• TABLE OF CONTENTS
HIDE
 Front Cover
 Half Title
 Title Page
 Foreword
 Acknowledgement
 Table of Contents
 History of the program in...
 Initiating the program
 Theory-musicianship courses of...
 Courses of study - piano
 Courses of study - organ
 Courses of study - harp
 Courses of study - voice
 Courses of study - string...
 Courses of study - woodwind...
 Courses of study - brass instr...
 Courses of study - percussion...
 Key to publishers
 Theory-musicianship courses of...
 Back Cover














Group Title: Bulletin - State Department of Education ; N41A
Title: Music for high school credit under private instruction
CITATION THUMBNAILS PAGE IMAGE ZOOMABLE
Full Citation
STANDARD VIEW MARC VIEW
Permanent Link: http://ufdc.ufl.edu/UF00067273/00001
 Material Information
Title: Music for high school credit under private instruction
Series Title: Its Bulletin
Physical Description: vii, 76 p. : illus. ; 23 cm.
Language: English
Creator: Florida -- State Dept. of Education
Publisher: s.n.
Place of Publication: Tallahassee
Publication Date: 1958
 Subjects
Subject: School music -- Instruction and study -- Florida   ( lcsh )
Genre: government publication (state, provincial, terriorial, dependent)   ( marcgt )
non-fiction   ( marcgt )
 Notes
Funding: Bulletin (Florida. State Dept. of Education) ;
 Record Information
Bibliographic ID: UF00067273
Volume ID: VID00001
Source Institution: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: oclc - 06202992
lccn - a 59010096

Table of Contents
    Front Cover
        Front Cover 1
        Front Cover 2
    Half Title
        Half Title 1
    Title Page
        Title Page 1
        Title Page 2
    Foreword
        Page i
        Page ii
    Acknowledgement
        Page iii
        Page iv
    Table of Contents
        Page v
    History of the program in Florida
        Page vi
        Page vii
        Page viii
    Initiating the program
        Page 1
        Page 2
        Page 3
        Page 4
        Page 5
        Page 6
        Page 7
        Page 8
        Page 9
    Theory-musicianship courses of study
        Page 10
        Page 11
        Page 12
        Page 13
    Courses of study - piano
        Page 14
        Page 15
        Page 16
        Page 17
        Page 18
        Page 19
        Page 20
        Page 21
        Page 22
        Page 23
        Page 24
        Page 25
        Page 26
        Page 27
    Courses of study - organ
        Page 28
        Page 29
        Page 30
    Courses of study - harp
        Page 31
        Page 32
        Page 33
    Courses of study - voice
        Page 34
        Page 35
        Page 36
        Page 37
        Page 38
    Courses of study - string instruments
        Page 39
        Page 40
        Page 41
        Page 42
        Page 43
        Page 44
        Page 45
        Page 46
        Page 47
        Page 48
    Courses of study - woodwind instruments
        Page 49
        Page 50
        Page 51
        Page 52
        Page 53
        Page 54
        Page 55
        Page 56
        Page 57
        Page 58
    Courses of study - brass instruments
        Page 59
        Page 60
        Page 61
        Page 62
        Page 63
        Page 64
        Page 65
        Page 66
    Courses of study - percussion instruments
        Page 67
        Page 68
        Page 69
        Page 70
        Page 71
        Page 72
        Page 73
    Key to publishers
        Page 74
        Page 75
        Page 76
    Theory-musicianship courses of study for all students
        Page 77
    Back Cover
        Back Cover
Full Text


























FOR HIGH SCHOOL CREDIT

-DER PRIVATE INSTRUCTION


BULLETIN N41A
1958


375.009759

(. 5(Af
c.Z.


STATE DEPARTMENT OF EDUCATION
Tallahassee, Florida
THOMAS D. BAILEY, Superintendent











UNIVERSITY
OF FLORIDA
LIBRARIES
L4IBRARIIES








FOR HIGH SCHOOL CREDIT
UNDER PRIVATE INSTRUCTION
























FOR HIGH SCHOOL CREDIT
UNDER PRIVATE INSTRUCTION

BULLETIN N41A
1958

STATE DEPARTMENT OF EDUCATION
Tallahassee, Florida
THOMAS D. BAILEY, Superintendent


7&W&~ei















A






Copyright 1958

FLORIDA STATE DEPARTMENT OF EDUCATION

TALLAHASSEE, FLORIDA











Foreword


ONE of the outstanding features of public education is the
continuing evaluation of its instructional programs for the
improvement of opportunities offered the youth it serves. In-
creasingly, educators and school patrons are seeking ways to
provide additional opportunities for those students with excep-
tional interests and aptitudes. The music program in the high
school is organized and taught within the framework of group
instruction; therefore, Bulletin N41A sets forth a program of
utilizing the services of the studio teacher in extending and
supplementing this curriculum.
Local school administrators, studio and school music educa-
tors will find in this bulletin the outline of a program that affords
excellent opportunities for increasing the special abilities and
interests of a student in the realm of music as well as providing
high school credit for outside specialized instruction.
The Theory-Musicianship Courses which have been added to
this program deserve particular attention. They indicate an in-
creasing awareness of the importance of this phase of musical
growth. Students and teachers realize that theory must be
studied to extend the ability to use musical materials functionally
and develop independence in interpretation. Such an emphasis
characterizes this revision and challenges both teacher and stu-
dent to develop increased understanding in the use of music
literature.
In these respects the bulletin, it is believed, will bring a
closer relationship between the school and the private studio,
making available to each the services and resources of the other.
Working with the high school, a dedicated and qualified
studio teacher becomes a valuable community resource for those
students who by impulse and self-initiative move into this area
of interest for concentrated learning and refinement.



THOMAS D. BAILEY
Superintendent of Public Instruction










Acknowledgments


BULLETIN N41A, Music for High School Credit Under Private
Instruction, represents the unified efforts of teachers who
serve youth through music. While specific responsibilities were
undertaken by private studio teachers from the membership of
the Florida Music Teachers Association and music educators
from the membership of the Florida Music Educators Associa-
tion, many helpful and pertinent suggestions from the total
membership of both organizations are included in this bulletin.

Bulletin Contributors
Organization and editorial:
Mary Reeder, Florida State University
David L. Wilmot, Florida State Department of Education
Piano Courses of Study:
Rebecca Rodenberg, Florida State University
Mrs. George Hack, Gainesville
Mrs. George Shingler, Lake City
Harp Courses of Study:
Mary Reeder, Florida State University
Organ Courses of Study:
Rebecca Rodenberg, Florida State University
Mrs. Ramona Cruikshank Beard, Florida State University
Voice Courses of Study:
Mrs. Delbert Sterrett, Gainesville
Betty Jane Grimm, Florida State University
Harold Chapman, Tallahassee
Stephen Solak, Tampa
String Courses of Study:
Orvin Sale, Bradenton
Paul Cremaschi, Coral Gables
Brass Courses of Study:
William F. Cramer, Florida State University
Reid Poole, University of Florida
Donald Yaxley, Stetson University








Woodwind Courses of Study:
Otto Kraushaar, Miami
Robert Bolles, University of Florida
Laurence Tremblay, University of Miami
Dr. Thomas Collins, University of Miami
Harold Casterton, Key West
Percussion Courses of Study:
Dr. Robert Briggs, Florida State University
Theory-Musicianship Courses of Study:
Mrs. Mary Jarmon Nelson, Winter Park
Mrs. Iris Engel, Orlando
Eugene Crabb, Florida State University
Carolyn Oxford, Tallahassee
Special mention is given to the following:
Dr. Karl O. Kuersteiner, Dean, School of Music, Florida
State University; Alvah A. Beecher, Associate Dean, School
of Architectural and Fine Arts, University of Florida; Dr.
Claude Almand, Dean, School of Music, Stetson University;
and Dr. John Bitter, Dean, School of Music, University of
Miami, for their interest and assistance in making faculty
members and facilities of their institutions available for this
study.
Mrs. Merle Sargent, immediate past president of the Florida
State Music Teachers Association, and Owen Sellers, Presi-
dent, Florida State Music Teachers Association, for provid-
ing organizational leadership, counsel, and encouragement
during this revision.
Mrs. M. B. Byrd of Jacksonville for History of The Program
in Florida.
J. K. Chapman, Howard Jay Friedman, Sam H. Moorer,
and John P. McIntyre of the State Department of Education
for preparing the manuscript for publication.
Acknowledgment is extended to those individuals who
initiated this program in Florida. It is their vision and inspired
leadership that have provided the youth of Florida this
opportunity.













Contents


Foreword ................-----------


Acknowledgments .--. ..-----_ _.. _--------


History of the Program in Florida ---


Initiating the Program ..------------------..-


Theory-Musicianship Courses of Study --


Chart --------------------..... -- -


----....---- i


---__ -- iii


---vi


- -


-_ Insert


Courses of Study

Piano------------------ 14

Organ 28

Harp 8------------------------------- 31

Voice ----------- 384

String Instruments --_--------- 39

Woodwind Instruments -- -------------------- 49

Brass Instruments ------------------------ 59

Percussion Instruments ----- --- 67

Key to Publishers ........-------------.----------------------- 74











History of the Program in Florida

O NE of the main objectives in organizing the Florida State
Music Teachers Association in Jacksonville, March 23, 1934,
was to secure high school credit toward graduation for private
music study.
The organization's efforts were rewarded. With the encour-
agement of former State Superintendent of Public Instruction,
Colin English, a committee including Mrs. Jessie Jay deVore,
Mrs. Charles M. Wells, Lyman P. Prior, with Mrs. M. B. Byrd
as Chairman, prepared the initial program authorizing credit
for private music study. Dr. Milton W. Carothers, at that time
Director of the Division of Instruction and Chairman of the
Courses of Study Committee, advised the committee during its
work, which culminated in an outlined program of study, pub-
lished in the Florida School Bulletin, Volume I, No. 5, December
15, 1938. In June, 1939, the music departments of both Stetson
University and Florida State College for Women offered "A
Summer Course for Private Music Teachers" for the purpose of
explaining and implementing this program.
In 1942, the bulletin was revised by a committee appointed
by Dean Ella Scoble Opperman, President of the Florida State
Music Teachers Association. Members of this committee con-
sisted of William Bailey, Robert Campbell, Jean Compton, Mrs.
Jessie J. deVore, John Rosser, Ann Wilby, Dr. W. E. Duckwitz,
Dr. Lyman Prior, and Mrs. M. B. Byrd, Chairman. The revised
course of study was adopted by the Florida State Department of
Education and printed in the Florida School Bulletin, Volume
IV, No. 11, June 1, 1942.
In 1948, Dean Karl O. Kuersteiner, President of the Florida
State Music Teachers Association, reported to State Superin-
tendent of Public Instruction Thomas D. Bailey on the advisabil-
ity of continuing and enlarging this program. The report pointed
out that the values of this program were reflected by better
preparation of students entering college and in the attitudes of
students who received recognition and additional stimulation.
It also recommended extending the scope of the credit program
to include all orchestral instruments and vocal study at all levels








of achievement, with a revision of materials and competencies
for each performance medium. The committee appointed by Su-
perintendent Bailey included Wilbur H. Marshall, Consultant in
the State Department of Education, Owen Sellers, Dean Ella
Scoble Opperman, Arved Larsen, Mrs. M. B. Byrd, Mrs. Edith
Voss, Mary Reeder, Frances Buxton, Robert Sedore, Roy T. Will,
Mrs. Sarah Folwell, Wallace Gause, Betty Jane Grimm, Otto
Kraushaar, Robert Braunagel, Robert T. Scott, and Dean Karl
O. Kuersteiner, Chairman. The third revision of this program
appeared in the Florida School Bulletin, Volume XII, No. 2,
published in December, 1949.
The Florida State Music Teachers Association gratefully ac-
knowledges the continued interest of Superintendent Bailey in
the advancement of music in Florida and the progress of this as-
sociation. The 1958 revision is made at his suggestion with the
assistance of Florida's Consultant in Music Education, David L.
Wilmot.
MRS. M. B. BYRD
Jacksonville, Florida














CHAPTER 1


Initiating the Program

M USIC for high school credit under private instruction is a
course unique within the structure of the secondary cur-
riculum of Florida high schools. Since the program involves the
granting of credit for instruction carried on outside the high
school, certain regulations and policies have been developed to
provide guidance for county staffs, high school principals, and
studio and school music educators. In several county systems of
the state these regulations and policies have already proved
successful in initiating and maintaining with understanding pro-
grams of this nature. Such programs, it is believed, make avail-
able to especially interested or talented students another effec-
tive learning resource in the community.

Purposes
I. Purposes of the Program
A. To fulfill the needs of the student who is interested or es-
pecially able in the realm of music by providing him with
an opportunity to grow the heritage of every Florida
youth.
B. To give credit for outside specialized work, actually an ex-
tension 'f study, to students whose abilities were discov-
ered and whose interest was developed in school music
programs.
C. To bring about a closer relationship between the school
and the private studio, making available to each the services
and resources of the other.
D. To recognize the valuable individual guidance given the
music student by the private teacher.








Regulations
II. Pertinent State Board of Education Regulations
A. The county board of public instruction may, upon the
recommendation of the county superintendent, authorize
the granting of school credit for music work taken under
the supervision of a private teacher as follows:
1. Not more than one unit in music may be credited toward
graduation for work done under the supervision of a
private teacher. Not more than one-half unit for work
done under the supervision of a private teacher may be
credited in any one school year. For this maximum credit
of one-half unit the pupil must produce evidence of
having taken two lessons per week of not less than thirty
minutes each, and six hours of practice per week. One-
fourth unit of credit may be granted for one lesson and
not less than five hours of practice per week. The grant-
ing of credit shall be contingent upon satisfactory prog-
ress as evidenced by an examination to be given by a
designated public school music teacher or by other com-
petent examiner, as provided for by the State Department
regulations.
2. The State Department of Education shall publish outlines
governing the scope of the work for which credit may
be given and such other supplementary regulations as
may be necessary. (Adopted by State Board March 21,
1950, page 8; Sections 228.14 (3) and 230.23 (9-a).
B. Private Instruction-Work done under private instruction
may be accepted for credit toward graduation provided:
1. The credit is for music instruction.
2. The work is done outside school hours, or under super-
vision of principal.
3. The instruction is strictly in accordance with other State
Board regulations.
4. The total pupil load for regular term does not exceed 6
units including one-half unit under private instruction.
(Standards for Accreditation of Florida Schools, adopted
by State Board April 20, 1954, and amended March 26,
1957; Sections 229.07 (3) and 229.16 (4) ).








Policies
III. Supplementary Policies of the State Department
of Education
A. General Policies
1. In each county where credit for music under private in-
struction is desired, the county superintendent of schools
shall appoint a committee with the specific responsibility
of initiating or implementing this program. When pos-
sible, this committee shall consist of a representative from
his staff, a high school principal, a school music educator,
and a committee from the studio-teacher group. It shall
be the responsibility of this committee to organize or
strengthen the program by:
a. Promoting understanding of its purposes and values.
b. Establishing a procedure for effective operation within
the educational program of a county.
c. Providing for evaluation and examination.
d. Approving and certifying studio teachers who are not
members of the Florida State Music Teachers Asso-
ciation.
2. Credit may not be given for work done under private in-
struction for courses similar to those available in the
regular school program.
3. A student desiring credit shall make application to the
principal for tentative approval within the first two weeks
of the school year. The principal may deny the applica-
tion, if in his judgment such a decision would be for the
best interest of the student.
4. A student may enroll for the same, a lower, or a higher
course in music than his high school classification, de-
pending upon his previous musical training. Upon the
recommendation of his private teacher and with the ap-
proval of his high school principal, a student may con-
tinue in the same course level for a second year pro-
viding:
a. The literature studied is different from that of the pre-
vious year.
b. The student demonstrates increased musical under-
standing and technical proficiency.








5. Flexibility in assignment to the achievement level or
course level most appropriate for a student's musical
growth is permitted so that:
a. A student who is able to fulfill the requirements of the
last course in his medium early in his high school
career may continue in this program if he wishes;
b. A student whose needs and development would be met
better by continuing in the same course level another
year may receive credit for doing so.
6. Each private teacher desiring credit for one or more stu-
dents shall file promptly and completely all reports which
may be requested by the school authorities.
7. While only one unit of work in music under private in-
struction may be used to meet graduation requirements,
it is important that any additional units or fractions of
units earned be properly recorded on a student's record.
B. Studio Teacher Certification The county superintendent
and board of public instruction recognize the necessity of
assuring high school principals, parents, and students of
private teachers instruction commensurate with that offered
in the public school music program. A studio teacher who
wishes to present students in this program must be certi-
ficated under one of the following plans:
1. Certificate of Preparation.
a. He must hold a degree, diploma, or teaching certificate
indicating preparation in a specific instrument from a
recognized college or university. His courses shall in-
clude at least four in the humanities or education, a
minimum of two courses in methods and materials, and
practice teaching of the instrument he wishes to teach.
(A course is defined as 32 hours of class membership
or practice lessons.)
2. Requirements for Certificate of Experience and Prepara-
tion.
a. To be certified under Plan A, an applicant who is al-
ready a member of the Florida State Music Teachers
Association must have:
(1) A high school education or its equivalent.









(2) A record of at least ten years of satisfactory experi-
ence in teaching.
*b. To be certified under Plan B, an applicant must have:
(1) A high school education.
(2) Three years of study on college level of the instru-
ment he wishes to teach.
(3) The equivalent of at least two years of the music
curriculum of a recognized college or university de-
partment of music.
(4) Any one of the following:
(a) A minimum of three years of satisfactory teaching
experience.
(b) Public performances on his instrument.
(c) Published musical compositions.
(d) Published articles on music or music education.
*c. To be certified under Plan C, an applicant must have:
(1) A high school education.
(2) The equivalent of two years of music curriculum of
a recognized college or university department of
music, including a minimum of two courses in teach-
ing methods and materials.
(3) Any one of the following:
(a) Five years of teaching experience.
(b) A demonstration of performance, reading, and
musicianship of four students at various levels of
advancement.
(c) An examination of the teacher covering composi-
tions played by students in their demonstration.
(4) Any three of the following:
(a) An acceptable technical and interpretative per-
formance of advanced repertoire of all periods.
(b) A demonstration of keyboard skills: reading, im-
provising, accompanying, and transposing.
(c) A paper on some phase of music training.
(d) A paper on music history, literature, or current
events.
(e) A special research project completed under the
supervision of a recognized music educator.
* In the event a non-member of this association desires to qualify under Plans B and C,
arrangements will be made by the local county committee.








d. These requirements parallel the certification require-
ments of the Florida State Music Teachers Association.
C. Procedure for Securing County Approval
1. A studio teacher certificated by this association must pre-
sent his Florida State Music Teacher's certificate for ap-
proval and for recording by the county superintendent
or his representative.
2. A studio teacher who is not a member of this association
must present to the county superintendent or his repre-
sentative a transcript of his collegiate record and a state-
ment by the chairman of the local committee that he has
satisfactorily fulfilled the certification requirements of
one of the preceding plans.
D. The Student's Responsibility
1. Formal application for this credit shall be made by the
student to his high school principal within two weeks of
the opening of school on Form No. 1.
2. For one-half unit of credit the student may take two les-
sons of thirty minutes each or one lesson of sixty minutes
each week throughout the school year; one thirty-minute
lesson each week will earn one-fourth unit of credit.
3. At the end of each year's work the student must success-
fully pass an examination given by a competent ex-
aminer.
E. The Studio Teacher's Responsibilities
1. Assigning the student to a specific course of study and
notifying the high school principal of the assigned course
before the beginning of the second semester.
2. Evaluating constantly pupil progress and providing for
the examiner on Form No. 2 at the time of the final ex-
amination a brief written report indicating:
a. The level of achievement in the student's medium and
in theory-musicianship.
b. The number of lessons taken.
c. The list of material studied by student.
d. His informal and formal public appearances.
e. A record of his service to the school, church, and com-
munity organizations.









