2011 - 2012 SJG Handbook

Srudio/Jazz Guirar
Deparrmenr
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2011 2012

SJG Handbook 11-12.doc - 1 -

TaLle of Conrenrs

General Information............................2
Thornton Administration
Studio/Jazz Guitar Department
Thornton Admission & Student AIIairs
Advisement: Academic Advisement & Registration
Student Directory InIormation
Music Operations

Thornton School of Music & Department Requirements..............3
Operations Locker Policies
Music Graduate Entrance Exams |MGEEs|
Guitar PerIormance Placement Exams
Classical Guitar Requirements
Classical Guitar Events
Music Notation Requirements
Class Participation
Private Lesson Policy
Studio Jazz Guitar Department Masters Comprehensive Exam
Studio Jazz Guitar Studio Usage Policies

Performance Workshops..........................................................................................................5
Guidelines

Barrier Levels...............................6
Undergraduate Barrier Levels
Graduate Barrier Levels

End of Semester 1uries...........................10
Jury Requirements

Recital Guidelines................................11
Pre-recital Jury
Recital Preparation
Recital Checklist
Junior Recital
Senior Recital
Masters Recital
DMA Recital

Recommended Programs of Study.......................18
PerIormance DMA a students advice


GENERAL INFORMATION

Thornron Adminisrrarion
Music Faculty Building (MUS) 402, 213-740-5389
Dr.Robert Cutietta, Dean
Jeffrey de Caen, Associate Dean for Operations & Facilities Planning LPB 109
Dr. Debora Huffman, Associate Dean for Doctoral Programs MUS 402
Susan Lopez, Associate Dean for Administration & Finance MUS 402
Christopher Sampson, Associate Dean, Division of Popular Music and Industry Studies LPB 118
Phillip Placenti, Assistant Dean for Admission & Student Affairs LPB 200

Srudio/Jazz Guirar Deparrmenr
Marcia Lucas Production Building (LPB) 118, 213-740-7399; guitarusc.edu
Frank Potenza, Department Chair
Lika Dozier, Department Coordinator
Website www.usc.edu/music/programs/jazzguitar
This oIIice coordinates the activities oI the Studio/Jazz Guitar Department. Students will need to come to this oIIice
Ior various reasons throughout the year, including Department Clearance Ior classes, Pre-Recital & Recital
scheduling and Jury scheduling.

Faculry Office Locarions
Frank Potenza LPB 131
Adam del Monte LPB 108
Bruce Forman LPB 108
Pat Kelley LPB 110
Tim Kobza LPB G117
Richard Smith LPB 106
Nick Stoubis MUS 102a
Steve Trovato LPB 110
Carl Verheyen LPB 110

Thornron Admission & Srudenr Affairs
Marcia Lucas Production Building (LPB) 200, 213-740-4721
Phillip Placenti, Assistant Dean for Admission & Student Affairs
The OIIice oI Student AIIairs serves as a liaison between the Thornton School oI Music and the University.
Academic records oI all music students are kept in this oIIice. They can help you with questions regarding
registration, placement tests and other questions pertaining to your academic records. All students must request a
degree check during the semester prior to their last at USC to ensure that all required classes would have been taken
by the anticipated graduation date.
Advisemenr: Academic Advisemenr and Regisrrarion
Marcia Lucas Building (LPB) 200, 213-740-4721
Debra Penberthy, Director of Student Affairs & Studio/Jazz Guitar Advisor dpenbert@usc.edu
Debra Penberthy is the academic advisor Ior the Studio/Jazz Guitar department. She will advise on curriculum,
transIer credits, petitions, course substitutions, leaves oI absence and any other academic issues. Contact her oIIice
to schedule an appointment to discuss courses to be taken Ior each semester. She will advise and instruct as to what
special D clearances might be needed. AIter her oIIice has entered the course inIormation, you may register Ior the
semester online or go in person to Registration. AIter registering, either print out at your computer or pick up
conIirmation listing your classes and the amount due in Iees & tuition at the Registration building.

Srudenr Direcrory Informarion
At the beginning oI the school year all students must complete an inIormation sheet that is kept on Iile in the
Department oIIice. Local addresses and phone numbers are needed. Names and phone numbers will be compiled
onto a student list. It is very important that you inform the office of any changes of address or telephone
number. This also ensures that the Guitar oIIice will be able to reIer students Ior perIormance jobs &
opportunities, iI the student opts Ior their inIormation to be available to the public.

Music Operarions
Booth Memorial Hall (BMH) 101, 213-740-6444
Website www.usc.edu/music/musops
Jeffrey de Caen, Associate Dean for Operations & Facilities Planning
Jennifer Ching, Office Manager
This oIIice handles locker assignments, room reservations and keys and cardkey access Ior practice rooms. All
music students must register with Music Operations at the start oI every year to ensure ability to access University
Gateway practice Iacilities with USCard. Please be sure to bring a printed copy oI Registration ConIirmation to
expedite the process.

THORNTON SCHOOL OF MUSIC & DEFARTMENT REQUIREMENTS

Operarions Locker Folicies
Availability
During the Iirst week oI classes, locker checkout is limited to music majors Ior their primary instrument only. (For
example: guitar perIormance majors will qualiIy Ior a guitar-sized locker. Pianists and vocalists qualiIy Ior a book-
sized locker.) Beginning with the second week oI classes, locker assignments are open to non-majors as well as
majors who would like a secondary or larger locker. Anyone unable to secure a locker, may request to be put on a
waiting list Ior the next available locker.

Checkout Process
Locker assignment begins at 7:00am on the Iirst day oI classes, each Fall Semester in Ramo Recital Hall (BMH
100). Plan ahead. Locker availability is limited. To check out a locker, students must have a current music sticker on
their USCard. Sticker and locker registration may be done simultaneously the Iirst day oI class.

Checkout Terms and Conditions
Lockers are provided as a service to the students; USC Thornton School oI Music accepts no responsibility Ior the
contents, students use at their own risk. Students must provide their own locks, to be placed on lockers within one
week oI checkout. Failure to do so will result in the locker being reassigned. Locker assignments are academic-year-
long reservations. Students must clear all contents Irom lockers and remove their locks by the last day oI spring
semester Iinals. AIter the last day oI spring semester Iinals, locks will be cut oII and contents will be submitted to
the USC Lost & Found, located at the Department oI Public SaIety oIIice on the Iirst Iloor oI Parking Structure A.
Any damage to any lockers will result in a loss oI privileges.

Music Graduare Enrrance Exams - MGEEs
All new transIer and graduate students must take these entrance exams to determine their placement in various
areas. All graduate students must complete the MGEEs within their Iirst year oI attendance, no exceptions. The
exams you will take are:
Theory and Analytical Techniques Aural Skills
Instrumental Conducting Music History and Literature online only
Orchestration
TransIer students must take the exams oIIered in the areas in which they have had previous course work. They will
be notiIied oI the level oI each course in which to register based on the results oI the exams. Graduate students
must pass all exams or take the appropriate review classes. Contact the Office of Music Student Affairs, for
more information and a list of source material for study purposes.

Guirar Ferformance Flacemenr Exam
A PerIormance Exam will be given to ALL incoming BM, MM and DMA students. Students may be advised to take
appropriate courses Ior review oI Iundamentals. Exam may include: Working knowledge oI harmonic and melodic
minor modes, arpeggios and harmonic usage, 7
th
Chord inversions and application in all keys, on all string sets,
classical repertoire selections and sight reading. See Department Calendar or contact the guitar office for time
and location.

