KMMC Piano Syllabus - and - Appendix - Level - III PDF

KMMC Certificate in Piano Performance Level III
Certificate in Piano Performance Level III
Piano Department
KM Music Conservatory Preparatory Programme
Student Name:
1
Contents
Table of contents ..................................................................................................................................... 2

KMMC Preparatory Program Piano Syllabus and Guidelines ................................................................. 3
KMMC Certificate Piano (All Solo Piano Levels and Collaborative Piano) Overview .............................. 3
Attendance ......................................................................................................................... 3
Scales ................................................................................................................................. 3
Sight-reading ...................................................................................................................... 3
Repertoire ........................................................................................................................... 3
Theory ................................................................................................................................ 3
Solo Performance .............................................................................................................. 3
Collaborative, Accompaniment, & Ensemble Performance ............................................... 3
Certificate Examination ...................................................................................................... 3
Musical Knowledge ............................................................................................................ 3
Marking Scheme ................................................................................................................ 3
Certificate Examination Requirements .................................................................................................... 4
Certificate Examination Registration Form .............................................................................................. 5
Exam Assessment and Feedback Form (to be completed by the Examiner/s only) ............................... 6
Student details ........................................................................................................................................ 7
Lesson assessment ................................................................................................................................. 8
Attendance .............................................................................................................................................. 9
Appendix A Scales .................................................................................................................................. 10
Appendix B Sight-reading ....................................................................................................................... 11
Appendix C Repertoire ............................................................................................................................ 15
2
KMMC Preparatory Program Piano Syllabus and Guidelines

For students pursuing certificate levels the following technical levels must be achieved before receiving recognition from
KM Music Conservatory. Standards may be met and examinations taken over a period of time, but students will not be
granted a level until he or she meets all required standards.
KMMC Certificate Piano (All Solo Piano and Collaborative Piano Levels) Overview
Attendance It is mandatory to attend all individual piano lessons, and group music theory classes.
Scales Candidates for Certificate Examination should play the required scales following traditional fingerings, legato,
hands separately, and hands together (see Appendix A). Candidates can start at any octave provided it covers the
correct number of octaves the level requires. All scales must be played from memory.
Sight-reading Students should complete sight-reading exercises from the Sight Reading list (see Appendix B). Refer to
the Certificate Examination Requirements for the correspondence of sight-reading pieces between KMMC Certificate
Level Examination, Trinity College of Music ‘Trinity’, and Associate Board of the Royal Schools of Music ‘ABRSM’.
Repertoire Candidates for Certificate Examination should prepare and perform two pieces of contrasting styles from the
Certificate Repertoire list (see Appendix C) for their level. It is not a requirement to play from memory. Pieces not found
in the Repertoire list may be prepared at the discretion of the instructor so long as the pieces are of contrasting styles,
one being a piece demonstrating technical skills, and one demonstrating legato playing and expressivity. Refer to the
Certificate Examination Requirements for the correspondence of pieces between KMMC Certificate Level Examination,
Trinity College of Music ‘Trinity’, and Associate Board of the Royal Schools of Music ‘ABRSM’. Instructors are
encouraged to familiarize themselves with these lists and select repertoire as appropriate. If in doubt of the viability of a
selected piece do not hesitate to enquire with the academic coordinator.
Theory It is recommended that students attend the group music theory lectures held every week at the conservatory.
Solo Performance One of the performances may be at one of the student concerts, and the other must be at the graded
Certificate Examinations offered bi-annually.
Collaborative, Accompaniment, & Ensemble Performance It is recommended that students participate for a minimum of 12
weeks in a collaborative piano coaching such as piano duet, piano accompaniment, or piano ensemble. Candidates for
Level IV and V Certificates are required to study collaborative piano. Rehearsal spaces are provided exclusively for
students at the conservatory. Students can collaborate only with conservatory students. Your teacher should consult
the teacher of your collaborative partner/s regarding the piece, and schedule lessons accordingly as an ensemble. You
should have a minimum of 12 weeks in collaborative piano lessons. Candidates have the option to work with other
departments available at the conservatory. Other departments include vocal, string, brass, percussion, and guitar
departments. Collaborative & ensemble pieces may be performed at one of the student concerts.
Certificate Examination Candidates for the examination should play scales, two contrasting solo pieces, one collaborative
piano piece (a requirement for Level IV and V candidates only), and a sight-reading an excerpt given by the examiner.
Certificate examination is held bi-annually and dates will be announced by the management accordingly. Examiners will
be assessing not only the accuracy of notes and rhythm but also other elements which results a good performance,
including tone production, gradation of tone on phrasings, choice of tempo, beat placements, and musical
interpretation.
Musical Knowledge Candidates for the examination should have and understanding about the pieces performed during
the exam. Examiners will ask questions relating to the piece’s tempo, time signature, key signature, musical form,
rhythmic or melodic themes and motives, music notes on the staff, dynamics, and the candidate’s interpretation of the
music.
Marking scheme for Initial to Level III Certificate
Perfect marks Pass marks Fail
Scales 10
Sight-reading 10 10 (combined marks of scales and sight-reading)
Piece 1 45 20
Piece 2 45 20
Musical Knowledge Piece 1 5
Musical Knowledge Piece 2 5 5 (combined marks of Piece 1 and 2 Musical Knowledge)
Total 120 55 55 and below

Marking scheme for Level IV and V Certificate
Scales 10 5
Collaborative Piano Piece 30 14
Piece 1 40 18
Piece 2 40 18

3
Certificate Examination Requirements
Initial Certificate in Piano Performance
Scales C major performed hands separately on one octaves.

A minor (natural, harmonic, or melodic) performed hands separately on one octave.
Sight-reading Sight-reading a short music excerpt on the staff from bass C to treble C, both hands.
Repertoire Two contrasting pieces. KMMC Certificate Piano Initial corresponds directly with Trinity Piano
Initial.
Level I Certificate in Piano Performance
Scales G, F majors performed hands together on two octaves.

E, G minors (natural, harmonic, or melodic) performed hands together on two octaves.
Sight-reading Sight-reading a short music excerpt for both hands. KMMC Sight-reading Level I corresponds
directly with ABRSM Sight-reading Grade 1.
Repertoire Two contrasting pieces. Pieces in the KMMC Certificate Piano Level I corresponds directly with
Trinity and ABRSM Piano Grade 1.
Level II Certificate in Piano Performance
Scales D, Bb majors performed hands together on two octaves

B, G minors (natural, harmonic, or melodic) performed hands together on two octaves.
directly with ABRSM Sight-reading Grade 2.
Repertoire Two contrasting pieces. Pieces in the KMMC Certificate Piano Level II corresponds directly
with Trinity and ABRSM Piano Grade 2.
Level III Certificate in Piano Performance
Scales A, Eb majors performed hands together on two octaves.

