Hahn, Christopher C.

English

University of Montana

APPLIED PIANO SYLLABUS - ACADEMIC YEAR 2009-2010 DR. CHRISTOPHER HAHN The University of Montana - School of Music 32 Campus Drive Missoula, Montana 59812 Office 207 • Phone: 406-243-6490 • Email: Christopher.hahn@umontana.edu Office Hours: During your lesson or by appointment OBJECTIVES The primary goal of this course is for a student to achieve music education through the piano, preparing you for a career in music performance and teaching. Weekly lessons will help you to achieve command, mastery and artistry on the instrument in all areas of musicianship. I strive to create the best possible learning atmosphere. I care about each and every one of you; in return, I expect you to give you best effort in my studio. Since each student's goals differ, I will work closely with each one of you to help you achieve your proposed goals. You should be able to indicate to me what you goals are and then strive to achieve them to the best of your ability. Classical Piano Majors and Minors are expected to develop as musicians throughout their course of study. Musical Development includes such things as: 1. Listening to recordings of great classical musicians and, in particular, to great classical concert pianists. 2. Attending classical music concerts, especially concerts/recitals of solo classical pianists. 3. Studying the tradition of classical music by reading music history, including biographies and critical essays on the lives of great classical pianists, composers, and teachers. 4. Practicing regularly. Musical goals also include arriving at an understanding of classical musical expression and technique. Musical expression includes such things as: 1. dynamics 2. articulations 3. voicing 4. phrasing 5. "singing tone" 6. developing a keen sense of rhythm, particularly regarding steady tempo with accurate subdivisions 7. understanding the subtleties of rubato 8. incorporating a knowledge of theory into an understanding of music which is being studied and performed: scales, chord structures, form, etc. 9. acquiring a basic understanding of the physics of sound as it relates to the piano as an acoustic musical instrument. 10. developing a personal sense of creativity and artistic expression. Technique includes such things as: 1. acquiring a proper hand position (including finger independence and strength, supple wrist, free and relaxed thumb) and sitting position (distance from the keyboard, height) 2. acquiring facility in playing fundamental structures: 5-finger exercises, scales, arpeggios, chords, octaves, patterns, etc. 3. playing relaxed: elimination of tension and pressing 4. developing an understanding of arm weight 5. pedaling 6. acquiring skill at velocity GENERAL EXPECTATIONS Practice Time Regular practice is essential to progress and success in the study of piano. The recommended amount of practice time is one hour per day for each hour of credit received. For example, 1 hour credit = 7 hours per week of practice; 2 hours credit = 14 hours per week. Practice Sight Reading The skill of sight reading is an essential component of musicianship. Sight reading skill cannot be taken for granted—it is not an automatic outcome of practicing memorized repertoire. IT MUST BE PRACTICED. You are expected to practice sight reading on a regular basis. Spending at least 1 hour a week sight reading music would be advisable. Sources for sight reading include library scores, easy repertory books, hymnals, sheet music and music anthologies. Be On Time You are expected to show up for your private lesson on time. When it is time for your lesson, please knock and come on in. Every effort will be made to start and end lessons on time. Practice Instrument You are expected to practice regularly for your lessons on an acoustic piano, preferably on a grand piano. Practice facilities are located in the basement of the music building. You may sign out practice times in the main office up to one hour a day. Be sure you treat these areas with respect as we are relying on Morgenroth Music to continue supplying us with brand new instruments every four years. You may also use any of the grand pianos located in the classrooms (choir room, room 103, room 105, room 205) if the room is available. Warming Up Before Your Lesson You are expected to warm-up before your lesson. At the very least, this means spending 10-15 minutes playing some exercises, scales, and playing through the pieces