished 7th
broken
C, D, B, F, B
,
, G
, C
minor HT
2 octaves
,

=60
blocked
,

=80 ,

,
valu e s
Tonic
(root position followed by 1st and
2nd inversions)
C, D, B, F, B
,
, A
,
, D
,
major
C, D, B, F, B
,
, G
, C
minor
HT
2 octaves
,

=60
Dominant 7th
Diminished 7th
C, D, B, F, B
,
, G
, C
minor
K e ys fo r L e ve l 7 Major C, D, B, F, B
,
, A
,
, D
,
Minor C, D, B, F, B
,
, G
, C

71
Level 7
3 Musicianship
Aural Skills
C lap b ack
Students will choose to either clap, tap, or sing the rhythm of a
short melody after the adjudicator has played it twice.
Time signature Approximate length
_
four measures
Example only
1
2
I n te rvals
or
major and minor 2nds
major 7th
C h o rd s
dominant 7th root position
P layb ack
complete major scale (tonic to tonic, mediant to mediant,
dominant to dominant). The adjudicator will name the key,
play the tonic chord once, and play the melody twice.
B e gi n n i n g n o te Ap p ro xi m ate
le n g th
K e ys
tonic, mediant,
dominant, or upper
tonic
nine notes C, G, D, F, B
,
major
Example only
Reading Skills
P layi n g
Students will be asked to play a short composition at sight.
si gn atu re
Ap p ro xi m ate
le n g th
K e ys
Level 4
repertoire
_
twelve
measures
major and minor keys
up to three sharps or
three ats
C lap p i n g
expected.
_
four measures
Example only
72
Level 8
Level 8
Students at this early-advanced level begin to explore
concert repertoire by master composers, developing
a deeper awareness of Baroque, Classical, Romantic,
and 20th- and 21st century musical styles. By Level 8,
students will have encountered technical exercises in
all major and minor keys in a range of patterns. The
required musicianship and technical skills support
ongoing artistic development and the study of more
complex repertoire. The Advanced Rudiments academic
assessment is a co-requisite that completes the study of
musical notation through the introduction of new clefs,
orchestral transposition, and score study. Some high
schools may accept the Level 8 assessment for credit.
1 Repertoire
style Repertoire
oneselection from List C: Romantic Repertoire
oneselection from List D: Post-Romantic, 20th-,
and 21st-century Repertoire
56
16 (1.5)
16 (1.5)
12 (1)
12 (1)
Technical Tests
Major keys: C, D, A, E, B, B
,
, E
,
, G
,
Minor keys: C, D, A, E, B, B
,
, E
,
, F

staccatoscales
chromatic scales
scales in octaves
tonic arpeggios
24
6 +6
12
Aural Skills
Clapback
Intervals
Chords
Playback
Reading Skills
Playing
Clapping
20
10
(3)
(2)
(2)
(3)
10
(7)
(3)
Advanced Rudiments
Introductory Harmony (recommended)
: PianoRepertoire8
Skills resources.
1 Repertoire
Students must prepare four contrasting selections: one
from each of List A, List B, List C, and List D. Repertoire
selections must be memorized. Please note that marks will
be deducted if music is used.
one selection
:
Series Perspectives
Lis t A
Baroque Repertoire
Arne, Thomas
Eight Sonatas or Lessons for theHarpsichord
S o n ata n o . 6
G i gu e
S o lfe gi e tto
Alle gro i n G m ajo r
F re n ch S u i te n o . 2 i n C m i n o r, B WV 81 3
Ai r
F re n ch S u i te n o . 3 i n B m i n o r, B WV 81 4
M i n u e t an d Tri o
Two-Part Inventions
I n ve n ti o n n o . 2 i n C m i n o r, B WV 773
I n ve n ti o n n o . 3 i n D m ajo r, B WV 774
I n ve n ti o n n o . 4 i n D m i n o r, B WV 775
I n ve n ti o n n o . 5 i n E at m ajo r, B WV 776
I n ve n ti o n n o . 6 i n E m ajo r, B WV 777
I n ve n ti o n n o . 7 i n E m i n o r, B WV 778
I n ve n ti o n n o . 8 i n F m ajo r, B WV 779
I n ve n ti o n n o . 9 i n F m i n o r, B WV 780
I n ve n ti o n n o . 1 0 i n G m ajo r, B WV 781
I n ve n ti o n n o . 1 1 i n G m i n o r, B WV 782
I n ve n ti o n n o . 1 2 i n A m ajo r, B WV 783
I n ve n ti o n n o . 1 3 i n A m i n o r, B WV 784
I n ve n ti o n n o . 1 4 i n B at m ajo r, B WV 785
73
Level 8
Bach, Johann Sebastian co n ti n u e d )
I n ve n ti o n n o . 1 5 i n B m i n o r, B WV 786
L i ttle P re lu d e i n D m ajo r, B WV 925 (Clavierbchlein
vor WilhelmFriedemann Bach BAR)
L i ttle P re lu d e i n F m ajo r, B WV 928
L i ttle P re lu d e i n D m ajo r, B WV 936
L i ttle P re lu d e i n E m ajo r, B WV 937
L i ttle P re lu d e i n E m i n o r, B WV 938
S u i te n o . 4 i n D m i n o r, H WV 437
Alle m an d e
S u i te n o . 5 i n E m i n o r, H WV 438
Alle m an d e
S u i te n o . 7 i n G m i n o r, H WV 432
5th m o ve m e n t: G i gu e
8th m o ve m e n t: G i gu e
Pescetti, Giovanni Battista
Six Sonatas (ca 1756)
S o n ata i n C m i n o r (BaroqueSpirit, 1 ALF)
3rd m o ve m e n t
Purcell, Henry
S u i te n o . 5 i n C m ajo r, Z 666
P re lu d e
Scarlatti, Domenico
S o n ata i n C m ajo r, L 21 8, K 398
S o n ata i n E m ajo r, L 430, K 531
S o n ata i n F m i n o r, L 1 73, K 1 85
F an tasi a i n D m i n o r, T WV 33:2
F an tasi a i n G m i n o r, T WV 33: 8
Lis t B
Arnold, Samuel
S o n ata i n D m ajo r, o p . 1 2, b k 2, n o . 3 (English Piano
Music 17801800 ABR)
B agate lle i n F m ajo r, o p . 33, n o . 3
S i x Vari ati o n s o n a S wi ss T h e m e i n F m ajo r,
Wo O 64
S o n ata i n G m i n o r, o p . 49, n o . 1
An d an te or R o n d o
S o n ata i n G m ajo r, o p . 49, n o . 2
2n d m o ve m e n t
S o n ati n a i n E at m ajo r, Wo O 47, n o . 1
1 st m o ve m e n t
Cimarosa, Domenico
S o n ata i n B at m ajo r (no. 27 in Sonatas vol. 1 ZAN)
S o n ata i n A m ajo r (no. 35 in Sonatas vol. 1 ZAN)
Clementi, Muzio
1 st m o ve m e n t
S o n ati n a i n E at m ajo r, o p . 37, n o . 1
1 st o r 2n d m o ve m e n t
1 st m o ve m e n t
Dussek, Jan Ladislav
Six Sonatinas, op. 20 ABR
S o n ati n a i n E at m ajo r ( n o . 6)
1 st m o ve m e n t
Haydn, Franz Joseph
S o n ata [D i ve rti m e n to ] i n D m ajo r, H o b . XVI : 4
1 st m o ve m e n t
S o n ata [D i ve rti m e n to ] i n G m ajo r, H o b . XVI :27
F i n ale
S o n ata i n G m ajo r, H o b . XVI :39
1 st m o ve m e n t
Hummel, Johann Nepomuk
R o n d o i n C m ajo r, o p . 52, n o . 6
Kuhlau, Friedrich
1 st m o ve m e n t
1 st m o ve m e n t
1 st m o ve m e n t
S o n ati n a i n A m ajo r, o p . 59, n o . 1
2n d m o ve m e n t
S o n ati n a i n A m ajo r, o p . 60, n o . 2
1 st m o ve m e n t
S o n ata i n C m ajo r, K 545
1 st m o ve m e n t
Vi e n n e se S o n ati n a n o . 2 i n A m ajo r
R o n d o
Lis t C
Romantic Repertoire
Brahms, Johannes
Walzer, op. 39 (Brahms simplied version)(CelebrateBrahms
FHM)
Waltz i n A at m ajo r ( n o . 1 5)
Chopin, Frdric
M azu rka i n A m i n o r, o p . 7, n o . 2
M azu rka i n G m i n o r, o p . 67, n o . 2, C T 93
M azu rka i n A m i n o r, o p . 68, n o . 2
N o ctu rn e i n G m i n o r, o p . 1 5, n o . 3
P o lo n ai se i n A at m ajo r, C T 1 62
P re lu d e i n B m i n o r, o p . 28, n o . 6
P re lu d e i n E m ajo r, o p . 28, n o . 9
Waltz i n A at m ajo r, o p . 69, n o . 1 ( L ad i e u )
Waltz i n B m i n o r, o p . 69, n o . 2
Field, John
N o ctu rn e n o . 5 i n B at, H 37
74
Level 8
Gade, Niels
Albumleaves
C ap riccio (MoreRomanticPieces for Piano, 5 ABR)
Aquarelles, op. 19 ABR
I n te rm e zzo ( n o . 8 )
Glire, Reinhold
M e lo d y, o p . 34, n o . 1 3
P re lu d e i n D at m ajo r ( n o . 1 )
Grieg, Edvard
H u m o re ske i n C m ajo r, o p . 6, n o . 3 PET
P u ck ( n o . 3)
Six PoeticTonePictures, op. 3 ABR
Alle gro , m a n o n tro p p o ( n o . 1 )
Alle gro can tab i le ( n o . 2)
An d an te co n se n ti m e n to ( n o . 4)
Hofmann, Heinrich
Stimmungsbilder, op. 88
N o ctu rn e ( n o . 3)
Kalinnikov, Vasili Sergeievich
C h an so n tri ste / A S ad S o n g
Lyadov, Anatoli Konstantinovich
P re lu d e i n B at m i n o r, o p . 31 , n o . 2 (Preludes,
Tries and Other Pieces PET)
Liszt, Franz
Six Consolations
An d an te co n m o to ( n o . 1 )
Macdowell, Edward
Woodland Sketches
At an O ld T rysti n g-P lace ( n o . 3)
Mendelssohn, Felix
G o n d e lli e d ( B arcaro le ) i n A m ajo r
L i e d o h n e Wo rte , o p . 62, n o . 4
Sechs Kinderstcke, op. 72
An d an te so ste n u to ( n o . 2)
Valse m lan co liq u e , o p . 2, n o . 3 KJO
Reinecke, Carl
2n d m o ve m e n t
Schubert, Franz
Zwei Scherzi, D 593
S ch e rzo i n B at m ajo r
Schumann, Robert
K n i gh t R u p e rt ( n o . 1 2)
T h e H o rse m an ( n o . 23)
R e m e m b ran ce ( n o . 28 )
T h e S tran ge r ( n o . 29)
Kinderszenen, op. 15
An I m p o rtan t E ve n t ( n o . 6)
Smetana, Bedrich
Sechs Albumbltter, op. 2 BAR
S o n g ( n o . 2)
TheSeasons, op. 37b
M arch ( S o n g o f th e L ark)
Lis t D
Post-Romantic, 20th-, and 21st-century
Repertoire
Albniz, Isaac
Espaa, op. 165
P re lu d e ( n o . 1 )
T an go ( n o . 2)
Archer, Violet
Four Bagatelles WAT
F o rce fu l ( n o . 1 )
Six Preludes WAT
P re lu d e ( n o . 5)
Bartk, Bla
For Children, 1 B&H
Alle gro m o d e rato ( n o . 39)
S wi n e -h e rd s D an ce ( n o . 40 )
For Children, 2 B&H
R e ve lry ( n o . 22)
C an o n ( n o . 29)
Ten Easy Pieces EMB
E ve n i n g at th e Vi llage
Behrens, Jack
N e w Ye ar Waltz CMC
Benjamin, Arthur L.
Fantasies, 2 B&H
S i le n t an d S o ft an d S lo w D e sce n d s th e S n o w
Bernstein, Seymour
Birds, 2 MAN
T h e N i gh ti n gale ( n o . 7)
Brown, Stephen
Giant Things SWA
U k rai n i an E aste r E gg
Casella, Alfredo
Eleven Childrens Pieces, op. 35 MAS
B o le ro
Chatman, Stephen
Amusements, 3 FHM
S n e aky
Coulthard, Jean
Early Pieces for PianoALK
T h e R id e r o n th e P lai n ( n o . 1 0 )
Debussy, Claude
P age d alb u m
Childrens Corner Suite
Ji m b o s L u llab y ( n o . 2)
T h e L i ttle S h e p h e rd ( n o . 5)
75
Level 8
Faith, Richard
S o u ve n i r (12 X 11: PianoMusic in 20th Century
America ALF)
Freedman, Harry
R e n t a R ag ANE
Gardiner, Mary
Short Circuits STU
C u rre n ts
L u m i n e sce n ce
Grovlez, Gabriel
Lalmanach aux images S&B
B e rce u se d e la p o u p e
P e ti te s li tan i e s d e J su s / L i ttle L i tan i e s o f Je su s
Ibert, Jacques
Histoires pour pianoALF; LED
A G id d y G i rl ( n o . 4)
Jaque, Rhen
C ap ri ce CHC
To ccata ( S u r to u ch e s b lan ch e s / O n th e Wh i te
K e ys) CHC
Kabalevsky, Dmitri
P re lu d e , o p . 38, n o . 8
In thePioneer Camp, op. 3/86
E arly M o rn i n g E xe rci se s ( n o . 2)
Kenins, Talivaldis
B agate lle (Legacy Collection, 4 FHM)
Kodly, Zoltn
Childrens Dances (Gyermektncok) B&H
Vi vace ( n o . 3) andM o d e rato can tab i le ( n o . 4)
Kuzmenko, Larysa
M yste ri o u s S u m m e r s N i gh t
Louie, Alexina
B lu e S ky I
O M o o n
R i n gs o f S atu rn
S tar G azi n g
Milhaud, Darius
L a vi e / L i fe ( n o . 5)
Nakada, Yoshinao
E tu d e Alle gro
Norton, Christopher
, 8 FHM
C e lti c L am e n t
C u b an R o m an ce
H o t D ay
Rock Preludes B&H
P re lu d e I : Wi ld cat
P re lu d e VI : B lu e S n e ake rs
Peterson, Oscar
T h e G e n tle Waltz (Oscar Peterson Originals HAL)
Jazz Pianofor theYoung Pianist, 3 HSN [OP]
Jazz E xe rci se N o . 2
Jazz E xe rci se N o . 3
Piazzolla, Astor
M i lo n ga d e l n ge l LAG
Pinto, Octavio
Scenas infantis SCH
M arch , L i ttle S o ld i e r!
R o d a-ro d a !
Ravel, Maurice
P r lu d e D U R
Satie, Eric
G n o ssi e n n e n o . 3
Trois gymnopdies
an y one
Scriabin, Alexander
Twenty-Four Preludes, op. 11
P re lu d e ( n o . 22)
Southam, Ann
Threein Blue: Jazz Preludes BER
an y one
Starer, Robert
P i n k and C ri m so n
Thurgood, George
F i ssu re CMC
S atu rd ay N i gh t CMC
Torjussen, Trygve
To th e R i si n g S u n , o p . 4, n o . 1 ALF
Tsitsaros, Christos
NineTales FHM
M ay o we rs
Turina, Joaqun
Miniaturas, op. 52 OTT
L a ald e a d u e rm e / T h e S le e p i n g Vi llage
Wuensch, Gerhard
S ch e rzo (Horizons, 2 WAT)
TwelveGlimpses into20th Century Idioms, op. 37 B&H
O li ve r s Twi st
76
Level 8
Etudes
:
18 CharacteristicStudies, op. 109
T h e G yp si e s ( n o . 4)
Chatman, Stephen
C h ro m ati c E tu d e
Heller, Stephen
25 tudes faciles, op. 45
E tu d e i n D m i n o r ( n o . 1 5)
Hofmann, Heinrich
Stimmungsbilder, op. 88
Lyri c S o n g ( n o . 7)
Kabalevsky, Dmitri
E tu d e ( n o . 24)
S o n g o f th e Wate rfall
Norton, Christopher
, 8 FHM
Jan e s S o n g
Previn, Andr
I n P e rp e tu al M o ti o n
Rowley, Alec
Thirty Melodic and Rhythmic Studies, op. 42
L i e d ( n o . 1 3)
Schoenmehl, Mike
C lassi cal P o p T u n e
Stamaty, Camille Marie
Vingt tudes demoyennedifcult, op. 38 (Paris, 1859)
E tu d e i n F m ajo r ( n o . 2)
Swinstead, Felix
Six Studies for theDevelopment of theLeft Hand B&H
S tu d y i n D m ajo r
Takcs, Jen
Klngeund Farben, op. 95 DOB
To ccati n a ( n o . 1 2)
Tarenghi, Mario
ThreeSmall Scenes for Children RIC
D an ce o f th e M ari o n e tte s
se le ctio n fo r oneo f th e e tu d e s.
S e e p . 1 25 fo r d e tai ls.
Total
Substitutions
Permitted
Requires
Prior Approval
Request)
Does Not Require
Prior Approval
Repertoire
Substitution
Repertoire
Substitution
Etude
Substitution
one
Repertoire
selection
or
one
Etude
comparable in style
and difculty to the
corresponding List A, B, C,
or D of Level 8
or
Oneselection from
the corresponding
List of Level 9 or
or
OneStudents Choice selection (must be
of equal difculty and a length of 22.5
minutes)
or
Oneselection from the Popular Selection List for
Level 8 or Level 9
Substitutions
77
Level 8
Technical Tests
valu e s
Parallel Motion C, D, A, E, B, B
,
, E
,
, G
,
major
C, D, A, E, B, B
,
, E
,
, F
minor
HT
4 octaves
,

=88
Staccato A, B, B
,
major
B minor (harmonic and melodic)
HT
3 octaves
,

=88
Formula Pattern A, B, B
,
major
B minor (harmonic)
HT
4 octaves
,

=88
Chromatic beginning on A and B
,
HT
2 octaves
,

=88
Scales in octaves
blocked staccato
or
A, B
,
major HS
1 octave
,

=88
Scales in octaves
broken legato
,

=108
valu e s
broken
C, D, A, E, B, B
,
, E
,
, G
,
major
C, D, A, E, B, B
,
, E
,
, F
minor
HT
2 octaves
(ending with IIVVI chord progression)
,

=80
Dominant 7th
broken
C, D, A, E, B, B
,
, E
,
, G
,
major
C, D, A, E, B, B
,
, E
,
, F
minor
HT
2 octaves
,

=80
blocked
,

=100 ,

,
Diminished 7th
broken
C, D, A, E, B, B
,
, E
,
, F
minor HT
2 octaves
,

=80
blocked
,

=100 ,

,
valu e s
Tonic
(root position followed by
inversions in sequence)
C, D, A, E, B, B
,
, E
,
, G
,
major
C, D, A, E, B, B
,
, E
,
, F
minor
HT
4 octaves
,

=69
Dominant 7th
Diminished 7th
C, D, A, E, B, B
,
, E
,
, F
minor
K e ys fo r L e ve l 8 Major C, D, A, E, B, B
,
, E
,
, G
,
Minor C, D, A, E, B, B
,
, E
,
, F

