Performance Studies

Credits

Music Education majors must take two credits of Performance Studies in their principal performance area each semester (during the Internship), with a minimum of two semester at each of the 1000, 2000 and 3000 level and one semester at the 4000 level. Bachelor of Arts majors may take one or two credits of Performance Studies in their principal area each semester with a minimum of two semesters at each of the 1000, 2000, 3000 and 4000 levels. Students majoring in Music may study additional performance areas for one credit with the approval of the Performance Studies teachers.

Music minors may take either one or two credits in their performance area. The number of credits will depend on availability of instruction time. See the Music Minors for more details. Interdisciplinary majors determine the number of credits in their performance area with their advisors. Non-Music majors may take one credit of Performance Studies if instruction is available.

Attendance

If a student cannot attend a lesson for any reason, the professor must be notified in advance. The professor will attempt to arrange a make-up lesson if the scheduled lesson was missed due to illness, but is under no obligation to make up lessons missed because of an unexcused absence.

Performance Studies Evaluations

Students will perform for the faculty at end of each semester of enrollment. Level changes (to 2000, 3000 or 4000) occur at the end of two semesters at each level. Evaluations at the conclusion of each level, will be evaluated by the faculty who will then recommend:

  1. Performance Studies at the next higher level, or
  2. A continuation of Performance Studies at the same level until sufficient progress has been made, or
  3. A change of major or minor

Evaluation requirements may be found in the Music Handbook, and in consultation with the Performance Studies Instructor. Students should acquire information concerning these requirements at the beginning of the semester.

For more information, see your specific performance areas

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Vocal Study

The voice faculty in the Department of Music, Theatre, & Dance base their instruction on the conviction that vibrant, healthy singing in all classical, musical theatre and other popular forms is founded on the same principles of vocal production. Consequently, all students of voice should expect to study techniques and repertoire that have been proven to facilitate the acquisition of a sound, consistent and reliable technique of singing.

  • All students in the B.A./Voice Performance & Pedagogy Option and the B.A. in Music Education must enroll in 2 credits of Performance Studies instruction in each semester. They receive one 45-minute private lesson per week and are required to participate in the weekly Voice Performance Lab appropriate to their level (MU 1420 or MU 3420).
  • Students in other options within the B.A. in Music having voice as the primary instrument must enroll in 1 credit of Performance Studies instruction in each semester (one 30-minute lesson per week). However, they are strongly urged to enroll for 2 credits (one 45-minute private lesson per week), because longer lessons contribute to faster progress. Students in this option are required to participate in the weekly Voice Performance Lab appropriate to their level (MU 1420 or MU 3420).
  • All students in the B.A./Music Theatre Performance Option must enroll in 1 credit of Performance Studies instruction in each semester (one 30-minute private lesson per week). However, they are strongly urged to enroll for 2 credits (one 45-minute private lesson per week). Students in this option are required to participate in the weekly Voice Performance Lab appropriate to their level (MU 1420 or MU 3420).
  • All students incorporating music/voice into an Interdisciplinary Program determine, in consultation with the music advisor assisting in the development of this major, the credits of Voice Performance Studies to be included. With the concurrence of the Performance Studies teacher, Interdisciplinary majors who attain level 3000 or 4000 in their course of study may perform a Junior or Senior Recital. All requirements for permission to present a public, solo recital must be met. See the appropriate section in the Music Student Handbook for a description of these requirements.
  • All Music/Voice minors will enroll in 1 credit of Performance Studies instruction, one 30-minute private lesson, for five semesters of study They are encouraged to participate in the weekly Voice Performance Lab appropriate to their level of study. These students may enroll for 2 credits of private vocal instruction if the instructor supports this increase and has time available, AND if permission is granted by the Director of Voice Performance Studies. The five-semester requirement for the minor pertains regardless of whether the student is enrolled for 1 or for 2 credits of private instruction.
  • Theatre majors(non-Music/Theatre Performance Option) and minors who desire to study singing should consult with the Director of Voice Performance Studies regarding the course of study most appropriate for them. A singing audition and/or a recommendation from the Director of Choral Studies may be required. Except for those students who have already studied singing privately and who already possess music reading skills, it is most likely that enrollment in Voice Class I (ME 1200) and University Chorale (MU 2440) will be required prior to approval for private vocal instruction.

Performance Studies Notebook

All voice students will maintain a Performance Studies Notebook (see heading under each Performance Studies Level for specific requirements).

Grading

Grades at all levels are computed according to the following formula:

  • Studio grade:  90 percent
  • Notebook grade:  5 percent
  • Jury grade: 5 percent

Voice Curriculum

The following courses are required in the curriculum of students enrolled in the B.A. Music/Voice Performance & Pedagogy Option.

  1. MU 2000:  Diction for Singers
  2. MU 3430:  Survey of Vocal Literature
  3. MU 4280:  Voice Pedagogy for Majors **

**MU 4280 may substitute for (Voice Class II/Pedagogy) for B.S. Music Education majors. These majors will also find MU 2000 particularly useful to them as choral directors.