which will be studied in the private lesson. Accompanying Piano students are expected to accompany at least one vocal or instrumental student each semester, which includes preparing their music, attending their lesson each week, and a rehearsal time once per week. Accompanying more than 4 students on a regular basis is discouraged. You may enroll in Piano Accompanying for credit (MUS 196 Section 04) for any accompanying you do beyond the one student. Proper Attire Of utmost importance to the pianist is the ability to pedal sensitively. Therefore, the shoes you will wear for your lessons will likely be different from your regular street shoes. I expect that you will have a pair of dress shoes with a thin sole that you keep in your locker and will be used during practicing and in lessons. You are also expected to dress properly when performing for departmental recitals and juries. LESSON ATTENDANCE Students are expected to attend every lesson punctually and without fail. A normal semester consists of 14 applied lessons. Make-up or rescheduling lessons is only permissible under the most extenuating circumstances. These are scheduled when a student has notified me 24 hours in advance. An official doctor's note will be required in case of illness. In the event of a missed lesson without acceptable justification as an "excused" absence, the lesson will not be made up. Each missed lesson will lower the final grade by one letter for each absence up to 3. The 4 t h absence will result in an automatic F. If I should miss a lesson for an unforeseeable reason, or due to professional obligations outside of the university, that lesson will be made up. If you wish to contact me during the daytime, a message may be left on my studio phone, by email or on my studio door. REQUIRED MATERIALS You are required to purchase copies of the music for everything you play and perform, and have access to the recordings of the pieces you work on. In addition, the following materials are required: The Brown Scale Book, Frederick Harris Publications The Pianist's Dictionary by Maurice Hinson Metronome PIANO RECITALS All students are expected to attend all piano recitals given by students, faculty and guest artists on campus. There are also special master classes and workshops by guest artists each semester, which you should make every effort to attend. I will be happy to speak to the instructor of any class that you need to miss for this reason. Student afternoon recitals occur every Tuesday and Thursday from 2:10-3:00. As the semester goes on, available times on the student recitals become scarce. Therefore, you should sign up early in the semester for at least one afternoon recital performance per semester. This is a great opportunity for you to perform for your peers. STUDIO CLASS All students are expected to attend and participate in studio class each week. This class will be scheduled at the same time every week (Wednesday from 3-4:00 pm), and meets in the Recital Hall. If you have a schedule conflict with my class, you may ask Professor Hesla and me for permission to attend his studio class each week (Thursday from 3-5:00 pm). You may enroll in this course for credit on your transcript (MUS 195 Section 2). Your regular attendance and participation is a vital part of your learning to play the piano, and is an opportunity for all the students to perform for one another and discuss various aspects of piano performance and technique. Studio classes are open to visitors. Bring your flash drive when you plan to play so that we may record you. TECHNIQUE CLASS Students should attend Technique Class when scheduled. This will be an opportunity to work on technique, sight-reading, accompanying, and other items that we may not have time for in the lesson. Bring technique problem areas from your performance repertoire. GRADES Grades are assigned by the studio teacher and will use a +/-system. The final grade is based on evidence of regular practice from week to week, progress during the semester, level of preparation for lessons, and the performance at the jury exam. Satisfactory progress will generally receive a B. In order to receive an A, the student must demonstrate initiative, creativity, exceptional work, a good attitude and significant progress on repertoire and musicianship. Incompletes are NOT given in piano. Be aware that 4 missed lessons will result in a final grade of an F. The grading system will be as follows: Attendance 10% -present