And - here they are! (For a pdf file go to this link - http://www.agohq.org/docs/pdf/ProfCertRequirements.pdf
Get in the swing and get certified - it's fun and rewarding.
AMERICAN GUILD OF ORGANISTS
CHAPTERS IN EVERY STATE Chartered 1896 by the Board of Regents, University of the State of New York
NATIONAL HEADQUARTERS 475 Riverside Drive, Suite 1260, New York, NY 10115; phone 212-870-2310; www.agohq.org
Please check the AGO Web site and later issues of TAO for certification updates throughout the year.
PROFESSIONAL CERTIFICATION REQUIREMENTS FOR 2012
EXAMINATION DATES
SERVICE PLAYING CERTIFICATE TEST: October 1, 2011, through April 30, 2012. COLLEAGUE EXAMINATION: November 18, 2011, May 11, 2012, November 16, 2012.
CHOIR MASTER EXAMINATION: June 6, 2012 (morning and af- ternoon).
ASSOCIATESHIP EXAMINATION: June 7 and 8, 2012 (paperwork section both mornings; organ playing one of the afternoons). FELLOWSHIP EXAMINATION: June 7 and 8, 2012 (paperwork section both mornings; organ playing one of the afternoons).
ELIGIBILITY
In compliance with the status of the AGO as a not-for-profit edu- cational organization, the examinations are open to AGO mem- bers and nonmembers. Nonmembers will pay a surcharge. The As- sociate, Choir Master, Colleague, and Service Playing examinations may be taken in any order. The Associateship cer- tificate, however, must be acquired at least one year before the Fel- lowship Examination may be taken. Holders of the ARCO or AR- CCO certificates are considered eligible to take the FAGO Examination, provided that applicants send a copy of the ARCO or ARCCO certificate with the completed application form.
APPLICATION PROCEDURES
Service Playing Certificate Test
Contact National Headquarters for application forms and a manual of procedure after July 1, 2011. The completed application may be submitted between September 1, 2011, and March 1, 2012. Tests may be taken at any chapter where a suitable organ and recording equipment are available, since the tests are recorded and the recordings are sent to National Headquarters for evaluation.
Colleague Examination
Contact National Headquarters for application forms and a man- ual of procedure—after July 1, 2011, for the November 2011 exam; after December 1, 2011, for the May 2012 exam; and after July 1, 2012, for the November 2012 exam. The completed application must be submitted by September 15, 2011, for the November 2011 exam; by March 1, 2012, for the May 2012 exam; and by Septem- ber 15, 2012, for the November 2012 exam. Both sections of this examination (repertoire and keyboard skills) may be taken on the same date, or each section may be taken singly. Exams may be taken at any chapter where a suitable organ (not normally played by the candidate) and recording equipment are available, since the exams are recorded and the recordings are sent to National Head- quarters for evaluation.
Choir Master, Associateship, and Fellowship Examinations
Contact National Headquarters after January 1, 2012, for applica- tion forms and a manual of procedure. The completed application must be submitted by April 1. Both sections of these examinations (paperwork and performance) may be taken in the same year, or each section may be taken singly. If only the paperwork section is to be taken, the examination may take place at any chapter, since the papers are sent to National Headquarters for evaluation. But if the performance tests, or both sections, are to be taken, the ex- amination must take place at one of the designated regional ex- amination centers, since two examiners must be present for the performance tests. A list of these examination centers will be sent with your application forms. The candidate may choose the cen- ter that is most convenient.
AGO/NPM Joint Certification
Candidates who are members in good standing of the National As- sociation of Pastoral Musicians may obtain Service Playing or Col- league certification in both organizations by earning a passing grade on these examinations, and, for the Colleague only, passing a written test administered by NPM. (Separate application must be made to NPM to take the written portion of the NPM CAGO exam.) In applying to AGO Headquarters for the examination, can- didates must indicate their desire for joint certification, and for the joint CAGO, candidates must also register with NPM. Certain options in each examination, indicated in the list of requirements, must be chosen. NPM joint certification candidates should be fully aware of all NPM certification requirements. Each examination will be graded by at least one examiner who is a member of NPM.
EXAMINATION FEES
Service Playing Certificate Test: $100. Colleague: both sections $150, single section $120. Choir Master: both sections $225, single section $170. Associateship: both sections $225, single section $170. Fellowship: both sections $225, single section $170. Surcharge for nonmembers of the AGO: $100. The same fees apply for reexamination. All checks should be sent to Na- tional Headquarters and be made payable to the American Guild of Or- ganists. Fees must be sent with completed application forms; checks must be dated by application deadline. Requests for cancellation of any examination must be received by Headquarters one full month prior to the examination date in order for a refund to be issued. In the case of all examinations, there is a nonrefundable portion ($20) of the fee.
CERTIFICATES
Choir Master, Associateship, and Fellowship certificates will be issued to those who obtain at least 50% of the points for each item and 70% of the total maximum marks in each section (i.e., practical work and pa- perwork). In the case of the Colleague Examination, the certificate will be issued to those who either—a. take both sections of the examination at the same time and obtain at least 50% of the points of each item and 70% of the points for the entire examination; or b. pass each section sep- arately, by obtaining at least 50% of the points for each item in that sec- tion and 70% of the total maximum marks in that section. The Service Playing Certificate will be issued to those who pass each item and the en- tire test by the same minimum scores. Information on academic regalia is available from Headquarters.
CREDIT
Either or both sections of the Colleague, Choir Master, Associateship, or Fellowship Examinations may be taken on any designated examina- tion date. Credit will be given for sections passed. Candidates must pass the remaining portion of the examination (and the NPM written exam in the case of dual Colleague certification) within the five succeeding years. This ruling does not apply to those who passed one section of the Choir Master, Associateship, or Fellowship prior to 1969.
PREPARATION
Materials from Headquarters are available to assist candidates who are preparing for Guild examinations. These include: examinations and so- lution booklets from the previous five years; the 2009 Revised Exami- nation Hymn Booklet [please note that the 2009 edition supersedes the 1997 Hymn Booklet, which is no longer valid, including any ref- erences that may appear in study guides, manuals of procedures, etc.]; the current editions of the Colleague Examination Study Guidelines and the Service Playing Certificate Test Study Guide; ear-training CDs for AAGO, ChM, and FAGO examinations; and Preparing for AGO Ex- ams: Articles Reprinted from The American Organist. (See the Educa- tional Resource page in THE AMERICAN ORGANIST for current prices on these items.) For practice purposes, it is highly recommended that can- didates for Choir Master, Associateship, or Fellowship certificates work out a full set of a prior year’s paperwork tests, within the time limits specified, some time before the actual examinations are given. For those taking the Colleague Examination or Service Playing Certificate Test, the respective study guidelines offer comprehensive approaches to preparation. Finally, the above-mentioned collection of exam-re- lated articles drawn from THE AMERICAN ORGANIST contains information that may prove helpful to candidates at all levels. The current revision of the Examination Hymn Booklet is available as a PDF. Requests should be sent to Paul Wolfe, Certification Program Administrator, at exams@agohq.org.
