MINIMUM Requirements - harp October 8 2016 String Proficiency... ·...

Berklee College of Music String Department MINIMUM Requirements -‐ Harp

Most recent update: October 8, 2016 1

Contents

Pages 2 – 3 Complete requirements for students taking only 4 semesters of private instruction.

Page 4 Additional requirements for students taking 6 semesters of private instruction.

Page 5 Additional requirements for Performance Majors taking 8 semesters of private instruction.

Pages 6-‐9 Supplement for Style Studies

0

Supplement for Technical Exercises



This page details the minimum proficiency requirements for students taking only 4 levels of Private Instruction (i.e. students majoring in Composition, CWP, EPD, Film Scoring, Jazz Comp, Music Business, MPE, Music Therapy, Pro Music without a concentration in performance, and Songwriting1). Proficiency in the following will be demonstrated in final exams (proficiency exams) or documented in private studies. All are to be executed with good tone, good intonation, and good time. Technical Requirements Scales: Pedal harp: 2 octave major, melodic minor, natural minor, harmonic minor, jazz minor scales in all keys, hands together, parallel motion Lever harp: 2 octave major scales in Eb, Bb, F, C, G, D, A, E hands together, parallel motion Lever harp: 2 octave melodic minor scales in C, G, D, A, E, B, F#, C# right hand only Lever harp: 2 octave natural and harmonic minor in C, G, D, A, E, B, F#, C# hands together, parallel

Motion

Pedal harp -‐ 2 octave major and minor pentatonic scales in all keys Lever harp – 2 octave major and minor pentatonic scales in C, F, Bb, Eb, Ab, B, E, A, D, G Pedal harp: 2 octave blues scales in all keys Lever harp: 2 octave blues scales in all keys right hand only Both harps: 2 octave all Greek modes (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian),

hands together, parallel motion Arpeggios: Pedal harp -‐ 4 octave major and minor triad arpeggios in all keys Lever harp – 3 octave major and minor triad arpeggios in C, F, Bb, Eb, Ab, B, E, A, D, G Both harps -‐ 7th chords and arpeggios – M7, dom7, min7, min7b5, diminished Progressions as chords: I IV V7 I I VI II V7 I i-‐ iv-‐ V7b9 i-‐ I IV V7b9 I i-‐ vi-‐ ii-‐ V7 i-‐ Voice led progressions in all keys: Maj7 to dom7 Min7 to dom7b9 ii-‐7 / V7 / IM7 ii-‐7b5 / V7b9 / IM7 • Arpeggiated chord changes to 2 standard jazz tunes • 4 measure phrase in all keys from memory • Sight-‐reading

1 Final Exams (proficiency exams) for these majors are always 15 minutes. String performance majors are the only majors taking a 30 minute proficiency exam for Level 3 and Level 4.



Minimum proficiency requirements for students taking only 4 levels of Private Instruction, continued. . . Style Requirements See Supplement for genre specific requirements • Student must display competence in 2 different styles. • Competence includes but is not limited to stylistically informed phrasing, articulation,

vocabulary o Dynamics and ornamentation.

• 1 Bach composition • 1 jazz standard including melody, guide tones and improvisation • 2 – 3 contrasting pieces per semester tbd with PIST professor in each style

o This number may be more depending on level, the style chosen and major. • Improvise if stylistically appropriate. • Comping with appropriate voicings. Creative Requirements (Students must display proficiency in 3 items from this list) • Improvise over a blues using the blues scale. • Improvise on a tune learned for the Style Requirements. • Transcribe (learn by ear) a vocal part or solo learned for the Style Requirements. • Arrange a piece learned for the Style Requirements for different instrumentation than the

original. • Compose an original work based on work done for the Style Requirements that displays

musical and technical growth on the principal instrument.



This page details the additional minimum proficiency requirements for students taking only 6 levels of Private Instruction (Students majoring in Music Education or Pro Music with a performance concentration.) 2 All requirements will be demonstrated in final exams (proficiency exams) or documented in private studies. All are to be executed with good tone, good intonation, and good time. Students must demonstrate proficiency in all requirements listed on pages 1-‐3, plus the following: Technical Requirements • 2 octave whole tone scales in all keys • 2 octave symmetrical diminished scales in all keys • 8 measure phrase in all keys from memory • Voice led progressions with substitutions in all keys such as: • ii-‐7 / bii-‐7 / IM7 • bVI7 / V7 / IM7 Style Requirements (See Supplement for genre specific requirements.) Competence in one additional style (3 total) Creative Requirements (Students must display proficiency in 3 items from this list) • Improvise over a blues using the blues scale. • Improvise on a tune learned for the Style Requirements. • Transcribe (learn by ear) a vocal part or solo learned for the Style Requirements. • Arrange a piece learned for the Style Requirements for different instrumentation. • Compose an original work based on work done for the Style Requirements that displays


2 Final Exams (proficiency exams) for these majors are always 15 minutes. String performance majors are the only majors who take a 30-‐minute proficiency exam for Level 3 and Level 4.



This page details the additional minimum proficiency requirements for students majoring in Performance. All performance majors take 8 semesters of private instruction (PIST) and 6 semesters of recital preparation (RPST). The first two semesters, all students take a 50-‐minute PIST. Starting with the third semester, performance majors take one 30-‐minute PIST and one 30-‐minute RPST3 per semester.

Proficiency Exams & Additional Performance Requirements Semester 1 – 15 minutes Semester 2 -‐ 15 minutes Semester 3 -‐ 30 minutes Semester 4 -‐ 30 minutes Semester 5 – 15 minutes plus Recital Workshop (ILRE-‐375) Semester 6 – 15 minute proficiency plus 15 minute jury representing pieces from your recital;

the jury is also the final exam for RPST-‐312 Semester 7 – 15 minute proficiency plus 30 minute jury; the pre-‐recital jury should represent half of

your recital and is the final exam for RPST-‐411 Semester 8 – 60 minute Senior Recital only, no proficiency; the recital is also the final exam for

RPST-‐412 Performance majors must demonstrate proficiency in all requirements listed on pages 1-‐4, plus the following: Technical Requirements Choose 4 from Supplemental Technical Exercises List Style Requirements (See Supplement for genre specific requirements) Competence in one additional style (4 total) Creative Requirements In 2 of the styles chosen to satisfy the Style Requirements Performance Major candidate must: • Transcribe • Arrange • Improvise • Compose • Create an accurate lead sheet • Display originality within each style • Display technical and musical growth as a player on principal instrument JURIES DEFINED: For the 6th semester jury, we expect 15 minutes of contrasting repertoire that you might want to perform for your senior recital, or for another recital you are doing. It’s a performance. Bring any collaborators, and put on a good show. Let us know of any tech needs ahead of time. While we encourage you to develop your vocal skills and abilities on other instruments, the jury should focus on your principal instrument. For the 7th semester jury, we expect to hear 30 minutes of your senior recital. The same general rules apply as 6th semester jury. Once you have passed, you are eligible to sign up for your senior recital for the concert office at this link: https://www.berklee.edu/concert-‐operations/senior-‐performance-‐major-‐concert-‐request 3 PIs and RPs are taken sequentially; multiple levels of PIs (or RPs) may not be taken simultaneously. (i.e. you cannot take RPST-‐211 and RPST-‐212 during the same semester.)



Supplement – Style Studies Following are examples of minimum requirements for style studies in the String Department. Individual teachers may require additional assignments. The listed genres, works, and artists serve as examples, not limitations. For any given style, students are typically working on 2-‐3 tunes or movements per semester, though this number may vary according to genre and difficulty of repertoire. Classical music sample requirements • Etudes by Bach-‐Grandjany, Bochsa, Posse, Schmidt and Berklee Harp Etudes • Works by Bach, Debussy, Ginastera, Gliere, Grandjany, Mozart, Nadermann, Ravel, Renie, Salzedo,

Satie, Scarlatti, Tournier, etc. Roots music sample requirements Typical styles studies include • Learning several different regional variations of the same tune • Learning and transcribing different performers’ variations of the same tune such as: Tommy

Magness, Vassar Clemens, Kenny Baker, Tommy Jarrell, J.P. Fraley • Transcription • Idiomatic improvisation Old Time Country Music Suggested Requirements Old time music from the American south is the unique confluence of sounds from Scots, Irish, English, African and indigenous Americans. Before World War II and before mass media made everything available to most everyone, styles and repertoire were regional. The list could go on and on, but as a very minimum, tunes and songs would include some of the classic recorded examples such as: • William Hamilton Stepp (Kentucky) -‐ Ways Of The World • Violet Hensley (Arkansas) -‐ Uncle Henry • Benny Thomasson (Texas) -‐ Midnight On The Water • Tommy Jarrell (North Carolina) -‐ John Brown’s Dream • Camp Creek Boys (North Carolina) -‐ Fortune • Samantha Bumgarner and Eva Davis (North Carolina) -‐ Big Eyed Rabbit • Roscoe Holcomb (Kentucky) -‐ East Virginia Blues • Edden Hammons (West Virginia) -‐ Shaking Off The Acorns • Aunt Jenny Wilson (West Virginia) -‐ Georgia Buck • Murph Gribble, John Lusk & Albert York (Tennessee) -‐ Rolling River • The Georgia Yellowhammers (Georgia) -‐ Fourth of July At A County Fair • Hazel Dickens (West Virginia) -‐ Pretty Bird Jazz sample repertoire Fly Me to the Moon, All of Me, Autumn Leaves, Beautiful Love, I Hear a Rhapsody, Easy to Love, You and the Night and the Music, All the Things You Are, A Train, Satin Doll, Blue Bossa, Black Orpheus, Watermelon Man, Song for My Father, Waltz for Debby, Girl from Ipanema, How Insensitive, Corcovado. Artists studied may include: Stephane Grappelli, Jean-‐Luc Ponty, Dexter Gordon, Miles Davis, John Coltrane, Bill Evans, Horace Silver, Duke Ellington, Count Basie, Ella Fitzgerald, Dinah Washington, Chet Baker, Stan Getz, Paul Desmond, Antonio Carlos Jobim, Herbie Hancock, Louis Armstrong



