Ithaca College

School of Music

Strings

PFMJ-10900 through PFMJ-45900 Violin I–V
— Major Instrument, Music Majors

PFMJ-10901 through PFMJ-20901 Violin I–II
— Major Instrument, Music Minors

PFMJ-10902 through PFMJ-30902 Violin I–III
— Secondary Instrument, Music Majors

Technique based on Carl Flesch Scale System: three-octave major and minor scales, arpeggios, chromatic scales, broken thirds, and selected one-string systems. Technical work on shifting and higher position playing, as well as bow technique covering détaché, martelé, staccato, and spiccato bow strokes. Representative études including Schradieck, Sevcik, Mazas, Whistler, and Kreutzer. Representative repertoire including concerti by Bach, Charles de Beriot, Pierre Rode, Ludwig Spohr, and Giovanni Viotti; solo sonatas and partitas by Bach; and sonatas by Handel, Corelli, Schubert, and Vivaldi.

Technique based on Carl Flesch Scale System and Ivan Galamian Contemporary Violin Technique. Continuation of all first-year technique with the addition of accelerated pattern for scales, all three-octave whole tone scales, double stops and all one-string systems. Continuation of bowing and shifting technique with emphasis placed on vibrato development. Representative études including Sevcik, Dont, Fiorillo, and Kreutzer. Representative repertoire including concerti by Mozart, Bruch, Lalo, Haydn, and Kabalevsky; solo sonatas and partitas by Bach; sonatas by Mozart, Dvorák, Beethoven, Schumann, and Leclair; and pieces by Kreisler, Bartók, and Beethoven.

Continuation of all previous technical work with the addition of harmonic octaves, thirds, and sixths. Representative études including Dancla, Dont, and Ricci. Representative repertoire including concerti by Mendelssohn, Wieniawski, Vieuxtemps, and Barber; solo sonatas and partitas by Bach; sonatas by Brahms, Ives, Tartini, Grieg, Fauré, and Beethoven; and pieces by Sarasate, Kreisler, Dvorák, and Vitali; and 20th-century works.

Continuation of all previous technical work. Representative études including Rode Caprices, Gavinies Studies, Paganini op. 14 and the 24 Caprices. Representative repertoire including concerti by Saint-Saëns, Khachaturian, Tchaikovsky, Sibelius, Vivaldi (Four Seasons), and Prokofiev; solo sonatas and partitas by Bach; sonatas by Franck, Copland, Brahms, and Debussy; pieces by Bloch, Vaughan Williams, Stravinsky, and other 20th-century works.

PFMJ-11100 through PFMJ-46100 Viola I–V
— Major Instrument, Music Majors

PFMJ-11101 through PFMJ-21101 Viola I–II
— Major Instrument, Music Minors

PFMJ-11102 through PFMJ-31102 Viola I–III
— Secondary Instrument, Music Majors

Basic technical work: posture, stretching, and strengthening exercises; principles of movement; Sevcik, op. 1, pt. 1, for left-hand fluency and efficiency; principles of string crossing; Sevcik, op. 2, pt. 3, for understanding right hand and arm actions; tonal development; Sevcik, op. 8, shifting exercises; vibrato exercises. Flesch, Scale System: three-octave scales, arpeggios, broken thirds, chromatics, and whole tone. Viola ensemble. Repertoire from Flackton and Marcello sonatas; Jacob, Sonatina; Bach, Suites; Telemann, concerto and fantasias; movements from Vaughan Williams suite. Mazas, Kayser, and Bruni studies. Repertoire classes through-out four years include discussions on performance practice; films such as Rolland, Galamian, and Primrose; teaching practice; musical awareness.

Continuation of technical work. Vibrato development; bowing techniques using Sevcik, op. 2, pt. 3; furtherance of fingerboard knowledge through Sevcik, op. 1, pt. 3; Flesch, Scale System, as before, adding new scales, arpeggios, and scales in double stops. Viola ensemble. Studies from Bruni, Rode, and Campagnoli. Repertoire from Stamitz; Zelter; Hoffmeister concertos; J. H. Roman, Assaggio; Bloch, Suite Hébraïque; Milhaud, Quatre Visages; Bach, Brandenburg Concerto no. 6.

