Syllabus+for++Piano+-+level+2

** Teacher – Robin Johnson ** ** Department – Instrumental Music ** ** School – Thomas Jefferson High School ** ** 2 semesters (5 credits/each) ** ** Class meets – period 7 (M,T,Th,F – 12:59-1:50, W – 12:36-1:23) ** ** Office hours – M-F – periods 1, W – 2:14-2:45 ** ** Phone – (720) 423-7071 ** ** eMail – ****robin_johnson@dpsk12.org**
 * __ SYLLABUS – PIANO (level 2) __**

Musicians learn their craft from listening and observing, as well as practicing. In addition to learning to play the piano, students will also learn how to listen to and critique music. Class will frequently begin with listening exercises. Students will learn the academic vocabulary used to describe and analyze music, and in their own discussions and writings they will be expected to use that vocabulary. Each Friday, students will be asked to submit written critiques of performances. These performances can be live or recorded; the Internet has an abundance of recordings, and there are numerous live performances in Denver, some of which are free. Much of the class time will be given for individual practice. Students will be taught how to set appropriate weekly goals, and how to structure their practice time to reach those goals. Most of their practice time will be spent on their own. If a student is waiting to use a piano, he/she should use that time to listen to piano music, write the weekly critique, complete any written theory assignments, and/or practice music theory online. At the end of each 6-week grading period, students will have studio recitals, in which they perform for each other. The recitals at the end of each semester will be held in the evening. These are formal occasions, in which students are expected to dress up. (//Parents, friends & family are welcome – just be certain to check-in at the main office.//) These recitals are an important part of the students’ development at musicians. In addition to their performances, they will provide a written critique their own performance, as well as the performances of their peers.
 * Course description – ** This class is open to high school students with previous keyboarding experience. Students must pass a performance test, prior to admittance. In this class students will learn:
 * about the history of keyboard instruments,
 * to execute fingering exercises and scales,
 * to play music of different time periods (e.g. Baroque, Classical, Romantic),
 * to transpose,
 * to read a piano score,
 * how to analyze music
 * how to compose short rhythms and melodies
 * and how to improvise

There are almost enough pianos for each student. Some of the pianos are acoustic, and some are electric; there are benefits to both. The piano lab will be used on a rotating basis; each station has a keyboard and headphone/mic set. All have been tested, and found in good working order. All equipment needs to be treated with respect, and left in good condition for the next students. The band, orchestra and percussion equipment are off limits during this class. Accidents do happen, but damage, beyond normal wear and tear, will result in a fine assessed to a student’s account, even accidental damage. Be careful. 90% - 100% - A 80% - 89% - B  70% - 79% - C  0 % - 69% - F (HMM.....anybody home ?) We all learn and acquire skills at different paces; sometimes students pick up a skill after it has been tested. For that reason students are permitted to retake performance tests as often as they wish. This, though, is not meant to provide an excuse for students not to progress. The pacing of the class is reasonable, and if a skill is proving challenging, the student will need to schedule additional practice time, on his/her own time. Students may sign-up to use any of the pianos during lunch or after school. transposition of simple melodies in Major keys, and music of the Baroque Era - Bach minuets and/or 2-part inventions Studio recital – October 1 (in-class) transposition in Major keys (cont.) and music of the Classical Era – Mozart & Clementi Sonatinas Studio recital – November 12 (in-class) transposition in Major keys (cont.), and music of a Transitional period - Beethoven & Schubert Sonatinas, etc. Studio recital – December 8 (6 pm) and music of the Romanitic Era – Schuman & Chopin Studio recital – February 18 (in-class) and music of the 20th Century – Bartok & Kabalevsky Studio recital – April 7 (in-class) 6th 6-weeks **Blues Scales, improvisation, capstone (2-3 pieces of students’ choice)** Studio recital – May 24 (6 pm)
 * Materials - ** Students need to have a 1/2" 3-ring binder for this class. In addition to their binder, students need to bring their ID, school planner, and 1-2 pencils.
