265 courses with the subject PFMJ, each shown exactly as we captured it from the college's catalog, with every element we hold. Where the wording looks broken, that is our reading of the catalog, not the college's text.
PFMJ 10000Private Studio Performance Class1
(must be taken 7 semesters concurrent with private lessons) PFMJ 1xxxx Private Instrument I - Music Major (2 credits times 2 semesters) PFMJ 2xxxx Private Instrument II - Music Major (2 credits times 2 semesters) PFMJ 3xxxx Private Instrument III - Music Major (2 credits times 2 semesters) PFMJ 4xxxx Private Instrument IV - Music Major (2 credits times 1 semester) MUEN xxxxx Any 7 credits of Music Ensemble on primary instrument determined by private instructor and conductors Choral Ensemble Any choral ensemble
The development of artistic vocal musicianship through the study and performance of carefully selected and individualized vocal literature. The acquisition of a functional vocal technique through attention to posture, breathing, tonal onset, vowel purity, reduction of inhibitory physical tensions, body coordination, and a balanced registration. Appropriate vocalises constructed to meet the individual technical problems of the student. Upper-level studies focus on range extension, vocal flexibility, melismatic singing, and the "messa di voce."
Repertoire is chosen by the instructor as appropriate for the technical abilities, stylistic awareness, and musical growth of the individual student. Variable credit.
Technical studies and selected pieces from Gleason, "Method of Playing Organ"; easier Bach works; works of appropriate difficulty from all periods. Hymn playing. Co-requisite: PFMJ 19900.
Technical studies and selected pieces from Gleason, "Method of Playing Organ"; easier Bach works; works of appropriate difficulty from all periods. Hymn playing.
Technical studies and selected pieces from Gleason, "Method of Playing Organ"; easier Bach works; works of appropriate difficulty from all periods. Hymn playing.
Technical studies may include trill exercises, finger independence exercises, scales, and excerpts from various method books. Repertoire initially emphasizes 18th-century literature (e.g., simpler works of Bach, D. Scarlatti, and Rameau). Further study includes earlier keyboard literature and the concomitant techniques (fingering, ornamentation, etc.). Repertoire classes often include discussions of the various schools of harpsichord construction and the corresponding literature, as well as different aspects of performance practice. Co-requisite: PFMJ 19900.
Technical studies may include trill exercises, finger independence exercises, scales, and excerpts from various method books. Repertoire initially emphasizes 18th-century literature (e.g., simpler works of Bach, D. Scarlatti, and Rameau). Further study includes earlier keyboard literature and the concomitant techniques (fingering, ornamentation, etc.). Repertoire classes often include discussions of the various schools of harpsichord construction and the corresponding literature, as well as different aspects of performance practice.
Technical studies may include trill exercises, finger independence exercises, scales, and excerpts from various method books. Repertoire initially emphasizes 18th-century literature (e.g., simpler works of Bach, D. Scarlatti, and Rameau). Further study includes earlier keyboard literature and the concomitant techniques (fingering, ornamentation, etc.). Repertoire classes often include discussions of the various schools of harpsichord construction and the corresponding literature, as well as different aspects of performance practice.
Technique based on Carl Flesch's "Scale System": three-octave major and minor scales, arpeggios, chromatic scales, broken thirds, and selected one-string systems. Technical work on shifting and higher position playing, as well as bow technique covering détaché, martelé, staccato, and spiccato bow strokes. Representative études including Schradieck, Sevcik, Mazas, Whistler, and Kreutzer. Representative repertoire including concerti by Bach, Charles de Beriot, Pierre Rode, Ludwig Spohr, and Giovanni Viotti; solo sonatas and partitas by Bach; and sonatas by Handel, Corelli, Schubert, and Vivaldi. (F,S)
Technique based on Carl Flesch's "Scale System": three-octave major and minor scales, arpeggios, chromatic scales, broken thirds, and selected one-string systems. Technical work on shifting and higher position playing, as well as bow technique covering détaché, martelé, staccato, and spiccato bow strokes. Representative études including Schradieck, Sevcik, Mazas, Whistler, and Kreutzer. Representative repertoire including concerti by Bach, Charles de Beriot, Pierre Rode, Ludwig Spohr, and Giovanni Viotti; solo sonatas and partitas by Bach; and sonatas by Handel, Corelli, Schubert, and Vivaldi.
Technique based on Carl Flesch's "Scale System": three-octave major and minor scales, arpeggios, chromatic scales, broken thirds, and selected one-string systems. Technical work on shifting and higher position playing, as well as bow technique covering détaché, martelé, staccato, and spiccato bow strokes. Representative études including Schradieck, Sevcik, Mazas, Whistler, and Kreutzer. Representative repertoire including concerti by Bach, Charles de Beriot, Pierre Rode, Ludwig Spohr, and Giovanni Viotti; solo sonatas and partitas by Bach; and sonatas by Handel, Corelli, Schubert, and Vivaldi.
Basic technical work: posture, stretching, and strengthening exercises; principles of movement; Sevcik, op. 1, pt. 1, for left-hand fluency and efficiency; principles of string crossing; Sevcik, op. 2, pt. 3, for understanding right-hand and arm actions; tonal development; Sevcik, op. 8, shifting exercises; vibrato exercises. Flesch, "Scale System": three-octave scales, arpeggios, broken thirds, chromatics, and whole tone. Viola ensemble. Repertoire from Flackton and Marcello sonatas; Jacob, Sonatina; Bach, Suites; Telemann, concerto and fantasias; movements from Vaughan Williams suite. Mazas, Kayser, and Bruni studies. Repertoire classes throughout four years include discussions on performance practice; films such as Rolland, Galamian, and Primrose; teaching practice; musical awareness. (F,S)
Basic technical work: posture, stretching, and strengthening exercises; principles of movement; Sevcik, op. 1, pt. 1, for left-hand fluency and efficiency; principles of string crossing; Sevcik, op. 2, pt. 3, for understanding right-hand and arm actions; tonal development; Sevcik, op. 8, shifting exercises; vibrato exercises. Flesch, "Scale System": three-octave scales, arpeggios, broken thirds, chromatics, and whole tone. Viola ensemble. Repertoire from Flackton and Marcello sonatas; Jacob, Sonatina; Bach, Suites; Telemann, concerto and fantasias; movements from Vaughan Williams suite. Mazas, Kayser, and Bruni studies. Repertoire classes throughout four years include discussions on performance practice; films such as Rolland, Galamian, and Primrose; teaching practice; musical awareness.
Basic technical work: posture, stretching, and strengthening exercises; principles of movement; Sevcik, op. 1, pt. 1, for left-hand fluency and efficiency; principles of string crossing; Sevcik, op. 2, pt. 3, for understanding right-hand and arm actions; tonal development; Sevcik, op. 8, shifting exercises; vibrato exercises. Flesch, "Scale System": three-octave scales, arpeggios, broken thirds, chromatics, and whole tone. Viola ensemble. Repertoire from Flackton and Marcello sonatas; Jacob, Sonatina; Bach, Suites; Telemann, concerto and fantasias; movements from Vaughan Williams suite. Mazas, Kayser, and Bruni studies. Repertoire classes throughout four years include discussions on performance practice; films such as Rolland, Galamian, and Primrose;; teaching practice; musical awareness.
Technique including seating position and holding instrument, bowing, use of left hand, scales, arpeggios, broken thirds through tenths, position- setting double stops, (i.e., Rowell position exercise, thumb position, and shifting development). Emphasis is placed on introduction of bowing types and techniques and the art of good practicing. Representative études including Lee, op. 31; Duport, "Twenty-One Études"; Grutzmacher, book I; Franchomme, "12 Caprices"; Cossmann, "Studies". Representative repertoire including sonatas of Vivaldi, Marcello, Corelli, and Eccles; Bach, Suites 1-3; pieces such as Fauré's Elegy, Van Goens's Scherzo; concerti of Saint-Saëns, Boccherini (B-flat), and Haydn (C major). (F,S)
Technique including seating position and holding instrument, bowing, use of left hand, scales, arpeggios, broken thirds through tenths, position- setting double stops, (i.e., Rowell position exercise, thumb position, and shifting development). Emphasis is placed on introduction of bowing types and techniques and the art of good practicing. Representative études including Lee, op. 31; Duport, "Twenty-One Études"; Grutzmacher, book I; Franchomme, "12 Caprices"; Cossmann, "Studies". Representative repertoire including sonatas of Vivaldi, Marcello, Corelli, and Eccles; Bach, Suites 1-3; pieces such as Fauré's Elegy, Van Goens's Scherzo; concerti of Saint-Saëns, Boccherini (B-flat), and Haydn (C major). 2026-2027 Catalog 519
Technique including seating position and holding instrument, bowing, use of left hand, scales, arpeggios, broken thirds through tenths, position- setting double stops, (i.e., Rowell position exercise, thumb position, and shifting development). Emphasis is placed on introduction of bowing types and techniques and the art of good practicing. Representative études including Lee, op. 31; Duport, "Twenty-One Études"; Grutzmacher, book I; Franchomme, "12 Caprices"; Cossmann, "Studies." Representative repertoire including sonatas of Vivaldi, Marcello, Corelli, and Eccles; Bach, Suites 1-3; pieces such as Fauré's Elegy, Van Goens's Scherzo; concerti of Saint-Saëns, Boccherini (B-flat), and Haydn (C major).
Technique including one- and two-octave scales up to C in thumb position. Bowing patterns including one, two, and three in a bow. Complete study of Simandl, "New Method for Double Bass," book 1, and Simandl, "30 Études." Studies from Sturm, "110 Studies," book 1. Solo repertoire chosen from sonatas by Marcello, Vivaldi, and others. (F,S)
Technique including one- and two-octave scales up to C in thumb position. Bowing patterns including one, two, and three in a bow. Complete study of Simandl, "New Method for Double Bass," book 1, and Simandl, "30 Études." Studies from Sturm, "110 Studies," book 1. Solo repertoire chosen from sonatas by Marcello, Vivaldi, and others.
PFMJ 11502Double Bass I - Secondary Instrument (NLA)1
Technique including one- and two-octave scales up to C in thumb position. Bowing patterns including one, two, and three in a bow. Complete study of Simandl, "New Method for Double Bass," book 1, and Simandl, "30 Études." Studies from Sturm, "110 Studies," book 1. Solo repertoire chosen from sonatas by Marcello, Vivaldi, and others.
Technique: Scales (Segovia), scale playing in rhythmic patterns, arpeggios, slurs, trills, etc., studies by Milan, Besard, Sor, Aguado, Tarrega, Villa-Lobos, Barrios, etc.
Technique: Scales (Segovia), scale playing in rhythmic patterns, arpeggios, slurs, trills, etc., studies by Milan, Besard, Sor, Aguado, Tarrega, Villa-Lobos, Barrios, etc. (F,S)
Technique: scales, modes, melodic minor scale and modes, arpeggios, chord vocabulary, picking, patterns, chord superimposition, chord melody playing, rhythm guitar, comping, and improvisation. Solo repertoire from 1900 to the present. Standards, jazz tunes, pop and rock tunes, etc. Emphasis is placed on style periods and idiomatic playing. Co-requisite: PFMJ 19900.
Technique: scales, modes, melodic minor scale and modes, arpeggios, chord vocabulary, picking, patterns, chord superimposition, chord melody playing, rhythm guitar, comping, and improvisation. Solo repertoire from 1900 to the present. Standards, jazz tunes, pop and rock tunes, etc. Emphasis is placed on style periods and idiomatic playing.
PFMJ 11902Jazz Guitar I - Secondary Instrument (NLA)1
Technique: scales, modes, melodic minor scale and modes, arpeggios, chord vocabulary, picking, patterns, chord superimposition, chord melody playing, rhythm guitar, comping, and improvisation. Solo repertoire from 1900 to the present. Standards, jazz tunes, pop and rock tunes, etc. Emphasis is placed on style periods and idiomatic playing.
Emphasis placed on tone production, breath control and support, embouchure flexibility, and articulation and technique. Weekly repertoire classes. (F,S)
The basic elements of technique (fingers, embouchure and tonguing, blowing) are related to artistic concept through long tones, scales in all note values, and the "Forty Progressive Melodies" from Barret's "Oboe Method." Representative repertoire is selected from the Albinoni and Handel concerti, Nielsen, "Phantasy Pieces, " op. 2, and the Geiser
The basic elements of technique (fingers, embouchure and tonguing, blowing) are related to artistic concept through long tones, scales in all note values, and the "Forty Progressive Melodies" from Barret's "Oboe Method." Representative repertoire is selected from the Albinoni and Handel concerti, Nielsen, "Phantasy Pieces, " op. 2, and the Geiser Sonatine.
The basic elements of technique (fingers, embouchure and tonguing, blowing) are related to artistic concept through long tones, scales in all note values, and the "Forty Progressive Melodies" from Barret's "Oboe Method." Representative repertoire is selected from the Albinoni and Handel concerti, Nielsen, "Phantasy Pieces, " op. 2, and the Geiser Sonatine.
