Documents


Area Requirements/Juries

Every music student studying privately must perform a jury at the end of each semester or at the end of the academic year, depending on the policies of the applied area. Each student will submit a Repertoire List form provided in the Appendices, or a similar form provdied by the studio faculty member, at each jury that lists repertoire studied since the previous jury. Faculty will provide Repertoire List and Jury Evaluation forms to the School of Music Office to be placed in the student's file. See specific areas below or consult with your applied teacher for more details.

In some areas, students are exempt from jury requirements during the term in which they play the required graduation recital.

Failure to meet and complete sophomore-level competencies, proficiencies, and/or jury assignments may result in the student not being able to continue as a music major.

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Brass

1. Juries

All students, undergraduate or graduate, primary or secondary, are required to perform a jury for the brass faculty at the end of each semester of study (except the semester in which the required senior or graduate recital is given).  The solo material chosen for the jury examination should demonstrate contrasting styles--legato and marcato playing, sustained playing and passages of a technical nature.  Ordinarily, the jury selection(s) will not have been played for Brass Convocation.  A maximum of two unaccompanied juries will be allowed during a student's matriculation at NIU.  It is the responsibility of the student to secure an accompanist well in advance of the jury examination.  Preparation and collaboration with the accompanist is an integral part of the examination. Other requirements are as follow:

  1. Freshman Year/First Year of Applied Study
    • At the end of the first semester, students may be asked to perform any major or chromatic scale (two octaves when possible.)
    • At the end of the second semester, students may be asked to perform, in addition to the above, any minor scale (all forms - one octave).
  2. Sophomore Year/Second Year of Applied Study
    • At the end of the first semester, students may be asked to perform, in addition to the above, any major or minor arpeggio (two octaves when possible).
    • At the end of the second semester, students may be asked to perform any of the above material, plus any major scale in thirds (one octave)
  3. Sophomore Proficiency
    At the second semester sophomore year jury (fourth semester of study), a comprehensive evaluation of each student will take place.  This evaluation will include more extensive solo playing, scales and arpeggios as required above (minimum speed of eighth notes at quarter note =90), and musical vocabulary.  A piano accompanist is required for the Sophomore Proficiency.

2. Convocation

Attendance is mandatory at Brass and All-School Convocations.  Poor convocation attendance may result in a lower semester grade.  Each student is required to perform on a minimum of one Brass Performance Convocation each semester.  This performance may be an accompanied or unaccompanied solo, or in an ensemble.  Freshman non-performance majors are the only exception to this rule; they are required to perform only once during their first year.  Students are encouraged to perform more if possible, especially in chamber music ensembles.  Studio teachers may make additional requirements.

During each semester there are a minimum of four Brass Convocations.  The following is a suggested schedule of performances:  1st Convocation, Seniors and Graduate students; 2nd or earlier, Juniors and Transfer students; 3rd or earlier -   Sophomores; 4th or earlier -  Freshmen.

3.  Recitals

All brass majors are required to attend all student and faculty recitals given on their major instrument.  Attendance at other brass performances is strongly encouraged.

  1. Each Performance Major (Emphasis 2) will perform a half recital during one semester of the junior year, and a full recital during one semester of the senior year.
  2. Each Education Major (Emphasis 1) will perform a half recital during one semester of the senior year.  The student may petition the faculty for permission to perform a full recital.  In some cases, the brass faculty may decide that a Senior Research Project would be more appropriate.
  3. B.A. (Comprehensive) Majors in Music will perform a half recital or complete a Research Project at the discretion of the brass faculty.
  4. All brass students who are required to perform a recital as part of their degree program must prepare the recital repertory under the supervision of an NIU Brass Faculty member.

4. Practice

All performance majors are expected to practice a minimum of two hours per day; education majors, one and one-half hours per day; BA students, one hour per day.  Students are encouraged to set up a regular daily practice schedule.

5. Absence from Lessons

Students must contact their private instructors 24 hours in advance of their lesson if they know they will be absent from their lesson.  Instructors are required to make up lessons for excused absences, only.

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Ensembles

The School of Music offers a wide variety of performance opportunities for all students.  While participation in diverse groups is encouraged, students are cautioned not to get over-committed.  A maximum of 2  performance groups is advised.  Students who participate in ensembles must be enrolled for credit.

