Performance Standards by Instrument

Four Year Progression for Bassoon

Freshman Fall Semester:
One movement of solo literature from list A
4-6 Technical studies from list A
All major scales one octave with arpeggio 

Freshman Spring Semester
One movement of solo literature from list A
4-6 technical studies from list A
Major scales 2 octaves through 3flats and sharps
All natural minor scales – one octave 

Sophomore Fall Semester
2 movements of solo literature from list B
4-6 technical studies from list A or B
Major scales 2 octaves all
All natural and harmonic minors -  one octave 

Sophomore Spring Semester
2 movements of solo literature from list B
4-6 technical studies from list A or B
Major scales – expand to full range through 3 flats/sharps
All natural, harmonic, melodic minor scales one octave 

Junior Fall Semester
3 movements solo literature from list B or C
4 technical studies from list B or C
All major scales full range
All minors 2 octaves
Major scales in thirds – one octave 

Junior Spring Semester
3 movements solo literature from list B or C
4 technical studies from list B or C
All major scales full range
All minors 2 octaves
Major scales in thirds – two octave 

Senior Fall and Spring Semesters
Recital repertoire from list B or C or comparable level of literature
Technical studies as relating to solo literature 

Suggested Solo and Technical Literature

Solo literature selected should include representative works of  the major style periods  by the students final semester. 

A - Solo Literature                                        A - Technical Literature
Eccles Sonata                                                  Kopprasch 60 Studies
Galliard Sonatas                                               Rubank Advanced Method    
Merci Sonatas                                                  Weissenborn 50  Advanced Studies
Gliere Humoresque and Impromptu                   Slama 66 Studies
Milde - Character Pieces                            
Telemann Sonata in F
Weissenborn - Character Pieces 

B - Solo Literature                                         B - Technical Literature
JC Bach Concertos                                          Gambaro 18 Studies
Berwald Concert Piece                                     Milde Concert Studies Vol I
Boismortier Sonatas                                          Milde 25 Studies in Scales
David Concertino                                             Orefici 20 Melodic Studies
Elgar Romance                                                 Oubradous Scales and Daily Studies
Fasch Sonata in C                                            Rode 15 Caprices
Hindemith Sonata
Gordon Jacob  Four Sketches
Kozeluh Concerto in C
Larsen Jazz Variations
Mozart Bassoon Concerto
Osboren Rhapsody
Pierne Concert Piece
Vivaldi Concerti or Sonatas
Weber Concerto, Andante and Rondo 

C - Solo Literature                                         C - Technical Literature
Bozza - Recit, Sicilienne                                    Giampiere 16 Daily Studies
Bruns - Concertos                                            Milde Concert Studies Vol II
Dard Sonata                                                     Piard Etudes Vol I and II
Etler Sonata                        
Hummel Concerto
Gordon Jacob Concerto
Persichetti Parable
St Saens Sonata
Tansman Sonatine

Four Year Progression for Cello 

MUAP 1100-3100 
(B.M.E., B.M.T., B.A.) 

Freshman 1 
Technique: 
Major scales and arpeggios one octave, to 2 sharps and 2 flats. 
Popper – 15 Easy Studies 
Deak – Modern Method for the Violoncello, Book 1 
Sample Repertoire: (Total approx. 6 minutes) 
Intermediate Bach for the Cello, ed. Krane 
Suzuki Books 2 and 3 

Freshman 2 
Technique: 
Major scales and arpeggios one or two octaves, to 3 sharps and flats. 
Deak – Modern Method for the Violoncello, Book 1 
Sample Repertoire: (Total approx. 6 minutes) 
Breval – Sonata in C Major 
Intermediate Bach for the Cello, ed. Krane 
Bazelaire – Suite Francaise 

Sophomore 1 
Technique: 
Major scales and arpeggios two octaves to 5 sharps and flats. 
Deak – Modern Method for the Violoncello, Book 1 
Mooney – Position Pieces for Cello, Book 1 
Dotzauer – Exercises for the Violoncello, Book 2 
Sample Repertoire: (Total approx. 8 minutes) 
Bazelaire – Suite Francaise 
Squire -- Bouree 
Squire -- Danse Rustique 
Romberg – Sonata in e 

Sophomore 2 
Technique: 
All major scales and arpeggios two octaves. 
Deak – Modern Method for the Violoncello, Book 1 
Mooney – Position Pieces for Cello, Book 1 
Dotzauer, Exercises for the Violoncello, Book 2 
Sample Repertoire: (Total approx. 10 minutes) 
Bach – Suite No. 1 in G Major 
Popper – Happy Recollections

Junior 1 
Technique: 
Major scales and arpeggios, two or three octaves. 
Minor scales and arpeggios, two octaves to 2 sharps and flats. 
Deak – Modern Method for the Violoncello, Book 1 or 2 
Mooney – Position Pieces for Cello, Book 2 
Sample Repertoire: (Total approx. 12 minutes) 
Bazelaire – Second Concertino 
Vivaldi – Sonatas 
L. Mendelssohn – Student Concerto 
Bach – Suites No. 1 in G, 2 in d, 3 in C 

Junior 2 
Technique: 
All major scales and arpeggios to three octaves. 
Minor scales and arpeggios two or three octaves, to 3 sharps and flats. 
Deak – Modern Method for the Violoncello, Book 2 
Mooney – Position Pieces for Cello, Book 2 
Merk – 20 Studies, Op. 11 
Sample Repertoire: (Total approx. 12 minutes) 
Bach Suites No. 1, 2, and 3 
St. Saens – The Swan 
Squire – Tarantella 
Faure – Sicilienne 

Senior 1 
Technique: 
All major scales and arpeggios to three octaves.. 
Minor scales and arpeggios two or three octaves, to 4 sharps and flats. 
Deak – Modern Method for the Violoncello, Book 2 
Mooney – Position Pieces for Cello, Book 2 or Thumb Position for Cello, Book 1 
Merk – 20 Studies, Op. 11 
Sample Repertoire: (Total approx. 15 minutes) 
St. Saens – Allegro Appassionato 
Bach-Piatigorsky – Concerto in G 

Senior 2 
Technique: 
All major scales and arpeggios, three or four octaves. 
Minor scales and arpeggios three octaves, to 5 sharps and flats. 
Deak – Modern Method for the Violoncello, Book 2 
Mooney – Position Pieces for Cello, Book 2 or Thumb Position for Cello, Book 1 
Sample Repertoire: (Total approx. 15 minutes) 
Bruch – Kol Nidrei 
Faure – Elegy 
Popper – Gavotte 
JC Bach – Concerto in c minor 

APPLIED STUDIES 
CELLO 

MUAP 1200 – 3200 (BA) 

Freshman 1 
Technique: 
Major scales and arpeggios, two or three octaves. 
Minor scales and arpeggios, two octaves to 2 sharps and flats. 
Deak – Modern Method for the Violoncello, Book 1 or 2 
Mooney – Position Pieces for Cello, Book 2 
Sample Repertoire: (Total approx. 10 minutes) 
Bazelaire – Second Concertino 
Vivaldi – Sonatas 
L. Mendelssohn – Student Concerto 
Bach – Suites No. 1 in G, 2 in d, 3 in C 

Freshman 2 
Technique: 
All major scales and arpeggios to three octaves. 
Minor scales and arpeggios two or three octaves, to 3 sharps and flats. 
Deak – Modern Method for the Violoncello, Book 2 
Mooney – Position Pieces for Cello, Book 2 
Merk – 20 Studies, Op. 11 
Sample Repertoire; (Total approx. 10 minutes) 
Bach Suites No. 1, 2, and 3 
St. Saens – The Swan 
Squire – Tarantella 
Faure – Sicilienne 

Sophomore 1 
Technique: 
All major scales and arpeggios to three octaves.. 
Minor scales and arpeggios two or three octaves, to 4 sharps and flats. 
Deak – Modern Method for the Violoncello, Book 2 
Mooney – Position Pieces for Cello, Book 2 or Thumb Position for Cello, Book 1 
Merk – 20 Studies, Op. 11 
Sample Repertoire: (Total approx. 15 minutes) 
St. Saens – Allegro Appassionato 
Bach-Piatigorsky – Concerto in G 

Sophomore 2 
Technique: 
All major scales and arpeggios, three or four octaves. 
Minor scales and arpeggios three octaves, to 5 sharps and flats. 
Deak – Modern Method for the Violoncello, Book 2 
Mooney – Position Pieces for Cello, Book 2 or Thumb Position for Cello, Book 1 
Sample Repertoire: (Total approx. 15 minutes) 
Faure – Elegy 
Popper – Gavotte 
JC Bach – Concerto in c minor 

Junior 1 
Technique: 
Major scales and arpeggios three or four octaves. 
Minor scales and arpeggios three or four octaves, to 5 sharps and flats. 
Deak – Modern Method for the Violoncello, Book 2 
Mooney – Thumb Position for Cello, Book 1 
Sample Repertoire: (Total approx. 20 minutes) 
Rachmaninoff – Vocalise 
Bach – Gamba Sonatas 1 and 2 
Sammartini – Sonata in G 

Junior 2 
Technique: 
All major and minor scales and arpeggios three or four octaves. 
Deak – Modern Method for the Violoncello, Book 2 
Mooney – Thumb Position for Cello, Book 1 
Franchomme – 12 Caprices, Op. 7 
Sample Repertoire: (Total approx. 20 minutes) 
Breval – Sonata in G 
Mendelssohn – Sonata in G 
Dvorak – Silent Woods 

Senior 1 
Technique: 
All major and minor scales and arpeggios, three or four octaves 
Deak – Modern Method for the Violoncello, Book 2 
Mooney – Thumb Position for Cello, Book 1 or 2 
Franchomme – 12 Caprices 
Sample Repertoire: (Total approx. 25 minutes) 
Haydn - Piatigorsky – Divertimento 
Bloch – Nigun 
Lalo – Concerto in d 

Senior 2 
Technique: 
All major and minor scales and arpeggios, three or four octaves. 
Mooney – Thumb Position for Cello, Book 2 
Popper – High School of Cello Playing 
Sample Repertoire: (Total approx. 30 minutes) 
Haydn – Concerto in C 
St. Saens – Concerto in a
Four Year Progression for Euphonium 
The Methods/Etudes and Solo sections of this document are lists from which the instructor and student can choose.   Note that there is some overlap of material between the years.   Etude books are often used over several years, and solos can be appropriate at more than one level.  Other material at the appropriate level can also be substituted by the instructor.  BA and BMT majors would be expected to work from 2-3 etude books each semester, as well as learn two movements from a solo, or a solo piece that has contrasting sections.  Performance majors would be expected to cover more ground in the etude books, and to learn an entire multi-movement work, or two contrasting solos each semester.      

* indicates repertoire most commonly used.  Euphonium players may also use the Trombone List. 