and on time for lessons, studio class, guest artists, technique class Progress 60% -lessons, studio class and afternoon recital performances and participation, juries Class participation 5% -lessons, studio class, repertoire reports, reading and listening, discussions Jury exam 25% JURY EXAMINATION Jury exams occur at the end of the semester. Juries typically take place in the Music Recital Hall at the beginning of final exam week. A sign-up sheet will be posted on the Keyboard Board a couple of weeks before the Jury exam. Juries are 10 minutes in length for a 30 minute lesson, and up to 20 minutes in length for a 60 minute lesson. This is an opportunity to display to the other keyboard faculty the skills you have acquired during the semester. All assigned repertory will be heard at the jury exam. Your Jury grade will constitute 25% of your overall grade for the semester. When you play your requirements for your jury, the keyboard faculty will give an independent SUBJECTIVE grade for your playing on that day. The grades of the jurors are averaged together for the cumulative jury grade. Overall evaluation of the jury is made on the basis of: -appropriate repertory for the degree and semester -successful performance -subjective factors (musicianship, expression, individuality, etc.) Music majors are typically expected to play two to three pieces. The jury committee is also presented with a record of additional work completed during the semester including technique, sight-reading, keyboard skills, and other work. Please refer to the attached sheet outlining specific Keyboard Jury Requirements depending on degree program. APPOINTMENTS I am always available for appointments or special help for problems in your practice or in your studies. My teaching schedule is posted on the bulletin board outside my office. If you cannot catch me between lessons, call or leave a message and I will do my best to get in touch with you as soon as possible. Please make sure I always have your current telephone number and email address. WHERE TO BUY MUSIC The following list will provide you with a few excellent options for purchasing your music. Each of these retailers have a comprehensive website for browsing and buying. Morgenroth Music, Missoula, MT 549-0013, 1-800-462-0013 Hutchins and Rea 1-800-753-BACH T.I.S. Music Catalog Sheet Music Plus G. Henle Verlag Patelson's Music House, NYC 1-800-421-8132 1-800-743-3868 1-212-582-5840 www.montanamusic.com www.hutchinsandrea.com www.tismusic.com www.sheetmusicplus.com www.henle.com www.patelson.com Please refer to your student handbook for any policy not covered in this syllabus. The official rules of the school take precedent over this document. The professor reserves the right to alter this document at any time for the purpose of improving the class if he so deems necessary. Please call me or see me immediately if you have any questions or concerns. I am here to help you every step of the way, so please come for help when you need it. Academic Misconduct and the Student Conduct Code All students must practice academic honesty. Academic misconduct is subject to an academic penalty by the course instructor and/or disciplinary sanction by the University. All students need to be familiar with the Student Conduct Code. The Code is available for review online at www.umt.edu/SA/VPSA/Index.cfm/page/1321 KEYBOARD REPERTOIRE AND JURY REQUIREMENTS 2008-2009 Bachelor and Master of Music in Piano Performance Applied Music 151-451, 2-4 credits; 551 - 2 credits (One hour lesson) 1) 2) 3) 4) A minimum of three solo pieces in contrasting styles. Two will be memorized Minimum one accompaniment with soloist, well-rehearsed and prepared with both applied keyboard instructor and soloist's applied instructor. (Students may charge a fee for additional students, and register for ensemble credits appropriate for their level of applied study Music). Technique and sight-reading appropriate for the level (see Technique guidelines) Spring Semester Only: A Quick Study piece (48 hours) may be assigned and may replace juried accompanying at the discretion of the keyboard area. Bachelor of Music Education; Composition/Music Technology; and  Bachelor of Arts in Music; Master of Music Education Piano 151-551, 1 credit (1/2 hour lesson) 5) 6) 7) 8) A minimum of two solo pieces in contrasting styles. One will be memorized. Minimum one accompaniment with soloist, well-rehearsed and prepared with both applied keyboard instructor and soloist's applied instructor. (Students may charge a fee for additional students, and register for ensemble credits appropriate for their level of applied study Music). Technique and sight-reading appropriate for the level (see Technique guidelines) Spring Semester Only: A Quick Study piece (48 hours) may be assigned and may replace juried accompanying at the discretion of the keyboard area. Piano 151-551, 2 credits (One hour lesson) 1) A minimum of three solo pieces in contrasting styles. One will be memorized. 