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Benedictine College

Music Department

Handbook

Revised September 2013

1

Table of Contents

Overview of the Music Department Handbook ................................................................................................. 3

Mission Statement ................................................................................................................................................ 3

Accreditation ......................................................................................................................................................... 3

Goals ...................................................................................................................................................................... 3

Kansas State Department of Education Music Standards ................................................................................ 4

Degree Programs in Music................................................................................................................................... 4

Music Faculty & Staff .......................................................................................................................................... 5

General Information Advising ............................................................................................................................................................. 6

Auditorium ......................................................................................................................................................... 6

Classrooms ......................................................................................................................................................... 6

Computer ............................................................................................................................................................ 6

Copyright Infringement ...................................................................................................................................... 6

Credit/Time Requirement ................................................................................................................................... 6

Faculty Office Hours .......................................................................................................................................... 7

Fees .................................................................................................................................................................... 7

Health and Safety ............................................................................................................................................... 7

Instrument Loan & Rental .................................................................................................................................. 9

Keys ................................................................................................................................................................... 9

Library ................................................................................................................................................................ 9

Lockers ............................................................................................................................................................... 9

Practice Rooms................................................................................................................................................... 9

Purchasing Music ............................................................................................................................................... 9

Academic Policies and Procedures Application & Admission to the Department ................................................................................................... 10

Concert Attendance .......................................................................................................................................... 11

Curriculum ....................................................................................................................................................... 11

Ensembles ........................................................................................................................................................ 11

Concert Chorale ........................................................................................................................................... 11

Symphonic Band.......................................................................................................................................... 11

Orchestra ..................................................................................................................................................... 11

Chamber Ensembles .................................................................................................................................... 11

Grading Policies ............................................................................................................................................... 11

Junior and Senior Recitals ................................................................................................................................ 12

Jury Examinations ............................................................................................................................................ 12

Jury Evaluation................................................................................................................................................. 12

Petition for Acceptance to a Major Program .................................................................................................... 12

Piano Proficiency Examination ........................................................................................................................ 13

Practice Logs .................................................................................................................................................... 13

Portfolios .......................................................................................................................................................... 13

Recital Performance ......................................................................................................................................... 13

Forms, Documents and Worksheets Application for Acceptance to the Music Department as a Major ................................................................... 15

Freshman Interview/Jury Sheet ........................................................................................................................ 16

Sophomore Barrier Jury Sheet ......................................................................................................................... 18

Concert Attendance Form ................................................................................................................................ 20

Noon Recital Attendance Form ........................................................................................................................ 21

Noon Recital Performance Form ...................................................................................................................... 21

Jury Repertoire Sheet ....................................................................................................................................... 22

Jury Evaluation Sheet ....................................................................................................................................... 23

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Piano Proficiency Examination ........................................................................................................................ 24

Curriculum Worksheets

Bachelor of Arts in Music ............................................................................................................................ 25

Bachelor of Arts/Emphasis in Composition ................................................................................................. 28

Bachelor of Music Education ...................................................................................................................... 31

Music Minor ................................................................................................................................................ 34

Petition for Acceptance to a Major Program .............................................................................................. 35

Repertoire Lists Brass/Percussion .............................................................................................................................................. 36

Piano ................................................................................................................................................................ 45

Organ ................................................................................................................................................................ 46

Strings .............................................................................................................................................................. 46

Guitar ............................................................................................................................................................... 47

Vocal ................................................................................................................................................................ 48

Woodwind ........................................................................................................................................................ 49

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OVERVIEW OF THE MUSIC DEPARTMENT HANDBOOK

The Handbook contains important information for students regarding the policies and curricula of the

music department. Students should use the Handbook as a resource for planning for the major.

MISSION STATEMENT

The mission of the Benedictine College Music Department complements the mission of the college as

presented in the catalog, and is accepted by the music faculty and all constituents of Benedictine

College:

The Benedictine College Music Department strives to present opportunities for students that meet the

artistic, creative, and scholarly demands of those who intend to pursue teaching, performance or

other careers in music. The Department enhances the cultural activities of the college and serves the

student body with offerings in applied music and with vocal and instrumental ensembles.

ACCREDITATION

Benedictine College is accredited as a degree-granting institution of higher education by: North

Central Association of Colleges and Schools; National Association of Schools of Music; and the

National Council for Accreditation of Teacher Education.

GOALS

1. The Music Department aims to provide for students in the liberal arts degree programs (Bachelor

of Arts degree with a major in Music, Bachelor of Arts with a major in Music with Emphasis in

Music Composition,) educational opportunities, performance experiences, and expectation of

standards on a national level to prepare them for entrance into study on the graduate level and/or

preparation for a professional career in music.

2. The Music Department aims to provide professional training for those students desiring to teach

PreK-12 general music through the Bachelor of Music Education degree program.

3. The Music Department aims to successfully meet standards required by the appropriate accrediting

agencies: National Association of Schools of Music (NASM), Kansas State Department of Education

(KSDE), National Council for the Accreditation of Teacher Education (NCATE).

4. The Music Department aims to provide to all students the opportunity to perform in ensembles,

participate in music courses and applied music, and to attend musical events for their cultural

development.

5. The Music Department aims to provide an atmosphere that fosters scholarship and independent

research to reflect the character of Benedictine College as America's Discovery College.

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KANSAS STATE DEPARTMENT OF EDUCATION MUSIC STANDARDS

In addition to the goals, objectives, and competencies set for all teacher education students at

Benedictine College, the Department of Music adheres to the following educational objectives that

are specific to music education students and are issued by the Kansas State Department of Education.

The Benedictine College Music Department and the Department of Education present programs for

PreK-12 instrumental, vocal and general music. KSDE Standards for PreK-12 General Music are as

follows:

Standard # 1 - The teacher of general music has skills in teaching and evaluation techniques for vocal music.

Standard # 2 - The teacher of general music has skills in improvising melodies, variations, and

accompaniments.

Standard # 3 - The teacher of general music has skills in composing and arranging music.

Standard # 4 - The teacher of general music has skills in reading and writing music.

Standard # 5 - The teacher of general music has skills in listening to, analyzing, and describing music.

Standard # 6 - The teacher of general music has skills in evaluating music and music performances.

Standard # 7 - The teacher of general music has an understanding of music in relation to various historical

periods and cultures.

Standard # 8 - The teacher of general music has skills in establishing effective music-learning environments.

Standard # 9 - The teacher of general music advocates for the school music program in the community at

large.

DEGREE PROGRAMS IN MUSIC

Bachelor of Arts in Music:

A degree designed for those students wishing to enrich their lives with the study of music. Those students

desiring a professional career should pursue this degree program and consider graduate school.

Bachelor of Arts in Music with Emphasis in Music Composition:

A degree designed for those students seeking a career as a composer or continuing graduate studies in

composition.

Bachelor of Music Education:

A degree designed for those students wishing to teach music in the elementary and/or secondary schools. This

program is approved by KSDE, NCATE and NASM.

Music Minor:

A program of study for those persons majoring in a discipline other than music who wish to acquire a basic

background in music.

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MUSIC FACULTY AND STAFF

Name & Office Number Extension & E-mail

Dr. Ruth E. Krusemark Department Chair 7598

Professor Piano, Organ, [email protected]

BFH 308 Music Theory

Dr. Christopher Greco Music Theory, Orchestration, 7599

Assistant Professor Woodwinds, Composition [email protected]

BFH 323

Dr. Sean Teets Voice, Choirs, Opera Workshop, 7597

Assistant Professor Choral Conducting, [email protected]

BFH 318 Vocal Communication

Mr. Ted Hanman Bands, Brass, Music Ed, 7996

Assistant Professor Music History, Percussion, [email protected]

SU Rehearsal Room Instrumental Conducting

Dr. Lara West Liturgical Choir, Keyboard 7353

Adjunct Music Appreciation, Organ [email protected]

BFH 205

Dr. Enrique Moreno Music History, Music Appreciation 7353

Adjunct [email protected]

BFH 205

Mr. Monty Carter Strings 7347


BFH 301

Fr. Blaine Schultz, O.S.B. Piano, Organ 7449

Professor Emeritus [email protected]

BFH 202

Mr. Jason Riley Guitar 7449


BFH 202

Ms. Michelle Rautmann Piano 7347


BFH 301

Sr. Susan Barber Piano 7347


BFH 301

Matthew Shepard Orchestra [email protected]

Conductor

Ms. Andrea Garritano Voice 7449


BFH 202

Mrs. Lois Niemann Administrative Assistant 7477

BFH 309 [email protected]

Laura Goehner-Moreno Staff Accompanist [email protected]

mailto:[email protected]





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GENERAL INFORMATION

ADVISING

Please see your advisor frequently concerning academic issues. Your advisor is your best resource.

AUDITORIUM

All recitals, unless otherwise noted on the music calendar, will be held in O’Malley-McAllister Auditorium in

the Student Union. This includes Noon recitals, Junior and Senior recitals and any other special performances.

CLASSROOMS

All classrooms are located in Bishop Fink Hall, third floor, excepting the Rehearsal Room, which is located on

the first floor of the Student Union.

COMPUTER

Several computers are located in rooms 315 and 310 of Bishop Fink Hall that provide a variety of software in

theoretical exercises and composition. Please note the computer requirement for each music theory class.

COPYRIGHT INFRINGEMENT

Xeroxing more than 10% of a work for educational purposes is strictly forbidden by law. Soloists cannot

legally supply Xerox copies for their accompanists. Please plan ahead to have the originals available. Please

review the law online at: http://www.copyright.gov/

CREDIT/TIME REQUIREMENT

Credit Hour formulas and policies

1. Formulas a. Benedictine College

(1) The basic formula identifies that one semester credit hour (50 minute class) requires two hours outside of class.

(2) Citation and location Credit Hour Definition Benedictine College uses the “Carnegie Unit” as a guide when defining a credit hour for undergraduate classes. A semester credit hour represents a minimum of one fifty-minute class period a week for the semester. In addition, the student is expected to spend an average of two hours outside of class for each “hour” in class. Benedictine College Catalog, 2013-2014, p. 56)

b. Music Unit Benedictine College Music Department Credit hour compliance guidelines for (1) Applied Music: Mu 106, 487, 115-416, 125-426, 135-436, 145-446, 155-456, 165-466, 175-476, 185-486, 290-491, (2) Ensembles: MU 122-423, 140-441, 150-451, 152-453, 160-461, 170-471, 180-481, 197, 114-414, 110, 111 (3) Music Education and Conducting: MU 117, 118, 119, 224, 304, 309, 404, 424 (4) Music History: MU 113, 190, 191, 400, 401 (5) Music Theory: MU 100, 101, 103, 200, 300, 302, 303, 313, 410 We define the following for the average student for these courses:

Activity

Assigned readings

(4) At least 1 hour per class meeting (5) 2 hours per textbook chapter

Writing

(3) (4) At least 5 hours per semester

Problem sets

(5) 1-2 hours per assignment

http://www.copyright.gov/

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Technology-aided learning (5) 1 hour per week

Oral presentation preparation (3) 5 hours (5) 2.5 hours per presentation

Service Learning or Civic

Engagement

Lab, Studio, or (music)

practice time

(1) 5 hours per week per credit (2) 2 hours per week

Research

(4) at least 8 hours per project

Individual projects

Group projects

Practicum/clinicals

(3) 50 hours observation

Study/review

(3) (4) (5) at least 5 hours each exam

Required time for a semester course

FACULTY OFFICE HOURS All music faculty will have their office hours and schedules posted outside their office doors. Students should

consult these postings and contact the faculty for appointments during these posted times.

FEES

Music majors receive 8 semesters applied lessons (7 for BME) of the major instrument plus an optional 1 credit

per semester for an additional instrument without charge. Any additional applied study will result in an

appropriate fee per credit hour. Music minors will receive 2 semesters (1 credit each) of their major instrument

without charge. Additional applied study will incur the applied lesson fee. Anyone who enrolls in any applied

lessons, class voice, class guitar or composition class, will be assessed a one-time Music Technology fee per

semester.

HEALTH AND SAFETY

(1) Hearing Health We recommend that students, faculty and staff promote hearing heath by adhering to the guidelines articulated by the following guidelines concerning “Noise-Induced Hearing Loss” by the National Association of Schools of Music and the Performing Arts Medical Association.

# of credit

hours

# of minutes in-class

meeting each week

# of required minutes outside

of class per semester

1 50 minutes 1680 minutes





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Protecting Your Hearing Health Student Information Sheet on Noise-Induced Hearing Loss Standard Version National Association of Schools of Music Performing Arts Medicine Association

This document is not copyrighted. It may be reproduced in whole or in part in the interest of education and institutional development. This resource may be edited to fit the local needs of departments, schools, or institutions. Any organization or institution may reproduce the document in quantities sufficient for its own use, but not for sale. Notice of credit to NASM and PAMA should appear on all versions of this resource, both original and as edited for local use.

Protecting Your Hearing Health An NASM – PAMA Student Information Sheet on Noise-Induced Hearing Loss

Hearing health is essential to your lifelong success as a musician. Your hearing can be permanently damaged by loud sounds, including music. Technically, this is

called Noise-Induced Hearing Loss (NIHL). Such danger is constant. Noise-induced hearing loss is generally preventable. You must avoid overexposure to loud sounds, especially for long periods of time.

The closer you are to the source of a loud sound, the greater the risk of damage to your hearing mechanisms. Sounds over 85 dB (your typical vacuum cleaner) in intensity pose the greatest risk to your hearing. Risk of hearing loss is based on a combination of sound or loudness intensity and duration. Recommended maximum daily exposure times (NIOSH) to sounds at or above 85 dB are as follows: o 85 dB (vacuum

cleaner, MP3 player at 1/3 volume) – 8 hours o 90 dB (blender, hair dryer) – 2 hours o 94 dB (MP3 player at 1/2 volume) – 1 houro 100 dB (MP3 player at full volume, lawnmower) – 15 minutes

O 110 dB (rock concert, power tools) – 2 minutes o 120 dB (jet planes at take-off) – without ear protection, sound damage is almost immediate Certain behaviors (controlling volume levels in practice and rehearsal, avoiding noisy environments, turning down the volume) reduce your risk of hearing loss. Be mindful of those MP3 earbuds. See chart above.

The use of earplugs and earmuffs helps to protect your hearing health. Day-to-day decisions can impact your hearing health, both now and in the future. Since sound exposure occurs in and out of school, you also need to learn more and take care of your own hearing health on a daily, even hourly basis.

It is important to follow basic hearing health guidelines. It is also important to study this issue and learn more. If you are concerned about your personal hearing health, talk with a medical professional.

