CADENCE SCHOOL OF

Syllabus MUSIC
Velammal knowledge park
2020 -21

KEYBOARD | PIANO |GUITAR| DRUMS |VIOLIN | CARNATIC

CADENCE SCHOOL OF MUSIC

Our syllabus is specially designed to develop the skills that are specific to

each instrument. A combination of exercises & techniques that build awareness of

chords and chord progressions, and technical exercises that focus on a variety of

techniques including a new sequencing option, develop essential and authentic

skills progressively through the grades.

Explore varied repertoire

Discover pieces across a variety of genres, showcasing the wide range of

styles available to all instruments. Our repertoire encompasses popular classics,

show tunes, film themes, jazz, folk and world music, expertly arranged according

to the requirements for the grade.

The syllabus and supporting books have been created in consultation with leading

musicians and music teachers. We hope you enjoy exploring the music in this

syllabus and we wish you every success in learning and your wider music-making.

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Cadence school of music – Syllabus 2020 - 2021
Syllabus for Keyboard, Piano, Guitar

Learning outcomes and assessment criteria

BEGINNER.

ASSESSMENT CRITERIA
LEARNING OUTCOMES

THE LEARNER WILL:

THE LEARNER CAN:

1. Perform music in a variety of styles set for the 1.1 Apply skills, knowledge and understanding to
grade present performances that demonstrate careful
preparation, musical awareness and the beginning
of thoughtful interpretation

1.2 Perform with general security of pitch and

rhythm, and with attention given to dynamics and
articulation

1.3 Maintain a reasonable sense of continuity in

performance and convey the mood of music in a
variety of styles

2. Demonstrate technical ability on an instrument 2.1 Demonstrate familiarity with the fundamentals
through responding to set technical demands of instrumental command

2.2 Demonstrate technical control and facility

within set tasks

3. Respond to set musicianship tests 3.1 Recognise and respond to simple elements of
music in a practical context

3.2 Demonstrate basic aural and musical

awareness

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Learning outcomes and assessment criteria

INTERMEDIATE.

ASSESSMENT CRITERIA
LEARNING OUTCOMES

THE LEARNER WILL:

THE LEARNER CAN:

1. Perform music in a variety of styles set for the 1.1 Support their intentions in musical
grade performance

1.2 Demonstrate an understanding of music that

allows a degree of personal interpretation in
performance

1.3 Perform with general accuracy, technical

fluency and musical awareness to convey musical
character in a variety of styles
2. Demonstrate technical ability on an instrument
through responding to set technical demands 2.1 Demonstrate a developing instrumental
command

2.2 Demonstrate technical control and facility

within set tasks
3. Respond to set musicianship tests
3.1 Recognise and respond to elements of music
in a practical context

3.2 Demonstrate aural and musical awareness

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ADVANCED

LEARNING OUTCOMES ASSESSMENT CRITERIA

THE LEARNER WILL: THE LEARNER CAN:

1. Perform music in a variety of styles set for the 1.1 Integrate their musical skills, knowledge and
grade understanding in performance

1.2 Present secure and sustained performances

that demonstrate some stylistic interpretation

1.3 Perform with general accuracy, technical

fluency and musical awareness to communicate
musically in a variety of styles

2. Demonstrate technical ability on an instrument 2.1 Demonstrate instrumental command

through responding to set technical demands
2.2 Demonstrate technical control across the full
compass of the instrument/voice within set tasks

3. Respond to set musicianship tests 3.1 Recognise and respond to musical features in
a practical context

3.2 Demonstrate musical and stylistic awareness

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KEYBOARD & PIANO

Time Note and rest

Keys Chords Dynamics Other
signatures* values

Intro to Chords
C Major crotchet &
C major 2/4, 4/4 mf and Rhythm &
Family Minim Notes

minim &
G Major Introducing
G major 2/4, 3/4, 4/4 Semibreve f minor chords
Family
rest
Quarter 1
D Major Family of
D Major 2/4, 3/4, 4/4 dotted notes P chords
Family

E Major E Major Family dotted rests mp Relative minors

Intro to
A Major intro to sheet Accompaniment
A Major pp and Auto
family music
Rhythm