Classical Guirar Requiremenrs
All incoming undergraduate and graduate students must take a minimum oI 1 unit (1/2 hour per week) oI classical
guitar lessons per semester. IMPORTANT: This is in addition to the required 2 units oI private study (MPGU x53)
within the Studio Guitar program. Request D clearance Ior MPGU 301/501 Irom MUS 304 noting ProIessor del
Monte as your individual instructor. If students opt to test out of the Classical Guitar requirement, please see
Professor del Monte or Professor Potenza.
Program oI study:
Arpeggios
x Excerpts Irom Giuliani 120 Studies Ior the Right Hand
x Brazilian & AIro-Cuban right hand studies, (Bossa, Samba, Cha-Cha, Mambo)
x Alternate Bass & syncopated right hand studies, 3 Iinger rolls (a la Chet Atkins)
x Walking Bass right hand studies
x Jimmy Wyble right hand studies
x Tremolo patterns & studies Ior the right hand Scales
x Segovia Diatonic Major & Minor scales with the traditional right hand rest stroke & Iree stroke
combinations
x Three to a string patterns using right hand three Iinger combinations, "m, i & p"
x Position scales using "p & i"with melodic patterns
x Open string scale patterns also using "m, i, & p"
x Flamenco (Solea, Alegria, Seguiriya)
x Learn & develop basic strumming patterns, "Rasgueado technique"
x Accompany a standard using the Rhumba pattern

Repertoire: Each student, in addition to the technical studies listed above, will learn three pieces oI repertoire each
semester. The repertoire will be determined by the student's individual need but will generally be derived Irom
these sources or equivalents:
x Carcassi25 Progressive Studies Ior Guitar, Op 60
x Sor20 Studies Ior Classical Guitar (Segovia Edition)
x Aguado25 Studies Ior Guitar
x BrouwerEtudes Simples
x SagrerasEtudes volumes 1-6

Classical Guirar Evenrs
Throughout the year, the Classical Guitar Department plays host to some oI the world's outstanding perIormers in a
perIormance/master class environment. These guests have included Dusan Bogdanovich, David Leisner, Denis
Azabagic, Manuel Barreueco, Christopher Parkening, Pepe Romero, members oI the L.A. Guitar Quartet and
Maestro Andres Segovia. You are highly encouraged to attend these events. In some instances your private
instructor may require your attendance.

Music Norarion Requiremenrs
Guitar Department assignments must be completed using music notation soItware such as Sibelius, Finale or any
other comparable soItware. It is strongly advised that you own one of these programs and are fluent in its use.
II you do not have this soItware on your own personal computer, Finale soItware is available at the 24-hour ITS
(InIormation Technology Services) computer labs located on campus. These lab locations include King Olympic
Hall (KOH), Leavey Library (LVL), Henry Salvatori Computer Science Center (SAL) and Waite Phillips Hall oI
Education (WPH).

Class Farriciparion
Outside perIormance work is not considered a valid excuse Ior missing classes, perIormances, workshops, recitals
and ensemble rehearsals. Only by prior arrangement with the class instructor may a student miss school activities
due to outside work. Any missed assignments must be made up immediately upon student's return. School
attendance and participation must be your number one priority.


Frivare Lesson Folicy
Students will be assigned a private instructor at the beginning oI the year. A diIIerent instructor is commonly
assigned to the student each year. This aIIords the student the opportunity to study with most oI the Iaculty in Iour
years` time. Changing teachers mid-year is not allowed except in the case oI mutual pupil, teacher and Department
Chair agreement.

Srudio Jazz Guirar Deparrmenr Masrers Comprehensive Exam
All graduating Masters Candidates are required to take Graduate Exit Exams prior to graduation during the
Candidate`s Iinal Jury. Exit Exams will be administered twice each school year in December & May. Exam dates
will be published in the Department Calendar, available at the beginning oI each semester. The exam will consist oI
two main sections: written and oral. The written portion oI the exam Iocuses on the Candidate`s historical and
theoretical knowledge via score identiIication, analysis and composer identiIication oI the Barrier repertoire
required throughout the Candidate`s matriculation. The oral portion oI the exam will address questions concerning
proIessional goals and strategy. A Candidate could be asked, Ior example, to brieIly review the most important
methods Ior promoting oneselI and Iinding success in the Iield oI contemporary guitar perIormance and teaching.

For additional inIormation, see Department Chair Frank Potenza.

Srudio Jazz Guirar Faciliries Usage Folicies
Please note that MUS 101 and the recording studio adjacent to the MUS 101 classroom, are OFF LIMITS to all
students EXCEPT those who have received permission Irom either ProIessor Frank Potenza or Richard Smith.
Otherwise, the Iacilities are only to be used during class with the supervision oI the instructor.

FERFORMANCE WORKSHOFS

Studio/Jazz Guitar PerIormance Workshops are held two times each semester, in roughly the 7th and 13th weeks.
PerIormance Workshop dates are listed in the Department Calendar, which is distributed at the beginning oI each
semester. Workshop Repertoire Forms will be distributed to private instructors and posted Ior pickup at MUS 101.
It is the students` responsibility to select their repertoire and have the Iorm signed by the private instructor.

These workshops provide the student with an opportunity to exhibit their semester's work in progress. This is a vital
aspect oI the student's perIorming experience within the department and attendance by both undergraduate and
graduate students is mandatory. All students must arrive at the starting time of the workshop and remain in
the room for the duration in support of the other performances. The order of performances will be decided
upon and announced by the attending faculty. Unexcused absences will result in the reduction of one letter
grade from the private instruction grade. IMPORTANT: All majors (BM, BA, MM, DMA) enrolled at USC
must perform and participate in two workshops each semester, regardless of private lesson or Studio/1azz
Guitar Department course enrollment status.

Guidelines
x Private instructor must approve the selection and sign the Workshop Form
x Dress appropriately. 1eans, shorts, tee shirts, sandals and hats are NOT acceptable attire. At the
discretion oI the Iaculty, perIormance opportunity may be denied due to inappropriate attire
x Freshmen and sophomores must perIorm in pairs
x Student perIormance slots are decided on a Iirst come Iirst served basis (no exceptions) as the signed
Workshop Forms are turned in to Iaculty supervisor in MUS 101 upon arrival.
x All perIormance selections must be approved by the private instructor one week prior to the workshop
date
x Failure to perIorm will result in a one letter grade reduction Irom the private instruction grade
x PerIormances shall not exceed Iive minutes in length
x Arrangements and appropriate parts must be provided by every perIormer Ior each member oI the
rhythm section (and any additional ensemble members)
x There will be no bass solos unless speciIically requested by the private instructor

x Attendance is mandatory from start to finish. In Iairness to perIormers with later time slots it is
required that all students remain in attendance Ior the entire program to provide audience support.
x Repertoire should be Irom private lessons, classroom, or recitals unless other repertoire is approved by
the private instructor
x Singing is allowed & encouraged, however, guitar playing should still be the major component oI the
perIormance
x PerIormance is required regardless oI private lesson or Guitar department course enrollment status
x Faculty members in attendance will comment on an evaluation Iorm and a copy oI that Iorm will be
available to the perIormer. The original copy oI the Iorm will be kept on Iile and reviewed at juries. At
that time it will be decided whether the PerIormance Workshop perIormances were satisIactory or
warrant a demerit Irom the Private Lesson grade, not to exceed one Iull letter grade.

