Content Outline and Competencies:

I. Elements of music
   A. Define the elements of music (melody, rhythm, harmony, texture, and
form) and describe aural examples. 
   B. Recognize and define tempo and dynamic terms.
   C. Identify visual and aural examples of the basic instruments and
instrumental ensembles used in western music. 

II. Musical developments through the stylistic periods of classical music
(Medieval through twentieth century)
   A. List the important composers, genres, and music forms of each era.
   B. Describe and aurally recognize the genres and simpler forms of era.
   C. Describe how the elements of music are used in each era or stylistic
period of classical music.
   D. Summarize the economic, social, and political effects on music in
each era.
   E. Describe the aesthetic qualities of each classical stylistic
period.
   F. State how musicians function in the society of each period of
classical music.
   G. Identify and describe specific pieces studied in class that are
representative of each stylistic era.

III. Popular styles and music from nonwestern cultures
   A. Describe the evolution of jazz from its roots in ragtime and blues
through jazz fusion.
   B. Match important jazz performers to the kinds of jazz they
performed.
   C. Describe the origins and varieties of rock music. 
   D. Briefly describe the development of American musical theater.
   E. Aurally recognize instruments from nonwestern cultures. 
   F. Differentiate the sounds and aesthetics from music of Africa, India,
and China.

Content Outline and Competencies:

I. The music staff
   A. Quickly name verbally and in written form the lines and spaces in
the treble clef
   B. Quickly name verbally and in written form the lines and spaces in
the bass clef
   C. Name verbally and in written form the lines and spaces of the alto
and tenor C clefs

II. Major scales and keys
   A. Construct in written form all major scales in treble and bass clefs
   B. Identify major keys immediately by the key signature
   C. Play all major scales at the keyboard

III. Minor scales and keys
   A. Construct in written form all three forms of minors scales
   B. Identify minor keys immediately by the key signature
   C. Play all three forms of all minor scales at the keyboard

IV. Rhythm 
   A. Recognize verbally and in written form note values of whole notes to
sixteenth notes
   B. Recognize verbally and in written form rest values of whole rests to
sixteenth rests
   C. Identify aurally and visually duple, triple, and quadruple meter or
time signatures and note groupings
   D. Perform (by handclapping) duple, triple, and quadruple patterns
involving whole to eighth values
   E. Reproduce in written form (rhythmic dictation) rhythmic patterns
involving whole to eighth values that are played or clapped by the
instructor

V. Intervals
   A. Recognize aurally and construct in written form the following
intervals: m2, M2, m3, M3, P4, P5, m6, M6, m7, M7, P8
   B. Play any interval from any note on the keyboard
   C. Construct in written form all augmented and diminished intervals

VI. Chords
   A. Recognize visually and construct in written form major, minor,
diminished, and augmented triads and their inversions
   B. Recognize visually and construct in written form dominant seventh
chords and their inversions
   C. Recognize visually and construct in written form half diminished and
fully diminished seventh chords and their inversions

VII. The I - IV - V - I chord progression
   A. Recognize aurally the I - IV - V - I chord progression
   B.  Play the progression on the keyboard in at least the following
keys:  C major, F major, G major, Bb major, D major

Content Outline and Competencies:

I. Rhythm
   A. Compose a written definition of duple, triple and quadruple meter.
   B. By listening only, physically tap the pulse of music either with the
foot or hand.
   C. After identifying the basic pulse of taping, orally organize the
pulses into meter and identify the down beat of each measure.
   D. Compose a written log that will track the changes in rhythm that
occur in each style period.
   E. Orally explain the changes noted in the log from above in an
individual session with the instructor.

II. Harmony
   A. Define orally and in written form the structure of tercial harmony.
   B. Diagram using musical notation the triads built on each degree of a
major scale.
   C. Label the triads with the proper Roman numeral symbols.
   D. Explain orally the basic I -IV-II-V- I chordal progression.
   E. Identify aurally the basic chordal progression from above in both a
Blues form and 32 bar song form.

III. Form
   A. Identify by reading musical notation and aurally a basic 12 bar
blues form.
   B. Identify by reading musical notation and aurally a basic 32 bar
blues form.
   C. Compose an original melody and text set to a 12 bar blues form.
   D. Perform the text above with a Blues play-along recording before the
class.

IV. Improvisation
   A. Compose a written definition of improvisation.
   B. Identify aurally improvisation and describe the range and contour of
the improvisation.
   C. Choose two major Jazz artists and identify, compare and contrast
their individual improvisational styles in the form of a written log.
   D. Graph the improvisation of at least one major artist from each style
period as directed by the instructor.

V. Style Identification
   A. Dixieland
      1. Identify aurally the rhythmic characteristics.
      2. Explain the structure of the harmony.
      3. Identify aurally the basic form.
      4. Identify in written form the improvisational style of Louis
Armstrong.
   B. Swing
      1. Identify aurally the rhythmic characteristics.
      2. Explain the structure of the harmony.
      3. Identify aurally the basic form.
      4. Compare and contrast the improvisational style of Dixieland and
Swing in the form of a written log.
   C. Bop
      1. Identify aurally the rhythmic characteristics.
      2. Explain the structure of the harmony.
      3. Identify aurally the basic form.
      4. Compare and contrast the improvisational style of Dixieland,
Swing and Bop in the form of a written log.
   D. Contemporary
      1. Identify aurally the rhythmic characteristics.
      2. Explain the structure of the harmony.
      3. Identify aurally the basic form.
      4. Compare and contrast the improvisational style of Dixieland,
Swing, Bop and Contemporary in the form of a written log.

Content Outline and Competencies:

I. Demonstrate a Written and Aural Knowledge of the Terms Common to
Folk and Popular Music Traditions
   A. Rhythm
   B. Melody
   C. Harmony
   D. Genre and form
   E. Performance context
   F. Text
   G. Composition/improvisation
   H. Transmission
   I. Movement

II. Construct a Working Definition of Music (and apply it to various
cultures) by Considering the Relative Hierarchy of Musical Elements
   A. Construct analysis guidelines for listening exercises
   B. Examine ideology behind music making: function, ceremony,
entertainment, etc.

III. Define Ethnomusicology and Demonstrate Written and Aural Knowledge of
Contextual Analysis
   A. Examine societal implications of cultural activity and identify
music as relevant to the human aesthetic experience and to daily life
   B. Find connections between primitive and evolved societies
   C. Define parallels between anthropology, history, literature and
music
   D. Examine basic reference tools and specific research methodologies
for ethnomusicological inquiry

IV. Define Selected Musical Styles and Identify Characteristic Sounds of
Traditions Relevant to Sub-Saharan Africa and Identify Cultures and
Subcultures of African Music Making Such As:
   A. Agbekor music of the Ewe people
   B. Drum language for Agbekor
   C. Music of the Shona people

V. Define Selected Musical Styles and Identify Characteristic Sounds of
Traditions Relevant to the North American Ethnic and Popular Styles
(specifically comparing to African origins) Such As:
   A. Blues
   B. Jazz

VI. Define Selected Musical Styles and Identify Characteristic Sounds of
Traditions Relevant to the Native North American Indian (specifically
targeting the Navajo culture) Such As:
   A. Yeibichai song tradition
   B. Circle dance songs
   C. the Native American Church

VII. Define Selected Musical Styles and Identify Characteristic Sounds of
Traditions Relevant to Eastern Europe (specifically targeting Bosnia) Such
As:
   A. Bosnian Highland Village Musical Traditions
   B. Bosnian Lowland Village Musical Traditions
   C. Popular Musical Styles of Bosnian Culture

VIII. Define Selected Musical Styles and Identify Characteristic Sounds of
Traditions Relevant to Southern India Such As:
   A. General theory of raga, tala, musical structure and improvisation
   B. South Indian Karnataka Sangeeta
   C. The influence of Indian music on the West

IX. Define Selected Musical Styles and Identify Characteristic Sounds of
Traditions Relevant to Indonesia Such As:
   A. Central Java and the gamelan (instruments, performance contexts)
   B. Shadow puppetry
   C. Indonesian popular music and transnational exchange

X.  Define Selected Musical Styles and Identify Characteristic Sounds of
Traditions Relevant to Japan (specifically the aesthetic sense of timbre,
pitch collections/scales; melody and harmony; rhythm; and form) Such As:
   A. Shakuhachi flute repertory
   B. Shamisen repertory
   C. Folk song
   D. Popular music
   E. Kabuki and Noh theater traditions

XI. Define Selected Musical Styles and Identify Characteristic Sounds of
Traditions Relevant to Latin America and Identify Cultures and Subcultures
of Latin American Music Making Such As:
   A. Quichua of Ecuador
   B. Nueva cancion of Chile
   C. Brazilian candomble
   D. Brazilian carnival traditions: samba

Content Outline and Competencies:

   I. Rock Music-Origin and Development 
      A. Explain the significance of the African Slave work songs as the
origin of rock and Roll Music. 
      B. Discuss the development of Rock music after it was taken over by
White Americans and then refashioned from the original work songs. 

  II. Rock Music-The Elements
      A. Aurally identify and verbally  discuss the elements of music that
shape the Rock style. These elements include:
         1. Basic rhythmic cells
         2. Textures of thin, thick, light, and heavy sounds
         3. The lyrics of songs and how the words are combined with the
rhythmic cells and texture.
         4. The instruments used in Rock music and how these instruments
shape rhythm, texture, and lyrics.

 III. Rock Music-Social and Cultural Aspects
      A. Explain how the styles of Rock music were shaped and changed by:
         1. The population growth of post World War II resulting in the
youth culture known as the "Baby Boomers".
         2. The Civil rights movement
         3. The anti war protests of the 1960's.
      B. Explain whyRock music is sometimes known as "the music of
rebellion".
      C. Discuss how the lyrics of Rock music reflect the social and
cultural changes.
      D. Discuss the significance of economic changes on the styles of
Rock music.

  IV. Rock Music-Historical Eras
      A. Aurally and verbally identify all the major historical eras of
Rock music according to the elements of music.
      B. Discuss the major artists of each era and the significance of
their contributions to the art form.

   V. Rock Music and Technology
      A. Discuss how the continual change in computers and computer
software affect and change the styles of Rock music.
      B. Discuss the role of the Internet in shaping the styles and
artists of modern day Rock music.

Content Outline and Competencies:

I. Sight-singing
   A. Adapt solfege syllables to any major or minor key.
   B. Sing assigned solfege exercises from memory.
   C. Sing melodies and two part music in both major and minor keys that
use stepwise movement and intervals in the I (i) and V chords in both
simple and compound time.

II. Intervals
   A. Identify in both written and aural forms the following intervals:
m2, M2, m3, M3, P4, P5, m6, M6, m7, M7, and P8
   B. Sing any of the following intervals: m2, M2, m3, M3, P4, P5, m6, M6,
m7, M7, and P8

III. Rhythmic Dictation
   A. Notate simple rhythmic patterns using duple and triple subdivisions
of the beat
   B. Notate simple rhythms using dotted half or quarter notes

IV. Melodic Dictation
   A. Identify aurally up to three notes of the scale
   B. Notate melodies that use intervals in the I and V chords
   C. Notate any diatonic melody in a simple rhythm

V. Harmonic dictation
   A.  Identify aurally the qualities of the following chords: major,
minor, augmented, and diminished
   B. Recognize and sing any major, natural minor, melodic minor, and
harmonic minor scale
   C. Notate harmonic progressions using I (i), ii, IV (iv), V, and vi
chords
   D. Recognize aurally the mode of melodic or harmonic excerpts
A. Notate simple rhythmic patterns in simple meter using at least duple divisions of the beat B. Notate simple rhythmic patterns in compound meter using at least triple divisions of the beat

Content Outline and Competencies:

I. Sight-singing
   A. Sight-sing simple diatonic melodies in simply rhythms in the alto
and tenor clefs
   B. Sight-sing diatonic melodies that use all intervals and more complex
rhythmic divisions of the beat 

II. Intervals
   A. Identify in both written and aural forms all diatonic intervals
   B. Sing all diatonic intervals

III. Rhythmic Dictation
   A. Notate rhythmic patterns using quadruple and sextuple subdivisions
of the beat
   B. Notate rhythms using dotted eighth notes as well as half or quarter
notes

IV. Melodic Dictation
   A. Notate longer (at least two phrases) diatonic melodies
   B. Notate melodies that use intervals in the IV and vii°chords, as
well as I and V chords
   C. Notate any diatonic melody that uses larger diatonic leaps and
quadruple divisions of the beat

V. Harmonic dictation
   A. Notate non harmonic tones in simple chord progressions
   B. Notate harmonic progressions using the following chords: I (i), ii,
(ii°), iii (III), IV (iv), V, vi (VI), and vii°  

VI. Error detection
   A. Identify errors in melodic, rhythmic, and harmonic structures

Content Outline and Competencies:

I. Accurate and Accessible Knowledge of Music Fundamentals

A. Recognize and name keys and key signatures for both major and minor keys.

B. Spell any major, natural minor, harmonic minor or melodic minor scale.

C. Diagram the circle of fifths.

D. Spell any major, minor, diminished or augmented triad.

E. Name the five common types of seventh chords and spell any of them using any pitch as the chord root.

F. Demonstrate an understanding of rhythmic time values.

G. Identify simple and compound time signatures.

H. Rebar rhythmic values to correctly indicate the meter.

I. Notate rhythms in basic simple and compound meters.

II. Diatonic Chords and Progressions in Major and Minor Keys

A. Name the diatonic types of chords in major keys.

B. Write all the options for chords in minor keys.

C. Name the most common chords used in minor keys.

D. Name appropriate and inappropriate chord progressions in tonal music.

III. Diatonic Four-Voice Part Writing

A. Harmonize given melodies and/or bass lines with the other 2-3 parts using correct voice leading and part writing procedures.

