Studio Proficiency Levels

LEVEL A

Ability to meet Level A standards by the end of first year (for BA), upon entrance (for BM). 

• Tone
  • Mostly clear and resonant tone, playing with control
  • Presence of vibrato  
• Intonation
  • In tune in most keys with few issues in all but extreme registers
    • 1st and 3rd position for upper strings
    • 3rd and 4th positions for lower strings
• Technique
  • Command of 1st and 3rd position
  • Scales/arpeggios in one octave, some in 2 octaves
  • Stable bow hold
  • Straight wrists, relaxed hands
  • Fundamental bowings (e.g., detaché, martelé, slurs)
• Rhythm/Time
  • Steady pulse in all but extreme tempos
  • Command of basic rhythms and common meters
• Interpretation
  • Some expression in dynamics/volume, tempo and timing
  • Musical phrasing is developing
• Repertoire
  • Two contrasting styles/genres from traditional repertoire
  • Mix of technical and pedagogical approaches
  • Mostly shorter works 
• Sight Reading in simple meters utilizing simple rhythmic subdivisions in keys of Bb, F, C, G, or D major, with some shifting out of first position required  

LEVEL B

Current upper division; pass this level and do a Junior (half) Recital.    

• Tone
  • Clear and resonant tone in all registers
  • Few struggles
  • Control of vibrato.  
• Intonation
  • In tune in all keys and registers.  
• Technique
  • Command of half, 2nd, 4th, and 6th positions (thumb position for cello and bass)
  • All scales/arpeggios in two octaves, some in 3 octaves
  • Relaxed technique that aids expression
  • Control of on- and off-string bowings
    • louré, spiccato, ricochet, etc.
    • “special effects” as appropriate to repertoire
• Rhythm/Time
  • Steady pulse in all tempos
  • Command of some odd meters
  • Ability in extreme tempos
• Interpretation
  • Expressive dynamics/volume
  • Command of tempos changes and rubato
  • Growing sense of phrasing
• Repertoire
  • At least three contrasting time periods or styles appropriate to student’s emphasis and track
    • Commercial/jazz, classical, mariachi, etc.
  • Full movements of works.
• Sight reading in compound or complex meters in major and minor keys involving  change of meter, tempo, key, and/or modality
• Independent preparation and performance of an A-level work of 2-3 minutes in two weeks or less.  

LEVEL C

Pass level and ready to move on to Senior (full) Recital  

• Tone
  • In tune in all registers and positions
  • Command of tone production in all registers
  • Expression using vibrato  
• Intonation
  • Fully in tune in all registers and keys, including extreme ranges
• Technique
  • All scales and arpeggios in major and minor and in 3 octaves when appropriate
    • All 3 octaves for upper strings
  • Expressive playing uninhibited by technique
  • Development and facility of double-stops and extended techniques
• Rhythm/Time
  • Strong sense of pulse
  • Ability to navigate changing and varied meters
  • Can perform complicated rhythms including polymetric rhythms
    • e.g., 3:2, 5:4, etc.
• Interpretation
  • Strong contrasts and stylistically appropriate expressions consistent in performance
• Repertoire
  • A wide variety of time periods and styles studied within the curriculum, including contemporary music and global styles
  • Ability to perform works of substantial length
• Sight reading in complex rhythms or changing meters with extended chromatic and/or atonal passages

Brass General

LEVEL A  

• One (1) representative solo 
• Two (2) contrasting etudes 
• Technical requirements 

LEVEL B  

• One (1) representative solo 
• Two (2) contrasting etudes 
• Orchestral excerpts 
• Technical requirements 

LEVEL C  

• Three (3) solo works in contrasting styles 
• Orchestral excerpts 

For more details, please go to the individual instrument links, or consult your studio teacher. 

Trombone

LEVEL A

Ability to meet level A standards by the end of first year (for BA), upon entrance (for BM).  

• Tone
  • Mostly clear and resonant tone, playing with control and good pitch.
  • Fluid major scales from lowest note E to high F above the staff.
  • Basic knowledge of air control and dynamics.
• Intonation
  • In tune in most keys
• Technique
  • Command of being able to play any note on any partial
  • Scales/arpeggios in one octave, some in 2 octaves
  • Knowledge of right-hand placement and tricks as to where to place slide
  • Right wrist faces body, only left hand holds the horn, curved fingers, good posture, basic firm corners of embouchure
• Rhythm/Time
  • Steady pulse in all but extreme tempos
  • Command of basic rhythms and common meters
• Interpretation
  • Some expression in dynamics/volume, tempo and timing
  • Musical phrasing is developing
• Repertoire
  • Two contrasting styles/genres from traditional repertoire
  • Mix of technical and pedagogical approaches
• Sight Reading in simple meters utilizing simple rhythmic subdivisions in keys of Bb, F, C, G, or D major.

LEVEL B

Current upper division, pass this level and do a Junior (half) Recital.  

• Tone
  • Clear and resonant tone in all registers
  • Few struggles
  • All 12 major scales and all 12 minor scales in eighth notes at 120
• Intonation
  • In tune in all keys (major and minor) and registers. 
• Technique
  • Knowledge and practice in mouthpiece buzzing with clear tone
  • Concise and clear embouchure to promote the best tone production
  • Command of scales in thirds, arpeggios and scales over the complete range of the instrument.
  • Relaxed technique that aids expression
  • Control of “special effects” as appropriate to repertoire
  • Fast articulation and flutter tonguing, controlled glissing
• Rhythm/Time
  • Steady pulse in all tempos, command of some odd meters
  • Ability in extreme tempos
• Interpretation
  • Expressive dynamics/volume
  • Command of tempos changes and rubato
  • Growing sense of phrasing
• Repertoire
  • At least three contrasting time periods or styles appropriate to student’s emphasis and track full movements of works (with piano accompaniment)
• Sight reading in compound or complex meters in major and minor keys involving change of tempo and articulation
• Independent preparation and performance of an A-level work of 2-3 minutes in two weeks or less. 

LEVEL C

Pass level and ready to move on to Senior (full) Recital  

• Tone
  • In tune in all registers and positions
  • Command of tone production in all registers
  • Expression
• Intonation
  • Fully in tune in all registers and keys, including extreme ranges 
• Technique
  • Knowledge and advanced practice in mouthpiece buzzing and pitch control
  • Bass trombone or Euphonium work should be completed by this time
  • Consistent (unmoving) embouchure that promotes excellent tone and good voicing for both articulated and legato passages
  • All scales and arpeggios in major and minor over the complete range of the instrument
  • Expressive playing uninhibited by technique, excellent voicing of the instrument
  • Development and facility of some modern techniques that include reading non-traditional music
• Rhythm/Time
  • Strong sense of pulse
  • Ability to navigate changing and varied meters
  • Can perform complicated rhythms including polymetric rhythms
    • e.g., 3:2, 5:4, etc.
• Interpretation
  • Strong contrasts and stylistically appropriate expressions consistent in performance
• Repertoire
  • A wide variety of time periods and styles studied within the curriculum, including contemporary music and global styles
  • Ability to perform works of substantial length
• Sight reading in complex rhythms or changing meters

Trumpet

LEVEL A

Ability to meet level A standards by end of first year (for BA), upon entrance (for BM).