78
Level 8
3 Musicianship
Aural Skills
I n te rvals
or
major and minor 2nds major 2nd
minor 7th major 7th
C h o rd s
diminished 7th root position
C ad e n ce s
Students will be asked to identify the following cadences
by name or symbols. The adjudicator will play the tonic
chord once, and then play a short phrase ending in a
cadence twice. The short phrase may be in a major or a
minor key.
N am e o f C ad e n ce S ym b o ls
perfect or authentic VI
plagal IVI
Example only
P layb ack
Students will be asked to play back a melody
approximately one octave in range. The adjudicator will
name the key, play the tonic chord once, and play the
melody twice.
Ap p ro xi m ate le n g th K e ys
nine notes C, G, D, F, B
,
major
Example only
Reading Skills
P layi n g
Students will be asked to play a short composition at
sight.
D i f cu lty T i m e si gn atu re K e ys
Level 5 repertoire any time signature major and minor
keys up to ve
sharps or ve ats
C lap p i n g
expected.
_
four measures
Example only
The Junior Musicianship assessment can be substituted
for the Musicianship section sections of the Level 8 piano
assessment (see p. 121).
79
Level 9
Level 9
The Level 9 assessment challenges and rewards students
through the exploration of works by the great masters
of piano literature. Repertoire at this level brings new
musical demands for the hand, ear, and mind. Three- and
four-part contrapuntal textures, contrasting movements
of Classical sonatas, and technically and interpretively
demanding Romantic and Contemporary character pieces
provide opportunities for developing artistry and facility.
The academic requirements for this level encourage
students to integrate their repertoire into a larger musical
context. The study of basic harmony and history invites
students into a life-long exploration of how music ts and
functions in society while enhancing stylistic awareness
to support performance skills. Musicianship skills provide
a foundation for active music making in both solo and
ensemble repertoire.
Students who begin teaching while studying at this level
may wish to prepare for the Elementary Piano Pedagogy
Certicate, the rst level of the Music Development
Programs Associate Diploma in Piano Pedagogy.
Students who plan to take an Associate Diploma in Piano
Performance must include a Prelude and Fugue by J.S.
Bach in the assessment program for their Level 9, Level 10,
or Associate Diploma assessment.
1 Repertoire
oneselection from List B: Classical Repertoire
oneselection from List D: Post-Romantic, 20th-,
and 21st-century Repertoire
56
16 (1.5)
16 (1.5)
12 (1)
12 (1)
Technical Tests
Major keys: all
Minor keys: all
staccatoscales
chromatic scales
scales in octaves
chromatic scales in octaves
tonic arpeggios
24
6 +6
12
Aural Skills
Intervals
Chords
Cadences
Playback
Reading Skills
Playing
Clapping
20
10
(3)
(2)
(2)
(3)
10
(7)
(3)
Advanced Rudiments
Basic Harmony or Basic Keyboard Harmony
History 1: An Overview
: PianoRepertoire9
Skills resources
80
Level 9
1 Repertoire
Students must prepare four contrasting selections: one
from each of List A, List B, List C, and List D. Repertoire
be deducted if music is used. Students are encouraged to
consider the overall length and balance of their programs
within the time allotted for the assessment.
one selection
:
Series Perspectives
Lis t A
Baroque Repertoire
C ap ri cci o so p ra la lo n tan an za d e l frate llo
d i le tti ssi m o , B WV 992
1 st m o ve m e n t: Ad agi ssi m o
F u gu e i n C m ajo r, B WV 952
F u gu e i n C m ajo r, B WV 953 (Klavierbchlein vor
WilhelmFriedemann Bach BAR)
Das wohltemperierteKlavier, 1
P re lu d e an d F u gu e i n C m i n o r, B WV 847
Three-part Inventions (Sinfonias)
S i n fo n i a n o . 1 i n C m ajo r, B WV 787
S i n fo n i a n o . 2 i n C m i n o r, B WV 788
S i n fo n i a n o . 3 i n D m ajo r, B WV 789
S i n fo n i a n o . 4 i n D m i n o r, B WV 790
S i n fo n i a n o . 5 i n E at m ajo r, B WV 791
S i n fo n i a n o . 6 i n E m ajo r, B WV 792
S i n fo n i a n o . 7 i n E m i n o r, B WV 793
S i n fo n i a n o . 8 i n F m ajo r, B WV 794
S i n fo n i a n o . 9 i n F m i n o r, B WV 795
S i n fo n i a n o . 1 0 i n G m ajo r, B WV 796
S i n fo n i a n o . 1 1 i n G m i n o r, B WV 797
S i n fo n i a n o . 1 2 i n A m ajo r, B WV 798
S i n fo n i a n o . 1 3 i n A m i n o r, B WV 799
S i n fo n i a n o . 1 4 i n B at m ajo r, B WV 800
S i n fo n i a n o . 1 5 i n B m i n o r, B WV 801
Daquin, Louis-Claude
Premier livredepices declavecin
T ro i si m e su i te
L e co u co u ( R o n d e au )
S u i te n o . 1 i n B at m ajo r, H WV 434
Ai r wi th vari ati o n s
S u i te n o . 4 i n E m i n o r, H WV 429
2n d m o ve m e n t: Alle m an d e
S u i te n o . 3 i n E at m ajo r
1 0th m o ve m e n t: G i gu e
Scarlatti, Domenico
S o n ata i n C m ajo r, L 1 04, K 1 59
S o n ata i n G m i n o r, L 1 28, K 426
S o n ata i n F m i n o r, L 1 87, K 481
S o n ata i n B m i n o r, L 263, K 377
S o n ata i n F m i n o r, L 281 , K 239
S o n ata i n E m i n o r, L 321 , K 263
S o n ata i n D m i n o r, L 41 3, K 9
S o n ata i n D m ajo r, L 463, K 430
S o n ata i n G m ajo r, L 486, K 1 3
Lis t B
Sei sonateper cembalo(Prussian Sonatas)
S o n ata i n C m i n o r, Wq 48 /4, H 27
3rd m o ve m e n t
Clavier-Sonatenbebst einegen Rondos
S o n ata i n F m i n o r, Wq 57/6, H 1 73
1 st m o ve m e n t: Alle gro assai
Bach, Johann Christian
S o n ata i n D m ajo r, o p . 5, n o . 2
1 st m o ve m e n t
S o n ata i n B at m ajo r, o p . 1 7, n o . 6
1 st m o ve m e n t
B agate lle i n E at m ajo r, o p . 33, n o . 1
N e u n Vari ati o n e n b e r d as T h e m a Q u an t p i
b e llo , Wo O 69
R o n d o i n C m ajo r, o p . 51 , n o . 1
S i x E asy Vari ati o n s o n an O ri gi n al T h e m e ,
Wo O 77
S i x Vari ati o n s o n N e l co r p i n o n m i se n to ( La
Molinarab y P ai si e llo ) , Wo O 70 ( CelebrateBeethoven,
vol. I FHM)
S o n ata i n G m ajo r, o p . 79
1 st m o ve m e n t
Haydn, Franz Joseph
S o n ata i n F m ajo r, H o b . XVI :23
1 st m o ve m e n t
S o n ata i n E m i n o r, H o b . XVI :34
2n d m o ve m e n t or
3rd m o ve m e n t
S o n ata i n D m ajo r, H o b . XVI :37
1 st m o ve m e n t
81
Level 9
F an tasi a i n D m i n o r, K 397 ( 385g)
S o n ata i n G m ajo r, K 283 ( 1 89h )
1 st or 2n d m o ve m e n t
S o n ata i n C m ajo r, K 330 ( 300h )
2n d m o ve m e n t
S o n ata i n B at m ajo r, K 570
1 st m o ve m e n t
Soler, Antonio
S o n ata i n D m i n o r, E A n o . 25 HEN
Lis t C
Romantic Repertoire
Brahms, Johannes
I n te rm e zzo i n B at m ajo r, o p . 76, n o . 4
I n te rm e zzo i n A m i n o r, o p . 76, n o . 7
Chopin, Frdric
M azu rka i n F sh arp m i n o r, o p . 6, n o . 1
M azu rka i n A m i n o r, o p . p o sth . 67, n o . 4
M azu rka i n C m ajo r, o p . 68, n o . 1
N o ctu rn e i n E at m ajo r, o p . 9, n o . 2
N o ctu rn e i n B m ajo r, o p . 32, n o . 1
N o ctu rn e i n G m i n o r, o p . 37, n o . 1
N o ctu rn e i n F m i n o r, o p . 55, n o . 1
N o ctu rn e i n C sh arp m i n o r, o p . p o sth . K K I Va 1 6
P re lu d e i n F sh arp m ajo r, o p . 28, n o . 1 3
P re lu d e i n D at m ajo r, o p . 28, n o . 1 5
Waltz i n D at m ajo r, o p . 64, n o . 1 ( M i n u te )
Waltz i n C sh arp m i n o r, o p . 64, n o . 2
Waltz i n A at m ajo r, o p . 64, n o . 3
Waltz i n G at m ajo r, o p . p o sth . 70, n o . 1 , C T 21 7
Waltz i n F m i n o r, o p . p o sth . 70, n o . 2
Waltz i n D at m ajo r, o p . p o sth . 70, n o . 3
Glinka, Mikhail Ivanovich
Vari ati o n s o n a R u ssi an S o n g ( A m i n o r KON
Grieg, Edvard
B u tte r y ( n o . 1 )
E ro ti k ( n o . 5)
To S p ri n g ( n o . 6)
N o ttu rn o ( n o . 4)
Liszt, Franz
E n r ve , S 207
Six Consolations HEN
C o n so lati o n n o . 2: U n p o co p i m o sso
C o n so lati o n n o . 3: L e n to p lacid o
C o n so lati o n n o . 4 : Q u asi ad agi o
MacDowell, Edward
S co tch P o e m , o p . 31 , n o . 2
Woodland Sketches, op, 51
Wi ll o th e Wi sp ( n o . 2)
Mendelssohn, Felix
L i e d o h n e Wo rte , o p . 30, n o .1
L i e d o h n e Wo rte , o p . 38, n o . 6 ( D u e tto )
Schubert, Franz
Moments musicaux, op. 94, D 780
n o . 3 i n F m i n o r: Alle gre tto m o d e rato
n o . 6 i n A at m ajo r: Alle gre tto
Vier Impromptus fr Klavier, op. 142, D 935
I m p ro m p tu i n A at m ajo r ( n o . 2)
Schumann, Robert
R o m an ce i n F sh arp m ajo r, o p . 28, n o . 2
Fantasiestcke, op. 12
G ri lle n ( n o . 4)
Waldszenen: neun Klavierstcke, op. 82
H e rb e rge ( n o . 6)
S ch lu m m e rli e d / S lu m b e r S o n g ( n o . 1 6)
TheSeasons, op. 37b
Ap ri l ( S n o wd ro p ) ( n o . 4)
Ju n e ( B arcaro lle ) ( n o . 6)
O cto b e r ( Au tu m n S o n g) ( n o . 1 0 )
D e ce m b e r ( C h ri stm as) ( n o . 1 2)
Lis t D
Post-Romantic, 20th-, and 21st-century
Repertoire
Archer, Violet
Four Bagatelles WAT
C ap ri ci o u s ( n o . 2)
I n tro sp e cti ve ( n o . 3)
F e sti ve ( n o . 4)
Arlen, Harold
O ve r th e R ai n b o w ( arr. G e o rge S h e ari n g) ALF
Bartk, Bla
Ten Easy Pieces EMB
B e ar D an ce
Beach, Amy
S co tti sh L e ge n d , o p . 54, n o . 1 (PianoMusic: Amy
Beach DOV)
Copland, Aaron
Four PianoBlues B&H
n o . 1
n o . 2
n o . 3
82
Level 9
Coulthard, Jean
Wh i te C ap s BER
TwelvePreludes for PianoBER
P re lu d e n o . 1 ( L e ggi e ro )
Debussy, Claude
M azu rka PET
R ve ri e
G o lli wo gg s C ake -Walk
Prludes, 1
L a lle au x ch e ve u x d e li n ( n o . 8 )
Prludes, 2
C an o p e ( n o . 1 0 )
Dolin, Samuel
P re lu d e fo r Jo h n We i n zwe i g CMC
Duncan, Martha Hill
Isla Vista SuiteCMC
M o n arch s
S an ta An a Wi n d s
Faur, Gabriel
R o m an ce san s p aro le s, o p . 1 7, n o . 3
Huit pices brves, op. 84 LED
I m p ro vi sati o n ( n o . 5)
Fleming, Robert
To ccati n a WAT
Gardiner, Mary
F o o tlo o se ALK
Twofor D CMC
n o . 1 or n o . 2
Gershwin, George
P re lu d e ( M e lo d y n o . 1 7) ALF
Granados, Enrique
Danzas espaolas
An d alu za ( P laye ra) , o p . 37, n o . 5 ALF; SAL
Sonatina in F major, op. 110, no. 2
1 st m o ve m e n t
Griffes, Charles T.
ThreeTonePictures, op. 5 SCH
T h e L ake at E ve n i n g ( n o . 1 )
Grovlez, Gabriel
Lalmanach aux images S&B
L e s n e s
C h an so n d e l e scarp o le tte
L a sarab an d e
A Childs Garden CHS
C h an so n ( n o . 5)
P e p i ta ( n o . 6)
Henderson, Ruth Watson
O ce an Vi sta
Hovhaness, Alan
M ysti c F lu te PET
Ibert, Jacques
Histoires pour pianoALF; LED
L a cage d e cri stal
L e p e ti t n e b lan c
Ireland, John
T h e D arke n e d Valle y S&B
Kabalevsky, Dmitri
1 st m o ve m e n t
Vari ati o n s i n D m ajo r, o p . 40, n o . 1
S i x Vari ati o n s o n a U k rai n i an F o lk S o n g ( n o . 5)
24 Preludes, op. 38
P re lu d e n o . 1 andP re lu d e n o . 2
P re lu d e n o . 1 2
Six Pieces for Piano, op. 88
D re am s ( n o . 1 )
Six Preludes and Fugues, op. 61
P re lu d e an d F u gu e n o . 5 i n C m i n o r
P re lu d e an d F u gu e n o . 6 i n F m ajo r
Kenins, Talivaldis
Diversities CMC
twoo f n o s. 5, 9, 1 2
Khachaturian, Aram
S o n ati n a SCH
Louie, Alexina
Musicfor PianoGVT
C h an ge s
D i stan t M e m o ri e s
T h e E n ch an te d B e lls
O n ce u p o n a T i m e
M o o n li gh t To ccata
Manzano, Miguel
Spanish Preludes B&H
D e cad e n t S e n ti m e n tal S o n g
Mompou, Federico
Cancins y Danzas SAL
C an tab i le e xp re ssi vo ( n o . 6 )
Morawetz, Oskar
S ch e rzi n o C M C
Muczynski, Robert
Six Preludes, op. 6 (Muczynski: Collected PianoPieces SCH)
P re lu d e ( n o . 6)
Palmgren, Selim
M ay N i gh t, o p . 27, n o . 4 ALF; SCH
Ppin, Clermont
ThreeShort Pieces for thePianoCMC
L e n e z
Peterson, Oscar
Canadiana SuiteHAL
L au re n tid e Waltz ( n o . 2)
83
Level 9
Pinto, Octavio
Scenas infantis SCH
R u n , R u n !
S alta, S alta
Poulenc, Francis
Valse (Albumdes six ESC; MAS)
Prokoev, Sergei
Four Pieces, op. 32
G avo tte ( n o . 3)
Tales of theOld Grandmother, op. 31
S o ste n u to ( n o . 4)
Ravel, Maurice
Letombeau deCouperin DUR
M e n u e t
Schafer, R. Murray
P o ly to n ali ty ARC
Schwantner, Joseph
Ve i le d Au tu m n ( Kindertoteslied (Changing Faces: New
PianoWorks OTT)
Scriabin, Alexander
24 Preludes, op. 11
twoo f n o s. 9, 1 0, an d 1 3
Shchedrin, Rodion Konstantinovich
H u m o re ske
24 Preludes, op. 34
P re lu d e n o . 24 i n D m i n o r
Sibelius, Jean
Ten Pieces, op. 24; KAL; MAS
R o m an ce ( n o . 9)
Starer, Robert
FivePreludes MCA
Stevens, Halsey
N o ttu rn o (12 X 11: PianoMusic in 20th Century
America ALF)
Stone, Court
O ld C o u n try S u i te HOM
M i st
Strauss, Richard
Fnf Stimmungsbilder, op. 9 UNI
T ru m e re i ( n o . 4)
Takcs, Jeno
K le i n e S o n ate , o p . 51 DOB
Wenn der Frosch auf Reisen geht DOB
M e rry An d re w
Bagatelles, op. 5 ALF; HEU; SCH
n o . 1 andn o . 4
n o . 3 andn o . 5
n o . 8
n o . 1 0
Turina, Joaqun
Nieras (Petitesuite), op. 21
P ro ce ssi o n o f th e T i n S o ld i e rs ( n o . 3) SAL
El circo/ TheCircus OTT
T rap e ze Arti sts ( n o . 6)
Cuentos dEspaa, op. 20
I n th e G ard e n o f M u rci a ( n o . 4) SAL
Turina, Joaqun co n ti n u e d )
Cincodanzas gitanas I, op. 55 SAL
S acro -M o n te ( n o . 5)
Miniaturas, op. 52 SCH; OTT
twoo f:
C am i n an d o ( n o . 1 )
S e ace rcan so ld ad o s ( n o . 2)
Am an e ce r ( n o . 4)
E l m e rcan d o ( n o . 5)
D u o se n ti m e n tal ( n o . 6)
F i e sta ( n o . 7)
L a Vu e lta ( n o . 8 )
Villa-Lobos, Heitor
ProledobebALF
O P o li n ch i n e llo ( P u n ch )
Weiner, Leo
ThreeHungarian Rural Dances EMB
F o x D an ce ( n o . 1 ) PRE
Wuensch, Gerhard
Mini-Suiteno. 1 B&H
P re lu d e
T aran te lla
Mini-Suiteno. 2 B&H
P re lu d e
Etudes
: Piano
Studies / Etudes 9 FHM
Bartk, Bla
Fourteen Bagatelles, op. 6 EMB
B agate lle n o . 2
Berens, Hermann
NeuesteSchuleder Gelgkeit, op. 61
S tu d y i n A m i n o r ( n o . 1 3)
Concone, Giuseppe
20 tudes chantantes, op. 30
S tu d y i n C m ajo r ( n o . 20 )
Cramer, Johann Baptist
Studioper il pianoforte, 1
S tu d y i n E m i n o r ( n o . 2)
Czerny, Carl
S tu d y i n C m ajo r, o p . 553, n o . 1
Duvernoy, Jean-Baptiste
coledemcanisme, op. 120
S tu d y i n C m ajo r ( n o . 1 0 )
Gade, Niels
Aquarelles, op. 19 ABR
S ch e rzo ( n o . 2)
Heller, Stephen
25 tudes pour former au sentiment du rythmeet lexpression,
op. 47
E tu d e i n G m ajo r ( n o . 24)
Hofmann, Heinrich
Nachklnge, op. 37
To th e L u te ( n o . 1 )
Ibert, Jacques
La promenade en traneau
Kabalevsky, Dmitri
Six Pieces for Piano, op. 88
Wh o ll Wi n th e Argu m e n t? ( n o . 2)
Moszkowski, Moritz
Dexterity and Style: 20 Melodic Studies for thePiano, op. 91
S tu d y i n E at m ajo r ( n o . 1 7)
Schytte, Ludwig
25 tudes modernes, faciles et progressives
S tu d y i n A m ajo r, o p . 68, n o . 7
84
Total
Substitutions
Permitted
Requires
Prior Approval
Request)
Does Not Require
Prior Approval
Repertoire
Substitution
Repertoire
Substitution
Etude
Substitution
one
Repertoire
selection
or
one
Etude
difculty to the corresponding
List A, B, or C of Level 9
or
Oneselection from
the corresponding
List of Level 10
or
OneStudents Choice
selection may replace
a piece from List D
or
or
Selection List for Level 9
Substitutions
Level 9
Technical Tests
85
valu e s
Parallel Motion all major keys
all minor keys (harmonic and melodic)
HT
4 octaves
,

=104
Staccato B, A
,
, D
,
major
G
, F, B
,
minor (harmonic and melodic)
HT
3 octaves
,

=104
Formula Pattern B, A
,
, D
,
major
G
, F, B
,
minor (harmonic)
HT
4 octaves
,

=96
Chromatic beginning on any note HT
4 octaves
,

=96
Scales in Octaves
blocked staccato
or
B, A
,
, D
,
major
F minor (harmonic and melodic)
HT
2 octaves
,

=60
broken legato
,

=72
blocked staccato
or
beginning on any note HT
2 octaves
,

=60
broken legato
,

=72
valu e s
broken
all keys HT
2 octaves
(ending with IIVI
6
4
VI
chord progression)
,

=104
blocked
or
,

=80 ,

,
broken alternate-note pattern
,

=80
Dominant 7th
broken
all keys HT
2 octaves
,

=104
blocked
,

=104 ,

,
Diminished 7th
broken
all minor keys HT
2 octaves
,

=104
blocked
,

=104 ,

,
valu e s
Tonic
(students may be asked to play all
inversions in sequence beginning in root
position or any inversion, or to play root
position or any one inversion only)
all keys HT
4 octaves
,