B. Harmonize given melodies and/or bass lines with appropriate chord progressions.

IV. Transcribing Parts for Transposing and C Clef Instruments

A. Name common transposing and C clef instruments.

B. Rewrite a part using the correct transposition for any transposing instrument.

C. Rewrite a part for any instrument using a C clef.

V. Roman Numeral Analysis of Simple Diatonic Four-Part Music

A. Identify roots and types of chords using Roman numeral analysis in hymns and chorales.

B. Identify chord and seventh chord inversions with figured bass inversion symbols in hymns and chorales.

VI. Chord Inversions

A. Recognize chords and seventh chords in inversion.

B. Name the correct inversion symbol for any inverted chord.

C. Describe the correct uses of inverted chords.

D. Write simple four-part music using inverted chords appropriately in tonal music practice.

VII. Melody

A. Recognize the form and practices of good melodic writing as practiced in the common practice era.

B. Recognize errors in good melodic writing as practiced in the common practice era.

C. Compose simple diatonic melodies using the practices under study.

VIII. Keyboard Skills

A. Play any major and minor chord.

B. Play any major or minor scale.

C. Play plagal and authentic cadences in any major or minor key.

D. Harmonize simple melodies with I (i), IV (iv), or V chords.

Content Outline and Competencies:

I. Skills and knowledge from Harmony I 
   A. Quickly spell major, minor, augmented, and diminished triads from
any note
   B. Quickly identify all major and minor key signatures
   C. Quickly identify any written interval
   D. Name common chord progressions in both major and minor keys
   E. Name uncommon or inappropriate chord progression in major and minor
keys 

II. Melodic Line, Cadences, and Form
   A. Recognize plagal, authentic, deceptive, Phrygian, and half cadences
in single melodic lines and harmonic structures
   B. Recognize and label phrases in melodic lines and harmonic
structures
   C. Define and recognize the following forms in melodic structures:
melodic extensions, phrase group, contrasting period, parallel period, and
double period
   D. Incorporate all cadences into appropriate part writing exercises
   E. Harmonize melodies at the keyboard demonstrating understanding of
melodic construction and harmonic function

III. Nonharmonic Tones
   A. Identify all nonharmonic tones in analyzing music examples
   B. Define all nonharmonic tones by their note of approach, dissonance,
and note of resolution
   C. Integrate nonharmonic tones appropriately into part writing
exercises

IV. Seventh chords
   A. Define and quickly spell all types of seventh chords
   B. Name the most common seventh chords used in traditional harmonic
progressions
   C. Integrate these chords into part writing exercises
   D. Identify when melodic lines imply the harmonic support of the V7
chord

V. Roman numeral analysis of diatonic music excerpts
   A. Identify roots of chords and types of chords used in excerpts from
common practice period music
   B. Identify root position and inverted chords

VI. Harmonizing melodic and bass lines
   A. Recognize chords implied by a single bass or melodic line
   B. Write three other parts using appropriate chord progressions and
partwriting procedures

VII. Secondary Dominant Chords; Elementary modulation
   A. Spell secondary dominant chords in any key
   B. Describe how secondary dominant chords are used in harmonic
progressions and modulation
   C. Recognize and analyze secondary dominants in musical passages
   D. Utilize secondary dominant chords in harmonizing melodies that
modulate

VIII. Keyboard applications
   A. Play plagal and authentic cadences in every major and minor key
using one of the patterns provided by the instructor
   B. Harmonize melodies with appropriate chord progressions at the piano
in various keys as required by the instructor.
   C. Play simple chord progressions that include secondary dominants as
specified by the instructor.

Content Outline and Competencies:

I. Diatonic Seventh Chords
   A. Spell and name the qualities of all seventh chords in major and
minor keys.
   B. Discuss and analyze ways seventh chords are used in traditional
harmonic progressions.

II. Secondary Dominant and Leading Tone Chords
   A. Define and spell a secondary dominant and leading tone chords in any
key.
   B. Name the common usages of secondary dominant and leading tone
chords.
   C. Analyze and part write music using secondary dominant and leading
tone chords.

III. Modulatory Techniques
   A. Analyze passages of music common chord or direct modulation.
   B. Name common pivot chords in related keys.
   C. Recognize the use of sequential modulation, monophonic modulation,
and common tone modulation.
   D. Correctly harmonize in written form melodies that imply a
modulation.

IV. Binary, Ternary and 12 Bar Blues Forms
   A. Define verbally binary, rounded binary, ternary form, and 12 bar
blues forms.
   B. Recognize and analyze passages or pieces of music in binary, rounded
binary, ternary, and 12 bar blues forms.

V. Borrowed and Neopolitan Chords
   A. Define and identify common and rare borrowed chords in any key.
   B. Describe which chord members may be altered to result in an altered
or borrowed chord.
   C. Define and identify Neopolitan chords in any key.
   D. Describe and analyze how borrowed and Neopolitan chords function in
harmonic progressions.
   E. Correctly harmonize in written form melodies that imply the use of
these chords.

VI. Keyboard Harmony Applications
   A. Harmonize melodies at the keyboard using seventh chord sequence.
   B. Harmonize, at the keyboard, melodies that imply the use of a
secondary dominant chord.
   C. Harmonize at the keyboard phrases that imply a modulation.

VII. Application of Part-Writing Procedures to Instrumental Writing
   A. Name at least five ways traditional part writing is altered or
adapted when writing in other styles or for instruments.
   B. Analyze ways composers alter and adapt traditional part writing.
   C. Write music in which a figured bass is realized, a traditional folk
song melody is accompanied or arranged, and an original piece is composed
using devices of music learned in this course.

Content Outline and Competencies:

  I. Interval, Scales, and Chords
     A. Aurally and visually identify the intervals of a minor second
through major ninth in both treble and bass clefs.
     B. Aurally and visually identify major, natural minor,melodic minor,
Dorian, Mixolydian, and Lydian scales in both treble and bass clefs.
     C. Be able to write any of the scales listed in B above from any
pitch in both treble and bass clefs.
     D. Aurally and visually identify major, minor, dominant, and altered
dominant chords.
     E. Be able to write all of the chords listed in D above from any
pitch in both treble and bass clefs.

 II. Chord Progression
     A. Aurally and visually identify in both major and minor tonalities
the standard ii-V-I chord progression.
     B. Aurally and visuslly identify the standard "Rhythm Changes" chord
progression.
     C. Aurally and visually identify a standard "Blues" chord
progression.
     D. Be able to write out in both treble and bass clefs all of the
chord progressions listed above.

III. Musical Forms
     A. Aurally and visually identify 8 and 12 bar Blues forms.
     B. Aurally and visually identify AB, AABA, ABAC song forms
     C. Aurally and visually identify verse/chorus song forms.

 IV. Constuct Melodies
     A. Compose simple melodies using the basic interval, scale,and chord
progression skills.
     B. Construct simple melodies in each of the musical forms studied.

Content Outline and Competencies:

I. Music Repertoire
Literature will be chosen that is designed with the type of ensemble and
the individual singers skills in mind.  It will be as varied as possible
in style, within those parameters.
   A. Describe at least one musical stylistic characteristics in each
piece studied.   
   B. Match each piece with the period or genre it represents, as well as
the composer.
   C. Accurately perform each piece in concert as rehearsed with the rest
of the choir.
   D. Name at least one way that the performance of the chosen literature
differs from standard choral literature.

II. Musicianship
In at least two of every three classes, instruction in developing sight
reading skills will be given and exercises in sight reading will be
practiced.  There will also be instruction or review of musical expression
symbols as needed.
   A. Define and perform vocally the expression marks in all the pieces
studied.
   B. Demonstrate at least one level of growth in music reading skills.

III. Vocal Technique
In each class exercises will be given to develop breath control and
support, vowel shape and placement, tone quality, vocal agility, choral
blend, and intonation. 
   A. Demonstrate vocal exercises.
   B. State the function of each exercise.
   C. Demonstrate at least one level of growth in two areas of vocal
technique.

IV. Choral Texts.
Introductory information will be given throughout the semester about
International Phonetic Alphabet. Information will be given about the
origins and authors of the texts of the pieces studied. Pieces will be
sung in English and in at least one other language including Italian,
Latin, Spanish, French, and German.
   A. Pronounce the texts correctly of each piece studied in the
semester.
   B. Demonstrate the sounds of at least 10 symbols in the International
Phonetic Alphabet.
   C. Name at least one characteristic about each text and language
studied in the semester.

Content Outline and Competencies:

I.  Music Repertoire.
Literature will be chosen that is designed with the type of ensemble and
the individual singers skills in mind.  It will be as varied as possible
in style, within those parameters.
   A. Describe at least two musical stylistic characteristics in each
piece studied.   
   B. Match each piece with the period or genre it represents, as well as
the composer.
   C. Accurately perform each piece in concert as rehearsed with the rest
of the choir.
   D. Name at least one way that the performance of the chosen literature
differs from standard choral literature.

II. Musicianship
In at least two of every three classes, instruction in developing sight
reading skills will be given and exercises in sight reading will be
practiced.  There will also be instruction or review of musical expression
symbols as needed.
   A. Define and perform vocally the expression marks in all the pieces
studied.
   B. Demonstrate at least one level of growth in music reading skills
from the previous semester.

III. Vocal Technique
In each class exercises will be given to develop breath control and
support, vowel shape and placement, tone quality, vocal agility, choral
blend, and intonation. 
   A. Demonstrate vocal exercises.
   B. State the function of each exercise.
   C. Demonstrate at least one level of growth in two areas of vocal
technique from the previous semester.

IV. Choral Texts
Introductory information will be given throughout the semester about
International Phonetic Alphabet.  Information will be given about the
origins and authors of the texts of the pieces studied.  Pieces will be
sung in English and in at least one other language including Italian,
Latin, Spanish, French, and German.
   A. Pronounce the texts correctly of each piece studied in the
semester.
   B. Demonstrate the sounds of at least 20 symbols in the International
Phonetic Alphabet.
   C. Name at least two characteristics about each text and language
studied in the semester.

Content Outline and Competencies:

I. Music Repertoire.
Literature will be chosen that is designed with the type of ensemble and
the individual singers skills in mind.  It will be as varied as possible
in style, within those parameters.
   A. Describe at least three musical stylistic characteristics in each
piece studied.   
   B. Match each piece with the period or genre it represents, as well as
the composer.
   C. Accurately perform each piece in concert as rehearsed with the rest
of the choir.
   D. Name at least three ways that the performance of the chosen
literature differs from standard choral literature.

II. Musicianship
In at least two of every three classes, instruction in developing sight
reading skills will be given and exercises in sight reading will be
practiced. There will also be instruction or review of musical expression
symbols as needed.
   A. Define and perform vocally the expression marks in all the pieces
studied.
   B. Define and perform vocally most common expression marks.
   C. Demonstrate at least one level of growth in music reading skills
from the previous semester.

III. Vocal Technique
In each class exercises will be given to develop breath control and
support, vowel shape and placement, tone quality, vocal agility, choral
blend, and intonation. 
   A. Demonstrate vocal exercises.
   B. State the function of each exercise.
   C. Demonstrate at least one level of growth in two areas of vocal
technique from the previous semester.

IV. Choral Texts
Introductory information will be given throughout the semester about
International Phonetic Alphabet.  Information will be given about the
origins and authors of the texts of the pieces studied.  Pieces will be
sung in English and in at least one other language including Italian,
Latin, Spanish, French, and German.
   A. Pronounce the texts correctly of each piece studied in the
semester.
   B. Demonstrate the sounds of at least 30 symbols in the International
Phonetic Alphabet.
   C. Name at least three characteristics about each text and language
studied in the semester.
   D. Pronounce accurately at least 50% of one new text in a foreign
language correctly.

Content Outline and Competencies:

I. Music Repertoire – Literature will be chosen that is designed
with the type of ensemble and the individual singer’s skill in mind. It
will be as varied as possible in style, within those parameters.
   A. Describe at least three musical stylistic characteristics in each
piece studied.
   B. Match each piece with the period or genre it represents, as well as
the composer.
   C. Accurately perform each piece in concert as rehearsed with the rest
of the choir.
   D. Name at least three ways that the performance of the chosen
literature differs from standard choral literature.

II. Musicianship – In at least two of every three classes, instruction
in developing sightreading skills will be given and exercises in
sightreading will be practiced. There will also be instruction or review
of musical expression symbols as needed.
   A. Define and perform vocally the expression marks in all the pieces
studied.
   B. Define and perform vocally most common expression marks.
   C. Demonstrate at least one level of growth in music reading skills
from the previous semester.

III. Vocal Technique – In each class, exercises will be given to develop
breath control and support, vowel shape and placement, tone quality, vocal
agility, choral blend and intonation.
   A. Demonstrate vocal exercises.
   B. State the function of each exercise.
   C. Demonstrate at least one level of growth in two areas of vocal
technique from the previous semester.

IV. Choral Texts – Introductory information will be given throughout the
semester about International Phonetic Alphabet. Information will be given
about the origins and authors of the texts of the pieces studied. Pieces
will be sung in English and in at least one other language including
Italian, Latin, Spanish, French and German.
   A. Pronounce the texts correctly of each piece studied in the
semester.
   B. Demonstrate the sounds of at least 40 symbols in the International
Phonetic Alphabet.
   C. Name at least three characteristics about each text and language
studied in the semester.
   D. Pronounce accurately at least 50 percent of new texts in two foreign
languages correctly.

Content Outline and Competencies:

I. Hardware
   A. Demonstrate the ability to use the digital automated mixer.
      1. Set up a track for recording.
      2. Adjust the input level.
      3. Use the talk back feature.
   B. Explain standard uses for the basic microphone types.
      1. Know when to use a dynamic microphone.
      2. Know when to use a condenser microphone.
      3. Know when to use a ribbon microphone.
   C. Use basic microphone placement techniques.
      1. Mono microphone placement.
         a. Mic a guitar cabinet.
         b. Mic a bass cabinet.
         c. Mic a vocalist.
         d. Mic a wind instrument.
         e. Mic a stringed instrument.
      2. Stereo microphone placement.
         a. Set up a spaced pair of microphones.
         b. Set up an XY pair of microphones.
         c. Set up the "Decca Tree" using 3 microphones.
      3. Pre-amps.
         a. Insert a microphone pre-amp into the audio signal chain.
         b. Adjust the gain and drive to achieve a desired sound.
      4. Studio monitors.
         a. Explain the use of passive studio monitors.
         b. Explain the use of active studio monitors.

