Piano Curriculum

Mission Statement of the Piano Department: Our mission is to guide students of all ages in the Art of Piano in ways that are loving and challenging and to represent a standard of quality for the community.

The goal: to love music. Adopted by the piano faculty, Spring 2000

What do we mean by this Art of Piano? Students and families coming to Eastman for piano lessons have a wide range of expectations and ambitions; we can be many things to many people, and we try to help students find their own way in a diverse musical universe. We realize that piano skills are basic in western music, and our syllabus attempts to guide students to a mastery of several skill sets and diverse musical styles.

This new 2006 edition of the Piano Syllabus revisits the Eastman Piano Department Curriculum, which has been in continuous use (with frequent revisions) since the founding of the Preparatory Department of the Eastman School in 1921. Our new Syllabus acknowledges that the accepted “standard” repertoire, available teaching repertoire, methodologies of music education and the overall musical literacy of children have all changed since the early 20th Century; it also acknowledges the validity of the 1994 MENC National Standards.

Recognizing that “ear precedes eye” in learning to play an instrument, our new syllabus encourages the playing of folksongs by ear in the early levels, along with the acquisition of keyboard harmony skills: scales. triads, inversions, and chord progressions. Teachers may adopt diverse exercises involving ear training, singing, and movement; many make use of music theory texts alongside piano methods in the early grades. We strongly encourage our piano students to enrich their skills by taking advantage of the many ECMS Theory course offerings.

Annual examinations provide an ongoing assessment of student progress. ECMS Piano students are encouraged, but not required, to play annual examinations. We do not formally examine piano students in music theory, ear training, or improvisation. The examination report consists of written commentary and a numeric level. An introductory level is followed by 6 numeric levels. Students generally advance ¼ to ½ level each year. To minimize competitiveness and to discourage grade inflation, we place a ceiling on a student’s curricular level: the maximum level equals 50% of a student’s school grade plus ½. Thus, a fifth-grader can attain at most a 3 [50% X 5 + ½], regardless of the level of his or her repertoire; similarly, a high school senior can attain a maximum of 6½. Levels 4 through 6 are designated “Advanced Division.” Students in these levels will generally be examined by a jury rather than by an individual teacher.

When a student achieves level 5 or higher and has completed the prescribed coursework, he or she is eligible to receive the Community Music School Diploma in Piano.  Most of our students, working diligently and consistently, aspire to achieve this grade. For a complete discussion of our Diploma offerings, see the pertinent ECMS brochure, or visit thewebsite: www.esm.rochester.edu/community.

 

Introductory Level

Technique and Keyboard Skills

Play by ear one or two simple tunes in two or three different keys. Play 1 or 2 scales; hands separately, one octave in quarter notes, M.M. q = 72 - 96.

 

Studies

Alfred—Technic Books [1A]
Burnam—Dozen a Day [Mini, Preparatory]
Czerny/Schaum—Book

 

Methods

Alfred—Alfred's Basic Piano Library, Preparatory, Book 1A
Barrett, Carol—Chester's Easiest Piano Course Books 1, 2
Bastien—Bastien Piano Basics, Primer, Book 1
Boosey and Hawkes (pub.)—The Russian School of Piano Playing, Book 1
Burnam—Step-by-Step, Book 1
Clark—Music Tree, Time to Begin, Part 1
D'Auberge—Piano Course, Book 1
Olson—Music Discoveries; Solos Book A, Music Pathways
Suzuki—Piano Method Book 1
Thompson—Teaching Little Fingers to Play; Easiest Piano Course Books 1, 2

 

Contemporary

Linda Niamath—Marching Mice, etc.
Donald Waxman—Introductory Pageant, Book 1; Folksongs Pageant 1A

 

Collections

Bigeler-Watts—Everybody's Perfect Masterpieces Book 1
Harris (pub.)—Celebration Series, Introductory Book    

Sources of Folksongs for Ear Playing

Eastman Folk Sing: CD of 30 Folk Songs.
Jump Right In! Solo Books and CD’s 1-3, 100 songs

Examination Requirements

Student should play a few songs, exercises and/or pieces to demonstrate beginning competency in duple/triple meters, staccato/legato touch, piano/forte dynamics.

