CSA Music Department

SYLLABUS for Beginner, Preparatory Level A & B

Individual Instruction for PIANO

Rationale

Students should be able to play with understanding.

To be able to apply the basic principles of playing.

Objectives

 Develop skills and poise in performing before an audience.

 Demonstrate increasing skill, understanding and critical judgment in recreating many cultures and stylistic periods including the twenty first
century.

Lesson Routine/Repertoire

 Scales (contrary motion) C,G, and F

 Thompson Easiest 1 and 2
 Schaum Pre – A
 Michael Aaron I
 Leila Fletcher
 Hanon Eckstein
 Any new method books (Hal-Leonard, Bastien, Alfreds, Faber)
Requirements for Quarterly Examinations:

Beginner:

 Finger exercise
 Note reading
 Rhythm
 Seatwork – Theory work books
Revision:

Non Promotional Examinations:

 Grade 3: 3 numbers from the method book

Written examination

 Grades 4-5: Choose one from the following:

- Bach
- Czerny or equivalent
- Sonatina or Sonata (1 fast movement)
- Piece
 INDIVIDUAL INSTRUCTION FOR PIANO

MONTH Objectives Activities/Assignment Repertoire

1. Body preparation.
1. Have the pupil play different piano keys. a. Correct height of chair.  Finger Exercise (5 finger note)
J 2. Teach by limitation a Legato, three-note exercise, played by the b. Correct height of footstool  Theory Workbook (1st semester)
U strong fingers. 2. Hand Preparation  Parts of the piano
L 3. Students are introduced to new musical concepts and the a. Hands go above the keyboard.  > Signs and symbol
1st Y performance of pieces at the piano. b. knees slightly under the keyboard.
4. To teach piano in the most enjoyable way. c. Elbows slightly above the keys
5. Know the parts of the piano.
Q 6. To know basic musical symbols.
U
A
1. To develop finger dexterity in young children and includes clever 1. Posture  Finger Exercise
R A lyrics that will appeal to the student’s imagination. 2. Warm Ups (5 finger position)  Thompson (Method Book)
T U 2. To present technical information accurately and progressively. 3. Signs and Symbols  Theory Workbook
E G 3. To offer a gradual and progressive, pedagogie, continuity through a 4. Teach the name of the keys.
U series of books. 5. Number names of the fingers.
R S
T
 MONTH Objectives Activities/Assignment Repertoire

S 1. Stepping/Skipping  Finger Exercise

E 1. Develop the correct hand (finger position). 2. Note reading (both treble/bass clef)  Theory Workbook
P 2. To prepare for written/practical exams. 3. Start with the Theory Workbook  Thompson Easiest 1 and 2, M.
T 3. Review the basic essentials in music. 4. Teach simple finger exercises. Aaron or Schaum
E  Hanon Eckstein
2nd M  Other method books
B
E
Q R
U
A
O 1. To enable the pupil to THINK and FEEL musically. 1. Different kinds of rest  Finger Exercise
R C 2. It is quite possible to teach pupils of the 1st grade how to play with 2. Touch – is obviously a vital part of  Theory Workbook
T T musical understanding. interpretation and should be introduced  Performance Exam (choose any
O 3. Continuation of the theory learned in 1st term. early in the pupil’s career. from the method book)
E B  Thompson Easiest, M. Aaron or
R E Schaum
R

N
O
V
E
M
B 1. Study/review for the coming written  Finger Exercise
E exam.  Theory Workbook
R 1. They learn to recognize and perform these small fragments properly 2. Star giving pieces in preparation for the  Method Book (1st half)
and with intelligence. mini-recital.  Easy Pieces
D 2. They will meet the larger forms of composition as they progress with 3. Keeping fingers raised above the keys while  Hanon Eckstein (nos. 1-12)
E perfect understanding. other fingers are playing requires
C unnecessary effort from the muscle in the
E forearm.
M
B
E
R
 MONTH Objectives Activities/Assignment Repertoire