3. Giving specific attention to technical control and to the
development of theory-musicianship within the structure
of each student's program.
4. Determining the final grade and submitting it to the high
school principal at the beginning of the examination week
on Form 3.
5. Stimulating interest in and appreciation for all media of
music through suggested correlated readings, attendance
at available concerts and recitals, listening to TV and
radio programs of musical worth, listening to recorded
music, and participating in local musical organizations
and ensemble groups.

F. Forms.


Form No. 1

APPLICATION FOR CREDIT IN MUSIC
UNDER PRIVATE INSTRUCTION

High School Date

We, the undersigned, hereby request that
pupil
be permitted to study for high school credit under
medium
Florida State Board Regulations adopted March 21, 1950.

Number of years previous study with high school credit _

Signed
pupil


parent or guardian private teacher

(Forms 2 and 3 on page 8)










Form No. 2


PUPIL EVALUATION AND ACHIEVEMENT RECORD
(For the Examiner and Principal)


Pupil high school Date


Medium Course Credit Theory-Musicianship Course


No. of Lessons Private Teacher

1. Material studied (methods and etudes, repertoire)

2. Informal and formal public appearances

3. Service to school, church, and community organizations





Form No. 3

FINAL REPORT TO PRINCIPAL

The following student has presented himself for examination
and has successfully fulfilled the specific requirements:


Student Private Teacher
Grade for course Date
The grade for the above-named student has been approved and
recorded on his report card and official school record.


Principal Date
This form is to be included as part of the accumulative record
of this student.









G. Organization of Examination
1. It shall be the responsibility of the county music commit-
tee to arrange an examination date (not earlier than the
week before final examinations), to designate an examin-
ation center, and to select examiner (s) and sight-reading
music.
a. A single examiner is acceptable, but when possible, a
jury of two is recommended. In the latter instance, one
should represent the school music education group.
b. The following qualifications shall be considered in the
selection of an examiner:
(1) High standard of musicianship
(2) Understanding of the principles of musical growth
and development
(3) Ability to work effectively with students of high
school age
2. If the local county committee or a private teacher needs
assistance in securing an examiner, they may request
help from the nearest local or district chairman of the
Florida State Music Teachers Association.













CHAPTER 2


Theory-Musicianship Courses of Study

T HE ADDITION of Theory-Musicianship as a requirement in this
program will mean adjustments for such individual stu-
dents as those advanced in technical facility but with less ex-
perience in the basic musicianship requirements as found in
Courses I or II. It is also possible for the reverse situation to
occur. In such cases, the teacher and his student should elect
the course of study in Theory-Musicianship that they feel can
be completed by the end of the year regardless of the repertoire
course number.
Moreover, a student shall include in his program of study
additional technical material essential to the unique demands of
his medium. This information is not always included in the
Theory-Musicianship Course but will be found in the introduction
to each course of study.
A music student should be articulate about the materials of
which music is made. He should know the symbols for sounds
and their combinations. He should understand the measurement
of music in time, pitch distances, and intensity. He needs a
vocabulary with which to communicate with his fellow musicians:
"Give me the tonic chord, and I'll take my entrance on the up-
beat. Let's start at the fourth measure after the modulation to
E major."
By dissecting music and becoming familiar with its integral
parts, a person is able to "put it together" more intelligently and
artistically. By using these materials creatively, he becomes
aware of the structure of a musical whole and is able to feel the
intentions of composers and interpret their music more accurately
and sympathetically. In the appendix the Theory-Musician-
ship Courses of Study are summarized on a chart. The material
presented in these courses of study represents a body of knowl-









edge and skills every high school musician should aim to possess
in addition to the skill of playing artistically a prepared reper-
toire. The listings in columns 1-10 and the prescribed procedures
in columns 11, 12, and 13 are presented to students and their
teachers not primarily as examination requirements for credit
but as a curriculum guide throughout the year. Functional use
of theoretical material should be integrated with every music-
making lesson.

Preparatory Study and Activity
The following books are recommended for teacher-pupil study
and practice in preparing for THEORY-MUSICIANSHIP:
Music Study for Adults-Eckstein and Carl Fischer
others
Music Fundamentals Through Song Prentice-Hall
Myers
Introduction to Musical Knowledge Paul A. Schmitt
Jones & Barnard Music Co.
Keyboard Harmony Course Diller G. Schirmer
First Theory Book Diller G. Schirmer
Keyboard Approach to Harmony-Lowry Presser
Syllabus of Basic Musicianship Florida State Music
(Annual Report 1955-56) Teachers Association
Chords in Action Bishop Carl Fischer
Basic Piano Cheyette-Shake Presser


Intervals and Chords-McCartenay-Pabst
"Harmony First" Method for the Piano-
Dardenelle
Fundamentals of Music Elliot
A Workbook in Music Theory Swift
Study Outline and Workbook in the Ele-
ments of Music Hill-Searight
("HOW WE WRITE MUSIC," an 18mm
sound black and white film, is avail-
able for rent or purchase from the
author, Frank W. Hill, Iowa State
College, Sioux Falls, Iowa.)
Music for High School Work Text -
Milam
Music Theory Papers Montgomery
Seeing and Hearing Montgomery


Willis Music Co.
Paull-Pioneer

Prentice-Hall
Belwin
Wm. C. Brown Co.






The Steck Co.

Carl Fischer
Carl Fischer









Theory and Musicianship McIntosh Carl Fischer
Rhythm and Meter Pabst and Mac- Willis Music Co.
Cartenay
Intervals and Chords Pabst and Willis Music Co.
MacCartenay
Since intelligent playing and understanding depend upon the
ear, the eye, the brain, and the neuro-muscular response, the
student should be prepared for doing the following on each item
of "theory" listed:
1. RECOGNIZE by sound or sight and identify (Name it.)
2. DISTINGUISH, when occurring among other sounds or
symbols
3. PERFORM (sing or play)
4. WRITE on the board or manuscript paper
5. SHOW examiner example from repertoire
6. DISCOVER in a piece of unfamiliar music
These are examples of what the student should be prepared
to do on such an item of "theory" as INTERVALS, Column 10,
Course I:


TEACHER OR EXAMINER
a. (plays two successive tones) "what
is this interval?"
b. "I shall play a succession of 3 in-
tervals; raise your hand at the
sound of the major third."
c. "Play for me a major third, the bot-
tom tone D natural."
d. "Now write the interval."
e. "In a piece of music which you have
played, show me a major 3rd."
(turns to another page)
f. "Now show me a major third on
this page."


STUDENT
"A major third."

(He does; if in a group
he writes the correct
number in sequence.)
(He does, sounds D
and F#.)
(He does.)
(He shows teacher or
examiner major 3rd
from a repertoire piece.)
(He does.)


Throughout the year, interesting group procedures and
techniques can be developed by students themselves taking
turns playing the part of the Examiner or Teacher. This is help-









ful for those students who are registered for one-fourth unit of
credit.
At all times, examinations should avoid exclusively oral or
written definitions, divorced from sound. The examiner will not
give an exhaustive test on every listing in every column but will
select arbitrarily one or more items in each course and follow the
procedure similar to that just outlined.













CHAPTER 3


Courses of Study-Piano

FoR HIS piano examination requirements the student shall be
prepared to play three compositions, two of which must be
chosen from the recommended list; one of these three must be
memorized. He must present a list of at least eight compositions
(including ensemble works) which he has studied in the course
of a year. Each movement of.a sonata, suite, or a study of reason-
able length may count as a piece studied. Six of the eight should
be chosen from the published lists. He must play at sight music
of a grade easier than that for which he is being examined.
Finally, he shall demonstrate his understanding and use of the
requirements in Theory-Musicianship outlined in his assigned
course of study.

Minimum Technical Requirements
Technique in this program is defined as dexterity and tonal
and rhythmical control in playing. It has been divided in the
following outline into four minimum levels which need not
parallel repertoire courses. Instead, it is understood that the
teacher will move the student into whatever scale, chord, or
arpeggio study best meets his physical and musical development.
Additional studies and exercises will be assigned at the discre-
tion of the teacher to help the student meet the increasing de-
mands of his performance of piano literature.
Despite the flexibility of this outline, it is felt the material
of one entire technical course as outlined can be adequately
covered in one year, allowing the student to move ahead into the
next technical course or to an extension of the same one with
more demands as to tempi and control.









Course I
A keyboard knowledge and facility of major and tonic minor
scales through two octaves at least, beginning on white keys. A
knowledge of the signatures of these major and minor scales.
Minor and major chords, root position, and a functional use of
V7 chord, i.e., use in harmonization of simple melodies.

Course II
A keyboard knowledge and facility of major and minor scales
beginning on black keys.
Major and minor chords in first and second inversions and
diminished and augmented chords in root position. A functional
use of I, IV, V, V7.

Course III
A review of all scales.
Continuing functional use of I, IV, V, V7, along with sec-
ondary chords.
Major and tonic minor arpeggios, all positions.

Course IV
A review of all scales with emphasis on all signatures in-
cluding relative and tonic minors. Continuing harmonization of
melodies including use of all chords and modulations through V7.
Major and minor arpeggios, all positions.
Diminished sevenths and dominant seventh arpeggios, all
positions.

Course I
COMPOSER COMPOSITION PUBLISHER
Alexandrov Russian Folk Song L
Bartok First Term at the Piano BH
Bartok Mikrokosmos, Book I L
Bauer Tumbling Tommy M
Beethoven Two Ecossaises Mil
Beethoven Waltz in F APS
Clark Contemporary Piano Literature CFS
Clark Piano Technic, Book I CFS
Cobb Pomp and Pageantry W
Diller-Quaile 25 First-Grade Piano Pieces GS
Dittenhaver Toccata in D Minor W
Fichandler My Shadow TP
Fischer, J. Piano Book, Part II JF









COMPOSER
Frost
Frost
Frost
Goedicke
Gretchaninoff
Gretchaninoff
Hart
Hart
Kabalevsky
Kabalevsky
Kasschau
Khachaturian
Khachaturian
Kossenko
Lambert
Lambert
Pace
Park
Prahl
Rolseth
Salutrinskaya
Schumann
Weybright



COMPOSER
Bauer
Bauer
Beethoven
Beethoven
Beethoven
Bentley
Burleigh
Chopin
Clark
Clark
Crawford
Diller-Quaile
Diller-Quaile
Freed
Frost
Gerchik
Gladkovsky
Glover
Gnessin
Goodrich
Grieg
Handel-Sheldon
Hanson
Heins
Heller
Heller-Schaum
Fischer, J.
Kreutzer

Lambert
Lambert
Long
Maier


COMPOSITION PUBLU
At the Piano, Books I and II
The Adult at the Piano
The Companion Series, Book I
Dance, Op. 36
On Horseback
Waltz
Dolphins
Pop Goes the Weasel
24 Little Pieces, Op. 39
Variations, Op. 51, Sets I and II
Melody Preludes
Evening Song
Little Piece
Scherzino, Op. 15
Classics, One
Folksongs and Dances, Books I and II
Meet the Piano
Sunday Morning
Old Tunes for Young Pianists, Book I
Norwegian Country Dance
Sonatina
Soldiers' March, Op. 68
Etudes for Pianists

Course II


[SHER
BMC
BMC
BMC
L
L
JF
GS
GS
L
L
S&G
L
L
L
H
H
TP
W
CF
GS
L
GS
AAM


COMPOSITION PUBLISHER
A Rainy Day L
Parade M
Pastoral Dance APS
Sonatina in G GS
Waltz in G Mil
Piccola Tarantella CFS
Wing Foo TP
Endless Mazurka, Op. 7, No. 5 GS
Piano Literature, Book II CFS
Piano Technic, Book II CFS
On the Ice BFW
Second Solo Book GS
When All the World Was Young W
Around the Maypole CF
The Companion Series, Book II BMC
Dance L
Little Ballerina L
Skip Tum-A-Lu CFS
March L
Titania's Dance CFS
Elfin Dance, Op. 12, No. 4 W
Hallelujah Chorus .Mil
Dance of the Warriors CF
Music Box GS
Avalanche, Op. 45, No. 2 GS
Warrior's Song Bir
First Classic Collection JF
Original Airs and Dances
(Bach, Handel, Mozart, etc.) BMC
Classics, Two H
Sonatinas, One H
Neptune's Cave W
Fossil Parade CFS










COMPOSER
Moore
Mozart
Nevin
Pattison
Quaile
Reinhold
Schubert-Liszt
Schumann
Schumann
Schumann
Schumann
Selivanov
Sousa-Levine
Stevens
Strauss-Siloti
Thompson


COMPOSER
Bach
Bach
Bach-Carroll
Bartok
Bartok-Agay
Bauer
Beethoven
Bilotti
Burgmuller
Clark
Clark

Clementi
Cobb
Cowell
Craxton
Delibes
Diller
Diller-Quaile
Dittenhaver
Dorolle
Elwell
Freed
Frost
Gade
Gayhros
Gest
Gliere
Goedicke-Quaile
Goodrich
Grieg
Griffes
Handel
Haubiel
Haydn
Haydn
Haydn
Heller
Jonas


COMPOSITION


PUBLISHER


Fiddlin' Joe CF
Waltz K 600, No. 1 Mil
Rhapsody in Scales S & G
The Burro Ride CFS
A Pre-Czerny Book, Vol. I GS
Hungarian Dance, Op. 39, No. 9 W
The Organ Grinder JF
Choral, Op. 68 GS
Happy Farmer, Op. 68 GS
Hunting Song, Op. 68 GS
Wild Horseman, Op. 68 GS
Little Scherzo, Op. 3, No. 3 L
The Stars and Stripes Forever W
Ozark Reel Ric
Twelve Themes from Famous Waltzes CF
24 Sketches in All Keys, Op. 23 S & G

Course III
COMPOSITION PUBLISHER
First Steps in Bach BMC
Prelude in C, WTC GS
First Lessons in Bach, Book I GS
Ten Easy Pieces BH
Bartok is Easy TP
A New Solfeggietto M
Six German Dances L
Fireflies CF
Opus 100 CFS
Literature for the Piano, III CFS
Technic for the Piano, III CFS
Classical Album of Original Piano
Pieces for Early Grades BMC
Six Sonatinas GS
O Lord! I'm Tired of Trouble CFS
The Irishman Dances CF
Easy Elizabethans OX
Passepied GS
The March of the Three Kings GS
Third Solo Book GS
Tumbling Creek Dit
Airs and Dances, Books I and II BH
Tarantella CF
Punchinello CF
At the Piano, Book III BMC
Boy's Merry-Go-Round GS
Etude in A Minor JF
Frere Jacques Concert JF
A Happy Life L
Twelve Dances CF
Preludes CFS
Grandmother's Minuet GS
Jig CFS
Bouree in G Minor Mil
Dance of the Dorian Youths CP
Scherzo Mil
Six Sonatinas AMP
Vivace JF
Curious Story W
Turks' Pieces for Piano Study CFS










COMPOSER
Kabalevsky
Kreisler-Maier
Kuhlau
Lambert
Lambert

Maier
Mirovitch
Nevin
Ornstein
Prokofiev
Rameau
Rebikov
Rowley
Schaub
Schumann
Schumann
Sibelius-Quaile
Sifler
Taylor
Wagness




COMPOSER
Bach
Bach
Bach, C.P.E.
Bach-Carroll
Bach-Thompson
Beethoven
Beethoven
Beethoven
Beethoven
Beethoven
Beethoven
Beethoven
Bentley
Blanchard
Borowski
Brahms-Maier
Brahms-Maier
Brahms-Maier
Brahms-Maier
Debussy
Dittenhaver
Franz-Maier
Franz-Maier
Freed
Frost

Gade
Grieg
Grieg
Grieg
Grieg
Handel
Haydn


COMPOSITION


Variations, Op. 51, Set III
Liebesfreud
Sonatinas
Classics, Three
Sonatinas, Two
Leaves From Albums For the Young
Deep River
Command of the Keyboard, Vol. I
Twinkle, Twinkle, Little Star
Hunting Song
Fairy Tale, Op. 65, No. 3
Tambourin
Silhouettes
Early English Sonatinas
Folk Themes and Variations
Little Romance, Op. 68
Melody, Op. 68
Onward, Ye Peoples!
Sonatina in Bb
After the Shower
14 Sketches in Style


Course IV

COMPOSITION PUBLIC
Allemande in A Minor
Little Prelude in C Minor
Solfeggietto
First Lessons in Bach, Book II
An Introduction to Bach
Minuet in C
Minuet in G
Minuetto from Septet, Op. 20
Six Easy Variations on a Swiss Theme
Seven Landrische Tanze
Waltz in D
Waltz in G
On Gossamer Wings
Rondeau Provencal
Valsette
On Sunday
The Fairest of All
The Blacksmith
No House! No Home!
Little Nigar
Mardi Gras
Summer Evening
Spring Song
Jeneral Jerry's Jolly Jugglers
Six Sonatinas (Haydn, Mozart,
Beethoven)
Entrance March, Op. 36
Birdling, Op. 43, No. 4
Lyrical Pieces, Op. 12
Master Series for the Young
Puck, Op. 71, No. 3
Sarabande in F
Allegretto in A


L
F
GS
H
H
CFS
CFS
TP
S& G
BMC
L
GS
GS
BH
CF
GS
GS
Gal
BMC
Dit
Dit


3HER
Mil
TP
CFS
GS
W
Mil
CFS
GS
GS
GS
Mil
Mil
CFS
GS
GS
JF
JF
JF
JF
LeD
JF
JP
JF
CF

JF
GS
W
GS
GS
BMC
Mil
TP


PUBLISHER










COMPOSER
Haydn
Heller
Heller
Jensen
Kabalevsky
Kabalevsky
Labunski

MacDowell
MacDowell
Maier
Menotti
Mirovitch

Mirovitch

Ortmann
Pescetti
Quaile
Rathaus
Scarlatti
Scarlatti
Schubert-Godowsky
Schumann
Schumann
Schumann
Schumann
Scott
Tansman
Tansman
Tschaikowsky
Wigham
Williams




COMPOSER
Bach-Freed
Bach-Mason

Barrett
Bartok
Beethoven
Beethoven
Beethoven
Beethoven
Beethoven
Bentley
Bentley
Bloch
Bond
Bull
Byrd

