Musicianship Phase

Musicianship Phase Chart

(OPTIONAL)
Classifications:*

ElementaryIntermediatePreparatoryH.S. Diploma/Collegiate/Artist

Elementary

	SCALES	CHORDS/CADENCES	ARPEGGIOS	EAR TRAINING	TRANSPOSITION	IMPROVISATION	SIGHT-READING
EA	Major Scales C-G-D-A-E-B-F in pentascales. tentrachorrds OR one octave hands separately (or together) - ascending and descending.	CHORDS: Tonic Major Triads, keys of C-G-D-A-E-B-F; root position, hands separately (or together). CADENCES: none required.	Tomic Major Triads, Keys of C-G-D-AE-B-F; played as broken chords, root position, cross hands, two octaves.	Be able to sing: Do-Re-Mi-Fa-So-La-Ti-Do from any given note (ascending only). Be able to identify notes as high (above middle C) or low (below middle C) when played by the judge plus identify notes (in groups of three) as ascending or descending (notes will move by STEPS only - no skips).	Transpose a very easy melody to any two keys.	A "Free" improvisation is available for EA students.	Sight-read a very easy piece within a 5 note range (PrimerLevel repertoire).
EB	Major Scales C-G-D-A-E-B-F, one octave, hands separately (or together).	CHORDS: Tonic Major and Tonic minor Triads, keys of C-G-D-A-E-B-F; root position, hands separately (or together) plus CADENCES: I-V (or V7)-I, root position, hands separately (or together), Major C-G-D-A-E-B-F.	Tomic Major and parallel Tomic minor Triads, Keys of C-G-D-AE-B-F; played as broken chords, root position, cross hands, two octaves.	Identify notes (in groups of four) as ascending or descending (notes will move by steps OR skips) plusrecognize Major and minor Triads in root position.	Transpose a 5-note folk melody (or its equivalent) to any two keys (minimum lenght: 8 measures).	Play an improvisation of at least 8 measures. Provide the judge a brief written outline of the structure. (Examples: Question-Answer Phrases with I & V7; Standard 12-bar blues pattern; Ostinato bass with improvised R.H.).	Sight-read a folk melody or piece within a 5-note range--(primer Level to EA level repertoire).
EC	Major and he paralle harmonic minor scales C-G-D-A-E-B-F, one octave, hands separately (or together).	CHORDS: Same requirement as EB plus CADENCES: i-V(or V7)-i, root position, hands separately (or together), minor key of c-g-d-a-e-b-f.	Tomic Major Triads, Keys of C-G-D-AE-B-F; root position, two octaves with thumb turns, hands separately.	Continued recognition of Major and minor Triads in root position plus recognition of the following intervals: M2, P4, P5, P8 (played harmonically and melodically).	Same requirements as EB: minimum length: 16 measures.	(Same requirements as EB)	Sight-read any level EA repertorire.
ED	Major and parallel harmonic minorscales C-G-D-A-E-B-F, one actave, hands together.	CHORDS: Tonic Major and Tonic minor Triads, keys of C-G-D-A-E-B-F; three positions (inversions), hands separately (or together) plus CADENCES: I-V (or V7)-I, root position, hands separately (or together), Major and minor keys of C-G-D-A-E-B-F.	Tomic Major and Tomic minor Triads, Keys of C-G-D-AE-B-F; root position, two octaveswith thumb turns, hands separately (or together), M.M. 60 to quarter note.	Recognition of following intervals: M3, M6, M7, (played harmonically and melodically) plus recognition of Major and minor Triads in ANY position (the student does not have to identify the particular inversion played).	Transpose a folk melody (or its equivalent to any two keys or transpose an elementary piece (Major or minor) to any two keys.	Play an improvisation of 12-16 measures. Provide the judge a brief written outline of the harmonic pattern. (Example: I IV ii V7 chord pattern in Key of C, 4/4 meter.)	Sight-read any level EB repertorire.