1. Written exams/Practical Exam  Finger Exercise

2. The arms can move freely and the head  Theory Workbook
balances easily on top the spine, easing the  Written Exam
J load on the neck, shoulder and arms.  Method Book
A 1. To introduce the music student developing the skill of sight-reading. 3. Introducing the scales (in contrary  Hanon Eckstein
N 2. Prepare and review the student for the written exam. motion) C,G and F.
3RD U 3. Know the pulse or beat of the music-Rhythm 4. More finger exercises.  Finger Exercise
A 4. To know how fast or slow the music is – Tempo. 5. Review/Polishing pieces for the mini-recital.  Theory Workbook
R 5. Study and learn more Pieces.  Performance Exam (choose any
Q Y 6. To condition, prepare students to perform in front of a jury from the method book)
 Thompson Easiest, M. Aaron or
U Schaum
A
R
T
E
R
F
E 1. Mini-recital program.  Finger Exercise
B 1. To have an accurate knowledge of the piece of music before starting 2. Choosing number for the Final Exams  Theory Workbook
R to practice with it. (Performance).  Method Book
U 2. To be able to perform in the student’s recital. 3. Letting the arm move forward to assist a  Hanon Eckstein (nos. 12-31)
A short finger.
R
Y

1. Prepare/Review the student for the Final Exams (Performance) 1. Final Exam (Performance)  Finger Exercise
M 2. Grand Recital for those students who are qualified. 2. 3 numbers from Method Book  Theory Workbook
A 3. Finishing the requires method book and learn additional pieces 3. Keeping the wrist in a raised position.  Performance
R  Scales (Parallel Motion) F and Bb
C
H
CSA MUSIC Department
SYLLABUS for Advance Students
Grade One & Two

Individual Instruction for PIANO

Rationale

Relate melodic character to particular styles, periods or type of music. Use knowledge of phraseology in analyzing larger forms.

Objectives

 Identify specific types of music through their rhythm.

 Demonstrate further understanding the note – value relationship.
 Analyze and relate melodic phraseology to the form or structure of a piece.
 Relate melodic character to particular styles, periods or type of music.
 Observe all expressive classifications pertaining to tempo and tempo changes in music.
 Demonstrate and understanding of the importance of accurate interpretation of tempo markings for an artistic rendering of musical composition.

Lesson Routine/Repertoire

Grade One

 Any method book (M. Aaron, Schaum A, Thompson Modern Course etc.,)
 Scales : 1 octaves up to 3# and 3b.
 Hal-Leonard Book 2.
 Piano Adventure (Level 1) Lessons & Performance
 Eckstein Technical Studies (#’s 1-12)

Grade Two

 Scales and Arpeggios : 2 octaves up to 3# and 3b.

 1 complete classical Sonatinas by Clementi, Kuhlau, Mozart and Beethoven, Dussek
 First Lesson in Bach, Anna Magdalena, Bach Carrol Part I (at least 2).
  Czerny op. 599 nos. 32-50 (at least 8 numbers)
 2 Pieces

Requirements for Quarterly Examinations:

1st Quarter – Weekly Assignments

2nd Quarter – Performance Exam (Bach) + Written Exam
3rd Quarter – Sonatina (1 movement) or piece
 Individual Instruction for PIANO

MONTH Objectives Activities/Assignment Repertoire

1. To have an accurate knowledge of the musical piece, it is 1. When seated the piano you should be able to perfectly  Finger Exercise
J necessary before starting to practice with it. balance your arms and hands without playing the notes or  Hanon Complete
1st U 2. Systematic logical thinking helps the students play a piece of feeling any tension at all.  1 Scale and Arpeggio
L memory. 2. Fingers should be naturally curved, playing on the tips of (2#)
Y 3. As a result, students will acquire the skill to prepare the technical the finger or fleshy part next to your fingernails.  Anna Magdalena (Bach)
Q execution through visualization. 3. Elbows should be out from the body.  Theory Workbook
U
A
R
T A 1. Wrist should be even with the white keys, never too high  Finger Exercise
E U 1. Students must be taught how to relax their arm muscles. or low.  Hanon Complete
G 2. By listening to the music, students can decide what they think the 2. Sit no more than one half to three quarters on the bench.  Scale and Arpeggio (2#)
R U composer intended. 3. You should form a “paw” knuckles should not be fairly flat,  Czerny op.599 (1-3)
S but just slightly up, like a bridge.  Theory Workbook
T
 Individual Instruction for PIANO
MONTH Objectives Activities/Assignment Repertoire

