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Michigan Music Teachers Association
STUDENT ACHIEVEMENT TESTING
PIANO HANDBOOK
2017 Edition
Copyright © 2017 by Michigan Music Teachers Association
30 April 2017
Updated 6 October 2018
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FOREWORD
The Student Achievement Testing Piano Handbook offers the private teacher a logical teaching
sequence of musical skills and knowledge intended to provide the student with a well-rounded
musical education through her/his years of lessons. It also provides a basis for recognizing and
evaluating a student’s musical achievement.
This Handbook covers the testing areas of performance, technique, sight-reading, aural
awareness, and theory spread over thirteen levels. The testing rules and regulations are included.
Teachers will decide how to use these materials according to their individual teaching styles and
will decide how they should be used with each student.
The Student Achievement Testing Piano Handbook is provided to all members of the Michigan
Music Teachers Association and is also available to non-members who have paid the required
fee. Over five years of work have been spent on the revision of this Handbook, and this Revision
Committee is grateful to the previous Handbook Committees for laying the foundation for the
2017 edition.
COMMITTEE
Revised 2017
This Student Achievement Testing Handbook supersedes all previous publications.
Copyright by the Michigan Music Teachers Association.
All rights reserved.
Gail Davis-Barnes, Revision Chairperson
Gerardo Ascheri, Piano SAT Chairperson
Diana Munch, SAT Coordinator
Barbara Collins
Penny Draper
Patricia Lobbestael
Maria Lonchyna-Lisowsky
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CONTENTS
Foreword 3
Table of Contents 4
Code of Ethics 9
Student Achievement Testing History 10
Student Achievement Testing Overview 12
Eligibility 13
Correlation of Levels
14
Guidelines and Administration of Achievement Tests
15
Performance 15
Performance Judge 16
Qualifications and Selection of Judges 17
Aural Awareness 18
Sight-Reading 20
Technique 22
Theory 24
Trophies and Awards 25
District Semi-Finals 27
State Finals Day 29
SAT Level Requirements, Examples, and Practice Pages
Level 1A
31
Aural Awareness 33
Sight-Reading 35
Technique 36
Theory 37
Practice Rhythms 38
Practice Melody Playback Examples 41
Student Achievement Testing - Piano Handbook Contents
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CONTENTS
Level 1B
43
Aural Awareness 45
Sight-Reading 47
Technique 48
Theory 50
Practice Rhythms 52
Practice Melody Playback Examples 55
Level 2
57
Aural Awareness 59
Sight-Reading 61
Technique 62
Theory 66
Practice Rhythms 68
Practice Melody Playback Examples 71
Level 3
73
Aural Awareness 75
Sight-Reading 77
Technique 78
Theory 82
Practice Rhythms 84
Practice Melody Playback Examples 87
Level 4
89
Aural Awareness 91
Sight-Reading 93
Technique 95
Theory 99
Practice Rhythms 101
Practice Melody Playback Examples 105
Practice Chord Harmonizations 107
Student Achievement Testing - Piano Handbook Contents
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CONTENTS
Level 5
109
Aural Awareness 111
Sight-Reading 113
Technique 115
Theory 119
Practice Rhythms 121
Practice Melody Playback Examples 124
Level 6
127
Aural Awareness 129
Sight-Reading 131
Technique 133
Theory 137
Practice Rhythms 139
Practice Melody Playback Examples 142
Practice Chord Harmonizations 144
Level 7 145
Aural Awareness
147
Sight-Reading
150
Technique
152
Theory
158
Practice Rhythms
161
Practice Melody Playback Examples
165
Level 8 167
Aural Awareness
169
Sight-Reading
172
Technique
174
Theory
182
Practice Rhythms
186
Practice Melody Playback Examples
190
Practice Chord Harmonizations 192
Student Achievement Testing - Piano Handbook Contents
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CONTENTS
Level 9 193
Aural Awareness
195
Sight-Reading
198
Technique
200
Theory
205
Practice Rhythms
209
Practice Melody Playback Examples
213
Level 10 215
Aural Awareness
217
Sight-Reading
220
Technique
222
Theory
232
Practice Rhythms
236
Practice Melody Playback Examples
240
Practice Chord Harmonizations 242
Level 11 243
Aural Awareness
245
Sight-Reading
248
Technique
250
Theory
256
Practice Rhythms
259
Practice Melody Playback Examples
263
Level 12 265
Aural Awareness
267
Sight-Reading
270
Technique
272
Theory
277
Practice Rhythms
281
Practice Melody Playback Examples
285
Student Achievement Testing - Piano Handbook Contents
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CONTENTS
Appendix
287
Rhythm Chart 289
Music Terns and Definitions 290
Glossary 296
Abbreviations 300
Circle of Fifths 301
Music History Study Guide 302
Piano Repertoire 305
Piano Repertoire Levels 1A-1B 306
Piano Repertoire Levels 2-3 308
Piano Repertoire Levels 4-5 311
Piano Repertoire Levels 6-7 314
Piano Repertoire Levels 8-9 317
Piano Repertoire Levels 10-12 321
Composer Classification List 327
Melody Playback Resources 331
Melody Playback Examiner's Instructions 331
Lead Line Notation 332
Harmonization Tutorial 333
Figured Bass Historical Perspective 341
Technique Alternate Fingering Form 342
Performance Rating Sheet - Front Page 343
Performance Rating Sheet - Back Page 344
Reference Bibliography 345
Student Achievement Testing - Piano Handbook Contents
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MICHIGAN MUSIC TEACHERS ASSOCIATION
MTNA CODE OF ETHICS
The principles and aspirations found in the Music Teachers National Association's Code of
Ethics are not conditions of membership, but are goals and ideals that each MTNA member
should strive to make an essential part of his or her professional commitment to students, to
colleagues and to society.
Commitment to Students
The teacher shall conduct the relationship with students and families in a professional manner.
The teacher shall respect the personal integrity and privacy of students unless the law
requires disclosure.
The teacher shall clearly communicate the expectations of the studio.
The teacher shall encourage, guide and develop the musical potential of each student.
The teacher shall treat each student with dignity and respect, without discrimination of
any kind.
The teacher shall respect the student's right to obtain instruction from the teacher of his or
her choice.
Commitment to Colleagues
The teacher shall maintain a professional attitude and shall act with integrity with regard to
colleagues in the profession.
The teacher shall respect the reputation of colleagues and shall refrain from making false
or malicious statements about colleagues.
The teacher shall refrain from disclosing sensitive information about colleagues obtained
in the course of professional service unless disclosure serves a compelling professional
purpose or is required by law.
The teacher shall participate in the student's change of teachers with as much
communication as possible between parties, while being sensitive to the privacy rights of
the student and families.
Commitment to Society
The teacher shall maintain the highest standard of professional conduct and personal integrity.
The teacher shall accurately represent his/her professional qualifications.
The teacher shall strive for continued growth in professional competencies.
The teacher is encouraged to be a resource in the community.
Adopted December 2003; Revised May 2013
Student Achievement Testing - Piano Handbook Code of Ethics
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STUDENT ACHIEVEMENT TESTING HISTORY
The Michigan Music Teachers Association Student Achievement Testing program has been an
important educational tool for students and teachers in Michigan for over 40 years. Starting with
the first testing in March, 1975, it has developed into one of the premier programs in the nation
and has been of benefit to thousands of students.
Before the 1970s, there were performance auditions at the state level. Teachers sent students to a
state audition and winners were chosen for awards and performances at the state conference.
The SAT program developed when teachers expressed a need for a more comprehensive
program that emphasized the importance of theory and aural skills, as well as performance.
During the years since the first handbook in 1975, there have been seven piano handbooks as
well as handbooks for voice, organ, woodwinds, and strings. Countless hours have been spent
by many volunteers developing and writing handbooks and tests during this time. The result has
been a stellar program of MMTA, one that has seen the development of outstanding students and
committed wonderful teaching. We offer thanks to all of those who labor at these tasks today and
for all of those teachers of the past who made this all possible.
The first working copy of the SAT handbook was published during the 1973-74 year. Teachers
were asked to use it and to make suggestions for revisions. The Handbook Chairperson was Faith
Gray and Student Activities Chairperson was Henrietta D. Moeller. By 1974, the first official
handbook was printed with the first testing set for March 1-15, 1975. There were requirements
for 8 levels of piano, voice, and strings and 4 levels of organ. The first State Student Day was
held on March 31, 1975 in Battle Creek during the MMTA Spring Convention. There were
Junior High and Senior High levels for the state testing. The three highest scoring students from
each of 8 testing centers were eligible to compete at the State Student Day – a total of 24
students.
In 1975, an update to the handbook was printed, expanding the piano testing to 10 levels, with
Level 1 divided into 1A and 1B. Student Day was also expanded to three divisions: Junior –
Levels 3 & 4, Intermediate – Levels 5-7, and Senior – Levels 8-10. There were 24 students
chosen from 8 testing centers for each of the three levels. Corrections and revisions to the
handbook were published in 1977 and 1978.
In 1981, a new handbook was published for Piano, Voice, Strings, Woodwinds, and Organ. At
this time, there were no longer limits on the number of students eligible for State Student Day.
Student Achievement Testing - Piano Handbook SAT History
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By 1984, when the next piano handbook was published, the program had grown to such an extent
that the State Semi-Finals auditions were started, with students competing in three districts to
qualify for the State Finals.
A revised piano handbook was published in 1990. At this publication, Eileen Keel was the
Handbook Chair and Jean Schwartz was Piano Chair. The intention at this time was to revise the
handbook every five years. In 1998 the piano handbook was revised again. At this time, Marilyn
Sluka was the Handbook Chair and Barbara Coulter the Piano Chair. In 1999, there was a
revision of the Voice handbook with an expansion from 4 to 6 levels. The piano handbook was
also revised to divide Level 3 into 3A and 3B, and the scoring was altered to give 8 points for the
technique test.
In 2007, a Composer Classification list was published to help teachers to choose appropriate
literature in each historical period, as well as to dual-classify some composers who wrote in more
than one style.
In 2005 at the MMTA Conference, a brainstorming session was held to celebrate 30 years of
SAT. Many ideas surfaced at this time for consideration in making revisions to the piano
handbook. Each year chapters submit comments on the tests to the chairpersons of each testing
area. From these comments and input at several MMTA conferences, it was determined in 2011
that a committee should be formed to begin revision of the piano handbook. The first meetings of
the committee were held in 2011 and 2012 to review ideas submitted by the membership.
Starting with about 12 interested volunteers, the committee eventually ended up with 6 members
who completed the task of revising the requirements and writing sample tests to be distributed to
the membership in preparation for use in the 2018 SAT.
It is the hope of the MMTA Board of Directors and the Piano Handbook Committee that the
SAT program will be a useful tool for our teachers and students for many years to come.
Written by Barbara Collins, NCTM
11 July 2016
Student Achievement Testing - Piano Handbook SAT History
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STUDENT ACHIEVEMENT TESTING
The Student Achievement Testing Program is intended to provide a non-competitive opportunity
for musical development and to encourage students at each level to work for a clear
understanding of important elements of structure and style in music. Testing levels are
progressively designed, and student placement should be determined with careful consideration
to the requirements expected in aural awareness, sight-reading, technique and theory in addition
to repertoire.
Levels do not necessarily correspond to grades in school. In that regard, a 12
th
grader who is a
beginner in piano studies might test at Level 1A or 1B, and a 1
st
grader who has several years of
study might test at a higher level than 1A or 1B. Levels 2-12 are NOT divided into A or B
categories, although a student may repeat a level as necessary in order to strengthen skills and
knowledge, as long as different repertoire is performed each year. Regardless of whether or not a
level is repeated, repertoire performed at SAT in a previous year is not allowed.
A total of 100 points will be distributed in the five testing categories as follows:
Performance: 60 points (20 per piece)
Aural Awareness: 10
Sight-Reading/Transposition/Harmonization: 10
Technique: 10
Theory: 10
If a student has had lessons or coaching with anyone in addition to his or her permanent teacher,
that person’s name must appear on the student’s application form along with that of the
permanent teacher. This enables the Student Achievement Testing Chairperson to obtain judges
who are not acquainted with the student.
The tests are administered by local affiliated chapters in the late winter and spring of each year,
and must take place within three to six weeks of the District Semi-Finals. Students are expected
to participate at the audition centers in which their teachers belong. If this is not possible,
arrangements must be made in advance with the SAT Chair of another site in the same District, if
the student intends to go on to Semi-Finals. If the teacher does not belong to a local chapter,
arrangements must be made in advance with the center closest to the teacher’s studio.
Each student pays a fee to the local audition center, and a portion of that fee will be forwarded to
the MMTA SAT Auditions Chair along with a list of all entrants and their scores.
Student Achievement Testing - Piano Handbook Overview
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ELIGIBILITY
1. The participant may be a student in grades K-12 or an adult student studying with a
Michigan Music Teachers Association member. All students will have the same
requirements as outlined in this handbook.
2. The teacher's dues must be paid to MMTA by November 1st of the year previous to the
testing. New members of MMTA will be accepted through January 1st. Students must
pay all required fees to enter. Teachers who are not MMTA members wishing to enter
students will be assessed a special fee in addition to the student fees. They will also be
required to purchase a Student Achievement Testing Handbook.
3. The student must have studied with the entering teacher from September until
completion of testing, unless there are extenuating circumstances approved by the SAT
Coordinator.
4. The student may enter Student Achievement Testing at any level that the teacher
determines. All five areas of testing are to be at the same level. The student's school
grade does not affect the level entered. The goal is to attain a uniform level of
achievement in all areas.
5. Students may repeat a level as long as new repertoire is presented each year. Students
entering for the first time in the new handbook may enter at an appropriate level,
regardless of the level completed previously.
6. Students who achieve an overall score of 70 will be eligible for the SAT trophy
program (see p. 25).
7. Students who have obtained a minimum score of 55 on the performance portion of the
testing and a minimum score of 90 overall, and have entered at the appropriate level for
their school grade may proceed to the District Semi-Finals Performance Auditions (see
p. 27). Adult students will not be eligible for the District Semi-Finals.
Student Achievement Testing - Piano Handbook Overview
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CORRELATION OF LEVELS
SAT 1998 Edition SAT 2017 Edition
1A 1A
1B 1B
2A 2
2B 3
3A 4
3B 5
4 6
5 7
6 8
7 9
8 10
9 11
10 12
Teachers may switch a student to the expected correlated level. However, not every student
might be able to do so, considering the various changes in content and in skills between the
levels. The teacher should choose the appropriate level for a student entering the new program
for the first time, regardless of their previous level.
SEMI-FINALS DIVISIONS
Intermediate: Levels 6 and 7 - school grades 7 or lower.
Junior: Levels 8 and 9 - school grades 9 or lower.
Senior: Levels 10, 11, and 12 - school grades 12 or lower.
Student Achievement Testing - Piano Handbook Overview
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Student Achievement Testing - Piano Handbook Guidelines and Administration Performance
GUIDELINES AND ADMINISTRATION OF ACHIEVEMENT TESTS
The following guidelines will be helpful to teachers and judges in understanding the preparation
and administration of the Student Achievement Tests.
PERFORMANCE
Expectation of the Student
Students will perform three complete memorized pieces in contrasting styles (e.g. tempo, touch,
mood). The pieces must be published solo works, not concerti. The student and teacher will
make the choice of repertoire in Levels 1A through 5. The Piano Repertoire List in this
handbook illustrates the approximate difficulty of the pieces at each level.
Students entering at Levels 6 and above will perform pieces from three of the following musical
periods:
I. Renaissance or Baroque
II. Classical
III. Romantic
IV. Impressionist/Twentieth and Twenty-First Century
(Please see “Composer Classification List” in the Appendix, p. 327.)
At Levels 6-12, arrangements or transcriptions are not permitted, with the exception of those
found in Maurice Hinson’s “Guide to the Pianist’s Repertoire.” Students performing pieces with
theme and variations must perform all variations.
Students at the following levels must play one piece from the musical period indicated:
Level 9: Renaissance or Baroque
Level 10: Classical
Level 11: Romantic
Level 12: Impressionist, 20
th
Century, 21
st
Century
The maximum performance time for all 3 pieces is as follows:
Levels 1-5 7 minutes
Levels 6-7 9 minutes
Levels 8-9 12 minutes
Levels 10-12 15 minutes
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Student Achievement Testing - Piano Handbook Guidelines and Administration Performance
Students should perform repertoire in as complete a form as time allows. Repeats and first and
second endings may be performed if the total performance time stays within the time limit. Da
Capo repeats should always be observed. Teachers are urged to consider the time restrictions
when choosing repertoire.
Students will be expected to perform new repertoire each year. Repertoire performed at SAT
in a previous year is not allowed.
Students are to bring a published copy of each of the three pieces to be performed. No score can
be given if the music is not provided. Photocopies will not be allowed unless the music is out
of print (written verification from the publisher is required). Copies that are digital downloads
with a purchase receipt and copies with the CD Sheet Music logo are also acceptable. Measures
are to be numbered in the left margin.
THE PERFORMANCE JUDGE
A qualified judge, having no connection with any student entered, will audition students in
performance. The identity of the student and the teacher will not be known to the judge before
or during the audition. The judge will hear all three pieces prepared by the student in as complete
form as the time limit allows. The judge will give written comments on each work performed,
as well as the total numerical score.
Judging of the performance will be based on: accuracy, technique, musicianship and memory.
Numerical scoring is based on 20 points per piece. There will be no performance score given
for a piece that is not memorized. Only memorized pieces will receive a score. The judges’
decision is final.
Expectations of the Performance Judge
The Judge: 1. should be someone who is acquainted with this Handbook and the Student
Achievement Testing Program.
2. is expected to abide by the State Judging Guidelines published each year and is
expected to meet with the local chairperson before the testing begins.
3. should try to put the student at ease, let the student try the piano and allow the
student to choose the order of the pieces to be performed.
4. should allow for differences in interpretation and listen for a convincing
performance.
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Expectations of the Performance Judge (continued)
5. will give an honest written evaluation of the student’s performance,
commenting on good features and offering positive and constructive
suggestions for improvement. The score given by the judge should be
supported by the comments.
6. will direct all comments to the student, not to or about the teacher.
7. should not attempt to give music instruction during the performance and
should refrain from spoken criticism.
8. should judge the performance heard, not a previous or potential performance.
The judge should not compare students.
9. should write comments on the judging sheet only and not in the students’
music.
10. should not judge his/her own students.
QUALIFICATIONS AND SELECTION OF JUDGES
ACHIEVEMENT TESTING
Qualified individuals will be selected by the Student Achievement Testing Chairperson of the
local chapter to administer the Theory, Sight-Reading, Technique, and Aural Awareness tests.
These examiners should be chosen from Michigan Music Teachers Association members who
have worked with and understand the objectives of the Student Achievement Testing Program.
They may be from the local chapter or from a neighboring chapter, but under no circumstances
should examiners test their own students.
PERFORMANCE
Arrangements for securing judges will be made by the local Student Achievement Testing
Chairperson. Judges' fees and mileage will be paid by the local chapter.
Student Achievement Testing - Piano Handbook Guidelines and Administration Performance & Judges
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Student Achievement Testing - Piano Handbook Guidelines and Administration Aural Awareness
AURAL AWARENESS
Students will be tested in one of two ways: 1) with the examiner using a CD supplied by the
Piano Testing Committee, or 2) with the examiner playing the test questions on a piano or digital
keyboard.
Testing with CDs:
1. The CDs will be played by the examiner on a CD player in the Aural Awareness Room.
2. Each question will be played three times, with a two-measure pause before each
repetition.
3. For melodic dictation for Level 5 to 12, students will be given 30 seconds to study the
example before hearing it. The example will be played three times, with a two-measure
pause before each repetition. Another 30 seconds will be given after the third repetition
to complete the answer.
Testing with the examiner playing the test questions:
1. Each question will be played three times, with a two-measure pause before each
repetition.
2. The examiner will explain to the student how the questions are to be answered, for
example, “circle the letter” or “circle the beats”.
3. For Levels 5-12 rhythm patterns will be played at a moderate tempo on a single key of
the piano after the examiner first establishes the pulse by clapping or snapping fingers for
two measures. When metronome markings are included, the examiner will use the
metronome to establish the tempo and then turn off the metronome when playing the
example.
4. Triads and seventh chords will be played both broken and blocked.
5. Intervals will be played ascending and descending as well as blocked. For example, a
Major 2nd would be played as a melodic interval (1-2-1) and then as a harmonic interval
(blocked).
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Student Achievement Testing - Piano Handbook Guidelines and Administration Aural Awareness
6. Scales will be played ascending and descending.
7. In the levels where the student is asked to identify chord progressions, the tonal center
will be established by the examiner, who will play a single tonic triad in the middle
register of the piano.
8. For melodic dictation questions, the examiner establishes the tonality before playing the
example.
9. The Melody Playback portion of the test will be administered by the Technique & Sight-
Reading examiner.
Instructions for Melody Playbacks
Test questions are taken from the examples in the Piano SAT Handbook
Ask the student to stand, so that the student's eyes are not facing the keyboard.
Tell the student the key of the piece.
In Levels 1 - 5, establish the tonality by playing a five-finger pattern and the broken and
blocked tonic triad in the key of the testing example. In Levels 6 - 12, play an octave
scale and the broken and blocked tonic triad in the key of the testing example.
Tell the student the starting note, for example "I'm starting on the G above middle C."
Set the metronome to establish the tempo and turn it off.
At the established tempo, count two measures.
For example, in 4/4 time: "1-2-3-4-1-2-Ready-Listen."
Play the testing example, legato, two times at the established tempo, with a one-measure
pause between repetitions. The example may be played one more time if requested.
Student comes to the piano and will be shown the starting note.
The student will have two chances to play the melody in order to receive full credit.
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Student Achievement Testing - Piano Handbook Guidelines and Administration Sight-Reading
SIGHT-READING
Sight-Reading:
1. Students will be given two minutes to look over the sight-reading piece. They may
play the five-finger pattern or scale and cadence of the sight-reading piece at any time
during this preparation time. They may also “ghost play” their sight-reading silently
on the keyboard during the preparation time.
2. Students are permitted to play the sight-reading only once.
3. If a student performs the sight-reading piece in the wrong octave but the notes are
otherwise correct, a deduction should be made for accuracy, but the student should be
given credit for what was done well.
4. Although fingerings will be given as a help to the student, there will be no deductions
for using a fingering different from the one indicated.
Transposition:
1. After completing the sight-reading, students will play it again as written. They are
allowed an additional minute of preparation time to prepare for the transposition.
2. As in the sight-reading, students may play the five-finger pattern or scale and cadence
of the new key at any time during the preparation period.
3. Students will play the transposition only once.
Chord Harmonization and Harmonizing a Bass Line:
1. Students are allowed an additional minute of preparation time to prepare for the chord
harmonization or harmonizing a bass line.
2. Students will be allowed to play the chord harmonization melody first. Level 11 and
Level 12 students will be allowed to play the bass line first.
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3. Students may play the five-finger pattern or scale and cadence of the piece at any
time during the preparation period.
4. Chord symbols as well as Roman numerals will be provided as an aid to students to
become familiar with them. The chord symbols and the Roman numerals give the
same information but in a different form. Teachers and students should feel free to
use the form with which they feel most comfortable.
Rhythms:
1. Students will have 30 seconds for rhythm preparation. Rhythms may be clapped,
played, sung or chanted for Levels 1A-6. For Levels 7-12, rhythms may be tapped or
played.
2. For clapped rhythm patterns, rests should be shown with an appropriate gesture, such
as open palms.
Judging:
1. Students who count aloud for any of the above skills will be judged only on the music
and rhythms performed, not on the counting.
2. Judges will provide a brief explanation for each point deduction.
3. Students will be graded on the following:
Continuity and steady pulse
Accuracy of notes, rhythm, dynamics, articulation
and harmony.
Correct interpretation of the time signature and key signature (or correct
starting position when no key signature is indicated)
Student Achievement Testing - Piano Handbook Guidelines and Administration Sight-Reading
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TECHNIQUE
1. As terminology sometimes differs among teachers, the examiner will rephrase questions
the student does not understand. The teacher should familiarize the student with the
terminology used in the Handbook, so that the student will feel comfortable while taking
the test.
2. All five-finger patterns, scales and arpeggios are to be played ascending and descending.
3. Scales are to be played in parallel motion unless otherwise specified and may be one or
two octaves apart. In Levels 4-12, all minor scales are to be learned in all three forms
unless otherwise indicated.
4. The judges’ sheets use fingerings from Hanon, the FJH Classic Scale Book by
McArthur/McLean or The Complete Book of Scales, Chords, Arpeggios & Cadences by
Palmer, Manus and Lethco. Teachers who wish to use other fingerings must provide
these fingerings in writing, using the MMTA form provided in the Handbook (p. 342)
Students must bring this form with them to SAT in order to receive full credit.
5. Students will be given a moment to look over and mentally prepare for each question,
which may include “ghost playing” silently on the keyboard before beginning.
6. Metronome markings indicated are the minimum acceptable for that level. A metronome
will be used in the testing room to establish the tempo. It is then the student’s choice as to
whether the metronome is left on or turned off.
7. A more advanced performance is acceptable, such as faster tempo or more octaves than
required, except when a three-octave scale is required.
8. The judge will read the test questions to students, and will also allow them to look at the
test questions as they are being read.
9. All piano technique is to be played without pedal except where indicated.
10. Judges will provide a brief written explanation for each point deduction.
Student Achievement Testing - Piano Handbook Guidelines and Administration Technique
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11. Deductions will be made for:
Starting over
Note inaccuracy
Inconsistent fingering
Lack of continuity
Not meeting the minimum tempo
12. The following abbreviations are used in this Handbook:
BR & BL Broken and Blocked
HS Hands Separately
HT Hands Together
13. Cross-hand arpeggios are to be played two or four octaves ascending and descending,
with the LH crossing over to the final tonic ascending. For example:
CEG CEG CEG CEG C
(LH) (RH) (LH) (RH) (LH)
14. Fingering for triads and inversions are as follows:
Root Position First Inversion Second Inversion
RH 135 125 135
LH 531 531 521
Student Achievement Testing - Piano Handbook Guidelines and Administration Technique
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THEORY
1. The terminology used in the test questions will be consistent with that which is used in
the Handbook.
