All music bachelor’s students (except audio engineering and sound production and ballet) must demonstrate keyboard proficiency. Keyboard proficiency is defined as the ability to use the keyboard or equivalent instrument as a tool within the framework of individual professional activities; thus, the requirements vary in emphasis according to the area of major study. Students must follow the keyboard requirements described under each bachelor’s degree.

The collaborative piano, guitar, harp, historical performance, jazz, music theory, and organ departments administer their own exams on appropriate instruments.

The proficiency exam is not offered at the beginning of the fall or spring semesters or summer session. Undergraduate students who have not passed the proficiency must register for a secondary piano course during fall and spring semesters.

All music graduate students, including those whose principal or proficiency instrument is piano, must pass a keyboard proficiency examination or its equivalent. Most students will take the examination on piano, coordinated by the secondary piano program.

The collaborative piano, guitar, harp, historical performance, jazz, music theory, and organ departments administer their own exams on appropriate instruments.

The keyboard proficiency requirement is designed to ensure the student’s ability to use the keyboard as a tool within the framework of professional activities, and the requirements vary according to level and area of music study. Entering students whose proficiency examination is heard through the secondary piano program must play a keyboard placement hearing during the orientation period. Students who demonstrate a superior level of playing at this hearing will satisfy the proficiency requirement.

• Proficiency is valid for seven years (for master’s students) or ten years (for doctoral students) from the date it is demonstrated.
• Doctoral students must complete all proficiencies by the end of their fifth semester of enrollment.
• The keyboard proficiency exam may be repeated if the student does not pass. It is strongly suggested that all students take the keyboard proficiency exam in their first semester so that, if it is necessary to repeat the exam, the student has multiple opportunities to retake the exam before the end of their coursework.
• When keyboard proficiency requirements are identical for two degrees, a student seeking both degrees need not repeat the keyboard proficiency examination if it has been passed for one of the degrees within the time limits for each degree.
• Students who are candidates for music graduate degrees for areas other than performance and whose performance proficiency instrument is piano must also complete the keyboard proficiency requirement.
• Please note that the exam must be completed before graduation (for master’s students) and before the qualifying exam stage of the degree (for doctoral students).

Effective as of December 7, 2018

*Students in Brass, Percussion, Strings, Woodwinds, as well as the B.S.O.F. Voice who matriculate starting Fall 2018 will satisfy the proficiency requirement by earning a minimum grade of B in MUS-P 121.

• A: Transpose at sight a melodic line to any key in the range of a 4th from the original key (up or down).
• B: Transpose an accompaniment. Moderately slow tempo must be maintained.
• C: Sight read a solo vocal or instrumental part, together with the piano accompaniment. Melody must be accurate and all essential harmonies represented.
• D: Sight read hymns and anthems in a four-part texture.
• F: Sight read a four-part open vocal score using modern G and F clefs. Must be played from original score.
• G: Sight-read piano music or accompaniments to art songs or instrumental solos.
• J: Improvise at sight an accompaniment to a melody (melody must also be performed), with or without chord symbols. Blocked chords are not an acceptable accompaniment, and melodies may require secondary chords or secondary dominants.
• M: Chord progression formulae. Music education degrees: I-IV-I-V7-I in all keys, after the relevant scale, three voices in each hand. Other degrees: these are written out and are to be played in any key except C Major. Proper voice-leading is required.
• N1: Perform a prepared piano composition or accompaniment. Must be a musical performance of acceptable repertoire. If playing a piece not on the recommended list, seek approval first.
• N2: Perform a prepared piano composition or accompaniment from memory fluently. Must be a musical performance of acceptable repertoire. If playing a piece not on the recommended list, seek approval first.
• O: Play the Star Spangled Banner in A-flat and America in F, both with proper tempo and pedaling. International students may substitute their own national anthem for one of the above.
• R: Scales, arpeggios, blocked and broken chords (from memory, with both hands simultaneously in 16th notes at least 60 to the quarter):
  • All major and harmonic minor scales, 4 octaves.
  • All major and minor arpeggios, 3 or 4 octaves.
  • All dom7/dim7 arpeggios starting on white keys, 3 or 4 octaves.
  • Blocked and broken chords (with inversions, three octaves) in 3 or 4 note form, in all major and minor keys, as well as diminished and dominant seventh chords (those dom7/dim7 chords whose arpeggios start on white notes).
• S: Play a prepared keyboard composition or accompaniment with 48 hours’ preparation. This composition is chosen and distributed by the Secondary Piano Program.