If you are concerned about your hearing health in relationship to your program of study, consult the appropriate contact person at your institution. This information is provided by the National Association of Schools of Music (NASM) and the Performing Arts Medicine Association (PAMA). For more information, check out the other NASM- PAMA hearing health documents, located on the NASM Web site at the URL linked below. http://nasm.arts-accredit.org/index.jsp?page=NASM-PAMA_Hearing_Health

Protecting Your Hearing Health: Student Information Sheet on Noise-Induced Hearing Loss NASM/PAMA: November 2011

V-2 (http://music.owu.edu/5a_NASM_PAMA-Student_Information_Sheet-Standard.pdf) Instructors must advise students in high risk situations, particularly wind and percussion ensembles, of the risks for hearing loss and provide preventative measures, such as earplugs for potentially dangerous situations. Students in the MU 309 Pk-12 Music Methods Course are also advised of the policies for prevention and education of their students in practicums, as well. Faculty members are also instructed to monitor situations across campus in which students may be exposed to excessive levels of noise and report to the Music Chair. Students engaging in amplified sound situations within the department are also introduced to the potentials of hearing loss at sustained high levels. Additional information can be found at: http://nasm.arts-accredit.org/index.jsp?page=NASM-PAMA_Hearing_Health (1)Vocal Health Information on maintaining general vocal health is included in the applied music syllabus. MU 224, Vocal Communication and Technique, includes pedagogical aspects that address laryngeal health and function, as well as the general vocal health issues similar to those outlined in the applied syllabus. Students are introduced to general vocal health issues in the choral ensembles in regard to dangerous methods of singing that can potentially harm the voice. (2) Musculoskeletal Health Students in applied music and ensembles are instructed on the benefits of correct breathing, posture and muscular use to prevent injury. Correct conducting techniques, in regard to musculoskeletal health, are presented in MU 304 Introduction to Conducting, MU 424 Instrumental Conducting, and MU 404 Choral Conducting. Students are urged to develop safe practice habits and to know the limitations of the

http://nasm.arts-accredit.org/index.jsp?page=NASM-PAMA_Hearing_Health

http://music.owu.edu/5a_NASM_PAMA-Student_Information_Sheet-Standard.pdf

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body in regard to issues for the particular instruments. Pianists are particularly vulnerable to carpal tunnel syndrome or other muscular/skeletal issues. Applied piano teachers identify preventative measures in their syllabi. Students are referred, when necessary, to appropriate medical professionals. (3) Safety Many procedures have been initiated to assure the safety of students on campus. Enhanced lighting for nighttime has increased the sense of safety of students and staff on campus. Accessible rules and procedures for emergency preparedness have provided clarity to all constituents in various emergency situations. Students are also given information on multiple health issues including mental health and counseling procedures. The Clery Act requires the institution to submit, for public viewing, an annual security report and fire safety report for every calendar year. The report is available in PDF form online at: http://www.benedictine.edu/about/facilitiesconferencing/campus-security/security-report The report addresses many issues in regard to security including campus law enforcement policies, disciplinary procedures and crime prevention and reporting. The buildings are monitored by the security officers on campus and the hours are posted.

INSTRUMENT LOAN AND RENTAL

The Music Department generally has no instruments available for rental. Please see the appropriate applied

instructor for inquiries concerning instrument availability.

KEYS Keys may be checked out for the band room, woodwind, brass, and percussion rooms. Each key requires a $5

deposit refundable when the key is returned. Keys may be checked out in the music office from 9 a.m - noon.

LIBRARY

Records, scores and CD’s are located in room 315 of Bishop Fink Hall. This room houses 1200 choral titles,

over 2000 scores, and 6000 records and has study space for students. Students are not allowed to remove any

recordings from the Music Library. The main library houses all other books and reference materials.

LOCKERS There are a limited number of lockers available for books and instruments. Lockers are located in the hallways

by the practice rooms in Bishop Fink Hall. Padlocks for these lockers may be checked out, free of charge, from

the department assistant in the music office.

PRACTICE ROOMS

Practice rooms are located on 2nd

and 3rd

floors of Bishop Fink Hall. We ask that no food or drink, other than

water be taken into the practice rooms. Practice rooms are also located in the Rehearsal Room in the Student

Union on a limited basis. Please see Mr. Hanman for procedures regarding scheduling of these rooms. Access to

Bishop Fink Hall is from 6:30 a.m. to 10 p.m. Monday-Friday. Access after regular hours and on weekends is

by key card access.

PURCHASING MUSIC

There are many resources online for purchasing music. Please ask your applied teacher for the appropriate site.

Music majors need to begin purchasing music, recommended by their applied teachers, in order to build their

private libraries. Concert Chorale members will be required to purchase their music from a publisher’s website.

http://www.benedictine.edu/about/facilitiesconferencing/campus-security/security-report

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ACADEMIC POLICIES AND PROCEDURES

APPLICATION AND ADMISSION TO THE DEPARTMENT

All students desiring to be music majors must successfully complete the procedure for acceptance by the

department. The first screening procedure occurs in the freshman year after the successful completion of

Fundamentals of Music (MU 100).

Step One:

February 15th

of each year: All freshmen desiring to major in music must fill out an application as part of the

requirements for acceptance into the Music Program as a major. (See Application for Acceptance on pg. 15 )

Step Two:

During the last two weeks of school a 15 minute interview and jury will be administered.(See Freshman

Interview/Jury Sheet on pg. 16 )

Students will prepare music representing contrasting styles in a 10 minute performance for the jury. (The

student may prepare more but the faculty will hear a performance of no more than 10 minutes.) Decisions on

literature and memorization are at the discretion of the instructor.

This jury will substitute for the regular end-of-the-semester jury.

The student will be asked to identify reasons for wanting to be accepted into the department. Students will be

asked to bring their practice logs. All music faculty will be present and will contribute to the discussion

regarding the student’s progress in applied music, ensembles and coursework.

Following the interview/jury the Music Faculty will discuss the student and make one of the following

decisions:

Entrance into the program with no reservations

Entrance into the program with reservations

Probationary entrance into the program

Denial of entrance into the program

Students denied entrance into the program will be asked to make an appointment with the Chair to discuss other

options for a major in a different area.

Results of the discussion will be submitted on the Freshman Jury/Interview form to be placed in the student’s

file. The music department will send a copy of the form stating the results of the interview/jury. All forms

should be typed using the computer. An electronic copy of the form will be emailed to each student.

Rationale:

This process should provide early identification of problems in all areas as well as raising the bar for progress in

applied music and academic courses.

Step Three: Every semester students will be evaluated in the regular jury until the Sophomore Barrier:

At the end of the sophomore year those students will present a 15 minute jury with the student preparing music

representing contrasting styles in a 10 minute performance for the jury. (Student may prepare more but faculty

will only hear a 10 minute performance.) Decisions on literature and memorization are at the discretion of the

instructor. Scales and sight reading will be required during the Sophomore jury/interview. (See Sophomore

Barrier Jury Sheet on pg. 18)

A short discussion will be held following the performance so that all faculty are aware the progress of the

student. The music faculty will submit (collectively) a form with the information for the student’s file. A letter

to the student will follow identifying strengths, weaknesses and the determination of the status of the student:

Continuation in the Music Program with no reservations.

Continuation in the Music Program with reservations.

Probationary continuation in the Music Program.

Denial of continuation in the Music Program.

This procedure is designed to provide constant monitoring of music majors throughout their college careers.

Early detection of inability to proceed as a music major will be beneficial to help students investigate other

avenues.

The jury experience for all other students will remain the same.

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CONCERT ATTENDANCE

Please review carefully the concert attendance policy:

Students must attend 14 events to receive credit for the class. 6 MUST BE noon recitals.

The Noon Recital Attendance Form is distributed at the beginning of each recital and must be signed and turned

in to the attending faculty member at the conclusion of the recital. (See form on pg. 21) Eight of the 14 events

are to be major events on or off-campus. For all 8 major events, students must complete an electronic form

with a short review of the performance, and, for out of town performances, must submit a program with a

signature of an appropriate witness, such as an usher. (The witness may not be another student.) Forms and

programs must be submitted to the music office within 1 week after the event. No handwritten forms will be

accepted. (See Concert Attendance Form, pg. 20)

CURRICULUM

All students should be familiar with the requirements for each degree as they are outlined in the worksheets for

their respective degrees. As was stated before, constant communication with your advisor is crucial to your

success in obtaining a degree from Benedictine College. (See Curriculum Worksheets on pgs. 25-34)

ENSEMBLES All music majors seeking a Bachelor of Arts in Music degree, or a Bachelor of Arts degree with emphasis in

Composition, must take 8 credits of a major ensemble. A major ensemble is defined as Concert Chorale,

Symphonic Band, or Orchestra. Ensemble requirements for music education majors are as follows:

instrumental majors must take 7 semesters band, 3 semesters choir; vocal majors must take 7 semesters choir, 3

semesters band; string majors must take 7 semesters orchestra, 3 semesters total, band and choir combined.

Music education majors must also take 2 credits of a chamber ensemble as described below. Benedictine

College offers the following ensembles:

CONCERT CHORALE

A chorus of 70-100 voices, open to all students, performs a variety of choral music from the sacred and

secular repertoire. The group performs two concerts each semester and meets from 2:25-3:15 P.M. on

Tuesdays and Thursdays in the Rehearsal Room of the Student Union. Dr.Teets, Director

SYMPHONIC BAND

A concert ensemble performing standard band repertoire, open to all students with prior experience.

They perform one major concert each semester. The class meets from 4:05-5:00 P.M. on Tuesdays

and Thursdays. Mr. Hanman, Director

ORCHESTRA

The BC/Atchison Community Orchestra is open to all string players and selected players. The group

meets on Thursdays from 7:30 P.M. – 9:45 P.M. and performs one major event each semester. Mr.

Shepard, Conductor.

CHAMBER ENSEMBLES

Students have the opportunity to perform in small chamber ensembles such as the Jazz Band, Pep

Band, Brass Ensemble, BC Drumline, and Chamber Singers. Other ensembles are formed to meet the

needs of the students. These ensembles require an audition.

GRADING POLICIES

Following the freshman year all new music majors shall be evaluated by the music faculty for continuance as a

music major. Any student receiving lower than a “C-” in any music course shall be placed on departmental

probation for one semester. After one semester the student shall be reviewed for acceptance or dismissal within

the department. In addition, a student may be placed on probation in the applied area at the discretion of the

applied teacher and with the consensus of the entire music faculty. For all music majors and minors, no grade

less than a “C-” in any music course will be accepted for graduation.

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JUNIOR AND SENIOR RECITALS

Presentation of a senior recital is compulsory for music majors. Junior recitals are given as preparation for the

senior recital and at the discretion of the applied teacher. Junior recitals will be joint recitals. Only music

majors are eligible to present junior and senior recitals. The department chair and the applied teacher will

schedule the recital and decide who will share the event. Students presenting senior recitals will perform only

on their major instrument. Secondary instruments may not be included on the senior recital since the recital

should be representative of the cumulative work in a particular applied area. A student must successfully pass

a jury prior to 30 days before the recital date or the recital will be postponed. Students are responsible for

scheduling the recital jury. All junior and senior recitals will be scheduled at 4:00 on Fridays during the

academic year.

JURY EXAMINATIONS

All music majors enrolled in applied music must perform a jury examination at the end of each semester. The

applied teacher shall approve a piece to be presented to the entire music faculty. Memorization is at the

discretion of the applied teacher. Jury Repertoire Sheets (pg.22) should list pieces, and exercises studied and

performances accomplished during the semester. Performances pertain to the material studied in the applied

lessons. All music majors must complete a jury repertoire sheet, which should be included in their portfolios.

Music majors will be responsible for any literature listed on the Jury Repertoire Sheet. While the entire music

faculty will hear each student and assign a grade, the final grade will remain the responsibility of the applied

instructor.

All students in applied music (non-majors and minors) will perform on a noon recital in lieu of a jury. The

department will schedule a special noon recital(s) for non-majors and minors at the end of the semester, which

will fulfill the jury requirement. A student may also fulfill the jury requirement by performing on a regular

noon recital with the following condition: In the fall semester, the recital performance must be after November

1, and in the spring semester, the recital performance must be after April 1. In this case, the student will not

have to perform again on the Non-major/minor recital at the end of the semester. A student may perform a jury

waiver at an earlier date only at the discretion and permission of the applied teacher.

A junior/senior who presents a recital or major performance may not be required to present a jury at the end of

the same semester. This decision is left to the discretion of the applied teacher.

All students (majors, non-majors, minors) must submit an electronic copy of the jury repertoire sheet to the

department administrative assistant prior to the time of their jury or jury waiver performance. The Jury

Repertoire Sheet (found on pg. 22) is used for all jury performances except the Freshman/Interview Jury, and

the Sophomore Barrier Jury (both of which have a separate repertoire sheet).

JURY EVALUATION

All jury performances will be evaluated using the same form. All music faculty in attendance at the jury will

complete a separate form and give comments (if applicable). Scores will then be averaged and comments will

be compiled on one form, which will be sent electronically to each student for inclusion in their portfolios. A

copy will also be placed in the student’s personal file in the music department. (See Jury Evaluation Form, pg.

23 )

PETITION FOR ACCEPTANCE TO A MAJOR PROGRAM

All students must complete a Petition for Acceptance to a Major Program. (See form on pg. 35 ) This form

must be filed with the Registrar. For music majors, this cannot be done until the successful completion of the

Sophomore Barrier. At this point, students should complete the petition, have it signed by Dr. Krusemark,

Dept. Chair, make one copy for the Music Office and take the original form to the Registrar. Please make sure

this is completed as soon as the Sophomore Barrier Jury is completed.

Music Education Majors – in addition to the Petition for Acceptance for music, you will also have a Petition

for Acceptance to a Major Program that must be completed with the Education Department. Contact the

Education Department for the correct timeline and procedures to complete this form.

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PIANO PROFICIENCY EXAMINATION

Following completion of MU111, students must enroll in MU402 each semester until piano proficiency is

achieved. Proficiency will be determined by an examination (see Piano Proficiency Examination form on pg.

24) administered by the music faculty at the end of each semester. If the student is not proficient on any of the

concepts identified, the student will be instructed to re-enroll in MU402.

PRACTICE LOGS

All students in applied lessons must submit a weekly practice log to their applied instructor. (Practice logs will

be developed and distributed by each individual instructor.) Students enrolled in 1 hour of credit must prove 5

hrs. (minimum) / week of practice. Students enrolled in 2 credits must prove 10 hrs. (minimum)/ week of

practice. The Music Faculty adopted the following policy: No student shall receive an “A” in applied music

if practice logs are not submitted or if the student is deficient in the requisite number of practice hours.

PORTFOLIOS

Benedictine College Music Department will require the collection of artifacts for portfolio assessment for music

majors. All students from the beginning of their tenure at Benedictine College would begin gathering hardcopy

information. The portfolios can be creative and contain information of interest to the students but must contain

the following:

1. Copies of programs in which the student has participated (solos, ensembles)

2. List of concerts attended (this would be merely a summary list from the concert attendance forms)

3. Jury repertoire sheets from all semesters

4. Freshman Jury/Interview summary sheet

5. Sophomore Barrier Jury Sheet

6. Copy of the semester’s grades from Oasis (placed in portfolio after grades distributed)

7. Examples of works of pride in music courses (examinations, assignments, papers, compositions, etc.)

8. Copy of the application to the department (Feb. of freshman year) including the statement of intent to

become a music major. Curricular 4-year plan for entering students/graduation plan for transfers.

9. Jury faculty summary sheets (post-juries)

10. Junior/Senior Recital programs

11. Piano Proficiency evaluation form

12. Practice logs

13. Optional section – anything they do outside of college – awards, internships, auditions, etc. Be

creative.

Students should bring portfolios to the jury at the end of the semester for review by the faculty. All majors who

are not required to perform a jury must submit their portfolio, to the Department Chair, for examination by the

first scheduled day of finals. Final review of the portfolio will be included in the P/F for the senior

comprehensive (MU 498).

RECITAL PERFORMANCE

Students must complete a Noon Recital Performance Form (see form on pg. 21) for inclusion on the program

for noon recitals. This form requires the signatures of the applied instructor, the accompanist (if applicable) and

the student performer. It is the responsibility of the student to obtain all necessary signatures and submit the

form to the music office by noon of the day before the recital. Information pertaining to the selection must be

written clearly and accurately.

14

FORMS

DOCUMENTS

CURRICULUM

WORKSHEETS

REPERTOIRE LISTS

15

Music Department

Application for acceptance to the Music Department as a major

You must pass MU 100 prior to submitting this application.

