Piano program and grades

[Daniel_piano]

I wonder what is the differences between piano programs of different countries
By piano program I mean what a student is required to study and practice at each different grade

Please if you're from France, Netherland, Australia, Cina, Brazil, wherever, share with us the piano program of your school

Here's mine:

Piano program

Grade 1

a) Studies
BEYER, op. 101;
BERTINI,  op. 137;
CZERNY,  op. 599;
DUVERNOY,  op. 176;
KOEHLER,  op. 157
BARTÓK, "Mikrokosmos", vol. I;.

b) Polyphonic studies
POZZOLI, polyphonic studies
KUNZ, 200 little canonsi

c) J. S. BACH WORKS:
- Anna Magdalena book
- 12 little preludes
--------------------------------------------------

Grade 2

a) Scales parallel motion

b) Studies
CZERNY, op. 849;
CZERNY, op. 636;
DUVERNOY, op. 176;
DUVERNOY, op. 120;
DUVERNOY,  op. 276;
BARTÓK, "Mikrokosmos", vol. II e III;
BERTINI,  op. 29;
HELLER,  op. 47;

c) Sonatinas:
CLEMENTI, Op. 36,
CLEMENTI, Op. 37
CLEMENTI, Op, 38
KUHLAU, Op. 55
MOZART, Sonatinas
----------------------------------------------------

Grade 3

a) Major and Minors scales parallel e contrary motion.

b) Studies:
CZERNY,  op. 299;
CZERNY,  op. 740;
POZZOLI, studies of medium difficoulty
HELLER, op. 45,
HELLER, op 46,
HELLER, op 47;
BERTINI, op. 32;
CLEMENTI, Preludes
BERENS,  op. 61;
BARTÓK, "Mikrokosmos", vol. III - IV.

c) J. S. BACH WORKS:
- Two parts inventions;
- French Suites.
------------------------------------------

Grade 4

a) Studies:
BERTINI,  op. 134;
CRAMER, 60 studies;
CZERNY, School of Velocity op. 299;
CZERNY,  op. 834;
CZERNY,  op. 740;
POZZOLI, studies of medium difficoulty;
LISZT, studies  op. I;

c) J. S. BACH WORKS:
- three parts inventions ;
- English Suites.

d) Sonatas
MOZART,
HAYDN,
CLEMENTI,
BEETHOVEN
--------------------------------------------

Grade 5

a) Hapsichord Italian Composers Repertoire

b) Pieces
CHOPIN, Bolero op. 19;
CHOPIN, Impromptu  n. 1  op. 29;
CHOPIN, Valse op. 34 n. l; Valse op. 42; Valse op. 64 n. 3; Valse op. 64 n. 2;
WEBER,  "Invitation à la valse" op. 65;
SCHUBERT, Impromptu in op. 90 n. 2; Impromptu  Op.90 n. 3. (original tonality);
SCHUMANN, "Carnaval de Vienne";
SCHUMANN, "Papillons " op. 2
DEBUSSY, "Children's corner"
---------------------------------------------------------

Grade 6
 
a) Scales by thirds and sixths

b) CLEMENTI,
"Gradus ad Parnassum" Vol 1

c) Studies
MOSCHELES,
MENDELSSOHN,
RUBINSTEIN,
THALBERG,
KESSLER,

d) SCARLATTI,
Sonatas

e) J. S. BACH WORKS
Well Tempered Clavier, vol. I.

f) Sonatas
BEETHOVEN,
SCHUBERT,
WEBER,
MOZART,
HAYDN,
CLEMENTI.
------------------------------------------------

Grade 7

a) CLEMENTI,
"Gradus ad Parnassum" Vol. 2 and 3

b) D. SCARLATTI,
Sonaas.

c) J. S. BACH WORKS
Well Tempered Clavier, vol.II.

d) Sonatas
BEETHOVEN,
SCHUBERT,
WEBER.
---------------------------------------------------------

Grade 8

a) SCHUBERT,  op. 142;

b) MENDELSSOHN,
Variations Sérieuses op. 54;

c) SCHUMANN,
op. 32 n. 1;
Phantasiestucke op. 12
op. 21 n. 2;

d) CHOPIN,
op. 10 n. 3, 5, 8.;
op. 25 n. 1, 2, 9;
op. 23;
op. 47;
op. 20 n.1;
op. 39;n 3
op. 22.

e) BRAHMS,
Two Rapsodies  op. 79
Intermezzi op. 117

f) MARTUCCI,
Etude op. 47;

g) DEBUSSY,
Jardins sous la pluie,
Danseuses de Delphes

h) RAVEL,
Tombeau de Couperin
------------------------------------------------------

Grade 9

a) Etudes:
CHOPIN,
LISZT,
SKRJABIN,
RACHMANINOV,
DEBUSSY,
SAINT-SAËNS,
----------------------------------------------------

Grade 10

1) BEETHOVEN,
All sonatas op.57 to op. 111
op. 120;
Rondò op. 129;
32 variations  op. 80.