• Tone
  • Mostly clear and resonant tone, playing with control and good pitch
  • Fluid chromatic scale from lowest note to high C above the staff
  • Basic knowledge of buzzing on mouthpiece associated with tone quality
• Intonation
  • In tune in most keys
• Technique
  • Scales/arpeggios in one octave, some in 2 octaves
  • Relaxed hand position
  • Curved fingers, good posture, basic firm embouchure with good shape
• Rhythm/Time
  • Steady pulse in all but extreme tempos
  • Command of basic rhythms and common meters
• Interpretation
  • Some expression in dynamics/volume, tempo and timing
  • Musical phrasing is developing
• Repertoire
  • Two contrasting styles/genres from traditional repertoire
  • Mix of technical and pedagogical approaches
• Sightreading in simple meters utilizing simple rhythmic subdivisions in keys of Bb, F, C, G, or D major

LEVEL B

Our current upper division, pass this level and do a Junior (half) Recital.

• Tone
  • Clear and resonant tone in all registers
  • Few struggles
  • Fluid chromatic scale from lowest note to high D above the staff
• Intonation
  • In tune in all keys (major and minor) and registers
• Technique
  • Concise and clear embouchure to promote the best tone production
  • Command of scales in thirds, arpeggios and scales over the complete range of the instrument, most scales /arpeggios in two octaves
  • Relaxed technique that aids expression
• Control of “special effects” as appropriate to repertoire
  • Fast articulation, double tonguing, and flutter tonguing
  • Comfort with various mutes.
• Rhythm/Time
  • Steady pulse in all tempos
  • Command of some odd meters
  • Ability in extreme tempos
• Interpretation
  • Expressive dynamics/volume
  • Command of tempos changes and rubato
  • Growing sense of phrasing
• Repertoire
  • At least three contrasting time periods or styles appropriate to student’s emphasis and track full movements of works (with piano accompaniment)
• Sight reading in compound or complex meters in major and minor keys involving change of tempo and articulation
• Independent preparation and performance of an A-level work of 2-3 minutes in two weeks or less

LEVEL C

Pass level and ready to move on to Senior (full) Recital.

• Tone
  • In tune in all registers and positions
  • Command of tone production in all registers
  • Fluid chromatic scale from lowest note to high E above the staff
• Intonation
  • Fully in tune in all registers and keys, including extreme ranges
• Technique
  • Proficiency on C trumpet and flugelhorn
  • Consistent (unmoving) embouchure that promotes excellent tone
  • Good voicing for both articulated and legato passages
• All scales and arpeggios in major and minor over the complete range of the instrument
• Expressive playing uninhibited by technique
• Development and facility of some modern techniques that include reading non-traditional music and transposition
• Rhythm/Time
  • Strong sense of pulse
  • Ability to navigate changing and varied meters
  • Can perform complicated rhythms including polymetric rhythms (e.g., 3:2, 5:4, etc.)
• Interpretation
  • Strong contrasts and stylistically appropriate expressions consistent in performance
• Repertoire
  • A wide variety of time periods and styles studied within the curriculum, including contemporary music and global styles
  • Ability to perform works of substantial length
• Sight reading in complex rhythms or changing meters

Tuba/Euphonium

LEVEL A

Upon entrance (for BM), the ability to meet Level A standards by the end of the first year (for BA). 

• Tone
  • Demonstrates a mostly clear and resonant tone, playing with control and good pitch in low and middle registers
  • Able to execute a fluid chromatic scale from F1 to A3
  • Shows a basic understanding of embouchure and wind production associated with tone quality
• Intonation
  • Plays in tune with the most common "brass-oriented" keys (G, C, F, Bb, and Eb major)
• Technique 
  • Maintains a stable stance and relaxed body (neck, wrists, and hands), with curved fingers and good posture
  • Executes major/minor scales/arpeggios in one octave
• Rhythm/Time
  • Maintains a steady pulse in all but extreme tempos
  • Demonstrates command of basic rhythms and common meters (Common Time, Cut Time, 6/8, 12/8) 
• Interpretation
  • Shows some expression in dynamics/volume, tempo and timing, and musical phrasing, which is developing
• Repertoire
  • Performs two contrasting styles/genres from traditional repertoire, utilizing a mix of technical and pedagogical approaches
• Sightreading
  • Able to sightread in simple meters utilizing simple rhythmic subdivisions in keys of G, C, F, Bb, and Eb major

LEVEL B

Upper Division: Pass this level and proceed to a Junior (half) Recital. 

• Tone
  • Demonstrates clear and resonant tone in all registers with few struggles
  • Executes a fluid chromatic scale from C1 to C4
  • Shows a basic understanding of embouchure and wind production associated with tone quality
• Intonation
  • Plays in tune with all keys and registers
• Technique
  • Maintains a good embouchure to promote the best tone production
  • Has a good command of scales (major, natural minor, harmonic minor, and melodic minor) and arpeggios (major, minor, augmented, and diminished 7th) in two octaves
  • Demonstrates relaxed technique that aids expression
  • Shows a basic understanding of the Breathing Gym and Brass Gym in both concept and practice
• Rhythm/Time
  • Maintains a steady pulse in all tempos
  • Commands some odd meters (5/4, 7/4, 5/8, 7/8, 9/8), with limited ability in extreme tempos
• Interpretation
  • Exhibits expressive dynamics/volume, commands tempos changes and rubato, and shows a growing sense of phrasing and vibrato
• Repertoire
  • Performs at least three contrasting time periods or styles appropriate to the student's emphasis and track, covering full movements of works (with piano accompaniment)
• Sightreading
  • Able to sightread in compound or complex meters in major and minor keys involving changes of tempo and articulation
  • Independently prepares and performs an A-level work of 2-3 minutes in two weeks or less  

LEVEL C

Pass this level and ready to move on to a Senior (full) Recital. 

• Tone
  • Plays in tune in all registers and positions with command of tone production in all registers and expressions
  • Executes a fluid chromatic scale from the lowest note to high B above the staff
• Intonation
  • Plays fully in tune in all registers and keys, including extreme ranges
• Technique: 
  • Maintains a consistent (unmoving) embouchure that promotes excellent tone and good voicing for both articulated and legato passages
  • Has a good command of scales (adding whole-tone, Dorian and other modes, bebop scales) and arpeggios (adding major/minor 6th, major/minor/dominant 7th, and major and minor pentatonic chords) in at least two octaves
  • Demonstrates relaxed technique that aids expression
  • Shows proficiency on bass (F and/or Eb) and contrabass (BBb and/or CC) tubas
  • Shows an advanced understanding of the Breathing Gym and Brass Gym in both concept and practice
• Expression
  • Expressively plays uninhibited by technique, with excellent voicing of the instrument 
• Stylistic Development
  • Develops and exhibits facility in various styles (classical, jazz, brass band, banda, polka, funk, pop, avant-garde, hip hop, etc.) 
• Rhythm/Time
  • Demonstrates a strong sense of pulse, able to navigate changing and varied meters, and performs complicated rhythms, including polymetric rhythms (e.g., 3:2, 5:4, etc.)
• Interpretation
  • Exhibits strong contrasts and stylistically appropriate expressions consistent in performance 
• Repertoire
  • Studies a wide variety of time periods and styles within the curriculum, including contemporary music and global styles
  • Able to perform works of substantial length 
• Sightreading
  • Able to sightread in complex rhythms or changing meters

Guitar-Classical

Sight-Reading

• Level A
  • 1 position, keys of C, G, F
  • Quarter notes, half notes, dotted-half & whole notes, same for rests
  • Dotted quarter-eighth combination, expression marks, pick-up notes.
  • 3/4, 4/4, 6/8 time
• LEVEL B
  • Sixteenth notes and combinations
  • Notes through 7 position
    • with extensions on the 1 string
  • All keys
  • Diads, triads, more time signatures
• LEVEL C
  • Rhythms and time signatures of greater complexity
  • Melody and bass in counterpoint
  • Notes through 12 position 

Theory and Fretboard Knowledge 

• Level A
  • Major and minor scales
  • Minor and major pentatonic scales
  • 32-bar song form, 12-bar blues form
  • Major and minor arpeggios
  • Memorization of notes in the first position and all the notes on strings one and six
  • Major/minor/7 bar chords
• Level B
  • Modes of the major scale
  • Major/minor triad shapes
  • All 7 chord arpeggios
  • Altered scale
  • All 5 forms of the pentatonic scale
  • Memorization of all of the notes on the fret board
  • Quartal and quintal harmonies
  • Beginning chord substitution
• Level C
  • Modes of the melodic minor scale, bebop scales
  • Arpeggio extensions
  • Advanced harmonic substitution 

Technique

• Level A
  • Alternate picking, vibrato
  • Legato/staccato control
  • Scales in 8 notes
• Level B
  • Scales in 16 notes
  • Beginning chord/melody playing
  • Walking bass lines, bass/comping, octave playing
• Level C
  • Advanced chord/melody and bass/comping
  • Advanced chord/melody playing. 