Freshman Year 

SCALES 
All major scales and arpeggios – 1 or 2 octaves (teacher's discretion) 
Chromatic scale – two or more octaves at teacher's discretion 

WARM-UPS 
Remington – Warm-ups 

ETUDES 
Arban – Complete Method for Trombone/Euphonium  (Alessi, Bowman)*
Beeler - Method for Baritone, Book 1 
Bordner - Second Book of Practical Studies (Trb.)* 
Bordogni/Rochut - Melodious Etudes Vol. 1 (Trb.)* 
Concone/Schumaker - Legato Etudes (Trb.)* 
Fink - Treble to Bass Clef Baritone (if needed) 
Hering – 40 Progressive Etudes, 32 Etudes 
Mead – Studies 
Tyrell - 40 Progressive Studies (Trb.)* 

SOLOS 
Barat - Introduction and Dance* 
Bordogni/Rochut - Melodious Etudes Vol. 1 (with piano) (Trb.) 
Cryder (arr.) - Three Vocalises (Trb.) 
Curnow – Rhapsody* 
DeLuca – Beautiful Colorado 
Gretry/Marteau – Ariette 
Hindemith - Drei Leichte Stucke (Cello) 
Hutchinson – Sonatina* 
Marcello/Merriman - Largo and Allegro, Sonata in F Major* 
Mozart/Voxman - Concert Aria 
Ropartz - Andante and Allegro (Trb.)* 
Schumann – Five Pieces in Folk Style* 
Telemann - Sonata in F minor (Trb.)* 
  
ORCHESTRAL/BAND EXCERPTS 
Holst – First Suite in Eb, Second Suite in F 

Sophomore Year 

SCALES 
All natural minor scales and arpeggios – 2 or 3 octaves (teacher's discretion) 
Chromatic scale – up to 3 octaves 

WARMUPS 
Clark – Technical Studies for Cornet 

ETUDES 
Arban – Complete Method for Trombone/Euphonium  (Alessi, Bowman)*
Beeler - Method for Baritone, Book 2 
Bordogni/Rochut - Melodious Etudes Vol. 1 (Trb.)* 
Blume - 36 Studies (Trb.)* 
Fink - Introducing Tenor Clef 
Kopprasch - 60 Etudes (Trb.)* 
Tyrell - 40 Progressive Studies (Trb.)* 

SOLOS 
Barat - Andante et Allegro (Trb.)* 
Barat - Morceau de Concours (Bb treble clef)* 
Bellstedt – Napoli* 
Busch - Recitative, Arioso, and Polonaise 
Clarke - Carnival of Venice, Bride of the Waves, From the Shores of the Mighty Pacific* 
Ewald – Romance* 
Gower - Three Short Pieces 
Guilmant - Morceau Symphonique (Trb.)* 
Haddad - Suite for Baritone* 
Handel/Little - Suite in A for Baritone 
Hartley - Two Pieces for Euphonium 
Israel - Dance Suite 
Presser - Sonatina 
Ross - Bagatelles 
Rousseau - Piece Concertante (Trb.) 

ORCHESTRAL/BAND EXCERPTS 
Vaughan Williams – Folk Song Suite 
Grainger – Lincolnshire Posy 
  
Junior Year   
   
SCALES 
Minor scales, all three forms – 2-3 octaves (teacher's discretion) 
Chromatic scale, full range of the instrument 

WARMUPS 
Clarke - Technical Studies for the Cornet 
Schlossberg - Daily Drills and Technical Studies for Trumpet 

ETUDES 
Arban – Complete Method for Trombone/Euphonium  (Alessi, Bowman)*
Bordogni/Rochut - Melodious Etudes, Vol. 2 (Trb.)* 
Bozza - Quinze Etudes (Trb.) 
Charlier - 32 Etudes* 
Charlier - Trente-six Etudes Transcendantes (Tr.) 
Kopprasch - 60 Selected Studies (Trb.)* 
Milde - Concert Studies (Bassoon) 
Milde - 25 Studies in All Keys (Bassoon) 
Miller - 60 Studies (Trb.)  

SOLOS 
Adler - 4 Dialogues for Euphonium and Marimba                        
Barat - Morceau de Concours (Bb treble clef) 
Berghmans - La Femme e Barbe (Trb.) 
Boccalari - Fantasia di Concerto 
Brubaker – Rhapsody for Euphonium* 
Clarke - Carnival of Venice, Bride of the Waves, From the Shores of the Mighty Pacific* 
Corelli/Gibson – Sonata in d minor 
Clinard – Sonata (unaccomp)* 
David - Concertino (Trb.) 
Frackenpohl – Sonata* 
Gaubert - Cantabile et Scherzetto 
Hartley - Euphonium Concerto 
Hartley - Sonata Euphonica 
Horowitz - Euphonium Concerto* 
Jacob – Fantasia* 
Larssen - Concerto (Trb.) 
Ponchielli - Concerto per Flicorno Basso* 
Presser – Rondo* 
Ropartz – Piece en mi Bemol*                           
Ross - Concerto 
White - Lyric Suite* 
Wilder - Concerto 
Wilder - Sonata 

ORCHESTRAL/BAND EXCERPTS 
Shostakovich – Festive Overture 
Mussorgsky – Bydlo 

Senior Year 

SCALES 
Diatonic and chromatic scale patterns, expand range 

WARMUPS 
Clarke – Technical Studies for the Cornet 
Schlossberg – Daily Drills and Technical Studies for Trumpet 

ETUDES 
Bordogni/Rochut - Melodious Etudes, Vol. 3 (Trb.)* 
Bitsch - Quinze Etudes (Trb.)* 
Bozza - Treize Etudes (Trb.) 
Charlier - 32 Etudes* 
Kietzer - Schule for Tenor horn 
Milde - 25 Studies for Bassoon 
Reynolds - 48 Etudes for Trumpet 
  
SOLOS  
Adler - 4 Dialogues for Euphonium and Marimba                        
Boccalari - Fantasia di Concerto*                                   
Bozza – Prelude & Allegro* 
Curnow - Symphonic Variants*                                                              
Hartley - Euphonium Concerto                                                   
Hartley - Sonata Euphonica                                                        
Horowitz - Euphonium Concerto* 
Ponchielli - Concerto per Flicorno Basso * 
Ritter-George - Sonata 
Ross – Concerto           
Stevens – Soliloquies 
White - Lyric Suite* 
Wilder - Concerto 
Wilder - Sonata 

ORCHESTRAL/BAND EXCERPTS 
Barber - Third Essay for Orchestra 
Hindemith - Symphony for Band 
Holst - The Planets 
Janacek - Capriccio 
Mahler - Symphony No. 7 
Schoenberg - Theme and Variations 
Strauss - Don Quixote 
  
Senior Recital 

The Senior Recital must include one of the above level 4 solos; other solos are the choice of the student and teacher.  It is strongly suggested that one piece on the Senior Recital be a work of chamber music.  Students are reminded of the required hearing for this recital.  

Reading 

Kleinhammer - The Art of Trombone Playing 
Farkas - The Art of Brass Playing 
Bate - The Trumpet and Trombone 
Instrumentalist Brass Anthology 
Louder - Euphonium Music Guide 
Winter - Euphonium Music Guide 

Other etudes 

Pederson – Elementary Studies 
Sauer – Clef Studies 

Other Solos 

Alexander – Requiem and Coda 
Bach, Jan – Concert Variations 
Bach/Marsteller – Sonata #1 
Bach/Marsteller – Sonata #2 
Beasley – Fantasy for Bar horn & pno 
Capuzzi – Andante and Rondo 
Gumpert – Voxman, Romanze 
Latham - Eidelons 
McKay – Suite for Bass Clef Instruments 
Senaille – Introduction and Allegro Spirtuoso.
Four Year Progression for Flute 
  
The following repertoire applies primarily to flute majors, although some selections may be appropriate for flute minors as well. 
  
First Year

Fall:

Correct hand and body position, concept of tone, and understanding of the embouchure.
Chromatic and all major scales and arpeggios from memory, two octaves.
Long tones, etc. from De La Sonorite by M. Moyse.
Harmonics and other exercises for the embouchure.
4 pages of etudes; 1-2 solos or individual movements.

Spring:

Major scales in thirds from memory, two octaves.
Long tones and vibrato exercises.
4 pages of etudes; 1-2 solos or individual movements.

Literature:
Selected etudes and methods by Clardy, Andersen (Opp. 33, 30, 63), Taffanel-Gaubert, Moyse, etc.; Telemann Fantasies; Godard Suite Op. 116; Handel Sonatas; Marcello Sonatas; Molique Andante; Mozart Andante and Rondo; J.S. Bach Sonatas; Hindemith Sonata; Selected works from Flute Music By French Composers; additional repertoire as selected. 
  
Freshman Recital:  Refer to departmental handbook for requirements. 
 

Second Year

Fall:

Major and Natural minor scales and arpeggios from memory, extended range.
Double and triple tonguing.
5 pages of etudes; 2 solos.


Spring:

Major and Natural / Harmonic / Melodic minor scales and arpeggios from memory, extended range.
5 pages of etudes; 2 solos.

Literature:
Selected etudes by Clardy, Andersen (Opp. 33, 30, 63), Taffanel-Gaubert, Moyse, etc.; J.S. Bach Sonatas; Barber Canzone; Burton Sonatina; Doppler Pastorale Fantasie Hongroise; Debussy Syrinx; Godard Suite Op. 116; Mozart Andante and Rondo; Poulenc Sonata; Selected works from Flute Music By French Composers; additional repertoire as selected including excerpts. 
  
Sophomore Recital:  Refer to departmental handbook for requirements.
 

Third Year

Fall:

Arpeggios, broken intervals, all major and minor scales in various rhythms, covering the entire range of the instrument.
6 pages of etudes; 3 solos; 2-3 excerpts.

Spring:

Arpeggios, broken intervals, all major and minor scales in various rhythms, covering the entire range of the instrument.
6 pages of etudes; 3 solos; 2-3 excerpts.


Literature: 
Etudes by Clardy or Andersen (Op. 15); Karg Elert Caprices; Jean-Jean Etudes; J.S.Bach Sonatas; Caplet Reverie & Petite Valse; Debussy Syrinx; Griffes Poem; Heiden Sonata; Hue Fantasie; Ibert Piece; Martinu Sonata; Mozart Concerti; Roussel Joueurs de Flute; Varese Density 21.5; additional repertoire as selected including orchestral excerpts. 
  
Junior Recital:  Refer to departmental handbook for requirements. 

Fourth Year

Fall:

Arpeggios, broken intervals, all major and minor scales, whole tone scales in various rhythms and articulations, covering the entire range of the instrument.
8-10 pages of etudes; 3-4 solos; 3-4 excerpts.

Spring:

Arpeggios, broken intervals, all major and minor scales, whole tone scales in various rhythms and articulations, covering the entire range of the instrument.
8-10 pages of etudes; 3-4 solos; 3-4 excerpts. 

Literature: 
Selected studies by Andersen, Piazolla, Moyse; Barber Canzone; Telemann Fantasies; Griffes Poem; Milhaud Sonata; Mozart Concerti; Reinecke Sonata Undine; Copland Duo; additional repertoire as selected including orchestral excerpts.  Advanced works may include: J.S. Bach A Minor Partita; Prokofiev Sonata; Ibert Concerto; Berio Sequenza; Schubert Introduction and Variations; Borne Carmen Fantasy; Jolivet Chant de Linos; Nielson Concerto. 

 Senior Recital:  Refer to departmental handbook for requirements

Four Year Progression for French Horn 

The Methods/Etudes and Solo sections of this document are lists from which the instructor and student can choose. Note that there is some overlap of material between the years.   Etude books are often used over several years, and solos can be appropriate at more than one level.  Other material at the appropriate level can also be substituted by the instructor.  BA and BMT majors would be expected to work from 2-3 etude books each semester, as well as learn two movements from a solo, or a solo piece that has contrasting sections. BA majors would be expected to cover more ground in the etude books, and to learn an entire multi-movement work, or two contrasting solos each semester.      

