Comprehensive musical training program

Iván Rolón

Here I present the comprehensive musical training program that underpins my piano and musical theory course. I detail the level structure, the objectives and content of each level, the methodology and teaching resources proposed for each level, and the evaluation criteria. This program also serves as a reference for determining the level of complexity and difficulty of the works to guide the selection of repertoire based on the students' development.

Levels

This course is divided into three levels, each of which contains four successive stages:

• Elementary (A1, A2, A3, and A4): intended for those who want to start studying piano or who have experience, but need to consolidate the basic concepts.

• Intermediate (B1, B2, B3, and B4): intended for students who have developed autonomy in learning simple works and need accompaniment to solve medium-difficulty works.

• Advanced (C1, C2, C3, and C4): intended for students who want to start or are undergoing professional musical training at the university, and need accompaniment in this process or wish to complement their training

Elementary level objectives

Upon completion of the elementary level, students will be prepared to:

• Perform simple, short piano pieces with efficient and healthy technique, precision in execution, proper use of fingering and pedals, and careful reading of the score.

• Learn with autonomy, short and simple piano pieces, applying appropriate study techniques.

• Read rhythms and sing melodies accurately.

• Write simple rhythms and melodies from dictation.

• Analyze the rhythmic, melodic, harmonic, and morphological elements of the repertoire with the help of the teacher.

• Compose short and simple works for piano with the help of the teacher.

• Improvise based on given formulas.

• Sight-perform short and simple pieces.

Contents and activities of level A1

Rhythmic aspect

• Regularity of pulse. Marking the pulse and bars, and mental counting the beats during rhythmic and melodic reading and instrumental performance.

• Note values, rests, and ties: whole beats (quarter note, half note, dotted half note, and whole note). Time signatures: 2/4, 3/4, and 4/4. Prepared performance and sight-reading (percussing, singing, and playing), rhythmic composition and dictation (one and two voices).

• Dividing lines, double barlines, repeat barlines, and closing barlines. Offbeat and syncopation. Analytical identification.

Melodic aspect

• Notes in treble clef and bass clef (two octaves: C3-C5). Identification of notes, octaves, and their placement on the staff and keyboard.

• Intervals. Inversion. Simple and compound intervals. Tone and (diatonic) semitone. Types of melodic and harmonic movement. Construction and analytical recognition.

• C major scale. Tetrachord analysis and intonation.

• Melodies within a fifth range in C major (steps and skips). Prepared performance and sight-reading, composition, and dictation (one voice).

Harmonic aspect

• Key: C major. Scale degrees. Three and four-sound chords: Root position and inversions. Functions: tonic (I), dominant (V). Non-harmonic tones: passing note neighbor tone. Construction and analytical identification.

Musical forms

• Motif, Phrase, and Period. Analysis, composition, and improvisation.

Instrumental technique

• Fingering. Hand and finger recognition, notation of fingerings, and self-correction during performance (with teacher guidance when necessary).

• Seated posture. Self-correction (with teacher guidance when necessary).

• Fixed and closed position. Position and relaxation of the fingers, knuckles, hands, wrist, forearm, elbow, arm, and shoulders. Identification of technical guidelines.

• Pedal. Performance without changing pedals.

• Texture. Monody. Parallel octaves, thirds, and sixths between both hands in fixed position. Melody with tonic and dominant chord accompaniment in fixed position: pedal note, roots, two-sound chords, plaqué triads, and fixed accompaniment forms (arpeggios, waltz, barcarolle, round, Alberti bass). Counterpoint melodies in fixed position. Prepared performance and sight-reading, analysis, composition, and improvisation.

• Study techniques. Resolving rhythmic difficulties, in note reading and fingering before playing. Playing with hands separated and together, without rhythm, with a slow rhythm, and a tempo.