EXAMINATION WORK SHEETS
Paper will be supplied for paperwork sections. For the Choir Master, Associateship, and Fellowship Examinations, no papers or books may be brought into the examination room. All candidates’ answer sheets are retained at National Headquarters. Candidates for the Colleague Examination and the Service Playing Certificate Test will receive judges’ comments as a matter of course; candidates for other exami- nations can obtain copies of judges’ comments upon request.
EXAMINATIONS FOR THE VISUALLY CHALLENGED
Examinations for the visually challenged are available. Requests for such examinations must be received in writing by February 1 for all ex- cept the Colleague Examination and the Service Playing Certificate Test. For the Colleague the deadline is August 1, 2011, for the Novem- ber 2011 examination; January 1, 2012, for the May 2012 examination; and August 1, 2012, for the November 2012 examination. For the Ser- vice Playing Certificate Test the application may be submitted between August 1, 2011, and February 1, 2012. Persons with conditions other than visual challenges are encouraged to write AGO Headquarters be- fore the above dates in order to inform the Committee on Professional Certification of any accommodation requests. Anonymity of all candi- dates and examiners remains inviolate. Every candidate must meet the same AGO standard of performance at each exam level in order to re- ceive a certificate.
JULY 2011 31
SERVICE PLAYING REQUIREMENTS
The repertoire pieces are not played first as a group of three, but separately in the beginning, middle, and conclusion of the test. The candidate will pre- pare and perform one work (and only one) from each of Groups A, B, and C. The Service Playing Certificate Test shall be recorded on CD or cassette tape at a site with suitable organ and recording equipment, then sent to National Headquarters for evaluation by two national examiners. A proctor will be ap- pointed, and will be the only person in the room with the candidate when the test is given. (If a singer is employed for question S3, he or she will be permitted in the room only at that time.)
GROUP A
Any chorale prelude from Bach’s Orgelbüchlein. Any fugue by Bach, including the fugues from the so-called “Eight Little Pre-
ludes and Fugues,” sometimes attributed to Bach. Any chorale prelude with pedal by Buxtehude (any edition).
GROUP B
A single movement from any work by Mendelssohn, other than the hymn- like opening sections of Sonatas 5 and 6.
Any movement with indicated pedal from Vierne’s Vingt-quatre Pièces en style libre (Durand, Masters Music Publications).
Any one of the Eleven Versets from Dans la Gloire des Invalides (In the Glory of Les Invalides) by Dupré, improvisations reconstructed by David A. Stech (Wayne Leupold Editions WL600189).
Any piece from Reger’s 30 Kleine Choralvorspiele, Op. 135a (Peters No. 3980, or any edition).
GROUP C
Any one of Schroeder’s Six Chorales (Sechs Orgelchoräle), Op. 11 (Schott/Hal Leonard 49003685).
Any movement from Langlais’s Organ Book (Elkan Vogel 463-00006). Any piece from Saint Augustine’s Organbook by Gerald Near (Aureole Edition, AE 86, distributed by MorningStar Music). Any one of Bloch’s Six Preludes (G. Schirmer 50328700). Wayne L. Wold: Trio on People, Look East, from Light One Candle (Augs-
burg Fortress 11-10720).
Candidates seeking NPM certification should either choose a work from the Dupré collection as their Group B piece, or a work from the Near collection as their Group C piece. (Or they may choose both.)
S1. (10 points) Prelude repertoire. The candidate will prepare and perform one work from either Group A, B, or C.
S2. (10 points) Opening Hymn with two transpositions. The candidate will select and use one hymn from the 2007 or the 2009 Revised Examination Hymn Booklet, which may be requested from National Headquarters. He or she will transpose the hymn into two keys, not more than a major second in either direction. The keys will be chosen (and announced on the recording) by the proctor. The transposed versions are not to be written out in advance, and the hymn is not to be played in the original key first.
S3. (10 points) The candidate will select one of the four psalm accompani- ments in the 2007 or 2009 Revised Examination Hymn Booklet, and will play refrains and two verses of the psalm as though it were being sung in a service of worship. Depending on the candidate’s choice of psalm, a singer may be required in order to render a satisfactory performance on the test. (The aforementioned Revised Examination Hymn Booklets indicate which psalms require a singer.) If a singer is needed, the candidate may engage (at his or her own expense) any singer, including one with whom he or she per- forms regularly. Neither the candidate nor the examination proctor may serve as the singer. (The singer will be permitted in the examination room only during this portion of the test.) The identity of the singer will not be revealed on the recording to examiners in order to preserve the candidate’s anonymity. For NPM certification candidates, the required psalm selection is either Psalm 22 (Guimont) or Psalm 33/34 (Gelineau).
S4. (10 points) Choice of one anthem from the following anthem list. The candidate will play the accompaniment as though accompanying a compe- tent choir.
Mathias—As Truly as God Is Our Father (Oxford 9780193853768). (The can- didate may choose to play choral parts during the pauses.)
Haydn—Awake the Harp (from The Creation) (G. Schirmer 50293660 or Ox- ford edition of Creation vocal score, 9780193354715).
Mendelssohn—How Lovely Are the Messengers (from St. Paul) (E.C. Schirmer No. 1134).
Near—Adam Lay Ybounden, No. 1 of Two Carols (Aureole/MorningStar No. AE 145). The composer suggests a quarter-note tempo of about 120 at the two Allegro sections (m. 12 and m. 39), not 84 as published.
S.S. Wesley—Thou Wilt Keep Him in Perfect Peace, any edition, including H. W. Gray, GCMR 1660, or Choral Public Domain Library, www.cpdl.org.
S5. (10 points) Middle Hymn, no required transposition. The candidate will select and use one hymn from the 2007 or the 2009 Revised Examination Hymn Booklet, different from the hymn chosen for question S2 above. He or she will play two stanzas as though leading a large, enthusiastic congre- gation. Use of pedals for at least one stanza is mandatory. Some contrast in the presentation of the two stanzas is expected, as is sensitivity to the text. NPM candidates are required to select “Sing of the Lord’s Goodness” from the PDF of the Revised Examination Hymn Booklet to play for S5.
S6. (10 points) Choice of a second anthem from the list at S4. The candidate will play the accompaniment as though accompanying a competent choir.
S7. (10 points) Offertory repertoire, one piece from a group not chosen for S1.
S8. (10 points) The candidate will sight-read a short passage of music. The candidate’s grade will be based on his or her ability to maintain the indicated tempo with accuracy of notes and rhythm. (The sight-reading question and information regarding the examination procedure will be sent from Head- quarters to the chapter dean prior to the test date.)
S9. (10 points) Closing Hymn, no required transposition. The candidate will select and use one hymn from the 2007 or the 2009 Revised Examination Hymn Booklet, different from the two hymns chosen for S2 and S5. He or she will play two stanzas as though leading a large, enthusiastic congrega- tion. Use of pedals for at least one stanza is mandatory. Some contrast in the presentation of the two stanzas is expected, as is sensitivity to the text.