Application Due Date: February 15th.

Please click the shaded area to enter your information, then tab to next field.

Name:

Campus address:

Phone:

Email address:

Check Desired Degree Program:

Bachelor of Music Education Bachelor of Arts Bachelor of Arts with

Emphasis in Music Composition

Instrument:

Number of semesters of completed applied music:

Applied Instructor:

Essay: Please write an essay of no less than 250 words explaining your desire and intent to

be accepted into the Music program as a major.

16

Music Department

FRESHMAN INTERVIEW/JURY SHEET

Recommendation for Entrance into the Music Department as a Major

______Semester, 20 ___

NAME ____________________

APPLIED TEACHER ____________________

DEGREE SOUGHT: BA _____ BME _____ MAJOR EMPHASIS: _______________

PRIMARY INSTRUMENT ____________________

ON/OFF CAMPUS SOLO PERFORMANCES THIS SEMESTER (Please list where performed, date and name of composition)

COMPLETE LIST OF MATERIAL STUDIED THIS SEMESTER

Technique (scales, arpeggios, etudes, vocalises) & other repertoire studied,

accompaniments

REPERTOIRE FOR JURY

Selections (2 or more) should include contrasting styles of music to equal at least 10 minutes.

__________________________________________________________________________________________

__________________________________________________________________________________________

17

Freshman Interview/Jury, page 2

COMMENTS

Date of Decision: ________

RECOMMENDATION:

_____Entrance into the program with no reservations _____Entrance into the program with reservations

_____Probationary entrance into the program. _____Denial of entrance into the program.

18

Music Department

SOPHOMORE BARRIER JURY SHEET Recommendation for Continuation of Study

______Semester, 20 ___

NAME ____________________

APPLIED TEACHER ____________________

DEGREE SOUGHT: BA ____ BME _____ MAJOR EMPHASIS: ________________

PRIMARY INSTRUMENT____________________


COMPLETE LIST OF MATERIAL STUDIED THIS SEMESTER

Technique (scales, arpeggios, etudes, vocalises) & other repertoire studied,

accompaniments

REPERTOIRE FOR JURY

Selections (2 or more) should include contrasting styles of music to equal at least 10 minutes.

____________________________________________________

______________________________________________________

______________________________________________________

19

Sophomore Barrier, page 2 COMMENTS

Date of Decision: ________

RECOMMENDATION:

______Continuation in the Music Program with no reservations.

______Continuation in the Music Program with reservations.

______Probationary continuation in the Music Program.

______Denial of continuation in the Music Program.

20

CONCERT ATTENDANCE

Mu 128, 228, 328, & 428

Requirements: 14 concerts including 6 noon recitals, 8 from the following concerts: Ensemble

Concerts; Faculty, Junior, Senior Recitals; Professional concerts on or off campus.

For the latter 8 concerts, use this form to write a short review of the concert that reflects your reaction

to the music and performance. (This form will be sent to you electronically at the beginning of the

semester.) Complete and return this form, electronically, to the Music Office, within a week

following the event. For off campus major events attended, you must also turn in a program

from the event, with the signature of an appropriate witness to verify your attendance. (Appropriate witness may include a concert usher at professional events off campus. The witness

may not be another student.) Handwritten forms will not be accepted.

NAME:

CONCERT NAME:

DATE

21

NOON RECITAL ATTENDANCE FORM

NAME_____________________________________________

DATE_____________________________________________

CONCERT ATTENDED______________________________

This form must be turned at the conclusion of the event to receive

credit for Concert Attendance MU 128, 129, 228, 229, 328, 329

NOON RECITAL PERFORMANCE FORM (Please print clearly)

Recital Date ___________________________________________________________

Student Name__________________________________________________________

Instrument/Voice Type __________________________________________________

Composition and Movement ______________________________________________

Composer _____________________________________________________________

Accompanist___________________________________________________________

Length in Minutes_______________________________________________________

Student’s Signature______________________________________________________

Instructor’s Signature____________________________________________________

Accompanist’s Signature _________________________________________________

Jury Waiver (NonMajors Only) YES NO

*ALL APPROPRIATE SIGNATURES ARE REQUIRED BEFORE SUBMITTING

FORM TO THE MUSIC OFFICE

FORM DUE BY NOON ON THE DAY BEFORE THE RECITAL

22

Music Department

JURY REPERTOIRE SHEET

Semester, 20

NAME

APPLIED TEACHER

MAJOR

INSTRUMENT

MUSIC MAJORS: Is this your primary instrument?

Number of semesters studied

Freshman Sophomore Junior Senior


COMPLETE LIST OF MATERIAL STUDIED THIS SEMESTER Technique (scales, arpeggios, etudes, vocalises) & other repertoire studied, accompaniments.

REPERTOIRE FOR JURY

23

BENEDICTINE COLLEGE MUSIC DEPARTMENT

JURY EVALUATION FORM

____End of Semester Jury ____FreshmanJury/Interview ____Sophomore Barrier Jury

____Jr. Recital Jury ____Jr. Recital ____Sr. Recital Jury ____Sr. Recital

Student Name: _____________________________

Date of Recital/Jury: ________________________

Instrument: _____________________ Primary Instrument Yes No

Juror: _______________ Degree Program: BA BME Minor ExCurr

Unacceptable

The student does not meet the basic criteria for the standard indicated. (0-.99)

Acceptable The student meets the basic criteria and is considered proficient. (1-1.99)

Distinguished The student exceeds the basic criteria to be considered proficient. (2.0-3.0)

0 .1 .2 .3 . 4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0

Preparedness 0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0

Technical Proficiency 0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0

Appropriate Literature 0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0

Musicality 0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0

Stage Presence 0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0

Overall Evaluation 0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0

AVERAGE:

PRACTICE LOG : ____ SATISFACTORY

____ UNSATISFACTORY

____ NA (Not applicable)

24

BENEDICTINE COLLEGE MUSIC DEPARTMENT

PIANO PROFICIENCY EXAMINATION

Student Name: _________________________________

Degree Program: BA BME

Date of Examination:___________________

Examiner:_______________________

Music Faculty: Circle the number that reflects your evaluation of the specific concept.

Unacceptable

The student does not meet the basic

criteria for the standard indicated.

(0-.99)

Acceptable

The student meets the basic criteria

and is considered proficient.

(1-1.99)

Distinguished

The student exceeds the basic criteria

to be considered proficient.

(2.0-3.0)

0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0

1) Play all major and 3 forms of the minor scales throughout the circle of fifths. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0

2) Play the five-finger scale plus the major, minor, diminished, and augmented triads on each tonic. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0

3) Play the I, IV6/4, I, V7, I throughout the circle of fifths. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0

4) Harmonize the following melody using primary and secondary triads. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0

5) Harmonize the following melody using primary and secondary triads with a stylistically appropriate accompaniment

pattern. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0

6) Transpose the following piece either a half step up of down. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0

7) Sightread a four-part hymn or Bach chorale. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0

8) Improvise a melody over the given chord structure. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0

Overall Evaluation: 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0

PASS FAIL

25

NAME____________________ MAJOR: BACHELOR OF ARTS IN MUSIC

(Revised August. 2013) For students beginning in catalog year 2013

GENERAL EDUCATION REQUIREMENTS

NUMBER COURSE REQUIRED COMPLETED GRADE En 101 or English Composition 3-4 _____________ ________ En 100 English Composition w/Review _________ Foreign Language 4 _____________ ________ _________ Foreign Language 4 _____________ ________ Ph 175 Principles of Nature 3 _____________ ________ Th 101 Introduction to Theology 3 _____________ ________ Gs 150 BC Experience _____________ ________ Pe 115 Wellness for Life 1 _____________ ________ ________ Approved Pe Fitness Activity Course 1 _____________ ________ (Pe 100,101,105,107,108,110,111,118,126,128) Total 19-20

FOUNDATIONS: A COURSE MAY SATISFY ONE REQUIREMENT

Historical Perspective (6 hrs. total) ________ World Civilization Hi 105 or Hi 106 (Suggested) 3 _____________ ________ ________ or any course from the approved list _____________ ________

__ Total 6

Aesthetic Experience ( 6 hrs. total) (This foundation is achieved through the following courses)

________ World Music Literature Mu 190 3 _____________ ________ ________ Music History & Literature II Mu 401 3 _____________ ________ Total 6

Person & Community in the Modern World (3 hrs. total) Any one course from the approved list.

________ ___________________________________ _____________ ________ Total 3

Understanding the Natural World (7-8 hrs. total) (One course must include a lab)

________ Acoustics (with lab) Pc 120 (Suggestion) 4 _____________ ________ ________ ___________________________________ 3-4 _____________ ________ Total 7-8

Faith Foundation (6 hrs. total) Any two courses from the approved list.

________ ___________________________________ 3 _____________ ________ ________ ___________________________________ 3 _____________ ________ Total 6

Philosophical Inquiry (6 hrs. total) Any two courses from the approved list.

________ ___________________________________ 3 _____________ ________ ________ ___________________________________ 3 _____________ ________ Total 6

26

SKILLS AND PERSPECTIVES: A COURSE MAY SATISFY THREE REQUIREMENTS

Written Communications (2 courses)

________ Music History I, Mu 400 3 _____________ ________ ________ ___________________________________ _____________ ________ Total 6

Oral Communication (1 course) Any one course from the approved list.

________ ___________________________________ 3 _____________ ________

Visual Communication (1 course) Any course from the approved list.

________ Introduction to Conducting Mu 304 _____________ ________

Quantitative Analysis (1 course) Any course from the approved list.

________ ___________________________________ 3 _____________ ________

Scientific Method (1 course) (This requirement is fulfilled by Bi 107 as listed earlier, or any course from approved list.)

________ Acoustics Pc 120 OR _____________ ________ ________ ___________________________________ _____________ ________

Global Perspective (1 course) .

________ World Music Literature Mu 190 3 _____________ ________ (or any course from approved list)

Western Perspective (1 course) (This requirement is fulfilled by Hi 105 or Hi 106 as listed earlier, or any course from the approved list.)

________ World Civilization to 1648 Hi 105 _____________ ________ ________ World Civilization since 1648 Hi 106 _____________ ________

----------- ------------------------------------------------ ------------------ ------------

MUSIC REQUIREMENTS

Mu 100 Fundamentals of Music 2 _____________ ________ Mu 101 Music Theory and Aural Skills I 3 _____________ ________ Mu 103 Music Theory and Aural Skills II 3 _____________ ________ Mu 110 Functional Keyboard I 1 _____________ ________ Mu 111 Functional Keyboard II 1 _____________ ________ Mu 190 World Music Literature 3 _____________ ________ Mu 200 Music Theory and Aural Skills III 3 _____________ ________ Mu 300 Music Theory and Aural Skills IV 3 _____________ ________ Mu 304 Introduction to Conducting 1 _____________ ________ Mu 400 Music History & Literature I 3 _____________ ________ Mu 401 Music History & Literature II 3 _____________ ________ Mu 402 Piano Proficiency Cr _____________ ________ Mu 487 Senior Recital 1 _____________ ________ Mu 488 Senior Comprehensive Cr _____________ ________

27

APPLIED MUSIC

________ Major Instrument 1 _____________ ________ ________ Major Instrument 1 _____________ ________ ________ Major Instrument 1 _____________ ________ ________ Major Instrument 1 _____________ ________ ________ Major Instrument 1 _____________ ________ ________ Major Instrument 1 _____________ ________ ________ Major Instrument 1 _____________ ________ ________ Major Instrument 1 _____________ ________ ________ Major Ensemble 1 _____________ ________ ________ Major Ensemble 1 _____________ ________ ________ Major Ensemble 1 _____________ ________ ________ Major Ensemble 1 _____________ ________ ________ Major Ensemble 1 _____________ ________ ________ Major Ensemble 1 _____________ ________ ________ Major Ensemble 1 _____________ ________ ________ Major Ensemble 1 _____________ ________ Plus 6 Credits Upper Division Music Electives ________ ________________________________ _____________ ________ ________ ________________________________ _____________ ________ ________ ________________________________ _____________ ________ ________ ________________________________ _____________ ________ ________ ________________________________ _____________ ________ ________ ________________________________ _____________ ________ Mu 128 Concert Attendance Cr _____________ ________ Mu 129 Concert Attendance Cr _____________ ________ Mu 228 Concert Attendance Cr _____________ ________ Mu 229 Concert Attendance Cr _____________ ________ Mu 328 Concert Attendance Cr _____________ ________ Mu 329 Concert Attendance Cr _____________ ________

Total Departmental Credits 49

PLUS ELECTIVES TO EQUAL 128 CREDITS REQUIRED FOR GRADUATION. (MUST INCLUDE 40 HRS. UPPER DIVISION CREDITS) ________ ______________________________ _____________ ________ ________ ______________________________ _____________ ________ ________ ______________________________ _____________ ________ ________ ______________________________ _____________ ________ ________ ______________________________ _____________ ________ ________ ______________________________ _____________ ________ ________ ______________________________ _____________ ________ ________ ______________________________ _____________ ________ ________ ______________________________ _____________ ________ ________ ______________________________ _____________ ________ ________ ______________________________ _____________ ________ ________ ______________________________ _____________ ________ ________ ______________________________ _____________ ________ ________ ______________________________ _____________ ________ ________ ______________________________ _____________ ________ ________ ______________________________ _____________ ________ ________ ______________________________ _____________ ________

TOTAL CREDITS 128

28

NAME____________________ MAJOR: BACHELOR OF ARTS

EMPHASIS IN COMPOSITION

(REVISED AUG. 2013) For students beginning in catalog year 2013


NUMBER COURSE REQUIRED COMPLETED GRADE En 101 or English Composition 3-4 _____________ ________ En 100 English Compsition w/Review _________ Foreign Language 4 _____________ ________ _________ Foreign Language 4 _____________ ________ Ph 175 Principles of Nature 3 _____________ ________ Th 101 Introduction to Theology 3 _____________ ________ Gs 150 BC Experience _____________ ________ Pe 115 Wellness for Life 1 _____________ ________ ________ Approved Pe Fitness Activity Course 1 _____________ ________ (Pe 100,101,105,107,108,110,111,118,126,128) Total 19


Historical Perspective (6 hrs. total) ________ World Civilization Hi 105 (Suggested) or _____________ ________ ________ World Civilization Hi 106 (Suggested) or _____________ ________ (any course from the approved list) __ Total 6


________ World Music Literature, Mu 190 3 _____________ ________ ________ Music History & Literature II Mu 401 3 _____________ ________ Total 6

Person & Community in the Modern World (3 hrs. total) Any course from the approved list.

________ __________________________________ _____________ ________ Total 3

Understanding the Natural World (7-8 hrs. total) (One course must include a lab)

________ Acoustics (with lab) Pc 120 (Suggestion) 4 _____________ ________ ________ ___________________________________ 3-4 _____________ ________ Total 7-8


________ ___________________________________ 3 _____________ ________ ________ ___________________________________ 3 _____________ ________ Total 6

Philosophical Inquiry (6 hrs. total) Any two courses from the approved list.

________ ___________________________________ 3 _____________ ________ ________ ___________________________________ 3 _____________ ________ Total 6

29


Written Communications (2 courses) ________ Music History I, Mu 400 3 _____________ ________ ________ __________________________________ 3 _____________ ________ Total 6

Oral Communication (1 course) Any course from the approved list.

________ ___________________________________ 3 _____________ ________

Visual Communication (1 course) Any course from the approved list.

