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The Federated Teachers of Music and Fine Arts, Inc. of Greater Kansas City

Keyboard Merits Syllabus

Revised: Winter 2018

THE KEYBOARD MERIT AUDITIONS

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OBJECTIVE: The Keyboard Merit Auditions offer an objective toward which students may work. Students have an opportunity to receive a rating on the degree of accomplishment achieved along with comments and suggestions from a source other than their teachers. Students do not compete against each other. They are rated on individual merits. Auditions may even be taken for no rating, no points, and no ribbon under extenuating circumstances at the teacher's discretion. These students will receive a Judge's critique and a certificate.

SYLLABUS: The Syllabus is an outline to serve as a guide to the teacher in planning a student's course of study, all requirements are a minimum. All levels should be determined by the technique requirement mastered by the student. For example, a high school student might be a beginner and therefore, should be in Level I or II. A first grader in school might be advanced enough to be enrolled in Level II or higher. Levels may be created or skipped at the discretion of the teacher. Levels IA and IB are designed for students with less than two years of study. Judges will be instructed to consider the student's progress for the length of time studied. Choosing in which level to place a student is based on the technique performed. However, here's another basic guide I A & I B Elementary pieces II A, B, C, D Elementary classics and teaching solos. III A, B Early intermediate & intermediate pieces. III C, D Later intermediate pieces IV A, B, C, D Advanced pieces

SCHEDULING: Auditions are scheduled in studios of member teachers for their own students. Teachers can agree to combine students at a host teacher’s studio. Occasionally, a teacher may be asked to host a student who cannot attend their own teacher’s studio audition. The Chairman of the Keyboard Merit Auditions sets a calendar time period, usually April and May, during which the auditions are to take place. A list of judges who have agreed to adjudicate this event will be on the website listing the days and times of their availability. (This list will be changed yearly.) The teacher is responsible for contacting a judge of their choice and coming to an agreed day and time for their studio’s audition.

VILLAGE MUSIC ACADEMY AUDITION SITEOne or two days will be scheduled at Village Music Academy. This is to help provide for students who have a conflict with their own teacher's scheduled Keyboard Merit Auditions and cannot first find another studio at which to audition. Any student may be scheduled on this day. The fee remains the same if the

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student is originally scheduled here. However, if a student was first scheduled in a studio, then missed their audition, then scheduled at Village Academy, an additional full fee will be charged. This is to compensate the use of two judges in two locations.

There will be a separate chairperson for Village Academy. All enrollments will be emailed or mailed to the Village chair. He will set the schedule for this site.

Students playing at this site should bring with them:1. Music – original, with measures numbered. Two copies, if music is

unmemorized (no copies, unless in public domain or accompanied by receipt of purchase).

2. Rating sheet – Music and technic filled in by student’s teacher.3. Certificate – Optional. Found on the website. Judge will sign and return to

student.4. Envelope – stamped and addressed to teacher, so that rating sheet can be

returned. Audition Time Lengths:

Levels I A – B are 15 minutes. Levels II A – D are 15 minutes. Levels III A – D are 15 minutes. Levels IV A – D are 30 minutes. Note: Level III A – D students should be scheduled for 30 minutes if the length of the exam material and judge’s writing time exceeds 15 minutes.

THE AUDITION STUDIO: The Audition Studio should be arranged so that persons entering or leaving the room will not disturb the student who is auditioning. A student just arriving should not enter the studio until the auditioning student has left. A ringing telephone can also be disturbing. During a student’s exam, the performance may not be recorded by either recording equipment or video equipment. Only the student and judge should be in the room.

HOST TEACHER'S RESPONSIBILITIES: The host teacher will need to have the following materials ready for the judge:

1. Table and chair2. Pen and/or pencils 3. Copy of the Keyboard Merit Syllabus

Teachers may make Xerox copies of rating sheets after the audition if desired.

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TEACHER'S RESPONSIBILITIES: 1. Enrollment Form: This is found on the website. Teachers should return the

Keyboard Merit Enrollment Form to the Keyboard Merit Chair by the deadline published in the newsletter.

2. Contact Judge – This is done from approved list of judges given to enrolled teachers. (See Scheduling)

3. Rating sheet – This is found on the website. This should be filled out for each student with the appropriate technique and literature.