Improvisation 

• Level A
  • Improving using major/minor scales and major/minor pentatonic
  • Infrequent modulations
• Level B
  • Introduction of altered scale, arpeggios and chromatic passing tones
  • More frequent modulations
• Advanced
  • Use all of scalar and arpeggios materials and chord scales
  • Frequent modulations. 

Selected Repertoire

• Standard guitar repertoire by: J.S. Bach, H. Villa-Lobos, M. Carcassi, F. Tarrega, among others
• In addition to selected 20 & 21 century repertoire
• Music transcribed for classical guitar, including music by W.A. Mozart, D. Scarlatti, A. Scriabin, among others
• Student transcriptions/arrangements.

Guitar-Commercial and Jazz

LEVEL A

Ability to meet level A standards by end of first year (for BA), upon entrance (for BM).

• Sight Reading
  • Up to 5th position in all keys, eight notes with syncopations
  • Be able to play assigned excerpts from the books:
    • Reading Studies For Guitar (William Leavitt)
    • Sight Reading For The Contemporary Guitarist (Tom Dempsey) 
• Scales, Arpeggios
  • Be able to play C, G, D, A, E major in all positions and single strings
  • 2 octave arpeggios in the same keys 
• Chords
  • Triads in C, G, D, A, E major, 7th chords (major 7th, minor 7th, Dominant 7th, Half Diminished 7th) in root positions on 6th and 5th strings
• Exercise
  • Be able to play Bach Invention No.4 or No. 8 (upper part) with assigned tempo 
• Transcription
  • Play the assigned transcribed solo by Grant Green or Wes Montgomery  
• Repertoire
  • Memorize and improvise over the assigned tunes from the list

Level B

Current upper division, pass this level and do a Junior  (half) Recital.    

• Sight Reading
  • Up to 12th position in all keys
  • Be able to play any excerpts from the books:
    • Advanced Reading Studies For Guitar (William Leavitt)
    • Melodic Rhythms For Guitar (William Leavitt)  
• Scales, Arpeggios
  • Be able to all keys in all positions and single strings
  • 7th chords arpeggios in all keys 
• Chords
  • Triads and 7th chord inversions in all 12 keys 
• Exercise
  • Be able to Etude No. 1 by Kreutzer with assigned tempo 
• Transcription
  • Memorize and be able to play the assigned transcription 
• Repertoire
  • Memorize and improvise over the assigned tunes from the list  

LEVEL C

Pass level and ready to move on to Senior (full) Recital  

• Sight Reading
  • Be able to demonstrate advanced reading ability by playing any excerpts from the books:
    • Reading Contemporary Guitar Rhythms (M.T. Szymczak)
    • Various given exercises (rhythm charts, big band charts, movie score charts) 
• Scales, Arpeggios
  • Be able to play Altered, Diminished, Whole Tone Scales in all keys
  • Be able to play 7th chord arpeggios across the fingerboard
    • Up to 3 octaves 
• Chords
  • Be able to play all the extensions and altered chords
  • Be able to play the slash chords 
• Exercise
  • Be able to play Bach Violin Partita in B minor 
• Transcription
  • Memorize and be able to play the assigned transcription 
• Repertoire
  • Memorize and improvise over the assigned tunes from the list 

REPERTOIRE LIST

Level A

• Jazz Tunes
  • Take The A Train
  • Blue Bossa
  • Autumn Leaves
  • Satin Doll
  • Bag’s Groove
  • Blue Monk
  • Someday My Prince Will Come
  • So What
  • Equinox
  • Song For My Father
  • Summertime
  • There Will Never Be Another You
• Pop Tunes
  • Choose from songs by:
    • Beatles
    • Jimi Hendrix
    • James Brown
    • Stevie Wonder
    • Blues
      • B.B. King
      • Freddie King
      • Albert King
      • Stevie Ray Vaughan
    • Motown
      • Aretha Franklin
      • Al Green
      • Temptations
      • Marvin Gaye  

LEVEL B  

• Jazz Tunes
  • All The Things You Are
  • Tenor Madness
  • Alone Together
  • Days Of Wine And Roses
  • Stella By Starlight
  • Billie’s Bounce
  • Black Orpheus
  • Softly As In A Morning Sunrise
  • What Is This Thing Called Love
  • Wave
  • Green Dolphin Street
  • Body And Soul
  • There Is No Greater Love
  • Mr. P.C 
• Pop/Fusion Tunes
  • Songs by:
    • Tower Of Power
    • Earth Wind And Fire
    • Jeff Beck
    • John Scofield
    • Steely Dan
    • Herbie Hancock
    • Pat Metheny
    • Keith Jarrett  

LEVEL C

• Jazz Tunes
  • Oleo
  • Nica’s Dream
  • Confirmation
  • Joy Spring
  • It Could Happen To You
  • Speak Low
  • Cherokee
  • Moment’s Notice
  • Giant Steps
  • Invitation
  • Rhythm A Ning
  • Donna Lee
  • Up Jumped Spring
  • Airegin
  • Stablemates
  • Triste 
• Pop/Fusion Tunes
  • Songs by:
    • Chick Corea
    • Weather Report
    • Josef Zawinul
    • Brecker Brothers
    • Yellowjackets

Electric Bass

LEVEL A

Ability to meet level A standards by end of first year (for BA), upon entrance (for BM).

• Technique
  • Right and left-hand technique
  • Basic knowledge of the fret board
  • Recognition of the notes and able to find them
• Basic Theory
  • Major and minor scales
  • Triads…. Major, minor, augmented, diminished
• Sight Reading
  • Knowing time signatures and key signatures
  • Reading simple etudes
  • Interpreting chord charts or lead sheets using chord tones
• Walking Bass Lines
  • Using chord tones and some scales
  • Transcribing a piece that I give them at their level

LEVEL B

Our current upper division, pass this level and do a Junior (half) Recital.

• Introduce Diatonic Modes
  • Play them in all 12 keys on four strings
• 7th Chords
  • Major, minor, dominant, half diminished, full diminished and augmented
• Interpreting Lead Sheets or Chord Charts
  • using 7th chords and modes
• Sight Reading
  • Bach chorales, etudes with syncopation
  • Transcribing a piece that I give them at their level

Level C

Pass level and ready to move on to Senior (full) Recital

• Student Will be able to play modes in all 12 keys in five positions on the neck
• Introduce melodic and harmonic minor scales in 12 keys
• Harmony
  • How modes and chord tones apply to key centers
  • Understanding a harmonized major scale and how that applies to pieces they play
• Interpreting Chord Charts
  • Using modes and chord tones playing jazz standards and other genres
  • Using what they have learned to be able to improvise walking bass lines and a solo over chord changes
• Transposing Keys
  • Using simple chord charts and transpose them into all 12 keys
  • Transcribing a piece that I give them at their level.

