Academics

Requirements

Contents:
 

Information and answers to FAQs
Performing Arts Department Grading Policy
Requirements for the Major in Music
Requirements for the Minor in Music
Requirements concerning Solo Performance for Majors and Minors (MUS 185)
Repertory lists for performance levels

 

Performing Arts Department Grading Policy

• No Music or Theatre majors may take any of the classes required for their major as Pass/Fail.
• Students must receive at least a C- in the classes that are required for the major. Lower grades (D+ or below in courses required for the major must be taken again to count for credit towards the major.
• Students must have a GPA of at least 2.5 (in the courses required for the major) in order to graduate with the major.

All students majoring in Music at UMass Boston take the following sequence of courses:

Requirements for the Major in Music
 

4 classes in Theory: MUS 121-122 and 221-222 (12 credits)
4 classes in Ear Training/Sight Singing: MUS 123-124 and 223-224  (8 credits)
2 classes in Keyboard Skills: MUS 131-132 (4 credits)
4 classes in Music History and Literature:  MUS 302, 303, 315, and one history elective at the 400 level (12 credits)
6 classes in Ensemble Performance: MUS 101, 102, 104, or 106 (12 credits)
8 semesters of Applied Music Lessons (Solo Performance) in a primary instrument or voice:  MUS 185 (8 credits)

N.B. To graduate, Music Majors must demonstrate proficiency at Level 4 in their primary instrument. 

The Minor in Music: 6 courses
 

Theory Component (2 courses / 6 credits)
Music Theory I:  MUS 121
Music Theory II: MUS 122

History Component (2 courses / 6 credits)
Masterpieces of Western Music (MUS 300)
Seminar in World Music (MUS 315)

Electives (choice of two additional MUSIC courses at the 200-level or above / 6 credits)

N.B: The Minor in Music comprises no more than two 100-level courses and no fewer than two 300-level courses. Students are encouraged to complement their required coursework with music ensembles and Applied Music (MUSIC 185) although they are not required for the Minor. Also, no course required for the Minor in Music may be taken pass/fail.

Solo Performance
 

MUSIC 185 -- Applied Music Instruction (8 credits)
In order to be certified for graduation, a student must achieve at least a level four out of eight proficiency levels in solo performance. Repertoire lists of the eight proficiency levels are available from instructors and from the proficiency lists below. Students majoring in music must perform before a faculty jury at the end of each semester. For a list of instruments and applied lesson teachers in the Department of Performing Arts, click here.

N.B. These requirements affect students entering the program for Spring 2012 and beyond:

Levels 1 to 4 are defined by comprehensive repertory/technique lists appropriate for each instrument offered. Level 1 is equivalent to the very beginning of studies on a particular instrument. Each level is considered to be equal to one academic year (two semesters). 

  • Music Majors must declare a primary instrument.
  • Music Majors are required to take eight semesters on their primary instrument
  • To graduate, Music Majors must demonstrate proficiency of at minimum Level 4.
  • Transfer credits in Applied Music from other colleges, conservatories and universities may count toward the eight-semester requirement. 
  • Students planning on completing the Music Major in two or fewer years are required to take Applied Music each semester and demonstrate proficiency at Level 4. See repertory lists, below.
  • The instructor identifies a student’s proficiency level. At the end of the semester, the Faculty Jury decides if a student passes or fails that proficiency level. The student’s final grade is determined by the instructor.
  • Seniors with a GPA of 3.25 or higher may, at the discretion of the faculty, elect to perform a Senior Honors Recital (MUS 498, 1 credit hour)

For repertory Lists (Proficiency Levels) required for performance study, click on your instrument in the list below. For a list of applied music instructors, click here.  To sign up for MUS 185, you must contact the department administrative assistant before the semester begins: Tanya Williams at 617-287-5640 or Performing.Arts@umb.edu. She will help you arrange your instructor.
 

Accordion studies
Bass studies, jazz track
Bass studies, classical track
Bassoon studies
Cello studies
Clarinet studies
Drumset studies
Euphonium (Baritone) studies
Flute studies
Guitar studies, classical track
Fingerstyle Acoustic Guitar studies
Guitar studies, jazz track
Harp studies
Oboe studies
Piano studies 
Saxophone studies
Trombone studies
Trumpet studies
Tuba studies
Viola studies
Violin studies
Voice studies

 

Accordion repertory for levels 1-4 (back to list)

Level 1
Palmer-Hughes, developing basic coordination for both hands; Palmer-Hughes Accordion Method Book 1, C, G, F major scales, slow motion, with arpeggios. Preliminary velocity studies, grade 1; Palmer Hughes Recital Book One Easy songs from 101 Popular Songs Easy Rock and Roll book. Pieces from beginner student series:  invitation to dance (Weber), Laughing polka, Pony Polka, A little sailor’s dance, Shortin’ rock, Stephen Foster Medley, Wedding dance polka, Elbow polka, Five Finger  Waltz, Lazy Daisy

Level 2
Palmer-Hughes Accordion Book 2, Major scales up to 5 sharp and 5 flats, arpeggios, triads (in root and inversions.) Left hand major scale, major, minor chords. Palmer-Hughes Recital Book 2 Ideal March, Oh Susanna, Heartbreakin' Rock, Jenny Lind Polka, Happy  Farmer Polka, Video March Draftee Polka, Gay Gypsies, songs from "101 Popular Songs," Tic-Toc  Polka, Chiapanecas, Bach "Minuet"

Level 3
All major scales, arpeggios, Chromatic scale. Introduction to bellows  shake technique. Palmer-Hughes accordion Book 3, Little Czerny (Arr. Charles Nunzio) Palmer-Hughes Recital Book 3. Songs from "The Best of Pietro Deiro Book": Malaguena, Parade of the  wooden soldiers, A Gay Ranchero, Paper Doll, Glow-Worm, Mexican Hat Dance Clementi: Sonatina No. 1, in C (Arr. Frank Gaviani), Deena Polka, Let's  Play Boogie-Woogie (Gaviani), Susy's Polka, Julida Polka, Wienerschnitzel  Polka, Au Revoir Polka

Level 4
Both hands: All major scales and arpeggios. Triads, 6 and 7 chords in  root position and inversions. Other specific exercises. Left hand: All major and minor scales. Chromatic scale. Other specific exercises. Latin rhythm. Ability to provide accompaniment for waltz, tango, polka. Palmer-Hughes Accordion method, books 4 and 5 Charles Magnante Accordion method .... ongoing... Gaviani:  Little velocity, Advanced Little velocity, Modern  technique. Frosini Bellows shake method. Repertoire: Pieces in full chords: Miami Beach Rumba, New  York New York, Hart and Soul, Tea for Two. La Muchacha del  fuego, Brahms "Hungarian Dance No. 5," Tico-Tico, John Gart  "Vivo", "Scherzo", El Relicario, J. Strauss Waltzes, Pietro Frosini (any compositions). Maddalena Belfiore "Pan polka."