4. Performance Hours Form – This is found on the website. Fill out this form before auditions. The teacher and judge should sign it after auditions. It is the teacher’s responsibility to immediately mail it to the Keyboard Merit Chair.

5. Certificate – This is found on the website, but is optional. The teacher may make copies, if desired, and have available for the judge to sign.

6. Ribbons and Trophies: Mail or email Ribbon and Trophy Order Form (found on the website) to the designated person and to Dean’s Trophies no later than two weeks after the audition. Ribbons and trophies may be picked up at Dean's Trophies, Belton or Lee’s Summit, after notification from Dean’s.

STUDENTS’ RESPONSIBILITIES: The student must bring the following to the audition:

1. Music – Measures must be numbered on music of the pieces to be performed. The judge must be provided another original copy of any unmemorized music. Xeroxed copies are unacceptable, unless music is in public domain or accompanied by internet receipt.

2. Rating Sheet – Bring, if student is playing at another teacher’s studio or Village Music Academy. A teacher sharing a studio audition site has the responsibility of arranging how they want the rating sheet returned, either mailed or sealed envelope.

3. Certificate – Bring, if student is playing at another teacher’s studio or Village Music Academy. (Certificate is optional.)

4. Envelope, stamped and addressed to teacher, if student is playing their audition at Village Music Academy. The rating sheet will be mailed to the teacher after the audition.

FEES: All enrollment fees are due with the enrollment form. Each teacher collects all fees from students and then sends one check for the total amount to the Treasurer. Checks are to be made payable to Federated Music Teachers. All numbers and amounts declared on the enrollment form are final. There are no refunds for enrolled students. If a student was first scheduled in a studio, then missed their audition, then scheduled at Village Academy, an additional full fee will be charged. This is to compensate the use of two judges in two locations.

ADULTS:

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Adults follow the same requirements, but they may use music. They will receive a rating sheet, a certificate (optional), and a ribbon. However, if they desire a trophy, they must fulfill all requirements, including memorization.

POINTS AND RIBBONS: Points Interpretation 6 Superior performance 5 Excellent performance, needs polish 4 Unprepared in many areas 3 Below average performance 2 Not prepared for performance

Teachers will need to keep records of their students' ratings. An accumulation of 10 points earns the first trophy. Points continue to accumulate and the next larger trophy is awarded when a total of 20 points is reached. Additional trophies are awarded at 30 points, 40 points, etc. Each year blue ribbons will be awarded for 6 & 5; red ribbons for 4 & 3; no ribbon awarded for 2.

PROGRAM PIECE: A program piece is a selection of music that would be a solo of the quality to be played as a recital piece. While there is a wide range of what this can be, it is not: 1. Pop music 2. An arrangement, transcription, or simplified version of the original

OPTIONAL ALLOWANCES FOR LEVELS II C AND ABOVEMay choose ONE:

(A) Piano arrangement of popular music for solo piano with obvious melodic line that is consistent with level of other music being performed. This may substitute for any other required selection. (This is not meant to include simplified classical arrangements.)

(B) Two contrasting selections from the same period; thus, four pieces representing three time periods.

PIANO SYLLABUS

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PIANO LEVEL I I A. (less than one year of study) TECHNIQUE:

1. Any major scale, one or two octaves, hands separate or together, OR three 5-finger patterns, hands separate or together.

2. Tonic triad of scale performed, or 3 triads if the three 5-finger patterns are used. REPERTOIRE: (at least one piece memorized)

1. One short piece from any beginners’ book. 2. One program selection. (More than the 2 required pieces may be performed.) 3. Repertoire must be at least 8 measures in length, not including repeats, with at

least one of the two pieces memorized.

I B. (less than two years of study) TECHNIQUE:

1. Any major scale, one or two octaves, hands separate or together. 2. Three principal triads: Tonic (l), Subdominant (IV) and Dominant (V) of the scale

performed.

REPERTOIRE: (at least one piece memorized) 1. Two short contrasting pieces from method books. 2. One program piece.