S10. (10 points) Postlude repertoire, one piece from the group not chosen for S1 or S7.
Note: In S5 and S9, the first stanza should use the harmonization given in the Examination Hymn Booklet. In S2, both stanzas are to be transposed from the given harmonization, one stanza in each key announced by the proctor.
AGO EXAMINATION PRIZES
The following prizes are awarded each year:
FAGO Prize—$600, for highest overall score on FAGO Exam (both sections).
AAGO Prize—$500, for highest overall score on AAGO Exam (both sections).
ChM Prize—$500, for highest overall score on ChM Exam (both sections).
S. Lewis Elmer Award—$500, for highest overall score on any of the above three exams.
To qualify for any of these prizes, both sections of an examination must be taken in the same year, and the overall score must be at least 85%.
RECOMMENDED BIBLIOGRAPHY
An extensive bibliography, updated in 2008, for exam study is available free from National Headquarters. Please see “AGO Resources,” page 9 of every TAO issue, or order item No. CE–12 online: www.agohq.org/store. The bibliography may also be downloaded from the AGO Web site as follows: go to www.agohq.org; click on “Official Guild Documents,” then “Downloadable Documents,” and scroll down to “Education.”
COLLEAGUE REQUIREMENTS
The Colleague Examination shall be recorded on CD or cassette tape at a site with suitable organ and recording equipment, then sent to National Head- quarters for evaluation by two national examiners. As of November 2008, the CAGO Examination may no longer be postponed to the following November or May date. If the examination is not taken as scheduled, application must be made again, and new fees paid. Requests for cancellation must be received by Headquarters one full month prior to the examination date in order for a refund to be issued.
SECTION 1 – Repertoire at the Organ
C1. (25 points) Organ Pieces: Candidates will prepare one work from each of Groups A, B, and C. The candidate may play the repertoire in any order.
GROUP A
J. S. Bach, Praeludium (Fantasia) in C Minor, BWV 537 (not the fugue) (any edition).
J. S. Bach, Wer nur den lieben Gott lässt walten, BWV 647 (from Schübler Chorales, any edition).
GROUP B
Josef Rheinberger: Fughetta in B Major, No. 11 of Twelve Fughetta, Op. 123b (any edition, including Book II, No. 11, Hinrichsen No. 97).
C. V. Stanford: At Christmas-Tide, No. 1 of Six Occasional Preludes, Op. 182 (Masters Music Publications).
GROUP C
Wilbur Held: Simple Gifts, No. 4 of Seven Settings of American Folk Hymns (Concordia 97-5829).
Gerald Near: Puer Nobis Nascitur, No. 10 from Choraleworks, Set II (Aure- ole Edition, AE 84).
C2. (10 points) Accompaniment of Choral Work: Prepare Mozart’s Laudate Dominum from Vesperae solennes de confessore, KV 339 (any edition). Also available separately in several octavo editions including Alfred (ed. Parker/Shaw) LG 51165.
C3. (10 points) Accompaniment of Vocal Solo: Prepare Bernstein’s A Simple Song from Mass (Boosey and Hawkes/Hal Leonard, HL 48011221).
Note: C2 and C3 must be played on the organ.
C4. (15 points) Hymns: The candidate will select two hymns from the 2009 or 2007 Revised Examination Hymn Booklet, which may be requested from National Headquarters. NPM candidates are required to play one hymn from the 2009 or 2007 Revised Examination Hymn Booklet and substitute James J. Chepponis’s “Melodic Gloria” (GIA No. G-2955) as the second hymn choice. For each hymn (not the “Melodic Gloria”), the candidate will intro-
duce the tune and then play two stanzas as though leading a large, enthusi- astic congregation. The introduction may be original or may be selected from published repertoire; it need not be elaborate but should serve well to prepare the congregation for singing, and should not exceed approximately one minute in length. Some contrast should be evident in the accompani- ment of the two stanzas, at least one of which must be played with pedal. Sensitivity to the text will be expected.
SECTION 2 – Keyboard Skills
C5. (10 points) Play a passage of organ music (on three staves) at sight.
C6. (10 points) Do a, b, or c. NPM candidates must choose b or c. a. Harmonize a simple hymn tune. b. Harmonize a plainsong melody. c. Accompany a “folk-style” hymn tune in an appropriate manner.
C7. (10 points) Transpose a passage of music, not more than a major second in either direction.
C8. (10 points) Do a, b, or c. a. Improvise a passage of music (of approximately eight measures) con-
sisting of two (approximately four-measure) phrases, each involving a
modulation and a clearly defined cadence. b. Improvise a passage of music (of approximately 16 measures) consisting
of two (approximately eight-measure) phrases based on a given melodic
motif, each involving a modulation and a clearly defined cadence. c. In a passage of approximately 30 seconds’ length, provide a bridge or modulatory passage between two hymns (in different keys) from the 2009 or 2007 Revised Examination Hymn Booklet. The hymns will be
specified on the examination sheet.
A room with a piano will be provided for candidates for a 20-minute prepa- ration session for questions C6, C7, and C8.
CHOIR MASTER REQUIREMENTS
SECTION 1 – Practical Work
(approximately 45 minutes will be allowed) Ch1. (75 points) Rehearse and direct the choir in the performance of all or any portion of all the following works (in any order the candidate chooses):
Thomas Tomkins: O Pray for the Peace of Jerusalem (Ps. 122:6, any SATB edition, including No. 20, page 101, A Sixteenth Century Anthem Book, ed. Greening, Oxford).
Felix Mendelssohn: He that shall endure to the end (No. 32 from Elijah, any SATB edition with English text).
David Hurd: O Sorrow Deep! (SATB a cappella, Selah 405-436).
The choir, consisting of at least four singers, will be provided at the exami- nation center. The examiners will determine which portions of the pieces will be rehearsed. The candidate will be expected to rehearse the choir as though preparing for an actual performance. Attention should be given, within the context of the rehearsal of these works, to aspects of good choral singing, including general musicality, balance, methods of tone production, and clear enunciation of the text. If the candidate prefers, an accompanist (not one of the examiners) will be available to play keyboard parts on the pi- ano.
Ch2. (25 points) Demonstrate keyboard ability by harmonizing a melody, playing harmonic progressions at the piano or organ as directed, and play- ing a four-part hymn harmonization.
SECTION 2 – Paperwork Tests
(3 hours will be allowed) Ch3. (15 points) Ear Tests: (A) Write down from dictation a short passage in two parts, for which the key and time signature will be announced and the tonic chord played. (B) Candidates will be given a copy of a passage in hymn style. This will be played with some deliberate wrong notes and/or rhythms, which the candidates will be asked to identify. Each test will be played four times, allowing 30 seconds between each playing.
Ch4. (15 points) Analysis: Demonstrate knowledge of theory through anal- ysis of a piece of choral music.
Ch5. (10 points) Gregorian Chant: Answer questions on Gregorian chant, including range, names of intervals, names of neumes, and finals and dom- inants of the ecclesiastical modes. Candidates will be expected to read and transcribe Gregorian notation.
