Arranging 1 | |
| Course Number: | AR-111 |
| Credits: | 2 credits |
| Prerequisites: | PW-110 or satisfactory placement score, and HR-111 |
| Course Chair: | M. Nicholl |
| Required of: | All |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A study of the musical concepts of melody, rhythm, harmony, and form as applied to the principles and techniques of writing and arranging for the rhythm section (drums, bass, guitar, keyboards, basic percussion) and a lead-line for a solo instrument, two horns (trumpet plus alto or tenor saxophone), or voice. Focus on the conceptual process of combining individual components to create a musically satisfying arrangement. Exploration of the use and integration of MIDI technology and sequencing as they relate to rhythm section and lead-line writing. Study of various contemporary musical styles and musical concepts that comprise them, including writing from the "bottom up" (groove-driven) and "top down" (working with a melody in a lead instrument or voice). Writing assignments will incorporate combinations of acoustic, electronic, and MIDI instruments. |
Arranging 1 | |
| Course Number: | AR-111 |
| Credits: | 2 credits |
| Prerequisites: | PW-110 or satisfactory placement score, and HR-111 |
| Course Chair: | M. Nicholl |
| Required of: | All |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A study of the musical concepts of melody, rhythm, harmony, and form as applied to the principles and techniques of writing and arranging for the rhythm section (drums, bass, guitar, keyboards, basic percussion) and a lead-line for a solo instrument, two horns (trumpet plus alto or tenor saxophone), or voice. Focus on the conceptual process of combining individual components to create a musically satisfying arrangement. Exploration of the use and integration of MIDI technology and sequencing as they relate to rhythm section and lead-line writing. Study of various contemporary musical styles and musical concepts that comprise them, including writing from the "bottom up" (groove-driven) and "top down" (working with a melody in a lead instrument or voice). Writing assignments will incorporate combinations of acoustic, electronic, and MIDI instruments. |
Arranging 2 | |
| Course Number: | AR-112 |
| Credits: | 2 credits |
| Prerequisites: | AR-111 and HR-112 |
| Course Chair: | M. Nicholl |
| Required of: | CWPR and JCMP majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Study of the properties of the trumpet, alto saxophone, tenor saxophone, trombone, and baritone saxophone, and the writing/arranging processes of standard and spread voicings, approach techniques, melodic embellishment, and guide tone backgrounds. Focus is on applying the writing processes to soli and background writing for two-, three-, four-, and five-part combinations of these instruments. It is recommended that CW-171 be taken by CWPR majors prior to enrolling in AR-112. |
Chord Scale Voicings for Arranging | |
| Course Number: | AR-201 |
| Credits: | 2 credits |
| Prerequisites: | AR-112 and HR-211 |
| Course Chair: | K. Pullig |
| Required of: | JCMP majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Five- and six-part writing for instruments. Application of voicings in seconds, thirds, and fourths. Upper-structure triads, clusters, and other nonmechanical voicings derived from chord scales. Extensive score analysis. |
Music Preparation 1 | |
| Course Number: | AR-203 |
| Credits: | 2 credits |
| Prerequisites: | AR-111 |
| Course Chair: | K. Pullig |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Skills, tools, and techniques used in handwritten notation, including score layout and part design and layout as used in the professional music environment. Special problems, including divisi parts, vocal parts, multistave parts, master rhythm parts, and copying from a sketch. Use of a calligraphy pen and other specialized equipment and supplies used by professional music copyists. |
A Survey of Jazz Composition and Arranging | |
| Course Number: | AR-228 |
| Credits: | 2 credits |
| Prerequisites: | None |
| Course Chair: | K. Pullig |
| Required of: | JCMP majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A comprehensive study of the evolution of jazz arranging and composition from the 1920s to the present. Score analysis of representative works by Fletcher Henderson, Duke Ellington, Gil Evans, Thad Jones, and others. Extensive listening. Written arrangements not required. |
Scoring for Instrumental Ensembles in the Secondary School | |
| Course Number: | AR-313 |
| Credits: | 2 credits |
| Prerequisites: | CM-212 or both CM-252 and CP-212 |
| Course Chair: | C. Adderley |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall semester in odd-numbered years |
| Description: | Orchestration for wind, string, and percussion groups as used at the secondary school level. Principles of score layout/arranging for concert band and high school orchestra. |
Arranging for Secondary Vocal Ensemble | |
| Course Number: | AR-314 |
| Credits: | 2 credits |
| Prerequisites: | CM-212 or CM-252 |
| Course Chair: | C. Adderley |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring semester in odd-numbered years |
| Description: | Arranging for high school vocal groups. Principles of part-writing for various combinations of voices. Writing piano accompaniments. End-of-semester arranging project required. |
Arranging for High School Jazz Ensemble | |
| Course Number: | AR-316 |
| Credits: | 2 credits |
| Prerequisites: | AR-112 |
| Course Chair: | C. Adderley |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring semester in even-numbered years |
| Description: | Principles of writing for high school jazz ensembles with standard and mixed instrumentation. Range problems, rhythm section parts, special considerations for high school musicians. Examination of published scores. |
Contemporary Arranging and Composition | |
| Course Number: | AR-321 |
| Credits: | 2 credits |
| Prerequisites: | CM-371 |
| Course Chair: | K. Pullig |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | Development of individual writing creativity. Emphasis on the building of confidence in writing clear, memorable lead lines based on standard song forms. Discussions on the relationship of speech patterns to melody. Individual conferences with the instructor when necessary. Written projects required. |
Arranging for Contemporary Jazz Ensemble | |
| Course Number: | AR-328 |
| Credits: | 2 credits |
| Prerequisites: | AR-201 and HR-212 |
| Course Chair: | K. Pullig |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall |
| Description: | The arranging of original tunes combining both traditional jazz techniques and contemporary compositional concepts. Analysis of taped examples. |
Big Band Arranging and Score Analysis | |
| Course Number: | AR-331 |
| Credits: | 2 credits |
| Prerequisites: | AR-201, AR-228, and HR-212 |
| Course Chair: | K. Pullig |
| Required of: | JCMP majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Methodology of big band arranging. Analysis of scores by classic and contemporary big band arrangers. Library assignments and class discussion. Written arrangements and score analysis projects required. |
Jazz Arranging for Small Ensemble | |
| Course Number: | AR-340 |
| Credits: | 2 credits |
| Prerequisites: | AR-201 |
| Course Chair: | K. Pullig |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Jazz arranging techniques for the rhythm section and various small-group instrumental combinations of up to three horns (melodic voices). Emphasis on developing complete rhythm section sound (with or without winds) and advanced voicing techniques (including interval-based voicings, linear approach techniques, and constant structure). |
Advanced Jazz Arranging for Large Ensemble | |
| Course Number: | AR-407 |
| Credits: | 2 credits |
| Prerequisites: | Written approval of course chair |
| Course Chair: | K. Pullig |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Extended applications of standard big band scoring techniques. Analysis of devices found in the compositions of major jazz writers. |
Tonal Harmony and Composition 1 | |
| Course Number: | CM-211 |
| Credits: | 2 credits |
| Prerequisites: | HR-111 and either AR-111 or PW-110 |
| Course Chair: | G. Fritze |
| Required of: | Degree- all except MUED majors; Diploma - FILM majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Functional tonal harmony analyzed and composed in various musical textures. Emphasis on voice leading, melodic writing, and figured bass. |
Tonal Harmony and Composition 2 | |
| Course Number: | CM-212 |
| Credits: | 2 credits |
| Prerequisites: | CM-211 and CP-211 |
| Course Chair: | G. Fritze |
| Required of: | Degree- all except MUED majors; Diploma - FILM majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Continuation of CM-211. Advanced tonal harmony and intermediate compositional procedures. Emphasis on harmonies with sevenths, other upper extensions, chromatic alterations as well as modulation. |
Techniques of Tonal Writing | |
| Course Number: | CM-221 |
| Credits: | 2 credits |
| Prerequisites: | CM-212 and CP-212 |
| Course Chair: | G. Fritze |
| Required of: | COMP and FILM majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Specific techniques of traditional tonal composition. Conclusive and nonconclusive phrases; antecedent-consequent phrase relationships; open-ended phrase relationships; sequencing; modulation; large-scale tonal relationships; thematic variation and development. Application of these techniques in writing, using models from the classical period. |
Instrumentation and Score Preparation | |
| Course Number: | CM-231 |
| Credits: | 2 credits |
| Prerequisites: | CM-212 |
| Course Chair: | G. Fritze |
| Required of: | COMP and FILM majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | The technical aspects involved in creating finished, professional scores. Score layout; instrumental/vocal ranges and performance characteristics; special playing techniques and limitations; breath and bowing considerations; choice of key, meter, beat, and subdivision values; use of slurs, articulation marks, dynamics, tempo variation, and other devices for indicating expressive nuance; proper underlaying of vocal text; calligraphy; creating a practical piano reduction; extracting parts. |
Traditional Materials and Structure of Music 1 | |
| Course Number: | CM-251 |
| Credits: | 2 credits |
| Prerequisites: | HR-111 and either AR-111 or PW-110 |
| Course Chair: | G. Fritze |
| Required of: | MUED majors |
| Electable by: | MUED majors |
| Offered: | Spring, Summer, Fall |
| Description: | Diatonic harmonic analysis in various musical textures. Melody writing. Harmonization of melodies in various musical textures. |
Traditional Materials and Structure of Music 2 | |
| Course Number: | CM-252 |
| Credits: | 2 credits |
| Prerequisites: | CM-251 and CP-211 |
| Course Chair: | G. Fritze |
| Required of: | MUED majors |
| Electable by: | MUED majors |
| Offered: | Spring, Summer, Fall |
| Description: | Continuation of CM-251. Advanced traditional harmony and intermediate compositional procedures. Seventh chords, altered chords, modulation. |
Contemporary Techniques in Composition 1 | |
| Course Number: | CM-311 |
| Credits: | 2 credits |
| Prerequisites: | CM-221 and either COND-211, COND-216, or COND-221 |
| Course Chair: | G. Fritze |
| Required of: | COMP and FILM majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Specific techniques of traditional twentieth-century composition. Technical devices such as quartal harmony, serial writing, polytonality, and contrapuntal techniques. Assignments are directly related to each of these aspects of composition and are performed in class. |
Contemporary Techniques in Composition 2 | |
| Course Number: | CM-312 |
| Credits: | 2 credits |
| Prerequisites: | CM-311 and COND-211 or COND-216 |
| Course Chair: | G. Fritze |
| Required of: | COMP majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | The continuation of CM-311 with concentration on the employment of serial approaches to composition. Various composition assignments and a final project are required. |
New Music Composition and Performance Workshop | |
| Course Number: | CM-318 |
| Credits: | 2 credits |
| Prerequisites: | ET-111 and HR-111 |
| Course Chair: | G. Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | The workshop provides opportunities for student composers to hear performances of their own work, and for student performers to gain public performing experience of original student works and works written within the last 60 years. Important works of the twentieth century are explored. It is advisable, but not required, for students to have taken LHAN-261 prior to enrolling in this course. This course can be repeated for credit. |
Jazz Fusion Composition and Arranging for Small Ensemble | |
| Course Number: | CM-345 |
| Credits: | 2 credits |
| Prerequisites: | HR-212 |
| Course Chair: | K. Pullig |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Through the study of major artists and recordings, the student will identify the compositional and instrumental practices of the jazz fusion idiom and apply those to writing assignments and projects. Jazz fusion is looked at broadly and may include a variety of idiomatic 20th century, world music, and popular music techniques. The course does not follow a particular methodology, but rather encourages the student to find his/her own voice within the genre. The class begins with a historical survey of the jazz fusion idiom starting with Miles Davis's landmark Bitches Brew recording and continues with the music of the alumni of Davis's influential bands, up to today. As students apply techniques and ideas learned, they will gain perspective as to how jazz fusion is part of music as a whole and examine some of the underlying principles that makes for good composition. |
Choral Composition | |
| Course Number: | CM-351 |
| Credits: | 2 credits |
| Prerequisites: | CM-212 |
| Course Chair: | G. Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Traditional scoring techniques for full chorus with and without instrumental accompaniment. A choral composition in a traditional style is required as a final project. |
Principles and Techniques of Writing for the Voice | |
| Course Number: | CM-355 |
| Credits: | 2 credits |
| Prerequisites: | CM-212 and CP-212 |
| Course Chair: | G. Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Examination of representative solo vocal works from the nineteenth and twentieth centuries (including works requiring nontraditional vocal techniques), with emphasis on dramatic organization, relationship of music to text, and appropriateness to the capacity of the trained singing voice. Special attention given to principles of vocal technique and speech articulation as they apply to composition, principles of vocal notation, and considerations of opera and musical theater. Students will be expected to write specified vocal passages based on assigned texts as well as participate in some improvisation and dramatic reading of texts in class. |
World Music Resources in Composition | |
| Course Number: | CM-361 |
| Credits: | 2 credits |
| Prerequisites: | AR-111, HR-211, and one of the following: CM-311, ILPH-351, ILPH-357, LHAN-345, LHAN-346, or PSW-351 |
| Course Chair: | G. Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Approaches to composition using ideas and aesthetic principles from a variety of non-Western musical traditions. Explorations of diverse concepts of rhythm, melody, timbre, and form as heard in the music of Africa, Asia, India, and South America. Assignments will include a substantial composition illustrating these principles. |
Jazz Composition I | |
| Course Number: | CM-371 |
| Credits: | 2 credits |
| Prerequisites: | AR-201 |
| Course Chair: | K. Pullig |
| Required of: | JCMP majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A systematic approach to the art of composing in the jazz idiom. Exploration of melodic, harmonic, and rhythmic principles. Standard jazz song form. Analysis of jazz standards. Arranging considerations applied as a means of enhancing a composition. Projects for small jazz group required. |
Jazz Composition 2 | |
| Course Number: | CM-373 |
| Credits: | 2 credits |
| Prerequisites: | CM-371 |
| Course Chair: | K. Pullig |
| Required of: | JCMP majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Composition of non-song-form jazz pieces based on motivic development. Discussion of form and content as it applies to episodic composition in jazz. Examination of representative works by various jazz composers. Various assignments and the composition of an episodic five-minute piece are required. |
Jazz Composition 3 | |
| Course Number: | CM-375 |
| Credits: | 2 credits |
| Prerequisites: | AR-331 and CM-373 |
| Course Chair: | K. Pullig |
| Required of: | JCMP majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Composition of multisection extended jazz compositions. Discussion of form and orchestration as it applies to extended composition in jazz. Examination of representative works by various jazz composers. Composition of a short chamber piece without rhythm section and a large-scale 10-minute piece is required. |
Post-Bebop Harmonic Innovations | |
| Course Number: | CM-385 |
| Credits: | 2 credits |
| Prerequisites: | HR-325 |
| Course Chair: | K. Pullig |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Survey and analysis of music growing out of the bebop jazz era. Extensive study of John Coltrane, Miles Davis, Wayne Shorter, and Thelonious Monk. Discussion of blues forms and modal harmony used in the 1960s. Application of concepts through composition of original music. |
Directed Study in Composition of Small Forms | |
| Course Number: | CM-398 |
| Credits: | 2 credits |
| Prerequisites: | CM-311 |
| Course Chair: | G. Fritze |
| Required of: | COMP majors |
| Electable by: | COMP majors |
| Offered: | Spring, Summer, Fall |
| Description: | Individualized instruction in composing small forms (i.e., short instrumental pieces, themes and variations, art songs, single movements of larger works, etc.). Emphasis on developing stylistic diversity and gaining experience in writing for various musical textures and ensemble combinations. |
Serial Techniques as Applied to Jazz Composition | |
| Course Number: | CM-434 |
| Credits: | 2 credits |
| Prerequisites: | AR-201 and written approval of course chair |
| Course Chair: | K. Pullig |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | Utilization of 12-tone methodology in creating a one-movement concert jazz piece. |
Composition Internship | |
| Course Number: | CM-495 |
| Credits: | 2 credits |
| Prerequisites: | Sixth-semester standing and written approval of course chair |
| Course Chair: | G. Fritze |
| Required of: | None |
| Electable by: | COMP majors |
| Offered: | Spring, Summer, Fall |
| Description: | Monitored and evaluated professional work experience in an environment related to the composition major. Placement is limited to situations available from or approved by the Office of Experiential Learning and the Composition Department chair or designee. To apply for an internship, students must see the internship coordinator in the Office of Experiential Learning prior to registering. Note: Equivalent credit for prior experience is not available due to the requirement of concurrent contract between the employer/supervisor and the college. International students in F-1 status must obtain authorization on their Form I-20 from the Counseling and Advising Center prior to beginning an internship. |
Directed Study in Sonata Composition | |
| Course Number: | CM-497 |
| Credits: | 2 credits |
| Prerequisites: | CM-312 and CM-398 |
| Course Chair: | G. Fritze |
| Required of: | COMP majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Sonata form. The composition of an extended three-movement sonata for piano or for solo instrument and piano. |
Directed Study in Orchestral Composition | |
| Course Number: | CM-498 |
| Credits: | 2 credits |
| Prerequisites: | CM-497 |
| Course Chair: | G. Fritze |
| Required of: | COMP majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | The composition of an extended work for full contemporary orchestra. Intended to demonstrate the ability to handle large orchestral groups in a characteristic and coherent manner. |
Directed Study in Jazz Composition | |
| Course Number: | CM-499 |
| Credits: | 2 credits |
| Prerequisites: | CM-375 |
| Course Chair: | K. Pullig |
| Required of: | JCMP majors |
| Electable by: | JCMP majors |
| Offered: | Spring, Fall |
| Description: | Individualized instruction designed to guide students majoring in jazz composition in the preparation of their graduation projects. |
Guitar Composition Techniques for Performers-Composers | |
| Course Number: | CM-P225 |
| Credits: | 2 credits |
| Prerequisites: | CM-211 |
| Course Chair: | G. Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Intermediate and advanced approach to guitar composition techniques. The course is designed for performers-composers and provides a comprehensive demonstration of the capabilities of the instrument and the most successful ways to compose through analysis, live performances, improvisation, and mostly elementary and advanced compositional techniques. Also covers performance techniques, extended compositional approaches (guitar and other instruments), resources and technologies of basic composition techniques, and mainly guitar music of the 20th century and beyond. |
The Art of Modulation | |
| Course Number: | CM-P227 |
| Credits: | 2 credits |
| Prerequisites: | CM-212, CP-212 |
| Course Chair: | G. Fritze |
| Required of: | All |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Students will explore and master the technique of modulation to the keys both closely related and distant. Using the concepts of "three degrees of kinship between keys" and the major-minor (minor-major) systems, the students will acquire the skill of gradual modulation as well as sudden modulation, as it was taught in the great Russian tradition.This practical and theoretical approach will both contrast and compliment current methods of handling this more advanced area of harmony, and will thus bring about for the student additional practical applications of these concepts. |
Introduction to Contemporary Composition | |
| Course Number: | CM-P353 |
| Credits: | 2 credits |
| Prerequisites: | CM-212 and CP-212 |
| Course Chair: | G. Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | Introduction to compositional concepts from the late 20th century with emphasis on students writing original compositions. |
Introduction to Electroacoustic and Computer Music for Composers | |
| Course Number: | CM-P357 |
| Credits: | 2 credits |
| Prerequisites: | CM-212 and CP-212 |
| Course Chair: | G. Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | Introduction to Electroacoustic and Computer Music for composers is an survey course in electronic and computer music composition designed especially for the students on Berklee composition tracks.This course is designed to provide the opportunity for Berklee composers to both develop technical skills and sharpen aesthetic sensibilities by studying the history and social conditions that influence the techniques of electroacoustic and computer music in a more or less chronological context of the classic studio model, from music concrete to additive and subtractive synthesis to modular concepts to CSound and the personal computer music explosion. The students also have the opportunity to develop digital editing skills that can be used in crafting better portfolio recordings. Special topics will also be explored as mandated by the class. |
Conducting 1 | |
| Course Number: | COND-211 |
| Credits: | 1 credit |
| Prerequisites: | ET-211 or ET-231 |
| Course Chair: | G. Fritze/G. Monseur |
| Required of: | Degree - all except MUED majors; Diploma - CWPR, COMP, FILM, and JCMP majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Techniques of conducting vocal and instrumental music. Fundamental beat patterns. Discussion and study of terminology, problems of tempo, phrasing, and articulation. |
Conducting 2 | |
| Course Number: | COND-212 |
| Credits: | 1 credit |
| Prerequisites: | COND-211 or COND-216 |
| Course Chair: | G. Fritze/G. Monseur |
| Required of: | Degree - all except MUED majors; Diploma - CWPR, COMP, FILM, and JCMP majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | The course assumes basic beat pattern knowledge and covers three areas: (1) symphonic conducting with an instrumental soloist (concerto), (2) symphonic conducting with a vocal soloist (operatic aria), and (3) symphonic conducting of a major modern work involving complete meter changes. Works used include a romantic piano or violin concerto, an operatic excerpt, and a piece such as Petrouchka, The Rite of Spring, or Symphonies of Wind Instruments. |
Conducting 1 with Live Keyboard Ensemble | |
| Course Number: | COND-216 |
| Credits: | 1 credit |
| Prerequisites: | ET-211 or ET-231 |
| Course Chair: | G. Fritze |
| Required of: | None |
| Electable by: | COMP and FILM majors |
| Offered: | Spring, Fall |
| Description: | This course emphasizes in-depth score study and elements involved with the formulation of musical ideas, the role of the conductor, and the proper kind of relationship between the conductor and the orchestra. Students gain valuable experience rehearsing and conducting an ensemble. The course utilizes eight keyboards, allowing the formation of an in-class live keyboard ensemble creating a virtual orchestral sound. Each of eight performers play their own individual lines from the score while one person conducts and rehearses the ensemble. Each conductor will be videotaped while in front of the ensemble for further study. |
Vocal Conducting for Music Education Majors | |
| Course Number: | COND-221 |
| Credits: | 2 credits |
| Prerequisites: | None |
| Course Chair: | C. Adderley |
| Required of: | MUED majors; MTHE majors not taking COND-222 |
| Electable by: | MUED and MTHE majors |
| Offered: | Spring, Summer, Fall |
| Description: | Fundamental beat patterns, basic conducting technique, phrasing and articulation, problems of tempo. Discussion and study of terminology. Lab sessions for choral application of classroom skills. Geared to the needs of public school music educators. Emphasis on secondary school repertoire. |
Instrumental Conducting for Music Education Majors | |
| Course Number: | COND-222 |
| Credits: | 2 credits |
| Prerequisites: | COND-221 or written approval of course chair |
| Course Chair: | C. Adderley |
| Required of: | MUED majors; MTHE majors not taking COND-221 |
| Electable by: | MUED and MTHE majors |
| Offered: | Spring, Summer, Fall |
| Description: | Fundamental beat patterns, basic conducting technique, phrasing and articulation, problems of tempo. Discussion and study of score analysis. Lab sessions for instrumental application of classroom skills. Geared to the needs of public school music educators. NOTE: Performance on secondary instrument(s) is required. |
Advanced Conducting Seminar with Live Orchestra | |
| Course Number: | COND-311 |
| Credits: | 2 credits |
| Prerequisites: | Written approval of instructor and course chair, and either COND-351 or COND-498 |
| Course Chair: | G. Fritze/G. Monseur |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | This course is designed for the student who wishes to further abilities in conducting. Emphasis is on rehearsal techniques and interpretation, while working with a live orchestral ensemble. |
Vocal Rehearsal Techniques for Music Education Majors | |
| Course Number: | COND-321 |
| Credits: | 2 credits |
| Prerequisites: | COND-222 |
| Course Chair: | C. Adderley |
| Required of: | MUED majors |
| Electable by: | MUED majors |
| Offered: | Spring, Summer, Fall |
| Description: | Detailed attention to typical vocal repertoire with extensive analysis and application of rehearsal techniques as they apply to specific public school groups. More advanced lab sessions for application of classroom principles. |
Instrumental Rehearsal Techniques for Music Education Majors | |
| Course Number: | COND-322 |
| Credits: | 2 credits |
| Prerequisites: | COND-222 |
| Course Chair: | C. Adderley |
| Required of: | MUED majors |
| Electable by: | MUED majors |
| Offered: | Spring, Summer, Fall |
| Description: | Detailed attention to typical instrumental repertoire with extensive analysis and application of rehearsal techniques as they apply to specific public school groups. More advanced lab sessions for application of classroom principles. NOTE: Performance on secondary instrument(s) is required. |
Advanced Conducting Workshop with Live Keyboard Ensemble | |
| Course Number: | COND-351 |
| Credits: | 2 credits |
| Prerequisites: | COND-212 |
| Course Chair: | G. Fritze/G. Monseur |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A practical course for conductors and music directors in preparation, organization, rehearsal, and recording under studio conditions. Emphasis on establishing fluency in conducting and rehearsal techniques to maximize efficiency in the session. |
Conducting for Film and TV Production | |
| Course Number: | COND-361 |
| Credits: | 2 credits |
| Prerequisites: | COND-351 and written approval of course chair |
| Course Chair: | G. Fritze/G. Monseur |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Rehearsing and recording to picture with live performers under studio conditions. Focus on preparation, efficiency, and accurate synchronization. |
Advanced Rehearsal Techniques | |
| Course Number: | COND-421 |
| Credits: | 2 credits |
| Prerequisites: | COND-311 or COND-351 |
| Course Chair: | G. Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | An advanced course for conductors in the development of effective technical, musical, and psychological skills, including planning (choice of literature, aesthetic and practical considerations, allotment of rehearsal time); musical preparation (development of interpretation, choice of tempi, stylistic factors, identifying difficult or tricky passages, editing parts for bowing and breathing); rehearsal (pacing, including alternating woodshedding with play-through; balancing dynamics; using effective gestures with the baton, face, left hand, and body; giving effective verbal instructions; intonation; listening and prioritizing; stopping and starting, knowing when to be satisfied); and human factors (mutual respect and honesty, shared responsibility, ensemble esprit de corps, and psychological momentum). |
Directed Study in Conducting | |
| Course Number: | COND-498 |
| Credits: | 2 credits |
| Prerequisites: | COND-212 and written approval of instructor and course chair |