S 1. Students acquires a working knowledge of the fundamentals 1. Learn/Study from Bach  Finger Exercise
E of Physics and Physiology that directly influence Piano - The five fingers are bent so that their points come into a  Hanon Complete
P technique. straight line, and so fit the keys , which lie in a plane surface  Czerny op.599 (nos.4-6)
T 2. Students mark phrases in the music they are performing. under them, that no single finger has to be drawn nearer  Scale and Arpeggio (2#)
E when it is wanted.  Theory Workbook
M
B
2nd E
R

Q
O 1. Recognizing, recalling and classifying musical symbols, That no finger must fall upon its key, or (as also often  Finger Exercise
U C vocabulary and information. happens) be thrown on it, but only needs to be placed upon it  Hanon Complete
A T 2. Students receive individual, specific, frequent, sequential, with a certain consciousness of the internal power and command  Scale and Arpeggio (2b)
R O varied and appropriately spaced practice. over the motion.  Performance Exam
B (Bach only)
T E  Czerny op. 599 (nos. 6-
E R 10)
R

N
O
V
E
M
B 1. Preparation for written exam.  Finger Exercise
E 1. Identify a musical phrase in given selection. 2. Learn from Easy Sonatinas.  Theory Workbook
R 2. Reveal understanding of how motive, phrase and section relate a. Ingredients of the technique – mostly finger touch.  Hanon Complete
to each other within a musical piece. b. Technical methods of performing.  Easy Sonatinas, Earliest
3. Identify and pick phrase that are rhythmically similar on or 3. Czerny English Sonatinas,
contrastive. 4. Scales – two octaves parallel motion (2# and 2b) with Clementi
D Arpeggio and Chords.  Piece
E
C
E
M
B
E
R
 MONTH Objectives Activities/Assignment Repertoire

D
E 1. Studying the musical score presented and framing the similar 1. Written Exams (SIIGE/PTGS)  Finger Exercise
C phrases. 2. Articulations  Hanon Complete
E 2. Visualizing and picking out repeated phrases with similar - staccato  Scales/Arpeggio w/
M rhythm. - portamento cadence
B 3. Clapping the rhythm of the motive music. - legato  Written Exam
E  Anna Magdalena Bach
R

3RD 1. Identify at any given point changes of texture while listening to 1. Preparation for the performance exam (one movement  Finger Exercise
J a piece of varied textures. from the Sonatina or Czerny and Piece).  Hanon Complete
Q A 2. Demonstrate some understanding of the process of 2. Czerny  Scale/Arpeggio
N transposition. - Studies and exercises  Czerny op. 599 (nos 11-15)
U U - Technique  Sonatina (Easy)
A A
R R
Y
T
E F
R E 1. Mini-RECITAL (solo piece or three numbers from the  Finger Exercise
B 1. Begin to show awareness of key changes within a musical method books)  Hanon Complete
R selection. 2. Good Posture: forearm slightly above the keyboard,  Scales/Arpeggio (2# and
U 2. Demonstrate some understanding of the process of fingers arched and muscles relaxed. 2b)
A transposition.  Piece
R  Bach
Y

1. Recognize smaller division (motives) within phrases. 1. Final Exam (Performance/Written Exam)  Performance and written
M 2. Recognize and understand the function of more symbols of 2. Student’s Grand – Recital (Pieces by memory) exam
A notation. 3. Isolated movements.  Sonatina (whole
R 3. Associate mathematical concepts of ratios to musical concepts of 4. Coordinated movements. movement)
C notes/rest values. 5. Muscular Coordination.  Piece
H  Czerny (nos. 15-18)
 Individual Instruction for PIANO (Grade Two)

