Philosophy and Rationale

The study of piano literature is an important study for a pianist, second only to the knowledge of the techniques needed to play the piano itself. It is the foundation for a pianist’s intellectual knowledge and repertoire. It is the reason we study to understand and appreciate music theory and musicology. Through exposure to literature, we gain our enthusiasm for the instrument and for the men and women who bring to us this wealth of beauty through the piano.

Through the study of piano literature we can deduce a composer’s style, both compositional and philosophical. We can find clues as to a composer’s own performance techniques at the keyboard. We can extrapolate our knowledge to include the entire body of work of a composer, and even further to understand the entire musical literature of the composer’s style period. We can find the relationship a composer had with the artistic world around him, and how the composer’s music reflects the world from which the composer came.

The basis of discussion and the drill of harmony is through the study of literature. Through literature we can apply our knowledge of theory to see how a composer put it into practice. We can review theoretical concepts and learn to recognize special uses of harmony through listening.

Finally, any reputable college level music school will require literature classes, and the knowledge we acquire here will be an excellent foundation for our students’ success in these classes in the future.

Grading Criteria: Journal -- 150 points
Test -- 50 points
Participation and practice -- 150 points
Jury -- 200 points
Accompanying/Ensemble Work -- 50 points

Accompanying/Ensembles

The Journal

Each student will maintain a journal which will contain all class notes and individual reflections on the works we have studied. The teacher will check the students’ journals before each progress report to give feedback on potential improvement if any is needed.

To receive the full credit on the journal, the student will hand in the completed journal on time with special regard paid to neatness and organization. In addition to the classroom work contained in the journal, the student may include additional information about the composers and the works we study. It is recommended that the student include some additional information based on individual research.

The Jury

Each student will perform in a jury adjudicated by two or three competent musicians/teachers to judge the student’s work and to recommend the student for participation in the recital. Scales in the key of the student’s presented piece will be performed along with scales in the relative major or minor keys. The three forms of the minor (natural, harmonic, and melodic) will be presented.

Students will also be asked to cite a few facts about the piece they are presenting. This can include musicological information or a short discussion of form or harmony.

The Test

At the beginning of the year, students were asked to write a short diagnostic essay test about the sonata form. This will be the format of their quarter test. It will be an essay test of approximately one page. Students will include information from class discussion and compare and contrast the first movements from the various style periods presented, and are encouraged to include knowledge gained through individual research. Any student with a grade of “C” on the test will be given the opportunity to retake the test.

Participation and Practice

The grade in this important element of the piano class reflects the student’s diligence during class and the student’s enthusiastic participation in class discussions.

SECOND QUARTER SYLLABUS

UNIT: NON-SONATA FORMS IN MULTI-MOVEMENT WORKS

Teaching strategies:
We will examine and analyze form in the following pieces.
We will examine and analyze harmonic points of interest, and analyze these points utilizing four-part format for study.
We will examine and analyze modulation, and present modulation in four-part format for study.
We will study and analyze technical difficulties.
We will discuss possible interpretations based on harmonic, melodic, and formal ideas.
We will discuss biographical points of interest regarding these first movements.

Week 1
Thematic Transformation
Franz Liszt
From Annees de Pelerinage: Valee d'Obermann
Presenter: Mr. Lassen

Week 2
The Baroque Dance Suite
J. S. Bach
Partita II in c-minor
Presenter: David McCarthy

Week 3
Shorter forms in Romanticism
Sergei Rachmaninoff
Elegy
Presenter: Brianna Meehan

Week 4
Johannes Brahms
Longer forms in Romanticism
Sonata No. 1: Movements 2 and 3
Presenter: Ian Smoak

Week 5
The Non-Sonata Sonata
Ludwig van Beethoven
Sonata, Op. 54
Presenter: Mr Lassen

Week 6
The Cusp of Romanticism
Franz Schubert
Impromptu, Op. 90, No. 2
Presenter: Spencer Rains

Week 7
Jazz Styles in a Classical Context
George Gershwin
Three Preludes
Presenter: Mr. Lassen

Very Short Pieces
Frederic Chopin
Two Preludes
Presenter: Patrick Roth

Weeks 8 and 9
Preparation for Juries
Preparation of Journals
Preparation for Test

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