The above listings above represent recommendations; ECMS teachers may feel free to choose other repertoire of similar level in any category.

 

Level I

Abstract Technique

Scales and Arpeggios in Pattern 1: 7 major keys, 3 harmonic minor keys.

 

Keyboard Skills

1. Tonic and Dominant Chords (Hands alone or together)

2. Play by ear one simple tune-melody only, one hand-such as Alouette, Clementine, Eensy-Weensy Spider, Go Tell Aunt Rhody, Hot Cross Buns, London Bridge, Mary Had a Little Lamb, Skip to my Lou, or Three Blind Mice in 7 Major keys.

 

Etudes

Burnam—A Dozen a Day, Preparatory and Book 1
Guy—Expressive Etudes, Book 1
Olson—Traditional Piano Etudes, Book 1

 

Methods

Clark, Goss, Holland—Music Tree, Parts 2A, 2B
Faber and Faber—Piano Adventures, Books 2A, 2B; Show Time, Chord Time
Hal Leonard—Piano Lessons, Books 2, 3
Suzuki—Piano School, Book 1
Thompson—Easiest Piano Course, Books 2, 3

 

Collections

Clark et. al.—*Keyboard Literature (Music Tree, Part 3)
Faber—Developing Artist/Piano Literature; Preparatory, Book 1
Harris (pub.)—*Celebration/Odyssey Piano Repertoire; Intro., Book 1
Magrath—Masterwork Classics, Books 1, 2
Olson—Essential Keyboard Repertoire, Early Level

 

Literature by Composer

Bartok—Mikrokosmos, Books 1, 2 (early pieces); First Term at the Piano; For Children (easiest pieces)
George, Jon—A Day in the Park, A Day in the Jungle, etc.
Norton, Chris—Microjazz for Beginners, Microjazz Collection 1
Waxman—Pageants, Book 2

 

Sources of Folksongs for Ear Playing

Eastman Folk Sing: CD of 30 Folk Songs.
Jump Right In! Solo Books and CD’s 1-3, 100 songs

Examination Requirements

1. The examiner will ask to hear scales, arpeggios, and chord progressions in one or two keys. The goal of 7 Major/3 Minor keys is not attainable by all level one students. Metronome is not used in the examination: tempo is a practice guideline.
2. The student will be asked to play a folk-tune of his/her choice by ear.
3. The student will play three contrasting pieces.

The repertoire above represents recommendations; ECMS teachers may feel free to choose other repertoire of similar level in any category.

Students may be stopped partway through longer pieces. Examinations are not recitals, and they do proceed according to schedule. Students may be assured that at least a portion of each composition will be heard.

*Asterisk indicates listing in NYSSMA Level One.

 

Level II

Abstract Technique

Scales in Pattern 2.  Minimum 10 major and 5 harmonic minor keys, M.M. ca. q = 72.

Triad Arpeggios, Pattern 2. (Same keys as those for the scales above)

[play duple eighths: these slurs represent hand positions]

Recommended, not mandatory:

Broken and solid triads, root position and inversions, hands separately, same keys as scales. Various options exist: for example, omit the solid chords and play continuously; play hands together.

 

Keyboard Skills

1. Tonic, Subdominant and Dominant chord progression in 5 major and 5 minor keys. (Chords may be played hands alone or together, or RH chords with LH roots.)

 

2. Harmonizing and Transposing: 2-chord songs such as Alouette, Clementine, Eensy-Weensy Spider, Go Tell Aunt Rhody, Hot Cross Buns, London Bridge, Mary Had a Little Lamb, Skip to my Lou, Three Blind Mice in C, G, F, using block chords or broken chords.

