Strings

Texas Christian University Strings DIVISION

  • MINIMUM REQUIREMENTS FOR SOPHOMORE EXAMINATIONS IN STRINGS

    Violin

    I.              BM in Violin Performance

    1) Scales:

      • G and A scales + 2 or 3 more scales, major/melodic minor, 3 octaves
      • G and A scales in octaves and thirds + 1 or 2 more scales, 2 octaves
      • Flesch format arpeggios, including the diminished and dominant 7ths FOR ALL OF THE SCALES

    2) Two contrasting repertoire selections, at a level of difficulty similar to the Bach E major Partita or a Mozart Concerto movement. Orchestral excerpts can be substituted for one of the selections. A concert etude (Rode, Gavinies, Wieniawski) is also acceptable as one of the selections.

    II.              BA in Violin

    1) Scales:

      • G and A scales + 1 or 2 more scales, major/melodic minor, 3 octaves
      • G and A scales in octaves and thirds + 1 more scale, 2 octaves
      • Flesch format arpeggios, including the diminished and dominant 7ths FOR ALL OF THE SCALES


    2) Two contrasting repertoire selections, at a level of difficulty similar to the Bartok Rumanian Dances or the Beethoven Romance in F. Orchestra excerpts can be substituted for one of the selections.

    III.             BME in Violin

    1) Scales:

      • G and A scales + 1 more scale, major/melodic minor, 3 octaves
      • G and A scales in octaves and thirds, 2 octaves
      • Flesch format arpeggios, may include the diminished and dominant 7ths FOR ALL OF THE SCALES


    2)  Two contrasting repertoire selections, at a level of difficulty similar to the Rachmaninov Vocalise, Vivaldi Concertos, or Barbara Barber Solos for Young Violinists. Selections should be performed with fluency and command.  

     

    Viola 

    I.                   BM in Viola Performance

    1)      3 major scales and 3 minor scales, including all forms as follows: scales; set of arpeggios as in the scale book by Flesch; scales in double stops in thirds, sixths, and octaves. All scales are to be performed by memory.

    2)      Two contrasting repertoire selections, at a level of difficulty similar to the Campagnoli Caprice No. 17, Stamitz Concerto in D major, or Vieuxtemps Elegy. At least one of the pieces has to be performed by memory.
     
    II.                BA in Viola

    1)      2 major and 2 minor scales in all forms as requirements for BM in Viola Performance or 24 scales from Baillot scale system (scales in slurs, scales in détaché, arpeggios martelé, one arpeggio in 3 octaves, broken thirds, octaves in three different variations). All scales are to be performed by memory.

    2)      One repertoire selection, at a level of difficulty similar to the Clarke Passacaglia, Weber Variations, or Rode Theme and Variations.
     
    III.             BME in Viola

    1)      2 major and 2 minor scales from Bailot scale system as follows: scales in slurs, scales in détaché, arpeggios martelé, one arpeggio in 3 octaves, broken thirds, octaves in three different variations.?

    2)     One repertoire selection, at a level of difficulty similar to the Clarke Passacaglia, Weber Variations, or Rode Theme and Variations.

     

    Cello

    I.                   BM in Cello Performance

    1)      Scales: 24 keys, including arpeggios, thirds and octaves

    2)      Repertoire as assigned by the instructor. Generally, this will consist of three contrasting repertoire selections, including a movement of a concerto; an etude, caprice or other virtuoso work; and a movement of a Bach Suite. Refer to the lesson syllabus for further information. 

    II.                BA in Cello, as assigned by the instructor.

    1)     Scales: 12 keys, including arpeggios, thirds and octaves

    2)     Repertoire as assigned by the instructor. Generally, this will consist of two contrasting repertoire selections, such as a movement of a concerto; an etude, caprice or other virtuoso work; and/or a movement of a Bach Suite. Refer to the lesson syllabus for further information.

    III.             BME in Cello, as assigned by the instructor.

    1)      Scales: 6 keys, including arpeggios, thirds and octaves

    2)      Repertoire as assigned by the instructor. Generally, this will consist of two contrasting repertoire selections, such as a movement of a concerto; an etude, caprice or other virtuoso work; and/or a movement of a Bach Suite. Refer to the lesson syllabus for further information.

     

    DOUBLE Bass

    I.                   BM in Bass Performance

    1)      Scales: 18 keys (up to four sharps, four flats major and minor scales), including arpeggios in two octaves.

    2)      One movement from a standard concerto, at a level of difficulty similar to these by Capuzzi, Dragonetti, Dittersdorf, Vanhal and Koussevitsky, or four orchestra excerpts from the standard orchestral repertoire  

    II.                BA in Bass

    1)      Scales: 14 keys (up to three sharps, three flats major and minor scales), including arpeggios in two octaves. 

    2)      One movement from a standard sonata, at a level of difficulty similar to these by Vivaldi, Marcello, Telemann and Handel, or three orchestra excerpts from the standard orchestral repertoire

    III.             BME in Bass

    1)      Scales: 10 Keys (up to two sharps, two flats major and minor scales), including arpeggios in two octaves. 

    2)      One movement from a standard sonata, at a level of difficulty similar to these by Vivaldi, Marcello, Telemann and Handel, or two orchestra excerpts from the standard orchestral repertoire

     

    Harp

    BM, BA, BME
    1)     Students should be prepared to demonstrate pedal proficiency and fluency in key signatures by playing all major scales (two octaves) and arpeggios (four octaves); tonic and dominant seventh glissandi in all major keys; all natural minor scales (two octaves) and harmonic minor scales (one octave).  Memorization is required.
    2)   One etude of appropriate technical demand, such as Naderman Sept Sonates Progressives, Bochsa Op. 318 or Op. 34 or Bach-Grandjany Etudes.  Memorization of etudes is not required.
    3)    Two solos in contrasting style from standard harp literature (including, but not limited to, works of Grandjany, Salzedo, Renie, Hasselmans and Tournier) that best represent the student's current level of performance. Selections should demonstrate a high level of technical proficiency and musicianship.  Repertoire must be chosen in consultation with applied instructor no later than the third semester of study.  Memorization of solos is required.  Pending prior approval of applied instructor, one movement of a standard solo harp concerto (such as Gliere, Ginastera, Boieldieu or Debussy), performed from memory, or a single movement work such as Ravel Introduction and Allegro or Pierne Concertstuck may be substituted for the solo portion of the barrier exam. 

TCU String Faculty

Thomas Burchill, BFA, MME (Jazz Guitar)
Jesús Castro-Balbi, BM, MM, DMA (Cello)
Chip Christ, BM, MM (Guitar)
Misha Galaganov, BM, MM, DMA (Viola/Violin)*
Germán Gutiérrez, BM, MM, DMA (Orchestras)
Elisabeth Adkins, BM, MM, DMA (Violin)
Laura Logan Brandenburg, BM, MM, DMA (Harp)
Yuan Lu, BM, MM (Double Bass)
Amanda Musser, BME (String Music Education)
Michael Shih, BM, MM (Violin)

For further information about the TCU String Program please contact
Dr. Misha Galaganov
Division Chair, Strings
Texas Christian University
School of Music
TCU Box 297500 - Fort Worth, Texas 76129
1.800.TCU.FROG
817.257.7602
Fax: 817.257.7344
music@tcu.edu