Weekly Practice Plans — 25 Weeks of Intermediate Piano Practice

How to Use This Guide

Each weekly plan corresponds to one session. After completing Session N, follow Week N’s plan for the six days before your next session. Every plan is built around 45-60 minutes of daily practice divided into five segments, matching the structure in Intermediate Practice Framework.

The five segments:

Segment	Duration	Purpose
Warm-Up	10 min	Scales, finger wake-up, mental preparation
Technique	10 min	Drills for this week’s technical focus
New Material	15 min	Session concepts, theory review, new skills
Repertoire / Genre	15 min	Pieces from this session and repertoire maintenance
Creative / Ear Training	10 min	Improvisation, ear training, playing by ear

If you only have 45 minutes: Reduce Technique to 7 min, New Material to 12 min, Repertoire to 12 min. Never cut Warm-Up or Creative.

Sunday is a rest day or light review day. Ear training only — no heavy technical practice. Your fingers and brain need recovery.

Phase 1: Foundation Expansion (Weeks 1-5)

Week 1 — After Session 1: Welcome Back & Assessment

Phase: 1 | This Week’s Focus: Rebuild beginner foundations and establish the intermediate warm-up routine

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	5-part intermediate warm-up routine (Session 1)	C major scale, 1 oct, HT at 60 BPM — 4 times	Learn the 75-min session format; write 3 goals	Replay beginner recital piece 1 with dynamics	Play 5 intervals from C, name each
Tue	Same warm-up	G major scale, 1 oct, HT at 60 BPM — 4 times	Review Session 1 self-assessment notes	Replay beginner recital piece 2 with dynamics	Same ear training; try from G
Wed	Same warm-up	C scale push to 65 BPM; G scale at 60 BPM	Review 6 triads in root position + C, Am inversions	Pick harder beginner piece, focus on melody voicing	Play major 3rd, perfect 5th, octave — identify blind
Thu	Same warm-up	Alternate C and G scales back-to-back	I-IV-V-I in C, both hands, 3 times	Run through both recital pieces start to finish	Interval ear training: all 5 intervals
Fri	Same warm-up	C scale push to 70 BPM; G scale at 65 BPM	Review all chord shapes: C, F, G, Am, Dm, Em	Repertoire run-through with pedal awareness	Play a melody from memory by ear (any simple tune)
Sat	Full warm-up + extra chord review	C and G scales, fastest clean tempo	Review Session 1 self-check questions	Full run-through of both pieces, performance mode	Free play — improvise anything for 10 min
Sun	Rest or light review — ear training only

Milestone Check

By the end of this week, you should be able to:

Perform the 5-part intermediate warm-up from memory
Play C and G major scales, 1 octave, HT, at 60-70 BPM with smooth thumb-under
Play all 6 beginner triads plus C and Am 1st inversions without hesitation

References

Session plan: Session 01
Practice framework: Intermediate Practice Framework
Technique guide: Intermediate Daily Warmup

Week 2 — After Session 2: Expanding Major Scales

Phase: 1 | This Week’s Focus: D, A, E major scales at 2 octaves HT; speed building on C and G

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	Warm-up routine; C major 2 oct at 60 BPM	D major scale, 2 oct, HT at 50 BPM — focus on F# and C#	Sharp key theory: order of sharps (FCGDAEB)	D major scale etude, hands separate	Interval ear training from D
Tue	Warm-up; G major at 66 BPM	A major scale, 2 oct, HT at 40-50 BPM — 3 sharps	Why 2-octave scales? Review theory notes	D major etude, add LH slowly	Play C and G scales with eyes closed — listen
Wed	Warm-up; D major at 50 BPM	E major scale, 2 oct, hands separate first	Contrary motion C major — both thumbs on middle C	D major etude, both hands at slow tempo	Ear training: play D, A, E major scales — hear the differences
Thu	Warm-up; A major at 45 BPM	D major push to 55 BPM; A major push to 50 BPM	Review all sharp key signatures: G, D, A, E	D major etude, push toward 72 BPM	Play a simple melody in D major by ear
Fri	Warm-up; E major at 45 BPM	C and G scales speed building — push to 72-80 BPM	Contrary motion practice — 2 times at 60 BPM	Etude full run-through with dynamics	Interval recognition from C: all 7 intervals
Sat	Full warm-up with all 5 scales	All new scales at best clean tempo	Review Session 2 self-check questions	Performance run of etude; review beginner piece	Free play in D major
Sun	Rest or light review — ear training only

Milestone Check

By the end of this week, you should be able to:

Play D major scale, 2 octaves, HT, at 60 BPM
Play A major scale, 2 octaves, HT, at 50-60 BPM
Play C and G major scales at 72-80 BPM

References

Session plan: Session 02
Technique guide: Advanced Scale Technique
Theory handout: Circle Of Fifths Mastery

Week 3 — After Session 3: Flat-Key Territory

Phase: 1 | This Week’s Focus: Bb, Eb, Ab major scales at 2 octaves HT; enharmonic awareness

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	Warm-up; C major + D major at 60 BPM	Bb major, 2 oct, HT at 40-50 BPM — 2 flats	Flat key theory: order of flats (BEADGCF)	“Clair de Lune” theme — LH broken chords with pedal	Ear: sharp key vs flat key — play D major then Bb major, compare
Tue	Warm-up; A major + Bb major	Eb major, 2 oct, HT at 40-50 BPM — 3 flats	Enharmonic equivalents: C#=Db, D#=Eb, etc.	”Clair de Lune” — add RH melody over LH	Play Bb major scale, sing along
Wed	Warm-up; E major + Eb major	Ab major, 2 oct, hands separate — 4 flats	Review all flat key signatures: F, Bb, Eb, Ab	”Clair de Lune” — both hands, slow, with pedal	Ear: play enharmonic pairs and listen
Thu	Warm-up; Bb at 50 BPM	Bb push to 55 BPM; Eb push to 50 BPM	Contrary motion review + sharp scale speed push	”Clair de Lune” — add expression, target 60 BPM	Interval training from Eb
Fri	Warm-up; Ab major hands together if ready	D, A, E major review — keep sharp keys fresh	Complete key signature quiz — all 9 major keys	”Clair de Lune” full piece with dynamics	Play a simple melody in a flat key by ear
Sat	Full warm-up with 5 scales (mix sharp and flat)	Best clean tempo for each new flat scale	Review Session 3 self-check questions	Performance run of “Clair de Lune”	Free play in Ab major
Sun	Rest or light review — ear training only

Milestone Check

By the end of this week, you should be able to:

Play Bb major, 2 octaves, HT, at 55-60 BPM
Play Eb major, 2 octaves, HT, at 50-60 BPM
Name all 9 major key signatures without hesitation

References

Session plan: Session 03
Technique guide: Advanced Scale Technique
Theory handout: Circle Of Fifths Mastery

Week 4 — After Session 4: Minor Scale Mastery

Phase: 1 | This Week’s Focus: Harmonic minor for A, D, E, G (2 octaves HT); three minor types

