Please note that this handbook is designed for easy print out.

I. Welcome to the Woodwind Department

We hope that you will find your participation in the Woodwind
Department a rewarding and pleasant experience. If you have
any questions, comments, or suggestions, feel free to stop by my
office during the office hours posted on my door.
Bill Pierce, Department Chair
Office - 2M
Paul Wagner is the Woodwind Department Advisor. He keeps office
hours in Room 2F to answer questions about course offerings,
departmental activities
Technique and Foundation
In all instruction offered by the woodwind department, we emphasize
the achievement of a solid foundation in technique (as described in
the final exam requirements for Private Instruction). We emphasize
the basics (i.e., breathing, embouchure, and articulation) as well as
theoretical studies involving scales, chords, arpeggios, and prepared
repertoire. We also provide training in sight-reading and many
advanced saxophone, flute, clarinet, bassoon and oboe playing styles.

II. Private Instruction

Private Lesson Scheduling
Private lessons, which are 30 minutes in length, begin during the
first week of classes. No lessons (other than make - ups) are given
during final exam week.
During Check-in Week, entering students will meet with the
department chair to sign up for a teacher and lesson time. We will
match individual learning needs with the strengths of a particular
instructor. During Registration for the next semester, continuing
students may sign up for the teacher of their choice, on a first come,
first served basis.
Private Lesson Teacher Profiles
The Woodwind Department faculty offices and private lesson studios
are located at 1140 Boylston Street.
Jackie Beard - saxophone
Jackie Beard is a saxophonist and recording artist who has toured
nationally and internationally with a variety of groups. Jackie is
also a clinician for the International Youth Activities Program.
Walter Beasley - saxophone
B.M., Berklee College of Music - Performances with Gerald
Albright, Rachelle Ferrell, Everette Harp, George Howard, Brian
McKnight, Stephanie Mills, Art Porter, Gary Taylor, Bobby
Watson, and others - Saxophonist, recording artist, writer, and
producer for Shanachie Records - Recipient of Boston Jazz Society
award. For more info please visit Walter's website,
www.walterbeasley.com.
Fernando Brandao - flute
Fernando is a flutist with extensive orchestra, solo and chamber
music experience in Brazil and New England. He leads his own
quintet and is a member of Manga Rosa and Bambule. Fernando is
also music director, composer and arranger for Brasilrinho, and has
recorded on Narada and Gilder records. He has previously taught
at Longy School of Music and New England Conservatory.
Peter Cokkinias - clarinet
A professional clarinetist and woodwind doubler, Peter has
performed with a number of top ensembles, including the Boston
Symphony Orchestra and POPS, the Boston Ballet, and the
Cincinnati and Pittsburgh Symphony Orchestras. He is also
featured as the principal clarinetist on the soundtrack to the
Luciano Pavarotti's film "Yes, Giorgio". Presently, he performs
multiple woodwinds including double reeds at Boston's Colonial
Theater and at Beverly's North Shore Music Theater.
George Garzone - saxophone
An active soloist, performer, and recording artist, George has
performed with George Russell, Buddy Rich and Tom Jones. He
also leads his own group, The Fringe. In private lessons, George
emphasizes expanding your harmonic vocabulary and instrumental
technique. He teaches saxophone, clarinet, and flute.
Dino Govoni - saxophone
Dino, a specialist in bebop and modern jazz, is an active freelance
saxophonist and a member of the John Allmark Jazz Orchestra and
the Boston based Argentinian/Brazilian Jazz Group El Eco. He has
performed with the Four Tops, the Temptations, Aretha Franklin,
Randy Brecker, Larry Goldings and the Boston Pops (with Anita
Baker) to name a few. His recordings include "Breakin' Out" and
"In the Library" along with Terence Trent D'Arby's "Symphony
or Damn". Dino's private lessons emphasize expanding your
harmonic approach and instrumental technique (including the
altissimo register). For more info please visit Dino's website,
www.dinogovoni.com.
Jeff Harrington - saxophone
Saxophonist Jeff Harrington specializes in contemporary
improvisation and instrumental technique. He has performed with
Toots Theileman, the Gene Krupa Orchestra, Billy Hart, and Milt
Hinton.
Shannon LeClaire - saxophone
Shannon is an excellent jazz and classical performer and teacher on
saxophones, flute, piccolo, and clarinets. She has been a member of
the Smithsonian Institute's Jazz Masterworks Orchestra as a
saxophonist/clarinetist since 1993, working under the conductors
David Baker and Gunther Schuller. Shannon has performed with
the orchestra throughout the United States at prestigious venues
and festivals including the Kennedy Center, the Apollo Theater,
the Lincoln Theater (Washington, D.C.), the Monterey Jazz
Festival, the Sarasota Jazz Festival, the Indianapolis Jazz Festival
and the IAJE convention (2001).
Shannon currently holds the Doctor of Musical Arts degree
(A.B.D) in Saxophone Performance from Indiana University where
she studied jazz improvisation with Distinguished Professor David
Baker and classical saxophone with Dr. Eugene Rousseau.
Shannon also holds the Bachelor of Applied Arts in jazz studies
from Cornish College of the Arts (Seattle, WA) and a Master of
Music in Woodwinds (clarinet, saxophone and flute) from Western
Washington University (Bellingham, WA). Shannon has also
studied classical saxophone with Ramon Ricker at the Eastman
School of Music and eartraining, theory, jazz piano and jazz
improvisation with the world-renowned bassist, Gary Peacock.
Barbara LaFitte - oboe
Oboist Barbara LaFitte is a familiar face on the Boston music
scene. She is principal oboist of the Boston Ballet Orchestra and
the Boston Classical Orchestra, and plays english horn in the
Boston Pops Esplanade Orchestra. She is also a member of Boston
Modern Orchestra Project, and is a regular in Emmanuel Music's
Bach Cantata series. In addition, she has played in the backup
orchestras for Rod Stewart, Jethro Tull, Yianni, and the Moody
Blues. Ms. LaFitte is on the faculty of Berklee College of Music in
Boston, where she is developing an innovative oboe studio and
coaching chamber ensembles. She was appointed to the faculty of
Wellesley College as the new oboe instructor in September, 2003.
Fred Lipsius - saxophone
Fred was the original saxophonist and arranger for Blood, Sweat
and Tears (1967 to 1971) and won a Grammy award for his
arrangement of "Spinning Wheel." He currently fronts his own jazz
group. Fred's most recent album, Distant Lover(s), showcases him
as a solo performer of his own jazz compositions.
Matt Marvuglio - flute (Dean, Performance Division)
An active concert performer, soloist, studio musician, and
composer, Matt teaches private lessons on flute. He is proficient in
