Music Proficiency and Challenge Exams

Thursday, August 21, 2014

  • Piano/Keyboard Proficiency Exam*
    • 9:00am - Noon  -   PAC 244
  • Theory Placement Exam*
    •  1:00pm - 3:00pm  -  TBA
  • Aural Skills Exam*
    •  3:00pm - 4:00pm  -  PAC 112

* Note: You are required to take the theory, aural skills, and piano proficiency exam unless you plan to take Music 101, Music 103, and Music 105. These exams are for evaluation and course placement purposes for those with experience.

What To Know In Order To Challenge Or Be Placed In:

MUSC 101: Theory I

  • Identification of pitches (treble, bass, and C-clef; octaves)
  • Major/Minor scale identification
  • Major/Minor key signature identification
  • Interval identification (including compound and inversion)
  • Durational symbols identification
  • Time signature identification (Simple/Compound)
  • Triads identification
  • Seventh chords identification
  • Diatonic triads in Major/Minor identification
  • Diatonic seventh chords in Major/Minor identification
  • 4-part harmonic analysis
  • Root position 4-part writing rules

MUSC 102: Theory II

  • Parallel sixth chord identification
  • Identification of cadential, passing, and pedal six-four chords
  • Identification of cadences
  • Identification of non-chord tones
  • Harmonic analysis (4-part, various textures) with first and second inversion triads and seventh chords
  • First and second inversion 4-part writing rules

MUSC 201: Theory III

  • Voice-leading considerations (seventh chords)
  • Secondary dominant identification
  • Secondary leading-tone identification
  • Modulation identification
  • Harmonic analysis (4-part, various textures) with triads/seventh chords including modulations

MUSC 202: Theory IV

  • Borrowed chord identification
  • Neopolitan chord identification and function
  • Augmented sixth chord identification and function
  • Altered chord identification
  • Chord extension identification (9, 11, 13)
  • Mode identification
  • Alternate scale identification
  • Pandiatonicism identification
  • Twelve-tone and serial row analysis and creation (including permutations)
  • Harmonic analysis (4-part, various textures) with triads/seventh chords including modulations

MUSC 103: Aural Musicianship I

  • Prepare, and sight-sing major and minor melodies such as those found in Ottman chapters 2-5
  • Take dictation of melodies similar to those in Ottman chapters 2-5
  • Aurally identify all intervals - ascending, descending, and harmonic.
  • Aurally identify qualities of triads
  • Perform rhythms using division of the beat in simple and compound meter signatures
  • Take dictation of rhythms using division of the beat in simple and compound meter signatures
  • * Ottman, Robert, Music for Sight Singing (6th edition)

MUSC 104: Aural Musicianship II

  • Take dictation of melodies at least as difficult as Ottman, 6th ed. #398 (perhaps shorted by leaving out the 2nd line).
  • Take dictation of rhythms at least as difficult as Ottman 6th ed. #494, 503, 504, 506, 517 (perhaps without the rests), 522
  • Take harmonic dictation, writing outer voices and Roman Numerals, of chord progressions such as:
    • I V6 I IV6 I6 ii6 V6/4-5/3 I (sorry about the problems notating Cadential 6/4)
    • I IV6 ii6 V6/4-4/2 I6 IV V6/4-5/3 I
    • I ii6 V4/2 I6 IV V6/4-5/3 vi

Students will learn to “audiate” a musical score.  By the end of the course students should be able to:

  • Perform rhythms at least as complex as Ottman 6th ed. #s 501-515, 519-540
  • Prepare singing melodies at least as difficult as Ottman #427
  • Sightsing melodies at least as difficult as Ottman #305
  • * Ottman, Robert, Music for Sight Singing (6th edition)

MUSC 105: Beginning Piano I

  • Technique:
    • Major and harmonic minor scales beginning on any white key, 1 octave, hands together;
    • Chromatic scale beginning on any key, 2 octaves, separate hands;
    • Major and minor arpeggios beginning on all white keys, 2 octaves, hands alone;
    • Appropriate use of the damper pedal.
  • Chords and Chord progressions:
    • Major/minor/diminished/augmented triads on any note, hands together in root position;
    • Primary Chord Progressions in all Major and minor keys, hands together.
  • Harmonization:
    • Ability to provide a two-hand accompaniment to pieces using primary chords;
    • Ability to improvise the L.H. accompaniment in various accompaniment styles (e.g. the Waltz Bass, the Alberti Bass or the March Bass).
  • Sight-reading:
    • Pieces at the level of Bartok's Mikrokosmos, Vol. I.
  • Solo Repertoire:
    • Pieces at the level of Kabalevsky's “A Little Joke.”

MUSC 106: Beginning Piano II

  • Technique:
    • All Major Scales, parallel motion, 2 octaves, hands together;
    • Harmonic minor scales starting on any white key, parallel motion, 2 octaves, hands together;
    • Selected contrary motion Major scales, 2 octaves, hands together;
    • All Major and minor arpeggios, 2 octaves, hands together;
    • Continued use of the damper pedal.
  • Chords and Chord Progressions:
    • Inversions of all types of triad chords;
    • Various seventh-chord qualities in blocked and broken positions;
    • Secondary chord progression of I-vi-IV-ii6-I6/4-V7-I in all Major keys.
  • Harmonization:
    • Ability to provide a two-hand accompaniment to pieces using the inversions of primary & secondary chords and seventh-chords;
    • Ability to improvise the L.H. accompaniment in various accompaniment styles (e.g. the Extended L.H. Accompaniment).
  • Transposition:
    • Ability to transpose folk song arrangements into nearby keys.
    • Sight-reading:
    • Pieces at the level of easier pieces from Kabalevsky's “Twenty-Four Pieces for Children,” Op. 39.
  • Solo Repertoire:
    • Pieces at the level of J. S. Bach's Minuet in G; Clementi's Sonatina in C; or Kabalevsky's Toccatina