Voice majors enrolled in other options within the B.A./Music should consider taking some of these voice specialty courses. MU 2000 is particularly useful for all voice majors.

B.A./B.S. Interdisciplinary majors should include this coursework if their program is directed toward pre-opera Performance Studies.

Students majoring in B.A./Music/Voice (all options), B.S./Music Education/Voice, and B.A./Theatre (Music Theatre Performance Option) are required to enroll in either:

  1. MU 1420 (Performance Lab I): students who are studying voice at the 1000 level
  2. MU 3420 (Performance Lab II): students who are studying voice at the 2000, 3000 or 4000 levels

These performance labs meet once a week and carry no specific credit because the credit is already awarded through Voice Performance Studies. Lab participation is reported to the Performance Studies teachers so that this may be factored into the student’s semester grade.

For satisfactory completion of each level of private vocal study, the student should demonstrate the following competencies

Each student must own a published copy of all music being studied during the semester.

The following proposals of technique and repertoire are to be viewed as guidelines for piano majors. Individual student needs and abilities will determine actual literature studied. Forms of scales and arpeggios with appropriate tempo indications should be minimum requirements for the respective levels.

All piano majors are required to enroll and participate in Piano Performance lab each semester.

In consultation with the Performance Studies teacher, each student will choose one of the following projects for concentration each semester.

  • Accompanying
  • Concerto
  • Harmonization
  • Jazz Piano
  • Participation in 20th Century Festival
  • Piano Ensemble
  • Research Topic
  • Score Reading
  • Sight Reading
  • Study of composition on one’s own
  • Technology
  • Transposition

1000 Level

Technique:
Selections from: Marcal Moyse “De La Sonorite”
Taffanel and Gaubert “Grands Exercices Journaliers de Mecanism”
All Major Scales two octaves
Chromatic Scale two octaves

Etudes:
Selections from: Robert Cavally “Melodious and Progressive Studies”
Drouet “Twenty Five famous Studies for Flute”
Everett Gates “Odd Meter Etudes”
“Selected Studies for Flute”

Repertiore:
Selections from: Boismoitier “Suite in A minor”
Gaubert “Madrigal”
Gilliam/McCaskill “Petite Suite”,
Handel “Sonata in F Major”
Faure “Sicilienne”, Faure “Morceau de Concours”
Taktakshvili “Sonata Movement 3”
Telemann “Sonata in F Major

2000 Level

Technique:
Selections from: Marcal Moyse “De La Sonorite”
Taffanel and Gaubert “Grands Exercices Journaliers de Mecanism”
All Minor Scales two octaves
Major and Minor Arpeggios

Etudes:
Selections from: Berbiguier “18 Studies in all Tonalities”
Drouet “Twenty Five Studies”
Everett Gates “Odd Meter Etudes”
Koehler “Romantic Etudes for Flute”
Repetoire:
Selections from: J.S. Bach “Sonata in C Major”
C.P.E. Bach “Sonata in A minor for Solo Flute”
Godard “Suite Opus 116”
La Montaine “Sonata for Solo Flute”
Mozart “Andante in C”
Telemann “Sonata in F Minor”, Telemann “Suite in A Minor”

3000 Level

Technique:
Selections from: Marcal Moyse “De La Sonorite”
Taffanel and Gaubert “Grands Exercices Journaliers de Mecanism”
Arpeggios with 7ths

Etudes:
Selections from: Anderson Opus 15, Anderson Opus 33
Piazzolla “Tango Etudes”
Donjon “Eight Etudes de Salon”

Repetoire:
Selections from: J.S. Bach “Sonata in E Minor”
Bloch “Suite Modale”
Debussy “Syrinx”
Hindemith “Sonata”
Kuhlau “Six Divertissements”
Mozart “Concerto in G”
Orchestral Excerpts

4000 Level

Technique:
Selections from: Marcal Moyse “De La Sonorite”
Taffanel and Gaubert “Grands Exercices Journaliers de Mecanism”
Thirds in all Keys

Etudes:
Selections from: Anderson Opus 15, 33
JeanJean “Etudes Modernes”
Karg Elert “Thirty Caprices”

Repetoire:
Selections from: Copland “Dou for Flute and Piano”
Doppler “Hungarian Pastorale Fantasie”
Griffes “Poem”
Hindemith “Eight Pieces”
Martinu “Sonata”
Muczynski “Three Preludes”
Reinecke “Ballade”
Varese “Density 21.5”
Widor “Suite for Flute”

1000 Level

Technique
M/m scales in 1 ½ or 2 octaves, M/m arpeggios; Pares: scales

Repertoire
Albinoni, Concerti, Op. VII No. 3 & 6; Handel, Concerto in B Flat; Vivaldi,
Sonata in G minor

Etudes
Prestini, Studies; Andraud, Practical and Progressive Oboe Method

Reed Making
Jay Light, the Oboe Reed Book; Tying on cane and knife scraping technique

2000 Level

Technique
Suggested Method: Barret, Complete Method

Repertoire
Cimarosa, Concerto in C Minor.
Marcello, Concerto in D Minor.
Vivaldi, Concerto Op. 8, No. 0.
Handel, Sonata in C Minor and Sonata in G Minor.
Hindemith, Sonata.
Schumann, Three Romances, Op. 94.