b) WEBER,
Sonata n. 2 op. 39;

c) SCHUBERT,
Fantasia op. 15;

d) SCHUMANN,
Fantasia op. 17;
Carnaval op. 9;
op. 13;

e) CHOPIN,
Sonata  op. 58;
Sonata op. 35
op. 38;  
op. 52;
op. 44;
op. 53;
Nocturnes

f) LISZT,
Sonata in B minor;
Mephisto Valse
Trascendental Etudes
Feux Follets
Concerto Studies

g) BRAHMS,
op. 35
Rapsody op. 119 n. 4;

h) SAINT- SAËNS,
Six Studies op. 111

i) FRANCK,
Prelude, Chorale and Fugue,

l) CHABRIER,
Bourrée Fantastique

m) SGAMBATI,
Prelude and Fugue

n) MARTUCCI,
op. 58
Fantasia op. 51;

o) BOSSI,
op. 137 n. 3
Perpetual Motion

p) BALAKIREW,
Islamey

q) LIAPOUNOW,
Trascendental Etudes

r) MUSORGSKIJ,
Pictures at an Exhibition

s) DEBUSSY,
Preludes
Estampes

t) RAVEL,
Alborada del Gracioso
Gaspard de la Nuit
Jeux d'eau

u) ALBENIZ,
Iberia

v) STRAVINSKIJ,
Sonatas

z) BARTÓK,
Suite
----------------------------------------------------------

Daniel

[bernhard]

Nice question. I am also interested in this.

Here in the UK there are a number of institutions who offer grade examinations. There are 8 grades, and the most used syllabus is the ABRSM (Associated Board of the Royal Schools of music. (Amongst others are Trinity and Guildhall). I am most familiar with the ABRSM.

Their syllabus for practical examinations (they also have a theory exam, a jazz exam and a practical musicianship exam) changes every two years and typically consists of:

1.      scales
2.      sight reading
3.      aural tests
4.      3 pieces to be chosen from a selection of 18: 1 from the baroque – classical period, one from the romantic period, and one from modern/contemporary. (This is the bit that gets changed every two years).

If you want to see the actual pieces for each grade (as well as the other requirements), just visit their website:

https://www.abrsm.org/

By the way, which country are you from? (i.e., which country is the syllabus you posted?)

Best wishes,
Bernhard.

[Daniel_piano]

Nice question. I am also interested in this.

Here in the UK there are a number of institutions who offer grade examinations. There are 8 grades, and the most used syllabus is the ABRSM (Associated Board of the Royal Schools of music. (Amongst others are Trinity and Guildhall). I am most familiar with the ABRSM.

Their syllabus for practical examinations (they also have a theory exam, a jazz exam and a practical musicianship exam) changes every two years and typically consists of:

1.      scales
2.      sight reading
3.      aural tests
4.      3 pieces to be chosen from a selection of 18: 1 from the baroque – classical period, one from the romantic period, and one from modern/contemporary. (This is the bit that gets changed every two years).

If you want to see the actual pieces for each grade (as well as the other requirements), just visit their website:

https://www.abrsm.org/

By the way, which country are you from? (i.e., which country is the syllabus you posted?)

Best wishes,
Bernhard.

The syllabus I posted is from Italy
I attend the Gioacchino Rossini Conservatory

The ABRSM is quite strange compared to what I'm used to here

The 10 grade examination here in Italy lasts 4 days and it consists of preraring a piano concerto (meaning repertoire to be played during a public exhibitation not the concerto form) of four hours to be divided in four parts
Plus 2 days of teaching to students grade 1 to 8
It consists of 30 pieces circa to be prepared and performed

Also, is the ABRSM the body examination that can permit a student to become a teacher and get a diploma in piano teaching and performing ?
Here piano lesson last 10 years, is only 8 years in Uk to become a piano teacher and get a diploma ?

Is there another body of examination for more advanced pieces like Gaspard De La Nuit, Islamey or Feux Follets ?

Also, from the ABRSM syllabus it's not quite clear where (at which grade/year) "non-piece" studies are studied and performed
I mean French Suites, WTC, Gradus ad Parnassum, School of velocity, Inventions
Can you please give me some more information ?

To all the other: please share the syllabus examination and the piano program of your country

Daniel

[bernhard]

Yes, I agree with you. The ABRSM is rather strange. In fact the whole English educational system is very strange.

The ABRSM grades are simply examinations. There is no ABRSM “course” or school. Typically a student has private lessons and may or may not take examinations. If the student decides to take examinations, then it is up to his/her private teacher to prepare him/her.

As I said, there are 8 grades and if you pass you get a certificate. This certificate has no value whatsoever, in the sense that it does not give you any sort of credential. It is simply an opportunity for the student to play for an examiner and get assessed (together with the certificate the student gets a form with the examiner’s comments). The examiner comments are nothing to write home about. They are things like: “It could be played a bit faster”, or “Nice performance, the student showed that it prepared the piece carefully”. As you can see not terribly detailed or helpful. The exams rarely last more then 15 minutes (on the early grades 10 minutes).

I do not care too much for them. Sometimes the parents want their children to do it. Sometimes the student wants to do them. Finally sometimes it is useful to enroll the student for these exams simply because it gives them some focus and motivation to do things (like scales) they would not do if left to their own devices.