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	Warm-up; C major + Eb major	A harmonic minor, 2 oct, HT at 50 BPM — remember G#	Three minor types theory review (natural, harmonic, melodic)	“Moonlight Sonata” theme — RH triplets, slow and even	Ear: play A natural minor then A harmonic minor — hear the G#
Tue	Warm-up; D major + A harmonic minor	D harmonic minor, 2 oct, HT — Bb + C# combination	Compare: A natural, A harmonic, A melodic ascending	”Moonlight Sonata” — LH octave + 5th pattern	Ear: identify natural vs harmonic minor
Wed	Warm-up; Bb major + D harmonic minor	E harmonic minor, 2 oct, HT — remember D#	Raised 7th theory: why harmonic minor exists	”Moonlight Sonata” — both hands at 50 BPM with pedal	Play A melodic minor ascending and descending
Thu	Warm-up; Ab major + E harmonic minor	G harmonic minor, 2 oct, HT — remember F#	Review all 4 harmonic minor scales; compare to their naturals	”Moonlight Sonata” — target 56 BPM, pp dynamics	Ear: play all 4 harmonic minors, name the raised 7th
Fri	Warm-up; rotate 2 major + 2 minor	Push A and D harmonic minor toward 55-60 BPM	A melodic minor: F# and G# ascending, F and G descending	”Moonlight Sonata” full piece with expression	Ear: major vs minor vs harmonic minor identification
Sat	Full warm-up with 3 major + 2 harmonic minor	Best clean tempo for all 4 harmonic minors	Review Session 4 self-check questions; 3 major scale review	Performance run of “Moonlight Sonata” with pedal and dynamics	Free play in A minor — experiment with harmonic minor
Sun	Rest or light review — ear training only

Milestone Check

By the end of this week, you should be able to:

Play A harmonic minor, 2 octaves, HT, at 55-60 BPM
Play D harmonic minor, 2 octaves, HT, at 50-60 BPM
Explain the difference between natural, harmonic, and melodic minor

References

Session plan: Session 04
Theory handout: Minor Scale Types
Technique guide: Advanced Scale Technique

Week 5 — After Session 5: Complete Chord Vocabulary

Phase: 1 | This Week’s Focus: All 24 major/minor triads in 3 inversions; diminished and augmented triads

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	Warm-up; 2 major + 2 harmonic minor scales	Major triads: C through F# — root, 1st inv, 2nd inv	Voice leading theory: smooth chord transitions	Chord medley from Session 5, hands separate	Ear: play random triads, identify major/minor
Tue	Warm-up; same	Major triads: G through B — all inversions	Minor triads: C minor through F# minor — all inversions	Chord medley, add LH	Ear: major, minor, diminished — blind test
Wed	Warm-up; 3 scales	Minor triads: G minor through B minor — all inversions	Diminished: B dim, F# dim; Augmented: C aug, Ab aug	Chord medley, both hands, with voice leading	Ear: augmented vs major vs diminished
Thu	Warm-up; 3 scales	Cycle through all 12 major triads, 3 inversions, chromatically	Build dim and aug on other roots (D dim, E aug, etc.)	Chord medley at 60 BPM with smooth transitions	Play a I-IV-V-I using inversions in C and G
Fri	Warm-up; 3 scales + 1 harmonic minor	Cycle through all 12 minor triads, 3 inversions	Review all 4 triad qualities: major, minor, dim, aug	Full chord medley, performance tempo	Create a 4-chord progression using inversions
Sat	Full warm-up with 4 scales	Speed through all 24 triads	Review Session 5; review “Moonlight Sonata” and “Clair de Lune”	Full run-through of chord medley + review pieces	Free play using chord progressions
Sun	Rest or light review — ear training only

Milestone Check

By the end of this week, you should be able to:

Play all 12 major triads in root, 1st, and 2nd inversion
Play all 12 minor triads in root, 1st, and 2nd inversion
Build diminished and augmented triads from any root

References

Session plan: Session 05
Reference sheet: Complete Chord Reference
Theory handout: Circle Of Fifths Mastery

Phase 2: Harmonic Depth (Weeks 6-10)

Week 6 — After Session 6: Seventh Chords

Phase: 2 | This Week’s Focus: Cmaj7, G7, C7, D7, Am7, Dm7, Em7; V7-I resolution; “Autumn Leaves”

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	Scale rotation: A major, Eb major, A hmn, G hmn	7th chord drill: Cmaj7, G7, Am7, Dm7, Em7 as block chords	7th chord construction formulas — build each from scratch	”Autumn Leaves” measures 1-4, both hands	Ear: Cmaj7 vs C7 vs Cm7 — close eyes, identify
Tue	Same rotation + chord review (triads in 3 inversions)	Shell voicings: LH root + 7th for each 7th chord	V7-I resolution: G7-C, D7-G, C7-F	”Autumn Leaves” measures 5-8	Ear: V7-I resolution — can you hear the tension-release?
Wed	4 scales at 60-72 BPM	7th chord transitions: Cmaj7-Dm7-Em7-Fmaj7-G7-Am7	Practice V7-I in C, G, F, D, and A	”Autumn Leaves” full piece at slow tempo	Ear: play random 7th chords, name the type
Thu	4 scales + quick arpeggio touch	C7, D7 dominant 7ths — focus on these	Secondary dominant concept: D7 in key of C	”Autumn Leaves” push toward 80 BPM	Play ii-V-I in C by ear
Fri	4 scales at best clean tempo	All 7 seventh chords, cycle through, 4 beats each	Review chord construction: maj triad + maj 7th vs maj triad + min 7th	”Autumn Leaves” with expression and pedal	Improvise a melody over Dm7-G7-Cmaj7
Sat	Full warm-up with scales + 7th chords	Shell voicings: LH root-7th, RH triad — practice transitions	Review Session 6 self-check; review all Phase 1 pieces	”Autumn Leaves” performance run	Free play with 7th chord progressions
Sun	Rest or light review — ear training only

Milestone Check

By the end of this week, you should be able to:

Play all 7 seventh chords as block chords without hesitation
Demonstrate V7-I resolution in at least 3 keys
Play “Autumn Leaves” both hands at 72-80 BPM

References

Session plan: Session 06
Theory handout: Seventh Chords
Reference sheet: Complete Chord Reference

Week 7 — After Session 7: Arpeggios

Phase: 2 | This Week’s Focus: Arpeggios for C, G, D, F, Am, Em (1 oct HT); Alberti bass; Chopin Prelude