Ch6. (15 points) Hymnody: Answer questions on the history and literature of hymns, both texts and tunes, from earliest examples to the present.
Ch7. (10 points) Liturgy: Answer questions on liturgy and liturgical trends. The candidate is expected to be familiar with the historic liturgies of the Western church, and also with contemporary trends in at least one present- day denomination.
Ch8. (10 points) Choir Training: Questions will deal with the vocal and mu- sical training of both adult and children’s choirs.
Ch9. (15 points) Choral Repertoire: Demonstrate knowledge of choral liter- ature for various types of choirs.
Ch10. (10 points) General Musical Knowledge: Answer questions on the his- tory and literature of music.
ASSOCIATESHIP REQUIREMENTS
SECTION 1 – Tests at the Organ
(approximately 40 minutes will be allowed) A1. (40 points) Candidates will prepare one piece from each of the following four lists, and be prepared to play all or any portion of each piece, as requested by the examiners. One (and only one) of the selections will be a slow move- ment, marked with an asterisk * in the lists below. The candidate may play the repertoire in any order.
LIST A
J. P. Sweelinck: Mein junges Leben hat ein End (any edition). Dieterich Buxtehude: Ich ruf zu dir, Herr Jesu Christ, BuxWV 196 (any edition). Dieterich Buxtehude: Toccata in F Major, BuxWV 157 (any edition). Franz Tunder: Komm, heiliger Geist, Herre Gott (Breitkopf 6718).
*François Couperin: Chromhorne sur la Taille from Messe pour les Couvents (any edition).
LIST B
J.S. Bach: Prelude and Fugue in A Major, BWV 536 (any edition).
J.S. Bach: Allegro (iii) from Trio Sonata No. 1, BWV 525 (any edition). *J.S. Bach: Adagio e Dolce (ii) from Trio Sonata No. 3, BWV 527 (any edition).
J.S. Bach: Trio in D Minor, BWV 583 (not Trio Sonata) (any edition). *J.S. Bach: Nun komm, der Heiden Heiland, BWV 659 (any edition).
J.S. Bach: Toccata in D Minor, BWV 538 (“Dorian / Dorische”) (any edition).
LIST C
*Charles-Marie Widor: Adagio from Symphonie No. 5 (any edition). *Frank Bridge: Adagio in E Major from Three Pieces (any edition).
Louis Vierne: Allegro vivace, fourth movement from Symphony I (any edition). César Franck: Pièce héroïque from Trois Pièces (any edition). Sigfrid Karg-Elert: Lobe den Herren from Choral-Improvisationen für Orgel,
Op. 65, Vol. VI (any edition, including Breitkopf 8266). Max Reger: Toccata in D Minor from 12 Stücke für die Orgel, Op. 59, Heft 1
(Breitkopf or Peters).
LIST D
William Albright: Nun komm, der Heiden Heiland from A New Liturgical Year (Augsburg Fortress).
Paul Hindemith: Lebhaft (i) from Organ Sonata II (any edition). Vincent Persichetti: Sonata for Organ, Op. 86, first movement only (Elkan-
Vogel/Theodore Presser PR 463000080). *Olivier Messiaen: Apparition de l’Église éternelle (any edition).
Maurice Duruflé: Fugue sur le thème du Carillon des Heures de la Cathédrale de Soissons, Op. 12 (any edition).
Jean Langlais: Bells, No. 3 of Three Characteristic Pieces (Novello).
A2. (10 points) Play at sight a passage of music in open score on four staves employing G and F clefs.
A3. (10 points) Transpose a passage of music, not more than a major second in either direction. The candidate will be permitted to play the passage once through in the original key.
A4. (10 points) Play the continuo part of a chorale or short instrumental move- ment from a figured bass. Only the bass and figures will be given.
A5. (10 points) Harmonize a brief passage of music in four parts, for part of which a treble melody will be given, and for part of which an unfigured bass will be given.
A6. (10 points) The candidate will prepare a hymn (from a U.S. hymnal, with English text, readily available in print) as though leading a large, enthusiastic congregation. He or she will introduce the hymn followed by two stanzas bridged by an interlude. The introduction and interlude may be original, se- lected from published repertoire, or improvised. Contrast between the two stanzas and sensitivity to the character of the text and tune will be expected. The candidate may choose to include an interlude in the form of a modulatory bridge with a change of key for the second stanza.
A7. (10 points) Do a, b, or c.
a. Improvise five or six variations over a given ground bass. b. Improvise a brief prelude on a given hymn tune. c. Improvise a brief prelude on a given chant.
SECTION 2 – Paperwork Tests First Session (3 hours allowed) A8. (25 points) Analysis: Respond to questions regarding a composition (printed on adjacent pages of the test pamphlet), which may be drawn from any important period, style, or performance medium. Venture opinions as to com- poser, approximate date, harmonic and contrapuntal texture, and/or form.
A9. (20 points) Fugue: Candidates should be prepared to analyze examples, re- spond to questions, correct intentional errors, and write brief examples of 18th-century fugal composition.
Second Session (3 hours allowed) A10. (15 points) Ear Tests: Write down from dictation two short passages, the first a single melodic line, the second in two parts (treble and bass clefs). The key and time signature of each will be announced, and the tonic chord played. Each test will be played four times, allowing 30 seconds between each playing.
A11. (20 points) Composition: Continue and bring to a conclusion a passage for organ whose opening is given. Approximate length will be specified. Imag- inative use of the tools of composition will be expected. Continuous writing in a specified number of parts is not required.
A12. (20 points) Questions: Answer objective questions on music history, with emphasis on contemporary trends, liturgy, organ construction and mainte- nance, choral music, and organ repertoire.
FELLOWSHIP REQUIREMENTS
SECTION 1 – Tests at the Organ
(approximately 45 minutes will be allowed) F1. (40 points) Candidates will prepare one piece from each of the following four lists, and be prepared to play all or any portion of each piece, as requested by the examiners. One (and only one) of the selections will be a slow move- ment, marked with an asterisk * in the lists below. The candidate may play the repertoire in any order.
LIST A
J.P. Sweelinck: Fantasia No. 1 (“Fantasia Chromatica”), SwWV 258 (any edition). Dieterich Buxtehude: Te Deum laudamus, BuxWV 218 (any edition). Nicolaus Bruhns: Praeludium in G Major (any edition). Johann Jakob Froberger: Toccata in D Minor, FbWV 102 (Toccata II in
Denkmäler deutscher Tonkunst, or any edition). *Nicolas de Grigny: Récit de Tierce en Taille from Premier Livre d’Orgue (any
edition).
LIST B
J.S. Bach: Toccata in F Major, BWV 540 (any edition). J.S. Bach: Christ, unser Herr, zum Jordan kam, BWV 684, from Clavierübung
III (any edition). *J.S. Bach: An Wasserflüssen Babylon, BWV 653b (any edition). *J.S. Bach: Allein Gott in der Höh’ sei Ehr’, BWV 662 (any edition).