 

Bass Studies for Jazz repertory for levels 1-4 (back to list)

Level 1
Introduction to major scales Study of triads (major, minor, diminished, augmented) Introduction to intervals through ear training Elementary walking bass lines emphasizing awareness of root motion Beginning improvisation using blues and chord scale approach Introduction to jazz repertoire focusing on tunes like Solar, Autumn Leaves, and Blue Bossa and comparable level difficulty Emphasis on developing good practice habits utilizing relaxation techniques.

Level 2
Introduction to minor scales (harmonic and melodic) Study of seventh chords Introduction to the II V I progression and improvising using the approach note method Expanding repertoire including standards Have you Met Miss Jones, All the things you Are, Stella by Starlight and tunes of comparable difficulty. 

Level 3
Introduction to modes (Dorian, Phrygian, Lydian, etc.). Expanding rhythmic palette by studying various Latin rhythms such as Brazilian and Afro Cuban Repertoire includes more advance harmonic tunes such as Stable Mates, Round’ Midnight, Conformation, etc. Advancing ear training capacity by mastery of tunes in 12 keys.

Level 4
Advance scales: pentatonic, whole tone, diminished Advanced rhythmic studies including odd meters and hemiolas Study of harmonically advanced tunes with emphasis on Coltrane changes (Giant Steps, Moments Notice, Countdown, etc.)   Advanced improvisation techniques by transcription and analysis. Double bass studies for classical music student.
 

Double Bass studies classical repertory list for levels 1-4 (back to list)
TBA

 

Bassoon Studies (back to list)

Level I
Objectives: Tone production. Developing embouchure, posture, breath; Care and maintenance of the instrument. Major scales for one octave: C, F, G, D, B-flat; Julius Weissenborn, Method for Bassoon; First Book of Bassoon Solos. Repertory: Robert Schumann, The Happy Farmer

Level 2
Major scales in two octaves: C, F, G, B-flat, D, E-flat, A, A-flat, E; Minor scales: a, d, e, g, b, c; Julius Weissenborn, Method for Bassoon (continuation); Julius Weissenborn, Studies for Bassoon, Book I; Georg Klutsch, Bassoon Fundamentals (selected exercises)
Giorgio Versiglia, Improving Bassoon Technique (selected scales and intervals); Repertory: Beethoven, Contradance in G major
John W. Bratton, Teddy Bears’ Picnic; B. Garfield, Concert Album for Bassoon; Edward Grieg, In the Hall of the Mountain King,

Level 3
All major and minor scales in two octaves, arpeggios; Julius Weissenborn, Studies for Bassoon, Book I (continuation); Julius Weissenborn, Studies for Bassoon, Book II; Georg Klutsch, Bassoon fundamentals (continuation)' Giorgio Versiglia, Improving Bassoon Technique, (continuation); Giuseppe Concone, The Singing Bassoon, (legato studies); Larry Clark & Sean O’Loughlin, Melodious Etudes for Bassoon, (based on “Vocalises” of Marco Bordogni); Marcello, Sonata in e minor; Vivaldi, Bassoon Concerto in C major;

Level 4
Weissenborn, Studies for Bassoon, Book II (continuation); Ludwig Milde, Studies in scales and arpeggios, Op. 24; Giorgio; Versiglia, Improving Bassoon Technique, (continuation); Eugene Jancourt, 26 Melodic Studies; Edouard Flament, Technical Exercises for Bassoon; Carl Jacobi, Six Caprices for Bassoon; Repertory: P.D.Q Bach, Sonata “Abassoonata” (if student has basic piano playing skills); Vivaldi, Concerto for Bassoon in A minor; J.G.Graun, Concerto for Bassoon; J. E. Galliard, Six Sonatas; Dvarionas, Theme and Variations

 

Cello studies repertory for levels 1-4 (back to list)

Level 1
Technique: one-octave major scales and arpeggios, positions 1 through 4 with extensions beginning vibrato, articulations, string crossings accurate intonation, consistent tone production Etudes from any of the following: Schroeder, Book 1; Dotzauer, Book 1; Sevcik, 40 variations, Op. 3; Grant, Intermediate solos in the positions. Solo pieces: Webster, Scherzo; Gabriel-Marie, La Cinquantaine; Beethoven, Sonatina in G major (or other works at the same level).

Level 2
Technique: Two-octave major and minor scales and arpeggios, vibrato, tenor clef, positions 5-7, simple double stops and chords. Etudes from any of the following: Schroeder, Book 2; Dotzauer, Book 2; Duport, Book 1; Popper: Preparatory Etudes. Solo pieces: Squire, Danse Rustique; Casals, Song of the Birds; Mendelssohn, Song Without Words (or other works at the same level from Deri or Collier collections), Sonatas by Breval, C Major; Marcello, G major or C major; Vivaldi, E minor, A minor or B-flat major (or other works at the same level).

Level 3
Technique: Three-octave scales and arpeggios, thirds, sixths and octaves; beginning thumb position; tenor clef and beginning treble clef. Etudes: Schroeder, Book 3; Dotzauer, Book 3; Piatti, Caprices; Popper, High School of Cello Playing; Rick Mooney: Introduction to Thumb Position. Solo pieces: Selections from Deri, Collier, or French Gems; Popper, Village Song or Gavotte; Saint-Saens, The Swan (or works at the same level); Sonatas and unaccompanied works: J. S. Bach: Suite in G major, No. 1; Eccles, Sonata; Mendelssohn: B-flat; J. S. Bach: Gamba Sonatas (or works at the same level); Concertos: Vivaldi Double Concerto; Bruch, Kol Nidrei (or works at the same level).