Chopin

Concone
Czerny, and others


COMPOSITION PUBLISHER
Minuetto Giocoso GS
Studies, Op. 47 GS
Op. 125, No. 1 & 21 JF
Elfin Dance, Op. 33, No. 5 GS
Fifteen Pieces for Children L
Variations, Op. 51, Sets IV and V L
Four Variations on a Theme by
Paganini CF
Alla Tarantella APS
Scotch Poem GS
Deep River CFS
Poemetti Ric
Command of the Keyboard, Vols.
II and III TP
14 Easy Masterpieces (J.C. Bach &
Ricci) EHM
Album Leaves W
Presto CF
A Pre-Czerny Book, Vol. II GS
Cross Talk JF
Sonata in C JF
Sonata in D Minor Mil
By the Sea GS
Hobby Horse, Op. 15 GS
Knight Rupert GS
Norse Song GS
Rider's Story GS
Song of the East, Op. 54 Gal
Pour les Enfants, Set II AMP
Recreations CFS
Album for the Young, Op. 39 GS
Scherzino Ric
The Roaming Bumble Bee S & G


Course V

COMPOSITION PUBLISHER
Jesu, Joy of Man's Desiring CF
Gavotte in D, Sixth Violoncello
Sonata GS
Coronach Gal
For Children, Vol. I BH
Ecossaises in Eb CFS; JF
Fur Elise CFS
Minuet in E Flat Mil
Six Landrische Tanze GS
The Smaller Rondo in C CFS
The Happy Winds CFS
Rondolettes CFS
Enfantines CF
Betty's Music Box BMC
King's Hunting Jig CFS
Carman's Whistle, Theme and
Variations Mil
Mazurkas, Op. 67, No. 2; Op. 7,
No. 1; Op. 68, No. 3; Op. 7, No. 2 GS
Preludes, Op. 37 GS
Studies in All Keys CFS










COMPOSER
Diller
Franck
Franz-Maier
Grieg
Grieg

Handel
Handel
Haydn
Heller
Heller
MacDowell
MacDowell
Mirovitch
Mozart
Niemann
Olsen
Prokofiev-Quaile
Rebikov
Rodgers
Schubert-Maier

Schubert-Orem
Schumann
Sessions
Sukoenig
Thompson, Randall
Weber
Whithorne
Wigham


COMPOSER
Albeniz
Arensky
Bach, C.P.E.
Bach-Maier
Beethoven
Beethoven
Beethoven-Rowley
Beethoven
Beethoven
Brahms-Maier
Brahms-Maier
Brahms
Chopin

Chopin-Levine
Chopin
Chopin
Chopin
Field
Fischer
Franz-Maier
Frost
Granados
Grieg
Grieg


COMPOSITION PUBLISHER
Fourth Solo Book GS
Kleine Stucke P
O Why So Soon? JF
Dance Caprice W
Northern Dances and Folk-Tunes,
Op. 17 GS
Twelve Easy Pieces GS
Allegro in C Mil
Sonatas, Vol. II (Nos. 11-20) GS
Studies, Op. 46 GS
Op. 125, Book I GS
To a Humming Bird APS
Woodland Sketches, Op. 51 APS
Command of the Keyboard, Vol. IV TP
Six Viennese Sonatinas AMP
In A Chinese City GS
Fanitul, Op. 23, No. 3 Dit
Peter and the Wolf Gal
Mazurka, Op. 8, No. 9 CF
Six Octave and Chord Journeys TP
Waltzes, Set I (5270), Set II (5271),
Set IV (6574), or Set V (6575) JF
Serenade GS
Album Leaves, Op. 124 GS
March CF
Railroad Tune AT
Little Prelude CF
Album Blatt TP
Pixie Frolic JF
Introduction and Sonatina TP


Course VI
COMPOSITION Pt
Espana, Op. 165
Cuckoo
Fantasia in C
Twenty Pieces From Bach's Book
Bagatelles, Op. 119
Contra Dance in C
Easiest Original Pieces for Piano
Six Variations on "Nel Cor Piu"
Scherzo and Minuet
Disappointed Serenader
The Fairest of All
Waltz in Ab
Mazurkas, Op. 67, No. 3
Op. 67, No. 4
Op. 68, No. 1
Selected Chopin Mazurkas
Waltz in D Flat, Op. 64, No. 1
Waltz in E
Waltz in F Minor, Op. 70, No. 2
Nocturne in B Flat
Intermediate Piano Classics
Dedication
At the Piano, Book IV
Player, Op. 5, No. 5
Butterfly, Op. 43, No. 1
Norwegian Bridal Procession


IBLISHER
Sch
GS
JF
JF
GS
BMC
Paxton
GS
EV
JF
JF
GS
GS

BMC
GS
GS
GS
CFS
JF
JF
BMC
BMC
W
GS









COMPOSER
Handel
Handel
Hanson
Haydn
Heller
Heller
Iturbi
Karlin
MacDowell
MacDowell
MacDowell
MacDowell
MacDowell
Mozart
Napolitano
Palmgren
Rakov
Rebikov
Rehberg
Reinecke
Scarlatti-Mirovitch
Schubert
Schubert
Schubert
Schubert-Levine
Schubert-Maier
Schubert-Maier
Schumann
Scott
Seeboeck
Sifler
Sinding
Taylor
Tcherepnin
Tschaikowsky
Zeckwer


COMPOSITION


PUBLISHER


Air a la Bouree in G
Prelude in G Major
Clog Dance
Sonatas, Vol. I (Nos. 1-10)
Op. 138, No. 6
Twenty-five Studies, Op. 45
Pequena Danza Espanola
Forgotten Waltz
Improvisation, Op. 46, No. 4
In Deep Woods, Op. 62, No. 5
Shadow Dance, Op. 39, No. 8
"Song", from Sea Pieces
To a White Pine, Op. 62
Sonata in C K. 545
Gato
May Night
From Youthful Days
Danse des Clochettes
From Bach to Beethoven, Vol. II
Who Has the Whitest Lambkins?
Twelve Easy Scarlatti Sonatas
Impromptu, Op. 142, No. 2
Minuetto in B Minor, from Op. 78
Moment Musical, Op. 94, No. 3
Selected Schubert Waltzes
The Stars
Waltzes, Set III
Important Event, Op. 15
Lento
Minuet a l'Antico
Second Sonatina
Serenade, Op. 33, No. 4
The Smugglers
Chinese Bagatelles, Op. 51, No. 3
April, Op. 37
In a Boat


Course VII


COMPOSER
Bach, C.P.E.
Bach
Bach
Bach
Bach
Bach-Heinze
Bach-Spencer
Beethoven
Beethoven
Beethoven
Beethoven
Chopin


Chopin
Chopin
Corelli-Brocca


COMPOSITION


PUBLISHER


Allegro di Molto
French Suites
Gigue in B Flat
Prestissimo
Two-Part Inventions
Album of Favorite Compositions
Allegro in G (Toccata in G)
Rondo in B Flat
Rondo in C, Op. 51
Seven Bagatelles, Op. 33
Sonata, Op. 49, No. 2
Mazurkas
Op. 6, No. 3, Op. 17, No. 1
Op. 7, No. 3 Op. 24, No. 2
Op. 7, No. 3 Op. 24, No. 3
Trois Ecossaises, Op. 72, No. 3, 4, 5
Waltz in B Minor, Op. 69, No. 2
Gigue in A


TP
GS
CF
GS
JF
GS
GS
CFS
AMP
APS
BMC
APS
APS
GS
Ric
BMC
L
BMC
AMP
CFS
Mar
GS
GS
GS
BMC
TP
JF
GS
BH
Ch
BMC
GS
CF
M
GS
CF


Dit
K
JF
JF
K
TP
CFS
M
GS
GS
GS
GS


GS
GS
GS









COMPOSER
DalCroze
Daquin
Debussy
Field
Franz-Maier
Franz-Maier
Galuppi
Grieg
Grieg
Grieg
Handel
Heller
Heller
Ibert
Ibert
Kabalevsky
Kosakoff
Liszt
Loeilly
MacDowell
MacDowell
MacDowell
MacDowell
MacDowell
MacDowell
MacDowell
MacDowell
Mendelssohn
Mendelssohn
Mendelssohn
Mendelssohn
Mendelssohn-Levine
Mozart, (Auth. Ed.)


Mozart
Mozart
Mozart-Maier

Palmgren
Palmgren
Pinto
Schubert
Schubert
Schubert
Schubert-Heller
Schumann
Schumann
Schumann
Schumann
Scott
Scott
Tschaikowsky
Turina
Turina
Villa-Lobos
Villa-Lobos
Zachara
Zeckwer


Trois Pieces Enfantines Op. 10 RLC
Cuckoo GS
Golliwog's Cake Walk Dur
Nocturne in E Flat, No. 1 P
Like Sunbeams JF
My Songs JF
Gigue in D GS
Gavotte, Suite From Holberg's Time GS
Minuet in E Minor, Sonata, Op. 7 GS
Nocturne in C GS
Gavotte in B Flat GS
Etude, Op. 138 No. 6 JF
Fifty Selected Studies GS
Giddy Girl LeD
Little White Donkey LeD
Variations, Op. 40, No. 1 L
Hand Equalization Studies JF
Au lac de Wallenstadt GS
Gigue CFS
Arabesque, Op. 39, No. 4 APS
Brooklet Op. 32, No. 2 Br & H
From Uncle Remus APS
Hungarian, Op. 39, No. 12 APS
Novelette, Op. 46, No. 1 AMP
Of Brer Rabbit, Op. 61, No. 2 APS
Sea Pieces, Op. 55 APS
Witches' Dance, Op. 17, No. 2 BFW
Duet GS
Hunting Song GS
Scherzo in E Minor, Op. 16, No. 2 GS
Spinning Song GS
Selected Songs Without Words BMC
Sonata, A Major (K 331); Fantasy,
D Minor (K 397)
Sonata, G Major (K 283); Rondo
D Major (K 485) CFS
Fantasy in D Minor, No. 3 (K 397) CFS
Sonata in G (K 283) GS
Variations on Alas! I Have Lost My
Love CFS
Bird Song BMC
The Sea BMC
Scenas Infantis GS
Impromptu, Op. 90, No. 4 GS
Moment Musical, Op. 94, No. 1 GS
Moment Musical, Op. 94, No. 4 GS
Serenade GS
Arabesque GS
Kinderscenen, Op. 15 GS
Nocturne in F, Op. 23 GS
Scherzino in B Flat, from Op. 26 GS
Lotus Land, Op. 47, No. 1 Gal
Three Old Country Dances Sch
November GS
Miniatures AMP
Sacre Monte Sal
Alnilam CF
Polichinelle Mar
Twelve Master Etudes, Op. 29 TP
Images In The Water CF


COMPOSITION


PUBLISHER












COMPOSER

Albeniz
Arensky
Bach

Bach
Bach-Castagnetta
Beethoven
Beethoven




Borodin
Brahms


Carpenter
Chopin
Chopin
Chopin



Chopin
Chopin
Chopin

Chopin
d'Albert

Debussy
Debussy
Debussy
Debussy
Debussy
Debussy
Debussy
Faure-Maier
Gershwin
Glazunov
Grieg
Griffes
Griffes
Handel
Handel
Harris
Henius
Ireland
Josten
Kabalevsky
Khachaturian
Liszt
Liszt
MacDowell
MacDowell
MacDowell


Course VII

COMPOSITION


PUBLISHER


Seguidilla BMC
Etude in F#, Op. 36, No. 13 GS
Well-Tempered Clavichord K
Easier Preludes and Fugues
Your Bach Book Mil
Jesu, Joy of Man's Desiring Dit
Rondo in G, Op. 51, No. 2 GS
Sonatas GS or K
Op. 49, No. 1 (g)
Op. 14, No. 1 (E)
Op. 14, No. 2 (G)
Op. 2, No. 1 (f)
Op. 79
Au Convent GS
Edward Ballade, Op. 10, No. 1 GS or K
Intermezzo, Op. 119, No. 3
Waltzes, Op. 39
Polonaise Americaine GS
Etudes: Trois Etudes, Posthumous GS
Impromptu in A Flat, Op. 29 GS
Nocturnes: Op. 55, No. 1 GS
Op. 37, No. 1
Op. 15, No. 3
Op. 9, No. 1
Nocturne in C Sharp minor, Posthumous GS
Preludes, Op. 28 K
Polonaises: Op. 40, No. 1 (A Major
Op. 26, No. 1 (Crj minor) GS
Waltz in E Minor and other easy Waltzes K
Allemande, Gavotte, and Musette from
Suite Op. 1 GS
Arabesques No. 1 and 2 BMC
Danseuses de Delphes Dur
Dr. Gradus ad Parnassum Dur
La Cathedrale Engloutie Dur
La Fille Aux Cheveux de Lin Dur
La Plus Que Lente Dur
Minstrels Dur
After A Dream JF
Three Preludes Har
Gavotte in D BMC
From Hoberg's Time, Op. 40 GS
The Lake at Evening, Op. 5, No. 1 GS
The Night Winds, Op. 5, No. 3 GS
Sonata in C GS
The Harmonious Blacksmith GS
American Ballads, Set I CF
Easy Piano Classics CF
The Island Spell Agr
Redlight-Greenlight JF
Sonatina No. 1, Op. 13 IMC
Toccata L
Consolation in D Flat, No. 6 GS
Your Liszt Book Mil
March Winds, Op. 46, No. 10 AMP
Of Salamanders, Op. 61, No. 4 APS
Polonaise, Op. 46, No. 12 AMP










COMPOSER
MacDowell

MacDowell
MacDowell
Mendelssohn
Mendelssohn
Mendelssohn
Mozart
Mozart

Paradisi
Philipp
Poulenc
Poulenc
Poulenc
Prokofiev

Respighi
Sancan
Scarlatti
Schubert
Schubert
Schubert
Schubert-Liszt
Schumann
Schumann
Schumann
Scott
Scriabine
Scriabine
Shostakovich
Sibelius
Sibelius
Simmons
Tcherepnin
Tcherepnin
Toch
Turina
Villa-Lobos
Villa-Lobos


COMPOSER
Parallel with Piano
Bauer
Burrows

Diller
Diller
Diller-Quaile
MacGregor
Proctor
Stravinsky


COMPOSITION PUBLISHER
Praeludium from First Modern Suite, Br & H
Op. 10, No. 1
Rigaudon, Op. 49, No. 2 APS
The Joy of Autumn, Op. 62, No. 10 APS
Praeludium in E Minor GS
Prelude from Op. 35, No. 1 GS
Rondo Capriccioso, Op. 14 GS
Rondo in D, (K 485) GS
Sonata in F, (K 332) or other sonatas
of the same level GS
Toccata in A, from Sonata in A CFS
Feux-Follets. GS
Perpetual Motions Ches
Suite Francaise Ches
Valse AMP
March, from Love of Three
Oranges, Op. 33 Mar
Nocturne in G Flat GS
Pieces Enfantines, Book I Dur
Selected Sonatas, Vols. I or II JF
Impromptu, Op. 90, No. 2 GS
Moment Musical, Op. 94, No. 2 GS
Moment Musical, Op. 94, No. 5 GS
Du Bist die Ruh GS
Novelette in B Minor GS
Novelette in F Major GS or K
Whims GS
Danse Negre, Op. 58, No. 5 Ric
Etude in C Sharp Minor, Op. 2, No. 1 GS
Prelude in E Major JF
Three Fantastic Dances CF
Romance BMC
Spruce Tree BMC
Gigue CFS
Bagatelles, Op. 5 IMC
Polka AT
Der Jongleur, Op. 31, No. 3 Sch
The Circus AMP
Alnitah CF
Mintika CF
Ensemble Music for Piano

Duets
COMPOSITION PUBLISHER
Course I
Classics As Duets H
First Rounds for Piano, For Two
Players C
Green Duet Book GS
Brown Duet Book GS
First Duet Book GS
8 Piano Duets GS
Fun for Two EV
Five Easy Pieces OM


Parallel with Piano Course II
Charkowsky Tour for Two (folk tunes of 8 nations) CFS
Diller-Quaile Second Duet Book GS










COMPOSER
Harvey
Kolinski
Kolinski
Kolinski
Riegger
Riegger
Riegger
Parallel with Piano
Archer
Conner
Diller-Quaile
Dorolle
Mozart
Repper
Stoye
Withrow
Parallel with Piano
Bach-Crosby
Beer
Kreisler-Eichhorn
Mozart-Berkowitz
Schubert
Parallel with Piano
Arensky-Mirovitch
Bryan
Mozart
Mozart
Tschaikowsky


COMPOSITION
Birds of a Feather
Around the Maypole
At the Court of Old King Cole
By the Campfire
Duet Album
Garden Flowers
The Galway Piper


PUBLISHER


Course III
Ten Folk Songs, Vol. I
12 Dances of Merrie England
Third Duet Book
Ancient Dances, Books One and Two
Easy Sonatinas
Balance and Swing
Polka March
Trips to the Symphony
Course IV


Chorales
Music from Bygone Days
Liebesleid
Sonatina in C Major
Dances for Piano Duet
Courses V and VI
Six Recital Pieces for Piano Duets
Folk Fun
Sonata in B1 (K 358)
Sonata in D (K 381)
50 Russian Folk Songs


Parallel with Piano Courses VII and VIII
Benjamin-Trimble Jamaican Rumba
Bizet Children's Games
Brahms Waltzes, Op. 39
Debussy Petit Suite
Faure Dolly
Haydn The Master and the Pupil
Townsend Piano Duets of the Classical Period

Two Piano
Parallel with Piano Course I
Clarke The Ash Grove
Planner In the Moonlight
Flanner Little River Flowing
Planner On the Bridge of Avignon
Planner The Little Huntsman
Keenan Country Dance
Parallel with Piano Course II
Clarke The Sky and the Earth
Clarke The Vicar of Bray
Flanner Cadet Roussel
Planner Rolling My Ball
Planner The Hobgoblins
Planner The Mill Wheel
Flanner There Was A Tailor Had a Mouse


AMP
Dit
GS
BH
P
Bir
CFS
CFS


S& G
U
F
EV
H


L
JF
H
H
L

BH
IMC
IMC
Dur
IMC
Dit
Dit









COMPOSER
Weybright
Weybright


COMPOSITION
Oh, No! John!
Polly, Put The Kettle On!


