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REVISIONS TO 2014 AIM SYLLABUS

with

METRONOME MARKINGS CHART

Compiled by Juliet Preston, State AIM Chair

November 3, 2015

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AIM - Metronome Minimums By Level - 2015

Note: Hands Together is optional in Levels 1 – 5.

Levels 5 and 6 have two speeds, the second is for the Chromatic scale

Higher metronome speeds are allowed.

FIXES for Levels 1 – 10, Effective November 2015

*Revisions to Levels 1 and 2 are in Technique only for Metronome Markings

Level 1

Eight-note Scales – 66 minimum

Chords – 66 minimum

Cadence – 55 for or 110 for

Arpeggios – played as triplet , 108 per

Level 2

Eight-note Scales – 72 minimum

Chords – 76 minimum

Arpeggios – played as triplet , 116 per

Level Hands Octaves Scales Chords Cadences Arpeggios 1 HS 1 72 66 55 108

2 HS 1 80/72 76 66 116

3 HS 2 66 52 60 60

4 HS 2 72 60 60 60

5 HS 3 76/96 60 62 63

6 HT 3 76/108 56 52 66

7 HT 4 80 62 72 72

8 HT 4 84 72 76 76

9 HT 4 88 78 80 80

10 HT 4 88 78 80 80

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LEVEL 3 FIXES

Technique – Cadences

Change tempo to: = 52 minimum

Technique – Arpeggios

Add the word Triads after “Major, Minor”

Ear Training – Melody

Add this example next to the current one:

Ear Training – Chords

Remove Diminished Triad from the examples

Theory – Staff

Delete all natural signs in the key signatures

Theory – Intervals

Add the missing accidentals on the and minor triads in the example

Theory - Chords

Delete the phrase “Harmonic or Melodic”

Theory – Music History

On the Example question #2, re-write to say: Name two other keyboard instruments that

were used before the piano was invented.

LEVEL 4 FIXES

Technique – Scales

Change heading to read: 6 Keys - Choose 3 Major keys and 3 Minor keys (at least two forms of

minor represented)

Remove every phrase that says: “Modal, or Jazz”

Technique – Cadences

Add: is also acceptable

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Technique – Arpeggios

Change to: 3 Major and 3 Minor Triads and 1 Diminished Seventh chord

Ear Training – Rhythm

Add a DOUBLE BAR LINE between measure 1 and 2 of the example forming Example A and

Example B.

Theory – Scales

Fix Question #1 to be Major scale

Theory – Chords

Add 3rd instruction: Draw Maj, min, dim, aug triads on the staff

Theory – Cadence

Add phrase: Tip: Be sure to include accidental on the Major dominant triad when in minor

keys

LEVEL 5 FIXES

Technique – Chord Inversions

Change MM to 56 minimum for all skills

Technique – Cadences

Add a quarter rest after each at the end of each measure in the example. (There should be

a pause allowing students time to move hands.)

Technique – Arpeggios

Change MM to 63 minimum

Sight Reading

Change Key Signature description to Up to 3 or

Remove “Triplets” from the Rhythm choices

Remove “Coda” and “Tenuto” from the Interpretation description

Add to the “Fundamentals” section: Waltz accompaniment

Replace the current example with this one:

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Remove Student Questions or write your own!

Ear Training – Rhythm

Delete the triplets as a possible note value.

Ear Training – NEW SECTION

Add new section with the heading: Cadences

Add this paragraph and example:

Plagal Cadence (I IV I) and Authentic Cadence (I V7 I)

The student will hear three chords played two times and determine whether

it is a Plagal or Authentic cadence.

Theory – Note Values and Rhythm

Re-write the instructions for Question #2 as: Write a possible time signature for the following

meters

Theory – Chords

On the Harmonic Minor scale example, write a for the D in the B major triad and the D# dim

triad.

Theory – Symbols and Terms - Delete the term “portato”

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LEVEL 6 FIXES

Technique – Scales

Change MM to 76 minimum for 8-note scales / 108 for Chromatic scales

Technique - Chord Inversions

Change MM to 56 minimum for all skills

Technique – New Heading

Add new heading: CADENCE - TRANSPOSITION

Add paragraph after that:

Students will be given a 4-bar melody with blocked chordal accompaniment (I, IV, and V7 chords) and will be asked to transpose chords and melody into the Parallel Minor and TWO other keys of their choice. Students may not play from written transpositions but should write intervals/fingering/ scale degrees on the ID sheet and play from the ID sheet. No written note names on the ID sheet. No MM minimum.

Sight Reading - Instructions

Change key signature to only 3 sharps or flats

Remove the 6/8 time signature and add 2/2 or cut-time

Remove the line that says “Syncopation” entirely. Add the phrase Pedaling is allowed (and encouraged) with choral texture

Ear Training – Melody

Add to the end of the 2nd line of description: Intervals may include ascending and descending 2nd,

3rd, 4th, and 5th. No accidentals. Tip: Listen for a repeat of the given note as one of the 5 answers!

Replace both examples with this one:

Ear Training - Rhythm

Add: 2-3 measure rhythm will be played….. AND

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Theory – Cadence

Just below the heading, add and

Theory – Chords

Remove the figured bass below the 7th chord inversions. Not required on this level.