| Course Chair: | G. Fritze/G. Monseur |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Supervised preparation and performance of an approved conducting project. Projects may originate with recitalists or from various departments such as Film Scoring, Contemporary Writing and Production, and Music Production and Engineering. The student will conduct at least one project from the following categories: studio recording, recital or live concert requiring a conductor, or preparing and conducting a work with the Berklee Wind Ensemble. |
Conducting 2 with Live Keyboard Ensemble | |
| Course Number: | COND-P316 |
| Credits: | 1 credit |
| Prerequisites: | Written approval of instructor and course chair |
| Course Chair: | G. Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | This course allows students to gain hands-on experience in the advanced elements of the conductor's art, while solidifying those that have been established already. Students function as an in-class piano keyboard ensemble, creating an in-class virtual orchestra for conducting exercises. Each student is videotaped and coached by the instructor during, and if necessary, outside of class. Prior completion of COND-216 is strongly recommended. |
Conducting Instrumental Ensembles | |
| Course Number: | COND-P355 |
| Credits: | 2 credits |
| Prerequisites: | COND-212 |
| Course Chair: | G. Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall |
| Description: | This course is designed to give students practical experience in conducting rehearsals of small instrumental groups. Students will expand their conducting technique and deepen their score preparation skills in class meetings with their colleagues playing keyboards, in preparation for sessions with small ensembles (i.e., brass quintet, wind quintet, string quartet, sax quartet, flute choir) at which they will be introduced to problems of balance, intonation, rehearsal skills, and conductor-performer relations. |
Tonal Counterpoint 1 | |
| Course Number: | CP-211 |
| Credits: | 2 credits |
| Prerequisites: | HR-111 and either AR-111 or PW-110 |
| Course Chair: | G. Fritze |
| Required of: | Degree - all; Diploma - COMP and FILM majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Free counterpoint within a functional tonal context. Emphasis on two-voice writing, binary, and melodic phrase forms. |
Tonal Two-Part Canon and Invention | |
| Course Number: | CP-212 |
| Credits: | 2 credits |
| Prerequisites: | CP-211 and either CM-211 or CM-251 |
| Course Chair: | G. Fritze |
| Required of: | Degree - all; Diploma - COMP and FILM majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Continuation of CP-211. A thorough study of canon and two-part invention through analysis and composition within a functional tonal language. |
Advanced Counterpoint | |
| Course Number: | CP-213 |
| Credits: | 2 credits |
| Prerequisites: | CM-212 and CP-212 |
| Course Chair: | G. Fritze |
| Required of: | COMP and FILM majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Analysis and writing of three- and four-voice imitative counterpoint based on traditional models. Models include fugue, chorale prelude, and passacaglia or chaconne. |
Jazz Counterpoint 1 | |
| Course Number: | CP-361 |
| Credits: | 2 credits |
| Prerequisites: | AR-112 and HR-211 |
| Course Chair: | K. Pullig |
| Required of: | JCMP majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Study of the process for creating multiline textures in a given melodic and/or harmonic situation. Voice-leading, melodic analysis and embellishment, rhythm, and form. Assigned written projects to emphasize the role of contrapuntal practices in arranging. |
Jazz Counterpoint 2 | |
| Course Number: | CP-362 |
| Credits: | 2 credits |
| Prerequisites: | CP-361 |
| Course Chair: | K. Pullig |
| Required of: | JCMP majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Continuation of CP-361. Emphasis on the role that counterpoint plays in jazz composition. |
20th-Century Counterpoint | |
| Course Number: | CP-P350 |
| Credits: | 2 credits |
| Prerequisites: | CP-213 |
| Course Chair: | G. Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | The course is based on the examination of different realms of 20th-century counterpoint through the detailed analysis of contrapuntal styles and techniques of leading innovative composers such as Ravel, Stravinsky, Shostakovich, Hindemith, Bartok, Messiaen, Honegger, Barber, and composers of the New Vienna School. More recent stages in the evolution of counterpoint will be studied in examples by Ligeti, Lutoslavsky, Penderezki, Schnittke, and Gubaidulina, as well as contemporary American composers (including Berklee composers). |
Hip-Hop Writing and Production 1 | |
| Course Number: | CW-141 |
| Credits: | 2 credits |
| Prerequisites: | MTEC-111 |
| Course Chair: | M. Nicholl/J. Perricone |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | An introduction to writing and production techniques in hip-hop styles. Topics include the social and cultural aspects of hip-hop music as it pertains to the music's origins and early pioneers, the analysis of stylistic and musical characteristics, as well as instruction in the use of sequencing software in hip-hop production. |
Survey of Pop/Rock Styles | |
| Course Number: | CW-151 |
| Credits: | 2 credits |
| Prerequisites: | AR-111 and HR-112 |
| Course Chair: | M. Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | A study of major pop and rock styles and the writers, producers, and artists who shaped the music, with a focus on the writers and artists inducted into the Rock and Roll Hall of Fame. |
Groove Writing | |
| Course Number: | CW-171 |
| Credits: | 2 credits |
| Prerequisites: | AR-111, ET-112, HR-112, and MTEC-111 |
| Course Chair: | M. Nicholl |
| Required of: | CWPR majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Expanding on the material introduced in AR-111, this course focuses on creating and writing grooves for the rhythm section (guitar, keyboard, bass, percussion, and drums) and the ways in which different grooves work together. Original techniques and practical approaches to creating grooves will be presented, as well as methods to refine and create variations in grooves and scoring with production goals in mind. Styles studied include funk, hip-hop, rock, reggae, and ska; Latin styles, including bossa, samba, salsa, cha-cha-cha, songo, and baion; shuffle, as used in rock, blues, and funk; generic dance grooves such as techno; and pop and Euro-pop. Projects will include transcription, sequencing, and live performance of grooves. |
Music Preparation 2 | |
| Course Number: | CW-205 |
| Credits: | 2 credits |
| Prerequisites: | AR-203 and PW-161 |
| Course Chair: | M. Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | Building on the content of AR-203, this course provides in-depth study of the capabilities of the software program Finale. Course content includes using Metatools, Hyperscribe, Shape Designer, a broader range of editing tools, and practical shortcuts to efficiently create scores and parts of professional quality. Instruction and project work is accomplished in the Professional Writing Division MIDI Lab. |
Writing for Small Ensemble | |
| Course Number: | CW-211 |
| Credits: | 2 credits |
| Prerequisites: | AR-112, CW-171, and CW-261 |
| Course Chair: | M. Nicholl |
| Required of: | CWP majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Instruction in advanced small group writing concepts that encompasses sophisticated rhythm section scoring and groove writing, including writing for auxiliary percussion; an introduction to writing for voices and strings; background writing for horns, strings, and voices; manipulation of elements of large-scale form and structure; creation of complex, layered textures; and hybrid writing techniques involving sequencing and live players. In addition, the course will focus heavily on score and part preparation. |
Vocal Writing | |
| Course Number: | CW-216 |
| Credits: | 2 credits |
| Prerequisites: | AR-112, HR-211, and either ET-211 or ET-231 |
| Course Chair: | M. Nicholl |
| Required of: | CWPR majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Conceptualizing, writing, and producing vocals; contemporary writing and production techniques for vocal groups of different sizes; working with vocals in live situations versus the recording studio environment; writing background vocals above a band versus a cappella vocal writing. Creating vocal band effects will also be explored. Range considerations, timbre, vocal production, and notation for various size vocal groups; writing and production techniques and considerations for recording studio situations. |
Jingle Writing | |
| Course Number: | CW-218 |
| Credits: | 2 credits |
| Prerequisites: | AR-111 and HR-211 |
| Course Chair: | M. Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Composition of music for radio and television commercials. Emphasis on means of creating suitable product image. Working with, and alteration of, given lyrics. Some lyric writing. Determining proper instrumentations. Timing considerations. |
Writing and Production Techniques in the Pop/Rock Idiom | |
| Course Number: | CW-221 |
| Credits: | 2 credits |
| Prerequisites: | AR-112 and HR-211 |
| Course Chair: | M. Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Techniques of instrumental and vocal writing, arranging, and production in the pop/rock idiom. Includes extensive score analysis of major composers and performers, discussion of stylistic techniques and orchestrations, historical perspective, problem solving, and basic production and programming concerns. The course is designed to guide the student in developing an original pop/rock writing style. |
Introduction to Writing and Production for the Recording Studio | |
| Course Number: | CW-222 |
| Credits: | 2 credits |
| Prerequisites: | CW-261 or SW-361 |
| Course Chair: | M. Nicholl |
| Required of: | CWPR majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Emphasis on arranging techniques that apply specifically to recording situations in various contemporary music settings and idioms. Arranger's function, current market trends, and contemporary recording techniques are discussed. |
Writing in Salsa Styles | |
| Course Number: | CW-225 |
| Credits: | 2 credits |
| Prerequisites: | AR-112 |
| Course Chair: | M. Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | A study of rhythmic styles of contemporary salsa music, including characteristics of instrumentation and the unique clave rhythmic pattern. Specific rhythmic styles analyzed will include mambo, son montuno, guajiro, bomba, merengue, and songo, among others. Musical scores of Eddie Palmieri, Juan Luis Guerra, Oscar D'Le—n, Arturo Sandoval, Paquito D'Rivera, and many others will be analyzed. Students will create melodies as well as piano, guitar, bass, and percussion rhythmic patterns. Tthey will write brass instrumental sections using the clave rhythmic pattern. |
Scoring for Percussion | |
| Course Number: | CW-237 |
| Credits: | 2 credits |
| Prerequisites: | AR-112 |
| Course Chair: | M. Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Survey of the mallet, membrane, and accessory groups of the percussion instrument family. Demonstration and discussion of notation, range, techniques, and effects. Scores from Broadway shows and studio, orchestral, chamber, and solo pieces. |
Writing for Woodwinds | |
| Course Number: | CW-247 |
| Credits: | 2 credits |
| Prerequisites: | AR-112 |
| Course Chair: | M. Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | A study of the flute, clarinet, and double reed families based on intensive listening, transcription, live demonstration, and composition. Compositions will include: visual imagery, storytelling, non-Western based concepts and forms, sound exchange, layering sound, and techniques for composition that includes improvisation. |
Applications of 12-Tone Concepts in Contemporary Composition and Arranging | |
| Course Number: | CW-255 |
| Credits: | 2 credits |
| Prerequisites: | ET-212, HR-212, and either AR-201 or CP-211 |
| Course Chair: | M. Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall |
| Description: | Alternative approaches and concepts to writing that can be used in various aspects of songwriting, arranging, and composing for contemporary broadcast media, such as film and TV scores, that will supplement other writing approaches. Using compositional concepts pioneered by George Tremblay and Jack Smalley, the course explores writing techniques based on the use of the 12-tone row concept and the process of extracting consonant melodic components from the rows that are then applied to writing for contemporary musical styles and forms and commercial clients. Some writing projects will be realized through sequencing and live performance. |
MIDI Applications for the Writer | |
| Course Number: | CW-261 |
| Credits: | 2 credits |
| Prerequisites: | ISKB-212 (except piano principals) and either MTEC-221 or PW-161 |
| Course Chair: | M. Nicholl |
| Required of: | CWPR majors |
| Electable by: | All with permission of chair |
| Offered: | Spring, Summer, Fall |
| Description: | The student will learn to utilize digital technology and MIDI to create musical arrangements of both original and existing material using a computer-based music workstation. Projects are designed to simulate real-world writing assignments. Building on skills learned in PW-161, Technology Tools for the Writer, this course will focus on the musical use of technology and basic production aspects of a project, including MIDI and audio signal flow within the hardware of the workstation; virtual signal flow within the software environment; recording, editing, and processing digital audio; advanced sequencing and sequence editing techniques; and file management. In addition to using their own laptops in the Professional Writing Technology Lab, students are expected to have the CWP major bundle. |
Music Production Techniques for Writers | |
| Course Number: | CW-275 |
| Credits: | 2 credits |
| Prerequisites: | AR-111, HR-211, and either CW-261 or MTEC-221 |
| Course Chair: | M. Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall |
| Description: | Viewing music production from the writer's perspective, this course explores how knowledge of compositional elements including melody, harmony, arranging, and orchestration help provide the foundation and focus of contemporary production styles and techniques. Study and analysis of great producer/musicians will include George Martin, Quincy Jones, Phil Spector, Daniel Lanois, Peter Gabriel, Prince, Don Was, Jeff "Mutt" Lange, and others. Focus will be on how producers utilize their background as accomplished musicians to create the "aural landscape" of the artists they produce. Course projects will include analysis papers on different producers in a variety of styles, and one recording project. |
Writing for Large Ensemble 1 | |
| Course Number: | CW-311 |
| Credits: | 2 credits |
| Prerequisites: | CW-211 |
| Course Chair: | M. Nicholl |
| Required of: | CWPR majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | An orchestration/arranging course that focuses on the techniques and concepts of writing for large ensemble. Content also includes the arranging process and how to adapt and modify the musical elements of a composition into an effective arrangement. The course deals with notation, voicings, and combinations of the various sections comprising the large ensemble: trumpets, trombones, saxophones, selected woodwinds, and rhythm section. Extensive use of taped examples and extracts from scores. |
Scoring for Strings | |
| Course Number: | CW-341 |
| Credits: | 2 credits |
| Prerequisites: | CM-212 |
| Course Chair: | G. Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Discussion of string instruments, their special effects, and proper notation. Principles of string orchestration and voicing techniques. |
Contemporary Arranging for Strings | |
| Course Number: | CW-343 |
| Credits: | 2 credits |
| Prerequisites: | HR-212 and either AR-201 or CW-211 |
| Course Chair: | M. Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | Arranging for strings behind a vocalist or lead instrument. Emphasis is on contemporary string writing approaches in the styles of rock, Latin, funk, ballads, and jazz, and the feels of even and shuffled eighths and sixteenths for string sections (with rhythm section accompaniment) using specific arranging techniques of closed and open voicings, clusters, three- to six-part writing, use of primary melody and countermelody, and guide tone lines. Production approaches from the writer's perspective are also covered. Projects may include arrangements for live performances, recordings, or commercials. |
Sound Processing Applications for Writers | |
| Course Number: | CW-361 |
| Credits: | 2 credits |
| Prerequisites: | CW-261 |
| Course Chair: | M. Nicholl |
| Required of: | CWPR majors |
| Electable by: | CWPR majors |
| Offered: | Spring, Summer, Fall |
| Description: | This course focuses on the use of sound-processing equipment as it pertains to the writer who engineers and produces his or her own pieces. Through the use of software plug-ins, this course examines the artistic application of ambient devices such as reverbs, delays, flangers, harmonizers, and choruses, and dynamic processing units such as compressors, noise gates, outboard equalization, and limiters. The course also explores how writing can be enhanced in recording and mixing through the effective use of sound-processing equipment. Students will have the opportunity to understand how to enhance their recordings with these effects through in-class demonstration, listening analysis, and assigned projects. In addition to using their own laptop in the Professional Writing technology lab, students are expected to have the CWP major bundle. |
Writing for Large Ensemble 2 | |
| Course Number: | CW-411 |
| Credits: | 2 credits |
| Prerequisites: | CW-311 |
| Course Chair: | M. Nicholl |
| Required of: | CWPR majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | An advanced study of the techniques and concepts of writing/arranging for a studio orchestra. A continuation of CW-210 with the addition of the string section, French horn, tuba, percussion, additional woodwinds, harp, and synthesizer. Emphasis is placed on orchestral combinations, stylistic factors, techniques of scoring melody and accompaniment, sophisticated voicings such as ambichords, writing effective introductions and endings, and routining an arrangement. Extensive use of taped examples and score extracts. |
Advanced Production for Writers | |
| Course Number: | CW-422 |
| Credits: | 2 credits |
| Prerequisites: | CW-222, CW-311, and CW-361 |
| Course Chair: | M. Nicholl |
| Required of: | CWPR majors |
| Electable by: | CWPR majors |
| Offered: | Spring, Summer, Fall |
| Description: | A project-driven course that focuses on production from the writer's perspective. The content includes more advanced creative and production projects, incorporating MIDI sequences using sampled sounds and synth modules with live overdubbing of acoustic instruments, more refined utilization of sound-processing equipment, and conceptualizing with sound-processing ideas in mind. In addition to class meetings, each student will be assigned recording studio time to be used for overdubs, sweetening, and/or mixing. Students will use their own laptop in the Professional Writing technology lab and are expected to have the CWP major bundle. |
Scoring for Full Orchestra | |
| Course Number: | CW-441 |
| Credits: | 2 credits |
| Prerequisites: | CM-231 |
| Course Chair: | G. Fritze |
| Required of: | COMP majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Orchestration techniques for full symphony orchestra. |
Contemporary Orchestration | |
| Course Number: | CW-445 |
| Credits: | 2 credits |
| Prerequisites: | CM-231 or CW-411 |
| Course Chair: | M. Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Exploration of techniques of writing for each orchestral instrument and for various combinations of instruments, unusual orchestral instruments, and special effects many instruments can create. Principles of combining and balancing instruments; comparison between the live orchestral situation and the recording studio environment. Incorporation of ethnic instruments into orchestration; application of orchestral instruments to contemporary settings and styles. Overview of the development of the modern symphonic orchestra and the full orchestra as used in film scores. Live demonstrations of instruments; score listening and analysis. |
Scoring to Visuals | |
| Course Number: | CW-450 |
| Credits: | 2 credits |
| Prerequisites: | CW-261, MS-322, or SW-361 |
| Course Chair: | M. Nicholl |
| Required of: | CWPR majors |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | A study of the creative, technical, production, and business aspects of writing music for visual media, primarily television commercials. Content includes the creative process: reacting to emotion and mood of visuals, supporting the picture with appropriate music, stylistic considerations, compressing/expanding musical ideas, and hitting visual cues. Production aspects include various approaches to shaping the musical product to support the creative direction that has been chosen or provided. Exploration of sound design (incorporation of sound effects into music tracks) and technical aspects of timings, film editing influences, frame-counting, and synchronization. Business aspects: working with producers and directors, taking direction, selling ideas, and general and contractual obligations that modify the creative process. Various projects and assignments in writing music in different moods, styles, and lengths, that supports and enhances visuals. Most creative work will be realized at MIDI workstations using a MIDI sequencing program and video software; students must have a strong working knowledge of MIDI systems and sequencing programs. |
Contemporary Writing and Production Internship | |
| Course Number: | CW-495 |
| Credits: | 2 credits |
| Prerequisites: | Written approval of course chair |
| Course Chair: | M. Nicholl |
| Required of: | None |
| Electable by: | CWPR majors |
| Offered: | Spring, Summer, Fall |
| Description: | Monitored and evaluated professional work experience in an environment related to the contemporary writing and production major. Placement is limited to situations available from or approved by the Office of Experiential Learning and the Contemporary Writing and Production Department chair or designee. To apply for an internship, students must see the internship coordinator in the Office of Experiential Learning prior to registering. Note: Equivalent credit for prior experience is not available due to the requirement of concurrent contract between the employer/supervisor and the college. International students in F-1 status must obtain authorization on their Form I-20 from the Counseling and Advising Center prior to beginning an internship. |
Directed Study in Contemporary Writing | |
| Course Number: | CW-498 |
| Credits: | 2 credits |
| Prerequisites: | CW-311 |
| Course Chair: | M. Nicholl |
| Required of: | CWPR majors |
| Electable by: | CWPR majors |
| Offered: | Spring, Summer, Fall |
| Description: | Individualized instruction designed to guide students majoring in contemporary writing and production in the preparation of their graduation projects. Students will be allowed to schedule time in the Professional Writing Division MIDI Lab to meet the portfolio requirements. |
Writing in Folkloric Latin Styles | |
| Course Number: | CW-P217 |
| Credits: | 2 credits |
| Prerequisites: | AR-111, ET-112, HR-112 |
| Course Chair: | M. Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall |
| Description: | This course examines the folkloric music from Latin America that informs today's contemporary music. Topics include traditional musical styles, forms, instrumentation, arranging techniques, melody, and harmony. Folkloric music from the following countries is studied: Argentina, Brazil, Chile, Colombia, the Dominican Republic, Mexico, Peru, Puerto Rico, and Venezuela. The course focuses on applications of these styles in contemporary arranging and composition. |
Hip-Hop Writing and Production 2 | |
| Course Number: | CW-P241 |
| Credits: | 2 credits |
| Prerequisites: | CW-141 |
| Course Chair: | M. Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | A continuation of Hip-Hop Writing and Production I. This course will further examine the social and cultural aspects of hip-hop, concentrating on the writing and production techniques of the most popular and influential artists and producers from approximately 1995 to the present. Advanced production techniques will be examined. |
Musical Theater Arranging and Orchestration | |
| Course Number: | CW-P257 |
| Credits: | 2 credits |
| Prerequisites: | AR-112 |
| Course Chair: | M. Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | This course is a study of orchestration in musical theater and the role of the orchestra in a theater piece. Students will arrange and orchestrate songs with a focus on supporting a vocalist, telling the story, and creating a theatrical sound. The class will explore how orchestration can be used as a dramatic element, to establish a period, create a mood, and support the narrative. Written projects focus on typical instruments and ensembles used in various theatrical situations.ÊListening will include songs from a wide variety of musical theater recordings, with examples of piano scores and individual parts from shows. |
Writing for Guitar | |
| Course Number: | CW-P267 |
| Credits: | 2 credits |
| Prerequisites: | AR-111, HR-212 |
| Course Chair: | M. Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | This course is an intermediate to advanced study of music that uses and features guitar effectively in a variety of contexts and styles. Through in-class and assigned listening, transcription, score analysis, and student projects, students will achieve a high level of practical ability to write for guitar in a variety of settings. Contexts include solo guitar, small ensemble formats (duo, trio, quartet, quintet, sextet, septet), and larger groups. Styles surveyed and studied will include various eras of rock, funk, blues, r&b, jazz, Brazilian, fusion, and others. |
Influential Female Songwriters of the 20th Century | |
| Course Number: | CW-P285 |
| Credits: | 2 credits |
| Prerequisites: | AR-111, HR-112 |
| Course Chair: | M. Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall |
| Description: | The course encompasses the study of influential female composers of the 20th century, including Dorothy Fields, Laura Nyro, Joni Mitchell, and Carole King, and will address various aspects of their lives that directly affected their writing, such as political and cultural climates, influences, contemporaries, experiences with co-writers, and personal life experiences. Content focus will include the musical elements that made each of these writers so unique, including the instrumentation, arrangements, and production, as well as melodic, harmonic, and lyrical content. In addition, we will look at contemporary writers and musicians, both men and women, influenced by these women and the particular musical practices they share. Assignments and presentations will often be done as collaborations and involve musical analysis of the songs and research into the influences and process of creating them. The mid-term and final assignments will involve each student writing a song in the style of two of the subject songwriters that will be presented to the class with a lead sheet and performance or recording of the material. |
Advanced Writing in Latin Styles | |
| Course Number: | CW-P313 |
| Credits: | 2 credits |
| Prerequisites: | AR-112, CW-225 |
| Course Chair: | M. Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | An advanced study of writing in a variety of Latin styles, including modern and traditional orchestration concepts, style-specific aspects of form and structure, score analysis, score and part preparation, and production tips that will give the composer, arranger, or orchestrator the proper tools to get the best results either in the studio or in a live performance. Styles covered include mambo, guaguanc—, bomba, timba, bolero, danz—n, tango, reggae, samba, and partido alto. Students will create arrangements of existing works and original pieces for a variety of ensembles of different sizes and instrumentation. |
Advanced Vocal Writing | |
| Course Number: | CW-P316 |
| Credits: | 2 credits |
| Prerequisites: | CW-216 |
| Course Chair: | M. Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | This course presents an expanded development of material introduced in CW-216. Important concepts include production and direction of vocal rehearsals and recording sessions; advanced production techniques including layering, stacking, compressing, and mixing vocal tracks; study of diverse song styles and musical concepts that comprise them; observation of text/language and cultural influence in relation to vocal writing; further development of multi-part background writing; more refined utilization of harmonic tensions and reharmonization. Rubato and groove-oriented a cappella techniques will also be explored. |
Contemporary Songwriting Production Techniques | |
| Course Number: | CW-P365 |
| Credits: | 2 credits |
| Prerequisites: | CW-261, MTEC-222, MTEC-223, SW-361, or permission of instructor |
| Course Chair: | J. Perricone |
| Required of: | None |
| Electable by: | All; Recommended to CWPR, MSYN, and SONG majors |
| Offered: | Spring, Fall |
| Description: | A study of the current trends in pop/rock song production and the impact of electronic dance production styles on contemporary songwriting. Using detailed song analysis and innovative programming techniques, course focuses on discovering what makes a successful song production work, and why. By combining creative technical production with hands-on musical assignments, students will learn how to adapt modern electronic rhythms and styles in the production of their own songs. |
Brass Quintet | |
| Course Number: | ENBR-321 |
| Credits: | 1 credit |
| Prerequisites: | Written approval of course chair |
| Course Chair: | T. Plsek |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | A brass quintet that performs a mixture of traditional and twentieth-century music. Instrumentation: two trumpets, horn, trombone, tuba. |
Guitar Performance Ensembles | |
| Course Number: | ENGT-111 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 1 through 4 |
| Course Chair: | L. Baione |
| Required of: | All first-semester guitar principals who are enrolled in neither ENSB-111 nor ENSB-121 |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Development of ensemble group-playing skills, focusing on the roles of the guitarist. Development of melodic performance, rhythm guitar/accompaniment techniques, and improvisation in an ensemble setting. Material will be learned through use of recordings and call-and-response techniques as well as written music materials. Instrumentation: six electric guitars, bass, and drums. |
World Music Ensemble | |