=84
Dominant 7th
(root position followed by inversions in
sequence)
Diminished 7th
(root position followed by inversions in
sequence)
all minor keys
K e ys fo r L e ve l 9 : all major keys; all minor keys
Level 9
86
Level 9
3 Musicianship
Aural Skills
I n te rvals
or
any interval within the
octave
any interval within the octave except
diminished 5th / augmented 4th
C h o rd s
chords and their inversion or position after the adjudicator
has played the chord oncein blocked form, close position.
major and minor triads root position, 1st inversion
C ad e n ce s
Students will be asked to identify the following cadences by
name or symbols. The adjudicator will play the tonic chord
once, and then play a short phrase ending in a cadence twice.
The short phrase may be in a major or a minor key.
perfect or authentic VI
plagal IVI
imperfect IV
Example only
P layb ack
Students will be asked to play back the upper voice of a
two-voice phrase. The adjudicator will name the key, play
the tonic chord once, and play the melody twice.
two or three measures C, G, D, F, B
,
major
Example only
Reading Skills
P layi n g
Students will be asked to play a short composition at
sight.
Level 6
repertoire
any time signature major and minor keys up to
six sharps or six ats
C lap p i n g
expected.
_
ve measures
Example only
The intermediate Musicianship assessment can be
submitted for the Musicianship section of the Level 9
piano assessment (see p. 121).
87
Level 10
The Level 10 assessment represents a signicant
accomplishment, celebrating dedication and commitment
to excellence. Achievement at this advanced level prepares
students for future musical studies, including the Music
Development Programs Associate Diplomas in Piano
Performance or Piano Pedagogy and the Licentiate
Diploma in Performance. Performance of ve pieces and
two etudes chosen from lists of outstanding concert
repertoire are supported by technical tests in all major and
minor keys including scales, chords, arpeggios, and other
exercises requiring a high level of uency and facility. Aural
identication of harmonies and chords builds on the solid
foundation established in earlier levels while adding depth
to the understanding of possibilities for improvisation and
composition.
Students who are teaching while studying at this level
may wish to prepare concurrently for the Intermediate
Piano Pedagogy Certicate, the second level of the Music
Development Programs Associate Diploma in Piano
Pedagogy.
Students who plan to take an Associate Diploma in Piano
Performance must include a Prelude and Fugue by J.S.
Bach in the assessment program for their Level 9, Level 10,
or Associate Diploma assessment.
1 Repertoire
oneselection from List A: Works of J.S. Bach
oneselection from List B: Classical Repertoire
oneselection from List D: Post-Romantic and
Early 20th-century Repertoire
oneselection from List E: 20th- and 21st-century
Repertoire
(Figures in bold parentheses next to the total
mark allotted for each section indicate the
minimum number of marks required to receive
70 percent. Figures in normal parentheses
indicate marks awarded for memory as a portion
of the total mark for each selection.)
56 (39)
12 (1.5)
14 (1.5)
10 (1)
10 (1)
10 (1)
Technical Tests
Major keys: all
Minor keys: all
staccatoscales
major scales separated by 3rds, 6ths, and
10ths
chromatic scales
scales in octaves
tonic arpeggios
dominant 7th and diminished 7th
arpeggios
oneexercise of students choice (see p. 95)
24 (17)
6 +6
12
Aural Skills
Intervals
Chords
Cadences
Playback
Reading Skills
Playing
Clapping
20
10
(3)
(2)
(2)
(3)
10
(7)
(3)
Advanced Rudiments
History 2: Middle Ages to Classical
Intermediate Harmony or Intermediate Keyboard
Harmony
: PianoRepertoire10
Skills.
Level 10
88
Level 10
1 Repertoire
Students must prepare vecontrasting selections: onefrom
each of List A, List B, List C, List D, and List E. Repertoire
be deducted if music is used.
one selection
:
Series Perspectives
Lis t A
Works of J.S. Bach
C ap ri cci o so p ra la lo n tan an za d e l frate llo
d i le tti ssi m o , B WV 992
4th , 5th , and6th m o ve m e n ts
E n gli sh S u i te n o . 2 i n A m i n o r, B WV 807
Alle m an d e andG i gu e
E n gli sh S u i te n o . 4 i n F m ajo r, B WV 809
F an tasi a i n C m i n o r, B WV 906
F re n ch S u i te n o . 3 i n B m i n o r, B WV 81 4
F re n ch S u i te n o . 5 i n G m ajo r, B WV 81 6
Alle m an d e and G i gu e
P re lu d e an d F u gu e i n D m ajo r, B WV 850
P re lu d e an d F u gu e i n D m i n o r, B WV 851
P re lu d e an d F u gu e i n E m ajo r, B WV 854
P re lu d e an d F u gu e i n E m i n o r, B WV 855
P re lu d e an d F u gu e i n F m ajo r, B WV 856
P re lu d e an d F u gu e i n F sh arp m ajo r, B WV 858
P re lu d e an d F u gu e i n F sh arp m i n o r, B WV 859
P re lu d e an d F u gu e i n G m i n o r, B WV 861
P re lu d e an d F u gu e i n A at m ajo r, B WV 862
P re lu d e an d F u gu e i n G sh arp m i n o r, B WV 863
P re lu d e an d F u gu e i n B at m ajo r, B WV 866
P re lu d e an d F u gu e i n B m ajo r, B WV 868
P re lu d e an d F u gu e i n C m ajo r, B WV 870
P re lu d e an d F u gu e i n C m i n o r, B WV 871
P re lu d e an d F u gu e i n C sh arp m ajo r, B WV 872
P re lu d e an d F u gu e i n D m i n o r, B WV 875
P re lu d e an d F u gu e i n E at m ajo r, B WV 876
P re lu d e an d F u gu e i n D sh arp m i n o r, B WV 877
P re lu d e an d F u gu e i n E m ajo r, B WV 878
P re lu d e an d F u gu e i n E m i n o r, B WV 879
P re lu d e an d F u gu e i n F m i n o r, B WV 881
P re lu d e an d F u gu e i n G m ajo r, B WV 884
P re lu d e an d F u gu e i n A m ajo r, B WV 888
P re lu d e an d F u gu e i n A m i n o r, B WV 889
P re lu d e an d F u gu e i n B m i n o r, B WV 893
Lis t B
S o n ata i n F m i n o r, o p . 2, n o . 1
1 st and2n d m o ve m e n ts or 3rd and4th
m o ve m e n ts
S o n ata i n C m i n o r, o p . 1 0, n o . 1
1 st and2n d m o ve m e n ts or 2n d and3rd
m o ve m e n ts
S o n ata i n F m ajo r, o p . 1 0, n o . 2
m o ve m e n ts
S o n ata i n E m ajo r, o p . 1 4, n o . 1
1 st and2n d m o ve m e n ts or
S o n ata i n G m ajo r, o p . 1 4, n o . 2
m o ve m e n ts
S o n ata i n D m ajo r, o p . 28
1 st and2n d m o ve m e n ts or 3rd and4th
m o ve m e n ts
Clementi, Muzio
S o n ata i n B at m ajo r, o p . 47, n o . 2 (identied as
op. 24 no. 2 in PET)
m o ve m e n ts
Haydn, Franz Joseph
S o n ata i n D m ajo r, H o b . XVI :1 9
1 st and2n d m o ve m e n ts
S o n ata i n B m i n o r, H o b . XVI :32
S o n ata i n C m ajo r, H o b . XVI :35
S o n ata i n C sh arp m i n o r, H o b . XVI :36
S o n ata i n G m i n o r, H o b . XVI : 44
F an tasi a i n C m i n o r, K 396
R o n d o i n D m ajo r, K 485
R o n d o i n A m i n o r, K 51 1
S o n ata i n F m ajo r, K 280 ( 1 89e )
m o ve m e n ts
m o ve m e n ts
S o n ata i n E at m ajo r, K 282 ( 1 89g)
S o n ata i n C m ajo r, K 309
m o ve m e n ts
S o n ata i n F m ajo r, K 332
m o ve m e n ts
89
Level 10
Lis t C
Romantic Repertoire
Brahms, Johannes
B allad e i n D m i n o r, o p . 1 0, n o . 1
B allad e i n B m ajo r, o p . 1 0, n o . 4
I n te rm e zzo i n A m ajo r, o p . 76, n o . 6
I n te rm e zzo i n E m ajo r, o p . 1 1 6, n o . 6
I n te rm e zzo i n E at m ajo r, o p . 1 1 7, n o . 1
I n te rm e zzo i n B at m i n o r, o p . 1 1 7, n o . 2
I n te rm e zzo i n C sh arp m i n o r, o p . 1 1 7, n o . 3
I n te rm e zzo i n F m i n o r, o p . 1 1 8, n o . 4
I n te rm e zzo i n B m i n o r, o p . 1 1 9, n o . 1
I n te rm e zzo i n E m i n o r, o p . 1 1 9, n o . 2
I n te rm e zzo i n C m ajo r, o p . 1 1 9, n o . 3
R o m an ce i n F m ajo r, o p . 1 1 8, n o . 5
Chopin, Frdric
M azu rka i n B at m i n o r, o p . 24, n o . 4
M azu rka i n C m ajo r, o p . 33, n o . 3 andM azu rka i n
B m i n o r, o p . 33, n o . 4
M azu rka i n B m ajo r, o p . 63, n o . 1
N o ctu rn e i n B at m i n o r, o p . 9, n o . 1
N o ctu rn e i n F m ajo r, o p . 1 5, n o . 1
N o ctu rn e i n F sh arp m ajo r, o p . 1 5, n o . 2
N o ctu rn e i n A at m ajo r, o p . 32, n o . 2
N o ctu rn e i n E m i n o r, o p . 72, n o . 1
P o lo n ai se i n C sh arp m i n o r, o p . 26, n o . 1
P o lo n ai se i n A m ajo r, o p . 40, n o . 1
P o lo n ai se i n G sh arp m i n o r, o p . p o sth . K K I Va,
N o . 3
P re lu d e i n A at m ajo r, o p . 28, n o . 1 7
P re lu d e i n C sh arp m i n o r, o p . 45
Waltz i n A at m ajo r, o p . 34, n o . 1
Waltz i n E m i n o r, o p . p o sth ., B 56
Trois cossaises, op. 72, no. 3, CT 13
n o . 1 i n D m ajo r, n o . 2 i n G m ajo r, andn o . 3 i n
D at m ajo r
Grieg, Edvard
Van i sh e d D ays ( n o . 1 )
We d d i n g D ay at T ro ld h au ge n ( n o . 6)
Pictures fromLifein theCountry, op. 19
N o rwe gi an B rid al P ro ce ssi o n ( n o . 2)
Liszt, Franz
L i e b e strau m n o . 1
L i e b e strau m n o . 3
Annes deplerinage, 2 DUR
C an zo n e tta d e l S alvato r R o sa
Trois valses oublies, op. 1
Valse o u b li e n o . 1
Vier kleineKlavierstcke
K lavi e rst cke n o . 2
Mendelssohn, Felix
L i e d o h n e Wo rte , o p . 67, n o . 4 ( S p i n n i n g S o n g )
Alb u m b latt i n E m i n o r, o p . 1 1 7
Schubert, Franz
I m p ro m p tu i n E at m ajo r ( n o . 2)
I m p ro m p tu i n A at m ajo r ( n o . 4)
I m p ro m p tu i n B at m ajo r ( n o . 3)
I m p ro m p tu i n F m i n o r ( n o . 4)
Six moments musicaux, op. 94, D 780
n o . 2 i n A at m ajo r
n o . 4 i n C sh arp m i n o r
Schumann, Clara
Quatrepices fugitives, op. 15 BRE
An d an te e sp re ssi vo ( n o . 3)
Schumann, Robert
Arab e sq u e , o p . 1 8
I n te rm e zzo , o p . 4, n o . 5
Faschingsschwank aus Wien, op. 26
I n te rm e zzo ( n o . 4)
Novelletten, op. 21
n o . 1 or n o . 7
Au fsch wu n g ( n o . 2)
Waldszenen, op. 82
Vo ge ls als P ro p h e t ( n o . 7)
Lis t D
Post-Romantic and Early 20th-century
Repertoire
Albniz, Isaac
C rd o b a, o p . 232, n o . 4
Beach, Amy
A H e rm i t T h ru sh at E ve , o p . 92, n o . 1 (Musicfor
Piano, 2 HIL)
Trois morceaux caractristiques, op. 28
B arcaro lle ( n o . 1 ) (PianoMusic: Amy Beach DOV)
Debussy, Claude
L a p lu s q u e le n te
Deux arabesques
n o . 1
n o . 2
D o cto r G rad u s ad P arn assu m
S e re n ad e fo r th e D o ll
T h e S n o w i s D an ci n g
Prludes, 1
D an se u se s d e D e lp h e s ( n o . 1 )
D e s p as su r la n e i ge ( n o . 6)
L a s r n ad e i n te rro m p u e ( n o . 9)
M i n stre ls ( n o . 1 2)
Prludes, 2
B ro u i llard s ( n o . 1 )
F e u i lle s m o rte s ( n o . 2)
B ru y re s ( n o . 5)
G e n e ral L avi n e e cce n tri c ( n o . 6)
H o m m age S . P i ck wi ck, E sq . ( n o . 9)
90
Level 10
Debussy, Claude co n ti n u e d )
Suitebergamasque
P r lu d e
M e n u e t
C lai r d e lu n e
P asse p i e d
Pour lepiano
S arab an d e
Falla, Manuel de
D an se d u m e u n i e r ( fro m El sombrerodetres picos
CHS
R i tu al F i re D an ce ( fromEl amor brujo CHS
Faur, Gabriel
B arcaro lle n o . 4 i n A at m ajo r, o p . 44 INT; LED;
PET
Gershwin, George
R i alto R ip p le s ALF
Griffes, Charles T.
Roman Sketches, op. 7 SCH
T h e F o u n tai n o f th e Acq u a P ao la ( n o . 3)
C lo u d s ( n o . 4)
Hofmann, Josef
B e rce u se , o p . 20, n o . 5
Ibert, Jacques
L e ve n t d an s le s ru i n e s LED
Jancek, Leo
V mlhch (In the Mist), JW VIII/22 MAS; BAR
an y two
Palmgren, Selim
T h e S e a CHS
Poulenc, Francis
P asto u re lle ( L ve n tai l d e Je an n e ) HEU
T ro i s m o u ve m e n ts p e rp tu e ls CHS
Cinq impromptus CHS; MAS
twoi m p ro m p tu s
Trois novelettes CHS
n o . 1
Rachmaninoff, Sergei
10 Prludes, op. 23
n o . 8
n o . 1 0
13 Prludes, op. 32
n o . 1 1
Morceaux defantasie, op. 3
l gi e ( n o . 1 )
P r lu d e ( n o . 2)
M lo d i e ( n o . 3)
S r n ad e ( n o . 5)
Ravel, Maurice
Letombeau deCouperin ALF; DUR; PET
P r lu d e
Scott, Cyril
D an se n gre , o p . 58, n o . 5 ALF; NOV
L o tu s L an d , o p . 47, n o . 1 MAS; OTT
Scriabin, Alexander
24 Preludes, op. 11
P re lu d e n o . 2 andP re lu d e n o . 1 4
Szymanowski, Karol
Mazurkas, op. 50 UNI
n o . 1
n o . 2
n o . 3
Lis t E
20th- and 21st-century Repertoire
Archer, Violet
Six Preludes WAT
P re lu d e n o . 1
P re lu d e n o . 6
Barber, Samuel
Souvenirs, op. 28 SCH
Waltz ( n o . 1 )
P as d e d e u x ( n o . 3)
G alo p ( n o . 6)
Bartk, Bla
R o u m an i an F o lk D an ce s UNI
n o . 1 2
Fifteen Hungarian Peasant Songs UNI
n o s. 1 5
Mikrokosmos, 6 B&H
S i x D an ce s i n B u lgari an R h y th m
twoo f n o s. 1 481 53
ThreeRondos on Slovak Folk Tunes, op. 84
R o n d o ( n o . 1 )
Behrens, Jack
H o m m age C h o p i n CMC
L ge r ( 1 996) CMC
Bissell, Keith
Vari ati o n s o n a F o lk S o n g WAT
Bolcom, William
G race fu l G h o st R ag EMB
Chatman, Stephen
S p ri n g C e le b rati o n
Copland, Aaron
T h e C at an d th e M o u se ( S ch e rzo h u m o ri stiq u e )
ALF; B&H; MAS
Dela, Maurice
H o m m age BER
La vieillecapitaleBER
P r lu d e ( Ve i lle so u s la p o rte S ai n t-Je an )
Deshevov, Vladimir Mikhaylovich
T h e R ai ls, o p . 1 6
91
Level 10
Duncan, Martha Hill
TheSunken Garden CMC
T h e Jap an e se Te a G ard e n
T h e R i ve r
T h e T h e atre
FromMy Childhood, 1: Alphabet Pieces WAT
V Valse ch ro m atiq u e
Gallant, Pierre
S i x Vari ati o n s o n L an d o f th e S i lve r B i rch
Gardiner, Mary
S yn e rg y CMC
Ginastera, Alberto
R o n d o so b re te m as i n fan ti le s arge n ti n o s, o p . 1 9
B&H
Hovhaness, Alan
M ace d o n i an M o u n tai n D an ce , o p . 1 44, n o . 1 PET
Kabalevsky, Dmitri
Vari ati o n s i n A m i n o r, o p . 40, n o . 2
24 Preludes, op. 38 SCH
P re lu d e n o . 3
P re lu d e n o . 5 and P re lu d e n o . 9
Liu Zhuang
Vari ati o n s TIM
McDonald, Boyd
ThreePreludes for PianoCMC
n o . 1 ( M ae sto so ) andn o . 2 ( M o d e rato )
n o . 2 ( M o d e rato ) andn o . 3 ( Vi vo )
McInytre, David L.
To ccata ALK
Messiaen, Olivier
Huit prludes pour pianoDUR
P lai n te calm e ( n o . 7)
Morel, Franois
Deux tudes de sonorit BER
n o . 1
Muczynski, Robert
Six Preludes, op. 6 (Muczynski: Collected PianoPieces SCH)
Nancarrow, Conlon
ThreeTwo-Part Studies for PianoPET; SON
n o . 1 ( P re sto )
n o . 2 ( An d an ti n o ) andn o . 3 ( Alle gro )
I d e ... DOM
Pentland, Barbara
S h ad o ws / O m b re s AVO
Ppin, Clermont
T ro i s p i ce s p o u r la l ge n d e d o r e CMC
Peterson, Oscar
Canadiana SuiteHAL
H o g to wn B lu e s
L an d o f th e M i sty G i an ts
Prokoev, Sergei
M arch fro m TheLovefor ThreeOranges, o p . 33 B&H
S o n ati n a, o p . 54, n o . 2 B&H
Episodes: Ten Pieces, op. 12 MCA; SCH
M arch ( n o . 1 )
P re lu d e ( H arp ) ( n o . 7)
Schoenberg, Arnold
S i x L i ttle P i an o P i e ce s, o p . 1 9 BEL
T h re e F an tasti c D an ce s, o p . 5
24 Preludes, op. 34
twoo f n o s. 5, 9, 1 1 , 1 2, 1 8, 20
Somers, Harry
S tran ge n e ss o f H e art BER
Southam, Ann
Four Bagatelles BER
n o . 2 andn o . 4
Rivers (second set) CMC
an y one
Takcs, Jen
To ccata, o p . 54 DOB
Tsitsaros, Christos
NineTales FHM
S n o w G am e s
92
Level 10
Total
Substitutions
Permitted
Requires
Prior Approval
(Submit a Substitute
Piece Request)
Does Not Require
Prior Approval
Repertoire
Substitution
Repertoire
Substitution
Etude Substitution
one
Repertoire
selection
and/or

one
Etude
comparable in style
and difculty to the
or C of Level 10 (including
twomovements of a
Sonata from List B of the
Associate Diploma in
Piano Performance)
or
Oneselection from the corresponding
List of the Associate Diploma in Piano
Performance including a complete
Sonata from List B of the Associate
Diploma in Piano Performance
(Discretion must be shown with regards
to the length of the work in relation to
the length of the assessment.)
or
OneStudents Choice selection may
replace a piece from List D or E
and/
or
Concert Etudes List of
the Associate Diploma
in Piano Performance
Substitutions
Students may substitute onerepertoire selection and/or oneetude selection with a musical work not found in the
Repertoire Lists for Level 10. See p. 125 for more information on substitutions.
Etudes
:
Alkan, Charles-Valentin
Cinquimerecueil dechants, op. 70
L a vo i x d e l i n stru m e n t ( n o . 4)
Bartk, Bla
B agate lle n o . 5
Concone, Giuseppe
20 tudes chantantes, op. 30
S tu d y i n A at m ajo r ( n o . 1 9)
Czerny, Carl
S tu d y i n A m i n o r, o p . 740, n o . 41
Chopin, Frdric
Trois nouvelles tudes
tude in A at major
Haberbier, Ernst
tudes-Posies, op. 53
S e re n ad e ( n o . 5)
Heller, Stephen
24 Preludes, op. 81
P re lu d e i n C sh arp m i n o r ( n o . 1 0 )
Hofmann, Heinrich
Nachklnge, op. 37
B y th e M o u n tai n To rre n t ( n o . 2)
Etuden fr Gebtere, op. 67
Etude in E minor (no. 5)
Lyadov, Anatoli Konstantinovich
Tries, op. 2
n o . 1 2
Moszkowski, Moritz
Sechs Fantasiestcke, op. 52
Z wi e ge san g ( n o . 3)
Rachmaninoff, Serge
tude-tableaux, op. 33
no. 8
Takcs, Jeno
Wenn der Frosch auf Reisen geht DOB
Wh e n th e F ro g G o e s Wan d e ri n g
Tsitaros, Christos
Nine Tales FHM
G allo p
Technical Tests
93
Level 10
valu e s
HT
4 octaves
,

=120
Staccato B
,
, A
,
, G
,
major
F
, C
, E
,
HT
3 octaves
,

=120
Separated by a 3rd C, D
,
D, E
,
, major HT
4 octaves
, =104
Separated by a 6th E, F, G
,
G major HT
4 octaves
, =104
Separated by a 10th A
,
, A, B
,
, B major HT
4 octaves
, =104
Formula Pattern B
,
, A
,
, G
,
major
F
, C
, E
,
minor (harmonic)
HT
4 octaves
,

=112
4 octaves
,

=120
Scales in Octaves
blocked staccato
B
,
, A
,
, G
,
major
F
, C
, E
,
HT
2 octaves
,

=80
blocked staccato
2 octaves
,

=80
valu e s
broken
all keys HT
2 octaves
(root position and inversions
ending with IIVI
6
4
V
7
I chord
progression)
,

=120
blocked
,

=120 ,

,
,

=96
Dominant 7th
broken
all keys HT
2 octaves
,

=120
blocked
,

=120 ,

,
,

=96
Diminished 7th
broken
all minor keys HT
2 octaves
(root position and inversions}
,

