Highlands
The Ascent Tier 5, Levels 29-35
Highlands is Tier 5 of the Dennis Frayne Ascent and includes Ascent Levels 29–35. The requirements for each Level are listed below.
Within Highlands, all scales in a named mode means that mode beginning on each of the seven natural-note tonics: A, B, C, D, E, F, and G, in any order. All seven modes means the natural-note modal set only: C Ionian, D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolian, and B Locrian.
When modal arpeggios are required, the tonic arpeggio is derived from the notes of the mode itself. The corresponding dominant seventh and diminished seventh arpeggios are chromatically altered as necessary to form a conventional dominant seventh chord and fully diminished seventh chord. In Musicianship requirements, a mode triad means the tonic triad characteristic of that mode.
Highlands Level 1 (Ascent Level 29)
Dedicated to Franz Joseph Haydn
Repertoire: Present an all-Haydn recital. Perform Haydn’s complete Sonata in F Major, Hob. XVI:23, including all movements, on piano. Complete the recital with additional works by Haydn on any instrument or voice.
Instruments: Piano, voice, and at least one additional instrument other than piano or voice are required.
Technical Skills: Play all Dorian-mode scales on piano, hands together, four octaves ascending and descending. Compose one cadence appropriate to the Dorian mode using common tones and transpose the cadence for each of the seven Dorian scales. For each scale, play the tonic arpeggio, dominant seventh arpeggio, and diminished seventh arpeggio, four octaves ascending and descending, according to the modal-arpeggio definitions above. Play a chromatic scale on piano, hands together, four octaves ascending and descending. Sing a Dorian-mode scale, one octave ascending and descending, a cappella or accompanied, using movable-Do solfege and again using scale-degree numbers. Perform at least 5 minutes of technical exercises on an additional instrument other than piano or voice.
Musicianship: Sing the defined Dorian-mode vocalises using movable-Do solfege and again using scale-degree numbers. Sing a melody on solfege while tapping two written rhythms. Conduct in 2, 3, and 4 while singing. Sing the chromatic scale ascending and descending on solfege. Sing the tonic triad characteristic of the Dorian mode in inversions, ascending and descending.
Project: Compose an original piece in Dorian mode and perform the completed composition in the recital.
Performance: Present a 55–60-minute all-Haydn recital that includes at least 4 minutes total of singing, with both the student’s primary and secondary languages represented. Include at least one performance on an additional instrument other than piano or voice.
Highlands Level 2 (Ascent Level 30)
Dedicated to Ludwig van Beethoven
Repertoire: Present an all-Beethoven recital. Perform Für Elise on piano. Perform one complete Beethoven piano sonata, including all movements. Complete the recital with additional works by Beethoven on any instrument or voice.
Instruments: Piano, voice, and at least one additional instrument other than piano or voice are required.
Technical Skills: Play all Phrygian-mode scales on piano, hands together, four octaves ascending and descending. Compose one cadence appropriate to the Phrygian mode using common tones and transpose the cadence for each of the seven Phrygian scales. For each scale, play the tonic arpeggio, dominant seventh arpeggio, and diminished seventh arpeggio, four octaves ascending and descending, according to the modal-arpeggio definitions above. Play a chromatic scale on piano, hands together, four octaves ascending and descending. Sing a Phrygian-mode scale, one octave ascending and descending, a cappella or accompanied, using movable-Do solfege and again using scale-degree numbers. Perform at least 5 minutes of technical exercises on an additional instrument other than piano or voice.
Musicianship: Sing the defined Phrygian-mode vocalises using movable-Do solfege and again using scale-degree numbers. Sing a melody on solfege while tapping two written rhythms. Conduct in 2, 3, and 4 while singing. Sing the chromatic scale ascending and descending on solfege. Sing the tonic triad characteristic of the Phrygian mode in inversions, ascending and descending.
Project: Compose an original piece in Phrygian mode and perform the completed composition in the recital.
Performance: Present a 55–60-minute all-Beethoven recital that includes at least 4 minutes total of singing, with both the student’s primary and secondary languages represented. Include at least one performance on an additional instrument other than piano or voice.
Highlands Level 3 (Ascent Level 31)
Dedicated to Felix Mendelssohn and Fanny Mendelssohn Hensel
Repertoire: Present a recital devoted to Felix Mendelssohn and Fanny Mendelssohn Hensel. Perform Felix Mendelssohn’s Spring Song, Op. 62, No. 6, and Rondo capriccioso, Op. 14, on piano. Participate in one selection from 12 Gesänge, Op. 8; any of the twelve songs may be chosen, and the student may participate as singer, pianist, or in another appropriate performing role. Perform Fanny Mendelssohn Hensel’s Notturno in G Minor and one selection from Vier Lieder für das Pianoforte, Op. 8, on piano. Complete the recital with additional works by Felix Mendelssohn and/or Fanny Mendelssohn Hensel on any instrument or voice.
