Main piano school: study programs

Main piano school (formerly traditional course)

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CONFIRMATION OF 1ST YEAR:

1st Test: Performance of an etude drawn at random on the spot by the candidate from three presented on different texts chosen from the following:
POZZOLI: 30 elementary etudes from no. 13 onwards;
CZERNYANA: 1st Vol. from no. 26 onwards;
TROMBONE: METHOD, entire 3rd part;
BARTOK MIKROKOSMOS 1st Vol. last exercises
or other similar ones.
2nd Test: Performance of a piece by BACH chosen from two prepared by the candidate from: 19 easy pieces or 24 easy pieces; one of the two BACH pieces can be replaced by two canons chosen from POZZOLI 50 exercises of polyphonic style.
3rd Test: Performance of a piece by a composer chosen between the 1700s and the 1790s.
4th Test: Performance of a scale at steady tempo chosen from three presented by the candidate in major mode with relative minor - 1 or 2 octaves.

PROMOTION TO 2ND YEAR:

1st Test: Performance of an etude drawn at random on the spot by the candidate from four presented on different texts chosen from:
CZERNYANA: 1st Vol. from no. 26 onwards;
TROMBONE 3rd PART: LONGO and two-voice preludietti op. 81;
DUVERNOY: op. 176;
POZZOLI: 30 elementary etudes from no. 20 onwards
or other similar ones.
2nd Test: Performance of a piece by BACH chosen from two prepared by the candidate among: 19 easy pieces and the most difficult among the 24 easy pieces; one of the two BACH pieces can be replaced by two canons chosen from no. 18 onwards from POZZOLI 50 exercises of polyphonic style.
3rd Test: Performance of a piece by a composer between the 1700s and the 1790s.
4th Test: Performance of a scale at steady tempo chosen from six presented by the candidate in major mode and relative minor - 1 or 2 octaves.

CONFIRMATION OF 2ND YEAR:

1st Test: Performance of an etude drawn at random on the spot by the candidate from four presented by at least two different authors chosen from:
CZERNYANA: 2nd Vol.;
DUVERNOY: op. 176;
CZERNY: 30 studies op. 849;
POZZOLI: 15 studies;
HELLER: op. 47;
LONGO: 24 preludietti op. 81 or other similar ones.
2nd Test: Performance of a piece drawn at random on the spot by the candidate from two presented among the following texts: BACH "23 easy pieces", BACH "little preludes and fughettas".
3rd Test: Performance of a piece by a composer between the 1700s and the 1790s.
4th Test: Performance of a movement of a sonatina chosen from:
CLEMENTI: op. 36-37-38;
DUSSEK, BEETHOVEN, KULHAU, KUNHAU, MOZART.
5th Test: Performance of a scale at steady tempo and in reverse from six presented by the candidate over two octaves.

PROMOTION TO 3RD YEAR:

1st Test: Performance of an etude drawn at random on the spot by the candidate from four presented on different texts chosen from:
CZERNYANA: 2nd Vol. from no. 28 onwards;
CZERNY: 30 studies from no. 8 onwards;
POZZOLI: 15 studies;
HELLER: op. 47;
LONGO: 30 romantic etudes op. 80;
LONGO: 48 little preludes op. 83 or other similar ones
2nd Test: Performance of a piece drawn at random on the spot by the candidate from two presented in the following texts: BACH "23 easy pieces", BACH "two-part inventions".
3rd Test: Performance of a classical sonatina chosen from the following:
CLEMENTI: op. 36-37-38;
DUSSEK, BEETHOVEN, KULHAU, KUNHAU, MOZART.
4th Test: Performance of a piece by a composer chosen between the 1700s and the 1790s:
5th Test: Performance of a scale at steady tempo and in reverse from eight presented by the candidate over two octaves.

CONFIRMATION AT

3RD YEAR:

1st Test: Performance of an etude drawn at random on the spot by the candidate from three presented, of at least two different authors chosen from:
DUVERNOIS: opus 120;
CZERNY: 30 etudes;
POZZOLI: 24 etudes;
POZZOLI: 16 etudes;
HELLER: opus 46;
HELLER: opus 47;
LONGO: 48 small preludes opus 83 or others similar
2nd Test: Performance of a piece drawn at random on the spot by the candidate of a composition by BACH from the following:
a) two-part inventions
b) a piece from one of the French or English suites.
3rd Test: Performance of two movements of a composition chosen from sonatinas and easy sonatas of the classical period.
4th Test: Performance of a piece by a composer between the '700 and the '900.
5th Test: Performance of a scale chosen by the Commission from six prepared by the candidate in major or relative minor mode, ascending and descending, three or four octaves.