Continuation of technical work. Flesch, Scale System, as before; new scales and arpeggios; emphasis placed on increasing technical facility. Viola ensemble. Studies from Rode; Campagnoli; Fuchs, Fifteen Characteristic Studies; Paganini, Sixty Variations, op. 14; Hermann, Technical Studies; Hoffmeister. Repertoire from Bach, Violin Sonatas and Partitas; Hindemith, op. 11, no. 4; Schumann, Märchenbilder; Milhaud, Sonata no. 1; Schubert, “Arpeggione” Sonata; Brahms, sonatas; 20th-century literature.

Continuation of all previous work; establishing secure technical facility. Flesch, Scale System;advanced bowing and left-hand techniques. Viola ensemble. Studies from Fuchs, Twelve Caprices; Hermann, Concert Studies; Dont, Études and Caprices, op. 35. Repertoire from Bartók; Walton; Hindemith; Jacob concertos; Vaughan Williams; Bloch and Reger suites; Bach, Violin Sonatas and Partitas; Brahms, sonatas; 20th-century literature.

PFMJ-11300 through PFMJ-46300 Cello I–V
— Major Instrument, Music Majors

PFMJ-11301 through PFMJ-21301 Cello I–II
— Major Instrument, Music Minors

PFMJ-11302 through PFMJ-31302 Cello I–III
— Secondary Instrument, Music Majors

Technique including seating position and holding instrument, bowing, use of left hand, scales, arpeggios, broken thirds through tenths, position-setting double stops, (i.e., Rowell position exercise, thumb position, and shifting development). Emphasis is placed on introduction of bowing types and techniques and the art of good practicing. Representative études including Lee, op. 31; Duport, Twenty-One Études; Grutzmacher, book I; Franchomme, 12 Caprices; Cossmann, Studies. Representative repertoire including sonatas of Vivaldi, Marcello, Corelli, and Eccles; Bach, Suites 1–3; pieces such as Fauré′s Elegy, Van Goens′s Scherzo; concerti of Saint-Saëns, Boccherini (B-flat), and Haydn (C Major).

Continued study of scales (four octaves), solid thirds, sixths, octaves. Bowing methods and types; principles of modern shifting; and practice habits. Representative études, such as Duport, Twenty-One Études, through Franchomme, Caprices (as above); Feuillard, Daily Exercises; Popper, High School of Cello Playing. Representative repertoire including Bach, Suites; Beethoven and Brahms sonatas; concerti of Elgar, C. P. E. Bach, and Kabalevsky; 20th-century pieces. Performance of solo and cello ensemble repertoire.

Continued study of scales, arpeggios, solid intervals as before, and fourths and fifths with various bowing. Representative études as before, and Kreutzer-Silva, 42 Études; Piatti, 12 Caprices. Representative repertoire including Bach, Suites; sonatas of Breval, Boccherini, Francouer, Beethoven, Brahms, Barber, Debussy, Rachmaninoff; concerti of Schumann; Tchaikovsky, Rococo Variations; Bloch, Schelomo. Performance of solo and cello ensemble repertoire.

Continued study of scales, etc., as above; Bazelaire arpeggios. Representative études including the above and Paganini-Siloa, 12 Caprices, and virtuosic solo pieces. Representative repertoire including suites; sonatas by Bach, Reger, Bloch; concerti by Locatelli, Bach, Beethoven, Brahms, Kodály, Shostakovich; Haydn; Dvorák (from list above); 20th-century pieces. Performance of solo and cello ensemble repertoire. (F-S)

PFMJ-11500 through PFMJ-46500 Double Bass I–V
— Major Instrument, Music Majors

PFMJ-11501 through PFMJ-21501 Double Bass I–II
— Major Instrument, Music Minors

PFMJ-11502 through PFMJ-31502 Double Bass I–III
— Secondary Instrument, Music Majors

Technique including one- and two-octave scales up to C in thumb position. Bowing patterns including one, two, and three in a bow. Complete study of Simandl, New Method for Double Bass, book 1, and Simandl, 30 Études. Studies from Sturm, 110 Studies, book 1. Solo repertoire chosen from sonatas by Marcello, Vivaldi, and others.