II. ProTools Digital Audio Software
   A. Use proper file management techniques.
   B. Set up a session.
      1. Set up tracks as needed.
      2. Assign initial inputs.
      3. Assign initial outputs.
         a. Set up a sub-mix.
         b. Set up an effects loop.
   C. Assign basic effects.
      1. Use Real Time Audio Suite effects.
         a. Assign and use reverb effectively.
         b. Assign and use standard equalization settings.
         c. Assign various delay settings.
         d. Assign dynamic effects.
         e. Access effects presets.
         f. Modify and save effects settings.
         g. Automate an effect parameter.
      2. Use Audio Suite effects.
         a. Apply effects that are available only in Audio Suite.
         b. Apply a reset effect setting.
         c. Modify and save effects settings.
      3. Set up an effects loop.
   D. Apply basic editing techniques.
      1. Trim an audio region.
         a. Apply a fade.
         b. Be able to delete or modify the fade.
      2. Use basic cut, copy and paste techniques.
      3. Mute and un-mute audio regions as needed.
      4. Lock and un-lock audio regions as needed.

Content Outline and Competencies:

I. Elements of Musical Composition
   A. Rhythm
      1. Identify, by ear, the beat or pulse in a piece of music.
      2. Identify duple, triple and compound meters.
      3. Identify subdivisions of the beat.
      4. Identify the rate of speed or tempo of a piece of music.
      5. Describe the concept of rhythmic density.
   B. Melody
      1. List and describe the general qualities associated with a
musically effective melody.
      2. Identify sequence and imitation in a given melody.
      3. Identify a counter melody in a piece of music.
   C. Harmony
      1. Demonstrate the use of different types of chords in the key of C
Major.
         a. Triads in the key of C: I, ii, iii, IV, V, and vi.
         b. Seventh chords in the key of C Major: IMaj, ii7, IVmaj7, V7,
vi7.
      2. Describe the concept of harmonic rhythm.
      3. Describe the concepts of consonance and dissonance.
      4. Explain the concept of tonality.
   D. Form
      1. Demonstrate the ability to use basic song forms:
         a. Demonstrate the ability to create a song with 2 sections,
i.e., verse and chorus.
         b. Demonstrate the ability to enhance basic song form through the
use of an introduction, coda and/or bridge.
  
II. Technical Aspects of Musical Composition with a Computer
   A. Basic operation of the Macintosh computer.
      1. Start up the computer from sleep or off mode.
      2. Identify desktop items.
         a. Hard drive icon
         b. Trash
         c. Menus
      3. Find and identify FILE menu items.
         a. NEW FOLDER
         b. OPEN
         c. QUIT
         d. CLOSE WINDOW 
      4. Find and identify EDIT menu items.
         a. CUT
         b. COPY
         c. PASTE
         d. SELECT ALL
      5. Find and identify Apple menu items.
         a. RESTART
         b. SHUT DOWN
         c. EMPTY TRASH
      6. Use the mouse to input information.
         a. Click
         b. Double click
         c. Click-hold-drag
         d. Shift-click
      7. Organize file material.
         a. Create, save and store files and folders.
         b. Make duplicate of files.
         c. Save files to the hard drive and to the flash drive (or
removeable media).
   B. Basic MIDI concepts.
      1. Explain briefly the development of MIDI.
      2. Explain the advantages and disadvantages of a MIDI based system.
      3. Compare and contrast multi-timbral and polyphony.
   C. Use of a MIDI input device to generate note information.
      1. Identify features of the keyboard controller.
         a. Power on/off
         b. Volume slider
         c. Patch select button
         d. Octave select button
         e. MIDI in/out/thru jacks
         f. Sustain pedal and its jack
   D. The use of sequencing software to produce music.
      1. Demonstrate the basic types of recording note information.
         a. Replace record
         b. Step record
         c. Overdub record
         d. Insert record
         e. Punch record
      2. Demonstrate the basic types of quantization.
         a. Grid quantize
         b. Input quantize
         c. Cursor quantize
         d. Quantize durations
         e. Notation quantize
      3. Perform editing techniques.
         a. Demonstrate how to cut, copy and paste note information.
         b. Paste, insert and merge copied information.
         c. Delete and/or insert blank time.
      4. Create and edit continuous controller events.
         a. Graphically edit, create and save volume and panning
information.
         b. Edit key velocity, pitch bend and sustain pedal information.
   E. Recording finished works to compact disc.
      1. Set and adjust record levels.
      2. Create simple CD labels and jewel cases.

Content Outline and Competencies:

I. ProTools digital audio software
   A. Create a new ProTools session. 
      1. Demonstrate the ability to make duplicates of files.
      2. Create back-up copies to removable media.
      3. Describe the difference in sample rate and bit depth options.
   B. Create and use the four basic types of tracks.
      1. Create mono or stereo audio tracks.
      2. Create MIDI tracks.
      3. Create mono or stereo auxiliary input tracks.
      4. Create mono or stereo master fader tracks.
   C. Demonstrate the use of basic editing tools.
      1. Use the primary modes for editing: grid, slip, spot and shuffle.
      2. Use the primary tools: zoom, trimmer, selector, grabber and
scrubber.
      3. Use basic cut, copy and paste techniques.
   D. Use MIDI in ProTools.
      1. Record MIDI information in real time.
      2. Step record note information.
      3. Edit continuous controller event information. 
      4. Convert a MIDI track to an audio track.
      5. Use quantization to correct rhythmic errors.
   E. Use the mixer in ProTools.
      1. Show or hide the miUse the inserts and sends portion of the
mixer.
      2. Set basic pan and volume levels.
      3. Solo or mute tracks.
   F. Demonstrate basic navigation skills.
      1. Show or hide the transport window.
      2. Use the play, pause, record, fast forward and rewind buttons.
      3. Set pre-roll and post-roll times.
      4. Set up and use the metronome.

II. Elements of musical composition
   A. Use triads and seventh chords in the key of C Major. 
   B. Use borrowed dominant chords in the key of C Major. 
   C. Use triads and seventh chords in the key of A minor. 
   D. Use triads and seventh chords in the key of C minor. 
   E. Compose music in duple, triple or uneven meter. 
   F. Demonstrate an increased ability to modify standard song form. 
   G. Use simple and more complex rhythmic material. 
   H. Develop a melodic line through the use of imitation and sequence.
 
III. Use of audio effects
   A. Apply effects to an audio track.
      1. Alter a parameter of an effect over time.
      2. Save a preset that has been altered from the original setting.
      3. Use AudioSuite effects.
      4. Use RTAS effects.
   B. Explain how and when to apply the standard types of audio effects.
      1. Apply delay and chorus effects.
      2. Use reverb effects.
      3. Apply compression and limiting effects.

IV. Audio recordings
   A. Create an audio CD of music. 
   B. Create MP3, .wav, AIFF and SDII files.

Content Outline and Competencies:

I. Creative Capabilities
   A. Basic Song Form
      1. Provide original examples of basic song form.
      2. Provide original examples of variations of basic song form.
      3. Create simple chord charts for use in recording sessions.
   B. Lyrics
      1. Recognize instances of metaphor, simile, hyperbole and rhetorical
questions in existing lyrics.
      2. Create examples of metaphor, simile, hyperbole and rhetorical
questions in original lyrics.
      3. Recognize and employ basic rhyming schemes.
      4. Recognize instances of imagery in existing lyrics.
      5. Illustrate the use of imagery in original lyrics.

II. Technical Abilities
   A. Software
      1. Display increased knowledge in the use of standard effects.
         a. Apply compression to enhance the tonal quality of recorded sound.
         b. Apply reverb to enhance the tonal quality of recorded sound.
         c. Apply delay effects to enhance the tonal quality of recorded sound.
         d. Apply equalization effects to enhance the tonal quality of recorded
sound.
         e. Automate effects parameters.
         f. Set up an effects loop.
         g. Apply global effects.
      2. Demonstrate increased knowledge of the editing capabilities of
ProTools digital audio software.
         a. Create fades and crossfades.
         b. Employ real-time automation operations in the mixer.
         c. Loop record, audition and edit multiple takes.
         d. Import audio from an audio CD.
         e. Import audio in other digital formats, including .wav, AIFF,
and .mp3’s.
   B. Hardware
      1. Operate the multi-channel digital audio interface during a
recording session.
         a. Trace the audio signal path from source to destination.
         b. Locate and connect the multiple audio inputs on the digital
audio interface.
      2. Demonstrate the use of the headphone amplifier during a recording
session.
      3. Use active powered speakers to monitor a recorded multi-track
session.
      4. Use active powered speakers to mix a recorded multi-track
session.
         a. Compare the difference in sound between various types of
speakers.
      5. Display operational knowledge of the talk-back system.
      6. Display operational knowledge of the monitor speaker select
option.
      7. Add an external tube pre-amp to the audio signal path.

III. Microphones
   A.  Microphone types
      1. Demonstrate an understanding of the primary characteristics of
condenser microphones.
      2. Demonstrate an understanding of the primary characteristics of
dynamic microphones
      3. Demonstrate an understanding of the primary characteristics of
ribbon microphones
   B. Microphone pick-up patterns
      1. Explain and apply a cardioid pattern.
      2. Explain and apply a directional pattern.
      3. Explain and apply an omni –directional pattern.
   C. Appraise and practice single microphone placement techniques for
vocalists.
      1. Use a pop guard to reduce sibilants.
      2. Coach the vocalist in ways to improve the consistency of the
record level.
   D. Appraise and practice single microphone placement techniques for
acoustic instruments.
      1. Record an acoustic guitar using a single microphone.
      2. Record hand percussion instruments using a single microphone.
      3. Record wind instruments using a single microphone.

   E. Employ stereo microphone techniques for acoustic instruments.
      1. Record an acoustic guitar using a stereo set of microphones.
      2. Use a set of stereo microphones as overheads on a drum set.
   F. Demonstrate methods of using microphones to record music from a
guitar or bass amplifier.
   G. Place multiple microphones, both mono and stereo, to record a full
drum set.

IV. Simple recording sessions
   A. Prepare for a recording session.
      1. Practice the physical set-up for recording acoustic instruments.
      2. Practice the physical set-up for recording electronic
instruments.
   B. Conduct a simple multi-track recording session.
   C. Apply effects, and create a final mix of recorded music.
   D. Create a stereo recording of the finished session.
      1. Create an audio CD of the session.
      2. Create a .wav, AIFF, or .mp3 version of the completed session.

Content Outline and Competencies:

I. Creative Skills
   A. Demonstrate advanced knowledge of basic song form. 
      1. Compose a song that uses more than two basic sections.
      2. Compose a section of music that bridges two different sections
together.
      3. Compose a song that utilizes an extended coda.
   B. Work with lyrics.
      1. Incorporate metaphor, simile and hyperbole into original lyrics.
      2. Incorporate rhetorical questions into original lyrics.
      3. Identify metaphor, simile, hyperbole and rhetorical questions in
existing lyrics.
 
II. Technical Skills
   A. Use various microphone pick-up patterns to alter recorded sound.
   B. Evaluate the audible differences of using different types of
microphones in recording sessions.
   C. Choose microphones based upon tone, frequency emphasis and SPL
characteristics.
 
III. Copyright Issues
   A. Demonstrate knowledge of basic publishing copyright protection.
   B. Demonstrate knowledge of basic sound recording copyright
protection.
   C. Prepare to file a copyright with the United States Library of
Congress.
               
IV. Project Studio Budget
   A. Evaluate personal needs for the project studio.
   B. Create an itemized budget for all software and hardware needs for a
project recording studio.
 
V. Mastering Techniques
   A. Sequence completed songs in a logical and aesthetically pleasing
order.
   B. Use equalization in order to balance frequencies between separate
recordings.
   C. Use compression and limiting in order to make volume levels uniform
between separate recordings.
   D. Create version of mastered recording in other digital formats,
including .wav, AIFF and .mp3 formats.
 
VI. Portfolio
   A. Compile a portfolio of original music.

Content Outline and Competencies:

I. Chart preparation
   A. Indicate tempo.
   B. Indicate genre.
   C. Indicate straight or swing.
   D. Indicate the chord progression.
   E. Indicate the form of the song.
   F. Supply neatly typed copies of the lyric (if applicable.)

II. Studio Preparation
   A. Prepare the ProTools session.
      1. Set up the necessary tracks.
         a) Set up the click track if needed.
         b) Set up mono and stereo tracks as needed.
      2. Determine input assignments.
   B. Set up the necessary microphones.
      1. Mic the drums.
      2. Mic the electric guitar.
         a) Use stereo microphones.
         b) Record a direct signal if possible.
      3. Mic the acoustic guitar.
         a) Use stereo microphones.
         b) Record a direct signal if possible.
      4. Mic the electric bass.
         a) Record the bass direct if possible.
         b) Use stereo mics on the bass amplifier.
      5. Mic the vocalist.
      6. Record electric keyboards directly.
      7. Mic the acoustic piano.
      8. Mic other instruments as needed.

III. Recording Session
   A. Record basic tracks.
      1. Record the core rhythm, bass and harmony instrumental tracks.
      2. Record a final vocal track if possible.
      3. Record a scratch vocal if needed.
   B. Record overdubs as needed.
      1. Overdub lead vocals.
      2. Overdub background vocals.
      3. Overdub instrumental solos.
      4. Overdub auxiliary percussion.
   C. Evaluate performances and re-record as needed.

IV. Mix-down Session
   A. Update the ProTools session.
      1. Create track groups.
      2. Create sub-mixes.
      3. Set up effects loops.
   B. Evaluate individual track volume levels and adjust accordingly.
   C. Set basic pan amounts.
   D. Edit tracks as needed.
   E. Determine appropriateness of special effects.
      1. Assign equalization to tracks as needed.
      2. Compress tracks as needed.
      3. Apply reverb as needed.
      4. Add short delay as needed.
      5. Determine appropriateness of special effects.
   F. Assign global effects as needed.
   G. Create a stereo audio file for evaluation on other playback
systems.