Emphasis is placed on production of good tone, correct posture, breathing, embouchure formation, hand position, finger motion, and articulation. All major and minor scales, thirds, and arpeggios. Symmetrical scale and chord patterns. Albert, "24 Varied Scale and Chord Exercises"; Bonade, "Clarinetist's Compendium"; Williaman, "Modulation Exercises." Representative études including Hite (ed.), "Melodious and Progressive Studies"; Rose, "40 Studies"; Muller, "30 Studies in All Tonalities"; Gates, "Odd-Meter Études." Representative repertoire including Delmas, "Promenade"; Avon, "Fantasie de Concert"; Finzi, "Five Bagatelles"; Carter, "Pastorale"; Barat, "Pièce en Sol Mineur"; Vaughan Williams, "Six Studies in English Folk Song"; Pierne, "Serenade"; Coquard, "Melodie et Scherzetto"; Grovlex, "Lamento et Tarentelle"; Barlow, "Lyrical Piece"; Schumann, "Drei Romanzen"; arias by Bozza and Roussel; sonatinas by Heiden, Honegger, and Szalowski. (F,S)
Emphasis is placed on production of good tone, correct posture, breathing, embouchure formation, hand position, finger motion, and articulation. All major and minor scales, thirds, and arpeggios. Symmetrical scale and chord patterns. Albert, "24 Varied Scale and Chord Exercises"; Bonade, "Clarinetist's Compendium"; Williaman, "Modulation Exercises." Representative études including Hite (ed.), "Melodious and Progressive Studies"; Rose, "40 Studies"; Muller, "30 Studies in All Tonalities"; Gates, "Odd-Meter Études." Representative repertoire including Delmas, "Promenade"; Avon, "Fantasie de Concert"; Finzi, "Five Bagatelles"; Carter, "Pastorale"; Barat, "Pièce en Sol Mineur"; Vaughan Williams, "Six Studies in English Folk Song"; Pierne, "Serenade"; Coquard, "Melodie et Scherzetto"; Grovlex, "Lamento et Tarentelle"; Barlow, "Lyrical Piece"; Schumann, "Drei Romanzen"; arias by Bozza and Roussel; sonatinas by Heiden, Honegger, and Szalowski.
PFMJ 12502Clarinet I - Secondary Instrument (NLA)1
Emphasis is placed on production of good tone, correct posture, breathing, embouchure formation, hand position, finger motion, and articulation. All major and minor scales, thirds, and arpeggios. Symmetrical scale and chord patterns. Albert, "24 Varied Scale and Chord Exercises"; Bonade, "Clarinetist's Compendium"; Williaman, "Modulation Exercises." Representative études including Hite (ed.), "Melodious and Progressive Studies"; Rose, "40 Studies"; Muller, "30 Studies in All Tonalities"; Gates, "Odd-Meter Études." Representative repertoire including Delmas, "Promenade"; Avon, "Fantasie de Concert"; Finzi, "Five Bagatelles"; Carter, "Pastorale"; Barat, "Pièce en Sol Mineur"; Vaughan Williams, "Six Studies in English Folk Song"; Pierne, "Serenade"; Coquard, "Melodie et Scherzetto"; Grovlex, "Lamento et Tarentelle"; Barlow, "Lyrical Piece"; Schumann, "Drei Romanzen"; arias by Bozza and Roussel; sonatinas by Heiden, Honegger, and Szalowski.
Technique to include patterns for all first-year bassoon students. Long tones on all major scales, correct embouchure, fingerings, breathing and tonguing, and reed making. Representative études including Weissenborn, "Method," books I and II; Milde, "Studies in All Keys." Representative repertoire including E. Bourdeau, "Premier Solo"; Telemann, "Sonata in F Minor"; D. C. Smith, " Caprice"; Max Vox Lenz, "Cicero"; Beethoven, "Adagio Cantabile"; and Weissenborn, "Capriccio," op. 14. (F,S)
Technique to include patterns for all first-year bassoon students. Long tones on all major scales, correct embouchure, fingerings, breathing and tonguing, and reed making. Representative études including Weissenborn, "Method," books I and II; Milde, "Studies in All Keys." Representative repertoire including E. Bourdeau, "Premier Solo"; Telemann, "Sonata in F Minor"; D. C. Smith, " Caprice"; Max Vox Lenz, "Cicero"; Beethoven, "Adagio Cantabile"; and Weissenborn, "Capriccio," op. 14.
Technique to include patterns for all first-year bassoon students. Long tones on all major scales, correct embouchure, fingerings, breathing and tonguing, and reed making. Representative études including Weissenborn, "Method," books I and II; Milde, "Studies in All Keys." Representative repertoire including E. Bourdeau, "Premier Solo"; Telemann, "Sonata in F Minor"; D. C. Smith, " Caprice"; Max Vox Lenz, "Cicero"; Beethoven, "Adagio Cantabile"; and Weissenborn, "Capriccio," op. 14.
Technique from L. Teal, "Saxophonist's Workbook"; tone studies, vibrato studies, articulation studies, alternate fingering studies, major/minor scales, major/minor thirds, low and high register studies. S. Rascher, "Top Tones"; R. Lang, "Beginning Studies in the Altissimo Register"; J. M. Londeix, "On the Exactness of Intonation." Representative études including J. L. Small, "Rhythmical and Technical Studies"; H. Voxman, "Selected Studies"; Ferling, "48 Études." Representative repertoire including Teal, "Solos for the Alto and Tenor Saxophone Player"; H. Eccles, Sonata; Mule, "Classics for the Saxophon"e; E. Bozza, Aria; P. Lantier, "Sicilienne"; B. Heiden, Sonata; P. Hindemith, Sonata; W. Schmidt, Sonatina; and various chamber works. (F,S)
Technique from L. Teal, "Saxophonist's Workbook"; tone studies, vibrato studies, articulation studies, alternate fingering studies, major/minor scales, major/minor thirds, low and high register studies. S. Rascher, "Top Tones"; R. Lang, "Beginning Studies in the Altissimo Register"; J. M. Londeix, "On the Exactness of Intonation." Representative études including J. L. Small, "Rhythmical and Technical Studies"; H. Voxman, "Selected Studies"; Ferling, "48 Études." Representative repertoire including Teal, "Solos for the Alto and Tenor Saxophone Player"; H. Eccles, Sonata; Mule, "Classics for the Saxophon"e; E. Bozza, Aria; P. Lantier, "Sicilienne"; B. Heiden, Sonata; P. Hindemith, Sonata; W. Schmidt, Sonatina; and various chamber works.
PFMJ 12902Saxophone I - Secondary Instrument (NLA)1
Technique from L. Teal, "Saxophonist's Workbook"; tone studies, vibrato studies, articulation studies, alternate fingering studies, major/minor scales, major/minor thirds, low and high register studies. S. Rascher, "Top Tones"; R. Lang, "Beginning Studies in the Altissimo Register"; J. M. Londeix, "On the Exactness of Intonation." Representative études including J. L. Small, "Rhythmical and Technical Studies"; H. Voxman, "Selected Studies"; Ferling, "48 Études." Representative repertoire including Teal, "Solos for the Alto and Tenor Saxophone Player"; H. Eccles, Sonata; Mule, "Classics for the Saxophon"e; E. Bozza, Aria; P. Lantier, "Sicilienne"; B. Heiden, Sonata; P. Hindemith, Sonata; W. Schmidt, Sonatina; and various chamber works. 2026-2027 Catalog 521
Technique to include lip slurs; middle register and all major scales, two octaves in various articulations. Transposition to E-flat, C, and D horn. Representative études including Kopprasch, book I; Pottag, "Preparatory Melodies to Solo Playing"; Maxime-Alphonse, books II and III; Weber, "13 Études"; Schuller, "Studies for Unaccompanied Horn"; and Schantl, "Studies on Scales and Intervals." Representative solo repertoire including Glazunov, "Reveries"; Lefebvre, "Romance"; Mozart, Concerti no. 2 and 3; and Beethoven, Sonata. (F,S)
Technique to include lip slurs; middle register and all major scales, two octaves in various articulations. Transposition to E-flat, C, and D horn. Representative études including Kopprasch, book I; Pottag, "Preparatory Melodies to Solo Playing"; Maxime-Alphonse, books II and III; Weber, "13 Études"; Schuller, "Studies for Unaccompanied Horn"; and Schantl, "Studies on Scales and Intervals." Representative solo repertoire including Glazunov, "Reveries"; Lefebvre, "Romance"; Mozart, Concerti no. 2 and 3; and Beethoven, Sonata.
Technique to include lip slurs; middle register and all major scales, two octaves in various articulations. Transposition to E-flat, C, and D horn. Representative études including Kopprasch, book I; Pottag, "Preparatory Melodies to Solo Playing"; Maxime-Alphonse, books II and III; Weber, "13 Études"; Schuller, "Studies for Unaccompanied Horn"; and Schantl, "Studies on Scales and Intervals." Representative solo repertoire including Glazunov, "Reveries"; Lefebvre, "Romance"; Mozart, Concerti no. 2 and 3; and Beethoven, Sonata.
Concentration on the development of the characteristic tone and essential technique demanded in trumpet performance. Manuscript warm-up routines, lip slurs, and finger patterns. All major and three forms of minor scales in 16th notes at mm 108, with emphasis placed on legato style. Review of Arban's "Complete Method." Development of skill of transposition in orchestral trumpet keys of A, C, D, E-flat, E, and F using Ernest Williams's method for transposition. Études to include Hering, "32 Études"; Voxman, "Selected Studies"; and Voisin, "Studies for Trumpet." Solo repertoire including Barat, Balay, Corelli, and Handel. (F,S)
Concentration on the development of the characteristic tone and essential technique demanded in trumpet performance. Manuscript warm-up routines, lip slurs, and finger patterns. All major and three forms of minor scales in 16th notes at mm 108, with emphasis placed on legato style. Review of Arban's "Complete Method." Development of skill of transposition in orchestral trumpet keys of A, C, D, E-flat, E, and F using Ernest Williams's method for transposition. Études to include Hering, "32 Études"; Voxman, "Selected Studies"; and Voisin, "Studies for Trumpet." Solo repertoire including Barat, Balay, Corelli, and Handel.
Concentration on the development of the characteristic tone and essential technique demanded in trumpet performance. Manuscript warm-up routines, lip slurs, and finger patterns. All major and three forms of minor scales in 16th notes at mm 108, with emphasis placed on legato style. Review of Arban's "Complete Method." Development of skill of transposition in orchestral trumpet keys of A, C, D, E-flat, E, and F using Ernest Williams's method for transposition. Études to include Hering, "32 Études"; Voxman, "Selected Studies"; and Voisin, "Studies for Trumpet." Solo repertoire including Barat, Balay, Corelli, and Handel.
Concentration on sound development, using manuscript warm-up routines. Also included are special exercises designed for range development and awareness of intonation problems. Representative études for technique include Smith, "Slide Exercises"; Rochut, "Melodious Études"; and Blazevich, "Clef Studies." Representative repertoire includes Galliard, Guilment, Whear, Jones, Presser, David, and Pryor. (F,S)
Concentration on sound development, using manuscript warm-up routines. Also included are special exercises designed for range development and awareness of intonation problems. Representative études for technique include Smith, "Slide Exercises"; Rochut, "Melodious Études"; and Blazevich, "Clef Studies." Representative repertoire includes Galliard, Guilment, Whear, Jones, Presser, David, and Pryor.
PFMJ 13502Tenor Trombone I - Secondary Instrument (NLA)1
Concentration on sound development, using manuscript warm-up routines. Also included are special exercises designed for range development and awareness of intonation problems. Representative études for technique include Smith, "Slide Exercises"; Rochut, "Melodious Études"; and Blazevich, "Clef Studies." Representative repertoire includes Galliard, Guilment, Whear, Jones, Presser, David, and Pryor.
Concentration on sound development, using manuscript warm-up routines. Also included are special exercises designed for range development and awareness of intonation problems. Representative études for technique include Smith, "Slide Exercises"; Fink, "Studies in Legato"; and Grigoriev, "24 Studies." Repertoire includes Galliard, Semler- Collery, Stevens, and Jacob. (F,S)
Concentration on sound development, using manuscript warm-up routines. Also included are special exercises designed for range development and awareness of intonation problems. Representative études for technique include Smith, "Slide Exercises"; Fink, "Studies in Legato"; and Grigoriev, "24 Studies." Repertoire includes Galliard, Semler- Collery, Stevens, and Jacob.
PFMJ 13702Bass Trombone I - Secondary Instrument (NLA)1
Concentration on sound development, using manuscript warm-up routines. Also included are special exercises designed for range development and awareness of intonation problems. Representative études for technique include Smith, "Slide Exercises"; Fink, "Studies in Legato"; and Grigoriev, "24 Studies." Repertoire includes Galliard, Semler- Collery, Stevens, and Jacob.
