2.  New format puts all requirements together with repertoire divided by instrument  Repertoire list divides pieces into 4 periods/categories  Etudes/orchestral excerpts have been re- distributed into more appropriate levels

3.  Addition of Theory, Ear Training, and Sight- reading in Levels Preparatory through Level 3  Sight-reading examples listed in each level  Each student is allowed time to study the Sight- reading before beginning to play: ◦ Levels Prep~7: 30 seconds ◦ Levels 8~Adv.: 45 seconds

4.  Technique is standardized – all students in each level play the same scales and arpeggios  Double-stop etude requirement for Levels 6 and 7 has been removed  Etudes are 1-1/2 to 2 minutes in length for Level 4 through Advanced (10)

5.  Repertoire is broader with a range of difficulty at each level. Some pieces are listed at multiple levels  Students may only play pieces at or above their enrolled level (not below)  Known out-of-print repertoire has been removed. Out-of-print pieces may still be played at CM evaluations but not as the syllabus piece

6.  Baroque: appx. 1600-1750  Classical: appx. 1750-1825  Romantic/Impressionism: appx. 1825-1900  20 th /21 st Century: Composers born appx. 1880 or after  Broad Categories; not intended to represent precise historical periods

7.  Repeats strongly discouraged  D.C. and D.S. al fine may be performed  Suites: one movement only  Concertos and Sonatas: one movement only

8.  Handy chart that lists information for each CM Level (p. 11): ◦ Evaluation length ◦ Number of required etudes ◦ Number of required pieces ◦ Memory requirements

9.  Pieces listed as “not” may not be used for the enrolled CM Level, either as a syllabus piece or as remaining repertoire ◦ These pieces are below the registered CM Level, and all repertoire must be at Level or above

10.  Chart for each program of the Convention (p.13): ◦ New Festival Recital time requirements  Prep~5: 5 min.  Levels 6~8: 7 min.  Levels 9~Adv: 10 min. ◦ Theme & Ensemble Recitals: 7 min. (unchanged) ◦ New Materials Recital: 5 min. (unchanged)

11.  Charts for each segment of the Performance Evaluation and how the ratings are determined (pp. 15~16): ◦ Repertoire ◦ Technique ◦ Sight-reading

12.  Remain at Level: Student must pass performance evaluation and written theory test in order to move to a higher CM Level  Ineligible for Certificate: Given for infractions not related to performance ability; student may proceed to the next CM Level

13.  Path B is being eliminated  Certificate of Merit Path A will now be Certificate of Merit

14.  Teachers may still use the CM Curriculum for their non CM students  Teachers may set up their own in-studio evaluations for non CM students, but may not call it “Certificate of Merit”  No certificates will be issued by MTAC

15.  The number of participants in Path B has been declining over the last few years, with more teachers, parents, and students interested primarily in Path A.  Parents did not understand the difference between Path A and Path B, which resulted in confusion.

16.  Some Branches used Path B to decrease the number of Path A students which caused unfairness across the state by not allowing the benefits of Path A to all students, such as Convention Recitals.  Colleges and universities desire transparency about the achievements of students who participate in Certificate of Merit when listed on college applications, and the parallel existence of Path A and Path B reduced transparency.

17.  Outside organizations have attempted to replicate large portions of the CM program from previous Path B materials, in conflict with copyright and trademark laws.

18.  Sample Questions ◦ Preparatory Level ◦ Level1

19.  Cadences in Levels 6 and higher ◦ Authentic Cadence (V-I) ◦ Plagal Cadence (IV-I)

20.  Cadences ◦ Half Cadence (ending on V)  Triads ◦ Inversions with figured bass ◦ Primary (I, IV, V) & Secondary (ii, iii, iv, viiº) triads

21.  7 th Chords ◦ Major, minor, half-diminished, and diminished in root position ◦ Complete chords in the I-IV-V7-I chord progression, Major keys ◦ Identify notes in bass clef within the staff lines (violin & viola students only)

22.  7 th Chords ◦ V7 Inversions with figured bass ◦ Complete chords in the I-IV-V7-I (or i-iv-V7-i) chord progression, Major and minor keys ◦ Secondary dominant (Correction in Syllabus: example should be V6/vi vi) ◦ Read and write on the Grand Staff

23.  Students in levels Prep~9 must play one of the two pieces with piano accompaniment  Advanced level students must play all three pieces with piano accompaniment (except pieces written for solo instrument)