EE	The following Major Scales: F# (Gb), C# (Db), Ab. Eb, Bb, two octaves, hands separately (or together).	CHORDS: ALL Tonic Major Triads (around the Circle of Fifths); keys of C-G-D-A-E-B-F# (Gb)-C# (Db)-Ab-Eb-Bb-F; three positions (inverdions), hands separately (or together) plus CADENCES-ES: I-V (or V7), root position AND first inversion, hands separately, all keys listed for EE Chords (see "->" below).	ALL Tonic Major Triads (around the Circle of Fifths); keys of C-G-D-A-E-B-F# (Gb)-C# (Db)-Ab-Eb-Bb-F; root positions, two octaves with thumb turns, hands separately (or together), M.M. 60 to the quarter note (see "->" below).	Recognition of following intervals in the Major Scale: M2, P4, P5, M3, M7, M8 (played harmonically and melodically).	Transpose any mid-elementary composition to any two keys.	Play an improvisation of 16-24 measures. Provide the judge a brief written outline of the harmonic pattern. (Example: Improvisation on Greensleeves with L.H. pattern: a minor, G Major, F Major, E Major).	Sight-read any level EC repertorire.
EF	The following harmonic minor scales: f#, c#, ab. eb, bb, two octaves, hands separately (or together).	CHORDS: ALL Tonic minor Triads (around the Circle of Fifths); keys of a-e-b-f#-c#-g# (ab)-d# (eb)-ab# (bb)-f-c-g-d; three positions (inverdions), hands separately (or together) plus CADENCES-ES: i-V (or V7)-i, three position (inversions), hands together, all keys listed for EF Chords (see "->" below).	ALL Tonic minor Triads (around the Circle of Fifths); root position two octaves with thumb turns, hands separately (or together), M.M. 60 to the quarter note (see "->" below).	Recognition of following intervals: m2, m3, m6, m7 (played harmonically and melodically) plus recognition of Major and harmonic minor Scales.	Same requirements as EE).	Same requirements as EE (Example: three times through the standard 12-bar blues pattern).	Sight-read any level ED repertorire.
	* The student entering a Musicianship Phase in lieu of a memorized picce will be tested only on material listed for his/her present classification. All Scales and Arpeggios in each of the levels MUST be played ascending and descending. * When Cadences are played hands together, chords may be played in both hands or the root in the bass (common tone/closed position). ** Ear Training is to be played at the piano by the judge. * Transpositions are in keys the student has chowen and prepared in advance. Music may be usod, but the transpositions may NOT be noested. NO IMMT is required. A pice previcualy perfcrned fue ne on a program may also be later transposed as part of the Phase. A pice in a Major key must be transposed to anoeher MAJOR key, etc. Transposed pieces may be 2-3 levels bower than the level entered. ** Improvisation should be performed from memory. However, it is acceptable for students to play from a 'harmonic" outline. The guidelines per classification level indicate the types of improviadica stic could be performed. Remember: original student compositions and mere rhythmic changes in bass lines will not be accepted in the Improvisation Phase. *** Sight-reading material is to be two levels lower than the level entered. THE JUDGE BRINGS ALL SIGHT-READING MATERIAL**. -> Teachers are encouraged to merely prepare students according to the "Circle of Fifths." BUT judges will NOT use the "Circle of Fifths when examining students. (Exception: Diploma programs)

