MUS 222 - Piano Techniques IV

1. Understand and develop the following technique.
   1. All major and minor scales two octaves hands together in eighth notes at 78 bpm per quarter note using standard fingerings
   2. All major and minor triads and inversions blocked in quarters and broken in triplets using standard fingerings at 60 bpm per quarter
   3. All major and minor arpeggios two octaves hands separate in eighths at 60 bpm per quarter
   4. All white key V7 chords blocked and two octaves broken hands separate in eighths at 60 bpm per quarter
   5. All Major and minor cadences and inversions. Cadences will utilize primary chords and one or more secondary chords, as well as ii9 - V9 - I9 in all keys
   6. Progressions that involve chromatically altered chords including common tone diminished chords, altered dominants, and chromatic mediants in keys up to 3 flats and sharps
2. Transpose more complex pieces up or down by fourth.
3. Read and perform four and five-part vocal scores.
4. Read 3-part instrumental scores utilizing transposing instruments.
5. Harmonize melodies using diatonic and chromatic harmony, including modulations.
6. Improvise an accompaniment to a lead sheet that uses diatonic and chromatically altered chords.
7. Improvise more complex melodies given a chord progression that uses diatonic and chromatic harmony.
8. Improvise short compositions with antecedent and consequenc phrase structures ba based on modal harmonies.
9. Improvise both accompaniments and melodies based on the 12-bar blues structure.
10. Perform four compositions from the standard piano repertoire for early intermediate players.
11. Perform a simple vocal or instrumental accompaniment, appropriate to a student’s major.
12. Create and demonstrate appropriate choral warmups 

A. Review

1. CGDAE review (2 octave scales and Arpeggios and Cadences)

2. Score reading-two-part scores with alternate clefs; three-part simple choral scores

3. Chromatic Harmony review

4. Transposition-simpler pieces to keys up to a 3rd apart more complicated pieces to keys a 2nd apart.

5. Emphasis should be placed on reading new pieces

6. Improvisation on Blues progression

II. Weeks 3 – 6

A. Literature performance

B. New technique: 2s and 3s (F and B, Black key 2s and 3s), scales, arpeggios and cadences

C. Review of modes. Improvisation on modes.

D. Score reading: transposing instruments in 2 voices and three-part choral scores

E. Harmonization and Lead sheets with secondary function chords

F. Transposition by 3^rd and 4^th

III. Weeks 7 – 10

A. Literature performance

B. New Technique: B-flat Major, E-flat Major, A-flat Major Harmonic and Melodic Minor scales arpeggios and adences

C. Improvisation using modes and chromatic harmony

D. Score reading: transposing instruments in 3 voices and 4-part vocal scores

E. Harmonization and Lead sheets with chromatic harmony

F. Transposition to any key

IV. Weeks 11 - 14

A. Literature performance

B. Accompanying a singer or instrumentalist

C. Accompanying performance

D. New Technique:  G-flat and D-flat scales arpeggios and cadences

E. Score reading-two and three-part scores with alternate clefs and transposed instruments; more complicated three-part choral scores

F. Modulation

E. Harmonization and Lead sheets of melodies that modulate

F. Transposition-contrapuntal pieces in more difficult keys

Demonstration: 15-25%

Student practice and performance: 50-70%