2021 edition

THE PIANO FRAMEWORK©

2 0 2 1 E D I T I O N

3T H E P I A N O F R A M E W O R K ©

Table of Contents

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I N T R O D U C T I O N

E L E M E N T A R Y | L E V E L 1

B E G I N N E R | L E V E L 1

E L E M E N T A R Y | L E V E L 2

B E G I N N E R | L E V E L 2

P A G E 0 4

P A G E 1 6

P A G E 0 6

P A G E 2 4

P A G E 0 8

0 6 E L E M E N T A R Y | L E V E L 3 P A G E 3 2

0 7 I N T E R M E D I A T E | L E V E L 1 P A G E 4 0



1 0 A D V A N C E D | L E V E L 1 & 2 P A G E 6 4

1 1 A P P E N D I X P A G E 7 4

SALLY CATHCART PhD Director & Co-Founder

SHARON MARK-TEGGART MA Director & Co-Founder

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Teachers interested in how this lines up with the UK instrumental examination grades should refer to the appendix. All the changes are designed to bring greater focus and clarity to the process of teaching and learning the piano.

The Piano Framework© 2021 has three new sub-categories:

• Singing and Inner Hearing• Reading (independent)

• Velocity

Some of the sub-categories have been renamed:

• Tonality (previously keys and key signatures)• Fingering and Hand Position• Co-ordination and Independence• Tempo and Playing Style• Chords and Technical Names• Cadences and Modulations• Chords and Cadential ProgressionsIn addition, the Beginner and Elementary levels now have suggested ListeningRepertoire lists. The Advanced level remains the same as in the 2017 edition.

The Piano Framework© provides a comprehensive overview of the many different and often overlapping elements that learning the piano involves.

Introduction

Each level is divided into four sections:

• Musical Concepts - the underlying musical concepts that are common tolearning any musical instrument

• Technical Skills - the nuts, bolts and physical aspects to playing the piano

• Pianistic Skills | Musical Concepts - the point where playing the piano isdeeply rooted in musical understanding

• Style and Performance - matters of style, genre, interpretation and in theAdvanced level performance practice

The four sections should be used consecutively.

The Piano Framework© 2021 has been developed by The Curious Piano Teachers with the help of Ilga Pitkevica (Beginners to Intermediate) and Graham Fitch (Advanced).

The Piano Framework© 2021 is only available through membership of The Curious Piano Teachers. It is designed to support curriculum development in private piano studios throughout the world.

Whilst it can be shared with students and their families, please do not share this document on any other public website or forum.

4 5I N T R O D U C T I O N T H E PI A N O FR A M E W O R K ©

The Piano Framework© 2021 is the third major revision of the document having first been made available to the members of The Curious Piano Teachers in 2015. After the development of the Advanced level in 2017, the focus in 2021 has been on expanding the Beginner, Elementary and Intermediate levels.

There are now 9 renamed levels:

BEGINNER ELEMENTARY INTERMEDIATE ADVANCED

1 2 1 2 3 1 2 3 1 2E L E M E N T A R Y

B R I D G EI N T E R M E D I A T E

B R I D G EA D V A N C E D

B R I D G E

RHYTHM

MELODY

Pulse & Metre

Singing | Inner Hearing

Pitch

Reading (independent)

Rhythm Values | Simple

Time Signatures

• Feeling the pulse• Making the pulse conscious• Recognising the beat moving faster | slower

• Finding and using the singing voice• Finding and using the thinking voice• so | mi• la | so | mi• mi | re | do• so | mi | do

• Showing higher and lower pitches using gestures• Recognising pitch as moving higher | lower• Musical alphabet

• 4/4 rhythm flashcards• Graphic scores & eye tracking• Simple phrases using la-so-mi from hand signs• Rhythm sol-fa

• Distinguishing between pulse and rhythm• Aurally identifying two sounds to one pulse• Labelling crotchet and quaver note rhythms using

rhythm language (ta and ti-ti, or rhythm words)• Using notation to represent rhythm

• Feeling and labelling the strong beat• Identifying aurally different metres: 2 | 3 | 4• Labelling bars and barlines

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STRUCTURE

Phrases • Recognising the start and end of phrases• Counting the number of phrases in a song

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MUSICAL CONCEPTS & SKILLS


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BeginnerL E V E L 1

RHYTHM

Pulse & Metre


Rhythm Values | Compound

Triplets | duplets

Dots | Ties

Time Signatures

• Feeling and marking the strong/down beat• Recognising and labelling bars and bar lines• Aural awareness of 2 | 3 | 4 | metre

• Crotchets and quavers• Minims• Semibreves• Semibreve | minim | crotchet rests

• Dotted minims

• 2/4• 3/4• 4/4

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BeginnerL E V E L 2

• Singing tone sets: mi-re-do | so-mi-do | so-mi-re-do• Singing songs using [do] pentatonic scale• Using the thinking voice for single phrases in a song• Singing songs using [do] pentachord• Singing simple phrases in known sol-fa from hand signs• Singing simple phrases from rhythm sol-fa

• Notes on lines and in spaces• Relative staff• G clef (treble)• F clef (bass)• Grand staff• Fixed pitch on staff• Landmark notes (e.g. treble G, middle C, bass F, bass C)• Simple harmonic and melodic patterns from

landmark notes• 2nds (steps) & 3rds (skips)• Alphabet strings | C | G | F

MELODY

Singing | Inner Hearing

Pitch

7

8

• Simple phrases using pentatonic motifs from handsigns

• Short, single hand melodies using repeated notes andmoving 2nds and 3rds from Landmark notes

Reading (independent)9

• 2nds - moving by step• 3rds - moving by skip

Intervals10

• Sense of home (tonic) and away (dominant)Tonality11

STRUCTURE

Phrases

Devices

Structural

• Counting the number of phrases in songs and pieces• Recognising question and answer phrases

• Repeat signs

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13

14

TECHNIQUE

Posture | Body Awareness

Fingering & Hand Positions

• Balanced and comfortable sitting position withgrounded feet

• Moving across the keyboard with freedom and ease• Relaxed and comfortable hand shape• Up and down arm movements

• Learning and remembering finger numbers• Understanding and connecting fingering and interval

relationships

15

16

Velocity • Playing in a 5 finger hand position hands separately• Playing in a 5 finger hand position hands together• Developing focussed fingertip use and concept in

connection with flexible wrist

17

Co-ordination & Independence

• Rhythmical playing when passing from hand to hand• Maintaining a steady pulse whilst executing rhythm

patterns• Playing two notes harmonically and/or note clusters in

one hand

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Tone Quality | Sound Production

