MUS 122 - Piano Techniques II

1. Understand and develop the following technique:
   • All major and minor scales one octave hands together in quarter notes at 72 bpm using standard fingerings.
   • All modes starting on any white key, one octave one hand.
   • All major and minor triads and inversions, played hands together, blocked in quarters and broken in triplets using standard fingerings at 40 bpm.
   • All major and minor arpeggios two octaves, played hands separate, in quarter notes at 72 bpm.
   • All white key root position V7 chords, played one octave hands separate, blocked and broken in eighth notes at 72 bpm.
   • Major and minor cadences (I - IV6/4 - I - V6/5 - I) in all keys.
   • Major and minor cadences utilizing primary and one or more secondary chords, to be played hands together in keys up to 3 flats and sharps.
2. Demonstrate skill in playing choral warm-up exercises in all keys.
3. Transpose short pieces up or down a second.
4. Sight-read beginning keyboard repertoire.
5. Read two-part vocal scores that utilize the tenor clef.
6. Harmonize melodies using primary chords and one or more secondary chords.
7. Improvise an accompaniment to a lead sheet that uses primary chords and one or more secondary chords
8. Improvise simple melodies given a chord progression that uses primary chords and one or more secondary chords.
9. Perform 2 large repertoire works in the late elementary/early intermediate difficulty range.

A. Review

1. CGDAE review (1 octave scales hands together, 2 octave arpeggios hands separate, and I IV6/4 I V6/5 I cadences)

2. Transposition: simpler pieces up or down by 2^nd

3. Harmonization: simple melodies with primary chords

4. Emphasis should be placed on reading new pieces

B. Introduce Literature pieces

II. Weeks 3 – 6

A. Literature work

B. Sight playing

C. F major and minor and B major and minor review (1 octave scales hands together, 2 octave arpeggios hands separate, and I IV6/4 I V6/5 I cadences)

D. New technique: Black key major and minor 2s and 3s scales 1 octave hands together, 2 octave arpeggios hands separate, and I IV6/4 I V6/5 I cadences)

E. Modes: dorian and mixolydian

F. Score reading: 2-part vocal scores that utilize the tenor clef

G. Harmonization and Lead sheets with primary chords and the ii chord

H. Transposition up or down by 2nd

I. Melodic improvisation using the pentatonic or the major scale

III. Weeks 7 – 10

A. Literature performance

B. New technique: B-flat major, E-flat major, A-flat major harmonic and melodic minor 1-octave scales, 2-octave arpeggios, and I IV6/4 I V6/5 I cadences

C. Modes: Lydian

D. Sight playing

E. Score reading: more complex 2-part vocal scores utilizing the tenor clef

F. Harmonization and Lead sheets with primary chords and the ii and vi chords

G. Transposition of short pieces of greater complexity up or down by 2nd

IV. Weeks 11 - 14

A. Literature performance

B. Sight playing

C. New Technique:  G-flat and D-flat major and minor 1 octave scales hands together, 2 octave arpeggios hands separate and I IV6/4 I V6/5 cadences

D. Modes: Phrygian and Locrian

E. Melodic improvisation over a chord progression using secondary chords

F. Harmonization and Lead sheets with primary and secondary chords

G. Transposition of short pieces of greater complexity up or down by 2nd

Demonstration: 20-35%

Student practice and performance: 50-70%
Mandatory Course Components:
Individual practice outside of class is required. Most students require 2 hours per class period. Students must follow practice room protocols as established by the GRCC Music Department.
Equivalent Courses:
None