CALIFORNIA STATE POLYTECHNIC Course Title: MU 171 Studio Strings UNIVERSITY, POMONA Date of Preparation: 8/23/98 Prepared by: Donald Ambroson; edited by Susan Burns, Dec. 4, 2007 I. Catalogue Description MU 171 Studio Strings (1) COURSE OUTLINE A series of 10 specialized individual instruction lessons. Repertoire and technical studies determined by emphasis selected as appropriate for violin, viola, cello, or double bass. Jury examination at the end of each quarter. Total credit limited by emphasis requirements. Prerequisite: minimum performance requirement posted in Music Department. Course not available to non-majors except by special audition. Permission to enroll by instructor only. Repeatable up to 9 units. II. Required Background or Experience Violin and viola The student is expected to know basic fundamentals of violin or viola playing: balanced posture, left-hand position and bow arm techniques; open-string exercises; studies and simple pieces in first and third positions; 2-octave scales and arpeggios in the first position (G major; A major; Bb major; C major) and the 2-octave D major scale which uses third position. Repertoire should include 2 selections comparable to a movement by Vivaldi or Lully that demonstrate the student s abilities on the instrument. Cello The student is expected to know basic fundamentals of cello playing: balanced posture, left-hand position and bow arm techniques; open-string exercises; studies and simple pieces in first position; forward and backward extensions; scales and arpeggios in the first position. Two-octave scales: C major; D major; Eb major. Two octave F major scale using third position. Repertoire should include two pieces comparable to or more advanced than those in Muffat s Old Masters for Young Players that demonstrate the student s abilities on the instrument. Double Bass The student will be expected to demonstrate tonal memory skills and give evidence of some knowledge of the rudiments of music. Students must demonstrate fundamental performance skills, including balanced posture, left hand position and bowing techniques; studies and simple pieces in first, half, and third (or fourth) position; scales and arpeggios in F, G, Bb, C and D major. Two-octave scales in E major; F major; G major.
Repertoire should include two pieces comparable to a Marcello sonata movement that demonstrate the student s abilities on the instrument.. III. Expected Outcomes The student will be able to perform: 1. a specified amount of repertoire as a result of the work on the selected instrument. 2. A specified amount of technical studies. IV. Text and Readings Ivan Galamian. Principles of Violin Playing and Teaching, (Englewood Cliffs, NJ: Prentice Hall, 1962) David D. Boyden. The History of Violin Playing from its origins to 1761. (London: Oxford University Press, 1965) Robin Stowell, ed. The Cambridge Companion to the Violin. (Cambridge: Cambridge University Press, 1992) Leopold Mozart (translated by Editha Knocker). A Treatise of the Fundamental Principles of Violin Playing (1756). (London: Oxford University Press, 1948) V. Minimum Student Materials An appropriate musical instrument for the specific course. VI. Minimum College Facilities Practice room, sound proof studio for the lesson VII. Course Outline A progressive series of lesson assignments which build the physical and musical skill of performance. Specific course outline will vary with each student, dependent on physical skill development, musical experience. VIII. Instructional Methods Student given weekly assigned tasks to master which lead to larger paradigms of technical and musical mastery. IX. Evaluation of Outcomes 1. Weekly assignment of grade 2. juried final
Requirements for Double Bass Studio Information to be used in creating the specialized course outlines for MU 171 Studio Strings, MU 371 Studio Strings (Classical), MU 390 (Jazz and Folk Styles). Students wishing to specialize in Bass Guitar will take the Double Bass studio curriculum, not Guitar. I. Performance Majors A may Students enrolling in Double Bass studio, taking Music Education and Music Business emphases, will be required to follow either track A, B, or C detailed below. The student is not allowed to switch back and forth among the various internal tracks. specific track must be selected and followed. If a switch is to be made, the student must begin at the first quarter of the sequence. If the student has sufficient skill, the student request the opportunity to test out of specific courses. A. Classical (Student with declared intention to move into upper division classical ) a. After 3 quarters: Scales: G, D, A, E, & C Major & Minor scales, 2 octaves! Solos: One Sonata or Concerto, or 2 short solos in lower positions Excerpts: Saint-Saens-- L Elefant from Carnival of the Animals Mozart--Overture to the Marriage of Figaro, under tempo b. After 6 Quarters : All 12 Major & Minor scales, 4 octaves G, D, A, E, & C Major & Minor Arpeggios, 4 octaves Solos (in contrasting styles): Two Sonatas or Concertos or Four short solos or One Sonata or Concerto & two short solos Excerpts: Mahler--Solo, Symphony #1 Brahms--Symphony #2 It is necessary to accomplish the above as a condition of passing to upper division status. Performance majors are allowed 6 units of lower division. If a student requires more than 6 units in order to pass the lower division requirements, the student may enroll in extension courses as necessary in order to develop requisite skills. 2. Classical (upper division) a. After 3 Quarters