Expression technique

• Articulations (non-legato, forearm playing). Dynamics (piano and forte, key speed control). Agogics (tempo moderato). Self-correction in the performance of exercises and works (with teacher guidance when necessary). Memorized performance.

Contents and activities of level A2

Rhythmic aspect

• Regularity of pulse. Playing with a metronome.

• Note values, rests, and ties: beat division (eighth note, dotted quarter note, eighth triplets without change to normal eights). 6/8, 9/8, and 12/8. Prepared performance and sight-reading, composition, and dictation (one and two voices).

• Anacrustic, thetic, and acephalous beginnings. Analytical and aural recognition.

Melodic aspect

• Notes in treble clef and bass clef (three octaves: G2-G5). Identification of notes, octaves, and their placement on the staff and keyboard.

• Accidentals: sharp and flat. Diatonic and chromatic semitones. Intervals: minor, major, perfect, and tritones. Inversion. Construction and analytical recognition.

• A minor scale. Tetrachord analysis and intonation.

• Melodies within the octave range in C major (steps and skips). Prepared performance and sight-reading, composition, and dictation (one voice).

Harmonic aspect

• Minor and major perfect chords in root position and inversions. American and functional chord symbols. Natural major and minor scales. Keys: A minor, G major, E minor, D minor, and F major. Functions: tonic (I), dominant (V), and subdominant (IV). Non-harmonic tones: appoggiatura. Construction and analytical identification.

Musical forms

• Binary form. Analysis, composition, and improvisation.

Instrumental technique

• Fixed, closed, and open positions. Position changes: opening, closing, thumb passage, jumps. Fingering notation and performance self-correction.

• Seated posture. Position and relaxation of the fingers, knuckles, hands, wrist, forearm, elbow, arm, and shoulders. Self-correction while playing without rhythm.

• Scales. Execution by direct and contrary motion (one octave).

• Pedal: Pedal change. Self-correction while using pedal.

• Fixed accompaniment forms with position changes in the left hand. Prepared performance and sight-reading, analysis, composition, and improvisation.

• Study techniques. Fragmentation and union of fragments.

Expression technique

• Articulations: legato (shifting of arm weight from one finger to the next). Dynamics: hairpins. Agogics: fermata. Accentuation: accent (>). Self-correction in the performance of exercises and work. Memorized performance.

Contents and activities of level A3

rhythmic aspect

• Regularity of pulse. Playing and counting beats out loud.

• Note values, rests, and ties: beat subdivision (sixteenth and dotted eighth note. Binary and ternary rhythmic cells using sixteenths). Time signatures: common time and alla breve. Prepared performance and sight-reading, composition, and rhythmic dictation (one and two voices).

• Affirmative and suspensive endings. Analytical and aural recognition.

Melodic aspect

• Notes in treble clef and bass clef (4 octaves, with up to two ledger lines: C2-C6). Identification of notes, octaves, and their placement on the staff and keyboard.

• Theoretical intervals: diminished and augmented (simple). Inversion. Key signature, natural. Construction and analytical recognition.

• Harmonic minor scale. Tetrachord analysis and intonation.

• Melodies within the fifth range in minor mode (steps and skips). Prepared performance and sight-reading, composition, and dictation (one voice).

Harmonic aspect

• Dominant seventh chord in root position and inversions. American and functional chord symbols. Functions: I, IV, V, VI. Harmonic minor scale. Dominant seventh chord in minor mode. Keys: D major, A major, E major, B major, B minor, G minor, C minor, and F minor. Non-harmonic tones: anticipation. Construction and analytical identification.

Musical forms

• Ternary form. Analysis, composition, and improvisation.

Instrumental technique

• Fingering. Notation and execution from a partially fingered score. Identification of position types and position changes. Self-correction during performance.

• Seated posture. Position and relaxation of the fingers, knuckles, hands, wrist, forearm, elbow, arm, and shoulders. Self-correction in the performance of exercises and works.

• Scales. Execution by direct and contrary motion, two octaves long.