________ Intro to Conducting Mu 304 1 _____________ ________

Quantitative Analysis (1 course) Any course from the approved list.

________ ___________________________________ 3 _____________ ________

Scientific Method (1 course) (This requirement is fulfilled by Pc 120 as listed earlier, or any course from approved list.)

________ Acoustics Pc 120 OR _____________ ________ ________ ___________________________________ _____________ ________

Global Perspective (1 course) Any course from the approved list.

________ World Music Literature, Mu 190 3 _____________ ________

Western Perspective (1 course) (This requirement is fulfilled by Hi 105 or Hi 106 as listed earlier, or any course from the approved list.)

________ World Civilization to 1648 Hi 105 _____________ ________ ________ World Civilization since 1648 Hi 106 _____________ ________

MUSIC REQUIREMENTS

Mu 100 Fundamentals of Music 2 _____________ ________ Mu 101 Music Theory and Aural Skills I 3 _____________ ________ Mu 103 Music Theory and Aural Skills II 3 _____________ ________ Mu 110 Functional Keyboard I 1 _____________ ________ Mu 111 Functional Keyboard II 1 _____________ ________ Mu 190 World Music Literature 3 _____________ ________ Mu 200 Music Theory and Aural Skills III 3 _____________ ________ Mu 300 Music Theory and Aural Skills IV 3 _____________ ________ Mu 302 Orchestration/Arranging 2 _____________ ________ Mu 304 Introduction to Conducting 1 _____________ ________ Mu 313 Counterpoint 2 _____________ ________ Mu 400 Music History & Literature I 3 _____________ ________ Mu 401 Music History & Literature II 3 _____________ ________ Mu 402 Piano Proficiency Cr _____________ ________ Mu 303 Seminar in Composition 3 _____________ ________ Mu 487 Senior Recital 1 _____________ ________ Mu 488 Senior Comprehensive Cr _____________ ________ Mu 290 Music Composition 2 _____________ ________ Mu 291 Music Composition 2 _____________ ________ Mu 390 Music Composition 2 _____________ ________ Mu 391 Music Composition 2 _____________ ________ Mu 490 Music Composition 2 _____________ ________ Mu 491 Music Composition 2 _____________ ________

30

________ Major Instrument 1 _____________ ________ ________ Major Instrument 1 _____________ ________ ________ Major Instrument 1 _____________ ________ ________ Major Instrument 1 _____________ ________ ________ Major Ensemble 1 _____________ ________ ________ Major Ensemble 1 _____________ ________ ________ Major Ensemble 1 _____________ ________ ________ Major Ensemble 1 _____________ ________ ________ Major Ensemble 1 _____________ ________ ________ Major Ensemble 1 _____________ ________ ________ Major Ensemble 1 _____________ ________ ________ Major Ensemble 1 _____________ ________ Mu 128 Concert Attendance Cr _____________ ________ Mu 129 Concert Attendance Cr _____________ ________ Mu 228 Concert Attendance Cr _____________ ________ Mu 229 Concert Attendance Cr _____________ ________ Mu 328 Concert Attendance Cr _____________ ________ Mu 329 Concert Attendance Cr _____________ ________


PLUS ELECTIVES TO EQUAL 128 CREDITS REQUIRED FOR GRADUATION. (MUST INCLUDE 40 HRS. UPPER DIVISION CREDITS) ________ ______________________________ _____________ ________ ________ ______________________________ _____________ ________ ________ ______________________________ _____________ ________ ________ ______________________________ _____________ ________ ________ ______________________________ _____________ ________

TOTAL 128

31

NAME____________________ MAJOR: BACHELOR OF MUSIC EDUCATION

PREK-12 (Revised Aug. 2013) For students beginning in Catalog year 2013


NUMBER COURSE REQUIRED COMPLETED GRADE En 101 or English Composition 3-4 _____________ ________ En 100 English Composition w/Review Ph 175 Principles of Nature 3 _____________ ________ Th 101 Introduction to Theology 3 _____________ ________ Gs 150 BC Experience Cr _____________ ________ Pe 115 Wellness for Life 1 _____________ ________ ________ Approved Pe Fitness Activity Course 1 _____________ ________ (Pe 100,101,105,107,108,110,111,118,126,128) Total 11


Historical Perspective (6 hrs. total)

________ World Civilization Hi 105 or 106 (Required) 3 _____________ ________ ________ __________________________________ _ _____________ ________ Total 6


________ World Music Literature Mu 190 3 _____________ ________ ________ Music History & Literature II Mu 401 3 _____________ ________ Total 6

Person & Community in the Modern World (3 hrs. total)

________ General Psychology Py 100 (Required) 3 _____________ ________ Total 3

Understanding the Natural World (7-8 hrs. total) (One course must include a lab, and must be taken in two different disciplines.)

________ Acoustics (with lab) Pc 120 (Suggestion) 4 _____________ ________ ________ World Regional Geography So 290 (Suggestion) 3 _____________ ________ (So 290 also satisfies the Diversity Req.) Total 7


________ ___________________________________ 3 _____________ ________ ________ ___________________________________ 3 _____________ ________ Total 6

Philosophical Inquiry (6 hrs. total) (One requirement fulfilled by Philosophy of Education Ed 451)

________ Philosophy of Education Ed 451 (Required) 3 _____________ ________ ________ ___________________________________ 3 _____________ ________ Total 6

32


Written Communications (2 courses) ________ Music History I Mu 400 3 _____________ ________ ________ Student Teaching Seminar Ed 470 1 _____________ ________

Oral Communication (1 course)

________ Vocal Communication and Technique MU 224 _____________ ________

Visual Communication (1 course) ________ Psycho Ed Development Ed 220 or 3 _____________ ________ ________ Intro to Conducting Mu 304 1

Quantitative Analysis (1 course) ________ Statistics Ma 211 (Required) 4 _____________ ________

Scientific Method (1 course) (This requirement is fulfilled by Pc 120 as listed earlier, or any course from approved list.)

________ Acoustics Pc 120 OR _____________ ________ ________ ___________________________________ _____________ ________

Global Perspective (1 course) and Western Perspective (1 course)

________ World Civilization Hi 105 or 106 _ _____________ ________ 3

PROFESSIONAL EDUCATION REQUIREMENTS

Diversity Requirement (1 course required from following four courses) ________ Sociology of Culture So 250 (D) ________ World Regional Geography So 290 (D) ________ Sociology of Race and Ethnic Relations So 354 (F) ________ Intro to Sociology So 101 (B) Ed 200 Introduction to Education 2 _____________ ________ Ed 201 Introduction to Ed. Research & Field Exp. 1 _____________ ________ Ed 220 Psychoeducational Development 3 _____________ ________ Ed 222 Psychology of Indiv. With Excep. 3 _____________ ________ Ed 357 Secondary Methods and Media 3 _____________ ________ (Music Ed: do not enroll in Ed 358. Must be enrolled in Mu 309 concurrently) Ed 312 School as Community 3 _____________ ________ Ed 313 School as Comm. Research & Field Exp. 1 _____________ ________ Ed 332 Teaching Reading/Content Area 2 _____________ ________ Ed 451 Philosophy of Education 3 _____________ ________ The following courses are part of the student teaching semester. You will automatically be enrolled. Ed 455 Differentiated Instruction 3 _____________ ________ Ed 462 Classroom Management 2 _____________ ________ Ed 470 Student Teaching Seminar 1 _____________ ________ Ed 492B Supervised Student Teaching – Elementary 5 _____________ ________ Ed 496B Supervised Student Teaching – Secondary 5 _____________ ________ Ed 334 Diversity Competencies Cr _____________ ________ Ed 335 Technology Proficiency Cr _____________ ________ Ed 487 Content Area Exam, Praxis Test #5113 Cr _____________ ________ Ed 488 Senior Comp. – Final Educ. Portfolio Cr _____________ ________ Ed 489 Licensure Requirement Test – PLT Cr _____________ ________ Praxis Test #0624 or #5624 Total Professional Education Requirements 40

33

MUSIC REQUIREMENTS

Mu 100 Fundamentals of Music 2 _____________ ________ Mu 101 Music Theory and Aural Skills I 3 _____________ ________ Mu 103 Music Theory and Aural Skills II 3 _____________ ________ Mu 106 Class Voice 2 _____________ ________ Mu 110 Functional Keyboard I 1 _____________ ________ Mu 111 Functional Keyboard II 1 _____________ ________ Mu 117 Stringed Instruments 2 _____________ ________ Mu 118 Woodwind Instruments 2 _____________ ________ Mu 119 Brass & Percussion 2 _____________ ________ Mu 190 World Music Literature 3 _____________ ________ Mu 200 Music Theory and Aural Skills III 3 _____________ ________ Mu 224 Vocal Comm. and Technique 2 _____________ ________ Mu 300 Music Theory and Aural Skills IV 3 _____________ ________ Mu 302 Orchestration/Arranging 2 _____________ ________ Mu 304 Introduction to Conducting 1 _____________ ________ Mu 309 Music Methods K-12 3 _____________ ________ (Concurrent enrollment in Ed 357) Mu 400 Music History & Literature I 3 _____________ ________ Mu 401 Music History & Literature II 3 _____________ ________ Mu 402 Piano Proficiency Cr _____________ ________ Mu 404 Instrumental Conducting 1 _____________ ________ Mu 424 Choral Conducting 1 _____________ ________ Mu 487 Senior Recital 1 _____________ ________ Mu 488 Senior Comprehensive Cr _____________ ________ (Praxis II Music Content Test)

APPLIED MUSIC

________ Major Instrument 2 _____________ ________ ________ Major Instrument 2 _____________ ________ ________ Major Instrument 2 _____________ ________ ________ Major Instrument 2 _____________ ________ ________ Major Instrument 2 _____________ ________ ________ Major Instrument 2 _____________ ________ ________ Major Instrument 2 _____________ ________ ________ Major Ensemble (Major area) 1 _____________ ________ ________ Major Ensemble (Major area) 1 _____________ ________ ________ Major Ensemble (Major area) 1 _____________ ________ ________ Major Ensemble (Major area) 1 _____________ ________ ________ Major Ensemble (Major area) 1 _____________ ________ ________ Major Ensemble (Major area) 1 _____________ ________ ________ Major Ensemble (Major area) 1 _____________ ________ ________ Major Ensemble (Secondary area) 1 _____________ ________ ________ Major Ensemble (Secondary area) 1 _____________ ________ ________ Major Ensemble (Secondary area) 1 _____________ ________ ________ Chamber Ensemble 1 _____________ ________ ________ Chamber Ensemble 1 _____________ ________ Mu 114 Opera Workshop 1 _____________ ________ Mu 128 Concert Attendance Cr _____________ ________ Mu 129 Concert Attendance Cr _____________ ________ Mu 228 Concert Attendance Cr _____________ ________ Mu 229 Concert Attendance Cr _____________ ________ Mu 328 Concert Attendance Cr _____________ ________ Mu 329 Concert Attendance Cr _____________ ________

Total Music Department Credits 71

34

MUSIC MINOR REQUIREMENTS NAME:_________________________ Minor Declaration Form on file: Yes_______________ No__________ Date______________

Number Course Required Hrs. Completed Grade

Mu 100 Fundamentals of Music 2 _____________ ________

Mu 101 Music Theory and Aural Skills I 3 _____________ ________

Mu 110 Functional Keyboard I 1 _____________ ________

Mu 190 World Music Literature 3 _____________ ________

________ Major Instrument 1 _____________ ________

________ Major Instrument 1 _____________ ________

________ Major Ensemble 1 _____________ ________

________ Major Ensemble 1 _____________ ________

Mu 128 Concert Attendance Cr _____________ ________

Mu 129 Concert Attendance Cr _____________ ________

PLUS 9 CREDIT HOURS OF ANY ADDITIONAL MUSIC COURSES (may use ensembles & applied lessons) ________ _________________________________ _____________ ________

________ _________________________________ _____________ ________

________ _________________________________ _____________ ________

________ _________________________________ _____________ ________

________ _________________________________ _____________ ________

________ _________________________________ _____________ ________

________ _________________________________ _____________ ________

________ _________________________________ _____________ ________

________ _________________________________ _____________ ________

Total 9


NOTE: Transfer students pursuing a music minor must take a minimum of 40% of the coursework

required for the minor at Benedictine College.

35

PETITION FOR ACCEPTANCE TO A MAJOR PROGRAM

Name of student making application: _________________________________________ _____________________

(Please Print) BC ID #

Catalog Year(s): ______________________ Anticipated Degree Date: __________________

To the Student: Take this form to the Chair of the Department to which you are petitioning for a major along with a

current copy of your transcript. (You may print a copy of your current and past courses from OASIS or obtain an

unofficial transcript from the Office of Academic Records and Registration.)

To be completed by the Chair of the Department to which the student is petitioning, in consultation with the

student:

Department to which student is petitioning for acceptance as a major:

________________________________________

Intended Major: ________________________________________

Area of Concentration or Track (if applicable): _____________________________________________

I accept this student into this department. ______________________________________ _________________

Signature of Department Chairperson Date

To the Registrar: Please assign ____________________________________ as the student’s major advisor.

For the student’s senior year, the department chairperson is to be the advisor.

Signature of student: ______________________________ Date: _____________

To the Department Chair: You are encouraged to make a copy of this form and retain it in your file.

To the student: Return this form to the Office of Academic Records and Registration, 210 St. Benedict Hall, to be

officially be registered in your major.

36

REPERTOIRE LISTS

These repertoire lists represent the competency

levels that a Music Major should be able to

demonstrate in their applied studies. These lists

have been compiled by the respective music

faculty, and are only a recommended list, not a

required list of repertoire. Determination of the

ability to move from one level to another will be

made during the jury examinations each semester.

BRASS AND PERCUSSION

This list represents a recommendation of Brass and

Percussion literature to be studied at progressive

levels. It is not intended to be a required

repertoire list for graduation. Many pieces have

been chosen from the Associated Board of the

Royal Schools of Music required lists and students

are encouraged to apply for international

accreditation through ABRSM exams given

externally.

100 LEVEL FRENCH HORN Brahms Scherzo and Trio (from Serenade No.1 in

D,Op.11). Time Pieces for Horn,Vol.2,arr.Harris

and Skirrow (ABRSM Publishing)

Danzi Concerto in Eb:2nd movt,Romanze

(Heinrichshofen N 6217/Peters)

Handel I See a Huntsman (from Julius Caesar). No.

5 from Solos for the Horn Player, ed. Jones

(Schirmer/Music Sales)

Mozart Horn Concerto No.1 in D,K.412/514:1st

or2nd movt,Allegro or Rondo:Allegro (D/F

edition:Bärenreiter BA 5314a)

Mozart Horn Concerto No.2 in E b,K.417:2nd

movt,Andante (Eb/F edition:Bärenreiter BA 5311a)

Rosetti Horn Concerto in D minor:2nd

movt,Romanze (with cadenza)(Simrock

3061/MDS)

Saint-Saëns Morceau de Concert,Op.94:Allegro

moderato to fig.3 (Durand/UMP)

BozzaEn Irlande (Leduc/UMP)

Dunhill Allegro vivo and Slow Minuet:No.2 and

No.5 from Cornucopia,Op.95 (Boosey &

Hawkes/MDS)

HindemithHorn Sonata (1939):2nd movt,Ruhig

bewegt (Schott ED 3642/MDS)

KodályIntermezzo from Háry János. Absolutely

Horn,arr.Bissill (Brass Wind)

Ridout Concertino for Horn:1st movt (Emerson)

Guy WoolfendenSpanish Dance or Lotus

Waltz:from Horn Dances(Brass Wind)

Studies

Andrew Clark16 Etudes:Suite 1,Etude 3 (Mitre

Music/Emerson)

Concone Study No.25 (Op.9 No.29). Concone

Studies for Horn in F,arr.Ashworth (Emerson)

Kopprasch 60 Selected Studies for French

Horn,Book 1:No.13 (Carl Fischer 02790/MDS)

Peter Lawrance Restless:from Featuring

Melody(&brass edition:Brass Wind)

Maxime-Alphonse 200 New Studies for

Horn,Book 3:No.6 in C or No.16 in B

b(Leduc/UMP)

Lowell E.ShawJust Desserts – Frippery Style:No.1

(The Hornist’s Nest/Emerson)

TRUMPET Banchieri Canzona 5. The Baroque

Trumpet,arr.Miller (Bb/D edition:Faber)

Bruckner Ave Maria,arr.Mortimer (Bb/C

edition:Editions Marc Reift/MusT)

Handel Ev’ry Valley Shall Be Exalted (from

Messiah). Three Handel Arias,arr.Street (Studio

Music)

Mozart Andante (from Piano Concerto No.21).

