Level 7
TECHNICAL REOUIREMENTS
OVERALL
SCALES
REOUIREMENTS
Level
Ffl
All
elements must
be performed
,W
Dt Major
= 3 octaves
and
) t ) ):4
Elements may be
played in any
order
Together
harmonic and
octaves
perform
bb
minor
Deceptive cadence
1V
i-xi-if-V7-VI
RH common tone
chords
LH single notes
5:00 minutes to
Ionian mode on C
Aeolian mode on A
(root)
with legato pedal
Minimum Scale
tempo:
ry
CHORDS
ARPEGGIO
7th chords, root
Fil Db
Major
position,
blocked,
t-vi-tv-ii-If -vz-I
df
d{ bt
.,=I:3
Ffi Db Major
Authentic cadence
octaves
melodic minor
All Hands
CADENCES/
MODULATION
Major
Dominant,
minor, halfdiminished (47),
diminished ("7)
onB
V7 chords, root
position &
inversions,
broken, up first
then down, in
the key of B
Major
= 3 octaves
d{
ur
POLYRITYTHM
2 against3
Begin on
B
minor
4 octaves
Triplets in
RH,
eighths in
LH first;
then
triplet in
LH,
eighths in
RH
Within
1
octave
88
Whole Tone
Scale on Ffl
]-l:zoctaves
THEORY REOUIREMENTS
Be able to write elements, recognize them individually, and recognize them in musical excerpts. The
student is responsible for all theory elements from Preparatory Level through Level T .
Tonalitv
l.
Scales and key signatures:
o
o
r
r
.
o
2.
Major: all keys
minor, natural, harmonic and melodic: all keys
Descending melodic minor scales must include all accidentals, even if they appeared in the
ascending scale.
Circle of fifths
Chromatic scale on any note
Whole Tone Scale on any white key
Modes: Ionian on C, Dorian on D, Mixolydian on G, Aeolian on A
Intervals: Perfect, Major, minor, Augmented, diminished, ascending and descending, on any note
Lev el 7 Evaluation Requirements
79
MTAC Piano Syllabus 2012
3.
.__r
Chords/triads:
a.
Triads: Major and minor, diminished, Augmented: all roots
Root position and inversions using figured bass: R: i o. no figured bass; lst : 6 or I ;2nd:X
Students need to know full and abbreviated forms of figured bass (for example, 6 and ! for first
inversion)
b. Primary and secondary triads by name, quality and Roman numeral, using figured bass: all Major
and harmonic minor keys
o Lines must be placed above and below Roman numerals for Major and Augmented chords,
such as V , and lower case Roman numerals must be used for minor and diminished chords,
such as
c.
vi or
6
viio
Dominant 7th chord, root position V7, first inversion
V
3or
6
V J second inversion V l or V 1, and
6
third inversion V2, v t, orv I
r Identiff by word and figured bass symbol (Dominant se{enth; Dominant 7th,Y7)
. in all Major and minor keys
o on all roots
d. Diminished 7th (o7), root position and inversions, using figured bass: all roots
e. Cadences: authentic, half, plagal and deceptive, root position and common tone, one and two
staves: all Major and minor keys
f. Chord progressions: all Major and minor keys, one and two staves
I-ry-ii-v-I
i-iv-iio6-V-i
I-IV-ii-V7-vi
I-iv-iio6-v7-vI
Time and Rhvthm
Writeincounts
torl
Q
2A 1t " g 3 usinganycombinationofnotesfrompreviouslevels.
Signs and Terms (Definitions are on page 49)
allargando
confuoco
meno
meno mosso
piu
piu mosso
lento
canon
^,ua. trill with prefix from below
trill with prefix from above
Alberti bass
Sonata form (Sonata Allegro form)
r.ze
pesante
rollentando
ritenuto
SCNZA
sempre
giocoso
whole tone scale
Ionian mode
Dorian mode
Mixolydian mode
Aeolian mode
grazioso
Lev el 7 Evaluation Requirements
80
MTAC Piano Syllabus 2012
HISTORY
Know the four periods of music history in order. Know at least three composers from each period. A list
of composers is on pages 161- I 69. When asked to name a composer from a particular period, students
may use any composer's name from that period.