Gypsy Jazz Sample Tune List Minor Swing, Daphne, Swing 42, Nuages, Sweet Georgia Brown, There Will Never Be Another You, Djangology, Dark Eyes, Douce Ambiance, All of Me, Lady Be Good, What is This Thing Called Love, I've Found a New Baby, Limehouse Blues, Night and Day, Coquette, Blue Drag, J'Attendrai, Troublant Bolero, Tears, Tchavalo Swing Sample Celtic Style Studies At least two sets of tunes a semester demonstrating understanding of phrasing, ornamentation and slight melodic variations as appropriate to the chosen regional style. At least one of the sets should based on an aural (or written) transcription of an authentically traditional artist, to be determined by the student and instructor. Tunes may be drawn from artists such as the following: IRELAND Select Irish artists: Michael Coleman, John Doherty, Tommy Potts, , PJ Hayes, Patsy Touhey, James Keane, Willie Clancy, Padraic O Keefe, Julia Clifford and Dennis Murphy, Frankie Gavin, Tommy Peoples, Paddy Fahy, Bobby Casey, Martin Hayes, Liz Carroll, De Dannan, Bothy Band, Planxty, Chieftains, Sean O' Riada Select well-‐known Irish tunes: Boys of the Lough, Carolan's Concerto, Drowsy Maggie, The foxhunters, Jerry's Beaver Hat, The Kerfunken jig, Loftus Jones, Lord Macdonald, Man of the house, The Monaghan jig, The morning dew, Pigeon on the gate, The Rolling Wave, St Anne's reel, The Scholar, Si Bheag Si Mhor, The silver spear, Tommy Mulhair's, Woman of the house SCOTLAND Select Scottish Artists: Neil Gow, James Scott Skinner, William Marshall (1748-‐1833), Aly Bain, Douglas Lawrence, Tom Anderson, Phil Cunningham, Johnny Cunningham, Gordon Duncan, Pete Clark, Pipe Major Donald Macleod, Boys of the lough, Battlefield Band, The Tannahill Weavers, Fiddlers Bid, Charlie Mckerron, Blazing fiddles Select well-‐known Scottish tunes: Ale is Dear, Da Slockit Light, Donald Willie & His Dog, The Ewie wi the Crooked Horn, Full Rigged Ship / New Rigged Ship, High Road to Linton, Highlander's Farewell to Ireland, Jenny Dang the Weaver, MacArthur's Road, Niel Gow's Lament for the Death of his Second Wife, Hector the Hero, Ramnee Ceilidh, Roaring Barmaid , Spootaskerry Funk, Rock, R & B, Hip-‐Hop, Pop, and other Contemporary Genres Typical style studies include arranging and performing songs (with or without singing) for solo unaccompanied instrument, or for solo instrument with live looping / pre-‐recorded tracks, or for small or large ensembles. Additional assignments include transcribing, memorizing, and transposing iconic solos; performing all aspects of the song (bass lines, comping, rhythms, etc.), building and sequencing new melodies from A list of representative artists whom students have chosen to study includes: Jeff Beck, Beyonce, Eric Clapton, Papa John Creach, Aretha Franklin, Lady Gaga, Jerry Garcia, Jerry Goodman, Don “Sugar Cane” Harris, Jimi Hendrix, Zoe Keating, Pink, Michael Jackson, Jean-‐Luc Ponty, Mahavishnu Orchestra, Daniel Bernard Roumain, Sia, Tracy Silverman, Kanye West, Stevie Wonder, as well as countless groups (Beatles; Coldplay; Earth, Wind, & Fire; Flobots; Grateful Dead; Junoon; Led Zeppelin; Muse; Parliament, etc.)



Arabic music sample requirements Compositions may include works by Simon Shaheen, Muhammad A. Al Wahhab, Cemil Mesut, Baligh Hamdi, Ali Naghi Veziri, Rahbani Brothers, Muhammad Qassabji. Pieces may include Dance Mediterranean, Zeina, Khatwit Habibi, Samai Nehevent, Ansak, Interlude in the Circle of Fifths, Uyun Havasi, Blue Flame, Dukhtarak (Persian chahargah radif) Al Mahatta, Zikrayati, Tarnoveana, Traditional Turkish music. Hungarian music sample requirements: Dance music from Transylvania: violin, kontra viola, bass: Mezöség (Korcos, Akasztos, Lassu, Szökős, Friss) Kalotaszeg (Legenyes,Lassu, Szapora), Gyimes (Lassu Magyaros, Kettős Yartatoja, Keserves, Sebes Magyaros, Kerekes), Szek (Lassu, Negyes, Friss), Lorincreve: Lassu, Friss, Men’s dance, Szatmar: Lassu, Friss Musicians from Transylvania and Hungary: Kodoba brothers, Fodor “Neti” Sandor, Zerkula Janos, Okras Csaba, Muszikas, Sebastian Marta, etc. Klezmer music sample requirements Repertoire and genres may include: freylachs, bulgars, khosidls, doinas, niguns, shers, arab tanzes. Composers may include but not be limited to Dave Tarras, Naftule Brandwyne, and Abe Schwartz. Repertoire may also include tunes that are not attributed to any composer. Mediterranean music sample requirements Greek Islands: genres -‐ ballos, kalamatianos, karsilamas, hassaposervikos, rhoditikos, soustas, syrtos; musicians -‐ Stathis Koukoularis (Naxos), Giorgos Koros (Evia), Vangelis Zagoraios (Andros), Giorgos Bellis (Pythons), Barbarakis, Hadzopoulos (Naxos), Tsounias (Kalymnos), Zevgolis (Naxos), Xanthakis (Sifnos), Oikonomidis (Amorgos) Crete: genres-‐ kondylies maleviziotikos, pentozalis, sousta, syrtos; musicians -‐ Skorthalos, Kalogridis, Kostas Moudakis, Giorgos Avissinos, etc. Music from mainland Greece: violin, Macedonian lyra, Thracian lyra..Syrtos, Kalamatianos, Tsamiko, from Epiros: Skaros/Miroloi , Berati, Zagorisios,. Musicians-‐ Xronos Aidonidis, Kostas Kostasgiorgos, Petroloukas Chalkias, Achilleas Chalkias, Christos Zotos, Alexis Zoumbas, Kyriakos Gouvendas, etc. Smyrneika (Greek music from Asia Minor): (violin, octave-‐tuned violin) Politiki lyra: Zeibekiko, Tsiftetelli, Hasapiko, Karsilamas; musicians-‐ Andonis Dalgas, Dimitrios Semsis, Ogthondakis, Roza Eskenazi, Rita Abadzis, Lambros, Socrates Sinopolis Greek music from Pontos (Black Sea of Turkey): (violin) Pontiaki lyra: Dipat, Tik, Serenitsa, Halay, Diplo Omal, Kotsari, Yietierre, etc. ; musicians-‐ Alexis Parharithis, Christos Tiktapaidis, Giorgos Poulanzakis from Thrace: Zonarathidos, Mandilatos, Syngathistos from Macedonia: Berance, Raikos, Baidoushka, etc. Norwegian music: Norwegian hardingfele (hardanger fiddle and violin) music: Springar, Gangar, Halling, Pols, etc. Norwegian hardingfele musicians: Knut Buen, Hauk Buen, Sven Nyhus, Per Anders Buen Garnas, Hallvard T. Bjorgum



Romanian music sample requirements: Romanian folk music: Hora, Invertita, Doina, Geamparele, Sirba, Romanian musicians to study: Ion Dragoi, Alexander Titrus, Anatol Stefanen, Taraf de Haidouks Turkish music: Turkish classical music: violin, kemençe, bowed (yaylı) tanbur; Peşrev, Saz Semaisi, Sirto, Şarki, Koçekce, Taksims and Makam study, Sufi: Mevlevi Ayin, Ilahiler Turkish classical musicians: Ergin Kizilay, Cinuçen Tanrıkorur, Tanburi Cemil Bey, Ihsan Özgen, Fahrettin Cimenli, Izzetin Ökte, Cuneyd Orhon, Lalezar, Kemani Tatyos Effendi Turkish Roma music: violin, octave-‐tuned violin; Çiftetelli, Zeybek, Oyun Havasi, Karşilamas, etc. Turkish Roma musicians: Selim Sesler, Kemani Cemal, Kemani Ramazan, Laço Tayfa (Hüsnu Seniendirici), Sukru Tunar, Kemani Haydar Tatliyay, Kemani Ama Recep, Aleko & Yorgo Bacanos Turkish folk music: violin, kabak kemane, karadeniz kemence (from Black Sea): Zeybek, Syrtos, Kasap havasi, Karşilamas, Kaşik Havasi, etc.



Supplement – Technical Exercises Technical exercises to fulfill graduation requirements may be chosen from but not limited to this list.