Level 4
Technique: Three- or four- octave scales and arpeggios, thirds, sixths, octaves, fifths, fourths, thumb position; Treble clef Etudes: Dotzauer, Popper, Grutzmacher, Piatti, etc; Solo pieces: Faure, Elegy; Van Goens, Scherzo, Popper (several); Sonatas and unaccompanied works: J. S. Bach Suite 2 or 3; Brahms, E minor; Beethoven,  F major or G minor (or works at the same level); Concertos: Haydn, C Major; Boccherini: B-flat (or other works at the same level).

 

Drumset studies repertory list for levels 1-4 (back to list)

Level 1+2
Proper technique and grip, when holding the sticks -Correct posture and approach behind the drumset -Knowledge of the names of each of the drums in the drumset and their function -Be able to play flams, flam taps, flam accents, flamacues, and flam paradiddles, preferably from memory -Basic jazz time, with a strong sense of swing -Basic rock groove -Bossa Nova

Level 3+4
Drags, drag taps, lesson 25, drag paradiddles, ratamacues, in addition to the flam rudiments from memory; apply these rudiments in Mister Rudiments from the NARD book, Jazz time, with ability to play the 8 points comping up to 2 in a row, on the snare and bass Excerpt from Ted Reed's "Syncopation" Basic Samba More advanced rock grooves


Flute studies repertory for levels 1-4 (back to list)

Level 1
Intro to producing a sound on the instrument (Harmonics/Tone/Breathing), Basic music reading skills, Major Scales, 1 octave, Chromatic Scale, 1 octave, Teaching Rhythm by Joel Rothman, Flute 101; Mastering the Basics by Patricia George, Rubank Elementary Volume, Selected Duets Volume 1, 40 Easy Solo Pieces by Louis Moyse

Level 2
Major Scales, 2 octaves, rolling scale pattern (w/ various articulations), Chromatic Scale, 2 (&3) octaves, Continuation of Harmonics/Tone/Breathing; Rubank Intermediate Volume; Paul Harris/S. Adams, 76 Graded Studies for Flute, Volume 1; Selected Duets, Volume 2; Sonata V in F Major by Handel; J.S. Bach, Sonata in C Major; Telemann, Fantasies for Solo flute

Level 3
Scale Studies by Meerenai Shim, Chromatic Scale Patterns (w/ various articulations), Intro to double tonguing, 76 Graded Studies for Flute, Volume 2 by Paul Harris/Sally Adams, 15 Easy Exercises by Kohler, Practice Book for Tone by Trevor Wye, Canonic Duets by Telemann, Sonata in A Minor by C.P.E. Bach, Sonata in E Major by J.S. Bach, Danse de la Chevre by Honegger, Fantasie by Faure, Syrinx by Debussy

Level 4
Taffanel and Gaubert Daily Exercises (EJ 1, 2, 3, 4, 10); Etudes, Andersen Opus 33; Tone Development Through Interpretation by Moyse; Kulau, Flute Duets, Op 10; Mozart, G Major and D Major Concertos; Robert Dick, Lookout; J.S. Bach, Sonata in E Minor; Enesco, Cantabile et Presto by Enesco; Chaminade, Concertino; Varese, Density 21.5

 

Euphonium (Baritone), Trombone, Tuba repertory for levels 1-8

Level 1
Methods: Accent on Achievement Books 1 & 2, trombone, baritone and Tuba; Rubank, Elementary Method, trombone, baritone and Tuba; Basic exercises based on Remington Warm-up; My First Arbans book for Tuba; Etudes: Richard & Cox, Sing clap & play; Solos:    Hare, The magic Trombone
        
Level 2
Methods: Rubank, Intermediate Method for trombone, baritone and Tuba; Basic exercises based on Remmington Warm-ups; Etudes: Voxman, Selected duets, vol. 1 trombone and tuba. Solos: Gout, Going Solo for Trombone; Vekselblatt, First Solos for the Tuba player.

Level 3
Methods: Rubank, Advanced Method; Basic exercises based on Remmington Warm-ups; Aebersold, Jazz Improvisation vol. 1 (for Jazz concentrators); Arbans, Famous Method for Trombone (Alessi ed.); Arbans, Famous Method for Tuba. Etudes: Rochut, Melodious Etudes, Bk. 1; Voxman, Duets, Book 1; Bordogni, Etudes for Tuba; Hal Leonard, Classics Jazz Duets. Solos: Smith, Solos for the trombone, Solos for the Tuba; Vekselblatt, First Solos for the Tuba player

Level 4 
Approaching self sufficiency with an applicable grasp of overall technique on the instrument. Methods: Blazhevich, Clef Studies; 20 minute warm-up, Michael Davis; Aebersold, Jazz Improvisation vol. 3 and 21 (for Jazz concentrators). Etudes: Rochut, Melodious Etudes, Bk. 1; Bordogni, Etudes for Tuba; Blume, Bass Trombone Studies; Bordogni, 17 vocalises - Duets. (Ed. Hoffman); Stevens, Changing Meter Studies for Bass Clef Instruments; Bousquet, 36 celebrated Studies for Tuba. Solos: Smith, Solos for the trombone, Solos for the Tuba; Rimsky-Korsakov, Trombone Concerto; Marcello: Sonata; Max Denmark, Intro and Polonaise

Level 5 
Methods: Schlossberg, Daily Studies; 20 minute warm-up, Michael Davis; Berger, Dr. B’s Rhythmic training; Blazhevich, Clef Studies; Aebersold, Jazz Improvisation vol. 3 and 21 (for Jazz concentrators). Etudes: Rochut, Melodious Etudes Bks. 1 (transposed) & 2; Bordogni, 17 vocalises - Duets (Ed. Hoffman); Blume, Bass Trombone Studies; Bach, Suites for Violoncello, Trb. Bar. Tuba; Kopprasch, 60 etudes (vol. 1), Trb. Bar. Tuba; J. S. Bach, Two-part inventions (Sauer ed.). Solos: Handel, Concerto in f; Sachse, Concerto for Trombone (baritone); Sulek, Vox Gabireli; Vaughn-Williams, Tuba Concerto. Standard Orchestral Excerpts. 