Effective as of January 8, 2018

*M.S. students must complete the proficiency exam following the undergraduate requirements for their area of certification.

Transposition and one-line score reading

1. Transpose a melodic line to any key in the range of a 4th up or down
2. Read from score the melody of a transposing instrument in the correct sounding key/register
3. Transpose an accompaniment

Sight reading and score reading

4. Sight read piano music or accompaniments to art songs or instrumental solos
5. Sight read solo vocal or instrumental part together with the piano accompaniment
6. (a) Sight read four-part open score using modern G or F clefs; (b) Read four-part open score using alto clef, with score provided 48-hours prior to the exam
7. Advanced score reading from a full orchestral score. May be prepared

Performance

8. Perform a prepared piano composition or accompaniment. Voice majors may choose a song accompaniment. Woodwinds must perform an accompaniment appropriate to the area of performance. Accompaniments must be approved by Secondary Piano.
9. Play a prepared keyboard composition or accompaniment with 48 hours preparation (chosen by Secondary Piano Program). For Woodwinds and Voice, an accompaniment will be chosen appropriate to the student’s area of performance.
10. Play national anthems: The Star-Spangled Banner in A-flat and America (“My Country ’tis of Thee”) in F, with proper tempo and pedaling

Technique

11. Scales and arpeggios (from memory, with both hands simultaneously; scales in 16th notes at least 48 to the quarter, arpeggios in triplets at 48 to the quarter)
    • All major and harmonic minor scales, 4 octaves
    • All major and minor arpeggios, 3 octaves
12. Vocalise exercises

The following works are all taken from Vol. 17, Music for Millions: Easy Classics to Moderns, edited by Denes Agay. This book is available from the TIS bookstore. Pieces not listed below should be verified at the Secondary Piano Office for acceptability.

Acceptable

The following pieces are suitable for items N1 or N2 of the undergraduate proficiency requirements, or item 8 of the graduate proficiency requirements:

• Kabalevsky, Dmitri
  • In the Country, p. 147
  • Scherzo, p. 146
  • Toccatina, p.140
• Köhler, Louis
  • Chromatic Polka, p. 102
• Kullak, Theodor
  • Cradle Song, p. 86
• Miakovsky, Nicolas
  • Fugue in Classic Style, p. 126
• Prokofieff, Serge
  • Tarantella, p. 132
• Schubert, Franz
  • Four Ländlers, p. 77 (number 4, or any other two)
  • Waltz in B Minor, p. 70
• Tchaikovsky, Peter
  • Reverie, p. 110
• Villa Lobos, Heitor
  • Circle Dance, p. 150
  • Constante, p. 149

Minimally acceptable

The following are all pieces which are minimally acceptable. The examiners will expect a very polished, up-to-tempo performance of these pieces.

• Clementi, Muzio
  • Sonatina in C, p. 66 (first or third movement)
• Schmitt, Jakob
  • Sonatina, p. 62
• Schubert, Frank
  • Allegretto, p. 78

Not acceptable

Finally, here are a few favorites which are not acceptable:

• Bach, J. S.
  • Minuet in G, p. 13
  • Musette in D, p.15

If you wish to perform a piece not listed above, please check at the Secondary Piano Office (East Studio Building Room 204) to verify its acceptability well before the proficiency test. We love to answer all proficiency questions.

• C. P. E. Bach: Sonata in G, H. 550, first or second movement
• J. S. Bach: Flute Sonata in E-Flat Major, BWV 1031, any of the movements
• Gaubert: Berceuse, play from beginning through C7 chord at cédez on p. 5
• Mozart: Andante in C (piano reduction by Boehm. You can stop where the opening flute melody returns.)
• Reinecke: Flute Sonata, Op. 167 (third movement: Andante tranquillo. You can stop at the Molto vivace.)

