Appendix B

Repertoire and Other Performance Requirements for Continuance in a Degree Program

BRASS PERFORMANCE

Trumpet

  • Two pieces of contrasting character, at a difficulty level comparable to the Sonata by Kent Kennan, the Arutunian Concerto, the Enesco Legende the Torelli Concerto in D or the Telemann Concerto in D.  Using different instruments, i.e. C and Eb trumpet or piccolo trumpet, is encouraged.  The total time for the recital performance should be between 9 and 12 minutes.
  • Performance from memory of a portion of the Continuance Recital is encouraged.
  • Sight-read a given passage of music.  It is expected that the student achieve a steady tempo, musical understanding and fluency in the performance. (This requirement will be scheduled during the semester of one’s continuance and will normally occur during a Level III jury time.)
  • Perform two 8ves of any of the 12 major and minor scales (harmonic and melodic forms) and associated arpeggios in 16th notes at a minimum metronome marking of quarter = 100. (This requirement will be scheduled during the semester of one’s continuance and will normally occur during a Level III jury.)

Horn

  • Repertoire presenting contrasting character and styles at a difficulty level comparable to the Mozart Concerti, Beethoven Sonata, and Saint-Säens Morceau de Concert. The total time for the recital performance should be between 9 and 12 minutes.
  • Performance from memory of a portion of the Continuance Recital is encouraged.
  • Etudes, scales, sight-reading, and orchestral excerpts.  (This requirement will be scheduled during the semester of one’s continuance and will normally occur during a Level III jury time.)

Trombone

  • Repertoire presenting contrasting character and styles at a difficulty level comparable to the David Concertino, Hindemith Sonata, and the Jacob Concerto. The total time for the recital performance should be between 9 and 12 minutes.
  • Performance from memory of a portion of the Continuance Recital is encouraged.
  • Etudes, scales, sight-reading, and orchestral excerpts.  (This requirement will be scheduled during the semester of one’s continuance and will normally occur during a Level III jury time.)

Euphonium

  • Repertoire presenting contrasting character and styles at a difficulty level comparable to the Concerto by Horovitz, Lyric Suite by White, and Andante andRondo by Capuzzi. The total time for the recital performance should be between 9 and 12 minutes.
  • Performance from memory of a portion of the Continuance Recital is encouraged.
  • Etudes, scales, sight-reading, and orchestral excerpts. (This requirement will be scheduled during the semester of one’s continuance and will normally occur during a Level III jury time.)

Tuba

  • Repertoire including presenting contrasting character and styles at a difficulty level comparable to the Concerto by Gregson, Sonata by Beversdorf, and the Sonata by Broughton. The total time for the recital performance should be between 9 and 12 minutes.
  • Performance from memory of a portion of the Continuance Recital is encouraged.
  • Etudes, scales, sight-reading, and orchestral excerpts.  (This requirement will be scheduled during the semester of one’s continuance and will normally occur during a Level III jury time.)

CHURCH MUSIC WITH CHORAL EMPHASIS

At the time of the printing of the Student Handbook the continuance requirements for the Church Music with Choral Emphasis degree were under review.  When finalized, the requirements will be added to the Handbook.

ORGAN PERFORMANCE AND CHURCH MUSIC WITH ORGAN EMPHASIS

  • Two contrasting selections (one of which must be from the German Baroque, i.e. Bach, Buxtehude, etc…) Total performing time for both pieces should be between 10 and 15 minutes.
  • A hymn:  The student must devise the introduction (with assistance from the teacher).  It must be of at least 2 stanzas in length, involve the audience in singing the hymn and demonstrate creativity in the accompaniment.
  • One selection from the anthology, “A New Liturgical Year”, selected and prepared by the student (This requirement will be scheduled during the semester of one’s continuance and will normally occur during a Level III jury.)
  • One piece selected and prepared by the student to demonstrate understanding of Baroque performance practice. (This requirement will be scheduled during the semester of one’s continuance and will normally occur during a Level III jury.)

PERCUSSION PERFORMANCE

  • Snare drum solo or etude of comparable difficulty to Cirone Portraits in Rhythm, Firth Solo Snare Drummer, and  Delecluse  Douze Etudes
  • Timpani solo or etude of comparable difficulty to Firth Solo Timpanist, Beck Concepts for Timpani, and Peters Fundamental Solos for Timpani
  • Mallet solo, either two mallets or four
    1. Two-mallet standard:  Bach Concerto for violin in a minor and Hovhaness Variations on Japanese Woodprints
    2. Four-mallet standard:  Stout Two Mexican Dances, Stout Astral Dance and Abe Dream of the Cherry Blossoms

(Performance of all three solos should not exceed ten minutes)

  • Sight-reading, with a steady tempo, adherence to dynamics, and musical understanding. (This requirement will be scheduled during the semester of one’s continuance and will normally occur during a Level III jury time.)

PIANO PERFORMANCE

  • Two pieces from different historical periods displaying contrasting character
  • One Etude demonstrating technical facility
  • Sight-read a given passage of music.  It is expected that the student achieve a steady tempo, musical understanding and fluency in the performance.  The level of difficulty of the repertoire would be similar to:
    1. Haydn “Sonata Hob. XVI/2 in B-flat Major:  Largo”
    2. Bartok “Bouree #117” from Mikrokosmos, Volume IV
  • Quick Study a piece of music.  The student will be assigned a piece of music two weeks before the examination.  Without the assistance of a teacher, the student will be expected to perform this selection in an artistic manner, displaying a clear understanding of the work’s historical context and style.  The level of difficulty of the repertoire assigned would be similar to the Mendelssohn Song Without Words, Op. 38 No.6 (Duetto).

(Sight-reading and quick study requirements will be scheduled during the semester of one’s continuance and will normally occur during a Level II or III jury time.)

STRING PERFORMANCE

  • Two contrasting selections that together total at least 10 minutes in length
  • One selection must be a first or third movement from a major concerto or a piece comparable to a major concerto in difficulty.
  • At least one selection must be performed from memory.
  • At least one selection must be from the “accompanied literature”.

VOCAL PERFORMANCE

  • Three songs, one from each of the following time periods. At least one must be in a foreign language.
    1. One song or aria composed before 1800
    2. One song from the standard foreign-language art song repertoire in the original language (except selections which are typically sung in translation)
    3. One song from the 19th-21st British or American art song repertoire
  • An interview with three members of the voice faculty
  • All songs must be memorized.

WOODWIND PERFORMANCE

Saxophone

  • Repertoire presenting contrasting character and styles at a difficulty level comparable to the J.S. Bach/Londeix “Cello Suites No. I or III”, P.M. Dubois’ “Concerto”, or the J. Ibert “Concertino da camera”. At least one selection should be performed with piano accompaniment. The total time for the recital performance should be between 9 and 12 minutes. Performance from memory of a portion of the Continuance Recital is encouraged.
  • Etudes, scales, sight reading and jazz solo transcription. (This requirement will be scheduled during the semester of one’s continuance and will normally occur during a Level III jury time.)

All Other Woodwinds

  • The continuance recital repertoire will consist of two contrasting selections from different historical periods that together total at least 10 minutes in length.
  • One selection must be a first or third movement of a concerto or a work comparable to a major concerto in difficulty.
  • It is strongly encouraged that one selection be performed from memory.
  • At least one movement must include piano, fortepiano, or harpsichord accompaniment.
  • Other requirements include orchestral excerpts, contrasting etudes and scales. (This requirement will be scheduled during the semester of one’s continuance and will normally occur during a Level III jury time.)