all styles. Matt has recorded many jingles and soundtracks for
radio and television.
Andy McGhee - saxophone
Saxophonist Andy McGhee, author of Modal Approach in
Improvisation, is a soloist and performer with an international
reputation. He has performed with Lionel Hampton, Woody
Herman, Louis Armstrong, Tony Bennett, and Sammy Davis, Jr.
At Berklee, he teaches private lessons on saxophone, clarinet, and
flute.
Jim Odgren - saxophone
Saxophonist Jim Odgren has performed and recorded with the
Gary Burton Quartet, Victor Mendoza, the Michael Gibbs
Orchestra, and the Rjinmond Saxophone Quartet. Well-versed in
traditional jazz skills, he is equally at home in fusion and R&B
styles.
Margaret Phillips - bassoon
Margaret Phillips is a freelance bassoonist and contra-bassoonist in
the New England area. She has performed with numerous
orchestras including the Boston Symphony Orchestra and Boston
Pops, and is a regular member of the Boston Philharmonic,
Portland Symphony, New Hampshire Symphony, Rhode Island
Philharmonic, and the Boston Modern Orchestra Project. She is
also a member of several chamber music groups in Boston and has
recorded for the Koch, Pickwick, Titanic, and New Albin labels.
Ms. Phillips holds a Bachelor of Music degree from the University
of Michigan and a Master of Music degree from Boston
University.
Bill Pierce - saxophone (Department Chair)
Saxophonist Bill Pierce, an internationally recognized performer,
has been featured with Art Farmer, James Williams, Art Blakey,
Max Roach, Freddie Hubbard, Tony Williams, and most recently
with the Kevin Eubanks quartet. Bill is an internationally
recognized educator who has presented clinics in Europe, Asia,
and South America as well as throughout the United States.
Wendy Rolfe - flute
Flutist Wendy Rolfe is a specialist in traditional and modern
repertoire and has recorded on crystal flute for Newport Classic.
She directs the Flute Choir at Berklee. She has been awarded a
solo recitalist grant from the National Endowment for the Arts and
has made concert appearances throughout the United States under
the auspices of Columbia Artist Management. For more info please
visit Wendy's website, people.berklee.edu/~wrolfe/.
Harry Skoler - clarinet, saxophone
Harry has performed nationally in clubs, festivals and concert
halls, as well as for television and radio. As a clarinet teacher,
Harry encourages students to develop their own style, take chances
and employ thoughtful, analytical practice approaches which hone
their musical problem-solving skills. Harry has written on jazz
education for Downbeat Magazine. For more info please visit
Harry's website, www.changingtones.com/skoler.html.
Frank Tiberi - saxophone
Frank teaches saxophone and clarinet. His professional
performances as a featured soloist and section leader include
appearances with Dizzy Gillespie, Bob Chester, Urbie Green,
Benny Goodman and the Woody Herman Band. Frank has also
served as an arranger and music director for the Woody Herman
Band. For more info visit Frank's website, www.franktiberi.com.
Paul Wagner - saxophone
Paul is a published composer, author, arranger, and an active
saxophone player with an extensive theater and studio background.
Paul emphasizes fundamentals and basic technique in his private
instruction. He has written several articles for Saxophone Journal.
Daryl Lowery - saxophone
Daryl was born and raised in the Metropolitan New York area
were he was exposed to Jazz, Soul, Funk, R&B and fell in love
with these and other African American Art forms. Daryl came to
Boston to study at New England Conservatory and has since
recorded and or performed with such notables as imortals Dizzy
Gillespie and Jackie Byard, the eclectic Ran Blake and Boston’s
funk legend Ellis Hall. In addition to occasional tours during the
past five years with Sony Music artist Al Kooper he performs
regularly with the Boston based Soul/R&B Urban Renewal Band,
the Greg Hopkins 16 Piece Jazz Orchestra, and Blues After Dark.
Daryl has been a Berklee faculty member since 1987. For more
info please visit Daryl's website, www.instant-groove.com.
Mia Olson - Flute
Mia is a Professor in the Woodwind Department at Berklee
College of Music, teaching private flute lessons, the Jazz Flute
Lab, basic keyboard classes, and Yoga For Musicians classes. She
performs and teaches various styles of music including jazz,
classical, Latin, Indian, rock, and other styles of music from
around the world. Highlights of her performance career include
numerous concerts, recordings, live radio broadcasts and film
soundtracks. She has recorded many CD's with various artists and
has produced three of her own CD's entitled Images, for flute and
guitar, Sombrio, for flute and piano, consisting of all of her
original compositions, and Meditations, a two flute improvisation
CD. Mia earned a B.M. degree in classical flute performance from
the University of Wisconsin-Madison, a Diploma in jazz flute
performance from Berklee College of Music, and a M.M. degree in
contemporary improvisation from New England Conservatory of
Music. In addition to playing and teaching music, Mia is also a
certified Kripalu Yoga Teacher. Mia teaches Yoga for Musicians
classes for Berklee College of Music students and also classes for
faculty and staff. She has presented Yoga for Musicians seminars
for organizations including the Greater Boston Flute Association
and the International Jazz Festival in Mexico.
Professional Performance Division: Teacher's Grading Criteria
http://www.berklee.edu/majors/performance/grading_criteria.html
Private lesson grading consists of one assessment (50%) that is the
final exam and a second assessment (50%) which is the teacher's
way of measuring a student's performance and progress in the
private lesson using a number of different criteria.
Listed below are the criteria with which students will be graded.
GRADE - A (90-100)
• Shows up to lessons on time, tuned up and ready to play
• Makes the private lesson a priority and keeps the teacher well
informed as to musical and academic activities
• Focuses on weaknesses as well as strengths, takes suggestions,
and at the same time, has own inner direction
• Works above and beyond teacher's expectations, prepares
assigned materials, and performs at a high level
• Shows improvement of instrumental skills and musicianship
• Is an active student player/performer, seeks playing (as well as
listening) opportunities around the college, and is self-motivated
GRADE - B (80 - 89)
• Shows up to lessons on time, but is not always prepared
• Makes the private lesson a priority, but not his/her top priority
• Focuses on weaknesses and makes progress
• Prepares assignments most of the time, but sometimes makes
excuses for not preparing lesson, because other work gets in the
way
• Shows improvement of instrumental skills and musicianship
• Is an active student player/performer and is self-motivated
GRADE - C (70 - 79)
• May show up to lessons on time, but not always prepared
