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All of this information can be gathered easily enough from looking at the Certification Requirements, but it may not be immediately obvious what the overall progression of study looks like.
Without the guidance of a good teacher, it's easy to lose track of what one is working towards in a particular subject, so I have found it useful to try organizing information in different ways to try to discover how they all relate to each other.
The next step will be to understand how these subjects and concepts can be incorporated into one's daily life as a musician. These subjects should be put towards a practical purpose, not simply academic.
Subjects of study for AGO Certification
· Repertoire
o
Pre-Bach
o
Bach
o
Romantic
o
Modern
· Hymns
o
Correct playing technique
o
Contrasting presentation of stanzas and sensitivity
to the text
o
Creative hymn-playing
o
Introductions
o
Interludes between stanzas (can be modulating
interludes)
· Transposition
o
Hymns
o
Chorales
o
M2, then M3 in either direction
· Sight-Reading
o
Chorales (four parts, two staves)
o
Choral scores (G and F clefs)
o
Art of Fugue (C clefs open score)
o
Repertoire
·
Harmonization
o
Simple hymn tune
o
Plainsong melody
o
‘folk-style’ hymn
o
4 parts for part of which the treble melody will
be given, and for part of which an unfigured bass will be given
·
Accompaniment
o
Psalm Accompaniment
o
Anthem Accompaniment
o
Vocal solo Accompaniment
o
Arrange at
sight for the organ the piano accompaniment of a vocal score (which may be a reduction of an original
accompaniment for orchestra)
·
Improvisation
o
Passages
§
Two phrases of four bars each involving a
modulation and a clearly defined cadence.
§
Two phrases of eight bars each involving a modulation
and a clearly defined cadence.
§
Passage of 30 seconds providing a bridge or
modulatory passage between two hymns of a different key.
§
Short preparation time (less than 10 minutes)
o
Brief pieces
§
Ground Bass – five or six variations
§
Hymn Prelude – on a given hymn tune
§
Chant Prelude – on a given chant
o
Ternary Form – about 2 minutes in length, on a
given theme. Supply a recognizable contrasting motif for the middle section.
Clarity of form and structure will be expected.
·
Continuo / Figured Bass
o
Play the continuo of a chorale or short
instrumental movement from a figured bass. Only the bass and figures will be
given.
·
Analysis
o
Respond to questions regarding a composition.
Venture opinions as to composer, approximate date, harmonic and contrapuntal
texture, and/or form.
·
Counterpoint
o
Analyze examples, respond to questions, and
write brief examples of counterpoint
in 16th-century style. Original note values will be used.
·
Fugue
o
Analyze examples, respond to questions, correct
intentional errors, and write brief examples of 18th-century fugal
composition.
·
Ear Training
o
Associate – Write down from dictation:
§
A single melodic line
§
Two parts (treble and bass clefs)
o
Fellow – Write down from dictation:
§
A short passage in four parts. Key and time signature
will be announced.
§
A short passage of two-part counterpoint. The
key will be stated, but not the time
signature.
·
Orchestration
o
Demonstrate knowledge of the capabilities of
orchestral instruments, the craft of orchestration, and the historic stylistic
use of the orchestra through responses to questions, analysis of examples, the
transcription of a brief passage for orchestra or ensemble, and/or the
reduction of an orchestral score for performance on the organ.
·
Composition
o
Continue and bring to a conclusion a passage for
organ whose opening is given. Approximate length will be specified. Imaginative
use of the tools of composition will be expected. Continuous writing in a
specified number of parts is not required.
o
Write a composition for unaccompanied voices on
a given text. The length will be specified. Imaginative use of the tools of
composition will be expected.
·
Questions
o
Answer objective questions on music history,
including questions on organ repertoire, choral music, organ construction and maintenance,
and contemporary trends.
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