Freshman year:

Etudes/ Unaccompanied Horn: 
Kopprasch: 60 Selected Studies for Horn, Book 1* 
Concone: Lyrical Studies* 
Maxime-Alphonse: 200 New Studies for Horn, Book 1*, 2*, 3 
Bach: Cello Suites 

Solos: 
Mozart: Horn Concerto 3 in E flat major, K 447* 
Mozart: Concert Rondo 
Richard Strauss: Concerto No 1, first movement 
Saint-Saens: Romance* 
Gliere: Valse Triste* 
Franz Strauss: Nocturno, Op 7* 
Borodin: Intermezzo: No 1 from Five Pieces from Little Suite* 
Glazunov: Reverie 
Arnold Cooke: Rondo in B flat 
Paul Hindemith: Horn Sonata, first movement* 
Malcolm Arnold: Fantasy for Horn 

Sophomore year:

Etudes/ Unaccompanied Horn: 
Kopprasch: 60 Selected Studies for Horn, Book 1/ 2 
Maxime-Alphonse: 200 New Studies for Horn, Book 3 
Gallay: 12 Etudes for Horn 
Verne Reynolds: 48 Etudes for French Horn 
Bach: Cello Suites 

Solos: 
Mozart: Horn Concerto 1 , K412* and 2, K 417 
Beethoven: Horn Sonata in F, Op 17* 
Haydn: Horn Concerto No 1 in D, Hob VIId*, first movement 
Richard Strauss: Concerto No 1, first and second movements 
Hindemith: Horn Concerto, first and second* movements 
Hindemith: Horn Sonata, third movement 
Poulenc: Elegie 
Franz Strauss: Fantasie* or Introduction, Theme and Variations 
Bernard Krol: Laudatio for Solo Horn 
Gliere: Romance or Intermezzo* 
Jean-Michel Damase: Pavan Varie 
Vaclav Nelhybel: Scherzo Concertante 

Junior Year:

Etudes/ Unaccompanied Horn: 
Kopprasch: 60 Selected Studies for Horn, Book  2 
Belloli: Etudes for Horn 
Gallay: 12 Etudes for Horn, Grand Caprices 
Verne Reynolds: 48 Etudes for French Horn 
Bach: Cello Suites 

Solo 
Mozart: Horn Concertos 2 *, K417 and 4, K495 
Franz Strauss: Concerto for Horn in C Minor, Op 8* 
Dukas: Villanelle* 
Bernhard Heiden: Sonata for Horn* 
Saint-Saens: Morceau de Concert 
Telemann: Concerto in D 
Otto Ketting: Intrada 
David Amram: Blues and Variation for Monk* 

Senior Year:

Etudes/ Unaccompanied Horn: 
Kopprasch: 60 Selected Studies for Horn, Book  2 
Belloli: Etudes for Horn 
Gallay: Grand Caprices 
Verne Reynolds: 48 Etudes for French Horn 
Bach: Cello Suites 

Solos: 
Schumann: Adagio and Allegro 
Carl Maria von Weber: Concertino in E flat 
G. Jacob: Concerto 
Richard Strauss: Concerto No. 1* 
Richard Strauss: Concerto No. 2 
Rossini: Prelude, Theme and Variations* 
Persichetti: Parable for Solo Horn 
Sigmund Berge: Horn Lokk* 
Haydn: Concerto in D, Hob VIId * 
Bozza: En Foret* 
Francaix: Divertimento 

*  indicates suitable pieces for music minor students. 

Suggested CD List:

Russian Horn Concertos (Marie Luise Neunecker) 
Dennis Brain ~ Strauss - The Two Horn Concertos & Hindemith - Horn Concerto / Sawallisch 
Brain – BBC Legends 
Mozart: The Horn Concertos (Peter Damm) 
Mozart Horn Concertos (Lowell Greer) 
Virtuoso Music for Horn and Piano (Eric Ruske) 
Perspectives (Hermann Baumann) 
The Art of Barry Tuckwell 
French Music for Horn and Piano (Peter Damm) 
Adagio and Allegro: German Romantic Works for Horn (David Jolley) 
Sonatas by Beethoven, Hindemith and Heiden, (John Cerminaro) 
Horn Trios by Brahms and Ligeti (William Purvis) 
Orchestral Excerpts (David Krehbiel) – Summit 

London Horn Sound 
Take 9 – Works for Horn Ensembles

Guitar Standards

Eight Semester Progression for Guitar 

Semester MUAP 1218 / 3218 
(Performance Track) MUAP 1118 / 3118 
(BA and BMT)
Fresh 1 Review of fundamental technique 
Position scales (Major) – 4/72 
Simple Arpeggios – 4/90; 3/120 
10 minutes of repertory (RCM 4-5) Review of fundamental technique 
Position scales (VII / Major) – 4/40 
Simple Arpeggios – 4/66; 3/90 
6 minutes of repertory (RCM 3)
 
Fresh 2 Complex stroking, dynamic control, slurs, complex barres; articulation 
Position scales (Major & minor) – 4/76 
Complex Arpeggios – 4/90; 3/120 
10 minutes of repertory (RCM 4-6) Simple barre and slur work, simple dynamic and color control, position change technique 
Position scales ( all / Major & minor) – 4/48 
Simple Arpeggios – 4/72; 3/96 
6 minutes of repertory (RCM 3)
 
Soph 1 Extended barres, slurs, complex articulation 
Position scales – 4/88; Single String Scales 
Arpeggios – 4/108; 3/136 
Tremolo – 4/108 
12 minutes of repertory (RCM 5-6) Review of fundamental technique 
Position scales – 4/60; Single String Scales 
Simple Arpeggios – 4/90; 3/120 
10 minutes of repertory (RCM 4-5)
 
Soph 2 Advanced techniques, complex articulation 
Full Fretboard Scales – 4/90 
Arpeggios – 4/116; 3/154 
Tremolo – 4/116 
12 minutes of repertory (RCM 5-7) Complex stroking, dynamic control, slurs, complex barres; articulation 
Full Fretboard Scales – 4/60 
Arpeggios – 4/90; 3/120 
10 minutes of repertory (RCM 4-6)

Junior 1 Advanced independence 
Full Fretboard Scales – 4/96 
Arpeggios – 4/124; 3/160 
Tremolo – 4/124 
15 minutes of repertory (RCM 5-7) 
(includes Concerto movement) Extended barres, slurs, complex articulation 
Full Fretboard Scales – 4/72 
Arpeggios – 4/108; 3/136 
Tremolo – 4/108 
12 minutes of repertory (RCM 5-6)

Junior 2 Full Fretboard Scales – 4/104 
Counterpoint Scales 
Arpeggios – 4/136; 3/168 
Tremolo – 4/128 
15 minutes of repertory (RCM 6-8) 
Junior Recital (30 mins. RCM 5-8) Advanced techniques, complex articulation 
Full Fretboard Scales – 4/90 
Arpeggios – 4/116; 3/154 
Tremolo – 4/116 
12 minutes of repertory (RCM 5-7)

Senior 1 Full Fretboard Scales – 4/112 
Arpeggios – 4/144; 3/176 
Tremolo – 4/132 
20 minutes of repertory (RCM 7-9) 
(includes Concerto movement) Advanced independence 
Full Fretboard Scales – 4/96 
Arpeggios – 4/124; 3/160 
Tremolo – 4/120 
15 minutes of repertory (RCM 6-8)

Senior 2 Full Fretboard Scales – 4/120 
Arpeggios – 4/144; 3/184 
Tremolo – 4/136 
25 minutes of repertory (RCM 7-10) 
Senior Recital (50 mins. RCM 6-10) Full Fretboard Scales – 4/104 
Counterpoint Scales 
Arpeggios – 4/136; 3/168 
Tremolo – 4/128 
15 minutes of repertory (RCM 6-8) 
Optional Junior Recital (30 mins. RCM 5-8)

 Expectations 
  
1.   If you are accepted into the classical guitar program it means we believe you can get through the syllabus with an A. 
  
2.   The syllabus lists minimum standards and work to be done. You MUST achieve the minimum before you will be allowed to move to the next level. The grades of A and B represent sufficient achievement to move to the next level. The grade of C represents borderline work. Only one C is allowed, and unless you make up the deficit by the end of the next semester you will not be allowed to move to the next level of the syllabus. The grade of D, while representing some progress, is NOT sufficient to move you to the next level, and you will have to consider another major. Under special circumstances (injury, illness or family emergency) students will be given an incomplete and allowed to complete a semester's work in the following semester. Students who receive D or F must understand that their work is judged to be insufficient to complete the syllabus, and these students must consider another major. 
  
3.   To get an A you must demonstrate both technical development and musical/interpretive skill. It takes more than fast scales to make an A, and it takes more than good musicianship as well. You must be able to demonstrate good musicianship with good technique. 
  
3.   Students are expected to practice a minimum of one hour a day in the 1118 / 3118 sequence, and a minimum of two hours each day in the 1218 / 3218 sequence. 
  
4.   Students should not expect to be able to keep up with their studies with less practice time. Grading is based on achievement, not good intentions, nor time spent. If it takes you four hours a day to get the job done, plan on it. 
  
5.   All repertory must be memorized except for chamber music and unusual 20th century repertory. 
  
6.   All majors and minors are expected to attend Guitar Studio weekly as scheduled. Minors who have an unavoidable schedule conflict will be excused for that semester. 
  
7.   All students are expected to go to as many recitals as possible – of all kinds. Chamber music recitals are especially significant. Expect to pay for good guitar recitals. 
  
8.   Your grade is based on work done in lessons and your jury grade. Generally, if you don't complete at least 70% of the work contracted for a given semester, don't expect to pass. Minimum work completed at a minimum level will earn you a C. An A is earned only by completing minimum work at extraordinary levels of technical and musical skill; or more than minimum work at high levels of technical and musical skill. 
  
9.   If you get through the 1118 / 3118 sequence with an A it means you have a very respectable musicianship and technique. I expect you to be out there playing now! 
  
10. If you get through the 1218 / 3218 sequence with an A you should be able to get into most decent graduate programs in the country. Go for it!

Four Year Progression for Oboe

 
The following is a sample list of repertoire to be studied over four years.  Many of the books are sequential and may be used at multiple levels.  All levels of study will include the following:  development of tone production, intonation, breathing techniques, overall range up to high F, all major and minor scales with arpeggios, chromatic scale, long tones, and reed making skills. 

Freshman Year 

Warm-ups 
Long tones - Barret Oboe Method - pages 19 – 21; Major and minor scales in long tones 

Scales/Technique
Vade-Mecum - pages3-6; emphasis on accuracy and steady beat - not speed 
Chromatic scale to high F 

Methods/Etudes 
Barret Oboe Method – Forty Progressive Melodies 

Solos
Handel Sonatas 
Cimarosa Concerto 
Marcello Concerto in c minor 

Reed Making Skills
Tie reed correctly with tip started 
  
Sophomore Year 

Warm-ups
Long tones – Barret Oboe Method; Whole note Major and minor scales in thirds and with arpeggios; emphasis on vibrato development 

Scales/Technique
Vade-Mecum – review – emphasis on speed while maintaining accuracy 
Barret Oboe Method – articulation studies pages 54 – 56 
Chromatic – full range of instrument 

Methods/Etudes 
Barret Oboe Method – Forty Progressive Melodies and begin Sonatas 

Solos
Haydn Concerto 
Telemann Sonata in a minor 
Hindemith Sonata 
                                                            
Reed Making Skills 
Reed tied correctly, tip almost completed, back started. 