Technique including Schlossberg, "Daily Drills and Technical Studies"; Arban, "Method for Trombone"; scales; interval and chord studies. All major and minor scales and arpeggios from memory (one octave). Introduction to double- and triple-tonguing (Arban). Representative études including Arban, "Method for Trombone," rhythm studies; Tyrell, "40 Advanced Studies for Trombone"; Kopprasch, "60 Selected Studies" (trombone, book 1); Rochut, "Melodious Études" (trombone, book 1). Representative repertoire including Clarke, "Sounds from Hudson"; Petit, "Étude de Concours"; Mühfeld, "Konzertstück"; Galliard, "Six Sonatas"; Weber, "Appassionata"; Barat, "Andante and Allegro"; plus selected band excerpts. (F,S)
Technique including Schlossberg, "Daily Drills and Technical Studies"; Arban, "Method for Trombone"; scales; interval and chord studies. All major and minor scales and arpeggios from memory (one octave). Introduction to double- and triple-tonguing (Arban). Representative études including Arban, "Method for Trombone," rhythm studies; Tyrell, "40 Advanced Studies for Trombone"; Kopprasch, "60 Selected Studies" (trombone, book 1); Rochut, "Melodious Études" (trombone, book 1). Representative repertoire including Clarke, "Sounds from Hudson"; Petit, "Étude de Concours"; Mühfeld, "Konzertstück"; Galliard, "Six Sonatas"; Weber, "Appassionata"; Barat, "Andante and Allegro"; plus selected band excerpts.
PFMJ 13902Euphonium I - Secondary Instrument (NLA)1
Technique including Schlossberg, "Daily Drills and Technical Studies"; Arban, "Method for Trombone"; scales; interval and chord studies. All major and minor scales and arpeggios from memory (one octave). Introduction to double- and triple-tonguing (Arban). Representative études including Arban, "Method for Trombone," rhythm studies; Tyrell, "40 Advanced Studies for Trombone"; Kopprasch, "60 Selected Studies" (trombone, book 1); Rochut, "Melodious Études" (trombone, book 1). Representative repertoire including Clarke, "Sounds from Hudson"; Petit, "Étude de Concours"; Mühfeld, "Konzertstück"; Galliard, "Six Sonatas"; Weber, "Appassionata"; Barat, "Andante and Allegro"; plus selected band excerpts.
Technique based on W. Bell, "Tuba Warmups" (part 1); Pares, "Scale Studies"; Lowell Little, "Embouchure Builder"; Arban, "Method for Trombone" (interval and chord studies). Representative études including Arban, "Method for Trombone" (rhythm studies); Getchell, "Second Book of Practical Studies for Tuba"; Cimera, "73 Advanced Tuba Studies"; Kopprasch, "60 Selected Studies" (trombone, book 1); Rochut, "Melodious Études" (trombone, book 1); Tyrell, "Advanced Studies for the BB-flat Tuba." Representative repertoire including "Concert Album for Tuba" (edited by Ostrander); Walters, "Terantelle"; Sowerby, "Chaconne"; Beaucamp, "Cortege"; Cohen, Romance and Scherzo; Buchtel, Introduction and Rondo; plus selected band and orchestral excerpts. (F,S)
Technique based on W. Bell, "Tuba Warmups" (part 1); Pares, "Scale Studies"; Lowell Little, "Embouchure Builder"; Arban, "Method for Trombone" (interval and chord studies). Representative études including Arban, "Method for Trombone" (rhythm studies); Getchell, "Second Book of Practical Studies for Tuba"; Cimera, "73 Advanced Tuba Studies"; Kopprasch, "60 Selected Studies" (trombone, book 1); Rochut, "Melodious Études" (trombone, book 1); Tyrell, "Advanced Studies for the BB-flat Tuba." Representative repertoire including "Concert Album for Tuba" (edited by Ostrander); Walters, "Terantelle"; Sowerby, "Chaconne"; Beaucamp, "Cortege"; Cohen, Romance and Scherzo; Buchtel, Introduction and Rondo; plus selected band and orchestral excerpts.
Technique based on W. Bell, "Tuba Warmups" (part 1); Pares, "Scale Studies"; Lowell Little, "Embouchure Builder"; Arban, "Method for Trombone" (interval and chord studies). Representative études including Arban, "Method for Trombone" (rhythm studies); Getchell, "Second Book of Practical Studies for Tuba"; Cimera, "73 Advanced Tuba Studies"; Kopprasch, "60 Selected Studies" (trombone, book 1); Rochut, "Melodious Études" (trombone, book 1); Tyrell, "Advanced Studies for the BB-flat Tuba." Representative repertoire including "Concert Album for Tuba" (edited by Ostrander); Walters, "Terantelle"; Sowerby, "Chaconne"; Beaucamp, "Cortege"; Cohen, Romance and Scherzo; Buchtel, Introduction and Rondo; plus selected band and orchestral excerpts.
The order and amount of study vary from student to student, depending on strengths and deficiencies upon matriculation. Variations also occur when a student, in consultation with the major teacher, decides to concentrate in one or more particular areas. An examination is conducted by the instructor at the end of each semester. This examination includes performance and sight-reading. Specific requirements are provided by the instructor.
PFMJ 14302Percussion I - Secondary Instrument (NLA)1
The order and amount of study vary from student to student, depending on strengths and deficiencies upon matriculation. Variations also occur when a student, in consultation with the major teacher, decides to concentrate in one or more particular areas. An examination is conducted by the instructor at the end of each semester. This examination includes performance and sight-reading. Specific requirements are provided by the instructor. 2026-2027 Catalog 523
Private instruction in drum set, including technical exercises such as Stone and Reed variations, patterns that include the integration of hands with feet, subdivision exercises, as well as Houghton reading variations. Early 20th century style repertoire may include Dodds and Jones and mid-20th century styles may include Jones, Roach, and Haynes. Variations in repertoire and techniques may occur when a student, in consultation with the major teacher, decides to concentrate in one or more particular styles. (F,S)
Private instruction in drum set, including technical exercises such as Stone and Reed variations, patterns that include the integration of hands with feet, subdivision exercises, as well as Houghton reading variations. Early 20th century style repertoire may include Dodds and Jones and mid-20th century styles may include Jones, Roach, and Haynes. Variations in repertoire and techniques may occur when a student, in consultation with the major teacher, decides to concentrate in one or more particular styles. (F,S,U,Y)
PFMJ 14502Drum Set I - Secondary Instrument (NLA)1
Private instruction in drum set, including technical exercises such as Stone and Reed variations, patterns that include the integration of hands with feet, subdivision exercises, as well as Houghton reading variations. Early 20th century style repertoire may include Dodds and Jones and mid-20th century styles may include Jones, Roach, and Haynes. Variations in repertoire and techniques may occur when a student, in consultation with the major teacher, decides to concentrate in one or more particular styles. (F,S,U,Y)
Basic chord progressions and harmonic motion; nomenclature, arpeggios (triadic and seventh chords); standard cadential formulas; basic technique; holding position; types of right-hand strokes ("rest stroke" and "free stroke"); major scales in 12 keys; modes of the major scale; bass-line building and construction; fast-moving chord changes; longer- value chord progressions; two-beat and "walking" four-beat styles; rhythm changes; tune repertoire, both melodically and in terms of bass line. Co-
Basic chord progressions and harmonic motion; nomenclature, arpeggios (triadic and seventh chords); standard cadential formulas; basic technique; holding position; types of right-hand strokes ("rest stroke" and "free stroke"); major scales in 12 keys; modes of the major scale; bass-line building and construction; fast-moving chord changes; longer- value chord progressions; two-beat and "walking" four-beat styles; rhythm changes; tune repertoire, both melodically and in terms of bass line.
PFMJ 16302Electric Bass I - Secondary Instrument (NLA)1
Basic chord progressions and harmonic motion; nomenclature, arpeggios (triadic and seventh chords); standard cadential formulas; basic technique; holding position; types of right-hand strokes ("rest stroke" and "free stroke"); major scales in 12 keys; modes of the major scale; bass-line building and construction; fast-moving chord changes; longer- value chord progressions; two-beat and "walking" four-beat styles; rhythm changes; tune repertoire, both melodically and in terms of bass line.
The development of artistic vocal musicianship through the study and performance of carefully selected and individualized vocal literature. The acquisition of a functional vocal technique through attention to posture, breathing, tonal onset, vowel purity, reduction of inhibitory physical tensions, body coordination, and a balanced registration. Appropriate vocalises constructed to meet the individual technical problems of the student. Upper-level studies focus on range extension, vocal flexibility, melismatic singing, and the "messa di voce."
Repertoire is chosen by the instructor as appropriate for the technical abilities, stylistic awareness, and musical growth of the individual student. Variable credit.
Continuation of technical studies. Bach, "Trio Sonatas" and intermediate preludes and fugues such as BWV 537. Works of Buxtehude and early French composers, with attention to historical performance practice. Easier 19th-century works, such as Franck, "Cantabile." Basic church music skills; accompanying and conducting from the keyboard. Co-
Continuation of technical studies. Bach, "Trio Sonatas" and intermediate preludes and fugues such as BWV 537. Works of Buxtehude and early French composers, with attention to historical performance practice. Easier 19th-century works, such as Franck, "Cantabile." Basic church music skills; accompanying and conducting from the keyboard.
Continuation of technical studies. Bach, "Trio Sonatas" and intermediate preludes and fugues such as BWV 537. Works of Buxtehude and early French composers, with attention to historical performance practice. Easier 19th-century works, such as Franck, "Cantabile." Basic church music skills; accompanying and conducting from the keyboard.
Technical studies may include trill exercises, finger independence exercises, scales, and excerpts from various method books. Repertoire initially emphasizes 18th-century literature (e.g., simpler works of Bach, D. Scarlatti, and Rameau). Further study includes earlier keyboard literature and the concomitant techniques (fingering, ornamentation, etc.). Repertoire classes often include discussions of the various schools of harpsichord construction and the corresponding literature, as well as different aspects of performance practice. Co-requisite: PFMJ 19900.
Technical studies may include trill exercises, finger independence exercises, scales, and excerpts from various method books. Repertoire initially emphasizes 18th-century literature (e.g., simpler works of Bach, D. Scarlatti, and Rameau). Further study includes earlier keyboard literature and the concomitant techniques (fingering, ornamentation, etc.). Repertoire classes often include discussions of the various schools of harpsichord construction and the corresponding literature, as well as different aspects of performance practice.
PFMJ 20702Harpsichord II - Secondary Instrument (NLA)1
Technical studies may include trill exercises, finger independence exercises, scales, and excerpts from various method books. Repertoire initially emphasizes 18th-century literature (e.g., simpler works of Bach, D. Scarlatti, and Rameau). Further study includes earlier keyboard literature and the concomitant techniques (fingering, ornamentation, etc.). Repertoire classes often include discussions of the various schools of harpsichord construction and the corresponding literature, as well as different aspects of performance practice.
Technique based on Carl Flesch's "Scale System" and Ivan Galamian¿s "Contemporary Violin Technique." Continuation of all first-year technique, with the addition of accelerated pattern for scales, all three-octave whole tone scales, double stops, and all one-string systems. Continuation of bowing and shifting technique, with emphasis placed on vibrato development. Representative études including Sevcik, Dont, Fiorillo, and Kreutzer. Representative repertoire including concerti by Mozart, Bruch, Lalo, Haydn, and Kabalevsky; solo sonatas and partitas by Bach; sonatas by Mozart, Dvorak, Beethoven, Schumann, and Leclair; and pieces by Kreisler, Bartók, and Beethoven. (F,S)
Technique based on Carl Flesch's "Scale System" and Ivan Galamian¿s "Contemporary Violin Technique." Continuation of all first-year technique, with the addition of accelerated pattern for scales, all three-octave whole tone scales, double stops, and all one-string systems. Continuation of bowing and shifting technique, with emphasis placed on vibrato development. Representative études including Sevcik, Dont, Fiorillo, and Kreutzer. Representative repertoire including concerti by Mozart, Bruch, Lalo, Haydn, and Kabalevsky; solo sonatas and partitas by Bach; sonatas by Mozart, Dvorak, Beethoven, Schumann, and Leclair; and pieces by Kreisler, Bartók, and Beethoven.
Technique based on Carl Flesch's "Scale System" and Ivan Galamian's "Contemporary Violin Technique." Continuation of all first-year technique, with the addition of accelerated pattern for scales, all three-octave whole tone scales, double stops, and all one-string systems. Continuation of bowing and shifting technique, with emphasis placed on vibrato development. Representative études including Sevcik, Dont, Fiorillo, and Kreutzer. Representative repertoire including concerti by Mozart, Bruch, Lalo, Haydn, and Kabalevsky; solo sonatas and partitas by Bach; sonatas by Mozart, Dvorak, Beethoven, Schumann, and Leclair; and pieces by Kreisler, Bartók, and Beethoven.
Continuation of technical work. Vibrato development; bowing techniques using Sevcik, op. 2, pt. 3; furtherance of fingerboard knowledge through Sevcik, op. 1, pt. 3; Flesch, "Scale System," as before, adding new scales, arpeggios, and scales in double stops. Viola ensemble. Studies from Bruni, Rode, and Campagnoli. Repertoire from Stamitz; Zelter; Hoffmeister concertos; J. H. Roman, "Assaggio"; Bloch, "Suite Hébraïque"; Milhaud, "Quatre Visages"; Bach, "Brandenburg" Concerto no. 6. (F,S)
Continuation of technical work. Vibrato development; bowing techniques using Sevcik, op. 2, pt. 3; furtherance of fingerboard knowledge through Sevcik, op. 1, pt. 3; Flesch, "Scale System," as before, adding new scales, arpeggios, and scales in double stops. Viola ensemble. Studies from Bruni, Rode, and Campagnoli. Repertoire from Stamitz; Zelter; Hoffmeister concertos; J. H. Roman, "Assaggio"; Bloch, "Suite Hébraïque"; Milhaud, "Quatre Visages"; Bach, "Brandenburg" Concerto no. 6.
