Classical Guitar Requirements

 Classical Guitar Requirements Classical guitar students at Wheaton College study from three principal sources: technical exercises, etudes, and repertoire. The requirements for technical exercises and etudes are met within the first two years of study. Continued application of these materials will enable students to develop and maintain repertoire for degree recitals in their junior and senior years.

Classical Guitar Technique Juries Applied classical guitar students are required to perform a jury at the end of each semester. Students will perform technical exercises, etudes, and repertoire assigned and studied during the term. The student’s jury performance will be evaluated by the applied instructor and members of the Conservatory faculty. The instructor will determine and assign repertoire, etudes, and technical work appropriate for each student’s level. The jury after the first semester of study is optional for non-music majors registered for applied classical guitar.

YEAR ONE, FIRST SEMESTER:

• Scales (Segovia edition) in C major and G major performed from memory with alternating rest stroke (im; ma; and ia) in various rhythmic divisions.
• Cadences in C major and G major (I-ii/IV-V7).
• Etudes 2 and 19 from Carcassi’s Op. 60 performed from memory.
• Assigned repertoire.

 YEAR ONE, SECOND SEMESTER:

• Scales in A melodic minor, D major, E major, and E melodic minor.
• Cadences in D major, E major, A harmonic minor, and E harmonic minor.
• Ascending and descending slur exercises.
• Six four-note arpeggios with Carcassi’s Etude 2 and cadences.
• Etudes 4, 7, and 8 from Carcassi’s Op. 60 performed from memory.
• Assigned repertoire.

 YEAR TWO, FIRST AND SECOND SEMESTERS:

• Scales (Segovia edition) and cadences in all major and minor keys.
• Circle of Fifths progressions with varied voicings and right-hand techniques.
• Giuliani’s 120 arpeggios, Op. 1.
• Five etudes from Carcassi’s Op. 60 selected to supplement the first-year etudes.
• Five etudes by Brouwer, two by Villa-Lobos, and two by Sor (Segovia edition).
• Repertoire: Each semester’s jury will include a movement from Bach’s BWV 995-998, 1000-1012 (the Bourrée from BWV 996, Prelude from BWV 1007, and sarabandes from BWV 995, 1007-1012 will not be accepted) and a contrasting work approved by the instructor.
• All etudes, exercises, and repertoire must be performed from memory.

Harp Requirements 

Technique

• All performance majors and incoming freshmen will complete the following in first semester:
• Major scales, arpeggios beginning on each step of the major scale, tonic and dominant 7 glissandos

Etudes

• Choices of etudes for all students will depend on level as incoming freshmen
• Salzedo-conditioning exercises, modern study of the harp
• Kondonassis-On Playing the Harp
• Bochsa, Pozzoli, La Riviere, Holy, Damase

Standard repertoire

• Salzedo-Preludes Intimes, Suite of Eight Dances, Five Preludes, Theme and Variation in Ancient Style, Scintillation
• Handel-Passacaglia, Harmonious Blacksmith, Concerto in Bflat
• Grandjany-Childrens Corner Suite, Rhapsodie, Colorado Trail
• McDonald-Recital Repertoire series
• Rota-Sarabande and Toccata
• Lawrence-Solos for the Harp Player
• Debussy-Dances Sacred and Profane
• Ravel-Introduction and Allegro
• Mozart-Concerto for Flute and Harp

Orchestral excerpts

• Britten-Young Persons Guide to the Orchestra
• Berlioz-Symphonie Fantastique
• Chabrier-Espagna
• Mahler-Symphony #5 adagietto
• Wagner-Liebstod
• Tschaikovsky-cadenza from the Nutcracker ballet
• Others as needed inorchestra

Chamber

• Harp ensemble and chamber music to be assigned by semester according to availability of instrumentalists and harp students

Wind Instrument Requirements

Bassoon Requirements

Applied nstruction Repertoire and Levels:

 Level I

Telemann, Sonata in f; Hindemith Sonata; Besozzi Sonata; Marcello Sonata in e minor

Technique: Establishment of fundamentals (correct embouchure, posture, fingerings); practice on attacks, long tones, production of dynamics; beginning of scale studies. J. Weissenborn Advanced Studies. Tenor clef work.  Reed-making: making blanks.