Overall I think the level of difficulty of the ABRSM exams is inferior to the level of the Italian exams you posted. Grade 8 ABRSM would be about grade 6 Italian.

If you want a qualification that will allow you to teach in an educational establishment, that is if you want a credential then there are further exams you can take with the ABRSM. More about that in a moment.

Alternatively you can do a Course in music. This typically involves in the UK to take a GCSE in music, then an A level, and finally University. The exams are purely theoretical (theory, harmony, history of music, composition, etc.). This is typically the path taken by students who want to be musicologists rather than performers. Even so, it is assumed that in parallel with the school work the student will be having private lessons in an instrument and perhaps doing ABRSM grades (even though these grades have no value in terms of CV).

Back to the ABRSM. After you finish your grade 8, you can then proceed and do a Diploma exam. Again, there is no course, just an exam and you are supposed to prepare for the exam with your private teacher. While grade 8 exam does not even begin to touch on the virtuoso repertory, Diploma level does. It also gives you a valid credential that will allow you to teach on an educational establishment. And you can choose between performance, directing and teaching. Grades 1- 8 are relatively easy, and most people pass even though they may play badly. Diplomas are a different sort altogether. There is quite a high rate of failure (about 50 %) and they are quite difficult. I would say that they correspond roughly to grade 9 – 10 of the Italian system.

There are three levels: DipABRSM (the lowest), LRSM and FRSM (the highest).  You need to have grade 8 to apply fro DipABRSM, you need Dip ABRSM to apply for LRSM and you need LRSM to apply for FRSM. These prerequisites can be replaced by similar courses or personal experience.

The details are too numerous to post here (my information booklet has 144 pages!), but you can get all the details from the ABRSM site, or you can request of copy of the booklet (it is free): Syllabus of Diploma Examinations – ABRSM. Some of it is going to change according to the latest news I've heard.

Finally there are courses (University level) that cater specifically for performance. The level is very high and you need to audition to secure a place. The two most famous are the Guildhall School of Music  (https://www.gsmd.ac.uk), the Royal Academy of Music (https://www.ram.ac.uk), and the Royal College of Music (https://www.rcm.ac.uk). I guess they would be the equivalent in the UK of Curtis and Julliard in the USA and of your conservatory in Italy.

Best wishes,
Bernhard.

[steve]

Hey, daniel

After grades 1-8 ABRSM you can go on to study one of the diplomas, which are in three levels: diploma (dipABRSM), licentiate (LRSM) and fellowship (FRSM).  Here is the link to the information about these exams. https://www.abrsm.org/?page=exams/diplomas

Broadly, they consist of a performance lasting 30-60 minutes (depending on the level, and with repertoire mostly chosen from the syllabus you'll find on that page above) in front of a few judges, a quick sight-reading study, a written submission (programme notes, or an essay at FRSM), and a discussion about the performance and written submission.

These exams can also be taken in performance, directing or teaching.

As for "non-piece" studies, I'm not sure there are any.  Certainly there is no course of pieces that must be studied before you can sit any grade: your teacher will simply enter you for a grade once he feels you are ready for it.  You can also enter at any grade (although to sit grades 6-8 you must first sit grade 5 theory of music), and can skip as many or as few grades as you want.

Do you have to pass every grade in order in Italy? And do I gather that you have to follow a certain course of pieces before you sit each grade?

EDIT: looks like bernhard beat me to it!  

[Daniel_piano]

Do you have to pass every grade in order in Italy? And do I gather that you have to follow a certain course of pieces before you sit each grade?

EDIT: looks like bernhard beat me to it!  

Yes, we have a exam every year if we want to be approved to the next year and each exam consists of playing all the pieces and tecnique studies we have studied during the year with the teacher

So during exams we not only have pieces and sonatas abut also tecnique studies (cramer, czerny, heller, bertini, WTC, inventions, suites, gradus ad parnassum)
to perform

And we also have to follow a order of piece, we're not allowed to play more advanced pieces if the less advanced piece have not been studies and examined by the examination body
So, no one can play and perform at the exam three-parts inventions if one has not before studies and performed at the exam the two-parts inventions

For those who learn quicker and can pass through both grade (for instance) 6 and 7 in one year, they're required to have a double exam in which they have to present and perform both the grade 6 and the grade 7 program

Daniel

[steve]

That's pretty tough!  Does that workload not put a lot of people off doing music?

To think that British people often complain that there is too much emphasis on examinations!

[Daniel_piano]

That's pretty tough!  Does that workload not put a lot of people off doing music?

To think that British people often complain that there is too much emphasis on examinations!

Yes there's a lot of pressure and fear
You can repeat the same year only two times and then you're out of the school forever
You can't be unprepared before the year-exam or you're out of the school
You can't get less than 8 (vote/grade) at your exam or you're out of the school

Every teacher is allowed to have only 5 students in his class
Out of 5 students per teacher I would say that only 2 usually pass the grade 7
The failure/drop out rate for diploma yeas (grades 9 and 10) is 90-95 %

There's no body of examination here in Italy so the only way to become a musician, pianist, composer .... and to get a cartification is to attend the conservatory
Private teachers teach to those who want play for fun an rarely pass grade 4
It's a hell to be accepted at the conservatory
I prepared my three exams when I was 10 years old and was rejected two times :-(

Daniel

[peter_g_moll]

Dear Daniel_piano,

Thank you very much for your highly informative post.  I have long been looking for syllabuses in other countries and it's very interesting to see a typical Italian one.