 

Etudes

Burnam—A Dozen a Day, Books 1 and 2
Czerny-Germer—Selected Studies, Book I/1
Guy, Suzanne, ed.—Expressive Etudes , Book 2
Olson, ed.—Best Traditional Piano Etudes, Book 1

 

Baroque Repertoire

Bach, C.P.E.—*March D Major (Attr. J.S. Bach), BWV Anh. 122 (Anna Magdalena Notebook)
Bach, J.S.—*Minuet G Major, BWV Anh. 116 (Anna Magdelena Notebook)
Handel, G.F.—*Bourrée in G Major; “Impertinence,” HWV 494
Petzold, C.*Minuet G Major (Attr. J.S. Bach), BWV Anh. 114, *Minuet G Minor (Attr. J.S. Bach), BWV Anh. 115 (both from Anna Magdelena Notebook)
Scarlatti, D.—*Minuet C Major, L. 217, K. 73

 

Classic Repertoire (one movement or one dance suffices for examination)

Attwood, T.—Sonatina in G Major
Beethoven, L.—Sonatina in G Major
Clementi, M.—Sonatina in C Major, Op. 36, no. 1
Haydn, J.—Six German Dances
Spindler, F.—Sonatina in C Major

 

Romantic to Contemporary Repertoire

Adler, Samuel—Gradus, Book 1
Bartok, Bela—For Children, Books 1 and 2; Mikrokosmos, Books 2-3
Bernstein, Seymour—Moonscapes
Burgm?ller—Progressive Pieces, Opus 100
Caramia, Tony—The Sounds of Jazz; Six Sketches
George, Jon—Day in the Jungle; Kaleidoscope Books 3-4
Gretchaninoff—Children’s Album, Op. 98
Kabalevsky—24 Pieces for Children, Op. 39
Norton, Chris—Microjazz Collection 1
Shostakovitch, D—*Children’s Pieces
Schumann—Album for the Young, No. 1, 2, 3, 5, 10, 14
Waxman, D—Pageants for Piano, Book 2 / Folksong Pageants, Book 1A

 

Collections

Agay, ed.—Easy Classics to Moderns, Vol. 17
Bastien, James—Sonatina Favorites, Book I
Clark, Goss—Holland Music Tree Part 3 Keyboard Literature
Faber and Faber—Developing Artist Library: Piano Lit. Books 1 and 2 and Sonatinas, Book 1
Harris (pub.)—Celebration/Odyssey Piano Repertoire Books 2-3
Olson (Alfred)—Essential Keyboard Repertoire, Volume 1

 

Methods

Alfred’s Basic Piano Library, Books 1B, 2
Hal Leonard Piano Lessons, Books 2, 3, 4
Music Tree, Part 3
Piano Adventures, Books 3A, 3B, Fun Time

 

Sources of Folksongs for Ear Playing

Eastman Folk Sing: CD of 30 Folk Songs.
Jump Right In! Solo Books 1-3

 

Examination Requirements

1. Examiner will ask to hear scales, arpeggios, and chord progressions in one or two keys. A metronome is not used in the examination.
2. Student will be asked to play a folk-tune of his/her choice with chordal accompaniment; examiner will choose the key (C, G or F).
3. Student should play four contrasting pieces: an etude, a baroque piece, a classical piece, and a romantic-contemporary piece.

This Repertoire represents some recommended pieces; teachers may feel free to choose other repertoire of similar level in any category. Similarly, the Methods and Collections listed above are offered merely as representative examples.

Students may be interrupted partway through longer pieces in their programs. Examinations are not recitals; examiners try to adhere to a schedule.  Students may be assured that at least a portion of each composition will be heard.

*Asterisk indicates listing in NYSSMA Level Two

 

Level III

Abstract Technique

Scales in Pattern 3.  All majors and at least 8 harmonic minors, M.M. q  = 92.
Pattern 3 is similar to Pattern 2, adding four octaves of sixteenth notes for each hand after each set of eighth notes. This pattern is shown below, applied to the vii7dim.

Diminished Seventh Arpeggios,()= 72

Triad Arpeggios (root position only), Pattern 3. All keys, ()= 120.



Option: play 2 octaves (), 4 octaves ().