 Level II

Vivaldi Sonata in B-flat, Concert in e minor; David Concertino; Gliere Impromptu;

Phillips Concert Piece; Weber Andante & Rondo Ongarese.

Technique: Completion of Weissenborn, Advanced Studies; all major and minor scales.  Reed-making: working with blanks.

Level III

Fasch Sonata; Hummel Concerto; Weber Concerto; Elgar Romance; Osborne Rhapsody

Technique: Jancourt 26 Melodic Studies.  Reed-making: advanced work.

 Level IV

Mozart Concerto; Saint-Saens Sonata; Villa-Lobos Ciranda da Sete Notas; Devienne Quartet for Bassoon & Strings in C major.  Orchestral Excerpts.

Technique: Milde, Concert Studies, Books I and II, Op. 26; Pivonka, Rhythmic Etudes;

Reed-Making: making finished reeds.

 French Horn Requirements

For Entering  Freshmen:

• All major scales.
• Transposition: horn in E flat, E natural
• Basic reading of bass clef in F
• Develop a personal routine of practicing and warming up

 Freshman Year

• Schantl - grand theoretical studies, in C, G, F, D, B flat
• Hackelman – low studies, 1-10
• Kopprasch Book 1, transposed, in F, some on F Horn only
• Maxime-Alphonse , Book 2-3

 Sophomore Year

• Schantl- keys of A, E flat, E, A flat
• Hackelman 10-20
• Maxime -Alphonse Book 4
• Kopprasch - continued, also on the B  Horn only

 Junior Year

• Schantl - complete
• Hackelman - complete,
• Maxime -Alphonse, Book 5
• Kopprasch  - Book 2, in all transpositions, and on the F and B horn
• Gallay - non measured preludes

 Senior Year

• Kopprasch - Book 2 complete,
• Maxime -Alphonse , Books 5 , 6
• Gallay - non measured preludes, brillant etudes

 Ongoing:

• orchestral excerpts are required as assigned for mock auditions held every semester
• appropriate solo repertoire as assigned
• unaccompanied solos
• every student completes an arrangement for multiple horns each year.
• every student gets basic knowledge of hand horn as applied to performance, using our hand horns
• memorized solo each year
• must play in studio class at least 3 times each semester, 2 of these are to be accompanied by piano

Flute Requirements

Required Repertoire

The following pieces are required for all performance majors, however other choices will vary. 

• Bach Sonatas: E major, e minor, b minor, a minor Partita,
• Henle or Barenreiter editions
• Mozart Concerto in G Major, Barenreiter edition only
• Dutilleux or Sancan Sonatine
• Ibert Concerto
• Nielsen Concerto
• Poulenc Sonata
• Hindemith Sonata
• Prokofiev Sonata
• Berio Sequenza or Varese Density 21.5

Orchestral Excerpts:

• Beethoven - Leonore No. 3
• Brahms - Symphony No. 4
• Debussy - Afternoon of a Faun
• Hindemith - Symphonic Metamorphoses
• Ravel - Daphnes and Chloe

Practicing and Preparing Repertoire

Taffanel-Gaubert #4 provides the foundation for all technical work.  In addition to this, students are expected to complete an assigned set of arpeggios (see below) and scales (in sextuplets) in all keys (major and minor) by the time of graduation.  Technical work also includes the complete Anderson Etude books Opus 33, 15, and others.  Students work on tone using Moyse's Tone and Development through Interpretation and 20 Exercises on Trills & Slurs for Flute. 2.