Etudes
Ferling, 48 Etudes
Prestini Studies

Reed Making
Rough scraping of reeds.

3000 Level

Technique
Suggested Method: Andraud, Vade-Mecum

Repertoire
Britten Six Metamorphoses
Handel, Concerto Grosso No. 8, 9, and 10 (w/ strings)
Mozart, Concerto in C Major
Strauss, Concerto
Piston, Suite
Sint-Saens, Sonata
D. Smith, Sonata

Etudes
Bozza, 18 Etudes for Oboe
L. Wiedemann, 45 Studies

4000 Level

Technique
Suggested Method: Andraud, Vade-Mecum; Barret, Complete Method.

Repertoire
Mozart, Quartet
Vaughan Williams, Concerto
Bach, Difficult Passages

Reed Making
Complete independence in reed making.

The guidelines listed below are the minimum expectations for a music major taking a one-hour (two credit) lesson each week in clarinet. Repertoire may be substituted or accelerated as best fits the student’s abilities and interests, but each semester should include at least one work from the suggested repertoire.

1000 Level

Technique
Scales- Pares Scales for Clarinet
Etudes: C. Rose, 40 Etudes
C. Rose, 32 Etudes
C. Rose, 9 Etudes
Klose, Celebrated Method for the Clarinet

Representative Solo Repertoire

  • Arabesque #1, Debussy
  • Bagatelles, Finzi
  • Arabesque, JeanJean
  • Rhapsody, Osborne
  • Sonata, Saint-Saens
  • Vocalise, Rachmaninoff
  • Concertino, Tartini/Jacob

Performance Requirement
Performance in at least one Student Recital.

2000 Level

Technique
Scales: Stievenard, Practical Study of the Scales for Clarinet
Etudes: Baermann, Baermann Method
A. Uhl, 48 Studies for Clarinet
Klose, Celebrated Method for the Clarinet

Representative Solo Repertoire

  • Sonatas Op. 120, Bernstein
  • Arlequin, Brahms
  • Fantasie Caprice, Cahuzac
  • Dance Preludes, Lefebre
  • Solo de Concours, Lutoslawski
  • Der Hirt auf dem Felsen, Messager
  • Capriccio, Schubert
  • Concertino, Sutermeister
  • Orchestral Excerpts, Weber

Technique
Scales – Baermann, Complete Method for Clarinet, 3rd Div.
Etudes- Cavallini, 30 Caprices
Lebanchi, 4 Studies
Magnani, 7 Etudes – Caprices
Gamboro, 5 Caprices
JeanJean, Vacum de Methode
Klose, Celebrated Method for the Clarinet
D. Bonade3, Orchestra Studies for Clarinet

Representative Solo Repertoire

  • Trio in Bb, op.11, Beethover
  • Trio in a, op.114, Brahms
  • Sonata, Hindemith
  • Carnival of Venice, JeanJean
  • Sonatina, Martinau
  • Trio in Eb, K.498, Mozart
  • Sonata, Poulenc
  • Intro, Theme & Var., Rossini
  • Fantasy Pieces, Schumann
  • 6 German Songs, Spohr
  • Three Pieces, Stravinsky
  • Sonatine Attique,Tomasi
  • Concertos #1, 2, Weber
  • Grand Duo Conc., Weber

Performance Requirement
Performance in a Junior Recital.

4000 Level

Technique
Scales- Baermann, Complete Method for Clarinet, 3rd Div.
Etudes- Baermann, Baermann Method, Div. 5
E. Gates, Odd Meter Etudes
V. Polatschek, Advanced Studies for the Clarinet
JeanJean, 18 Etudes
Klose, Celebrated Method for the Clarinet
D. Bonade, Orchestra Studies for the Clarinet

Representative Solo Repertoire

  • Contrasts, Bartok
  • Vier Stücke, Berg
  • Quintet, Brahms
  • Concerto, Copland
  • Rhapsody, Debussy
  • Concerto, Hindemith
  • Abime, Messiaen
  • Concerto, Mozart
  • Quintet, Mozart
  • Concerto, Neilson
  • Quintet, Weber

Performance Requirement
Performance in a Senior Recital

The guidelines listed below are the minimum expectations for a music major taking a one-hour (two credit) lesson each week in saxophone with a classical emphasis. Repertoire may be substituted or accelerated as best fits the student’s abilities and interests, but each semester should include at least one work from the suggested repertoire.

1000 Level

Technique
Scales- Pares Scales for Clarinet
Etudes: C. Rose, 40 Etudes
C. Rose, 32 Etudes
C. Rose, 9 Etudes
Klose, Celebrated Method for the Clarinet

Suggested Technical Method
Selected Studies for Saxophone

ALTO

  • Concert & Contest Collection for Tenor Saxophone, H. Voxman, ed.
  • Solos for the Saxophone Player, L. Teal, ed.