F Major Intro to
F & D Minor 3/8, syncopation ff Arpeggio
Family
Quarter 2
all common
B & G# chords and Clefs, stave, Chord
6/8. dominant 7th
Crescendo Inversions
Minor bar lines
chords
minor 7th
B flat major chords on Notes on one octave
7/8. white root
diminuendo arpeggios
& G Minor ledger lines
notes only

minor 7th
Scale/arpeggio two octave
FEBUARY Eb major chords on
arpeggios
black notes pattern

major 7th
All Major & chords on
Relative Major
MARCH Minor black notes Octaves
diminished & Minors
Chords
chords

Quarter 1 – August to October

Quarter 2 – November to January

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• Posture at the keyboard

• Fluent response to finger numbers

• Use of a little weight when dropping into a key to make soft tones

• Use of more weight when dropping into a key to make louder tones

• Importance of playing with a rounded hand

• Awareness of Right hand and Left hand

• Concept of stepping up and stepping down the keyboard

• Concept of low sounds and high sounds

• Recognition of groups of 2 black keys and 3 black keys

• Bar lines

• Measures

• Double bar at end of piece

INTERMEDIATE AND ADVANCED LEANERS WOULD BE TRAINED FOR TRINITY PIANO EXAMS

Pitch - grand staff; treble (G) clef and bass (F) clefs - names of notes up to five ledger

lines above or below treble and bass clefs - accidentals (sharp, flat, and natural) -

enharmonic equivalents of notes - whole tones (whole steps), diatonic and chromatic

semitones (half steps)

Rhythm - time values of notes and rests from sixteenth to whole - dotted notes (half,

quarter, and eighth) - triplets (quarter, eighth, and sixteenth) - time signatures: 2/2, 3/2,

4/2, 2/4, ¾, 4/4, 2/8, 3/8, 4/8 - adding time signature, bar lines, and rests to a given

passage in simple time, which may include an anacrusis (upbeat)

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 GUITAR

Time Note and rest

Keys Chords STYLES Other
signatures* values
Intro to
C Major crotchet & Chords and
C major 2/4, 4/4 mf Rhythm &
Family Minim
Notes

G Major minim & Semi Introducing

G major 2/4, 3/4, 4/4 f minor chords
Family breve rest
Quarter 1
D Major Family of
D Major 2/4, 3/4, 4/4 dotted notes P chords
Family

E Major Relative
E Major dotted rests mp minors
Family

A Major intro to Alternative

A Major pp
family sheetmusic picking styles

playing a riff
and about
F Major
F & D Minor 3/8, syncopation ff up-strokes
Family and down-
Quarter 2 strokes
all common
B & G# chords and Clefs, stave, Chord
6/8. dominant 7th
Crescendo Inversions
Minor barlines
chords
minor 7th
B flat major chords on Notes on pentatonic
7/8. white root
dimunendo scale
& G Minor ledger lines
notes only

minor 7th
Scale/arpeggio
FEBUARY Eb major chords on major scale
black notes pattern

major 7th
All Major & chords on
Relative Major
MARCH Minor black notes minor scale
diminished & Minors
Chords
chords

Quarter 1 – August to October

Quarter 2 – November to January

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 ADVANCED LEANERS WOULD BE TRAINED IN THE FOLLOWING LESSON PLAN

Pitch

1. Naming and using notes in treble or bass clefs (to one leger line above or below the

stave)

2. Accidentals (the flat, the natural, the sharp)

3. Tones and semitones

4. C, F and G major keys, their scales, key signatures, one-octave arpeggios and tonic triads

(root position)

5. Identifying the key of a piece in C, F or G major

6. Concept of numbers 1–8 being used to name degrees of the major scale

7. 1st degree of the scale being known as the tonic or doh

8. Degrees of the scale can be at different registers

9. Tonic triad labelled: — as a chord symbol above the music (e.g. C in the key of C major)

— as a Roman numeral below the music (e.g. I in the key of C major)

10. Intervals (as a number only — unison, 2nd, 3rd, 4th, 5th and octave above C, F or G)

11. Circle of 5ths relating to the keys above

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 Rhythm

1. Note values of semibreves, dotted minims, minims, crotchets and quavers (beamed in 2s,

4s or 6s only) using English terms (with an option to use American terms, e.g. minim or

half note)