J.S. Bach: Fugue in E Minor (“Wedge”), BWV 548 (any edition). J.S. Bach: Allegro (3rd movement), from Trio Sonata No. 2 in C Minor, BWV
526/3 (any edition).
LIST C
Louis Vierne: Les Cloches de Hinckley from Pièces de Fantaisie, Quatrième Suite, Op. 55 (Lemoine or Masters edition).
*César Franck: Prière, Op. 20 (any edition). *Jean-Jules Roger-Ducasse: Pastorale (Durand or any edition).
Max Reger: Toccata in D Minor, Op. 135b (any edition). *Maurice Duruflé: Veni Creator, Op. 4: Adagio from p. 18 through the state-
ment of the chorale, page 27 (Durand). Charles-Marie Widor: Allegro from Symphonie VI (any edition).
LIST D
Marcel Dupré: Prelude and Fugue in E Minor, No. 1 of Three Preludes and Fugues, Op. 36 (Gray or any edition).
Herbert Howells: Psalm-Prelude, Set Two, No. III, Sing Unto Him a New Song, Ps. 33:3 (Novello).
Pamela Decker: I. Albarda (Tango for Organ) from Flores del Desierto (Wayne Leupold).
*Gerre Hancock: Schönster Herr Jesu from A New Liturgical Year (Augsburg
Fortress 11-10810). Anton Heiller: Meditation über die gregorianische Oster-Sequenz “Victimae
paschali laudes” (Doblinger). Egil Hovland: Nun danket alle Gott from A New Liturgical Year (Augsburg
Fortress 11-10810). F2. (10 points) Play a passage of organ music at sight.
F3. (15 points) Play at sight a passage of music in open score on four staves employing C clefs (soprano, alto, and tenor) and bass clef.
F4. (10 points) Arrange at sight for the organ the piano accompaniment of a vocal score (which itself may be a reduction of an original accompaniment for orchestra).
F5. (10 points) Transpose a passage of music, not more than a major third in either direction.
F6. (15 points) Improvise a short piece (approximately two minutes in dura- tion) in ternary form on a given theme. The candidate will supply a recogniz- able contrasting motif for the middle section. Clarity of form and structure will be expected.
SECTION 2 – Paperwork Tests First Session (31⁄2 hours allowed) F7. (20 points) Counterpoint: Candidates should be prepared to analyze ex- amples, respond to questions, and write brief examples of counterpoint in 16th-century style. Original note values will be used.
F8. (15 points) Fugue: Candidates should be prepared to analyze examples, re- spond to questions, and write brief examples of 18th-century fugal composition.
F9. (15 points) Essay: Write an essay on one of three given topics concerning the life and music of Jan Pieterszoon Sweelinck.
Second Session (31⁄2 hours allowed) F10. (15 points) Ear Tests: (A) Write down from dictation a short passage in four parts, for which the key and time signature will be announced and the tonic chord played. (B) Write down from dictation a short passage of two-part counterpoint, for which the key (but not the time signature) will be stated and the tonic chord played. Test A will be played five times, Test B four times. One minute maximum is allowed between each playing.
F11. (15 points) Orchestration: Demonstrate knowledge of the capabilities of orchestral instruments, the craft of orchestration, and the historical 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 reduc- tion of an orchestral score for performance on the organ.
F12. (20 points) Composition: 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.
Tuesday, August 16, 2011
Monday, August 17, 2009
Break Out of Your Comfort Zone: The Powerful Role the AGO Exams and Other Worthy Life Goals Play in Our Lives
Everything you want is just outside your comfort zone. Robert Allen
Most of us look forward to fall because it brings renewal in our professional lives; or, for some of us, because our kids go back to school. It’s a time of changes - setting new goals, new schedules, tackling new subjects, whether teacher or student – and it’s also the time to begin preparation for an AGO exam. Change is a constant in life – it’s not an option. If we don’t orchestrate it for ourselves, life will do it for us. I prefer to be the conductor in my life whenever possible, don’t you? With intent and drive, I used the AGO exams to open doors in my professional life - and if I can do it, you can too - and probably better!
Over vacation, while my teenagers were away at camp, I learned to sail. On the fourth night, I took the test and got my solo rating. My first solo cruise was terrifying and exhilarating at the same time. Afterward, I experienced a totally unexpected gift - the exhilaration, energy and vitality permeated every other area of my life as well - I got wind in my sails! And that’s what happens to people preparing for the exams - or undertaking other thoughtful, cognitive risk in their lives. The people we know who are contributing the most in life and getting the most out of life are the ones who are always growing, reaching out, discovering and learning across the very different, but interconnected areas of their lives. I cannot overemphasize how important it is for you to ‘Go For It’ and put yourself among them!
In his poem, “The Time Before Death”, Kabir invites the reader to ‘Jump into experience while you are alive!... plunge into the truth, find out who the Teacher is, Believe in the Great Sound!’ His statement ‘When the guest is being searched for, it is the intensity of the longing for the guest that does all the work’ – tells us that we have within us what we need to help us break out and jump into experience – ‘the intensity of the longing’ – the wind in our sails. For most of us organists – one of the most significant of these areas of intense longing is music.
Once we ‘jump into the experience’ and break out of that circle of comfort – we’ve entered a whole new, larger circle – not just one little nob on the circle. The larger circle is the circumference of our lives which is now enlarged and energized because of our boldness in one area. Even though I’ve had lots of experience with things that scare me, I still don’t like having to break into yet another level of daring, who does? We set a course in life, but just as we ‘tack’ in sailing in order to work with the wind – cutting first one way and then the other to progress toward our destination, in life we have to continue to adjust the course, each time reaching further, or in a new direction, because the route to the goal is never a straight line.
For several years now, I’ve been helping individuals, families and small businesses discern directions as their Life coach or building effective teams. I am really passionate about helping musicians pursue their art. Preparing for an AGO exam is a great way to do that and add a lot of wind to your sails at the same time. Just for a moment - silence your inner critic. Don’t edit your dreams...’I’ve never been able to transpose, I can’t perform for a judge, I’m too old’. In sailing terms that’s ‘irons’ (shackles) – no wind in your sails - you’re stuck. Stay open for just a minute and I’ll give you some compelling reasons to take an AGO exam this year - and I’ll back them up with facts!
The exam process affords greater opportunities for employment.
Even teenagers taking the exams tell me that this is true. After I took and passed the Colleague and Associate exams, I went from a ¼ time position to a ¾ time position. I’m one of only a few musicians I know getting my second sabbatical.
The exam process develops Vital Friendships with colleagues.
In Vital Friends, Tom Rath says that people with at least three close friends at work are 96% more likely to be extremely satisfied with their lives. Where are we church and temple musicians, who are often isolated in our work, going to get those ‘work’ connections? The connections and friendships made through the Guild and the Exam Preparation process are vital to our health and happiness. Rath identifies eight vital roles our friends play in our lives – Builder, Champion, Collaborator, Companion, Connector, Energizer, Mind opener. Exam study groups offer candidates a way to connect with each other as well with colleagues who teach them and play many of these roles for the candidate. We all need people who play these roles to us – as well as needing to play these roles for others. I have been gifted with the most amazing friendships through the guild as a result of the exam process. This is not a choice – you need these friendships!