Arpeggios (patterns will be taught in lessons)

I            vii^o            vii^o7            iii            iii7            vi            VI            IV            vii^o/V  (#4, 6, 1)

It⁺⁶  (^b6, 1, #4)                        IV7            vii^o7/V  (#4, 6, 1,^b3)            Gr⁺⁶  (^b6, 1, ^b3, #4)             V            ii

V/V  (2, #4, 6)                        V^b5/V  (2, #4, ^b6)            V7/V  (2, #4, 6, 1)            Fr⁺⁶  (^b6, 1, 2, #4)           

V            V7            V ₊₅⁷_­    (5, 7, #2, 4)            I

Oboe Requirements

 Level 1

 Freshman Year Requirements:

Technique:Barret Etudes and Articulation Studies, Major and Minor Scales

Reed making: all students will learn to tie, rough scrape and begin to make reeds play

Repertoire: Marcello Concerto in C minor, Telemann A minor Sonata, Michael Head Gavotte, Elegiac Dance and Presto, Cimarosa Concerto, Albinoni D minor Concerto, Schumann 3 Romances

Sophomore Year Requirements:

Technique: Barret Grand Studies and Articulation Studies, Major and Minor Scales

Reed making: students should be able to make reeds with minor help from me

Repertoire: Benjamin Britten 6 Metamorphosis after Ovid, Mozart Oboe Quartet, Telemann Flute Fantasies, Saint-Saens Sonata for Oboe and Piano, Poulenc Sonata for Oboe and Piano, Nielsen Fantasy Pieces

Introduction of Orchestral Excerpts into weekly lessons

Junior Year Requirements:

Technique: Ferling 48 Studies, Major and Minor Scales

Reed making: students should be able to independently make reeds for oboe and english horn  by this year

Repertoire: Handel Sonatas, Mozart Oboe Concerto, Bach Concerto for Oboe, Lebrun Concerto, Krommer Concerto

Orchestral Excerpts

Senior Year Requirements:

Technique: Broad and Gillet Studies, Major and Minor Scales

Reed making: students should be able to independently make reeds for oboe and english horn by this year

Repertoire: Vaughan Williams Concerto, Strauss Concerto, Hummel Introduction, Theme and Variations

Orchestra Excerpts

Trombone Requirements

Applied Instruction Repertoire and Levels:

 Level I

Solo Literature:

• Guilmant: Morceau Symphonique
• Marcello: Sonatas
• Galliard: Sonatas
• Graefe: Grand Concerto
• Rimsky-Korsakov: Concerto
• Pryor: Annie Laurie

Technique:

• Remington: Warm-Up Exercises
• Arban: Complete Method
• Kopprasch: 60 Selected Studies, Bk. 1
• Fink: Studies in Legato
• Rochut: Melodious Etudes, Bk. 1
• Voxman: Selected Studies

Orchestral Excepts: Selected

Jazz:

• Snidero: Jazz Conception
• Arpeggios
• Tunes: Autumn Leaves, Nowʼs The Time, Billieʼs Bounce, Satin Doll, Take The A Train, Blue Bossa, Black Orpheus, Summertime, Maiden Voyage

Level II

Solo Literature:

• Saint‐Saens: Cavatine
• David: Concertino
• Hindemith: Sonate
• Davison: Sonata
• Larsson: Concertino

Technique:

• Arban: Complete Method
• Kopprasch Book I
• Schlossberg: Daily Drills & Technical Studies
• Rochut: Melodious Etudes Book I
• Balzevitch: Clef Studies.

Orchestral Excepts: Selected

Jazz:

• A Foggy Day, Doxy, In a Sentimental Mood, A Night In Tunisia, Dear Old Stockholm, Invitation, All The Things You Are, Desafinado, Jordu, Alone Together, Stella By Starlight

Level III

Solo Literature:

• Handel: Concerto in F Minor
• Serocki: Sonatina
• Pryor: Blue Bells of Scotland
• Sulek: Sonata
• Jacob: Concerto
• Grondahl: Concerto

Technique:

• Tyrrell: 40 Progressive Studies
• Rochut: Melodious Etudes, Bk. 1
• Marstellar: Advanced Slide Technique
• Further Clef Study

Orchestral Excepts: Selected

Jazz:

• Airegin, Oleo, All Of You (solo), Goodbye Pork Pie Hat, I Canʼt Get Started, Pent‐up House, Seven Steps To Heaven, Have You Met Miss Jones?
• Iʼll Remember April, Darn That Dream, Like Someone In Love, Woody ʻN You, My Foolish Heart, Yardbird Suite, Nardis, Yesterdays