2. Examiners should be willing to rephrase a question if the student is confused, especially
for students at Levels 1A- 5.
3. Paper keyboards, keyboards drawn on blackboard, pianos with the keyboard exposed, etc.
are NOT allowed in the theory room. Students at Levels 1A- 3 will draw their own
keyboard on the test sheet. In Levels 4-12, keyboards will be printed on the test page for
the students’ use.
4. Judges should follow the grading instructions on the Theory Answer Sheets and the
Examiner Instructions.
5. Figured bass Roman numerals should appropriately identify the quality of the chord, i.e.,
upper case numerals for Major and Augmented chords and lower case numerals for minor
and diminished chords.
6. Figured bass symbols are as follows:
Student Achievement Testing - Piano Handbook Guidelines and Administration Theory
All triads:
root position - no symbol or 5e 1
st
inversion - 6 or 6e 2
nd
inversion - 6r
All 7
th
chords:
1
st
inversion - 6t or 6td 2
nd
inversion - 4e or 6rd 3
rd
inversion - 2 or 4w or 6rs
Chord symbols are as follows:
Major = M
minor = m
diminished = o
augmented = +
25
TROPHIES AND AWARDS
LOCAL
Certificates will be awarded to all participants.
Trophies, graduated in size, will be awarded every TWO YEARS to students who meet the
following requirements:
1. Two years of testing with an overall score of 70 or above for each year. A student
may be awarded a trophy only every two years. The qualifying score from any given
year may be used only once towards a trophy. High school seniors are exempt from
the two-year rule.
2. Students must complete all 5 areas of testing in the same level.
3. Most students will participate in consecutive years. The Piano Committee
recommends that not more than one year of participation be skipped. (Record keeping
becomes difficult and our goal is to encourage yearly growth). If more than one year
is skipped, it is the teacher’s responsibility to provide documentation.
4. A student may skip a level. If a student does skip a level, the trophy would be
awarded for the highest level tested.
5. Students may repeat a level as long as different repertoire is presented each year.
6. If a student fails to qualify the second year, the previous year's score could be counted
the next year. Example:
If a student scored 70 at Level 2 and the next year scored less
than 70 at Level 3, and the subsequent year scored 70 or above at either Level 3 or 4,
he/she would be awarded a trophy at the level completed the final year.
7. The inscribed level indicated on the trophy will be the higher level of the two years
considered.
Record keeping will be done by each Local Chapter Student Achievement Testing Chairperson.
Teachers should also keep accurate records for each of their students. Special care should be
taken when students transfer teachers. If students test in a chapter other than their own, the
records should be sent to the home chapter and trophies should be ordered by the home chapter.
Student Achievement Testing - Piano Handbook Guidelines and Administration Trophies & Awards
26
Student's name, level tested, overall score, and dates of participation need to be recorded and
kept for future use by both the teacher and the local chairperson. Local chairpersons will order
the trophies from the Awards chair.
DISTRICT SEMI-FINALS
All Semi-Finalists will receive a certificate and a ribbon. The certificate will include the MMTA
Logo.
STATE STUDENT DAY FINALS
All participants will receive a plaque with the State Logo, "MMTA Student Day Finalist," and
the year engraved on the metal plate.
Student Achievement Testing - Piano Handbook Guidelines and Administration Trophies & Awards
27
Student Achievement Testing - Piano Handbook Guidelines and Administration Semi-Finals
DISTRICT SEMI-FINALS
District Semi-Finals are held in various locations in Michigan prior to State Student Day for
those students who meet the eligibility criteria listed below and who wish to compete. There are
3 districts: Central, Eastern, and Western. Students may participate in the district to which their
teachers belong. Finalists will be chosen at each site to compete at State Student Day. At State
Student Day, first, second and third place winners will be chosen in each division. Applications
may be obtained from the local SAT Chairperson, or online from the MMTA website.
DISTRICT SEMI-FINALS ELIGIBILITY
1. Any student who enters Level 6 through 12 and earns 55 points or above in performance,
with a combined score of 90 points or more, may take part in the Semi-Finals, providing
they have entered the Achievement Testing Program according to the rules in the
Handbook. See page 13 for eligibility. Repertoire and level/grade requirements are listed
below. Students are expected to participate at the audition centers in which their teachers
belong. Students eligible for semi-finals who are not able to play in their own District
will be allowed to play NON-COMPETITIVELY in one of the other Districts.
Application must meet the application deadline of the accepting District.
2. Repertoire must be the same as played for that year’s SAT
. No pieces may be repeated
from a previous year. All 3 pieces must be memorized.
3. In Levels 6 – 12, pieces must be from 3 of 4 musical style periods. In levels 9-12, one
work from a specific style period is required.
Level 9 – Renaissance/Baroque
Level 10 – Classical
Level 11 – Romantic
Level 12 – Impressionistic, 20
th
Century, 21
st
Century
4. Divisions:
Intermediate: Levels 6 and 7 - school grades 7 or lower.
Junior: Levels 8 and 9 - school grades 9 or lower.
Senior: Levels 10, 11, and 12 - school grades 12 or lower.
5. The maximum performance time for all 3 pieces is as follows:
Levels 6-7 9 minutes
Levels 8-9 12 minutes
Levels 10, 11 and 12 15 minutes
28
Student Achievement Testing - Piano Handbook Guidelines and Administration Semi-Finals
(District Semi-Finals Eligibility, continued.)
Judges will hear all three pieces prepared by the student in as complete a form as the time
limit allows. Repeats, and first and second endings may be performed if the total
performance time stays within the time limit. Da Capo repeats should always be
observed.
Neither the identity of the student nor the teacher may be known to judges before or
during the audition. Written comments on each piece performed will be given and all
decisions are final.
Any teacher entering students in Semi-Finals may not accept a judging position in his/her
own district in the students’ division (Intermediate, Junior, Senior).
The auditions are open to the public only if space permits. NO recording or
photographing of any performer is allowed. Anyone not complying with this rule will
be asked to leave. This applies to Finals Day, as well.
6. From the Semi-Finals, the following percentage of students will go on to State Finals:
Intermediate – 15%
Junior – 20%
Senior – 25%.
7. Participants must furnish one published copy of each composition to be played.
Measures are to be numbered in the left margin. Photocopies will not be allowed unless
the music is out of print (written verification from the publisher is required).
Copies that are digital downloads with a purchase receipt and copies with the CD
Sheet Music logo are also acceptable.
8. Scheduling is done by the lottery system. Neither requests for morning or afternoon nor
changes are allowed.
9. Teachers of students who participate in District Semi-Finals and State Finals must
volunteer their time to help the day of the event. A responsible substitute is allowed. Any
teacher not working or not providing a substitute will be ineligible to submit students the
following year.
10. Students chosen to participate in State Finals Day MUST play on that day, or they will
forfeit eligibility to participate the following year. State Finals winners will be asked to
perform at that year’s state conference.
29
Student Achievement Testing - Piano Handbook Guidelines and Administration Finals
STATE FINALS DAY
All students selected from the District Semi-Finals will compete at a designated location in the
State of Michigan. Each student must play the same literature at State Finals Day as was played
at the District Semi-Finals. Contestants must bring one published copy of each composition to be
played. Photocopies will not be allowed unless the music is out of print (written verification
from the publisher is required). Copies that are digital downloads with a purchase receipt
and copies with the CD Sheet Music logo are also acceptable.
First-, second-, and third-place winners will be chosen from these divisions:
Intermediate Levels 6 and 7
Junior Levels 8 and 9
Senior Levels 10, 11 and 12
All participants will receive an engraved plaque with the Michigan Music Teachers Association
Logo, "MMTA Students Day Finalist" and the year. First, second, and third-place winners in
each category will receive monetary awards.
Judges will be obtained by the State Auditions Chairperson. A teacher having a student entered
in State Student Day shall not accept the responsibility of judging any entrants who will compete
against his or her students.
Judges will hear all three pieces prepared by the student in as complete a form as time allows.
The identity of the student and the teacher will not be known to the judges before or during the
competition. The judges will give written comments on each piece performed and their decision
is final.
State Finals Day is open to the public. Students, teachers, and parents are encouraged to listen to
other performances. NO recording or photographing of any performer is allowed. Anyone
not complying with this rule will be asked to leave.
30
31
MICHIGAN MUSIC TEACHERS ASSOCIATION
STUDENT ACHIEVEMENT TESTING
PIANO HANDBOOK
LEVEL 1A
32
33
Student Achievement Testing - Piano Handbook Aural Awareness 1A
AURAL AWARENESS - LEVEL 1A
Rhythm and Notation
In a two measure example, identify whether two patterns are the same or different, in $4
meter using note values from the Rhythm Chart through Level 1A (p. 289).
Intervals
Identify repeated notes, 2nds, 3rds, and 5ths from a Major five-finger pattern, starting
on the tonic, BR and BL. All examples will have the same tonic.
Example:
repeated notes 2
nd
3
rd
5
th
Identify whether a second pitch is higher or lower than the first.
Five-Finger Patterns
Identify whether you hear a Major five-finger pattern or broken triad.
Identify whether a Major melody is ascending or descending. The melody may be in the
range of an octave.
Identify whether a Major melody is moving by seconds (steps) or thirds (skips) in a five-
finger pattern.
Chords
Identify a broken triad versus a blocked triad.
Identify whether a Major cross-hand arpeggio is played:
o loud or soft
o staccato or legato
34
Student Achievement Testing - Piano Handbook Aural Awareness 1A
Melody Playback
Repeat a two-measure melody of four notes using repeated notes, 2nds or 3rds.
The melody will be in the range of the first three notes of a five-finger pattern.
Meter: #4 or $4
Keys: C and G Major.
Starting Note: Tonic.
Note Values: w h. h q
The test question will be taken from the Practice Melody Playback Examples, Level 1A (p. 41).
See p. 19 for specific testing procedure.
Example:
MM q= 84
35
SIGHT-READING - LEVEL 1A
Rhythm Reading
Clap or play on one key a four-measure rhythm pattern taken from the Level 1A Practice
Rhythm pages (p. 38-40). Sing or chant if you prefer.
Example:
Sight-Reading
Sight read a single-line four-measure melody using intervals of a 2nd, 3rd, and repeated
notes, in C and G Major five-finger patterns in the treble or bass clef. The following
rhythm values will be used: w h. h q
Example:
Student Achievement Testing - Piano Handbook Sight-Reading 1A
36
TECHNIQUE - LEVEL 1A
Intervals
Starting on the tonic, play the intervals of a 2nd, 3rd and 5th from any Major five-finger
pattern beginning on a white key, HS, BR up and down, then BL. Example:
2
nds
3
rds
5
ths
Five-Finger Patterns
Play any Major five-finger pattern, beginning on a white key, HS or HT, up and down,
legato, at a steady beat. If HT, the patterns may be played in parallel or contrary motion.
Example:
Parallel Motion Contrary Motion (choose one)
Chords and Arpeggios
Play the tonic triad from any Major five-finger pattern, beginning on a white key, HS or
HT, BR up and down, legato; then BL. Example:
Play the tonic cross-hand arpeggio from any Major five-finger pattern beginning on a
white key, 2 or 4 octaves; up and down, at a steady beat. Example:
Student Achievement Testing - Piano Handbook Technique 1A
37
Student Achievement Testing - Piano Handbook Theory 1A
THEORY - LEVEL 1A
Rhythm
Identify and write note values and time signatures from the Rhythm Chart for Level 1A
(page 289).
Add bar lines to a rhythm using note values from the Rhythm Chart for Level 1A.
In $4time, identify the number of beats for notes from the Rhythm Chart for Level 1A.
Notation
Identify treble and bass clefs.
Draw a keyboard showing F through B (11 white keys) and name each white key.
Know the names of the lines and spaces in both clefs.
Intervals
Identify the intervals of a 2nd, 3rd, and 5th in C, G, and F Major five-finger patterns,
BR/BL.
Five-Finger Patterns
Identify and write C, G, and F Major five-finger patterns, ascending only. Use
accidentals.
Mark the whole and half steps in a given C, G, or F Major five-finger pattern.
Chords
Identify and write the C, G, and F Major triads in root position, BR and BL.
Forms and Terms
Know the meaning and symbols of: forte, piano, legato, staccato, staff, treble clef, bass
clef, bar line, and measure. See Terms and Definitions in Appendix on p. 290.
Identify any of the theory concepts for Level 1A in a musical example.
Music History
From multiple choices, identify the name of a person who writes music. See Music
History Study Guide in Appendix on p. 302.
38
PRACTICE RHYTHMS LEVEL 1A
Page 1 of 3
Student Achievement Testing - Piano Handbook Practice Rhythms 1A
39
PRACTICE RHYTHMS LEVEL 1A
Page 2 of 3
Student Achievement Testing - Piano Handbook Practice Rhythms 1A
40
Student Achievement Testing - Piano Handbook Practice Rhythms 1A
PRACTICE RHYTHMS LEVEL 1A
Page 3 of 3
41
PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 1A
Page 1 of 2
Examples may be transposed to the keys of C and G Major.
MM q= 84
Student Achievement Testing - Piano Handbook Practice Melody Playback 1A
42
Student Achievement Testing - Piano Handbook Practice Melody Playback 1A
PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 1A
Page 2 of 2
Examples may be transposed to the keys of C and G Major.
MM q= 84
43
MICHIGAN MUSIC TEACHERS ASSOCIATION
STUDENT ACHIEVEMENT TESTING
PIANO HANDBOOK
LEVEL 1B
44
45
Student Achievement Testing - Piano Handbook Aural Awareness 1B
AURAL AWARENESS - LEVEL 1B
Rhythm and Notation
In a two-measure example, identify whether two patterns in #4 or $4 meter are the same or
different, using note values from the Rhythm Chart through Level 1B (p. 289).
Intervals
Identify the intervals of a M2, M3, P4 and P5 of a Major five-finger pattern. All
examples will have the same tonic and will be played BR then BL.
Example:
Five-Finger Patterns and Scales
Identify whether:
o a Major melody is going up (ascending) or going down (descending).
The melody may be in the range of an octave.
o a one-octave scale is played with a crescendo or a diminuendo.
o a Major melody speeds up (accelerando) or slows down (ritardando).
Chords and Arpeggios
Identify whether you hear:
o a Major or minor triad (BR/BL)
o a Major cross-hand arpeggio going up (ascending) or going down (descending).
46
Melody Playback
Repeat a two-measure melody of four notes using repeated notes, 2nds, 3rds, or 5ths.
The melody will be in the range of a five-finger pattern.
Meter: #4 or $4
Keys: C and G Major
Starting Note: Tonic
Note Values:
w h. h q
The test questions will be taken from the Practice Melody Playbacks, Level 1B (p. 55).
See p. 19 for specific testing procedure.
Example:
MM
q= 84
Student Achievement Testing - Piano Handbook Aural Awareness 1B
47
SIGHT-READING - LEVEL 1B
Rhythm Reading
Clap or play on one key a four-measure rhythm pattern taken from the Level 1B Practice
Rhythm pages. Sing or chant if you prefer.
Example:
Sight-Reading
Sight read a single-line four-measure melody using intervals of 2nds, 3rds, 5ths, and
repeated notes, in a C, G, or F Major five-finger pattern, in the treble or bass clef.
Note values from the Rhythm Chart through Level 1A will be used (page 289). Key
signatures will be used.
Example:
Student Achievement Testing - Piano Handbook Sight-Reading 1B
48
TECHNIQUE - LEVEL 1B
Intervals
Starting on the tonic, play the intervals of a M2, m3, P4, and P5 from any minor
five-finger pattern, beginning on a white key, HS, BR up and down, then BL.
Example:
M2 m3
P4 P5
Five-Finger Patterns and Scales
Play any minor five-finger pattern beginning on a white key, up and down, HS or HT,
legato, at a steady beat. The patterns may be played in contrary motion. Example:
Parallel Motion Contrary Motion (choose one)
Play the following one-octave scales, up and down, legato, HS or in contrary motion,
HT:
C Major and a natural minor. Play at a minimum speed of MM q= 66
Example of C Major scale:
Student Achievement Testing - Piano Handbook Technique 1B
49
Student Achievement Testing - Piano Handbook Technique 1B
Example of a natural minor scale in contrary motion:
Chords and Arpeggios
Play the tonic triad from any minor five-finger pattern beginning on a white key,
staccato, HS or HT, first BR up and down, then BL.
Example of a minor broken and blocked triad:
Play the tonic cross-hand arpeggio from any minor five-finger pattern beginning on a
white key; 2 or 4 octaves; up and down, at a steady beat.
Example of a four-octave d minor cross-hand arpeggio:
50
THEORY - LEVEL 1B
Rhythm
Add bar lines to a rhythm using note and rest values from the Rhythm Chart for Level 1B
(page 289).
In @4 #4 or $4 time, identify the number of beats for notes and rests from the Rhythm
Chart for Level 1B.
Notation
Identify sharp, flat, and natural signs.
Draw a keyboard showing F through B (11 white keys) and name each white key.
Know the names of the lines and spaces in both clefs.
Name black keys with either sharp or flat names.
Intervals
Identify the intervals of a M2, M3, P4, and a P5 in C, G, F, D, and A Major five-finger
patterns, BR/BL.
Five-Finger Patterns
Identify and write any Major five-finger pattern beginning on a white key. Use
accidentals.
Identify and write c, g, or f minor five-finger patterns. Use accidentals.
Mark the whole and half steps in any given Major five-finger pattern beginning on a
white key.
Chords
Identify and write any Major triad beginning on a white key, root position. Use
accidentals.
Identify and write c, g, f minor triads, root position. Use accidentals.
Student Achievement Testing - Piano Handbook Theory1B
51
Forms and Terms
Know the meaning and symbols of: crescendo, diminuendo, mezzo forte, mezzo piano,
repeat sign, octave sign, sharp, flat, and natural. See Terms and Definitions in Appendix
on p. 290.
Identify any theory concepts for Level 1B in a musical example.
Music History
A piece played by only one person is called a “solo," and a piece played by two people is
called a “duet." See Music History Study Guide in Appendix on p. 302.
Student Achievement Testing - Piano Handbook Theory1B
52
PRACTICE RHYTHMS LEVEL 1B
Page 1 of 3
Student Achievement Testing - Piano Handbook Practice Rhythms 1B
53
Student Achievement Testing - Piano Handbook Practice Rhythms 1B
PRACTICE RHYTHMS LEVEL 1B
Page 2 of 3
54
PRACTICE RHYTHMS LEVEL 1B
Page 3 of 3
Student Achievement Testing - Piano Handbook Practice Rhythms 1B
55
Student Achievement Testing - Piano Handbook Practice Melody Playback 1B
PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 1B
Page 1 of 2
Examples may be transposed to the keys of C and G Major.
MM q= 84
56
Student Achievement Testing - Piano Handbook Practice Melody Playback 1B
PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 1B
Page 2 of 2
Examples may be transposed to the keys of C and G Major.
MM q= 84
57
MICHIGAN MUSIC TEACHERS ASSOCIATION
STUDENT ACHIEVEMENT TESTING
PIANO HANDBOOK
LEVEL 2
58
59
AURAL AWARENESS - LEVEL 2
Rhythm and Notation
Identify whether two patterns are the same or different, using note and rest values from
the Rhythm Chart through Level 2 (p. 289).
Select the correct notation using note and rest values from the Rhythm Chart through
Level 2.
Intervals
Identify the intervals of a M2, M3, m3 and P5 of a five-finger pattern. All examples will
have the same tonic and will be played BR and BL.
Example:
Five-Finger Patterns and Scales
Identify whether a five-finger pattern is Major or minor.
Identify the dynamic pattern of an ascending and descending Major scale.
Choices:
Chords and Arpeggios
Identify whether:
Triads in root position are Major or minor.
Arpeggios using the same tonic are the same or different. Choices: Major/Major,
minor/minor, Major/minor, minor/Major.
Student Achievement Testing - Piano Handbook Aural Awareness 2
60
Melody Playback
Repeat a two-measure melody of five notes using repeated notes, 2nds, 3rds, 4ths,
and 5ths.
The melody will be in the range of a five-finger pattern.
Meter :
#4 or $4
Keys: D and F Major
Starting Note: Tonic or Dominant
Note Values: w h. h q
The test questions will be taken from the Practice Melody Playback Examples, Level 2 (p. 71).
See page 19 for specific testing procedure.
Example:
MM
q= 84
Student Achievement Testing - Piano Handbook Aural Awareness 2
61
SIGHT-READING - LEVEL 2
Rhythm Reading
Clap or play on one key a four-measure rhythm pattern taken from the Level 2 Practice
Rhythm pages. Sing or chant if you prefer.
Example:
Sight-Reading
Sight-read an eight-measure example with the right hand playing the melody and the left
hand playing an accompaniment consisting of tonic and dominant notes (one note per
measure). The intervals of 2nds, 3rds, 5ths and repeated notes will be used, in D, A
and F Major five-finger patterns, as well as note values from the Rhythm Chart through
Level 1B (page 289). Key signatures will be used, and dynamics will be p or f.
Example:
Transposition
Transpose the Major sight-reading example to the D, A or F Major five-finger pattern.
Student Achievement Testing - Piano Handbook Sight-Reading 2
62
TECHNIQUE - LEVEL 2
Intervals
Starting on the tonic, play the intervals of a M2, m3, M3, P4, and P5 from these five-
finger patterns: D♭, E♭ , G♭/F♯, A♭, B♭ Major; and c♯, d♯/e♭, f♯, g♯, b♭ minor. HT, BR
ascending and descending, and then BL.
Example in D♭ Major:
Example in c♯ minor:
Five-Finger Patterns and Scales
Play the following five-finger patterns, HT, ascending and descending; p legato or f
staccato:
D♭, E♭ , G♭/F♯, A♭, B♭ Major; and c♯, d♯/e♭, f♯, g♯, b♭ minor.
Examples:
E♭ Major five-finger pattern in parallel and contrary motion (choose one):
Student Achievement Testing - Piano Handbook Technique 2
63
f♯ minor five-finger pattern in parallel and contrary motion (choose one):
Play the following scales, one-octave, HS or HT, ascending and descending, legato:
G Major and e natural minor. Minimum speed MM
q= 76
The scale may be played HT in contrary motion, choose version 1 or version 2.
Examples:
G Major Scale in parallel motion:
G Major scale in contrary motion, version 1:
or version 2:
Student Achievement Testing - Piano Handbook Technique 2
64
e natural minor scale in parallel motion:
e natural minor scale in contrary motion:
Chords, Arpeggios and Chord Progressions
Play the following triads: D♭, E♭ , G♭/F♯, A♭, B♭ Major; and c♯, d♯/e♭, f♯, g♯, b♭ minor.
Play HT, first BR ascending and descending, then BL.
Examples:
B♭ Major triad e♭ minor triad
Student Achievement Testing - Piano Handbook Technique 2
65
Play a 4-octave tonic cross-hand arpeggio in the following keys:
D♭, E♭, G♭/F♯, A♭, B♭ Major; and c♯, d♯/e♭, f♯, g♯, b♭ minor, legato, p or f.
Minimum speed MM q= 76.
Examples:
G♭ Major cross-hand arpeggio:
c♯ minor cross-hand arpeggio:
Chord Progressions
Play the I - V
6
5
- I chord progression, LH only, in the keys of C, G, and F Major.
Example:
Student Achievement Testing - Piano Handbook Technique 2
C: I V
6
5
I G: I V
6
5
I F: I V
6
5
I
66
THEORY - LEVEL 2
Rhythm
Using note and rest values from the Rhythm Chart through Level 2 (p. 289):
o Add bar lines to rhythm patterns.
o Complete rhythm patterns.
o Fill in the time signature of a rhythm pattern.
Notation
Draw a keyboard showing F through B (11 white keys) and name each white key.
Identify and write sharp and flat notes with correct placement of the accidental.
Draw treble and bass clefs on a staff with correct placement.
The treble clef should extend above and below the staff and the
curve should circle around line 2, indicating treble G.
The bass clef should start on line 4 and the dots should be in
spaces 3 and 4, indicating bass F.
Write and identify ledger notes between the staves up to two ledger lines.
Intervals
Identify and write a M2, M3, P4, and P5 in any Major five-finger pattern beginning on a
white key.
Identify and write half and whole steps on a keyboard. Name each note.
Five-Finger Patterns
Write the following five-finger patterns on a keyboard and name each note:
D
♭, E♭, F♯/G♭, A♭, B♭ Major; and d, a, e, b minor
Mark the half steps in these five-finger patterns, written on a treble or bass staff.
D♭, E♭, F♯/G♭, A♭, B♭ Major; and d, a, e, b minor
Student Achievement Testing - Piano Handbook Theory 2
67
Chords
Identify and write the following triads in root position, BR or BL:
D
♭, E♭, F♯/G♭, A♭, B♭ Major; and d, a, e, b minor
Forms and Terms
Know the meaning and symbols of: Da Capo, common time, fermata, slur, tie,
accelerando, ritardando, fine, and a tempo. See Terms and Definitions in Appendix on p.
290-291.
Identify any theory concepts for Level 2 in a musical example.
Music History
Choose which instruments are keyboard instruments: piano, digital piano, harpsichord,
and organ. Question will include non-keyboard instruments. See Music History Study
Guide in Appendix on p. 302.