MONTH Objectives Activities/Assignment Repertoire

1. To know more about the pulse of the music (either upbeat or 1. The pianist uses only the fingers (in playing the piano and  Finger Exercise
J downbeat). pianissimo touch).  Hanon
U 2. To note the expressive interpretation of the piece (by making the 2. Technical Training is purely mechanical, not intellectual.  Bach (1st part) – each
L dynamics and articulations). 3. Repetitive practice at the instrument is required (habitual hand
Y 3. Determine the phrase where the climax occurs; the section of the practice gives a perfect playing).  Theory workbook
1st composition where the climax occurs. 4. Better mechanism.

Q
U
1. More literature specifically written for the Piano.
A A 1. To observe the Crescendo and Descendo markings in the 2. The hands are not the only playing apparatus, the arms,  Finger Exercise
R U interpretation of the piece. shoulder and entire body are also useful.  Scale and Arpeggio (3#
T G 2. Demonstrate a growing understanding of the importance of the 3. Loose, relaxed muscle and control of the arm weight only)
U appropriate choice of tempo in the realization of the expressive provides good technique.  Bach (1st part) – both
E S intent of a musical composition. hands
R T 3. Identify specifics type of music through their rhythm.  Theory Workbook
 MONTH Objectives Activities/Assignment Repertoire

S 1. Demonstrate awareness that a certain types of music have 1. Nimble finger need a relaxed flexible arm, but a relaxed  Finger Exercise
E little or non-recurring bear or accent and are therefore non- and flexible arm won’t help fingers that are not nimble.  Hanon
P metrical. 2. Different kinds of touch, tone, dynamics, articulation can  Scales/Arpeggio
T 2. Recognize and identify points of modulation in music be generated by combining both techniques. -3# (slow practice)
E performed and heard. -Introducing 3b
M  Bach (2nd Part)
2nd B
E
 Sonatina (start reading)

R
Q
U O 1. Demonstrate an understanding of the relationship of melody 1. Mental grouping of notes.  Finger Exercise
C to the other elements of music. 2. Mostly finger touch (Sonatinas)  Hanon
A T 2. Relate melodic character to particular styles, periods or type of 3. change fingers on repeated notes only when they are  Bach (Performance
R O
B
music.
3. Use knowledge of phraseology in analyzing larger forms.
too fast to perform with one finger.

Exam)
Soantina (1st movt.)
T E  Start with the piece
R
E
R
N
O
V
E
M
B
E 1. Advance his understanding of the role of chords in establishing 1. The wrist should not move higher or lower.  Finger Exercise
R Cadences and in modulation. 2. Practice scales and exercise of all types including thirds,  Hanon
2. Demonstrate further understanding of how certain principles of sixths, repeated notes, extensions, finger substitution and  Bach (2nd number)
design and structure manifest themselves in music as the other sliding the finger from a black key to a white key.  Sonatina (2nd movt.)
arts.  1st Piece
D  Scale/Apreggio – 3b
E
C
E
M
B
E
R
 MONTH Objectives Activities/Assignment Repertoire

 Finger Exercise
 Hanon
J 1. Recognized and discuss the application of principles of formal 1. Hand should not describe a curve, but glide on the edge of  Scales/Arpeggio (3#
A balance and proportion in ABA form in music. the keys.  Bach (2nd Part)
N 2. Demonstrate further understanding of the techniques 2. Strong, full tone achieved by wrist pressure.  Sonatina (2nd movt.)
U employed in theme and variations. 3. Allow gravity to work, relax the shoulder muscle and  Finger Exercise
A 3. Identify and analyze the changes that occur in the variation. throw the forearm and sometimes the whole arm against  Hanon
R 4. Identify the kind of articulation used in certain passage heard the keys.  Scale/Arpeggio
Y as Staccato or Legato. 4. Contract the arm muscle to release the key.  Sonatina (Kuhlau)
 Piece (2nd)
3RD