PIANO LEVEL II II A. 6

TECHNIQUE: 1. One major SHARP scale, 2 octaves, hands separate or together. 2. Cross Hand Arpeggios, 2 octaves, in Tonic key. 3. Tonic I triad in 3 positions, broken and solid. 4. Three principal triads - I, IV. V in root positions of scale performed. 5. Cadence: I, V or V7, I of scale performed.

REPERTOIRE: (at least two pieces memorized)

1. Two contrasting studies from method books. 2. One program piece. 3. One piece from easy classics (baroque, classical or romantic).

II B. TECHNIQUE:

1. One major FLAT scale - 2 octaves, hands separate or together. 2. Tonic arpeggio, 2 octaves, cross-hand or standard. 3. Tonic triad in 3 positions, broken and solid, of scale performed. 4. Three primary triads - I, IV, V in root position. 5. Cadence: I, IV, I, V OR V7, I of scale performed.


1. Two contrasting studies from method books, program pieces, Etude books or Czerny pieces.

2. Two pieces from two periods (Baroque, Classical, Romantic or Contemporary)

II C. TECHNIQUE:

1. One minor scale, 2 octaves, hands separate or together. 2. Tonic arpeggio in root position for minor scale performed, 2 octaves, hands

separate or together. 7

3. Three primary triads - i, iv, V in root and inverted positions, broken and solid, for scale performed.

4. Cadence: i, iv, i, V, or V7, i of minor scale performed. REPERTOIRE: (at least two pieces memorized)

1. Three selections, from three of the four periods of music: Baroque, Classical, Romantic and Contemporary periods.

2. One program piece. Optional Allowances for Levels II C and aboveMay choose ONE:



II D. TECHNIQUE:

1. One major scale AND its relative or parallel minor, 2 or more octaves, hands together.

2. Tonic arpeggio in root position for each scale, 2 or more octaves, hands separate or together.

3. Three primary triads in root and inverted positions for each scale performed. 4. Cadences: I, IV, I, V or V7, I for each scale performed.


1. One easy piece from Baroque, Classical or Romantic period. 2. One movement from easier sonatinas. 3. One short number from Contemporary works. 4. One program selection.

Optional Allowances for Levels II C and aboveMay choose ONE:



PIANO LEVEL III III A. TECHNIQUE:


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2. Tonic arpeggio, root position, 2 or more octaves, hands together, for scales performed.

3. Three primary triads in root and inverted positions for each scale performed. 4. Cadences: I, IV, I, V or V7, I root position for each scale performed. 5. Optional: Cadences may be played in 3 positions. In this case, the 3 primary

triads in root & inverted positions may be omitted. REPERTOIRE: (at least two pieces memorized)

1. One selection from Baroque pieces (example: a Bach dance). 2. One movement from a classical sonatina, a bagatelle, or a theme and variations

(at least 3), or a minuet. 3. One easier piece from the Romantic era. 4. One piece from the Contemporary era. 5. Any concerto movement may replace any piece from a particular period of music

required. For example, any movement from the Grieg Concerto can count as a Romantic period requirement.




III B. TECHNIQUE:


2. Tonic arpeggio, root position, 2 or more octaves, hands together, for scales performed.

3. Cadence chords: I, IV, I, V or V7, I in 3 positions, 4 voices, for scales performed. 9

REPERTOIRE: (at least 2 to be memorized)

1. One selection from Baroque. 2. One movement from a classical sonatina, a bagatelle, or a theme and variations

(at least 3), or a minuet. 3. One selection from the Romantic period. 4. One selection from the Contemporary period. 5. Optional: One of the above periods may be omitted if two movements are done

from a classical sonatina; thus, four pieces representing three time periods. 6. Any concerto movement may replace any piece from a particular period of music





III C. TECHNIQUE:

1. One major SHARP scale AND its relative or parallel minor, 3 or more octaves, hands together.

2. Tonic arpeggios, root position, 3 or more octaves, hands together for scales performed.

3. Cadence chords: I, IV, I, V or V7 in 3 positions, 4 voices, for scales performed. REPERTOIRE: (at least 2 to be memorized) 10

