New 2010 Syllabus - Complete - Updated - No Bates

Piano
Syllabus
Preliminary through Fellowship
2010 Edition
Table of Contents
Foreword.......................................... 2 www.bccmusic.ca ................................2
General Information
Application Forms and Procedure ................3 Examination Results ..............................6
Examination Schedule ............................3 Certificates and Diplomas ........................6
Confirmation Timetable ..........................4 Diploma and Theory co-requisites
Secondary School Music Credit ..................4 or pre-requisites ..............................7
Accreditation......................................5 L.B.C.M Performance Diploma. and Associate
College of Examiners.............................5 Teacher Diploma – B.C.M.A ....................8
Examination System ..............................5 Applying for Diploma Examinations.............8
Diploma Programs ................................5 Comprehensive Theory Examination ............9
Religious Holidays................................5 Associate Teacher Diploma B.C.M.A. ..........9
Fee Extensions ....................................5 Licentiate Honours L.B.C.M. Hon.
and Fellowship F.B.C.M. ........................9
Examination Requirements
Books for Examiners’ Reference .................10 Fingering ..........................................10
Editions ...........................................10 Substitution Pieces ................................11
Repeats............................................10 Supplemental Examinations ......................11
Memory ...........................................10 Classification of Marks for
Studies ............................................10 Piano examinations ...............................11
Technique .........................................10 Classification of Marks for
Small Hands ......................................10 Theory examinations..............................12
Exemption Summary .............................13
Practical Examinations
Preliminary........................................14 Grade 8 ............................................55
Grade 1............................................17 Grade 9 ............................................62
Grade 2............................................21 Grade 10 ..........................................69
Grade 3............................................25 Advanced Performance Certificate ...............77
Grade 4............................................30 Associate Teacher, B.C.M.A. ...............78
Grade 5............................................36 Licentiate Performance, L.B.C.M. ..........87
Grade 6............................................41 Licentiate Honours , L.B.C.M. Hon ...........87
Grade 7............................................48 Fellowship Diploma, F.B.C.M ...............93
Appendices
Appendices........................................97 Arpeggios ................................... 105
Mark Distribution Table ..........................98 Cadences.................................... 107
Technical Requirements Melody Harmonization
Scales ...................................... 99 Sample Solutions ........................... 108
Chords .......................................102
Foreword
With the increased interest in piano as a means of developing essential study skills, concentration and
self-discipline which virtually guarantees future success in any field, the British Columbia
Conservatory of Music piano examination system provides a stimulating, comprehensive goal for all
students.
The curriculum presented in this syllabus has been developed by well-respected, knowledgeable
professionals in the field of piano study, whose assistance in this endeavor is gratefully acknowledged.
Both technical requirements and repertoire have been selected to represent a logical progression of
skill and musical application.
You are invited to partner with the growing number of teachers and students, and participate in BCCM
Examinations as a rewarding experience based on personal development, setting goals of a high
academic standard and service to the community.
www.bccmusic.ca
• Online registration for piano and theory examinations
• Choose a printable examination form online to complete and mail
• Review fees and check dates for practical and theory examinations
• Secondary school credit available for Fine Arts
• Printable examination syllabus for each grade directly from the website
General Information
Application Forms and Procedure
The British Columbia Conservatory of Music Examination system is open to all piano students
worldwide. Applications for examinations may be submitted online, faxed or mailed. Any mailed
application that is postmarked on or before the closing date will be accepted. Late applications will
accepted at the discretion of BCCM Examinations.
Complete a separate application form for each practical and theory examination.
• For mailed applications, payment is accepted by credit card, cheque or money order.
• Do not mail cash.
• Application closing dates for piano and theory examinations are generally:
mid-April, for June examinations (spring session)

mid-July, for mid-August examinations (summer session)
mid-November, for January examinations (winter session)
• Written inquiries and application forms should be addressed to:
British Columbia
Conservatory of Music
Attn: Examinations
4549 E Hastings St.
Burnaby, B.C.
Canada V5C 2K3
Examination Schedule
Examinations are held three times throughout the year. The exact dates of examinations are indicated on a
current application located at www.BCCMusic.ca .
• Piano Examinations
Spring: last two weeks of June
Summer: mid-August
Winter: last two weeks of January
• Theory Examinations
Spring: second Friday of May
Summer: mid-August
Winter: second Friday of December
Confirmation Timetable
Candidates will be sent a confirmation timetable indicating the time, date and location of the
examination.
• List the titles and composers of pieces to be performed, including any concert studies directly
on the confirmation timetable.
• Bring the confirmation timetable to your examination. The candidate must present it to the
examiner.
Accreditation
•
British Columbia Conservatory of Music is accredited by the B.C. Ministry of Education of the
Province of British Columbia and certified as a post-secondary institution by the Canadian Federal
Government, Ottawa, Canada. Accreditation by the B.C. Ministry of Education provides all students
taking BCCM examinations the opportunity to claim credit towards secondary school graduation.
Secondary School Music Credit

Achievement in BCCM Examinations has been recognized by the BC Ministry of Education for
credit towards secondary school graduation. Upon presentation of a BCCM transcript, students will
receive High School credit for piano and theory examinations.
Fine Arts 10, Fine Arts 11 and Fine Arts 12 are each, 4 credit courses.
BCCM Examinations is accredited as follows:
High School Grade Credits
BCCM Grade 6 Piano and Fine Arts 10 4

Grade 1 Intermediate Rudiments

Grade 2 Advanced Rudiments

Grade 2 Advanced Rudiments
A link to the B.C. Ministry of Education can be found on the British Columbia Conservatory of Music
website, www.BCCMusic.ca .
College of Examiners
The College of examiners of the British Columbia Conservatory of Music is comprised of highly trained
and experienced pianists and teachers of piano. All have been selected on their experiential and
academic credentials.
Examination System
The examination system of the BCCM includes graded levels from Preliminary to Grade 10, Advanced
Performance Certificate and, the diploma programs from Associate level to Fellowship.
Diploma Programs
The following diploma programs are described in detail in this syllabus.
Associate Teacher Diploma B.C.M.A.
Licentiate Performance Diploma L.B.C.M.
Licentiate Honours Diploma L.B.C.M. Hon.
Fellowship Diploma F.B.C.M.
Religious Holidays
Candidates may request in writing that their examination not be scheduled on a certain day for religious
observances.
Fee Extensions
Extensions will be granted for the following reasons:
• Due to illness
→ The candidate must submit a doctor’s certificate that is dated no later than the day of the
scheduled examination.
• Direct conflict with school examinations
→ The candidate must submit note from their school principal or counselor, indicating they are
unable to attend due to examination timetable conflict.
The fee extension is valid for one year from the date of the missed examination and must be applied for
during the same one year period. A candidate must re-apply for an ensuing examination session and,
may choose to take the examination originally applied for OR, have the fee extension apply to an
examination of another grade. The candidate must indicate, with a note attached to the examination
entry form, there is a fee extension credit available to them. No refund of fees will be forthcoming.
Examination Results
Decisions of the Examiner are normally final. Any extenuating circumstances or complaints must be
made to the BCCM Examination Coordinator within seven (7) days of receiving examination results.
The concern will be considered and a final response will be returned within two weeks.
Certificates and Diplomas
There are no theory co-requisites or pre-requisites for Preliminary to Grade 10 or Advance
Performance Certificate. The following chart serves as a guideline only to indicate which theory
subjects are appropriate for corresponding Piano Examinations. A separate certificate will be issued
upon the completion of each examination of Piano or Theory.
Practical Examination Theory Examination
Preliminary
Grade 1 Piano
Grade 2 Piano Introductory Theory
Grade 3 Piano Introductory Theory
Grade 4 Piano Preliminary – Basic Rudiments
Grade 5 Piano Preliminary – Basic Rudiments
Grade 6 Piano Grade 1 - Intermediate Rudiments
Grade 7 Piano Grade 2 - Advanced Rudiments
Grade 8 Piano Grade 2 - Advanced Rudiments
Grade 9 Piano Grade 3- Basic Harmony, Grade 3 - History
Grade 10 Piano Grade 2 - Advanced Rudiments,
Grade 4- Intermediate Harmony, Grade 4 – History
Advanced Performance Certificate There are no theory co-requisites or pre-requisites for this certificate
L.B.C.M Diploma and the Associate Teacher Diploma – B.C.M.A.

L.B.C.M. Diploma may be used as Substitute for the Repertoire Portion of Part 1 of the Associate
Teacher Diploma – B.C.M.A. Candidates who have passed the Licentiate Performance L.B.C.M.,
Licentiate Honours L.B.C.M. Hon. or equivalent (e.g. B.Mus.) may request exemption from the
performance of repertoire portion of Part 1 of the Associate Teacher B.C.M.A. examination. The two
remaining Parts of the Associate Teacher B.C.M.A. examination, Part 2 and Part 3, must be completed
at one session and, within two years from the date of the Licentiate L.B.C.M. or equivalent examination.
The Licentiate L.B.C.M. and the Associate Teacher B.C.M.A. may not be attempted at the same
examination session.
Diplomas - Theory co-requisites or pre-requisites
Diplomas for the Associate Teacher B.C.M.A., Licentiate Performance L.B.C.M., Licentiate Honours
L.B.C.M. Hon. and Fellowship F.B.C.M. are issued upon completion of all applicable theory co-
requisites, pre-requesites and respective piano examinations. The following chart indicates specific
theory co-requisites or pre-requisites for corresponding Piano Examinations.
Diploma Theory co-requisites or pre-requisites
Associate Teacher Diploma Theory co-requisites:

B.C.M.A. Part 2 - Study Essay or Teachers Written and
Part 3- Viva Voce
plus,
Grade 2 - Advanced Rudiments,
Grade 3 - History
Grade 4 - History, Intermediate Harmony, Counterpoint
Grade 5 - History, Advanced Harmony/Counterpoint, Analysis
OR
a comprehensive theory examination
OR
approved theory equivalency
Licentiate Performance Diploma There are no theory co-requisites or pre-requisites - performance only.
L.B.C.M
Licentiate Honours Diploma Theory pre-requisites:

L.B.C.M. Hon. Grade 2 - Advanced Rudiments,
Grade 3 - History
OR
OR
Fellowship Diploma Theory pre-requisites:

F.B.C.M. Grade 2 - Advanced Rudiments,
Grade 3 - History
OR
OR
Applying for Diploma Examinations
Candidates may challenge the Associate Teacher B.C.M.A., Licentiate Performance, L.B.C.M.,
Licentiate Honours, L.B.C.M. Hon. examinations as there are no practical pre-requisites for these
examinations. For the Fellowship F.B.C.M., candidates must have completed the Licentiate Performance
L.B.C.M., or comparable diploma or degree achievement plus all theoretical requirements prior to
application for the Fellowship examination will be accepted.
Associate Teacher, B.C.M.A.

• Candidates will be required to write a comprehensive theory examination or present
documentation showing achievement in respective theory courses, see page 7.
Licentiate Performance, L.B.C.M.

• There are no theory co-requisites or pre-requisites for this examination.
Licentiate Honours, L.B.C.M. Hon.

• Candidates may be required to write a comprehensive theory examination.
Fellowship, F.B.C.M.
• A candidate must have completed the Licentiate Honours examination plus all theoretical
requirements before an application for the Fellowship examination will be accepted.
• Candidates who have already achieved a B.Mus., M.Mus., or a comparable standing from a
Conservatory, College or University may apply directly for the Fellowship examination.
• Documentation of any previous examination standing or credentials must accompany the
application.
• Candidates will be required to write a comprehensive theory examination or present
documentation showing achievement in respective theory courses.
Comprehensive Theory Examinations
Students will be considered for exemption from writing the Comprehensive Theory examination for the
Associate Teacher Diploma B.C.M.A., Licentiate Honours Diploma, L.B.C.M. Hon. and Fellowship
Diploma, F.B.C.M. provided they have earned a degree or diploma from another recognized music
institution. Such documentation must accompany their examination application.
Please note that candidates wishing to use the Comprehensive Theory Examination to satisfy the
prerequisite and/or co-requisite theory requirements for a practical L.B.C.M. Hon. or F.B.C.M.
examination must complete the Comprehensive Theory Examination before applying for the any of
these examinations. Candidates wishing to use the Comprehensive Theory Examination to satisfy the co-
requisite theory requirements for the Associate Teacher B.C.M.A. examination must complete the
Comprehensive Theory Examination within two years following the date of the final practical
examination.
The examination tests the candidate’s knowledge of the following subject areas:
Rudiments
• Based on material required for Grade 2 – Advanced Rudiments
Harmony
• Based on material required for Grade 3 to Grade 5 Harmony in the following
subject areas:
→ chords and Non-chord notes
→ harmonization and modulation
→ tri-tone
→ harmonic analysis
→ structural analysis of a sonata movement
→ augmented 6ths, and Neapolitan 6th
Counterpoint
• two-part free counterpoint in 18th century style
History
• A general knowledge of music history of the Baroque period to the present.
• Candidates may be asked to answer multiple choice or matching questions, define terms
or write short essays.
Refer to the British Columbia Conservatory of Music

Theory Syllabus - 2008 Edition, for course details.
A sample comprehensive examination is available at www.BCCMusic.ca
Examination Requirements
Books for Examiners’ Reference
Published books of all works performed must be brought to the examination for the use by the
examiner(s). No photocopies will be allowed, with the following exception: Photocopies authorized
in writing by the publisher.
Editions
Although specific editions may be mentioned in the syllabus for the sake of identifying and
simplifying access to specific works, the use of any good edition of a composition is permitted.
Repeats
Generally speaking, only Da Capo and Dal Segno signs should be observed. Short repeats that may
be necessary for balance in a composition (e.g. Some Sonata, Scherzi or Minuets) may be played.
Memory
Memorization requirements differ at various grade levels and are explained as follows:
• For Grades 1 to 9, two marks are awarded for each selection played from memory. At
the discretion of the examiner partial marks will be deducted for reference to the score.
• For Grade 10, Advanced Performance Certificate, Licentiate Performance, L.B.C.M. and
Licentiate Honours, L.B.C.M. Hon., performance from memory expected. There are no marks
awarded for memory. At the discretion of the examiner partial marks will be deducted for
reference to the score.
• For the Fellowship Diploma F.B.C.M., memorization is compulsory. There are no marks
awarded for memory. Candidates not playing from memory will receive comments only. No
marks will be awarded for the entire examination.
• For the Associate Teacher B.C.M.A. examination memorization, though not compulsory, is
encouraged. There are no marks awarded for memory, nor marks deducted for reference to the
score.
Studies
In all grades studies need not be memorized and no extra marks will be awarded for those that are
played from memory. Memorization though not compulsory, is encouraged.
Technique
Technical tests in all grades must be memorized. Reference to printed material disallowed.
Small Hands
Request for exemption from playing solid four-note chords tonic chords and octave scales must be
indicated in writing and included with the application form.
Substitution Pieces
The candidate is allowed one substitution piece at any grade level without prior approval.
• The substitution piece may replace a study or selection from the repertoire list.
• The substitution piece may be chosen from the BCCM Piano Syllabus, or any current or past
syllabus available in the province.
• A substitution piece chosen from outside the BCCM syllabus must reflect grade equivalence
and era similar to BCCM requirements and may be up to TWO grades higher than the
examination level for which the candidate has applied.
• Only one substitution piece is permitted per candidate per session.
• A substitution piece chosen from a Popular Selection List may replace only a study for
grades three (3) to nine (9) and must reflect grade equivalency.
Supplemental Examinations
Supplemental examinations are available for any portion of Grade 10 or Associate Teachers B.C.M.A.
examination.
• Supplemental examinations are available for repertoire, technique (including studies), ear
tests and sight reading.
• A minimum mark of 70 percent is required to pass any section of a supplemental
examination.
• Supplemental examinations are available during regular examination sessions. A special
examination may be arranged outside of regular examination sessions. A letter of request is
required.
• Supplemental examinations must be completed within two years from date of the original
examination.
• Candidates who are not successful on all supplemental examinations within the two year
period must retake the entire examination.
• There are no supplemental examinations available for the Licentiate Performance, Licentiate
Honours or Fellowship Diploma.
Classification of Marks for Piano Examinations
• For graded examinations 1 to 9 candidates must achieve a minimum total mark of 60 percent
to pass.
• For the Advanced Performance Certificate, Grade 10 and Associate Teacher Diplma – BCMA,
candidates must achieve a minimum mark of 70 percent in all sections to pass. Licentiate
Diploma and Licentiate Honours Diploma require 70 percent in performance of pieces to pass.
• There is no mark breakdown for the repertoire section in Part 1 of the Associate Teacher
B.C.M.A. examination. The mark received reflects a standing of all pieces played.
• There is no mark breakdown for the Fellowship Diploma F.B.C.M.. The candidate will
receive an overall mark classification indicated as either First Class Honours with
Distinction, First Class Honors or Honors. The classification received reflects a standing of
all pieces played.
Grades 1 to 9
First Class Honours with Distinction 90 % and above
First Class Honours 80 – 89
Honours 70 – 79
Pass 60 – 69
Advanced Performance Certificate, Grade 10 and Associate Teacher Diploma - B.C.M.A.
Honours 70 – 79
Licentiate Performance Diploma, L.B.C.M. and Licentiate Honours Diploma, L.B.C.M. Hon.
Honors 70 – 79
Fellowship Diploma
An indication of First Class Honours with Distinction, First Class Honours,
or Honours is awarded representing the overall evaluation of their performance.
Those not successful will be advised that they “failed to meet all requirements”
and may retry the examination in a future session.
Classification of Marks for Theory Examinations

Honours 70 – 79
Pass 60 – 69
Exemption Summary
Documentation presented to BCCM Examinations in consideration for exemption must be current. Theory
courses or practical work must have been completed within the past five years. Once exemption for certain
portions of the examination is granted the remaining sections must be completed within two years from the date
that the exemption was granted. Documentation more than five years old will not be considered.
Diploma Portion of Examination Exemption
Associate Teacher Part 1 Performance Exemptions allowed with appropriate

B.C.M.A. documentation. (e.g. B.Mus.)
Part 2 Study Essay or Teachers Written Exemptions unavailable
Part 3 Viva Voce Exemptions allowed with appropriate

documentation. (e.g. B.Mus.)
Theory co-requisites Exemptions allowed with appropriate
Grade 2 -Advanced Rudiments documentation. (e.g. B.Mus. or similar
Grade 3 -History equivalency)
Grade 4 -History, Grade 4 Counterpoint
Grade 5 -History, Grade 5 Advanced Harmony/Counterpoint
Grade 5 -Analysis
OR
OR
Licentiate Performance Performance Exemptions unavailable

L.B.C.M.
Theory co-requisites
None - this diploma is performance only
Licentiate Honours Performance Exemptions unavailable
L.B.C.M. Hon.
Theory pre-requisites Exemptions unavailable
Grade 2 -Advanced Rudiments
Grade 3 -History
Grade 5 -Analysis
OR
OR
Fellowship Performance Exemptions unavailable

F.B.C.M..
Theory pre-requisites Exemptions allowed with appropriate
Grade 2 -Advanced Rudiments documentation. (e.g. B.Mus. or similar
Grade 3 -History equivalency)
Grade 5 -Analysis
OR
OR
Practical Requirements
Candidates are required to prepare the following:
Any Four pieces – from the following list, plus
Technique, ear tests and sight reading.
Theory Requirements PRELIMINARY

PRELIMINARY
There are no theory requirements for this grade.
Selections marked with an asterisk (*) are found in the preliminary

repertoire book, Horizons The New Conservatory Series for Piano.
Repertoire
ANONYMOUS KHVATOV, D.
* Aria *Mary’s Morning Song
*Mary’s Evening Song
BARTÓK, B.
The First Term at the Piano EMB KOHLER, L.
Dialogue (no. 3) *Copy Cat
BIEHL, A. KRAUSE, A.
*Running Up Stairs *Tip Toe
CHRISTOPHER, R. LAST, J.
Jack and Jill FHMC Gymnastics B&H
March and Run
COULTHARD, J.
Music of Our Time, Preliminary WAT MARKOW, A.
The New Dolly Dances Jumping Jacks FHMC
CROSBY, A. McKINNON, G. A.
Freddie the Frog FHMC Leapfrog FHMC
Freddie the Frog
Starfish at Night MEYERS, C. G.
To Fly like an Eagle *The Ferris Wheel
CZERNY, C. MOZART, W. A.
*Chorale, op. 599, no. 10 *Courtesy
*Left Hand Melody, op. 599, no. 8
*On the Tree Top, op. 599, no. 7 NIAMATH, L.
*Rocking Chair, op. 599, no. 9 Lollipops’ Waltz FHMC
*The Long and Short of it, op. 599, no, 11 Marching Mice and Other Pieces FHMC
*Reach for the Top, op. 599, no. 6 Balloons
Soda Pop and Other Delights FHMC
DIABELLI, A. Playful Puppy
Bagatelle
PARSONS, M (arr.)
DUKE, D. Fun and Play FHMC
Music of Our Time, 1 WAT Hush-a-bye
Bear Dance (Phrygian Mode)
RICHERT, T.
GURLITT, C. *Snow
*Allegretto in C, op. 177, no. 5
*Dance in C REINAGLE, A.
*Allegro in C
HAYDN, F. J.
*Papa Haydn’s Surprise SHEFTEL, P.
Merry and Mellow ALF
KABALEVSKY, D. Chimes
24 Pieces for Children, op. 39
Polka (no. 2) TURK, D. G.
A Little Joke (no. 6) *A Joyful Melody
Song (no. 8) *Carefree
*Children Playing
*Happiness
*Sadness
Technique Preliminary
Scales Keys Details Tempo
Parallel motion Major keys: C, G HS = 104

Minor keys: A (harmonic form) 1 octave, quarter notes
Triads Keys Details Tempo
Broken Major keys: C, G HS  = 60

Minor keys: A 1 octave, quarter notes
Alternate HS = 60

1 octave, triplet quarter notes
Arpeggios Keys Details Tempo
Cross-over motion Major keys: C, G HS = 66

Minor keys: A 4 octaves, triplet eighth notes
Divided between the hands
Ear Tests Preliminary
____________________________________________________________________________________
Rhythm Clapback
Time signature:  or 
The candidate is required to clap the rhythm pattern of a short melody played twice by the examiner.
    