 

Keyboard Skills

1. Chords I-IV-I-V-I in major and minor keys, in 4-part chorale style. Dim 7 progression, minor mode only.

2. Harmonizing and transposing 3-chord songs such as “Twinkle” in all Major keys.

 

Etudes

Czerny-Germer—Selected Studies, Book I, part 2
Heller—Studies, Opus 46, 47, 125

 

Baroque Repertoire

Bach—Short Preludes
Handel—Various short contrapuntal pieces

 

Classic Repertoire

Beethoven—Sonatina in F Major
Clementi—*Sonatinas, Op. 36, No. 2 - 4
Dussek—Sonatina in G, Op. 20, No. 1
Kuhlau—Sonatinas, Op. 55

 

Romantic to Contemporary Repertoire

Bartok—Mikrokosmos, Vol 3
Burgmuller—Characteristic Studies, Op. 109
Dello Joio—Suite for the Young; Diversions
Gillock—Lyric Preludes
Grieg—Lyric Pieces
Kabalevsky—Variations, Op. 51; Children’s Pieces, Op. 27
Khachaturian—Adventures of Ivan
Nakada—Japanese Festival
Pinto—Scenas Infantis
Prokofiev—*Music for Children, Op. 65
Schubert—selected easy Ländler, Minuets, Waltzes
Schumann—Album for the Young: Knecht Ruprecht
Starer—Sketches in Color

 

Collections

Agay (Amsco/CMP)—Classics to Moderns in the Intermediate Grades, Vol. 37
Bacchus, ed.—The Romantic Spirit, Bk. 2
Faber and Faber—Lesson Books 4 - 5; Sonatina bk. 2-3, Developing Artist Bk. 3-4
Harris (pub.)—Celebration/Odyssey Piano Repertoire Bk. 3, 4, 5, 6
Myers, ed.—Spectrum 2: 30 Miniatures for Solo Piano
Olson—Applause, Bk. 1
Various ed.—Sonatina Album

 

Sources of Folksongs for Ear Playing

Eastman Folk Sing: CD of 30 Folk Songs.
Jump Right In! Solo Books and CD’s 1-3
  

Examination Requirements

1. The examiner will ask to hear scales, arpeggios, and chord progressions in one or two keys. A metronome is not used in the examination: tempos above are given as practice guidelines.
2. The student will be asked to play a folk-tune of his/her choice with chordal accompaniment; examiner will choose the key.
3. The student will play four contrasting pieces: an etude, a baroque piece, a classical piece, and a romantic-contemporary piece.         

This Repertoire represents highly recommended pieces; teachers may feel free to choose other repertoire of similar level in any category. Similarly, the Methods and Collections are offered as representative examples.

Examinations are not recitals; examiners proceed according to schedule. While students may be stopped partway through longer pieces, at least a portion of each composition will be heard.

* Asterisk indicates inclusion in the 2003 NYSSMA listing, Level 3. We include this information for the convenience of students who wish to play for NYSSMA solo festivals. Be sure to consult the current NYSSMA manual to confirm these listings: they change from year to year! The NYSSMA catalog uses a 6-level structure, similar to this Syllabus, but there are relatively few points of congruity between the two lists. One can often find appropriate repertoire in the NYSSMA catalog by looking one level above or below our corresponding levels.

 

Level IV

Abstract Technique

Scales

All major and harmonic minor scales are to be played hands together, with the hands one octave apart: up and down 1 octave in quarter notes, 2 octaves in eighth notes, 3 octaves in triplets, 4 octaves in sixteenth notes, at about M.M. q  = 92.

 

Arpeggios

All diminished sevenths to be played similarly at the same speed; all major and minor triads to be played in three positions, 1 octave in quarter notes, 2 octaves in eighth notes, 4 octaves in sixteenth notes M.M. q = 80.