BARRIER LEVELS

Failure to satisIactorily complete one oI the semester barrier requirements will result in a one letter grade demerit.
(NOTE: a minimum grade oI 'B is required Ior passing courses in the student`s major.)

ATTENTION: All new students (Freshmen, transIer students and new Graduate students) must purchase the
Iollowing Iakebooks by the Iirst week oI classes regardless oI level:

The Real Book - Sixth Edition
The New Real Book Volumes 1, 2, and 3
Published by Sher Music, Petaluma, CAavailable at the USC bookstore, Hollywood Sheet Music
(www.hollywoodsheetmusic.com) or online at www.jazzbooks.com
``Always defer to the New Real Book versions of all Barriers for accuracy

Transposition Requirement:
All students must be able to play the current required barrier selections in the correlating transpositions:

Fall odd years (11/`13) up 4th, Fall even years (12/-14) up 1 step
Spring odd years (13) down minor 3rd, Spring even years down 4th (12), except those indicated as
common transposition keys in the barrier list.

COMPREHENSIVE RETENTION OF ALL BARRIER REPERTOIRE IS MANDATORY.
Grade demerits and recital holds will be enIorced.
**The Transposition requirement does not apply to the comprehensive repertoire requirement.

Undergraduare Barrier Levels
FRESHMAN 1
st
SEMESTER
1) All Diatonic major, minor, pentatonic, augmented and diminished scales and modes, in all keys and registers
2) The Iollowing repertoire memorized and styles assimilated:
a. Mercy Mercy Mercy JoseI Zawinul - Bb
b. Sudden Samba Neil Larsen
c. Take the 'A Train Duke Ellington
d. Bluesette Jean 'Toots Thielemans (Bb and G)
e. Cantaloupe Island Herbie Hancock
I. Norwegian Wood John Lennon/Paul McCartney
g. Billie`s Bounce Charlie Parker
h. Blue Bossa Kenny Dorham
i. Summertime George Gershwin
j. Chitins` Con Carne Kenny Burrell
3) Attendance oI Iive Thornton School oI Music recitals (any instrument). Must have prooI oI attendance
(programs, ticket stubs, cash receipts).
4) ProoI oI purchase oI all Iakebooks; bring to Jury.

FRESHMAN 2
nd
SEMESTER

1) Comprehensive retention oI all Iirst semester materials, songs, studies, exercises and transcriptions
2) The Iollowing songs and styles memorized, mastered in the original key and in the correlating transposition (see
transposition requirement)
a. It Could Happen To You Jimmy Van Heusen
b. Tune Up Miles Davis
c. Autumn Leaves Johnny Mercer (Em and Gm)
d. Tune 88 JeII Lorber
e. Straight, No Chaser Thelonious Monk
I. Black Orpheus Luis BonIa
g. Sugar Stanley Turrentine
h. Phase Dance Pat Metheny
i. Chameleon Herbie Hancock
j. Isn`t She Lovely Stevie Wonder

4) Attendance oI Iive Guitar Department recitals
5) Comprehensive retention oI all Iirst semester barrier repertoire
6) Leave Guitar Department loaner guitars at jury

SOPHOMORE 1
st
SEMESTER
1) All Ireshman barrier repertoire
2) Memorize and perIorm Irom memory, all songs listed below, mastered in the original key and in the correlating
transposition:
a. Someday My Prince Will Come Frank Churchill (Bb and F)
b. Honeysuckle Rose F/Scrapple Irom the Apple Charlie Parker
c. All the Things You Are Jerome Kern
d. I Got Rhythm/ Bb &Anthropology Charlie Parker/Dizzy Gillespie
e. I Can`t Help It Stevie Wonder/Susaye Greene
I. There Is No Greater Love Marty Symes/Isham Jones
g. There Will Never Be Another You Harry Warren/Mack Gordon
h. Cissy Strut The Meters
i. Little Wing Jimi Hendrix
j. Yesterday Lennon/McCartney
3) Classical selection(s) See ProIessor Del Monte
4) Attendance oI Iive Thornton recitals

SOPHOMORE 2
nd
SEMESTER
1) The Iollowing compositions in the original key and in the correlating transposition:
a. How Insensitive Antonio Carlos Jobim (Dm & Bm)
b. Donna Lee Charlie Parker (Ab) /Back Home Again in Indiana - Ballard MacDonald/James F. Hanley (F)
c. Alone Together Dietz/Schwartz
d. Body and Soul Johnny Green
e. Days oI Wine and Roses Henry Mancini (F and Ab)
I. On Green Dolphin Street Kaper/Washington (C and Eb)
g. And I Love Her John Lennon/Paul McCartney
h. Bright Size LiIe Pat Metheny
i. Don`t Know Why Jesse Harris
j. This Masquerade Leon Russell
2) Classical selections see ProIessor Del Monte

JUNIOR 1
st
SEMESTER
1) Memorization oI the Iollowing songs in the original key and in the correlating transposition:
a. Triste Antonio Carlos Jobim (Bb and A)
b. What is This Thing Called Love Cole Porter
c. Unit Seven Sam Jones
d. Here`s That Rainy Day Jimmy Van Heusen/Johnny Burke
e. My Cherie Amore Steve Wonder
I. Just Friends John Klenner/Sam Lewis (G and F)

g. Emily Johnny Mandel/Johnny Mercer (C) `NOTE: NOT the New Real Book Version`
h. James Pat Metheny
i. What`s Goin` On Marvin Gaye
j. Put it Where You Want It Joe Sample
2) Attendance oI Iive Thornton School oI Music recitals
3) Comprehensive memorization oI all Ireshman and sophomore barrier repertoire

JUNIOR 2
nd
SEMESTER
a. Cherokee Ray Noble
b. Once I Loved Antonio Carlos Jobim (F and C)
c. I Love You Cole Porter
d. I Should Care Cahn/Stordahl/Weston
e. Wave Antonio Carlos Jobim
I. Amazing Grace John Newton
g. Joy Spring CliIIord Brown
h. Georgia On My Mind Hoagy Carmichael
i. The Chicken Jaco Pastorius
j. Something in the Way She Moves George Harrison
3) Comprehensive memorization oI all Ireshman, sophomore and junior barrier repertoire

SENIOR 1
st
SEMESTER
a. Giant Steps John Coltrane
b. Have You Met Miss Jones Richard Rodgers/Lorenz Hart
c. Dolphin Dance Herbie Hancock
d. The Song Is You Jerome Kern
e. Stella by Starlight Victor Young
I. Four on Six John L. 'Wes Montgomery
g. Here There and Everywhere John Lennon/Paul McCartney
h. Revelation Russell Ferrante
i. Tears in Heaven Eric Clapton
j. Don`t Let Me Be Lonely Tonight James Taylor
2) Attendance oI Iive Thornton recitals, and three Los Angeles area jazz perIormances in nightclub, Iestival or
concert locations (with prooI oI attendance)
3) Comprehensive memorization oI all Ireshman, sophomore and junior barrier repertoire
4) Classical pieces see ProIessor Del Monte