Junior Year 

Warm-ups 
Long Tones 

Scales/Technique 
Vade-Mecum 
Hite – Foundation Studies 

Etudes
Barret Oboe Method – Sonatas and Fifteen Grand Studies 
Ferling – Forty-eight Famous Etudes 

Solos 
Schumann Three Romances 
Vaughn Williams Concerto 

Orchestral Excerpts 
Begin working on standard excerpts from Vade-Mecum and Rothwell excerpt books 

Reed Making Skills 
Reed tied correctly, tip completed, back almost finished, and reed should be able to crow. 

Senior Year 

Warm-ups
Long Tones 

Scales/Technique 
Vade-Mecum (expand study to trill exercises, technical etudes, melodic studies, and orchestral excerpts) 
Hite – Foundation Studies 

Etudes
Vade-Mecum 
Barret Oboe Method – Fifteen Grand Studies 

Solos 
Strauss Concerto 
Poulenc Sonata 
Mozart Concerto 

Orchestral Excerpts
Vade Mecum 
Rothwell 

Reed Making Skills 
Reeds must be completed and playable. 

Etudes 
Andraud, Albert J.  Vade-Macum of the Oboist 
Barret, A.M.R.  A Complete Method for the Oboe 
Debondue, Albert. 24 Etude Melodies 
Ferling W.  48 Famous Studies 
Hite, David Foundation Studies for the Oboe patterned after C. Baermann 
Prestini, Giuseppe Raccolta di Studi per Oboe 
Rothwell, Evelyn. Dificult Passages for Oboe and Cor Anglias 
Sellner, Joseph. Method for Oboe or Saxophone 

Solos 
Albinoni, Concertos 
Albinoni, Concerto for 2 oboes 
Arnold, Fantasy for Oboe 
Bach, Concerto in g minor 
Bach, Siciliano and Arioso 
Britten, Metamorphoses 
Boni, Sonata in G 
Cimarosa, Concerto 
Francaix, The Flower Clock 
Handel, Concerto in g minor 
Handel, Sonatas 
Haydn, Concerto 
Head, Three Pieces 
Hindemith, Sonata 
Hummel, Theme and Variations 
Ibert, Symphonie Concertante 
Marcello, Sonata 
Mozart, Concerto 
Nielsen, Romance and Humoresque 
Piston, Sonata 
Poulenc, Sonata 
Saint-Saens, Sonata 
Schumann, Romances 
Strauss, Concerto 
Telemann, Concerto in f minor 
Telemann, Sonata 
Vaughn Williams, Concerto 
Vivaldi, Sonata

Percussion Performance Standards

The sequence and order of these principles for percussion may be adjusted according to the percussion area in which a particular student has strengths and weaknesses as determined by the instructor. The sequence may also include several instruments working concurrently as determined by the instructor.

Freshman        
First Semester- Snare Drum 
1)         Review of all rudiments with emphasis on correct grip and 
             fundamental technique. 
2)         Studies in selected method books to be chosen from: 
                Modern School for Snare Drum - Morris Goldenberg 
                Stick Control - George Stone 
                Orchestral Snare Drummer - Anthony Cirone 
3)         Repertoire: Two prepared solos for snare drum.

Second Semester - Snare Drum 
1)         Reading compound meters, mixed meters. 
2)         Continuation of etude studies in selected method books. 
3)         Orchestral repertoire for snare drum 
4)         One prepared solo for snare drum

Sophomore    
First Semester - Timpani 
1)         Ranges, sizes and styles of drums, stick selection, tuning, 
             preparing the heads, and types of grips.  Emphasis will 
             be on fundamental technique and tone production. 
2)         Studies in selected method books to be chosen from: 
                 Modern Method for Timpani - Saul Goodman 
                The Solo Timpanist - Vic Firth 
                The Orchestral Timpanist - Anthony Cirone 
4)         Legato and staccato strokes, muffling, rolls, cross hammering 
             techniques on two and three drums. 
5)         Two prepared solos.    

Second Semester - Timpani 
1)         Grace notes, technique on four and five drums, glissandos. 
2)         Continuation of etude studies. 
3)         Two prepared solos.


Junior              
First Semester - Mallet percussion 
1)         All major  scales and arpeggios two octaves with emphasis 
             on correct 2 mallet grip, striking areas, tone production; 
             Introduction to ranges and techniques on various mallet 
             instruments. 
2)         Studies in selected method books to be chosen from: 
                Fundamental Studies for Mallets - Garwood Whaley 
                Modern School for Xylophone - Morris Goldenberg 
                Method of Movement for Marimba - Leigh Stevens 
3)         Introduction to 4 mallet technique.  
4)         Preparation of one 2 mallet solo and one 4 mallet solo

Second Semester - Mallet percussion 
1)         One-half recital (25 min.) with selections on snare, timpani 
             and mallet instruments for Bachelor of Music majors. 
2)         All natural, harmonic and melodic minor scales and arpeggios 
             two octaves. 
3)         Continuation of 4 mallet technique.

Senior      
First Semester - Multi-percussion (including drum set) 
1)         History, definitions, technique and notational systems for 
             multi-percussion repertoire. 
2)         Studies from selected method books or materials supplied by 
             the instructor. 
3)         One prepared multi-percussion solo. 
4)         Bachelor of Music Education students may give a half-recital 
             in addition to the requirements for the degree.  A senior 
             recital may not be given during the quarter in which a 
             student is student teaching.

Second Semester - Multi-percussion 
1)         Bachelor of Music students are required to give a 50-minute 
             recital. 
2)         Bachelor of Music Education students are encouraged to give 
             a 50 minute recital. 
3)         Continuation of various studies from above.

All percussion majors need to have the following books and equipment before beginning applied lessons: (other books and equipment may be required as lessons progress)

Books:          

                Modern School for Snare Drum - Morris Goldberg 
                Modern Method for Timpani - Saul Goodman 
                Intermediate Studies for Mallets - Garwood Whaley 

Equipment:      

Stick bag with at least the following: 
1 pair of Firth general snare sticks (or similar pair of another brand) 
1 pair of Firth general timpani mallets 
1 pair of Firth cartwheel timpani mallets 
2 matching pairs of medium yarn mallets (such as Balter 13R) 
1 pair of general xylophone mallets (such as Musser M4) 

To order music and equipment go to: 

Steve Weiss Music - http://www.steveweissmusic.com/ 

Lonestar Percussion - http://www.lonestarpercussion.com/ 

Musician's Friend - http://drums-percussion.musiciansfriend.com/ 

Or your local music store

Percussion Equipment


BASIC PERCUSSION STICK AND MALLET REQUIREMENT BY YEAR 
Georgia College Department of Music 
  
Freshmen:  You should have at least this equipment when you come to school 
  
Equipment
Recommended: (any of these are ok)
 
Choose one from each category
Basic stick bag
Steve Weiss pro stick bag – 18" X 22" or
 
Promark DSB1 Deluxe-14" X 17" or
Promark JSB5 Jumbo – 17" X 19" or
 
snare sticks
Firth General SD1      or
 
Cooperman "Mike Rosen #6"     or
Promark TX2B – Hickory
 
Marimba mallets 
(2 pair)
Mike Balter Ensemble series -13 blue yarn w/ birch handles 
or
 
Mike Balter Ultimate series – 113 blue cord with birch handles 
or
 
Steve Weiss R3 med hard marimba
 
Timpani mallets
Firth VFT1 general mallets     or
 
Balter MBT3 general mallets     or
Black Swamp David Gross DG2 general                or
 
Encore Payson General T103

SOPHOMORE YEAR ADD THE FOLLOWING: 
Equipment
Recommended: 
 
Choose at least one from each category if more than one is listed
snare sticks
Promark RB       or
 
Regal Tip 5A or 7A nylon tip
xylophone mallets
Musser M4    or
 
Malletech Or42B    or
 
Mike Balter black birch 04BB med
 
Bell mallets 
Musser M24    or
 
Malletech Or39R    or
 
Musser M1 yellow (soft)
Timpani mallets
Firth T2 Cartwheel    or
 
Balter legato mallet    or
 
Encore Payson soft mallet T104   


JUNIOR YEAR ADD THE FOLLOWING: 
Snare sticks 
Firth Bolero sticks SD2
marimba mallets 
Balter 84 B medium soft blue 
and 
Balter xsoft burgundy
xylophone mallets 
Balter Grandioso Unwound XL Birch – Med. Lgreen rubber (Bal-104B)
Timpani mallets 
Firth American Custom Timpani – Staccato 
(VIC-VFT3) 
or 
Saul Goodman Timpani mallets - #2 Staccato 
(CAL-602sg)
Specialty sticks, brushes, bass drum mallets, gong mallet,  triangles, triangle beaters, etc.
  
SENIOR YEAR ADD THE FOLLOWING: 
Snare sticks 
Any that you want for your own personal playing.  
marimba mallets
get a second pair of each of the mallets listed in the junior year so that you have two pairs of each hardness of mallet:  Balter 84 B medium soft blue 
and  Balter xsoft burgundy 
Xylophone mallets
Balter Grandioso Unwound XL Birch hard Grey rubber (BAL 1065B) AND 
Balter Grandioso Unwound XL Birch soft tan rubber 
(BAL 102B)
Bells
Balter Grandioso Unwound XL Birch – Hard 7/8" brass (BAL 109B)
Timpani mallets
Firth American Custom wood mallet (VIC VFT 5)

Piano Performance Standards

Each semester, students will be expected to master a minimum of four repertoire items appropriate to their level of study. These pieces must belong to the standard classical repertoire. Normally, at least two historical periods will be represented. Exceptions will be made for those semesters in which an extended work is in progress or a specialized area of repertoire is being pursued. Repertoire items should be contrasting and complementary in terms of their technical and musical challenges. At least one of these selections must be learned from memory. Those students who are fulfilling their departmental piano proficiency requirement through applied lessons are expected to satisfy this requirement by the end of their fourth semester of applied study (i.e. second semester, sophomore year), at which time a comprehensive piano proficiency exam will be administered by their applied instructor. In addition to repertoire requirements and keyboard theory skills, students will be responsible for assigned technical studies each semester. At an end-of-semester jury, students will asked to perform one piece from memory and one other selection chosen from their repertoire list by the jury members. The eight semester program of study will be distributed as follows: 

Note: The following guidelines represent minimum standards. Students who enter the program with advanced skills and repertoire, as assessed by their applied instructor, will be expected to develop according to their particular abilities. 

During their Freshman year, students will normally study eighteenth century dance movements and sonatinas and nineteenth or twentieth century miniatures. Repertoire assignments will be supplemented with appropriate technical exercises and assignments relating to the departmental piano proficiency requirement. 

In their Sophomore year, students will normally be expected to move beyond the sonatina level to the mastery of full-fledged Classical sonatas. They will also be assigned a representative sample of American art music from the Federalist era to the present. Repertoire assignments will be supplemented with appropriate technical exercises and students will be expected to complete their piano proficiency requirement. 

During their Junior year, students will explore repertoire at the level of the Two Part Inventions of J. S. Bach and move from the Romantic miniature to Romantic character pieces and twentieth century works of comparable difficulty. Appropriate technical exercises from Part III of Hanon's The Virtuoso Pianist will be stressed. 

In their Senior year, students will be expected to master at least one movement from a Beethoven sonata and/or a Baroque/Classical concerto. At this stage, work on more peripheral repertoire items (e.g. transcriptions or ensemble music) may be undertaken. Piano performance majors will emphasize senior recital preparation and continue to work on appropriate technical studies. 