Auditions for ensembles are held during, or immediately prior to, the first few days of the fall semester.  Please consult the bulletin board near Room 157 for information.  Selected music (if required) for ensemble auditions is posted on the School of Music website in the Ensembles section

Should you participate in an ensemble whose touring schedule conflicts with your other classes, it is YOUR responsibility to notify all of your professors WELL IN ADVANCE that you will be missing their classes and to make arrangements to make up any missed work.  This should be done as soon as you discover the conflict.

Any extra charges for late, damaged, or lost ensemble music will be billed directly to the Bursar's accounts of the students responsible for the charges, which may result in an encumbrance being placed on your records. In cases in which music was shared, the cost will be shared by those responsible for the music.  If the music is rented, students will be charged for the late return fee.

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Guitar

By the end of the sophomore year each student will demonstrate, through performance, the mastery of several advanced pieces.  In addition, technique exercises including all major and minor scales, all arpeggios, a wide variety of chords (played from chord symbols) and a variety of timbres and positions must be performed.

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Harpsichord

1. Memory

At the end of the sophomore year, the student should demonstrate the musical and technical ability to perform from memory:

  1. A prelude and fugue from the Well‑Tempered Clavier of J.S. Bach, such as Book 1, C minor or Book 2, G Major.
  2. A piece selected from the easier works of Couperin such as Soeur Monique or Rameau, Tambourin.
  3. A piece selected from the works of Bull, Byrd, or Purcell.  Literature of similar difficulty may be substituted for any of the above.

2. Jury

The function of the examination at this point is to determine whether the student should be allowed to remain in the program.  The assessment will be discussed with the student.  The report, however, will not become a part of the student's permanent record, nor will the examination affect the overall grade for that semester.

3. Probation

Students who do not pass the examination initially will be allowed to repeat once upon recommendation of the instructor.

4. Convocation

Regular harpsichord classes will substitute for all general master class performances.  Students are encouraged to perform in chamber ensembles.  Students will present any record of public performance to the Music Office to be placed in their permanent file by the office staff.

5. Repertory

Repertory sheets will be kept by the student each semester to be initialed by faculty, and will be presented to the Music Office to become a part of the student's permanent record.

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Jazz Studies

Students who have declared or are wishing to enter the Jazz Studies alternative should enroll in Introduction to Jazz Studies (MUSP 160) the fall semester of their freshman year.  Private study and Jury requirements are as follow:

  1. First semester - Classical and Jazz study and Juries (30 minutes each lesson)
  2. Second semester - Classical and Jazz study and Juries (30 minutes each lesson)
    • N.B.: Primary study is for 2 credit hours per semester.  For the first four semesters, students whose primary instrument is trumpet, trombone, piano, or string bass will enroll in 1 credit lessons with both a classical and a jazz faculty member on their instrument.
  3. Third semester - Classical and Jazz study and Juries (30 minutes each lesson)
  4. Fourth semester - Classical and Jazz study and Juries (30 minutes each lesson). Sophomore Proficiency for Classical and Jazz Students
  5. 300-Level applied study - Jazz study and jury (2 credit hours)
  6. Graduate Students (Master of Music - Individualized) - Jazz study and jury

Jazz Sophomore Proficiency

At the end of the fourth semester of study, a comprehensive evaluation of each student will take place. This evaluation will include the following:

  • Prepared jazz standard (blues)
  • Prepared jazz standard (medium level change tune)
  • Major, minor, dominant scales; chords and patterns as assigned by applied instructor
  • Major jazz styles and history questions
  • Piano accompanist required

Each applied area of the School of Music has its own guidelines and regulations for Classical Sophomore Proficiencies.  Pay particular attention to the guidelines and regulations (found in this section of the Handbook) for your area.

Jazz Convocations and Recitals

All Jazz Studies majors are required to attend jazz-related events scheduled on the NIU campus that are not in conflict with their regularly-scheduled classes. Absences must be approved in advance by your jazz applied instructor.

Jazz Studies majors are required to attend all jazz area convocations unless excused by the Jazz Area Coordinator.  Jazz Studies majors will attend area convocations as per their particular applied music area listing.

Jazz Studies majors are strongly encouraged to become members of the local student chapter of the International Association for Jazz Education (IAJE).