SENIOR 2
nd
SEMESTER
a. Moment`s Notice John Coltrane
b. 'Round Midnight Thelonious Monk
c. Invitation Bronislau Kaper
d. Whisper Not Benny Golson
e. Ceora Lee Morgan
I. Samba de Orpheus Luis BonIa
g. Change the World BabyIace/Eric Clapton
h. Mister Magic Ralph MacDonald
i. Sleepwalk Santo & Johnny
j. Teen Town Jaco Pastorius
2) Attendance oI Iive Guitar Department recitals, and three Los Angeles area jazz perIormances in night club,
Iestival or concert locations (with prooI oI attendance)
3) Comprehensive memorization oI all Ireshman, sophomore, junior and senior barrier repertoire


Graduare Barrier Levels
MM/DMA 1
st
SEMESTER
1) Memorization oI the Ireshman barrier repertoire in the original key and in the correlating transposition
requirement oI the semester (see Transposition Requirements above).
2) Graduate students with Bachelors degrees Irom USC are also responsible Ior the Iollowing in the book key:
a. DesaIinado Antonio Carlos Jobim
b. Eighty One Miles Davis
c. I Thought About You Jimmy Van Heusen/Johnny Mercer
d. A Foggy Day George Gershwin
e. Dindi Antonio Carlos Jobim
I. I Will John Lennon/Paul McCartney
3) Attendance oI Iive Thornton recitals, any instrument (prooI oI attendance required at jury programs, ticket
stubs, receipts)
4) Purchase oI all materials (Iakebooks)
``Unsatisfactory preparation will lead to private lesson grade demerits and possible hold on recitals

MM/DMA 2
nd
SEMESTER
1) Memorization oI the sophomore barrier repertoire in the original key and in the correlating transposition
requirement oI the semester (see Transposition Requirements above).
a. St. Thomas Sonny Rollins
b. ConIirmation Charlie Parker
c. The Shadow oI Your Smile Johnny Mandel
d. NeIertiti Miles Davis
e. Mr. P.C. John Coltrane
I. In My LiIe John Lennon/Paul McCartney
3) Comprehensive memorization oI all barrier repertoire
4) Attendance oI Iive Guitar Department recitals, and three Los Angeles-area jazz perIormances in night club,
Iestival or concert locations (prooI oI attendance required at jury). Double recitals (i.e. Junior) do not count as two
6) Private composition and arranging lessons with Vince Mendoza

MM/DMA 3
rd
SEMESTER
1) Memorization oI the junior barrier repertoire in the original key and in the correlating transposition requirement
oI the semester (see Transposition Requirements above).
a. Pensativa Clare Fischer
b. Lady Bird Miles Davis/Tadd Dameron
c. What's New Bob Haggard
d. Jordu Duke Jordan
e. Chega De Saudade Antonio Carlos Jobim
4) Attendance oI three Thornton recitals, and three Los Angeles-area jazz perIormances in night club, Iestival or
concert locations (prooI oI attendance required at Jury)

MM/DMA 4
th
SEMESTER
1) Memorization oI the senior barrier repertoire in the original key and in the correlating transposition requirement
oI the semester (see Transposition Requirements above).
2) Graduate students with Bachelors degrees Irom USC are also responsible Ior:
a. Witch Hunt Wayne Shorter
b. Spain Chick Corea
c. You Don't Know What Love Is Raye/DePaul
d. Misty Erroll Garner
e. Love is Here to Stay George Gershwin
3) Attendance oI three Guitar Department recitals, and three Los Angeles-area jazz perIormances in night club,
Iestival or concert locations (prooI oI attendance required at Jury)
5) Flamenco pieces see ProIessor Del Monte
6) Leave guitar department loaner guitars at jury

END OF SEMESTER JURIES
Juries are the student's Iormal perIormance and progress examination in the guitar department. The jury (15
minutes in length) is conducted beIore the entire Studio/Jazz Guitar Iaculty. Jury dates are listed in the Department
Calendar. Sign up Ior a time and pick up jury Iorms outside oI MUS 101. Fill the Iorms out completely beIore your
scheduled perIormance time. The jury will include sight reading level examination, ensemble perIormance (duo
with a Iaculty member), and/or solo perIormance oI Barrier material.

Aggregate Grading System the Jury requirements impact the Individual instruction grade as Iollows: a semester
grade is assigned and recorded by the Private Instructor. That grade is then lowered in halI-letter-grade increments
by any jury requirements that are not satisIactorily met. The categories are: 1) Fakebooks (where applicable), 2)
ProoI oI Recital Attendance, 3) Attire, 4) Workshop PerIormances, 5) Scales and Arpeggios, 6) Sightreading,
Barrier selection and 7) Comprehensive selection. IMPORTANT - at the discretion oI the Iaculty in attendance,
up to a Iull letter grade can be deducted Irom the Individual instruction grade Ior chronic Iailure to meet the
Department standard in any oI the above categories.

Jury Requiremenrs
x Sight reading: in the case oI repeated sight-reading Iailures, recitals may be held at the discretion oI
the Iaculty until satisIactory levels oI ability are met
x Scale & Arpeggio requirement*
x Dress: Iormal (coat & tie)
x ProoI oI recital attendance (Iive programs)
x Required materials (Iakebooks)
x Current transcription requirements
x Barrier repertoire and corresponding transcription, all required scales and arpeggios
x Unexcused absences will result in the reduction oI one letter Irom the private instruction grade
x Juries are required oI all registered majors- BM, MM, DMA- regardless oI recital status

PLEASE NOTE: In the jury, when the barrier tune is called by the Iaculty, the perIormance routine will be as
Iollows: student plays melody chorus in the original key, then improvises one chorus in the original key, then plays
an accompaniment chorus in the transposed key, while the Iaculty member improvises, then plays the melody in the
transposed key.

* The Studio/Jazz Guitar Department has added a scale and arpeggio component to the jury requirements. This will
consist oI each student being asked to demonstrate any oI the scales or arpeggios contained in the book
FINGERBOARD MASTERY: Scales and Arpeggios, Book 1 which is required material Ior all students in the
department and is available Ior purchase at the university bookstore. ProoI oI purchase will be required at the juries
and each student will be asked to show their copy oI the book (with their name written in it ) to the Iaculty
representative. Although the book presents the material using three systems, including the CAGED, Finger-Stretch
and Three-Note Per String systems, students will be asked to demonstrate their knowledge oI the scales and
arpeggios using the CAGED system as described therein. For example, each student will be asked to play a speciIic
scale or arpeggio using a speciIic pattern number in a designated key. It might go something like this:
Play an Amaj7 arpeggio, pattern 5
or
Play an F Lydian scale, pattern 3
or
Play a G Dorian scale, pattern 2
and so on.

Knowledge oI the speciIic pattern numbers is essential and must be clearly demonstrated in the jury.

FINGERBOARD MASTERY: Scales and Arpeggios, Book 1 is the Department`s syllabus oI scales and arpeggios Ior
1st semester Ireshman and will be initially introduced in Ireshman classes such as MPGU 153, MPGU 158, and
MUEN 331. That said, it is an ongoing requirement Ior every student in the department regardless oI class standing.
It is the Iaculty`s position that all students must have a mastery oI these Iundamentals and continue the study oI this

material during their matriculation at USC. II you have any questions regarding this policy please direct them to
Frank Potenza or Nick Stoubis.