Student Achievement Testing - Piano Handbook Theory 2
68
PRACTICE RHYTHMS LEVEL 2
Page 1 of 3
Student Achievement Testing - Piano Handbook Practice Rhythms 2
69
PRACTICE RHYTHMS LEVEL 2
Page 2 of 3
Student Achievement Testing - Piano Handbook Practice Rhythms 2
70
PRACTICE RHYTHMS LEVEL 2
Page 3 of 3
Student Achievement Testing - Piano Handbook Practice Rhythms 2
71
PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 2
Page 1 of 2
Examples may be transposed to the keys of D and F Major.
MM q= 84
Student Achievement Testing - Piano Handbook Practice Melody Playback 2
72
PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 2
Page 2 of 2
Examples may be transposed to the keys of D and F Major.
MM q= 84
Student Achievement Testing - Piano Handbook Practice Melody Playback 2
73
MICHIGAN MUSIC TEACHERS ASSOCIATION
STUDENT ACHIEVEMENT TESTING
PIANO HANDBOOK
LEVEL 3
74
75
AURAL AWARENESS - LEVEL 3
Rhythm and Notation
Identify whether two patterns are the same or different using note and rest values from
the Rhythm Chart through Level 3 (p. 289).
Select the correct notation using note and rest values from the Rhythm Chart through
Level 3.
Intervals
Identify the intervals of a M2, M3, m3, P4, P5, and P8. All examples will have the same
tonic and will be played BR and BL.
Example:
Scales
Identify whether a melody is Major or minor.
Identify whether a one-octave scale is played in parallel motion (same direction) or
contrary motion (opposite direction).
Chords, Arpeggios, and Chord Progressions
Identify whether a triads in root position and inversions is Major or minor, BR and BL.
Student Achievement Testing - Piano Handbook Aural Awareness 3
76
Identify the dynamic pattern of a two-octave Major or minor arpeggio.
Choices:
Identify whether two chord progressions are the same or different. Choices:
I - V
6
5
- I then I - V
6
5
- I or I - V
6
5
- I then I - IV
6
4
- I
Melody Playback
Repeat a two-measure melody of five notes using repeated notes, 2nds, 3rds, 4ths,
and 5ths.
The range will be that of a five-finger pattern.
Meter: #4 or $4
Keys: D and F Major
Starting Note: Tonic or Dominant
Note Values: w h. h q ry
The test question will be taken from the Practice Melody Playback Examples, Level 3 (p. 87).
See page 19 for specific testing procedure.
Example:
MM q= 76
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SIGHT-READING - LEVEL 3
Rhythm Reading
Clap or play on one key a four-measure rhythm pattern using note and rest values from
the Rhythm Chart through Level 3 (p. 289). Sing or chant if you prefer.
Example:
Sight-Reading
Sight-read a single-line RH or LH melody, or a melody that goes from LH to RH or from
RH to LH. The melody will contain intervals from a Major five-finger pattern and
rhythms from the Rhythm Chart through Level 1B (p. 289). There may be an
accompaniment consisting of tonic and dominant notes, one note per measure. The C, G,
D, A, and F five-finger patterns will be used. Possibilities for the sight reading will
include repeated notes, tied notes, staccato and legato. Key signatures will be used.
Example:
Transposition
Transpose the Major sight-reading piece to C, G, D, A, or F Major.
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TECHNIQUE - LEVEL 3
Intervals
Starting on the tonic, play the following intervals from any five-finger pattern. HT, first
BR ascending and descending, then BL.
M2, M3, P4, P5 in any Major key, and m3 in any minor key.
Example in F Major:
Example in b minor:
Scales
Play the following scales, one octave, HS or HT, ascending and descending, p or f,
legato. Scales may be played in contrary motion, one octave, HT.
D, A, E Major
a, e harmonic minor
d natural minor
MM q= 80
Example of D Major scale in parallel motion:
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Student Achievement Testing - Piano Handbook Technique 3
D Major scale in contrary motion version 1
D Major scale in contrary motion version 2
e harmonic minor scale in parallel motion
e harmonic minor scale in contrary motion version 1
e harmonic minor scale in contrary motion version 2
80
Chords, Arpeggios and Chord Progressions
Play the following triads and their inversions, HS or HT, BR and BL. Begin and end
with root position.
C, G & F Major
a, e minor
Example of the C Major triad and inversions, version 1:
Root Position 1st Inversion 2nd Inversion Root Position
or version 2:
(Same patterns will be used for minor triads and inversions).
Play the following arpeggios, two octaves, HS or HT, ascending and descending,
staccato.
C, G & F Major and a, e minor
MM q= 63
Example of C Major arpeggio:
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Chord Progressions
Play the following chord progressions in any Major white keys, HS:
Authentic I - V
6
5
- I
Plagal I - IV
6
4
- I
Example:
Play primary triads (I - IV - V) in root position, HT, BR and BL in the keys of C, G, and
F Major
Primary triads BR and BL in the key of C Major:
Student Achievement Testing - Piano Handbook Technique 3
LH: I V
6
5
I RH: I V
6
5
I
LH: I IV
6
4
I RH: I IV
6
4
I
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THEORY - LEVEL 3
Rhythm
Using note and rest values from the Rhythm Chart through Level 3 (p. 289):
o Add bar lines to rhythm patterns.
o Complete rhythm patterns.
o Fill in the time signature of a rhythm pattern.
Know the meaning of the top and bottom numbers of a time signature.
Notation
Draw a keyboard F through B (11 white keys).
Identify and write notes up to two ledger lines and three ledger spaces above and below
both staves.
Draw treble and bass clefs on a staff with correct placement.
The treble clef should extend above and below the staff and the
curve should circle around line 2, indicating treble G.
The bass clef should start on line 4 and the dots should be in
spaces 3 and 4, indicating bass F.
Identify black keys with their enharmonic names.
Intervals
Identify and write a M2, M3, m3, P4, and P5 in C, G D, A, F Major or minor five-
finger patterns.
Identify and write whole and half steps from a given note.
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Scales and Key Signatures
Write the C, G, D Major scales, one octave, ascending:
o On a staff, using whole notes and accidentals, not a key signature.
o On a keyboard using letter names.
Mark the whole and half steps in any given C, G, D Major scale on a staff or keyboard.
Identify and write the key signatures for C, G, D Major in treble and bass clef.
Chords
Identify and write the C and G Major triads in root position and inversions on a
keyboard.
Given any Major or minor triad beginning on a white key in root position, identify the
note name of the root, the third, and the fifth.
Forms and Terms
Know the meaning and symbols of: fortissimo, pianissimo, inversion, damper pedal,
Allegro, Andante, dolce, and simile. See Terms and Definitions in Appendix on p. 291.
Identify any theory concepts for Level 3 in a musical example.
Music History
Match the correct biographical information for Johann Sebastian Bach and Ludwig van
Beethoven. See Music History Study Guide in Appendix on p. 302.
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PRACTICE RHYTHMS LEVEL 3
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PRACTICE RHYTHMS LEVEL 3
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PRACTICE RHYTHMS LEVEL 3
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PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 3
Page 1 of 2
Examples may be transposed to the keys of D and F Major.
MM q= 76
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PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 3
Page 2 of 2
Examples may be transposed to the keys of D and F Major.
MM q= 76
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MICHIGAN MUSIC TEACHERS ASSOCIATION
STUDENT ACHIEVEMENT TESTING
PIANO HANDBOOK
LEVEL 4
90
91
AURAL AWARENESS - LEVEL 4
Rhythm and Notation
Select the correct notation using note and rest values from the Rhythm Chart through
Level 4 (p. 289).
Intervals
Identify the intervals of a M2, M3, m3, P4, P5, M6, and P8, starting on the same tonic,
BR and BL.
Example:
Five-Finger Patterns and Scales
After hearing a Major five-finger pattern ascending and descending, be able to identify
the order in which four tones are played.
Identify whether a scale is Major or harmonic minor.
Chords and Chord Progressions
Identify whether triads in root position and inversions are Major or minor.
Identify whether two chord progressions in a minor key are the same or different.
i - V
6
5
- i then i - V
6
5
- i or i - V
6
5
- i then i - iv
6
4
- i
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Melody Playback
Repeat a two-measure melody of six notes using repeated notes, 2nds, 3rds, 4ths, or
5ths.
The range will be within a five-finger pattern.
Meter: #4 or $4
Keys: C, G, F, D Major, a minor
Starting Note: Tonic or Dominant
Note Values:
w h. h q rq
The test question will be taken from the Practice Melody Playback Examples, Level 4 (p. 105).
See p. 19 for specific testing procedure.
Example:
MM q= 76
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SIGHT-READING - LEVEL 4
Rhythm Reading
Clap or play on one key a four-measure rhythm pattern using note and rest values from
the Rhythm Chart through Level 4 (p. 289), in #4 or ^8 time. Sing or chant if you prefer.
Example:
Sight-Reading
Sight-read an eight-measure HT piece in G, D or A Major or a or d harmonic minor.
The RH melody will be taken from a five-finger pattern, using note and rest values from
the Rhythm Chart through Level 2 (p. 289). The RH will have a single-line melody.
Only one dynamic marking of either p or f will be used for the whole piece. Staccato
markings and slurs may be included. Left hand accompaniment possibilities will be
blocked I and V
6
5
chords or single notes or intervals. Key signatures will be used.
Example:
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Chord Harmonization
Harmonize a four-measure melody or folk tune in a five-finger pattern range in the keys
of C or G Major, using blocked I and V
6
5
chords in the LH. Note that G7/B means that
the LH will play B as the lowest note.
See Appendix on p. 332 for more information on the use of chord symbols in harmonization.
Example:
Harmonization:
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TECHNIQUE - LEVEL 4
Intervals
Play the following intervals starting on the tonic, HT, BR then BL, in the specified keys.
M3, P4, P5, M6
Keys of F, B, F♯, C♯ Major
Examples of intervals in F Major:
Scales
Play the following scales HS or HT, ascending and descending, as indicated.
F, B Major: 1 octave, HS, in 2-note slurs at a steady beat.
F, B, F♯/G♭, C♯/D♭ Major: 1 or 2 octaves, HS or HT, f or p, legato.
a, e minor: all 3 forms, 1 or 2 octaves, HS or HT, f or p, legato.
Minimum speed: MM ry = 60
Two-note slur F Major scale. You may use indicated fingering or regular scale fingering.
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Example of F♯ Major Scale:
Examples of minor scales: e natural minor
e harmonic minor:
e melodic minor:
Chords, Arpeggios, and Chord Progressions
Play these triads with inversions, HS or HT, BR and BL. Play the root position p, 1st
inversion mf, 2nd inversion f, top root position ff. BR and BL may be alternated.
D, A, E Major and d, b minor
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Example of a triad and inversion in A Major, version 1:
or version 2:
Minor triads and inversions will use the same pattern and dynamics.
Play these arpeggios, 2 octaves, HS or HT, crescendo ascending and diminuendo
descending, staccato. Keep a steady beat.
D, A, E Major and d, b minor.
Example of a b minor arpeggio with dynamics:
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In the keys of C, G, D, F Major, play this chord progression, HS or HT, f or p.
I
- IV
6
4
- I - V
6
or V
6
5
- I
Example of the chord progression in D Major:
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THEORY - LEVEL 4
Rhythm
Using note and rest values from the Rhythm Chart through Level 4 (p. 289):
o Add bar lines to rhythm patterns.
o Complete rhythm patterns.
o Match rhythm patterns to their time signatures: @4 #4 $4 ^8
Notation
On a keyboard, write the enharmonic names of black keys and white key sharps and flats
(i.e. E♯, B♯, F♭, C♭).
Identify and draw correct stem placement on quarter or half notes on the grand staff.
Guideline: notes below the middle line have up-stems, notes on or above middle line
have down-stems.
Example of stem position:
Intervals
Identify and write M2, M3, P4, P5, M6 intervals, ascending from the tonic in:
F, C, G, D, A Major.
Identify and write M2, m3, P4, P5 intervals, ascending from the tonic in:
f, c, g, d, a minor.
Scales and Key Signatures
Write the letter names of the seven sharps as they appear in a key signature.
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Write the following scales, one octave, ascending. Use whole notes and accidentals, not a
key signature. Mark the half steps. A, E Major and a, e natural minor
Identify and write the following key signatures in treble and bass clefs.
A, E Major and a, e, minor.
Identify relative Major and minor keys of: C/a, G/e.
Chords
Identify and write triads in root position and inversions in C and G Major, a and e
minor.
Identify and write tonic (I) and dominant (V) triads in root position in F, C, G Major in
both clefs. Use whole notes and accidentals, not a key signature.
Transposition
Transpose a 2-measure melody within a five-finger pattern up or down an octave into the
other clef. Keys of F, C, G, D, A Major. Accidentals may be used, but not a key
signature. #4or $4 meter.
Forms and Terms
Know the meaning and symbols of: Adagio, Moderato, tonic triad (I), dominant triad
(V), relative minor, sequence, and rallentando. See Terms and Definitions in Appendix
on p. 291.
Identify any theory concepts for Level 4 in a musical example.
Identify repetition or sequence in a musical example.
Music History
Match the correct biographical information for the composers Robert Schumann and
Dmitri Kabalevsky. See Music History Study Guide in Appendix on p. 302.
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PRACTICE RHYTHMS LEVEL 4
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PRACTICE RHYTHMS LEVEL 4
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PRACTICE RHYTHMS LEVEL 4
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PRACTICE RHYTHMS LEVEL 4
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PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 4
Page 1 of 2
Examples may be transposed to the keys of C, F, G, D Major and a minor.
MM q= 76
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PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 4
Page 2 of 2
Examples may be transposed to the keys of C, F, G, D Major and a minor.
MM q= 76
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PRACTICE CHORD HARMONIZATIONS LEVEL 4
Example Given:
Example Harmonized:
Other Practice Examples:
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109
MICHIGAN MUSIC TEACHERS ASSOCIATION
STUDENT ACHIEVEMENT TESTING
PIANO HANDBOOK
LEVEL 5
110
111
AURAL AWARENESS - LEVEL 5
Rhythm and Notation
Select the correct notation using note and rest values from the Rhythm Chart through
Level 5 (p. 289).
Intervals
Identify the intervals of a M2, M3, m3, P4, P5, M6, M7, and P8, starting on the same
tonic, BR and BL.
Example:
Melodic dictation
Fill in one missing note in a melody fragment with the correct pitch and note value, in the
range of a five-finger pattern.
Meter: $4
Key: C Major
Note Values: w h. h q No rests will be used.
The key is established by playing:
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The example is played 3 times. The boxed note will be missing on the student page.
Five-Finger Patterns and Scales
After hearing a Major five-finger pattern ascending and descending, be able to identify
the order in which five tones are played.
Identify whether a scale is natural or harmonic minor.
Chords and Arpeggios
Identify whether triads in root position and inversions are Major or minor.
Identify whether an arpeggio is Major or minor.
Melody Playback
Repeat a two-measure melody of seven notes using repeated notes, 2nds, 3rds, 4ths,
or 5ths.
The melody will be in the range of a five-finger pattern.
Meter: @4 #4 or $4
Keys: C, G, D, F Major
Starting Note: Tonic, Mediant, or Dominant
Note Values:
h. h q rTy or ry
The test question will be taken from the Practice Melody Playback Examples, Level 5 (p. 124 ).
See p. 19 for specific testing procedure.
Example:
MM q= 69
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SIGHT-READING - LEVEL 5
Rhythm Reading
Clap or play on one key a four-measure rhythm pattern using note and rest values from
the Rhythm Chart through Level 5 (p. 289). Sing or chant if you prefer. Examples will
include combinations of:
w h. h q rTy or w h. h q ry dffg
Example:
Sight-Reading
Sight-read an eight-measure HT piece in G, D, or A Major, or in a or d harmonic
minor. The RH melody will be taken from a five-finger pattern, using note and rest
values from the Rhythm Chart through Level 3 (p. 289). The LH accompaniment will
be blocked or broken I and V
6
5
chords, single notes or intervals. There will be one
dynamic marking for each line. Dynamics may be f and p or mf and mp. Slurs and
staccatos may be used.
Example:
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Transposition
Transpose the Major sight-reading piece to G, D, or A Major or the minor sight-reading
piece to a or d harmonic minor.
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TECHNIQUE - LEVEL 5
Intervals
Play the following intervals starting on any black key, HT, BR then BL.
M2, M3, m3, M6
Example of intervals starting on B♭:
Scales
Play these scales ascending and descending with the indicated articulation:
B♭, E♭, A♭: HS or HT, 1 or 2 octaves, f or p, legato.
g, c, f minor: all 3 forms, 1 or 2 octaves, HS or HT.
o natural minor, staccato.
o harmonic and melodic minor, legato.
B♭, E♭: 1 octave, HS, in two-note slurs
All scales at MM ry = 60
Example of the E♭ Major scale, legato:
Example of the E♭ Major scale articulated with two-note slurs:
Use indicated fingering or regular scale fingering throughout.
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Example of the c natural minor scale, staccato:
Example of the c harmonic minor scale, legato:
Example of the c melodic minor scale, legato:
Chords, Arpeggios, and Chord Progressions
Play these triads with inversions, HS or HT, BR and BL. BR & BL may be alternated.
Play root position
p, 1st inversion mf, 2nd inversion f , top root position ff.
B♭, E♭, A♭ Major and g, c, f minor
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Example of the B♭ Major triad and inversions, version 1:
or version 2:
Example of the g minor triad and inversions, version 1:
or version 2 :
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Play these arpeggios, 2 octaves, HS or HT, ascending and descending, legato, f or p, in
triplet rhythm at a steady beat.
B♭, E♭, A♭ Major and g, c, f minor
Example of the A♭ Major arpeggio in triplets:
Play the following chord progression, HS or HT, f or p. Pedal is optional.
I - IV
6
4
- I - V
6
5
- I in the keys of A, E, B Major.
Example of a chord progression in B Major:
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THEORY - LEVEL 5
Rhythm
Using note and rest values from the Rhythm Chart through Level 5 (p. 289):
o Add bar lines to rhythm patterns.
o Complete rhythm patterns.
Examples will include combinations of: w h. h q rTy or w h. h q ry dffg
Notation
Write enharmonic equivalents of white and black keys on a staff.
Identify errors in stems, beams, and flags on notes.
Guideline: Notes below the middle line have up-stems; notes on or above the middle line
have down-stems. Stem direction on beamed notes is determined by the note that is the
greatest distance from the middle line. Flags are always on the right side of the stem.
Example:
Intervals
Identify and write a M2, M3, P4, P5, M6, M7, P8 in Major keys through 3 sharps and 3
flats.
Ascending from the tonic, identify and write a M2, m3, P4, P5, P8 in the keys of a, e, g,
and d minor, ascending from the tonic.
Scales and Key Signatures
Write F, B♭, E♭, A♭ Major scales, one octave, ascending. Use accidentals, not a key
signature. Mark the half steps.
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Write d, g, c, f natural minor scales, one octave, ascending. Use accidentals, not a key
signature. Mark the half steps.
Write the letter names of the seven flats as they appear in a key signature.
Identify and write the following key signatures in treble and bass clefs:
F, B♭, E♭, A♭ Major and d, g, c, f minor
Identify the relative Major and minor keys of F/d, B♭/g, E♭/c, A♭/f.
Chords
Identify and write the following triads in root position and inversions. Use accidentals,
not a key signature.
F Major and d minor
Identify and write the primary triads; (I, IV and V) in root position, in D, A, E Major
keys. Use accidentals, not a key signature.
Transposition
Transpose a melody written into a F, C, or G five-finger pattern into F, C, or G, five-
finger pattern. Use a key signature.
Forms and Terms
Know the meaning, abbreviations, and symbols of: accent, poco, molto, Dal Segno,
cantabile, subdominant triad (IV), primary triads. See Terms and Definitions in
Appendix on p. 291-292.
Identify any theory concepts for Level 5 in a musical example.
Music History
Match these composers to their compositional period: Johann Sebastian Bach, Ludwig
van Beethoven, Robert Schumann, and Dmitri Kabalevsky. The names and dates of each
era will be given. See Music History Study Guide in Appendix on p. 302.
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PRACTICE RHYTHMS LEVEL 5
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PRACTICE RHYTHMS LEVEL 5
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PRACTICE RHYTHMS LEVEL 5
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PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 5
Page 1 of 2
Examples may be transposed to the keys of C, G, D, and F Major.
MM q= 69
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PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 5
Page 2 of 2
Examples may be transposed to the keys of C, G, D, and F Major.
MM q= 69
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127
MICHIGAN MUSIC TEACHERS ASSOCIATION
STUDENT ACHIEVEMENT TESTING
PIANO HANDBOOK
LEVEL 6
128
129
AURAL AWARENESS - LEVEL 6
Rhythm and Notation
Select the correct notation using note and rest values from the Rhythm Chart through
Level 6 (p. 289).
Intervals
Identify the intervals of a M2, M3, m3, P4, P5, M6, M7, and P8, starting on the same
tonic, BR and BL. All examples will start from the same tonic and will be played BR and
BL.
Examples:
Melodic dictation
Fill in two missing notes in a melody fragment with the correct pitch and note values.
Range: First six notes of a Major scale.
Meter:
#4 $4
Key: C Major
Note Values: w h. h q ry No rests will be used.
The key is established by playing:
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The example is played 3 times. The boxed notes will be missing on the student page:
Five-Finger Patterns and Scales
After hearing a minor five-finger pattern ascending and descending, be able to identify
the order in which five tones are played.
Identify whether a minor scale is natural, harmonic, or melodic.
Chords and Chord Progressions
Identify whether you hear a cadence pattern or a triad and inversions.
Choose whether two cadence patterns are the same or different .
Choices:
Major/Major: I - V
6
5
- I or I - IV
6
4
- I
minor/minor: i - V
6
5
- i or i - iv
6
4
- i
Melody playback
Repeat a two-measure melody of seven notes using the first six notes of a Major scale.
Meter:
@4 #4 or $4
Keys: D and F Major
Starting Note: Tonic, Mediant, or Dominant
Note Values: w h. h q. q e ry
The test question will be taken from the Practice Melody Playback Examples, Level 6 (p. 142).
See p. 19 for testing procedure.
Example: MM q= 84
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SIGHT-READING - LEVEL 6
Rhythm Reading
Clap or play on one key, a four-measure rhythm pattern using note and rest values from
the Rhythm Chart through Level 6 (p. 289). Sing or chant if you prefer.
Example:
Sight-Reading
Sight-read an eight-measure HT piece in F, A or E Major, or e or g harmonic minor.
The RH melody will be taken from a five-finger pattern using note and rest values from
the Rhythm Chart through Level 4 (p. 289). The LH accompaniment will consist of I,
IV
6
4
and V
6
5
broken or blocked chords, Alberti bass or waltz rhythms. There will be one
dynamic marking for each line (p, mp, mf, or f). Slurs and staccato marks will be used,
and there will be a ritardando marking at the end.
Example:
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Chord Harmonization
Harmonize a four-measure melody or folk tune in a six-note range.
The RH will play the melody and the LH will play blocked I, IV
6
4
, and V
6
5
chords.
Possible keys will be C, G, D or A Major.
See Appendix on p. 332 for more information on the use of chord symbols in harmonization.
Example:
Harmonization:
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TECHNIQUE - LEVEL 6
Intervals
Play the following intervals starting on any white key, HT, BR, then BL.
m2, m6, m7, M7
Exemples:
Scales
Play these scales 2 octaves, HT, ascending and descending, f or p, legato. Play at a
minimum speed of MM ry = 60.
C, G, D, A, F Major, and b minor in all three forms.
Example of a 2-octave G Major scale, HT:
Example of b minor in all three forms. b natural minor:
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b harmonic minor:
b melodic minor:
Starting in the center of the keyboard, play the C Major scale in contrary motion, two
octaves out and in, HT, legato, mf, in this rhythm: rdg dffg Play at a minimum
speed of MM ry = 60.
Example of the C Major scale in contrary motion:
Chords, Arpeggios, and Chord Progressions
Play these triads with inversions, HS or HT, BR and BL, mf. Start and end in root
position. BR and BL may be alternated.
D♭/C♯, G♭/F♯ Major
a, e, b, f♯, c♯ minor
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Example of an a minor triad and inversions, version 1:
or version 2:
Play these arpeggios, 2 octaves, HT, ascending and descending, legato:
D♭/C♯, G♭/F♯ Major
a, e, b, f♯, c♯ minor.
Play at a steady beat.
Example of a b minor arpeggio:
`
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Play this chord progression in the keys given, HT, mf, pedal optional:
C, G, D, A, E Major: I - IV
6
4
- I - V
6
5
- I
c, g, d, a, e harmonic minor: i - iv
6
4
- i - V
6
5
- i
Example of a chord progression in C Major and c minor with alternative fingering:
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THEORY - LEVEL 6
Rhythm
Using rhythms and note values from the Rhythm Chart through Level 6 (p. 289):
o Add bar lines to rhythm patterns.
o Circle complete beats equal to a q in simple time.
o Match rhythm patterns to the following time signatures:
@4 #4 $4 ^8
Notation
Identify and write correct stems, beams, flags, and dots on notes.
Guideline: notes below the middle line have up-stems; notes on or above middle line
have down-stems. Stem direction on beamed notes is determined by the note that is the
greatest distance from the middle line. Flags are always on the right side of the stem.
Dots are always to the right of the note head. For line notes, the dot is always in the
space above.
Example:
Intervals
Identify and write all Major and Perfect intervals in Major keys through 5 sharps and 5
flats, ascending from the tonic.
Identify and write a M2, m3, P4, P5, m6, and P8 in the keys of a, e, d, g minor,
ascending from the tonic.
Scales and Key Signatures
Identify and write Major scales through 5 sharps and 5 flats, one octave ascending, in
both clefs. Use accidentals, not a key signature.
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Write minor scales in all three forms for a, e, d, g minor. Write natural and harmonic
one octave ascending and melodic ascending and descending. Use accidentals, not a key
signature.
Identify and write Major key signatures through 5 sharps and 5 flats in both clefs.
Identify and write the Major and relative minor key signatures for C/a, G/e, F/d, B♭/g.