• Playing with a clear and focussed sound• Using simple dynamic contrasts

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Articulation • Non-legato20

Scales21

Arpeggios | Broken Chords22

Other Scales23

TECHNICAL SKILLS

1 0 1 1B E G I N N E R | LE V E L 2 T H E P I A N O F R A M E W O R K ©

• Relating high and low | up and down• Keyboard layout• Repeated patterns of black notes• Positions of white notes (musical alphabet)

KEYBOARD GEOGRAPHY

Keyboard Orientation24

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EXPRESSIVE

STYLISTIC AWARENESS

Terms and Signs

Baroque & Before

Classical

Romantic

20th Century

Contemporary

Phrases

Tempo & Playing Style

Pedal

• forte [f] | piano [p]• mf | mp• Hairpins < >

• Exploring stylistic features using repertoire andlistening activities





• The start and end of phrases

• Andante | Moderato | Allegro

• Exploring the effects of the sustaining pedal

PIANISTIC SKILLS | MUSICAL CONCEPTS

STYLE & PERFORMANCE

29 Ornaments

30 Textures • Exploring piano sounds• Melody

31 Timbres • Exploring piano sounds

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HARMONY

Triads

Chords & Technical Names

Cadences & Modulations

Chords & Cadential Progressions

• Broken triads

• Exploring chords

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SUGGESTED LISTENING REPERTOIRE

Baroque & Before

Classical

Romantic

20th Century

Contemporary

• Ronde and Basse Dance Bergeret from La Mourisque(Susato) 1551

• La Rejouissance from Music for the Royal Fireworks(Handel) 1748

• Ah! Vous dirais-je, Maman (Mozart) 1785• 4th movement from Symphony No. 9 (Beethoven) 1822• Overture from William Tell (Rossini) 1824

• Radetszky March (J. Strauss) 1848• Ride of the Valkyries (Wagner) 1856• In the Hall of the Mountain King from

Peer Gynt Suite No. 1 (Grieg) 1875• Clair de Lune (Debussy) 1890• Flight of the Bumblebee (Rimsky-Korsakov) 1899

• Viennese Musical Clock from Háry János Suite(Kodály) 1926

• Mattachins from Capriol Suite (Warlock) 1926• Troika from Lieutenant Kijé (Prokofiev) 1933• Fanfare for the Common Man (Copland) 1942• We Will Rock You (Queen) 1977

• Hedwig’s Theme from Harry Potter and thePhilosopher’s Stone (John Williams) 2001

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RHYTHM

Pulse & Metre • Using metrical counting• Conducting in 2 or 3• Anacrusis (upbeat)

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Triplets | Duplets

Dots | Ties

Time Signatures

• Single quavers• Single quaver rests

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1 2 1 2 3 1 2 3 1 2

ElementaryL E V E L 1

MELODY STRUCTURE

Singing | Inner Hearing Phrases

Devices

Structural

Pitch


Intervals

Tonality

• Singing melodies in sol-fa using [do] pentachord• Singing melodies in sol-fa using [la] pentachord• Singing melodies in sol-fa using [do] hexachord• Using the thinking voice in selected phrases• Singing major/minor/perfect intervals 2nd | 3rd | 4th |

5th using sol-fa• Singing simple phrases in known sol-fa from hand

signs• Singing note patterns using [do] pentachord from the

relative staff in sol-fa• Singing known songs whilst tapping a simple ostinato

rhythm• Singing songs while conducting

• Recognising and labelling short phrases as same ordifferent

• Ostinato• Drone

• Motifs• A-B• A-B-A

• One ledger line above, below and in the middle of thegrand stave

• Recognising all notes on the grand stave from bass Dto high B (or recognising patterns of notes fromalphabet strings on C | G | F | Am | Dm)

• Sharps, flats and naturals

• 12 or 16 beat rhythms in 3/4, 4/4. Previous note valuesplus dotted minim and crotchet rests

• 8 notes on the grand stave, starting on a Landmarknote on given finger, either repeated note, moving by2nds or 3rds

• 4 bar melodies, on the grand stave starting on aLandmark note on given finger within a 5 fingerposition. 4/4 crotchets and minims, repeated notes andmoving by 2nds or 3rds

• Melodic and harmonic 2nd | 3rd | 4th | 5th | 6th• Half steps and whole steps• Major and minor 3rds

• C | G | F major• Am | Dm• Tonic and dominant in C | G | F major• Tonic and dominant in Am | Dm

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TECHNIQUE


Fingering & Hand Position

Velocity


• Freedom in the arms, shoulders and elbows• Building an awareness of arm weight• Using a flexible wrist• Up and down arm movements connecting 2, 3 and

4 notes• Learning the concept of rotation and movements

involved

• Playing beyond a 5 finger hand position• Fingering patterns for appropriate scales (pentachords),

broken triads and arpeggios• Connection between triad structure and fingering

• Playing major/minor pentachords legato, staccatoand non-legato at a range of metronome marks(to be set by teacher)

• Increased rhythmical playing when passing from handto hand including crossing hands

• Co-ordination when playing hands together• Playing three note chords with one hand

TECHNICAL SKILLS


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TECHNIQUE

KEYBOARD GEOGRAPHY


Keyboard Orientation

Articulation

Scales

Arpeggios | Broken Chords

Other scales

• Developing greater control in changes of dynamics• Developing some control in balancing the hands

• Finding individual notes within a pentachord starting onLandmark notes C3 | F3 | C4 | G4 | C5 without referenceto the keyboard

• Accents

• Pentachords: C | G | F | Am | Dm at a variety of metronomemarks

• Major and natural minor scales | hands separately |1 octave| C | G | F | Am | Dm at a variety of metronome marks

• Broken chords: C | G | F | Am | Dm

EXPRESSIVE

Terms and Signs

Phrases


Pedal

Ornaments

Textures

Timbres

• Crescendo and diminuendo• Accents >• The pause

• Melodic journeys• Slurs

• Adagio | Allegretto | ritenuto

• Exploring the effects of the sustaining pedal

• Glissandi

• Balancing melody and accompaniment• Chordal textures

• Exploring the sounds of strings, wind, brass andpercussion instruments

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HARMONY

Triads




• Broken triads of C | G | F | Am | Dm

• Home and away (tonic and dominant)• Chord I in C | G | F• Chord V7 in C | G | F• Chord IV in C | G | F