| Course Number: | ENLB-246 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Adaptation of compositional and improvisational techniques of non-Western music and culture to contemporary formats and instrumentation. Originals and arrangements of traditional art and folk musics will be written and performed by the students as well as the instructor, who will guide the students' projects. |
Afro-Pop Ensemble | |
| Course Number: | ENLB-251 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 4 or by audition |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | A large ensemble modeled after Afro-pop bands of West Africa, fused with U.S. influences. Styles include Afro-beat, soukous, and derivative U.S. styles. The music includes covers, original compositions, and improvisations by the ensemble. The first half of the semester is organized in a workshop format. The second half is used to learn repertoire and prepare an end-of-semester performance. |
Contemporary Wind Orchestra | |
| Course Number: | ENLB-271 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 5 or written approval of instructor and course chair |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | A large ensemble that focuses on the great traditional works for winds, percussion, and strings, new works for wind orchestra, and new works by faculty and students. Performances utilize the newest technologies in multiscreen projections, film, and dance. |
Big Band Ensemble | |
| Course Number: | ENLB-321 |
| Credits: | 1 credit |
| Prerequisites: | Groups will be scheduled for levels 3 through 7. |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Large ensembles that perform arrangements associated with, but not limited to, jazz legends such as Count Basie, Woody Herman, and Buddy Rich. In addition, arrangements encompassing the contemporary genre may be included. |
Back Bay Brass | |
| Course Number: | ENLB-325 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A jazz ensemble featuring arrangements and originals by composers/arrangers such as Rob McConnell, Bill Holman, and Sammy Nestico. A library of arrangements not used by other groups. Instrumentation: four trumpets, three trombones, two alto saxophones, two tenor saxophones, one baritone saxophone, piano, guitar, bass, and drums. |
Berklee Salsa Ensemble | |
| Course Number: | ENLB-328 |
| Credits: | 1 credit |
| Prerequisites: | Written approval of instructor and course chair |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Study and performance of traditional and contemporary salsa compositions and arrangements. |
Chord Scale Madness Ensemble | |
| Course Number: | ENLB-351 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | An ensemble that performs outstanding student works written in AR-201 in an annual concert entitled Chord Scale Madness. Instrumentation: two trumpets, alto saxophone, tenor saxophone, baritone saxophone, trombone, piano, guitar, bass, drums, and percussion. |
Recording Studio Ensemble | |
| Course Number: | ENLB-371 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Training in the recording of band tracks for a variety of musical styles. Recording of student compositions and writing projects. Instrumentation: bass, bongos, congas, piano, male and female vocal. |
Rainbow Big Band Ensemble | |
| Course Number: | ENLB-421 |
| Credits: | 1 credit |
| Prerequisites: | Written approval of instructor and course chair |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A group that primarily performs music created by members of the ensemble. Improvisational and ensemble skills are blended to allow for individual musical growth. Instrumentation: five reeds, four trumpets, four trombones, piano, guitar, bass, and drums. |
Advanced Repertoire Big Band Ensemble | |
| Course Number: | ENLB-431 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 7 or by audition |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | A large ensemble dedicated to the study and performance of the more difficult repertoire of the great big band masters including Duke Ellington, Count Basie, Stan Kenton, Thad Jones/Mel Lewis, Woody Herman, Buddy Rich, and others. Utilization of Berklee ensemble library materials and the diverse expertise of faculty who have performed professionally with these artists. |
Jazz Composition Ensemble | |
| Course Number: | ENLB-451 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 7 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | An ensemble that performs student compositions in the jazz idiom. The repertory includes blues, ballads, contemporary postbebop, and avant-garde works. Instrumentation: two trumpets, one trombone, alto saxophone, tenor saxophone, baritone saxophone, piano, guitar, bass, and drums. |
Avant-Garde Ensemble | |
| Course Number: | ENLB-461 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 7 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Designed to cover free or atonal playing using a wide variety of sounds inside and outside the normal range of the instruments. Instrumentation: mixed winds, piano, guitar, bass, and drums. |
Berklee Concert Jazz Orchestra | |
| Course Number: | ENLB-471 |
| Credits: | 2 credits |
| Prerequisites: | By audition |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | A big band ensemble that plays original compositions by student writers as well as select repertoire of the great big band leaders such as Duke Ellington, Gil Evans, Woody Herman, Count Basie, Stan Kenton, and others. An end-of-semester concert is usually scheduled. |
Berklee Contemporary Symphony Orchestra | |
| Course Number: | ENLB-P300 |
| Credits: | 1 credit |
| Prerequisites: | By audition |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | The Berklee Contemporary Symphony Orchestra features Berklee's student performers, composers, and conductors through the use of standard repertoire, film, multimedia, and sound. Works of major 20th-century composers, as well as Berklee students and faculty, will be programmed. Student performers will gain experience in orchestral auditions and have the opportunity to be featured as soloists. Auditions are conducted in late April for the following season. |
Beginning Percussion Ensemble | |
| Course Number: | ENPC-211 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | MUED drum set and MUED total percussion principals |
| Electable by: | All percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | For beginning percussion players. Covers the use of snare drum, bass drum, cymbals, tambourine, triangle, simple mallet music, and timpani in an ensemble setting. |
Contemporary Mallet Percussion Ensemble | |
| Course Number: | ENPC-215 |
| Credits: | 1 credit |
| Prerequisites: | ILPM-121 or by audition |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | This nontraditional percussion ensemble consists of mallet instruments with a rhythm section performing original compositions. Emphasis is placed upon rhythmic accuracy and creating spontaneous compositions. No previous improvisational skills are necessary. |
World Percussion Ensemble | |
| Course Number: | ENPC-221 |
| Credits: | 1 credit |
| Prerequisites: | ILPD-112 and overall ensemble rating 4 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | An ensemble utilizing transcriptions and adaptations of the repertoire of percussion groups throughout the world. Drum set, marching, and orchestral percussion instruments will be combined in performance with African, Indian, Brazilian, and Latin instruments. Through demonstration and study of recorded audio and video sources, students will develop performance skills on a wide variety of percussion instruments. |
World Percussion Ensemble | |
| Course Number: | ENPC-221 |
| Credits: | 1 credit |
| Prerequisites: | ILPD-112 and overall ensemble rating 4 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | An ensemble utilizing transcriptions and adaptations of the repertoire of percussion groups throughout the world. Drum set, marching, and orchestral percussion instruments will be combined in performance with African, Indian, Brazilian, and Latin instruments. Through demonstration and study of recorded audio and video sources, students will develop performance skills on a wide variety of percussion instruments. |
Mixed World Ensemble | |
| Course Number: | ENPC-321 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 7 or written approval of instructor and course chair |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Development of repertoire and performance skills in an ensemble consisting of both Western and non-Western or "world" instruments. Integration of non-Western ideas and techniques; listening and improvising outside of standard jazz and pop forms; spontaneous composition as opposed to loose improvisation; strengthening of individual musical aesthetic. |
Advanced Bata Ensemble | |
| Course Number: | ENPC-359 |
| Credits: | 1 credit |
| Prerequisites: | ILPH-354 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | A continuation of ILPH-354. Continued development of performance skills through study of recordings and transcriptions, singing and chanting, and group playing. Application of drumming and singing to other musical forms. |
Marimba in Mixed Chamber Music Ensemble | |
| Course Number: | ENPC-363 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 4 or written approval of instructor and course chair |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | An ensemble for advanced marimbists, instrumentalists, and vocalists dedicated to the performance of compositions and arrangements that include the marimba. Music performed will be drawn from classical and contemporary styles. An end-of-semester recital is scheduled. |
West African Drum and Dance Ensemble | |
| Course Number: | ENPC-374 |
| Credits: | 1 credit |
| Prerequisites: | ILPH-351 or written approval of instructor and course chair |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | A performance-based ensemble utilizing the music and rhythms from traditional West African genres. Emphasis will be placed upon dialogue between drum calls and dance movement along with cultural songs of historical content. Students will perform at least once as a full ensemble at the end of each semester. |
Berklee Drum Line | |
| Course Number: | ENPC-385 |
| Credits: | 1 credit |
| Prerequisites: | ILPD-111 or by audition |
| Course Chair: | D. Anderson |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | A percussion ensemble designed to develop playing skills in the drum line idiom. Instrumentation includes snare drums, multi-toms, mixed percussion, tuned bass drums, and mallet keyboards. Practice materials and routines designed to develop strength, control, and endurance will be included. An end-of-semester performance will be prepared. |
Berklee Percussion Ensemble | |
| Course Number: | ENPC-431 |
| Credits: | 1 credit |
| Prerequisites: | ENPC-211, overall ensemble rating 4, or by audition |
| Course Chair: | J. Ramsay |
| Required of: | PERF percussion principals |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | Advanced performance lab for percussion principals emphasizing group performance of contemporary percussion literature. Students enrolled in the fall semester are expected to reregister in this course for credit for the spring semester. Spring concert material will be rehearsed and prepared during both fall and spring semesters. |
Steelpan Ensemble | |
| Course Number: | ENPH-291 |
| Credits: | 1 credit |
| Prerequisites: | ILPH-391 |
| Course Chair: | D. Anderson |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | This ensemble will perform a range of music specifically written and arranged for the steelpan instrument. Repertoire will be drawn from "Panorama" arrangements adapted for small ensemble, original arrangements by the director, and adaptations from the European classical repertoire. Styles will include pop, calypso, and contemporary jazz. Desired instrumentation is: four tenors (leads), two double seconds, one guitar pan, two triple cellos, one tenor bass, two bass, and assorted engine room percussion instruments (drum set and hand percussion). This ensemble will perform a recital at the end of the semester, and possibly at other special events. |
Marimba Ensemble I | |
| Course Number: | ENPM-331 |
| Credits: | 1 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | MUED total percussion and vibraphone principals, PERF total percussion and vibraphone principals |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | An ensemble for beginning percussionists specializing in interpretations and transcriptions of baroque, classical, and contemporary literature. |
Marimba Ensemble 2 | |
| Course Number: | ENPM-332 |
| Credits: | 1 credit |
| Prerequisites: | ENPM-331 or written approval of course chair |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | An ensemble for intermediate percussionists specializing in interpretations and transcriptions of baroque, classical, and contemporary literature. |
Marimba Ensemble 3 | |
| Course Number: | ENPM-333 |
| Credits: | 1 credit |
| Prerequisites: | ENPM-332 or written approval of course chair |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | An ensemble for advanced percussionists specializing in interpretations and transcriptions of baroque, classical, and contemporary literature. |
Piano Trio | |
| Course Number: | ENPN-311 |
| Credits: | 1 credit |
| Prerequisites: | By audition |
| Course Chair: | S. Tiernan |
| Required of: | First-semester piano principals with ensemble ratings of 4 to 6 |
| Electable by: | None (audition only) |
| Offered: | Spring, Fall |
| Description: | An ensemble for six entering piano students with an overall ensemble rating of 4 to 6 to play with bass and drums in a variety of grooves, with primary emphasis on organizing material for the trio. |
Rhythm Section Ensemble | |
| Course Number: | ENSB-111 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 1 |
| Course Chair: | R. Savage |
| Required of: | All first-semester piano, guitar, bass, and percussion principals who are enrolled in neither ENGT-111 nor ENSB-121 |
| Electable by: | Piano, guitar, bass, and percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | Instrumental ensembles that focus on rhythm section performance in a variety of musical styles. Combining piano, guitar, bass, and drum lab, and ensemble formats, classes will cover performance techniques utilized in contemporary musical idioms including jazz, rock, and blues. |
Contemporary Styles Ensemble | |
| Course Number: | ENSB-121 |
| Credits: | 1 credit |
| Prerequisites: | ENSB-111 or overall ensemble rating 2 |
| Course Chair: | R. Savage |
| Required of: | All first-semester students who are enrolled in neither ENGT-111 nor ENSB-111 |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | This ensemble focuses on performance in a variety of musical styles. Classes will cover performance techniques utilized in contemporary idioms including pop/rock, r&b, jazz, Latin, and world music styles. Instrumentation: all instruments. |
Small Band Ensemble 3 | |
| Course Number: | ENSB-211 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A variety of small band ensembles that focus on performance techniques in particular styles. Classes include mixed styles, rock, r&b, jazz, Brazilian, Afro-Cuban, funk, blues, and smooth jazz. Instrumentation: all instruments. |
Blues/Rock Ensemble | |
| Course Number: | ENSB-215 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Style characteristics, performance requirements, rehearsal, and performance of rock music. Students will be asked to write music in various rock styles. Repertoire will draw from the fifties, sixties, and seventies. Classes will present an end-of-semester final performance. |
Classic Rock Ensemble | |
| Course Number: | ENSB-216 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Ensembles will focus on learning rock performance in a variety of rock styles and approaches. Styles to include classic rock of the seventies, eighties, nineties, and the music of Jimi Hendrix. Instrumentation: all instruments. |
Keyboard Improvisation Ensembles | |
| Course Number: | ENSB-231 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 3 through 5 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Discussion and playing of contemporary, bebop, and other styles of music for keyboards and rhythm section. Improvisation and comping in piano trio styles; use of original materials as well as standard jazz compositions. Instrumentation: four pianos, bass, and drums. |
Small Band Ensemble 4 | |
| Course Number: | ENSB-311 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A variety of small band ensembles that focus on performance techniques in particular styles including pop/rock, funk, r&b, Afro-Cuban, Brazilian, jazz, African pop, and mixed styles. Instrumentation: all instruments. |
Synthesis Improvisation Ensemble | |
| Course Number: | ENSB-317 |
| Credits: | 1 credit |
| Prerequisites: | MTEC-111 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A small contemporary ensemble consisting of synthesizers and other electronics, along with a rhythm section composed of drum set, bass, and guitar. The ensemble will develop a concert-ready performance based upon improvisation, extended performance techniques, sound design, and grooves. |
Small Bebop Jazz Ensemble | |
| Course Number: | ENSB-325 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | An ensemble that performs jazz arrangements in the bebop idiom. Emphasis on both reading skills and improvisation. Instrumentation: trumpet, alto saxophone, trombone, piano, bass, and drums. |
Techno/Rave Ensemble | |
| Course Number: | ENSB-327 |
| Credits: | 1 credit |
| Prerequisites: | MS-225, either MTEC-222 or MS-223, and written approval of instructor and course chair |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A multi-instrumental controller ensemble consisting of all synthesized sound equipment. |
Latin Ensembles | |
| Course Number: | ENSB-328 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 5 through 7 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Ensembles that perform Latin American musical styles and explore different Latin American rhythms. Instrumentation: mixed winds, piano, guitar, bass, drums, and percussion. |
Country Music Ensemble | |
| Course Number: | ENSB-329 |
| Credits: | 1 credit |
| Prerequisites: | By audition |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | This ensemble will specialize in playing various styles of country music. It will be of particular interest to all vocalists, violinists, and rhythm section players. Materials will cover bluegrass, southern rock, rock-a-billy, Texas swing, and country and western music (the Nashville sound). Instrumentation: bass, drums, two acoustic guitars, two electric guitars, fiddle, four to six singers, acoustic piano, and synthesizer. |
Funk Bands | |
| Course Number: | ENSB-345 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 5 through 7 or by audition |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Several small band ensembles that focus on performing contemporary r&b and funk classics in different styles and approaches. Bands include the music of James Brown, Parliament-Funkadelic and seventies r&b, the Meters, Tower of Power, and jazz/hip-hop. Instrumentation: all instruments. |
Contemporary Fusion Ensembles | |
| Course Number: | ENSB-346 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 5 through 8 or by audition |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A variety of small group ensembles that focus on performing fusion from a wide range of stylistic approaches. Styles include the music of Pat Metheny; the music of Stern, Steps and Scofield; the music of Oregon; and student performances of original material. Instrumentation: all instruments. |
Eight-Piece Jazz Ensemble | |
| Course Number: | ENSB-351 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Medium-sized ensembles that perform arrangements in a variety of contemporary jazz styles. Instrumentation: trumpet, trombone, alto saxophone, tenor saxophone, piano, guitar, bass, drums, and vibes. |
Improvisational String Ensemble | |
| Course Number: | ENSB-355 |
| Credits: | 1 credit |
| Prerequisites: | By audition |
| Course Chair: | M. Glaser |
| Required of: | None |
| Electable by: | Violin, viola, cello, guitar, bass, and hand percussion principals |
| Offered: | Spring, Fall |
| Description: | An ensemble consisting of a string quartet plus rhythm section. Emphasis will be on ensemble playing skills and improvisational vocabulary in diverse contemporary idioms. Incorporation of standard jazz vocabulary with that of other common improvisational string idioms, such as world/fusion, western swing, and various traditional styles such as Appalachian- and Texas-style fiddling, Celtic music, and bluegrass. Instrumentation: violins, viola, cello, acoustic guitar, acoustic bass, plus optional rhythm section instruments such as hand percussion, mandolin, banjo, etc. |
Advanced Woodwind Chamber Music | |
| Course Number: | ENSB-361 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 4 or written approval of course chair |
| Course Chair: | W. Pierce |
| Required of: | None |
| Electable by: | Woodwind and French horn principals |
| Offered: | Spring, Fall |
| Description: | Woodwind ensembles for advanced players (flute, clarinet, oboe, bassoon, and French horn) emphasizing the development of classical chamber music performance skills. |
Contemporary Chamber Music Ensemble | |
| Course Number: | ENSB-365 |
| Credits: | 1 credit |
| Prerequisites: | By audition |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Mixed instrumental and vocal ensembles are formed to study and perform chamber music by twentieth-century composers including Luciano Berio, John Corigliano, Aaron Copland, Maurice Ravel, Arnold Schoenberg, Igor Stravinsky, and others. Using their own parts from the preselected repertoire, students will individually practice and master performance skills and musicianship, then rehearse in the larger group in preparation for an end-of-semester recital. Instrumentation: traditional classical instruments (winds, strings, guitar, percussion, and piano) and voice. |
Recording Rhythm Section | |
| Course Number: | ENSB-371 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 5 through 7 or by audition |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | An ensemble that emphasizes the development of recording studio skills for rhythm section. Instrumentation: piano, guitar, bass, drums, and synthesizer. |
Rhythm Track for Songwriters | |
| Course Number: | ENSB-372 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 5 or by audition |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | An ensemble that serves as a rhythm track base for songwriters who would be able to utilize the tracks from these sessions to overdub their vocals. Instrumentation: synthesizer, piano, guitar, bass, and drums. |
Berklee Wes Montgomery Ensemble | |
| Course Number: | ENSB-381 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A small-group ensemble performing material composed or arranged by, or otherwise associated with, Wes Montgomery. Emphasis will be placed on accurate performance of transcribed written parts and improvisation in the bop idiom. Instrumentation: tenor saxophone, piano, guitar, bass, and drums. |
Berklee Wayne Shorter Ensemble | |
| Course Number: | ENSB-382 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | A jazz ensemble that plays the music of Wayne Shorter. Concentration on Shorter's later work in the fusion style (e.g., with Weather Report) plus selected earlier works (e.g., with Blue Note and the Miles Davis Quintet). Instrumentation: trumpet, alto saxophone, tenor saxophone, piano, guitar, bass, and drums. |
Berklee Yellowjackets Ensemble | |
| Course Number: | ENSB-383 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | A small jazz fusion ensemble performing music recorded by the Yellowjackets. Musical scores include original performance materials as well as published and unpublished transcriptions. Emphasis will be placed on stylistic integrity, rhythmic accuracy, and memorization of material assigned weekly. |
Berklee Horace Silver Ensemble | |
| Course Number: | ENSB-384 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A small-group ensemble performing two-horn arrangements of originals and standards by Horace Silver. Instrumentation: trumpet, tenor saxophone, piano, bass, and drums. |
Improvisation on 21st-Century Grooves Ensemble | |
| Course Number: | ENSB-388 |
| Credits: | 1 credit |
| Prerequisites: | Groups will be scheduled for levels 4 through 7 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Performance and analysis of the jazz-rock/fusion idiom for the 21st century. Improvisational and compositional techniques will be discussed with an emphasis on employing a variety of new and current grooves (bounce/timbaland, 32nd-note r&b grooves, hip-hop, drum 'n' bass, as well as funk, jazz-hop, house, ska, reggae, go-go, etc.) and an easy introduction to odd-time rhythms. Some of the major players and groups to be analyzed may be Mahavishnu Orchestra, Weather Report, and Steve Coleman. Original material and writing are welcomed. |
Advanced Small Band Ensemble | |
| Course Number: | ENSB-411 |
| Credits: | 1 credit |
| Prerequisites: | Groups will be scheduled for levels 5 through 8 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A variety of small band ensembles that focus on refining previously learned skills in particular styles. Ensemble styles include mixed styles, klezmer, Afro-Cuban, Brazilian, progressive rock, calypso, reggae, smooth jazz, and jazz standards, as well as the music of Miles Davis, Charles Mingus, ECM, Dave Holland, Ornette Coleman, Charlie Parker, Cedar Walton, and Chet Baker. Instrumentation: all instruments. |
Small Concert Jazz Ensemble | |
| Course Number: | ENSB-421 |
| Credits: | 1 credit |
| Prerequisites: | By audition |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A group that primarily performs music created by members of the ensemble. Improvisational and ensemble skills are blended to allow for individual musical growth. Instrumentation: mixed winds, piano, guitar, bass, and drums. |
Advanced Repertory Workshops | |
| Course Number: | ENSB-425 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 7 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Harmonic analysis and performance of contemporary standard jazz repertoire. Instrumentation: mixed winds, piano, guitar, bass, and drums. |
Nine-Piece Jazz Ensemble | |
| Course Number: | ENSB-451 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 7 through 8 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Medium-sized ensembles that perform arrangements in a variety of contemporary styles. Instrumentation: mixed winds, piano, guitar, bass, drums, and vibes. |
Berklee Art Blakey Ensemble | |
| Course Number: | ENSB-482 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 7 through 8 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A small-group ensemble performing jazz compositions and arrangements of standards used by Art Blakey and the Jazz Messengers. Instrumentation: trumpet, alto saxophone, tenor saxophone, piano, bass, and drums. |
Ensemble Master Class | |
| Course Number: | ENSB-P315 |
| Credits: | 1 credit |
| Prerequisites: | Permission of instructor; overall ensemble rating 5 recommended |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | This master class will be composed of students who will participate as performers and as group leaders. A maximum of nine students will be accepted into this course. Each student will perform several times with their own group and will be critiqued by the course instructor. Students will have the opportunity to experiment with a variety of conventional and nonconventional instrumentation formats. |
Funk and Soul Review | |
| Course Number: | ENSB-P321 |
| Credits: | 1 credit |
| Prerequisites: | Overall rating 4 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | Repertoire class that will feature music of the classic funk, r&b and soulgroups of the 1970s. Class emphasis will include understanding therhythmic and improvisational devices born of that era that continue toresonate and influence contemporary music styles. Students will also studythe nuances that differentiated the genres within the era (e.g. thedifference between Motown, Philly Soul, Muscle Shoals, and James Brown).Some historical and cultural references will be included. Instrumentation: Rhythm section, winds, strings, and vocals. |
Berklee Contemporary String Orchestra | |
| Course Number: | ENST-151 |
| Credits: | 1 credit |
| Prerequisites: | None |
| Course Chair: | M. Glaser |
| Required of: | String principals |
| Electable by: | See department chair |
| Offered: | Spring, Fall |
| Description: | Classic and contemporary approaches to string ensemble performance, including groove-based playing and improvisation in addition to more traditional repertoire. Students will be required to attendÊand participate inÊone 2-hour class meeting, and one 1-hour one additional class meeting per week. |
Classical String Chamber Music | |
| Course Number: | ENST-251 |
| Credits: | 1 credit |
| Prerequisites: | None |
| Course Chair: | M. Glaser |
| Required of: | None |
| Electable by: | Violin, viola, cello, and harp principals |
| Offered: | Spring, Fall |
| Description: | Study and performance of string quartets and trios from the repertoire of the baroque period through the twenty-first century. |
Alternative String Chamber Music | |
| Course Number: | ENST-252 |
| Credits: | 1 credit |
| Prerequisites: | None |
| Course Chair: | M. Glaser |
| Required of: | None |
| Electable by: | String principals |
| Offered: | Spring, Fall |
| Description: | Strings playing covers of non-string based popular music. Students pick the repertoire and write the arrangements. |
Rhythm Section Grooves for Vocalists | |
| Course Number: | ENVC-111 |
| Credits: | 1 credit |
| Prerequisites: | None |
| Course Chair: | J. Shapiro |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Spring, Summer, Fall |
| Description: | A lab for vocalists that will focus on the basic functions of the rhythm section and how to communicate with a rhythm section in a variety of musical styles. Instruments discussed will include electric and acoustic bass, drums, keyboard, and guitar as well as musical elements of various time-feels and grooves. Class members will have the opportunity to work with a rhythm section. |
Contemporary Styles Ensemble with Vocals | |
| Course Number: | ENVC-121 |
| Credits: | 1 credit |
| Prerequisites: | ENSB-111 or overall ensemble rating 2 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Ensembles will cover techniques used in a variety of contemporary music styles featuring vocals, such as pop/rock, r&b, country, and jazz standards. Students will contribute to material. Instrumentation: all instruments/vocalists. |