• Private lesson is not a priority
• Avoids weaknesses and rarely makes progress
• Occasionally prepares assignments, has frequent excuses, and
lacks self-motivation
• Shows little improvement of instrumental skills and
musicianship
• This student is inconsistent
• This student may or may not be an active student
player/performer
GRADE - D (60 - 69)
• Rarely shows up to lessons on time and is rarely prepared
• Shows little interest in improving instrumental skills and/or
musicianship
• Rarely takes suggestions
• This student is probably not an active student player/performer
• This student barely performs at the level, however, there is
some evidence of musical ability that warrants a passing grade
• This student receives a grade of 60 or higher on the final exam
GRADE - F (Below 60)
• Rarely shows up to lessons on time and is rarely prepared
• Shows little interest in improving instrumental skills and/or
musicianship
• Rarely takes suggestions
• This student is probably not an active student player/performer
• This student does not perform at level and/or fails the final
exam
Professional Performance Division: Private Instruction Policies
http://www.berklee.edu/majors/performance/private_instruction.ht
ml
I. Private Instruction Residency
All majors at Berklee require at least four semesters of
participation in private lessons(8credits earned) and successful
completion of four final exams on a principal instrument.
Students in the Performance, Professional Music, and Music
Education majors must earn private lesson credits, and pass final
exams, as follows:
• Performance: 24 credits (eight semesters) eight final exams;
plus four Recital Preparation
• Professional Music: 12 credits (six semesters) six final exams
• Music Education: 12 credits (six semesters) six final exams
II. Absence
A documented medical excuse or a family emergency constitutes
an excused absence. Otherwise, it is at the teacher's discretion
whether an absence is recorded as excused or unexcused.
If the student has three unexcused absences before the mid-term
exam, the teacher may withdraw the student from the class. Faculty
keep accurate records of student absences, but ultimately it is the
student's responsibility to withdraw from a class.
III. Incomplete
An Incomplete grade is given by the teacher, not the department
chair. It is granted in private lessons only in extreme
circumstances. These circumstances include a documented
medical excuse or family emergency.
To receive an Incomplete grade, the student must be passing the
course and have satisfactory attendance.
An Incomplete must be made up the next semester, provided the
student is enrolled at the college. If not enrolled, the student has
one calendar year to complete the make up exam.
IV. Make Up Exam Fee
A fee of $20.00 must be paid to the Bursar's Office for late final
exams. The student must bring the receipt to the make up and
present it to the teacher.
V. Credit By Exam
Credit By Exam (CBX) will not be available for courses in which
both proficiencies and participation are the criteria for credit.
Theses courses include private lessons, ensembles, and labs.
However, the chair of the department may grant CBX for private
lessons for those students who have advance-placed on their
entering placement exam and need to line up their residency
requirements. Generally, CBX for private lesson is granted for
levels 1-4. The student should see the chair of the department with
any questions concerning CBX and private lessons.
To receive Credit By Exam, students will be expected to perform
above and beyond the minimum criteria for the exam level in
question because both proficiency and participation are included
in the criteria for credit. All students will be awarded their CBX
credit after their senior recital or the final project of their
program.
VI. The Syllabus
Each teacher will provide each student with a syllabus at the
beginning of the semester. The syllabus is the contract between the
student and the teacher.
Private Instruction Final Exams
Saxophone, clarinet, flute, bassoon and oboe lessons which include
a final performance exam are titled "Private Instruction -
Woodwinds". See the end of this handbook to check out the exam
requirements for each level.
The exams have been designed by the Woodwind Department to
evaluate your progress in technical proficiency, musicality, and sight
reading on your instrument. The exam evaluations are cumulative,
which means that if you are being tested for Level 3 you may be
asked to perform material from Level(s) 1 and/or 2. A written
evaluation of your exam will be given to your private instructor, who
will use the information to focus your lesson development.
Final exam requirements are not the only materials that will be
covered in your private lesson. Depending on your own skills and
rate of progress, however, you may need to spend a large portion of
the lesson time on exam-related material. If you are already able to
perform the minimum requirements, you are expected to work with
repertoire and/or technical materials appropriate to your ability.
Scheduling of Private Instruction Final Exams
Private lesson exams are given during the final exam week of each
semester. You should discuss the exam level to be performed and the
testing time with your private lesson instructor and/or Bill Pierce.
Sign-up for exams will take place at the department office during
posted hours. If you need to make up any exam level(s) but are not
studying with a private instructor, contact Bill Pierce directly (Room
2M).
Additional Lessons: Non-leveled & Non-principal
All instrumental instruction credit for graduation must be earned on
a single principal instrument. As a saxophone, clarinet, flute, or oboe
principal, you may use credit earned on other woodwind instruments
to meet the graduation requirement. (All woodwind instruments are
included under the title of "Private Instruction - Woodwind." The
saxophone family is considered as a single principal instrument, but
saxophonists must declare one saxophone as their principal for
recital and ensemble purposes.) If you change your principal
instrument, you may jeopardize your graduation status.
Non-leveled lessons, which do not include a final exam, may be
available to students who are already enrolled in an exam-based
lesson and wish to take an additional lesson on their principal
instrument. Non-leveled lessons are not included in your full-time
tuition, and approval by Bill Pierce is required.
Non-leveled lessons do not satisfy the graduation requirement for
private instruction; instead, they are applied to your general elective
credit, within the established limits.
Private instruction on instruments outside of the Woodwind
Department may be available, depending on teacher availability.
Approval by the appropriate department chair is required. As a
woodwind principal, any private instruction credit you earn on a
non-woodwind instrument will be applied to your general elective
credit, within the established limits.

