FLUTE
Flute repertoire choices depend on the specific needs and preparation of the student.  All flute majors are required to perform at least once per semester in studio class.  Majors must also ensure that their instrument is in excellent working condition before arrival on campus, and possess a reliable metronome.  In the senior year, preparation for college auditions is emphasized

Tonal development: all major and minor scales in a variety of articulations; Reichert Seven Daily Exercises; Moyse 24 Little Melodic Studies; Taffanel/Gaubert 17 Daily Exercises; Berbiguier Eighteen Exercises; Andersen Studies and Etudes; Casterede 12 Studies; and Karg-Elert 30 Caprices.

Solos:  Handel Sonatas; C.P.E. Bach Sonata in A Minor; Mozart Andante in C; Quantz Concerto in G; Lennox Berkeley Sonatina; Hindemith Sonata; J.S. Bach Sonatas; Telemann 12 Fantasias; Debussy Syrinx; Telemann Suite in A minor; Mozart Concertos in D and G; Copland Duo; Sonatas by Martinu, Poulenc, Reinecke, Muczynski, and Prokofieff; Burton Sonatina; Griffes Poem; various pieces from Music by French Composers (Moyse, ed); J. S. Bach Partita in A minor;Martin Ballade; Dutilleux Sonatine; Nielsen Concerto; and Ibert Concerto.

Additional materials include flute duets, orchestral excerpts, and piccolo works.

OBOE
First Year - Complete Rubank Intermediate Oboe Method; all major scales; begin Barret Articulation Studies and Progressive Melodies; daily exercises for the development of tone, control, embouchure, and endurance.

Second Year - Complete Barret Progressive Melodies and begin Barret Sonatas and Grand Studies; all major and minor scales; continuation of developmental exercises for tone, control, embouchure, and endurance; study of a Baroque sonata or concerto.

Third Year - Complete Barret Grand Studies; begin Ferling Etudes; study of one or more Baroque or Classical sonatas or concertos; daily developmental exercises.

Fourth Year - Continuation of Ferling Etudes; expansion of solo studies to include Romantic and Modern sonatas and concertos; Gillet Technical Studies; daily developmental exercises.

Note: An oboe student should own a high quality instrument in a good state of repair so that progress will not be impeded.  However, it is recommended that a student considering the purchase of an new instrument consult the instructor at the Academy before buying a new oboe.

A reed-making class is considered part of the oboe curriculum.  Students are expected to purchase the proper reed-making tools and maintain an adequate supply of cane.  Again, the instructor at the Academy should be consulted before purchasing such supplies.

BASSOON
First year: Weissenborn Method for Bassoon; 30 Classical Studies (arr. Waterhouse); major and minor scales; reed trimming; daily exercises for development of basic skills of bassoon playing.  Solos such as:Galliard Sonatas,Vivaldi Concertos.
           
Second year: Milde Scale Studies, op. 24; Weissenborn Method for Bassoon; 30 Classical Studies (arr. Waterhouse); reed making; continued emphasis on fundamentals; all major scales and harmonic minor scales.  Beginning study of orchestral excerpts.  Solos such as: Telemann Sonatas, Deviene Sonatas
          
Third year: Milde Scale Studies, Op. 24; Milde Concert Studies, Op. 26; continued emphasis on fundamentals; all major scales, melodic and harmonic minor scales; reed making. Study of orchestral excerpts.  Solos such as: Weber Concerto in F Major; Hindemith Sonata; Vivaldi Concerti; Mozart Concerto.
          
Fourth year: Emphasis on all aspects of polished bassoon playing; all major and minor scales; Milde Scale Studies and/or Bozza 15 Daily Studies; Milde Concert Studies Book I and II; orchestral excerpts; reed making.  Solos such as: Vivaldi Concerti; Saint-Saens Sonata; Etler Sonata; Tansman Sonatine; Bozza Recit,Sicilienne Et Rondo; Weber, Andante and Rondo

CLARINET
First Level: Lazarus Method for Clarinet, Part II and J. Albert Scale Studies;  emphasis on good tonal quality control and development of fine hand position; and selected solos as needed.

Second Level: Rose 40 Studies, Part I, and Kroepsch, Book 1; continued emphasis on basic qualities of fine clarinet playing; and solos such as Weber Concertino and Rabaud Solo de Concours.

Third Level: Rose 40 Studies, Part II, and Baermann, Part III; continuation of basic studies with emphasis on student's individual weaknesses; solos such as Schumann Fantasie Pieces and Weber Grand Duo Concertant; chamber music as recommended by the instructor; and introduction to orchestral excerpts McGinnis, Vol I.

Fourth Level: Rose 32 Studies, Cavallini Caprices; Sonatas such as Hindemith or Brahms; concertos such as Mozart or Debussy Rhapsodie; chamber music as recommended by the instructor; emphasis on preparation for college auditions; and continuation of orchestral excerpt study, McGinnis, Vol. I, II.

SAXOPHONE
Saxophonists will follow a course of study designed to meet the specific needs and abilities of each individual. General areas of study include tone production, embouchure, air support and blowing, articulation, intonation, technique, expressive musicianship and interpretation, rhythm reading, sight reading, study of scales and arpeggios, etudes, solo literature and quartet and small ensemble literature, experience on several members of the saxophone family and jazz studies.

Classical and Jazz Styles
All saxophonists are required to play in band (classical style and mouthpiece) with occasional, select opportunities in orchestra. All are required to play classical repertoire in lessons, studio classes and juries.

For those students interested, jazz studies may be incorporated into lessons in addition to study of the fundamental aspects of saxophone playing and musicianship. Materials to be selected from the following:

Method Books and Etude Books – some examples
Kynaston, Daily Studies for the Saxophone
Hite, Foundation Studies
Klose, 25 Daily Exercises
Small, 27 Melodious and Rhythmical Etudes
Mule, 18 Studies after Berbiguier
Ferling, 48 Famous Etudes
Rousseau, High Tones for Saxophone

Solo Literature – some examples
Creston, Sonata
Glazounov, Concerto
Heiden, Sonata
Ibert, Concertino da Camera
Maurice, Tableaux de Provence
Milhaud, Scaramouche
Bozza, Improvisation and Caprice
Jolivet, Fantaisie – Impromptu
Villa Lobos, Fantasia

Jazz Material – some examples
Mintzer, Jazz Etudes
Parker, Omnibook
Snidero, Jazz Conceptions
Transcriptions
Aebersold Play Along Vols. 70 and 44

Equipment
Saxophone students should own a high quality instrument in good repair. If you own more than one member of the saxophone family, please bring all instruments if possible. Also bring classical and jazz mouthpieces.