The following composers may appear on the test:
Baroque
Classical
Romantic
20thl21st Centuries
Bach
Handel
Scarlatti
Telemann
Beethoven
Clementi
Haydn
Kuhlau
Mozart
Chopin
Grieg
Schubert
Schumann
Bart6k
Kabalevsky
Prokofiev
J.S.
Shostakovich
#
EAR TRAINING REQUIREMENTS (13 questions;included on written theory test)
1.
2.
3.
4.
5.
6.
7.
8.
9.
Identiff all intervals up to and including an octave, ascending and descending, blocked and broken.
Identiff the difference between Major, minor, diminished and Augmented triads in root position,
blocked and broken.
Hear the difference between natural, harmonic and melodic minor scales.
Be able to hear the difference between 214 and3l4, and between 314 and 414 meters.
Identiff the tonality of a four-measure phrase in Major or minor.
Distinguish between plagal, half, deceptive and authentic cadences in a chord progression.
Be able to hear the difference between Alberti bass and ostinato.
Be able to hear the difference between giocoso and doloroso, andbetween grazioso and confuoco.
Be able to identiff a chord progression when given the Roman numerals and figured bass.
SIGHT-READING REOUIREMENTS
Be able to sight-read Level 5 music. All skills from previous levels may be included, in addition to
sixteenth notes and the use of more terms, signs and symbols. Students will have.30 seconds to preview
the example.
IMPROVISATION REOUIREMENTS (Optional)
Students may perform an optional Improvisation at their CM Evaluation. Improvisation is an optional
performance segment. Any improvisation may be played during the ilerformance portion of the
evaluation.
o
o
o
o
Improvisation is not rated by the evaluator.
Improvisation is limited to 5 - 60 seconds in length, as listed in the CM Syllabus according to the
CM level.
Improvisation is done in addition to and not in place of the other required segments of the CM
evaluation (technique, sight-reading, and repertoire). Students must prepare the entire technical
requirements as indicated for their level. All segments (including improvisation) need to be
performed within the appropriate evaluation length of each level.
Improvisation may be from any resource and is independent of a student's registered CM level.
REPERTOIRE REOUIRBMENTS
Repertoire requirements for Level 7 begin onpage 127.
Lev el 7 Evaluation Requirements
81
MTAC Piano Syllabus 2012
!u
Vocabulary List: Signs and Terms
Students are responsible for all terms up to and including the Level for which they are being evaluated.
TEMPO MARKINGS FROM SLOWEST TO FASTEST
largo, lento, adagio, andante, andantino, moderqto, allegretto, allegro, vivace, presto
PREPARATORY LEVEL
p
f
piano:
fine: the end
soft.
forte: loud
D.C.
at
fine
(da capo
at
fine): return to the
beginning and play tofine
J
,
J
slur: a curved line that indicates legato to play smoothly
A
staccato: not connected, crisp
a tempo: return to the original tempo
fermata:hold longer
rit, ritard., ritordando : gradually slower
bar line
tie: a curved line connecting notes of
the same pitch - hold for full value of
treble clef
barline
measure
both notes
a
treble clef
repeat sign: play the music again
measme
brace
bass
clef
brace
dynamics: syrnbols or terms that indicate loud
or soft
bassclei
grand staff
Grand Staff
LEVEL I
---
or fiD. * damper pedal: the
pedal on the far right; depress and
release the damper pedal
decrescendo, dim., diminuendo:
gradually softer
mp
mezzo
mf
mezzo
&"
piano: medium soft
play eight notes (an octave) higher
8"___ or 8rD___ play eight notes (an octave) lower
forte: medium loud
pp pianissimo: very soft
T
tr fortissimo: very loud
J
---
L -fz
first and second endings
repetition: exact repeating of a melodic pattern
in the same voice, on the same pitch and
with the same rhythm
tenuto: hold the note for its full value.
