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Twelve Nocturnes and a Waltz

Critically-acclaimed American pianist Robert Henry presents his highly anticipated debut recording “Twelwe Nocturnes and a Waltz“. Released in 2010, this recording is a compilation of some of the world’s best loved melodies, featuring Nocturnes of Chopin, Fauré, Grieg, Liszt and many others, including the world premiere of Alexei Stanchinsky’s forgotten Nocturne from 1907. Read more >>

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Author Topic: -- PREPARING FOR COLLEGE, SCHOOL OF MUSIC -- CURRICULUM & REPERTOIRE ---  (Read 320 times)
pianoplayerstar
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« on: October 24, 2017, 02:52:31 PM »

Friends:

What would you recommend for CHECKLISTS, BOOKS, & REPERTOIRE for incoming Freshman auditions for entering undergrad music school?

1) Anyone have a CHECKLIST of absolute must-know's & to-do's for entering Classical Piano Performance/Composition majors?

ie. "counterpoint", "transposition", ....

2) Which BOOK(s) is most recommended as MUSTS?

3) And which REPERTOIRE of music is suggested for Auditions?

... one could simply look to the Royal Conservatory (Canada) or the simple ABRSM, but I'm looking for something that is STREAMLINED as to the "MUST-KNOWS" as to A CHECKLIST, BOOKS, AND REPERTOIRE.

Thank you -



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visitor
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« Reply #1 on: October 24, 2017, 06:51:52 PM »

each school will have their own requirements and standards
generally you will be required to\ these are usually the musts:

take a theory proficiency and placement exam = for this a solid grasp of theory as set out in Tonal Harmony by Koska and Payne (ie 8th edition is what is probably most current, many schools build their theory sequence on this book, we did as we had 5 semesters of Theory ie I->V all built on this and then expanded on)
take an aural proficiency and placement exam so far as books below those by Bach, books of Mozart, Beethoven, Haydn sonatas, etc. see below

audition- firm grasp of to the school's specific standards/or historically successful standard
baroque works such as those of the WTC I and WTC II by Bach, suites by Handel, sonatas of Scarlatti
classical sonatas and themes with variations and fantasies by Mozart, Bethoven, Haydn
Romantic large scale works such Chopin Ballades, Brahms Rhapsodies, Liszt Paraphrases, etc
early 20th century including but not limited to impressionist works such as preludes of Debussy books  I and II
post impressionist early Modern such as Prokofiev, Kabalevsky, Copeland, Barber, etc.
Contemporary classical such works by Bernstein (ie Anniversaries) , Carl Vine (ie sonatas, bagatelles).

be able to sight read to sufficient standard  something from late intermediate through early advanced grade, be able to harmonize, technique patterns of scales in parallel octave (for admission , once in the variants kick in) for major, minor, harmonic minor, melodic minor to 4 octaves , arpegios of major and minor triads and inversions in parallel octave to 4 octaves, broken chords of major and minor triads to 4 octaves.

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rachmaninoff_forever
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« Reply #2 on: October 25, 2017, 04:50:42 AM »

Look at the audition requirements for the schools you're interested in
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quantum
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« Reply #3 on: October 25, 2017, 10:50:02 PM »

In addition to the above:

Know about the pieces on your audition program.  It does not look good if you pick a Bach WTC P&F and can not answer basic questions on who Bach was, what time period he lived in, what was the significance of the WTC, can you name the main elements of a fugue.  You don't have to give answers at the level a graduate researcher would give, but you need to know something about the music.  

Prepare for a mini viva voce at your performance audition, even if one is not explicitly stated.  

Brush up on musicianship, and that includes activities away from the piano - like rhythmic tapping, transcription and singing.  Yes, singing.  You want to go to music school for any instrument, you will be learning how to sing, no getting around it.  

For composition, prepare a portfolio.  It could be scores, performances, recordings, etc.  Don't just bring a shoebox of stuff and dump it in front of the jury.  You need to show you put effort into assembling a presentation of your creative work.  

Not everyone gets accepted into undergrad music with complete knowledge of essential elements, that is what first year foundations courses are for.  However, you do have to show you have the potential to succeed in the program and have a certain level of competence.  
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Made a Liszt. Need new Handel's for Soler panel & Alkan foil. Will Faure Stein on the way to pick up Mendels' sohn. Josquin get Wolfgangs Schu with Clara. Gone Chopin, I'll be Bach
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« Reply #4 on: October 28, 2017, 03:48:22 PM »

Would you advise GRADES as important?
.. or not at all
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quantum
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« Reply #5 on: October 28, 2017, 10:41:45 PM »

Schools vary in their weighting on grades.  Some may put greater importance on academics, while others on performance skill, and yet others take the holistic approach and look at the package a candidate brings in their application.  
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Made a Liszt. Need new Handel's for Soler panel & Alkan foil. Will Faure Stein on the way to pick up Mendels' sohn. Josquin get Wolfgangs Schu with Clara. Gone Chopin, I'll be Bach
rachmaninoff_forever
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« Reply #6 on: October 28, 2017, 11:20:44 PM »

Would you advise GRADES as important?
.. or not at all

Grades usually don't matter at all. 