            
Sight Reading
____________________________________________________________________________________
Rhythm
The candidate is required to clap a single rhythmic passage.
   
              
Notation
The candidate is required to play at sight, four bars of music divided between the hands. The piece will encompass
the first three notes of the scale.

           

            
Three pieces - one from List A, B and C plus,
GRADE
One study - see studies listed below
Theory Requirements
Selections marked with an asterisk (*) are found in the grade one repertoire
book, Horizons The New Conservatory Series for Piano.
Grade
1
List A Baroque Repertoire
DANDRIEW, J.F.
ARNOLD, S. The Fifes
Gigue in C major
D’ANGLEGERT, J.H.
BACH, C.P.E. *A French Minuet
Menuet in C major
GRAUPNER, C.
BACH, J.C. *Bourrée in d minor
A Little Song (WE)
Minuet in F (WB) HASSLER, J.W.
*Minuet in C major
BACH, J.C.F.
Menuet in C major KRIEGER, J.
Schwäbisch Minuet in a minor
*Andante in a minor
BACH, J.S.
Anna Magdalena Bach Notebook: MOZART, L.
Bourree in a minor *Humoresque in G major
Chorale, BWV 514 *Minuet in d minor
Minuet III in G major *Minuet in F major
CLARKE, J. SCHEIN, J.H.

Minuet in D major, T 460 *Allemande in G major
*Highland Dance
TELEMANN, G.P.
*Fantasia in g minor
List B Classical Repertoire

BEETHOVEN, L. van
German Dance
*Russian Folk Song HAYDN, F.J.
*Country Dance in D major
DIABELLI, A. *German Dance in G major
*Waltz
MOZART. W.A.
GEDIKE, A. *Minuet in C major (WB)
A Happy Tale, op. 36, no. 31 Minuet in F major, K2
A Sad Song, op. 36, no. 39
SCMITT, J.
GURLITT, C. *Sonatina in C major
*The Hunt, op. 117, no. 15
March
List C Romantic and Twentieth Century Repertoire Grade 1
BARTOK, B. NIAMATH, L.
Mikrokosmos, Vol 1: (WA) Marching Mice and Other Pieces: (FH)
any two of nos. 17, 19, 20, 21, 22, 23 Picnic Time
26, 27, or 28 Squirrels
Soda Pop and Other Delights: (FH)
BERLIN, B. Big Teddy, Little Teddy
Our Animal Friends: (T) March of the Terrible Trolls (FH)
The Sleepy Kitten Hide and Seek
Marching Trumpets The Lonely Princess
Monkey Mischief
BLOK, V. Soda Pop
The Bear in the Forest, op. 11, no. 6 A Zoo for You: (FH)
Happy Times Bears
BONIS, M. NORTH, ERIC

The Sewing Machine *Mystery
*Sleep
CHATMAN, S.
Beaver Boogie NORTON, C.
Down to Business
CROSBY, A. On the Right Lines
Robots Struttin’
Duet for One
DUKE, D.
Music of Our Time, Vol 1: (WA) OLSON, L.F.
March (Lydian Mode) Menagerie: (CF)
The Flamingo
DUNCOMBE, W. The Prickly Porcupine
*A Dance to Honour the King The Sandpiper
FRID, G. POOLE, C.
The Jolly Fiddler, op. 41, no. 5 Mist (FH)
Peter Pan's Tinker Bell (WIL)
GALLANT, P., Arr. Spooks
This Old Man
RICHERT, T.
GRECHANINOV, A.T. *Into Mischief
Fairy Tale, op. 98, no.1
SCHUBERT, F.
KABALEVSKY, D. *A Scottish Dance (An Ecossaise)
Battle Song, op. 89, no. 30
Waltz, op. 39, no. 13 SCHUMANN, R.
*Soldier’s March, op.68, no. 2
KENINS, T.
Play (FH) STRAVINSKY, S.
New Dress (BOS/CFP)
KHATCHATURIAN, A. Pagoda
Little Piece (L) Stepping Stones
KHVATOV, D. TANSMAN, A.
*Country Hoedown Happy Times, Book I: (MCA)
Arabia
KRAUSAS, V.
The Alligator TELFER, N., Arr.
Climb up on an Elephant
LEVIDOVA, D.
Lullaby TURK, D.G.
*Arioso in F major
MARSDEN, E. Hunting Horns and the Echo
The Itchy Ant (FH) *Peaceful Evening Song
MEYERS, C. WILLAN, H.
*Japanese Butterfly Gossip Joan (English folk song)
Studies Grade 1
The candidate is required to play one study from the following list. Selections marked with an asterisk (*) are found
in the grade one studies book, Horizons The New Conservatory Series for Piano.
CZERNY, C. NAIMATH, L.
*Eastbound Train, op. 261, no. 1 *The Elevator
*Westbound Train, op. 261, no. 2 Kites
*Study in C major, op. 599, no. 12 On the Trampoline
*Playtime, op. 777, no. 3 Pineapple
*Hoppy, op. 823, no. 8 Robins
*Study in C major, op. 823, no. 16
OESTEN, T.
DIABELLI, A. *Hunting Horns
*Study in C major, op. 125, no. 3
OWENS, T.W.
GURLITT, C Prelude for Aries
*Independent Hands, op. 117, no. 1
*Study in C major, op. 117, no. 8 PAPP, L.
*Hunting Horns Martellato and Forte-Piano
*Morning Greeting, op. 117, no. 13
*The Polite Child, op. 117, no. 19 REBIKOV, V.I.
The Bear
KABALEVSKY, D.
A Little Dance, op. 39, no. 1 RICHERT, T.
A Porcupine Dance, op. 89, no. 8 *The Chase
KOHLER, L. SHEFTEL, P.
*Copy Cat Ins and Outs
*Gliding
TANSMAN, A
Both Ways
Technique
Parallel motion Major keys: C, G, D HS = 69

Minor keys: A, E 2 octaves, eighth notes
(harmonic only)
Solid Major keys: C, G, D HS  = 100

Minor keys: A, E 1 octave, quarter notes
Broken HS = 72

1 octave, triplet eighth
notes
Alternate HT = 76

1 octave, triplet eighth
notes
Cross-over motion Major keys: C, G, D HS = 72

Minor keys: A, E 4 octaves, triplet eighth
notes
Divided between hands
Ear Tests Grade 1
____________________________________________________________________________________
Rhythm Clapback
Time signature:  or 
        
                 
Melody Playback
The candidate is required to play a short melodic phrase in the key of C or G major after hearing it played twice
by the examiner, based on the first three notes of the scale, starting on the tonic or mediant note. The key will be
named and the tonic chord will be sounded once.
  
                 
Sight Reading
____________________________________________________________________________________
Rhythm
                     
Notation
but not exceed an octave.
      
 
      
  
GRADE
One study - see studies listed below
Theory Requirements
Selections marked with an asterisk (*) are found in the grade two repertoire
Grade
2
List A Baroque and Classical Repertoire
BACH, J.S. RAMEAU, J.
Anna Magdalena Bach Notebook: Menuet en rondeau / Minuet in Rondo Form
Aria in d minor, BWV 515
*Bourrée in d minor SCARLATTI, D.
*Intrada in G Major Minuet in C major
*Menuet in G Major, BWV 822
SCHULTZ, J.A.
BACH, W.F. A Spring Song
Menuet in G major
STEIBLET, D.
CLARKE, J. Aria in a minor
*King William's March
TELEMANN, G.P.
HANDEL, G.F. *Dance in G major
*Impertinence, HWV 494 *Gavotte in C major
Menuet in D major *Fantasia in D major
Menuet in F major
WILLAN, H.
MOZART, L. Tempo di Menuetto (T)
Notebook for Wolfgang:
Entrée
Menuet in d minor

BEETHOVEN, L. Van
Eccossaise in F major, WoO 86 GOEDICKE, A.
German Dance (HPC/2a) Military Trumpets, op. 36, no. 53
The Shepherd's Pipe, op. 36, no. 55
BIEHL, A.
*Sonatina in C major GURLITT, C.
BERKOVICH, I Morning Prayer (WB)
Mazurka Russian Polka
Theme and Variations Theme and Variation
CLEMENTI, M. HAYDN, F.J.

Sonatina in C major, op. 36, no. 1: Capriccio
2nd movement Little Dance (WB)
*Sonatina in C major, op. 36, no. 3: Quadrille
2nd movement HUMMEL, J.N.
DIABELLI, A. *Ecossaise in C Major
*Sonatina in C major, op. 151, no. 2:
2nd movement
List B Classical Repertoire (continued) Grade 2
MOZART, W.A. SCHUBERT, F.

Ländler (WB) Ecossaise
*Minuet in F major Ländler
*Slumber Song
NEEFE, C.G
Allegretto in C major SCHMITT, L.
*Cazonet in C Major Sonatina, op. 207, no. 2:
3rd movement (WB)
SCHUMANN, R.
Album for the Young, op. 68: (A)
nos. 1, 2 or 3
List C Romantic Repertoire

BARTOK, B. KHVATOV, D.
For Children, 1: (B&H) *Watercolours
no. 1: Children at Play LAST, J.
no. 2: Children’s Song Sailing by Moonlight
no. 3: Allegretto
*The Vagabond LEA, W.
Pop Corn (T)
BENDER, J.
Inuit Lullaby MANA-ZUCCA
A Slumber Song, op. 63, no. 6 (JCL)
BERLIN, B.
March of the Goblins MEYERS, C.
The Merry-Go-Round *Swinging Blues
*Starry Starry Night
CARROL, W.
The Countryside: (FOR) NAKADA, Y.
Sheltering in the Wood Japanese Festival: (MCA/B)
The Wood Fairies A Short Story
Butterfly Fluttering
COULTHARD, J.
Alexa's Bell Song NIAMATH, L.
Penguins
ELLIOT, C.
A Little March NORTON, C.
Rag Time
HARMER, D.J. Chant
The Toy-Maker (BER)
RICHERT, T.
HARRIS, E. *Can’t Catch Me!
Modal Miniatures: (WA)
Bulgarian Shepherd's Tune REBIKOV, V.
*Playing Soldiers
KABELEVSKY, D. *The Bear
Children's Pieces, op. 27:
no. 2: A Little Song (HPC/2b; HFS/2) SCHUMANN, R.
*A Little Piece, op. 68, no. 5
KHACHATURIAN, A.
An Evening Tale TAN, C.
The Land of Nod
KOHLER, L.
*Waltz in G major WEBER, C. M. von
*Cradle Song in C major
Studies Grade 2
The candidate is required to play one study from the following list. Selections marked with an asterisk (*) are found
in the grade two studies book, Horizons The New Conservatory Series for Piano.
BERKOVICH, I. KOHLER, L.
Study in C major *Follow the Leader
CZERNY, C. KRAUSAS, V.
*The Spinning Wheel, op. 261, no. 3 Kangaroos
*Study in Thirds, op. 261, no. 23
*The Happy Duo, op. 599, no. 14 NAIMATH, L.
*Lyric Tune, op. 777, no. 8 Butterflies
*Melody, op. 777, no. 15
Flying Fish NORTON, C.
Sprightly
DOUVERNOY, J. Tram Stomp
*Rippling Waves
RICHERT, T.
GOEDICKE, A. *Just Kidding
*Jumping Jack
Study in G major SCHYTTE, L.
*The Waterfall
HANSEN, J.
Irish Jig SPINDLER, F.
*Gliding
HUNTEN, F.
*The Ballerina STREABOG, J.L.
*Merry-Go-Round
KHACHATURIAN, A. *Playing Tag
Skipping Rope
TAN, C.
KHVATOV, D. The Wind
*Bagpipe
Technique
Parallel motion Major keys: D, A, F HS = 92

Minor keys: A, D 2 octaves, eighth notes
(harmonic and melodic)
Solid Major keys: D, A, F HS  = 100

Minor keys: A, D 1 octave, quarter notes

1 octave, triplet eighth notes

1 octave, triplet eighth notes
Cross-over motion Major keys: D, A, F HS = 72

Minor keys: A, D 4 octaves, triplet eighth notes
Divided between the hands
Ear Tests Grade 2
____________________________________________________________________________________
Rhythm Clapback
       
                
Melody Playback
The candidate is required to play a short melodic phrase in the key of C, F or G major after hearing it played
twice by the examiner, based on the first five notes of the scale, starting on the tonic or dominant note. The key
  
will be named and the tonic chord will be sounded once.
        
       
Intervals
The candidate is required to identify melodic intervals, played once by the examiner.
Above a given note: Major 3rd, Perfect 5th
     
   
Major 3rd (+3) above Perfect 5th (P5) above
      
   
Sight Reading
____________________________________________________________________________________
Rhythm
Time signature:  or 

   
                
Notation
but not exceed an octave in each hand.
   4      
  
 3      
    
GRADE
Two studies - see studies listed below
Theory Requirements
Selections marked with an asterisk (*) are found in the grade three repertoire
Grade
3
ARNOLD, S. MOZART, L.
Gavotte *Minuet in e minor
BACH, J.S. PALMER, W.A.

Anna Magdalena Bach Notebook: Two-Part Inventions: (A)
*Minuet in G major "Go No More A-Rushing"
*Minuet in g minor
*Musette in D major, BWV Anh. 126 PETZOLD. C.
*Polonaise in g minor, BWV Anh. 119 Anna Magdalena Bach Notebook:
Minuet in G major, BWV Anh.114
BOHM, G. Minuet in g minor, BWV Anh.115
*Minuet in G major
PURCELL, H.
HANDEL, G.F. *Hornpipe in B flat major
Bourree in G major
*Gavotte in G major HWV 491 TELEMANN, G.P.
Partita in G major TWV 32:1:
KRIEGER, J. Gigue a L'Anglaise
*Sarabande in d minor
ANDRE, J.A. CLEMENTI, M.

*Sonatina in a minor: *Sonatina in C major, op. 36, no. 1:
3rd movement Any movement
ATTWOOD, T. DIABELLI, A.
*Sonatina in G major Allegretto in C major (FH)
Sonatina in G major, op. 151, no. 1:
BEETHOVEN, L. Van 1st movement
Sonatina in G major:
1st or *2nd movement GEODICKE, A.
Sonatina in C major, op. 36, no. 20
BIEHL, A.
Sonatina in G major, op. 57, no. 4: HAYDN, F.J.
1st or 3rd movement Allegretto in A major
Sonatina in a minor, op. 94, no. 4: Sonata in F major, Hob. XVI/9, 1766:
1st movement 3rd movement: Scherzo
*Sonatina, Hob. XVI/9
3rd movement
Vivace in D major, Hob. XVII/Anh.
HUNTEN, F. Menuetto and Trio in G major, KV1

*Country Dance Viennese Sonatina no. 4 in B flat major
LE COUPPEY, F. PLEYEL, I.J.

Sonatina in C major Menuetto and Trio (HPC/3a)
MOZART, W.A. REINECKE, C.
*Sonatina in B flat major, KV3 (Allegro) Sonatina
Anglaise (English Dance) (FH) Rondo in G major
List C Romantic and 20th Century Repertoire
BARTOK, B. GLINKA, M.
For Children, 1: (B&H) Russian Polka
*no. 5: Play
no. 15: Allegretto moderato GRECHANINOV, A.
For Children, 2: (B&H) Children's Book, op. 98: (SCH)
no. 7: Wehmet no. 2: In Camp
no. 3: Marching
BENNETT, R.R. no. 5: Horse and Rider
Studio 21, Vol 2: (UNI) no. 6: In Woodland Glade
Diversions no. 7: Njanja Is Ill (Discontent)
no. 8: A Tiresome Lesson
BERLIN, B. no. 9: Cradle Song
Russian Cradle Song (T) no.10: A Little Dance
The Haunted Castle no. 11: A Frightening Story
no. 13: Mazurka in b minor
BERNSTEIN, S. no. 14: The Little Traveller
The Elegant Toreador no. 15: The Little Would-be Man
Glass Beads, op. 123: (SCH)
BORSODY, L. nos. 5, 6, 7, 11, or 12
The Snail and the Cuckoo (HPC/3b)
GRIEG, E.
CHAMPAGNE, C. *Norwegian Song, op. 12, no. 8
Petit Scherzo (T)
GURLITT, C.
DRING, M. Morning Sunshine (WB)
By The River (RIL)
HENDERSON, R.W.
DVARIONAS, B. Lullaby in Black and White
Prelude
KABALEVSKY, D.
EBEN, P. An Old Dance, (FH)
Bird on the Windowsill Clowns (HPC/3b) op. 39, no. 20
FUCHS, R. KHVATOV, D.
*Timid Little Heart, op. 47, no. 5 *Mysterious Forest
*Stepping Stones
GEODICKE, A.
Scrappy Squirrels MAYKAPAR, S.
Ballad, op. 28
GINASTERA, A. Student Piece, op. 4, no. 3 (HPC/3b)
Twelve American Preludes: (CF)
no. 2: Sadness
List C Romantic and 20th Century Repertoire (continued) Grade 3
MEYERS, C. RICHERT, T.
*Bicycle Ride (Through the Countryside of China) *Daydreaming
NAKADA, Y. SHOSTAKOVICH, D.
Japanese Festival: (MCA/B) Six Children's Pieces, op. 69:
A Green Caterpillar and a Butterfly A Happy Fairy Tale
Children's Song
Lively Children SEUEL-HOLT, M.
The Song of Twilight *Three and Twenty Pirates
NORTON, C. SCHUMANN, R.
Coconut Rag *The Poor Orphan, op. 68, no. 6
PEERSON, C. TCHAIKOVSKY, P. I.
Aria (FH) *Morning Prayer, op. 39, no. 1
*Song of Love, Lost (arr.)
PENTLAND, B.
Music of Now, Vol 1: (WA) TELFER, N.
Fanfare The Sleeping Dragon
PERRY, N. TANSMAN, A.
The Donkey (WB) Pour Les Enfants, Set I:
Dresden China Figures
REBIKOFF, W.
*Shepherd Playing His Pipe
The Soldier's Pass (FH)
Studies
The candidate is required to play two studies from the following list. Selections marked with an asterisk (*) are found
in the grade three studies book, Horizons The New Conservatory Series for Piano.
BARTOK, B. CZERNY, C.
Minuet (TPO) * Swaying op. 139, no. 6
* Study in D minor op. 261, no. 53
BLOK, V. * An Evening Song op. 261, no. 54
Two Ants * Study in E flat major op. 261, no. 55
* Roller Coaster op. 599, no. 33
BEETHOVEN, L. van * Study in C major op. 599, no. 19
*Ecossaise * Study in D major op. 599, no. 50
* The Playful Brook
BERENS, H.
*Study in C major FITCH, G.
Chinese Kites
BURGMULLER, J.F.
op. 100, *no. 1 Sincerity FUCHS, R.
*no. 2 Arabesque The Proud Horseman, op. 47, no. 2
*no. 3 Pastoral
*no. 5 Innocence GOEDICKE, A.
Study in e minor, op. 32, no. 12
GURLITT, C. RAPHING, S.
Gliding Bike Ride
Undaunted, op. 197, no. 7
STREABBOG, J.L.
MAKAPAR, S. *Raindrops
The Young Shepherd’s Song, op. 28, no. 3
TANSMAN, A.
NORTON, C. The Doll
Inter-city Stomp
TURK, D.
PATERSON, L. Having Fun
Rush Hour
Technique Grade 3
Parallel motion Major keys: F, B, A HS = 92

Minor keys: A, G, D 2 octaves, eighth notes
Chromatic Starting on: F, B, A HS = 92

2 octaves, eighth notes
Solid Major keys: F, B, A HS  = 100

Minor keys: A, G, D 2 octaves, quarter notes

2 octaves, triplet eighth notes
Alternate HS = 76

1 octave, eighth notes
Tonic chords Major keys: F, B, A HS = 72

Minor keys: A, G, D 2 octaves, triplet eighth notes
Ear Tests Grade 3
____________________________________________________________________________________
Rhythm Clapback
   
             
          
Melody Playback
The candidate is required to play a short melodic phrase in the key of C or G major after hearing it played twice
by the examiner, based on the first five notes of the scale, starting on the tonic or dominant note. The key will be
named and the tonic chord will be sounded once.
          
