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Topic: what kind of stuff were you playing when you were getting into college?  (Read 1932 times)

Glissando

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I mean, getting into college to study piano.
I'm trying to figure out how much better I need to get in the 2 years I have left before I finish high school and go out for college scholarships for piano.
Thanks!

Offline djbrak

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It depends what college you are getting into and what degree you are seeking.
Usually they have requirements for specific degrees, for example:
Forida International University website:https://www.fiu.edu/~music/keyboard/keyboard%20audition%20info.htm#piano
(Piano Performance majors)
I. Technique

A. All major and harmonic minor scales and arpeggios, four octaves

II. Repertoire

A. Baroque: A Prelude and Fugue from J.S. Bach Well-Tempered Clavier
B. Classical: A movement from a Classical Period Sonata (e.g. Mozart or Beethoven)
C. Romantic: A substantial composition from the works of such composers as Chopin, Schumann, Liszt, Brahams and Rachmaninoff
D. 20th Century: One work from the 20th Century Repertoire

III. Sight-reading

The applicant must show a certain proficiency in sight-reading. The basic competency level consists of simple homophonic pieces in close position.

-Ren
"If music be the food of love...sing on sing on!"

Offline will

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Bach Prelude and Fugue in A Flat from Bk. 1 of WTK
Beethoven Pathetique Sonata 2nd and 3rd movements.
Chopin Waltz in E minor  (post.)
Debussy Prelude 1. Bk. 1

Check out the websites of Universities in your area.


Glissando

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Thanks guys.
Well I looked on the Uni I want to get into site, and their requirements are:

Any work by Bach, any movement from a sonata by Haydn, Mozart, Beethoven or Schubert, and any contrasting work from the Romantic, Impressionist, or 20th century periods.

So apparently I have the skillz to get in right now.
That is really weird. :-\
BUT I'm no-where near good enough to get a scholarship, which is what I want to get, so I still have quite a bit of work cut out for me.
Anyone know how good you have to be to get a scholarship to a state school?

Offline RappinPhil

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Actually Glissando, it says "A Prelude and Fugue from J.S. Bach Well-Tempered Clavier...not just any Bach piece.

Glissando

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That's not what the uni site I went on said- that's the one from Florida that dj posted.
:)
Besides, I play stuff from that book...

Offline RappinPhil

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Oops, my bad.  :P

Offline SteinwayTony

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Quote
II. Repertoire

A. Baroque: A Prelude and Fugue from J.S. Bach Well-Tempered Clavier
B. Classical: A movement from a Classical Period Sonata (e.g. Mozart or Beethoven)
C. Romantic: A substantial composition from the works of such composers as Chopin, Schumann, Liszt, Brahams and Rachmaninoff
D. 20th Century: One work from the 20th Century Repertoire

Tack on a "virtuosic etude," and you've met the requirements for Juilliard.  All the conservatories request essentially the same "staples" in the repertory, which is disappointing because the miscellaneous recital pieces can easily become ignored.  Luckily for me, I was able to substitute the Wanderer Fantasy for a classical sonata in my conservatory auditions, but had I chosen the Mendelssohn F-sharp minor Fantasy, I may have had to rush to prepare a Beethoven Sonata.

Offline Motrax

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Most university music programs or conservatories will ask seperately for a list of the most advanced repertoire that you've played. The auditions themselves ask for staples in order to guage your abilities in a similar fasion as standardized tests. In most cases, you will play works that at least two or three people on the audition panel will have played themselves or at least know intimately. To get into a conservatory, you have to play in a way that makes an old work sound new and beautiful in it's own right (ideally... this probably isn't actually the case very often). But since you want a scholarship, you should be prepared to play what you're playing in a way that you'll stand out in a very good way.

In any event, good luck!  :)
"I always make sure that the lid over the keyboard is open before I start to play." --  Artur Schnabel, after being asked for the secret of piano playing.

Offline pianowelsh

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 ::) In Britain. Most colleges ask for a MINIMUM of Grade 8 distinction. Which is roughly translated as, A prelude and Fugue of Bach (or 2.3movements from a partita) or something of that standard, A classical sonata first or last movement (some boards ask for a complete sonata) &  A substancial Romantic or 20th C piece. To get the 'distinction' these need to be played to a high standard and it is recieved trad that they should always be memorized for auditions. Not all the colleges have the same audition requirements (all expect gd8 as prerequisite), some colleges just ask for two contrasting pieces and a selection of scales (the choice of repertoire is yours - my college does this and in my year we had everything from 2 moderate debussy preludes through to Appassionata first movement and Balakirevs Islamey so just because it looks easy doesn't mean the standard will be less). Colleges lke the RCM and Guildhall have a prescribed list which you select from. RAM just has a time limit and is essentially a short recital from which they will select. The paramount thing though is the quality of the programme you present NOT the difficulty level of the pieces necessarily. They look for scope for potential development.   To get a scholarship at RAM the minimum level they ask for is ABRSM dip which is a balance porg of 45 mins and includes works like Chopin Berceause, Brahms op79/2 Rhapsody Ravel Sonatine, Pathetique sonata etc - and they look for a High mark in this exam to even be considered for a scholarship. The truth of the situation is that in order to get a scholarship you probably need a couple of 45 min progs at this level and a fair amount of performance experience.
For more information about this topic, click search below!

Piano Street Magazine:
A Life with Beethoven – Moritz Winkelmann

What does it take to get a true grip on Beethoven? A winner of the Beethoven Competition in Bonn, pianist Moritz Winkelmann has built a formidable reputation for his Beethoven interpretations, shaped by a lifetime of immersion in the works and instruction from the legendary Leon Fleisher. Eric Schoones from the German/Dutch magazine PIANIST had a conversation with him. Read more
 

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