2. Rest values of semibreves (including semibreve rests showing a whole bar’s rest in any

time signature), minims and crotchets using English terms (with an option to use

American terms, e.g. minim or half note rest)

3. Time signatures of 2, 3, 4 and 0 (common time)

4. Grouping note and rest values above within 2, 3, 4 or 0 (common time)

Musical words

Musical words and symbols Dynamic and articulation marks Pianissimo, piano, mezzo piano,

mezzo forte, forte, fortissimo, accents, crescendo, diminuendo, legato, slurs, staccato (and signs

and abbreviations for these where appropriate) Tempo marks and other signs Andante, allegro,

moderato, repeat marks, ritenuto (and signs and abbreviations for these where appropriate)

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 DRUMS
Rudiments Time signatures* beats Dynamics STYLES Other
Intro to
Drums and Quarter Note mp, mf, f — few changes,
rhythm
4/4. Beats simple contrasts only
4/4 Rock Basic posture
Instruments

p, mp, mf, f with occasional

Intro to Drum Quarter Note
Notations
3/4. Beats
hairpins and crescendo/ 3/4 Waltz Rudiments
diminuendo
Quarter 1
with
Intro to Fills / Quarter Note crescendos/decrescendos Rock &
Rolls
2/4, 3/4, 6/8 Fills within phrases and greater
Kit techniques
Slow Rock
use of contrasts

Simple left foot (hi

Usage of High
Hat Pedals
7/8. Eight Note Beats pp, ff Shuffle hat with foot)
independence

Playing with
more complex use of
the Ride and Eight Note Fills
semiquaver triplet
blues Clefs, stave, barlines
Bell

4/4 Rhythm
Accented Identify time
beats and fills
sequence with syncopation Swing signatures
Fills
Quarter 2
sixteen Note Accented beats
Beats and fills
Soul Metronome marks

Syncupated
Sixteen Note Grace note
Snare
Beats
Sixteen Note Fills rock ballad rudiments
Drumming

Broken Eighth
Simple semiquaver
Note Fills. Bass
FEBUARY Broken Fills
drum
independence in snare and Heavy rock Rudiment patterns
bass drum
independence
Occasional irregular Free
Bass drum time signatures, more Syncupated Bass Ghost notes, simple semiquaver/quaver
MARCH independence frequent changes of Drumming scrub/swish for brushes,
punk triplet syncopation
time signature across the kit

Quarter 1 – August to October

Quarter 2 – November to January

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Rudimental study

✓ Single Stroke roll

✓ Double stroke roll
✓ Paradiddle
✓ Flam
✓ Drag
✓ Four stroke roll
✓ Five stroke roll
✓ Seven stroke roll
✓ Nine stroke roll
✓ Flam tap
✓ Flam accent
✓ Flam paradiddle
✓ Double paradiddle
✓ Drag & stroke
✓ Double drag & stroke
✓ Single ratamacue
✓ Double ratamacue
✓ Triple ratamacue
✓ Triple paradiddle

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VIOLIN

Scales and arpeggios would be taught in ascending then descending. Further information about specific
technical work requirements for each catagory is given in the relevant sections of this syllabus. Scales are
listed as starting with a long tonic, but may also be played in even notes.

Bowing exercises
The following table gives more information about bowing exercises at different levels

1. For sustained sound throughout both the bow stroke and the bow
changes. Candidates should play one of the Grade 1 scales with two
separate crotchets on each degree of the scale, one down bow and
one up bow.

2. For bow distribution. Whole bows should be used for the

crotchets and half bows for the quavers, with sustained tone
throughout. Candidates should play one of the Grade 2 scales with
the rhythm œ œ œ on each degree of the scale (using separate
bows). The exercise may end with an additional long note on the
tonic.
BEGINNER 3.For quicker, repeated bow strokes. The notes should be played
from the middle of the bow, with even strokes. Candidates should
play one of the Grade 3 scales with four semiquavers on each
degree of the scale. The exercise may end with an additional long
note on the tonic

For further bow distribution. This should be played with an even

bow speed and sustained tone. Candidates should play one of the
Grade 4 scales with the rhythm    on each degree of the scale.
The exercise may end with an additional long note on the tonic.