Content Outline and Competencies:

I. Music Repertoire.
At least one piece from each of the following periods or genres will be
studied: Renaissance; Baroque and Classical; Romantic; 20th century art
music; folk songs and spirituals; lighter 20th century music such as
Broadway, jazz, and pop music; and music from other cultures.  
   A. Describe at least two musical stylistic characteristics in each
piece studied.   
   B. Match each piece with the period or genre it represents, as well as
the composer.
   C. Accurately perform each piece in concert as rehearsed with the rest
of the choir.

II. Musicianship
In at least two of every three classes, instruction in developing
sightreading skills will be given and exercises in sightreading will be
practiced.  There will also be instruction or review of musical expression
symbols as needed.
   A. Define and perform vocally the expression marks in all the pieces
studied.
   B. Perform diatonic musical excerpts in any key at sight, using solfege
or numbers, with at least 25% accuracy.
   C. Perform any simple rhythms at sight with at least 50% accuracy.

III. Vocal Technique
In each class exercises will be given to develop breath control and
support, vowel shape and placement, tone quality, vocal agility, choral
blend, and intonation. 
   A. Demonstrate healthy singing body positions, both standing and
sitting.
   B. Demonstrate good breathing technique and support.
   C. Demonstrate consistent vowel placement.

IV. Choral Texts
Introductory information will be given throughout the semester about
International Phonetic Alphabet.  Information will be given about the
origins and authors of the texts of the pieces studied.  Pieces will be
sung in English and in at least three languages including Italian, Latin,
Spanish, French, and German.
   A. Pronounce the texts correctly of each piece studied in the
semester.
   B. Demonstrate the sounds of most symbols in the International Phonetic
Alphabet.
   C. Name at least two characteristics about each text and language
studied in the semester.

Content Outline and Competencies:

I. Music Repertoire.
At least one piece from each of the following periods or genres will be
studied: Renaissance; Baroque and Classical; Romantic; 20th century art
music; folk songs and spirituals; lighter 20th century music such as
Broadway, jazz, and pop music; and music from other cultures.  
   A. Describe at least two musical stylistic characteristics in each
piece studied.
   B. Describe at least one stylistic characteristic of each period or
genre studied.   
   C. Match each piece with the period or genre it represents, as well as
the composer.
   D. Accurately perform each piece in concert as rehearsed with the rest
of the choir.

II. Developing Musicianship
In at least two of every three classes, instruction in developing
sightreading skills will be given and exercises in sightreading will be
practiced.  There will also be instruction or review of musical expression
symbols as needed.
   A. Define and perform vocally the expression marks in all the pieces
studied.
   B. Define and perform vocally the expression marks in all the pieces
studied.
   C. Sightsing diatonic musical excerpts in any key at sight, using
solfege or numbers, with at least 50% accuracy.
   D. Perform any simple rhythms at sight with at least 50% accuracy.

III. Developing Vocal Technique
In each class, exercises will be given to develop breath control and
support, vowel shape and placement, tone quality, vocal agility, choral
blend, and intonation. 
   A. Demonstrate healthy singing body positions, both standing and
sitting.
   B. Demonstrate good breathing technique and support.
   C. Demonstrate consistent vowel placement.
   D. Demonstrate vowel purity and unity and crisp diction.

IV. Understanding Choral Texts
Introductory information will be given throughout the semester about
International Phonetic Alphabet.  Information will be given about the
origins and authors of the texts of the pieces studied.  Pieces will be
sung in English and in at least three languages including Italian, Latin,
Spanish, French, and German.
   A. Pronounce the texts correctly of each piece studied in the
semester.
   B. Demonstrate the sounds of most symbols in the International Phonetic
Alphabet.
   C. Name at least two characteristics about each text and language
studied in the semester.
   D. Name at least one characteristic of good musical text setting.
   E. Accurately pronounce at least 50% of a new text in at least one
foreign language.

V. Concerts.
Concert dates will be announced and printed in the syllabus at the
beginning of the semester.  They provide an opportunity to perform what
has been learned in class.

Content Outline and Competencies:

I.  Music Repertoire.
At least one piece from each of the following periods or genres will be
studied: Renaissance; Baroque and Classical; Romantic; 20th century art
music; folk songs and spirituals; lighter 20th century music such as
Broadway, jazz, and pop music; and music from other cultures.  
   A. Describe at least two musical stylistic characteristics in each
piece studied.  
   B. Match each piece with the period or genre it represents, as well as
the composer.
   C. Describe at least two stylistic characteristic of each period or
genre studied.
   D. Accurately perform each piece in concert as rehearsed with the rest
of the choir.

II. Developing Musicianship
In at least two of every three classes, instruction in developing
sightreading skills will be given and exercises in sightreading will be
practiced.  There will also be instruction or review of musical expression
symbols as needed.
   A. Define and perform the expression marks in all the pieces studied.
   B. Perform vocally any common expression mark.
   C. Perform diatonic musical excerpts in any key at sight, using solfege
or numbers, with at least 75% accuracy.
   D. Perform any simple rhythms at sight with at least 75% accuracy.

III. Developing Vocal Technique
In each class exercises will be given to develop breath control and
support, vowel shape and placement, tone quality, agility, choral blend,
and intonation. 
   A. Demonstrate healthy singing body positions, both standing and
sitting.
   B. Demonstrate good breathing technique and support.
   C. Demonstrate consistent vowel placement.
   D. Demonstrate vowel purity and unity and crisp diction.
   E. Demonstrate vocal agility throughout the vocal range.

IV. Understanding Choral Texts
Introductory information will be given throughout the semester about
International Phonetic Alphabet.  Information will be given about the
origins and authors of the texts of the pieces studied.  Pieces will be
sung in English and in at least three languages including Italian, Latin,
Spanish, French, and German.
   A. Pronounce the texts correctly of each piece studied in the
semester.
   B. Demonstrate the sounds of most symbols in the International Phonetic
Alphabet.
   C. Name at least two characteristics about each text and language
studied in the semester.
   D. Name at least two characteristics of good musical text setting.
   E. Pronounce accurately at least 50% of new texts in at least two
foreign language.

V. Concerts.
Concert dates will be announced and printed in the syllabus at the
beginning of the semester.  They provide an opportunity to perform what
has been learned in class.

Content Outline and Competencies:

I.  Music Repertoire.
At least one piece from each of the following periods or genres will be
studied: Renaissance; Baroque and Classical; Romantic; 20th century art
music; folk songs and spirituals; lighter 20th century music such as
Broadway, jazz, and pop music; and music from other cultures.  
   A. Describe at least two musical stylistic characteristics in each
piece studied.  
   B. Match each piece with the period or genre it represents, as well as
the composer.
   C. Describe at least three stylistic characteristic of each period or
genre of music studied.
   D. Accurately perform each piece in concert as rehearsed with the rest
of the choir.

II. Developing Musicianship
In at least two of every three classes, instruction in developing
sightreading skills will be given and exercises in sightreading will be
practiced.  There will also be instruction or review of musical expression
symbols as needed.
   A. Define and perform the expression marks in all the pieces studied.
   B. Perform vocally any common expression mark.
   C. Sightsing musical excerpts in any key that modulates to a related
key or uses altered notes at sight, using solfege or numbers, with at
least 75% accuracy.
   D. Perform any simple rhythms at sight with at least 75% accuracy.

III. Developing Vocal Technique
In each class exercises will be given to develop breath control and
support, vowel shape and placement, tone quality, agility, choral blend,
and intonation. 
   A. Demonstrate healthy singing body positions, both standing and
sitting.
   B. Demonstrate good breathing technique and support.
   C. Demonstrate consistent vowel placement.
   D. Demonstrate vowel purity and unity and crisp diction.
   E. Demonstrate vocal agility throughout the vocal range.
   F. Produce a clear consistent balanced vocal tone throughout the
range.

IV. Understanding Choral Texts
Introductory information will be given throughout the semester about
International Phonetic Alphabet.  Information will be given about the
origins and authors of the texts of the pieces studied.  Pieces will be
sung in English and in at least three languages including Italian, Latin,
Spanish, French, and German.
   A. Pronounce the texts correctly of each piece studied in the
semester.
   B. Demonstrate the sounds of most symbols in the International Phonetic
Alphabet.
   C. Name at least two characteristics about each text and language
studied in the semester.
   D. Name at least two characteristic of good musical text setting.
   E. Pronounce accurately at least 75% on a new text in one foreign
language and 50% of new texts in at least two other foreign languages.

V. Concerts.
Concert dates will be announced and printed in the syllabus at the
beginning of the semester.  They provide an opportunity to perform what
has been learned in class.

Content Outline and Competencies:

I. Notation
   A. Produce by hand the basic musical symbols, including notes, rests,
dynamics and performance indications.
   B. Demonstrate the ability to notate rhythms correctly.
   C. Illustrate basic principles of page layout.

II. Melody
   A. Recognize examples of musically effective melodies.
   B. Describe basic characteristics of a good melodic line.
   C. Compose single line melodies in major and minor keys.

III. Composition
   A. Compose a short piano piece, or a duet for two single voice
instruments.
   B. Edit and carefully prepare a final copy of the composition.

Content Outline and Competencies:

I. Computer-assisted musical notation
   A. Input basic musical symbols, including notes, rests, dynamics and
performance indications with the computer and keyboard.
   B. Demonstrate more advanced editing techniques, including note
spacing, copying and pasting, and transpositions.
   C. Create effective scores and parts.

II. Harmony
   A. Recognize examples of musically effective harmonic progressions.
   B. Describe basic practices of tonal harmony.
   C. Compose harmonic progressions in major and minor keys.

III. Composition
   A. Compose a trio or a quartet, or a piece for piano and soloist.
   B. Edit and carefully prepare a final copy of the full score and parts
for the composition.

IV. Performance
   A. Contact players for the performance, after finishing a composition.
   B. Rehearse with the group.
   C. Perform the piece at a Music Department recital.

Content Outline and Competencies:

I. Computer-assisted musical notation
   A. Improve the speed and accuracy of notation skills.
   B. Demonstrate the ability to work with text and lyrics.
   C. Create effective scores and parts.

II. Harmony
   A. Recognize examples of musically effective non-functional harmonic
progressions.
   B. Employ basic practices of non-functional tonal harmony.
   C. Compose harmonic progressions based on synthetic scales, including
whole tone, chromatic and octatonic scales.

III. Composition
   A. Compose a piece for SATB choir, or for piano and vocal soloist.
   B. Edit and carefully prepare a final copy of the full score and parts
for the composition.

IV. Performance
   A. Contact players for the performance, after finishing a composition.
   B. Rehearse with the group.
   C. Perform the piece at a Music Department recital.

Content Outline and Competencies:

I. Assessing the Voice
   A. Determine basic range.
   B. Display current level of ability.
   C. Define strengths, weaknesses, and realistic goals for the semester.
   D. Observe and describe technical elements in singing through
attendance at two vocal recitals.

II. The Vocal Apparatus
   A. Demonstrate proper body alignment.
   B. Identify the four major parts of the vocal instrument.

III. Technique of Practice
   A. Demonstrate the use of warm-ups.
   B. Choose exercises for your voice.
   C. Structure the rehearsal process.
   D. Demonstrate the use of practice journals.

IV. Breathing for Singing
   A. Identify elements of respiration.
   B. Demonstrate proper aspiration and exhalation, expansion of ribcage,
and control of diaphragm.

V. Resonance
   A. Explain areas of open space.
   B. Identify singing with relaxed throat and jaw.
   C. Determine proper placement of voice to maximize use of resonators.

VI. Diction
   A. Identify 10 basic vowel sounds.
   B. Identify and explain diphthongs.
   C. Demonstrate proper production and placement of consonants.

VII. Vocal Health
   A. Identify the elements of a healthy voice.
   B. Identify obstacles to vocal health.
   C. Explain how illness affects vocal production.
   D. Identify elements of vocal misuse, abuse, and injury.

VIII. Singing Performance
   A. Prepare a song for performance.
   B. Display appropriate behaviors in presentation and introduction of
performance.
   C. Identify and overcome the causes of stage fright.
   D. Identify obstacles to memorization.
   E. Demonstrate the emotional affects of the song to the audience.

Content Outline and Competencies:

I. Technique of Practice
   A. Define philosophy of warm-ups.
   B. Choose exercises for your voice.
   C. Structure the rehearsal process.
   D. Demonstrate the use of a practice journal.
   E. Create a library of personal vocalises.

II. Breathing for Singing
   A. Demonstrate proper aspiration and exhalation, expansion of ribcage,
and control of diaphragm.
   B. Demonstrate voice control through proper use of abdominals.

III. Resonance and Placement
   A. Determine proper placement of voice to maximize use of resonators.
   B. Demonstrate proper vocal placement to accommodate different singing
styles.

IV. Diction
   A. Demonstrate proper production and placement of consonants.
   B. Demonstrate use of the International Phonetic Alphabet in more than
one language.

V. Vocal Health
   A. Describe the elements of a healthy voice.
   B. Identify obstacles to vocal health.
   C. Explain how illness affects vocal health.
   D. Identify elements of vocal misuse, abuse, and injury.

VI. Singing Performance
   A. Prepare a song for performance.
   B. Display appropriate behaviors in presentation and introduction of
performance.
   C. Identify and overcome the causes of stage fright.
   D. Identify obstacles to memorization.
   E. Demonstrate the emotional affects of the song to the audience.

Content Outline and Competencies:

I. Song Form 
  A. Identify or write a song using the ABA form.  
  B. Identify or write a song using the 12-bar Blues form.  
  C. Identify or write a song that uses Ballad, or narrative form.  
  D. Identify or write a song that uses a Rhapsodic form.  
II. Lyrics  
  A. Use basic rhyme schemes.  
  B. Use a metaphor effectively in a lyric.  
  C. Use a simile effectively in a song lyric.  
  D. Use hyperbole effectively in a song lyric.  
III. Melodic Lines  
  A. Demonstrate the ability to write a well defined melodic line.  
  B. Demonstrate the use of a sequence in melodic writing.  
  C. Re-harmonize a melodic line.  
IV. Charts  
  A. Create a legible and accurate chart for a popular song.  
     1. Indicate the key, tempo and meter.  
     2. Indicate whether the music is in straight or swing
subdivisions.  
     3. Indicate the chord progression.  
     4. Indicate the form of the song.  
        a) Correctly notate 1st and 2nd endings.  
        b) Correctly use the Coda, D.S. al Coda and D.C. al Coda markings.
        c) Indicate copyright information. 
   B. Create a lyric sheet. 
      1. Indicate the verse, chorus and coda. 
      2. Indicate the chord progression.