• Albinoni: Concerto, 1st mvt.
• Bach: Cantata # 82 “Ich Habe Genug” (Rearick arrangement, mm. 1-35)
• Bach: Cantata #156 Sinfonia, mm. 1-20 (Rearick arrangement)
• Bach: Siciliano
• Bartok: Three folksongs from the County of Csik (#1)
• Brahms: Violin Concerto mm. 1-32
• Fiocco: Arioso
• Franck: Piece V
• Handel: Sonata 1, Adagio (Belwin-Mills)
• Poulenc: Sonata, Elegie
• Shostakovich: Symphony No. 1, Lento (opening to rehearsal 1)

• Debussy, arr. Périer: Le Petit Negre
• Saint Saëns: 1st mvt. of Sonata (1st 3 pages, to 9 mm after rehearsal 1)
• Jeanjean: Arabesques, from “Livelier,” m. 27 through m. 90 (before a tempo)

• Charles Avison: Sonata in F (two movements) (Oxford)
• J. S. Bach: Two Minuets (from Classical Album/Pub B&H)
• Franz Berwald: Concert Piece (Musica Rara)
• Marcel Bitsch: Concertino (Leduc)
• Bizet: Entr’acte from Carmen (Classical and Romantic Pieces/Oxford)
• K-B Blomdahl: Liten Svit (two movements) (Edmon Sueca)
• Bourdeau: Premier Solo (Rubank)
• Eugene Bozza: Fantaise (Leduc)
• Michel Corette: Sonata in d minor (two movements) (SMH)
• Ferdinand David: Concertino (Rubank)
• Devienne: Sonata in F (two movements) (Musica Rara)
• Alvin Etler: Sonata (AMP)
• J. F. Fasch: Sonata in C (two movements) (Universal)
• Gabriel Faure: Piêce (Leduc)
• Heller: Sunset Song (Classical and Romantic Pieces/Oxford)
• Paul Hindemith: Sonate (Schott)
• William Hurlstone: Sonata in F (two movements) (Emerson)
• J. A. Kozeluh: Concerto in C (International)
• Marcello: Sonata in a minor (International)
• Mozart: Concerto (Bärenreiter)
• Rachmaninoff: Vocalise (International)
• Saint-Saëns: Sonate (three movements) (Durand)
• Vivaldi: Concerto in a minor (Ricordi)
• Vivaldi: Sicilienne (Classical and Romantic Pieces/Oxford)

Most of the following pieces can be downloaded from IMSLP/Petrucci Music Library or found in the music library.

• Haydn: She never told her love
• Haydn: My Mother bids me bind my hair
• Haydn: Piercing Eyes
• Mozart: Abendempfindung
• Mozart: Dans un bois solitaire
• Schubert: An die Nachtigall, (D.497)
• Schubert: Lied der Mignon (Nur wer die Sehnsucht kennt), D.877, nr. 4
• Schubert: Der Neugierige (Nr. 6 from Die schöne Müllerin, D.795)
• Schubert: Gefrorne Tränen (Nr. 3 from Winterreise, D.911)
• Schumann: Marienwürmchen (Op. 79, nr. 14)
• Brahms: Dein blaues Auge
• Brahms: Feldeinsamkeit
• Wolf: Das verlassene Mägdelein (from Mörike Lieder)
• Berlioz: Villanelle (No. 1 from Les Nuits d’été) - starting at “Loin, bien loin—3^rd verse
• d’Indy: Madrigal
• Fauré: Adieu (Nr. 3 from Poème d’un jour)
• Fauré: Après un rêve
• Fauré: Lydia
• Chausson: Le Charme
• Chausson: Hébé
• Hahn: Si mes vers avaient des ailes
• Debussy: Romance
• Debussy: Beau soir
• Giordani: Caro mio ben
• Caldara: Come raggio di sol

The collaborative piano department administers its own exam. The exam may be repeated as many times as necessary to pass. The exam will be administered at least once a semester by the Collaborative Piano department, with results to be emailed to the Music Graduate Office once the student has passed the exam.

Requirements

1. Read from score the melody of a transposing instrument in the correct sounding key/register
2. Sing and play solo vocal part together with the piano accompaniment, with score provided 48- hours prior to the exam
3. Sight read four-part open score using modern G or F clefs

The guitar department administers its own exam (called the Guitar Fretboard proficiency exam), which students take on guitar. The Guitar Fretboard proficiency exam is normally offered every semester on Monday during the week before finals week. The exam may be repeated as many times as necessary to pass.