RECITAL GUIDELINES

All student recitals must be booked through the Department Coordinator in LPB 118. Recital packets are available
in the Department oIIice prior to pre-recital preparation. Fill out Recital Request Form, have Student AIIairs
approve request. AIter Request is approved by Student AIIairs, turn in to Department Coordinator. AIter Recital is
completed, turn in SIGNED Report Cards to Coordinator. Coordinator will then submit Report Cards to Music
Student AIIairs. Students are encouraged to video record their recital perIormances. Students must provide media
and recorder.

Please note: In order to begin senior level lessons (MPGU 453), a student must pass his/her junior recital. If the
junior recital has not been completed and considered to be of a passing level by the end of the junior year, a student
will be required to register for additional semesters of junior level lessons until s/he passes the recital.

Recital guidelines are negotiable to a limited degree. The Iaculty may grant up to two exceptions to speciIic
repertoire requirements. Student must present a written proposal to the Department Chair, Frank Potenza, justiIying
request Ior exceptions. Substitutions should be oI equal rigor to the original requirements.

Singing is allowed and encouraged, however, it is also limited to two selections per recital.

Fre-Reciral Jury
Each student who is planning to present a recital must pass a pre-recital jury, which is conducted by the entire
Studio/Jazz Guitar Iaculty. Recital personnel must be present Ior the Pre-Recital and be able to present the
proposed recital in its entirety. Pre-recital dates are included in the Department Calendar distributed at the start oI
each semester.

Programs are required Ior all recitals. Recital programs must be approved one week prior to your pre-recital. All
recital programs must include program notes - pertinent inIormation about your selections and perIormers - as well
as the order in which your selections will be perIormed. Program Notesa description and/or brieI analysis oI the
individual recital selections. An example oI acceptable program notes is included in the Recital Packet. Program
notes should give the reader a clear and succinct idea oI the perIormer`s connection to the piece or reason Ior
playing it. They should also describe any note-worthy aspects oI the piece. Use MLA style guidelines consistently
throughout. Avoid repeated use oI phrases such as 'this song, 'this arrangement, this piece. Submit the final
draft (NOT A FIRST DRAFT) oI your proposed program to the Department Chair, your individual instructor and
ProIessor Adam del Monte Ior approval on classical guitar recital selections, no less than one week prior to pre-
recital. Each ProIessor will be checking to make sure that your program meets the departmental repertoire standards
Ior student recitals. Once your recital program has been approved, you will be allowed to continue with
preparations Ior your pre-recital jury.

Late or handwritten programs and program notes will not be accepted, and could result in the postponement
of your recital.

Recital Checklist
All recital guidelines must be followed explicitly. Failure to fulfill any requirement will result in
postponement of the recital.
x Check Department Calendar Ior scheduled date oI semester pre-recitals. Recitals may only be
presented on scheduled recital days.
x Be sure to pick up Recital Packet Irom Department oIIice and obtain proper signatures
x Turn in Recital Request Form to Department Coordinator to be assigned Pre-Recital &
Recital times.
x Pre-Recital & Recital dates, times & locations will be assigned by Department Coordinator.
x Once pre-recital is approved, Department Chair will notiIy Department Coordinator; Recital
schedule may be adjusted accordingly & re-published. Any subsequent rescheduling oI

Recital time, date or location is the responsibility oI the student. Department Coordinator
must be notified oI any schedule changes.
x Music must be timed and not exceed the allotted time Ior the individual recital level
x Students must promote their recitals through posters, email lists and any other media
available. Email notices may be sent to Department Coordinator (guitarusc.edu) Ior
distribution to student & Iaculty email lists.
x Adequate promotion Ior student recitals is a department requirement. Please observe the
Iollowing Poster Guidelines draIted by the Studio/Jazz Guitar Faculty:
1. No proIanity or slang
2. No photos or artwork that could be considered controversial or obscene in nature
3. Recital posters should include: who, what, when and where
4. Posters should also advertise music to be perIormed, composers` names, names oI
additional perIormers, as well as a statement 'From the studio oI |instructor`s name| or
'The Thornton Studio Jazz Guitar Department presents a senior recital, etc.
5. Posters could include a picture or artwork that attracts the eye to the poster or that
associates a Iace with a name. Posters are to be distributed and posted not less than 10
days beIore the recital
x Recital Day Recitals will take place on the designated recital days posted at the beginning
oI each semester. Available times start as early as 10:00am and as late as 8:00pm. Time slots
are assigned by the Department.
x Recital Deportment
o Your overall manner should be appropriate Ior a Iormal perIormance
o Prepare and rehearse the comments you will make between selections
o ReIrain Irom reciting the Program Notes verbatim
o Avoid cliche phrases such as 'I hope you like it when introducing selections
o In announcing there will be reIreshments aIterward, avoid undigniIied reIerences such as
'Iree Iood
x Reception students should provide Iood and beverage Ior at least 20 people. Do not serve
any Iood or reIreshments until aIter the recital. `NOTE: Alcohol may not be served at
student recital receptions. The presence of alcohol at a reception will result in a
minimum $100 fine and may lead to additional charges and/or investigation`
x Student Recital Report CardIn order to receive credit Ior the recital, each student must
obtain the necessary signatures on the card. It is the student`s responsibility to take the
signed Recital Report Card AND two copies oI your recital program to the Department oIIice
in LPB 118. The Department Coordinator will then make a copy oI the Recital Report Card
and turn it into Music Student AIIairs, Ior the student`s academic record.
x Recital Days are coordinated to avoid conIlicts including Iootball games, advertised special
events and all similar conIlicts. Contact Transportation Services oIIice at 213-740-3575 Ior
current details regarding parking options.

Junior Reciral
The philosophy oI this perIormance is one oI stretching in a variety oI stylistic directions. Classical repertoire, jazz
chord-solo technique and in general, music which reIlects a diversity oI techniques including contemporary electric
styles are the primary requirements oI the recital. Recital length should be no more than 50 minutes. All recital
material must be memorized by the time oI the pre-recital jury. Other requirements include appropriate program
notes and a Department-approved program. Both must be submitted by the pre-recital jury. No more than one bass
solo is allowed Ior the entire program. At least one selection must showcase the student`s accompaniment/comping
skills within the rhythm section. It is also required that one selection involve the trading oI phrases between the
guitar soloist and the percussionist.

SpeciIic Requirements:
Nylon String Guitar
1. One solo piece (classical) ex. Sor study
2. Duo piece (accomp. bass/guitar) Latin or Brazilian
Electric Guitar
1 One trio piecemedium jazz standard
2. One jazz ballad w/2nd guitar and rhythm section
3. One piece (w/2nd guitar, voice or other instrument)

4. Transcription oI a Wes Montgomery blues (ens. arrangement, melody and solo) transcribed as a USC
student
5. One pieceoriginal composition by the student, subject to instructor's approval
6. One piece- student's choice oI genre, subject to Iaculty approval
7. With Iull ensemble - approved piece Irom the repertoire/listening list oI MPGU 358 & 458 using
appropriate signal modiIication and interpretation or approved substitution. See Prof. Smith for
approval.

Senior Reciral
The senior recital should reIlect the maturing oI the student as an emerging artist. It is a culmination oI the years oI
practice and study as exempliIied by original composition, arranging, ensemble leadership, diverse programming,
proIessional composure and projection.