Mariachi students should be playing at ASTACAP level 3 (strings) or ABRSM level 3 or equivalent to be admitted to studio.

Prior to that level they should take beginning or intermediate group classes for their instrument type, such as MU 1330 Beginning Strings.

To be admitted to the BM, a student should be at ASTACAP level 4 (strings) or ABRSM levels 3-4, but may be admitted at a lower level based on observed potential in the audition, contingent on progressing quickly. 

Some instruments that are often incorporated in mariachi music and Mexican folk styles, like flute, accordion, and jarana, may be allowed. Flute would follow primarily violin guidelines; accordion would follow harp (working on playing rhythmically as well as melodically similar to harp); and jarana would follow the plucked/strummed string guitar/vihuela guidelines, adapting for appropriate rhythms and keys.  

Repertoire for mariachi recitals for students of all areas should be memorized. 

Mariachi Voice

• Mariachi voice students are encouraged to choose either a classical or commercial track for voice lessons where they will be expected to develop healthy foundational techniques related to mariachi and other singing styles they plan to study.
• Contemporary mariachi singing draws heavily from the bel canto/classical style of singing, but also employs commercial techniques in addition to folk styles (e.g., yodels). 
• In addition to the voice area requirements, mariachi vocalists will be expected to complete the following for their levels:
  • Voice students interested in the mariachi track of their chosen emphasis within the BA or BM should also choose one standard mariachi instrument as their primary instrument to study. They should then follow the appropriate guidelines below based on their primary instrument and degree emphasis.
  • Additionally, by the Level B, mariachi voice students should be able to blend their voices as well as perform the distinctive yodel associated with the huapango/huasteco style (aka "stylisms") of singing. 

Mariachi Bowed Strings/Violins

In addition to the bowed string area requirements (including pre-levels), mariachi violinists will be expected to complete the following for their levels:  

PRE-LEVEL

See bowed string area requirements.  

LEVEL A

Required of all music majors and should be passed by their third semester of applied study. This includes a ten-to-thirteen minute presentation of repertoire and technical exercises. It also includes sight reading. 

Level A is comparable to ASTACAP level 5 and ABRSM level 4 

• Learn one song by ear
• Be able to transpose standard phrases and endings of genres played in mariachi, going through the main major keys of C, F, G, D, and A, and for minor keys, Em and Am (concert pitch)
• Students should sing at least one song.
• Students should sight read at least one short excerpt.

LEVEL B

Required of all BM music majors in the Pedagogy and Performance options. This is a twenty-minute presentation of repertoire and technical exercises plus the intermediate piece prepared without assistance in two weeks' time. 

For performance majors, it serves as an audition for the 30-minute junior recital and should therefore be completed during the semester immediately prior to the junior recital. The Level B should be passed by the end of the BM student's fifth semester (for performance majors) and seventh semester (for pedagogy majors). 

Level B is comparable to ASTACAP level 6-7 and ABRSM level 5-6 

• Students should transcribe one mariachi song as their intermediate-level piece prepared without guidance.
• Students should be able to transpose standard phrases and endings of mariachi song genres in the keys of Bb, Eb, and E (concert pitch). Relative minors for keys studied thus far should also be covered. At least two-octaves.
• Students will be asked to transpose one song by ear, shifting the tonic by a 4th or 5th scale degree.
• Students should sing multiple songs. 

LEVEL C

Required of all BM music performance majors and serves as an audition for the one-hour senior recital and should therefore be completed the semester immediately prior to the senior recital. The Level C should be passed by the end of the student's seventh semester. 

Level C is comparable to ASTACAP level 8-9 and ABRSM level 7.  

• Students should transpose one song by ear to a key that is a 2nd or 3rd away from the original key the song was learned in.
• Should transcribe and arrange one song.
• Students should sing multiple songs, including the main vocal line as well as vocal harmonies.
• Should perform at least two songs on secondary instruments. They are encouraged to sing and play at the same time when playing a plucked/strummed instrument.

Mariachi Brass/Trumpets 

In addition to the trumpet/brass area requirements (including pre-levels), mariachi trumpet players will be expected to complete the following for their levels: 

PRE-LEVEL

See brass area requirements. 

LEVEL A

Required of all music majors and should be passed by their third semester of applied study. This includes a ten-to-thirteen minute presentation of repertoire and technical exercises. It also includes sight reading. 

Level A is comparable to ABRSM level 4 

• Learn one song by ear
• Be able to transpose standard phrases and endings of genres played in mariachi, going through the main major keys of C, F, G, D, and A, and for minor keys, Em and Am (concert pitch).
• Students should sing at least one song.
• Students should sight read at least one short excerpt.

LEVEL B

Required of all BM music majors in the Pedagogy and Performance options. This is a twenty-minute presentation of repertoire and technical exercises plus the intermediate piece prepared without assistance in two weeks' time. 

For performance majors, it serves as an audition for the 30-minute junior recital and should therefore be completed during the semester immediately prior to the junior recital. The Level B should be passed by the end of the BM student's fifth semester (for performance majors) and seventh semester (for pedagogy majors). 

Level B is comparable to ABRSM level 5-6 

• Students may transcribe one mariachi song as their intermediate-level piece prepared without guidance.
• Students should be able to transpose standard phrases and endings of mariachi song genres in the keys of Bb, Eb, and E (concert pitch). Relative minors for keys studied thus far should also be covered. At least two-octaves.
• Students will be asked to transpose one song by ear, shifting the tonic by a 4th or 5th scale degree.
• Students should sing multiple songs.

LEVEL C

Required of all BM music performance majors and serves as an audition for the one-hour senior recital and should therefore be completed the semester immediately prior to the senior recital. The Level C should be passed by the end of the student's seventh semester. 

Level C is comparable to ABRSM level 7. 

• Students should transpose one song by ear to a key that is a 2nd or 3rd away from the original key the song was learned in.
• Should transcribe and arrange one song.
• Students should sing multiple songs, including the main vocal line as well as vocal harmonies.
• Should perform at least two songs on secondary instruments. They are encouraged to sing and play at the same time when playing a plucked/strummed instrument. 

Mariachi Plucked/Strummed Strings
(guitar/guitarra de golpe, vihuela, guitarrón, harp)

Mariachi plucked and strummed string players will be expected to complete the following for their levels: 

• A Pre-Level by the end of their second semester and before the Level A is attempted. The Pre-Level includes an 8-minute presentation of foundational techniques and scales chosen with the professor. 

For Guitar/Guitarra de Golpe/Vihuela

This should include basic chord progressions in at least three keys, using the I, IV, V7, ii, and iv chords, and playing basic rhythmic patterns (e.g., bolero, ranchera, polca, son jalisciense). 

For Guitarrón

This should include playing all 12 notes in octaves on the instrument and basic scale patterns and arpeggios for at least three keys. 

For Harp

This should include basic chord shapes, inversions, and arpeggios for chord triads and standard chord progressions in at least three keys using the I, IV, V7, ii, and iv chords. They should also be able to play basic bass lines. 

Sight reading is required of basic melodies or rhythmic patterns. 

LEVEL A

Required of all music majors and should be passed by their third semester of applied study. This includes a ten-to-thirteen minute presentation of repertoire and technical exercises. It also includes sight reading. 