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	4 scales at 66-72 BPM; 7th chord cycle	C, G arpeggio, 1 oct, HT at 50 BPM — thumb-under focus	Arpeggio vs scale thumb-under: wider stretch, lateral wrist	Chopin “Prelude in E minor” — LH chord pattern only	Ear: identify major vs minor arpeggio patterns
Tue	4 scales; V7-I drill in 3 keys	D, F arpeggio, 1 oct, HT at 50 BPM	Alberti bass pattern: C-G-E-G in LH, 8th notes at 60 BPM	Chopin Prelude — add RH melody	Ear: broken chord patterns — name the chord quality
Wed	4 scales; arpeggio warm-up: C, G	Am, Em arpeggio, 1 oct, HT	Arpeggiated accompaniment: C-E-G-C ascending pattern	Chopin Prelude — both hands at 50 BPM	Play Alberti bass under a simple melody
Thu	4 scales; arpeggios: D, F	Push C and G arpeggios to 60 BPM	Practice Alberti bass in G and F major	Chopin Prelude — push to 55 BPM with pedal	Ear: play arpeggiated chords, identify root
Fri	4 scales; arpeggios: Am, Em	All 6 arpeggios in sequence, smooth transitions	Alberti bass under I-IV-V-I in C	Chopin Prelude — pp dynamics, expression	Create an accompaniment pattern using arpeggios
Sat	Full warm-up with scales + arpeggios + 7th chords	Best clean tempo for all 6 arpeggios	Review Session 7; review “Autumn Leaves”	Chopin Prelude performance run	Free play with arpeggio accompaniment
Sun	Rest or light review — ear training only

Milestone Check

By the end of this week, you should be able to:

Play C, G, D arpeggios, 1 octave, HT, at 55-60 BPM
Play Alberti bass pattern in C, G, and F at 60 BPM
Play Chopin “Prelude in E minor” both hands at 55-60 BPM with pedal

References

Session plan: Session 07
Technique guide: Arpeggio Technique

Week 8 — After Session 8: Compound Time

Phase: 2 | This Week’s Focus: 6/8, 9/8, 12/8 time; “Greensleeves” and “Tere Bina”

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	4 scales at 72 BPM; arpeggios C, G, Am, Em	6/8 LH pattern: bass-chord-chord in Am and F	Counting in 6/8: clap 1-2-3-4-5-6 with strong beats on 1 and 4	”Greensleeves” — first 4 measures, RH melody in 6/8	Ear: compound vs simple time — listen and identify
Tue	4 scales; Chopin Prelude quick play (4 bars)	6/8 LH pattern in E, G, Dm	12/8 counting: four groups of three eighth notes	”Greensleeves” — add LH bass-chord pattern	Ear: tap along with a 6/8 song
Wed	4 scales; arpeggio review	”Tere Bina” LH swaying pattern, 12/8, at dotted quarter = 38	Simple vs compound time theory review	”Greensleeves” — both hands at dotted quarter = 42	Play a familiar waltz and feel the triple subdivision
Thu	4 scales; 6/8 LH pattern warm-up	”Tere Bina” LH push to dotted quarter = 40	9/8 counting: three groups of three	”Tere Bina” — add RH melody over LH	Ear: identify 6/8 vs 3/4 in recordings
Fri	4 scales; arpeggios	”Greensleeves” full piece at dotted quarter = 44	Review all three compound signatures	”Tere Bina” — both hands at dotted quarter = 42 with pedal	Clap compound time rhythms from notation
Sat	Full warm-up with scales + arpeggios	Best clean tempo for both compound pieces	Review Session 8; review “Autumn Leaves” and Chopin Prelude	”Greensleeves” and “Tere Bina” performance runs	Free play in 6/8
Sun	Rest or light review — ear training only

Milestone Check

By the end of this week, you should be able to:

Count confidently in 6/8 and 12/8
Play “Greensleeves” both hands at dotted quarter = 44-46 with pedal
Play “Tere Bina” both hands at dotted quarter = 40-42

References

Session plan: Session 08
Theory handout: Compound Time Signatures

Week 9 — After Session 9: Advanced Chord Progressions

Phase: 2 | This Week’s Focus: ii-V-I in C, G, F; vi-ii-V-I; circle of 5ths; “All of Me”

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	4 scales at 72-80 BPM; arpeggio review	ii-V-I in C: Dm7-G7-Cmaj7, both hands, smooth voice leading	Theory: why ii-V-I works (double preparation)	“All of Me” verse (measures 1-8), both hands	Ear: play ii-V-I and I-IV-V — can you tell them apart?
Tue	4 scales; 7th chord cycle up C major	ii-V-I in G: Am7-D7-Gmaj7	vi-ii-V-I in C: Am7-Dm7-G7-Cmaj7	”All of Me” chorus (measures 9-16)	Play vi-ii-V-I by ear in G
Wed	4 scales; “Tere Bina” quick play	ii-V-I in F: Gm7-C7-Fmaj7	Circle of 5ths: C7-F7-Bb7-Eb7… how far can you go?	”All of Me” full piece at slow tempo	Ear: identify the progression in a pop song
Thu	4 scales; arpeggio review	All 3 ii-V-I progressions at 72 BPM, no hesitation	Secondary dominants: D7 in key of C (V/V)	“All of Me” push to 66 BPM with pedal	Improvise a melody over ii-V-I in C
Fri	4 scales; vi-ii-V-I warm-up	Circle of 5ths — push further around the cycle	Review: how “All of Me” uses these progressions	”All of Me” with expression and dynamics	Create a progression using ii-V-I + vi
Sat	Full warm-up	All progressions at best tempo	Review Session 9; review compound time pieces	”All of Me” performance run; review 2 earlier pieces	Free play over chord progressions
Sun	Rest or light review — ear training only

Milestone Check

By the end of this week, you should be able to:

Play ii-V-I in C, G, and F with smooth voice leading at 72 BPM
Play vi-ii-V-I in C (Am7-Dm7-G7-Cmaj7) without hesitation
Play “All of Me” both hands at 60-66 BPM

References

Session plan: Session 09
Theory handout: Seventh Chords
Reference sheet: Complete Chord Reference

Week 10 — After Session 10: Classical Repertoire I

Phase: 2 | This Week’s Focus: Bach “Minuet in G” and Beethoven “Fur Elise” A section; classical style

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	G major + A hmn scales at 72-80 BPM; G, D arpeggios	Trill practice: trills on D, G, B — even alternation	Classical score markings: tempo terms (Largo to Presto)	Bach “Minuet in G” — RH alone at 80 BPM	Ear: Baroque harpsichord sound vs Romantic piano
Tue	D major + D hmn scales; arpeggio review	Trill practice with wrist rotation at increasing speed	Acciaccatura vs appoggiatura: practice both on G and E	Bach Minuet — LH alone at 80 BPM	Ear: identify ornaments in classical recordings
Wed	Scale rotation: 4 different scales	Grace note practice: quick crush notes before main notes	Baroque vs Classical style differences	Bach Minuet — both hands at 80-90 BPM	Play a trill in context of a melody
Thu	4 scales; ii-V-I quick drill	”Fur Elise” opening motif: E-D#-E-D#-E-B-D-C-A — slowly	Review ornament notation symbols (tr, grace notes)	“Fur Elise” A section — RH at 50-55 BPM	Ear: sing the Bach Minuet melody from memory
Fri	4 scales; trills on 3 notes	”Fur Elise” — add LH broken chords under RH	Review: when to pedal in classical music (Bach = no, Beethoven = yes)	“Fur Elise” both hands at 55-60 BPM with selective pedal	Improvise a simple melody in G major (classical feel)
Sat	Full warm-up with scales + arpeggios + trills	Best clean tempo for both pieces	Review Session 10; review “All of Me” and “Tere Bina”	Both classical pieces in sequence — genre-appropriate expression	Free play
Sun	Rest or light review — ear training only