TENOR

  • Concert & Contest Collection for Tenor Saxophone, H. Voxman, ed.
  • Solos for the Tenor Saxophone Player, L. Teal, ed.
  • Selected Studies for Saxophone, H. Voxman, ed
  • 25 Daily Exercises for Saxophone, Klose

2000 Level

Technique
Scales: Stievenard, Practical Study of the Scales for Clarinet
Etudes: Baermann, Baermann Method
A. Uhl, 48 Studies for Clarinet
Klose, Celebrated Method for the Clarinet

Repertoire

ALTO

  • Concertino, E. Bozza
  • Music for Saxophone, Bassett
  • Sketches for Alto Saxophone, Caravan
  • Prelude Cadence et Finale, Desenclos
  • Concerto, Tomasi
  • First Concertino, Guilhaud

TENOR

  • Poem, Hartley
  • Sonata, Hartley
  • Music for Saxophone and Piano, Karlins
  • Ballade, Martin
  • 48 Famous Studies, Ferling
  • 144 Etudes, Ferling
  • Etudes Variete, Mule
  • Berbiguier, Mule

3000 Level

Technique
Scales – Baermann, Complete Method for Clarinet, 3rd Div.
Etudes- Cavallini, 30 Caprices
Lebanchi, 4 Studies
Magnani, 7 Etudes – Caprices
Gamboro, 5 Caprices
JeanJean, Vacum de Methode
Klose, Celebrated Method for the Clarinet
D. Bonade3, Orchestra Studies for Clarinet

Repertoire

ALTO

  • Sonata, Creston
  • P 19, Creston
  • Concertino, Ibert
  • Concerto, Glazunov
  • Sonata, Heiden
  • Concerto, Benson
  • Rhapsodie, Debussy

TENOR

  • Sonata, DiPasquale
  • Two Pieces, Reilly
  • Sonata, Ostrander
  • Intermezzo, Koepke
  • Ballet Impressions, Ostrander
  • Chant Course, Tomasi
  • Etudes Terschak, Mule
  • Paradigms, Caravan
  • 25 Capricien, Karg-Elert
  • Contemporary Etudes, Schmidt

4000 Level

Technique
Other possible texts include Joseph Violaís book; the Charlie Parker Omnibook; and others.

Repertoire and Etudes

  • Contrasts, Bartok
  • Vier Stucke, Berg
  • Quintet, Brahms
  • Concerto, Copland
  • Rhapsody, Debussy
  • Abime, Messiaen
  • Concerto, Mozart
  • Quintet, Mozart
  • Concerto, Neilson
  • Quintet, Weber
  • Orchestral Excerpts

Methods and Literature

  • 20 Melodius Etudes, Blemant
  • 20 Exercises, Blatt
  • The Saxophone Workbook, L. Teal
  • The Art of Saxophone Playing, L. Teal
  • L. Teal 158 Exercises, S. Rascher

Exercises

  • Reverse Chromatic—Triplets mm 60
  • Direct Chromatic Scale
  • All major, minor, diminished scales

The guidelines listed below are the minimum expectations for a music major taking a one-hour (two credit) lesson each week in saxophone with a classical emphasis. Repertoire may be substituted or accelerated as best fits the student’s abilities and interests, but each semester should include at least one work from the suggested repertoire.

1000 Level

Technique
Scales- Pares Scales for Clarinet
Etudes: C. Rose, 40 Etudes
C. Rose, 32 Etudes
C. Rose, 9 Etudes
Klose, Celebrated Method for the Clarinet

Suggested Technical Methods

  • Jazz Conception for Saxophone, Volumes 1, 2, Lennie Niehause
  • Charlie Parker Omnibook, Michael H. Goldson
  • Patterns for Jazz, Jerry Coker
  • Jazz Scale Studies, Rik Pfenninger

Improvisation

  • 10 selections from standard jazz repertoires performed by memory.
  • Aural musicianship ear-to-hand skill in transcribing five solos to be selected from memorized standard jazz repertoire.

Jazz Theory and Jazz Keyboard Skills

  • The Jazz Theory Book, Mark Levine
  • Jazz Keyboard for All Musicians, Jerry Coker
  • Chord through 10 selections from standard jazz repertoire.
  • Slight transposition

2000 Level

Technique
Scales: Stievenard, Practical Study of the Scales for Clarinet
Etudes: Baermann, Baermann Method
A. Uhl, 48 Studies for Clarinet
Klose, Celebrated Method for the Clarinet

Suggested Technical Methods

  • Jazz Conception for Saxophone, Volumes 1, 2, Lennie Niehause
  • Charlie Parker Omnibook, Michael H. Goldson
  • Patterns for Jazz, Jerry Coker
  • Jazz Scale Studies, Rik Pfenninger

Improvisation

  • 10 selections from standard jazz repertoires performed by memory.
  • Aural musicianship ear-to-hand skill in transcribing five solos to be selected from memorized standard jazz repertoire.
  • Perform improvised solo with jazz ensemble or jazz combo in concert setting

Jazz Theory and Jazz Keyboard Skills

  • The Jazz Theory Book, Mark Levine
  • Jazz Keyboard for All Musicians, Jerry Coker
  • Chord through 10 selections from standard jazz repertoire.
  • Slight transposition