MUSICIANSHIP PHASE CHART - Intermediate

	SCALES	CHORDS/CADENCES	ARPEGGIOS	EAR TRAINING	TRANSPOSITION	IMPROVISATION	SIGHT-READING
INTER A	ALL Major Scales, keys of C-G-D-A-E-B-F# (Gb)-C# (Db)-Ab-Eb-Bb, two octaves, hand(s together, eight-note rhythm M.M. 60 to the quarter.	CHORDS: ALL Tonic Major and Tonic minor Triads (around the Circle of Fifths); root position, hands together plus CADENCES: I-IV-I-V (or V7)-I, root position, hands separately. ALL Major and minor keys (around the Circle of Fifths) (see "->" below).	ALL Tonic Major and Tonic minor Triads (around the Circle of Fifths); root position two octaves with thumb turns, hands together, M.M. 60 to the quarter note (see "->" below).	Be able to sing: Do-Re-Mi-Fa-So-La-Ti-Do from any given note (ascending only). Be able to identify notes as high (above middle C) or low (below middle C) when played by the judge plus identify notes (in groups of three) as ascending or descending (notes will move by STEPS only - no skips).	Transpose any mid-elementary piece to any two keys.	Play an improvisation of at least 24 measures. Provide the judge a brief written outlineof the harmonic pattern. (Example: A B A form in Key of D Major, 4/4 meter, B section in relative minor).	Sight-read any level EE repertoire.
INTER B	ALL harmonic minor scales, keys of c, g, d, a, e, b, f#, c#, ab, eb, bb, f, two octaves, hands together, eight-note rhythm M.M. 72 to the quarter.	CHORDS: ALL Tonic Major and Tonic minor Triads (around the Circle of Fifths); root position and 1st inversion only, hands separately (or together) plus CADENCES: I-IV-I-V (or V7)-I, root position and 1st inverdion, hands together, all Major and minor keys (around the Circle of Fifths) (see "->" below).	ALL Tonic Major and Tonic minor Triads (around the Circle of Fifths); root position AND first inversion, two octaves with thumb turns, hands separately (or together), M.M. 72 to the quarter note (see "->" below).	Identify notes (in groups of four) as ascending or descending (notes will move by steps OR skips) plusrecognize Major and minor Triads in root position.	(Same requirements as IA)	(Same requirements as IA)	Sight-read any level EF repertoire.
INTER C	ALL Major plus ALL parallel harmonic minor Scales, three octaves, hands separately (or together) triplet rhythm M.M. 60 to the quarter.	CHORDS: ALL Tonic Major and Tonic minor Triads (around the Circle of Fifths); three positions, hands together plus CADENCES: I-IV-I-V (or V7)-I, three positions (inversions), hands separately, all Major and minor keys (around the Circle of Fifths) (see "->" below).	ALL Tonic Major and Tonic minor Triads (around the Circle of Fifths); three positions, two octaves with thumb turns, hands separately (or together), M.M. 72 to the quarter note (see "->" below).	Continued recognition of Major and minor Triads in root position plus recognition of the following intervals: M2, P4, P5, P8 (played harmonically and melodically).	Transpose any late elementary to early intermediate piece to any two keys.	Play an improvisation of at least 32 measures. Provide the judge a brief written outlineof the harmonic pattern. (Example: Standard 12-bar blues pattern with two varied repetitions in C Major. A A B A form, each phrase 8 measures, Key of F).	Sight-read any level IA repertorire.