Freshman Year, Semester I: 

1) Sample repertoire: A Clementi Sonatina (complete) and three Romantic miniatures 

2) Scales & Chord Inversions: CMm (harmonic) - Gmm, D Mm - (hands together, parallel motion, one octave, minimum tempo requirement MM. eighth note = 60 2 

3) Five-finger exercise, hands separately (Placing the thumb on middle C, hold down five consecutive keys. Beginning with the thumb, stroke each key ten times while continuing to depress the keys with those fingers that are not playing. In C and C-sharp 

Freshman Year, Semester II: 

1) Sample repertoire: a Baroque dance movement and three miniatures, two from the nineteenth and one from the twentieth century 

2) Scales & Chord Inversions (same format as above): A Mm - E Mm - BMm 

3) Finger independence: Depress five consecutive keys. Beginning with either the thumb or the little finger, play an arpeggiated triad while continuing to depress the keys that are not involved. Then reverse the pattern by depressing the triad while playing the remaining two pitches comprising a minor third. C, C-sharp 

Sophomore Year, Semester I: 

1) Sample repertoire: R. Schumann's Sonata for the Young No. 1, Op. 118a (complete) or at least two movements from a Sonata by Haydn or Mozart 

2) Scales and Chords (same format): Fmm, B-flat Mm, E-flat Mm 

3) Technique: Major 7th arpeggio, same octave, hands separately, and hands together in both parallel and contrary motion 

4) Transposition: major key melody in all keys up to and including four sharps & four flats 

Sophomore Year, Semester II: 

1) Sample repertoire: American music (Reinegle, Hewitt, Carr, Paine, Gottschalk, MacDowell, Hanson, Copland, Barber etc.) 

2) Scales and Chords: A-flat Mm, D-flat Mm, G-flat Mm (harmonic minor, one octave, hands together, MM. eighth note = 60) 

3) Technique: Major 7th chord, hands separately, two octaves, C, C-sharp 

4) Transposition: minor key melody in all keys up to and including four sharps & four flats 

ALL STUDENTS WILL TAKE A COMPREHENSIVE PIANO PROFICIENCY EXAM 

Junior Year, Semester I: Students should purchase The Virtuoso Pianist (Hanon) 
Part III 

1) Sample repertoire: J. S. Bach Two-Part Inventions, Impressionist character piece, 20th century character pieces or miniatures (other than American) 

2) Rhythmic exercise (complex rhythms): the middle section of Brahm's Intermezzo Op. 118 No. 2 3 

3) Technique: parallel intervals (double thirds): Hanon exercise # 50, etc. 

4) Wrist exercise: Hanon # 48, etc. 

5) Scales & arpeggios: Mm, minimum two octaves 

Junior Year, Semester II: 

1) Sample Repertoire: a substantial, single-movement Romantic character piece (Schumann's Arabesque, an early Chopin Polonaise, or a Brahms Intermezzo exclusive of Op. 118 No. 2, Rhapsody, or Ballade) Three of the following: Bartok - Six Rumanian Folk Dances (complete) Gershwin - Preludes (complete) Shostakovich - Preludes & Fugues Howard Hanson - Three Miniatures (complete) 

2) Technique (parallel intervals): Hanon #49, etc. 

3) Technique (complex rhythms): Debussy Arabesque No. 1, opening, etc. 

4) Technique (octaves): Hanon #51 etc., l.h. broken octaves (stationary repetitions & C scale) 

5) Scales & arpeggios: Mm, minimum two octaves 

Senior Year, Semester I: 

1) Sample repertoire: J. S. Bach, a Prelude and Fugue from W. T. C, at least two movements from a Sonata by Beethoven (exclusive of the Op. 49 Sonatas), and/or a movement of a student concerto. 

2) Technique (Parallel chords): passages from Beethoven's Sonata Op. 2 No. 3, Movt. IV, etc. 

3) Technique (widely spaced textures): Prokovief - Op. 65 No. 1 "Morning," etc. 

4) Technique (voicing): Brahms - Intermezzo Op. 118 No. 2 (chorale section), etc. 

5) Scales & arpeggios: Mm, minimum two octaves 

Senior Year, Semester II: 

1) Sample repertoire: Complete the Beethoven Sonata started in the previous semester, Brahms Intermezzo Op, 118 No. 2 (complete), and either a piano ensemble items or two unorthodox selections, e.g. music from the Renaissance or a transcription 

2) Technique (leap exercise): C scale, hands separately, pitch repetition between thumb and little finger with a two octave spread, in rhythm, MM. eighth note = 60, plus except from cadenza of Beethoven Op. 2 No. 3, Movt. I 

3) Senior recital prep (optional except for piano performance majors) 4 

4) Scales & arpeggios: Mm, minimum two octaves 

A FOUR YEAR PHASED PROGRAM IN KEYBOARD STUDIES ONE CREDIT HOUR

Four Year Progression for Saxophone 

Freshman Year 
Scales 
All Major Scales (Full Range) 
All Major Arpeggios (Full Range) 
Chromatic Scale (Full Range) 

Methods / Etudes 
Teal- The Saxophonists Workbook 
Ferling- Forty-eight Etudes 
Lacour- Fifty Easy Etudes Book 1 & 2 

Literature 
Chanson et Passepied Jeanne Rueff 
Sonata #4 J.S. Bach 
Sonata #6 J.S. Bach 
Sonatine Sportive Tcherpnine 
Aria Eugene Bozza 
Sarabande and Gigue Lantier 
Concerto Alexander Glazounov 
Three Romances Schumann/arr. Hemke 
Diversion Bernhard Heiden 
Sonata Bernhard Heiden 
Sonata Paul Creston 
Improvisation I Ryo Noda 
Light of Sothis Amy Quate 
Poem Walter Hartley 
Sonata Burnett Tuthill 
Sonatina William Schmidt 

Sophomore Year 

Scales 
All Harmonic and Melodic Scales (Full Range) 
All Minor Arpeggios (Full Range) 

Methods / Etudes 
Teal- The Saxophonists Workbook 
Teal- Daily Studies for the Saxophone 
Ferling- Forty-eight Etudes 
Lacour- Fifty Easy Etudes Book 1 & 2 

Literature 
Sonata #4 J.S. Bach 
Sonata #6 J.S. Bach 
Sonatine Sportive Tcherpnine 
Concerto Alexander Glazounov 
Three Romances Schumann/arr. Hemke 
Sonata Bernhard Heiden 
Sonata Paul Creston 
Improvisation I Ryo Noda 
Light of Sothis Amy Quate 
Poem Walter Hartley 
Sonata Burnett Tuthill 
Sonatina William Schmidt 
Sarabande and Gigue Fischer Tull 
Sonata Henry Eccles 
Histoires… Jacques Ibert 

Junior Year

Scales

Major Scales in Thirds (Full Range)

Methods / Etudes 
Teal- The Saxophonists Workbook 
Teal- Daily Studies for the Saxophone 
Ferling- Forty-eight Etudes 
Lacour- 28 Etudes on Modes Literature 
Concerto Alexander Glazounov 
Three Romances Schumann/arr. Hemke 
Sonata Bernhard Heiden 
Sonata Paul Creston 
Improvisation I, II, III Ryo Noda 
Light of Sothis Amy Quate 
Poem Walter Hartley 
Sonata Burnett Tuthill 
Sonatina William Schmidt 
Sarabande and Gigue Fischer Tull 
Sonata Henry Eccles 
Histoires… Jacques Ibert 
Concerto Paul Creston 
Tableaux de Provence Paule Maurice 
Music William Karlins
Trigon Michael Cunningham

Senior Year

Scales 

Minor Scales in Thirds (Full Range)

Methods / Etudes
Teal- The Saxophonists Workbook 
Teal- Daily Studies for the Saxophone 
Ferling- Forty-eight Etudes 
Lacour- 28 Etudes on Modes

Literature 
Concerto Alexander Glazounov 
Three Romances Schumann/arr. Hemke 
Sonata Bernhard Heiden 
Sonata Paul Creston 
Improvisation I, II, III Ryo Noda 
Light of Sothis Amy Quate 
Poem Walter Hartley 
Sonata Burnett Tuthill 
Sonatina William Schmidt 
Sarabande and Gigue Fischer Tull 
Sonata Henry Eccles 
Histoires… Jacques Ibert 
Concerto Paul Creston 
Tableaux de Provence Paule Maurice 
Music William Karlins 
Trigon Michael Cunningham
Blue Caprice Victor Morosco 
Elegie et Rondeau Karel Husa 
Music for Saxophone Leslie Bassett
Sonata Robert Mucynski 

Additional sources to be used: 
Saxophone High Tones Eugene Rousseau 
Les Gammes Jean-Marie Londeix

Four Year Progression for Trumpet 

The Methods/Etudes and Solo sections of this document are lists from which the instructor and student can choose.   Note that there is some overlap of material between the years.   Etude books are often used over several years, and solos can be appropriate at more than one level.  Other material at the appropriate level can also be substituted by the instructor.  Music Education and Music Therapy Majors would be expected to work from 2-3 etude books each semester, as well as learn two movements from a solo, or a solo piece that has contrasting sections.  Performance majors would be expected to cover more ground in the etude books, and to learn an entire multi-movement work, or two contrasting solos each semester.      

FRESHMAN YEAR  

SCALES 
All major scales and arpeggios – 1 or 2 octaves (teacher's discretion) 
Chromatic scale – two or more octaves at teacher's discretion 


TECHNICAL STUDIES 
Arban, Complete Conservatory Method 
Clarke, Technical Studies 
Colin, Advanced Lip Flexibilities (complete) 
Irons, 27 Groups of Exercises 
Schlossberg, Daily Drills and Technical Studies 
St. Jacomme, Grand Conservatory Method 
Stamp, Warm-up plus Studies 
Vizzutti, Trumpet Method (Book 1-Technical Studies) 


ETUDES 
Bousquet, 36 Celebrated Studies 
Concone, Lyrical Studies (also for transposition) 
Hering, 28 Etudes -or- 32 Etudes 
Hering, Etudes in all the Major and Minor Keys   
Gates, Odd Meter Etudes 
Getchell, Practical Studies for the Trumpet/Cornet Books 1 and 2 
Goldman, Practical Studies for Trumpet 
Kopprasch, 60 Selected Studies (book 1) 
Wurm, 40 Studies 

TRANSPOSITION STUDIES 
Caffarelli, 100 Melodic Studies 
Bartold/Voisin, Orchestral Excerpts (Books 1-10) 
  
SOPHOMORE YEAR: In addition to above, the following are acceptable. 

SCALES 
All natural minor scales and arpeggios – 2 or 3 octaves (teacher's discretion) 
Chromatic scale – up to 3 octaves 

TECHNICAL STUDIES 
Hickman, Speed Reading for Beginners 
Hickman, Speed Reading for Melodic Instruments 
Nagle, Speed Studies 

ETUDES 
Boehm, 24 Melodic and Technical Studies 
Bona, Rhythmical Articulation 
Bousquet, 36 Celebrated Studies 
Brandt, 34 Studies and 24 Last Etudes 
Caffarelli, 100 studi melodici 
Charlier, 36 Transcendental Etudes 
Colin, Advanced Lip Flexibilities 
Dufresne-Voisin, Developing Sight Reading 
Bartold, ed. Classical and Modern Works, Vols. II-III 
Small, 27 Melodious and Rhythmical Exercises 
Werner, 40 Studies for Trumpet 

TRANSPOSITION STUDIES 
Bordogni, 24 Vocalises for Trumpet 
Sachse, 100 Etudes 

JUNIOR YEAR :In addition to the materials above: 

SCALES 
Minor scales, all three forms – 2-3 octaves (teacher's discretion) 
Chromatic scale, full range of the instrument 

TECHNICAL STUDIES 
Studies at this level will be determined by the student and myself. 

