Linda Christensen teaches class piano, group piano, and music technology at Wayne State College. She holds a BA in music
from Weber State University, an MM in Piano Performance and Pedagogy from Southern Methodist University, and a Ph.D. in
Music Education/Piano Pedagogy from the University of Oklahoma. Her pedagogy teachers have included Sam Holland, E. L.
Lancaster, and Jane Magrath. Her piano teachers have included Ed Gates, Alfred Mouledous, and Mary Ray Johnson. Dr.
Christensen is active in the Music Teachers National Association and the National Conference on Keyboard Pedagogy, where she
chairs the Future Trends in Piano Teaching committee. She has been published in Keyboard Companion, and has served as
educational consultant for the 2000 edition of The Music Tree. In addition to her regular academic schedule, Dr. Christensen has
been a faculty member at many summer piano camps focusing on music technology for children, and has also been musical
director and pianist for many theater companies in Washington, Utah, Tennessee, Oklahoma, and Texas.
Linda Christensen
Wayne State College
Department of Music
1111 Main Street
Wayne, Nebraska 68787
402.375.7514
lichris1@wsc.edu
The following is a summary of current practices and trends in group piano and piano proficiency, as discussed at the second meeting of the National Group Piano/Piano Pedagogy forum. The report below is the compilation of comments from the panel discussion and two small-group breakout sessions. The panel consisted of representatives from different types of colleges and universities. Panelists included: Glenna Sprague (Oakton Community College), Andrew Hisey (Oberlin Conservatory), Cynthia Benson (Bowling Green State University), Tim Shook (Southwestern College), Timothy Shafer (Penn State University). During two rotations of discussion groups, teachers shared the practices of their programs, including what they teach, how it is taught, and how their school handles piano proficiencies.
How many semesters of group piano are required?
Most institutions require four semesters of group piano for all music students, with an additional two semesters required for vocal and choral majors. One institution requires only two semesters for instrumental majors.
How are freshmen and transfer students placed within the group piano sequence?
Placement auditions are given either in orientation or during the first week of classes. For those students who do test out of one or more semesters, a waiver is given, but no course credit is given.
Specifics of Proficiencies at various institutions:
Scales The vast majority of teachers indicated including all major and minor scales on the piano proficiency exam, ranging from two to three octaves. There was some disagreement as to whether scales should be required hands together or hands separate. Rationale for hands together included coordination, hand independence, and discipline. However, many stated that hands-together take too much time from other important skills. It was generally agreed that scales serve a purpose related to music theory, and that memorization and fingering are important.
Arpeggios
While all panelists reported that they require major and minor arpeggios hands together from two to four octaves, the smaller discussion groups revealed that many do not require them hands together, and some stated that arpeggios are too difficult to include on a proficiency exam due to the facility required. Many participants include dominant and diminished 7th arpeggios in addition to the major and minor ones.
Chord Progressions
All of the panelists reported requiring primary and secondary chords in keyboard style. One assigns chord progressions in class but does not include them on the proficiency exam.
Sight Reading
The majority of teachers include sight reading of a some sort, including melody with accompaniment, harmonization, a hymn, an accompaniment, and reading a score. There was much discussion about when the students are given the sight reading example for a proficiency exam. Answers varied from a preparation time of 24-48 hours for a harmonization example, and 30 minutes to "at sight" for other types.
Repertoire
While the number of selections required and the level of difficulty of the repertoire varies, the teachers indicated that memorization is neither important nor required.
Improvisation
Although improvisation was is not generally reported as being included on proficiency exams, the skill was discussed in many of the breakout sessions. One of the groups discussed why improvisation should be included in group piano. Reasons included the ability to apply the concept to other instruments, the opportunity to expand on knowledge of harmony, the reiteration of musical concepts, and the possibility of having students start solving problems for themselves.
Grading
There was much discussion about grading, particularly in light of the current assessment movement present in many institutions. Many teachers give some sort of daily grade, whether it is a daily quiz or a grade based on daily preparation. For the exams, including proficiency exams, the two main types of grading were a checklist and giving a percentage for each skill. It was agreed that having some sort of quantifiable grading system is becoming more important, as students are challenging grades more often. Some participants suggested recording exams on MIDI disks or videotape in case the grade was challenged later.
Conclusions
While there are many different ways of teaching group piano classes and administrating piano proficiencies, this reporter was able to make some general conclusions from the written reports of the sessions.
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