INTER D	ALL Major plus ALL parallel harmonic minor Scales, three octaves, hands together, triplet rhythm M.M. 60 to the quarter.	CHORDS: Same requirements as IC plus CADENCES: I-IV-I-V (or V7)-I, three positions, hands together. ALL Major and minor keys (around the Circle of Fifths) (see "->" below).	(Same requirements as IC)	Recognition of following intervals: M3, M6, M7, (played harmonically and melodically) plus recognition of Major and minor Triads in ANY position (the student does not have to identify the particular inversion played).	(Same requirements as IC)	(Same requirements as IC)	Sight-read any level IB repertorire.
INTER E	ALL Major plus ALL parallel harmonic minor Scales plus ALL melodic minor Scales, three octaves, hands together, triplet rhythm M.M. 72 to the quarter.	CHORDS: ALL Tonic Major, minor, diminished, and Augmented Triads (around the Circle of Fifths); root position, hands separately or together plus CADENCES: I-IV-I-V (or V7)-I, three positions (inversions), hands together, ALL Major and minor keys (around the Circle of Fifths) (see "->" below).	ALL Tonic Major and Tonic minor Triads (around the Circle of Fifths); three positions, two octaves with thumb turns, hands separately (or together), M.M. 72 to the quarter note (see "->" below).	Recognition of following intervals in the Major Scale: M2, P4, P5, M3, M7, M8 (played harmonically and melodically).	Transpose any early intermediate to mid-intermediate piece to any two keys.	Pay an improvisation approximately two minutes in length. Provide the judge a brief written outline of the structure. (Example: A B A C A Coda form in G Major, 6/8 meter).	Sight-read any level IC repertorire.
INTER F	ALL Major plus ALL parallel harmonic minor Scales plus ALL melodic minor Scales, three octaves, hands together, triplet rhythm M.M. 80 to the quarter.	CHORDS: ALL Tonic Major, minor, diminished, and Augmented Triads (around the Circle of Fifths); root position, hands separately or together plus CADENCES: I-IV-I-V (or V7)-I, root positions, hands separately. ALL Major and minor keys (around the Circle of Fifths) (see "->" below).	(Same requirements as IE)	Recognition of following intervals: m2, m3, m6, m7 (played harmonically and melodically) plus recognition of Major and harmonic minor Scales.	Same requirements as IE).	(Same requirements as IE)	Sight-read any level ID repertorire.
	* The student entering a Musicianship Phase in lieu of a memorized picce will be tested only on material listed for his/her present classification. All Scales and Arpeggios in each of the levels MUST be played ascending and descending. * When Cadences are played hands together, chords may be played in both hands or the root in the bass (common tone/closed position). ** Ear Training is to be played at the piano by the judge. * Transpositions are in keys the student has chowen and prepared in advance. Music may be usod, but the transpositions may NOT be noested. NO IMMT is required. A pice previcualy perfcrned fue ne on a program may also be later transposed as part of the Phase. A pice in a Major key must be transposed to anoeher MAJOR key, etc. Transposed pieces may be 2-3 levels bower than the level entered. ** Improvisation should be performed from memory. However, it is acceptable for students to play from a 'harmonic" outline. The guidelines per classification level indicate the types of improviadica stic could be performed. Remember: original student compositions and mere rhythmic changes in bass lines will not be accepted in the Improvisation Phase. *** Sight-reading material is to be two levels lower than the level entered. THE JUDGE BRINGS ALL SIGHT-READING MATERIAL**. -> Teachers are encouraged to merely prepare students according to the "Circle of Fifths." BUT judges will NOT use the "Circle of Fifths when examining students. (Exception: Diploma programs)