Q
U
A
R F 1. Recognize and verbalize the differences in tone when contrast
T E in dynamics occur. 1. The touch is comparable to a controlled arm – drop.  Finger Exercise
B 2. Demonstrate some understanding of the relationship between 2. The lift of the hard ceases before the finger release the  Hanon
E R changes of dynamics contour and/or direction. key.  Scales/Arpeggio
R U  Piece
A  Bach
R  Sonatina (3rd movt.)
Y

1. Show a deeper understanding of the relationship of tempo to 1. Play the melody tone with more velocity.  Finger Exercises
M the other elements of music. 2. Play the melody tone slightly ahead of the other notes.  Hanon
A 2. Role and discuss how variety is achieved in large or multi – 3. Alternation: contract moves strongly the muscle in the  Scales/Arpeggio
R movement composition through changes of tempo in the finger which plays the melody note.  Sonatina (whole part)
C consecutive movements.  Piece
H  Performance Exam
CSA Music Department
SYLLABUS for Advance Student
GRADE THREE

INDIVIDUAL INSTRUCTION FOR PIANO

Rationale

Establish better technique, clear comprehension of the given pieces (regarding chord, rhythmic and finger patters, correct phrasing and
interpretation). Awareness of the essential skills needed for a more matured performance.

Objectives

 To improve skills in tonal production.

 To enhance sight-reading ability of the student.
 To increase knowledge relative to the different styles and interpretation of the works of different composers (Baroque, Classical and Romantic era).
 To develop stage presence for public performance.
 To increase alertness in patter identification and chord analysis.
 To enhance mental assimilation of the presentation pieces.

Lesson Routine/Repertoire

 Scale and Arpeggios: 3 octaves-4 sharps, and 4 flats

 Czerny Op. 599, No. (11-25)
 Bach: (Continuation)
 Sonatina by Clementi, Kuhlu, Mozart or Beethoven, Dussek (complete movements)
 Any piece

Requirements for Quarterly Examinantions

1st quarter – Weekly assignments

2nd quarter – Performance Exam – Bach & Written Exam
3rd quarter – Sonatina – one movement or piece
– Any method book
CSA Music Department
SYLLABUS for Advance Students
Grade III

MONTH Objectives Activities/Assignment

1. Identify patterns. 1. Scales and Arpeggios: C, G.

2. Improve mechanical rhythmic patters and melodic lines. 2. Czerny: No. 51-55.
J 3. Add new techniques. 3. Bach: one number.
1st U 4. Understand the different musical line applying appropriate approach 4. Soantina: 1st movement.
L and touch as indicated in the piece.
Y 5. Know and apply the methods of breathing after phrases and rest.
Q
U
A
R A
T U 1. Prepare with fingers for stretch and runs. 1. Scales and Arpeggios: D, A.
G 2. Establish consistent rhythm. 2. Czerny: No. 56-60.
E U 3. Prepare student for sight and ear training. 3. Bach: one number.
R S 4. Sonatina: 1st movement
T
 MONTH Objectives Activities/Assignment

S
E
P 1. Play with free-production, beauty of tone and clear even runs. 1. Scales and Arpeggios: E, F, B flat.
T 2. Play and exercise with precision and strong fingers. 2. Czerny: (continuation)
E 3. Bach: 2nd movement.
M 4. Piece
2nd B
E
R
Q
U O
C 1. Scales and Arpeggios: E, F, B flat.
A T 1. Play with free production, beauty of tone and clear even runs. 2. Czerny: No. 61-70.
R O
B
2. Play and exercise with precision and strong fingers. 3.
4.
Bach: new movement.
Soantina: 2nd movement
T E 4. Piece
R
E
R
N
O
V
E
M
B 1. Scales and Arpeggios: E, F, B flat.
E 1. Play with free production, beauty of tone and clear even runs. 2. Czerny: No. 61-70.
R 2. Play and exercise with precision and strong fingers. 3. Bach: new number.
4. Soantina: 2nd movement
4. Piece
D
E
C
E
M
B
E
R
 MONTH Objectives Activities/Assignment