Small Band with Vocals Ensemble 3 | |
| Course Number: | ENVC-211 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Ensembles will cover techniques in a variety of contemporary music styles featuring vocals. Students will contribute music. Styles include pop/rock, acoustic/unplugged, r&b, country, jazz standards, progressive rock, Lilith Fair, and smooth jazz. |
Music Theater Workshop | |
| Course Number: | ENVC-231 |
| Credits: | 1 credit |
| Prerequisites: | By audition and concurrent enrollment in ILVC-371 |
| Course Chair: | J. Shapiro |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Spring, Fall |
| Description: | An ensemble designed to provide singers with an understanding of repertoire, styles, and basic stagecraft. In conjunction with ILVC-371, an end-of-semester musical/dramatic presentation will be scheduled. Note: Students must enroll in both ENVC-231 and ILVC-371. |
Small Band with Vocals Ensemble 4 | |
| Course Number: | ENVC-311 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Ensembles will cover techniques used in a variety of contemporary music styles featuring vocals. Students will contribute material. Styles include pop/rock, r&b, smooth jazz, gospel, funk, the music of Joni Mitchell, and the music of the Beatles. |
Piano Trio with Vocalists | |
| Course Number: | ENVC-321 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 5 through 7 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Ensemble that focuses on the use of a trio in a supportive role. Styles include r&b, jazz standards, and smooth jazz. |
Music Education Concert Choir | |
| Course Number: | ENVC-361 |
| Credits: | 1 credit |
| Prerequisites: | None |
| Course Chair: | C. Adderley |
| Required of: | MUED majors |
| Electable by: | MUED majors |
| Offered: | Spring, Fall |
| Description: | Concert choir experience with the materials and literature of secondary school music. |
Music Education Concert Choir | |
| Course Number: | ENVC-361 |
| Credits: | 1 credit |
| Prerequisites: | None |
| Course Chair: | C. Adderley |
| Required of: | MUED majors |
| Electable by: | MUED majors |
| Offered: | Spring, Fall |
| Description: | Concert choir experience with the materials and literature of secondary school music. |
Vocal Recording Ensembles | |
| Course Number: | ENVC-371 |
| Credits: | 1 credit |
| Prerequisites: | By audition |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Experience in a variety of vocal techniques necessary in the recording studio. Solos, background, pop tunes, and jingles. Instrumentation: five voices. |
Advanced Small Band with Vocals Ensemble | |
| Course Number: | ENVC-411 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 5 through 7 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Ensembles will cover techniques used in a wide variety of contemporary music styles that feature vocals, such as r&b, pop/rock, gospel, smooth jazz, and jazz standards. Students will contribute material. |
Concert Choir | |
| Course Number: | ENVC-482 |
| Credits: | 1 credit |
| Prerequisites: | By audition |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A mixed choir performing a wide variety of repertory from baroque to contemporary with twentieth-century music stressed. An end-of-semester concert is usually scheduled. |
Gospel Choir | |
| Course Number: | ENVC-485 |
| Credits: | 2 credits |
| Prerequisites: | By audition |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Large vocal ensemble with emphasis on traditional and contemporary gospel music. Concert performances during the fall and spring semesters. Note: A $15 refundable deposit for the use of a choir robe is required. |
Singers Night Performance Ensemble | |
| Course Number: | ENVC-P215 |
| Credits: | 1 credit |
| Prerequisites: | By audition |
| Course Chair: | J. Shapiro |
| Required of: | None |
| Electable by: | Bass, brass, drum set, guitar, hand percussion, piano, woodwind, and vocal principals |
| Offered: | Spring, Fall |
| Description: | Performance ensemble comprised of piano, keyboards, bass, drums, percussion, horns and vocalists. The focus of this class will emphasize the relationship between vocals and band members as well as the supportive and collaborative role of band members. Class meeting times, including rehearsals, may vary according to scheduled final performance. Singers Night concert will occur in the Berklee Performance Center each fall and spring semester. |
Historic Vocal Ensemble | |
| Course Number: | ENVC-P221 |
| Credits: | 1 credit |
| Prerequisites: | By audition |
| Course Chair: | J. Shapiro |
| Required of: | None |
| Electable by: | Voice principals by audition |
| Offered: | Spring, Fall |
| Description: | Vocal ensemble experience that will cover the song materials and styles of vocal groups from the Boswell Sisters through the Manhattan Transfer. This course will include listening assignments, oral and written transcriptions, and a performance. |
A Cappella Ensemble | |
| Course Number: | ENVC-P235 |
| Credits: | 1 credit |
| Prerequisites: | By audition |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | This ensemble is available for vocalists. Though participants do not need to be voice principals, they should have the vocal and musicianship training necessary for this type of performance. Students will practice, learn, and perform in one or two concerts per semester. There will be mixed voice and divisi rehearsals as needed. Music will include traditional pieces from early music through contemporary classical music. This ensemble will utilize soprano, alto, tenor, bass voices--four voices per part (two voices per part for divisi) for sixteen vocalists. This course will also require a piano accompanist. Audition requirements include singing one classical piece with piano accompaniment, as well as singing in a quartet performing briefly rehearsed a cappella music. |
A Cappella Ensemble | |
| Course Number: | ENVC-P235 |
| Credits: | 1 credit |
| Prerequisites: | By audition |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | This ensemble is available for vocalists. Though participants do not need to be voice principals, they should have the vocal and musicianship training necessary for this type of performance. Students will practice, learn, and perform in one or two concerts per semester. There will be mixed voice and divisi rehearsals as needed. Music will include traditional pieces from early music through contemporary classical music. This ensemble will utilize soprano, alto, tenor, bass voices--four voices per part (two voices per part for divisi) for sixteen vocalists. This course will also require a piano accompanist. Audition requirements include singing one classical piece with piano accompaniment, as well as singing in a quartet performing briefly rehearsed a cappella music. |
Ear Training 1 | |
| Course Number: | ET-111 |
| Credits: | 3 credits |
| Prerequisites: | None |
| Course Chair: | A. Chase |
| Required of: | All |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Development of basic ear training skills through singing and dictation studies. Study of songs, intervals, and exercises in the major scales. Study of basic rhythm patterns. |
Ear Training 2 | |
| Course Number: | ET-112 |
| Credits: | 3 credits |
| Prerequisites: | ET-111 |
| Course Chair: | A. Chase |
| Required of: | All |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Continuation of ET-111. Development of basic ear training skills through singing and dictation studies. Study of diatonic materials including jazz standards, bass lines, melodic sequence, intervals, triads, seventh chords, and common harmonic progressions. Rhythmic study will derive from patterns occurring in classical and contemporary music. |
Ear Training 3 | |
| Course Number: | ET-211 |
| Credits: | 2 credits |
| Prerequisites: | ET-112 |
| Course Chair: | A. Chase |
| Required of: | All students not taking ET-231 |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Continuation of ET-112. Ear training skills developed through singing and dictation drills. Selected chromatic syllables are presented through core melodic motives, forming the basis of melodic reading, melodic dictation, and the study and recognition of common harmonic models. Rhythm studies will be similarly presented through rhythmic core motives. |
Ear Training 4 | |
| Course Number: | ET-212 |
| Credits: | 2 credits |
| Prerequisites: | ET-211 |
| Course Chair: | A. Chase |
| Required of: | All students not taking ET-232 |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Continuation of ET-211. Modal singing and dictation studies. Interval studies, two- and three-part dictation. Basic atonal melodic studies. |
Solfge 1 | |
| Course Number: | ET-231 |
| Credits: | 2 credits |
| Prerequisites: | ET-112 |
| Course Chair: | A. Chase |
| Required of: | All students not taking ET-211 |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Development of sight-singing skills using the traditional movable "do" method. Drills in rhythm, interval, and pitch. Singing exercises in major keys through four sharps and four flats in G and F clefs. Some studies in minor keys. Harmonic studies. Part singing. Contrapuntal and harmonic dictation. |
Solfge 2 | |
| Course Number: | ET-232 |
| Credits: | 2 credits |
| Prerequisites: | ET-231 |
| Course Chair: | A. Chase |
| Required of: | All students not taking ET-212 |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Continuation of ET-231. Sight-singing and harmonic studies in all major and minor keys. C clef drills. Rhythm patterns of increased complexity. |
World Music Ear Training | |
| Course Number: | ET-321 |
| Credits: | 2 credits |
| Prerequisites: | ET-112 |
| Course Chair: | A. Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | This course focuses on a variety of rhythmic patterns, percussive ostinatos, and melodic repertoire from around the world, with an emphasis on African, Caribbean, and South American traditional and popular music, as well as South Indian classical, Balkan, and Middle Eastern genres. In-class activity includes vocalization and rhythmic externalization exercises based on particular musical examples, general listening and aural analysis, and transcription of selected elements of a musical texture. Students examine music from the perspective of musical cognition, including the potential impact of cultural background on the formation of one's mental representation and the analysis of "ambiguous" musical structures. Homework assignments entail full or partial transcriptions of rhythmic and melodic elements, as well as exercises involving melodic solfege and rhythmic recitation designed to enhance a student's internal sense of time, pitch, and physical independence through singing or speaking of melody and rhythm in the context of its underlying essential metrical structure. |
Harmonic Ear Training 1 | |
| Course Number: | ET-331 |
| Credits: | 2 credits |
| Prerequisites: | HR-112 and ET-112 |
| Course Chair: | A. Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | This course will work within the limited scope of progressions, including simple root position diatonic harmony, inversions, secondary and extended dominants, II-V patterns, and passing diminished chords. Chord voicings containing one tension will also be covered. This course will include several activities that address application to "real music" situations. |
Harmonic Ear Training 2 | |
| Course Number: | ET-332 |
| Credits: | 2 credits |
| Prerequisites: | ET-331 |
| Course Chair: | A. Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | This course is a continuation of ET-331. Chord progressions will be more intermediate to complex in nature. The concepts of modal interchange harmony, substitute dominants, and modulation will be introduced. Voicings containing multiple tensions and upper structure triads will also be covered. More extensive transcription work of "real music" will be incorporated. |
Rhythmic Ear Training | |
| Course Number: | ET-341 |
| Credits: | 2 credits |
| Prerequisites: | ET-112 |
| Course Chair: | A. Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Designed to improve the ability to sight-read and notate rhythms. Begins with recognition of simple common rhythmic phrases, and progresses to complete transcription of rhythms in recorded materials (baroque, Latin, disco, jazz). |
Fundamentals of Transcription | |
| Course Number: | ET-351 |
| Credits: | 2 credits |
| Prerequisites: | ET-211 or ET-231 |
| Course Chair: | A. Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A course designed to teach the student how to transcribe instrumental and vocal recorded material as found in jazz, pop, and rock. Techniques for transcribing melody, harmony, and bass lines. This course is especially recommended for those students wishing to extend their skills in identifying chord progressions and rhythms. |
Advanced Ear Training 1 | |
| Course Number: | ET-411 |
| Credits: | 2 credits |
| Prerequisites: | ET-212 or ET-232 |
| Course Chair: | A. Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Singing and aurally identifying intervals in tonal and nontonal situations. Intended to bridge the gap between relative pitch and hearing by interval alone. Preparation for singing atonal music. |
Advanced Ear Training 2 | |
| Course Number: | ET-412 |
| Credits: | 2 credits |
| Prerequisites: | ET-411 |
| Course Chair: | A. Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Continuation of ET-411. |
Atonal Solfge 1 | |
| Course Number: | ET-421 |
| Credits: | 2 credits |
| Prerequisites: | ET-212 or ET-232 |
| Course Chair: | A. Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A continuation of solfge that concentrates on atonal music. Sol-fa syllables are not used. Please note that this course is recommended for students who have a high potential in nontonal intervallic solfge. |
Atonal Solfge 2 | |
| Course Number: | ET-422 |
| Credits: | 2 credits |
| Prerequisites: | ET-421 |
| Course Chair: | A. Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | Continuation of ET-421, including the choral works of Webern. |
Popular Song Transcription | |
| Course Number: | ET-441 |
| Credits: | 2 credits |
| Prerequisites: | ET-212, ET-232, or ET-351 |
| Course Chair: | A. Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Designed to teach the student how to transcribe songs and arrangements in current popular music. Most projects are chosen by the student in his/her area of musical interest. Project presentation in class. |
Jazz Solo Transcription | |
| Course Number: | ET-451 |
| Credits: | 2 credits |
| Prerequisites: | ET-212, ET-232, or ET-351 |
| Course Chair: | A. Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Transcription of recorded jazz solos from various periods. Classroom analysis and discussion. |
Advanced Modal Ear Training | |
| Course Number: | ET-P461 |
| Credits: | 2 credits |
| Prerequisites: | ET-212, HR-211 |
| Course Chair: | A. Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | Traditional modes will briefly be reviewed and the basic techniques of practice and performance will be learned. Students will then learn and perform nontraditional/hybrid modes. Examples of modes (please note that each example has alternate names) to be studied include Hungarian Major, Spanish Phrygian, Octatonic, Arabic, Whole Tone, Hindu, Super Locrian, Lydian b7, Japanese, and Hungarian Minor. |
History of Film Music | |
| Course Number: | FS-131 |
| Credits: | 2 credits |
| Prerequisites: | None |
| Course Chair: | D. Carlin |
| Required of: | None |
| Electable by: | FILM majors; all other majors with chair permission |
| Offered: | Spring, Summer, Fall |
| Description: | A survey of music in feature-length films from the silent period to the present day. An overview of stylistic scoring approaches that represent the most significant developments in the field. Discussion of works of composers who have contributed extensively to the development of film music, including representatives of newer trends in recent years. Extensive visual examples will be combined with independent aural analysis of a wide range of scores. |
Introduction to Film Scoring | |
| Course Number: | FS-221 |
| Credits: | 2 credits |
| Prerequisites: | None |
| Course Chair: | D. Carlin |
| Required of: | FILM majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Investigation of the aesthetic relationship between film and music. Discussion of the many functions of film music with analysis of its most effective application to dramatic situations. Exploration of career opportunities in film and television music. |
Analysis of Dramatic Scoring | |
| Course Number: | FS-241 |
| Credits: | 2 credits |
| Prerequisites: | FS-221, CM-221, CM-231, CP-213, ISKB-212 (for non-piano principals), either COND-211 or COND-216 or COND-221, HR-212 and ET-212 or ET-232. FS-241 must be taken concurrently with FS-361. |
| Course Chair: | D. Carlin |
| Required of: | FILM majors |
| Electable by: | FILM majors |
| Offered: | Spring, Summer, Fall |
| Description: | This course combines analysis and composition elements in order to provide students with the basic musical skills necessary for composing music for film. Course work includes in-depth analysis of existing musical examples, which demonstrate the "building blocks" of composition, including melody, harmony, rhythm, and form, as applied to specific dramatic situations. Students will compose several short original examples modeled after the various analysis examples presented. |
The Language of Film | |
| Course Number: | FS-251 |
| Credits: | 3 credits |
| Prerequisites: | FS-221 and LCOR-112 |
| Course Chair: | D. Carlin |
| Required of: | None |
| Electable by: | FILM majors |
| Offered: | Spring, Fall |
| Description: | This course provides film scoring majors with an introduction to how film makes visual and narrative meaning through the "language of film," which includes camera, frame composition, lighting, production design, acting styles, editing, dialogue, plot, genre, themes, sound, and point of view. Students will learn to "read" and analyze film from a film studies perspective. Written assignments and in-class activities will reinforce writing, reading, and oral communication skills, with the goal of strengthening students' abilities to communicate with directors. |
Film Music Composition Seminar | |
| Course Number: | FS-311 |
| Credits: | 1 credit |
| Prerequisites: | CM-221, CP-213, and FS-221 |
| Course Chair: | D. Carlin |
| Required of: | None |
| Electable by: | FILM majors |
| Offered: | Spring, Fall |
| Description: | Intended as a complement to FS-341 and/or FS-441, this course is designed to provide a link between composition and scoring techniques by addressing specific challenges of dramatic music composition. Application of compositional devices intended to help advance the drama; exploration of different concepts and methods as creative music resources for current and future scoring assignments. |
Dramatic Orchestration for Film | |
| Course Number: | FS-340 |
| Credits: | 2 credits |
| Prerequisites: | FS-241, FS-361, and either COND-212 or COND-222; FS-341 must be taken concurrently with FS-340 |
| Course Chair: | D. Carlin |
| Required of: | FILM majors |
| Electable by: | FILM majors |
| Offered: | Spring, Summer, Fall |
| Description: | This course focuses on the exploration and application of traditional and contemporary orchestration techniques to support and achieve intended dramatic effect. Regular assignments involve the use of orchestration as an important compositional tool to successfully meet the emotional requirements of a wide variety of dramatic situations. |
Scoring Techniques for Film and Video | |
| Course Number: | FS-341 |
| Credits: | 2 credits |
| Prerequisites: | FS-241, FS-361, and either COND-212 or COND-222; FS-340 must be taken concurrently with FS-341 |
| Course Chair: | D. Carlin |
| Required of: | FILM majors |
| Electable by: | FILM majors |
| Offered: | Spring, Summer, Fall |
| Description: | The technical and aesthetic aspects of composing and recording music for picture using various synchronization methods: to a click provided by a MIDI sequencer and to a studio clock or stopwatch. Film and video formats, measurements, and conversions, as well as scoring procedures and rehearsal techniques will be covered. Students will compose and record three projects: sequenced, sequenced combined with live players, and a free timed-to-clock project using a live ensemble. |
Master Film Composers | |
| Course Number: | FS-343 |
| Credits: | 2 credits |
| Prerequisites: | FS-340 and FS-341 |
| Course Chair: | D. Carlin |
| Required of: | None |
| Electable by: | FILM majors |
| Offered: | Spring, Fall |
| Description: | Throughout the history of film, a handful of composers have had an extraordinary and formative impact on the art of film scoring. Composers such as Bernard Herrmann, Jerry Goldsmith, and more recently, Thomas Newman, have invented, extended, or defined the grammar and vocabulary of film music. This course will take a full semester to closely examine the work and career of one composer in a rotating set of seminal figures in film scoring history. By studying their work, their impact on film music language, and how their careers developed, students will gain valuable lessons in the art and profession of film scoring. |
Computer/Synthesis Applications for Film Scoring | |
| Course Number: | FS-361 |
| Credits: | 2 credits |
| Prerequisites: | FS-221, CM-221, CM-231, CP-213, ISKB-212 (for non-piano principals), HR-212, ET-212 or ET-232, and either COND-211, COND-216 or COND-221; FS-361 must be taken concurrently with FS-241. |
| Course Chair: | D. Carlin |
| Required of: | FILM majors |
| Electable by: | FILM majors |
| Offered: | Spring, Summer, Fall |
| Description: | The use of MIDI/audio sequencing in scoring to picture, in conjunction with sample playback and synthesis software. Special attention is paid to the film scoring capabilities of Macintosh sequencing applications using QuickTime, tempo, meter, and synchronization in the process of scoring music to picture. Emphasis is also placed on maximizing dramatic expression through use of the available software tools. |
Film Music Editing 1 | |
| Course Number: | FS-375 |
| Credits: | 2 credits |
| Prerequisites: | CM-311, FS-340, and FS-341; FS-375 must be taken concurrently with FS-441 |
| Course Chair: | D. Carlin |
| Required of: | FILM majors |
| Electable by: | FILM majors |
| Offered: | Spring, Summer, Fall |
| Description: | A technical course designed to give composers practical experience in the area of music editing for a scored film and temp-tracked film project. Class instruction and weekly private lab work will include the preparation of all documents involved in music post-production, as well as various techniques used when synchronizing and editing music to picture on a digital audio workstation. |
Survey of Film Scoring Techniques and Procedures | |
| Course Number: | FS-391 |
| Credits: | 2 credits |
| Prerequisites: | COND-211 or COND-216, FS-221, and either AR-201 or CM-221 |
| Course Chair: | D. Carlin |
| Required of: | None |
| Electable by: | All except FILM majors |
| Offered: | Spring, Fall |
| Description: | This course is intended to give non-film scoring majors an overview of the mechanics of synchronization and the psychological implications of applying music to film. Analysis of special dramatic situations will be followed by demonstrations of scoring techniques such as click tracks and picture recording. Procedures for composing and recording film music. |
Stylistic Adaptation in Film Scoring | |
| Course Number: | FS-433 |
| Credits: | 2 credits |
| Prerequisites: | FS-441 and FS-375 |
| Course Chair: | D. Carlin |
| Required of: | None |
| Electable by: | FILM majors |
| Offered: | Spring, Summer, Fall |
| Description: | This course will address the prevalent and recurrent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting and/or specific ethnic locale of a screenplay. Approaches to research and adaptation of authentic musical styles will be discussed. (Such styles include, for example, seventeenth-century European, African, American in the 1920s, etc.) Careful attention to instrumentation, arranging, orchestration, and dramatic theme development will be stressed. Assignments representing realistic situations will be recorded synchronously to the specific needs of film scenes. |
Scoring Applications for Film and Video | |
| Course Number: | FS-441 |
| Credits: | 2 credits |
| Prerequisites: | CM-311, FS-340, and FS-341; FS-375 must be taken concurrently with FS-441 |
| Course Chair: | D. Carlin |
| Required of: | FILM majors |
| Electable by: | FILM majors |
| Offered: | Spring, Summer, Fall |
| Description: | This course will provide opportunities for scoring scenes with a wide range of dramatic and technical requirements. A combination of material from FS-341 combined with advanced techniques from the course (scoring to picture, special and variable clicks, segue/overlays/sweeteners), will be employed in the scoring assignments. All recorded projects will be conducted by the composers and screened for faculty evaluation. These assignments will also form the basis of a portfolio which will be compiled and submitted in FS-487 as partial requirements for graduation. |
Advanced Computer Applications for Film/Video Scoring | |
| Course Number: | FS-461 |
| Credits: | 2 credits |
| Prerequisites: | FS-361 and FS-241 |
| Course Chair: | D. Carlin |
| Required of: | None |
| Electable by: | FILM majors |
| Offered: | Spring, Summer, Fall |
| Description: | An examination of advanced film scoring functions available in various software applications. Mac applications include Digital Performer, Logic Pro, Kontakt, and Reason. Requires the use of multi-computer workstation setups: Mac for sequencing, PC for sample or software synthesis playback, Kontakt or GigaStudio for various sample libraries, as well as V-Stack as a host for VST instruments. Scoring projects include a cartoon, TV commercial, and video game footage. |
Contemporary Techniques in Film Scoring | |
| Course Number: | FS-468 |
| Credits: | 2 credits |
| Prerequisites: | CM-311, FS-340, and FS-341 |
| Course Chair: | D. Carlin |
| Required of: | None |
| Electable by: | FILM majors |
| Offered: | Spring, Fall |
| Description: | This course focuses on the new musical and technological techniques and aesthetics of contemporary film composing. The use of synthesizers and sound design, computers and advanced sequencing techniques, rock, pop, and other nontraditional music in the film scoring process, and the contemporary aesthetics of modern filmmakers and audiences will be investigated. |
Advanced Film Music Editing | |
| Course Number: | FS-475 |
| Credits: | 2 credits |
| Prerequisites: | FS-361 and FS-375 |
| Course Chair: | D. Carlin |
| Required of: | None |
| Electable by: | FILM majors |
| Offered: | Spring, Summer, Fall |
| Description: | An advanced music editing course dealing with standard film and television industry procedures. Intended for the student who demonstrates technical fluidity with editing equipment and who intends to pursue a career in this field. Emphasis is on the responsibilities of a music editor for the "scored" film, from temp tracks and spotting through dubbing. Instruction will include digital editing techniques on a multitrack digital audio workstation, as well as the necessary preparations for delivering music to the dubbing stage in various surround sound formats. |
Directed Study in Film Scoring | |
| Course Number: | FS-487 |
| Credits: | 2 credits |
| Prerequisites: | FS-441 and FS-375 |
| Course Chair: | D. Carlin |
| Required of: | FILM majors |
| Electable by: | FILM majors |
| Offered: | Spring, Summer, Fall |
| Description: | This course guides the student in the preparation and assembly of a portfolio. This collection will consist of representative material chosen from the student's output to date. Under instructor supervision and guidance, new projects will also be scored for the purpose of completing and/or enhancing the portfolio. Career planning, relevant business aspects, and the film and television industry's expectations of the film composer/music editor will be discussed. |
Directed Study in Film Scoring - Advanced Sequencing | |
| Course Number: | FS-488 |
| Credits: | 2 credits |
| Prerequisites: | FS-375, FS-441, and either FS-461 or FS-468 |
| Course Chair: | D. Carlin |
| Required of: | None; but may fulfill FILM Directed Study concentrate requirement in place of FS-487 |
| Electable by: | FILM majors |
| Offered: | Spring, Summer, Fall |
| Description: | An advanced projects course for video scoring with emphasis on using the technology of computer and synthesis hardware and software to realize original music. Students may elect this course as their final requirement (as an alternative to taking FS-487) if they plan to pursue a career scoring music in a project studio environment. Course content emphasizes skills necessary to score industrial/corporate films and documentaries. |
Film Scoring Internship | |
| Course Number: | FS-495 |
| Credits: | 2 credits |
| Prerequisites: | Sixth-semester standing and written approval of the course chair. May not be elected in a student's final semester of enrollment at the college. |
| Course Chair: | D. Carlin |
| Required of: | None |
| Electable by: | FILM majors |
| Offered: | Spring, Summer, Fall |
| Description: | Monitored and evaluated professional work experience in an environment related to the film scoring major. Placement is limited to situations available from or approved by the Office of Experiential Learning and the Film Scoring Department chair or designee. To apply for an internship, students must see the internship coordinator in the Office of Experiential Learning prior to registering. Note: Equivalent credit for prior experience is not available due to the requirement of concurrent contract between the employer/supervisor and the college. International students in F-1 status must obtain authorization on their Form I-20 from the Counseling and Advising Center prior to beginning an internship. |
Introduction to Interactive Music | |
| Course Number: | FS-P271 |
| Credits: | 2 credits |
| Prerequisites: | None |
| Course Chair: | D. Carlin |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | An introduction to the history, theory, aesthetics, and applications of interactive scoring. Course includes analysis of interactive music as found in video games, flash presentations, and other media contexts. This course provides an overview of the video game and interactive industries, including contracts, licensing, tool sets, and job opportunities. |
Harmony 1 | |
| Course Number: | HR-111 |
| Credits: | 2 credits |
| Prerequisites: | None |
| Course Chair: | J. Mulholland |
| Required of: | All |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Basic harmonic theory. Note identification, scale and mode construction, key signatures, interval recognition, chord construction, available tensions. Principles of diatonic chord progressions and analysis. |