May also mean to stress the note.
accidental: sharps (il), lut. $) or naturals ()
placed before notes, usually to indicate a
note which is not in the key signature
Section
3: Vocabulary - Definitions
46
MTAC Piano Syllabus 2012
LEVEL
2
allegro: fast, quick (cheerfully, merrily)
authentic cadence: cadence using the harmonic
progression ofV to I
andante: walking tempo
half cadence: cadence using a harmonic
moderato : moderate tempo
vivace :
quickly, lively
ppp
pianississimo: very, very soft
progression that ends on
plagal cadence: cadence using the harmonic
progression
fortississimo: very, very loud
sforzando: a sudden, sharp accent
sfz fz
ofIV
to
I
sequence: repeating a melodic pattern in the
same voice at a higher or lower pitch,
"ffi
sf
V
often a 2nd or 3rd above or below
cadence: the chords that end a phrase or section
of a composition
LEVEL
3
tre corde: the release ofthe soft pedal (pedal on
adagio: slow tempo, slower than andante
the left)
spiritoso: spirited
ac
c e I er
relative Major and minor: Major and minor
keys sharing the same key signature
do, ac c e l. : gradually faster, accelerate
tempo
an
motif, motive: a short musical idea
dolce:sweetly
legato pedal (syncopated pedal, overlapping
pedal): creating a seamless, un-blurred
legato by raising and quickly redepressing the damper pedal at the same
time as, or immediately after, the keys
are played
molto: much, very
poco: 7ittle
una corda: apply the soft pedal (pedal on the
left)
LEVBL
4
parallel Major and minor: keys sharing the same
tonic note
andantino: a little faster than andante*
allegretto: a little slower than allegro
transposition: the act of performing or writing a
musical work in a key other than the key
in which it was originally written
presto:very fast tempo
cantabile: in a singing style
meter: the arrangement of beats into groups of
equal size (measures) and with regular
espres s ivo : expressively
leggiero: lightly
recurring accents
subito:suddenly
---etto: suffix meaning little or less
imitation: statement of
voice or hand
---ino: suffix meaning little or less
b *
trill:**
_____t-
-1---
staccato and legato
**
motive in another
#
'...r--
articulation: the various ways in which notes are
executed, including, but not limited to,
*
a
This is the definition that will be used for CM testing, and indicates the most common use of the term. Some composers use it to mean
slightly slower than andante.
This is the definition that will be used for CM testing. The trill can be interpreted differently depending on the historical period and the
context ofthe music. Teachers are encouraged to study omamentation further. See the list ofresources on pages 173-174.
Section
3: Vocabulary - Definitions
47
MTAC Piano Syllabus 2012
LEVEL
5
ostinato: a short musical pattern that is repeated
throughout a composition or section of a
composition
qnimato: animated, with spirit
con:with
con brio : with brilliance
enharmonic: pitches that are the same but named
or spelled differently, such as Cfl and Db
con moto:with motion
largo: stately, broadly, dignified, very slow,
slower than adagio
ornaments:
tranquillo : peacefully, tranquil, calm
mordent:
vivo: brisk, lively
*
--TIrrr
-l
I
arpeggio: a broken chord in which the notes are
performed melodically rather than
harmonically. The arpeggio may be
written out or indicated with a wavy line
placed in front of a chord.
-?--7--l-
.'.+
h
I
appoggiatura:#
Italian: "to lean"
----T
+
turn: to turn around
---r-
the note
-----1--
-?--T
+
-trd-
C\D
-'---l---i----- - *-----r----T-T-
|
-
xThis is the definition that will be used for CM testing. The appoggiatura can be interpreted differently depending on the historical period and
the context ofthe music. Teachers are encouraged to study omamentation further. See the list ofresources on pages 173'174-
LEYEL
6
doloros
: sadly, sorrowfully
o
opus: the term used to indicate the
chronological number of a composer's
works, often as they are published
marcqto: marked
robusto : boldly, robustly
s
deceptive cadence: one in which the dominant
is followed by a harmony other than the
tonic, most often the submediant
cherzando : jokingly, lightly, playfully
simile: similarly, the same
as
modulation: changing from one key (tonality) to
another within a composition or section
of a composition.