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STYLISTIC AWARENESS

Baroque & Before

Classical

Romantic

20th Century

Contemporary

• Minuet

• March• Fanfare

• Étude/Study

• Folksong

• Music from other cultures• Alternative notations including graphic scores

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STYLE & PERFORMANCE


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Baroque & Before

Classical

Romantic

20th Century

• Rondeau from Abdelazar (Purcell) 1676• Canon in D (Pachelbel) 1680• The Four Seasons (Vivaldi) selected movements 1725

• Trumpet Concerto in E flat (Haydn) 1796• Für Elise (Beethoven) 1810• Piano Quintet in A major, ‘The Trout’ (Schubert) 1819

• Raindrop Prelude Op. 28, No. 15 (Chopin) 1838• Kinderszenen (Schumann) 1838• Carnival of the Animals (Saint-Saëns) 1886

• The Lark Ascending (Vaughan Williams) 1914• Jocul cu Bata from Romanian Folk Dances (Bartók)

1917• Fanfare for the Common Man (Copland) 1942• Sally Gardens (arranged by Britten) 1942• The Young Person’s Guide to the Orchestra

(Britten) 1945• Stripsody (Cathy Berberian) 1966• Homeless [Ladysmith Black Mambazo] 1986• Bali Moods and others (Anne Boyd) 1987• Chan Chan (Buena Vista Social Club) 1997

40 Contemporary • Hedwig’s Theme from Harry Potter and thePhilosopher’s Stone (John Williams) 2001

• Flowers we Are, Mere Flowers (Kurtág) 2010

RHYTHM

Pulse & Metre • Feeling and marking simple triple with a quaver beat• Feeling and marking simple duple with a minim beat• Conducting in 4

1





Triplets | Duplets

Dots | Ties

Time Signatures

• Syncopa (quaver | crotchet | quaver)

• Dotted crotchet and quaver

• 2/2• 3/8

2

3

4

5

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1 2 1 2 3 1 2 3 1 2


MELODY STRUCTURE


Devices

Structural

Pitch


Intervals

Tonality

• Singing melodies in sol-fa using the [la] hexachord• Internalising major pentachordal phrases moving in

2nds and 3rds using sol-fa• Singing and hearing major/minor/perfect intervals up to

and including 6ths using sol-fa• Singing note patterns using [do] and [la] pentachord and

moving in 2nds and 3rds from relative staff in sol-fa• Singing short [do] pentachordal phrases using

2nds | 3rds from rhythm sol-fa• Singing short [la] pentachordal phrases using

2nds | 3rds from rhythm sol-fa• Singing known songs whilst tapping an ostinato rhythm

• Recognising and labelling longer phrases as sameor different

• Riffs

• Binary form• Ternary form

• Consolidation and increased fluency in reading knownpitches

• Count the beat and tap 8 bar rhythms in 2/2 usingsemibreves and syncopa plus previous note values. 12bar rhythms in 3/8

• 10 notes on the grand staff starting on tonic notes of C |G | F major and Am | Dm using given starting finger.Intervals no larger than a 5th

• 8 bar melodies on the grand staff shared between thehands. Starting on tonic notes of C | G | F major and Am| Dm. Using the given starting finger and moving withina 5 finger position using intervals up to and including a5th. 2/4 | 3/4 | 4/4

• 6ths | 7ths | 8ths (octaves)• Major and minor 3rds

• C | G | F major | Am | Dm• Tonic and dominant in known keys

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TECHNIQUE


Fingering & Hand Position

Velocity


• Balanced body and flexible forearm• Building self-awareness of no ‘body tension’

• Using an extended hand position including extendingbetween the fingers

• Fingering patterns for major and minor scales forthe level

• Moderately rapid and free movement across the piano• Passing the thumb under with economy and freedom of

movement• Playing known scales legato, non-legato, staccato at a

variety of metronome marks (to be set by teacher)

• Holding a steady beat whilst maintaining correct rhythmpatterns

• Playing hands together with some independence ofarticulation, legato, non-legato, staccato in scales,exercises and pieces

TECHNICAL SKILLS


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TECHNIQUE

KEYBOARD GEOGRAPHY



Articulation

Scales


Other scales

• Shaping melodic phrases

• Finding patterns of notes within the pentachords ofC | G | F | Am | Dm without reference to the keyboard

• Using different articulation between the hands• Tenuto _• sf

• Major and natural and/or harmonic/melodic minorscales | hands separately | 2 octaves | C | G | F | Am |Dm at a variety of metronome marks

• C major scale | 1 octave | hands together in similarmotionC major scale | 1 octave | hands together in contrarymotion

• Arpeggios | hands separately | 1 octave |C | G | F | Am | Dm

• Mini-chromatic scale | RH only | C-E | F-B

EXPRESSIVE

Terms and Signs

Phrases


Pedal

Ornaments

Textures

Timbres

• Consolidation of previous terms and signs withincreased independence of use

• Developing an awareness of phrase shapes

• March | Minuet | ritardando• Metronome marks

• Direct pedalling• Predictable legato pedalling

• Conversations between hands (basic imitation)

• Exploring the sounds of different keyboard instruments

25

HARMONY

Triads




• Primary triads of C | G | F | Am | Dm

• Tonic | dominant | sub-dominant• I - IV - V7 in C | G | F | Am | Dm

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STYLISTIC AWARENESS

Baroque & Before

Classical

Romantic

20th Century

Contemporary

• Minuet

• Variety of dances

• Ragtime• Lullaby

• Variety of character pieces including music byBartok, Kabalevsky etc.