Jazz Studies majors will present:

  1. A half-recital during one semester of their junior year
  2. A full recital (with direct jazz faculty supervision) during one semester of their senior year

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Organ

Minimum requirements for admission to junior standing:

1. Technical Studies

  • Rheinberger Trio No. 1 in G Minor
  • Pedal study from Ritchie/Stauffer "Organ Technique: Modern & Early" - exercise 46 (p. 122)
  • Pre-19th century fingering/pedaling technique - Ritchie/Stauffer - exercise 34 (p. 192-194)

2. Repertoire

  • Compositions by J. S. Bach
    1. one chorale prelude from the Orgelbuchlein
    2. one movement from the Trio Sonatas
    3. One large free work (Prelude, Toccata, Fantasia and Fugue, etc.)
    4. One large chorale prelude
  • Two chorale preludes by Brahms or Reger
  • One other composition from the 19th century*
  • One composition from the 20th century

At least one of the above compositions is to be memorized

*Rheinberger Trios not acceptable.

3. Juries

Juries are held each year in December and May.  Juries are graded and the student may receive the jury grade for the semester if one grade higher or lower.

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Percussion

1. Objectives

The objectives of the NIU percussion curriculum are:  1) to develop well rounded percussionists with a solid foundation in the basic aspects of percussion performance; 2) to promote advanced study in specialized areas of percussion leading the student to careers in solo, chamber, and ensemble performance, recording and commercial music, studio instruction, and elementary through college level teaching.

The course of study in applied percussion will follow this basic format depending on the background and abilities of each student.

  1. Freshman and Sophomore Years
    2 and 4 mallet marimba, snare drum, timpani, sight reading, drum set, and multiple percussion.
  2. Junior and Senior Years
    The student, in consultation with his/her applied teachers, will choose a minimum of three areas of specialization, one of which must be in the mallet category.  These areas are:
    1. Marimba   advanced 4 mallet techniques, transcriptions and contemporary literature for solo marimba, and chamber music with marimba.
    2. Vibraphone   (a) vibe techniques, contemporary literature and (b) jazz improvisation.
    3. Orchestral Percussion   the study of percussion and timpani excerpts for the orchestra.
    4. Multiple Percussion   (a) contemporary literature and techniques for solo and chamber multiple percussion and (b) drum set, styles, fills, and improvisation.
    5. Ethnic Percussion   a study of Latin percussion (congas, timbales, accessories), darabukka, tabla and other hand percussion.
  3. Proficiencies
    By the end of the sophomore year, all percussionists must have passed proficiencies in the following areas before advancing to the junior level.  Proficiency performances for literature may take place during a percussion area convocation or at the end of the semester; technical proficiency performances will take place at the end of the semester only.
    1. Marimba   2 mallet
    2. Marimba   4 mallet
    3. Snare Drum
    4. Timpani
    5. Sight Reading   snare drum and mallets
    6. Multiple Percussion
    7. Orchestral Excerpts
    8. Drum Set
    One or more proficiencies may be taken at the end of any semester the first two years of applied study.  Specific requirements for technique and literature are listed in the MUSC 259 textbook.

2. Ensembles

Undergraduate students are encouraged to audition for and participate in the percussion section of Wind Symphony, Wind Ensemble or Philharmonic as well as Percussion Ensemble each semester they are enrolled for percussion primary.

3.  Lessons

During their first two semesters of enrollment at NIU, all undergraduate percussion majors will be expected to attend a 2-hour per week class, which stresses practice habits and fundamentals of several performing media.  Additionally, those students will receive a 1/2-hour private lesson.  For all subsequent semesters, all percussion students receive a full-hour private lesson.

All music education and Bachelor of Arts percussionists are expected to practice a minimum of 12 hours per week, performance majors, 18 hours per week.  Students are encouraged to set up a regular practice schedule.

4.  Absences

Call your applied teacher prior to your lesson (phone numbers will be distributed early in the fall semester).  Only excused absences will be made up.