Level 6
Methods: Schlossberg, Daily Studies; 20 minute warm-up, Michael Davis; Blazhevich, Clef Studies; Berger, Dr. B’s Rhythmic training; Aebersold, Jazz Improvisation vol. 3, 16, 21 and 42 (for Jazz concentrators). Etudes: Rochut, Melodious Etudes Bks. 1 (transposed) & 2; Blume, Bass Trombone Studies; J.S. Bach, Suites for Violoncello (transcription); Bitshe, Rhythmic Etudes; Kopprasch, 60 etudes (vol. 2), Trb. Bar. Tuba. Solos: David, Concertino for Trombone (baritone); Mihaud, Concertino D'hiver; Hindemith, Sonate (trombone and tuba); Larsson, Concerto for trombone; Vaughn-Williams, Tuba Concerto. Standard Orchestral Excerpts.

Levels 7 & 8
Methods: Schlossberg, Daily Studies; 20 minute warm-up, Michael Davis; Berger, Dr. B’s Rhythmic training; Magadini, Polyrhythms; Aebersold, Jazz Improvisation vols. 3, 16, 42, 25 and 21 (for Jazz concentrators). Etudes: Rochut, Melodious Etudes Bks. 1 (transposed), 2, & 3; Bitsche, Rhythmic Etudes; Boutry, Etudes. Solos: Grondahl, Concerto for Trombone (baritone); Tomasi, Concerto; Imbrie, 3 Sketches for Trombone (level 8 only); Jacob, Concerto for Trombone; Williams, Concerto for Tuba. Standard Orchestral Excerpts and excerpts from 20th-Century Repertoire.

 

Guitar classical track studies repertory for levels 1-4 (back to list)

Level 1
*Sight Reading: First position single-line melodies – mixed whole, half, quarter, and eighth notes – 60-bpm in 4/4 and 3/4 meters. *Fret-board note identification: all strings from open to fifth fret. *Scales: Single string chromatic scales with smooth position shifts *Scales: First position major scales – C, G, F, D, E, A – one octave *Chords: First position major chords – C, G, F, D, E, A *Tunings: Guitar standard – EADGBE *Repertoire (Level appropriate works that represent the student’s music knowledge, technical proficiency, and artistic standards): From The Christopher Parkening Guitar Method – Volume 1:  1) Fugue study (duet) (J.S. Bach), 2) Variation on a Spanish Theme (Traditional, arr. C. Parkening), 3) Minuet in G (J.S. Bach), 4) Andante in C (Fernando Sor)

Level 2
*Sight Reading: First position single-line melodies – mixed whole-, half-, quarter-, eighth-, and sixteenth-notes – 60-bpm in 4/4, 3/4, 2/4, and 6/8 meters. *Fret-board note identification: all strings from open to twelfth fret. *Scales: First position major scales – C, G, F, D, E, A – full position capabilities *Scales: First position natural minor scales – A min, E min, D min, B min, C-sharp min, F-sharp min, G min – full position capabilities *Chords: First position minor chords – A min, E min, D min, B min, C-sharp min, F-sharp min *Tunings: Guitar standard – EADGBE *Repertoire (Level appropriate works that represent the student’s music knowledge, technical proficiency, and artistic standards): From The Christopher Parkening Guitar Method – Volume 1:  1) Catalonian Song (Traditional, arr. C Parkening), 2) Greensleeves (English Folk Song, arr. C Parkening), 2) Minuet (Robert DeVisee), 3) Spanish Folk Song (Traditional, arr. J Marshall), 4) Estudio (Dionisio Aguado)

Level 3
*Sight Reading:  second position single-line melodies – mixed whole-, half-, quarter-, eighth-, and sixteenth-notes – 65-bpm in 4/4, 3/4, 2/4, 2/2, 3/8, and 6/8 meters. *Sight Reading: Two lines simultaneously (melody and bass) – mixed whole-, half-, quarter-, and eighth notes – 60-bpm – various meters *Fret-board note identification: all strings from open to twelfth fret. *Scales: Multi-position Diatonic Scales (fingerings by Celedonio Romero) – C major/A minor, G major/E minor, D major/B minor – free-stroke and rest-stroke, alternating pairs of right hand fingers (im, im, im, and mi, mi, mi) *Chords: Closed position major, minor, and seventh chords: Barred major and minor chords *Arpeggios:  Giuliani Right-Hand Studies nos. 2-5 *Tunings: Guitar standard – EADGBE *Repertoire (Level appropriate works that represent the student’s music knowledge, technical proficiency, and artistic standards): From The Art of Spanish Guitar – A method by Celino Romero:  1) Prelude in A Minor (Ferdinando Carulli), 2) Estudio (in E Minor) (Francisco Tarrega), 3) Study No. 10 in C (Dionisio Aguado), 4) Waltz in G (Ferdinando Carulli), 5) Study No. 2, Op.6 (Fernando Sor)

Level 4
*Sight Reading: First through fifth positions, Andante tempos with more difficult rhythms (sixteenths, thirty-seconds, triplets, dotted eighths, etcS) *Scales: Multi-position Diatonic Scales (fingerings by Celedonio Romero) – A major/F-sharp minor, E major/C-sharp minor, B major/G-sharp minor, F major/D minor – free-stroke and rest-stroke, alternating pairs of right hand fingers (im, mi, ma, am, ia, ai) *Arpeggios:  Giuliani Right-Hand Studies nos. 6-12 *Tunings: Guitar standard – EADGBE, Drop D - DADGBE *Repertoire (Level appropriate works that represent the student’s music knowledge, technical proficiency, and artistic standards): From The Art of Spanish Guitar – A method by Celino Romero:  1) Study No. 1, Op. 60 (Matteo Carcassi), 2) Study No. 2, Op. 60 (Matteo Carcassi), 3) Saltarello ( Vincenzo Galilei), 4) Vals in G (Dionisio Aguado), 5) Romanze (Robert Schumann, arranged for guitar by Celedonio Romero), 6) Adelita (Francisco Tarrega)