• Variety of popular styles

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STYLE & PERFORMANCE


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Baroque & Before

Classical

Romantic

20th Century

• Gigue from Suite in A minor (Elisabeth Jacquet de LaGuerre) 1687

• Prelude in C major No 1 from the 48 (JS Bach) 1722• Minuet in G major [Christian Petzold] 1725

• Rondo alla Turca (Mozart) 1783• 1st movement from Piano Sonata No. 14 ‘Moonlight’

(Beethoven) 1802

• Piano Trio in G (Clara Schumann) 1846• Farandole from L’Arlesienne Suite No. 2 (Bizet) 1872• Maple Leaf Rag (Joplin) 1899

• Do-Re-Mi from The Sound of Music (Hammerstein) 1965• Hushabye Mountain from Chitty Chitty Bang Bang

(Sherman) 1968• Drumming (Steve Reich) 1971• We Will Rock You (Queen) 1977• Music from Star Wars (John Williams) 1980• Theme from Mission Impossible (Lalo Schifrin) 1996

40 Contemporary • 2nd movement from Piano Sonata No. 2 (Dorman) 2000• Theme from Amélie (Yann Tiersen) 2001• Electric Counterpoint (Steve Reich) 2006• The Snow Prelude No. 3 (Ludovico Einaudi) 2012

RHYTHM

Pulse & Metre • Feeling a swung beat• Feeling and aurally recognising compound duple time

1





Triplets | Duplets

Dots | Ties

Time Signatures

• Semiquavers• Semiquaver and quaver patterns

• Dotted crotchets | quaver patterns |crotchet and quaver patterns

• Dotted crotchet rests

• Triplets in simple time

• 6/8

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1 2 1 2 3 1 2 3 1 2


MELODY STRUCTURE


Devices

Structural

Pitch

• Consolidating melodies in sol-fa using [do] and [la]hexachord

• Consolidating major/minor/perfect intervals up to andincluding 6ths using sol-fa

• Singing note patterns using [do] and [la] pentachord andmoving in 2nds | 3rds | 4ths | 5ths from relative staff in sol-fa

• Sight singing [do] and [la] pentachordal phrases moving in2nds | 3rds | 5ths using sol-fa

• Internalising [la] pentachordal phrases moving in 2nds and3rds using sol-fa

• Singing known songs whilst tapping the rhythm in canon

• Repetition

• 12 bar blues

• Consolidation and increased fluency in reading knownpitches

• 2 ledger lines above and below the stave

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Reading (independent) • Consolidation of previous rhythm work - count the beatand tap 8 bar rhythms in known time signatures (notincluding compound time)

• Reading with increased fluency - 12 notes on the grandstaff in tonic keys of C | G | F major and Am | Dmincluding harmonic intervals no larger than a 5th

• 8 bar melodies with simple accompaniments on thegrand staff starting on tonic notes of C | G | F majorand Am | Dm. Using given starting finger and movingwithin a 5 finger position including intervals up to andincluding a 5th. 2/4 | 3/4 | 4/4

• Showing the ability to identify in a score any markedchanges of hand position and where the hand movesbeyond 5 finger position

9

Intervals

Tonality

• Consolidation and increased fluency in recognisingknown intervals

• Consolidation and increased fluency in recognisingknown key signatures

• D | A | E major, E | G minor key signatures• Tonic, dominant and sub-dominant in known keys

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TECHNIQUE

Posture | Body Awareness • A balanced and comfortable sitting position thatensures flexibility when playing hands together

• Continuing to build self-awareness of ‘no-body’ tension

TECHNICAL SKILLS


16 Fingering & Hand Position • Increasing expansion and contraction of hand positionswithin an octave

• Self-awareness and consistency in using appropriatefingering patterns in scales and pieces

• Fluent and comfortable connection of different handpositions within 2 octaves in both hands

17 Velocity • Increasingly rapid, free and confident movement acrossthe keyboard

• Playing known scales legato, non-legato and staccatoat a range of metronome marks (to be specified),[p] and [f]

• Connecting different hand positions by passing thethumb

18 Co-ordination & Independence

• Holding a steady beat whilst maintaining more complexrhythm patterns including semiquavers and compoundrhythms

• Playing hands together with increased independenceof articulation within an octave, legato, non-legato,staccato

• Playing major and minor chords for known keys in rootposition and inversions, hands separately and together

19

TECHNIQUE


• Playing with a clear, focussed sound using a largerrange of dynamics

• More independent shaping of melodies• Tonal balance between hands

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KEYBOARD GEOGRAPHY


Articulation

Scales


Other scales

• Finding, naming and playing from the grand stave individual notes in the keys of C | G | F with specified fingers within a given time limit

• Playing triads and naming notes from C4-C5(triad vocabulary)

• Consolidation and increased precision in the use ofknown articulation

• Major scales | C | G | D | A | E hands together|2 octaves | at a variety of metronome marks

• Minor scales (own choice) | C | G | D | A | Ehands together |2 octaves | at a variety ofmetronome marks

• Major scale F major hands together |2 octaves at a variety of metronome marks

• Major scale B major hands separately |2 octaves a variety of metronome marks

• Major and minor arpeggios C | G | D | A | E | F

• Chromatic scale RH only | starting on C and other notes• Chromatic scale in contrary motion | starting on D• Chromatic scale LH only | starting on C and other notes

EXPRESSIVE

Terms and Signs • Fortissimo [ff]• Pianissimo [pp]• Molto

25

Phrases


Pedal

Ornaments

• Increasing awareness of phrase shapes

• Lento | Cantabile | accelerando | a tempo

• Predictable legato pedalling

• Acciaccatura• Appoggiatura

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Textures • Alberti bass accompaniment• Broken triad accompaniment• Stride bass

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Timbres

HARMONY

Triads • Triad vocab in root position (see Keyboard Orientation)• Primary triads in C | G | D | F | Am | Dm

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• Sub-dominant• I, IV, V7 in C | G | F | Am | Dm (easy position)

• Finished | unfinished

• Harmonising melodies in C | G | F major using I | IV | V7• 12 bar blues

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STYLISTIC AWARENESS

Baroque & Before

Classical

Romantic

20th Century

Contemporary

• Gavotte

• Ecossaise• Sonatina

• Arabesque• Waltz

• The Blues

• Variety of popular styles

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STYLE & PERFORMANCE


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Baroque & Before

Classical

Romantic

20th Century

• Sumer is Icumen in [anon] 1250• Prelude in C major, No 1 from the 48 (JS Bach) 1722• Arrival of the Queen of Sheba (Handel) 1749

• Ah! Vous dirais-je, Maman (Mozart) 1785• Für Elise (Beethoven) 1810• Overture from William Tell (Rossini) 1824

• Kinderszenen (Schumann) 1838• Ride of the Valkyries (Wagner) 1856• Clair de Lune (Debussy) 1890• Flight of the Bumblebee (Rimsky-Korsakov) 1899• Hiawatha Overture (Coleridge-Taylor) 1899

• Finale from The Firebird Suite (Stravinsky) 1910• Mars from The Planets (Holst) 1914• 2nd movement from Symphony No.10