Continuation of technical work. Vibrato development; bowing techniques using Sevcik, op. 2, pt. 3; furtherance of fingerboard knowledge through Sevcik, op. 1, pt. 3; Flesch, "Scale System," as before, adding new scales, arpeggios, and scales in double stops. Viola ensemble. Studies from Bruni, Rode, and Campagnoli. Repertoire from Stamitz; Zelter; Hoffmeister concertos; J. H. Roman, "Assaggio"; Bloch, "Suite Hébraïque"; Milhaud, "Quatre Visages"; Bach, "Brandenburg" Concerto no. 6. 2026-2027 Catalog 525
Continued study of scales (four octaves), solid thirds, sixths, octaves. Bowing methods and types; principles of modern shifting; and practice habits. Representative études, such as Duport, "Twenty-One Études," through Franchomme, "Caprices"; Feuillard, "Daily Exercises"; Popper, "High School of Cello Playing." Representative repertoire including Bach, Suites; Beethoven and Brahms sonatas; concerti of Elgar, C. P. E. Bach, and Kabalevsky; 20th-century pieces. Performance of solo and cello ensemble repertoire. (F,S)
Continued study of scales (four octaves), solid thirds, sixths, octaves. Bowing methods and types; principles of modern shifting; and practice habits. Representative études, such as Duport, "Twenty-One Études," through Franchomme, "Caprices"; Feuillard, "Daily Exercises"; Popper, "High School of Cello Playing." Representative repertoire including Bach, Suites; Beethoven and Brahms sonatas; concerti of Elgar, C. P. E. Bach, and Kabalevsky; 20th-century pieces. Performance of solo and cello ensemble repertoire.
Continued study of scales (four octaves), solid thirds, sixths, octaves. Bowing methods and types; principles of modern shifting; and practice habits. Representative études, such as Duport, "Twenty-One Études," through Franchomme, "Caprices"; Feuillard, "Daily Exercises"; Popper, "High School of Cello Playing." Representative repertoire including Bach, Suites; Beethoven and Brahms sonatas; concerti of Elgar, C. P. E. Bach, and Kabalevsky; 20th-century pieces. Performance of solo and cello ensemble repertoire.
Technique including all scales in two and three octaves; chromatic scales and arpeggios. Bowing studies from Sturm, "110 Studies." Study of Simandl, "New Method for Double Bass," book 2, and Storch-Hrabe, "57 Études." Solo repertoire chosen from works by Eccles, Koussevitzky, Dragonetti, and others. (F,S)
Technique including all scales in two and three octaves; chromatic scales and arpeggios. Bowing studies from Sturm, "110 Studies." Study of Simandl, "New Method for Double Bass," book 2, and Storch-Hrabe, "57 Études." Solo repertoire chosen from works by Eccles, Koussevitzky, Dragonetti, and others.
PFMJ 21502Double Bass II - Secondary Instrument (NLA)1
Technique including all scales in two and three octaves; chromatic scales and arpeggios. Bowing studies from Sturm, "110 Studies." Study of Simandl, "New Method for Double Bass," book 2, and Storch-Hrabe, "57 Études." Solo repertoire chosen from works by Eccles, Koussevitzky, Dragonetti, and others.
PFMJ 21701Classical Guitar II - Music Minors (NLA)1
Solo repertoire from 16th-century lutenists to contemporary composers, including da Milano, Narvaez, Milan, Cutting, Dowland, Corbetta, Sanz, Bach, Weiss, Sor, Giuliani, Aguado, Tarrega, Ponce, Turina, Moreno- Torroba, Rodrigo, Britten, and Berkeley.
PFMJ 21702Classical Guitar II - Secondary Instrument (NLA)1
Solo repertoire from 16th-century lutenists to contemporary composers, including da Milano, Narvaez, Milan, Cutting, Dowland, Corbetta, Sanz, Bach, Weiss, Sor, Giuliani, Aguado, Tarrega, Ponce, Turina, Moreno- Torroba, Rodrigo, Britten, and Berkeley.
Technique: scales, modes, melodic minor scale and modes, arpeggios, chord vocabulary, picking, patterns, chord superimposition, chord melody playing, rhythm guitar, comping, and improvisation. Solo repertoire from 1900 to the present. Standards, jazz tunes, pop and rock tunes, etc. Emphasis is placed on style periods and idiomatic playing. Co-requisite: PFMJ 19900.
Technique: scales, modes, melodic minor scale and modes, arpeggios, chord vocabulary, picking, patterns, chord superimposition, chord melody playing, rhythm guitar, comping, and improvisation. Solo repertoire from 1900 to the present. Standards, jazz tunes, pop and rock tunes, etc. Emphasis is placed on style periods and idiomatic playing.
PFMJ 21902Jazz Guitar II - Secondary Instrument (NLA)1
Technique: scales, modes, melodic minor scale and modes, arpeggios, chord vocabulary, picking, patterns, chord superimposition, chord melody playing, rhythm guitar, comping, and improvisation. Solo repertoire from 1900 to the present. Standards, jazz tunes, pop and rock tunes, etc. Emphasis is placed on style periods and idiomatic playing.
Taffanel-Gaubert, "17 Daily Exercises"; Marcel Moyse, "De la Sonorité"; Trevor Wye, "Practice Book no. 1 -- Tone." Harmonics, vibrato, and tone color. Representative études including Andersen, "18 Studies," op. 41; Andersen, "24 Exercises," op. 33; and Berbiguier, "18 Exercises." Representative repertoire including Debussy, Syrinx; Handel sonatas; Bach sonatas; Bloch, "Suite Modale"; selections from flute music by
Taffanel-Gaubert, "17 Daily Exercises"; Marcel Moyse, "De la Sonorité"; Trevor Wye, "Practice Book no. 1 -- Tone." Harmonics, vibrato, and tone color. Representative études including Andersen, "18 Studies," op. 41; Andersen, "24 Exercises," op. 33; and Berbiguier, "18 Exercises." Representative repertoire including Debussy, Syrinx; Handel sonatas; Bach sonatas; Bloch, "Suite Modale"; selections from flute music by French composers.
Taffanel-Gaubert, "17 Daily Exercises"; Marcel Moyse, "De la Sonorité"; Trevor Wye, "Practice Book no. 1 -- Tone." Harmonics, vibrato, and tone color. Representative études including Andersen, "18 Studies," op. 41; Andersen, "24 Exercises," op. 33; and Berbiguier, "18 Exercises." Representative repertoire including Debussy, Syrinx; Handel sonatas; Bach sonatas; Bloch, "Suite Modale"; selections from flute music by French composers.
Technique continued, including long tones and scales as before. Études include articulation scale patterns (transposed), 12 articulation studies, and sonatas from Barret. Representative repertoire includes Handel and Telemann sonatas, the Comarosa-Benjamin Concerto, C. P. E. Bach concertos, and the "Piston Suite." (F,S)
Technique continued, including long tones and scales as before. Études include articulation scale patterns (transposed), 12 articulation studies, and sonatas from Barret. Representative repertoire includes Handel and Telemann sonatas, the Comarosa-Benjamin Concerto, C. P. E. Bach concertos, and the "Piston Suite."
Technique continued, including long tones and scales as before. Études include articulation scale patterns (transposed), 12 articulation studies, and sonatas from Barret. Representative repertoire includes Handel and Telemann sonatas, the Comarosa-Benjamin Concerto, C. P. E. Bach concertos, and the "Piston Suite."
Continued refinement of all fundamentals. Bender-Jettel, "Scale Exercises"; Baermann, "Method," part III; Stubbins, "Essentials of Technical Dexterity." Representative études including Rose, "32 Études"; Rose-Rode, "20 Grandes Études"; Stark, "Arpeggio Studies"; Baermann, books IV and V. Representative repertoire including Marty, "1st Fantasie"; Templeton, "Pocket Size Sonata"; Gallois-Montbrun, "Six Pièces Musicales"; Arnold, Sonatina; "Solos de Concours" by Rabaud and Messager; Spohr, "Six German Songs"; Widor, Introduction and Rondo; Schumann, "Fantasiestücke"; Weber concerti; sonatas by Saint-Saëns, Bernstein, Bax, Etler, and Hindemith. (F,S)
Continued refinement of all fundamentals. Bender-Jettel, "Scale Exercises"; Baermann, "Method," part III; Stubbins, "Essentials of Technical Dexterity." Representative études including Rose, "32 Études"; Rose-Rode, "20 Grandes Études"; Stark, "Arpeggio Studies"; Baermann, books IV and V. Representative repertoire including Marty, "1st Fantasie"; Templeton, "Pocket Size Sonata"; Gallois-Montbrun, "Six Pièces Musicales"; Arnold, Sonatina; "Solos de Concours" by Rabaud and Messager; Spohr, "Six German Songs"; Widor, Introduction and Rondo; Schumann, "Fantasiestücke"; Weber concerti; sonatas by Saint-Saëns, Bernstein, Bax, Etler, and Hindemith.
PFMJ 22502Clarinet II - Secondary Instrument (NLA)1
Continued refinement of all fundamentals. Bender-Jettel, "Scale Exercises"; Baermann, "Method," part III; Stubbins, "Essentials of Technical Dexterity." Representative études including Rose, "32 Études"; Rose-Rode, "20 Grandes Études"; Stark, "Arpeggio Studies"; Baermann, books IV and V. Representative repertoire including Marty, "1st Fantasie"; Templeton, "Pocket Size Sonata"; Gallois-Montbrun, "Six Pièces Musicales"; Arnold, Sonatina; "Solos de Concours" by Rabaud and Messager; Spohr, "Six German Songs"; Widor, Introduction and Rondo; Schumann, "Fantasiestücke"; Weber concerti; sonatas by Saint-Saëns, Bernstein, Bax, Etler, and Hindemith.
All major and minor scales (80 mm). All scales in thirds. Chord study. Articulations (slur two-tongue; tongue one-slur two-tongue two; slur three-tongue one, etc.). Chord cycle of I-IV-V((7))-I. Representative études including Kopprasch, books I and II; Oubradous, "Methods I"; Piard, "Methods I." Representative repertoire including Ferdinand David, "Concertino," op. 12; Galliard, "Six Sonatas for Bassoon and Piano"; Milde, Andante and Rondo; Pierne, "Concert Piece"; Burrill Phillips, "Concert Piece"; Vivaldi, concerti in A minor and B minor, Sonata in A Minor. (F,S)
All major and minor scales (80 mm). All scales in thirds. Chord study. Articulations (slur two-tongue; tongue one-slur two-tongue two; slur three-tongue one, etc.). Chord cycle of I-IV-V((7))-I. Representative études including Kopprasch, books I and II; Oubradous, "Methods I"; Piard, "Methods I." Representative repertoire including Ferdinand David, "Concertino," op. 12; Galliard, "Six Sonatas for Bassoon and Piano"; Milde, Andante and Rondo; Pierne, "Concert Piece"; Burrill Phillips, "Concert Piece"; Vivaldi, concerti in A minor and B minor, Sonata in A Minor.
PFMJ 22702Bassoon II - Secondary Instrument (NLA)1
All major and minor scales (80 mm). All scales in thirds. Chord study. Articulations (slur two-tongue; tongue one-slur two-tongue two; slur three-tongue one, etc.). Chord cycle of I-IV-V((7))-I. Representative études including Kopprasch, books I and II; Oubradous, "Methods I"; Piard, "Methods I." Representative repertoire including Ferdinand David, "Concertino," op. 12; Galliard, "Six Sonatas for Bassoon and Piano"; Milde, Andante and Rondo; Pierne, "Concert Piece"; Burrill Phillips, "Concert Piece"; Vivaldi, concerti in A minor and B minor, Sonata in A Minor.
Technique including L. Teal, "Saxophonist's Workbook"; S. Rascher and R. Lang, altissimo studies; J. M. Londeix, intonation studies; Giamperi, "Daily Studies." Études including C. Koechlin, "Études"; W. Schmidt, "Contemporary Études"; and continued work in previous methods. Representative repertoire including various transcriptions; P. Creston, Sonata; L. Van Delden, Sonatina; H. Villa-Lobos, "Fantasia"; W. Benson, "Aeolian Song"; P. Maurice, "Tableaux de Provence"; A. Glazunov, Concerto in E-flat; L. Lunde, Sonata; and various chamber works. (F,S) 2026-2027 Catalog 527
Technique including L. Teal, "Saxophonist's Workbook"; S. Rascher and R. Lang, altissimo studies; J. M. Londeix, intonation studies; Giamperi, "Daily Studies." Études including C. Koechlin, "Études"; W. Schmidt, "Contemporary Études"; and continued work in previous methods. Representative repertoire including various transcriptions; P. Creston, Sonata; L. Van Delden, Sonatina; H. Villa-Lobos, "Fantasia"; W. Benson, "Aeolian Song"; P. Maurice, "Tableaux de Provence"; A. Glazunov, Concerto in E-flat; L. Lunde, Sonata; and various chamber works.