Harmony 2 | |
| Course Number: | HR-112 |
| Credits: | 2 credits |
| Prerequisites: | HR-111 |
| Course Chair: | J. Mulholland |
| Required of: | All |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Continued exploration of major key harmony: secondary and extended dominant relationships. Continued study of melodic construction and motif development. Principles of linear harmonic continuity and guide tone lines. Minor key harmony; introduction to subdominant minor. Blues theory and chord progressions. Melodic rhythm, form, and melody/harmony relationship. |
Harmony 3 | |
| Course Number: | HR-211 |
| Credits: | 2 credits |
| Prerequisites: | HR-112 |
| Course Chair: | J. Mulholland |
| Required of: | All |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Continued analysis and application of major and minor key harmony; continued elaboration of subdominant minor and modal interchange; chord scale theory. Review of melodic construction and melody/harmony relationship; individual note analysis of melodies. Substitute dominant and related II-7 chords; diminished chord patterns; modulation. |
Harmony 4 | |
| Course Number: | HR-212 |
| Credits: | 2 credits |
| Prerequisites: | HR-211 |
| Course Chair: | J. Mulholland |
| Required of: | All |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Continuation of principles of modern chord progression: deceptive resolutions of secondary dominants; dominant seventh chords without dominant function; contiguous dominant motion. Review of melodic construction, form, and melody/harmony relationship; modal interchange; pedal point and ostinato; modal harmony and modal composition; compound chords; constant structures. |
Harmonic Analysis of Rock Music | |
| Course Number: | HR-231 |
| Credits: | 2 credits |
| Prerequisites: | HR-211 |
| Course Chair: | J. Mulholland |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Identification and analysis of rock harmonies and melodies. Examples from the mid-1950s to the present day will be studied. Pentatonic and diatonic harmony, linear/open harmony, modulation, and classic rock chord patterns will be included. Emphasis will be placed on harmonic dictation. |
Harmony in Brazilian Song | |
| Course Number: | HR-241 |
| Credits: | 2 credits |
| Prerequisites: | HR-211 |
| Course Chair: | J. Mulholland |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A study of how harmony interacts with melody, lyric, rhythm, style, and form in Brazilian popular song, accomplished through examining the works of the principal songwriters of three major styles of Brazilian popular music: samba, bossa nova, and MPB (musica popular Brasiliera). |
Blues: Analysis and Application | |
| Course Number: | HR-251 |
| Credits: | 2 credits |
| Prerequisites: | HR-211 |
| Course Chair: | J. Mulholland |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | A study of the evolution of the blues, combined with compositional application of various blues styles. Historical study focusing on the blues as a complete and complex form as well as the basic foundation for other styles. Analysis includes examination of harmonic movement, rhythmic and melodic construction, and lyric content. |
The Music of the Beatles | |
| Course Number: | HR-261 |
| Credits: | 2 credits |
| Prerequisites: | HR-212 |
| Course Chair: | J. Mulholland |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Songs written and recorded by the Beatles, as well as songs written by the Beatles and recorded by other artists, will be analyzed for their harmonic content, melodic construction, modal focus, rhythmic phrasing, and lyrical construction. The course will be structured around the 10-year rule for composers and the three stages they move through in their career, from being engaged in others' music, to development of the current style, to innovation. In addition, an understanding of each member's personal history will be presented as a means of understanding the group's music. Also addressed will be the social environment from which the group emerged and developed and consideration given to its effect on their musical development and progress. |
Reharmonization Techniques | |
| Course Number: | HR-325 |
| Credits: | 2 credits |
| Prerequisites: | HR-212 |
| Course Chair: | J. Mulholland |
| Required of: | JCMP majors |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Functional, extended, and bass line reharmonization. Incomplete chord structures and reharmonization of diminished chords. Application of the above techniques for writing turnarounds, introductions, interludes, modulations, and extended endings. Corrections of faulty lead sheets. |
Advanced Harmonic Concepts | |
| Course Number: | HR-335 |
| Credits: | 2 credits |
| Prerequisites: | HR-212 |
| Course Chair: | J. Mulholland |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Emphasis on newer harmonic concepts to enable students to write and analyze tunes in the style of Mike Gibbs, Chick Corea, and others. Discussion and use of nonfunctional harmonic techniques including multitonic systems, constant cycles, and patterned material. Analysis of representative tunes. |
Advanced Modal Harmony | |
| Course Number: | HR-345 |
| Credits: | 2 credits |
| Prerequisites: | HR-212 |
| Course Chair: | J. Mulholland |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Modal chord progression and melody using traditional, synthetic, and other modes. Analysis of modal jazz compositions. Modal voicings using characteristic tones and spacing considerations. Use of polytonal and polymodal relationships in original compositions. |
Music of Yellowjackets | |
| Course Number: | HR-355 |
| Credits: | 2 credits |
| Prerequisites: | HR-212 |
| Course Chair: | J. Mulholland |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | A study of the music of this popular jazz fusion ensemble. Students will analyze original manuscripts and transcribed scores to discover the variety of harmonic, melodic, and rhythmic concepts used that make the music unique, and will write tunes that demonstrate their understanding of these elements. Selected compositions will be performed by the Berklee Yellowjackets Ensemble ENSB-383. |
World Music Elements for the Contemporary Musician | |
| Course Number: | HR-361 |
| Credits: | 2 credits |
| Prerequisites: | HR-212 |
| Course Chair: | J. Mulholland |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | An introduction to the musical elements of several non-Western musical systems will provide alternative approaches to contemporary composition and improvisation. Topics explored will include melody, mode, improvisation, form, rhythmic organization, and preferences of timbre in the music of India, Africa, the Middle East, Latin America, and Japan. Contemporary world beat styles from these regions will be discussed in relation to underlying traditional genres. |
Brass Lab - Reading 1 | |
| Course Number: | ILBR-111 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | T. Plsek |
| Required of: | Brass principals |
| Electable by: | Brass principals |
| Offered: | Spring, Summer, Fall |
| Description: | The goal of ILBR-111, ILBR-112, and ILBR-211 is to prepare the entering brass student for the college ensemble program. Emphasis on reading studies in a variety of styles. |
Brass Lab - Reading 2 | |
| Course Number: | ILBR-112 |
| Credits: | 0.5 credit |
| Prerequisites: | ILBR-111 |
| Course Chair: | T. Plsek |
| Required of: | Brass principals |
| Electable by: | Brass principals |
| Offered: | Spring, Summer, Fall |
| Description: | The goal of ILBR-111, ILBR-112, and ILBR-211 is to prepare the entering brass student for the college ensemble program. Emphasis on reading studies in a variety of styles. |
Brass Improvisation Lab 1 | |
| Course Number: | ILBR-121 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | T. Plsek |
| Required of: | Brass principals |
| Electable by: | Brass principals |
| Offered: | Spring, Summer, Fall |
| Description: | This course presents the basics of jazz improvisation on blues forms in easy keys. In addition to learning to improvise on these sets of changes, the student will also memorize a basic set of appropriate tunes. |
Brass Improvisation Lab 2 | |
| Course Number: | ILBR-122 |
| Credits: | 0.5 credit |
| Prerequisites: | ILBR-121 or written approval of instructor and course chair |
| Course Chair: | T. Plsek |
| Required of: | Brass principals |
| Electable by: | Brass principals |
| Offered: | Spring, Summer, Fall |
| Description: | This course presents the basics of jazz improvisation on simple diatonic song forms in easy keys. In addition to learning to improvise on these sets of changes, the student will also memorize a basic set of appropriate tunes. |
Brass Lab - Reading 3 | |
| Course Number: | ILBR-211 |
| Credits: | 0.5 credit |
| Prerequisites: | ILBR-112 |
| Course Chair: | T. Plsek |
| Required of: | Brass principals |
| Electable by: | Brass principals |
| Offered: | Spring, Summer, Fall |
| Description: | The goal of ILBR-111, ILBR-112, and ILBR-211 is to prepare the entering brass student for the college ensemble program. Emphasis on reading studies in a variety of styles. |
Advanced Brass Reading Lab | |
| Course Number: | ILBR-212 |
| Credits: | 0.5 credit |
| Prerequisites: | ILBR-211 or overall ensemble rating 4 |
| Course Chair: | T. Plsek |
| Required of: | None |
| Electable by: | Brass principals |
| Offered: | Spring, Summer, Fall |
| Description: | Advanced Brass Reading Lab is designed for those brass students who have an overall ensemble rating of 4, and new students who demonstrate moderate-to-advanced reading skills. The material covered is a continuation of ILBR-111, ILBR-112, and ILBR-211, and focuses on developing the advanced reading skills required in contemporary music. |
Brass Improvisation Lab 3 | |
| Course Number: | ILBR-221 |
| Credits: | 0.5 credit |
| Prerequisites: | ILBR-122 or written approval of instructor and course chair |
| Course Chair: | T. Plsek |
| Required of: | None |
| Electable by: | Brass principals |
| Offered: | Spring, Summer, Fall |
| Description: | This course continues the materials presented in ILBR-121 and ILBR-122, and applies them to improvising on blues forms and diatonic song forms in more advanced keys. In addition to learning to improvise on these sets of changes, the student will also memorize a basic set of appropriate tunes. |
Advanced Brass Improvisation Lab | |
| Course Number: | ILBR-222 |
| Credits: | 0.5 credit |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | T. Plsek |
| Required of: | None |
| Electable by: | Brass principals |
| Offered: | Spring, Summer, Fall |
| Description: | Advanced Brass Improvisation Lab is designed for those brass students who have an overall ensemble rating of 4, and new students who demonstrate moderate-to-advanced improvisational skills. The material covered is a continuation of ILBR-111, ILBR-112, and ILBR-211, and focuses on developing the advanced improvisational abilities required in contemporary music. |
Exploring Technology for Brass Players | |
| Course Number: | ILBR-335 |
| Credits: | 0.5 credit |
| Prerequisites: | Written approval of instructor and course chair |
| Course Chair: | T. Plsek |
| Required of: | None |
| Electable by: | Brass principals |
| Offered: | Spring, Fall |
| Description: | Students will be introduced to technology applications available for use by brass players in real-time performance situations. Emphasis will be on the use of technology as an extension of the instruments. |
Singing for Brass Players | |
| Course Number: | ILBR-P336 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | T. Plsek |
| Required of: | None |
| Electable by: | Brass principals |
| Offered: | Spring, Fall |
| Description: | This course is designed to focus on vocal performance for students with a brass principal. Students may or may not have experience as vocalists. All classes will be geared towards the styles the individuals are interested in, emphasizing both singing and playing. Students will be asked to learn and perform new songs each week with the main emphasis being on the selection of correct keys, tempos, and styles. There will be a comparative analysis between vocal and instrumental phrasing, improvisation where relevant, and physiology. Students will also be exposed to performers who have been recognized and respected as both singers and horn players. |
Bass Lab - Reading 1 | |
| Course Number: | ILBS-111 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | R. Appleman |
| Required of: | Bass principals |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Instrumental lab for bass principals emphasizing the basic techniques and styles of bass playing in a variety of idioms. |
Bass Lab - Reading 2 | |
| Course Number: | ILBS-112 |
| Credits: | 0.5 credit |
| Prerequisites: | ILBS-111 |
| Course Chair: | R. Appleman |
| Required of: | Bass principals |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Continuation of ILBS-111. |
Bass Fundamentals | |
| Course Number: | ILBS-115 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Fall |
| Description: | General physical and mechanical aspects of playing the double bass and electric bass (four-, five-, and six-string) will be covered in depth, along with proper performance practices. Topics will include instrument construction, repair, and maintenance; proper body posture for effective bass playing; physical problems associated with performance; theoretical make-up of the fingerboard; and proper fingering concepts of both hands. This course is meant to be a basics manual for the bassist. Student participation via performance in class will be required. |
Bass Lab - Lines 1 | |
| Course Number: | ILBS-121 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | R. Appleman |
| Required of: | Bass principals |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Instrumental lab for bass principals emphasizing the construction and performance of bass lines through chord changes in standard, popular, and jazz tunes. |
Rock Bass Lab | |
| Course Number: | ILBS-141 |
| Credits: | 0.5 credit |
| Prerequisites: | Private instruction level 1 completed |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Fall |
| Description: | Study, through performance, of a wide variety of rock bass playing techniques from the sixties through the nineties. Students will perform transcriptions, read and sight read typical bass lines, and demonstrate general and specific aspects of a particular rock bass style. |
Elementary Double Bass Lab | |
| Course Number: | ILBS-181 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Summer, Fall |
| Description: | Intended primarily for electric bass players, this lab focuses on basic concepts of double bass playing: fingering, bowing, sound production. Students are required to have access to a double bass and a bow for use in class and practice. |
Bass Lab - Reading 3 | |
| Course Number: | ILBS-211 |
| Credits: | 0.5 credit |
| Prerequisites: | ILBS-112 or written approval of instructor and course chair |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A continuation of ILBS-111 and ILBS-112. Material presented will advance the concepts taught in those labs. The focus will be on out-of-class preparation of written examples as well as in-class sight reading at an advanced level. |
Bass Lines From Motown/Atlantic | |
| Course Number: | ILBS-215 |
| Credits: | 0.5 credit |
| Prerequisites: | ILBS-112 or overall ensemble rating 2 |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals (electric bass recommended) |
| Offered: | Spring, Fall |
| Description: | This course will examine the bass styles of James Jamerson, Carol Kaye, Jerry Jemmott, Chuck Rainey, Willie Weeks, Tommy Cogbill, Bob Babbitt, and David Hood, the bassists for Motown and Atlantic records during the 1960s and 1970s. Students will learn to play the original bass parts to hit songs from this music period. Students will then learn to create and play bass parts using this stylistic vocabulary/rhythm section technique over chord progressions in this style. Emphasis on tone and rhythmic feel will also be covered. |
Bass Lab - Lines 2 | |
| Course Number: | ILBS-221 |
| Credits: | 0.5 credit |
| Prerequisites: | ILBS-121 |
| Course Chair: | R. Appleman |
| Required of: | Bass principals |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Continuation of ILBS-121. Instrumental lab for bass principals emphasizing the construction and performance of bass lines through standard chord progressions, using more demanding styles and approaches. |
Bass Lab - Lines 3 | |
| Course Number: | ILBS-222 |
| Credits: | 0.5 credit |
| Prerequisites: | ILBS-221 |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Continuation of ILBS-221. Instrumental lab for bass principals emphasizing the construction and performance of bass lines through standard chord progressions, using more demanding styles and approaches. |
Bass Lab - Basic Timekeeping | |
| Course Number: | ILBS-225 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Summer, Fall |
| Description: | Development of the ability to grasp and maintain a tempo. Exercises including metronome games to improve accuracy and steady time while developing suppleness and flexibility to meet the wide array of rhythm section challenges found in contemporary, live, and studio environments. |
Electric Bass Pop Repertoire | |
| Course Number: | ILBS-241 |
| Credits: | 0.5 credit |
| Prerequisites: | LHAN-237 or PFSS-311 |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Fall |
| Description: | A bass lab designed to develop familiarity and performance skills in the pop repertoire. Bass lines to a number of classic pop tunes will be learned, and the ability to transpose these lines to several other keys will be developed. Students will learn harmonic sequences that are frequently used in pop music styles, and will also develop interactive and communication skills by teaching new songs to the class. |
Five- and Six-String Electric Bass Lab | |
| Course Number: | ILBS-244 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Fall |
| Description: | A general overview and application of different types of knowledge applied to five- and six-string bass, including but not limited to different muting techniques, two- and three-octave scales, arpeggios, intervals, reading in positions, and also discussions on various neck widths, string closeness, pick-up placement, bolt-on necks versus neck-through basses. |
Funk/Fusion Styles for Bass | |
| Course Number: | ILBS-247 |
| Credits: | 0.5 credit |
| Prerequisites: | Private instruction level 3 or ensemble rating 3433 |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Fall |
| Description: | Development of working knowledge of funk styles for bass, including grooves, reading syncopated rhythms, developing a good sound with thumb slapping and popping, and importance of drum/bass concept in contemporary rock and commercial styles. |
Basic Slap Techniques for Electric Bass | |
| Course Number: | ILBS-251 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals or with departmental recommendation |
| Offered: | Spring, Summer, Fall |
| Description: | Alternately called slap bass, funk bass, or thumb and snap bass, this technique will be approached in class on a beginner's basis. Emphasis will be placed on fundamentals. Developing a technical foundation through progressive exercises, students will learn to read and interpret basic slap notation. Creativity is encouraged through use of combining basic slap ideas (thumb, snap, muted notes, slides, hammer-ons, and pull-offs). |
Finger Style R&B and Fusion Lab | |
| Course Number: | ILBS-254 |
| Credits: | 0.5 credit |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Summer, Fall |
| Description: | Development of playing skills in this style through study of the repertoire from the 1960s to the present. Chronological history of the style; development of technique, sound, and overall feel; performance of bass lines with backing tracks; appreciation of lesser-known players in this style. |
The Evolution of Hip-Hop Bass | |
| Course Number: | ILBS-255 |
| Credits: | 0.5 credit |
| Prerequisites: | Overall ensemble rating 2 |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Fall |
| Description: | This lab focuses on the techniques required to perform in the hip-hop style. Recordings and transcriptions will be presented, and students will be required to perform the bass parts and lines. Content covers the beginnings of hip-hop (rap) in New York in the late 1970s, focusing on groups such as Grandmaster Flash and others. The gospel influence of Ce Ce Winans and more contemporary hip-hop artists such as D'Angelo, the Roots, Steve Coleman, Jill Scott, and others will be presented. Drum and bass grooves will also be explored. |
Bass Performance Group | |
| Course Number: | ILBS-257 |
| Credits: | 0.5 credit |
| Prerequisites: | ILBS-112 or private instruction level 3 |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Summer, Fall |
| Description: | An instrumental lab for bass players focusing on the musical relationship between performers in an ensemble. Rehearsal and performance of music arranged for this class will facilitate the learning process. |
Introduction to Latin Jazz Bass Playing | |
| Course Number: | ILBS-261 |
| Credits: | 0.5 credit |
| Prerequisites: | Private instruction level 1 |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Fall |
| Description: | Students will learn the basics of Latin jazz bass playing. Emphasis on Cuban and Brazilian music and rhythms from the twenties through the sixties. |
Brazilian Bass Lab | |
| Course Number: | ILBS-262 |
| Credits: | 0.5 credit |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring |
| Description: | This is an instrumental lab for bassists that focuses on the Brazilian styles of bossa nova, samba, partido alto, chorinho, and afoxe. Weekly assignments will cover a wide range of Brazilian music repertoire, including bass lines and melodies. Students will be exposed to reading in 2/4, 4/4, and cut-time meters, as well as Brazilian percussion instruments and their patterns. |
Bass Lab - Playing in Odd Meters | |
| Course Number: | ILBS-263 |
| Credits: | 0.5 credit |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Fall |
| Description: | This lab serves as an introduction to improvising and playing music in odd and unusual meters in various styles of jazz, rock, funk, world music, etc. Students will be exposed to a variety of bass lines transcribed from masters of different styles and receive guidance on how to invent suitable bass lines for various odd-meter styles. |
Blues Bass Lab | |
| Course Number: | ILBS-271 |
| Credits: | 0.5 credit |
| Prerequisites: | ILBS-121 |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Fall |
| Description: | An instrumental lab for bass players that concentrates on blues forms and the various musical styles (r&b, jazz, rock, Dixieland, pop, etc.) in which they are performed. |
Bass Lab - Singing and Playing | |
| Course Number: | ILBS-274 |
| Credits: | 0.5 credit |
| Prerequisites: | ET-111 or written approval of instructor and course chair |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Summer, Fall |
| Description: | A lab for bass principals wishing to begin coordinating their playing with singing, or to further develop their skills playing while singing. In addition to opening a new range of working possibilities, this study will significantly expand students' musicianship levels by developing musical independence and multitasking skills. |
Arco Workshop | |
| Course Number: | ILBS-281 |
| Credits: | 0.5 credit |
| Prerequisites: | ILBS-181 or by audition |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals or with departmental recommendation |
| Offered: | Spring, Fall |
| Description: | This course will introduce the double bass student to orchestral performance. Basic bowing techniques will be covered and suitable Žtudes will be presented for practice. |
Orchestral Repertoire Workshop for Double Bass | |
| Course Number: | ILBS-284 |
| Credits: | 0.5 credit |
| Prerequisites: | ILBS-281 or by audition |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Fall |
| Description: | This course will introduce the double bass student to orchestral playing. Suitable orchestral literature will be presented for practice. |
Reading Contemporary Bass Rhythms | |
| Course Number: | ILBS-321 |
| Credits: | 0.5 credit |
| Prerequisites: | ILBS-211 or written approval of instructor and course chair |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | A continuation of ILBS-211. Study of contemporary written bass parts as encountered in shows and recording sessions, principally in soul, funk, and r&b styles featuring challenging notated beat subdivisions. |
Bass Lab - Advanced Rhythmic Language | |
| Course Number: | ILBS-324 |
| Credits: | 0.5 credit |
| Prerequisites: | Ensemble rating 4444 or private instruction level 4 |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Summer, Fall |
| Description: | Development of rhythmic language ability through study of principles of temporal articulation and elaboration: creation of polymeter and polyrhythm via grouping of subdivisions of the basic meter. Use of subtle tempo change (rubato) within established rhythmic and harmonic contexts for expressive purposes in live performance as well as automated recording environments. Note: Performance majors are given preference in enrollment. |
John Coltrane Bass Lines | |
| Course Number: | ILBS-327 |
| Credits: | 0.5 credit |
| Prerequisites: | Ensemble rating 5555 |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Fall |
| Description: | Study of the music of John Coltrane from the perspective of developing bass lines. Particularities of harmony and rhythm in interpretation of both original and standard tunes. |
Arco Bass in the Jazz Idiom | |
| Course Number: | ILBS-331 |
| Credits: | 0.5 credit |
| Prerequisites: | Private instruction level 3 and ensemble rating 4 in improvisation (third digit of rating) |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Fall |
| Description: | A lab offering various applications for the bowed bass in jazz, for bass principals who have acquired basic arco technique and possess some knowledge of improvisation. Bowing skills learned will be applicable to melody playing, soloing, and accompaniment. |
Bass Guitar MIDI Controller Lab | |
| Course Number: | ILBS-334 |
| Credits: | 0.5 credit |
| Prerequisites: | PIBS-112 or overall ensemble rating 3 |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Summer, Fall |
| Description: | Study of the MIDI bass guitar controller as a doubling instrument. Aspects of setting up a system, necessary adaptations of technique, and necessary expansion of musical horizons will be explored using Berklee-supplied MIDI equipment and playing representative repertoire. |
Five- and Six-String Electric Bass Chord Lab | |
| Course Number: | ILBS-344 |
| Credits: | 0.5 credit |
| Prerequisites: | Private instruction level 4 and ensemble rating 4444 |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Fall |
| Description: | A study of various approaches and voicings that are possible on the five- and six-string bass as well as inversions, octave displacements, playing changes through a tune, and playing melodies with chord sound accompanying. |
Slap Techniques for Electric Bass 2 | |
| Course Number: | ILBS-351 |
| Credits: | 0.5 credit |
| Prerequisites: | ILBS-251 |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Fall |
| Description: | Students will learn how to incorporate advanced slapping techniques in order to construct effective lines and solos. Emphasis will be on solid groove playing between drums and bass, with special stress on consistency. Students will study and perform transcriptions of classic funk bass lines as an aid to learning proper integration of technique, sound, and feel. |
Latin Bass Lines | |
| Course Number: | ILBS-361 |
| Credits: | 0.5 credit |
| Prerequisites: | ILBS-364 or PIBS-212, or ensemble rating 5 in reading (first digit of rating) |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Fall |
| Description: | A performance lab focusing on the development, interpretation, and performance of bass lines in the Latin jazz ensemble setting. Includes the study of characteristic melodies in this style. |
Bass Lab - Sight-Reading Latin Rhythms | |
| Course Number: | ILBS-364 |
| Credits: | 0.5 credit |
| Prerequisites: | Ensemble rating 5 in reading (first digit of rating) |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Summer, Fall |
| Description: | Development of effective ability to sight-read typical bass parts in Latin styles. Patterns derived using actual recordings in specific idioms, including son, songo, cha-cha-cha, bolero, merengue, and salsa. |
Bass Lab - Advanced Reading | |
| Course Number: | ILBS-421 |
| Credits: | 0.5 credit |
| Prerequisites: | Ensemble rating 4444 or private instruction level 4 |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Fall |
| Description: | Methods of approach to, and practice in, reading examples of high difficulty in various music styles including classical, jazz, and rock. |
Bach Cello Suites for the Bowed Double Bass | |
| Course Number: | ILBS-481 |
| Credits: | 0.5 credit |
| Prerequisites: | ILBS-284, ILBS-331, or written approval of instructor and course chair |
| Course Chair: | R. Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Spring, Fall |
| Description: | A lab for bass principals that uses the cello suites of J.S. Bach to develop arco performance skills. The goals of the course are to build technique using the bow and musicality through the study of masterpieces. Students will be assigned individual movements of a suite and perform in a master-class setting. |
Turntable Technique | |
| Course Number: | ILEN-333 |
| Credits: | 1 credit |
| Prerequisites: | MTEC-111 |
| Course Chair: | R. Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Students will develop basic skills using the turntable both as a means of live expression and performance and as a production tool. Weekly hands-on exercises will be emphasized. The course traces the historical development of the turntable from its origins in Jamaican music through its importance as a major expression of hip-hop culture, and to the turntable's prominence in contemporary music. Artistic, ethical, and legal issues surrounding the use of the turntable will be examined. For students with little or no prior experience. |
Guitar Performance Skills for the Nonguitar Principal | |
| Course Number: | ILGT-115 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A lab for the nonguitar principal focusing on technique for the development of basic lead, comping, and soloing skills for effective performance. Students are required to provide their own acoustic or electric guitar. |
Guitar Performance Skills | |
| Course Number: | ILGT-117 |