(Shostakovich) 1953• Take Five (Dave Brubeck) 1959• The Pink Panther (Henry Mancini) 1963• Close Every Door from Joseph and the Amazing

Technicolor Dreamcoat (Andrew Lloyd Webber) 1974• Short Ride in a Fast Machine (John Adams) 1986• Wonderwall (Oasis) 1995

40 Contemporary • 2nd movement from Piano Sonata No. 2 (Dorman)• Eliza’s Aria from Wild Swans (Elena Kats-Chernin) 2003

RHYTHM

Pulse & Metre • Using metrical counting in known time signatures• Feeling and marking (e.g. conducting) compound triple

with dotted crotchet beat• Feeling and marking compound quadruple with

dotted crotchet beat

1

4 0 4 1I N T E R M E D I A T E | L E V E L 1 T H E P I A N O F R A M E W O R K ©




Triplets | Duplets

Dots | Ties

Time Signatures

• Dotted quaver and semiquaver patterns

• Dotted quavers

• 9/8

2

3

4

5

6


1 2 1 2 3 1 2 3 1 2

IntermediateL E V E L 1

MELODY STRUCTURE


Devices

Structural

• Singing melodies in sol-fa using the major and naturalminor diatonic scale

• Consolidating major/minor/perfect intervals up to andincluding 6ths using sol-fa

• Singing note patterns using major and natural minorscale and moving in 2nd | 3rd | 4th | 5ths from relativestave in sol-fa

• Sight singing from rhythm sol-fa short major, andnatural minor diatonic melodies in simple time movingin intervals up to and including a 5th

• Sing and sign with self a simple, short canon• Singing known songs and whilst tapping an ostinato

rhythm in 6/8• Singing known songs whilst tapping an independent

rhythm line• Singing and recognising notes with tonic/dominant

functions in major and minor tonalities

• Understanding balanced and symmetrical phrasesand the cadences

• Imitation

• Rondo• 32 bar song• Repetition | imitation• Independent analysis of key, cadences and phrase

structure in short pieces

7 12

13

14

Pitch • 3 ledger lines above and below the grand stave8

Reading (independent) • Showing the ability to visually identify in the score amarked change of hand position and where the handmoves beyond 5 finger position

• Counting the beat and tapping simple two-part rhythmswhere one hand taps one or two notes per bar in knownrhythms and time signatures (including 6/8)

• Reading intervals and primary chords inC | G | D | F | Am | Dm on the grand stave handsseparately

• Playing 8-12 bar melodies and accompaniment in thekeys of C | G | D | F major and Am | Em | Dm | GmStarting on given fingering and with one staggeredchange of hand position for both hands2/4 | 3/4 | 4/4 | 6/8

9

Intervals

Tonality

• All major, minor and perfect intervals within an octave

• B | Bb | Eb major, C | B minor key signature• Tonic, sub-dominant and dominant in known keys

10

11


15

TECHNIQUE

Posture | Body Awareness • Balanced and comfortable sitting position that ensuresflexibility when playing hands separately and together

• Increased confidence in rapid and free movementacross the keyboard

• Understanding the concept of the use of arm and bodyweight and impact on the sound

TECHNICAL SKILLS

16 Fingering & Hand Position • Playing comfortably in a number of different handpositions including passing the thumb with ease andfluency

• Self-awareness and consistency in using appropriatefingering patterns in scales and pieces [gp 1 and 2]

• Occasional use of finger substitution• Extended hand positions | no larger than 1 octave• Connecting different hand positions by passing the

thumb & using appropriate fingering for scales,arpeggios and chords at this level

17 Velocity • Further development of speed in scales, arpeggiosand exercises

• Introducing the concept of finger independence• Building awareness of using different hand/arm

movements and gestures depending on speed involved


STYLISTIC AWARENESS

Baroque & Before

Classical

Romantic

20th Century

Contemporary

• Gigue• Allemande

• Scherzo

• Rondo

• Jazz

• Rock & Rock Ballad

36

37

38

39

40

STYLE & PERFORMANCE

RHYTHM

Pulse & Metre • Feeling and recognising compound triple andquadruple time with dotted minim, dotted crotchetand dotted quaver beat

1





Triplets | Duplets

Dots | Ties

Time Signatures

• Demisemiquavers• Breves

• Dotted minim beat• Dotted quaver beat

• Other triplets

• Dotted semiquavers

• 6/4• 9/4• 12/4

2

3

4

5

6


1 2 1 2 3 1 2 3 1 2


MELODY STRUCTURE


Devices

Structural

• Singing melodies in sol-fa using the minor scale and[fi] and [si]

• Singing major/minor/perfect intervals up to andincluding 6ths using sol-fa

• Sight singing from rhythm sol-fa short majordiatonic melodies in compound time moving in intervalsup to and including a 5th

• Sight singing from rhythm sol-fa short melodic minormelodies in simple time moving in intervals up to andincluding a 5th

• Independent analysis and identification of balanced andsymmetrical phrases

• Motifs

• Minuet & Trio• Identifying main modulations to the dominant• Independent analysis of motifs, key, cadences and

phrase structure in short pieces

7 12

13

14

Pitch • Double sharps | double flats• All notes, including ledger lines, on the grand stave• Graphic notation• C clef [alto]

8

Reading (independent) • Showing the ability to visually identify in the scoreunmarked changes of hand position and where thehand extends beyond 5 finger position

• Counting the beat and tapping two-part rhythms withmore complexity of movement between the hands

• Reading random intervals and primary and secondarychords in keys up to 2 sharps and flats on the grandstave hands separately within a set time limit

• Playing 12-16 bar melodies and accompaniment witha sense of the indicated musical style in keys up to 2flats and sharps. Only essential fingering is indicatedand there several changes of hand position includingsimultaneous moves with both hands. Time signaturesextend to 2/2, 3/8

9

Intervals

Tonality

• Augmented and diminished

• Ab | Db major, F | Bb | F# | C# | minor• All technical names in known keys

10

11


15

TECHNIQUE

Posture | Body Awareness • Economy of movement when tackling fast passages,scales, arpeggios, chords

• Ease of connecting different hand positions in the widerrange of the keyboard

• Understanding the concept of the use of arm and bodyweight and impact on the sound

TECHNICAL SKILLS

16 Fingering & Hand Position • Self-awareness and consistency in using appropriatefingering patterns in scales and pieces [gp 1, 2 and 3]