F#, C minors (natural, harmonic, or melodic) performed hands together on two octaves.
directly with ABRSM Sight-reading Grade 3 & 4.
Repertoire Two contrasting pieces. Pieces in the KMMC Certificate Piano Level III corresponds directly
with Trinity and ABRSM Piano Grade 3 & 4.
Level IV Certificate in Solo and Collaborative Piano Performance
Scales E, Ab majors performed hands together on two octaves.

C#, F minors (natural, harmonic, or melodic) performed hands together on two octaves.
Collaborative One piano accompaniment, piano duet piece, or ensemble piece. Candidate is required to collaborate
with students at the conservatory. Candidates have the option to work with other departments
available at the conservatory. Other departments include vocal, string, brass, percussion, and guitar
departments.
Repertoire Two contrasting solo pieces. Pieces in the KMMC Certificate Piano Level IV corresponds directly
Level V Certificate in Solo and Collaborative Piano Performance
Scales B, Db majors performed hands together on two octaves.

G#, Bb minors (natural, harmonic, or melodic) performed hands together on two octaves.
Collaborative One piano accompaniment, piano duet piece, or ensemble piece. Candidate is required to collaborate
with students at the conservatory. Candidates have the option to work with other departments
available at the conservatory. Other departments include vocal, string, brass, percussion, and guitar
departments.
Repertoire Two contrasting solo pieces. Pieces in the KMMC Certificate Piano Level V corresponds directly
4
Certificate Examination Registration Form

A completed and signed registration form should be submitted to the administration before the examination date.
Certificate examination level

☐ Initial
☐ Level I
☐ Level II
☐ Level III
☐ Level IV
☐ Level V
Name ______________________________________________________
Age ______________________________________________________
Gender ______________________________________________________
Years at KMMC ______________________________________________________
Current Certification Level ______________________________________________________
Email ______________________________________________________
Phone ______________________________________________________
Teacher ______________________________________________________
Email ______________________________________________________
Phone ______________________________________________________
Scales
☐ C major, and A minor (natural, harmonic, or melodic) hands separately, one octave
☐ G, F majors, and E, D minors (harmonic or melodic) hands together, two octaves
☐ D, Bb majors, and B, G minors (harmonic or melodic) hands together, two octaves
☐ A, Eb majors, and F#, C minors (harmonic or melodic) hands together, two octaves
☐ E, Ab majors, and C#, F minors (harmonic or melodic) hands together, two octaves
☐ B, Db majors, and G#, Bb minors (harmonic or melodic) hands together, two octaves
Pieces
Title Composer (last, first) Year (birth-death)
1 __________________________________ __________________________________ _________________
2 __________________________________ __________________________________ _________________
Collaborative Piano Piece (for Level IV and V candidates only)

1 __________________________________ __________________________________ _________________

Scales 10
Sight-reading 10 10 (combined marks of Scales and Sight-reading)
Piece 1 45 20
Piece 2 45 20

Scales 10 5
Piece 1 40 18
Piece 2 40 18
______________________________ _____________________
Student signature Date
______________________________ _____________________
Teacher signature Date
5
Exam Assessment and Feedback Form (to be completed by the Examiner/s only)
Certificate examination level
☐ Initial
☐ Level I
☐ Level II
☐ Level III
☐ Level IV
☐ Level V
Candidate Name ______________________________________________
Examination Date ______________________________________________
Examiner Name ______________________________________________
Examiner Signature ______________________________________________

Score Perfect marks Pass marks Fail
Scales 10
Sight-reading 10 10 (combined marks of scales and sight-reading)
Piece 1 45 20
Piece 2 45 20

Score Perfect marks Pass marks Fail
Scales 10 5
Piece 1 40 18
Piece 2 40 18
Comments:
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Student details Photo
__________________________________________ ______ ______ ___________________________________

Name Age Gender Email
_____________________ ____________________ _____________ _____________ _____________________
Phone Alternate Phone Date of joining Years at KMMC Current Certification Level
__________________________________________ ____________________________ _____________________
Teacher Email Phone
Skills
Technique Sight reading Scales

__________________________________ __________________________________ __________________________________
__________________________________ __________________________________ __________________________________
__________________________________ __________________________________ __________________________________
Musicality Aural Improvisation

__________________________________ __________________________________ __________________________________
__________________________________ __________________________________ __________________________________
__________________________________ __________________________________ __________________________________
Harmonization Theory Ensemble/Collaborative

__________________________________ __________________________________ __________________________________
__________________________________ __________________________________ __________________________________
__________________________________ __________________________________ __________________________________
Repertoire
Baroque Classical Romantic Impressionist
20th Century 21st Century Pop, Jazz, Show Folk
7
Lesson assessment (photocopy this page)
Student ________________________________
Lesson date ________________________________
Scales
Technical Studies
Piece 1
Piece 2
Piece 3
Also work on musical elements such as beat placement; legato and staccato; motive/subject/phrase/cadence direction
and shape; finger technique exercises varying the rhythm, articulation, and dynamics on difficult passages; good tempo;
dynamics; and performance run-throughs.
Sight-reading
Theory
Musical Knowledge
Aural Training
8
Attendance Week Date Date
29
Week Date Date
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24 Student registration date ____ /____ /_______

Preparatory course class start date ____ /____ /_______
25 Preparatory course class end date ____ /____ /_______
26
27 ____________________________ ________________
Student Signature
28 ____________________________ ________________
Teacher Signature
9
Level III Appendix A
Scales

The 12 Major Scales, and the 12 Minor Scales. Each major scale is followed by its relative minor scale.
4 Level III
    
A Major 5
       
1 2 3 1 2 3 4 1 2 3 1 2 3 4 4 3 2 1 3 2 1 4 3 2 1 3 2 1
      
       
             
    

5 4 3 2 1 3 2 1 4 3 2 1 3 2 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
   
F# Minor (natural)
      
4 1 2 3 1 2 3 4 1 2 3 1 2 3 2 1 3 2 1 4 3 2 1 3 2 1 4 3

3
       
        
       
     

4 3 2 1 3 2 1 4 3 2 1 3 2 1 4/2 1 2 3 1 2 3 4 1 2 3 1 2 3 4
            
F# Minor (harmonic)
  