PFMJ 22902Saxophone II - Secondary Instrument (NLA)1
Technique including L. Teal, "Saxophonist's Workbook"; S. Rascher and R. Lang, altissimo studies; J. M. Londeix, intonation studies; Giamperi, "Daily Studies." Études including C. Koechlin, "Études"; W. Schmidt, "Contemporary Études"; and continued work in previous methods. Representative repertoire including various transcriptions; P. Creston, Sonata; L. Van Delden, Sonatina; H. Villa-Lobos, "Fantasia"; W. Benson, "Aeolian Song"; P. Maurice, "Tableaux de Provence"; A. Glazunov, Concerto in E-flat; L. Lunde, Sonata; and various chamber works.
Technique including lip slurs covering two octaves and all major scales in broken thirds, fourths, and fifths. Transposition to E-flat, C, D, G, E, and A horn. Stopped horn technique. Representative études including Brahms, "10 Études"; Chaynes, "15 Études"; Bozza, "Improvisational Studies"; Bach, Cello Suites (bass clef); and orchestral excerpts from the standard repertoire. Representative solo repertoire including Mozart, Concerto no. 4; Saint-Saëns, "Morceau de Concert"; Strauss, Concerto no. 1; Heiden, Sonata; Adler, Sonata; and Goedicke, Concerto. (F,S)
Technique including lip slurs covering two octaves and all major scales in broken thirds, fourths, and fifths. Transposition to E-flat, C, D, G, E, and A horn. Stopped horn technique. Representative études including Brahms, "10 Études"; Chaynes, "15 Études"; Bozza, "Improvisational Studies"; Bach, Cello Suites (bass clef); and orchestral excerpts from the standard repertoire. Representative solo repertoire including Mozart, Concerto no. 4; Saint-Saëns, "Morceau de Concert"; Strauss, Concerto no. 1; Heiden, Sonata; Adler, Sonata; and Goedicke, Concerto.
PFMJ 23102French Horn II - Secondary Instrument (NLA)1
Technique including lip slurs covering two octaves and all major scales in broken thirds, fourths, and fifths. Transposition to E-flat, C, D, G, E, and A horn. Stopped horn technique. Representative études including Brahms, "10 Études"; Chaynes, "15 Études"; Bozza, "Improvisational Studies"; Bach, Cello Suites (bass clef); and orchestral excerpts from the standard repertoire. Representative solo repertoire including Mozart, Concerto no. 4; Saint-Saëns, "Morceau de Concert"; Strauss, Concerto no. 1; Heiden, Sonata; Adler, Sonata; and Goedicke, Concerto.
Tonal and technical development using Schlossberg, "Daily Drills"; and Clarke, "Technical Studies." All major and minor scales in diatonic patterns, double-tongued, and in thirds. Begin study of the C trumpet. Transposition from Caffarelli, "100 Studi Melodici"; contemporary rhythms from Gates, "Odd-Meter Études"; and Small, "27 Melodious and Rhythmical Studies"; other études from Balasanyan (Foveau), "20 Studies," and Gisondi, "Bach for the Trumpet." Orchestral studies from Vartold, vol. I and II, including memorization of standard solo passages. Solo repertoire including Barat, Andante et Scherzo; Gabaye, "Boutade"; Flor Peeters, Sonata; Purcell, Sonata; Gabrieli, Sonata V; and Stanley,
Tonal and technical development using Schlossberg, "Daily Drills"; and Clarke, "Technical Studies." All major and minor scales in diatonic patterns, double-tongued, and in thirds. Begin study of the C trumpet. Transposition from Caffarelli, "100 Studi Melodici"; contemporary rhythms from Gates, "Odd-Meter Études"; and Small, "27 Melodious and Rhythmical Studies"; other études from Balasanyan (Foveau), "20 Studies," and Gisondi, "Bach for the Trumpet." Orchestral studies from Vartold, vol. I and II, including memorization of standard solo passages. Solo repertoire including Barat, Andante et Scherzo; Gabaye, "Boutade"; Flor Peeters, Sonata; Purcell, Sonata; Gabrieli, Sonata V; and Stanley, Concerto.
PFMJ 23302Trumpet II - Secondary Instrument (NLA)1
Tonal and technical development using Schlossberg, "Daily Drills"; and Clarke, "Technical Studies." All major and minor scales in diatonic patterns, double-tongued, and in thirds. Begin study of the C trumpet. Transposition from Caffarelli, "100 Studi Melodici"; contemporary rhythms from Gates, "Odd-Meter Études"; and Small, "27 Melodious and Rhythmical Studies"; other études from Balasanyan (Foveau), "20 Studies," and Gisondi, "Bach for the Trumpet." Orchestral studies from Vartold, vol. I and II, including memorization of standard solo passages. Solo repertoire including Barat, Andante et Scherzo; Gabaye, "Boutade"; Flor Peeters, Sonata; Purcell, Sonata; Gabrieli, Sonata V; and Stanley, Concerto.
PFMJ 23500Tenor Trombone II - Music Majors (NLA)1-4
Continued concentration on sound development, plus expansion of range to instrument's full capabilities. Representative études for technique and reading skills include Smith, "Slide Exercises"; Rochut, "Melodious Études"; and Kahils, "Clef Studies." Solo repertoire includes Marcello, Bozza, Saint-Saëns, Dubois, Serocki, Davison, Jacob, Grondahl, Frackenpohl, and Larsson. (F,S)
Continued concentration on sound development, plus expansion of range to instrument's full capabilities. Representative études for technique and reading skills include Smith, "Slide Exercises"; Rochut, "Melodious Études"; and Kahils, "Clef Studies." Solo repertoire includes Marcello, Bozza, Saint-Saëns, Dubois, Serocki, Davison, Jacob, Grondahl, Frackenpohl, and Larsson.
PFMJ 23502Tenor Trombone II - Secondary Instrument (NLA)1
Continued concentration on sound development, plus expansion of range to instrument's full capabilities. Representative études for technique and reading skills include Smith, "Slide Exercises"; Rochut, "Melodious Études"; and Kahils, "Clef Studies." Solo repertoire includes Marcello, Bozza, Saint-Saëns, Dubois, Serocki, Davison, Jacob, Grondahl, Frackenpohl, and Larsson.
PFMJ 23700Bass Trombone II - Music Majors (NLA)1-4
Continued concentration on sound development, plus expansion of range to instrument's full capabilities. Representative études for technique and reading skills include Smith, "Slide Exercises"; Fink, "Studies in Legato"; and Blume-Fink, "Studies for Trombone with F Attachment." Solo repertoire includes Telemann, Defay, Wilder, and Lebedev. (F,S)
Continued concentration on sound development, plus expansion of range to instrument's full capabilities. Representative études for technique and reading skills include Smith, "Slide Exercises"; Fink, "Studies in Legato"; and Blume-Fink, "Studies for Trombone with F Attachment." Solo repertoire includes Telemann, Defay, Wilder, and Lebedev.
PFMJ 23702Bass Trombone II - Secondary Instrument (NLA)1
Continued concentration on sound development, plus expansion of range to instrument's full capabilities. Representative études for technique and reading skills include Smith, "Slide Exercises"; Fink, "Studies in Legato"; and Blume-Fink, "Studies for Trombone with F Attachment." Solo repertoire includes Telemann, Defay, Wilder, and Lebedev.
Technique including Schlossberg, "Daily Drills and Technical Studies"; Arban, "Method for Trombone"; scale interval, chord, double- and triple-tonguing studies. All major and minor scales and arpeggios from memory (two octaves) and Clarke, "Technical Studies" (Series II). Representative études including Arban, "Method for Trombone," characteristic studies; Kopprasch, "60 Selected Studies" (book 1); Rochut, "Melodious Études" (trombone, book 1); and Tyrell, "40 Advanced Studies for Trombone." Representative repertoire including Weber-Hock, "Fantasi"a; David, Concertino; Bellstedt, "Mandolinata"; Vidal, Concertino; Busch, Recitative, Arioso, and Polonaise; Gottwald, "Fantasie Héroïque," op. 25; plus selected band excerpts. (F,S)
Technique including Schlossberg, "Daily Drills and Technical Studies"; Arban, "Method for Trombone"; scale interval, chord, double- and triple-tonguing studies. All major and minor scales and arpeggios from memory (two octaves) and Clarke, "Technical Studies" (Series II). Representative études including Arban, "Method for Trombone," characteristic studies; Kopprasch, "60 Selected Studies" (book 1); Rochut, "Melodious Études" (trombone, book 1); and Tyrell, "40 Advanced Studies for Trombone." Representative repertoire including Weber-Hock, "Fantasi"a; David, Concertino; Bellstedt, "Mandolinata"; Vidal, Concertino; Busch, Recitative, Arioso, and Polonaise; Gottwald, "Fantasie Héroïque," op. 25; plus selected band excerpts.
PFMJ 23902Euphonium II - Secondary Instrument (NLA)1
Technique including Schlossberg, "Daily Drills and Technical Studies"; Arban, "Method for Trombone"; scale interval, chord, double- and triple-tonguing studies. All major and minor scales and arpeggios from memory (two octaves) and Clarke, "Technical Studies" (Series II). Representative études including Arban, "Method for Trombone," characteristic studies; Kopprasch, "60 Selected Studies" (book 1); Rochut, "Melodious Études" (trombone, book 1); and Tyrell, "40 Advanced Studies for Trombone." Representative repertoire including Weber-Hock, "Fantasi"a; David, Concertino; Bellstedt, "Mandolinata"; Vidal, Concertino; Busch, Recitative, Arioso, and Polonaise; Gottwald, "Fantasie Héroïque," op. 25; plus selected band excerpts.
Technique including W. Bell, "Tuba Warmups" (part 1); Schlossberg, "Daily Drills and Technical Studies for Trombone" (bass clef); Arban, "Method for Trombone" (scale, chord, and interval studies). All major and minor scales and arpeggios from memory (two octaves). Introduction to double- and triple-tonguing (Arban). Representative études including Cimera, "73 Advanced Tuba Studies"; Kopprasch, "60 Selected Studies" (book 1); Tyrell, "Advanced Studies for the BB-flat Tuba"; W. Bell, "Tuba Warmups" (book 2, "Blazevich Interpretations"); Eby, "BB-flat Bass Method" (part 1). Representative repertoire including Painpare, "Concert Piece"; Bach-Bell, "Air and Bourrée"; Troje-Miller, "Sonatina Classica"; Sabathhill, "Divertissement"; Hume, "Te Anau"; Spillman, "Two Songs"; plus selected band and orchestral excerpts. (F,S)
Technique including W. Bell, "Tuba Warmups" (part 1); Schlossberg, "Daily Drills and Technical Studies for Trombone" (bass clef); Arban, "Method for Trombone" (scale, chord, and interval studies). All major and minor scales and arpeggios from memory (two octaves). Introduction to double- and triple-tonguing (Arban). Representative études including Cimera, "73 Advanced Tuba Studies"; Kopprasch, "60 Selected Studies" (book 1); Tyrell, "Advanced Studies for the BB-flat Tuba"; W. Bell, "Tuba Warmups" (book 2, "Blazevich Interpretations"); Eby, "BB-flat Bass Method" (part 1). Representative repertoire including Painpare, "Concert Piece"; Bach-Bell, "Air and Bourrée"; Troje-Miller, "Sonatina Classica"; Sabathhill, "Divertissement"; Hume, "Te Anau"; Spillman, "Two Songs"; plus selected band and orchestral excerpts.
Technique including W. Bell, "Tuba Warmups" (part 1); Schlossberg, "Daily Drills and Technical Studies for Trombone" (bass clef); Arban, "Method for Trombone" (scale, chord, and interval studies). All major and minor scales and arpeggios from memory (two octaves). Introduction to double- and triple-tonguing (Arban). Representative études including Cimera, "73 Advanced Tuba Studies"; Kopprasch, "60 Selected Studies" (book 1); Tyrell, "Advanced Studies for the BB-flat Tuba"; W. Bell, "Tuba Warmups" (book 2, "Blazevich Interpretations"); Eby, "BB-flat Bass Method" (part 1). Representative repertoire including Painpare, "Concert Piece"; Bach-Bell, "Air and Bourrée"; Troje-Miller, "Sonatina Classica"; Sabathhill, "Divertissement"; Hume, "Te Anau"; Spillman, "Two Songs"; plus selected band and orchestral excerpts. 2026-2027 Catalog 529
The order and amount of study vary from student to student, depending on strengths and deficiencies upon matriculation. Variations also occur when a student, in consultation with the major teacher, decides to concentrate in one or more particular areas. An examination is conducted by the instructor at the end of each semester. This examination includes performance and sight-reading. Specific requirements are provided by the instructor.
PFMJ 24302Percussion II - Secondary Instrument (NLA)1
The order and amount of study vary from student to student, depending on strengths and deficiencies upon matriculation. Variations also occur when a student, in consultation with the major teacher, decides to concentrate in one or more particular areas. An examination is conducted by the instructor at the end of each semester. This examination includes performance and sight-reading. Specific requirements are provided by the instructor.
Continued private instruction in drum set. Technique expansion may include Stone and Reed Afro-Cuban variations, contemporary Plainfield style variations and solo concepts. Sight-reading techniques will be broadened. Variations may occur when a student, in consultation with the major teacher, decides to concentrate in one or more particular styles. (F,S)
Continued private instruction in drum set. Technique expansion may include Stone and Reed Afro-Cuban variations, contemporary Plainfield style variations and solo concepts. Sight-reading techniques will be broadened. Variations may occur when a student, in consultation with the major teacher, decides to concentrate in one or more particular styles.