Here is what I have found on the internet.

1.     ABRSM - https://www.abrsm.org/?page=exams/gradedMusicExams/practical/piano/piano0 304_G8.html   or   https://www.abrsm.org/?page=exams/diplomas/diplomaspdf.html

2.     London College of Music -- grades and diplomas, at mercury.tvu.ac.uk/lcmexams/pnodipalcm.htm

3.     Trinity College London -- grades and diplomas.  Posted on the Web, though I have mislaid the address.  (It can readily be found with Google.)  Considering all the Fellow-level diplomas (Trinity, LCM, Guildhall, ABRSM) I would say that the Trinity one is the most difficult because it limits one's choice of repertoire sharply.  Though the UNISA (see below) Performer's Licentiate is a tough competitor also.

4.     Guildhall School of Music and Drama -- grades and diplomas.

5.  British Colombia Conservatory of Music -- grades and a Licentiate Diploma.    www.bccmusic.ca/Licentiate.pdf

6.     University of South Africa.   www.unisa.ac.za, or 

https://www.unisa.ac.za/Default.asp?Cmd=ViewContent&ContentID=11538

-- grades and diplomas.  Considering all the "Grade 8" exams (Trinity, Guildhall, ABRSM, LCM, BCCM, UNISA), I would say that UNISA has the most demanding standard.  Taking all the diplomas together, UNISA's Concert Diploma has by far the highest demands: THREE programs of 70-90 minutes.  (The others require one.)  This is the equivalent of several DMA-level programs in the USA.

Most of the American universities have music programs but the vast bulk are very shy about revealing their repertory lists and syllabuses.  Here are a few that I've managed to locate:

7.     The first-degree syllabus of the Catholic University of America -- One is the undergraduate syllabus of Catholic University, at https://music.cua.edu/images/pnolvls.pdf.  

8.     The San Francisco Conservatory of Music at www.sfcm.edu/keyboard.html

9.     The University of Texas conservatory at www.hsutx.edu

10.     The Fayettevill State University -- it is posted on the Web also.

11.     Birmingham Southern College.  www.bsc.edu/academics/arts/music/music-handbook03-04.pdf.  

12.     Rutgers University.  Bachelor of Music.  www.masongross.rutgers.edu/music/handbook/prk.htm#eos.

See also the earlier discussion in this forum on the "Roadmap to technical excellence", at
https://www.pianoforum.net/cgi-bin/yabb/YaBB.cgi?board=perf;action=display;num=1056376731;start=11

Canada and Australia also have examination systems similar to the ABRSM, but I have not been able to locate any of the syllabuses on the internet.

I think that the examination system that the British invented and passed to their colonies (South Africa, Australia, Canada) is a wonderful institution.  It enables many, many people who could not afford a full-time conservatory-based education to obtain serious musical qualifications so as to enable them to become teachers and performers, at (comparatively) very low cost and on a part-time basis.  It has, in effect, separated the process of LEARNING from the process of CREDENTIALLING, made the latter extremely cheap, and generated competition in the market for learning.  That is, if you want to learn piano in the British-type systems you can search for your own teacher and if you persist obtain a qualification.  Teachers of every stripe are thus in direct competition with the institutions such as universities and conservatories.  Whereas in other countries entry into the profession is funnelled through the universities and conservatories.  It would be interesting to examine this empirically by seeing whether in the British-type systems the conservatories are forced to be more cost-efficient, and whether in the British-type systems there are more qualified people overall, given the public's tastes and levels of income.  Conversely, to see whether in the non-British systems the conservatories in effect collect rents and limit access.  My two cents' worth.

Now we'd like to hear from China, Japan, Germany, France, and other places.

Regards,

Peter

[johnjwong]

In Canada, it goes from Grade 1 to Grade 10, then 2 paths.  1 is ARCT Performance.  1 is ARCT Teacher Grade 1 - ARCT Teacher Grade 3.

In canada, Grade 10 piano has the following repetoire:  
J.S. Bach - Prelude and Fugue in D Major  
J.S. Bach - French Suit No.3  
Beethoven - Sonata in E Mjaor op.14 no.1  
Haydn - Sonata in B Minor  
Mozart - Sonata in E Flat Major  
Chopin - Waltz in E Minor  
Nocturene in F Sharp major op.15 no.2  
Brahms - Ballade in D Minor, op 10, no.1  
Schubert - impromptu in E flat major op. 90, no.2  
Schumann - intermezzo op. 26 no.4  
Rachmoninoff - Melodie / Melody, op.3 no.3  
Debussy - Brouillards  

There are more songs to choose from but i m just too lazy to type it out...

[peter_g_moll]

I have some further piano syllabuses / programs which I found on the internet.  This follows the 12 I posted a while back.