 * Grading – **
 * Course Overview – **
 * 1st 6-weeks Review chromatic scale and Major Scales (pattern I) & F Major, Hanons 1-3, **
 * 2nd 6-weeks Major Scales (Bb, Eb, Ab), Hanons 4-6, **
 * 3rd 6-weeks Major scales (Db, Gb B), Hanons 7-8, **
 * 4th 6-weeks A Minor Scale (3 forms), Czerny 1-6, transposition in minor keys **
 * 5th 6-weeks Minor Scales (cont.), Czerny 7-12 **

Chromatic scale – hands separately || correct fingering, steady tempo || 5 + 5 ||  || Review Level I songs in G Major || fingering, pitch, rhythm || 5 + 20 ||  || Review Level I songs in D Major || fingering, pitch, tempo || 5 + 20 ||  || Review Level I songs in A Major || fingering, pitch, rhythm, tempo || 5 + 20 ||  || Review Level I songs in E Major || fingering, pitch, rhythm, tempo || 5 + 20 ||  || Review Level I songs in F Major || fingering, pitch, rhythm, tempo || 5 + 20 ||  || Review Level I songs in Bb Major || fingering, pitch, rhythm || 5 + 20 ||  || Review Level I songs in Bb Major || fingering, pitch, rhythm || 5 + 20 ||  || Review Level I songs in Eb Major || fingering, pitch, rhythm || 5 + 20 ||  || Review Level I songs in Ab Major || fingering, pitch, rhythm || 5 + 20 ||  || EXAM || Hanon # 1-8 (both hands); Songs; & Self-reflection || fingering, pitch, rhythm, tempo; vocabulary & insight || 100 ||  ||
 * 1st Semester **
 * ** DATE ** || ** ASSIGNMENT ** || ** CRITERIA ** || ** POINTS ** || ** GRADE ** ||
 * 8/26 || Hanon #1 - both hands || correct fingering, steady tempo || 5 ||  ||
 * 8/27 || C Major scale – both hands &
 * 8/28 || Review Level I songs in C Major || correct fingering, rhythm, pitch || 20 ||  ||
 * 8/28 || Performance critique #1 (in-class) || vocabulary || 5 ||  ||
 * 9/1 || G Major scale – both hands &
 * 9/3 || Bach Minuet – hands separately || fingering, pitch, tempo || 5 ||  ||
 * 9/4 || Performance critique #2 || vocabulary, accuracy || 10 ||  ||
 * 9/9 || Hanon #2 || fingering, pitch, tempo || 10 ||  ||
 * 9/10 || D Major scale &
 * 9/11 || Bach Minuet – hands together || fingering, pitch, rhythm, tempo || 30 ||  ||
 * 9/11 || Performance critique #3 || vocabulary, originality || 10 ||  ||
 * 9/15 || A Major scale &
 * 9/18 || Bach 2-part Invention or Minuet -RH || fingering, pitch, rhythm, tempo || 5 ||  ||
 * 9/18 || Performance critique #4 || fingering, pitch, rhythm, tempo || 10 ||  ||
 * 9/22 || Hanon #3 ||  ||   ||   ||
 * 9/22 || E Major scale &
 * 9/25 || Bach2-part Invention or Minuet - LH || fingering, pitch, rhythm, tempo || 5 ||  ||
 * 9/25 || Performance critique #5 || vocabulary, originality || 10 ||  ||
 * 9/29 || F Major scale &
 * 10/1 || Bach 2-part Invention or Minuet – 2-hnds || fingering, pitch, rhythm, tempo || 30 ||  ||
 * 10/1 || STUDIO RECITAL (in-class) || fingering, pitch, rhythm, tempo || 50 ||  ||
 * 10/2 || Performance critique #6 || vocabulary, originality || 10 ||  ||
 * 10/6 || Hanon #4 - both hands || correct fingering, steady tempo || 5 ||  ||
 * 10/7 || Bb Major scale – both hands &
 * 10/9 || Clementi Sonatina – 1st third – 2 hands || fingering, pitch, rhythm, tempo || 10 ||  ||
 * 10/9 || Performance critique #7 || vocabulary, insight || 10 ||  ||
 * 10/16 || Clementi Sonatina – 2nd third – 2 hand || fingering, pitch, rhythm, tempo || 10 ||  ||
 * 10/16 || Performance critique #8 || vocabulary, insight || 10 ||  ||
 * 10/21 || Hanon #5 || fingering, pitch, rhythm, tempo || 5 ||  ||
 * 10/23 || Bb Major scale – both hands &
 * 10/23 || Performance critique #9 || vocabulary, insight || 10 ||  ||
 * 10/27 || Clementi Sonatina – full song – 2 hands || fingering, pitch, rhythm, tempo || 30 ||  ||
 * 10/30 || Mozart Sonatina – 1st fourth – 2 hands || fingering, pitch, rhythm, tempo || 20 ||  ||
 * 10/30 || Performance critique #10 || vocabulary, insight || 10 ||  ||
