Keyboard Practice 1

N/A

Exemplification of the techniques by the teacher.

Promotion of individual work.

 Assessment:

Students can choose between two types of assessment: continuous/ periodic assessment or exam.

In the continuous/ periodic assessment the student’s technical development and interpretation qualities at the keyboard are observed, namely: body, arm, hand and wrist posture; finger articulation; “thumb passage”; and equality and independence.

 The weightings according to the syllabus are as follows:

• TECHNIQUE (3 marks – 15%);

• STUDIES: Czerny Op. 599, one piece chosen from numbers 5 to 20; (4 marks – 20%);

• FUNCTIONAL HARMONY (3 marks – 15%);

• REPERTOIRE (10 marks – 50%): A piece from the “Book of Ana Madalena Bach” (4 marks – 20%) + A sonatina movement (6 marks – 30%).

In assessment by exam, the weightings according to the syllabus are the same as in continuous/ periodic assessment

• Knowing the keyboard, through experimentation, in its relationship with the fingers, hand, arm and body.

• Realize the usefulness of the keyboard as a study instrument, subsidiary in the study of the basic dimensions of music – melody, harmony, rhythm and dynamics – and, equally, within the scope of music technologies.

• Develop independence – RH/LH – as a foundational skill of keyboard practice.

• Realize, through practice, the basic rules of double-staff reading.

• Perform technical support exercises – mechanism exercises and musical study exercises.

• Execute an appropriate repertoire adapted to keyboard practice for adults in initiation.

• Meet higher musical and technical expectations whenever justified.

• TECHNIQUE (for the development of agility, strength control, independence and articulation): – M and m scales in opposite and parallel movement; – M and m arpeggios in parallel movement.

• STUDIES (for the development of reading and interpretation): – Pieces from Op. 599, from Czerny, to nº 20.

• FUNCTIONAL HARMONY (for studying keyboard harmony): Tonal function sequences, in M and m mode, fundamental and inverted state – given by the teacher and proposed by the student; – in traditional notation; – improvised; – in alternative notations; – open/closed position.

• REPERTOIRE: One or two pieces by J. S. Bach, from the “Livro de Ana Madalena Bach”. A sonatina movement from the set of Sonatinas Op.36 by Clementi.

NOTE: level of difficulty and amount of repertoire depending on the student’s specific conditions

• - Exam - 100.0%

• - Studies - 20.0%
• - Technique - 15.0%
• - Functional Harmony (15%) + Repertoire (50%) - 65.0%

NAO

Buonamici, G. (Direção). (2012). Practical method for beginners: Czerny, Op. 599 (Partitura). G. Schirmer.

Demarquez, S. (1986). Le petit clavier: Deuxième supplément pour piano. Éditions Salabert.

Heinemann, E.-G. (Ed.). (2009). Notebook for Anna Magdalena Bach (Partitura). G. Henle Verlag.

Koehler, L. (Ed.). (2012). Clementi: Sonatinas for the Piano Op. 36, 37, 38 (Partitura). G. Schirmer, Inc.

Lopes, A., & Dotsenko, V. (1994). Manual de piano. Lisboa: Ministério da Educação – Departamento do Ensino Secundário.

Manookian, J. (2014). Scales, arpeggios, and cadences for piano (Partitura). Windsor Editions.

Schmitt, A. (2006). Ejercicios, escalas y arpeggios (Op.16) para piano (Partitura). Real Musical.