Content Outline and Competencies:

I. Rhythm
   A. Explain orally the meaning of duple and quadruple meter signatures.
   B. Aurally differentiate by identifying pulse groupings of duple and
quadruple meter.
   C. Compose using musical notation a definition of swing eighth note
patterns.
   D. Convert the musical notation in "C" above to musical performance on
chosen instrument.

II. Melodic Construction
   A. Graph by using musical notation the construction of four bar phrase
showing the rise and fall of a melodic line.
   B. Generate the composed graph into musical performance on chosen
instrument.
   C. Aurally recognize a four measure phrase.
   D. Perform on instrument a four measure phrase indicating the rise and
fall of the line by utilizing a crescendo and decrescendo.

III. Major Scale
   A. Orally summarize the interval structure of a major scale.
   B. Transform oral summarization into musical performance on chosen
instrument beginning on any given pitch in the tempo range of quarter note
equals 60 to quarter note equals 120.

Content Outline and Competencies:

I. Rhythm
   A. Identify by reading musical notation basic jazz syncopation.
   B. Graph the rhythmic subdivision and analyze orally how syncopation is
created.
   C. Perform on instrument a basic syncopated rhythm chosen by the
instructor.
   D. After the above performance, orally explain how the syncopation was
created.

II. Dorian Minor Scales
   A. Orally summarize the interval structure of Dorian minor scales.
   B. Recognize by reading musical notation Dorian minor scales in actual
musical compositions.
   C. Perform a Dorian minor scale on chosen instrument on any given
pitch.

III. Blues Form
   A. Express orally the basic structure by identifying the correct number
of measures and associate the correct harmony with each given measure.
   B. Construct an original melody in the Blues form integrating the
correct measures and harmony from A. above.
   C. Perform original melody on chosen instrument.
   D. Identify visually and aurally the Blues form in jazz
compositions.

Content Outline and Competencies:

I. Latin Style
   A. Identify by reading musical notation Latin style rhythm.
   B. Construct a written definition of Latin rhythm and style.
   C. Perform on chosen instrument an interpretation of basic Latin rhythm
utilizing the elements of the definition from  B” above.
   D. Aurally recognize Latin rhythm and style in Jazz Band compositions.

II. Mixolydian Scales
   A. Orally summarize the interval structure of a minor scale.
   B. Visually recognize by reading musical notation a mixolydian scale in
any given jazz composition.
   C. Perform on chosen instrument a mixolydian scale on any given pitch.

III. Thirty-Two Bar Song Form
   A. Graph in written form the structure of 32 bar song form indicating
the correct number of measures and associating the correct harmony with
each section of the form.
   B. Compose an original melody in 32 bar song form providing a basic one
chord per measure harmonic accompaniment.
   C. Perform on instrument the melody composed above highlighting each
section of the form with a different dynamic level.

Content Outline and Competencies:

I. Lydian Scales
   A. Summarize orally the interval structure of lydian scales.
   B. Graph using musical notation the structure of lydian scales.
   C. Perform on chosen instrument a lydian scale on any given pitch.
   D. Identify visually and aurally a lydian scale in a jazz band
composition.

II. Ensemble and Sectional Tuttis
   A. Define in written form Sectional Tutti.
   B. Define in written form Ensemble Tutti.
   C. Aurally differentiate between a Sectional and Ensemble Tutti.
   D. Perform on instrument a Sectional and Ensemble Tutti.
   E. After performance, orally explain the difference between the two
types of tuttis.

III. Break and Stop Time
   A. Define in written form the technique of Break.
   B. Define in written form the technique of Stop Time.
   C. Aurally differentiate between a Break and Stop Time.
   D. Perform on instrument an example of Break and Stop Time.
   E. After performance, orally explain what techniques were used to
differentiate between the two.

IV. Riff
   A. Define in written form the technique of riff.
   B. Identify aurally a riff in a jazz band composition.
   C. Compose an original riff and perform on chosen instrument.
   D. Instruct the members of the jazz band in the performance of the
original riff from "C" above.
   E. Utilize original riff in the jazz band composition in a rehearsal
setting.

Content Outline and Competencies:

I. Basic Elements Of Sound

A. Explain the physics of audio.

1. Explain the basic elements of acoustics.

2. Explain how sound amplification functions.

B. Work with sound production in real time.

1. Explain gain structure.

2. Execute a signal chain flow chart.

II. Sound Equipment For Live Venues

A. Operate common speaker types.

1. Demonstrate how passive speakers operate.

2. Demonstrate how active speakers operate.

3. Demonstrate how surround sound speakers operate.

B. Operate common types of amplifiers.

1. Demonstrate how a power amplifier operates.

2. Demonstrate how an operational amplifier functions.

C. Operate common types of mixers.

1. Demonstrate how an analog mixer operates.

2. Demonstrate how a digital mixer operates.

3. Demonstrate how a digital, automated mixer operates.

III. Common Live Sound Practices

A. Differentiate how sound is perceived in various venues.

1. Identify changes in reflectivity.

2. Identify changes in room size.

3. Identify different types of coverage.

B. Use specific sound equipment for live performances.

1. Evaluate the flexibility of speakers, amplifiers and mixers.

2. Deploy available resources.

IV. Elements of Technical Rehearsal for Live Performances

A. Read common documentation used in live sound venues.

1. Execute a stage plot.

2. Read a patch list or “front of hall” monitor.

B. Set up equipment needed for a live sound performance.

1. Execute cable paths.

2. Execute snake runs.

3. Prioritize the order of set-up.

4. Strike the set.

V. Special Effects

A. Use signal processing to create special effects.

B. Use localization of sound as a special effect.

C. Use frequency response to create a special effect.

Content Outline and Competencies:

I. Professional Sound Services

A. Execute live sound system designs.

1. Evaluate the stage plot for a live performance.

2. Document the final set up.

3. Supply appropriate power needs.

4. Deploy communication systems.

B. Tune the Sound System for a Live Venue.

1. Check for coverage.

2. Integrate multiple speaker elements.

3. Equalize the speaker array.

4. Customize a speaker set up for a specific show.

C. Set Up a Sound System for a Live Venue.

1. Set up rigging.

2. Execute the stage plot and the microphone list.

3. Format the mixing console.

4. Meet specified deadlines.

II. Monitoring and Communication Systems

A. Use various monitoring systems in live sound venues.

1. Use characteristics of inner ear monitors.

2. Set up wedge monitors.

3. Demonstrate different methods of monitoring from mixing consoles.

4. Program changes in monitor settings.

B. Operate typical communication systems used in live sound venues.

1. Operate the intercom system.

2. Operate dressing room monitors.

3. Operate all call systems.

4. Integrate wireless communications.

III. Troubleshooting and Practicum

A. Evaluate unexpected results and ascertain methods of correction.

1. Test the cables.

2. Check the metering.

3. Manipulate the acoustic environment.

4. Correct for proximity issues.

B. Satisfy client technical riders.

1. Evaluate sound system requirements.

2. Evaluate monitor system requirements.

3. Determine the communications systems needed.

4. Set up the backline of instruments.

Content Outline and Competencies:

I. Intervals
   A. Aurally identify the simple intervals from minor second through
perfect octave both in harmonic and melodic sequence.
   B. Construct in written form all simple intervals from any given
pitch.
   C. Aurally identify the compound intervals of the 9th, 11th, and 13th.
   D. Construct in written form the compound intervals from any given
pitch.

II. Major Scales
   A. Construct a written blueprint of the interval structure of a major
scale.
   B. Construct in written form a major scale from any given pitch.
   C. Perform on chosen instrument a major scale from any given pitch.
   D. Aurally identify the sound of a major scale.

III. Dorian Mode
   A. Construct a written blueprint for the interval structure of a Dorian
mode.
   B. Construct in written form a Dorian mode from a given pitch.
   C. Perform on instrument a Dorian mode from any given pitch.
   D. Aurally identify the sound of a Dorian mode.

IV. Mixolydian Mode
   A. Construct a written blueprint of the interval structure of a
Mixolydian mode.
   B. Construct in written form a Mixolydian mode from any given pitch.
   C. Perform on instrument a Mixolydian mode from any given pitch.
   D. Aurally identify the sound of a Mixolydian mode.

V. Major 7th Chord
   A. Construct a written blueprint of the interval structure of a major
7th chord.
   B. Construct in written form a major 7th chord from any given pitch.
   C. Perform on instrument a major 7th chord from any given pitch.
   D. Aurally identify the sound of the chord.

VI. Minor 7th Chord
   A. Construct a written blueprint of the interval structure of the minor
7th chord.
   B. Construct in written form a minor 7th chord from any given pitch.
   C. Perform on instrument a minor 7th chord from any given pitch.
   D. Aurally identify the sound of the chord.

VII. Dominant 7th Chord
   A. Construct a written blueprint of the interval structure of a
dominant 7th chord.
   B. Construct in written form a dominant 7th chord from any given
pitch.
   C. Perform on instrument a dominant 7th chord from any given pitch.
   D. Aurally identify the sound of the chord.

VIII. Blues Form
   A. Construct in written form a blueprint of the blues form showing the
proper number of measures and the correct placement of the scales and
chords.
   B. Aurally identify the basic 12 bar Blues form indicating orally where
the scale/chord changes occur.
   C. Perform on instrument the scales and chords of a 12 bar Blues in the
key of Concert F.

Content Outline and Competencies:

I. Style
   A. Identify aurally and by reading music notation notes performed in
the style of off-beat tonguing.
   B. Interpret and perform a jazz etude utilizing off-beat tonguing.

II. Construction of Improvised Solo
   A. Perform on instrument of choice a written melody from a lead sheet.
   B. Perform same melody with embellishments of additional and different
rhythms and notes.
   C. Orally identify potential color notes from the harmony of the
melody.
   D. Orally identify possible music motives to be used in a sequencing
manner that corresponds to the given melody and harmony.
   E. Create an original improvisation based on the previous melody and
harmony utilizing color notes and music motives in sequence.
   F. Reconstruct the series of events from A-E above for any given lead
sheet melody.

III. Thirty-Two Bar Song Form
   A. Construct in written form a blueprint for 32 bar song form.
   B. Identify aurally and by reading music notation a song in this form.
   C. Perform the written melody in this form, and then orally identify
the scales, chords, color tones, and where each occurs.
   D. Create an original improvisation using the form, scales, and chords
from the original melody.

Content Outline and Competencies:

I. Rhythmic Identification
   A. Identify by reading musical symbols two-four, three-four, and
four-four meters.
   B. Derive and classify aurally these three meters from "A" above.
   C. Perform in a rehearsal setting compositions in each of the three
meters above, and demonstrate a working knowledge of the meters by
accenting the downbeat of every measure in each meter.
   D. Orally count the subdivision of half, quarter, and eighth notes in
each of the three meters.

II. Rhythmic Values
   A. Describe by reading musical notation the subdivisions of note values
in two-four, three-four, and four-four meters.
   B. Illustrate through instrumental performance in a rehearsal setting
the subdivisions of whole, half, quarter, and eighth notes in the three
meters from  A” above.

III. Melodic Identification
   A. Describe and identify by reading musical notation the antecedent and
consequent phrases of a melody.
   B. Identify aurally the two phrases of a melody.
   C. Perform on chosen instrument in a rehearsal setting the two phrases
of a melody chosen by the instructor.
   D. Describe orally the range and contour of the melody performed on the
chosen instrument.

IV. Tonalities
   A. Classify by reading musical notation a melody in a major and in a
minor tonality.
   B. Classify by aural identification a melody in a major and in a minor
tonality.
   C. Perform before the instructor a melody in a major tonality.
   D. Demonstrate a working knowledge of the major tonality in the melody
above by placing a different dynamic level on each half step interval to
differentiate from the whole step intervals.

Content Outline and Competencies:

I. Odd Meter Compositions
   A. Recognize and calculate by reading musical notation odd meter time
signatures.
   B. Locate the pulse in music and aurally differentiate between common
and odd meter music by integrating the pulses into measures and meter.
   C. Perform on instrument melodies chosen by the instructor that are
composed in odd meters in the tempo range of quarter note equals 40 to
quarter note equals 120.

II. Minor Scales
   A. Graph in written form the interval structure of each form of the
minor scale.  These three forms are the natural, harmonic and melodic
forms.
   B. Construct in written form a minor scale on any given pitch by
connecting the notes in the proper whole step-half step relationships.
   C. Perform on chosen instrument any form of the minor scale on any
given pitch in the tempo range of quarter note equals 60 to quarter note
equals 120.

III. Homophonic Texture
   A. Define in written form and orally the musical definition of
homophonic texture.
   B. Aurally identify homophonic texture in a given musical example.
   C. Perform on instrument a composition chosen by the instructor and
highlight the aspect of the homophonic texture by using varying degrees of
dynamic levels.

Content Outline and Competencies:

I. Parade Style Marches
   A. Meter – Identify aurally and by reading musical notation the meter
of a parade style march (two-four or alla breve).
   B. Determine the tempo of the march and estimate the approximate
metronomic marking.
   C. Describe orally and by reading musical notation the differences in
staccato and legato articulations.
   D. Categorize the instruments that create dynamic contrast.
   E. Calculate by hearing and reading the musical notation the form of a
parade style march:
      1. Intro
      2. First Strain
      3. Second Strain
      4. Trio
      5. Break Strain
      6. Coda
   F. Perform on instrument a parade style march in the tempo of quarter
note equals 120.