3000 Level

Technique
Scales – Baermann, Complete Method for Clarinet, 3rd Div.
Etudes- Cavallini, 30 Caprices
Lebanchi, 4 Studies
Magnani, 7 Etudes – Caprices
Gamboro, 5 Caprices
JeanJean, Vacum de Methode
Klose, Celebrated Method for the Clarinet
D. Bonade3, Orchestra Studies for Clarinet

Suggested Technical Methods

  • Jazz Conception for Saxophone, Volumes 1, 2, Lennie Niehause
  • Advanced Studies
  • Charlie Parker Omnibook, Michael H. Goldson
  • Extended Technique for Saxophone, Michael Leonard
  • Top Tones for Saxophone, Siguard Rascher

Improvisation

  • 10 selections from standard jazz repertoires performed by memory.
  • Aural musicianship ear-to-hand skill in transcribing five solos to be selected from memorized standard jazz repertoire.
  • Perform improvised solo with jazz ensemble or jazz combo in concert setting

Jazz Theory and Jazz Keyboard Skills

  • The Jazz Theory Book, Mark Levine
  • Jazz Keyboard for All Musicians, Jerry Coker
  • Chord through 10 selections from standard jazz repertoire.
  • Slight transposition

4000 Level

Technique
Scales- Baermann, Complete Method for Clarinet, 3rd Div.
Etudes- Baermann, Baermann Method, Div. 5
E. Gates, Odd Meter Etudes
V. Polatschek, Advanced Studies for the Clarinet
JeanJean, 18 Etudes
Klose, Celebrated Method for the Clarinet
D. Bonade, Orchestra Studies for the Clarinet

Suggested Technical Methods

  • Jazz Conception for Saxophone, Volumes 1, 2, Lennie Niehause
  • Advanced Studies
  • Charlie Parker Omnibook, Michael H. Goldson
  • Extended Technique for Saxophone, Michael Leonard
  • Top Tones for Saxophone, Siguard Rascher

Improvisation

  • 10 selections from standard jazz repertoires performed by memory.
  • Aural musicianship ear-to-hand skill in transcribing five solos to be selected from memorized standard jazz repertoire.
  • Perform improvised solo with jazz ensemble or jazz combo in concert setting

Jazz Theory and Jazz Keyboard Skills

  • The Jazz Theory Book, Mark Levine
  • Jazz Keyboard for All Musicians, Jerry Coker
  • Chord through 10 selections from standard jazz repertoire.
  • Slight transposition

The trumpet literature listed for each level is representative of the material to be covered.  Not every student will progress through all of this material, but everyone should develop some familiarity with each of the method books and solos listed here.  Students are required to purchase all of the music that is assigned.

1000 Level

Technique
Scales

  • All Major Keys (tongued 16th; quarter=80)
  • Chromatic Scale (full range; 8ths; quarter=80)

Methods

  • Arban’s Complete Method.  J.B. Arban (ed. Goldman/Gordon).Pub:Fischer
  • The Addition System. Gary Corcoran. Pub:ADDSYS
  • 1st Book of Practical Studies. Robert W. Getchell.  Pub: Warner Bros.
  • 2nd Book of Practical Studies.  Robert W. Getchell.  Pub: Warner Bros.

Representative Solo Repertoire

  • Andante et Allegretto.  Guillaume Balay (Nagel). Pub:Internat.
  • Mont Saint-Michel. Geoffrey Robbins.  Pub:Leduc
  • Petite Pieve. G. Balay (Concert & Contest Collection). Pub:Rubank
  • Prelude to “Te Deum”. M.A. Charpentier (Glover). Pub:Brass Press
  • Sonata. Henry Purcell (Lillya/Issac). Pub: Fischer
  • Theme Vari. Robert Clerisse. Pub:Leduc
  • Presto, from Sonata in B. G.P.Telemann (Chidester). Pub:Southern
  • Prayer of St.Gregory. Alan Hovhaness.Pub:Peer

Performance Requirement
Performance of at least one Student Recital per semester.

2000 Level

Technique
Scales & Arpeggios

  • All Major Keys (tongued 16th; quarter=96)
  • Chromatic Scale (full range; 8ths; quarter=96)

Methods

  • Arban’s Complete Method.  J.B. Arban (ed. Goldman/Gordon).Pub:Fischer
  • The Addition System. Gary Corcoran. Pub:ADDSYS
  • Selected Studies. H. Voxman. Pub: Rubank
  • Thirty-Six Celebrated Studies N. Bousquet (ed.Goldman). Pub:Fischer

Representative Solo Repertoire

  • All’ Antica.A. Goeyens. Pub: Southern
  • Aria con Variazioni. G.F. Handel (Fitzgerald). Pub:Belwin
  • Concert Etude. Alexander Goedicke. Pub:MCA
  • Concerto. Leopold Mozart (Lillya/Isaac). Pub.Fischer
  • Morceau de Concours. G. Alary (Concert & Contest Collection). Pub:Rubank

Performance Requirement
Performance of at least one Student Recital per semester.

