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Piano Class 4, Music MajorsMUS-P 141Texts: Lancaster/Renfrow, Alfred’s Group Piano for Adults, Book 2 (Second Edition), 2008, AlfredPublishing. Alfred’s Catalog # 28450, ISBN-13: 978-0-7390-4925-9. Johnson/Evans, Right@Sight Grade Three, Edition Peters, Catalog No. EP 7541In MUS-P 141, sightreading, transposition, harmonization, score reading and technical skills aredeveloped at a greater level of difficulty. Not all skills required in MUS-P 141 are required for alldegree programs; however, it is felt that these skills are necessary and valuable for all musicians.The final jury is the Keyboard Proficiency Examination required for all music degrees. Objectives:SightreadingTranspositionAll major and minor scalesAll major and minor arpeggios, dim and Mm7thsBroken and blocked triadsChord ProgressionsReading vocal and string quartet scoresFour part hymns and anthemsRepertoire piecesPatriotic songs (The Star-Spangled Banner,and My Country ‘tis of Thee)HarmonizationCourse InformationRecord your instructor’s contact informationhere:AI Name:Phone:Email:8/1/16The coordinator of the secondary piano classesis Dr. David Cartledge, emailsecpiano@indiana.edu, phone 855-9009, studioJS204. Office hours are posted on the door atthe beginning of each semester.Your instructor is responsible for the entireinstructional side of your piano class, and is theperson responsible for teaching you and gradingyou. The coordinator oversees all of the pianoclasses, to make sure that all students cover thesame material, in addition to supervisinginstruction. If you have questions about day-today class activities, including class material, andyour progress in the class, you should directthem to your instructor. If you have enrollmentproblems, or problems of a substantial naturethat you are not able to satisfactorily resolvewith your instructor, you should contact thecoordinator.

Page 2, MUS-P 141STUDENT RESPONSIBILITIESJury and Hearing dates: As juries and hearings areone-on-one events, they are scheduled outside ofclass time, by appointment with your instructor.Your instructor will likely arrange a time during class,by email, or by posting a signup sheet. Theapproximate dates of these events are set forth inthe following syllabus. If you have a conflict withany of these dates, let your instructor know early.Instructors are not obligated to make up juries andhearings.Preparation: This syllabus is devised so that you canprepare for class material ahead of time. Forexample, you are expected to have preparedmaterial for week three, and be ready to play it forthe first class period of that week. Your instructorwill announce those items required for preparationfor each class period, and it is expected that you willprepare these items. If you are absent for anyreason, it will be assumed that you are using thissyllabus to keep up with class content.Practice: It is expected that students in secondarypiano classes will practise an average of 30 to 40minutes per day. Some students will require moretime, others less. Do NOT try to “cram” at the lastminute. Piano playing, like any physical skill,requires continual reinforcement, and cannot be“crammed.” Practice time can be scheduled tmlParticipation: This is a laboratory environment. Itcannot function if students are not prepared, or aredistracting. Therefore, points are assigned forparticipation in class. If you are absent, late,unprepared, or uncooperative in class, yourinstructor will assess you accordingly.Need help? Your instructor keeps office hours, eitherat a particular time, or by appointment. Make use ofthese hours—get your money’s worth from theclass!Disabilities: If you require assistance or appropriateacademic accommodations for a disability, pleasecontact the instructor after class, during office hoursor by individual appointment. You must haveestablished your eligibility for disability supportservices through the Office of Disability Services forStudents in W302 Wells Library, 855-7578.Religious Observances: If a jury, hearing orassignment is scheduled on a religious holiday youobserve, please inform your instructor during thefirst two weeks of class so that reasonableaccommodations can be made.GRADING SYSTEMTogether, jury, hearing and instructional days total400 points:Daily class scores:3 hearings at 30 points each:1 Midterm jury:1 Final jury:130 points90 points90 points90 pointsUp to 5 points are assigned for each instructionalday. These points are at the discretion of theinstructor and reflect attendance, participation andpreparation. Your attendance at the class is mostimportant for your progress as well as assessment.Your lowest two class day scores will be droppedfrom calculation of your grade. This dropping ofyour lowest two scores is intended to provideprotection against missed class days due to illness orequivalent need. All class days which are missed willbe scored zero. Students who add the class late willhave classes scored beginning at the date ofregistration.Your grade will be figured as follows:A 392 or aboveC 319-304A391-376C303-292A-375-360C-291-280B 359-344D 279-264B343-332D263-252B-331-320D-251-240F239 or below

MUS-P 141, Page 3STUDENTS NEEDING TO LEARN PATRIOTIC SONGS SHOULD START AT THE BEGINNING OF THE SEMESTERClass time is NOT for practice. You should come to class prepared.WEEK 1Repertoire: Bagatelle, pp. 186–187Technique: C, G, D, A and E Major scales, arpeggios, blocked and broken chords (pp.184–5). All scales should be four octaves. Arpeggios and chords are threeoctaves.Reading: Right@Sight (chosen by instructor)p. 188, nos. 1 and 2 (Sonatina)Harmonization and p. 190, no. 1Transposition:Improvisation: Bourée, p. 189Score Reading: Glory to God (from Messiah), p. 191WEEK 2Instructor announces material for first hearingRepertoire: Continue BagatelleThe Pioneer Spirit, pp. 196–197Technique: F, B, G (F ) and D Major scales, arpeggios, blocked and broken chords (p.198). Continue previous technique.Reading: Right@Sight (chosen by instructor)p. 199, nos. 1 and 2 (Minuet)Harmonization and Emperor Waltz, p. 200Transposition: Over the River, p. 203Score Reading: The Carnival of Venice, p. 193Ensemble: In the Good Old Summer Time, pp. 204–205*Parts to be assigned first class day of the week, performance on the secondclass day. Learn more than one part, so that you can switch parts and enjoymore of the piece.