Technique including all scales in two and three octaves; chromatic scales and arpeggios. Bowing studies from Sturm, 110 Studies. Study of Simandl, New Method for Double Bass, book 2, and Storch-Hrabe, 57 Études. Solo repertoire chosen from works by Eccles, Koussevitzky, Dragonetti, and others.

Technique including all scales in two or three octaves with various rhythms and bowing patterns. Continued study of Simandl, New Method for Double Bass, book 2; Bille,New Method for Contrabass, part 2; Storch-Hrabe, 57 Études.Solo repertoire chosen from concerto repertoire of Koussevitzky, Vanhal, Cimador, and others.

Technique including all scales and arpeggios with bowings and rhythms. Études from all sources previously studied. Solo repertoire from any source including the Cello Suites of Bach, and works from all periods including the 20th century.

PFMJ-11700 through PFMJ-46700 Classical Guitar I–V
— Major Instrument, Music Majors

PFMJ-11701 through PFMJ-21701 Classical Guitar I–II
— Major Instrument, Music Minors

PFMJ-11702 through PFMJ-31702 Classical Guitar I–III
— Secondary Instrument, Music Majors

Technique: Scales (Segovia), scale playing in rhythmic patterns, arpeggios, slurs, trills, etc., studies by Milan, Besard, Sor, Aguado, Tarrega, Villa-Lobos, Barrios, etc.

Solo repertoire from 16th-century lutenists to contemporary composers, including da Milano, Narvaez, Milan, Cutting, Dowland, Corbetta, Sanz, Bach, Weiss, Sor, Giuliani, Aguado, Tarrega, Ponce, Turina, Moreno-Torroba, Rodrigo, Britten, and Berkeley.

Instruction in reading lute and baroque guitar tablatures; transcription of literature for keyboard, violin, cello, etc.; Renaissance and baroque ornamentation and performance practice; reading of figured bass and continuo playing.

PFMJ-11900 through PFMJ-46900 Jazz Guitar I–V
— Major Instrument, Music Majors

PFMJ-11901 through PFMJ-21901 Jazz Guitar I–II
— Major Instrument, Music Minors

PFMJ-11902 through PFMJ-31902 Jazz Guitar I–III
— Secondary Instrument, Music Majors

Technique: scales, modes, melodic minor scale and modes, arpeggios, chord vocabulary, picking, patterns, chord superimposition, chord melody playing, rhythm guitar, comping, and improvisation. Solo repertoire from 1900 to the present. Standards, jazz tunes, pop and rock tunes, etc. Emphasis is placed on style periods and idiomatic playing.

PFMJ-16300 through PFMJ-49500 Electric Bass I–V
— Major Instrument, Music Majors

PFMJ-16301 through PFMJ-26301 Electric Bass I–II
— Major Instrument, Music Minors

PFMJ-16302 through PFMJ-36302 Electric Bass I–III
— Secondary Instrument, Music Majors

Basic chord progressions and harmonic motion; nomenclature, arpeggios (triadic and 7th chords); standard cadential formulas; basic technique; holding position; types of right-hand strokes (“rest stroke” and “free stroke”); major scales in 12 keys; modes of the major scale; bass-line building and construction; fast-moving chord changes; longer-value chord progressions; two-beat and “walking” four-beat styles; rhythm changes; tune repertoire, both melodically and in terms of bass line.

More complex harmonic motion tune types; basic substitute chords and implied harmonies; continuation of technical devices; 9th chords; 11th chords; 13th chords; time feel; introduction of other styles, e.g., samba, mambo, 8th-note, 16th-note, “rock”; more tune repertoire; more line construction, transcribing; modal harmony.

Soloing; modes and altered scales for improvisation; more advanced substitute chord changes; blues progressions and altered chord changes; longer duration chord changes; patterns and arpeggios; harmonic cycles; standard introduction and endings.

Advanced key relationship tunes; slap-thumb technique; contemporary bass styles in pop music; minor key chord progressions; advanced tune repertoire; flat nine chords in soloing; diminished scale usage; fast tempi.