PUBLISHER
W
W


Parallel with Piano Courses III and IV


Foster-Blake
Gilmore-Norlin
Gretchaninoff
Grieg-Bull
Nevin
Novichy
Novichy
Novichy
Rebikov-Reeder


Camptown Races
When Johnny Comes Marching Home
Chanson Militaire
Elfin Dance
Shepherd's Hoe-Down
Row, Row, Row Your Boat
The Farmer In The Dell
Twinkle, Twinkle, Little Star
Silhouettes


Parallel with Piano Courses IV and V
Arensky Suite in Canon Form
Bach-Baynon Minuet and Badinerie
Bach-Lee Four Dance Measures
Bach-Norlin Solfeggietto
Bach-Tate March, Sarabande, Polonaise
Bach-Williams Suite
Bach-Williams Suite
Cui-Gest Orientale
Howell Mazurka
Mowrey Carnival
Poldini-Gest Dancing Doll
Turner Cap and Bells
Wilson, Samuel B. Nocturne
Wilson, Samuel B. Suite in Three Movements
Parallel with Piano Courses V and VI


Avery
Bach-Howell
Bach-Lev
Bach-Maier
Bach-Maier
Bach-Maier
Bach-Maier
Beethoven-Saar
Debussy-Roques
Grasse-Ringo
Kassern
Leo-McClanahan
Mozart-Maier
Pescetti-McClanahan
Schubert-Coburn
Seeboeck-Saar


Concertino
Komm Susser Tod
Bist Du Bei Mir
Two-Part Inventions
Sicilienne
Pastorale
Allegro from Trio in D Minor
Contre-Dance No. 1
Golliwogg's Cake-Walk
Waves At Play
Teen-Age Concerto
Giga
Allegro from Sonata Bb
Presto
Frolic of the Three Blind Mice
Minuet a l'Antico


Parallel with Piano Courses VII and VIII


Albeniz-Dungan
Arensky-Norlin
Bach, J. C.
Bach-Gest
Bach-Goldovsky
Bach-Howe
Bach-Maier
Bach-Scionti
Bach-Whittaker
Bauer
Benjamin


Tango
Waltz
Concerto in D Major
Jesu, Joy of Man's Desiring
Oh, How Fleeting
Sheep May Safely Graze
Air in D Major (Air For the G String)
Rejoice, Beloved Christians
Sleepers Wake
American Youth Concerto
Jamaican Rumba


CFS
CFS
JF
TP
S&G
CFS
CFS
CFS
GS


GS
OX
OX
CFS
OX
OX
OX
EV
OX
CFS
EV
OX
CFS
CFS

TP
Ric
OX
JF
JF
JF
JF
JF
Dur
GS
GS
Mil
CF
Mil
CFS
Ch

BMC
CFS
CFS
GS
OX
OX
JF
Ric
OX
GS
BH










COMPOSER
Brahms-Maier

Brahms-Watts
Debussy
Freed
Gliere
Handel-Klein
Haydn-Maier
Haydn-Robyn
Kabalevsky
Lambert
Milhaud
Mozart-Maier
Mozart-Maier
Mozart-Maler
Mozart-Maier

Mozart-Robyn
Olson, Robert G.
Rachmaninoff-
Charkovsky
Ravel
Rebikov-Whitmire
Rowley
Shostakovitch
Simmons
Simmons
Simmons

Simmons
Simmons
Simmons
Strauss-Dougherty
Tansman
Triggs


COMPOSITION P
Six Waltzes, Set One
Set Two
Adorn Thyself, O' My Soul
En Bateau
Carnival
Le Vent
Fifth Organ Concerto
The Teacher and the Pupil
Kinder Concerto
Youth Concerto No. 3
The Fischer's Hornpipe
Scaramouche Suite
Allegro
Allegro Quasi Carillon
Andante and Minuet
Minuet (Sonatina in F for Piano
and Violin)
Kinder Concerto
Waltz from Suite in Brief
Lilacs

Ma Mere l'Oye
The Devils Are Amused
Miniature Concerto
Polka
The Calico Cat
The Gingham Dog
Minuet, The Gryphon, and the
Turtle
The Old Dutch Clock
Scherzino
Tango At Midnight
Tritsch-Tratsch Polka
Carnival Suite
Danza Braziliana


PUBLISHER
JF
JF
Mil
Dur
TP
AX
JF
CFS
TP
L
BMC
EV
CF
CF
CF

CF
Dit
CFS
CFS

EV
W
BH
JF
CFS
CFS
Mock
JF
EV
JF
JF
CF
L
CF
















CHAPTER 4


Courses of Study- Organ

B ECAUSE of the particular basic techniques required to play
the organ, it is recommended that the student be well into
Piano Course VI as outlined in this bulletin before beginning
serious study of the instrument. This course of study is designed
to be used either for the pipe organ or the electronic instrument
having two manuals and a minimum of a two-octave pedal range.
As examination requirements the student shall be prepared
to play three compositions, two of which must be selected from
his chosen course; one of these three must be memorized. He
shall demonstrate suitable organ registration in the performance
of his compositions. He shall play at sight music of a grade easier
than that for which he is being examined and/or hymns with
and without pedals. He shall demonstrate his understanding and
use of the requirements outlined in his assigned Theory-
Musicianship course of study.

Course I
Awareness of basic principles of organ technique: manuals,
pedals, and registration. Easier hymns, with and without pedals.


COMPOSER
Repertoire
Carl
Carpenter
Dickinson
Handel
Heaps-Norlin
Lemmens
McKay
Schmultz
Thiman
Thomas, Virginia C.


COMPOSITION


PUBLISHER


Ecclesiae Organum
Basic Organ Technique
Art and Technique of Organ Playing
Slow Movements from Concerti
Tunes for Technic, Books I and II
Ecole D'Orgue
Benedictions
Four Chorale Preludes
Eight Interludes for Beginners at the
Organ, Book I
The Legato Organist
Book I Manual Technique
Book II Pedal Technique


Dit
JF
HWG
HWG
CFS
Dur
CF
Bir
N

Mil










COMPOSER
Repertoire
Warner, Richard
Weinberger


COMPOSITION

Ten Short Preludes
Bible Poems


Course II

Continuation of technical development described in Course I
with a greater understanding of its application.
Continuation of hymn playing with transposition. Easier an-
thems and solo accompaniments.


COMPOSER
Repertoire
Arcadelt-Liszt
Bach, J.S.
Bach, J.S.

Buck, Dudley
Franck-Gillete
Franck-Nevins
Hawke
Hawke

Lemmens
Miles
Pratella-Weaver
Rogers
Rowley
Schneider


Continuation
ordinations.


COMPOSITION


PUBLISHER


Ave Maria HWG
Arioso HWG
Preludes and Fugues ("Little Eight") GS
or Dupre (Edition), Vol. 5 HWG
Studies in Pedal Phrasing, Op. 28 BMC
Nine Pieces for Organ from L' Organiste CFS
Petite Suite from Harmonium Pieces EV
10 Pedal Studies EV
12 Organ Studies for Left Hand and
Pedal EV
Toccata (Fanfare) HWG
Three Improvisations APS
A Gothic Cathedral JF
Arioso in the Ancient Style GS
Eventide (Choral Prelude) EA
Pedal Studies, Book I TP

Course III

of Course II with emphasis on challenging co-


Church-service material of all kinds.


COMPOSER
Repertoire
Bach-Riemenschneider
Biggs, E. Power
Biggs, Richard Keys
Boellmann
Bridge
Carl, William
Dupre
Fischer, Norman Z.
Franck
Guilmant
Jacobi
Karg-Elert Bedell
Marcello
Mendelssohn
Mendelssohn-Lemmens
Peeters


COMPOSITION


PUBLISHER


The Liturgical Year (Orgelbuchlein) Dit
Treasury of Early Organ Music M
Toccata on "Deo Gratias" McL & R
Suite Gothique HWG
Adagio in E Major GS or EV
Masterpieces TP
79 Chorales, Op. 28 HWG
Toccata on a French Song Gal
Andantino in G Minor GS
Pastorale (Sonata, Op. 42) GS
Three Quiet Preludes HWG
Album M
Psalm XVIII HWG
Six Sonatas: Easier Movements GS
Slow Movements from Six Sonatas HWG
Aria Lem


PUBLISHER


Bir
HWG










COMPOSER
Repertoire
Purvis
Rheinberger
Rheinberger
Tharpe (ed.)


COMPOSITION


PUBLISHER


Communion L
Pastorale, Sonata I GS
Slow movements Sonatas Op. 194, Op. 98 GS
Preludes, Offertories, and Postludes GS


Course IV

Application of principles outlined in above courses in more
advanced studies and pieces.
Emphasis upon ornaments.

COMPOSER COMPOSITION PUBLISHER
Repertoire
Bach-Riemenschneider The Liturgical Year (Orgelbuchlein) Dit
Bach-Dupre Book V HWG
Bingham Baroques Suite Gal
Bonnet Romance Sans Paroles, Op. 7, No. 8 Mar
Buxtehude-Bingham 6 Choral Preludes JF
Clokey Anthologia Antiqua, Bk. I,
XVII Century Masters JF
Edmundson Bells through the Trees JF
Fletcher Festival Toccata HWG
Gigout Toccata in B Minor Mar
Guilmant Sonata in C Minor, Op. 56 GS
Holler St. Cecilia Series of Christmas, Set 2 HWG
Karg-Elert Claire de Lune, Op. 72, No. 2 HWG
Karg-Elert Chorale Improvisations, Op. 65 HWG
Milhaud Pastorale HWG
Ravanello Christus Ressurrexit JF
Saxon Morning Song Gal
Snow Recital Pieces for the Organ
Volume One, Volume Two BFW
Vierne 24 Pieces en style libre Book II Dur or EV
Widor Andante Cantabile (4th Symphony) Mar
Widor Toccata in D Major TP














CHAPTER 5


Courses of Study-Harp

IN ORDER TO FULFILL harp examination requirements, the
student shall be prepared to play three compositions of which
one must be memorized; two of these must be chosen from the
selections listed in this bulletin. In addition, he must present a
list of at least six pieces he has studied in the course of the year;
these may include ensemble music (accompaniments with band,
orchestra, chorus, ensemble, and solo) and his own arrangements
for harp of suitable piano literature.
He shall demonstrate:
1. His ability to tune his instrument, showing with succeed-
ing years increasing accuracy and speed.
2. Increasing familiarity with the pedals, setting them for
any major scale, any harmonic minor scale possible for
harp, and for the diminished and dominant seventh
glissandi.
3. Increasing facility with all positions of all chords, being
able to identify them and to use them in the harmoniza-
tion of simple melodies.
He shall play at sight music of a grade easier than that for
which he is being examined and shall demonstrate his under-
standing and use of the requirements in Theory-Musicianship
outlined in his assigned course of study.

Course I

COMPOSER COMPOSITION PUBLISHER
Repertoire
Dilling Old Tunes for New Harpists Dit
Dubois-Renie Histoire Triste LeD
Holy An Evening at Home Dit
Holy 24 Easy Studies for Harp U










COMPOSER
Repertoire
Lawrence
Paret
Paret
Rogers, Van Veachton
Rogers, Van Veachton
Rogers, Van Veachton
Salzedo
Salzedo
Salzedo
Schumann-Miller
Schumann-Miller


COMPOSER
Repertoire
Bach
Bach-Miller
Chopin-Miller
Dilling
Dubois
Grandjany
Grandjany
Handel-Grandjany
Handel-Salzedo
Hasselmans
Hoberg
Mendelssohn-Miller
Miller
Mozart-Miller
Nadermann
Paret
Renie
Rubinstein-Salzedo
Salzedo
Salzedo


COMPOSER
Repertoire
Bach-Grandjany
Brahms-Salzedo
Bull-Grandjany
David
Durand-Salzedo
Ghys-Miller
Gilman
Grandjany
Grandjany
Haydn-Renie
Hoberg
Nadermann
Perilhou
Perilhou-Miller
Renie
Salzedo
Salzedo


COMPOSITION


PUBLISHER


Method for the Harp
Jungle Scenes
Londonderry Air
Minuet of Ye Olden Time
Petite Etude
Wooden Shoe Dance
Seguidilla
Short Stories in Music, Series I
Tiny Tales for Harp Beginners
Petite Etude
Melody
Course II


COMPOSITION


GS
L
L
CMC
CMC
CMC
CMC
EV
EV
CF
CF


PUBLISHER


Prelude in C, W.T.C., Vol. 1, No. 1
Solfegietto
Preludes in A Major and C Minor
30 Little Classics for Harp
Chanson D'Orient
Noel Provencal
Three Easy Pieces
Sarabande
Largo
Feuilles D'Autumne
Log Cabin Sketches-Summer
On Wings of Song
Santa Lucia
Minuet from Don Giovanni
Theme with Variations
The Hunt is Up
First Suite for Harp
Melody in F
Polka
Tango
Course III


COMPOSITION


GS
CMC
CMC
Dit
LeD
Mar
Mar
Amp
CMC
Dur
Dit
Bel
Bel
Bel
LeD
CP
LeD
CMC
GS
GS


PUBLISHER


Tempo di Minuetto
Waltz in Ab
The King's Hunt
Album for Harp, Book I
Chaconne
Amaryllis
Alte Meister
Et ron, ron, ron
Le bon petit roi d'Yvetot
Minuet in G
Log Cabin Sketches Winter
Etudes and Preludes
Passepied
Chanson de Guillot-Martin
Second Suite for Harp
Bolero
Believe Me


Dur
CMC
GS
BMC
GS
GMC
CF
Dur
Dur
G&T
Dit
LeD
Haugel
CMC
LeD
GS
CMC










COMPOSER
Repertoire
Schubert-Renie
Tournier


COMPOSITION


Moment Musical in F Minor
Six Noels


Course IV


COMPOSER
Repertoire
Bach-David
Bach-Beon ,
Bach-Renie
David
Debussy-Grandjany
Debussy-Renie
Freed
Gluck-Salzedo
Grandjany
Hasselmans
Haydn-Salzedo
Pescetti-Salzedo
Schumann-Renie


COMPOSITION


PUBLISHER


Album Book I
Gigue from Partita in Bb
Bouree in G from Cello Suite
Album of Harp Solos, Book II
Lass with Golden Hair
First Arabesque
Promenade
Gavotte
Arabesque
Gnomes
Theme and Variations
Sonata in C Minor
Prophet Bird


PUBLISHER


G &T
Lem


GS
LeD
G&T
Dit
Dur
Dur
Bel
CMC
Dur
Dur
CMC
GS
G&T














CHAPTER 6


Courses of Study -Voice

T O MEET voice examination requirements, the student shall
prepare three songs taken from the suggested list. The
grade is to be determined by memorization, diction, and inter-
pretation. The student shall be required to sing at sight a com-
position of a grade easier than that for which he is being ex-
amined. He shall demonstrate his understanding and use of the
requirements in Theory-Musicianship outlined in his assigned
course of study.
Studies in Technique
The technical study collections listed or other similar
material may be used in any course at the discretion of the
teacher.
Concone, J. Fifty Lessons (H, M, L) GS
Sieber, F. 36 8-Measure Vocalises (All Voices) GS
Spicker, M. Masterpieces of Vocalization (All Voices) GS
Vaccai, N. Practical Italian Method (H, M, L) CF
Song collections are listed for each course and may be used
at the discretion of the teacher to provide the most suitable sing-
ing experiences for each student.
Separate songs from the list in each course may be used, or
the teacher may choose songs from the Selective Music List pub-
lished by the National Interscholastic Music Activities Com-
mission. (Music Educators National Conference, N. E. A. Edu-
cational Center, 1201 Sixteenth Street, N. W., Washington 6,
D. C., $1.50).

Course I
COMPOSER COMPOSITION PUBLISHER
Collections
Boni-Lloyd Fireside Folksongs and Ballads
(medium) SS










COMPOSER
Collections


COMPOSITION


Bowen-Mook Song and Speech (medium)
Clippinger Clippinger Class-Method (1 or m)
Glenn-Spouse Art Songs for School and Studio,
Vol. 1
Johnson Green Pastures (medium)
LaForge-Earhart Pathways of Song, Vol. 1
Pitts Voice Class Method, Vol. 1
Spaeth 55 Art Songs (low or med.)
Ward Voice Class Method, Vol. 1
Separate Songs: Choose from Selective Music List,
I-II, any voice, or from this list.

COMPOSER COMPOSITION" PU
Besly Deep in the Valley
Braine The Cherry Tree
Buzzi-Peccia A Little Brown Owl
Coombs In the Dark, in the Dew
Del Riego In the Marshes
Dungan Let Me Go Remembering
Forster, arr. The Ashgrove
Fresser-Simpson His Prayers
Gaynor A Japanese Maiden
Gaynor Slumber Boat
Goodeve Fiddle and I
Grant-Schaefer The Cuckoo Clock
Hulton The White Swan
Kountz Prayer of the Norwegian Child
LaForge The Candy Witch
LaForge Hollyhocks
LaForge The Little Slipper of Rain
Leoni The Leaves and the Wind
Lehmann The Cuckoo
Lohr Where My Caravan Has Rested
Manning, arr. Shenandoah
Martin Midsummer Eve
McGill Duna
Miller Boats of Mine
Moore Swing Song
Neidlinger On the Shore
Palmgren Twilight Song
Robinson, arr. Water Boy
Rogers Wind Song
Tombo Mandy and the Spider
Wells The Elf-Man


Ginn
TP

Dit
CF
Wit
Kjos
BH
CF
Grades


3LISHER
BH
Dit
TP
GS
Chap
CF
Dit
Chap
CFS
CFS
GS
CFS
CF
GS
Ric
Ric
Ric
BH
BH
Chap
Gal
BH
BH
FL
Hunt
APS
GS
BH
GS
Hunt
Ch


COMPOSER
Collections
Glenn-Spouse

LaForge
LaForge-Earhart
Pitts
Prahl


Course II

COMPOSITION


PUBLISHER


Art Songs for School and Studio,
Vol. 2
Mexican Songs
Pathways of Song, Vol. 2
Voice Class Method, Vol. 1
Foundational Repertoire, Vol. 1


Dit
Ric
Wit
Kjos
Bir


PUBLISHER










COMPOSITION


PUBLISHER


The Singing Road, Vol. 2
Seven Centuries of Solo-Song,
Vols. 1, 2


BMC


Separate Songs: Choose from the Selective Music List Grades
III-IV, or from this list.


COMPOSER
Arden-Wille, arr.
Arne
Barnett
Brahe
Britten, arr.
Cadman
Cadman
Cadman
Chenoweth
Clarke
Coates
Forsythe
Fox
Freire
Gibbs
Glen
Goatley
Goatley
Guion
Handel
Hoist
Homer
Keel, arr.
MacFadyen
Malotte
Manning
Manning
Merikanto
Oliver
Rogers
Russell
Squires
Stephenson
Taylor



COMPOSER
Collections
Gerhardt-Henschel
Glenn-Spouse
Krehbiel

LaForge-Earhart
Lane-Wilson
Pitts
Prahl


COMPOSITION


PUBLISHER


Cockles and Mussels
Under the Greenwood Tree
The Singing Girl of Shan
As I Went A-roaming
Foggy, Foggy Dew
Far Off I Hear a. Lover's Flute
I Hear a Thrush at Eve
The Moon Behind the Cottonwood
Arrow and the Song
Shy One
A Song Remembered
Tell Me Not of a Lovely Lass
Strings in the Earth
Ay, Ay, Ay
Five Eyes
Twilight
The Cherry Tree Doth Blow
Love Errant
Hopi Indian Cradle Song
Come and Trip It
I Love My Love
Sheep and Lambs
Jardin d'Amour
Cradle Song
At the Crossroads
In the Luxembourg Gardens
Shoes
A Fairy Story by the Fire
What's the Time, Blackbird?
Autumn
Sandy River
Three for Jack
Love is a Sickness
May-Day Carol


Course III


COMPOSITION


RDR
TP
CF
BH
BH
WS
WS
WS
Wit
BH
Chap
HWG
JF
Mar
BMC
BMC
BH
BH
BH
CF
Cur
GS
BH
Ch
GS
GS
GS
JF
CF
GS
GS
FL
BH
JF


COMPOSER
Collections
Ward
Woodside


PUBLISHER


100 Best Short Songs, Vols. 1 (1 or h) or 3 CF
Art Songs for School and Studio, Vol 2 Dit
Famous Songs (1 vol. each, Sop.,
Tenor, Alto, Bar., Bass) CH
Pathways of Song, Vol. 3 Wit
Old English Airs BH
Voice Class Method, Vol. 2 Kjos
Foundational Repertoire, Vol. 2 Bir










COMPOSER
Collections


COMPOSITION


PUBLISHER


Weckerlin Bergerettes GS
Woodside Seven Centuries of Solo-Song,
Vols. 3, 4 BMC

Separate Songs: Choose from the Selective Music List Grades
III-IV, V-VI, or from this list.