III. Ensemble/Lab Program

General Information
• All first-year students are required to participate in the
ensemble/lab program.
• The graduation requirements sheet for your major, which is
available from the Counseling Center or on the wall outside of the
Registrar's Office (room 126, Uchida Building, 921 Boylston)
shows how many credits you must earn in each area of instruction.
All students must earn at least five credits in the ensemble/lab
program before graduation; some majors require more (for
example, Performance Majors must earn 12 ensemble/lab credits).
Required Labs
Required labs are designed to support private lessons and develop
your performance skills. The following labs are required of all
woodwind principals:
ILWD-111
Woodwind Lab – Techniques 1
0.5 credit
Course Chair: W. Pierce
Required of: Woodwind Dept. principals
Electable by: Woodwind Dept. principals
Offered: Spring, Summer, Fall
Prerequisite: None
Reading studies, improvisational techniques, and practice routines in a
variety of styles. Lab content is musically related to ensemble and private
instrumental instruction materials.
ILWD-112
Woodwind Lab – Techniques 2
0.5 credit
Course Chair: W. Pierce
Required of: Woodwind Dept. principals
Electable by: Woodwind Dept. principals
Offered: Spring, Summer, Fall
Prerequisite: ILWD-111
Reading studies, improvisational techniques, and practice routines in a
variety of styles. Lab content is musically related to ensemble and private
instrumental instruction materials.
ILWD-113
Woodwind Lab – Techniques 3
0.5 credit
Course Chair: W. Pierce
Required of: Woodwind Dept. principals
Electable by: Woodwind Dept. principals
Offered: Spring, Summer, Fall
Prerequisite: ILWD-112
Reading studies, improvisational techniques, and practice routines in a
variety of styles. Lab content is musically relatedto ensemble and private
instrumental instruction materials. own choice of jazz and/or classical
pieces to perform in class.Basic and advanced material will be covered.
Placement in required labs, or advanced placement out of them, is
determined through your initial audition in the Woodwind
Department. You may request that your lab level be changed if you
believe that the level you are in is too easy or too difficult. Your lab
instructor must officially recommend the change.
Doubling Labs
Although not required, we strongly recommend that you participate
in at least two doubling labs.
ILWD 321 - Woodwind Doubling Lab - Flute
ILWD 331 - Woodwind Doubling Lab - MIDI Wind Controller 1
ILWD 322 - Woodwind Doubling Lab - Clarinet
ILWD 323 - Woodwind Doubling Lab - Saxophone
Elective Labs
Elective labs allow you to explore diverse skills and styles. The
Woodwind Department offers the following elective labs:
ILWD 211 - Woodwind Improvisational Lab 1
ILWD 221 - Practice Routines for Flute
ILWD 311 - Woodwind Improvisational Lab 2
ILWD 241 - Jazz Flute Lab
ILWD 341 - Survey of Classical Flute Repertoire
ILWD 343 - Flute Choir
ILWD 345 - Brazilian & Latin Flute Lab
ILWD 351 - Clarinet Choir
ILWD 361 - Saxophone Quartet
ILWD 365 - Saxophone Section Playing
Following labs are electale by Music Education majors only:
ISWD 221 - Flute Class for Music Education Majors
ISWD 222 - Clarinet Class for Music Education Majors
ISWD 223 - Double Reed/Saxophone Class for Music Education
Majors
Complete course descriptions can be found in the College Bulletin
or the Registration Manual.
Ensemble Auditions & Offerings
All entering students perform an audition, which determines their
first semester placement in ensembles.
Students who wish to upgrade their ensemble ratings (in order to
enroll in upper level ensembles in the following semester) may
audition during midterm week or final exam week. Students who
intend to register for the fall or spring semesters should plan to
audition during midterm week of the preceding semester. (In the
summer semester, ensemble auditions are only scheduled during
final exam week.)
You must go to the Ensemble Department Office (Room A01, 150
Mass. Ave.) to schedule an audition. Auditions are scheduled on a
first come, first served basis, and the Ensemble Department posts
notification of the sign-up period throughout the College. Students
may audition only once per semester (with the exception of students
who are in their first semester) either during midterm week or final
exam week.
If you plan to audition for ensemble ratings, you should discuss this
with your private lesson instructor early in the semester, so that you
can work on audition material in your private lessons.
All ensembles carry ratings levels as prerequisites. Prerequisites and
descriptions for each ensemble are listed in the College Bulletin. You
may also visit the Ensemble Department to discuss ensemble
auditions and offerings. Woodwind players are featured in many
groups, including:
WOODWIND
ENLB 271 - The Concert Band
ENLB 412 - Jazz Flute Ensemble
ENSB 361 - Advanced Woodwind Chamber Music
BIG BAND
ENLB 321 - Big Band Ensemble
ENLB 325 - Back Bay Brass
ENLB 421 - Rainbow Big Band Ensemble
ENLB 431 - Advanced Repertoire Big Band Ensemble
ENLB 471 - Berklee Concert Jazz Orchestra
JAZZ
ENLB 351 - Chord Scale Madness Ensemble
ENLB 451 - The Jazz Composition Ensemble
ENLB 461 - The Avant-Garde Ensemble
ENSB 325 - Small Be-Bop Jazz Ensemble
ENSB 351 - 8-Piece Jazz Ensemble
ENSB 381 - The Berklee Wes Montgomery Ensemble
ENSB 382 - The Berklee Wayne Shorter Ensemble
ENSB 383 - The Berklee Yellowjackets Ensemble
ENSB 384 - The Horace Silver Ensemble
ENSB 385 - The Cannonball Adderley Ensemble
ENSB 386 - The Tal Farlow Ensemble
ENSB 411 - Advanced Small Ensemble
ENSB 421 - Rainbow All-Stars
ENSB 425 - Advanced Repertory Workshop
ENSB 451 - 9-Piece Jazz Ensembles
ENSB 481 - The John Scofield Ensemble
ENSB 482 - The Art Blakey Ensemble
ENSB 483 - The Berklee Thelonious Monk Ensemble
LATIN & WORLD MUSIC
ENLB 246 - World Music Ensemble
ENLB 251 - The African-Pop Ensemble
ENSB 328 - Latin Jazz Ensemble
ENSB 211 - Small Band Ensemble 3
ENSB 311 - Small Band Ensemble 4
ELECTRONIC/SYNTHESIZER
ENSB 326 - Mixed Instrument/Synthesizer Ensemble
ENSB 327 - Techno/Rave Ensemble
ENSB 335 - Improvisational Styles Ensemble
ENSB 341 - Multi-Keyboard Ensemble
ROCK/POP/BLUES/COUNTRY
ENLB 331 - Jazz/Rock Ensemble
ENSB 215 - Blues-Rock Ensemble
ENSB 216 - Classic-Rock Ensemble
ENSB 329 - Country Music Ensemble
FUNK/FUSION
ENSB 345 - Funk Bands
ENSB 346 - Contemporary Fusion Ensemble
SPECIALIZED ENSEMBLES
ENLB 472 - The Berklee Recording Orchestra

IV. The Performance Major

Students majoring in Performance concentrate their studies on mastering
concepts, techniques and musical styles that are necessary for a successful
performance career. Required courses emphasize improvisation, ensembles,
styles analysis, rehearsal techniques, four levels of recital preparation
(culminating in the Senior Recital, which is the required final project for
Performance majors) and eight levels of private instruction on a principal
instrument. Performance majors are required to pass 8 final exam levels on
their principal instrument. (See the end of this handbook for the complete
final exam requirements for private instruction.)
It is highly recommended that students declare a major in
Performance during their second semester of study. Please review the
grids for Performance Majors at the Performance Major home page
(http://www.berklee.edu/majors/performance.html). If you are entering the
Performance Major in your fourth semester or above, you must fulfill the 30-
credit requirement in Performance Concentrate courses by completing one or
more Approved Specified Electives.
It is strongly recommended that students have a GPA of 2.7 or higher in
private instruction, ear training, and ensemble/lab in order to declare a major
in Performance.
Students who are accepted into the major must maintain a 2.7 minimum
GPA in Performance Concentrate courses to remain in good academic
standing.