Recital length should be no more than 60 minutes. It is suggested that the student reserve a recital time well in
advance and make appropriate arrangements Ior a reception immediately Iollowing the perIormance. Program notes
and Department-approved programs are required and must be submitted at the pre-recital jury Ior approval. No
more than one bass solo is allowed Ior the entire program. All recital material must be memorized by the time oI
the pre-recital jury. At least one selection must showcase the student's accompaniment/comping skills within the
rhythm section. It is also required that one selection involve the trading oI phrases between the guitar soloist and
the percussionist.

SpeciIic Requirements:
Nylon String Guitar
1. One solo piece (classical) ex. Bach lute piece or excerpt Irom Bach partita or cello suite or literature
deemed standard repertoire by the Iaculty
Acoustic Guitar (12-string, 6-string, nylon)
1. One solo piece (Iinger-style) in the tradition oI Ralph Towner, Lenny Breau, John Renbourne, Michael
Hedges, Jerry Reed, Chet Atkins - may be substituted with a Ilamenco piece
Electric Guitar
1. One solo piece - jazz guitar in the tradition oI Joe Pass, Joe Diorio, George Van Eps, Wes Montgomery
2. One trio piece - medium-tempo jazz waltz
3. With 2nd guitar - up-tempo (quarter note240 or Iaster) Latin, student's choice oI genre
4. With 2nd guitar - slow-tempo piece, student's choice oI genre
5. With Iull ensemble - approved piece Irom the student project/repertoire/listening list oI MPGU 358 &
458 using appropriate signal modiIication and interpretation or approved substitution. See Professor
Richard Smith for approval
6. One piece oI student's choice - subject to individual instructor's approval
7. With Iull ensemble approved piece Irom the repertoire/listening list oI MPGU 358 & 458 using
appropriate signal modiIication and interpretation or approved substitution. See Professor Richard
Smith for approval

Original compositions may be substituted Ior numbers 3, 4 & 6 on electric guitar with individual instructor's
approval. |At least one selection must be original in any case.| All selections are subject to individual instructor's
approval.

Masrers Reciral
Prerequisites:
Entire program must be memorized by pre-recital.
No recital will be allowed to take place without a satisIactory pre-recital jury perIormance at least one
month in advance (see recital guidelines)
Detailed program notes which provide historical perspective and relevance are due at pre-recital.
MGEEs are recommended to be completed within the Iirst year oI beginning the MM Studio/Jazz Guitar
degree.

Recital # 1
Nylon-String guitar:
One piece Irom the classical guitar repertoire oI medium to high diIIicultyi.e. movement Irom a Bach
lute or cello suite, movement Irom a Vivaldi concerto, etc. See ProIessor Del Monte Ior a detailed list oI

recommended pieces.

Acoustic Guitar:
One solo or ensemble piece in the style oI Ralph Towner, Lenny Breau, John Renbourne, Michael Hedges,
Jerry Reed, Steve Morse and Chet Atkins.

Arch-top Guitar:
One solo piece - Jazz guitar in the tradition oI Wes Montgomery, Joe Pass,
Joe Diorio, Tuck Andress, George Van Eps.
One trio piece in the tradition oI Joe Pass, Jim Hall, Kenny Burrell,
Wes Montgomery - medium swing tempo.
Must include perIormance oI a transcribed solo Irom one oI the above artists, or an approved substitution.
10 minute intermission
AmpliIied or acoustic nylon string
One trio piece - up-tempo Latin, any genre

One slow tempo piece, any genre - trio, or duo (bass, piano, 2nd guitar etc.)

One ensemble piece - up-tempo (presto) Iusion Irom approved repertoire

Student's choice

With Iull ensemble approved piece Irom the repertoire/listening list oI MPGU 558 using appropriate
signal modiIication and interpretation or approved substitution. See Professor Richard Smith for
approval

Recital # 2
To be completed within the second year oI beginning the MM Studio/Jazz Guitar degree. Content to be decided by
the student, private instructor and department chair

Note: See Recital Checklist for extra details, page 8.

DMA Reciral Guidelines
Guidelines
Students may choose to perIorm Iour oI the six recitals listed below.
MGEEs are to be completed within the Iirst year oI beginning any Graduate Studio Guitar degree.
Students must complete all MGEEs prior to recital #2.
Entire program must be memorized by pre-recital.
Recital will not be allowed to take place without a satisIactory pre-recital perIormance at least one month
in advance (see recital guidelines).
Failure to perIorm a successIul pre-recital on the required date will be suIIicient cause to postpone the
recital.
Detailed program notes providing historical perspective and relevance are due at the pre-recital.
Recitals must not exceed one hour in length.
Duplication oI material Irom any previous recital is not allowed.

Recital #1
Mainstream and Contemporary Jazz Ensemble PerIormance
Trio (Acoustic Bass / Drum set):
Jazz arrangements Irom the repertoire oI Charlie Parker, Miles Davis, John Coltrane, Duke Ellington etc.
Arrangements should exhibit mastery oI styles, accompaniment and improvisation.
a. Medium swing - arch-top
b. Bossa nova - nylon acoustic/electric or nylon w/pick-up
c. Fast hard bop - arch-top (examples: Giant Steps, Moments Notice, etc.)
d. Ballad - arch-top duo with bassist
Ensemble
Four original songs oI album quality, composed, arranged, recorded and perIormed by the student. Songs must
be recorded prior to recital. Content will be decided between the Department Chair and the student.


Recital #2
Solo Jazz Guitar/Guitar Accompaniment
Duplication oI material Irom any previous recital is not allowed.
Solo jazz guitar:
Arrangements in the classic style oI Joe Pass, George Van Eps, Lenny Breau, Joe Diorio, Jim Hall, Baden
Powell, Luis BonIa. It is essential that these arrangements incorporate an original chord-melody
arrangement, rubato playing, improvisation, walking bass lines, and a thorough demonstration oI all oI the
common elements oI the style. A nylon-stringed instrument may be used Ior the appropriate styles at the
discretion oI the individual instructor.
Five selections (minimum)

Solo accompaniment
a. monophonic instrument - (saxophone, trumpet, Ilute, etc.) No acoustic or electric bass - two
selections
b. vocalist - two selections
In each oI these settings, the ability to eIIect a complete accompaniment including appropriate
chord voicings, bass lines, background Iills and Iull arrangement is oI paramount importance. The
guitarist must supply sympathetic accompaniment and demonstrate the ability to engage the duo
partner in musical dialogue by trading Iour or eight bar phrases, improvising simultaneously,
improvising Iills behind the soloist, etc. It is also a requirement that the duo partner provide some
type oI interactive accompaniment such as a bass line or contrapuntal line. This will most likely
necessitate speciIic instruction and/or providing a written score Ior reIerence.

Solo Iinger-style acoustic guitar:
Original transcription in the tradition oI Chet Atkins, Guy Vanduser, Ralph Towner, John Renbourne, Bert
Jansch. one selection
Solo Iinger-style acoustic guitaroriginal composition utilizing an alternate tuning in the style oI Adrian
Legg, Tommy Jones, Michael Hedges. The choice oI speciIic style must be approved by the
private instructor.
one selection

Recital #3
Historical (Doubles, Styles and Americana)
Must TA, take, audit or pass examinations Irom MPGU 416 beIore scheduling recital.