| Credits: | 1 credit |
| Prerequisites: | None |
| Course Chair: | L. Baione |
| Required of: | Guitar principals |
| Electable by: | Entering guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | Instrumental lab for first-semester guitar principals emphasizing performance of written chordal and melodic materials. Note: Nonguitar principals need department chair's permission to enroll in this course. |
Guitar Styles Skills Labs | |
| Course Number: | ILGT-119 |
| Credits: | 1 credit |
| Prerequisites: | ILGT-117 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | Instrumental labs for guitar principals with a minimum of second-semester standing. Offered in stylistically delineated sections (jazz, rock, funk, fusion, blues), these labs develop performance skills in the specified style. |
Ensemble Preparation Lab - Guitar | |
| Course Number: | ILGT-211 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-117 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | A lab focusing on the development of lead, comping, and soloing skills necessary for effective performance in an ensemble. Aids to skills development include a graphic/electronic repertoire of rhythm tracks that provides effective ensemble environments. Planned outcomes include successful transition into the college ensemble program. |
Guitar Comping and Soloing in Odd Meters | |
| Course Number: | ILGT-213 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-117 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | One semester per year (see chair for information) |
| Description: | A course developed to aid guitarists in negotiating odd and compound meters. The student will explore meters based on groupings of 5, 7, 9, and 11 through a graduated series of exercises, etudes, class demonstration, and participation. Some knowledge of chord voicings and the ability to solo over chord changes is strongly recommended, but not essential. |
Bottleneck Blues Lab | |
| Course Number: | ILGT-215 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-117 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | One semester per year (see chair for information) |
| Description: | A weekly one-hour departmental lab to develop skills and repertoire in the traditional bottleneck blues guitar style. |
Creative Applications for Proficiency Materials | |
| Course Number: | ILGT-217 |
| Credits: | 1 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | This lab will explore creative applications for Guitar Department final exam materials with emphasis on improvisation, accompaniment, and composition in nonjazz contexts, including use of triadic and drone-based modal vamps to assist utilizing the less familiar modes in melodic minor, harmonic minor, and harmonic major; improvisation over common and "nonfunctional" harmony; and comping, voice leading, and voicing creation. |
Standard Tune Workshop for the Guitarist | |
| Course Number: | ILGT-221 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | Standard tunes are prepared (melody, chords, bass lines, and improvisation) for critiqued performance on a weekly basis. Techniques for, and approaches to, improvisation, including solo transcription and analysis of chord progressions for scale relationship. |
Guitarmony 1 | |
| Course Number: | ILGT-223 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | Complete enharmonic examination of four-note structures beginning with "drop 2" type voicings and including various tension additions and substitutions. Different voice-leading concepts will be introduced resulting in an enriched vertical and horizontal harmonic awareness by students. |
Guitar Chart Reading and Performance | |
| Course Number: | ILGT-225 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-117 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | Development of reading skills focusing on interpretation of lead sheets as well as performance of guitar parts. Blend, balance, and accurate performance of intermediate to advanced rhythmic materials are to be addressed. |
Guitar Chord Soloing | |
| Course Number: | ILGT-227 |
| Credits: | 1 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | Immediately accessible mechanical and nonmechanical techniques for the development of arrangements for solo guitar. Each week a step-by-step approach will be demonstrated and discussed. During the semester, students will produce a tape of four chord solos (two original arrangements and two from department files). |
Fingerpicking Blues Guitar | |
| Course Number: | ILGT-228 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | Study of technique, repertoire, and improvisational approaches in the fingerstyle of playing blues guitar. |
Performing Solo Guitarist | |
| Course Number: | ILGT-230 |
| Credits: | 1 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | This lab offers students the opportunity to perform solo guitar pieces in any style, to develop solo guitar arrangements or compositions for performance, and to exploit the harmonic/melodic capabilities of the guitar. Essential elements of solo guitar will be discussed, demonstrated, and applied to student performances. Students will learn and perform original arrangements or transcriptions of pieces by artists or composers of any genre for midterm and final projects. Jazz, pop, blues, classical, funk, and folk styles will be among the idioms to be addressed. |
Jazz/Blues Guitar | |
| Course Number: | ILGT-231 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | This lab focuses on basic to intermediate jazz blues techniques including single-note blues heads, solos, and standard dominant-seventh, minor-seventh, and major-seventh blues progressions. Weekly playing assignments; analysis of recordings by various blues artists. |
Jazz Guitar Trio Seminar | |
| Course Number: | ILGT-233 |
| Credits: | 1 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | One semester per year (see chair for information) |
| Description: | A concentrated course of study that will aid the student in performing in a jazz trio setting of guitar, acoustic bass, and drum set. Topics will range from idiomatic introductions and endings; challenging standard tunes/melodies; single note, octave, and chord soloing; soloing in double stops; solo introductions (rubato and in tempo); trading fours; comping for bass solos; reharmonization considerations; modulation/transposition for variation of color; fingerstyle/pick considerations; and attaining a good sound. |
Jimmy Page Lab | |
| Course Number: | ILGT-235 |
| Credits: | 1 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | One semester per year (see chair for information) |
| Description: | A concentrated course of study for guitarists based on the music of Jimmy Page. Topics will include early blues and rock influences, detailed analysis of solos and compositions, and use of open tunings. |
Hard Rock/Metal Lab | |
| Course Number: | ILGT-237 |
| Credits: | 1 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | One semester per year (see chair for information) |
| Description: | Exploration of technical innovations provided by three decades of classically influenced, hard-rock players. In-depth study of the early pioneers of the style (Ritchie Blackmore, Uli-Jon Roth, Michael Schenker) and the more recent guitarists (Yngwie Malmsteen, Jason Becker, Joe Stump) who helped to redefine the genre known most commonly as shred. |
The Music of Kenny Burrell and Grant Green | |
| Course Number: | ILGT-238 |
| Credits: | 1 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | Students will listen, analyze, transcribe, and perform solos by guitarists Kenny Burrell and Grant Green. Material covered will include instruction on the performance styles and techniques of these artists and their approach to improvisation, with attention to fingerings, phrasing, articulation, and harmonic structures. |
Improvisation Styles of Peter Bernstein and Kurt Rosenwinkel | |
| Course Number: | ILGT-239 |
| Credits: | 1 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | This course will analyze, compare, and contrast the improvisational styles and techniques of contemporary postbop jazz guitarists Peter Bernstein and Kurt Rosenwinkel. This will be accomplished through analysis of solo transcriptions prepared by the instructor and transcriptions completed by each student. |
Jazz/Rock Improvisation for Guitar | |
| Course Number: | ILGT-241 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | Study and application of scales and harmony in this style of improvisation and their application to the guitar, including fingering and guitaristic devices (string bending, slides, etc.). Presentation is through written and recorded examples of contemporary artists (including nonguitarists), instructor demonstration, and student performance with taped rhythm section. |
Jazz/Rock Rhythm Guitar Playing | |
| Course Number: | ILGT-243 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | The application of harmony as it occurs in popular music. Rhythm guitar parts presented through tapes, transcriptions, and demonstrations of jazz, rock, funk, and fusion records. Included are adaptations of keyboard parts to guitar and discussion and demonstration of various rhythm guitar techniques (two- and three-note voicings, mutings, etc.). |
Rock Guitar Lab | |
| Course Number: | ILGT-245 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | Performance of material from Rock Guitar Styles including extensive lead and rhythm examples in all idioms of rock music from the 1950s to the present day. |
Steel Guitar Lab | |
| Course Number: | ILGT-247 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | Aspects of steel guitar performances in exemplary styles including Hawaiian, western swing, country, blues, and jazz. Extensive listening and study of transcribed examples. Students use their own guitars with an inexpensive accessory to learn bar control and picking methods. Exploration of alternative open tunings. |
Slide Guitar Lab | |
| Course Number: | ILGT-249 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-117 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | Study of technique, repertoire, and improvisational approaches with regard to contemporary slide-guitar performance. |
Advanced Blues/Rock Guitar Techniques | |
| Course Number: | ILGT-251 |
| Credits: | 1 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | Study of advanced rock and blues guitar techniques: string bending, chromatic harmony in the idiom, tone production, and repertoire. This will be accomplished through analysis of tune melodies and solo transcriptions prepared by the instructor and transcriptions completed by each student. Emphasis will be placed on jazz improvisation approaches and their application to rock and blues soloing. |
Groove Concepts for Funk Guitar Performance | |
| Course Number: | ILGT-253 |
| Credits: | 1 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | This lab will break down all aspects of funk guitar styles. Students will familiarize themselves with salient concepts including phrasing, time, rhythm playing, "playing the pocket," harmonics possibilities, and understanding the many roles that the guitar can play in funk settings. Funk is a dialect in the musical language. As is the case with any language, students will focus on understanding and communicating in this dialect, listening to pronunciation and how sentences are phrased, and building a strong vocabulary. |
Guitar Lab - Developmental Arpeggios | |
| Course Number: | ILGT-261 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-117 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | Instrumental lab for guitar principals dealing with two-octave, three- and four-part arpeggios across the guitar. Included in weekly assignments will be exercises and drill studies. |
Reading Contemporary Guitar Rhythms | |
| Course Number: | ILGT-263 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | This lab is designed for the student to experience the rhythmic challenges (from simple to very complex) encountered in contemporary music. Pop, rock, jazz, fusion, and country music styles will be covered in harmonic settings. |
Guitar Lab - Performance Techniques and Comping | |
| Course Number: | ILGT-265 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | A performance lab for guitarists focusing on combining jazz style harmonic techniques with the development of rhythmic flexibility. This course is for students who wish to develop these skills in an interactive setting. |
Guitarist Approaches to Vocal Accompaniment | |
| Course Number: | ILGT-267 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-117 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | A Guitar Department course in which students will study methods and techniques specifically related to the accompaniment of vocalists in a variety of styles and settings. Students will learn appropriate repertoire; chord and melodic techniques, including drop two and three, voicings, walking bass techniques, chord soloing techniques, and finger- and pick-style playing; and techniques for working with male and female vocalists in solo, duo, trio, or larger settings. |
Polyrhythms for Guitar 1 | |
| Course Number: | ILGT-269 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | This lab is an introduction to rhythmic displacement in comping and soloing by the use of various polyrhythms and polymeters against a standard 3/4 or 4/4 time signature. |
Linear Approach Concepts | |
| Course Number: | ILGT-271 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | A lab for guitar principals that develops approach patterns and trains the ear for improvisation in all idioms. |
Recording/Practice Techniques for the Performing Guitarist | |
| Course Number: | ILGT-275 |
| Credits: | 1 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | A course exploring a wide range of creative, aesthetic, conceptual, and technical aspects of recording electric and acoustic guitar. Topics will include the creation of overdubbed parts in a recording session and related aspects of tone; orchestration and concept; recording media; direct recording of electric guitar; microphone use and theory applied to electric and acoustic guitar; use of equalization; compression and other effects in a recording environment; and mixing and production concepts. |
Classical Guitar Repertoire and Performance Class | |
| Course Number: | ILGT-280 |
| Credits: | 1 credit |
| Prerequisites: | ILGT-117 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | A workshop class for aspiring classical guitarists of all levels, based on the traditional repertoire class, where standard and lesser-known works of guitar literature are performed, coached, and discussed. Students will regularly perform level-appropriate pieces agreed upon with the instructor, and through these performances, the class will provide a survey of guitar literature. Coaching will cover issues of classical guitar performance such as tone, technique, musicality, interpretation, and style. The course will also include study of major classical guitarists and their recordings. |
Classical Guitar Chamber Music 1 | |
| Course Number: | ILGT-281 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-117 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | An intermediate-level lab focusing on the rehearsal and recording of literature written or transcribed for classical guitar. |
Country Guitar Lab | |
| Course Number: | ILGT-285 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | Performance of material from Country Guitar Styles, including single-note solos, pedal steel style, folk finger picking, and western swing. |
Guitar Styles of the Beatles | |
| Course Number: | ILGT-319 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-117, ILGT-119, and ensemble rating 3333 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Study and performance of guitar riffs, leads, and grooves as recorded by Harrison, Lennon, and McCartney. Role of the guitar in pop/rock recording and production, including triads, four-note voicings, characteristic rhythms, phrasing, effects, layering, and the mini-orchestra concept. Developing typical accompaniment patterns for contemporary songs. |
Advanced Standard Workshop for the Guitarist | |
| Course Number: | ILGT-321 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-221 and ensemble rating 4444 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | A continuation of ILGT-221 using standards that present greater challenges. Tunes are prepared (melody, chords, bass line, and improvisation) for critiqued performance on a weekly basis. Techniques for and approaches to improvisation, including the application of melodic and harmonic minor scales and diminished and whole tone scales. |
Guitarmony 2 | |
| Course Number: | ILGT-323 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-223 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | A lab for guitar principals continuing the development of harmonic and voice-leading concepts introduced in ILGT-223. Various string combinations and voicing sizes will be introduced, and a more in-depth examination of modal harmonies and upper-structure triads will be developed. |
Walking Bass Line and Chords for Guitar | |
| Course Number: | ILGT-325 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | A systematic technique developing a complete rhythm section style of accompaniment playing, ideal for duo and trio situations. Class participation involves weekly performance of standard, jazz, blues, or Latin tunes. |
Advanced Chord Soloing | |
| Course Number: | ILGT-327 |
| Credits: | 1 credit |
| Prerequisites: | ILGT-227 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | Students will record solo guitar pieces of their choice, which may include original arrangements, transcriptions, adaptations in various genres, and Guitar Department-produced handouts. Recordings may also include chord soloing with rhythm section. |
The Complete Rhythm Guitarist | |
| Course Number: | ILGT-329 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | A systematic group approach designed to expose students to the correct interpretation and techniques necessary to perform all styles of rhythm guitar playing. A taped rhythm section is used for students to play along, which enhances their musical experience in this very important area of guitar performance. |
Guitar Synthesizer Lab | |
| Course Number: | ILGT-331 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-117 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | Applications, scope, and limitations of guitar synthesizers. Understanding the operating principles of guitar synthesizers as they have evolved with developments in technology. Discussion of appropriate performance techniques and related problems. |
Electronic Effects for Guitar | |
| Course Number: | ILGT-333 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | Hands-on training with current digital equipment and electronic devices. Approaches to effective performance using various signal-processing equipment. |
George Benson Lab | |
| Course Number: | ILGT-340 |
| Credits: | 1 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | Study and performance of the guitar playing style of George Benson through recordings and transcriptions. Students will focus on the artist's harmonic, melodic, and rhythmic styles. |
Jazz/Rock Improvisation for Guitar 2 | |
| Course Number: | ILGT-341 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-241 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | A continuation of ILGT-241, with more advanced theory and techniques. Analysis becomes secondary, and in-class performance is emphasized. Instructor demonstration is continued. |
George Van Eps Lab | |
| Course Number: | ILGT-342 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | Study and performance of the chord solos of George Van Eps through recordings and transcriptions. Students will focus on fingerings, phrasing, and harmonic voicings of the George Van Eps style. |
Jeff Beck Lab | |
| Course Number: | ILGT-343 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | Study of guitar performance skills based on the music of Jeff Beck. Concentration on intonation, tone production, transcription skills, and a variety of techniques both conventional and unorthodox. |
Jim Hall Lab | |
| Course Number: | ILGT-344 |
| Credits: | 1 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | Study and performance of the guitar playing style of Jim Hall through recordings and transcriptions. Students will explore Jim Hall's conceptual approaches to rhythm, melody, and harmony. |
Advanced Rock Guitar Performance Techniques | |
| Course Number: | ILGT-345 |
| Credits: | 1 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | Instrumental lab for guitar principals with third-semester or higher standing. Emphasis on application of theory and musicianship concepts presented in core music studies (harmony and ear training) to modern rock guitar improvisation. |
Music of the Allman Brothers Band | |
| Course Number: | ILGT-346 |
| Credits: | 1 credit |
| Prerequisites: | ILGT-117 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | This course teaches guitarists the music of the Allman Brothers band. Students will be given transcriptions and learn to play the music of the Allman Brothers, which will include analysis and improvisation pertaining to the harmonic structure of the tunes. Slide technique, pentatonic and modal scale applications, chord forms, and arpeggios will also be incorporated into the class. |
Jimi Hendrix Lab | |
| Course Number: | ILGT-347 |
| Credits: | 1 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | Study of guitar performance skills based on the music of Jimi Hendrix. Concentration on intonation, tone production, transcription skills, and a variety of techniques both conventional and unorthodox. |
Solo Jazz Guitar | |
| Course Number: | ILGT-349 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | This lab offers an in-depth analysis of complex harmonic situations in the creation and performance of chord solos, involving mechanical voicings derived from chord scales and various reharmonization techniques. |
Motivic Basis for Jazz Guitar Improvisation | |
| Course Number: | ILGT-351 |
| Credits: | 1 credit |
| Prerequisites: | Ensemble rating 5555 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Improvisation lab focusing more on melodic and motivic resources and less on chord scales as basis for soloing in jazz styles. Study of essential bop motives from Charlie Parker solos and their application to basic jazz forms including blues and rhythm changes. |
Advanced Brazilian Guitar Styles | |
| Course Number: | ILGT-360 |
| Credits: | 1 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | A study and performance of the Brazilian guitar tradition. This course will look into the solo style of Baden Powell, teach some of the chorihnos, and continue to expand upon the repertoire of Antonio Carlos Jobim and more contemporary Brazilian composers. |
Advanced Reading | |
| Course Number: | ILGT-363 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | Performance lab for guitar principals focusing on development of advanced reading skills. Each session will be thorough and challenging. Individual solos as well as group arrangements will be played. |
Advanced Guitar Performance Lab | |
| Course Number: | ILGT-365 |
| Credits: | 1 credit |
| Prerequisites: | By audition |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | For advanced guitar principals, continued development of skills and techniques with emphasis on reading and group performance. |
Building Guitar Technique through Triads | |
| Course Number: | ILGT-367 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | This lab uses the original George Van Eps method for guitar. The student is rigorously involved in developing a triad-oriented approach to the finger board. Topics covered include harmonized scales and scale patterns, melodized triads, and free improvisations. Strong emphasis on correct technique for both right and left hands. |
Polyrhythms for Guitar 2 | |
| Course Number: | ILGT-369 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-269 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | This is a continuation of ILGT-269 (rhythmic displacement in comping and soloing by the use of polyrhythms and polymeters). |
Professional Guitar Styles | |
| Course Number: | ILGT-371 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | Designed to prepare guitarists for professional general business engagements, this lab will cover correct rhythm and lead styles for all types of music commonly played on such engagements. Other topics will include: hearing common chord progressions, forming a band, utilizing booking agents, and running an engagement. |
Linear Style of Pat Martino: Approaches to Jazz Improvisation | |
| Course Number: | ILGT-373 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | Instrumental lab for guitar principals emphasizing performance in the style of Pat Martino. Study of Žtudes and line studies as preparation for performing transcribed solos. Application of linear concepts to improvisation. |
Wes Montgomery Lab | |
| Course Number: | ILGT-375 |
| Credits: | 1 credit |
| Prerequisites: | None |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | Study and performance of the guitar playing style of Wes Montgomery through recordings and transcribed solos featuring Montgomery's own fingerings, phrasing, etc. Focus on the artist's blues and swing feel, spontaneous improvisation, and individuality. |
Classical Guitar Chamber Music 2 | |
| Course Number: | ILGT-381 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-281 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | Sight-reading more advanced literature written or transcribed for classical guitar. |
Show/Theater Guitar Lab | |
| Course Number: | ILGT-385 |
| Credits: | 0.5 credit |
| Prerequisites: | ILGT-119 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Summer, Fall |
| Description: | Performance and study of guitar books from Broadway shows, night clubs, and recording sessions. |
Contemporary Sight-Reading Skills for Guitarists | |
| Course Number: | ILGT-386 |
| Credits: | 1 credit |
| Prerequisites: | ILGT-117 |
| Course Chair: | L. Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Spring, Fall |
| Description: | A sight-reading class for guitarists utilizing modern music in funk and jazz styles. The class will be based on a working guitarist's skills necessary to function in practical playing situations. Drills will utilize play-along recordings where class members will have to add parts on the spot. Guitar ensemble material will also be used to gain ensemble, phrasing, and intonation skills, as well as big band charts reading lines, comping chords, and improvising. |
Introduction to Timpani | |
| Course Number: | ILPC-281 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | PERF and MUED total percussion principals, and PERF hand percussion principals |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | Emphasis on intervallic recognition, setting the pitch, tone concepts, rolls, dynamics, and sticking. Performance of two timpani etudes. |
Concert Snare Drum Techniques | |
| Course Number: | ILPC-315 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-211 and ILPD-235 |
| Course Chair: | J. Ramsay |
| Required of: | PERF total percussion principals |
| Electable by: | All percussion principals |
| Offered: | Spring |
| Description: | Technique, interpretation, and practical use of the snare drum in a solo context. |
Advanced Drum Rudiments 1 | |
| Course Number: | ILPC-319 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-112 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | Drum set and total percussion principals |
| Offered: | Spring, Fall |
| Description: | A study of the 26 American rudiments, the Swiss rudiments, and their variations. Application of rudimental vocabulary to successful performance of solo Žtudes, including Wilcoxon's Modern Swing Solos. |
Advanced Drum Rudiments 2 | |
| Course Number: | ILPC-419 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPC-319 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | A continuation of ILPC-319. Additional learning resources will include the Percussive Arts Society's Rudiments and Variations. Emphasis on application of rudimental vocabulary to effective performance of solo material. |
Drum Set for the Nonpercussionist | |
| Course Number: | ILPD-110 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | This course will provide an opportunity for nonpercussionists to develop entry-level performance abilities on the drum set. Emphasis will be placed upon teaching nonpercussionists to keep time and function within a rhythm section. This course will present an overview ofÊhand and foot technique, a brief history of the drum set, and the fundamentals of drum notation and reading, as well as weekly analysis, listening, and performance of popular styles such as rock, pop, funk, basic Latin, and shuffle/jazz. Additional emphasis will be placed on each student playing the drum set, alone, with other drummers, and along with recorded music. |
Drum Lab 1 | |
| Course Number: | ILPD-111 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | All drum set and total percussion principals, and PERF hand percussion principals |
| Electable by: | All percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | Development of fundamental snare drum studies including grip, sticking, sticking patterns, rhythmic studies, reading, and rudimental studies. Drum set grooves and techniques will be introduced as well. |
Drum Lab 2 | |
| Course Number: | ILPD-112 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-111 |
| Course Chair: | J. Ramsay |
| Required of: | All drum set and total percussion principals, and PERF hand percussion principals |
| Electable by: | All percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | Continued orchestral and rudimental snare drum studies along with drum set time and improvisational skills utilizing 12- and 32-measure tune forms primarily in the jazz context, including the use of brushes. |
Snare Drum Techniques for the Drum Set Principal | |
| Course Number: | ILPD-125 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-111 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | Study of snare drum performance techniques and reading of constant odd meters, changing meters, polyrhythms over one and two beats, and metric modulation. |
Keyboard Musicianship for Percussionists | |
| Course Number: | ILPD-150 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | Drum set, hand percussion, marimba, and total percussion principals |
| Electable by: | Vibraphone principals |
| Offered: | Spring, Summer, Fall |
