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For Concentration in an Instrument or Voice

1. Technique:
   • Wind Instruments
     • Scales:
       • Major and minor keys at the discretion of the instructor.
       • All major scales in broken thirds.
       • Chromatic, beginning on any note.
       • Two octaves and three where possible.
       • In sixteenth notes at MM quarter note = 100.
       • Articulations:
         • all tongued
         • slur 2
         • slur 2, tongue 2
         • tongue 2, slur 2
         • slur 4
         • tongue 1, slur 3
         • slur 3, tongue 1
         • tongue 1, slur 2, tongue 1
         • tongue 1, slur 2, slur 2, etc.
     • Arpeggios:
       • All major and minor keys.
       • Dominant sevenths of all major and minor keys.
       • Diminished sevenths of all minor keys.
       • Range, tempo and articulation as for scales.
   • Piano
     To be played in the following keys: A flat, D flat, E flat, B, B flat and G flat major. c sharp, f sharp, g sharp, b, b flat and e flat minor.
     • Scales
       To be played hands together in sixteenth notes at: MM quarter note = 132, legato.
       • Major and harmonic and melodic minor, four octaves, separated by an octave.
       • Majors separated by a third and sixth, legato.
       • Major and harmonic minor, formula pattern, legato.
       • Chromatic, beginning on any note, legato.
       • Major in double thirds, two octaves, legato, in sixteenth notes, hands separately, at MM quarter note = 60.
     • Chords:
       Major, minor, dominant and diminished sevenths, four-note form, hands together, two octaves. Solid quarter notes and broken sixteenth notes at MM quarter note = 132; alternate patterns in sixteenth notes at MM quarter note = 104.
     • Arpeggios:
       Major, minor, dominant and diminished sevenths, hands together, four octaves in root position and inversions beginning on any position. Sixteenth notes at MM quarter note = 104.
     • Octaves:
       Major and harmonic and melodic minor, hands together, two octaves, staccato sixteenth notes at MM quarter note = 92.
   • Guitar
     • Scales:
       • Major and minor keys at the discretion of the instructor.
       • Two octaves or three where possible.
       • In eighth note triplets and sixteenth notes at MM quarter note = 100.
       • Tremolando.
     • Cadences: Each scale should end with a I-IV-V-I cadence in quarter notes.
   • Voice
     • Body awareness (posture, alignment, movement)
     • Breathing (physical function, breath control/support, legato)
     • Enhancing tone (essential positions of phonation, intonation, vocal registers, production/quality of resonance, balance, consistency, range, dynamics)
     • Diction (vowels, consonants, dipthongs, vocal placement)
     • Applying musicianship (accuracy and interpretation of notation)
     • Performance/presentation skills (anxiety, self-evaluation)
     • Interpretation/character study (understanding, expression, communication and delivery of music and text)
   • Percussion
     Focus to be on multiple percussion work as applied to repertoire selected. There will also be work with Latin instruments. Selected works for timpani and from Goldenberg: Modern School for Snare Drum and/or selected etudes fromGoldenberg: Modern School for Xylophone.
   • String Instruments
     • Scales:
       • Major and minor keys at the discretion of the instructor.
       • Sixteenth notes at MM quarter note = 92.
       • Three octaves.
       • Four notes per bow and mixed bowings.
       • Chromatic scales:
         • one octave
         • two, three, and four notes per bow.
           Major scales in broken thirds:
         • two octaves.
     • Arpeggios:
       • Major and minor keys at the discretion of the instructor.
       • Sixteenth notes at MM quarter note = 92.
       • Three octaves.
       • Four notes per bow and mixed bowings.
2. Studies,  Etudes or Exercises
   • Wind Instruments, Guitar, Percussion and String Instruments
   • At least two to be selected by the instructor.
   • Voice
     Vocal exercises suited to the needs of each student will be applied that cover the principles of developing flexibility, strength for breath capacity/management, relaxation of vocal tension, vowel clarity/purity, register isolation, coordination and balance, integration of musical or stylistic parameters, and range expansion.
   • Piano
     At least one to be selected by the instructor.
3. Repertoire
   Selection of repertoire should encompass stylistic variety.
   • Wind Instruments, Guitar, Voice, Percussion and String Instruments
   • At least two pieces to be selected by the instructor.
   • Piano
     A minimum of two pieces and one study to be selected by the instructor. Both pieces must be memorized. The student should also perform a minimum of one accompaniment.
4. Sight Reading
   • Instruments only
   • Materials of appropriate complexity in terms of key, rhythm, range and style are to be selected by the instructor. The student will demonstrate accuracy and an understanding of the musical features and characteristics.
5. Quick Study
   • Piano
   • One quick study is to be performed at the jury examination.
6. Other Materials
   Orchestral excerpts, special techniques, transposition, etc. to be introduced at the discretion of the instructor.
7. Performance and Attendance at Recitals and Masterclasses
   • Students are required to perform in at least one student recital and/or masterclass.
   • Students are required to attend all Arts at One concertsand all masterclasses that are required by their instructor.

For Concentration in Composition

1. Advanced techniques for the development of compositional skills and artistic judgment through the writing of assigned sketches and shorter pieces in a variety of selected styles and instrumental/vocal genres.
2. The completion, preparation and performance of one major composition of approximately 5-8 minutes in duration.
3. Presentation in at least one composition masterclass and attendance at all composition masterclasses.