• Pedal: Criteria for pedaling. Self-correction while using pedal.

• Fixed accompaniment forms with jumps (bass/chord) in the left hand. Prepared performance and sight-reading, analysis, composition, and improvisation.

• Study techniques. Marking frequent mistakes in the score, stopping before each mark, and troubleshooting.

Expression technique

• Articulations: staccato. Dynamics: crescendo (cresc.), diminuendo (dim.). Agogics: ritenuto (rit.). Accentuation: tenuto (-). Ornamentation: Appoggiatura and acciaccatura. Self-correction in the performance of exercises and works. Memorized performance.

Contents and activities of level A4

Rhythmic aspect

• Regularity of pulse. Execution and counting of beats, divisions and subdivisions out loud.

• Irregular values (tuplets): duplet and triplet (with changes). Polyrhythms: 2/3, 3/2. Binary and ternary time signatures with denominators of 2, 4, 8, and 16. Prepared performance and sight-reading, composition, and dictation (one and two voices).

• Binary and ternary time signatures with 2, 3, and 4 beats. Analysis and aural recognition.

Melodic aspect

• Notes in treble clef and bass clef, with up to five additional lines. High and low octave sign. Identification of notes, octaves, and their placement on the staff and keyboard.

• Theoretical (compound) intervals. Enharmony. Courtesy accidentals. Double sharp and double flat. Construction and analytical recognition.

• Melodic minor scale. Tetrachord analysis and intonation.

• Melodies within the octave range in minor mode (steps and skips) using ascending accidentals on the seventh degree, approached by semitone. Prepared performance and sight-reading, composition, and dictation (one voice).

Harmonic aspect

• Diminished chord in root position and inversions. American and functional chord symbols. Major and minor keys. Functions: I, II, IV, V, VI, and VII. Non-harmonic tones: suspension and retardation. Construction and analytical identification.

Musical forms

• Theme with variations. Analysis, composition, and improvisation.

Instrumental technique

• Fingering. Notation of fingerings from an unfingered score. Self-correction during performance.

• Seated posture. Position and relaxation of the fingers, knuckles, hands, wrist, forearm, elbow, arm, and shoulders. Natural performance according to the technical guidelines.

• Scales. Execution of all major and minor scales by direct and contrary motion (two octaves).

• Pedal. Pedaling of works without pedal notations and self-correction.

• Free accompaniment forms. Prepared performance and sight-reading, analysis, composition, and improvisation.

• Study techniques. Recording the own performance, listening along with the score, identifying errors and possible improvements, and repeating the process until achieving a satisfactory performance.

Expression technique

• Articulations: staccatissimo. Dynamics: pp-ff, independent dynamics between both hands. Agogics: a tempo. Accentuation: Marcatissimo (^). Ornamentation: double acciacatura. Self-correction when performing exercises and works. Memorized performance.

Intermediate level objectives

Upon completion of the intermediate level course, students will be prepared to:

• Perform piano works of intermediate difficulty and duration with efficient and healthy technique, precision and expressiveness, appropriate use of fingering and pedals, careful reading of dynamics, accentuation, agogics, and articulation, and interpretation appropriate to the style.

• Learn with autonomy piano works of intermediate difficulty and duration, with the ability to identify difficulties and apply appropriate techniques to resolve them.

• Analyze with autonomy the harmony and morphology of the works.

• Compose works of intermediate extension and difficulty from the elements analyzed.

• Improvise pieces and accompaniments based on resources extracted from musical analysis.

• Write small pieces for piano from listening.

Contents and activities of level B1

Rhythmic aspect

• Thirty-second note. Double dot. Binary rhythmic cells in fractional time (using thirty-second notes). Irregular values: quadruplet. Polyrhythms: 4/3 and 3/4. Time signatures: 5/4 and 5/8 (3+2 or 2+3). Prepared performance and sight-reading, composition, and dictation (two voices).