Level IV

Solo Literature:

• Martin: Ballade
• Defaye: DeuxDanses
• Tomasi: Concerto
• Bozza: Ballade
• Halsey Stevens Sonata
• Lieder by Brahms, Mahler, Schumann
• Creston: Fantasy 

Technique:

• LaFosse: School of Sight-Reading & Style
• Rochut: Melodious Etudes, Bk. 2
• Blazevitch: Sequences
• Charlier: Transcendental Etudes 

Orchestral Excepts: Selected

Jazz:

• Donna Lee, Naima, Autumn In New York, Nefertiti, Prelude To a Kiss, Countdown, Freedom Jazz Dance, The Sorcerer, Chelsea Bridge, Giant Steps, Speak No Evil, Cherokee,Confirmation, Joy Spring, Unit Seven, Momentʼs Notice, ʻRound Midnight

Trumpet Requirements

Preface

Emphasis is on the development of proper concepts of playing and applying these concepts to a great variety of music with expressiveness and musical imagination.

Each student is assigned a balance of study including solos, etudes and orchestral repertoire as well as a thorough understanding of the history of trumpet.

100

Concentrated work on foundational concepts of trumpet playing including: embouchure and its muscular development and physiology, breathing and use of air, tone quality (buzzing with and without mouthpiece) and the coordination of lip vibrations controlled by hearing (i.e. singing).  Articulation is also a major component of first year work, especially developing the use of air-flow as a basis for proper articulation. Scales are emphasized as a means of developing fingering patterns intonation and range. Scales are performed with a multiplicity of articulations. Sight-reading is a major emphasis through all four years of study. Text: Arnold Jacobs, Song and Wind

In addition to texts it is vital for students to develop a collection of recordings in order to establish a solid tonal base.

Etudes: Michael Hesse, Perfecting Your Performance Practice, Nagel, Trumpet Skills

Concone, Lyrical Studies, Claude Gordon, Physical Approach to Elementary Brass Playing, Terry Schwartz, Foundations of Beginnimg Trumpet Playing

Bordogni, Vingt Quatre Vocalises (transposition), Arban, Complete Conservatory Method, Pares, Scale Studies, Laurent Vol. 1, Moyenne force

Excerpts (Standard Orchestral Excerpts)

Solos: Dubois, Choral, Enesco, Legend, Smith, Great Hymns, Hummel Concerto in Eb, Haydn Concert in Eo, Bozza, Rustiques, Persichetti, The Hollow Men, Barat Andante et Scherzo, Balay, Piece de Concours, Hovhaness, Prayer of St. Gregory. deHerve/Bach solos, Ketting, Intrada

The list of solos above is a sample of the various compositions students may or not perform depending on their technical and musical development.

200

Continued emphasis of performance and the ability to perform with concentration, good air flow, singing and pressure.  Also a major component of study with regard to performance is to develop the musical skill and imagination to create moods and stories while performing. Continuation of embouchure development as the music gets progressively more demanding, sight-reading, vibrato , expansion of dynamics, range, multiple-articulation, pedal tones and executing intervals securely.

Text: Green: The Inner Game of Music

Etudes:

Irons, 27 Groups of Exercises, Clarke, Technical Studies, Clarke, Characteristic Studies (use of my CD of this book), Williams, Artistic Duets, Colin, Artistic Etudes, Cafarelli 100 Melodic Studies in Transposition, Charlier 36 Etudes Transcendantes, Gresham, Plainchant for Trumpet, Maxime-Alphonse, Etudes Nouvelles, Alexander Petit, Etudes and Exercises, Hering, 24 Technical Studies, Nagel, Conteporary Music

Orchestral Excerpts: Standard Repertoire and if the student has the necessary upper range and endurnce, Bach, Mass in B Minor, Magnificat, Handel excerpts from oratorios, etc. Pietsch excerpts, Brandt, 34 Orchestral Studies.