If you are interested in declaring the Performance Major, you must:

•• Make an appointment with your Department Chair and request
an ““Intent to Declare Performance Major”” form. If you wish, you
can get a copy of the form at the Performance Major home page
(http://www.berklee.edu/majors/performance.html).
•• Go to the Professional Performance Division (PPD) Office (fifth floor
of 1140 building) and ask for a proposed student program report
(PSPR)
•• Submit a completed Intent to Declare Performance Major /PSPR form
to the Instr. Dept. Chair, who will give you a Declaration/Change of
Major Form.
•• Bring the declaration form to the PPD Office for signature by the
Chair of the Performance Major (Dean of the Performance Division).
Then bring the completed declaration form to the "Front Line" at the
Office of the Registrar (1st floor, 921), or PPD can route it via
interoffice mail.

Required Courses in the Performance Major

PFWD-231 - Performance Major Private Instruction 3 is required of
all third semester Performance majors. This course, combined with
PIWD-211, is a college hour (fifty minute) private lesson on your
principal instrument that meets on a weekly basis. Similar to the third
semester Private Instruction (PIWD-211) for non-Performance
Majors, the Instrumental Departmental Final Exam is a major
component of the final grade determination. It differs from the third
semester Private Instruction (PIWD-211) for non-Performance
Majors in that the longer format allows more time for detailed
instruction and learning required for a Performance Major. Course
instruction provides students with individual guidance in developing
performance technique, learning repertoire, ear training and
transcription, and strengthening their sense of musical direction in
preparing for performance of music.
PFWD-232 - Performance Major Private Instruction 4 is required of
all fourth semester Performance majors. This course, combined with
PIWD-212, is a college hour (fifty minute) private lesson on your
principal instrument that meets on a weekly basis. Similar to the
fourth semester Private Instruction (PIWD-212) for non-Performance
Majors, the Instrumental Departmental Final Exam is a major
component of the final grade determination. It differs from the fourth
semester Private Instruction (PIWD-212) for non-Performance
Majors in that the longer format allows more time for detailed
instruction and learning required for a Performance Major. Course
instruction provides students with individual guidance in developing
performance technique, learning repertoire, ear training and
transcription, and strengthening their sense of musical direction in
preparing for performance of music.
PFSS 381 - Survey of Woodwind Styles
The analysis of the history of woodwind instruments (saxophone,
flute, clarinet) in jazz. Emphasis is placed on the various styles of
major players. The study of woodwind players including Johnny
Hodges, Charlie Parker, Cannonball Adderley, Lester Young, John
Coltrane, Eric Dolphy, Frank Wess, Andy Kirk, Benny Goodman,
John LaPorta, Gerry Mulligan, and others through tapes, articles and
transcriptions.
PSHR 321 - Harmonic Considerations in Improvisation 1
Exploration of the relationship between improvisation and harmonic
context. Analysis of harmonically sophisticated music using
analytical techniques from Harmony 4.
Recital Preparation Lessons
Recital Preparation lessons are required of Performance majors in
the 5th through 8th semesters and build toward the Senior Recital,
which is the Performance major's required final project. Recital
Preparation lessons focus on developing performance technique,
expanding your repertoire, and honing your sense of musical
direction in building a performance.
If you are inexperienced in on-stage performance, the Recital
Preparation series can help you to select and prepare pieces with
which you can build confidence and performance skills. If you are an
experienced performer, Recital Preparation lessons and performances
present a great opportunity to experience new challenges and grow
beyond your proven strengths.
Performance majors are required to take the 4 levels of Recital
Preparation in 4 successive semesters, and they must take the
corresponding Private Instruction levels (5 through 8) at the same
time. Students cannot receive credit by exam for Recital Preparation
lessons.
RPWD 311 - Recital Preparation 1 - 5th semester
Along with "Recital Preparation 1," all 5th semester Performance
majors are required to take the Recital Workshop for Performance
Majors.
ILRE 375 - Recital Workshop for Performance Majors
Topics covered include repertoire, stage presence, mental
preparation, memorization, and constructive criticism. Each student
performs three solos during the semester and participates in
discussion of in - class performances. Your Recital Preparation 1
private instructor will help you prepare your solos for this class.
RPWD 312 - Recital Preparation 2 - 6th semester
Recital Preparation 2 includes a 10-minute performance in 2K
(which you will schedule through the Woodwind Department office).
Your Recital Preparation 2 teacher must approve your program for
this performance, which will be recorded on cassette and reviewed
with your teacher.
RPWD 411 - Recital Preparation 3/Jury - 7th semester
Recital Preparation 3 includes the Jury-a preview of the Senior
Recital-as the final exam. In order to receive credit for "Recital
Preparation 3" and proceed to Recital Preparation 4, you must
receive a passing grade for your Jury. Your Jury performance will be
evaluated by a panel made up of two teachers from the Woodwind
Department.
The Jury is a 30-minute performance of material, which will be
included in the Senior Recital. Juries are scheduled through the
Woodwind Department office. Before you schedule your Jury, you
must have your Jury program approved and signed by your private
instructor(s) and Bill Pierce. Your Jury program should be prepared
using the following guidelines:
• Woodwind Principal: Demonstrate ability on 3 different
Woodwinds. Perform in different styles (classical, jazz, etc.).
• Saxophone Principal: Demonstrate ability on 2 different
saxophones. Perform with a high level of improvisational skill and
concentration.
• Clarinet Principal: Demonstrate ability on 2 different clarinets.
Perform in different styles (classical, jazz, etc.).
• Flute Principal: Demonstrate ability on 3 different flutes. Perform
in different styles (classical, jazz, etc.).
RPWD 412 - Recital Preparation 4/Senior Recital - 8th
semester
Recital Preparation 4 (required of 8th semester Performance majors)
includes the Senior Recital as the final exam.
Your Senior Recital program must include at least 60 minutes of
music and should offer a diverse selection of idioms and styles. Your
recital program must be approved and signed by Bill Pierce at least 7
weeks before your recital. No changes may be made to your
program after it has been approved by the department. Recital
protocol and procedures must be observed.
Recitals will be evaluated by your Recital Preparation instructor and
other faculty in the Woodwind Department.
Approved Specified Electives in the Performance Major
Beginning in 04FA, students who place beyond semester level 3 and/or 4
private instruction must fulfill those credits (one credit for PFWD-231 and
one credit for PFWD-232) by completing Approved Specified Electives
(ASE's). Beginning in 04FA, PFET-361 & PFET-362 are ASE's. These are
one-credit courses.
PS-495, Professional Performance Internship will continue to be an ASE. This
is a two-credit course. Beginning in 07SP, courses with the prefix PSI(x) will
be accepted as ASE's. PSI(x) courses are Performance Studies courses where
focused study of improvisation is central to the curriculum.
PFET-361 and PFET-362 - Performance Ear Training for
Woodwinds, Brass, Strings, and Vibes 1 & 2 – Scott deOgburn &
Rick Di Muzio
Performance Ear Training for Woodwinds, Brass, Strings, and
Vibes 1 is Ear Training with an emphasis on practical performance
experience. Recognizing pitch, rhythm, harmony and timbre by ear
and responding on the student’s instrument in class. Some dictation.
Some nonsyllabic sight-singing.
Performance Ear Training for Woodwinds, Brass, Strings, and
Vibes 2 is a continuation of PFET-361.
PS-495 - Professional Performance Internship - Matt
Marvuglio
Monitored and evaluated professional work experience for the
Performance Major. To apply for an internship, students must see the
internship coordinator in the Office of Experiential Learning prior to
registering. Placement is limited to situations available from or
approved by the Office of Experiential Learning and the appropriate
Performance Department Chair or a designee.