Unless you're tryna go to Ivy League or northwestern or something
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visitor
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« Reply #7 on: October 29, 2017, 01:23:22 PM »

Like rach forever said. It might
If the music program you apply to is part of an academically competitive program at a top tier university then it absolutely matters. Because you must go first meet the university entrance std ie Shepard school of music at Rice university you can
audition well but they won't extend an offer if the university admissions screening as a general student doesn't
It's a two part admission there, johns Hopkins Peabody,  top Ranked public schools like university of Texas,  cal State Berkley etc, they need to know You can not only handle the academic core but that you are the caliber student they want that enriches the learning environment at the school

As for other more pure conservatory type places it can vary but you certainly need to be better than decent
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pianoplayerstar
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« Reply #8 on: October 30, 2017, 03:41:38 PM »

True or False? (or Please Elaborate)

Julliard - Grades Don't Matter - It's ALL about PERFORMANCE, hands down

Yale - Grades Matter - Performance is Irrelevant compared to schools like Julliard

Harvard/Berkeley - Same as Yale

Princeton (if they have one) - Same as Yale

UCLA/USC/Any other Schools in CA - Same as Yale

Bottom Line:  WHEN SEEKING TO GET ADMITTED TO ONLY THE BEST, AKA, 'JULLIARD', DO GRADES ACTUALLY REALLY MATTER?

yes/no/or/..let me explain" ?
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rachmaninoff_forever
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« Reply #9 on: October 30, 2017, 06:35:57 PM »

True or False? (or Please Elaborate)

Julliard - Grades Don't Matter - It's ALL about PERFORMANCE, hands down

Yale - Grades Matter - Performance is Irrelevant compared to schools like Julliard

Harvard/Berkeley - Same as Yale

Princeton (if they have one) - Same as Yale

UCLA/USC/Any other Schools in CA - Same as Yale

Bottom Line:  WHEN SEEKING TO GET ADMITTED TO ONLY THE BEST, AKA, 'JULLIARD', DO GRADES ACTUALLY REALLY MATTER?

yes/no/or/..let me explain" ?

For Juilliard as long as you pretty much graduate you're fine.

every school has like a minimum GPA requirement in order to get in regardless of program for people who want to go to school for sports or music performance  (like 2 something)

So to be safe just graduate with like a 3 or something.  It's not too hard and you'll have time to practice your audition repertoire.

ALSO...

Have you not asked your teacher about this?  They know you best and will tell you what schools best fit for you and which ones you're likely to get into
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« Reply #10 on: October 30, 2017, 08:18:17 PM »

Fyi since you keep saying Jules = best
It is among the very best, but honestly for undergraduate it doesn't matter as much as for masters degree, graduate artist diploma or DMA.
The teacher matters more I would say, also at many schools aka sleeper schools, there are teachers that are every bit as good or in some cases dare I say better in some Regards depending who you ask than at Jiliars. Many music programs in order to be competitive w the more famous conservatories have artists in residence that take.on the very best students, and trust me you can learn from a d be pushed every bit as hard as at Jules in some of These studios.
Dang Thai Son (Chopin comp winner) is AIR at a school in Canada last I read
Vladimir Viardo (cliburn winner and crazy lineage) and Joseph Banowicz , Krasimira Jordan (amd she tskes  many of her students ti Vienna Academy ofb Music in summers ) at schools Tx, and on and on, the studio matters more than the "school" in general, and actually away from glitz and glam, you can shine more and get more performance opportunities and more time w these incredible artists at these schools.
Oncce you graduate the school can matter a little more and getting an assistanship at said school almost even more so for the financial side of it
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pianoplayerstar
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« Reply #11 on: October 30, 2017, 09:27:08 PM »

What about the Chopin winners like Trifinov? and now that Cho guy?
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rachmaninoff_forever
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« Reply #12 on: October 31, 2017, 01:14:55 AM »

Fyi since you keep saying Jules = best
It is among the very best, but honestly for undergraduate it doesn't matter as much as for masters degree, graduate artist diploma or DMA.
The teacher matters more I would say, also at many schools aka sleeper schools, there are teachers that are every bit as good or in some cases dare I say better in some Regards depending who you ask than at Jiliars. Many music programs in order to be competitive w the more famous conservatories have artists in residence that take.on the very best students, and trust me you can learn from a d be pushed every bit as hard as at Jules in some of These studios.
Dang Thai Son (Chopin comp winner) is AIR at a school in Canada last I read
Vladimir Viardo (cliburn winner and crazy lineage) and Joseph Banowicz , Krasimira Jordan (amd she tskes  many of her students ti Vienna Academy ofb Music in summers ) at schools Tx, and on and on, the studio matters more than the "school" in general, and actually away from glitz and glam, you can shine more and get more performance opportunities and more time w these incredible artists at these schools.
Oncce you graduate the school can matter a little more and getting an assistanship at said school almost even more so for the financial side of it


Everything you said
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quantum
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« Reply #13 on: October 31, 2017, 03:16:39 AM »

Fyi since you keep saying Jules = best
It is among the very best, but honestly for undergraduate it doesn't matter as much as for masters degree, graduate artist diploma or DMA.
The teacher matters more I would say, also at many schools aka sleeper schools, there are teachers that are every bit as good or in some cases dare I say better in some Regards depending who you ask than at Jiliars. Many music programs in order to be competitive w the more famous conservatories have artists in residence that take.on the very best students, and trust me you can learn from a d be pushed every bit as hard as at Jules in some of These studios.
Dang Thai Son (Chopin comp winner) is AIR at a school in Canada last I read
Vladimir Viardo (cliburn winner and crazy lineage) and Joseph Banowicz , Krasimira Jordan (amd she tskes  many of her students ti Vienna Academy ofb Music in summers ) at schools Tx, and on and on, the studio matters more than the "school" in general, and actually away from glitz and glam, you can shine more and get more performance opportunities and more time w these incredible artists at these schools.
Oncce you graduate the school can matter a little more and getting an assistanship at said school almost even more so for the financial side of it


Absolutely.


Choosing a school is more about what you can get out of the program.  Name recognition only can take you so far.  You want to be able to continue learning and growing on your own after you graduate. 
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