II. Concert Style March
   A. Meter – Identify aurally and by reading musical notation the meter
of a concert style march (two-four, alla breve, triple, and duple).
   B. Determine the tempo of the march and estimate the approximate
metronomic marking.
   C. Describe orally and by reading musical notation the differences in
staccato and legato articulations.
   D. Categorize the instruments that create dynamic contrast.
   E. Calculate by hearing and reading musical notation the form of a
concert style march.
   F. Perform on instrument a concert style march in the tempo range of
quarter note equals 90 to quarter note equals 144 utilizing the proper
dynamics and rhythm.

III. Concert Overture
   A. Meter – Identify aurally and by reading musical notation the meter
of a concert overture (simple and odd meters).
   B. Determine the tempo of the overture and estimate the approximate
metronomic marking.
   C. Describe orally and by reading musical notation the differences in
staccato and legato articulations.
   D. Categorize the instruments that create dynamic contrast.
   E. Calculate by hearing and by reading the musical notation the form of
a concert overture:
      1. ABA
      2. Rondo
      3. Theme and Variations
   F. Perform on instrument a concert overture in the tempo range of
quarter note equals 90 to quarter note equals 144 utilizing the proper
articulations, dynamics, and rhythm.

Content Outline and Competencies:

I. Polyphonic Texture
   A. Create a definition of polyphonic texture using the terms melody,
counterpoint, and imitation.
   B. Analyze a composition in polyphonic texture by reading the musical
notation and by aural identification.
   C. Perform a composition in polyphonic texture.
   D. After the above performance, be able to identify which instruments
were playing what parts of the polyphonic texture.

II. Concert Suite
   A. Compose a written definition of concert suite.
   B. Identify by ear ONLY the meter of each individual movement.
   C. Determine the pulse of each movement and estimate an approximate
metronomic marking for each movement.
   D. Compare and contrast by ear only the articulation of the movement.
   E. Diagnose by ear only the form of each movement:
      1. Ternary
      2. Theme and Variations
      3. Binary
      4. Rondo
   F. Analyze by ear only the texture of each movement.
   G. Perform a composition that is written in the concert suite style.
   H. After the above performance, compose a written log describing all
the elements of A through F above.
  
III. Medley
   A. Compose a written definition of medley.
   B. Detect each melody within the entire medley structure.
   C. Diagnose the range and contour of each melody.
   D. Describe orally how the melodies are connected to create the
medley.
   E. Perform a composition written in the medley format.
   F. After the above performance, compose a written log describing the
elements of A through D above.

Content Outline and Competencies:

I. Rhythm
   A. Compose a graph illustrating the methods of articulating Jazz 8th
note swing patterns.
   B. Identify by reading musical notation 8th note swing patterns.
   C. Aurally identify by reading musical notation 8th note swing
patterns.
   D. Perform in a rehearsal swing 8th notes in the tempo range of quarter
note equals 60 to quarter note equals 120.
   E. Demonstrate a working knowledge of swing 8th notes by correctly
interpreting these patterns during the course of a public performance.

II. Syncopation
   A. Diagram in musical notation the basic structure of quarter and 8th
note rhythmic syncopation.
   B. Identify by reading musical notation a basic syncopated pattern.
   C. Aurally recognize a basic syncopation.
   D. Demonstrate a vocal knowledge of syncopation by singing in syllables
a basic syncopated pattern.

III. 32 Bar Song Form
   A. Compose a written graph defining the structure of 32 bar song form.
   B. Recognize by reading musical notation 32 bar song form.
   C. Aurally recognize 32 bar song form.
   D. In a rehearsal setting, perform a tune in 32 bar song form
highlighting each section of the form with a different dynamic level.
   E. Correctly interpret a 32 bar song form tune during the course of
public performance.

Content Outline and Competencies:

I. Dorian Scale
   A. Orally define the structure of a Dorian scale.
   B. Recognize aurally and by reading musical notation a Dorian minor
scale.
   C. Vocally perform a Dorian scale in a rehearsal setting in the tempo
range of quarter note equals 60 to quarter note equals 90 from any given
pitch.

II. Mixolydian Scale
   A. Orally define the structure of a Mixolydian scale.
   B. Recognize aurally and by reading musical notation a Mixolydian
scale.
   C. Vocally perform a Mixolydian scale in the tempo range of quarter
note equals 60 to quarter note equals 90 from any given pitch.
   D. Derive from the Mixolydian scale by reading musical notation the
dominant 7th chord.
   E. Identify aurally and in written form the interval structure of a
dominant 7th chord.
   F. Vocally perform a dominant 7th chord from any given pitch.

III. 12 Bar Blues
   A. Express orally the basic Blues form identifying the correct number
of measures and associate the correct harmony with each measure.
   B. Construct an original melody in the Blues form.
   C. Compose lyrics to original melody.
   D. Vocally perform above composition in both a rehearsal and public
performance venue.
   E. Identify aurally a Blues form.

Content Outline and Competencies:

I. Improvisation
   A. Construct a written blueprint of major, minor and dominant chords.
   B. Identify aurally the chords from above.
   C. Vocally perform the above chords using the scat syllables of  ba,
da, dooh and doot.”
   D. Create a basic vocal improvisation from above using syllables over a
12 bar blues in both a rehearsal and public performance venue.

II. Latin Rhythm
   A. Identify by reading musical notation Latin rhythm.
   B. Aurally identify Latin rhythm.
   C. Construct a blueprint comparing and contrasting Swing and Latin
rhythm.
   D. Vocally perform an eight measure improvisation using Latin rhythm
during the course of a rehearsal.
   E. Create an entirely new improvisation of eight measures of Latin
rhythm during a public performance.

III. Major Scale
   A. Orally summarize the interval structure of a major scale.
   B. Identify by reading musical notation a Jazz composition based on a
major scale.
   C. Aurally identify major scales in Jazz compositions.
   D. Vocally perform major scales from any given pitch in the tempo range
of quarter note equals 60 to quarter note equals 120.

Content Outline and Competencies:

I. Improvisation
   A. Identify by reading musical notation the harmonic structure of 32
bar song form.
   B. Aurally identify the harmonic structure of 32 bar form.
   C. Create a vocal improvisation over the harmonic structure of a
composition based on this form using the basic scat syllables of “da”
and “ba.”
   D. Transcribe the above improvisation into written musical notation.
   E. Perform this improvisation in both a rehearsal and public
performance.

II. Lydian Scales
   A. Orally summarize the interval structure of a lydian scale.
   B. Recognize aurally and by reading musical notation a Jazz composition
based on a lydian scale.
   C. Vocally perform a lydian scale from any given pitch in the tempo
range of quarter note equals 60 to quarter note equals 120.
   D. Create an eight measure vocal improvisation based on a lydian
scale.
   E. Perform the above improvisation in both a rehearsal and public
performance.

III. Ballad Style
   A. Construct a written definition of ballad style indicating proper
tempo, phrase groupings, and rhythmic interpretation.
   B. Identify aurally and by reading musical notation a composition
written in ballad style.
   C. Vocally perform a ballad style in a public performance rendering the
proper interpretation of tempo, phrase groupings and rhythm.

Content Outline and Competencies:

I. Tone Quality
   A. Identify through performance of breathing exercises the proper
physical method of breathing.
   B. Identify through long tone performance on instrument the proper
coordination of the breath and the embouchure.
   C. Orally characterize how breathing and embouchure affect tone quality
within the chamber ensemble.
   D. Demonstrate a working knowledge of the breath and embouchure to
produce acceptable tone quality in the performance of a slow vocalize.

II. Intervals
   A. Identify aurally and by reading music notation the basic intervals
of a minor 2nd through the perfect octave.
   B. Perform on instrument the basic intervals from any given pitch.
   C. Orally and in written form explain how the intervals of music affect
the timbre of the chamber ensemble.

III. Major Scale
   A. Construct a written diagram illustrating the interval structure of a
major scale.
   B. Identify aurally and by reading music notation melody patterns in
the chamber ensemble music that utilize major scales.
   C. Perform on instrument a major scale from any given pitch.

IV. Rhythm
   A. Identify aurally and by reading music notation rhythms that are in
duple and triple patterns.
   B. Construct a written blueprint for the proper subdivision of both
duple and triple rhythms.
   C. Orally and on instrument perform the subdivisions from above.
   D. Orally explain how knowing these proper subdivisions of the rhythm
can affect the sound of the chamber ensemble.
   E. Identify aurally duple and triple rhythms as performed by the
chamber ensemble.

Content Outline and Competencies:

I. Minor Scales
   A. Construct a written blueprint illustrating the interval structure of
a minor scale.
   B. Identify aurally and by reading music notation minor scales.
   C. Perform on instrument a minor scale from any given pitch.
   D. Orally characterize the sound that a minor scale gives to the
chamber ensemble.

II. Chord Construction
   A. Compose a written plan that identifies the interval structure of the
music chord labeled “triad.”
   B. Build a triad in root position, first inversion, and second
inversion from any given pitch in written form.
   C. Perform on instrument the triads from “B” above from any given
pitch.
   D. Aurally identify triads as they are played by the chamber ensemble.
   E. Orally characterize the sound that triads evoke from the chamber
ensemble.

III. Compound Rhythm
   A. Compose a written plan that identifies the structure and
characteristics of compound rhythm.
   B. Identify by reading music notation those melodies from the chamber
ensemble that are composed using some compound rhythm.
   C. Aurally identify compound rhythms as they occur in the chamber
ensemble.
   D. Perform on instrument compound rhythms as given by the instructor,
and be able to orally justify manner of performance.

Content Outline and Competencies:

I. Sight Reading
   A. Identify by reading musical notation at first sight whether the
individual part represents a melodic or an accompaniment pattern.
   B. Upon first playing, aurally differentiate between melodic contours
and accompaniment patterns and make necessary adjustments to create the
proper ensemble blend.
   C. Orally justify why decisions in “A” and “B” above were
made.

II. Style
   A. Identify by reading the musical notation of the part of the meter,
tonality, tempo, and articulations of the music.
   B. Based on the above observations, orally articulate what style the
music is to be performed in.
   C. Orally justify this determination comparing what is known about this
style and how that relates to the music being read.
   D. Perform on instrument the music giving the proper stylistic
rendition from the previously made observations.
   E. Compose a written log describing the treatment of the musical
elements in each stylistic period of music history. The elements to be
included are:
      1. Melody
      2. Rhythm
      3. Harmony
      4. Texture
      5. Form

Content Outline and Competencies:

I. Balance
   A. Aurally identify the style of the composition.
   B. Determine the proper dynamic level to match the stylistic
characteristics and interpretations of the other ensemble members.
   C. Determine the proper timbre to be used to create the same effect as
in “A” above.
   D. Perform on instruments the judgments made above.
   E. Orally justify these decisions to the other ensemble members.

II. Cooperative Expression
   A. Mentally and silently assess what the emotional content of the music
might be.
   B. Communicate through performance on instrument the judgment from
“A” above to the other ensemble members.
   C. Orally explain reasons for this determination to other ensemble
members.

Content Outline and Competencies:

I. Rhythmic Identification
   A. Identify by reading musical symbols two-four, three-four, and
four-four meters.
   B. Derive and classify aurally these three meters from  A” above.
   C. Perform in a rehearsal setting compositions in each of the three
meters above, and demonstrate a working knowledge of the meters by
accenting the downbeat of every measure in each meter.
   D. Orally count the subdivision of half, quarter, eighth notes in each
of the three meters.

II. Rhythmic Values
   A. Describe by reading musical notation the subdivisions of note values
in two-four, three-four, and four-four meters.
   B. Illustrate through instrumental performance in a rehearsal setting
the subdivisions of whole, half, quarter, and eighth notes in the three
meters from  A” above.

III. Melodic Identification
   A. Describe and identify by reading musical notation the antecedent and
consequent phrases of a melody. 
   B. Identify aurally the two phrases of a melody.
   C. Perform on chosen instrument in a rehearsal setting the two phrases
of a melody chosen by the instructor.
   D. Describe orally the range and contour of the melody performed on the
chosen instrument.

IV. Tonalities
   A. Classify by reading musical notation a melody in a major and in a
minor tonality.
   B. Classify by aural identification a melody in a major and in a minor
tonality.
   C. Perform before the instructor a melody in a major tonality.
   D. Demonstrate a working knowledge of the major tonality in the melody
above by placing a different dynamic level on each half step interval to
differentiate from the whole step intervals.

Content Outline and Competencies:

I. Odd Meter Compositions
   A. Recognize and calculate by reading musical notation odd meter time
signatures.
   B. Locate the pulse in music and aurally differentiate between common
and odd meter music by integrating the pulses into measures and meter.
   C. Perform on instrument melodies chosen by the instructor that are
composed in odd meters in the tempo range of quarter note equals 40 to
quarter note equals 120.

II. Minor Scales
   A. Graph in written form the interval structure of each form of the
minor scale. These three forms are the natural, harmonic and melodic
forms.
   B. Construct in written form a minor scale on any given pitch by
connecting the notes in the proper whole step-half step relationships.
   C. Perform on chosen instrument any form of the minor scale on any
given pitch in the tempo range of quarter note equals 60 to quarter note
equals 120.

III. Homophonic Texture
   A. Define in written form and orally the musical definition of
homophonic texture.
   B. Aurally identify homophonic texture in a given music example.
   C. Perform on instrument a composition chosen by the instructor and
highlight the aspect of the homophonic texture by using varying degrees of
dynamic levels.

Content Outline and Competencies:

I. Basic Musical Notation
   A. Correctly read notes on the treble and bass clefs.
   B. Describe proportional notation and demonstrate this concept through
performance of rhythmic exercises and repertoire.
   C. Correctly identify and play pitches that are altered by use of
accidentals, including sharps, flats and naturals.

II. Key Signatures
   A. Correctly identify all 12 major key signatures.
   B. Correctly identify all 12 minor key signatures.
   C. Correctly identify the relationship of major and minor key
signatures, including relative and parallel relationships.

III. Time Signatures
   A. Describe the proportional nature of time signatures, and its effect
on the rhythmic character of a composition.
   B. Correctly play music written in basic time signatures, including
2/4, 3/4, 4/4 and 6/8.