Level A is comparable to ASTACAP level 5 and ABRSM level 4 

• Learn one song by ear
• Be able to transpose standard chord progressions or phrases (harp) and endings of genres played in mariachi, going through the main major keys of C, F, G, D, and A (concert pitch).
• Students should sing at least one song.
• Students should sight read at least one short excerpt.

LEVEL B

Required of all BM music majors in the Pedagogy and Performance options. This is a twenty-minute presentation of repertoire and technical exercises plus the intermediate piece prepared without assistance in two weeks' time. 

For performance majors, it serves as an audition for the 30-minute junior recital and should therefore be completed during the semester immediately prior to the junior recital. The Level B should be passed by the end of the BM student's fifth semester (for performance majors) and seventh semester (for pedagogy majors). 

Level B is comparable to ASTACAP level 6-7 and ABRSM level 5-6 

• Students may transcribe one mariachi song as their intermediate-level piece prepared without guidance.
• Students should be able to transpose standard progressions and phrases of mariachi song genres in the keys of Bb, Eb, and E (concert pitch). Relative minors for keys studied thus far should also be covered.
• Students will be asked to transpose one song by ear, shifting the tonic by a 4th or 5th scale degree.
• Students should sing multiple songs. At least one song should be sung while playing their instrument.

Level C

Required of all BM music performance majors and serves as an audition for the one-hour senior recital and should therefore be completed the semester immediately prior to the senior recital. The Level C should be passed by the end of the student's seventh semester. 

Level C is comparable to ASTACAP level 8-9 and ABRSM level 7.  

• Students should transpose or arrange one song by ear to a key that is a 2nd or 3rd away from the original key the song was learned in.
• Should transcribe and arrange one song.
• Students should sing multiple songs, including the main vocal line as well as vocal harmonies.
• Students should sing while playing their instrument on at least 4 songs of different genres/rhythms (e.g., a ranchera, a bolero, a son jalisciense, and a huapango).
• Students should perform at least one song on a melodic instrument (e.g., violin or trumpet) and one song on another rhythmic/plucked/strummed instrument.

Comprehensive methods found in established texts by Mitchell Peters 

LEVEL A (First Year)

• Elementary Snare Studies
• Fundamental Method for Mallets Vol. 1 Section 1 pp. 4-113
• Fundamental Method for Timpani Section 1 pp. 4-129

LEVEL B (Second Year)

• Intermediate Snare Studies
• Fundamental Method for Mallets Vol. 1 Section 2 pp. 114-166
• Fundamental Method for Timpani Section 2 pp.130-215

LEVEL C (Third Year)

• Advanced Snare Studies
• Fundamental Solos for Mallets
• Fundamental Solos for Timpani
• Junior Recital Preparation

LEVEL D (Fourth Year)

• Accessory Percussion Instruction
• Ethnic Percussion Instruction
• Diverse Solo Repertoire for Snare Drum
  • Marimba
  • Timpani
  • Multiple Percussion
  • Vibraphone
  • Xylophone
• Senior Recital Preparation

LEVEL A

Ability to meet level A standards by end of first year (for BA), upon entrance (for BM).

• Tone
  • Mostly clear and resonant tone
  • Developing control over touch
  • Displaying the ability to produce at least a few colors on the piano
  • Developing ability to play melodies presenting a “singing” quality
• Balance
  • Satisfactory ability to balance the melody and the accompaniment
  • Developing independent voicing in chords
• Articulation
  • Ability to use the legato, staccato and tenuto articulations
  • Ability to use at least two different articulations in different voices
  • Ability to play simple polyphonic pieces
    • e. g. Bach’s Inventions or Sinfonias
• Technique
  • All major, as well as natural, harmonic and melodic minor scales
    • Scales need to be played in three or four octaves with both hands together
    • Scales are to be consistently played in 16th notes slurred ascending and descending
    • Do not repeat or sustain the top note
    • Minimum tempo is 50 bpm (quarter note pulse)
  • Developing ability in achieving good posture goals that include stable hand positions, relaxed wrists, hands, and arms, curved fingers
  • Developing ability to correct posture challenges to achieve a straight back, relaxed shoulders, competent use of sustain and una corda pedals
• Rhythm/Time
  • Steady pulse in all but extreme tempos
  • Command of basic rhythms and common meter
• Interpretation
  • Some expression in dynamics/volume, tempo and timing
  • Musical phrasing is developing
• Repertoire
  • Two contrasting styles/genres from traditional repertoire
  • Mix of technical and musical approaches
• Sightreading in simple meters utilizing simple rhythmic subdivisions in keys of Bb, F, C, G, or D major

LEVEL B

Our current upper division, pass this level and do a Junior (half) Recital.  

• Tone
  • Clear and resonant tone in all registers, few struggles
  • Good control over touch
  • Displaying the ability to produce many colors on the piano
  • Good ability to play melodies presenting a “singing” quality
  • Good ability to imitate the tone/color of various orchestral instruments and vocal qualities on the piano
• Balance
  • Good ability to balance the melody and the accompaniment
  • Independent voicing in chords
  • Good independence of voices in polyphonic music
• Articulation
  • Ability to use the legato, staccato, tenuto, and other articulations
  • Ability to use various articulations simultaneously in different voices
  • Ability to play higher level polyphonic pieces displaying voice independence in articulation, phrasing, and dynamics (e. g. in Bach’s 3 or 4 voice Fugues)
• Technique
  • All major, natural, harmonic and melodic minor scales, chromatic scales
    • Scales need to be played in four octaves with both hands together
    • Scales are to be consistently played in 16th notes slurred ascending and descending 
    • Do not repeat or sustain the top note
    • Minimum tempo is 80 bpm (quarter note pulse)
  • Arpeggios in four octaves with both hands together
  • Relaxed technique that aids expression
  • Development and facility of some modern techniques that include reading non-traditional music
  • Good posture
    • Stable hand positions, relaxed wrists, hands, and arms, curved fingers
    • Straight back, relaxed shoulders, skilled use of sustain, sostenuto, and una corda pedals
• Rhythm/Time
  • Steady pulse in all tempos, command of some odd meters
  • Ability in extreme tempos
• Interpretation
  • Expressive dynamics/volume
  • Command of tempos changes and rubato, growing sense of phrasing
• Repertoire
  • An example for classical pianists:
    • At least three contrasting solo works or styles appropriate to student’s emphasis
      • For example a polyphonic work by J. S. Bach
    • At least one movement of a classical sonata by Haydn, Mozart or Beethoven
    • A Romantic work
    • A contemporary work (could include a work in a jazz style), piano duo works, chamber works
  • Sight reading in compound or complex meters in major and minor keys involving changes of tempo and articulation
  • Independent preparation and performance of an A-level work of 2-3 minutes in two weeks or less

LEVEL C

Pass level and ready to move on to Senior (full) Recital.