Students should play one of the Grade 5 scales using a martelé bow
stroke, between the middle and the point of the bow. Immediately
after the initial ‘bite’ or pressure accent, the pressure must be
released. The bow then moves quickly, but does not leave the string.
INTERMEDIATE Each stroke should end before applying pressure for the next ‘bite’
at the start of the new stroke. This will result in an inevitable small
silence between each note.

Candidates should play one of the Grade 6 scales with each note of
the scale played as two spiccato quavers. The bow should start off
the string and leave the string after every note, creating a small
‘saucer’ or ‘smile’ shape over the string, and touching the string at
the lowest point of the ‘saucer’ or ‘smile’ shape.

ADVANCED Candidates should play one of the Grade 7 scales using hooked
bowing, as in the following example. The bow should stop before
each semiquaver, and the separation should be heard clearly.

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Scales and arpeggios for different level

1 Open strings only

2 G, D, A major
Beginner
3 C major; D, A minor

1 F, Bb major; E, G minor plus accidentals

2 Eb major; C, B minor
Intermediate

1 E, Ab major; F, F# minor
Advanced
2 B, Db major; C# minor

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ASSESSMENT CRITERIA

BEGINNER

1. Produce a performance that demonstrates a basic foundation on their instrument and shows some

interpretation

1.1 Perform with adequate continuity and a sense of pulse

1.2 Perform with some evidence of individual interpretation

2. Perform audibly with a sense of enthusiasm and enjoyment and with some awareness of audience

2.1 Demonstrate some sense of performance with some confidence and capacity for audience

engagement

3. Demonstrate that the foundations of a secure technique have been established

3.1 Demonstrate a generally adequate technique

3.2 Perform with an adequate basic sound

4. Demonstrate a range of technical and musical abilities through either a quick study piece or

improvisation

4.1 Respond to a quick study piece with attention to note values and pitches

4.2 Improvise with some melodic development, some harmonic awareness, and a basic use of

instrumental/vocal resources relevant to level

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INTERMEDIATE

ASSESSMENT CRITERIA

1. Produce a performance that demonstrates careful preparation, understanding and the beginnings of

thoughtful interpretation

1.1 Perform with secure rhythm and pulse

1.2 Perform with clear evidence of an emerging musical personality

2. Perform clearly and accurately, with a sense of spontaneity and be able to create and convey mood to

the audience

2.1 Give a performance that is accurate and fluent with perceptive attention to musical and

notational details

2.2 Demonstrate a confident, communicative and consistent sense of performance

3. Show evidence of a fluent technical command of the instrument/voice

3.1 Demonstrate a solid command of technique with musical and sensitive control of intonation

and other instrumental/vocal resources

3.2 Perform with good production and projection of sound

4. Demonstrate a range of technical and musical abilities through either a quick study piece or an

improvisation

4.1 Respond to a quick study piece with continuity of pulse, attention to note values and pitches,

and a sense of musical interpretation

4.2 Improvise with controlled melodic development, appropriate harmonic vocabulary, and full

use of instrumental/vocal resources relevant to level

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 ADVANCED

ASSESSMENT CRITERIA

1. Produce a secure and sustained performance that demonstrates a stylistic awareness and mature

grasp of the material

1.1 Perform with attention to dynamics, articulation and phrasing

1.2 Perform with general evidence of stylistic awareness and some attempt to convey

individual musical intent and commitment

1.3 Perform with a high level of musical sensitivity and a convincing grasp of appropriate

style, with a clear, distinctive and authoritative musical personality

2. Perform with confidence and a sense of ownership and self-awareness that engages the

audience wholeheartedly

2.1 Demonstrate an overall sense of performance with general confidence and a

recognisable capacity for audience engagement

3. Show familiarity with the full compass of the instrument/voice and use some advanced

techniques

3.1 Give a performance that is technically reliable with generally secure intonation and a

good quality of tone

4. Demonstrate a range of technical and musical abilities through either a quick study piece or

improvisation

4.1 Respond to a quick study piece with mostly accurate notes and tonality, adequate

continuity, musical development, and well-planned use of instrumental/vocal resources

4.2 Improvise with imaginative melodic development, appropriate harmonic procedures,

well-planned length, and use of instrumental/vocal resources

4.3 Improvise with well-controlled and imaginative melodic development, clear and

appropriate harmonic vocabulary, appropriate length and full and creative use of

instrumental/vocal resources

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 CARNATIC MUSIC - VOCAL SYLLABUS