Required Texts for Classical track, levels 1-4
1.    Sight Reading for the Classical Guitar – Levels 1-3, by Robert Benedict, Alfred Publishing
2.    Sight Reading for the Classical Guitar – Levels 4 and 5, by Robert Benedict, Alfred Publishing
3.    The Christopher Parkening Guitar Method – Volume 1, Hal Leonard Publishing
4.    The Art of Spanish Guitar – A method by Celino Romero, Amsco Publications, distribution by Hal Leonard

 

Fingerstyle Acoustic Guitar track repertory for levels 1-4 (back to list)

Level 1
*Sight Reading: First position single-line melodies – mixed whole, half, quarter, and eighth notes – 60-bpm in 4/4 and 3/4 meters. *Fret-board note identification: all strings from open to fifth fret. *Scales: First position major scales – C, G, F, D, E, A – one octave *Scales: Single string chromatic scales with smooth position shifts *Chords: First position major chords – C, G, F, D, E, A *Chords: Right hand alternating bass *Tunings: Guitar standard – EADGBE *Repertoire (Level appropriate works that represent the student’s music knowledge, technical proficiency, and artistic standards): From “Fingerstyle Guitar” by Ken Perlman:  1) A Man of Constant Sorrow (Traditional, arr. K Perlman), 2) Freight Train (Elizabeth Cotton), 3) Louis Collins (Mississippi John Hurt)

Level 2
*Sight Reading: First position (standard tuning) single-line melodies – mixed whole, half, quarter, eighth, and sixteenth notes – 60-bpm in 4/4, 3/4, 2/4, and 6/8 meters. *Fret-board note identification: standard tuning - all strings from open to twelfth fret, open G tuning – all strings from open to fifth fret. *Scales: First position, standard tuning, major scales – C, G, F, D, E, A – full position capabilities. *Scales: First position, standard tuning, natural minor scales – A min, E min, D min, B min, C-sharp min, F-sharp min, G min – full position capabilities. *Scales: First position, open G tuning – G pentatonic, G major, G mixolydian – one octave. *Chords: First position minor chords – A min, E min, D min, B min, C-sharp min, F-sharp min – standard tuning. *Tunings: Guitar standard – EADGBE: Open G tuning - DGDGBD *Repertoire (Level appropriate works that represent the student’s music knowledge, technical proficiency, and artistic standards): From “Fingerstyle Guitar” by Ken Perlman:  1) The Cherokee Shuffle (Traditional, arr. K Perlman), 2) Make Me a Pallet on the Floor (Mississippi John Hurt), From “Scottish Traditional Music for Guitar” by Rob MacKillop: 3) The Flowers of the Forest (John Skene manuscript c.1630), 4) Air (Jane Pickeringe manuscript c.1700)

Level 3
*Sight Reading: Second position (standard tuning) single-line melodies – mixed whole, half, quarter, eighth, and sixteenth notes – 65-bpm in 4/4, 3/4, 2/4, 2/2, 3/8, and 6/8 meters. *Sight Reading: Two lines simultaneously (melody and bass) (standard and open G tunings) – mixed whole, half, quarter, and eighth notes – 60-bpm – various meters *Fret-board note identification: all strings from open to twelfth fret – standard and open G tunings. *Scales: Multi-position Major/Minor Scales, standard tuning  – C major/A minor, G major/E minor, D major/B minor – free-stroke and rest-stroke, alternating pairs of right hand fingers (im, im, im, and mi, mi, mi), two octave. *Scales: First position, open G tuning – G pentatonic, G major, G mixolydian, E minor, D major – full position capabilities. *Chords: Standard tuning closed position major, minor, and seventh chords: Barred major and minor chords. *Chords: Open G tuning chords – G major, D major, A major, E minor. *Arpeggios:  Perlman Right-Hand Studies *Tunings: Guitar standard – EADGBE: Open G tuning – DGDGBD: Drop D tuning – DADGBE. *Repertoire (Level appropriate works that represent the student’s music knowledge, technical proficiency, and artistic standards): From “Fingerstyle Guitar” by Ken Perlman:  1) Cranberry Highway (Ken Perlman), 2) Lord Inchiquin (Turlough O’Carolan), 3) The Manchester Angel (Traditional, arr. K Perlman), From “Scottish Traditional Music for Guitar” by Rob MacKillop: 4) Mairi bhan og (Mary Young and Fair) (Traditional Gaelic air), 5) My Lady Binnis Lilt (Wemyss lute manuscript c.1643) 

Level 4
*Sight Reading: First through fifth positions (standard tuning), Andante tempos with more difficult rhythms (sixteenths, thirty-seconds, triplets, dotted eighths, etc.) *Scales: Multi-position Major/Minor Scales, standard tuning – A major/F-sharp minor, E major/C-sharp minor, B major/G-sharp minor, F major/D minor – free-stroke and rest-stroke, alternating pairs of right hand fingers (im, mi, ma, am, ia, ai), two octave. *Tunings: Guitar standard – EADGBE, Open G – DGDGBD, Drop D - DADGBE *Repertoire (Level appropriate works that represent the student’s music knowledge, technical proficiency, and artistic standards): From “Fingerstyle Guitar” by Ken Perlman:  1) The Sligo River Blues (John Fahey), 2) Turkey In the Straw(Traditional, arr. K Perlman), 3) The Eighth of January (Traditional, arr. K Perlman), From “Scottish Traditional Music for Guitar” by Rob MacKillop: 4) Blew Ribben (Wemyss lute manuscript c.1643), 5) The Black Sands (Rob MacKillop), 6) Co a ni mire ri Mairi (Who will dandle my Mary) (Traditional lullaby)

Required Texts for Fingerstyle Acoustic Guitar track, levels 1-4
1.  Sight Reading for the Classical Guitar – Levels 1-3, by Robert Benedict, Alfred Publishing
2.    Sight Reading for the Classical Guitar – Levels 4 and 5, by Robert Benedict, Alfred Publishing
3.    Fingerstyle Guitar, by Ken Perlman, Centerstream Publications
4.    Scottish Traditional Music for Guitar, by Rob MacKillop, The Hardy Press Publishing, distribution by Hal Leonard


Guitar Jazz track repertory for levels 1-4 (back to list)