Solos: Arutunian Concerto, Kaminski, Concertino for Trumpet, Karlsen, Sonata for Trumpet and Piano, Hartley, Concertino, Pinkham, Other Voices of the Trumpet, Hindemith, Sonata, Schmidt, Rhapsody Sacre, Enesco, Legend, Malcolm Arnold Fantasy (solo trumpet), Bloch, Proclamation, Dello Joio, Sonata, Copeland, Quiet City, (baroque transcriptions Maurice Andre and Marie Claire Allain) Goedicke, Concert Etede, Clarke and Arban standard cornet solos. (Fantasie Brilliant, Sounds from the Hudson, Debutante, Carnival of Venice).

Duets: Voxman , Vol 2, Williams, Artistic Duets, Bozza Dialogue, Poot, Trois Petits Duos.

400 (Upper Division)

Etudes: For trumpet majors in advanced levels of performance:

Charlier, Thirty Six Etudes Transcendantes, Plog 16 Contemporary Etudes, 20 Bach (Faulx), Etudes de Virtuosite, Hofmeister, Studienwerke, Stevens, Contemporary Trumpet Studies, Andre, Etudes in the Baroque Style, Reynolds, 48 Studies for Horn (transc, Trumpet), Nagel, Speed Studies and Rhythmic Studies, Stevens, Changing Meter Studies, Boutry 12 Etudes, Bitsch, 20 Etudes, Caffarelli, Etudes de Perfectionnement

Orchestral Excerpts, standard repertoire, Stravinsky L’Histoire du Soldat and Octet, Bach, Brandenberg Concerto #2

Solos: Honegger, Intrada, Hindemith, Sonata, Hertel, Concerto #2, Albrechtsberger Concerto, Telemann Concerto, Buxton Orr Concerto for Trumpet, Pinkham, Psalms, Bozza, Concertino, Jolivet Concerto # 2, Riisager Concerto, Poot, Etude de Concert, Tomasi, Concerto, Chaynes, Concerto, Casterede, Sonata.

 Upper division studies involve extensive use of C, D, Eb, G (piccolo) Bb/A piccolo and natural trumpets.

Tuba Requirements

Level 1

Emphasis: Fundamentals of tone production, breath support and embouchure

Technique: Major scales to four flats, four sharps and arpeggios; Aimsley Basic Method; Beeler Methods Book I; Cimera-Kuhn Method Book I

Literature: J. Kinyon Breeze-Easy Recital Pieces

Level 2

Emphasis: Continued emphasis on fundamentals and development of lip-slurring and dynamic control

Technique: All major scales and arpeggios; Beeler Book 2; R. Gatchell Practical Studies; Eb, Method Bk. I (begin)

Literature: G. Mullins Twelve Easy Classics for Trombone, Transcribed

Level 3

Emphasis: Expansion of range and development of flexibility and legato style

Technique: All major scales and arpeggios; Skornicka Intermediate Method; Eb:Method, Book I

Literature: A. Ostrander Concert Album for Tuba

Notes: Expected minimum for entering freshman music major

Level 4

Emphasis: Further increase in range, technical facility and legato control

Technique: All major and minor scales and arpeggios; simple and compound rhythms; Voxman Advanced Method; R. Fink Legato Studies; Kopprasch Book I; Cimera 170 Studies

Literature: A. Ostrander Concert Album for Tuba (continued)

Level 5

Emphasis: Review of fundamentals, introduce double tonguing and triple Tonguing; reading music one octave lower

Technique: Cimera 79 Studies; J. Rochut Melodious Studies, Book I; Kopprasch Book I (continued); Tyrrell Advanced Studies

Literature: B. Beach Lamento; L. Sowerby Chaconne

Level 6

Emphasis: Advanced work in flexibility

Technique: C. Colin Progressive Technique; Kopprasch Book II; Tyrrell Advanced Studies (continued)

Literature: Beversdorf Sonata; Bach-Bell Air and Bourée; Beethoven-Bell Judas Maccabeus

Note: Minimum level for Bachelor of Arts degree in music