The exam process prepares our future leaders.
Just look at our Regional and National leaders and committee members and you’ll find many are certified. I’ve served on The Boston Chapter’s Executive Board, Program Committee, Young Organists Initiative, and have been honored to serve as Region I Coordinator for Education.
The exam process provides an opportunity to access some of life’s highest qualities.
Over sixty years ago, Abraham Maslow proposed that living creatively and purposefully in life are among the highest qualities life has to offer – at the top of his pyramid of human needs. Today, in ‘The flat world’, ‘time-saving’ technology isolates us in front of screens, depersonalizes us, and breeds passivity. We need new, creative challenges to continue to develop our artistry and bring balance to our 21st century lives. Most who have taken an exam say the experience broadened them, opened their minds, and gave them skills which freed them to be more creative in their work.
The exam process gives invaluable help in practical skills which seem to intimidate many organists.
Even though I have a Masters in Music, I never really grasped transposition, modulation and improvisation until I took the exams. And I hear this over and over again from colleagues as well. Preparation for the exams makes us more complete, confident musicians.
To set yourself up for Success and not failure and frustration, make sure you take these Five Essential Steps of Making a Successful Change. These steps can be used to take action on ANY goal you set for yourself, professional or personal.
Know your vision/purpose – certification – or any other worthy goal…Without a purpose or vision, your change will end up in confusion.
Acquire the skills and talents you’ll need to make your change/pass the exam Lack of skills produces anxiety over our inabilities.
Know your incentives and motivations – both intrinsic and extrinsic - the “rewards” and feelings of satisfaction. Motivations are key to accomplishing anything.
Identify and acquire the resources you’ll need. Limited resources are frustrate our efforts.
Develop your action plan. Write down your steps, timetable, and milestones.
You can find complete information on all the exam level requirements at AGOHQ.org by clicking on Education and Certification, Professional Education, Certification Chart, and Requirements. The Bookstore has lots of great exam resources. Make sure to get the exam level study guide, and other wonderful publications. Check to see if your chapter or region has a peer level study group, or start one. You can also check out my Regional Exam Blog at newenglandexams.blogspot.com for further information and a place to share ideas.
Whatever your goals are, I cannot over-emphasize how important it is to seek out a mentor and teacher, because, when someone believes in you, you can do amazing things (Robert Rosenthal’s Pygmalion effect). Mentor relationships energize us by helping to give us direction, inspiration, information, energy and role modeling. I’ve had many wonderful mentor relationships, and no one yet has said ‘No’ when I’ve asked their advice, including complete strangers. Go right to the top – ask the person you most admire.You will not believe how many times you will get an answer – and probably more. The generosity and talent of our AGO colleagues never ceases to impress me.
Be your own mentor as well - believe in yourself and be your own best friend. Meditation can help facilitate self awareness, self respect, and self knowledge in the most gentle and kind way. Eliminate the negative people in your life - so, duh, don’t be a negative person in your life! Monitor negative self talk and negative energy such as thoughts and actions centered in fear, anxiety, apathy, anger, pride, craving, regret, blame, scorn, etc. Energy drains will have to go, too. We all know what and who they are – and gossip is the biggest one. Manage your own time. If you want more tools for self discovery and motivation - I can give you plenty!
Breaking out of our circle of comfort is a skill we can use to change and energize our lives in every area. We all know the expression If you think you can, you can, if you think you can’t, you can’t. William Blake said it this way – ‘If the sun and moon would ever doubt they would immediately go out’. Doubt is the biggest dream-killer in the world – bar none! Successful people have just as many doubts – but they don’t pay any attention to them. The AGO exams are a wonderful vehicle which enables us to access and channel our real inner power and get the wind flowing over our sails. After the ALCS Game 5 last fall – the Red Sox 8-7 victory over the Tampa Bay Devil Rays, down 7-0 in the 7th – the greatest come from behind victory in playoff history - Jonathan Papelbom said - I never doubted for a moment that we could do it! That’s true inner power. That’s performing under pressure! You can use YOUR energy to shape your work in the same way. And next spring, when you take your exam – you’ll hit one out of the park!
Don’t forget to tell me how you do.
Most of us look forward to fall because it brings renewal in our professional lives; or, for some of us, because our kids go back to school. It’s a time of changes - setting new goals, new schedules, tackling new subjects, whether teacher or student – and it’s also the time to begin preparation for an AGO exam. Change is a constant in life – it’s not an option. If we don’t orchestrate it for ourselves, life will do it for us. I prefer to be the conductor in my life whenever possible, don’t you? With intent and drive, I used the AGO exams to open doors in my professional life - and if I can do it, you can too - and probably better!
Over vacation, while my teenagers were away at camp, I learned to sail. On the fourth night, I took the test and got my solo rating. My first solo cruise was terrifying and exhilarating at the same time. Afterward, I experienced a totally unexpected gift - the exhilaration, energy and vitality permeated every other area of my life as well - I got wind in my sails! And that’s what happens to people preparing for the exams - or undertaking other thoughtful, cognitive risk in their lives. The people we know who are contributing the most in life and getting the most out of life are the ones who are always growing, reaching out, discovering and learning across the very different, but interconnected areas of their lives. I cannot overemphasize how important it is for you to ‘Go For It’ and put yourself among them!
In his poem, “The Time Before Death”, Kabir invites the reader to ‘Jump into experience while you are alive!... plunge into the truth, find out who the Teacher is, Believe in the Great Sound!’ His statement ‘When the guest is being searched for, it is the intensity of the longing for the guest that does all the work’ – tells us that we have within us what we need to help us break out and jump into experience – ‘the intensity of the longing’ – the wind in our sails. For most of us organists – one of the most significant of these areas of intense longing is music.
Once we ‘jump into the experience’ and break out of that circle of comfort – we’ve entered a whole new, larger circle – not just one little nob on the circle. The larger circle is the circumference of our lives which is now enlarged and energized because of our boldness in one area. Even though I’ve had lots of experience with things that scare me, I still don’t like having to break into yet another level of daring, who does? We set a course in life, but just as we ‘tack’ in sailing in order to work with the wind – cutting first one way and then the other to progress toward our destination, in life we have to continue to adjust the course, each time reaching further, or in a new direction, because the route to the goal is never a straight line.
For several years now, I’ve been helping individuals, families and small businesses discern directions as their Life coach or building effective teams. I am really passionate about helping musicians pursue their art. Preparing for an AGO exam is a great way to do that and add a lot of wind to your sails at the same time. Just for a moment - silence your inner critic. Don’t edit your dreams...’I’ve never been able to transpose, I can’t perform for a judge, I’m too old’. In sailing terms that’s ‘irons’ (shackles) – no wind in your sails - you’re stuck. Stay open for just a minute and I’ll give you some compelling reasons to take an AGO exam this year - and I’ll back them up with facts!