=120
blocked
,

=120 ,

,
,

=96
valu e s
Tonic all keys HT
4 octaves
(root position and inversions,
either individually or in sequence
beginning in root position or in
any inversion)
,

=92
Dominant 7th
Diminished 7th all minor keys
E xe rci se s K e ys P laye d T e m p o N o te
valu e s
Students must prepareone exercisefromthefollowing list:
Triplet Repeated-Note Pattern Scales
(321 ngering)
D, A
,
, G
,
major
D, F
minor
HT
2 octaves
,

=100
Double 3rd Scales, legato C, B, B
,
major HT
2 octaves
,

=60
Scales in Octaves with Alternating Hands
blocked staccato
any major key HT
LH leads
2 octaves
,

=84
Cross-Rhythm Scales (2 against 3)
parallel or contrary motion students
choice
D, A
,
, G
,
major
D, F
minor (harmonic)
HT
LH 2 octaves
RH 3 octaves
,

=100 LH
RH
Chromatic Scales Separated by a
Minor 3rd
LH beginning on any note HT
4 octaves
,

=100
K e ys fo r L e ve l 1 0 : all major keys; all minor keys
94
Level 10
Examples of Exercises
T rip le t R e p e ate d -n o te P atte rn S cale s ( 3 21 n ge ri n g) ( to b e p laye d two o ctave s)
D o u b le 3rd S cale s, legato
S cale s i n O ctave s wi th Alte rn ati n g H an d s, b lo cke d staccato to b e p laye d two o ctave s)
C ro ss-R h y th m S cale s ( p aralle l m o ti o n )
C h ro m ati c S cale s S e p arate d b y a M i n o r 3rd ( to b e p laye d fo u r o ctave s)
95
Level 10
3 Musicianship
Aural Skills
I n te rvals
or
intervals. The adjudicator will play the rst note of each
interval once.
octave
octave
C h o rd s
chords and their inversion or position after the adjudicator
has played the chord oncein blocked form, close position.
major and minor four-note
chords
root position, 1st inversion,
2nd inversion
C ad e n ce s
Students will be asked to identify by name or symbols
the following cadences played within a single phrase. The
phrase may be in a major or a minor key and may contain
up to three cadences. The adjudicator will play the tonic
chord once, then play the phrase twice.
perfect or authentic V
(7)
I
plagal IVI
imperfect IV
deceptive (interrupted) V
(7)
VI
Example only
P layb ack
Students will be asked to play back the lower voice of a
two-voice phrase. The adjudicator will name the key, play
the tonic chord once, and play the phrase twice.
two to four measures C, F, D major
Example only
Reading Skills
P layi n g
Students will be asked to play a short composition at sight.
Level 7 repertoire any time signature any major or minor
key up to seven
sharps or seven
ats
C lap p i n g
expected.
_
six measures
Example only
The Senior Musicianship assessment can be substituted for
the Musicianship section of the Level 10 piano assessment
(see p. 121).
96
Level 10
Supplemental Assessments
I m p ro ve a L e ve l 1 0 P ian o asse ssm e n t m ark
Supplemental Assessments are available for the Technical
Requirements and Musicianship sections of the Level 10
performance assessment.
Students must achieve a minimum mark of 65 percent
overall and 70 percent in the Repertoire section to be
eligible for a Supplemental Assessment.
Students may take a maximum of two Supplemental
Assessments per complete assessment.
Supplemental Assessments must be taken within two
years of the original assessment, during a regularly
scheduled assessment period.
97
Associate Diploma in Piano Performance
The Diploma Levels represent the pinnacle of
accomplishment within the Music Development Program.
Performance students present a sixty-minute recital
consisting of six contrasting selections including a work
by J.S. Bach, a complete Classical sonata, a Romantic
work, a Post-Romantic or early 20th-century work, a
20th/21st-century work and a concert etude. This
assessment is evaluated as a concert performance. It is
expected that the program be played with condence and
conviction, communicating the essence of the music and
demonstrating keyboard command, while showing an
understanding of stylistic and structural elements.
Students may apply for the Associate Performers Diploma
upon successful completion of the Level 10 performance
assessment and all co-requisite academic requirements.
Two years of preparation following Level 10 is
recommended for the Associate Diploma assessment.
The adjudicator will stop the performance if the time
exceeds 60 minutes.
Requirements
Marks
1 Repertoire
oneselection from List A: Works of J.S. Bach
oneselection from List B: Sonatas
oneselection from List D: Post-Romantic and
Early 20th-century Repertoire
oneselection from List E: 20th- and 21st-century
Repertoire
oneConcert Etude
100
20
25
15
15
15
10
Counterpoint
Advanced Harmony or Advanced Keyboard
Harmony
History 3: 19th Century to Present
Analysis
Academic Requirements
Advanced Rudiments
Intermediate Harmony or Intermediate Keyboard
Harmony
Classication of Marks
First Class Honors with Distinction 90100
First Class Honors 8089
Honors 7079
Pass 70
Criteria for Pass and Failure
A continuous, convincing performance is a fundamental
requirement for a passing mark in the Associate Diploma
in Piano Performance assessment. A failing mark may be
given for one or more of the following reasons:
lack of stylistic awareness
repeated interruptions in continuity
substantial omissions
textual inaccuracies
complete breakdown of performance
M e m o ri zatio n i s co m p u lso ry. A m ark o f ze ro wi ll b e gi ve n
fo r any se le ctio n p laye d fro m th e sco re . C o n su ltatio n o f
th e sco re i s n o t p e rm itte d .
1 Repertoire
Students must prepare six contrasting selections from
memory: onefrom each of List A, List, B, List C, List D,
List E, and Concert Etudes. A single selection is indicated
by a bullet ().
Lis t A
Works of J.S. Bach
P le ase n o te : I n o rd e r to grad u ate with an Asso ciate
D ip lo m a i n P ian o P e rfo rm an ce , stu d e n ts m u st i n clu d e
a P re lu d e an d F u gu e b y J.S . B ach o n th e i r asse ssm e n t
p ro gram fo r th e i r L e ve l 9, L e ve l 1 0, o r Asso ciate D ip lo m a
asse ssm e n ts.
C h ro m ati c F an tasi a an d F u gu e , B WV 903
E n gli sh S u i te n o . 1 i n A m ajo r, B WV 806
P re lu d e , S arab an d e , and G i gu e
E n gli sh S u i te n o . 2 i n A m i n o r, B WV 807
P re lu d e , S arab an d e , andG i gu e
E n gli sh S u i te n o . 3 i n G m i n o r, B WV 808
E n gli sh S u i te n o . 5 i n E m i n o r, B WV 81 0
E n gli sh S u i te n o . 6 i n D m i n o r, B WV 81 1
F an tasi a an d F u gu e i n A m i n o r, B WV 904
I tali an C o n ce rto , B WV 971
P arti ta n o . 1 i n B at m ajo r, B WV 825
P rae lu d i u m , S arab an d e andG i gu e
P arti ta n o . 2 i n C m i n o r, B WV 826
S i n fo n i a, or
Alle m an d e , S arab an d e , andC ap ri cci o
P arti ta n o . 3 i n A m i n o r, B WV 827
F an tasi a, S arab an d e , andG i gu e
P arti ta n o . 4 i n D m ajo r, B WV 828
O ve rtu re ando n e ad d i ti o n al m o ve m e n t
98
Bach, Johann Sebastian co n ti n u e d )
P arti ta n o . 5 i n G m ajo r, B WV 829
P rae am b u lu m , S arab an d e , andG i gu e
S u i te i n A m i n o r, B WV 81 8
To ccata i n F sh arp m i n o r, B WV 91 0
To ccata i n C m i n o r, B WV 91 1
To ccata i n D m ajo r, B WV 91 2
To ccata i n D m i n o r, B WV 91 3
To ccata i n E m i n o r, B WV 91 4
To ccata i n G m i n o r, B WV 91 5
P re lu d e an d F u gu e i n C m ajo r, B WV 846
P re lu d e an d F u gu e i n C sh arp m ajo r, B WV 848
P re lu d e an d F u gu e i n C sh arp m i n o r, B WV 849
P re lu d e an d F u gu e i n E at m ajo r, B WV 852
P re lu d e an d F u gu e i n D sh arp m i n o r, B WV 853
P re lu d e an d F u gu e i n F m i n o r, B WV 857
P re lu d e an d F u gu e i n G m ajo r, B WV 860
P re lu d e an d F u gu e i n A m ajo r, B WV 864
P re lu d e an d F u gu e i n A m i n o r, B WV 865
P re lu d e an d F u gu e i n B at m i n o r, B WV 867
P re lu d e an d F u gu e i n B m i n o r, B WV 869
P re lu d e an d F u gu e i n C sh arp m i n o r, B WV 873
P re lu d e an d F u gu e i n D m ajo r, B WV 874
P re lu d e an d F u gu e i n F m ajo r, B WV 880
P re lu d e an d F u gu e i n F sh arp m ajo r, B WV 882
P re lu d e an d F u gu e i n F sh arp m i n o r, B WV 883
P re lu d e an d F u gu e i n G m i n o r, B WV 885
P re lu d e an d F u gu e i n A at m ajo r, B WV 886
P re lu d e an d F u gu e i n G sh arp m i n o r, B WV 887
P re lu d e an d F u gu e i n B at m ajo r, B WV 890
P re lu d e an d F u gu e i n B at m i n o r, B WV 891
P re lu d e an d F u gu e i n B m ajo r, B WV 892
Lis t B
Sonatas
S o n ata i n A m ajo r, o p . 2, n o . 2
S o n ata i n C m ajo r, o p . 2, n o . 3
S o n ata i n E at m ajo r, o p . 7
S o n ata i n C m i n o r, o p . 1 3
S o n ata i n B at m ajo r, o p . 22
S o n ata i n A at m ajo r, o p . 26
S o n ata i n C sh arp m i n o r, o p . 27, n o . 2
S o n ata i n G m ajo r, o p . 31 , n o . 1
S o n ata i n D m i n o r, o p . 31 , n o . 2
S o n ata i n E at m ajo r, o p . 31 , n o . 3
S o n ata i n C m ajo r, o p . 53
S o n ata i n F m ajo r, o p . 54
S o n ata i n F m i n o r, o p . 57
S o n ata i n F sh arp m ajo r, o p . 78
S o n ata i n E at m ajo r, o p . 81 a
S o n ata i n E m i n o r, o p . 90
S o n ata i n A m ajo r, o p . 1 01
S o n ata i n E m ajo r, o p . 1 09
S o n ata i n A at m ajo r, o p . 1 1 0
S o n ata i n C m i n o r, o p . 1 1 1
Clementi, Muzio
S o n ata i n B m i n o r, o p . 40, n o . 2
Haydn, Franz Joseph
S o n ata i n C m i n o r, H o b . XVI :20
S o n ata i n A at m ajo r, H o b . XVI : 46
S o n ata i n E at m ajo r, H o b . XVI : 49
S o n ata i n C m ajo r ( E n gli sh ) , H o b . XVI :50
S o n ata i n E at m ajo r, H o b . XVI :52
S o n ata i n D m ajo r, K 284
S o n ata i n A m i n o r, K 31 0
S o n ata i n D m ajo r, K 31 1
S o n ata i n A m ajo r, K 331
S o n ata i n C m i n o r, K 457
S o n ata i n F m ajo r, K 533
Schubert, Franz
S o n ata i n A m i n o r, o p . 42, D 845
S o n ata i n G m ajo r, o p . 78, D 894
S o n ata i n A m ajo r, o p . 1 20, D 664
S o n ata i n A m i n o r, o p . 1 43, D 784
S o n ata i n A m i n o r, o p . 1 64, D 537
S o n ata i n B at m ajo r, o p . p o sth ., D 960
Lis t C
Romantic Repertoire
Brahms, Johannes
B allad e i n D m ajo r, o p . 1 0, n o . 2
B allad e i n G m i n o r, o p . 1 1 8, n o . 3
C ap ri cci o i n F sh arp m i n o r, o p . 76, n o . 1 and
C ap ri cci o i n B m i n o r, o p . 76, n o . 2
C ap ri cci o i n C sh arp m i n o r, o p . 76, n o . 5
I n te rm e zzo i n A m i n o r, o p . 1 1 8, n o . 1 and
I n te rm e zzo i n A m ajo r, o p . 1 1 8, n o . 2
I n te rm e zzo i n E at m i n o r, o p . 1 1 8, n o . 6
R h ap so d y i n B m i n o r, o p . 79, n o . 1
R h ap so d y i n G m i n o r, o p . 79, n o . 2
R h ap so d y i n E at m ajo r, o p . 1 1 9, n o . 4
S ch e rzo i n E at m i n o r, o p . 4
Chopin, Frdric
B allad e i n G m i n o r, o p . 23
B allad e i n F m ajo r, o p . 38
B allad e i n A at m ajo r, o p . 47
B allad e i n F m i n o r, o p . 52
B arcaro lle i n F sh arp m ajo r, o p . 60
B e rce u se , o p . 57
F an tai si e i n F m i n o r, o p . 49
F an tai si e -I m p ro m p tu i n C sh arp m i n o r, o p . 66
I m p ro m p tu i n F sh arp m ajo r, o p . 36
N o ctu rn e i n C sh arp m i n o r, o p . 27, n o . 1
N o ctu rn e i n D at m ajo r, o p . 27, n o . 2
N o ctu rn e i n G m ajo r, o p . 37, n o . 2
N o ctu rn e i n C m i n o r, o p . 48, n o . 1
N o ctu rn e i n E at m ajo r, o p . 55, n o . 2
N o ctu rn e i n B m ajo r, o p . 62, n o . 1
P o lo n ai se i n F sh arp m i n o r, o p . 44
P o lo n ai se i n A at m ajo r, o p . 53
S ch e rzo i n B m i n o r, o p . 20
S ch e rzo i n B at m i n o r, o p . 31
S ch e rzo i n C sh arp m i n o r, o p . 39
S ch e rzo i n E m ajo r, o p . 54
Waltz i n E at m ajo r, o p . 1 8
99
Chopin, Frdric co n ti n u e d )
Prludes, op. 28
four o f n o s. 1 , 2, 3, 5, 8, 1 0, 1 1 , 1 2, 1 4, 1 6, 1 8, 1 9, 21 ,
22, 23, 24
Franck, Csar
P r lu d e , ch o rale , e t fu gu e
Grieg, Edvard
S o n ata i n E m i n o r, o p . 7
Liszt, Franz
B allad e n o . 2 i n B m i n o r
M e p h i sto Waltz n o . 1 ( E p i so d e fro m L e n au s
p o e m F au st )
P o lo n ai se n o . 2 i n E m ajo r
Annes deplerinage, 1
Au b o rd d u n e so u rce
Annes deplerinage, 2
S o n e tto 47 d e l P e trarca
S o n e tto 1 04 d e l P e trarca
S o n e tto 1 23 d e l P e trarca
S p o sali zi o
Hungarian Rhapsodies
onerh ap so d y e xclu d i n g n o s. 3, 1 7, an d 1 8)
Lgendes
S t F ran o i s d Assi se : L a p r d i cati o n au x o i se au x
S t F ran o i s d e P au le m arch an t su r le s o ts
Mendelssohn, Felix
An d an te an d R o n d o cap ri cci o so , o p . 1 4
An d an te co n vari azi o n i , o p . 82
P re lu d e an d F u gu e i n E m i n o r, o p . 35, n o . 1
S ch e rzo i n E m i n o r, o p . 1 6, n o . 2
Vari ati o n s s ri e u se s, o p . 54
Schubert, Franz
Drei Klavierstcke, D 946
n o . 1 or n o . 3
I m p ro m p tu i n C m i n o r ( n o . 1 )
I m p ro m p tu i n F m i n o r ( n o . 1 )
Schumann, Robert
Ab e gg Vari ati o n s, o p . 1
P ap i llo n s, o p . 2
I n d e r N ach t ( n o . 5)
T rau m e s-Wi rre n ( n o . 7)
n o . 1 o r n o . 3
Novelletten, op. 21
n o . 2 or n o . 8
Lis t D
Post-Romantic and Early 20th-century
Repertoire
Albniz, Isaac
Asturias INT
L e ye n d a
Cantos deEspaa HEN; INT
S e gu id i llas
Iberia Suite, 1 HEN; INT
E l P u e rto
Albniz, Isaac co n ti n u e d )
Iberia Suite, 2 HEN; INT
T ri an a
Iberia Suite, 3 INT
E l Alb ai ci n
Beach, Amy
B allad , o p . 6 (PianoMusic: Amy Beach DOV)
Debussy, Claude
B allad e
L i sle jo ye u se
Estampes
Jard i n s so u s la p lu i e
L a so i r e d an s G re n ad e
P ago d e s
Images, 1
H o m m age R am e au
M o u ve m e n t
R e e ts d an s l e au
Images, 2
C lo ch e s trave rs le s fe u i lle s
E t la lu n e d e sce n d su r le te m p le q u i fu t
P o i sso n s d o r
Prludes, 1
L e ve n t d an s la p lai n e ( n o . 3)
L e s co lli n e s d An acap ri ( n o . 5)
C e q u a vu le ve n t d o u e st ( n o . 7)
L a cath d rale e n glo u ti e ( n o . 1 0 )
L a d an se d e P u ck ( n o . 1 1 )
Prludes, 2
L a p u e rta d e l Vi n o ( n o . 3)
L e s f e s so n t d e xq u i se s d an se u se s ( n o . 4)
L a te rrasse d e s au d i e n ce s d u clai r d e lu n e ( n o . 7)
F e u x d arti ce ( n o . 1 2)
Suitepour lepiano
P r lu d e
To ccata
Dohnnyi, Ern
Four Pieces, op. 2 B&H; DOB
C ap ri cci o i n B m i n o r ( n o . 4)
Four Rhapsodies, op. 11 DOB; KAL
R h ap so d y i n F sh arp m i n o r ( n o . 2)
R h ap so d y i n C m ajo r ( n o . 3)
R h ap so d y i n E at m i n o r ( n o . 4)
Faur, Gabriel
B arcaro lle n o . 5 i n F sh arp m i n o r, o p . 66
B arcaro lle n o . 6 i n E at m ajo r, o p . 70
B arcaro lle n o . 8 i n D at m ajo r, o p . 96
I m p ro m p tu n o . 2 i n F m i n o r, o p . 31
I m p ro m p tu n o . 3 i n A at m ajo r, o p . 34
N o ctu rn e n o . 1 i n E at m i n o r, o p . 33
N o ctu rn e n o . 4 i n E at m ajo r, o p . 36
N o ctu rn e n o . 5 i n B at m ajo r, o p . 37
N o ctu rn e n o . 6 i n D at m ajo r, o p . 63
Gershwin, George
T h re e P re lu d e s ALF
Granados, Enrique
Escenas romanticas SAL; SCH
n o . 3 ( L e n to ) or n o . 5 ( Alle gro ap p assi o n ato )
Goyescas (Los majos enamorados) KAL; SCH
E l fan d an go d e can d i l ( n o . 3)
L a m aja y e l ru i se o r ( n o . 4)
100
Griffes, Charles T.
Fantasy Pieces, op. 6 MAS
B arcaro lle ( n o . 1 )
N o ttu rn o ( n o . 2)
S ch e rzo ( n o . 3)
Roman Sketches, op. 7 SCH
T h e Wh i te P e aco ck
Ireland, John
Decorations S&B
I slan d S p e ll ( n o . 1 )
MacDowell, Edward
Wi tch e s D an ce , o p . 1 7, n o . 2
Medtner, Nikolai Karlovich
F ai ry T ale , o p . 20, n o . 1 B&H
Poulenc, Francis
I n te rm e zzo i n A at m ajo r ESC
Improvisations SAL
an y four
Trois pices HEU
To ccata ( n o . 3)
Morceaux defantasie, op. 3
P o li ch i n e lle ( n o . 4)
10 Prludes, op. 23
oneo f n o s. 2, 4, 5, 6, 7
13 Prludes, op. 32
oneo f n o s. 3, 5, 9, 1 0, 1 2
Ravel, Maurice
Je u x d e au DUR; PET
S o n ati n e DUR; PET
Valse s n o b le s e t se n ti m e n tale s
Gaspard dela nuit DUR
O n d i n e
Miroirs DUR; PET
Alb o rad a d e l graci o so
U n e b arq u e su r l o c an
N o ctu e lle s
O i se au x tri ste s
L a vall e d e s clo ch e s
Letombeau deCouperin DUR; PET
To ccata
Lis t E
20th- and 21st-century Repertoire
Anhalt, Istvn
F an tasi a BER
Barber, Samuel
B allad e , o p . 46 SCH
N o ctu rn e ( H o m age to Jo h n F i e ld ) , o p . 33 SCH
Excursions, op. 20 SCH
an y two
Bartk, Bla
Alle gro b arb aro ALF; MAS; UNI
S o n ati n a ALF; EMB
Suite, op. 14 UNI
threem o ve m e n ts
Bartk, Bla co n ti n u e d )
Szabadban (Out of Doors Suite) UNI
twom o ve m e n ts
TwoRoumanian Dances, op. 8a B&H
n o . 1 or n o . 2
TwoElegies, op. 8b EMB
n o . 1 or n o . 2
ThreeBurlesques, op. 8c EMB
twob u rle sq u e s
Mikrokosmos, 6 B&H
twoo f n o s. 1 42, 1 44, 1 46
Behrens, Jack
D i B e lla Vari ati o n s CMC
F e ast o f L i fe CMC
Bell, Allan Gordon
O ld C o yo te s S atu rd ay N i gh t ALK
Berg, Alban
S o n ata, o p . 1 HEN; UNI
Bolcom, William
NineBagatelles (1996) MAR
ve co n se cu ti ve m o ve m e n ts
Buczynski, Walter
Am o rp h o u s CMC
Ari a an d To ccata CMC
Camilleri, Charles
S o n ati n a n o . 1 CRA
Champagne, Claude
Q u ad ri lh a b rasi le i ra BER
Copland, Aaron
P assacagli a MAS; SAL
Coulthard, Jean
I m age astrale ( 1 981 ) AVO; CMC
I m age te rre stre ( 1 991 ) AVO; CMC
Crumb, George
P ro ce ssi o n al PET (memory not required)
Finney, Ross Lee
S o n ata n o . 1 i n D m i n o r ( 1 933) PRE
Vari ati o n s o n a T h e m e b y Alb an B e rg PET
Gardiner, Mary
P o lari ti e s CMC
Ginastera, Alberto
D an zas arge n ti n as, o p . 2 DUR
M alam b o , o p . 7 RIC
S u i te d e d an zas cri o llas, o p . 1 5 B&H
Htu, Jacques
B allad e , o p . 30 DOB
Vari ati o n s p o u r p i an o , o p . 8 BER
Hindemith, Paul
S o n ata n o . 2 OTT
Ho, Vincent
T h re e S ce n e s o f C h i ld h o o d ALK
Honegger, Arthur
Trois pices SAL
H o m m age R ave l ( n o . 2) andD an se ( n o . 3)
101
Jaque, Rhen
D e u xi m e su i te BER
Joachim, Otto
L e clo si o n BER
Kabalevsky, Dmitri
S o n ata n o . 3 i n F m ajo r, o p . 46
24 Preludes, op. 38
twoo f n o s. 1 0, 1 4, 1 6, 22, 24
Kenins, Talivaldis
S o n ata n o . 1 ( 1 961 ) CMC
Kennan, Kent
T h re e P re lu d e s SCH
Kuzmenko, Larysa
I n M e m o ri am to Vi cti m s o f C h o rn o b yl PLA
Kymlicka, Milan
F i ve P re lu d e s fo r P i an o CAN
Lambro, Phillip
To ccata fo r P i an o TRG; WIM
Night Pieces for PianoTRG; WIM
twoo f n o s. 1 , 2, 3, 4
Liebermann, Lowell
Gargoyles, op. 29 PRE
an y two
Louie, Alexina
I le ap th ro u gh th e sky wi th stars GVT
Scenes froma JadeTerrace(1996) CMC
S o u th e rn S ky
Warri o r
Martin, Frank
Eight Preludes for PianoUNI
threep re lu d e s
McIntyre, David
B u tte r i e s an d B o b cats ALK
Messiaen, Olivier
Huit prludes pour pianoDUR
C h an t d e xtase d an s u n p aysage tri ste ( n o . 2)
L e n o m b re l ge r ( n o . 3)
U n re e t d an s le ve n t ( n o . 8 )
Vingt regards sur lenfant-Jsus DUR
R e gard d e la vi e rge ( n o . 4)
R e gard d u ls su r le ls ( n o . 5)
R e gard d e s h au te u rs ( n o . 8 )
P re m i re co m m u n i o n d e la Vi e rge ( n o . 1 1 )
R e gard d e s An ge s ( n o . 1 4)
R e gard d u si le n ce ( n o . 1 7)
Je d o rs, m ai s m o n co e u r ve i lle ( n o . 1 9)
Morawetz, Oskar
F an tasy, E le g y, an d To ccata JAY [OP]
To ccata
S ch e rzo B&H
Mozetich, Marjan
T h re e P i e ce s fo r P i an o S o lo ( 1 989) CMC
Muczynski, Robert
D e sp e rate M e asu re s ( P agan i n i Vari ati o n s) , o p . 48
PRE
To ccata, o p . 1 5 SCH
Nancarrow, Conlon
P re lu d e an d B lu e s PRE; SON
S u i te p o u r p i an o BER
5th m o ve m e n t: R o n d o
Paulus, Stephen
Preludes, 1 OTT
R o lli ck i n g ( n o . 5)
Peeters, Flor
To ccata, o p . 51 a PET
Pentland, Barbara
S tu d i e s i n L i n e BER
To ccata BER
Ppin, Clermont
S u i te p o u r p i an o CMC
onem o ve m e n t
Persichetti, Vincent
Poems for Piano, vol. 2, op. 5 ELK
An d warm wi n d s sp i lle d fragran ce i n to h e r
so li tu d e s ( n o . 7) andTo wh o se m o re cle ar th an
crystal vo i ce th e fro st h ad jo i n e d a crystal sp e ll
( n o . 8 ) and M ake m e d ru n ke n wi th d e e p re d
to rre n ts o f jo y ( n o . 1 1 )
Prokoev, Sergei
S o n ata n o . 3, o p . 28 B&H
To ccata, o p . 1 1 MAS
Four Pieces, op. 4 MAS
D i ab o li cal S u gge sti o n
twoo f E lan , D e sp ai r, R e m i n i sce n ce s
Episodes: Ten Pieces, op. 12 MCA; SCH
S ch e rzo ( n o . 1 0 )
Sarcasms, op. 17 MAS
twoconsecutivem o ve m e n ts
Visions fugitives, op. 22 B&H; MAS
vem o ve m e n ts
Rapoport, Alexander
S o n ata fo r P i an o fo rte n o . 2 ( 1 997) PLA
Rawsthorne, Alan
B agate lle s (Rawsthorne: Selected PianoPieces OUP)
Rochberg, George
N ach B ach PRE
Rorem, Ned
B arcaro lle s ( 1 949) PET
To ccata ( 4th m o ve m e n t o f P i an o S o n ata n o . 1 ,
1 948 ) PET
102
Rudnytskyi, Antin
Vari ati o n s o n a S i m p le T h e m e , o p . 38 WIM; TRI
Sancan, Pierre
To ccata DUR
Shchedrin, Rodion Konstantovich
TwoPolyphonic Pieces SIK
B asso O sti n ato
24 Preludes and Fugues, op. 87 PET
onep re lu d e an d fu gu e ( e xclu d i n g n o s. 1 , 5, 7)
Skarecky, Jana
Te karra CMC
Somers, Harry
S o n ata n o . 1 : Te stam e n t o f Yo u th ; CMC
Tajcevic, Marko
B alkan tan ze OTT
vem o ve m e n ts
Webern, Anton
Vari ati o n s, o p . 27 UNI
Conce rt Et ude s
Bartk, Bla
ThreeEtudes, op. 18 B&H
an y one
Beach, Amy
F i re i e s, o p . 1 5, n o . 4 (Amy Beach: PianoMusicDOV)
Chopin, Frdric
tudes, op. 10
an y one
tudes, op. 25
an y one( e xce p t n o . 2)
Coulthard, Jean
Four Etudes for PianoBER
an y one
Debussy, Claude
Douzetudes DUR
an y one
Dohnnyi, Ern
Six Concert Etudes, op. 28 EMB
n o . 5 or n o . 6
Dubois, Pierre Max
tudes deconcert LED
an y one
FromMy Childhood, 2 WAT
tu d e d e co n ce rt
Kapustin, Nikolai
Eight Concert Etudes, op. 40 ARM
an y one
Lavalle, Calixa
L e p ap i llo n / T h e B u tte r y WIL
Ligeti, Gyrgy
tudes for Piano, 1 OTT
an y one
Liszt, Franz
G n o m e n re i ge n
Wald e srau sch e n
tudes dexcution transcendante
an y one
tudes dexcution transcendantedaprs Paganini
an y one( e xclu d i n g L a ch asse )
Trois tudes deconcert
an y one
MacDowell, Edward
tu d e d e co n ce rt, o p . 36
Zwlf virtuosen-tuden, op. 46
an y o n e ( e xce p t n o . 4)
Mendelssohn, Felix
tu d e i n F m i n o r
P e rp e tu u m m o b i le , o p . 1 1 9
ThreePreludes, op. 104a
an y one
Morel, Franois
Deux tudes desonoritBER
E tu d e n o . 2
Moscheles, Ignaz
12 charakteristicheStudien, op. 95
an y one
ThreeConcert tudes (Allegri di bravura), op. 51 PET; MAS
an y one
Moszkowski, Moritz
15 VirtuosoEtudes, op. 72 (Per aspera) ALF; SCH
an y one( e xclu d i n g n o . 4 o r n o . 1 0 )
coledes doubles-notes (third part), op. 64 ENO
an y one
ThreeConcert Studies, op. 24
an y one
Poulenc, Francis
P re sto e n si -b m o l SAL
Prokoev, Sergei
Four Etudes, op. 2
an y one
tudes-tableaux, op. 33 B&H
an y one(except no. 8)
tudes-tableaux, op. 39 B&H
an y one
Saint-Sans, Camille
Six tudes, op. 52
oneo f n o s. 1 , 2, 3, 5, 6
Six tudes, op. 111
an y one
103
Schumann, Robert
Six Etudes on theCaprices of Paganini, op. 10
an y one
Scriabin, Alexander
Douzetudes, op. 8
an y one
Four Pieces, op. 56
tu d e ( n o . 4)
Huit tudes, op. 42
oneo f n o s. 1 , 5, 6, 7, 8
ThreePieces, op. 49
tu d e ( n o . 1 )
Trois tudes, op. 65
an y one
Stravinsky, Igor
Four Etudes, op. 7 (Stravinsky: Short PianoPieces B&H)
an y one
Szymanowski, Karol
Four Etudes, op. 4 MAS
oneo f n o s. 1 , 2, 3
Weber, Carl Maria von
M o m e n to cap ri cci o so i n B at m ajo r, o p . 1 2
P i an o S o n ata n o . 1 i n C m ajo r, o p . 24
P e rp e tu u m m o b i le ( R o n d o )
Total
Substitutions
Permitted
Requires
Prior Approval
(Submit a Substitute Piece Request)
Does Not Require
Prior Approval
Repertoire
Substitution
Repertoire
Substitution
one
Repertoire
selection
difculty to the corresponding List A,
B, or C of the Associate Diploma in
Piano Performance
or
OneStudents Choice selection may replace a piece from
List D or E
Substitutions
Students may substitute onerepertoire selection with a musical work not found in the Associate Diploma Repertoire Lists.
See p. 125 for more information on substitutions.
104
Associate Diploma in Piano Pedagogy
Fostering Excellence in Teaching
The Piano Pedagogy Certicate Program is designed to
strengthen the qualications and teaching techniques
of private studio teachers. Pedagogical ability and
accomplishment are tested through a three-level
assessment and certicate program.
Elementary Piano Pedagogy: Pedagogy for teaching
beginners through to Level 2 piano students
Intermediate Piano Pedagogy: Pedagogy for teaching
Levels 3 to 6 piano students
Advanced Piano Pedagogy: Pedagogy for teaching
Levels 7 to 10 piano students
C e rti cate s wi ll b e award e d u p o n th e su cce ssfu l
co m p le tio n o f e ach o f th e E le m e n tary an d I n te rm e d iate
P ian o P e d ago g y re q u i re m e n ts.
Advantages of the Piano
Pedagogy Certicate Program
Students can begin pedagogy training while
completing requirements for the Level 9 Piano
Certicate.
Students build knowledge and develop skills
gradually over a period of several years.
Students receive an Associate Diploma in Piano
Pedagogy upon successful completion of the
requirements of all three Piano Pedagogy levels.
Elementary Piano Pedagogythe rst stage of the
Associate Diploma in Piano Pedagogyaddresses
pedagogical issues at the Preparatory, Level 1, and Level 2
levels.
Students are advised to complete all the requirements
for the Level 8 Piano Certicate before attempting the
Elementary Piano Pedagogy assessment.
The Elementary Piano Pedagogy Certicate is awarded
upon completion of three parts: a Level 9 Piano
Certicate, a Viva Voce(oral) Assessment, and a Written
Assessment.
The three parts may be completed in any order, at one
or more assessment sessions. There is no time limit for
completion.
Resources for Assessment Preparation
See Resources on p. 130 for suggested reading.
Part 1 Level 9 Piano Certicate
Students must complete performance and academic
requirements for the Level 9 Piano Certicate. See p. 81
for detailed assessment requirements.
Elementary Piano Pedagogy
Requirements
Marks
(Please see p. 81 for detailed
requirements)
Part 2 Viva Voce Assessment (45 minutes)
Discussion of general pedagogical
topics, the beginning student, and the
professional studio
Teaching rhythm, technique,
musicianship, and other essential skills
Performance of selections from the
Teaching Repertoire Sample
Detailed pedagogical discussion of
selections from the Teaching Repertoire
Sample
100
(pass =70)
25
25
25
25
Part 3 Written Assessment (3 hours)
Discussion of general pedagogy, the
professional studio, beginner methods,
the beginning student, technique,
artistry, other essential skills, and the
100
(pass =70)
Honors 7079
Pass 70
E le m e n tary P ian o P e d ago g y
105
Part 2 Viva Voce Assessment
Students must prepare a balanced program of fourteen
contrasting selections as outlined in the chart below. One
repertoire selection must be memorized. Students may
choose selections from the following sources:
a well-known beginner method (chosen from the
following: TheABC of PianoPlaying; Alfreds Premier Piano
Course; Alfreds BasicPianoLibrary; Bastien PianoBasics;
CelebratePiano!
; Hal Leonard Student PianoLibrary; The