• Tone
  • Clear and resonant tone in all registers
  • Excellent expression
  • Excellent command over touch
  • Displaying the ability to produce numerous colors on the piano
  • Excellent ability to play melodies presenting a “singing” quality
  • Excellent ability to imitate the tone/color of various orchestral instruments and vocal qualities on the piano
• Technique
  • All major, natural, harmonic and melodic minor scales, chromatic scales
    • Scales need to be played over the full range of the piano with both hands together
    • Scales are to be consistently played in 16th notes slurred ascending and descending
    • Do not repeat or sustain the top note
    • Minimum tempo is 80-90 bpm (quarter note pulse)
  • Arpeggios over the full range of the piano with both hands together
  • Expressive playing uninhibited by technique, excellent voicing of the instrument
  • Excellent command of modern techniques that include reading non-traditional music
  • Excellent posture
    • Stable hand positions, relaxed wrists, hands, and arms, curved fingers
    • Straight back, relaxed shoulders, skilled use of sustain, sostenuto, and una corda pedals
• Rhythm/Time
  • Strong sense of pulse
  • Ability to navigate changing and varied meters
  • Can perform complicated rhythms including polymetric rhythms (e.g., 3:2, 5:4, etc.)
• Interpretation
  • Strong contrasts and stylistically appropriate expressions consistent in performance
• Repertoire
  • Awide variety of time periods and styles studied within the curriculum, including contemporary music and global styles
  • Ability to perform works of substantial length
• Sight reading in complex rhythms or changing meters

PRE-LEVEL

Comparable to ABRSM Level 2  

• Musicianship
  • Ability to sing ascending and descending major scale on solfege syllables or scale degrees at a medium tempo unaccompanied
  • Ability to sing ascending and descending major arpeggios at a medium tempo unaccompanied
  • Ability to sight sing unaccompanied stepwise ascending and descending lines in the key of C major
    • Ex. Page 1-2   
• Repertoire
  • To be chosen from sources of similar difficulty to ABRSM Level 1-2
  • Repertoire may include both classical and contemporary styles such as folk, spirituals, musical theater, pop and jazz
  • One 17th or 18th-century aria in Italian is required during the 1st and 2nd semesters of study  
  • Examples include but are not limited to:  
    • A Selection of Collected Folk Songs, Vols 1 & 2, arr. Sharp & Vaughan Williams  
    • Best of Folk Songs: 40 British, Irish and American Songs  
    • Folk Songs of England, Ireland, Scotland and Wales  
    • Folk Songs for Solo Singers, vol. 1 and 2., compiled and edited by Jay Althouse, Alfred  
    • The Singing Book by Dayme & Vaughn (folk pieces)  
    • 24 Italian Songs and Arias, Schirmer

LEVEL A

Comparable to ABRSM Level 4.

• Musicianship
  • Ability to sing ascending and descending major and minor scales (natural, harmonic, and melodic) on solfege syllables unaccompanied at a medium tempo
  • Ability to sing ascending and descending major and minor arpeggios on solfege syllables unaccompanied at a medium tempo
  • Ability to sight sing unaccompanied stepwise ascending and descending lines in major and minor keys
  • Ability to sight sing unaccompanied arpeggiated exercises including the tonic and the dominant in major keys
    • Ex. Page 2-5 Boytim or Level 1 ABRSM  
• Repertoire
  • To be chosen from sources of similar difficulty to ABRSM Level 3-4
  • Repertoire may include both classical and contemporary styles such as folk, classical, spirituals, musical theater, or pop
  • Examples include but are not limited to:  
    • Purcell: 40 Songs  
    • The Art of Song (revised and expanded edition)  
  • The Singing Book by Dayme & Vaughn (classical songs)  
  • International Songs for Solo Singers, arr. Jay Althouse  
  • Roger Quilter Selected Songs, Boosey & Hawkes  
  • 20th Century Easy Song Selection, Boosey & Hawkes  
  • The Singers’ Musical Theatre Anthology, Hal Leonard  
  • The Definitive Jazz Collection, Hal Leonard  

LEVEL B

Comparable to ABRSM Levels 5-6  

• Musicianship
  • Ability to sing ascending and descending chromatic scale on solfege syllables unaccompanied at a medium tempo
  • Ability to sing ascending and descending whole tone scales beginning on any pitch unaccompanied at a medium tempo
  • Ability to sight sing unaccompanied melodic 4 bar exercises incorporating all diatonic intervals in any key
    • Ex. Page 5 Boytim, Levels 2-3 of ABRSM, or Vaccai  
• Repertoire
  • To be chosen from sources of similar difficulty to ABRSM Levels 5-6
  • Repertoire may include both classical and contemporary styles such as folk, opera, oratorio, spirituals, musical theater, pop and jazz
  • The repertoire grid pertinent to commercial or classical/pedagogy voice must be complete to advance to Level C.  
  • Examples include but are not limited to:  
    • 26 Italian Songs and Arias, arr. John Glenn Paton  
    • Arias for Soprano *all voice types, Schirmer  
    • All Sondheim, Vol 1,2,3, Alfred  
    • American Opera Anthology, Alfred  
    • Cole Porter 100th Anniversary, Alfred 

LEVEL C

Comparable to ABRSM Levels 7-10  

• Musicianship
  • Proven retention of the ability to sing all previous scales and arpeggios
  • Ability to audiate and reproduce 5 note atonal melodic pattern
    • Ex. Modus ATONAL Examples.
  • Adjudicators may choose to play five random notes within a student’s singable range to access audiation and reproduction of pitches
  • Ability to sight sing unaccompanied 4 measure exercises utilizing any interval in any key
    • Ex. Levels 4-7 of ABRSM sight singing, or Nicola Vaccai practical method.  
• Repertoire
  • To be chosen from sources of similar difficulty to ABRSM Levels 7-8
  • Repertoire may include both classical and contemporary styles such as opera, oratorio, spirituals, musical theater, and jazz  
  • Examples include, but are not limited to:  
    • Arias for Tenor, *all voice types, Schirmer  
    • The Singers’ Musical Theatre Anthology, Hal Leonard  
    • The Oratorio Anthology, Hal Leonard 

Bassoon

LEVEL A

Ability to meet level A standards by end of first year (for BA), upon entrance (for BM).

• Tone
  • Mostly clear and resonant tone, playing with control and relatively good pitch with minor issues in tone production
  • Basic range of dynamic levels
• Intonation
  • Ability to tune in half and whole step intervals
• Technique
  • Fluid chromatic scale over 3 octaves from lowest Bb to highest
  • Scales/arpeggios in one octave, some in 2 octaves
  • Decent command over instrument in posture and embouchure
  • Ability to articulate 16th notes around 80-100bpm
• Rhythm/Time
  • Steady pulse in all but extreme tempos
  • Command of basic rhythms and common meters
• Interpretation
  • Some expression in dynamics/volume, tempo and timing, and musical phrasing is developing
• Repertoire
  • Two contrasting styles/genres from traditional repertoire
  • Exposure and experience working in the Weissenborn Method Book
• Sightreading
  • Ability to read in simple meters utilizing simple rhythmic subdivisions in keys of Bb, F, C, G, or D major in Bass Clef

LEVEL B

Our current upper division, pass this level and do a Junior (half) Recital.

• Tone
  • Clear and resonant tone in all registers with a wider range of dynamic levels
• Intonation
  • Ability to adjust intonation with all intervals in any key signature at any dynamic level
• Technique
  • Knowledge and practice in altering commercially bought reeds.
    • Ability to work on reeds to make them voice evenly (with use of reed knife and sandpaper)
    • Exposure to creating a reed from gouged, shaped, and profiled cane
  • Concise and clear embouchure with developed and strong side mouth muscles to promote the best tone production
  • Command of scale exercises full range in 16th notes along with climbing interval patterns of thirds, fourths, and fifths in 2 octaves to a metronome
  • Control of fast articulation with 16th notes around 100-120bpmand beginning to work on the double tongue
  • A clear command and comfort over posture that does not inhibit technical abilities
• Rhythm/Time
  • Steady pulse in all tempos, command of some odd meters
  • Ability in extreme tempos
  • Subdivision is felt internally and the ability to cross between duple and triple feel
• Interpretation
  • Expressive dynamics/volume
  • Command of tempos changes and rubato, growing sense of phrasing
• Repertoire
  • At least three contrasting time periods or styles appropriate to student’s emphasis and track full movements of works (with piano accompaniment)
  • Finishing up the Weissenborn Method Book- 50 studies and moving on to other etude books
    • Like Milde Scale Exercises and Jancourt Melodic Studies
  • Sight reading
    • Compound or complex meters in major and minor keys involving change of tempo and articulation along with interchangeable reading of Bass and Tenor Clefs

LEVEL C

Pass level and ready to move on to Senior (full) Recital.