COMPOSER COMPOSITION PUBLISHER
Bowles David AMP
Brahms Minnelied TP
Campbell-Tipton Hymn to the Night HWG
Cator Pool of Quietness GS
Duke Loveliest of Trees GS
Duke There Will be Stars BH
Dungan Down the Wild Wind TP
Dunhill The Cloths of Heaven Gal
Edwards Can This be Summer? GS
Ferrata Night and the Curtains Drawn JF
Fiske The Bird Dit
Forsythe From the Hills of Dream Dit
Holst The Heart Worships GS
Horsman The Shepherdess GS
Liebling Philomel Gal
MacFadyen Love is the Wind CH
McGill 0 Sleep GS
Olmstead Thy Sweet Singing GS
Quilter It Was a Lover and His Lass BH
Quilter Love's Philosophy BH
Rogers Love's on the Highroad GS
Ronald O Lovely Night BH
Schubert Courage GS
Serly Forest Lullaby L
Taylor The Loyal Lover JF
Taylor The Rivals JF
Warren Sweetgrass Range CF
Weaver Moon-Marketing GS
Whelpley I Know a Hill BMC
Williams Heart's Haven Gal
Williams Linden Lea BH
Williams Over the Mountains BH
Wolf Hie Away, Hie Away BMI
Wolff Irmelin Rose BH


COMPOSER
Collections
Gerhardt-Henschel

Handel (Whitaker)
Handel (Whitaker)
Krehbiel

LaForge-Earhart
Pitts


Course IV

COMPOSITION


PUBLISHER


100 Best Short Songs, Vols. 2 (low)
or 3 (high)
Album of Arias for Tenor
Album of Arias for Soprano
Famous Songs (1 vol. each, Sop.,
Alto, Tenor, Bar., Bass)
Pathways of Song, Vol. 4
Voice Class Method, Vol. 2


CF
CF
CF

CH
Wit
Kjos










COMPOSER
Collections
Prahl
Spicker
Woodside





Separate Songs:
Grades V-VI or from

COMPOSER
Besly
Bone-Fenton
Bridge
Buzzi-Peccia
Castelnuovo-Tedesco
Charles
Cowell
Debussy
Diamond
Donaudy
Giannini
Griffes
Griffes
Griffes
Griffes
Hageman
Head
Head
Jacobson, arr.
Jalowics
Marx
Meyerowitz
Nordoff
Peterkin
Peterkin
Scott
Strauss
Walther
Warren
White, arr.


COMPOSITION


Foundational Repertoire, Vol. 2
Sacred Anthology
Seven Centuries of Solo-Song,
Vols. 5, 6 B
A New Anthology of American Song
Anthology of Italian Song
55 Art Songs from the Modern Repertoire
Operatic Anthology
Choose from the Selective Music
this list.

COMPOSITION PUBLISH
Time, You Old Gypsy Man
Everything That I Can Spy E
Love Went A-Riding B
When I Go Alone at Night
Recuerdo
My Lady Walks in Loveliness
Saint Agnes' Morning
Air de Lia (L'Enfant Prodigue)
Brigid's Song
O Del Mio Amato Ben
If I Had Known
An Old Song Resung
Auf Ihrem Grab
By a Lovely Forest Pathway
In a Myrtle Shade
Me Company Along
A Piper
A Singer
Marie Antoinette's Song
Slow, Horses, Slow
If Love Hath Entered A
Ave Maria
White Nocturne
The Galliass
Song of the Water Maiden
The Unforeseen
Traum durch die Dammerung BrH (AI
Sometimes
Who Calls?
O, What Shall I Say to My Love?


Bir
GS

MC


List


IER
BH
HM
tMC
Dit
GS
GS
GS
Dur
MP
Ric
Ric
GS
GS
GS
GS
GS
BH
BH
GS
BH
WMP
BB
Dit
OX
OX
EV
MP)
GS
CF
Ric


PUBLISHER














CHAPTER 7


Courses of Study String Instruments

FOR the string instrument examination, the student shall be
prepared to play any scale, arpeggio, and other exercises
outlined under technique for the respective year's work. He
shall be prepared to play one study from the chosen course and
a minimum of two compositions (one by memory) from the
repertoire group or its equivalent. He must play at sight a com-
position one grade below that for which he is being examined.
His understanding and use of the requirements in Theory-Musi-
cianship outlined in his assigned course of study will be reviewed.

Course I
TECHNIQUE
Position
Correct attitude of the body and action of the arm and hand in
holding the instrument. Correct principles of holding and
drawing the bow (string bass-German or French style).
Finger Placement
Violin and Viola
Accurate left hand finger placement in diatonic, interval,
and very easy double-stop playing within the compass of
the first position.
Violoncello
Accurate left hand finger placement in diatonic and interval
playing within the first four and half positions.
String Bass
Accurate left hand finger placement in diatonic and interval
playing with smooth shifting between half, first, second,
third, and fourth positions.









Scales and Arpeggios:
Violin and Viola
Scales and arpeggios in major and minor keys through one
octave with emphasis on proper intonation.
Violoncello
Major and minor scales and arpeggios within the first four
positions.
String Bass
Major scales and arpeggios through one octave in G, D, A,
Ab, E, Eb.
Articulation:
Knowledge of the fundamental bowings, playing the sustained
stroke in the several variants with different bow lengths ap-
plied to single and slurred notes.
Care and Tuning:
Knowledge of tuning (string bass by octave and harmonic)
and caring for the instrument.


Course I

Violin


COMPOSER
Methods and Etudes
Baker-LaGrassey-
Silverstein
Bang
Bornoff
Herfurth
Laoureaux
Sevcik

Sitt
Van Hoesen
Whistler-Nord,
Wohlfahrt-Aiquoni
Repertoire
Ambrosio
Czerwonky
Handel
Hauptman
Huber
Kelly


COMPOSITION


Tune Tech. Books I & II
Violin Method, Books I & II
Finger Patterns for Violin
A Tune a Day, Books I & II
A Practical Method for Violin
Pt. I and Pt. I Supplement
School of Violin Playing for
Beginners, Op. 6, Pts. I
through IV
Elementary Studies
Violin Class Method, Books I & II
Beginning Strings, Vol. I
Studies for Violin, Book I


Two Guitars
The Village Festival
Bourree
Sonatinas
Concertino No. 4 in G
Fifty Easy Pieces for Violin
and Piano, Bk. I


PUBLISHER


Kjos
CF
CF
BMC
GS
Bos

Kjos
CF
CF










COMPOSITION


COMPOSER
Repertoire
Laighton
Laighton
Lehmann
Perlman
Postock
Severn
Sontag

Ten Have
Trinkaus


Viola


Methods and Etudes
Cavallini
Hoffman
Isaac
Lifschey
Palaschko
Sevcik-Aronoff
Sitt

Sopkin
Whistler
Wohlfahrt-Isaac
Repertoire
Aletter


Heacox
Kritch
Seitz
Whistler



Methods and Etudes
Bornoff
Deak
Dotzauer
Schroeder
Stutschewsky
Werner

Whistler
Whistler

Repertoire
Deak
Herfurth
Krane
Kritch
Schlemueller
Squire


Method
15 Studies
String Class Method
Scales
24 Easy Studies, Op. 86
School of Technic, Pt. I
Viola Method
(Valuable for violin transfers)
Music Educator's Basic Method
From Violin to Viola
Foundation Studies


Petite Gavotte
First Position Pieces

Ten Easy Solos
First Book of Viola Pieces
Student Concerto #2, Op. 3
Solos for Strings


Violoncello


Finger Patterns
Method for Cello
Method, Book I
Foundation Studies, Book I
Method
A Practical Method for Cello
Book I
Beginning Strings
Introduction of the Positions



Autumn Song
Classic Album of Early Grade Pieces
Classic and Folk Tunes
First Book of Cello Solos
Six Easy Pieces, Op. 14
Petite Morceaux, 5 pieces


Tunes from Afar
Tunes and Technic, Books I & II
25 Pieces in the First Position
Violinist's First Solo Album, Book I
Music Zephyrs, Op. 16
Etta Waltz
Folk and Master Melodies, Vols. I
& II
March
On Stilts March


APS
APS
GS
CF
CF
CF

GS
CF
Dit


CF
TP

He
Wit
AMP
Ru


CP
BMC
TP
Wit
CF
CF


PUBLISHER











COMPOSER
Methods and Etudes
Bornoff
Butler
Findeleisen
Simandl
Starke
Whistler
Zimmerman
Repertoire
Bornoff
Heacox
Lesinsky
Schlemuller
Whistler


String Bass
COMPOSITION


PUBLISHER


Finger Patterns
Progressive Method
Complete Method for String Bass,
Book I
New Method for Double Bass
Moderne Technische Studien
Beginning Strings, String Bass
The Positions


Fun for Fiddling Fingers
Ten Easy Solos for Double Bass
34 String Bass Solos
Miniature Concert Repertoire
Solos for Strings


Course II
TECHNIQUE
Tone and Positions
Continued stress of proper position, tone quality, and in-
tonation.
Extended study of positions with emphasis on smooth and
accurate shifting.
Violin and viola-through three positions.
Violoncello-first five positions.
String Bass-same as Course I, plus thumb position.
Introduction of Vibrato
Scales and Arpeggios
Extension of all scale and arpeggio study to two octaves.
Addition of chromatic scale with easy double-stopping in
three- and four-part chords.
Articulation
Continue Course I; add the detached and artificial staccato.


COMPOSER
Methods and Etudes
Bang


Course II
Violin
COMPOSITION


PUBLISHER


Violin Method, Book III (2nd and
3rd positions)


CF
CF
Bar
CF
Mag
Ru
CF


CF
He
Bel
CF
Ru


CF









COMPOSER
Methods and Etudes
Herfurth
Laoureaux
Sevcik

Sevcik
Shradieck
Sitt
Wohlfahrt-Aiquoni
Repertoire
Bohm
Cramer
Dancla
Froehlich
Pergolesi
Postock
Ruegger
Seitz
Severn



Methods and Etudes
Bakaleinikoff
Gifford
Harvey
Herfurth
Herman
Kreutz
Kreutz

Lifschey
Sevcik

Sevcik-Lifschey
Wohlfahrt-Isaac


Repertoire
Gossec
Isaac
Marcell
Mozart
Schubert
Seitz


COMPOSITION


PUBLISHER


Tune A Day, Book III
A Practical Method for Violin
School of Violin Playing for
Beginners, Books 7 & 8
School of Bowing Technic, Op. 2
School of Violin Technic, Book I
Op. 32, Book II, Op. 92, Book II
Foundations for the Violin, Book II


Moto Perpetuo (Suite #6)
In Elizabethan Days
Air Varies, Vol. I
Morceau Diabolique
Nina
Souvenir de Sarasate
Concertante in G
Concerto in D Major, Op. 15
The Juggler


Viola


Scales
Technical Studies
Introducing the Positions
A Tune A Day, Book III
Preparatory Studies, Op. 22
Scales and Arpeggios, Book II
Twenty Studies in the 1st and 3rd
Positions
Scale and Arpeggio Studies, Book II
Change of Position & Preparatory
Scale Studies
School of Technic, Book I
Foundation Studies, Book II
(3rd position)


Gavotte
Londonderry Air
Sonata in E Minor
Sonatina in C
Sonatina #I, Op. 137
Concerto #3, Op. 12 (1st & 3rd
positions)

Violoncello


Methods and Etudes
Dotzauer
Jones-Dasch-Krone
Kummer
Lee

Schroeder


Violoncello Method, Book II
Strings from the Start, Book II
Studies
Forty Melodic and Progressive
Exercises, Op. 31
A Practical Method for Cello, Book II


Bel
Agr
Ru
CF
Br&H
Agr

Agr
GS

Bos
Bos

CF


CF
CF
Agr
EV
IMC

AMP








COMPOSER
Methods and Etudes
Sevcik-Feuillard
Werner


Repertoire
Brevel
Golterman
Isaac
Rombert
Vivaldi


COMPOSITION


PUBLISHER


Bowing Technic
Practical Method for the Violoncello,
Op. 43, Complete with "The
Art of Bowing"


Sonata, C Major
Easy Pieces
Favorite Cello Solos
Sonata, Op. 43, #I
Sonatas


String Bass


Methods and Etudes
Schmuklovsky
Schwabe
Simandl

Simandl-Hrabe
Repertoire
Bakaleinikoff
Bakaleinikoff
Bakaleinikoff
Corelli
Isaac




TECHNIQUE

Tone and Positions
Continued stress
of position study.


Scale Studies
Scale Studies
30 Etudes (for the acquisition of
correct and broad intonation
together with rhythmic precision)
86 Etudes, Book I


Allegro Moderato
Largo
Valse (Allegro Grazioso)
Sarabande
The Jolly Dutchman


Course III


of tone quality and intonation. Extension


Increase to a minimum of five positions (violin and viola).
Employment of thumb position with some degree of skill
(violoncello and string bass)

Scales and Arpeggios
Extension to three octaves in all keys. Beginning use of
natural harmonics (string bass).

Articulation
Addition of the staccato stroke. Development of trill (except
string bass).
Use of glissando in portamento (string bass).


AMP
CF
Cole
IMC
CF


CF
IMC

CF
CF


Bel
Bel
Bel
CF
CF











COMPOSER
Methods and Etudes
Bang

Dancla
Fischel

Goldstein
Hrimaly
Kayser
Mazas

Sevcik
Sevcik
Trott
Whistler
Repertoire
Borowski
Dancla
Handel
Martini-Kreisler
Perlman
Schubert
Seitz
Seitz
Severn


Violin
COMPOSITION


PUBLISHER


Violin Method, Book IV (4th and 5th
positions)
Fifteen Etudes (2nd violin in score)
Standard Graded Material for
Violin, Pt. III
Double Stops
Scale Studies
36 Elementary and Progressive Studies
75 Melodious & Progressive Studies,
Book I
School of Violin Technique, Pt. III
Preparatory Trill Studies, Book I
Studies in Shifting
Developing Double Stops


Adoration
Air Varies, Op. 89 and Op. 118
Sonata in F. Major
Andantino
The Violinists' Contest Album
Sonatina in D
Concerto #4, Op. 15 (3rd position)
Concert #I, Op. 7, (7th position)
Polish Dance
Selections from Violin Pieces the
Whole World Plays


Viola


Methods and Etudes
Kayser
Kreutzer-Consolini
Lifschey
Sevcik
Sevcik-Lifschey
Steiner
Repertoire
Corelli
Harvey
Ibert
Kalliwade
Marcello-Gibson
Purcell-Katims
Rusotto
Sitt
Sitt
Vivaldi


Methods and Etudes
Deak


36 Studies, Op. 43
42 Etudes
Scale and Arpeggio Studies, Book II
School of Violin Technic, Op. I. Pt. III
40 Variations, Op. 3
Viola Technic


Concerto in D Minor
Viola Players' Repertoire
Aria
Nocturnes
Sonata in C
Aria
Arioso
Konzertstuke, G Minor, Op. 46
Concerto in A, Op. 68
Intermezzo


Violoncello


Twenty-six Studies of Medium
Difficulty


CF
CF

GH
GS
CF
CF

CF
CF
CF
CFS
Ru


CF
CF
CF
CF
CF
GS
GS
GS
CF

BMI


IMC
Ric
GS
Bos
Bos
U


GS
Dit
Led
CFS
IMC
CF
Wit
Eul
Eul
GS









COMPOSER
Methods and Etudes
Dotzauer
Lee

Merk
Schroeder
Repertoire
Boccherini
Debussy
Golterman
Jarnfelt
Massenet
Mendelssohn
Pergolesi
Senaille
Simonetti
Van Goens
Wagner



Methods and Etudes
Bille
Klose-Vanasek
Marcello
Simandl-Hrabe
Repertoire
Bach
Battasini-Buschmann
Purcell-Zimmerman


COMPOSITION PUBLIC


Violoncello Method, Book III
Forty Melodic and Progressive
Exercises, Book II
Etudes, Op. 2
A Practical Method for Cello, Book III


Rondo
En Bateau
Concerto #4 in G Major
Berceuse
Elegy
Student Concerto in D Major
Tre Giorni
Allegro Spiritoso
Madrigal
Romance san Paroles, Op. 12, No. I
Walther's Prize Song


String Bass


12 Studies in Different Styles
270 Tone and Technique Exercises
Basic Method, Book II
86 Studies, Book II


Gavotte
Reverie
Aria


3HER


CF

CF
CF
CF


CF
Dur
CF
CF
CF
CF
CF
IMC
CF
CF
CF


Course IV
TECHNIQUE

Tone and Positions
Continued emphasis on tone quality, style, and phrasing.
Fluent playing in first five positions and use of six and seventh
positions in scales and arpeggios. Natural and artificial har-
monics (violin and viola).
Fluent playing in all seven positions (violoncello).

Scales and Arpeggios
Continuation of Course III for refinement through three
octaves.

Articulation
Natural spiccato and flying stacatto with knowledge of the
glissando in portamento (violin and viola).


CF
Bel
IMC











COMPOSER
Methods and Etudes
Bang
Fischel

Kreutzer
Sevcik

Sevcik

Repertoire
Accolay
Bach
Corelli-Spaulding
Daquin-Manen
Deberiot
Fioco
Handel
Kreisler
Porpora-Kreisler
Schubert
Viotti
Vivaldi
Vivaldi-Nachez



Methods and Etudes
Campagnoli
Cavalini-Laforge
Dancla
Kreutzer-Consolini
Sevcik
Sevcik-Lifschey
Svecenski
Repertoire

Ariosto
Bach-Svechenski
Bossi
Corelli
Faure
Firket
Handel
Handel-Shore
Schubert
Stamitz
Vitali-Bailley


Methods and Etudes
Dotzauer
Fitzenhagen
Franchome


Violin
COMPOSITION


PUBLISHER


Violin Method, Book V
Standard Grades Material for the
Violin, Book IV
42 Studies
Preparatory Studies in Double-
Stopping, Op. 9
Forty Variations on a Theme
(bowing)


Concerto in A Minor
Concerto in A Minor
La Folia
Le Coucou
Scene de Ballet
Allegro
Sonata in D Major
Liebesleid
Minuet
The Bee
Concerto #23
Concert in A Minor
Concerto in G Minor


Viola


41 Caprices
24 Etudes in All Keys
Op. 74, School of Mechanism
42 Etudes
Op. 8, Change of Position
Forty Variations
25 Technical Studies


Alte Meister des Violaspiels
Sonata #4
Suites for Cello
Romance
La Folia
Elegy
Concertstuck
Concerto in B Minor
Sonatas # 4 & 5
Sonatine #1, Op. 137
Concerto #2
Ciaccona


Violoncello


Op. 120
Technical Studies
Etudes


CF
CF
CF
U
CF
AMP
CF
CF
CF
CF
CF
CF
U


GS
Cost
Cost
Ric
Bos
Bos
GS


P
Sch
GS
Br&H
IMC
Ham
Sch
AMP
Wil
IMC
Gun
GS


GS
AMP
CF









COMPOSER
Methods and Etudes
Grutzmacher
Klengel

Repertoire
Bach
Bruch
Glazunov
Granados
Haydn
Popper
Saint-Saens
Sammartini



Methods and Etudes
Bille
Fahsbender

Findleisen
Mochel
Reynolds
Simandl-Hrabe
Repertoire
Bratton
Chapuis
Johnson
Ratez
Tenaglia-Nanny


COMPOSITION


PUBLISHER


Daily Studies, Op. 67
Scales and Arpeggios in Four Octaves


Suite in G Major for Cello alone
Kol Nidrei
Serenade Espagnole
Intermezzo from "Goyescas"
Adagio from D Major Concerto
Gavotte
Allegro Appasionato
Sonata in G (Two Movements)


String Bass


12 Etudes in Different Styles
String Bass Passages, 2 Books
Complete Method for String Bass,
Book II
Compendium for Double Bass Players
Difficult Passages for String Bass
86 Etudes, Book II


The Teddy Bear's Picnic
Fantasie Concertante
Lento and Zapateado
Parade
Aria


CF
AMP


CF
CF
CF
GS
CF
CF
CF
Ric


EV
Bel

Bar
Sch
Sch
Mbg













CHAPTER 8


Courses of Study-Woodwind Instruments

IN THE woodwind instrument examination, the student shall
be prepared to play any scale, arpeggio, and other exercises
outlined under Technique for the respective year's work. He
shall be prepared to play one study from the chosen course and
a minimum of two compositions (one by memory) from the
repertoire group or its equivalent. In addition, the student shall
be required to play at sight a composition one grade below
that for which he is being examined and shall demonstrate his
understanding and use of the requirements in Theory-Musician-
ship outlined in his assigned course of study.