TRANSITION TO 4TH YEAR:

1st Test: Performance of an etude drawn at random on the spot by the candidate from five presented, of at least three different authors chosen from:
CZERNY: 30 etudes opus 849;
POZZOLI: 24 etudes;
DUVERNOIS: opus 120;
HELLER: opus 46;
LONGO: 48 preludes on scales and arpeggios from no. 29 or others similar
2nd Test: Performance of a piece drawn at random on the spot by the candidate of a composition by BACH from the following :
a) two-part inventions
b) two pieces from one of the French or English suites.
3rd Test: Performance of a composition chosen by the candidate from sonatinas and easy sonatas of the classical period.
4th Test: Performance of a piece by a composer chosen between the '700 and the '900:
5th Test: Performance of a scale chosen by the Commission from eight presented in major and relative minor mode, ascending and descending, three and four octaves.

CONFIRMATION TO 4TH YEAR:

1st Test: Performance of an etude drawn at random on the spot by the candidate from four presented, of at least three different authors chosen from:
CZERNY: 40 etudes opus 299;
CZERNY: 50 etudes;
HELLER: opus 16, opus 45 and opus 46;
POZZOLI: 31 etudes;
CRAMERBULOW: 60 etudes;
BERENS: opus 61 or others similar
2nd Test: Performance of a composition by BACH drawn at random on the spot by the candidate from:
a) a three-part invention
b) two pieces from the second and two from the third English suite.
3rd Test: Performance of a piece by Italian harpsichordists.
4th Test: Performance of a piece by a composer chosen between the '700 and the '900 of difficulty relative to the course.
5th Test: Performance of a sonata movement chosen from:
MOZART, CLEMENTI and BEETHOVEN nos. 5-6-10-14-24.
6th Test:
a) Performance of a scale chosen by the Commission from six presented in major and relative minor mode, ascending and descending in Thirds and Sixths
b) sight-reading of a piece of difficulty relative to the course.


TRANSITION TO 5TH YEAR:

1st Test: Performance of an etude drawn at random on the spot by the candidate from seven presented, of at least three different authors chosen from:
CZERNY: 40 etudes opus 299;
CZERNY: 50 etudes;
CRAMER-BULOW: 60 etudes;
BERENS: 40 etudes opus 61;
WOLF: octave etudes opus 118.
POZZOLI: etudes of medium difficulty;
HELLER: etudes opus 45 and opus 16 or others similar.
2nd Test: Performance of a composition by BACH drawn at random on the spot by the candidate from the following:
a) a three-part invention
b) three pieces from the second and three from the third English suite.
3rd Test: Performance of a piece by Italian harpsichordists.
4th Test: Performance of a piece by a composer between the '700

and the '900 of relative difficulty to the course.
5th Test: Performance of a movement from a sonata by:
MOZART, CLEMENTI, BEETHOVEN nos. 5-6-10-14-24.
6th Test:
a) Performance of a scale chosen by the Commission from eight presented in major and relative minor mode, ascending and descending, Thirds and Sixths.
b) Sight-reading of a piece of relative difficulty to the course.

CONFIRMATION TO THE 5TH YEAR:

1st Test: Performance of an etude drawn by lot on the spot from seven presented by the candidate for lower completion exam and two chosen from the 4th and 5th year etudes indicated in the programs of the Royal Conservatories.
2nd Test: Performance of a composition by BACH drawn by lot from the following prepared by the candidate:
a) two three-voice inventions
four movements from each of the two suites in G minor and A minor.
b) a piece drawn by lot from two prepared by the candidate from the Italian harpsichord repertoire.
3rd Test: Performance of two movements of a sonata by MOZART, CLEMENTI, BEETHOVEN nos. 5-6- 10-14-24.
4th Test: Performance of a composition chosen by the candidate from those provided by the ministerial program.
5th Test:
a) Sight-reading of a piece of relative difficulty to the course
b) Performance of melodic and harmonic major and minor scales in Thirds, Sixths, Ascending and Descending.



CONFIRMATION TO THE 6TH YEAR:

1st Test: Performance of a sonata by Domenico SCARLATTI.
2nd Test:
a) performance of an etude drawn by lot 24 hours before from six presented by the candidate chosen from "GRADUS AD PARNASSUM";
b) performance of a Prelude and Fugue drawn by lot 24 hours before from five Preludes and Fugues from BACH's "THE WELL-TEMPERED CLAVIER".
3rd Test: Performance of a movement from a sonata by BEETHOVEN chosen from nos. 3-4-7-8-12-15- 16-17-18-21-26.
4th Test: Performance of a composition chosen by the candidate possibly from those in the 5th or 6th test of the ministerial program.
5th Test:
a) Performance of a scale chosen by the Commission from four scales in major and minor mode in double thirds and double sixths
b) Sight-reading of a piece of relative difficulty to the course.