1 2 3 1 2 3 4 1 2 3 1 2 3 2 1 3 2 1 4 3 2 1 3 2 1 4 3

3 4
          
         
  
          
       

 

4 3 2 1 3 2 1 4 3 2 1 3 2 1 4/2 1 2 3 1 2 3 4 1 2 3 1 2 3 4
           
F# Minor (melodic)
     
1 2 3 4 1 2 3 1 2 3 4 1 3 2 1 3 2 1 4 3 2 1 3 2 1 4 3

3 4
     
            
 
         
 
           



4 3 2 1 3 2 1 4 3 2 1 3 2 1 4 1 2 3 1 2 3 4 1 2 3 1 2 3 4
Eb Major
    
     
3 1 2 3 4 1 2 3 1 2 3 4 1 2 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3
      
      
      
  
           

   
3 2 1 4 3 2 1 3 2 1 4 3 2 1 3 1 2 3 4 1 2 3 1 2 3 4 1 2 3
  
C Minor (natural) 5
  
4 4

3 3
              
2 3 1 2 3 4 1 2 3 1 2 2 1 3 2 1 4 3 2 1 3 2 1
1
 
    
     
           
 

      
5 4 3 2 1 3 2 1 4 3 2 1 3 2 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
   
C Minor (harmonic) 5
  
4 4
                
3 3

3 1 2 3 4 1 2 3 1 2 2 1 3 2 1 4 3 2 1 3 2 1
1 2
  
             
              
   
  

       
5 4 3 2 1 3 2 1 4 3 2 1 3 2 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
    
C Minor (melodic) 5
    
4 4
      
3 3

3 1 2 3 4 1 2 3 1 2 2 1 3 2 1 4 3 2 1 3 2 1
1 2
      
                   
             
   
 
5 4 3 2 1 3 2 1 4 3 2 1 3 2 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
Prepared for KM Music Conservatory
Preparatory Piano Department
10
Source: Prepared by Alexandra
Miñoza for KM Music Conservatory
Source: ABRSM Piano Specimen Sight-Reading Tests Grade 3
Level III Appendix AB
Sight-reading
11
Level III
Appendix B (continued)
12
Level III
Appendix B (continued)
13
Level III Appendix B (continued)
14
Appendix C
Level III
Repertoire
Baroque Source: The Usborne Book of Piano Classics Over 80 Pieces to Play
Air on a G string
This tune is from The bass part,
Suite no.3 in D. with its regular,
Suites are groups stepwise pattern
of pieces, usually of notes, is typical
dance tunes. of Baroque music.
Bach
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15
Appendix C (continued)
Level III Source: The Usborne Book of Piano Classics Over 80 Pieces to Play
Baroque
Bach was a very fine On the left is a picture of

organist and wrote a lot the organ he used at the
of organ and church New Church at Arnstadt
music. After his death, in Germany.
his music went out of
fashion for about 80
years.
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19
16
Level III Appendix C (continued)
Baroque Source: Keyboard Strategies: A Piano
Series for Group or Private Instruction
Created for the Older Beginner: Master
Text I & II. G Schirmer, Inc.
17
Baroque
18
Baroque
19
Baroque
4
Scherzo
DO NOT PHOTOCOPT
frrom Musikalische Neb enstunden O MUSIC
Source: Bach JCF Scherzo
from Musikalische I. C. F. Bach
Nebenstunden ABRSM
Grade 4 2011 2012
Allegno 1J =c.Agl
4
543
c\9
DU
Musikalische Nebenstunden Musical Leisure Hours

Johann Christoph Friedrich Bach (1732-95), the second youngest son of Iohann Sebastian Bach, entered the service of Count Wlhelm of
Schaumburg-Lippe in B0ckeburg in 1750. He was promoted to the post of Konzertmeister in 1759 and remained at the court for the rest of his
life. He was admired as a keyboard virtuoso as well as a composer. His miscellany Mttsikalische Nebenstunden, from which this scherzo is taken,
contains not only keyboard pieces but also cantatas and songs. In the scherzo, most unslurred quavers might be lightly detached. The opening /
and the one in b. 32 have been added by the editor.
Source: Musikalische Nebewtunden, 4 vols. Einteln, 1787-8)
@ 2010 byTheAssociated Board ofthe Royal Schools ofMusic
20 483547
Level III Source: Bach JCF Scherzo b
Baroque from Musikalische Appendix C (continued)
Nebenstunden ABRSM
Grade 4 2011 2012
21
1/2 Level III Appendix C (continued) Sheet music from pianostreet.com!
Baroque
22
Copyright © 2005 - Op 111 Productions
2/2 Level III Appendix C (continued) Sheet music from pianostreet.com!
Baroque
23
Copyright © 2005 - Op 111 Productions
Baroque
24
Baroque
Source: Bach Menuet from

French Suite No. 2 in C Minor
BWV 813 ABRSM Grade 4
1999 2000
25
Baroque
Source: Bach Menuet from
French Suite No. 2 in C Minor
BWV 813 ABRSM Grade 4
1999 2000
26
Baroque
Source: Suzuki Piano Vol. 3
27
Baroque
Source: Bach Polonaise BWV Anh 128

Notebook for Anna Magdalena
TRINITY Grade 3 2012 2014
28
Baroque
Source: Beethoven Minuet in

G No. 2 from Siz Minuet
WoO 10 ABRSM Grade 4
Minuet in G
2011 2012 DO NOT PHOTOCOPY
No. 2 from Six Minuets, WoO l0 O MUSIC
Ludwigvan Beethoven
[J = c.104]
*543
t212
54
1l E.
----llz I
1n1792, at the age of 21, Beethoven settled inVienna, where he was feted by the local aristocracy, establishing himself as a piano virtuoso, at first
in private homes, but from 1795 in public too. That year he is thought to have composed the Six Minuets, WoO 10, in their original orchestral
version which, however, no longer suwives. The Minuet in G comes from Beethoven's own keyboard version, which dates from the following
year. The dgramics at the start of each strain of the minuet are editorial suggestions only, as are the slurs in bb. 24 (RH) and 32 (I}I) of the trio.
Source: W Menuenenfi)r das Clauier (Vienna: Artaria, 1796)
@ 2010 byThe Associated Board ofthe Royal Schools ofMusic
29 AB 3547
Source: Beethoven Minuet in 7
Baroque G No. 2 from Siz Minuet
WoO 10 ABRSM Grade 4
Trio tJ = c.ll6l 2011 2012
3r--.r
{-y
D.C. al Fine
30
AB 3547
Baroque
31
Baroque
32
Baroque
33
Baroque
34
Baroque
Handel, Sarabanda
35
Baroque
Handel, Sarabanda
36
Baroque
Source: Handel
Allemande in A
Minor HWV 478
TRINITY Grade 4
2012 2014
37
Baroque
38
Baroque
Source: Handel Sonatina