Pre-concert lecture/demonstration:
Candidate will be required to lecture on several musical styles and trends pertaining to the categories and the
guidelines listed below. Lecture should include tracing the history oI origin oI each styles` beginning to the
artistic level at which each style is perIormed today, signiIicant artists and their contribution, and relevant social
and economic events. Immediately Iollowing will be a perIormance Ieaturing selections chosen Irom each
category below. Length oI entire presentation should be 75-90 minutes. The program must be submitted to
ProIessor Trovato six months prior to the recital date. Styles will include Blues, Country/Bluegrass, Ragtime,
early jazz, Western Swing and Gypsy Jazz.

These categories are presented to be suggestions only. The final content of recital shall be determined by
Candidate, pending Professor Trovato`s approval.
Blues guitar: 3 selections
a. Traditional Bluessolo steel string acoustic 6 or 12-string guitar, Iinger- style, perIormed in standard
or open tuning with or without bottleneck slide, in the style oI Robert Johnson, Willie Johnson, Mance
Lipscomb, Willie McTell, Blind Blake, etc.
b. Traditional Blueswith rhythm section, to be perIormed on electric steel- string guitar in the style oI
Muddy Waters, Albert Collins, Albert King, B.B. King.
c. Contemporary Style Blueswith band, to be perIormed on 6-string guitar. Contemporary elements
include advanced harmonic movement, modern sounds (synth, eIIects processor, etc.) in the style oI
Larry Carlton, Robben Ford, John ScoIield, etc. This selection does not necessarily have to be strict
blues, but should contain a strong bluesy element.

Country/Bluegrass: 3 selections
a. Celtic or Gaelic Iiddle selection, jig or reel perIormed with a Ilat pick on 6-string steel acoustic guitar.

This music pre-dates American bluegrass music and was an integral part oI its evolution.
b. Bluegrass selectionwith or without accompaniment on a steel-string acoustic guitar. Contemporary
arrangement in the tradition oI New Grass Revival, David Grisman, Jerry Douglas, Bela Fleck, Marc
O'Connor, Tony Rice, Dan Crary.
c. Country GuitarperIormed on a steel-string electric guitar with band in the style oI Albert Lee,
Danny Gatton, James Burton or Steve Trovato. Subject to approval oI individual instructor (may be
an original composition).

Ragtime: 1 selection
PerIormance should be Iinger-style on acoustic or electric guitar. May be perIormed with or without
accompaniment. This should be a traditional Rag or March in the style oI Scott Joplin, Chet Atkins, John
Knowles, Tommy Jones, or Guy Van Duser.

Jazz/Swing: 2 selections
a. Western Swingto be perIormed on electric guitar with band in the style oI Hank Garland, Jimmy
Wyble, Jimmy Bryant, Les Paul, Jackie Phelps or George Barnes.
b. Early SwingJazz selection in the style oI Charlie Christian, Benny Goodman, Lionel Hampton,
Django Reinhardt, Bireli Lagrene and John Jorgensen.
c. Gypsy Jazz- To be perIormed on acoustic guitar in the style oI Django Reinhart, Stokelo Rosenberg.

Miscellaneous Finger-Style Guitar: 2 selections,
Chosen Irom the categories below and to be perIormed on acoustic 6-string nylon or electric guitar with or
without accompaniment. II applicable one or both selections may be perIormed on an alternate instrument
typical oI the genre. Both selections will be subject to the proIessor`s approval.
a. Original transcription in the tradition oI Jerry Reed, Michael Hedges, Chet Atkins, Lenny Breau,
Marcel Dadi.
b. Original composition or arrangement utilizing a standard or alternate tuning in the style oI
Michael Hedges, Joni Mitchell, Stephen Stills, David Crosby, Adrian Legg.

Miscellaneous Genres and Instruments
a. Urban Blues: B.B. King, Albert King, Albert Collins
b. Dixieland Jazz: (Tenor Banjo)
c. American Folk Music: (Mandolin, violin, zither, 5-string banjo)

*Faculty will consider proposals Ior alternative lecture/recital topics, including the option to write a book Ior the
Mel Bay/Thornton Guitar series. Please see ProIessor Frank Potenza Ior details & approval.

Recital #4
Classical Guitar PerIormance
Each oI these works must be memorized. The recital length is 40 - 45 minutes. The program must be submitted to
ProIessor Del Monte six months prior to the recital date.

20th century
One composition written Ior the guitar by a 20th century composer:
Villa-Lobos, Torroba, Ponce, Turina, Rodrigo, Brouwer, Tansman, Duarte, Walton, Britten, Bennet

19th

century
One composition written Ior the guitar by a guitarist. This could also include transitional composers Irom
the late 18th century or early 20th century. Etudes by these composers are acceptable however you will
prepare a set oI etudes, (ex. 3 studies by F. Sor), Sor, Giuliani, Carcassi, Tarrega, Barrios.

17-18th century
Bach, Scarlatti, Weiss, DeVisee, Sanz, (lute, Baroque guitar work or equivalent transcription Irom
keyboard, violin or cello)

Early Music
Renaissance lute or vihuela composition written between 1400 and 1625:
Dowland, Milan, Narvaez, Mudarra


Ensemble Requirement:
Any work Ior classical guitar and another instrument or voice. This work can be an accompaniment to
another soloist or a duet. Guitar and Ilute, guitar and violin, guitar and voice. This work need not be
memorized.

Three other works:
These three works can be oI the student's choosing, however one work must include Flamenco-style
strumming techniques. This could be a Flamenco piece or part oI the Classical guitar repertoire. These
works could also include one original composition or another ensemble perIormance (guitar duets).

Recital #5
Jazz Ensemble Arranging
x Six to nine songs arranged Ior jazz ensemble such as ALAJE, the Concert Jazz Orchestra or the Thornton
Jazz Orchestra (big band).
x At least Iour pieces should be original, and all songs must Ieature the guitar as the primary melodic
instrument.
x A live, un-edited tape oI the Iull ensemble will be allowed in place oI a pre-recital perIormance.
x Jazz Studies as a minor Iield is highly recommended.

Recital #6
Recording
x Seven songs oI album quality, the majority oI which must be original compositions with no material
repeated Irom previous recital programs.
x Must be mixed, mastered & include complete original artwork
x Scope and programming to be decided between student, an approved advisor and the Department Chair
x Recording Arts as a minor Iield is highly recommended as a prerequisite
x Eight (8) copies oI the Iinished product must be submitted Ior Iaculty review

Recital #7
Recording - Option 2
Music For Television and Film, emphasis on guitar

This recording project pertains to the production oI music Ior TV and Film, including source music, underscore and
music scored to picture. The goal oI this recording project will be to prepare a student Ior success in the Iield oI
guitar-based music, composition and production.

The Iinal product will include between 8 and 10 completed original compositions that are mixed, mastered and
submitted in a proIessional Iormat at the end oI semester. At the discretion oI the Iaculty advisor the student will
compose pieces Irom various popular music genres including, pop or 'radio rock style a likes, sports rock, mood
supporting underscore, etc. The assignment will include writing music Ior a product commercial, a movie trailer and
or a scene Irom a Iilm. These compositions will scored to picture and will be delivered as audio-visual masters.

Throughout this process the student must demonstrate expertise and versatility as a guitarist, mastering all oI the
various aspects oI the instrument as it pertains to these recordings. A proIessional level oI execution should be
evident on electric guitar, it`s various tones and styles, steel and nylon string acoustic guitar and a Iew commonly
played doubles such as bass guitar, dobro guitar, banjo, charango, mandolin, high strung guitar etc.
The resulting recordings will be to industry standards and will rival the production quality oI its competitors. Style
appropriate production rules apply; Ior example, no midi samples will be used where real instruments should be.
The project will be open to scrutiny by Iaculty members and industry proIessionals and their constructive criticism
will be considered in the Iinal assessment oI the recital.