Chords, Arpeggios and Chord Progressions
Identify and write Major and minor triads in root position and inversions in:
D, A, E Major, and a, e minor. Use figured bass: 5e 6e
6r
Identify and write the Primary Triads (I, IV and V) in root position, in B♭, E♭, and A♭
Major. Use key signatures.
Transposition
Transpose a melody written in a D, A, or E Major five-finger pattern into a D, A, or E
Major five-finger pattern, using a key signature.
Forms and Terms
Know the meaning and symbols of: Allegretto, leggiero, Spiritoso, subito, figured bass,
enharmonic, opus, sforzando, binary, ternary. See Terms and Definitions in Appendix on
p. 292.
Identify binary and ternary form.
Identify any theory concepts for Level 6 in a musical example.
Music History
Identify the musical period (Baroque or Classical) for Johann Sebastian Bach, Georg
Friedrich Handel, Domenico Scarlatti, Wolfgang Amadeus Mozart, Franz Joseph Haydn,
and Ludwig van Beethoven. See Music History Study Guide in Appendix on p. 302.
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PRACTICE RHYTHMS LEVEL 6
Page 1 of 3
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PRACTICE RHYTHMS LEVEL 6
Page 2 of 3
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PRACTICE RHYTHMS LEVEL 6
Page 3 of 3
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PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 6
Page 1 of 2
Examples may be transposed to the keys of D and F Major.
MM q= 84
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PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 6
Page 2 of 2
Examples may be transposed to the keys of D and F Major.
MM q= 84
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PRACTICE CHORD HARMONIZATIONS LEVEL 6
Example Given:
Example Harmonized:
Other Practice Examples:
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MICHIGAN MUSIC TEACHERS ASSOCIATION
STUDENT ACHIEVEMENT TESTING
PIANO HANDBOOK
LEVEL 7
146
147
AURAL AWARENESS - LEVEL 7
Rhythm and Notation
Select the correct notation using note and rest values from the Rhythm Chart through
Level 7 (p. 289).
Intervals
Identify any Major, Perfect, m3, and m6 interval, starting on the same tonic, BR and
BL.
Example of intervals in F Major:
Melodic dictation
Fill in three missing notes in a melody fragment with the correct pitch and note values.
Range: within an octave.
Meter: #4 or $4
Keys: G and F Major
Note Values: h. h q ry No rests will be used.
The key is established by playing:
Student Achievement Testing - Piano Handbook Aural Awareness 7
M2 m3 M3 P4 P5
m6 M6 M7 P8
148
The example is played 3 times. The boxed notes will be missing on the student page.
Scales
Identify whether a scale is Major, natural minor, harmonic minor or melodic minor.
Choose between two notated six-note melodies. Range: Leading tone below the tonic
through the first five notes of a harmonic minor scale. Keys: a or d minor.
A
B
Chords
Identify whether triad patterns using root position and inversions in a Major or minor key
are the same or different.
Example:
I - I
6
3
- I then I - I
6
4
- I
I - I
6
3
- I then I - I
6
3
- I
I - I
6
4
- I then I - I
6
4
- I
i - i
6
3
- i then i - i
6
4
- i
i - i
6
3
- i then i - i
6
3
- i
i - i
6
4
- i then i - i
6
4
- i
Identify Major, minor, Augmented, and diminished triads.
Choose between a 4-voice Major chord or a 4-voice Dominant 7
th
chord.
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Example:
4-voice
Major chord
Dominant 7
t
h
Cadences
Choose whether the cadence with the root of the chords in the bass is:
authentic: I - V
6
5
- I or plagal: I - IV
6
4
- I
The key will established by playing the scale and 4-voice tonic chord.
Example:
Authentic Plagal
Melody Playback
Repeat a two-measure melody of eight notes. The beginning note will be given.
Range: Leading tone below the tonic through the first five notes of a Major scale.
Meter:
@4 #4 or $4
Keys: C and G Major
Starting Notes: Tonic, Mediant, or Dominant
Note Values: h. h q ry dffg
The test question will be taken from the Practice Melody Playback Examples, Level 7 (p. 165).
See p. 19 for testing procedure.
Example: MM q = 69
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SIGHT-READING - LEVEL 7
Rhythm Reading
Be prepared to tap or play hands together on any two keys using any of the rhythms
from the Rhythm Chart through Level 7 (p. 289).
Sight-Reading
Sight-read an eight-measure HT piece in the keys of D, A or E Major or d or g
harmonic minor. The melody will have a range of seven notes, consisting of the tone
directly above and the tone directly below a five-finger pattern, and note values from the
Rhythm Chart through Level 5 (p. 289) will be used. Accompaniment will be in the LH
or RH and will be I, IV
6
4
, and V
6
5
chords or accompaniments drawn from previously
introduced styles. Dynamics, articulation, and ritardando markings may be used.
Example:
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Transposition
Transpose the sight-reading piece to D, A or E Major, or d or g harmonic minor.
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TECHNIQUE - LEVEL 7
Intervals
Play the following intervals starting on any black key, HT, BR, then BL:
m2, m6, m7, and M7
Scales
Play these scales 2 or 4 octaves, HT, crescendo ascending and diminuendo descending,
legato. Play at a minimum speed of MM ry= 72
E, B, F♯/G♭, C♯/D♭ Major
d♯/e♭, a♯/b♭ minor in all 3 forms
B Major scale:
e♭ natural minor scale:
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e♭ harmonic minor scale:
e♭ melodic minor scale:
Starting in the center of the keyboard, play the D Major scale in contrary motion, 2
octaves, legato, mf, in this rhythm: rdg dffg
Play at a minimum speed of MM q = 69
D Major contrary motion scale:
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Play a 2-octave chromatic scale, HS, legato, mp or mf. Start from B.
Play at a minimum speed of MM ry = 72
Chromatic scale, 2 octaves, HS:
Chords
Play these triads with inversions, HS or HT, BR and BL, mp. Start and end in root
position. BR and BL may be alternated.
E, B, F♯/G♭, and C♯/D♭ Major and d♯/e♭, a♯/b♭ minor
E Major triad and inversions, Version 1
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or Version 2:
Play diatonic triads in the keys of C and G Major, 1 octave, BL, ascending only. Play
HT, p and non legato.
Diatonic triads in G Major:
Play a 4-voice V
7
chord in the keys of C, G, D, A, E, B, and F Major in root position,
HT. Play BR and BL, ascending and descending.
Example of V
7
in the key of A Major:
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Arpeggios
Play these arpeggios, 2 octaves, HT, crescendo ascending and diminuendo descending,
either legato or staccato. Play at a minimum speed of MM q= 72
B, F♯/G♭, C♯/D♭ Major and d♯/e♭, a♯/b♭, g♯/a♭ minor.
B Major arpeggio:
F♯ Major arpeggio:
c♯ minor arpeggio:
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Chord Progressions
Play the I - IV - I - V
7
- I chord progression in the keys of F, B, C♯/D♭ Major.
Play the i - iv - i - V
7
- i chord progression in the keys of f, b, c♯ harmonic minor.
The RH plays the chords and the LH plays the roots. Both hands p. Pedal optional.
Example of chord progression in D♭ Major with alternative bass:
Example of chord progression in b harmonic minor with alternative bass:
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THEORY - LEVEL 7
Rhythm
Using rhythms and note values from the Rhythm Chart through Level 7 (p. 289):
o Complete rhythm patterns.
o Add bar lines to rhythm patterns.
o Circle groups of notes equal to rty in ^8 or 98meter.
Example:
Notation
In writing scales, intervals or chords, use correct stem and accidental placement. This
will be indicated in the directions for the questions.
Guideline: Notes below the middle line have up-stems; notes on or above middle line
have down-stems. Stem direction on beamed notes or chords is determined by the note
that is the greatest distance from the middle line. Flags are always on the right side of the
stem. Dots are always to the right of the note head. For line notes, the dot is always in
the space above. Accidentals will be written in the same line or space as the note.
Example:
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Notes are generally beamed to show the complete beat or, in compound meter, to show groups
of rty
Intervals
Identify and write all Major and Perfect intervals in any Major key.
Identify and write P4, P5, P8, m3 or m6 in the keys of b, c, or f minor.
Scales and Key Signatures
Write B, F♯, C♯, D♭, G♭, and C♭ Major scales, one octave ascending. Use accidentals or
a key signature.
Write minor scales in all three forms for b, c, and f minor. Write natural and harmonic
one octave ascending, and melodic ascending and descending. Use accidentals or a key
signature.
Identify and write all Major key signatures.
Given the key signatures, identify the Major keys on the Circle of Fifths. (See Appendix
on p. 301).
Identify the keys that are enharmonic on the Circle of Fifths.
Identify the relative minor key for any Major key signature.
Chords
Identify and write the Primary Triads (i, iv, V) in root position, in the keys of d and g
harmonic minor. Use key signatures or accidentals.
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Identify the Primary Triads of d or g harmonic minor in a musical example, in root
position.
Transposition
Transpose a melody using the first 6 notes of a Major scale in the keys of F C G D or A
Major, up or down a 2nd into the keys of F C G D or A Major, using a key signature.
Forms and Terms
Know the meaning of: agitato, sempre, senza, meno, piu, relative minor and parallel
minor. See Terms and Definitions in Appendix on p. 292.
Identify the three main sections in Sonata‐Allegro form: Exposition, Development, and
Recapitulation.
Identify any theory concepts through Level 7 in a musical example.
Music History
Identify the musical period (Romantic or 20th‐Century) and country of origin for:
Frédéric Chopin, Robert Schumann, Peter Ilyich Tchaikovsky, Béla Bartók, Dmitri
Kabalevsky, Scott Joplin. See Music History Study Guide in Appendix on p. 302.
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PRACTICE RHYTHMS LEVEL 7
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PRACTICE RHYTHMS LEVEL 7
Page 2 of 4
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PRACTICE RHYTHMS LEVEL 7
Page 3 of 4
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PRACTICE RHYTHMS LEVEL 7
Page 4 of 4
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PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 7
Page 1 of 2
Examples may be transposed to the keys of C and G Major.
MM q= 69
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166
PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 7
Page 2 of 2
Examples may be transposed to the keys of C and G Major.
MM q= 69
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167
MICHIGAN MUSIC TEACHERS ASSOCIATION
STUDENT ACHIEVEMENT TESTING
PIANO HANDBOOK
LEVEL 8
168
169
AURAL AWARENESS - LEVEL 8
Rhythm and Notation
Write a dictated one-measure rhythm pattern in #4 or $4 meter using:
h. h q ry
Intervals
Identify the following descending intervals: m2, m3, P4 and P5, BR and BL, starting on
the same tonic.
Example:
Choose between two notated fragments using the first six notes of a Major scale plus the
leading tone below the tonic.
Melodic dictation
Fill in four missing notes in a two-measure melody fragment, two of which will be
consecutive.
Range: The first 6 notes of a Major scale plus the leading tone below the tonic.
Meter: #4 or $4
Keys: C and F Major.
Note values: w h. h q ry No rests will be used.
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The key is established by playing:
The example is played 3 times. The boxed notes will be missing on the student page:
Scales
Identify whether a single line melody is in a natural or a harmonic minor scale.
Identify whether a scale is whole-tone or chromatic.
Chords & Chord Progressions
Identify Major, minor, Augmented and diminished triads in root position, BR and BL.
Given a progression of chords, fill in the Roman numeral for one missing chord. The
chords will be IV or V
7
. The key is established by playing the scale and a 4-voice tonic
chord.
Example:
I IV V
7
I
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171
Choose whether the cadence in a Major or harmonic minor key is authentic or plagal.
Example: I - V
6
5
- I (authentic) or I - IV
6
4
- I (plagal). The RH will play the chords and
the LH will play the roots in the bass. The key is established by playing the scale and a
4-voice tonic chord.
Example:
Authentic Plagal
Melody Playback
Repeat a two-measure melody of eight notes.
Range: The first six notes of a Major or harmonic minor scale plus the leading tone
below the tonic.
Meter: @4 #4 or $4
Keys: C,G Major, and c, g harmonic minor
Starting Note: Tonic, Mediant, or Dominant
Note Values:
h. h q. q e ry dffg
The test question will be taken from the Practice Melody Playback Examples, Level 8 (p. 190).
See p. 19 test for testing procedure.
Example: MM q = 69
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SIGHT-READING - LEVEL 8
Rhythm Reading
Be prepared to tap or play hands together on any two keys using any of the rhythms from
the Rhythm Chart through Level 8 (p. 289).
Sight-Reading
Sight-read an eight-measure Major HT piece, with the melody within an octave range,
using note and rest values from the Rhythm Chart through Level 6 (p. 289). Secondary
dominants, ii or ii
6
and I
6
4
chords will be used. The key signatures will be Major keys
with up to three sharps or three flats. The sight-reading material may be adapted from
lesser-known etudes and pieces in the public domain. Dynamics, articulation markings,
and accompaniment styles may be drawn from previously introduced material. Tempo
markings will not be used.
Example:
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Chord Harmonization
Harmonize a four-measure RH melody in a Major key with up to two sharps or two flats.
The melody may include a position change. LH will play a blocked chord
accompaniment using the chord progression I - vi
6
- ii -V
6
or V
6
5
- I.
See Appendix on p. 332 for more information on the use of the chord symbols in harmonization.
Example:
Harmonized Example:
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TECHNIQUE - LEVEL 8
Intervals
Play Major, minor, and Perfect intervals from any key, HT, BR then BL.
Scales
Play these scales 3 octaves, HT, in rTy rhythm, ascending and descending.
Play the minor scales in all three forms. Play RH f and the LH p, legato.
Play at a minimum speed of MM rTy = 72
F, A, E Major, and d, f♯, c♯ minor.
See examples on next page.
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A Major scale:
d natural minor scale:
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d harmonic minor scale:
d melodic minor scale:
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Play a 2-octave chromatic scale starting on E, 2 octaves, HS or HT, ascending and
descending, legato, mf. Play at a minimum speed of MM ry= 76
Major scale in parallel and contrary motion. See example on next page.
Triads and inversions (refer to page 179 for instructions). Version 2
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178
Play the E major scale in parallel and contrary motion (see example), 4 octaves, legato,
mf, in this rhythm rdg dffg Play at a minimum speed of MM q = 60. Example:
E Major scale in contrary motion pattern:
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Chords
Play these triads and inversions, HT, BR and BL, ascending and descending.
Begin and end in root position. Dynamics:
root position p, 1
st
inversion mp,
2
nd
inversion mf, and top root position f. BR and BL may be alternated.
Keys: F, A, and E Major and d, f♯, c♯ minor.
Example version 1. (Refer to page 177 for version 2)
Play diatonic triads in the keys of A and F Major, one octave, ascending only. Play HT,
mf, non legato. No pedal.
Example of diatonic triads in F Major, ascending only:
Play root position Augmented and diminished triads, HT from any white key.
C+ cº D+ dº E+ eº F+ fº
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etc.
180
Play 4-voice root position V
7
chords in the keys of F, A, and E Major, BR and BL, HT,
ascending and descending.
Example of V
7
in the key of E Major:
Arpeggios
Play 3-octave arpeggios in the keys of F, A, and E Major and d, f♯, and c♯ minor. Use
HT, legato, ascending and descending. RH plays f and LH plays p. Play at a minimum
speed of MM rTy = 72
E Major arpeggio:
d minor arpeggio:
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f♯ minor apeggio:
Chord Progressions
Play the I - IV - I - V
7
- I chord progression in the keys of F, A, and E Major and the
i - iv - i - V
7
- i chord progression in the keys of d, c♯, and f♯ harmonic minor. The RH
plays the chords mf, the LH plays the roots p. Pedal optional.
Chord progression in the key of A Major:
Student Achievement Testing - Piano Handbook Technique 8
Chord progression in the key of f♯ harmonic minor:
182
THEORY - LEVEL 8
Rhythm
Using rhythms and note values from the Rhythm Chart through Level 8 (p. 289):
o Add bar lines to rhythm patterns.
o Rewrite a rhythm from #4 to ^8, or ^8 to #4 to show proper groupings of beats
and beaming.
Example:
Notation
In writing scales, intervals or chords, use correct note, stem and accidental placement.
Offset sharps and flats when they are on consecutive notes.
Example:
Identify notes using double sharps and double flats with their enharmonic names.
Example:
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183
Intervals
Identify and write Major or Perfect intervals from any key.
Identify and write m2, m3, m6, m7 intervals from any white key.
Scales and Key Signatures
Write minor scales, in all 3 forms, for the keys f♯, c♯ and g♯ minor. Write natural and
harmonic minor one octave ascending, and melodic minor ascending and descending.
Use accidentals or a key signature.
Given the key signatures, identify all Major and relative minor keys on the Circle of
Fifths (see Circle of Fifths in Appendix, p. 301).
Chords
Identify and write Augmented and diminished triads in root position, on any white key.
D+
dº
Identify and write root position 4-voice Dominant 7
th
chords in Major keys through 4
sharps and 4 flats. Use accidentals and label with V
7
. Example:
B♭: V
7
E: V
7
Write root position diatonic triads on any note of the Major scale in keys through 3 sharps
and 3 flats as indicated by Roman numerals, using accidentals, not a key signature.
Example:
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184
Identify the Authentic cadence (V
7
- I) or the Plagal cadence (IV- I) in a musical example
in Major keys through 3 sharps and 3 flats. The root of the chord will be in the bass and
the position of the chords in the treble will be IV
6
4
, V
6
5
, and I.
Example:
authentic cadence plagal cadence
Transposition
Transpose a melody written within an octave, in the keys of a, e, b, d, or g harmonic
minor up or down a 2nd to keys of a, e, b, d, or g harmonic minor.
Forms and Terms
Identify meanings or symbols of: Largo, Vivace, coda, codetta, marcato, meno mosso,
piu mosso, double sharp, double flat, authentic cadence, plagal cadence. See Terms and
Definitions in Appendix on p. 293.
Given four tempo terms, arrange them from slowest to fastest. Terms may include:
Largo, Adagio, Andante, Moderato, Allegretto, Allegro, Vivace.
Identify the three main sections in Sonata-Allegro form, with common key relationships
in Major keys:
Exposition: 1
st
theme in the tonic
2
nd
theme in the dominant
Development: various keys and modulations may be used
Recapitulation: 1
st
theme in the tonic
2
nd
theme in the tonic
Identify any Level 8 concept in a musical example.
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Music History
Identify the music period and country of origin for: Muzio Clementi, Friedrich Kuhlau,
Stephen Heller, Johann Friedrich Burgmüller, Sergei Prokofiev, and Dmitri
Shostakovich. See Music History Study Guide in Appendix on p. 303.
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PRACTICE RHYTHMS LEVEL 8
Page 1 of 4
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PRACTICE RHYTHMS LEVEL 8
Page 2 of 4
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PRACTICE RHYTHMS LEVEL 8
Page 3 of 4
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PRACTICE RHYTHMS LEVEL 8
Page 4 of 4
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190
PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 8
Page 1 of 2
Examples may be transposed to the keys of C, G Major and c, g harmonic minor.
MM q= 69
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191
PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 8
Page 2 of 2
Examples may be transposed to the keys of C, G Major and c, g harmonic minor.
MM q= 69
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PRACTICE CHORD HARMONIZATION LEVEL 8
Example:
Exampled Realized:
Other Practice Examples:
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193
MICHIGAN MUSIC TEACHERS ASSOCIATION
STUDENT ACHIEVEMENT TESTING
PIANO HANDBOOK
LEVEL 9
194
195
AURAL AWARENESS - LEVEL 9
Rhythm and Notation
Fill in two missing beats in a two-measure rhythm pattern in #4 $4 or ^8 meter. Note
and rest values from the Rhythm Chart through Level 5 (p. 289) will be used. The note
values of the missing beat will equal a q in #4and $4, or q. in ^8. MM: #4$4 q= 54
and
^8 q.= 60
Example: The boxed notes will be missing.
Intervals
Identify the following descending intervals: m2, m3, P4, P5, and P8. BR and BL, on
any key starting on the same tonic. The key will be established by playing the 4-voice
descending Major tonic chord (8-5-3-1), BR and BL.
Example of descending intervals in B♭ Major:
Choose between two short notated Major or harmonic minor melody fragments within the
range of an octave.
Example:
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Melodic dictation
Fill in five missing notes in a two-measure melody, three of which will be consecutive.
Range: Within an octave.
Meter: #4 or $4
Keys: D, A Major and a harmonic minor.
Note Values: h. h q. q e ry rTy
The key is established by playing:
The example is played 3 times. The boxed notes will be missing on the student page:
Scales
Identify whether a scale is Dorian or Phrygian.
Chords & Chord Progressions
Identify Major, minor, Augmented and diminished triads in root position, BR and BL.
Identify 4-voice Dominant 7
th
and diminished 7
th
chords in root position, BR and BL.
Choose between two chord progressions using I, IV and V
7
chords. The RH will play
the chords and the LH will play the roots in the bass. The key is established by playing
the scale and a 4-voice tonic chord.
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Example:
A
I I IV V
7
I
B
IV I I V
7
I
Melody Playback
Repeat a two-measure melody of nine notes within the range of an octave.
Meter: @#4 $4 or ^8
Keys: D, A Major, and a harmonic minor
Starting Note: Tonic, Mediant, or Dominant
Note Values:
h. h q. q e ry rty rTy dffg Triplets and sixteenth
notes will not be used in the same example.
The test question will be taken from the Practice Melody Playback Examples, Level 9 (p. 213).
See p.19 test for testing procedure.
Example:
MM q= 69
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SIGHT-READING - LEVEL 9
Rhythm Reading
Tap or play with hands together any of the rhythms on the Rhythm Chart through Level 9
(p. 289).
Sight-Reading
Sight-read an eight-measure HT piece in harmonic minor white keys. The sight-reading
will use secondary dominants and other cadential patterns that involve a simple
modulation. Rhythm and note values will be taken from the Rhythm Chart through Level
7 (p. 289). Dynamics, articulation markings, and accompaniment styles may be drawn
from previously introduced material.
Example:
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Transposition
Transpose four measures of the sight-reading piece up or down a 2
nd
or 3
rd
in harmonic
minor white keys. The portion of the sight-reading piece to be transposed will not
include secondary dominants or modulations. Students will be allowed to play the
transposition example in the original key before they transpose it.
Example:
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TECHNIQUE - LEVEL 9
Scales
Play the following 4-octave scales, HT, crescendo ascending and diminuendo
descending, in this r.g rhythm, legato. Play at a minimum speed of MM r.g = 104
A♭, D♭, G♭ Major and f, b♭, and e♭ minor, all three forms.
A♭ Major scale in r.g rhythm:
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Play these modal scales, 1 octave, HT, ascending and descending, mp. Play at a
minimum speed of MM dffg = 72
Dorian from D and Phrygian from E.
Dorian modal scale from D:
Phrygian modal scale from E:
Chords
Play diatonic triads in the keys of A♭, D♭ and G♭ Major, BL, one octave ascending only.
Play HT, RH plays mf, LH plays pp. No Pedal.
Diatonic triads in the key of G♭ Major:
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Play Augmented and diminished triads, HT, BL only, from any black key.
Example:
F♯+
f♯º A♭+ a♭º B♭+ b♭º
Play a 4-voice diminished 7
th
chord starting on c, c♯, and d, BR and BL. Play HT,
ascending and descending, mp.
Example of diminished 7
th
chord starting on c, c♯, and d:
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Arpeggios
Play tonic triad arpeggios, 4 octaves, in the keys of C and G Major and a and e minor.
Play HT, legato, crescendo ascending and diminuendo descending. Play at a minimum
speed of MM dffg = 60
Tonic chord arpeggio in e minor:
Play V
7
arpeggios, 4 octaves, in the keys of C, G, and F Major. Play HT, legato,
crescendo ascending and diminuendo descending. Play at a minimum speed of
MM dffg = 60.
V
7
arpeggio in the key of G Major:
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Chord Progressions
Play the i - iv - i - V
7
- i chord progression in the keys of f, b♭, and e♭ harmonic minor.
Play HT. The RH plays the chords mf, and the LH plays the roots p. Pedal optional.
Chord progression in the key of f harmonic minor:
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THEORY - LEVEL 9
Rhythm
Write the top number of a time signature for a rhythm in simple or compound meters.
@4 #4 $4 #8 ^8 98
Complete rhythms or add bar lines in irregular meters, using rhythms and note values
from the Rhythm Chart through Level 9 (p. 289).
%4 &4 %8 &8
Notation
Identify notes written in tenor clef (middle C on line 4). Example:
From a list of instruments, identify those that typically use the tenor clef (cello,
trombone, bassoon).
In writing scales, intervals or chords, use correct stem and accidental placement. Offset
sharps and flats when they are on consecutive notes. Top and bottom notes of an inverted
7th chord are usually on the same side of the stem, with one of the inner notes on the
other side.
Intervals:
Invert any Major, minor or Perfect interval and identify the new interval. Example:
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Scales and Key Signatures
Write a chromatic scale one octave ascending and descending from a given white key,
using sharps for ascending and flats for descending. Example:
Write minor scales, in all 3 forms, for the keys of g♯, b♭, d♯, and e♭ minor. Write natural
and harmonic minor one octave ascending, and melodic minor ascending and descending.
Use accidentals or a key signature.
Match Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian modes to
their white key scales.
Example:
Ionian: C to C (Major) Mixolydian: G to G
Dorian: D to D Aeolian: A to A (Natural Minor)
Phrygian: E to E Locrian: B to B
Lydian: F to F
Identify and write Major and parallel minor key signatures.
Chords
Identify and write augmented and diminished triads, in root position, beginning on any
black key.
Identify and write a 4-voice Dominant 7
th
(V
7
) chord in a Major key up to 4 sharps and 4
flats, root position and inversions. Use accidentals, not a key signature. Identify each
chord with figured bass. See example on next page.