Requirements

1. Transpose a melodic line (at sight) to any key (up to a 4th away from the original key.)
2. Transpose an accompaniment to any key. A moderately slow tempo must be maintained.
3. Sight read a solo vocal or instrumental part, together with the piano accompaniment. (Any moderately easy instrumental solo or art song where the melody is independent of the accompaniment.) Melody must be accurate and all essential harmonies represented.
4. Improvise a simple accompaniment to a given melody, with or without chord symbols given. (Simple blocked chords are not acceptable.) Some melodies may require secondary chords or secondary dominants.
5. Chord progression formulae: These will be written out and are to be played in any key except “C”. (Good voice leading is mandatory.)

In the harp department, students can choose to take the exam on either harp or piano. Students will schedule an exam with Elzbieta Szmyt, usually at the beginning of the final semester or sooner.

Requirements for proficiency taken on piano

• Prepare in advance one of the following pieces:
  • Mendelssohn's Song without Words No. 9
  • One selection from Debussy's Children's Corner
  • One of the Chopin Preludes
• Play, by memory, one of the Bach preludes (from Well-Tempered Clavier)
• Be prepared to play four octave scales and arpeggios up to four sharps and flats.

Requirements for proficiency taken on harp

Prepare in advance the following pieces:

• Faure: Cantique de Jean Racine (piano accompaniment)
• Corelli: Adagio from 1st Sonata for Violin and Piano (piano part played on harp)
• Play, by memory, one of the Bach preludes (from Well-Tempered Clavier).

Historical Performance students are required to take the Keyboard Proficiency Exam on harpsichord or lute in place of the piano proficiency exam, which does not satisfy the Historical Performance requirement. The proficiency requirement ensures that every student acquire basic skills in addition to a fundamental understanding of continuo styles.

All undergraduates (except harpsichord and lute majors) have the option of taking Y110 (2 credits) in harpsichord or lute until the Proficiency Examination is passed (see below.)

Master’s students (except harpsichord and lute majors) can take Y810 as part of their Other Required Credits (degree credits) or Y710 (non-degree credits) to get instructions to pass the Proficiency Exam.

In either case, students will work on continuo playing and solo repertoire. The required components of the proficiency exam can be taken any time, by appointment, but students are encouraged to begin the process during their first semester of study. At the beginning of fall semester each year, we will offer placement evaluations so that each student can receive counsel about how best to prepare for successful completion of the proficiency exam requirements.

Keyboard and Plucked Instrument Proficiency Exam

The exam consists of the following:

1. One prepared solo from late sixteenth to mid-eighteenth century
2. One solo piece to be prepared in 48 hours
3. Accompaniment of a piece with an unrealized figured bass, prepared in advance
4. Accompaniment of a piece with an unrealized figured bass, prepared in 48 hours

• Lute students: Please confer with Professor Nigel North for guidance about appropriate repertoire.
• Harpsichord students: Please confer with Professor Elisabeth Wright for guidance about appropriate repertoire.

Page examples are from Stylistic II/V7/I Voicings for Keyboardists by Luke Gillespie (available online or from Professor Gillespie or Jazz Piano AI; may be available at TIS Books).

ii/V7/I Voicings

Be able to play the following progressions: key circle (p. 18), half steps ascending/descending (p. 21), whole steps ascending/descending (p. 22). Practice different rhythms, focusing on placing the “dotted quarter/eighth note” rhythm on different beats of the measure, articulating long-short and short-long rhythmic patterns. Play all requirements at a minimum of quarter note = 120.

Requirements

1. Voicings
   • Dropped note voicings (p.29 Ex.1a, 1c)
   • Dropped note altered voicings (all of p.34)
   • Rootless voicings for both hands (p.36 Ex.1a, b, or c; p.37 Ex.3a, b, or c)
   • Rootless voicings for left hand (p.37 Ex.5, 6)
   • Rootless altered voicings (p.38 Ex.7-10; p.39 Ex.14-17)
   • Red Garland voicings (pp.40-41, all examples)
   • Minor ii-V7-I voicings (p.44 Ex.3a, 3d; p.45 Ex.5a, 5c; p.49 Ex.13a, 14b, 14f; p.51 Ex.15a)
   • Tritone substitutions (p.54 Ex.3b, 6)
   • Tritone ii-V7 substitutions (p.58: D-7/G7/Ab-7/Db7/C in all keys, using root & rootless
   • voicings)
   • Minor third substitutions (p.59: D-7/G7/F-7/Bb7/C in all keys, using root & rootless
   • voicings)
   • “So What” voicings (p.65 Ex.1; p.66 Ex.6; p.67 Ex.16)
   • Contrapuntal voicings (p.78 Ex.14; p.79 Ex.16a; p.82 Ex.23a; p.83 Ex.25a
   • Bitonal voicings (p.94 Ex.1 in all keys)
   • Latin comping pattern
   • Blues voicings (all keys)
2. Repertoire (play melody with left hand shell voicings and rootless voicings; comp with both handed root and rootless voicings; improvise on changes)
   • Afternoon in Paris
   • Ask Me Now
   • Autumn Leaves (12 keys)
   • Blues for Alice
   • Body and Soul
   • Confirmation
   • Donna Lee
   • Groovin’ High
   • Half Nelson
   • Just Friends (12 keys)
   • Maiden Voyage (using “So What” voicings)
   • ‘Round Midnight
   • Satin Doll (12 keys)
   • Stablemates
   • Tune Up
   • Well, You Needn’t (Monk and Miles)
   • Blues changes, comping, soloing (12 keys)
3. 24-hour piece
   • You will be given a new piece to prepare (melody in RH, chords in LH, and two-handed comping) the day before your test. The tune must be memorized.