IV. Tempo
   A. Demonstrate, by playing, the meaning of basic Italian tempo words,
including adagio, andante and allegro.
   B. Correctly place tempo markings in order of speed, including adagio,
andante and allegro

V. Five-Finger Patterns
   A. Correctly play all 12 major and minor five-finger patterns.
   B. Correctly identify by sight the relationship of major to minor
pattern.

VI. Fingering
   A. Apply basic fingering patterns to required repertoire.
   B. Identify non-standard fingering patterns, and discover alternate
methods of fingering.

VII. Practice Methods
   A. Develop effective practice habits, including pattern recognition as
well as personal consistency, patience and discipline.

Content Outline and Competencies:

I. Basic Musical Notation
   A. Orally and in written form explain the origins of treble and bass
clef and its practical relevance.
   B. Orally define the proportional notation including double-dotted
rhythms and syncopations.
   C. Identify by reading musical notation the alteration of pitches by
use of accidentals:  sharps, double-sharps, flats, double-flats, and
naturals.

II. Key Signatures
   A. On musical staff paper draw major key signatures.
   B. On musical staff paper draw minor key signatures.
   C. Orally explain the relationship of major and minor key signatures.

III. Time Signatures
   A. Orally define the proportional nature of time signatures.
   B. Orally define the application of time signatures.
   C. Orally define the structure of compound meter.

IV. Tempo
   A. Define in written form the meaning of basic Italian tempo words and
modifiers.
   B. Orally define the relationship of tempo words to each other
(hierarchy).
   C. Orally define the relationship of tempo and character words to
speed.

V. Scales
   A. Perform on the piano major scales, two octaves, hands together,
parallel motion.
   B. Perform on the piano harmonic minor scales, one octave, hands
together, parallel motion.
   C. Orally define the relationship of major to minor pattern.
   D. Orally and in written form identify the formation of natural,
harmonic, and melodic minor scales.

VI. Fingering
   A. Orally define the relationship and application of pattern fingerings
to repertoire.
   B. Orally define the basic concepts and principles of fingering
determination.

VII. Practice Methods
   A. Orally define the basic concepts.
   B. Orally define the methods of consistency in practice.
   C. Orally define the methods of pattern recognition.
   D. Orally define the methods of discipline in practice.
   E. Demonstrate through keeping a practice record the concept of
patience.
   F. Demonstrate through performance the practice in rhythms.

VIII. Chords
   A. Perform on the piano major and minor chords in root position and
inversions.
   B. Perform on the piano basic progressions.
   C. Perform on the piano seventh chords in root position and
inversions.
   D. Perform on the piano block chords, broken (arpeggiated) chords and
related terminology.
   E. Perform on the piano pop chord symbols.
   F. Perform on the piano triads of the major scale.
 
IX. Pedal
   A. Demonstrate on the piano the proper use of damper pedal.
   B. Demonstrate at the piano proper foot position and proper seating.
   C. Demonstrate at the piano the traditions in marking damper pedal
usage.

Content Outline and Competencies:

I. Musical Notation
   A. Orally and in written form explain the origins of treble and bass
clef and its practical relevance.
   B. Orally define the proportional notation including double-dotted
rhythms and syncopations.
   C. Identify by reading musical notation the alteration of pitches by
use of accidentals: sharps, double-sharps, flats, double-flats, and
naturals.
   D. Identify by reading musical notation and orally explain the meanings
of Da Capo and Dal Segno designations.

II. Key Signatures
   A. On musical staff paper draw major key signatures.
   B. On musical staff paper draw minor key signatures.
   C. Orally explain the relationship of major and minor key signatures.
   D. Orally define and identify by reading musical notation modal key
signatures.

III. Time Signatures
   A. Orally define the proportional nature of time signatures.
   B. Orally define the application of time signatures.
   C. Orally define the structure of compound meter.

IV. Tempo
   A. Define in written form the meaning of basic Italian tempo words and
modifiers.
   B. Orally define the relationship of tempo words to each other
(hierarchy).
   C. Orally define the relationship of tempo and character words to
speed.

V. Scales
   A. Perform on the piano major scales, two octaves, hands together,
parallel motion.
   B. Perform on the piano harmonic minor scales, two octaves, hands
together, parallel motion.
   C. Orally define the relationship of major to minor pattern.
   D. Orally and in written form identify the formation of natural,
harmonic, and melodic minor scales.
   E. Perform on the piano major and harmonic scales beginning on black
keys.
   F. Perform on the piano Dorian, Phrygian, Lydian and Mixolydian modes.

VI. Fingering
   A. Orally define the relationship and application of pattern fingerings
to repertoire.
   B. Orally define the basic concepts and principles of fingering
determination.

VII. Practice Methods
   A. Orally define the basic concepts.
   B. Orally define the methods of consistency.
   C. Orally define the methods of pattern recognition.
   D. Orally define the methods of discipline in practice.
   E. Demonstrate through keeping a practice record the concept of
patience in practicing.
   F. Demonstrate through performance the practice in rhythms.

VIII. Chords
   A. Perform on the piano major and minor chords in root position and
inversions.
   B. Perform on the piano progressions: I-ii6-I64-V7-I;
Ivi-IV-ii6-I64-V7-I.
   C. Perform on the piano seventh chords in root position and
inversions.
   D. Perform on the piano block chords, broken (arpeggiated) chords and
related terminology.
   E. Perform on the piano pop chord symbols.
   F. Perform on the piano triads of the major scale and harmonic minor
scales.
   G. Perform on the piano accompaniment patterns.
 
IX. Pedal
   A. Demonstrate on the piano the proper use of damper pedal.
   B. Demonstrate on the piano proper foot position and proper seating.
   C. Demonstrate on the piano the traditions in marking damper pedal
usage.

Content Outline and Competencies:

I. Basic Elements of Music and Forms of Guitar Notation
   A. Define in written form basic musical and notational terms and
symbols.
   B. Play on the guitar basic rhythm patterns that involve half notes,
quarter notes, eighth notes and their corresponding rests.
   C. Play on the guitar basic chords from reading chord symbols.
   D. Play on the guitar basic chords from reading guitar tablature.
   E. Play on the guitar basic chords from reading standard music
notation.
   F. Demonstrate on the guitar single notes in open or first position.

II. Proper Playing Technique
   A. Demonstrate the proper left hand position by playing the guitar.
   B. Demonstrate the proper right hand position by playing the guitar.

III. Chordal Accompaniment
   A. Demonstrate on the guitar the following strum patterns: down,
down-up, syncopated strum, and bass chord strum.
   B. Demonstrate on the guitar three of the picking patterns presented in
class. 

Content Outline and Competencies:

I. Basic Elements of Music and Forms of Guitar Notation
   A. Define verbally and in written form guitar tablature.
   B. Play on the guitar basic rhythm patterns that involve half notes,
quarter notes, eighth notes, sixteenth notes and their corresponding
rests.

II.  Performance Ability
   A. Play on the guitar basic chords from reading guitar tablature.
   B. Demonstrate on the guitar all notes, including sharps and flats, in
open or first position.
   C. Demonstrate a more accurate and quicker response time in performing
the competencies learned in MUS 226.
   D. Play at least one piece from chord diagrams using common strum
patterns.
   E. Play at least one piece from other notation using rhythms that
involve half notes, quarter notes, eighth notes, sixteenth notes, and
their corresponding rests.

Content Outline and Competencies:

I. Vocal Assessment
   A. Assess vocal skills and background.
   B. Determine realistic goals and expectations for the semester’s
work.
   C. Keep a log or journal of assessment, goals, assignments, lesson
topics, practice time, tape evaluations and progress throughout the
semester.

II. Vocal Technique
   A. Describe good body position and proper breathing for singing.
   B. Demonstrate good body position and proper breathing.
   C. Demonstrate good basic vowel shapes.
   D. Properly execute at least five vocal technique exercises assigned by
the teacher and designed to improve the student’s vocal skill.
   E. Accurately sing at least two pieces with the vocal technique
specified above.
   F. Demonstrate improvement in the areas covered in the semester’s
work.

III. Repertoire and Performance
   A. Properly execute at least five vocal technique exercises.
   B. Be able to accurately sing at least two songs, one from memory.
   C. Prepare assigned songs using the principles covered in
lessons.

Content Outline and Competencies:

I. Vocal Assessment
   A. Determine realistic goals and expectations for the semester’s
work.
   B. Keep a log or journal of assessment, goals, assignments, lesson
topics, practice time, tape evaluations and progress throughout the
semester.

II. Vocal Technique
   A. Consistently demonstrate good body position and proper breathing for
singing while singing assigned repertoire.
   B. Demonstrate good phonation while singing most vowels.
   C. Demonstrate a clear and clean (pitch) phonatory onset of most
vowels.
   D. Properly execute at least three vocal technique exercises assigned
by the teacher and designed to improve the student’s vocal skill.
   E. Sing at least three pieces with the vocal technique specified
above.
   F. Demonstrate improvement in the areas covered in the semester’s
work.

III. Repertoire and Performance
   A. Properly execute at least three more vocal technique exercises.
   B. Be able to sing at least three songs, two from memory.
   C. Prepare assigned songs using the principles covered in lessons.
   D. Prepare at least one Italian or Latin song with the correct
diction.

Content Outline and Competencies:

I. Vocal Assessment
   A. Determine realistic goals and expectations for the semester’s
work.
   B. Keep a log or journal of assessment, goals, assignments, lesson
topics, practice time, tape evaluations and progress throughout the
semester.

II. Vocal Technique
   A. Consistently demonstrate clear phonation or tonal focus while
singing assigned repertoire.
   B. Consistently demonstrate a clear and clean phonatory onset of common
vowels.
   C. Demonstrate a resonant tone that achieves some balance with clear
phonation.
   D. Properly execute at least three more vocal technique exercises
assigned by the teacher and designed to improve the student’s vocal
skill.
   E. Sing at least four pieces with the vocal technique specified above.
   F. Demonstrate improvement in the areas covered in the semester’s
work.

III. Repertoire and Performance
   A. Properly execute at least three more vocal technique exercises.
   B. Be able to sing at least four songs, three from memory.
   C. Prepare assigned songs using the principles covered in lessons.
   D. Prepare at least two songs in foreign languages with the correct
diction.
   E. Perform one piece from memory on a student recital.

Content Outline and Competencies:

I. Vocal Assessment
   A. Determine realistic goals and expectations for the semester’s
work.
   B. Keep a log or journal of assessment, goals, assignments, lesson
topics, practice time, tape evaluations and progress throughout the
semester.

II. Vocal Technique
   A. Consistently demonstrate basic vocal technique when singing.
   B. Properly execute at least three more vocal technique exercises
assigned by the teacher and designed to improve the student’s vocal
skill.
   C. Demonstrate improvement in the areas covered in the semester’s
work.

III. Repertoire and Performance
   A. Properly execute at least three more vocal technique exercises.
   B. Be able to accurately sing at least five songs, four from memory.
   C. Prepare assigned songs using the principles covered in lessons.
   D. Prepare at least two of the memorized songs in foreign languages
with the correct pronunciation.
   E. Perform one piece from memory on a student recital.

Content Outline and Competencies:

I. Basic Musical Notation
   A. Define in written form the origins of treble and bass clef and its
practical relevance
   B. Define in written form proportional notation
   C. Identify by reading musical notation alteration of pitches by use of
accidentals: sharps, flats and naturals

II. Key Signatures
   A. Define orally and perform on the piano major key signatures
   B. Define orally and perform on the piano minor key signatures
   C. Define in written form the relationship of major and minor key
signatures

III. Time Signatures
   A. Orally define the proportional nature of time signatures.
   B. Define in written form and orally the application of time
signatures

IV. Five-Finger Patterns
   A. Perform on the piano major and minor five-finger patterns
   B. Define orally the relationship of major to minor pattern

V. Fingering
   A. Define in written form the relationship and application of pattern
fingering to repertoire
   B. Perform on the piano the basic concepts and principles of fingering
determination

Content Outline and Competencies:

I. Major Scales and Minor Scales
   A. Define in written form the intervallic structure of a major scale.
   B. Identify by reading musical notation a major scale pattern from the
literature.
   C. Perform a major scale from any given pitch with two hands in two
octaves.
   D. Define in written form the intervallic structure of a natural and
harmonic minor scale.
   E. Identify by reading musical notation a natural and harmonic pattern
from the literature.
   F. Perform on the piano a natural and harmonic minor scale from any
given pitch with two hands in two octaves.

II. Rhythmic Patterns and Duple and Triple Meter
   A. Define in written form the note value relationship in both duple and
triple meter.
   B. Identify by reading musical notation patterns from the literature
that are composed in duple and triple meter.
   C. Define orally the subdivision of duple and triple meter.
   D. Perform on the piano duple and triple meter patterns utilizing the
proper subdivision.

III. Prelude and Fugue
   A. Compose in written form a log defining the structure of a prelude
and fugue from the literature of J.S. Bach.
   B. Define orally the performance requirements of the prelude and
fugue.
   C. Perform on the piano a prelude and fugue from the literature of J.S.
Bach.

Content Outline and Competencies:

I. Melodic Minor Scales
   A. Define in written form the intervallic structure of a melodic minor
scale.
   B. Identify by reading musical notation a melodic minor pattern from
the literature.
   C. Perform a melodic minor scale from any given pitch with two hands in
two octaves.

II. Rhythmic Patterns of Compound Meter
   A. Define in written form the note value relationship in compound
meter.
   B. Identify by reading musical notation patterns from the literature
that are composed in duple and triple meter.
   C. Define orally the subdivision of compound meter.
   D. Perform on the piano compound meter patterns utilizing the proper
subdivision.

III. Sonata
   A. Compose in written form a log defining the structure of sonata from
the literature of Beethoven.
   B. Define orally the performance requirements of the sonata.
   C. Perform on the piano a sonata from the literature of
Beethoven.

Content Outline and Competencies:

I. Dorian and Mixolydian Modes
   A. Define in written form the intervallic structure of Dorian and
Mixolydian modes.
   B. Identify by reading musical notation a Dorian and Mixolydian pattern
from the literature.
   C. Perform a Dorian and Mixolydian modes from any given pitch with two
hands in two octaves.