Example of Dominant V
7
(V
7
) chords and inversions with alternative figured bass:
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Identify and write Primary Triads (I, i, IV, iv, V) and inversions, using Roman
numerals and figured bass, in Major and minor keys through 4 sharps and 4 flats.
Example of Primary Triads and inversions with alternative figured bass:
F: I or I
5
3
I
6
or I
6
3
I
6
4
e: iv or iv
5
3
iv
6
or iv
6
3
iv
6
4
c: V or V
5
3
V
6
or V
6
3
V
6
4
Arrange the notes of an open position Major chord into a root position triad. See
Appendix on p. 300 for chords in open position.
Example:
Transposition
Transpose a Major melody within an octave, with accompaniment of single notes or
intervals in the other clef, up or down a 2nd or 3rd, in keys through 4 sharps and 4 flats.
The example will be two measures in
$4 or ^8.
Forms and Terms
Know the meaning, abbreviations, and symbols of: Presto, hemiola, mano destra (M.D.)
mano sinistra (M.S.), tenuto, diatonic, grazioso, Andantino, Presto, trill, turn, mordent.
See Terms and Definitions in Appendix on p. 293.
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Examples of ornaments:
Identify any theory concepts through Level 9 in a musical example.
Music History
Match the four standard dance movements in a Baroque suite: Allemande, Courante,
Sarabande, and Gigue with their basic characteristics. See Music History Study Guide
in Appendix on p. 303.
From a list of titles, choose which optional dance movements may occur in a Baroque
suite: Bourrée, Gavotte, Minuet, Polonaise.
Example:
Circle the titles of dances which might be found in a Baroque suite:
Minuet Sonata Bourrée Invention
Identify dates of the Renaissance (c. 1400-1600) and Baroque (c. 1600-1750) periods.
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PRACTICE RHYTHMS LEVEL 9
Page 1 of 4
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PRACTICE RHYTHMS LEVEL 9
Page 2 of 4
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PRACTICE RHYTHMS LEVEL 9
Page 3 of 4
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PRACTICE RHYTHMS LEVEL 9
Page 4 of 4
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PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 9
Page 1 of 2
Examples may be transposed to the keys of D, A Major and a harmonic minor.
Examples in #4 and $4 MM q= 69 Examples in ^8 MM e = 116
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PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 9
Page 2 of 2
Examples may be transposed to the keys of D, A Major and a harmonic minor.
Examples in #4 and $4 MM q= 69 Examples in ^8 MM e = 116
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MICHIGAN MUSIC TEACHERS ASSOCIATION
STUDENT ACHIEVEMENT TESTING
PIANO HANDBOOK
LEVEL 10
216
217
AURAL AWARENESS - LEVEL 10
Rhythm and Notation
Fill in three missing beats (q. = 1 beat) in a two-measure rhythm pattern in ^8or 98meter.
Note values from the Rhythm Chart through Level 5 (p. 289) will be used.
Example: The boxed notes will be missing.
MM q.= 60
w
Intervals
Identify any Major, minor, Perfect, and tritone (A4/d5) intervals descending from any
given note, BR and BL.
Example of descending intervals in G Major:
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218
Choose between two short notated Major or harmonic minor melody fragments within the
range of an octave.
Melodic dictation
Fill in six missing notes in a two-measure melody fragment from a given starting note.
Range: Within an octave. Meter: ^8 or 98
Keys: D, A Major and d harmonic minor
Note Values: q. q rty e
The key is established by playing:
The example is played 3 times. The boxed notes will be missing on the student page:
Scales
Identify whether a single-line melody is Major, natural minor, harmonic minor, melodic
minor or chromatic.
Identify whether a scale is Lydian, Mixolydian or Locrian.
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Chords & Chord Progressions
Identify 4-voice Dominant 7
th
and diminished 7
th
chords in root position, BR and BL.
Choose between two cadences in a Major key starting on the tonic triad with roots in the
bass. The key will be established by playing the scale and 4-voice tonic chord.
Example:
Melody Playback
Repeat a two-measure melody of nine notes.
Range: Within an octave.
Meter:
#4 $4 ^8
Keys: E, F Major, e, f harmonic minor.
Starting Note: Tonic, Mediant, or Dominant
Note Values: h. h q. q e ry rTy dffg
The test question will be taken from the Practice Melody Playback Examples, Level 10 ( p. 240).
See p. 19 test for testing procedure.
Example: MM q= 69
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SIGHT-READING - LEVEL 10
Rhythm Reading
Tap or play with hands together any of the rhythms on the Rhythm Chart through Level
10 (p. 289).
Sight-Reading
Sight-read an eight- to twelve-measure chorale with limited or no modulation in a Major
or harmonic minor key up to four sharps or four flats. The student should perform the
sight-reading piece at a consistent speed with continuity. Dynamics will be included, and
slurs or fermatas will be used to indicate the phrases.
Example:
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221
Chord Harmonization
Harmonize a four-measure RH melody including the following chords in root position or
inversions: I, ii, IV, V
7
, and vi. The chord harmonization may be adapted from lesser
known etudes and pieces in the public domain. The LH accompaniment will be in
blocked chords. Major or harmonic minor keys up to two sharps or two flats will be
used.
See Appendix on p. 332 for more information on the use of chord symbols in
harmonization.
Example:
Harmonized Example:
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TECHNIQUE - LEVEL 10
Scales
Play the following scales 4 octaves, HT, ascending and descending:
Be prepared to play either RH f and LH p, legato OR RH p and LH f, legato. Play at a
minimum speed of MM dffg = 80
A, E♭, and G♭ Major scales.
Example of A Major scale with RH f and LH p:
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223
Play these scales 4 octaves, HT, ascending and descending: f♯, c, and e♭ minor in all 3
forms, staccato, mf. Play at a minimum speed of MM dffg = 66
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224
Play the C Major and a harmonic minor 4-octave scales at the distance of a 3
rd
and a
10
th
. The LH starts on the tonic, legato, p, the RH plays at the 3
rd
above, f.
MM dffg = 66
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225
Modal Scales
Play 1-octave modal scales, Lydian from F, Mixolydian from G and Locrian from B,
HT, ascending and descending, p and legato, or mf and staccato in the following rhythm:
rdgdffg Play at a minimum speed of MM q= 72
Lydian modal scale from F with C Major fingering in RH:
Lydian modal scale from F with F Major fingering in RH:
Mixolydian modal scale from G, p and legato:
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226
Locrian modal scale from B, mf and staccato:
The regular B Major fingering may be used.
Chords
Play blocked diatonic triads in the keys of a, f♯, c, and e♭ harmonic minor. Play 1
octave, HT, ascending and descending. Pedal each triad.
Diatonic triads in the key of e♭ harmonic minor:
Play 4-voice V
7
chords and their inversions in the keys of C, A, E♭, and G♭ Major. Play
HT, ascending and descending, BR and BL.
Four-voice V
7
in the key of E♭ Major. Version 1
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227
Four-voice V
7
in the key of E♭ Major. Version 1 (continued)
Four-voice V
7
in the key of E♭ Major. Version 2
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228
Play 4-voice Major 7
th
and minor 7
th
chords from C, G and F, HT, BR and BL.
C Maj 7 (or CM7) C min 7 (or Cm7)
G Maj 7 (or GM7) G min 7 (or Gm7)
F Maj 7 (or FM7) F min 7 (or Fm7)
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Arpeggios
Play 4-octave tonic arpeggios in the keys of A, E♭ and G♭ Major and f♯, c, and e♭
minor HT. Play p staccato ascending, and mf legato descending. Play at a minimum
speed of MM dffg = 63
Tonic arpeggio in the key of G♭ Major:
Tonic arpeggio in the key of f♯ minor:
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230
Play 4-octave diminished 7
th
arpeggios starting on c, c♯, and d, HT legato and mf. Play
at a minimum speed of MM dffg = 69
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231
Chord Progressions
Play the I - IV - I
6
4
- V
7
- I chord progression (see following example) in any Major
white key. The RH starts in I
6
position and the LH plays single notes. The RH plays mp,
while the LH plays the bass line mf. Legato pedal each chord.
Example:
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232
THEORY - LEVEL 10
Rhythm
Beam notes correctly in simple or compound time ( @4 #4 $4 ^8 98).
Example:
Complete rhythms or add bar lines to rhythms, using note values from the Rhythm Chart
through Level 10 (p. 289).
Time signatures may include %4 &4 #8 %8 ^8 @2 #2 $2.
Notation
Identify notes written in alto clef (middle C on line 3).
Identify the instrument that typically uses the alto clef (viola).
Intervals
Identify and write all Major, minor and Perfect intervals, descending from a given white
key.
Identify and write augmented and diminished intervals ascending from a given note.
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Scales and Key Signatures
Write a whole-tone scale, one octave ascending, from A, B, C, D, E, F, or G. The scale
should begin and end on the same letter name, so one letter will be omitted in the scale.
Example:
Identify and write each scale degree (tonic, supertonic, mediant, etc.) for any Major scale.
Example:
Tonic Supertonic Mediant Subdominant Dominant Submediant Leading
Tone
Tonic
Identify and write the Dorian, Phrygian, and Lydian modal scales, one octave ascending
using all white keys, no accidentals. Mark the whole and half steps.
Example:
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234
Chords
Identify or write diatonic triads from Roman numerals and figured bass in Major keys
through 5 sharps and 5 flats, root position and inversions. Chords included may be I, IV,
V, ii, and vi.
Example in C Major:
Identify and write a 4-voice diminished 7
th
chord from a given note in root position and
inversions. Identify each chord with figured bass.
Example
Identify plagal (iv-i) and authentic (V or V
7
- i) cadences in a musical example in
harmonic minor keys through 3 sharps and 3 flats.
Fill in the two missing chords in a Major chord progression from Roman numerals and
figured bass, using common tone voicing. Example will be in a Major key through two
sharps and two flats, with three voices in treble (close position) and the root in the bass.
Example: The chords in the boxes will be missing (dotted lines indicate common tones).
Student Achievement Testing - Piano Handbook Theory 10
I IV ii vi I V I
235
Identify Major, minor, diminished or Dominant 7
th
chords in root position and inversions,
and in open or close position within a musical example. Examples:
Transposition:
Transpose a two-measure example in four-part harmony, chorale style. Major key
signatures through 2 sharps and 2 flats may be used for the original example and the
transposition.
Forms and Terms
Know the meaning of: assai, con brio, pesante, compound meter, simple meter, Alberti
bass, espressivo, tranquillo, giocoso.
Identify characteristic Classical period forms: sonata, theme and variations, concerto,
rondo. See Terms and Definitions in Appendix on p. 294.
Identify any theory concepts through Level 10 in a musical example.
Music History
Identify dates of the Classical Period as 1750-1825.
From a list of composers, identify those who wrote in the Classical Period: Franz Joseph
Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Muzio Clementi, Friedrich
Kuhlau. See Music History Study Guide in Appendix on p. 303.
Student Achievement Testing - Piano Handbook Theory 10
F Major C Major f♯ diminished C
7
g minor d minor F Major
root pos. 2nd inv. root pos. root pos. root pos. root pos. 1st inv.
236
PRACTICE RHYTHMS LEVEL 10
Page 1 of 4
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PRACTICE RHYTHMS LEVEL 10
Page 2 of 4
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PRACTICE RHYTHMS LEVEL 10
Page 3 of 4
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PRACTICE RHYTHMS LEVEL 10
Page 4 of 4
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240
PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 10
Page 1 of 2
Examples may be transposed to the keys of E, F Major and e, f harmonic minor.
Examples in #4 and $4 MM q= 69 Examples in ^8 MM e= 116
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241
PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 10
Page 2 of 2
Examples may be transposed to the keys of E, F Major and e, f harmonic minor.
Examples in #4 and $4 MM q= 66 Examples in ^8 MM e= 116
Student Achievement Testing - Piano Handbook Practice Melody Playback 10
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PRACTICE CHORD HARMONIZATION LEVEL 10
Example:
Example Harmonized:
Other Practice Examples:
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243
MICHIGAN MUSIC TEACHERS ASSOCIATION
STUDENT ACHIEVEMENT TESTING
PIANO HANDBOOK
LEVEL 11
244
245
AURAL AWARENESS - LEVEL 11
Rhythm and Notation
Write a dictated two-measure rhythm pattern in #4 or $4 meter using note and rest values
from the Rhythm Chart through Level 5 (p.289).
Example:
Intervals
Choose between two short notated melody fragments.
Example:
Melodic dictation
Complete a two-measure melody of ten notes. The first note is given.
Range: Within an octave.
Meter : #4 $4 or ^8
Keys: C, G Major, and c, g harmonic minor. Key signatures will be given.
Starting Note: Tonic
Note Values: h. h q. q e ry rdg
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246
The key is established by playing:
The example is played 3 times. The boxed notes will be missing on the student page:
Scales
Identify whether a scale is a Dorian, Phrygian, or Lydian.
Chord Progressions
Choose whether a cadential pattern in a Major or harmonic minor key is: authentic,
plagal, half, or deceptive. The key will be established by playing the scale and 4-voice
tonic chord.
Authentic cadence:
Plagal cadence:
Student Achievement Testing - Piano Handbook Aural Awareness 11
Given note
247
Half cadence:
Deceptive cadence:
Melody Playback
Repeat a two-measure melody of ten notes within the range of an octave plus the leading
tone below the tonic.
Range: Within an octave, plus the leading tone.
Meter: @4 #4 $4 or ^8
Keys: C and G Major and c and g harmonic minor.
Starting Note: Tonic, Mediant or Dominant
Note Values: h. h q. q e ry rTy dffg r.g
The test question will be taken from the Practice Melody Playback Examples, Level 11 ( p. 263).
See p. 19 test for testing procedure.
Example:
MM q= 50
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SIGHT-READING - LEVEL 11
Rhythm Reading
Tap or play with hands together any of the rhythms on the Rhythm Chart through Level
11 (p. 289).
Sight-Reading
Sight-read a chorale of eight to twelve-measures with modulations. The RH will play the
tenor notes when necessary. The sight-reading will be in a Major or harmonic minor key
up to four sharps or four flats. The student should perform the sight-reading piece at a
consistent speed with continuity. Slurs or fermatas will be used to indicate the phrases.
Dynamics will be included.
Example:
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249
Harmonizing a Bass Line
Add right hand I, IV and V chords to a left hand bass line in a Major key. The first chord
in the right hand and the top note of each successive chord will be given. The right hand
should move to the nearest chord tones of the new chord, keeping the common tone
where possible. Roman numerals and chord names will be included, and Major keys up to
two sharps or two flats will be used.
Example of harmonizing of a bass line:
Realization of the bass line harmony:
For further assistance in learning how to harmonize a bass line, see the Harmonization Tutorial
in the Appendix on p. 333.
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250
TECHNIQUE - LEVEL 11
Scales
Play the following scales 4 octaves, HT, diminuendo ascending and crescendo
descending, legato. Play at a minimum speed of MM dffg = 84
G, E, B♭, D♭/C♯ Major and e, c♯, g, and b♭ minor in all 3 forms.
Play these 4-octave scales at the distance of a 6
th
: G Major and e harmonic minor, HT.
The RH starts on the tonic and plays staccato, p. The LH starts a 6th below and plays
legato, mf. Play at a steady beat.
e harmonic minor scale at the distance of a 6
th
:
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251
Play the following rTy (RH) against ry (LH) pattern in C Major, one octave,
ascending only.
Chords
Play a 4-voice V
7
chord and inversions HT, in the keys of e, c♯, g, b♭ harmonic minor.
For the ascending inversions, play BR, crescendo ascending and diminuendo
descending, then BL p. For the descending inversions, play BR, crescendo
descending and diminuendo ascending, then BL p. Begin and end with the root
position. Pedal optional.
V
7
chord and inversions in the key of e harmonic minor. Version 1.
Student Achievement Testing - Piano Handbook Technique 11
descending, etc.
252
V
7
chord and inversions in the key of e harmonic minor. Version 2.
Play blocked diatonic triads in E, B♭ Major and c♯ and g harmonic minor, 1 octave,
HT, RH f, and LH pp; ascending and descending. Pedal optional.
Diatonic triads in the key of B♭ Major:
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Diatonic triads in the key of c♯ harmonic minor:
Arpeggios
Play 4-octave arpeggios in the keys of G, E, B♭, and D♭ Major, HT, ascending and
descending, legato. Play the tonic arpeggio in root position and 1st inversion.
Play at a minimum speed of MM dffg = 72
Tonic arpeggio in the key of G Major:
First inversion arpeggio in the key of G Major:
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254
Play 4-octave V
7
arpeggios in E, B♭, and D♭ Major, HT, legato, crescendo ascending
and diminuendo descending. Play at a minimum speed of MM dffg = 72
V
7
arpeggio in the key of D♭ Major:
Chord Progressions
Play the i - iv - i
6
4
- V
7
- i chord progression (see following example) in e, c♯, g♯, and b♭
harmonic minor. The RH starts in 1
st
inversion (i
6
) mf, and the LH plays the bass line
mp. Legato pedal each chord.
Example of i - iv - i
6
4
- V
7
- i chord progression in e harmonic minor:
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255
Example of i - iv - i
6
4
- V
7
- i chord progression in b♭ harmonic minor:
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256
THEORY - LEVEL 11
Rhythm
Complete measures using note values from the Rhythm Chart through Level 11 (p. 289).
Intervals
Identify and write an interval which is enharmonically equivalent to any augmented or
diminished interval.
Example:
A4 D5 A6 m7
Scales and Key Signatures:
Write a whole-tone scale one octave ascending from a given black key. The scale should
begin and end on the same letter name, so one letter will be omitted in the scale.
Example:
Identify and write each scale degree (tonic, supertonic, mediant, etc.) for any harmonic
minor scale.
Example in c harmonic minor:
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Identify and write the Mixolydian and Locrian modal scales, one octave ascending using
all white keys, no accidentals. Mark the whole and half steps.
Chords
Write diatonic triads and inversions in harmonic minor keys through 5 sharps and 5 flats
in root position. Identify each triad with Roman numerals and figured bass.
Example in c harmonic minor:
Identify and write a 4-voice Dominant 7
th
, diminished 7
th
, Major 7
th
, or minor 7
th
chord,
in root position from any white key. Example:
Maj 7 Dom 7 min 7 dim 7
For the above 7th chords, identify the quality of the triad and the 7
th
. Example:
7
t
h
: Major (M) minor (m) minor (m) diminished (d)
Triad: Major (M) Major (M) minor (m) diminished (d)
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Mixolydian Modal Scale
Locrian Modal Scale
258
Analyze a two-measure example in four-part chorale style with Roman numerals.
Example will be in C, G, or F Major and will use I, ii, IV, V, V
7
, vi chords in root
position or inversions. Identify the final cadence as authentic or plagal.
Example for chord progression analysis:
Adapted from J. S. Bach
Cadence: Plagal
Transposition
Transpose a minor melody with accompaniment to another minor key. Key signatures
through 3 sharps and 3 flats will be used.
Forms and Terms
Know the meanings and abbreviations of: Grave, Presto, scherzando, una corda, tre
corde, sostenuto pedal, rubato, ritenuto. German terms: langsam, schnell, nicht. See
Terms and Definitions in Appendix on p. 294.
Identify any theory concepts through Level 11 in a musical example.
Music History
Identify dates, characteristics and composers of the Romantic Period (c. 1825-1900):
Frédéric Chopin, Robert Schumann, Franz Schubert, Peter Ilyich Tchaikovsky, Franz
Liszt, Johannes Brahms. See Music History Study Guide in Appendix on p. 303.
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PRACTICE RHYTHMS LEVEL 11
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PRACTICE RHYTHMS LEVEL 11
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PRACTICE RHYTHMS LEVEL 11
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PRACTICE RHYTHMS LEVEL 11
Page 4 of 4
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PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 11
Page 1 of 2
Examples may be transposed to the keys of C, G Major and c, g harmonic minor.
Examples in @4 #4and $4 MM q= 50 Examples in ^8 MM q. = 50
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PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 11
Page 2 of 2
Examples may be transposed to the keys of C, G Major and c, g harmonic minor
Examples in @4 #4and $4 MM q= 50 Examples in ^8 MM q. = 50
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MICHIGAN MUSIC TEACHERS ASSOCIATION
STUDENT ACHIEVEMENT TESTING
PIANO HANDBOOK
LEVEL 12
266
267
AURAL AWARENESS - LEVEL 12
Rhythm and Notation
Write a dictated two-measure rhythm pattern in
^8 meter using rhythms and note and rest
values from the Rhythm Chart through Level 7 (p. 289).
Example:
Intervals
Choose between two notated melody fragments using Perfect, Major, minor, Augmented
and diminished intervals.
Melodic dictation
Complete a two-measure melody of ten-notes. The first note is given.
Range: Within an octave
Meter @4 #4 $4 or ^8
Keys: C, G Major and c, g harmonic minor
Starting Note: Tonic
The key is established by playing:
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The example is played 3 times. The boxed notes will be missing on the student page.
Given Note
Scales
Identify whether a scale is Dorian, Phrygian, Lydian, Mixolydian, or Locrian.
Chord Progressions
Identify whether a cadence in a Major key is: authentic: V - I or deceptive: V - vi
The cadence will be in close position with the root in the bass.
The key will be established by playing a scale and 4-voice tonic chord.
Examples of authentic cadences:
Examples of deceptive cadences:
Student Achievement Testing - Piano Handbook Aural Awareness 12
V
7
I V
7
I V7 I
V vi V vi V vi
269
Identify and choose the notation of the chord progression you hear:
I - vi - ii - V - I or I - IV - I
6
4
- V - I
Example:
Melody Playback
Repeat a two-measure melody of ten notes.
Range: Within an octave, plus the leading tone below the tonic.
Meter: @4 #4 $4 or ^8
Keys: C, G Major and c, g harmonic minor.
Starting Note: Tonic, Mediant or Dominant.
Note Values:
h. h q. q r.g rTy ry dffg
The test question will be taken from the Practice Melody Playback Examples, Level 12 ( p. 285).
See p. 19 test for testing procedure.
Example: MM q= 50
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SIGHT-READING - LEVEL 12
Rhythm Reading
Tap or play with hands together any of the rhythms on the Rhythm Chart through Level
12 (p. 289).
Sight-Reading
Sight-read a short piece in contrapuntal style with two or three voices in any Major or
harmonic minor key up to four sharps or four flats, using note values from the Rhythm
Chart through Level 10 (p. 289). Key signatures and dynamic markings will be used.
The student should perform the sight-reading piece at a consistent speed with continuity.
Example:
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Example continued:
Harmonizing a Bass Line
Add right hand chords to a left hand bass line. The chords used in Major keys will be I,
ii, iii, IV, V and vi chords, and the chords used in harmonic minor keys will be i, iv, V
and VI chords. The first chord in the right hand and the top note of each successive chord
will be given. The right hand should move to the nearest chord tones of the new chord,
keeping the common tone where possible between both chords. Roman numerals and
chord names will be included. Major and harmonic minor keys up to three sharps or three
flats will be used.
Example of harmonizing a bass line:
Realization of the bass line harmony:
For further assistance in learning how to harmonize a bass line, see the Harmonization Tutorial
in the Appendix on p. 338.
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TECHNIQUE - LEVEL 12
Scales
Play the following scales 4 octaves, HT, ascending and descending.
Play the D, B, F, and A♭ Major scales legato, RH mf, LH p.
Play the b, g♯, d, and f minor scales in all 3 forms, legato, RH p, LH mf.
Play at a minimum speed of MM dffg = 96
Play the following dffg (RH) against rTy (LH) pattern in C Major, one octave,
ascending only. Play at a steady beat.
Chords
From any black key, play a diminished 7
th
chord and its inversions, HT, BR ascending
and descending, and BL; mf.
Diminished 7
th
chord and inversions on c♯, (refer to p. 27 to see an example of Version 2, using
the Level 12 dynamics stated above):
Version 1
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Diminished 7
th
chord and inversions on c♯ (continued):
Refer to p. 252 to see an example of Version 2, using the Level 12 dynamics stated above.
descending, etc.
Arpeggios
Play 4-octave tonic arpeggios with inversions in D, B, F, and A♭ Major and b, g♯, d, and
f minor, HT, legato ascending, and staccato descending; RH f, LH p. Play at a
minimum speed of MM dffg = 76.
Tonic arpeggio in A♭ Major in root position:
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Tonic arpeggio in A♭ Major in 1
st
inversion:
Tonic arpeggio in A♭ Major in 2
nd
inversion:
Play 4-voice V
7
arpeggios in root position and first inversion, 4 octaves, HT in the keys
of D, B, F, A♭ Major and b, g♯, d, and f harmonic minor, legato, RH mf, LH pp.
Play at a minimum speed of MM dffg = 76.
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V
7
arpeggio in the key of A♭ Major, root position:
V
7
arpeggio in the key of A♭ Major, 1
st
inversion:
Chord Progressions
Play the half cadence (I - IV - I - V) and deceptive cadence (I - IV - V - vi) chord
progressions in D, B, F and A♭ Major. Legato pedal each chord.
Half cadence in B Major, all 3 positions:
The position played is the student's choice.
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Deceptive cadence in D Major, all 3 positions:
The position played is the student's choice.
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THEORY - LEVEL 12
Rhythm:
Complete measures and correctly beam notes in mixed meter or additive meter:
Example:
Complete measures using note values from the Rhythm Chart through Level 12 (p. 289).
Intervals:
Identify and write an interval which is enharmonically equivalent to any Perfect, Major,
minor, Augmented or diminished interval. Example:
P5 d6 A4 d5 d3 M2 d8 M7
Scales and Key Signatures:
Identify and write Dorian, Phrygian, Lydian, Mixolydian, and Locrian modal scales
from a given note, one octave ascending, using accidentals.
Example: Write a Lydian modal scale beginning on D.