Page 4, MUS-P 141WEEK 3Repertoire: Continue The Pioneer SpiritDuet: Allegro, p. 213 (your instructor will assign parts)Technique: B , E and A Major scales, arpeggios, blocked and broken chords (pp. 206–207). Continue previous techniqueDiminished Seventh arpeggios, p. 207 (practice in three octaves)Reading: Right@Sight (chosen by instructor)p. 209, nos. 1 and 2 (Dance)Harmonization and Meet Me in St. Louis, Louis, p. 210Transposition:Score Reading: Dies Irae, p. 202FIRSTHEARINGThe Hearing takes place outside of class, by appointment with yourinstructor. Hearing Content to be announced by your instructor at thebeginning of Week 2WEEK 4Repertoire: Continue the duet: AllegroAccompaniment to Dawn of a New Day, pp. 216–217 (find someone toaccompany!)Gigue, p. 221Technique: c, g, d, a and e minor scale, arpeggios, blocked and broken chords (pp. 219–220). Continue previous technique (including diminished sevenths)Reading: Right@Sight (chosen by instructor)p. 222, nos. 1 (Beethoven’s German Dance) and 2 (Haydn’s German Dance)Harmonization and Waltz, p. 223Transposition:Score Reading: Rainy Day Song, p. 215Celestial Music, p. 218

MUS-P 141, Page 5WEEK 5Instructor announces material for second hearingRepertoire: Continue GigueScherzo, pp. 230–231Technique: Diminished seventh arpeggios, p. 229 (three octaves)Dominant seventh arpeggios, p. 106 (three octaves)b and f minor scales, arpeggios, blocked and broken chords (p. 233)Continue all previous techniqueReading: Right@Sight (chosen by instructor)p. 234, nos. 1 and 2 (Etude)Harmonization and Für Elise, p. 237Transposition:Score Reading: Symphony No. 7, p. 244WEEK 6Repertoire: Continue ScherzoArabesque, pp. 362–363Technique: Diminished seventh arpeggio on F, p. 249, no. 3 (three octaves)Dominant seventh arpeggios, p. 120 (three octaves)Continue all previous techniqueReading: Right@Sight (chosen by instructor)p. 235 nos. 1 (Spanish Dance) and 2Harmonization: Let Us Break Bread Together, p. 238Improvisation: p. 239, nos. 1 and 2Score Reading: Die Himmel Erzählen die Ehre Gottes, p. 240Ensemble: Alexander’s Ragtime Band, pp. 241–243*Parts to be assigned first class day of the week, performance on the secondclass day. Learn more than one part, so that you can switch parts and enjoymore of the piece.SECONDHEARINGThe Hearing takes place outside of class, by appointment with yourinstructor. Hearing Content to be announced by your instructor at thebeginning of Week 5

Page 6, MUS-P 141WEEK 7Repertoire: Continue ArabesqueAccompaniment to Sehnsucht nach dem Frühlinge, p. 254 (find someone toaccompany!)Technique: f , c , g , b and e minor scales, arpeggios, blocked and broken chords (p.249). Continue all previous techniqueReading: Right@Sight (chosen by instructor)p. 251, nos. 1 (Andantino) and 2 (Pyrenees Melody)Score Reading:WEEK 8Quartet No. 17, p. 253Wenn so lind dein Aug emir, p. 255Reminder: midterm jury is coming up!Repertoire: Continue Sehnsucht nach dem FrühlingeSeascape, p. 261Technique: Review all technique:All 24 major and harmonic minor scales, four octavesAll 24 major and minor arpeggios, three octavesAll 24 blocked and broken chords, three octavesDominant and diminished seventh arpeggios starting on white notes, threeoctavesReading: Right@Sight (chosen by instructor)p. 262, nos. 1 (Etude) and 2 (Lullaby)Harmonization: Morning has Broken, p. 264Score Reading: Agnus Dei, p. 278

MUS-P 141, Page 7WEEK 9Repertoire: Continue SeascapeAccompaniment to To A Wild Rose, pp. 378–379 (find someone toaccompany!)Technique: Review all scales, arpeggios, blocked and broken chords, including dominantseventh and diminished seventh arpeggios starting on white notesReading: Right@Sight (chosen by instructor)German sixths: progression, p. 268 and reading exercise, p. 269Italian Sixths: progression, p. 270 and reading exercise, p. 271Harmonization and Alberti bass exercise, p. 269Transposition: Sonata, p. 271Score Reading: Quartet No. 17, p. 279The midterm jury will be arranged by appointment with your instructor, andwill be heard by a panel of Instructors. It should take place towards the endof Week 9. The content and breakdown of points will be as follows:MIDTERMJURYRepertoire: 25 pointsYou will prepare 3 pieces chosen by your instructor, andcovered in the syllabus so far.Technical work: 20 pointsAll scales, arpeggios, blocked and broken chords, includingdominant seventh and diminished seventh arpeggiosstarting on white notes. Scales are in four octaves. Allother technique is in three octaves.Sight Reading: 15 pointsHarmonization: 10 pointsAt the beginning of week 9, your instructor will assign youseveral harmonization melodies, from which will be drawnthe example for the jury.Transposition: 10 pointsAt the beginning of week 9, your instructor will assign amelodic line, ahead of time, which you should be ready totranspose into any of several designated keys.Score Reading: 10 pointsAt the beginning of week 9, your instructor will assign ascore example, ahead of time, which you should be ready toperform.