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OBJECTIVES
The string study course is designed to provide for technical and musical growth according to the individual needs and abilities of each student.
COURSE OF STUDY
VIOLIN
Scales and arpeggios are heavily emphasized for building a good basic technique. Flesch or Galamian systems are most generally used. Proficiency in three and four octaves in all keys with arpeggios is the goal with double stops in some keys for advanced students.
Etudes are considered very important in promoting technical growth and are used progressing from Mazas through Kreutzer, Rode, Dont, Gavinies, etc. Solo literature includes material from all periods. Representative materials: Concerti - all major concerti ranging in difficulty from Accolay through Tchaikovsky, Paganini, Vieuxtemps; Concert pieces - Kreisler, Sarasate, etc.; Sonatas - Baroque through Contemporary.
VIOLA
The course of study for the violist is an individualized program for the development of technique, musical gesture, repertoire, and a broad study of music from all periods. Also emphasized are physical conditioning; mental process of concentration and alertness; development of practice habits; and the preparation of college and other types of auditioning. While technical studies vary from one student to another, the Flesch Scale System and the etudes of Fuchs, Uhl, Bruni, Campagnoli, and Kreutzer are used extensively. Dance suites, sonatas, concertos, and shorter works are the basic bodies of literature of study and performance.
CELLO
Scales and arpeggios in all keys with proficiency through four octaves are a corner-stone of the cello curriculum. Of equal importance are technical exercises of Rowell, Dounis, Feuillard, Starker, Sevcik, and Cossman, to develop left hand ability and bow control. The third aspect of cello study is a methodical progression of etudes, including Lee, Op. 31, Schroeder 180 Foundation Studies, Duport 21 Etudes, Popper High School of Cello Playing, and Piatti Caprices, Op. 25. Solo literature includes Baroque sonatas, the Bach solo suites, standard concertos, works by cellist composers, classic and romantic sonata literature, and concert prices of all types, as fits the need and ability of each student. Representative materials: Sonatas -Vivaldi, Sammartini, Beethoven; Concertos -Goltermann, Haydn, Boccherini, Saint-Saens, Lalo, Bloch; Concert Pieces - Faure Elegie, Bruch Kol Nidre, Popper Hungarian Rhapsody.
DOUBLE BASS
This course is directed toward the study of scales, etudes, solo, and orchestral repertoire appropriate to the student's ability and needs. Each student will perform in all of the studio classes and will participate in orchestral sectional rehearsals. Students will transcribe one short work and either compose or commission one short work for double bass. An individual practice routine will be cultivated with each student to maximize practice time efficiency.
JAZZ GUITAR
Students of jazz guitar will initially focus on advancing their reading skills along with developing a through knowledge of the neck. Select jazz standards along with the Berklee reading series will be the basis for furthering reading skills. Study of the complete system of 5 scale forms as outlined in Arron Shearer’s scale publications will form the basis for learning arpeggios and scales for all jazz progressions.
Ensemble playing experience will be provided as the essential basis for developing both comping and improvising skills. Students will study some classical repertoire on electric guitar as a means to develop better expression skills. Classical guitar studies for the right hand will be used to provide finger style comping skills and give a basis for performing solo guitar arrangements. Jazz guitar students may audition for the jazz ensemble or jazz band. Jazz improv is required as is theory, unless proficiency tests are passed. Jazz history is recommended.
CLASSICAL GUITAR
The course of study for classical guitar is built upon the study of works from the complete body of etudes and preludes including Sor, Carcassi, Carulli, Aguado,Tarrega, Villa-Lobos, Ponce, and Brower. Basic exercises for establishing a healthy technique are also studied. Students in earlier stages of development may start their work in the three-volume instructional manual by Aaron Shearer and the Toronto Royal Conservatory repertoire collection. More advanced students will be allowed to approach other works in the solo and the concerto repertoire.
Careful attention will be paid to developing a program of material and practice that will fit the individual needs and interests of each student. All students will participate in guitar ensembles and will be encouraged to participate in ensemble opportunities with other instruments. Studio classes will provide the opportunity for ensemble coaching, for students to perform their current repertoire for other studio members, and discussion of repertoire, technique and performance issues.
HARP
Harp study is tailored to the student’s experience, developmental needs and abilities. Technique is explored in a variety of ways, (i.e. – basic exercises, sound production, etudes, cadenza’s) with emphasis on its support of and direct use in the musical repertoire. Compositions of varying musical styles and periods of music are chosen with regard to the student’s artistic and harpist development, as well as interests. The weekly studio classes involve various areas of learning (harp care, listening exposure, harp history, constructive comments for each other) but especially provide for performance opportunity.
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