      
    
Intervals
Above a given note: Major 3rd, Perfect 5th

          
Major 3rd (+3) above Perfect 5th (P5) above
        
Sight Reading
____________________________________________________________________________________
Rhythm
Time signature:  or 
   
                    
Notation
but not exceed an octave.
 4 
           
3

         

GRADE
Theory Requirements
Selections marked with an asterisk (*) are found in the grade four repertoire
Grade
4
ANONYMOUS. MOZART, L. (attr.)
*Minuet in a minor Notebook for Wolfgang:
Bourree in c minor
BABELL, W.
Rigadoon in a minor PACHELBEL, J.
Suite in f sharp minor:
BACH, J.S. Sarabande
Anna Magdalena Bach Notebook:
*Minuet in c minor, BWV Anh. 121 PALMER, W.A.
*Minuet in G major, BMV Anh. 116 Two-Part Invention:
*Minuet in d minor, BWV Anh.132 The British Grenadiers (A)
*Minuet in F major, BWV Anh. 113
*March in D major, BWV Anh.122 PURCELL, H.
English Suite no. 3: Hornpipe in e minor (P/B&H)
Musette Rigadoon in C major
French Suite no. 3:
Menuet RAMEAU, J.P.
Minuet
BACH, W.F.
Aria in g minor SCARLATTI, D.
Aria in d minor, L 423, K 32
GRAEFF, J.
*Aria in a minor, op. 7, no. 4 TELEMANN, G. P.
A Dance
HANDEL, G.F. *Fantasia in e minor, TWV 33:21
Bourreé in G major
Hornpipe in d minor TURK, D.G.
Rondo

ANDRE, J. A. DIABELLI, A.
Sonatina in C major, op. 34, no. 1: Rondo in C major
Rondo Sonatina in F major, op. 168, no. 1:
Sonatina in F major, op. 34, no. 5: 1st movement
Rondo Sonatina in G major, op. 151, no. 1:
2nd movement
CLEMENTI, M.
Sonatina in G major, op. 36, no. 2: GURLITT, C.
2nd or *3rd movement Sonatina in G major, op. 188, no. 3:
Sonatina in C major, op. 36, no. 5: 1st movement
2nd movement: Air Suisse
Sonatina in D major, op. 37, no. 2: HASLINGER, T.
Minuetto and Trio Sonatina in C major:
1st movement
HAYDN, F.J. MELARTIN, E.

Allegretto in E flat major (HPC/4a) Sonatina
Menuetto and Trio, Hob. XIV/4
*Sonata, Hob. XVI/22: no. 11 MOZART, W.A.
3rd movement Allegro in F major, KV 15a
Sonatina in C major:
HOOK, J. 1st movement
Sonatina in D major:
1st movement REINECKE, C.
Sonatina in C major, op. 136, no. 1:
KOHLER, L. 3rd movement
*Sonatina, op. 300:
1st movement SCHMITT, J.
KUHLAU, F. 2nd movement
*Sonatina, op. 55, no. 1: Sonatina in G major, op. 249, no. 2:
2nd movement 1st movement
LICHNER, H. STEIBELT, D.
Sonatina in F major, op. 4, no. 2: Rondo
2nd movement
2nd movement
2nd movement
Sonatina, op. 69, no. 3
*1st movement - Allegretto
Rondo

BARTOK, B. BLOCH, E.
Children’s Game Enfantines: (FIS)
For Children, Vol. 1: (B&H) no. 1: Lullaby
no. 4: Pillow Dance
no. 8: Children’s Game CATON, F.
no.22: Allegretto Twilight (HPC/4b)
For Children, Vol 2: (B&H)
*no. 8: Dance CHATMAN, S.
no.28: Andante, molto rubato Game of Hypnosis
no.31: The Highway Robber
no.34: Farewell DUBOIS, P.M.
Ten Easy Pieces: A Day with Natalie:
Dance of the Slovaks nos. 5, 6, or 7
Dedication
Painful Struggle DUKE, D.
Barcarole
BENEDICT, R.
Shallows FAITH, R.
FingerPaintings: (SP)
BERLIN, B. Celebration
Monkeys in the Tree (T)
Squirrels at Play FIALA, G.
Horizons,Vol. 1: (WA)
Mood in the Dorian Mode
GODDEN, R.
The Hiker's Song PERRY, N.
Elephant Tune
GRECHANINOV, A.
Grandfather’s Album, op. 119: (OTT) POOT, M.
no. 1: My Dear Mummy Across the Channel
no. 2: An Old Romance
no. 3: The Joker SCHUMANN, R.
no. 4: On the Meadow Album for the Young, op. 68: (A)
no. 5: Russian Dance *no. 8: The Wild Horseman
no. 6: Little Waltz *no. 10: The Happy Farmer
no. 7: Sad Story *no 16: First Sorrow
no. 8: The Dance of the Swallow
no. 9: The Nurse’s Tale SCOTT, C.
no. 10: March Loneliness
no. 11: The Sick Kitten
no. 12: Out for a Walk SHOSTAKOVICH, D.
no. 13: On the Swing The Barrel-Organ Waltz (MCA/B)
no. 14: Little Ballad Six Children's Pieces, op. 69:
no. 16: Returning Home A Sad Fairy Tale (HPC/4b)
no. 17: Holidays
STARER, R.
KABALEVSKY, D. Games with Names, Notes and Numbers: (MCA/B)
Hopping (HFS/4) Twelve Notes Twelve Times
no. 6: A Sad Story (HPC/4b) STRAVINSKY, S.
no. 17: Dance on the Lawn (HPC/4b) Piano Music for Children, Vol. 2: (CFP)
Cops and Robbers
KARGANOV, G.
*Little Waltz, op. 25, no. 3 SZELÉNYI, I.
Changing Bars
LAST, J.
Boats at Anchor TANSMAN, A.
Mélodie/Melody
LEA, W. Pour Les Enfants (1st Set): (AMP)
On a Mountain Stands a Lady (T) Danse russe
La balle
MAYKAPAR, S.
Polka, op. 28, no. 7 (HPC/4b) TCHAIKOVSKY, P.I.
Album for the Young, op. 39:
MENDELSSOHN, F. *no. 1: Morning Prayer
*Romance in g minor no. 15: Italian Song
*no. 17 German Celebration Dance
NORTON, C. *no. 21 Sweet Dreams (abr)
Play It Again
WEBER, C.M. von
OUCHTERLONY, D. *Waltz in G major, op. 4, no. 2
A Little Waltz *Late for School
Studies Grade 4
in the grade four studies book, Horizons The New Conservatory Series for Piano.
BALÁZS, A. GOEDICKE, A.
Game Study in G major, op. 36, no. 26
BARTOK, B. GRECHANINOV, A.
Syncopated Dance A Happy Meeting
BERENS, J. HELLER, S.
*Storm at Sea op. 47, no. 2 or *no. 3
The Avalanche, op. 45, no. 2
BURGMULLER, J.F. *The Waterfall
op. 100, no. 6: Progress
*no. 11: The Wagtail KOHLER, L.
*no. 15: Ballade *Winter Days
*no. 16: Sweet Lament
*no. 18: Restlessness KRAUSE, E.
*no. 24: The Swallow *Fireside Tale
CZERNY, C. NORTON, C.
*Prince Charming Waltz op. 139, no. 38 Blues no. 1
*The Escalator op. 139, no. 19
*Study in G major op. 599 no. 45 SNOWDON, J.
*Playtime Adults
DUVERNOY, J. TANSMAN, A.
*Study in C major op. 176, no. 24 Skating
Technique Grade 4
Parallel motion Major keys: D, B, E HT = 104

Minor keys: B, G, C 2 octaves, eighth notes
Chromatic Starting on: A, F, E HS = 104

Solid Major keys: D, B, E HT  = 72

Minor keys: B, G, C 2 octaves
Finish with a V-I cadence
Broken HT = 60
2 octaves, in triplet eighth notes
1 octave
Tonic chords Major keys: D, B, E HS = 72

Minor keys: B, G, C 2 octaves, triplet eighth notes
root position only
Ear Tests
____________________________________________________________________________________
Grade 4
Rhythm Clapback
Time signature:  or 
       
                     
Melody Playback
The candidate is required to play a short melodic phrase in the key of C, G, F or D major after hearing it played
twice by the examiner, based on the first five notes of the scale, starting on the tonic, mediant or dominant note.
Time signature:  or 
The key will be named and the tonic chord will be sounded once.
   
              
Intervals
The candidate is required to identify the following melodic intervals, played once by the examiner.
Above or Below a given note:
     
Above Below
    
     
-3 +3 P4 P5 P8 -3 P5 P8
Sight Reading
____________________________________________________________________________________
Rhythm
  
Time signature:   or 
       
             
         
Notation
The candidate is required to play at sight, four bars of music divided between the hands. The degree of difficulty
will be equivalent to approximately a grade 2 repertoire composition.
 4      
            
2
 
         
GRADE
5
Theory Requirements
Preliminary - Basic Rudiments
Selections marked with an asterisk (*) are found in the grade five repertoire
Grade

ARNOLD, S. KIRNBERGER, J.P.
Song of the Shepherd Boy (HPC/5a) Introduction to Piano Classics, Vol. 1: (GS)
Invention and Little Fugue
BACH, C.P.E. Passepied in E
Anna Magdalena Bach Notebook:
March in G major, BWV Anh. 124 RICHERT, T.
*La Caroline *Little Shadow
BACH, J.S. RAMEAU, J.P.

Allemande in g minor, BWV 836 Deux rigaudons/Two Rigadoons
French Suite no. 4, BWV 815: (A)
Gavotte PACHELBEL, J.
French Suite no. 6, BWV 817: (A) Gavotte with Two Variations
Minuet in E major *Fugue in C major
Little Prelude in g minor, BWV 929
*Little Prelude in C major, BWV 939 SCARLATTI, D.
*Prelude in C major (Well Tempered Clavier, BK I) Sonata in B flat major, L. 36 (Minuetto)
Sonata in C major, L. 357 (HPC/5a)
BARRET, J.
Jig in b minor STOLZEL, G.H.
*Minuet in g minor
CLARKE, J.
Ayre (FH) TELEMAN, G.P.
*Canzona d'Imitazione
GRAUPNER, C. Fantasia in c minor, TWV 33:35
*Intrada in C major Menuet in G major
HANDEL, G.F. TURK, D.G.
Fuga in G major, HWV 582 Gigue in E major (FH)
Sarabande (WB)
ZIPOLI, D.
*Fugue in e minor

ANDRE, J.A. Sonatinas:
Rondo in C major (HPC/5a) *op. 36, no. 2: 1st movement
Sonatina in G major, op. 34: op. 36, no. 3: 3rd movement
1st movement op. 36, no. 5: 1st and 3rd movements
op. 36, no. 6: Rondo
BEETHOVEN, L. Van
Menuet in G major, WoO 10, no. 2 (HPC/5a)
Sonatina in F major
*1st movement or Rondo
CLEMENTI, M.
DIABELLI, A.L. KREBS, J.

Sonatina in F major, op. 168, no.1: Toccata in E flat major (WB)
2nd movement
Sonatina in G major, op. 168, no. 2: LICHNER, H.
*1st movement (HPC/5a) Sonatina, op. 4, no. 1: (GS)
Sonatina in C major, op. 168, no. 3: 1st or 3rd movement
1st movement or 3rd movement Sonatina, op. 4, no. 2:
1st movement (HPC/5a)
HAYDN, F.J. Sonatina, op. 4, no. 3:
*Allegro in F major, op. 74, no. 2 1st or 3rd movement
Minuet in B flat
Divertimento in G major, Hob. XVI:8 MOZART, L.
1st movement. Allegro in A major (FH)
KABALEVSKY, D. MOZART, W.A.

Children's Pieces, op. 27: *Minuet in F major, K5
no. 18 Sonatina in a minor Vienese Sonatina, no. 1 KV 439b: (EMB)
KUHLAU, F. Minuetto and Trio
Six Variations in G major, op. 42, no. 1
Sonatinas: SCHMITT, J.
op. 55, no. 1: 1st movement Sonatina in A major, op. 207, no. 2
op. 55, no. 2: 1st movement
op. 88, no. 4: 1st movement SPINDLER, F.

ARCHER, V. DANNA, M.
Jig Nightsongs: (FH)
Sleeping Bells
BARTOK, B.
For Children, Vol 1: (B&H) FAITH, R
any one of nos. 10, 13, 18, 20, 23, 26, 27 or 28 Finger Paintings:
For Children, Vol 2: (B&H) Moonless Night
any one of nos. 11, 18, 19, or 20
*Jest FIALA, G.
Australian Suite, op. 2: (BER)
BEKWITH, J. Black Swan
Six Mobiles, Set 2: (BER) Emu
any one Koala
Kookaburra
BLOCH, E. Lyre Bird
Enfantines: (FIS) Platpus
no. 4 or 8 Postlude, op. 7, no. 6 á la Shostakovich
BORTKIEWICZ, S GRIEG, E.
Andersen's Fairy Tales, op. 30, no. 3: Lyric Pieces, op. 12:
The Hardy Tin Soldier (HFS/5) *no. 2: Waltz
*no. 3: Watchman's Song
CARROLL, W.
Sea Idylls: (F/FH) HARMER, D.J.
Alone at Sunset Hop, Skip, and Jump (BER)
From the Cliffs
HAUFRENCHT, H.
COULTHARD, J. Tick-Tock Toccata
Star Gazing
HOFMANN, H.
*Polish Dance op. 77, no. 6
List C Romantic and 20th Century (continued) Grade 5
JOACHIM, O. NORTON, C.
Twelve-tone Pieces for Children: (BER) Dreaming
Gossip and Snowy Morning
PACHULSKI, H.
KABALEVSKY, D. *Valse Mignonne
op. 51, no. 1 (MCA/B)
Five Happy Variations on a Russian Folk Song PINTO, O.
Children's Pieces, op. 27: Children's Festival Suite: (GS)
no. 8: Cradle Song Little March (WB)
Twenty-Four Pieces for Children, op. 39: Serenade
no. 17: Folk Dance
no. 23: Waltz in a minor PREVIN, A.
Impressions for Piano: (MCA/B)
KENINS, T. no.3 or no. 4
Two Little Pieces: (T)
Little March or Tenderness RICHERT, T.
*The Fawn
KHACHATURIAN, A.
Evening Song (FH) REINECKE, C.
Romanza, op. 77, no. 8
KHVATOV, D.
*Alouette Variations SCHUMANN, R.
KUZMENKO, L. no. 7: Hunting Song
Romance no. 9: Little Folksong
*no. 11: Sicilienne
MENOTTI, G.C. no. 19: A Little Romance
Poemetti: (F/C) *no. 40: Northern Song
Lullaby
SHOSTAKOVICH, D.
MEYERS, C. G. Six Children's Pieces, op. 69:
*Japanese Blossom no. 6: The Mechanical Doll
MOULD, W. TCHAIKOVSKY, P.I.

Jamaican Serenade Album for the Young, op. 39: (A)
no. 10: Polka
NAKADA, Y.
Japanese Festival: (MCA) VOLKMAN, R.
Etude Moderato *Grandmother’s Lullaby, op. 27 no. 10
NORTH, E. WEISGARBER, E.
*Sighing *Slumber Music
Studies
in the grade five studies book, Horizons The New Conservatory Series for Piano.
BACH, J.C.F. CONCONE, J.

Allegro in C major op. 24, *no. 7: The Circus
*no. 16: Happiness
BARTOK, B.
For Children, Book I : CZERNY, C.
no. 6 op. 139, *no. 36: The Road Runner
*no. 42: Running in Place
BURGMULLER, J.F. *no. 43: Clowns at Play
op. 100,*no. 7: Clear Stream no. 58: Running up Stairs
*no. 8: Gracefulness *no. 59: The Mosquito
*no. 9: The Chase *no. 96: Trepak
*no. 10: Tender Flower *no. 99: Perpetual Motion
*no. 21: Angel’s Voices op. 599, *no. 63: Country Brooklet
*no. 69: The Sprinter
Studies (continued) Grade 5
HELLER, S. KADOSA, P.
Study in D major, op. 125, no. 12 Vivo
*no. 16: Happiness
KABALEVSKY, D. MAIKAPAR, S.
Prelude, op. 39, no. 19 Staccato Prelude, op. 31, no. 6
LEMOINE, A.H. REBIKOV, V.I.

*The Kangaroo, op. 37, no. 35 In the Forest, op. 51, no. 4
LOESCHHORN, C.A. TAKACS, J.

op. 65, no. 40 The Little Fly
Technique
Parallel motion Major keys: A, F, E HT = 104

Minor keys: F, D, C 2 octaves, eighth notes
Formula Pattern Major keys: A, F, E HT  = 104

Chromatic scales Starting on: A, F, E HS = 104

Tonic Chords Major keys: A, F, E HT  = 66

Solid Minor keys: F, D, C 1 octave, root position
and inversions in sequence.
Broken Finish with a V-I cadence = 66
Four-note Chords Keys Details Tempo
Tonic Chord Major keys: A, F, E HS  = 66

Alternate 1 octave, root position
Dominant 7th Chords Major keys: A, F, E HS  = 60

Solid 2 octaves, root position
Broken
and inversions in sequence.  = 72
Tonic Chords Major keys: A, F, E HS = 66

Minor keys: F, D, C 2 octaves, triplet eighth notes
root position only
Ear Tests Grade 5
____________________________________________________________________________________
Rhythm Clapback
 
Time signature:  or 

                               
Melody Playback
The candidate is required to play a short melodic phrase in the key of C, G, D or F major after hearing it played
twice by the examiner, starting on the tonic, mediant or dominant note. The key will be named and the tonic
chord will be sounded once.
     
             
Intervals
The candidate is required to identify the following melodic intervals, played once by the examiner.
          
Above Below

          
+3 -3 P4 P5 -6 P8 +3 -3 P4 P5 P8
Sight Reading
____________________________________________________________________________________
Rhythm
Time signature:   or 
                     
               
Notation
The candidate is required to play at sight, four bars of music. The degree of difficulty will be equivalent to
approximately a grade 3 repertoire composition.

           
     

            

     
     
     

            
Two Studies - see studies listed below
GRADE
6
Theory Requirements
Grade 1 – Intermediate Rudiments
Selections marked with an asterisk (*) are found in the grade six repertoire
Grade

ARNE, T. KREBS, J.L.
Jig *Bourrée in a minor
Sonata no. 6 in major: (BO/CFP)
HANDEL, G.F.
BACH, C.P.E Allemande in a minor, HWV 478
Sonata in F major, no. 5: Prelude in G major (HPC/6a)
3rd movement Suite no. 4 in d minor, HWV 437:
Sarabande
BACH, J.F.C
*Angloise in A major HAESSLER, J.W.
*Allegro in c minor
BACH, J.S.
Anna Magdalena Bach Notebook: (A) LULLY, J.B.
Bourree in b minor *Courante in E minor
March in E flat major, BWV 127
*Polonaise in g minor, BWV Anh. 123 PACHELBEL, J.
Polonaise in G major, BWV Anh. 130 Fugue in C (WB)
French Suite no. 1: BWV 812
Little Prelude in d minor, BWV 926 SCARLATTI, D.
Little Prelude in c minor, BWV 934 Sonata in A major, LS 31, K 83
Little Prelude in E major, BWV 937 2nd movement: Minuetto
Little Prelude in e minor, BWV 941 Sonata in a minor, L. 93
Loure Sonata in G major, L. 84
Sarabande
*Prelude in c minor, BWV 999 TELEMANN, G.P.
Suite in F major, BWV Anh. 80: Aria in A major
Allemande Fantasia in g minor TW V 33:29
Wilhelm Friedemann Bach Notebook:
Allemande in g minor, BWV 934 STÖLZEL, G.H.
Menuet no. 3 in G major, BWV 843 Minuet in g minor
ZIPOLI, D.
*Sarabanda in g minor

BEETHOVEN, L. Van BLOCK, O.
Bagatelle in a minor, op. 119, no. 9 Allegro Vivo, op. 59, no. 2
BENDA, J. BOLDYREV, I.
*Sonatina no. 3 in a minor Sonatina (T)
BERTINI, H. CLEMENTI, M.
*Andante in A major Sonatina in F major, op. 36, no. 4:
*1st or last movement
DIABELLI, A. LICHNER, H.
Sonatina in F major, op. 168, no. 1 Sonatina in G major, op. 4, no. 3:
2nd or *3rd movement last movement (CF)
DUSSEK, J. L. PLEYEL, I
Sonatina in G major, op. 20, no. 1: Sonatina in C major
*1st or last movement *2nd movement
Rondo MOZART, W. A.
German Dance, KV 600
HAYDN, F. J. Viennese Sonatinas; K439b
Divertimento in G major, Hob.XVI/G1: Viennese Sonatina, no. 2:
1st movement 1st movement
Sonata in C major, Hob. XVI/10: Viennese Sonatina, no. 5:
1st movement 2nd movement
Sonata in G major, Hob. XVI/8: Viennese Sonatina, no. 6:
1st movement Last movement
KUHLAU, F.
Sonatina in C major, op. 20, no. 1: (A)
*1st movement
Sonatina in G major, op. 55, no. 2: (A)
1st movement

ARCHER, V. BUCZYNSKI, W.
Three Scenes: (BER) Eight Epigrams: (B&H)
Church Scene Tiptoe, no. 8
BARTOK, B. CASELLA, A.
For Children, 1: (B&H) Pieces for Children: (U)
no. 19: Allegretto any one of nos. 5, 8, or 11
*no. 21: Hungarian Dance
no. 30: Jeering Song CHOPIN, F.
no. 32: Andante *Valse in a minor (posthumous) (HPC/6b)
no. 36: Drunkard’s Song
For Children, 2: (B&H) COULTHARD, J.
no. 5: Variations Pieces for the Present: (WA)
no. 6: Round Dance 1 Where The Trade Winds Blow
no. 26: Peasant’s Flute
no. 30: Bagpipe 2 CRESTON, P.
no. 38: Dirge Pastoral Dance, op. 24, no. 4
no. 39: Mourning Song
Mikrokosomos, 3: (B&H) DUNHILL, T.
no. 69: Chord Study The Irish Boy (LEN)
no. 84: Merriment The Sailor Dance (WM)
BERNSTEIN, L. DITTERSDORF, K. von

Five Anniversaries: *Country Dance
For Susanna Kyle
FLEMING, R.
BLOCH, E. Three Piano Pieces: (FH)
Enfantines: (CF) Rocking Song
any one of nos. 6 or 7
FINCH, D.
Cancan
FILTZ, B. PACHULSKI, H.
An Ancient Tale *Prelude in c minor, op. 8, no. 1
GALLANT, P. POOLE, C
Sarabande *At the Circus (Scherzo)
GEORGE, E. PREVIN, A.
Kangaroos Impressions for Piano: (MCA/B)
Roundup, no. 11
GLICK, S.I.
Four Preludes: (T) REBIKOFOV, V.
no. 2 Silhouettes, op. 31: (A)
*Cradlesong, no. 7
GNESSINA, E. *Valse Miniature, op. 10, no. 10
March
REUBART, D.
GRIEG, E. March of the Buffoons
Lyric Pieces, op. 12:
*no. 1: Arietta RICHERT, T.
no. 5: Folk Song Seasons, no. 1:
no. 8: Patriotic Song *Spring Blossoms
HULTMAN-HO, M.R. SCHUBERT, F.

