Level    12  –  p.  1  

LEVEL 12  Complete  Requirements  

Technique

Students  should  know  all  elements  in  the  keys  listed.    The  evaluator  will  select  one  or  more  keys  from  each  category  to  hear  at  the  evaluation.  

 

 Scales      

 All  major  and  minor  keys  (harmonic  and  melodic  forms)  

 

Hands  together    4  octaves.  

 

   

 

   

q  =    132  

 

Scales  in  3rds  and  10ths  

 Ab  najor  F  harmonic  minor  

 

Hands  together    4  octaves  

 

 

 q  =  112  

 Octave  Scales  

 Eb,    Gb  major    

 Hands  together  2  octaves.  

 

 

 

q  =  132  

 Four-­‐Note  Tonic.  Dominant  and  Diminished  Seventh  Chord  Inversions  

 

All  major  and  minor  keys  

 Hands  together.  Root  position  and  inversions.  Blocked,  then  broken.    

q  

 

 q  =  126  

 Tonic,  Dominant  Seventh    (V7)  Arpeggios  

   All  major  keys  

 

Hands  together    4  octaves.  

     

   

q  =  100  

 Tonic,  Dominant  and  Diminished  Seventh  (viio7)  Arpeggios    

   All  minor  keys  (begin  on  the  leading  tone  of  the  scale)  

 

Hands  together    4  octaves.  

     

   

   

q  =  100  

 

Sight Reading

Sight  read  a  short  musical  example,  equal  in  difficulty  to  a  Level  10  piece.  

  Level    12  –  p.  2  

Terms and Signs

Augmented  6th  chord     Schnell       Largamente  Neopolitan  6th  chord     Langsam     E,  ed  Tritone         L’istesso  tempo   Comodo  Retenu           Mit  Ausdruck     Ben,  bene  Au  mouvement       Stringendo     Attaca  Cédez         Quasi       Assai  Leger         Ma       Ad  libitum  Lentement       alto  clef     tenor  clef  

     

Music Literacy

The  student  is  responsible  for  all  terms,  signs,  and  concepts  from  previous  levels.  

1. Write  or  identify  Neopolitan  and  Augmented  6th  chords.  Voice  leading  will  not  be  evaluated.  

2. Clef  notation:  rewrite  a  melody  written  in  alto  or  tenor  clef  in  treble  or  bass  clef  

3. Analyze  a  complete  fugue.    Locate  statements  of  the  subject  and  answer;  name  the  tonalities  in  which  they  occur.  Identify  episodes.  Determine  the  presence  or  absence  of  a  countersubject.    Identify  structurally  important  cadences.  Locate  stretto  passages,  and/or  inverted  entrances  of  the  subject.  

4. Match  terms  and  signs  to  their  definitions.  

5. Identify  the  style  period  of  musical  excerpts.  

6. Harmonize  a  given  melody  from  given  Roman  numerals  and  figured  bass.  Write  a  single  bass  line  in  the  bass  clef,  and  two  additional  voices  under  the  given  melody  in  the  treble  clef.    Voice  leading  will  not  be  evaluated.  

7. Score  analysis:  Questions  will  involve  concepts  from  this  and  earlier  levels.  

Aural Training/Listening Skills

1. Identify  the  texture  of  a  musical  excerpt  (homophonic,  chordal,  polyphonic)  

2. Dictation:  write  the  two  middle  voices  of  a  short  example  in  chorale  style.                  Soprano  and  bass  will  be  given.  3. Write  the  rhythm  of  a  melodic  excerpt.  

4. Identify  the  harmonies  used  in  a  two  measure  musical  example.  Primary  and  

secondary  chords    only  (no  secondary  dominants).  

Repertoire

Four  pieces:  one  from  the  Baroque  Period,  one  from  the  Classical  Period,  one  from  the  Romantic  Period    and  one  from  the  20th/21st  Centuries.      

All  pieces  must  be  chosen  from  the  Level  12  Repertoire  lists,  and  all  must  be  memorized.    No  substitutions  will  be  accepted.  

  Level    12  –  p.  3  

Written Program Notes

The  student  will  write  an  essay  containing  historical  and  analytical  material  for  each  of  the  pieces  to  be  performed.  This  essay  must  be  submitted  to  the  local  Student  Evaluations  Chair  two  months  in  advance  of  the  Evaluation  for  approval.  

Recital Option In  lieu  of  the  of  the  performance  repertoire  examination,  the  student  may  present  a  public  recital.    Arrangements  and  expenses  are  the  responsibility  of  the  student.  While  the  recital  may  include  additional  pieces:  only  Syllabus  repertoire  will  be  evaluated.  