ETUDES 
Allard, Advanced Rhythms 
Balasanian, 20 Etudes 
Balay, 15 Etudes 
Bartold, ed. Classical and Modern Works, Vols. IV – V-VI 
Berdiev, 17 Studies for Trumpet 
Bitsch, 20 Etudes 
Bordogni, Vingt-Quatres Vocalise 
Collins, In the Singing Style 
Gates, Odd-Meter Etudes 
Haynie, Development and Maintenance 
Hickman, The Piccolo Trumpet 
Longinotti, Studies in Classic and Modern Style 
Paudert, 24 Modern Virtuoso Studies 
Smith, Lip Flexibility 
Stamp, Warm-ups plus Studies 
Vannetelbosch, 20 Etudes 
Verzari, 16 Studi Caratteristici 
Vizzutti, Trumpet Method Books I, II, III 

TRANSPOSITION STUDIES 
Hickman, Essential Orchestral Excerpts Vol. 1-16 
Hickman, The Piccolo Trumpet 
McGregor, Audition and Performance Preparation for 
Trumpet Orchestral Literature (4 books) 

SENIOR YEAR: In addition to the materials above: 

SCALES 
Diatonic and chromatic scale patterns, expand range 

TECHNICAL STUDIES 
Blatter/Zonn, Contemporary Trumpet Studies 
Colin, A. Contemporary Etudes 
Johnson, G. 20th Century Orchestra Studies 
Longinotti, P. Studies in Classical and Modern Styles 
Plog, 16 Contemporary Etudes 
Stevens, Changing Meter Studies 
Stevens, Contemporary Trumpet Studies 
Stevens, Contemporary Interval Studies 
  
ETUDES 
Andr, 12 Etudes Caprices Dans le Style Baroque 
Bodet, 16 Studies for Virtuosity 
Bitsch, Vingt Etudes 
Charlier, 36 Etudes Transcendantes 
Chavanne, 25 Etudes of Virtuosity 
Dubois, Twelve Various Studies 
Hickman, Essential Orchestral Excerpts Vol. 1-16 
Tomasi, 6 Etudes for Trumpet 

TRANSPOSITION STUDIES 
Continue as directed. 

Senior Recital 

The Senior Recital must include one of Level II solos below; other solos are the choice of the student and teacher.  It is strongly suggested that one piece on the Senior Recital be a work of chamber music.  Students are reminded of the required hearing for this recital.
Four Year Progression for Trombone 

The Methods/Etudes and Solo sections of this document are lists from which the instructor and student can choose.   Note that there is some overlap of material between the years.   Etude books are often used over several years, and solos can be appropriate at more than one level.  Other material at the appropriate level can also be substituted by the instructor. BA and BMT majors would be expected to work from 2-3 etude books each semester, as well as learn two movements from a solo, or a solo piece that has contrasting sections.  BA majors would be expected to cover more ground in the etude books, and to learn an entire multi-movement work, or two contrasting solos each semester.      

* indicates repertoire most commonly used.  

Preliminary/Remedial Studies 
Bordner - First Book of Practical Studies

Bower  - Rhythms

Concone  -  40 Legato Studies

Fink -  Introducing Legato, Legato Studies

Hering, - 40 Progressive Etudes 
Hering - 32 Etudes for Trombone 

Freshman Year 

SCALES 
All major scales and arpeggios – 1 or 2 octaves (teacher's discretion) 
Chromatic scale – two or more octaves at teacher's discretion 

WARM-UPS 
Remington – Warm-up Exercises (adapted, supplemented) 

ETUDES 
Arban - Complete Method for Trombone (Alessi/Bowman ed) 
Bordner - Second Book of Practical Studies 
Bordogni/Rochut - Melodious Etudes Book 1 
Bower - Rhythms 
Concone  - 40 Legato Studies 
Fink - Introducing Legato 
Hering - 32 Etudes for Trombone 
Kopprasch - 60 Studies Book 1 
Tyrrell - 40 Progressive Studies 

SOLOS 
Barat - Andante and Allegro 
Berlioz - Recitative and Prayer 
Blazhevich - Concert Piece No. 5 
Galliard - Six Sonatas 
Hasse - Hasse Suite 
Marcello - Sonata III 
Masso - Suite for Louise 
Ropartz - Andante and Allegro 
Telemann - Sonata in f minor 
Sophomore Year 

SCALES 
All natural minor scales and arpeggios – 2 or 3 octaves (teacher's discretion) 
Chromatic scale – up to 3 octaves 

WARM-UPS 
Remington - Warm-up Exercises (adapted, supplemented) 
Allessi - Warm-ups

ETUDES 
Arban - Complete Method 
Blume - 36 Studies

Bordogni/Rochut - Melodious Etudes Vol I

Concone/Shoemaker - Legato Etudes for Trombone 
Fink - Introducing Tenor Clef 
Kopprasch - 60 Studies Books I & II 
Tyrrell - 40 Progressive Studies 

SOLOS 
Barat - Andante and Allegro 
Berhmmans - La Femme a Barbe 
Blazhevich – Concerto No. 2 
Brahms - Four Serious Songs 
Dvadrionas - Theme & Variations 
Handel - Suite in Ab 
Rimsky-Korsakov - Concerto 
Marcello - Suite in a minor 
Pryor - Thoughts of Love 
Rachmaninoff - Vocalise  Op 34, No. 14 
Simons - Atlantic Zephyrs 
Telemann - Sonata in f minor 

ORCHESTRAL EXCERPTS 
Berlioz - Hungarian March from Damnation of the Faust 
Mozart - Tuba Mirum from Requiem Mass 

Junior Year   
   
SCALES 
Minor scales, all three forms – 2-3 octaves (teacher's discretion) 
Chromatic scale, full range of the instrument 

WARM-UPS 
Alessi - Warm-ups 
Marsteller - Basic Routines 
Schlossburg - Daily Drills 

ETUDES 
Arban - Complete Method

Bordogni/Rochut - Melodious  Etudes,  Vols I & II

Blume - 36 Studies

Clarke - Technical Studies for Trumpet

SOLOS 
Bernstein - Elegy for Mippy II 
David - Concertino 
Gräfe - Grand Concert 
Guilmant - Morceau Symphonique 
Hindemith - Sonata 
Kreisler - Liebeslied 
Pryor - Annie Laurie 
Saint Saens - Cavatine 
Serocki - Sonatina 
Sulek - Sonata 
Weber - Romance 

ORCHESTRAL EXCERPTS 
Brahms - Symphony No.'s 1 &   2 
Wagner - Prelude to Act III of Lohengrin 

Senior Year 

SCALES 
Diatonic and chromatic scale patterns, expand range 

WARMUPS 
Alessi - Warm-ups 
Marsteller - Basic Routines 
Schlossburg - Daily Drills 

ETUDES

Blazhevich - Clef Studies

Bitsch - 15 Rhythm Etudes 
Blume - 36 Studies

Bordogni/Rochut - Melodious  Etudes,  Vols. II & III

Bozza - Etudes 
Charlier - Etudes for Trumpet 
Fink - Introducing Alto Clef 
Smith – Top Tones for the Trumpet 

SOLOS  
Albrechtsberger - Concerto for Alto Trombone 
Grondahl - Concerto 
Jacob - Concerto 
Lars Erik-Larsson - Concertino 
Martin - Ballade 
Mozart - Concerto in Bb K. 191 
Phillips - T Rex 
Pryor - Blue Bells of Scotland 
Salzedo - Piece Concertante 
Tomasi - Concerto 

ORCHESTRAL EXCERPTS 
Dorsey - I'm Getting Sentimental 
Mahler - Symphonies No.'s 1 & 3 
Ravel - Bolero 
Rossinni  - William Tell Overture 
Wagner - Ride of the Valkyries 

Senior Recital 

The Senior Recital must include one of the above level 4 solos; other solos are the choice of the student and teacher.  It is strongly suggested that one piece on the Senior Recital be a work of chamber music.  Students are reminded of the required hearing for this recital.  

Reading 
Kleinhammer/Yeo - Mastering the Trombone 
Farkas - The Art of Brass Playing 
Bate - The Trumpet and Trombone 
Instrumentalist Brass Anthology 

Bass Trombone 

METHODS/ETUDES

Ahoroni - New Method 
Bitsch – Quartorze Etudes de Rhythme 
Blazhevich - 70 Studies for Tuba (vol. 1 & 2) 
Blume - 36 Studies for Trombone with F Attachment
Bordogni/Rochut - Melodious Etudes (vol. 2) 8va basso 
Fink - Studies in Legato for Bass Trombone 
Gillis - 70 Progressive Studies, 20 Etudes 
Knaub - Pi a la Bone 
Kopprasch - Studies 
Ostrander - Shifting Meters Study 
Pederson - Elementary, Intermediate Etudes for Bass Trombone 
Stephanovsky – 20 Studies for Bass Trombone 
Tyrrell - 40 Advanced Studies for Bb Bass

SOLOS

Beaucamp - Cortege 
Bozza - Allegro et Finale 
Casterede - Fantasie Concertante 
Galliard/Marx - Six Sonatas 
George - Concerto 
Gotkovsk - Lied 
Haddad - Suite  
Hartley - Sonata Breve 
Hindemith - Drei Leichte Stuecke (3 Easy Pieces), Sonata (Tuba) 
Jacob - Cameos 
Concerto - Lebedev, 
Koetsier - Allegro maestoso 
McCarty - Sonata for Bass Trombone 
Pilss - Concerto 
Spillman - 2 Songs, Concerto
Stevens - Sonatina 
Tcherepnine - Andante 
White -Tetra Ergon 
Wilder - Sonata

Jazz Studies 
Aebersold, New Approach Series 
Coker - Patterns for Jazz 
Gale – Twenty-Four Jazz Etudes (optional tape) 
Grey - Plunger Techniques 
Raph, Dance Band Reading 
Snidero - Easy Jazz Conception w/CD
Band-In-A-Box (if computer hardware is accessible)
Transcriptions/Recordings

Clef Studies (begin with the Fink books, tenor then alto) 
Blazhevich, Studies in Clefs 
Fink, Introducing Tenor Clef, Introducing Alto Clef 
Sauer, Clef Studies 
Edwards

Four Year Progression for Tuba 

The Methods/Etudes and Solo sections of this document are lists from which the instructor and student can choose.   Note that there is some overlap of material between the years. Etude books are often used over several years, and solos can be appropriate at more than one level.  Other material at the appropriate level can also be substituted by the instructor. BA and BMT majors would be expected to work from 2-3 etude books each semester, as well as learn two movements from a solo, or a solo piece that has contrasting sections.  BA majors would be expected to cover more ground in the etude books, and to learn an entire multi-movement work, or two contrasting solos each semester.      

