Musicianship Levels 9 10

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Musicianship Levels 9 - 10

	Level 9	Level 10
Pitch and Tonality	Modulation to subdominant, relative major and relative minor 3^rd relationships Key signatures to six sharps and six flats – letter names Letter names in the alto clef All chromatic alterations	Whole tone scale Acoustic scale Alternating distance scale 2:1; 3:1; 5:1 Modulation to more distant keys Key signatures to seven sharps and seven flats – letter names in treble, bass, alto and tenor clefs Letter names in the soprano and baritone clefs
Rhythm, Form and Structure	9/8, 12/8, 3/2 metre Irregular metres – 5/8, 7/8, 5/4 Introduction to Baroque and Renaissance forms Introduction to real and tonal answers	6/2 metre Irregular metres – 5/8, 7/8, 5/4 Analysis of Baroque and Renaissance forms Recognition of real and tonal answers
Sight Reading	Read from handsigns: major, modal and all forms of minor tonality Read from stick notation: major, modal and all forms of minor tonality Read from staff notation: major, modal and all forms of minor tonality in keys up to and including six sharps and six flats	Read from handsigns: major, modal and all forms of minor tonality and acoustic scale Read from stick notation: major, modal and all forms of minor tonality Read from staff notation: major, modal and all forms of minor tonality in keys up to and including seven sharps and seven flats
Part Work	Performing more complex two-part and three-part pieces in solfa with a partner(s), demonstrating good intonation, rhythm and ensemble skills (the repertoire to reflect the level of pitch/tonality/harmony work studied) Sing and play two-part pieces (as above) Sing and play three-part pieces (as above) Sing choral material in 2-5 parts Sing and play more complex canons in two or more parts Sing canons from the score and from memory in solfa, one to a part (the repertoire to reflect the level of pitch/tonality work studied) Sing and sing and play pieces using treble, alto and bass clefs	Performing two-part and three-part pieces of increasing difficulty in solfa with a partner(s), demonstrating good intonation, rhythm and ensemble skills (the repertoire to reflect the level of pitch/tonality/harmony work studied) Sing and play two-part pieces (as above) Sing and play three-part and four-part pieces (as above) Sing choral material in 2-6 parts Sing and play more complex canons in two or more parts Sing canons from the score and from memory in solfa, one to a part (the repertoire to reflect the level of pitch/tonality work studied, using various clefs) Sing and play a three-part canon Sing and sing and play pieces using treble, alto, tenor and bass clefs
Harmony	Tonic/dominant/sub-dominant harmony, including I, IV, V substitutions Lendvai’s AXIS system Seventh chords in all positions in the major Introduction to Neapolitan 6th	Seventh chords in all positions in the minor Neapolitan 6^th in all inversions Augmented sixth chords Diminished 7^th chords 3^rd relationships
Memory and Dictation	Memorisation of known repertoire Oral dictation and memorisation of new repertoire Written dictation in stick and staff notation of pieces in known tonalities; staff notation to include key signatures up to six sharps and six flats Oral and written identification of all intervals to be found in diatonic major, modes and all forms of minor tonalities Oral and written identification of root position major/minor/ diminished/augmented triads Oral and written identification of Neapolitan 6th	Memorisation of known repertoire Oral dictation and memorisation of new repertoire Written dictation in stick and staff notation of pieces in known tonalities; staff notation to include key signatures up to seven sharps and seven flats Oral and written identification of all intervals to be found in diatonic major, all forms of minor tonalities, all modes and acoustic scale Oral and written identification of a major, minor, augmented or diminished triad in root, 1^st or 2^nd inversion Oral and written identification of all three Augmented 6^th chords
Creative (Improvisation/Composition)	Composition of own canon based on tonic/dominant/sub-dominant chord sequence and Neapolitan 6th Improvising a melody to a given form, rhythm and tonality, appropriate to the tonalities studied Composing a melody to a given form, rhythm and tonality, appropriate to the tonalities studied	Composition of own canon based on tonic/dominant/sub-dominant chord sequence, incorporating dominant sevenths, Neapolitan and Augmented 6^th chords Improvising a melody to a given form, rhythm and tonality, appropriate to the tonalities studied Composing a melody to a given form, rhythm and tonality, appropriate to the tonalities studied
Style and Period	Repertoire to be taken from: Folk songs Baroque Classical Renaissance 20^th Century Romantic Contemporary	Repertoire to be taken from: Folk songs Baroque Classical Renaissance 20^th Century Romantic Contemporary

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