• Bach-‐Grandjany etudes • Berklee Harp etudes • Microtonal modes • Microtonal sequences • Metric improvisation • Modal workout • Six qualities of 7th chords

(major 7, minor 7, dominant 7, minor 7 flat 5, diminished, minor-‐major 7) • Scales in various intervals (melodic and harmonic) – 3rds, 6ths, octaves. • Voice-‐led comping to standard jazz tunes • Rhythm changes with good voice leading

Berklee College of Music String Department MINIMUM Requirements – Violin, Viola, and Cello


Contents

Page 2 Complete requirements for students taking only 4 semesters of private instruction.




Page 9




This page details the minimum proficiency requirements for students taking only 4 levels of Private Instruction (i.e. students majoring in Composition, CWP, EPD, Film Scoring, Jazz Comp, Music Business, MPE, Music Therapy, Pro Music without a concentration in performance, and Songwriting1). Proficiency in the following will be demonstrated in final exams (proficiency exams) or documented in private studies. All are to be executed with good tone, good intonation, and good time. Technical Requirements Scales: 3 octave major, melodic minor, natural minor, harmonic minor, jazz minor scales in all keys 3 octave major and minor triad arpeggios in all keys 2 octave major and minor pentatonic scales in all keys 2 octave blues scales in all keys 2 octave all Greek modes (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian) Chord-‐voicings/Arpeggiated Chords in all keys: Voice-‐led progressions in all keys: Maj7 to dom7 Min7 to dom7b9 ii-‐7 / V7 / IM7 ii-‐7b5 / V7b9 / i-‐7 4 measure phrase in all keys from memory Arpeggiated chord changes to 2 standard jazz tunes Sight-‐reading Style Requirements (See Supplement for genre specific requirements.) • Student must display competence in 2 different styles. • Competence includes but is not limited to stylistically informed phrasing, articulation,

vocabulary, dynamics, ornamentation, vibrato and tone color. • 1 movement of Bach • 1 jazz standard including melody, guide tones and improvisation • 2 – 3 contrasting pieces per semester TBD with PIST professor in each style. This number may

be more depending on level, the style chosen and major. • Improvise if stylistically appropriate. • Chop if stylistically appropriate. Creative Requirements (Students must display proficiency in 3 items from this list) • Improvise over a blues using the blues scale. • Improvise on a tune learned for the Style Requirements. • Transcribe (learn by ear) a vocal part or solo learned for the Style Requirements. • Arrange a piece learned for the Style Requirements for different instrumentation than the

original. • Compose an original work based on work done for the Style Requirements that displays


1 Final Exams (proficiency exams) for these majors are always 15 minutes. String performance majors are the only majors taking a 30-‐minute proficiency exam for Level 3 and Level 4.



This page details the additional minimum proficiency requirements for students taking only 6 levels of Private Instruction (Students majoring in Music Education or Pro Music with a performance concentration.) 2 All requirements will be demonstrated in final exams (proficiency exams) or documented in private studies. All are to be executed with good tone, good intonation, and good time. Students must demonstrate proficiency in all requirements listed on page 2, plus the following: Technical Requirements • 2 octave whole tone scales in all keys • 2 octave symmetrical diminished scales in all keys • 8 measure phrase in all keys from memory • Voice led progressions with substitutions in all keys such as: • ii-‐7 / bii-‐7 / IM7 • bVI7 / V7 / IM7 Style Requirements (See Supplement for genre specific requirements.) Competence in one additional style (3 total) Creative Requirements Students must display proficiency in 3 items from this list: • Improvise over a blues using the blues scale. • Improvise on a tune learned for the Style Requirements. • Transcribe (learn by ear) a vocal part or solo learned for the Style

Requirements. • Arrange a piece learned for the Style Requirements for different

instrumentation. • Compose an original work based on work done for the Style Requirements that

displays musical and technical growth on the principal instrument.




This page details the additional minimum proficiency requirements for students majoring in Performance. All performance majors take 8 semesters of private instruction (PIST) and 6 semesters of recital preparation (RPST). The first two semesters, all students take a 50-‐minute PIST. Starting with the third semester, performance majors take one 30-‐minute PIST and one 30-‐minute RPST3 per semester. Proficiency Exams & Additional Performance Requirements Semester 1 – 15 minutes Semester 2 -‐ 15 minutes Semester 3 -‐ 30 minutes Semester 4 -‐ 30 minutes Semester 5 – 15 minutes plus Recital Workshop (ILRE-‐375) Semester 6 – 15 minute proficiency plus 15 minute jury representing pieces from your recital;



RPST-‐412 Performance majors must demonstrate proficiency in all requirements listed on pages 2-‐3, plus the following: Technical Requirements Choose 4 from Supplemental Technical Exercises List Style Requirements (See Supplement for genre specific requirements.) Competence in one additional style (4 total) Creative Requirements In 2 of the styles chosen to satisfy the Style Requirements Performance Major candidate must: o Transcribe o Arrange o Improvise o Compose o Create an accurate lead sheet o Display originality within each style o Display technical and musical growth as a player on principal instrument

3 PIs and RPs are taken sequentially; multiple levels of PIs (or RPs) may not be taken simultaneously. (i.e. you cannot take RPST-‐211 and RPST-‐212 during the same semester.)



Supplement – Style Studies Following are examples of minimum requirements for style studies in the String Department. Individual teachers may require additional assignments. The listed genres, works, and artists serve as examples, not limitations. For any given style, students are typically working on 2-‐3 tunes or movements per semester, though this number may vary according to genre and difficulty of repertoire. Classical music sample requirements • Etudes and Caprices by Campagnoli, Fuchs, Grützmacher, Kreutzer, Marteau, Paganini, Popper,

Rode • Bach unaccompanied Partitas, Sonatas, and Suites • Character pieces by Kreisler, Bartok, Schumann, • Meditation from Thais • Sonatas by Beethoven, Handel, Hindemith, Mozart, Ysaÿe, Rochberg, • Concertos by Bach, Bartok, Bruch, Bunch, Elgar, Glazunov, Harbison, Higdon, Lalo, Saint-‐Saëns,

Schumann, Viotti Walton, Wieniawski Roots music sample requirements Typical styles studies include • Learning several different regional variations of the same tune • Learning and transcribing different performers’ variations of the same tune such as: Tommy

Magness, Vassar Clemens, Kenny Baker, Tommy Jarrell, J.P. Fraley • Transcription • Idiomatic improvisation Old Time Country Music Suggested Requirements Old time music from the American south is the unique confluence of sounds from Scots, Irish, English, African and indigenous Americans. Before World War II and before mass media made everything available to most everyone, styles and repertoire were regional. The list could go on and on, but as a very minimum, tunes and songs would include some of the classic recorded examples such as: • William Hamilton Stepp (Kentucky) -‐ Ways Of The World • Violet Hensley (Arkansas) -‐ Uncle Henry • Benny Thomasson (Texas) -‐ Midnight On The Water • Tommy Jarrell (North Carolina) -‐ John Brown’s Dream • Camp Creek Boys (North Carolina) -‐ Fortune • Samantha Bumgarner and Eva Davis (North Carolina) -‐ Big Eyed Rabbit • Roscoe Holcomb (Kentucky) -‐ East Virginia Blues • Edden Hammons (West Virginia) -‐ Shaking Off The Acorns • Aunt Jenny Wilson (West Virginia) -‐ Georgia Buck • Murph Gribble, John Lusk & Albert York (Tennessee) -‐ Rolling River • The Georgia Yellowhammers (Georgia) -‐ Fourth of July At A County Fair • Hazel Dickens (West Virginia) -‐ Pretty Bird Jazz sample repertoire Fly Me to the Moon, All of Me, Autumn Leaves, Beautiful Love, I Hear a Rhapsody, Easy to Love, You and the Night and the Music, All the Things You Are, A Train, Satin Doll, Blue Bossa, Black Orpheus, Watermelon Man, Song for My Father, Waltz for Debby, Girl from Ipanema, How Insensitive, Corcovado. Artists studied may include: Stephane Grappelli, Jean-‐Luc Ponty, Dexter Gordon, Miles Davis, John Coltrane, Bill Evans, Horace Silver, Duke Ellington, Count Basie, Ella Fitzgerald, Dinah Washington, Chet Baker, Stan Getz, Paul Desmond, Antonio Carlos Jobim, Herbie Hancock, Louis Armstrong