* indicates repertoire most commonly used 

Freshman Year 

SCALES 
All major scales and arpeggios – 1 or 2 octaves (teacher's discretion) 
Chromatic scale – two or more octaves at teacher's discretion 

WARM-UPS 
Remington – Warm-ups 
Pilafian and Sheridan – Brass Gym 

METHODS/ETUDES 
Arban – Famous Method for Tuba (or Trombone, 8va basso) 
Blazhevich - 70 Studies, Vol. 1 (Robert King edition)* 
Bordogni/Rochut - Melodious Etudes for Trombone, Vol. 1, 8vabasso* 
Getchell - Practical Studies 
Kopprasch – 60 Selected Studies 
Tyrell - 40 Advanced Studies*

Vasiliev – 24 Melodious Etudes

SOLOS 
Bach - Air and Bouree* 
Buchtel – Introduction and Rondo 
Capuzzi – Andante & Rondo* 
Haddad – Suite*, Two Pieces    
Handel/Little – Larghetto & Allegro 
Holmes – Lento 
Marcello/Little – Sonata No. 1 in F Major, Sonata in C Major, Sonata in a minor* 
Mozart/Swanson – Menuetto 
Rachmaninoff/Allen – Vocalise* 
Schubert/Fischer - Frhlingsglaube 
Sowerby – Chaccone 
Telemann/Chidester – Andante and Allegro,  Adagio and Allegro, Prelude and Allegretto* 
Vaughan - Concert piece No. 1 
York – Sea Dreams 

ORCHESTRAL/BAND EXCERPTS 
Holst – First Suite in Eb, Second Suite in F 
  
Sophomore Year 

SCALES 
All natural minor scales and arpeggios – 2 octaves (teacher's discretion) 
Chromatic scale – up to 3 octaves 

WARMUPS 
Clark – Technical Studies for Cornet 

METHODS/ETUDES 
Arban – Famous Method for Tuba (or Trombone, 8va basso) 
Bordogni/Rochut - Melodious Etudes for Trombone, Vol. 1, 8va basso* 
Blazhevich - 70 Studies, Vol. 1 (& II) (Robert King edition)* 
Cimera – 73 Advanced Etudes* 
Kopprasch – 60 Selected Studies* 
Tyrell - 40 Advanced Studies 
Vasiliev – 24 Melodious Etudes 

SOLOS 
Barat - Introduction and Dance* 
Bencriscutto – Concertino (1969)* 
Beversdorf – Sonata* 
Brahms/Little – Five Songs 
Buchtel – Introduction and Rondo 
Capuzzi – Andante & Rondo* 
Corwell – New England Reveries (tape)* 
Curnow – Concertino* 
Frackenpohl – Concertino, Variations                                                                             
Galliard - Sonata No. 6 
Hartley – Sonata, Sonatina* 
Haydn/Bowles – Sonata No. 7 (1st mvt.) 
Holmes – Lento 
Marcello/Little – Sonata No. 1 in F Major, Sonata No 5 in C Major, Sonata in a minor* 
Mozart/Barnes – Per Questa Bella Mano 
Saint-Saëns/Fischer - Romance, Op. 36* 
Schubert/Fischer – Frhlingsglaube 
Tcherepnine – Andante* 
Vaughan Williams - 6 Studies in English Folk Song  (Cello)* 
Vivaldi – Sonata in A minor (No 3?)  Morris * 
York – Sea Dreams 

ORCHESTRAL/BAND EXCERPTS 
Berlioz – Hungarian March 
Brahms – Symphony No. 2 
Respighi – Fountains of Rome 
Tchaikovsky – Symphony No. 4, No. 6 

Junior Year 

SCALES 
Minor scales, all three forms – 2-3 octaves (teacher's discretion) 
Chromatic scale, full range of the instrument 

WARMUPS 
Clarke - Technical Studies for the Cornet 
Schlossberg - Daily Drills and Technical Studies for Trumpet 

ETUDES 
Blazhevich - 70 Studies, Vol. 2 (Robert King edition) 
Bordogni/Rochut - Melodious Etudes for Trombone, Vol. 2, 8va basso* 
Cimera – 73 Advanced Etudes* 
Kopprasch - 60 Selected Studies* 
Sear – Etudes for Tuba* 
Snedecor - Low Etudes for Tuba* 

SOLOS 
Beversdorf – Sonata* 
Brahms/Fischer - Zigeunerlieder, Op. 103, Vier ernste Gesangs (Four Serious Songs) 
Broughton - Sonata (also called Concerto)* 
Corwell – Aboriginal Voices (tape) 
Dufaye – Suite Marine* 
Frackenpohl – Concertino 
Gabrieli, D – Ricercar unacc 
Gregson – Concerto* 
Handel – Sonata No. 6 in F Major* 
Hartley – Suite 
Hindemith – Sonata* 
Lebedev - Konzert (European edition)* 
Marcello/Little – Sonata No. 1 in F Major, Sonata No 5 in C Major, Sonata in a minor* 
Mozart/Barnes –  Horn Concerto No. 3, No. 4 
Muczynski – Impromptus 
Nelhybel - Suite 
Painpa/Voxman – Concert piece 
Persichetti - Serenade No. 12* 
Telemann - Sonata in f (Cello)* 
Tcherepnine – Andante* 
Vaughan Williams - 6 Studies in English Folk Song (Cello)* 

ORCHESTRAL EXCERPTS 
Bruckner – Symphony No. 7 
Strauss – Ein Heldenleben, Til Eulenspiegel 
Wagner – Die Meistersinger 
Wagner – Prelude to Act III of Lohengrin 

Senior Year 

SCALES 
Diatonic and chromatic scale patterns, expand range 

WARMUPS 
Clarke – Technical Studies for the Cornet 
Schlossberg – Daily Drills and Technical Studies for Trumpet 

ETUDES 
Bordogni/Rochut - Melodious Etudes for Trombone, Vols. 2 & 3, 8vabasso* 
Fritze – 20 Characteristic Studies* 
Maenz - 12 Spezial Studien 
Sear – Etudes for Tuba* 
Snedecor – Low Etudes* 

SOLOS 
Arnold – Fantasy 
Barnes – Yorkshire Ballad 
Beversdorf – Sonata* 
Broughton - Sonata (also called Concerto)* 
Elgar/Fischer - Chanson de nuit, Op. 15, No. 1 
Elgar/Fischer - Chanson de matin, Op. 15, No. 2 
Elgar/Fischer - Salut d'amour, Op. 12 
Frackenpohl – Sonata 
Gregson – Concerto*     
Handel – Sonata No. 6 in F Major* 
Hartley – Sonata*                                 
Hindemith – Sonata* 
Jacob – Suite 
Koetsier – Sonatina*                                                     
Lebedev - Konzert (European edition)* 
McFarland - Sketches 
Muczynski – Impromptus 
Persichetti - Serenade No. 12 (unacc)* 
Spillman – Four Greek Preludes (unacc) 
Stevens – Sonatina* 
Strauss – Nocturne*, Concerto for Horn op 11 
Torchinsky - Orchestral Excerpts 
Vaughan Williams – Concerto* 
Wilder - Suite No. 1 ("Effie")*, Sonata, Elegy for a Whale 
York – Arioso Gloria 

ORCHESTAL EXCERPTS

Berlioz – Symphonie Fantastique 
Mahler – Symphony No. 1, mvt. 3 
Prokofiev – Symphony No. 5, mvt. 1 
Stravinsky – Petrouchka "Peasant with Bear" 
Wagner – Die Walkre


Four Year Progression for Viola 

The Methods/Etudes and Solo sections of this document are samples of materials that are appropriate at the various levels.   Note that there is some overlap of material between the years.   Etude books are often used over several years, and solos can be appropriate at more than one level.  Other material at the appropriate level can also be substituted by the instructor.  The tables below describe minimum requirements. 
 

Year, 
Semester MUAP 1200/3200 
(BA) MUAP 1100/3100 
(BA and BMT)
Fresh 1
Review of fundamental technique 
3-octave scales and arpeggios 
Grade 1 and 2 studies (2) and Grade 2 repertoire (1 mvt.)
Review of fundamental technique 
3-octave C scale and arpeggios 
Grade 1 studies (1) and repertoire 
(1 mvt.)
Fresh 2
3-oct. scales, arpeggios, 7ths 
Grade 2 and 3 studies (2) and repertoire (1 mvt.)
Review of fundamental technique 
3-octave scales and arpeggios 
Grade 1 and 2 studies (2) and repertoire 
(1 mvt.)
Soph 1
3-oct. scales, arpeggios, 7ths 
Simple double stops 
Grade 3 studies (1) and repertoire (1 mvt.)
3-oct. scales, arpeggios, 7ths 
Grade 1 and 2 studies (2) and repertoire 
(1 mvt.)
Soph 2
3-oct. scales, arpeggios, 7ths 
Simple double stops 
Grade 3 and 4 studies (1) and repertoire 
(1 mvt.)
3-octave scales, arpeggios,  7ths 
Grade 2 studies (2) and repertoire (1 mvt.)
Junior 1
3- or 4-oct. scales, arpeggios, 7ths 
Double stops 
Grade 3 and 4 studies (1) and repertoire (2 mvts.)
3-octave scales, arpeggios,  7ths 
Grade 2 and 3 studies (2) and repertoire 
(1 mvt.)
Junior 2
3- or 4-oct. scales, arpeggios, 7ths 
Double stops 
Grade 4 and 5 studies (1) and repertoire (2 mvts.) 
Junior recital (30 minutes. Includes concerto movement or concert piece)
3-octave scales, arpeggios,  7ths 
Grade 2 and 3 studies and repertoire
Senior Year
Preparation for senior recital/auditions. 
Technical studies as appropriate. 
Three movements from Grade 4-5 repertoire performed at senior recital (50 minutes. Includes concerto movement  performed from memory).
1st semester: 3- or 4-oct. (C) scales, arpeggios, 7ths, simple double stops. 
Grade 3 and 4 studies and repertoire (2 mvts) 
2nd semester: 3- or 4-oct. (C, Db, D) scales, arpeggios, 7ths, simple double stops. Grade 3 and 4 studies and repertoire (2 mvts.) 
Optional junior recital (30 minutes).


Sample Graded Methods/Etudes and Solos 

Grade 1 Repertoire 
Marcello, Sonata in E 
Doktor, First Solos for the Viola Player 
Eccles, Sonata in G
Grade 1 Technical Literature 
Hoffman, Viola Studies, op. 86 
Kreutzer, 42 Etudes, no. 2 
Schradieck, School of Viola Technics, vol. 1, 
     no. 1 
Whistler, Introducing the Positions v. 1 
Wohlfahrt, Foundation Studies
Grade 2 Repertoire 
Bruch, Kol Nidrei 
Handel, Sonatas 
Liszt, Romance Oubliee 
Seitz, Student Concerto no. 3 
Telemann, Concerto in G 
Vivaldi, Concerto in D, Op. 3/6
Grade 2 Technical Literature 
Don't, 24 Preparatory Studies, Op. 37 
Kreutzer, 42 Etudes, nos. 9, 11, 13 
Mazas, Etudes Speciales, Op. 36, vol. 1 
Schradieck, School of Viola Technics, vol. 1 
Whistler, Introducing the Positions, v. 1-2
Grade 3 Repertoire 
Bach, J.C. (Casadesus) Concerto in C 
Benda, Concerto in F 
Bloch, Meditation and Processional 
Faure, Elegy 
Handel (Casadesus), Concerto in B 
Hindemith, Trauermusik 
Sitt, Romance
Grade 3 Technical literature 
Kreutzer, 42 Etudes 
Mazas, Etudes Brillantes, Op. 36, vol. 2 
Sevcik, School of Technique, Op. 1, part 2-3 
Schradieck, School of Viola Technique, 
vol. 1-3 
Sitt, 15 Etudes, Op. 116 
            
Grade 4 Repertoire 
Bach, J. S. Six Cello Suites (selected mvts.) 
Bloch, Suite Hebraique 
Brahms, Sonatas Op. 120, nos. 1-2 
Britten, Lachrymae 
Hoffmeister, Concerto in D 
Schumann, Marchenbilder, Op. 113 
Vanhal, Concerto in F 
Weber, Andante e Rondo Ongarese
Grade 4 Technical Literature 
Bruni, 25 Studies 
Campagnoli, 41 Caprices 
Kreutzer, 42 Etudes 
Rode, 24 Caprices
Grade 5 Repertoire 
Bach, J. S.  Six Cello Suites 
Clarke, Sonata 
Hindemith, Der Schawanendreher 
Mozart, Symphonie Concertante in Eb 
Walton, Concerto 
Grade 5 Technical Literature 
Don't, 24 Etudes and Caprices, Op. 35 
Rode, 24 Caprices 
  

Four Year Progression for Violin

The Methods/Etudes and Solo sections of this document are samples of materials that are appropriate at the various levels. Note that there is some overlap of material between the years.   Etude books are often used over several years, and solos can be appropriate at more than one level. Other material at the appropriate level can also be substituted by the instructor. The tables below describe minimum requirements.      