The exam process affords greater opportunities for employment.
Even teenagers taking the exams tell me that this is true. After I took and passed the Colleague and Associate exams, I went from a ¼ time position to a ¾ time position. I’m one of only a few musicians I know getting my second sabbatical.
The exam process develops Vital Friendships with colleagues.
In Vital Friends, Tom Rath says that people with at least three close friends at work are 96% more likely to be extremely satisfied with their lives. Where are we church and temple musicians, who are often isolated in our work, going to get those ‘work’ connections? The connections and friendships made through the Guild and the Exam Preparation process are vital to our health and happiness. Rath identifies eight vital roles our friends play in our lives – Builder, Champion, Collaborator, Companion, Connector, Energizer, Mind opener. Exam study groups offer candidates a way to connect with each other as well with colleagues who teach them and play many of these roles for the candidate. We all need people who play these roles to us – as well as needing to play these roles for others. I have been gifted with the most amazing friendships through the guild as a result of the exam process. This is not a choice – you need these friendships!
The exam process prepares our future leaders.
Just look at our Regional and National leaders and committee members and you’ll find many are certified. I’ve served on The Boston Chapter’s Executive Board, Program Committee, Young Organists Initiative, and have been honored to serve as Region I Coordinator for Education.
The exam process provides an opportunity to access some of life’s highest qualities.
Over sixty years ago, Abraham Maslow proposed that living creatively and purposefully in life are among the highest qualities life has to offer – at the top of his pyramid of human needs. Today, in ‘The flat world’, ‘time-saving’ technology isolates us in front of screens, depersonalizes us, and breeds passivity. We need new, creative challenges to continue to develop our artistry and bring balance to our 21st century lives. Most who have taken an exam say the experience broadened them, opened their minds, and gave them skills which freed them to be more creative in their work.
The exam process gives invaluable help in practical skills which seem to intimidate many organists.
Even though I have a Masters in Music, I never really grasped transposition, modulation and improvisation until I took the exams. And I hear this over and over again from colleagues as well. Preparation for the exams makes us more complete, confident musicians.
To set yourself up for Success and not failure and frustration, make sure you take these Five Essential Steps of Making a Successful Change. These steps can be used to take action on ANY goal you set for yourself, professional or personal.
Know your vision/purpose – certification – or any other worthy goal…Without a purpose or vision, your change will end up in confusion.
Acquire the skills and talents you’ll need to make your change/pass the exam Lack of skills produces anxiety over our inabilities.
Know your incentives and motivations – both intrinsic and extrinsic - the “rewards” and feelings of satisfaction. Motivations are key to accomplishing anything.
Identify and acquire the resources you’ll need. Limited resources are frustrate our efforts.
Develop your action plan. Write down your steps, timetable, and milestones.
You can find complete information on all the exam level requirements at AGOHQ.org by clicking on Education and Certification, Professional Education, Certification Chart, and Requirements. The Bookstore has lots of great exam resources. Make sure to get the exam level study guide, and other wonderful publications. Check to see if your chapter or region has a peer level study group, or start one. You can also check out my Regional Exam Blog at newenglandexams.blogspot.com for further information and a place to share ideas.
Whatever your goals are, I cannot over-emphasize how important it is to seek out a mentor and teacher, because, when someone believes in you, you can do amazing things (Robert Rosenthal’s Pygmalion effect). Mentor relationships energize us by helping to give us direction, inspiration, information, energy and role modeling. I’ve had many wonderful mentor relationships, and no one yet has said ‘No’ when I’ve asked their advice, including complete strangers. Go right to the top – ask the person you most admire.You will not believe how many times you will get an answer – and probably more. The generosity and talent of our AGO colleagues never ceases to impress me.
Be your own mentor as well - believe in yourself and be your own best friend. Meditation can help facilitate self awareness, self respect, and self knowledge in the most gentle and kind way. Eliminate the negative people in your life - so, duh, don’t be a negative person in your life! Monitor negative self talk and negative energy such as thoughts and actions centered in fear, anxiety, apathy, anger, pride, craving, regret, blame, scorn, etc. Energy drains will have to go, too. We all know what and who they are – and gossip is the biggest one. Manage your own time. If you want more tools for self discovery and motivation - I can give you plenty!
Breaking out of our circle of comfort is a skill we can use to change and energize our lives in every area. We all know the expression If you think you can, you can, if you think you can’t, you can’t. William Blake said it this way – ‘If the sun and moon would ever doubt they would immediately go out’. Doubt is the biggest dream-killer in the world – bar none! Successful people have just as many doubts – but they don’t pay any attention to them. The AGO exams are a wonderful vehicle which enables us to access and channel our real inner power and get the wind flowing over our sails. After the ALCS Game 5 last fall – the Red Sox 8-7 victory over the Tampa Bay Devil Rays, down 7-0 in the 7th – the greatest come from behind victory in playoff history - Jonathan Papelbom said - I never doubted for a moment that we could do it! That’s true inner power. That’s performing under pressure! You can use YOUR energy to shape your work in the same way. And next spring, when you take your exam – you’ll hit one out of the park!
Don’t forget to tell me how you do.
Joyce Kull's 100 - an Absolute MUST!!
The workshop on Guild Certification that I presented at the Twin Cities Convention is "100 Strategies for Successful AGO Certification" and is available on a DVD/Data CD and audio CD. It covers the whole range of AGO certification with explanations of each exam, valuable hints on how to successfully prepare, and many other helps. The Data CD contains the audio for the PowerPoint presentation as well as the PowerPoint slides, which can be downloaded onto a laptop and projected with the use of a PowerPoint projector, equipment owned by many churches. This version of the workshop can be presented to chapters or classes. The DVD, of course, can be shown on a TV screen. The data CD also contains the script, and the handout of the 100 strategies as well as a QuickTime Movie of the presentation that can be downloaded onto an individual computer for private study.
It is available in the AGO Store for a nominal $10.00 plus s/h. It should be in the hands of every Regional Educational Coordinator in the country as well as every Dean or Exam Coordinator. It contains the distillation of my 30 years of work in helping to prepare many candidates at all levels of AGO Certification.
The packet should also contain the current certification requirements published in the July TAO and available on the AGO web site with updates. Also, the AGO Bibliography has recently been updated and should be up on the web site soon, replacing the one there (which is only a year or two old). Also, it should be noted that the AAGO, FAGO, and ChM exams now allow the repertoire/anthems to be performed/rehearsed in any order. This is new in 2010. The SPC Test is also rearranged to reflect service order. The points will be the same, but the grading sheet for SPC Test is now in a different order. Do request a copy of the new SPC grading sheet from Harold Calhoon at AGO Headquarters.
There are two excellent articles available for downloading on the AGO web site: 1) "A Lifetime of Education Through Guild Certification" by Sue Mitchell-Wallace, details the areas covered in exams; 2) "American Guild of Organists Centennial: The Examinations and Academic Regalia of the American Guild of Organists" by Agnes Armstrong, CAGO, gives the history of AGO certification and its close connection to the original 1896 charter of the AGO by the New York State Board of Regents.
