Keyboard Practice 1

Base Knowledge

Basic knowledge of keyboard practice.

Teaching Methodologies

Exemplification of the techniques by the teacher.
Promotion of individual work.

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:

– Scales and Arpeggios , M and m, of C, G and D in four octaves (3 marks);

– Functional harmony and harmonic progressions (I, IV and V) in C, G and D (3 points);

– Czerny op. 599: one piece chosen from numbers 5 to 20 (4 marks);

– A piece from the “Book of Ana Madalena Bach” (4 marks);

– A sonatina movement (6 points).

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

Learning Results

The mastery of basic keyboard techniques has been understood as a structural support of fundamental importance for the study of music in any of its multiple areas. Thus, a good knowledge of the keyboard and its basic playing techniques helps to better understand particular aspects and transversal to areas of knowledge such as History and Analysis of Music, Harmony and Composition and even the areas more related to the understanding of music as a physical phenomenon, such as Acoustics. Thus, and because the study and practice of the keyboard by candidates for the Applied Musical Studies course is not widespread, this curricular unit is justified by the need to provide students, future professionals, with a set of basic skills for the development of the technique of practice of the keyboard instrument, reading on two staves, and musical interpretation of small pieces.

Program

Exercises for the development of agility, strength control and independence.
M and m Scales, in contrary movement, in two octaves (C, G, D).
M and m Scales, in parallel movement, in four octaves (C, G, D).
M and m Arpeggios, in parallel movement, in two and four octaves (C, G, D).
M and m functional harmony (I, V and IV).
Small harmonic progressions in two and three voices.
Simple cadences in close position.
One piece of Czerny op . 599, chosen in the first 20.
One piece of J. S. Bach, from the “Book of Ana Madalena Bach”.
One sonatina movement of the set of Clementi Sonatinas op.36.

Curricular Unit Teachers

Internship(s)

NAO

Bibliography

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.