HWV 585 TRINITY Grade
3 2012 2014
39
Baroque
Source: Hook Air No 17 from

Progressive lessons Op 37
ABRSM Grade 4 2007 2008
40
Baroque
Source: Hook Air No 17 from
Progressive lessons Op 37
41
Baroque
Source: Purcell Hornpipe

ABRSM Grade 3
42
Level III
Baroque
Source: Scarlatti
Larhetto ABRSM
Grade 3
43
Baroque
Source: Zipoli Preludeio from

Suite No 1 in B Minor Sonate d
intavolatura ABRSM Grade 4
2007 2008
44
Baroque Source: Zipoli Preludeio from Suite No 1
in B Minor Sonate d intavolatura
45
Classical
Source: Beethoven
2nd movt from
Sonatina in G
46
Classical Source: Beethoven
2nd movt from
Sonatina in G
47
Classical
Source: Beethoven 10
Themes Op. 107 Book 1
48
Classical
49
Classical
Beethoven Ecossaise in
E flat
50
Classical
Beethoven-Herring
Menuet Original No. 2
51
Classical
Beethoven-Herring
Menuet Original No. 3
52
Level III
Source: Beethoven Rondo 2nd
Classical movement from Sonatina in F Anh
5 TRINITY Grade 4 2012 2014
53
Level III Source: Beethoven Rondo 2nd
Classical movement from Sonatina in F Anh
5 TRINITY Grade 4 2012 2014
54
Level III
Classical
55
Level III
Classical
56
Level III
Classical
57
Level III
Classical
58
Level III
Classical
59
Level III
Classical
60
Level II
Classical
Source: Beethoven 12 German Dances WoO 8 No. 7
61
Level III
Classical
62
Level III
Classical
Burgmuller Op. 100
63
Level III
Classical
Burgmuller Op. 100
64
Level III
Burgmuller Op. 100
Classical
65
Level III
Classical
Burgmuller Op. 100
66
Level III
Classical
Burgmuller Op. 100
67
Level III
Classical
Burgmuller Op. 100
68
Level III
Classical Burgmuller Op. 100
69
Level III
70
Level III
71
Burgmuller Op. 100
72
Level III
73
Level III
74
Level III
Classical
Source: Cimarosa
Sonata in G
ABRSM Grade 4
1999 2000
75
Classical
Source: Cimarosa
Sonata in G
ABRSM Grade 4
1999 2000
76
Level III
Classical
Source: Clementi
Allegretto Sonatina in G
Op 36 No 2 ABRSM
Grade 4 1999 2000
77
Level III
Classical
Source: Clementi
Allegretto Sonatina in G
Op 36 No 2 ABRSM
Grade 4 1999 2000
78
Level III
Classical
Clementi Presto in G Major
79
Level III
Classical
80
Level III
Classical
81
Level III
Classical
82
Level III
Classical
Clementi Sonatina Op. 36 No. 1
83
Level III
Classical
84
Level III
Classical

85
Level III
Classical

86
Level III
Classical

87
Level III
Classical

88
Romantic
89
Classical
Haydn 12 Easy Pieces for Piano No. 2
90
Classical
91
Classical
Haydn 12 Easy Pieces for Piano No. 4 5 6
92
Classical
Haydn 12 Easy Pieces for Piano No. 4 5 6
93
Classical
94
Classical
Haydn 12 Easy Pieces for Piano No. 10 & 11
95
Classical
96
Classical
97
Classical
Haydn Minuet from Piano Sonata No. 3
98
Classical
Haydn Minuet from Piano Sonata No. 3
99
Classical
Source: Kuhlau Allegretto

Sonatina n G Op 55 No 2
TRINITY Grade 4 2012
2014
100
Level III Source: Kuhlau Allegretto
Sonatina n G Op 55 No 2
Classical TRINITY Grade 4 2012
2014
101
Classical
Source: Mozart Menuett in F

K 5 TRINITY Grade 3 2012
2014
102
2 Level III Appendix C (continued)
Classical
Anonymous Nannerl
Notebuch ABRSM Grade 4
2011 2012
Allegro in F
No. 33 from Nannerl Notenbuch
M
DO NOT PHOTOC
@ MUSTC
Anon
[J = c.80]
Nannerl Notenbuch Notebook for Nannerl

This piece comes from a collection that Leopold Mozart (l7lg-87) compiled in 1759 for
his eight-year-old daughter Maria Anna, nicknamed
Nannerl (sister of wolfgang Amadeus), whom he was teaching to play the piano at that time.
Dlmamics are editorial suggestions only. {uu*r,might be lighfly detached throughout.
Source: L' Mozart: Nannerl-Notenbuch,1759; original manuscript, property
of the Internationale Stiftung Mozarteum, Salzburg
103 1'83547
Classical Anonymous Nannerl 3
Notebuch ABRSM Grade 4
2011 2012
r#
o - re
--l= p
t?a
104
Classical
Source: Mozart Solfeggio in F

105
Classical Source: Mozart Solfeggio in F
106
Romantic
Source: Schumann
Sicilienne Op 68 TRINITY
Grade 4 2012 2014
107
Romantic
Source: Schumann
Sicilienne Op 68 TRINITY
Grade 4 2012 2014
108
Classical
Source: Turk Allegretto

ABRSM Grade 3
109
Classical
Turk Sonatina
110
Classical
Turk Sonatina
111
Romantic
112
Romantic
Chopin Prelude No. 4 Op. 28
113
Level III
Romantic
Source: Franck Chant de la

Creuse ABRSM Grade 3
114
Romantic
Source: Granados El
Fantasma ABRSM
Grade 4 2007 2008
115
Romantic
Source: Granados El
Fantasma ABRSM
Grade 4 2007 2008
116
Romantic
Source: Granados The Evening

Bell ABRSM Grade 4 1999 2000
117
Romantic
Source: Granados The Evening
Bell ABRSM Grade 4 1999 2000
118
Romantic
Source: Greig Cattle Call

Norweigian Folksongs Op 66
119
Romantic
Grieg Lyric Pieces Op 12 Arietta ABRSM Grade 4
120
Romantic
Source: Gurlitt
Allegretto ABRSM
Grade 4 1999 2000
121
Romantic
Source: Gurlitt
Allegretto ABRSM
Grade 4 1999 2000
122
Romantic
123
Romantic
Source: Hofmann
Waldvoglein
ABRSM Grade 3
124
Romantic
Source: Hofmann
Waldvoglein
ABRSM Grade 3
125
Romantic
Source: Kullak Die Wanduhr