MusicTree; or PianoAdventures
)
repertoire and etudes listed in the Syllabus for
Preparatory, Level 1, and Level 2
Students should be prepared to:
Perform selections chosen by the adjudicator from the
Teaching Repertoire Sample.
Discuss teaching approaches for the chosen selections.
Discuss materials for technical exercises, reading skills,
and aural skills suitable for elementary levels.
Describe the chosen beginner method series and
compare it with two other methods.
L e ve l R e p e rto i re E tu d e s
Beginner four selections from one of the
beginner methods listed above
(showing level of study at the end of
the rst and second years of study)
tworepertoire selections from
Celebration Series: Perspectives
:
Preparatory PianoRepertoire
Level 1 threecontrasting selections: one from
each List
oneetude
Level 2 threecontrasting selections: one from
each List
oneetude
Elementary Piano Pedagogy Assessment Topics
Students should be prepared to discuss the following
topics with reference, as appropriate, to their chosen
G e n e ral P e d ago g y
goal setting and lesson planning
strategies for effective practicing
strategies for motivating students
evaluating student progress
imagination, including use of imagery, analogy,
improvisation, and movement
development of critical listening skills
preparation for performances, including recitals and
festivals
T h e P ro fe ssi o n al S tu d i o
basics of studio management
communication with parents
teaching materials suitable for the elementary levels
(including aural and reading skills, traditional and
popular repertoire collections, and duets)
studio resource materials (books, computer software,
websites, and other teaching aids)
T h e B e gi n n i n g S tu d e n t
getting started the initial meeting with a prospective
student and parents
the rst lesson
beginner piano methods (comparison of three
methods)
approaches to developing note-reading skills
introducing basic academic concepts and relating them
to repertoire
developing musicianship skills including reading skills,
aural skills, and improvisation
Te ch n iq u e
developing healthy technique and physiology, including
posture, hand position, and nger movement
developing basic motor skills, nger strength, hand
independence, and control and choreography of
movements
basic touches, including legatoand staccato
approaches to tone production
ngering strategies
technical exercises and supporting materials suitable
for the elementary levels
R h y th m an d Te m p o
introducing rhythm, meter and time signatures
approaches to developing an internal sense of rhythm
and maintaining a steady tempo
Arti stry
nurturing the development of imagination and
expression
developing dynamic range, tone color, and variety of
touch and phrasing
introducing the damper pedal
Part 3 Written Assessment
In this written assessment, students should be prepared
to discuss the Elementary Piano Pedagogy Assessment
Topics listed in Part 2. The Teaching Repertoire Sample
must be chosen from Celebration Series Perspectives
and the
beginner methods listed in Part 2. Please note that this is
a closed-book assessment.
Students will also be asked to discuss approaches
to teaching a given repertoire selection by answering
questions on specied pedagogical issues.
106
Intermediate Piano Pedagogythe second stage of
the Associate Diploma in Piano Pedagogyaddresses
pedagogical issues at Levels 3, 4, 5, and 6, but familiarity
with earlier levels and some teaching experience is
expected.
Students must have completed the Elementary Piano
Pedagogy Certicate at least one session prior to
attempting the Intermediate Piano Pedagogy Viva Voce
and Written Assessments.
The Intermediate Piano Pedagogy Certicate is awarded
upon completion of three parts: a Level 10 Piano
Certicate, a Viva Voce(oral) Assessment, and a Written
Assessment.
The three parts may be completed in any order, at one
or more assessment sessions. There is no time limit for
completion.
Intermediate Piano Pedagogy
Requirements
Marks
(Please see p. 89 for detailed
requirements)
Part 2 Viva Voce Assessment (45 minutes)
Discussion of general pedagogical
topics and the professional studio
Teaching rhythm, technique,
musicianship, and other essential skills
Performance of selections from the
Detailed pedagogical discussion of
selections from the Teaching Repertoire
Sample
100
(pass =70)
25
25
25
25
Part 3 Written Assessment (3 hours)
Discussion of general pedagogy, the
professional studio, technique, artistry,
and the students Teaching Repertoire
Sample
100
(pass =70)
Honors 7079
Pass 70
Students must complete all required performance and
academic requirements for the Level 10 Piano Certicate.
See p. 89 for detailed assessment requirements.
Students must prepare a balanced program of sixteen
repertoire selection must be memorized. Etudes should
demonstrate specic technical issues at the intermediate
level.
Students may choose selections from repertoire and
etudes for Levels 3, 4, 5, and 6 listed in the Syllabus. One
etude selection must be chosen from the Popular Selection
List.
Discuss teaching methods for the chosen selections.
Discuss technical exercises, reading skills, and aural
skills materials suitable for Levels 3, 4, 5, and 6.
L e ve l R e p e rto i re E tu d e s*
Level 3 threecontrasting selections: one
from each List
oneetude
from each List
oneetude
from each List
oneetude
from each List
oneetude
* Please note that one etude must be chosen from the
Popular Selection List.
Intermediate Piano Pedagogy Assessment
Topics
Students should be prepared to discuss the following
topics with reference, as appropriate, to the Teaching
Repertoire Sample.
planning and structure as applied to lessons, practicing,
and long-term objectives
development of diagnostic skills and strategies for
addressing common learning and performance
challenges
teaching practice techniques and time management
motivating students
I n te rm e d iate P ian o P e d ago g y
107
fostering critical listening
memorization techniques and strategies
characteristics of different musical genres (for example,
Baroque dances, sonatinas)
stylistic characteristics of the signicant composers and
historical style periods encountered in the intermediate
levels
basics of studio management, including communication
with parents
teaching materials suitable for the intermediate levels
(including solo repertoire, duets, and etudes) with an
emphasis on the major style periods of keyboard music
(Baroque, Classical, Romantic, Post-Romantic, and 20th
and 21st centuries)
intermediate-level popular materials and repertoire
studio resource materials, including complementary
teaching technology such as software, Internet
resources, and digital keyboards
opportunities for professional development
R h y th m an d Te m p o
general approaches to teaching rhythm and meter in
the intermediate levels
rhythmic patterns encountered in intermediate-level
repertoire (for example dotted rhythms, triplets)
approaches to achieving consistency and exibility of
tempo
Te ch n iq u e
understanding of the basic physiology involved in
promoting a healthy technique and preventing injury
materials and exercises to promote technical
development in the intermediate levels
development of coordination, uency, facility, and agility
practice strategies for solving specic technical
problems
intermediate-level scales, chords, and arpeggios
approaches to tone production and control of sound
Arti stry
development of musical imagination and creativity
building stylistic awareness: phrasing, articulation, and
rubatospecic to each style period
rening dynamic range, voicing, and balance
developing performance communication and musical
expression
introducing ornamentation
developing pedal technique
Students will be asked to discuss approaches to teaching
a given repertoire selection by answering questions on
specic pedagogical issues.
Students will also be asked to edit the selection for
students by adding markings such as:
tempo and character indications
ngering
phrasing and articulation
dynamics
pedaling
realization of ornamentation
108
Advanced Piano Pedagogy is the nal step towards the
Associate Diploma in Piano Pedagogy. It addresses
pedagogical issues at Levels 7, 8, 9, and 10. Students
are expected to have teaching experience up to at least
Level 7 and be familiar with pedagogical issues concerning
all levels of instruction.
Students must have completed the Intermediate Piano
Pedagogy Certicate at least one session prior to
attempting any of Parts 1, 2, or 3 of the Advanced Piano
Pedagogy level.
Students must have completed the Level 10 Piano
assessment with a total mark of 75 or minimum of 70
percent in each section, at least one session prior to
attempting any of Parts, 1, 2, or 3 of the Advanced Piano
Pedagogy level.
Students must have fullled all the Level 10 academic
co-requisites with a total mark of at least 60 for each
assessment at least one session prior to attempting any
of Parts 1, 2, or 3 of the Advanced Piano Pedagogy level.
Successful students will be awarded the Associate
Diploma in Piano Pedagogy if they meet the following
criteria:
Students must be at least 18 years old.
Students must have completed all three levels of the
Piano Pedagogy Certicate Program (Elementary,
Intermediate, and Advanced).
Students must have completed all the Associate
Diploma academic co-requisites.
The Advanced Piano Pedagogy level comprises three
parts: a performance assessment, a Viva Voce(oral)
assessment, and a written assessment.
The three parts may be completed in any order, in one
or more sessions. There is no time limit for completion.
Students who have passed the Associate Diploma in
Piano Performance may choose to be exempted from
the Repertoire section of the performance assessment.
The remaining sections of Part 1 must be taken during
the same session as the Part 2: Viva VoceAssessment
and within ve years of the date of the Associate
Diploma in Piano Performance assessment.
Honors 7079
Pass 70 in each section of Part 1 (Repertoire, Technical
Requirements, Musicianship Requirements)
Ad van ce d P ian o P e d ago g y
109
Advanced Piano Pedagogy Requirements Marks
Part 1 Performance Assessment 100
1 Repertoire
one Prelude and Fugue by J.S. Bach chosen from List A of the Level 10 or Associate Diploma in Piano
Performance Repertoire List
oneselection from the Level 9 Repertoire Lists
oneselection from the Level 10 Repertoire Lists
twoselections from the Associate Diploma in Piano Performance Repertoire Lists
50 (pass =35)
Technical Tests
Major keys: all
Minor keys: all
staccatoscales
scales separated by 3rds, 6ths, and 10ths
chromatic scales
scales in octaves
tonic arpeggios
oneexercise of students choice, see p. 113
20 (pass =14)
Aural Skills
Meter
Intervals
Chords
Playback
Reading Skills
Playing
Clapping
30 (pass =21)
15 (pass =10.5)
(2)
(5)
(4)
(4)
15 (pass =10.5)
(4 +4 +4)
(3)
Part 2 Viva Voce Assessment (45 minutes) 100 (pass =70)
Discussion of general pedagogical topics and the professional studio
Teaching rhythm, technique, musicianship, and other essential skills
Performance of selections from the Teaching Repertoire Sample
Detailed pedagogical discussion of selections from the Teaching Repertoire Sample
25
25
25
25
Part 3 Written Assessment (3 hours) 100 (pass =70)
Discussion of general pedagogy, the professional studio, technique, artistry, and other essential skills.
The Teaching Repertoire Sample for this level must be chosen from the PianoSyllabus, 2008 Edition.
Academic Requirements
Counterpoint
Advanced Harmony or Advanced Keyboard Harmony
Analysis
Advanced Rudiments
Intermediate Harmony or Intermediate Keyboard Harmony
Part 1 Performance Assessment
1 Repertoire
Students must prepare vecontrasting selections from the
following list of sources. Memorization is encouraged but
not required. The students assessment program should
include selections from each of Lists A, B, C, D, and E.
One total mark will be awarded for the performance of the
Repertoire section.
onePrelude and Fugue by J.S. Bach from List A of
Level 9, Level 10, or Associate Diploma in Piano
Performance
oneselection from Level 9 repertoire
oneselection from Level 10 repertoire
twoselections from the Associate Diploma in Piano
Performance repertoire
Technical Tests
110
valu e s
HT
4 octaves
,