=60 : All 12 Major & Minor Scales, 16th notes at mm =116; All 12 Major & Minor Arpeggios, 16th notes at mm Solos in contrasting styles (at least one of them atonal): Two Sonatas or Concertos (one must be a concerto); or a concerto and 2 shorter pieces Excerpts: Beethoven--Symphony #9 Strauss--Don Juan Bach-- Badinierie from Orchestral Suite #2 Mozart--Symphony #39 Brahms--Symphony #1 Stravinsky--Movement 7, Pulcinella Suite b. To be eligible for Senior Project Recital Performance : All 12 Major & Minor Scales, 16th notes at mm =120; All 12 Major & Minor Arpeggios, 16th notes at mm = 80 Solos in contrasting styles (at least one of them atonal, and at least two movements from a Bach Suite); two Sonatas or Concertos (one must be a concerto), or a concerto and 2 shorter pieces Excerpts: Strauss--Ein Heldenleben Mozart--Symphony #40 Beethoven--Symphony #2 Ginastera--Solo from Variaciones Concertantes Review of excerpts previously learned. B. Jazz and Pop Styles (Student in lower division traditional studio with a declared intent to move into Jazz and Pop Styles in Double Bass) a. After 3 quarters Scales: G, D, A, E, & C Major & Minor scales, 2 octaves Solos: One Sonatas or Concerto or 2 short solos in lower positions : Mozart--Overture to the Marriage of Figaro, under tempo 3 Transcriptions of Jazz Bass lines Head & 4 cycles of changes b. After 6 Quarters : All 12 scales in all modes, 4 octaves
G, D, A, E, & C Arpeggios, in all modes Solos (in contrasting styles) Two Short solos 6 Transcriptions in contrasting styles It is necessary to accomplish the above as a condition of passing to upper division status. Performance majors are allowed 6 units of lower division. If a student requires more than 6 units in order to pass the lower division requirements, the student may enroll in extension courses as necessary in order to develop requisite skills. 2. Jazz and Pop Styles (upper division) a. After 3 Quarters All 12 Scales in all modes, 16th notes at mm = 116 All 12 Arpeggios in all modes, 16th notes at mm = 60 Solos in contrasting styles; at least one of them atonal A concerto and 2 shorter pieces Beethoven--Symphony #9 Strauss--Don Juan 6 Transcriptions, one with a solo b. To be eligible for Senior Project Recital Performance All 12 Scales in all modes, 16th notes at mm = 120 All 12 Arpeggios in all modes, 16th notes at mm = 80 Solos in contrasting styles; at least one of them atonal One Sonata or Concerto and 2 movements from a Bach Suite Strauss--Ein Heldenleben Mozart--Symphony #40 Review of excerpts previously learned. 6 Transcriptions, 3 with solos C. Bass Guitar (taking traditional double bass in lower division with a declared intent to take Bass Guitar Performance in upper division) a. After 3 quarters Scales G, D, A, E, & C Major & Minor scales, 2 octaves Solos 2 short solos in lower positions
Mozart--Overture to the Marriage of Figaro, under tempo 3 Transcriptions of Jazz Bass lines Head & 4 cycles of changes b. After 6 Quarters All 12 scales in all modes, 4 octaves G, D, A, E, & C Arpeggios, in all modes Solos (in contrasting styles) Two Short solos 6 Transcriptions in contrasting styles It is necessary to accomplish the above as a condition of passing to upper division status. Performance majors are allowed 6 units of lower division. If a student requires more than 6 units in order to pass the lower division requirements, the student may enroll in extension courses as necessary in order to develop requisite skills. 2. Jazz and Pop Styles (upper division) II. Commercial Music Majors A. Double Bass a. After 3 quarters Scales G, D, A, E, & C Major & Minor scales, 2 octaves Solos 2 short solos in lower positions Mozart--Overture to the Marriage of Figaro, under tempo 3 Transcriptions of Jazz Bass lines Head & 4 cycles of changes b. After 6 quarters All 12 scales in all modes, 4 octaves G, D, A, E, & C Arpeggios, in all modes Solos (in contrasting styles) Two Short solos
6 Transcriptions in contrasting styles It is necessary to accomplish the above as a condition of passing to upper division status. Commercial Music majors are allowed 6 units of lower division. If a student requires more than 6 units in order to pass the lower division requirements, the student may enroll in extension courses as necessary in order to develop requisite skills. 2. Jazz and Pop Styles (upper division) a. After 3 Quarters All 12 Scales in all modes, 16th notes at mm =116 All 12 Arpeggios in all modes, 16th notes at mm = 60 Solos in contrasting styles; at least one of them atonal A concerto and 2 shorter pieces Beethoven--Symphony #9 Strauss--Don Juan 6 Transcriptions, one with a solo b. To be eligible for Senior Project Recital Performance All 12 Scales in all modes, 16th notes at mm = 120 All 12 Arpeggios in all modes, 16th notes at mm = 80 Solos in contrasting styles; at least one of them atonal One Sonatas or Concerto and 2 movements from a Bach Suite Strauss--Ein Heldenleben Mozart--Symphony #40 Review of excerpts previously learned. 6 Transcriptions, 3 with solos B. Electric Guitar (taking traditional double bass in lower division with a declared intent to take Bass Guitar Commercial Music in upper division) a. After 3 quarters Scales G, D, A, E, & C Major & Minor scales, 2 octaves Solos 2 short solos in lower positions Mozart--Overture to the Marriage of Figaro, under tempo 3 Transcriptions of Jazz Bass lines Head & 4 cycles of changes
b. After 6 Quarters All 12 scales in all modes, 4 octaves G, D, A, E, & C Arpeggios, in all modes Solos (in contrasting styles) Two short solos 6 Transcriptions in contrasting styles It is necessary to accomplish the above as a condition of passing to upper division status. Commercial Music majors are allowed 6 units of lower division. If a student requires more than 6 units in order to pass the lower division requirements, the student may enroll in extension courses as necessary in order to develop requisite skills. 2. Jazz and Pop Styles (upper division)