 

Studies

Bertini—Studies, Op. 29
Czerny, ed. Germer—Selected Studies, I/2, last ones

 

Baroque Repertoire

Bach—Two-Part Inventions
Scarlatti—Selected Sonatas (medium difficulty)

 

Classic Repertoire

Beethoven—Variations on a Swiss Air, WoO 64, 6 Easy Variations on an Original Theme, WoO 77, Sonatas, Op. 49
Clementi—*Sonatinas, Op. 36, No. 5-6
Kuhlau—Sonatinas, Op. 20, No. 2-3
Mozart—*Viennese Sonatinas; *Sonata in C, K. 545; Sonata in F, K. 547a

 

Romantic to Contemporary Repertoire

Adler—Gradus II
Albeniz—6 Spanish Dances
Bartók—Mikrokosmos [III, IV]
S. Bernstein—Concerto For Our Times; Birds; Moonscapes; Insects
Bloch—Enfantines
Casella—11 Pieces Enfantines
Chopin

Mazurkas: Op. 7, No. 1-2 (B-flat, a); Op. 67, No. 2, 4 (g, a); Op. 68, No. 3 (F).
Nocturnes: Op. 15, No. 3 (g); Op. 55, No. 1 (f); Op. Posth. (c).
Polonaises: Op. Posth. B-flat and g.
Preludes: No. 4 (e), No. 6 (b), No. 7 (a).
Waltzes: Op. Posth. a.

Corea—Children's Songs
Creston—5 Little Dances; 5 Dances Op. 1
Debussy—Arabesques; Reverie; Valse Romantique
Dello Joio—Lyric Pieces for the Young
Granados—Twelve Spanish Dances
Grieg—Lyric Pieces
Kabalevsky—Variations, Op. 51; 2 Sonatinas
Khatchaturian—Adventures of Ivan
MacDowell—Woodland Sketches; Fireside Tales; New England Idylls
Menotti—Poemetti
Mendelssohn—Songs Without Words (easier ones); Children’s Pieces, Op. 72 Pinto Scenas Infantis
Prokofiev—Music For Children, Op. 65 (level 3-4)
Schubert—German Dances and Waltzes (easier ones)
Scriabin—Preludes, Op. 11, No. 2, 4, 15, 17, 22
Starer—Sketches in Color; 7 Vignettes; Hexahedron
Tansman—Pour Les Enfants; Happy Time I; Diversions; Les Jeunes

 

Collections

Agay, ed.—Classics to Moderns Vol 37 "Music for Millions”
Faber and Faber—Sonatinas, Book 4
Harris (pub.)—Celebration/Odyssey Piano Repertoire books 5,6,7,8
Myers, ed.—Spectrum and Spectrum 3: Contemporary Works for Solo Piano
Olson, ed.—Applause, Book 2
Sonatina Albums—[various publishers]

 

Examination Requirements

Level 4 examinations will generally be played for a jury of teachers, including the piano department chairperson.

1. Examiner will ask to hear scales, arpeggios, and chord progressions in one or two keys. A metronome is not used in the examination: tempos above are given as practice guidelines.
2. Student will play four contrasting pieces: an etude, a baroque piece, a classical piece, and a romantic-contemporary piece.

This Repertoire represents highly recommended pieces; teachers may feel free to choose other repertoire of similar level in any category.

Examinations are not recitals; examiners proceed according to schedule. While students may be stopped partway through longer pieces, at least a portion of each composition will be heard.

*Asterisk indicates listing in NYSSMA Level Four.

 

Level V

Abstract Technique

Scales

All major scales are to be played in thirds, sixths, and tenths, 1 octave in quarter notes, 2 octaves in eighth notes, 3 octaves in triplets, 4 octaves in sixteenth notes, M.M. q = circa 100. All harmonic minor scales are to be played with hands an octave apart with the same rhythmic subdivisions and at the same tempo.

 

Arpeggios

All triads are to be played similarly, in three positions, hands together, one octave apart, M.M. q = circa 100. All Dim. 7 arpeggios are to be played similarly at the same speed. All V7 arpeggios are to be played in root position, inversions optional, 1 octave in quarter notes, 2 octaves in eighth notes, 3 octaves in triplets, 4 octaves in sixteenth notes, M. M. q = circa 80.