=120
Staccato B
,
, E
,
, A
,
, D
,
, G
,
major
B
,
, E
,
, G
, C
, F
, F, B minor (harmonic and

melodic)
HT
3 octaves
,

=120
Separated by a 3rd A
,
, A, B
,
, B, major HT
4 octaves
,

=104
Separated by a 6th C, D
,
, D, E
,
, major HT
4 octaves
,

=104
Separated by a 10th E, F, G
,
,

G major HT
4 octaves
,

=104
Formula Pattern B
,
, E
,
, A
,
, D
,
, G
,
major
B
,
, E
,
, G
, C
, F
, F, B minor (harmonic)
HT
4 octaves
,

=120
4 octaves
,

=120
Scales in Octaves
blocked staccato
B
,
, E
,
, A
,
, D
,
, G
,
major
B
,
, E
,
, G
, C
, F
, F, B (harmonic and melodic)

HT
2 octaves
,

=84
blocked staccato
2 octaves
,

=104
valu e s
Tonic Four-Note Chords
broken
all keys HT
2 octaves
(ending with Iviii
6
5
I
6
4
V
7
I chord
progression)
,

=120
blocked ,
=120 , ,
,

=104
Dominant 7th
broken
all keys HT
2 octaves
,

=120
blocked , =120 , ,
,

=104
Diminished 7th
broken
all minor keys HT
2 octaves
,

=120
blocked , =120 , ,
,

=104
valu e s
Tonic all keys HT
4 octaves
root position and inversions, either
individually or in sequence beginning
in root position or in any inversion
,

=92
Dominant 7th
Diminished 7th all minor keys
E xe rci se s K e ys P laye d T e m p o N o te
valu e s
Students must prepareone exercisefromthefollowing list.
Modal Scales
Supertonic (Dorian)
Mediant (Phrygian)
Subdominant (Lydian)
Dominant (Mixolydian)
beginning on different scale degrees of
A, D
,
, E
,
major
HT
4 octaves
,

=100
Double 3rd Scales, legato D, A
,
major
A, D minor (harmonic)
HT
2 octaves
,

=60
Tonic Arpeggios Beginning at
the 6th or 10th
C, D, A
,
major
C, D, G

minor
6th: RH begins tonic, LH begins mediant
10th: RH begins mediant, LH begins
tonic
4 octaves
,

=80
Arpeggio Sequence
Ii
,
VI
6
vi
6
IV
6
4iv
6
4I
beginning and ending on C or F HT
4 octaves
,

=80
Chromatic Scales in Octaves,
blocked legato
2 octaves
,

=72
K e ys fo r Ad van ce d P i an o P e d ago g y: all major keys; all minor keys
111
Examples of Exercises
S cale b e gi n n n i n g o n th e S u p e rto n i c ( o f A m ajo r D o ri an M o d e ( b e gi n n i n g o n B ) ( to b e p laye d fo u r o ctave s)
S cale b e gi n n i n g o n th e M e d i an t ( o f A m ajo r P h rygi an M o d e ( b e gi n n i n g o n C
( to b e p laye d fo u r o ctave s)
S cale b e gi n n i n g o n th e S u b d o m i n an t ( o f A m ajo r Lyd i an M o d e ( b e gi n n i n g o n D ) ( to b e p laye d fo u r o ctave s)
S cale b e gi n n i n g o n th e D o m i n an t ( o f A m ajo r M i xo lyd i an M o d e ( b e gi n n i n g o n B ) ( to b e p laye d fo u r o ctave s)
D o u b le 3rd S cale s, legato
112
To n ic Arp e ggio s B e gi n n i n g at th e 6th
To n ic Arp e ggio s B e gi n n i n g at th e 1 0th
Arp e ggio S e q u e n ce b e gi n n i n g an d e n d i n g o n C , two o ctave s sh o wn ; wh e n p layi n g th e fo u r-o ctave ve rsio n , asce n d fo u r
o ctave s i n e ach ke y b e fo re d e sce n d i n g)
C h ro m atic S cale s i n O ctave s, b lo cke d legato
113
3 Musicianship
Aural Skills
M e te r
Students will be asked to identify the time signature of
a four-measure passage. The adjudicator will play each
passage once.
Time Signatures
_

_
I n te rvals
or
any interval within a major
9th
any interval within the octave
C h o rd s
Students will be asked to identify the chords used in a
four-measure phrase. The adjudicator will play the tonic
chord onceand the phrase twiceat a slow to moderate
tempo. During the second playing, the student will name
each chord after it is played.
The phrase will be in a major key and will begin with a
tonic chord.
The phrase may include chords built on the rst,
second, fourth, fth, and sixth degrees of the scale.
The nal cadence may contain a cadential six-four chord
and/or a dominant 7th chord.
Example only
P layb ack
Students will be asked to play back a two-part phrase
of approximately three measures in a major key. The
adjudicator will name the key, play the tonic chord once,
and play the two-part phrase threetimes.
Example only
Reading Skills
P layi n g
Students will be asked to play threepassages at sight:
Two passages will be approximately equal in difculty
to Level 8 repertoire.
One passage will be a piece of simulated Level 3
teaching repertoire. Students are expected to
demonstrate musical features through articulate playing
meant to inspire a Level 3 student to learn this piece.

C lap p i n g
expected.
Example only
The Senior Musicianship assessment can be substituted
for the Musicianship section of the Advanced Piano
Pedagogy assessment (see p. 121).
I m p ro ve an Ad van ce d P ian o P e d ago g y P art 1
asse ssm e n t m ark
In order to improve an overall mark, students may take
oneSupplemental Assessment in Part 1. Please note
that Supplemental Assessments are not available for the
Repertoire section of the assessment or for Part 2 or
Part 3. Supplemental Assessments are available for for the
Technical Requirements and Musicianship sections of the
Advanced Piano Pedagogy performance assessment only:
Students must achieve a minimum of 70 percent in the
Repertoire section to be eligible for a supplemental
assessment.
Supplemental assessments must take place within two
years of the original assessment, during the regularly
scheduled assessment period.
114
Students must prepare a balanced program of thirteen
repertoire selection must be memorized. Etudes should
demonstrate specic technical issues at the advanced level.
Students may choose selections from Repertoire and
Etudes for Levels 7, 8, 9, and 10 listed in the Piano
Syllabus, 2008 edition. Oneof the etude selections may be
chosen from the Popular Selection List.
Discuss teaching approaches for the chosen selections.
Discuss technical exercises, reading skills, and aural
skills materials suitable for Levels 7, 8, 9, and 10.
L e ve l R e p e rto i re E tu d e s*
Level 7** twocontrasting selections oneetude
Level 10** threecontrasting selections
including a Prelude and Fugue by
J.S. Bach and a List E piece.
(Students may substitute the Level
10 Prelude and Fugue with an
Associate Diploma Prelude and
Fugue.)
oneetude
* Please note that one etude may be chosen from the
Popular Selection List.
** All List designations (List A, B, etc.) must be represented
including one sonata-form movement from Level 9 or 10.
Advanced Piano Pedagogy Assessment Topics
Students should be prepared to discuss the following topics
with reference, as appropriate, to their chosen Teaching
Repertoire Sample. An understanding of elementary- and
intermediate-level pedagogy is also required.
planning and structure as applied to lessons,
practicing, and long-term objectives
development of diagnostic skills and strategies for
addressing learning and performance challenges at the
advanced levels
practice techniques and time management
motivating students
fostering critical listening
characteristics of different musical genres (for
example, fugues, sonatas)
stylistic characteristics of the signicant composers and
historical periods encountered in the advanced levels
developing musicianship skills including integrating
reading skills, advanced aural skills, improvisation,
and academic studies into the learning process
memorization techniques for advanced repertoire
basics of studio management
studio resource materials, including complementary
teaching technology such as software, Internet
resources, and digital keyboards
editions of music and other publications related to
pedagogy
teaching materials suitable for the advanced levels
(including solo repertoire, ensemble works, concerti,
and etudes) with an emphasis on the major style
periods of keyboard music: Baroque, Classical,
Romantic, Post-Romantic, and 20th and 21st centuries,
popular, and jazz
opportunities for professional development
Te ch n iq u e
understanding of basic physiology involved in
developing a healthy technique and preventing injury
materials and exercises to promote technical
development
ongoing development of facility, agility, and control
relevant physical approaches to tone production
practice strategies for solving technical problems
advanced-level scales, chords, arpeggios, and octaves
Arti stry
nurturing the ongoing development of imagination
and creativity
developing interpretive insight, character, condence,
and communication in performance
awareness of historical performance practice including
ornamentation, articulation, tone production,
dynamics, and tempo
interpreting 20th- and 21st-century notational symbols
artistic pedaling
relationship of formal structure and harmonic
language to interpretation and appreciation of music
Students will be asked to discuss approaches to teaching
a given repertoire selection by answering questions on
specic pedagogical issues.
Students will also be asked to edit the selection for
students by adding markings such as:
tempo and character indications
ngering
phrasing and articulation
dynamics
pedaling
realization of ornamentation
Assessment Sessions and Registration Deadlines
Exact dates and deadlines can be found online. Register early to avoid disappointment: late
registrations are subject to an additional fee and may be denied.
Online Registration
All registrations should be submitted using the online registration process.
visit www.MusicDevelopmentProgram.org and follow the instructions provided
payment informationVisa or MasterCard accepted
Register for an Assessment
Register for an Assessment
115
Assessment Regulations
Assessment Procedures
Students must be ready to perform at least fteen minutes before their scheduled time.
Pleasenotethat student assessment times cannot beexchanged.
Page turners and other assistants are not permitted in the assessment room. Waiting
areas are provided for parents, teachers, and assistants.
Warm-up rooms are not provided for piano students.
Photo ID may be requested before students are admitted to the assessment room.
Students should list all repertoire and etudes to be performed on the Assessment
Program Form and bring it to the assessment.
Students should bring all music to be performed to the assessment, whether or not
selections are memorized. Pleasenotethat photocopied musicis not permitted in theassessment
roomunless thestudent has a letter of permission fromthepublisher. (Please see Copyright and
Photocopying on p. 125.)
Recording devices are strictly prohibited in the assessment room.
The students performance may be interrupted at the adjudicators discretion when an
assessment has been reached.
Credits and Refunds for Missed Assessments
Credits and refunds are only granted under two specic conditions. Students who are unable
to attend an assessment for medical reasons or because of a direct time conict with a school
examination are eligible to request either a credit for the full amount of the assessment fee or
a 50 percent refund of the assessment fee.
Requests for credits or refunds must be made to the Music Development Program in writing
and accompanied by the following documentation:
for medical reasonsa physicians letter and the students assessment schedule
for direct time conicts with school examinationsa letter from a school ofcial on
school letterhead and the students Assessment Schedule
All re q u e sts m u st b e su b m itte d b y m ai l o r b y fa x with i n two we e ks fo llo wi n g th e
asse ssm e n t.
Students who, for any reason, are unable to attend an assessment should contact the Center
Representative listed on their Assessment Schedule immediately.
Assessment Credit
A credit may be applied to the fee of a future assessment. Credits are valid for oneyear
from the date of the original scheduled assessment.
Credits can be redeemed when the student registers for their next assessment. The credit
will be automatically applied during the online registration process.
Fee Refund
Students who cannot redeem a credit within a year may apply instead for a 50 percent
refund of the assessment fee.
R e q u e sts fo r re fu n d s o r cre d its m u st b e m ad e to th e M u sic D e ve lo p m e n t P ro gram i n
writi n g an d acco m p an ie d b y th e n e ce ssary d o cu m e n tatio n se e ab o ve ) . All requests must be
submitted within twoweeks following theassessment by mail or by fax.
116
117
Students with Special Needs
Students with special needs should submit a Special Needs Request Formby mail or
fax to the Music Development Program Ofceas soon as possible before the application
deadline. Each case will be assessed individually.
S tu d e n ts m ay re ce i ve h e lp i n an d o u t o f th e asse ssm e n t ro o m i f re q u i re d . P le ase n o te
th at h e lp e rs m u st re m ai n i n th e waiti n g are a d u ri n g th e actu al asse ssm e n t.
Assessment Results
Students and teachers can access assessment results online within six weeks of the
assessment:
Go to www.MusicDevelopmentProgram.org
P le ase n o te th at re su lts wi ll n o t b e m ai le d o r gi ve n b y te le p h o n e .
Interpreting Assessment Results
All students may access their ofcial results (including adjudicators comments) online
four to six weeks after the assessment. The adjudicators report explains in general terms
how the nal mark was calculated. It is intended to assist students in their future musical
development. Please note that the mark reects the adjudicators evaluation of the
students performance during the assessment. Assessment results do not reect a students
previously demonstrated abilities or potential for future development. Appeals on performance
assessments will not beconsidered.
Honors 7079
Pass (Levels 1 to 10) 60
Pass (Associate Diploma in Piano Performance) 70
Pass (Associate Diploma in Piano Pedagogy) 70 percent in each section
Marking Criteria
F i rst C lass H o n o rs wi th D i sti n cti o n : 90 1 00
Only truly exceptional students achieve this standing. Students must demonstrate complete
technical command and perform with a condent, masterful style. These students clearly
demonstrate an authentic personal performance spark.
F i rst C lass H o n o rs: 85 89
Students present a truly engaging and intelligent performance, displaying technical polish
and nesse, denite and apt characterization, and a sense of spontaneity.
F i rst C lass H o n o rs: 80 84
Students are technically solid and demonstrate sensitivity, intelligence, and talent. They
are well prepared and able to execute the assessment requirements thoughtfully and
condently.
H o n o rs: 70 79
Students exhibit thorough and careful preparation and demonstrate some interpretive skills.
Repertoire is presented with overall command and accuracy. There is awareness and general
security in technical elements.
Prep-
aratory
AB
Level
1
Level
2
Levels
35
Levels
67
Levels
89
Level
10
Associate
Diploma
in Piano
Performance
Elementary Inter-
mediate
Advanced
Repertoire 60 50 50 50 50 56 56(39) 100
Level 9
Certicate
Level 10
Certicate
50
(pass = 35)
List A 20 (2) 18 18 18 18 16 (1.5) 12 (1.5) 20
List B 20 (2) 18 18 18 18 16 (1.5) 14 (1.5) 25
List C 20 (2) 14 14 14 14 12 (1) 10 (1) 15
List D - - - - - 12 (1) 10 (1) 15
List E - - - - - - 10 (1) 15
Concert Etudes - - - - - - - 10
Memory - 6 6 6 6 - - - -
Technical
Requirements
20 24 24 24 24 24 24(17) - 20
(pass = 14)
Etudes - 12 12 6 +6 6 +6 6 +6 6 +6 - -
Technical Tests 20 12 12 12 12 12 12 - 20
Aural Skills 10 10 10 10 10 10 10(7) - 15
(pass = 10.5)
Meter - - - - - - - - 2
Rhythm 5 5 3 3 2 - - - -
Intervals - - 3 3 3 3 2 - 5
Chords - - - - 2 2 2 - 4
Cadences - - - - - 2 3 - -
Playback 5 5 4 4 3 3 3 - 4
Reading Skills 10 10 10 10 10 10 10(7) - 15
(pass = 10.5)
Melody 7 7 7 7 7 7 7 - 4 +4 +4
Rhythm 3 3 3 3 3 3 3 - 3
Totals 100 100 100 100 100 100 100 100
(pass = 70)

Viva Voce - - - - - - - -
General Topics 25 25 25
Essential Skills 25 25 25
Performance 25 25 25
Discussion 25 25 25
Totals 100
(pass =70)
100
(pass =70)
100
(pass =70)
Written - - - - - - - - 100
(pass =70)
100
(pass =70)
100
(pass =70)
Note: Figures in bold parentheses next to the total mark allotted for each section indicate the minimumnumber of marks required to receive 70 percent.
Figures in regular parentheses indicate marks awarded for memory.
Table of Marks
118
Improve an assessment mark
Students seeking to improve their overall mark at the Level 10 or Advanced Piano Pedagogy
levels may take a Supplemental Assessment.
Supplemental Assessments must occur within twoyears of the original assessment.
Supplemental Assessments are given during regular assessment sessions.
Students in Level 10 may repeat any twosections of a performance assessment.
To be eligible for a Supplemental Assessment in Level 10, students must achieve a
minimum mark of 65 overall and 70 percent in the Repertoire section.
Students in Advanced Piano Pedagogy may repeat any twosections of Part 1.
To be eligible for a Supplemental Assessment in Part 1 of Advanced Piano Pedagogy,
students must achieve at least 70 percent in the Repertoire section.
S tu d e n ts i n L e ve l 1 0 m u st co m p le te th e L e ve l 1 0 acad e m ic co -re q u i site s with i n ve ye ars
o f th e original performanceassessment, n o t any su b se q u e n t su p p le m e n tal asse ssm e n ts.
Musicianship Assessments
A musicianship assessment may replace the Musicianship section of a Level 8, 9, 10,
or Advanced Piano Pedagogy assessment. Please consult the website for assessment
requirements. The musicianship assessment must be taken at least one session beforethe
performance assessment.
Musicianship Level Performance Assessment Level
Junior Musicianship Level 8
Intermediate Musicianship Level 9
Senior Musicianship Level 10 and Advanced Piano
Pedagogy
Students who have completed a musicianship assessment should submit the following
documentation when registering for the corresponding performance assessment:
a photocopy of the musicianship assessment results
a letter requesting exemption from the musicianship section sections of the upcoming
performance assessment
Performance Assessment Certicates
Certicates are awarded to students who successfully complete the requirements for their
level.
Beginning in Level 5, certicates are awarded after the academic co-requisites for that level
have been successfully completed. Academic co-requisites must be completed within veyears
of the original performance assessment.
P le ase n o te th at Asso ciate D ip lo m as are award e d to stu d e n ts at th e an n u al C o nvo catio n
ce re m o ny.
School Credits
Assessment results can sometimes be used as a credit toward high school graduation or
toward college entrance. Students are advised to discuss the eligibility of their assessment
results with their school principal or guidance counselor.
119
Certicates of Excellence
Each academic year (September to August) Certicates of Excellence are awarded to
students who achieve exceptional assessment results. No application is required.
Assessment Repertoire
The Syllabus lists the repertoire eligible for assessments. Information given for each item
includes:
the composer
the larger work of which the selection is a part (where applicable)
the title of the selection
collections or anthologies in which the selection can be found (where applicable)
performance directions (where applicable) indicating the section(s) or movement(s) of a
work to be prepared
the publisher of a suggested edition (where applicable)
Names of publishers are indicated by an assigned abbreviation. Please see p. 127 for a list of
publishers and their respective abbreviations.
Da Capo Signs and Repeats
When performing repertoire at an assessment, da caposigns should be observed.
Repeat signs should ordinarily be ignored. However, repeats in repertoire from Celebration
Series Perspectives
should be observed if indicated in a footnote below the music.