Instruments: Piano, voice, and at least one additional instrument other than piano or voice are required.
Technical Skills: Play all Lydian-mode scales on piano, hands together, four octaves ascending and descending. Compose one cadence appropriate to the Lydian mode using common tones and transpose the cadence for each of the seven Lydian scales. For each scale, play the tonic arpeggio, dominant seventh arpeggio, and diminished seventh arpeggio, four octaves ascending and descending, according to the modal-arpeggio definitions above. Play a chromatic scale on piano, hands together, four octaves ascending and descending. Sing a Lydian-mode scale, one octave ascending and descending, a cappella or accompanied, using movable-Do solfege and again using scale-degree numbers. Perform at least 5 minutes of technical exercises on an additional instrument other than piano or voice.
Musicianship: Sing the defined Lydian-mode vocalises using movable-Do solfege and again using scale-degree numbers. Sing a melody on solfege while tapping two written rhythms. Conduct in 2, 3, and 4 while singing. Sing the chromatic scale ascending and descending on solfege. Sing the tonic triad characteristic of the Lydian mode in inversions, ascending and descending.
Project: Compose an original piece in Lydian mode and perform the completed composition in the recital.
Performance: Present a 55–60-minute recital devoted to Felix Mendelssohn and Fanny Mendelssohn Hensel that includes at least 4 minutes total of singing, with both the student’s primary and secondary languages represented. Include at least one performance on an additional instrument other than piano or voice.
Highlands Level 4 (Ascent Level 32)
Dedicated to Alberto Ginastera and Antonín Dvořák
Repertoire: Perform Alberto Ginastera’s complete Danzas Argentinas, Op. 2, including all three dances, on piano. Perform two different selections from Antonín Dvořák’s Slavonic Dances, Op. 46, for piano four hands. Perform the primo part in one dance and the secondo part in the other, each with a duet partner. Music may be used for both piano-four-hands performances. Complete the recital with additional works by Ginastera and/or Dvořák on any instrument or voice.
Instruments: Piano, voice, and at least one additional instrument other than piano or voice are required.
Technical Skills: Play all Mixolydian-mode scales on piano, hands together, four octaves ascending and descending. Compose one cadence appropriate to the Mixolydian mode using common tones and transpose the cadence for each of the seven Mixolydian scales. For each scale, play the tonic arpeggio, dominant seventh arpeggio, and diminished seventh arpeggio, four octaves ascending and descending, according to the modal-arpeggio definitions above. Play a chromatic scale on piano, hands together, four octaves ascending and descending. Sing a Mixolydian-mode scale, one octave ascending and descending, a cappella or accompanied, using movable-Do solfege and again using scale-degree numbers. Perform at least 5 minutes of technical exercises on an additional instrument other than piano or voice.
Musicianship: Sing the defined Mixolydian-mode vocalises using movable-Do solfege and again using scale-degree numbers. Sing a melody on solfege while tapping two written rhythms. Conduct in 2, 3, and 4 while singing. Sing the chromatic scale ascending and descending on solfege. Sing the tonic triad characteristic of the Mixolydian mode in inversions, ascending and descending.
Project: Compose an original piece in Mixolydian mode and perform the completed composition in the recital.
Performance: Present a 55–60-minute recital centered on Ginastera and Dvořák that includes at least 4 minutes total of singing, with both the student’s primary and secondary languages represented. Include at least one performance on an additional instrument other than piano or voice.
Highlands Level 5 (Ascent Level 33)
Dedicated to Claude Debussy
Repertoire: Present a recital of Impressionist and Impressionist-influenced music. Perform three Debussy Préludes of the student’s choice, Clair de lune, and both works from Deux arabesques, L. 66, on piano. Complete the recital with additional repertoire associated with the Impressionist period or style, or with existing works clearly influenced by Impressionism, on any instrument or voice.
Instruments: Piano, voice, and at least one additional instrument other than piano or voice are required.
Technical Skills: Play all Locrian-mode scales on piano, hands together, four octaves ascending and descending. Compose one cadence appropriate to the Locrian mode using common tones and transpose the cadence for each of the seven Locrian scales. For each scale, play the tonic arpeggio, dominant seventh arpeggio, and diminished seventh arpeggio, four octaves ascending and descending, according to the modal-arpeggio definitions above. Play a chromatic scale on piano, hands together, four octaves ascending and descending. Sing a Locrian-mode scale, one octave ascending and descending, a cappella or accompanied, using movable-Do solfege and again using scale-degree numbers. Perform at least 5 minutes of technical exercises on an additional instrument other than piano or voice.