13.     Royal Irish Academy of Music.  Similar to the ABRSM:

www.riam.ie/external_exams/piano_syllabus_print.htm

14.     Wheaton College conservatory.  It's called a "Piano Literature Syllabus."

www.wheaton.edu/Conservatory/handbook/pianolit.html

This includes a piano technique syllabus:

www.wheaton.edu/Conservatory/handbook/pianotech.html

15.     A reference to the Achievement in Music (AIM) Syllabus used by the Illiniois State Music Teachers Association, at

www.musicedmarket.com/bbnew/messages/332.html

16.     St. Cecilia Examinations, active in Australia and New Zealand.  At:  https://www.stcecilia.co.nz  or https://www.jayday.com/

17.     A valuable repertoire list by grade, by Valerie Langfield:

www.ukpianogroup.f9.co.uk/pt-gr-uk/specials/grade8.htm

www.ukpianogroup.f9.co.uk/pt-gr-uk/specials/grade7.htm

www.ukpianogroup.f9.co.uk/pt-gr-uk/specials/grade6.htm

and so on.

18.     Further on syllabuses in Italy, here's a very thorough listing by Riccardo:

https://pianoforum.net/smf/index.php/topic,5733.0.html

19.     The syllabuses of the University of Michigan, of which the most detailed to be listed is the DMA:

https://www.music.umich.edu/departments/piano/degree.lasso

20.     Northwestern University lists its technical requirements at the first degree level.  It's quite interesting:  https://music.northwestern.edu/students/PDF/GUIDE_piano04-05.pdf

21.     Although I don't have copies of the syllabus, there is the Australian Guild of Music & Speech Education System:

apps.blendedlearning.com.au/~guildmusic/Pages/AGMS-Sales.html

If you're from continental Europe, Japan, Russia -- please post yours.

Regards,


Peter

[Mandy]

I grew up in Canada:  the system there is called the Royal Conservatory of Music.  It's a great comprehensive system that emphasizes not only the performance aspect, but also all of the theory and history to go along with it.  By the time you complete the final level called ARCT, you have covered almost all of the history and theory taught in college.  I had to take a class in 20th Century techniques, but otherwise had done the rest.  

RCM's website is:  www.rcmusic.ca

The US, where I live now has just recently adopted (May 2004 were the first piano exams) this system and added two preparatory levels for the younger students and it's called the Royal American Conservatory.  The RACE website is:  www.royalamericanconservatory.org

[bernhard]

The US, where I live now has just recently adopted (May 2004 were the first piano exams) this system and added two preparatory levels for the younger students and it's called the Royal American Conservatory.  The RACE website is:  www.royalamericanconservatory.org

What??? "Royal" American?

Has the USA being declared a monarchy? (I guess king George Bush would love that!)

[Tash]

ok well down in australia with have the AMEB (australian music exaimination board) exams goes from preliminary to grade8 and i cannot remember what i played in the earlier grades but i'll attempt to remember what i played in the past few years but there's masses more stuff i don't know. oh and then after grade8 there's Amus, Lmus which is where most people finish i think, there may be some crazier levels about that but i don't think many people can be bothered paying hundreds of dollars to pay for the exam

there's four 'lists' in each grade- A, B,C,D so A is studies and baroque stuff, B is classical sonata movements, C is romantic, and D is 20th century

ok i've gotten my old books out so i'll just type what's in grade 5 and up cos i can't find the earlier ones


grade5: BERTINI- Study in A op.32 no.28
LUTOSLAWSKI- four-finger excercise no.1
CARL NEILSON- the whirling top op.11
HANDEL- Allegro from Suite XIV
J.S.BACH- Scherzo from partita no.3 BWV827
SCARLATTI- sonata in G K471
SCHUBERT- Scherzo in Bb DV593
J.C.BACH- Allegro di molto from sonata in D op.5 no.2
MOZART- Menuet no.6 K355
PROKOFIEV- Vision fugitive op.22 no.10
CHOPIN- Mazurka op.posth68 no.2
BRITTEN- waltz no.2 from 5 waltzes (i played this it's the bomb)
AGNEW- The merry go round (this is the bomb too!)
HELLER- Study op.45 no.14
MALCOLM JOHN- Study
J.S.BACh- Courante from french suite no.6
KREBS- Gigue
CLEMENTI- Rondo from 6 progressive pianoforte sonatinas op.36 no.5
BEETHOVEN- watlz WoO84
SCHUBERT- Watlz op.50 no.13 D779
SCHUMANN- waltz op.124 no.4
D'INDY- Sea picture op.33 no.1
GRANADOS- Epilogue from escenas romanticas no.6 (i LOVED playing this it's beautiful!)
SHOSTAKOVICH- prelude op.34 no.17
ALKAN- Prelude op.31 no.23
CARY- Small dance

GRADE 6
HELLER- Study op.45 no.9
PACHELBEL- arietta
HAYDN- Andante 2nd moevment from sonata in e HobXVI:22
MOZARt- Allegretto from sonata in Bb K570
BEETHOVEN- Allegretto WoO53
FAURE- Romance without words op.17 no.3 (love this)
SCHUMANN- Vision op.124 no.14
LISZT- Dreaming
D'INDY- Villiage festival
and some other random things amongst many other pieces
BARTOK- Grasshopper's WEdding