sostenuto: sustained, giving note full value
fe
forte piano.' loud followed immediately
by soft
syncopation: a momentary contradiction of the
meter or pulse, often by changing strong
and weak beats within a measure
Section
3: Vocabulary - Definitions
48
b
double flat: an accidental that lowers the
pitch of a note by two half-steps
x
double sharp: an accidental thatraises the
pitch of a note by two half-steps
MTAC Piano Syllabus 2012
LEVEL
7
allargando : broadening, gradually slower,
usually accompanied by a crescendo at a
p es ant
: heavily, ponderously
rallentondo : gradually slower
climax
rit enuto : immediately slower
confuoco: with fire
meno:
e
senza: without
Tess
sempre: always
meno mosso: with less motion, slower
gi
piu: mare
piu mosso:with more motion, quicker
ocoso
grazi
: humorously, j okingly
os o
: gracefu lly, elegantly
lento: slow tempo, not as slow as largo
whole tone scale: a six-note scale consisting entirely of whole steps (Major 2nds)
trill with prefix from below
trill with prefix from above
canon: a strict form of contrapuntal writing in which each voice imitates the melody of the first voice
exactly
Alberti bass: an accompaniment figure, usually in the left hand, using a three-pitch chord, played lowest,
highest, middle, highest:
Sonata form (also known as Sonata Allegro form):
Exposition: a section with two contrasting themes called first and second themes; expositions
often, but not always, end in the key of the dominant, or in the relative Major if the piece
is in a minor key
Development: themes are developed through key changes and the use of compositional devices;
new material may appear.
Recapitulation: expositional material returns with the original key of the piece emphasized;
the section typically ends in the tonic key
Ionian mode: a scale or tonality in which half steps occur between notes 3-4 and 7-8, like the Major scale
Dorian mode: a scale or tonality in which half steps occur between notes 2-3 and 6-7, as if playing all the
white keys from D to D
Mixolydian mode: a scale or tonality in which half steps occur between notes 3-4 and 6-7 , as if playing
all white keys from G to G
Aeolian mode: a scale or tonality in which half steps occur between notes 2-3 and 5-6, as if playing all
white keys from A to A; the same as natural minor
Section
3; Vocabulary - Definitions
49
MTAC Piano Syllabus 2012
l.
Name the Major key for each of the following key signatures. (6 points)
Major _
2. Write
Major
Major
Major
_
Major
the key signature for each of the following minor keys. (6 points)
f minor
3. Write the following
cfl
minor
e
mmor
bb
minor
c mlnor
b minor
scales, one octave, ascending. Do not use key signatures. Put accidentals before the
notes. (3 points)
BbMajor
ffr
Major
minor, natural form
g minor, harmonic form
4. Add accidentals to complete each of the following scales.
(3 points)
Chromatic
d minor, melodic form
Whole Tone
Level 7 24fi
5. Complete the circle of fifths by adding the missing keys.
(3 points)
C Major
_ Major
Bb Major
_
6. Write
G Major
D Major
Major
_ Major
E
Major
Ah Major
CillDb Major B/Cb Major
Ffi/Gb Major
a note above each given note to complete the
P4
m2d7*,4.6
d8
7. Name each of the following triads with its root
8. Circle the correct figured
following intervals. (6 points)
bass (inversion)
M3
and quality (for example, C
Major). (6 points)
for each of the following triads. (6 points)
s66s66s66
s66
334
s66
566
334
334334334
9. Add accidentals to complete each of the following
334
seventh chords. (5 points)
x
B Dom. 7
4
cfl
dim. 3
6
4
E Dom. 5
Ab Dom. 2
6
f dim.5
10. Name the Major key to which each of these Dominant Tths belongs. (5 points)
Key of:
I
l.
_
Major _
Major
_
Major
_
Major
_
Major
Label each of these chords with its scale degree name. Use the Maior kev for each example. The first one
is given. (5 points)
t
Tonic
Level T }0IA
12. Name each of the following cadences. Give the name, not the Roman numerals. Use the Maior key for
each example. (4 points)
4
a)
a
I
I
rt
13. Transpose the following example to the key of G Major. (1 point)
14. Check the correct name for each of the following modes. (2 points)
a.