Arabic music sample requirements Compositions may include works by Simon Shaheen, Muhammad A. Al Wahhab, Cemil Mesut, Baligh Hamdi, Ali Naghi Veziri, Rahbani Brothers, Muhammad Qassabji. Pieces may include Dance Mediterranean, Zeina, Khatwit Habibi, Samai Nehevent, Ansak, Interlude in the Circle of Fifths, Uyun Havasi, Blue Flame, Dukhtarak (Persian chahargah radif) Al Mahatta, Zikrayati, Tarnoveana, Traditional Turkish music. Hungarian music sample requirements: Dance music from Transylvania: violin, kontra viola, bass: Mezöség (Korcos, Akasztos, Lassu, Szökős, Friss) Kalotaszeg (Legenyes,Lassu, Szapora), Gyimes (Lassu Magyaros, Kettős Yartatoja, Keserves, Sebes Magyaros, Kerekes), Szek (Lassu, Negyes, Friss), Lorincreve: Lassu, Friss, Men’s dance, Szatmar: Lassu, Friss Musicians from Transylvania and Hungary: Kodoba brothers, Fodor “Neti” Sandor, Zerkula Janos, Okras Csaba, Muszikas, Sebastian Marta, etc. Klezmer music sample requirements Repertoire and genres may include: freylachs, bulgars, khosidls, doinas, niguns, shers, arab tanzes. Composers may include but not be limited to Dave Tarras, Naftule Brandwyne, and Abe Schwartz. Repertoire may also include tunes that are not attributed to any composer. Mediterranean music sample requirements Greek Islands: genres -‐ ballos, kalamatianos, karsilamas, hassaposervikos, rhoditikos, soustas, syrtos; musicians -‐ Stathis Koukoularis (Naxos), Giorgos Koros (Evia), Vangelis Zagoraios (Andros), Giorgos Bellis (Pythons), Barbarakis, Hadzopoulos (Naxos), Tsounias (Kalymnos), Zevgolis (Naxos), Xanthakis (Sifnos), Oikonomidis (Amorgos) Crete: genres-‐ kondylies maleviziotikos, pentozalis, sousta, syrtos; musicians -‐ Skorthalos, Kalogridis, Kostas Moudakis, Giorgos Avissinos, etc. Music from mainland Greece: violin, Macedonian lyra, Thracian lyra..Syrtos, Kalamatianos, Tsamiko, from Epiros: Skaros/Miroloi , Berati, Zagorisios,. Musicians-‐ Xronos Aidonidis, Kostas Kostasgiorgos, Petroloukas Chalkias, Achilleas Chalkias, Christos Zotos, Alexis Zoumbas, Kyriakos Gouvendas, etc. Smyrneika (Greek music from Asia Minor): (violin, octave-‐tuned violin) Politiki lyra: Zeibekiko, Tsiftetelli, Hasapiko, Karsilamas; musicians-‐ Andonis Dalgas, Dimitrios Semsis, Ogthondakis, Roza Eskenazi, Rita Abadzis, Lambros, Socrates Sinopolis Greek music from Pontos (Black Sea of Turkey): (violin) Pontiaki lyra: Dipat, Tik, Serenitsa, Halay, Diplo Omal, Kotsari, Yietierre, etc. ; musicians-‐ Alexis Parharithis, Christos Tiktapaidis, Giorgos Poulanzakis from Thrace: Zonarathidos, Mandilatos, Syngathistos from Macedonia: Berance, Raikos, Baidoushka, etc. Norwegian music: Norwegian hardingfele (hardanger fiddle and violin) music: Springar, Gangar, Halling, Pols, etc. Norwegian hardingfele musicians: Knut Buen, Hauk Buen, Sven Nyhus, Per Anders Buen Garnas, Hallvard T. Bjorgum



Supplement – Technical Exercises Technical exercises to fulfill graduation requirements may be chosen from but not limited to this list. • Etudes and Caprices • Microtonal modes • Microtonal sequences • Metric improvisation • LIMDAPL • Modal workout • Six qualities of 7th chords

(major 7, minor 7, dominant 7, minor 7 flat 5, diminished, minor-‐major 7) • Scales in double stops – 3rds, 6ths, octaves • Voice led double stop guide tones to standard jazz tunes: • Rhythm changes – single voice • Rhythm changes – double stops with good voice leading • Chopping with harmony • Comping

Berklee College of Music String Department MINIMUM Requirements – ACSTG

Most recent update: October 8, 2016

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Berklee has a long history of accepting and including diverse instruments and musical traditions. The designation “ACSTG” [acoustic string] was created to allow students to study principal instruments outside of western classical traditions. In recent years, instruments under the ACSTG designation have included banjo, kemancheh, lauto, mandolin, oud, Puerto Rican cuatro, qanun, and tamburica. Proficiency requirements for students studying a principal instrument in the ACSTG category naturally must be suitably adapted for the specific instrument,1 in collaboration with appropriate faculty and the Chair. That said, there are also specific technical, musical, stylistic, and creative concepts that are central to a Berklee education, and this document outlines those general requirements.

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1 NOTE: Banjo and mandolin principals should consult the specific minimum requirements for their instruments and use those as a guide, instead of this document. In time, other ACSTG instruments may also have their own independent documents.



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This page details the minimum proficiency requirements for students taking only 4 levels of Private Instruction (i.e. students majoring in Composition, CWP, EPD, Film Scoring, Jazz Comp, Music Business, MPE, Music Therapy, Pro Music without a concentration in performance, and Songwriting2). Proficiency in the following will be demonstrated in final exams (proficiency exams) or documented in private studies. All are to be executed with good tone, good intonation, and good time. Technical Requirements Scales and modes covering the full instrument range: Major, melodic minor, natural minor, harmonic minor, jazz minor scales in all keys All Greek modes (Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian) Blues scales in all keys Any idiomatic scales and modes related to the specific instrument and its traditional genres. Chord-‐voicings/Arpeggiated Chords in all keys: Perform voice-‐led arpeggios / progressions in all keys: Maj7 to dom7 min7 to dom7b9 ii-‐7 / V7 / IM7 ii-‐7b5 / V7b9 / i-‐7 Melodic and Harmonic exercises: 4 measure phrase in all keys from memory Arpeggiated chord changes to 2 standard jazz tunes Sight-‐reading Conversion to tablature, if appropriate Style Requirements (See Supplement for genre specific requirements.) • Student must display competence in 2 different styles. • Competence includes, but is not limited to, stylistically informed phrasing, articulation, vocabulary,

dynamics, ornamentation, vibrato and tone color. • 1 jazz standard including melody, guide tones and improvisation • 1 movement unaccompanied Bach • 2 – 3 contrasting pieces per semester TBD with PIST professor in each style. This number may be greater,

depending on level, the style chosen, and major. • Improvise, if stylistically appropriate. • Perform accompaniments Creative Requirements (Students must display proficiency in 3 items from this list) • Improvise over a blues using the blues scale. • Improvise on a tune learned for the Style Requirements. • Transcribe (learn by ear) a vocal part or solo learned for the Style Requirements. • Arrange a piece learned for the Style Requirements for different instrumentation than the original. • Compose an original work based on work done for the Style Requirements that displays musical and

technical growth on the principal instrument.




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This page details the additional minimum proficiency requirements for students taking only 6 levels of Private Instruction (Students majoring in Music Education or Pro Music with a performance concentration.) 3 All requirements will be demonstrated in final exams (proficiency exams) or documented in private studies. All are to be executed with good tone, good intonation, and good time. Students must demonstrate proficiency in all requirements listed on page 2, plus the following: Technical Requirements • whole tone scales in all keys, through the full range of the instrument • symmetrical diminished scales in all keys, through the full range of the instrument • eight-‐measure phrase in all keys from memory • additional chord-‐progressions and melodic / harmonic workouts, as assigned • additional technical and musical exercises as assigned Style Requirements (See Supplement for genre specific requirements.) Competence in one additional style (3 total) Creative Requirements Students must display proficiency in 3 items from this list: • Improvise over a blues using the blues scale. • Improvise on a tune learned for the Style Requirements. • Transcribe (learn by ear) a vocal part or solo learned for the Style Requirements. • Arrange a piece learned for the Style Requirements for different instrumentation. • Compose an original work based on work done for the Style Requirements that displays musical and





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This page details the additional minimum proficiency requirements for students majoring in Performance. All performance majors take 8 semesters of private instruction (PIST) and 6 semesters of recital preparation (RPST). The first two semesters, all students take a 50-‐minute PIST. Starting with the third semester, performance majors take one 30-‐minute PIST and one 30-‐minute RPST4 per semester. Proficiency Exams & Additional Performance Requirements Semester 1 – 15 minutes Semester 2 -‐ 15 minutes Semester 3 -‐ 30 minutes Semester 4 -‐ 30 minutes Semester 5 – 15 minutes plus Recital Workshop (ILRE-‐375) Semester 6 – 15 minute proficiency plus 15 minute jury (defined below) Semester 7 – 15 minute proficiency plus 30 minute pre-‐recital jury (defined below) Semester 8 – Recital only, no proficiency, provided that all other requirements have been met. Performance majors must demonstrate proficiency in all requirements listed on pages 2-‐3, plus the following: Technical Requirements Choose 4 from Supplemental Technical Exercises List Style Requirements (See Supplement for genre specific requirements.) Competence in one additional style (4 total) Creative Requirements In 2 of the styles chosen to satisfy the Style Requirements Performance Major candidate must: • Transcribe • Arrange • Improvise • Compose • Create an accurate lead sheet • Display originality within each style • Display technical and musical growth as a player on principal instrument JURIES: For the 6th semester jury, we expect 15 minutes of contrasting repertoire that you might want to perform for your senior recital, or for another recital you are doing. It’s a performance. Bring any collaborators, and put on a good show. Let us know of any tech needs ahead of time. While we encourage you to develop your vocal skills and abilities on other instruments, the jury should focus on your principal instrument. For the 7th semester jury, we expect to hear 30 minutes of your senior recital. The same general rules apply as 6th semester jury. Once you have passed, you are eligible to sign up for your senior recital for the concert office at this link: https://www.berklee.edu/concert-‐operations/senior-‐performance-‐major-‐concert-‐request

4 PI PIs and RPs are taken sequentially; multiple levels of PIs (or RPs) may not be taken simultaneously. (i.e. you cannot take RPST-‐211 and RPST-‐212 during the same semester.)