Level 12 Repertoire Lists

BAROQUE Bach,  J.S.    

Well  Tempered  Clavier,  Volume  I  

No.  3   Prelude  and  Fugue  in  C#  major,  BWV  848  No.  4   Prelude  and  Fugue  in  c#  minor,  BWV  849  No.  7   Prelude  and  Fugue  in  Eb  major,  BWV  852  No.  8   Prelude  and  Fugue  in  eb  minor,  BWV  853  No.  12   Prelude  and  Fugue  in  f  minor,  BWV  857  No.  13   Prelude  and  Fugue  in  F#  major,  BWV  858  No.  14   Prelude  and  Fugue  in  f#  minor,  BWV  859  No.  15   Prelude  and  Fugue  in  G  major,  BWV  860  No.  18   Prelude  and  Fugue  in  g#  minor,  BWV  863  No.  19   Prelude  and  Fugue  in  A  major,  BWV  864  No.  20   Prelude  and  Fugue  in  a  minor,  BWV  865  No.  22    Prelude  and  Fugue  in  bb  minor,  BWV  867  No.  24    Prelude  and  Fugue  in  b  minor,  BWV  869  

Well  Tempered  Clavier,  Volume  II  

No.  4   Prelude  and  Fugue  in  c#  minor,  BWV  873  No.  5   Prelude  and  Fugue  in  D  major,  BWV  874  No.  10   Prelude  and  Fugue  in  e  minor,  BWV  879  No.  11   Prelude  and  Fugue  in  F  major,  BWV  880  No.  13   Prelude  and  Fugue  in  F#  major,  BWV  882  No.  14   Prelude  and  Fugue  in  f#  minor,  BWV  883  No.  16   Prelude  and  Fugue  in  g  minor,  BWV  885  No.  17   Prelude  and  Fugue  in  Ab  major,  BWV  886  No.  18   Prelude  and  Fugue  in  g#  minor,  BWV  887  No.  21   Prelude  and  Fugue  in  Bb  major,  BWV  890  No.  22   Prelude  and  Fugue  in  bb  minor,  BWV  891  No.  23  Prelude  and  Fugue  in  B  major,  BWV  892  No.  24  Prelude  and  Fugue  in  b  minor,  BWV  893  

  Level    12  –  p.  4  

CLASSICAL

Beethoven,  Ludwig  van  

    Sonata  in  C  Major,  Op.  2,  No.  3,  1st    or  4th  mvt.       Sonata  in  C#  Minor,  Op.  27,  No.  2,  3rd  mvt.       Sonata  in  G  Major,  Op.  31,  No.  1,  1st  mvt.       Sonata  in  D  Minor,  Op.  31,  No.  2,  1st  mvt.       Sonata  in  C  Major,  Op.  53,  1st  mvt.       Sonata  in  F  Minor,  Op.  57,  1st  mvt.       Sonata  in  Ab  Major,  Op.  110,  1st  mvt.  

Haydn,  Joseph  

Sonata  in  Ab  Major,  HVI:  46,  1st  mvt.  Sonata  in  C  Major,  HVI:  48,  1st  mvt.  Sonata  in  Eb  Major,  HVI:  49,  1st  mvt.  Sonata  in  C  Major,  HVI:  50,  1st  mvt.  Sonata  in  Eb  Major,  HVI:  52,  1st  mvt  

Mozart,  Wolfgang  

    Sonata  in  D  Major,  K.  284,  1st  mvt.  Sonata  in  A  MInor,  K.  310,  1st  mvt.  Sonata  in  D  Major,  K.  311,  1st  mvt.  Sonata  in  C  Major,  K.  330,  1st  mvt.  Sonata  in  F  Major,  K.  332,  1st  mvt.  Sonata  in  Bb  Major,  K  333,  1st  mvt.  Sonata  in  D  Major,  K.  576,  1st  mvt  

 

ROMANTIC

Brahms,  Johannes  Ballade,  Op.  10  No.  3  Ballade,  Op.  118,  No.  3  Capriccio,  Op.  116,  No.1  Intermezzo,  Op.  118,  No  6  Rhapsody  Op.  119,  No.  4  

   Chopin,  Frederic  

Ballade  in  G.  Minor,  Op.  23  Ballade  in  F  Major,  Op.  38  Ballade  in  Ab  Major,  Op.  47  Ballade  in  F  Minor,  Op.  52  