MUSICIANSHIP PHASE CHART - Preparatory

	SCALES	CHORDS/CADENCES	ARPEGGIOS	EAR TRAINING	TRANSPOSITION	IMPROVISATION	SIGHT-READING
PREP A	ALL Major, ALL parallel harmonic minor Scales, ALL melodic minor Scales, plus ALL natural minor Scales, four octaves, hands separately (or together), sixteenth-note rhythm M.M. 72 to the quarter.	CHORDS: ALL Tonic Major, minor, diminished, and Augmented Triads (around the Circle of Fifths); three positions (inversions), hands separately (or together) plus Dominant and diminished Seventh Chords, all keys, root position, hands separately (or together) plus CADENCES: I-IV-I-V-V7-I, root positions, hands together, ALL Major and minor keys.	ALL Tonic Major and Tonic minor Triads (around the Circle of Fifths); three positions, four octaves with thumb turns, hands separately (or together), eight-note rhythm M.M. 72 to the quarter plus Dominant and diminished Seventh arpeggios, all keys, root position, two octaves hands separately (or together), eighth-note rhythm M.M. 60 to quarter (see "->" below).	Be able to sing: Do-Re-Mi-Fa-So-La-Ti-Do from any given note (ascending only). Be able to identify notes as high (above middle C) or low (below middle C) when played by the judge plus identify notes (in groups of three) as ascending or descending (notes will move by STEPS only - no skips).	Transpose a very easy melody to any two keys.	A "Free" improvisation is available for EA students.	Sight-read a very easy piece within a 5 note range (PrimerLevel repertoire).
PREP B	ALL Major, ALL parallel harmonic minor, ALL melodic minor, ALL natural minor Scales, four octaves, hands together, sixteenth-note rhythm M.M. 80 to the quarter.	CHORDS: ALL Tonic Major, minor, diminished, and Augmented Triads, three positions (inversions), hands together plus Dominant and diminished Seventh Chords, all keys, root position, hands together plus CADENCES: I-IV-I-V-V7-I, three positions (inversions), hands separately (or together), ALL Major and minor keys.	Same Triad requirements as PA plus Dominant and diminished Seventh arpeggios, all keys, root position, two octaves hands together, eighth-note rhythm M.M. 60 to the quarter (see "->" below).	Identify notes (in groups of four) as ascending or descending (notes will move by steps OR skips) plusrecognize Major and minor Triads in root position.	Transpose a 5-note folk melody (or its equivalent) to any two keys (minimum lenght: 8 measures).	Play an improvisation of at least 8 measures. Provide the judge a brief written outline of the structure. (Examples: Question-Answer Phrases with I & V7; Standard 12-bar blues pattern; Ostinato bass with improvised R.H.).	Sight-read a folk melody or piece within a 5-note range--(primer Level to EA level repertoire).
PREP C	ALL Major, ALL parallel harmonic minor, ALL melodic minor, ALL natural minor Scales, four octaves, hands together, sixteenth-note rhythm M.M. 92 to the quarter.	CHORDS: Same requirement as PB plus Dominant and diminished Seventh Chords, all keys, all positions, hands separately (or together) plus CADENCES: I-IV-I-V-V7-I, three positions (inversions), hands together. ALL Major and minor keys.	ALL Tonic Major and Tonic minor Triads (around the Circle of Fifths); three positions, four octaves with thumb turns, hands together, eight-note rhythm M.M. 80 to the quarter plus Dominant and diminished Seventh arpeggios, all keys, root position, four octaves hands separately (or together), eighth-note rhythm M.M. 72 to quarter (see "->" below)	Continued recognition of Major and minor Triads in root position plus recognition of the following intervals: M2, P4, P5, P8 (played harmonically and melodically).	Same requirements as EB: minimum length: 16 measures.	(Same requirements as EB)	Sight-read any level EA repertorire.
PREP D	ALL Major, ALL parallel harmonic minor, ALL melodic minor, ALL natural minor Scales, four octaves, hands together, sixteenth-note rhythm M.M. 100 to the quarter plus all contrary motion scales (Major AND harmonic minor), two octaves, M.M. 92 to the quarter.	CHORDS: Same requirement as PB, PC plus Dominant and diminished Seventh Chords, all keys, all positions, hands together plus CADENCES: Same requirements as PC plus Plagal Cadences (IV-I), three positions (inversions), hands together. ALL Major and minor keys.	Same Triad requirements as PC plus Dominant and diminished Seventh arpeggios, all keys, root position, four octaves, hands together, eighth-note rhythm M.M. 72 to the Quarter.	Recognition of following intervals: M3, M6, M7, (played harmonically and melodically) plus recognition of Major and minor Triads in ANY position (the student does not have to identify the particular inversion played).	Transpose a folk melody (or its equivalent to any two keys or transpose an elementary piece (Major or minor) to any two keys.	Play an improvisation of 12-16 measures. Provide the judge a brief written outline of the harmonic pattern. (Example: I IV ii V7 chord pattern in Key of C, 4/4 meter.)	Sight-read any level EB repertorire.
	* The student entering a Musicianship Phase in lieu of a memorized picce will be tested only on material listed for his/her present classification. All Scales and Arpeggios in each of the levels MUST be played ascending and descending. * When Cadences are played hands together, chords may be played in both hands or the root in the bass (common tone/closed position). ** Ear Training is to be played at the piano by the judge. * Transpositions are in keys the student has chowen and prepared in advance. Music may be usod, but the transpositions may NOT be noested. NO IMMT is required. A pice previcualy perfcrned fue ne on a program may also be later transposed as part of the Phase. A pice in a Major key must be transposed to anoeher MAJOR key, etc. Transposed pieces may be 2-3 levels bower than the level entered. ** Improvisation should be performed from memory. However, it is acceptable for students to play from a 'harmonic" outline. The guidelines per classification level indicate the types of improviadica stic could be performed. Remember: original student compositions and mere rhythmic changes in bass lines will not be accepted in the Improvisation Phase. *** Sight-reading material is to be two levels lower than the level entered. THE JUDGE BRINGS ALL SIGHT-READING MATERIAL**. -> Teachers are encouraged to merely prepare students according to the "Circle of Fifths." BUT judges will NOT use the "Circle of Fifths when examining students. (Exception: Diploma programs)