3000 Level

Technique
Scales & Arpeggios

  • All Major and Minor Keys (tongued 16ths; quarter=120)
  • Chromatic Scale (full range; 8ths; quarter=120)
  • All Modes (tongued 8ths; quarter=60)

Methods

  • 34 Studies & 24 Last Studies. Vassily Brandt (Vacchiano).Pub.Leduc
  • Technical Studies. Herbert. L.Clarke.Pub:Fischer

Representative Solo Repertoire

  • Andante et Scherzo. J.E. Barat. Pub:Leduc
  • Badinage. Eugene Bozza. Pub:Leduc
  • Concerto in E-Flat. J.G.B Neruda (Hickman).Pub:Musica Rara
  • Concerto in E-Flat. F.J. Haydn (Viosin) Pub:Internat.
  • Concerto. G.P. Telemann (Voisin). Pub:Internat.
  • Invocation. Robert Straer. Pub:King
  • Proclamation. Ernest Bloch.Pub:Boude

Performance Requirement
Performance of at least one Student Recital per semester.

4000 Level

Methods

  • 36 Etudes Transcendates. Theo Charlier. Pub:Leduc
  • Daily Drills.Max Schlossberg. Pub:Baron
  • Odd Meter Etudes.Everett Gates.Pub:Fox

Representative Solo Repertoire

  • Concerto. Alexander Arutunian. Pub:Internat.
  • Concerto in E-Flat. J.N. Hummel (Ghitalla). Pub:King
  • Concerto. Vincenzo Bellini (Thilde). Pub:Billaudot
  • Sonata. Flor Peters. Pub:Peters
  • Sonata. Kent Kennan. Pub:Remick
  • Sonata. Paul Hindemith. Pub:Schott

Performance Requirement
A Senior Recital or Jury-in-Lieu-of-Recital

These guidelines are the minimum expectations for a music major taking a one-hour (two credit) lesson, each week.  Tempo indications are minimums for passing each level. Students who excel will exceed these minimums. Repertoire may be substituted or accelerated as best fits the students’ abilities and interests, but each semester should include at least one work from the suggested repertoire.

1000 Level

Techniques
Scales

  • Minors (natural, melodic, harmonic) 3 octaves quarter=80
  • Major (tongued, slurred in 16ths) 3 octaves quarter=80
  • Chromatic (slurred in triplets) 3 octaves quarter=80

Arpeggios

  • Major and Minor (quarter notes) 3 octaves quarter=80

Method

  • 60 Studies for Horn – Book 1. Kopprasch/Gumbert

Representative Solo Repertoire

  • Artik, Hovhaness
  • Elegy for Horn, Bernstein
  • Concerti #3 and 4 in Eb, Mozart
  • Concertpiece, Saint-Saens
  • Selections from Solos for the Horn Player, Joens, ed.
  • Sonata for Horn, Beethoven
  • Sonatoa in F Minor, Telemann/Leloir

Performance Requirement
Performance of at least one Student Recital

2000 Level

Techniques
Scales

  • Major (tongued, slurred in 16ths) 3 octaves quarter=100
  • Chromatic (slurred 4 to a beat) 3 octaves quarter=100
  • Minors (natural, melodic, harmonic) 3 octaves quarter=80

Arpeggios

  • Major and Minor (quarter notes) 3 octaves quarter=80

Method

  • 60 Studies for Horn – Book 2. Kopprasch/Gumbert

Representative Solo Repertoire

  • Concerti #1 and 2, Haydn
  • Concerto #3, Hovhaness
  • Concerti #1 in D and 2 in Eb,Mozart
  • Concerto op. 8, F. Strauss
  • Selections from Solos for the Horn Player, Jones, ed.
  • Sonata for Horns, Heiden

Performance Requirement
Performance of at least one Student Recital

3000 Level

Techniques
Scales

  • Major (in 16ths) 3-5 octaves quarter=100
  • Chromatic (6 to a beat) 3-5 octaves quarter=100
  • Minors (in 16ths) 3-5 octaves quarter=100

Arpeggios

  • Major and Minor (in triplets) 3-5 octaves quarter=100

Method

  • 200 Studies Books 1-4, Maxime-Alphonse
  • 48 Etudes for French Horn, Reynolds

Representative Solo Repertoire

  • Adagio and Allegro, Schumann
  • Concerto for Horn, Hindermith
  • Concerto #1 Opus 11, R. Strauss
  • Fantasy for Horn, Arnold
  • Parable, Persichetti
  • Selections from Solos for Horn Players, Jones, ed
  • Sonata for Horn, Adler

Performance Requirement
Junior Recital

4000 Level

Technique
Method

  • 200 Studies Books 1-4, Maxime-Alphonse
  • 48 Etudes for French Horn, Reynolds
  • Unmeasurable Preludes, Gallay/Thevet
  • Orchestral Excerpts, Chambers

Representative Solo Repertoire

  • Concertino op. 45, Weber
  • Concertino op. 45 #5, Larsson
  • Concerto #2, R. Strauss
  • En Foret, Bozza
  • Scherzo Concertante, Nelhybel
  • Sonata for Horn, Hindemth
  • Suite, Wilder

Performance Requirement
Senior Recital

1000 Level

Technique & Methods
Tone production, breathing techniques, embouchure development; major scales and arpeggios, mm = 120. Rochut Melodious Etudes Book I; Schlossber, Daily Drills and Technical Exercises; selected solos.