Melodic aspect

• Notes in treble clef and bass clef. Piano scores reading.

• Intervals: Major and minor seconds and thirds. Natural and artificial major, natural, harmonic and melodic minor, and major and minor pentatonic scales. Construction, identification, intonation, and aural recognition.

• Melodies in all major and minor keys using chromatic neighbor tones and modulation to first-degree neighbor keys using authentic cadence and characteristic note approached by semitone (with and without chromaticism). Prepared performance and sight-reading, composition, and dictation (two voices).

Harmonic aspect

• Intervals: simple, compound, real, theoretical, inversion, perfect and imperfect consonances, and dissonances. Triad chords: perfect major, perfect minor, diminished, and augmented. Quatriad chords: dominant seventh. American, functional, and inversion chord symbols. Resolution of leading notes (ascending: VII, and descending: IV). Avoidance of parallel fifths and octaves (no doubling of leading notes). Non-harmonic tones: chromatic and accented passing and neighbor tones. Circle of fifths. Real and theoretical major and minor keys. Enharmonic keys. Triad chords derived from scales. Simple cadences: authentic, deceptive, plagal, and half-cadence. Modulation by authentic cadence (with and without characteristic note) to first degree neighboring keys. Construction, identification, aural recognition, and harmonic analysis.

Music History and Appreciation

• Texture: Monody, Homophony, Heterophony, Polyphony. Recognizing textures through listening.

Musical forms

• Minuet (Baroque style). Rondo (Classical style). Piano Piece (Romantic style). Study addressing the technical difficulties proposed for this level. Morphological analysis, composition, and improvisation.

Instrumental technique

• Chromatic scale. Parallel thirds, sixths, and octaves in one hand (slow tempo and short extension). Melody in the left hand. Two voices in one hand in oblique motion (one on a pedal note, slow tempo). Hand crossing. Two voices contrapuntal texture. Prepared performance and sight-reading, analysis, composition, and improvisation.

Expression technique

• Basic articulations: legato, non-legato, staccato, and staccatissimo. Dynamics: macrodynamics (ppp-fff) and microdynamics (balance and phrasing). Agogics: rallentando (rall.) and accelerando (accel.). Accentuation: forte-piano (fp). Ornamentation: arpeggio, mordent, turn. Character. Self-correction when performing exercises and works. Memorized performance.

Contents and activities of level B2

Rhythmic aspect

• Irregular values: Quintuplet. Polyrhythms: 5/2 and 2/5. Irregular values ​​in fractions of time. Time signatures: 7/4 and 7/8 (4+3 or 3+4). Prepared performance and sight-reading, composition and dictation (two voices).

Melodic aspect

• Notes in treble clef and Bass clef. Piano score reading and simultaneous performance.

• Intervals: perfect fourths and fifths. Modal scales: Dorian, Phrygian, Lydian, and Mixolydian. Construction, identification, intonation, and aural recognition.

• Melodies in all major and minor keys with accidentals addressed by steps (2m, 2M, and 2A) and modulation to first-degree neighboring keys using common-chord and compound cadence. Prepared performance and sight-reading, composition, and dictation (two voices).

Harmonic aspect

• Diminished seventh chord: American, functional, and inversion chord symbols. Resolution of leading notes (ascending: VII, and descending notes: IV and VI) and avoidance of parallel fifths (ascending resolution of II). Non-harmonic tones: double neighbor tones. Compound cadences (three and four sounds). Modulation using common-chord and compound cadence. Secondary dominants and diminished sevenths. Modes: Dorian, Phrygian, Lydian, Mixolydian: chords. Construction, identification, aural recognition, and harmonic analysis.

Music History and Appreciation

• Musical Instruments. Visual and aural recognition of musical instruments. Classification and historical and geographical location.