1. Scales and Arpeggios: E Flat, A Flat

J 1. Perform pieces according to the style of the composer. 2. Czerny:
A 1. Perform pieces according to the style of the composer. 3. Bach: new number.
N 2. Master necessary hand and finger movements as required. 4. Soantina: 3rd movement
U 5. Piece: New Piece
A 6. Scales and Arpeggios: E Flat, A Flat
R 7. Czerny: No. 71-80
Y 8. Bach: new number.
3RD 9. Soantina: 3rd movement
10. Piece: New Piece

Q
U
A
R
T F
E 1. Scales and Arpeggios: General review
E B 1. Acquire speed and clarity in running passages. 2. Czerny:
R R 2. Master the composer’s style. 3. Bach: same number as January
U 3. preparation of repertoire for examination. 4. Soantina: General Review
A 4. Piece: memorize all assigned Pieces.
R
Y

1. Scales and Arpeggios: General review

M 2. Czerny:
A 1. Acquire speed and clarity in running passages. 3. Bach: same number as January
R 2. Master the composer’s style. 4. Soantina: General Review
C 3. preparation of repertoire for examination. 4. Piece:
H 5. Promotional/Non-promotional examination.
CSA Music Department
SYLLABUS for Advance Student
Grade IV

INDIVIDUAL INSTURCTION FOR PIANO

Rationale

Establish better technique, clear comprehension of the given pieces (regarding chord, rhythmic and finger patters, correct phrasing and
interpretation). Awareness of the essential skills needed for a more matured performance.

Objectives

 To improve skills in tonal production.

 To enhance sight-reading ability of the student.
 To increase knowledge relative to the different styles and interpretation of the works of different composers (Baroque, Classical, Romantic and
Contemporary era).
 To develop stage presence for public performance.
 To increase alertness in patter identification and chord analysis.
 To enhance mental assimilation of the presentation pieces.

Lesson Routine/Repertoire

 Scale and Arpeggios: 4 octaves, 5 sharps and 4 flats

 Czerny Op. 636 – 2 numbers
 Bach: Short Prelude and Fugues or 2 part inventions
 Sonatina by Clementi, Kuhlau, Mozart or Beethoven
 Any piece

Requirements for Quarterly Examinations

1st quarter – Weekly assignments

2nd quarter – Bach (Performance Exam) or any method book
– Theory Exams / Performance
3 quarter – Sonatina (one movement) Theory Ex.
rd
CSA Music Department
SYLLABUS for Advance Students
Level IV

MONTH Objectives Activities/Assignment

Technical exercises according to choice of each teacher.

1. To develop good technique to improve mechanical rhythmic patterns 1. Hanon #1,2 in diff. rhythms.
1st J and melodic lines. 2. Trill exercise.
U 2. To know and learn the repertoire. 3. Scales and Arpeggios in 4 octaves: C, G
L 3. To improve finger dexterity. 3. Bach: one number.
Q Y 4. Czerny: #1
U
A A
R U 1. Prepare with fingers for stretch and runs. 1. Scales and Arpeggios: C, G, D, A.
T G 2. Establish consistent rhythm. 2. Czerny: #1,2
U 3. To develop intelligent and regular practice. 3. Bach: same number.
E S 4. Sonatina: study 1 movement
R T
 MONTH Objectives Activities/Assignment

S
E 1. Warm up exercises
P 1. To understand the different musical lines applying appropriate 2. Scales and Arpeggios: G, D, A & B
T approach. 3. Czerny: #1,2,3
E 4. Bach same number, polish for exam.
M 5. Sonatina: same movement
2nd B
E
6. Piece

R
Q O
U C 1. Scales/Arpeggio: F, Bb, Eb, Ab
T 1. Touch as indicated in the piece. 2. Czerny Op.636
A O 2. To play with steady beat. 3. Bach (preparation for exam)
R B
E
4. Sonatina (fast movement)