• Connecting different hand positions by passing thethumb with greater fluency

• Confidently connecting different hand positions in thewider range of the keyboard

• Use of consistent fingering in tricky passages• Reliable use of finger substitution

17 Velocity • Further development of speed in scales, arpeggios andexercises

• Introducing exercise/studies for playing 3rds to increasefinger independence

• Using exercises/studies for finger substitution• Building awareness of using different hand arm

movements and gestures depending on speed involved

HARMONY

Triads • Triad vocab with 2nd inversions• Secondary triads

32




• Dominant 7ths• Chord ii, vii• Reliable use of technical names in known keys

• Modulation to the dominant

• Circle of 5ths - major keys• I vi IV V• 6/4 - 5/3 progression• Ic-V-I• Tierce de Picardie

33

34

35

STYLISTIC AWARENESS

Baroque & Before

Classical

• Prelude• Sarabande• Courante

• Minuet & Trio

36

37

Romantic • Cakewalk• Romanza

38

20th Century • Neo-classical• Latin American

39

Contemporary • Minimalist• Popular

40

STYLE & PERFORMANCE


RHYTHM

Pulse & Metre • Feeling and counting irregular time signatures(e.g. 5/8)

1





Triplets | Duplets

Dots | Ties

Time Signatures

• Consolidation of all note values up to and includingdemisemiquavers


• Duplets in compound time

• Irregular time signatures• 6/16

2

3

4

5

6


1 2 1 2 3 1 2 3 1 2


MELODY STRUCTURE


Devices

• Singing melodies in sol-fa using the major or naturalmelodic minor scale

• Sight singing from rhythm sol-fa major/minor melodiesin simple or compound time moving in intervals up toand including a 6th

• Singing note patterns from major and melodic minorscale and moving in 2 | 3 | 4th | 5 | 6ths from fixed stavein sol-fa [ C | D | F | G maj/min]

• Consolidating major/minor/perfect intervals up toand including 6ths using sol-fa

• Consolidating singing and recognising bass notes withina 2 part texture with tonic/dominant/sub-dominantfunctions in major and minor tonalities

• Singing and playing with self a simple, short canon

• Periodic phrases• Irregular phrases

• Sequences• Pedal points• Melodic decoration

7 12

13

Pitch • Enharmonic equivalents• C clef (tenor)

8

Reading (independent) • Showing the ability to visually identify significant,unmarked changes of hand position and suitablefingering use

• Counting the beat and tapping two-part rhythms, insimple, compound and irregular time signatures, withincreased complexity of movement between the hands

• Reading all known chords hands together in keys up to3 sharps and flats within a set time limit

• Playing 12-16 bar melodies and accompaniment with asense of the indicated musical style, includingpedalling, in keys up to 3 flats and sharpsOnly essential fingering is indicated and there severalchanges of hand position including simultaneous moveswith both hands. Time signatures extend to 2/2, 3/8

9

Intervals

Tonality

• All intervals including compound

• F# | Gb major, G# | D# | Eb minor• All technical names in known keys• Chromatic alterations

10

11


Structural • Sonata form• Rounded binary• Independent analysis of pieces including form and

modulation• Identifying significant modulations to the dominant,

subdominant, relative major and minor

14

15

TECHNIQUE

Posture | Body Awareness • Free and rapid movements across the whole keyboardmade with increasing reliability and accuracy

• Showing some self-awareness of the whole body as abalanced playing mechanism

• Further work of the use of arm and body weightaccording to stylistic demands and impact on the sound

• Understanding about body language in performance

TECHNICAL SKILLS

16 Fingering & Hand Position • Moving between hand positions with greater fluency andconfidence at different tempi

• Use of appropriate fingerings for scales, arpeggios andchords

17 Velocity • Further development of speed in scales, arpeggios andexercises

• Playing exercises and studies for 3rds with increasedspeed

• Playing exercises and studies for finger substitutionwith increased speed

• Introducing slow octave playing technique -only if hand size or shape allows


• Developing rhythms between the hands includingduplets against triplets

• Increased independence of articulations betweenhands, arms, fingers and within one hand

• Playing a range of chords hands separately andtogether controlling movement between them

19

TECHNIQUE


• Balancing sound production when using thesustaining pedal

• Consolidating all previous techniques: playing with aclear and focussed sound, a wide and sensitive use ofdynamics throughout the keyboard, voicing the top noteof a chord

24

20

21

22

23

KEYBOARD GEOGRAPHY


Articulation

Scales


Other scales

• Building speed and accuracy in hand leaps beyond anoctave with appropriate visual references

• Increased confidence when using different articulationbetween the hands and within one hand

• Reliability and increased tempo for all Group 2 andGroup 3 scales | 4 octaves

• Contrary motion scales | C | G | D | A | E | B majorand minor | 2 octaves

• Playing scales with a variety of articulation

• Consolidation and increased tempo for C | G | D | A | E |B | F maj/min arpeggios hands separately and together| 4 octaves

• Arpeggios | hands separately & together |2 octaves F# | Ab | Db [gp 2] Bbm [gp3b] F#m | C#m |G#m [gp2] | Ebm [gp 1d]

• Dominant 7ths | hands together | 2 octaves |up to 3 sharps and flats in major and minor keys |ending on the tonic

• C major hands separately in 3rds one octave• Chromatic scales | Octaves• Depending on hand size or shape slow C major in

octaves hands separately 1 octave• Diminished 7ths | hands separately | 1 octave |

starting on B | C | Bb

EXPRESSIVE

Terms and Signs • Smorzando | rinforzando | attacca | segue25

Phrases


Pedal

Ornaments

• Increasing independence in using and shaping therhythmic and harmonic drive within and betweeneach phrase

• Building and releasing musical tension phraseby phrase

• Schnell | Doppio movimento | Langsam | Con brio |Gigue | misterioso | piacevole | teneramente | rubato

• Independent use of legato pedalling beyond what iswritten on the score

• Longer trills• Some use of compound intervals

(e.g. trill followed by a turn)

26

27

28

29

Textures • Jazz swing accompaniment30

Timbres • Increasing awareness of how own touch and use of imagination and ear alters tonal colours and contrasts at piano

31




HARMONY

Triads • Triad vocab with 7ths• Diminished 7ths

32




• Diminished 7ths

• Modulation to dominant, subdominant,relative major and minor

• Circle of 5ths - all major and minor keys• I vi ii V7• IV-V-I• iib-V-I

33

34

35

STYLISTIC AWARENESS

Baroque & Before

Classical

• Counterpoint(e.g. Two part invention)