MUSICIANSHIP PHASE CHART - H.S. Diploma/College/Young Artist

	SCALES	CHORDS/CADENCES	ARPEGGIOS	EAR TRAINING	TRANSPOSITION	IMPROVISATION	SIGHT-READING
H.S. DIPLOMA (Regular 15-piece Diploma, not Social Music Diploma)	(Same as Preparatory A. B. c. D--Ssixteenth-note rhythm M.M. 100 to the quarter)	CHORDS and CADENCES: ALL requirements through Preparatory D plus MODULATION: All smooth passings from an old key to a new key are accesptable (example: V7 of the old key to V7 of the new key). Modulation must be memorized. (The Modulcation part of this Phase is NOT required of students in the Social Music High School Diploma -- only students in the 15-piece regular Diploma must play Chords, Cadences, and Modulation.)	(Same requirements listed through PD level)	(Same requirements listed through Preparatory A. B. C. D)	(Same requirements as PD)	(Same requirements as PD)	(Same requirements as PD)
COLLEGE A. B. C. D.	ALL Major and ALL minor (harmonic, melodic, and natural) Scales, four octaves, hands together, sixteenth-note rhythm M.M. 112 to the quarter plus all contrary motion scales (Major and harmonic minor) plus all Major and harmonic minor Scales in 3rds, 4 octaves -- Sixteenth-note rhythm M.M. 100 to the quarter.	ALL requirements listed through PD level.	ALL Tonic Major and Tonic minor Tiads (around the Circle of Fifths); three positions, four octaves with thumb turns, hands together, sixteenth-note rhythm M.M. 80 to quarter plus Dominant and diminished Seventh arpeggios, all keys, all positions, four octaves hand toether, M.M. 72 to the quarter (see "->" below).	ALL requirements listed throught PD level plus be able to sing any diatonic or chromatic interval from any given note plus take melodic and rhythmic dictation of an 8-measure phrase.	(Same requirements as PD)	Play an improvisation 4-5 minutes in lenght. Provide the judge a written outline of the structure.	Sight-read any level PCCB repertoire.
YOUNG ARTIST	Same as Collegiate A, B, C, D plus all Major and all minor (harmonic, melodic, and natural) Scales in 3rds, 6ths, and 10ths -- Sixteenth-note rhythm M.M. 120-132 to the quarter.	An extended Cadence utilizing your knowledge of chords within a given Majorkey, including a modulation to a relative minor key and back again, concluding in Major. Apply this formula to ALL 12 keys in the Circle of Fifths (see "->" below).	Same Triad and Dominant and diminished Seventh arpeggio requirements as Collegiate A, B, C, D plus sixteenth-note rhythm M.M. 100 to quarter.	ALL requirements listed throught PD level plus take written dictation of any diatonic or chromatic interval plus take melodic and rhythmic dictation of a 16-measure phrase.	(Same requirements as CA-CD)	Improvise a set of variations on an original theme. Provide the judge an outlien of the theme.	Sight-read any level CC repertorire.
	* The student entering a Musicianship Phase in lieu of a memorized picce will be tested only on material listed for his/her present classification. All Scales and Arpeggios in each of the levels MUST be played ascending and descending. * When Cadences are played hands together, chords may be played in both hands or the root in the bass (common tone/closed position). ** Ear Training is to be played at the piano by the judge. * Transpositions are in keys the student has chowen and prepared in advance. Music may be usod, but the transpositions may NOT be noested. NO IMMT is required. A pice previcualy perfcrned fue ne on a program may also be later transposed as part of the Phase. A pice in a Major key must be transposed to anoeher MAJOR key, etc. Transposed pieces may be 2-3 levels bower than the level entered. ** Improvisation should be performed from memory. However, it is acceptable for students to play from a 'harmonic" outline. The guidelines per classification level indicate the types of improviadica stic could be performed. Remember: original student compositions and mere rhythmic changes in bass lines will not be accepted in the Improvisation Phase. *** Sight-reading material is to be two levels lower than the level entered. THE JUDGE BRINGS ALL SIGHT-READING MATERIAL**. -> Teachers are encouraged to merely prepare students according to the "Circle of Fifths." BUT judges will NOT use the "Circle of Fifths when examining students. (Exception: Diploma programs)

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