Piano proficiency exams.(Forum Focus: College Faculty)

During the past year, the College Faculty Forum has discussed piano proficiency exams that are required by colleges and universities. There seems to be a desire for a standardization of these exams, as well as the coordination of music theory and piano instruction for the preparation of these exams.

Instructors agree that coordinating the music theory and piano proficiency curricula is a tremendous challenge. Textbooks and instructors tend to have preferences regarding the sequence with which theoretical concepts are introduced. This sequence does not always correlate with what is practical within the piano proficiency curriculum, particularly when taking into consideration the physical component involved in piano playing. For example, although many theory textbooks introduce scales near the beginning of the course, most class piano texts begin with pentascales and gradually (often preceded by tetra chords), introduce scales. On the other hand, there are class piano texts that introduce harmonization with the tonic and dominant earlier than occurs in theory textbooks. These are just two examples of topics that might not be immediately correlated, but ones for which creative thinking can find solutions. Tetra chords can be introduced in the piano curriculum simultaneously with scales in music theory, and harmonization in the piano curriculum can be taught with chord symbols before roman numerals. It was noted by several faculty members that harmony is the common ground between the two curricula. Different texts present new harmonic concepts in different sequences, but it is best for the student to learn keyboard harmonization, transposition, reading, improvisation and repertoire exercises using the same harmonies as those being introduced in theory instruction concurrently.

Of course, the optimum experience occurs when the same instructor teaches both music theory (written and aural) and class piano and/or keyboard harmony, or if authors of music theory textbooks and class piano textbooks collaborate. This commonality allows the instructor to assist students in making both conceptual and practical connections they may not make on their own. There is a synergy that takes place when students learn the same concepts through written theory, ear training/sight singing, and class piano concurrently.

It is agreed that the most important objective is to coordinate the teaching of music theory and piano instruction to prepare for the piano proficiency exam rather than to coordinate the textbooks. Communication between theory faculty and piano faculty is vital. There must be philosophical agreements on the prioritization of skills and concepts. Without agreement on the ...