• Sonata• Theme & Variations• Fantasia

36

37

Romantic • Mazurka• Romantic Miniatures

38

20th Century • Nationalism• Boogie-woogie

39

Contemporary • Jazz• Popular• Rock

40

STYLE & PERFORMANCE

RHYTHM

• Crucis | Metacrusis | Anacrusis1 Pulse & Metre

6 4 6 5A D V A N C E D T H E P I A N O F R A M E W O R K ©




Triplets | Duplets

Dots | Ties

Time Signatures

All note values up to and including• Hemidemisemiquavers• Polyrhythms• More complex and varied patterns• Swung rhythms


• Duplets against Triplets | Triplets against quadruplets

• Double dotted notes

• Irregular time signatures (eg. 2 + 2 + 3)• 5/4 7/4• Changing time signatures

2

3

4

5

6


1 2 1 2 3 1 2 3 1 2

AdvancedL E V E L S 1 & 2

Advanced Levels 1 & 2 are still presented together (same as 2017 edition).

MELODY

Pitch • Alternative, non standard notation8

Intervals

Tonality

• All intervals including compound intervals

All major and minor key signatures including• Enharmonics• Circle of 5ths• Modal scales• Dorian, Mixolydian, Aeolian [1]• Dorian, Lydian, Phrygian, Mixolydian,

Aeolian, Locrian [2]• Non-tonal scales: pentatonic, octotonic, whole tone

10

11


15

TECHNIQUE

Posture | Body Awareness • Free, confident, healthy and economic movement thatfosters mobility [1]

• Playing with economy of movement in challenging anddemanding passages using movments that are healthyand natural to the body [2]

• Awareness of body language and gesture duringperformance

• Developing awareness of the whole body as the playingmechanism

• Developing stamina• Posture and command of the keyboard• Developing speed and agility through the co-ordinated

blend of activites between fingers, arm and the body

TECHNICAL SKILLS

16 Fingering & Hand Position • Organising fingering to facilitate the desired musicalresult for the individual (not necessarily what is printed)

• Developing brilliance

STRUCTURE

Phrases

Devices

• Subphrases• Periodic phrases

• Ground bass• Pedal points

12

13

Structural • Modulation to the dominant, subdominant and relativemajor | minor

• Sonata form• Rondo• Fugue• Allemande• Courante• Sarabande• Gigue• Other dances• 32 bar popular song

14


• Greater independence of the movement of hands andarms across the full keyboard

• Playing a wide range of chords with control at a varietyof tempo attending to tonal quality

• Independent use of fingers and articulation betweenhands and within one hand

• Increasingly complex rhythms (including cross rhythms)between the hands and within one hand

19 Tone Quality | Sound Production

• Developing a wider palette of tone colours andcontrasts through an awareness of touch and the useof the imagination and ear

20 Articulation • Finger substitutions• Finger pedaling (over-holding)• Legato (including legatissimo)

non legato (tenuto | portato) | staccato

TECHNIQUE

21

22

23

Scales


Other scales

• The leading arm combined with fl xible wrist and thepassing of the thumb in scales

• All keys - 4 octaves• Staccato | different articulations | different character |

different touches | combined touches between thehands | different dynamic levels including gradations |different tempo

• 3rd | 6th | 10th apart• Starting on different notes e.g. the highest note,

the supertonic, the mediant etc.• Polyrhythmic• Russian form (the grand scale)• Whole tone

• The leading arm combined with the fl xible wrist andthe passing of the thumb in arpeggios

• Root, 1st & 2nd inversion• Dominant 7ths• Diminished 7ths• Russian form (the grand arpeggio)

• Double notes: thirds [1]• Double notes: chromatic minor thirds [2]• Double notes: staccato sixths on white notes [1]• Double notes: octaves [2]

EXPRESSIVE

Terms and Signs25

Phrases


Pedal

Ornaments

• Periodic phrases• Melismatic subphrases

• Rubato• Ritardando | Rallentando | Ritenuto

• Sustaining• Una corda• Sostenuto• Pedalling for colour• Refining pedalling - fractional | flutter (2)• Pedalling for stylistic interpretation [2]

• Trills• Turns• Mordents• Glissandi• Grace notes• Fioritura• Acciaccatura• Appoggiatura• Compound ornaments

26

27

28

29

Textures • Counterpoint• Melody and accompaniment• Homophonic• Monophonic• Chordal

30

Timbres • Developing a wider palette of tone colours and contraststhrough an awareness of touch and the use of theimagination and ear

31



24

KEYBOARD GEOGRAPHY



HARMONY

Triads • All triads in root | 1st | 2nd inversion32

Chords & Technical Names • Voicing & balancing• Large chords• Secondary dominant• Chromatic chords: neopolitan 6th• Chromatic chords: augmented 6th• Added note chords: 9th | 11th |13th• Diminished and augmented chords

33



• Modulation to dominant, subdominant,relative major and minor

• Ic V I• IIb V I• IV V I• I VI IV V

34

35

STYLISTIC AWARENESS

Baroque & Before

Classical

Style• Prelude & Fugue• The Suite and Dance Movments• The Baroque Sonata• Toccata• Variation Form• The Baroque Concerto

Performance Practice• Interpretating dotted rhythms

(including notes inégales when apprpriate)• Phrasing and articulation in Baroque music• Pedalling Baroque music• Finger pedalling• Ornamentation in Baroque music• Interpretation in Baroque music (using dynamics)• Discovering the tempo

Style• The Sonata & Sonata form• Variation form• Rondo• Concerto• Dance Movements

Performance Practice• Motivic developement• Phrasing and articulation in Classical music• Intrepretation in Classical music• Pedalling in Classical music• Ornamentation in Classical• Agogic accents• Dynamic accents• Sforzando• Understanding bass lines

36

37

STYLE & PERFORMANCE

STYLISTIC AWARENESS STYLISTIC AWARENESS

Romantic Romantic

20th Century

Interpretation

Style• Nocturne• Ballade• Songs without words• Polonaise• Romantic Sonata• Variation form• Dance music (waltz, mazurka, polkas etc.)• Character pieces• Concerto• Albums