BEGINNER

Level 1 (Practical and oral test)

Practical

1. Sarali Varisais (To be sung in 3 speeds)

2. Jantai Varisais

3. 5 Carnatic or devotional compositions (including geethams and bhajans) – with raga / tala / composer

4. Arohanam / avarohanam of any 6 ragams

Theory (Oral questions)

1. Sruthi related questions (About tambura or Shruthi box)

2. Names of Sapta Swaras

3. Demonstrate the following talas – Adi, Rupakam (3 beat), Khanda chapu, Misra chapu

4. 1 minute talk about any one of the following composers: Thyagaraja / Annamacharya / Purandaradasa

Aural Test

1. Student should know Mayamalava gowla swara sthanams and answer aural questions (recognize

apaswarams when a pattern is sung)

2. Student should sing S P S for different shrutis

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INTERMEDIATE

Level 2 (Practical and oral test)

Includes syllabus from Level 1

Practical
1. Any one of the following: Daatu Varisais, Mel sthayi varisais, Keezh sthayi varisais

2. Sapta tala Alankarams (To be in sung in 3 speeds)

3. 10 Carnatic or devotional compositions (including at least 2 geetham and 2 Trinity compositions) –

with raga / tala / composer

4. Any 2 compositions - Swarajathis / Varnam

Theory (Oral questions)

1. Names of all swara sthanams

2. Demonstrate the Sapta talas in various jathis and name the angas

3. Explain 10 basic Carnatic music related terms (list of terms to be given by student)

4. 2 minute talk about any two of the following composers: Thyagaraja / Dikshitar / Shyama Shastri /

Annamacharya / Purandaradasa

5. Student should be able to “sight read” arohanam / avarohanam when swara sthanams of an audava

ragam are given

Aural Test

1. Student should hear swara pattern and recognize if it is a shuddha madhyama vs. prathi madhyama raga

2. Student should hear swara pattern of an audava raga and be able to sing arohanam / avarohanam

3. Raga recognition: Student should hear 2 brief snippets in different ragams (say, A and B) and recognize

if a 3rd snippet is in Raga A or B

ADVANCED

Level 3 (Practical and oral test)

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Includes syllabus from Level 1 and 2

Practical

1. Janta varisais and Alankarams to be sung in 4 melakarta ragams, apart from Mayamalavagowlai

2. 8 Carnatic kritis (including at least 4 Trinity compositions; should include one chapu tala) – with raga /

tala / composer

3. Any 1 from the following musical forms : Jatiswaram or Swara Pallavi or Swara sahityam or Swara jati

4. Tana Varnam in 2 speeds (Any 3)

Theory (Oral questions)

1. Explain 15 basic Carnatic music related terms (list of terms to be given by student)

2. Names and sing all swara sthanams (including vivadi)

3. Demonstrate any of the 35 basic talas

4. 2 minute talk about any three of the following : varnam / kriti / Papanasam Sivan / Bhadrachala

Ramadasa / M S Subbulakshmi / violin in Carnatic music

5. Student should be able to “sight read” sancharams in a ragam (student to share a list of 3 audava and 2

other ragams for this exercise)

Aural Test

1. Student should hear swara pattern and recognize if it is a shuddha madhyama vs. prathi madhyama raga

2. Student should hear swara pattern of an audava / shadava / sampoorna raga and be able to sing

arohanam / avarohanam

3. Raga recognition: Student should hear 3 brief snippets in different ragams (say, A B and C) and

recognize if a 3rd snippet is in Raga A or B or C

4. Kriti appreciation: Student should hear a song snippet and answer simple questions – like recognizing

the composer from the mudhra or name of the God to who it is dedicated etc

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Intermediate and Advanced learners

Brief history of Carnatic Music with special

reference to Saint Purandara dasa,

August to October Annamacharya, Bhadrachala Ramadasa, Saint

Tyagaraja, Muthuswamy Dikshitar, Syama Sastry
and Swati Tirunal.
Definition of the following terms: Sangeetam,
Nada, raga, laya, Tala, Dhatu, Mathu, Sruti,
Alankara, Arohana, Avarohana, Graha (Sama,

November to January Atita, Anagata), Svara – Prakruti & Vikriti

Svaras, Poorvanga & Uttaranga, Sthayi, vadi,
Samvadi, Anuvadi & Vivadi Svara – Amsa,
Nyasa and Jeeva.
Brief raga lakshanas of Mohanam, Hamsadhvani,
Malahari, Sankarabharanam, Mayamalavagoula,
February to March Bilahari, khamas, Kharaharapriya, Kalyani,
Abhogi & Hindolam.

