Admission Requirements:
See “Diploma Programs in Performance” in the Graduate Division section of this bulletin.
Additional requirements include a live audtion consting of:
Organ Repertoire (10-12 minutes maximum)
One fugue or fast movement in trio texture by J.S. Bach
One additional solo organ piece post-1800, in a contrasting style
Keyboard skills exam:
-sight reading of a given excerpt of organ literature
-realization of figured bass in the 18th c. style
-harmonization of a given melody
-transposition of a melodic segment given by examiners
-transposition of a hymn-tune
Improvisations (10-12 minutes maximum)
One improvisation from a theme of the candidate’s choice in one of the following forms:
Prelude and Fugue
A set of 6 brief Variations
One improvisation on a theme selected by examiners in any form.
Graduation Requirements for Performer Diploma in Organ Improvisation
Performance Study Q901 Organ Improvisation Graduate Major (3-8 cr.) each fall and spring semester of enrollment. (see below for content)
Major Ensemble: 2 credits each fall and spring semester of enrollment.
Colloquium: C501 Sacred Music Colloquium (1 cr.) each spring semester of enrollment.
Chamber Ensemble F550 Chamber Music (1 cr.), O550 Jazz Chamber Ensemble (1 cr.), or Y550 Historical Performance Chamber Ensembles (1 cr.) each fall and spring semester.
Music Courses 6 credit hours of courses in music at the undergraduate or graduate level for which the student has the necessary prerequisites. Courses selected must be approved by the director of graduate studies.
Recital I615 Performer Diploma Organ Improvisation Recital (0 cr.) approved according to the hearing procedures for Master of Music recitals.
Q901 Organ Improvisation Graduate Major (2-8 cr.)
Q-901 Organ Improvisation: private study
1. Course Content
To ensure a student has acquired a secure foundation in harmony derived from Figured Bass.
To help the student gain a facility in improvising in historical genres, including the French Classical suite, German Vorimitation Choralvorspiele, and 18th counterpoint.
To offer, as appropriate, focused study in improvising in forms common to the 19th and 20th centuries, for example, a Romantic era tone-poem or a piece derived from the modes developed by Olivier Messiaen.
To refine the student’s improvised art, as it relates to melodic fluency, harmonic motion, formal structure and registrational color.
To help the student in both liturgical and concert improvisation.
To help the student develop his/her own stylistic personality as an improviser.
To help the student gain poise in performance by requiring participation in Studio Class, recitals, and other public performance opportunities.
2. Representative Bibliography or Resources
The Art of Partimento – Giorgio Sanguinetti. Oxford, 2012
Nova Instructio – Spridionis de Monte Carlo. Il levante libreria editirice, 2008
The Improvisation Companion – Naji Hakim. UMP, 2014
Improvising Fugue—John Mortenson, OUP, 2023
Breaking Free—Jeffrey Brillhart. Leupold, 2015
Assorted legal photocopies
Recordings
3. Teaching and Learning Methods
Private lessons will focus on translating analytical understanding into the practical nature of live improvisation. The teacher works with the player to practice with intentionality generative principles, motives, and structural elements within the larger improvised piece. Every student is required to record lessons and performances, as review of these is an essential part of the learning process The instructor may require you to write an evaluation of your playing as part of your weekly lesson.
Recordings of improvisations from past and current masters will be examined to further benefit student practice.
Attendance at all department events such as student, faculty and guest recitals, lectures and master classes is required. PD students are required to enroll in MUS I500 during each semester Q400 or Q900 enrollment are required. requirements.
4. Learning Outcomes/Objectives
The course offers students the opportunity to refine their technique in styles already comfortable to them. It also expands their palette of style, with particular focus on how each new skill or genre can be practiced on one’s own. Comfortability in improvising publicly is another objective. For students who wish to pursue competitive performance, this PD provides an ideal space to prepare for its demands.
5. Learning Assessment
PD students will play a jury in the semester they are not playing a recital. In addition to Improvisational Requirements (approximately 10’) a brief self-learned piece is required of all graduate students in the jury