No. 2 from Kinderleben Op 62
ABRSM Grade 3
126
Romantic
127
20th century
128
20th century
129
20th century
130
Romantic
Source:
Mendelssohn
Romance TRINITY
Grade 3 2012 2014
131
Romantic Source: The Usborne Book of Piano Classics Over 80 Pieces to Play
Violin concerto in E minor

Mendelssohn wrote The picture shows
this concerto for his Mendelssohn, aged
friend Ferdinand 11, playing for the
David, a violinist. writer, Goethe.
This tune is from the
second movement.
..
Mendelssohn
-.
Andante
II Y
- - -
1'-. 4
-
-
n
\I I""" L ...IlL
--- I"'
-
U I""" r
_10
...
-
= _.
--- -.
p
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-----....
-
\I n ClIo •
I{ U L L L
•• I"""
,"" a -'
.
r r
.-I
• "3 •• - 2
I(
r_
\I
-. -
r- eA
--
r-
1
./
• • ---
------ .J'"'"
-•
-'
- ...IlL
_IlL
-
-I""" .-I
-
-
I"""
) "',.
I
.
-'
.. .,. "., •------- -
I"""
j
••
J -j _.
I"""
n
- j
••
J _.j n
1 2 3 1 1
4
-- - - - --
• --
.-
3/
,,,..
I(
\I ..-
IlL ---- I""" ...IlL •
---
L -.
.l"""
-
'v I"' • -
-' r-
1
..
rit. a tempo
= =
_.
-..
<
J
J
,
",.
,
-'
.. -.
j
•• •• ClIo •
r-
tbl.
," ••
- -
.n
..
. ...
- J
I 3
• -;
3
.. ----
5
_.
r,
11
II • -
J"" ..IL
---
. l"""
•
-- L
....
JIlL. •
------- ..
'" "-
=
I fl
-- -..
-r -
-. -.
I r_
I{ eA eA I" ",.
.12iI •
.1""" ---
.J::
LL
.J:: .J::
I
I-
. • .
.-1/
r
'"'v .-I
2 3
132
Level III Source: The Usborne Book of Piano Classics Over 80 Pieces to Play
Romantic
Mendelssohn wrote His music was very
many kinds of popular with the
music, including English aristocracy,
concertos, sonatas, and he was invited
piano works and to many social
dramatic music. gatherings.
1'- 1*-, Y _.
I r,
• • • -- • --------- ••
" '" r::: ;oj
tJ I
dim. .....
I ..,.•.
",."..
.....
_. ..,
"-
- •
"
L
I
-
!-:"
• - -
"-
.,,- .,,-.
.
:J:
..•• _.
\I
If
r_
f'l
-.
1
" ,
I
3 1 2
• •
-----------
"-
• r----. - -
P
j
.., .
,."..
•
•
h. r----. - • - -(l-r-----(I-
....
• - •
• •
h. r---- . ...J l
- 1
5
3 4
..••
3 4
- - -- ..•• - -
3
-
f'l 2 5'" 2 1 2
r,
\I
I ""
!Ii.
I.· •
..-
• . !-:"
-----------
1
" I
j ",-."..
..,•• - I--
•
I--
•
h. r----. - • - -(l-r-----(I-
• -
..
-
I"' I,;'
-4
3
- ,.,.
3 4
- - --
."........
'. - - . -
1 2 1____ 5 '-.... L,,_
fI ---"
\I
If
r_
• •
I ""
• !Ii.
I"" I.· I "" •• I""
) I
j ."..
..,•• •
•
1
5
•
3
_. -...J
4
•
l
- -
... •
3
-.....,
- -4
- - "-
- :J
"
-. - . - . - - - . -
2-3
1':\
f'l -...
.
- ... ...,
IP!
,., •
If
r_ I"" to' • t: •
I I I -
,...
-#-: -#: :J ...,

,lI>.
..,•• ... "J.
"J.
53
133
Level III
Romantic Appendix C (continued)
Pantchenko Elegy Op. 17 No. 2
134
Level III
Source: Reger Bange Frage

Anxious Question No 8 from
Aus der Jugendzeit Op 17
TRINITY Grade 3 2012
2014
135
Level III
Source: Sandre Requiem

for a Little Bird TRINITY
Grade 3 2012 2014
136
Level III
Schubert-Herring
The Hunter's
Evening Song
Schubert - Herring
The Wanderer’s Night
Song
137
Level III
138
Level III
139
Level III
140
Level III
20th century Appendix C (continued)
141
Level III
Source: Bartok Jeering

Song ABRSM Grade 4
1999 2000
142
Level III
Source: Bartok Jeering Song

143
144
'q{gtr?g arB suoDEcIPuI IBPed
@
?-<1i't1 ?-?1 i'f1
3Zz"*
c
c It
z
?-<1 i'f1 ? -fl z
c
;J4^t
|
at at '---/
,at ,at ,lt 4t
#
1@
@"-z
ild
9ll=l'eluupuy
?@ Bela Bartok
(lodg eqr uO)
rol ad
20th century
Level III
20th century
Bela Bartok, Pe loc
a,fi 1z---- .,2.

:3 2 )ili
3
5r r
fi
at yLz 2
a-, ) L ;, Ii.)-- : L i{i 1)^ L i i t
q
5r r
2
5r r
poco rallent.
,=- 2
z zr- rf-. ,
136l glti
a) (fading away)
%ry smorzflndo
Att ,,/ J _--.-
-i
2
145
Level III
20th century
Source: Bartok Round Dance

No. 17 For Childern Vol 1
ABRSM Grade 3
146
l4 Level III Appendix C (continued)
20th century
Soldiers in the Distance

DO NOT PHOTOC(
Source: Benjamin Soldier in the
Distance from Fantasies ABRSM
from Fantasies @ MUSIC
Grade 4 2011 2012

Arthur Benjamin
Quick-march time 1J = c.l16l

As strbdy in time as possiblefrom beginning to end
Soft pedal alwarys
il'I r
>
Ped. t
Arthur Benjamin (1893-1960) was an Australian-bom composer and pianist who studied composition with Stanford at the Royal College ol
Music from 1911 to 1914. He taught piano at the Sydney Conservatory from 1919 to 1921, then settled in London, becoming a professor at the
Royal College of Music in 1926. His piano pupils included Britten. Of 'Soldiers in the Distance' the composer wrote: 'Tone control is all-importanl
here. Play the staccatos as though the keys were red-hot. Even in the legato marks in the RH the flngers must be clearly articulated. And of course
you will not play all the crotchets in the LH alike; make the tiniest accent on the strong beats. You wiII flnd it necessary to give the tied semibreves
enough tone to keep them vibrating through two bars.'
Sovrce: Fantasies for Pi.ano Solo (London: Winthrop Rogers, 1933)
@ Copyright 1933 byHawkes & Son (London) Ltd