Milestone Check

By the end of this week, you should be able to:

Play Bach “Minuet in G” both hands at 100 BPM (clean, no pedal)
Play “Fur Elise” A section both hands at 55-60 BPM (with pedal on LH chords)
Execute trills evenly on at least 2 notes

References

Session plan: Session 10
Genre guide: Classical Piano Foundations
Reference sheet: Intermediate Musical Terms

Phase 3: Expression & Interpretation (Weeks 11-15)

Week 11 — After Session 11: Pedal Mastery

Phase: 3 | This Week’s Focus: Legato pedaling, syncopated pedaling, half-pedaling; “Imagine”

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	4 scales at 72-80 BPM (without pedal — dry sound)	Legato pedaling: I-IV-V-I in C with pedal changes	Three pedal types theory review	”Imagine” — LH chord pattern with legato pedaling	Ear: play with and without pedal — hear the difference
Tue	4 scales; arpeggios with pedal vs without	Legato pedaling: I-IV-V-I in G and F	Syncopated pedaling: timed to strong beats	”Imagine” — add RH melody over LH	Play “Fur Elise” LH chords — add pedal correctly
Wed	4 scales; Bach Minuet review (no pedal)	Half-pedaling technique: partial release and repress	When NOT to pedal: fast passages, staccato sections	”Imagine” — both hands at 66 BPM with clean pedaling	Ear: listen for muddy pedal vs clean pedal
Thu	4 scales; arpeggio review	Legato pedaling across chord progressions with 7th chords	Review: hand-before-foot sequence (play then pedal, not reverse)	“Imagine” push to 72 BPM; check for mud	Play ii-V-I with proper legato pedaling
Fri	4 scales; “Fur Elise” with selective pedal (5 min review)	Bach Minuet — practice crisp non-pedal playing	Review all 3 pedaling types with examples	”Imagine” with expression: dynamics + pedal combined	Improvise a slow melody with sustained pedal
Sat	Full warm-up	All pedaling drills at best quality	Review Session 11; review earlier repertoire	”Imagine” performance run with full expression	Free play with pedal exploration
Sun	Rest or light review — ear training only

Milestone Check

By the end of this week, you should be able to:

Demonstrate clean legato pedaling on I-IV-V-I in 3 keys without mud
Play “Imagine” both hands at 72 BPM with proper legato pedaling
Explain when to pedal and when not to pedal with examples

References

Session plan: Session 11
Technique guide: Advanced Pedal Technique

Week 12 — After Session 12: Dynamics & Articulation

Phase: 3 | This Week’s Focus: pp through ff; staccato, legato, accents, tenuto, sforzando; Chopin Waltz

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	Dynamic scale: C major pp-ff-pp hairpin, 2 oct	Staccato scale: G major, all staccato	Full dynamic range: play Middle C at pp, p, mp, mf, f, ff	Chopin “Waltz in A minor” — RH melody with dynamics	Ear: play same chord at pp and ff — feel the difference
Tue	Dynamic scale: A hmn minor pp-ff-pp	Legato scale: D major, smooth and connected	Articulation drill: same note with staccato, legato, accent, tenuto	Chopin Waltz — LH waltz pattern (oom-pa-pa)	Play a scale with accents on beats 1 and 3 only
Wed	Arpeggio warm-up: legato first, then staccato	Sforzando exercise: play C-D-E(sfz!)-F-G at mf with E loud	Musical phrasing: shape a melody like a sentence	Chopin Waltz — both hands, slow, with dynamic plan	Ear: identify staccato vs legato in recordings
Thu	4 scales; “Imagine” pedal review (3 min)	4 articulations on arpeggio patterns	Rubato concept: tempo flexibility for expression	Chopin Waltz — push to 92-100 BPM	Create a dynamic plan for “Fur Elise”
Fri	Dynamic scale warm-up on 2 different scales	Articulation drill on a chord progression	Review phrasing: rise and fall within each phrase	Chopin Waltz with expression: dynamics + rubato + pedal	Improvise a melody with deliberate dynamic shape
Sat	Full warm-up with dynamic variety	Best expressiveness for all articulations	Review Session 12; review Bach Minuet and “Imagine”	Chopin Waltz performance run; review classical pieces	Free play with full dynamic range
Sun	Rest or light review — ear training only

Milestone Check

By the end of this week, you should be able to:

Play with 6 distinct dynamic levels (pp through ff) on your CT-X9000IN
Demonstrate staccato, legato, accent, and tenuto clearly
Play Chopin “Waltz in A minor” at 100 BPM with expression

References

Session plan: Session 12
Technique guide: Voicing And Touch Control
Reference sheet: Intermediate Musical Terms

Week 13 — After Session 13: Playing by Ear & Transcription

Phase: 3 | This Week’s Focus: Systematic play-by-ear method; chord recognition; transcription skills

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	Dynamic scale; 3 scales at 72-80 BPM	Chromatic scale: all 13 notes from C, name each	Step 1: Find the key — try a familiar song	Chopin Waltz review with full expression	Interval ear training: all intervals from C — score yourself
Tue	4 scales; arpeggio review	Chromatic scale both hands, 1 octave	Step 2: Find the bass — listen for lowest notes in a song	Classical pieces review (Bach, “Fur Elise”)	Chord progression ear training: I-V-vi-IV, I-IV-V-I, ii-V-I
Wed	4 scales; chord progression warm-up	Interval accuracy drill: play all intervals from D, name each	Step 3: Identify chord progression — try major then minor	Pick a simple song — attempt full play-by-ear	Transcribe a 4-bar melody to paper (letter names + rhythm)
Thu	4 scales; “Imagine” and “All of Me” quick review	7th chord ear training: Cmaj7, C7, Cm7 — blind test	Step 4: Find the melody — match the tune on keyboard	Continue play-by-ear song — add chords	Transcribe 4 more bars of the same song
Fri	4 scales at best tempo	Play all intervals from Eb — precision for raga preparation	Review the 4-step system; common pop progressions	Play your ear-transcription fully: melody + chords	Play 3 random intervals blind, try to score 10/12
Sat	Full warm-up	Chromatic scale both hands at 80 BPM	Review Session 13; prepare for raga study (Session 14)	Full run-through of all current repertoire	Free play by ear — any song
Sun	Rest or light review — ear training only

Milestone Check

By the end of this week, you should be able to:

Use the 4-step system to find the key, bass, chords, and melody of a simple song
Identify 10/12 intervals by ear from a given starting note
Transcribe a simple 4-8 bar melody to paper using letter names

References

Session plan: Session 13
Practice guide: Intermediate Practice Framework

Week 14 — After Session 14: Indian Music I — Raga Fundamentals

Phase: 3 | This Week’s Focus: Raga Yaman aroha/avaroha, alankars, meend; “Ek Pyaar Ka Nagma Hai”