5.  Percussion Ensemble

  1. Attendance:  Everyone performing in Percussion Ensemble is required to attend all rehearsals and performances.  Anyone who will not be able to attend rehearsal must call the instructor prior to 10 a.m. of that day.  Any unexcused absence will lower your grade ½ letter.  Any missed performance will result in an "F" for the semester.
  2. Any unexcused tardiness will lower your grade ¼ letter.
  3. Rehearsal schedules will be posted at least the day prior to rehearsals.
  4. It is expected that everyone be set up and ready to play by five minutes after the hour.  If you have a class conflict prior to rehearsal, have someone assist you or set up for you.
  5. Following rehearsal you are expected to return/put away all equipment used for rehearsal.  If you have a class conflict, have someone assist you.

6.  Instruments

NIU instruments are for the use of all NIU percussion students.  It is imperative that they be cared for as if they were your own.  Therefore, please use appropriate mallets on all instruments, e.g., nothing exceedingly hard on marimba, use brass on bells only, avoid small headed wood sticks on loose membrane instruments.  Beyond normal wear, anyone who damages an instrument is responsible for the cost of the repair or replacement.

7.  Recitals/Convocations/Juries

All percussion majors are required to attend all student, faculty and ensemble percussion performances.  Unexcused absences will lower grades ½ letter per absence.

  1. Recitals -- In addition to the senior recital required for graduation, all performance majors will be required to perform a junior recital.  The minimum length must be the equivalent of ½ of a full recital.
  2. Convocations -- Attendance at percussion convocation is required of all percussionists.  Students enrolled in percussion lessons are required to perform at least once a semester in a  performance convocation.  These convocations will be held at 11 a.m. Tuesdays or Thursdays in Room 153.  Failure to perform will result in loss of one letter grade for lessons.  Watch bulletin board for notices.
  3. Juries -- All percussion majors will perform a jury each semester for the percussion faculty.  Normally, the juries will be on the Saturday preceding finals week.  Percussionists performing junior or senior recitals will be exempt from the jury requirement for the semester in which the recital was performed.

Note:  If the percussion faculty think a student is experiencing any type of difficulty with his/her course of study, they reserve the right to call a special evaluation conference with the student in question at any time during his/her enrollment as a major.

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Piano

Jury examinations in primary piano are given by the piano faculty to observe the repertoire and technical skills a student is working on and to determine his/her progress.  The jury is not necessarily considered to be a formal performance since complete works are rarely played.

All students enrolled in primary piano, two or four credits, must take a jury examination.  Students in primary piano who present a senior or graduate recital are not required to take a jury in the semester of their recital.  All students enrolled in primary piano, regardless of their degree option, will be expected to demonstrate noticeable progress with each jury examination.

 At the end of the sophomore year students who are piano majors in either B.M. program must successfully demonstrate the musical and technical development to perform the following from memory:

  1. A complete sonata
  2. An Etude of Chopin, Liszt, Scriabin, or Rachmaninoff
  3. A work of moderate difficulty from the 20th century at least four minutes in length

The piano faculty judge the quality of playing with regard to tone, balance, technique, memorization, dynamic and expressive variety, and stylistic considerations.  The difficulty of repertoire will also be considered according to the student's degree option; however, it is expected that all piano majors will perform their chosen repertoire at the highest possible standard.

The selection of two or more works from different periods is left to the discretion of the teacher, in consultation with the student.  A student must be prepared to play an entire work or movement of a work by memory, although they may play only part of the work at the jury in the interest of time.  A teacher may request a student to prepare technical exercises that demonstrate their progress in a previously weak area of training.

The jury serves as a major factor for learning repertoire and for motivating a student’s performance; it does not comprise 100% of the final grade.

A student who fails a jury must repeat the jury at the beginning of the fall term.

All students receiving private applied piano lessons are required to accept accompanying assignments determined by the Coordinator of Accompanying.  Further details are posted outside MB 308.

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Strings

Listed below are materials and repertoire appropriate for undergraduate string performance majors (specific titles illustrate style and difficulty).  String education majors may play somewhat easier music at each of the three levels while concentrating on pedagogical studies and a review of scales, methods and solo pieces they are likely to be teaching.

String juries are held only in the spring semester.  In the case of string performance and education majors, written jury evaluations are placed in the permanent files with reference copies directed to students the following fall.

String performance majors are urged to play frequently in area master classes.