The James Watson Collection,Vol.2,arr.Bennett

(Unlimited Music/ Maecenas)

L.Otto Trumpet Concerto in Eb:3rd

movt,Rondo:Allegro grazioso (Bb/Eb edition:Brass

Wind)

Purcell Sonata for Trumpet:1st and 3rd movts

(Bb/C edition:IMC 2089/MDS)

Anon. Mexican Hat Dance or La Cucaracha. No.2

or No.3 from Play Latin for Trumpet,arr.Gout and

Farley (Faber)

Clare Grundman Conversation for Cornet

(Boosey & Hawkes/MDS)

Jim Parker Soldier,Soldier or Ground Force. The

Music of Jim Parker for Trumpet (Brass Wind)

Studies

Arban14 Studies for Cornet:No.5 in C (Boosey &

Hawkes/MDS)

Concone 25 Lessons,Op.10:No.19. Concone The

Complete Solfeggi,trans.Korak (Balquhidder

Music—Carl Fischer/ MDS)

John Miller Stealthy Living or Morning:No.11 or

No.13 from Progressive Brass Studies (Faber)

Ernest Piper The Well-Tempered Player:No.2 in C

minor (Winwood Music)

Allen Vizzutti Irish Reel:No.6 from 20 Dances for

Trumpet (De Haske)

Malcolm Weale Challenging Brass:No.15 in C

minor or No.16 in G minor (&edition:Winwood

Music)

37

TROMBONE J.S.BachAnglaise (from French Suite No.3). Bach

for Trombone,arr.Mowat (?or &editions:Brass

Wind)

GalliardSonata No.1 in A minor:1st and 2nd

movts,Cantabile and Spiritoso e Staccato A Tempo

Moderato (Peters H 752a)

Mendelssohn Theme from Symphony No.5

(Reformation). First Solos for the Trombone or

Baritone Player,trans.Smith

(?edition:Schirmer/Music Sales)

Pergolesi Aria (from La Serva Padrona). No.7

from Second Book of Trombone

Solos,arr.Goodwin and Pearson (?/& edition:Faber)

Purcell When I am Laid in Earth (from Dido and

Aeneas). The Baroque Trombone,arr.Wills (Faber)

Rimsky-Korsakov Trombone Concerto:2nd

movt,Andante cantabile(?/&edition:Brass Wind)

Keith Amos Dragon Dance:No.1 from Dragon

Dance(?/&edition:CMA Publications 282)

Eileen Clews Scherzando:No.4 from Four Pieces

for Trombone (Paterson/Music Sales)

JacobTrombone Sonata:1st movt,Adagio

(Emerson)

Christopher Mowat Bone Idyll. Slide Show for

Trombone,arr.Mowat (?or &editions:Brass Wind)

Christopher NortonJust that Minute:No.12 from

Microjazz for Trombone (Boosey &

Hawkes/MDS)

Ridout Concertino for Trombone:1st movt, Lento

(Emerson)

Studies

Keith Amos 12 Miniatures for Solo Euphonium or

Trombone: No. 7, Alla Viennoise, or No. 9, Alla

Grecque (?/& edition:CMA Publications 155)

Derek Bourgeois Bone

ofContention,Op.112:No.13,Allegretto

grazioso(?or &editions:Brass Wind)

Derek Bourgeois Splinters

ofBone,Op.130:No.24,Allegretto(?or

&editions:Brass Wind)

Nigel Clarke Pandora:from Featuring Rhythm– 9

Graded Studies for Trombone (?or


John Edney L’Espagnole:No.26 from Up Front

Melodic Studies for Trombone, Book 2(?or


Christopher Mowat Unlocking the Tenor

Clef:No.17,Allegro (Brass Wind)

Jérôme Naulais Études Variées de Virtuosité et de

Technique,Vol.2 – 23 Études:No.21,Promenade

(Billaudot/UMP)

EUPHONIUM

Elgar Serenade,arr.Wilson (&edition:Winwood

Music)

B. Marcello Sonata No.1 in F:1st and 2nd movts,

Largo and Allegro, or 1st and 4th movts, Largo and

Presto (Allegro)

(?edition arr.Ostrander:IMC 1978/MDS or&edition

arr.Mortimer:Editions Marc Reift/MusT)

Purcell Suite,arr.Sturzenegger for Euphonium:1st

and 2nd movts,Rondeau and Rigaudon

(&edition:Editions Marc Reift/MusT)

Saint-Saëns The Swan (from The Carnival ofthe

Animals),arr. Mead (?/&edition:Studio Music)

Wagner Sigmund’s Love Song (from The

Valkyrie) or Walter’s Prize Song (from The

Mastersingers). Wagner Three

Operatic Arias, arr.Wright (?/&edition:Brand

Publications/Smith)

Ernest Young Euphonium Sonata:2nd

movt,Intermezzo (?/&edition:Brand

Publications/Smith)

Keith Amos Dragon Dance:No.1 from Dragon

Dancefor Euphonium:(?/&edition:CMA

Publications 282)

John Golland Peace (?/&edition:Hallamshire

Music)

Peter Lawrance Andante and Badinage: Nos 5 and

6 from Badinage(?or &editions:Brass Wind)

Robert Sanders Square-Dance (&edition: Stainer

&Bell)

Keith Amos Miniature No. 9, Alla Greque, or No.

12, Moderate March: from 12 Miniatures for Solo

Euphonium(?/& edition:CMA Publications 155)

Nigel Clarke Pandora: from Featuring Rhythm(?or


Studies

Dubois 14 Studies for Trombone:No.11 or No.12

(?edition:Leduc/UMP)

Gaetke 60 Studies for Trombone:No.21 or No.25

(?edition:IMC 1456/MDS) (restricted availability)

Alwyn GreenEuphonium Eurhythmics:Study

No.5,P.30 (?or &editions:Warwick Music)

Mark Nightingale The Suntan Samba:No.9 from

Tipping the Scales(?or &editions:Warwick Music)

Reinhardt Selection of Concone Studies for

Trombone:No.9 or No.10 (?edition:Elkan-

Vogel/UMP)

TUBA

Arthur Frackenpohl Concertino for Tuba:2nd and

3rd movts,Lento and Allegro (Robert King/UMP)

Hindemith Sonata (1955):2nd movt,Allegro assai

(Schott ED 4636/MDS)

JacobTuba Suite:No.2 or No.4,Hornpipe or

Bourrée (Boosey & Hawkes/MDS)

38

TUBA(CONT.)

Vivaldi Allegro,arr.Swanson (with repeat) (Belwin

Mills/Maecenas)

Keith Amos Compositae (?/&edition:CMA

Publications 041)

Jean-Michel Defaye Suite Marine:1st and 4th

movts,L’Otarie and L’Éléphant de Mer

(Leduc/UMP)

Walter HartleySuite for UnaccompaniedTuba:any

three movts (Elkan-Vogel/UMP)

Bryan Kelly Tarantelle:No.4 from Dordogne

Dances(?/&edition:Emerson)

Jim Parker Ground Force. The Music ofJim Parker

for EbBass/Tuba (?or &editions:Brass Wind)

William ReltonThe Trouble with the Tuba is

...(Eb&edition:Kirklees Music)

Alan Richardson In the Lowlands:complete (Music

Sales)

Burnet Tuthill Fantasia for Tuba,Op.57 (Ensemble

Publications/Music Sales)

Studies

Blazhevich70 Studies for B bTuba,Vol.1:No.11 or

No.14 (Robert King/UMP)

Derek Bourgeois Happy:from Per Tuba ad

Astra(?or &editions:Brass Wind)

Alwyn GreenTuba Eurhythmics:Study No.5,P.30

(?) orP.29 (&)(?or &tuba editions:Warwick Music)

Kopprasch 60 Selected Studies for BbTuba:No.26

(Robert King/UMP)

PERCUSSION MALLETTS

J. S. BachInvention No. 10 in G, BWV781

Handel Allegro, from Sonata in F, Op. 1 No. 12*

JoplinMaple Leaf Rag*

MendelssohnSong without Words, Op. 102 No. 3

Johann Strauss Radetsky March, Op. 228

TelemannVivace, from Fantasia No. 5 in F (1st

Dozen)

TIMPANI Unsquare Dance

Square Dance

Diversions

Scherzoid

SNARE DRUM

Malvern March

Con anima

Fanfare and Dance

Waltz Variations

Midsummer Dream

Con forza

Graded Music for Snare Drum, Book

3(ABRSMPublishing)

Graded Music for Timpani, Book

3(ABRSMPublishing)

Graded Music for Tuned Percussion, Book 3

(ABRSMPublishing)

200 LEVEL FRENCH HORN BorodinIntermezzo:No.1 from Five Pieces from

Little Suite(Israel Brass Woodwind

Publications/MusT)

Glazunov Rêverie,Op.24 (Belaieff343/MDS)

GounodSix Pièces mélodiques

originales,Vol.2:No.4 (Billaudot/UMP)

Mozart Horn Concerto No.3 in Eb,K.447:1st or 3rd

movt,eitherAllegro (Eb/F edition:Bärenreiter BA

5312a)

Mozart Horn Concerto No.4 in Eb,K.495:3rd

movt,Rondo:Allegro vivace (Eb/F


NielsenCanto Serioso (Skandinavisk

Musikforlag/Music Sales)

Rosetti Horn Concerto in D minor:3rd movt,Rondo

(Simrock 3061/MDS)

Franz Strauss Nocturno,Op.7 (Universal

1368/MDS)

Bartoš Rondo:from Adagio Elegiaco e

Rondo(Schott COR 5/MDS)

BozzaChant Lointain (Leduc/UMP)

Gordon Carr Idyll:No.2 from A Day in the

Country(Broadbent & Dunn)

Arnold Cooke Rondo in Bb(Schott ED

10231/MDS)

Jean-Michel Damase Pavane Variée

(Lemoine/UMP)

HindemithHorn Sonata (1939):1st movt,Mässig

bewegt (Schott ED 3642/MDS)

Bertold Hummel Sonatine for Horn,Op.75a:3rd

movt,Finale:Presto (Schott COR 7/MDS)

Guy WoolfendenSword Dance:from Horn

Dances(Brass Wind)

Studies

J.S.BachCello Suite No.5:7th movt,Gigue. Bach

Six Suites for Horn Solo,arr.Orval (Editions Marc

Reift/MusT)

Kopprasch 60 Selected Studies for French

Horn,Book 1:No.33 (Carl Fischer CFO 2790/MDS)

Peter Lawrance Hornpipe orLa Chase:from

Featuring Melody(&brass edition:Brass Wind)


Horn,Book 3:No.23 in E bor No.32 in

C(Leduc/UMP)

de Pré 20 Études pour le Cor grave:No.1 orNo.5

(Billaudot/UMP)



39

TRUMPET Elgar Idylle. No.18 from Second Book of Trumpet

Solos arr. Wallace and Miller

Hummel The Noble Savage (Indian Rondo).

No.14 (Faber)

Fantini Sonata detta del Niccolini. The Baroque

Trumpet,arr.Miller (Bb/D edition:Faber)

Keller Sonata No.2 for Trumpet: complete. No.3

from Baroque Music for Trumpet ed. Wastall

(Boosey & Hawkes/ MDS)

Laue Trumpet Concerto:1st and 2nd

movts,Allegro and Adagio (Brass Wind)

Purcell Sound the Trumpet (from The Duke

ofGloucester’s Birthday Ode),arr.Wiggins

(Fentone/De Haske)

Zubiaurre Audition Piece for Trumpet or Cornet

(Brass Wind)

Copland Laurie’s Song (from The Tender Land).

Copland 2000 for Trumpet (Boosey &

Hawkes/MDS:piano accomp. published separately)

Gershwin Prelude No.1 or No.2. Gershwin Three

Preludes,arr.Kearns (Stainer & Bell)

Edward Gregson Danse Macabre:from Cameos for

Trumpet (Brass Wind)

Ronald Hanmer Arioso and Caprice for Flugelhorn

(Brand Publications/Smith)

Dominic Muldowney Two Tone Tattoo. Unbeaten

Tracks – Trumpet,ed.Miller (Faber)

Shostakovich Prelude 18. Russian Roulette for

Trumpet,arr.Archibald (Brass Wind)

Studies

Arban14 Studies for Cornet: No.6 in F (Boosey &

Hawkes/MDS)

Derek Bourgeois Fantasy Pieces for

trumpet:No.1,Allegro vivace,orNo.2,Andante e

pesante(Brass Wind)

Herbert Clarke Characteristic Studies for the

Cornet:No.22 in G minor (Carl Fischer

02281/MDS)

John Miller Seventh Heaven or Alpine

Waltz:No.21 or No.22 from Progressive Brass

Studies (Faber)

Ernest Piper The Well-Tempered Player:No.20 in

A minor (Winwood Music)

Allen Vizzutti Flamenco:No.4 from 20 Dances for

Trumpet (De Haske)

Malcolm Weale Challenging Brass:No.22 in B

minor (&edition:Winwood Music)

TROMBONE J. S. BachPrelude in Ab(from 48 Preludes and

Fugues, Book 1). Bach for Trombone, arr. Mowat

(?or &editions: Brass Wind)

Berlioz Recitative and Prayer (from Grande

Symphonie Funèbre et Triomphale,Op.15)

(?/&edition:Brass Wind)

Gluck Che farò senza Euridice (from Orfeo ed

Euridice). The Baroque Trombone arr. Wills

(Faber)

B.Marcello Sonata in G,arr.Brown:1st and 2nd

movts Andante and Allegro (IMC2203/MDS)

L. Mozart Serenade for Trombone,arr.Clack:1st

movt,Allegro(B/&edition:Winwood Music)

Rimsky-Korsakov Trombone Concerto:1st

movt,Allegro vivace (?/&edition:Brass Wind)

Jacques Castérède Sonatine for Trombone:2nd

movt,Andante sostenuto (Leduc/UMP)

James Curnow Fantasy for Trombone

(?/&edition:Winwood Music)

Edward Gregson Divertimento for Trombone:2nd

and 3rd movts,Canzona and Scherzino

(?/&edition:Studio Music)

Jim Parker Dances with Bears. Jazzed Up Too for

Trombone,arr.Parker (?or&editions:Brass Wind)

Robert Ramskill Ballad. From Vivaldi to Fats

Waller for Trombone (?or &editions:Brass Wind)

Studies

Denis ApIvor 24 Exercises:No.1 (Allegro vivace)

(?or &editions:Warwick Music)

Derek Bourgeois Bone of

Contention,Op.112:No.14,Moderato ritmico (?or


Derek Bourgeois Fantasy Pieces for tenor

trombone:No.4,Moderato cantabile(?or


Christopher Mowat Unlocking the Tenor

Clef:No.29 or No.30 (Brass Wind)


Technique,Vol.2 – 23 Études:No.22,Latin Funk

(Billaudot/UMP)

Jérôme Naulais Trombone Plaisir,Vol.3 – 18

Études:No.5,Medium Fast Swing (Billaudot/UMP)

EUPHONIUM

Elgar Idylle,Op.4 No.1,trans.Wilson


Elgar Salut d’Amour,Op.12,trans.Childs. Monti’s

Czardas,ed.Wilson(&edition:Winwood Music)

Handel Prelude and Fugue,arr.Sturzenegger for

Euphonium (&edition:Editions Marc Reift/MusT)

Michael HopkinsonConcerto for Tuba (Concerto

Euphonique): 1st movt, Allegro moderato

(Bb&edition:Kirklees Music)

Mozart Concerto in 2

Movements,K.412,arr.Lethbridge for Euphonium

or Baritone (?/&edition:Brand Publications/ Smith)

Ernest YoungEuphonium Suite: 1st and2nd movts,

Allegro Giocoso and Romanza: Lento, or 2nd and

3rd movts,

Romanza:Lento andScherzando (?/&edition:Brand

Publications/Smith)

40

EUPHONIUM(CONT.)