PASSAGE TO THE 7TH YEAR:

1st Test: Performance of a sonata by Domenico SCARLATTI.
2nd Test:
a) performance of an etude drawn by lot 24 hours before from six presented by the candidate chosen from those in "GRADUS AD PARNASSUM" contemplated by the ministerial program;
b) performance of a Prelude and Fugue drawn by lot 24 hours before from a selection of five Preludes and Fugues from BACH's "THE WELL-TEMPERED CLAVIER".
3rd Test: Performance of a movement from a sonata by BEETHOVEN chosen from nos. 3-4-7-8-12-15-16- 17-18-21-26.
4th Test: Performance of a composition chosen by the candidate possibly from those in the 5th or 6th test of the ministerial program for intermediate completion.
5th Test:
a) Performance of a scale chosen by the Commission from four presented by the candidate in major and minor mode in double thirds and double sixths
b) Sight-reading of a piece of relative difficulty to the course.

CONFIRMATION TO THE 7TH YEAR:

1st Test: Performance of a sonata by Domenico SCARLATTI of a brilliant character drawn by lot on the spot from two presented by the candidate.
2nd Test:
a) performance of an etude drawn by lot 24 hours before from eleven of the etudes in "GRADUS AD PARNASSUM" provided by the ministerial program;
b) performance of a Prelude and Fugue drawn by lot 24 hours before from a selection of twelve Preludes and Fugues by the candidate (six from Vol. I, six from Vol. II) from BACH's "THE WELL-TEMPERED CLAVIER".
3rd Test: Performance of an etude presented by the candidate from the following works:
MOSCHELES: opus 70 nos. 1-2-23;
CZERNY: toccata in C major;
KESLER: etude in F minor, C major and C minor (octaves);
MENDELSSOHN: opus 104, etude in B-flat minor, prelude in B minor;
TALBERG: 1st etude of opus 26;
RUBINSTEIN: one etude from opus 23.
4th Test: Performance of two movements of a sonata by BEETHOVEN chosen from nos. 3-4-7-8-12-15-16- 17-18-21-26.
5th Test: Performance of

a composition chosen by the candidate from among those provided in the 5th or 6th test of the ministerial program.
6th Test:
a) Performance of a scale chosen by the commission from six presented by the candidate in major and relative minor double Thirds and double Sixths;
b) sight-reading of a piece of medium difficulty.

TRANSITION TO THE VIII YEAR:

1st Test: Performance of a sonata by Domenico SCARLATTI of a brilliant character, drawn by lot on the spot from two presented by the candidate.
2nd Test:
a) performance of an étude drawn by lot 24 hours in advance from fifteen presented by the candidate and chosen from the 23 études of CLEMENTI's "GRADUS AD PARNASSUM" provided by the second test of the ministerial program;
b) performance of a Prelude and Fugue drawn by lot 24 hours in advance from a selection of sixteen Preludes and Fugues made by the candidate (eight from Vol. 1, eight from Vol. 2) on BACH's "THE WELL-TEMPERED CLAVIER".
3rd Test: Performance of an étude presented by the candidate from among those provided by the ministerial program.
4th Test: Performance of two movements of a BEETHOVEN sonata chosen from those provided by the ministerial program.
5th Test: Performance of a composition chosen by the candidate from among those provided in the 5th or 6th test of the ministerial program.
6th Test:
a) performance of a scale chosen by the commission from eight presented by the candidate in major and relative minor for double Thirds and double Sixths;
b) sight-reading of a piece of medium difficulty.
7th Test: Performance of a piece of difficulty relative to the course to be studied in three hours.

CONFIRMATION TO THE VIII YEAR:

1st Test: Performance of a sonata by Domenico SCARLATTI of a brilliant character, drawn by lot on the spot from two presented by the candidate.
2nd Test:
a) performance of an étude drawn by lot 24 hours in advance from twenty presented by the candidate and chosen from the 23 études of CLEMENTI's "GRADUS AD PARNASSUM" provided by the second test of the ministerial program;
b) performance of a Prelude and Fugue drawn by lot 24 hours in advance from a selection of twenty Preludes and Fugues (ten from Vol. 1, ten from Vol. 2) on BACH's "THE WELL-TEMPERED CLAVIER".
3rd Test: Performance of an étude presented by the candidate from among those included in the ministerial program.
4th Test: Performance of a BEETHOVEN sonata included in the ministerial program with the exclusion of one movement.
5th Test: Performance of a composition chosen by the candidate from those of the 5th or 6th test of the ministerial program.
6th Test:
a) performance of a scale chosen by the commission from ten presented by the candidate in major and relative minor for double Thirds and double Sixths;
b) sight-reading of a piece of medium difficulty;
c) general culture test.
7th Test: Three-hour test.