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	C major + A hmn scales; interval drill from C	Raga Yaman aroha/avaroha, RH, with LH Sa-Pa drone at 50 BPM	What is a raga? Review: aroha, avaroha, vadi, samvadi	”Ek Pyaar Ka Nagma Hai” — mukhda (measures 1-8), RH	Say sargam names while playing Yaman
Tue	Yaman aroha/avaroha as warm-up; 2 major scales	Alankar 1: groups of 3 (Ni-Re-Ga, Re-Ga-Ma#, etc.)	Yaman-to-Lydian mapping: same notes, different frameworks	”Ek Pyaar Ka Nagma Hai” — add LH drone	Ear: Yaman vs C major — hear the F# difference
Wed	Yaman + 2 major scales	Alankar 2: groups of 4; Alankar 3: zigzag	Meend practice: pitch bend Pa-Dha (G to A), slow and vocal	”Ek Pyaar Ka Nagma Hai” — both hands at 50 BPM	Meend practice on other intervals: Ga-Ma#
Thu	3 scales + Yaman	Push alankars to 50 BPM; meend on Dha-Ni	Vadi (Ga) and samvadi (Ni): linger on these notes	”Ek Pyaar Ka Nagma Hai” — antara (measures 9-16)	Improvise a phrase using only Yaman notes
Fri	Yaman + 2 major + 1 harmonic minor	All 3 alankars in sequence; meend refinement	CT-X9000IN Indian tones: try Santoor, Bansuri, Sitar	”Ek Pyaar Ka Nagma Hai” full at 55-60 BPM with Indian tone	Create your own alankar pattern in Yaman
Sat	Full warm-up with scales + Yaman	Best quality alankars and meend	Review Session 14; maintain Western pieces	”Ek Pyaar Ka Nagma Hai” performance run with expression	Free play in Yaman — explore the raga
Sun	Rest or light review — ear training only

Milestone Check

By the end of this week, you should be able to:

Play Raga Yaman aroha/avaroha smoothly at 60 BPM with sargam names
Play all 3 alankars at 50 BPM with even flow
Play “Ek Pyaar Ka Nagma Hai” both hands at 55-60 BPM

References

Session plan: Session 14
Genre guide: Indian Raga Keyboard
Reference sheet: Raga Reference For Keyboard

Week 15 — After Session 15: Bollywood Deep Dive

Phase: 3 | This Week’s Focus: “Lag Ja Gale” and “Tujh Mein Rab Dikhta Hai”; ornamental playing

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	Yaman aroha/avaroha + 2 major scales; Alankar 1	”Lag Ja Gale” melody, RH, at 50 BPM	Bollywood harmony: pure drone vs chord changes vs rich arrangement	”Lag Ja Gale” — LH chord accompaniment pattern	Ornamental exercises: kan swar on Yaman notes
Tue	3 scales + Yaman alankars	Ornament practice: kan swar (grace notes), andolan (oscillation)	Bollywood chord progressions: Am-Dm-E7-Am practice	”Lag Ja Gale” — both hands at 50 BPM	Andolan practice on Sa and Pa
Wed	4 scales; “Ek Pyaar Ka Nagma Hai” quick play	Murki practice: note-upper-note-lower-note quickly	CT-X9000IN Indian tones: 43 tones, 39 rhythms — explore	”Tujh Mein Rab Dikhta Hai” — RH melody	Murki on important melodic notes
Thu	Yaman + Ab major + D hmn	”Lag Ja Gale” — add rubato and grace notes	Bollywood vs classical Indian: melody meets harmony	”Tujh Mein Rab Dikhta Hai” — add LH chords	Play C-Am-F-G with arpeggio patterns
Fri	4 scales; ii-V-I quick review	All ornaments in sequence on a Yaman phrase	Review 3 Bollywood accompaniment approaches	”Tujh Mein Rab Dikhta Hai” both hands at 66-72 BPM	Improvise Bollywood-style melody with ornaments
Sat	Full warm-up with scales + raga + arpeggios	Ornament quality check; “Lag Ja Gale” expression	Review Session 15; maintain Western pieces	Both Bollywood songs — performance runs	Free play with Indian tones on CT-X9000IN
Sun	Rest or light review — ear training only

Milestone Check

By the end of this week, you should be able to:

Play “Lag Ja Gale” both hands at 56 BPM with rubato and ornaments
Play “Tujh Mein Rab Dikhta Hai” both hands at 72 BPM with Indian tone
Execute kan swar, andolan, and murki ornaments smoothly

References

Session plan: Session 15
Genre guide: Indian Raga Keyboard
Reference sheet: Raga Reference For Keyboard

Phase 4: Genre & Creativity (Weeks 16-20)

Week 16 — After Session 16: Pop & Contemporary

Phase: 4 | This Week’s Focus: Pop voicings (open 5ths, sus, add9); “Clocks” and “Perfect”; layer/split

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	Bb + E major scales at 80 BPM; C + Am arpeggios	”Clocks” ostinato pattern — RH at 100 BPM	Pop voicings: open 5th, sus2, sus4, add9 for C	”Clocks” — add LH, both hands at 100 BPM	Play I-V-vi-IV with pop voicings instead of basic triads
Tue	I-V-vi-IV in C with smooth voice leading; 2 scales	”Clocks” push to 110 BPM; evenness check	Sus and add9 voicings for G, D, Am	”Perfect” — 12/8 LH arpeggio pattern at 60 BPM	Syncopated comping: off-beat chords
Wed	4 scales; “Tujh Mein Rab” quick play (bridge from Bollywood)	Pop voicing drill: open 5th, sus2, sus4, add9 in C, G, D, Am	CT-X9000IN Layer mode: piano + strings setup	”Perfect” — add RH melody over LH arpeggios	Layer mode experiment: play “Perfect” with strings
Thu	4 scales; arpeggios	Syncopated comping pattern: off-beat chords on I-V-vi-IV	CT-X9000IN Split mode: bass LH, piano RH	”Perfect” — both hands at 66 BPM with pedal	Split mode experiment: bass line LH, chords RH
Fri	4 scales; pop voicing warm-up	”Clocks” push toward 120-130 BPM	Registration memory: save Layer and Split setups	Both pop pieces at target tempos	Create your own pop chord progression with sus/add9
Sat	Full warm-up with scales + arpeggios + pop voicings	Best tempo for both pieces	Review Session 16; review Bollywood and classical pieces	”Clocks” and “Perfect” performance runs	Free play with pop voicings
Sun	Rest or light review — ear training only

Milestone Check

By the end of this week, you should be able to:

Play “Clocks” ostinato both hands at 120-130 BPM
Play “Perfect” both hands at 66 BPM with 12/8 feel and pedal
Build sus2, sus4, add9 chords from C, G, D, Am

References

Session plan: Session 16
Genre guide: Pop Contemporary Keyboard

Week 17 — After Session 17: Jazz & Blues Foundations

Phase: 4 | This Week’s Focus: 12-bar blues (I7-IV7-V7); swing feel; blues scale; “Fly Me to the Moon”