James CurnowRhapsody for Euphonium


Joseph Horovitz Euphonium Concerto:2nd

movt,Lento (&edition:Novello/Music Sales)

Rodney NewtonBaritone Aria (?/&edition:Editions

Marc Reift/MusT)

Philip Sparke Aubade (&edition:Studio Music)

David Uber Danza Espagnola (?/&edition:Virgo)

Vaughan Williams Concerto for Tuba: 2nd movt,

Romanza (separate &euphonium part, and piano

score with ?part: OUP)

Studies

Dubois 14 Studies for Trombone:No.13

(?edition:Leduc/UMP)

Gaetke 60 Studies for Trombone:Nos 52 and 53

(?edition:IMC 1456/MDS) (restricted availability)



Mark Nightingale Barking Mad:No.8 from

Tipping the Scales(?or &editions:Warwick Music)


Trombone:No.12 (?edition:Elkan Vogel/UMP)

TUBA Anon. Hornpipe. No.14 from First Solos for the

Tuba Player,arr.Wekselblatt (Schirmer/Music

Sales)

HindemithSonata (1955):1st movt, Allegro pesante


JacobTuba Suite: No.8,Galop (with cadenza)

(lower 8ve optional) (Boosey & Hawkes/MDS)

Senaillé Introduction and Allegro

spiritoso,arr.Catelinet (?/&edition:Peters H 853)

TelemannAdagio and Allegro (from Trumpet

Concerto in D),arr.Friedman (Southern Music

Co/Valentine Music)

Eugène Bozza Thème Varié (Leduc/UMP)

Jean-Michel Defaye Suite Marine:2nd and 3rd

movts, Le Cachelot and Le Requin (Leduc/UMP)

Merle HoggSonatina: complete (Ensemble

Publications/Music Sales)

Joseph Horovitz Tuba Concerto:2nd movt,

Andante (?/Eb&edition:Studio Music)

Simon Proctor Ulloco or Oca:from Tuber

Music(?or &editions: Brass Wind)

Vaughan Williams Concerto for Tuba: 2nd movt,

Romanza (OUP)

Alec Wilder Sonata (No.1) for Tuba and Piano: any

three movts (Richmond/Emerson) (now out of

print)

Studies

Blazhevich70 Studies for BbTuba,Vol.1:No.15 or



tuba:No.1,Allegro moderato,or No.4,Commodo

(Brass Wind)



Kopprasch 60 Selected Studies for BbTuba:No.11

(Robert King/UMP)

Weissenborn,arr.Leslie Lake 12 Studies for Bass

Trombone or Tuba:No.4 (NeuschelMusic/Studio

Music)

PERCUSSION

MALLETTS

J. S. BachBourrée anglaise, from Flute Sonata in

Aminor, BWV1013

Handel Allegro, from Sonata in E, Op. 1 No. 15

JoplinThe FavouriteandRagtime Two Step

Kreisler Liebesfreud*

Johann Strauss Thunder and Lightning Polka, Op.

324

Vivaldi Presto, from Concerto in Aminor, Op. 3

No. 6*

TIMPANI

Tchaikovsky Plus

Conflict in Verona

Impulse

Soliloquy

SNARE DRUM

Contemporary Patterns

Scherzo Caprice

Light Infantry

Allegro giocoso

Prelude and Scherzo


4(ABRSMPublishing)


4(ABRSMPublishing)

Graded Music for Tuned Percussion, Book

4(ABRSMPublishing)

300 LEVEL FRENCH HORN Beethoven Horn Sonata in F,Op.17:2nd and 3rd

movts,Poco adagio,quasi andante and

Rondo:Allegretto moderato (Boosey &

Hawkes/MDS)

Danzi Concerto in Eb:3rd movt,Rondo:Allegro

(Heinrichshofen N 6217/Peters)

HaydnHorn Concerto No.1 in D,Hob.VIId/3:1st

movt,Allegro (D/F edition:Boosey &

Hawkes/MDS)

Mozart Horn Concerto No.2 in Eb,K.417:1st or 3rd

movt,Allegro or Rondo:Allegro (Eb/F


41

FRENCH HORN (CONT.)

Mozart Rondo in Eb,K.371 (Eb/F


Hermann NeulingBagatelle (Pro Musica

196/Emerson)

Ferdinand Ries Horn Sonata in F,Op.34:3rd

movt,Rondo:Allegro (Schott COR 3/MDS)

Rosetti Horn Concerto in Eb: 1st or 3rd movt,

Allegro moderato or Allegretto non troppo (Eb/F

edition:IMC 1977/ MDS)

Richard Strauss Horn Concerto No. 1 in Eb, Op.

11: 1st and2nd movts, Allegro and Andante, or 3rd

movt, Rondo: Allegro (Universal 1039/MDS)

Malcolm ArnoldFantasy for Horn,Op.88 (Faber)

Julia GomelskayaBagatelle (1996) (Guildhall

School ofMusic & Drama/Faber)

Hindemith Horn Concerto (1949):1st and 2nd

movts,Moderately fast and Very fast (Schott ED

4024/MDS)

HindemithHorn Sonata (1939):3rd movt,Lebhaft


Poulenc Élégie (Chester/Music Sales)

Anthony Randall Nocturne and Scherzo

(Broadbent & Dunn:pieces published separately)

Gilbert Vinter Hunter’s Moon (Boosey &

Hawkes/MDS)

J.S.BachCello Suite No.1:5th and 6th

movts,Minuetto I and II. Bach Six Suites for Horn

Solo,arr.Orval (Editions Marc Reift/MusT)


horn:No.2,Andante espressivo,or No.3,Scherzando

e grottesco (in the written keys) (Brass Wind)

Studies

Andrew Clark16 Etudes:Suite 2,Etude 5 (Mitre

Music/Emerson)

Alison Davies Le Basquish:No.4 from Four

Studies(Broadbent & Dunn)


Horn,Book 3:No.40 in F minor(Leduc/UMP)

de Pré 20 Études pour le Cor grave:No.9 orNo.10

(Billaudot/UMP)

Verne Reynolds 48 Etudes for French Horn:No.5

(Schirmer/Music Sales)



TRUMPET Handel Sonata No.3 (Op.1 No.12):1st and2nd

movts,Adagio and Allegro,or 3rd and4th movts,

Largo and Allegro (IMC 2493/MDS)

Haydn Trumpet Concerto in Eb,Hob.VIIe/1:1st

and2nd movts,Allegro andAndante,or2nd and3rd

movts, Andante and Allegro(Bb/Eb

edition:Universal HMP 223/MDS)

Hindemith Sonata for Trumpet:1st movt. Mit Kraft


W.Lloyd Webber Suite in F:2nd,3rd and 4th

movts,Allegro vigoroso,Larghetto e mesto and

Allegro vivace (Stainer & Bell)

J.K.J.Neruda Trumpet Concerto in Eb:1st and2nd

movts,Allegro andLargo (with cadenzas),or 2nd

and3rd movts, Largo andVivace (with cadenzas)

(Bb/Eb edition:Brass Wind)

Tchaikovsky Ballet Suite (from The

Nutcracker,Op.71). Russian Roulette for Trumpet

arr. Archibald (Brass Wind)

Büsser Andante et Scherzo,Op.44 (Bb/C

edition:Leduc/UMP)

Copland Fanfare for the Common Man. Copland

2000 for Trumpet (Boosey &Hawkes/MDS:piano

accomp.published separately)

Robert Eaves Rhapsody for Eb Soprano Cornet

(Brand Publications/Smith)

Petr Eben Fantasia Vespertina (Schott TR3/MDS)

Martinu˚ Sonatine for Trumpet(Bb/C edition:

Leduc/UMP)

Michael Short Eccentrico and Cantilena or

Cantilena and Giga:Nos 3 and4,orNos 4 and5 from

Five Inventionsfor solo trumpet (Studio Music)

Denis Wright Concerto for Bb Cornet:1st

movt,Allegro (with cadenza) (Studio Music)

Studies

Arban14 Studies for Cornet:No.2 in E (Boosey &

Hawkes/MDS)


trumpet:No.4,Slow waltz,orNo.5,Allegro

vivace(Brass Wind)

Herbert Clarke Characteristic Studies for the

Cornet:No.9 in E or No.19 in A (Carl Fischer

02281/MDS)

John Miller Mr Logic:No.30 from Progressive

Brass Studies (Faber)

Ernest Piper The Well-Tempered Player:No.6 in D

minor (Winwood Music)

Allen Vizzutti Polka:No.20 from 20 Dances for

Trumpet (De Haske)

TROMBONE Galliard Sonata No.5 in D minor:complete (Peters

H 752e)

Guilmant Concert Piece (Morceau

Symphonique),Op.88(?/&edition:Brass Wind)

Mahler Trombone Solo from Symphony No.3,1st

movt (?/&edition:Brass Wind)

B.Marcello Sonata in F,trans.Ostrander:complete

(IMC 1978/MDS)

Florentin Morel Pièce in F minor

(Billaudot/UMP)

Pergolesi Sinfonia,arr.Bucher and Balli:complete

(Editions Marc Reift/MusT)

Saint-Saëns Cavatine,Op.144 (?/&edition:Brass

Wind)

42

TROMBONE (CONT.)

Jacques Castérède Sonatine for Trombone:1st

movt,Allegro vivo (Leduc/UMP)

Hindemith Sonata for Trombone (1941): 3rd and

4th movts, Swashbuckler’s Song: Allegro pesante

and Allegro moderato maestoso (Schott ED

3673/MDS)

Jan Koetsier Sonatina for Trombone,Op.58

No.1:2nd and 3rd movts,Andante mesto and Molto

vivace (Editions Marc Reift/MusT)

Lars-Erik Larsson Concertino for

Trombone,Op.45 No.7:2nd and 3rd

movts, Aria:

Andante sostenuto and Finale:Allegro giocoso

(Gehrmans Musikförlag)

Serocki Sonatina for Trombone:2nd and 3rd

movts, Andante molto sostenuto and Allegro

vivace (Moeck 5302)

Šulek Sonata ‘Vox Gabrieli’for Trombone

(Editions Marc Reift/MusT)

Studies

Denis ApIvor 24 Exercises:No.2 (Moderato) or

No.6 (Allegro con bravura) (?or

&editions:Warwick Music)

Derek Bourgeois Fantasy Pieces for tenor

trombone:No.2,Andante cantabile,or No.3,Allegro

molto (?or &editions: Brass Wind)


Technique,Vol.3 – 18 Études:No.13,Ragtime

(Billaudot/UMP)

Jérôme Naulais Trombone Plaisir,Vol.3 – 18

Études:No.3,Rock,or No.4,Valse Jazz

(Billaudot/UMP)

EUPHONIUM J.S.BachCello Suite No.1:5th,6th and 7th

movts,Menuetto 1 and 2,and Gigue. Bach Cello

Suites,arr.Lafosse for

Trombone (Leduc/UMP) (edition largely in tenor

clef:may be rewritten in? or&)

Bizet Flower Song (from Carmen). Softly,As I

Leave You,ed.Wilson (&edition:Winwood Music)

Elgar Romance,Op.62,trans.Wilson

(&edition:Winwood Music)

B.MarcelloSonata No.1 in F:complete (?edition

arr.Ostrander:IMC 1978/MDS or &edition

arr.Mortimer:Editions Marc Reift/MusT)

Weber Rondo Giocoso (from Bassoon Concerto in

F),arr.Siebert (&edition:Studio Music)

Ernest YoungEuphonium Sonata: 1st and 3rd

movts, Pentalude and Scherzando (?/&edition:

Brand Publications/ Smith)

Arthur Butterworth Partita for

Euphonium,Op.89:complete (?/&edition:Comus

Edition)

Walter HartleySonata Euphonica (1979):complete

(?/&edition:Tenuto Publications/UMP)

Joseph Horovitz Euphonium Concerto:1st or 3rd

movt,Moderato or Con moto

(&edition:Novello/Music Sales)

Monti Czardas,trans.Wilson (&edition:Winwood

Music)

Philip Sparke Fantasy (&edition:Brand

Publications/Smith)

Philip Sparke Rhapsody for BbBaritone

(&edition:Studio Music)

Studies

Marcel Bitsch15 Rhythmical Studies for

Trombone:No.3 or No.7 (?edition:Leduc/UMP)



Mark Nightingale The Flat Finisher and You Made

It!:Nos 11 and12 from Tipping the Scales(?or

&editions:Warwick Music)


Trombone:No.14 (?edition:Elkan-Vogel/UMP)

TUBA

Brahms Hungarian Dance No.5. Classics for Tuba,

arr. Woods and Death (?/Eb & edition: Studio

Music)

Capuzzi Andante and Rondo, arr. Catelinet

(?/&edition:Peters H 1474)

Edward Gregson Tuba Concerto:1st and2nd movts,

Allegro deciso and Lento e mesto (Novello/Music

Sales)

Bernhard Heiden Concerto for Tuba:1st and 2nd

movts, Allegro risoluto andAndante,or 2nd and 3rd

movts, Andante and Vivace (Peer Southern/Music

Sales)

Lebedjew Konzert: complete (Hofmeister/Music

Sales:special order)

Alan Ridout Concertino for Tuba:complete

(Emerson)

Malcolm Arnold Fantasy for Tuba (solo),Op.102

(Faber)

Harold East Sonatina for Tuba:1st and 2nd movts

(Ricordi/UMP)

Joseph Horovitz Tuba Concerto:1st movt,Allegro

(?/E

b&edition:Studio Music)

Vincent Persichetti Serenade No.12 for Solo

Tuba,Op.88:complete (Elkan-Vogel/UMP)

Simon Proctor Ysano:from Tuber Music(?or


Leonard SalzedoSonata,Op.93:complete

(Chester/Music Sales)

Vaughan Williams Concerto for Tuba:1st and 2nd

movts,Allegro moderato and Romanza (OUP)

Studies

Blazhevich70 Studies for BbTuba,Vol.1:No.27 or


43

TUBA (CONT.) Derek Bourgeois Fantasy Pieces for

tuba:No.5,Allegro moderato e pesante,or

No.6,Allegro moderato (Brass Wind)



Kopprasch 60 Selected Studies for BbTuba:No.60a

or b (Robert King/UMP)

Weissenborn,arr.Leslie Lake 12 Studies for Bass

Trombone or Tuba:No.12 (Neuschel Music/Studio

Music)

PERCUSSION MALLETTS

J. S. BachGigue, from Violin Partita No. 2 in D

minor, BWV1004

Bizet Danse Bohème, from ‘Carmen’

George BotsfordBlack and White Rag*

Kreisler Schön Rosmarin

Monti Czardas

Mozart Alla Turca, from Sonata in A, K. 331*

Johann and Josef Strauss Pizzicato Polka

Vivaldi Allegro, from Concerto in Aminor, Op. 3

No. 6

TIMPANI

Bacchanale

Modern Times

Burlesque

Waltz Variations

SNARE DRUM

Sicilienne

Overture to Accents

A Bar from Mars

Scheherazadia


4(ABRSMPublishing)


4(ABRSMPublishing)

Graded Music for Tuned Percussion, Book 4

(ABRSMPublishing)

400 LEVEL FRENCH HORN Malcolm Arnold Concerto no.2, Op.58: complete

(F/Ebhorn edn: Paterson/Music Sales)

Derek Bourgeois Fantasy Pieces for solo horn:

no.9, Con fuoco (in the written key)(Brass Wind)

Y. Bowen Sonata in Eb, Op.101: complete

(Emerson)

Peter Maxwell Davies Sea Eagle for solo horn


Anthony Halstead Suite for solo horn: complete

(Emerson)

Iain Hamilton Sonata Notturna: complete (Schott

ED 10971/M.D.S.)