Dorian
Aeolian
Mixolydian
Aeolian
Dorian
Ionian
b.
15. Check
the answer for each of the following questions. (4 points)
a. Which historical period is earliest?
Contemporary
Baroque
Classical
Romantic
b. Kuhlau is from which historical period?
Classical
Romantic
Baroque
Contemporary
c. Which
composers represent the Baroque period?
Clementi and Haydn
Bartok and Shostakovich
Scarlatti and Telemann
Schubert and Grieg
Romantic
Classical
Contemporary
Baroque
Level 7 24fi
t
16. Write the enharmonic equivalent for each of the following notes. (2 points)
-ati
b.
17. Write counts under the notes for each measure of the following example. (2 points)
I.>
tffit
18. Check the correct term
lI,ffiI).t)J
for each of the following definitions or musical examples. (8 points)
a. exact imitation of an entire theme
sequence
canon
gtocOSO
sempre
b.
less
piu
mosso
meno
grazioso
c. immediately slower
ritenuto
ritardondo
rallentando
allargando
d. Exposition, Development,
Sonata form
canon
Recapitulation
Alberti bass
lento
e. more
meno
MOSSO
con
piu
f. without
h-
a
sempre
senzo
allargando
con
g. gradually slower
ritenuto
giocoso
allargando
pesante
h. heavily
lento
pesante
allargando
giocoso
Level 7 24fi
.
tr
-.a,tf
J.S.
Answer questions 19-28 about the music above. (14 points)
Bach: Invention No. 5
19. What is the key?
20. lnmeasures l-2,whatcompositional technique is used
(under the brackets)?
21. Name the circled chord with its root and quality.
22. lnmeasure 3, what two accidentals
and
are used? (2 points)
23. Circle the correct way to perform the ornament in measure
1.
trltAr
ffiffi
-
--
24. Whatis the name of the the ornament in measure 4,beat7?
-
25.Circlethecorrectwaytoperformtheornamentinffiffi
measure
4,beat2.
26. What is the English meaning for the symbol
a
A
?
27. Which historical period does J.S. Bach represent?
28. Name each boxed interval with its quality and number.
a.
b.
c.
d.
Level 7 2010
Mendelssohn: Funerol March
Answer questions 29-33 about the music above. (14 points)
29. What is the minor key?
minor
30. What is the English meaning of the tempo mark?
31. Name each circled chord with its Roman numeral and figured
a.
bass.
b.
c.
d.
e.
f.
32. Give the English meaning for
each of these symbols used in
u.
mf
the example.
b.
c.
sfz
d.p
e. dim.
JJ.
Mendelssohn is from the same historic period as Chopin. What
is the name of the period?
Level 7 201$
EAR TRAINING EVALUATION
This is your lrvel 7 ear training evaluation. Listen to each question and its musical example.
Mark your answer. Each orample will be played two tirnes. (13 points)
1. Recognition of Major or minor in a four-measure
Maior
phrase.
minor
2.
'
Recognition ofAlberti bass.
3.
Recognition of Major, minor, diminished, orAugmented
Yes
Ex.
I
F;..2
4.
No
Major
Major
-
minor
diminished
minor
diminished
-
-
I
nanual
minor
harmonicminor
harmonic minor
minor
harmonic
F;l'.Z naftralminor
Ex.
3
natural
minor
-
Recognition of a chord progression.
A IIViiVTI
t'i,o"
Recognition of tempo.
Giocoso
9.
B. ItVIVTI
Recognition of meter in a four-measure phrase.
1.i,,,"8.
Augmented
-
Recognition of natural minor, harmonic minor, or melodic minor scales.
Ex.
7.
Augmented
Augrnented 5th
-
6.
c
Recognition of intervals.
F;l...z minor 3rd
5.
triads.
Doloroso
Recognition of a cadence.
Plagal
EarTrainlngTests
Deceptive
r SetB o Level 7
melodic minor
melodicminor
melodic minor