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Supplement – Style Studies Following are examples of minimum requirements for style studies in the String Department. Individual teachers may require additional assignments. The listed genres, works, and artists serve as examples, not limitations. For any given style, students are typically working on 2-‐3 tunes or movements per semester, though this number may vary according to genre and difficulty of repertoire. Classical music sample requirements Transcriptions of classical works originally written for other instruments (e.g. Bartok – Romanian Folk Dances; Bach: movements from sonatas, partitas, and suites; Monti – Czardas) Modern compositions written specifically for your principal instrument. Roots music sample requirements Typical styles studies include • Learning several different regional variations of the same tune • Learning and transcribing different performers’ variations of the same tune such as: Tommy Magness,

Vassar Clemens, Kenny Baker, Tommy Jarrell, J.P. Fraley • Transcription • Idiomatic improvisation Old Time Country Music Suggested Requirements Old time music from the American south is the unique confluence of sounds from Scots, Irish, English, African and indigenous Americans. Before World War II and before mass media made everything available to most everyone, styles and repertoire were regional. The list could go on and on, but as a very minimum, tunes and songs would include some of the classic recorded examples such as: • William Hamilton Stepp (Kentucky) -‐ Ways Of The World • Violet Hensley (Arkansas) -‐ Uncle Henry • Benny Thomasson (Texas) -‐ Midnight On The Water • Tommy Jarrell (North Carolina) -‐ John Brown’s Dream • Camp Creek Boys (North Carolina) -‐ Fortune • Samantha Bumgarner and Eva Davis (North Carolina) -‐ Big Eyed Rabbit • Roscoe Holcomb (Kentucky) -‐ East Virginia Blues • Edden Hammons (West Virginia) -‐ Shaking Off The Acorns • Aunt Jenny Wilson (West Virginia) -‐ Georgia Buck • Murph Gribble, John Lusk & Albert York (Tennessee) -‐ Rolling River • The Georgia Yellowhammers (Georgia) -‐ Fourth of July At A County Fair • Hazel Dickens (West Virginia) -‐ Pretty Bird Jazz sample repertoire Fly Me to the Moon, All of Me, Autumn Leaves, Beautiful Love, I Hear a Rhapsody, Easy to Love, You and the Night and the Music, All the Things You Are, A Train, Satin Doll, Blue Bossa, Black Orpheus, Watermelon Man, Song for My Father, Waltz for Debby, Girl from Ipanema, How Insensitive, Corcovado. Artists studied may include: Stephane Grappelli, Jean-‐Luc Ponty, Dexter Gordon, Miles Davis, John Coltrane, Bill Evans, Horace Silver, Duke Ellington, Count Basie, Ella Fitzgerald, Dinah Washington, Chet Baker, Stan Getz, Paul Desmond, Antonio Carlos Jobim, Herbie Hancock, Louis Armstrong



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Arabic music sample requirements Compositions may include works by Simon Shaheen, Muhammad A. Al Wahhab, Cemil Mesut, Baligh Hamdi, Ali Naghi Veziri, Rahbani Brothers, Muhammad Qassabji. Pieces may include Dance Mediterranean, Zeina, Khatwit Habibi, Samai Nehevent, Ansak, Interlude in the Circle of Fifths, Uyun Havasi, Blue Flame, Dukhtarak (Persian chahargah radif) Al Mahatta, Zikrayati, Tarnoveana, Traditional Turkish music. Hungarian music sample requirements: Dance music from Transylvania: violin, kontra viola, bass: Mezöség (Korcos, Akasztos, Lassu, Szökős, Friss) Kalotaszeg (Legenyes,Lassu, Szapora), Gyimes (Lassu Magyaros, Kettős Yartatoja, Keserves, Sebes Magyaros, Kerekes), Szek (Lassu, Negyes, Friss), Lorincreve: Lassu, Friss, Men’s dance, Szatmar: Lassu, Friss Musicians from Transylvania and Hungary: Kodoba brothers, Fodor “Neti” Sandor, Zerkula Janos, Okras Csaba, Muszikas, Sebastian Marta, etc. Klezmer music sample requirements Repertoire and genres may include: freylachs, bulgars, khosidls, doinas, niguns, shers, arab tanzes. Composers may include but not be limited to Dave Tarras, Naftule Brandwyne, and Abe Schwartz. Repertoire may also include tunes that are not attributed to any composer. Norwegian music: Norwegian hardingfele (hardanger fiddle and violin) music: Springar, Gangar, Halling, Pols, etc. Norwegian hardingfele musicians: Knut Buen, Hauk Buen, Sven Nyhus, Per Anders Buen Garnas, Hallvard T. Bjorgum Mediterranean music sample requirements Greek Islands: genres -‐ ballos, kalamatianos, karsilamas, hassaposervikos, rhoditikos, soustas, syrtos; musicians -‐ Stathis Koukoularis (Naxos), Giorgos Koros (Evia), Vangelis Zagoraios (Andros), Giorgos Bellis (Pythons), Barbarakis, Hadzopoulos (Naxos), Tsounias (Kalymnos), Zevgolis (Naxos), Xanthakis (Sifnos), Oikonomidis (Amorgos) Crete: genres-‐ kondylies maleviziotikos, pentozalis, sousta, syrtos; musicians -‐ Skorthalos, Kalogridis, Kostas Moudakis, Giorgos Avissinos, etc. Music from mainland Greece: violin, Macedonian lyra, Thracian lyra..Syrtos, Kalamatianos, Tsamiko, from Epiros: Skaros/Miroloi , Berati, Zagorisios,. Musicians-‐ Xronos Aidonidis, Kostas Kostasgiorgos, Petroloukas Chalkias, Achilleas Chalkias, Christos Zotos, Alexis Zoumbas, Kyriakos Gouvendas, etc. Smyrneika (Greek music from Asia Minor): (violin, octave-‐tuned violin) Politiki lyra: Zeibekiko, Tsiftetelli, Hasapiko, Karsilamas; musicians-‐ Andonis Dalgas, Dimitrios Semsis, Ogthondakis, Roza Eskenazi, Rita Abadzis, Lambros, Socrates Sinopolis Greek music from Pontos (Black Sea of Turkey): (violin) Pontiaki lyra: Dipat, Tik, Serenitsa, Halay, Diplo Omal, Kotsari, Yietierre, etc. ; musicians-‐ Alexis Parharithis, Christos Tiktapaidis, Giorgos Poulanzakis from Thrace: Zonarathidos, Mandilatos, Syngathistos from Macedonia: Berance, Raikos, Baidoushka, etc.



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• Etudes and technical studies • Metric improvisation • LIMDAPL • Modal workout • Six qualities of 7th chords

(major 7, minor 7, dominant 7, minor 7 flat 5, diminished, minor-‐major 7) • Scales in intervals (melodic and harmonic) and as double stops and / or chords • Voice-‐led guide tones to standard jazz tunes: • Rhythm changes – single voice • Rhythm changes – chords with good voice leading • Chopping with harmony • Comping

Berklee College of Music String Department MINIMUM Requirements -‐ Banjo


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This page details the minimum proficiency requirements for students taking only 4 levels of Private Instruction (i.e. students majoring in Composition, CWP, EPD, Film Scoring, Jazz Comp, Music Business, MPE, Music Therapy, Pro Music without a concentration in performance, and Songwriting1). Proficiency in the following will be demonstrated in final exams (proficiency exams) or documented in private studies. All are to be executed with good tone, good intonation, and good time. Technical Requirements Scales: Basic right-‐hand rolls 2 octave major, melodic minor, natural minor, harmonic minor, jazz minor scales in all keys:

melodic and single string styles 2 octaves all Greek modes (Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian) Harmonized scales in 3rds and 6ths in G, C and D 1st position major scales in G, C and D – melodic style Pentatonic positions and connections 2 octave blues scales in all keys

• Large major and minor arpeggios – M7, min7, dom7, M13, m13, m7b5, sus4, and dom7sus4 Chord-‐voicings/Arpeggiated Chords in all keys: I IV V7 I I VI ii-‐ V7 I i-‐ iv-‐ V7 i-‐ i-‐ vi-‐ ii-‐ V7 i-‐ 4 measure phrase in all keys from memory Arpeggiated chord changes to 2 standard jazz tunes Sight-‐reading / Conversion to tablature Style Requirements (See Supplement for genre specific requirements.)

• Student must display competence in 2 different styles. • Competence includes, but is not limited to, stylistically informed phrasing, articulation, vocabulary,

dynamics, ornamentation, vibrato and tone color. • Bluegrass (three finger only) • Must demonstrate a clear knowledge of the roll-‐based styles of Earl Scruggs and Bill Keith in regards

to interpretation of a vocal or fiddle melody, and the way in which the banjo is used in ensemble playing.

• Old-‐time (clawhammer only) • Must demonstrate a clear knowledge of the interpretation of a fiddle or vocal melody • 1 jazz standard including melody, guide tones and improvisation • 2 – 3 contrasting pieces per semester TBD with PIST professor in each style. This number may be

greater, depending on level, the style chosen, and major. • Improvise if stylistically appropriate. • Chop if stylistically appropriate.

Creative Requirements (Students must display proficiency in 3 items from this list) Improvise over a blues using the blues scale. Improvise on a tune learned for the Style Requirements. Transcribe (learn by ear) a vocal part or solo learned for the Style Requirements. Arrange a piece learned for the Style Requirements for different instrumentation than the original. Compose an original work based on work done for the Style Requirements that displays musical

and technical growth on the principal instrument.




This page details the additional minimum proficiency requirements for students taking only 6 levels of Private Instruction (Students majoring in Music Education or Pro Music with a performance concentration.) 2 All requirements will be demonstrated in final exams (proficiency exams) or documented in private studies. All are to be executed with good tone, good intonation, and good time. Students must demonstrate proficiency in all requirements listed on page 2, plus the following: Technical Requirements

• 2 octave whole tone scales in all keys • 2 octave symmetrical diminished scales in all keys • eight-‐measure phrase in all keys from memory • Voice led progressions with substitutions in all keys such as: • ii-‐7 / bii-‐7 / IM7 • bVI7 / V7 / IM7

Style Requirements (See Supplement for genre specific requirements.) Competence in one additional style (3 total) Creative Requirements Students must display proficiency in 3 items from this list:

• Improvise over a blues using the blues scale. • Improvise on a tune learned for the Style Requirements. • Transcribe (learn by ear) a vocal part or solo learned for the Style Requirements. • Arrange a piece learned for the Style Requirements for different instrumentation. • Compose an original work based on work done for the Style Requirements that displays musical

and technical growth on the principal instrument.