T R
E N
R O 1. Warm up exercise
V 2. Scales/Arpeggios: review #’s & b’s
E 3. Bach (for exam)
M 4. Sonatina (from any composer)
B 1. Rhythm observe correct note valves. 5. Piece (contemporary, romantic etc.,)
E 2. Proper use of breathing in phrases and rests. 1. Scales and Arpeggios: B, F, Bb
R 3. Preparing for Bach exams. 2. Czerny: #2, 3
1. To play exercise with precision and strong finger. 3. Bach: new number.
2. To play all pieces with nice tones, clear even runs. 4. Soantina: 2nd movement
D 3. To prepare for written exams. 5. Piece: start memorizing
E
C
E
M
B
E
R
 MONTH Objectives Activities/Assignment

J
A
N 1. Prepare for sight reading and ear training.
RD
3 U 2. To be able to apply loudness or softness of tone-dynamic contrast; 1. Scales and Arpeggios: review sharp scales: study F, Bb & b
A staccato/Legato control. 2. Czerny: review #2, 3
R 3. To know the pulse or beat of the music-rhythm. 3. Soantina: 1st and 2nd movement
Q Y 4. Piece: memorize piece study a new one
U
A
R
T
E
R F 1. To acquire more speed and clarity in running passages. 1. General review for the whole repertoire.
E 2. Correct use of voicing. 2. Preparing for student’s recital; sonatina exam of 1 movement.
B a) Right Hand – Solo, clear tone 3. Memorize assigned pieces for recital
R b) Left Hand – accompaniment different color
U 3. To play according to the style of the composer.
A 4. Preparation of repertoire for performance exam (promotional or non-
R promotional) and student’s recital.
Y

M
A
R
C
H
CSA Music Department
SYLLABUS for Advance Student
Level V

Objectives Activities/Assignment Repertoire

1. To develop the agility, flexibility and strength of 1. Scales and Arpeggios up to 4 octaves, 5 1. Cramer Etude
fingers of the students. flats and 5 sharps. 2. Bach 2 part invention
2. To develop the students musicality 2. How to study and play the Bach 2 part 3. 1 fast movement of sonata by either Hyden, Mozart and Beethoven
3. To interpret the different periods of music eras. invention (2 voice fuge) 4. 1 Piece
- Baroque era 3. How to study the sonata Allegro form. 5. Optional Modern Bartok Microkosmos Vol.4
- Romantic era a) Exposition – It has two parts the first
- Classical era theme and second theme.
- Modern b) Development – to be able to
distinguish in what theme in the
exposition has been develop.
c) Recapitulation – the reoccurrence of
the exposition
4. The Sonata Allegro is in ABA form
Level VI

Objectives Activities/Assignment Repertoire

1. To be able to prepare the child for auditions in 1. How to study the 3 part voices of 1. Czerny Op. 740
college music. inventions the Soprano, Tenor and Bass. 2. Bach 3 part invention
 If the pupil wishes 2. Now that the student has studied the 3. 1 Complete Sonata by either Clementi, Hyden, Mozart or Beethoven
Sonata Allegro form, the student is ready 4. 1 Piece within the level of difficulty of Mendelssohn song without words, Choppin,
2. The child must know how to interpret the to study the slow movement of the Waltzes, Prelude, Noctures, Debussy’s Arabesque
different composition style of each composer Sonata and the Rondo which is usually 5. Optional Modern Bartok Microkosmos Vol. 5
from different periods. the form the Sonata.
- Baroque era 3. To be able to interpret the romantic
- Romantic era period compositions, such as Chopin,
- Classical era Schumann, Liszt Bhrams Mendelssohn
- Modern etc.
 When the child reach this grade, he is already in College Level. If the pupil chooses music as a course he will be ready to take the tough audition
requirements of the best music schools in the country. The top music schools which the music department recommends are the University of the Philippine
College of Music, University of Santo Tomas Conservatory of Music and St. Scholastica’s College of Music. All these Music Schools requires the repertoire of
this grade level.
Colegio San Agustin
MUSIC DEPARTMENT
AY 2019 - 2020