Methods of spelling a modal scale using accidentals:
A. Relative Method
:
1. Determine what scale degree of the Major scale this mode would use if it were all
white keys. (Lydian is written on the 4
th
degree of the Major scale)
a. Dorian (2
nd
degree)
b. Phrygian (3
rd
degree)
c. Lydian (4
th
degree)
d. Mixolydian (5
th
degree)
e. Locrian (7
th
degree)
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2. Write the notes from tonic to tonic (D to D)
3. D would be the 4
th
note of A Major Scale
4. Use the key signature of A Major to write the Lydian mode from D to D.
B. Parallel Method:
1. Relate the modal scale to Major or minor
a. Dorian – natural minor with a raised 6
th
b. Phrygian – natural minor with a lowered 2
nd
c. Lydian – Major with a raised 4
th
d. Mixolydian – Major with a lowered 7
th
e. Locrian – Natural minor with lowered 2
nd
and 5
th
2. Remember that Lydian sounds like Major with a raised 4
th
.
3. Write a D Major scale, but raise the 4
th
note a half step.
Examples for writing modal scales:
Relative Method:
1. Write notes from D to D 2. Use the key signature of A Major
Parallel Method:
1. Write D Major scale 2. Raise the 4
th
degree
Chords
Fill in two missing chords in a chord progression from Roman numerals and figured bass,
using common tone voicing. Example will be in four-part chorale style, in a harmonic
minor key, through three sharps and three flats. Identify the final cadence as plagal,
authentic, half or deceptive.
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Example for filling in two missing chords: (Dotted lines indicate the common tones.)
Adapted from J. S. Bach
Write Major, minor, Dominant 7
th
, diminished 7
th
, Major 7
th
, or minor 7
th
chords in root
position and inversions, from lead line chord symbols, including slash chords.
Major: Uses just the letter name: G
Minor: Uses the letter name with m: Gm
Dominant 7
th
: Uses the letter name with 7: G7
Diminished 7
th
: Uses the letter name with dim 7 or
o
7: G dim7 or G
o
7
Major 7
th
: Uses the letter name with M7 or Maj. 7: GM7 or G Maj 7
Minor 7
th
: Uses the letter name with m7 or min 7: Gm7 or G min 7
Slash Chords: Inversions are indicated by writing the name of the chord with the name of
the bass note after a /: G/D (2
nd
inversion)
Example of 7
th
chords from lead line notation:
Student Achievement Testing - Piano Handbook Theory 12
G G/B Gm Gm/D G7 G7/B
Edim7 Edim7/G GMaj7 GMaj7/D Gmin7 Gmin7/F
280
Identify plagal, authentic, deceptive, and half cadences in a musical example in any
Major key, through four sharps and four flats.
Analyze a short example in chorale style with Roman numerals and figured bass. The
example will be in D or A Major or a, e, or d harmonic minor. Chords on any note of
the scale will be used, in root position or inversions.
Transposition
Transpose a melody using non-diatonic tones up or down a whole step.
Forms and Terms
Know the meaning of: animato, calando, con fuoco, maestoso, Lento, modulation,
doloroso. French terms: cédez, vite, très. See Terms and Definitions in Appendix on p.
295.
Identify any theory concepts through Level 12 in a musical example.
Music History
Identify Impressionistic and 20th-Century compositional techniques: polytonality, scales
other than Major or minor (pentatonic, whole tone, modal), mixed meter, music without a
tonal center (atonal, twelve-tone row), tone clusters.
Identify 20th-Century composers and their country of origin: Béla Bartók, Dmitri
Kabalevsky, Dmitri Shostakovich, Claude Debussy, Maurice Ravel, George Gershwin,
Scott Joplin, Igor Stravinsky, Aaron Copland. See Music History Study Guide in
Appendix on p. 304.
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PRACTICE RHYTHMS LEVEL 12
Page 1 of 4
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PRACTICE RHYTHMS LEVEL 12
Page 2 of 4
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PRACTICE RHYTHMS LEVEL 12
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PRACTICE RHYTHMS LEVEL 12
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PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 12
Page 1 of 2
Examples may be transposed to the keys of C, G Major and c, g harmonic minor.
Examples in #4and $4 MM q= 50 Examples in ^8 MM q. = 50
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PRACTICE MELODY PLAYBACK EXAMPLES - LEVEL 12
Page 1 of 2
Examples may be transposed to the keys of C, G Major and c, g harmonic minor
Examples in #4and $4 MM q= 50 Examples in ^8 MM q. = 50
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MICHIGAN MUSIC TEACHERS ASSOCIATION
STUDENT ACHIEVEMENT TESTING
PIANO HANDBOOK
APPENDIX
288
289
RHYTHM CHART
All levels are cumulative. Students are responsible for all preceding material.
1A
q h h. w
1B
2
ry c
3
q. e e E and ties
4
rry qe q. h. Q. Q E or
5
rTy or dffg
6
rdg dgy r.g
7
dg S in compound meter
8
C dtg
9
10
11
ry against rTy and mixed meters
12
rTy against dffg additive meters and
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290
MUSIC TERMS AND DEFINITIONS
All levels are cumulative. Students are responsible for all preceding material.
LEVEL TERMS SYMBOLS DEFINITIONS
1A
bar line Line dividing music into measures
b
ass clef F Clef. Indicates the 4
th
line is F.
forte
f
Loud
legato
Smoothly connected tones. Often indicated with a
slur.
measure
Section of music between two bar lines
piano
p
Soft
staccato Short, detached tones
staff
5 lines and 4 spaces on which music is written
treble clef G Clef. Indicates the 2
n
d
line is G.
LEVEL
crescendo
cresc.
Gradually louder
1B
diminuendo
dim.
Gradually softer
flat Lowers the note a half step
mezzo forte
mf
Medium loud
mezzo piano
mp
Medium soft
natural
Cancels a sharp or flat
octave sign
Play an octave higher. Play an octave lower.
repeat sign Play the section again
sharp
Raise the note a half step
LEVEL
a tempo
a tempo
Return to the original speed
2
accelerando Gradually faster
Da Capo D. C. Go back to the beginning
fermata Pause, or hold the note or rest longer
fine
fine
The end
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MUSIC TERMS AND DEFINITIONS
All levels are cumulative. Students are responsible for all preceding material.
LEVEL TERMS SYMBOLS DEFINITIONS
2
ritardando Gradually slower
slur
A curved line placed over or under two or more
notes that are to be played legato
tie
A curved line connecting two notes of the same
pitch. Play only the first note and hold it for the
value of both notes.
LEVEL
Allegro
Fast, lively, cheerful
3
Andante
A walking tempo
chord inversion
A chord whose notes are rearranged so that the
root is not the lowest note
damper pedal
The pedal on the right that sustains the tones.
dolce
Sweetly
fortissimo
ff
Very loud
pianissimo
pp
Very soft
simile
Continue in the same way
LEVEL
Adagio
Slow tempo
4
dominant triad
V
Triad built on the fifth note of the scale
Moderato
Moderate, medium tempo
rallentando gradually slower
relative minor
A minor key with the same key signature as a
Major key, but using a different starting note.
sequence
A melodic pattern repeated at a higher or lower
pitch.
tonic triad
I
Triad built on the first note of the scale
LEVEL
accent
Strong emphasis on a note or chord
5
cantabile
A singing style
dal segno
orD.S.
Return to the sign
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MUSIC TERMS AND DEFINITIONS
All levels are cumulative. Students are responsible for all preceding material.
LEVEL TERMS SYMBOLS DEFINITIONS
5
molto
Much, very
poco
Little
primary triads I, IV, and V Triads built on the 1st, 4th, and 5th notes of the
scale.
subdominant
triad
IV
Triad built on the fourth note of the scale
LEVEL
Allegretto Somewhat fast, but not as fast as allegro
6
binary Two part form: AB
enharmonic The same pitch with different names,
ex: C♯ = D♭
figured bass
A system of labeling chords and their inversions,
using Arabic numbers to show the inversion.
leggiero Lightly
Opus
Op.
Work. Most often used as a catalog number to
indicate the order of a composer's published
compositions.
sforzando Strong accent
Spiritoso With spirit
subito
sub.
Suddenly, at once
ternary Three part form: ABA
LEVEL
agitato Agitated, excited
7
meno Less
parallel minor A minor key with the same tonic as a Major Key,
but with a different key signature.
piu More
relative minor A minor key with the same key signature as a
Major key, but using a different tonic.
sempre Always
senza Without
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MUSIC TERMS AND DEFINITIONS
All levels are cumulative. Students are responsible for all preceding material.
LEVEL TERMS SYMBOLS DEFINITIONS
8
authentic cadence V - I The chord progression of V (Dominant) to I
(Tonic)
coda Ending section of a piece.
codetta Short ending section of a piece
double flat Lowers the note a whole step
double sharp Raises the note a whole step
Largo Very slowly
marcato Marked, accented, stressed
meno mosso Less motion (slower)
piu mosso More motion (faster)
plagal cadence
IV - I
The chord progression of IV (Subdominant) to I
(Tonic)
Vivace Very quick and lively
LEVEL
Andantino Slightly faster than Andante
9
diatonic Notes that belong to a given scale
grazioso Gracefully
hemiola A shift of the natural accent
mano destra M. D. Right Hand
mano sinistra M. S. Left Hand
mordent
Ornament alternating a tone with its lower neighbor
tone.
Presto Very fast
tenuto ten. or
Hold full value, sustain
trill
Ornament alternating a tone with its upper neighbor
tone.
turn
Four note ornament using the upper and lower
neighbor tones.
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MUSIC TERMS AND DEFINITIONS
All levels are cumulative. Students are responsible for all preceding material.
LEVEL TERMS SYMBOLS DEFINITIONS
10
Alberti bass An accompaniment pattern using a broken three-note
chord, played bottom, top, middle, top.
assai Very
compound
meter
The beat can be divided by 3 (q. = rty). The top
number in the time signature will be 6, 9, or 12.
con brio With spirit, vigorous
concerto A composition for solo instrument with orchestra,
usually with 3 movements.
espressivo With expression
giocoso Playful, humorous
pesante Heavy, ponderous
rondo A composition with a recurring theme (A) which
appears between contrasting sections or episodes (B,
C, etc.). For example: A B A C A
simple meter
The beat can be divided by 2 (q = ry). The top
number in the time signature will be 2, 3, or 4.
sonata A piece for solo instrument, or solo instrument with
accompaniment, usually with 3 or 4 movements.
theme &
variations
A composition beginning with a theme which is
altered in variations by changing the melody,
harmony, texture, rhythm, or other components.
tranquillo Calm, peaceful, tranquil
LEVEL
Grave Solemn, serious
11
langsam German: Slowly
nicht German: Not
ritenuto
riten.
Held back, suddenly slower
rubato Slight flexibility of tempo for expressive purposes.
scherzando
Playfully
schnell German: Fast
sostenuto pedal
Sost. Ped.
The middle pedal of the piano
tre corde
t.c.
Release the soft pedal
una corda
u.c.
Soft pedal, the pedal on the left of the piano
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MUSIC TERMS AND DEFINITIONS
All levels are cumulative. Students are responsible for all preceding material.
LEVEL TERMS SYMBOLS DEFINITIONS
12
animato Animated, with spirit
calando Gradually diminishing, softening
cédez French: Holding back the tempo
con fuoco With fire
doloroso Sadly, sorrowful
Lento Slowly
Maestoso Majestic, stately, dignified
modulation Change of key within a composition
très French: Very
vite French: Fast
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GLOSSARY OF TERMS
Abbreviations are found in a chart at the end of this section.
Accidentals Symbols used to indicate chromatic changes, either raising or lowering
notes. Sharps, flats or naturals may be requested in test directions, as well
as key signatures.
Additive Meter A time signature which has non-identical beat groups, such as 3+3+2 or
4+3. 8
8
And/or Both ways should be prepared.
Cadences A resting point at the end of a phrase, section, or complete composition.
Authentic – A chord progression consisting of the dominant chord
followed by the tonic chord (V - I).
Plagal – A chord progression consisting of the subdominant chord
followed by the tonic chord (IV - I).
Half – A chord progression giving the feeling of temporary repose,
usually ending with the dominant chord I - V or IV - V ).
Deceptive – A chord progression employing a harmonic progression
which is unexpected or “deceives” the listener. It is usually defined as
a V - vi progression.
Chord Progression A series of chords beginning and ending with the tonic.
Example: I - IV6r - I or I - V6t - I
Chords See Triads/Chords.
Circle of Fifths The circular arrangement of the fifteen keys in an order of fifths, with the
sharp keys ascending clockwise, and the flat keys descending counter-
clockwise.
Contrary Motion Parts moving in opposite directions at the same time.
Enharmonic A pitch, key, or interval that is the same as another pitch, key, or interval,
but spelled differently. Pitch example: C♯/D♭. Key example: F♯/G♭
Major. Interval example: C-F♯ (Augmented 4
th
) to C-G♭ (diminished 5
th
).
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GLOSSARY OF TERMS
Figured Bass A bass line with Arabic numerals under the notes to indicate the harmony
and interval position. No indicated figured bass numbers implies a root
position chord.
Examples: 6e - triad 1
st
inversion
6r - triad 2
nd
inversion
6t - seventh chord 1
st
inversion
Five-Finger
Patterns
Major – First five notes of any Major scale, arranged in the following
order of steps: whole - whole - half - whole.
minor – First five notes of any minor scale, arranged in the following order
of steps: whole - half - whole - whole.
Half Step The smallest interval in the musical system of twelve tones to the octave.
On the piano keyboard, a half step is the distance between any two
immediately adjacent keys, whether white or black.
Interval The distance or difference in pitches between any two notes. The interval
is counted starting on the lower note to the higher note. Intervals have
both a number name and a quality name. The quality names are Major,
Perfect, minor, Augmented or diminished.
Major (M) intervals occur from the tonic to the 2
nd
, 3
rd
6
th
and 7
th
degrees
of a Major scale.
Perfect (P) intervals occur from the tonic to the 4
th
, 5
th
and 8
th
(octave)
degrees of a Major scale. The interval of a unison is called Perfect prime
(P1).
minor (m) intervals occur when Major intervals are made one half step
smaller.
Augmented (+) intervals occur when Perfect or Major intervals are made
one half step larger.
diminished (
o
) intervals occur when Perfect or minor intervals are made
one half step smaller.
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GLOSSARY OF TERMS
Key signature The number of sharps or flats in a key. See Circle of Fifths.
Mixed Meter A rhythm or piece of music that use on or more different time signatures.
Modes System of scales built on an arrangement of half steps and whole steps.
Ionian – Half step between scale degrees 3-4 and 7-8, as in white keys
from C to C (Major scale).
Dorian – Half step between scale degrees 2-3 and 6-7, as in white keys
from D to D.
Phrygian – Half step between scale degrees 1-2 and 5-6, as in white keys
from E to E.
Lydian – Half step between scale degrees 4-5 and 7-8, as in white keys
from F to F.
Mixolydian – Half step between scale degrees 3-4 and 6-7, as in white
keys from G to G.
Aeolian – Half step between scale degrees 2-3 and 5-6, as in white
keys from A to A (natural minor scale).
Locrian – Half step between scale degrees 1-2 and 4-5, as in white keys
from B to B.
Parallel Motion Parts moving in the same direction with the interval between the parts
remaining constant.
Scales A succession of eight notes in ascending or descending order, using a
pattern of whole and half steps.
Major - An 8-note pattern using the following order of whole and half
steps: whole - whole - half - whole - whole - whole - half.
Natural (pure) minor - An 8-note pattern using the following order of
whole and half steps: whole - half - whole - whole - half - whole - whole.
Harmonic minor - An 8-note pattern based on the natural minor scale,
but raising the 7
th
scale degree one half step, both ascending and
descending.
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GLOSSARY OF TERMS
Melodic minor - An 8-note pattern based on the natural minor scale, but
raising both the 6
th
and the 7
th
scale degrees one half step, ascending only.
The descending scale uses the natural form.
Chromatic - A scale consisting of 12 successive half steps.
Whole Tone - A scale consisting of 6 successive whole steps.
Scale Degrees Tonic (I) Dominant (V)
Supertonic (II) Submediant (VI)
Mediant (III) Leading Tone (VII)
Subdominant (IV)
Secondary
Dominant
The dominant of a diatonic triad other than the tonic. Example: in the
key of C Major, V of ii or Vii would e an A Major chord the dominant of
d minor, the ii cord.
Triads/Chords A triad is a 3-note chord built in thirds, having a root, third and fifth. The
note upon which it is built names the triad. A triad with the root as the
lowest note is in root position. It may be played broken or blocked.
Major (M) - a triad using the first, third, and fifth notes of any Major five-
finger pattern: 1-3 is a Major 3
rd
, 3-5 is a minor 3
rd
, 1-5 is a Perfect 5
th
.
minor (m) - a triad using the first, third, and fifth notes of any minor five-
finger pattern: 1-3 is a minor 3
rd
, 3-5 is a Major 3
rd
, 1-5 is a Perfect 5
th
.
Augmented (+) - a Major triad with the 5
th
raised a half step. 1-3 is a
Major 3
rd
, 3-5 is a Major 3
rd
, 1-5 is an Augmented 5
th
.
diminished (o) - a minor triad with the 5
th
lowered a half step. 1-3 is a
minor 3
rd
, 3-5 is a minor 3
rd
, 1-5 is a diminished 5
th
.
Diatonic Triads - triads built on each scale degree, using only the
accidentals found in that scale.
Dominant 7
th
Chord - a 4-note chord with the dominant note of the scale
as the root, and a Major 3
th
, Perfect 5
th
, and a minor 7
th
above it.
diminished 7
th
Chord - a 4-note chord consisting of a diminished triad
with a diminished 7
th
added above the root.
Major 7
th
Chord - a 4-note chord consisting of a Major triad with a
Major 7
th
added above the root.
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GLOSSARY OF TERMS
minor 7
th
Chord - a 4-note chord consisting of a minor triad with a
minor 7
th
added above the root.
Chords in Open
& Close Position
In open position the distance between the soprano and tenor is an octave
or more; in close position, the distance between the soprano and tenor is
less than an octave.
Open position tends to give a full but clear and well-balanced sound.
Both open and close position can be used within a single phrase.
Changing from close to open position it is often necessary for good voice
leading.
Whole Step An interval consisting of 2 half steps. The whole step is represented on
the piano keyboard by the distance between any two keys with one key in
between, whether white or black.
ABBREVIATIONS
Aug
Augmented (+)
LH
Left hand
BR
Broken
M
Major
BL
Blocked
m
minor
dim
Diminished (º)
P
Perfect
HS
Hands separately
RH
Right hand
HT
Hands together
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CIRCLE OF FIFTHS
Student Achievement Testing - Piano Handbook Appendix Circle of Fifths
302
MUSIC HISTORY STUDY GUIDE
LEVEL CONTENTS
1A
A person who writes music is called a composer.
1B
Solo: A piece played by one person Duet: A piece played by two people
2
Given a list of instruments, select any of these instruments identified as keyboard
Instruments:
Piano, Digital Piano, Harpsichord, Organ
3
Johann Sebastian Bach:
1) Had 20 children
2) Worked mostly as a church musician.
Ludwig van Beethoven:
1) Wrote Für Elise & Ode to Joy
2) Was deaf for many years
4
Robert Schumann:
1) German composer
2) Lived in the 1800s
Dmitri Kabalevsky:
1) Russian composer
2) Lived in the 1900s
5
Approximate dates of Musical Periods:
Baroque (1600-1750): Johann Sebastian Bach
Classical (1750-1825 ): Ludwig van Beethoven
Romantic (1825-1900 ): Robert Schumann
20
th
-21
st
Century (1900 - Present): Dmitri Kabalevsky
6
Baroque: Johann Sebastian Bach, George Friedrich Handel, Domenico Scarlatti
Classical: Wolfgang Amadeus Mozart, Franz Joseph Haydn, Ludwig van Beethoven
7
Romantic: Frédéric Chopin (Poland), Robert Schumann (Germany), Peter Ilyich
Tchaikovsky (Russia).
20
th
Century: Béla Bartók (Hungary), Scott Joplin (USA), Dmitri Kabalevsky
(Russia).
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LEVEL CONTENTS
8
Classical: Muzio Clementi (Italy), Friedrich Kuhlau (Germany).
Romantic: Stephen Heller (Hungary), Johann Friedrich Burgmüller (Germany).
20
th
Century: Sergei Prokofiev (Russia), Dmitri Shostakovich (Russia).
9
Renaissance Period (c. 1400-1600)
Baroque Period (c. 1600-1750)
The Baroque Dance Suite
Four Standard Dances:
Allemande (French):
Moderate $4 time with a short upbeat, usually a s
Courante (French)
or Corrente (Italian):
Light texture with rapid figures in triple time.
Sarabande (Spanish): Dance in slow triple meter and dignified style.
Gigue (French)
or Giga (Italian):
Quick compound time. Usually the final movement of
a suite.
Optional Dances: Bourrée, Gavotte, Minuet, and Polonaise. There are
also less common optional dances.
10
Classical Period (c.1750-1825).
Classical Period Composers: Franz Joseph Haydn, Wolfgang Amadeus Mozart,
Ludwig van Beethoven, Muzio Clementi, Friedrich Kuhlau, Franz Schubert.
Classical Forms: Sonata, Rondo, Theme & Variations, Concerto.
11
Romantic Period (c.1825-1900)
Romantic Composers: Johannes Brahms, Frédéric Chopin, Franz Liszt, Franz
Schubert, Franz Schubert, Robert Schumann, Peter Ilyich Tchaikovsky.
Music Characteristics of the Romantic Period
Expressiveness Use of a wide range of dynamics, tempi, and
descriptive terms for expressive purposes.
Descriptive Titles Titles suggesting a story, scene or mood of the music.
Program Music Music influenced by a non-musical idea such as nature,
poem, literature or art.
Nationalism Use of folk styles or folk tunes of a specific country or
region.
Virtuosic Concert Music Music requiring advanced technical skills of
performance.
Character Pieces Short pieces designed to express a specific mood or
character.
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LEVEL CONTENTS
12
20
th
Century Music (1900-2000)
20
th
Century Composers: Béla Bartók (Hungary), Aaron Copland (USA), Claude
Debussy (France), George Gershwin (USA), Scott Joplin (USA), Dmitri Kabalevsky
(Russia), Maurice Ravel (France), Dmitri Shostakovich (Russia), Igor Stravinsky
(Russia).
Musical Characteristic of 20
th
Century Music
Bitonality Simultaneous use of two different tonalities or key
signatures.
Tone Clusters Dissonant group of notes lying close together.
Mixed Meter Changing time signatures within a composition.
Scales other than Major and Minor:
Pentatonic Scale A 5-note scale, most commonly used with the intervals
of C-D-E-G-A or the five black keys of the piano.
Whole-Tone Scale A 7-note scale consisting of whole steps.
Modal Scales Scales based on Medieval church modes: Ionian,
Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and
Locrian.
Music without Tonal Center:
Atonal Music which does not have an established key center.
Twelve-Tone Row An arrangement of the 12 tones within an octave in a
succession chosen by the composer. These tones are
used in this order, either melodically or harmonically
throughout the composition.
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PIANO REPERTOIRE
The following repertoire list serves as a guide to illustrate the approximate difficulty of the music
a student will play at the various levels. This list is not intended to be exhaustive and the teacher
should not feel compelled to choose music only from the list. Many collections include music of
several levels. Teachers should choose selections in varied styles and historical periods that are
best-suited to each student. Teachers are encouraged to consult various repertoire reference
guides in books and online to help in selecting editions and publishers.
Key to Publishers:
ABRSM Associated Board of the Royal Schools of Music, c/o C.F. Peters
ALF Alfred Publishing Company
AMP Associated Music Publishers, c/o Hal Leonard Corporation
BAY Mel Bay Publications
BEL Belwin-Mills, c/o Alfred Publishing Company
BH Boosey & Hawkes
CF Carl Fischer
CFP C. F. Peters Corporation
DUR Durand S.A., c/o Hal Leonard Corporation
FH Frederick Harris Music Company
FJH FJH Music Company
GSH G. Schirmer, Inc.
HENLE G. Henle
HER Heritage Music Company, c/o The Lorenz Corporation
HL Hal Leonard Corporation
KAL Kalmus, c/o Alfred Publishing Company
KJOS Neil A. Kjos Music Company
MAN Manduca Music Publishers
MAST Masters Music Publishers
MCA MCA Music, c/o Hal Leonard Corporation
MYK Myklas Music Press, c/o Alfred Publishing Company
PEER Peer International Corporation, c/o Hal Leonard Corporation
RIC Ricordi
STIPES Stipes Publishing L.L.C.