*The Wounded Heart Sentimental Waltz, op. 50, no. 13
Waltz, op. 91a, no. 9 (WB)
KABALEVSKY, D.
30 Children’s Pieces, op. 27: SCHUMANN, R.
no. 9: Cavalry Gallop Album for the Young, op. 68: (A)
no. 19: Warrior’s Dance Mignon, no. 35 (HPC/6b)
no. 20: Fairy Tale Album Leaves, op. 124:
no. 4 or 5
KENINS, T. Children’s Sonata, op. 118, no. 1
Toccata-Dance *Waltz in a minor, op. 124, no. 4
KHACHATURIAN, A. SCRIABIN, A.
Adventures of Ivan: (MCA) Prelude, op. 2, no. 2
Ivan Sings (HPC/6b)
STARER, R.
KHVATOV, D. Sketches in Colour, Set 1: (MCA/B)
*Paris no. 1: Purple
no. 3: Black and White
KULLAK, T. no. 4: Bright Orange
*Dance of the Invading Warriors
STRAVINSKY, S.
LEBEDA, M. Piano Music For Children, Book 2:
Miniature Answering Back
Iron Horses
MENDELSSOHN, F.
Six Pieces for Children, op. 72: TANSMAN, A.
no. 2: Andante Sostenuto Toccata (L)
Songs without Words, op. 19: (A)
no. 4 (HPC/6b) TCHAIKOVSKY, P.I.
Album for the Young, op. 39: (WA)
NAKADA, Y. Waltz in E flat major, No. 8
Japanese Festival Suite: (MCA/B)
Gear Wheels of a Watch
Studies Grade 6
in the grade six studies book, Horizons The New Conservatory Series for Piano.
BEETHOVEN, L. van FUCHS, R.

*Peasant Dance A Little Song, op. 47, no. 4
BIEHL, A. HELLER, S.
op. 44, no. 19: Agility *op. 46, no. 11: Fluttering Leaves
*no. 22: A Cheerful Disposition op. 138, no. 5: Barcarole
BERTINI, H. KABALEVSKY, D.
op. 29, no. 14: Study in E minor Toccatina, op. 27, no. 12
BURGMULLER, J.F. KARGANOV, G.

op. 100, *no. 4: The Little Party Game of Patience, op. 25, no. 2
*no. 20: Tarantelle
KENNIS, T.
CZERNY, C. Horse Ride
op. 139, no. 95: Fancy Fingerwork
*no. 97: Snowflakes KHVATOV, D.
*no. 98: Little Toccata *Badminton
*no. 100: In A Hurry *Green Hill
op. 261, *no. 47: A Prelude
op. 599, *no.61: Going the Distance NIEMANN, W.
*no. 66: Graceful Passages Little Willy and the Wind, op. 46, no. 8
*no. 82: Run and Jump
op. 823, *no. 71: Waltz in A flat major SHOSTAKVOICH, D.
op. 849, *no. 4: The Whirlwind Dance
GURLITT, C. STREABOGG, J.L.

Study in e minor, op. 132, no. 1 *A Sad Story op. 63, no. 10
Chromaticism – Waltz Style, op. 64, no. 9
Technique Grade 6
Parallel motion Major keys: D, E, B, A HT = 112

Minor keys: B, C, G, F 2 octaves, eighth notes
Formula Pattern Major keys: D, E, B, A HT  = 112

Minor keys: B, C, G, F 2 octaves, eighth notes
(harmonic form only)
Chromatic scales Starting on: D, E, B, A HT = 112

B, C, G, F 2 octaves, eighth notes
Tonic Chords Major keys: D, E, B, A HT  = 72

Solid Minor keys: B, C, G, F 2 octaves, root position
= 66
Broken Finish with a V-I cadence
Tonic Chord Major keys: D, E, B, A HT  = 76

Alternate 1 octave, root position
Dominant 7th Chords Major keys: D, E, B, A HS  = 76

Broken

Diminished 7th Chords Minor keys: B, C, G, F HS  = 76
Broken
Tonic Chords Major keys: D, E, B, A HS = 72

Minor keys: B, C, G, F 3 octaves, triplet eighth notes
root position only
Dominant 7th chords Major keys: D, E, B, A HS = 92

root position only
Diminished 7th chords Minor keys: B, C, G, F HS = 92

root position only
Ear Tests
____________________________________________________________________________________
Grade 6
The candidate may choose either the melody playback or melody harmonization for this portion of the
examination.
Melody Playback
The candidate is required to play a simple, melodic phrase in the key of C, G, D or F major after hearing it
played twice by the examiner, beginning on the tonic, mediant or dominant note, with a range within the octave.
  
Time Signature:   or 
                     
       
Melody Harmonization
The candidate is required to harmonize a simple diatonic melody in the key of C, G, or F major using tonic,
subdominant or dominant (7th) chord in root position or inversion.The candidate is not limited to the primary
triads; secondary triads may be used where appropriate. The candidate may play the melody twice before
harmonizing it.
     
         
  

         
       
Rhythm Clapback

Time signature:   or 
               
   
    
        
Intervals
 
            




+2 -3 +3 P4 P5 -6 +6 P8

          



-3 +3 P4 P5 -6 P8
Ear Tests continued Grade 6
____________________________________________________________________________________
Chord Identification
The candidate is required to identify major and minor triads, dominant seventh and diminished seventh chords in close, root
position, solid form, after hearing them played once by the examiner.
    
 
           
major minor major minor dom. 7th dim. 7th dom. 7th dim. 7th
Sight Reading
____________________________________________________________________________________
Rhythm

Time signature:    or 
    
                 
3

    
                

Notation
The candidate is required to play at sight eight bars of music. The degree of difficulty will be equivalent to approximately a
grade 4 repertoire composition.
    
          

                              

           
      
                        
GRADE
7
Theory Requirements
Grade 2 – Advanced Rudiments
Selections marked with an asterisk (*) are found in the grade seven repertoire
Grade

BACH, J.S. FIOCCO, J.
English Suite no. 2, BWV 807: Andante in e minor
* Sarabande Suite in G major, op. 1, no. 1:
French Suite no. 2, BWV 813: 2nd movement
Menuet 1
French Suite no. 4, in E flat major, BWV 815: KELLER, G.
Allemande *Prelude in G major
French Suite no. 5, in G major, BWV 816:
* Gavotte HANDEL, G.F.
French Suite no. 6, in E major, BWV 817: Air (Bar)
Polonaise Prelude in G major
Fughette in C major, BWV 952 Suite no. 7 in g minor:
Fughette in C major, BWV 953 Allegro
*Invention no. 1 in C major, BWV 772 Allemande
*Little Prelude in F major, BWV 927 Suite no. 8 in G major, HWV 441:
Little Prelude in C major, BWV 933 4th movement: Aria
Little Prelude in d minor, BWV 935
Little Prelude in a minor, BWV 942 SCARLATTI, D.
Sonata in F major, L. 297 (HPC/7a)
BACH, W.F. Sonata in A major, L. 483
*Allegro in A major Sonata in a minor, L. 378
COUPERIN, F. TELEMANN, G.P.

Allemande in d minor *Fantasia in B flat major, TWV 33:36
*Bourree F major, TWV 32:4
ZIPOLI, D.
Suite no. 4 in d minor:
* Gavotte

BEETHOVEN, L. Van CLEMENTI, M.
Bagatelle in D major, op. 33, no. 6 Sonatina in C major, op. 36, no. 3:
Bagatelle in g minor, op. 119, no. 1 * 1st movement
Fur Elise, WoO 59 Sonatina in F major, op. 36, no. 4:
Sonata in G major, op. 79: 2nd movement
2nd movement Sonatina in D major, op. 36, no. 6:
* 1st movement
BOLCK, O. Sonatina in E flat major, op. 37, no. 1:
Sonatina in G major, op. 59, no. 2: 1st movement
3rd movement
HAYDN, F.J. KUHLAU, F.

Sonata in C major, Hob. XVI/1: Sonatina in G major, op. 20, no. 2:
2nd movement Adagio
Sonata in E flat major, XVI/28: Sonatina in C major, op. 55, no. 3:
Last movement * 1st movement
Sonata in G major, Hob. XVI/27: Sonatina in A major, op. 60, no. 2:
2nd movement 1st movement
HUMMEL, J.N. 1st movement
Scherzo in A major Sonatina in a minor, op. 88 no. 3:
* 3rd movement
MOZART, W.A.
Minuetto, KV 355
Viennese Sonatina no. 1 in C major, KV 439b:
* 1st movement or
* 3rd movement
Viennese Sonatina no. 2 in A major, KV 439b:
1st movement

BARTOK, B. CHATMAN, S.
For Children, Vol 1: (B&H) Amusements 3: (FH)
no.12: Allegro Earthquake
no.21: Allegro robusto Fantasies: (FH)
no.29: Pentatonic Tune Blue Angel
no.31: Andante tranquillo Caprice
no.38: Winter Solstice Song Katherine
no.39: Allegro moderato Night Sounds
For Children, Vol 2: (B&H) Sunrise at Jericho Beach
no.21: Pleasantry Etudes for Piano, Book 3: (FH)
no.27: Pleasantry 2 Chromatic Etude
no.35: Ballad Ginger Snaps
Ten Easy Pieces: Prairie Sky
Evening in the Country
Pentatonic Tune CHOPIN, F.
Mazurka in a minor, op. 68, no. 2
BENJAMIN, A. L. Prelude in e minor, op. 28, no. 4
Romance-Impromptu
FIALA, G.
BLOCH, E. Spinning Wheel
Enfantines: (CF)
Dream GLIERE, R.
Arietta, op. 43, no. 7
BRAHMS, J. Romance, op. 31, no. 7
Waltz in g sharp minor, op. 39, no. 3
GRIEG, E.
BUCZYNSKI, W. Dance Caprice, op. 28, no. 3
Ten Piano Pieces for Children: Elfin Dance, op. 12, no. 4
Mood Indigo Lyric Pieces, op. 43:
no. 2: Solitary Traveller
CASELLA, A.
Pieces for Children: (4) IBERT, J.
nos. 2, 4, 7 or 10 Petite Suite: (Fo/M)
Le Cavalier sans-souci
Le Promenada en traineau
Sérénade sur l'eau
JAQUE, R. OUCHTERLONY, D.
Lutin/Goblin A Little Cakewalk (FH)
KABALEVSKY, D. PENTLAND, B.
Four Rondos, op. 60: Hands across the C: (WA)
Rondo-Dance no. 1: Sparks
Rondo-March no. 2: Seashore
Rondo-Song
Rondo-Toccata PEPIN, C.
Seven Good-Humoured Variations on Berceuse
a Ukrainian Folk Song, op. 51, no. 4
PINTO, O.
KENINS, T. Sleeping Time (GS)
Rondino
POOLE, C.
KHACHATURIAN, A. Ghost Town (CS2)
Adventures of Ivan: (MCA/B) *Reflections
Ivan Is Very Busy *Penguin Polka
KHVATOV, D. PREVIN, A.
*The Grenadier and the Lady Impressions for Piano: (MCA/B)
*Aria in Antique Style Mimicry, no.17
KOECHLIN, C. PROKOFIEV, S.
Dix petite pieces faciles, op.61: (SAL) Music for Children, op. 65:
no. 1: L’enfant bien sage no. 6: Waltz
no. 3: La maison heureuse no. 7: March of the Grasshoppers
no. 4: Patte de velours no.10: March
no. 5: Le ruisseau limpide no.11: Evening
no. 6: Presentations
no. 7: En faisant un bouquet REBIKOV, V. I.
no. 8: Des cors dans la foret *Waltz in f sharp minor
no. 9: Berceuse
no.10: Sicilienne SCHUBERT, F.
*Impromptu (theme), op. 142, no. 3
KOSSENKO, V. Waltz in A flat major, op. 9, no. 12 (D. 365)
Melody, op. 15, no. 11 Waltz in D flat major, op. 9, no. 14 (D. 365)
Waltz (T) *Waltz in b minor
LOUIE, A. SCHUMANN, R.
Shooting Stars Album for the Young, op. 68: (A)
nos. 12, 23, 25 or 28
MacDOWELL, E. Albumblatter (Album Leaves), op. 124:
*To a Wild Rose, op. 51, no.1 no. 6: Wiegenliedchen (Little Cradle Song)
MARSDEN, E. SHOSTAKOVICH, D
*Nocturne Five Preludes:
no. 5
MENDELSSOHN, F.
Songs without Words: STARER, R.
op. 30, no. 6 Venetian Boat Song* Sketches in Color: (MCA)
no. 3 Consolation* Grey
NIEMANN, W. STONE, C.
In Children's Land: (CFP) Ottawa Valley Song (HOM)
no. 9: The Little Mermaid in the Shell
no. 15: The Good Hen TCHAIKOVSKY, P.I.
NORTH, E. no. 22: Song of the Lark*
*Galaxy
WEINZWEIG, J.
Toccata Dance
Studies Grade 7
in the grade seven studies book, Horizons The New Conservatory Series for Piano.
BERTINI, H. KHVATOV, D.
*Etude in C minor, op. 29 no 7 *The Sun River
BURGMULLER, J.F. LEMOINE, H.

op. 100, no. 12: The Farewell *Waltz, op. 37, no. 11
no. 13: Consolation
no. 22: Barcarolle LOESCHHORN, A.
no. 23: The Return *The Toreodor Song
op. 169, no. 11
CZERNY, C.
op. 139, no. 68: Study in C major MAIKAPAR, S.
no. 71: * Study in G major Toccatina, op. 8, no. 1
op. 299, no. 2: * Study in C major
op. 599, no. 64: * Study in B flat major MARMONTEL, A.
op. 636, no. 21: Facility *Carousel
op. 718, no. 5: * Study in F major
op. 849, no. 16: * Virtuosity MENDELSSOHN, F.
*Victory March, op. 72, no. 1
HELLER, S.
*Little Tarantella, op. 47, no. 7 REINHOLD, H.
Grief, op. 47, no. 15 *Lyric Waltz
HOFMANN, H. SCHMITT, J.
*The Naughty One, op. 77, no. 1 Study in G major, op. 3, no. 3
KABALEVSKY, D. SCHUMANN, R.
Etude, op. 27, no. 3 *Fantastic Dance, op. 24, no. 5
Dance, op. 27, no. 27
TAKACS, J.
In a Great Hurry, op. 95, no. 3
Technique Grade 7
Parallel motion Major keys: G, D, B, B, E HT = 76

Minor keys: E, B, G, G, C 2 octaves, sixteenth notes
Formula Pattern Major keys: G, D, B, B, E HT  = 76

Minor keys: E, B, G, G, C 2 octaves, sixteenth notes
Chromatic scales Starting on: any note

HT = 76
2 octaves, sixteenth notes
Tonic Chords Major keys: G, D, B, B, E HS  = 69

Broken Minor keys: E, B, G, G, C 1 octave, root position
Alternate = 60
Finish with V-I cadence

Dominant 7th Chords Major keys: G, D, B, B, E HT  = 88
Broken

E, B, G, G, C
th
Diminished 7 Chords Minor keys: HT  = 88
Broken
G, D, B, B, E = 80
Tonic Chords HT
Major keys:
E, B, G, G, C
3 octaves, triplet eighth notes
Minor keys:
root position only
Dominant 7th chords Major keys: G, D, B, B, E HT = 104

root position only
Diminished 7th chords Minor keys: E, B, G, G, C HT = 104

root position only
Ear Tests Grade 7
____________________________________________________________________________________
examination.
Melody Playback
The candidate is required to play a simple, melodic phrase in the key of C, G, F, D, or B flat major after hearing
it played twice by the examiner, beginning on the tonic, mediant or dominant note, with a range within the
  or
octave. The key will be named and the tonic chord will be sounded once.
Time Signature:  
                  
              
The candidate is required to harmonize a simple diatonic melody in the key of C, G, or F major using tonic,
harmonizing it.
        
         

                    
Rhythm Clapback
Time signature:   or 
                    

            
Intervals
 
             






-2 +2 -3 +3 P4 P5 -6 +6 P8
         
     
+3 -3 P4 P5 -6 +7 P8
Ear Tests continued
____________________________________________________________________________________
Grade 7
The candidate is required to identify major and minor triads, dominant seventh and diminished seventh chords in
close, root position, solid form, after hearing them played once by the examiner.
     
            
Sight Reading
____________________________________________________________________________________
Rhythm
   
Time signature:    or 

         
             
 3
 
                     

Notation
The candidate is required to play at sight eight bars of music. The degree of difficulty will be equivalent to
  
   
              
 
    
          
  

           
       
 
          
              
Three pieces - one from List A, B, C and D plus,
Two Studies - see studies listed below
GRADE
8
Theory Requirements
Selections marked with an asterisk (*) are found in the grade eight repertoire
Grade

ARNE, Thomas HANDEL, G.F.
Sonata no. 6: Suite no. 4 in d minor, HWV 437:
Gigue Courante
Suite no. 5 in e minor, HWV 438:
BACH, C.P.E. Allemande
*Solfeggietto in C minor Twelve Easy Pieces: (CFP)
Allemande
BACH, J.C.F.
Allegro in G major PACHELBEL, J.
Fugue in A major
BACH, J.S.
Invention no. 2 in c minor, BWV 773 PESCETTI, G.B.
Invention no. 3 in D major, BWV 774 Allegretto in C major
Invention no. 4 in d minor, BWV 775 *Sonata in c minor:
Invention no. 5 in E flat major, BWV 776 3rd movement
Invention no. 6 in E major, BWV 777
Invention no. 7 in e minor, BWV 778 PURCELL, H.
*Invention no. 8 in F major, BWV 779 *Air
*Invention no. 9 in f minor, BWV 780 Bourrée in B flat major
Invention no. 10 in G major, BWV 781
Invention no. 11 in g minor, BWV 782 SCARLATTI, D.
Invention no. 12 in A major, BWV 783 Sonata in G major
*Invention no. 13 in a minor, BWV 784 *Capriccio, K63; L84
Invention no. 14 in B flat major, BWV 785
Invention no. 15 in b minor, BWV 786 TELEMANN, G.P.
Six Little Preludes: Fantasia in g minor (WB)
no. 4: in D major, BWV 936 Fantasia in d minor, TWV 33:2
Little Prelude in e minor, BWV 928
Little Prelude in D major, BWV 925 ZIPOLI, D.
Suite, no. 1 in b minor:
GALUPPI, B. Aria
*Adagio in D major

ARNE, T. Sonata in G major, op. 49, no. 2:
Minuet with Variations (FH) * 1st movement
2nd movement
BEETHOVEN, L. van Sonata in E flat major, WoO 47, no. 1:
Six Variations on a Swiss Theme in F major, 1st movement
WoO 64 Bagatelles, op. 33, no. 1 or 3
Sonata in g minor, op. 49, no. 1:
Andante or Rondo CIMAROSA, D.
Sonata no. 18 in A major
Sonata in B flat major
CLEMENTI, M. KUHLAU, F.
Sonatina in G major, op. 36, no. 5: Sonatina in C major, op. 55, no. 6:
* 1st movement 1st movement
Sonatina in B flat major, op. 38, no. 2: Sonatina in A major, op. 59, no. 1:
1st movement 1st movement or
*Rondo
HAYDN, F.J. Sonatina in G major, op. 20, no. 2:
* Allegretto in A major 1st movement
From String Quartet in A major
Sonata in G major, Hob. XVI/27: MOZART, W.A.
3rd movement: Presto Sonata in B flat major K 498a:
* 2nd movement
Viennese Sonatina no. 2 in A major
K 439b: Rondo
Sonata in C major, K 545:
* 1st movement or
2nd and 3rd movements

BRAHMS, J. LISZT, F.
Waltz in A flat major, op. 39, no. 15 Consolation:
nos. 1, 4 or 5
BURGMULLER, J. F.
*Consolation MENDELSSOHN, F.
CHOPIN, F. no. 2: Andante Sostenuto
Mazurka:
Mazurka in a minor, op. 7, no. 2 REBIKOV, V. I.
Mazurka in g minor, op. 67, no. 2 *Valse Melancolique, op. 3, no. 3
Nocturne:
Nocturne in g minor, op. 15, no. 3 SCHUBERT, F.
Nocturne op. 9, no. 2 Moments Musicaux, op. 94: (A)
Prelude: Allegretto, no. 6
*Prelude in b minor, op. 28, no. 6 * Scherzo and Trio in B flat major
Waltz:
*Waltz in A flat major, op. 69, no. 1 SCHUMANN, R.
*Waltz in b minor, op. 69, no. 2 Album for the Young, op. 68: (A)
no. 23: The Horseman
FIELD, J. no. 28: Remembrance
Nocturne, no. 5, in B flat major, H 37 no. 29: The Stranger
no. 36: Italian Sailor's Song
GLIÉRE, R. Kinderszenen (Scenes from Childhood):
Cradle Song, op. 31, no. 3 * op. 15, no. 6: Important Event
Prelude in D flat major, op. 43 no. 1
SMETANA, B.
GRIEG, E. Chanson, op. 2, no. 2
Humoreske, op. 6, no. 2
Poetic Tone-Picture, op. 3, no. 1
Lyric Pieces, op. 71:
no. 3: Puck
List D 20th Century Repertoire Grade 8
ALBENIZ, I. KHVATOV, D.
Prelude "España" *Steamin’ Down the Mississippi
BARTOK, B. KALINNIKOV, V.
For Children, Vol 1: (B&H) *Elegie
no. 40
For Children, Vol 2: (B&H) KUZMENKO, L.
no. 22 or 29 Mysterious Summer's Night
Ten Easy Piano Pieces: (EMB)
Evening at the Village LOUIE, A.
Bear Dance O Moon
Mikrokosmos:
Vol 4: any one of 133, 135, 136, 137, 138 or LUTOSLAWSKI, W.
139 The Schoolmaster
BERNSTEIN, L. NAKADA, Y.
Seven Anniversaries: (WAR) Japanese Festival: (MCA/B)
any two contrasting Etude Allegro
BORTKIEWICZ, S. NORTH, E.
*The Bell, op 30. no. 2 *The Lights on Broadway
*Remembrance
CASELLA, A.
Bolero PIAZZOLLA, A.
Milonga del ángel
COULTHARD, J.
Far Above The Clouds PETERSON, O.
White Caps: The Gentle Waltz
Rondo
PINTO, O.
COUTTS, G. March, Little Soldier
Mazurka (T) Roda-roda!
DEBUSSY, C. RAVEL, M.
Children's Corner Suite: Prélude (Dur)
Jimbo's Lullaby
*The Little Shepherd SATIE, E,
Page d’album / Album Leaf Three Gymnopedies
*Gymnopedies No. 1
GINASTERA, A.
Twelve American Preludes: (CF) SCRIABIN, A.
no. 1: Accents Preludes, op. 11:
no. 15 or no. 22
GROVLEZ, G.
L'Amanach aux Images: (AUG) SHOSTAKOVICH, D
Berceuse de la poupée or Preludes, op. 34:
Little Litanies of Jesus no. 15
IBERT, J. SOUTHAM, A.
A Giddy Girl Three in Blue:
no. 1: Jazz Prelude
ILYINSKY, A.
Noure and Anitra Suite op. 13 STARER, R.
*Cradle Song Sketches in Color (MCA)
Pink and Crimson
KHACHATURIAN, A.
The Adventures of Ivan: TORJUSSEN, T.
Ivan and Natasha *To The Rising Sun, op. 4, no 1
Studies Grade 8
in the grade eight studies book, Horizons The New Conservatory Series for Piano.
BACH, C.P.E. HELLER, S.