 

Studies

Berens—Studies, Op. 89 [for the left hand]
Czerny—The School of Velocity, Op. 299

 

Baroque Repertoire

Bach—French Suites, Sinfonias

 

Classic Repertoire

Beethoven—Sonatas Op. 2, No. 1 (c); Op 14, No. 1 (E), Rondos, Op. 51
Haydn—Sonatas Hob. XVI No. 23 (F), 27 (G), 35 (C), 37 (D), 40 (G), 44 (g)
Mozart—Sonatas K. 282 (Eb), 283 (G), 330 (C), 332 (F), Fantasie in D minor, K. 397

 

Romantic to Contemporary Repertoire

Albeniz—Album of 8 Pieces
Bartok—Sonatina; Mikrokosmos [IV, V]; 3 Rondos on Folk Tunes; Roumanian Folk Dances
Berg—Frühe Klaviermusik I
Bloch—Poems of the Sea; Visions et Prophesies
Casella—11 Pieces Enfantines
Chopin—

Mazurkas: Op. 17, No. 1, 2, 4; Op. 24, No. 1-3; Op. 33, No. 3; Op. 63, No. 2; Op. 68, No. 2
*Nocturnes: Op. 9, No. 2 (E-flat); *Op. 37, No. 1 (g); Op. 72, No. 1 (e); Op. Posth., c-sharp
Polonaises: Op. 26, No. 1 (c-sharp); Op. 40, No. 1 (c)
Preludes: No. 9, 15, 20
*Waltzes: Op. 34, No. 2 (a); *Op. 64, No. 1, 2 (D-flat, c-sharp); Op. 69, No. 1, *2 (A-flat, b); Op. 70, No. 2 (f)

Copland—The Cat and the Mouse
Debussy—Children's Corner Suite
Gershwin—George Gershwin for the Piano (Chappell)\
Ginastera—12 American Preludes; Danzas Argentinas; Malambo
Grieg—Lyric Pieces
Liszt—Consolations
MacDowell—Sea Pieces, Op. 55; 10 New England Idylls, Op. 62
Mendelssohn—Songs Without Words; 3 Fantasies, Op. 16, Variations in Bb, Op. 83; Scherzo in B minor
Paderewski—Minuet in G
Rachmaninoff—Moments Musicaux, Op. 16, No. 5
Saint-Saens—Valse Nonchalant, Op. 110
Satie—various works
Schubert—Impromptu in Ab, Op. 142, No. 2; Moments Musicaux
Schumann—Waldszenen, Op. 82
Scriabin—Preludes, Op. 11, No. 1, 18, 23
Tchaikovsky—The Seasons, Op. 37b
Weber—Invitation to the Dance; Sonata in C-Rondo

 

Collections

Harris (pub.)—Celebration/Odyssey Piano Repertoire, Books 7, 8, 9 (not Kabalevsky Variations), 10

 

Examination Requirements

Level 5 and 6 examinations will generally be played for a jury, including the piano department chairperson.

1. Examiner will ask to hear abstract technique in one or two keys. Metronome is not used in the examination. 
2. Student will play four contrasting pieces, including an etude, a baroque piece, a classical piece, and a romantic-to-contemporary piece.

This Repertoire represents highly recommended pieces; teachers may feel free to choose other repertoire of similar level in any category. Examinations are not recitals; examiners proceed according to schedule. While students may be stopped partway through longer pieces, at least a portion of each composition will be heard.

*Asterisk indicates listing in NYSSMA Level 5.

 

Level VI

 

Abstract Technique

Scales

All major and harmonic minor scales are to be played in thirds, sixths and tenths, 2 octaves in eighth notes,  4 octaves in sixteenth notes, M.M. = circa 112.

All melodic minor scales to be played with hands one octave apart, 2 octaves in eighth notes, 4 octaves in sixteenth notes, M.M. = circa 112.

 

Arpeggios

All triads to be played in all positions, similarly, M.M. = circa 112. All diminished sevenths and dominant sevenths (inversions optional) to be played similarly.