• Tone
  • Ability to tune in all registers and positions
  • Command of tone production in all registers
  • Undetectable inclusions in tone and clarity
  • Fluid chromatic scale from lowest Bb to high D through high E
  • Demonstration of a very wide range of dynamics and start of ability to control crescendo/decrescendo in both slurred and articulated passages
• Intonation
  • Contains knowledge and ability to tune in placements of chords
  • Fully in tune in all registers and keys, including extreme ranges
• Technique
  • Knowledge and advanced routine practice in reed making from gouged, shaped and profiled cane
    • Ability to adjust reeds to improve intonation and tone production
  • Exposure and knowledge on contrabassoon
  • Ability to articulate in a wide variety of styles including different types of staccatos, legato, portato, and varied types of accents
    • Double tongue is established and consistent
  • Full range scale exercises with the Herzberg articulation scales, and the climbing interval patterns of 3rds/4ths/5ths to a metronome marking of 60-80bpm
  • Expressive playing uninhibited by technique, excellent voicing of the instrument
    • The ability to move posture in a way to help serve the phrase and musical line
  • Development and facility of some modern techniques that include reading non-traditional music
• Rhythm/Time
  • Strong sense of pulse
  • Ability to navigate changing and varied meters
  • Can perform complicated rhythms including polymetric rhythms (e.g., 3:2, 5:4, etc.) as well as communicate and receive tempos from colleagues in a chamber music setting
• Interpretation
  • Strong contrasts and stylistically appropriate expressions consistent in performance
• Repertoire
  • A wide variety of time periods and styles studied within the curriculum, including contemporary music and global styles
  • Ability to perform works of substantial length and multi-movements
  • Etude books should include Weissenborn, Jancourt, and Milde scale studies along with Hofmann and starting the Milde concert studies
• Sight reading
  • Contains a wide range in the octaves in complex rhythms or changing meters with quick and short changes in both bass and tenor clefs for lengthier amounts of time
  • Ability to read through and learn solo repertoire with minimal aid from recordings

Clarinet

LEVEL A

Ability to meet level A standards by end of first year (for BA), upon entrance (for BM).

• Tone
  • Mostly clear and resonant tone, playing with control and good pitch over “the break”
  • Fluid chromatic scale from lowest note to high F above the staff
  • Basic knowledge of reed strength associated with tone quality
• Intonation
  • In tune in most keys
• Technique
  • Command of “the break” throat tones
  • Scales/arpeggios in one octave, some in 2 octaves
  • Stable hand position
  • Straight wrists, relaxed hands, curved fingers, good posture, basic firm embrouchure with good shape
• Rhythm/Time
  • Steady pulse in all but extreme tempos
  • Command of basic rhythms and common meters
• Interpretation
  • Some expression in dynamics/volume, tempo and timing
  • Musical phrasing is developing
• Repertoire
  • Two contrasting styles/genres from traditional repertoire
  • Mix of technical and pedagogical approaches
• Sightreading in simple meters utilizing simple rhythmic subdivisions in keys of Bb, F, C, G, or D major

LEVEL B

Our current upper division, pass this level and do a Junior (half) Recital.  

• Tone
  • Clear and resonant tone in all registers
  • Few struggles
  • Fluid chromatic scale from lowest note to high G above the staff
• Intonation
  • In tune in all keys (major and minor) and registers. 
• Technique
  • Knowledge and practice in altering commercial cane reeds
  • Concise and clear embouchure (flat chin) to promote the best tone production
  • Command of scales in thirds, arpeggios and scales over the complete range of the instrument
    • All scales /arpeggios from Baermann book III in two octaves, some in 3 octaves
  • Relaxed technique that aids expression
  • Ability to work on reeds to make them voice evenly
    • with use of reed knife and sandpaper
  • Control of  “special effects” as appropriate to repertoire
    • fast articulation and flutter tonguing
  • Rhythm/Time
    • Steady pulse in all tempos, command of some odd meters
    • Ability in extreme tempos
  • Interpretation
    • Expressive dynamics/volume
    • Command of tempos changes and rubato, growing sense of phrasing
  • Repertoire
    • At least three contrasting time periods or styles appropriate to student’s emphasis and track full movements of works (with piano accompaniment)
  • Sight reading in compound or complex meters in major and minor keys involving change of tempo and articulation
  • Independent preparation and performance of an A-level work of 2-3 minutes in two weeks or less. 

LEVEL C

Pass level and ready to move on to Senior (full) Recital.

• Tone
  • In tune in all registers and positions
  • Command of tone production in all registers
  • Expression
  • Fluid chromatic scale from lowest note to high B above the staff
• Intonation
  • Fully in tune in all registers and keys, including extreme ranges 
• Technique
  • Knowledge and advanced practice in altering commercial cane reeds
  • Proficiency on bass clarinet and A clarinet in addition to Bb clarinet
    • Some Eb clarinet work should be completed by this time
  • Consistent (unmoving) embouchure that promotes excellent tone and good voicing for both articulated and legato passages
  • All scales and arpeggios in major and minor (Baermann Book III), over the complete range of the instrument
  • Expressive playing uninhibited by technique, excellent voicing of the instrument and ability to alter a reed with reed tools (knife, sandpaper)
  • Development and facility of some modern techniques that include reading non-traditional music
• Rhythm/Time
  • Strong sense of pulse
  • Ability to navigate changing and varied meters
  • Can perform complicated rhythms including polymetric rhythms (e.g., 3:2, 5:4, etc.)
• Interpretation
  • Strong contrasts and stylistically appropriate expressions consistent in performance
• Repertoire
  • Awide variety of time periods and styles studied within the curriculum
    • including contemporary music and global styles
  • Ability to perform works of substantial length
• Sight reading in complex rhythms or changing meters

Flute

LEVEL A

Ability to meet level A standards by end of first year (for BA), upon entrance (for BM).  

• Tone
  • Clear and resonant tone, playing with control and good pitch in all registers
  • Fluid chromatic scale from lowest note B (or C if flute does not have low B key) to the second highest C above the staff (c7)
  • Basic knowledge of embouchure, fast air and open mouth and open larynx associated with tone quality
• Intonation
  • Mostly in tune in most keys with the knowledge to know how to fix pitches 
• Technique
  • Able display how to be able to practice runs using rhythmic displacement properly so that technique is always clean
  • Technique Double Tonguing
    • Should be able to demonstrate some double tonguing with 16th notes played at the slowest tempo of 120 bpm
  • Scales in 2 octaves
  • Relaxed hands, curved fingers off the bar, good posture, flexible embouchure, light pressure on the face
• Rhythm/Time
  • Steady pulse in all tempos
  • Command of basic rhythms and common meters using the book Rhythmic Training – Robert Starer
• Interpretation
  • Some expression in dynamics and volume, tempo and timing
  • Musical phrasing is developing while beginning to use vibrato for most long notes
• Repertoire
  • Two contrasting styles/genres from traditional repertoire
  • Mix of technical and pedagogical approaches
• Sightreading
  • Simple meters utilizing simple rhythmic subdivisions in all keys

LEVEL B

Our current upper division, pass this level and do a Junior (half) Recital.   