Musical forms

• Prelude (Baroque style). Sonatina: Allegro (Classical style). Mazurka (Romantic style). A study addressing the technical difficulties proposed for this level. Analysis, composition, and improvisation.

Instrumental technique

• Parallel thirds, sixths, and octaves in one hand (moderate tempo and range). Passage of the melody between both hands. Two voices in one hand in oblique motion (one on a pedal note, moderate tempo). Two-voice contrapuntal texture with chords. Prepared performance and sight-reading, analysis, composition, and improvisation.

Expression technique

• Articulations: marcato (marc.), tenuto (ten, -), legato staccato, quasi-legato. Touch. Dynamics: climax of phrase, section, and work. Agogics: tempo rubato. Accentuation: sforzato (sf). Ornamentation: trill, tremolo, and glissando. Contrast of character. Self-correction while performing exercises and works. Memorized performance.

Contents and activities of level B3

Rhythmic aspect

• Irregular values: Seisillo and double triplet. Polyrhythm: 5/3 and 3/5. Time signature: 8/8 (3+3+2). Prepared performance and sight-reading, composition and rhythmic dictation (two voices).

Melodic aspect

• Notes in alto clef (C on the third line). Reading.

• Intervals: major and minor sixths and sevenths. Neapolitan minor and major, Hungarian, and Spanish scales. Construction, identification, intonation, and aural recognition.

• Melodies in all major and minor keys with accidentals addressed by steps and thirds (minor or major) and modulation to first-degree neighbor keys using progressions (with and without sequence). Prepared performance and sight-reading, composition, and dictation (two voices).

Harmonic aspect

• Semi-diminished chord: American, functional, and inversion chord symbols. Resolution of leading notes and avoidance of parallel fifths and octaves. Non-harmonic tones: types of suspensions and retardations. Neapolitan chord and cadence. Unitonic and modulating progressions. Modulation by progression with and without sequence. Construction, identification, aural recognition, and harmonic analysis.

Music History and Appreciation

• Periodization of music history. Recognizing musical styles through listening.

Musical forms

• Two-Voice Invention (Baroque style). Three-movement Sonatina (Classical style). Waltz (Romantic style). A study addressing the technical difficulties proposed for this level. Analysis, composition, and improvisation.

Instrumental technique

• Chords in succession in one hand. Two voices in one hand (contrapuntal texture, slow tempo). Two voices imitative counterpoint. Prepared performance and sight-reading, analysis, composition, and improvisation.

Expression technique

• Adaptation of articulation, dynamics (macro and micro), agogics, accentuation, ornamentation, and pedal to a musical concept based on the score to construct a musical interpretation. Memorized performance.

Contents and activities of level B4

Rhythmic aspect

• Irregular values: septuplet. Polyrhythms: 5/4 and 4/5. Irregular values ​​in beat groupings. Time signatures: 9/4 and 9/8 (4+3+2). Prepared performance and sight-reading, composition and dictation (two voices).

Melodic aspect

• Notes in tenor clef (C on the fourth line). Reading.

• Intervals (all). Hexatonic, Locrian, double harmonic, and altered scales. Construction, identification, intonation, and aural recognition.

• Melodies in all major and minor keys with accidentals addressed by steps and skips (up to the fifth), and modulation to first-degree neighbor keys and mode shift. Prepared performance and sight-reading, composition, and dictation (two voices).

Harmonic aspect

• Major and minor seventh chords. Preparation and resolution of sevenths. Major and minor dominant ninth chords. American, functional, and inversion chord symbols. Resolution of leading notes. Avoidance of parallel fifths and octaves. Chords of the dominant family. Augmented sixth chord. Non-harmonic tones: direct and indirect anticipation, escape, and introduction tone. Phrygian and Dorian half-cadence. Construction, identification, aural recognition, and harmonic analysis.

Music History and Appreciation

• Musical Forms. Aural Analysis of Musical Form.