Level 1
*Sight Reading: First position single-line melodies – mixed whole, half, quarter, and eighth notes – 60-bpm in 4/4 and 3/4 meters. *Fret-board note identification: all strings from open to fifth fret. *Scales: First position scales – C, G, F, D, Bb, A, Eb, A min, E min, D min, – one octave *Scales: Single string chromatic scales with smooth position shifts *Chords: First position chords – C, G7, F, D, E min, A min, D min *Tunings: Guitar standard – EADGBE *Repertoire (Level appropriate works that represent the student’s music knowledge, technical proficiency, and artistic standards): From A Modern Method for Guitar – Volume 1, by William G Leavitt:  1) First Solo (W Leavitt), 2) Second Solo (W Leavitt), 3) Waltz in F (W Leavitt) 

Level 2
*Sight Reading: First position single-line melodies – mixed whole, half, quarter, eighth, and sixteenth notes – 60-bpm in 4/4, 3/4, 2/4, and 6/8 meters. *Fret-board note identification: all strings from open to twelfth fret. *Scales: Second position major scales – C, G, F, D, A – full position capabilities *Scales: Second position natural minor scales – A min, E min, D min, B min, C-sharp min, F-sharp min, G min – full position capabilities *Chords: Movable chord forms, Major, minor, dominant, major seventh, augmented *Tunings: Guitar standard – EADGBE *Repertoire (Level appropriate works that represent the student’s music knowledge, technical proficiency, and artistic standards): From A Modern Method for Guitar – Volume 1, by William G Leavitt:  1) Chord Etude No. 1 (W Leavitt), Chord Etude No. 2 (W Leavitt), 3) Melodic Rhythm Study No. 1 (W Leavitt), 4) Chord Etude No. 5 (W Leavitt)

Level 3
*Sight Reading: Second position single-line melodies – mixed whole, half, quarter, eighth, and sixteenth notes – 65-bpm in 4/4, 3/4, 2/4, 2/2, 3/8, and 6/8 meters. *Sight Reading: Melodic Rhythm Studies 1-5 (Melodic Rhythms For Guitar – William G Leavitt) *Scales: Multi-position Dorian minor and minor blues, *Chords: Chord studies/lessons 1-23 (Mickey Baker’s complete course in Jazz), Cycle of fourths *Repertoire (Level appropriate works that represent the student’s music knowledge, technical proficiency, and artistic standards): from The Real Book: 1) Afro Blue (Duet) (M Santamaria), 2) As Time Goes By (Duet) (Herman Hupfeld), 3) My Ship (Duet) (G Gershwin)


Level 4
*Sight Reading: First through fifth positions, Andante tempos with more difficult rhythms (sixteenths, thirty-seconds, triplets, dotted eighths, etcS) *Sight Reading: Melodic Rhythm Studies 6-17 (Melodic Rhythms For Guitar – William G Leavitt) *Scales: Major, Dominant, Lydian, and Jazz minor (all forms), pentatonic *Chords: the Locrian Mode and the half-diminished chord, Blues changes *Improvisation: daily Motif journal *Repertoire (Level appropriate works that represent the student’s music knowledge, technical proficiency, and artistic standards): 1) Beatrice (Sam Rivers), 2) All Blues (Miles Davis), 3) Wingspan (Mulgrew Miller), Freddie the Freeloader (Miles Davis)

Required Texts for Jazz track, levels 1-4

1.    The Real Book (any edition)
2.    A Modern Method For Guitar – Volume 1, by William G Leavitt, Berklee Press, distribution by Hal Leonard
3.    Sight Reading for the Classical Guitar – Levels 1-3, by Robert Benedict,
Alfred Publishing
4.    Melodic Rhythms for Guitar, by William G Leavitt, Berklee Press
5.    Mickey Baker’s Complete Course in Jazz Guitar – book 1, by Mickey Baker, Lewis Music Publishing, distribution by Hal Leonard

 

Harp Studies for levels 1-8 (back to list)

Level 1
Francois Joseph adermann, Sonata No.3 in B flat Major; Robert Litton, Sun Dance; Jean Philippe Rameau, ed. Henriette Renie L' Egyptienne; Alphonse Hasselmann, Au Monastere; George Gershwin, Prelude No.2; Jacques Ibert, Reflects Dans L'eau

Level 2
Claude Debussy, ed. Yolanda Kondonassis, Reverie; Gottfried Kirchhoff, ed. Marcel Gradnjany, Aria and Rigaudon; Marcel Tournier, Berceuse; Russe Mikhail Glinka, Nocturne; Carlos Salzedo, Chanson dans la Nuit; Marcel Tournier, Etude de Concert "Au Matin"; John Thomas, The Minstrel's Adieu to his Native Land

Level 3
Ottorino Respighi, trans. Marcel Grandjany, Siciliana; John Perry, Sonata in D Major; Giovanni Battista Pescetti, Sonata in C minor; Gabriel Pierne, Impromptu-Caprice; Mikhail Glinka, Variations on a Theme of Mozart; Jan Ladislov Dussek, Sonata in C minor; Sergiu Natra, Sonata for harp; George Frideric Handel, ed. Yolanda Kondonassis, Passacaglia from Suite No.7; Bernard Andres, Absidioles

Level 4
Benjamin Britten, Interlude from Ceremony of Carols; Marcel Tournier, Feerie; Carlos Salzedo, Whirwind; Marcel Tournier, Images; Henriette Renie, Contemplation: Reinhold Gliere, Impromptu; Albert Roussel, Impromptu; Gabriel Faure, Impromptu; Pierick Houdy, Sonata; Johann Georg Heinrich Backofen, Sonata; Germaine Tailleferre, Sonata

Level 5
George Frideric Handel, Concerto in B-flat Major; Sergei Prokofiev, Prelude in C; Carlos Salzedo, Scintillation; Louis Spohr, Fantasie for Harp, Op. 35; Maurice Ravel, Introduction et Allegro; Claude Debussy, Danses

Level 6
Benjamin Britten, Suite for Harp; Marcel Grandjany, Rhapsodie; Carlos Salzedo, Variations; George Frideric Handel, trans. Marcel Grandjany, Prelude and Toccata;

Level 7
Gabriel Faure, Une Chatelaine en sa Tour; Mikhail Glinka, The Lark; Carlos Salzedo, Ballade, Op. 28; Franz Liszt, ed. Henriette Renie, Un sospiro; Andre Caplet, Divertissements II; Henriette Renie, Legende