  Level    12  –  p.  5  

Berceuse,  Op.  57  Nocturne  in  Db  Major,  Op.  27,  No  2  Nocturne  in  C  Minor,  Op.  48,  No  1  Scherzo  in  B  Minor,  Op.  20  

  Scherzo  in  Bb  Minor,  Op.  31  Scherzo  in  C#  Mior,  Op.  39  Scherzo  in  E  Major,  Op.  54  Waltz  in  Eb  Major,  Op.  18  

Liszt  Ferenc  

Etudes  Gnomenreigen  Waldesrauschen  

Legends:    St.  Frances  Walking  on  the  Waves  Hungarian  Rhapsodies,  any  one    Paganini  Etudes:  any  one  

 Mendelssohn,  Felix  

Andante  con  variazioni,  Op.  82      6  Preludes  and  Fugues  

      Op.  35,  No.1    Op.  35,  No.  5  

Rondo  Capricioso,  Op.  14  Variations  serieuses,  Op.  54  

 Schubert,  Franz  

Impromptu,  Op.  90,  No  1  Impromptus,  Op.  142,  No  1  or  No.  2  Sonata,  Op.  42,  1st  mvt.  Sonata,  Op.  120,  1st  mvt  

.   Sonata,  Op.  143,  1st  mvt.    Schumann,  Robert  

Fantasy  Pieces  Op.  12      No.  5  In  der  Nacht  

Faschingsschwank  aus  Wien,  Op.  26         No.  1  Allegro         No.  5  Finale  

Noveleletten,  Op.  21         No.  8  

Papillons,  Op.  2  (play  all)  Variations  on  Abegg,  Op.  1  

Theme  and  3  Variations,  or  Finale  

  Level    12  –  p.  6  

20/21ST CENTURIES Bartok,  Bela  

Allegro  Barbaro  Out  of  Doors  

      With  Drums  and  Pipes         Musettes  

Suite,  Op.  14:  1st  or  2nd  or  3rd  mvt  

Berg,  Alban       Sonata,  Op.  1  

Copland,  Aaron       Passacaglia  

Debussy,  Claude  Estampes:    Choose  any  movement  Images  1  and  2:  Choose  any  movement  L’isle  joyeuse  Preludes,  II  

      La  puerta  del  Vino         Feux  d’artifice  

Suite  pour  le  piano:         Prelude         Toccata  Liebermann,  Lowell       Gargoyles,  Op.  29,  any  two       Nocturnes:  choose  any  

Muczyski,  Robert       Toccata,  Op.  15  

Prokofiev,  Sergei  Four  Pieces,  Op.  4:  Diabolical  Suggestion  Sarcasms,  Op.  17,    choose  two      Sonata  No.  3  Toccata,  Op.  11  

Ravel,  Maurice  Jeux  d’eau  Sonatine:  3rd  mvt.  Gaspard  de  la  nuit  :  Ondine  Le  tombeau  de  Couperin:  Toccata  Miroirs    

      Alborado  del  gracioso         La  vallee  des  cloches  

Shostakovich,  Dmitri  

24  Preludes  and  Fugues,  Op.  87  (choose  one  set)  

  Level    12  –  p.  7  

Level 12 Music Literacy Sample Written Test

Neopolitan and Augmented 6th Chords

Write the chords from the chord symbols given. ____ (5 pts.)

Clef Notation ____ (4 pts.)

Rewrite the given melody in the treble clef below. Write the correct key signature in the treble clef and rewrite the time signature.

 

Matching ____ (11 pts.)

___ schnell A. with expression ___ langsam B. broadly ___ quasi C. slow, slowly ___ attaca D. fast ___ ma E. return to the original speed, a tempo ___ retenu F. light, lightly ___ comodo G. almost, as if ___ mit ausdruck H. proceed without a break ___ au mouvement I. at a comfortable, easy tempo ___ largamente J. but ___ leger K. hold back (held back)

Harmonization ____ (15 pts.)

Write the bass line and 2 additional voices under the melody in the treble clef. Voice leading will not be evaluated.

  Level    12  –  p.  8  

Music Excerpts A ____ (7 pts.)

1. The excerpt is from Chopin Waltz Op. 34, No. 2. Which style period does it

represent? _______________________

2. The texture of the example is ________________________.

3. Write the Roman numerals with figured bass on the lines provided.

4. Identify the cadence found in measures 3 -4. _______________________

B ____ (2 pts.)

Identify the circled non-harmonic tone in each example.

1. ________________________________

2. _______________________________

C ____ (2 pts.)