Memory
In Preparatory A and Preparatory B, 2 marks for memorization are included in the
repertoire marks.
In Levels 1 to 7, memorization of repertoire is marked separately. Up to 2 marks will be
awarded for each repertoire selection that is played from memory.
In Levels 8 to 10, marks for memorization are included in the repertoire marks: 1.5 marks
are awarded for memory for each piece in Lists A and B; 1 mark is awarded for memory
for each piece in Lists C, D, and E.
For the Associate Diploma in Piano Performance, memorization is compulsory. Students
not playing from memory will receive comments only. Any selection played with the music
will receive a mark of zero.
In all levels, etudes need not be memorized, and no extra marks will be awarded for
memory.
In all levels, technical tests must be played from memory.
Fingering
Any appropriate ngering will be accepted for repertoire, etudes, and technical tests.
Syllabus Repertoire Lists
The Repertoire for each level (except Preparatory A and B) is divided into several lists,
according to stylistic period.
120
Editions
For many repertoire items, the Syllabus listing includes a suggested edition (indicated by an
assigned publisher abbreviation). These editions have been chosen for their quality or for
their availability in North America. When no publisher is indicated, students are encouraged
to use the best edition availablethe edition that most accurately reects the composers
intentions.
Editorial markings vary from one edition to another. Assessment marks will not be deducted
for altering these editorial suggestions as long as the resulting change is musically and
stylistically acceptable.
Availability
The Music Development Program has made every effort to ensure that most of the materials
listed in this Syllabus are in print and easily available at leading music retailers throughout
North America. However, please note that the publishing industry changes rapidly. Works go
out of print, and copyrights move from one rm to another.
121
Syllabus Repertoire Lists
Level List A List B List C List D List E List F
Levels 1 and 2 Baroque and
Classical
Repertoire
Romantic,
20th-, and
21st-century
Repertoire
Inventions
Levels 37 Baroque
Repertoire
Classical and
Classical-style
Repertoire
Romantic,
20th-, and
21st-century
Repertoire
Level 8 Baroque
Repertoire
Classical and
Classical-style
Repertoire
Romantic
Repertoire
Post-Romantic,
20th-, and
21st-century
Repertoire
Level 9 Baroque
Repertoire
Classical
Repertoire
Romantic
Repertoire
Post-Romantic,
20th-, and
21st-century
Repertoire
Level 10 Works of J.S.
Bach
Classical
Repertoire
Romantic
Repertoire
Post-Romantic
and Early
20th-century
Repertoire
20th- and
21st-century
Repertoire
Associate
Diploma
Works of J.S.
Bach
Sonatas Romantic
Repertoire
Post-Romantic
and Early
20th-century
Repertoire
20th- and
21st-century
Repertoire
Concert Etudes
122
Anthologies and Collections
If a repertoire selection is published in a collection of a composers music or in an anthology
containing music by a number of composers, the title of the collection or anthology is usually
included in the Syllabus listing. Individual selections may also be found in other sources. In
order to save space, the words volume and book have usually been omitted; a number
following a title indicates the number of the volume, book, or set number in which a selection
can be found (for example, Musicof Our Time, 2).
Celebration Series Perspectives
In order to ensure the ready availability of high-quality assessment materials, The Frederick
Harris Music Co., Limited has published Celebration Series Perspectives
. This series includes

eleven PianoRepertoirebooks (Preparatory to Level 10), ten PianoStudies / Etudes books (Levels
1 to 10), nine Student Workbooks (Preparatory to Level 8), the Answer Book for Student Workbooks,
Compact Discs for each level (Preparatory to Level 10), nine volumes of Technical Requirements for
Piano(Preparatory to Level 8), and the Handbook for Teachers, a resource book designed for use
with the series.
P i an o R e p e rto i re
The eleven Celebration Series Perspectives
Repertoirebooks serve as repertoire selections for

Preparatory B to Level 10. The PianoRepertoirebooks present an extensive sampling of styles
and composers covering a broad spectrum of piano music from four centuries, and are
suitable for assessments, recitals, competitions, and for enjoyment. The pieces in Levels 1 to
10 are organized according to the style periods listed in the Syllabus.
P i an o E tu d e s
The assessment requirements for Levels 1 to 10 include etudes. These etudes may be selected
from Celebration Series Perspectives
: PianoStudies / Etudes. The ten PianoStudies / Etudes books can be

used effectively as technique builders, for recitals or competitions, and for enjoyment.
S tu d e n t Wo rkb o o k s
The nine Student Workbooks from Celebration Series Perspectives
are companion volumes to the

PianoRepertoirebooks for the Preparatory level to Level 8. The Student Workbooks are written
for the student, using language and music terminology appropriate for students at each
level. Each Workbook contains a detailed discussion of each selection in the PianoRepertoire
album for that level and a glossary of terms.
An swe r B o o k fo r S tu d e n t Wo rkb o o k s
The Answer Book for Student Workbooks is a comprehensive answer book for Celebration Series
Perspectives
: Student Workbooks (Preparatory to Level 8). Teachers and parents will nd the
Answer Book a useful and convenient resource.
H an d b o o k fo r Te ach e rs
The Celebration Series Perspectives
: Handbook for Teachersby Cathy Albergo, Reid Alexander, and

Marvin Blickenstaff is a comprehensive teaching aid that organizes the material in the
PianoRepertoireand PianoStudies / Etudes books for optimum use in the teaching studio. In
addition to a detailed discussion of each selection in the PianoRepertoireand PianoStudies /
Etudes books, the Handbook for Teachers also includes suggestions for presenting and teaching
from start to nish, as well as a complete composer and works

index for the series.
R e co rd i n gs
includes compact disc recordings of the complete works from the

PianoRepertoireand PianoStudies / Etudes books (Preparatory to Level 10). The recordings may
be used by students as a reliable reference and inspiration for a polished performance, and
teachers will nd them an invaluable resource for style period performance practice.
Technical Requirements for Piano
The nine Technical Requirements for Pianobooks reect the technical requirements outlined in
the PianoSyllabus, 2008 Edition for the Preparatory level to Level 8. Summary charts provide a
123
helpful overview of the scales, chords, arpeggios, tempos, and note values for the required
keys for each level.
Popular Selection List
The Popular Selection List is an addendum to the PianoSyllabus. The Popular Selection List is a
compilation of non-classical pieces, carefully selected to suit each level of study for Levels
3 to 9. Students in Levels 3 to 9 may choose a work from the Popular Selection List for an
etude selection as outlined under Substitutions. Please note that students are advised
to use the edition of the chosen piece specied in the Popular Selection Listother editions
may not be accepted as appropriate. The Popular Selection List is also available online at
www.MusicDevelopmentProgram.org.
Copyright and Photocopying
Federal and international copyright laws prohibit the use of photocopies without the
permission of the publisher. The use of unauthorized photocopies for assessment purposes
constitutes copyright infringement as outlined in Title 17 of the United States Code. Additional
information about federal copyright law is available online through the US Copyright Ofce
at www.copyright.gov.
P le ase n o te th at p h o to co p ie d m u sic wi ll n o t b e p e rm itte d i n th e asse ssm e n t ro o m .
S tu d e n ts wh o b ri n g u n au th o ri ze d p h o to co p ie s to th e asse ssm e n t wi ll n o t b e e xam i n e d .
Students should bring all music to be performed to the assessment. Students who wish to
photocopy one page of a selection for the purpose of facilitating a page turn must do so
with permission from the publisher.
With this notice, The Frederick Harris Music Co., Limited grants permission to festival,
recital, and assessment participants to photocopy single pages from their publications to
facilitate a page turn.
Substitutions
As outlined in the chart below, students may make substitute selections for their
assessment. If approval is required, students must submit an Assessment SubstitutePiece
Request (available online) by the Assessment Registration deadline. Students are advised
to prepare an alternate work in case the request is denied.
Students Choice
A selection of the Students Choice may be substituted for an etude in Levels 1 to 10. The
students choice selection must be of equal difculty and musical quality to the required
works in that level. The Students Choice selection should not exceed the normal time
allotted for an etude, according to the level. (For example, at the earliest levels, the Students
Choice selection should be shorter than one minute.)
In Level 9, a selection of the Students Choice may be substituted for a piece from List D or
an etude. In Level 10 a selection of the Students Choice may be substituted for from List D,
or List E, or an etude. For the Associate Diploma in Piano Performance, a selection of the
Students Choice may be substituted for a piece from List D or List E.
For Levels 9 to Associate Diploma, the substitute repertoire selection (List D or E) must be
of equal difculty, length, and musical quality to works in the syllabus for that level, and it
must be from the same historical style period. The mark for performance of this selection
will include an assessment of the appropriateness of the choice. For this reason, the Music
Development Program will not answer questions or give advice regarding Students Choice
substitutions.
Judgment shown in choosing an appropriate Students Choice selection will be considered
in the marking.
Students should clearly indicate Students Choice on the Assessment Program Form.
124
Total
Substitutions
Permitted
Requires
Prior Approval
Does Not Require
Prior Approval
Repertoire
Substitution
Repertoire
Substitution
Etude
Substitution
Levels 12:
one
Repertoire selection
or
one
Etude
comparable in style
and difculty to the
corresponding List A
or B
or
corresponding List of the next
highest level
(except Level 2 List C) or
Oneetude from next highest level
or
Levels 38:
one
or
one
Etude
Levels 37:
comparable in style
and difculty to the
or C
Level 8:
comparable in style
and difculty to the
C, or D
or
corresponding List of the next
highest level
or
Oneetude from next highest level
or
or
Selection List
Level 9:
one
or
one
Etude
comparable in style
and difculty to the
or C
or
corresponding List of Level 10
or
OneStudents Choice
selection may replace a piece
from List D
or
or
Selection List
Level 10:
one
and/or
one
Etude
comparable in style
and difculty to the
or C
(including two
movements of a Sonata
from List B of the
Associate Diploma in
Piano Performance)
or
corresponding List of the
Performance
(including a complete
Sonata from List B of the
Performance)
or
OneStudents Choice
from List D or E
and/
or
Oneselection from the Concert
Etudes List of the Associate
Diploma in Piano Performance
Associate Diploma
in Piano
Performance:
one
comparable in style
and difculty to the
or C
or
OneStudents Choice
from List D or E
Substitutions
125
Abbreviations
Names of Publishers
The following abbreviations identify publishers listed
throughout the Syllabus. When no publisher or edition
is indicated for a specic piece, the work is available in
several standard editions. For more information, please
see Assessment Repertoire on p. 122.
ABR Associated Board of the Royal Schools of Music
ALF Alfred Publishing Co., Inc.
ALK Alberta Keys Music Publishing (Calgary)
ANE Anerca
ARM A-Ram Moscow
AVO Avondale
B&H Boosey & Hawkes (London, New York)
BAR Brenreiter
BEL Belwin-Mills (Alfred Publishing Co., Inc.)
BER Berandol Music
BOS Bosworth
CAN Cantus
CFP Clifford Ford Publications
CHC Chanteclair Music
CHS J. & W. Chester Music
CMC available from the Canadian Music Centre
COM ditions Combe
CRA Cramer Music
DIA Diapason
DOB Doblinger
DOM Doberman
DOV Dover Publications
DUR Durand et Cie (Paris)
ECS ECS Publishing
EDW Edward Marks
ELK Elkin and Co.
EMB Editio Musica Budapest
ENO Enoch
ESC Max Eshig
FAI Fairbank Music
FHM The Frederick Harris Music Co., Limited
FIS Carl Fischer (New York)
FJH FJH Music Company
FOE Foetisch (Lausanne)
FOR Forsythe
GEN General Music Publishing
GVT Gordon V. Thompson (Alfred Publishing Co., Inc.)
HAL Hal Leonard Corporation
HEN Henle
HEU Heugel et Cie (Paris)
HIL Hildegard
HMP Heritage Music Press
HOM Homeland Press
HSN Hansen
INT International Music
JAY Jaymar
JCC John Church Company
KAL Kalmus
KAW Kawai
KJO Neil A. Kjos Music Company
KON Knemenn Music (Budapest)
LAG Lagos
LED Alphonse Leduc
LEE Leeds Music (Canada)
LEG Lengnick
LEM Lemoine
MAN Manduca
MAS Masters Music Publications
MAY Mayfair
MCA MCA Canada
MMB MMB Music
MYC Music for Young Children
MYK Myklass Press
NSM New School for Music Study Press
NOV Novello
OCE Oceanna Music
OTT B. Schotts Shne (Mainz)
OUP Oxford University Press
PER Peer International
PET Edition Peters (Frankfurt)
PLA Plangere Editions
PRE Theodore Presser
PWM Polskie Wydawnictwo Muzyczne Edition (Krakow)
RIC G. Ricordi (Milan)
S&B Stainer &Bell
SAL ditions Salabert
SCH G. Schirmer (New York)
SHA Shawnee
SIK Sikorski
SIM Simrock
SON Sonic Art
STU Studea Musica
SUM Summy-Birchard (Alfred Publishing Co., Inc.)
SWA Swan House
TIM Time Art
TRG Trigram Music
UNI Universal Edition
WAR Warner Bros. Publications
WAT Waterloo Music Co.
WIE Wiener Urtext
WIL Willis Music
WIM Wimbleton Music
YOR Yorktown Music Press
ZAN Zanibon
Other Abbreviations and Symbols
8ve octave
arr. arrangement/arranged by
attr. attributed to
bk book
ed. edition/edited by
HS hands separately
HT hands together
no. number
[OP] out of print
op. opus
p. page
rev. revised
trans. translated by
vol. volume
represents one selection for assessment purposes
parts or sections of works to be performed at
assessments

Series Perspectives
Thematic Catalogs
Opus Numbers and Catalog Numbers
Opus (op.) is a term used with a number to designate the position of a given work in the
chronological sequence of works by the composer. However, these numbers are often an
unreliable guide, and may have been assigned by a publisher rather than the composer.
Sometimes a single work will have conicting opus numbers. Certain genres, such as operas
and other vocal works, were not always assigned opus numbers. For these reasons, individual
works by a number of composers are identied by numbers assigned in scholarly thematic
catalogs. A number of the more important thematic catalogs are listed below.
Carl Philipp Emanuel Bach
Works by C.P.E. Bach are often identied by Wq and/or H (Helm) numbers (for example,
Morceaux divers pour clavecin, Wq 117/39, H 98). Alfred Wotquenne (18671939) was a Belgian
music bibliographer and author of Thematisches Verzeichnis der Werkevon Carl Philipp Emanuel
Bach (Leipzig, 1905, revised 1964). Eugene Helm is an American musicologist and author of
A ThematicCatalogueof theWorks of C.P.E. Bach (New Haven: Yale University Press, 1989).
Johann Sebastian Bach
Works by J.S. Bach are identied by BWV numbers (for example, Allemande in G Minor,
BWV 836). BWV is the abbreviation for Bach-Werke-Verzeichnis, the short title of the Thematisch-
systematisches Verzeichnis der musikalischen Werkevon Johann Sebastian Bach (Leipzig, 1950), a
thematic catalog of Bachs complete works originally compiled by the German music
librarian Wolfgang Schmieder.
Ludwig van Beethoven
Works published during Beethovens lifetime were given opus numbers. In the thematic
catalog of Beethovens works, Das Werk Beethovens (Munich and Duisburg, 1955, completed by
H. Halm), compiled by German musicologist Georg Ludwig Kinsky (18821951), works which
were published posthumously were designated WoO (see below).
George Frideric Handel
Works by George Frideric Handel are identied by HWV numbers (for example, Gavotte in
G Major, HWV 491). HWV is an abbreviation for Handel WerkeVerzeichnis. The full title for this
thematic catalog, compiled by Margaret and Walter Eisen, is Hndel-Handbuch, gleichzeitig Suppl.
zu HallischeHndel-Ausgabe(Kassel: Brenreiter, 19781986).
Franz Joseph Haydn
Works by Haydn are identied by Hoboken numbers (for example, Sonata in D Major, Hob.
XVI:37). Anthony van Hoboken was a Dutch musicologist. His thematic catalog, Joseph Haydn:
Thematisch-bibliographisches Werkverzeichnis (Mainz, B. Schott, 19571971) divides Haydns works
into a number of categories that are indicated by Roman numerals.
Wolfgang Amadeus Mozart
Works by Mozart are identied by K numbers (for example, Sonata in C Major, K 545). K
stands for Kchel Verzeichnis, rst published in 1862. Ludwig Ritter von Kchel (18001877) was
an Austrian professor of botany who devoted his retirement years to collecting all the known
works by Mozart. He created a chronological catalog in which these works are listed and
numbered.
Henry Purcell
Works by Henry Purcell are identied by Z numbers (for example, Minuet in G major,
Z 651). These numbers were assigned by Franklin B. Zimmerman in his thematic catalog of
Purcells works, Henry Purcell: An Analytical Catalogueof his Music(London: MacMillan, 1963).
126
127
Thematic Catalogs
127
Domenico Scarlatti
Works by Scarlatti are usually identied by two numbers, one beginning with L and one
beginning with K. The L numbers are from Operecompleteper cavicembalo(Milan: Ricordi,
19061908), compiled by Alessandro Longo. LS refers to the Longo Supplement. K stands
for Ralph Kirkpatrick, an American harpsichordist and scholar who provided a revised and
more exact chronology and a new numbering system for the sonatas in his book Domenico
Scarlatti (Princeton: Princeton University Press, 1953, rev. 1968).
Franz Schubert
Works by Schubert are identied by Deutsch numbers (for example, Waltz in A Flat, op. 9,
no. 12, D 365). These numbers were assigned by Otto Erich Deutsch (18831967) in his
thematic catalog of Schuberts works, Thematisches Verzeichnis seiner Werkein chronologischer Folge
(NeueSchubert AusgabeSerie VIII, Bd. 4, Kassell, 1978).
Georg Philipp Telemann
Works by Telemann are identied by TWV numbers (for example, Fantasia in D Minor,
TWV 33:2). TWV is an abbreviation for Telemann Werkverzeichnis. This thematic catalog
Thematischer-Systematisches Verzeichnis seiner Werke: Telemann Werkverzeichnis (Kassel: Brenreiter,
1984)was compiled by Martin Runke.
Anhang
Some catalog numbers include the prex Anh. (for example, BWV Anh. 121). Anh. is an
abbreviation for Anhang, a German word meaning appendix or supplement.
WoO
Some catalog numbers include the prex WoO (for example, WoO 63). WoO is an
abbreviation for Werk ohneOpuszahl (work without opus number). These numbers are used to
designate works for which the composer did not assign an opus number.
Resources
The following texts are useful for reference, teaching, and assessment preparation. No single
text is necessarily complete for assessment purposes, but these recommended reading and
resource lists are an indispensable source of:
teaching techniques for ages and abilities
tips for interpretation of repertoire
tools for better reading skills
advice on fostering talent in young people
General Resources
: Compact Discs. 15 compact discs (PreparatoryLevel 10).