Level 8
Paul Hindemith, Sonata for Harp; Luciano Berio, Sequenzen II

 

Oboe Studies for Levels 1-4 (back to list)

Level 1
Major Scales and Arpeggios: C, G, D, A, F, B-flat, E-flat (one octave); Minor Scales and Arpeggios: a, e, b, f-sharp, d, g, c (one octave); Chromatic scale: Low C through High C; Long tones: "5 Note Drives" for tone development and dynamic control; Methods:
Studies and Melodious Etudes for Oboe by Blaine Edelfson, Level One Gekeler Etudes, Level One; Repertoire: Gabriel Marie, La Cinquantaine; Benedetto Marcello, Largo and Allegro; George Frideric Handel, Concerto No. 1 in B-flat Major; Cesar Franck, Piece V

Level 2
Major Scales and Arpeggios:  E, B A-flat, D-flat (two octaves); Minor Scales and Arpeggios:  c-sharp, g-sharp, f, b-flat; Chromatic Scale: Low B through High D, Left hand E-flat and F; Long Tones -  "9 note drives" for tone development and dynamic control; Etudes: Studies and Melodious Etudes for Oboe by Blaine Edelfson, Intermediate Level; Gekeler Etudes, Intermediate Level; Repertoire: George Frideric Handel, Sonata No. 1; Georg Philipp Telemann, Sonata in a minor and B-flat major; Domenico Cimarosa, Concerto in c minor; Erik Satie, Gymnopedies


Level 3
Major Scales and Arpeggios:  F-sharp (G-flat), C-sharp; Chromatic Scale: Low B-flat through High F;  Etudes: Barret Method, Part 1; Sallviani Methods, Books I - IV; Repertoire: George Frideric Handel, Sonata Nos. 2 and 3; Alessandro Marcello, Oboe Concerto in c minor or d minor; George Frideric Handel, Oboe Concerto in g minor; Paul Hindemith, Oboe Sonata; Francis Poulenc, Oboe Sonata; Benjamin Britten, 6 Metamorphoses


Level 4
Scales and Apreggios, Major and Minor: all keys and 2 octaves up through HIgh F; Chromatic Scale: Low B-flat through F; Diminished Triads, 2 octaves; Etudes: Barret Method, Parts 2, 3 and 4; Ferling Etudes; Repertoire: Mozart, Oboe Quartet
Mozart, Oboe Concerto in C Major; Saint-Saen,s Oboe Sonata; Britten, Fantasy Quartet; Gunther Schuller, Sonata
 


Piano Studies repertory for levels 1-4 (back to list)

Level 1 
Selected pieces from Clark, Frances- Keyboard Musician; Bartok, Bela- Selected pieces from Mikrokosmos , Vol. 1; Shostakovich, Dmitri- 6 Children’s Pieces; Clark, Frances- Minor Masters, Vol. 1

Level 2
Bartok, Bela, Selected  pieces from Mikrokosmos Vol. 2; Clark, Frances- Contemporary Piano Literature, Vol. 1; Kabalevsky, Dmitri, 24 Little Pieces, Op. 39; Czerny-Germer- Studies,  Vol. 1 Part 1; Anna Magdalena Bach Book (the easier pieces)

Level 3
Czerny-Germer- Studies, Vol. 1 Part 2; Heller, Stephen, Melodious Pieces, Op. 125; Beethoven, Ludwig van, Sonatina in G; Schumann, Robert, from Album For the Young  (First Loss, Wild Horseman); Tansman, Alexandre,  Pour Les Enfants, Volumes 1 and 2

Level 4
Heller, Stephen- Etudes, Op. 45 and 46; Bach, J. S., Short Preludes; Clementi, Muzio- Sonatinas, Op. 36 No. 1-3; Kuhlau, Friedrich, Sonatina, Op. 55 No. 1; Prokofieff, Serge, For Children, Op. 65

 

Saxophone Studies repertory for levels 1-4 (back to list)

Level 1
All major scales with mixed articulations; all scales to be played from memory.  Major triad arpeggios, Chromatic Scale from low Bb to high F, Sight reading, Approved prepared solo piece, Way Down Blues, 30 Swing Studies D, Gornston  Sam Fox Pub

Level 2
All harmonic & melodic minor scales,  Blues scales in all keys  Sight reading,  Approved prepared solo piece -,   Oxten Minuet  F. Hayden arr by Sigurd Rascher 

Level 3
Minor 7 chord Arpeggios, Sight Reading, Approved Prepared Solo piece, Spanish Dance No. 2 Mortiz Moszkowski Op.12, Larry Teal Solo’s for the Saxophone Player (G.Schirmer)

Level 4
Demonstrate understanding of overtones; Cycle 5 exercise on Dom 7th chords, (scale & arpeggios); altissimo register playing; approved prepared Solo Piece; “Donna Lee” by Charlie Parker (Omnibook)

 

Trumpet repertory for levels 1-4 (back to list)

Level 1
Fundamental skills acquisition: basic understanding and execution of the embouchure, posture, tone production, and articulation; scales: introduction to scales, understanding of major scales; C and Bb Major; method books: Balent, Andrew, Sound Spectacular Band Course, Book 1; Getchell, Robert, First Book of Practical Studies; Lillya, Clifford, Method for Trumpet and Cornet, Book 1; Solo Material: Wallace, John, arr., First Book of Trumpet Solos

Level 2
Fundamental skills acquisition: effective range from low F-sharp (2 octaves); increased flexibility to the 2nd, 3rd, and 4th partials; greater use of dynamic variations; scales: understanding of relative/parallel minor scale relationship with Major scales; C, F, G, B-flat, and D Major; a, d, e, g, b natural minor; Method Books: Clarke, Herbert, Technical Studies for the Cornet/Trumpet; Getchell, Robert, Second Book of Practical Studies; Lillya, Clifford, Method for Trumpet and Cornet, Book 2; Stamp, James, Warm-ups and Studies; Solo Material: Bennett, Ned, A New Tune A Day; Performance Pieces; Purcell, Henry, Sonata in B-flat; Snell, Keith, Belwin Master Duets (Vol 1)