Page examples are from Stylistic II/V7/I Voicings for Keyboardists by Luke Gillespie (available online or from Professor Gillespie or Jazz Piano AI; may be available at TIS Books).

Voicings

Be able to play the following progressions: key circle (p. 18), half-steps ascending/descending (p. 21), whole steps ascending/descending (p. 22). Practice the dotted quarter/eighth note rhythm that you learned in class, articulating long-short and short-long rhythmic patterns. Play all requirements at a minimum of quarter note = 100.

Requirements

1. Voicings
   • Bud Powell shell voicings (p.14, Ex. 6a & 6b)
   • Dropped note voicings (p.29, Ex. 1a & 1c)
   • Dropped note altered voicings (p.34, Ex. 13a-c, 14a-c)
   • Rootless voicings for both hands (p.36, Ex. 1a, b, OR c; p.37, Ex. 3a, b, OR c)
   • Rootless voicings for left hand (p.37, Ex. 5 & 6)
   • Rootless altered voicings (38, Ex. 9-10; p. 39, Ex. 16-17)
   • Minor ii/V7/I voicings (p.43, Ex. 1a)
   • Tritone substitutions (p.54, Ex. 3b)
   • Tritone ii-V7 substitutions (p.58: D-7/G7/Ab-7/Db7/C in all keys, using any voicings from list)
   • Minor third substitutions (p.59: D-7/G7/F-7/Bb7/C in all keys, using any voicings from list)“So What” voicings (p.65, Ex.1)
   • Latin comping pattern
   • Blues voicings (F, Bb, Eb, Ab) – choose either inversion for each key
2. Repertoire
   • Group A – play melody in RH with shell voicings with LH; two-hand comping (choose voicings from list above)
     • Satin Doll
     • Tune Up
   • Group B – two-hand comping only (you may choose any voicings from list above)
     • Afternoon in Paris
     • Autumn Leaves
     • Blues for Alice
     • Groovin’ High
     • Half Nelson
     • Maiden Voyage (using “So What” voicings)
3. 24-hour piece
   • You will be given a new tune to prepare (melody in RH with chords in LH, and two-handed comping) the day before your exam. You may choose any voicings from the list above. Memory not required.

Keyboard proficiency exams for music theory majors are heard by the theory faculty near the end of each fall and spring semester. Theory majors are no longer required to complete a keyboard hearing for the secondary piano faculty.

Specific requirements are listed below. More detailed descriptions and sample materials are available from the department chair. The specific materials to be played for items 1–4 will be available in the theory office 48 hours before the exam.

Portions of the exam may be retaken as needed in later semesters, but students are encouraged to complete the entire exam by the end of the second semester of enrollment. When the exam has been completed successfully, the theory department will report the results to the Music Graduate Office.

Requirements

Prepared items

(specific materials given 48 hours in advance)

1. Play at the piano a four-part open score including alto clef. This is typically a relatively homophonic quartet or string choir part from an orchestral score.
2. Realize at the piano an extended and/or somewhat complex figured bass example. A melody line may or may not be given. Good voice leading and appropriate spacing and doubling will be expected.
3. Harmonize a chorale melody in appropriate four-voice chorale style.
4. Harmonize a common-practice melody with slow harmonic rhythm (e.g., a melody by Haydn or Beethoven), using a chordal accompaniment (probably not one chord for each melody note) or an accompaniment in another keyboard texture as appropriate.