V. Performance Studies Electives

Improvisation Courses
Most Berklee students say that developing their improvisation skills
is an important musical goal. As a woodwind player here, you can
strengthen your improvisation techniques in styles including jazz,
rock, Latin and world music.
We especially recommend improvisation studies for students who are
Performance Majors.
The following courses are electable by students in all majors.
PSIJ 371 - Performing Harmony Workshop 1
Recommended for performers interested in developing their musical
ear.
JAZZ
* PSIJ 221, 315, 321, 322, 421, 422, 423: These classes are
instrumentally balanced; students perform weekly.
PSIJ 211 - Jazz Improvisational Techniques
Highly recommended if you are considering any of the Performance
Studies' jazz improvisation classes and would like to begin to
develop the language used in jazz improvisation.
PSIJ 215 - Standard Jazz Repertoire 1
Recommended for students who take the Jazz Improvisation
Techniques 1-5 series: These classes are leveled and instrumentally
balanced; students perform weekly.
PSIJ 216 - Standard Jazz Repertoire 2
A sequel to PSIJ 215, this course continues the process of building
and retaining a functional repertoire of jazz standards in bebop,
Latin, ballad and contemporary styles.
PSIJ 221 - Jazz Improvisation Techniques 1
An ideal follow-up to PSIJ 211 Jazz Improvisational Techniques.
PSIJ 255 - The Music of Wayne Shorter
Historic, stylistic, and performance-based overview of the
compositions and improvisations of Wayne Shorter, covering the
period from the late 1950s to the present.
PSIJ 271 Ready, Aim, Improvise!
Using the lecture/demonstration format, this course explores in detail
the critical areas involved in learning how to improvise in the jazz
idiom. This course is recommended for serious, career-minded
students of jazz improvisation at beginning, intermediate and
advanced levels, especially those who take the Jazz Improve 1-6
course series.
PSIJ 331 The Jazz Line
A performance-centered class covering jazz vocabulary and the
construction of jazz melodies based on the traditions of players
including Charlie Parker, John Coltrane, Sonny Rollins, Sonny Stitt,
Kenny Dorham, and others.
PSIJ 335 Melodic Structures in Improvisation
A performance-centered class covering melodic cells and their
permutations applied to improvising in a variety of settings. Study of
multi tonic systems (Coltrane changes) and their application as either
harmony or substitutions.
PSIJ 341 Pentatonics in Improvisation
A performance-centered class covering minor 7, minor 6, minor
7(b5), major b6 and all diminished related pentatonics and their
application to improvisation and the creation of melodies and usage
charts. Voice leading and approach systems as used by master
improvisers including Wayne Shorter, John Coltrane, Joe
Henderson, and others.
PSIJ 321 - Jazz Improvisation Techniques 2
An expansion of the fundamental improvisational skills developed in
PSIJ 221, with the introduction of techniques that will further
enhance your personal improvisational style.
PSIJ 315 - Improvisation on Standard Songs
This class is recommended for students considering taking PSIJ 322
Jazz Improvisation Techniques 3.
PSIJ 322 - Jazz Improvisation Techniques 3
An intermediate-level course introducing approaches to
improvisation that requires a solid background in harmonic and tonal
concepts.
PSIJ 421 - Jazz Improvisation Techniques 4
An upper-level course recommended for students with welldeveloped
improvisational skills and concepts who are interested in
further developing their own personal style through detailed
application.
PSIJ 422 - Jazz Improvisation Techniques 5
An advanced course recommended for students who have already
begun to develop their own personal music styles.
PSIJ 423 - Jazz Improvisation Techniques 6
An advanced course offering sophisticated approaches and
concepts.
PSIJ 311 - Chord Scale Theory in Improvisation
Designed for performers, this course will examine the application of
chord scales to harmonic progression.
PSIJ 325 - Jazz Interpretation
Development of a personal and individual jazz style through
emphasis on reading, improvisation, and interpretative techniques.
PSIM 327 - Improvisation in the Jazz - Blues Idiom
A study of basic blues playing in the jazz idiom. Recommended for
the beginning-to-intermediate improviser interested in this genre.
PSIJ 425 - Advanced Jazz Improvisational Techniques
Recommended for students who have ensemble ratings of 6666.
PSIJ 351 - Performance and Analysis of Bebop Music
Analysis and performance of music in the style of Charlie Parker,
Dizzy Gillespie, Clifford Brown, Kenny Dorham, and others.
ROCK
PSIM 231 - Rock Improvisational Techniques 1
Major techniques discussed in this course include pacing, rhythmic
density, melodic and rhythmic embellishment, chord scale practice,
and non-harmonic melody notes.
PSIM 235 - Improvisation in the Rock - R&B Idiom
A study of basic blues playing in the rock/R&B idiom.
Recommended for the beginning-to-intermediate improviser
interested in this playing idiom.
PSIM 335 - Improvisation in the Jazz - Rock/ Fusion Idioms
Major players and groups to be analyzed will be The Yellowjackets,
Michael Brecker, David Sanborn, and Chick Corea. This class will
perform original compositions in an end-of-the-semester final
performance.
ADDITIONAL COURSES IN THE ROCK IDIOM
PSPR 381 - Commercial Band Workshop
Performances of music in various styles appropriate to general
business jobs.
PSPR 363 - Progressive Rock Performance
A study integrating performance of the progressive rock style of the
'70's: repertoire, instrumentation, forms, sound, and other musical
elements leading to emulation and creative reproduction of this
musical genre.
LATIN
PSIM 341 - Improvisation in the Latin/Jazz Idiom
Performance and analysis of Latin/Jazz music and related song
forms. Concentration on samba, calypso, bossa and contemporary
Latin grooves. The class will include a rhythm section plus varied
instrumentation and will perform in a recital at the end of the
semester.
WORLD MUSIC
LHAN 345 - Music of Africa, Latin and South America
A study of the major musics and cultures of Africa, and of the
interaction of African and European cultures in the New World of
Latin America and South America, focusing on the way these
cultures have produced new musical forms as a result.
LHAN 346 - Music of India, the East and Eastern Europe
A study of the music of North India and other musics and cultures
of the Near East and Far East, including Japan, Indonesia, and
Turkey, as well as Eastern Europe, including Greece, Bulgaria, and
Georgia. The focus of study will be on the interaction of cultures to
produce new musical forms.
ADDITIONAL PERFORMANCE STUDIES COURSES
R&B
PSPR 361 - Motown
Analysis and performance of music by such artists as Stevie
Wonder, Martha Reeves and the Vandellas, Smokey Robinson,
Marvin Gaye, Diana Ross and the Supremes, the Temptations, and
Gladys Knight and the Pips. An end-of-semester public performance
is normally scheduled.
STAGE PERFORMANCE
Stage performance workshops are open to students in any major.
PST 351 - Stage Performance Techniques
Recommended for instrumentalists and vocalists interested in
developing on-stage performance presentation skills.
PST 471 - Stage Performance Workshop 1 - Rock & Pop Idiom
PST 472 - Stage Performance Workshop 2 - Rock & Pop Idiom
All performances are in a rock/pop band format. Classes present an
end-of-semester final performance.
CONCERT/THEATRE PRODUCTION
PST 451 - The Musical Director
Each student will be assigned to a specific faculty-directed concert
(Jazz-Rock Ensemble, Singers' Showcase, Recording Ensemble,
etc.) as a production assistant to the concert and will write and
conduct some of the music.
PST 385 - Elements of Theatre Production
Staging and directing musical productions, acquisition of materials
budgeting, organization of production staff. How to audition;
responsibilities of production departments; conducting rehearsals and
performances.
INJURY PREVENTION
PSH 238 - Awareness Training for Musicians
Self-awareness exercises will be used to improve the kinesthetic
sense - one's sense of oneself in movement-enabling the
instrumentalist to avoid injuries due to overuse and/or misuse, as well
as helping to develop sensitivity, clarity, and power in musical
production.
INTERNSHIP
PS 495 - Professional Performance Internship
Monitored and evaluated professional work experience for the
Performance Major.
Performance Major Advisor
Jim Odgren is the advisor for the Performance Major. He is available
in room 5Z1 (1140 Boylston) to talk with you about Improv and
Performance Studies courses, and to help you select the courses that
best meet your goals and interests.