Level 3
Fundamental skills acquisition: effective range from low F-sharp-A; increased flexibility to the 5th and 6th partial; introduction to appropriate orchestral excerpts; Scales:  understanding of all forms of the minor scale; C, F, G, B-flat, D, E-flat, A, Ab, and E Major; a, d, e, g, b, c, f-sharp, f, and c-sharp minor; chromatic scale, 1 octave; method books:  Arban, Jean-Baptiste, Complete Conservatory Method; Thompson, James, The Buzzing Book; solo material: Bordogni, Marco, Vocalises; Ropartz, Guy, Andante and Allegro; Voxman, Himie, Selected Duets (Vol 1)


Level 4
Fundamental skills acquisition:  introduction to multiple tonguing; introduction to transposition; effective range from low F-sharp to C; increased flexibility to the 6th and 7th partial; sight reading of level II materials; scales:  mastery of all major and minor scales and arpeggios; chromatic scale, 2 octaves; method books: Brandt, Vassily, Etudes for Trumpet; Frink, Laurie, Flexus; Kennan, Kent, Sonata for Trumpet; Snedecor, Phil, Lyrical Etudes; solo material:  Clarke, Herbert, The Maid of the Mist; Goedicke, Alexander, Concert Etude; Haydn, Franz Joseph. Concerto in E-flat

 

Violin repertory for levels 1-4 (back to list)

(Levels for violinists who have played already and accomplished some basic skills)

Level 1
One octave scales and arpeggios; studies: Wohlfahrt book 1; or another beginning method book; Pieces: Suzuki books 1-3, Concertos: Huber, Kuchler, Rieding

Level 2
One and two octave scales and arpeggios, including 3rd position; studies and exercises: Wohlfahrt books 1 and 2; Kayser Op. 20; Sevcik, Op. ?; Trott book 1; Pieces:  Suzuki book 2; Concertos:  Rieding, Vivaldi, and concertos from Suzuki book 4

Level 3
One, two and three octave scales and arpeggios; studies and exercises: Wohlfahrt book 2; Kayser, Op 20; Mazas, Trott books; Sevcik, Opp. 3, 7, 8; Pieces:  Suzuki books 3-6; Dancla, Airs Varies; Concertos: any concerto in Suzuki 3-6, Seitz, Vivaldi, Haydn G major, etc.

Level 4
Two and three octave scales and arpeggios; octaves, thirds and sixths; studies and exercises:  Kayser Op. 20; Mazas, Kreutzer, Trott book 2, Sevecik Op. 8, Schradieck books 1 & 2; Pieces: Suzuki books 5, 6, 7, 8; Monti Csardas; Kreisler Liebesleid, Liebesfreud, Sicilienne and Rigaudon; Wieniawski Dudziarz, Obertas, Legende; Massenet Meditation; sonatas: Corelli, Handel, Mozart, Telemann Fantasias; Concertos:  J.S. Bach, A minor; Mozart G major; Adeleide, Accolay; Vivaldi, Seasons; Viotti, Nos. 20 and 23; Haydn, C major; Nardini, E minor

 

Voice repertory for levels 1-4 (back to list)

Level 1
Student will be able to: Technique:   Match Pitch Demonstrate breathing exercises and proper posture, Accurately perform simple vocal exercises   (such as those from the Vaccai Practical Method of Italian Singing, Lesson one);   Theory: Identify all the musical symbols in assigned repertoire; Identify written pitches by letter or fixed solfege syllable; Identify notes by name and rhythmic value; Repertoire for Jury:  Student will perform from memory 1 song in English (or the student’s native language) (such as simple arrangements of the folksongs All Through the Night, Simple Gifts, Down by the Sally Gardens).

Level 2
Student will be able to: Technique Demonstrate and Explain proper posture and basic breathing exercises; Accurately perform basic vocal exercises (such as Vaccai, Lesson two); Accurately perform basic repertoire;  Theory: Demonstrate familiarity with a music reading method   (such as numbers or moveable DO solfege for identifying intervals,  and a language for deciphering rhythm such as count-singing or Kodaly syllables). Repertoire for Jury:  Student will perform from memory 2 contrasting songs,   1 song in English (or the student’s native language), and 1 song in Italian (such as Caro mio ben - Giordani, Nel cor piu non mi sento- Paisiello, or Sebben crudele- Caldara).
 

Level 3
Student will be able to: Technique:  Demonstrate and Explain proper posture and basic breathing exercises;   Accurately perform intermediate vocal exercises (such as Vaccai, Lesson three). Perform basic repertoire with expression and confidence; Theory: Demonstrate basic sight reading skills  Identify the key signature in all assigned repertoire;  Repertoire for Jury:  Student will be able to perform from memory  3 songs representing different periods, contrasting styles, and at least two languages (such as Danza, danza fanciulla – Durante, Pur di cesti, o bocca bella – Lotti, Amarilli, mia bella – Caccini, O Waly, Waly – Britten, With You from Pippin, Send in the Clowns from A Little Night Music, A Change in Me from Beauty and the Beast, When I Fall in Love – Young).

Level 4
Technique:  demonstrate and explain proper posture and a variety of physical and  breathing exercises; accurately perform intermediate vocal exercises (such as Vaccai, Lesson four); perform intermediate repertoire with  expression, confidence, and a pleasant tone quality; theory: demonstrate proficiency sight-reading simple vocal repertoire; lessons:  study repertoire from different periods, contrasting styles, and at least three languages. Repertoire for Jury:  student will be able to perform from memory 4 songs representing different periods, contrasting styles, and at least two languages (such as O cessate di piagarmi – Scarlatti, Gia il sole dal Gange – Scarlatti, Vittoria, mio core! – Carissimi, An den Mond – Schubert, Im wundershönen Monat Mai – Schumann, Widmung – Franz, Obstination – de Fontenailles, Bonjour Suzon – Delibes, Le Secret – Faure, Where’er you walk – Handel, The Vagabond – Vaughan Williams, Now Sleeps the Crimson Petal – Quilter, A Pastoral Song – Haydn, Over the Rainbow – Arlen, I Got it Bad and that Ain’t Good – Ellington, Simple from Nine – Yeston, If Ever I Would Leave You from Camelot – Loewe).