CONFIRMATION TO THE IX YEAR:

1st Test: Performance of a piece from the 5th or 6th test of the 8th year ministerial program.
2nd Test: Performance of a piece of the candidate's choice with difficulty relative to the course.

TRANSITION TO THE X YEAR:

1st Test: Performance of one of the ministerial tests for higher completion.
2nd Test: Performance of a piece chosen by the candidate with difficulty relative to the course.

CONFIRMATION TO THE X YEAR:

Performance of three tests from the ministerial program of the higher course.
Following particular teaching needs, each Teacher may replace one test (or part of it) with the corresponding test (or part of it) from a subsequent year.

Hello everyone,

I spoke at length with my teacher explaining my need to have a program to follow and she finally agreed to create one.

Taking inspiration from the ministerial program reported by Frank, I tried to make one to propose to my teacher tomorrow. The idea is to cover the competencies for Year I Confirmation and Transition to Year II.

Do you think the program I am attaching here covers the competencies up to the Transition to Year II? Is it too much or too little?

By this evening, I should also be able to complete the program to cover the Year II Confirmation competencies... but in the meantime, I would be grateful if you could give me your opinion on this first version...

Perhaps too much, in the sense that one often improves by working on quality and not quantity. A certain variety of material is needed, but then you have to master the pieces. Therefore, depending on your time and your abilities, I would adjust something. Too much Bach and too little classical and romantic repertoire.

Is my first [collection] present? There is a bit of everything; eventually, even the good Cesi Marciano contains a nice variety of works

Hi Lestofante, thanks for your message.

The intent is to have a guideline to be able to acquire the necessary skills to reach the first year level (or second).

Anyway, I have improved that program with this: http://zxxz.servisoft.be/anno_i.html

And I have indicated the books for the second year: http://zxxz.servisoft.be/anno_ii.html

I am listing them here, maybe they could be of help to someone clumsy like me :-)

Zxxz it seems to me that there is good variety between studies and repertoire, I wouldn't underestimate Tchaikovsky's work dedicated to the very young. Do not overlook the good Bartók who wrote an interesting educational work: Mikrokosmos-

Bring up the matter with your teacher, even the '900 has its merits.

It seems good to me Zxxz, after all the goal is to be eligible for the second year...

Hi Frank and Crazypiano, thank you for your messages.

Today I saw my teacher to discuss the program and with my (pleasant) surprise, I think that this time we understood each other :-)

In the coming days I will update my website with the latest news, and maybe I will post them here too (in case it might be useful to someone else)...

One thing is certain, with 25 minutes of lessons per week, objectively one cannot do what I would like to do... so in the coming months we will organize ourselves to have extra individual lessons outside of the music academy...

I agree with Frank and Lestofante. Proportional to the time available, it is better to limit the program that you have well-sized. Quality is better than quantity. Pieces by great Authors teach a lot. Bartók is mandatory, as is the Bachian path (23 easy pieces, inventions in 2 and 3 parts, French and English suites, etc...). Allow me, 25 minutes a week is truly very little. You should give the teacher the possibility, at least in the beginning, to follow you twice a week for an hour. It is fundamental that the teacher supervises the way of studying. Then later you can do one meeting a week... but certainly not for 25 minutes. Come on, I suggest a few more sacrifices!

Happy studying

Hi Lestofante... listen to Frank!!! I would say... Microcosmos... Microcosmos... and still Microcosmos... Consider that after studying with teachers who weren't exactly well-trained, I arrived at a serious teacher who, to correct all my anomalies, made me do physical rehabilitation exercises: arms, wrist, falls and flexions etc. etc... but Microcosmos was my bible.

Dlet's say that Bartók, in that type of small compositions, truly opens the student's brain to the understanding of what music is; from all points of view: rhythmic, expressive, dynamic, etc.

And many... are not easy at all!!! They must be performed like chisels, in a very accurate way seeking perfection. In this way, they prove to be truly useful.

I am very much in favor of Microcosmos!!!!!

Me too! So favorable that I bought all 6 volumes

antares86 I expected nothing less...

Well, I don't count for much anymore since I switched to the harpsichord and the fortepiano

Great Antares!!! Microcosmos is a bible.