PIANO SYLLABUS
BEGINNER (5 YEARS OLD & BELOW)

REQUIREMENTS:

 Piano Pronto (Road Trip Series)

 Alfreds Piano for the Young Beginner (Level A)
 Music for the Little Mozarts (Book 1)
 Thompson Easiest Piano course (Part 1)
 Bastien (Primer)
 Finger Exercise (as simple as possible)

PREPARATORY A

REQUIREMENTS:

 Piano Pronto (Road Trip Series continuation)

 Alfreds Piano for the Young Beginner (Level B)
 Music for the Little Mozarts (Book 2)
 Thompson Easiest Piano course (Part 1 continuation)
 Bastien (Primer continuation)
 Schaum Pre-A
 Music Lesson Have Begun (Leila Fltecher)
 A Dozen a Day (mini)
 Five Finger Exercise
PREPARATORY B

REQUIREMENTS:

 Piano Pronto (Kick-off)

 Alfreds Piano for the Young Beginner (Level C & D)
 Music for the Little Mozarts (Book 3&4)
 Thompson Easiest Piano course (Part 2)
 Alfreds Premier Piano Course (Book 1)
 Schaum Pre-A (continuation)
 Music Lesson Have Begun (Leila Fltecher)
 Piano Adventure (Faber)
 Hal-Leonard Book 1 (solo & lesson)

GRADE ONE

REQUIREMENTS:

 Michael Aaron (Grade One) Technic & Lesson

 Schaum A
 Thompson Modern Course (Grade One)
 Piano Adventure (Level 1) Technic & Artistry, Lesson & Performance
 Hal-Leonard Book Two (solo & Lessons)
 Eckstein Technical Exercises #’s 1-12
 Hanon Studies (Thompson)
 Finger Exercises
 Scales (C-A) (C-Eb) Parallel Motion 1 octave (using quarter notes)
GRADE TWO

REQUIREMENTS:

 Michael Aaron (Grade Two)

 Schaum B
 Thompson Modern Course (The Secod Grade Book)
 Piano Adventure (Level 1B)
 Hal-Leonard Book Book 3 (Solo & Lessons)
 First Lessons in Bach
 Eckstein Technical Exercises #’s 13-3
 Any simple sonatinas (Dussek, Hyden, Beethoven)
 Scales/Arpeggios (2 octaves)

GRADE THREE

REQUIREMENTS:

 Sonatinas (Clementi, Kuhlau, Beethoven, Dussch) Complet movements

 Michael Aaron (Book III)
 Czerny Op.599 #’s 11-25
 Anna Magdalena Bach (continuation/additional number or short prelude & fugue)
 Hanon Complete
 Lupang Hinirang (optiona)
 Scales/Arpeggios (3 octaves) all major scales
 Pieces (any level of difficulty for grade III
GRADE FOUR

REQUIREMENTS:

 Early sonatas of Hyden, Mozart, Schubert of Beethoven

 Short preludes & Fugue (continuation) or two part invention
 Czerny Op. 636 (2 numbers)
 Scales/arpeggios: all major scales (4 octaves)
 Pieces: Chopin, Mendelssohn, Debussy

GRADE FIVE

REQUIREMENTS:

 Late sonatas of Hyden, Mozart (Schubert, Beethoven)

 Czerny Op. 636 (continuation)
 Two part Invention (additional numbers)
 Pieces: (any level of difficulty for Grade IV)
 Major scales with relative minor (harmonic or melodic)

*For Non-Promotional Exam (practical test)

 Any 3 numbers form the method book
 For Grades 3-5 (you may choose either from the method book – 3 numbers or any number from the Baroque period
Bach (2nd trimester) which is practical and written exam.
 For the last term either 1 part movement from the sonatina/sonata or any piece