GRADE 7
well my book has disappeared so i'll just name the few pieces i played
HELLER- Study dunno which one
DEBUSSY- Golliwog's cakewalk
HAYDN- Some sonata i cant' remember (how helpful is that but it was really nice and bright!)
MOZKOWSKI- something i can't remember
GRIEG- Papillon

GRADE 8 doesn't even have a book so this is what i played
BACH- prelude and fugue in C minor bookI
GRUTZMACHER- Albumblatt
CHOPIN- Waltz in Ab major/F minor op.70 no.2
CHOPIN- prelude op.28 no.17
KHACHATURIAN- 3rd moevement of the sonatine
BEETHOVEN- the first movement of the sonata after op.14 no.2 can't remember the opus no!

then Amus has a whole mash of stuff i have a full list somewhere but can't find it but i remember it has
CHOPIN: Berceuse
CHOPIN: nocturne op.9 no.2
LISZT- hungarian rhapsody no.5
BEETHOVEN- sonata op.14 no.1 and 2
some bach preludes and fugues
a heap of mozart sontatas
some bartok, blah blah blah when i find the list i'll write it down

then Lmus is something i do not know of yet

then plus there's some aural and sightreading and general knowledge

[PL]

this year (Portugal) i studied 5th grade.

what we need is:

a complete sonata, 6 studies, 2 bach sinfonies, a portuguese piece, 2 other pieces, and, of course, scales... and you can choose from a huge list what sonata, what sinfonie, what pieces...

this year i chosed:
sonata-- Schubert D664 opus120 (allegro moderato, andante, allegro)
one moskowsky studi, two Clemetni studies (Gradus ad Parnassum) and three Cramer-Bulôw studies.
Luiz Costa's Preludio VI (portuguese piece).

Menuet sur le nome de Haydn, RAVEL.
Intermezzo FAminor, Brahms.

[peter_g_moll]

Mandy, Tash, PL,

Thanks very much for these informative replies.


Caro PL,

Muito obrigado pelas informacoes sobre o nivel 5.  Sera que existe um site do Internet que contem uma lista completa de todos os niveis?  Qual e o nome da instituicao que administra o sistema?

[PL]

Olá Peter_G_Moll lol..

bem.. estamos em Portugal não é? Não há nada sobre isso na Internet... talvez em folhas velhas nos arquivos do Conservatório e das várias escolas de´música anexas a este os encontres ... por isso é k so falei do 5ºgrau.. vou agora po 6º e inda nao sei AO CERTO o que me espera..

mais duvidas pl2004@netcabo.pt, sff.

[peter_g_moll]

Here is a sample DMA (piano teaching) repertoire list at a Canadian conservatory.  This is just the performance component (omitting the recital requirement, coursework, teaching practicals, thesis etc.)

***

A sample DMA piano teaching syllabus
(performance component only)


Solo piano

(a)      Prescribed pieces

Arne, Sonata (1)
Bach, Capriccio on the Departure of a Beloved Brother *
____, Preludes and Fugues, WTC Book 2 (2)
____, Suite (1)
____, Sinfonias (2)
Barber, Ballade or Nocturne *
Bartok, Suite Op. 14
Beethoven, Sonatas (2: 1 early, 1 late)
____, Set of early variations (1) *
____, Bagatelles (2)
Benda, Sonatas (2)
Bonds, Troubled Water *
Brahms, Op. 118, nos. 4, 5, 6 *
Chopin, Preludes (4)
____, Nocturnes (2) *
____, Mazurkas (2)
Debussy, Preludes (4)
____, Soiree dans Grenade *
Grieg, Pieces (3) *
Griffes, Piece (1) *
Handel, Suite (1 movement) *
Haydn, Sonatas (2 : 1 early, 1 late *)
Hovhaness, Pieces (2)
Joplin, Solace
____, Maple Leaf
Kabalevsky, Sonatine Op. 13
Kurtag, Pieces (4)
Liszt, Hungarian Rhapsody (1) *
____, Funerailles *
____, Christmas Pieces (2)
MacDowell, Pieces (3)
Mendelssohn, Songs Without Words (3)
____, Variations Serieuses Op. 54 *
Mozart, Adagio in B minor *
____,  Sonata in C minor (K. 457) *
Schoenberg, Pieces, Op. 19
Rachmaninov, Prelude (1) *
Rameau, Gavotte and Variations
Ravel, Sonatine
Rochberg, Bagatelle (1)
Rosco, Pieces (3)
Scarlatti, Sonatas (2)
Schubert, Impromptu (1) *
____, Sonata (1)
Schumann, Scenes from Childhood, Op. 15 (4)
____, Fantasiestuecke (2) *
Shostakovich, Prelude and Fugue (1) *
Skriabin, Prelude (1)
Skalsky, Sonatina
Soler, Sonata (1)
Tansman, Pieces (2)

(b)     Pieces of the candidate’s choice

15 minutes by North American composers
15 minutes by Latin American composers
15 minutes by female composers
15 minutes by composers of another tradition

(c)      Studies/etudes

Chopin, Etudes, Op. 10 (1), Op. 25 (1)
Cramer, Etudes (2)
Liszt, Etude (1)
Moskowski, Etude (1)
Waxman, Etudes (2)

Concertos

Chopin (e) *
Haydn, Concertino
Kabalevsky, Concerto III, Op. 50
Mozart – K. 414/A or K. 491/c *

Chamber music

Haydn, Trio in G (Hob XV:25) or C (Hob. XV:27)
Beethoven, “Ghost”
Dvorak, “Dumky”
Chamber work for woodwind and piano
Chamber work for brass and piano
Chamber work for percussion and piano

Vocal accompaniment

Songs in French (2), Italian (2), German (2), English (2), Russian (2)
Opera scene (1)

An asterisk * indicates that the piece must be played from memory.  