 * 11/4 || Hanon #6 || fingering, pitch, rhythm, tempo || 5 ||  ||
 * 11/4 || Eb Major scale – both hands &
 * 11/6 || Mozart Sonatina – 1st ¾ - 2 hands || fingering, pitch, rhythm, tempo || 10 ||  ||
 * 11/6 || Performance critique #11 || vocabulary, insight || 10 ||  ||
 * 11/11 || Mozart Sonatina – full song – 2 hands || fingering, pitch, rhythm, tempo || 30 ||  ||
 * 11/12 || STUDIO RECITAL (in-class) || fingering, pitch, rhythm, tempo || 50 ||  ||
 * 11/13 || Performance critique #12 || vocabulary, insight || 10 ||  ||
 * 11/17 || Hanon #7 || fingering, pitch, rhythm, tempo || 5 ||  ||
 * 11/17 || Ab Major scale – both hands &
 * 11/19 || Schubert – 1st third of song – 2 hands || fingering, pitch, rhythm, tempo || 10 ||  ||
 * 11/20 || Performance critique #13 || vocabulary, insight || 10 ||  ||
 * 12/2 || Schubert – 2nd third of song – 2 hands || fingering, pitch, rhythm, tempo || 10 ||  ||
 * 12/4 || Schubert – full song – 2 hands || fingering, pitch, rhythm, tempo || 30 ||  ||
 * 12/4 || Performance critique #14 || vocabulary, insight || 10 ||  ||
 * 12/8 || Studio Recital (6 PM) || fingering, pitch, rhythm, tempo || 200 ||  ||
 * 12/11 || Performance critique #15 || vocabulary, insight || 10 ||  ||
 * FINAL

Try some Level I songs in a minor || fingering, pitch, rhythm || 5 + 20 ||  || EXAM || Czerny # 1-12; Songs; & Self-reflection || fingering, pitch, rhythm, tempo; vocabulary & insight || 100 ||  ||
 * 2nd Semester **
 * ** DATE ** || ** ASSIGNMENT ** || ** CRITERIA ** || ** POINTS ** || ** GRADE ** ||
 * 1/6 || Czerny #1 - both hands || correct fingering, steady tempo || 10 ||  ||
 * 1/6 || Schumann – 1st half || correct fingering, steady tempo || 10 ||  ||
 * 1/7 || A Minor scale (natural) &
 * 1/8 || Performance critique #1a || vocabulary & insight || 10 ||  ||
 * 1/11 || Music theory – reading || reading & writing || 10 ||  ||
 * 1/12 || Czerny #2 – both hands || fingering, pitch, rhythm, tempo || 5 ||  ||
 * 1/14 || Schumann – whole piece || fingering, pitch, rhythm, tempo || 10 ||  ||
 * 1/15 || Performance critique #2a || vocabulary & insight || 10 ||  ||
 * 1/19 || Music theory – reading || reading & writing || 10 ||  ||
 * 1/19 || A Minor scale (harmonic) || fingering, pitch, rhythm, tempo || 5 ||  ||
 * 1/20 || Czerny #3 – both hands || fingering, pitch, rhythm, tempo || 10 ||  ||
 * 1/22 || Chopin – 1st fourth || fingering, pitch, rhythm, tempo || 10 ||  ||
 * 1/22 || Performance critique #3a || vocabulary & insight || 10 ||  ||
 * 1/25 || Music theory – reading || reading & writing || 10 ||  ||
 * 1/26 || Czerny #4 || reading, fingering, pitch, rhythm || 10 ||  ||
 * 1/28 || Chopin – 1st half || reading, fingering, pitch, rhythm || 10 ||  ||
 * 1/29 || Performance critique #4a || vocabulary & insight || 10 ||  ||
 * 2/1 || Music theory – reading || reading & writing || 10 ||  ||
 * 2/1 || Czerny #5 || fingering, pitch, rhythm, tempo || 10 ||  ||
 * 2/2 || A Minor scale (melodic) || fingering, pitch, rhythm, tempo || 5 ||  ||
 * 2/4 || Chopin - 1st three-quarters || fingering, pitch, rhythm, tempo || 10 ||  ||
 * 2/5 || Performance critique #5a || vocabulary & insight || 10 ||  ||
 * 2/8 || Music theory – reading || reading & writing || 10 ||  ||
 * 2/9 || Czerny #6 || fingering, pitch, rhythm, tempo || 5 ||  ||
 * 2/12 || Chopin – full song || fingering, pitch, rhythm, tempo || 30 ||  ||
 * 2/12 || Performance critique #6a || vocabulary & insight || 10 ||  ||
 * 2/18 || STUDIO RECITAL (in-class) || fingering, pitch, rhythm, tempo || 50 ||  ||
 * 2/19 || Performance critique #7a || vocabulary & insight || 10 ||  ||
 * 2/22 || Music theory – reading || reading & writing || 10 ||  ||
 * 2/23 || Czerny #7 || fingering, pitch, rhythm, tempo || 5 ||  ||