Geetam, Svarajati, Svara Exercises, Alankaras,

Musical forms Varnam, Jatisvaram, Kirtana & Kriti.
Adi – Single & Double Kalai, Roopakam, Chapu

Talas – Tisra, Misra & Khanda and Sooladi Sapta

Talas.
Svaravalis, Hechchu and Taggu Sthayi,
Vocal exercises Alankaras in three degrees of speed.
Two Pillari Gitams, two Sadharana Geetams or
Simple Geetams Sanchari Geetams.
Simple Svarajatis in Khamas and Bilahari raga.
Four Adi tala Varnams in two degrees of speed.

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CARNATIC MUSIC – PERCUSSION
1 Definition of the following terms : Tala, Laya, Avartana, Kala, Kaala, Graha (Atita -

August to October
Anagata - Sama), Nada, Sangeetam, Svara, Sthayi, Raga, Alankara, Arohana, Avarohana,

Uttaranga and Purvanga.

2 Brief history of Carnatic music with reference to Purandara Dasa, Tyagaraja,

Muthuswamy, Dikshitar and Syama Sastry.

3 Basic knowledge of opted instrument.

4 Description and writing notation of sollukattus in Adi, Rupakam and chapu talas and its

varieties

November to
January
5 Brief lakshanas of musical forms - Geetam Svarajati, Varnam.

6 Basic knowledge of Mohra, Korvai, Kuraippu & Pharan.

7 16 Angas of Talas, Korvai, Koraippu etc.

8 Basic knowledge of Jaati and Gati Bhedas in detail.

9 Knowledge of tuning Mridangam

February to
10 To prepare and play Sollukattu for Adi, Rupaka, Triputa and Chapu tala varieties.

March
11 Accompaniment for musical form like Varnam, Kriti, jatiswaram, Padam and Tillana.

12 Knowledge to prepare Mohra and Korvai in Adi, Rupaka, Chapu and Triputa talas.

13 Play “Tani Avartanam” for at-least 6 to 8 avartanas in simple talas.

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CARNATIC MUSIC – VEENA

1 Brief history of Carnatic music with special reference to Saint Purandara Dasa, Saint

August to October
Tyagaraja, Muthuswamy Dikshitar, Syama Sastry, Swati Tirunal, Annamacharya and

Bhadrachala Ramadasa

2 Brief lakshanas of the following ragas : Mayamalavagoula,Kalyani,

Sankarabharanam,Hamsadhavani, Mohanam, Kharaharapriya and Suddha Dhanyasi

3 Basic knowledge of opted instrument.

4 Definitions of the following terms : Sangeetam, Nada, Arohana, Avarohana, Dhatu, Mathu,

November to January
Sruti, Sthayi, Alankara, Poorvanga, Uttaranga Laya - Vilamba, Madhya, Dhruta, Svara -

Suddha & Vikrita, Raga, Tala, Graha - (Sama, Atita, Anagata), Anya Svara.

5 Knowledge of Musical Forms : Svaravalis - Sarali, Jantai, Dattu, Hechchusthayi - Taggu

Sthayi, Alankaras, Geetam and Svarajati.

6 Ability to describe the following Talas : Adi and Sooladi Sapta Talas

7 Notation of Gitams in Rupaka and Triputa Tala

8 Raga classification in General

9 Raga lakshanas of Suddha Saveri, Sriranjani, Kambhoji, Abhogi, Nata, Hindolam and Hari

Kambhoji

February & March

10 Writing notations of Adi tala Varna in two speeds and Gitams set in Roopaka and Triputa

tala.

11 Detailed knowledge of musical forms Kriti, Kirtana, Jatisvaram and Varnam.

12 Four Kriti in the prescribed ragas - Sriranjani, Suddha Saveri, kambhoji, Abhogi, Nata,

Hindolam and Harikambhoji

13 Playing any part of the Varnam learnt in two speeds

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