| Description: | This is functional keyboard class that is required of drum set, hand percussion, and total percussion principals (with no or minimum keyboard skills) to assist with the assimilation of concepts and skills taught in first-semester ear training, harmony, and writing skills/arranging. An important aspect of this class is the performance of musical concepts from the workbooks of those respective classes. In addition, basic technical issues are addressed including scale fingering, independence of hands, specific exercises, and drills. Piano playing concepts such as rotation, finger versus arm weight, and wrist flexibility are also covered. |
Drum Lab 3 | |
| Course Number: | ILPD-211 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-112 |
| Course Chair: | J. Ramsay |
| Required of: | Drum set principals |
| Electable by: | All percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | Development of fluency and effectiveness with Afro-Cuban and Brazilian rhythms applied to drum set with an emphasis on form. Continued brush, orchestral, and rudimental snare drum studies. |
Drum Lab 4 | |
| Course Number: | ILPD-212 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-211 |
| Course Chair: | J. Ramsay |
| Required of: | PERF drum set principals |
| Electable by: | All percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | Intermediate-to-advanced drum set chart reading and improvisation studies, notation, and repertoire. Continued orchestral and rudimental snare drum studies. |
Brush Techniques | |
| Course Number: | ILPD-217 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-112 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | Drum set and total percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | This lab emphasizes techniques related to traditional wire brushes and heavier specialty brushes, including conventional sweeping and figure patterns, individualized patterns, distribution of rhythm between both hands, reverse functioning in the hands, and techniques related to jazz and bossa nova styles. Repertoire study and brush stylists including Philly Joe Jones, Vernell Fournier, and Ed Thigpen will be investigated. |
Rock Drumming Repertoire Development and Application | |
| Course Number: | ILPD-221 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | This course will enhance the learning and playing of standard repertoire for the drumset in various Rock styles. Numerous songs will be analyzed, studied, and memorized. This course is designed to allow the student to gain a working knowledge of the standard rock repertoire. |
Jazz Repertoire Development and Application | |
| Course Number: | ILPD-225 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-112 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | This course will enhance the learning and playing of standard repertoire for the drum set in various jazz styles. Numerous songs will be analyzed, studied, and memorized. This course is designed to allow the student to gain a working knowledge of the standard jazz repertoire. |
Hip-Hop Repertoire Development and Application | |
| Course Number: | ILPD-229 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-112 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | This course will enhance the learning and playing of standard repertoire for the drum set in various hip-hop styles. Numerous songs will be analyzed, studied, and memorized. This course is designed to allow the student to gain a working knowledge of the standard hip-hop repertoire. |
Basic Time, Pulse, and Improvisation | |
| Course Number: | ILPD-231 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | Application of basic rhythms and techniques to jazz and avant-garde music. |
Funk Repertoire Development and Application | |
| Course Number: | ILPD-233 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-112 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | This course will enhance the learning and playing of standard repertoire for the drumset in various Funk styles. Numerous songs will be analyzed, studied, and memorized. This course is designed to allow the student to gain a working knowledge of the standard funk repertoire. |
Polyrhythms 1 | |
| Course Number: | ILPD-235 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-112 |
| Course Chair: | J. Ramsay |
| Required of: | PERF total percussion principals |
| Electable by: | All percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | This course will examine polyrhythmic studies including multi-simultaneous patterns, metric modulation, and cross rhythms. |
Acoustic Characteristics of the Drum Set | |
| Course Number: | ILPD-237 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | This course examines the sonic and acoustic dimensions of the instruments that make up the drum set. Study of the history, materials used, manufacturing processes, tuning, and maintenance of these components through demonstrations and direct experience. Comparisons of common descriptive sonic vocabulary with the actual sounds; techniques for adapting and controlling sound in various styles. |
Country and Western Drumming Styles | |
| Course Number: | ILPD-239 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | A performance-based historical survey of country and western drumming styles up to the present day. Development of performance skills in country and western feels incorporating both stick and brush techniques. Major drummers in this style will be studied. |
Jazz Drum Styles | |
| Course Number: | ILPD-261 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A study of drummers in the jazz idiom. Resources include audio and video examples, articles, transcriptions, and demonstrations. Artists covered will include Joey Baron, Brian Blade, Art Blakey, Larry Bunker, Jon Christensen, Jimmy Cobb, Troy Davis, Alan Dawson, Jack DeJohnette, Al Foster, Steve Gadd, Billy Hart, Roy Haynes, Billy Higgins, Elvin Jones, Lewis Nash, Bill Stewart, and Jeff Watts. |
Fusion Drum Styles | |
| Course Number: | ILPD-262 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A study of drummers in the jazz fusion idiom. Resources include audio and video examples, articles, transcriptions, and demonstrations. Artists covered will include Tom Brechtlein, Vinnie Colaiuta, Billy Cobham, Mike Clark, Peter Erskine, Eric Gravatt, Omar Hakim, William Kennedy, Ricky Lawson, Alphonse Mouzon, Gary Novak, Marvin "Smitty" Smith, Paco Sery, Chad Wackerman, Michael Narada Walden, Dave Weckl, Lenny White, and Tony Williams. |
Rock Drum Styles | |
| Course Number: | ILPD-263 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A study of drummers in the rock idiom. Resources include audio and video examples, articles, transcriptions, and demonstrations. Artists covered will include Gregg Bissonette, Cindy Blackman, Terry Bozzio, Phil Collins, Will Calhoun, Stewart Copeland, Steve Ferrone, Greg Errico, Steve Jordan, Manu KatchŽ, Vinnie Paul, Simon Phillips, Jeff Porcaro, Mike Portnoy, J.R. Robinson, Chad Smith, and Steve Smith. |
Funk Drum Styles | |
| Course Number: | ILPD-264 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A study of drummers in the funk idiom. Resources include audio and video examples, articles, transcriptions, and demonstrations. Artists covered will include Dennis Chambers, David Garibaldi, Roger Hawkins, Harvey Mason, Zigaboo Modeliste, Bernard Purdie, Jabo Starks, Clyde Stubblefield, and others. |
World Drum Styles | |
| Course Number: | ILPD-265 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A study of percussionists and drummers in various world music idioms. Resources include audio and video examples, articles, transcriptions, and demonstrations. Artists covered will include Alex Acu–a, Luis Conte, Daduka de Fonseca, Trilok Gurtu, Horacio Hernandez, Giovanni Hidalgo, Zakir Hussain, Airto Moreira, and others. |
Lead Sheet Interpretation | |
| Course Number: | ILPD-271 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-211 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | This course will help students develop techniques for effective melodic phrasing, comping, improvising, and dynamic use within specific song forms and diverse musical styles. Lead sheets featuring 12- bar, 16- bar, 32- bar, and odd lengths will be studied. |
Advanced Brush Lab | |
| Course Number: | ILPD-317 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-217 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | Building on ILPD-217, this course offers students the opportunity to improve basic skills. Studies include ballad and swing patterns, odd meters, Latin, solo, and ensemble playing. Various contemporary brush stylists will be examined. In addition, continued repertoire study is included. |
Contemporary Electronic Percussion | |
| Course Number: | ILPD-331 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-211 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | A comprehensive course on functioning in today's music world with the latest electronic instruments in modern percussion. The program includes hands-on work with electronic drum kits, drum machines, and the programming, triggering, and interfacing of the same. |
Techno Drum Set Performance | |
| Course Number: | ILPD-332 |
| Credits: | 1 credit |
| Prerequisites: | ILPD-211 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | Drum set, total percussion, and hand percussion principals |
| Offered: | Spring, Fall |
| Description: | This course responds to the work of DJs and programmers who have opened up new ground in the world of drumming with their samples, loops, and innovative programming. This course will present ways in which these same samples, loops, and programs can be applied to the drum set. Focusing on the work of artists such as Underworld, DJ Shadow, Aphex Twin, Squarepusher, and others, students will transcribe and orchestrate the rhythms and beats of these artists and then perform these transcriptions in solo, duo, and trio drum set contexts. |
Advanced Drum Chart Reading | |
| Course Number: | ILPD-333 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-212 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | Musical applications of skills associated with reading in professional performance situations: drum parts, lead sheets, sight-reading, song forms, soloing, playing with brushes, show charts, shifting time-feels, and changes of meter. Extensive use of prerecorded materials in both large and small ensemble configurations. |
Polyrhythms 2 | |
| Course Number: | ILPD-335 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-235 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | Students will perform polyrhythmic studies including multi-simultaneous patterns, metric modulation, and cross rhythms. Sticking concepts will be discussed in addition to how polyrhythms apply to contemporary musical styles. Drum set application will be discussed and mastered. |
Linear Time-Feels and Phrasing | |
| Course Number: | ILPD-337 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-211 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | A contemporary approach to today's music utilizing linear time-feels and phrasing to strengthen technique, time, and ideas. |
Fusion Repertoire Development and Application | |
| Course Number: | ILPD-339 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-211 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | This course will enhance the learning and playing of standard repertoire for the drum set in various fusion styles. Numerous songs will be analyzed, studied, and memorized. This course is designed to allow the student to gain a working knowledge of the standard fusion repertoire. |
Contemporary Electronic Percussion 2 | |
| Course Number: | ILPD-341 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-331 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | This course is a follow-up to Contemporary Electronic Percussion Lab. It delves into three new primary areas: 1) Laptop/computer software applications of electronic percussion. The course begins with programming drum grooves in Propellerhead's Reason. Students learn to trigger sounds and samples in Reason (and other applications) with electronic percussion controllers. 2) Electronic drum kit (i.e., modular kits such as the Roland V-Drums) applications of electronic percussion. 3) Exploring electronic percussion options within as well as outside the realm of MIDI. By demonstrating the ways and means of processing acoustic drums and percussion sounds via the laptop, the course looks at audio and DSP options for electronic percussionists. |
Alternative Setups for Drum Set and Percussion | |
| Course Number: | ILPD-351 |
| Credits: | 1 credit |
| Prerequisites: | ILPD-211 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | Solutions to practical and logistical problems confronting the contemporary percussionist/drummer. Experimentation with alternative setups designed to meet the demands of today's contemporary music and the student's own creative requirements. Topics include new hardware solutions, coordination exercises, and practical musical and orchestrational choices. Various world music drumming traditions will be applied as catalysts in approaching alternative setups. |
African Rhythms for the Drum Set | |
| Course Number: | ILPD-355 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-211 and ILPH-351 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | Drum set, total percussion, and hand percussion principals |
| Offered: | Spring, Fall |
| Description: | This course is a practical application of traditional African rhythms and their application to drum set performance and their use in contemporary Afro-pop music. This course will examine many of the commonly used rhythmic concepts, metric meters, and an analysis of important Afro-pop artists such as Salif Keita (Mali), Baaba Maal (Senegal), Angelique Kidjo (Benin), King Sunny Ade (Nigeria), and Tabu Ley Rochereau (Zaire). |
South American Rhythms for Drum Set | |
| Course Number: | ILPD-357 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-211 or by audition |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | Drum set, hand percussion, and total percussion principals |
| Offered: | Spring, Fall |
| Description: | This course develops integrated applications of all South American percussion concepts for the drum set. Topics include identification of various Brazilian, Venezuelan, Uruguayan, Peruvian, Colombian, and Argentinean musical instruments and drum set applications of all rhythms (both with and without a percussionist). Topics are examined from both traditional and nontraditional perspectives. |
Understanding Grooves | |
| Course Number: | ILPD-361 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-112 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | Drum set and total percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | A drum lab that takes "groove" back to its roots through the music of New Orleans. Listening, analysis, and performance of many grooves from the New Orleans style will be followed with discussion of their influence on today's music. Students will learn to play a variety of grooves, as well as how to incorporate a sense of "feel" into playing. |
World Beat Pop Lab | |
| Course Number: | ILPD-363 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-211 |
| Course Chair: | J. Ramsay |
| Required of: | All percussion principals |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | Study of drum grooves found in contemporary pop music around the world, such as Nigerian ju-ju, Brazilian tropicalissimo, Latin hip-hop, and others. Students will recreate beats through study of transcriptions, recordings, and performances with tapes and sequences. |
Rhythmic Concepts: Broken Eighth-Note Feels | |
| Course Number: | ILPD-367 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-211 or by audition |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | Drum set principals |
| Offered: | Spring, Summer, Fall |
| Description: | This course is an in-depth exploration of the rhythmic jazz feel of straight note jazz, also known as the broken eighth-note jazz feel. The class will center on playing and performance by the participants in the class. The course material will be presented through demonstrations, recordings, videos, transcriptions, and handouts generated specifically for the course. |
Double Bass Drum Studies | |
| Course Number: | ILPD-369 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | This lab explores the application of two bass drums (and double pedal) in the rock, jazz/rock, and funk/fusion styles. Technical coordination studies include feet positioning, continuous and noncontinuous grooves, and double bass fill/solo concepts. |
Afro-Cuban and Brazilian Rhythms for the Drum Set | |
| Course Number: | ILPD-373 |
| Credits: | 1 credit |
| Prerequisites: | ILPH-357, ILPH-359, or by audition |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | Drum set and total percussion principals |
| Offered: | Spring, Fall |
| Description: | Intended for students who have completed ILPH-371, this course will develop integrated applications of all Latin percussion concepts for the drum set. Topics include drum set performance with no percussionist and with one or more percussionists, physical integration of percussion instruments into the drum set for simultaneous performance by one player, and creation of custom sets and set-ups for specific musical situations. Topics will be examined from both traditional and nontraditional perspectives. |
Singing and Drumming Coordination Lab | |
| Course Number: | ILPD-381 |
| Credits: | 0.5 credit |
| Prerequisites: | ET-212 and HR-212 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals, or others by permission of instructor |
| Offered: | Spring, Fall |
| Description: | This course will help students improve the rhythmic aspect of singing as well as the singing aspect of drumming. It is especially suited to drummers and percussionists who wish to develop their craft by singing and drumming simultaneously. It is also good for vocalists who wish to better understand rhythm and rhythm styles. |
Rudimental Applications for Drum Set | |
| Course Number: | ILPD-419 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPC-419 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | A study of the traditional drum rudiments, including the 26 American rudiments and the Swiss rudiments, and their application to drum set performance. The study will include application of polyrhythmic principles and nontraditional integration of the foot pedals. |
Caribbean Rhythms for Drum Set | |
| Course Number: | ILPD-424 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-112 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | Drum set, hand percussion, and total percussion principals |
| Offered: | Spring, Fall |
| Description: | Building on the foundation of ILPD-373, this lab will develop integrated applications of Caribbean percussion concepts for the drum set. Topics will include identification of various musical styles from Trinidad, Martinique, Guadeloupe, Haiti, Jamaica, Puerto Rico, Curacao, Cuba, and the Dominican Republic. Basic techniques and patterns for traditional percussion instruments and drum set applications of all rhythms (both with and without a percussionist) will be discussed. All topics will be examined from both a traditional and nontraditional perspective. |
Solo Construction for Drum Set | |
| Course Number: | ILPD-431 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-211 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | Vibraphone, drum set, hand percussion, and total percussion principals |
| Offered: | Spring, Fall |
| Description: | The drum set as a solo instrument. Analysis and concepts of fours, eights, and full-chorus drum set solos. Concepts for open drum solos, soloing over vamps, groove solos, in-time solos, and out-of-time solos. All styles will be covered. |
Advanced Jazz Drumming | |
| Course Number: | ILPD-433 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-225 and ILPD-235 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | Drum set principals |
| Offered: | Spring |
| Description: | This lab emphasizes post-bop and modern jazz techniques. Topics include advanced repertoire development, technique/coordination development, polyrhythmic application, and conceptual approaches along with transcription, listening, and analysis of a number of master drummers, such as Roy Haynes, Jack DeJohnette, and Tony Williams. |
Advanced Fusion Drumming | |
| Course Number: | ILPD-439 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-339 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring |
| Description: | Advanced analysis and use of rhythms of other cultures, including odd time signatures. Incorporation of these rhythms into jazz and rock music for drum set. |
Drumming Styles of Contemporary Pop, R&B, and Hip-Hop | |
| Course Number: | ILPD-P228 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-112 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | Drum set principals |
| Offered: | Spring, Fall |
| Description: | Study and application of drum set performance to pop, r&b, and hip-hop. The course focuses on basic knowledge of the hip-hop culture and history, the study of the music of the key figures in the genre, and enhancing ability to play in back beat-oriented genres. Technical elements to be addressed include single bass drum technique, playing with click or sequencer, playing funk with a swing feel, and multiple bounce techniques as practiced in hip-hop and r&b. |
Global Sight-Reading and Advanced Rhythmic Solfege | |
| Course Number: | ILPD-P250 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPD-221 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | This performance-oriented lab draws on sources from a variety of musical traditions from around the globe, utilizing them as foundations for advanced sight-reading and recitation exercises. Through application of Indian, Middle Eastern, Latin American, Balkan, and African rhythmic structures to the playing, reciting, or singing of complex rhythmic structures, students are familiarized with odd-time meters and other challenging time concepts, as well as the rhythmic vocabularies characteristic of the aforementioned regions. |
Composing for Drummers | |
| Course Number: | ILPD-P353 |
| Credits: | 0.5 credit |
| Prerequisites: | HR-211 and ILPD-211 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | Students will review and analyze various compositions ranging from blues and rhythm changes, 32-bar song forms, and symmetrical and open forms, and will compose music in these styles. Using the creative process of composition will provide understanding of the practical application of rhythmic aspects and rules of harmony and part writing. Odd meters will also be explored. Students will develop leadership skills through rehearsing their music, recording it on their computers using Garage Band, and burning CDs of the finished project. |
Afro-Caribbean Rhythms and Percussion for Nonpercussionists | |
| Course Number: | ILPH-293 |
| Credits: | 1 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All nonpercussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | Rhythms, song styles, and percussion instruments of Cuba and other Afro-Caribbean regions. Development of performance skills in various rhythm styles through study of basic techniques of characteristic percussion instruments. |
Drumming Styles of Ghana | |
| Course Number: | ILPH-351 |
| Credits: | 1 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | Hand percussion principals |
| Electable by: | All percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | An intensive study of West African drumming styles from the Ewe, Ga, and Dagbamba people of Ghana, West Africa. This course will emphasize three areas of performance techniques: straight stick, curved stick, and hand drumming styles. Repertoire studied will include Agbekor, Kpanlogo, and Damba. Teaching methods will incorporate call-and-response formats, videos, and transcriptions. Authentic instruments will be provided. |
Native American Drumming Lab | |
| Course Number: | ILPH-353 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Study of various techniques and tribal styles of American Indian drumming using traditional songs as the repertoire for learning. Teaching style will be hands-on: students will perform on traditional Native American drums and percussion instruments. |
Bata Rhythms/Afro-Cuban Ceremonial Drumming Lab | |
| Course Number: | ILPH-354 |
| Credits: | 1 credit |
| Prerequisites: | ILPH-293, ILPH-357, or by audition |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Study of the spiritually based drumming of the Lucumi people of Cuba. Development of performance skills through the study of recordings, transcriptions, and videos. Involves singing, chanting, and group performance. |
Afro-Caribbean Rhythms and Percussion | |
| Course Number: | ILPH-357 |
| Credits: | 1 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | ILPH-357 or ILPH-359 is required of hand percussion and drum set principals, PERF total percussion principals, and PROM total percussion principals. This course is not required if ILPH-359 is taken. |
| Electable by: | All percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | A lab for percussion department principals focusing on rhythmic techniques and song styles from Cuba, Puerto Rico and the Dominican Republic and their related percussion instruments. Development of performance skills through study of recordings, transcriptions, and supervised ensemble playing. Note: ILPH-359 may be taken instead of this course. |
Brazilian Rhythms and Percussion | |
| Course Number: | ILPH-359 |
| Credits: | 1 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | ILPH-357 or ILPH-359 is required of hand percussion and drum set principals, PERF total percussion principals, and PROM total percussion principals. This course is not required if ILPH-357 is taken. |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | A lab focusing on rhythmic techniques and song styles of Brazilian music and their related percussion instruments. Development of performance skills through study of audio and video recordings as well as supervised ensemble playing. Note: ILPH 357 may be taken instead of this course. |
World Percussion 2 | |
| Course Number: | ILPH-369 |
| Credits: | 1 credit |
| Prerequisites: | PSW-335 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | This course will allow students who have taken PSW-335 to expand their techniques and knowledge of various world music styles. Spoken rhythms, hand and finger techniques, frame drums, clay drums, tambourines, and any percussive surface instrument will be covered. |
Advanced Afro-Cuban Rhythms and Percussion | |
| Course Number: | ILPH-371 |
| Credits: | 1 credit |
| Prerequisites: | ILPH-293 or ILPH-357 |
| Course Chair: | J. Ramsay |
| Required of: | PERF hand percussion principals |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | Continuation of ILPH-357 and ILPH-359. Development of more advanced techniques and concepts through deeper examination of evolution and derivations of the rhythmic styles. Intended course outcomes include performance-level group playing and improvisation as well as soloing. |
Practical Application of Afro-Latin Rhythms | |
| Course Number: | ILPH-375 |
| Credits: | 1 credit |
| Prerequisites: | ILPH-357 |
| Course Chair: | J. Ramsay |
| Required of: | Hand percussion principals |
| Electable by: | All percussion principals |
| Offered: | Fall |
| Description: | A study of traditional or indigenous Afro/Latin rhythmic concepts and their application to contemporary musical forms. Expanded concepts of technique as it relates to this study and to related instruments. Emphasis on performance with traditional instruments and rhythmic concepts in nontraditional music. |
Steelpan Techniques for Percussionists | |
| Course Number: | ILPH-391 |
| Credits: | 1 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | A study of steelpan performance techniques designed for Percussion Department principals. Skills development will include the sticking techniques required for steelpan players, rhythmic patterns, scale-learning methods on the instrument, and general performance techniques. |
Contemporary Techniques for Pop Percussion | |
| Course Number: | ILPH-429 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPH-351, ILPH-357, or ILPH-359 |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | Drum set, hand percussion, and total percussion principals |
| Offered: | Spring, Fall |
| Description: | With emphasis on r&b, rock/funk, swing, motown, and pop styles, this course explores the study of small hand percussion: tambourine, shakers, cowbells, and cabasa, as well as congas, bongos, and timbales, individually as well as in combination with each other to form multiple percussion setups. Transitions, groove building, and coordination techniques will be analyzed in class. Chart reading and interpretation, as well as some transcription techniques, will be covered throughout the semester. Knowledge of basic conga techniques is strongly recommended. |
Drumming Styles of Guinea | |
| Course Number: | ILPH-451 |
| Credits: | 1 credit |
| Prerequisites: | ILPH-351 |
| Course Chair: | J. Ramsay |
| Required of: | PERF hand percussion principals |
| Electable by: | All percussion principals |
| Offered: | Spring, Fall |
| Description: | An intensive study of West African drumming styles from the Susu, Malinke, and Bagba people of Guinea, West Africa. Class format will include hand drumming techniques for the djembe and stick patterns on the dununs (bass drums). All material covered will be taught orally by the instructor along with video presentations. Repertoire will include Yankadi, Makuru, Kuku, and Sinte. Authentic instruments will be provided. |
Brazilian Rhythms and Percussion 2 | |
| Course Number: | ILPH-459 |
| Credits: | 1 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | A continuation of ILPH-359, with emphasis on the drumming styles of northeastern Brazil. Development of performance skills through study of recordings, transcriptions, and supervised ensemble playing. |
Chart Reading for the Hand Percussionist | |
| Course Number: | ILPH-P297 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPH-111, ILPH-351, ILPH-357, ILPH-359, and PSW-235 |
| Course Chair: | J. Ramsay |
| Required of: | Hand percussion principals |
| Electable by: | Percussion principals |
| Offered: | Spring, Fall |
| Description: | This course will give hand percussion students practical reading experiences akin to contemporary musical settings. Students will read and perform charts, lead sheets, and scores written in western notation. They will develop performance skills through the study of these varied musical examples. |
Mallet Lab 1 | |
| Course Number: | ILPM-121 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | J. Ramsay |
| Required of: | PERF hand percussion principals |