147
Reproduced by permission of Boosey & Hawkes Music Publishers Ltd. All enquiries about this piece, apart from those directly relating to the exams,
should be addressed to Boosey & Hawkes Music Publishers Ltd, Aldwych House, 71-91 Aldwych, IondonWC2B 4HN.
20th century ru'
Source: Benjamin Soldier in the
Distance from Fantasies ABRSM
Grade 4 2011 2012
Ped. I
Y-==
r. llr
6'
Ped. I Ped. I
senza rall.
muffled
148
A83il7
20th century
Source: Bjelinski ABRSM

Grade 4 2007 2008
149
20th century
Source: Bjelinski ABRSM

Grade 4 2007 2008
150
20th century
Source: Bullard Tapping

Heels TRINITY Grade 4
2012 2014
151
Source: Bullard Tapping
20th century Heels TRINITY Grade 4
2012 2014
152
20th century
I ffi*f
Source: Carroll Alone at
Sunset No. 10 from Sea Idylls
Alone at Sunset
No. 10 from Sea ldylls
ffiru
DO NOT PHOTOCOPY
@ MUSIC
Walter Carroll
Tranquil ) = 56
-
Ped. I Ped. I Ped. I
Ped. t
,-\ ,-\
-e
\-_-l
Ped. Ped. Ped. I

I
Ped. I
I
Walter Carroll (1869-1955) was a Manchester-born music educator and composer. He played a vital role in the musical life of his native city,
teaching at the Royal Manchester College of Music and at Manchester University, and acting as Music Adviser to the Local Education Authority.
He composed many fine elementary piano pieces for children. Of Sea ldyllshe wrote: 'These little pieces should be regarded as short studies in
colouring and expression. They are sound-pictures in miniature, suggested by recollections of a visit to the beautifirl rockbound shores of
Galloway, where the mystery of the sea and the flre of the sunset weave their magic spell around a coast-line full of romantic interest.' 'Alone at
Sunset' is prefaced by a motto from Shelley: '... And there the sea I found / Calm as a cradled child in dreamless slumber bound.' For a more
flowing feel, this piece might be played at a slightly faster tempo, e.g. J = 66. Either this tempo or the composer's metronome mark would be
acceptable for this piece in the exam. In b. 11, the editor has added a slur in the lower RH part by analogy with b. 9.
Source: Sea ldylls: Ten Miniatures (London & Manchester: Forsyth Bros. Ltd, 1914)
Copyright @ 1914 by Forsyth Bros Ltd for USA and all counries
Used by permission of the publisher. AII enquiries about this piece, apart ftom those directly relating to the exams, should be addressed to Forsyth Bros
Ltd, 126 Deansgate, Manchester M3 2GR.
153
AR 1E47
20th century Source: Carroll Alone at I
Sunset No. 10 from Sea Idylls
rit. a tempo
//-\
p- cresc.
,-\ b rit. a tempo

3
Ped. Ped. I
Ped. I
I
rit.
ri
21
2
1'r-a 3
f] ri
e
1
I Ped.
Ped.
\t----tl \\--lt/
p-
Ped. I
Ped. I
Ped. I
AB 3547
154
20th century
Source: The Usborne Book of Piano Classics Over 80 Pieces to Play
The girl with the flaxen hair
Claude Debussy (1862-1918) He studied the piano at the
was a French composer. On Paris Conservatoire (a
the right you can see the special school for music). But
town where he was born, soon he became much more
called St. Germain-en-Laye. interested in composing.
Debussy
Andante
fI,j,j.
- 4
I
1 - ...... ......
- - - 9
- 9
< P sempre legato

I
I .
V ""
.---------- '"
I
1
5
fI,j,j. I
- l"..o.0oi
2
I
.-- 3
I
.
..
r
-
--
.. ...1--
I .-- n
. .-
f.,.L l:'
I I
I I I
2 I
5 4
9 4
1\ ,j,j. I 2
-
.. -
I
II! r-
) ...... 9--.... ....- 9
)
(,"lo.: oIf kL.• . •
j
:;I
- -. r"'" -. = +
I I I
12 3
1 2 Iii 3 3
I " ,j,j.
I
) f'
I n.
- J. .fL ..J,.. .
----
.....
I
15 3
3 I
........ .
1\ ,j,j. 2 .fL 3 I 2
I "
.--
- --
...IJ.
I
'-'
..
'-/ ...
I -t • - + --
I ...
t-
r I
3
124
155
20th century Source: The Usborne Book of Piano Classics Over 80 Pieces to Play
While he was a student, his His first job was as a resident
teacher found him summer musician to a millionaire
jobs working as a musician music-lover at her home, the
for wealthy patrons. Chateau de Chenonceaux
(shown on the left).
19
2
3 3
,
22
fI ,j,j.'-'
'-'
--.-
3
-
-
4
'-'
..,-
3
- --
2
•
'?
.-.JI
2 1
2
- .....
J -#
_--1*
l,,,..o000O
j I
I
.-
r ,....
---+-
2
25 5 1
1 • -f'- • 1 I J
-
I\,j,j. .-'!'!!!!l
.....
I"
)
....
I • r.
-
I
) I I
30
- -- I I I I I
5 2
- •.
1\ ,j,j.
If-&- f t -
) o·
""'"'"'
. f ..--.
-.J
• • ..--.
----- -
) I
I
t
..
v
1
3
1
-
34
fI,j,j. 1
_._-
1
- ; c;. o·
I
) -.J •. -.J
-r---
-.J
--t
:f -
)
-- --
I
\
/
- - - 3
125
156
20th century
l6 ffi#Y
Wffi
Carnival in Rio trHhb
Source: Gillock Carnival in Rio DO NOT PHOTOCOPf
@ MUSTC
William Gillock
Ternpo di sarnba f) = c.721
Ped. I
\tVilliam Gillock (1917-93) was an American music educator and composer of piano music. He lived and worked for many years in New Orleans,
then later in the Dallas area. C.amiual in Rio is a samba, a Brazilian dance that plays a maior role in the annual carnival celebrations in Rio de
Ianeiro, hence the title.
@ Copyright 1969 byThewllis Music Company, Florence, Kentucky, USA
Administered by Music Sales Limited for Europe, Ausualia, New Zealand and South Africa. All rights reserved. Intemational copyright secured. Reprinted
by permission. All enquiries about this piece, apart from those directly relating to the exams, shoutd be addressed to Music Sales, 14/15 Berners Street,
LondonWlT 3LI.
157
a|l aqi{7
20th century Source: Gillock Carnival in Rio t7
un& corda
Ped. I
dim. poco a poco
483il7
158
20th century
Source: Greaves Baa Baa