II. Pentatonic Scales
   A. Define in written form the intervallic structure of a Pentatonic
scale.
   B. Identify by reading musical notation patterns from the literature
that are composed with pentatonic scales.
   C. Perform on the piano pentatonic scales from any given pitch with two
hands in two octaves.

III. Etude
   A. Compose in written form a log defining the structure of an etude
from the literature of Chopin.
   B. Define orally the performance requirements of the etude.
   C. Perform on the piano an etude from the literature of Chopin.

Content Outline and Competencies:

I. Basic elements of music and notation
   A. Read and play all natural notes in first position.
   B. Read and play all basic chords in first position.
   C. Play common chords in music with simple meters and rhythms that   use
half, quarter and eighth notes.
   D. Name pitches and chords from guitar tablature.
   E. Spell basic chords from chord diagrams.
   F. Name pitches and chords from standard notation.
        
II. Performing skills
   A. Demonstrate proper right and left hand technique.
   B. Perform the skills listed in I: A, B, and C above by reading from
guitar tablature, chord diagrams, and standard notation.
   C. Demonstrate basic accompaniment patterns, both strumming and
fingerpicking.

Content Outline and Competencies:

I. Basic elements of music and notation
   A. Read all notes in first position, including sharps and flats, from
tablature, chord diagrams and standard notation.
   B. Spell all minor pentatonic scales.

II. Performing skills
   A. Demonstrate increased skill at performing the competencies learned
in MUS 241 Applied Guitar I.
   B. Play all minor pentatonic scales.
   C. Play all notes in first position, including sharps and flats.
   D. Play chords and accompaniment patterns in pieces using compound
meters and rhythms that include sixteenth notes.

Content Outline and Competencies:

I. Basic elements of music and notation
   A. Spell all major, minor, augmented, and diminished triads.
   B. Spell all chords and chord inversions.
   C. Notate all major scales.
   D. Notate triad scales. 

II. Performing skills
   A. Play all major, minor, augmented, and diminished triads.
   B. Play all chords and chord inversions on four string sets.
   C. Perform all two octave major scales.
   D. Play triad scales.
   E. Play minor pentatonic scales in multiple positions.
   F. Perform at least two pieces requiring intermediate playing skills as
assigned by the instructor.

Content Outline and Competencies:

I. Basic elements of music and notation
   A. Spell all major, minor, augmented, and diminished triads.
   B. Spell all chords and chord inversions.
   C. Notate all major scales.
   D. Notate triad scales. 

II. Performing skills
   A. Play all major, minor, augmented, and diminished triads.
   B. Play all chords and chord inversions on four string sets.
   C. Perform all two octave major scales.
   D. Play triad scales.
   E. Play minor pentatonic scales in multiple positions.
   F. Perform at least two pieces requiring intermediate playing skills as
assigned by the instructor.

Content Outline and Competencies:

I.  Perform all of the exercises up to halfway in the texts.

II.  Perform all of the pieces in the texts up to halfway in a steady
tempo that is stylistically accurate.

III. Play all notes in first position  from both verbal direction and
music notation.

IV. Sightread and play all chords in first position. 

V. Sight read and perform any rhythms in simple time, up through dotted 
eighth notes.

Content Outline and Competencies:

I. Perform all of the exercises in the method book.

II. Perform all of the pieces in the method book.

III. Play from sightreading music notation all notes in first position.

IV. Play from sightreading music notation all chords in positions one
through four.

V. Play from sightreading all simple and compound rhythms up through
sixteenth notes.

VI. Perform beginning level two part guitar music.

VII. Perform a piece for guitar on one student recital.

Content Outline and Competencies:

I. Perform an intermediate level piece on one student recital.

II. Perform a guitar study from Fernando Sor’s 20 études, Mateo
Carcasi’s 25 melodic études, or comparable literature.

III. Play pieces from music notation that use fifth through eighth
positions.

Content Outline and Competencies:

I. Read from notation and play pieces that include 10th to 12th
positions.

II. Perform intermediate level literature on two student recitals.

III. Perform at least two pieces of a suite by Wiese or DeVisée, an
étude by Villa Lobos or comparable literature.

IV. Complete and perform one scale study by Segovia.

Content Outline and Competencies:

I. Tone Production
   A. Demonstrate basic breathing exercises to gain control of the air
stream.
   B. Identify the facial muscles involved in performance.
   C. Perform on instrument basic exercises to gain control of the muscles
described above.
   D. After listening to performers on the chosen instrument, compose a
written log describing the tone of these performers.

II. Intervals
   A. Identify by reading musical notation the basic intervals of music
from the minor 2nd through the perfect octave.
   B. Construct a written blueprint for each interval illustrating the
whole step construction of each interval.
   C. Perform on instrument these intervals from any given pitch.

III. Major Scales
   A. Compose a diagram illustrating the interval construction of a major
scale.
   B. Identify by reading musical notation a major scale pattern.
   C. Aurally identify a major scale pattern.
   D. Perform on instrument a major scale from any given pitch.

Content Outline and Competencies:

I. Embrouchure Development
   A. Compose a written log describing the formation and function of a
proper embouchure.
   B. Identify the required exercises for the development and functioning
of the embouchure and transcribe these exercises into written form.
   C. Perform the above exercises on instrument to gain embouchure
strength.
   D. Maintain a written log describing the progress attained by
practicing the above exercises.

II. Minor Scales
   A. Compose a written diagram illustrating the interval construction of
a minor scale.
   B. Identify by reading musical notation a minor scale pattern.
   C. Aurally identify a minor scale pattern.
   D. Perform on instrument a minor scale from any given pitch.

III. Duple and Triple Rhythm
   A. Compose a written diagram illustrating the time relationship of
notes from the whole note through the sixteenth note.
   B. Orally articulate the proper subdivision of the notes from above.
   C. Orally explain how duple and triple patterns are formed from these
subdivisions.
   D. Identify by reading musical notation duple and triple patterns.
   E. Aurally identify duple and triple patterns.
   F. Perform on instrument duple and triple patterns chosen by the
instructor from the current study repertoire.

Content Outline and Competencies:

I. Duple and Triple Rhythm
   A. Define orally and in written form the note value relationships in
duple and triple meter.
   B. Identify by reading musical notation patterns written in duple and
triple meter.
   C. Perform by the clapping of hands rhythmic patterns in duple and
triple meter.

II. Rudiments
   A. Define orally and in written form the physical process involved in
performing a three, five, and seven stroke roll.
   B. Perform on the snare drum a three, five, and seven stroke roll
utilizing the proper physical process.

III. Snare Rhythmic Pattern
   A. Identify by reading musical notation a snare drum pattern from a
John P. Sousa march.
   B. Perform on the snare drum the above pattern at a tempo of quarter
note equals 60.

Content Outline and Competencies:

I. Compound Rhythm
   A. Define orally and in written form the note value relationships in
compound meter.
   B. Identify by reading musical notation patterns written in compound
meter.
   C. Perform by the clapping of hands rhythmic patterns in compound
meter.

II. Rudiments
   A. Define orally and in written form the physical process involved in
performing a multiple bounce stroke, open double stroke, and single stroke
pattern.
   B. Perform on the snare drum a multiple bounce, open double, and single
stroke utilizing the proper physical process.

III. Timpani
   A. Identify by reading musical notation a basic timpani pattern from
the percussion literature.
   B. Orally define which pitch will be performed on which timpani.
   C. Perform the pattern on the timpani utilizing the proper sticking
technique.

Content Outline and Competencies:

I. Rudiments
   A. Define orally and in written form the physical process involved in
performing single paradiddle, double paradiddle, and triple paradiddle on
the snare drum.
   B. Perform on the snare drum a single paradiddle, double paradiddle,
and triple paradiddle utilizing the proper sticking technique.

II. Bells
   A. Identify by reading musical notation a basic bell mallet part
pattern from the percussion literature.
   B. Orally identify the pitches represented on the bell set.
   C. Orally identify the proper sticking motion for the mallets when
performing on the bell set.
   D. Perform the pattern on the bell set utilizing the proper sticking
technique.

III.  Suspended Cymbal
   A. Orally define the proper set-up of the suspended cymbal.
   B. Identify by reading musical notation a suspended part from the
percussion literature.
   C. Orally define the proper sticking technique utilized in performing
on the suspended cymbal.
   D. Perform on the suspended cymbal the part from the literature
utilizing the proper technique.

Content Outline and Competencies:

I. Rudiments
   A. Define orally and in written form the physical process involved in
performing left hand flams, right hand flams, right and left drags, and
ruffs.
   B. Perform on the snare drum the rudiments from"A" above utilizing the
proper sticking technique.

II. Crash Cymbal
   A. Orally define the proper set-up of the crash cymbals.
   B. Identify by reading musical notation a crash cymbal part from the
percussion literature.
   C. Orally define the proper arm and wrist technique utilized in
performing on the crash cymbal.
   D. Perform on the crash cymbals the part from the literature utilizing
the proper technique.

III. Drum Set
   A. Orally identify the main parts of the drum set including the bass
drum, snare drum, hi-hat cymbal, ride cymbal, and tom-tom drums.
   B. Orally define the proper techniques involved in the performance of
each of the instruments of the drum set.
   C. Orally define the coordination techniques involved in performing on
all of the instruments of the drum set.
   D. Identify by reading musical notation a basic swing pattern written
for the drum set.
   E. Perform on the drum set the basic swing pattern identified utilizing
the proper technique for each instrument and the proper coordination of all
the instruments.

Content Outline and Competencies:

I. Tone Production
   A. Construct a diagram illustrating the proper use of the human
abdominal muscles in the breathing process.
   B. Practice basic breathing exercises to gain control of the muscles
described above.
   C. Identify the proper placement of the facial muscles in the formation
of the correct embouchure.
   D. Practice on chosen instrument exercises to develop the above muscles
for proper tone production.
   E. Listen to at least five performers on the chosen instrument and
compose a log describing the tone of each performer.

II. Intervals
   A. Identify by reading musical notation the basic intervals of music
from the minor 2nd through the perfect octave.
   B. Construct a written blueprint for each interval showing the
whole/half step construction of the interval.
   C. Perform on instrument these basic intervals from any given pitch.

III. Major Scales
   A. Compose a diagram illustrating the interval structure of a major
scale.
   B. Identify by reading musical notation major scale patterns.
   C. Aurally identify major scale patterns.
   D. Perform on chosen instrument major scales from any given
pitch.

Content Outline and Competencies:

I. Embouchure Development
   A. Compose a written log describing the formation and function of the
correct embouchure.
   B. Identify the required exercises for the development and functioning
of the embouchure and transcribe these exercises into written form using
musical notation.
   C. Practice the above exercises on the chosen instrument to acquire
embouchure strength.
   D. Maintain a written log describing the noted progress and results of
practicing these exercises.

II. Minor Scales
   A. Compose a diagram illustrating the interval structure of a major
scale.
   B. Identify by reading musical notation major scale patterns.
   C. Aurally identify major scale patterns.
   D. Perform on chosen instrument major scales from any given pitch.

III. Duple and Triple Rhythm Patterns
   A. Compose a written diagram illustrating time relationship of notes
from the whole note to the sixteenth note.
   B. Orally articulate the proper subdivision of the notes from above.
   C. Orally explain how duple and triple rhythm patterns are formed from
the subdivisions described above.
   D. Identify by reading musical notation duple and triple patterns.
   E. Aurally identify duple and triple patterns.
   F. Perform on instrument duple and triple patterns chosen from the
current study repertoire.

Content Outline and Competencies:

I. Chromatic Scale
   A. Compose a chromatic scale using musical notation from any given
pitch illustrating all the half steps with the proper sharp and flat
signs.
   B. Orally identify the name of each pitch.
   C. Perform on instrument BY MEMORY a chromatic scale from any given
pitch.

II. Quadruple Rhythmic Patterns
   A. Compose a written diagram illustrating time relationship of notes
from the whole note to the sixteenth note.
   B. Orally articulate the proper subdivision of the notes from above.
   C. Orally explain how quadruple rhythmic patterns are formed from the
subdivisions described above.
   D. Identify by reading musical notation quadruple patterns.
   E. Aurally identify quadruple patterns.
   F. Perform on instrument quadruple patterns chosen from the current
study repertoire.

III. Chords
   A. Compose a written diagram illustrating the interval structure of a
major triad and a minor triad.
   B. Identify by reading musical notation major and minor triads.
   C. Aurally identify major and minor triads.
   D. Perform on instrument major and minor triads from any given
pitch.

Content Outline and Competencies:

I. Pentatonic Scale
   A. Compose a pentatonic scale using musical notation from any given
pitch illustrating all the half steps with the proper sharp and flat
signs.
   B. Orally identify the name of each pitch.
   C. Perform on instrument a pentatonic scale from any given pitch.
   D. Orally articulate the use of the pentatonic scale in both classical
music and in jazz.

II. Whole Tone Scale
   A. Compose a whole tone scale using musical notation from any given
pitch using the proper sharp and flat signs.
   B. Orally identify the name of each pitch.
   C. Perform on instrument a whole tone scale from any given pitch.
   D. Orally articulate the use of the whole tone scale in both classical
and jazz music.

III. Melodic Contours
   A. Compose a written statement identifying the components of a melody. 
This must include:
      1. Range
      2. Shape
      3. Conjunct/disjunct
   B. Identify by reading musical notation the three melody components
from the literature of the chosen instrument.
   C. Aurally identify the three melody components from any given
recording and/or live performance.
   D. Perform on instrument a melody from the chosen instrument
repertoire.
   E. Compose a graph illustrating the three components from the melody
performed above.

IV. Compound Rhythmic Patterns
   A. Compose a written diagram illustrating the construction of compound
rhythms.
   B. Identify by reading musical notation compound rhythmic patterns.
   C. Aurally identify compound patterns.
   D. Perform on instrument compound patterns from the chosen instrument
repertoire.
   E. Orally articulate the difference between duple/triple simple
patterns and compound patterns.