*Solfeggietto in A major * Study in d minor, op. 45, no. 15
* Gypsy Dance, op. 45, no. 18
BERTINI, H. Study in E major, op. 47, no. 16
*Winter Storm, op. 29, no. 3
*Study in C major, op. 29, no. 8 HOFMANN, H.K.J.
*In the Evening, op. 88, no. 2
BURGMULLER, J.F.
Morning Bell, op. 109, no. 9 HUNTEN, F.
The Gypsies, op. 109, no. 4 *Study in e minor, op. 32, no. 9
*Little Toccata, op. 109, no. 28
KABALEVSKY, D.
CZERNY, C. Etude, op. 27, no. 24
op. 139, *no. 86: Study in f minor
*no. 88: Study in B flat minor KADOSA, P.
*op. 299, no. 6: Facility Allegro, op. 23, no. 5
*op. 636, no. 1: Study in C major
*op. 636, no. 2: Study in G major KHVATOV, D.
*op. 718, no. 10: Study in A minor *I See a Shining Aloft
*Study in C major
LOESCHHORN, A.
DOLIN, S. Song of the Waterfall
Little Toccata *Study in C major, op. 170, no. 13
FLEMING, R. RICHERT, T.
Trick March *Seasons No. 4, Song of the Sunflowers
GADE, N. TAKACS, J.
The Merry-Go-Round, op. 36, no. 2 Toccatina, op. 95, no. 12
GRIEG, E. TARENGHI, M.
Little Bird, op. 43, no. 4 Dance of the Marionettes
Spider on the Ceiling
Technique Grade 8
Parallel motion Major keys: G, A, E, F, D, G HT = 88

Minor keys: E, F, C, D, B, E 4 octaves, sixteenth notes
Chromatic scales Starting on: any note HT = 88

Formula Pattern Major keys: G, A, E, F, D, G HT  = 88

Minor keys: E, F, C, D, B, E 2 octaves, sixteenth notes
Tonic Chords Major keys: G, A, E, F, D, G HT  = 80

Broken Minor keys: E, F, C, D, B, E 2 octaves, root position
Finish with a V-I cadence.

Dominant 7th Chords Major keys: G, A, E, F, D, G HT  = 100
Broken

Diminished 7th Chords Minor keys: E, F, C, D, B, E HT  = 100
Broken
Tonic Chords Major keys: G, A, E, F, D, G HT = 72

Minor keys: E, F, C, D, B, E 4 octaves, root position
and inversions in sequence,
starting in root position.
Dominant 7th chords Major keys: G, A, E, F, D, G HT
2 octaves, root position only
Diminished 7th chords Minor keys: E, F, C, D, B, E HT
2 octaves, root position only
Ear Tests
____________________________________________________________________________________
Grade 8
examination.
Melody Playback
The candidate is required to play a simple, melodic phrase in the key of C, G, F, D, or B flat major after hearing
it played twice by the examiner, beginning on the tonic, mediant or dominant note, with a range within the
  
octave. The key will be named and the tonic chord will be sounded once.
Time Signature:   or 
                 
                
The candidate is required to harmonize a simple diatonic melody in the key of C, G, D, F or B-flat major using
tonic, subdominant or dominant (7th) chord in root position or inversion.The candidate is not limited to the
primary triads; secondary triads may be used where appropriate. The candidate may play the melody twice before
harmonizing it.
             
     

                     
   
Intervals
 
               






-2 +2 -3 +3 P4 P5 -6 +6 -7 P8

            





+2 +3 -3 P4 P5 -6 +7 P8
 
Examples:
   
      
     

_____________________________________________________________________________________
Cadences
The candidate is required to identify the following cadences after hearing them played twice by the examiner, in
major keys only, Perfect V - I, Imperfect I - V, Plagal IV - I. The examiner will play the Tonic chord once, will
play the example twice at a moderate tempo, pausing at the end of each cadence the second time through to give
the candidate time to name each cadence.

   
M.M. = 88
           
   

             

IV I

V I
M.M.  = 80
Perfect Plagal
            
    

           

     
     
IV I V I
Plagal Perfect
Sight Reading
____________________________________________________________________________________
Rhythm
Time signature:    or 

 
       
  
              

      
      
3
      
Notation
The candidate is required to play at sight eight bars of music. The degree of difficulty will be equivalent to
            
    
 
   
        
  
                
   
  
                 
    

Three pieces - one from List A, B, C and D plus,
GRADE
9
Theory Requirements
Grade 3 Harmony, Grade 3 History
Selections marked with an asterisk (*) are found in the grade nine repertoire
Grade

BACH, J.S. BACH, C.P.E
* Fugue in C major, BWV 952 * Allegro in f minor
Fugue in C major, BWV 953 * Allegro in c minor
Sinfonia no. 1 in C major, BWV 787 Sonata in A major:
Sinfonia no. 2 in c minor, BWV 788 1st movement
Sinfonia no. 3 in D major, BWV 789 Sonata in c minor, Wq48/4,H27:
Sinfonia no. 4 in d minor, BWV 790 3rd movement
Sinfonia no. 5 in E flat major, BWV 791
* Sinfonia no. 6 in E major, BWV 792 DAQUIN, L-C.
Sinfonia no. 7 in e minor, BWV 793 Le coucou (Rondeau)
Sinfonia no. 8 in F major, BWV 794
Sinfonia no. 9 in f minor, BWV 795 HANDEL, G.F.
Sinfonia no. 10 in G major, BWV 796 Air with variations in B flat major
Sinfonia no. 11 in g minor, BWV 797
Sinfonia no. 12 in A major, BWV 798 PARADISI, P.D
Sinfonia no. 13 in a minor, BWV 799 * Toccata in A major
Sinfonia no. 14 in B major, BWV 800
* Sinfonia no. 15 in b minor, BWV 801 SCARLATTI, D.
Any two of:
Well-Tempered Clavier, Vol 1: Sonata in C major, L. 104
no. 2: Prelude and Fugue in c minor, Sonata in d minor, L. 413
BWV 847 or Sonata in D major, L 463
no. 10: Prelude and Fugue in e minor,
BWV 855

BACH, J.C. HAYDN, F.J.
Sonata, op. 5, no. 2: Sonata in F major, Hob. XVI/23:
1st movement 1st movement
Sonata in e minor, Hob. XVI/34:
BEETHOVEN, L. van 1st, 2nd, or 3rd movement
* Bagatelle in E flat major, op. 33, no. 1 Sonata in D major, Hob. XVI/37:
Nine Variations in A major, WoO 67 * 1st; or 2nd and 3rd movements
Rondo in C major, op. 51, no. 1
Six Easy Variations in G major, WoO 77 MOZART, W.A.
Sonata in G major, op. 79: Fantasia in d minor K 397 (385g)
*1st movement Sonata K 283 in G major:
*2nd and 3rd movements 1st movement
Sonata in B Flat major, K 570:
CLEMENTI, M. 1st movement
Sonatina in E flat major, op. 37, no. 1 * Romanze in A flat major, KV Anh. 205
List C Romantic Repertoire Grade 9
BRAHMS, J. MENDELSSOHN, F.
Intermezzo in B flat major, op. 76, no. 4 Songs without Words, op. 19, no. 1
Intermezzo in a minor, op. 76, no. 7
Songs without Words, op.38:
CHOPIN, F. no. 2: Lost Happiness
Mazurkas: no. 6: Duetto
Mazurka in f sharp minor, op. 6, no.1 SCHUBERT, F.
Mazurka a minor, op.67, no.4 Impromptu in A flat major, op. 142, no. 2 (A)
Mazurka in C major, op. 67, no. 3 * Minuetto and Trio (from op. 78)
and Mazurka, op. 6, no. 1
Nocturnes: SCHUMANN, R.
Nocturne in E flat major, op.9, no.2 Herberge/The Wayside Inn, op. 82, no. 6
Nocturne in B major, op.32, no.1 Nachtstucke, op. 23, no. 4
Nocturne in g minor, op.37, no.1 Phantasiestucke, op. 12:
Nocturne in f minor, op.55, no.1 no. 1: Des Abends (Evening)
Nocturne in c sharp minor, no. 4: Grillen (Whims)
no.20(op.posth.) Kinderszcnen, op. 15
Prelude: no. 7: * Träumerei
Prelude in D flat major, op.28, no.15 Romanzen, op. 28:
Waltzes: no. 2
Waltz in f minor, op.posth.70, no.2
Waltz in D flat major, op.posth. 70, no.3 TCHAIKOVSKY, P.I.
Waltz in D flat major,op.64, no.1(“Minute”) The Seasons, op. 37b:
* Waltz in c sharp minor, op. 64, no. 2 no. 1: January (By the Hearth)
no. 2: February (Carnival Time)
GRIEG, E. no. 4: April (Snowdrop)
Lyric Pieces, op. 43: no. 5: May (Bright Nights)
no. 1: Butterfly no. 6: June (Barcarolle)
no. 6: To Spring no. 7: July (Reaper’s Song)
Lyric Pieces, op. 54: no. 8: August (Harvest)
* no. 4: Nocturne no. 9: September (The Hunt)
no.10: October (Autumm Song)
LISZT, F. no.11: November ( In the Troika)
En Reve, op. 64, no. 2 no.12: December (Christmas)
Six Consolations:
no. 3 or no. 6 RUBENSTEIN, A.
* Romanze, op. 44, no. 1
List D 20th Century Repertoire

ARLEN, H. & SHEARING, G. DUBOIS, P.M.
Over the Rainbow Homage à Poulenc (LED)
BARTOK, B. FIALA, G.
Bear Dance Sonatina, op. 1 (Ber)
BARTLEY, E. GRANADOS, E.
Dance no. 1 Danzas Espanolas, op. 5:
*no. 5: Playera
DEBUSSY, C.
Children's Corner Suite: (A) GRECHANINOV, A.
*Golliwog's Cake Walk Sonatina in F major, op. 110, no. 2:
Mazurka 1st movement
Préludes, Book 1: GROVLEZ, G.
*La fille aux cheveaux de lin La sarabande
Préludes, Book 2:
Canope GUANG, R. & ER, N.
Rêverie *Rainbow Chasing the Moon
List D Classical Repertoire (continued) Grade 9
KABALEVSKY, D. KHACHATURIAN, A.
Six Variations on a Ukrainian Folk Song: Sonatina: (L)
op. 51, no. 5 (MCA/B) 1st movement
Variations: or 2nd & 3rd movements
*op. 40, no. 1
Twenty-four Preludes, op. 38:
LOUIE, A.
nos. 1and 2
Music for Piano:
no. 12
Preludes and Fugues, op. 61: The Enchanted Bells
nos. 5 and 6 Distant Memories
MOMPOU, F. RICHERT, T.
Cancion y Danza: (SCH) *Seascape, no. 4:
no. 6 The Mermaid
MOREL, F. SIBELIUS, J.
Ronde enfantine Romance, op. 24, no. 9
PEPIN, C. STARER, R.
Le nez/The nose Five Preludes: (MCA/B)
nos. 2 and 3
PINTO, O.
Memories of Childhood: TAKA'CS, J.
Run, Run Kleine Sonate, op. 51 (DOB)
Salta, Salta
TCHEREPNIN, A.
POOLE, C. Bagatelles, op. 5: (HEU; SCH)
* George’s Gigue no. 1 and no. 4
no. 3 and no. 5
POULENC, F. no. 6
Villageoises: (SAL) no. 8
any three no. 10
Expressions, op. 81: (SAL)
PROKOFIEV, S. no. 5, 6 or 7
Gavotte, op. 32, no. 3
Tales of the Old Grandmother, op. 31: TURINA, J.
no. 4: Sostenuto (MCA/B) In the Gardens of Murcia (SAL)
Visions Fugitives, op. 22: Procession of the Tin Soldiers (SAL)
nos. 1 and 6 Sacro-Monte, op. 55, no. 5 (SAL)
The Circus Suite: (SCH)
QUILTER, R. no. 6: The Aerialist
* Shepherd Song, op. 27, no. 1
VILLA-LOBOS, H.
SHCHEDRIN, R.K. Le Polichinelle (M/B)
Humoreske The Three Maries:
any two
SCRIABIN, A.
Twenty-four Preludes, op. 11: WEINER, L.
nos. 9 and 10 Fox Dance
no. 13
WUENSCH, G.
SHOSTAKOVICH, D. Mini-Suite, no. 1: (T)
Preludes, op. 34: Prelude or Tarantella
no. 24
Studies Grade 9
in the grade nine studies book, Horizons The New Conservatory Series for Piano.
BARTOK, B. HELLER, S.
Bagatelle, op. 6, no. 2 op. 47, no. 24
BERENS, H. KALKBRENNER, F.W.M.

op. 61, nos. 1, 2, 8, 10, or 13 op. 126, no. 6
CRAMER , J.B. KOHLER, L.

op. 39, no. 2 op. 290, no. 1 or 2
(Von Bulow), nos. 1, 7, 8, 13, 14, 16, 19 or 27
MacDOWELL, E.
CZERNY, C. Arabesque, op. 39, no. 4
op. 533, no. 1 Dance of the Gnomes, op. 39, no. 6
op. 636, no. 3, 4, 6, 12 or 13 Shadow Dance, op. 39, no. 8
op. 299, no. 12 or 25
op. 849, no. 23 MENDELSSOHN, F.
Song without Words:
DUVERNOY, J.B. op. 102, no. 3
op. 120, no. 3 or 10 op. 85, no. 1
GADE, N. MOSZKOWSKI, M.
Scherzo, op. 19, no.2 op. 91, no. 5, 6, 17 or 20
HANDEL, G.F. SCRAIBIN, A.

Suite no. 8 in f minor, HWV 433: Prelude for the Left Hand, op. 9, no. 1
3rd movement: Allemande
5th movement: Gigue
Etude no. 3, HWV 496
Prelude, HMV 428
Technique Grade 9
Parallel motion Major keys: D, A, E, B, B, E, A, D, G HT = 104
Minor keys: B, F, C, G, G, C, F, B, E 4 octaves, sixteenth notes
Staccato triplets Major keys: D, A, E, B, B, E, A, D, G = 104
Minor keys: B, F, C, G, G, C, F, B, E HT
(harmonic form only) 3 octaves, triplet eighth notes
Poly-rhythm Major keys: D, A, E, B, B, E, A, D, G HT  = 88

3 octaves
RH triplet eighth notes
LH eighth notes
Formula Pattern Major keys: D, A, E, B, B, E, A, D, G HT  = 96
Minor keys: B, F, C, G, G, C, F, B, E 4 octaves, sixteenth notes
Chromatic Starting on: any note HT = 104

Octaves Major keys: D, A, E, B, B, E, A, D, G HT = 72

Solid or broken form
Chromatic octaves Starting on: any note HT = 72

Tonic Chords Major keys: D, A, E, B, B, E, A, D, G HT

 = 104
Solid Minor keys: B, F, C, G, G, C, F, B, E 2 octaves, root position
Broken and inversions in sequence.  = 104
Alternate
Finish with chord progression  = 80
Dominant 7th Chords Major keys: D, A, E, B, B, E, A, D, G
 = 104
HT
Diminished 7th Chords Minor keys: B, F, C, G, G, C, F, B, E
 = 104
HT
Tonic Chords Major keys: D, A, E, B, B, E, A, D, G HT = 80

Minor keys: B, F, C, G, G, C, F, B, E 4 octaves, root position
Dominant 7th chords Major keys: D, A, E, B, B, E, A, D, G starting in root position.
Diminished 7th chords Minor keys: B, F, C, G, G, C, F, B, E

Ear Tests
____________________________________________________________________________________
Grade 9
examination.
Melody Playback
The candidate is required to play a simple, melodic phrase in the key of C, G, F, D, or B flat major after hearing it
played twice by the examiner, beginning on the tonic, mediant or dominant note, with a range within the octave.
    
               
      
        
   
    
 
The candidate is required to harmonize a simple diatonic melody in the key of C, G, D or F major using tonic,
harmonizing it.
    