Course I
TECHNIQUE
Tone
A tone characteristic of the instrument shall be developed
through a proper embouchure and proper breath control.
The student should sustain a resonant tone on pitch in a
moderate playing range. A control of dynamics should be
introduced and developed as required by the material studied.
Scales and Arpeggios
The student should be able to execute in eighth notes the
chromatic scales, the major scales (one octave) through four
flats and four sharps for treble clef instruments and through
six flats and two sharps for bass clef instruments, and the
tonic arpeggios of these scales, M.M. J = 72.
Articulation
Execution of scales in single tongue legato and staccato
style, eighth notes, M.M. J = 120. The arpeggios required
above, slurred and tongued, legato and staccato.











COMPOSER
Methods and Etudes
Bodegraven
Herfurth
Hovey
Klose-Lazarus
Langenus
Liegel
Moore and Sieg
Voxman-Gower
Repertoire
Bodegraven
Bodegraven
Moore and Sieg


Methods and Etudes
Cailliet
DeVille
Eby
Endreson
Hovey
Skornicka
Vereecken
Repertoire
Endreson
Vereecken
Webber


Methods and Etudes
Altes, Henry
Brooke
Fair, Rex Elton
Langey
Moore & Sieg
Moyse

Peterson
Popp-Soussman
Wagner
Repertoire
Bettony
Buchtel
Hahn
Isaac & Lillya, arr.


Methods and Etudes
Carey


Bb Clarinet
COMPOSITION


PUBLISHER


Clarinet Method
Tune A Day (Collection)
Elementary Clarinet Method
Clarinet Method
Clarinet Method, Book I
Basic Method for Clarinet
Clarinet Instructor, Book I
Progressive Clarinet Method


Clarinet Hour (Collection)
Fox Album of Bb Clarinet Solos,
Vol. I
Primer Clarinet Tune Book


Saxophone


Method, Book I
Universal Method
Scientific Method, Part I
Supplementary Studies
Elementary Method
Supplementary Studies
Foundation to Saxophone Playing


Indispensable Folio
Everybody's Favorites
First Solo Album


Flute


Method (New & Revised Ed.)
Modern Method for Boehm Flute
Flute Method
Otto Langey Flute Method
Flute and Piccolo Instructor, Book I
The Debutante Flutist
(13 lessons for beginners)
Elementary Method for Flute
Method for Flute, Part I
Foundation to Flute Playing


Easy Solos For Flute-Album I
Young Artists First Album of Solos
Transcriptions of Familiar Melodies
Album of Favorite Flute Solos


Oboe


Music Educator's Basic Method


EMB
CF
Ru
Ru
CF
CF
CF
J


EMB

Fox
EMB


Ru
AMSCO
TP


CF
CB
CF
CF
CF

CF
EMB
EMB
CF


CB
CF
Fill
CF










COMPOSER
Methods and Etudes
Endreson
Gekeler
Hovey
Niemann-Labate
Repertoire
Buchtel
Labate
Niemann-Labate
Webber



Methods and Etudes
Fields
Kressler
Langey
Lentz
Skornicka
Weissenborn
Weissenborn
Repertoire
Endreson
Webber
Weissenborn


COMPOSITION


Supplementary Studies
Method, Book I
Elementary Method for Oboe
Practical Oboe Method


First Book of Solos
Oboe Repertoire
Practical Oboe Method
First Solo Album


PUBLISHER


Kjos
Wit
CF
TP


Bassoon


Method for Bassoon
Music Educator's Basic Method
Bassoon Tutor
Method for Bassoon, Book I
Elementary Method
Practical Bassoon Method
Bassoon Studies, Book I for Beginners


Indispensable Folio
First Solo Album
76 Bassoon Solos


Course H


TECHNIQUE

Tone
Proper use of breath control should result in finer control
of tone, greater flexibility, extended duration, and refined
nuances. The range should be extended to include the
normal playing range.

Scales and Arpeggios
Continued scale studies through all major scales played in
eighth notes, M.M. J = 80. The range of the scales is to be
extended beyond one octave with tonic arpeggios added.

Articulation
Increase in speed of single tongue to eighth note, M.M. J
144 on the same note. The arpeggios and scales should be
played legato and staccato in eighth notes, M.M. J = 120.


Cole
CF
CF
Bel
Ru
CB
CF











COMPOSER
Methods and Etudes
Baermann
Baermann
Klose
Kroepsch
Langenus
Lazarus

Moore & Sieg
Pares

Repertoire
Baermann
Baermann
Baermann

Langenus
Lillya & Isaac, arr.
Mozart-Langenus
Troje-Miller
Voxman
Weinberger



Methods and Etudes
Eby
Cailliet
Gornston
Salviani
Skornicka
Repertoire
Gaylord
Lehar-Weber
Llewellyn



Methods and Etudes
Altes
Berbiguier
Endreson
Moyse

Moyse
Popp-Soussman
Wagner
Repertoire
Buchtel
Cavally
Friml
Henley


Clarinet
COMPOSITION PUBLIC

Celebrated Clarinet School, Book II
Bandsman's Studio, Book I
Clarinet Method, Book I (cont.)
Studies for Clarinet, Book II
Clarinet Method, Book II
New and Modern Clarinet Method,
Book II
Clarinet Instructor, Book II
Daily Technical Exercises and
Scale Studies


Album of Concert Clarinet Solos
Encore Folio (Collection)
Everyday Favorites-Clarinet and
Piano (Collection)
Indian Mother Song
Boosey World-Famous Solos (Collection)
Minuet Divertimento, No. 17
Andante Cantabile and Scherzando
Lament and Tarantella C
Sonatine


Saxophone


Scientific Method, Book II
Method, Book II
Intermediate Method
Etudes, Vol. I (For Oboe)
Intermediate Method


Let Us Have Music
Villa
My Regards


Flute


Method (New and Revised Edition)
18 Exercises, arr. Stringfield
Supplementary Studies for Flute
24 Little Melodious Studies With
Variations
25 Melodious Studies
Method for Flute, Part 2
Foundation to Flute Playing


Harms Musical Americana, Books I-II
Everyday Favorites-Album
Indian Love Call
51 Masterpieces for Flute


HER

CF
CF
CF
CF
CF

CF
CF

CF


CF
CF

CF
CF
CF
CF
BH
)hart
CF


Eby
Bel
Gor
Ric
Ru


CF
Bel
Rem










COMPOSITION


Andalouse
Adagio and Allegro
Sarabande
Melody from Octet, Op. 166

Oboe


Methods and Etudes
Gekeler
Langey
Salviani
Singer
Skornicka-Koebner
Verroust

Repertoire
Bakaleinikoff
Bassi
Labate
Templeton



Methods and Etudes
Jancourt
Lentz
Ozi
Satzenhofer
Voxman
Repertoire
Bakaleinikoff

Dunhill
Kesnar
Merle
Starokadomsky
Weissenborn


Method, Book II
Tutor for Oboe
Etudes, Vols. 1 & 2
Method, Vols. I-II-III
Intermediate Method
24 Etudes


Elegy
Nocturne
Villanella
Siciliana


Bassoon


Studies
Method, Book II
Grande Method
Practical Bassoon School
Intermediate Method


Ballad, Humoresque, and March
Eccentric
Lyric Suite, Op. 96
Concert
Mummers
Four Pieces
Capriccio, Op. 14


Course III

TECHNIQUE

Tone
Emphasis should be on a uniformity of tone quality through-
out all registers. Studies should be included to increase range,
flexibility, and endurance.

Scales and Arpeggios
Scale studies should be extended by the addition of at least
one form of the minor scales. These should be played in two


COMPOSER
Repertoire
Pessard
Platti
Rameau
Schubert


CB or CF
CF
GMC
CF


Bel
CF
Ric
Ric
Ru
Cost


PUBLISHER









octaves in eighth notes, M.M. J = 92. The minor arpeggios
should also be studied. The chromatic scales should be ex-
tended over the entire normal playing range.

Articulation

The single tongue should be developed to sixteenth notes
played at M.M. J = 116.

Transposition

Bb clarinet players should be able to transpose C and A parts.

Bassoon players should be able to read tenor clef and Bb
treble clef parts.


COMPOSER
Methods and Etudes
Baermann
Baermann
Klose
Kroepsch
Langenus
Lazarus
Rose
Repertoire
Beethoven
Beethoven
Beethoven
Ditson
Ditson
LeClair
LeClair
LeClair
Parme
Thornton
Thornton
Wagner



Methods and Etudes
Pares
Eby
Labanchi-Iasilli
Salviani
Voxman-Gower


Clarinet
COMPOSITION


PUBLISHER


Celebrated Clarinet School, Book III
Bandman's Studio for Clarinet,
Books II-III
Clarinet Method, Book II
Studies for Clarinet, Book II
Clarinet Method, Book III
New and Modern Clarinet Method,
Book III
40 Studies for Clarinet, Book I


Adagio Cantabile
Clarinetist's Concert Album
Concert and Contest Collection for
Clarinet, ed. by Voxman
Clarinet Player's Repertory
Eight Serenades (Collection)
Musette and Scherzo
Let Us Have Music (Collection)
Moods Moderne (Collection)
Serenade
Une Pensee Lointaine
Victor Herbert Album
Rhapsody


Saxophone


Daily Technical Studies
Scientific Method, Book III
35 Concert Etudes 3 books
Etudes, Vol. 2 (For Oboe)
Advanced Method










COMPOSITION


Beautiful Colorado
Danse Hongroise


Flute


Methods and Etudes
Moyse
Vivian


Repertoire
Bach
Busch
Cavally
Ditson

Ditson

Hahns

Handel

Handel
Wagner


Methods and Etudes
Pares
Salviani
Sellner
Singer
Voxman-Gower
Repertoire
Andraud
Andraud
Barbirolli
Dunhill
Loeillet-Rothwell
Schumann


Methods and Etudes
Pares
Piard
Voxman-Gower
Weissenborn
Repertoire
Bourdeau
Cervetto
Mozart


Exercises Journaliers
A. P. Vivian Scales (applying all
articulations)


Suite in B minor
Four Miniatures
24 Short Concert Pieces Album
Album of Flute Solos Arr. by
Page Fourteen Numbers
Flutists Album, Vol. I Nine
Varied Numbers
Transcriptions of Master Pieces
for Flute
7 Sonatas For Flute (Nos. IV &
VII recommended)
Sonatas, Nos. 4, 7
Everyday Favorites for Flute and
Piano

Oboe


Daily Technical Studies
Method, Vol. 3
Method, Part II
Method, Vol. 4
Advanced Method


15 Grand Solos
Oboist's Repertoire Album
Concerto on Theme of Pergolesi
Three Short Pieces
Sonata in C
Three Romances


Bassoon


Daily Technical Studies
Etudes, Vols. 1 & 2
Advanced Method
Studies for Advanced Students, Vol. 2


Premier Solo
Sicilienne
Concerto in Bb, Op. 96
(Andante and Minuetto)


COMPOSER
Repertoire
DeLuca
Ring-Hager


PUBLISHER


CF
Ric
Cost
Ric
Ru


AN
CF
OX
BH
Ches
GS


CF
Cost
Ru
CF


Ru
LeD

Ru









COMPOSER
Repertoire
Rathaus
Weber


TECHNIQUE
Tone


COMPOSITION

Polichinelle
Rondo from Concerto

Course IV


Complete control of tone quality in all registers and in all
dynamics. Student should demonstrate increased range, flex-
ibility, and endurance.
Scales and Arpeggios
All major and all minor scales in practical ranges, legato and
staccato, tonic and dominant sevenths, arpeggios for all major
and minor keys, and chromatic scales should be played at
M.M. J = 108.
Articulation
Further development of single tongue to play sixteenth notes
at M.M. J = 132.
Transposition
Players should be able to read in all transpositions and clefs
commonly called for in orchestral repertoire.


COMPOSER
Methods and Etudes
Baermann
Baermann
SBaermann
Blancou
Klose
Kroepsch
Langenus
Rose
Repertoire
Baermann
Cavallini
Mendelssohn
Mozart
Sobeck
Verdi-Bassi
Weber


Clarinet
COMPOSITION


PUBLISHER


Book V CB
Celebrated Clarinet School, Book III CF
Hruby School of Clarinet Technique CF
40 Studies from the works of Mazas,
Fiorillo, and Rode CB
Klose Clarinet Method, Book II cont. CF
Kroepsch Studies for Clarinet,
Books III-IV CF
Langenus Clarinet Method, Book III cont. CF
Thirty-Two Studies CF


Concertos for Clarinet Arr. by
Couf
Thirty Caprices
Sonata
Adagio Religioso
Concert Piece
Rigoletto-Fantasia
(with suitable cuts)
Concertino


PUBLISHER











COMPOSER
Methods and Etudes
Bates
Bozza
Eby
Mule
Nash
Rascher
Salviani
Voxman

Repertoire
Bach-Corroyez
Brindel
Gurewich
Gurewich


Saxophone
COMPOSITION


Advanced Staccato Studies
Douze Etudes Caprices
Scientific Method, Book IV
48 Studies from Ferling
High Harmonics
Top Tones
Etudes, Vols. 3 & 4 (for Oboe)
Selected Studies


24 Pieces
Suite
Fantasy in F minor
Sonata


Flute
Methods and Etudes
Anderson 24 Etudes for Flute, Op. 15 CF
Furstenau 26 Studies for Flute, Book 2-
Twelve Studies rev. & ed. by Hahn Fill
Marquaree Daily Exercises for Flute GS
Moyse Moyse Etudes at Exercices Techniques CF
Pares Daily Technical Exercises and
Scale Studies CF
Voxman-Gower Advanced Method for Flute Ru

Repertoire
Bach Sonata, No. 6 CB
Briccaldi Carnival of Venice (arr Lorenzo) CF
The Modern Flutist AN
Fransella The Call of Spring BH
Godard Valse, Op. 116, No. 3 CF
Griffes Poem GS
Handel 7 Sonatas for Flute (Nos. I-II-
III-V-VI Recommended AN
Laube-Beethoven Sonata CB
Mendelssohn Rondo Capricciose Fill
Paganini-Gavinies Etudes and Caprices-Trans. for
Flute-Hahn Fill
Talmadge (compiler) Prima Vista Album CF
Any of the works of Fr. Kuhlaw (Kuhlau), Carl Fischer, are
recommended for the serious flute student.

Oboe


Methods and Etudes
Andraud
Ferling
Mayeur
Singer
Voxman


Vade-Mecum
48 Etudes
Oboe Passages, 2 Vols.
Method, Vols. 5-7
Selected Studies


PUBLISHER


R
LeD
Eby
LeD
L
CF
Ric
RU


CF
Wern
Ric
GS










COMPOSITION


Winter's Passed
144 Praeludien und Etuden
Concerto in G minor
Suite

Bassoon


Methods and Etudes
Gambaro
Jacobi
Milde
Piard
Repertoire
Bach
Bourgault-Decoudray
Dutilleux
Groulez


18 Etudes
6 Bassoon Etudes
Studies, Op. 24
Etudes, Vol. 3


Cello Suites
Fantaisie
Sarabande et Cortege
Sicilienne et Rondo Giocoso


COMPOSER
Repertoire
Barlow
Ferling
Handel
Piston


PUBLISHER


CF
Z
AN
ECS


Lem
Forberg
CB
Cost


GS
LeD
LeD
Cost













CHAPTER 9


Courses of Study -Brass Instruments

DURING the brass instrument examination the student shall
be prepared to play any scales, arpeggios, and other
exercises outlined under techniques for the respective year's
work. He shall be prepared to play one study from the chosen
course and a minimum of two compositions (one by memory)
from the repertoire group or its equivalent. He shall play at
sight a composition one grade below that for which he is being
examined and shall demonstrate his understanding and use of
the requirements in Theory-Musicianship outlined in his assign-
ed course of study.

Course I
TECHNIQUE
Tone
A tone characteristic of the instrument should be developed
through a proper embouchure and proper breath control.
The student should sustain a resonant tone on pitch in a
moderate playing range. A control of dynamics should be
introduced and developed as required by the material studied.
Scales and Arpeggios
The student should be able to execute in eighth notes the
chromatic scales and the minor scales (one octave) through
four flats and four sharps for treble clef instruments and
through six flats and two sharps for bass clef instruments
with the tonic arpeggios of these scales, M.M. J = 72.
Articulation
Execution of scales in single-tongue legato and staccato style,
eighth notes, M.M. J = 120. The arpeggios required in the
above section, legato and staccato style.











COMPOSER
Methods and Etudes
Clarke
Edwards
Endreson

Hering


Repertoire

Goldman
Lillya-Isaac
Lillya-Isaac
Webber


Cornet or Trumpet
COMPOSITION


Elementary Studies
Harvey Method, Book I
Supplementary Studies for Trumpet
or Cornet
40 Progressive Studies for Trumpet
or Cornet


Everybody's Favorite Solo Album
Songs of the Great Masters
Concert of Solos Album
Favorite Solo Album
First Solo Album


French Horn


Methods and Etudes
Hauser
Horner
Maxime-Alphonse
Pottag-Hovey

Skornicka

Repertoire
Bakaleinikoff
Boyd
Hauser
McKay
Mozart



Methods and Etudes
Arban
Clarke
Mueller
Reinhardt
Repertoire
Bach
Cimera
Handel
Mohaupt
Smith
Vandercook



Methods and Etudes
Beeler
Clarke


Foundation to French Horn Playing
Primary Studies for the French Horn
200 Modern French Horn Etudes, Vol. I
Pottag-Hovey Method for French Horn,
Book I
Rubank Elementary Method for French
Horn


Canzona
Golden Melodies for French Horn
Modern French Horn Repertoire Album
Three Pastoral Scenes
Concerto No. I, D Major


Trombone


Method for Trombone CF
Elementary Method for Trombone CF
Technical Studies for Trombone, Book I CF
Concone Studies EV


Arioso
Libuse
Where'er You Walk
Valse Melancolique
My Song of Songs
Morning Glory


Tuba


Method for Tuba
Elementary Method for Tuba


MPHC
Mil


PUBLISHER


AMSCO
CF
Cole
Cole
TP









COMPOSER
Methods and Etudes
Endreson
Getchell


COMPOSITION


Tuba Method
First Book of Practical Studies


Repertoire
Bell Gavotte CF
Geib Nocturne Op. 7 Mil
Schlemuller Cradle Song CF
Schlemuller Prayer CF
Weiss Village Blacksmith CB
Students of the Baritone Horn should follow either the Trumpet or
Trombone course of study depending upon the choice of clef. It is
strongly advised that the student learn both clefs and choose material
from both courses of study.
NOTE: Because of the scarcity of good methods, studies, or
solo repertoire for the tuba, it is suggested that the
student learn to read trombone and baritone (bass
clef) music down one octave, thereby adding consid-
erably to his choice of material.