1.  First Year (incoming freshman)

  1. One major scale/arpeggio and one minor, selected by student.
    • Violin/Cello - 3 octaves
    • Viola/Bass - 2 or 3 octaves
  2. An etude from among these studied recently.
    • Violin/Viola - Carse, Kayser, Mazas, Kreutzer
    • Cello - Such, Dotzauer, Deak, Popper
    • Bass - Simandl (I), Bille (ER 263)
  3. Two pieces or movements of contrasting styles and tempos from collections, sonatas, concertos or suites.
    • Violin - Handel's sonatas, concerti by Bach, Mozart, Bruch and Mendelssohn
    • Viola - Solos for the Viola Player (Doktor), Handel and Flackton sonatas, concertos by Telemann, Handel and J. C. Bach
    • Cello - Baroque sonatas, concerti by Vivaldi, Goltermann, Bocherini and St. Saens
    • Bass - Sonatas by Marcello and Vivaldi, Wagner's Die Meistersinger solo, Bach's Minuet in G, Purcell's Aria.

2.  Upper Division (end of sophomore year) to show evidence of progress, which, if continued, will lead to successful completion of undergraduate performance requirements.

  1. Scales, arpeggios and scale derivatives (e.g., double stops) in all major and minor keys.
  2. Balanced development of bowing technique and left hand facility.
    • Viola - especially vibrato and sustained tones in lower register; such methods of Mazas, Dont, Campagnoli and Kreutzer.
    • Cello - Popper's High School of Cello Playing (nos. 10‑30) and Piatti's Caprices.
    • Bass - Kreutzer (transcriptions), Storch‑ Hrabe (I), Hrabe (I) and Simandl (II) methods.
  3. Completion of several major works, some portion of which will be played at the sophomore jury or on a sophomore recital.
    • Violin - Solo sonata by Bach (two movements required), a standard concerto (not Baroque), a sonata with piano.
    • Viola - Solo sonata or suite by Bach, a gamba sonata by Bach, the Hoffmeister or Stamitz concerto, a suite by Vaughan Williams, Bruch's Romanza, Schulman's Theme and Variations.
    • Cello - Pieces from at least two of the following categories:  Suites I, II or III by Bach, a gamba sonata by Bach or comparable baroque sonata; concerti by Haydn (C Major), Saint‑ Saens, Boccherini, Elgar, Lalo or a comparable work; sonatas by Martinu, Beethoven, Brahms, Chopin, Rachmaninoff, Shostakovitch, Debussy or a comparable work.
    • Bass - Sonatas by Marcello, Vivaldi, or Telemann, the Capuzzi Concerto, Bach's Aria, and similar works.
  4. Successful participation in orchestra and chamber music ensembles, with teacher‑assisted preparation of parts, may also be considered.

3.  Graduation level/Graduate Admission (end of senior year) to be judged by whether student has a fair chance of entering a professional playing career or, should (s)he want to continue with graduate studies, whether (s)he is likely to be welcomed by recognized teachers at other major institutions.

  1. Secure in use of scales, arpeggios and scale derivations in his/her practice and the ability to create his/her own technical studies from such materials.
  2. Exploration of specialty studies and advanced etude materials to solve whatever special problems (s)he might have.
  3. Completion during the junior and senior years of several additional major works, which may include pieces appropriate for first two years but must also include more difficult pieces, such as:
    • Violin - Solo sonatas by Bach, Ysaye, Hindemith or Reger; concertos by Lalo or Brahms; sonatas in contrasting styles.
    • Viola - Sonatas by Brahms, Hindemith or Heiden; Symphonie Concertante by Mozart or Concerti by Bartok, Hindemith, Walton; suites by Reger or Porter.
    • Cello - Pieces from at least three of the following categories:  Bach's suites IV, V or VI, sonatas by Valentine, Francouer or comparable Baroque composer; sonatas by Brahms (F Major), Beethoven (nos. 3, 4 or 5), Franck or other Romantic composer, or Beethoven's Variations on a Theme of Mozart, concerto by Dvorak, Schumann, Tchaikovsky, Block (Schelomo), Shostakovitch, Prokofiev, Haydn (D Major) or a comparable work; a virtuoso piece such as Weber's Adagio and Rondo, Traneover's Sonata (mvt. II); Davidoff, At the Fountain, or Paganini's Moses Fantasy; a twentieth century work such as the sonatas by Crumb, Carter, Prokofiev or Hindemith, Bartok's Rhapsody or Schuller's Fantasy.
    • Bass - Bach solo suites, sonatas by Proto or Hindemith, concerti by Dragonetti, Koussevitsky, Bottesini, Dittersdorf, or similar works.