                 

                    
Intervals
 
                 








-2 +2 -3 +3 P4 x4 P5 -6 +6 -7 +7 P8

              









-2 +2 -3 +3 P4 P5 -6 +6 -7 +7 P8
The candidate is required to identify chords in close, root position, solid form, after hearing them played once by
the examiner.
           

    
major minor major 7th minor 7th dom. 7th dim. 7th
Ear Tests continued
_____________________________________________________________________________________
Grade 9
Cadences
major keys only, Perfect V - I, Deceptive V - VI, Imperfect I - V, Plagal IV - I. The examiner will play the Tonic
chord once, will play the example twice at a moderate tempo, pausing at the end of each cadence the second time
through to give the candidate time to name each cadence.
M.M.  = 88
  
           
  



     
  
 
    
                
V VI I V IV I
M.M.   = 80
Deceptive Imperfect Plagal
      
        
   

              
 
           
  
I V V VI V I
Imperfect Deceptive Perfect
Sight Reading
____________________________________________________________________________________
Rhythm
 
Time signature:    or 
  
                        
3
    
                   
    
Notation
The candidate is required to play at sight 12-16 bars of music. The degree of difficulty will be equivalent to

Schubert
       
Andante
           
      
       
          
   
       
     
                             

         
                
       
Five pieces - one from List A, B, C, D and E plus,
GRADE
10
Theory Requirements
Grade 2 Rudiments, Grade 3 Harmony
Grade 3 History, Grade 4 History.
Selections marked with an asterisk (*) are found in the grade ten repertoire
Grade

BACH, J.S.
Capriccio on the Absence of a Most Beloved Brother, The Well-tempered Clavier Book 2:
BWV 992: Prelude and Fugue no. 1 in C major, BWV 870
movements 4th, 5th and 6th Prelude and Fugue no. 2 in c minor, BWV 871
French Suites: Prelude and Fugue no. 3 in C sharp major, BWV 872
no. 5: Allemande and Gigue Prelude and Fugue no. 6 in d minor, BWV 875
no. 6: Allemande and Gigue Prelude and Fugue no. 8 in d sharp minor, BWV 877
Little Preludes and Fugues: Prelude and Fugue no.7 in E flat major, BWV 876
Prelude and Fugue in D major, BWV 850 Prelude and Fugue no. 9 in E major, BWV 878
Prelude and Fugue in a minor, BWV 895 Prelude and Fugue no. 10 in e minor, BWV 879
The Well-tempered Clavier Book 1: Prelude and Fugue no. 12 in f minor, BWV 881
*Prelude and Fugue no. 5 in D major, BWV 850 Prelude and Fugue no. 15 in G major, BWV 884
*Prelude and Fugue no. 6 in d minor, BWV 851 Prelude and Fugue no. 20 in a minor, BWV 889
Prelude and Fugue no. 9 in E major, BWV 854 Prelude and Fugue no. 24 in b minor, BWV 893
Prelude and Fugue no. 11 in F major, BWV 856 Partita no. 1 in B flat major (Prelude, Sarabande and Gigue)
Prelude and Fugue no.13 in F sharp major, BWV 858
Prelude and Fugue no. 12 in f sharp minor, BWV 859
Prelude and Fugue no. 16 in g minor, BWV 861 HANDEL, G.F
Prelude and Fugue no. 17 in A flat major, BWV 862 *The Harmonious Blacksmith (Aria with Variations),
Prelude and Fugue no. 18 in g sharp minor, BWV 863 Suite no. 5 in E major
*Prelude and Fugue no. 21 in B flat major, BWV 866 Grande Fugue no. 4 in b minor
Prelude and Fugue no. 23 in B major, BWV 868

BEETHOVEN, L. Van CLEMENTI, M.
Sonata in f minor, op. 2, no. 1: Sonata in B flat major, op. 47, no. 2:
1st and 2nd movements 1st and 2nd movements
Sonata in c minor, op. 10, no. 1: or 2nd and 3rd movements
1st and 2nd movements
or 2nd and 3rd movements HAYDN, F. J.
Sonata in c minor, op. 13: Any one of the following Sonatas, complete:
*2nd and 3rd movements Sonata in D major, Hob. XVI/19
Sonata in E major, op. 14, no. 1: Sonata in b minor, Hob. XVI/32
1st and 2nd movements Sonata in D major, Hob. XVI/33
or 2nd and 3rd movements *Sonata in C major, Hob. XVI/35
Sonata in G major, op. 14, no. 2: Sonata in c sharp minor, Hob. XVI/36
1st and 2nd movements Sonata in g minor, Hob. XVI/44
or 2nd and 3rd movements Sonata in D major, Hob. XVI/51
Sonata in E flat major, op. 27, no. 1:
2nd and 3rd movements MOZART, W.A.
Andante Favori in F major Sonata in F major K 280:
Rondo in G major, op. 51, no. 2 1st and 2nd movements
or 2nd and 3rd movements
Sonata in B flat major K 281:
or 2nd and 3rd movements
MOZART, W.A (continued)

Sonata in E flat major K 282: Sonata in F major K 332:
all three movements *1st and 2nd movements
Sonata in C major K 330: or 2nd and 3rd movements
2nd and 3rd movements Sonata in F major K 533:
Sonata in B flat major K 570:
*2nd and 3rd movements

BRAHMS, J. Waltzes:
Ballades: Waltz in E flat major, op.18
*Ballade in d minor, op. 10, no. 1 Waltz in A flat major, op.34, no.1
Ballade in B major, op.10, no. 4 Waltz in G flat major, op.posth.70, no.1
Intermezzi: any one of: Waltz in e minor, op.posth., B56
Intermezzo in A major, op.76, no.6
Intermezzo in E major, op.116, no.6 GRIEG, E.
Intermezzo in E flat major, op.117, no.1 Lyric Pieces, op. 65
Intermezzo in b flat minor, op.117, no.2 no. 6: Wedding Day at Troldhaugen
Intermezzo in c sharp minor, op.117, no.3 Pictures form Life in the Country, op.19:
Intermezzo in f minor, op.118, no.4 no. 2: Norwegian Bridal Procession
Intermezzo in b minor, op.119, no.1
Intermezzo in e minor, op.119, no.2 LISZT, F.
Intermezzo in C major, op.119, no.3 Valse Oublíee, no. 1
Romance in F major, op.118, no.5 Années de Pèlerinage, Book II:
Songs of Salvator Rosa
CHOPIN, F. Liebesträume:
Impromptu, op. 29 nos. 1 or 3
Prelude in c sharp minor, op. 45 Klavierstücke no.2
Mazurkas: any one of:
Mazurka in b flat minor, op.24, no.4 MENDELSSOHN, F.
Mazurka in C major, op.33, no.3 and Prelude and Fugue in e minor, op. 35, no. 1:
Mazurka in b minor, op.33, no.4 Prelude only
Mazurka in B major, op.63, no.1 Song without Words, op. 67, no. 4
Nocturnes: any one of Spinning Song
Nocturne in f sharp minor, op. 48, no. 2
Nocturne in f minor, op. 55, no. 2 SCHUBERT, F.
Nocturne in B major, op. 62, no. 1 *Klavierstück
Nocturne in E major, op, 62, no. 2 Vier Impromptus fur Klavier, op.90: (D 899)
Nocturne in b flat minor, op.9, no.1 *no. 2: Impromptu in E flat major
Nocturne in F major, op.15, no.1 *no. 4: Impromptu in A flat major
Nocturne in F sharp major, op.15, no.2 Moments Musicaux, op. 94 (A)
Nocturne in A flat major, op 32, no.2 no. 4: Moment musical in c sharp minor
*Nocturne in e minor, op.72, no.1
Polonaises : SCHUMANN, R.
Polonaise in c sharp minor, op.26, no.1 Arabesque, op. 18
*Polonaise in A major, op.40, no.1 Intermezzo, op. 4, no. 5
Polonaise in c minor, op. 40, no. 2 Intermezzo, op. 26, no. 4
Polonaise in g sharp minor, op.posth. Fantasiestücke, op. 12:
Polonaise in b flat minor, op.posth. no. 2: Soaring
no: 4: Whims
no. 7: Dream Visions
Novellette, op. 21:
nos. *1 or 7
List D Early 20th Century Repertoire Grade 10
BEACH, A.M.C. MACDOWELL, E.

A Hermit Thrush at Eve, op. 92, no. 1 *Hungarian, op. 39 no. 12
BRIDGE, F. PALMGREN, S.
*Rosemary (B&H) The Sea
DEBUSSY, C. PONCE, M.
Children's Corner Suite: any one of: Cuatro Danzas Mexicanas: (GS)
Doctor Gradus ad Parnassum any two
Serenade for the Doll
The Snow is Dancing POULENC, F.
Préludes, Book 1: any one of: Movements Perpetuels (JWC)
Novelette no. 1 in C major
Danseuses de Delphe
Pastourelle (L'Eventail de Jeanne)
Des pas sur la neige Suite francaise:
La serénade interrompue movements 3, 6, and 7
Minstrels
Préludes, Book 2: any one of: RACHMANINOFF, S.
Brouillards Preludes:
Bruyéres op. 23, no. 10
Feuilles mortes op. 32, no. 11
General Lavigne, eccentric Morceaux de fantasie, op.3:
Hommage à S. Pickwick, Esq. no.1: Elegie
no.2: Prelude
Suite Bergamasque: any one of:
no.3: Melodie
Prélude no.4: Polichinelle
Menuet no.5: Serenade
*Clair de lune *Eighteenth Variation
Passepied
Suite pour le piano: RIMSKY-KORSAKOFF, N.
Sarabande *The Flight of the Bumble Bee
Two Arabesques:
nos. *1 or 2 RAVEL, M.
Le Tombeau de Couperin: (DUR)
FALLA, de M. Prelude
Danse du meunier/ The Miller’s Dance
Ritual Fire Dance SCOTT, C.
Danse Nègre, op. 58, no. 5 (E/NOV)
FAURÉ, G. Lotus Land (E/NOV)
Barcarolle, no. 4, op. 44 (IMC)
Nocturne, no. 4, op. 36 (IMC) SCRIABIN, A.
Nocturne, no. 5, op. 37 (IMC) Etudes, op. 8:
any one of nos. 4 - 7
GERSHWIN, G. Twenty-four Preludes, op. 11
Rialto Ripples (WAR) Two contrasting preludes of:
nos. 2, 4, 6 or 14
GRIFFS. C. Nocturne, op. 9, no. 2 (Left Hand Only)
The Lake at Evening, op. 5: (GS)
Four Roman Sketches, op. 7:
any one (except The White Peacock)
List E Late 20th Century Repertoire Grade 10
BARBER, S. KANG, W.
Souvenirs, op 28 *Homage
Pas de deux
MESSIAN, O.
BARTOK, B. Preludes pur piano:
*Rondo no. 1 in C major (UNI) Plainte Calme (DUR)
Romanian Folk Dances (Completed) (UNI)
Fifteen Hungarian Peasant Songs: (UNI) MUCZYNSKI, R.
First four Old Tunes or Six Preludes, op. 6:
Any other four Prelude no. 1 and Prelude no. 6
Mikrokosmos, Vol 6: Any two of the
Six Dances in Bulgarian Rhythm PEACOCK, K.
Bridal Suite: (BER)
BUCZYNKSI, W. any three
Aria and Toccota: (CMC)
Aria PEPIN, C.
Trois pieces pour la legend doree:
CAMILLERI, C. Prelude, Interlude and Toccate
Sonatina no. 1 (B&H)
PIAZZOLLA, A.
CHASINS, A. *Tango-Etüden 4
*Rush Hour in Hong Kong
PROKOFIEV, S.
COPLAND, A. March from the Love for Three Oranges, op. 33
The Cat and the Mouse (DUR) Sonatina in G major, op. 54, no. 2:
1st or last movement
FLEMING, R.
Sonatina: (T) SCHOENBERG, A.
1st or 2nd movement Six Little Piano Pieces, op. 19 (UNI)
GINASTERA, A. SESSIONS, R.
Rondo on Argentine Children’s Folk Tunes From My Diary
HANSON, H. SHOSTAKOVICH, D.
*Clog Dance Twenty-four Preludes, op. 34:
Any two of nos. 5, 3, 11, 12, 18, 20 or 21
HO, S.
*Five Impressions os “Sukura” SOMERS, H.
Strangeness of Heart (BER)
HOIBY, L.
Prelude, op. 7, no. 1 SOUTHAM, A.
Four Bagatelles:
IBERT, J. nos. 2 and 4
Le vent dans les ruins (LED)
TAKACS, J.
KABALEVSKY, D. Toccata, op. 54 (DOB/GS)
*Variations in a minor, op. 40, no. 2 TSITSAROS, C.
Twenty-four Preludes, op. 38: Snow Games
no. 3
nos. 5 and 9
no. 6
nos. 15 and 20
Studies Grade 10
in the grade ten studies book, Horizons The New Conservatory Series for Piano.
BARTOK, B. KULLAK, T.
Bagatelles, op. 6: op. 48:
Nos. 2 or 5 Book 2
BERENS, H. LOESCHHORN, C.A.

Study in a minor, op. 61, no. 32 Etude in e minor, op. 67, no. 5
BURGMULLER, J.F. LYADOV, A.K.

* Op. 105, no. 9 A Trifle, op. 2, no.12
CHOPIN, F. MACDOWELL, E.
Trois Nouvelles Etudes no.* 2 or 3 op. 39:
*Etude, op. 25, no. 2 no. 4: Arabesque
no. 8: Shadow Dance
CRAMER, V.B. no. 11:Scherzino
From Fifty Selected Studies op. 46:
nos. 7, 16, 17, 19, 27, 29 or *33 * no. 9: Träumerei
CZERNY, C. MENDELSSOHN, F.
op. 299: Song without Words:
nos. 12, *29 or 38 op. 30, no. 5
op. 533, no. 1. op. 38, no. 2
op, 740: * op. 102, no. 4
nos. 8, 10, 12, *13, 17, 21, 23, 25, 31 or *41
MOSZKOWSKI, M.
DUVERNOY, J. * Etude in C major, op. 72, no. 4
Study in C major, op. 120, no. 13 op. 91, nos. 5 or 15
HABERBIER, E. RACHMANINOFF, S.
Etudes Poetiques op. 53: Etude-tableau, op. 33, no. 8
* no. 3: Spring’s Awakening
no: 5: Serenade SAINT-SAENS, C.
Prelude for the Left Hand, op. 135, no.1
HANDEL, G.F. Study in Rhythm, op.52, no. 4
Passacaille in G minor
SCRIABIN, A.
HELLER, S. * Etude, op. 2, no. 1
* Prelude in c sharp minor, op. 81, no. 10
* Sprites and Mermaids, op.45, no. 21 TSISAROS, C.
* The Ballet, op. 45, no. 20 Gallop
Technique Grade 10
= 120
Parallel motion all major keys HT
all minor keys (harmonic and melodic) 4 octaves, sixteenth notes
= 120
Staccato triplets all major keys HT
all minor keys (harmonic and melodic) 3 octaves, triplet eighth notes
 = 96
Polyrhythm all major keys HT
3 octaves
LH eighth notes
Parallel motion in thirds C, D, D, E, E, F HT

= 104
Parallel motion in sixths G, G, A, A, B, B HT
= 104
 = 112
Formula Pattern all major keys HT
all minor keys, harmonic form 4 octaves, sixteenth notes
= 120
Chromatic starting on any note HT
= 80
Chromatic octaves starting on any note HT
= 80
Octaves all major keys HT
Tonic Chords all major keys

all minor keys
HT
2 octaves, root position  = 120
Solid
Broken Finish with chord progression  = 120

Dominant 7th Chords all major keys HT
2 octaves, root position = 120
Solid
Broken = 120

Diminished 7th Chords = 120
all minor keys HT
Broken = 120
Tonic Chords
all major keys HT
4 octaves, root position = 92
all minor keys
Dominant 7th chords all major keys starting in any position.
Diminished 7th chords all minor keys

Ear Tests
____________________________________________________________________________________
Grade 10
examination.
Melody Playback
The candidate is required to play back the lower part of a simple two part melody, in a major key to four sharps
or flats, played twice by the examiner. The key will be named and the tonic chord (4-note form) will be sounded
once.
   
                  

             

     

 
The candidate is required to harmonize a simple melody using tonic, subdominant or dominant (7th) chord in root
position or inversion. The candidate may play the melody twice before harmonizing it. The candidate may play
one or more chords per measure using primary and secondary triads. The passage should involve one modulation
or transition if possible.
Keys: major and minor up to two sharps or flats.
 
                  
        
              
Intervals
Above and below a given note.
 
                








-2 +2 -3 +3 P4 x4 P5 -6 +6 -7 +7 P8

                









-2 +2 -3 +3 P4 x4 P5 -6 +6 -7 +7 P8
     
   
             


 
root pos. 1st inv. 2nd inv. root pos. 1st inv. 2nd inv. root pos. root pos. root pos. root pos.
_____________________________________________________________________________________
Cadences
major keys only, Perfect V - I, Deceptive V - VI, Imperfect I - V, Plagal IV - I. The examiner will play the Tonic
chord once, will play the example twice at a moderate tempo, pausing at the end of each cadence the second time
through to give the candidate time to name each cadence.
M.M.  = 88
           
             
    


              
    



V VI IV I
M.M.   = 80
I V
Deceptive Imperfect Plagal
       
     
     
     
  
  
      
 

 


   
         
 I V V VI V I
Imperfect Deceptive Perfect
Sight Reading
____________________________________________________________________________________
Rhythm
Time signature:    or 
                                            
 
3

3
          

                               
3
Notation
      
    
Scherzo-allegro Schumann
         
      
   
  
      
                   
                        
 
  
              
     
Tempo di Minuetto Haydn
      
 
    
           
  
Advanced Performance Certificate
Advanced Performance Certificate
The Advanced Performance Certificate focuses entirely on performance. The examination consists of a
thirty to forty-five minute recital of four compositions chosen from Grade 10 or higher piano repertoire.
Performers may combine repertoire from different levels, i.e. Grade 10, Licentiate and Fellowship and the
works should represent a balance of music from the Baroque period to the Late 20th Century.
Performance Criteria
Since the criteria for this certificate examination is the same as for a successful recital, candidates must:
 Perform from memory
 Have appropriate attire and presentation manners
 Perform with confidence and professional deportment
 Demonstrate the required musical, technical and stylistic competence
 Produce and present a neatly printed program
Either verbally introduce each work during the recital (allow for this in the timing
of the program) or produce original program notes
 Present original copies of all works to be performed to the adjudicator.
Contents of Program Notes - Sample
 The composers’ date of birth, country of birth, date of death

 Explanation of the music of the period (Baroque, Classical etc.)
 The composers’ contribution to music particularly the piano genre
 A brief explanation or background of the composition [e.g. dedication, purpose of
composition i.e.for a political or historical event] or a brief explanation of the significance
of the composition to the performer
Repertoire: Era Marks Performance details

Choose Four (4)
List A Baroque 22 Candidates’ choice
List B Classical 26 One classical sonata is compulsory for this
certificate and must reflect the requirements
for the chosen grade.
The three remaining pieces of the program
may be chosen from the five remaining lists
(A, C, D, E or Etude).
List C Romantic 22 Candidates’ choice
th
List D Early 20 Century 22 Candidates’ choice
List E Late 20th Century 22 Candidates’ choice
Etude Concert Etude 22 Candidates’ choice
Candidate may substitute TWO grade 10
Studies for the concert etude
Overall Presentation: 8 Includes attire and presentation manners,
program presentation, notes and other
elements relating to piano performance.
Total 100
Associate Teacher Diploma - B.C.M.A.
The Associate Teacher Diploma B.C.M.A. involves practical and theoretical aspects of music and is open to
candidates who have attained the age of 17 by the date of the examination.
Part 1 and Part 2 may be taken in one session or in separate sessions. For Part 2 and Part 3 it is important to note that
the majority of questions asked in Part 2 (Viva Voce) will be based on the candidate’s Study Essay from Part 3
therefore, the Study Essay must be submitted to BCCM Examinations for evaluation before Part 3 is taken.
While some direct teaching experience is desirable, it is appreciated that some candidates will have little or even no
opportunity to teach prior to taking this examination. Therefore, candidates should seek opportunities to sit in on
lessons with experienced teachers at private lessons, music competitions or view teaching videos.
All parts must be completed within a period one year from the date of the original examination regardless of which
Part is the first taken.
Part 1:
i) Repertoire
Candidates are to present a varied program of approximately 30 minutes duration. The program should demonstrate
qualities of differing stylistic elements, mood and period. One total marks will be awarded for the performance of the
repertoire section.
• The candidate is required to prepare four selections consisting of:
2 selections from Grade 10 repertoire
2 selections from Licentiate Performance repertoire
• The combination of works played should reflect the following:

List A from Grade 10 or Licentiate
List B from Grade 10 or Licentiate
List C from Grade 10 or Licentiate
List D or List E from Grade 10 or Licentiate
• Licentiate repertoire may be substituted for Grade 10 repertoire, i.e. four (4) Licentiate selections may be
played.
• One substitution piece from outside the BCCM Piano Syllabus is allowed for any of the above
requirements without prior approval. The substitution piece must reflect grade equivalency.
Associate Teacher Diploma - B.C.M.A.
Associate Teacher Diploma Requirements *(required for pass) Marks
i) Repertoire 50
Two compositions from Grade 10 repertoire and (35)*
Two compositions from Licentiate Performance repertoire
Refer to: Part 1: i) Repertoire on page 78
ii) Technique 20
All Major keys (14)*
All Minor keys
Refer to: Technique table on page 80
Part 1
iii) Ear Tests 15
Playback or Melody harmonization (10.5)*
Intervals
Cadences
Meter
iv) Sight Reading 15
Notation (10.5)*
Rhythm
Total 100
Viva Voce
 a discussion of general pedagogical topics 25
 teaching of technique, rhythm and other essential skills 25
Part 2  performance of prepared repertoire form grades three to eight 25
 detailed discussion of prepared repertoire in the form of a demonstration 25
lesson involving solutions to problems likely to arise while learning a new piece (70)*
Total 100
A Study Essay
 discussion of pedagogical topics in an open book forum 100
(see page 85 for details) (70)*
OR
Part 3
Teachers’ written
 discussion of pedagogical topics in a closed book examination forum 100
(see page 86 for details) (70)*
Total 100
Theory co-requisites:
Part 2- Viva Voce
Part 3 - Study Essay or Teachers’ Written
plus,
Grade 2 - Advanced Rudiments
Grade 3 - History
Theory Grade 4 - History, Intermediate Harmony, Counterpoint
OR
OR
See Mark Distribution Table on page 98 for breakdown of marks.

ii) Technique
Keys Details Tempo
= 126
Parallel motion all major keys HT
all minor keys (harmonic and melodic) 4 octaves, sixteenth notes
= 126
Staccato triplets all major keys HT
all minor keys (harmonic and melodic) 3 octaves, triplet eighth notes
 = 104
Poly-rhythm all major keys HT
3 octaves
LH eighth notes
= 112
Parallel motion in thirds all major keys HT
= 112
Parallel motion in sixths all major keys HT
 = 112
Formula Pattern all major keys HT
all minor keys, harmonic form 4 octaves, sixteenth notes
= 126
Chromatic starting on any note HT
= 88
Chromatic octaves starting on any note HT
= 88
Octaves all major keys HT
 = 126
Tonic Chords all major keys HT
Solid all minor keys 2 octaves, root position
Broken Finish with chord progression  = 126

Dominant 7th Chords = 126
all major keys HT
Broken = 126

Diminished 7th Chords = 126
all minor keys HT
Broken = 126
= 92
all major keys HT
Tonic Chords 4 octaves, root position
all minor keys
Dominant 7th chords all major keys starting in any position.
Diminished 7th chords all minor keys

iii) Ear Tests
____________________________________________________________________________________
Teacher
examination.
Melody Playback
The candidate is required to play back both parts of a simple two part melody, in a major key to four sharps or
flats, played twice by the examiner. The key will be named and the tonic chord (4-note form) will be sounded
once.