VI. ETC
Faculty Artist Series and Visiting Artist Series
Berklee's Faculty Artist Series and Visiting Artist Series offer
students about 60 opportunities each semester to meet and learn from
experts in a wide variety of musical fields. These events are
advertised on posters around the school.
The Faculty Artist Series is designed to put you in touch with
teachers both within the Woodwind Department and from
throughout the college. At clinics, concerts, and informal rap
sessions, faculty artists showcase their specialties, answer your
questions, and inform you about special department offerings. These
events are a good way for faculty and students to get acquainted.
Some Faculty Artist clinics sponsored by the Woodwind
Department have included:
"Improvisation Workshop" - George Garzone
"Woodwind Repair" - Paul Wagner
"Repertoire Workshop" - Matt Marvuglio
"The Music of Duke Ellington"- Andy McGhee
The Boston musical community supports and attracts many
professional musicians. The Visiting Artist Series invites many of
these professionals to share their expertise in clinics/demonstrations,
master classes, and concerts. Recent visiting woodwind professionals
have included:
• George Coleman
• Walt Weiskopf
• Gary Campbell
• Carlos Malta
• Joe Lovano
• Michael Brecker
• Ernie Watts
• Bill Evans
• Dave Liebman
• James Moody
• Lee Konitz
• Steve Lacy
• Buddy DeFranco
• Bob Mintzer
• Nick Brignola
• Javon Jackson
Student Services & Activities
The Council of Woodwind Students
You are encouraged to participate in activities sponsored by the
Council of Woodwind Students, which is open to all woodwind
principals. Contact Bill Pierce in Room 2M for more information and
check the Woodwind Department bulletin board (outside Room 2L)
for notices of upcoming events.
Practice Facilities
Woodwind practice rooms on the 2nd floor of 1140 Boylston are
available for lesson warm-ups. These rooms should not be used for
long practice sessions. Please respect these spaces and do not smoke
or leave trash in them. Additional practice rooms are located at 150
Mass. Ave., 171 Mass. Ave. and 25 Fordham Road (See the Berklee
College Student Handbook for complete information.)
Concert Opportunities
Each year, the Woodwind Department presents a student concert in
the Berklee Performance Center, as well as numerous faculty and
student concerts/recitals in Berklee recital halls. We encourage your
participation in these events. Please see Bill Pierce or the Concert
Office staff for more information.
Suggestions for Practice and Performance to Avoid
Strain and Injury
Daily practice is essential for musical progress, but too much
practice, or incorrect practice and performance habits, can lead to
chop problems and even long - lasting damage. The approach of "no
pain, no gain" or "exercise until it hurts" is more likely to produce
physical problems than faster progress. Pain and severe discomfort
generally indicate problems with your chops and should warn you
that you are working too hard or that you are using incorrect
technique. Often, in the excitement and enjoyment of playing,
musicians may push themselves beyond reasonable limits. To
decrease the risk of physical problems, you should be aware of the
common causes and plan your work accordingly.
Endurance
There is a limit to the amount of daily playing that can be done
without the risk of strain, and particularly to the amount of strenuous
types of playing that can be endured. You should become aware of
your own limits of endurance, and any increase in your total number
of practice and performance hours should be made gradually. Often
in performance you may be tempted to play louder and/or faster than
you can physically endure, and you must learn to take breaks, hold
back, play softly and slowly sometimes, and discuss balance
problems within the group.
Strategies for Practice
Be aware of practice goals and consider carefully how to
accomplish them in the most economical way. Avoid mechanical,
unthinking practice; learn to focus and concentrate on the task at
hand. Try to establish a balanced daily workout, including some
breathing work, embouchure development, articulation (i.e.,
tonguing) exercises, and technical studies.
Try to break up long practice sessions into several smaller sessions,
and allow for periods of rest in between. Try to schedule practice
sessions for times of the day when you are not tired and your energy
level is high. Within each practice session, avoid too much strenuous
playing (especially of one particular type) - instead, distribute this
work over several sessions and alternate it with other, less demanding
types of playing. If your day's work includes a large amount of
strenuous playing in ensembles and maybe a performance, balance
this with some low-register long tones in your practice session(s).