This page details the additional minimum proficiency requirements for students majoring in Performance. All performance majors take 8 semesters of private instruction (PIST) and 6 semesters of recital preparation (RPST). The first two semesters, all students take a 50-‐minute PIST. Starting with the third semester, performance majors take one 30-‐minute PIST and one 30-‐minute RPST3 per semester.

Proficiency Exams & Additional Performance Requirements Semester 1 – 15 minutes Semester 2 -‐ 15 minutes Semester 3 -‐ 30 minutes Semester 4 -‐ 30 minutes Semester 5 – 15 minutes plus Recital Workshop (ILRE-‐375) Semester 6 – 15 minute proficiency plus 15 minute jury representing pieces from your recital;



RPST-‐412

Performance majors must demonstrate proficiency in all requirements listed on pages 2 & 3, plus the following: Technical Requirements Choose 4 from Supplemental Technical Exercises List Style Requirements (See Supplement for genre specific requirements.) Competence in one additional style (4 total) Creative Requirements In 2 of the styles chosen to satisfy the Style Requirements Performance Major candidate must: • Transcribe • Arrange • Improvise • Compose • Create an accurate lead sheet • Display originality within each style • Display technical and musical growth as a player on principal instrument JURIES DEFINED: For the 6th semester jury, we expect 15 minutes of contrasting repertoire that you might want to perform for your senior recital, or for another recital you are doing. It’s a performance. Bring any collaborators, and put on a good show. Let us know of any tech needs ahead of time. While we encourage you to develop your vocal skills and abilities on other instruments, the jury should focus on your principal instrument. For the 7th semester jury, we expect to hear 30 minutes of your senior recital. The same general rules apply as 6th semester jury. Once you have passed, you are eligible to sign up for your senior recital for the concert office at this link: https://www.berklee.edu/concert-‐operations/senior-‐performance-‐major-‐concert-‐request




Supplement – Style Studies Following are examples of minimum requirements for style studies in the String Department. Individual teachers may require additional assignments. The listed genres, works, and artists serve as examples, not limitations. For any given style, students are typically working on 2-‐3 tunes or movements per semester, though this number may vary according to genre and difficulty of repertoire. Classical music sample requirements • Transcriptions of classical works for other instruments • Chamber music by Fleck, Meyer, Teirstein, Thile, Washburn • Concertos by Fleck, Meyer • Orchestral excerpts by Gershwin Roots music sample requirements Typical styles studies include • Learning several different regional variations of the same tune • Learning and transcribing different performers’ variations of the same tune such as: Tommy Magness,

Vassar Clemens, Kenny Baker, Tommy Jarrell, J.P. Fraley • Transcription • Idiomatic improvisation PLEASE NOTE: Banjo students should learn 1-‐2 pieces each semester from the following category: Contemporary Bluegrass/Acoustic Music Sample Requirements Instrumental compositions such as those by the following artists: • Bela Fleck (Drive; Tales from the Acoustic Planet) • David Grisman (David Grisman Quintet) • Chris Thile (Not All Who Wander Are Lost) • Darol Anger (Psychograss) • Edgar Meyer (Uncommon Ritual) • Tony Trischka Old Time Country Music Suggested Requirements Old time music from the American south is the unique confluence of sounds from Scots, Irish, English, African and indigenous Americans. Before World War II and before mass media made everything available to most everyone, styles and repertoire were regional. The list could go on and on, but as a very minimum, tunes and songs would include some of the classic recorded examples such as: • William Hamilton Stepp (Kentucky) -‐ Ways Of The World • Violet Hensley (Arkansas) -‐ Uncle Henry • Benny Thomasson (Texas) -‐ Midnight On The Water • Tommy Jarrell (North Carolina) -‐ John Brown’s Dream • Camp Creek Boys (North Carolina) -‐ Fortune • Samantha Bumgarner and Eva Davis (North Carolina) -‐ Big Eyed Rabbit • Roscoe Holcomb (Kentucky) -‐ East Virginia Blues • Edden Hammons (West Virginia) -‐ Shaking Off The Acorns • Aunt Jenny Wilson (West Virginia) -‐ Georgia Buck • Murph Gribble, John Lusk & Albert York (Tennessee) -‐ Rolling River • The Georgia Yellowhammers (Georgia) -‐ Fourth of July At A County Fair • Hazel Dickens (West Virginia) -‐ Pretty Bird



Jazz sample repertoire Fly Me to the Moon, All of Me, Autumn Leaves, Beautiful Love, I Hear a Rhapsody, Easy to Love, You and the Night and the Music, All the Things You Are, A Train, Satin Doll, Blue Bossa, Black Orpheus, Watermelon Man, Song for My Father, Waltz for Debby, Girl from Ipanema, How Insensitive, Corcovado. Artists studied may include: Stephane Grappelli, Jean-‐Luc Ponty, Dexter Gordon, Miles Davis, John Coltrane, Bill Evans, Horace Silver, Duke Ellington, Count Basie, Ella Fitzgerald, Dinah Washington, Chet Baker, Stan Getz, Paul Desmond, Antonio Carlos Jobim, Herbie Hancock, Louis Armstrong Gypsy Jazz Sample Tune List Minor Swing, Daphne, Swing 42, Nuages, Sweet Georgia Brown, There Will Never Be Another You, Djangology, Dark Eyes, Douce Ambiance, All of Me, Lady Be Good, What is This Thing Called Love, I've Found a New Baby, Limehouse Blues, Night and Day, Coquette, Blue Drag, J'Attendrai, Troublant Bolero, Tears, Tchavalo Swing Sample Celtic Style Studies At least two sets of tunes a semester demonstrating understanding of phrasing, ornamentation and slight melodic variations as appropriate to the chosen regional style. At least one of the sets should based on an aural (or written) transcription of an authentically traditional artist, to be determined by the student and instructor. Tunes may be drawn from artists such as the following: IRELAND Select Irish artists: Michael Coleman, John Doherty, Tommy Potts, , PJ Hayes, Patsy Touhey, James Keane, Willie Clancy, Padraic O Keefe, Julia Clifford and Dennis Murphy, Frankie Gavin, Tommy Peoples, Paddy Fahy, Bobby Casey, Martin Hayes, Liz Carroll, De Dannan, Bothy Band, Planxty, Chieftains, Sean O' Riada Select well-‐known Irish tunes: Boys of the Lough, Carolan's Concerto, Drowsy Maggie, The foxhunters, Jerry's Beaver Hat, The Kerfunken jig, Loftus Jones, Lord Macdonald, Man of the house, The Monaghan jig, The morning dew, Pigeon on the gate, The Rolling Wave, St Anne's reel, The Scholar, Si Bheag Si Mhor, The silver spear, Tommy Mulhair's, Woman of the house SCOTLAND Select Scottish Artists: Neil Gow, James Scott Skinner, William Marshall (1748-‐1833), Aly Bain, Douglas Lawrence, Tom Anderson, Phil Cunningham, Johnny Cunningham, Gordon Duncan, Pete Clark, Pipe Major Donald Macleod, Boys of the lough, Battlefield Band, The Tannahill Weavers, Fiddlers Bid, Charlie Mckerron, Blazing fiddles Select well-‐known Scottish tunes: Ale is Dear, Da Slockit Light, Donald Willie & His Dog, The Ewie wi the Crooked Horn, Full Rigged Ship / New Rigged Ship, High Road to Linton, Highlander's Farewell to Ireland, Jenny Dang the Weaver, MacArthur's Road, Niel Gow's Lament for the Death of his Second Wife, Hector the Hero, Ramnee Ceilidh, Roaring Barmaid , Spootaskerry