Toronto, ON: The Frederick Harris Music Co., Limited, 2008.
: Handbook for Teachers. Toronto, ON: The Frederick Harris Music

Co., Limited, 2008.
: PianoStudies / Etudes. 10 vols. (Levels 110). Toronto, ON:

The Frederick Harris Music Co., Limited, 2008.
: PianoRepertoire. 11 vols. (PreparatoryLevel 10). Toronto, ON:

: Student Workbooks. 9 vols. (PreparatoryLevel 8). Toronto, ON:

Popular Selection List
Popular Selection List. Toronto, ON: The Frederick Harris Music Co., Limited, published bi-
annually.
Also available online at www.MusicDevelopmentProgram.org.
Aural Skills and Reading Skills
Berlin, Boris, and Andrew Markow. Ear Training for Practical Examinations: Melody Playback/
Singback. 4 vols. (Levels 1Associate Diploma). Toronto, ON: The Frederick Harris Music
Co., Limited, 19861988.
Berlin, Boris, and Andrew Markow. Ear Training for Practical Examinations: RhythmClapback/
Singback. 3 vols. (Levels 17). Toronto, ON: The Frederick Harris Music Co., Limited,
19891991.
Berlin, Boris, and Andrew Markow. Four Star Sight Reading and Ear Tests. Ed. Scott McBride
Smith. 11 vols. (IntroductoryLevel 10). Toronto, ON: The Frederick Harris Music Co.,
Limited, 2002.
Braaten, Brenda, and Crystal Wiksyk. Sound Advice: Theory and Ear Training (Levels 18) (online
audio tracks at www.soundadvicedirect.com). Toronto, ON: The Frederick Harris Music
Co., Limited, 20052006.
Finn, Cheryl and Eamonn Morris. Perfection Ear: Ear Training PracticeSets. 11 compact discs
(IntroductoryLevel 10). Toronto, ON: The Frederick Harris Music., Limited, 1997.
Schlosar, Carol. ComprehensiveEar Training, Professional Series: Exercises Based on theExamination
Requirements of TheRoyal Conservatory of Musicand National MusicCerticateProgram. 10 vols.
(Levels 1Associate Diploma ) (book with CD or MIDI). Toronto, ON: The Frederick Harris
Music Co., Limited. First published Sicamous, BC: Keystroke Publishing, 1993.
Schlosar, Carol. ComprehensiveEar Training: Student Series. 11 compact discs (Levels 1
Associate Diploma). Toronto, ON: The Frederick Harris Music Co., Limited. First published
Sicamous, BC: Keystroke Publishing, 1998.
Resources
128
Resources
129
Ofcial Academic Assessment Papers
TheRoyal Conservatory Examinations Ofcial Examination Papers. 15 vols. Toronto, ON: The
Frederick Harris Music Co., Limited, published annually.
Basic Rudiments
Intermediate Rudiments
Advanced Rudiments
Introductory Harmony
Basic Harmony
Basic Keyboard Harmony
Intermediate Harmony
Intermediate Keyboard Harmony
Counterpoint
Advanced Harmony
Advanced Keyboard Harmony
Analysis
Piano Pedgogy Written
General Reference Works
Burkolder, J. Peter, Donald J. Grout, and Claude V. Palisca. A History of Western Music. 7th ed.
New York, NY: Norton, 2005.
Donnington, Robert. TheInterpretation of Early Music. Rev. ed. London: Faber, 1989.
Kallmann, Helmut, Gilles Potvin, and Kenneth Winters, eds. Encyclopedia of Musicin Canada.
2nd ed. Toronto, ON: University of Toronto Press, 1992; available online at
www.thecanadianencyclopedia.com
Kamien, Roger. Music: An Appreciation. 9th ed. New York, NY: McGraw-Hill, 2008.
Latham, Alison, ed. TheOxford Companion toMusic. Oxford: Oxford University Press, 2002.
Machlis, Joseph and Kristine Forney. TheEnjoyment of Music. 10th ed. New York, NY: Norton,
2007.
Randel, Don Michael, ed. TheHarvard Biographical Dictionary of Music. Cambridge, MA:
Harvard University Press, 1996.
Randel, Don Michael, ed. TheHarvard Dictionary of Music. 4th ed. Cambridge, MA: Belknap
Press of Harvard University Press, 2003.
Sadie, Stanley, ed. TheNewGroveDictionary of Musicand Musicians. 2nd ed. 29 vols. London:
Macmillan, 2001. Also available online.
Slonimsky, Nicolas, editor emeritus. Bakers Biographical Dictionary of Musicand Musicians.
Centennial ed. 6 vols. New York, NY: Schirmer, 2001.
Stolba, K. Marie. TheDevelopment of Western Music: A History. 3rd ed. New York, NY: McGraw-
Hill, 1997.
Keyboard Resources
Reference Books
Bach, Carl Philipp Emanuel. Essay on theTrueArt of Playing Keyboard Instruments. Trans.
William J. Mitchell. New York, NY: Norton, 1949.
Ferguson, Howard. Keyboard Interpretation fromthe14th tothe19th century: An Introduction. New
York, NY: Oxford University Press, 1975.
Gillespie, John. FiveCenturies of Keyboard Music: An Historical Survey of Musicfor Harpsichord and
Piano. New York, NY: Dover, 1972.
Gordon, Stewart. A History of Keyboard Literature: Musicfor thePianoand Its Forerunners. New
York, NY: Schirmer, 1996.
Hinson, Maurice. GuidetothePianists Repertoire. 3rd ed. Bloomington, IN: Indiana University
Press, 2001.
Hinson, Maurice. ThePianists Dictionary. Bloomington, IN: Indiana University Press, 2004.
Iliffe, Francis. Bachs 48 Preludes and Fugues Analysed for Students. 2 vols. London: Novello,
[n.d.].
Resources
Lloyd-Watts, Valery, Carole L. Bigler, and Willard A. Palmer. Ornamentation: A Question and
Answer Manual. Van Nuys, CA: Alfred Publishing Co., Inc., 1995.
Magrath, Dorothy Jane. ThePianists GuidetoStandard Teaching and PerformanceLiterature. Van
Nuys, CA: Alfred Publishing Co., Inc., 1995.
Rosenblum, Sandra P. PerformancePractices in ClassicPianoMusic: Their Principles and Applications.
Bloomington, IN: Indiana University Press, 1988.
Tovey, Donald Francis. A Companion totheBeethoven PianoforteSonatas. New York, NY: AMS
Press, 1976. First published London: Associated Board of the Royal Schools of Music,
1931.
Technique
Bastien, James. MagicFinger Technique. 3 vols. San Diego, CA: Neil A. Kjos Music Company.
First published Park Ridge, IL: General Words and Music, 1966.
Burnam, Edna Mae. Dozen a Day. Cincinnati, OH: Willis Music, 2003. First published 1950.
Czerny, Carl. Selected PianoStudies Arranged in SystematicOrder. Ed. Heinrich Germer. 2 vols.
Boston, MA: Boston Music, 1944.
Dohnnyi, Ern. Essential Finger Exercises for Obtaining a SurePianoTechnique. Budapest: Editio
Musica Budapest, 1929.
Hanon, Charles-Louis. TheNewHanon / Lenouveau Hanon. Ed. Boris Berlin. Rev. ed. Toronto,
ON: The Frederick Harris Music Co., Limited, 1995.
Hanon, Charles-Louis. TheVirtuosoPianist / Lepianistevirtuose. Ed. Healey Willan. Toronto, ON:
Hutcheson, Ernest. TheElements of PianoTechnique. Cincinnati, OH: Willis Music, 1967.
Last, Joan. FreedomTechnique: ThreeBooks of Exercises and Studies for Piano. Oxford: Oxford
University Press, 1971.
Loth, John Ferris. Beginners Scales and Chords for Piano. Waterloo, ON. Waterloo Music, 1946.
TheRoyal Conservatory of MusicPianoTechniqueBook, 2008 Edition. Toronto, ON: The Frederick
Harris Music Co., Limited, 2008.
Scales, Chords, and Arpeggios for Piano: TheBrown ScaleBook. Toronto, ON: The Frederick Harris
Music Co., Limited, 2002. First published 1948.
Schmitt, Aloys. FiveFinger Exercises / Exercices pour les cinq doigts, op. 16. Ed. Healey Willan.
Technical Requirements for Piano. 9 vols. (PreparatoryLevel 8). Toronto, ON: The Frederick Harris
Music Co., Limited, 2008.
Performance
Banowetz, Joseph. ThePianists GuidetoPedaling. Bloomington, IN: Indiana University Press,
1985.
Bernstein, Seymour. Twenty Lessons in Keyboard Choreography: TheBasics of Physical Movements at the
Piano. New York, NY: Seymour Bernstein Music, 1991.
Bowen, York. Pedalling theModern Pianoforte. London: Oxford University Press, 1936.
Faricy, Katherine. ArtisticPedal Technique: Lessons for Intermediateand Advanced Pianists. Toronto,
ON: The Frederick Harris Music Co., Limited, 2004.
Fink, Seymour. Mastering PianoTechnique: A Guidefor Students, Teachers and Performers. Portland,
OR: Amadeus, 1992.
Lampl, Hans. Turning Notes intoMusic: An Introduction toMusical Interpretation. Lanham, MD:
Scarecrow Press, 1996.
Leimer, Karl, and Walter Gieseking. PianoTechnique. New York, NY: Dover, 1972.
Rosenblum, Sandra P. PerformancePractices in ClassicPianoMusic. Bloomington, IL: Indiana
Sandor, Gyorgy. On PianoPlaying: Motion, Sound and Expression. New York, NY: Schirmer;
London: Collier Macmillan, 1981.
Schnabel, Karl Ulrich. Modern Techniqueof thePedal. Milan: Edizioni Curci, 1954.
Siki, Bla. PianoRepertoire: A GuidetoInterpretation and Performance. New York, NY: Schirmer,
1990.
Taylor, Kendall. Principles of PianoTechniqueand Interpretation. Kent, England: Novello, 1981.
Whiteside, Abby. Indispensables of PianoPlaying. 2nd ed. New York, NY: Coleman-Ross, 1961.
130
Resources
131
Pedagogy
Agay, Denes, and Hazel Ghazarian Skaggs, eds. Teaching Piano: A ComprehensiveGuideand
ReferenceBook for theInstructor. New York, NY: Yorktown Music, 1981.
Albergo, Cathy, and Reid Alexander. IntermediatePianoRepertoire: A Guidefor Teaching. 4th ed.
Albergo, Cathy, Reid Alexander, and Marvin Blickenstaff. Celebration Series Perspectives
:
Handbook for Teachers. Toronto, ON: The Frederick Harris Music Co., Limited, 2008.
Baker-Jordan, Martha. Practical PianoPedagogy: TheDenitiveText for PianoTeachers and Pedagogy
Students. Miami, FL: Warner Bros., 2003.
Bastien, James W., and E. Gregory Nagode. HowtoTeach PianoSuccessfully. 3rd ed. San Diego,
CA: Neil A. Kjos Music Company, 1988.
Bernstein, Seymour. With Your Own TwoHands: Self-Discovery through Music. London: Collier
Macmillan; New York, NY: Schirmer, 1981.
Bloom, Benjamin S., ed. Developing Talent in Young People. New York, NY: Ballantine, 1985.
Bruser, Madeline. TheArt of Practicing: A GuidetoMaking MusicfromtheHeart. New York, NY: Bell
Tower, 1997.
Byman, Isabelle Yalkovsky. ThePianoTeachers Art: Guidelines for Successful Teaching. New York, NY:
Kenyon Publications; Schirmer, 1979.
Camp, Max W. Teaching Piano: TheSynthesis of Mind, Ear and Body. Van Nuys, CA: Alfred
Publishing Co., Inc., 1992.
Camp, Max W. Developing PianoPerformance: A Teaching Philosophy. Chapel Hill, NC: Hinshaw
Music Inc., 1981.
Chronister, Richard. A PianoTeachers Legacy: Selected Writings by Richard Chronister. Ed. Edward
Darling. Kingston, NJ: The Frances Clark Center for Keyboard Pedagogy, 2005.
Clark, Frances. Questions and Answers: Practical Solutions and Suggestions Given toQuestions
Commonly Asked by PianoTeachers. Northeld, IL: Instrumentalist Publishing, 1992.
Frisken, James, and Irwin Freundlich. Musicfor thePiano: A Handbook of Teaching and Concert
Material from1580 to1952. New York, NY: Dover, 1973. First published 1954.
Golay, Keith. Learning Patterns and Temperament Styles. Newport Beach, CA: Manas-Systems,
1982.
Jacobsen, Jeanine Mae. Professional PianoTeaching: A ComprehensivePianoPedagogy Textbook for
Teaching Elementary-Level Sudents. Ed. E.L. Lancaster. Van Nuys, CA: Alfred Publishing Co.,
Inc., 2006.
Kropff, Kris, ed. A Symposiumfor Pianists and Teachers: Strategies toDevelop theMind and Body for
Optimal Performance. Dayton, OH: Heritage Music Press, 2002.
Last, Joan. TheYoung Pianist: A NewApproach for Teachers and Students. 2nd ed. London: Oxford
Lyke, James, Yvonne Enoch, and Geoffrey Haydon. CreativePianoTeaching. 3rd ed. Champaign,
IL: Stipes, 1996.
Moss, Earle. Morethan Teaching: A Manual of PianoPedagogy. Miami, FL: Warner Bros. First
published Toronto: Gordon V. Thompson Music, 1989.
Ortmann, Otto. ThePhysiological Mechanics of PianoTechnique. New York, NY: Da Capo, 1981.
Reprint of 1929 edition.
Rubinstein, Beryl. Outlineof PianoPedagogy. New York, NY: Carl Fischer, 1929.
Rubinstein, Beryl. ThePianists Approach toSight Reading and Memorizing. New York, NY: Carl
Fischer, 1950.
Seroff, Victor. Common Sensein PianoStudy. New York, NY: Crescendo, 1977.
Shockley, Rebecca Payne. Mapping Musicfor Faster Learning and SecureMemory: A Guidefor Piano
Teachers and Students. Madison, WI: A-R Editions, 1997.
Uszler, Marienne. Play It Again, Sam: What, Why and When toRepeat. Fort Lauderdale, FL: FJH
Music, 2003.
Uszler, Marienne. Thats a Good Question: HowtoTeach by Asking Questions. Fort Lauderdale, FL:
FJH Music, 2003.
Uszler, Marienne. TimeFlies: HowtoMaketheBest Useof Teaching Time. Fort Lauderdale, FL: FJH
Music, 2004.
Uszler, Marienne, Stewart Gordon, and Scott McBride Smith. TheWell-Tempered Keyboard Teacher.
2nd ed. New York, NY: Schirmer, 2000.
Waterman, Fanny. On PianoTeaching and Performing. London: Faber, 1983.
Resources
Methods
Albergo, Cathy, J. Mitzi Kolar, and Mark Mrozinski. CelebratePiano!
: A ComprehensivePiano
Method. Toronto, ON: The Frederick Harris Music Co., Limited, 20032004.
Alexander, Dennis, Gayle Kowalchyk, E.L. Lancaster, Victoria McArthur, and Martha Mier.
Alfreds Premier PianoCourse. Van Nuys, CA: Alfred Publishing Co., Inc., 2005.
Balodis, Frances. Musicfor Young Children
. Kanata, ON: Music for Young Children, 20022005.

Bastien, James. Bastien PianoBasics. San Diego, CA: Neil A. Kjos Music Company, 1985.
Bates, Leon and Janet Vogt. PianoDiscoveries: Discovering theWorld of Musicat theKeyboard.
Dayton, OH: Heritage Music Press, 2001.
Berlin, Boris. TheABC of PianoPlaying. Rev. ed. Toronto, ON: The Frederick Harris Music Co.,
Limited, 1985.
Bianchi, Louise, Marvin Blickenstaff, and Lynn Freeman Olson. MusicPathways. New York, NY:
Carl Fischer, 1974, 1983.
Clark, Frances, Louise Goss, and Sam Holland. TheMusicTree: A Plan for Musical Growth at the
Piano. Miami, FL: Summy-Birchard Music, 2000. First published 1973.
Faber, Nancy and Randall Faber. PianoAdventures
: A BasicPianoMethod. Fort Lauderdale, FL:

The FJH Music Company Inc., 1993.
Kaplan, Leigh. Teaching LittleFingers toPlay More. Florence, KY: Willis Music, 1997.
Kreader, Barbara, Fred Kern, and Phillip Keveren. Hal Leonard Student PianoLibrary. Milwaukee,
WI: Hal Leonard Corporation, 1996.
Lethco, Amanda Vick, Morton Manus, and Willard A. Palmer. Alfreds BasicPianoLibrary. Van
Nuys, CA: Alfred Publishing Co., Inc., 19992000.
Suzuki, Shinichi. Suzuki PianoSchool. Rev. ed. Miami, FL: Summy-Birchard Music, 2000.
132
Frequently Asked Questions
133
Performance Assessments
What is a performance assessment?
A performance assessment is the test of repertoire, etudes, technique, aural skills, and
reading skills for instruments and voice.
How can I obtain permission to photocopy an out-of-print selection that I nd
in a library or receive from a teacher?
Contact the publisher to request permission to make an authorized photocopy. Contact
information for most publishers can be found online or obtained from a music retailer. Some
music retailers can obtain authorized photocopies through a special online service.
Can I photocopy a page of music to facilitate a page turn?
You may photocopy a single page once you have obtained permission from the publisher.
With this notice, The Frederick Harris Music Co., Limited grants permission to festival,
recital, and assessment participants to photocopy single pages from their publications to
facilitate a page turn.
How do I choose the best edition for a piece?
The best editions have minimal editorial markings. These editions, often called Urtext,
are available from most music retailers. If you are unsure about the best edition, ask your
music retailer for suggestions.
Should students follow repeat signs? Da capo markings?
Students should observe da capomarkings at an assessment performance. Repeat signs
should usually be ignored. However, repeat signs in the Celebration Series Perspectives

repertoire books should be observed if indicated in a footnote below the music.
Why are teachers and parents not allowed in the room during performance
assessments?
Performance assessments provide a unique opportunity for students to perform in a
highly focused, one-on-one environment, without distraction.
What is the Popular Selection List?
The Popular Selection List includes selections by popular artists and from current lms. The list
is revised every two years to ensure that selections remain current and readily available. The
Popular Selection List is also available online at www.MusicDevelopmentProgram.org.
Where can I nd recordings of assessment repertoire?
includes compact discs containing the repertoire and

etudes for each level from Preparatory to Level 10, performed by artists from The Royal
Conservatory. These CDs are available at music retailers.
What do I do if I have an emergency situation on the day of my assessment
and I need to cancel?
Contact your Assessment Center Representative listed on your Assessment Schedule by
phone as soon as possible.
What is an academic co-requisite?
An academic co-requisite is an assessment that must be completed before or within ve
years of the performance assessment if the student wishes to receive a certicate for the
performance assessment. Students are encouraged to begin academic studies as early as
possible.
Frequently Asked Questions
Frequently Asked Questions / Performance Assessment Day Checklist for Students
Where can I nd sample academic assessment papers?
Ofcial Examination Papers are published annually by Frederick Harris Music to aid with
assessment preparation. Each book includes actual academic assessments from previous
sessions plus an additional assessment created for extra practice. Editions for three
academic years are available at any given time and may be purchased from your local music
retailer.
134
Before you Leave Home
Plan to arrive 15 minutes early.
Complete your Assessment Program Form.
Bring original copies of all the music being performed in the assessment.
Mark the pieces being performed with a paper clip or a sticky note.
Wear proper shoes (pedaling, for example, can be difcult with some types of shoes).
Points to Remember
Bags and coats must be left in the waiting room.
There are no warm-up rooms for piano students.
Parents, other family members, friends, and teachers must wait in the designated waiting
area.
Standing and listening outside the assessment room door is prohibited.
Recording devices are strictly prohibited in the assessment room.
Photocopied music is prohibited (unless authorized by the publisher).
The performance of repertoire may be interrupted by the adjudicator. An interrupted
performance does not indicate a poor performance.
What to Expect from a Piano Assessment
A friendly yet professional atmosphere
The undivided attention of an adjudicator
An objective assessment of your performance of repertoire, etudes, technique, aural skills,
and reading skills
The adjudicators written evaluation online within six weeks of the assessment
Performance Assessment Day
Checklist for Students

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Piano

, Lesson and Musicianship 1B FHM

G C root 1st 2nd HS

Arpeggios Tonic D A G C root HS 2 72

C F root 1st 2nd HT

Diminished 7th broken

C F root 1st 2nd 3rd HS

root 1st 2nd HT

root 1st 2nd HS 1 88

root 1st 2nd 3rd HS

root 1st 2nd 3rd HS

root 1st 2nd HS

root 1st 2nd 3rd HT

root 1st 2nd 3rd HT

root 1st 2nd HT 2 IIVVI 80

root 1st 2nd 3rd HT

root 1st 2nd 3rd HT

, Lesson and Musicianship 1B FHM

, Lesson and Musicianship 2A FHM

, Lesson Book 1 FJH

, Lesson Book 2A FJH

, Lesson Book 2B FJH

, Lesson and Musicianship 2A FHM

, Lesson and Musicianship 2B FHM

, Lesson and Musicianship 3 FHM

, Lesson and Musicianship 4 FHM

, Solos 3 & 4 FHM

, Lesson Book 2A FJH

, Lesson Book 2B FJH

, Solos 3 & 4 FHM)

three to four measures

four measures C, G, F major

four measures C, G, F major

four measures G, D, F major

, G, C minor (harmonic and melodic)

Arp e ggi o s K e ys P laye d T e m p o N o te

six measures G, F, D major

, C, F minor (harmonic and melodic)

Arp e ggi o s K e ys P laye d T e m p o N o te

parallel motion scales

minor (harmonic and

two to four measures

eight measures major and

parallel motion scales

(harmonic and melodic)

parallel motion scales

; Hal Leonard Student PianoLibrary; The

, F, B minor (harmonic and

, F, B (harmonic and melodic)

should be observed if indicated in a footnote below the music.

. This series includes

Repertoirebooks serve as repertoire selections for

: PianoStudies / Etudes. The ten PianoStudies / Etudes books can be

are companion volumes to the

: Handbook for Teachersby Cathy Albergo, Reid Alexander, and

from start to nish, as well as a complete composer and works

includes compact disc recordings of the complete works from the

Celebration Series Perspectives

: Compact Discs. 15 compact discs (PreparatoryLevel 10).

: Handbook for Teachers. Toronto, ON: The Frederick Harris Music

: PianoStudies / Etudes. 10 vols. (Levels 110). Toronto, ON:

: PianoRepertoire. 11 vols. (PreparatoryLevel 10). Toronto, ON:

: Student Workbooks. 9 vols. (PreparatoryLevel 8). Toronto, ON:

. Kanata, ON: Music for Young Children, 20022005.