VII. Private Instruction Final Exam

Requirements - Woodwind
Private Instruction Final Exam
Requirements – Woodwind
Levels 1 - 8
The requirements for Levels 1 and 2 are the same for all programs.
Beginning at Level 3, there are two “tracks,” one for Performance majors
(Performance Track) and one for all other majors (Standard Track). For
each level the student must prepare an etude and a solo, in contrasting
styles, in addition to the scale and chord requirements. Note: These
requirements refer to the minimum expectations.
*All exercises are to be performed using the full range of the instrument
(exceptions: modes performed within the octave, arpeggios played in
cycles,
and exams on a doubling instrument).
*Range for Doubling Exams: Flute to High G, Clarinet to High F, Oboe to
High D
*All exercises should be played in eighth notes with a minimum tempo
of quarter note = 90 ( =180).
The number of exam levels you must pass depends on your major:
All Writing Division, Music Technology Division, Music Business, and
Music Therapy majors:
4 levels on principal instrument (Standard Track)
Professional Music & Music Education majors:
6 levels on principal instrument (Standard Track). Levels 5 & 6 have an
optional track that may be chosen with the permission of the PI instructor
and the department chair.
Performance majors:
8 levels on principal instrument (Performance Track)
Levels 1 & 2 – All Students
Level 1
• Play all major scales using mixed articulations
• Related modes to all major scales, played within the octave, ascending
and descending
• All major triad arpeggios played straight and broken (groups of 3’s and
groups of 4’s)
Level 2
• All melodic minor scales using mixed articulations
• Related modes of all melodic minor scales, played within the octave,
ascending and descending
• All minor triad arpeggios played straight and broken (groups of 3’s and
groups of 4’s)
Standard Track
Level 3
• All harmonic minor scales
• All harmonic minor modes
• All augmented and diminished triads
Level 4
• All major, harmonic minor and real melodic minor scales in diatonic
thirds
• Arpeggios (in all keys): major seventh, dominant seventh, minor
seventh, minor seventh (b5), diminished seventh, augmented seventh,
major sixth, and minor sixth
• Diatonic triads in all major, harmonic minor and real melodic minor keys
Standard Track
Level 5
• All major, harmonic minor and real melodic minor scales in diatonic
fourths
• Arpeggios: major seventh, dominant seventh, minor seventh, minor
seventh (b5), diminished seventh, augmented seventh, major sixth, and
minor sixth in different cycles
• Diatonic seventh chords in all major, harmonic minor and real melodic
minor keys
Level 5 (Optional Track)
• Private lesson on doubling instrument (Level 1 Final Exam)
Level 6
• Perform 10 minutes of prepared literature with live accompaniment (one
chordal accompanying instrument)
Level 6 (Optional Track)
• Private lesson on second doubling (Level 1 Final Exam)
Performance Track
Level 3
• All major, harmonic minor and real melodic minor scales in diatonic
thirds
• All harmonic minor modes
• All augmented and diminished triads
• Diatonic triads in all major, harmonic minor and real melodic minor keys
Level 4
• All major, harmonic minor and real melodic minor scales in diatonic
fourths
• Arpeggios: major seventh, dominant seventh, minor seventh, minor
seventh (b5), diminished seventh, augmented seventh, major sixth, and
minor sixth in different cycles
• Diatonic seventh chords in all major, harmonic minor and real melodic
minor keys
Level 5
• All major, harmonic minor and real melodic minor scales in diatonic
fifths
• Arpeggios: major ninth, dominant ninth, minor ninth, minor ninth (b5),
augmented ninth, augmented ninth (b9) in different cycles
• Diatonic ninth chords in all major, harmonic minor and real melodic
minor keys
• Diminished scales: sharp one, sharp two and both forms of symmetric
• Whole tone scales
Level 6
• All major, harmonic minor and real melodic minor scales in diatonic
sixths
• Diatonic eleventh chords in all major, harmonic minor and real melodic
minor keys
• Arpeggios: major ninth (#11), dominant ninth (11), dominant ninth
(#11), dominant ninth (#5, #11), minor ninth (11), minor ninth (b5, 11) in
different cycles
• Transposing instruments sight transpose from concert, and concert
instruments sight transpose various clefs
Level 7
• All major, harmonic minor and real melodic minor scales in diatonic
sevenths
• Diatonic thirteenth chords in all major, harmonic minor and real melodic
minor keys
• Arpeggiate the following thirteenth chords in various cycles:
1 3 5 7 9 #11 13
1 -3 5 -7 9 11 13
1 3 5 -7 9 #11 13
1 3 5 -7 -9 #11 13
1 -3 -5 -7 9 11 -13
1 -3 -5 -7 -9 11 -13
1 -3 5 -7 -9 11 -13
Level 8
The student should demonstrate knowledge of the following techniques
through selected repertoire and/or improvisation.
• Multiphonics
• Altissimo register playing
• Harmonics
• Special effects trills and tremelos