Musicianship: Sing the defined Locrian-mode vocalises using movable-Do solfege and again using scale-degree numbers. Sing a melody on solfege while tapping two written rhythms. Conduct in 2, 3, and 4 while singing. Sing the chromatic scale ascending and descending on solfege. Sing the diminished tonic triad characteristic of the Locrian mode in inversions, ascending and descending.
Project: Compose an original piece in Locrian mode and perform the completed composition in the recital.
Performance: Present a 55–60-minute recital of Impressionist and Impressionist-influenced music that includes at least 5 minutes total of singing, with both the student’s primary and secondary languages represented. Include at least one performance on an additional instrument other than piano or voice.
Highlands Level 6 (Ascent Level 34)
Dedicated to Frédéric Chopin
Repertoire: Present an all-Chopin recital. Perform on piano two Études, two Mazurkas, two Nocturnes, two Waltzes, two Polonaises, and either one Scherzo or one Ballade. Complete the recital with additional works by Chopin as needed.
Instruments: Piano, voice, and at least one additional instrument other than piano or voice are required.
Technical Skills: Play all seven modes on piano as defined above: C Ionian, D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolian, and B Locrian, hands together, four octaves ascending and descending. Compose and play an appropriate cadence for each of the seven modes using common tones. For each mode, play the tonic arpeggio, dominant seventh arpeggio, and diminished seventh arpeggio, four octaves ascending and descending, according to the modal-arpeggio definitions above. Play a chromatic scale on piano, hands together, four octaves ascending and descending. Sing an Ionian-mode scale and its relative Aeolian-mode scale, one octave ascending and descending, a cappella or accompanied, using movable-Do solfege and again using scale-degree numbers. Perform at least 5 minutes of technical exercises on an additional instrument other than piano or voice.
Musicianship: Sing the defined Ionian- and Aeolian-mode vocalises using movable-Do solfege and again using scale-degree numbers. Sing a melody on solfege while tapping two written rhythms. Conduct in 2, 3, and 4 while singing. Sing the chromatic scale ascending and descending on solfege. Sing the tonic triads characteristic of the Ionian and Aeolian modes in inversions, ascending and descending.
Project: Compose an original piece that modulates between Ionian and Aeolian modes and perform the completed composition in the recital.
Performance: Present a 55–60-minute all-Chopin recital that includes at least 5 minutes total of singing, with both the student’s primary and secondary languages represented. Include at least one performance on an additional instrument other than piano or voice.
Highlands Level 7 (Ascent Level 35)
Dedicated to Johannes Brahms
Repertoire: Present an all-Brahms recital. Perform Brahms’s Intermezzo in A Major, Op. 118, No. 2, and Rhapsody in G Minor, Op. 79, No. 2, on piano. Perform two different Hungarian Dances, WoO 1, for piano four hands: perform the primo part in one dance and the secondo part in the other, each with a duet partner. Music may be used for both piano-four-hands performances. Complete the recital with additional works by Brahms on any instrument or voice.
Instruments: Piano, voice, and at least one additional instrument other than piano or voice are required.
Technical Skills: Play all seven modes on piano as defined above: C Ionian, D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolian, and B Locrian, hands together, four octaves ascending and descending. Compose and play an appropriate cadence for each of the seven modes using common tones. For each mode, play the tonic arpeggio, dominant seventh arpeggio, and diminished seventh arpeggio, four octaves ascending and descending, according to the modal-arpeggio definitions above. Play a chromatic scale on piano, hands together, four octaves ascending and descending. Sing all seven modal scales, one octave ascending and descending, a cappella or accompanied, using movable-Do solfege and again using scale-degree numbers. Perform at least 5 minutes of technical exercises on an additional instrument other than piano or voice.
Musicianship: Sing the defined modal vocalises using movable-Do solfege and again using scale-degree numbers. Sing a melody on solfege while tapping two written rhythms. Conduct in 2, 3, and 4 while singing. Sing the chromatic scale ascending and descending on solfege. Sing the tonic triad characteristic of each of the seven modes in inversions, ascending and descending.
Project: Compose a complete original work for either chamber orchestra or a quintet consisting of four string players and harpsichord, with the harpsichord serving the basso continuo function. If the quintet option is selected, an actual harpsichord is required. Perform the completed work live in the recital and participate personally as a performer, conductor, or both.
Performance:
Present a 55–60-minute all-Brahms recital that includes at least 5 minutes total of singing, with both the student’s primary and secondary languages represented. Include at least one performance on an additional instrument other than piano or voice.
At a separate public event, participate with a separate ensemble as an improvising soloist. Choose one of the following modes for the improvisation: Dorian, Mixolydian, or Locrian.