More complex harmonic motion tune types; basic substitute chords and implied harmonies; continuation of technical devices; 9th chords; 11th chords; 13th chords; time feel; introduction of other styles, e.g., samba, mambo, 8th-note, 16th-note, "rock"; more tune repertoire; more line construction, transcribing; modal harmony.
PFMJ 26302Electric Bass II - Secondary Instrument (NLA)1
More complex harmonic motion tune types; basic substitute chords and implied harmonies; continuation of technical devices; 9th chords; 11th chords; 13th chords; time feel; introduction of other styles, e.g., samba, mambo, 8th-note, 16th-note, "rock"; more tune repertoire; more line construction, transcribing; modal harmony.
The development of artistic vocal musicianship through the study and performance of carefully selected and individualized vocal literature. The acquisition of a functional vocal technique through attention to posture, breathing, tonal onset, vowel purity, reduction of inhibitory physical tensions, body coordination, and a balanced registration. Appropriate vocalises constructed to meet the individual technical problems of the student. Upper-level studies focus on range extension, vocal flexibility, melismatic singing, and the "messa di voce."
Bach, "Trio Sonatas," Schübler and Leipzig chorales, and the Weimar preludes and fugues; Franck, Prelude, Fugue, and Variation; Mendelssohn sonatas; Hindemith sonatas; works by Messiaen and other contemporary composers. Advanced church music skills: improvisation, modulation, hymn reharmonization. Co-requisite: PFMJ 19900.
Bach, "Trio Sonatas," Schübler and Leipzig chorales, and the Weimar preludes and fugues; Franck, Prelude, Fugue, and Variation; Mendelssohn sonatas; Hindemith sonatas; works by Messiaen and other contemporary composers. Advanced church music skills: improvisation, modulation, hymn reharmonization.
Technical studies may include trill exercises, finger independence exercises, scales, and excerpts from various method books. Repertoire initially emphasizes 18th-century literature (e.g., simpler works of Bach, D. Scarlatti, and Rameau). Further study includes earlier keyboard literature and the concomitant techniques (fingering, ornamentation, etc.). Repertoire classes often include discussions of the various schools of harpsichord construction and the corresponding literature, as well as different aspects of performance practice. Co-requisite: PFMJ 19900.
PFMJ 30702Harpischord III - Secondary Instrument (NLA)1
Technical studies may include trill exercises, finger independence exercises, scales, and excerpts from various method books. Repertoire initially emphasizes 18th-century literature (e.g., simpler works of Bach, D. Scarlatti, and Rameau). Further study includes earlier keyboard literature and the concomitant techniques (fingering, ornamentation, etc.). Repertoire classes often include discussions of the various schools of harpsichord construction and the corresponding literature, as well as different aspects of performance practice.
Continuation of all previous technical work with the addition of harmonic octaves, thirds, and sixths. Representative études including Dancla, Dont, and Ricci. Representative repertoire including concerti by Mendelssohn, Wieniawski, Vieuxtemps, and Barber; solo sonatas and partitas by Bach; sonatas by Brahms, Ives, Tartini, Grieg, Fauré, and Beethoven; and pieces by Sarasate, Kreisler, Dvorák, and Vitali; and 20th-century works. (F,S)
PFMJ 30902Violin III - Secondary Instrument (NLA)1
Continuation of all previous technical work with the addition of harmonic octaves, thirds, and sixths. Representative études including Dancla, Dont, and Ricci. Representative repertoire including concerti by Mendelssohn, Wieniawski, Vieuxtemps, and Barber; solo sonatas and partitas by Bach; sonatas by Brahms, Ives, Tartini, Grieg, Fauré, and Beethoven; and pieces by Sarasate, Kreisler, Dvorák, and Vitali; and 20th-century works.
Continued study of scales, arpeggios, solid intervals as before, and fourths and fifths with various bowing. Representative études as before, and Kreutzer-Silva, "42 Études"; Piatti, "12 Caprices." Representative repertoire including Bach, Suites; sonatas of Breval, Boccherini, Francouer, Beethoven, Brahms, Barber, Debussy, Rachmaninoff; concerti of Schumann; Tchaikovsky, "Rococo Variations"; Bloch, "Schelomo." Performance of solo and cello ensemble repertoire. (F,S)
Continued study of scales, arpeggios, solid intervals as before, and fourths and fifths with various bowing. Representative études as before, and Kreutzer-Silva, "42 Études"; Piatti, "12 Caprices." Representative repertoire including Bach, Suites; sonatas of Breval, Boccherini, Francouer, Beethoven, Brahms, Barber, Debussy, Rachmaninoff; concerti of Schumann; Tchaikovsky, "Rococo Variations"; Bloch, "Schelomo." Performance of solo and cello ensemble repertoire.
Technique including all scales in two or three octaves with various rhythms and bowing patterns. Continued study of Simandl, "New Method for Double Bass," book 2; Bille, "New Method for Contrabass," part 2; Storch-Hrabe, "57 Études." Solo repertoire chosen from concerto repertoire of Koussevitzky, Vanhal, Cimador, and others. (F,S)
PFMJ 31502Double Bass III - Secondary Instrument (NLA)1
Technique including all scales in two or three octaves with various rhythms and bowing patterns. Continued study of Simandl, "New Method for Double Bass," book 2; Bille, "New Method for Contrabass," part 2; Storch-Hrabe, "57 Études." Solo repertoire chosen from concerto repertoire of Koussevitzky, Vanhal, Cimador, and others.
PFMJ 31702Classical Guitar III - Secondary Instrument (NLA)1
Instruction in reading lute and baroque guitar tablatures; transcription of literature for keyboard, violin, cello, etc.; Renaissance and baroque ornamentation and performance practice; reading of figured bass and continuo playing.
Technique: scales, modes, melodic minor scale and modes, arpeggios, chord vocabulary, picking, patterns, chord superimposition, chord melody playing, rhythm guitar, comping, and improvisation. Solo repertoire from 1900 to the present. Standards, jazz tunes, pop and rock tunes, etc. Emphasis is placed on style periods and idiomatic playing. Co-requisite: PFMJ 19900.
PFMJ 31902Jazz Guitar III - Secondary Instrument (NLA)1
Technique: scales, modes, melodic minor scale and modes, arpeggios, chord vocabulary, picking, patterns, chord superimposition, chord melody playing, rhythm guitar, comping, and improvisation. Solo repertoire from 1900 to the present. Standards, jazz tunes, pop and rock tunes, etc. Emphasis is placed on style periods and idiomatic playing. 2026-2027 Catalog 531
Technique continued as before, including long tones for endurance, and scales and triads in all keys and in all note values. Études from Ferling and the "Vade Mecum." Representative repertoire selected from the Mozart, Graun, Stamitz, Fischer, and Vivaldi concertos, and the Saint- Saëns, Hindemith, and Poulenc sonatas. (F,S)
Technique continued as before, including long tones for endurance, and scales and triads in all keys and in all note values. Études from Ferling and the "Vade Mecum." Representative repertoire selected from the Mozart, Graun, Stamitz, Fischer, and Vivaldi concertos, and the Saint- Saëns, Hindemith, and Poulenc sonatas.
Hamglin, "Scales and Exercises." Representative études including Cavallini, "Thirty Caprices"; Stark, "24 Studies in all Tonalities"; Jeanjean "16 Modern Études" and "18 Études"; Perier, "30 Études"; Uhl, "48 Études"; Voxman (ed.), "Classical Studies." Representative repertoire including Schubert, "The Shepherd on the Rock"; Milhaud, "Trio"; Stravinsky, "Three Pieces for Unaccompanied Clarinet"; Bozza, "Bucolique"; Bonade (ed.), "Orchestral Studies"; Spohr concerti; sonatas by Brahms and Poulenc; concertos by Hindemith and Mozart. (F,S)
PFMJ 32502Clarinet III - Secondary Instrument (NLA)1
Hamglin, "Scales and Exercises." Representative études including Cavallini, "Thirty Caprices"; Stark, "24 Studies in all Tonalities"; Jeanjean "16 Modern Études" and "18 Études"; Perier, "30 Études"; Uhl, "48 Études"; Voxman (ed.), "Classical Studies." Representative repertoire including Schubert, "The Shepherd on the Rock"; Milhaud, "Trio"; Stravinsky, "Three Pieces for Unaccompanied Clarinet"; Bozza, "Bucolique"; Bonade (ed.), "Orchestral Studies"; Spohr concerti; sonatas by Brahms and Poulenc; concertos by Hindemith and Mozart.
Technique including interval study in all major keys of thirds, fourths, fifths, sixths, and sevenths. Continuation of long tones, legato and staccato tonguing. Representative études including Milde, "Studies," book I; Jancoutt, "Studies"; Oubradous, "Method," no. 2; Piard, "Method," no. 2. Representative repertoire including Siennicki, "Ballade for Bassoon"; C. von Weber, Concerto in F; A. Stadio, "Orchestra Studies"; Hindemith, Sonata for Bassoon and Piano; Casarino, Sonata for Bassoon and Piano. (F,S)
PFMJ 32702Bassoon III - Secondary Instrument (NLA)1
Technique including interval study in all major keys of thirds, fourths, fifths, sixths, and sevenths. Continuation of long tones, legato and staccato tonguing. Representative études including Milde, "Studies," book I; Jancoutt, "Studies"; Oubradous, "Method," no. 2; Piard, "Method," no. 2. Representative repertoire including Siennicki, "Ballade for Bassoon"; C. von Weber, Concerto in F; A. Stadio, "Orchestra Studies"; Hindemith, Sonata for Bassoon and Piano; Casarino, Sonata for Bassoon and Piano.
Technique to include continuation of previous material, with emphasis placed on increasing technical facility. Representative études including G. Lacour, "28 Études on Modes of Messiaen"; E. Bozza, "12 Études and Caprices"; R. Caravan, "Paradigms"; G. Lacour, "8 Very Difficult Studies." Representative repertoire including W. Hartley, "Duo for Saxophone and Piano"; W. Benson, Concertino; R. Caravan, "Sketch"; K. Husa, "Élégie et Rondeau"; Milhaud, "Scaramouche"; R. Muczynski, Sonata; P. Bonneau, "Caprice en Forme de Valse"; and various chamber works. (F,S)
PFMJ 32902Saxophone III - Secondary Instrument (NLA)1
Technique to include continuation of previous material, with emphasis placed on increasing technical facility. Representative études including G. Lacour, "28 Études on Modes of Messiaen"; E. Bozza, "12 Études and Caprices"; R. Caravan, "Paradigms"; G. Lacour, "8 Very Difficult Studies." Representative repertoire including W. Hartley, "Duo for Saxophone and , Piano"; W. Benson, Concertino; R. Caravan, "Sketch"; K. Husa, "Élégie et Rondeau"; Milhaud, "Scaramouche"; R. Muczynski, Sonata; P. Bonneau, "Caprice en Forme de Valse"; and various chamber works.
Continuation of study from Schlossberg and Clarke. Use of the C, D, E- flat, and piccolo trumpet. Transposition from Sachse, "100 Studies." Études including Brandt, "34 Studies"; Bitsch, "20 Études"; and Longinotti, "Studies in Classical and Modern Style." Orchestral excerpts from vols. III, IV, and V, including memorization of standard passages. Solos required are Haydn, Concerto; Hartley, Sonatina; Kennan, Sonata; and Torelli, Concerto or Sinfonia con Tromba. (F,S)
PFMJ 33302Trumpet III - Secondary Instrument (NLA)1
Continuation of study from Schlossberg and Clarke. Use of the C, D, E- flat, and piccolo trumpet. Transposition from Sachse, "100 Studies." Études including Brandt, "34 Studies"; Bitsch, "20 Études"; and Longinotti, "Studies in Classical and Modern Style." Orchestral excerpts from vols. III, IV, and V, including memorization of standard passages. Solos required are Haydn, Concerto; Hartley, Sonatina; Kennan, Sonata; and Torelli, Concerto or Sinfonia con Tromba.
Review of fundamentals of sound, range, and intonation; introduction to unusual scale forms. Representative études for technique, reading skills, and musicianship include Rochut, "Melodious Études"; Masson, "Études"; and Bitsch, "Rhythmic Études." Solo repertoire includes Handel, Vivaldi, Ropartz, Stojowski, Sulek, Casterede, Monaco, White, Tomasi, and
PFMJ 33502Tenor Trombone III - Secondary Instrument (NLA)1
Review of fundamentals of sound, range, and intonation; introduction to unusual scale forms. Representative études for technique, reading skills, and musicianship include Rochut, "Melodious Études"; Masson, "Études"; and Bitsch, "Rhythmic Études." Solo repertoire includes Handel, Vivaldi, Ropartz, Stojowski, Sulek, Casterede, Monaco, White, Tomasi, and Wagenseil.