Yr/sem

MUAP 1200/3200

(BA)

MUAP 1100/3100

(BA and BMT)

F 1

Review of fundamental technique

3-octave scales and arpeggios

Grade 1 and 2 studies (2) and Grade 2 repertoire (1 mvt.)

Review of fundamental technique

3-octave G scale and arpeggios

Grade 1 studies (1) and repertoire

(1 mvt.)

F 2

3- or 4-oct. scales, arpeggios, 7ths

Grade 2 and 3 studies (2) and repertoire (1 mvt.)

Review of fundamental technique

3-octave scales and arpeggios

Grade 1 and 2 studies (2) and repertoire

(1 mvt.)

S 1

3- or 4-oct. scales, arpeggios, 7ths

Simple double stops

Grade 3 studies (1) and repertoire (1 mvt.)

3-octave scales, arpeggios, 7ths

Grade 1 and 2 studies (2) and repertoire

(1 mvt.)

S 2

3- or 4-oct. scales, arpeggios, 7ths

Simple double stops

Grade 3 and 4 studies (1) and repertoire

(1 mvt.)

3-octave scales, arpeggios,  7ths

Grade 2 studies (2) and repertoire (1 mvt.)

Jr 1

3- or 4-oct. scales, arpeggios, 7ths

Double stops

Grade 3 and 4 studies (1) and repertoire (2 mvts.)

3-octave scales, arpeggios,  7ths

Simple double stops

Grade 2 and 3 studies (2) and repertoire

(1 mvt.)

Jr 2

3- or 4-oct. scales, arpeggios, 7ths

Double stops

Grade 4 and 5 studies (1) and repertoire (2 mvts.)

Junior recital (30 minutes. Includes concerto movement or concert piece)

3-octave scales, arpeggios,  7ths

Simple double stops

Grade 2 and 3 studies and repertoire

Sr

Preparation for senior recital/auditions.

Technical studies as appropriate.

Three movements from Grade 4-5 repertoire performed at senior recital (50 minutes. Includes concerto movement performed from memory).

1st semester: 3- or 4-oct. (G) scales, arpeggios, 7ths, double stops.

 Grade 3 and 4 studies and repertoire (2 movements/pieces).

2nd semester: 3- or 4-oct. (G, Ab, A) scales, arpeggios, 7ths, double stops. Grade 3 and 4 studies and repertoire (2 mvts.)

Optional junior recital (30 minutes).

Sample Graded Methods/Etudes and Solos
 

Grade 1 Repertoire

Beethoven, Minuet in G

Handel, Sonata in E (I-II)

Rieding, Concerto in B

Seitz, Concerto no. 4

Vivaldi, Concerto in A, Op. 3/6

Mozart, Concerto no. 2, K 211 (arr. Rokos)

Grade 1 Technical Literature

Kreutzer, 42 Etudes, no. 2

Kayser, 36 Studies, Op. 20

Schradieck, School of Violin Technics, vol. 1,

     no. 1

Sitt, Studies for Violin, Op. 32

Whistler, Introducing the Positions

Wohlfahrt, 60 Etudes, Op. 45

Grade 2 Repertoire

Bartok, Rumanian Folk Dances

Handel, 6 Sonatas

Fiocco, Allegro

Kreisler, Sicilienne and Rigaudon

Ortmans, Concertino

Grade 2 Technical Literature

Don't, 24 Preparatory Studies, Op. 37

Kreutzer, 42 Etudes, nos. 9, 11, 13

Schradieck, School of Violin Technics, vol. 1

Sevcik, School of Bowing, Op. 2, Bk. 1

Sevcik, Shifting the Position, Op. 8

Grade 3 Repertoire

Accolay, Concerto no. 1 in A

Bach, J. S., Concerto no. 1 in A

Beethoven, Romance in F

Gluck, Melodie

Kreisler, Liebesleid

Mozart, Violin Sonatas in Bb, G or E

Rieding, Concertino in Hungarian Style

Grade 3 Technical literature

Kreutzer, 42 Etudes

Mazas, Etudes Speciales, Op. 36, vol. 1

Mazas, Etudes Brillantes, Op. 36, vol. 2

Grade 4 Repertoire

Mozart, Concerto no. 3 in G (K. 216)

Bach, J. S. Concerto no. 2 in E

Beethoven, Violin Sonatas, nos. 1, 4, 5

Beriot, Concerto no. 9

Lalo, Symphonie Espagnole

Rachmaninov, Vocalise

Schumann, Sonata in A

Tartini, Sonata in G ("Didona")

Vitali, Chaconne

Wieniawski, Legende

Grade 4 Technical Literature

Kreutzer, 42 Etudes

Rode, 24 Caprices

Grade 5 Repertoire

Bach, J. S. Six Sonatas and Partitas (selected movements)

Beethoven, Violin Sonatas

Bruch, Violin Concerto no. 1

Mendelssohn, Concerto in E minor

Mozart, Concerto no. 4

Mozart, Concerto no. 5

Saint-Saens, Introduction et Rondo

      Capriccioso

Wieniawski, Concerto no. 2                 

Grade 5 Technical Literature

Don't, 24 Etudes and Caprices, Op. 35

Rode, 24 Caprices

Guidelines for voice students: 


I. Vocal study 

   1.  Students enrolled in applied voice will complete a contract within one month of the beginning of the term.  This document outlines the requirements of the class as well as the literature that should be learned during the term. 

II.  Studio Class 

   1.   Studio class meets Tuesdays 12:30-1:45. 

   2.  All students enrolled in MUAP 1000, 1119, 1219, 3119, 3219 and 5100 must attend studio class where they will have the opportunity to discuss vocal issues and perform for one another.  Studio class will be conducted by the full-time voice faculty and any adjunct faculty who are able to attend.  

   3.  Attendance policy: Students are allowed to miss 2 studio classes. Roll will be taken at each studio class. 

   4. All students must sing in studio class as assigned.  

   5.  Accompanist: An accompanist will be provided for studio class. 

III.  Recital attendance: Vocal students must follow the departmental guidelines for this course (MUSC 1990). 

   1. Recital class 

      a. Recital class meets Thursdays 12:30-1:45. 

      b. Students must attend the announced required amount of classes per semester to receive credit for the class.  They will have an assigned number of outside recitals to attend that will be indicated at the beginning of the term.  Students will be given a Recital Card, which will be punched with each performance and class attended. 

      c. Music therapy students are required to complete four semesters of recital class. (Note: MT students must perform in Recital Class once a semester, regardless of whether or not they are enrolled). 

      d. Music minors must enroll in three semesters of recital class, but they are not required to attend or perform in the 12:30 class.  However, they are required to attend a designated amount of outside recitals, indicated by a punch on their recital card that will be given to the office at the end of term. 

   2.  Outside recital attendance 

      a. Students must attend the semester's designated number of recitals outside of recital class. 

       b. Students must turn in punched card to office at the end of the semester. 


IV.   Recital appearance – This is part of the performance requirements for the applied studio as stated in departmental guidelines – Each performance must be scheduled with the approval of the teacher. 
   1. Students should complete the recital class form, which lists the works to be performed and requires the applied teacher's signature.  Forms are available in the music office.  Students must perform the selections as approved by the applied teacher and as indicated on the form. No substitutions will be allowed. 

   2.  First semester freshmen are exempt from performing in recital class. 

   3.  Second semester freshmen, all sophomores, juniors and seniors must perform in recital class. 

   4. An authorized junior or senior recital fulfills one recital appearance. 

   5. Recital appearance performance – Failure to turn in paperwork will result in losing your place on the program, which will affect your applied grade. Failure to adequately prepare for your performance will also affect your applied grade. 

V.  Recital critique 

   1. Students must write a one-page critique of one professional vocal performance per semester. Papers must be given to the applied teacher no later than two weeks following the performance, or the student will not receive credit for that assignment.

VI. Juries 

   1. All students enrolled in MUSC 1119, 1219, 3119, 3219, and 5100 must perform a jury at the end of the semester.  

   2. Students enrolled in MUSC 1000 will perform a jury upon teacher recommendation. 

   3. The jury panel will consist of all members of the voice faculty.  

   4.The student will perform one selection of his/her own choosing. The remainder of the selections will be heard at the discretion of the jury panel. 

   5. All students must memorize the minimum requirement of songs for juries.  

   6. In a given semester, if all of the literature presented in a recital includes the minimum requirement of new songs for that semester, the jury will be waived. 

   7. In order to gain acceptance into upper division vocal study (MUAP 3119 or 3219), the student must pass a hearing consisting of vocal repertoire in a minimum of three languages.  This hearing usually will occur during the jury for the fourth semester of MUAP 1119 or MUAP 1219. 

   8. Even though a student may pass the upper division jury in voice, they must pass the other music requirements to be allowed into upper division study. 

VII.  Accompanists 

   1. An accompanist will be provided for half (25 minutes) of the lesson. 

   2. Rehearsals outside of the lesson may be scheduled with the accompanist as the accompanist schedule allows. Extra sessions are not guaranteed, and students must make an appointment for each session requested. The accompanist is not provided to teach notes and diction to the student, but to rehearse ensemble and musicality of the literature. 

VIII. Junior Recital and Senior Recital: When planning a recital, students must follow the departmental policy concerning applied studios. 

1. Before scheduling a recital, a student must have the approval of the applied teacher and confirmation from your 
accompanist.  A Recital Application Form must be obtained from the music office and correctly completed. While there may be changes in the program along the way, the program should be complete on the application form.  The form must be turned in no later than the beginning of the semester in which the recital is to take place. 

2. When several possible dates have been chosen, the student checks with the Department Secretary for availability in Max Noah Hall. When a date has been chosen, the student files a space reservation request. The student should also schedule a hearing date at this time (be sure that all full-time applied voice faculty, the applied teacher, and the accompanist is available for the hearing). 

3. Students must pass a recital hearing two or more weeks before the proposed date of the performance.  The hearing committee may choose to hear any portion of the recital program.  The student must pass the hearing in order to present the recital.  

4. If a student does not pass the hearing, a second hearing may be scheduled upon the applied teacher's recommendation.

 

Department of Music
202 Porter Hall  |  Campus Box 66
Milledgeville, GA 31061
Phone: (478) 445-8289
Fax: (478) 445-1633