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	C + F major scales at 80 BPM; 7th chord cycle	C blues scale (C-Eb-F-Gb-G-Bb-C) with swing feel at 72 BPM	12-bar blues theory: I7-IV7-V7 structure	12-bar blues in C — LH shell voicings (whole notes)	Play blues scale and listen to its character
Tue	4 scales; C7-F7-G7 dominant 7th drill	Shell voicings: root-3rd-7th for C7, F7, G7	Swing feel: long-short (daa-da) vs straight (da-da)	12-bar blues — add RH melody or improvisation	Improvise: play 3 blues lick ideas
Wed	Swing scale warm-up: C major with swing 8ths	Walking bass concept: stepwise bass movement	Jazz shell voicings: root + 7th in LH, 3rd + melody in RH	”Fly Me to the Moon” — RH melody with swing	Play blues scale over C7 chord — explore
Thu	4 scales; blues scale review	Blues lick practice from Session 17 technique section	ii-V-I in context of “Fly Me to the Moon"	"Fly Me to the Moon” — add LH shell voicings	Improvise 4 bars over C7 with blues scale
Fri	4 scales; shell voicing transitions	C7-F7-G7 cycle with smooth voice leading	Review: straight 8ths vs swing 8ths side by side	”Fly Me to the Moon” both hands at 110-120 BPM	12-bar blues: play LH, improvise RH
Sat	Full warm-up with scales + blues scale + 7ths	Best swing feel for blues and jazz pieces	Review Session 17; review pop and Bollywood pieces	Both jazz/blues pieces — performance runs with swing	Free play: blues improvisation
Sun	Rest or light review — ear training only

Milestone Check

By the end of this week, you should be able to:

Play 12-bar blues in C, both hands, at 100 BPM with swing
Play “Fly Me to the Moon” both hands at 120 BPM with swing feel
Play the C blues scale ascending and descending with swing

References

Session plan: Session 17
Genre guide: Jazz Blues Basics
Reference sheet: Intermediate Musical Terms

Week 18 — After Session 18: Improvisation Basics

Phase: 4 | This Week’s Focus: Pentatonic and blues improvisation; chord-tone targeting; call-and-response

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	Blues scale + Am pentatonic warm-up; 2 scales	Am pentatonic (A-C-D-E-G), ascending/descending, 60 BPM	Chord-tone targeting: land on chord tones on beats 1 and 3	12-bar blues review — LH plays form, RH improvises	Am pentatonic over Am-F-C-G with CT-X9000IN rhythm
Tue	4 scales; pentatonic scale review	Pentatonic patterns: 2-note, 3-note, 4-note groupings	Call-and-response: play 2 bars, rest 2 bars	”Fly Me to the Moon” review with swing	Blues improvisation over 12-bar form — use call-response
Wed	Blues scale + pentatonic; arpeggio review	Chord-tone practice: play chord tones of Am, F, C, G on beat 1	Space: the importance of rests between phrases	Improvise over Am-F-C-G — 2-bar phrases with rests	Record your improvisation on CT-X9000IN MIDI recorder
Thu	4 scales; blues lick review	Blues scale patterns: turnaround lick, ascending run, bends	Improvise over I-IV-V-I in G using pentatonic	Play back yesterday’s recording — what sounds good?	Blues improv: try chord-tone targeting over 12-bar blues
Fri	Pentatonic + blues + 2 scales	Combine: pentatonic melody with chord-tone landing	5 tools of improvisation review (Session 18 theory)	Record a full 12-bar improvisation, play back	Improvise over ii-V-I in C
Sat	Full warm-up	Best improvisation exercises	Review Session 18; review all genre pieces briefly	”Fly Me to the Moon” + blues — performance-quality runs	Free improvisation: any progression, any scale
Sun	Rest or light review — ear training only

Milestone Check

By the end of this week, you should be able to:

Improvise coherent 2-bar phrases over Am-F-C-G using pentatonic
Improvise over a 12-bar blues using blues scale with call-and-response
Record an improvisation and evaluate what sounds good

References

Session plan: Session 18
Improvisation guide: Pentatonic Improvisation
Improvisation guide: Blues Scale And 12 Bar

Week 19 — After Session 19: Lead Sheets & Chord Charts

Phase: 4 | This Week’s Focus: Reading chord symbols; creating accompaniment from lead sheets; Nashville numbers

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	F major + G major scales at 80 BPM; chord review	LH accompaniment patterns: block, arpeggio, root-5th, Alberti	Chord symbol reading: Cmaj7, Dm7, G7, Am, Fsus2, etc.	”Yesterday” from lead sheet — create your own LH part	Nashville numbers: play I-IV-V-I in C, G, D, F
Tue	4 scales; 7th chord cycle	Slash notation practice: C/E, C/G, Am/C — play LH bass, RH chord	Nashville number system: think in numbers, transpose	”Hallelujah” from lead sheet — choose accompaniment pattern	Chord symbol flash drill: write symbols, play immediately
Wed	4 scales; arpeggio review	Practice different LH patterns under the same chord progression	When to use arpeggios vs block chords vs root-5th	”Kal Ho Naa Ho” from lead sheet — add Indian ornaments	Transpose “Yesterday” to G major using Nashville numbers
Thu	4 scales; “Fly Me to the Moon” review	Try all 4 LH patterns under I-V-vi-IV in 2 keys	Lead sheet vs full arrangement: freedom and responsibility	Revisit all 3 lead sheet songs — try different patterns	Improvise melody over a lead sheet progression
Fri	4 scales; improvisation warm-up	Chord symbol speed: play 10 random chords immediately	Review: matching accompaniment pattern to song mood	”Kal Ho Naa Ho” with grace notes and Indian phrasing	Create a lead sheet for a simple melody you know
Sat	Full warm-up	Lead sheet playing — choose any song	Review Session 19; review genre pieces from Sessions 14-18	All 3 lead sheet songs — different patterns each time	Free play from any lead sheet or fake book
Sun	Rest or light review — ear training only

Milestone Check

By the end of this week, you should be able to:

Play a song from chord symbols with a self-created LH accompaniment
Read common chord symbols (maj7, m7, 7, sus2, sus4, add9, dim, aug)
Explain Nashville numbers and transpose a I-IV-V-I to at least 3 keys

References

Session plan: Session 19
Genre guide: Lead Sheets And Chord Charts
Reference sheet: Lead Sheet Symbols Reference

Week 20 — After Session 20: Indian Music II — Advanced Ragas

Phase: 4 | This Week’s Focus: Raga Bhairavi and Des; taal awareness; “Kabira” and “Kun Faya Kun”