PFMJ 33700Bass Trombone III - Music Majors (NLA)1-4
Review of fundamentals of sound, range, and intonation; introduction to unusual scale forms. Representative études for technique, reading skills, and musicianship include Fink, "Studies in Legato"; Gillis, "20 Études"; and Ostrander, "Shifting Meter Studies." Solo repertoire includes Frescobaldi, Casterede, White, and McCarty. (F,S)
PFMJ 33702Bass Trombone III - Secondary Instrument (NLA)1
Review of fundamentals of sound, range, and intonation; introduction to unusual scale forms. Representative études for technique, reading skills, and musicianship include Fink, "Studies in Legato"; Gillis, "20 Études"; and Ostrander, "Shifting Meter Studies." Solo repertoire includes Frescobaldi, Casterede, White, and McCarty.
Technique including Schlossberg, "Daily Drills and Technical Studies"; Arban, "Method for Trombone"; scale, interval, chord, double- and triple- tonguing, and Grupetto studies. All major and minor scales and arpeggios from memory (three octaves). Clark, "Technical Studies" (Series III). Representative études including Arban, "Method for Trombone" and "12 Celebrated Fantasies and Variations"; Kopprasch, "60 Selected Studies" (book 2); Rochut, "Melodious Études" (book 2); St. Jerome, "Cornet Method," selected études. Representative repertoire including Bach-La Fosse, Cello Suites; Bitot, Impromptu; Reiche, Concert Piece no. 2; Hindemith, Sonata (trumpet); Rousseau, "Pièce Concertante"; plus selected band excerpts. (F,S)
PFMJ 33902Euphonium III - Secondary Instrument (NLA)1
Technique including Schlossberg, "Daily Drills and Technical Studies"; Arban, "Method for Trombone"; scale, interval, chord, double- and triple- tonguing, and Grupetto studies. All major and minor scales and arpeggios from memory (three octaves). Clark, "Technical Studies" (Series III). Representative études including Arban, "Method for Trombone" and "12 Celebrated Fantasies and Variations"; Kopprasch, "60 Selected Studies" (book 2); Rochut, "Melodious Études" (book 2); St. Jerome, "Cornet Method," selected études. Representative repertoire including Bach-La Fosse, Cello Suites; Bitot, Impromptu; Reiche, Concert Piece no. 2; Hindemith, Sonata (trumpet); Rousseau, "Pièce Concertante"; plus selected band excerpts.
Technique including W. Bell, "Tuba Warmups" (part 2); Schlossberg, "Daily Drills and Technical Studies for Trombone" (bass clef); Arban, "Method for Trombone"; scale, chord, interval, double- and triple-tonguing studies, and three-octave scales and arpeggios; H. L. Clarke, "Technical Studies" (Series II, cornet). Representative études including Arban, "Method for Trombone," characteristic studies; Kopprasch, "60 Selected Studies" (trombone, book 2); Rochut, "Melodious Études" (trombone, book 1); Tyrell, "Advanced Studies for the BB-flat Tuba"; W. Bell, "Tuba Warmups," book 2 ("Blazevich Interpretations"); and Eby, "BB-flat Bass Method," part 1. Representative repertoire including Painpare, "Concert Piece"; Bach-Bell, Air and Bourrée; Troje-Miller, "Sonatina Classic"a; Sabathhill, Divertissement; Hume, "Te Anau"; Spillman, "Two Songs"; plus selected band and orchestral excerpts. (F,S)
Technique including W. Bell, "Tuba Warmups" (part 2); Schlossberg, "Daily Drills and Technical Studies for Trombone" (bass clef); Arban, "Method for Trombone"; scale, chord, interval, double- and triple-tonguing studies, and three-octave scales and arpeggios; H. L. Clarke, "Technical Studies" (Series II, cornet). Representative études including Arban, "Method for Trombone," characteristic studies; Kopprasch, "60 Selected Studies" (trombone, book 2); Rochut, "Melodious Études" (trombone, book 1); Tyrell, "Advanced Studies for the BB-flat Tuba"; W. Bell, "Tuba Warmups," book 2 ("Blazevich Interpretations"); and Eby, "BB-flat Bass Method," part 1. Representative repertoire including Painpare, "Concert Piece"; Bach-Bell, Air and Bourrée; Troje-Miller, "Sonatina Classic"; Sabathhill, Divertissement; Hume, "Te Anau"; Spillman, "Two Songs"; plus selected band and orchestral excerpts. 2026-2027 Catalog 533
PFMJ 34302Percussion III - Secondary Instrument (NLA)1
The order and amount of study vary from student to student, depending on strengths and deficiencies upon matriculation. Variations also occur when a student, in consultation with the major teacher, decides to concentrate in one or more particular areas. An examination is conducted by the instructor at the end of each semester. This examination includes performance and sight-reading. Specific requirements are provided by the instructor.
Continued private instruction in drum set with emphasis on style fluency. Focus on large ensemble performance practices. Engagement of transcription and execution technique. Repertoire may include Reed asymmetrical technical studies and Garibaldi linear concepts. Variations may occur when a student, in consultation with the major teacher, decides to concentrate in one or more particular styles. (F,S)
PFMJ 36300Electric Bass III - Music Majors (NLA)1-4
Soloing; modes and altered scales for improvisation; more advanced substitute chord changes; blues progressions and altered chord changes; longer duration chord changes; patterns and arpeggios; harmonic cycles; standard introduction and endings. Co-requisite: PFMJ 19900.
PFMJ 36302Electric Bass III - Secondary Instrument (NLA)1
Soloing; modes and altered scales for improvisation; more advanced substitute chord changes; blues progressions and altered chord changes; longer duration chord changes; patterns and arpeggios; harmonic cycles; standard introduction and endings.
Bach, larger preludes and fugues, such as BWV 548 and 582; Franck, Chorales; 19th- and 20th-century virtuoso works by Vierne, Widor, Reger, Dupré, Reubke, Messiaen, etc. Co-requisite: PFMJ 19900.
Technical studies may include trill exercises, finger independence exercises, scales, and excerpts from various method books. Repertoire initially emphasizes 18th-century literature (e.g., simpler works of Bach, D. Scarlatti, and Rameau). Further study includes earlier keyboard literature and the concomitant techniques (fingering, ornamentation, etc.). Repertoire classes often include discussions of the various schools of harpsichord construction and the corresponding literature, as well as different aspects of performance practice. Co-requisite: PFMJ 19900.
Continuation of all previous technical work. Representative études including Rode, "Caprices"; Gavinies, "Studies"; Paganini, op. 14 and the "24 Caprices." Representative repertoire including concerti by Saint- Saëns, Khachaturian, Tchaikovsky, Sibelius, Vivaldi ("Four Seasons"), and Prokofiev; solo sonatas and partitas by Bach; sonatas by Franck, Copland, Brahms, and Debussy; pieces by Bloch, Vaughan Williams, Stravinsky, and other 20th-century works. (F,S)
Continued study of scales, etc., as above; Bazelaire arpeggios. Representative études including the above and Paganini-Siloa, "12 Caprices," and virtuosic solo pieces. Representative repertoire including suites; sonatas by Bach, Reger, Bloch; concerti by Locatelli, Bach, Beethoven, Brahms, Kodály, Shostakovich; Haydn; Dvorak (from list above); 20th-century pieces. Performance of solo and cello ensemble repertoire. (F,S)
Technique including all scales and arpeggios with bowings and rhythms. Études from all sources previously studied. Solo repertoire from any source including the Cello Suites of Bach, and works from all periods including the 20th century. (F,S)
Technique: scales, modes, melodic minor scale and modes, arpeggios, chord vocabulary, picking, patterns, chord superimposition, chord melody playing, rhythm guitar, comping, and improvisation. Solo repertoire from 1900 to the present. Standards, jazz tunes, pop and rock tunes, etc. Emphasis is placed on style periods and idiomatic playing. Co-requisite: PFMJ 19900.
Technique continues as before. Études selected from Rothwell, Belinsky and deLancie's "Orchestra Studies," and G. Gillet's "Advanced Études." Representative repertoire selected from Bach and Telemann cantatas; Mozart, Oboe Quartet K. 370; Vaughan Williams, Concerto; Ibert, "Symphonie Concertante"; Riccardo Malipiero, Sonata; Britten, "Quartet and Metamorphoses." (F,S)
Concentrated review of every aspect of performance. Representative études including Stark, "24 Grand Virtuoso Studies"; Perier, "Recueil de Sonates"; Starlit, "25 Études de Virtuosité." Representative repertoire includes orchestral studies of Bonade, McGinnis, and Cailliet; Debussy, "Rhapsodie"; Ravel, "Fantasie"; Bartók, "Contrasts"; quintets by Mozart and Brahms; concertos by Copland, Tomasi, and Nielsen. (F,S)
Technique including all scales (100 mm). Continued study of all basic material. Representative études including Milde, "Studies," book 2; Paird, "Method," no. 3; Oubradous, "Method," no. 3. Representative repertoire including Mozart, Bassoon Concerto in B; V. Bruns, Concerto for Bassoon; Etler, Sonata for Bassoon and Piano; Villa-Lobos, "Ciranda das Sete Notas"; symphonies of Beethoven, Brahms, and Tchaikovsky; and "Studio" book. (F,S)
Continued emphasis is placed on technical facility in various keys and modes. Continued study of extended techniques such as multiphonics, altissimo, timbre changes, tonguing effects. Representative repertoire including concertos by Creston, Dahl, Husa, and Tomasi; sonatas by DiPasquale, Denisov, and others; L. Basset, "Music for Saxophone and Piano"; J. Ibert, "Concertino da Camera"; and various chamber works. (F,S)
Continued technique of previous years, the study of the 18th- and early 19th-century hand-horn technique. Representative études including Maxime-Alphonse, book 5; Barboteu, "Études Concertantes"; Reynolds, "48 Études" (18, 20, 21, 23, 28, 30, 35, 41). Orchestral excerpts from contemporary repertoire. Representative repertoire including Brahms, Trio; Porter, Sonata; Atterberg, Concerto; Glière, Concerto; Hindemith, Sonata for Alto Horn; Jacob, Concerto; and Schumann, Adagio and
Summary of tonal and technical development. Pettit, "La Semaine du Virtuoso"; Nagel, "Speed Studies"; études from Chartlier, "36 Études Transcendantes," and Broiles, "Studies and Duets." Orchestral studies from volumes VI and VII; tone poems of Strauss (Rossbach) and operas of Wagner (Hoechne); and Pietzsch, "Die Trompete." Solo repertoire includes the Chaynes or Tomasi concertos; Corelli, Concerto in D; Hummel, Concerto; and Hindemith, Sonata. Graduate should be capable of a shared recital. (F,S)
PFMJ 43500Tenor Trombone IV - Music Majors (NLA)1-4
Concentrated study of Bach's Cello Suites as études for musical development; coaching of traditional orchestral excerpts. Introduction to less traditional solo repertoire by Berio, Bernstein, Bassett, Druckman, Cox, Eakin, Krol, Loetsier, and Schiffman. Preparation of a senior recital must include a major work, such as Hindemith, Krol, or Dutilleux. (F,S)
PFMJ 43700Bass Trombone IV - Music Majors (NLA)1-4
Concentrated study of Bach's Cello Suites as études for musical development; coaching of traditional orchestral excerpts. Introduction to less traditional solo repertoire by Hartley, Ross, and Muller. Preparation o a senior recital must include a major work, such as the George Concerto. (F,S)
Technique including Schlossberg, Daily Drills and Technical Studies; Arban, Method for Trombone (continued technical materials); St. Jacome, Cornet Method, velocity and other studies. Continuation of all scales and arpeggios, articulations, including double- and triple- tongue. Representative études including St. Jacome, Cornet Method, selected études; Smith, Top Tones for the Trumpeter; Charlier, 36 Études Transcendantes (trumpet); Rochut, Melodious Études (trombone, book 3). Representative repertoire including Boccalari, Fantasia di Concerto; Fitzgerald, Concerto in A-flat Minor; Sowerby, Sonata for Trumpet; Strauss, Concerto for Horn; Bozza, Prelude et Allegro; Baret, Morceau de Concours; plus selected band excerpts. (F,S)
Technique including W. Bell, "Tuba Warmups" (part 2); Blazevich, "Advanced Daily Drills"; continued use of Arban materials. Continuation of all scales and arpeggios from memory, all articulations, including double- and triple-tongue. H. L. Clarke, "Technical Studies" (Series II, cornet). Representative études including Smith, "Top Tunes for the Trumpeter"; Charlier, "6 Études Transcendantes" (trumpet); Saint-Jacome, "Twelve Grand Artistic Studies" (cornet); Rochut, "Melodious Études" (book 3, trombone); Blazevich, "70 Études for BB-flat Tuba." Representative repertoire including Le Clercq, Concertino; Boccalari, "Fantasia di Concerto"; Hindemith, Sonata; Williams, Concerto; Levedev, Concerto Allegro; Brandt, "Erstes Konzertstück" (cornet); plus selected band and orchestral excerpts. (F,S)
times 1 semester) MUEN xxxxx Any 7 credits of Music Ensemble on primary instrument determined by private instructor and conductors Choral Ensemble Any choral ensemble
Continued private instruction in drum set with emphasis on style and fluency. Focus on small ensemble performance practices. Processes will include additional transcription studies. May include continued asymmetrical technical studies in Reed and linear playing in Garibaldi. Variations may occur when a student, in consultation with the major teacher, decides to concentrate in one or more particular styles. (F,S)
Private instruction in accompanying. Representative repertoire includes duo sonata literature, French and English art song, German lieder, operatic arias and short scenes, instrumental concerto accompaniment, and 20th-century French literature for brass and woodwinds. Student collaborates with instrumentalists and vocalists from other studios as assigned. This course fulfills the major ensemble requirement for piano performance-collaborative emphasis majors. Course meets one hour per week. Prerequisites: MUEN11700, MUEN11800, MUEN21700, MUEN21800, MUEN41700, and MUEN41800; piano performance- collaborative emphasis major. (F-S,Y) f PFMJ 45100 Voice V - Music Majors (NLA) The development of artistic vocal musicianship through the study and performance of carefully selected and individualized vocal literature. The acquisition of a functional vocal technique through attention to posture, breathing, tonal onset, vowel purity, reduction of inhibitory physical tensions, body coordination, and a balanced registration. Appropriate vocalises constructed to meet the individual technical problems of the student. Upper-level studies focus on range extension, vocal flexibility, melismatic singing, and the "messa di voce." Co-requisite: PFMJ 19900.