Performance Practice• Articulation in Romantic music• Pedalling in Romantic music• Ornamentation in Romantic music• Layering of sound• Cantabile (finding meaning between the

notes)• Phrasing and articulation in Romantic music

(the long line)• Finding the voices• Discovering the tempo• Freedom in interpretation• Expanding the dynamic and colour spectrum• Fioritura• Bravura style and virtuosity• Performances from memory

Style• Chance• Choice• Aleatoric• Jazz and popular styles• Folk music and nationalism

(Chinese, South American etc)

Style• Impressionism & symbolism• Neo-classical• Minimalism• Jazz, popular, rock• Serialism and expressionism• Folk music and nationalism• Dance music (tango, cakewalk, ragtime)

Performance Practice• Touch, articulation, pedalling in Impressionistic music• Expanding the dynamic and colour spectrum• Using the sostenuto pedal• Interpreting rhythm in jazz• Non-conventional notation• Non-conventional uses of the piano

Style• Comparing editions

Performance Practice• Urtext• C19th/20th performance editions• Contemporary curated editions

38 40

39

14


Appendix

The Piano Framework© is designed to help piano teachers, parents and students break free from the straight-jacket approach of the graded examination system. Consequently, the boundaries between each of The Piano Framework© levels are somewhat indistinct.

However, for those who are interested, the skills and concepts required for each level broadly fit the graded exam system as suggested below.

DIATONIC

This is thought to have Greek origins. Dia means through whilst tonos refers to tone. Dia also means 2 and of course in a diatonic scale there are 2 types of tones: tones and semitones. A seven note scale is said to be diatonic when its octave span is filled by five tones and two semitones with the semitones maximally separated. Major and natural minor fit this.

T T S T T T S major

T S T T S T T minor natural

LISTENING REPERTOIRE

The Listening repertoire lists for Beginners and Elementary are a brand new feature of The Piano Framework©. Teachers can choose appropriate listening repertoire from the list to supplement and support musical concepts (e.g. faster/slower) and stylistic awareness. The pieces given are suggestions only. The list was compiled with the help of the repertoire lists in the UK Model Music Curriculum.

PENTACHORD

Another word with Greek origins. Penta means 5 and chord refers to a lyre string. So a pentachord is a string of five notes. More specifically a pentachord is a ‘conjunct diatonic collection’ of notes (Grove Online). In other words a string of 5 notes from a diatonic scale. It will have three tones and one semitone.

PENTASCALE

The word pentascale appears to have come into use quite recently with its origins probably from the US. Pentascales are often referred to as major or minor and when that happens they are identical with the equivalent pentachords. Sometimes however, the term is used to simply a five note finger pattern of adjacent notes, e.g. EFGAB.

READING (INDEPENDENT)

This new sub-category focuses on the independent reading skills of students. It has several threads that develop through each level:

• Counting and tapping a rhythm pattern. This develops into 2 part rhythm work in theIntermediate Levels

• Reading individual notes with fingering on the grand stave (Elementary levels)

• Reading intervals and chords with accurate fingering (Intermediate levels)

• Visual identification of position changes and other significant features(Intermediate levels)

• Playing from sight short melodies

As a new sub-category any feedback and/or suggestions are welcome.

In particular, it is worth noting that it can help to think about the overlap between each category as a bridge from one level to the next, as illustrated in the diagram below.

ExplanationsARPEGGIOS

These have been organised according to the different fingering patterns.

7 4 7 5A P P E N D I X T H E P I A N O F R A M E W O R K ©

• Beginners 1

• Beginners 2

• Elementary 1 | Initial

• Elementary 2 | Grade 1

• Elementary 3 | Grade 2

• Intermediate 1 | Grades 3-4



• Advanced 1 & 2 | Grades 7-8


1 2 1 2 3 1 2 3 1 2E L E M E N T A R Y

B R I D G EI N T E R M E D I A T E

B R I D G EA D V A N C E D

B R I D G E

Group 1a

Group 1c

Group 1e

Group 3a

Group 1b

Group 1d

Group 2

Group 3b

RH 123 LH 542

RH 123 LH 542

RH 123 LH 542

RH 2124 LH 321

RH 123 LH 542

RH 123 LH 542

RH 2124 LH 2142

RH 2124 LH 321

C | G | F | Am | Dm | Em

F# | Ebm

Bm

Bb major

D | E | A | Cm | Fm | Gm

B

Db | Eb | Ab | C#m | F#m | G#m

Bbm

SCALES

The sequence of scales and keys through the different levels follows the three fingering patterns as given below.

SINGING AND INNER HEARING

These two skills are intrinsically bound up with any musical development. The progression that is followed is based on the principles of Kodály. This is an overview progression only, de-signed to fit in with piano studies. For a fully comprehensive approach please checkout what is on offer from the British Kodály Academy, the Phoenix Collective, the Voices Foundation or the National Youth Choir of Scotland.

SOL-FASol-fa is the collective term for do | re | mi | fa | so | la | ti. A song or melody that is sung in sol-fa will use these singing names as appropriate. It allows students to build up a sense of the relationship between one pitch and another.

RHYTHM SOL-FA

Rhythm sol-fa involves sight-singing from written notation. It consists of a rhythm and under which are written sol-fa syllables.

STYLISTIC AWARENESS

A range of different styles have been suggested in the Elementary and Intermediate levels. For the most part these are not in any prescribed order and it is up to the judgment of each teacher to use as and when necessary. By the end of Intermediate 3 repertoire covering most of these styles should have been learnt.

TRIAD VOCABULARY

This phrase is ‘borrowed’ from Andrew Higgins and features in his book ‘So you want to be able to improvise’. In a C major scale it involves saying and playing the triad that is formed on each note: [CEGEC C] [DFAFD D] [EGBGE E] etc.

Knowing the triad vocabulary from memory will be an invaluable skill for students as they advance.

VELOCITY

Another new sub-category that is concerned with the healthy development of flexible, reliable and rapid playing across the keyboard.

7 6 7 7A P P E N D I X T H E P I A N O F R A M E W O R K ©

Group 1 Scales

Group 3 Scales

Group 2 Scales

C | G | D | A | E major and minor

RH [4] on 7th degree

LH [4] on 2nd degree

B | Db | F# | Bm RH [4] on Bb/A# LH [4] on F#/Gb

F#m RH [4] on C# LH [4] on degree

C#m RH [4] on D# LH [4] on degree

F | Bb | Eb | Ab | Bbm | Ebm | G#m

RH [4] on Bb/A# LH [4] on 4th degree

Fm RH [4] on Bb LH [4] on G

2021 edition

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