Musical forms

• Three Voices invention (Baroque style). Sonata facile in Three Movements (Classical style). Romance Without Words (Romantic style). Study addressing the technical difficulties proposed for this level. Analysis, composition, and improvisation.

Instrumental technique

• Melody and chord accompaniment in one hand. Two voices in one hand (contrapuntal texture, moderate tempo). Three voices imitative counterpoint. Prepared performance and sight-reading, analysis, composition, and improvisation.

Expression technique

• Articulations: Criteria for selecting articulations in the Baroque period (type of movement -conjunct/leap-, figuration -long/short values, complementarity of voices, function of the bass -discursive/cadential-, and materials -new or derived). Dynamics: Criteria for selecting dynamics in the Baroque period (differentiation in imitative counterpoint, dynamic planes of exposition/episodes, macrodynamic plan for the work). Accentuation: Criteria for accentuation in the Baroque period (syncopations, agogic accents, slurs in pairs of notes). Ornamentation: Criteria for interpreting ornamentation signs in the Baroque period. Agogics: Criteria for selecting tempo and character (time signature and traditions). Decision-making in interpretation, notation and self-correction. Memorized performance.

Advanced level objectives

Upon completion of the advanced level course, students will be prepared for:

• Perform the major works in the piano repertoire with technical proficiency, precision, and expressiveness, with a careful reading of the score appropriate to the style, composer, and work, independent resolution of difficulties, and informed decision-making in performance.

• Perform orchestral transcriptions and reductions as an accompanist, at first sight, and preparation to effectively participate in chamber music, vocal, and orchestral ensembles.

• Perform works with mental key transposition.

• Written and mental reduction of works for vocal and instrumental ensembles.

• Composition of works for solo instruments, and vocal and instrumental ensembles, using harmonic, contrapuntal, morphological, textural, and instrumental strategies synthesized from musical analysis.

• Transcription of improvisations based on listening, analysis and synthesis of resources, and their use in improvisation in various musical styles and forms.

• Appropriate use of various analytical strategies and musical research methods.

Contents and activities of level C1

Rhythmic aspect

• Time signatures: 15/8 (9/8 + 6/8). All note values (ancient and modern). Polyrhythms: 7/2, 2/7, 7/3, 3/7, 7/4, 4/7, 7/5, 5/7, 7/6, 6/7. Prepared performance and sight-reading, composition and dictation.

Melodic aspect

• Notes in soprano clef (C on the first line). Reading.

• Melodies in all major and minor keys with accidentals and modulations to first and second degree neighbor keys. Prepared performance and sight-reading, composition, and dictation.

Instrumentation, harmony, counterpoint and musical forms

• Registers, technical and expressive possibilities of the human voices. Stylistic resources of the Renaissance period: treatment of the modal system, clausula vera, use of accidentals, Picardy third, treatment of imperfect and perfect consonances (elusion of parallel and direct fifths and octaves by leap), and dissonances (contrapuntal treatment of passing notes, borders, and suspensions), free imitation, Invertible counterpoint to the octave, tenth, and twelfth, canon, imitation by direct, contrary, and retrograde motion, and by augmentation and diminution. Motet for two, three, and four voices in the 16th-century Renaissance style. Musical analysis and composition of preparatory exercises and motets in the Renaissance style.

• Registers, technical and expressive possibilities of string instruments. Stylistic resources of the Baroque period: treatment of the tonal system, cadences, dominant and tonic pedal, secondary dominants, modulation to first degree neighboring keys, unitonic and modulating progressions with and without sequence, common-chord, basso continuo, Neapolitan and augmented sixth chords, harmonic and contrapuntal treatment of dissonances. Homophonic chorale, three-voice fugues, simple subject, chromatic subject, modulating subject, stretto, double, triple, and canonical, with real, tonal or plagal response, bipartite sonata in one movement, dance suite, sonata a duo for a melodic instrument with basso continuo in three movements, and concerto for keyboard and strings in the Baroque style. Recitative and aria da capo aria from opera or oratorio in the Baroque style. Analysis and composition of preparatory exercises and works in the Baroque style.