Blue Sheep Waltz ABRSM
Grade 4 1999 2000
159
20th century
Source: Greaves Baa Baa
Blue Sheep Waltz ABRSM
Grade 4 1999 2000
160
20th century
Source: Greaves
Bonny Bobby Bluetoe
ABRSM Grade 3
161
20th century
Source: Hammond
Never Too Late
TRINITY Grade 4
2012 2014
162
20th century
Source: Hammond
Never Too Late
TRINITY Grade 4
2012 2014
163
IB 20th century
BIues
DO NOT PHOTOC(
Source: Hengeveld from Melody and Rhythm o MUSIC
Blues ABRSM
Grade 4 2011 2012
Gerard Hengeveld
Slow J = c.80
2 4 ,
-
t=
3,-*.,
et) ;
t
\4 Aba
3 I
a) w
\.__--
-^
f
,J p * b> ;L\L
/-\
t\-2 ti;i 3\- ,._
a,-s
-r>.. 7 v- J'
A)L
1
4
Gerard Hengeveld (1910-2001) was a Dutch pianist, composer and teacher. He studied piano and composition at the Amsterdam Conservatory
from 1924 to 1928 and subsequently appeared for many years as a soloist throughout Europe. He taught piano at the conservatories in The
Hague and Amsterdam. As a composer he is best known for his educational piano pieces. In 'Blues', the dotted rhythms should be swung.
Editorial rests have been added in bb. 5, 21 and 25 to clarify the part-writing.
@ 1961 by Broekmans &Van Poppel B. V, Amsterdam
Used with permission. All enquiries about this piece, apart from those directly relating to the exams, should be addressed to Broekmans &Van Poppel B.V,
Van Baerlestraat 92-94, 1071 BB Amsterdam, The Netherlands. 164
AB 3s47
Source: Hengeveld
20th century Blues ABRSM
Grade 4 2011 2012
\)
=,,_
a> '\----
,r5..,
4b{ --T,} h
-
I
4 lf'
165
20th century
Source: Kabalevsky A Sad

Story No 6 from Thirty
Pieces for Children Op 27
166
20th century
Source: Keyboard Strategies: A Piano

Created for the Older Beginner:
Master Text I & II. G Schirmer, Inc.
167
20th century
Source: Keyboard Strategies: A Piano
Created for the Older Beginner: Master
Text I & II. G Schirmer, Inc.
168
lo Level III Appendix C (continued)
20th century
Waltz DO NOT PHOTOC(

Source: Kabalevsky No. 23 from 24 Little Pieces, Op. 39 @ MUS|C
Waltz No. 23 from 24
Little Pieces op. 39
ABRSM Grade 4 2011 D. B. Kabalevsky
2012
Lento tranquillo 1J = c.801
J 4/-'-
a)
p
8 * i C
I
2
a Ped. Ped. Ped. I
Ped. I
I t
un poco pru mosso
Ped. I
The Russian composer Dmitry Borisovich Kabalevsky (1904-87) studied piano and composition at the Moscow Conservatory where he later
taught, being appointed professor in 1939. He was active in the field of music education and wrote much music for children, such as the 24 Lixk
Pieces, Op.39, from which this waltz is taken.
@ Copyright 1967 by Anglo Soviet Music Press Ltd

Reproduced by permission of Boosey & Hawkes Music Publishers Ltd. All enquiries about this piece, apart from those directly relating to the exams,
should be addressed to Boosey & Hawkes Music Publishers Ltd, Aldwych House, 71-91 Aldwych, LondonWC2B 4HN.
169
AB 3547
20th century Source: Kabalevsky ll
Waltz No. 23 from 24
Little Pieces op. 39
ABRSM Grade 4 2011
2012
AB 3547
170
20th century
t:2
Source: Maikapar Chez le

forgeron Op 8 ABRSM
Grade 4 2011 2012
Chezle forgeron
No. 5 from Nouelettes mignonnes, Op. B
W
DO NOT PHOTOCOPf
@ MUSTC
Edited byAlan Jones S. M. Maikapar
Allegretto sostenuto e preciso ). = 7O

4
2>
LH ! ',,
n, martellato
mJ Z
6ammeredl
Ped.
I Ped. simile
Chez le forgeron At the Smithy; Novelettes mignonnes Little Novelettes
The Ukrainian composer and pianist Samuil Moiseyevich Maikapar (1867-1938) was a student at the St Petersburg Conservatory where he was
employed as professor of piano from 1910 to 1930. Almost all of his compositions are for the piano - many of them miniatures written for
children, notably the collection Noue lettes mignonnes, Op. B, which contains this musical picture oi a blacksmith's workshop.
171
Reproduced fromARomantic Sketchbookfor Piano, Book II, edited byAlan Iones (ABRSM)
20th century t3
Source: Maikapar Chez le
forgeron Op 8 ABRSM
Grade 4 2011 2012
Ped. I Ped. I tuA- |
Ped. I Ped. I Ped. t
3
t;,
1
5
Ped.
Ped. I
Ped. I
172
173
's.resodruoJ arIJ eJE s8urreSug prre suopeclPul IBPed
@
_---_-.---
,
JJ ,) )
-l
- d
____4,q iifr 6fl-
I
il
-_
I (gZI'ec= odruea
) eslu1 gp
f
(osor-oosr)
qruI]rBW
Êlsnr.log
ztlvM
seruB(l eulqulnloJ 20th century
Appendix C (continued) Level III
174
'lEP3d
FrrolrPg @
)@
@a) il i!*
il 'p'u
I I tz, l-l o
-----.---l'
I
G
.J
.9 6
tolg I*t c
v
+t + -1
i
-
I IL
: lru -ffi--* o
C- -/ 4
l-.
----_-Y-
(-) r eF'" ' I
'.fr"
) )t, -; )t, { a
I
da-l e
(<) e
(<)
(<)l 1 -1 -) 4q
,ry I o
zgr,G -
?fr d tfr- 4r,
--- il 7!.t
I I o
-
\\--l/ G
o r i6i I
lodue;
20th century
Appendix C (continued) Level III
20th century
Source: Nakada Song

of Twilight TRINITY
Grade 3 2012 2014
175
20th century
QUAND ru,hl"[#s cEs Mors

Source: Piazzolla Tangos by
Phillip Keveren Piano By IUAN CARLOS LA MADRID
Quand Tu Liras Ces Mots and ASTOR PIAZZOLLA
Arranged by Phillip Keveren
Withdrama!=104)
.tr (a tempo)
1 2--)
a)u .t. t' r It