Funk, Rock, R & B, Hip-‐Hop, Pop, and other Contemporary Genres Typical style studies include arranging and performing songs (with or without singing) for solo unaccompanied instrument, or for solo instrument with live looping / pre-‐recorded tracks, or for small or large ensembles. Additional assignments include transcribing, memorizing, and transposing iconic solos; performing all aspects of the song (bass lines, comping, rhythms, etc.), building and sequencing new melodies from A list of representative artists whom students have chosen to study includes: Jeff Beck, Beyonce, Eric Clapton, Papa John Creach, Aretha Franklin, Lady Gaga, Jerry Garcia, Jerry Goodman, Don “Sugar Cane” Harris, Jimi Hendrix, Zoe Keating, Pink, Michael Jackson, Jean-‐Luc Ponty, Mahavishnu Orchestra, Daniel Bernard Roumain, Sia, Tracy Silverman, Kanye West, Stevie Wonder, as well as countless groups (Beatles; Coldplay; Earth, Wind, & Fire; Flobots; Grateful Dead; Junoon; Led Zeppelin; Muse; Parliament, etc.) Arabic music sample requirements Compositions may include works by Simon Shaheen, Muhammad A. Al Wahhab, Cemil Mesut, Baligh Hamdi, Ali Naghi Veziri, Rahbani Brothers, Muhammad Qassabji. Pieces may include Dance Mediterranean, Zeina, Khatwit Habibi, Samai Nehevent, Ansak, Interlude in the Circle of Fifths, Uyun Havasi, Blue Flame, Dukhtarak (Persian chahargah radif) Al Mahatta, Zikrayati, Tarnoveana, Traditional Turkish music. Hungarian music sample requirements: Dance music from Transylvania: violin, kontra viola, bass: Mezöség (Korcos, Akasztos, Lassu, Szökős, Friss) Kalotaszeg (Legenyes,Lassu, Szapora), Gyimes (Lassu Magyaros, Kettős Yartatoja, Keserves, Sebes Magyaros, Kerekes), Szek (Lassu, Negyes, Friss), Lorincreve: Lassu, Friss, Men’s dance, Szatmar: Lassu, Friss Musicians from Transylvania and Hungary: Kodoba brothers, Fodor “Neti” Sandor, Zerkula Janos, Okras Csaba, Muszikas, Sebastian Marta, etc. Klezmer music sample requirements Repertoire and genres may include: freylachs, bulgars, khosidls, doinas, niguns, shers, arab tanzes. Composers may include but not be limited to Dave Tarras, Naftule Brandwyne, and Abe Schwartz. Repertoire may also include tunes that are not attributed to any composer. Mediterranean music sample requirements Greek Islands: genres -‐ ballos, kalamatianos, karsilamas, hassaposervikos, rhoditikos, soustas, syrtos; musicians -‐ Stathis Koukoularis (Naxos), Giorgos Koros (Evia), Vangelis Zagoraios (Andros), Giorgos Bellis (Pythons), Barbarakis, Hadzopoulos (Naxos), Tsounias (Kalymnos), Zevgolis (Naxos), Xanthakis (Sifnos), Oikonomidis (Amorgos) Crete: genres-‐ kondylies maleviziotikos, pentozalis, sousta, syrtos; musicians -‐ Skorthalos, Kalogridis, Kostas Moudakis, Giorgos Avissinos, etc. Music from mainland Greece: violin, Macedonian lyra, Thracian lyra..Syrtos, Kalamatianos, Tsamiko, from Epiros: Skaros/Miroloi , Berati, Zagorisios,. Musicians-‐ Xronos Aidonidis, Kostas Kostasgiorgos, Petroloukas Chalkias, Achilleas Chalkias, Christos Zotos, Alexis Zoumbas, Kyriakos Gouvendas, etc. Smyrneika (Greek music from Asia Minor): (violin, octave-‐tuned violin) Politiki lyra: Zeibekiko, Tsiftetelli, Hasapiko, Karsilamas; musicians-‐ Andonis Dalgas, Dimitrios Semsis, Ogthondakis, Roza Eskenazi, Rita Abadzis, Lambros, Socrates Sinopolis Greek music from Pontos (Black Sea of Turkey): (violin) Pontiaki lyra: Dipat, Tik, Serenitsa, Halay, Diplo Omal, Kotsari, Yietierre, etc. ; musicians-‐ Alexis Parharithis, Christos Tiktapaidis, Giorgos Poulanzakis



from Thrace: Zonarathidos, Mandilatos, Syngathistos from Macedonia: Berance, Raikos, Baidoushka, etc. Norwegian music: Norwegian hardingfele (hardanger fiddle and violin) music: Springar, Gangar, Halling, Pols, etc. Norwegian hardingfele musicians: Knut Buen, Hauk Buen, Sven Nyhus, Per Anders Buen Garnas, Hallvard T. Bjorgum Romanian music sample requirements: Romanian folk music: Hora, Invertita, Doina, Geamparele, Sirba, Romanian musicians to study: Ion Dragoi, Alexander Titrus, Anatol Stefanen, Taraf de Haidouks Turkish music: Turkish classical music: violin, kemençe, bowed (yaylı) tanbur; Peşrev, Saz Semaisi, Sirto, Şarki, Koçekce, Taksims and Makam study, Sufi: Mevlevi Ayin, Ilahiler Turkish classical musicians: Ergin Kizilay, Cinuçen Tanrıkorur, Tanburi Cemil Bey, Ihsan Özgen, Fahrettin Cimenli, Izzetin Ökte, Cuneyd Orhon, Lalezar, Kemani Tatyos Effendi Turkish Roma music: violin, octave-‐tuned violin; Çiftetelli, Zeybek, Oyun Havasi, Karşilamas, etc. Turkish Roma musicians: Selim Sesler, Kemani Cemal, Kemani Ramazan, Laço Tayfa (Hüsnu Seniendirici), Sukru Tunar, Kemani Haydar Tatliyay, Kemani Ama Recep, Aleko & Yorgo Bacanos Turkish folk music: violin, kabak kemane, karadeniz kemence (from Black Sea): Zeybek, Syrtos, Kasap havasi, Karşilamas, Kaşik Havasi, etc.




• Etudes and technical studies • Metric improvisation • LIMDAPL • Modal workout • Six qualities of 7th chords

(major 7, minor 7, dominant 7, minor 7 flat 5, diminished, minor-‐major 7) • Scales in double stops and chords • Voice-‐led guide tones to standard jazz tunes: • Rhythm changes – single voice • Rhythm changes – chords with good voice leading • Chopping with harmony • Comping

Berklee College of Music String Department MINIMUM Requirements -‐ Mandolin


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This page details the minimum proficiency requirements for students taking only 4 levels of Private Instruction (i.e. students majoring in Composition, CWP, EPD, Film Scoring, Jazz Comp, Music Business, MPE, Music Therapy, Pro Music without a concentration in performance, and Songwriting1). Proficiency in the following will be demonstrated in final exams (proficiency exams) or documented in private studies. All are to be executed with good tone, good intonation, and good time. Technical Requirements Scales: 3 octave major, melodic minor, natural minor, harmonic minor, jazz minor scales in all keys up to 17th fret 3 octave major and minor triad arpeggios in all keys up to 17th fret 2 octave major and minor pentatonic scales in all keys Chromatic scale in 2 octaves 2 octave blues scales in all keys 2 octave scales in all Greek modes (Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian), LIMDAPL Chord-‐voicings/Arpeggiated Chords in all keys: Major, minor, augmented, diminished -‐ one form per inversion, strings 4-‐2 and 3-‐1 Progressions across strings and vertically on any adjacent string pairs Maj7 to dom7 Min7 to dom7b9 ii-‐7 / V7 / IM7 ii-‐7b5 / V7b9 / I-‐m7 4 measure phrase in all keys from memory 6 qualities of 7th chords in 2 octaves in all keys (M7, m7, minor 7b5, dim7, dom7, minor major7) 2 octave diminished and whole tone scales in all keys Arpeggiated chord changes to 2 standard jazz tunes Sight reading: single note melodies, as well as chords with rhythm slashes Style Requirements (See Supplement for genre specific requirements.) • Student must display competence in 2 different styles. Notation required for test team. • Competence includes, but is not limited to, stylistically-‐informed phrasing, articulation, vocabulary,

dynamics, ornamentation, vibrato and tone color. • 1 movement of unaccompanied Bach • 1 jazz standard including melody, guide tones and improvisation • 2 – 3 contrasting pieces per semester each style. This number may be more, depending on level, the

chosen style, and major. • Improvise, if stylistically appropriate. • Chop, if stylistically appropriate. Creative Requirements (Students must display proficiency in 3 items from this list): • Improvise over a blues using the blues scale. • Improvise on a tune learned for the Style Requirements. • Transcribe (learn by ear) a vocal part or solo learned for the Style Requirements. • Arrange a piece learned for the Style Requirements for different instrumentation than the original. • Compose an original work based on work done for the Style Requirements that displays musical and

technical growth on your principal instrument.

1 Final Exams (proficiency exams) for these majors are always 15 minutes. String performance majors are the only majors taking a 30-‐minute proficiency exam for Level 3 and Level 4.



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This page details the additional minimum proficiency requirements for students taking only 6 levels of Private Instruction (Students majoring in Music Education or Pro Music with a performance concentration.) 2 All requirements will be demonstrated in final exams (proficiency exams) or documented in private studies. All are to be executed with good tone, good intonation, and good time. Students must demonstrate proficiency in all requirements listed on page 2, plus the following: Technical Requirements • 3 octave diminished and whole tone scales to the 17th fret • 2 positions for any dominant 7 (tritone, plus two tensions) voicing (b9/#9 on either the 2nd or 1st string

and b5/#5/13 on remaining high string) • Chord-‐voicings – min7, min7b5, dom7sus4, dom7#5, dim7, M6, min6, M9, dom7b9, dom7#9b13 • 3 octave diminished and augmented arpeggios to the 17th fret • 3 octave diminished and augmented arpeggio in two positions for any dominant7 (tritone plus two

tensions) voicing (b9/9/#9 on either 2nd or 1st string and b5/5/#5/13 on remaining high string) • 8 measure phrase in all keys from memory • Voice-‐led progressions with substitutions in all keys such as: • ii-‐7 / bii-‐7 / IM7 • bVI7 / V7 / IM7 Style Requirements (See Supplement for genre specific requirements.) Competence in one additional style (3 total) Creative Requirements Students must display proficiency in 3 items from this list: • Improvise over a blues using the blues scale. • Improvise on a tune learned for the Style Requirements. • Transcribe (learn by ear) a vocal part or solo learned for the Style Requirements. • Arrange a piece learned for the Style Requirements for different instrumentation. • Compose an original work based on work done for the Style Requirements that displays musical and