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	Yaman aroha/avaroha; 2 major scales	Bhairavi aroha/avaroha (C-Db-Eb-F-G-Ab-Bb-C) with drone	Bhairavi theory: all komal except Sa and Pa; vadi = Ma (F)	“Kabira” — RH melody at 72 BPM	Taal: clap Teentaal (16 beats) with CT-X9000IN rhythm
Tue	Bhairavi + Yaman; 1 major scale	Raga Des aroha/avaroha — note the skipped notes in ascent	Des theory: romantic/devotional character; ascending skips	”Kabira” — add LH chords	Taal: clap Keherwa (8 beats); play Bhairavi in taal
Wed	3 scales + Bhairavi	Meend practice: Re-Ga (Db-Eb) and Dha-Ni (Ab-Bb) in Bhairavi	CT-X9000IN Indian tones mastery: Sitar, Santoor, Tabla, Bansuri	”Kun Faya Kun” — RH melody at 66 BPM	Compose 4 bars using Bhairavi notes
Thu	Yaman + Bhairavi + Des	Bhairavi alankars: groups of 3 with komal notes	Taal awareness: align phrases to Sam (beat 1 of cycle)	“Kun Faya Kun” — add LH; dynamic build (pp to f)	Extend your Bhairavi composition to 8 bars
Fri	4 scales; raga review	Des practice with meend; Bhairavi refinement	Review: 3 ragas side by side (Yaman, Bhairavi, Des)	Both Indian songs at target tempos with Indian tones	Record your Bhairavi composition
Sat	Full warm-up: scales + all 3 ragas	All raga exercises at best quality	Review Session 20; review all genre pieces	”Kabira” and “Kun Faya Kun” performance runs	Free play in Bhairavi with taal accompaniment
Sun	Rest or light review — ear training only

Milestone Check

By the end of this week, you should be able to:

Play Bhairavi aroha/avaroha with correct komal notes at 60 BPM
Play “Kabira” both hands at 80 BPM with Bhairavi expression
Play “Kun Faya Kun” both hands at 72 BPM with dynamic build

References

Session plan: Session 20
Genre guide: Indian Raga Keyboard
Reference sheet: Raga Reference For Keyboard

Phase 5: Performance & Independence (Weeks 21-25)

Week 21 — After Session 21: Sight-Reading Mastery

Phase: 5 | This Week’s Focus: 5-step sight-reading system; pattern recognition; Grade 2-3 fluency

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	Scale speed check: C + G at 80-100 BPM; D, Am arpeggios	Scale speed building: push all scales toward 80-100 BPM	5-step system review: scan, rhythm-first, patterns, read ahead, play	Sight-read 1 new piece (any source) — never stop	Ear: play a new melody by ear (use your transcription skills)
Tue	4 scales at fast tempo; chord vocabulary speed check	Arpeggio speed building: C, G, D at 72 BPM	Pattern recognition drill: look at a piece, identify scales, chords	Replay yesterday’s piece — it is no longer sight-reading, it is fluency	Rhythm clapping: clap rhythms before playing
Wed	Scales + blues scale + pentatonic	Chord recognition speed: play named chords immediately	Reading ahead practice: eyes 2 beats ahead of fingers	Sight-read 1 new piece at a slightly harder level	Improvise over I-V-vi-IV while reading ahead mentally
Thu	4 scales; “Kabira” and “Kun Faya Kun” quick review	A hmn + D hmn scales at 66-80 BPM — speed building	Replay Session 21’s 5 graded pieces — track improvement	Sight-read 1 new piece — time yourself (30-second scan)	Ear: identify the key of a recording before playing
Fri	4 scales at fastest clean tempo	All arpeggios in sequence at best tempo	Self-assess: Grade 1.5, 2, or 2.5 — where are you?	Sight-read 1 new piece (push for Grade 2-3 level)	Sight-read a lead sheet you have never seen
Sat	Full warm-up with scales + arpeggios	Speed check: all scales, all arpeggios	Review Session 21; review repertoire from all genres	Replay all 5 of this week’s sight-read pieces	Free play: sight-read from a hymnal or song book
Sun	Rest or light review — ear training only

Milestone Check

By the end of this week, you should be able to:

Sight-read a Grade 2 piece continuously (both hands) without stopping
Apply the 5-step system automatically (scan, rhythm, patterns, read ahead, play)
Play major scales at 80+ BPM and harmonic minors at 66-80 BPM

References

Session plan: Session 21
Practice guide: Intermediate Practice Framework

Week 22 — After Session 22: Repertoire Workshop I

Phase: 5 | This Week’s Focus: Polish 3 pieces to performance standard (classical, pop, Indian)

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	Performance warm-up: scales at 92-100 BPM; arpeggios at 72	Dynamic range check: pp to ff on a scale	Bach “Minuet in G” — performance polish. Use rubric: notes, tempo, dynamics	Rate yourself on Performance Rubric for Bach	Sight-read 1 new piece (maintain reading skills)
Tue	Same warm-up; arpeggio speed	Pedaling check: clean legato pedaling on I-IV-V-I	”Perfect” — performance polish. LH arpeggio must be even	Rate yourself on Performance Rubric for “Perfect”	Sight-read 1 new piece
Wed	Same warm-up; raga Yaman quick touch	Meend and ornament review for Indian piece	”Lag Ja Gale” — performance polish. Ornaments + Indian tone + rubato	Rate yourself on Performance Rubric for “Lag Ja Gale”	Sight-read 1 new piece
Thu	Same warm-up; blues scale + swing	Focus on lowest-scoring rubric category across all 3 pieces	All 3 pieces in sequence — practice genre transitions	3-piece run-through: classical-pop-Indian, no stops	Choose 2 more pieces for Session 23
Fri	Same warm-up	Registration memory: save CT-X9000IN setups for each genre	Memorization: can you play any piece from memory? Test RH alone, LH alone	All 3 pieces with full expression and tone changes	Practice visualizing each piece (no keyboard)
Sat	Full warm-up	All technique at best quality	Review Session 22; review your Performance Rubric scores	Full 3-piece run-through at performance quality	Free play
Sun	Rest or light review — visualization practice

Milestone Check

By the end of this week, you should be able to:

Score 2+ on the Performance Rubric in every category for all 3 pieces
Play all 3 pieces in sequence with appropriate genre expression
Have chosen 2 additional pieces for next session (jazz/blues + student choice)

References

Session plan: Session 22
Practice guide: Performance Preparation Guide

Week 23 — After Session 23: Repertoire Workshop II

Phase: 5 | This Week’s Focus: Polish 2 more pieces (jazz/blues + choice); memorization; performance anxiety

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	Full scale circuit at fastest tempos; blues scale with swing	Jazz/blues piece polish: swing feel, shell voicings, dynamics	Memorization technique 1: muscle memory — play with eyes closed	Full 5-piece recital run-through, no stopping. Time yourself	Sight-read 1 new piece
Tue	Same warm-up; arpeggios at 72 BPM	Student-choice piece polish: genre-appropriate expression	Memorization technique 2: harmonic analysis — name every chord	Weakest piece gets extra focus (lowest rubric score)	Visualization: “see” your hands playing each piece
Wed	Same warm-up; all 3 ragas quick touch	Deep breathing exercise for performance anxiety	Memorization technique 3: visualization — hear piece in your head	5-piece run from memory — how far can you go?	Sight-read 1 new piece
Thu	Same warm-up	Start from the middle of each piece (not the beginning)	“Practice performing”: record yourself and play back	Full 5-piece recital run. Record on CT-X9000IN MIDI	Listen to recording — evaluate using rubric
Fri	Same warm-up	Registration memory: all 5 setups saved and tested	Performance anxiety management: breathing + positive self-talk	Final polishing — address any rubric scores below 2	Sight-read 1 new piece
Sat	Full warm-up	All pieces from memory if possible	Review Session 23; prepare mentally for modes (Session 24)	Full recital dress rehearsal — start to finish	Free play
Sun	Rest — visualization and breathing only