,r!f
-*- .-T-'.
. .1,
:l
It
fl
d -r ''r
.r5\.
15213
-
Copyright
176
O I q60 Lditions Universelles
Copyright Renewed
This arrangement Copyright O 2008 Editions Universelles
nll Riehts Reserved Used by Permission
Level III Source: Piazzolla Tangos by
Phillip Keveren Piano
20th century Quand Tu Liras Ces Mots
E
I
), ,. ta -
,',-.
{
<
-
\------l
(a ,tA ,T- )
-
I
Ce
- ---\
z\
\-/' --_-/
--_--
eulr
--?*-
a a
d
I Lr
ZIZ I
-:, I, z r € s !
.Irl
177
20th century
Source: Readdy
Bop Goes the
Weasel ABRSM
Grade 4 2007 2008
178
20th century
Source: Readdy
Bop Goes the
Weasel ABRSM
Grade 4 2007 2008
179
20th century
Source: Rollin Jazzy

Joey TRINITY
Grade 3 2012 2014
180
Level III Source: Rollin Jazzy Appendix C (continued)
20th century Joey TRINITY
Grade 3 2012 2014
181
Source: Sandre Petits

bateaux sur l’eau
ABRSM Grade 4 2007
2008
182
Source: Sandre Petits

bateaux sur l’eau
ABRSM Grade 4 2007
2008
183
Satie Erik Gymnopedie No. 1
184
Satie Erik Gymnopedie No. 1
185
Schoenberg 6 Little Piano Pieces Op. 19 No. 5
186
Sibelius Op. 99 No. 3 Souvenir
187
Sibelius Op. 99 No. 3 Souvenir
188
Source: Villa Lobos At The

Bottom of My Garden
Practical Guide Album 7
189
Source: Villa Lobos At The

Bottom of My Garden
Practical Guide Album 7
190
Webern Kinderstuck
191
Source: Yuyama Kaki

no Tane TRINITY
Grade 4 2012 2014
192
193
Level III
Scarlatti , Sonata K. 32
194
Source: Everybody’s Favorite Series

No. 21 Piano Duets for Children
195

196

197
Level III Source: Hooked on Easy Piano
Classics. 1982 Joe Goldfeder Music
Enterprises & Music Box Dancer
Publications Ltd.
198
Source: Hooked on Easy Piano
Level III Appendix C (continued) Enterprises & Music Box Dancer
Publications Ltd.
199

Publications Ltd.
200
Classics. 1982 Joe Goldfeder Music Appendix C (continued)
Level III Enterprises & Music Box Dancer
Publications Ltd.
201
Level III

Publications Ltd.
202
Level III Source: Hooked on Easy Piano
Publications Ltd.
203
Level III

Publications Ltd.
204
Level III
205
Source: Scott Joplin King of Ragtime

arranged by Lawrence Grant Lewis
Music Publishing Company
206
Level III
207
Level III
208
Level III
Source: Thelonius
Monk Easy Piano
Solos Jazz
209
Level III
Source: Thelonius
Monk Easy Piano
Solos Jazz
210
Level III
Source: Thelonius
Monk Easy Piano
Solos Jazz
211
Level III Source: Thelonius
Monk Easy Piano Appendix C (continued)
Solos Jazz
212

213

214

215

KMMC Piano Syllabus - and - Appendix - Level - III PDF

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KMMC Certificate in Piano Performance Level III

Certificate in Piano Performance Level III

KM Music Conservatory Preparatory Programme

Table of contents ..................................................................................................................................... 2

KMMC Preparatory Program Piano Syllabus and Guidelines

Total 120 55 55 and below

Total 120 55 55 and below

Certificate Examination Requirements

Initial Certificate in Piano Performance

Scales C major performed hands separately on one octaves.

Level I Certificate in Piano Performance

Scales G, F majors performed hands together on two octaves.

Level II Certificate in Piano Performance

Scales D, Bb majors performed hands together on two octaves

Level III Certificate in Piano Performance

Scales A, Eb majors performed hands together on two octaves.

Level IV Certificate in Solo and Collaborative Piano Performance

Scales E, Ab majors performed hands together on two octaves.

Level V Certificate in Solo and Collaborative Piano Performance

Scales B, Db majors performed hands together on two octaves.

Certificate Examination Registration Form

Certificate examination level

Collaborative Piano Piece (for Level IV and V candidates only)

Marking scheme for Initial to Level III Certificate

Total 120 55 55 and below

Total 120 55 55 and below

Marking scheme for Initial to Level III Certificate

Total 120 55 55 and below

Marking scheme for Level IV and V Certificate

Total 120 55 55 and below

Student details Photo

__________________________________________ ______ ______ ___________________________________

Technique Sight reading Scales

Musicality Aural Improvisation

Harmonization Theory Ensemble/Collaborative

Baroque Classical Romantic Impressionist

20th Century 21st Century Pop, Jazz, Show Folk

Lesson assessment (photocopy this page)

Attendance Week Date Date

24 Student registration date ____ /____ /_______

I . - ----- -f'- 1'-

Bach was a very fine On the left is a picture of

nvp cresco poco a poco

Musikalische Nebenstunden Musical Leisure Hours

@ 2010 byTheAssociated Board ofthe Royal Schools ofMusic

Source: Bach Menuet from

Source: Suzuki Piano Vol. 3

Source: Bach Polonaise BWV Anh 128

Source: Beethoven Minuet in

Source: Handel Sonatina

Source: Hook Air No 17 from

Source: Purcell Hornpipe

Source: Zipoli Preludeio from

Source: Suzuki Piano Vol. 2

Source: Suzuki Piano Vol. 3

Source: Suzuki Piano Vol. 3

Source: Beethoven 12 German Dances WoO 8 No. 7

Burgmuller Op. 100

Burgmuller Op. 100

Burgmuller Op. 100

Burgmuller Op. 100

Burgmuller Op. 100

Clementi Presto in G Major

________ _

24 Student registration date / /___