Joyce Shupe Kull, DMA, FAGO, ChM, Councillor for Education
It is available in the AGO Store for a nominal $10.00 plus s/h. It should be in the hands of every Regional Educational Coordinator in the country as well as every Dean or Exam Coordinator. It contains the distillation of my 30 years of work in helping to prepare many candidates at all levels of AGO Certification.
The packet should also contain the current certification requirements published in the July TAO and available on the AGO web site with updates. Also, the AGO Bibliography has recently been updated and should be up on the web site soon, replacing the one there (which is only a year or two old). Also, it should be noted that the AAGO, FAGO, and ChM exams now allow the repertoire/anthems to be performed/rehearsed in any order. This is new in 2010. The SPC Test is also rearranged to reflect service order. The points will be the same, but the grading sheet for SPC Test is now in a different order. Do request a copy of the new SPC grading sheet from Harold Calhoon at AGO Headquarters.
There are two excellent articles available for downloading on the AGO web site: 1) "A Lifetime of Education Through Guild Certification" by Sue Mitchell-Wallace, details the areas covered in exams; 2) "American Guild of Organists Centennial: The Examinations and Academic Regalia of the American Guild of Organists" by Agnes Armstrong, CAGO, gives the history of AGO certification and its close connection to the original 1896 charter of the AGO by the New York State Board of Regents.
Joyce Shupe Kull, DMA, FAGO, ChM, Councillor for Education
Sunday, July 12, 2009
Now is the time to begin preparing for the next cycle of exams. I suggest using Happiness is Being Certified, from the AGOHQ bookstore to plan your preparations. The Bibliography is also free.
The study guides and ear training tapes for the different exam levels are excellent and well worth the cost. I also suggest Joyce Kull's 100 suggestions.
The bookstore has many wonderful publications to aid and inform you as you prepare.
The study guides and ear training tapes for the different exam levels are excellent and well worth the cost. I also suggest Joyce Kull's 100 suggestions.
The bookstore has many wonderful publications to aid and inform you as you prepare.
For Exam Repertoire and Requirements, please go to AGOHQ.ORG and click on Professional Certification, Certification Chart, then click on Requirements.
Spectrum Music.com has a direct link on their home page to a complete list of exam-required music.
FoundryMusicco.com is also current with the required music for 2009-2010.
2010 Examination Dates
Service Playing Test: October 1, 2009 through April 30, 2010,
March 1 is the final application date.(Applications for SPC tests scheduled between October and February should be received at least 4 weeks prior to the scheduled test date.)
Colleague Examination: November 13, 2009; May 14, 2010; November 12, 2010, application deadlines September 15 for the November CAGO exam; March 1 for the May CAGO exam.
Choir Master Examination: June 2, 2010, deadline April 1(morning and afternoon)Associateship Examination: June 3 and 4, 2010, deadline April 1(paperwork section both mornings; organ playing one of the afternoons)
Fellowship Examination: June 3 and 4, 2010, deadline April 1(paperwork section both mornings; organ playing one of the afternoons)
Spectrum Music.com has a direct link on their home page to a complete list of exam-required music.
FoundryMusicco.com is also current with the required music for 2009-2010.
2010 Examination Dates
Service Playing Test: October 1, 2009 through April 30, 2010,
March 1 is the final application date.(Applications for SPC tests scheduled between October and February should be received at least 4 weeks prior to the scheduled test date.)
Colleague Examination: November 13, 2009; May 14, 2010; November 12, 2010, application deadlines September 15 for the November CAGO exam; March 1 for the May CAGO exam.
Choir Master Examination: June 2, 2010, deadline April 1(morning and afternoon)Associateship Examination: June 3 and 4, 2010, deadline April 1(paperwork section both mornings; organ playing one of the afternoons)
Fellowship Examination: June 3 and 4, 2010, deadline April 1(paperwork section both mornings; organ playing one of the afternoons)
Exam Centers
Exam Coordinators
BOSTON(FAGO, AAGO, ChM)
Glenn Goda, AAGO,
164 Calumet St.Roxbury, MA 02120
H: 617-442-7079W: 617-445-2600
Glenngoda1545@aol.com
GREATER HARTFORD(FAGO, AAGO, ChM)
Donald Funk, AAGO
136 South Highland St.
West Hartford, CT 06119
H: 860-231-8197W: 860-560-7800
dfnkjr@comcast.netemail@concertartists.com
NEW HAMPSHIRE(FAGO, AAGO, ChM)
Kenneth J. Grinnell Jr., FAGO, CHM
218 Pickering St.Manchester, NH 03104-2703
H: 603-668-3780C: 603-625-5093
fourgrinns@comcast.netkgrinnell@fccmanchesternh.org
SPRINGFIELD(FAGO, AAGO, ChM)
Peter B. Beardsley, FAGO
Christ Church Cathedral
35 Chestnut St.Springfield, MA 01103-1786
H: 413-746-9640W: 413-732-6437
Cell: 413-478-6114jp51beardsley2@the-spa.com
WORCESTER(FAGO, AAGO, ChM)
Malcolm Hallliday, FAGO
First Congregational Church of Shrewsbury
19 Church Rd.Shrewsbury, MA 01545C:
508-845-7286
Portland (FAGO, AAGO, ChM)
Fall 2009
James Strand, AAGO
642 Sawyer St.
South Portland, ME 04106
jstrand@maine.rr.com
BOSTON(FAGO, AAGO, ChM)
Glenn Goda, AAGO,
164 Calumet St.Roxbury, MA 02120
H: 617-442-7079W: 617-445-2600
Glenngoda1545@aol.com
GREATER HARTFORD(FAGO, AAGO, ChM)
Donald Funk, AAGO
136 South Highland St.
West Hartford, CT 06119
H: 860-231-8197W: 860-560-7800
dfnkjr@comcast.netemail@concertartists.com
NEW HAMPSHIRE(FAGO, AAGO, ChM)
Kenneth J. Grinnell Jr., FAGO, CHM
218 Pickering St.Manchester, NH 03104-2703
H: 603-668-3780C: 603-625-5093
fourgrinns@comcast.netkgrinnell@fccmanchesternh.org
SPRINGFIELD(FAGO, AAGO, ChM)
Peter B. Beardsley, FAGO
Christ Church Cathedral
35 Chestnut St.Springfield, MA 01103-1786
H: 413-746-9640W: 413-732-6437
Cell: 413-478-6114jp51beardsley2@the-spa.com
WORCESTER(FAGO, AAGO, ChM)
Malcolm Hallliday, FAGO
First Congregational Church of Shrewsbury
19 Church Rd.Shrewsbury, MA 01545C:
508-845-7286
Portland (FAGO, AAGO, ChM)
Fall 2009
James Strand, AAGO
642 Sawyer St.
South Portland, ME 04106
jstrand@maine.rr.com
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