Satisfactory preparation of the repertoire may be confirmed either by an audio recording, or by performance in a DMA degree recital, or by signed statement from the instructor, or by public performance.

***

Now we'd still like to hear from France, Netherlands, Brazil, China, and others!

Best wishes,

Peter Moll

[moi69]

Ok, so i'm french. i stuudied the piano since i'm 3. In france, in each grade, there isn't any official programm. It's u're teacher who decides what is important to play. Look at our grades:
1er cycle:
               -1ère année
               -2e année
               -3e année
               -( préparatoire)
2ème cycle:
                -1ère année
                etc...
                - 4 e année ==> and after it's very complicated and depends of your conservatory (music school)
U can go in 3ème cycle to get your DFE (diplôme de fin d'étude)
or in 3ème cycle, then in CPS (cours préparatoire supérieur) and have your Médaille (prix) , if u want to have a musical career. But this system is different in each town. i live in Lyon, but in Paris, there isn't the same grades, neither in Marseille or Toulouse! France is a very strance state, and the music is not very important for the government, so it's very strange!

[princess_moose]

Alternatively you can do a Course in music. This typically involves in the UK to take a GCSE in music, then an A level, and finally University. The exams are purely theoretical (theory, harmony, history of music, composition, etc.). This is typically the path taken by students who want to be musicologists rather than performers. Even so, it is assumed that in parallel with the school work the student will be having private lessons in an instrument and perhaps doing ABRSM grades (even though these grades have no value in terms of CV).

Wrong. To do performance at a university level you do not need to go to a music college or a conservatoire. Most, if not all, "normal" universities here in the UK offer modules to do with performance. I did 2 this year which amounted for a quarter of my first year. Yes a lot of it is theoretical, but please do not give the impression that that is all it is. There are plenty of performance opportunities at a "normal" UK university.

[kau]

I'm from Estonia and I thought I'd try to give a quick overview of estonian music system. It's very different from many.
There's primarily two paths the child can take -
1) go to a music school. Most of the kids who study music go to music schools, these are all over Estonia. They are totally separate from regular schools.  They last for 7 years, but one can also do 8 or 9th grade, but it's rare.  Student has 2 private lessons a week (an instrument lessons), depending on the grade he/she also starts to learn solfeggio and music history. These are all mandatory lessons, so it keeps one pretty busy.  The solfeggio and music history lessons are together for kids who are in the same class.  During the schoolyear each student needs to perform on concerts.  There are also theory exams and music history exams. They also learn musical dictation.
I'll add a link to a piano (since it's a piano forum) syllabus for grades 1-7. It's in estonian of course but one can still understand the main things - the grades are listed in roman numerals, the pieces are listed in categories (etudes - I, II, III grade, etc, polyphonic piecesI- VII  grades, etc).  https://www.ise.ee/oppekava/huvikoolid/lisa_6.htm  (scroll down some time until you come to etudes, I õppeaasta (level one).
When a child wants to became a professional then he/she has two paths to take - to go to a Tallinn Music High School (of which I'm going to write soon) or to go to a middle level music school which lasts for four years and after that can go to a conservatory.
2) the second way is to go to Tallinn Music High School.  There's only one this kind of school in Estonia. This is not separate from the regular school. Everyone in this school must learn an instrument. Music subjects take place in the midst of the others (ex: a student can have math, then music history, then solfeggio, then english, etc).  Since it's such a great atomosphere of music many encourage each other. The overall level of this school is very high and much higher than the level of music schools. Also - they study and instrument from grade one through grade 12, then one can go the the Music Academy or conservatory. Specially the level of piano is very high. Many win national competitions. But also - the stress and pressure are high - kids who don't want to become musicians or just can't stand the pressure or whatever can always change schools and go to a regular school. Kids from music schools who are very serious about music can always come to Tallinn music high school.  I believe its a unique school with some very good teachers.
3) it has become much more common lately to study under a private teacher and not go to a music school. But it seems that most of the people who become musicians have gone to a music school first. I believe that estonian music school gives a very wide and balanced musical education - child can play many pieces and also knows music theory.  But there are also minuses - the system is quite conservative.  Sometimes teachers can be very hard on students.  Also - the system doesn't take into account the students interests too much - the music schools are very strictly teaching classical music - it's extreamly rear if a child can learn a pop piece there of if they teach the child to improvise - I only know of one music school which does that.  So not at all all the starters graduate. 
I hope that I have given as objective overview as possible.  I don't think that this system is eather better or worse than the systems of other countries. I just think that it's different, it has its inner logic.
The post turned out very long  but if someone finds it interesting then it's served its purpose. 