SUM Summy Birchard, c/o Alfred Publishing Company
WB Warner Brothers, c/o Alfred Publishing Company
WMC Willis Music Company
VAR These selections are available from various publishers
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PIANO REPERTOIRE
LEVELS 1A-1B
SERIES
Alfred Premiere Piano Course, Levels 1A & 1B ALF
Alfred Basic Piano Course, Levels 1A & 1B ALF
Bastien New Traditions, Primer & Level 1 KJOS
Bastien Piano Basics, Primer & Level 1 KJOS
Celebrate Piano, Books 1B & 2A FH
Faber Piano Adventures, Primer & Level 1 HL
Glover Method for Piano, Level 1 ALF
Hal Leonard Piano Lessons, Books 1 & 2 HL
John Thompson – Teaching Little Fingers to Play WMC
Music for Piano, Book 1 (Robert Pace) HL
Music Pathways, Books A & B (Olson) CF
Music Tree, Levels 1 & 2A (Clark) ALF
Piano Discoveries, Books 1A & 1B (Vogt & Bates) HER
Piano Town, Primer & Book 1 (Snell) KJOS
Russian School of Piano Playing, Book 1, Part A BH
Succeeding at the Piano, Preparatory & Grade 1 (Marlais) FJH
Suzuki Piano School, Vol. 1 ALF
COLLECTIONS
Agay, Denis, ed. The Joy of First Year Piano HL
Alexander, Dennis Animal Magic ALF
Bartók, Béla Mikrokosmos, Vol. 1 BH
The First Term at the Piano BH
Bober, Melody Grand Solos for Piano, Book 1 ALF
A Perfect 10, Book 1 ALF
Melody's Choice, Book 1 ALF
Boyd, Bill Jazz Starters, Book 1 ALF
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307
PIANO REPERTOIRE LEVELS 1A-1B
Chatman, Stephen Amusements, Book 1 FH
Evans, Lee Razzle Dazzle HL
George, Jon Kaleidoscope Solos, Book 1 ALF
Musical Moments, Book 1 ALF
Festival of Favorites ALF
Gillock, William Accent on Solos 1 WMC
Big Note Solos WMC
Goldston, Christopher Fantastic Fingers, Book 1 FJH
Hartsell, Randall Something Special, Book 1 ALF
Lancaster & Kowalchyk Favorite Solos, Book 1 ALF
Lancaster & Renfrow First Favorite Classics, Solo Bk. 1 ALF
Leaf, Mary A Leaf Collection, Book 1 FJH
Going Buggy FJH
Marlais, Helen, Ed. In Recital – Jazz, Rag & Blues, Bk. 1 FJH
In Recital – All Time Favorites, Bk. 1 FJH
Mier, Martha Just Imagine, Book 1 ALF
The Best of Martha Mier, Book 1 ALF
Olson, Lynn F., Ed. Rowlf’s Very Own First Piano Book ALF
Olson, Kevin & Julia Simply Silly FJH
Rollin, Catherine The Bean Bag Zoo, Books A & 1 ALF
Favorite Solos, Book 1 ALF
Roubos, Valerie Roth Four Miniature Suites FJH
Stories in Sound, Book 1 FJH
Snell, Keith, Ed. Piano Repertoire, Preparatory KJOS
Various Composers Piano Recital Showcase, Book 1 HL
Piano Recital, Summer Fun HL
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PIANO REPERTOIRE
LEVELS 2-3
SERIES
Alfred Premiere Piano Course, Levels 2 & 3 ALF
Alfred Basic Piano Course, Levels 2 & 3 ALF
Bastien New Traditions, Levels 2 & 3 KJOS
Bastien Piano Basics, Levels 2 & 3 KJOS
Celebrate Piano, Books
2B & 3 STIPES
Faber Piano Adventures, Levels 2 & 3 HL
Glover Method for Piano, Level 2 ALF
Hal Leonard Piano Lessons, Books 2 & 3 HL
John Thompson, Books 1 & 2 WMC
Piano Discoveries, Books
2A & 2B (Vogt & Bates) HER
Piano Town, Books 2 & 3 (Snell) KJOS
Music for Piano, Books 2 & 3 (Robert Pace) HL
Music Pathways, Books C & D (Olson) CF
The Music Tree, Levels 2B & 3 (Clark) ALF
Russian School of Piano Playing, Book 1, Part A & B BH
Succeeding at the Piano, Grades 2 & 3 (Marlais) FJH
Suzuki Piano School, Vol. 1 & 2 ALF
COLLECTIONS
Agay, Denes, Ed. The Joy of First Year Piano HL
Alexander, Dennis Just for You, Books 1 & 2 ALF
Favorite Solos, Books 1 & 2 ALF
The Magic of Music, Books 1 & 2 ALF
Bartók, Béla Mikrokosmos, Vol. 1 & 2 BH
Bigler & Watts, Ed. Everybody’s Perfect Masterpieces, Vol. 1 ALF
Bober, Melody Grand Solos for Piano, Book 2 ALF
Melody's Choice, Book 2 ALF
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309
PIANO REPERTOIRE LEVELS 2-3
Chatman, Stephen Preludes for Piano, Book 1 FH
Clark, Frances, Ed. Minor Masters, Books 1 & 2 ALF
Piano Literature, Vol. 1 ALF
Contemporary Piano Literature, Vol. 1 & 2 ALF
Faber & Faber. Ed. Piano Literature, Vol. 1 HL
Fernandez, Oscar Suite on Five Notes PEER
Garcia, W.T. Skye A Pirate’s Life ALF
George, Jon A Day in the Jungle ALF
Musical Moments, Book 2 ALF
Festival of Favorites, Book 2 ALF
Gillock, William Accent on Analytical Sonatinas WMC
Accent on Rhythm & Style WMC
Accent on Solos, Books 2 & 3 WMC
Goldston, Christopher Fantastic Fingers, Books 2 & 3 ALF
Halford, Marjorie, Ed. Sonatinas: A First Book for Pianists ALF
Hartsell, Randall Something Special, Books 1 & 2 ALF
Kabalevsky, Dmitri 24 Little Pieces, Op. 39 VAR
Lancaster & Kowalchyk Favorite Solos, Book 2 ALF
Marlais, Helen, Ed. Festival Collection, Book 1 FJH
In Recital Series, Book 2 FJH
Mier, Martha The Best of Martha Mier, Book 2 ALF
Just Imagine, Books 1 & 2 ALF
Jazz, Rags & Blues, Book 1 ALF
Noona, Walter Clavier Repertoire, Book 1 HER
Olson, Kevin Showcase Solos, Book 1 FJH
The Best of Olson, Books 1 & 2 FJH
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PIANO REPERTOIRE LEVELS 2-3
Olson, Lynn Freeman Beginning Sonatinas ALF
Palmer, Willard, Ed. The First Sonatina Book ALF
Rollin, Catherine Favorite Solos, Book 1 ALF
Bean Bag Zoo, Book 2
Roubos, Valerie Roth Travel Tunes FJH
Stories in Sound, Book 2
Snell, Keith, Ed. Piano Repertoire: KJOS
Baroque & Classic, Prep & Level 1
Romantic & 20th Century, Prep & Level 1
Essential Piano Literature, Prep & Book 1 KJOS
Streabbog, Louis 12 Melodious Pieces, Book 1, Op. 63 VAR
Strickland, Judith Animal Suite FJH
Tansman, Alexander Happy Time, Book 1 DUR
Vandall, Robert Celebrated Solos, Books 1 & 2 ALF
Yeager, Jeanne Fresh Impressions, Books 1 & 2 KJOS
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PIANO REPERTOIRE
LEVELS 4-5
COLLECTIONS
Agay, Denes, Ed. Easy Classic to Moderns, Vol. 17 HL
Bachus , Nancy. Ed. Exploring Piano Classics, Book 2 ALF
Bastien, James, Ed. Piano Literature, Vol. 1 & 2 KJOS
Bigler & Watts Everybody's Perfect Masterpieces, Vol. 3 ALF
Clark, Frances, Ed. Contemporary Piano Literature, Book 2 ALF
Piano Literature, Book 2 ALF
Faber & Faber, Ed. Piano Literature, Vol. 2 & 3 HL
Lancaster & Renfrow, Ed. First Favorite Classics, Book 2 ALF
Marlais, Helen, Ed. Festival Collection, Books 2 & 3 FJH
Magrath, Jane, Ed. Masterwork Classics, Levels 2 & 3 ALF
Olson, L.F., Ed. Music Pathways Repertoire, 3A & 3B FH
Olson, L.F., Ed. Essential Keyboard Repertoire, Vol. 1 ALF
RCM, Ed. Celebration Series, Books 2 & 3 FH
Snell, Keith, Ed. Piano Repertoire: KJOS
Baroque & Classic, Levels 2 & 3
Romantic & 20th Century, Levels 2 & 3
Essential Piano Literature, Levels 2 & 3 KJOS
Smith, Gail, Ed. Great Literature for Piano, Book 1 BAY
Suzuki, Shinichi, Ed. Suzuki Piano School, Vol. 2 & 3 ALF
COMPOSERS
Alexander, Dennis Just for You, Books 2 & 3 ALF
Especially in the Jazzy Style, Book 1 ALF
Bartók, Béla For Children, Vol. 1 & 2 BH
Mikrokosmos, Vol. 2 & 3 BH
Bach, J. S. Anna Magdalena Notebook VAR
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PIANO REPERTOIRE LEVELS 4-5
Bober, Melody Grand Solos for Piano, Book 3 ALF
Melody's Choice, Book 3 ALF
Beethoven, L. van Sonatina in G VAR
Dances of Beethoven ALF
Clementi, Muzio Sonatinas, Op. 36, Nos. 1 & 2 VAR
Dello Joio, Norman Suite for the Young HL
Fernandez, Oscar Dolls PEER
Gillock, William Accent on Analytical Sonatinas WMC
Accent on Rhythm & Style WMC
Accent on Solos, Books 2 & 3 WMC
Gretchaninov, Alexander Children's Album, Op. 98 ABRSM
Glass Beads, Op. 123 ALF
Gurlitt, Cornelius Album Leaves for the Young, Op. 101 GSH
Little Flowers, Op. 205 ABRSM
Halford, Marjorie, Ed. Sonatinas: A First Book for Pianists ALF
Handel, George F. Anson Introduces Handel WMC
Hartsell, Randall Something Special, Books 2 & 3 ALF
Kabalevsky, Dmitri 24 Little Pieces, Op. 39 VAR
Variations on a Russian Folk Song, Op 51, No. 2 VAR
Lynes, Frank Four Sonatinas, Op. 39 VAR
Marlais, Helen, Ed. In Recital Series, Book 2 FJH
Mier, Martha The Best of Martha Mier, Books
2 & 3 ALF
Jazz, Rags & Blues, Books 1 & 2 ALF
Miller, Carolyn Student Favorites, Books 1 & 2 FJH
Mozart, Wolfgang Piano Music from His Early Years, Ed. Hinson ALF
Olson, Lynn Freeman Audience Pleasers, Book 2 ALF
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PIANO REPERTOIRE LEVELS 4-5
Palmer, Willard, Ed. The First Sonatina Book ALF
Rollin, Catherine Favorite Solos, Book 2 ALF
Roubos, Valerie Roth Picture This Books 2 & 3 FJH
Streabbog, Louis 12 Melodious Pieces, Book 1, Op. 63 VAR
Tansman, Alexander Happy Time, Book 2 DUR
Tchaikovsky, Peter Album for the Young, Op. 39 VAR
(easier selections)
Vandall, Robert Celebrated Solos, Books 2 & 3 ALF
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PIANO REPERTOIRE
LEVELS 6-7
COLLECTIONS
Olson, Hinson, Palmer, Ed. Essential Keyboard Repertoire, Various volumes ALF
Bachus, Nancy, Ed. The Baroque Spirit, Book 1 ALF
The Classical Series, Book 1 ALF
The Romantic Spirit, Book 1 ALF
Beyond the Romantic Spirit, Book 1 ALF
Bastien, James, Ed. Piano Literature, Vol. 3 KJOS
Clark, Frances, Ed. Contemporary Piano Literature, Books 3 & 4 ALF
Piano Literature, Books 3 & 4 ALF
Faber & Faber, Ed. Piano Literature, Vol. 4 HL
Marlais, Helen, Ed. Festival Collection Books, Books 4 & 5 FJH
Magrath, Jane, Ed. Encore, Book 1 ALF
Masterpieces with Flair, Books 1 & 2 ALF
Olson, L.F, Ed. Music Pathways Repertoire, Books 4A & 4B FH
Bigler & Watts Everybody's Perfect Masterpieces, Vol. 4 ALF
Olson, L.F., Ed. Applause, Book 1 ALF
RCM, Ed. Celebration Series, Vol. 4 & 5 FH
Snell, Keith, Ed. Piano Repertoire:
Baroque & Classic, Levels 4 & 5 KJOS
Romantic & 20th Century, Levels 4 & 5 KJOS
Essential Piano Literature, Levels 4 & 5 KJOS
Suzuki, Shinichi, Ed. Suzuki Piano School, Vol. 3 & 4 ALF
COMPOSERS
Alexander, Dennis Especially in Jazzy Style, Book 2 ALF
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PIANO REPERTOIRE LEVELS 6-7
Bartók, Béla Ten Easy Pieces, Sz. 39 BH
For Children, Books 1 & 2 BH
Mikrokosmos, Books 3 & 4 BH
Bach, J. S. W. F. Bach Notebook VAR
Little Preludes VAR
Dances of Bach, Ed. Hinson ALF
Beethoven, L. van Sonatina in F, Anh 5, #2 VAR
Dances of Beethoven, Ed. Hinson ALF
Dances for Piano (easier selections) HEN
Bernstein, Seymour Birds, Book 1 MAN
Beach, Amy Children's Album, Op. 36 ALF
Children's Carnival, Op. 25 ALF
Burgmüller, J. F. 25 Progressive Pieces, Op. 100 VAR
Chaminade, Cécile Children's Album, Op. 123 MAST
Clementi, Muzio Sonatinas, Op. 36, Nos. 3, 4 & 5 VAR
Dello Joio, Norman Lyric Pieces for the Young HL
Diabelli, Anton Sonatinas, Op. 151 & Op. 168 VAR
Gillock, William Lyric Pieces in Romantic Style ALF
Goldston, Christopher Fantastic Fingers, Book 3 ALF
Grieg, Edvard First Book for Pianists, Ed. Halford ALF
Handel , G. F. Anson Introduces Handel WMC
Handel, An Introduction ALF
Kabalevsky, Dmitri 24 Pieces for Children, Op. 27 VAR
Kuhlau, Friedrich Sonatinas, Op. 20 & Op. 55 VAR
Mozart , W. A. Mozart, An Introduction, Ed. Palmer ALF
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PIANO REPERTOIRE LEVELS 6-7
Muczynski, Robert Fables, Op. 21 GSH
Rejino, Mona Portraits in Style HL
Rollin, Catherine Preludes, Books 1 & 2 ALF
Schumann, Robert Album for the Young, Op. 68 VAR
(more difficult selections)
Starer, Robert Sketches in Color, Set 1 MCA
Tansman, Alexander Pour les Enfants, Sets 1 & 2 DUR
Tchaikovsky, Peter Album for the Young, Op. 39 VAR
Vandall, Robert Celebrated Solos, Books 4 & 5 ALF
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PIANO REPERTOIRE
LEVELS 8-9
COLLECTIONS
Agay, Denes, Ed. Music for Millions, Vol. 37 YORK
Bachus , Nancy, Ed. The Baroque Spirit, Book 2 ALF
The Classical Spirit, Book 2 ALF
The Romantic Spirit, Book 2 ALF
Beyond the Romantic Spirit, Book 2 ALF
Bastien, James & Jane, Ed. Piano Literature, Vol. 4 KJOS
Clark, Frances, Ed. Contemporary Piano Literature, Books 5 & 6 ALF
Piano Literature, Books 5 & 6 ALF
Hinson, Maurice, Ed. Sonata Album, Vol. 1 & 2. (Sonatas by ALF
Haydn, Mozart and Beethoven)
Marlais, Helen, Ed. Festival Collection, Book 6 FJH
Olson, Hinson, Palmer Essential Keyboard Repertoire, Various Volumes ALF
Olson, L.F. Applause, Books 1 & 2 ALF
RCM Celebration Series, Vol. 6 & 7 FH
Snell, Keith Piano Repertoire, Books 6 & 7 KJOS
Essential Piano Literature, Book 6 & 7 KJOS
Suzuki, Shinichi, Ed. Suzuki Piano School, Vol. 5 ALF
COMPOSERS
Bartók, Béla Sonatina VAR
Mikrokosmos, Books 4 & 5 VAR
Bach, J.S. Dances of Bach, ed. Hinson ALF
Little Preludes VAR
Little Preludes and Fugues VAR
Two-Part Inventions VAR
Beethoven, L. van Bagatelles, Op. 119 VAR
Paisello Variations, WoO 70 VAR
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PIANO REPERTOIRE LEVELS 8-9
Beethoven, L. van Sonatinas, WoO 47, Nos. 1, 2 & 3 VAR
Sonatas, Op. 49, Nos. 1 & 2 VAR
Bloch, Ernest Enfantines CF
Brahms, Johannes Waltzes, Op 39 VAR
Bridge, Frank Miniature Pastorales, Set 1 MAST
Casella, Alfredo 11 Children's Pieces, Op. 35 MAST
Chopin , Frédéric Selected Works for Piano, Snell, Ed. KJOS
Préludes in A, E, B Major, C minor VAR
Waltz in A minor, Op. post. VAR
Mazurka in F Major, Op. 68, No. 3 VAR
Chaminade, Cécile Children's Album, Op. 126 MAST
Clementi, Muzio Sonatinas, Op. 36, No. 6 VAR
Sonatinas, Op. 37 & 38 (also published as Op. 4) VAR
Creston, Paul Five Little Dances, Op. 24 HL
Debussy, Claude Children's Corner VAR
Le Petit Nègre VAR
Rêverie VAR
Dello Joio, Norman Lyric Pieces for the Young HL
Diversions HL
Fiocco, J. H. Eight Keyboard Pieces ABRSM
Gade, Niels Aquarellen, Op. 19 VAR
The Children's Christmas Eve, Op. 36 VAR
Ginastera, Alberto Rondo on Argentine Children's Folk Tunes, Op. 19 HL
Glière, Reinhold 8 Easy Pieces, Op. 43 ABRSM
12 Student Pieces, Op. 31 MAST
Granados, Enrique Bocetos: Colleción de Obras Fáciles MAST
Grieg, Edvard Lyric Pieces VAR
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PIANO REPERTOIRE LEVELS 8-9
Gurlitt, Cornelius Buds and Blossoms, Op. 107 VAR
Haydn, Franz J. Sonatinas and Sonatas VAR
Howells, Herbert County Pageant ABRSM
A Little Book of Dances ABRSM
Kabalevsky, Dmitri Five Easy Sets of Variations, Op. 51 VAR
Variations on a French Folk Theme VAR
Sonatina, Op. 13, No. 1 VAR
Four Rondos, Op. 60 VAR
Variations, Op. 40, Nos. 1 & 2 VAR
Khatchaturian, Aram Adventures of Ivan VAR
Sonatina VAR
Kuhlau , Friedrich Sonatinas, Op. 20 & Op. 88 VAR
Liszt, Franz, Ed. Hinson Selected Intermediate to Early Advanced Piano Solos ALF
MacDowell, Edward Woodland Sketches, Op. 51 VAR
Mendelssohn, Felix Scherzo in E minor, Op. 16, No. 2 VAR
Six Pieces for Children, Op. 72 VAR
Songs Without Words (easier selections) VAR
Milhaud, Darius The Household Muse TP
Mompou, Federico Impresiones Íntimas HL
Moszkowski, Moritz Thirteen Romantic Pieces ABRSM
Mozart , Wolfgang The London Notebook, K. 15 VAR
Muczynski, Robert Diversions, Op. 23 HL
Pinto, Octavio Scenas Infantis HL
Poulenc, Francis Villageoises HL
Prokofiev, Sergei Music for Children HL
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PIANO REPERTOIRE LEVELS 8-9
Purcell , Henry Keyboard Works DOV
8 Keyboard Suites HL
Ravel, Maurice Prélude (1913) ALF
Menuet sur le nom d'Haydn (1909)
Scarlatti, Domenico Sonatas VAR
Schubert, Franz Moments Musicaux, Op. 94 (D. 780) VAR
Waltzes VAR
Schumann, Robert Album for the Young, Op. 68 VAR
Kinderscenen, Op. 15, Nos. 1, 2 & 6 VAR
Shostakovich, Dmitri Three Fantastic Dances, Op. 5 BH
(originally published as Op. 1)
Starer, Robert Sketches in Color, Set 2 HL
Tansman, Alexander Pour les Enfants, Set 4 HL
Happy Time, Book 3 HL
Tchaikovsky, Peter I. Album for the Young, Op. 39 VAR
Chanson Triste, Op. 40, No. 2 VAR
Tcherepnin, Alexander Bagatelles, Op. 5 VAR
Telemann, G. P. Fantasias DOV
Turina, Joaquin Miniatures, Op. 52 HL
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PIANO REPERTOIRE
LEVELS 10-12
COLLECTIONS
Agay, Denes, Ed. Anthology of Piano Music, Vol. 1 (Baroque) YORK
Anthology of Piano Music, Vol. 2 (Classical) YORK
Anthology of Piano Music, Vol. 3 (Romantic) YORK
Anthology of Piano Music, Vol. 4 (20
th
Century) YORK
Ferguson, Howard, Ed. Style and Interpretation, An Anthology of Keyboard Music, OX
Volume I- Early Keyboard Music, England and France
Volume II- Germany and Italy
Early Italian Keyboard Music, An Anthology, Vol. 1 & 2 OX
Early German Keyboard Music, An Anthology, Vol. 1 & 2 OX
Early English Keyboard Music, An Anthology, Vol. 1 & 2 OX
Early French Keyboard Music, An Anthology, Vol. 1 & 2 OX
Hinson, Maurice, Ed. Sonata Album, Vol. 1 & 2 ALF
(Sonatas by Haydn, Mozart, and Beethoven)
Marlais, Helen, Ed. Festival Collection, Books 7 & 8 FJH
Olson, L.F., Ed. Applause, Book 2 ALF
RCM, Ed. Celebration Series, Vol. 8, 9 & 10 FH
Snell, Keith, Ed. Piano Repertoire, Levels 8, 9 & 10 KJOS
Essential Piano Literature, Levels 8, 9 & 10 KJOS
Suzuki , Shinichi, Ed. Suzuki Piano School, Vol. 6 & 7 ALF
COMPOSERS
Albéniz, Isaac Album of Eight Pieces BMC
Bach, J. S. French Suites VAR
English Suites VAR
Fantasia in C minor, BWV 906 VAR
Italian Concerto VAR
Partitas VAR
Sinfonias VAR
The Well-Tempered Clavier, Vol. 1 & 2 VAR
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PIANO REPERTOIRE LEVELS 10-12
Barber, Samuel Excursions HL
Bartók, Béla Allegro Barbaro BH
Bagatelles Op. 6 BH
15 Hungarian Peasant Songs and Dances BH
Mikrokosmos, Books 5 & 6 BH
Roumanian Folk Dances BH
Suite, Op. 14 BH
Three Rondos on Folk Tunes BH
Beethoven, L. van Bagatelles, Op. 33 & Op. 126 VAR
32 Sonatas VAR
Rondo in C Major, Op. 51, No. 2 VAR
Brahms, Johannes Ballades VAR
Capriccios VAR
Intermezzi VAR
Hungarian Dances VAR
Rhapsodies VAR
Burgmüller, Johann F. 12 Brilliant and Melodious Studies, Op. 105 VAR
Chopin, Frédéric Ballades VAR
Études VAR
Mazurkas VAR
Nocturnes VAR
Polonaises VAR
Préludes, Op. 28, except A, E, & B Major, C minor VAR
Waltzes VAR
Couperin, François Pièces de Clavecin DOV
Copland, Aaron Four Piano Blues BH
Passacaglia BH
The Cat and the Mouse BH
Debussy, Claude Children's Corner VAR
Préludes, Books 1 & 2 VAR
Pour Le Piano VAR
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PIANO REPERTOIRE LEVELS 10-12
Debussy, Claude Images VAR
Estampes, L. 100 VAR
Debussy, Claude Études VAR
Suite Bergamasque VAR
Two Arabesques VAR
Dello Joio, Norman Sonata No. 3 HL
Suite for Piano CF
Fauré, Gabriel Selected Piano Works ALF
Nocturnes VAR
Barcarolles VAR
Valses-Caprices VAR
Romances sans paroles, Op. 17 VAR
Field, John Nocturnes VAR
Gershwin, George Preludes VAR
Rialto Ripples VAR
Ginastera, Alberto Three Argentinian Dances DUR
Sonata BH
12 American Preludes CF
Rondo on Argentine Children's Folk-Tunes BH
Tres Piezas RIC
Suite de Danzas Criollas BH
Milonga RIC
Gottschalk, Louis The Banjo VAR
Ojos Criollos, Op. 37 VAR
Scherzo Romantique VAR
Granados, Enrique Spanish Dances, Op. 5 VAR
Goyescas VAR
Romantic Scenes (Escenas Romanticas) VAR
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PIANO REPERTOIRE LEVELS 10-12
Grieg, Edvard Sonata in E minor, Op. 7 VAR
Lyric Pieces VAR
Holberg Suite, Op. 40 PET
Poetic Tone Pictures, Op. 3 VAR
Norwegian Dances VAR
Griffes, Charles Roman Sketches HL
Handel, G. F. Piano Suites (London 1720) HENLE
Air and Variations, Suite 5 VAR
Haydn, F. J. Sonatas VAR
Joplin, Scott Piano Rags VAR
Kabalevsky, Dmitri Preludes, Op. 38 VAR
Sonatina in G minor, Op. 13, No. 2 VAR
Khachaturian, Aram Toccata VAR
Lecuona, Ernesto Malagueña HL
Andalucía HL
Liszt, Franz Consolations, S. 172 VAR
Years of Pilgrimage VAR
Valse Oubliée No. 1 VAR
MacDowell, Edward Etudes, Op. 39 VAR
Four Little Poems, Op. 32 VAR
Sea Pieces, Op 55 VAR
Martines, Marianna 3 Sonatas FV
Mendelssohn, Fanny Songs without Words VAR
Mendelssohn, Felix Songs without Words VAR
Rondo Capriccioso, Op. 14 VAR
Moszkowski, Moritz Spanish Dances, Op. 12 VAR
Études, Op. 72 & Op. 91 VAR
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PIANO REPERTOIRE LEVELS 10-12
Mozart, Wolfgang Sonatas VAR
Fantasies VAR
Rondo in D Major, K. 485 VAR
Variations VAR
Muczynski, Robert Preludes, Op. 6 HL
Nazareth, Ernesto Brazilian Tangos and Dances ALF
Prokofiev, Sergei Visions Fugitives, Op. 22 VAR
Tales of the Old Grandmother, Op. 31 VAR
Rachmaninoff, Sergei Preludes, Op 23 & Op. 32 VAR
Fantasy Pieces, Op. 3 VAR
Three Nocturnes VAR
Moments Musicaux, Op 16 VAR
Ravel, Maurice Pavane pour une infante défunte VAR
Sonatine VAR
Le tombeau de Couperin VAR
At the Piano With Ravel, Ed. Hinson ALF
Saint-Saëns, Camille Album for Solo Piano, Op. 72 MAST
Scarlatti, Domenico Sonatas VAR
Schubert, Franz Impromptus, Op. 90 and Op. 142 VAR
Moments Musicaux, Op. 94 (D. 780) VAR
Sonatas HENLE
Schumann, Clara Romances, Op. 11 VAR
Three Romances, Op. 21 VAR
Schumann, Robert Fantasy Pieces, Op. 12 VAR
Kinderszenen, Op. 15 VAR
Arabesque, Op. 18 VAR
Papillons, Op. 2 VAR
Romance in F♯ Major, Op. 28, No. 2 VAR
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PIANO REPERTOIRE LEVELS 10-12
Scriabin, Alexander Preludes VAR
Selected Works for the Piano ALF
Tchaikovsky, Peter I. The Seasons, Op. 37b VAR
Toch, Ernest The Juggler, Op. 31, No. 3 HL
Turina, Joaquín The Circus, Op. 68 HL
Viaje Marítimo HL
Album de Viaje (Travel Impressions) INT
Danses Gitanes, Op. 55 & Op. 84 HL
Niñerias, Op. 21 & Op. 56 HL
Trois Danses Andalouses, Op. 8 MAST
Cuentos de España, Op. 20, Series 1 & 2 MAST
Villa-Lobos, Heitor Próle do bébé (The Baby's Family), Series I VAR
Floral Suite, Op. 97 VAR
Second Suite for Children VAR
Choros No. 5 "Alma brasileira" VAR
As Três Marias (The Three Maries) CF
Bachianas Brasileiras No. 4 VAR
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PIANO SAT COMPOSER CLASSIFICATION LIST
Page 1 of 4
This list is based on the Composer Classifications List currently on the mtna.org website
Key: B - Baroque, C - Classical, R - Romantic, I - Impressionistic, Con - Contemporary
Con Agay, Denes R/I Boulanger, Lili
R Albéniz, Isaac Con Bowles, Paul
C Albéniz, Mateo R Burgmüller, Johann Friedrich
C/R André, (Johann) Anton R Busoni, Ferrucio
R Arensky, Anton C/R Camidge, Matthew
B Arne, Thomas Con Casella, Alfredo
C Attwood, Thomas R Chabrier, Alexis Emmanuel
B/C Bach, Carl. Philipp Emmanuel R Chaminade, Cécile
C Bach, Johann Christian R Chopin, Frédéric
B Bach, Johann Sebastian C Cimarosa, Domenico
C Bach, Johann Christoph Friedrich C Clementi, Muzio
B/C Bach, Wilhelm Friedemann Con Copland, Aaron
R Bach-Busoni B Corelli, Arcangelo
R Bach-Rachmaninoff Con Corigliano, John
R Balakirev, Mily Con Coulthard, Jean
Con Barber, Samuel B Couperin, François
Con Bartók, Béla Con Covello, Stephen
R Beach, Amy Con Cowell, Henry
C Beethoven, Ludwig van Con Creston, Paul
C Benda, Georg Antonin
Con Crumb, George
Con Berg, Alban R Czerny, Carl
Con Bernstein, Leonard B Daquin, Louis-Claude
Con Bernstein, Seymour I Debussy, Claude
R Beyer, Ferdinand Con Dello Joio, Norman