Course H
TECHNIQUE
Tone
Proper use of breath control should result in finer control of
tone, greater flexibility, extended duration, and refined
nuances. The range should be extended to include the normal
playing range.
Scales and Arpeggios
Continued scale studies through all major scales should be
played in eighth notes, M.M. J = 80. The range of scales to
be extended beyond one octave. Include with the scales their
tonic arpeggios.
Articulation
Increase in speed of single tongue to eighth note, M.M. J -
144 on the same note. The arpeggios and scales should be
played legato and staccato in eighth notes, M.M. J = 120.
Transposition
The French horn players should transpose Eb horn parts.


COMPOSER
Methods and Etudes
Arban


Cornet or Trumpet
COMPOSITION


World Method for Trumpet or Coret CF


Cole
Bel


PUBLISHER


PUBLISHER









COMPOSER
Methods and Etudes
Haring
Pares

Repertoire
Ames
Bohme
Concone
Cords
Fitzgerald
Korsakov
Schubert



Methods and Etudes
Franz
Maxime-Alphonse
Pottag-Hovey

Voxman-Gower

Repertoire
Mendelssohn

Mozart
Mozart
Strauss, Franz
Title



Methods and Etudes
Arban
Mueller

Rochut

Seidel
Tyrell
Repertoire
Bakaleinikoff
Cimera
Denmark
Pryor
Rossini


Methods and Etudes
Eby
Getchell
Vandercook


COMPOSITION I


Thirty-Two Etudes
Daily Technical Exercises-
Scale Studies


The Lass with the Delicate Air
Liebeslied
Four Sketches
Romanze
Legend
Song of the Ghetto
Ave Maria (Everybody's Favorite
Solo Album)


PUBLISHER


CF
CB
CB
CB
CF
EMB

AMSCO


French Horn


Complete Method for the French Horn
200 Modern French Horn Etudes, Vol II
Pottag-Hovey Method for French Horn,
Book II
Rubank Advanced Method for French
Horn


Nocturne from Midsummer Night's
Dream
Andante from Horn Quintet
Concerto No. 3 Eb Major
Fantaisie
Serenade


Trombone


Method for Trombone
Technical Studies for Trombone,
Book II
Melodious Etudes for Trombone,
Book I
24 Studies
40 Progressive Studies for Trombone


Meditation
Valse Petite
Scene de Concert
Starlight Waltz
Cujus Animam


Tuba


Method for Tuba, Part I
Second Book of Practical Studies
Etudes for Tuba


Bel
Rem
Lud
CF
CF











Repertoire
Handel-Harvey Honor and Arms GS
Isaac The Jolly Dutchman CF
Martin Pompola CF
O'Neil Spring Fancy CF
Scarmolin Pomp and Dignity Pro

Course III

TECHNIQUE
Tone
Emphasis should be on a uniformity of tone quality through-
out all registers. Studies should be included to increase range,
flexibility, and endurance.
Scales and Arpeggios
Scale studies should be extended by the addition of minor
scales, at least in one form. These should be played in two
octaves, as eighth notes, M.M. J = 92. The minor arpeggios
should also be studied. The chromatic scales should be ex-
tended over the entire normal playing range.
Articulation
The single tongue should be developed to sixteenth notes
played at M.M. J = 116. Triple and double tonguing should
be introduced.
Transposition
Bb trumpet players should be able to transpose C and A parts.
Horn players should be able to play parts in F, Eb, C#, and
D and read bass clef parts.
Trombone players should be able to read tenor clef and Bb
treble and bass clefs.

Cornet or Trumpet
COMPOSER COMPOSITION PUBLISHER
Methods and Etudes
Arban Conservatory Method CF
Arban Kopprasch Studies for Trumpet CF
H. Chavanne Twenty-Five Characteristic Studies
for Trumpet Bar
Goldman Goldman Exercises for Double and
Triple Tongue CF
St. Jacome Complete Method CF


COMPOSITION


PUBLISHER


COMPOSER










COMPOSER
Methods and Etudes
Pares

Schlossberg
Schlossberg

Voxman
Repertoire
Fitzgerald

Hillemacher
Jean-jean
Marty
Poulain
Roparty
Rossini
Vidal
Voxman


Methods and Etudes
Franz
Kopprasch

Maxime-Alphonse

Pottag
Pottag
Repertoire
Cohen
Kaufmann
Mozart
Strauss, Franz
Wittmann


Methods and Etudes
Mueller

Rochut

Vobaron
Voxman
Repertoire
Alary
Cohen
Denmark
Magnan
Simons


Methods and Etudes
Endreson


COMPOSITION


Daily Technical Exercises and Scale
Studies
Daily Drill and Technical Studies
Supplementary Studies for Advanced
Students
Selected Studies for Trumpet


Legend and Frolic
Five Grand Solos
First Solo for Trumpets
Capricioso
Chorale
Melodie
Andante and Allegro
Inflammatus
Aria and Fanfare
Contest Album


CP
AN
CB
AL
AN
Bar
CB
AMSCO
Bar
CB


French Horn


Complete Method for the French Horn CB
Sixty Studies for French Horn
Book I CF or CB
200 Modern French Horn Etudes,
Vol. III San
French Horn Passages, Vol. I Bel
Preparatory Melodies to Solo Work Bel


Fantasy in F Major
Twelve Solos
Concerto No. 2, Eb Major
French Horn Concerto, Opus 8
Barcarole, Opus 50


Bel
CF
CF-GH
San
CF


Trombone


Technical Studies for Trombone,
Book II
Melodious Etudes for Trombone,
Book I
34 Etudes
Selected Studies for Trombone


Contest Piece
Concert Piece
Introduction and Polonaise
Concerto
Atlantic Zephyrs


Tuba


Supplementary Studies


PUBLISHER









COMPOSER
Methods and Etudes
Pares
Tyrell
Repertoire
Cohen
Frangkiser
Kesnar
Vandercook


COMPOSITION


Scale Studies
Advanced Studies


Romance and Scherzo
Melodie Romanza
Prelude
Colossus


Course IV


TECHNIQUE
Tone
Complete control of tone quality in all registers and in all
dynamics. Student should demonstrate increased range,
flexibility, and endurance.

Scales and Arpeggios
All major and all minor scales in practical ranges, legato and
staccato, tonic and dominant sevenths, arpeggios for all major
and minor keys, and chromatic scales should be played in
sixteenth notes at M.M. J = 108.

Articulation
Further development of single tongue to play sixteenth notes
at M.M. J = 132. Double and triple tongue should be clearly,
evenly, and smoothly executed.
Transposition
Players should be able to read in all transpositions and clefs
commonly called for in orchestral repertoire.


COMPOSER
Methods and Etudes
Arban
Brandt
H. Chavanne
Clarke
Gabriel-Bartold
Slants
Goldman
Laurent
Sachse
Schlossberg
St. Jacomes
Williams


Cornet or Trumpet
COMPOSITION PUBLIC


Methods
Orchestral Studies for Trumpet
Twenty-Five Etudes
Technical Studies for Trumpet
Orchestral Excerpts for Trumpet
48 Studies for Advanced Trumpeter
Exercises for Double & Triple Tongue
24 Virtuoso Studies
100 Etudes for Transposition
Daily Drills and Technical Studies
Complete Method
Transposition Method


SHER


CF
AMP
Bar
CF
IMC
Wit
CF
CF
Bar
Bar
CF
Wil


PUBLISHER










COMPOSER
Methods and Etudes
Williams
Repertoire
Balay
Delmas
Fitzgerald
Frandt
Goedicke
Haydn
Mouquet
Thome
Vidal


Methods and Etudes
Franz
Kopprasch

Maxime-Alphonse

Pottag
Sansone
Repertoire
Beethoven
Mozart
Saint-Saens
Schumann
Strauss, R.


Methods and Etudes
Blazhevich
Mueller

Rochut

Repertoire
Blazhevich
Cimera
Cools
Guilmant
Hassler


Methods and Etudes
Slama

Vandercook
Repertoire
Desmond
Sabathil
Troje-Miller
Walters


COMPOSITION


The Secret of Technique Preservation


Prelude and Ballade
Choral and Variation
Introduction and Fantasy
Etudes for Trumpet
Etude de Concert
Concerto
Legend Heroique
Fantaisie
Concertino


French Horn


100 Horn Duets, 2 Volumes
Sixty Studies For French Horn,
Book II
200 Modern French Horn Etudes,
Vols, IV, V, VI
French Horn Passages, Vol. II
Modern Method For French Horn

Sonata, F Major, Op. 17
Concerto No. 4, Eb Major
Morceau de Concert
Adagio and Allegro, Op. 70
Concerto No. 1, Op. 11


San

CF-CB

San
Bel
San

CF-CB
CF, San
GH
San
CB


Trombone


Clef Studies
Technical Studies for Trombone,
Book, 3
Melodious Etudes for Trombone,
Book, 2

Concert Sketch No. 5
Concerto for Trombone
Allegro de Concert
Morceau Symphonique
Concerto (Allegro)


Tuba

66 Etudes
Tuba Players' Studio
Etudes for Tuba

The Sea Gong
Divertissement
Sonatina Classica
Tarantella


L
Rem
AL
GH
CB


Bel
Rem
Bel
LeD


PUBLISHER













CHAPTER 10


Courses of Study -Percussion Instruments

FOR the percussion instrument examination the student shall
be prepared to play any of the RUDIMENTS or other rhyth-
mic figures outlined 'n his course of study for the year's work.
He shall be prepared to play one solo selection from the chosen
course (or equivalent to that level) for each of the major instru-
ments being studied under that course heading. He shall be
required to play at sight a composition of a grade easier than
that for which he is being examined. This requirement shall ap-
ply to each of the percussion instruments involved in the chosen
course of study. Excerpts of percussion parts from band and or-
chestral literature should be included. In addition, he shall dem-
onstrate his understanding and use of the requirements outlined
in his assigned Theory-Musicianship course of study.
The four complete courses of percussion study are conceived
as an integrated program in which the student develops a play-
ing ability on each instrument of that section. The importance
of continued study on the snare drum is indicated by the fact
that it continues to share an important part in the training in all
course levels. The tympani are added to Course II; the melodic
percussion instruments to Course III; and the remaining per-
cussion instruments are added to Course IV.
The list of material may be expanded with the use of similar
studies of equal quality.

Course I
The Snare Drum
Tone
Proper tuning of the instrument and correct stick control
largely determine the quality of tone production.









Rudiments
The long roll, the various short rolls as needed, the flam, ruff,
single paradiddle, and additional flam beats should be devel-
oped in a functional manner. In addition, the basic rhythmic
pattern of the triplet, which is not listed in the twenty-six
basic rudiments, should be stressed in this period of training.
Sight Reading
This ability can be developed effectively through the continu-
ous reading of parts from the band and orchestral literature.
COMPOSER COMPOSITION PUBLISHER
Methods
Buggert Buggert Method for Snare Drum,
Book I Bel
Harr Drum Method, Book I Cole
Ludwig WFL Drum Method WFL
Ostling Three R's for Snare Drum, Book I Bel
Yoder Elementary Method for Drum Ru
Studies
Buggert Progressive Etudes for Snare Drum,
Book II Bel
Gardner Progressive Studies for the Snare Drum CF
Solos and Ensembles
During Course I, solo and ensemble material should be drawn pri-
marily from methods similar to those suggested above.

Course II
The Snare Drum and the Tympani
Tone
Studies on the snare drum continue at an advanced level.
The tympanist is required to develop proper control of tym-
pani sticks; he should demonstrate thorough understanding
of the care of tympani heads to assure the best tonal results
from the instrument; and he should be taught the proper
positions for playing the instruments.
Technique
It is imperative that he develop the ability to tune the
tympani quickly, quietly, and efficiently. He must study to de-
velop an accurate sense of relative pitch. He should become
acquainted with a wide variety of literature in the field. He
should learn proper stick technique and should work to
develop a smooth and effective roll on the tympani.









Sight Reading
The tympanist and snare drummer should gain experience in
reading a large amount of band and orchestral material. The
snare drummer, now working at a more advanced level, is
expected to perform with greater accuracy and at higher
levels of difficulty the band and orchestral materials with
which he comes in contact.


COMPOSER
Methods for Snare Drum
Buggert
Harr
Moeller
Ostling
Whistler
Methods for Tympani
Garner
Kristufek
Victor
Studies for Snare Drum


Stone
Studies for Tympani
Cross
Victor


COMPOSITION


PUBLISHER


Method for Snare Drum, Book II
Drum Method, Book II
The Moeller Book
Three R's for Snare Drum, Book II
Reviewing the Rudiments


Bel
Cole
WFL
Bel
Ru


Modern Method for Tympani, Part III CF
Tympani Instructor WFL
Victor Method for Tympani, Book I Victor


NARD Book of 150 Rudimental Drum
Solos WFL
Stick Control for the Snare Drummer Stone


Tympani Passages, Books I, II, III
Victor Method for Snare Drum,
Book III


Bel
Victor


Solos and Ensembles
The NARD book mentioned in studies for the snare drum is an excel-
lent source of solo material at this level, and similar solos, commen-
surate with the rate of progress and at a level with those in this col-
lection, should be used by the student. Ensemble material should be
representative of a difficulty level just below or the same as that of
the solo material being studied. The tympanist will have little opportu-
nity for solo work beyond that normally allotted him in various band
and orchestral compositions.
COMPOSER COMPOSITION PUBLISHER


William F. Ludwig


Collection Drum Solos, March Beats,
Duets, and Ensembles WFL


Course III
The Snare Drum and the Mallet Instruments


Tone
By this time the snare drummer will be expected to exhibit
a marked degree of skill in his playing. Great facility in the
handling of the sticks and the snare drum itself will be ex-








pected. The player of mallet instruments will be taught the
fundamentals of holding the sticks in relation to the bells,
xylophone, or marimba, whichever is available to him for
study, or to a combination of these. Various types of sticks
and their uses will be studied for each instrument as well as
the stick approach used on different instruments in this group.
Technique
The snare drummer is expected to continue his study of the
twenty-six rudiments listed by the National Association of
Rudimental Drummers and to understand their functional
application to the musical situation. The xylophone, marimba,
or bell player must study the rudiments of musical theory
inasmuch as he is dealing with a melodic as well as a rhythmic
instrument. It is expected that he will become aware of those
elements of musical composition directly involved in the
studies of pieces before him. In addition, facility in the use
of the sticks will be advanced through careful study and
practice.
Sight Reading
The snare drummer should continue reading a wide range of
band and orchestral material with greater attention to per-
formance accuracy. Application of basic rudiments to this
reading should be made consistently and with the utilitarian
value of the rudiments in mind. The instrumentalist dealing
with the mallet instrument should have an opportunity to
study bell parts from a wide variety of band and orchestral
literature in addition to the careful preparation of solo works.
Musicianship
The snare drummer in Course III is expected to exhibit
musicianship not only in his skill with the instrument but
also in his knowledge of musical rudiments, including theory
and notation. The percussionist studying the mallet instru-
ments will be expected to exhibit a definite musical approach
to the performance of these pieces and studies.
Materials for the Snare Drum
In Course III, the snare drummer is expected to continue his
previous studies on a higher level and with a greater degree
of perfection. His selection of solos may still be drawn from









those materials suggested in Course II and from additional
materials at an advanced level.

COMPOSER COMPOSITION PUBLISHER
Methods for the Bells, Xylophone, and Marimba
Gardner Modern Method for Bells, Xylophone
& Marimba, Part III CF
Green Elementary Studies for Xylophone
& Marimba LDY
Peterson Elementary Method for Xylophone
or Marimba Ru
Studies and Exercises for the Bells, Xylophone, and Marimba
Brewer Xylophone Technic AL
Peterson Keyboard Harmony for Xylophone
& Marimba Ru
Peterson Celebrated Tutor for Bells CF
Peterson Xylophone & Marimba Studies for
3 and 4 Hammers Ru
Whistler Jolliff Modern Pares Foundation
Studies Ru
Solos and Ensembles for the Bells, Xylophone, and Marimba
Haw Intermediate Grade Solos for
Marimba and Xylophone Cole
Jolliff 78 Solos for Marimba, Books 1 and 2 Bel
Jolliff Music for Marimba, Volumes 1, 2, 3 Ru
Rollinson 12 Bell Solos with Piano Accompaniment D
Rollinson Soloist Folio for Xylophone and Marimba
with Piano Accompaniment Ru

Course IV
The Snare Drum and the Complete Percussion Section

It is intended that this be a year of integrated study in
which the individual develops his abilities to perform on all the
percussion instruments commonly used in musical composition.
Individual playing ability on all of these instruments should be
developed. Work continues with special attention directed toward
the particular interests of the student. Proper playing techniques
on all the individual and accessory items of the section, such as
the tambourine, tom-toms, castanets, triangle, and the gongs,
should be studied. The proper methods of playing the bass drum
and cymbals are of particular importance for the well-rounded
percussionist. Actual experience in the band and orchestra in
playing these instruments is representative of the most effective
learning situation. It is expected that the snare drum should
continue to be a major area of study.








Sight Reading
It is expected that the individual will develop his sight read-
ing ability in all the fields involved. He should be capable of
reading from scores representative of combinations of these
instruments and should be able to change from one instru-
ment to another within the section without difficulty.
Musicianship
This area must be developed to a high degree, and much is to
be expected of the percussionist at this level. He must exhibit
a thorough knowledge of musical rudiments not only melodic
and rhythmic but also harmonic as well.
Materials
At this level and for the variety of instruments involved, an
important source of material is the organizational literature
with which the student is regularly in contact. For the
snare drum and mallet instruments, additional materials
will largely represent an increase in the difficulty of com-
positions studied. The snare drummer should be able to per-
form the solos listed in the NARD Book of 150 Rudimental
Drum Solos or works similar to these in difficulty. Materials
for the smaller instruments of the band and orchestra per-
cussion sections can be found in the literature of these sec-
tions. Additional materials for advanced study of the bells,
xylophone, and marimba are listed as suggestive of the type
of work which should be carried on in the second year of mal-
let study. In many cases, methods and materials suggested
for previous courses on any of the percussion instruments
contain pieces and exercises which are at a higher level than
the year in which the book itself was suggested. These should
be continued in Course IV.

Advanced Materials for Xylophone and Marimba
COMPOSER COMPOSITION PUBLISHER
Green Standard Solos for Xylophones LDY
Green Xylophone Arrangements of Fritz
Kreisler Solos CF
Hiraoka Celebrated Artists Series
Xylophone Album Marks
Marimba-Xylophone Concert Arrangement AL
Xylophone or Marimba Solos with
Piano Accompaniment CF









Ensemble Music for Percussion Instruments

The increased attention being given by the modern com-
poser to music for percussion ensembles has provided a varied
and interesting type of literature involving a number of different
instruments of the percussion section. These works should be
studied in Course IV.