1. The excerpt is taken from L'isle Joyeuse by Debussy. Which style period does it

represent? ________________________

2. The music is based on: ___ a pentatonic scale ___ a whole tone scale ___ 12-tone serialism

  Level    12  –  p.  9  

Harmonic Analysis ____ (9 pts.)

Write the Roman numerals and figured bass on the lines provided.

Score Analysis ____ (32 pts.)

1. The fugue on the following pages is in the key of: ______________________________

2. Locate all entries of the subject (S) and answer (A) on the musical example.

There are 10 entries of the subject, 4 of the answer. (14 pts.)

3. The overlapping of subjects in measures 26 and 27 is called

____________________.

4. How many voices does this fugue have? ____________

5. Does the fugue have a [consistent] countersubject? ___ yes ___ no

6. The music was written during the __________________style period.

7. Name the boxed interval in measure 3 by size and quality. _________________

8. Name the ornament in measure 4. ____________________________

9. Name the ornament in measure 9. ____________________________

10. The music from measure 8 to measure 10 is called: ___________________________

11. The cadence in bars 22 - 23 is a(n) _______________cadence in the key of

____________.

12. The music in measure 3, beats 3 and 4 are based on the _____________________

form of the ____ minor scale.

13. Identify the three circled non-harmonic tones in measure 8: (3 pts.)

a. ___________________ b. ___________________ c. ___________________

14. The music from measure 24 beat 3 through measure 25 beat 3 is in the key of

_______________________.

15. How does this key relate to the main key of the Fugue? ________________________

16. Although the Fugue is in a minor kay, it ends with a major chord. This is called

a ___________ __________ (two words).

17. The sign above the last chord is a _________________________.

  Level    12  –  p.  10  

Fugue BWV 895

  Level    12  –  p.  11  

Possible points: 87 Given points: ____

  Level    12  –  p.  12  

Level 12 Music Literacy Sample Written Test Answer Key

Neopolitan and Augmented 6th Chords Write the chords in close position from the chord symbols given.

Clef Notation

Matching

D schnell A. with expression

C langsam B. broadly

G quasi C. slow, slowly

H attaca D. fast

J ma E. return to the original speed, a tempo

K retenu F. light, lightly

I_ comodo G. almost, as if

A mit ausdruck H. proceed without a break

E au mouvement I. at a comfortable, easy tempo

B largamente J. but

F leger K. hold back (held back)

Harmonization (bass clef notes may be in a different octave)

  Level    12  –  p.  13  

Music Excerpts

A

1. The excerpt is from Chopin Waltz Op. 34, No. 2. Which style period does it

represent? Romantic

2. The texture of the example is homophonic.

3. Write the Roman numerals with figured bass on the lines provided.

4. Identify the cadence found in measures 3 -4. deceptive

B

1. suspension

2. anticipation

C

1. The excerpt is taken from L'isle Joyeuse by Debussy. Which style period does it

represent? Impressionism

2. The music is based on:

____ a pentatonic scale X a whole tone scale ___ 12-tone serialism

Harmonic Analysis:  

  Level    12  –  p.  14  

Score Analysis  

1. The fugue on the following pages is in the key of: a minor

2. Locate all entries of the subject (S) and answer (A) on the musical example.

There are 10 entries of the subject, 4 of the answer. (see score - give full credit

if the student finds 8 subjects and 3 answere )

3. The overlapping of subjects in measure 27 is called stretto.

4. How many voices does this fugue have? 4

5. Does the fugue have a [consistent] countersubject? ___ yes X no

6. The music was written during the Baroque_style period.

7. Name the boxed interval in measure 3 by size and quality. diminished 7th

8. Name the ornament in measure 4. mordent

9. Name the ornament in measure 9. trill

10. The music from measure 8 to measure 10 is called: episode

11. The cadence in bars 22 - 23 is a(n) authentic cadence in the key of eminor.

12. The music in measure 3, beats 3 and 4 are based on the harmonic form of the

e minor scale. (accept melodic)

13. Identify the three circled non-harmonic tones in measure 8:

a. suspension_ b. passing tone c. lower neighbor (neighboring tone)

14. The music from measure 24 beat 3 through measure 25 beat 3 is in the key of d

minor.

15. How does this key relate to the main key of the Fugue? it is the subdominant

16. Although the Fugue is in a minor kay, it ends with a major chord. This is called

a Picardy Third

17. The sign above the last chord is a fermata.

  Level    12  –  p.  15  

  Level    12  –  p.  16