Technique

• Parallel thirds, sixths, and octaves, successive chords, frequent position changes, extended hand, contrapuntal texture, and polyrhythms in one hand (moderately fast tempo). Voices with independent articulations in one hand. Abrupt dynamic changes. Works in diverse forms and styles. Prepared performance and sight-reading, analysis, composition, and improvisation. Memorized performance.

• Transposition. Written transposition. Mental transposition of works to homonymous keys.

• Reduction. Written reduction of choral and orchestral works.

• Improvisation. Performance of improvisational transcriptions, analysis and synthesis of resources, and their use in improvisation in various musical styles and forms.

• Accompanist role. Performance of reductions in the accompaniment role.

Technology

• Ear training apps. Guided use.

Research

• Harmonic, morphological, structural, and historical-aesthetic analysis of works. Writing an analytical article.

Contents and activities of level C2

Rhythmic aspect

• Time signatures: 21/8 (12/8 + 9/8). All irregular values. Polyrhythms: 8/3, 3/8, 8/5, 5/8, 8/7, 7/8. Prepared performance and sight-reading, composition and rhythmic dictation.

Melodic aspect

• Notes in mezzo-soprano clef (C on the second line). Reading.

• Melodies in all major and minor keys with accidentals and modulations to neighboring and distant keys. Prepared performance and sight-reading, composition, and dictation.

Instrumentation, harmony, counterpoint and musical forms

• Registers, technical and expressive possibilities of woodwind and brass instruments, transposers, false transposers, and percussion. Stylistic resources of the Classical period: modulation to first and second-degree neighbor keys. Strategies of contrast and harmonic, thematic, and character development. Passing and neighbor chords. Delayed resolution. Sensitive style. Piano sonata, concerto for piano and orchestra, string quartet, sonata for chamber ensemble with piano (duo, trio, quartet, or quintet), and symphony in Classical style. Recitative and aria from opera, oratorio, or chamber music in Classical style. Analysis and composition in style.

Technique

• Parallel thirds, sixths, and octaves, successive chords, frequent position changes, extended hand, contrapuntal texture, and polyrhythms in one hand (fast tempo). Voices with independent dynamics in one hand. Abrupt tempo changes. Works in diverse forms and styles. Prepared performance and sight-reading, analysis, composition, and improvisation. Memorized performance.

• Transposition. Mental transposition a second above or below.

• Reduction. Mental reduction of four voices choral works (modern clefs).

• Improvisation. Performance of improvisational transcriptions, analysis and synthesis of resources, and their use in improvisation in various musical styles and forms.

• Accompanying role. First sight performance as an accompanist.

Technology

• Score editing software. Practical worksheets focused on utilizing all its possibilities.

Research

• Research object. Keywords. Literature search. Narrative, integrative, and systematic review methodologies. Developing a literature review based on a defined research object.

Contents and activities of level C3

Rhythmic aspect

• Time signatures: 27/8 (12/8 + 9/8 + 6/8). Polyrhythms: 9/2, 2/9, 9/4, 4/9, 9/5, 5/9, 9/7, 7/9, 9/8, 8/9. Unconventional rhythmic notations. Prepared performance and sight-reading, composition and rhythmic writing from dictation.

Melodic aspect

• Notes in baritone clef (F on the third line). Reading.

• Melodies in all major and minor keys with successive accidentals and multiple modulations. Prepared performance and sight-reading, composition, and dictation.

Instrumentation, harmony, counterpoint and musical forms

• Stylistic resources of the Romantic period: Exploration of harmonic color through the use of modulation to distant keys using enharmonic processes, mode change, functional ambiguity, modality, omnibus, and chords with ascending and descending sounds. Free-form works (musical moment, novelette, nocturne, impromptu, fantasy, ballad, rhapsody), piano sonata, concerto for piano and orchestra, and symphony in the Romantic style. Lied for piano in the Romantic style. Recitative, aria, and cabaletta from opera in Bel Canto style. Analysis and composition in style.