4.  Convocation Attendance

Attendance at all string area convocations/master classes is required of all string majors, both graduate and undergraduate.  Attendance will be taken and reported to each faculty member at the end of each semester.  Failure to meet attendance requirements will affect the grade given for primary study.  A list of area convocations and master classes will be posted on the String Convocation bulletin board at the beginning of each semester.

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Voice

After completion of four semesters of 200-level applied study, a voice student must perform a second audition/jury.   If sufficient development cannot be demonstrated, the student will not be admitted to junior-level study (MUSP 314) and may not be allowed to continue as a music major.

The complete voice area syllabus can be found in the Documents section of the Music Majors Community site on the Blackboard Course Server.

  1. Students will take a jury every semester in which they are enrolled for lessons.  Exceptions:  1) the first semester of the freshman year; and 2) the semester of a required (399 or 599) recital.
  2. Juries are heard by all voice faculty.
  3. The jury serves as a major factor for learning repertoire and for motivating a student's performance; it does not comprise 100% of the final grade.
  4. Sight‑reading material is simple and tonal and will be used for audition and jury.
  5. At the end of the sophomore year, students will have a sight‑reading exam covering examples from traditional sight‑reading material.
  6. Repertory sheets are kept in individual files in the main office for the entire time a student is enrolled in the School of Music.
  7. Refer to your voice: primary syllabus for each semester’s song requirements.
  8. Recital Requirements ‑ Undergraduate
    1. Each Performance Major (Emphasis #2) will perform a half recital during one semester of the junior year, and a full recital during one semester of the senior year.
    2. Each Education Major (Emphasis #1) will perform a full or half recital during one semester of the senior year.  Length of the recital is to be determined by the voice faculty.  In extraordinary cases, the full voice faculty may decide that a written project would be more appropriate.
    3. B.A. (Comprehensive) Majors in Music will present a full or half recital or complete a Senior Research Project at the discretion of the voice faculty.
  9. Repertoire for Required Recitals ‑ All Students
    1. Repertoire may be taken from previous semesters' repertoire sheets.
    2. Repertoire must be memorized.  Exceptions must be approved in advance by the full voice faculty.
  10. Ensemble Participation
    Undergraduate students will participate in either University Chorus or Concert Choir each semester they are enrolled for voice lessons.  Voice majors studying at the freshman or sophomore level who wish to participate in more than one ensemble per semester must receive, in advance, the permission of the studio voice teacher.
  11. Master Class Attendance
    Undergraduate students are required to attend all Voice Area convocations, seminars, and master classes.  All students will participate in these events after the first semester of the freshman year.

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Woodwinds

  1. Normally, your final grade for applied study will be within one letter grade of your jury grade.
  2. Students who do not fulfill all the listed jury requirements will automatically have their jury grade lowered by one letter grade.
  3. Students who do not complete the Woodwind Convocation performance requirement(s) will automatically have their jury grade lowered by one letter grade.
  4. Scales and arpeggios are to be played by memory.
  5. The tempo markings are intended to be play with a sixteenth note subdivision.  The tempo should be adjusted if a different subdivision is used.
  6. Scale and arpeggio tempo markings and ranges are minimum requirements (when indicated). Your teacher may require tempo markings and ranges that exceed the listed minimum requirements.
  7. Your teacher determines scale and arpeggio formats.
  8. Each semester the woodwind faculty will determine whether a student may continue in the Performance Emphasis.
  9. Jazz emphasis students will play a woodwind jury for the 200 level of applied study only.
  10. During the Junior year Performance emphasis students will perform at least one-half of a recital .
  11. During the Senior year Performance emphasis students will perform a full recital.
  12. During the Senior year Music Education emphasis or B.A. students will perform at least one-half of a recital.

