New format puts all requirements together with repertoire divided by instrument

Repertoire list divides pieces into 4 periods/categories

Etudes/orchestral excerpts have been re-distributed into more appropriate levels

Addition of Theory, Ear Training, and Sight-reading in Levels Preparatory through Level 3

Sight-reading examples listed in each level Each student is allowed time to study the Sight-reading before beginning to play:◦ Levels Prep~7: 30 seconds◦ Levels 8~Adv.: 45 seconds

Technique is standardized – all students in each level play the same scales and arpeggios

Double-stop etude requirement for Levels 6 and 7 has been removed

Etudes are 1-1/2 to 2 minutes in length for Level 4 through Advanced (10)

Repertoire is broader with a range of difficulty at each level. Some pieces are listed at multiple levels

Students may only play pieces at or above their enrolled level (not below)

Known out-of-print repertoire has been removed. Out-of-print pieces may still be played at CM evaluations but not as the syllabus piece

Baroque: appx. 1600-1750 Classical: appx. 1750-1825 Romantic/Impressionism: appx. 1825-1900 20th/21st Century: Composers born appx. 1880 or

after

Broad Categories; not intended to represent precise historical periods

Repeats strongly discouraged D.C. and D.S. al fine may be performed Suites: one movement only Concertos and Sonatas: one movement only

Handy chart that lists information for each CM Level (p. 11):◦Evaluation length◦Number of required etudes◦Number of required pieces◦Memory requirements

Pieces listed as “not” may not be used for the enrolled CM Level, either as a syllabus piece or as remaining repertoire

◦These pieces are below the registered CM Level, and all repertoire must be at Level or above

Chart for each program of the Convention (p.13):◦New Festival Recital time requirements

Prep~5: 5 min. Levels 6~8: 7 min. Levels 9~Adv: 10 min.

◦ Theme & Ensemble Recitals: 7 min. (unchanged)◦New Materials Recital: 5 min. (unchanged)

Charts for each segment of the Performance Evaluation and how the ratings are determined (pp. 15~16):◦Repertoire◦ Technique◦Sight-reading

Remain at Level: Student must pass performance evaluation and written theory test in order to move to a higher CM Level

Ineligible for Certificate: Given for infractions not related to performance ability; student may proceed to the next CM Level

Path B is being eliminatedCertificate of Merit Path A will now be

Certificate of Merit

Teachers may still use the CM Curriculum for their non CM students

Teachers may set up their own in-studio evaluations for non CM students, but may not call it “Certificate of Merit”

No certificates will be issued by MTAC

The number of participants in Path B has been declining over the last few years, with more teachers, parents, and students interested primarily in Path A.

Parents did not understand the difference between Path A and Path B, which resulted in confusion.

Some Branches used Path B to decrease the number of Path A students which caused unfairness across the state by not allowing the benefits of Path A to all students, such as Convention Recitals.

Colleges and universities desire transparency about the achievements of students who participate in Certificate of Merit when listed on college applications, and the parallel existence of Path A and Path B reduced transparency.

Outside organizations have attempted to replicate large portions of the CM program from previous Path B materials, in conflict with copyright and trademark laws.

Sample Questions

◦Preparatory Level

◦ Level1

Cadences in Levels 6 and higher

◦Authentic Cadence (V-I)

◦Plagal Cadence (IV-I)

Cadences

◦Half Cadence (ending on V)

Triads

◦ Inversions with figured bass

◦Primary (I, IV, V) & Secondary (ii, iii, iv, viiº) triads

7th Chords

◦Major, minor, half-diminished, and diminished in root position

◦Complete chords in the I-IV-V7-I chord progression, Major keys

◦ Identify notes in bass clef within the staff lines (violin & viola students only)

7th Chords

◦V7 Inversions with figured bass

◦Complete chords in the I-IV-V7-I (or i-iv-V7-i) chord progression, Major and minor keys

◦Secondary dominant (Correction in Syllabus: example should be V6/vi vi)

◦Read and write on the Grand Staff

Students in levels Prep~9 must play one of the two pieces with piano accompaniment

Advanced level students must play all three pieces with piano accompaniment (except pieces written for solo instrument)