A piano proficiency is required of all music majors.

There are 2 levels of proficiency:
Level II (completed at the conclusion of piano II)
and Level IV (completed at the conclusion of piano IV).
[Piano majors must complete a separate proficiency test. Please see Dr. Garcia for requirements.]

The following majors must reach level II:
BM-Music Studies (Woodwind, Brass, Percussion, String)
BM-Jazz Studies
BS-Sound Recording Technology
BA-Music

The following majors must reach level IV:
BM-Performance
BM-Music Studies (vocal)

The following requirements refer to the 2nd-semester proficiency exam and the 4th-semester proficiency exam. Students wishing to place into a higher level of class piano (but not test out of piano completely) should make an appointment with Dr. Bartz (see "proficiency exam" sign-up sheet on the door of room 120) in order to demonstrate the requisite level of piano competency.

Texas State University
Proficiency Exam Requirements
(Updated 12/08)


Second Semester Proficiency Exam:

(All page numbers refer to Piano for the Developing Musician, 6th ed. by Martha Hilley, on reserve in the library. You may check out the textbook for a short time in order to photocopy any relevant pages.)

Repertoire: choose from: To B or Not to B Flat (p. 224); Lemonade (pp. 232-233); Meditation (pp. 253-254); Early Spring (pp. 254-255); or Gigue (pp.256-258).

Technique: C, D, E, F, G, A, B major and minor scales (minors all three forms), two octaves, hands together; cadences (I  IV  I64  V7  I), with closest-position chords in the right hand, root of each chord in the left hand), starting in root position, first inversion, or second inversion.  The examiner will choose which key, which form of the minor scale (if applicable), and which starting inversion in the right hand for the cadence. (Scale fingering charts and cadence patterns study sheets available from Dr. Bartz).

Harmonization: p. 213 letter a, with right-hand melody, left hand in broken-chord style as indicated above the example. Chords that last less than two beats may be blocked. Follow all indicated inversions in the left hand precisely.

Improvisation: left hand plays the following chord progressions in closest position chords:

I  IV V7  vi  IV  ii  V7  I,       OR

i  VI  iiº  V  VI  iv  V7  i

Each chord lasts for one full measure. The first chord progression will be in either G major, A major or D major, and in either 4/4, 3/4 or 6/8. The second chord progression will be in either e minor, g minor, or d minor, and in 4/4, 3/4, or 6/8. The right hand will improvise two four-measure phrases over the chord progression that make sense with the chord progression. The examiner will choose which chord progression, which key, and which meter.

Sight reading: difficulty similar to p. 206 and pp. 237-238.

Transposition: you will be asked to transpose the sight reading example to another key.

Fourth semester proficiency exam:

(Materials referred to are available in a packet you can pick up from Dr. Bartz.)

Repertoire: a choice of several pieces of intermediate-level difficulty, available in the packet.

Technique: any major or minor scale, two octaves, hands together (minor should include all three forms); cadences in any of those keys (I  IV  I64  V7  I), with right hand closest-position chords and left hand root of each chord, starting in root position, first inversion, or second inversion); arpeggios in any of those keys, two octaves, hands together; and blocked chords moving up through the inversions from root position to the next root position and back down in both hands (i.e. going up root—1st inversion—2nd inversion—root position; then going back down 2nd inversion—1st inversion—root position). The examiner will choose which key, which form of the minor scale (if applicable), and which starting inversion for the cadence. (Scale/arpeggio fingering charts and cadence/chord patterns study sheets available from Dr. Bartz).

Harmonization: Tchaikovsky, Symphony no. 5, in a two-handed accompaniment style, where right hand plays the closest position chords in a broken-chord pattern, and left hand plays root or indicated bass note (available in the packet).

Improvisation: the left hand plays the following chord progressions in closest-position chords:

I  IV  V7  vi  IV  viiº7/V  V7  I  ,     OR

I  VI  iv  V7  VI  vi  V7/III   III

The first chord progression will be in D major, A major, or E major, in 4/4, 3/4, or 6/8; the second will begin in c minor, d minor, or e minor (notice that it modulates to the relative major), in 4/4, ¾, or 6/8 (I will choose all the variables, including which chord progression). The right hand will improvise two four-measure phrases over the chord progression, fitting appropriately with the chords.

Score Reading: Bach “Come Soothing Death,” first seven measures, all four parts simultaneously (available in the packet).

Sight reading: some intermediate-level pieces will be included in the study packet (i.e. Diabelli Waltz, Couppey Sonatina in C major, etc.) as examples of the sight reading difficulty.

Transposition: you will be asked to transpose a portion of the sight reading example.