2) Minimum one accompaniment with soloist, well-rehearsed and prepared with both applied keyboard instructor and soloist's applied instructor. Normally all Bachelor and Master of Music in Performance candidates will be accompanying one person as part of their keyboard studies curriculum. (Students may charge a fee for additional students, and register for ensemble credits appropriate for their level of applied study). 3) Technique and sight-reading appropriate for the level (see Technique guidelines) 4) Spring Semester Only: A Quick Study piece (48 hours) may be assigned and may replace juried accompanying at the discretion of the keyboard area. Minimum Technical Requirements ^ for Applied Piano according to Curriculum Piano 151, 2-3 cr. Piano 251, 4 cr. Performance Curriculum Scales, major and minor (harmonic and melodic) 4 octaves; sixteenths at MM = 88 Blocked and Broken chords, major and minor (triads, four-note chords) Diminished 7 t h arpeggios: sixteenths at MM = 80 Arpeggios, major and minor, root position Sight-reading appropriate for level Scales, major and minor (harmonic and melodic) 4 octaves; sixteenths at MM = 112 All other technique: sixteenths at MM = 92 Blocked and Broken chords, major and minor (triads and four-note chords) Dominant 7th/Diminished 7 t h chords Diminished 7 t h arpeggios Arpeggios, major and minor, with inversions Sight-reading appropriate for level Sophomore Technique Barrier Exam Piano 351, 4 cr. Scales, major and minor (harmonic and melodic) 4 octaves; sixteenths at MM= 126 All other technique: sixteenths at MM = 100 All Major Scales in 3rds, 6ths, and 10ths Broken chords, all major and minor with inversions Arpeggios, major and minor, with inversions Diminished 7 t h and Dominant 7 t h chords Diminished 7 t h and Dominant 7 t h arpeggios Sight-reading appropriate for level Piano 451, 4 cr. & Piano 551* Scales, major and minor (harmonic and melodic) 4 octaves; sixteenths at MM = 144 All other technique: 451: sixteenths at MM = 120; *551: sixteenths at MM = 132 All Major and minor scales (harmonic and melodic only) in 3rds, 6ths, and 10ths Broken chords, all major and minor Arpeggios major and minor, with inversions Diminished 7 t h and Dominant 7 t h chords Diminished 7 t h and Dominant 7 t h arpeggios Sight-reading appropriate for level Bachelor of Music Education, Composition/Technolosy, and Bachelor of Arts in Music Piano 151, 1-2 cr. Scales, major and minor (natural and harmonic) 2-4 octaves, sixteenths at MM = 76 Diminished 7 t h arpeggios White Key Broken chords (triads or four-note chords) Sight-reading appropriate for level Piano 251, 1-2 cr. Scales, major and minor (harmonic and melodic) 4 octaves; sixteenths at MM = 88 Blocked and Broken chords, major and minor (triads and four-note chords) Dominant 7th/Diminished 7 t h chords, solid Diminished 7 t h arpeggios Arpeggios, major and minor Sight-reading appropriate for level Sophomore Technique Barrier Exam Piano 351, 1-2 cr. Piano 451, 1-2 cr. Scales, major and minor (harmonic and melodic) 4 octaves; sixteenths at MM = 100 All other technique: sixteenths at MM = 80 Blocked and Broken chords, major and minor (triads and four-note chords) Dominant 7th/Diminished 7 t h chords, solid and broken Dominant 7th/Diminished 7 t h arpeggios Arpeggios, major and minor (may include inversions) Sight-reading appropriate for level Scales, major and minor (harmonic and melodic) 4 octaves; sixteenths at MM = 120 All other technique: sixteenths at MM = 96 Blocked and Broken chords, major and minor (triads and four-note chords) Dominant 7th/Diminished 7 t h chords, solid and broken Arpeggios, major and minor with inversions Diminished 7th/Dominant 7 t h arpeggios Sight-reading appropriate for level 

MUS 100A.08: Performance Study - Applied Piano

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MUS 100A.08: Performance Study - Applied Piano

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