R Biehl, Albert Con Dett, Nathaniel
Con Bilotti, Anton C/R Diabelli, Anton
R Bizet, Georges Con Diamond, David
I-Con Bloch, Ernest C Dittersdorf, Carl
C Boccherini, Luigi R/Con Dohnányi, Ernst
R Böhm, Carl B/C Duncombe, William
Con Bolcom, William R Durand, Marie-Auguste
R Brahms, Johannes C Dussek, Franz
Con Britten, Benjamin
C Dussek, Jan Ladislav
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328
PIANO SAT COMPOSER CLASSIFICATION LIST
Page 2 of 4
R Dvořák, Antonin R Hensel, Fanny Mendelssohn
R Elgar, Edward Con Hindemith, Paul
R Ellmenreich, Albert
Con Honegger, Arthur
R Enesco, Georges
C Hook, James
R/I Falla, Manuel de Con Hovhaness, Alan
R Fauré, Gabriel C Hummel, Johann Nepomuk
R Field, John I/Con Ibert, Jacques
Con Finney, Ross Lee R/I Ireland, John
R Franck, César Con Ives, Charles
R Gade, Niels R Janáček, Leoš
B/C Galuppi, Baldassare
Con Joplin, Scott
Con Gershwin, George Con Kabalevsky, Dmitri
Con Ginastera, Alberto Con Kennan, Kent
R Glazounov, Alexander Con Khatchaturian, Aram
R/Con Glière, Reinhold R Kirchner, Theodor
R Glinka, Mikhail B Kirnberger, Johann Philipp
C Gluck, Willibald Christoph Con Kodály, Zoltán
R Godard, Benjamin R Koellig, Carl
R/Con Goedicke, Alexandre R Köhler, Louis
R Gounod, Charles C Kramer, Franz
R Gräffe, Friedbald B Krebs, Johann Ludwig
B/C Grafe, Johann Friedrich R Kreisler, Fritz
R Granados, Enrique Con Krenek, Ernst
B Graupner, Christoph (Johann) B Krieger, Johann
R/Con Gretchaninoff, Alexander C Kuhlau, Friedrich
R Grieg, Edvard B Kuhnau, Johann
I/Con Griffes, Charles R Kullak, Theodor
R/Con Guastavino, Carlos
C/R Latour, Jean Theodore
R Guilmant, Alexandre R LeCouppey, Félix
R Gurlitt, Cornelius Con Lecouna, Ernesto
B Handel, George Frederic
Con Lees, Benjamin
Con Hanson, Howard
Con Liebermann, Lowell
C/R Haslinger, Tobias R Lichner, Heinrich
C Hassler, Johann Wilhelm
Con Ligeti, György
C Haydn, Franz Joseph R Liszt, Franz
R Heller, Stephen R Lorenz, Alfred
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PIANO SAT COMPOSER CLASSIFICATION LIST
Page 3 of 4
B Lully, Jean-Baptiste I/Con Rebikov, Vladimir
R Lynes, Franz R Reger, Max
R MacDowell, Edward
R/Con Respighi, Ottorino
Con Martin, Frank
C Reinagle, Alexander
Con Martinů, Bohuslav R Reinecke, Carl
R Massenet, Jules R Reinhold, Hugo
Con Maykapar, Samuel R Rimsky-Korsakov, Nicolai
R Mendelssohn, Félix R Rossini, Gioacchino
Con Menotti, Carlo I/Con Roussel, Albert
Con Messiaen, Olivier R Rubinstein, Anton
Con Milhaud, Darius R Saint-Saëns, Camille
Con Mompou, Federico B/C Sammartini, Giovanni
R Moszkowski, Moritz Con Satie, Erik
R Mussorgsky, Modest
B Scarlatti, Alessandro
C Mozart, Leopold B Scarlatti, Domenico
C Mozart, Wolfgang Amadeus
I/Con Schmitt, Florent
Con Muczynski, Robert R Schmitt, Jacob
R/Con Nielsen, Carl C/R Schubert, Franz
B Pachelbel, Johann Con Schuman, William
R Paderewski, Ignace R Schumann, Clara
I/Con Palmgren, Selim R Schumann, Robert
B Pergolesi, Giovanni R Schytte, Ludvig
Con Persichetti, Vincent I/Con Scott, Cyril
B Pescetti, Giovanni R/Con Scriabin, Alexander
B Pezold, Christian B Seixas, Carlos de
Con Piazzolla, Astor
Con Shostakovich, Dmitri
R Pieczonka, Albert R Sibelius, Jean
Con Pinto, Octavio Con Siegmeister, Elie
C/R Pleyel, Ignaz Joseph B Soler, Padre Antonio
I/Con Ponce, Manuel R Spindler, Fritz
Con Poulenc, Francis C Sporh, Louis
Con Prokofiev, Sergei C Stamitz, Carl
B Purcell, Henry
C Stamitz, Johann
R/Co Rachmaninoff, Sergei Con Starer, Robert
B Rameau, Jean-Philippe R Strauss, Richard
I Ravel, Maurice Con Stravinsky, Igor
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330
PIANO SAT COMPOSER CLASSIFICATION LIST
Page 4 of 4
Con Stravinsky, Soulima
C Türk, Daniel Gottlob
R Streabbog, Jean Louis
C Vanhal, (or Wanhal) Johann
I/Con Szymanowski, Karol
R/Con Vaughan Williams, Ralph
Con Tauriello, Antonio Con Villa-Lobos, Heitor
Con Tansman, Alexandre B Vivaldi, Antonio
R Tchaikovsky, Peter C/R Weber, Carl Maria von
Con Tcherepnin, Alexander Con Webern, Anton
Con Tcherepnin, Ivan
C/R Wesley, Samuel
Con Tedesco, Mario
R Zeckwar, Camille
B Telemann, Georg Philipp
B Zipoli, Domenico
Con Turina, Joaquín
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RESOURCES FOR THE PREPARATION OF MELODY PLAYBACK
For Levels 1 to 5
Ear Training for Practical Examinations: Melody Playback/Singback, Book 1.
Boris Berlin and Andrew Markow. Carl Fischer Music, 1986.
Four Star Sight Reading and Ear Tests, Levels 1 - 4.
Boris Berlin and Andrew Markow, Frederick Harris Music, 2015
Written Examples in the Piano SAT Handbook for each level.
For Levels 6 to 12
Ear Training for Practical Examinations: Melody Playback/Singback, Book 1 - 3.
Boris Berlin and Andrew Markow. Carl Fischer Music, 1986.
Four Star Sight Reading and Ear Tests, Levels 5 - 10.
Boris Berlin and Andrew Markow, Frederick Harris Music, 2015
Written Examples in the Piano SAT Handbook for each level.
INSTRUCTIONS FOR THE EXAMINER OF MELODY PLAYBACK
Test questions are taken from the examples in the Piano SAT Handbook
Ask the student to stand, so that the student's eyes are not facing the keyboard.
In Levels 1 - 5, establish the tonality by playing a five-finger pattern and the broken and
blocked tonic triad in the key of the testing example. In Levels 6 - 12, play an octave
scale and the broken and blocked tonic triad in the key of the testing example.
Tell the student the starting note, for example "I'm starting on the G above middle C."
Set the metronome to establish the tempo and turn it off.
At the established tempo, count two measures.
For example, in 4/4 time: "1-2-3-4-1-2-Ready-Listen."
Play the testing example two times at the established tempo, with a one-measure pause
between repetitions. The example may be played one more time if requested.
Student comes to the piano and will be shown the starting note.
The student will have two chances to play the melody in order to receive full credit.
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CHORD HARMONIZATION
Triads
A capital letter indicates the chord root. “G” would be a G Major triad in root position.
Major triads are indicated by a capital letter. “C” indicates a C Major triad in root position.
Minor triads are indicated by a capital letter and lower case “m”, for example Dm indicates a D
minor triad in root position.
Seventh Chords
“7” after a capital letter indicates a Dominant 7
th
chord. For example, “F7” indicates an F major
Dominant 7
th
chord in root position starting on F. Students can either play the four-note chord
“F-A-C-E♭” or omit the 5
th
and play “F-A-E♭”.
Inverted Triads and Dominant Seventh Chords
Inverted Triads
When a capital letter is followed by a slash, the capital letter indicates a Major triad, and the
letter after the slash indicates the triad’s lowest note. For example, “F/C” indicates an F Major
triad in 2nd inversion, with the C as the lowest note. “Em/G” indicates an E minor triad in 1st
inversion, with G as the lowest note.
Inverted Dominant Seventh Chords
The slash after a Dominant 7
th
chord indicates chord’s lowest note. For example, “A7/C♯”
indicates an “A7” chord in first inversion with the C# in the bass.
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333
HARMONIZING A BASS LINE
Learning to harmonize a bass line is a useful skill for several reasons. It helps students learn to
hear harmony from the bass line up, which is very useful in understanding music from the
Baroque, Classical and Romantic periods. It gives students the experience of what figured bass
playing is about while relating it to skills that students have been learning since Level 6 in all the
areas of testing, but especially in the areas of chord harmonization, chorale reading and chord
progressions. While harmonizing a bass line is not really figured bass reading, it prepares
students for it who might be interested in exploring it further.
ROOT POSITION CHORDS LEVELS 11
Example 1. Realized Bass Line:
Example 1A. Unrealized Bass Line for Practice
:
Fill in the inner two notes of the 3-voice right hand chords, keeping the common tone where
possible. Play the bass line as written. When the bass line has stepwise motion, the right hand
moves in the opposite direction to avoid parallel 4ths, 5ths, and octaves, which makes the
musical texture sound thin.
For practice, listen as you try these examples with the first right hand chord starting in different
inversions. You will notice that starting in certain inversions gives a little more interesting
soprano line.
In figured bass playing, the range of the right hand only rarely goes above the staff to stay out of
the range of the solo instruments.
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334
Example 1B.
Example 2. For Practicing in Different Keys:
Fill in the inner two notes of the 3-voice right hand chords, keeping the common tone where
possible and playing the bass line as written. When the bass line has stepwise motion, the right
hand moves in the opposite direction.
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335
Example 3. Root Position Chords with Repeated Notes in the Bass Line.
When you have a repeated note in the bass line, you have the option of:
1. Repeating the chord.
2. Playing the chord in another inversion to make the soprano part more interesting.
3. Or you can just play a single chord for the length of the two repeated bass notes.
The examples for practice show these three ideas.
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336
Example 4. More Examples with Repeated Notes in the Bass Line.
Student Achievement Testing - Piano Handbook Appendix Harmonization Tutorial
337
Level 12. Harmonizing a Bass Line Using Root Position I, ii, iii, IV, V, and vi Chords.
Example 5:
Example 5A. For Practice.
Example 5B. For Practice.
More Examples for Practicing in Different Keys.
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338
Level 12. Harmonizing a Bass Line in Minor Keys
Example 6. Harmonic Minor Keys, Using i, iv, V, and VI Chords. The sharp under the bass
note indicates that the 3
rd
of the chord is raised. In this example, the 3
rd
would be F♯
Example 6A: For Practice.
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339
Example 6B: For Practice. Sometimes not moving your hand in stepwise motion helps to create
more variety and makes a more interesting soprano line. Notice the second chord in the first
measure.
More examples for practice. Notice that in this case, the 3
rd
of the chord is raised with a natural
sign instead of a sharp.
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Student Achievement Testing - Piano Handbook Appendix Harmonization Tutorial
341
FIGURED BASS HISTORICAL PERSPECTIVE
Historical Perspective
Basso continuo, or thoroughbass, was a musical shorthand developed in the Baroque period. The
bass line continuing through a piece served as the basis on which harmonies were improvised on
a keyboard instrument such as the harpsichord or organ, or by other chord-playing instruments
such as the lute, guitar or theorbo. The bass line could also be doubled by a cello, viola da
gamba, bassoon, or other low bass instrument. Composers would use figures, which are Arabic
numbers, along with accidentals, placed above or below the bass line, to indicate the harmonies,
a practice known as figured bass. When no figure was given above a bass note, performers would
usually assume a root position chord.
Learning to play the harmony in the right hand above a given bass line is a window into
understanding music well into the Romantic period. It was a given that composers would be
performers and would also be proficient as basso continuo or figured bass players. The figured
bass part was practical in that it saved copying time and printing costs. It was creative in that it
allowed the performer to adapt the accompaniment to his instrument and his playing style,
something akin to what jazz musicians do today. Playing from a figured bass part instead of a
written-out part also allowed the player to connect with the other instrumentalists in a more
spontaneous way and to respond to circumstances of the moment, such as the sonority of the
instrument, the resonance of the hall and the ensemble balance. Its value extends to improvising
in any style, transposing, listening to and reading scores from the bass line up, and in jazz and
pop music recognizing chord symbols in order to harmonize a tune. Figured bass can also serve
as a shorthand, useful in the process of composing music and as an intermediate stage in
memorizing music.
Because of the high value that composers set on spontaneity, they trusted their performers with
figured bass and with free ornamentation. "An accompanist who can give rhythmic impetus to
his part, adapt it to the momentary requirements of balance and sonority, thicken it here and thin
it there, and keep every bar alive, can stimulate his colleagues and help to carry the entire
ensemble along. This is not merely to fill in the harmony; nor is it merely to make the harmony
into an interesting part; it is to share in the creative urgency of the actual performance. As with
free ornamentation, it hardly matters how much is actually improvised, and how much is
memorized or written out by the performer or the editor. It only matters that it should have the
fresh and flexible feeling of an improvisation." (from The Interpretation of Early Music, New
Revised Edition by Robert Donington, pages 289-290).
Figures can also be found in piano concerti, operas, and ensemble music of the classical period.
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342
Michigan Music Teachers Association
AFFILIATED WITH THE MUSIC TEACHERS NATIONAL ASSOCIATION
FOUNDED IN 1885
_________________________________________________________________________________________________________________
Scales:
Arpeggios:
Triads & Inversions:
Chord Progressions:
Other:
Student Achievement Testing - Piano Handbook Appendix Alternate Fingering Form
Attention:
SAT Technique Judge
From: The Teacher of Student No.
Student No.:
is using the following alternate fingering:
343
TOTAL PERFORMANCE:
(60)
The performance will be judged on accuracy, technique, musicianship, memorization, and repertoire. A total of 55-60 points in required to be eligible for State
Semi-Finals. Outstanding 60-58, Excellent 57-55, Very Good 54-52, Average 51, Fair 50-48, Needs Improvement 47 or less.
Judge's Name (Judge, do not sign, just print your name legibly)
Performance: Technique: Sight-Reading: Aural Awareness: Theory:
(60) (10) (10) (10) (10)
TOTAL POINTS:
(100)
MICHIGAN MUSIC TEACHERS ASSOCIATION
PIANO ACHIEVEMENT TEST - 2017 Sample
PERFORMANCE RATING SHEET
ROOM #
STUDENT No:
PERF. TIME: PERF. LEVEL:
INSTRUMENT:
AGE: SCHOOL GRADE:
1.
Composer Title
Accuracy (5)
Technique (5)
Musicianship (5)
Memory (5)
TOTAL (20)
2.
Composer Title
Accuracy (5)
Technique (5)
Musicianship (5)
Memory (5)
TOTAL (20)
3.
Composer Title
Accuracy (5)
Technique (5)
Musicianship (5)
Memory (5)
TOTAL (20)
Student Achievement Testing - Piano Handbook Appendix Performance Rating Sheet - Front Page
344
EVALUATING CATEGORIES FOR PERFORMANCE RATINGS
The Judge will assess whether the student demonstrates or lacks these categories by marking a +
or - sign in the appropriate box to the left of the performance remarks.
Accuracy
Correct Notes, Values and Rests
Precise Rhythm
Flexibility (ritardando, accelerando, phrasing breath, rubato, etc.)
Steady Beat
Technique
Tone Quality
Articulation
Pedaling, clear and appropriate
Posture, Hand Position
Musicianship
Appropriate Tempo
Balance, Clarity of Voices
Dynamics
Phrasing
Stylistically Correct
Memory
Continuity
Recovery from slips
Slips are so frequent that continuity is compromised
Unable to finish the piece
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345
REFERENCE BIBLIOGRAPHY
MMTA SAT GENERAL REFERENCE LIST
Ammer, Christine. The A to Z of Foreign Musical Terms.
ECS Publishing, Boston, 1989. ISBN: 0-911318-15-1
Badura-Skoda, Eva and Paul, and Alfred Clayton. The Art of Interpreting Bach at the Piano.
Clarendon, 1995.
Badura-Skoda, Eva and Paul. Interpreting Mozart on the Keyboard.
St. Martin's Press, New York, 1962.
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Harnsberger, Lindsey C. Essential Dictionary of Music, 2
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ed.
Alfred, 1997. 0-88284-728-7
Hinson, Maurice. Guide to the Pianist's Repertoire, 2
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Matthews, Denis. Beethoven Piano Sonatas.
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Price, Ruth. Right Before Your Eyes: A Fresh Approach to Interpreting a Piano Score.
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Randel, Don Michael, Ed. The Harvard Concise Dictionary of Music and Musicians.
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printing.
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Rosenblum, Sandra P. Performance Practices in Classical Piano Music.
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Slonimsky, Nicolas. Lectionary of Music, An Entertaining Reference and Reader's Companion.
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Verbalis, Jon. Natural Fingering: A Topographical Approach to Pianism.
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Westney, William. The Perfectly Wrong Note, Learning to Trust Your Musical Self.
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PIANO SAT HANDBOOK PEDAGOGY REFERENCE LIST
Agay, Denes, Ed. et al. Teaching Piano: A Comprehensive Guide and Reference for the
Instructor Vol. 1 & 2.
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Albergo, Cathy, and Reid Alexander. Intermediate Piano Repertoire: A Guide for Teaching, 4
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Albergo, Cathy, and Reid Alexander and Marvin Blickenstaff. Celebration Series:
Perspectives, Handbook for Teachers. Frederick Harris Music, 2008. MT245 A 329 2008
Bastien, James. How to Teach the Piano Successfully, 3
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ed.
Kjos, 1995. ISBN: 0-8497-6168-9
Bruser, Madeline / Allan Baillie (Photographer). The Art of Practicing: A Guide to Making
Music from the Heart. Bell Tower, 1997. ISBN: 0-609-80177-5
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Carr, Cassandra, with Sandra Labadie and Patrick Stephens. The Piano Un-Method, rev. 2
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ed.
The Unmethoders, 2005.
Clark, Frances. Questions and Answers: Practical Advice for Piano Teachers.
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Chronister, Richard, Edward Darling, Ed. A Piano Teacher's Legacy: Selected Writings by
Richard Chronister. The Frances Clark Center for Piano Pedagogy, 2005.
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Dembski, Stephen and Others. International Vocabulary of Music.
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Faricy, Katherine. Artistic Pedal Technique: Lessons for Intermediate and Advanced Pianists.
Frederick Harris Music, 2004. ISBN: 0-88707-835-5
Faricy, Katherine. Pedaling: Colors in Sound, Lessons and Repertoire for Elementary Piano
Students. Mary Mark Music, 2009. ISBN: 978-28805-5
Gerou, Tom and Linda Lusk. Essential Dictionary of Music Notation.
Alfred, 1996. ISBN: 0-88284-730-9
Haroutounian, Joanne. Fourth Finger on B-Flat. Effective Strategies for Teaching Piano, 1
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ed.
Neil A. Kjos, 2012. ISBN: 0-8497-9763-2
Haroutounian, Joanne. Musician's Performance Portfolio: A Portfolio for Musical Self-
Assessment. Neil A. Kjos, 2013.
Jacobson, Jeanine M. Professional Piano Teaching. A Comprehensive Piano Pedagogy
Textbook. Vol. 1 & Vol. 2. Alfred, 2015, 2016. ISBN: 0-7390-3222-4, 0-7390-8169-1
Klingenstein, Beth Gigante. The Independent Piano Teacher's Studio Handbook.
Hal Leonard, 2009. ISBN: 978-0-634-80803-8
Lloyd-Watts, Valery, and Carole L. Bigler. Studying Suzuki Piano: More than Music. A
Handbook for Teachers, Parents and Student. Summy-Birchard Inc./Alfred, 1979, 1993.
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Lloyd-Watts, Valery, and Carole L. Bigler. Ornamentation.
Alfred, 1995. ISBN: 0-88284-549-7
Magrath, Jane. The Pianist's Guide to Standard Teaching and Performance Literature.
Alfred, 1995. ISBN: 088284-655-8
McArthur, Victoria and Edward McLean. The FJH Classic Scale Book.
Alfred, 2006.
Palmer, Willard A., Morton Manus, Amanda Vick Lethco. The Complete Book of Scales,
Chords, Arpeggios and Cadences. Alfred, 1994.
Pearce, Elvina, Ed., Craig Sale. The Success Factor in Piano Teaching: Making Practice
Perfect. The Frances Clark Center for Piano Pedagogy, 2014.
ISBN: 13:978-0615950761
Skalinder, Barbara Kreader. The Music of Teaching: Learning to Trust Students' Natural
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The Royal Conservatory of Music. Piano Syllabus: Official Examination Syllabus.
Frederick Harris Music, 2015.
The Royal Conservatory of Music. Theory Syllabus: Official Examination Syllabus.
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Uszler, Marianne, Stewart Gordon, Scott McBride-Smith. The Well-Tempered Keyboard
Teacher. Schirmer, 1991, 2000. ISBN: 0-02-864788-2
STUDENT THEORY RESOURCES
Bastien, James. Bastien Theory Basics, Levels 1, 2, 3, & 4.
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Bastien, James. Intermediate Theory, Level 1, 2, & 3.
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Rees, Craig & Vivian Sadler. Concepts of Piano Theory, Preparatory through Level 6
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Sarnecki, Mark. Elementary Music Theory, books 1, 2, 3, & Note Speller (Ages 6 to 8).
Frederick Harris Music, 2010.
Sarnecki, Mark. Elementary Music Rudiments, Basic, Intermediate & Advanced Levels.
Frederick Harris Music, 2010.
Sarnecki, Mark. Harmony, Basic, Intermediate & Advanced Levels.
Frederick Harris Music, 2010.
Snell, Keith & Martha Ashleigh. Fundamentals of Piano Theory, Preparatory through Level 10.
Vandendool, Grace. Keyboard Theory Preparatory Series, Books A, B, C, D , & E.
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Vandendool, Grace. Keyboard Theory Series, Basic, Intermediate, Advances Levels.
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Vandendool, Grace. Harmony, Basic & Intermediate.
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Student Achievement Testing - Piano Handbook Appendix Reference Bibliography