 * 2/23 || E minor scale (3 forms) || fingering, pitch, rhythm, tempo || 15 ||  ||
 * 2/25 || Bartok – RH || fingering, pitch, rhythm, tempo || 10 ||  ||
 * 2/26 || Performance critique #8a || vocabulary & insight || 10 ||  ||
 * 3/1 || Music theory – reading || reading & writing || 10 ||  ||
 * 3/2 || Czerny #8 - LH || fingering, pitch, rhythm, tempo || 5 ||  ||
 * 3/2 || B minor scale (3 forms) || fingering, pitch, rhythm, tempo || 15 ||  ||
 * 3/3 || Bartok – LH || fingering, pitch, rhythm, tempo || 10 ||  ||
 * 3/4 || Performance critique #9a || vocabulary & insight || 10 ||  ||
 * 3/7 || Music theory – reading || reading & writing || 10 ||  ||
 * 3/8 || Czerny #9 || fingering, pitch, rhythm, tempo || 10 ||  ||
 * 3/8 || D minor scale (3 forms) || fingering, pitch, rhythm, tempo || 15 ||  ||
 * 3/10 || Bartok – both hands || fingering, pitch, rhythm, tempo || 30 ||  ||
 * 3/11 || Performance critique #10a || vocabulary & insight || 10 ||  ||
 * 3/14 || Music theory – reading || reading & writing || 10 ||  ||
 * 3/15 || Czerny #10 || fingering, pitch, rhythm, tempo || 5 ||  ||
 * 3/15 || G minor scale (3 forms) || fingering, pitch, rhythm, tempo || 15 ||  ||
 * 3/17 || Kabalevsky – 1st half || fingering, pitch, rhythm, tempo || 10 ||  ||
 * 3/18 || Performance critique #11a || vocabulary & insight || 10 ||  ||
 * 3/21 || Music theory – reading || reading & writing || 10 ||  ||
 * 3/22 || Czerny #11 – LH || fingering, pitch, rhythm, tempo || 10 ||  ||
 * 3/25 || Kabalevsky – full song || fingering, pitch, rhythm, tempo || 30 ||  ||
 * 3/25 || Performance critique #12a || vocabulary & insight || 10 ||  ||
 * 4/4 || Music theory – reading || reading & writing || 10 ||  ||
 * 4/7 || STUDIO RECITAL (in-class) || fingering, pitch, rhythm, tempo || 50 ||  ||
 * 4/8 || Performance critique #13a || vocabulary & insight || 10 ||  ||
 * 4/12 || Music theory – reading || reading & writing || 10 ||  ||
 * 4/13 || Czerny #12 || fingering, pitch, rhythm, tempo || 5 ||  ||
 * 4/14 || Blues scale || fingering, pitch, rhythm, tempo || 5 ||  ||
 * 4/14 || Capstone proposal – DUE || select a piece of music for final & map out a practice schedule || 20 ||  ||
 * 4/15 || Performance critique #14a || vocabulary & insight || 10 ||  ||
 * 4/18 || Music theory – reading || reading & writing || 10 ||  ||
 * 4/19 || Intro to Improvisation || fingering, pitch, rhythm, tempo || 10 ||  ||
 * 4/21 || Capstone - 1st week check-in || were goal achieved; do goals need to be adjusted || 20 ||  ||
 * 4/22 || Performance critique #15a || vocabulary & insight || 10 ||  ||
 * 4/25 || Music theory – reading || reading & writing || 10 ||  ||
 * 4/28 || Capstone – 2nd week check-in || on target? any changes needed? || 20 ||  ||
 * 4/29 || Performance critique #16a || vocabulary & insight || 10 ||  ||
 * 5/2 || Music theory – reading || reading & writing || 10 ||  ||
 * 5/3 || Improvisation || pitch, rhythm, tempo || 10 ||  ||
 * 5/5 || Capstone – 3rd week check-in || were goal achieved; do goals need to be adjusted || 20 ||  ||
 * 5/6 || Performance critique #17a || vocabulary & insight || 10 ||  ||
 * 5/9 || Music theory – reading || reading & writing || 10 ||  ||
 * 5/12 || Capstone – 4th week check-in || were goal achieved; do goals need to be adjusted || 20 ||  ||
 * 5/13 || Performance critique #18a || vocabulary & insight || 10 ||  ||
 * 5/16 || Music theory – reading || reading & writing || 10 ||  ||
 * 5/19 || Capstone – 5th week check-in || were goal achieved; do goals need to be adjusted || 20 ||  ||
 * 5/20 || Performance critique #19a || vocabulary & insight || 10 ||  ||
 * 5/24 || Studio Recital (6 PM) || fingering, pitch, rhythm, tempo || 200 ||  ||
 * 5/27 || Performance critique #20a || vocabulary & insight || 10 ||  ||
 * FINAL
 * Schedule is subject to change. **