           
   
         
            

The candidate is required to harmonize a simple melody using tonic, subdominant or dominant (7th) chord in root
position or inversion. The candidate may play the melody twice before harmonizing it. The candidate may play one
or more chords per measure using primary and secondary triads. The passage should involve one modulation or
transition if possible.
Keys: major and minor up to two sharps or flats.
         
          
             
         
Intervals
Above and below a given note.
     
 
                 
-2 +2 -3 +3 P4 x4 P5 -6 +6 -7 +7 P8
                   
     
-2 +2 -3 +3 P4 x4 P5 -6 +6 -7 +7 P8
  
     
        
     

 
 
root pos. 1st inv. 2nd inv. root pos. 1st inv. 2nd inv. root pos. root pos. root pos. root pos.
Ear Tests continued Teacher
_____________________________________________________________________________________
Meter
   
The candidate is required to identify a four-bar passage after it has been played ONCE by the examiner
Time signature:    or 
    
                          
          
express.
                        
          
            
         
   
           


iv) Sight Reading

____________________________________________________________________________________
Rhythm
Time signature:    or 
                                         
 
3
  
3
          

                               
3
Notation

Con moto e rubato Rubinstein
       
      
            
             
      
                   
        
     
Allegretto Haydn
   
   



           


 
   
          
      

Part 2: 100 marks
Viva Voce
This portion of the examination involves an oral discussion of teaching principles and technique, problems and
solutions, and a demonstration lesson. Candidates will be expected to show an awareness of initial teaching material
and easy classics, through primary and intermediate levels.
General pedagogical topics

The oral discussion will focus on principles and methodology for early training, framework of lessons,
repertoire, style and performance skills, history, care of the instrument, basic physiology (position of the hands
and arms), the psychology of teaching and other pertinent subject matter.
• Candidates must know the contents of their Study Essay thoroughly in order to explain information,
as to a pupil, in a simple and direct manner. The ability to communicate to pupils of differing ages
and abilities is important.
• Candidates should have about one year teaching experience before attempting this portion of the
examination. While some direct teaching experience is desirable, it is appreciated that some
candidates may have little, or even no opportunity to teach, therefore, other means to assist in the
research would include, sitting in on lessons with established teachers, visiting local music schools,
attending music festivals, and competitions.
Teaching of technique
To discuss all aspects of technique including the development of coordination between the hands, exercises for
developing finger strength and independence, as well as the facility and agility. To give solutions to technical
problems in the playing of scales, chords and arpeggios and, the development of good tone production.
Performance of prepared repertoire
Candidates must be prepared to perform 14 pieces from grade 3 to 8 as listed within the pages of
this syllabus. Memory is not required.
Number
Source
of Pieces to Prepare
any Two list A

Grades 3 – 6 Seven any Three list B
any Two list C
One list A
Grade 7 Three One list B
One list C
One list A
Grade 8 Four One list B
One list C
One list D
Repertoire Guidelines – see page 84

Repertoire Guidelines
In selecting repertoire, candidates should consider the following points:
List A polyphonic texture, imitative contrapuntal style, opportunity for varied articulation, dynamic
terracing, based on sequential repeated passages.
List B sonatina style melodic phrases and scale passages supported by right and left hand accompaniment
such as Alberti bass and various types of broken chords.
List C pieces in this category should demonstrate lyrical, melodic style with opportunity for various types of
approaches to pedaling (i.e. legato and/or rhythmic pedaling).
List D Post-romantic, Impressionistic, 20th Century works or any Canadian composer work.
Discussion and demonstration lesson
During the demonstration lesson the candidate will be asked to play one of their selected pieces. The examiner
will then ask questions regarding their approach to the piece such as imagery, solutions to problems of rhythmic
and technical difficulty, and other pertinent subject matter. (Candidates will be asked to play more than one
selection from the prepared repertoire list).
The candidate will be asked to observe the examiner playing one of the candidate’s pieces from the prepared
list. Upon completion of the performance in whole or in part, the candidate will be asked to point out intentional
flaws in the performance such as errors in notation, phrasing, touch, pedaling, dymanics, tonal balance and
other principles of performance and to make corrective suggestions.
Theory Co-requisites
To receive an Associate Teacher Diploma, B.C.M.A., the following theory co-requisites are to be completed.
Part 2 - Study Essay or Teachers’ Written and

Part 3 - Viva Voce
plus,
Grade 2 - Advanced Rudiments
Grade 3 - History
OR
OR
A comprehensive written examination is available for candidates who have taken comparable theory courses
through other institutions who wish to challenge the theory requirements for this diploma.
A candidate may request an exemption from the theory portion of this examination. Such a request must be
accompanied with appropriate documentation of a degree, (e.g. B.Mus.diploma or, of achievement in equivalent
theory courses. See exemption summary on page 13 of this syllabus.
Part 3: 100 marks
Study Essay or Teachers Written Paper

Candidates are required to prepare a special Study Essay discussing their approach to various aspects of teaching and
other related subject matter.
Study Essay Procedure
• Approximately 2 months before the examination the candidate will be mailed a Study Essay Topic
Paper indicating the subject matter to be discussed in the essay. The candidate will have 14 days to
complete the assignment and return it to BCCM Examinations for review.
• The Essay will be evaluated then returned to the candidate.
In the event that the candidate is not successful in Part 2 (the Viva Voce portion) or Part 1 (the Repertoire
Studies/Technique, Ear Tests and Sight Reading portion), the Study Essay, if approved, will be carried forward.
The candidate will choose SIX topics from the list sent to them. The following is a partial list of suggested areas of
study prior to the start of the essay. Topics for the study essay will vary from those listed below. It is suggested that
candidates have a minimum of six months of pedagogical instruction before attempting the Viva Voce portion of the
examination.
• Reading • Ensemble playing

• Aural training • Interpretation (mood, style, dynamics)
• Musicianship • Operation of the Professional Studio
• Examinations • Psychological aspects
• Festivals, master classes • In depth study of repertoire
• Concerts • Studies, scale and arpeggio use
• Practicing • Teaching methods
• Parent pressures • The correct use of pedals
• Physical problems • The value of learning Sonatinas, Contrapuntal
• Time and rhythm difficulties works, Romantic Style pieces
• Lesson timetables • The piano as the medium for music making
• Teaching qualities • Technique i.e. tone production and control
• Criticism and diagnostic aids • How to teach phrasing, legato and staccato
• Enthusiasm in pupils touch, and arm weight.
• Adult beginners
Study Essay Format

The format of the Study Essay may be that of a continuous essay or may be divided into sections.
• The Study Essay must be loose leaf, with numbered pages, in a ring binder or envelope type file. It
must contain a bibliography and all quotations must be correctly attributed.
• The length should be approximately 3,600 words (minimum of 500 words per topic). Type-written
presentation is preferable but clear handwriting is also acceptable. The presentation will be taken into
consideration in the overall evaluation.
• The Study Essay should reflect the candidate’s own preparation since Part 2 (the Viva Voce portion)
will be largely based on the Essay.
Teachers Written Paper
The written exam is 3 hours in length and candidates must be prepared to answer questions in the following areas:
 the history and development of the piano
 psychology of music teaching
 the stylistic characteristics of composers of piano music from Baroque to
Contemporary including Canadian composers
 the function and use of the pedals, playing expressively
 methods of and reasons for memorization
 methods of developing good sight reading and listening skills
 development of technical facility articulation and touch, fingering, tone production and the correction of
technical faults
 to discuss various touches at the keyboard
 to edit and excerpt of piano music adding fingering, phrasing, dynamics, pedaling, expression marks, and
simple ornamentation.
 familiarity with current beginner method books and to discuss and compare at least two methods.
 planning and structure as applied to lessons, practicing, and long-term goals
 what to teach at the first lesson, subsequent lessons and to students of various ages
 how to prepare students for, and the benefits of examinations and festival
 how to help a student develop good practice habits
 the correction of issues that normally arise while learning a new piece or during thr course of a lesson such as
voicing, balance, time and rhythm and rubato
 other topics from the Study Essay portion – above
Licentiate Performance Diploma – L.B.C.M.
The Licentiate Diploma L.B.C.M. is open to candidates of any age. This is a practical examination for which there are
no theory requirements nor are there any performance pre-requisites. Completion of a Grade 10 or an Associate level
examination prior to this examination is not required.
Practical Examination
For the practical section of this examination the candidate is required to prepare six pieces – one each from the
following list.

List D Neo-Classical, Neo Romantic and Impressionistic
List E 20th Century Repertoire
Concert Etude from the Concert Etude listing
One substitution piece is allowed for any of the above listings without prior approval. The substitution piece must
reflect grade equivalency and era.
Licentiate Honours Diploma – L.B.C.M., Hon.

The Licentiate Honours Diploma L.B.C.M. Hon. is open to candidates of any age. There are no performance pre-
requisites. Completion of a Grade 10 or an Associate level examination is not required. There is a theory pre-requisite
component to this diploma. Candidates are required to complete a comprehensive theory examination prior to the
practical portion of the examination.
Theory pre-requisites
To receive the Licentiate Honours Diploma L.B.C.M. Hon. the Comprehensive Theory examination must be completed
prior to the practical section of this examination.
For the practical section of this examination the candidate is required to prepare six pieces – one each from the
following list.

List D Neo-Classical, Neo Romantic and Impressionistic
One substitution piece is allowed for any of the above listings without prior approval. The substitution piece must
reflect grade equivalency and era.
List A Contrapuntal Works By J.S Bach
BACH, J.S. Prelude and Fugue no. 21 in Bb major, BWV 890
The Well-Tempered Clavier Book 1: Prelude and Fugue no. 24 in B major, BWV 892
Prelude and Fugue no. 1 in C major, BWV 846 English Suite no. 1 in A major, BWV 806
Prelude and Fugue no. 3 in C sharp major, BWV 848 Prelude, Sarabande, and Gigue
Prelude and Fugue no. 4 in c sharp minor, BWV 849 English Suite no. 2 in A major, BWV 807
Prelude and Fugue no. 8 in d sharp minor, BWV 853 Prelude, Sarabande and Gigue
Prelude and Fugue no. 7 in E flat major, BWV 852 English Suite no. 3 in g minor, BWV 808
Prelude and Fugue no. 12 in f minor, BWV 857 Prelude, Sarabande and Gigue
Prelude and Fugue no. 15 in G major, BWV 860 Fantasia and Fugue in a minor, BWV 904
Prelude and Fugue no. 19 in A major, BWV 864 Partita no. 1 in B flat major, BWV 825
Prelude and Fugue no. 20 in a minor, BWV 865 any three movements excluding Minuet 1
Prelude and Fugue no. 22 in b flat minor, BWV 867 Partita no. 2 c minor, BWV 826
Prelude and Fugue no. 23 in b minor, BWV 869 Sinfonia OR any three movements
The Well-Tempered Clavier Book 2: (excluding Sinfonia)
Prelude and Fugue no. 4 in c sharp minor, BWV 873 Partita no. 3 a minor, BWV 827
Prelude and Fugue no. 5 in D major, BWV 874 Fantasia, Sarabande and Gigue
Prelude and Fugue no. 11 in F major, BWV 880 Partita no. 5 in G major, BWV 829
Prelude and Fugue no. 13, F sharp major, BWV 882 any three movements
Prelude and Fugue no. 14 in f sharp minor, BWV 883 Suite in a minor, BWV 818
Prelude and Fugue no. 16 in g minor, BWV 885 Toccata in e minor, BWV 914
Prelude and Fugue no. 17 in A flat major, BWV 886 Toccata in g minor, BWV 915
Prelude and Fugue no. 18 in g# minor, BWV 887 Toccata in G major, BWV 916
List B Classical Repertoire / Sonatas

BEETHOVEN, L. Van. GRIEG, E.
Sonata in A major, op. 2, no. 2 Sonata in e minor, op.7
Sonata in C major, op. 2, no. 3
Sonata in E flat major, op. 7 HAYDN, F. J.
Sonata in F major, op. 10, no. 2 Sonata in c minor, Hob. XVI/20
Sonata in D major, op. 10, no. 3 Sonata in A flat major, Hob, XVI/46
Sonata in B flat major, op. 22 Sonata in E flat major, Hob. XVI/49
Sonata in A flat major, op. 26 Sonata in C major (“English”), Hob. XVI/50
Sonata in c sharp minor, op. 27, no. 2
Sonata in D major, op. 28 MOZART, W. A.
Sonata in G major, op. 31, no. 1 Sonata in D major, K 284
Sonata in d minor, op. 31, no. 2 Sonata in C major, K 309
Sonata in E flat major, op. 31, no. 3 Sonata in D major, K 311
Sonata in F major, op. 54 Sonata in A major, K 331
Sonata in F sharp major, op. 78 Sonata in B flat major, K 333
Sonata in E flat major, op. 81a Sonata in c minor, K 457
Sonata in e minor, op. 90
SCHUBERT, F.
CLEMENTI, M. Sonata in a minor, op. 42, D 845
Sonata in b minor, op. 40, no. 2 Sonata in G major, op. 78, D 894
Sonata in A major, op. 120, D 664
Sonata in a minor, op. 143, D 784
Sonata in a minor, op. 164, D 537
BRAHMS, J. Intermezzo in A major, op. 118, no. 2
Ballade in D major, op. 10, no. 2 Intermezzo in e flat minor, op. 118, no. 6
Ballade in g minor, op. 118, no. 3 Rhapsody in b minor, op. 79, no. 1
Capriccio in f sharp minor, op. 76, no. 1 Rhapsody in g minor, op. 79, no. 2
Capriccio in b minor, op. 76, no. 2 Rhapsody in E flat major, op. 119, no. 4
Capriccio in c sharp minor, op. 76, no. 5 Scherzo in E flat major, op. 4
Capriccio in C major, op. 76, no. 8 Waltz, op. 39:
Intermezzo, op. 118, no. 1 and any six waltzes
List C Romantic Repertoire (continued)
CHOPIN, F.
Ballade in A flat major, op. 47 Légends:
Berceuse, op. 57 St François d’Assise: La prédication
Fantaisie-Impromptu in c sharp minor, op. 66 aux oiseaux
Impromptu in F sharp major, op. 36 Mephisto Waltz
Nocturne in c sharp minor, op. 27, no. 1 Polonaise in E major
Nocturne in D flat major, op. 27, no. 2
Nocturne in G major, op. 37, no. 2 MENDELSSOHN, F.
Nocturne in c minor, op. 48, no. 1 Andante and Rondo Capriccioso, op. 14
Nocturne in B major, op. 62, no. 1 Andante con variazioni, op. 82
Polonaise in f sharp minor, op. 44 Prelude and Fugues, op. 35:
Polonaise in A flat major, op. 53 any one
Polonaise in e flat minor, op. 26, no. 2 Scherzo in e minor, op. 16, no. 2
Scherzo in b minor, op. 20
Scherzo in b flat minor, op. 31 SCHUBERT, F.
Scherzo in c sharp minor, op. 39 Drei Klavierstucke, D946:
Scherzo in E major, op. 54 no. 1 or no. 3
Preludes op. 28: Four Impromptus, op. 90, D 899:
any four (except nos. 4, 6, 7, 15 and 20) Impromptu in c minor, no. 1
Four Impromptus, op. 142, D 935:
CZERNY, C. Impromptu in f minor, no. 1
La Ricordanza, op.33
SCHUMANN, R.
LISZT, F. Abegg Variations, op. 1
Années de pélerinage, Book 2: Faschingsschwank aus Wien, op. 26:
Sonetto 47 del Petrarca 1st or last movement
Sonetto 104 del Petrarca Novelletten, op. 21, nos. 2 or 8
Sonetto 123 del Petrarca Papillons, op. 2
Sposalizio Phantasiestücke, op. 12:
Hungarian Rhapsodies: In der Nacht, no. 5
any one Traumes-Wirren, no.7
Phantasiestücke, op. 111:
any two
List D Neo-Classical, Neo-Romantic, and Impressionistic Repertoire

ALBENIZ, I La cathedrale engloutie
Asturias (INT): La danse de Puck
Leyenda Preludes, Book 2:
Canotos de Espana (INT): Feux d’artifice
Seguidillas La puerta del Vino
Iberia Suite, 1 (INT): Les fees sont d’exquises danseuses
El puerto La terrasse des audiences du claire de
lune
DEBUSSY, C. Suite pour le Piano:
Ballade Prelude
Estampes: Toccata
Jadins sous la pluie
Pagodes DOHNANYI, E.
La soiree dans Grenade Four Pieces, op. 2 (DOB; SCH):
Images, Books 1 and 2: Capriccio in b minor
any one Four Rhapsodies, op. 11 (DOB):
Preludes, Book 1: Rhapsody in f sharp minor no. 2
Ce qu’a vu le vent d’ouest Rhapsody in C major no. 3
Le vent dans la plaine Rhapsody in e flat minor no. 4
Les collines d’Anacapri
List D Neo-Classical, Neo-Romantic, and Impressionistic Repertoire (continued)
FAURE, G. IRELAND, J.
Barcarolle no. 5 in f sharp minor, op. 66 Decorations:
Barcarolle no. 6 in E flat major, op. 70 Island Spell
Barcarolle no. 8 in D flat major, op. 96
Impromptu no. 2 in f minor, op. 31 POULENC, F.
Impromptu no. 3 in A flat major, op. 34 Novellette, no. 1 in C major
Impromptu no. 6 in D flat major, op. 63 Improvisations: (SAL):
Nocturne no. 1 in e flat minor, op. 33 any three
Presto (SAL)
GERSHWIN, G. Theme varie ESC
Three Preludes (WAR) Trois nouvellettes CHS, no. 2
Trois pieces (PRE):
GRANADOS, E. Toccata
Goyescas: (UME):
The Maiden and the Nightingale, no. 4 RACHMANINOFF, S.
10 Preludes, op. 23:
GRIFFES, C. T. one of nos. 2, 4, 5, 6, 7
Fantasy Pieces, op. 6: (MMB) 13 Preludes, op. 32:
Barcarolle one of nos. 3, 5, 9, 10, 12
Notturno
Scherzo RAVEL, M.
Roman sketches, op. 7 (SCH): Mirrors: (DUR)
The White Peacock La vallee des cloches
Noctuelles
Oiseaux tristes
LIST E 20th Century Repertoire

ANHALT, I. BRITTEN, B.
Fantasia (BER) Night PieceBUCZYNSKY, W.
Amorphus
BARBER, S.
Excursions, op. 20 (SCH): CHAMPAGNE, C.
any two Quadrilha brasiliera (BER)
Nocturne (Homage to John Field), op. 33 (SCH)
COPLAND, A.
BARTOK, B. Passcaglia (SAL)
Allegro barbaro (UNI)
Sonatina CRUMB, G.
Suite, op. 14 (UNI): Processional (PET)
any three movements
FINNEY, R. L.
Szabadban (Out of Doors Suite) (UNI): Sonata no. 1 in d minor
any one movement Variations on a Theme by Alban Berg
Two Elegies, op. 8b:
no. 1 or no. 2 GINASTERA, A.
Two Roumanian Dances, op. 8 (a) : Danzas argentinas, op. 2 (ALF)
no. 1 or no. 2 Malamba, op. 7
Three Burlesques, op. 8: Suite des danzas criollas, op. 15
any two
Mikrokosmos, Vol. 6 : HETU, J.
two of nos. 142, 144, or 146 Ballade (DOM)
Variations pour piano (BER)
BATON, R.
Spinning of Lace HO, S.
Wave Dance
List E 20th Century (continued)
HO, V. MUCZYNSKI, R.
Three Scenes of Childhood (ALK) Toccata, op. 15 (SCH)
JAQUEL, R. PAPINEAU- COUTURE, J.