Milestone Check

By the end of this week, you should be able to:

Play all 5 recital pieces in sequence (approximately 12-15 minutes total)
Score 2+ on the Performance Rubric for all 5 pieces
Start at least 2 pieces from memory (not just from the beginning)

References

Session plan: Session 23
Practice guide: Performance Preparation Guide
Progress tracker: Session Progress Tracker

Week 24 — After Session 24: Modes & Modern Harmony

Phase: 5 | This Week’s Focus: Dorian, Mixolydian, Lydian modes; modal improvisation; compose 8 bars

Daily Practice (45-60 minutes)

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	4 scales at 80+ BPM; D Dorian, G Mixolydian, C Lydian 1 oct	D Dorian, 2 oct, HT at 80 BPM — hear the “hopeful minor” feel	Dorian theory: minor with raised 6th (B natural, not Bb)	Recital repertoire: play all 5 pieces once through	Modal improvisation: LH Dm7 vamp, RH Dorian improvise
Tue	Mode scales warm-up; 2 major scales	G Mixolydian, 2 oct, HT at 80 BPM — hear the “bluesy” feel	Mixolydian theory: major with lowered 7th (F natural, not F#)	Focus on weakest recital piece	Mixolydian improvisation: LH G7 vamp, RH improv
Wed	Dorian + Mixolydian + 2 scales	C Lydian, 2 oct, HT at 80 BPM — hear the “dreamy” feel	Lydian theory: major with raised 4th (F#, not F)	Memorization practice: 2 pieces from memory	Lydian improvisation: LH Cmaj7 vamp, RH improv
Thu	All 3 modes + raga quick touch	Modal chord progressions for each mode	Composition: write first 4 bars of 8-bar piece using a mode	Full recital run-through from memory	Composition: add chord symbols to your melody
Fri	All 3 modes + 2 major scales	Try modes from other starting notes (A Dorian, C Mixolydian)	Composition: complete 8-bar piece with melody + chord symbols	CT-X9000IN MIDI record your composition	Listen to recording; make improvements
Sat	Full warm-up with scales + modes + ragas	Mode identification: play a mode, name its characteristic note	Review Session 24; graduation prep: review all skills	Full recital rehearsal + play your composition	Free modal improvisation
Sun	Rest — review Session 25 expectations

Milestone Check

By the end of this week, you should be able to:

Play D Dorian, G Mixolydian, C Lydian — 2 octaves, HT, at 80 BPM
Improvise over a modal vamp using the correct mode
Have a completed 8-bar composition recorded on CT-X9000IN

References

Session plan: Session 24
Theory handout: Modes Introduction
Improvisation guide: Chord Tone Improvisation

Week 25 — After Session 25: Graduation & Advanced Roadmap

Phase: 5 | This Week’s Focus: Celebrate your achievement; maintain skills; plan your advanced path

Daily Practice (45-60 minutes)

This is your first week as an intermediate course graduate. There is no Session 26 — you are now an independent musician. Use this week to establish your post-course practice routine.

Day	Warm-Up (10 min)	Technique (10 min)	New Material (15 min)	Repertoire/Genre (15 min)	Creative (10 min)
Mon	Graduation warm-up from Session 25: 6 scales + 4 arpeggios + chords + modes + blues + ragas	Scale speed push: target 100 BPM for C and G major	Review your graduation self-assessment — identify weakest areas	Play your 5 recital pieces. Choose which to keep in rotation	Improvise freely: blues, pentatonic, or modal
Tue	Same warm-up (this is now your permanent routine)	Arpeggio speed push: target 80 BPM for C and G	Explore advanced roadmap: ABRSM Grade 4-5 or genre specialization?	Sight-read 1 new piece at Grade 2-3 level	Play a song by ear that you have never tried
Wed	Same warm-up	Work on your weakest technique area from the assessment	Start learning a new piece in any genre (your choice)	Review favourite pieces from the course	Compose: extend your 8-bar piece to 16 bars
Thu	Same warm-up	Same technique focus	Continue new piece — hands separate, slow	Maintain 3 recital pieces — play start to finish	Record your extended composition
Fri	Same warm-up	Same technique focus	Continue new piece — aim for hands together	Maintain 2 other recital pieces	Improvise over a new chord progression
Sat	Full warm-up: the complete musician’s routine	Review all technique areas	Reflect: write in your progress tracker — what you learned, where to go	Play through your best pieces for enjoyment	Free play — make music for the joy of it
Sun	Rest — but if you want to play, play

Milestone Check

By the end of this week, you should be able to:

Perform the complete musician’s warm-up routine from memory (from Session 25)
Have decided on your advanced path: structured (ABRSM Grade 4-5) or genre specialization
Have started learning a new piece independently (without a session plan guiding you)

References

Session plan: Session 25
Assessment: Advanced Readiness Checklist
Roadmap: What Comes Next Advanced
Progress tracker: Session Progress Tracker

Genre Rotation Strategy

Across the 25 weeks, your practice naturally shifts genre focus. Here is the pattern:

Weeks	Primary Genre Focus	Genre Maintenance
1-5	General technique (scales, chords, inversions)	Beginner repertoire review
6-10	Classical + harmonic foundations	Scale and chord maintenance
11-13	Expression across all styles	Classical pieces + pedal/dynamics
14-15	Indian (Raga Yaman, Bollywood)	Classical + all earlier pieces
16	Pop/Contemporary	Indian + classical
17-18	Jazz/Blues + Improvisation	Pop + Indian + classical
19	Lead sheets (cross-genre)	All genres
20	Indian (advanced ragas)	Jazz/blues + pop + classical
21-25	All genres equally (performance prep)	Full rotation across 4 genres

From Week 16 onward, dedicate at least one day per week to each genre you have studied. This prevents genre rust — the tendency to forget a style when you are focused on a different one.

CT-X9000IN Practice Features

Use these keyboard features throughout your weekly practice:

Feature	When to Use	How
Metronome	Every technique and repertoire segment	Set BPM as specified in each week’s plan
MIDI Recorder	Weekly recording of your best run	Record, play back, self-evaluate
Rhythm Accompaniment	Improvisation practice (Weeks 17-25)	Select genre-appropriate rhythm pattern
Indian Rhythms	Raga practice (Weeks 14-15, 20)	Keherwa (8 beats) or Teentaal (16 beats)
Layer Mode	Pop practice (Weeks 16+)	Piano + Strings for ballads
Split Mode	Jazz/pop practice (Weeks 16+)	Bass LH + Piano RH
Registration Memory	Performance weeks (22-25)	Save genre setups for quick switching
USB Export	Graduation week	Export your recital recording

Practice Plans Version: 1.0 Course: Piano School Intermediate Program (25 Sessions) Keyboard: Casio CT-X9000IN Daily Practice: 45-60 minutes