Unprepared items

1. Play at concert pitch single lines written for B-flat, A, and F instruments.
2. Realize at the piano a short and fairly simple figured bass example. Good voice leading and appropriate spacing and doubling will be expected.
3. Play chord progressions written out in Roman numerals, in both major and minor keys. These should be played in block chord texture, with good voice leading, spacing, and doubling.
4. Demonstrate at the piano (in block chords or another keyboard texture) a modulation from any specified key to any other key, using a pivot chord.

Piano component

Students will work with their applied piano teachers as needed in order to prepare for the piano component of the keyboard proficiency exam. No later than the day before juries during each of the first four semesters, students must complete the piano component requirement in a private session with their major applied organ teacher. Semester requirements may be completed earlier than stipulated at any time throughout the student’s first four semesters.

Freshman year: first semester

• All major and harmonic minor scales, four octaves, parallel motion. Play scale in sixteenth notes with quarter = metronome minimum 92. Emphasis should be on the development of a good tone through the proper application of weight behind the finger, accuracy, a fluent, relaxed technique in which the wrist remains supple.
• Arpeggios on the Dominant Seventh Chord in 7 Keys, in sixteenth notes with quarter = metronome 66‐76

Freshman year: second semester

• All major and harmonic minor scales, four octaves, in thirds and tenths. Play scale in sixteenth notes with quarter = metronome minimum 92.
• Arpeggios on the Diminished Seventh Chord in 7 Keys, in sixteenth notes with quarter = metronome 66‐76

Sophomore year: first semester

• All major and harmonic minor scale in contrary motion. (two ascending octaves in parallel motion, two in contrary, and two in descending parallel motion) in sixteenth notes with quarter = metronome minimum 92.
• Arpeggios on the Triads in 24 keys, in sixteenth notes with quarter = metronome 66‐76

Sophomore year: second semester

• All major and harmonic minor scales, four octaves, in sixths. Play scale in sixteenth notes with quarter = metronome minimum 92.
• P 100 repertoire: organ majors are required to complete two contrasting solo piano pieces each semester, one of which must be a work of Johann Sebastian Bach or comparable Baroque piece, and one vocal or choral accompaniment, chosen by the organ faculty.

Organ component

This portion of the keyboard proficiency is satisfied by the successful completion of MUS C401-404.

1. Hymn playing:
   1. Sight-read a hymn, playing the hymn as written.
   2. Play the melody on a different manual, as a solo line (with accompaniment).
   3. Transpose a hymn at sight, up or down a major 2nd or minor 2nd.
   4. Play prepared hymn of your choice incorporating the following:
      1. Freely composed or improvised introduction;
      2. First stanza as written;
      3. Second stanza with tune played on another manual as a solo
      4. Modulatory bridge (composed or improvised )to key up a minor 2nd;
      5. Final stanza with a free accompaniment (original composition or improvised)
2. Sight-read a solo vocal part with accompaniment. (i.e., play a singer's part and provide accompaniment).
3. Sight-read an anthem.
4. Harmonize a given melody in four-part harmony.
5. Add a second voice (improvise) below or above a hymn melody.
6. Modulate to G Major from a key of a 3rd, 4th, 5th, or 6th removed.
7. Sight-read a four-part open vocal score.

A Keyboard Skills Diagnostic Exam will be given to all incoming M.M. and D.M. students no later than the week before the student’s first semester of degree work. It will be in two parts: Keyboard Harmony and Service Playing Skills.

Keyboard Harmony Exam

1. Transpose (at sight) a hymn up or down an interval no greater than a major 2nd.
2. Realize a figured bass in four-part texture.
3. Modulate to G Major from any given key.
4. Given fifteen minutes at a keyboard to prepare, provide a modulatory bridge (written or improvised) of 30-45 seconds between two hymns.

Those requiring remedial work in this area will be required to enroll in C504, Improvisational Skills.

Service Playing Exam

Students will be notified of the repertoire to be played not later than one month prior to the exam. 

1. Reduction/Adaptation of given Choral/Orchestral Movement.
2. Console conduct a given anthem.
3. Play a given hymn with an original introduction, all stanzas articulated and registered in a manner informed by the text. Include a modulatory bridge to an original free harmonization on the final stanza.
4. Sight-read a four-part open vocal score.
5. Sight-read a contrapuntal passage of organ music with pedals.