• Tone
  • Clear and resonant tone in all registers
    • Few struggles
  • Fluid chromatic scale from lowest note B (or C if flute does not have a low B key) to past the highest C (c7) to C#, D, Eb or E 
• Intonation
  • Mostly in tune in all keys and registers 
• Technique
  • Able to be able to practice runs using rhythmic displacement properly so that technique is mostly clean
  • Technique- Double Tonguing
    • should be able to double tongue 16ths faster than 130 bpm with clean tone and skilled fast fingers
  • Knowledge of the top flute players in the world and the flute repertoire that is professional level whether or not they can perform it
  • Knowledge of how to be a supportive colleague and the characteristics that accompany being a musician
    • Early Arrivals
    • Proper Preparation
    • Writing in music exactly what is needed to have a perfect performance
  • Clear flexible embouchure
    • To promote the best tone production and to be able to play upper register notes as soft as possible
  • Command of scales in thirds, triplets, arpeggios and extending over the complete range of the instrument
    • All scales & arpeggios from Mel Bay Indispensable Scales, Exercises and Etudes for the Developing Flutist, and scale exercises in the Manzzanti Method book
  • Relaxed technique that aids expression
  • Understanding of extended technique as appropriate to repertoire
    • flutter tonguing
    • singing while playing
    • harmonics
    • slap tonguing
    • key slaps
    • jet whistle
• Rhythm/Time
  • Steady pulse in all tempos, command of odd meters
  • Ability in extreme tempos
  • Should be at the end of the book Rhythmic Training by Robert Starer if not already completed
• Interpretation
  • Expressive dynamics/volume
  • Command of tempos changes and rubato, growing sense of phrasing with vibrato skills that can be used in all articulations and all dynamics properly at varying speeds
• Repertoire
  • At least three contrasting time periods or styles appropriate to student’s emphasis and track full movements of works (with piano accompaniment)
• Sight reading
  • In compound or complex meters in major and minor keys involving change of tempo and articulation with simple expression.

LEVEL C

Pass level and ready to move on to Senior (full) Recital. 

• Tone
  • In tune in all registers and positions
  • Command of tone production in all registers with an open singing sound
  • Expression
  • Fluid chromatic scale from lowest note B (or low C if flute does not have low B key) to high E past the highest C (c7) above the staff
• Intonation
  • Fully in tune in all registers and keys, including extreme ranges  
• Technique
  • All runs should be able to be executed cleanly
    • No run is un-clean at this point in their level of learning
  • Technique Double Tonguing
    • Should be able to double tongue 16ths faster than 150 bpm with clean tone and skilled fast fingers
  • Some proficiency on piccolo, alto flute or bass flute should be completed by this time
    • Can be utilized by joining flute choir class where low instruments are supplied
  • Consistent flexible embouchure that promotes excellent tone and good voicing for both articulated and legato passages for all dynamics
  • All scales and arpeggios in major and minor (Mel Bay, Mazzanti Method, and Taffanel and Gaubert), over the complete range of the instrument
  • Expressive playing uninhibited by technique, excellent voicing of the instrument and ability to develop their own ideas on how to shape lines properly
  • Development and facility of most modern techniques that include reading non-traditional music
• Rhythm/Time
  • Strong sense of pulse
  • Ability to navigate changing and varied meters
  • Can perform complicated rhythms including polymetric rhythms (e.g., 3:2, 5:4, etc.)
• Interpretation
  • Strong contrasts for loud and soft dynamics
  • Able to master crescendos and decrescendos in tune with clear tone as the dynamic progresses combining with stylistically appropriate expressions consistent in performance
• Repertoire
  • Awide variety of time periods and styles studied within the curriculum, including contemporary music and global styles
  • Ability to perform works of substantial length and to know how to discover works on their own
• Sight reading in complex rhythms and changing meters in all keys

Saxophones

LEVEL A

Ability to meet level A standards by end of first year (for BA), upon entrance (for BM).

• Tone
  • Embouchure exercises (Donald Sinta’s “Voicings”) for clear, focused and resonant tone
  • Understand the relationship between various tip openings and reed strength
• Intonation
  • Complete an intonation and pitch tendency chart for your instrument
  • Learn to utilize both a tuner and the piano as tools to improve overall intonation
• Technique
  • Chromatic scale full range, Major scales and the interval of thirds full range
  • Overtones
    • Basic overtone exercises on the lowest fundamentals
    • Scales/arpeggios in one or two octaves when possible
    • Ergonomics
      • Playing with proper technique, including relaxed and curved fingers, close to the instrument, correct use of octave key
• Rhythm/Time
  • Using a metronome with a wide variety of tempos
  • Sevelop various subdivisions and the ability to quickly switch between them
  • Demonstrate the ability to hold a tempo without a metronome with only minimal departure from tempo
  • Command of basic rhythms and common meters
• Interpretation
  • Some expression in dynamics/volume, tempo and timing, and musical phrasing is developing
• Repertoire
  • Two contrasting styles/genres from traditional repertoire
  • Mix of technical and pedagogical approaches
    • The three schools of concert saxophone 
• Sightreading in simple meters. 

LEVEL B

Our current upper division, pass this level and do a Junior (half) Recital.  

• Tone
  • Clear and resonant tone in all registers
  • Develop a basic understanding of the physics of the saxophone mouthpiece
• Intonation
  • In tune in all registers
  • Demonstrate tuning exercises with piano
  • Learn alternate fingerings to assist in playing in tune
  • Overtones and their relationship to playing in the altissimo register 
• Technique
  • All Major and Minor modes full range of the instrument
  • Articulation exercises to improve nuance
  • Command of scales in thirds, arpeggios and scales over the complete range of the instrument, application of various articulation to these exercises
  • Relaxed technique that aids expression, further development of variable vibrato
  • Basic reed adjustment techniques
    • How to balance the reed with a reed geek or sand paper
    • Control of  “special effects” as appropriate to repertoire
      • Flutter tongue, growling, false fingerings
• Rhythm/Time
  • Using a metronome with a wide variety of tempos
  • Develop various subdivisions and the ability to quickly switch between them
  • Demonstrate the ability to hold a tempo without a metronome with only minimal departure from tempo
  • Command of some odd meters, increased facility in fast tempos
• Interpretation
  • Expressive dynamics/volume
  • Command of tempo changes and rubato
  • Growing sense of phrasing
• Repertoire
  • At least three contrasting time periods or styles appropriate to student’s emphasis and track full movements of works (with piano accompaniment)
  • Introduction to commercial performance styles
• Sight reading in compound or complex meters in major and minor keys involving change of tempo and articulation

LEVEL C

Pass level and ready to move on to Senior (full) Recital.

• Tone
  • In tune in all registers and positions
  • Command of tone production in all registers
  • Expression
  • Fluid chromatic scale full range
• Intonation
  • Fully in tune in all registers and keys, including extreme ranges
• Technique
  • Complete interval studies (Jean-Marie Londeix)
  • All scales and arpeggios in major and minor over the complete range of the instrument, introduce modes of the major scale and diatonic 7th chord arpeggios
  • Expressive playing uninhibited by technique, excellent voicing of the instrument and ability perform two octaves of overtones, demonstrate altissimo notes G, G#, A, and B flat
  • Development and facility of some modern techniques that include reading non-traditional music
• Rhythm/Time
  • Strong sense of pulse
  • Ability to navigate changing and varied meters
  • Can perform complicated rhythms including polymetric rhythms
• Interpretation
  • Strong contrasts and stylistically appropriate expressions consistent in performance
• Repertoire
  • A wide variety of time periods and styles studied within the curriculum, including contemporary music and global styles
  • Ability to perform works of substantial length
    • Unaccompanied works by Walter Hartley and Ryo Noda, Glazunov Concerto