Freshman Year - First Semester Of Applied Study, 200 level

Jury Requirements:

  1. Scales (see your teacher for scale and arpeggio tempos and range)
    1. Major scales
    2. The Chromatic scale
  2. Solo Work: One etude or solo work
  3. Other Requirements:

None

 

Freshman Year - Second Semester of Applied Study, 200 level

Jury Requirements:

  1. Scales  - see your teacher for scale and arpeggio tempos and range.
    1. Major scales
    2. The Chromatic scale
    3. Natural minor scales 
    4. Melodic minor scales 
    5. Harmonic minor scales 
  2. Solo Work
    1. Music Education, Jazz, and Composition emphases, and B.A.: one etude or solo work
    2. Performance emphasis: one movement of a solo work with accompaniment

 

3.   Other Requirements:

All students will perform on at least one Woodwind Convocation.

 

Sophomore Year - Third Semester of Applied Study, 200 level

Jury Requirements:

  1. Scales
    1. Major scales, quarter note = 60
    2. The Chromatic scale, quarter note = 60
    3. Natural minor scales, quarter note = 60
    4. Melodic minor scales, quarter note = 60
    5. Harmonic minor scales, quarter note = 60
    6. Major triad arpeggios, see your teacher for tempo
    7. Minor triad arpeggios, see your teacher for tempo

Minimum Scale and Arpeggio Range:

  • Flute:  Low C to highest D
  • Oboe: Two and a half octaves, within the practical range of the instrument.
  • Clarinet: Tonic to tonic, three octaves for E, F, F#, G scales and arpeggios; two octaves for all others.
  • Bassoon:  Tonic to tonic, from low B-flat to high D
  • Saxophone: Low B-flat to high F-sharp

 

2.    One movement of a solo work with accompaniment

3.    Other Requirements:

All students will perform on at least one Woodwind Convocation.

 

Sophmore Year - Fourth Semester of Applied Study, 200 level

Jury Requirements:

  1. Scales
    1. Major scales, quarter note = 88  
    2. The Chromatic scale, quarter note = 88
    3. Natural minor scales, quarter note = 88
    4. Melodic minor scales, quarter note = 88
    5. Harmonic minor scales, quarter note = 88
    6. Major triad arpeggios, quarter note = 60
    7. Minor triad arpeggios, quarter note = 60

Minimum Scale and Arpeggio Range:

  • Flute:  Low C to highest D
  • Oboe: Two and a half octaves, within the practical range of the instrument.
  • Clarinet: Tonic to tonic, three octaves for E, F, F#, G scales and arpeggios; two octaves for all others.
  • Bassoon:  Tonic to tonic, from low b-flat to high D
  • Saxophone: Low B-flat to high F-sharp

            

2.    One movement of a solo work with accompaniment

3.    Other Requirements:

All students will perform on at least one Woodwind Convocation.

Performance Proficiency Exam

The Performance Proficiency Exam will be given during the jury of the sophomore year, fourth semester of 200 level applied study.  Students will be evaluated on their performing ability, including solo repertoire and scales, and their knowledge of musical terms. A website with audio pronunciation examples of many of the musical terms is located here: www.music.vt.edu/musicdictionary/. Saxophone students will also be evaluated separately on their ability to perform jazz style and improvisation. 

Students are allowed three attempts to successfully complete all portions of the Performance Proficiency Exam. Students who fail all or part(s) of the Exam may enroll for up to two additional semesters of 200 level applied study to complete the remaining portions of the Exam. 

Students should successfully complete all portions of the Performance Proficiency Exam before enrolling for 300 level of applied study. 

 

Junior Year - Fifth Semester of Applied Study, 300 level

Jury Requirements:

  1. Scales
    1. Major scales, quarter note = 92 (112, Performance Emphasis)
    2. The Chromatic scale, quarter note = 92 (112, Performance Emphasis)
    3. Natural minor scales, quarter note = 92 (112, Performance Emphasis)
    4. Melodic minor scales, quarter note = 92 (112, Performance Emphasis)
    5. Harmonic minor scales, quarter note = 92 (112, Performance Emphasis)
    6. Major triad arpeggios, quarter note = 60 (80, Performance Emphasis)
    7. Minor triad arpeggios, quarter note = 60 (80, Performance Emphasis)

     Minimum Scale and Arpeggio Range:

  • Flute:  Low C to highest D
  • Oboe: Two and a half octaves, within the practical range of the instrument.
  • Clarinet: Tonic to tonic, three octaves for E, F, F#, G, Ab scales and arpeggios; two octaves for all others.
  • Bassoon:  Tonic to tonic, from low B-flat to high E-flat
  • Saxophone: Low B-flat to high F-sharp

 

2.    One movement of a solo work with accompaniment

3.    Other Requirements:

Students enrolled in the Music Education, Composition, or Performance emphases, or the B.A., will perform on at least one Woodwind Convocation.