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This page details the additional minimum proficiency requirements for students majoring in Performance. All performance majors take 8 semesters of private instruction (PIST) and 6 semesters of recital preparation (RPST). The first two semesters, all students take a 50-‐minute PIST. Starting with the third semester, performance majors take one 30-‐minute PIST and one 30-‐minute RPST3 per semester. Proficiency Exams & Additional Performance Requirements Semester 1 – 15 minutes Semester 2 -‐ 15 minutes Semester 3 -‐ 30 minutes Semester 4 -‐ 30 minutes Semester 5 – 15 minutes plus Recital Workshop (ILRE-‐375) Semester 6 – 15 minute proficiency plus 15 minute jury representing pieces from your recital;

the jury is also the final exam for RPST-‐312 Semester 7 – 15 minute proficiency plus 30 minute jury;

the pre-‐recital jury should represent half of your recital and is the final exam for RPST-‐411 Semester 8 – 60 minute Senior Recital only, no proficiency; the recital is also the final exam for RPST-‐412 Performance majors must demonstrate proficiency in all requirements listed on pages 2-‐3, plus the following: Technical Requirements Chords: M7, min7, dom7, min7b5, dom7sus4, dom7#5, dim7 – arpeggiate all inversions, all keys Choose 4 additional requirements from Supplemental Technical Exercises List Style Requirements (See Supplement for genre specific requirements.) Competence in one additional style (4 total) Creative Requirements In 2 of the styles chosen to satisfy the Style Requirements Performance Major candidate must: • Transcribe • Arrange • Improvise • Compose • Create an accurate lead sheet • Display originality within each style • Display technical and musical growth as a player on principal instrument




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Supplement – Style Studies Following are examples of minimum requirements for style studies in the String Department. Individual teachers may require additional assignments. The listed genres, works, and artists serve as examples, not limitations. For any given style, students are typically working on 2-‐3 tunes or movements per semester, though this number may vary according to genre and difficulty of repertoire. Classical music sample requirements • 2 movements or works per semester • Bach unaccompanied Sonatas and Partitas • Orchestral excerpts by Mahler, Mozart, Schoenberg • Sonatas by Beethoven, Scarlatti, • Concertos by Dorman, Hummel, Vivaldi, Thile Roots music sample requirements Typical styles studies include • Learning several different regional variations of the same tune • Learning and transcribing different performers’ variations of the same tune such as: Tommy Magness,

Vassar Clemens, Kenny Baker, Tommy Jarrell, J.P. Fraley • Transcription • Idiomatic improvisation Old Time Country Music Suggested Requirements Old time music from the American south is the unique confluence of sounds from Scots, Irish, English, African and indigenous Americans. Before World War II and before mass media made everything available to most everyone, styles and repertoire were regional. The list could go on and on, but as a very minimum, tunes and songs would include some of the classic recorded examples such as: • William Hamilton Stepp (Kentucky) -‐ Ways Of The World • Violet Hensley (Arkansas) -‐ Uncle Henry • Benny Thomasson (Texas) -‐ Midnight On The Water • Tommy Jarrell (North Carolina) -‐ John Brown’s Dream • Camp Creek Boys (North Carolina) -‐ Fortune • Samantha Bumgarner and Eva Davis (North Carolina) -‐ Big Eyed Rabbit • Roscoe Holcomb (Kentucky) -‐ East Virginia Blues • Edden Hammons (West Virginia) -‐ Shaking Off The Acorns • Aunt Jenny Wilson (West Virginia) -‐ Georgia Buck • Murph Gribble, John Lusk & Albert York (Tennessee) -‐ Rolling River • The Georgia Yellowhammers (Georgia) -‐ Fourth of July At A County Fair • Hazel Dickens (West Virginia) -‐ Pretty Bird Jazz sample repertoire Fly Me to the Moon, All of Me, Autumn Leaves, Beautiful Love, I Hear a Rhapsody, Easy to Love, You and the Night and the Music, All the Things You Are, A Train, Satin Doll, Blue Bossa, Black Orpheus, Watermelon Man, Song for My Father, Waltz for Debby, Girl from Ipanema, How Insensitive, Corcovado. Artists studied may include: Stephane Grappelli, Jean-‐Luc Ponty, Dexter Gordon, Miles Davis, John Coltrane, Bill Evans, Horace Silver, Duke Ellington, Count Basie, Ella Fitzgerald, Dinah Washington, Chet Baker, Stan Getz, Paul Desmond, Antonio Carlos Jobim, Herbie Hancock, Louis Armstrong



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Arabic music sample requirements Compositions may include works by Simon Shaheen, Muhammad A. Al Wahhab, Cemil Mesut, Baligh Hamdi, Ali Naghi Veziri, Rahbani Brothers, Muhammad Qassabji. Pieces may include Dance Mediterranean, Zeina, Khatwit Habibi, Samai Nehevent, Ansak, Interlude in the Circle of Fifths, Uyun Havasi, Blue Flame, Dukhtarak (Persian chahargah radif) Al Mahatta, Zikrayati, Tarnoveana, Traditional Turkish music. Hungarian music sample requirements: Dance music from Transylvania: violin, kontra viola, bass: Mezöség (Korcos, Akasztos, Lassu, Szökős, Friss) Kalotaszeg (Legenyes,Lassu, Szapora), Gyimes (Lassu Magyaros, Kettős Yartatoja, Keserves, Sebes Magyaros, Kerekes), Szek (Lassu, Negyes, Friss), Lorincreve: Lassu, Friss, Men’s dance, Szatmar: Lassu, Friss Musicians from Transylvania and Hungary: Kodoba brothers, Fodor “Neti” Sandor, Zerkula Janos, Okras Csaba, Muszikas, Sebastian Marta, etc. Klezmer music sample requirements Repertoire and genres may include: freylachs, bulgars, khosidls, doinas, niguns, shers, arab tanzes. Composers may include but not be limited to Dave Tarras, Naftule Brandwyne, and Abe Schwartz. Repertoire may also include tunes that are not attributed to any composer. Mediterranean music sample requirements Greek Islands: genres -‐ ballos, kalamatianos, karsilamas, hassaposervikos, rhoditikos, soustas, syrtos; musicians -‐ Stathis Koukoularis (Naxos), Giorgos Koros (Evia), Vangelis Zagoraios (Andros), Giorgos Bellis (Pythons), Barbarakis, Hadzopoulos (Naxos), Tsounias (Kalymnos), Zevgolis (Naxos), Xanthakis (Sifnos), Oikonomidis (Amorgos) Crete: genres-‐ kondylies maleviziotikos, pentozalis, sousta, syrtos; musicians -‐ Skorthalos, Kalogridis, Kostas Moudakis, Giorgos Avissinos, etc. Music from mainland Greece: violin, Macedonian lyra, Thracian lyra..Syrtos, Kalamatianos, Tsamiko, from Epiros: Skaros/Miroloi , Berati, Zagorisios,. Musicians-‐ Xronos Aidonidis, Kostas Kostasgiorgos, Petroloukas Chalkias, Achilleas Chalkias, Christos Zotos, Alexis Zoumbas, Kyriakos Gouvendas, etc. Smyrneika (Greek music from Asia Minor): (violin, octave-‐tuned violin) Politiki lyra: Zeibekiko, Tsiftetelli, Hasapiko, Karsilamas; musicians-‐ Andonis Dalgas, Dimitrios Semsis, Ogthondakis, Roza Eskenazi, Rita Abadzis, Lambros, Socrates Sinopolis Greek music from Pontos (Black Sea of Turkey): (violin) Pontiaki lyra: Dipat, Tik, Serenitsa, Halay, Diplo Omal, Kotsari, Yietierre, etc. ; musicians-‐ Alexis Parharithis, Christos Tiktapaidis, Giorgos Poulanzakis from Thrace: Zonarathidos, Mandilatos, Syngathistos from Macedonia: Berance, Raikos, Baidoushka, etc. Norwegian music: Norwegian hardingfele (hardanger fiddle and violin) music: Springar, Gangar, Halling, Pols, etc. Norwegian hardingfele musicians: Knut Buen, Hauk Buen, Sven Nyhus, Per Anders Buen Garnas, Hallvard T. Bjorgum Romanian music sample requirements: Romanian folk music: Hora, Invertita, Doina, Geamparele, Sirba, Romanian musicians to study: Ion Dragoi, Alexander Titrus, Anatol Stefanen, Taraf de Haidouks



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Turkish music: Turkish classical music: violin, kemençe, bowed (yaylı) tanbur; Peşrev, Saz Semaisi, Sirto, Şarki, Koçekce, Taksims and Makam study, Sufi: Mevlevi Ayin, Ilahiler Turkish classical musicians: Ergin Kizilay, Cinuçen Tanrıkorur, Tanburi Cemil Bey, Ihsan Özgen, Fahrettin Cimenli, Izzetin Ökte, Cuneyd Orhon, Lalezar, Kemani Tatyos Effendi Turkish Roma music: violin, octave-‐tuned violin; Çiftetelli, Zeybek, Oyun Havasi, Karşilamas, etc. Turkish Roma musicians: Selim Sesler, Kemani Cemal, Kemani Ramazan, Laço Tayfa (Hüsnu Seniendirici), Sukru Tunar, Kemani Haydar Tatliyay, Kemani Ama Recep, Aleko & Yorgo Bacanos Turkish folk music: violin, kabak kemane, karadeniz kemence (from Black Sea): Zeybek, Syrtos, Kasap havasi, Karşilamas, Kaşik Havasi, etc.



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• Etudes • Metric improvisation • LIMDAPL • Modal workout • Scales in double stops – 3rds, 6ths, octaves • Six qualities of 7th chords

(major 7, minor 7, dominant 7, minor 7 flat 5, diminished, minor-‐major 7) • Voice-‐led double stop guide tones to standard jazz tunes • Rhythm changes – single voice • Rhythm changes – double stops with good voice leading

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