COMPOSER
Buggert
Colgrass
Harr
Ludwig
McKenzie
Price


COMPOSITION PUBLISHER
Rudimental Roulade Ru
Three Brothers MFP
Black Cat Quintet Cole
Jumpin' Five WFL
Introduction and Allegro MFP
Invention for Four Percussion Players MFP
















APPENDIX 1



Key to Publishers

AAM...............American Academy of Music (Try CF or GS.)
Agr...................Augener Ltd., London, England
AL-....................- Alfred Music Co., 145 W. 45th St., New York, N. Y.
AMP..................Associated Music Publishers, 1 W. 47th St., New York 36,
N. Y.
AMSCO............Amsco Publishing Co., 240 W. 55th St., New York 19, N. Y.
AN-..................- Albert J. Andraud, 2871 Erie Ave., Cincinnati 8, Ohio
APS...................A. P. Schmidt Co., 120 Boylston St., Boston 12, Mass.
AT...................Alec Templeton (Try CF or GS.)
Aug....................Augsburg Publisher House, 426 S. Fifth St., Minneapolis
15, Minn.
Ax....................Axelrod Publications, Inc., 251 Weybosset St., Providence,
R. I.
Bal.....................Ballentine Books, Houghton Mifflin Co., 2 Park St.,
Boston 7, Mass.
Bar...............M. Baron Co., Box 149, Oyster Bay, Long Island, N. Y.
BB...................Broude Brothers,, 56 W. 45th St., New York 36, N. Y.
Bel.....................Belwin Inc., Rockville Centre, Long Island, N. Y.
BFW...............B. F. Wood, Inc., 24 Brookline Ave., Boston 15, Mass.
BH.....................Bossey-Hawkes Inc., Box 418, Lynbrook, Long Island,
N. Y.
Br.....................C. C. Birchard & Co., care Clayton F. Summy
BMC...............Boston Music Co., 116 Boylston St., Boston, Mass.
BMI.................Broadcast Music Co. (care of AMP)
Bos.....................Bosworth and Co., care Belwin
Br & H............Breitkopf and Hartel (care of CF or GS)
BS.................... Bond Shop (Try CF or GS.)
C...................Century Music Publishers, 47 W. 63rd St., New York, 23,
N. Y.
CB.....................Cundy Bettony Co., 96 Bradlee St., Hyde Park, Boston,
Mass.
CF.................. Carl Fischer Inc., 56-62 Cooper Square, New York 3, N. Y.
CFS..................Clayton F. Summy Co., 1834 Ridge Ave., Evanston, Ill.
Ch...................John Church Co., Bryan Mawr, Pa., care TP
Chap.................Chappel and Co., RKO Building, Rockefeller Center,
New York, N. Y.
Chart...........Chart Music Co., 506 S. Wabash Ave., Chicago 5, Ill.
Ches................Chester Ltd., 11 Great Marlborough, London, W. I.,
England
CMC.............Cheebro Music Pub., Idaho Falls, Idaho, or try CF or GS
Cole................Cole Industries, 2446 Indiana Ave., Chicago, Ill.
Cost..................Costellat, Paris, France
CP...................Composer's Press Inc., 853 7th Ave., New York, N. Y.
Cur....................Curwen Music (care of GS)
Day....................John Day Co., 210 Madison Ave., New York 16, N. Y.
Dit.................Oliver Ditson Company (Care of TP)










Dur....................Durand (care of EV)
EA ....................Edwin Ashdown Ltd., London, England
Eby....................Eby (care of CF or GS)
ECS...................E. C. Shirmer Co., 221 Columbus Ave., Boston 16, Mass.
EHM.......-.........Edwin H. Morris & Co., 35 W. 51st St., New York 19, N. Y.
EL......................Elkins (Care of CF or GS)
EMB..................Educational Music Bureau, 30 E. Adams St., Chicago, Ill.
Eul ....................Eulenberg (Care of CF)
EV ....................Elkan-Vogel Co., 1716 Sansom St., Philadelphia 3, Pa.
F........................ Foley Co., 67 W. 44th St., New York 36, N. Y.
Fill....................Fillmore Music House (care of CF)
Fitz....................H. T. Fitzsimmons Co., 615 N. LaSalle St., Chicago, Ill.
Fl.......................Harold Flammer Inc., 10 E. 43rd St., New York, N. Y.
For....................Forester Music Publishers, 216 S. Wabash Ave., Chicago
4, Ill.
Fox....................Sam Fox, 1250 6th Ave., New York 20, N. Y.
G & T ...........Gay and Tenton (care CF or GS)
Gal......-.............Galaxy Music Corporation, 50 W. 24th St., New York 10,
N.Y.
GH ...................Gamble Hinged (Try EMB.)
Ginn.................Ginn & Co., 72 Fifth Ave., New York, N. Y.
GMC.................Gate Music Co., 117 W. 48th St., New York 36, N. Y.
Gor...................David Gornston, 117 W. 48th St., New York 36, N. Y.
GS.....................G. Schirmer, Inc., 3 E. 43rd St., New York, N. Y.
Gun..................Gunther & Schroeder, Inc., Rhinebeck, Germany
H.......................-Heritage Music Publishers, 47 W. 63rd St., New York N. Y.
Ham ................Hammille, Paris, France
Har....................Harms, Inc., 619 W. 54th St., New York 19, N. Y.
He.....................Heacox (care of CF or GS)
Hunt .............-Huntzinger Music Publishers, 124 E. 4th St., Cincinnati,
Ohio
HWG................H. W. Gray Co., 159 E. 48th St., New York, N. Y.
IMC..................International Music Co., 509 5th Ave., New York 17, N. Y.
J ........................Jenkins Music Co., 1217 Walnut St., Kansas City 13, Mo.
JF......................J. Fischer & Bros., 119 W. 40th St., New York, N. Y.
K........................Edwin F. Kalmus, 112 W. 89th St., New York 24, N. Y.
Kjos.........---.........Neil A. Kjos Co., 525 Russe, Park Ridge, Ill.
L ........................Leeds Music Corp., 322 W. 48th St., New York, N. Y.
LDY..................Leedy Mfg. Co., Leedy Bldg., Elkhart, Ind.
LeD...................Le Duc, Paris, France
Lem...................Lemoine, care of CF or GS.
Lud...................Ludwig Music Pub. Co., 557 E. 140th St., Cleveland, Ohio
M.......................Mercury Music Corp., 47 W. 63rd St., New York 23, N. Y.
McL & R-........McLaughlin, Reilly, Boston, Mass.
Mar...................E. B. Marks Music Co., RCA Bldg., Radio City, New York
20, N. Y.
Mbg...................Merseburgen, Leipzig, Germany
MFP.................Music For Percussion
Mil.....................Mills Music Co., Inc., 1619 Broadway, New York, N. Y.
MP.....................Music Press, Tuskegee Institute, Tuskegee, Ala.
MPHC...............Music Publishers Holding Corp., 488 Madison Ave., New
York, N. Y.
N........................Novello & Co. (care of HWG)
OM ...................Omega Music Co., 20 W. 4th St., New York, N. Y.
OX.....................Oxford University Press, 414 5th Ave., New York 11, N. Y.
P........................Peters Inc. (care of SPC)
Pro....................Pro-Art Publishing Co., 469 Union Ave., Westbury, N. Y.
R-.......................Robbins Music Corp., 799 7th Ave., New York, N. Y.
RDR..................Robert D. Rowe (care of BMC)
Rem..................Remick Music Corp., 619 W. 54th St., New York 19, N. Y.
Ric.....................G. Ricordi & Co., 12 W. 45th St., New York, N. Y.










RLC..................Rouart, Lerolleet Cie (care of CF or GS)
Ru.....................Rubank Inc., 5544 W. Armstrong Ave., Chicago 30, Ill.
S & G...............Schraeder and Gunther, Inc., Rheinbeck, N. Y.
Sal...................Edition Salabert, 1 E. 57th St., New York, N. Y.
San..................Sansone Music Instrument Co., 1658 Broadway, New
York 19, N. Y.
SC.....................Sprague-Coleman (care of CF or GS)
Sch...................Schotte & Co. (care of AMP)
Selmer..............Selmer, Inc., Elkart, Indiana
SS......................Simon and Schuster, New York, New York
Stone................George B. Stone, Inc., 61 Hanover Street, Boston 13,
Massachusetts
TP..................Theodore Presser Company, Bryn Mawr, Pa.
U.......................Universal Musical Instrument Company, 732 Broadway,
New York 3, N. Y.
Victor................Southern Music Company, San Antonio, Texas
W....................Willis Music Co., 124 E. 4th St., Cincinnati 1, Ohio
Wern.................Werner Publications, Box 1152, Reading, Pa.
WFL .................WFL Drum Company, 1728 N. Damon Avenue, Chicago,
Illinois
Wil....................Williams (care of F or GS)
Wit....................Witmark and Sons, 619 W. 59th Street, New York 19,
N. Y.
WS....................White Amith Music Co. (EHM agent)
Z........................Zimmerman (try CF or GS)








Theory-Musicianship Courses of Study For All Students


C C S F


1. PITCH NAMES
AND MODIFYING
SYMBOLS


COURSES
OF STUDY


I.













II.














III.




















IV.


2. NOTE VALUES


Allnoe enth I I I Ia


All note lengths and
corresponding rests


Dots; ties


3. METRIC GROUPINGS 14. RHYTHMIC PATTERNS


SIMPLE:

duple 2 2
4 8

triple 3 3
4 8

quadruple (C) 4 4
4 8


In simple time:
(See Column 3, Course I.)
easy combinations;
corresponding rests



,o, =, Jh J,


J.,> J, J, J


5. TERMS
AND ABBREVIATIONS*


Compile a list of terms as
encountered in repertoire
and studies related to tem-
po, dynamics, style, and
interpretation.



From playing experience
(solo or ensemble) list
terms regarding form,
style, and performance
used by director or teach-
er.* *


6. SIGNS


Compile a list of
signs as encountered
in repertoire and
studies. Write defi-
nitions.


Examples:
fermata, accent,
slur, double sharp
and double flat, re-
peat marks.


7. SCALES*


Sections:

Top

Middle


Bottom "
Top-section MAJORS,
minors which use top-
section key signatures
(relatives); also tonic
minors (C MAJOR, C
minor)
Knowledge of patterns of
MAJOR and harmonic
minors


8. SIGNATURES


Co
-,

Sa C
s ~*c.


Fl
Top-section MAJORS
and minors which use
top-section key signa-
tures (relatives); also
tonic minors


Notes on grand staff
(bass and treble)


Sharps, flats, naturals;
double sharps, double flats








The above plus:
3-leger lines above and
below both treble and
bass staves










The above plus:
Understanding of the
function of tenor and bass
clefs


The above plus:
COMPOUND:
duple 6
8
triple 9

quadruple 12
8


The above plus:
Alla breve
2 4 3
















The above plus:
Unusual groups such as:
1 5 7

Combined groupings such
as:
2 3
8 8


The above plus:
In simple time:




In compound time:


Z ;, j j.,

Combinations, ties, dots


The above plus:
Double dots
Syncopation


Same requirement as
Course I


Same requirement as
Course I


Same requirement as
Course I













Same requirement as
Course I


The above plus: Same requirement as Same requirement as
SCourse I above


and similar patterns


**Classify cumulative list.


* Classify cumula-
tive list.


*See Syllabus of Bsasic Mu-
sicianship, Florida State Mu-
sic Teachers Association.
-This should reflect individ-
ual vocabulary for various
Instruments and voice.


The above plus:
Middle-section MAJORS
and minors, using middle-
section key signatures
Pattern of pure minor
(natural and melodic
minor)
Chromatic





The above plus:
Bottom-section MAJORS
and minors which use bot-
tom-section key signatures
Whole tone and pentatonic














All MAJORS
All minors (3 kinds)
Whole tone and pentatonic
Suggested (not required):
Dorian
Lydian


*For each course, student must
present from repertoire, two
MAJOR and two minor passages:
keys for these may be differ-
ent from those outlined here.


The above plus:
Middle-section MAJORS;
minors using mid-section
signatures











The above plus:
Bottom-section MAJORS;
minors using bottom-sec-
tion signatures
















All MAJORS
all minors


9. CHORDS*
(Traditional combinations
in triadic organization)

Triad, MAJOR and minor,
from any given root
Cadences in simple form
using easy positions of I,
IV, and V, in MAJOR and
minor keys listed in Col-
umn 8, Course I*
Organists: (at piano)
All positions IV I; V I;
V7 I; IV V7 I in keys of
upper 2 sections of circle


The above plus:
Cadences for keys listed
in Column 8, Course II
ii, iii, vi for known MAJOR
keys
Inversions of all triads
Organists: (at organ)
same requirement as
Course I plus:
Bottom-section keys


The above plus:
Cadences for keys listed
in Column 8, Course III
Augmented and diminish-
ed triads and inversions
Organists:
same as above substitu-
ting II and II, for IV











The above plus:
Any altered chords which
may appear in repertoire
Organists:
same as above, substitu-
ting VI for I (as IV (II)
V, VI)


10. INTERVALS*
(measurement of distance
in pitch)

Tones sounding separately:
(Ascending)
Major 2nd
Major 3rd
minor 3rd
sixth
Differentiation of Major
or minor not required here
Octave*


The above in:
(Descending direction)
Tones sounding sepa-
rately:
minor 2nd
min. 7th
maj. 7th
perf. 5th
perf. 4th
maj. 6th
min. 6th




The above plus:
All intervals in Courses I
& II separately (ascending
or descending) and simul-
taneously.


Through Playing by Ear


1. Sing* or play"* upon hearing twice:
short phrases from a familiar song.
2. Clap rhythmic pattern, upon hearing
twice short phrases from familiar
music.


1. Sing or play upon hearing twice:
simple 4-measure unfamiliar and
more difficult familiar tunes.
2. Clap upon hearing twice:
2-measures unfamiliar rhythmic
idea (difficulty not to exceed Courses
I and II, Column 4).
3. Play upon hearing twice:
a cadence using only MAJOR chords
(identical inversions not necessary).
Pianists and organists play; singers
and other instrumentalists arpeggiate.



1. As above, using accidental or modu-
lation
2. As above, using double dots and/or
syncopation
3. As above, in minor key or in MAJOR
using VI and II


Through Notation*


Write upon hearing:"*
1. A phrase or melodic passage selected
from a familiar song (on staff; pitch
only)
2. A rhythmic pattern from familiar
music (no pitch)
3. A series of four chords (Write in
Roman numerals, not Notation.)
Difficulty of notation not to exceed items
in Course I, Columns 1-10.


I


12. TRANSPOSITIONS


Pianists and Organists


Prepared and with music:
Simple folk song with cadential chords
(See Column 9, Course I.) hands to-
gether, up or down a whole step or a
third
At sight:
5-finger melody-R.H.
3-voice chords-L.H.
hands separately


Singers


(keys ar


Transpose:
(register only)
Prepared, but looking at
music and playing on
piano:
Soprano, Alto, and tenor;
bass part of familiar
song to treble
Bass and baritone treble
part to bass


The above plus: Prepared (pianists) : Oral:
Write upon hearing:**
Write upon hearing16-measure simple classic such as At name of key from ex-
1. A phrase or melodic passage selected minuet by Bach or Mozart to any two aminer, singer replies
from an unfamiliar song (on staff; keys desired by the student with name of key whole
pitch only) step above or below and
At sight (pianists and organists): recites signature.
2. A rhythmic pattern from unfamiliar Simple tune with I, IV, V7, accompani-
music (no pitch) ment hands together;.any key except (This includes keys listed
"bottom of circle" in Courses I, II and III,
3. A series of chords supporting a fa- Column 8.)
miliar melody (written in Roman Prepared and at sight (organists):
numerals) 4-part hymn up or down a half step to
Difficulty of notation not to exceed items key of same letter name (E-Eb)
in Course I, Columns 1-10


Combining 2 elements:
rhythmic and melodic
melodic and harmonic;
harmonic and rhythmic
Difficulty of notation not to exceed items
in Courses I, II, and m


___________________________________________


The above plus:
Augmented 4th
Augmented and diminish-
ed 5th
Separately (ascending or
descending) and simul-
taneously


_i- I


Note* Pianists, organists, and
singers are required to play
these on keyboard. Other in-
strumentalists may use piano
or arpeggiated form on their
own instrument.


*All intervals should be heard
simultaneously before recog-
nition In descending direction.


Pianists and organists, upon hearing
twice, reproduce a simple 4-measure
harmonized melody.
Singers and other instrumentalists, upon
hearing twice, reproduce a stated part
(alto, tenor, bass) or descant, heard with
a simple 4-measure melody.


*-Sing on neutral syllable.
**-Prom designated beginning tone.


Combining all 3 elements
Counter melody may be used instead of
vertical or broken chords.


"Students should be encouraged to write from
memory familiar songs and melodic passages.
**Name of first tone is given.


Prepared:
"America"
"Silent Night"
down a 4th, down a 5th
At sight (organists):
Easier 4-part hymn up or down a major
and minor 3rd
At sight (pianists):
a first-grade piece or study similar to
Pre-Czerny, Vol. I, Quaile, G. S.


Prepared (pianists):
a medium-grade anthem or accompani-
ment of vocal or instrumental standard
repertoire, to any key desired by stu-
dent.
At sight (pianists):
4-part hymn; up or down a half step
to key of same letter name (E-Eb)
At sight (organists):
4-part hymn up or down a major and a
minor third.


Same as Piano Course I.



















At piano:
transpose any part of 4-
part hymn or chorus
(one-finger style)
Up or down:
a whole or half-step
a major or minor 3rd


Id register)
Strings

Transpose:
(register only)


Any simple tune octave
up









Violin:
Read simple melody from
bass clef; play in treble.
'Cello:
Read melody printed in
treble, play in bass.
All including viola:
Play simple tune at sight
whole step higher or
lower.




Viola:.
Read tenor part in bass
clef from simple 4-part
song or hymn, play loco.
















From band instrumenta-
tion of a simple selection
at sight
Violin:
Read Bb trumpet or Bb
clarinet part; play loco
concert pitch.
Viola:
Same with trombone part
'Cello:
Read Eb part changing
signature and clef prop-
erly, then playing octave
lower.
String bass:
Read baritone part; play
to sound at concert pitch.


Brass and Wood Wind


None


Prepared:
a simple short tune to be transpc
a key a whole step up











At sight:
easy music for band or orchestra
Bb Clarinet
Bb Trumpet
Read music written in C & A
it to sound at concert pitch.
Oboe
Read Bb Clarinet music to sou
concert pitch.
Horn (in F, Bb and double hor
Read music written in F, Eb,
D; play to sound at concert p
Bassoon
Read tenor and treble clef, p
sound at concert pitch.
Trombone:
Same as bassoon plus Bb trebl
Baritone
Same as trombone, but omitting
clef.

At sight:
Each instrument to select suitab]
and transpose to sound at concert
from:
1. a 4-part chorale, vocal sec
piano edition
2. a standard or popular song in
music arrangement (piano a:
cal line)


I *I I I I


11. RE-CREATION


I I I


I II


I '




. I


Sr
IBETTEmRCHO
MAKE Il




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