 

Junior Year - Sixth Semester of Applied Study, 300 level

Jury Requirements:

  1. Scales
    1. Major scales by memory, quarter note = 96 (120, Performance Emphasis)
    2. The Chromatic scale, quarter note = 96 (120, Performance Emphasis)
    3. Natural minor scales, quarter note = 96 (120, Performance Emphasis)
    4. Melodic minor scales, quarter note = 96 (120, Performance Emphasis)
    5. Harmonic minor scales, quarter note = 96 (120, Performance Emphasis)
    6. Major triad arpeggios, quarter note = 72 (92, Performance Emphasis)
    7. Minor triad arpeggios, quarter note = 72 (92, Performance Emphasis)

Minimum Scale and Arpeggio Range:

  • Flute:  Low C to highest D
  • Oboe: Two and a half octaves, within the practical range of the instrument.
  • Clarinet: Tonic to tonic, three octaves for E, F, F#, G, Ab scales and arpeggios; two octaves for all others.
  • Bassoon:  Tonic to tonic, from low B-flat to high E-flat
  • Saxophone: Low B-flat to high F-sharp

 

2.    One movement of a solo work with accompaniment

3.    Other Requirements:

Students enrolled in the Music Education, Composition, or Performance emphases, or the B.A., will perform on at least one Woodwind Convocation.

Performance emphasis students will play at least one-half of a recital during the Junior year.

 

Senior Year - Seventh Semester of Applied Study, 300 level

Jury Requirements:

  1. Scales
    1. Major scales, quarter note = 100 (126, Performance Emphasis)
    2. The Chromatic scale, quarter note = 100 (126, Performance Emphasis)
    3. Natural minor scales, quarter note = 100 (126, Performance Emphasis)
    4. Melodic minor scales, quarter note = 100 (126, Performance Emphasis)
    5. Harmonic minor scales, quarter note = 100 (126, Performance Emphasis)
    6. Major triad arpeggios, quarter note = 80 (104, Performance Emphasis)
    7. Minor triad arpeggios, quarter note = 80 (104, Performance Emphasis)

Minimum Scale and Arpeggio Range:

  • Flute:  Low C to highest D
  • Oboe: Two and a half octaves, within the practical range of the instrument.
  • Clarinet: Tonic to tonic, three octaves for E, F, F#, G, Ab, A  scales and arpeggios; two octaves for all others.
  • Bassoon:  Tonic to tonic, from low B-flat to high E-flat
  • Saxophone: Low B-flat to high F-sharp

2.    One movement of a solo work with accompaniment

3.    Other Requirements:

Students enrolled in the Music Education emphasis, the Performance emphasis, or the B.A., will perform on at least one Woodwind Convocation.

 

Senior Year - Eighth Semester of Applied Study, 300 level (music education students usually complete the applied study requirement and senior recital in the seventh semester)

Jury Requirements:

  1. Scales
    1. Major scales, quarter note = 104 (132, Performance Emphasis)
    2. The Chromatic scale, quarter note = 104 (132, Performance Emphasis)
    3. Natural minor scales, quarter note = 104 (132, Performance Emphasis)
    4. Melodic minor scales, quarter note = 104 (132, Performance Emphasis)
    5. Harmonic minor scales, quarter note = 104 (132, Performance Emphasis)
    6. Major triad arpeggios, quarter note = 92 (108, Performance Emphasis)
    7. Minor triad arpeggios, quarter note = 92 (108, Performance Emphasis)

Minimum Scale and Arpeggio Range:

  • Flute:  Low C to highest D
  • Oboe: Two and a half octaves, within the practical range of the instrument.
  • Clarinet: Tonic to tonic, three octaves for E, F, F#, G, Ab, A  scales and arpeggios; two octaves for all others.
  • Bassoon:  Tonic to tonic, from low B-flat to high E
  • Saxophone: Low B-flat to high F-sharp

            

2.    One movement of a solo work with accompaniment

3.    Other Requirements:

Students enrolled in the Music Education emphasis, the Performance emphasis, or the B.A. will perform on at least one Woodwind Convocation.

 

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