{"id":137,"date":"2011-08-17T15:29:49","date_gmt":"2011-08-17T19:29:49","guid":{"rendered":"https:\/\/www.esm.rochester.edu\/classpianonew\/?page_id=137"},"modified":"2019-06-04T18:41:01","modified_gmt":"2019-06-04T22:41:01","slug":"pcl102","status":"publish","type":"page","link":"https:\/\/www.esm.rochester.edu\/classpiano\/pcl102\/","title":{"rendered":"Class Piano 102 (2nd Semester)"},"content":{"rendered":"<hr \/>\n<h1><strong>PLEASE NOTE:\u00a0 This class is for Eastman students only.<\/strong><\/h1>\n<p><strong>TEXT: Keyboard Musicianship, Book 1, 11th edition, 2019:\u00a0 <strong>Chapters 5\u20148<\/strong><br \/>\n(Lyke, Caramia, Haydon, and Chioldi)<br \/>\n<em>Stipes Publishing\u00a0<\/em> <\/strong><\/p>\n<p align=\"left\"><strong>OBJECTIVES:<br \/>\na continuation of the skills acquired in PCL 101; further mastery of the keyboard through increased technical abilities.<\/strong><\/p>\n<h3>1) <span style=\"text-decoration: underline\">Technique:<\/span><\/h3>\n<ul>\n<li>all white key minor scales (harmonic form) in 8th notes, hands together, 2 octaves<\/li>\n<li>review all white key major scales in 8th notes, hands together, 2 octaves<\/li>\n<li>the chromatic, whole tone and pentatonic scales, hands alone<\/li>\n<li>2 and 3 note slurs; some preliminary attention to arm rotation, wrist flexibility; more emphasis on posture, finger strength and independence<\/li>\n<li>all white key major and minor arpeggios, hands together, 2 octaves<\/li>\n<li>modes<\/li>\n<\/ul>\n<h3>\u00a02) <span style=\"text-decoration: underline\">Repertoire:<\/span><\/h3>\n<ul>\n<li>song arrangements using chapter material<\/li>\n<li>pieces at the late elementary to early intermediate levels, stressing hand independence, a broader choice of articulation, a wider dynamic range, scale passages, chords in root and inverted positions; composers include Heller, Diabelli, Duncombe, Beethoven, Kabalevsky, Bartok, Dring, and Caramia<\/li>\n<\/ul>\n<h3>\u00a03) <span style=\"text-decoration: underline\">Fundamental Skills:<\/span><\/h3>\n<ul>\n<li><strong>chord progressions:<\/strong> I-V-I; I-iii-IV-I-ii-I-V7-I; I-IV-V7-I; I-V-vi-iii-ii-I-V7-I; I-vi-IV-I-ii-I-V7-I<\/li>\n<li>lead sheet <strong>harmonization, <\/strong>with triads, and jazz chords; harmonization by ear<\/li>\n<li>use of primary and secondary chords with inversions: <em>in keyboard texture mainly <\/em><\/li>\n<li>two-hand accompaniments<\/li>\n<li>chord progressions of increasing difficulty: modulation to the dominant, to the relative major, to the relative minor<\/li>\n<li>study of all 7th chords<\/li>\n<li><strong>sight reading<\/strong>, <strong> improvisation <\/strong> and work with primary, secondary, and jazz chord vocabulary<\/li>\n<\/ul>\n<p align=\"center\"><strong>Course Outline<\/strong><\/p>\n<p style=\"text-align: left\" align=\"center\">Chapter 5 (6 classes)<br \/>\n<em>Suggested Playing Exam Topics<\/em>, <em>page 198<\/em><\/p>\n<p style=\"text-align: left\" align=\"center\">Chapter 6 (6 classes)<br \/>\n<em>Suggested Playing Exam Topics<\/em>, <em>page 246<\/em><\/p>\n<p style=\"text-align: left\" align=\"center\">Chapter 7 (6 classes)<br \/>\n<em>Suggested Playing Exam Topics<\/em>, <em>page 292<br \/>\n<\/em><\/p>\n<p style=\"text-align: left\" align=\"center\">Chapter 8 (5 classes)<br \/>\n<em> <em>Suggested Playing Exam Topics<\/em>, <em>page 350<\/em><\/em><\/p>\n<p align=\"center\"><strong><span style=\"text-decoration: underline\">Grades<\/span><\/strong><\/p>\n<p>Grades are based more on progress in class than on exam performance:<\/p>\n<ul>\n<li>attendance &#8211; <strong>NO MORE THAN 2 UNEXCUSED ABSENCES ARE ALLOWED.<\/strong><\/li>\n<li>quality and quantity of work covered<\/li>\n<li>progress shown throughout the semester<\/li>\n<li>students\u2019 playing relative to the requirements of this level<\/li>\n<li>class work including preparation for classes, labs, and lessons<\/li>\n<li>4 Chapter tests<\/li>\n<li>quizzes at the discretion of the instructor<\/li>\n<li>input from the instructor, including daily assessment, evaluation of performances, and other criteria as stated in individual policies<\/li>\n<\/ul>\n<p align=\"center\"><a href=\"https:\/\/www.esm.rochester.edu\/classpiano\/pcl102.php#top\">[back to top]<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>PLEASE NOTE:\u00a0 This class is for Eastman students only. TEXT: Keyboard Musicianship, Book 1, 11th edition, 2019:\u00a0 Chapters 5\u20148 (Lyke, Caramia, Haydon, and Chioldi) Stipes Publishing\u00a0 OBJECTIVES: a continuation of the skills acquired in PCL 101; further mastery of the keyboard through increased technical abilities. 1) Technique: all white key minor scales (harmonic form) in&hellip;<\/p>\n","protected":false},"author":41,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"coauthors":[4],"class_list":["post-137","page","type-page","status-publish","hentry","description-off"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.esm.rochester.edu\/classpiano\/wp-json\/wp\/v2\/pages\/137","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.esm.rochester.edu\/classpiano\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.esm.rochester.edu\/classpiano\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/classpiano\/wp-json\/wp\/v2\/users\/41"}],"replies":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/classpiano\/wp-json\/wp\/v2\/comments?post=137"}],"version-history":[{"count":0,"href":"https:\/\/www.esm.rochester.edu\/classpiano\/wp-json\/wp\/v2\/pages\/137\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.esm.rochester.edu\/classpiano\/wp-json\/wp\/v2\/media?parent=137"}],"wp:term":[{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/classpiano\/wp-json\/wp\/v2\/coauthors?post=137"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}