Deuxieme suite (BER) Suite pour piano (BER):
5th movement: Rondo
JOACHIM, O
L’eclosion (BER) PEPIN, C.
Suite pour piano (LEE):
KABALEVSKY, D. any one movement
Sonata no. 3 in F major, op. 46
24 Preludes, op. 38 (SCH): PERSICHETTI, V.
one of nos. 5, 7, 10, 12, 14, 16, 17, 18, 22, 24 Poems for Piano, Vol. 2, op. 5:
And warm winds spilled fragrance into
KENINS, T. her solitude, no. 7
Sonata (1961) Make me drunken with deep red torrents of
joy, no. 8
KENNAN, K
Three Preludes (SCH) PROKOFIEV, S.
Episodes: Ten Pieces, op. 12 (MCA; SCH):
KUZMENKO, L. Scherzo, no. 10
In Memorium to Victims of Chernobyl Moment musical, op. 62, no. 2 or 3
Four Pieces, op. 4 (DOVER):
KYMLICKA, M. Devilish Inspiration, no. 4; or
Five Preludes for Piano (CAN) two of nos. 1, 2, or 3
Sonatina, no. 1
RAWSTHORNE, A.
LAMBRO, P. Bagatelles (OUP)
Night Pieces for Piano: (WIM):
any one ROCHBERG, G.
Toccata for Piano (WIM) Nach Bach (PRE)
LOUIE, A. RUNDYTS’KYI, A.
I Leap through the Sky with Stars (GVT) Variations on a Simple Theme, op. 38 (WIM)
MARTIN, F. SANCAN, P.
Eight Preludes for Piano (UNI): Toccata (DUR)
two of nos. 1, 2, 4, or 7
SHOSTAKOVICH, D.
MESSIAEN, O. 24 Preludes and Fugues, op. 87:
Huit preludes pour piano: (DUR) one Prelude and Fugue
Chant d’extase dans un paysage triste
Le nombre leger SKARECKY, J.
Un reflet dans le vent Tekarra
MORAWETZ, O. SOMERS, H.
Fantasy, Elegy, and Toccata (LEE): Testament of Youth (First Piano Sonata)
Toccata Three Sonnets (BER)
Scherzo
WEBERN, A
Variations, op. 27 (UNI)
Concert Etudes
BERKELEY, L. MENDELSSOHN, F.
Concert Study in E flat Etude in f minor
Three Preludes, op. 104a:
CHOPIN, F. any one
Etudes, op. 10
nos. 1, 2, 3, 4, 5, 7 or 12 MOSCHELES, I.
op. 25: 12 charakteristiche Studien, op. 95:
nos. 1 or 12 any one
Sonata in B flat minor, op. 35 Three Concert Etudes (Allegri di bravura), op. 51
Last movement: Presto any one
COULTHARD, J. MOSZKOWSKI, M.
Four Etudes for Piano (BER): 15 Virtuoso Etudes, op. 72 (SCH; INT):
any one any one (except no. 4 or no. 10)
Ecole des doubles-notes (third part), op. 64:
DOHNANYI, E. any one
Six Concert Etudes, op. 28: Three Concert Studies, op. 24 (RIC):
nos. 5 or 6 any one
DUBOIS, P. M. PROKOFIEV, S.
Etudes de concert: Four Etudes, op. 2:
any one any one
LIGETI, G. RACHMANINOFF, S.
Etudes for Piano, Book 1 (OTT): Etudes-tableaux, op. 33:
any one any one (except no. 8)
Etudes-tableaux, op. 39:
LISZT, F. any one
Twelve Transcendental Etudes:
no. 1 SAINT-SAENS, C.
Etudes de Concert: Six etudes (for the left hand) op. 135:
no. 2: La leggierezza one of nos. 2, 3, 4, or 5
no. 3: Un Sospiro
Gnomenreigen STRAVINSKY, I.
Waldesrauschen Four Studies, op. 7 (PET):
any one
MOREL, F. Circus Polka
Deux etudes de sonorite (BER):
no. 2 WEBER, C. M.
Momento capriccioso in B flat major, op. 12
MacDOWELL, E. Piano Sonata no. 1 in C major, op. 24:
Etude de concert, op. 36 Perpetuum mobile (Rondo)
Zwolf Virtuosen-Etuden, op. 46:
any one (except no. 4)
Fellowship Diploma - F.B.C.M.
The Fellowship Diploma F.B.C.M. is open to candidates of any age. This is a practical examination requiring a
highly developed performance aptitude and significant experience in public performance such as senior festivals,
private and public performances and competitions.
The program is to be presented as a formal recital of a high standard such as one would expect to hear at major
concert venue. Secure memory of all works is a requirement. There are theory pre-requisites for this examination.
(See: Certificates and Diplomas under General Information). Candidates must hold an L.B.C.M. Hon. or
equivalent before applying for diploma level.
A type-written copy of the candidates program must be enclosed with the examination entry.
 For the practical section of this examination the candidate is required to prepare six
pieces – one each from the following list.

List D Neo-Classical, Neo-Romantic and Impressionistic Repertoire
 One substitution piece is allowed for any of the above selections without prior approval. The
substitution piece must reflect grade equivalency and era.
Theory Pre-requisites
In order to receive the Fellowship Diploma F.B.C.M. candidates must have completed the following theory
pre-requisites:
 Rudiments 2, History 3, Harmony 4, History 4, Harmony 5, History 5, Counterpoint 4, and

Analysis 5.
OR
 A Comprehensive Theory examination is available for candidates who wish to challenge the
theory requirements for this diploma. Theory is a pre-requisite and must therefore be completed
before application for the F.B.C.M. will be accepted.
OR
 Appropriate documentation indicating completion of theory pre-requisites must accompany the
application. For exemptions see exemption summary chart.
Comparable degrees or diplomas
Candidates who possess degrees or diplomas that are comparable to the requirements of the L.B.C.M. Hon.
must include a copy of the documentation with the application for the Fellowship F.B.C.M. examination.
(An example of a comparable degree would be a B.Mus. with piano major).
Within a time limit of 70 minutes, candidates must present a balanced program of technically and musically
demanding pieces, at least one of which must be post 1945.
BACH, J.S. Partita no.2 in c minor, BWV 826
Chromatic Fantasy and Fugue, BWV 903 Partita no.4 in D major, BWV 828
English Suite no.1 in A major, BWV 806 Toccata in f sharp minor, BWV 910
English Suite no.5 in e minor, BWV 810 Toccata in c minor, BWV 911
English Suite no.6 in d minor, BWV 811 Toccata in D major, BWV 912
Italian Concerto, BWV 971 Toccata in d minor, BWV 913
List B Classical Repertoire - Sonatas

BEETHOVEN, L. Van Hummel, J.N.
Sonata in C major, op. 53 (Waldstein) Sonata in f minor, op. 20
Sonata in f minor, op. 57 (Appassionata) Sonata in f# minor, op. 81
Sonata in A major, op. 101 Sonata in D major, op. 106
Sonata in B flat major, op. 106
Sonata in E major, op. 109 SCHUBERT, F.
Sonata in A flat major, op. 110 Sonata in c minor, D. 958
Sonata in c minor, op. 111 Sonata in A major, D. 959
Variations, op. 35 in E flat major, 'Eroica' Sonata in B flat major, op. Posth., D 960
Wanderer Fantasie, op. 15
HAYDN, F.J.
Sonata in E flat major, Hob. XVI/52 Weber, C.M.von
Sonata in A flat major, op 39

BALAKIREV, M.A. LISZT, F.
Islamey Sonata in b minor
Ballade in b minor
BRAHMS, J. Apres une lecture de Dante
Sonata in C major, op. 1 (Annes de Pelerinage II, Italie)
Sonata in f # minor, op. 2
Sonata in f minor, op. 5 MACDOWELL, E.
Variations and Fugue on a Theme Sonata Tragica, op. 45
by Handel, op. 24 Sonata in e minor, op. 59 (Keltic)
CHOPIN, F. MENDELSSOHN, F.
Andante Spianato and Grande Polonaise, op.22 Variations Serieuses, op. 54
Ballade in g minor, op. 23 Sonata in E major, op. 6
Ballade in F major, op. 38 Sonata in B flat major, op. 106
Ballade in f minor, op. 52
Barcarolle in F sharp major, op. 60
Fantaisie in f minor, op. 49 SCHUMANN, R.
Preludes, op. 28 (complete) Carnaval, op. 9
Sonata in b flat minor, op. 35 Davidsbundler Tanze, op. 6
Sonata in b minor, op. 58 Fantasie, op. 17
Fantaisie Polonaise Humoreske, op. 20
Kreisleriana, op. 16
FRANCK, C. Sonata in f sharp minor, op. 11
Prelude, Chorale and Fugue Sonata in f minor , op. 14
Prelude, Aria and Finale Sonata in g minor , op. 22
Symphonic Etudes, op. 13
GRIEG, E.
Ballade in g minor, op. 24 TCHAIKOVSKY, P.
Theme and Variations, Op. 19 No. 6
List D Neo-Classical, Neo-Romantic, and Impressionistic Repertoire
ALBENIZ, I. RAVEL, M.
Iberia: Jeux d’eau (DUR)
El Albaicin Valses nobles et sentimentales (DUR)
Triana Gaspard de la nuit: (DUR)
Fete-Dieu a Seville Ondine
Scarbo
DEBUSSY, C. Miroirs: (DUR)
L'isle Joyeuse Alborada del gracioso
Poissons Une barque sur l’ocean
Feux d'artifice pour Le Piano Le tombeau de Couperin:
Rigaudon, Minuet and Toccata
FLEMING, R.
Bagatelles SCRIABIN, A.
Los Requiebros Sonata no. 3, op. 23
Sonata no. 4, op. 30
GRANADOS, E. Sonata no. 5, op. 53
Goyescas: Sonata no. 6, op. 62
any one except no. 4 Sonata no. 7, op. 64

BARBER, S. HINDEMITH, P.
Ballade, op. 46 (GS) Ludus Tonalis:
Sonata, op. 26 any two Interludiums and Fugues
Sonata, no. 3
BARTOK, B.
Suite, op. 14: HONEGGER, A.
any three movements Trois Pièces: (Sal)
Improvisations Hommage
Out of Doors (complete) Danse
Three Studies, op. 18:
any one KHATCHATURIAN, A.
Sonata (1961)
BERG, A.
Sonata, op. 1 JANACEK, L.
Sonata (1.X.1905)
BOWEN, Y. PROKOFIEV, S.
Toccata, Op. 155 (Josef Weinberger Ltd) Sonata no. 3, op. 28, Sonata no. 6, op. 82
Sonata no. 7, op. 83, Sonata no. 8, op. 84
DELLO JOIO, N. Sonata no. 9, op. 103, Toccata, op. 11
Sonata: Visions Fugitives, op. 22:
nos. 2 or 3 any twelve
GINESTERA, A. WEBERN, A.
Sonata (1952) Variations, op. 27
Concert Etudes
BRAHMS, J. MENDELSSOHN, F.
Rondo after CM von Weber (Etude No. Three Etudes, op. 104a, any two
Etude after F.Chopin (Etude No. 1) EP
Presto after JS Bach (Etude No. 3 or 4) SAINT-SAENS, C.
Six Etudes, op. 52: any one (except no. 5)
DEBUSSY, C. Six Etudes, op. 111: any one
Twelve Etudes: any two
SCHUMANN, R.
DUBOIS, P.M. Six Etudes on the Caprices of Paganini,
Etudes de Concert: any two op. 10: any one
Toccata, op. 7
CHOPIN, C.
op. 10, nos. 8 and 10 SCRIABIN, A.
op. 25, nos. 3, 5, 6, 8, 10 and 11 Eight Etudes, op. 42:
no. 1, 5, 6, 7 or 8
CZERNY, C. Etude, op. 49, no. 1
Toccata in C, op. 92 Etude, op. 56, no. 4
Three Etudes, op. 65:
LISZT, F. any three
Paganini Etudes: any one Etudes, op. 12:
Twelve Transcendental Etudes: any three
any one (except no. 1)
STRAVINSKY, I.
Four Etudes, op. 7: any one
Appendices
Mark Distribution
For a summary of mark breakdown for each grade or diploma refer to the chart on the following page.
Scales, Chords and Arpeggios
The competence of technical requirements by students of any musical instrument is a well established expectation
by all reputed musical institutions. In order to facilitate the clear understanding of what technical requirements to
student should be able to demonstrate to the examiner at each grade and level in question, the following examples
are provided.
One of the most important questions that seems to surface when defining such technical requirements is that of
fingering. Though it is true that any logical and effective fingering is acceptable, it is also true that the successful
pianist must develop a discipline of playing the best fingering consistently and at all speeds. Thus we recommend
that students use a well defined system of fingering found in published books of technical requirements, such as
the ones published by the BCCM or recognized instructional institutions.
The British Columbia Conservatory of Music, in its Horizons the New Conservatory series for Piano books, the
scales, chords and arpeggios have fingering added and students should do their utmost to adhere to this system, as
this will only positively enhance their future examination results when it comes to advanced levels.
In octave scales the use of the fourth finger on all black keys is optional. This tradition is most effective when
playing octaves in a legato manner. However, in playing them quickly and non-legato, the use of the 5th finger on
all keys is acceptable.
Arpeggios in inversion may be played using the stationery thumb approach or, preferably, the fingering indicated
in many published technique books, with the thumb being primarily on white keys following or approaching black
keys. A review of recognized publications is certainly the best manner of deciding which system to use.
Chords are an essential aspect of piano playing. Therefore all students must be encouraged to play both triads and
four note chords as required by the grade in question. Only in extreme situations should the “small hand”
exemption be used. It is better to play all notes, even at slightly slower tempos than to avoid the stretching of the
hand early on. This will also be a factor in deciding to eliminate chords in repertoire selections.
This syllabus features the option of harmonizing melodies in lieu of melody playbacks. Samples of difficulty and
length of phrases are provided in this appendix. The early practice of melody harmonization will be most effective
for any student who would like to explore musical extemporization or composition.
Mark Distribution Table
Preliminary Grade Grade Grade Grade Grade Advanced Associate Licentiate Fellowship
1 2-5 6-7 8-9 10 Performance Teacher’s Diploma Diploma
Certificate Diploma
Repertoire
List A 50 16 16 16 16 14 22 50 18 18
List B 22 22 22 16 14 26 22 22
List C Any four (4) 16 16 16 10 12 22 See Part 1 16 16
List D compositions - - - 10 10 22 on page 78 14 14
from the book
List E - - - - 10 22 for repertoire 14 14
Concert Etude - - - - - - choice 16 16
Presentation - - - - - 8 - -
Memory 10 6 6 6 8 - - - - -
Technique 10 10 10 10 10 10 - 20 - -
Studies - 10 10 10 10 10 - - - -
Ear Tests - - - - - - - - - -
Meter - - - - - - - 4 - -
Rhythm Clapback 10 4 3 2 - - - - -
Cadences - - - - 2 3 - - - -
Chords - - - 2 2 3 - 4 - -
Intervals - - 3 3 3 - 3 - -
Playback or - 6 4 3 3 4 - 4 - -
Sight Reading - - - - - - - - - -
Rhythm 10 3 3 3 3 3 - 5 - -
Notation 10 7 7 7 7 7 - 10 - -
Total 100 100 100 100 100 100 100 100 100 100
Viva Voce
General pedagogy 25
Teaching technique 25
Prepared pieces 25
Demonstration lesson 25
Total 100
Study Essay
OR 100
Teachers’ Written
Total 100
Technical Requirements - Scales
Grade: Preliminary
Right Hand
       
       
         
    
Left Hand
          
Grades: 1 to 3
   
Right Hand
      
 

              
      

Left Hand

Grades: 4 to 6
            
Parallel motion
       
 
    
         
      

Grades: 7 to Diploma
        
Formula pattern
     

      
          
     
    
            
                
Staccato triplets
 

   
              
           
        
        
             
   
Poly-rhythm, two against three
   
   
     
1 2 3 1 2 3

 
       
  
             
Grades: 5 to 6
     
Formula pattern
       

 
                      
   
         

    
 

           
  
       

                 
Formula pattern
   
     

 
                      
   
         
            
     
            
                


Parallel motion in thirds
            
      
              

Parallel motion in sixths
  
            
  
  
                 
 
Grades: 3 to 5
Chromatic
                 
       
                         
Grades: 6
Chromatic
                 
       
      
                  
Chromatic
             
           
        
                
   
                               
Octaves
  
                 
                                   
         
             
    
               
       
Octaves
                         
   
       
                                    
             
Technical Requirements - Chords
         
Grade: Preliminary
        
   
Tonic triads
            
     
   
Grades: 1 to 2
                  
Tonic triads
        
    
    
                
    
Grades: 3 to 6
   
            
Tonic triads
       
  
    
                 
       
     
Grades: 7 to 8
    
      
Tonic chords
  
                

  
                
            
Grade: 8
  
             
Tonic chords

            
 
  
                  
           (3)
   
        
Tonic chords
        
       
         

 
   
          
  
     
                   
     
Dominant 7th
          

         
                       
         
  

        

                 
Diminished 7th
          

      
      
        
 
     
              
                     
   
Grade: Preliminary
      

Tonic chord, alternate
      
   
     
3
  
       
3
Grades: 1 to 2
      
            
       


         
Grades: 3 to 6
   

       
   
        
       
Grade: 4
     
       
   
        
       
Grade: 5
   
   
     
          
3

 3          
      
   
   
Grade: 6
         
          
3
 
       
           
     
3
Grades: 7 to 8
    
           
       
 
     
         
         
 
   
               
        
 
   

                  
    
  
    
Dominant 7th, alternate
             

     
    
                  
     
                 
Diminished 7th, alternate
                   

   
              
                 

Technical Requirements - Arpeggios
 
Grade: Preliminary to 2
   
 
Tonic chord divided between the hands
   
 
      
  
3
 3 
Grade: 3 to 6
  
 
Tonic chord
    
3
   
   
   
   
3
 

Grade: 7
    
    
Tonic chord
       
 
3
   
  3        
 
 
  
      
Tonic chord
    
      
      
  
      
 
 
          
     
 
Grades: 6 and 7
   
 
Dominant 7th
     
     

          
      
Grades: 6 and 7
       
Diminished 7th
      
  

            
    
Technical Requirements - Arpeggios
Grade: 8
      
Dominant 7th
  
   
   
  
        
   
 
Grade: 8
       
Diminished 7th
     
   

        
  
     
   
   
Dominant 7th
   
   
 
 
            
      
    
  
       
   
                 

          
           
 
            
  
Diminished 7th
 
          
         
   
      
    
               
       
     

           
         
          
Technical Requirements - Cadences
Grades: 4 to 8
Cadence
    
 
   
V I
Grade: 9
Chord progression
     
     
I IV V7 I
Chord Progression
      

    
 
I II 6 I6 V7 I
4
OR
Chord Progression
      
    
 
I IV I6 V7 I
4
Melody Harmonization - Sample Questions and possible solutions
Grade 6
          
Question
        
Possible solution
          
      
        
C  
     
  
C G/B F/A G F/C G/D C
     
I V6 IV6 V I IV6/4 V6/4 I
Grade 7
              
   
Question
               
Possible solution
  
B B       Gm/B
  
F C/G F/A C7 F
       
      
I V6/4 IV V6 IV II6 V7 I
Grade 8
  
  
Question
            
 
           
Possible solution
    
 
   
       
G D/F# G/B D G/D Am/C G/D D7 G
     

I V6 I6 V I6/4 IV6 I6/4 V7 I
Melody Harmonization - Sample Questions and possible solutions
Grade 9
          
Question
         
      
Possible solution
   
       
                 

  
Dm Gm/D Dm Gm/D A/C# Dm A7/E Dm Edim/G Dm/A A7 Dm
       
I IV6/4 I IV6/4 V6 I V4/3 I II6 I6/4 V7 I
Grade 10

Question
 
                            
  
Possible solution
 
                         
       
Gm
 
       
Cm/E B/D E D7     
           
Gm Gm/D D

I IV6 I6/4 V III6 VI V7 I
Diploma -Teacher
Question
          
              
       
Possible solution
         
      
B    
B          
  

Gm/B G /F Cm/E Cm/G 
    
                 
F D Gm F

7 7 7
 
I VI V4/2 of II6 V V7 of VI IV6 II6/4 V7 I

New 2010 Syllabus - Complete - Updated - No Bates

Hochgeladen von

Dokumentinformationen

Originaltitel

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

New 2010 Syllabus - Complete - Updated - No Bates

Hochgeladen von

Copyright:

Verfügbare Formate

Piano

mid-April, for June examinations (spring session)

• Written inquiries and application forms should be addressed to:

Secondary School Music Credit

High School Grade Credits

BCCM Grade 6 Piano and Fine Arts 10 4

BCCM Grade 7 Piano and Fine Arts 11 4

BCCM Grade 8 Piano and Fine Arts 12 4

Practical Examination Theory Examination

L.B.C.M Diploma and the Associate Teacher Diploma – B.C.M.A.

Diploma Theory co-requisites or pre-requisites

Associate Teacher Diploma Theory co-requisites:

Licentiate Honours Diploma Theory pre-requisites:

Fellowship Diploma Theory pre-requisites:

Associate Teacher, B.C.M.A.

Licentiate Performance, L.B.C.M.

Licentiate Honours, L.B.C.M. Hon.

Refer to the British Columbia Conservatory of Music

Classification of Marks for Theory Examinations

Diploma Portion of Examination Exemption

Associate Teacher Part 1 Performance Exemptions allowed with appropriate

Part 2 Study Essay or Teachers Written Exemptions unavailable

Part 3 Viva Voce Exemptions allowed with appropriate

Licentiate Performance Performance Exemptions unavailable

Fellowship Performance Exemptions unavailable

Theory Requirements PRELIMINARY

Selections marked with an asterisk (*) are found in the preliminary

Scales Keys Details Tempo

Parallel motion Major keys: C, G HS = 104

Triads Keys Details Tempo

Broken Major keys: C, G HS  = 60

Alternate HS = 60

Arpeggios Keys Details Tempo

Cross-over motion Major keys: C, G HS = 66

CLARKE, J. SCHEIN, J.H.

List B Classical Repertoire

BONIS, M. NORTH, ERIC

Parallel motion Major keys: C, G, D HS = 69

Triads Keys Details Tempo

Solid Major keys: C, G, D HS  = 100

Broken HS = 72

Alternate HT = 76

Arpeggios Keys Details Tempo

Cross-over motion Major keys: C, G, D HS = 72

List B Classical Repertoire

CLEMENTI, M. HAYDN, F.J.

MOZART, W.A. SCHUBERT, F.

List C Romantic Repertoire

Parallel motion Major keys: D, A, F HS = 92

Triads Keys Details Tempo

Solid Major keys: D, A, F HS  = 100

Broken HS = 72

Alternate HT = 76

Arpeggios Keys Details Tempo

Cross-over motion Major keys: D, A, F HS = 72

BACH, J.S. PALMER, W.A.

List B Classical Repertoire

ANDRE, J.A. CLEMENTI, M.

HUNTEN, F. Menuetto and Trio in G major, KV1

LE COUPPEY, F. PLEYEL, I.J.

List C Romantic and 20th Century Repertoire

Scales Keys Details Tempo

Parallel motion Major keys: F, B, A HS = 92