The development of artistic vocal musicianship through the study and performance of carefully selected and individualized vocal literature. The acquisition of a functional vocal technique through attention to posture, breathing, tonal onset, vowel purity, reduction of inhibitory physical tensions, body coordination, and a balanced registration. Appropriate vocalises constructed to meet the individual technical problems of the student. Upper-level studies focus on range extension, vocal flexibility, melismatic singing, and the "messa di voce." Co-requisite: PFMJ 19900.
Repertoire is chosen by the instructor as appropriate for the technical abilities, stylistic awareness, and musical growth of the individual student. Variable Credit. Co-requisite: PFMJ 19900.
Technical studies may include trill exercises, finger independence exercises, scales, and excerpts from various method books. Repertoire initially emphasizes 18th-century literature (e.g., simpler works of Bach, D. Scarlatti, and Rameau). Further study includes earlier keyboard literature and the concomitant techniques (fingering, ornamentation, etc.). Repertoire classes often include discussions of the various schools of harpsichord construction and the corresponding literature, as well as different aspects of performance practice. Co-requisite: PFMJ 19900.
Continuation of all previous technical work. Representative études including Rode, "Caprices"; Gavinies, "Studies"; Paganini, op. 14 and the "24 Caprices." Representative repertoire including concerti by Saint- Saëns, Khachaturian, Tchaikovsky, Sibelius, Vivaldi ("Four Seasons"), and Prokofiev; solo sonatas and partitas by Bach; sonatas by Franck, Copland, Brahms, and Debussy; pieces by Bloch, Vaughan Williams, Stravinsky, and other 20th-century works. Co-requisite: PFMJ 19900.
Continued study of scales, etc., as above; Bazelaire arpeggios. Representative études including the above and Paganini-Siloa, "12 Caprices," and virtuosic solo pieces. Representative repertoire including suites; sonatas by Bach, Reger, Bloch; concerti by Locatelli, Bach, Beethoven, Brahms, Kodály, Shostakovich; Haydn; Dvorak (from list above); 20th-century pieces. Performance of solo and cello ensemble repertoire. Co-requisite: PFMJ 19900. (F-S)
Technique including all scales and arpeggios with bowings and rhythms. Études from all sources previously studied. Solo repertoire from any source including the Cello Suites of Bach, and works from all periods including the 20th century. Co-requisite: PFMJ 19900.
PFMJ 46700Classical Guitar V - Music Majors (NLA)1-4
Instruction in reading lute and baroque guitar tablatures; transcription of literature for keyboard, violin, cello, etc.; Renaissance and baroque ornamentation and performance practice; reading of figured bass and continuo playing. Co-requisite: PFMJ 19900.
Technique: scales, modes, melodic minor scale and modes, arpeggios, chord vocabulary, picking, patterns, chord superimposition, chord melody playing, rhythm guitar, comping, and improvisation. Solo repertoire from 1900 to the present. Standards, jazz tunes, pop and rock tunes, etc. Emphasis is placed on style periods and idiomatic playing. Co-requisite: PFMJ 19900.
Concentrated review of every aspect of performance. Representative études including Stark, "24 Grand Virtuoso Studies"; Perier, "Recueil de Sonates"; Starlit, "25 Études de Virtuosité." Representative repertoire includes orchestral studies of Bonade, McGinnis, and Cailliet; Debussy, "Rhapsodie"; Ravel, "Fantasie"; Bartók, "Contrasts"; quintets by Mozart and Brahms; concertos by Copland, Tomasi, and Nielsen. Co-requisite:
Technique including all scales (100 mm). Continued study of all basic material. Representative études including Milde, "Studies," book 2; Paird, "Method," no. 3; Oubradous, "Method," no. 3. Representative repertoire including Mozart, Bassoon Concerto in B; V. Bruns, Concerto for Bassoon; Etler, Sonata for Bassoon and Piano; Villa-Lobos, "Ciranda das Sete Notas"; symphonies of Beethoven, Brahms, and Tchaikovsky; and "Studio" book. Co-requisite: PFMJ 19900. (F-S)
Continued emphasis is placed on technical facility in various keys and modes. Continued study of extended techniques such as multiphonics, altissimo, timbre changes, tonguing effects. Representative repertoire including concertos by Creston, Dahl, Husa, and Tomasi; sonatas by DiPasquale, Denisov, and others; L. Basset, "Music for Saxophone and Piano"; J. Ibert, "Concertino da Camera"; and various chamber works. Co-
Continued technique of previous years, the study of the 18th- and early 19th-century hand-horn technique. Representative études including Maxime-Alphonse, book 5; Barboteu, "Études Concertantes"; Reynolds, "48 Études" (18, 20, 21, 23, 28, 30, 35, 41). Orchestral excerpts from contemporary repertoire. Representative repertoire including Brahms, Trio; Porter, Sonata; Atterberg, Concerto; Glière, Concerto; Hindemith, Sonata for Alto Horn; Jacob, Concerto; and Schumann, Adagio and Allegro. Co-requisite: PFMJ 19900. (F-S)
Summary of tonal and technical development. Pettit, "La Semaine du Virtuoso"; Nagel, "Speed Studies"; études from Chartlier, "36 Études Transcendantes," and Broiles, "Studies and Duets." Orchestral studies from volumes VI and VII; tone poems of Strauss (Rossbach) and operas of Wagner (Hoechne); and Pietzsch, "Die Trompete." Solo repertoire includes the Chaynes or Tomasi concertos; Corelli, Concerto in D; Hummel, Concerto; and Hindemith, Sonata. Graduate should be capable of a shared recital. Co-requisite: PFMJ 19900. (F-S)
PFMJ 48500Tenor Trombone V - Music Majors (NLA)1-4
Concentrated study of Bach's Cello Suites as études for musical development; coaching of traditional orchestral excerpts. Introduction to less traditional solo repertoire by Berio, Bernstein, Bassett, Druckman, Cox, Eakin, Krol, Loetsier, and Schiffman. Preparation of a senior recital must include a major work, such as Hindemith, Krol, or Dutilleux. Co-
Concentrated study of Bach's Cello Suites as études for musical development; coaching of traditional orchestral excerpts. Introduction to less traditional solo repertoire by Hartley, Ross, and Muller. Preparation of a senior recital must include a major work, such as the "George" Concerto. Co-requisite: PFMJ 19900.
Technique including Schlossberg, "Daily Drills and Technical Studies"; Arban, "Method for Trombone" (continued technical materials); St. Jacome, "Cornet Method," velocity and other studies. Continuation of all scales and arpeggios, articulations, including double- and triple-tongue. Representative études including St. Jacome, "Cornet Method," selected études; Smith, "Top Tones for the Trumpeter"; Charlier, "36 Études Transcendantes" (trumpet); Rochut, "Melodious Études" (trombone, book 3). Representative repertoire including Boccalari, "Fantasia di Concerto"; Fitzgerald, Concerto in A-flat Minor; Sowerby, Sonata for Trumpet; Strauss, Concerto for Horn; Bozza, "Prelude et Allegro"; Baret, "Morceau de Concours"; plus selected band excerpts. Co-requisite: PFMJ 19900. (F-
Technique including W. Bell, "Tuba Warmups" (part 2); Blazevich, "Advanced Daily Drills"; continued use of Arban materials. Continuation of all scales and arpeggios from memory, all articulations, including double- and triple-tongue. H. L. Clarke, "Technical Studies" (Series II, cornet). Representative études including Smith, "Top Tunes for the Trumpeter"; Charlier, "6 Études Transcendantes" (trumpet); Saint-Jacome, "Twelve Grand Artistic Studies" (cornet); Rochut, "Melodious Études" (book 3, trombone); Blazevich, "70 Études for BB-flat Tuba." Representative repertoire including Le Clercq, Concertino; Boccalari, "Fantasia di Concerto"; Hindemith, Sonata; Williams, Concerto; Levedev, Concerto Allegro; Brandt, "Erstes Konzertstück" (cornet); plus selected band and orchestral excerpts. Co-requisite: PFMJ 19900. (F-S)
The order and amount of study vary from student to student, depending on strengths and deficiencies upon matriculation. Variations also occur when a student, in consultation with the major teacher, decides to concentrate in one or more particular areas. An examination is conducted by the instructor at the end of each semester. This examination includes performance and sight-reading. Specific requirements are provided by the instructor. Co-requisite: PFMJ 19900.
Soloing; modes and altered scales for improvisation; more advanced substitute chord changes; blues progressions and altered chord changes; longer duration chord changes; patterns and arpeggios; harmonic cycles; standard introduction and endings. Co-requisite: PFMJ 19900.
Intensive study of advanced performance technique, interpretation, and literature representing all appropriate musical style periods. 1 or 2 credits, through permission of the graduate chair in music. 1-2 Credits
Intensive study of advanced performance technique, interpretation, and literature representing all appropriate musical style periods. 1 or 2 credits, through permission of the graduate chair in music. 1-2 Credits
Intensive study of advanced performance technique, interpretation, and literature representing all appropriate musical style periods. 1 or 2 credits, through permission of the graduate chair in music. 1-2 Credits
Intensive study of advanced performance technique, interpretation, and literature representing all appropriate musical style periods. 1 or 2 credits, through permission of the graduate chair in music. 1-2 Credits
Intensive study of advanced performance technique, interpretation, and literature representing all appropriate musical style periods. 1 or 2 credits, through permission of the graduate chair in music. 1-2 Credits
Intensive study of advanced performance technique, interpretation, and literature representing all appropriate musical style periods. 1 or 2 credits, through permission of the graduate chair in music. 1-2 Credits
Intensive study of advanced performance technique, interpretation, and literature representing all appropriate musical style periods. 1 or 2 credits, through permission of the graduate chair in music. 1-2 Credits
Intensive study of advanced performance technique, interpretation, and literature representing all appropriate musical style periods. 1 or 2 credits, through permission of the graduate chair in music. 1-2 Credits
Intensive study of advanced performance technique, interpretation, and literature representing all appropriate musical style periods. 1 or 2 credits, through permission of the graduate chair in music. 1-2 Credits
Intensive study of advanced performance technique, interpretation, and literature representing all appropriate musical style periods. 1 or 2 credits, through permission of the graduate chair in music. 1-2 Credits
Intensive study of advanced performance technique, interpretation, and literature representing all appropriate musical style periods. 1 or 2 credits, through permission of the graduate chair in music. 1-2 Credits
Intensive study of advanced performance technique, interpretation, and literature representing all appropriate musical style periods. 1 or 2 credits, through permission of the graduate chair in music. 1-2 Credits
Intensive study of advanced performance technique, interpretation, and literature representing all appropriate musical style periods. 1 or 2 credits, through permission of the graduate chair in music. 1-2 Credits
Intensive study of advanced performance technique, interpretation, and literature representing all appropriate musical style periods. 1 or 2 credits, through permission of the graduate chair in music. 1-2 Credits
Intensive study of advanced performance technique, interpretation, and literature representing all appropriate musical style periods. 1 or 2 credits, through permission of the graduate chair in music. 1-2 Credits
Intensive study of advanced performance technique, interpretation, and literature representing all appropriate musical style periods. 1 or 2 credits, through permission of the graduate chair in music. 1-2 Credits
Intensive study of advanced performance technique, interpretation, and literature representing all appropriate musical style periods. 1 or 2 credits, through permission of the graduate chair in music. 1-2 Credits
Intensive study of advanced performance technique, interpretation, and literature representing all appropriate musical style periods. 1 or 2 credits, through permission of the graduate chair in music. 1-2 Credits
Intensive study of advanced performance technique, interpretation, and literature representing all appropriate musical style periods. 1 or 2 credits, through permission of the graduate chair in music. 1-2 Credits
Intensive study of advanced performance technique, interpretation, and literature representing all appropriate musical style periods. 1 or 2 credits, through permission of the graduate chair in music. 1-2 Credits
Intensive study of advanced performance technique, interpretation, and literature representing all appropriate musical style periods. 1 or 2 credits, conducting majors only, except by permission of the graduate chair in music. 1-2 Credits
Intensive study of advanced performance techniques, interpretations and literature representing all appropriate musical style periods. 1 or 2 credits, through permission of the graduate chair in music. 1-2 credits. (F,S) 1,2 Credit