[peter_g_moll]

Dear Kau,

Thanks very much for this very interesting post.  It's very useful to compare.  Could you be so kind as to translate just the titles?  I can make out "polyphonic" but not all of them.  Also, how many of these do the students play?  And is there a formal examination?  And is there an equivalent system for the next level -- i.e. diplomas as in the ABRSM or Trinity?  If there is, could you please be so kind as to publish the repertoire for that?

Thanks very much.

Regards,


Peter

[bernhard]

Wrong. To do performance at a university level you do not need to go to a music college or a conservatoire. Most, if not all, "normal" universities here in the UK offer modules to do with performance. I did 2 this year which amounted for a quarter of my first year. Yes a lot of it is theoretical, but please do not give the impression that that is all it is. There are plenty of performance opportunities at a "normal" UK university.

I meant before university. To my knowledge no school preparing for GCSE/A levels offers instrumental tuition; this must be arranged in private and in parallel with school work. The GCSE/A level exams are purely theoretical. There is no performance exam. This is taken care of by the ABRSM (or other body like Trinity), and again as a music student you are expected to take those in parallel.

Of course, once you taken your GCSE/A levels, if you choose to pursue your musical studies in music, then of course there will be perfomance classes and opportunities. And it has always been my impression that if you truly want to be a performer, then the advisable course of action would be to apply to one of the Royal schools of music, rather to an University, but I may be wrong here. Certainly the emphasis on the Music Department of Oxford University is not on performance, but on musicology.

And of course, all of this may have changed, since right now secondary education is going through a lot of reforms in the UK.

Best wishes,
Bernhard.

[moi_not_toi]

In GA, we have this thing called WGMTA (West Georgia Music Teacher's Association) Piano Auditions.

Would tell you more, but that's all I can explain and I can't find a link for it.

[ako]

This is interesting. I grew up in Hong Kong and US (California) so I went through 2 systems. In HK, it is the ABRSM. In US, the grading is much less strict than some of the repertoire posted here. There are 10 levels and in general. As a student, I was evaluated annually in the Spring. My teacher would pick 3 pieces for the general grade level but it is very "general" because you can play 2 Level 10 pieces and the third piece can be from Level 8. Also, you can stay in 1 level for a couple of years because once you reach Level 10 (and you are still in high school), you have nowhere to go. So you can stay in Level 10 for 2-3 years if you are an advanced student.

I am including some examples of what students played back in the 1980's and 1990's for each level according to the evaluation program notes and recital program notes. Also including some pieces normally found in "repertoire" books.

Level 1-
Kabalevsky Op 27. easier pieces
Gurlitt pieces
Mozart- the simplest minuets
Bartok beginner pieces

Level 2- 3
Kabalevsky-Waltz
Schumann- Soldier's March, Wild Rider
Beethoven- sonatina in G, ecossaises
Mozart- minuets
Bach- Musette, minuet in G
Clementi- Sonatina Op.36 No.1- 1st movement

Level 4-5
Beethoven- Sonatina in F, Fur Elise
Schumann- First Sorrow, Knight Rupert, Nicht Snell (all op. 68)
Clementi- Sonatina 36/2, 3
Bach- Little Preludes, simple preludes from WTC
Debussy- Le Petit Negre
Benda- sonatinas
Mozart- sonata K545 ist movement
Grieg- Arietta
Kuhlau-sonatinas

Level 6
Mozart- Fantasy in d minor
Grieg- March of Dwarfs, Puck
Beethoven- 49/2 1st movement, bagatelle- 119/1
Scarlatti- sonata in G
Bach-partita no.1- minuets
Chopin- waltz in a minor, mazurka in F
Schumann- Scenes from childhood

LEvel 7
Mozart- K284- sonata in D, ah vous dirai-je maman
Schumann- Warum, some Phantastucke pieces
Bach- 2 part inventions, sinfonias
Debussy- Children's Corner
Bartok- Mik- Vol. 5/6, Sketches


LEvel 8-9
Debussy- Preludes, Arabesque, Reflections in the Water, Estampes
Bach- Sinfonias, P & F, single movements of partitas, French Suites, English Suites
Mozart- fantasy in c minor, sonata in D K576- 1st movement, K309
Beethoven- 28/1- 1st movement, op.53 1st movement
Chopin- Etudes
Bartok- Rumanian Folk Dances, Mik Vol. 6,
Mendelssohn- Rondo Capriccioso
Schumann- Phantastucke pieces

LEvel 10
Bartok- Sonata, Suite Op. 14, Improvisations
Beethoven- Op.110, Op. 10/3, Op.2/3
Debussy- Preludes
Chopin- Ballades, Scherzos
Rachmaninoff- Preludes
Schumann- Arabesque, Pappillons
Brahms- Op. 117, 118
Mendelssohn- Variations Serieuses
Bach-Partitas
Ravel- Jeax d'eau, etc.

I think the popularity of pieces go in and out of fashion. So what students play nowadays might be different. That in itself is another interesting topic.

Enjoy!!