J. Haydn Concerto no.2 in D, Hob.VIId/4:

complete (F/D horn edn print on demand: Boosey

& Hawkes/M.D.S.)

Hindemith Concerto (1949): complete (Schott ED

4024/M.D.S.)

G. Jacob Concerto: complete (Stainer & Bell)

Koechlin Monodie for solo horn, Op.218 bis

(Billaudot/U.M.P.)

John McCabe Any of the 3 pieces from ‘The

Goddess Trilogy’: Castle of Arianrhod, Floraison,

Shapeshifter (published separately: Novello/Music

Sales: special order)

Mozart Concerto no.2 in Eb, K.417: complete

(F/Ebhorn edn: Bärenreiter BA 5311a)

Concerto no.4 in Eb, K.495: complete (F/Ebhorn

edn: Bärenreiter BA 5313a)

Thea Musgrave Music for Horn and Piano:

complete (Chester/Music Sales: special order)

Schumann Adagio and Allegro in Ab, Op.70

(Schirmer/Music Sales: special order)

Humphrey Searle Aubade, Op.28 (Schott ED

10500/M.D.S.)

Seiber Notturno (Schott ED 10336/M.D.S.)

R. Strauss Concerto no.2 in Eb: complete (Ebhorn

edn: Boosey & Hawkes/M.D.S.)

Julia Usher The Old Man of the Sea (Primavera)

Weber Concertino in E minor, Op.45: complete

(F/E horn edn: Editions Marc Reift 2082/MusT or

E horn edn: Breikopf & Härtel 2509or Ebhorn edn:

International 2337/M.D.S.)

TRUMPET Peter Maxwell Davies Sonata for trumpet in D

(1955): complete (D trumpet edn: Schott ED

11067/M.D.S.)

Enescu Légende (C trumpet edn: Enoch/U.M.P.)

Edward Gregson Trumpet Concerto (1983):

complete (Novello/Music Sales)

Anthony Halstead Suite for solo trumpet: complete

(Emerson)

Hans Werner Henze Sonatina for solo trumpet

(1974): complete (Schott TR 19/M.D.S.)

Gilles Herbillon Sonatine for trumpet: complete

(Bb/C trumpet edn: Billaudot/U.M.P.)

J.W. Hertel Trumpet Concerto no.1 in Eb:

complete (McNaughtan/MusT)

Hummel Trumpet Concerto in E: complete

(Bb/C/E trumpet edn: Universal 25030c/M.D.S.)

Jolivet Concertino for trumpet: complete (C

trumpet edn: Durand/U.M.P.)

L. Mozart Trumpet Concerto in D: complete (D

trumpet only)(D trumpet edn: Kunzelmann GM

809/Peters)

Michael Nyman Flugelhorn and Piano


44

TRUMPET (CONT.) Raymond Premru Trumpet Concerto (1983):

complete (Tezak 1019/MusT)

Philip Sparke Concerto for trumpet or cornet

(1993): complete (Studio Music)

Eino Tamberg Trumpet Concerto, Op.42: complete

(Bb/C trumpet edn: Editions Marc Reift

6012/MusT)

Tartini Concerto in D: complete (D trumpet

only)(D trumpet part: Brass Wind)

Tomasi Trumpet Concerto in C: complete (C

trumpet edn: Leduc/U.M.P.)

Triptyque: complete (B b/C trumpet edn:

Leduc/U.M.P.)

Allen Vizzutti Andante (for trumpet) andCapriccio

(for piccolo trumpet)(Bella Musica/Studio Music)

(now out of print)

TROMBONE J.S. Bach Cello Suite no.2, BWV 1008: 1st and3rd

movts, PréludeandCourante.

Bach Cello Suites, arr. Lafosse

(Leduc/U.M.P.) or arr. Barbez for bass trombone

(Leduc/U.M.P.)

Derek Bourgeois Trombone Concerto, Op.114:

complete (Brand Publications/Smith)

Fantasy Pieces for solo trombone: no.8, Allegro

moderatoandno.9,Adagio cantabile(tenor or bass

trombone edns: Brass Wind)

Roger Boutry Capriccio (Leduc/U.M.P.)

Bozza New Orleans for bass trombone

(Leduc/U.M.P.)

Thème Variée for bass trombone (Leduc/U.M.P.)

Büsser Étude de Concert, Op.79 (Leduc/U.M.P.)

Stephen Dodgson Concerto for bass trombone: 3rd

and4th movts (Studio Music)

Françaix Concerto for trombone (1983): complete

(Schott ED 7253/M.D.S.)

Edward Gregson Trombone Concerto: complete

(Novello/Music Sales)

Walter Hartley Sonata Brève for solo bass

trombone: complete (Theodore Presser

2423/U.M.P.)

Hindemith Trombone Sonata (1941): complete


Elgar Howarth Concerto for trombone: complete

(Chester/Music Sales: special order)

G. Jacob Trombone Concerto: complete (Stainer &

Bell)

Alain Margoni Après une Lecture de Goldini for

bass trombone (Leduc/U.M.P.)

Frank Martin Ballade (1940) (Universal

32359/M.D.S.)

Tomasi Trombone Concerto: complete

(Leduc/U.M.P.)

Simon Wills Concerto for trombone: complete

(Studio Music)

EUPHONIUM Jean-Michel Defaye 2 Danses: complete (bass

trombone edn: Leduc/U.M.P.)

Elgar Romance, Op.62, arr. Wilson (bass/treble

clef edn: Winwood Music)

Studio Music)

John Golland Rhapsody no.2 for baritone (‘Don

Quixote’), Op.89 (treble clef edn: Kirklees Music)

Guilmant Morceau Symphonique, Op.88

(bass/treble clef edn: Editions Marc Reift

2013/MusT)

Derek Bourgeois Euphonium Concerto, Op.120:

1st and2nd movts, or2nd and3rd movts (treble clef

edn: Brass Wind)

Bozza Allegro et Finale (bass trombone/tuba edn:

Leduc/U.M.P.)

Martin Ellerby Euphonium Concerto: any

threemovts (bass/treble clef edn: Studio Music)

John Golland Euphonium Concerto (no.1), Op.64:

complete (bass/treble clef edn: Chester/Music

Sales: special order)

Euphonium Concerto no.2, Op.77: complete

(bass/treble clef edn: Studio Music)

Paul Mealor Baritone Concerto: complete (treble

clef edn: Con Moto Publications/Mostyn Music)

Ponchielli Concerto for euphonium: complete

(bass/treble clef edn: Editions Marc Reift

243/MusT)

John Reeman Sonata for euphonium: complete


Philip Sparke Euphonium Concerto: complete


Philip Wilby Concerto for euphonium: complete

(bass/treble clef edn: Winwood Music)

TUBA Malcolm Arnold Fantasy for solo tuba, Op.102

(Faber)

Derek Bourgeois Fantasy Pieces for solo tuba:

no.8, Moderato pesanteandno.9, Allegro

vivace(Brass Wind)

P.M. Dubois Piccolo Suite for tuba: complete

(Leduc/U.M.P.)

Harold East Sonatina for tuba: complete

(Ricordi/U.M.P.)

Jennifer Glass Sonatina for tuba: complete

(Emerson)

Prelude, Waltz and Finale for solo tuba: complete

(Emerson)

Edward Gregson Tuba Concerto: complete

(Novello/Music Sales)

Bernhard Heiden Concerto for tuba (1976):

complete (Peer Southern/Music Sales)

45

TUBA (CONT.) Hindemith Sonata for tuba (1955): complete


Jan Koetsier Sonatina for tuba, Op.57: complete

(Editions Marc Reift 239/MusT)

Claude Pascal Sonate en 6 minutes 30 for tuba:

complete (Durand/U.M.P.)

Pierre Petit Fantaisie for tuba (Leduc/U.M.P.)

Leonard Salzedo Sonata for tuba, Op.93: complete


Roger Steptoe Concerto for tuba: complete (Stainer

& Bell)

David Uber Sonata for tuba: complete (Edition

Musicus 964/MusT)

Derek Bourgeois Tuba Concerto, Op.38: any

threemovts (Brass Wind)

Jennifer Glass Prelude, Waltz and Finale for solo

tuba: complete (Emerson)

John Golland Tuba Concerto, Op.46: complete

(bass/treble clef edn: Con Moto

Publications/Mostyn Music)

Alain Margoni Après une Lecture de Goldini for

tuba (Leduc/U.M.P.)

Rodney Newton Capriccio for tuba (bass/treble

edn: Winwood Music)

Philip Sparke Concertino for tuba: complete (treble

clef edn: Studio Music)Tuba: FRSM

Christopher Wiggins Soliloquy X for solo tuba,

Op.94 no.10 (Studio Music)

Vaughan Williams Tuba Concerto in F minor:

complete (O.U.P.)

PERCUSSION MALLETTS

Minoru Miki Time for marimba (Ongaku No Tomo

Sha Corp./Southern Percussion)

Ney Rosauro Bem Vido for vibraphone (Pro

Percussão/Southern Percussion)

Marimba Concerto: 1st, 2nd and4th movts

(Southern Percussion)

Paul Smadbeck Rhythm Song for one or more

marimbas (Southern Percussion)

Toshimitsu Tanaka 2 Movements for marimba:

complete (Ongaku No Tomo Sha Corp./Southern

Percussion)

TIMPANI

John Beck 3 Movements for 5 timpani: complete

(Meredith Music/Southern Percussion)

Elliot Carter March: no.8 from ‘8 Pieces for 4

Timpani’ (Schirmer/Music Sales)

Graham Whettam Suite for timpani: any

threemovts (Meriden Music/Southern Percussion)

SNARE DRUM

Askell Masson Prime (Iceland Music/Southern

Percussion)

Geryt Mortensen March-Cadenza (Southern

Percussion)

MULTIPLE PERCUSSION

Morton Feldman King of Denmark (Peters EP

6963)

Dave Hollinden Cold Pressed (Southern

Percussion)

Poul Ruders Cha cha cha (Hansen/Music Sales)

PIANO 100 LEVEL PIANO

Chopin: Preludes, Mazurkas

Bach: Two-Part Inventions

Debussy: Reverie, Arabesques

Kuhlau: Sonatinas

Schumann: Album for the Young,

Kinderszenen

Mozart: Sonata in C Major, K.545

Beethoven: Sonata No.1 in F Minor

MacDowell: Woodland Sketches

Clementi: Sonatinas

200 LEVEL PIANO

Bach: Prelude and Fugue in C (WTC)

Beethoven: Early Sonatas

Scarlatti: Sonatas

Mozart: Sonata in F

Debussy: Children’s Corner

Prokofieff: Visions Fugitives

Chopin: Nocturnes

Mendelssohn: Songs Without Words

Toch: The Juggler

Gershwin: Three Preludes

300 LEVEL PIANO

Bach: Well-tempered Clavier

Beethoven: Sonata, Opus 13

Chopin: Etudes

Haydn: Sonata No. 38 in F Major

Mozart: Fantasy in D Minor

Schumann: Kreisleriana

Debussy: Preludes (Books I and II)

Mendelssohn: Rondo Capriccioso, Op. 14

Bartok: Mikrokosmos, Vol. I-VI

Liszt: Liebestraums

400 LEVEL PIANO

Bach: Partitas, French Suites, English

Suites

Beethoven: Sonata (Waldstein)

Chopin: Ballades

Ginastera: Danzas Argentinas

Debussy: L’isle joyeuse

Griffes: The White Peacock

Mozart: Fantasy in C Minor

Grieg: Sonata, Op. 7

46

ORGAN 100 LEVEL ORGAN

Bach: Eight Little Preludes and Fugues,

BWV 553-560

Frescobaldi: Canzonas

Couperin: Messe pour les Paroisses

S. Wesley: Twelve Short Pieces, Six

Introductory Movements

200 LEVEL ORGAN

Bach: Orgelbuchlein

Messiaen: Le Banquet celeste

Lubeck: Preludes and Fugues

Mendelssohn: Preludes and Fugues

300 LEVEL ORGAN

Bach: Prelude and Fugue in A Minor,

BWV 543

De Grigny: Premier Livre d’orgue

Titelouze: Hymnes de l’Eglise…

Mendelssohn: Six Sonatas

400 LEVEL ORGAN

Bach: Toccata and Fugue in D Minor,

BWV 565

Buxtehude: Chorale Variations, Preludes and

Fugues

Franck: Chorales

Vierne : 24 Pieces en Style Libre

Alain: Litanies

STRINGS

VIOLIN 100 LEVEL VIOLIN Sonatina, G Major - Dvorak Concerto, A minor - Vivaldi Concerto, G minor - Vivaldi Scene de Ballet - deBeriot Wohlfahrt etudes Sevcik exercies in scales; shifting; bowing and

double stops 200 LEVEL VIOLIN Schubert, Sonatina, D Major Nardini - Concerto, E minor Concerto, A minor - deBeriot Two Romances (F Major, G Major) - Beethoven Romance (Concerto, D minor) - Wieniawski Mazas etudes Sevcik scales, shifting, bowing and double stops 300 LEVEL VIOLIN Legende - Wieniawski Hejre Kati - Hubay Concerto, E minor - Mendelssohn

Handel - Six Sonatas, Violin and Piano Grieg - Sonata, G minor - Violin and Piano Kreutzer etudes Sevcik scales, shifting, bowing and double stops

400 LEVEL VIOLIN Chaconne - Vitali Concerto, D minor - Wieniawski Introduction and Rondo Capriccioso - Saint-Saens Havanaise - Saint-Saens Concerto, G minor - Bruch Rode etudes Carl Flesch scale studies

VIOLA 100 LEVEL VIOLA Sonata, D Major - Schubert Concerto, G Major - Telemann Wohlfahrt etudes - transcribed Sevcik exercises - transcribed

200 LEVEL VIOLA Solo viola, Mozart Sinfonie Concertante Sonata, A minor - Vivaldi Hoffmeister Concerto Handel Sonatas Kayser etudes - transcribed Sevcik exercises - transcribed

300 LEVEL VIOLA Hopak - Musorgsky Concerto, B minor - Handel (Casadesus) Concerto, C minor - J. C. Bach Marcello Sonatas Kreutzer etudes - transcribed Sevcik exercises - transcribed

400 LEVEL VIOLA Andante & Hungarian Rondo - Weber Concertpiece - Enesco Unaccompanied Cello Suites - Bach Kol Nidrei - Bruch Beethoven Sonatas Suite Hebraique - Bloch Kreutzer etudes Paginini - Raby - 24 Caprices Selected orchestral studies

CELLO 100 LEVEL CELLO Concerto, C minor - J. Chr. Bach Chanson Triste - Tschaikowsky The Swan - Saint-Saens Aria - Purcell Sonata, F Major – Handel Dotzauer etudes

47

200 LEVEL CELLO Sonata, C Major - Breval Sonata, d minor - Corelli Sonata, G minor - Handel Adagio and Allegro - Marcello Apres un Reve - Faure Dotzauer etudes

300 LEVEL CELLO Six Sonatas - Vivaldi Sonata, C Major - Romburg Waltz - Prokofieff Vocalise - Rachmaninoff Concerto, A minor - Saint-Saens Dotzauer etudes

400 LEVEL CELLO Sonata, G minor - Eccles Concerto - Dvorak Suite Francaise - Bazelaire Solo cello, Brahms Double Concerto Solo Cello, Beethoven Triple Concerto Raymond Stuhl - thumb position etudes

STRING BASS

100 LEVEL STRING BASS

Sonata no. 5, Antonio Vivaldi

Sonatina, Ludwig van Beethoven (arr.