2000 Level

Technique & Methods
Extension of range, multiple tonguing, minor scales and arpeggios, m = 120. Kopprasch 60 Etudes; Blazhevich Clef Studies; (alto, tenor, bass), selected solos.

3000 Level

Technique & Methods
Development of phrasing, styles or interpretation. Rochut Melodious Etudes Book III, Blazhevich Clef Studies; LaFosse Complete Method for Trombone; Kopprasch 60 Etudes; selected solos (classical and baroque transcriptions and original compositions).

4000 Level

Techniques & Methods
Refinement of technique and musicianship. LaFlosse Complete Method; orchestral excerpts, Senior Recital or jury, major work such as Guilmant, Morceau Symphonique; McKay Sonata; Hindemith Sonata; Stevens Sonata.

1000 Level

Technique
M/m scales in 1 ½ or 2 octaves, M/m arpeggios; Pares: scales

Repertoire
Albinoni, Concerti, Op. VII No. 3 & 6; Handel, Concerto in B Flat; Vivaldi,
Sonata in G minor

Etudes
Prestini, Studies; Andraud, Practical and Progressive Oboe Method

Reed Making
Jay Light, the Oboe Reed Book; Tying on cane and knife scraping technique

2000 Level

Technique
Suggested Method: Barret, Complete Method

Repertoire
Cimarosa, Concerto in C Minor.
Marcello, Concerto in D Minor.
Vivaldi, Concerto Op. 8, No. 0.
Handel, Sonata in C Minor and Sonata in G Minor.
Hindemith, Sonata.
Schumann, Three Romances, Op. 94.

Etudes
Ferling, 48 Etudes
Prestini Studies

Reed Making
Rough scraping of reeds.

3000 Level

Technique
Suggested Method: Andraud, Vade-Mecum

Repertoire
Britten Six Metamorphoses
Handel, Concerto Grosso No. 8, 9, and 10 (w/ strings)
Mozart, Concerto in C Major
Strauss, Concerto
Piston, Suite
Sint-Saens, Sonata
D. Smith, Sonata

Etudes
Bozza, 18 Etudes for Oboe
L. Wiedemann, 45 Studies

4000 Level

Technique
Suggested Method: Andraud, Vade-Mecum; Barret, Complete Method.

Repertoire
Mozart, Quartet
Vaughan Williams, Concerto
Bach, Difficult Passages

Reed Making
Complete independence in reed making.

1000 Level

Technique & Methods
Tone production, breathing technique, embouchure development. Major scales and arpeggios mm = 120. Rochut Melodious Etudes Book I; Kopprasch 60 Etudes; selected solos.

2000 Level

Technique & Methods
Extension of range, multiple tonguing, Minor scales and arpeggios mm = 120. Rochut Melodious Book II; Ostrander Shifting Meter Studies; selected solos.

3000 Level

Technique & Methods
Development of phrasing, styles of interpretation. Rochut Melodious Etudes Book III; Blazhevich 70 Etudes Book I; selected solos (classical and baroque transcriptions as well as original compositions).

4000 Level

Techniques & Methods
Refinement of techniques and musicianship. Blazhevich 70 Etudes Book II. Orchestral excerpts, W. Smith Top Tunes; Senior Recital or jury, major work such as Wilder Sonata; Lebedev Concerto; Hindemith Sonate; etc.

1000 Level

Technique & Methods
Introduction to keyboard percussion (Goldenberg Modern School for Xylophone), Introduction to timpani (Goodman Timpani Method), Concert Snare drum technique (Goldenberg Modern School for Snare Drum), Snare Drum Method (Podemski).

2000 Level

Technique & Methods
Continued 100 level keyboard percussion, Percussion Keyboard Technique-McMillan, and simple solos (Bach 2-part Inventions). Continue 100 level timpani, add tuning, simple 2 drum solos, Tamp Tunes-Schinstine, study contemporary snare drum rhythms (Vic Firth The solo Snare Drummer), Portraits in Rhythm (Circone), Contemporary Snare Drum (Albright).

Multiple percussion playing.

3000 Level

Technique & Methods
Introduce keyboard literature and solos, 3 and 4 drum timpani studies and solos, Seven Solo Dances-Froch, introduction multiple percussion. Begin 4 mallet techniques, marimba, xylophone, vibraphone.

Multiple percussion playing.

4000 Level

Technique & Methods
An understanding of the total spectrum of percussion instruments and the ability to perform satisfactorily on all instruments. A study of technique and literature as directly applied to performance in the contemporary band and or orchestra.

Techniques involved in performing on the smaller traps.

Drum set technique (jazz, rock, symphonic, and general playing).

Advanced study includes solo literature in an effort to present a solo performance or to prepare for a professional performance audition. Solos to be considered will vary from student to student, but may include: Eliot Carter – 8 Pieces for Timpani, J.S. Bach – Violin Concert (A Minor), Jan Williams – Dream Lesson.