| Electable by: | All percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | A mallet-keyboard lab for Percussion Department principals with no prior mallet experience. Development of basic skills required including grips, stroke, pedaling, dampening, sight-reading, basic four-mallet technique, and scales/arpeggios. |
Mallet Lab 2 | |
| Course Number: | ILPM-221 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPM-121 or by audition |
| Course Chair: | J. Ramsay |
| Required of: | All non-PERF vibraphone principals |
| Electable by: | All percussion principals |
| Offered: | Spring, Summer, Fall |
| Description: | A mallet-keyboard performance lab for Percussion Department principals with some basic grounding in mallet work, including grips, scales, and reading experience. In this lab, the student will begin to address broader melodic, harmonic, and technical issues involved in mallet playing, including the continuation of four-mallet technique applied to basic harmonic progressions. |
Mallet Keyboard Musicianship | |
| Course Number: | ILPM-231 |
| Credits: | 1 credit |
| Prerequisites: | HR-112 and ILPM-121 |
| Course Chair: | J. Ramsay |
| Required of: | PERF marimba and PERF total percussion principals |
| Electable by: | Hand percussion, vibraphone, and total percussion principals |
| Offered: | Fall |
| Description: | This class is designed for the nonimprovising player to develop musicianship skills by concentrating on the integration of harmony, melody, rhythm, and dynamics through the analysis and performance of music ranging from Bach to the present. |
Marimba Transcriptions and Repertoire | |
| Course Number: | ILPM-341 |
| Credits: | 1 credit |
| Prerequisites: | Written approval of instructor |
| Course Chair: | J. Ramsay |
| Required of: | All MUED, PERF, and PROM marimba principals |
| Electable by: | Marimba, total percussion, and vibraphone principals |
| Offered: | Spring, Fall |
| Description: | A lab emphasizing skills essential for marimbists and percussionists to develop a personalized repertoire and contribute to performance literature for the marimba. Students will learn to adapt music for the marimba from sources such as lead sheets; music for violin, guitar, and harp; and transcribed recordings. Works composed for the marimba will also be studied and performed. |
Keyboard Lab - Reading 1 | |
| Course Number: | ILPN-111 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | S. Tiernan |
| Required of: | Piano principals |
| Electable by: | Piano principals |
| Offered: | Spring, Summer, Fall |
| Description: | Instrumental laboratory for piano principals emphasizing reading studies in a variety of idioms. |
Keyboard Lab - Reading 2 | |
| Course Number: | ILPN-112 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-111 |
| Course Chair: | S. Tiernan |
| Required of: | Piano principals |
| Electable by: | Piano principals |
| Offered: | Spring, Summer, Fall |
| Description: | Continuation of ILPN-111. Reading studies in a variety of idioms. |
Keyboard Lab - Reading 3 | |
| Course Number: | ILPN-113 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-112 |
| Course Chair: | S. Tiernan |
| Required of: | Piano principals |
| Electable by: | Piano principals |
| Offered: | Spring, Summer, Fall |
| Description: | Continuation of ILPN-112. Reading studies in a variety of idioms. |
Keyboard Lab - Comping 1 | |
| Course Number: | ILPN-121 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | S. Tiernan |
| Required of: | Piano principals |
| Electable by: | Piano principals |
| Offered: | Spring, Summer, Fall |
| Description: | Instrumental laboratory for piano principals emphasizing comping studies and the application of these techniques to a variety of idioms. Recorded material for play-along purposes. |
Keyboard Lab - Comping 2 | |
| Course Number: | ILPN-122 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-121 |
| Course Chair: | S. Tiernan |
| Required of: | Piano principals |
| Electable by: | Piano principals |
| Offered: | Spring, Summer, Fall |
| Description: | Instrumental laboratory for piano principals emphasizing comping studies and the application of these techniques to a variety of idioms. Recorded material for play-along purposes. |
Keyboard Lab - Comping 3 | |
| Course Number: | ILPN-123 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-122 or ILPN-131 |
| Course Chair: | S. Tiernan |
| Required of: | Piano principals |
| Electable by: | Piano principals |
| Offered: | Spring, Summer, Fall |
| Description: | Instrumental laboratory for piano principals emphasizing comping studies and the application of these techniques to a variety of idioms. Recorded material for play-along purposes. |
Elements of Jazz Piano | |
| Course Number: | ILPN-131 |
| Credits: | 1 credit |
| Prerequisites: | None |
| Course Chair: | S. Tiernan |
| Required of: | First-semester piano principals placed by audition |
| Electable by: | Piano principals |
| Offered: | Spring, Summer, Fall |
| Description: | A piano lab designed for entering students with strong classical technique but little background in jazz performance. Focuses on comping, improvisation, and development of jazz rhythmic feels. Uses of notated jazz materials for development of rhythmic, harmonic, and call-and-response skills. |
Keyboard Lab - Chart Reading | |
| Course Number: | ILPN-213 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-113 and ILPN-123 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Summer, Fall |
| Description: | Practical training in the kind of reading and comping skills necessary for successful ensemble participation. Recorded material for play-along purposes. |
Keyboard Lab - Advanced Reading | |
| Course Number: | ILPN-214 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-113 and ILPN-122 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Summer, Fall |
| Description: | Continuation of ILPN-113. This course increases sight-reading abilities in more challenging musical contexts. Through study of tactile, sensorial exercises students gain intuitive knowledge of the piano without having to look directly at the keyboard. Additional exercises improve the ability to maintain a steady pulse. Solo piano and two-piano repertoire from classical and contemporary literature is performed weekly. |
Keyboard Lab - Advanced Comping | |
| Course Number: | ILPN-224 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-123 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Summer, Fall |
| Description: | Continuation of ILPN-123 emphasizing more advanced voicing techniques. Instrumental laboratory for piano principals emphasizing comping studies and the application of these techniques to the jazz idiom. Recorded material for play-along purposes. |
Accompaniment Techniques for the Singer/Pianist | |
| Course Number: | ILPN-227 |
| Credits: | 0.5 credit |
| Prerequisites: | ISKB-212 or piano private instruction level 2 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Voice principals and SONG majors |
| Offered: | Spring, Summer, Fall |
| Description: | Practical intermediate keyboard skills for self-accompanying vocalists and singer/songwriters. Focuses on rhythm, voicing, registration, and overall arrangement. Enhancement of individual performance skills and repertory through study and critiqued performance of musical examples drawn from appropriate contemporary styles. |
Keyboard Lab - Improvisation for Entering Students | |
| Course Number: | ILPN-229 |
| Credits: | 0.5 credit |
| Prerequisites: | Written approval of course chair |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Entering student piano principals |
| Offered: | Spring, Fall |
| Description: | An improvisation course for entering piano principals who have limited improvisation experience. |
Upper Structure Triad Applications | |
| Course Number: | ILPN-235 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-123 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Fall |
| Description: | This course involves the in-depth study of upper structure triads (UST) in all chord types and triad combinations. Content and exercises focus on identification of triads for specific tension combinations, the study of techniques for comping in a group using a variety of USTs, and application of the knowledge of USTs in a linear fashion for jazz improvisation, and applying USTs as a technique for harmonizing melodies in a solo piano format. |
Advanced Stylistic Comping - Pop | |
| Course Number: | ILPN-241 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-123 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Summer, Fall |
| Description: | Instrumental laboratory for piano principals emphasizing comping studies and the application of these techniques to a variety of pop music styles. There will be use of recorded material for play-along purposes. |
Advanced Stylistic Comping - Funk/Fusion | |
| Course Number: | ILPN-242 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-113 and ILPN-123 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Fall |
| Description: | Instrumental laboratory for piano principals emphasizing comping studies and their application to the funk/fusion idiom. Recorded material for play-along purposes. |
Advanced Stylistic Comping - Latin | |
| Course Number: | ILPN-243 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-123 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Summer, Fall |
| Description: | Instrumental laboratory for piano principals emphasizing the application of comping techniques to a variety of Latin and Latin-influenced jazz and pop music styles. Use of recorded material for play-along purposes as well as transcriptions of comping of major Latin piano players. |
Advanced Stylistic Comping - Roots/Rock | |
| Course Number: | ILPN-244 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-112 and ILPN-123 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Fall |
| Description: | Instrumental laboratory for piano principals emphasizing the application of comping techniques to a variety of "roots of rock" styles influenced by blues, New Orleans, and gospel music. Use of recorded material and transcriptions of influential players. Emphasis on in-class performance and play-along. |
Afro-Cuban Piano Montunos | |
| Course Number: | ILPN-246 |
| Credits: | 1 credit |
| Prerequisites: | ILPN-113 and ILPN-122 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Fall |
| Description: | This course emphasizes rhythmic aspects and the historical context of Afro-Cuban piano montunos. Harmonic vocabulary includes triads and sixth chords in inversions, and "A" and "B" standard jazz voicings for major, minor, and dominant seventh chords. Harmonic contexts used in class encompass one chord, I-IV-V-VI-I progression and variations, and standard jazz tunes. All examples are in duple meter. |
Keyboard Lab - Repertoire | |
| Course Number: | ILPN-251 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-113 and ILPN-123 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Summer, Fall |
| Description: | Course focuses on memorizing tunes drawn from the jazz standard repertoire. Techniques that enhance aural and intellectual memory are studied, including harmonic and melodic analysis, cross-association of commonly used chord progressions, and frequently used melodic patterns. During weekly performances in a two-piano setting, students learn how to arrange and transpose tunes, play bass line accompaniment, and apply jazz improvisation techniques. |
Keyboard Lab - Improvisation | |
| Course Number: | ILPN-253 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-122 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Summer, Fall |
| Description: | A performance lab intended for keyboardists with little or no experience in improvisation. Instructional focus is on understanding of materials of improvisation both theoretically and aurally, and assimilating these materials into established musical forms and styles. Learning methods include playing with tapes and MIDI sequences, various call-and-response activities, and writing, performing, and analyzing improvisations. |
Synth Techniques for Live Performance | |
| Course Number: | ILPN-261 |
| Credits: | 1 credit |
| Prerequisites: | ILPN-123 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Summer, Fall |
| Description: | A performance-oriented lab designed for piano principals emphasizing basic synthesizer programming and performance in a live situation. Focuses on orchestration, patch choices, and playing multiple timbres simultaneously in any synthesizer setup. |
Gospel Keyboard Techniques | |
| Course Number: | ILPN-266 |
| Credits: | 1 credit |
| Prerequisites: | ILPN-123 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Fall |
| Description: | This lab will expose the pianist to the stylistic diversity among gospel keyboard performers. Through analysis, transcriptions, and performance, students will gain practical performance experience in playing hymns, traditional gospel pieces, and contemporary gospel music. Focus will be on learning gospel music in the traditional way and will include learning by ear. The student will be exposed to the historical development of this spiritual music. |
Jazz Harmonic Techniques for Piano 1 | |
| Course Number: | ILPN-271 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Material to be covered includes scales, scale patterns, diatonic chords, available tensions, triads, seventh chords, guide tones, simple voicing techniques, and sight-reading lead sheets (melody/chord symbols) of chord symbol. |
Jazz Harmonic Techniques for Piano 2 | |
| Course Number: | ILPN-272 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-271 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | An organized approach to establishing a thorough foundation of knowledge and proficiency in keyboard for the study of jazz harmony, improvisation, and composition. A continuation of ILPN-271. Material to be covered: additional exercises in scale patterns, diatonic sevenths in inversions, seventh chord inversions, harmonic tensions, voice leading, and sight-reading of lead sheets (melody/chord symbols). Designed for pianists and other instrumentalists who want to develop keyboard skills. |
Jazz Harmonic Applications | |
| Course Number: | ILPN-273 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-272 or written approval of instructor and course chair |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | An organized approach to develop a thorough knowledge of common harmonic vocabulary used in contemporary jazz harmony, arranging, and composition. Foundation materials established in ILPN-271 and ILPN-272 are applied to one-handed and two-handed voicings through construction and supportive exercises. Designed for pianists and other instrumentalists who want to further develop keyboard skills. |
Accompanying Techniques for the Piano/Vocalist | |
| Course Number: | ILPN-279 |
| Credits: | 1 credit |
| Prerequisites: | ILPN-122 |
| Course Chair: | S. Tiernan |
| Required of: | Piano/Vocal dual principal PERF majors |
| Electable by: | Piano principals |
| Offered: | Spring, Fall |
| Description: | An instrumental laboratory for piano principals focusing on tunes in various jazz, pop/rock, and R & B styles. Students will enhance technical skills, such as creating effective intros and endings and performing in several rhythmic styles and feels, as well as learning traits and requirements for being effective accompanists. The course focuses on self-accompanying for students who both play and sing. |
Hammond Organ Techniques | |
| Course Number: | ILPN-335 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-123 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Summer, Fall |
| Description: | Instrumental lab for piano principals emphasizing fundamental techniques and skills involved in playing the Hammond organ in predominant contemporary styles, including jazz, r&b, blues, rock, and funk. Study of recorded examples and transcriptions of influential performers. |
Blues Styles for Hammond Organ | |
| Course Number: | ILPN-337 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-123 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Fall |
| Description: | Instrumental lab for piano principals emphasizing techniques of playing the Hammond B3 organ in blues styles. Analysis and performance of blues and blues-related music including gospel, jazz blues, and soul. |
Rock Styles for Hammond Organ | |
| Course Number: | ILPN-339 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-123 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Fall |
| Description: | Instrumental lab for piano principals emphasizing techniques of playing the Hammond organ in rock styles. Study of recorded material and transcriptions of influential players; in-class recording. |
Hammond Organ Techniques 2 | |
| Course Number: | ILPN-345 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-335 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Fall |
| Description: | Continued study of specific techniques for Hammond organ learned in ILPN-335, Hammond Organ Techniques 1. Greater emphasis on left-hand bass and foot-pedal bass. Exploration of the role of organ in a variety of settings, including jazz organ trio, rock band, acid jam band, gospel choir, and recording studio. |
Piano Style of Thelonious Monk | |
| Course Number: | ILPN-353 |
| Credits: | 1 credit |
| Prerequisites: | Ensemble rating 5555 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Fall |
| Description: | A lab for piano principals emphasizing the melodic, harmonic, rhythmic, and compositional innovations of Thelonious Monk. Studies will include listening and analysis of recordings; performance of transcriptions; and detailed analysis of Monk's compositional and improvisational techniques, including his harmonic/rhythmic innovations and treatment of standard tunes. |
Rehearsal Techniques for the Pianist/Band Leader | |
| Course Number: | ILPN-365 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano PERF majors |
| Offered: | Spring, Fall |
| Description: | A two-hour lab for piano performance majors that focuses on practical rehearsal techniques. The student applies rehearsal techniques to duos, trios, and larger ensembles with one or more horns. Focus is on creating arrangements for the band, understanding the role of the bass player and drummer, cueing, conducting, and playing and rehearsing with the band/singer. |
New Music Improvisation | |
| Course Number: | ILPN-371 |
| Credits: | 1 credit |
| Prerequisites: | ILPN-113 and ILPN-121 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Fall |
| Description: | A lab for pianists to study improvisational systems and structures using both traditional notation and other methods such as graphic, visual, or written instructions. Topics include motivic development; varied scales and harmonic materials; dynamic registral and spatial contrasts; and repetition and variation of patterns with an emphasis on listening and group interaction. Students are encouraged to develop their own compositions for performance in class. |
Classical Repertory for Two Pianos | |
| Course Number: | ILPN-381 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-113 and completion of private instruction level 3 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Summer, Fall |
| Description: | An advanced instrumental lab for pianists that focuses on traditional and twentieth-century literature for two pianos, four hands. |
Classical Accompanying | |
| Course Number: | ILPN-385 |
| Credits: | 0.5 credit |
| Prerequisites: | PIPN-211 or written approval of instructor and course chair |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Summer, Fall |
| Description: | The study and performance of traditionally notated accompaniments for music in a wide variety of styles serving to enhance performances and rehearsal skills, as well as broaden professional opportunities. Styles include opera, art songs, choral compositions and arrangements, and Broadway musicals. |
Jazz Piano Master Class | |
| Course Number: | ILPN-461 |
| Credits: | 1 credit |
| Prerequisites: | Ensemble rating 4444 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Summer, Fall |
| Description: | An advanced performance lab for piano principals providing the opportunity to study, analyze, and perform the music of selected jazz pianists in a master-class setting. Transcriptions of materials to be studied will be distributed to provide the basis for faculty-led analytical discussions. The addition of bass and drums will allow for performance in a complete group setting. |
Advanced Rhythmic Lab for the Keyboardist | |
| Course Number: | ILPN-P237 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-113, ILPN-123 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Fall |
| Description: | A lab workshop specifically designed to improve the keyboardist's understanding and mastery of different rhythmic concepts and their application on the keyboard into various musical contexts. Students will learn percussion and speaking rhythms, which they will apply on the keyboard. The course material will be based on different rhythmic approaches of jazz performers such as Jelly Roll Morton, Thelonious Monk, Danilo Perez, McCoy Tyner, and others; 20th-century composers, including compositions by Oliver Messiaen, Gyorgy Ligeti, and Alberto Ginastera; and a variety of world music styles. |
Improvisation in Afro-Cuban Piano | |
| Course Number: | ILPN-P247 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPN-246 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Fall |
| Description: | The course explores the rhythmic and harmonic/melodic vocabulary in Afro-Cuban piano improvisation. Phrasing with the clave is a main focus of the course. Percussion instrument patterns are explored in depth as they relate to the clave and influence the role of the piano. Percussion ("quinto") solos are analyzed and compared to piano solos. Broad exposure to a variety of piano solos will reveal typical elements of the idiom. There will be more emphasis on 6/8 meter than in the prerequisite course, ILPN-246. |
Odd-Meter Rhythmic Studies for the Pianist | |
| Course Number: | ILPN-P249 |
| Credits: | 1 credit |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring, Fall |
| Description: | A hands-on, in-depth study of odd meters (5/4, 7/4, 5/8, 11/8, and 15/8) using rhythmic speech and counting/tapping of various groupings and accents. These exercises will take place at the piano and away from the instrument and will emphasize repetition to give the student time to internalize the "groove" of each meter. Through an in-depth study of cross-rhythms, listening to significant performances, and transcribing musical examples, students will be expected to produce and perform arrangements of standards and/or original compositions utilizing odd meters. |
Jazz Harmonic Applications for Piano, Level 2 | |
| Course Number: | ILPN-P274 |
| Credits: | 0.5 credit |
| Prerequisites: | ILPH-273 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Fall |
| Description: | The course offers an organized approach to develop a thorough knowledge of common harmonic vocabulary used in contemporary jazz established in ILPN-271, ILPN-272, and ILPN-273 (Jazz Harmonic Techniques for Piano 1, Jazz Harmonic Techniques for Piano 2, and Jazz Harmonic Applications 1) as applied to one-handed and two-handed voicings through construction and supportive exercises. Designed for pianists and other instrumentalists who want to further develop keyboard skills. |
Danilo Perez Performance Lab | |
| Course Number: | ILPN-P375 |
| Credits: | 0.5 credit |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | S. Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Spring |
| Description: | An advanced elective lab that will meet for five three-hour sessions per semester. The meetings will be scheduled at the beginning of each semester by the instructor. The lab will focus on creativity and finding your own voice, technique, improvisation, and ensemble playing. See chair for schedule. The class will present a recital as a final project. |
Recital Workshop for Performance Majors | |
| Course Number: | ILRE-375 |
| Credits: | 0.5 credit |
| Prerequisites: | Private instruction level 4, performance track, and current enrollment in RPXX-311 |
| Course Chair: | M. Marvuglio |
| Required of: | All fifth-semester PERF majors enrolled in Recital Preparation 1 |
| Electable by: | Fifth-semester PERF majors |
| Offered: | Spring, Summer, Fall |
| Description: | Required for all fifth-semester performance majors. Each student will perform three times during the semester. Students will critique one another's performances. Topics to be discussed will include repertoire, stage presence, constructive criticism, and mental preparation. |
Cello Reading Lab | |
| Course Number: | ILST-110 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | M. Glaser |
| Required of: | First-semester cello principals (except for those placing out through audition) |
| Electable by: | Cello principals |
| Offered: | Spring, Fall |
| Description: | This class will teach cellists how to be fluent and expressive readers of standard music notation. It involves learning how to process both the quantitative aspect (pitch, rhythm, and form) and the qualitative properties (phrasing, dynamics, articulation, etc.) of written music. Using a variety of styles, students in this class will work on recognizing common pitch patterns and rhythmic motives, "road maps" (repeats, da capos, codas, parallel and contrast phrase structures, and typical harmonic progressions). Ear training skills will be emphasized to develop the strong inner hearing crucial for good reading. |
Violin/Viola Reading Lab | |
| Course Number: | ILST-111 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | M. Glaser |
| Required of: | First-semester violin and viola principals (except for those placing out through audition) |
| Electable by: | Violin , viola, and mandolin principals |
| Offered: | Spring, Fall |
| Description: | This class will teach violinists/violists how to be fluent and expressive readers of standard music notation. It involves learning how to process both the quantitative aspects (pitch, rhythm, and form) and the qualitative properties (phrasing, dynamics, articulation, etc.) of written music. Using a variety of styles, students in this class will work on recognizing common pitch patterns, rhythmic motives, and "road maps" (repeats, da capos, codas, parallel and contrast phrase structures, and typical harmonic progressions). Ear training skills will be emphasized to develop the strong inner hearing crucial for good reading. Upon completion of this course students will have improved their ability to read standard music notation fluently and musically in a variety of styles. |
Jazz Violin Lab | |
| Course Number: | ILST-121 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | M. Glaser |
| Required of: | None |
| Electable by: | String principals |
| Offered: | Spring, Summer, Fall |
| Description: | Advanced improvisational concepts and their application in strings. Reading charts with jazz phrasing, higher-level bowing, and left-hand development. Instrumentation: violin, viola. |
Improvisational String Performance Lab | |
| Course Number: | ILST-131 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | M. Glaser |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | This is an improvisational lab designed to strengthen the basic skills needed for improvisation, including jazz harmony, phrasing, melodic development, reading chord charts, and technical aspects of playing jazz on string instruments. |
Improvisational String Performance Lab 2 | |
| Course Number: | ILST-132 |
| Credits: | 0.5 credit |
| Prerequisites: | ILST-131 |
| Course Chair: | M. Glaser |
| Required of: | None |
| Electable by: | String principals |
| Offered: | Spring, Summer, Fall |
| Description: | This improvisational lab is designed to continue to strengthen the basic skills needed for improvisation, including jazz harmony, phrasing, melodic development, reading chord charts, and technical aspects of playing jazz on string instruments. |
Grooves and Horn Lines for Strings | |
| Course Number: | ILST-140 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | M. Glaser |
| Required of: | None |
| Electable by: | String principals |
| Offered: | Spring, Fall |
| Description: | This course will introduce the classically trained string player to performance techniques and repertoire of popular music. Using standards from the repertoire, students will explore riffing and playing in dance time, swing time, funk time, in different parts of the beat, and without vibrato, as well as other techniques that differ from their classical training. The goal is for the student to be able to play convincingly in several styles of dance music. |
Free Improvisation for Strings | |
| Course Number: | ILST-141 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | M. Glaser |
| Required of: | None |
| Electable by: | String principals |
| Offered: | Spring, Fall |
| Description: | This lab provides students with the opportunity to develop improvisational skills through free improvisation. Players are encouraged to create dynamic and rhythmic pieces using existing musical skills. Skills are expanded through the study of the musical elements, complex time signatures, form, and musical roles. Students learn to trust their instincts for the ebb and flow of music as they create satisfying ensemble pieces with no prior plan or discussion. |
String Performance Lab | |
| Course Number: | ILST-221 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | M. Glaser |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring, Summer, Fall |
| Description: | Performance lab for string principals. Emphasis on group performance in a variety of idioms. |
Sound Reinforcement Techniques for Strings | |
| Course Number: | ILST-240 |
| Credits: | 0.5 credit |
| Prerequisites: | None |
| Course Chair: | M. Glaser |
| Required of: | None |
| Electable by: | String principals |
| Offered: | Spring, Fall |
| Description: | This course provides an understanding of the technology available for effective performances in nonacoustic situations. Topics covered include pickups, microphones, electric instruments, amplifiers, effects, stage sound/monitors, mixers, recording acoustic instruments, recording electric instruments, and how to take care of your acoustic instrument. |
Recording Techniques for String Players | |
| Course Number: | ILST-250 |
| Credits: | 1 credit |
| Prerequisites: | None |
| Course Chair: | M. Glaser |
| Required of: | None |
| Electable by: | String principals |
| Offered: | Spring, Fall |
| Description: | This is an interdivisional course that offers students in the String Department, Professional Writing Division, and Music Production and Engineering Department insight into how to operate most efficiently in the recording studio. The course will be divided into three or four sections of three weeks each. In each section, all participants will meet in the recording stu |