1. One Baroque selection. 2. One movement from a classical sonatina of increasing difficulty, a bagatelle, or a

theme & variations (at least 3), or a minuet. 3. One Romantic selection. 4. One Contemporary selection 5. Optional: one of the above periods may be omitted if two movements are done

from a classical sonatina; thus: 4 pieces representing 3 time periods. 6. Any concerto movement may replace any piece of a particular period of music





III D. TECHNIQUE:

1. One major FLAT (NOT F) scale AND its relative or parallel minor scale, 3 or more octaves, hands together.

2. Tonic arpeggios, root position, 3 or more octaves, hands together for each scale performed.

3. Cadence chords: I, IV, I, V or V7, I in 3 positions, 4 voices, for scales performed. REPERTOIRE: (at least 2 to be memorized)

1. One selection from the Baroque era. 11

2. One movement from a classical sonatina of increasing difficulty, a bagatelle, or a theme & variations (at least 3), or a minuet.

3. One Romantic selection. 4. One Contemporary selection. 5. Optional: one of the above periods may be omitted if two movements are done

from a classical sonatina; thus: 4 pieces representing 3 time periods. 6. Any concerto movement may replace any piece from a particular period of music





PIANO LEVEL IV (30 minutes) IV A. TECHNIQUE:

1. One major scale and its relative or parallel minor scale, played in eighths, triplets and sixteenths, 4 octaves. (Required tempo: quarter = 60 or above)

2. Tonic arpeggios in 3 positions, 4 octaves for scales performed. 3. Dominant 7th arpeggios for each scale performed. 4. Cadence chords: I, IV, V7, I in 3 positions, 4 voices, for scales performed.

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REPERTOIRE: (at least one to be memorized) 1. One Baroque selection (comparable to a 2 part invention) 2. One movement from a Classical sonata, a bagatelle, or a theme and variations

(at least 3). 3. One selection from the Romantic period. 4. One selection from the Contemporary period. 5. Optional: one of the above periods may be omitted if two movements are done

from the same major work. 6. Any concerto movement may replace any piece from a particular period of music





IV B. TECHNIQUE:

1. One major scale and its relative or parallel minor scale in eighths, triplets and sixteenths. 4 octaves. (Required tempo: quarter = 72 or above) Optional: 4 octave scale played in 3rds or 10ths, no rhythms.

2. Tonic arpeggios in 3 positions, 4 octaves for each scale performed. 3. Dominant 7th arpeggios in 4 positions, 4 octaves for each scale performed. 4. Diminished 7th arpeggios in root position; 4 octaves for each scale performed. 5. Cadences, I, IV, V7, I in 3 positions, 4 voices, for scales performed.

REPERTOIRE: (at least one to be memorized) 13

1. One Baroque selection. 2. One movement from a Classical sonata, a bagatelle, or a theme and variations







IV C. TECHNIQUE:

1. One major scale and its relative or parallel minor scale in eighths, triplets and sixteenths. 4 octaves. (Required tempo: quarter = 100 or above) Optional: 4 octave scale, played in 6ths, no rhythms.

2. Tonic arpeggios in 3 positions, 4 octaves for each scale performed. 3. Dominant 7th arpeggios in 4 positions, 4 octaves for each scale performed. 4. Diminished 7th arpeggios in 4 positions; 4 octaves for each scale. 5. Cadences, I, IV, V7, I in 3 positions, 4 voices, for scales performed.

REPERTOIRE: (at least one to be memorized)

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1. One Baroque selection 2. One movement from a Classical sonata, a bagatelle, or a theme and variations







IV D. TECHNIQUE:

1. One major scale and its relative or parallel minor scale in eighths, triplets and sixteenths. 4 octaves. (Required tempo required: quarter = 120 or above) Optional: Scale may be played in the Grand Pattern, no rhythms.

2. Tonic arpeggios in 3 positions, 4 octaves for each scale performed. 3. Dominant 7th arpeggios in 4 positions, 4 octaves for each scale performed. 4. Cadences, I, IV, V7, I in 3 positions, 4 voices, for scales performed.

REPERTOIRE: (at least one to be memorized)

1. One Baroque selection

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2. One movement from a Classical sonata, a bagatelle, or a theme and variations (at least 3).

3. One selection from the Romantic period. 4. One selection from the Contemporary period. 5. Optional: one of the above periods may be omitted if two movements are done






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