Write in the answers for Example 2 as

Theory – Music History

Add this paragraph after the heading:

Seven Greek Modes, or scales, used anciently in music are Ionian, Dorian, Phrygian, Lydian,

Mixolydian, Aeolian, and Locrian. They are still used by composers today (for more

information on the Greek modes, see “Additional Theory Resources)

LEVEL 7 FIXES

Technique – Scales

Replace Scales instructions just below heading to:

Choose 3 Major Keys Choose 3 Minor Keys in varying forms (natural/harmonic/melodic) May substitute one modal or jazz scale in place of any scale. Required Presentation must be done in one Major and one minor Remaining 4 keys can be in ANY presentation

To be played: HT, 4 octaves, MM = 80 minimum

On bottom example, change the underlined heading to read; Parallel Scales in Rhythms or

16ths only

Change heading on page 4 to read Scales in Parallel/Contrary or “Grand Form” and add

slanted lines in between the C’s.

Technique – Chord Inversions

Change MM to 62

Technique – Arpeggios

Change MM to 72

Technique – Cadence

Change MM to 72

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Sight Reading - On Example 1, re-write measure two of example to be correct with G min triads

Ear Training – Melody

Replace Melody Example with this one: and add MM= 60 5-finger scales only

Theory – Chords

On the test, students will be asked to label the figured bass for a variety of 7th chords, in

any inversion. They will not be the same chord in all positions, as indicated on the example.

LEVEL 8 FIXES

Technique – Scales

Replace Scales instructions just below heading to:

Choose 3 Major Keys Choose 3 Minor Keys in varying forms (natural/harmonic/melodic) May substitute one modal or jazz scale in place of any scale. Required Presentation must be done in one Major and one minor Remaining 4 keys can be in ANY presentation To be played: HT, 4 octaves, MM = 84 minimum

On bottom example, change the underlined heading to read; Parallel Scales in Rhythms or

16ths only

Change heading on page 4 to read Scales in Parallel/Contrary or “Grand Form” and add

slanted lines in between the C’s.

Technique – Chord Inversions

Change MM to 72

Technique – Arpeggios

Change MM to 80

Technique – Cadence

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Change MM to 76

Ear Training – Melody

Change the Melodic Dictation instructions from “4 measure melody” to 2-measure.

Cross out the last (or first) two measures of the examples

Ear Training – Cadences

Replace the existing example with this one:

Ear Training – Intervals

Correct the statement that says “The student will determine if the interval is a Tritone,

Perfect 5th, or Perfect 4th. ( no M2, m6, m7, or M9)

Cross out the example of the minor 6th

Theory – Chords

On the test, students will be asked to add the correct accidentals to complete the chord.

Any of the 5 types of 7th chords, starting on any note.

Add the following example:

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LEVEL 9 FIXES

Technique –Scales

Change “May substitute…” line to read: May substitute one modal or jazz scale in place of

any scale.

On bottom example, change the underlined heading to read; Parallel Scales in Rhythms or

16ths only

Change heading on page 4 to read Scales in Parallel/Contrary or “Grand Form” and add

slanted lines in between the C’s.

Technique – Chord Inversions

Change MM to 78

Technique – Arpeggios

Change MM to 80

Technique – Cadence

Change MM to 80

Ear Training – Melodic Dictation

Change “2 measure” to 3 or 4 measure AND change the word “more” on last line of

paragraph to note.

Replace the Tonal Preparation with this example:

Replace the Soprano line example with this one:

Replace the current “Harmonized Melody” example for this one:

Ear Training- Rhythmic Dictation

Change “2-measure” to 4 measure.

Replace current example with this one:

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Ear Training – Cadences

Change this label to Chords

Add description: Each dominant 7th chord will be played three times, broken and blocked. The

student will determine if it is in Root position, 1st inversion, 2nd inversion, or 3rd inversion.

Include this example:

Ear Training – Scales

Change last sentence of description to read: The student will determine if it is Natural Minor,

Locrian, Pentatonic, or Blues.

Theory- Scales

Change “spell scales” to Write Scales on staff (in both places) Any of the 7 Greek modes and

Whole Tone

Replace example with this example:

Theory – Modulation

Replace existing table with this one:

Remove staff example below – no longer applicable

Theory – Cadences

Replace existing example with this one: Complete Authentic Cadence

Starting Key Dominant 7th New Key

A min D7 G Maj

C Maj B7 E min

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LEVEL 10 FIXES

Level 10 Technique

Scales:

Add Minimum tempo of 88 in the sub-heading after “4 octaves.”

Add (Grand Form) after the “Parallel/Contrary”.

Chords:

Add Minimum tempo of 78 in the heading after “4 octaves.”

Cadences:

Add Minimum tempo of 80 in the heading after “4 octaves.”

add in the Chord Progression section after the HT, “in parallel chords or Keyboard Style (RH chords, LH roots)”

Arpeggios:

Add Minimum tempo of 80 in the heading after “4 octaves.”

Level 10 – Sight Reading Example – replace this example for the current one

Level 10 – Ear Training, Harmonic Dictation – replace this example for the current one

Add the word L.H. in front of the phrase “harmonic progression….” on 2nd line of instructions.