Recital #8
Guitar Duo Recital (FulIills one recital requirement Ior each DMA candidate)
Content: eight collaborative arrangements oI Iour original compositions by each candidate. All compositions to be
recorded and submitted as a professional quality CD with original cover art in addition to the live recital
performance.


In addition to the eight original compositions, one transcription Ior two guitars oI an existing guitar duo recording
and/or an arrangement oI a diIIerent instrumentation, e.g. an Oscar Peterson piano arrangement.

Compositions in the Iollowing styles:
- Fast bop
- Medium swing
- Latin
- Ballad
- Modern straight 8 Ieel
- Odd meter selection (incorporating polyrhythms between 2 perIormers)
- American Iolk style such as Bluegrass/Country/Slack Key (possibly open tuning)
- Non-western music selection (e.g. AIrican or Asian)

Original arrangements will incorporate the Iollowing techniques:
- Harmonized and monophonic melodies and improvised solos
- Sympathetic accompaniment including walking bass lines, contrapuntal melodies
- Ensemble interaction including trading Iour bar phrases, rubato, simultaneous improvisation
- Demonstrated mastery oI arrangement techniques such as voice leading, timbral considerations, dynamics,
harmonic and metric modulations

This Iormat oIIers some unique challenges and opportunities.
x Increased contact/rehearsal/preparation allowing the duo partners to take the music to a deeper level than
may be possible with other ensemble Iormats.
x Intimate and exposed musical setting requiring high levels oI individual and collective musicianship.
x Compositions and arrangements tailored to individual and collective strengths.
x Highly practical Iormat Ior proIessional perIormance opportunities.

Note: See Recital Checklist Ior extra details, pages 11 & 12.

The Ferformance DMAA Srudenr's Advice

Curriculum
While an authoritative "road map" to the curriculum and the requirements oI the Thornton School oI Music DMA
PerIormance degrees are spelled out in the University catalog, a Iew general Ieatures call Ior clariIication and
explanation. The Iirst oI these is the philosophy behind the curriculum itselI. The Thornton School`s PerIormance
DMA is oriented towards the acquisition oI a broad range oI skills and interdisciplinary knowledge. As a result, the
DMA aims to provide the student the broadest possible background in a range oI Iields related to scholarly activity
within the conservatory setting. This philosophy aIIects the very important elements oI the curriculum; entrance
requirements, selection oI minor Iields, and the distribution oI units among the Iields oI study.

Entrance Requirements
The MGEE's, described in detail in the catalog, are the Iirst challenge Ior most DMA students at balancing their
background and training as contemporary guitarists with the guidelines oI a program Iounded in a classical,
conservatory model. DMA students are responsible Ior passing all oI these requirements, leading to the obvious
advice: prepare, review, and study Ior these tests careIully! Each oI these tests is eminently passable with some
Iorethought and preparation and, in the event you don't pass the Iirst time, keep in mind you do get another chance
at the beginning oI the second semester. Learn Irom your mistakes and do everything you can to pass these tests on
your second chance. II you do not pass you can look Iorward to a long list oI remedial review classes in Music
History, Theory and Counterpoint, Orchestration, Instrumental Conducting, Choral Conducting, and Aural Skills. II
the time requirements and monetary cost oI these classes are not enough, Iailure to pass these requirements holds up
your degree program substantially. You cannot take your required conducting classes, Ior example, until you have
passed your conducting MGEE's, and you cannot give a degree recital until all these requirements are completed.

Minor Fields
The most conIusing element oI the DMA is that it is structured as a combination oI Iour minor Iields, or 'areas oI
concentration, not as a major Iield with ancillary electives. For this reason, iI you have not committed to your
choice oI minor Iields, give the matter some serious thought beIore you begin your program. While the two largest

areas, perIormance and history, are already spelled out Ior you by the requirements oI the Thornton School, the
choice oI the two remaining Iields belongs to the student, with some restrictions. Expect each minor area to consist
oI 3-4 courses, chosen in conjunction with a separate Iaculty advisor Ior the area. Realize that while there may be a
great deal oI Ilexibility in tailoring some areas to your interest, others may have an established set oI requirements
Ior DMA students that choose that as an area. Since this is your opportunity to tailor a program to your interests,
Iind subjects which are oI interest to you, and be particularly attentive to the teacher under whom you would be
studying. II you have any questions, your graduate advisor Dr. Debora HuIIman is especially helpIul. As a long-
standing academic advisor Ior all DMA students, her advice is invaluable. As an Associate Dean and administrative
liaison to the Graduate Committee, she also has great authority on your academic matters.

Take many core classes in the summer when you will have a lighter work load. II you have an assistantship, realize
you have 8 units to use as you wish in the summer, even iI you only teach during the Fall and Spring semesters.*
The required History, Conducting and review classes are usually oIIered in the summer.

*Confirm the status of this benefit with the Graduate Teaching Assistant Advisor

Timetable
While the scheduling oI the degree program is relatively open, the timetable is roughly as Iollows:

In the Iirst semester, take Introduction to Graduate Studies, meet advisors oI minor Iields and choose provisional
minors, study Ior the MGEE subjects you may not have passed the Iirst time, and appear Ior an interview with the
Graduate Committee. Its purpose is to make certain your proposed program meets the basic guidelines oI the
Thornton School. The Committee may advise you to change areas oI concentration, thereIore it is best to interview
with them beIore you have completed many units.

During the second semester, complete any outstanding MGEE requirements. Make a solid plan oI your remaining
course work, looking careIully at when courses will be oIIered, especially in minor Iields.

Plan to address the Iollowing goals to be completed beIore your last semester in residence:
Complete course requirements
Complete Ioreign language requirement
Complete three oI your Iour recitals

During your last semester, Iill out the necessary applications Ior completion oI degree and the qualiIying
examinations. Be solid in your preparation Ior your Iinal recital. Complete any remaining course work and begin to
prepare Ior your qualiIying examinations. OI particular importance are the submission oI possible test questions to
the history and minor Iields departments, clariIication oI test Iormat and content with your advisors and the
scheduling oI the exams with each department. Take the examinations and give your Iinal recital. Several
important restrictions must be kept in mind:
You may not take qualiIying exams until all course work is completed.
You must be registered Ior at least 1 unit during the semester in which you take your exams. This rule is
inviolable.
You may not give the Iinal recital until aIter passing the qualiIying exams.
II you give your Iinal recital in a diIIerent semester than that oI the exams you must be registered Ior a
minimum oI 1 unit.

In summary, the keys to a successIul program are careIul preparation, organized planning, awareness oI a timetable,
and the choice oI the Iaculty with whom you will work. Read the catalog careIully Ior all matters oI oIIicial policy
and meet with Dr. HuIIman and/or your Department Chair to evaluate and decide your curriculum plan. Below is a
rough sketch oI what to expect:

Basic DMA Curriculum (20)
MPGU 653 (12), MPGU 558 (4), MUEN 526 (4), Electives (25)
3 doctoral level recitals, speciIied by the Department Handbook, 1 doctoral level lecture/recital in conjunction with
student`s research-oI-interest (0)

2011 - 2012 SJG Handbook

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