Technique

• Parallel thirds, sixths, and octaves, successive chords, frequent position changes, extended hand, contrapuntal texture, and polyrhythms in one hand (very fast tempo). Voices with independent accents in one hand. Abrupt character changes. Works in diverse forms and styles. Prepared performance and sight-reading, analysis, composition, and improvisation. Memorized performance.

• Transposition. Mental transposition a third above or below.

• Reduction. Mental reduction of string ensembles.

• Improvisation. Transcription of improvisations based on listening, simultaneous execution over the audio, and use of synthesized resources from the analysis for the improvisation itself.

• Playing in ensembles. Performance under baton.

Technology

• DAW (Digital Audio Workstation). Practical worksheets focused on utilizing all its possibilities.

Research

• Research question and background. Quantitative and qualitative research methodologies. Writing a research article.

Contents and activities of level C4

Rhythmic aspect

• Time signature changes (simple, compound, and amalgamated, with all possible equivalents). Polyrhythms: all possible combinations. Polymeter. Prepared performance and sight-reading, composition and dictation.

Melodic aspect

• Fluent reading in the 7 keys with key change. Reading.

• Atonal melodies. Prepared performance and sight-reading, composition, and dictation.

Instrumentation, harmony, counterpoint and musical forms

Stylistic resources of the post-romantic period, nationalisms, avant-garde movements and the main currents of the 20th century:

• Post-Romantic strategies in the exploration of color and harmonic development through the avoidance of cadential resolution.

• Nationalisms: Use of materials with rhythmic, melodic, and harmonic characteristics linked to regional, folk, and/or national motifs.

• Impressionism: Search for an atmosphere of harmonic imprecision through greater functional freedom, the use of modality, parallel fifths, and pentaphonic or whole-tone scales.

• Dodecaphonism: Equation in the hierarchy of twelve sounds, following a serial order and avoiding tonal references or polarizations or the establishment of rhythmic patterns.

• Neoclassicism: Rational style, with references to Baroque and Classicism, attention to proportion, and a high degree of contrapuntal development, dissonance, and rhythm.

• Polytonality: Superposition of melodic-harmonic patterns in different keys.

• Integral serialism: compositional structuring through series of sounds, durations, and dynamics.

• Aleatory music: Incorporation of chance and indeterminacy into the processes of composition and performance.

Analysis of works and composition in style.

Technique

• Works in diverse forms and styles without technical limitations. Prepared performance and sight-reading, analysis, composition, and improvisation. Memorized performance.

• Transposition. Mental transposition a fourth above or below.

• Reduction. Written reduction of choral and orchestral works.

• Improvisation. Transcription of improvisations based on listening, simultaneous execution over the audio, and use of synthesized resources from the analysis for the improvisation itself.

• Conducting technique: neutral marking, bounce, entrances, breathing, cuts, dynamics, articulation, phrasing. Clarification of the score. Self correction in front of a mirror.

Technology

• Video editing software. Practical worksheets focused on utilizing all its possibilities.

Research

• Definition of the research object, question, objectives, and purposes. Justification of relevance. State of the art. Theoretical framework. Research methodology. Discussion. Research contribution. Thesis development.

Materials and Evaluation Criteria

The content and activities proposed for each level are delivered using appropriate materials, such as scores, explanatory videos, tutorials, and exercises designed to facilitate learning at each level. For more information on the available materials, please visit the following link.

Each class also includes a formative assessment designed to promote accurate self-assessment and the proper use of effective study techniques and strategies. Each level also includes an optional summative assessment session, designed to measure the achievement of the proposed learning objectives and guide future development. For more information on these assessment sessions, please visit the following link.