Zimmerman)

La Frescobalda, Girolamo Frescobaldi (arr.

Charles Hoag)

Etudes: 30 Etudes, Franz Simandl


Adagio cantabile, Op. 65, Giuseppe Tartini (arr.

Drew)

Sicilienne, Op. 78, Gabriel Fauré (arr. Zimerman)

Sonata in E minor, Bernhard Romberg (arr.

Sankey)

Etudes: 30 Etudes, Franz Simandl

Selections from 86 Studies, vol I., Josef Hrabě


Concerto for bass, Antonio Capuzzi

Vocalise, Sergei Rachmaninoff (arr.

Zimmmerman)

Bourrée from Cello Suite no. 3, J. S. Bach (arr.

Zimmerman)

Etudes: 57 Studies, vol I., Emmanuel Storch -

Josef Hrabě


Concerto for bass, Domenico Dragonetti

Sonata in G minor, Henry Eccles

Prayer, Ernest Bloch (arr. Proto)

Etudes: 57 Studies, vol I., Emmanuel Storch –

Josef Hrabě

GUITAR 100 LEVEL GUITAR

Medieval/Renaissance—Greensleeves (Anon.), My

Lord Willoughby’s Welcome Home (Dowland,

J.), Lesson for Two Lutes (Anon.)

Baroque—Minuet, Jesu Joy of Man’s Desiring

(Bach, J.S.)

Classic/Romantic—Andante in G, Andante in Am

(Carulli, F), Etudes ((2) Carcassi, F. and

Guiliani, M.

Contemporary— Etudes ((2) Villa-Lobos, H.) or

Prelude ((1) Ponce, M.), Etude ((1) Brower, L.)

Ensemble: Participation in Guitar ensemble. One

multi-movement guitar duo.

Written Paper (Required):

(1) one page single-spaced paper discussing key

guitarist or appropriate subject.

Technical Requirements:

Scales— M.M. 1/4=112

#1 Major, Melodic and Harmonic minor.

Played with quarter notes, one 8va,

ascending & descending, and using i,m in

all keys.

Chords—15 basic 1st position chords. E,A,D,G,C,

F, Em, Am, Dm, E7, A7, D7, G7, C7, B7

Reading— To play a short simple melody in 4/4

time in the key of C major and accompaniment

using above voicing.

Required Studies—Specified warm-ups and studies

(Guiliani, Carcassi, Sor, etc.).

200 LEVEL GUITAR Medieval/Renaissance—Six Lute Pieces of the

Renaissance (Chilisotti, O. ed.), Pavanes ((2)

Milan, L.)

Baroque— Bouree in Em or Prelude in Dm (Bach,

J.S. ), Suite, free choice ((1) deVisee, R.)

Classic/Romantic—Canarios (Sanz, G.) Etudes ((2)

Sor, F.) Bagatelles ((2) Guiliani, M.) Preludes

(2) (Tarrega, F.)

Contemporary— Etudes ((2) Villa-Lobos, H. or

Brower, L.) Preludes ((2), Villa-Lobos)

Ensemble: Participation in Guitar ensemble.

Instrumental duo or ensemble (not with other

guitar).

Written Paper (Required)





#2 Major, Melodic and Harmonic minor.

48

200 LEVEL GUITAR (CONT.)

Played with triplet 1/8th notes, One 8va,

ascending & descending, and using i,m in

all keys.

Chords—Major, Minor and Dominant 7th Bar

chords with roots on the 6th and 5th strings in all

keys.

Reading— To play a short simple melody in 4/4

time in the key of D,F,G and A major

and accompaniment using above voicing.

Required Studies— Specified warm-ups and

studies (Guiliani, Carcassi, Sor, etc.).

300 LEVEL GUITAR Medieval/Renaissance—Free Choice ((1)

Dowland, J.)

Baroque—Variations on Guardame las Vacas (de

Narvaez, L.) or Capriccio in D minor (Weiss,

S.L.)

Classic/Romantic—Adelita/Mazurka (Tarrega, F.)

and Sonata Op. 15 (Guiliani, M. or Sonata in C or

A (Diabelli, A.)

Contemporary-Sunburst, Lullaby (York, A.) or

Valse (Ponce, M.), Sonatina (Torroba, F.)

Ensemble: Participation in Guitar ensemble. Free

choice: With vocalist.






Major, Melodic and Harmonic minor,

Chromatic. Played with triplet 1/8th and

1/16th notes, two 8va’s, ascending &

descending, using im , ma, and ia in all

keys.

Chords—Three 4-note voicings for Maj7, Dom.7,

Min7, 1/2Dim. and diminished in all keys.

Reading— To play a short simple melody in a

major and minor key equal in difficulty to this

level repertoire.


(Guiliani)

400 LEVEL GUITAR

Medieval/Renaissance—Fantasia (Mudarra, A.),

Free choice.

Baroque—Lute Suite or Prelude, Fugue and

Allegro ( Bach, J.S.)

Classic/Romantic—Capriccio Arabe or Requerdos

de Alahambra (Tarrega, F) and Sonata or

Variations on a theme by Mozart (Sor, F.)

Contemporary—Valse Venezolano ((2) Lauro, A.),

Leyenda (Albeniz, I.) or Folias

(Takemitsu, T.) or Vortex for Prepared Guitar

(Yates, S.)

Ensemble: Participation in Guitar ensemble. Free

choice: Solo Concerto






Major, Melodic and Harmonic minor,

Chromatic and Diminished.

Played with triplet 1/8th notes, two 8va’s

(three where possible), ascending and

descending, using im , ma, and ia in all

keys.

Chords—Triad inversions for Maj, Dom.7, Aug.,

Min, 1/2Dim. and Diminished in all keys.

Reading— To play a short simple melody in a

major and minor key equal in difficulty to this

level repertoire


(Guiliani, Carcassi, Sor,)

VOCAL

Vocal Repertoire for moving to upper level (200 to

300)

Sophomores should learn 6 songs per semester,

that might include:

English (examples: Quilter, Copland, Britten, M.

Head, Finzi, S. Foster, Burleigh, A. Beach, Ives, J.

Duke, T. Chanler, S. Barber, P. Bowles, L.

Bernstein, N. Rorem, L. Hoiby, D. Argento,

Purcell, Campion, Dowland, Vaughan-Williams,

Quilter, Ireland, Butterworth, Warlock, etc)

Italian (26 or 24 Italian Songs and Arias, easy

Mozart, Bellini songs, Donaudy, Gluck, Handel,

etc)

German lieder (Schubert, Schumann, Brahms,

Wolf, Strauss, Haydn, Mozart songs and easy arias,

etc.)

The literature might include other languages if the

student has previous experience in that language.

These examples are a minimum and the final

determination will be made by the Applied Voice

teacher.

49

WOODWINDS

Freshman / Sophomore (100-200 Level)

(culminating in the Sophomore Barrier Exam) In the applied private woodwind lesson the student

will study the principles of tone production, air

support, embouchure formation, technical facility,

musical phrasing, intonation, articulation, vibrato

(and senza vibrato), rhythmic subdivision, and

sight-reading. Emphasis will be given to technical

facility development through the practice of major,

minor and chromatic scales, thirds, arpeggios (each

accomplished in varied articulations, and through

the full range of the instrument), and the study of

representative etudes and literature. As the student

advances from freshman to the sophomore year of

study there will be a continued emphasis on

fundamental principles, but with the inclusion of

progressively more difficult literature/etudes and a

greater expectation in the area of mature

musicianship and personal discipline.

Musical etudes will be studied from the following

example etude collections:

FLUTE

Anderson -24 Studies, Op. 33

Berbiguier -18 Exercises

Cavally -Progressive Studies

Gariboldi -15 Etudes

Moyse –De la Sonorite

Wagner -Foundation to Flute Playing

OBOE

Andraud -Practical & Progressive Oboe Method

Andraud -Vade-Mecum of the Oboist

Barrett –Complete Oboe Method

Ferling -48 Famous Studies

Gillet -Etudes

Prestini -Collection of Studies for Oboe

CLARINET

Baermann -Complete Method for Clarinet, Op. 63

Cavallini -30 Caprices

Jeanjean -18 Etudes

Klose -Complete Method for Clarinet

Rose -32 Etudes

BASSOON

Giampieri -16 Daily Studies for Perfection

Kovar -24 Daily Exercises

Milde -25 Studies in All Keys, Op. 24

Weissenborn -Practical Method for the Bassoon

SAXOPHONE

Ferling -48 Famous Studies

Klose -25 Daily Exercises

Mule –Etudes Variees

Salvianni -Exercises in All Practical Keys

Voxman –Selected Studies

Each semester the student’s performance jury and

required solo performances on the Student Recital

Series will include pieces such as the following

examples of literature for their instrument:

FLUTE

Bach, J.S. -Sonatas (6)

Bozza -Image

Debussy -Syrinx

Dutilleux -Sonatine

Faure -Fantaisie, Op. 79

Handel -Sonata in C Major

Mozart -Concerto in G Major

Telemann -12 Fantasies

OBOE

Albinoni -Concerto, Op. 9

Barlow -The Winter’s Passed

Cimarosa -Concerto in C

Handel -Concerto No. 1 in B-Flat

Hindemith -Sonate

Marcello -Concerto

Nielsen -Fantasiestucke, Op. 2

Telemann -Sonata in A minor

CLARINET

Arnold -Sonatina

Bernstein -Sonata

Bozza -Aria

Finzi -Five Bagatelles

Heiden -Sonatina

Jeanjean -Arabesques

Mozart -Concerto

Saint-Saens -Sonata

Von Weber -Concertino

BASSOON Dunhill -Lyric Suite, Op. 96

Dutilleux -Sarabande et Cortege

Elgar -Romance, Op. 62

Galliard -Six Sonatas

Ibert -Arabesque

Jacob -Four Sketches for Bassoon

Mozart -Concerto

SAXOPHONE

Absil -Sonata, Op. 115

Bozza -Aria

Debussy -Rhapsodie

50

D’Indy -Chorale Varie

Eccles-Rascher -Sonata

Francaix-Cinq Danses Exotiques

Heiden-Sonata

Hindemith -Sonata

Tcherepnine -Sonatine Sportive

Ward -An Abstract

_________________________________________

Junior / Senior (300-400 Level) (culminating in

the Senior Solo Recital)

At this level of study a greater emphasis will be

given to preparing students for public

performances of literature leading to the Senior

Recital on their major instrument. (The inclusion of

a shared junior recital is a possibility at the

discretion of the instructor.) In this upper level of

applied study the successful woodwind student will

continue to progress with the study of more

difficult literature, and they will expand their

ability to perform works that are representative of a

variety of styles. Their will be a greater expectation

of the student for growth of mature musicianship

and personal discipline, and the emphasis of

studies will be on standard solo literature of the

major instrument. The continued development of

technical facility and etude studies will remain an

essential aspect of the student’s practice regime,

benefiting the student’s evolution toward a more

secure and effective approach to technical

challenges and performance solutions.

Examples of musical etudes at this level of study

are as follows:

FLUTE

Altes -26 Selected Studies

Anderson -24 Studies, Op. 30

Boehm -24 Caprices

Demerrseman -50 Melodic Studies

Jeanjean -Etudes Modernes

Karg-Elert -30 Caprices Op. 107

OBOE

Bozza -18 Etudes

Brod -Etudes

Lacour -24 Etudes Atonales

Rothwell -Difficult Passages Vol. 1-3

Salviani -Etudes, Vol. 1-4

Sellner –Etudes

CLARINET

Caravan -Preliminary Exercises & Etudes in

Contemporary Techniques

Jeanjean -16 Etudes Modernes

Jettl -The Accomplished Clarinetist, Book 1-3

Kroepsch-416 Progressive Daily Studies, Book 1-4

Stark-Arpeggio Studies, Op. 39

Uhl-48 Studies, Vol. 1-2

BASSOON Jancourt -26 Melodic Studies

Kolbinger/Rinderspacher -Test Pieces for

Orchestral Auditions

Orefici -Melodic Studies

Ozi -42 Caprices

Slama -66 Studies for Bassoon

SAXOPHONE

DeLibero -Contemporary Saxophone Studies

Frascotti/Ronkin -The Orchestral Saxophonist, Vol.

1-2

Karg-Elert -25 Caprices and Sonata

Lacour -8 Brilliant Etudes

Londeix -Les Gammes

Mule -53 Etudes, Book 1-2

Rascher -158 Exercises

Examples of solo literature studied at this upper

level would include the following pieces, and are

possible selections for the student’s Senior Recital

(or literature of comparable difficulty and

substance). (400 Level)

FLUTE

Bach -Sonatas (6)

Bloch -Suite Modale

Griffes -Poem for Flute and Orchestra

Martin -Ballade

Mozart -Concerto in D Major

Muczynski –Sonata Op. 14

Poulenc -Sonata

Prokofiev -Sonata in D

Reinecke -Sonata

Varese -Density 21.5

OBOE

Albinoni -Concerti

Bach J.S. -Sonata in D minor

Britten -Six Metamorphoses

Head –Three Pieces

Hindemith-Sonate

Mozart -Concerto in C Major

Piston -Suite

Poulenc -Sonata

Vaughan Williams -Concerto

CLARINET

Brahms -Sonata in F minor

Copland -Concerto

Finzi -Concerto

Hindemith -Sonata

51

Lutoslawski -Dance Preludes

Mozart -Quintet

Poulenc -Sonata

Schumann -Fantasy Pieces Op. 73

Stravinsky -Three Pieces

Weber -Grand Duo Concertant

BASSOON

Arnold -Fantasy

Bach, J.C. -Six Suites

Bozza -Fantasie

Etler -Sonata

Hindemith -Sonata

Hummel -Concerto

Jacob -Concerto; Partita

Mozart -Concerto

Weber –Fantasy and Hungarian Rondo

SAXOPHONE

Bach-Mule -Sonata No. 6

Bassett -Music for Saxophone & Piano

Bonneau -Caprice en forme de valse

Creston -Sonata

Glazunov -Concerto

Hartley -Petite Suite

Ibert -Concertino da Camera

Maurice -Tableaux de Provence

Milhaud -Scaramouche

Villa Lobos -Fantasia

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