Jazz improvisation for keyboard.

Multiple percussion playing.

1000 Level

Major and minor scales (Andre Segovia) covering two to three octave ranges. Emphasis on projection of tone and volume. Selected easy pieces of Aguado, Giuliani and Carcassi.

2000 Level

All major and minor scales (Segovia) in three octaves. Selected studies by Sor, Brouwer. Selections from 120 Right Hand Studies by Giuliani.

3000 Level

Sor Studies 13, 14, 15, 8. Works of Tarrega and Renaissance lute pieces.

4000 Level

Sor Studies 10, 11, 16, 17; Villa-Lobos Studies 1, 8, 11 or of equivalent difficulty.

1000 Level

  • R. Reid, Book I
  • Studies in Jazz, Rock and Fusion techniques
  • Improvisational studies with standard jazz blues and rhythm changes

2000 Level

  • R. Reid, Book I: continued
  • Studies in Jazz, Rock and Fusion techniques continued
  • Improvisational studies into more complex jazz standards, continued.

3000 Level

  • R. Reid, Book II
  • Studies in Jazz, Rock and Fusion continued with emphasis on style and sight reading.
  • Improvisational studies continued.

4000 Level

  • R. Reid, Book II, continued
  • Appleman Chord Studies for the Electric Bass
  • Advanced improvisational techniques studied.

1000 Level

  • E. Simandl, Book I
  • Orchestral Studies: such as Orchestral Excerpts, Zimmermann, Vol. 1-6
  • Jazz studies: Rufus Reid, Book I
  • Appropriate solo literature such as Vivaldi, Bach or Marcello sonatas

2000 Level

  • F. Simandl, Book I: continued
  • Orchestral studies: continued
  • Jazz Studies: R. Reid, Book I continued
  • Appropriate solo literature such as Dragonetti Concerto or Romberg

3000 Level

  • F. Simandl, Book II
  • Orchestral studies: continued
  • Jazz studies: R. Reid, Book II
  • Appropriate solo literature such as Hindemith Sonata or Klose Concerto

4000 Level

  • F. Simandl, Book II: continued
  • Orchestral studies: continued
  • Jazz studies: R. Reid, Book II continued
  • Appropriate solo literature such as Koussevitzky Concerto, Divertimento Concertante (Ramsier).

Before entering college, you should have studied, and be able to demonstrate acceptable performance of, standard pedagogical material including Kayser Books I, II and III; Mazas Books I & III; Dancla Op. 74, School of Mechanism. Solo literature should include such works as the Vivaldi Concerto in A minor Op. 3, No. 6, and others of similar difficulty.

1000 Level

  • Kreutzer Studies #1–15
  • Appropriate solo literature such as Handel Sonatas #1 – 6, J.S. Bach Concerto in A Minor No. 1
  • Scales in conjunction with musicianship studies.

2000 Level

  • Kreutzer Studies #16–30
  • Appropriate solo literature according to needs of student Grade V.
  • Three octave scales and arpeggios.

3000 Level

  • Kreutzer Studies #31–42
  • Appropriate solo literature Grades V and VI
  • Extensive uses of all positions

4000 Level

  • Fiorillo and Done Studies
  • Solo literature should include Grade VI material and major concertos, and movements from all appropriate periods.

Pre-college

Wohlfahrt Etudes Book I and II, Kayser Etudes Op. 43, Don’t Etudes Op. 38, Sevcik Op. 1, Book 1, Scale Studies such as Hrimaly or Schradieck. Solo literature: Baroque sonatas such as Corelli, Marcello, Vivaldi or movements from Bach Cello Suites.

1000 Level

Vivaldi Sonatas, Bach Gamba Sonatas, Telemann Concerto, Flackton Sonata, Milhaud Sonata No. 1.

2000 Level

Handel (Casadesus) Concerto, C.P.E. Bach (Casadesus) Concerto, Bach Cello Suites, Handoshkin Concerto, Vaughan-Williams Suites (movements).

3000 Level

Reger Unaccompanied Suites, Stamitz Concerto, Hoffmeister Concerto, Juon Sonata, Schumann Marchenbilder, Bloch Suite Hebraique, Schubert Arpeffione Sonata, Berlioz Harold in Italy.

4000 Level

Brahms Sonatas Op. 120 No. 1 and 2, Hindemith Sonata Op. 11, No. 4, Bloch Meditation and Processional, Walton Concerto, Bartok Concerto, Weber Andante and Rondo Ongarese.

Equally important for the undergraduate years is the mastery of study material. It cannot be categorized by level since technical development is such an individual matter. Study material will be chosen from: Don’t Opus 37, Schradieck Books 1,2, and 3, Fiorillo, Kreutzer, Rode, Fuchs, Campagnoli, Gavinies, Dounis. Scale material will include Flesch or Lifschey and Galamian Scale Studies. Upon graduation the student will be expected to know thoroughly all Kreutzer Etudes, selected Rode Caprices, and all major and minor scales and arpeggios in three octaves at brisk speed.