 

Studies

Cramer—Studies for the Piano
Moszkowski—Etudes, Op. 72
Czerny—School of Finger Dexterity, Op. 740

 

Baroque Repertoire

Bachhe—Well-Tempered Clavier; English Suites; Partitas
Handel—Keyboard Suites
Scarlatti—Sonatas

 

Classic Repertoire

Beethoven—Sonatas, Op. 14, no. 2 (G); Op. 79 (G)
Haydn—Sonatas, Hob. XVI, No. 21 (c), 34 (e), 41 (Ab), 50 (C), 52 (Eb)
Mozart—Sonatas, K. 310 (a), 311(D), 331(D), 331(A), 333(Bb), 457(c)

 

Romantic to Contemporary Repertoire

Albright—Rags
Barber—Excursions; Ballade; Nocturne
Bartok—Mikrokos. 5-6; Allegro Barbaro; Bagatelles, Op. 6; Suite, Op. 14
Bernstein—New Pictures at an Exhibition
Bolcom—3 Ghost Rags
Brahms—Rhapsodies Op. 79
Chopin—

Mazurkas: Op. 17, No. 1; Op. 24, No. 4; Op. 33, No. 2, 4; Op. 50, No. 1; Op. 59, No. 1, 2; Op. Posth., a, D
Nocturnes: Op. 9, No. 1 (B-flat); Op. 27, No. 1 (c-sharp); Op. 32, No. 1 (B); Op. 48, No. 1, 2
Polonaises: Op. 26, No. 2 (e-flat); Op. 40, No. 2 (c)
Preludes: any not listed in levels 4 - 5
*Waltzes: Op. 18 (E-flat); Op. 70, No. 1, 3; Op. Posth., e

Copland—4 Piano Blues; "Rodeo" Dance Episodes; Night Thoughts
Crumb—A Little Suite for Christmas
Debussy—*Suite Bergamasque; Danse; Suite Pour le Piano; Preludes
Dello Joio—Suite for Piano (Schirmer)
Gershwin—*3 Preludes; Gershwin at the Keyboard (Song Improvisations)
Ginastera—Suite de Danzas Criollas
Gottschalk—Bamboula, Pasquinade, others
Grieg—Sonata in E minor, Op. 7; Ballade, Op. 24
Hindemith—Sonata No. 2; Ludus Tonalis; Tanzstücke, Op. 9
Hoiby—5 preludes, Op. 7
Honegger—Trois Pieces; Sept Pieces Breves
Janacek—The Overgrown Path; In the Mist
Kabalevsky—Sonatas, Rondos, Op. 60
Khachaturian—Toccata
Martin—8 Preludes
Liszt—Rhapsodies, Liebesträume, Années de  Pelerinage, concert etudes
Mendelssohn—Capriccio in F# minor, Op. 5; Fantasie in F# minor, Op. 28; Rondo capriccioso, Op. 14; Scherzo a capriccio in F#
Menotti—Ricercare and Toccata
Messiaen—8 Preludes
Muczynski—Preludes, Op. 6; Suite, Op. 13; Seven, Op. 30; Masks, Op. 40
Paderewski—Legende in Ab, Op. 16/1; Cracovienne Fantastique, Op. 14/ 6
Poulenc—Improvisations, Nocturnes, Promenades, Intermezzi
Prokofiev—pieces from Opp. 3, 4, 12, 22, 32, etc.
Rachmaninoff—Preludes
Ravel—Sonatine
Rochberg—Arioso; Bartokiana
Saint-Saens—6 Etudes, Op. 52; 6 Etudes, Op. 111
Schoenberg—6 Little Pieces, Op. 19
Schubert—*Impromptus, Op. 90, 142; Sonata in A, Op. 120
Schumann—Papillons, Op. 2; Phantasiestücke, Op. 12
Scriabin—Preludes, Op. 11, No. 6, 7, 14, 24; Polonasie, Op. 21
Shostakovich—Preludes, Op. 34; preludes and fugues
Starer—Excursions
Stravinsky—Serenade in A; Tango; Piano Rag Music
Talma—Pastoral Prelude; Alleluia in Form of Toccata
Tcherepnin—various works
Villa Lobos—Prolo de Bebe
Weber—Sonata No. 2 in Ab, Op. 39

Collections

Harris (pub.)—Celebration/Odyssey Piano Repertoire, Books 7, 8, 9 (not Kabalevsky Variations), 10

Examination Requirements and Repertoire Guidelines: see level 5.

Last updated: November 6, 2007

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